The swimmer I
2017 Single-channel video, color, silent 9’51” In the sunny day, the camera lens is shooting the sea surface, a swimmer is swimming slowly on the sea. The swimmer seems to keep swimming or may be something will happen. If audience looks carefully, they will find that the swimmer has not been swimming all the way since the camera shutter was pressed, but the same swimming loop is repeating on the screen constantly. In other words, the swimmer is trapped in the border of digital lens, there is no entrance and exit. In the artwork, the lens sets up a boundary that does not exist on the scene, it makes the “camera lens -> swimmer -> sea” and “sea -> swimmer -> camera lens” two axes coexist and parallel staggered. Is it rectangular small pool, or swimming in the vast sea? On the other hand, “The swimmer I” reveals the question of video’s temporality. The swimming loop indicates that there is a strange time point in the video. It can be any moment in the video, but it also not equal to any moment. It becomes a strange point that disintegrates and constructs a particular temporality of image content. As Gilles Deleuze said the crystals of time: Time has to split itself in two at each moment as present and past, which differ from each other in nature, or, what amounts to the same time, it has to split the present in two heterogeneous directions, one of which is launched towards the future while the other falls into the past. Time has to split at the same time as it sets itself out or unrolls itself: it splits in two dissymmetrical jets, one of which makes all the present pass on, while the other preserves all the past. Time consists of this split, and it is this, it is time, that we see in the crystal. (CINEMA II: The Time-image 81) When the diachronic and linear image time is released, the image content is peeled off from the time base that the image relies. It takes root into the sea, and it self-satisfies and condenses to form its time system. This crystal of time is distributed average on the swimmer’s loop. When the audience joins into the system, there will be a moment, their senses feel stagnant, almost vacuum. |
在海面上的游泳者 1
2017 單頻道錄像,彩色,無聲 9’51” 鏡頭正對海面拍攝,一名游泳者在海面上緩慢的游著,陽光燦爛。這名游泳者似乎就這麼不停的游下去,也或許待會會有什麼變化。如果觀者凝神細看,將會發現並不是真的有那麼一個人從攝影機按下快門就開始一路游泳到結束,而是螢幕上不斷重複著同一個游泳迴圈,也就是說,這名游泳者被「困」在這個數位鏡頭的邊框裡,沒有入口也沒有出口。 作品中,鏡頭規範了一個現場不存在的邊界,也就使得「鏡頭→游泳者→海洋」和「海洋→游泳者→鏡頭」兩條軸線同時並存卻平行交錯,究竟是一個矩形的小水池,或是游泳在浩瀚的海洋上? 另一方面,《在海面上的游泳者-1》開啟了錄像的時間性問題,這個游泳的迴圈表示在錄像裡存在一個時間上的奇異點,它可以是影片中的任何一刻,也同時不等同於任何一刻。它成了一個異質的點,瓦解並建構影像內容的一個特異的時間性,一如德勒茲所說的時間水晶(the crystals of time): 時間在每一刻分裂成當下及過去,兩者有著本質上的不同。也就是說,時間分裂成兩個異質的方向,一個朝向未來,另一個落入過去。在時間分裂的同時,它自行開始、自行展開:它分裂成兩個不對稱的噴發,一個使每一個當下成為過去,而另一個則是保存所有的過去。時間由此分裂所構成,這就我們在水晶裡見到的時間。(CINEMA II: The Time-image 81) 解除了歷時性的、線性的影像時間,影像內容便從影像賴以維生的時間基底上剝離開來,它紮根進入海裡,卻又自我滿足、凝結,自成一個時間系統。這個時間水晶均質分佈在游泳者的迴圈上,當觀眾投身進入這個系統,將有那麼一瞬間,感官感覺停滯,近乎真空。 |