HER KIND 创 | 梦之作

赵银鸥 / 我与我系列2018.8 / 布面油画 / 100×170cm / 2018

梦之作

文 | Alia Lin

弗洛伊德认为梦是一种对愿望的实现。在睡眠中，对早期无意识欲望的抑制暂时停止了，使它们得以力求表达。然而，梦的审查作用阻碍着这些不能被意识所接受的愿望的实现。因此，梦是被压抑的愿望寻求释放和审查作用再次实行压迫之间的折中，这导致愿望的表达被伪装和扭曲了¹。这种扭曲通过诸如凝缩、移位和象征等机制来现。弗洛伊德认为对梦的理解是“通往潜意识的绝佳途径”，这必须通过心灵的工作来实现²。赵银鸥就是通过绘画来描绘并尝试理解她的梦，从而探索自己的潜意识。

赵银鸥 / 我与我系列2017.10 / 布面油画 / 100×70cm / 2017

自2004年开始，赵银鸥连续七年探访精神康复中心，给病人们画速写。这些被家庭和社会所抛弃的身处绝望中的人们，每日除了尽量摆脱过量镇静剂的作用和平静地等待死亡以外，什么也不做。由于只被允许与病人接触很短的一段时间，艺术家必须飞快地将对象刻画出来。于是，她放弃了传统的写实技法，而更多地关注于表现他们的心理状态。她在那几年中创作的《康复系列》中的百余张速写和日记成为她日后创作的重要素材。赵银鸥《康复系列》后期的创作与前期的明显不同，她不再单纯地纪录每一个病人，而是综合地再现了精神病院的氛围，病人们或在床榻之间徘徊，或静静地呆坐着，处于一种无意识状态。在创作中她将自身的焦虑与无助投射到了画布上，使后来的作品越来越阴暗，让人感到恐怖和悲哀。

赵银鸥 / 康复系列2009.7 / 布面油画 / 150×210cm / 2009

赵银鸥 / 康复系列2009.11 / 布面油画 / 150×210cm / 2009

赵银鸥在精神病院的经历深深地影响了她后来的艺术表现。《康复系列》中的许多元素和符号在她接下来的作品中又被多次运用。此外，从《釜山系列》开始，她的作品更加本能化，更加关注于她的内心，更直面她的恐惧、焦虑和愤怒。2014年她参与了在釜山的艺术家驻留项目。对住所的蜘蛛、蝙蝠、蛾子等一些奇怪的虫子的恐惧产生的幻想使她害怕在夜晚关灯。幻想，和梦一样，也是一种对愿望的实现。但与弗洛伊德“幻想是后期发展起来的”观点不同，梅兰妮·克莱因认为它们的作用从一开始就是活跃的，与源于死亡本能的所有愿望相关³。焦虑和恐惧唤起了防御机制，将死亡本能投射到一个物体上，产生对被摧毁和有破环性的物体的幻想。赵银鸥将她的这种破坏性的幻想通过艺术的方式表达了出来，比如她描绘了杀死蛾子，并写下“灭绝，灭绝”，以及她被怪物般巨大的虫子袭击。随着时间的推移，她逐渐克服了恐惧，却被孤独所困扰，于是“与虫子共舞”的幻想又跃然纸上，并最终将它们视为“我们是如此的相像”。

赵银鸥 / 釜山系列2014.12 / 纸本综合材料 / 24×30cm / 2014

赵银鸥 / 釜山系列2014.8 / 纸本综合材料 / 30×24cm / 2014

赵银鸥正在持续创作中的《我与我系列》是她对自己潜意识的更加深入的探索，作品歇斯底里般的表现了她的记忆、梦境和幻想。对弗洛伊德来说，歇斯底里并不“依附于实际的记忆，而是以幻想为基础建立起来的记忆”⁴。当幻想不能被意识所接受时，它们被压抑到潜意识系统，其真实性不可再被区分，从而与记忆被混为一体⁵。她经常梦到的元素在作品中也会重复出现，例如蠕虫与蛇。这些元素是潜在压抑的幻想的象征性表达。克莱因把象征和符号的形成与焦虑和内疚联系起来，当一个欲望对象被失去时，它会被一个符号所取代⁶。而对“失去”进行修复的愿望引起了重新创造的需求，这只有通过找到一个象征性的表达才能得以实现。毕竟，艺术本质上就是在寻求象征性的表达方式⁷。

赵银鸥 / 我与我系列2018.20 / 布面油彩 / 150×220cm / 2018

另一方面，赵银鸥的作品有时描画受伤或被肢解的身体，有时则是狂热的胜利。然而，她的受虐倾向并不仅仅是破坏性冲动向自我的转向，更是一种分裂。这种分裂形成了两个自我，它既是施虐的也是受虐的。这其实已经在她的《釜山系列》中有所显现，例如当她和她的分身与蜘蛛共舞时，或是当她被她的分身攻击和杀害时。奥托·兰克将“双”（the double）与积极和消极两方面联系起来，一方面它可以是“守护神”，另一方面则是“折磨受保护者并追逐他至死的可怕和迫害的幽灵”⁸。换句话说，当”双”伴随自我摆脱对毁灭的恐惧时，就像在“与蜘蛛共舞”中一样，它是“守护神”，而当它杀死自我时，用弗洛伊德的话说则是，“死亡的神秘预兆”⁹。自我的矛盾性转化为对分身的爱与恨。然而，杀死自己的分身就等同于杀死自我。这种幻想只能在艺术作品中表现出来。《我与我系列》展现了这种矛盾性的自我抗争，因为它们时而描绘了自我或分身被杀死，时而又表现了自我或分身的宏大胜利。

赵银鸥 / 釜山系列2014.15、2014.7 / 纸本综合材料 / 30×24cm / 2014

赵银鸥 / 我与我系列2018.17 / 布面油彩 / 170×100cm / 2018

艺术即是对幻想的象征性表现。在过去的14年里，赵银鸥创作了三大系列——《康复系列》、《釜山系列》和《我与我系列》。虽然第一个系列只是对一段经历的纪录和对他者的刻画，艺术家不可避免地将自己投射到场景中，但它对后来的系列带来了至关重要的影响。在后两个系列中，她越来越关注于自己的内心世界，以及对恐惧、焦虑和愤怒的直接表达。她的作品本质上是对潜意识的探索。或许，潜意识在指引她，在它的后面隐藏着一个真我。

1  西格蒙德·弗洛伊德，《梦的解析》。Sigmund Freud, Interpreting Dreams, trans. J.A.Underwood (London: Penguin Books, 2006),156.

2  汉娜·西格尔，《梦、幻想与艺术》。Hanna Segal, Dream, Phantasy and Art (Hove: Brunner-Routledge, 2004), 12.

3  同上，第19页。

4  同上，第16页。

5  同上，第17页。

6  同上，第33页。

7  同上，第87页。

8  奥托·兰克，《双：精神分析的研究》。Otto Rank, The Double: A Psychoanalytic Study, trans.Harry Tucker, Jr.(Chapel Hill: The University of North Carolina Press, 1971), 51.

9  西格蒙德·弗洛伊德，《怪怖者》。Sigmund Freud, The Uncanny, trans.David McLintock (London: Penguin Books, 2003), 142.

DREAM WORK

Alia Lin

Freud regards dream as an act of wish-fulfillment. During sleep, repression is temporarily suspended and early unconscious desires strive for expression. Yet, the dream censorship forbids the fulfillment of wishes that are unacceptable to the consciousness. Dream is thus a compromise between the repressed wishes seeking release and the repressing forces exercising suppression again, resulting in the disguises of the wishes and the distortions of their expressions.¹ Such distortions are achieved through mechanisms such as condensation, displacement, and symbolism. According to Freud, the understanding of dreams is “the royal road to the unconscious”, which has to be attained by psychic work.² Zhao Yinou depicts and tries to comprehend her dreams through painting, and thereby explores her unconsciousness.

Beginning in 2004, for seven years, the artist visited mental institutions to sketch the ill. These patients, who were abandoned by their families and cast out from society, did nothing day to day but try to shake off the effects of their overdosed tranquilizers and calmly awaited death. As interaction with a patient is strictly limited, the artist had to work very fast that she abandoned the traditional realistic techniques and focused more on the reflection of their psychic status. The over a hundred sketches and diary pages of the Rehabilitation Project that she produced over the years have become significant creative sources of her later works. Zhao's subsequent works of the same series differ from the previous ones remarkably that instead of simply portraying individual patient, they are integrated emersion of hospital atmospheres with the patients either wandering between their bed frames or sitting quietly, in an unconscious state. Projecting her own anxiety and helplessness onto the paintings, her later works are increasingly darkened, giving rise to a sense of horror and sorrow.

Zhao’s experience at the mental institutions deeply affected her later artistic expressions. Elements and symbols from the Rehabilitation Project are found again in her succeeding series. Moreover, starting from the Busan series, her works have become more and more instinctive, focusing on her inner world and dealing directly with her fear, anxiety, and anger. In 2014, she took an artist residency in Busan. At the beginning, the spiders, bats, and moths at the place where she stayed generate imaginations and fantasies were so eerie and horrifying that she was afraid to turn off the lights at night. Phantasies, like dreams, are also wish fulfillments, but unlike Freud’s view that they are developed in a later stage, Melanie Klein sees them as active from the start, related to all the wishes springing from the death instinct.³ Anxieties and fear mobilize defense mechanism and project the death instinct onto an object, giving rise to phantasies of the object which is destroyed and destructive, and in this case, the insects. These destructive fantasies were act out through her artistic creation, as she illustrated the executed moths, for example, and inscribed “die out, die out”, as well as the persecuting monstrous insects that were attacking her. As time goes, the fear had been overcome. Yet beset by loneliness, Zhao once again fantasized dancing with the insects, and eventually seeing them as “we are so identical”. 

Zhao’s ongoing Me and Myself series take her exploration of the unconscious even further, that the works are hysterical expressions of her memories, dreams, and phantasies. For Freud, hysteria is not “attached to actual memories but to phantasies erected on the basis of memories.”⁴When fantasies are unacceptable to consciousness, they are repressed into the System Unconscious and no longer known to be untrue, and thus become indistinguishable from memories. ⁵ There is a repetition of elements in her works, as they frequently make an appearance in her dreams, for instance, the worm and the snake. Such elements are the symbolic expressions of underlying repressed phantasies. Klein linked the formation of symbols to anxiety and guilt, that when an object of desire is lost, it is replaced by a symbol.⁶As the wish to repair a loss gives rise to the need for recreation, it can only be achieved through the finding of a symbolic expression. Art is, after all, essentially a search for a symbolic expression.⁷

On the other hand, Zhao’s works often depict her wounded self, dismembered body parts, and sometimes the fanatical victory. However, her masochistic tendency is not simply turning destructive impulses against the self, but rather a split into two selfs, namely to produce a double that is simultaneously sadistic and masochistic. This has already been evident in her Busan series when she and herself are dancing with the spider, or when she is attacked and killed by her double, a shadowy figure. Otto Rank associates the double with both a positive and a negative aspect that it can either be “a guardian spirit” or “a terrifying and persecuting specter that torments its protege and chase him unto death.”⁸ In other words, when the double accompanies the self to rid off fear of destruction, as in “dancing with the spider”, it is a “protective guardian”, but when it attacks and kills the self, it becomes the “terrifying persecutor”, or in Freud’s words, “the uncanny harbinger of death”⁹. The ambivalence of the self is transformed into the love and hate towards the double. However, killing the double is equivalent to killing the self. Such phantasy can only be expressed in a work of art, as the Me and Myself series demonstrate the battle with the self that they sometimes depict the persecuted self (or the double), while others the self (or the double) in grand victory.

Art is a symbolic expression of phantasies. Zhao Yinou has created three major series over the past 14 years—the Rehabilitation Project, the Busan series, and the Me and Myself series. While the first is but a documentation of an event and the portrayals of others, in which the artist inevitably projects herself into the scenes, it has brought about a crucial impact on the latter series that increasingly focus on her inner world, voicing her fear, anxiety, and anger. Her works are essentially an exploration of the unconscious. Perhaps, the unconscious is guiding her that there is a real self behind.

1 Sigmund Freud, Interpreting Dreams, trans.J.A.Underwood (London: Penguin Books, 2006), 156.

2 Hanna Segal, Dream, Phantasy and Art (Hove: Brunner-Routledge, 2004), 12.

3 Ibid., 19.

4 Ibid., 16.

5 Ibid., 17.

6 Ibid., 33.

7 Ibid., 87.

8 Otto Rank, The Double: A Psychoanalytic Study, trans.Harry Tucker,Jr.(Chapel Hill: The University of North Carolina Press, 1971), 51.

9 Sigmund Freud, The Uncanny, trans.David McLintock (London: Penguin Books, 2003), 142.

关于艺术家

赵银鸥，1972年生于中国沈阳。1992年毕业于中央美术学院附中；2001年毕业于鲁迅美术学院油画系，获硕士学位。现任教于北京工业大学艺术设计学院。

 

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