Art / Lab 马永峰的图像实践：从生成景观到悬空记

Original Dudu Du Laboratory 2023-05-03

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Du/Laboratory是一个综合性的试验平台，涉及的创作媒介跨越当代艺术的各个层面，对四处空降的国际化当代艺术潮流保持一种警惕性，同时致力于艺术家自身系统的充分、深入挖掘，持续关注徘徊在艺术和非艺术边缘“中间状态”的实践。

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马永峰摄影作品

2006-2020

Ma Yongfeng’s Photography

2006-2020

《悬空记》系列

On Suspending

#01

#02

#03

#04

#05

#06

#07

#08

#09

#010

#15

#16

马永峰的多数影像作品都来自有序的拍摄，如同对中国历史、艺术和哲学中的形式和主题的随兴探索（“自然”是其中的重要意象），但每组照片中的叙述和层次总会被一个出人意料的意象打破，这个意象的侵入开启了新的可能，产生新的关系，发现新的意味——无论观者还是艺术家本人，皆无法控制，无法预期。

在这儿，我们遇到一种别样的准确，艺术家从未想要做到“太好”。没有必要润饰，也没有意图使任何事物超出它自身真实的存在：一种别样的情感发生着作用：即一个人找寻自己的内在生命与身边的外在世界之间的共鸣的需求。

一股潜在的激流产生脉冲，终会为这种形式带来诗意。“悬空记”捕捉到这诗意的浮现，先于其成形、先于其被定义。

这是一种零度的影像，一种无意识的反照，可以溯源至马列维奇的“白方”或阿尔托的“复象”：一面无形之镜，存在并反照于“超然”，呼应着那有如物理学中物质与反物质一般的相互作用。

艺术家不让自己去描述作品，也不肯以教导的方式去展示，一旦这样做，一切便都将失去、死灭。“悬空”，意味着在浮现的一刻将其表明，在一个缥缈、隐约的中间地带，情感、形式与审美经验浑然一体，未曾分化。

“悬空记”巧妙地搭起一座桥，连通了传统中国艺术与当代艺术的语言。从拍摄到洗印，到汇集，到最终形成展览，马永峰的创作过程有如耶日•格洛托夫斯基“质朴戏剧”的著名训练方式：当一个人初次学唱一支佚名的古歌，他会以一种戏谑但准确的方式不断地摸索旋律的节奏和词语的发音，直到一种飘然无定却极为鲜活的关系浮现。

格洛托夫斯基在其名篇《你是某人之子》中说，这种考古式的还原能使一个人以更加宽广的方式重新接触自己的本原、记忆、特性。马永峰的方式与此相仿，运用摄影和传统文化中的元素（石，水，竹，树），通过看似随意的元素进入集体无意识的深层，让我们感到无所依傍，他同时也放逐了自己。在这纤弱、微妙的感知层面，安全的专业性被抛弃，得到风险与潜能。

Alessandro Rolandi/文

申舶良/译

Most of Ma Yongfeng images taken one by one, seem informal inquiries into forms and motives of Chinese history, art and philosophy, (with nature as a key metaphorical element) but their narrative and hierarchy are disrupted in each series, by an unexpected element whose intrusion opens the possibility to make new associations and find new meanings which cannot be controlled or predicted anymore: nor by the artist, neither by the viewer.

An hidden current generates an impulse that will eventually take the form a poetic gesture, the “Suspending” series capture the emergence of this poetic gesture before it takes form, before it is defined.

It is a zero-degree of the image, an unconscious reflection whose references can be traced back to Malevich’s white square as to Artaud’s definition of the “double”: an invisible mirror that exists and reflects from “beyond”, echoing the kind of interaction we know in physics between matter and anti-matter.

The artist restrains himself from describing it, or representing it didactically because then it would be gone, dead. To suspend it, instead, means to testify it while it appears, in a sort of “limbo” zone where emotion, aesthetic experience and form are still undifferentiated.

The “suspending” series is also an interesting way to cast a bridge between the language of traditional Chinese art and the contemporary one.In the whole process of shooting, developing the images and putting them together for this exhibition, Ma’s process reminds a famous exercise Jerzy Grotowski used in his Poor Theater training:when a person is trying to learn and sing an old anonymous popular song from the past for the first time, he is constantly searching in a playful but accurate way, for the rhythm of the melody and the sound of the words, until an uncertain but extremely lively connection appears.

Through this archaeological regression, Grotowski explains in a well known article called “Tu est le fils de quelq’un” (You are someone’s son), it is possible to get in touch again with one’s own origin, memory and identity in a larger sense. Ma Yongfeng operates in a similar way, using the photographic medium and the symbolic elements of traditional culture, (the stone, the water, the bamboo, the trees) and the apparently random elements to dig inside the collective unconscious and make us lose our grip at the same time as he lets go of his own. On this fragile and subtle level of perception, the safety of expertise is abandoned for risk and potentiality.

Alessandro Rolandi

《透明是错误的》系列

Transparency is Wrong

《透明是错误的》系列#01

150x352厘米

2015年

Transparency is Wrong #01

150x352cm

2015

《透明是错误的》系列#01

150x352厘米

2015年

Transparency is Wrong #02

150x352cm

2015

装置和干预展览现场

Installation Displays

《向K.S.致敬之作》

玻璃、霓虹灯、镇流器

150x150x72厘米

2010年

A Gift to K.S.

Glass, neon light, ballast resistor

150x150x72cm

2010

《下午12:50》

将画廊的厕所门在展览期间拆除搁在门口

情景干预

240x80x5厘米

2011年

12:50pm

Gallery toilet door, situation-based intervention

240x80x5cm 

2011

《丧失语境的自然史》系列

Natural History without Context

《火山》

140x180厘米

2007年

Volcano

140x180cm

2007

《矩阵》

180x230厘米

2008年

Matrix

180x230cm

2008

《冬眠》

120x170厘米

2007年

Hibernation

120x170cm

2007

《谱系学》

160x160厘米

2009年

Family Tree

160x160cm

2009

《短吻副肯氏兽》

100x400厘米

2006年

Parakannemeyeria Brevirostris

100x400cm

2006

《物种起源》系列

The Origin of Species

《物种起源》系列 #01

120x206厘米

2006年

The Origin of Species #01

120x206cm

2006

《物种起源》系列 #02

100x100厘米

2006年

The Origin of Species #02

100x100cm

2006

《物种起源》系列 #03

100x100厘米

2006年

The Origin of Species #03

100x100cm

2006

《物种起源》系列 #04

120x312厘米

2007年

The Origin of Species #04

120x312cm

2007

《物种起源》系列 #05

180x230厘米

2007年

The Origin of Species #05

180x230cm

2007

David Thorp ：“马永峰摄影作品中空荡荡的场景暗示着即使动物园中的动物完全消失，它们曾经栖息的场景，这些人造的景观还会继续存留下来，这些景观和自然界息息相关，但同时又从自然的生长中剥离出来，成为一种对自然景观的摹拟和重新生成。对于观众来说，这些动物栖息地本身的空无一物和动物自身的不在场营造出一种强烈的失落感。这种失落感不仅仅表现在感性层面上，就像一个孩子可能思念一只毛茸茸的小动物；而且还会以另外一种方式呈现出来，就像现代戏剧一样，能够激发一种与生俱来的空虚感，同时又伴随着自我意识的觉醒。”

David Thorp

原为英国南伦敦画廊的艺术总监和亨利·摩尔基金会的当代艺术项目策划，现为英国著名的独立策划人，主要活跃在伦敦当代艺术界。

David Thorp：“Ma Yongfeng’s empty tableaux suggest that even the animals in the zoo have disappeared. What is left behind is man made, it relates to nature but it is stripped of natural growth and has become a pastiche of the natural environment. In Ma Yongfeng’s hands the emptiness of the animal pen and the absence of the animal itself evokes a sense of loss for the spectator. Not in a sentimental way in which a child might miss a small furry creature that has run away but in the manner in which modern drama is able to induce a feeling of emptiness that accompanies an awareness of self. ”

David Thorp was active in the development of the contemporary art scene in the East End of London. In 1992 he became Director of the South London Gallery. From 2001-2004, he was Curator of Contemporary Projects at the Henry Moore Foundation and is now an independent curator.

有关文章详见：

http://www.mayongfeng.com/texts/essays.html

马永峰

艺术家、策展人、语境提供者

现居德国柏林。早期的艺术实践主要是录像和摄影，2002年的录像作品《漩涡》获得了广泛的国际关注,曾在MOMA PS1和洛杉矶当代艺术馆展出。2007年之后的作品更多的关注社会干预、装置、情境和事件等参与性的实践，他的目标是发起一系列的自我组织化的项目，寻求直接和社会相关的艺术实践。目前正在运作的一个持续性的项目Forget Art，具有灵活多变的特征，包括展览、游击性干预、社交媒体的应用等等，但是他的策略在于微妙的介入到机制之中，注入新的概念和方法，并将其运用到他的社会实践和抵抗之中。

马永峰曾在国内外重要的当代艺术机构举办过个展和群展，他的主要个展包括2006年在站台中国举办的“生成景观”，2007年在英国ArtSway艺术中心举办的“白垩纪”和2013年在重庆器空间举办的“上升的一切必将汇合”。参加的主要群展包括2003年在耶路撒冷举办的Art Focus 4：以色列双年展，2004年在洛杉矶当代美术馆举办的Freewaves试验媒体艺术双年展，2006年在纽约MOMA PS1当代艺术中心举办的“13个：中国当代录像”， 2010年在维也纳巴登艺术中心举办的“东西”，2012年在伊比利亚当代艺术中心举办的“改变的力量！- 美学与可持续性的探索”，2014年在何香凝美术馆、香港大学美术博物馆，澳门艺术博物馆举办的“因地制宜-两岸四地艺术交流计划”和2017年在上海明当代美术馆举办的“流动者会议”等。

自从2009年开始，Forget Art在不同性质的公共空间策划了一系列社会干预和介入性项目，主要通过游击性、灵活度和业余化的努力，试图在日益僵化的当代艺术体制之中制造边缘和抵抗。2010年9月在北京草场地策划的《地点：龙泉洗浴》被美国《艺术论坛》杂志提名为2010年最佳项目，同时被国际著名艺术网站BlouinArtinfo评为当年中国的“十大展览”。2015年《国际策展期刊》以其2011年策划的forget art fair艺博会作为封面，展开对中国当代展览和展示文化的思考和挖掘，同时英国批评家李蔼德撰写的《北京的干预主义策展和展示实践》集中报道了Forget Art的一系列实践。

其它的策展项目包括2011年为《艺术界》LEAP杂志策划的纸上展览《保持一种业余性！》和《游击寄居症－替代居住的社会微实践》；2014年的《完成度－自发的行动和情境》；2016年在德国文化中心·歌德学院策划的《屏幕景观和后数字身体》系列项目和深圳制造文化和北京1House举办的《就像没有发生一样》，;最近策划的项目包括2017 年在重庆星汇当代美术馆举办的《数字采样者，或处于网络态叠加中的新世代》和2018-2019年和歌德学院合作在北京缓存空间策划的《哈伦·法罗基：图像搏击者》系列研究性展览、放映项目等。

Ma Yongfeng

Artist, Curator & Context Provider

Currently living in Berlin, Germany, Ma’s early artistic practices were primarily video and photography, examples include his video ‘The Swirl’ in 2002 which have showed in MOMA PS1,New York and MOCA, Los Angeles. His post-2007 works are more attached to the practices of participatory social interventions, installations, situations and events, with the objective of launching a series of self-organized projects to seek the artistic practices directly related to society. Currently, the ongoing project Forget Art contains flexible and changeable characteristics, including exhibitions, guerrilla interventions, social media and application of street politics, etc. The tactic Ma employs is to input new concepts and methods by subtly becoming involved in the mechanisms, applying them to his social practices and resistances.

Ma Yongfeng has engaged in solo exhibitions and group exhibitions at major institutes of contemporary arts in China and overseas. His major solo exhibitions include Becoming Landscape at Platform China Contemporary Art Institute in 2006, The Cretaceous Period at the contemporary art centreArtSway (U.K.) in 2007, and Everything that Rises Must Converge at Organhaus Art Space in Chongqing in 2013.

Ma’s major group exhibitions include Art Focus4: International Biennial of Contemporary Art in Jerusalem, Israel in 2003, How Can You Resist? -LA Freewaves 9th Biennial Festival of Film at the Museum of Contemporary Art in Los Angeles in 2004, The Thirteen: Chinese Video Now at MoMA PS1 in New York in 2006, Crossing Landscapes at Fondazione Sandretto Re Rebaudengo in Turin, Italy in 2009, Get It Louder in Beijing and Shanghai, China, and Dongxi -Things at Kunstverein Baden in Vienna in 2010, and Examples to Follow! –Expeditions in Aesthetics and Sustainability at the Iberia Centre for Contemporary Art in 2012.

Since 2009 Forget Art has launched a series of intervention-based projects in public space, Location: Dragon Fountain Bathhouse in Sep. 2010 has been nominated BEST OF 2010-The Artists’ Artists by ARTFORUM and 2010 Top Ten Exhibitions by BlouinArtinfo. It is “A show where no works were labeled and most blended right into the context of its non-art site, this exhibition, curated by Ma Yongfeng, is only one example of a younger circle operating apart from previous models of contemporary Chinese art.”

Forget Art Fair curated by Ma in 2011 was featured in the cover of Journal of Curatorial Studies (Volume 4, Number 1, 2015) and one of articles Interventionist Curatorial and Display Practices in Beijing, “By staging a standard art fair display unit in a commercial gallery, Ma presents a meta-curatorial readymade satirizing the Chinese art market’s international success. His art fair, though, was limited to one booth – a gesture conflating promotion with institutional critique that typifies for us the paradox and possibility of exhibitions in contemporary China. ”

other curated projects including Save Amateurism for LEAP Magazine and Guerrilla Living Syndrome: A Social Micro-practice of Alternative Living in 2011, Within the Spectrum of Finishing in 2014 , recent curatorial projects including It is exactly as if it had never happened in Alternative Culture Making Space, Shenzhen and 1House,Beijing & Post Digital Bodies in Screen Spectacle in Goethe InstitutBeijing in 2016, Digital Samplers, or A New Generation Deep Dive Into Internet Superposition in The Galaxy Museum of Contemporary Art at Chongqing in 2017 and Harun Farocki: Wrestling with Images in Cache Space, 798 collaborated with Goethe Institut Beijing in 2018-2019.

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Du/Laboratory is a comprehensive experimental platform, involving creative media spanning all levels of contemporary art, maintaining a vigilance against the international contemporary art trend that airs everywhere, and at the same time committing to the full and in-depth excavation of the artist's own system, continuously Focus on practices that hover in the "middle state" on the fringes of art and non-art.

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