McaM 展览丨“无声之后”展览作品介绍 丨Channel c. 声音作物
作品介绍
被科学地分类和定位是许多自然要素（如矿产和水源）被商品化定位和流通的前提，在这一程中，我们试图探讨聆听/学习和采掘/剥削，编码和商品化，思辨被物流技术所驱动的贸易通路改造的环境状况，以及那些对于非人物种进行仿拟的技术。同时思考来自这些无声世界的非线性时间，是否能促使我们面对单一技术路径和新自由主义经济的弊端。
Scientific categorization and positioning are fundamental prerequisites for the commodification and distribution of numerous natural resources, including minerals and water sources. Within this exploration, we aim to delve into the realms of listening and learning, extraction and exploitation, coding and commodification. We also ponder the environmental alterations resulting from trade routes facilitated by logistical technologies and the technologies designed to mimic non-human species. Simultaneously, we contemplate whether the non-linear temporal aspects of these soundless realms can urge us to confront the constraints of a singular technological trajectory and the neoliberal economy.
戴安娜·波莉卡波
《死亡之握》
Diana Policarpo
Death Grip
2019
十三通道同步声音装置，双通道3D动画（高清，16:9，彩色），声音雕塑和温度控制
Installation of 13 audio multi-channel synchronised with two 3D animations (HD, 16:9, color), sound sculptures and controlled temperature
17分20秒（循环），装置尺寸可变
17'20'' (loop), Variable dimensions
作品由艺术家和EDP艺术基金会（里斯本，葡萄牙）提供
Courtesy of the artist and EDP Foundation Art Collection (Lisbon – Portugal)
建筑设计：王一帆
Architect: Wang Yifan
戴安娜·波莉卡波，《死亡之握》
“无声之后”展览现场，McaM明当代美术馆，2023
Diana Policarpo, Death Grip
Installation view at "Postscript of Silence", McaM, 2023
冬虫夏草（Ophiocordyceps sinensis）是一种极为稀有的寄生真菌。它的宿主是蝙蝠蛾的幼虫，生长在地处海拔3,000到4,000米处的尼泊尔、印度、不丹山区以及青藏高原。当地人称其为“yartsa gunbu”（藏语拼音，意为冬虫夏草），它在亚洲传统医学中已经被使用了几个世纪。这种真菌萦绕着异域与神秘的光环，人们深信它具有治疗、药理和药用的价值，普遍认为这种真菌可以增强免疫力，延缓衰老，抗疲劳和壮阳，因此被用来治疗多种疾病，尤其在虫草最大的消费地中国，它已经成为市面上极为昂贵的商品。每年春季，数以百计的村民全家一起出动，踏上采集虫草的险途，与地理和自然条件搏斗。虫草不可控的采收和交易显著地改变了该地区的景观，并带来了一系列灾难性后果，包括环境破坏和生态失衡，地方争端与游击战，暴力和犯罪的升级；当地经济受通货膨胀打击，欠发达国家不均等的经济体之间的贸易关系也受此影响。
戴安娜·波莉卡波邀请我们进入一个乌托邦世界——拥有近乎神奇力量的天然祖传资源——以及自古以来困扰人类的两个主要问题：生命力和繁育力。冬虫夏草的价值与稀缺甚至高于黄金，它被视为一种珍贵的滋补品，能够提供更健康、更长寿、更美好的生活。
波莉卡波所关注的另一个特点是寄生物与宿主之间的互动，尤其是前者对后者的形态、生理和行为上的改造。这种真菌具有改变其宿主行为的能力，这是一种令人惊叹的演化生存策略。例如，一些虫草种类将它们的宿主变成僵尸一般，迫使宿主不断寻找更高的位置，以便更好地传播它们的孢子并感染新的宿主。这也引出了一条平行的线索——污染、感染与操纵的概念，成为马克思主义经济和社会寄生现象及其与资本主义历史关联的隐喻。
《死亡之握》[1]是一件场地特定的多媒体装置，将声电元件与移动影像结合，以创造出一场沉浸式的感官体验——在这片荒芜之地，不适宜居住的环境已经注定要消亡。一旦我们进入其中，不同的元素共同营造了一种充满敌意的、令人不适的荒凉景观——低温与声音地面雕塑唤起了严酷而崎岖的喜马拉雅山脉，这片山脉激发过无数关于诅咒和恶灵的传说。作品营造出怪异的矛盾状态：我们想要留下，但同时也想离开；我们想要了解，却也恐惧未知。
《死亡之握》对自然资源的过度采掘提出尖锐谴责，警示我们关注环境、经济和社会层面的后果。艺术家尤为关注这个过程中的主要受害者——女性，尽管她们在印度教中被完全无视，并重新回到她在以往的作品中探讨过的与性别政治、女性主义和身份相关的议题。
[1] 除其字面含义之外，“死亡之握”一词也指某些感染了虫草菌的昆虫在临死时表现出的行为——它们以咬住叶片的背面的姿态死去，从而传播真菌。
摘自《传染与治愈》
文/伊内斯·格罗索
The Ophiocordyceps sinensis is an extremely rare parasitic fungus. Its host is the larva of the Thitarodes moth, which grows at an altitude of 3,000 to 4,000 meters, in the mountains of Nepal, India and Bhutan, and in the Tibetan Plateau. Locally called the yartsa gunbu -- Tibetan for “summer grass, winter worm”, it has been used in Asian traditional medicine for centuries. An exotic, mystical aura surrounds it, and there’s a strong belief in its therapeutic, pharmacological, and medicinal benefits. Popular belief is that the fungus strengthens the immune system and increases longevity, vitality and virility, and it is used for treating several diseases, especially in China, its main importer, where Ophiocordyceps sinensis turned into a commodity bought and sold for outlandish amounts. Mobilizing hundreds of peasants and villagers who gather their families every spring to embark on a risky venture, battling geography and the elements, its unbridled harvesting and trade has significantly changed the region’s landscape and created a number of devastating consequences -- environmental disruption and ecological imbalance, local dispute and guerrilla warfare, the escalating of violence and crime, and a rise in inflation afflicting the local economy, and tainting trading relations between larger economies and the smaller economies of underdeveloped countries.
A natural, ancestral resource believed to have near-magical powers -- that is the utopia Policarpo invites us to consider, along with two major contemporary issues that have worried humanity since ancient times: vitality and reproduction. Scarcer and more valuable than gold itself, the Ophiocordyceps sinensis is seen as a precious tonic, capable of offering a healthier, longer and better life.
Another curious aspect Policarpo focuses on is the interaction between parasite and host, and particularly on the morphological, physiological and behavioral changes the former brings about on the latter. The fungus has the ability to alter the behavior of its host -- an amazing evolutive survival strategy. For instance, some Ophiocordyceps sinensis species turn their host into a kind of zombie, forcing it to search ever-higher spots to better spread their spores and infect new hosts. A parallel comes into play -- ideas such as contamination, infection and manipulation become metaphors for the Marxist concept of economic and social parasitism and its articulation with the history of capitalism.
Death Grip [1] is a site-specific multimedia installation combining an electroacoustic piece with moving images so as to create an immersive, sensorial experience of a desert, inhospitable environment now condemned to its demise. Once we enter it, different elements contribute to create the hostile, uncomfortable experience of a deserted and desolate landscape -- like the low temperature and the sound floor-sculptures that evoke the harsh, rocky Himalayas, which have inspired myriad legends of curses and evil spirits. The effect is strangely ambivalent: we wish to stay, but we also want to leave; we want to know, but we fear the unknown.
Death Grip puts together a scathing denunciation of the overexploitation of a natural resource; alerting us for its environmental, economic and social consequences. Focusing particularly on women -- the main victims in this process, even if deemed invisible by Hinduism -- the artist returns to issues related to gender politics, feminism, and identity that she has explored in previous works.
[1] Other than its literal meaning, the term “death grip” designates the behavior of insects infected with Ophiocordyceps sinensis when about to die -- they rest in place by biting down on the underside of a leaf, which spreads the fungus.
Excerpt from the text Contamination and Cure
By Inês Grosso
黄美婷
《回廊曲》《边界游戏》
Cosmo Wong
Uncovered Walks, Life Finds a Way
2023
可弯轨道，移动装置，影像（循环播放），iPads；五屏影像（彩色，有声）
Aluminum curved tracks, mobile devices, video in loop, iPads; Five-channel video (color, sound)
尺寸可变；时长可变
Dimensions variable; Duration Variable
作品由艺术家提供
Courtesy of the artist
黄美婷，《回廊曲》《边界游戏》
“无声之后”展览现场，McaM明当代美术馆，2023
Cosmo Wong, Uncovered Walks, Life Finds a Way
Installation view at "Postscript of Silence", McaM, 2023
作品以一系列影像及装置记录了在上海仅存的赛鸽俱乐部所举办一年一度的赛鸽过程、空间与鸽子自身的关联和转换，并探讨从传统养鸽到现代盛行的赛鸽运动的文化转译。鸽子放飞的那一刻仿佛像是动物脱离人类建立的文化界，重回自然的捕食关系及人为的生物链；然而不可见又残酷的赛程——配种，饲养，训练，在某种程度上，成为另一种人类驯化的工具和模式，这种人为的生态系统与动物性本身充满矛盾，也产生出竞赛中的可变与随机。而另一方面，鸽子本是无视边界的，在当今赛鸽运动的商业化和现代化干扰下，鸽子的出赛队伍如同商品进出口的追踪模式，与它们天生的归巢导航感知，还有似是而非的体育精神，提示着某种矛盾、循环与共存的可能性。
The project documents an annual pigeon racing event hosted by one of the last remaining pigeon clubs in Shanghai throughout a series of videos and installations. It explores the interconnectedness and transformations between the spaces and pigeons involved, shedding light on the cultural shift from traditional pigeon-keeping to the current shared interest in contemporary pigeon racing.
The moment when pigeons are released into the sky appears as an escape from the cultural context created by humans, a return to a natural predator-prey relationship, and a human-engineered biological chain. However, the unseen and demanding journey of racing, alongside with the processes of breeding, raising, and training the pigeons, forms a different kind of domestication to some extent. This human-centric ecosystem, conflicting with the pigeons' natural instincts, introduces variability and randomness into racing competition. On the other hand, pigeons are naturally boundary-agnostic. In the midst of the commercialization and modernization of contemporary pigeon racing, the participation of pigeons in racing takes on a character similar to the import and export of commodities. This stands in contrast to their inherent homing navigation abilities. Their ambivalent spirit of sportsmanship also suggests the possibility of some form of contradiction, cycle, and coexistence.
尼古拉斯·曼甘
《白蚁经济学阶段3》
Nicholas Mangan
Termite Economies Phase 3
2018-2020
有机玻璃，树脂，丙烯颜料，单频影像（彩色，有声）
Polymethyl methacrylate, resin, acrylic paint, Single-channel video (color, sound)
62 x 79 x 59.2厘米cm；82 x 43.5 x 20厘米cm；58.4 x 58.8 x 7.4厘米cm；2分45秒（循环） 2’45” (loop)
作品由艺术家和LABOR画廊（墨西哥城）提供
Courtesy of the artist and the LABOR, Mexico City
尼古拉斯·曼甘，《白蚁经济学阶段3》
“无声之后”展览现场，McaM明当代美术馆，2023
Nicholas Mangan, Termite Economies Phase 3
Installation view at "Postscript of Silence", McaM, 2023
尼古拉斯·曼甘最新的作品《白蚁经济学3》呈现了雕塑、视频和田野录音，作品拍摄于澳大利亚偏远的北领地，那里遍布着白蚁土丘群。《白蚁经济学3》是这个为期两年的项目的最后一部分。
尼古拉斯·曼甘的作品汲取了近来与过去的历史，他的研究探讨了文化与自然之间不稳定的关系，以解析全球政治经济动态的叙事。艺术家对白蚁的调研始于他对昆虫与人类行为之间相似性的兴趣和探究。在作品的第一和第二阶段，他分析了一项关于复杂的白蚁化学通讯的研究，这项研究始于一个假说的发现，即白蚁有朝一日能够被用来引导人类找寻金矿和铜矿。为获取经济利益而寻找一个有待开发的自然资源新形式，是这项研究的灵感来源之一。而《白蚁经济学3》则探讨了相反的情况：白蚁系统何以启发新的社会经济？这些高度适应环境的白蚁土丘群是由白蚁所积累的土壤和唾液构建而成。它们常被描述为一种超级生物，白蚁在其中建造了复杂的通风管道，使得空气流通，从而能调节内部温度，以维持大量工蚁以及维护土丘运转所需的指挥链。蚁群优化算法相关的研究已被应用于软件开发，用于构思如无线技术或神经网络/机器学习的深度学习等重大进展。
Nicholas Mangan's most recent body of work, Termite Economies Phase 3, showing sculptures, videos and field recordings that were captured in Australia’s remote Northern Territory, where termite mounds proliferate. Termite Economies Phase 3 is the last iteration of a two-year project.
Nicholas Mangan's (Geelong, Victoria 1979) work draws on both recent and past history, and his research explores the unstable relationship between culture and nature to decipher narratives on the global politic economy dynamics. The study of termites begins with the artist's interest in exploring the analogy that exists between the behavior of these insects and that of humans. In Phase 1 and Phase 2, he analyzed research on sophisticated chemical termite communications, which began after the discovery of the hypothesis that termites could one day be mobilized to guide humans to gold and copper deposits. Finding a new form of exploitation of nature for economic benefit was one of the inspirations for this research project. Termite Economies Phase 3, explores how the opposite could happen: how can termite systems inform new social economies? The termite mounds, highly receptive to their environment, are created through the accumulation of soil and saliva from the insects. Often described as superorganisms; they are built by complex ventilation tunnels that allow the flow of air that, in turn, regulates the interior temperature to sustain a multitude of worker termites and the chain of command that is constantly required to maintain the mound. The study of termite stigmergy has been appropriated in software development to conceptualize important advances such as wireless technology or Deep Learning of neural networks/machine learning.
Mangan’s Termite Economies Phase 3 has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
苏郁心
《特殊水，复数》
Su Yu Hsin
Particular waters
2023
晶圆，PLA晶圆支架，单屏影像（彩色，有声）
Wafer, PLA wafer holder, single-channel video (color, sound)
直径30厘米，4片；15 x 4 x 5厘米，8个；18分38秒
Dia. 30cm, 4 pcs; 15 x 4 x 5 cm, 8 pcs; 18’38”
作品由艺术家提供
Courtesy of the artist
苏郁心，《特殊水，复数》
“无声之后”展览现场，McaM明当代美术馆，2023
Su Yu Hsin, Particular waters
Installation view at "Postscript of Silence", McaM, 2023
半导体在国际上需求旺盛，它的生产需要消耗大量的水。但水从何而来？谁拥有这些水资源，又依据什么条件拥有它？目前 ，先进的半导体主要由台积电（TSMC）制造。然而，在过去几十年里，TSMC的利润增长要比台湾的降雨更可预测。苏郁心在她的影像作品《特殊水，复数》中探讨了台湾新竹的水资源网络，从水和规模的视角着重呈现了全球半导体供应链的复杂性。
苏郁心通过一名女性送水车司机的视角，以一种水的诗性叙事重构了发生于2021年的干旱。她与国立阳明交通大学的庄雅仲教授合作进行田野调查，将半导体制造业对水域和社会的介入及其造成的生态后果融入了她的作品中。
Internationally sought-after semiconductors require tons of water for their production. But where does the water come from? And who gains access to it and on what terms? Advanced semiconductors are largely manufactured at the Taiwan Semiconductor Manufacturing Company (TSMC). However, the profit growth of TSMC is much more predictable than the rainfall in Taiwan in the past decades. Su Yu Hsin addresses the water network in Hsinchu, Taiwan in her video Particular Waters and underscores the complexity of global semiconductor supply chains from the perspective of water and scale.
With hydropoetics storytelling, she reconstructed the drought in 2021 through the perspective of a female water truck driver. Insights gained through field research in collaboration with Prof. Ya-Chung Chuang of the National Yang-Ming Chiao Tung University, the hydrosocial engagement of semiconductor manufacturing and its ecological consequences are strongly incorporated into her artistic work.
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正在展览
2023.11.4 - 2024.2.25
策展人
龙星如、钱诗怡
助理策展人：陈子涵
艺术家
Vibeke Mascini & Ella Finer 、费亦宁 Fei Yining、Julie Freeman、刘窗 Liu Chuang、Nicole L’Huillier、许家维 Hsu Chia-Wei、Knowbotiq、Jeroen van Loon、Nicholas Mangan、Yuri Pattison、Diana Policarpo、Shubigi Rao、Riar Rizaldi、Susan Schuppli、Nastassja Simensky、Himali Singh Soin、苏郁心Su Yu Hsin、Jol Thoms、Nomeda & Gediminas Urbonas、Richard Vijgen、Susanne M. Winterling、黄美婷 Cosmo Wong、张北辰 Zhang Beichen
展陈设计
王一帆
主办
明园集团
McaM明当代美术馆
出品人
李松坚、凌菲菲
地址
上海静安区永和东路436号
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