【GCA展览预告】《我们在此相遇——明希豪森循环与中⽌》艺术家推介 第III期

“根据佛陀比丘的引述，无形的重力被比作因果报应，因果报应掌管着人类的经验宇宙，而重力则掌握着物质层面。 这部电影发生在一座水泥厂附近，在那里我们可以看到一系列爆炸造成的山体变形。 加上一个人正努力运送重型垃圾来赢得(克服)重力(命运)。“

“Based on a quote by Buddhadasa Bhikkhu, the invisible Gravity is compared with Karma, which governs Man’s experiential universe such gravity’s governance over the physical plane. The film takes place near a cement factory where we see deformed mountains by series of blasts. Together with a man struggling to transport heavy recycle garbage to win over gravity (destiny).”

Jakrawal的作品涵盖了短片、纪录片、录像装置和故事电影。他的作品主题往往涉及东方哲学在当代语境和本土历史的特定环境下所建立的多视角对话。他的作品在国际电影节和艺术展览中展出，包括IFFR荷兰鹿特丹电影节 、山形纪录片电影节、台北双年展、柏林国际电影节、汉城媒体艺术双年展2014和多伦多国际电影节。他最近的一部故事片《消失点》（2015）在鹿特丹国际电影节首映，并获得了电影节最高奖——希沃斯老虎奖。

Jakrawal’s work spans from short films, documentary films to video installations and feature films. The themes of his work often relate to Eastern philosophy in contemporary context and local history of specific environments to establish dialogue among multiple perspectives. His work was shown in international film festivals and art exhibitions including IFFR 2011, Yamagata Documentary Film Festival, Taipei Biennial 2012, Berlin Int’l Film Festival, SeMA Biennale Mediacity Seoul 2014 and Toronto Int’l Film Festival. His most recent feature film “Vanishing Point” (2015) was premiered at Int’l Film Festival Rotterdam and won the festival top prize, Hivos Tiger Award.

音乐对我的创作非常重要。或者说，音乐不同的节奏对我的实践和理解世界有非常重要的影响。我在一种流动的状态中感受世界，对我来说节奏感并非只关于速度，它在任何一种知觉的方式中都存在。我喜欢用节奏感去形容很多东西，比如雕塑，文学，音乐，电影等等。在不同的领域中它的体现方式各有不同，比如在舞蹈和音乐中，它通过动作和时间上的改变点来体现，雕塑中，它通过不同的形状和结构，文学则通过修辞方式，等等。节奏感不仅在单独的领域中体现，也可以同时在不同的领域中体现。对我来说它是那些在感觉上重合的节点的集合，是我对事物关联方式的一种理解。它帮助我尝试在行动，观看，倾听和思考之间进行转换和自由联接，是一种实践的方法。在这种方法中，行动既是一种体验的方式，也同时是一种交流和传达的方式。是它让单纯的行动转换为参与。在这种实践方式中，你可以什么都不做的和这个世界融为一体，成为这个世界；你也可以做些什么让世界和你融为一体，成为你。

                                            ——关小

Music has an important influence on me; the various rhythms have big influences on my practice and the way I understand the world. I’m always feeling the world as in a state of flux. Rhythm is not only concerned with speed, but also concerned with sentience. I prefer to describe lots of things with rhythm, like sculpture, literature, music, movies and so on. For example, dance and music by the change in gesture and timing; sculptures by the different structures and shapes; literature through rhetoric; movies through the editing and camera movement, etc. Rhythm does not only appear in separate areas, it can also appear in different areas simultaneously. For me, rhythm means all the intersections of sense. It’s a way I understand the associations between things. It helps me to try and transfer action, see, listen, think about interactions and freely build a link between them. I consider it a way of practice. In this practice, the action is both a way to experience and to communicate–you could do nothing but blend with the world, become the world; and you could also do something to let the world blend with you, become you. 

在 2011 年夏季，核事故发生几个月后，行为艺术家Kota Takeuchi 得到了福岛第一核电站工作，并持续在线更新核电站清理工人的工作环境的博客。 2012年，他在东京电力公司网站的一个24小时直播平台上展示了一个“匿名”视频，该直播视频正监控着这场清理活动。这部录像随后在日本发生病毒传播，被称为“手指指点工作者”，一名穿着防护服的人员，进入监控框内并将手指对准东电公司在核电站点安装的视频监控器。他的这场公开蔑视和指责行动将近 20 分钟。几乎与 Vito Acconci 在他的作品“中心”(1971 年)中持续的时间相同，这是“Finger Pointing Worker”假设的一个参 考，他说他的行为是对 Vito Acconci 作品的一种敬意。

"Finger Pointing Worker" is a man who pointed at the public live camera in Fukushima nuclear power station after the disaster in 2011. Kota Takeuchi is the agent of him.

Kota Takeuchi has always been interested in the way visual imagery in the public domain can sway the common consciousness. Takeuchi graduated from the Tokyo University of the Arts in 2008, and has since participated in shows at two venues known for high-quality shows by young artists: BANKART studio NYK in Yokohama and 3331 Arts Chiyoda in Tokyo.

During Summer 2011, few months after the nuclear accident, performance artist Kota Takeuchi got a job at the Fukushima Daiichi plant and kept a blog about the labour conditions of clean-up workers. In 2012, he exhibited an ‘anonymous’ video taken from the 24-hour live feed on TEPCO’s website that monitored the clean-up activities. The video, which then went viral in Japan and became known as the “Finger Pointing Worker”, captured someone in a protective suit, entering the frame and pointing his finger at the video surveillance installed by TEPCO on the nuclear plant site. He remained there for nearly 20 minutes, in a public act of defiance and accusation. Almost the same duration than Vito Acconci in his piece “Centers” (1971), a reference assumed by this “Finger Pointing Worker” as he said that his action was a kind of homage to Vito Acconci piece.

作品：“ho!ho!ho!圣诞快乐：画架的战争 - 纪念项目”拍摄于水下，这是 Nguyen Hatsushiba 在 2001 年开始的“纪念项目”系列中的第三部影片。这个标题已经暗示了即将被讽刺性解开的文化的复杂性：胡志明被戏仿，而冲绳（作品拍摄地）在二战期间是日本的战场，后来在越南战争期间成为美国的训练基地。由 Quoc Bao 创作的詹姆斯邦德电影音乐的混音，不少于三十名潜水员穿着湿衣服，带着防水彩色墨盒，顶着水的阻力全速前进。

他们用空白的画布攻击栈桥，在那里他们试图画一颗黄色的星星，但在与美国国旗相似的 数字白色星星阵(可能暗示着圣诞节雪)之后，他们发现自己无法控制地描绘出与越南有关的电影，像 Marlon Brando, Michael Cimino, Robert De Niro......然后，最终导致画面的崩溃和溶解。水创造了一个平行的世界，象征着普遍的意识，在这里，允许大家缓慢思考这些潜在的异化文化传播。 Nguyen- Hatsushiba 的戏剧化批判是全面的，一方面是越南传统的重量，另一方面是美国的地缘政治和文化霸权，以及媒体和电影中的战争方式(越南是广泛报道的首批冲突地之一)

Jun Nguyen-Hatsushiba initially trained as a painter in the United States and references to the act of paint easel painting and are regularly present in his videos. Since 2001, he is world renowned for his series of underwater videos, called “Memorial Project”, which revisit the history and culture of Vietnam, and its relations with the United States. Although the actual filming has an actual dangerous side for the artist and the actors, as a direct connection with Vietnamese boat people, they have a certain dream-like quality due to the slow motion in the liquid environment. typical national tropes which are integrated count rickshaws, rice picking, water puppets and dragons, the yellow star on the flag but these are generally intermingled and confused by overriding American cultural references. Through running performances across cities around the world, titled Breathing is Free: 12,756.3, Jun Nguyen-Hatsushiba pursues his humanistic artistic action denouncing global refugee crisis. His practice also includes drawing and large scale installations. 

Jun Nguyen-Hatsushiba, who was born in Japan in 1968, was educated in the United States and now lives and works in Ho Chi Minh City, formerly Saigon.

Filmed underwater, this is the third video in Nguyen-Hatsushiba’s “Memorial Project” series which began in 2001. The title already implies the cultural complexities about to be ironically unravelled: Ho Chi Minh is parodied and Okinawa (where this was filmed) was a battle site in Japan during World War II which then became an American training base during the Vietnam War. To a remix of James Bond movie tracks composed by Quoc Bao, no less than thirty divers in wet suits and full gear advance against the water resistance armed with cartridges of color. They attack trestles with blank canvases on which they attempt to paint a yellow star but, after a showering of digital white stars likened to the American flag (presumably alluding to Christmassy snow), they find themselves uncontrollably portraying actors who played in Vietnam-related films like Marlon Brando, Michael Cimino, Robert De Niro… which then, end up leading to collapse and dissolving. Water creates a parallel world, symbolic of universal consciousness, which allows for the slow contemplation of these potentially alienating cultural transmissions. Nguyen-Hatsushiba’s dramatized soft critique is across the board, from the sheer weight of Vietnamese tradition on one hand, to America’s geo-political and cultural hegemony on the other, as well as the way war is represented in the media and in cinema (Vietnam was one of the first conflicts to have broad coverage).