The Swimmer II
2017 Two-channels video, color, silent Video 1: 2:00’44” Video 2: 43” When the film is sliced, what will happen? This is an incident, that is, the scare occurs after the event. Speed ahead of consciousness, so that the density of the original film gathers at the moment of the collision, that is Paul Virilio said the moment of picnolepsie, the presence of absence. With the irregularity of the epileptic space, defined by surprise and an unpredictable variation of frequencies, it’s no longer a matter of tension or attention, but of suspension pure and simple (by acceleration), disappearance and effective reappearance of the real, departure from duration. (The Aesthetics of Disappearance 22) Audience sat in front of the video for a long while and tried to find some clues among the slight changes. Compared to Douglas Gordon’s “24 Hour Psycho” (1993), by the time editing technology of film, the 32 seconds of the original film is played by frame to 2 hours, it is slow enough to cut off the continuity of the film and then becomes each separate slide. The speed of collapse, the moment of picnolepsie is unfolded (it is a gap in continuity), there is only relevance of the content between the film and the event. The tension of the event totally disappears, so that it makes the film detach from original event and exist individually. In addition, at the other end of the exhibition, the original event is reproduced on the screen at the original speed, and therefore the conflict that is caused by the speed occurs. On the one hand, the work reproduces the event, on the other hand it deconstructs and reconstructs a non-narrative vacuum video. The tension of the work also occurs in the collapse of the tension. |
在海面上的游泳者 2
2017 雙頻道錄像,彩色/無聲 錄像1: 2:38’15” 錄像2: 28” 當影片被切片,將會發生什麼事? 這是一個偶發事件,也就是說,驚嚇發生在事件之後。速度超前於意識,使得原始影片的密度聚集在碰撞的那一瞬間,那是保羅.維希留(Paul Virilio)所說的失神(picnolepsie)瞬間、不在場的在場。 由驚訝和無法預料的頻率變動定義出這個不均衡的失神空間,它並不取決於張力或注意力,而是由加速度所產生的單純而簡單的懸置,使現實消失並有效的再現,而這違背了時間的連續性。(The Aesthetics of Disappearance 22) 觀者在影像前枯坐許久,企圖在緩慢的些微變化間尋找線索。相較於道格拉斯.戈登(Douglas Gordon)1993年創作的《24小時驚魂記》(24 Hour Psycho),藉由影像的時間編輯技術,作品中28秒鐘的原始影片逐格播放成158分鐘,速度慢到足以切斷影片的連續性,成為每一張獨立的幻燈片。速度瓦解,失神的瞬間被展開(它是連續性中間的一個洞),影像和事件之間僅殘留內容上的關連性,事件的張力消弭殆盡,使影像脫離原始事件的依附而獨自存在。另外,在展場的另一端,螢幕上以原速度再現原始事件,速度所產生的衝突性於是發生,作品一方面再現事件,一方面解構並重建一個非敘事性的真空影像,作品的張力也就發生於對於張力的瓦解之中。 |
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