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：孙晓宇Sun Xiaoyu

Q&A

　　Q：能解释一下《山陬海澨》（《Romote Area Of Red》）作品标题的含义吗？

　　Can you explain the meaning of the title Romote Area of Red?

　　A：片名来源于古汉语，摘自清•王晫《今世说•德行》：“宦辙所至，山陬海澨”，指山隅和海边，泛指荒远的地方，是我在片子里追求一种荒原或孤岛感。

　　The title is from ancient Chinese, citing from Wang Zhuo of Qing Dynasty, On the Present World - the Virtue: “The place where you are is the remote area of red”, referring the mountain and the sea afar, or in a more general way the remote places. It is a sense of desolation or lonely island that I am pursuing.

孙晓宇   山陬海澨   2017 三屏影像 11分钟

　　Q：你将这件作品描述为“是一次自我拯救的手术，也是大部分人所没意识到的“疾病”和“隐患”的初诊”，这一次手术/初诊如何与“自我”发生作用的？

　　You describe this work as "a self-rescue operation, and the first diagnosis of ‘diseases’ and ‘hidden dangers’ that most people don't realize”. How does this operation/first diagnosis work with the "self"?

　　A：媒体的多元和科技的发展围绕着我们的日常生活，不断被动接受讯息，轰炸式的信息化逐渐吞噬着自我感官，消解掉敏锐度，在日常生活中会自己无意识的屏蔽掉对自我的认知，关注点在不断跟着网络信息游离，回归到自我本身时却变得陌生，仿佛面对着另外一个自己，这可能是当代人都面临的问题，我把它归为“隐患”或“疾病”，是反对信息过剩干扰下忽视自我认知所形成的自我认知障碍，可能每个人体内有很多个不同的自己，通过“自我合成”来发声，从而让观者在阅读影像时能代入到他们自己的个人感官世界。

　　Our daily life is surrounded by diverse media and technologies. We are constantly, and passively, receiving information. The explosive information gradually penetrated into the sense of self, dispelling the sensory acuity. Unconsciously shielding the self-consciousness in daily life, our focus is constantly following online information, and it becomes strange when we attempt to return to our inner self - it seems like dealing with another self. This may be a problem faced by people today. I classify it as "hidden danger" or "disease". It is a self-cognitive disorder formed by neglecting self-cognition under the interference of excessive information. There may be many selves in each person, and I uttered them through "self-synthesis" so that viewers can go into their own personal sensory worlds while reading images.

　　Q：在拍摄中遇到哪些困难？

　　What difficulties did you encounter in shooting?

　　A：在创作前期花了一个月的时间在平衡三屏叙事的表达逻辑，在剧本初期也做了大量的准备工作和视觉设计，内景拍摄是从毛胚房开始装修的。比较困难的部分是在外景的拍摄，拍摄地是在嵊山岛，因为上岛困难，天气不可预测，曾经困在岛上无法拍摄，当然拍摄中遇到的问题和困难非常突然也早已习以为常，拍摄过程中就是享受这种不断闯关的过程，好在大家一起都一同克服了，数个不眠夜的辛劳如今回想起还是如此的浪漫和热血。

　　I spent a month in the early stage of the creation to sort out the expression logic for the three-screen narrative. At the very beginning of the script I did a lot of preparatory work and visual design. The interior shooting space was renovated from an blank room. The more difficult part was the outdoor shooting. The site was Shenshan Island, which was barely reachable and with unpredictable weather. We used to be trapped on the island and could not shoot. As the shooting progressed, we gradually accustomed ourselves to sudden situations and difficulties, and regarded the shooting process as a process of continuous improvement, participation and enjoyment. We overcame many difficulties together. Looking back at the hard work of those sleepless nights, it is still romantic and hot-blooded.

　　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 do you achieve the lyrical narrative and poetic expression in the work?

　　A：是受我的导师高世强教授对我们影像世界观的建构所影响，影像诗性的表达是审美的风筝线，它可以被放飞的很高很远。

　　Professor Gao Shiqiang, my instructor, exerted a great deal of influence on the construction of my viewpoint of image world. The poetic expression of image is a kite line of aesthetic appreciation, which could be extended very high and far.

　　Q：艺术家往往都是从“自我”开始慢慢走上更宏大的创作方式，将来的新作品是否会改变创作的方向？

　　A：More often than not, artists start from "self" and then embark on a more ambitious way of creation. Will your new works in the future change such a direction of creation?

　　这部作品仅代表我那个阶段的现状和疑惑，或许是青春的分割线，在这部片子结束之后我的关注点已经走去不同的领域了，在之后的创作中会尝试更多的表达方式，但会保留浓郁的风格化和气质，在不断的成长中完善之前没有解决掉的问题，在下一部作品中逐渐解决。

　　This work only represents my status quo and doubts in that very phase. It may be the dividing line of youth as well. After this work, my focus has shifted to different fields. On top of keeping the original style and disposition, I might try more approaches of expression. I might attempt to solve remaining problems in the next work during constant growth.