杜塞爾多夫藝術館 歡迎來到叢林

文 奚雷 譯 賀瀟 圖杜塞爾多夫藝術館

杜塞爾多夫藝術館：歡迎來到叢林

杜塞爾多夫藝術館/杜塞爾多夫

2018/3/3–2018/5/21

勞拉·利馬 冒煙 裝置 綜合材料 /

Laura Lima, Fumoir, installation, mixed material, 2009

杜塞爾多夫藝術館作為一個旨在關注當下的藝術機構，已經不是第一次舉辦涉及政治題材的展覽了。近日，藝術館為了紀念建館五十周年而舉辦了一次主題展，展覽的名字 「歡迎來到叢林」 聽上去也就如一本地緣政治學讀物 一般：當人們談起 「叢林」 的時候，就已經即刻自動引用了包含在詞語背後的，與熱帶、神秘主義、人類學、殖民史和戰爭史有關的圖像。

「叢林」 是棲息與鬥爭、豐盛與孤獨、野性與聖潔的矛盾體。策展人在展覽文案中感嘆道：「從碳足跡到可持續性投資， 從企業社會責任到生產鏈的環境影響——我們在實踐中所面對的信息，就如叢林一般緊密。而我們往往不清楚什 么樣的信念是最適合我們的，也不知道哪條理論的道路將通往正確的方向。」在消費社會的複雜性中，倫理實踐已經不再僅僅是道德問題，而更是一個智性的問題。而用思考來對抗阿倫特所說的「惡的平庸性」，也許對社會全體來說是一種難以企及的奢侈。但除了閱讀之外，藝術展覽是否可以為到達這種奢侈提供一條蹊徑？

「歡迎來到叢林 」 展示了約納塔斯·德·安德拉德（Jonathas de Andrade）、克里斯提娜·布赫（Kristina Buch）、奧托·胡德茨（Oto Hudec）、勞拉·利馬（Laura Lima）、辛西婭·瑪塞爾（Cinthia Marcelle）、馬里奧·普法伊費爾（Mario Pfeifer）、劉詩園、竹內公太 （Kota Takeuchi）以及阿爾瓦羅·厄爾巴諾（Alvaro Urbano）的作品。如今歐洲的藝術世界已經成了知識界的鏡像，這些展出作品所涉及的生態、經濟、殖民以及全球化議題，也呈現了當下理論世界中的幾條主線。另外，也許是為了呼應展覽的標題，巴西裔或者創作主題涉及巴西的藝術家們成為了這次展覽的主力。

巴西藝術家約納塔斯·德·安德拉德的影像《崛起》紀錄了一場由藝術家本人組織的賽馬會。巴西東北部城市累西腓在幾年前頒布了禁令，禁止包括農業牲畜進入城市，這條禁令一定程度上導致了農業人口被排擠在城市之外。 於是，作為反抗，安德拉德為牧羊人們在這座禁止牲畜入內的城市組織了一場賽馬比賽。而影片本身對比賽現場詩意性的紀錄，也展示了權力在城市發展中的自我矛盾。

同為巴西裔的藝術家勞拉·利馬展示了她的作品《冒煙》。在這件裝置中，躲在牆後的工作人員會從牆上的兩個 小洞中伸出雙手，點燃手中的煙斗，並邀請觀眾吸食。無論這位巴西藝術家是否如策展人所說，試圖在展覽中為觀眾提供一個非西方視角，還是旨在打破美術館的空間規則，人們都可以在這座城市中最不應該吸煙的地方，抽 上兩口新鮮的煙草。

馬里奧·普法伊費爾 不可動搖 4K 影像 /

Mario Pfeifer, Corpo Fechado, 4K Video, 2018

在馬里奧·普法伊費爾的影像作品《不可動搖》中，我們可以看到聖保羅居民所信仰的宗教，在外來和本土、原始和現代的混合中，所呈現的混雜狀態。影像中描繪了發生在聖保羅的三場信仰運動：「克里斯托弗水晶主義」相信用外星生命的力量可以治癒人類在全球化進程中所受到的精神和肉體上的損害；盛行於聖保羅非裔社區的「康多拜」是一種發源於非洲班圖文化，並融合了天主教文化的混合型宗教，「康多拜」的教旨認為，包括種族主義在內的各種社會政治問題，本質上都屬於一種精神上的考驗；「馬坤巴賽博」則是一個「後宗教」時代的宣言，其將現代技術與流傳於亞馬遜流域的「馬坤巴巫術」相結合，創造出一種適應當下的「科技薩滿」，旨在找到一種調和人類 與自然的新方式。

這些作品中所展示的巴西，讓我聯想到了列維-施特勞斯在《憂鬱的熱帶》中所記述的、巴西本土知識界在西方思想衝擊下產生的尷尬境況，以及彼時瀰漫在巴西聖保羅大學中的熱情與浮躁。對此他抱怨道，當年的那些年輕 知識分子們「永遠對新出爐的東西感到興緻勃勃」，而「對觀念和理論本身並沒有什麼興趣」[1]。這些以往在聖保羅 發生過的，如今正以別的形式，在其他非西方世界中不停重現著。而在對自身批判的推動下，這種熱情似乎永遠不會熄滅。

在後殖民時代，比起非西方知識分子所處的種種迷局，非西方和少數族裔的藝術家在建立主體性的過程中，則面 臨著另一種複雜和不均的窘境——中國藝術家們對這種困境也許早已十分熟悉。一方面，他們在內部承受著由民 族主義和文化本質主義所引起的分裂。另一方面，他們在外部面對著多重的孤立。就在幾年前，在北京一場有著濃鬱黑色幽默氛圍的美學研討會中，一位學者還將作為藝術形式的裝置直接等同於文化殖民，並宣稱對其必須進行無差別地抵制。當然，這位學者言論中的文化本質主義和民族主義色彩只是個別現象，但是，中國知識界普遍為藝術所預設的神聖的自律性，與很多藝術家們對藝術的期望並沒有太多的交集。而我們也已經很難說清，知識 與藝術分裂的主要原因是前者由誤讀而產生的失望，後者自身複雜和混亂的歷史階段，還是僅僅因為兩者前行方向的分離。除了被知識界邊緣化之外，中國的藝術家們在外部還面臨著來自本土社會、政治力量以及目前全球化 進程中仍由西方主導的藝術界的另外三重邊緣化。藝術與這些領域之間相互排斥著，但同時又在資本、審美需求、 文化生活以及政治策略的協力推動下碰撞、滲透，並且最後在對抗與衝突中走向一種相互依存。

如果我們就如同將密集的信息比喻成叢林一般，把組成了社會的各類共同體，比作叢林生態系統中不同種群的話， 此次的紀念展就像是一顆藝術的灌木叢中平淡無奇但又只屬於歐洲生態系統的果實。如果人們分析果實中的成分， 將發現果實並不只是母體的產物，也同時呼應了整個生態系統當下的防禦行為：由於內部的流通性，局部也會對系統在整體上所受到的威脅做出反應。因此處在枝端的藝術展覽，也必然成為一種應對歐洲社會問題的途徑。但 是在面對整體所受到的威脅時，人們真的能通過藝術得到意想中的有益效果嗎？這就已經不僅僅是一個美學問題了。而在中國目前的社會生態中，藝術尚未真正進入系統的流通與循環之中。因此人們面對的，是另一種必須抉於初始的選擇：在這片土地上，藝術是否也應該被整合到社會生態系統的防禦機制之中？或者我們可以如這次展 覽文案中那樣提問：到底哪條理論的道路才會通往正確的方向？也許我們正在面對的迷局，與李鴻章們和康有為們在百餘年前所面對的並沒有太大的區別。不同的是，如今道路的終點已然消失。

[1]（法）克洛德·列維-施特勞斯，《憂鬱的熱帶》[M]，王志明（譯），北京：中國人民大學出版社，2009，第119頁

Kunsthalle Düsseldorf: Welcome to the Jungle

By Xi Lei, Translated by Fiona He, Image Courtesy of Kunsthalle Düsseldorf

Kunsthalle Düsseldorf : / Welcome to the Jungle

Kunsthalle Düsseldorf / Düsseldorf

3 March 2018 - 21 May 2018

約納塔斯·德·安德拉德 崛起 高清影像 /

Jonathas de Andrade, O Levante (The Uprising) , HD-Video, 2012 - 2013

As an art institution that has been focusing on the now, it is not the first time for Kunsthalle Düsseldorf to present an exhibition on political subjects. Recently, in celebrating the 50th anniversary of its founding, a thematic exhibition under the title, 「Welcome to the Jungle」 is on view. The exhibition reminds one of readings from geopolitics, when people talk about 「jungle」, they would immediately associate it with imageries such as, tropical, mysticism, anthropology, colonialism and war.

The 「jungle」 is a conflicting entity that embodies a habitat and struggles, richness and isolation, wilderness and sacredness. The curator laments in the exhibition text, 「From carbon footprints to sustainable financial investments, from corporate social responsibility to the environmental impact of the production chain—in practice, the density of information is taking on jungle-like proportions. Yet it is often not clear what fits best with our own beliefs or which path would theoretically be the right one.」 In the complexity of our consumer society, ethical practice is no longer about moral issues, but intellectual. And to engage reflections as a means of resistance to what Arendt calls the 「mediocrity of evil」, perhaps, it would be an unattainable luxury for society. Other than reading, can an art exhibition provide a channel to arrive at such luxury?

「Welcome to the Jungle」 presents the works by Jonathas de Andrade, Kristina Buch, Oto Hudec, Laura Lima, Cinthia Marcelle, Mario Pfeifer, Liu Shiyuan, Kota Takeuchi and Alvaro Urbano. The art world in Europe today has become a mirror for the intellectual world, and its subjects of discussion are associated with the works of art on view, such as ecology, economics, colonialism and globalization resonate with the main lines of thoughts in the intellectual world. In addition, as a reinforcement of the title of this exhibition, the Brazilian artists or works of art that are affiliated with Brazil have become the main focus of this exhibition.

Brazilian artist Jonathas de Andrade』s videoThe Uprisingdocuments a horseracing event organized by the artist. A few years ago, a ban was issued in the northeastern city of Recife in Brazil that prohibited any livestock to enter the city, causing many farmers to be forced out of the city. As an act of resistance, Andrade organized a horseracing competition for the herdsmen in the city where livestock is banned. Meanwhile, the lyrical footage of the competition in the film has also shown the self-contradiction of power in urban development.

Laura Lima showed her work,Fumoir. In the exhibition, the staffs hide behind the wall poke out their hands through the holes, and light up the pipe in their hands, and invite the spectators to smoke. Whether this Brazilian artist is trying to provide a non-Western perspective as suggested by the curator, or aimed at rejecting art museum conventions, people had the opportunity to smoke a few puffs of tabacco in a city where smoking is usually forbidden.

In Mario Pfeifer』sCorpo Fechado,we are informed of the hybridity of religious beliefs among the Sao Paolo』s residents, who are often caught between the rifts of foreign and local, indigenous and modern. The video portrays the three religious movements that are pervasive in Sao Paolo: 「Christov?o Crystal」 which believes in the power of alien life to cure the spiritual and physical damage of humanity in the course of globalization; 「Candomblé」, popular among African communities, is a branch of Bantu culture originated in Africa, this hybrid of Catholicism believes that many social political issues including racism are essentially a spiritual test; 「Macumba Cyber」 is a manifesto for 「post-religion」 period, which combines modern technology with Macumba witchcraft that is popular in the Amazon region, to create a Techno-Shamanism that tailors to the contemporary, aimed to search for a new approach that mediates humanity and nature.

馬里奧·普法伊費爾 不可動搖 4K 影像 /

Mario Pfeifer, Corpo Fechado, 4K Video, 2018

The Brazil presented through these works reminds me of the awkward conditions of Brazil』s indigenous intellectual world under the impact of Western influence described in Levi-StraussTriste Tropique, and the passion and restlessness hovering over the universities in Sao Paolo. For which he complained about those young intellectuals, 「were always ready to enthuse over new dishes」, yet 「ideas and theories held no intrinsic interest for them」 . What has taken place in Sao Paolo has once been manifested in other forms and is now being replayed in non-Western worlds. And with the drive to self-criticize, this kind of passion seems to never cease.

In the post-colonial epoch, compare to the various dilemmas non-Western intellectuals are caught in, artists of non-Western and visible minorities confront a different kind of complexity and unfair conditions in the process of constructing their subjectivity – ones that have been quite familiar to Chinese artists. On the one hand, they are susceptible to the split between nationalism and cultural essentialism internally. On the other hand, they are confronted with all kinds of isolation externally. A few years ago, in a forum on aesthetics carried out held in Beijing with dark humor, a scholar equated installation as an artistic form to cultural colonialism, and claimed that one has to resist it with indifference. Although the cultural essentialism and nationalistic inclinations in this scholar』s view is rare, however, the sacred self-regulatory nature of art projected from the Chinese intellectual world has little to do with what the artists envision. And it is difficult for us to distinguish whether the split between knowledge and art is due to the disappointment from misinterpretations of the former, the latter』s complex and chaotic historical period, or the diverging directions of the two. Other than being marginalized by the intellectual world, Chinese artists have to confront three folds of marginalization coming from its local society, political power and western dominated art world in the present course of globalization. While the repulsions between art and these fields are pervasive, at the same time, they clash, permeate and eventually mutually dependable co-existence through resistance and conflicts with capital, aesthetic desires, cultural activities and political strategies.

If we were to compare the density of information to the jungle, and the various types of communities that constitute society as the various species in the ecological system of the jungle, then this celebratory exhibition pales among the short bushes of the art world, nevertheless, it』s a fruit that belongs to the European ecological system. If people were to analyze the components of these fruits, they』d realize that they have not only fallen from the mother plant, but resonate with the prevention of the overall ecology: due to communication within, the details would react to the threat from the overall system. Therefore, the art exhibitions take place at these nerve endings have ultimately became a path to these social issues in Europe. However, when confronting the threat from the overall system, can people actually retrieve the benefits they have imagined? This is no longer simply an aesthetic issue. In the Chinese social ecology today, art has yet to enter into a system of communication and circulation. Therefore, people are confronting an alternative decision at its inception: in this land, should art also be integrated into the preventative mechanism of its social ecological system? Or can we ask the questions stipulated in the exhibition text, which theory would lead us towards the right direction? Perhaps, we are caught in a dilemma that is not much different from what Li Hongzhang and Kang Youwei had to confront a century ago. The only difference is, the end of this path has already disappeared.

[1] Claude Lévi-Strauss, Tristes Tropiques[M], trans. John Weightman. New York: Penguin Group, 2012.

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