影像信#7 | 来自Anna Zett的信

▲ 影像信#7-莱比锡附近-Anna Zett

影像信项目#7

10月初我们给Anna Zett发出邀请的时候，ta正在去波兰登山的路上。在欧洲逐渐开始第二波疫情的时候旅行，感觉确实有点诡异，Anna说。但ta很期待走入自然，因为全年都没有出过柏林和萨克森州了。与影像信一同寄回的还有一段文字，这封信是这样开头的："某种程度来说，这也是我2020体验的一个缩影。"

“春天的某晚，我和几个好友围坐在篝火旁。一群人在那里烧的并不是有着统一形状、湿度和质地的完美原木，用的木头都是从附近的树上掉下来的，大大小小的树枝、树皮、叶子、松塔。这种篝火在德国已经不太合法了，能烧的只有干得彻底的木头，但完美木头很难得。不过我还是喜欢这种篝火，它们的形态和姿态会一直变，要有人一直添柴。当一群人生火时，参与的人自动变成了一个个表演者。谁在添柴？谁在看看添柴的人？谁在一旁评价？添柴作为一种行为表演，这项任务要怎样执行才能得到注意和评价？谁介意方式对不对？谁希望自己的方式能受到赞赏？而这样做的人，谁在表达他们最无意识的执着？又有谁会注意到这一点？

2020年春天的那个夜晚很长，有起有落，有烟有酒，有很多欢笑也有几滴无声的眼泪。过去十年间我参加了很多篝火聚会，但这还是我头一回遇到群体里的每个人都参与进来，有属于自己的闪耀添柴时刻，而其余人都会为这一刻让渡空间。大家用各种毫不造作的方式把树枝添到火中：冷不丁地有人想要加一把树皮，或者从地上一根一根地扔小树枝，还有人开始搭建某种造型。我注意到这个状况时，聚光灯的焦点已经开始在所有人中流转到第二轮。最后聚会散场的时候，所有人都得到了表现的机会。”

...And a text accompanying the video. It kind of sums up my experience of 2020, too.

At some point last spring, I was sitting around a fire bowl with a few close friends. What we burned there, wasn’t perfect logs of equal shape, humidity and texture. The wood we used had all fallen from the trees around there, smaller and bigger branches, some bark, some leaves, cones. These kinds of fires aren’t fully legal anymore in Germany, the one material you are allowed to burn on a fire is dry wood, and a branch you picked up form the group might not fulfill this condition to 100% at a given moment. I much prefer these kind of fires though. Their character and poise can change very quickly, so they need to be attended constantly. When you are making a fire like this in a small group of people, the person who attends the fire automatically turns into a performer, a person performing the task of taking care of the fire. Who is doing it? Who is watching when you are doing it? Who is commenting on my way to do it? What does it take for this task to be noticed and commented on as a performative gesture? Who is worried to do it the right way? Who would like to be admired for their way of doing it? Who is expressing their most unconscious obsessions as they are doing it and who is there to notice that?

That night in spring 2020 was a long night, with up and downs, smokes and drinks and lots of laughter, a few silent tears. I have been making and attending a lot of fires in the past decade, but until this spring and this pandemic, it had never happened before, that everyone in the group had a moment, in which they were in charge of the fire and aware of it, and the group made space for this moment. Between these moments of individual shine, we all put branches on the fire in various non-dramatic ways. Then suddenly a new scene would evolve, seemingly out of nowhere, somebody would suddenly feel the desire to put a lot of bark on it, or throw small branches in, one by one flat on the ground, or someone would start building constructivist shapes. After the second one of us had been in the spotlight with their fire attending style, I noticed what was happening, and at the end of the night we had all performed ourselves.

▲ 影像信#7 截帧-莱比锡附近-Anna Zett

关于发信人

Anna Zett是一个工作生活在柏林的艺术家、写作者和影人。ta的跨媒介实践结合分析式的视角、诗意的形式，以及玩乐的、互动性的工作方法。其影像作品《这笨拙之物This Unwieldy Object》、《恐龙.Gif Dinosaur.Gif》自2014年起已在伦敦蛇形影院、纽约惠特尼美术馆、Sonic Acts Festival、SALT Istanbul、Rhizome.org等线上线下空间展映。2015年起，ta开始为德国的公共广播编剧并共同执导了两部实验广播剧作品。2019年，Zett在Divided Publishing出版了个人第一本书Artificial Gut Feeling，并于柏林Zionskirche，和温哥华Or Gallery分别举办了其艺术家个展。此外，Zett从2014年起也长期组织公众参与的叙事书写、声音及身体动态的即兴项目。

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2020年，VCD在做什么？

 线上节目之：影像操场 

 线上节目之：bilibili直播 

VCD影促会 (UID: 517777138)

房间：https://live.bilibili.com/22322342

 影像信项目 

 四季影展：离群的焦点 

VCD对话Image Forum：

上篇 | 私人影像概念的立足根本，就在于与巨大的声音相对立 

下篇 | 养成开放的心态，接受自己会看到不喜欢的事物的可能性

 ▽往期精彩内容回顾▽

国际影像文化促进会

World Organization Of Video Culture Development

国际影像文化促进会（以下简称：VCD 影促会）于 2017 年夏天在北京正式成立。作为一个非营利机构，它致力于搭建一个观影、学习和交流的平台，向公众普及和推广艺术影像。一方面，VCD 影促会以举办影像资料展、文献展、讲座和学术研讨会等方式为更多人提供影像艺术教育；另一方面，它也通过自身平台挖掘更多优秀的影像艺术作品，在为其提供放映机会的同时助力青年影像艺术家持续创作。

⬇️点击阅读原文看影像信项目#7