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艺术家 | 杨福东作品参展弗里兹艺术博览“可视性与隐形性”电影展映单元

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弗里兹艺术博览会即将于2月14日至16日在洛杉矶举行。杨福东的两部黑白影片《后房－嘿，天亮了》和《夜将》将在2月14日展映于由策展人刘秀仪（K11艺术基金会艺术总监）主持的电影与讲座单元。以“可视性与隐形性——洛杉矶之文化会面的完美之地”为主题，包含了阿彼察邦，大友克洋，曹斐等十多位艺术家的影像作品。

Frieze Los Angeles as the first art fair officially kicks off the first half of this year after the new year holiday will soon take place from 14 to 16 Feb. Yang Fudong’s two B&W films Backyard - Hey! Sun is rising, and The Nightman Cometh will participate in Frieze Film & Talk curated by Venus Lau (Artistic Director, K11 Art Foundation). Themed as visibility and invisibility – and LA as the perfect meeting place for cultures, the screening includes Apichatpong Weerasethakul, Katsuhiro Otomo, Cao Fei as well as many others' works.

该单元以“钴小时”命名，刘秀仪借用法国哲学家让-卢克·南希对文艺复兴时期的艺术家彭托莫的著名画作《探访》中的黎明“如同一块放置的虚空的方形”，并将它视为如同现代屏幕的一种寓言。并提出这是一种卓越的空间，介于阻隔了物理空间的几何线形同时又使观者陌生化了对其多重时间感知的空隙。她指出“钴小时”（Cobalt Hour）是一个关于“中间”的放映项目，这并非是两个对立面之间僵化且狭小的间隙，而是一种不稳定的流动性，如同白天和夜晚之间的蓝色时间*。

Entitled Cobalt Hour, Venus quoted the French philosopher Jean-Luc Nancy’s description of the dawn depicted in the Renaissance painting Visitation by Pontormo, as “laid out like an empty square”. She sees the expression as “an allegory of the screen”, which is as “an in-between par excellence – a void that irrupts the geometric linearity of physical space while alienating the audience with its multiple temporalities”. Therefore,” “Cobalt Hour” is a screening program about the “in-between” – not a rigid, narrow gap between two opposites, but a deteritorized fluidity, like the blue hour that exists between day and night”.*

展映时间 | Screening time

2020/02/14 (Fri.), 11am-2pm

地点 | Location

派拉蒙剧院，派拉蒙电影制片厂，洛杉矶，美国

Paramount Theater, Paramount Picture Studios, Los Angeles, U.S.A

《后房－嘿，天亮了》

Backyard - Hey! Sun is rising

“杨福东在其黑白电影中标以历史符号（从中国古代盔甲到毛制西装，再到1930年代的表现主义妆容），他找到了一种来扩大灰色阴影下的视觉纹理范畴。”

—— 刘秀仪

“In his black-and-white movies punctuated by historical symbols (from ancient Chinese armor to Mao suits to 1930s’ Expressionist makeup), Yang Fudong finds a way to widen the spectrum of visual textures in shades of grey.”

Venus Lau

这部创作于二十一世纪初期的黑白影片描述一个年轻人，也许是四个年轻人，他们在清晨即将醒过来的时候，试图挽留那不属于他们的感觉。在总是抓不住的期待中，穿着旧式军装，晒在早晨的阳光下。呵欠是随风而去的，抓住的只有怀抱里的剑。木偶式的慵懒被舞蹈的剑击碎，他们在含情脉脉的愤怒中交流，伤害，却永远不会有真实的痛。人们企图在音乐中捕捉京剧的力量，却不经意地被旋律带到记忆里的城市上空。花朵在臆想的抚摸下，静静地等待开放；所有渴望的冲动在阳光将射的早晨快速地变幻着模样，如果温情是可以被相信的，那么我们的存在是不重要的。所有的片断有如不连续的梦境，有时却又似乎是真实的，只是我们仅知道这一切不过发生在清晨天亮的一瞬间……听，有人在喊：嘿，天亮了！

The film depicts a young man, or preferably four young men, as they try to retain the sentimental feeling that is about to escape them when the sun comes up in the morning. In the expectations that they would never meet, they dressed up in the old military uniform and bathed in the morning sun. Their yawning drifts away with the wind; a wooden sword is the only attainable thing in their arms. The dancing sword shatters the puppet-like laziness, and they communicate in the anger of love and hate, but no one could feel the real pain. They attempt to capture the fibre of Peking Opera within the melody but accidentally brought above the city sky of their memories. Flowers are waiting to bloom under with the gentle touch of imagination. The impulses of all desires change rapidly in the morning before the sun comes out. If tender feelings can be trusted, then our existence is no longer critical. All the fragments are like a discontinuous dreamscape, yet sometimes they seem real. We all know everything merely happens in the moment of dawn... Listen, someone is shouting: hey, the sun is rising!

《夜将》

The Nightman Cometh

《夜将》的名字有两层含义：一层是“夜将至”，意味着黑夜即将来临；另一层则是暗指“战斗到最后的将军”。黎明来临的时候，这位将军是选择继续战斗，还是消失或放弃。影片中人物的设定都具有象征意味，并以时空错位的方式演绎。一个是象征着战争精神的古代英雄斗士；另外有两个身着现代戏服如幽灵般穿梭在画面中的男孩和女孩；以及一个古代公主。在影片拍摄过程中，艺术家以潜意识中面对残酷现实的思考构建了影片中纵深交叠的叙事结构。

The Nightman Cometh implies two meanings: one is “The night falls”, which means the night is coming; the other one is “the general fights to the end”. Before the dawn, whether the general chooses to continue fighting or disappears and gives up. Roles set in the film are symbolic and performed in the way of dislocated time and space. One symbolises the ancient heroic fighter of the War spirit. The man and woman dressed in modern attires ghostly shuttle in the images along with an ancient princess. During the process of filming, the artist subconsciously confronts the cruel reality and constitutes the structure of the intricate narrative.

*部分文字引用弗里兹艺术博览官网

关于艺术家

About the artist

杨福东 Yang Fudong

杨福东，1971年生于北京。毕业于中国美术学院油画系，被誉为目前中国最成功和最有影响力的艺术家之一。从九十年代末起，杨福东就开始从事影像作品的创作。无论是摄影、电影还是装置，均以多重的文化透视、交错的时空体验形成独特的文化视觉诠释。他的作品具有明显的多重透视特征，其作品探讨着神话、个人记忆和生活体验中身份的结构和形式,每件作品都是一次戏剧化的生存经历，一次挑战。曾参加德国卡塞尔文献展、威尼斯国际艺术双年展、法国里昂双年展、亚太当代艺术三年展等多个重要的国际当代艺术大展。

Yang Fudong was born in Beijing in 1971, and now lives and works in Shanghai. He graduated from the Department of Oil Painting, China Academy of Art in Hangzhou. He is among the most successful and influential Chinese artists today. Yang has started to create video works since late 1990s. His works form a unique cultural visual interpretation through multiple cultural perspectives interlaced with experiences of space and time with photograph, film and installation. They are all characterized by multi-perspectives, exploring the structures and forms of identities in myths, personal memories and life experiences. Each work could be considered as both a dramatic lived experience and a challenge. Yang Fudong has participated in several prestigious international art events including Documenta in Kassel (2002), the Venice Biennale (2003/2007), the Asia Pacific Triennial of Contemporary Art (2006) and the Lyon Biennale of Contemporary Art (2013).