Freedom Josef Ng '…true freedom is impossible without a mind made free by discipline.' - Mortimer J. Adler The nature of freedom is grounded in the realities of our time. Our sense of liberation, or what's left of it, depends on our perspectives and on how or who gets to experience it. Today, freedom is a flashpoint—it is a confluence of passion and repression, a metaphor of existence circumscribed by changing revolutions. One person's deliverance may be another's chaos. The act of freedom may be frequently misleading. You think you are free but this delusional view of nature—a sign we hear and see everyday in socio-political protocols and aesthetic milieu—is manufactured through the conspiracy of culture and technology. Freedom—what is it good for? American philosopher> Mortimer J. Alder 1 suggests that to free oneself from constraints conveys a utopian vision of life, an idealism that is understood as "the unlimited freedom of complete autonomy, being able to do as he or she pleases." However, individuals being individuals, this unmitigated license enables the strong to overpower the weak, demonstrating that total freedom can also be dangerous, violent. In the absence of social mechanisms for mediating conflict, and temporizing political struggles, there can be no justice. What then is the pluralistic character of freedom as experienced by our contemporary society? This project considers and creates a visual construction that both engages and diverts meaning, creating a startled and obsessive visual sensation of Freedom. By expanding the significations of the concept, this artwork pushes our thinking beyond the scope of justice, and its various interpretations open up new possibilities for transcending judgment. The installation poetically reinterprets notions of time and space, abstraction and representation, landscape and composition. With their radical intuitions sharpened by their independent activities, Sun Yuan & Peng Yu work to convey the profound sense of inconvenience and discomfort offered by the experience of certain genuine or hidden constructions and situations. They invite us to share anew in the emotions wrought by the workings of their wry humor. Macabre, compelling, and sometimes inescapably interactive, their projects offer in-your-face provocations, as well as the evidential sense of an underlying art versus life agenda. Or is it life that is imitating art? For the artists, perhaps, the answer to this question oscillates in both directions. For their first major solo exhibition in their own country after rising to international prominence, the artists have rigorously concentrated on the architectural aspect of the gallery space and the requisite tools. Through the use of essential elements of our quotidian world, such as metal, water, glass, rubber and electricity, they deftly configure the space to contain within it the multiple visual and symbolic relationships between the exhibition site and the artwork. Charged with layered significations, the work offers an aesthetic that is epic in scope. In their use of materials and sitespecific interventions, the artists have formulated a stiff challenge to conventional notions of installation media. In radically transforming the entire gallery, and through meticulous sculptural constructions, the audience is segregated from the work in the viewing area, providing them an ostensible 'safe' vantage point from which they can view a huge black rubber hose that is attached to a water pump, and hung from the ceiling to the middle of the gallery. Between stop-start intervals of a minute or two, sometimes three minutes, the powerful pump shoots a liquid cannonade through the hose, whipping the hose into a frenzied state of perpetual strikes—an endless, absurd and random swinging motion that assaults the surrounding metal walls with a virulent onslaught of sprayed water. Built-up pressure from the mechanized pump frees the hose from the constraints of mere gravity and creates the effect of suspended instability. This presentation concentrates the movement of the hose into a pure, dense 'dance' around the contained space, inciting a kinetic spasm of disjointed motion akin to extreme schizophrenia. It finally leads to a frantic catastrophiclike scene, contained within the larger chronicle of the water cycle. The shooting water makes jarring, thudding noises when it intermittently strikes the walls, creating reactive shocks when least expected. This transferable movement of power, from the generative pump to the 10-meter hose which in turn emits pressure onto the tight stream of water and then finally morphs into unidentifiable shapes, serenaded by a roaring sound, helps to shape the itinerary of a real yet inescapable and symbolic voyage taken in by the viewers throughout the display. You don't even have to see it directly to feel the impact and the violence. With a single flexible tubing carrying the soft fluidity of a liquid crashing against the hard steel, this installation crafts imageries of competing drives and desires, a psychosexual spectacular expressed through an unfettered series of gestures, creations and effects. You can keep staring at it, not knowing what it is about and yet never tire of the chimerical fluid imagery. Working with precision in their method of display, Sun Yuan & Peng Yu lure the viewers towards the themes of inhabitability, absence and presence, and liberation where the static and the vigorous, the visible and the hidden are interconnected in a single network of visual cross-references. Foregrounded in this project is the duo's daringly innovative testing and construction of circuitous protocols and engineering procedures, all achieved through a high degree of labor intensiveness so as to orchestrate a single elegant experiential work that simultaneously directs attention and deflects interpretation, smuggling in neglected core behaviors, calculations and narratives. Rust is formed daily on the metal walls by the water vapors. The rendering of an evolving nature that happens within this exhibition also engenders imageries that are metaphors of a socially subversive agenda; an everchanging painting of a bound infrastructure marked by a controlled yet unpredictable motion, much like today's complex socio-political conditions. The inhabitation of Sun Yuan & Peng Yu's presentation has also been strongly structured, with restricted views to enhance the overall experience. The exhibition is arranged along two fixed routes where viewings are only permitted while exposing the audience to the overwhelming industrial ambience. The random marks and renewed actions etched onto the internal metallic walls and cement floor, analogous to painting on canvas, consequently reveal an emotive density and liberated violence. Our impact upon the potential of freedom is immense. Our minds are captivated with thoughts of it. We see codes and signs about it every day. We sense the potential that is embodied within this space, but do we dare to embrace it when confronted directly? How much of the potential can be influenced and transmitted? How much is subject to our control? In this case, the artists convey and reflect a dimension of freedom that erupts from certain spatial collisions that occur in urban developments, the politicization of civic spaces and the fluctuations of capitalism. The backdrop of the installation is simple and approachable yet very complex. It can open up an array of terrifying and hurtful questions. Depending on your perspective, this is either a monster, or a thing of great beauty. Behind these grand narratives, however, within such elaborate design, the freedom created by Sun Yuan & Peng Yu appears in a form that is naturalistic and smooth. Like the deep uncertainties embedded in their materials, and the intentionally incoherent methods chosen for their projects, they always realize a perfect rhythm of transformation. Rigid analogies of Sun Yuan & Peng Yu's Freedom are, perhaps, as far away from the work as the concept of "biology" is to real living and breathing beings. Perhaps for the artists, freedom is merely an exciting game full of joyfulness; and theories may only be invoked to enable us to understand and play along with their game.
自由 吴承祖
在围合的内部,金属墙板和水泥地面呈现出
随机分布的腐蚀斑块,犹如在画布上挥洒出的表现主义的
痕迹,不受控制,自由而暴力。由此人们可以感受到,在自
由中所蕴藏的巨大的潜在力量。我们每天都接触到关于自由
的各种符号和编码,我们真切地感受到了那种试图冲破包
围的破坏型力量。当我们面对它时,我们是否敢于拥抱它和
拥有它?我们能否学会运用和转化这种潜能,我们怎样控
制这种力量?在这个意义上,艺术家通过再现物理空间内的
碰撞和冲突,来表达对于发生在我们社会中的种种现象的
反思——自由的概念和维度,作为一种意识形态,在面对
城市空间的无序发展,市民空间的政治化以及资本主义意识
形态的滥觞等社会现象时,应该怎样介入它们之间的冲突。
这件装置作品的思想背景既简单又深刻和复杂,它可能引发
|
||