McaM 展览丨“无声之后”展览作品介绍 丨Channel a. 无声之后
作品介绍
聆听的反面是无声吗？对于声音的辨别和认知素来是一种认识自然的方法，展览的出发处对于依赖聆听技术去认知世界的方式进行垂问：在有限度的聆听之外，我们能否走进那个看似无声、尚未被单一听觉模型治理的世界？寂静、无声所投射出的关系性对象可以怎样被解读？是什么制造了“静默”，而我们在无声环境中究竟能听到些什么？
Is silence the opposite side of being heard? Given that the identification and perception of sounds have always been fundamental to understand nature, the exhibition raises questions about our dependence on listening techniques to comprehend the world. Beyond the constraints of listening, can we explore a seemingly silent world that has not yet been governed by a singular auditory model? How can the relational aspects presented by silence and soundlessness be interpreted? What defines “silence,” and what can we actually hear in a soundless environment?
维贝克·马西尼和埃拉·芬纳
《无声鲸笺》
Vibeke Mascini and Ella Finer
Silent Whale Letters
2023
声音装置，书
Sound installation, book
13 x 19.5厘米，128页，黑白插图6张，平装
13 x 19.5 cm, 128 pages, 6 b/w illustrations, softcover
Courtesy of Vibeke Mascini and Ella Finer
作品由维贝克·马西尼和埃拉·芬纳提供
维贝克·马西尼和埃拉·芬纳，《无声鲸笺》
“无声之后”展览现场，McaM明当代美术馆，2023
Vibeke Mascini and Ella Finer, Silent Whale Letters
Installation view at "Postscript of Silence", McaM, 2023
作为一次尝试聆听超出人类感知频率范围的实验，《无声鲸笺》是一组亲密的异地书信往来，从声音档案中一段无声的记录，感知一头蓝鲸发出的次声，以及其他所谓“无声”的对象。
这些书信是埃拉·芬纳与维贝克·马西尼之间持续进行合作的一部分，其思考了无声档案是如何改变档案逻辑，并将聆听视为一种留存式的实践。
作者在这些跨越时间与空间的对话中思考着海洋的喧嚣，并探讨了物质、能量、波长与洋流的运动，以及海洋是如何在不断弥散的同时亦留存其承载之物的。同那些在我们感知范围内看不见，甚至也听不见的东西一起合作，是如何改变了我们注意力的界限？海洋作为一种充满能量的档案空间又是如何扰动特定知识、历史与权力的话语权？
这些书信所记述的过程既是观念性的，也是亲密的，既是理论的，也尤为私人，其中的探讨涉及（羊水）暗流、号召-回应机制、能量波长、海洋与档案记忆、神秘尺度，以及水域声学环境。
An experiment in listening to frequencies beyond human sensorial range, Silent Whale Letters is a long-distance correspondence intimately attuned to the infravoice of a blue whale, a document held silent in the sound archive, and other so-called “silent” subjects.
As part of an ongoing collaboration between Ella Finer and Vibeke Mascini the letters consider how the silent document shifts the logic of the archive, figuring listening as a practice of preservation.
As the letters attune to the ocean loud with communications across time and space, the authors write about the movement of matter, of energies, wavelengths, currents and how the ocean preserves as it disperses what it carries. How does working with what we cannot see, or even hear within range, shift the parameters of attention? How does the energetic archival space of the ocean agitate and disrupt claims to knowledge, history, and power?
The letters chart a process that is equally conceptual and intimate, theoretical and deeply personal, moving through discussions of (amniotic) undercurrents, call-and-response mechanisms, energetic wavelengths, oceanic and archival memory, mysterious scales, and the watery acoustic commons.
舒比吉·拉奧
《寂静研习》
Shubigi Rao
A Small Study of Silence
2021
单频影像（彩色，有声）
Single-channel video (color, sound)
29分36秒
29’36”
作品由艺术家提供
Courtesy of the artist
舒比吉·拉奧，《寂静研习》
“无声之后”展览现场，McaM明当代美术馆，2023
Shubigi Rao, A Small Study of Silence
Installation view at "Postscript of Silence", McaM, 2023
在舒比吉·拉奧的《纸浆》项目中，非人类的知识与脆弱性构成了她研究、写作与艺术创作的一部分，而这件作品也正体现了这一点——栖息地破碎与消失的声音，以及她从童年时期在她与家人所居住的北印度山脚下的丛林中学到的，关于跨物种呼叫与交流的知识。
拉奥的这件作品聚焦于以人类中心的视角来感知自然世界的局限性，作品中的影像来自多年来积累拍摄的辅助镜头素材，还有近来艺术家在隔离酒店和新加坡各地所拍摄的画面。这件影像作品受到艺术家母亲的启发，她的母亲在1980年代印度卡拉东格伊丛林中教授她的孩子们如何去聆听鸟类、昆虫与动物发出的声音与警鸣，这是孩子们初次接触到跨物种交流复杂性的壮美。这件作品铭记了那些知识，并见证了栖息地的迅速破裂，生态系统的丧失，全球动物、鸟类和昆虫语言和文化记忆的衰退，以及每14天就有一种人类语言灭绝的现实。本片是对于本土画家的劳动以及其绘画才华的一次肯认。由殖民者撰写的当地自然历史书籍离不开他们对于本地动植物群大量丰厚的知识贡献和插画，而他们却极少在书中被提及和致敬。
该作品由2021-2022年在澳大利亚昆士兰现代美术馆（QAGOMA）举办的第十届亚太当代艺术三年展委任创作。
This work is an example of how non-human knowledge and fragility are part of Rao’s research, writing, and art in her “Pulp” project - the fragmentation of habitat and vanishing sounds, and drawing on the knowledge of interspecies calls and communication that she learnt as a child from the Norther Indian foothill jungle in which her family lived.
Drawn from B-roll footage shot over many years, and more recent visuals shot during her stay in a quarantine hotel, and across Singapore, Rao's work looks our inability to conceive of the natural world outside of a human-centered lens. This film is also inspired by the artist's mother who taught her children how to listen to the sounds and alarm calls of birds, insects, and animals in the jungles of Kaladhungi in the 1980s, their first introduction to the magnificent complexities of interspecies communication. This film remembers that knowledge, and bears witness to the rapid habitat fragmentation and loss of ecosystems, the degradation of linguistic and cultural memory in animals, birds, and insects across the world, as well as the extinction of a human language every 14 days. This film recognizes the labor and brilliance of native painters and illustrators who are rarely acknowledged for their knowledge and their lush illustrations of local flora and fauna in colonial books of natural history.
Commissioned for the 10th Asia-Pacific Triennial of Contemporary Art 2021-2022, at QAGOMA, Queensland, Australia.
刘窗
《声音是货币吗？》
Liu Chuang
Can Sound Be Currency?
2021
单频2K影像（彩色，立体声）
Single-channel 2K video (color, stereo)
19分43秒
19’43”
第十三届上海双年展和上海当代艺术博物馆委任制作
Commissioned by the 13th Shanghai Biennale and Power Station of Art.
作品由艺术家和天线空间提供
Courtesy of the artist and Antenna Space
刘窗，《声音是货币吗？》
“无声之后”展览现场，McaM明当代美术馆，2023
Liu Chuang, Can Sound Be Currency?
Installation view at "Postscript of Silence", McaM, 2023
自古以来，在不同的文化中，山都被视为圣地，它们激发了大量的神话、仪式和宗教。在《声音是货币吗？》中，四川省的山区景观与不同来源和性质的声音产生了共鸣：大气和动物，人类和人工。影片中的声音景观是有意义的，它唤起了人类与自然之间复杂的纠葛，原住民社区的宇宙观和语言多样性，以及声音表达精神意义和塑造物种间关系的不断变化的方式。《声音是货币吗？》的背景是一个少数民族聚居的地区，它还探讨了当地社区在面对快节奏的经济发展时所承受的变化和损失。
文字/Dr Anna Lovecchio（南洋理工大学新加坡现代艺术中心助理总监）
Since time immemorial, mountains have been regarded as sacred sites across different cultures and they have inspired a wealth of myths, rituals, and religions. In Can Sound be Currency?, the mountainous landscape of the Sichuan province resonate with sounds of diverse origin and nature: atmospheric and animal, human and artificial. The film’s sonic landscape is meaningfully composed to evoke the complex entanglement between humans and nature, the cosmological views and linguistic diversity of indigenous communities, and the evolving ways in which sounds express spiritual significance and shape interspecies relations. Set in a territory rich with ethnic minorities, Can Sound be Currency? also addresses the changes and losses endured by local communities in the face of fast-paced economic development.
By Dr Anna Lovecchio (Assistant Director, Programmes, NTU Centre for Contemporary Art Singapore)
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正在展览
2023.11.4 - 2024.2.25
策展人
龙星如、钱诗怡
助理策展人：陈子涵
艺术家
Vibeke Mascini & Ella Finer 、费亦宁 Fei Yining、Julie Freeman、刘窗 Liu Chuang、Nicole L’Huillier、许家维 Hsu Chia-Wei、Knowbotiq、Jeroen van Loon、Nicholas Mangan、Yuri Pattison、Diana Policarpo、Shubigi Rao、Riar Rizaldi、Susan Schuppli、Nastassja Simensky、Himali Singh Soin、苏郁心Su Yu Hsin、Jol Thoms、Nomeda & Gediminas Urbonas、Richard Vijgen、Susanne M. Winterling、黄美婷 Cosmo Wong、张北辰 Zhang Beichen
展陈设计
王一帆
主办
明园集团
McaM明当代美术馆
出品人
李松坚、凌菲菲
地址
上海静安区永和东路436号
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