动态 | 刘窗作品《鋰矿湖与复音岛》

从海洋到矿石，锂广泛地分布在地球表面。然而，它的沉淀技术是将它从一些高原上的几个湖泊（安第斯山脉的乌尤尼盐湖和青藏高原的扎布耶湖）中提取出来。在被制造成锂电池之后，它被嵌入到了一种高科技产业链中——一种基于硅元素的集成设计和制造模式。从硅谷到东亚的半导体产业，形成于冷战-热战-冷战的全球地缘政治成为了这条产业链的兴起的复杂背景。我们可以将整个链条称为技术锁定。人们普遍认为，专业的复音音乐是由单音音乐演变而来的。

Lithium is extensively distributed on the earth's surface, from the ocean to the ore, the way of its precipitation is, however, by separating it out of several lakes on some plateaus—the Salar de Uyuni of the Andes and the Lake Zabuye of the Tibetan Plateau. After being manufactured into lithium batteries, it was embedded into a high-tech chain—an integrated design and manufacture mode based on silicon elements. From Silicon Valley to the semiconductor industry in East Asia, the rise of this industrial chain was given a complicated background—it’s the global geopolitics that’s shaped under the context of Cold War-Hot War-Cold War. One can call the whole chain a technological lock-in. 

尽管如此，最新研究表明，按照音乐人类学家的推测，单音的形成不是追随进步，而是失去古老的和弦歌唱传统和音乐文化专业化的结果，单音音乐实际上在人类社会中出现得相对较晚。换言之，复音音乐被认为是古代音乐的一种普遍形式，这一结果动摇了音乐历史，其中对单音到和弦的线性演变的深信。当前复音音乐的地理分布极为混乱。在某些地区，主要音乐形式表现为单音音乐，而在一些其他地区，则是复音形式。在某些特定地区，例如单音音乐占主导地位的东亚地区，复音音乐散布在整个领土上，就像散落在世界各地的小岛一样。

The professional polyphonic music is being widely expected to have evolved from monophonic music. Nevertheless, the latest research shows that rather than following ascending progress, the formation of monophony is, in accordance with the speculation of musical anthropologists, the result of losing the ancient polyphonic singing tradition and the professionalization of music culture, for monophonic music, in fact, appeared relatively late in human society. In other words, polyphonic music is considered to be a universal form of ancient music, and this result has shaken the history of music that was once convinced by a linear evolution from monophony to polyphony. The current geographical distribution of polyphonic music is extremely confusing. In some regions, the major music form appears as monophonic music, while in others, it is polyphonic. In some specific areas, such as East Asia, where monophonic music dominates the musical form, polyphonic music is scattered around the territory, just like small islands lying sporadically in the isolated places of the world. 

音乐和技术的起源是相互交织的。将复音音乐想象成古代人开发的一种防御策略，一方面使敌人感到困惑，因为人们总是期望在一个交织的音乐矩阵背后有一个巨大的存在。另一方面，它就像实时通信，节奏的每一个细微的变化或停顿都会吸引每个表演者的注意，从而可以将信号传输到整个网络。在这里，复音音乐可以被理解为一种非本质，无限可复制且非主题的系统。在复音音乐中，演奏者和观众之间是没有区别的，每个人都参与了表演，只有参与其中才能真正理解和掌握表演的节奏。我视这种复音音乐模式为一种技术上的解锁。

刘窗（b. 1978，湖北）现生活工作于上海，主要从事雕塑、影像与装置艺术的创作。他的作品以社会、经济与城市现实之界定及其衍生问题为核心，并对塑造人们日常的现代性体验的系统和模式进行了多方面的理解。

近期个展：“比特币矿和少数民族田野录音”，Nida Art Colony of the Vilnius Academy of Arts，尼达，立陶宛（2020）；“Protocinema”，伊斯坦布尔（2019）；“在地宇宙”，天线空间与乔空间，上海（2019）；“经济特区”，Mother’s Tankstation，伦敦（2018）；“活的遗迹”，魔⾦⽯空间，北京（2015）；“被分割的风景”，武汉K11（2015）；“爱情故事”，泰康空间日光亭，北京（2014）；“舞伴”，Kunsthall Stavanger画廊，斯塔万格，挪威（2014）；“爱情故事”，Salon 94 Freemans，纽约（2014）等。

部分群展：“你我不住在同一星球上”，第12届台北双年展，台北（2020）；“Things Entangling”，东京都现代美术馆，东京（2020）；“Global(e) Resistance”，蓬皮杜中心，巴黎（2020）；“⼀园六季”，Para site，⾹港（2020）；“Cosmopolis #2”，蓬⽪杜艺术中⼼，巴黎（2019）；第五届乌拉尔⼯业双年展，叶卡捷琳堡，俄罗斯（2019）；“全球都市”国际艺术双年展，蓬⽪杜艺术中⼼&⽑继鸿艺术基⾦会，成都（2018）；“⻓征计划：违章建筑3—特区”，⼴东时代美术馆，⼴州（2018）；“中国夏天：中国当代艺术”，Astrup Fearnley现代艺术博物馆，奥斯陆（2017）；“本土—激流与嬗变下中国艺术”，路易威登基⾦会，巴黎（2016）；“世变”，Para Site，⾹港（2016）；“社会⼯⼚”，第10届上海双年展，上海（2014）；“烧掉房⼦”，第10届光州双年展，光州（2014）；“我这一代：中国年轻艺术家”，坦帕美术馆，坦帕（2014）；“中华28人”，卢⻉尔家族收藏，迈阿密（2013）；“On/Off，中国年轻艺术家的观念与实践”，尤伦斯当代艺术中⼼，北京（2013）；“Artists Film International”，白教堂美术馆, 伦敦（2012）；“中国影像艺术1988-2011”，民生美术馆，上海（2011）；“世代：比耶稣年轻”, 第一届新美术馆三年展，新美术馆，纽约（2009）等。

Liu Chuang (b. 1978, Hubei, China) currently lives and works in Shanghai. He works primarily with sculpture, film, and installation. He engages with the borders of social, economic, and urban realities and charts a manifold understanding of the systems and patterns that underpin and structure people’s everyday experience of modernity.

Recent solo exhibitions: Bitcoin Mining and Field Recordings of Ethnic Minorities, Nida Art Colony of the Vilnius Academy of Arts, Nida, Lietuva (2020); Protocinema, Istanbul (2019); Earthbound Cosmology, Antenna Space co. Qiao Space, Shanghai (2019); Special Economic Zone, Mother’s Tankstation, London (2018); Live Remnants, Magician Space, Beijing (2015); Segmented Landscape, K11 Wuhan, Wuhan (2015); Love Story, Taikang Art Space, Beijing (2014); Dancing Partners, Kunsthall Stavanger, Stavanger (2014); Love Story, Salon 94 Freemans, New York (2014), among others.

Selected group exhibitions: You and I Don’t Live on the Same Planet, Taipei Biennial 2020, Taipei (2020); Things Entangling, MOT, Tokyo (2020); Global(e) Resistance, Centre Pompidou, Paris (2020); Garden of Six Seasons, Para Site & Soho House Hong Kong, Hong Kong(2020); Cosmopolis #2, Centre Pompidou, Paris (2019); 5th Ural Industrial Biennial Of Contemporary Art, Ekaterinburg, Russia (2019); Cosmopolis #1.5: Enlarged Intelligence, Centre Pompidou & Mao Jihong Arts Foundation, Chengdu, China (2018); Long March Project: Building Code Violations 3 - Special Economic Zone, Guangdong Times Museum, Guangzhou, China (2018); Chinese Summer: Chinese Contemporary Art, Astrup Fearnley Museum of Modern Art, Oslo (2017); Bentu, Chinese Artists In A Time Of Turbulence And Transformation, Foundation Louis Vuitton, Paris (2016); That Has Been, And May Be Again, Para Site, Hong Kong (2016); Social Factory, 10th Shanghai Biennale, Shanghai (2014); Burning Down The House, 10th Gwangju Biennale, Gwangju (2014); My Generation: Young Chinese Artists, Tampa Museum of Art, Tampa (2014); 28 Chinese, Rubell Family Collection, Miami (2013); On/Off: China’s Young Artists In Concept And Practice, UCCA, Beijing (2013); Artists Film International, Whitechapel Gallery, London (2012); Moving Image in China: 1988-2011, Minsheng Museum, Shanghai (2011); The Generational: Younger than Jesus, 1st Triennial New Museum, New York (2009), among others.