Atmosphère X Dasein 兵⻢马俑 Super Vision 计划
Atmosphère X Dasein —— Super Vision兵⻢马俑：集体权⼒力力美学下的监护空间 类别：对关联于当今社会政治中关键问题的艺术潜流的考察与探索 关键词：极权美学 监护系统 规训/疗愈 主体
上：热像仪监控系统下的阿姆斯特丹丹地铁。监视器器上⽅方显示温度最⼤大、最⼩小和平均值。 下：秦始皇陵兵⻢马俑
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Atmosphère X Dasein 兵⻢马俑 Super Vision 计划
秦始皇兵⻢马俑是绝⽆无仅有的古代墓葬艺术品。始皇帝⼀一统天下，奠定了了中国两千余年年 之专制政治格局，如夏曾佑在《中国古代史》中说，“中国之政，经秦皇⽽而后⾏行行”，此后 的中国历史不不外乎是这⼀一千载制度的再读取。事实上，秦制除了了是⼀一种政治传统，更更 是塑造⼈人格的⽂文化传统。作为⽂文化传统，它表现为“儒表法⾥里里”的⽂文化结构，“三纲五 常”使得⼠士⼤大夫和⺠民众⻓长期以来性格僵化保守。此⼀一互相纠葛、互相⽀支撑的政治⽂文化传 统，建构了了华夏社会格局，更更主宰着中国⼈人的精神⽣生活。虽然“三纲五常”在新⽂文化运动 被严重破坏，然⽽而这场运动的初衷其实在于扬弃传统，且启蒙家们如梁梁启超对中国⼈人 性格所做的审视，（梁梁启超：《新⺠民说》）陈独秀的“泣涕陈词”，（陈独秀：《敬告⻘青 年年》） 放到今⽇日仍像⼀一纸病理理检验单⼀一般，诚可为鉴。 古代实⾏行行⼈人殉，奴⾪隶要作为殉葬品为奴⾪隶主陪葬，“兵⻢马⼊入葬”是⾃自殷商时期就有的丧葬 ⽂文化。虽然周⼈人废除了了⾎血腥的⼈人殉丧葬制度，采⽤用茅草⼈人代替⼈人殉，实际上殉葬直到 现代都未完全断绝。孔⼦子说“始作俑者，其⽆无后乎”，他早就知道，陶俑的拟⼈人化会带来 ⼈人殉的死灰复燃，做得跟活⼈人⼀一样的陶⼈人，⼜又和葬活⼈人有什什么区别？“俑”本来也是⼈人殉 的意思，即⽤用陶制等材料料代替活⼈人作为陪葬品。果不不其然，诸侯权⼒力力膨胀后的春秋， ⾼高度仿真的陶俑作为陪葬品重新出现，⼈人殉制度也旋即卷⼟土重来。秦兵⻢马俑虽是⼈人殉 的替代品，⼈人殉现象却依然同时存在，⾃自认功盖三皇五帝的秦王嬴政，为之殉葬者⼈人 数之多堪谓历史罕⻅见，不不但没⽣生⼉儿⼦子的妃嫔要死，最优秀的造型艺术⼈人才、为其修建 陵墓的⼯工匠统统得死，⽽而规模巨⼤大、绝⽆无重复的秦兵⻢马俑，其实不不过是“以暴暴虐为天下 始”的嬴政试图满⾜足威震四海海的⾃自我膨胀欲罢了了。近来⼀一些学者称秦兵⻢马俑是受古希腊 雕塑影响⽽而造，可⼆二者⽆无论从造型还是材质，甚⾄至审美上都是南辕北北辙的——希腊雕 塑以表现诸神和“⾼高贵的⼈人”为⽬目的，是对理理型和形⽽而上学的礼赞；秦兵⻢马俑作为随葬 品，具有严密⽽而整⻬齐军阵带来的⽓气势、静态⽽而肃穆的表情以及简洁划⼀一的⻛风格，是⾼高 超的技术⼯工艺和强⼤大的⼠士兵集团的双重表演，表达着征服、规训和服从的语义，也是 权⼒力力和政治美学化在古典时期的集中体现。让⼈人细思恐极的秦兵⻢马俑，折射出那个只 要权⼒力力与政治、不不要思想和⽂文化的时代，叫⼈人怀疑是否能将其称为“艺术”，恐怕只能将 它视作浩荡的政治⾏行行为，归⼊入极权美学的⾏行行列列。 什什么是极权美学？⼀一⾔言以蔽之，就是政治和权⼒力力的审美化。极权美学讴歌权⼒力力、牺牲 和战争，⼏几乎可被视作殉葬制度的还魂术。本雅明叹道，“⼈人的⾃自我异化达到了了这样的 地步，以致⼈人们把⾃自我否定作为第⼀一流的审美享受去体验。” 秦兵⻢马俑充满以势压⼈人的 精神震撼⼒力力，却不不是⼀一种艺术的、情感的⼒力力量量，因为它不不借助塑造⼈人的个性形象或呈 露露⼈人的内在情感来创造，⽽而是通过⼤大制作、⼤大叙事，来制造宏⼤大⽓气派，⽬目的不不是为了了 让⼈人体会到美的提升与⽣生机勃勃的创造⼒力力，⽽而是威慑对⽅方来满⾜足⾃自⼰己的权⼒力力快感。这 种极权美学是反⼈人性和反情感的，是强制与暴暴⼒力力的，它张扬的是权⼒力力意志与集体意识 形态。任何⼀一个陶俑独⽴立出来都没有明显的艺术价值，因之毫⽆无个性，正如极权美学 是通过体量量的庞⼤大与同质性，去凸显整体⼒力力量量，宣扬铺张过分、唯⼤大唯多主义，它不不 是从个⼈人的情感或彼岸的精神超越出发，也不不是从⽇日常⽣生活出发，⽽而是从现世的权⼒力力 意志出发。法兰克福学派对现代⽂文化⼯工业的批判、本雅明论及感官刺刺激的“震惊”体验等 现当代视觉⽂文化理理论，竟然能跨越历史与地理理，在两千多年年前的阴深墓⽳穴⾥里里，找到了了 亘古的具象呈现。 始终坚持话语/权⼒力力研究路路径的福柯认为，权⼒力力不不是⼀一个机制和结构，它更更多地存在于 多重⻆角⼒力力的关系之中：“权⼒力力⽆无处不不在，并⾮非因为它涵括⼀一切，⽽而是因为它来⾃自四⾯面⼋八 2/48
Atmosphère X Dasein 兵⻢马俑 Super Vision 计划
⽅方。”因此，按照福柯提出的权⼒力力⽣生成于复数的差异性关系之论调，我们设计了了 Atmosphère X Dasein 项⽬目的第⼆二期：“Super Vision兵⻢马俑”。如果说上⼀一期作品尝 试体现传统语境与科技时代中共有的⼈人类情感的困惑：交流的⽆无效性与永恒渴求有温 度的内在交映之⽭矛盾， 这⼀一次，我们试图探讨多媒体科技背景中，集体权⼒力力美学下的 监护空间。我们想知道，在权⼒力力⽆无孔不不⼊入、国家监控系统规模空前的今⽇日，异质性是 否仍有可能，如有，它的呈现形态是怎样的？ 技术曾被视作⼀一个实现⺠民主乌托邦的伟⼤大⼯工具，但在极权国家，技术带来的却是控 制。在此审视下，秦兵⻢马俑与监控系统中的数据化的id有着⾼高度⼀一致的逻辑同构：根 据最近被披露露的公安⼤大数据情报显示，有⼀一套对⼈人员进⾏行行标签和画像的系统，划分类 别⽆无所不不包：涉恐、涉稳，政治类，甚⾄至拥有特⻓长如驾⻋车、驾船，绘画、摄影、书 法、雕刻等都会被详细列列⼊入，跟踪。⽽而⼀一些所谓的“极端⼈人员”被视作秩序下的特别关照 者，需要通过技术⼿手段进⾏行行监控，甚⾄至隔离。这让⼈人想问，排除这些“脱序者”之后的这 个“⼈人类命运共同体”，期待的是怎样的⼀一个⼈人格主体？ 权⼒力力技术将⼈人进⾏行行改造，⽣生产出符合要求的驯顺化的身体。秦代通过对兵⻢马俑外形整 ⻬齐划⼀一的物质可⻅见性所企求的权⼒力力美学效果，升华成今⽇日的科技时代的强制监控介⼊入 与眼球经济的威慑不不可⻅见性。⼀一种由多数⼈人构成的特定权⼒力力，也应当纳⼊入我们的问题 域之中。福柯说“所谓癫狂不不过是带有负⾯面⾯面纱的理理性”，⻄西⽅方在古典时期之后，由于理理 性主义被⼤大写，⽂文艺复兴式的⾃自由想象被放逐，被建构的癫狂被监禁在疗养院的堡垒 ⾥里里，与道德和规则⼀一起，锁进漫漫⿊黑夜。 在“Super Vision兵⻢马俑”计划中，我们将参考⼤大情报系统的⼈人员类别划分，邀请列列表中 的各类⼈人⼠士来到现场，将每⼈人标记成不不同的样本，之后根据⼼心理理治疗学理理，把相似样 本归类成相应的组并编号，继⽽而对组X进⾏行行每周⼀一次的Super Vision 疗养院监护课程。 “Super Vision”⾮非直译的“超级视觉”之意，⽽而是在⼼心理理治疗学中必修的课程——“监护 学”，“Super Vision”⼜又是⼀一种针对“沉溺”的“分享”治疗⽅方法：特定的团体成员在特定期 间聚在⼀一起，围坐⼀一圈，开始有⼀一些身体互动的“破冰”（似⾏行行为现场），然后分享⼀一周 ⼼心得、情绪变化，继⽽而产⽣生相互间的⼲干预、⽣生成结果。期间由⼀一位治疗师统筹和概括， 但不不做强⼒力力的引导，顾名思义“监护”。项⽬目完毕后，将有⼀一册观测通过监视样本成型过 程的“Super Vision兵⻢马俑”报告书。 每⼀一次的监护过程将使⽤用热像仪录制：其⼀一，热像仪录制或者直播只能窥⻅见⼈人物外形 与温度，以及温度变化，看不不清当事⼈人的脸，可以让观者更更专注于内容，也是本着“监 护”对当事⼈人的保护，可以让⼤大家真正直抒胸臆，也试图回应福柯在《何谓直⾔言？》中 提到的“直⾔言”对主体的⾃自我塑造作⽤用; 其⼆二，兵⻢马俑作为雕塑没有体表温度与情绪变 化，⽽而活⽣生⽣生的⼈人是会因为情绪变化和表达的升⼊入有明显体表温度的升降的，这⼀一切 可由热像仪实施检验得到，我们将试图通过热像仪的数据⽐比较和分析⼆二者异同。 也许在这种设计下，监护不不是为了了排除癫狂，⽽而是为了了让“癫狂”道出真相；疗养院的 正义也不不再是惩罚的正义，⽽而是真相的正义。 就算仅仅是个悖论。
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Atmosphère X Dasein 兵⻢马俑 Super Vision 计划
从未实体⻅见⾯面的艺术家合影。左为德国慕尼⿊黑的万巧，右为加拿⼤大蒙特利利尔的吴达⽴立。时 间摄于不不同时区的2017年年7⽉月14⽇日21点23分。
展览的呈现形式将由不不同样本录制的多视频，组建成新的“兵⻢马俑矩阵”，集中展览。 展览或⾏行行为现场设想A：
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Atmosphère X Dasein 兵⻢马俑 Super Vision 计划
艺术家简历：
万巧
电话 E-mail
Qiao Wan
+4917631130387 anastasia_0705@msn.com
学历： 本科，学⼠士 09.2004-07.2008 四川⾳音乐学院美术学院，油画
（教授，刘虹，⻢马⼀一平）
研究⽣生，硕⼠士，头衔 “艺术治疗师” 10.2012-09.2015 慕尼⿊黑造型艺术学院艺术治疗 （Prof. Senta Connert） Diplom 10.2015⾄至今在读 慕尼⿊黑造型艺术学院新媒体专业Diplom在读 (Prof. Klaus vom Bruch， Prof. Julian Rosefeldt) 展览： 2008: ⾸首届 UP-ON国际⾏行行为艺术节，⼩小花（成都，⾏行行为艺术：左⼿手画圆，右⼿手画⽅方） 2009: 第⼗十届 OPEN 国际⾏行行为艺术节（798，北北京，⾏行行为艺术：Gemini 双⼦子座） 2016: ArtMUC 2016, Praterinsel （慕尼⿊黑博物馆岛，新媒体：三和弦） ADBK Jahresausstellung 2016（慕尼⿊黑造型艺术学院年年展，新媒体: Panorama-Catwalk 5/48
Atmosphère X Dasein 兵⻢马俑 Super Vision 计划
获LFA拜仁优秀⻘青年年艺术家称号： http://lfa.de/website/de/service/mediathek/2017/kalenderTitel/index.php 并被 TCE Forum 厌⻝⾷食症连锁艺术治疗中⼼心再次选中打印成册发⾏行行） 2017： ADBK Jahresausstellung 2017（慕尼⿊黑造型艺术学院年年展，新媒体: Panorama-Kleine Ameise sucht den Schlüssel ⼩小蚂蚁找钥匙，被德国afk TV选中在公共场合随机播放） 透镜——2017中国当代艺术展（深圳美术馆，双⼈人合作影像装置：Atmosphère X Dasein） 社会剧场：参与与共享——第五届重庆⻘青年年美术双年年展（四川美术学院美术馆，双⼈人合作 影像：Atmosphère X Dasein） 2018： ADBK Jahresausstellung 2018（慕尼⿊黑造型艺术学院年年展，⾏行行为艺术: Das Poem des Alltags ⽇日常的诗篇） 艺术治疗项⽬目： 08.2012-09.2012 "UNART", Essen（埃森市，与医院对接的⼼心理理病患艺术项⽬目） 11.2012-09.2015 bei Uli Bendener, München (⼯工作坊，⼈人智学，身体测量量学⽅方向) 09.2013-10.2013 ASB-Casa-VitalGmbHSeniorenzentrum „MARIE-ANNE CLAUSS“, München(慕尼⿊黑，养⽼老老院) 01.04-11.04.2014 Wil, Schweiz (与瑞⼠士对接的医院艺术项⽬目，精神科⽅方向) 05.2014-09.2015 Vincentinum Senioren-und-Pflegheim (慕尼⿊黑，养⽼老老院) 04.2015-10.2016 mit bayern kaserne, Flüchtlings Projekt-Kunststation(与拜仁政府合 作的难⺠民营艺术项⽬目 h t t p : / / w w w . k o n z e r t . n a m e / a k t u e l l e s / E i n t r a g e / 2015/4/27_KESS_gewinnt_die_Fa._Weishaupl_fur_die_Kunststation.html http://www.adbk.de/de/aktuell/aktuell-kategorieblog/15-aktuell-archiv/1094-kunststationtage-der-offenen-tür.html )
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Atmosphère X Dasein 兵⻢马俑 Super Vision 计划
吴达⽴立
Dali Wu
学业背景 : 2013~, 艺术研究与实践博⼠学位在读，魁北克⼤学蒙特利尔分校 2010~2012, 法国国家造型表达⾼等⽂凭（DNSEP），斯特拉斯堡⾼等装饰艺术学 院 2008~2010，法国国家造型美术本科⽂凭（DNAP）艺术⽅向评委奖，利摩⽇国⽴美 术学院 部分展览： 2017⼗十⼆二⽉月，“社会剧场”重庆⻘青年年美术双年年展，四川美术学院美术馆，重庆 2017⼋八⽉月，“透镜”当代艺术邀请展，深圳美术馆，深圳 2016六⽉月，个⼈人展览“会思考的⼦子宫”，⼴广东当代艺术中⼼心实验空间，⼴广州 2016六⽉月, CIB全国插画艺术双年年展 2016五⽉月, “Retour en Images”魁北北克优秀插画师与摄影师年年展，Gora画廊，蒙特利利 尔，加拿⼤大 2015⼗十⼆二⽉月，深圳国际⽔水彩双年年展 2015四⽉月，“Mutation”，CAUE画廊，利利摩⽇日，法国 2015⼆二⽉月，“机构⽣生产”⼴广州⻘青年年当代艺术⽣生态考察，⼴广东美术馆，中国 部分获奖： 2018， 第七届RankArt“摄影沙⻰龙”⼊围奖 2017九⽉，美国创意期刊Creative Quarterly 49国际冬季赏艺术类第⼀名 2017七⽉，蒙特利尔国际艺术节最佳作品⼤奖 2017⼆⽉，两部作品⼊选2016创意期刊creative quarterly全球百佳艺术品 7/48
Atmosphère X Dasein 兵⻢马俑 Super Vision 计划
2016, 2016百佳艺术家，期刊Creative Quarterly，纽约，美国 2016六⽉，第五届CIB全国插画艺术双年展优秀奖 2015四⽉, 美国创意期刊Creative Quarterly 42, 2016国际春季赏摄影组第⼀名和 第⼆名 2015⼗⼀⽉，深圳国际⽔彩双年展优秀奖 2015⼗⼀⽉, 3x3 Illustration Show NO. 12 插画类优秀奖和科幻插画类优秀奖 2015⼗⽉, 全球top 100创意期刊Creative Quarterly 41， 2015国际冬季赏艺术组 第⼀名和第⼆名 2015四⽉，hiiibrand国际摄影⼤赛优秀奖 2014六⽉,第⼋届wacom创意绘画⼤赛“时间去哪⼉了”三等奖 部分发表： 《后⼈类社会中的艺术实践》，画刊，2017年第五期 《驰骋于想象中的现实̶̶记《星际⼩搭档》视觉世界观之形成》，果壳阅读，2015 年9⽉8⽇ 《艺术的边界：从摄影与绘画的同与异谈起》，艺术当代，2016年第⼗期 《HEXAGRAM: 研究与创作国际关系⽹》，中国美术报2017年第⼀期 《iri研究与⾰新学会：可能性与数字⼈⽂视野》，中国美术报 2017年第⼆期 社会活动: 2014〜2018，经济杂志Horizons Économiques视觉设计与艺术指导,蒙特利尔, 加 拿⼤ 2016，“⼤篷⻋车”⼯作坊，与中⼭⼤学⼥性主义社运者，⼭泉剧社，⼴州，中国 2016，讲座《职业教育也是精英教育》，上海城市管理职业技术学院，上海，中国 2016，讲座《从法国到加拿⼤，艺术与设计》，上海建桥学院，上海，中国 2016，讲座《⼼路̶̶艺术作为跨学科媒介》，⼴州⼤学美术与设计学院，⼴州，中 国 2016，《超图像》，深圳美术馆“Hi!当代艺术”系列讲座邀请艺术家，深圳美术馆， 深圳,中国 2016，讲座《达⽴约你聊聊当代艺术之后》，1200bookshop，⼴州，中国 2015, “La vie des artistes vous est racontée”系列讲座邀请艺术家，隆格伊⽂化 部，蒙特利尔，加拿⼤ 2015，果壳阅读科幻丛书《星际⼩搭档》⼈物设定与插画师，读客图书有限公司，中 国 2014〜2015，南京地铁三、四号线五塘⼴场站、卡⼦⻔门站、鸡鸣寺站公共艺术墙设 计师，南京，中国 2011，灯光⼯作室féerick技术⽀持助理，巴黎，中国 2011，ON灯光设计事务所实习，灯光设计概念企划与后期效果图润⾊，巴黎，法国 2010〜2016,湖南美术出版社插画师，⻓长沙，中国
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Portfolio of Dali Wu
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“Being and Time” ©Dali Wu Multimedia Installation. 2010 Material: Expired chocolates, honey, butter, fruits, syrups. Wax, 93 x 90 x 171 cm the tower, looping video/sound.
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The whole genera,ve procedure of tower
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Detail of sculpture 12/48
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Video link: The looping video/sound art which is projected on the floor: “être et temps”, 33’33”, 2010.
I did this metaphysical experiment that leG me with a lot of learning. About life. About being. About becoming. About ,me. About the very existence. Join me, as I narrate this. At my home in Limoges at France, this tower was born. It was created out of expired chocolates, honey and buMer, fruits and sweet syrups, and of course out of love and interest. Unlike a newly born kid, this tower is as tall as I am. As a pilgrimage, I took this tower in a van to a forest, and I installed this tower in the forest. Then I let it stay there for three months of ,me. Everyday I visit the tower, and take a picture of it. To archive the metamorphosis. To capture the being, going through the becoming. Becoming something. Alongside I record the environmental sounds in the forest. Then I did garnish the soundtrack with the ,cking of the clock. To indicate ,me, which, otherwise, is phenomenally absent, at-least in a deep forest, when all that is there, is being. The Existence. I interleaved the audio with the video, while I leG the tower in the forest for about three months. In the meanwhile, ,me collabora,ng with nature, has turned this tower into a large refugee shelter for beau,ful ants, snails and at-least ten varie,es of insects and various other species. Later I move this tower into the city for display, in a place surrounded by glass walls on all the four sides. A phenomenological aquarium, as I call it. Along with the presence of ants, snails and every other life form that traveled all the way from the forest, the tower along with it's unified environment cons,tutes a Gesamtkunstwerk, a total work of art s,mula,ng all the senses.The putrid odor exhaled from this tower composed of scented syrups, roMen fruits and chocolates, s,fles this aquarium, evoking the five senses will subtly hint at the decay or the death. I use this work to emphasize the no,ons of desire, sublima,on and their limi,ng case. Freud oGen speaks about the phallus and the penis envy. I have had my share of such envy, akin to every girl, as he presupposes. But for me it's connected to the societal structure as a whole. I 13/48
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bathed in the shower of stereotypes that everyone can't help but bath in and the psychic reality of phallus con,nues to live in me. The tower here represents "phallus". Now let's digress and understand how sublima,on, desire and the art are embodied and grounded in each other. Building on the work of Freud, very famous french philosopher Jaques Lacan, looked at the penis envy (Penisneid) under a linguis,c sense. This resonates more with the aforemen,oned explana,on. For Lacan, penis envy doesn't literally represent the envy for the penis qua biological organ but to a generalized en,ty "phallus" (He always preferred to use Phallus in place of penis). This linguis,c turn, enables Lacan to emphasize on the differences, phallus qua not-a-mother en,ty. Kids understand the rela,onship not between father and mother but between penis qua Phallus and Mother qua not-a-phallus-possessingen,ty. This hierarchy is encountered as soon as the child is pivoted in learning the symbolic order -- "the world of father". The ontology of objects for Freud on one hand is grounded in the domain of sa,sfac,on-frustra,on. Objects that exist exterior to us (das Objekt drausen) are not necessarily present in our representa,on (eines vorgestellten Dinges) of them. Freud believes that our reality finding is all about re-finding the objects as objects seize to exist, the moment they give away the real sa,sfac,on. It is precisely by nega,ng the Das Ding or La chose or The Thing, that our experience accounts for the humdrum encounters with the objects. This differen,a,on happens alongside interleaved with the spa,o-temporal differen,a,on in a (hier/heter)archial fashion. It starts off with the first companion or the fellow object, the mother (Nebenmensch). Then it sets ahead a whole stream of psycho-perceptual changes leading to the percep,on and understanding of society, life and thereby all our intellectual endeavors. Lacan picks up this thread in connec,on with "the Thing" (primordial) that he explains in the context of the mother, pleasure principle and the ethics. Freud believes that there's no sovereign good, and sovereign good, the mother, is an object of incest and therefore forbidden. But the pleasure principle makes an overhead approach to das Ding. Insofar as man, in order to follow the path of his pleasure, must literally circle around it, maintaining a healthy distance from it, to avoid incest. It is this mutual craving and repulsion that keeps us from and fixates us on the first object of our desire, the Other (Mother) that is also, as Lacan puts it, our "excluded interior". This is the beginnings of the "void" from the excluded interior that Lacan chanced upon. Naked example of das Ding is in the clay pot, one of the earliest markers of the presence of human beings in an area. PoMer as Lacan says, has fashioned the pot thereby to embrace and make present a void, at the center, of the real which is called the thing". Pain,ngs on walls of the room is another example, where in such an arrangement void is evident in the center when you take into account the space, illusory and debatable its status may be from a metaphysical or scien,fic viewpoint. This void is the devoid of desire, which we try to find and re-find again and again, over and over, but which, ironically, never existed in the beginning-or rather, existed as this void in the other (Nebenmensch) and in ourselves. It's this void that ins,gates the desire, void as das Ding and the problem of sublima,on is situated in this disconnect of never imagining it. Lacan, addresses this void, various ,mes as hole, the vagina (Intui,ng from roman,c novels) etc., and that will result in a lot of gender and sexuality based reflec,ons. Reflec,ng upon the earlier passages make me delve into a personal example. My rela,onship with my mother 14/48
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has always been complex. Despite of the presence of my father, my mother always played the role of father in my life, thereby making the "mother" really inaccessible. This is a perfect example of the void, and thereby the La Chose thereby the sublima,on, that transformed my personality and my art work. Lacan points at three ways of marking the sublima,on in the context of the void — religion, science, and art — each in its own way circle around the void. Religion (Though I feel, Buddhism and some Hindu religions that embrace "Shunyata" as counterexamples to this) tries to evade the void by displacing the man away from it. Science peculiarly avoids this void altogether by considering reality as given and this makes the concept of the void or empty center obsolete. Abolishing desire and thereby this void, science erects the so called objec,vity elimina,ng the subject at-least to certain extent. Art represses the das Ding via representa,on that serves to disguise its presence and, in disguising, reveal its cosmological plethora of ar,s,c aMributes: Colors, shapes, strokes, emo,ons etc., But the void is ever present, just in a different form. WiMgenstein, for instance, was a classic philosopher, who despite of changing his views all through his life, dealt with the way of dealing with sublima,on and void, that resulted from his upbringing and his homosexual character. In fact the greatest intellectual outbursts he have had in his life that made him famous were due to the dynamics governing void and sublima,on. He craved for the purity of logical form qua das Ding. For some the void is death. All the foods I have used in the artwork are metaphorical and hint at a deeper emo,on. Chocolates for carnal desires. I indicate the sublima,on via the decay of the things we have craved for. The chocolates, the honey, and so on. Chocolates that are desired, eatable and solemn and sacred, at this stage are roMen and their presence is unbearable, hints at the Oedipus complex (Incest and the object of desire clearly). All of this boils down the very no,on of being and nothing. Being and Time. A fusion of Heidegger and Sartre. My work is not based on their work, but derives their philosophy as a conclusion. Time, Being, Becoming, Nothing. We have our fair share of understanding on these topics. This work embodies all of them in one framework. The tower was alive, with the carnal desires qua chocolates, but with passage of ,me, resulted in a (incestual forbidden) unapproachable void with its roMen smells and appearance. Sublima,on is the desire to s,ll crave for the object, that elevates this object to the dignity of das Ding, the phallus, and surprising learning of this work is the elucida,on of the following paradox. Here object of craving, the tower with the carnal desires, that's roMen don't form a void, but a phallus, and the void is hinted at a higher level. The nothingness, the impermanence, the ,melessness. They may be used differently in language but they do form a unified whole. The Gestalt. It is the ,melessness that lets us see the impermanence and thereby the nothingness. The decay of the tower though symbolic of the death is, but, a new beginning of life. With all the ants and life forms on it. It didn't decompose and vanish but con,nues to exist through these life forms. In the tango of being and ,me, the inseparable duo, it is not that being is situated in ,me or ,me is a result of being, but the reality is an indecipherable amalgama,on of being and ,me. The carnal desires qua chocolate, the expira,on qua ,me. It's not a baMle between Being and Time. It's a roman,c tango. Being in Time. Time in Being. Roman,c Tango... 15/48
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“Wrathful deities conter entropy” ©Dali Wu Installation. 2015 Material: Digital painting, light spot, transparent film 150 x 150 cm
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We live in an digital era. We always thought maMer produced informa,on, but soon with the advancement of scien,fic formalisms we realised, that everything fundamentally is made up of informa,on, as physicist John Wheeler once said, “It from Bit”. So “Glitch” (short-lived failure in a system), is no longer a stranger to us. This term is actually itself contradictory, because the “failure” in the material world means lack of some elements, but the glitch itself in the digital world, implies excess — that means too much interference. As Rudolf Arnheim says, “Informa,on is the opposi,on of entropy, and entropy is the measure of disorder. ” Through this series of art work I try to portray the complex paradoxical nature concerning the world of digi,za,on. The core laws of physics, as ever, are like the eternal commandments, that can’t be easily violated. One of the laws of thermodynamics concerns with a thing called, entropy. Simply put, disorder. It says disorder in the universe always tends to increase. Which is why you never see a broken glass assemble itself into a perfect 17/48
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one. While this has a lot of implica,ons to many fields with in physics and to the nature of ,me, it has also has some implica,ons in the domain of metaphysics. And in art. We tend to forget that the beau,ful order we see around us, created an otherwise unno,ceable disorder along with it, that we generally tend to ignore. Such is life! But art gives me window to express this. In this art work I show how that the light that passes through these transparent film reveal to us the underlying pain,ng. The areas that allow the light to pass by form a border around the areas in which don’t allow the light to pass by, crea,ng the image as we see. Such is the situa,on with our everyday reality. The order we create automa,cally produces the disorder and the light of the intellect should let us see it as a whole! While the wrathful dei,es in us try to baMle the entropy, to obtain order in chaos, there’s no baMle universally. Order and disorder are like the two sides of the door that open into the reality. Welcome, home!
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“Uterus Pensant” (Uterus thinks) ©Dali Wu Installation multimedia. 2016 Material: 8 digital engravings printed on adhesive tapes glued face to face 150 x 150 cm, with sculptures made by 3D printer stuck on each print. Brown sugar, butter, syrup. 5 lighting spots, 1 video projector, 1 speaker, a large white fabric
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Under the name of Eros and Thanatos, lust and pain are united. The concept of "being-towards-death" is a thread of clear light, an arrow and an illumination, which shows the destination where we are going and of what is to come. “Uterus Pensant”(Uterus Thinks) is a multimedia installation composed of 8 digital engravings printed on adhesive tape, suspended one after the other. The viewer follows this chain of engravings, walking on the white cloth on the ground, which is also a projection screen, comes in front of a projection of a looping video titled "Being Towards Death ".
Video link: “Being Towards Death”
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Selection of series “Nightmare”, drawing mix media. 28 x 36 cm of each.
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Humans Have no Free Will II ©Dali Wu Installation multimedia. 2013 1 Illuminated manuscript 41 x 31cm (Gutenberg Bible format), 1 handmade book in Luther Bible format, with 1 repetitive sentence “human have no free will” in mostly every page, except 2 blank pages
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I pay homage to the quote from Max Weber “Specialists without spirit or vision and voluptuaries without heart.”through this work. As I sit back enjoying a sip my morning coffee, I see a group of ants on my window wandering around for hours. “Without a pause, Without a purpose?”, I think. What does these ants hunt for? Why do they go round and round in circles? Do they long for the essence, the purpose? I keep thinking.. “Thank god, at-least my life is not purposeless and meaningless”, so I thought while I sit back and relax. The aroused philosophical reflexes in my mind say otherwise. What if we, akin to ants, roam around thinking that we have a purpose and meaning, whereas in reality we are chained and prisoned by the fundamental parameters and purposeless laws of the cosmos that control, constrict and construct the reality around us? What’s my role in this grandiose universe? What about my will? Well, when I shift the gears in my car and accelerate, I know it’s “ME” who has done so, at my will. So is the situation, when I reach out for a tissue to wipe my face. It’s always me who abides to the legalities of the state and “l” who sign the contracts, and even leave note of will, at my will, to some beneficiary after I pass away. Let alone the will after one dies, do we have a will while we are alive? How can I ‘will’ 30/48
Atmosphère X Dasein 兵⻢马俑 Super Vision 计划 when all of my decisions are made by the neurons and thereby ions at the synapses governed by the laws of quantum mechanics? What’s this “I” that we incidentally capitalise every time we write? I won’t deal much with this flavour of free will but concern myself with a slightly different aspect of it. This version has been baffling neuroscientists and philosophers and let me try to illustrate the other social version through a series of art work, visual media and installations. In this post modern world, we have what I can call an “epistemic advantage”. Assume that an animal has to signal about something to the whole of its species. It will take it years to hint all other animals in the world and it’s impossible that it achieves this feat given the distance it has to travel. Humans with the development of language dovetailed with sophisticated technological tools have created this epistemic web where we can signal the whole world about some immediate danger in less than a few minutes. Technology has simplified our lives and helped us take this quantum leap. Did these technological advancements, rationale and the ideas we have created and carefully fathered constrained our own understanding of the world, in turn? Did we engulf, blind and eternally tangle ourselves in this solacing cloud of digital artificiality that we began to sing an obituary to creativity, originality and enlightenment? Words like clothes wear out over time and with the repeated usage. Today’s taboo becomes tomorrow’s ritual. Today’s enigma becomes tomorrow’s nuance. Sooner the things get woven into the epistemic hubs, greater they get diluted. Greater is the need to intensify any communicative modality to impact and cater to a set of people with a greater expectations. For instance, children these days don’t enjoy black and white cartoon sketches as children a few generations earlier used to. This is same for all the aspects of society. From happiness to sexuality. There’s a heightened expectation. For instance the number of women one can — sitting at home in front of a computer — access with varied levels of intimacy is million times more than the number of women our great grand father would have met in his whole life. When rarity turns into abundance, it takes an abundant proportion to unleash the original rarity. Mechanisation through repeatability and reproducibility only focuses on Abundance. Things we interact with, form our day to day reality and thereby shape us. We as a collective society, contribute to shape the things that in turn shape us. The collective consciousness produces this interesting bootstrap. We can ‘will’ to walk to the moon, but we can never literally walk to the moon. We can ‘will’ to drink the the whole water in the ocean, but we can’t do so. We embedded in this universe, given certain sensory modalities, definitely have unbreakable constraints. We can will to do anything, but we don’t have the freedom to do everything we will. This is the duality between “Free Will” and “Freedom”. Progress is a pendulum that swings between the former and the latter, eventually settling down. Can we will to ride a car? This pertains to epistemics that require an entity called “car” to exist in the society. Can we actually ride a car? This pertains to socio-pragmatic constraints, like economy, healthy body etc., Reality we interact and create constrains both our free will and freedom. In some situations the boundary between free will and freedom becomes blurry. This results in sadness and turmoil. Loss of creativity and originality. Any attempt to increase the freedom through mechanisation results in the loss of the will. If we have all freedom, what is there to will? I indicate this using the demonstration of pornography and the various layers of society that shaped and amplified each other. We started with the question or premise humans have no free will. But do humans have will to understand the difference between freedom and free will? Do we lose the forest for a tree? The symphony for a note? We should always remember that a gilded cage, is, nevertheless, still a cage!
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Portfolio of Qiao Wan
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