妄念
时间: 2018年9月12—10月24日
地点: 英国伦敦 萨奇美术馆 
艺术总监：管怀宾   张颂仁
策展人：王岩
助理策展人：林灿文
主办：中国美术学院跨媒体艺术学院      萨奇美术馆
鸣谢：平行当代艺术（英国）    杭州世通文化艺术策划有限公司

　　2018年9月12日，由策展人王岩策划的展览《妄念》将在英国伦敦萨奇美术馆举行，本次展览由中国美术学院跨媒体艺术学院、萨奇美术馆和START艺术博览会主办，得到了中国驻英国大使馆文化处的大力支持。展览呈现了十位/组中国青年艺术家(朱玺、段官来、王震宇、吴穹&汪洋、王志鹏、孙晓宇、宋戈文、傅冬霆、邵睿璐)全新创作的十余件绘画、装置及影像作品，不仅融合东方传统哲思与西方当代文化视野，更集中呈现了中国青年艺术家对社会当下的回应、反思与预测。折叠现实与精神世界，领观者游走其中，同时探寻虚妄与执念、身份与权利、政治与信仰等议题。作为一次实践，“妄念”不矫准任何偏离，也肯定非常规的生命体验，挖掘并还原隐含于艺术创作中不可视的信息和精神图景，重新思考艺术的力量。

　　展览启幕之前，雅昌艺术网将陆续刊发十位/组参展艺术家的对话内容，以期更真实地呈现他们的所思所为。

　　对象：吴穹&汪洋Wu Qiong& Wang Yang

Q&A

　　Q：《途中的大象》（《ICE MONSTER》）这件作品的创作契机是什么？

　　What motivated you to create ICE MONSTER? 

　　A：《途中的大象》是我们的研究生毕业作品。当时我们正处在毕业的关卡，一方面我们想对自己过去的经历做一个总结，一方面也正面对着有一点迷茫的未知的未来，所以我们希望把自己的生活，以及自己一直以来所受到的艺术上的影响转化成一个影像作品，于是就有了最初创作的契机。

　　ICE MONSTER is our graduation project as postgraduate students. At that time, we were about to graduate. On the one hand, we wanted to make a summary of our past experiences. On the other, we were a little bit confused about the future. Therefore, we hoped that we could turn our lives and the impacts we received from arts into a piece of visual artwork. This is why we started to create the artwork. 

吴穹&汪洋   途中的大象   单屏影像  尺寸可变   2017  21分45秒

　　Q：作品中五段叙事是如何构思出的？一个个隐形的“大象”如何被遇见？

　　How did you come up with five narrative scenarios in the artwork? How did the invisible elephants be met one by one? 

　　A：影片分成了五个章节，展现了三条叙事线。分别是关于一个宇航员、一个缅甸难民，以及我们两人自己的故事，看似互无关联的三个故事背后都有一个关于“人的迁徙”的主题。“人的迁徙”——或者更物理一点说——“人的移动”，正是人类繁衍不息的一个重要原因，宏观上它推动了人类的文明进程，微观上它也给每一个生命以继续存在的动力。从这个角度上来思考，影片中展现的关于宇宙/未来、难民/生存，以及在生活的不确定因素中的迷失等等，就是我们对于“人的迁徙”这一主题的回应。

　　The movie is divided into five scenarios, demonstrating three narrative stories. They are the stories of a spaceman, a Burmese refugee and our own stories. The three stories are seemingly irrelevant but there is a theme hidden behind—human immigration. Human immigration—to put it in a physical way—human movement is an important reason for human reproduction. From a macro perspective, it promotes the progress of human civilization. From a micro perspective, it motivates each life to keep living. In this sense, the movie reflects universe/future, refugee/survival, being lost in the uncertainties of life and so on, which respond to the theme—human immigration.  

影像截图

　　Q：在拍摄中遇到哪些困难？

　　What difficulties did you encounter during the shooting of this movie?

　　A：困难无处不在，实际拍摄中要面对的天气、环境的影响，这些最基本的难关我们都克服了。真正困难的是我们在这次创作中不仅实验了一些影像表现形式，同时也实验了一种特殊的创作方法。我们回避了传统上先剧本后拍摄的模式， 从一开始就刻意回避所谓“剧本”的创作，取而代之的是大量的视觉化讨论的工作。因为是合作作品，我们互相之间进行了关于影片基调、形式的大量讨论，并且收集整理了大量的图片、音乐、音效、或是任何符合影片基调的tips。在此基础上，我们试图遵循这种氛围，去寻找合适的画面、音乐等素材。这种创作方式也必然导致大量的后期工作。当然，这些东西说是创作中的困难，同时也正是最具有挑战性，也最让人兴奋的地方。

　　Difficulties were everywhere. When we were making this movie, we already overcame some of the most basic difficulties such as the influences of weather and environment. But the true difficulty is that during the creation of the movie we not only experimented some image expression form but also tried a special creation method. We avoided traditional mode, namely creating screenplay before shooting the movie. We intentionally put the creation of screenplay aside in the first place. Instead, we did a lot of visual-based discussions. Because the artwork is made by us two collaboratively, we discussed the basic tone and form of the movie frequently with each other. We collected lots of pictures, music, sound effects and other materials as well as adopted any tips that suit the movie. Based on these discussions, we tried to find suitable settings, music and other materials for the movie. This kind of creation method will inevitably lead to a large amount of post-shooting work. Of course, the so-called “difficulties” during the creation process are also the most challenging and exciting experiences for us.

影像截图

　　Q：对于作品中流露出的抒情式叙事与诗性的表达，是如何做到的？

　　How did you achieve lyric narration and poetic expression in the movie?

　　A：原始素材要比最终呈现的多得多，但在创作过程中我们刻意排除掉了那些过于煽情或者过于文艺的内容。我想这可能跟我们吸收的艺术营养有关，很多时候自然而然就有了一种抒情的风格。反而我们有时候更希望这部影片能有不同的面向，也因此你会看到影片中不仅有青年人常有的喜悦与焦虑，还有更严肃的关于毒品、权力、犯罪等政治性议题。

　　The original movie are much longer than the final one we’ve presented to audiences because we purposely deleted some contents that are excessively lyric orartistic. As far as I’m concerned, it might be attributed to the reason that we have absorbed artistic nutrition which made us to endow the movie with a kind of lyric style naturally. However, we also hope that this movie can demonstrate different connotations. Therefore, you can not only find joy and anxiety commonly seen in youngsters but also some serious politic issues such as drugs, power and crime. 

影像截图

　　Q：如何看待影像的力量以及影像所具有的能动性？

　　What’s your take on the power of movie and its motivational influence?

　　A：以今天的科技水平来说，屏幕的力量有多大影像的力量就有多大。我们现在正生活在一个“屏幕时代”，所有的地方都有屏幕，而所有的屏幕展现的都是一种影像，它可能是用于传达信息的，可能用于传达情感，也可能用于传达一种氛围。这就是影像的力量，它无处不在，你无法忽视它。至于未来，也许有一天平面影像这种载体不再重要，被一种更符合人类本能的形式所取代，但我们所关心的那些信息、情感、氛围…则会继续存在下去，我们的文化也就会继续传承。

　　Based on today’s science and technology, we could say that where there is a screen, there is an impact of movie. We are now living in a “Screen Era”. Screens are everywhere, presenting a kind of images that can either convey information and emotion or spread an atmosphere. This is the power of screen. It’s so omnipresent that you can’t overlook it. As for the future, plane image may decline some day and be replaced by the medium that are more suitable for human nature but the information, emotion and atmosphere that we concern will last forever. So does our culture.