仪式动力

COSPACE近期将为大家带来年度学术项目"仪式动力"，展览将从2023年1月8日持续至3月12日。本次展览由艺术史学者、策展人高远组织与策划。参与此次展览的十位艺术家与艺术项目包括苍鑫，陈鸿志，额滴神呐，何云昌，庞海龙，康靖，肖敏，辛云鹏，余学民和宗宁。他们的多元媒介作品，尝试探讨仪式与艺术之间的动力与联系。

仪式是人类学研究的重要对象，同时也是探寻文化记忆的重要组成。仪式可以创造体验，又是一种经验的架构。相对文本而言，仪式在文化传承中的主导作用更加显著，文本常是静态的，仪式则是充满变化的，因而在文化传承中所起的作用常常具有更多的可塑性。根据法国民俗学先驱范热内普（Arnold van Gennep）的观点，仪式可以分为“感应性礼仪”与“感染性礼仪”。感应性礼仪与泛灵论相关，感染性礼仪则与“动力论”（dynamiste）有关。范热内普即是动力论的阐释者。

我们这里所讨论的“仪式动力”基于德国海德堡大学发起的跨学科研究项目，该研究计划的一个目标是为仪式科学奠定基础，重点是精确确定仪式行动的条件、模式和功能；探究跨文化和跨学科领域中的仪式，以及仪式背后的动机、呈现形式和作用力。我们借助这个研究项目的主旨，借助仪式产生的特定感情与心智的波动，讨论仪式在当下日常中的表现；它们的变化以及相互作用，以及文化对其的塑造作用；在动力论的基础上，探讨泛仪式化的元素在艺术观念表达中的呈现方式。

古代戏剧艺术与仪式活动关系密切，“在雅典，艺术脱胎于仪式，戏剧源自于行事” 。（简·艾伦·哈里森《古代艺术与仪式》）艺术家辛云鹏的作品《母亲》即是用戏剧和电影的语言与叙事情节置于同一景框中的尝试。“母亲”以画外音的方式呈现，祈祷诵经的呢喃与窗外的狂风彼此呼应，一种介乎宗教信仰与日常叙事之间，仪式与悲悯之间的张力悄然迸发出来。同样是出于行为的仪式化表现，何云昌的《长生果》将仪式化的行为“辟谷”作为主要呈现方式，借助削弱身体和作物生长的此消彼长，一种苍茫环宇之中渺小生命的转化与轮回昭然若揭。艺术家康靖在2021年6月的一天，手扶树桩在湖北梁子岛游向彼岸的影像记录，也可以看作是苍茫天地间，人与自然参照物彼此照应、周而复始的轮回。艺术家手中的木桩仿佛信物或权杖，抑或人与自然相通的媒介，诠释了仪式化行为背后的原始冲动。蔡东东发起的公共艺术项目“额滴神呐”通过140余位艺术家和公众的参与，使每个人心中理解并创作的“神”呈现于黑桥村口不足10平方米的空间内，并在这个类似庙堂的空间内想象千百种仪式祭拜行为。不同于行为与影像记录中的仪式化表现，苍鑫的绘画作品通过“眼觉”的方式诠释了仪式中的声音与振动，延续了其以往作品中的“泛灵论”主题；余学民的作品则以图像的拼接与移位，突出了象征物在个人与集体文化记忆中的位置；陈鸿志以独特的绘画语言探索了仪式化行为背后的集体冲动和行为动机；宗宁极具戏剧张力的摄影作品将古代传说与社会现实并置于同一时空，兼具邪典电影与志异小说的乖张气质。庞海龙和肖敏的作品通过装置的形态和展陈达成一种仪式化的效果，并在异质化的媒介和疏离的气氛中延续了对空间和场域的探寻。

展览由10位艺术家和项目构成，通过多媒介的方式及展陈的布置，试图呈现并追溯仪式和艺术产生的动力和根源；在嘈杂的当代艺术语境下，尤其是技术至上和理论先行的展览领域，重返艺术作品的视觉和空间体验以及艺术创作的基本动力，通达情感与心智的真实体验。

—— 高远

Ritual is an important object of anthropological research, and it is also important component of exploring cultural memory. Ritual can create experience and is also a structure of experience. Compared with texts, rituals play a more prominent role in cultural inheritance. Texts are often static, while rituals are full of changes, so their role in cultural inheritance is often more plastic. According to Arnold van Gennep, a pioneer of French ethnography, rituals can be divided into "inductive rites" and "contagious rites". Inductive etiquette is associated with animism, and contagious etiquette is with "dynamiste". Van Genep is the interpreter of dynamic theory.

The "ritualdynamik" we discuss here is based on an interdisciplinary research project initiated by the University of Heidelberg in Germany. One of the goals of this research program is to lay the foundations for the science of ritual, focusing on the precise determination of the conditions, patterns, and functions of ritual action; Rituals in interdisciplinary fields, and the motivations, manifestations, and forces behind them. With the help of the theme of this research project, we discuss the performance of rituals in current daily life with the help of specific emotional and mental fluctuations generated by rituals; their changes and interactions, as well as the role of culture in shaping them; on the basis of dynamic theory, Discuss the presentation of pan-ritualized elements in the expression of artistic concepts.

The ancient drama was closely related to ritual activities, "In Athens, art was born out of ritual, and drama came from acting." (Jane Allen Harrison "Ancient Art and Ritual") Artist Xin Yunpeng's work "Mother" is an attempt to use the language and narrative plot of dramas and movies to be placed in the same frame. "Mother" is presented in the form of a voice-over, the whisper of praying and chanting echoes with the strong wind outside the window, and a tension between religious belief and daily narrative, between ritual and compassion bursts out quietly. Also out of the ritualized performance of the behavior, He Yunchang's "Longevity Fruit" takes the ritualized behavior "bigu" as the main way of presentation, with the help of weakening the body and the ebb and flow of crop growth, a kind of insignificant life in the vast universe. Transformation and reincarnation are clearly revealed. The video record of artist Kang Jing swimming to the other side of Liangzi Island in Hubei with a tree stump on one day in June 2021 can also be seen as a reincarnation of human and natural reference objects echoing each other in the boundless world. The stakes in the artist's hands are like tokens or scepters, or a medium of communication between man and nature, interpreting the primitive impulse behind the ritualized behavior. The public art project "Ohmygod" initiated by Cai Dongdong, through the participation of more than 140 artists and the public, makes the "God" that everyone understands and creates in the space of less than 10 square meters at the entrance of Heiqiao Village. Imagine thousands of ceremonial worship behaviors in the space of the temple. Different from the ritual performance in performance and video records, Cang Xin’s paintings interpret the sounds and vibrations in rituals through "eye perception", continuing the theme of "animism" in his previous works; Yu Xuemin's works The splicing and shifting of images highlight the position of symbols in personal and collective cultural memory; Chen Hongzhi explores the collective impulse and motivation behind ritualized behaviors with his unique painting language; Zong Ning's dramatic photography The work juxtaposes ancient legends and social reality in the same time and space and has the perverse temperament of cult movies and strange novels. The works of Pang Hailong and Xiao Min achieve a ritualized effect through the form and display of the installation and continue the exploration of space and field in a heterogeneous medium and alienated atmosphere.

The exhibition consists of 10 artists and projects. Through multi-media and exhibition arrangement, it tries to present and trace the motivation and origin of ritual and art; In the field of exhibitions, returns to the visual and spatial experience of artworks and the basic driving force of artistic creation, so as to understand the true nature of art.

—— Yuan Gao