McaM 展览丨“无声之后”展览作品介绍 丨Channel b. 时间里的录制
作品介绍
在一段往地心、河床、冰臼、海底的探索及向幽暗生态的考古历程中，我们不断被发现或偶遇物质和基础设施共同刻录的环境记忆，这些多样的录制也提供了一种对环境音素进行非线性编曲的可能，地球环境的年表在被采样的同时，也仍然保留着许多混沌模糊的地带，这一程中，我们试图在这段地球年表中跳跃式地超链接。
In an archaeological journey into the Earth’s core, riverbeds, glacial moulins, the depths of the sea, and the ecologies of the realms of darkness, we continue to uncover or chance upon environmental memories etched by materials and infrastructures. The assortment of recordings provides an opportunity for the non-linear composition of environmental sound elements. Throughout this expedition, we strive to leapfrog and establish connections between the numerous chaotic and nebulous terrains of the Earth’s environmental chronology, as they are sampled.
妮可·卢利尔
《奥勒胡纳（XS）》
Nicole L’Huillier
La Orejona (XS)
2023
声音雕塑/传感器装置，着色硅胶，电子元件，
Sonic sculpture/Sensor device, Pigmented silicone, electronics, MDF, Aluminum,
中密度纤维板（MDF），铝，微型控制器，公放，计算机；磁带合集
microcontroller, amplifier, computer; Compilation Album/Cassette tape
尺寸可变
Dimensions variable
作品由艺术家提供
Courtesy of the artist
妮可·卢利尔，《奥勒胡纳（XS）》
“无声之后”展览现场，McaM明当代美术馆，2023
Nicole L’Huillier, La Orejona (XS)
Installation view at "Postscript of Silence", McaM, 2023
《奥勒胡纳》是一个振动膜式麦克风，它与空气中的声波、风的轻拂、地面的震颤，以及由人类与非人类实体的触摸所引起的振动等现象互动。与常规用于捕捉单一信号的现代麦克风不同，《奥勒胡纳》运作的目的是将各个独立信号编织为一个不可分割的混沌噪音集体，一大团错综复杂的声音。《奥勒胡纳》是一个噪音麦克风，一个橡胶收听仪器，它聚焦于不可理解之物的诗意。它不是一个精确的测量设备，恰恰相反，是一个扰乱信号的设备，嘈杂、混录、模糊不清。《奥勒胡纳》意在通过振动的逻辑来探索世界，将那些勾勒我们想象力的严格范式与界限搅成一团模糊的云雾。《奥勒胡纳》邀请我们关注其他编码形式，重新阐释关系的构建方式，定义和叙事，从而倾听那些振动之下的现实。
这件装置被用作可移动户外录音棚，用于社会与自然项目之中，邀请风与其他实体或振动力共同完成即兴集体创作。
La Orejona is a vibrational membrane microphone that interacts with phenomena such as sound waves in the air, caresses from the wind, tremors from the ground, and oscillations induced by touch from both human and non-human entities. In contrast to regular modern microphones that are made to target individual signals, La Orejona operates with the purpose of weaving independent signals into a collective and inseparable muddy noise, a thick mass of convoluted sound. La Orejona is a microphone of noise, a rubbery listening apparatus that centers on the poetics of unintelligibility that is not intended to be a precise measurement device. On the contrary, it is a device for confusing signals, fuzzing, mixing up, and obscuring. By doing so, La Orejona aims to explore the world through a vibrational logic in order to fuzz the rigid paradigms and lines that delineate our imaginations. This is an invitation to pay attention to other codes so we can rearticulate our relational ways and the narratives that define us; so we can tune into our vibrational realities.
This apparatus has operated as a mobile and outdoor recording studio for socio-natural arrangements and collective improvisation sessions with the wind and other entities/vibrational forces.
诺米达&盖迪米纳斯·乌尔博纳斯
《沼泽游戏：吃掉我》
Nomeda & Gediminas Urbonas
Swamp Game: Eat Me
2020
在线数字游戏投影（16:10），游戏操纵杆
Digital projection of the online game 16:10, game controller
作品由艺术家提供
Courtesy of the artists
诺米达&盖迪米纳斯·乌尔博纳斯，《沼泽游戏：吃掉我》
“无声之后”展览现场，McaM明当代美术馆，2023
Nomeda & Gediminas Urbonas, Swamp Game: Eat Me
Installation view at "Postscript of Silence", McaM, 2023
概念：诺米达&盖迪米纳斯·乌尔博纳斯与Nikola Bojić、Kristupas Sabolius 和 Indrė Umbrasaitė（MIT气候愿景）合作
开发与用户体验：ungroup.group和Siamend Darwesh
网页设计：Serge Rompza（NODE 柏林，奥斯陆）
声音：Jan St. Werner（Mouse on Mars）
与科学家Vesta Aleknavičiūtė（Vytautas Magnus大学，考纳斯）和Jūratė Sendžikaitė（自然研究中心，植物研究所，立陶宛）合的研究
《沼泽游戏》由德国ZKM卡尔斯鲁厄艺术与媒体中心委任，“关键带 ：地球政治的观测站“，彼得·魏贝尔，布鲁诺·拉图尔与马汀·圭纳共同策划
Concept: Nomeda & Gediminas Urbonas in collaboration with Nikola Bojić, Kristupas Sabolius, and Indrė Umbrasaitė (MIT Climate Visions)
Development & User Experience: ungroup.group and Siamend Darwesh
Web design: Serge Rompza (NODE Berlin/Oslo)
Sound: Jan St. Werner (Mouse on Mars)
Research in collaboration with scientists Vesta Aleknavičiūtė (Vytautas Magnus University, Kaunas), Jūratė Sendžikaitė (Nature Research Centre, Institute of Botany, Lithuania)
Swamp Game was commissioned by ZKM for “Critical Zones - Observatories for Earthly Politics curated” by Peter Weibel and Bruno Latour with Martin Guinard.
这个探索类游戏邀请观众体验一个颤动的沼泽如何能够打开视角的变化。《沼泽游戏》的灵感来自于德国植物学家卡尔·阿尔伯特·韦伯（Carl Albert Weber），他在1902年根据对奥克斯图马拉高地沼泽的科学研究，发表了有关沼泽的首篇专著，当时该地属于前东普鲁士省。根据他的绘图以及当代生物学家收集的一组奥克斯图马拉高地沼泽的数据，这个游戏将沼泽视为有感知的实体，并展开生物学家提出的“共同生成”（sympoietic）关系——即由生态系统中脆弱的相互依存性所产生的集体创造或自组织。游戏在多个层面上运作：它追踪有机体与其栖息地之间的互动，扭曲人类在时空中的坐标，并引入一个替代宇宙。在这里，形状和尺寸，距离、间隔和节奏不断挑战着感知和方向。在此之中，社区中的每一位成员都是其他成员生存环境的一部分，因此对于整个环境的存续都必不可少。《沼泽游戏》通过让我们飞入不同沼泽生物的身体，化身成为不同的物种：植物、昆虫、鸟类、两栖动物、真菌、细菌或藻类，并发掘食人形而上学的主要规则：成为他者的前提是，你必须被吃掉。沼泽世界是不确定的，这里，导航全凭最根本的直觉。玩家应该放弃对个体、生产力和竞争追求的人类欲望，并认可其他认识和感知世界方式的存在。环境音轨将玩家置身于一个嵌合形态和饱和色彩的世界变体，在这其中，身体、尺度和移动速度都随着视角的变化而改变。
This exploratory game invites visitors to experience the changes in perspective unfolding in a trembling swamp. Swamp Game is inspired by the German botanist Carl Albert Weber, who in 1902 published the first-ever treatise on swamps based on his scientific study of the Aukštumala raised bog when it belonged to the former province of East Prussia. Based on his drawings and the data collected by a group of contemporary biologists who recently studied the Aukštumala bog, the game proposes the swamp as a sentient entity, and what biologists term the sympoietic relations that unfold in it —— that is, the collective creation or organization of the fragile interdependencies of an ecosystem. The game operates on several levels: It traces interactions between organisms and their habitats and distorts human coordinates in space and time, introducing an alternative universe where both forms and dimensions, as well as distances, intervals, and rhythms question perception and orientation. Here every member of the community is part of every other member’s environment -- and as such, necessary for the survival of the environment as a whole. Swamp Game allows us to embody different species by floating into swampian creatures: plants, insects, birds, amphibians, fungi, bacteria or algae and discover the main rule of cannibal metaphysics: to become the other, you have to be eaten. The swamp world is uncertain, and navigation here is by gut feeling. Players should abandon the human desire for individuality, productivity, and competition to allow other ways of knowing and sensing the world. The ambient soundtrack attunes players to a metamorphic world of chimeric shapes and saturated colors, where body, scale, and pace of movement shift as the perspective changes.
希玛利·辛格·索恩
《山，于水中像素化》
Himali Singh Soin
Mountain, pixelated in the water
2021
安得拉邦的名匠加贾姆·戈瓦尔丹制作的Ikat非暴力丝绸和有机棉布
Double Ikat in ahimsa silk and organic cotton, Woven in Andhra Pradesh by master artisan Gajam Govardhan
429 x 62 厘米cm
作品由艺术家和本事艺术提供
Courtesy of the artist and Solid Art
希玛利·辛格·索恩，《山，于水中像素化》
“无声之后”展览现场，McaM明当代美术馆，2023
Himali Singh Soin, Mountain, pixelated in the water
Installation view at "Postscript of Silence", McaM, 2023
通过基于研究和推演的方法，希玛利·辛格·索恩的实践抵制殖民视角中将“自然”空间视作为纯粹的地理，时间作为线性历以及迹人类拥有主体性特权等观点。《山，于水中像素化》是更庞大的研究项目“我们相应如是”的一部分，该项目通过冰的立场来考察制图定义之外的极点。艺术家认为冰是有生命的实体，存储着跨世代的历史和沉淀的知识形式。作为人类世的终极见证者，冰成为一个表现不同时间性的主角：地质过往、生态的现在以及潜在的、后自然的未来。这些Ikat织物由那些在被编织成布之前抵抗染色的纱线制成，经由安得拉邦的编织大师加贾姆·戈瓦尔丹指导——在新冠疫情期间，他所处的织人社区都处于失业状态。这些像素化和看似故障化的图案，与使用靛蓝所涉及的殖民暗示产生共鸣，也同时记录了艺术家在研究过程中遭遇到声音和失落故事的光谱。
——Ilaria Conti
Through research-based and speculative methodologies, Himali Singh Soin’s practice defies the colonial gaze that regards “natural” space as mere geography, time as linear history, and subjecthood as a human prerogative. Mountain, Pixelated in The Water is part of the broader research project “We Are Opposite Like That”, which considers the Poles beyond cartographic definitions and through the standpoint of ice, which the artist regards as a living entity and a repository of cross-generational histories and sedimented forms of knowledge. In being the ultimate witness of the Anthropocene, ice becomes a protagonist that embodies different temporalities: geological pasts, ecological presents, and potential, post-natural futures. The Ikat⎯textiles developed with yarns that have been resist died before being woven into cloth⎯were led by master weaver Gajam Govardhan in Andhra Pradesh in India during the pandemic when his family of weavers did not have work. The pixelated and seemingly glitching patterns, while resonating with the colonial implications of the use of indigo, are also a register of the spectrum of sounds and lost stories encountered by the artist during her research.
—— Ilaria Conti
费亦宁
《月之滨II》
Fei Yining
The Moonshore II
2023
单通道4K影像（动画，超8毫米胶片)（彩色，有声）
Single-channle 4K video (animation, Super 8mm film) (color, sound)
12分26秒
12’26”
作品由艺术家提供
Courtesy of the artist
费亦宁，《月之滨II》
“无声之后”展览现场，McaM明当代美术馆，2023
Fei Yining, The Moonshore II
Installation view at "Postscript of Silence", McaM, 2023
《月之滨》系列的故事开始于一种海洋有毒微藻（拟菱形藻），这种藻类会代谢出一种神经毒素，而永久性丧失部分短期记忆与意识混乱是此类毒素中毒的典型特征；但这有毒微藻，在透射电镜下，却好似交叠在一起的电影胶片，或再放大一些观察时，它们又更像是早期计算机的前身（分析机与差分机）用来记录信息的打孔卡。令人失忆的毒藻，其微观形态却像是人类用以储存外置记忆的媒介。艺术家被这巧合所吸引，开始虚构这样一个时空分支：在某个可能的未来中，海洋即将恶化为充满神经毒素的水域，在这样的“遗忘之滨”上，一个仅存在在海滨研究所之中，没有具身形态的通用人工智慧，独自照管着一只对神经毒素耐受的海牛。两种人造“生命”：人工智能与诞生自生物科技的转基因海牛，在照护与共同演化中，产生了超人（more-than-human）的亲缘性关系。《月之滨II》意图从生物实验的环境中探寻跨-非人物种的生命路径，发展出由多种生命的第一视角作为感觉器官（sensorium）的联觉感知。
The story of the “The Moonshore” series begins with the toxic microalgae called Pseudo-nitzschia, which produces a neurotoxin (domoic acid) that causes permanent short-term memory loss, confusion, and disorientation as typical symptoms of poisoning. However, this toxic diatom, when viewed under a transmission electron microscope, appears like overlapped film strips, or when further enlarged, looks more like the punched cards used as information storage for precursors of the modern digital computer (the Difference Engine and Analytical Engine). The toxic diatom that causes memory loss has a microscopic form that resembles the medium used to store “external” memory. The artist was attracted to this coincidence and began to craft such a speculative scenario: in the future, the ocean is about to deteriorate into a water body full of toxic algae blooms and neurotoxins. On such a "shore of amnesia," a non-embodied general artificial intelligence that exists only in a coastal research institute is solely responsible for caring for a manatee that is resistant to neurotoxins. During the days of caring and co-evolution of these two artificial “life” forms -- artificial intelligence and a genetically modified manatee born of biotechnology, a more-than-human kinship is formed. Moonshore II intends to explore the life paths of cross-/non-human species from the environment of biological experiments and to develop synesthetic perception with the perspective of multiple life forms as sensory organs (sensorium).
苏珊·舒普利
《冰川录制计划》
Susan Schuppli
Ice Record Project
2022
黑胶唱片（声音），冰芯图像打印于灯箱
Vinyl LP (audio), Ice core images on lightboxes
24分（A面和B面），灯箱尺寸可变
24 mins (Side A & Side B), lightbox dimensions variable
作品由艺术家提供
Courtesy of the artist
灯箱设计：王一帆
Lightbox design: Wang Yifan
苏珊·舒普利，《冰川录制计划》
“无声之后”展览现场，McaM明当代美术馆，2023
Susan Schuppli, Ice Record Project
Installation view at "Postscript of Silence", McaM, 2023
随着冰川融化和冰盖退缩，冰川中捕捉到的古代空气气泡被释放出来，地球气候历史的信息也随之消失。冰川和冰盖所记录的大气档案提供了无可辩驳的证据，证明了温室气体排放的增加及其所致的全球变暖。随着喜马拉雅山区的村民由于极端的水资源短缺而离开了偏远村落，搬迁至城市，有关环境和冰川保育的知识和实践也在逐渐消失。
这张黑胶“唱片”的声音中，聚集了艺术家与科学家、生态学家、活动家、社区和民间歌唱者的相遇。从加拿大、斯瓦尔巴特、挪威和印度的研究人员在各个冰川地点收录的田野录音，到一首唱诵山川河流的拉达克民间歌谣，这些音轨带着听众进入了来自冰川的声音世界。
As glaciers melt and ice sheets retreat, information about the Earth’s climate histories is also vanishing as ancient air bubbles captured in ice are released. The atmospheric archive recorded by glaciers and ice sheets provides unequivocable evidence of increased greenhouse gas emissions and thus global warming. As mountain villagers abandon their remote communities due to extreme water scarcity in the Himalayas and move to cities, environmental knowledge and practices of caring for glaciers also disappears.
This “record” and vinyl pressing gathers together material from my encounters with scientists, ecologists, activists, communities, and folksingers. From field recordings captured at various glacial sites by researchers in Canada, Svalbard, Norway, and India to a Ladakhi folksong about mountains, rivers, and streams, these tracks take listeners into the sonic worlds of ice.
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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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