集体主义的经验与空间
《集体主义建筑1》的展览及作品说明 这个项目里,我们不只谈集体主义,也不只限于建筑,也不企图进入某个专业领域中去进行职业研究,鼓励有兴趣的参与者以“艺术”的方式去观察,这是激烈空间所提倡的方法,可以挂一漏万,可以矫枉过正,要的就是对以往认知的断裂,用想象力去冲击那些固有联系。 “集体主义建筑”将是激烈空间长期关注的话题,一方面,它曾经是我们记忆和生活经验的组成部分,另一方面则来自艺术生产中所带来的“焦虑”:一种“漂浮”的工作方式,一种业已习惯的图像化思考和阐述方法,一种来自全球化视觉机制的认识逻辑,一种对“发展”和“进步”等现代性话语的深信不疑。这样说,并不是要求回到“文化保守主义”中去,和艺术界的“回归传统”呼声不同,我们并不认为由传统符号和知识所构成的才被称之为“传统”,相反,我们认知和肯定的“传统”是一种“主动断裂”的姿态和立场,从49年之后的社会主义生产阶段以及79年以来的经济改革进程,那些被称作“集体主义经验”的东西,是还在“喘着气”的历史和日常经验的混合物,这对我们而言,是一种遗产,也是一种方法。 这个展览的初衷,正是来自这样的认识,49年到80年代期间的历史争议很多,包括各种不停歇的意识形态涂抹,还原历史真伪并不是我们的工作,我们可以做的,就是不去附和各种已经界定了的认识,也不会屈从社会的传统职业划分,利用各种可以想到的方法,去观察,调研,学习和实践,打破职业局限,只有“漏洞百出”,才会出现各种“缝隙”,现代主义艺术史一度将艺术与外部批判割裂开,将前者转成为艺术自律的“风格史”,当我们重拾日常和身体政治,黏合的不再是美学,风格和意识形态,我们不认可文化中“东方”,这种预埋了中心/边缘话语的同时,也要警惕 “自我他者化”或沦为西方艺术制度下特殊经验的供应商,作为回旋和构建对话的“第三方”,要求我们回到真实的经验,而不是依据现有理论或话语的推导。这种“集体主义经验”是人类历史中所进行的具有独特价值的社会大实践,它是我们的政治格局和“气象”,不是佐证,而是起点和根源,今天这些经验仍然以各种潜移默化的方式潜伏在我们的思维和行事逻辑中,对曾经的共同记忆重新唤起和激活,同时也是一种正在形成的经验,这些无疑构成了今天艺术实践的情境,在历史中,在日常生活中,在生活空间中,在身体经验中熠熠发光,随时提醒和召唤。 王海川是生活和工作在重庆的艺术家,也是少数没有生活在黄桷坪(黄桷坪曾经是四川美院的所在地,一般毕业后仍在重庆坚持创作的多驻扎于此)的艺术家,实践空间的差异,也显示了他与其他艺术家工作方式上的不同:他的一个工作现场是在重庆的“铜元局”,一个承载了许多历史记忆的“老牌”兵工厂,十几年前,和所有的国有企业改制一样,经济制度的转型和错位,使这里转化为激发种种矛盾的“冲突空间”,最早,王只是这段特殊历史的纪录者,渐渐地开始将艺术事件渗透到这片废墟下的“生活空间”,并试图编织新的社群关系和公共经验,同时,原有居民在差异性语境的促动下,或主动或被动地开始对身份的以及生活经验的重新审视。王海川的一个具体做法,是将一批照相机和胶卷发放给他们,让他们自己纪录生活与本身,采用胶片是为了提示对影像的“尊重”,因为它毕竟不像数码机那么随便;另位冲印的不同步导致了观看的期待和神秘感,这其实复活了照相馆的某种影像“仪式“,这种“仪式”强调或唤起了曾经存在过的社群交往模式,在展览现场,我们将这些居民的摄影作品和70年上海官方出版的工人摄影并置,并试图设计出一种可能的方式来回馈这种交流。 丘兆达则是一个有建筑院校背景的参与者,他的《女工中心》是本科毕业时的建筑方案,照他的话讲,初衷是为“母亲”和“姐姐”设计的退休女工生活模型。方案中改造的空间来自上海的杨浦区,从近代开始,这里就一直是中国纺织行业的重镇,女性则是这个职业的劳动主体。49年后,在“女性解放”和强调“工人阶级主体”的双重政治叙事下,这里涌现了像黄宝妹这样一批新中国的劳模和工人阶级代表形象。进入80年代后,同样在国有企业改制中,随着生产关系和劳动制度的瓦解,导致了纺织女工社会地位的下降以及生产/生活空间的破碎,已经历史化了的空间经验和生活记忆,并没有随着工作场所的拆迁改造而终结,而是仍然潜伏在工人姐妹业已形成习惯的生活方式中,在丘的方案里,“女工中心”成为这些记忆和经验所栖息的家园和激发地,针对不同年龄段的女工,丘设计了几种不同类型的生活版本,在超越了“怀旧”这种情感再现及补偿机制外,丘更提供了一种积极主动的进行新生活操练的空间机制,一种与日常生活改造配套的空间设计。在展览中,《女工中心》以文献的方式呈现,当然,只有这些是远远不够的,同时我们也想通过组织“游荡”,“闯入”和“再想象”的方式去推动这个实践,从而形成一种新的聚集,新的对话。 相对前两者,石青的《秘密空间》并不只针对真实的环境和经验,而是混入了某种空间想象。这里“秘密“的含义来自两个层面:一种是在集体建筑中私自搭建的“个人空间”,而公共空间相冲突的往往来自身体性的隐私,这样的“秘密空间“通常是以”浴室“或”卫生间“等形式出现,而私建的”厨房“和”储藏室“同样是断绝”公共分享“这个渠道的;另一种来自对某种”秘密会议“的类型阅读,这些却是来自对立的两面:一些是地下党的谍战经历或革命经验,另一些是来自50年代的反特叙事,”这里的”秘密空间“也可以理解成”密谋空间“。在集体主义化的生活场所中,暗含着某种公共监视的含义,这些都与”密谋“行为形成了对抗性的反差与张力,石青把”秘密空间“的概念延伸为”隐蔽“,”监视“,”逃脱“,”伪装“等非正面的争斗模型,一种整体/角落的分割及”抗争空间“的使用。在展览中,石青利用”浴室“,”厨房“等”违章建筑“等对展厅进行堆积和挤占,”杂物间“中是对可能发生的”密谋事件“的想象,我们知道,这些是有可能的,杨浦是曾经是早期工人进行罢工以及文革中造反派团体产生的地域,这些影像和声音以相对”隐秘“的方式出现,算是对上海这个复杂而暧昧的城市空间的呼应和致敬了。 展览将于2014年7月13号到8月10号在上海激烈空间进行,当然,空间还是各种聚集,学习,回忆和讲座的地点,届时会通过各种渠道通知大家,需要提醒的是,其实项目中更广阔更现实发生的空间在杨树浦,那里将有更多的实践以及期待中的参与者出现。 Experience of Collectivism and Space 《Collectivist Buildings1》 In this project, we will not be merely talking about Collectivism, we will not be confined with buildings and we will not be trying to enter some professional field with professional studies. ‘Radical Space’ advocates participants with interests to observe in an artistic way. One may be exhaustive or being overcorrected, what we are asking for is to fracture formal cognition, use our imagination to think outside the box. ‘Collectivist Buildings’ is a long-term focused topic of ‘Radical Space’. On one hand, is used to be a part of our memories and life experiences; on the other hand, it comes from the ‘anxiousness’ while producing art: a ‘floating’ way of working, a conventional visual thinking and presentation, a cognitional logic which comes from a global visual mechanism, a conviction with modern terms like ‘development’ and ‘progress’. We are not retreating to ‘Cultural Conservatism ’ with such saying; different from art world’s voice of ‘back to tradition’, we do not think only those consisted of traditional symbols and knowledge could be stated as ‘Tradition’. On the contrast, we think that cognition and confirmation of tradition is a gesture of ‘’voluntary fraction. From 1949: the initial stage of socialism as well as 1979: economic reform program, what we called ‘Collective Experience’ is the combination of living history and daily experience. It is a legacy, it is also a way out. The original intention of the exhibition came from this. From 1949 to 80s, there exists many historical debates, including ceaseless ideological alteration and obliteration. Restoring the truth of history is not our job, what we can do is not to repeat those settled cognition, not to subordinate to society’s conventional career distribution; use everything we could to observe, investigate, study and practice, breach occupational limitation, only with loopholes could we find gaps to intrude. It used to happen that art is divided from external critique by history of modernism; tuning it into a ‘style history’ of disciplinal art. When we recollect daily and physical politics, aesthetics, style, ideology started to adhere with each other. ‘Oriental’ from culture point of view is not recognised. While planting this center / margin conversation, one has to be aware that ‘self-othering’ could become the supplier of special experience under western art system. As ‘the third party’ that mingles in between and creates conversations, it is required that we return to real experience instead of relying on deduction from existed theory. The ‘‘Collective Experience’’ is the social grand practice that happened in history of mankind which holds unique value. It is our politics, it is not evidence but original and root. Today, these experiences still lie secretly in our thinking and acting logic. To renew and activate the past collective memory, at the same time, is also a forming experience, without doubt It composes today’s art practice. It shines in history, in everyday life, in living space, in physical experience, it will remind and summon us at anytime. Wang Haichuan is an artist who lives and works in Chongqing, and he is one of the few artists who didn’t live in Huang Jiao Ping (Huang Jiao Ping was the location of Sichuan Fine Arts Institute, those who keep working as artists after graduation usually reside in that area) . The difference of practice space indicates his unique working style from other artists: one of his work sites is ‘Tong Yuan Ju’ in Chongqing, a long-established military factory bearing centuries-old history. More than a decade ago, the transformation and dislocation of economic system, like all the reform of state-owned enterprises, converted this place into a ‘conflict space’ which stimulates all sorts of contradictions. At first, Wang was merely a recorder of this special history. As time goes by, however, he began to gradually dissolve art events into ‘living space’ under this wasteland and tried to rebuild and reconnect new social relationship and public experience. At the same time, local resident, motivated by diverse context, began to review their identities and life experience either initiatively or passively. A concrete example of Wang Haichuan is giving those local resident camera and films, letting them record themselves along with their lives. The usage of films indicated respect to the images, because it is not as casual as digital camera. The de-synchronization of dislocated printing causes expectation and a sense of mysterious. It actually revived a kind of ‘ceremonialism’ in photo studio. The ‘ceremony’ emphasises or recalls communication pattern in a community that once existed. In the exhibition, we put photos from local residents next to Shanghai’s official publication of photographs of workers in 1970s. We tried to design a possible method to respond to this communication. Qiu Zhao Da, another participant, has a background in architecture. His work < women workers’ center > is his graduating project. According to his words, the original intention of the project is to design a life model of retired women workers for ‘mothers’ and ‘sisters’. The space which the project aimed to transform is in Yang Pu District, Shanghai. Since the beginning of modern history, it has played an important role in Chinese textile industry. Women are the main labor force. After 1949, a lot of model workers and the representative image of working class in new China thrived under the double political situations: “the liberation of women” and emphasis on “the working class”. When reform of state-owned enterprise appeared again after 1980s, the collapse of the relation of production and labor system resulted in the decrease of women workers’ social status and segmentation of living spaces. However, the historicized space experience and memory of life survived from demolition and transformation, it still lurks in those women workers’ accustomed life style. In Qiu ‘s project, ‘women workers’ center’ becomes the homeland where those memories and experiences rest and get stimulated. In accordance with the women workers of different ages, Qiu designs various life patterns. Beyond nostalgia and compensational mechanism, Qiu provides a more positive and initiative space mechanism to practice new life style. It’s a space design which complements the reform of daily life. In the exhibition, < women workers’ center > is presented in the form of documents. Of course, these are far from enough. Meanwhile, we want to push the practice forward with “wandering”, “trespassing” and “reimaging” to form a new assemble, a new dialogue. Compared with the former two cases, <Secret Space> by Shi Qing is not just focused on real environment and experience, it is also mixed with some kind of spacial imagination. ‘Secret’ here has two meanings: one is the ‘individual space’ built without permission in collective buildings. Public spaces always conflict with physical privacy, a ‘secret space’ like this usually appears as bathrooms or else. The self-built kitchens and storages cut off the channels of ‘public sharing’. Another comes from such things as ‘secret conferences’, though it is from opposing sides: some are espionage or revolutionary experience of Underground Party, others are anti-spying narration from 50s. Thus, ‘secret space’ here could be understood as ‘conspiracy space’. In collectivised living area, it contains implication of public surveillance. These all form an antagonistic contrast with action of conspiracy. Shi Qing extends the meaning of ‘secret space’ to ‘concealment’, ‘surveillance’, ‘escape’, ‘camouflage’ etc., the forms of non-frontal struggling models; it is a partition of integrity / corners and the usage of ‘resistant space’. During the exhibition, Shi Qing used ‘illegal constructions’ such as ‘bathroom’, ‘kitchens’ etc. to occupy the exhibition space and pile things up; inside the ’utility room’ is the imagination of conspiracy that might happen. We know that this could happen, Yang Pu District is the area where workers went on strike in early stages and rebel group emerged in Cultural Revolution. These images and voices appeared in a subtle way, which could be counted as an echo and salute to Shanghai, this complicated and ambiguous city space. The exhibition will be held from 13/07/2014 to 10/08/2014 in Shanghai Radical Space. Of course, the space is place for gathering, studying, and lectures. We will inform everyone through all kinds of mediums. One more thing, the grander realization will be happened in Yang Shu Pu, where we can anticipate more practice and participants. 返回 Back |
其他相关:
讲座: 7/16 集体主义的公共记忆 7/19 新中国电影叙事中的集体生活 7/20 女工中心 7/26 重庆铜元局纪事 7/30 社会主义生产与生活空间重组 8/02 公共空间中的声音 8/06 秘密空间的身体与身份 8/09 新一代工人的集体生活组织 调查: 7/18 杨浦隆昌路-定海港路 返回 Back |