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魔力女孩——展覽現(xiàn)場(chǎng)圖片
魔力女孩——蘇山·席勒
開幕時(shí)間：2008年7月5日星期六下午4點(diǎn)
展覽時(shí)間：2008年7月6日－9月
展覽地點(diǎn)：卓越藝術(shù)，北京市朝陽區(qū)酒仙橋路4號(hào)798藝術(shù)D10
開放時(shí)間：周二至周日上午10點(diǎn)至下午6點(diǎn)
聯(lián)系電話：010-8459 9788
電子郵箱：info@joyart-beijing.com,
網(wǎng) 址：www.joyart-beijing.com,
Psi Girls——Susan Hiller
Opening: 4pm, Saturday, July 5, 2008
Exhibition Dates: July 6 – September, 2008
Venue: JoyArt, Zone D10, 798 Art District, 4 Jiuxian Qiao Road, Chaoyang District, Beijing, China
Opening Hours: 10am – 6pm, Tuesday – Sunday
Tel: ＋86 10 8459 9788
Email: info@joyart-beijing.com,
Website: www. joyart –beijing. com,
蘇山·席勒（Susan Hiller）是英國當(dāng)代重要的觀念藝術(shù)家，她的的作品成就顯著，在當(dāng)代藝術(shù)圖景中占據(jù)著顯著的位置，引發(fā)眾多文化本位探討，從人類學(xué)到心理分析到大眾傳媒技術(shù)，涉及從攝影到裝置、聲音到物品等多種藝術(shù)形質(zhì)。她的作品不斷延續(xù)著自己自七十年代早期開始形成的美學(xué)經(jīng)驗(yàn)，運(yùn)用綜合而又詩意簡(jiǎn)樸的方法探索深處的秘密。馬賽爾·普魯斯特要是看過她的作品，可能會(huì)為其顯示出“天才的神秘之處”而感到驚訝。她的作品一面尋找著藝術(shù)創(chuàng)作的神秘源泉，同時(shí)又探索著其實(shí)現(xiàn)的地點(diǎn)。
作品《魔力女孩》（Psi Girls）初展于1999年，這件裝置作品由5個(gè)同步影像組成，每部分都是一小段來自不同流行電影的鏡頭剪輯，展映具有超能力的年輕女孩的行為。比如說，我們看到一個(gè)女孩只用意念就讓一根筆立在桌上旋轉(zhuǎn)起來（電影《魔女游戲》，“the Craft”，Andrew Fleming導(dǎo)演，1996年），或者用意念讓玩具火車在軌道上跑起來（電影《憤怒》，“the Fury”，Brian De Palma導(dǎo)演，1979年），或者讓桌子上的杯子急速旋轉(zhuǎn)，摔到地上碎成一片（電影《潛行者》，“Stalker”，導(dǎo)演Andrew Tarkovsky，1979年）。每個(gè)屏幕都設(shè)置成不同的顏色，以改變圖像的本質(zhì)，重構(gòu)其語義內(nèi)涵：紫色與神圣，綠色與超自然，藍(lán)色與再生，黃色與犯罪，紅色與激情。六種顏色中唯獨(dú)沒有桔黃色，一種心理學(xué)家認(rèn)為可以代表內(nèi)心和諧的顏色。裝置配以一段由某靈樂唱團(tuán)改錄的節(jié)奏感強(qiáng)烈的音樂，給人以迷惑和驚愕的感覺。羅杰·凱洛依斯（Roger Caillois）把這種迷惑的方法稱為“制造眩暈與快樂的感覺，以摧毀制度和穩(wěn)定。”的確，席勒的作品經(jīng)常有意地配以玄妙和怪異之物，制造眩暈的效果，玩笑般地恐慌造成了與既存現(xiàn)實(shí)的巨大差異。
Susan Hiller is an important conceptual artist of UK, she occupies an original and anticipatory place with respect to the landscape of contemporary international art, drawing on many cultural references, from anthropology to psychoanalysis to mass media technologies, and operating across various means from photography to installation, sound and object. It presents a continuity of aesthetic experience that the artist began in the early 1970s through an exploration of the deep place of visibility using com,plex and poetic minimal means. Marcel Proust might have said that her work is an astonishing revelation of the ‘mysterious phenomenon of scintillation’. It searches at one and the same time for the secret source of artistic creation and the place of its realization.
Psi Girls, first exhibited in 1999, is an installation of five simultaneous video projections, each a montage of brief sequences from various popular films that figure an act of telekinesis performed by young girls. For instance, among them we recognize the sequences in which, through her powers of concentration alone, a girl spins a pencil on its point (Andrew Fleming’s The Craft, 1996)， or accelerates a miniature train around a track (Brian De Palma’s The Fury, 1978), or shifts glasses across a table to smash out of frame onto the floor (Andrei Tarkovsky’s Stalker,1979). Each screen is suffused by a different colour, altering the nature of the images and remapping their semantic meanings: violet and the sacred, green and the supernatural, blue and regeneration, yellow and transgression, red and passion. Of the six primary colours, orange, thought by psychologists to reflect internal harmony, is ‘missing’. The projections are accom,panied by a pulsating soundtrack remixed from a gospel choir, which contributes to a sense of disorientation and amazement. Roger Caillois speaks of such disorientation as linking ‘the sense of vertigo and the pleasure to destroy order and stability.’ Indeed Hiller’s work is always orchestrated around nuances of the occult and aberrant, the play of the vertiguious, and a ludic panic that produces a disjunction with established reality.
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