【OCAT上海馆 | 扩频】付丛乐：技术之上⸺曾吴影像中的双重投影，图像交叠以及居间状态

曾吴的影像实践中最突出的手法之一是对并置及部分重叠双轨图像方法的运用。她的双通道影像作品《缘身此中》（One Emerging from a Point of View，2019）和《学处自持》（We Hold Where Study，2017）皆体现了这一策略。影像时而被单独投射在屏幕的左侧或右侧，与此相对的另一侧则保持黑暗；时而双轨影像被同时投射在屏幕上，使两条轨道产生交集。换言之，两条影像轨道的局部间歇地重叠着，在屏幕上形成一个缠结的视觉空间。这样的图像交叠赋予了曾吴的运动影像一种居间状态。我将通过这两件影像作品来讨论这种图像相互切割并且渗入的混合空间（hybrid space）如何使居间状态成为可能，居间状态与曾吴的实践及工作方法又具有何种关系。

Within Wu Tsang’s artistic practice, one of the most prominent techniques that she employs is the juxtaposition as well as partial intersection of two tracks of images. These techniques are visible in her films One Emerging from a Point of View (2019) and We Hold Where Study (2017), both of which are two-channel films in which the projections of both tracks at times are made to intersect on a single screen. Occasionally, the video on the left or right side runs independently while the opposite side of the screen remains dark. At other moments, the two tracks of video are simultaneously projected onto the screen, producing an intersection of the two tracks. In other words, the two tracks of images overlap intermittently and partially, thereby creating an entangled visual space on the screen. Such an intersection gives rise to a state of in-betweenness in Tsang’s moving images. Hence, by analyzing Tsang’s two  lms, I intend to discuss how exactly this hybrid space, in which images cut and bleed into each other, make possible a state of in-betweenness.

曾吴通过两种手法使影像产生居间状态。一是将两条影像轨道并置，将原本独立的屏幕连接起来，从而产生了一种模糊性；二是两条轨道交叠，由此产生的过渡空间使原本虚构的部分变得清晰可见，从而带来一种充满意义的居间状态。第一种方式很容易辨别，因为通常被分别投射到不同屏幕上的两部影像被并置在一块屏幕上，会带来一种视觉与内容上暧昧不清的感受。相较于此，第二种方式更显隐晦。我将通过诺埃尔·伯奇（Noël Burch）的“屏幕之上”（on-screen）和“屏幕之下”（off-screen）的概念来论述：“屏幕之下”⸺想象与虚构图像存在的地方⸺和具象的“屏幕之上”两者之间的过渡所引发的居间状态。

The first section of this essay responds to my main research question, namely, how does the intersection of images bring about a state of in-betweenness? In this section, I will mainly examine the technical aspects of Tsang’s artworks, and as such, my primary focus is the juxtaposition in her two-channel videos. I see Tsang’s exploration of blending two projections on a single screen as one experimentational approach among other approaches to projecting moving images. Tsang’s approach resonates, above all, with the artist Harun Farocki’s concept of soft montage — the technique of simultaneously projecting two tracks of moving image side by side.