“山海艺术实践2016-2021”

【何俊彦】：大家好，在这里我梳理了这几年的工作，主题是：“山海艺术实践”。我过往的实践以室内居多，做绘画视觉类的创作。从室内创作延伸到室外的转变是在2013年回国以后，进行了一些户外的行走，珠三角、全国各地、高原、海岛等等。2016年我在珠海发起了“做海计划”，主要是跟渔民一起，在伶仃洋的海域进行生活体验。2017年遇到一个事情就是16级“天鸽”超强台风，我当时“追风”，跟着渔民一块在避风港看台风登陆。2018年，我跟马境若水发起了“百岛计划”，把艺术的工作从内陆慢慢的往海洋、海岛延伸。但是也是来回的，不是整天呆在海岛。我们会时而在不同的海岛上行走、讨论和创作实践。到现在为止，我们邀请了一百多位艺术家、策展人、建筑师等上岛进行交流。第一次上岛我们在白沥岛的一个棚内半户外、半室内创作，后来就发展到在一些礁石上进行户外创作。我们邀请一些来自各地的学者进行交流，形成一个互动，他们过来，我们也会去他们那里。几年行走下来，回头看看书本上的知识蛮有意思。希腊古哲关于“无蔽”（Alèthiea）讲的就是把事物揭开，但是揭开需要一个东西，在西方的学术里面提到一个装置，允许确定和否定的发生，在里面讨论真理；而“生产”（Hervorbringen）的概念在19世纪工业革命以后非常猛烈地发展出来，海德格尔常提到这一概念。我们到了今天，马斯克的“Space X“飞船不断的纠错实验，尝试克服物理学难题飞船成功着落，我相信他总会试成的，因为他在找数据，只要找到一个合理的数据范围就可以成功。我们尊敬的斯蒂格勒教授去年去世了，在他的技术哲学里非常多地提及了技术、人类未来的一些问题；而海德格尔晚年在森林里面居住，对人类寄居于自然也有很多反思，他提到：“大地使任何纯粹计算式的胡搅蛮缠彻底幻灭了……“。回到百岛的实践里面，关于自然跟计算的问题，或者是环境跟人的生存问题，如果我们引用老子的概念：“人法地、地法天、天法道、道法自然”，则这个“自然”的概念到了今天，跟老子时代的自然大不一样了，转化了。然而正如西方思想产生“生产”的概念，也催生了对自然问题的近代反思，我觉得我们面对着同一个问题。我在梳理这个文案的时候想到了这个“百岛之气”。我在户外工作的这几年，如何能够描述或者是把它讲出来？它是不是一件作品？或者说在哪一个环境情景里它能“作品”？苏轼的《题西林壁》，这个山从不同的角度来看都不一样，也就是我看不清这个问题，我们看不清庐山，因为我在庐山里面，在山中。我看不清面临艺术的问题，可能由于我们都在这个问题里面。我们很多时候会进入这个学科、那个学科的状态，但这会不会就是苏轼讲的横看成岭侧成峰？所以，致力于“理解”，是所有我目前的艺术实践的主要任务。谢谢大家。

[HE Junyan]: Hello, everyone. Here I have sorted out my work in recent years, with the theme of “Art practice through mountain and sea". In my past practice, most of them were in the interior, doing visual works. The transformation from indoor creation to outdoor creation is that after returning to China in 2013, we carried out some outdoor walks, such as the Pearl River Delta and all over the country, plateau, islands and so on. In 2016, I launched the"Make Sea Project"in Zhuhai, mainly to experience marine life with fishermen in the Lingding ocean area. One thing I met in 2017 was the Super Typhoon "Pigeon"with a scale of 16. At that time, I followed the fishermen in the harbor to experience the typhoon landing. In 2018, Majing and I launched the "Hundred Islands Project"to gradually extend the art practice from inland to sea and islands. But it's back and forth, not everyday stay on the island. From time to time, we will go there and walk, discuss and create on different islands. So far, we have invited more than 100 artists, curators, architects and so on to the island for exchanges. For the first time on the island, we created semi outdoor and semi indoor works in a shed on Baili island. Later, we developed outdoor works on reefs. We invite some scholars from all over the world to communicate and form an interaction. When they come, we will go to them as well. 

After a few years, it's interesting to look back at the knowledge in books. The ancient Greek philosophy about"Alèthiea" is to uncover things, but it needs something to uncover. In the western academic, it refers to a “dispositif”, which allows the occurrence of confirmation and negation, and discusses the truth in it. However, the concept of "hervorbringen"developed very violently after the industrial revolution in the 19th century, and Heidegger often mentioned this concept. Today, Musk's "space X" spacecraft is constantly carrying out error correction experiments, trying to overcome physics problems and successfully landing the spaceship. I believe he will always try, because he is looking for data. As long as he finds a reasonable range of data, he can succeed. Our respected professor Bernard Stigler passed away last year, and he mentioned a lot about technology and the future of human beings in his philosophy of technology. Heidegger lived in the forest in his later years, and he also had a lot of reflections on human being living in nature. He said: "the earth has completely disillusioned any pure computational nonsense……”。Back to the practice of Hundred Islands Project, about the problem of nature and computation, or the problem of environment and human survival, if we quote Laozi's concept: "man follows the earth, the earth follows the heaven, the heaven follows the Tao, and the Tao follows the nature", this concept of "nature"today is very different from the nature of Laozi's time and has been transformed. However, just as the concept of "production"came into being in Western thought, it also gave birth to modern reflection on the problem of “nature”. I think we are facing the same problem. When I combed this presentation, I thought of the "The Spirit of the Hundred Islands". How can I describe or tell it when I have been working outdoors for these several years? Is it a work? Or in which context can it "work"? In Su Shi's poem of 《题西林壁》, the mountain is different from different perspectives, that is, I can't see the problem clearly, we can't see Lushan mountain clearly, because I am in Lushan and in the mountains. I can't see clearly the problem of art, maybe because we are all in this problem. Most of the time, we will enter the state of this discipline and that discipline, but is this what Su Shi said about the mountains and peaks? Therefore, to devote myself to "understanding" is the main task of all my current artistic practice. Thank you.

影像图文为坪山美术馆组织的“山·河2020深圳坪山艺术季”活动内容片段

The video and text are the content fragments of "mountain · River 2020 Shenzhen Pingshan art season" organized by Pingshan Art Museum.