【OCAT上海馆｜作品介绍】周滔《蓝与红》

蓝与红

Blue and Red

2014，影像，彩色，有声

25分14秒

作品由艺术家和王兵先生提供

2014, Video, colour, sound

25'14''

Courtesy of the artist and Wang Bing 

不管是老人在自然光线下的肤色，还是沐浴在夜光下的人群；从夜幕下 LED 强光染蓝的整个广场，反政府民众在广场上夜夜不眠的狂欢，到金属矿山区橘红——灰绿的地表，各种人物的动作，甚至是阵风与山体震波的一次迎撞，都造就了皮肤到地表相互折射。

艺术家常常在想想：那些拍摄经历中引起的强烈情感波动与起伏，如何消受，但恰恰与此同时，在知觉不断遭遇击打，意识不断被冲刷之后，反而出现了一片空白地，一片内在的空白地表，情节与风景在此被重新唤起形状，重新回归了他们各自自在的位置，当然他们同时也是现实的情节，也是现实的地表风景与人物，他们重影了。两种地表的重影使一切回归到重新的出发点，回到了母体。

影像并不是去记录现实的如何真实残酷，以及广场色光沉醉的迷幻，而是从地表到皮肤，从重影到再生。艺术家一直在投入这种象贴近地面飞行一般的拍摄，投入这种未知状况的感觉撞击，并不去精心构思和剧本营造，而把“拍”演化一个基本思维动作，“拍”是每个人都可以拿起自己的手机拍摄一样，其实我们都在这个时代共同演化一个新的日常动作“拍”，它在今天和“我想”，“我看”一样，似乎习以为常到可以忽略不计的地步。正是这样，这个基本动作让我们开启一个新的感知端口。

From the old man’s complexion lit by natural light, to the crowd bathed in the color of night; from the square stained blue by LED billboards, and the anti-government protestors reveling all night, to the rust and oxidized-green surface of a rural metal mine; movements of these different characters, even a violent squall colliding with a mountainside—these all create a refraction from the skin to the earth’s crust.

The artist often thinks of the strong emotional fluctuations he experiences in the filmmaking process and how to endure them. However, at the exact same time one’s senses are being struck and consciousness is constantly being washed out, a blank space emerges; an internal blank surface in which stories and landscapes are regenerated into shapes and forms, re- turning to each of their own positions. Of course, these stories also exist simultaneously in reality, as do the landscapes and characters. The doubling of the surfaces brings everything back to the starting point; back to the womb.

The image is not as a way to document the cruelness of reality, or the psychedelic vertigo of the LED lights in the square, but more as a means of connecting the surface and skin, from double to rebirth. The artist wonder why he always submerge himself in a way of filming that’s like skimming the surface of the earth; leaving himself open to the shocks of the uncertain rather than following a script. Zhou thinks of filming as a basic movement of our consciousness—at a time when everyone can take out his or his phone to film, we have all actually developed a new human reflex, along the lines of “thinking” or “seeing”. This act has become so ordinary that we almost neglect it: a new basic movement that allows us to evolve a new sensory antenna.

周滔，1976年出生于湖南长沙，于2001年获得广州美术学院油画专业学士学位，2006年获得混合媒介专业硕士学位，现生活、工作于广州。周滔的获奖包括：“FUGAS Feature Film Section - 评审团奖”，DocumentaMadrid，马德里，2018；第61届奥伯豪森国际短片电影节，评委会大奖首奖，2015; 首届汉涅夫金斯基金会曼谷艺术及文化中心，当代亚洲艺术奖，2013。 

周滔往往从他所遭遇的场所和人群中展开影像的叙事，对于个体与空间关系的探索一直是他创作的线索之一。尽管近年来周滔常常从全球不同城市的地理文化情境中汲取灵感，他所生活和居住的广东周边也从未远离他创作的视线。他善于从这些看似迥异的场景中寻觅共通和互动，所谓的影像方法，对周滔来说，无异于是身体的一部分，是皮肤与现实接触的一层触介，由此，周滔不构思营造剧本，从而让叙述脱离任何的理性框架和生产逻辑。周滔诗学般的影像叙述跨越了真实与虚构的界限，藉此从现实之重中突围而出，成为“贴近地面的飞行”。

近期部分群展：

“第57届威尼斯双年展：艺术万岁”，威尼斯，2017年

“第13届沙迦双年展”，沙迦，2017年

“故事新编”，所罗门·R·古根海姆美术馆，纽约，2016年

Zhou Tao (b.1976, Changsha, China) studied at the Guangzhou Academy of Fine Arts and received a Bachelor of Fine Arts in oil painting in 2001 and a Master of Fine Arts in mixed-media studies in 2006, and currently works and lives in Guangzhou. He received the awards including FUGAS Feature Film Section  - Jury Award, Documenta Madrid in 2018, the 1st Prize of the Jury of the Ministry, 61st Oberhausen Internation Short Film Festival in 2015 and the 1st Han Nefkens Foundation BACC Award for Contemporary Art in Asia in 2013.

Zhou Tao seeks visual and narrative materials for his arresting film works in the places and communities he encounters, and the narration of the film is often developed from the accumulation of the encountered moments. There is no single entry to the practice of Zhou Tao. Through often subtle and humorous interactions with people, things, actions, locations and situations, Zhou’s videos invite us to experience the multiple trajectories of reality—what he once called the “folding scenario” or the “zone with folds.” Although all of his footage captures actual scenes, the poetics of Zhou’s visual narratives dissolve the division between fact and fiction. For him, the use of moving image is not a deliberate choice of artistic language or medium. Instead, the operation of the camera is a way of being that blends itself with everyday life. 

Selected Group Exhibitions:

57th International Art Exhibition of La Biennale di Venezia: Viva Arte Viva, Venice, 2017

Sharjah Biennial 13, Sharjah, 2017

Tales of Our Time, Solomon R. Guggenheim Museum, New York, 2016