雎安奇：咏舞 Dance Aria
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2017年5月27日，艺术家雎安奇于北京在3画廊教堂空间举办他的最新影像作品展《咏舞》。这是继去年影响深入的《大字》展映后，雎安奇与在3画廊又一次推出的最新力作。
与去年《大字》双屏呈现不同，此次展览以多媒介装置组合的方式，在不同的空间里来共同呈现《咏舞》。本次展览的名称来自于中国古代历代诗人歌咏舞蹈的诗名“咏舞”。作品与古人一致，为了“咏舞”，雎安奇带着一台袖珍红外线摄像机在几乎全黑的地下色情舞厅进行拍摄和访问……
展览现场，在3画廊教堂空间中悬挂的大幕无声的播放着视频内容：“几对男女跳“砂舞”的场景”；二楼小空间里是由高音喇叭组合而成的装置作品，伴随七彩滚动魔球的旋转，喇叭里各种舞厅和陪舞女的对话声音回荡其间；三楼的另外一个空间则悬挂着闪烁的LED灯箱，灯箱循环呈现有关《咏舞》的古诗。
雎安奇以彩色录像、高音喇叭装置、LED灯文字三种不同的方式来“咏”舞，形成差别性语言表达。录像以其技术的直观特性再现了贴面“砂舞”由来的原始本欲。砂舞开始于防空洞等地下建筑，男女方紧搂在舞池一动不动，下身敏感部位紧密接触，上下左右反复摩擦，形同砂轮打磨物件，顾名思义“砂舞”，这种舞蹈流行于民间舞厅，成为社会底层社会交往和解压方式。三对男女“砂舞”场景，在摄像机镜头的窥视下，文明仪式的原初欲望与仪式规则之间的荒诞悖论暴露无遗。
而高音喇叭装置里播放着艺术家和陪舞女的谈话，因展览空间的特殊作用，其日常语言不再是让人听之邈邈的状态，一下子把观众带入耐心揣摩和对真实舞厅与舞女们生活场景的联想之中，别样感动，引人深思。
LED灯闪烁的古诗，则把熟悉的文学作品陌生化了，原有的、通过阅读吟诵并借助对于古人想象力建构的“美姬歌舞”的风貌消退，古诗的轻盈飘逸幻化为当下霓虹闪烁的刺眼焦躁，诗情画意变成消费时代的一块LED广告牌。与高音喇叭中的声音采样呼应，突破诗歌描述的想象屏障，新的真相展露，更显诗性歌咏时代的一去不返。
作为一个跨媒体艺术家、一个导演，多样媒介使用是雎安奇艺术表达始终的探索。在“咏舞”中，三种表达媒介，好比是对主流电影“声画字幕同步”的技法的回避与单项的锤炼，其交互综合产生更丰富的刺激，彻底取消了电影通常的娱乐消遣特性。面对不同媒介对同一个相关问题的表达，最终必然将观众引入用心思考的情景：舞蹈的原欲、现代舞女的处境、古典吟咏的语境……雎安奇的“咏舞”以一种更复杂的方式跨越了社会纪录片的边界去实现创作。
艺术家一直在强调，他的作品与古人目的一致，为了“咏舞”。身处一个媒体手段多样的现代社会，不再是像古代文人士大夫那样只能以“文字”或者“图画”来描绘世界，不同于古典诗歌“咏舞”，以男权视角对女子的颜色、服饰、歌姿、舞态等的浮艳描述，当代“咏舞”，最终刺探到更多真相和本质。更进一步讲，当代“咏舞”的照亮意义远大于古典诗歌“咏舞”的感染意义。当代艺术使我们获得更多认知收益。
雎安奇于在3画廊的两次展览，《咏舞》和《大字》都探索性的运用了教堂空间本身的结构。“大字”以双屏录像借助教堂高阔的空间气氛，从 1968年鼠标之父道格拉斯.恩杰尔巴特展示首个鼠标的视频文献开始，不断切换到摄影机在新疆戈壁上空的穿行……镜头中的一堆堆碎石幻化出1968年世界各地的政治文化浪潮场景。恢弘的现场，使我们深入到对盲目而轰轰烈烈的社会活动的认识之中。这次“咏舞”，录像、声音、文字在不同空间的交互式展示，更是一次有意味的尝试。
艺术发展到今天，最前卫的体验还是应该去到画廊空间的现场，尤其是当画廊主默默接受艺术天才们把空间作为其艺术语言密切相关的实验场以后，画廊不再是油画和雕塑的储藏室，而成为一系列行为舞台、讨论和表达观念的工具。比如画廊里电影的空间，它让你难受的站着，区别观看好莱坞电影的舒适。启示的得到从来都不是就着爆米花和可乐的。
本次展览将持续到6月24日，欢迎各位朋友前来观看体验。
On May 27th, artist Anqi Ju’s newest video exhibition “Dance Aria” launched at Being 3 Gallery. This is the newest piece by Anqi Ju at Being 3 since last year’s “Big Characters”.
Differing from last year’s “Big Characters”, this exhibition is composed of multi-media installations, using different spaces to present “Dance Aria”. The name of this exhibition comes from poems titled “Poetry of Dance” by ancient poets in China. Like the ancient poets, Anqi Ju’s piece is a “dance aria”. Anqi Ju used a mini infrared video camera to record and interview in underground dance halls that are almost entirely dark.
At the exhibition, a screen is suspended in Being 3’s Church space, with the content of “some pairs of men and women dance the ‘sand dance’”; the second floor space has an installation composed of speakers, accompanied by spanning rainbow disco balls, playing the sound of dance halls and conversations with the dancers; LED light boxes hand in the third floor space, looping ancient poems of dance.
Anqi Ju uses color video, speaker installation, LED light depicting poems as three different ways to depict the “poetry” of dance, forming differential language expression. Videos use the directness of its medium to viscerally depict the primitive urge in “sand dance”. Sand dance originated in air raid shelters and other underground buildings, where men and women hug each other close and stay in one spot, while rub their private parts together, much like how grinders sand down objects, hence “sand dance”. This is a style of entertainment common to the working people of this area. Through the voyeuristic eye of the camera, the scene of three pairs men and women dancing the sand dance exposes the the absurdity of the paradox between civilization and primitive urges.
The flashing LED lights depicting ancient poetry severs to defamiliarize familiar pieces of literature. The imagery of “beautiful dancers” in ancient poetry is transformed into the bright and anxious commercial LED screens. Calling out to the speakers playing voice samples, these lights break through the imagination of poetry, exposing the new truth, augmenting the passing away of the age of reciting poetry.
As a multi-media artist and a director, the use of multiple media is always the focus of Anqi Ju’s artistic exploration. In “Dance Aria”, the three media are an avoidance of mainstream film’s sound-image-subtitles synchrony. The interactive synthesis of the three creates a fuller stimulus, totally cancelling out the entertainment characteristic of films. Using different media to express the same question will ultimately lead viewers to consider the following scenarios: the primitive urge of dance, the status of contemporary dancers, and the textual context of recitation in ancient poetry… Anqi Ju’s “Dance Aria” goes beyond the boundary of documentaries with a more complex way of realizing creative output.
The artist emphasizes that his piece has the same intention as ancient poetry of dance. But in the multi-media society of today, one can not only use text and image to record the world, as the ancients did. And unlike ancient poetry of dance, which use a patriarchal viewpoint to describe the way the dancers looked, dressed, sang, and danced, in erotic ways, the contemporary “Dance Aria” ultimately discovers more truths and essences. Ergo, the contemporary “Dance Aria” is far more illuminating than affecting. Contemporary art helps us to gain more cognition.
Anqi Ju’s two exhibitions at Being 3, “Dance Aria” and “Big Characters”, both use the structure of the Church space in exploratory ways. The double screens of “Big Characters” borrows the soaring atmosphere of the Church space, alternating between text on video of the Douglas Enjerbate, the Father of the Mouse, displaying the first mouse in 1968, and drone images taken above Xinjiang Gobi… the pebbles transform into images of political events around the world in 1968. The grand space help submerge us into political movements that are both blind and stirring. This time for “Dance Aria”, video, voice, and text interact with each other from different spaces as an exploratory experiment.
In the long development of art, the most avant-garde viewing experience is still going to gallery spaces, especially as gallery owners accept that artistic geniuses see exhibition spaces as experimental spaces intricately tied to their artistic expression. Galleries are no longer storage rooms for oiI paintings and statues, they become tools for performance art, discussion, and expression of viewpoints. For example, the viewing spaces in art galleries force you to stand uncomfortably, differentiating from the comfort of watching Hollywood films. Enlightenment is never accompanied by popcorns and coke.
This exhibition will continue until June 24th, we welcome everyone to come and experience it.