幽灵本体论

HAUNTOLOGY
隐形劳动
INVISIBLE LABOR

影子写手
GHOSTWRITER
骚灵
POLTERGEIST

US D 2 0 | EU R 1 8 | GB P 1 5
H KD 1 2 0 | R MB 1 0 0 | TWD 4 8 0
鬼使神差
GLITCH
萨满文化
SHAMANISM
陈可 CHEN Ke 包豪斯女孩 No.8 | Bauhaus Gal No.8, 2021. 布面油画 | Oil on canvas. 160 x 120 cm. 图片提供：艺术家与贝浩登 | Courtesy of the artist and Perrotin
 09—12
Sept.
2021

193 Gallery (Paris) • 313 Art Project (Paris, Seoul) • Galería 451 (Oviedo)* • Galerie 8+4 – Paris (Paris) • A&R Fleury (Paris)* • A2Z
Art Gallery (Paris, Hong Kong) • Galerie AB (Paris)* • Martine Aboucaya (Paris)* • AD Galerie (Montpellier) • Afikaris (Paris) • Galería
Albarrán Bourdais (Madrid) • Galerie Almine Rech (Paris, Brussels, London, New York, Shanghai)* • Alzueta Gallery (Barcelona) •
Galerie Andres Thalmann (Zurich)* • Galerie Art : Concept (Paris)* • Art to Be Gallery (Lille) • Galerie Ariane C-Y (Paris) • Galerie
Arts d’Australie – Stéphane Jacob (Paris) • Galerie Cédric Bacqueville (Lille) • Helene Bailly Gallery (Paris)* • Galerie Ange Basso
(Paris) • La Balsa Arte (Bogota)* • Galerie Laurence Bernard (Geneva)* • Galerie Anne-Sarah Bénichou (Paris)* • Galerie Berès
(Paris)* • Galerie Claude Bernard (Paris) • Galerie Bert (Paris) • Galerie Berthéas (Saint-Étienne, Vichy, Paris)* • Galerie Bessières
Art Contemporain (Chatou) • Galerie Françoise Besson (Lyon)* • Galerie Binome (Paris) • Bogéna Galerie (Saint-Paul-de-Vence) •
Galerie Bernard Bouche (Paris)* • Galerie Boulakia (Paris/London)* • Galerie Capazza (Nançay) • Galerie Jean-François Cazeau
(Paris) • Galerie Chauvy (Paris) • Galerie Chevalier (Paris)* • Galleria Continua (San Gimignano, Beijing, Boissy les Chatel, La Havane,
Rome, São Paulo, Paris)* • Galeria Cortina (Barcelona)* • Christopher Cutts Gallery (Toronto) • Galerie Derouillon (Paris)* • Dilecta
(Paris) • Galería Marc Domènech (Barcelona) • Galerie Dutko (Paris) • galerie frank elbaz (Paris)* • Espace Meyer Zafra (Paris)* •

List of the 2021 exhibitors / *first time participants or returning galleries at Art Paris 2021
Galerie Valérie Eymeric (Lyon) • Galerie Les Filles Du Calvaire (Paris)* • Galerie Claire Gastaud (Clermont-Ferrand, Paris) • Galerie
Louis Gendre (Paris, Chamalières) • Galerie Bertrand Grimont (Paris) • Galerie Alain Gutharc (Paris) • H Gallery (Paris) • Galerie Ernst
Hilger (Vienna) • Huberty & Breyne Gallery (Brussels, Paris) • Galerie Intervalle (Paris) • Galerie Italienne (Paris) • Galerie Jean
Fournier (Paris)* • Galerie Jeanne Bucher Jaeger (Paris) • Gallery Joeun (Seoul)* • Kamel Mennour (Paris, London)* • Ketabi Projects
(Paris)* • Galerie kreo (Paris)* • Galerie La Forest Divonne (Paris, Brussels) • Galerie Lahumière (Paris) • Galerie La Ligne (Zurich)* •
Galeria de las misiones (Montevideo)* • Galerie Le Feuvre & Roze (Paris)* • Galeria Le Guern (Warsaw)* • Galerie Lara Vincy (Paris) •
Alexis Lartigue Fine Art (Paris) • Galerie Jean-Marc Lelouch (Paris) • Galerie Lelong & Co (Paris, New York)* • Galerie Françoise
Livinec (Paris, Huelgoat)* • Galerie Loft (Paris) • Loevenbruck (Paris)* • Magnin-A (Paris)* • Maruani Mercier Gallery (Brussels)* •
Galerie Martel (Paris)* • Massimo De Carlo (Milano, London, Hong Kong, Paris)* • Galeria Mayoral (Barcelona, Paris)* • Galerie
Marguerite Millin (Paris) • Galerie Minsky (Paris)* • Galerie Mitterrand (Paris)* • Galerie Modulab (Metz) • Galerie Frédéric Moisan
(Paris) • Galerie Lélia Mordoch (Paris, Miami) • Galerie Najuma – Fabrice Miliani (Marseille) • Galerie Nathalie Obadia (Paris, Brussels) •
Opera Gallery (Paris) • Galerie Pact (Paris)* • Galerie Paris-Beijing (Paris) • Perrotin (Hong Kong, New York, Paris, Seoul, Tokyo) •
Pigment Gallery (Barcelona) • Galerie Provost-Hacker (Lille) • Galerie Rabouan Moussion (Paris) • Raibaudi Wang Gallery (Paris) •
Rebecca Hossack Art Gallery (London)* • Red Zone Arts (Frankfurt am Main) • Galerie Richard (Paris, New York) • Galerie Thaddaeus
Ropac (London, Paris, Salzbourg)* • J.-P. Ritsch-Fisch Galerie (Strasbourg) • Galerie Sator (Paris, Romainville)* • Galerie Scene
Ouverte (Paris) • Galerie Alex Schlesinger (Zurich)* • School Gallery/Olivier Castaing (Paris) • Galerie Lara Sebdon (Paris) • Sit Down
Galerie (Paris)* • Galerie Slotine (Paris) • Galerie Véronique Smagghe (Paris) • Galerie Caroline Smulders (Paris) • Michel Soskine
Inc. (Madrid, New York)* • Stems Gallery (Brussels)* • Galerie Taménaga (Paris, Tokyo, Osaka) • Galerie Tanit (Munich, Beirut)* •
Galerie Suzanne Tarasieve (Paris)* • Templon (Paris, Brussels) • Galerie Traits Noirs (Paris) • Galerie Patrice Trigano (Paris) • Un-
Spaced (Paris) • Galerie Univer/Colette Colla (Paris) • Galerie Vazieux (Paris) • Galerie Anne de Villepoix (Paris)* • Galerie Wagner
(Le Touquet Paris-Plage, Paris) • Galerie Olivier Waltman (Paris, Miami) • Galerie Esther Woerdehoff (Paris)* • Galerie XII (Paris, Los
Angeles, Shanghai) • Galerie Younique (Lima, Paris) • Yvon Lambert (Paris) • Galerie Géraldine Zberro (Paris).

Promises: 31 Project (Paris) • Double V Gallery (Marseille) • Hors-Cadre (Paris)* • La Galería Rebelde (Guatemala, Los Angeles)* •
Le Cabinet d’Ulysse (Marseille)* • Galerie Marguo (Paris)* • Galerie Pauline Pavec (Paris) • Galerie Véronique Rieffel (Paris, Abidjan) •
Septieme Gallery (Paris)
 你相信­

ED
言

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序

O
者

扬州八怪之一“鬼才”罗聘以 满邪气的。德里达曾在1993年

RI
编

秋室昏孤灯

LA
一双能看见鬼的“慧眼”闻名， 提出“幽灵本体论”的概念，指

世界上­
书棚堕饥鼠
曾绘有长卷《鬼趣图》。他所看 出幽灵的意象在当代叙事中
狂鬼若无人 到的鬼是否如他画中的那般 的积极意义，在于刺激人的意
“颈或曲且高，身或短而偻”我 识，呼吁采取行动。学者马克·
揶揄来三五 们不得而知。后世的研究者倾 费舍尔受其影响，将幽灵学的
我岂具慧眼 向于把他的画和蒲松龄的《聊 概念延伸至文化批评领域。费
斋志异》相类比，两者皆是明 舍尔在本世纪初的写作试图
恶趣偏能睹 清时期以鬼言志的典范。画卷 借助幽灵本体论的分析视角
和文字表面上在说鬼，实际讲 来解释为什么当代的音乐听
颈或曲且高
述的却是人间的荒诞。当现实 上去和几十年前的无甚差别。
身或短而偻 的压迫不可言说，人的不满无 而十几年又已过去，费舍尔的
从诉诸，便只能说鬼话了。 文本成为了本期 L EAP 中多

有鬼­
倏忽远堂庑 这一期以幽灵为主题的 位作者重要的思想资源和心
悄然寻潜踪 LEAP 的灵感缘起是一则微 灵指南。虽然看不清出走的方
博上的奇闻。疫情爆发之后在 向、未来好似迷失，但幽灵本
落叶声如雨 线网课成为海外大学授课的 体论至少为当代文化生产毫
新常态。一名美国高校的老师 无新意、主体性为幽灵般存在
反觉恐怖生
在得知自己课上的一位中国 的现状提供了有力的注解。
肉上寒毛竖 学生因意外事故离世之后却 所以，LEAP 愿意相信世界
持续收到这位学生提交的作 上有鬼。这是一种主动的、 创造
因之叹阮瞻 业和测验答卷。这是一个极其 性的信念。我们相信鬼在概念
终为鬼所侮 忧伤的故事，里面萦绕着多重 上的存在所带来的积极的隐喻
意义的幽灵。这位同学生前委 的力量。本期 LEAP 意图把幽

吗?
妄听且凭君 托的网课代理在不知道委托 灵作为方法，剖析艺术创作和
人已经离世的状况下持续履 当代生活中那些不可见的作
我语非妄语
行着他们的幽灵业务。作业的 用力——那些“阴魂不散”，跨
罗聘，­ 影子作者是一个具体的人还 越边界、次元和时空，持续萦
《秋夜集黄瘦石斋中说鬼》
，­ 是多人协作抑或机器生成是 绕在我们今天的美学、意识形
约1766 年
我们无法参透的谜。某种意义 态和生活的各种界面之中的
上来说，这则鬼故事是我们当 幻影。幽灵是一种想象力的载
下自动化内卷的社会的一个 体，借其言志，幽灵的世界可
缩影。每个被庞大的资本秩序 以映射出人类社会的现实困
卷入其中的打工人都是机器 境。同时，对幽灵世界的虚构
中的幽灵。当代生活的鬼故事 亦可帮助我们畅想和排演无
中，支配人类生活的那些不可 法在阳间兑现的诉求与理想，
见的怪力的背后不过都是人 从而构建出一个与现实秩序
类自身的行为轨迹罢了。 相异的乌托邦。
鬼的意象在中文语言中有
着极其丰富的应用。有些以鬼
作为比方的修辞也颇为可爱，
比如机灵鬼、顽皮鬼、淘气鬼
等等，和西方通俗文化中“善
意的幽灵”一样，鬼不都是充

8 LEAP S/S 2021 9 幽灵派对 GHOSTED

 ED
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DO YOU

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A
the absurdities and tragedies a ghost in the machine. perpetually lost, the theory of

L
in the human realm. When In the ghost stories of hauntology at least provides
the oppression in reality was contemporary life, the unseen a telling illustration for
unspeakable and the human forces that dominate our the state of contemporary

BELIEVE
angst had no recourse,
one could only speak in the
language of ghosts.
The inspiration for this
issue of LEAP themed
living are often products of
our own—human—actions.
The metaphoric use
of ghosts in the Chinese
language is extremely
cultural production that
is increasingly devoid
of new ideas and where
subjectivities feel like
phantoms.

IN GHOSTS
on ghosts came from a
strange story circulated
on Chinese social media.
After the COVID outbreak,
online classes became the
rich and varied. Some of
the metaphors are quite
endearing, as in words
meaning witty ghosts,
mischievous ghosts, naughty
Therefore, LEAP chooses
to believe in ghosts, for we
believe in the creative power
that lies in the allegories
and imaginations of their

?
Luo Ping, a celebrated
painter from the 18th
century, was famous for
his “eyes of wisdom” that
could see ghosts and the
long scroll of painting Ghost
A dim autumn room with a lonely lamp
Amusement attributed to his
A hungry rat falls from the bookshelf
hand. Whether the ghosts
Audacious ghosts, as though no one else is there
he allegedly saw looked like
Come sniggering in groups of three or four
those in his painting, with
Is it only my eyes of wisdom
“necks twisted and tall,”
That perversely make me see ghosts
“bodies short and hunched,”
Some have necks twisted and tall
remains a mystery. Present-
Some have bodies short and hunched
day scholars often compare
The yard grows danker as the wind picks up
his paintings to Pu Songling’s
Quietly I search for the hidden traces
novel collection Strange
Falling leaves patter down like rain
Tales from a Chinese Studio,
I turn back, feeling a sense of terror
both of which exemplify
Hairs stand on end upon my chilled gooseflesh
the Chinese society’s ghost
So I sigh for Ruan Zhan
craze during the Ming and
Who in the end was insulted by ghosts
Qing periods. While Luo’s
Whether you choose to believe is up to you
paintings and Pu’s texts
My words are not delusional
ostensibly depicted ghosts,
what they intended to speak
Luo Ping, Telling Ghost Stories at a Gathering in about via the spectral were
Huang Shoushi’s Studio on an Autumn’s Night, c. 1760s
new norm for universities
in the west. A lecturer at an
American university was
shocked to continuously
receive assignments and
quizzes from a Chinese
student in their class after
having learned that the
student had passed away in
an accident. It is an awfully
sad story, specters in multiple
dimensions are haunting
within. The online class
agency that the student
had paid for continued to
perform their ghostly tasks
without knowing that the
client had passed. We will
never know if the ghostwriter
of the student’s assignment
was a specific person or a
collective or an AI machine.
In many ways, this modern
ghost story is very much
like a microcosm of our
current society of automated
involution. Every worker
entangled within the vast
capitalist vortex becomes
ghosts, etc. Like the friendly
ghosts in western popular
culture, ghosts are not always
scary or evil. In 1993, Derrida
proposed the concept of
“hauntology,” and pointed out
that the positive significance
of the specter is to stimulate
human consciousness and
call for action. Writer and
theorist Mark Fisher was
influenced by Derrida’s
concept and extended it to
the field of cultural criticism.
Fisher’s writing at the turn
of the century drew on the
analytical lens of Derrida’s
hauntology to explain
why contemporary music
sounded no different from
how it did decades ago.
Another decade has passed
since then, and Fisher’s text is
now an important intellectual
resource and spiritual guide
for many authors in this
issue of LEAP. Although a
possible exit is nowhere in
sight and the future seems
existence. This issue of
LEAP gathers essays,
commentaries, imaginings,
and musings from writers
and artists that explore the
ghostly forces at work in
contemporary art and cultural
life. Nameless, boundaryless
and shapeshifting, these
ghosts travel across
mediums and time, linking
the past, present and future,
and continue to exert their
presence in the aesthetics,
ideologies, and the way we
interface with contemporary
life. Ghosts are powerful
vehicles for imagination.
The world where ghosts
reside can put up a mirror to
the predicament of human
society. Furthermore, the
fictionalization of the ghostly
realm can help us rehearse
the demands and ideals that
cannot be fulfilled in the world
of the living, thus moving
towards a utopia that breaks
free of the rules in reality.

10 LEAP S/S 2021 11 幽灵派对 GHOSTED

目录 48
鲸落——致敬黄永砅
WHALE FALL—
90
人类 ⇄ 幽灵
HUMAN ⇄ GHOST
134
成为幽灵——­
AI 驯养记
CONTENTS A TRIBUTE TO 陈俪莎 Chen Lisha
BECOMING
HUANG 100 GHOSTS:
16 重器之隙：
­
中国当代艺术中的­ YONG PING HOW TO
幽灵的三幅素描
幽灵论 TAME AN AI
­ Long Yitang
龙奕瑭

62 GHOSTS IN THE 肖嘉谈

Xiao Jiatan

HAUNTOLOGIES 作品集 I MACHINE 142

OF CHINESE 被历史缠绕：­ 任越 Ren Yue
沈心怡的物之剧场
CONTEMPORARY 东亚当代影像 108 GHOST DANCE—
ART
­ Zian Chen
陈玺安 PORTFOLIO I 萨满性 ON SYDNEY
28 HAUNTED ON SHAMANISM SHEN’S THEATER
G所代表的——­ BY HISTORY: OF OBJECTS
毛晨雨 Mao Chenyu

对话何子彦 CONTEMPORARY 114 杨宇青

Edel Yuqing Yang

VIDEO WORKS IN 一封给许哲瑜的信 152

G FOR? EAST ASIA A LETTER TO 我们盘桓在夜色里，­
A CONVERSATION HSU CHE-YU 被烈火吞噬
WITH 74
核灾难中的幽影——­ WE SPIN AROUND
缪子衿 Miao Zijin

HO TZU NYEN
尾竹永子“身在各地” 122 THE NIGHT,
见鬼七日谈
马克·莱珀特 Mark Rappolt

40 THE HAUNTING CONSUMED BY

阴间革命手册 MEMORY OF THE SEVEN DAYS THE FIRE
GUIDELINES NUCLEAR IN EIKO OF GHOST 张瀚文
Zhang Hanwen

FOR REVOLUTION OTAKE’S SPECTRAL SIGHTINGS

btr

IN
浮萍
HELL
familiar path
PERFORMANCES
沈秋阳Shen Qiuyang

12 LEAP S/S 2021 13 幽灵派对 GHOSTED

160 展评 198 216
作品集 II REVIEWS 蒲英玮：晦涩历险­ 水体：第十三届­
被历史缠绕：­ ——思辨波普与­ 上海双年展
鬼楼几种 176 泛中主义
纳温·努通：
­ BODIES OF WATER:
PORTFOLIO II 神仙们最近很忙 PU YINGWEI: THE 13th SHANGHAI
HAUNTED BY NAWIN NUTHONG: OBSCURE BIENNALE
HISTORY: THE IMMORTALS ADVENTURE— 汪嫣然Wang Yanran

ONE OR SEVERAL ARE QUITE BUSY SPECULATIVE POP

GHOST HOUSES THESE DAYS & PAN-CHINESISM
李素超 Li Suchao
Max Crosbie-Jones

204
184 林从欣：猪仔叹和­
郝量：秋思
毒物赋
HAO LIANG: CANDICE LIN: PIGS
AUTUMN AND POISON
THOUGHTS
贺潇 Fiona He
李佳Li Jia

210
190 交融的激流：广州影像
西斯特·盖茨：­
三年展2021
多宝阁；坏霓虹
THEASTER GATES: INTERMINGLING
CHINA CABINET; FLUX: GUANGZHOU
BAD NEON IMAGE TRIENNIAL
张嘉荣 Nelson Zhang 2021
王凯梅 Wang Kaimei

14 LEAP S/S 2021 15 幽灵派对 GHOSTED

 HAUNTOLOGIES
E
UR
AT
FE
OF CHINESE
CONTEMPORARY
GHOSTED
幽灵派对

ART —
INSTANT
RETROSPECTIVES
REDUX
17
幽灵论：
中国当代­
艺术中的­

速溶回顾
LEAP S/S 2021
Zian Chen

展新篇
陈玺安

16
题
专
 FE
AT
题
专

UR
我首次读到《艺术界》创刊号的记忆是最容 特别的是，在 2010 年，中国当代艺术尚且年

E
易鲜活浮现眼前的记忆之一。那是 2010 年 轻，
《艺术界》创刊号也许是最早以封面专
末，我站在现已经不存在的台北当代艺术中 题回顾“两千年以来的中国当代艺术”的杂
心顶楼，朋友借我这本杂志，告诉我，这份刊 志。站在现在看当年，让我突然意识到，在今
物特别“土国际”：又土又洋。这在当时是一 天的中国当代艺术场景中，每年都有个几次
种风格，就像北京的箭厂空间：越往胡同走， 回顾中国当代艺术历史的展览项目。这种雨
就越国际；尺寸越小，影响力就越大。中英双 后春笋般的回顾展，我称之为速溶回顾展：
中 语版面，有点当年日本双语杂志《 ART- IT 》 都是现成材料，即刻可办。它们主动邀请过

HAUNTOLOGIES OF CHINESE CONTEMPORARY ART

国 的味道。在版面“旧时髦”中，发现《艺术界》 去的幽灵袭扰当下。但每回顾一次过去，其
当 原来是一本80 年代创刊的刊物。在这则买旧 传播效应就递减一次 。简直是在将活生生
代 杂志的刊号，召唤过去的幽魂的案例中，崭 的艺术家“活埋”，提早盖棺论定，成为行尸
艺 新的《艺术界》其实是本重新上架的老杂志。 走肉 。北京、上海的速溶回顾展，贩卖人们
术 最令人不敢直视却有用的板块，则是将艺术 对过往事物的虚假怀旧之情。没有多少人真
中 圈人士当作时尚名人的开幕抓拍，栏目名 的相信它。但究其原因，很可能是因为真正
的 是“机场”，低调引用了周铁海 1996 年那件 的未来消失了。再也没有谁可以创造出划时
幽 讽刺默片《必须》的主题，指出中国应建立属 代性的全新事物，甚至连这种想象都被遮­
灵 于自己的机场，“迎送各国博物馆馆长，评论 蔽了。
论 家，画廊老板”。

One of my most vivid, easily recalled memories is of reading the inaugural issue
of LEAP. This was in 2010, at the time, I was standing on the top floor of the now-
defunct Taipei Contemporary Art Center; a friend had lent me the magazine, and
第一期《艺术界》封面，1988年7月
told me that it espoused a “native internationalism”: both Chinese and western. Cover of Yishujie 1, July 1988
This was a prevailing style at the time—take Beijing’s Arrow Factory, for example:
the further into a hutong you walked, the more international things got; the
smaller the dimensions of a space, the more influential it was. The magazine’s
pages, typeset in both Chinese and English, were redolent of the bilingual
Japanese publication ART-iT. In the column “Old-Fashioned,” one discovered
that the magazine Yishujie (the Chinese title of LEAP) was actually established
during the 1980s. Here was a case of purchasing the license of an old title and
summoning the specters of the past, making one realize that the brand new
LEAP was actually a reinvention of an earlier magazine. The most cringeworthy
yet useful segment was an opening photo shoot in which members of the art
world were photographed like celebrities; titled “Airports,” it was a subtle nod
to Zhou Tiehai’s satirical silent film Will/We Must (1996), pointing out that China
ought to build its own airports, to “welcome museum directors, critics, and
gallerists from all countries.”
Especially noteworthy is that in 2010 Chinese contemporary art was still
young. LEAP’s inaugural issue ran a cover feature titled “Chinese contemporary
art since 2000.” Looking back now, I realize that in today’s Chinese
contemporary art landscape, each year there are a few exhibition programs
that look back at the history of Chinese contemporary art. I like to call the rapid
emergence of so many exhibitions of this kind as “instant retrospectives”:
freeze-dried and ready to go. Mostly they invite specters of the past to haunt
the contemporary moment. But each time they look back, the efficiency of the
transmission decreases. It is as if they seek to bury these artists alive, to nail the
lids onto their coffins, and transform them into undead presences. Beijing’s and
Shanghai’s instant retrospectives traffic in false nostalgia for past events and
objects—very few people really believe in them. But search for their raison d’être,
周铁海，
《必须》 ，1996年­ Zhou Tiehai, Will/We Must, 1996 第一期LEAP《艺术界》封面，2010年2月
单频电影，35毫米胶片，黑白无声，9分17秒 Single-channel film, 35mm film, black and white, no sound, 9 min 17 sec and one realizes that it is the myriad real futures that have vanished. No one can Cover of LEAP’s first issue,
Courtesy ShanghART Gallery and the artist create entirely novel, epoch-marking art anymore; even the imagination for such February 2010

projects has been occluded.

18 LEAP S/S 2021 19 幽灵派对 GHOSTED


幽灵悲观论：
题
专
当年的音乐就
是今天的潮流
中
国 关于未来的消失，理论家发展出几种不同
的 态 度 。香 港 文 化 评 论 家 阿 克 巴 · 阿 巴 斯­
当
代
艺
（Ackbar Abbas）从亚洲的变化速度着手
谈论香港的幽灵本体论。他着眼于香港电影
术 新浪潮在 80 年代创造的风格：刻意的怀旧，
中 反而体现一种特殊的时间困境：正是当香港
的 开始担心其身份将会消失，才着手创造出一
幽 种不曾存在的认同。这种幽灵本体论比“曾
灵 经看过”的既视感（déjà vu）更诡异，他用­
论 “曾经消失”的“既失感” （déjà disparu）形
容道： “ 任何新鲜事和独特性总在尚未发生
就已成明日黄花，我们手上仅有的就是陈腔
滥调，以及从未存在的记忆。 ” is stranger even than déjà vu. Abbas describes it as “déjà disparu”:
已故文化批评家马克·费舍尔（ M ar k
Fisher）结合德里达的解构理论和流行音
乐领域的幽灵本体论写作正就是这样的感
叹：“ 二十一世纪文化充其量就只是二十世
纪文化再用高速网络重新端出来的结果。”
费舍尔比喻道，如果你将 2000 年后的音乐
拿给 70 年代的乐迷听，他们会非常惊讶——
惊讶于这些未来曲目竟能毫无震撼效果。听
起来熟悉得简直诡异，并且似曾相似。
费舍尔一方面从自己作为乐迷的失落
中书写这种怀旧，但他也同时在这种鬼魂忧
郁中不断尝试描述它的成因：由通讯技术强
化的资本主义现实是如何成功地捕捉我们
的欲望。有时，这种对于未来还没开始即宣
告结束的忧郁，也稍有强势文化衰退后的呼
愁之嫌，但他同时也尝试声明他所描绘的鬼
魂忧郁（hauntological melancholia）不
能落入对福利国家的过去真美好的“左翼忧
郁”感叹，也不应落入对殖民权力的怀念，以
致于顽固否认世界变化的“后殖民忧郁”。
值得一提的是，他一面论述幽灵本体论，
同时也树立一种幽灵本体论的写作风格。在
《我生命中的鬼魂们：论忧郁症、幽灵本体
论和失去的未来》 （2014）中，费舍尔的写作
运用思想实验的笔法（“假设我当年没有错
过这音乐，假设这 2000 年的音乐出现在 70
年代，那么就会…”），让写作不断跳跃在各
种时间点，创造出各种巴拉德式的“内在空
间”。这样的乐评风格仿佛意在“打乱时间”
不断回访他自身人格形成的年代，评述当时
的技术条件，文化，集体和个人的精神图景。
《我生命中的鬼魂们》或许多少有点李·
艾德曼（Lee Edelman）让文化圈炸裂的作
品《不要未来：酷儿理论与死亡冲动》
（2004）
20
FE
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PESSIMISTIC
E
HAUNTOLOGY:
YESTERDAY’S
MUSIC IS
HAUNTOLOGIES OF CHINESE CONTEMPORARY ART
TODAY’S TREND
Theorists have come up with different attitudes toward the
disappearance of the future. Hong Kongese critic Ackbar Abbas
uses the speed of Asia’s change as the context for a discussion of
Hong Kong’s hauntology. He focuses on the style pioneered by the
city’s New Wave film: deliberately nostalgic, yet evincing a kind of
temporal dilemma—only when Hong Kong began to worry about the
disappearance of its identity did it begin to fashion a unique self-
recognition that had never actually existed. This kind of hauntology
“the feeling that what is new and unique about the situation is always
already gone, and we are left holding a handful of clichés, or a cluster
of memories of what has never been.”
Applying French philosopher Jacques Derrida’s method of
deconstruction to pop music, Mark Fisher’s writing about hauntology
represents exactly this kind of resignation: “What it means to be in
the 21st century is to have 20th century culture on hi-res screens/
distributed by high-speed Internet, actually.” Fisher gives an example:
if you played music from the twenty-first century to listeners in the
1970s, they would be quite surprised—surprised by the music’s
inability to deliver a sense of “future shock.” Such music would sound
familiar to the point of weirdness—a kind of déjà vu.
In one sense, Fisher writes about such nostalgia from his own
sense of disappointment as a music consumer, but he also tries to
describe the formation of such “hauntological melancholia” from
within: how capitalist realism, bolstered by new communication
technologies, has succeeded in capturing our desires. Sometimes,
this melancholy about a future that is declared dead before it even
begins might appear suspiciously like lamenting the decline of
a dominant culture, but Fisher is quick to declare that what he is
describing must not descend into a kind of “Left melancholy” over the
truth, beauty, and goodness of the erstwhile welfare state, or into a
kind of “postcolonial nostalgia” that stubbornly denies global changes
and longs for an earlier period of colonial power.
Worth noting is that while Fisher was theorizing hauntology he was
also establishing a kind of hauntological writing style. In Ghosts of My
Life: Writings on Depression, Hauntology and Lost Futures (2014), he
uses the technique of the thought experiment to allow his text to flit in
， and out of different times, creating various Ballardian “inner spaces”
(“If this song from the 2000s had appeared in the 1970s, then…”) This
music-review style seems intended to make time “out-of-joint,” as
周铁海，
《必须》，1996年­
Zhou Tiehai, Will/We Must, 1996
Fisher repeatedly returns to his own formative years, commenting 单频电影，展览现场 Installation view
on the technological conditions, culture, and personal and collective Courtesy ShanghART Gallery and the artist
spiritual landscapes of the time.
LEAP S/S 2021 21 幽灵派对 GHOSTED
 题
专

HAUNTOLOGIES OF CHINESE CONTEMPORARY ART

国
当
代
艺
术
中
的
幽
灵
论

的影响。后者曾批评道，未来的维度已经给主 Ghosts of My Life might be influenced, in part, by Lee Edelman’s 术创作，艺术史和同行的舆论就会将此人“活 Biljana Ciric once quoted the novelist Lu Huanzhi’s institutional critique
流社会繁衍后代的意识形态所占领。 因此，一 explosive polemic, No Future: Queer Theory and the Death Drive 埋”——停止创作就好比这个人死了，这不就 to assert that when artists stop making art, art history and the opinions
个好酷儿该做的要紧事就是主动从这个集体 (2004). Edelman’s critique is that major elements of the future have 是主流社会对生命的陈腐想象？尽管没有任 of their peers will “bury them alive”—to stop making art is akin to the
未来中撤离。在费舍尔为《不要未来》写的评 already been occupied by mainstream society’s “reproductive 何人证实，但陆换之很可能就是90 年代退出 artist’s death. Is this not mainstream society’s banal imagination of
论中，他认为艾德曼最尖锐的提问就是： “当 futurism.” The most urgent action that queer people can take, then, is 艺术圈的艺术家钱喂康，他和比利安娜的小 life? Though it has never been confirmed, there is a strong possibility
理论不是为更好的未来而写，那理论会变成 to withdraw from such a collective future. In his review of No Future, 说与策展的合作，意在重新描绘在艺术品上 Lu Huanzhi is the artist Qian Weikang, who left the artworld during
什么样子？”像是一则回应，费舍尔借用政治 Fisher points to Edelman’s most incisive question: “What would a 货前夕的 90 年代，主动退出艺术实践，拒绝 the 1990s. His and Ciric’s novelistic and curatorial collaborations are
经济学的评论，以乐迷幻灭式的忧郁腔调正 theory look like which is not oriented toward a ‘better future’?” As if in 自己的作品在未来变成垃圾的行动。 intended to portray anew an artist’s withdrawal from artistic practice
式宣布道：“未来的维度已消失”，有的只是不 response, Fisher borrows from theories of political economy, officially on the eve of the work of art’s being “inventoried and sold,” refusing to
断出现的回声。 declaring, with a music fan’s disenchanted, melancholic tone: “The make art that will one day transform into garbage.
在中国当代艺术时区中，前卫艺术家确 dimension of the future has disappeared,” and all that remains is a
箭厂空间展览现场 ­
实也有主动活埋自己，逃离未来的行动。 策展
Installation view at Arrow Factory
continuous series of echoes. 赵涛，张秀良和张萌萌／社会敏感性研究所，­ Zhao Tao, Zhang Xiuliang, and Zhang Mengmeng / Social Sensibility Research,
人比利安娜·思瑞克就曾引用小说家陆换之 In Chinese contemporary art’s “timezone,” avant-garde artists have ，2016年­
《穷山恶水》 Badlands, 2016
图片致谢箭厂空间 Courtesy Arrow Factory
的机构批判话语，他们提到，当艺术家停止艺 indeed chosen to bury themselves alive, fleeing future actions. Curator

22 LEAP S/S 2021 23 幽灵派对 GHOSTED


幽灵乐观论：
题
专
昨天的商品是
明天的现成艺
术品
中
国
当
代 前面的幽灵悲观论看衰未来。然而，进一步
思考幽灵论，它精彩的论证核心就在于：其
艺
术
中
实正如同没有所谓原初的起点，起点是张复
写纸，也没有什么真正的结束。正文结束之
的 后还有附录，还有其他东西。好的回顾也可
幽 以将过去的死物盘活。很多时候，特别是在
灵 亚洲，事物的结束往往非常偶然。近期，北京
论 的非盈利箭厂空间（2008 –2019）在运营了
11年半之后，只花了 1周时间考虑关闭。而
马尼拉的非盈利青木瓜艺术空间（ 20 0 0 –
2021）则在多年前便开始讨论怎么样才是结
束运营的恰当方式，并且着手收拾档案，准
备在今年好好告别，没想到 2020 年中遭遇
祝融之灾。但他们在疫情封锁下与马来西亚
策展人叶绍斌合作，开始着手线上的“相见
恨晚” （Right People, Wrong Timing）对
话项目。项目在疫情蔓延中访谈各种壮志未
酬，并且曾与青木瓜擦肩而过的那些亚洲范
围内的独立艺术小组。本来已经终结的生命
被串联起来。据说箭厂受邀参与“相见恨晚”
项目受访时，也真的向青木瓜艺术空间表达
了“相见恨晚”的敬意，完全是真情告白。
疫情期间，我看到旅居伦敦的菲律宾艺
术家皮奥·阿巴德（Pio Abad）复制了一系
列菲律宾前总统马科斯夫妇的贪腐藏品，让
公众重新回顾这段过去 。阿巴德将这些个
人的贪腐藏品搬到新的展示语境。细心的观
众发现，原本彰显私人财富的藏品——一些
皇冠，人像画——它们的脸上突然褪下原本
的花团锦簇，变了一张脸，仿佛在为马科斯
夫妇代为表达迟来的歉意。对艺术家而言，
道歉的缺席正是目前这段历史的症结点，也
是在不同语境中重新展示这些收藏所凸显
的非凡意义 。他在旧金山亚洲艺术馆的一
场讲座上，借用人类学家阿尔君·阿帕杜莱­
（Arjun Appadurai）的一段名句开头，讲
述事物的“社会生命历程”。而这正是阿巴德
用以重构叙事的钥匙： “ 今天的礼物是明天
的商品，昨天的商品是明天的现成艺术品。
阿帕杜莱在 1986 年提出“物的社会生
命”概念，原本旨在打破商品于马克思分析
中的独特地位。他指出，任何物件在某些特
定 时 刻 都 有 成 为 商 品 的 可 能，再 说，现 代
文化里面认为只有人有主动性，忽视物件
的“生机”，这点大有问题。30 年后，阿帕杜
24
FE
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OPTIMISTIC
E
HAUNTOLOGY:
YESTERDAY’S
COMMODITY IS
TOMORROW’S
FOUND ART OBJECT
The spectral pessimism referred to here envisages the future as one
of decline. However, if one thoroughly thinks through hauntology,
one realizes that its argumentative core lies in the fact that just
as there is no origin or starting point, that such an origin is always
already a carbon copy, neither is there a real end. After a body text
comes the appendix, and more. Good retrospectives can also bring
to life the dead objects of the past. Often, especially in Asia, the end
of something is a highly contingent event. In 2019, Beijing’s Arrow
Factory, which had been in operation for 11 years, decided, after only
a week’s consideration, to shut its doors for good. Another nonprofit,
Manila’s Green Papaya Art Space (2000–21), began long ago to
discuss the most appropriate way to cease operations and tidy up
its archives; the plan was to properly bid farewell this year—no one
expected that in 2020 a fire would rip through the space. But during
the Covid-19 lockdown, the staff collaborated with Malaysian curator
Yap Sau Bin to organize an online project and dialogue, “Right People,
Wrong Timing.” As the coronavirus spread, the project interviewed
various independent art collectives that had at one point or another
been involved with Green Papaya, and whose dreams had come
to nought. Lives that had already ended were bound together in
fellowship. The story goes that when Arrow Factory was invited to
participate in “Right People, Wrong Timing,” its staff paid tribute to
Green Papaya, expressing heartfelt regret at not having encountered
the other art space earlier.
London-based Filipino artist Pio Abad has reproduced a series 皮奥·阿巴德和弗朗西斯·沃兹沃斯·琼斯，­ Pio Abad and Frances Wadsworth Jones, The Collection of Jane Ryan & William Saunders, 2019
，2019年­
《简·瑞恩和威廉·桑德斯的收藏》
Twenty-four reconstructions of pieces from the Hawaii Collection, modeled from photographs
of ill-gotten art objects from the collection of the former Philippines 24件马科斯夫妇的夏威夷藏品，通过佳士得的照片重制 taken by Christie’s ©Pio Abad
president Ferdinand Marcos and his wife, Imelda, compelling the
public to once again look back on this period of history. In the new 莱借着一次评述过去三十年当代艺术发展 commodity and, in the process, accumulate value both as a result of
context of an exhibition, attentive viewers discovered that the 的 写 作 而 写 下《物 自 身》
（ 2 0 0 6 ），进 一 步 human transactions, and independently over time. Consequently, the
collected objects, which spoke for their owners’ onetime private 归纳出上述的公式。这则公式一方面反证： belief, in modern culture, that only humans have agency ignores the
wealth, had suddenly lost their bright, decorative exteriors, and, as 当我们说道“幽灵”，背后还是有种有生性 “vital force” of objects is problematic. In 2006, Appadurai wrote “The
if changing expressions, to express a belated apology on behalf of （ anim ac y ）的无意识控制了我们的生命 Thing Itself,” an essay on the development of contemporary art over
the Marcoses. To the artist, the glaring absence of an apology was 观。当所谓过去的幽灵在袭扰当下，用这则 the previous 30 years, and used it as an occasion to further clarify his
the sticking point of this period of history. He began a talk at the 公式看来，不过就是“物的社会生命”罢了。 formulation. There is an aspect of contradiction: when we talk about
” Asian Art Museum of San Francisco by borrowing Arjun Appadurai’s 90 年代开始活跃于地下艺术圈的前卫 “specters,” a certain animacy unconsciously controls our views about
formulation to explain “the social life of things.” This is the key formula 艺术家宋冬也许最能体现“物的社会生命” life. When the specter of the so-called past haunts the present, his
Abad uses to reconstruct the narrative: “Today’s gift is tomorrow’s 这种乐观版本的幽灵论。他在 2007 年回顾 formulation holds that this is merely an auratic value generated by “the
commodity. Yesterday’s commodity is tomorrow’s found art object.” 自己的艺术生涯时，就表示社会快速的改变 social life of things.”
In 1986, Appadurai came up with “the social life of things,” a 使得“我自己人生的 40 年似乎过了好几辈 Song Dong, the avant-garde artist active in China’s underground
concept meant to end the unique position that the commodity enjoyed 子的不同生活”。因为家庭变故的原因，他在 art scene during the 1990s, perhaps best embodies the optimistic
in Marxist analysis. He pointed out that any object can become a 2002年自2005 年以《物尽其用》项目，开始 hauntology of “the social life of things.” In 2007, looking back on his
LEAP S/S 2021 25 幽灵派对 GHOSTED
展示勤俭惜物的母亲从 1960 年代开始积存 artistic career, he expressed that, due to rapid social change, “In 艺术品”。物件即使被活埋，其实只是化作春 impoverished past, resulted in this spectacle of fertile excess in the
并且从来不扔的而累积万余件日用品。站在 the 40 years of my life I seem to have experienced many different 泥，待到时机成熟，就会新生出的用处，再卷 exhibition space. This positive example tells us that in Asia’s rich visual
这些由海量的日常物件堆满的展览现场，不 lifetimes.” From 2002 to 2005, Song embarked on his “Waste Not” 土重来。 cultures, we might add an aspect of “the social life of things” to Fisher’s
会不回想到 2007 年的泡沫，和尺寸巨大占 project, exhibiting objects that his hardworking mother had begun hauntology—or if you like, an aspect of Song Dong’s “waste not.” In
满空间的艺术商品产生剧烈反差。其实似曾 to hoard in 1960 and which had grown to an inventory of more than any case, the point is that “today’s gift is tomorrow’s commodity” and
相似不一定代表陈腔滥调。宋冬的原意是为 10,000 items. Standing in the exhibition space, filled with an enormous “yesterday’s commodity is tomorrow’s found art object.” Even if buried
免伴侣过世的母親睹物思人，结果，在贫困 volume of everyday things, one could not help but think back to the alive, objects become seeds, waiting for the right time to spring anew
年代种下的物质短缺幽灵，反而在展厅中制 economic bubble of 2007, contrasting sharply with the monumental — Appadurai, Arjun. (2006) “The Thing Itself,” Public from the soil and become valuable once again.
造了万物繁盛的奇观。这样的积极案例告诉 artwork-commodities that filled the entirety of the surrounding spaces. Culture 18 (1) Durham: Duke University.
我们，费舍尔的幽灵论在亚洲时区的繁盛视 In reality, the feeling of déjà vu is not necessarily a case of returning — Fisher, Mark. (2014) Ghosts of My Life: Writings on TRANSLATED FROM CHINESE BY HENRY ZHANG
Depression, Hauntology and Lost Futures, London:
觉文化中，完全可以被我们加上一层“物的 to tired clichés. Song Dong’s original intention had been to relieve Zero Books.
社会生命”维度，你想用宋冬的“物尽其用” some of the pain his mother, who had recently lost her husband, felt — 陈玺安(2020)《速溶回顾展：快速打包，即刻上新》， 《黑齒》­ “项目90”展览现场，纽约现代艺术博物馆，2009年 View of “Project 90,” MoMA, New York, 2009
来说这件事也行，总之，意思就是：今天的礼 when seeing the objects they’d owned together; it turned out, however, 杂志。<http://www.heichimagazine.org/zh/ 宋冬，
《物尽其用》 ，2005年­
装置、事件，尺寸可变­
Song Dong, Waste Not, 2005
Installation and event, dimensions variable
articles/2/instant-retrospectives-freeze-dried-
物是明天的商品，昨天的商品是明天的现成 that the specter of material privation, which emerged from China’s ready-to-go>

26 LEAP S/S 2021 27 幽灵派对 GHOSTED

 G所代表的—­

FE
AT
题

“鬼魂”和“灵异事件”经常出现在新
专

UR
Ghosts and spectral situations play a

E
加坡艺术家何子彦的作品中。视频作

对话何子彦
recurring role in the work of Singaporean
品《名字》 （2015）以神秘的美国作家 artist Ho Tzu Nyen. The Name (2015)
基恩·汉拉汉（Gene Z. Hanrahan） is a videowork that centers on Gene Z.
为核心；汉拉汉博见洽闻，其著作涵盖 Hanrahan, a mysterious American author
了马来亚共产主义斗争、中国的游击 whose output covers everything from
战策略，甚至厄内斯特·海明威的部分 the Communist struggle in Malaysia to
文章。视觉上， 《名字》采用了西方电影 guerrilla tactics in China and the collected
中作家写作的片段。 《无名》 （2014）这 works of Ernest Hemingway. Visually, it
一视频装置则围绕着在 1939 – 1947 deploys clips from western movies of
年期间担任马来亚共产党总书记的莱 writers laboring to write. The Nameless
特（Lai Teck）展开。 莱特还同时为法 (2014) is a video installation that revolves
国、英国和日本宪兵队做间谍工作，其 around Lai Teck, General Secretary of
职业生涯共使用了五十多个花名， “莱 the Malayan Communist Party from
特”是其中一个； 《无名》的视觉由演员 1939 to 1947, who used more than 50
梁朝伟在1989和2003年之间扮演叛 aliases during the course of his career,
国者、告密者和污点证人的电影片段 Lai Teck being one of them, while also
的蒙太奇混剪构成。 《名字》与《无名》 working as an agent for the French, the
都是何子彦的研究性项目《东南亚关 British, and then the Japanese Kempeitai.
键词典》 （2012–）的一部分。通过对东 Visually, the work deploys a montage of
南亚边缘历史以及神话、事实与传说

G FOR ?
film clips featuring the Hong Kong actor
在塑造“东南亚”概念上所扮演角色的 Tony Leung Chiu Wai between 1989
研究， 《词典》试图探究“是什么组成 and 2003 as he plays a range of traitors,
了东南亚地区——一个从未被语言、 informers, and stool pigeons. Both The
宗教或政治力量统一的地方”；它同样

A CONVER-
Nameless and The Name are a part of
是何子彦其他诸多作品的“发生器”。 the artist’s broader research project The
《东南亚关键词典》中的“ G ”词条“代 Critical Dictionary of Southeast Asia
表鬼魂、影子作者和基恩·汉拉汉” （G (2012–), an attempt to investigate the
for Ghosts, Ghostwriters, Gene Z. question of “what constitutes the union
Hanrahan）。

SATION
of Southeast Asia—a region never unified
by language, religion or political power”—
读者可以通过cdosea.org在线访问《东南亚关键词典》。 through research into marginal histories
of the region and the role of myth, fact,
and fiction in the shaping of ideas of the

WITH
region as a whole. The project has also
become a generator for a number of the
artist’s discrete artworks. The entry for G
is titled “G for Ghosts, Ghostwriters, Gene
Z. Hanrahan.”

HO TZU NYEN
The Dictionary is available online at cdosea.org

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马克·莱珀特（MARK RAPPOLT，以下简写为MR）­ 你会认为这是主流历史的书写方式及其流变的

你是怎么第一次“遇到”基恩·汉拉汉的？
何子彦（HO TZU NYEN，以下简写为HTN）
我是通过马来亚著名历史学家谢文庆（Cheah
Boon Kheng ）的一本书知道他的。谢文庆在
脚注中提到了基恩·汉拉汉，同时也表明自己怀
G 疑汉拉汉是否真的存在。当时我没做什么，后来
MARK RAPPOLT
Mark Rappolt: How did you first “encounter” Gene Z.
Hanrahan?
HO TZU NYEN
I first came across his name in a book by a very
well-known historian of this period of Malayan
history, Cheah Boon Kheng. He mentioned Gene Z.
MR
某种参照吗？我们童年时期所了解到的某些国
家——例如印度——的特定历史，现在可能已经
被改动得面目全非了。有些人物曾是独立英雄­
（尤其是一些穆斯林），现在则变成了可怕的暴
君；对历史的叙说总是随着当前统治阶级的政治
变化而改变。
E
the police or internal security trying to sniff out
communists. Trying to discern an identity that
is hidden beneath that of the citizen. But that’s
mirrored within the practice of the Communist Party
itself—they also have to operate in great secrecy:
names were concealed; pseudonyms were used.
What we know of these communist histories came
either from people who were arrested and became

所 才开始搜读汉拉汉的所有著作。那时，这个项目­
代 （
《名字》 ）才真正开始。
表 do anything with it at the time, but then I started
的 MR 也可以说它始于你最初对马共的兴趣。
HTN 对马共的兴趣是驱使我读谢文庆的原因——他
是少数研究马共的学者之一，此外没有多少人书
写过这段历史。新加坡共产主义的历史有大半是
影影绰绰的，我们对它知之甚少。因此，我开始挖
掘和阅读谢文庆的《红星照耀马来亚：二战时期
及战后的抵抗和社会冲突》 ，也才了解到汉拉汉
的著作《马来亚的共产主义斗争》 （1954 / 1971
年）。后者一直被视为非常重要的文本，因为汉拉
汉有渠道接触其他历史学家无从访问的文件资
料；它也是一个神秘的文本，因为汉拉汉从未在
著作中注明任何引用出处。我认为这是导致谢文
庆质疑汉拉汉是否真实存在的原因；这个小情节
与一种普遍的不确定性铰接在一起，而这种不确
定性也充斥着马来亚共产主义时期的历史记载。
当然了，如今主流渠道既有的相关信息也都经过
一番过滤。
MR 当时的信息同样被过滤了，不是吗？如果你与还
在世的当时的亲历者交谈，许多人同样不知道发
生了什么——当然，他们在那时都还是孩子。
HTN 实际上，这类历史有着非常有趣的注解：即使在
被发掘的那一刻，由于混杂着法律和政治问题，
它们也始终处于阴影之中。特别是在东南亚，共
产主义在很大程度上是一项地下活动，有着幽灵
般的特质。它始终是隐藏的，一开始就如此。总有
警察或内部安全人员试图找出共产党员的存在，
试图辨别隐匿在公民背后的身份。但这也反映在
共产党本身的实践中，他们必须高度机密地运
作，比如隐瞒真名、使用化名。我们对这些共产主
义历史的了解要么来自被捕并成为告密者的人，
要么来自有着私人目的的前党员。
MR 这两者都有服务于自身的动机。
HTN 他 们 都 有 自 己 的 偏 见 。这 些 历 史 充 满 了 不 确­
定性。
Hanrahan in a footnote in which he also mentioned HTN 这属于我的兴趣的宏观层面。通过这些特殊的、
his doubts about Hanrahan’s existence. I didn’t 具有明显不确定性的历史，人们可以将有关的思
考或怀疑置入看上去似乎非常稳定的历史中。
tracking down all of Hanrahan’s books and that’s
when this project really began. MR 接下来你是不是想找出这个汉拉汉的真实身份？
MR Although perhaps it began with your original interest HTN 奇怪的是，汉拉汉并没那么吸引我。因为对我来
in the Communist Party of Malaya. 说，我在《东南亚关键词典》
（2012-）中塑造的许
多人物最后都成为了某种事物的象征——我对
HTN That’s the interest from the beginning. Singapore’s 汉拉汉所代表的事物更感兴趣。当然，这只是就
communist past is something that exists half in the 研究层面而言。我个人对汉拉汉很好奇。我随后
shadows and Cheah Boon Kheng [author of Red Star 收集的书籍和所作研究产生了《名字》 （2015）
Over Malaya: Resistance and Social Conflict During 这件作品；后来我在香港时，岭南大学和亚洲艺
and After the Japanese Occupation, 1941–1946] 术文献库举办了一次小型的《无名》 （2014）放映
is one of the few historians who has written about 会，当时岭南大学的某个人跟我说她的一位美国
this subject. In general, we know very little about 历史学家朋友马克·奥珀（Mark Opper）最近发
it. Hanrahan’s book, The Communist Struggle in 表了有关自己如何“追踪”到汉拉汉的文章——
Malaya [1954/71] had always been regarded as 这是我没能做到的。不过我发现，奥珀的第一篇
a very important text, mainly because Hanrahan 论文引用了我发表在《ArtReview Asia 》杂志
had access to documents that no other historians 上讨论汉拉汉著作中神秘作者身份的文章。
could access. But it’s a mysterious text: Hanrahan
never cites his sources. This is one of the things MR 这或许让惊讶少了一些？
that led Cheah Boon Kheng to question whether
or not Hanrahan really existed. So Hanrahan is tied HTN 尽管他找到了真正的汉拉汉，但从概念上讲，后
to the general uncertainty that pervades historical 者著作的真实性依然存疑。这就是我真正感兴趣
accounts of the Malayan communist period. So 的事情。当时，我刚刚创作了《名字》的第一个版
much of the information that makes it into the 本，使用的所有文本均来自汉拉汉已发表的内
mainstream has been filtered through a very 容，以及谢文庆著作的一些片段。此外我什么都
particular lens. 没写。当我读到马克·奥珀的文章时，我开始为同
一组影像制作另一条音轨，但是这次只使用奥珀
MR It was filtered at the time too, wasn’t it? When you 的论文——我将其分解成零散的段落。现在，我
talk to people who were alive then, many were 们又有了另一版本的汉拉汉。
equally unaware of what was going on (although
I guess that most of the people we’d be talking to MR 没错，但汉拉汉是否真正写下了这些作品仍然是
were children at the time). 个谜。
HTN That’s a very interesting note about these types HTN 要出版或编辑所有他写过或牵涉其中的书籍，汉
of histories: even at the moment in which they 拉汉需要掌握的语言数量多到令人难以置信。与
were unfolding, they were always half already in 此同时，他还参与了中央情报局及其资助计划，
the shadows. Especially in Southeast Asia, where 或与军方有联系的研究组织（汉拉汉出身于军事
communism was so much an underground activity. 背景）。汉拉汉的许多著作实际上都是选集。他几
In a way, what defines the history of communism 乎就像一个从秘密渠道收集现成文本然后对之
here is its spectral quality. You always have 加以编选的人。他可能通过将这些文选出售给图
G FOR ?
informers, or from former party members who had
their own agendas.
MR In either case, self-serving ones.
HTN They all have their own prejudices. There is this
entire fog of uncertainty with these histories.
MR But do you think that’s a parallel to how mainstream
history is written and how it shifts over time? In
our lifetimes the histories of places like India have
been completely revised. Characters (Muslim
characters in particular) who were then heroes of
independence when I was a child are now cast as
terrible tyrants, for example. The narrative of the
past changed as the politics of the present ruling
class changed.
HTN That is the larger arc of the interest: through these
very specific histories, in which the uncertainties are
obvious, one could push that thought or the doubt
into the histories that seem quite stable to us.
MR So, was your motivation next to find out who this
Hanrahan person was?
HTN In a strange kind of way, who Hanrahan really was
didn’t really interest me that much, because for
me, a lot of the figures that I work with within the
Dictionary become emblems of something. It’s what
he stood for that interested me. That’s at one level,
of course. On a personal level, I was very curious
about Hanrahan. I started collecting his books and
doing the research that led to the video The Name
(2015). Later, I was in Hong Kong where Lingnan
University and the Asia Art Archive had organized
a small conference around a screening of The
Nameless (2015), and at a certain point someone
from the university approached me and said she
had a friend, an American historian called Mark
Opper, who had recently published something about
Hanrahan. His essay was about how he had tracked
down Hanrahan, which is something I didn’t manage

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 HTN 这种对身份不稳定性的兴趣肯定与新加坡的情 boggling, and at the same time he was involved with
况有关，但在更广泛的意义上，它也反映了整个 institutes that were involved with the CIA and their
东南亚的情况。东南亚国家的实际形成时期在二 funding programs, or research organizations that
战后，与冷战同期。当然，我们现在知道冷战成为 had ties to the military. (Hanrahan came out of a
了概括东南亚地区以外诸多势力何以影响该地 military background.) So many of Hanrahan’s texts
区内部事务的幌子，它也涉及以一套说辞排挤另 actually are anthologies. He’s someone who collects
一种可能的话语解释。我认为你描述的新加坡身 readymade texts, finds them in sources that other
份的方式绝对贯穿了我对身份政治的思考，也解 people can’t access, and recompiles them. The
释了我的兴趣——不仅仅是对汉拉汉的兴趣，还 authorship, in a sense, is already there—he’s using
有对三重间谍的兴趣，比如共产主义领袖莱特。 existing materials and rearranging them.
莱特是马来亚共产党总书记，也是与法国、英国
书馆或其他什么方式来维生，所以从某种意义上 to do. Amusingly, though, it turned out that 和日本秘密警察合作的三重间谍。 你知道，莱特是 MR Which is not very different from what you do.
说，由于他对现有资料的使用和编纂，
“著作权” Opper’s first published essay quoted something 《无名》的主人公，而他也是出现在基恩·汉拉汉
已然不证自明。 that I had written about the strange authorship 的书中的人物角色。 HTN Yes indeed. One of the anthologies he created was
that had gone into Hanrahan’s collection of works 我们之前提到，共产主义的历史不稳定性与 Hemingway: The Wild Years, a collection of essays
MR 这与你所做的也没有太大不同。 in a magazine. 身份不稳定性是异曲同工的：我们看到与新加坡 by Ernest Hemingway that were originally published
或东南亚有关的身份不稳定性，这又促使我们去 in The Toronto Star. One of the essays in it was about
HTN 是 的 ，某 种 程 度 上 与 我 所 做 的 完 全 一 样 。 MR Perhaps that softens the blow. 质疑所有“身份”的形成过程——也是这种调查 a con artist. I quoted that fragment in the first version
他 创 作 的 选 集 之 一 是《 海 明 威 ：荒 野 岁 月 》 的又一延伸。 of The Name that perhaps applies as a description
（Hemingway : The Wild Years）
，这是厄内 HTN Even though he found the real Hanrahan, of Hanrahan: “There is some strange force inside of
斯特·海明威最初发表在《多伦多星报》的文章结 conceptually, there was still something highly MR 你会认为这种研究的目标之一是去消除由这种­ them that forces them to be imposters. They might
集。其中一篇文章就是关于骗子的。 《名字》第一 unstable about his authorship. That's what got me “不稳定”引发的焦虑吗？当然，在新加坡这样的 die of a broken heart if they could not live their lives
版中引用了该片段，我认为它或许也适用于汉拉 really interested. At that time, I had just made the 地方焦虑无处不在，但这也可以是生产性的，因 of the imagination.” But last year, I received an email
汉本人。去年我收到了他孙女的电子邮件，她也 first version of The Name, the script that was used 为它导向丰富的发展结果。那么对你而言，不稳 from his granddaughter. It seems that the family
说自己家也几乎对汉拉汉一无所知。他非常神秘 in the video came out entirely of texts that were 定是更多关于焦虑，还是关于可能性？ also doesn't know much about Hanrahan. He seems
而且似乎很不可靠。 published by Hanrahan, as well as some fragments mysterious, and perhaps unreliable.
from Cheah Boon Kheng. I didn’t write anything. HTN 我认为我工作的驱动力之一就是试图将这些焦虑
MR 我想知道，对这种不稳定的身份以及某种程度 But when I discovered Mark Opper’s text I started 转化为可能性，将它转化为积极和生成的东西。 MR I wonder if the interest in this unstable identity, and
上对“幽灵写作”的兴趣，是否也与东南亚的整 to produce another soundtrack to accompany the 焦虑本身也值得研究，因为这些焦虑是历史 in ghost writing too, in a way, partly relates to the
体身份性质有关——特别是新加坡？新加坡有 same set of images. This time, I used only Mark 性的，它们可以被某些政治力量所塑造、利用或 nature of identity within Southeast Asia in general,
趣的地方在于它总让不同的身份标签悬置于半 Opper’s essay, which I broke into fragments. So we 持存。了解这些焦虑很有趣，但最终我们必须尝 but Singapore in particular. In that respect, Singapore
空中 。在新加坡，种族决定了住房和其他各种 have a different version of Hanrahan now. 试将其转化为积极的东西。联系我们的时代背 always fascinates me as a place that tries to keep all
社会位置、社会资源的分配。例如，当申请护照 景，在“真相”伴随着假新闻成为核心问题的今 these different balls in the air about its identity. Race
或身份证时，必须根据有限的选择填写你的种 MR Yet still the question of whether or not he wrote all 天，我们开始发现许多欺骗行为正是由我们自己 informs how housing is allocated and various other
族身份：中国人、马来人、印度人或其他——其 those works is a mystery. 的政府制造的——这一点越来越无法掩饰。我们 social provisions in Singapore. You have to put your
中可能没有一个选项真正适用或有参考价值。 ­ 才意识到这种欺骗多么普遍，它们如何深嵌于我 ethnic identity down when you apply for a passport or
也许这与我们所讨论的历史时期，即战后马来亚 HTN The number of languages that he needed to master 们的社会结构当中。而我们似乎还不知道该如何 ID card for example, within a limited set of choices—
的地下共产主义斗争时代有关：这个时期马来亚 in order to publish all the books, or to edit all the 处理这些信息，因为其规模似乎已经超出了我们 Chinese, Malay, Indian or Other—none of which may
地区的民族身份正在被重新制定甚至“发明”。 books that he’s been involved with, is quite mind- 的认知能力。 really be applicable or informative.

何子彦，
《名字》
，2015年­ Ho Tzu Nyen, The Name, 2015 何子彦，
《名字》
，2015年­ Ho Tzu Nyen, The Name, 2015
单通道高清投影，环绕声，16分钟51秒­ Single channel HD projection, surround sound, 单通道高清投影，环绕声，16分钟51秒­ Single channel HD projection, surround sound,
图片致谢艺术家 16 minutes 51 seconds 图片致谢艺术家 16 minutes 51 seconds
Courtesy the artist Courtesy the artist

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所
代
表
的

基恩·汉拉汉所著­ The cover of Gene Z. Hanrahan’s book 基恩·汉拉汉所编纂的­ The cover of Assault! (1962),
（1954）一书封面
《马来亚的共产主义斗争》 The Communist Struggle in Malaya, 1954 《攻击！
》（1962）一书封面 edited by Gene Z. Hanrahan
Courtesy Ho Tzu Nyen Courtesy Ho Tzu Nyen

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你觉得你需要在自己的工作中处理这个问题吗？

E
MR that we see in relation to Singapore or Southeast
Asia opens up a process in which we could start to
HTN 是的，我对这些问题也很感兴趣。如何处理这种 question all kinds of identity formations.
富有可能性的不确定，在这种不稳定性中工作？
这就是为何《东南亚关键词典》是“混乱”和“分 MR Do you think one of the goals of that inquiry is to
散”的：没有人真正知道哪个项目属于《词典》，而 remove the sense of anxiety about this unstable
且你在网上看到的《词典》视频携带的算法也会 situation? Certainly, in a place like Singapore you
不断改变作品本身。 can see the anxiety everywhere, but this can be

G FOR ?
我会倾向于认为《词典》不是一种
“再现”，而更 productive too: with instability different outcomes
像一个模型。在我的想象中，它是一个非常低技 are possible. For you is it about anxiety
术版本的模拟，有点像科学家对天气的模拟。模 or possibility?
型是与表征完全不同，前者是一个对原始现象中
关系和动态加以再现的工作模型。表征似乎暗示 HTN I think that one of the driving forces for my work
了某种终结，即代表某种事物及其静态性。而模 is the attempt to transform these anxieties into
型则与时俱进。 possibilities, to flip these anxieties into something
这将《词典》定义为一个整体，但是，说回到 positive and generative. I don’t believe in being
我与汉拉汉的相遇，《名字》的早期版本基于一位 beholden to the anxieties, but I also do think they
更早的历史学家（谢文庆）的一系列陈旧假设， cannot be ignored, because they won’t just go
在很多层面像是一个错误，但考虑到这些假说曾 away. And I also think that it could be interesting
被发表和传播的事实，它也是一个“真实”的错 to look into the anxieties, and how they have
误——在某个时刻，对这一特定时期马来亚历史 emerged, and how they might even have been
感兴趣的人就是这样理解汉拉汉的。 shaped and manipulated by certain political forces.
在记录这些不确定性时，你会达到某种认识 Perhaps it’s particularly interesting in relation to 基于马克·奥珀的文章，《名字》有了第二个 But ultimately, these anxious energies must be
论上的谦逊。由于所有事实都遭到质疑，你也需 the period in which we began this conversation— 版本。对我来说，这一项目之所以有趣正是因为 converted into something positive.
要考虑如何在不确定性中有效地运作——这是 the postwar era of underground communist 它包括这两个版本。新版本并没有完全替代原版 Sometimes I think about this in relation to
我所关注的一个宏观问题。 struggle in Malaya—a time when national identities the context of our times. We all already know the
思考这些不稳定性和“后真相时刻”让我们 in the region are being reformulated, perhaps sheer scale of the many deceptions produced by
意识到，实际上今天乐见“不稳定性”的人几乎都 invented even. our own governments. What we do not yet seem
是保守派和右翼势力，他们习于制造自己的虚构 to know is how we can process this information
叙事并将生活投入其中。这不再关乎真假，而是 HTN This interest in the instability of identity definitely and what we are going to do about it, because we
一种对“现实”的“选择”。 has something to do with the Singaporean condition, are overwhelmed by the scale of the problem. I
but in a broader sense of course it resonates across think that in registering these uncertainties and
MR 或许两者兼有。保守势力往往希望给出更完善的 Southeast Asia because the period of state formation instabilities you arrive at a form of epistemic humility
确定性说辞，而自由派似乎相反——他们希望考 after the Second World War also coincided with the over your claims. But at the same time, I think that it
虑所有可能性，而在此意义上也忽略了确定性的 Cold War. What we know of the Cold War now, of is also important to figure out how we can function
存在。 course, is that it became a cover for many efforts productively amidst such profound uncertainties.
from outside the region to influence what was Unfortunately, the people who seem most
HTN 是的。保守势力生产了具有某种确定性的虚构叙 going on inside the region. The way you described comfortable with these instabilities today seem to
事；在这样的历史关头，这种确定性似乎在心理 Singapore juggling all of these simultaneous be the conservative and the right-wing forces, who
上很有吸引力。 identities makes me think about my interest in figures have become comfortable in producing their own
such as Lai Teck. He was the Secretary General of fictions that they can commit their lives to. It seems
MR 你认为这也是再现（representation）的问题 the Malayan communist Party, who was also a triple no longer about what is true or false but it’s what you
吗？根本而言，没有一种真相可以代表全部真相； agent working with the French, British and Japanese choose as your reality.
这似乎也是我们思考艺术的基本方式，即我们明 secret police. As you know, Lai Teck was the
白并接受没有任何事物可以体现一切——每种 protagonist of The Nameless. But he also appeared MR But also combined, I think, with the fact that
叙事都会产生另一种叙事。 as a character in Gene Z Hanrahan’s book. conservative forces tend to have a better rhetoric of
Earlier, we spoke about how the instability of certainty, whereas the more liberal rhetoric seems
HTN 思考“再现”也就是思考产生这类“再现”的系统 histories connected to communism is an obvious to do the opposite, to consider all the options, to
的问题。何谓思考“形式”
（form）？这种过程有着 case of the same instability that we can start to see take everything into account, which, in a way, also
怎样的构成？生成系统和叙事之间的关系是什 in the mainstream accounts of history. In a similar undermines the fact that there is any certainty in the
么——部分与整体，瞬间与序列？ way, I think that the obvious instability of identity first place.

何子彦，
《无名》 ，2015年­ Ho Tzu Nyen, The Nameless, 2014 何子彦，
《无名》 ，2015年­ Ho Tzu Nyen, The Nameless, 2014
单频录像，5.1 环绕声，21分钟51秒­ Single channel video, 5.1 surround sound, 单频录像，5.1 环绕声，21分钟51秒­ Single channel video, 5.1 surround sound,
图片致谢艺术家 21 minutes 51 seconds 图片致谢艺术家 21 minutes 51 seconds
Courtesy the artist Courtesy the artist

36 LEAP S/S 2021 37 幽灵派对 GHOSTED

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E
HTN That’s true. Conservative forces produce published and disseminated. At a certain moment,
fictions with a kind of certainty that can seem that’s how people who were interested in Malayan
psychologically attractive at a historical juncture history of that period understood Hanrahan.
such as this. Then came the updates or the revision, which
was this second version based on Mark Opper,
MR So in that sense do you think it’s just a question and for me, in the end, what was interesting,
of representation? It seems like fundamentally precisely because it included both versions. The
what we’re talking about is the idea that no truth new update doesn’t remove the 01. I still play both

G FOR ?
can represent the whole truth—and that seems of these versions in sequence, so the audience’s
fundamental too to the way in which we deploy and understanding of Hanrahan would depend on when
think about art. The knowledge or acceptance that they enter into the work and also how long they stay
no one thing can represent everything—that every to watch the whole thing. So, if you want to assess
何子彦，
《名字》
，2015年­
作品，我还是依次播放了两个版本，所以观众对 narrative will generate another narrative—is perhaps 单通道高清投影，环绕声，16分钟51秒­ the truth, you need to stay, you need to work it out,
汉拉汉的理解将取决于他们何时进入作品，也取 where it starts. 图片致谢艺术家­
or you need to spend the time to work this out.
­
决于他们观看作品时停留多长时间。所以，如果 Ho Tzu Nyen, The Name, 2015 That I found interesting: the Hanrahan that you get
你想接近真相，你就需要留下来，花时间去理解
Single channel HD projection, surround sound,
HTN To think about representation, is to think of the 16 minutes 51 seconds depends on the moment of your access and the
它。我觉得这很有趣：你所了解的汉拉汉，取决于
Courtesy the artist
system that produced the representation and I depth of your engagement.
你进入的时刻和你参与的深度。 wonder what does it mean to think about form, and
composition such a process takes on. What is the
任越译自英文 relationship between the generative system and the
narrative, the part and the whole, the moment and
the sequence……

MR Is that something you feel you need to address in

your work?

HTN Yes. I think these questions interest me as well.

How do you work with that uncertainty and the
possibilities within uncertainties, within this
instability? Which is why the project of a self-critical
何子彦，
《名字》
，2015年­
Dictionary of Southeast Asia is something confusing
单通道高清投影，环绕声，16分钟51秒­ and diffusing. Nobody really knows which project
图片致谢艺术家­
­ belongs to the Dictionary, and the Dictionary as you
Ho Tzu Nyen, The Name, 2015
Single channel HD projection, surround sound, see it online as a video also has this algorithm which
16 minutes 51 seconds is constantly changing the work itself.
Courtesy the artist
With the Dictionary I would think of it less as a
representation and more as a model. I imagine it as
a very low-tech version of simulations that scientists
do with something like the weather, for example.
A model, I think, is something quite different from
a representation. A model recreates the relations
and the dynamics in the original phenomenon.
Representation has this sense of a closure: it
represents something that is static. Whereas a
model does something in time.
That defines the dictionary as a whole but, going
back to my own encounter with Hanrahan, the first
early version of The Name that I made was of course
based on these older sets of assumptions by this
older historian. It is in many ways an error, but it’s
also an error that was real in the sense that it was

何子彦，
《无名》 ，2015年­ Ho Tzu Nyen, The Nameless, 2014
单频录像，5.1 环绕声，21分钟51秒­ Single channel video, 5.1 surround sound,
图片致谢艺术家 21 minutes 51 seconds
Courtesy the artist

38 LEAP S/S 2021 39 幽灵派对 GHOSTED

 阴间

FE
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题

全
专

UR
《阴 间 革 命 手 册》写 于 2 0 2 0

LONELY GHOSTS OF THE WORLD UNITE

E
年 的 冷 春 ，起 初 它 仅 作 为
世 那段焦灼时期中伤亡与痛

界
楚 的 应 激 手 段 ；尔 后 又 成 为
冲 动 但 怯 懦，无 奈 且 无 能 的

革命
的 性 状 的 一 种 印 证 。由 浮 萍 制
作，整 书 尺 寸 6 4 开，封 面 作
孤 凹 凸 效 果，内 页 印 刷 在 冥 钞
魂 纸上。

野 《阴间革命手册》本身是残缺

鬼
且信口雌黄的，其中诸多段落

手册
的论据与其研究甚为肤浅并
团 错 漏 颇 多 ；但 此 书 之 所 以 成
行，是因为其意义是复杂的，
结 它作为一种形式，指出了对保
起 有革命的幻想和其他事物同
等重要，皆因它总涵盖着最后
来 一丝抗争的冲动；而另外一个
层面则是，永不付诸的行动亦
和此书一样荒诞可笑，寄望突
如一场盛大革命解决诸多矛
盾，实则和奢望死后荣华富贵
的是一样荒谬。

GUIDELINES
或许的确在某种程度而言，阴间一词如同是死后的权力与财富
应许之地，但《阴间革命手册》指出了一个事实：对阴间想象绝
不应是贪婪者特权。无论是对阴间的想象与叙述，抑或对现存
当下作出批判，都应该是所有人的权利，此书力图重塑阴间作
为乌托邦的想象，而这种想象对现实而言，它将其当作是一次

FOR
对极权的斗争预演，或是一次对自由与平等的、尊重个体价值
的虚幻世界的演绎；但这一切不仅是对阴间，更是对乌托邦这
一词义和想象力的二次夺回。

REVOLUTION
《阴间革命手册》之所以是有关阴间，除了一种显而易见的理
由之外，也是因为传统对阴间的幻想构造实则源于社会中最根
深蒂固的意识形态——并非是一种单一的、近乎偏执的封建迷
信意识形态去衍生对阴间想象的林林总总，而是在具有更为复
杂、现实且根深蒂固的确切目的投射在其中。由此，对日常的批

IN HELL
判仍然是极为关键的，毕竟革命的形式有千万种，抛去对盛宴
的幻想之外，在日常生活中的革命也同具有非凡意义。

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阴曹地府的

UR
Written in the cold spring of 2020, Guidelines for Revolution in Hell initially

E
served only as a means of stress for the casualties and pain of that anxious
period; then it became a testament to an impulsive but timid, helpless and
incompetent disposition. The book is produced by familiar path, measures 64
审美僵化
pages, with an embossed cover and interior pages printed on joss paper.
与游魂野鬼
阴
的审美异见

GUIDELINES FOR REVOLUTION IN HELL

间 Guidelines for Revolution in Hell itself is imperfect, with many superficial
革 arguments and flaws in its research; but the book works because its meaning
命 is complex, as a form of pointing out that the illusion of keeping the revolution 阴间的整个治理体系及其视觉系统来自于中国民间神话
手 传说与儒家、道教、佛教的杂糅。地府的构造源于中国古
alive is as important as anything else, as a means of encouraging a fight to the
册
last. On the other hand, the action that is never taken is as absurd as this book,
代掌管刑狱的司法官僚系统。阴曹地府是收容、审判、处
罚、管理游魂野鬼的衙门。这个衙门具有政府机关的权威 AESTHETIC RIGIDITY
and the hope of a sudden and grand revolution to solve multiple conflicts is as
absurd as the hope of glory and wealth after death.
性和暴力机关的强制性，其合法性来源在千百年里从未
受到有效质疑，更不说遭遇实质性的反抗。阴曹地府的一
切按照阳间封建王朝的官僚系统复刻而来，这一体系长
IN THE UNDERWORLD
It may be true that, to some extent, the word
期是几乎静止不变的。人死后，灵魂进入阴间，走过了黄
泉路，来到的第一个地方便是这个衙门。阴曹地府的视觉 AESTHETIC DISSENT
“underworld” is like the promised land of
power and wealth after death, but Guidelines
系统与其作为暴力专政机器的结构是同构的。因此要解
放游魂野鬼，使他们当家做主，击碎以阎罗王为首的压迫 WITH WANDERING
for Revolution in Hell points out the fact that
imagining the underworld should never be the
性统治阶级，打破阴曹地府的视觉想象及其审美垄断是
十分必要的。 SPIRITS AND WILD
privilege of the greedy. The book seeks to recreate
艺术作为一种政治行动，它的任务是使自身成为针
对现实的某种微妙宣言。它必然与直接的政治行动有所
区分，但又是后者的必要补充。古往今来的政治革命无不
GHOSTS
the imaginary of the underworld as a utopia, an
伴随着同样激进的审美革命。在改朝换代、迎来新秩序的 The entire system of governance of the underworld and its visual
imaginary that is a preview of the struggle against 同时也打碎陈旧僵化的审美模式。其中距离现在稍微近 system comes from a mishmash of Chinese folk mythology and legend
totalitarianism or a rendition of an illusory world 一些并有着清晰文献的例子，则是在 1923 年，社会主义 with Confucianism, Taoism, and Buddhism. The structure of the
of freedom and equality, respecting individual 阵型之中的沃隆斯基和"岗位派"（
“拉普”前身）之间发生 underworld is derived from the ancient Chinese judicial bureaucracy in
values. Naturally, in that sense, it is a recasting of 了一场影响深远的论争，论争的焦点是如何对待古典文 charge of the penal system. The Hell House is a government office that
学遗产。“岗位派”认为在摧毁旧国家建立新国家的同时， receives, judges, punishes, and manages wandering spirits and ghosts.
the word “utopia” as well. 也要摧毁旧的阶级的文化，才能建立无产阶级自己的新 With the authority of a governmental body and the coercive nature of
文化。岗位派在自己的宣言中表示： “无产阶级文学首先 a violent one, the source of its legitimacy has never been effectively
The traditional fantasy construction of the 必须彻底摆脱旧的影响，既在思想领域，也在形式领域。 ” questioned, let alone resisted in any substantial way, for thousands of
underworld has its roots in the most deep- 在所谓“思想领域”摆脱旧的影响，即以无产阶级的意识 years. Everything in the underworld is reproduced according to the
形态取代资产阶级意识形态，在"形式领域"摆脱旧的影 bureaucratic system of the feudal dynasty in the world of the living, a
rooted ideologies of society—myriad imaginings, 响则指以无产阶级的创作方法取代资产阶级的创作方 system that has remained static for a long time. After death, the soul
complex, realistic and deep-rooted projections, 法。而沃隆斯基不同意无产阶级文化派和岗位派的意见， enters the underworld and walks through the Yellow Springs Road, and
rather than a single, almost paranoid, feudal the first place it comes to is this government office. The visual system
superstitious ideology. Thus, the ongoing critique of the underworld is isomorphic to its structure as a violent dictatorial
machine. Therefore, in order to liberate the wandering spirits and
of the everyday remains crucial: after all, there are ghosts, to make them the masters of their own house, and to smash
millions of forms of revolution in everyday life. the oppressive ruling class headed by the King of Hell, it is necessary
to break the visual imagination of the underworld and its aesthetic
monopoly.
Art, as a political action, has the task of making itself a sort of subtle
declaration against reality. It is necessarily distinguished from direct
political action, but is a necessary complementary to the latter. Political
revolutions through the ages have always been accompanied by
equally radical aesthetic revolutions. The change of dynasties and the
ushering in of a new order have been accompanied by the shattering

42 LEAP S/S 2021

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阴间经济

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他主张在继承俄罗斯古典文学优秀遗产的基础上，有所

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of old and rigid aesthetic patterns. One of the more recent and well-
创新地建立无产阶级的文学。但无论如何，在面对一个巨 documented examples is the far-reaching debate in 1923 between the
大思潮动迁的同时，新的审美作为意识形态的具体体现，
也是亟待革命。
而以目前而言，阴曹地府的视觉体系的特点是高度
socialist Aleksandr Voronsky and the journal Na Postu (the predecessor
of the Russian Association of Proletarian Writers) over the treatment
of the classical literary heritage. "The Na Pustu group believed that in
概论
等级制的，以阎罗王为中心的，是对阳间的官僚系统的 destroying the old state and building a new one, it was necessary to 为何要革命，革命的必要性在哪，这都是长久地需要不断
刻板模仿，它试图在这种森严的等级制之中展现一种难 destroy the culture of the old class in order to build a new culture of 地被辩证的命题。孤魂野鬼需要掌握革命理论，要团结
阴 以反抗的威严和压迫性。而与地府相关的创作，即使在当 the proletariat itself.” In their manifesto, the Napostovtsy stated that 起来，才能打倒封建资本阶级政府。而实现阴间革命的成

GUIDELINES FOR REVOLUTION IN HELL

间 代，也是沿袭封建时代的媒介与审美。为了反抗这种僵化 “proletarian literature must first of all be completely free from the old 功，至关重要的一点则是阴间从人间实现行政上与经济
革 的视觉体系，游魂野鬼们应当自主发明全新的视觉系统， influences, both in the field of ideas and in the field of forms." In the 上的全面独立。
命 使得它作为阴曹地府的对立面而存在。这样一套新的革 so-called "ideological sphere", the old influences were replaced by the 而在此必须强调经济全面独立的必要性，阴间经济
手 命的视觉系统应当是打破等级制的，无中心的，在阳间找 ideology of the proletariat, and in the "formal sphere", the old influences 独立是阴间政治独立乃至革命成功的最大前提。
册 不到对应物的。这样一套全新的视觉系统只可能是游魂 were replaced by the creative methods of the proletariat. Voronsky, 目前而言，阴间的经济从根本处于人间经济的下游
野鬼根据自身的真实处境和对阴间残酷现实的敏感度出
发，经过持续不断的审美实验而达到的。发明新视觉语言
on the other hand, disagreed with the proletarian culturalists and the
Napostovtsy, and advocated the creation of a proletarian literature
地带；这意味着阴间经济不单全然受制于人间，也意味着
长久以来阴间只能全然受人间的意识形态与经济形态的 INTRODUCTION TO
的过程也是一种革命，这是感受力的革命，在某种意义上
与武装夺取政权进而改天换地一样重要。阳间的德国理
based on the inheritance of the excellent heritage of Russian classical
literature, with some innovations. But in any case, in the face of a huge
影响。所谓实现经济上从人间全面的独立，实则是要推翻
阴间中目前以人间经济作主导的模式，与其从中天然继 THE ECONOMY OF
论家本雅明曾说过，纳粹将政治审美化，为了与之抗衡，
先锋派必须将审美政治化。游魂野鬼作为新的先锋阶级，
是诞生新艺术的天然主体，在发出政治异见的同时，也应
ideological upheaval, the new aesthetic, as a concrete manifestation of
ideology, is also in urgent need of revolution.
And for the time being, the visual system of the underworld is
承的资本主义私有制。
在人间，这种资本属于个人所拥有的经济制度，强调
私有制、契约精神与贸易自由的这种常识本身并没有错；
THE UNDERWORLD
该勉力生产审美异见。这种新的审美价值必定来源于多 characterized by a highly hierarchical system, centered on the King of 但基于不公的劳动为基础自由贸易的语境中，利润则远 Why revolution is needed and what is the necessity of revolution are
元叙事。阴曹地府所宣扬的意识形态高度依赖于一个单 Hell, a stereotypical imitation of the bureaucratic system of the world 重要个体价值与尊严。马克思在面对私有制时指出， “将 propositions that have long needed to be constantly debated. The
一的叙事链条和价值系统，即投胎的契机取决于业力、轮 of the living, which attempts to present a majesty and oppressiveness 道德错误地用在不道德目的上的虚伪方式正是自由贸易 lonely ghosts need to grasp the theory of revolution and to unite in
回和以阎罗王为首的官僚系统的审判和裁决。这样单极 that is difficult to resist in the midst of this rigid hierarchy. And the 体制的骄傲”。导致剥削的罪魁祸首并非在于制度本身， order to defeat the feudal capitalist government. The success of the
化的叙事是压迫的来源，它同时也消解了游魂野鬼反抗 creations related to hell, even in contemporary times, follow the 而是在于对人性本身的枉顾。伦敦证券交易曾被伏尔泰 revolution in the underworld is crucial to the full administrative and
的可能。游魂野鬼应当意识到阴曹地府的意识形态将其 medium and aesthetics of the feudal era. In order to resist this rigid 所称作是是比法院更可敬的地方，皆因其自由与规则明 economic independence of the underworld from the earth.
自身呈现为唯一可能的价值，进而遏制我们去想象更多 visual system, the wandering ghosts should invent a new visual system 确；而恩格斯却将其视为是表现资本主义罪恶的最佳场 The need for full economic independence must be emphasized
种种替代性的价值。那些替代性的价值不是不可想象的， on their own, making it exist as the antithesis of the underworld. Such 所是因为其交易规则仅仅停留贸易自由之上，而并非确 here, as the economic independence of the underworld is the greatest
但必定是现有的秩序所不能容纳的，也是生活在现有秩 a new and revolutionary visual system should be hierarchy-breaking 保劳动价值得到必要的体现。基于自由贸易的商业社会 prerequisite for the political independence of the underworld and the
序的压迫下的游魂野鬼们需要去努力想象的。毕竟，一切 and centerless, with no counterpart in the world of the living. Such a 使投机商人发财的同时，通过签订不公劳动契约榨取人 success of the revolution.
革命的必要基础正是想象力本身。 new visual system could only have been achieved through continuous 口红利，进一步影响政治政策的制定乃至宗教，而使多数 At present, the economy of the underworld is fundamentally
aesthetic experimentation by wandering spirits and ghosts, based 原深受压迫的劳动者沦落到了商品的地位，贸易上的自 downstream of the earthly economy: this means that the economy of
on their real situation and sensitivity to the harsh realities of the 由掩盖了无产阶级被市场力量所奴役的命运。而这些被 the underworld is not only totally subject to the human world, but also
underworld. The process of inventing a new visual language is also 权力、媒体和资本机器彻底控制了的无产阶级，在现代语 means that for a long time the underworld has been totally influenced
a revolution, a revolution of sensibility, in a sense as important as the 境中陷入了一种最为惊悚的恶性循环——不仅要被充分 by the ideology and economic form of the earthly world. To achieve
armed seizure of power and thus the change of the world. Walter 榨取生产力，变成生产机器，所剩无几的闲暇时间还被掌 full economic independence from the earthly world is to overthrow
Benjamin, a German theorist from the world of the living, said that the 控媒体、娱乐渠道的资本巨头所占据——形成“消费力” ， the current model of the earthly economy in the underworld and its
Nazis had aestheticized politics, and in order to counteract this, the 变成用于下一步生产的消费机器。*如果举一个实际的例 natural inheritance of capitalist private ownership.
avant-garde had to politicize the aesthetic. The wandering ghosts, 子，则是一个受雇于某互联网巨头的员工，一方面可能一 On earth, where capital is owned by individuals, there is nothing
as the new vanguard class, are the natural subjects for the birth of a 天工作和加班至 12 小时，所剩余的 6 个小时的闲暇时间 inherently wrong with the commonsense emphasis on private
new art, and while issuing political dissent, they should also strive to 中，可能被由同一资本所操控的娱乐平台，购物平台所掌 ownership, contractualism, and freedom of trade; but in the context
produce aesthetic dissent. This new aesthetic value must come from 控；其剩余的闲暇时间与精力也被转化成消费力，进入下 of free trade based on unjust labor, profit is far more important than
a pluralistic narrative. The ideology propagated by the underworld is 一轮的异化之中。 individual value and dignity. Marx pointed out in the face of private
highly dependent on a single narrative chain and value system, i.e. the 对于阴间新政府而言，最为急迫的问题则是在于，当 ownership that the hypocritical way in which morality is misapplied
opportunity to be reincarnated depends on karma, reincarnation and 下人间资本主义生产资料私有化与社会化生产之间的矛 to immoral ends is the pride of the free trade system. The culprit
the judgment and verdict of the bureaucratic system headed by the 盾日益加剧，对无产阶级压迫越发肆无忌惮的时候。阴间 of exploitation lies not in the system itself, but in the indifference
King of Hell. Such a unipolar narrative is a source of oppression, and 经济与其生产价值，则依旧完全依赖来自人间烧的纸钱 to human nature itself. The London Stock Exchange was called by
it also dissolves the possibility of resistance by the spirits. The spirits 与纸扎的各类产品——需要指出的是，这些实际上是人 Voltaire a more respectable place than the courts because of its
should realize that the ideology of the underworld presents itself as 间的剥削经济的副产品，其本身都是由真实的资本机器， freedom and clear rules; Engels saw it as the best place for the evils of
the only possible value, and thus inhibits us from imagining more 仿造资产阶级的审美所打造出来的。并且从另外一方面 capitalism because the rules of trade rested only on freedom of trade
alternative values. Those alternative values are not unimaginable, but 而言，这种需要大量人手劳动方可完成的纸扎产品，同时 and not the necessary expression of the value of labor. A commercial
they must be beyond the reach of the existing order, and they are what 也是剥削劳动的结果。诸孤魂野鬼对这种媚俗的血汗纸 society based on free trade makes speculators rich while extracting
the spirits living under the oppression of the existing order need to

4500000000000000000
try to imagine. After all, the necessary foundation of all revolutions is
imagination itself.

44 LEAP S/S 2021 幽灵派对 GHOSTED


题
专
壳产品其背后的脉络应该有充分认识，并拒绝这种不公
义。代表最广大，最受剥削的孤魂野鬼利益的革命政府，
也应该从根本上拒绝人间的剥削经济和其审美产品，才
能从根本上实现阴间自主经济独立。
从另外一个方面而言，是阴间不具备货币印发权；阴
间四大银行：冥通银行，冥都银行，天地（通用）银行，天堂
银行的总部皆受人间资产阶级所控制，并且常年滥发货
阴 币导致阴间长期恶性通货膨胀。而目前阴间并不具备印
间 发货币的手段之下，拒绝承认人间纸币，从而控制货币供
革 应量是减缓通货膨胀和打击通货滞涨的第一手段。
命 阴间革命政府应迅速地成立阴间中央银行，设其为
手 印发冥币的唯一合法机构，同时回收人间资本阶级背景
册 的四大银行的冥币印发权，回收非法冥币，进行旧币置
换，同时也需要禁止其他货币的流动，使其成为阴间本位
货币。如果要进行置换，那么则要按照实际购买力与前四
大冥行发行数种冥币的实际价值进行制定基本汇率。阴
间中央银行同时通过降息增加市场流动性，以增加就业
和生产。短期的极速通胀是极可能的结果，但同时新政府
应更加注意通货滞涨和通缩的出现。
财政政策和货币政策是中央银行可以调节经济使用
的手段。一方面采取紧缩性的财政政策和紧缩性的货币政
策可以用来控制通货膨胀的程度以实现软着陆； 另外一方
面而言，扩张性的财政政策和扩张性的货币政策也可以纳
入考虑范围之中，以刺激经济并以此防止通货紧缩。
在此值得注意的则是，中央政府应慎重货币政策的
实施与推广，过度调节会混乱原本脆弱的市场经济；同时
过度地使用紧缩性的货币政策可能会导致“过多的商品，
过少的货币“，从而导致物价持续下跌，出现通货紧缩。
不同的财政政策意味着阴间中央银行不单止有权力
干预新生的市场经济或计划经济，同时也能通过减少阴
间行政政府支出或增加对普遍往生者的黄泉税进行开源
节流。货币政策的详细制定应根据实际的不同地区的经
济状况和解放程度进行判断。
46
demographic dividends through unfair labor contracts, further
influencing political policy making and even religion, and reducing
most of the formerly oppressed workers to the status of commodities,
with freedom of trade concealing the fate of the proletariat enslaved
by market forces. The proletariat, completely controlled by the
machines of power, media and capital, is trapped in a most frightening
vicious circle in the modern context—not only is it fully extracted
from its productivity and turned into a production machine, but its few
remaining leisure hours are also occupied by the capitalist giants who
control the media and entertainment channels to create "consumption
power" and turn the production machine into a consumption machine
ready for the next production. *If we take a real example, an employee
employed by an Internet giant may work up to 12 hours a day and work
overtime, and the remaining 6 hours of leisure time may be taken up
by the same capital-controlled entertainment and shopping platforms;
the remaining leisure time and energy are also transformed into
consumption power, which is used in the next round of alienation.
The most urgent problem for the new government in the
underworld is the growing contradiction between the privatization of
the means of production and socialized production, and the unbridled
oppression of the proletariat. The economy of the underworld and its
production values continue to depend entirely on paper money and
paper products from the earth—which, it should be noted, are actually
the by-products of the earthly exploitation economy, itself created by
the real capitalist machine, in imitation of the bourgeois aesthetic. On
the other hand, these paper products, which require a lot of manual
labor to produce, are also the result of exploitative labor. All the lonely
ghosts should have a full understanding of the underlying thread of
this kitschy sweat paper shell product and reject this injustice. The
revolutionary government, which represents the interests of the
largest and most exploited group of ghosts, should also fundamentally
reject the earthly exploitative economy and its aesthetic products
in order to fundamentally achieve the autonomous economic
independence of the underworld.
On the other hand, the underworld does not have the right to
issue money; the four major banks in the underworld: Union Bank of
Hell, Capital Bank of Hell, United Bank of Hell, and the Bank of Heaven
are all controlled by the bourgeoisie on earth, and they issue money
indiscriminately all year round, leading to long-term hyperinflation
in the underworld. Since the underworld does not have the means
to issue money, refusing to recognize earthly paper money and thus
controlling the money supply is the first means to slow down inflation
and combat stagflation.
The revolutionary government of the underworld should quickly
establish the central bank of the underworld as the only legal
institution for issuing banknotes, and at the same time recall the
right to issue banknotes of the four major banks of the capitalist
background on earth, recall illegal banknotes and replace them with
old ones, and also prohibit the flow of other currencies to make them
the standard currency of the underworld. If the replacement is to
be carried out, then the basic exchange rate is to be set according
to the real purchasing power and the real value of several types of
underworld coins issued by the former four major underworld banks.
The central bank of the underworld simultaneously increases market
liquidity by lowering interest rates to increase employment and
LEAP S/S 2021
FE
AT
UR
推行新的货币政策，是实现独立革命的必经之路；阴
E
production. Short-term extreme inflation is a highly likely outcome, but
间革命政府同时应该意识到，导致阴间经济与生产力疲 at the same time the new government should pay more attention to
惫的原因，一方面是阴间的生产积极性尚需刺激与调动， the emergence of inflationary stagflation and deflation.
但更为重要的是，其经济的真正敌人是以阎罗王为核心 Fiscal policy and monetary policy are instruments that the central
服侍人间资本制度的权贵阶层。重建阴间的经济形态是 bank can use to regulate the economy. On the one hand, a tight fiscal
以阴间全方位独立为目标，同时这也是对人间资本阶级 policy and a tight monetary policy can be used to control the level
意识形态之下的种种压迫的切实抗争——一方面是贪猥 of inflation in order to achieve a soft landing; on the other hand, an
无厌的资本阶级审美，另外一方面是漫无止境的贪婪祈 expansionary fiscal policy and an expansionary monetary policy can be
GUIDELINES FOR REVOLUTION IN HELL
福再也不会得到阴间人民与革命政府的任何响应。人间 taken into account to stimulate the economy and thus prevent deflation.
滥发的，散着贪欲的纸糊货币，劣质的血肉纸扎产品与香 It is worth noting here that the central government should
火将不再被接受。先祖将不会庇佑他们在人间日夜致力 be cautious in implementing and promoting monetary policy, as
剥削他人，压榨剩余价值的后代。阴间人民将在一个公平 overregulation may disrupt the already fragile market economy, while
文明法制的独立阴曹地府，以民主的形式代表人民的共 excessive use of tight monetary policy may lead to “too much goods, too
同意志下实现真正意义上的乌托邦。 little money,” resulting in a continuous decline in prices and deflation.
A different fiscal policy means that the central bank of the
underworld has the power not only to intervene in the new market
economy or planned economy, but also to reduce government
spending in the underworld or to increase the yellow spring tax on the
general reincarnation. The detailed formulation of monetary policy
should be judged according to the actual economic conditions and
degree of emancipation of different regions.
The implementation of a new monetary policy is a sure way to
achieve an independent revolution; the revolutionary government of
the underworld should at the same time realize that the reason for the
exhaustion of the economy and productivity of the underworld is that,
on the one hand, the productive initiative of the underworld still needs
to be stimulated and mobilized, but more importantly, the real enemy
of its economy is the powerful and noble class serving the capital
system on earth with the King of Hell as the core. The reconstruction
of the economic form of the underworld is aimed at the all-round
independence of the underworld, and at the same time it is a practical
struggle against the oppressions under the ideology of the capitalist
class on earth—on the one hand, the obscene capitalist aesthetics,
and on the other hand, the endless greedy prayers for blessings that
will no longer receive any response from the people and revolutionary
government of the underworld. The indiscriminate, greed-ridden
papier-maché money, poor quality flesh-and-blood paper products
and incense will no longer be accepted. The ancestors will not bless
their descendants who work day and night on earth to exploit others
and squeeze the surplus value. The people of the underworld will
realize a real utopia in the true sense of the word in a fair, civilized and
lawful independent underworld, representing the common will of the
people in a democratic form.
TRANSLATED FROM CHINESE BY ADRIAN DOO
4700000000000000000
幽灵派对 GHOSTED
 鲸落：寓言那漫长的­
案

PR
个

O
家

利维坦鲸，或受伤、或老朽、或自身无

FI
术

LE
The Leviathan has lungs like
艺

终结与生成
法承载其在海中的上浮，与人一样用 humans, and whether injured
肺呼吸的它就会因长时间无法换气， or old, if it is unable to breach
溺水而亡。 the sea’s surface to breathe, it
黄
will drown.

HUANG YONG PING

WHALE FALL:
永

2019年, 水
砅

2019, WATER
THE EXTENDED “ 砯 ”与 / 或“ 砅 ”，我 们 似 乎 直 到 最 后 才 知
晓 他 的 真 名 ，于 是 ，这 意 味 着 一 次 重 新 认
识。一点之差， “砯”之“水击岩声”， “砅”之
"砯" (Ping) and/or "砅" (Li), it seems we won’t learn his name until the
end, and in this way it will be like meeting again. There is a slight
difference between the two characters: “Ping” is the sound of water

DEATH AND BIRTH

“履石渡水”。 against the rocks; “Li” is to cross the water on stepping stones.

1986年, 火 1986, FIRE

OF A FABLE 他 事 先 拟 好 文 稿 ，在 广 场 上 用 石 灰 写 下
“达达死了”、 “ 不消灭艺术生活不得安宁”、
“小心火”等诸多词句；然后，焚烧从下午两
点开始，持续了两个多小时。
He drew up a text in advance and wrote in the plaza with lime
paint, “Dada is dead,” “Until art is destroyed, life will never be
peaceful,” “Beware of the fire!” and many other phrases. The
burning started at 2pm and lasted for more than two hours.

龙奕瑭 Long Yitang “死了”，但又仍需“小心火”，这便是10

年前第一次阅读《焚烧说明》的时刻，就已产
生的疑问，到底是因火而死，还是以火为生。
“Dead,” but still “beware of the fire!” I first read the “Burning
Instructions” ten years ago, and yet a question still remains: is it
death by fire, or rebirth by fire?

事件?事—故
2019; 1986 达达的每一个现场，或每次对他试图回应，
都似乎伴生着一次基于某个底本的次生事
件，我们与所有人一样，都是丢失了现场的
后继者，只能在残留着只言片语的信息传移
和散布中，误读、揣测但又无法辨认其最初
或许并不确切的行动意图。
然而，在这个后继的过程里，每个人又总
暗含着某种奇特之“可能的肆意妄为”，无论
哪个此刻、此处，居然都能如临亲在于过去
现在的混合。这恰恰就是事件！是一个奇点，
且不以任何稳固的说法作为其基础，因达达
本身就挑战着既定秩序的框架。事件发生
了，旋即结束了，再又以一种不可见的方式
长存。在它之外，每一类人都被允许参与或
不参与，离去或赖着不走。旁观者、亲历者、
窥探者：认真听解、试图回应、无意瞥得、闲
来听了、为其争言，纷纷都被搅入那即刻给
自己和他者所设下的辗转之套。正如引文里
的“生死”、“ 水火”，它们相反却又彼此构成
“话头”——某种能使经验错置的位置。
厦门达达焚烧现场，1986年
The burning event of Xiamen Dada, 1986 在火中，达达的死亡现场，像是一次对某
种生命状况的提前预演，甚至，死亡也成为一
出关于生成的事件。如果我们仔细阅读其青
HAPPENING?
ACCIDENT
Huang Yong Ping’s art operates at an intersection between Chinese
philosophy and Dada. Every Dada happening, or each attempt
to respond to Huang, seems to be accompanied by a derivative
event based on the same premise, and we, like everyone else,
are the successors who have lost a connection the original scene,
left to speculate on and misinterpret words that transmit sparse
information, their precise intentions unclear.
However, in this subsequent process, there exists within each
person a strange “potential for recklessness:” a surprising mix of
past and present, no matter the apparent time or place. This is
precisely what a happening is! It is singular and not based on any
cohesive statement, because Dada itself challenges established
order. A happening occurs and is then complete, living on only
in ways that cannot be seen in a material way. Anyone can
participate, or not, leave or stay. The spectator, the participant, the
uninvited, those who listen carefully, those who try to respond,
those who catch a glimpse, those who casually listen, and those
who argue for it are all, one by one, stirred into the tumbling
trap they’ve set for themselves and each other. Much like the
phrases “life and death” and “fire and water,” they are opposites,
announcing a transition that marks the beginning of one state and

48 LEAP S/S 2021 49 幽灵派对 GHOSTED

 案

PR
个

O
家

1986; 2001

FI
术

LE
年时的文稿，他也曾数次大方谈论起死亡，杜
艺

the end of the other—a kind of dislocation.

象的死是作为某种事件性的，在《“甚至，杜象 The scene of Dada’s death in the fire is like a rehearsal for
被汉人剥得精光”改写例子 5 或杜象现象研 certain life situations, where even death can be construed as a
究》中，他写到：
“杜象是1968年死的，我这篇 “happening” with potential for regeneration. If we look closely
文章是1988年写的，相隔20年，杜象仍然被 at Huang Yong Ping’s early writing, the subject of death features
提起，所以杜象还是活着，我们是不是可以不 on many occasions, and Marcel Duchamp’s death in particular is
再提他，让他真正死去，这是可能的，不可能 figured as a kind of happening. In “Even Duchamp was Stripped
黄 的，起码我这文章的目的就是为了我自己以 Bare by People: Rewriting Case 5, or Duchamp Phenomenon

HUANG YONG PING

永 后不再提起，在我们的点名册中，就像许多人 Study,” he wrote: “Duchamp died in 1968, I wrote this essay
砅 已经被删去一样，杜象也将被删去”。 in 1988, 20 years later, and still brought up Duchamp, so he is
死亡，不论是人的去世或被声称的死亡， still living. Do we stop mentioning him and let him die? This is
思考这一事件，不是为了理解一个业已逝去 possible and impossible, and for me, this article was so I would stop
的往昔，也不是为了诠释逐渐凝固成常规的 mentioning him. Just like the many names that have been removed
当下，而是指向一连串偶然的“片段、谜和可 from the roll call, Duchamp will disappear as well.”
怕的事-故”。他似乎是担心自己决心不够， Death, whether a person’s actual death or a purported one, is
于是继续像烧着了般地说： “ 但这并不能确 a contemplative event, not to understand a past that has passed,
保他真正死去。有一种说法：把他们的所有 nor to interpret how routines of the present are set, but rather to
门徒都杀掉，他才能最后死掉，这就是我们 point towards a series of contingent “fragments, mysteries, and
今日的任务。但这远远还不够，还必须把反 terrible happenings.” Huang seemed to be worried that he lacked
对他的人也通通杀掉，才能保证这一词的不 determination and proceeded as if he was on fire, saying, “But
再提起。书写或谈论他的人的消失，是因为 this does not ensure he(Duchamp) will die. There is a saying: kill
愿意听的人都死光了”。 “杀”的说法，我们权 all of their disciples, so that he can die at last, and that is our task
且把其当做是某种类似“火”的法术（把戏）， today. But that is not enough, it is also necessary to kill all those
那是他在创作和写作上激烈而反叛的习惯； who oppose him, so that not a word is mentioned again. The
但不要忘了写的实质，代替“杀”的忘与“不 disappearance of those who write or talk about him comes with
再提起”则有如他姓名里“水”的法门，那是真 the death of all those who would listen.” Let’s take the words “to
实隐藏在每个人最初， “生”时的密码，而他也 kill” as some kind of trick or spell, like the “fire” of Huang’s fierce
厦门达达在厦门大学的座谈会（85新潮档案II 厦门达达+黄永砅），1986年­
好像如忘了一般，关于别人对其名字地错读 and rebellious writing and creations; but don’t forget about the The conference of Xiamen Dada at Xiamen University (from Archives II of 85 New Wave), 1986
（甚至其父命名时）。“ 忘”，顺从。善水者“从 essence of writing, we can replace “kill” with “never mention,” so
水之道，而不为私焉”（庄子·达生） （引用黄永 as to forget. Within each person’s name, given at birth, is a secret
砅 《现代绘画在中国命运之占卜（59）》 ）。或 code for living. The “water” radical within the characters of his
许，对于他的假名，终究也要“履石渡水”，把 name is the key to his path to enlightenment. It seems he forgot
水搅浑之后的彻悟（水至清则无鱼），忘便是 how others mispronounced his name (even when his father named
生了。 him). Comply, “forget.” Those with the virtue of water “follow the
way of water without selfishness” (“Dasheng,” Zhuangzi, quoted
by Huang Yong Ping in “The Fate of Modern Painting in China: A
Divination,” 59). Or perhaps his name should be “crossing water on
stepping stones,” muddying the water on his path to enlightenment
(when the water is clear there are no fish); forgetting is living.

“THE DISAPPEARANCE
厦门大学黄永砅特别研究班合影，2001年 图片致谢张榕泉­
Special research course at Xiamen University, 2010
Courtesy Zhang Rongquan

OF THOSE WHO WRITE 利维坦鲸，坠落（ Whale Fall ）。

在一 Leviathan Whale Fall. Within its
OR TALK ABOUT HIM 段无影无息并被寄食的过程里，它需 silent feeding process, it eats
COMES WITH THE 经历 3个阶段，大鱼、小鱼、软体爬虫 in three stages—big fish, little
DEATH OF ALL THOSE 像“无头者”，一点点啃食它的身体与 fish, soft-bodied “headless”
骨骼的养分。 invertebrates. Little by little it
WHO WOULD LISTEN” gnaws away to gather nutrients
for its body and bones.

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1986年，座谈会
个

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回答。”
（林春《行过与完成——厦门达达回忆
艺

——“厦门达达1983—1988活动简历”
1986 SYMPOSIUM

— "Biography of the Xiamen Dada Movement 1983-1988"

invited to speak about it at the art school. “The students were
录》）在学院的驱逐下，1986年的“教”似乎以 enthusiastic and asked questions; though most of them said they
他失败而告终，但这次对某种“边界”的偷袭， did not understand the exhibited works. When asked about the
座谈会是应艺术系和新闻系学生会的邀请， The seminar was held at the invitation of the Art and Journalism 恰恰又成为不久后《美术事件展览》真实袭击 social value and meaning of art, Huang Yong Ping replied, ‘Art is
与会者对“厦门达达”坚持无意义举动和言谈 Student Union, and participants could not understand the 的提前排演。而 15 年后，当他重返同一所学 meaningless.’ The students proceeded to ask why there was a need
的相悖不能理解。不是说艺术问题不能讨论， contradiction between the meaningless actions and words of 院，又发生了什么？只能试着询问当年那些亲 for art school if art was meaningless, to which Huang Yong Ping
而是时候讨论艺术经常会陷入另一种无意 “Xiamen Dada.” That is not to say that art issues could not be 历者们，问与答，或许也仅仅只能是一些新的 again answered that there was no need.” (Lin Chun, “Passing and
黄 义。这次座谈会后来被认为是公然反对艺术 discussed, but sometimes discussions of art lead to another kind of 只言片语。 Completion: Xiamen Dada Memoir”). Following his expulsion

HUANG YONG PING

永 院校而引起艺术学院院方的强烈不满。 meaninglessness. The symposium was later seen as blatantly anti- from the academy, his “teaching” in 1986 seemed to end in his

2001年，在学
砅 art school and drew strong criticism from the art school faculty. — failure, but it was a sneak attack on a certain “border” in advance

“艺术是无
“Biography of the Xiamen Dada Movement 1983–1988”. of what would be the real attack at the “Exhibition of Modern

意义的”
院的特别研
Art.” What happened when he returned to the same school 15

2001, SPECIAL years later? I can only try and ask those who were there, through

究班
questions and answers, and perhaps some new words will be

RESEARCH COURSE spoken.

他回到厦门，在厦门大学开展了一次为期2周 Huang Yong Ping returned to Xiamen to lead a two-week research

的研究课程。教学计划是关于“清源山中的太 course at Xiamen University. The course focused on “the statue
上老君像”，他并未做过多阐释，而是带着学 of Taishang Laojun at Qingyuan Mountain.” He did not elaborate
生实地考察，希望每个人在过程中找到各自 much, but took the students on a field trip, hoping each would find
的切入点。 their own point of entry in the process. 事先了解过？ Did you know about Huang beforehand?

《关于2001年厦大黄永砅特别研究班的访谈计划》
文稿重作编排，受访者刘方、吴允铁、张榕泉等）
这两次关于“教”的事件，在他自己的诸 He does not go into detail about his two “teaching” forays in 方 经常听提起。很兴奋报名参加了。 FANG I heard him mentioned often. I was
篇自述中都未详细提及，我好奇于在这一“授 his autobiography, and I am curious how his process of “teaching” 铁 了解不多，杂志上有接触过。那段时间我刚开始 excited to sign up for it.
课”过程里他自身的变化，却连只言片语都不 affected him, but I have not found a single word written about it. 更深入的了解当代艺术，他的出现使我有更直观 TIE I didn’t know much, I read about him
曾寻得，大抵这便是教外别传了。 的认识。 in a magazine. I was just beginning to

问答？学—教
泉 听说过。但当时不是特别了解，抱着好奇心和想
QUESTION— 弄懂点问题就参加了。
understand contemporary art in a deeper
way then, and his presence provided me

1980 — 86 年，是他从学生的被教与自学到
ANSWER, 参与的感受？
方 他平和宁静，话不多，一针见血、点到即止、尊重
with a more intuitive understanding.
QUAN I’d heard of him. But I didn’t really

成为老师的教人过程。在其《 80 — 86 年的艺
术活动自述》模糊手稿的零散碎片中，似乎可
STUDY—TEACH 铁
个体。
他并非不善言谈，只是有时不回应及顾左右言他
understand it at the time, so I signed up
out of curiosity and to learn a little more.

，­
辨其变化，
“在美院二年级，我以为是个转机。 Between 1980 and 1986 Huang Yong Ping went from being 对他而言也是一种回应方式。 What did it feel like to participate?
当时周围有一批思想活跃的同学，无形中酝 泉 感受是全新的，最主要就是角色有变化，上课的

the text has been edited

University.” Participants included Liu Fang, Wu Yuntie, and Zhang Rongquan;
“2001 Interviews on Huang Yong Ping’s Special Research Course at Xiamen
an autodidact—a student teaching himself—to being a teacher FANG He was calm and serene, and didn’t say
酿一种反学院派的情节……毫无顾忌地从事 teaching others. There seemed to be a discernible change that is 时候他没有把你当学生，但在刚开始很不适应这 much, he got straight to the point, and
各种实验，我开始意识到重新塑造自我是有 visible in the scattered and vague fragments of his manuscript, 种新身份。 left it there without overdoing it, and
可能的…”
（1979 年左右）；而他初为人师的 “Autobiography of Artistic Activities 1980–86.” “In my second respected each individual.
某个夏天，专注于对维特根斯坦的阅读后，完 year at the Academy of Fine Arts, I thought it was a turning point. 对教学的安排？ TIE It’s not that he wasn’t interested in
成游戏式写作《图-词-物》的 339 个条目和非 Surrounded by this group of thought-provoking students, there was 方 一起去了清源山，看了老君岩，观察、记录，做了 discourse, just that sometimes not
表达绘画——转盘系列；
“ …这是我最重要的 this sense of anti-academia brewing… and we fearlessly engaged 一些资料的搜集，当地有专家带我们游览，并讲 responding or considering what else was
作品，1我可以继续变动这个作画程序，2我可 in various experiments, and I began to realize that it was possible 述一些清源山和老君岩在不同历史时期所经历 being said was a response in itself.
以在任何时间停下，又在任何时间开始从事 to reinvent myself…” (circa 1979). In the summer following his 的故事。 QUAN It was a brand new feeling, mainly that
这项活动，因为它是无时间性的，不受个人情 reading of Ludwig Wittgenstein, he created “Image-Word-Object,” 铁 先是和大家有一次座谈，接着去清源山参观老君 you felt your role change and you weren’t
绪、环境的……因为它确实是一项无意义的 a series of 339 entries on games and nonexpressive painting in what 岩。之后每个人单独有一段时间向他讲作品理念 treated like a student in class, but it was
举动”
（1985年后）。显然，在这里，他从“自我 would become his Roulette Series. “…This is my most important 及方案，最后是实施。 very uncomfortable to adapt to in the
生成”到“自我丧失或无意义”已经发生了。 work, 1. I can continue to vary this painting program; 2. I can 泉 他抛出一个任务“关于清源山中的太上老君像”， beginning.
除了中学教书，焚烧事件发生时，艺术学 stop at any time and start working on this activity at any time, 然后组织大家去泉州清源山实地考察，回来后提
院的学生们被校车载来参观，以及事后受邀 because it is not time-based and not subject to personal emotions 交作品方案，展览。 How about the curriculum?
到学院的座谈或许也能够算作一次教的现 or circumstances… because it is indeed a meaningless act” (after FANG We went together to Qingyuan Mountain
场，
“学生提问踊跃,多半表示对展览作品的 1985). Clearly, it is here that he moved from “self-producing” to 如何沟通？ to see Laojun Rock, and observed,
不理解、不明白。最后被问起艺术的社会价值 “self-extinguishing or the non-self.” 方 他陪伴着我们一起进行创作体验。而方案，单独 recorded, and gathered information.
与意义时,永砅回答‘艺术是无意义的’。当学 In addition to his work at the secondary school, the burning 与他沟通，他指出我创作与其他人的不同之处，并 A local guide took us on a tour and
生追问如果艺术是无意义那为何要办艺术学 event could also count as a teaching site. It occurred in front of 点明他人值得我观察和思考的特点，且并无优劣 told some stories about the history of
院时,永砅对艺术学院的意义亦作了否定的 a visiting group of art students, and Huang Yong Ping was later 评价。 Qingyuan Mountain and Laojun Rock.

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铁 每个人单独有一段时间向他讲述理念及实施等 时隔近20年，不知这段采访还能还原出多少
艺

TIE We first had a discussion with everyone, find our own point of entry in the process.
问题。 then went to visit Laojun Rock at 当年的情形，但无论如何，我们还是大概知晓 It made a difference in the way everyone
泉 印象中感觉他给与的很少，不会给你方向，不会 Qingyuan Mountain. After that, everyone 他的第二次教学，并非上来就大谈沉默与无 participated.
有很明确的肯定，不会有太多的建议，不会有情 spoke with him individually about an idea 意义云云，而是作了一个详尽计划。于是，从
绪，我感觉他最肯定的就是“可能”。 for their work, their plans, and how they 走访到回收，所有人直接临在于一个具体事 What words did he say the most? Or which sites
would carry them out. 物地“看”和事物朝向每个人地“显示”之中， and events [did he talk about the most]?
有对这一次建构性工作的“否定”或“拆解”？ QUAN He tossed us an assignment on “The 这避免了过度专注于“思”，那是理性和语言 FANG I don’t have the impression that he
黄 方 在整个学习过程中，并没有接触到任何“否定”式 statue of Taishang Laojun at Qingyuan 膨胀的表征，而处于一个能使教学以问答对 used certain words more than others

HUANG YONG PING

永 的教学方式和语言，他并没有把他个人的创作意 Mountain,” and then organized a field trip 话的方式展开的共同载体前。与此同时，计 or spoke about his personal views, and
砅 图，强加到学生们的个人作品创作中，也没有强 to Qingyuan Mountain in Quanzhou. We 划性又是从一开始便敞开的，他不曾规定准 I feel like his teaching was not centered
加到整个展览策划中，他能够很清晰的区分他和 then submitted an artwork proposal for 则，在后来又化为一个倾听者，每个人自说其 on him personally. The visit to Laojun
别人的关系和界限。 an exhibition when we returned. 话，自发其问；他的回应来源每个人，再将每 Rock at Qingyuan Mountain was just an
铁 他依然是讲方法，讲目标，只是以他的方法，而 个人所说倒置、打岔和变卦，又重新抛回到各 opportunity to initiate class study.
目标在他谈起来也往往更具体。很少听他讲一些 How did he communicate? 自那里。 TIE He was quite engaged during discussions
空洞的理论，感觉他的人和言行是一体的。当时 FANG He accompanied us through the creative and said very little, but responded quickly
的主题就叫老君岩计划，在我看来课程本身就带 process. And when you presented your 苏格拉底称问答式是精神助产术。 to questions on context or background.

——《即这个是泉》1986年
有“否定”和“拆解”。 idea and plan, he pointed out differences 作为一种术。 He certainly did not cling to a single way
泉 现在回过头来想，他其实挺有计划和目的的，只 between my work and others, and pointed 问和答是可以互相移位的。 of thinking. There was one time when a
是他的计划更像是一个方向，而目的是那个方向 out qualities in other works that would be 问为被动，答为主动。 few students had some accidental marks
的未知，我感觉他自己应该也挺好奇那个未知。 worthy of my observation and reflection, 其实有数者为主动，疑惑者为被动。 on the materials they had chosen to make
他希望带着我们去泉州，然后让我们在这过程中 but he did so without passing any 为主为主动，为客为被动。 their works with, so he suggested they
找到自己的切入点。让大家在参与的过程中发生 judgement of superiority or inferiority. 为师为主动，为学为被动。 keep them intact and let the accidental
改变。 TIE Everyone had individual time with him to 提问作为“术”的开始，是下圈套， marks become part of the work. There
discuss their concept and plans and to ask 后者顺其楼梯之为死路。 ——因为你必须回答。 were a lot of instances like that.
所谈论最多的词？或场景、事件？ questions. （观者提出问题，语境提出问题——即展览场所） QUAN I don’t remember specific words he’d
方 我没有印象他对于某些词或者某些个人观点有 QUAN My impression was that he gave very little. 没有回答，人能对话吗？ use, but I clearly remember that you
较多的谈论，感觉整个教学并不是以他个人为中 He would not give you direction, nor any 回答问题两大形式，沉默与开口说话。 could not get a definitive answer from
心的，而到清源山老君岩的考察，只是作为这个 clear affirmation, advice, or emotion. I think 当沉默被作为语言最纯正形式时，却是单一的。 him, he answered in vague, sometimes
研究班的一个发起契机。 his greatest certainty was “possibility.” 不回答问题——沉默，对定义和问题采取不存在的方式。 contradictory ways—this can be and
铁 他对话语是自觉的，话不多却对即时的语境和背 开口说话却方式无穷。 that can also be. At the time it was really
景有很快的反应，并不是简单的固守一套思维方 Was there any “negation” or “dismantling” in this 似是而非的回答问题——模糊 confusing as a student.
法。当时有些同学在做作品时选用材料上有一些 constructive work? 答非所问——偏离
意外的痕迹，他就建议保留下来，让这些意外的 FANG Throughout the learning process, he did 反问问题本身——清底 Can you describe your final work?
痕迹成为作品的一部分，这样的例子很多。 not use any “negative” teaching styles or 用各种不同回答去回答一个相同的问题——相左 FANG I made a black box with several small
泉 具体说的词记不清了，但是比较清楚的记得你在 language, nor did he impose his personal 未问先戒，先答——答问 holes in it and an image of Laojun
他身上是找不到答案的，他回答很模糊，有时候 creative intentions on the student’s 艺术不是回答问题，更不是提出问题。 Rock inside, which you could observe
感觉很矛盾，这样可以那样也可以。作为学生当 individual works or the exhibition 世界就是这样，如此，等等。 through the small holes from different
时很困惑。 planning as a whole. He was able to perspectives.
clearly distinguish his relationship and 世界就是这样，
“ 如此，等等”。这即文章标题 TIE I borrowed a washing machine and two
能否描述最后的作品？ boundaries with others. 的来处——“岩良久，曰：
‘ 只这是。’师沈吟” books for the exhibition hall. The books,
方 我做了一个黑盒子，中间是老君岩的形象，外围 TIE He still spoke about methods and goals, （黄永砅在《即这个是泉》里借用《景德传灯录 “A History of Chinese Painting” and “A
有几个小孔，从不同的小孔，可以看到不同的观 just in his own way, and the goals became （十五卷）》洞山问云岩）。于是乎，问-答，包含 Brief History of Modern Painting,” were
察视角。 more specific as he spoke about them. 着你问我答，我问你答，你问他答，他问你答， placed on a chair to read while doing
铁 借了一台洗衣机，和《中国绘画史》《 现代绘画简 I seldom heard him speak about empty 我问他答，他问我答，自问自答，而到最后，这 laundry.
史》两本书，在展厅洗衣服，书放在椅子上洗衣服 theories. I felt like he was one in both 场“教-学”再无人称，无可言说，面对世界，只 QUAN The ritual turtle-shell figures at Laojun
时可以阅读。 words and action. The main focus was the 有停顿与静默了；在那一个时间、多个时间、 Rock sparked my interest. I printed out
泉 老君岩那的龟背祭祀图形引发了我的兴趣，我把 Laojun Rock project, and it seemed to me 半个时间的等待中，诸物错位。 various historic figures from ancient
古代各个时期祭祀的图形打印出来，用香灰画出 that the course itself contained “negation” rituals and drew the turtle pattern with
龟纹的形状，香梗以龟纹为中心做太阳光发射 and “dismantling” within it. incense ash on them, and the incense
状，平铺在香灰上。其他人的作品印象比较深的 QUAN In retrospect, I think he actually had a plan sticks created emissions of light in the
是沈鸿才（研究生），他在展厅做了一口水井。 and a purpose, but his plan was more of a center of the turtle pattern, and then I
direction, and the purpose was unknown laid them flat on the incense ash. One of
in that direction, and I feel like he himself the more impressive works was by Shen
was quite curious about that unknown. He Hongcai (a graduate student), who made
wanted to take us to Quanzhou, and let us a water well in the exhibition hall.

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After an interval of nearly 20 years, I don’t know how much in

个
these short interviews can be described as a clear recollection, but
we did learn that Huang Yong Ping’s second foray into teaching
was not just about silence and meaninglessness, but instead was
based on a detailed plan. From the interviews, we see everyone was

时
faced with a specific thing to “see” and a specific thing to “display”
for everyone else. This avoids any excessive focus on “thinking”—
黄 a symptom of expanding reason and language. Instead, they are

HUANG YONG PING

永 positioned on a common trajectory where teaching and learning

间
砅 unfold through a dialogue of questions and answers. At the
same time, the plan from the beginning was unrestricted with
no stipulated requirements. He became the listener and each
person spoke to him and asked him questions. He responded to

的
each person’s questions and then would invert what they said,
interrupting to change his mind, and once again cast the question
back to the person.

等
Socrates likened the question-and-answer format to spiritual midwifery.
— "This is the Spring" 1986

Like an art.
The question and answer mutually displace one another.
The question is passive, the answer is active.

待
The statistical people are active, doubtful people are passive.
The master is active, the guest is passive.
The teacher is active, the student is passive.
The “art” of asking questions is the beginning of a trap,

中
like a staircase to a deadend—because you must respond.
(The viewer raises questions, the context raises questions—like the exhibition location.)
Without a response, can a dialogue occur?
There are two ways to answer a question, in silence or with words.

诸
利维坦鲸，深海寂静的墓园。化能自
When silence is used, it is singular and the purest form of language.
Not answering questions—silence approaches definitions and answers as nonexistent. Leviathan whale, the silent
养的菌最终寄生到残存的骨骼内部， cemetery of the deep sea.
Opening one’s mouth to speak is inexhaustible.

它们也是 38 亿年前，生物起源中最
Vague—the wrong but seemingly right way to answer a question.

物
Deviate—evasive answers. Chemoautotrophic bacteria is
先出现的第一种生命类型。 a parasite that feeds inside the
Purge—rhetorical questions.
Contradict—answer with different answers to the same question.
Answer—quit the question and answer first bones of whales. It was the first

错
Art is not about answering questions, much less about asking them.
That’s the way the world is, so on and so forth. living organism to appear on the
planet, 3.8 billion years ago.
That’s the way the world is, “So on, and so forth.” The article title

位
is taken from this—“After a long while, the rock spoke: ‘There is
only this.’ Master Shen Yin” (quoted by Huang Yong Ping in “This
is the Spring” from “Records of the Transmission of the Lamp,” vol.
15, in which Dong Shan asks Yun Yan). Thus question-and-answer
becomes you ask I answer, I ask you answer, you ask he answers,
he asks you answer, I ask he answers, he asks I answer, I ask I
“完全的达达是不可能的，只能是一个地方性的达达、暂
时性的达达”——2008年，与邱志杰的一次对谈
我现在不会再提达达的问题，因为不是现在的问题，但是
我可以说，达达不断地激励很多的年轻人，可能其他的年
轻人会用他们的方式来回应这个问题，所以我当时说达
“Dada is never complete, Dada can only exist as localized
and temporal.” — 2008, In conversation with Qiu Zhijie
I won’t bring up Dada now, because it’s not a current topic, but I can
say that Dada continues to inspire a lot of young people, and maybe
other young people will respond to this in their own way. I said then

”
answer; And in the end, in this mode of “teaching and learning,” no
one is named and no one can speak, only through pause and silence 达死了，但是达达是永远不死的——死的东西是永远不 that Dada is dead, but Dada is never dead—it is the contradiction that
can the world be faced. In that moment, and in other moments, half 死，不死的东西是死，这两个矛盾性的东西。 ——2015年，回 what is dead is never dead, and what is not dead is dead. — 2015, "NO
the time is spent waiting and all things are displaced. 答《NO ART》的稿件 ART" manuscript

黄永砅，《专列》­ Huang Yong Ping, Leviathanation

“轨迹”展览现场， Installation view of “Tracing the Milky Way,”
当代唐人艺术中心，北京，2011年 Tang Contemporary Art, Beijing, 2011

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尽管这段是我部分经历过的时间，但我还是疑 我会感觉这些都是“厦门”的达达无形中
艺

Even in the partial time I have experienced, I am still puzzled by I believe that these are the qualities that Xiamen Dada
惑于自己和其他所有人相似的选择，无意识的 how similar my choices are to others’, unconsciously assembled but 带给这个地方后来诸多艺术实践者们的特 invariably brought to subsequent artists in Xiamen, and they all
聚集，却绝不愿意在任何一刻变得铁板一块。 never entirely ironclad. 质，他们也都皆是如此行过。
“‘达达’的提法 passed through its influence. “Dada” was just a casual term they
其实是意在随意地使用‘达达’一词，并不在 used, and did not care if it accurately described their practice or
乎其实际相存否。”
（黄永砅《 1980 - 1986 年 not. (Huang Yong Ping, “Autobiography of Artistic Activities
艺术活动自述》）因而，1989年，他面对同伴、 1980–1986”) In 1989, he responded to inquiries of his peers and
同志询问所作的回应“只准备一个月的时间 colleagues saying, "I will return after one month of preparation
黄 参加展览就回来”
（林春《行过与完成：厦门达 for the exhibition" (Lin Chun, "Passing and Completion: Memoirs

HUANG YONG PING

永 达回忆录》）以及最后并未如期归来便能理解 of Xiamen Dada"), but that he did not return as scheduled was
砅
“THERE IS NO 了。此地与他方并无分别，它们本就是一体，
只是时散时聚，连续变化着罢了。一个人与另
understood. There is no difference between this place or that,
they are one, sometimes dispersing, sometimes assembling, and

DIFFERENCE BETWEEN 一个人皆是独立事件，

“相聚吧终有一散的人
们”，杜尚与达达，他与达达，他与杜尚、凯奇、
continuously changing. Each person is a discreet happening from
another, “people assemble and later disperse,” Duchamp and Dada,

THIS PLACE OR THAT, 博伊斯们，皆是如此，而矛盾与纠葛正是集体

和独知之地的边界，
“聚-散”与“有时”，兴许正
he and Dada; he and Duchamp, Cage, and Beuys are all like that.
The boundaries between the individual and collective are an

THEY ARE ONE” 是一座岛屿的可能性。这里，不再有年份，也

不再有箴言，因为他不再言语了，问答不必，
胡说不必。
entangled contradiction, to “sometimes” “assemble-disperse” is
perhaps precisely what creates the potentiality of an island.

岛屿？
黄永砅，《头》草图 ­ Huang Yong Ping, Sketch for Head
展览于“蛇杖Ⅲ左开道岔”， exhibited at “Bâton Serpent III: Spur Track,”
上海当代艺术博物馆，2016年

ISLAND?
Power Station of Art, Shanghai, 2016

散—聚 DISPERSE—
大概我是先知道厦门的达达，再知道苏黎世
的达达、柏林的达达以及拒绝成为达达的杜
ASSEMBLE
象的。因而除了“达达”之外，似乎还存有另一 I think I first learned about Xiamen Dada, then Zürich Dada,
个重点——即每一个“达达”前缀的“地方”，那 Berlin Dada, and Duchamp who rejected Dada. It seems there is
些处于历史中的它们在不同时局对“达达”进 more to the concept of “"Dada,” that is, there are “places” prefixed
行各自描绘，最终叠加在同一连续的处所，如 to “Dada” over the course of its history. Superimposed onto the
同一个时间而非空间的岛-链，
“达达”便不再 same continuous premise, they each portray “Dada” separately
是特指某一个确切地点，而是某种在游移和 in different times and situations, like a chain of islands occupying
变动中并不存在的“地志”
（topography的词 time rather than space. “Dada” no longer refers to a specific “Dada”
根来自于 topos，topos 最早来源巴门尼德， movement in a specific place, but rather to a kind of “topography”
是关于位置）。 that does not exist as a movement or change.
厦门，岛屿形态。但我们知道，没有岛屿 Xiamen in island form. But we know no island is entirely
是唯一的孤岛，厦门在这一意义上，也从来不 isolated from others, and in this sense, Xiamen is not just an
是一个岛屿，它包含着鼓浪屿、嘉禾（本岛，或 island, but also contains Gulangyu Island, Jiahe (the Main Island,
许并不该有这一说法）、鳄鱼岛、大小金门、甚 which perhaps is a misnomer), Eyu Island, Jinmen (Quemoy)
至由陆地伸出来的各类半岛以及诸多并不知 Island, as well as many lesser-known peninsulas jutting out into
名、我们也未曾造访的立锥礁岩。某种我们自 the sea and coral reef rock formations we’ve never visited. There
以为所见的对地方理解的“确定”，其实被许 are many hidden understandings surrounding what we perceive
许多多隐藏了的其他理解所包围着。于是，似 to be “certain” in our understanding of place. Thus, it seems
乎可以想象出一种隐喻的岛屿模型，它有时 possible to imagine this island model as a metaphor, where the
“聚-散”，既是整体的世界，又包含着一方世 world sometimes “assembles and disperses” as a whole, regionally
界、每个个体的世界。而“有时”就是“即刻”也 or individually. Where “sometimes” means “immediately” or
是“临时”，过后便可散去，再“有时”便又聚。 “temporarily,” after which it disperses, and then “sometimes”
这一作为岛屿形态的地方展示出某种未经编 reassembles. The island formation of this place reveals a certain
排但仍有序集合的联结倾向，同时它并不具 tendency to assemble in an unchoreographed yet orderly way,
备背景特征，每个人及其地方都有各自的边 while at the same time possessing no unified context. Every
界，而它又总是在试图回到每一个人后，并再 person and every place has its respective boundaries, but they still
次朝向可能的集群。 continuously seek to assemble into a clan formation.

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我也不再有疑情，因为我像他写完杜尚一样，
艺

写完了曾深植于心底的三个疑问，他用沉默
回应了我，那是最好的是又非是的答案，于是
我连点名册都消失了去。历史那“无语”的往
昔，权且将鲸作他的假名，让“悲剧的恒常结
构”使两个无时间的倾向互相对抗吧。
从利维坦“鲸”专列那“多头的聚合动物”，
黄 到铁轨左开道岔，散布四处无头动物们的混

HUANG YONG PING

永 合，有如比希摩斯。利维坦鲸最终也将在海底
砅 成为无数生命所栖居的礁石，回归海底深处
那不被人所见的大地。或许，我们理应奉他的
原则，正如他自己谈论杜尚之死一样。利维坦
不再是人所述说并构建的利维坦，那样的话，
他便会再次上岸，如同一条搁浅的垂死且无
法活过来的鲸，被沙滩上的往来人指点、留影
和凌迟。
“艺术让生活不得安宁”，待那火烧掉
所留下的余烬通通被水带入沉默的深海吧！
“唯有沉默”或忘记或许是从今以后最好的
“负的纪念”，生的“否定”与“背负”同在。写
在最后，一个未曾谋面却感如临在者的告白。

本文作者系中国美术学院研究生

Here there are no years, no spoken words, for he no longer speaks;

questions and answers are not needed, nonsense is not necessary.
I no longer have any doubts, because I wrote on three questions
I’d long been contemplating, like he wrote about Duchamp. He
answered me with perhaps the best response for yes or no—silence.
And thus I removed every name from the roll call. A “speechless”
past of history, let the whale be his pseudonym, and let the
“constant structure of tragedy” pit these two timeless tendencies
against each other.
Just as the Leviathan became a “many-headed beast,” the fork
in the tracks leads to a mix of headless beasts scattered everywhere.
The Leviathan returns to the unseen depths of the ocean,
eventually becoming a reef inhabited by countless other creatures
at the bottom of the sea. Perhaps we should follow the principles
he established when he spoke about Duchamp’s death. Leviathan
is no longer the Leviathan people once described, instead he is
washed ashore like a beached and dying whale, picked at and
利维坦，在最终被消耗殆尽后，分解 After finally being consumed, photographed by passers-by on the beach. “There is no peace in

的骸骨会逐渐脱去鱼骨的外形，变成
life making art,” let the fire’s embers be carried away by the water
Leviathan’s decomposing into the deep sea of silence! “Only silence” or forgetting or perhaps
一座礁岩，如同一个不再进行所指的 skeleton will gradually shed its a “memorial negated” is the best in the end, a combination of both

标记，因为它已经与海床连成一片，
fishbone shape and become a
睡着了。 reef, like a marker that has lost
its reference. Becoming one
the “negation” and “burden” of life. In the end, it is a declaration
for someone I’ve never met but have always known.
TRANSLATED FROM CHINESE BY JOY BLOSER
亨德里克·戈尔茨乌斯绘于16世纪。­

with the seabed, it sleeps.

Drawn by Hendrick Goltzius in the 16th century,
卡尔·施密特在《托马斯·霍布斯的国家理论中的­ later featured on the cover of Carl Schmitt’s book
利维坦》一书封面使用了此图 Der Leviathan in der Staatslehre des Thomas Hobbes

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CONTEMPORARY
VIDEO WORKS IN
EAST ASIA

在这些艺术家的影像作品中，幽灵的 In the artists’ moving image works

故事，无论是真实存在的具体人物的 selected in this portfolio, stories of ghosts,
生平还是虚构的和集体的身份叙事， be they biographies of specific persons
成为了连接过去与当下的媒介，在历 from history or narratives of fictional and
史的循环往复中显影。东亚 20 世纪历 collective identities, become the medium
史中那些暗不见光的隐秘角落是幽灵 where traces of the past re-appear in the
的领地。它们不生不死，亦不会消失。 present. The dark corners in east Asia’s
histories of the last century are where
ghosts reside. They do not live or die, nor
will they go away, for the wheel of history
will summon them, time and time again.

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空内的历史人物侧写、现实中的个体存在、文学式的情节
东 描绘等素材编织在影像中，由此，“郭钦光之死”、
“张扣扣
亚 复仇案”、
“ 东北打工者肖像”、
“ 鬼魂日行千里”的史料、
当 故事和现实事件，聚集成为随时待命的演员，在这一临时
代 片场，聚光灯倏地开启，个体次第成为舞台的中心。被迫
影 活着的人、永恒不死的魂灵、复仇者、意外的英雄、有罪的
像 人，被同等的光照射着，成为只存在于某个时刻的短暂的
主角。魂魄和萨满，是穿插的线索，作为烟雾发射器充斥
在每一个故事情节当中，宗教和暗喻的角色隐身，正如妖
术中要从受害者身上分离出某种实物念咒。因此萨满的
叙事不仅与个体紧紧地链接在一起，而且从一元论和二
元论的现代化困境中突围出来，从当代的结构性困境当
中侥幸获得一丝空隙。
In his recent video works centered around the northeast
region in China, Wang Tuo weaves together different
profiles of historical figures, contemporary personalities,
and literary plotlines. Historical and literary materials, such
as Guo Qinguang’s death during the May Fourth Movement
in 1919, the case of Zhang Koukou killing three neighbors
in 2018 to avenge mother’s death decades ago, and ghost
stories from Strange Tales from a Chinese Studio are all
embedded in Wang Tuo’s stories. In his improvised film
studio, spotlights suddenly beam down, and one by one,
different characters move center stage: humans forced to
live on, spirits that never die, revenge takers, accidental
heroes, people who have committed crimes. Equal under
《哭阵门》，2021年­
Wailing Requiem, 2021
the light, each briefly becomes a protagonist, existing 双频4K影像，彩色，有声，45分钟 Double-channel film, 4K, color, sound, 45 mins
in a particular moment in time. Ghosts and shamanism Courtesy the artist

冯发轫 are interspersed clues; like smoke machines, they fill the
stories, but remain invisible—much like an incantation
performed over an object removed from the victim’s body.
Therefore, shamanistic narratives are not merely tightly
bound to the individual, but escape from the monism and
dualism of modernization, and discover, luckily, crevices
within the structural predicament of contemporary life.

Feng Faren

《通古斯》，2021年­ Tungus, 2021

单频4K影像，彩色，有声，66分钟 Single-channel film, 4K, color, sound, 66 mins
Courtesy the artist

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的历史、传统、殖民地经历，冷战时期的政治格局及其之 research-based work cycles around Korean history and
后在朝鲜半岛上幽灵般的延续。《万神》是朴赞景2013 年 tradition, colonial experience, and Cold War political
拍摄的一部人物纪录片，主人公为韩国最有名的在世萨 dynamics, along with its ghostly continuation in the Korean

PARK CHAN-
满之一：金艮花。在关于该片的笔记中，朴赞景解释道， peninsula. South Korea’s accelerated development into
萨满活动面临着来自儒教、日本殖民现代性和战后唯发 a high-tech, prosperous society and functioning (though
展主义的持续压力。在三频影像《公民森林》（2016）中， sometimes troubled) democracy risks obscuring how
被 各色人物和群体齐步前行，他们有时与彼此相遇，有时则 progress occurred not automatically, but through the

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KYONG
历 兀自表演着怪异的独角戏：身着廉价西装的老人在撒尿， public’s active participation in the face of harsh repression.
史 他的德牧犬在一旁跳上跳下；一支头戴骷髅面具却没穿 Scratching beneath the surface, Park’s projects draw out
缠 裤子的军国主义仪仗队走过；而萨满教的仪式又再度被 the painful losses and dark contradictions underpinning
绕 唤起。这件作品的部分灵感来源于关注社会问题的韩国 present conditions.

东 In his notes for Manshin:

亚 Ten Thousand Spirits
当 (2013), a documentary
代 profile of Kim Keum-wha,
影 one of Korea’s most
像 renowned living shamans,
Park Chan-Kyong explains
that practices of Korean
shamanism have faced
continual pressure from
Confucianism, Japanese
colonial modernity,
《公民森林》
，2016年­ Citizen’s Forest, 2016 and post-Korean War
三频高清影像，彩色，有声，27分钟 3-channel HD video, color, sound, 27 mins
Courtesy the artist developmentalism. In
Citizen’s Forest (2016),
various characters and
groups march, sometimes
encountering each other,
sometimes acting out
画家吴润 1984 年的作品《冤鬼图》。该画作指涉了 19 世 bizarre scenes by themselves: an old man in a cheap suit
纪末的东学党起义、朝鲜战争以及光州事件。在这一提示 urinates as his German shepherd jumps up and down; a
下，影像中幽灵般的角色的历史意义得以浮现。 militaristic marching band wearing skeleton masks but
lacking pants walks by; and shamanistic rituals are evoked
西蒙·弗兰克 once again. The piece partially draws inspiration from The
Lemures (1984), a work by socially-engaged South Korean
painter Oh Yoon, which references the late nineteenth
century Donghak Peasant Revolution, the Korean War, and
the Gwangju Uprising. With such information in mind, see
historical significance in the video’s participants, implied
to be ghosts. The final result is equal parts foreboding and
visually beautiful, showing history moving forward without
resolution or well-defined meaning.

Simon Frank

《万神》
，2013年­ Manshin: Ten Thousand Spirits, 2013
高清影像，彩色，有声，104分钟 HD Film, color, sound, 104 mins
Courtesy the artist

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陈滢如
《共登世界大同之境》，2012年­
三频录像，17分钟
­
One Universe, One God, One Nation, 2012
3-channel video, 17 mins Taiwanese artist Yin-ju Chen often deduces often been understood as a metaphor of the
Courtesy Chi-Wen Gallery and the artist
and infers narrative relations between mankind disciplining action of power structures on the
and the universe in her works, by means of an body. Taking mysticism as a departure point to

YIN-JU CHEN
approach based on mysticism. Chen’s 2012 discuss this sort of connection is meaningful.
work One Universe, One God, One Nation, Mysticism, conspiracy theories, and dystopias
which is based on an analysis of Chang Kai- are all based on the same frame of mind—they
Shek’s astrological horoscope, was her first aim at revealing invisible controlling forces, and
experimentation with unscientific methods. the secret meanings of people’s actions. On
The three-channel video installation opens the technical level, Chen does not engage in
on a prologue featuring an image of Pluto, an archaeology of mysticism, she rather uses
台湾艺术家陈滢如的作品常常以神秘学的 系不乏道理。神秘学、阴谋论与反乌托邦分享 which was discovered in 1930, due to the fact fragmented information in order to deduce and
方法，演绎推理宇宙与人类关系的叙事。分 着相似的思考方式，它们都揭示不可见的控 that this planet is considered by astrologists represent certain invisible matters anew—be it
析蒋介石星座的作品《共登世界大同之境》 制力以及行动的秘密含义。在方法上，陈滢如 to possess a double essence of “destruction” power consciousness, or mysticism itself.
（2012 ）是陈滢如实践非科学方法的开始。 并非对神秘学体系进行考古，她更偏向于利 and “regeneration.” These characteristics
这件三频影像作品以冥王星的画面揭开序 用支离破碎的信息来重新演绎、再现不可见 correspond to the state of upheaval of the Duan Ziying
幕，因为在 1930 年被发现的冥王星在占星 之物——不论是权力意识还是神秘学本身。 Second World War, and make Pluto stand within
学上具有“毁灭”和“重生”的双重特质，这与 this work as a symbol of the inescapable cycles
当时二次世界大战的动荡相吻合，它为整个 段子迎 of history. In the two other videos, against
作品奠定了永恒轮回不可抗拒的基调。在其 the backdrop of a starry sky, Chen explains in
他两个影像中，陈滢如在星空背景之下用文 writing how heavenly bodies influenced Chang
字说明星体如何影响蒋介石的一生，同时呈 Kai-Shek’s life, while displaying images of the
现二战和台湾民众簇拥着集体哀悼蒋介石 foundation of the Republic of China, of the
的影像。陈滢如作品中宏观与微观的关系经 Second World War, and of Taiwanese people
常被引申为权力机制对身体进行规训的隐 crowding together in public mourning at Chang’s
喻，由此它们被归纳为整合历史档案的记忆 death. The relation between a macroscopic
工程作品之列。从神秘学出发来讨论这层关 and a microscopic vision in Chen’s work has

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often uses film and fiction to tell stories from Hostess. Among the many identities that Au
Asia’s troubled past, replete with underlying assigns the fictional character, Loke is a movie
political narratives that make representation industry tycoon and a spy. The character is in

AU SOW-YEE
a challenging task. To put it simply, Au makes
films about films. Film is at once her subject of
research, found footage material, and medium
被 for storytelling. For the series “Kris Project,” Au
part based on the biography of Loke Wan Tho, a
Malaysian business magnate and owner of the
Cathay Group (the production company of Air
Hostess), who died in a plane crash in Taiwan

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历 conceives of a fictitious film studio hidden in the in 1964. Through the ghostly image of Grace
史 jungle in the South China Sea by the name of Chang, the star of Air Hostess, Au takes viewers
缠 “Kris Studios,” and comes up with a heteronym on a journey with Loke that spans over time,
绕 for herself—“Ravi,” director and founder of the ideologies, and national boundaries.
《克里斯计划II：如果派对继续》
，2016年­
在台湾工作的马来西亚艺术家 录像装置、物件、文献­ Studios. Each installment of the “Kris Project”
东 区秀诒常常以电影和虚构作为 （图为展览现场和录像静帧）
series is presented as a Kris Studios production. Lai Fei
­
亚 方 法，讲 述 那 些 难 以 再 现 的 亚 Kris Project II: If the Party Goes On, In these works, specters of the past are
当 洲 20 世纪的历史碎片及其背后
2016, video installation, objects, and
documents. Pictured are installation summoned through the artist’s appropriation of
代 的地缘政治叙事。区秀诒的影像 view and film still
Courtesy the artist historical materials, and take shape via old film
影 作品是电影这一概念的多重嵌 footage. The second installment of the series, If
像 套 —— 电 影 既 是 区 秀 诒 的 历 史 the Party Goes On (2016) tells the story of Loke
素材也是她讲故事的媒介。在系
列 作 品“克 里 斯 计 划”中，区 秀
诒想象了一个隐匿在南海的丛
林 中 的 电 影 工 作 室“ 克 里 斯 工
作室”，也为自己创造了一个分
身——工作室的创始人导演拉维
（ Ravi ）。
“ 克里斯计划”系列中
的每一部分都被呈现为由“克里
斯工作室”出品。历史的幽灵通
过区秀诒所采样的电影影像复
现，附着在今日东南亚的地缘版
图之上。 “克里斯计划”的第二部
分《如果派对继续》 （2016）使用
了 1959 年的香港电影《空中小
姐》中的影像素材，以（该片的出
品方）国泰集团的老板陆运涛的
生平为蓝本——陆运涛生于马来
西亚，1964 年在台湾遭遇空难
丧生——虚构了一个具有电影产
业大亨和间谍双重身份的角色­
“陆”，并 借 由 这 一 虚 构 角 色 展
开了一场跨越时间、意识形态和
国家边界的旅程。

赖非

70 LEAP S/S 2021 71 幽灵派对 GHOSTED

 胡伟

PO
集

RT
品

FO
作

LI
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被 HU WEI

HAUNTED BY HISTORY: CONTEMPORARY VIDEO WORKS IN EAST ASIA

历
史
缠
绕 《风下之乡》2019 年拍摄于位于东马来西亚的沙巴近海
的一个小岛——金之岛，当时艺术家胡伟在岛上驻地。这
东 部半纪录、半虚构的影像作品中的第一人称叙述从一个
亚 幽灵视角展开。虽然影片中的幽灵并没有一个具体的鬼
当 魅形象，但它被影像所包含的众多主体赋形。幽灵是当地
代 传说中的神秘生物，是日本殖民杀戮时期丧生者的亡灵，
影 是被政客利用来制造幽灵选票的岛上的穆斯林移民二代
像 无国籍劳工，也是小岛本身——缠绕在过去的殖民历史
和未来的旅游资本发展之间的幽冥之地。幽灵的概念指
向了一种中间性——不生不死，不存在亦不缺席。它不属
于二元叙事中的任何一方，而是一种德里达意义上的永
恒的失落——过去从不过去，未来已经迷失。

赖非

Long Time Between Sunsets and Underground Waves was

shot on an island in offshore Sabah, North Borneo, east
Malaysia in 2019, when the artist Hu Wei was participating
《风下之乡》
，2020年­ Long Time Between Sunsets and
单频有声彩色影像，53分16秒 Underground Waves, 2020 in an artists’ resideny. The first-person narrative in the
Single-channel video, color, sound,
53 min 16 sec semi-documentary, semi-fictional film unfolds from a
ghostly perspective. Although the ghost in the film does
not have a specific identity, it takes shape via the myriad
subjects that make up the ecology of the island. Ghosts
manifest themselves as the mysterious creatures in local
mythologies, as the spirits of those who perished during the
mass killings of Japanese colonial invasion, as the second-
generation Muslim immigrants and stateless laborers on
the island who are exploited by politicians for phantom
votes, and as the island itself—an ethereal place entwined
between its colonial past and future development of tourism.
The notion of the ghost points to an intermediateness—
not alive nor dead, not fully present nor absent. It does
not belong to either side of a binary system, but a kind of
perpetual loss in a Derridean sense—the past is never past,
and the future is already lost.

Lai Fei

72 LEAP S/S 2021 73 幽灵派对 GHOSTED

 核灾难中的幽影­
案

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——尾竹永子­
“身在各地”
尾
竹
永
子

THE HAUNTING
MEMORY OF THE
NUCLEAR IN EIKO
OTAKE’S SPECTRAL
PERFORMANCES
沈秋阳 Shen Qiuyang
面临持续不断 How does one represent the
的核灾难经历， traumatic memories of a
一个人将如何 singular disaster in the context
表现单次灾难 of the durational experience of
的 创 伤 性 记 nuclear catastrophes?
忆 —— 尤 其 当
这种持续不断
的经验有着诸
多侧面？
尾竹永子， 《身在福岛》 ，2014年­ Eiko Otake, A Body in Fukushima, 2014
行为表演，富岗镇双叶区，富岗渔港­ Performance, Futaba District, Tomioka Town, Tomioka Fishing Harbor
摄影：William Johnston ­ Photo: William Johnston
全部图片致谢艺术家及摄影师 All images courtesy the artist and the photographer

74 LEAP S/S 2021

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首先，是2011年的核灾难，与1945年的原子
弹爆炸及其相关创伤性记忆的丧失隔空共振。
这种记忆的丧失是战后日本政府和核工业进
行核倡导的结果，也是当今日本国内外对核工
业的容忍及忽视的一个主要因素。其次，日本
政府最近宣布，将在两年内将放射性核废水排
放到海洋中。这无疑说明灾难仍在继续。其三，
不言而喻，灾难将延续至未来——考虑到放射
性核物质漫长的衰变周期，我们正不断临近末
日钟声敲响的午夜。换句话说，核灾难并不是
一个单一事件，而是自上世纪中叶以来就困扰
着人类的幽灵。面对持续的灾难，艺术家如何
才能以一种有意义的方式来表现这些创伤性
的历史记忆？怎么样才能在哀悼之余做出批判
性反思，进而诉诸于对未来的要求？在这样背
景状况下，行为艺术作为本质短暂的事件，如
何与核灾难牵连广泛的长久后坐力和创伤性
记忆的脆弱性建立对话?
2011年3月11日，日本发生9.0级地震，
高达 40 米的海啸袭击紧随其后，造成至少
18 , 000 人死亡或失踪。在福岛，地震和海啸
引发了福岛第一核电站三个核反应堆的崩
溃。2011年 8月，1970年代移居美国的日本
艺术家尾竹永子（ Eiko Otake
福岛。眼前的景象令她无言以对，心中充满悲
伤、懊悔和愤怒。尾竹永子在 1960 年代后期
参加过日本学生运动，她认为这场核灾难与
尾竹永子， 《身在福岛》 ，2014年­
行为表演，福冈县百道镇­
摄影：William Johnston
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A durational experience that is furthermore manifold. First, the 1945 年广岛和长崎的原子弹轰炸以及战后 2011, Eiko Otake, a Japanese artist who emigrated to the US in
nuclear disaster in 2011 resonates with the atomic bombings of 日本政府在美国的影响下做出的一系列决定 the 1970s, made her first visit to Fukushima. She was speechless,
1945 and the loss of traumatic memories of those catastrophes. This 有关。此外，尾竹在2000年代与一位“被爆者” overwhelmed with sadness, remorse, and anger. As someone who
loss of memories is a result of nuclear advocacy by the postwar （hibakusha，原子弹爆炸幸存者）林京子展 had participated in the student movement in Japan during the late
Japanese government and the nuclear industry. It is also a major 开了广泛合作，从林京子的角度认识了核灾 1960s, Otake sees this nuclear disaster in connection with the
factor in tolerance for and negligence in the nuclear industry 难，并为失去创伤性的历史记忆哀悼。 atomic bombings of Hiroshima and Nagasaki in 1945 and the series
today in and beyond Japan. Second, the disaster is ongoing, as 林京子于2017年2月去世。数周后，尾竹 of decisions made by the postwar Japanese government under the
indicated in the recent announcement by the Japanese government 在福岛灾难六周年的纪念仪式上致辞《献给 influence of the US. Moreover, having worked extensively during
that it would be releasing radioactive wastewater into the ocean 林京子》
，她说道： the 2000s with Kyoko Hayashi, a hibakusha (survivor of the atomic
within two years. Third, the disaster stretches into the further bombings), Otake also perceived the nuclear disaster from the
future, which is self-evident given our proximity to midnight 林京子曾叹道：“我们这些原子弹 perspective of Hayashi and mourned the loss of traumatic historical
on the Doomsday Clock and the longevity of radioactivity. In 轰炸的幸存者们似乎并不存在。我 memories. In Otake’s “Dedication to Kyoko Hayashi,” delivered
other words, nuclear catastrophe is not a singular occurrence, 们幸存者的经历也仿佛从来无足 during a ceremony marking the sixth anniversary of the Fukushima
but a specter that has haunted humanity since the middle of last 轻重。尽管有那么多朋友因此丧生 disaster, and several weeks after Hayashi’s February 2017 death,
century. To address the durational catastrophe, then, how can 或承受着辐射之痛，但日本作为一 she notes:
artists represent the traumatic historical memories in a meaningful 个国家，从未真正对辐射有任何了
way that not only serves as an act of mourning but also as a call for 解。
”她的这番话令我心碎。 Hayashi lamented, “It is as if we, the atomic bomb survivors,
critical reflection, and subsequently a claim upon the future? And did not exist. It is as if the experiences of the atomic bomb
within the context of this presentation, how can performance art, 2014 年 1 月，尾竹与摄影师和历史学家 survivors have never counted for anything. While so many
which is essentially an ephemeral occurrence, negotiate with the 威廉·约翰斯顿（William Johnston）一起， friends died because of the atomic bombings and suffered
extensive temporality of nuclear catastrophe and the fragility of 第二次来到了福岛。她在废墟中起舞，手里拿 from radiation, Japan as a nation never learned anything
traumatic memories? 着一条长长的红色绸布，脸和身上覆着厚厚 about radiation.” I am heartbroken.
On March 11, 2011, a magnitude-9.0 earthquake, followed by 的白色粉末，她的身躯在和服里显得苍白、孱
）首次来到 a tsunami with waves up to 40 meters high, struck Japan. More 弱。她绝望地躺在地上，埋身于灌木丛中，将 In January 2014 Otake made her second visit to Fukushima, with
than 18,000 people were killed or disappeared. In Fukushima the 脚趾浸入被辐射的水里。而相机镜头则转向 photographer and historian William Johnston. Her face and body
earthquake and tsunami triggered a meltdown in three nuclear 停下来的时钟、荒凉的室内空间和尘土覆盖 covered in white powder, appearing as a pale, feeble figure in a
reactors at the Fukushima Daiichi nuclear power plant. In August 的儿童玩具——这些符号都让人联想起1945
Eiko Otake, A Body in Fukushima, 2014 尾竹永子， 《身在福岛》 ，2014年­ Eiko Otake, A Body in Fukushima, 2014
Performance, Momochi 行为表演，坂本市­ Performance, Sakamoto
Photo: William Johnston 摄影：William Johnston Photo: William Johnston
LEAP S/S 2021 77 幽灵派对 GHOSTED
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LETTER TO HSU CHE-YU

竹
永
子

年的灾难。有几次，她激烈地舞动着；而在其 kimono, she danced among the ruins. She often danced with a
他时候，她似乎只是在废弃的火车站、在福岛 long piece of red silk fabric. She lay on the ground in despair,
这个鬼城里漫无目的地游走——像一个幽灵， buried herself in bushes, and dipped her toes in the irradiated
因愿望未决而徘徊某地，等待着解脱。2014 water, drawing the camera’s attention to a stopped clock, desolate
年以来，尾竹已多次踏上福岛，现在依旧没有 domestic space, and a dusty child’s toy, symbols reminiscent of the
停歇。此间产生的一系列照片和视频作品皆 catastrophes in 1945. At times she danced fiercely, while at others
被命名为《身在福岛》。 she seemed to be just wandering in the ghost town of Fukushima,
2014年10月，
《身在福岛》首次以摄影展 roaming the abandoned train station. She looked like a specter who
的形式在宾夕法尼亚美术学院展出。展览亦 lingers in a place because of unresolved wishes, awaiting release.
伴随着尾竹在费城 30 街火车站的持续表演。 Otake has repeatedly visited Fukushima since 2014 and continues
对于尾竹来说，这次表演有意尝试将费城火 to do so now. The resulting photographs and videos have been
车站与福岛废弃的火车连接起来——她将自 titled A Body in Fukushima.
己的身体视为表演中的常数，让之成为不同 A Body in Fukushima first appeared as a photo exhibition at
时空的交汇点。 Pennsylvania Academy of the Fine Arts to accompany Otake’s
durational performance at Philadelphia’s 30th Street Station
in October 2014. For Otake, this performance was a deliberate
attempt to connect the Philadelphia train station with the
abandoned train station in Fukushima. She sees her body as the
constant in her performances, and thus as the site where different
temporalities and spatialities meet.

尾竹永子， 《身在福岛》 ，2014年­ Eiko Otake, A Body in Fukushima, 2014

行为表演，富岗镇­ Performance, Tomioka
摄影：William Johnston Photo: William Johnston

78 LEAP S/S 2021

尾竹永子， 《身在福岛》 ，2014年­ Eiko Otake, A Body in Fukushima, 2014
行为表演，富岗镇­ Performance, Tomioka
摄影：William Johnston Photo: William Johnston
 PR
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EIKO OTAKE
身在 A BODY IN
车站 A STATION
(2014)
2014年到2019年间，在美国、香港、智利，以
(2014)
From 2014 to 2019, Otake haunted more than 50 sites with her
及近期在台湾和东京，尾竹的“魅影”
“萦绕”过 spectral performance, not only in the US but also Hong Kong,
50多个地点。这些地方的行为表演通常会伴随 Chile and, more recently, Taiwan and Tokyo. The performances
尾竹在福岛舞蹈的照片或录像装置展出。在尾 at these sites were usually accompanied by a photo exhibition or
竹的舞蹈中，相同的鬼魅形象使时间、空间和 video installation of Otake’s dance in Fukushima.
身体彼此交织、纠缠。她的表演唤起了观众对 With Otake dancing as the same spectral figure, time, space,
身体相互矛盾的认识——既唤起对身体的温柔 and bodies become entangled and are woven into each other.
与关怀，同时又展现身体的他者化。 Otake’s performance evokes a paradoxical awareness of the body in
《身在车站》的第一场演出随着通勤者按 the audience—it invites a tenderness and care towards the body at
照预定的编排方式穿过费城火车站展开。尾 the same time as it presents the othering of the body.
竹的脸和手臂被白色妆容遮盖，穿着浅黄色和 The first performance of A Body in a Station unfolded among
服的她看上去就像在《身在福岛》中的那个“幽 commuters moving according to their predetermined choreography
灵”一样。她以极慢的速度移动，有时将手臂伸 through Philadelphia’s main railroad station. Otake, her face and
向空中或蜷向身体，有时突然奔跑几步，疯狂 arms covered in white makeup, and wearing a light-yellow kimono,
地挥舞着红色的织物。观众在她周围形成一个 appeared as the same spectral figure seen in A Body in Fukushima.
圆圈，保持着一定距离，随着她一起迁移，就好 She often moved with an extreme slowness, sometimes stretching
像他们也受到某种编舞的指导一样。 her arms into the air or curling them in toward her body. At other
尾竹的表演引起了人们对身体的极大关 moments she burst into a run for a few steps, waving the red fabric
注。她那苍白、无助、幽灵般的身影唤起恻隐， fervently. The audience usually formed a circle around her at a
甚至使路人想向她施以援手。例如，在一次表 distance, and migrated with her as she moved to another spot, as
演中，尾竹以极度缓慢的姿势和手势将自己 though they were also guided by a certain choreography.
尾竹永子， 《身在车站》 ，2014年­ Eiko Otake, A Body in a Station, 2014
行为表演，费城火车站­ Performance, Philadelphia Train Station
摄影：William Johnston Photo: William Johnston

83 幽灵派对 GHOSTED
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拖过地面，似乎试图抓住什么，却由于虚弱而
令其逃脱出了手心。正如诗人和小说家科思
坦·卡肖克（ Kirsten Kaschock
的尾竹舞蹈观后体验的文章中那样，
“向观众
发出需要关照的邀请”使她想起了一些人类
本质上的东西：
“ 离开车站后，我再次真切感
受到自己与他人的相互联系……对那些需要
帮助的人，特别是那些为衰老、虚弱、悲伤、病
痛所困的人，我对他们的需求觉醒了。”
尾竹的动作姿态很多时候暗示着人们肉
身的欲望，例如饥和渴，而这两者在意象上都
与核灾难相连。在她的许多行为表演中，她将
菊花花瓣塞进嘴巴，随后猛地吐出。菊花在日
本通常被视为死亡和哀悼的象征，而吃掉花
瓣的行为则让人回想起广岛和长崎轰炸后，
“被爆者”食用辐照植物的经历。有时候，尾
竹将一碗水高举在她扬起的脸上，倒入嘴里，
然后泼洒到地面。水，无论受到辐射与否，都
会引发因无形但无处不在的放射性而导致的
焦虑。她的动作常常显得怪异或幼稚，表现出
肉欲、自治和脆弱，似乎指向身体的基本状
态。这是一个被欲望和记忆所驱动的身体，
需要帮助的、易碎的身体、在辐射威胁下的身
体。一个没有社会等级或国籍，仅仅只是身体
本身的身体。
尾竹发生在非剧场环境中的行为表演使
得这种关照身体的邀请越发有力。与表演者
尾竹永子， 《身在车站》 ，2014年­
行为表演，费城火车站­
摄影：William Johnston
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Otake’s performance draws intense attention to the body. The 自然形成社群时，观众中的每个人都可以看 and memories. A fragile body that may be injured, subjected to
spectral, pale, helpless figure she presents invites care, often causing 到彼此。舞蹈的缓慢不仅与时间有关，而且为 radiation, in need of help. A body that is a body, not marked by
）在她写 the passerby to consider whether she needs help. For instance, 观众提供了反省的空间。观众的注意力或许 social class or nationality.
in the picture on the left, Otake pulls herself across the ground 不时会从中心滑向四周，从尾竹身上，滑向了 This invitation to care for the body is reinforced by the
with extreme slowness and gestures as if she is trying to get ahold 更广泛的环境：观众开始注意到这个临时形 nontheatrical setting of Otake’s performance. In forming a natural
of something that nevertheless escapes her grasp, perhaps due 成的群体中的其他人——有些旅客停下了脚 alliance with the performer, each individual in the audience
to her weakness. As the poet and novelist Kirsten Kaschock has 步，决定驻足，而也有忙碌的旅客依然保持 sees the other. The slowness in her dance not only engages with
reflected in an article she wrote about the experience of watching 着与前者截然不同的运动速度和方式；他们 the temporal, but offers a space for the audience to ruminate.
Otake dance, the invitation to care reminds her of something 的注意力又转移到充满嗡嗡回声的火车站大 Occasionally attention slips from the center of the circle, from
essentially human: “Leaving the station, I felt opened again to my 厅，注意到现代技术和现代环境，最后又转回 Otake, to the larger environment. Audience members begin to
interconnectedness with others… I felt wakened, especially, to others 到尾竹身上，再一次意识到她的身体看上去 notice the others in this temporarily formed community, the
in need: the aging, the weak, the grieving, the ill.” 是多么脆弱、小巧而又年迈，意识到在她的身 busy travellers who retain a completely different speed and mode
Otake’s gestures often suggest carnal desire as well, such 体周围是一个通过集体努力而形成的公共空 of movement, the ones who paused and decided to stay. Their
as hunger and thirst, both symbolically connected to nuclear 间。观众一旦看到这一表演与尾竹在福岛的 attention drifts to the echoey hall in the train station, the modern
catastrophes. In many of her performances, she thrusts 表演之间的联系，便能受到启发，通过他们自 technology and environment, and then bounces back to Otake,
chrysanthemum petals into her mouth, and then spits them out 己的身体、以及对群体的身体的了解，来重新 newly aware of how fragile, small, and ancient her body appears
in a burst. Usually seen as a symbol of death and mourning in 想象人们在核灾难中所遭受的痛苦。 to be, and that surrounding her body is a communal space formed
Japan, the chrysanthemum petals and the act of consuming them 然而毫无疑义，对身体的这种认知和觉察 through collective effort. In connecting this performance with
recalls the hibakusha’s experience of eating irradiated plants in the 同时不可避免地也意味着要面对尾竹本人带 Otake’s performance in Fukushima, the audience is encouraged
aftermath of the bombings of Hiroshima and Nagasaki. Sometimes 有性别、年纪、和民族化特征的身体，这些特 to reimagine the suffering experienced in a nuclear catastrophe
Otake holds a bowl of water high over her upturned face, pouring 征在她穿上和服时体现得最为明显。但对于 through their own bodies and through a community understanding
it out into her mouth and spilling some onto the ground. The 尾竹而言，这是一个有意识的选择。她经常在 of the body.
water, whether irradiated or not, evokes the anxiety caused by 采访中用“局外人”来描述自己的形象。她承 However, this perception of the body is of course inevitably
an invisible yet pervasive radioactivity. Her movements, often 认自己的移民/日本人身份在某些情况下十 confronted with Otake’s gendered, aged, nationalized body at
appearing uncanny or childlike, with their expression of carnal 分明显，而她也接受自己的身体对某些观众 the same time, which is manifested most visibly in the kimono.
desire, autonomy, and vulnerability, seem to point toward the 群体而言会带来陌生感。尾竹的身体和动作 This is a conscious choice for Otake. In interviews, she often
fundamental status of the body. A body that is moved by its desires 所表现出的疾病、扭曲、虚弱和衰老，也引起 refers to her figure as the “outsider.” She acknowledges that her
Eiko Otake, A Body in a Station, 2014 尾竹永子， 《身在车站》 ，2014年­ Eiko Otake, A Body in a Station, 2014
Performance, Philadelphia Train Station 行为表演，费城火车站­ Performance, Philadelphia Train Station
Photo: William Johnston 摄影：William Johnston Photo: William Johnston
LEAP S/S 2021 85 幽灵派对 GHOSTED
 案

PR
个

O
家

FI
术

LE
艺

EIKO OTAKE
竹
永
子

了恐惧或犹豫，尾竹借此让观众面对他们对 immigrant/Japanese identity would be especially apparent in some

不健康、需要帮助的身体所产生的抵触感。此 settings, and she embraces the strangeness her figure presents
外，在临时形成的公共空间中，对于陌生身体 to such audiences. The illness, distortion, weakness, and aging
的抵触会更强。对这个松散群体的认知会令 manifested in Otake’s body and in her movements also provokes
观众开始意识到其他观众的身体、尾竹的身 fear or hesitation, through which Otake confronts the audience
体以及他们自己的身体。 with their reluctance to see an unhealthy body in need. In addition,
正是在这种对身体的矛盾的意识中，观众 the confrontation of the strange bodies is further reinforced in
得以开始理解和重新想象核灾难的历史。关 the temporarily formed communal space. In recognizing this
怀和同情心的激发使观众通过自己的身体重 loosely knit community, the audience is made aware of their fellow
新想象福岛的创伤历史、原子弹的爆炸，想象 audience members’ bodies, of Otake’s body, of their own body.
那种痛苦、恐惧、辐射、毁灭。但与此同时，他 It is within this paradoxical awareness of the body that the
们也不可避免地要面对自己对尾竹这个陌生 audience is invited to understand and reimagine the history
人的身体的认识。在性别、种族、国籍、年龄、 of nuclear catastrophe. The evocation of care and empathy
健康状况或有形实体之前，它首先是一个陌 encourages the audience to reimagine the traumatic history of
生、外来的身体，是他者。 Fukushima and atomic bombings through their own body—to
将身体视为“他者”是一类历史条件。身体 imagine the pain, the fear, the radiation, the devastation. But
吸收了体内积累的历史，然后在对事件和不 at the same time, unavoidably they are confronted with their
同人群的情感反应中将其释放。它提出了一 perception of Otake’s body as that of the stranger. Before gender,
个问题：我们将谁视为他者？为什么我们将他 race, nationality, age, health, or corporeality, it is a body that is
们视为“他者”？为什么我们在乎某一群人却 unfamiliar, alien. It is the Other.
对另一群人视而不见？在核灾难的背景下，这 Seeing a body as the Other is a historical condition. The
些问题可以发展为：对电力的需求是否比“核 body absorbs the history that accumulates within it, which is
村庄”居民的需求更为重要？在追求诸如经济 then manifested in the body’s affective reaction to events and to
稳定和技术发展之类的抽象目标时，怎样的 different groups of people. It asks the question: who do we see as
叙事围绕核能得以构建，而政府又就此将哪 the Other? Why do we see them as the Other? Why do we care
些人群或机构搁置了事？为什么现在的这一 for one group of people and turn a blind eye to another group?
代人遗忘了“被爆者”的创伤性回忆？为什么 Placing these questions in the context of nuclear catastrophe raises
尾竹永子， 《身在车站》 ，2014年­ Eiko Otake, A Body in a Station, 2014 尾竹永子， 《身在福岛》 ，2016年­ Eiko Otake, A Body in Fukushima, 2016
行为表演，费城火车站­ Performance, Philadelphia Train Station 行为表演，浪江町­ Performance, Namie
摄影：William Johnston Photo: William Johnston 摄影：William Johnston Photo: William Johnston

86 LEAP S/S 2021 87 幽灵派对 GHOSTED

 案
个
家
术
艺

尾
竹
永
子

我们害怕看到不健康的身体？铭记创伤性过 further questions: does the need for electricity outweigh the needs
往的我们，要如何反思核能给我们带来的“光 of residents in “nuclear villages”? In the pursuit of abstract goals
明的未来”？ such as economic stability and technological development, what
在尾竹的“身在各地”系列中，核灾难引 narrative was constructed around nuclear energy, and which group
发的创伤性过往的萦回并不只是哀悼仪式或 of people or what kind of bodies does the government stop caring
助记符。通过吸引观众以自己的身体重塑过 for? Why were the traumatic memories of the hibakusha lost in
去，尾竹不仅培养了对核灾难受害者的关怀， today’s generation? Why are we afraid of seeing the unhealthy
还鼓励观众批判性地参与其内心困扰的历 body? Keeping in mind the traumatic past, how do we reflect on
史。此外，在认识到身体如何受制于权力和叙 the “bright future” that nuclear energy promised us?
事之时，观众亦会意识到关怀行为可以是对 In Otake’s A Body in Places, the haunting of a traumatic past
这种权力的颠覆性实践。既被视为关怀对象 of nuclear catastrophe does not simply serve as a mourning ritual
又被视为他者的身体在其过去与未来之间徘 or a mnemonic reminder. By inviting the audience to reimagine
徊。尾竹的表演说明2011年的核事故并非仅 the past through their own bodies, Otake not only fosters care
限于特定地点和时间，而是一场持续不断、与 for the victims of nuclear catastrophes but also encourages the
国际社会有着诸多联系的灾难。这向全球观 audience to critically engage with the haunting history that resides
众提出了一个紧迫的问题：在下一次核灾难 within their bodies. Furthermore, in recognition of how the body
到来之前，我们应该怎么做？ is subject to power and narratives, the audience may also realize
that the practice of care can be a subversive practice against such
胡天庥译自英文 power. The body that is perceived both as the subject of care and
as the Other is therefore the body that lingers between its past
and its future. Raising such awareness in international audiences,
Otake’s performance illuminates the fact that the nuclear accident
in 2011 was not a catastrophe limited to a particular place and time;
instead, it is a durational catastrophe connected in many ways
with the international community. It poses the urgent question to
the global audience: what should we do before the next nuclear
catastrophe arrives?
尾竹永子， 《身在福岛》 ，2016年­ Eiko Otake, A Body in Fukushima, 2016 尾竹永子， 《身在福岛》 ，2016年­ Eiko Otake, A Body in Fukushima, 2016
行为表演，浪江町­ Performance, Namie 行为表演，八泽­ Performance, Yasawa
摄影：William Johnston Photo: William Johnston 摄影：William Johnston Photo: William Johnston

88 LEAP S/S 2021

 HUMAN

FE
AT
题
专

UR
人

E
I always removed my oversized courier bag

类
dramatically in front of the customers. It was just an
act and pretty much the last part of an order, but still, I
wanted to show them how hard I had been working.

客人看见我的时候，我会开始用夸张的动作卸下身上巨大的外
卖包。虽然只是送外卖的最后一步，我也只是表演，但我想让他
们看见我的辛苦。

我们华人的平台呢，圈子小。送多了，有的客人会记得你的手机号。
有一次我给客人打电话，我还没说话，她就说'是你吗？’。从被客人记
住的那天开始，我对这份工作的感觉就变了。
28岁，出生于美国，本科学历。曾经是一名 35岁，两年前亲属移民到美国。本科学历。
Uber Eats外卖员。
现在是星巴克店员。 做过Uber，也做过Uber Eats 。
现在在一个
中餐平台做外卖员。
28, Born in the U.S. Graduated with a
The Chinese platform I am working for caters to a pretty
bachelor’s. A former courier for Uber 35, Immigrated to the U.S. two years ago niche user base and sometimes they recognize your
小宇 Yu
Eats. Currently working as a barista in a with family members. Graduated with a
Melissa Starbucks. bachelor’s in China. A former Uber driver
phone number. I got a call from a customer once, and,
and courier for Uber Eats. Currently without me speaking, she asked if it was me on the other
delivering food for a Chinese food
delivery platform.
end. Something about this job felt different that day when I
found out I was remembered.

When you are driving Uber, you get
to have conversations and share
your music with the riders. There
are moments in which you just
know a mutual understanding has
formed.
做 Uber 的时候，你和乘客在同一个空间
里聊天，听音乐。有时候你能感觉到你和
乘客建立了一些互相理解的瞬间。
Food couriers are like ghosts. We interact with
customers for less than ten seconds on each order, and
it’s usually less than a total of five minutes of human
interaction for an entire day at work.
送外卖是一份幽灵工作，每单和每个客人真实接触的时间不到
十秒。我工作一整天，和真人接触的时间不到5分钟。
I decided to work for Starbucks for the social regularity.
I like to maintain relationships with my customers, but
you don’t ever see the same customer twice delivering
for Uber Eats. You don’t even know who your co-
workers are.
我是新移民嘛，我的英语不好。我之前做过Uber，有个
客人给了我差评，理由是觉得我话少。 我最后选择在星巴克工作是为了 social regularity 。
我喜欢跟
同事和客人建立稳定的关系。但在 Ubereats，你甚至见不到你
I am a recent immigrant and I don’t speak 是你吗？ 的同事，你也不会见到同一个客人两次。
English so well. Anyway, a rider left me a bad
review because I wasn’t chatty enough. Uber Eats 的配送范围很大。但是我们华人外卖平台，客户都是downtown
的中国人（地图中黄色区域）。华人圈子就那么小啊，我遇到过一个人，他那
天的午餐和晚餐都是我送的。之后他经常问我今天哪里好吃，哪里有折扣，
有没有什么新开的店。
While Uber Eats delivers to a wider user base, the users of our
platform are primarily Chinese people living in downtown (marked
yellow on the map). It is such a small community of people. One
time I delivered a customer’s lunch and dinner on the same day,
and he’s since been asking me for recommendations, and about
special discounts or new restaurants.

送外卖累，但是至少自由。我的意思是，你的老板不是真人，你为算法工作。算法不会
在意你的种族，肤色，英语水平。
我可以一直在车上跟家人用母语打电话。

GHOST
Being a food courier is exhausting, but at least I feel pretty free. I mean you
don’t work for actual people but for an algorithm. The algorithm doesn’t
care about your race, skin color, English proficiency. I can have phone calls

幽
with family in my native tongue as long as I am driving.

陈俪莎 Chen Lisha 灵

90 LEAP S/S 2021 91 幽灵派对 GHOSTED
 FE
AT
题
专

UR
是幽灵工作，还是“幽灵”在工作？
WHERE THERE IS NO

E
pickup. However, the customers
在 UberEats 的美国外卖员口中，送外卖是一份“幽灵”般毫无社交性的工 can’t see a courier with an enormous
作，在其中，资本主义和科技联手将人彻底变成了被剥削的机器。
SPACE IS INEQUALITY
backpack waiting in a Starbucks
在一个令芝加哥瘫痪的大雪天里，我偶然遇到了一位健谈且富有激情的中 line; instead, they see, annoyed and
餐外卖平台外卖员。经过简短的交谈，我发现以他为代表的中国新移民外卖员，
OVERTAKEN BY IN DATA
confused, a static light grey dot on
对这份工作有着和美国外卖员截然不同的体验和看法——他们认为这是一份极 Google Maps. Although there is no
具社交性的工作，似乎让他们从美国社会不被看见的幽灵群体变回了“人”。因为
ALGORITHMS,
overtime penalty on most American
人 语言，种族，移民状态和工作地点的流动程度的不同，美国外卖员和中国新移民 food-delivery platforms, the absence My chance encounter with Yu (alias)

HUMAN ⇄ GHOST
类 外卖员对这份工作有截然不同的感受。算法和数据自动化管理如何改变了社群
COURIERS
of communication and empathy often brought a new life to my research. Yu
的构建，中国新移民又是如何生活在一个由语言壁垒和非自动系统构建出的“熟 leaves a bitter taste. immigrated from China with relatives
⇄

幽 人”气泡里，这些问题的答案似乎也随着交谈的深入和这份纪实作品的发展，呼
CONTINUE TO
The customers are blinded by two years ago, and he’s currently
灵 之欲出。 the smooth experience and the delivering food for Hua Juan (a

WORK LIKE
immediacy promised by the algorithm, pseudonym for a Chinese food-delivery
A ghostly job for humans? Or are “ghosts” doing the job? that they can order, and find food platform).

GHOSTS
A former American Uber Eats courier tells me she felt like a “ghost” with no human interaction on on their doorstep in 35 minutes as Neither he nor his parents speaks
the job. Technology joins force with capitalism to turn humans into exploitable machines. estimated by the algorithm. English well. His parents work for a
On a snowy day that put the entire city of Chicago on pause, I encountered an eloquent and On the level of human perception, food factory, sorting and packing,
enthusiastic courier for a local Chinese food-delivery platform. During the course of our brief My research into ghost workers began time has transcended space. The working among mostly recent
conversation, I realize that recent Chinese immigrants like him share an opposite experience and with interviewing several American texture and sentimentality of physical immigrants or foreign temp-workers
opinion of their job as a courier when compared to their American peers. They find the work extremely Uber Eats food couriers. They all space has been abstracted away, and, who barely speak any English.
social, as it removes their invisible cloak and casts them as “human” again. The two distinct versions expressed, on separate occasions, how to reach full abstraction, humans are “You only need to know a couple
of the same job come from differences in language proficiency, race, immigration status, and mobility lonely they felt at work, that they are turned into ghosts. of necessary English phrases for
for work. How have algorithms and automated data management changed how communities are working for an algorithm designed to the job. Somebody from the factory
built? How do recent Chinese immigrants, thanks to the language barrier and a non-automated engage in very limited communication. would teach you those phrases.”
system, come to live in a bubble of “acquaintances”? The answers to these questions emerge as the “There is no way to tell the Yu has a bachelor’s degree in
conversations delve deeper, and this work of documentation unfolds. algorithm that you need a ten-minute China and speaks more English
bathroom break”, said Hazel, “sure, you than his parents, but not to the
could stop accepting or deny incoming level of being socially proficient.

在被算法超越 如果每个人都
orders, but you’d be paying an The language barrier is a common
导致了劳动者的力量难以聚集，改变和反抗 unspoken penalty and have zero orders road block for many recent Chinese

的空间里，他们 是数据，那我们
几乎无法发生。 for a while afterwards. The algorithm immigrants to fully integrate into
Melissa 表示她每天工作 7 个小时，送 pushes you to be a restless machine.” American society. Yu likes being a

还在作为幽灵 就平等了
20 单左右。 算法留给她的只剩下骑车以及伸 What is more frustrating to them food courier for one simple reason:
手递食物的动作。每单和客人接触的时间不 than the algorithm is the loss of the freedom to speak no English. He

继续工作
我对幽灵工作这个话题的探索是从对几位
Uber Eats的美国外卖员采访开始的。他们
都不约而同地向我表达了这份工作的孤单：
算法是他们最直接的老板，但算法被设计成
只能进行有限的沟通的样子。
Hazel说， “你没有办法告诉算法你想去
上厕所，以此获得十分钟的休息。你当然可
以选择停止接单或者拒绝订单，但这会导致
你接下来的一段时间都接不到单，这里面有
一种隐形的惩罚。算法想把你训练成一个不
间断工作的机器。 ” 个抽象的基础则是让人变为幽灵。
除了老板，更让他们感到沮丧的是工作
社群的消失。因为外卖员的从业门槛低，也
都是合同工，频繁的人员流动是再正常不过
的事情。工作地点是送餐司机自己的车，工
作地点是在流动的订单中不断变化的。工作
空间的弥散性，工作内容的流动性手牵手地
到 15 秒，意味着她工作一整天，和真人接触
的时间可能只有5分钟。
Melissa 不喜欢星巴克的订单，因为那 令整件事情变得鲜活和新颖的是和小宇（化
里总是一直在排队 。但用户并不会看到外 名）的偶遇。小宇是两年前通过亲属关系从
卖员背着一个巨大的包在星巴克里排队，他 中国移民到美国的一个新移民。 他现在是
们只会不悦又困惑地看到一个在浅灰色的 一名花卷平台（某中餐外卖平台的化名）的
google 地图上停滞不动的点。 即使美国的 外卖员。
外卖平台并不会对超时进行惩罚，但这种沟 他和他的父母英语都不好。他父母在都
通和共情的缺失多少会带来一些不快。 在食品工厂里工作，工作内容是分捡和打
客人着迷于算法承诺的即时性带来的光 包，工厂里大多也都是不会说英语的、来自
滑体验：他只要按照算法预估的35分钟后打 世界各地的新移民或者国际零工。
开家门，就能在地上看见一份食物。 “属于学几句必要的英语就能干的工
从人的感受上，时间已经超越了空间。物 作。工厂里，就那几句英语都有人培训的。 ”
理空间的质感和情感都被抽象掉了，实现这 小宇在国内有本科学历，英语比父母好
一些。但依旧没到能熟练社交的地步。因为
语言壁垒无法融入美国社会是中国新移民
最常见的问题。小宇很喜欢这份外卖员的工
作，理由也很简单，“自由”：赚美元的同时不
用说英语。这份工不用和人打交道，每个人
都是跑单机器，你赚多少钱只和你跑得快不
快有关系，种族和语言都不是变量。
community. Since there is a low bar doesn’t have to talk to people and
to working as food couriers, who are the amount he makes correlates with
contract workers, the turnover rate is how fast he finishes orders but has
expectedly fast. They work out of their nothing to do with his race or native
own vehicles, and float around from language. Every courier is a machine.
order to order. The diffuse nature of
the workspace and the mobility of the
work itself makes it hard, if not entirely
impossible, for workers to unionize,
resist, and push for change.
According to Melissa, she works
seven hours a day and delivers around
20 orders. She does as the algorithm
instructs: she cycles, passes food,
and repeats. It leaves her less than
15 seconds of interaction with the
customers on each order, which gives
her five minutes of human interaction
for an entire day at work.
Melissa hates Starbucks orders 陈俪莎，
《人类 ⇄ 幽灵》，2021年­ Chen Lisha, HUMAN ⇄ GHOST, 2021
单频录像，13分钟26秒­
Video, 13 min 26 sec
for there is almost always a line for 图片致谢艺术家 Courtesy the artist

92 LEAP S/S 2021 93 幽灵派对 GHOSTED

 FE
AT
当然，幽灵工作也让许多人中获益：那些照护者、残障人
题
专

UR
—

E
士、居家者、失业者；那些羞涩的人、缺乏安全感的人、无

大卫·温伯格
法与他人共事的人，或尚且缺乏工作经验和技能的人。
这一名单几乎无止无休。

HUMAN ⇄ GHOST
类
⇄

幽
灵

市场总是需要幽灵工人，他们躲在帘幕之后工作以确保
—

网络如常运行，自身却是一群用后即弃的人。即使越来
数字化工作的真正未来》作者
玛丽·L·格雷，

越多的行业挂上了机器人全权代管的名号，其“自动化”
也并非全由人工智能驱动。事实上，它们将算法应用程
《销声匿迹：­

序平台与网络结合，以达到某种既定工作目标；通过计
算，它们对次结任务作出排期，进行管理、递送和终端输
出，以供全球24 小时无间歇网上做工的人们认领。

94 LEAP S/S 2021 95 幽灵派对 GHOSTED

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Ghost workers are on-demand, disposable people who

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Underclass (2019)
to Stop Silicon Valley from Building a New Global
Mary L. Gray and Siddarth Suri, Ghost Work: How
work behind the curtain to ensure the internet lives up
to its promise.Despite the headlines of a full-on robot
takeover, more and more businesses are not using
人

HUMAN ⇄ GHOST
类 AI to fully automate. They are combining algorithms
⇄

幽 application programming interfaces and the internet

灵
to contract work out. letting computation schedule
manage, schedule, manage, ship and deliver bill tasks
that can be picked up by people surfing for work online
24/7 around the globe.

陈俪莎，
《人类 ⇄ 幽灵》，2021年­ Chen Lisha, HUMAN ⇄ GHOST, 2021
单频录像，13分钟26秒­ Video, 13 min 26 sec
图片致谢艺术家 Courtesy the artist

There are, of course, lots of people who benefit

— David Wineberg
from ghost work. Those caring for a loved one, the
disabled, the housebound, the shy, the insecure, the
unemployed, those unable to work with others, those
with few skills or no experience. The list is endless.
陈俪莎，
《人类 ⇄ 幽灵》，2021年­ Chen Lisha, HUMAN⇄GHOST, 2021
单频录像，13分钟26秒­ Video, 13 min 26 sec
图片致谢艺术家 Courtesy the artist

96 LEAP S/S 2021 97 幽灵派对 GHOSTED


从幽灵到人
题
专
小宇也并不认为这是一份幽灵工作。
和算法驱动的 uber eats 不同，老板，配
单员，商家，外卖员和客户之间是存在交流，
人
并且可以建立起联系的。
花卷平台的服务范围仅仅是芝加哥
类 downtown附近的中文使用者，入驻花卷的
餐厅也都是中国城的餐厅。平台没有虚拟机
⇄
幽 的系统，外卖员和用户互相可以看到对方的
灵 真实手机号。有时候客人会记得某个经常遇
见的外卖员的手机号。
在小宇做了四个月的外卖员之后，他和
中国城餐厅的老板都熟络了起来，奶茶店的
老板经常免费送奶茶给他喝，蛋糕店的老板
会在晚上给他留一块新品蛋糕；他也被不少
客人记住。他知道Nema 大楼有个男孩子几
乎每天晚上十点都点外卖，1140 公寓有个女
孩子有洁癖，如果下雨天一定要把包装袋上
面的水渍擦掉，芝大那边有个老爷爷不能允
许食物放在地上。
华人在美国社会里具有明显的劳工性
质，但同时他们的声音也是长期被忽视的，
是另一个意义上的“幽灵工作者”。不会英语
的新移民更是感到不被看见。
但在做外卖员这份工作的时候，小宇感觉
自己和很多人或多或少的建立起了联系。 大量
松散关系的叠加让他感受自己鲜活了起来。
陈俪莎，
《人类 ⇄ 幽灵》，2021年­
单频录像，13分钟26秒­
图片致谢艺术家
98
地球另一端的­ 残忍的“附近”
FROM GHOSTS ON CRUEL
幽灵 项飚在分析国内外卖员行业的时候提到了­ GHOSTS TO THE OTHER “VICINITY”
相较于uber eats ，花卷作为一个小平台，匮
“附近的消失”这个概念。
但在这个芝加哥中国城的例子里，通过 HUMANS SIDE OF THE
乏的计算能力和有限的技术团队让它成为
了一个非自动的系统，采取的是人工配单。
围绕食物展开的互动、文化认同感以及固定
的地理空间， “附近”得以回归，社群也得以 WORLD
Unlike Uber Eats, driven entirely by
小宇人缘很好，他大多时候都勤奋又热 建立。 its algorithm, his current employer
情。偶尔遇到不想接的订单时，他会打电话 但面对平台剥削的时候，这个社群并没 allows for communication among order
给配单员，配单员会愿意帮他。 有带来工人力量的团结亦或者是反抗。平台 dispatchers, couriers, customers, and
配单员则是几个领着低薪水，在中国大 的剥削在不良天气体现得尤为明显，人治的 restaurants. Connections are formed.
陆远程工作的零工。 配单系统在此刻变得残忍，为了维护和配单 Hua Juan is only available to
其实配单员的角色是更贴近玛丽·格雷描 员之间的关系，外卖员此时手上可能会有十 Chinese speakers around downtown
述的幽灵工作的： 不被看到，甚至不被知道。 个单子。 Chicago and all the restaurants on it are
2019 年旧金山有过大规模的 uber 和 in Chinatown. There is no virtual phone
Lyft 司机要求公司提高零工待遇，拒绝过度 system so the customers and couriers
剥削的游行。但小宇并没有想过要为自己去 see each other’s real phone numbers.
游行抗议。 As a result, customers will sometimes
这很难不让人想起1882 年的《美国排华 remember the number of the courier
法案》。当时美国工人运动兴起，中国劳工因 that regularly delivers to them.
为语言和文化不通，有意无意地扮演起了工 After delivering food for four
贼的角色，最后成为众矢之的。 months, Yu has become a familiar
face among the restaurants in
Chinatown. He gets free boba from
the boba shop and a slice of cake
saved for him at the bakery. A lot of
customers have begun recognizing
him, too, and vice versa. He knows
that a young guy living in NEMA
orders takeout at 10 PM almost
every night. He wipes water off the
paper bag when he delivers to a
mysophobic girl living in Eleven40
on rainy days. The old man by the
University of Chicago, he recalls,
doesn’t like it when he places
food on the floor.Many Chinese
immigrants to the United States,
while working as manual labor,
remain invisible. In a sense, they
belong to a different line of “ghost
workers”. The language barrier
only further erases the more recent
immigrants from the society.
While delivering food for Hua Juan,
Yu feels like he has built connections
here and there. These loose
relationships make him feel alive again.
Chen Lisha, HUMAN⇄GHOST, 2021
Video, 13 min 26 sec
Courtesy the artist
LEAP S/S 2021 99
Hua Juan is a very small platform in
comparison to Uber Eats; the orders
are not automatically distributed
but dispatched manually due to lack
of computing power and a limited
development team.
Yu is well liked, and he is hard-
working and enthusiastic for the
most part, so whenever he calls in
to reject an order he doesn’t want,
the dispatchers are more willing to
assist him.
The dispatchers are, in fact, low-
paid temp workers, working remotely
from the other side of the world in
mainland China.
It seems like the dispatchers
orbit closer to Mary Gray’s “ghost
workers”: unseen, and unknown.
幽灵派对
FE
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Social anthropologist Biao Xiang
coined the concept of “vanishing
vicinity” while doing research on food
HUMAN ⇄ GHOST
couriers in China.
On one hand, “vicinity” returns and
community is built through interaction
around food, cultural identity, and a
fixed geographic location in the case of
Hua Juan and Chicago’s Chinatown.
On the other hand, when the same
platform exploits its workers, it is met
with no resistance. Their treatment of
the workers is particularly bad during
bad weather, when the reality of a
manual dispatch system becomes
particularly cruel and desperate. In
order to maintain a good relationship
with the dispatchers, each courier
often ends up with more than ten
orders to deliver at a time.
In 2019, Uber and Lyft drivers went
on massive strike and protested in San
Francisco, demanding better wages
and benefits as contract workers. It had
never occurred to Yu that he should
take it to the streets.
It is reminiscent of what led up to
the Chinese Exclusion Act in 1882.
Chinese laborers were antagonized
as strikebreakers to the heated labor
movement in the United States. Some
would cite it as a consequence of the
language and culture barriers.
TRANSLATED FROM CHINESE
BY ZHAO ZHILIANG
GHOSTED
 重器之隙:
题
消费型社会中新自由主义的压倒性胜利或多或少会带来主体
专
性空前扩张的错觉。可以不断更替的微观生活环境、频繁的人
口和职业流动、高速迭代的丰富的观念市场，都表明人们似乎
生活在一个可以非常主动的时代， “个体选择”亦成为一种福柯
意义上的生命政治常态。然而这种愈益标准化的主动同样可以
是一类障眼法或维护机制，它将系统的边缘和B面呈现为人们
熟稔、同时深嵌着规则的光滑日常图景。基础设施、消费场所、
未能发生的对话和无从预期的梦境里，人们通过习惯性失语和
迅速内化拥抱“不知情权” ，与此同时却被当然地剥夺了“不参
与权”。犹如重器之中幽魂无意逡游，我们通过遭遇种种系统化
任越 Ren Yue 的“被迫使”与“无回应”
，或许也能一窥有序自由社会的裂隙。
GHOSTS I N T HE MACHINE
幽灵的三
The total victory of neoliberalism in our
consumerist society has helped create
the false impression that an ever-growing
autonomy is in our hands. A micro-
environment of living that constantly
幅素描
changes, dynamic population flow and
career mobility, a rapidly iterating and
expanding marketplace of ideas: all are
telling us that we live in an era when
we can make decisions at will, and that
“individual selection” has become a new
biopolitical normalcy by Foucauldian
definition. However, this kind of autonomy,
which gets more and more formulaic
every day, can also be a camouflage or
a maintenance mechanism, covering up
the margins and B-sides of society with
100 LEAP S/S 2021 101
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glossy pictures of a daily life that is in fact
embedded with underpinning institutional
commands. Within this infrastructure,
these places of consumption, the
M
dialogues that have yet happened, and
dreams that are not expected, we have
so easily and quickly, through a recurring
aphasia, internalized and embraced our
“right not to know” that we comfortably
give up our “right not to participate”
as a reasonable consequence. We are
ghosts wandering around in a sealed
machine, encountering various occasions
for being systematically “forced” and
“unreciprocated.” But perhaps this is also
a rare opportunity to detect the fissures of
this orderly, free society.
IN
幽灵派对 GHOSTED
 GHOSTS I N T HE INE

FE
敌意建筑：­

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HOSTILE

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To cross a street below the Yan’an The partitioning arm rests or the

软硬兼施的­
Elevated Roads in Shanghai, you uneven surface of a park bench, the

INFRA- have to be continuously on your sharp metal teeth on the outer sill

公共空间及­
guard and fix your eyes on the traffic of a window facing a sidewalk, or

STRUC- lights on the other side of the street. the dangerous gravel encircling a

其制度幽灵
You must take a step forward in the parking lot… A horrendously short

重 TURE very second when the light turns

green, and walk extraordinarily fast
period of time allotted for crossing a
street whose width belies its wanted

GHOSTS IN THE MACHINE

器 efficiency is perhaps
之 要通过延安高架桥下的多数路 not such an unyielding
隙 口，你几乎要时刻非常紧张地盯 physical obstacle as
着路对面的交通灯。你必须在它 the aforementioned
幽 变绿的第一时刻迈出过路的步 “hostile infrastructures”
灵 伐，并在接下来的仅仅二十秒内 omnipresent in western
的 格外急促地行进。这不到半分钟 cities to dissuade
三 的行路最初是一种注意力的严 transient and homeless
幅 苛测试，随即则变成需要凭借身 people from loitering.
素 形、步速、体力甚至一点点运气 In Asian megacities,
描 在人流和时间的双重夹缝中占 however, it seems more
得先机的微型战争。高架桥浓缩 common to sacrifice the
了巨型城市的便捷和不友好：桥 experience of real people
上，高速通行的车流将人员和物 for soft infrastructure
OSTS I N T H

资从城市一端输送到另一端；桥 and spatial regulation

下，宽达三四十米并被高架桥柱 that can accelerate the
隔成几部分的八车道公路，则使 productivity of the city.
得步履缓慢或行动不便者常常 Yet the anxiety or even
不得不停留在桥下等待绿灯再 precarity produced in
次亮起。 such a city lies deeply
公园长椅的隔座扶手或凹 in the daily life of urban
凸形接触面、建筑窗台靠近人行 dwellers. Power grids
道的尖锐凸起、周边铺满锋利碎 are ubiquitous in spatial
石的停车场……相比欧美城市 organization. Like
常见的几种防止游客或无家可 transparent monsters
归者长时间逗留的“敌意建筑”
， hovering above the
与路口宽度极不匹配的短促过 skyline of a city, they cast
路时间并非全然是一种硬性的 gargantuan shadows onto
物理存在。在巨型城市中，牺牲 people who are trapped
真实的人的感受以换取所谓城 in them, people who are
市运转效率的软性设施和空间 hence powerless and
制度似乎更为普遍，其缔造出的 distressed.
焦虑甚至危险就缠绕在人们的
日常生活当中。无处不在的空间
权力网格犹如透明的鬼怪巨兽
将其阴影投下，生活在其间的人
则脆弱而懊恼。
for the next 20-ish seconds.
This less-than-half-a-minute walk is
at first an exceedingly tough test of
one’s attention, but then it evolves
into a micro battlefield where
everyone fully mobilizes their bodies,
walking pace, stamina, and even luck
to compete for a head start amid the
challenges of a moving crowd and
limited time.

102 LEAP S/S 2021

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103 幽灵派对
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夜店与夜间劳

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THEY LIVE

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工：灯球熄灭 BY NIGHT
处，电音寂静时 I once saw a strange scene in a
nightclub in Shanghai: its dance floor
重 我曾在上海的一家夜店里看到奇异的一幕： and booths were combined into one

GHOSTS IN THE MACHINE

器 舞池和卡座融为一体，调酒师和DJ混迹诸多 space, so that DJs and bartenders
之 仰卧、摆动和挤挤挨挨的身体之间，电音、喊 had to jostle their ways through
隙 话和酒杯撞击声不绝于耳；除了混合过度的 lying, swaying, and grinding bodies;
功能区，眼前的情景至此都显得很正常。打 electronic music, yelling voices, and
幽 破这种风格化认知的是一位清洁工的霎时 the sounds of clinking glass played a
灵 出现。我甚至记不起此人的模样和性别—— symphony to my ears—everything and

I
的 他在一众衣锦者中央，带着扫把和提拉式垃 everyone unbothered by the hyper-
三 圾桶，从容不迫地扫走地上被舞步凌踏的垃 intermixing of functional spaces. What

N
幅 圾和烟头。没有人知道他何时进入光影憧憧 punctured my stylized perception of
素 的舞池，而这种哑默且稍显不合时宜的劳动 reality was the sudden appearance
描 又会如何结束；他甚至是旁若无人地游荡在 of a janitor. I cannot even remember
这场狂欢里，没有来处和归处。 their face or gender, simply that they
同样的灯光与声场中，劳作者和狂欢者 stood in the middle of those chic
能够如此隔绝式地共存。当人们惯于在白日 players, holding their standing broom
奔忙、夜间休憩，黑白颠倒的工作者就仿佛 and dustpan, sweeping away the

T
游魂误入万千人间。而无疑，每一个消费-娱 trash and cigarette butts trampled
乐场所的背面都是一个异质性的世界，它不 by the dancing crowd, calm and
仅仅有音乐、酒精和种种脱离“正常生活”的 unperturbed. Nobody knew when
叛逆符号，也让服务于其基础运行但对卖点 exactly they had entered the dance

H
并无贡献的劳作变为一种必须的幽影。当幽 floor, which was painted with strobe
影现身，狂欢者便陷入惊诧。 lights and shadows, nor did anyone
know when their silent labor would
finish—they were moving about in this
revelry, alone and aimlessly, coming

E
from nowhere and with no place to go.
Laborers and revelers coexist
but are also profoundly isolated from
each other in the same space. While
most people take for granted their
own “9–6” working hours and regular
sleeping schedule at night, those

M
who work the graveyard shift become
roving souls who enter our world by
accident. Undoubtedly, at the other
side of each place of consumption and
entertainment is a heterotopia that
not only entails music, alcohol, and
many symbols that are synonyms for
MACH

“rebellion” against our “normal life”

but also reduces the labor essential
to the place’s basic functioning into
an indispensable phantom. When the
phantom presents itself, the revelers
are consumed by shock.

IN
104 LEAP S/S 2021 105 幽灵派对 GHOSTED
 GHOSTS I N T HE INE

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记忆折痕：­

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THE

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How many Chinese people have also nest inside your unconscious,

国人高考­
searched on the internet about imaginary rehearsal of reality.

INCUBUS the significance of “dreaming of Likewise, the individualized cinematic

梦魇
college entrance exam”? Dream montages in dreams vary from

OF interpretation websites give different

analytical predictions based on the
person to person and might have no
connection with the exam itself, but

重 GAOKAO dreamer’s relationship with the exam

candidate, the events happening
they reflect the dreamer’s yearning to
rewrite their past (in order to change

GHOSTS IN THE MACHINE

器 during the exam and the exam their present).
之 result—a contemporary equivalent It would be too arbitrary to
隙 to Zhou Gong’s Dream Dictionary, generalize the phenomenon of
a widespread and influential bible “dreaming of college entrance
幽 of dream analysis said to have been examination” as a collective trauma
灵 written in the eleventh century. of those who have failed to attain
的 Dreams consisting of various their goals, because those who
三 exam situations, which owe their did have good results also dream
幅 legitimacy to psychoanalysis, can be of redoing their exams. But dream
素 seen as an east Asian specialty. In interpretations on the internet are
描 most cases, dreams of exams have mostly fear-mongering, linking
nothing to do with hard work, honor, dreams to the suffocating pressure
or nostalgia for one’s youth. All of a person faces in their career. For
these components are too dull in those who grow up with this kind
OSTS I N T H

reality to provoke dreams. In addition, of examination system, the goal-

once critical examinations, such as driven competitive mindset is
the Chinese college entrance exam, repeatedly molded and reinforced
enter one’s dream, they manifest in by authoritative power during
realistic scenarios that feel diverse, their formative years. It is deeply
detailed, and even tangible. Mistakes rooted in their unconsciousness
that have or almost happened, like and still lingers there years after
forgetting your admission ticket leaving school. As the fictional and
and writing the wrong thing on the real temporalities intertwine and
answer sheet might haunt you again disentangle, each subplot in a dream
and again in dreams; faces of your becomes a candid disclosure of
teachers and classmates as well as extreme perturbation experienced
全文插画：huiqi pictures of schools at different stages in tedious old days, or a subtle
Illustrations by huiqi of your educational experience might allusion to one’s parting with a
certain evaluation
system. Memories one
不知道有多少人曾出于好奇或者持续的焦 演而莫名嵌套。相应地，一些与应试本身并 cannot get rid of often
虑而去搜索“梦到高考”的含义——各类解梦 无直接关联、因人而异的梦中蒙太奇，也投 go hand in hand with
网页根据梦者与应试者的关系、考试过程中 映出梦者对重书过往经历（从而期冀改变现 slight yet persistent
的事件和考试结果所列层出不穷的释义，堪 况）的渴望。 resistance against the
称《周公解梦》这一流传民间甚为广泛深久 “梦到高考”显然不能被粗暴解释为受 system, so that, however
的解梦之书的当代变体。 挫者的集体创痛：即使成绩不俗之人也会在 fleeting, these memories
带有各类考试情景的梦似乎是一份能 梦中重返考场，而网络上所提及的解述，也 become a micro-political
够渗入精神分析领域的东亚特产。关于考试 多关乎个人在事业上所面临的重重压力。对 arena containing both
的梦境本身在大多数情况下与奋斗情绪、荣 成长于考试制度下的人们而言，少年时期被 destructive and healing
誉感和对青春的怀想无关——这种在现实世 重重力量形塑的目标型竞争思维在其离开 powers.
界里都显得单调的元素更不足以诱生梦境。 学校多年后仍能完成某种无意识的强烈回
在此之外，以高考为典型代表的重要考试一 返。随着错综的时空彼此靠近、扭合又弹开， TRANSLATED FROM
经入梦，便常能引申出丰富、细腻、体感极为 梦中情节的每个枝杈都可能是一次对枯燥 CHINESE BY
真实的情节。涂错答题卡、丢失准考证等学 过往中主体极度不安的揭发，或对其脱离某 LILY SUN
生时代已经（或险些）发生的大小错误或许 种评价体系的隐晦暗示——无法脱身的记忆
会在梦中卷土重来，不同教育阶段的空间场 常常伴随着微渺的抵抗，也由此成为毁灭性
景和师友肖貌亦会通过一段子虚乌有的排 与修复性共存的角力之所。

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 萨

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这里所说的“萨满性”，是指我们把自

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The “shamanism” in question here
己敞开在能力和陈述场景中的那些途 refers to those ways and forms
径和形式。萨满性对应着萨满的特殊 through which we open ourselves
叙述，这意味着萨满性与文化描述的 up in terms of our abilities and
出神、人类学描述的显灵、文化鉴藏领

满
interpretation. Furthermore,
域的望气，以及地理学的抓龙问穴，差 shamanism corresponds to
不多是同一个词。萨满性意味着有一
萨

ON SHAMANISM
满 the particular narratives of the
性 些禀赋走出来了。 shaman: the cultural description
of trance; the anthropological
我观察到一些森林中的真菌类植物， description of manifestation,
譬如湖南东洞庭湖山地槠树林中的一 looking into the air (wang qi) in the
种有麻醉功能的蘑菇“哈哈菌” ，福建

性
field of cultural forensic studies,
西部客家的红菇，神农架林区的“江边 and “searching the dragon” (zhua
一碗水”和“头顶一颗珠”，等等，它们 long wen xue) in geography
就拥有一种萨满性。我把有能力把自 studies. Shamanism implies a
己的特殊禀赋展现在另一些空间，与 condition in which certain natures
其它世界及生命形式交接，彼此给出 come out and reveal themselves.
陈述，或者说彼此地成为，涵括为有萨
满性。这种彼此地成为，激荡出体质中 I have found some fungal plants
潜存的特殊禀赋，构建为相互指认暨 in the forest, such as “Haha
相通、以及作为其陈述场景的能力，就 mushroom,” a type of mushroom
是萨满性。 with anesthetic function in the
Zhu woods by Hunan’s East
Dongting Lake, the red mushroom
of Hakka in western Fujian, “a
bowl of water by the river” (jiang
bian yi wan shui) and “a pearl

ON
on the head” (tou ding yi ke zhu)
in Shennongjia forest area. The
mushrooms possess a kind of
shamanic property. To me, the
ability to reveal a special gift in

SHAMANISM
some other space, to interact
with other worlds and life forms,
to present statements to other
forms, or to become other forms,
is a shamanic quality. The ability
to arouse special properties that
are latent in the body, and to build
them into vehicles for mutual
recognition and communication
and for interpreting scenes, is

毛晨雨 Mao Chenyu

shamanism.

108 LEAP S/S 2021 109 幽灵派对 GHOSTED

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BUT HERE 其次，萨满性一方面向边际敞开 其三，萨满性是一种不断地吸收

E
Secondly, shamanism is on the one Third, shamanism is a recurrence

萨满性做
着，另一方面注重于制度化的方 hand open to the margins, and on 着世界来改编部落式生命形式 that constantly absorbs the world

I WILL TRY 案。这是对部落式生命形式之叙 the other focused on institutionalized 的陈述空间的一种递归性。换言 to adapt the representational space

一个递进
事的肯定，这种叙事中的大量操 solutions. This is an affirmation of 之，萨满性被我现在的叙述刻度 of tribal forms of life. In other words,

TO MAKE A 作，主要着力于让萨满性进入制 the narrative of tribal forms of life, 限定（或者是走出）了边际，它要 shamanism is bound by (or out of)

式的陈述。
度化空间，以可预期的形式—— a narrative in which a great deal 成为一种新的、但是必须包裹着 my present narrative scale, and it

萨 MORE PRO- 或者说是预置了一种未来的样

式——排布部落空间的系列。如
of energy is focused on bringing
shamanism into the institutionalized
现实世界之实在的（reality）、共
渡到未来的那一能力。这时，未
becomes a new (but necessarily
wrapped in the reality of the world)

ON SHAMANISM
满
性 首先，萨满性是对界域、阀限的一 GRESSIVE 此，方案着手于应对成为这一世
界的一种动态平衡能力的构建，
space, lining up the series of tribal
spaces in a predictable form—or
来就如同一种递归性。我们要面
对共同的交集地带提方案，递归
ability to flow into the future. At
this point, the future is akin to
种主动交接。这意味着一些文化
的和部落的（宇宙样式上很难用 STATEMENT 同时预留了一些外部操作空间。
这让萨满性既是部落式生命形
rather prefiguring a future style. In this
way, the program proceeds to cope
为同一个走出情势，只为了能走
出一个共同的未来。
recursivity. We have to face common
intersections to propose solutions,
某一种文化来概述的）自我形式
的圈闭、边界设置和相应的外部 ABOUT SHA- 式的栖居内涵，又还存有弹性空
间去改编内容。如此，萨满性从
with the construction of a dynamic
equilibrium with a capacity for
recursive to the same exit situation,
just to be able to exit a common future.
性，可以被明晰地描述。身体既是
一种社会性的触媒之最大化、集
体主义和部落生命形式的统一，
MANISM. 它的部落式生命形式中走出来，
它也从图腾主义的人类学叙述
中走出来，成为它自己的边际叙
becoming, while allowing some space
for external manipulation. This allows
shamanism to be both the inhabitation
又是一种“自我”形式的堆集、拥 First of all, shamanism is the active 事。萨满性要有改编的能力，而 of tribal forms of life and something
堵（民主空间的拥堵）和外部性的 transgression of boundaries, of valves 这正是它本身所具有的特殊禀 with a flexibility to adapt content 傩师曾法清开天门仪式所用天梯，2007年­
不统一的张力。如此，边界的设置 and limits. This means that some 赋。如此，叙述中国到西伯利亚 to context. In this way, shamanism 图片由毛晨雨提供

是部落式生命的主动圈闭，是民 cultural and tribal forms (but also 到美洲大陆的萨满形式需要启 emerges from its tribal form, and The “stairway to heaven” used by the
主状况的不可协调和斗争场所， extant on a cosmic level that is difficult 用类比主义（analogism），将 from the anthropological narrative of shaman Zeng Faqing in the ritual of
opening the heavenly gate, 2007
是促使张力展现弹性的那种“内 to assign in terms of a particular 彼此成为这一方案共构成更大 totemism, to become its own marginal Image provided by Mao Chenyu

在”的敞开——换言之，圈闭是敞 culture) of self-circumscribed, 的 世 界 场 景 —— 共 同 世 界 的 提 narrative. That shamanism has the

开的另一种陈述形式。萨满性在 boundary-setting, and corresponding 法——来让萨满性成为新的更高 ability to adapt is a special endowment
这些明晰分界的边际线上，让一 externalities can be explicitly 的一种走出。 that it has in itself. Following from
些去成为更大的一些，让场景是 described. The body is at once a that, the shamanic forms that run
从此界走出来而成为包蕴着更大 product of social catalysts, of a unity of from China to Siberia to the American
生命空间的能力之给出。场景是 collectivist and tribal forms of life, and continent need to enable analogism,
被圈闭的部落式生命形式的世 of a tension between the accumulated to co-constitute each other into a
界，这个世界的萨满性是内蕴着 forms of “self.” In this sense it is a site larger world scenario—a reference
的必备之特殊禀赋和张力，意味 of congestion (which, as we shall see, to a common world—to make
着“世界”从来都不应是关闭的， mirrors the congestion of democratic shamanism a new and higher kind of
也意味着萨满性是这一世界如此 space) that organizes itself in the face emergence.
存在的一种前缀。 of the apparent disunity of what lies
outside it. In this way, the setting of
boundaries is the active enclosure
of tribal life, the irreconcilable and
struggling site of the democratic
condition, the “inner” opening that
transforms tension into a show of
resilience—in other words, enclosure
is another form of statement of
opening. The shamanic, in these
clearly demarcated margins, allows
one thing to become something larger,
to become more than it is. It speaks
of a capacity to abandon the self and
embrace a larger space of life. In this
sense the shamanic is a precondition
for the existence of the world.

110 LEAP S/S 2021 111 幽灵派对 GHOSTED


题
专
其四，走出意味着一个巨大的疑
Fourth, stepping out implies a huge
问，一个可能是共同的疑问。走 question, a question that may be
出是一种限定性的递归性，如同 common. Stepping out is limited
1492 年的哥伦布要让美洲走出 recursivity, just as Columbus in 1492
世界一样，我们要让今天走出，而 wanted to make America step out
今天正好是这个巨大的疑问的场 of the world, we want to make today
景。人类纪，人类的能力和外部性 step out, and today happens to be the
萨 既被放大又被缩减的新的纪元 scenario of this great question. The
满 之时代，人类作为一个物种展现 Anthropocene, a new epoch in which
性 出巨大的侵略性（拥有着的走出 human capabilities and externalities
动物和其它生命形式的技术）和 are both magnified and reduced, in
重置场景的操作能力，同时让这 which humans as a species show
种操作被递归到与它的极限关系 great aggressiveness (with the
紧密的未来方案中。人类的能力 technology to extract resources from
正在被一些限定性装置吸纳，而 animals and other life forms) and the
这些装置可能是让人类能力丧失 ability to operate to reset the scene,
的。人类的能力不是真正地全面 while allowing this operation to be
接管世界，我们要的世界不是物 recursive to future scenarios that are
理版图，而是向时间也就是向未 closely related to its limits. Human
来敞开的能力。 可是，人类纪刻度 capabilities are being absorbed by
中，部落式生命形式的未来是一 limiting devices that may be disabling
个疑问。 如此，萨满性是让我们人 to human capabilities. The human
类能敞开在未来的那些现实提案 capacity is not really a total takeover
的一种类比主义的递归性，萨满 of the world; we want a world that
性是算法的综合和算法伦理的重 is not a physical version, but a
置及再计算的可发生——虽然计 capacity that is open to time, that is,
算（如斯蒂格勒所言）榨取着我们 to the future. Yet, the future of tribal
的未来空间，但现在是不能关闭 life forms is in doubt in the human
计算模型，而是要主动去成为未 chronological scale. In this way,
来计算模型的基址，冀望于一种 shamanism is an analogist recursivity
苟延残喘的算出。 在人类纪，我们 that allows us humans to be open to
人类投入可编辑场景的开源性 those realities to come, shamanism
正在关闭。疑问发生在这种关闭 is the synthesis of algorithms
时刻。 and the reset and recomputable
occurrence of algorithmic ethics—
although computation (as the French
philosopher Bernard Stiegler has
suggested) squeezes our future
space, the present is not to close
the computational model, but to
actively be the base for future
computational models, in the hope of
a lingering computational output. In
the Anthropocene, the open-source
nature of our human input into the
editable scene is closing. Question
occurs at this moment of closure.
112
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其五，萨满性是让我们能重启这 如 此 种 种 之“递 归 性”地 叙 述，
E
Fifth, shamanism is the ability that Such “recursive” narratives are
种 被 关 闭 的 操 作 之 能 力，我 们 allows us to restart this closed 是为了提示那种未来的能力与 meant to suggest possible forms
需要这种萨满性来走出此世界 operation, and we need this 萨满性的基址之间可能的关系 of relationship between the future
去交接彼世界、联合构建共同世 shamanism to get out of this world 形式。今天的现实中，我们期待 capacity and the site of shamanism. In
界。萨满性是要让新的世界形式 to hand over to the other world, to 自己生命中可能潜存着的特殊 today’s reality, we expect the special
中的“我们”走出地球， “我们”要 co-construct the common world. The 能力被激发出来，这能力说出我 capacity that may be latent in our
走向宇宙——当然是以重回地球 shamanic nature is to get “us” out 们的生命故事，从前世到往生， lives to be activated, the capacity to
这星球的情势去制作走出。方案 of the earth in the new form of the 从 此 时 到 彼 时 。说 出 这 故 事 的 tell the story of our lives, from here
ON SHAMANISM
化的递归是走向宇宙，在宇宙的 world, “us” to go to the universe—of 形式，它的关怀之形式，可以称 to now. The form of telling this story,
可能平面上——如同 16 世纪初 course in the form of reentering 作人类纪的艺术。顺着这线索叙 the form of its care, can be called the
的大西洋波浪——编辑那些可以 the planet earth to make the way 述，萨满性是用艺术来感召和调 art of human discipline. Following
称得上是线索的当前之实在。最 out. The programmatic recursion is 用我们生命所在之场景，让我们 this narrative thread, shamanism is
近的激进叙事是，在未来的蜘蛛 toward the cosmos, on the plane of its 以这些途径去感受生命被排布 the art of evoking and invoking the
中，人类成为其一条腿都算一种 possibilities—like the Atlantic waves 在它的部落式生命形式中、待走 scenes of our lives, the ways in which
幸存（Haraway）。 of the early sixteenth century—to 出这一圈闭世界的可能形式。如 we can feel the possible forms of life
edit those current realities that can 同我祖父在 1975 年逝世之后还 that are arranged in its tribal forms
be called clues. The most recent 在给出的那种叙事，说出他尚栖 of life, waiting to emerge from this
radical narrative is that in the 居在时间之实在上（他的生命投 enclosed world. The narrative that
spiderweb of the future, a human 向未来的能力）、展演出这生命 my grandfather was still giving after
being is considered to have survived 故事的能力，成为一种我们可以 his death in 1975, the ability to tell the
by becoming one of its legs (Donna 共渡到未来的叙事样式之一种。 story of his life as he still inhabited the
Haraway). 神农架林区的“头顶一颗珠”说 reality of time (his ability to cast his
出地质岩层、三峡大坝、现代化 life into the future), and the ability to
操作、医学和治疗地形及文化经 perform this life story, becomes one of
验，以及它的土壤基质的微观世 the narrative styles that we can share
界之间，可以编辑的线索，它有 into the future. The “pearl on the head”
傩戏装脸­ 待于说出它的故事来。如此，以 of the Shennongjia forest area tells
毛晨雨， 《新乡土中国》
（静帧）
，­
2007-2021年 多样的萨满性，以拱翻土层的力 the story of the geological formations,
Facemask employed in exorcism ritual 的诸形式，以人类操作方案之外 the Three Gorges Dam, the modern
Film still from Mao Chenyu, Anti-Rural 的诸形式之敞开，以狂放的跳大 operations, the medical and
China, 2007-2021
神形式或仪式化的傩教经济形 therapeutic topography and cultural
式来彼此成为萨满。 experiences, and the editable clues
between the microcosm of its soil
matrix, which has yet to tell its story. In
this way, shamans become shamans
to each other with their diverse
shamanic nature, with the forms of
forces that arch over the soil, with the
forms of openness beyond the human
operation scheme, with the wild forms
of trance or with the ritualized forms of
exorcist economy.
TRANSLATED FROM CHINESE
BY ADRIAN DOO
LEAP S/S 2021 113 幽灵派对 GHOSTED
 一封给许哲瑜的信
案

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倒不是因为那些与你有关或不关你事的私密
艺

This is not necessarily because strangers are peering into stories

情节已经被旁人掌握，而是艺术家不在场的 that are often personal. Instead, I find it cruel that when you are
时候，身边熟悉你的人会善意地为观众提供 not around, people acquainted with you would voluntarily guide
导览，放大或补充某些最好不要错过的事实 viewers, thereby providing or magnifying specific details on the

A LETTER TO
细节。我们预先知道，
“麦克风试音”系列创作 depicted events. We know that “The Microphone Test” series
的名称来自黄国峻的黑色 Talk 集《麦克风试 is named after Huang Guo-Jun’s collection of essays of the same
音》，这位在序言中坦白自己无法开怀大笑的 name. The Taiwanese writer, who admitted in the prologue of
许 台湾作家，以讲冷笑话的方式表达日常的无 his book that he could no longer laugh, communicated everyday

HSU CHE-YU
HSU CHE-YU
哲 聊、荒诞、绝望。黄国峻在自杀前两个月写给 boredom, absurdity, and despair with dark humor. Two months
瑜 母亲的书信“报平安”，同样以讽刺的口吻交 before he took his life, Huang expressed the frailty and helplessness
代生而为人的脆弱与无奈，而他自杀时没有 of life with sarcasm in an epistolary essay to his mother. He left no
留下遗书。你的创作选取了文学作品的叙事 suicide note. Your video also adopts the narrative structure of a
结构，也像是为那个时代的文学家以及自己 literary work, as if it is a tribute to the writers of a bygone era and
的记忆送行。我们好像知道，在《麦克风试音： to your memories. We know more or less that for the video letter

缪子衿 Miao Zijin

亲爱的哲瑜， DEAR CHE-YU, 致信黄国峻》

（2015）这封录像信中，你邀请 Microphone Test: A Letter to Huang Guo-Jun (2015),

每次在展览现
自己的三位好友袁志杰、陈良慧、罗天妤回到 you invited your friends Yuan Zhi-Jie, Chen Liang-Hui, and
事件发生的地点，重演属于你们的私密记忆。
It often feels cruel to me Lo Tien-Yu to reenact your personal memories at their original

场观看你的影
实地拍摄的场景令我们相信，这栋百货大楼 locations. The onsite footage convinces us: this department store
真的是少年偷窃案的犯罪现场、那间绿驿汽
whenever I watch your videos was really the crime scene of the juvenile theft, and that motel

像总感觉有些
车旅馆一定见证过你们终将逝去的爱情…… really bore witness to your doomed young love. At the same time,
与此同时，线条白描的动画人物让他们的不
at exhibition sites. the stylized characters, animated with casual linework, render

残酷，
幸显得稀松平常，恋人的背叛、家庭的破裂、 their misfortune almost mundane. The betrayal of a lover, the
亲友的离世不过是任何人都有可能遭遇的变 disintegration of a family, or the passing of a friend are incidents

许哲瑜，《⻨克⻛试⾳：致信黄国峻》 ，­ Hsu Che-Yu, Microphone Test: A Letter to Huang Guo-Jun, 2015 许哲瑜，
《副本人》，2019年­ Hsu Che-Yu, Single Copy, 2019
2015年, 循环录像，25分钟18秒­ Video loop, 25 minutes 18 seconds 单频录像、玻璃纤维雕塑，21分钟17秒­ Video installation, glass fiber, 21 minutes 17 seconds
图片致谢台北市立美术馆 Courtesy Taipei Fine Arts Museum 图片致谢艺术家 Courtesy the artist

114 LEAP S/S 2021 115 幽灵派对 GHOSTED

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故。悲剧的男女主角随时可以被替换，轮番上 过脑膜炎的朋友可能将梦境误认为现实，因
艺

演着日常的平庸琐碎，也许这才是活着的窘困
吧。直到和你聊过天我才知道，其实你并不希
望观众把你的作品当作你的故事观赏，而在实
验通过真假交错的图像生产以及逼近生活的
文学方法探讨虚构的激进性。我试图保持一定
的心理距离重新观察影像中个人经验所折射
许 的社会问题，不可避免地再次被那些你不想用
that anyone might encounter. The protagonists of such tragedies
are interchangeable, taking turns to act out banal, everyday 此，你草拟的剧本中原以为确有其事的关于
heartbreaks—perhaps herein lies the feebleness of living. I learned 她父母关系的糟糕描述，逐渐衰退为虚构的
from our chat that you didn’t want viewers to consume your works 记忆。然而，在现实生活中，好莱坞大片为了
as your stories; instead, you endeavored to explore the radical 卖座所设计的虚构情节是炫技且类型化的，
power of fiction through experimenting with image production that 爱国主义科教片的煽动宣传几乎没有新的套
combines the real and fictitious, and a literary style that’s realistic 路，后真相政治所塑造的对立与仇恨不过采
and close to life. I tried to stay emotionally distant from your 用了低技术（low - tech）的虚构手段……好
for Microphone Test and Lacuna (2018), you were compelled to erase
precious materials because they involved memories of your friends’
and brother’s struggles. Perhaps, highly empathetic individuals
are not the ideal audience for your works, which you seek to
defamiliarize to achieve a distancing effect.

HSU CHE-YU
哲 于煽情的、细腻的叙事打动。我猜，即便是创作 works in order to contemplate the social issues behind personal 像很少有人像你这样迷恋那些“弄真成假”的
瑜 者本身也很难坚持选择冷眼旁观的视角，就好 experiences, only to be swayed again and again by the intricate 情况。
像你在一次对谈中表达过处理《麦克风试音》 narratives, which you did not intend to be sentimental. I guess that
（2015）、
《穿颅透写》
（2018）触及好友或哥 even the person who made the work cannot maintain the position
哥私人记忆的挣扎，全情投入拍摄的素材最 of the bystander. You once told me that during the post-production
终不得不被你亲手删除。或许，在你尽力陌生
化的影像面前，共情能力过强的人反而不是
最佳观众。

我们如何理解
陌生化图像产
生的虚构力量
呢？
《穿颅透写》
从你哥哥的家
庭记忆出发，
回溯了两则发生在他成长经历中的社会案
件。在这部影像作品中，你介绍了两种再现
过去事件的方法：一种是商业公司利用 3D
建模软件创作并即刻发布的新闻动画，另一
种是警探办案根据残破的线索绘制嫌疑犯或
被害者肖像的技术。你说过动新闻是自己创
作动画的启蒙老师，而我念大学时无意间在
YouTube浏览过许多香港与台湾版《苹果日
报》播报的动新闻。充满暴力与色情的严肃社
会新闻事件在 3D 动画特效的演绎下沦为通
过娱乐性博取眼球和点击率的工具，获得某
种快感的观众未必在意新闻的可信度或反思
事件背后涉及的社会结构问题。持续接受视
觉感官刺激的观众表现得像沉迷于网络游戏
或抖音短视频的用户，陷入观看的惯性自动
播放下一段耸动视听的新闻动画。如果说摄
影曾经是证明一件事情确实发生过的有力证
据，拍摄的动作在媒介化的信息社会更像是
融合真假素材的辅助功能。对于真相的公开、
景观化展示如同色情表演，不论是窥视自己
熟识的还是素不相识的人的隐私，都是虚构
许哲瑜，
《穿颅透写》 ，2018年­
入侵现实的时刻。关于《麦克风试音：致信黄 单频录像，40分钟31秒­
图片致谢艺术家­
国峻》，你撰写过一篇名为“三个创作的错误” ­
札记，解释拍摄取材三位友人私密记忆所发 Hsu Che-Yu, Lacuna, 2018
Video, 40 minutes 31seconds
生的轶事或者说神秘“错误”。其中一则是患 Courtesy the artist

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艺

How should we approach for documenting and verifying events, then, in the mediated

会意识到难以
给我的故事中，绿头鸭的死亡比实验兔的命 information society, the very act of filming has become a means
运更为离奇，大概是讲，曾经有一只鸭子撞死
the power of fiction that to conjoin the real with the unreal. When the disclosure of truth

抽离不完全是
在博物馆办公室，馆长查看状况时发现一只 has become a spectacle, it starts to resemble an erotic, voyeuristic
同性恋尸癖绿头鸭，便将后者做成标本，并获
defamiliarized images tease—the moment when someone peeps into private lives,

观众的问题和
得搞笑诺贝尔奖。我没有研究这则奇闻是否 whether their acquaintances’ or those of strangers, is when fiction
确有其事，只是看着《一只绿头鸭的不寻常死
generate? infiltrates reality. In the notes you wrote for Microphone Test: A

责任。
许 亡》中醉死在餐桌红酒杯里的苍蝇、被人用手 Letter to Huang Guo-Jun titled “Three Mistakes,” you recounted

HSU CHE-YU
哲 指捏住翅膀的蚊子、路边垂死挣扎的鸽子，同 the anecdotes, or rather the mysterious “mistakes,” that occurred
瑜 Lacuna revolves around your brother’s family memories and recalls 样感觉哭不出来、怪诞、又很好笑。那只看上 in your friends’ private memories. One of them involves a friend
two criminal cases that took place in the surrounding area. In 去不处于濒死状态而在随处游荡的绿头鸭， who suffered from meningitis mistaking her dreams for reality.
你在最近的个人项目“不寻常的某日”展出了 this videowork, you introduce two methods for visualizing past 被一部手持 3D 扫描仪跟拍，它的形象被塑 Therefore, the horrendous parental relationships that she described,
一组影像作品《编号314》
（2020）和《一只绿 events: firstly, news animations made with 3D-rendering software, 造并投放在不同的增强现实当中。这一虚拟 which you incorporated into the draft of your script, gradually
头鸭的不寻常死亡》
（2020），它们依旧以你 hastily pumped out by commercial news companies; secondly, 且生动的身体让我想到你的另一部影像作品 receded into the realm of fiction. However, looking in the real
《副本人》
（2019），你用 3D 扫描和传统翻模 world, Hollywood blockbuster plotlines are largely schematized
两种手法复制了台湾第一对连体婴兄弟张忠 and designed to flex special effects; nationalist educational videos
义的身体。当你作为拍摄者和张忠义以及他 reuse the same formulae of spurring propaganda; the antagonisms
的家人共同以 3D 身体档案的模式出现在数 that arise from post-truth politics employ rather low-tech/
字技术创建的观察环境中时，原本具名的、可 elementary methods of fiction-making. It seems that very few
触摸的身体转变为能够被销售的数据、被自 people are as invested in the active blurring between reality and
然历史博物馆展示的模型。 fiction as you are.
不论是被操控的实验兔，还是在 1979 年
被大众媒体直播连体分割手术的副本人，
Maybe the artist would also
都像极了疫情 recognize that the impossibility
之后，被当作生 of detachment is not just
物信息持续追 the viewer’s problem or
踪、检 测、监 控 responsibility.
的我们。 For your recent exhibition “An Unusual Day,” you showed two
video works, Rabbit 314 (2020) and The Unusual Death of a Mallard
当日常变得不再寻常，我们被迫要在充满无 (2020). Both works are anchored in your family memories, in
力感的生活碎片中不断辨识、寻找属于普通 particular memories of your grandmother, who once worked at an
“不寻常的某日”展览现场，Vanguard Gallery，
生命的尊严。当下公共健康的危机对社会现
View of “An Unusual Day,” Vanguard Gallery,
上海，2020年­ Shanghai, 2020 animal laboratory. However, unlike your prior works, these videos
图片致谢Vanguard Gallery Courtesy Vanguard Gallery 实的冲击，或许在不经意间为观看你的影像 do not rely on textual elements to construct complex narratives and
作品的观众渲染出非必要的代入感。我想，虚 instead entrust the burden of meditating on body and memories
构的力量类似于后真相时代的流行病毒，它 to different forms of image production and archiving technologies.
以不可见的方式入侵真实的生命经验。最后， The deceased lab animal, “rabbit 314”, is animated by a puppeteer,
的家庭记忆、特别是年轻时在动物实验室工 facial composite techniques that detectives deploy to actualize 请代我向你的长期合作伙伴陈琬尹问好。所 thereby presenting a posed body with nuanced identities: it was
作的奶奶为线索。与以往不同的是，这次你没 suspect or victim portraits from fragmented clues. You mentioned 有关于她的事，都是你告诉我的。一切刺探或 a subject of scientific studies, a specimen organized by biology’s
有借助太多文本建立相对复杂的叙事结构， that animated news played the role of a mentor for your animation 接近你们创作方法的尝试，可能都是徒劳的。 systems of categorization, and a pet that grandma snuck back
而是把对于身体和记忆的反思交给不同形式 works. I, too, watched many news animations from Apple Daily’s 我对于她的了解或许如同观众对于你作品中 home. Rabbit 314 choreographs the rabbit’s movement as if it was
的图像生产与存档技术表达。由操偶师控制 YouTube channel during my university years. Grim incidents of 事件或人物的感受，疏离的转述或再现让我 a staged funeral manipulated by the living. This is not unlike the
的死亡的实验兔“编号 314”代表着一个身份 violence and sex are rendered entertaining, sensationalist click- 们观看的对象能够被认出，看上去又是那么 museological display, which bestows significance or substitutive
判定复杂、姿势化的身体：它生前是科学研究 bait, by the 3D animations. Viewers who find them gratifying in 陌生。 lives upon its exhibits. The progress and operations of scientific
的对象、根据生物学知识体系分类的标本， one way or another aren’t necessarily concerned with the news’ knowledge more or less hinge on the suspension of ethics. The
也是记忆中被奶奶带回家任其自由活动的宠 credibility, let alone the issues of the societal structures that 祝好， story of the mallard’s death is even more bizarre than the rabbit’s
物。
《编号 314》为它编排了一套动作，似乎在 underlie these incidents. The viewers, continually bombarded by story. It goes like this: a duck crashed into the glass facade of
上演一场被活人利用的葬礼。博物馆里陈列 saturated stimulants, behave like video-game addicts or Tik Tok 缪子衿 a museum and died, and as the director went to check on the
的展品好像也是这样被人类赋予意义或是替 users. Carried away by a force of habit, they can’t stop clicking on situation, he caught a homosexual mallard committing necrophilia.
代性的生命，科学知识的进步与运作或多或 the next lurid news animation. If filming used to be an instrument He promptly made the latter into a biological specimen for which

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he received the Ig Nobel Prize. I’m unsure about the validity of the
story, but looking at the scenarios from The Unusual Death of a
Mallard—a drunk fly drowning in a wine glass, a mosquito seized
by a hand, a dying dove struggling near the road—I find them
tragic, ludicrous, yet comical. The wandering mallard, seemingly
far from its grave, is captured by a handheld 3D scanner, its image
reproduced and projected into augmented reality. This virtual yet
许 lively body reminds me of Single Copy (2019), another video work

HSU CHE-YU
哲 of yours. You used digital scans and fiberglass casts to remodel
瑜 the body of Taiwan’s first conjoined twin Chang Chung-I, whose
separation surgery was broadcast live in 1979. When Chang, his
family members, and you (as the photographer) assumed the forms
of archival 3D models and migrated into a digitally-constructed
environment, an alchemic process had taken place: you were no
longer tangible bodies with names, but you had become marketable
data or models to be exhibited in a natural-history museum.

In a sense, the manipulated lab

rabbit and the conjoined twins
are very much like ourselves—
bioinformatics to be constantly tracked, monitored, and surveilled
in a post-pandemic world. When the everyday is no longer
ordinary, when we are confronted with feelings of powerlessness,
we’re compelled to identify and search for dignity of bare life
among the rubble of living. Perhaps, the current public-health crisis
is inadvertently making viewers sympathetic toward the subjects in
your works. I contend that the power of fiction is not unlike a virus
in the post-truth era, permeating the fabric of lived experience
while remaining invisible.
Lastly, please say “Hi” to your long-time collaborator Chen
Wan-Yin for me. Everything I know about her, I heard from
you. Maybe, any attempt to forensically assimilate your creative
endeavors is futile. Maybe, my perception of Wan-Yin is similar
to your viewers’ perception of the events or characters depicted in
your works. Through detached storytelling and re-presentations,
the subjects become recognizable, but nonetheless unfamiliar.

Best wishes,

Miao Zijin

TRANSLATED FROM CHINESE BY KEVIN WU

许哲瑜，
《⼀只绿头鸭的不寻常死亡》 ，2020年­ Hsu Che-Yu, The Unusual Death of a Mallard, 2019
单频录像，16分钟45秒­ Video, 16 minutes 45 seconds
图片致谢艺术家及Vanguard Gallery Courtesy the artist and Vanguard Gallery

120 LEAP S/S 2021 121 幽灵派对 GHOSTED

 见鬼

FE
AT
题
专

UR
E
第一日

七日谈
没人料到是居委会主任发现了那只鬼。
好几天了，它就在那儿一动不动。事实
上，所有进出居委会的人都会绕开它，以
免踩到它；但鬼就是那样的东西，它总是
不以人们预想的方式和形态出现，比如
这一次，它明明就在你身边，你已经都看
见了它，但不知为何，你就是没有想到它
就是鬼——直到它消失的那天。
鬼消失在一个大晴天。居委会主任
是在一脚踏进前几天鬼占据的这块领
地时，突然意识到它的消失的：随着这
一顿悟而来的，是一系列事件——突然
摔倒、昏迷、尾椎骨骨裂、出院、与副主
任一起回到事发现场调查见鬼始末。
“这儿有个鬼啊！”副主任指着那块
地面凹陷说道。
“对，”主任回答， “后来它消失了。
副主任取代主任的第二个月，上海
” DAY ONE
迎来漫长的梅雨季。新主任这时候才意 No one would have imagined that the Residents’

btr 识到前主任并没有发疯：那儿的确会形
成 一 个 水 溏 。一 块 香 蕉 皮 掉 进 去 的 时
候，像鬼在笑。
Committee Chairman would be the one to discover the
ghost. It sat there for days, motionless, while everyone
from the Residents’ Committee gave it a wide berth,
careful not to step on it. But that’s what ghosts are like,
always materializing in unforeseeable ways and taking
on unpredictable forms. This one was no exception.
There it was, right beside you, clearly visible, but for
whatever reason you had no idea it was a ghost – until
the day it disappeared.

SEVEN DAYS
The ghost disappeared on a beautiful sunny day.
The Residents’ Committee Chairman was just about to
place his foot in the region once occupied by the ghost
when he noticed it was gone. The moment of revelation
was followed by a series of events – a sudden stumble,
a period of unconsciousness, a broken coccyx, a

OF GHOST
discharge from the hospital, and finally a return to
the scene of the crime with the Deputy Chairman to
investigate the matter of the ghost.
“The ghost was right here?!” the Deputy Chairman
said, pointing at a depression in the floor.
“Yes,” the Chairman replied. “Then it disappeared.”

SIGHTINGS
Two months after the Deputy Chairman took over
as Chairman, Shanghai entered its long rainy season. It
was only then that the new Chairman realized that his
predecessor had not gone mad. Sure enough, a pool of
water had formed in the same spot on the floor. When a
banana peel was dropped on its surface, it was as if the
ghost was smiling.

122 LEAP S/S 2021 123 幽灵派对 GHOSTED

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第二日
直 到 昨 晚，这 里 还 是 上 海 最 明 亮 的 街
角。快销品牌旗舰店门口，巨大的显示
见 屏像浴霸一样投射出武器般的光芒，将
鬼 夜晚的这块区域劫持为明晃晃的店堂
七 租界。
日 然而今天，朝南的那块显示屏决定
谈 用一首小诗来抵抗消费主义导向的论
述。比十四行诗长得多，就当它是五十
六行诗吧，彩色的点状显示灯是单词，
作为尚未破解或无需破解的摩尔斯情
绪电码，谱写出没有灵魂的广告屏在失
灵状态下的灵光一现。
“ 见 鬼 ！”技 术 人 员 重 启 了 两 次 屏
幕还是老样子。要是他们更敏感一些，
要是他们懂得观察一次失灵与另一次
失灵之间的细微差异，他们本有可能发
现，每次重启后的那首诗其实变了——
长短和节奏没变，但每个单词，也就是
点状的颜色，每一次重启时都会改变，
就好像那失灵是一种格律，而机器已经
学会了用那种格律写出崭新的诗。 DAY TWO
Until yesterday evening, this was the brightest street
corner in Shanghai. By the entrances of all the branded
fast-moving consumer-goods stores were huge
screens submitting passersby to an onslaught of light,
commandeering this part of the city and transforming
it by night into a protectorate of the luminous nation of
commerce.
But today the screen that faced south had decided
to display a poem in protest against consumerism.
It was much longer than a sonnet, some 50 or 60
lines in total, in which each word was one of many
colored diodes that combined to express a codified
digital sentiment that was yet to be deciphered—and
perhaps had no need to be: a flash of life from a lifeless
advertising board in its dying moments.
“What sorcery is this?” the technician said as he
restarted the screen for the second time, only to get
the same result. Actually, if they’d been paying closer
attention, if they had thought to look at the subtle
differences on the screen each time they turned it
on again, they might have noticed that the poem was
changing slightly. The length and rhythm of each
line were the same, but every word, which is to say
the color of every pixel, was different. It was as if the
screen’s dysfunction came with formal constraints,
which the machine had learned and was exploiting to
全文图片皆由btr于2021年拍摄于上海街头
compose brand-new poetry.
All photos taken by btr on the streets of
Shanghai in 2021

124 LEAP S/S 2021


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专
第三日
马生坚信人不会在一天里两次遇见鬼。
况 且 这 是 个 大 晴 天，碧 空 如 洗，樱
见 花盛开，只是车里的播客节目在讲一个
鬼 鬼故事。讲故事的人操着一口粤语口音
七 浓重的普通话，几乎每个词的发音都有
日
谈
偏差，但若考虑整个故事的语境，这些
发音偏差又都是听众可以顺利矫正的：
“奏”是“就”， “长臂”奏是“墙壁”……
而正是这些额外的矫正工作像麻醉药
一样令马生放松了警惕，以至于当主播
讲到倒车警报仪加速响起而后视镜里
明明空无一物时，那种惊悚的感觉反而
加剧了。
在 这 一 时 刻，马 生 的 车 右 转 拐 入
一 条 林 荫 道 。他 发 现 了 一 桩 奇 异 的
事：Google 地图上，此刻这条路显示为
红色，即严重拥堵，然而他眼前的现实
世界却是一条几乎没有人也没有车的
康庄大道。被刚才的鬼故事吓到的马生
放慢了车速，诚惶诚恐地继续往前开了
几十米，Google 地图仍是红的。他又学
着前一个鬼故事里的主人公那般念了
好几遍阿弥陀佛，Google 地图仍是红
的。于是他的脸也涨红了。带着“如果真
的有鬼，我也不能就这么撞他们啊”的
朴素想法，他决定暂且把车停在路边，
抽一根烟，平复一下心情。一个路人经
过——看起来像个德国人——拖着一个
硕大的旅行箱。 “ 今儿个人真少呀”，马
生不知为何试图用京腔和眼前的德国
人搭话。而德国人竟也真的会说一口中
文，只是他的话语令马生顿时跌坐在引
擎盖上。
他说，“可马路太堵了。”
马生没有看到一个月后关于德国艺
术家 Simon Weckert 的报道，他至今
都不知道那个旅行箱里装的是满满一
箱开着 Google 地图导航模式的智能手
机。
126
第四日
DAY THREE 想必那位房产中介是恨她的。也可能，那
只是房东与房产中介串通好的恶作剧。
Ma Sheng was convinced that you could not see a 谁知道呢？！反正故事是那样发生的，她
ghost twice in one day. 如今想起仍然有点后怕。
Moreover, it was a beautiful sunny day, with an 人不都是这样的吗？她会为自己辩
immaculate blue sky and the cherry blossoms in bloom;
but on the podcast he was listening to as he drove his
car someone was telling a ghost story. The storyteller
护，租房子嘛，总归想又要地段好，又要
价格便宜，又要房型正，又要家具齐，又
要设计感，又要离公司近，又要街区生活
spoke Mandarin in a strong Cantonese accent, and 便利……然而事实是每套房子都有一
almost every word was pronounced incorrectly. But in 个或好几个“但是”，以至于现在复盘回
the broader context of the story it wasn’t difficult for 想起来，那位房产中介一定是到最后失
Ma Sheng to make the necessary adjustments to the 去了耐心。
pronunciation in his head: “whizz” was supposed to be 去看“所有条件都符合”的那套房子
“was” and “will” whizz really “wall”… The subtle mental 时，是个大晴天。助动车载着她开进那条
work of this series of unconscious aural revisions had 绝对市中心的弄堂、停在一栋三层别墅
an anaesthetizing effect on Ma Sheng, lulling him into 前时，刚好正午。 “ 整栋哦，月租只要两
a state of pleasant calm, which meant that when in the 千。”现在回想起来，她觉得中介的这句
story the protagonist’s reverse-parking sensor started 话说得充满挑衅意味。
beeping despite there being nothing in the rearview 开门的是个老爷爷，卷曲的白胡须
mirror, it shocked Ma Sheng more than it would have 像素描线条那样勾勒出颇有福相的脸，
done otherwise. 连眉毛都是卷的。中介说他就是房东。
It was at this moment that Ma Sheng turned his car “ 小 妹 妹 啊，”爷 爷 带 她 逛 完 整 栋 楼 后
down a shaded, tree-lined road and noticed something 说，“所以你真的要租这里？” “ 真的两千
strange. The street on Google Maps was marked red, 块一个月？”她的语气是不敢置信有这般
meaning it was very congested, but in the real world 好事。 “当然，这还有假？不过……”爷爷
the expansive road before him was almost deserted. 似乎有话要说。 “ 不过啥？”她追问。 “不
There was not a car in sight. Ma Sheng, who was still 过……坦白说吧，这里闹鬼。”爷爷平静
frightened by the story he had just heard, lowered 地说，眼神却直直盯向这位潜在的租客。
his speed and, with trepidation, inched forward for a “不会吧，哪里有鬼？”她几乎本能地
few dozen meters or so. But the street was still red on 反驳道。
Google Maps. Just like the ghost story’s protagonist, “就 是 你 。”—— 这 是 她 晕 倒 前 听 到
Ma Sheng began muttering, “Please God, please God,” 的最后三个字。
but the street on Google Maps remained red. He felt his
face turn the color of the street on his phone. “If there
really are ghosts here, the last thing I want to do is hit
one of them,” he thought innocently to himself, and so
he decided to pull up at the side of the road and have a
cigarette to calm his nerves. A man who looked like he
might be German walked past dragging a huge suitcase
behind him. “Sure is quiet today,” Ma Sheng said,
not knowing why he suddenly started talking to this
German in a Beijing accent. It turned out the German
could speak Chinese, but what he said caused Ma
Sheng to lean back on the bonnet of his car for support:
“The traffic’s terrible though.”
Ma Sheng didn’t see the article that came out a
month later on the work of German artist Simon Weckert.
He never found out that the artist’s suitcase was filled
with smartphones, all connected to Google Maps.
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SEVEN DAYS OF GHOST SIGHTINGS
DAY FOUR
The real-estate agent must have hated her. Or maybe
it’s some weird prank the estate agent and landlord
liked to play? Who knows. Either way, this is the story of
what happened. To this day it chills her to think about it.
Wouldn’t everyone have done the same in her
position? In her defense, that’s what finding a place
to rent’s all about. At the end of the day you want a
good area, a cheap price, a decent flat, with a full set of
furniture, not too ugly, that’s near where you work, on
a street with good amenities… But each place she saw
came with a bunch of “buts”. In hindsight, she thought,
the estate agent must have eventually lost patience
with her.
When they went to see the house that was “certain
to satisfy all of your requirements,” it was a beautiful
sunny day. She sat on the back of the real-estate
agent’s electric scooter as it entered the street, which
was right in the city center, and pulled up at the side
of a three-story detached house at around noon. “The
whole building for only 2,000 a month.” Later, when she
recalled the estate agent’s words, it occurred to her
that there was something provocative about the way he
said it.
An old man opened the door. His white curly beard
resembled the lines of a sketch drawing enclosing a
broad face that bore few traces of hardship. Even his
eyebrows were curly. The estate agent told her that
this man was the landlord. “So then,” the old man said
after he had shown her around the house, “do you think
you’d like to live here?” “Is it really only 2,000 a month?”
she asked hesitantly, not quite believing her good
fortune. “Of course. Why would I lie to you? It’s just…”
The old man paused, as if there was something he had
yet to tell her. “It’s just what?” she asked. “It’s just…
I’ll be honest with you. There’s a ghost in this house,”
the old man said calmly, his eyes fixed intently on his
potential tenant.
“No way! What ghost?” she answered almost
instinctively.
“You.” This was the last word she heard before
she fainted.
幽灵派对 GHOSTED
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第五日
《晴天有时见鬼》开头引用了梁文道论
鬼的名言，“人们其实并不是怕鬼，而是

SEVEN DAYS OF GHOST SIGHTINGS

怕黑。”悖论般的，这本摄影集里的所有
照片都摄于晴天——“有必要从隐喻的
角度理解黑”，摄影师在后记里如是说。
不过是一些寻常事物：梧桐树干的
一块凸起，晾在助动车把手上的橡胶手
套，晾衣绳上的一件冲锋衣或工地围栏
上一些似有若无的恍惚光影……但真
的会在心底激起类似恐惧的情绪。可以
用“恐怖谷”理论解释吗？又或者，这些
图像就像镜子一样诱出藏匿于我们心
底的黑？

DAY FIVE
“Sometimes Ghosts Appear on Sunny Days” opens
with a quote from the critic Leung Man-tao: “It’s not
ghosts people are afraid of, but the dark.” Despite this,
all the pictures in the photography book are taken on
sunny days. “We must learn to understand the dark
from a metaphorical perspective,” the photographer
writes in the afterword.
A series of utterly ordinary things – a bulge on the
trunk of a wutong tree, rubber gloves hanging from the
handlebar of an electric scooter, a waterproof jacket on
a washing line, some ethereal glimmers on the fencing
around a construction site—that nonetheless inspire
a certain uncanny feeling inside us. Does the concept
of the “uncanny valley” explain this reaction? Or is it
that these images act like a mirror, drawing out the
darkness hidden within us?

129 幽灵派对 GHOSTED


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第六日
见
“请注意，您已经疲劳驾驶；请注意，您
已经疲劳驾驶……”不知是口罩的遮掩
还是晴天温暖的阳光令乘客们减少了
鬼 交谈的欲望，整部公交车的车厢异常安
七 静，于是这凭空袭来的机器提示音——
日 每隔几秒就近乎偏执地重复一遍，语气
谈 仍和第一遍说出时一样客观、冷静，带
着就事论事的意味——成为悬置在空气
中的粗体字，传递出某人需要做出某种
行动使之消失的迫切感。
虽然那个声音使用的是第二人称单
数“您”、而非“他已经疲劳驾驶”，乘客
们还是纷纷将目光聚集到司机的方向：
一个微微秃顶的中年男人，目光注视着
前方道路，没有任何异样，没有任何其
他人类得以判断出其“疲劳”的动作或
特征，哪怕指控他“倦怠”都显得缺乏确
凿证据……然而，这提示音还是不屈不
挠，就好像它掌握了什么我们没有掌握
的讯息，才可以如此坦然地假借提醒之
名，向乘客发出预警。又或者这个声音
是对打工人的深切体恤？毕竟人是有可
能在不知道自己疲劳的时候已经疲劳
了的。
相 比 司 机 的 冷 漠 —— 或 冷 静 —— 一
位准备下车的老阿姨率先做出反应， “我
倒是听得吃力煞了！”她的话似乎是说给
司机听的，但直到车门打开、阿姨几乎忿
忿不平地下车，司机仍没有做出阿姨期
待的、给予同一立场者的回应——比如
一个共谋的微笑——相反，他还是如常
冷漠或冷静着，就好像已经接受了“请注
意，您已经疲劳驾驶”的指控或提醒，或
已经消化了这种指控或提醒之中的荒诞
性、以至于根本不屑作出反应。
毕竟路还要继续。
132
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第七日
DAY SIX
— 这批小说写得比去年好哎！你还是
从淘宝买的？
— 对！但……
DAY SEVEN
SEVEN DAYS OF GHOST SIGHTINGS
— 但个啥哟？鬼才信你会自己写。 — These stories are even better than last year’s! Are
“Warning: you are entering a state of sleep-deprived — 但这次真的不是 gh o s t w r i te
（代 you still buying them off the internet?
driving. Warning, you are entering a state of sleep- 笔）的，而是一个AW！ — Yes! But…
deprived driving…” Whether it was the effect of the — 神马大步遛？ — But what? You’d have to be possessed to think you
masks covering our faces or the warmth of the light on — AW：Artificial Writer，虚拟作家， could’ve written them yourself.
that sunny day, none of the passengers felt much like 经过了几万小时机器学习的好吗？！ — But it’s not a ghostwriter this time. It’s AW!
talking and the bus was peculiarly quiet, which meant — 听起来很高级，给他们学些啥呢？学 — A double what now?
that the sudden arrival of this automated interjection— 《聊 斋》、 《弗 兰 肯 斯 坦》、特 朗 普 传 — AW, Artificial Writer. A computer program. A
tirelessly repeating every few seconds in the same 记还是陆平原？ machine-learning algorithm that has studied writing
neutral and impassive tone of voice as it made its — 这好像是商业机密，但结果你看，写 for tens of thousands of hours!
objective assessment—hovered in the air in bold 得很不错呢。 — Sounds high-tech. What did it learn from? “Strange
typeface and with a sense of urgency, implying that — 这倒是……不过你小心哦，听说有 Tales from a Chinese Studio”? “Frankenstein”? The
someone somewhere ought to be doing something. 些AI 就像自动售货机里的爷爷！ Trump autobiography? Lu Pingyuan?
Although the statement was directed at the — 什么爷爷？ — I think that’s a company secret. But look at the
second-person singular—as opposed to declaring, — 就是你以为那是个自动售货机，其 results! They’re pretty good!
“He is entering a state of sleep-deprived driving”—all 实里面坐着一个爷爷，你把纸币递 — You’re not wrong there. But you should be careful. I
the passengers turned to look at the driver, a slightly 进去，爷爷拿给你一罐可乐。看上去 heard AI can be like the old vending-machine man.
balding middle-aged man whose gaze remained fixed 很高级，其实都是爷爷在干活！ — Come again?
on the road ahead of him as if nothing had changed, — 坐在里面他不闷吗？ — It looks like an ordinary vending machine, but
exhibiting no sign of someone who might be deemed — 好 啦，只 是 一 个 比 喻 。这 个 A W 贵 there’s an old man inside who takes your money
“sleep-deprived,” against whom even an accusation 不贵？ and hands out a can of coke. Everyone thinks it’s
of inattentiveness would have seemed unwarranted. — 还行，这次还打了折，因为我识别出 high-tech but really there’s an old man working
However, the voice continued its pronouncement 了其中一篇所模仿的源文本，就是 away inside!
unperturbed, as though it possessed information of 第 四 天 那 篇，其 实 是 照 恩 里 克 · 比 — Does he not suffocate in there?
which we had no knowledge and that granted it the 拉-马塔斯的《因为她没有要求》里 — It’s a metaphor! Is it expensive, this AW?
authority to pass such resolute judgments and to 的一个段落改写的。正好是 315，我 — It’s alright. I got a discount because I saw what one
warn passengers of the situation. Or perhaps it was an 就去找客服了，AW 明明允诺是“消 chapter was based on. The “Day Four” one. It was
expression of sympathy with workers? 化之后再创作”，不能照搬的。结果 adapted from a passage in Enrique Vila-Matas’s
In striking contrast to the driver’s indifference—or 那篇就算送的了，打了个八三折。 “Because She Didn’t Ask”. It was World Consumer
was it composure?—an old woman who was getting — “消化”……这个词用得诡异，就好 Rights Day, so I called up customer services. The
ready to get off the bus decided to take the initiative 像AW 也会吃金针菇一样。 AW promise is that the algorithm must “digest then
and say something: “Dunno about you, but that noise — 总之稿子写好啦，你就不要疑神疑 create.” It can’t just modify an already existing work.
is driving me up the wall!” She seemed to be directing 鬼了。我自己写，不也一样是“鬼使 So they gave me that chapter for free. Came to 17
her words to the driver but by the time the bus doors 神差”般的吗？创作嘛，就是这样咯， percent off.
had opened and she had made her way indignantly 如果一切逻辑、步骤和程序全透明 — “Digest”… There’s something spooky about that
off the bus the driver had not provided her with what 的话，那还有什么意思呢？ word, like the AW’s eating enoki mushrooms or
she wanted—a response that signified a shared — 说 得 好 ！说 得 对 ！真 是 个 机 灵 的 something.
understanding, a conspiratorial smile perhaps—and 小鬼！ — Well anyway, it’s done! There’s no point hunting for
instead had continued in his state of indifference or bogeymen now. Even if I’d written it myself it would
composure as though he had accepted the accusation be like it magically appeared. That’s how art works!
or assessment that he was “entering a state of sleep- It’d be boring if you knew all the processes going on
deprived driving.” Or perhaps he had come to terms behind the scenes.
with the absurdity of the accusation or assessment — Well said! You’re right! It’s a clever little devil!
such that he saw no need to rise to the occasion of
formulating a response. TRANSLATED FROM CHINESE BY STEPHEN NASHEF
After all, the bus had to go on.
LEAP S/S 2021 133 幽灵派对 GHOSTED
 AI 成

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肖嘉谈

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驯 为
Xiao Jiatan

养 幽
记 灵
BECOMING
GHOSTS: HOW TO
TAME AN AI
134 LEAP S/S 2021 135 幽灵派对 GHOSTED
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“加入革新的队伍，
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fit your usual robot
stereotype, looking
成为塑造未来的一分子。
” friendly, naive,
playful, clever, and
“改变未来，同时获得报酬” childish. It was not the helpful Unlike Amazon’s
if a bit aloof personal assistant MTurk or the
“加入我们，为更智能的人工智能世界作出贡献”“ Siri, nor was it an omnipotent personal-
成 supercomputer. It most certainly was development-

BECOMING GHOSTS
为 Join the evolution, Be part of a community that is shaping the future.” not a robotic arm that is rumored to focused Geniuslead,
幽 be coming after your job. He seemed the Neevo user enjoys a great
灵 “Get paid to shape the future.” In spring 2020, amid more like a buddy, a friend you could degree of freedom. In other
an Instagram feed full interact with. The anthropomorphic words, truly casual employment:
“Join me and contribute to a smarter AI world.” of kittens, selfies, and design was consistent with the the website does not dictate
hashtags about social platform’s self-positioning as invested daily working hours, nor does it
distancing, I came upon in stimulating interest and passion in demand that the user finish any
—Neevo the above advertisement. people, because artificial intelligence, projects. Once you’ve registered an
It wasn’t the first “like humans,” was something that account and specified your working
time that Instagram required training and learning. language, the user dashboard is
has recommended completely blank. The work only
“revolutionary” online This seemed to mark another level begins after an invitation code is
job-seeking platforms, UI/UX design of relationship between humans and received in the system mailbox.
courses, and online masters degree artificial intelligence, one built upon
programs to me. Despite knowing mutual observation, understanding, Maybe because I am not a
2020 年春天，在充 助手 Siri，也不是 that one of the great wisdoms of and support. As mentors for AIs native English speaker, the first
斥着猫咪、自拍和居家 某个全知全能的 adult life is to practice extra caution trying to “become human,” humans job I was assigned consisted
隔离标签的Instagram 上，我看到了 超级计算机，更不像传说中会抢走你工作 when clicking onto pushed content have also been slowly bettering their of transcribing English spoken
上面的广告。此外，Instagram 也在不遗 的机械臂——他看起来更像是可以互动的 不 同 于 亚 马 逊 旗 下 平 台 in social media, quarantine makes understanding of AI’s own logic, as in an Australian accent. After
余力地为我推荐“具有革新性质的”线上 伙伴或朋友。这种拟人的设计意义与平台 MTurk 或注重用户个人发展的 you wonder whether, in the face of seen in the increasing number of passing a preliminary accuracy
招聘平台、UI/UX 设计课程，以及线上硕 定位一脉相承，意在引发人们的兴趣和共 Geniuslead,用户在Neevo平台 real crises, such wisdom actually “artificial unintelligence” memes in test, I began listening to courteous
士学位。纵然当代成年人的生活智慧之一 情，因为它“与人相似”，都是一个需要训 上有极大的自由度，或者说，做的 holds any value. I clicked the ad. recent years. customer service conversations
就是不去随便点开社交媒体的推送，但或 练和学习的存在。 是真正意义上的“零工”：网站既 of varying lengths. For a correct
许是隔离时期令人怀疑所谓生活智慧 不限定用户每日工作的时 I admit I was also taken It wasn’t hard to “help shape the transcription I would be paid ten
在真正的危机面前没什么价值，我还 这似乎标志着人类与人工智能建立在相 间，也不会要求用户必须 by the words “Artificial future.” Registering required the cents. If I aimed for New York City’s
是点开了这则广告。 互的观察、了解、支持之上的另一层关系。 完成某个项目。注册账号 Intelligence” and “get paid.” following: that you be human; that you minimum wage standards—$15/
作为人工智能的“成为人类”导师，人类在 并标明使用的语言之后， After the devastation and have time; that you have an account hour—I would need to transcribe 150
另一个原因是，我承认自己被“人 引导机器学习的同时，也愈发入微地理解 用户的工作面板是完全 disillusionments brought for receiving payment. In order to conversations including all formatting
工智能”
“ 获得报酬”这两个词吸引 人工智能的逻辑——就像近几年流行的­ 空白的。直到通过系统邮 forth by COVID-19, the idea better illuminate the importance of and the indicating of breaks,
了。新冠疫情已经带来了足够多的无助 “人工智障”笑话揭示的一样。 箱收到项目邀请码，工作 that the unemployed could “being human,” the website also listed noises, and laughter throughout the
和幻灭感，假如待业在家的非技术人员 才会正式开始。 actually participate in AI- its working principle: when an artificial conversations. Per hour.
真的可以参与到人工智能相关的工作 成为“塑造未来的一分子”并没有多困难。 related work from home felt intelligence learns certain skills, it
中，岂不和被科幻作家浪漫化的未来拉 注册用户需要满足下面的条件：第一，你 也许因为我是非英文母语 like one step closer to a sci-fi requires massive data input from In the two months that followed, this
近了距离？乐观地想，也许未来只是在 需要是人类；第二，你需要有时间；第三， 使用者，我在等待许久之后接到的 future. Optimistically thinking, humans in order to analyze an answer project remained on my dashboard,
我不专精的领域里率先降临罢了。 你有一个自己的支付账号。为了进一步解 第一个工作是转录澳洲口音的英语。 it might have been a sign that that matches human expectation. patiently awaiting an unemployed me
释清楚“人类”这一要素的重要性，网站上 通过正式工作之前的正确率测试之后，我 the future had already arrived From image recognition, to language to wrestle with fuzzy audio for hours
Neevo 网站广告里湖绿色的机器人 同时列出了工作原理：在人工智能学习某 开始听到客户服务人员充斥着商业客套、 and was just in a field in expressions, to transcription, every at a time before closing the dashboard
对我露出微笑 。他仍然符合最常见 些技能时，需要人类提供大量数据，进而 长度不定的对话。正确转录对话可以得到 which I personally did not user is a grain of sand contributing in exhaustion. All this to maintain the
的机器人形 分析出符合人类预期的答案。从到图像识 0 . 1美元。如果我想要得到纽约最低工资 specialize. to AI’s exhaustive knowledge of the false appearance that I had work to do.
象 ，看 起 来 别，到语言表达和转录，每个用户都是为 标准的时薪——即每小时 15 美元的话，意 world. AI learns to find patterns in However, unlike work I had performed
友好、天真、 人工智能穷举万事万物的一粒沙，人工智 味着我每个小时需要转录150 段 The teal-colored robot random events, understand human while employed in the arts,
活泼、机敏、 能因而在随机事件中找到规律，理解人类 有着严格格式限制的对话，还要 on the Neevo website behavior, and work like a human being. this at least was paid.
孩 子 气 。他 的行为模式，学会如何像人一样工作。如 在对话中标出中断、噪音、笑声。 smiled at me. He still If the human’s work is effective, they
不是能干却 果人类做的工作是有效的，那么就会从平 would receive compensation
疏离的语音 台得到报酬。 from the platform.

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在接下来的两 But compared to
个月里，这个项目 transcribing, this task was more
一直停留在我的工 interesting, had more to do with
作 面 板，等 待 着 待 业 artificial intelligence, and allowed
在家的我机械地在含 for more subjective input. I was to
混不清的语音中挣 assess how similar a machine’s
成 扎 数 个 小 时，再 将 text-to-speech voice was to a

BECOMING GHOSTS
为 工作面板疲惫不 human being’s, give it a rating,
幽 堪 地 关 上，自 欺 and type out my reason for the
灵 欺人地维持着自 evaluation in the comment box.
己有工作可做的假
象——不过至少这份工作和我之前的 Compensation would only be The voice samples came in all on the one hand, guides
艺术工作不同，是有偿的。 received after all tasks were contents and formats. In addition to its users to focus on the
completed. I waited several daily conversations, reminders, news, work at hand on their virtual
只有任务完全结束之后才能得到报酬。我大概等了数个星 weeks before receiving roughly municipal reports, physics textbooks, assembly line, and on the
期，才得到了大约65 %的报酬——剩下的35 %，大概是我的 65 percent of what I had and driving directions, there were also other shuts down all social
转录出现了错误，可能是格式错误、标点错误、口音判定错 expected. The remaining 35 snippets from online forums, some of interaction, communication,
误，或者干脆实在听不清楚，总之没有人告诉我哪里出了问题—— percent was presumably withheld them rife with obnoxious or degrading and chance events outside of the
判断工作质量是否符合要求是平台的另一种任务，每个0.03美元。 due to mistakes in transcription, content. One time, the computer said blank space?
maybe mistaken formatting, in a perfectly enunciated female voice,
另一份中文工作则抢手得多，虽然单价也是0.03美元，但不到两天就 punctuation, accents. Whatever “I met a couple of young virgins (girls) I eventually decided to write my
被抢注一空。这份工作使我看到，妄图通过做数字化零工补贴生 the reasons, I was never informed on Facebook… one of them was only complaint in both Chinese and
活非常天真。即使使用母语工作，我大概也只能每个小时完成 50 (evaluating whether another seventeen years old.” For a second English, hoping to get the answer
个任务；就算这份工作一直存在，我能赚下来的堪堪不过一份咖 human’s work had fulfilled the I did not know how to react—the to just one question: do (you)
啡钱。 criteria was another type of task computer was so innocent, it had no care? In a job that provided zero social
on the platform, for three cents way of understanding the contempt security—no days off, no healthcare,
但相比于转录文字，这份工作更有趣，能够给我更多接触人工 per piece). and boast in the original text. It still no personal development—and
智能的机会，也更加具有主管色彩。我需要判断机器语音朗读 enunciated every word, with perfect was performed under randomly
在多大程度上与人类相似，给出等级评定，并可以在评价框中 Another offering on the platform, fluency and pronunciation. generated IDs, would the opinions,
输入判断的原因。 in Chinese, was a lot more demands, questions, or complaints
sought-after: despite Though now an angry user, I could not of workers matter at all?
语音样例的内容千奇百怪，除了日常对话、 备忘录、 新闻、 the meager unit find a “report” button. The only thing to
市政报告、物理教材以及道路导航之外，还有一些摘 payment of do was to write in the quality comment I did not expect a response to
取自网络论坛——其中甚至不乏自我吹捧和贬低 $0.03, it box that, although there was nothing my feedback, but reality had an
他人的内容。有一次，机器用字正腔圆的女声说： ­ had enough wrong with the voice in this clip, the even darker sense of humor than I
“我在Facebook 上认识了几个低龄处（女）…… takers to be text contained harmful content, which imagined. The task was put on hold
一个只有十七岁”。我一时不知如何反应——机器 completed in hopefully (you) would get better at the next day, before reappearing on
完全是无辜的，根本理解不了原句的轻蔑和炫耀。 two days. It made examining in the future. my dashboard with the requirement
它的发音仍然准确，语句流畅，吐字清晰。 me realize just how that I examine the text for content
naive I had been to But at whom was I shouting? Who before rating the voice, and only
作为一名愤怒的用户，我甚至找不到举报按 expect a digital side- was the “you” who’s forever in select appropriate texts for
钮。我只能在语音质量评价框里写，虽然这 hustle to subsidize the parentheses? Was it human or rating. However, seeing as
句话读音没有问题，但其包含不尊重的内 cost of living. Even working machine, male or female? Did it how only very few tasks
容，希望（你们）可以加强对内容的审核。 in my native language, I speak Chinese or English? In what contained problematic content,
could only manage around 50 surroundings will “you” read my this change meant in effect
可我究竟在对谁隔空喊话？永远隐藏在括号里 tasks per hour. Even if the job message, in a tech company or that the labor of each worker
的“你们”是谁？是人还是机器，是男性还是女 continued, my hourly earnings laboratory? How will you process now contained an additional
性，说汉语还是英文？你们会在什么样的环境下 would barely cover the cost of a cup all this data and what results have click, no raise in unit price for
看到这些，科技公司还是实验室？你们将会怎样 of coffee. you had? Or is it that the minimal work performed. As it turns
处理这些数据，得到哪些成果？还是说，科技公 web design favored by tech out, “they” did hear me, and
司偏爱的极简网页设计 companies is itself a metaphor for the
是一个信息不透明的 nontransparency of information that,

138 LEAP S/S 2021 139 幽灵派对 GHOSTED


题
专
隐 喻 ， 了更大范围
一边引
导流水
线上的用户专注
于眼前的工作，一
边把沟通、社交、随机事
件排除在留白之外？
成 一步一步地将临时工
为 我最终决定把投诉意见写成
幽 中英双语，只希望得到一个问
灵 题的答案：你们会在意吗？就
算这份工作同样不可能保障用
户——也即做工者的休假、医疗和个
人发展，那么用户的想法、诉求、疑问、
抱怨是否仍然重要，即使它只是一个随机
生成的ID ？
我以为我的反馈也会不了了之，然而现实比我
想象得更加黑色幽默。第二天，这个任务终止了一
段时间，随后又出现在我的面板上。而这一次我必
须先审核文段的内容，只有通过审核的文段才可
以打分；而只有极个别的内容存在问题——在
任务单价并无变化的前提下，每个用户的工
作量却因此增加了一个点击的动作。“他们”
的确听到了用户的声音，也认可加强内容审
核的重要性。只不过，在代码逻辑因此改变
之后，提出问题的用户承担了解决问题的
义务，并为此买单。
在 人 类 学 家 玛 丽 · L· 格 雷（ M a r y ·­
L· Gray）和计算机科学家西达尔特·
苏里（Siddharth·Suri）合著的《销声匿
迹：数字化工作的真正未来》一书中，这一
类按需工作被他们称为幽灵工作或影子
工作——获得报酬的工作人员隐身于他
们的成果背后。人们或帮助机器完成算法
无法应对的微任务，或依靠 API 平台对
接到有需求的人或公司，完成和一般工作
无差别的宏任务。两种任务界限并不清晰，都依靠算法
分配实现，并共同显示着——短期内人类工作并不会算
法取代。 一方面机器推进自动化边界时始终需要人类的
参与，即“自动化最后一英里悖论” ，另一方面，人类的交
流和互动仍是大部分工作不可或缺的部分。
书中亦追溯了《瓦格纳法案》修订及美国工人运
动的历史，这也是一段资本家为了自身
利益，将临时工权益和全职工人对立
起来的一段过往，是”体面全职工作神
话”的开端。在今天，随着算法技术的
升级和新兴工作模式的推广，法律保
障的历史漏洞使得从业者的权益遭到
140
FE
AT
UR
E
“they” do The book also traces the history Neevo painted an idealised
的侵犯。为了 acknowledge of revisions to the Wagner Act— picture of humans and
逃 避 社 会 责 任，节 the importance of legislation passed in the US in 1935 machines coexisting
省 开 支，企 业 不 仅 censoring content. It was just that laid out the right of workers to harmoniously, but it was
倾向于将全职工作 that, after the corresponding unionize and strike, and that underpins impossible for me to develop
外 包 给 临 时 工 作 者­ change in the coding was the notion of “dignified full-time a so-called colleague
（如微软），还在试图 made, the user who initially employment”—and the ways in which relationship with artificial
identified the problem was tasked capital has turned part- and full- intelligence. This was of
BECOMING GHOSTS
作者推向缺乏保护的 with fixing it, and in effect to pay time employees against each other course not because it didn’t
灰色地带。 for it. to its own benefit. Today, with the crack jokes in the pantry room.
upgrading of algorithm technology and Ours was more like that between
劳动者在逐渐成为幽灵工作者。他们失去 popularization of new working modes, a teething toddler
休假、升职、职业培训、完善的社会保障等权 the historical loopholes in the legal and its mother:
利，且经常缺少来自同事、社群、工作发布者 protection of workers are resulting the tasks were
的扶持、互动和反馈。他们很难记录自己的 in an unprecedented scale of isolated, repetitive,
工作成果，需要不停地寻找下一个任务。由于报 rights violations. In the hopes of and promised
酬的计算和分发完全受制于算法平台，一旦出 evading social responsibility and neither progress nor feedback,
现故障往往求告无门。纵然工作者因此获得了 In their cutting costs, many companies now draining the spirit much as
难得的流动性，自由支配时间的机会，但另一方 2019 book Ghost not only lean toward outsourcing full- household chores do.
面，如果想要以此为生，幽灵工作所承诺的无保 Work: How to Stop time work to part-time workers but are
障自由让大部分工作者付出了极大的代价。特 Silicon Valley from nudging part-time laborers further into I remembered the reason I
别是对于那些从事与人工智能相关“微任务” Building a New Global Underclass, unprotected gray zones. signed up to Neevo: to leave
的按需工作者而言，他们的“自由”不过是 anthropologist Mary L. Gray and unpaid positions as an intern or
家庭主妇的自由。 computer scientist Siddharth Suri Laborers are slowly becoming ghost assistant in the art world.
categorized such need-based work workers. They are losing rights such as
Neevo 平台描绘了一个人类与机器携手 as ghost work or shadow work, paid leave, promotions, professional Artists and craftsmen also
共进的美好画面，我和机器却并不可能在 due to how the paid laborers are training, and comprehensive social have a long history of working
工作中发展出所谓的同事关系——这当然 concealed behind the fruit of their security, and oftentimes lack on commission and are all too
不是因为它不会在茶水间讲笑话。我们 labor. Humans participate either support, interaction, and feedback familiar with the exploitative
更类似于牙牙学语的幼童和母亲之间的 by helping machines complete from a community of coworkers or nature it entails. Nowadays
关系：每一个任务都是割裂的、反复的、 micro-tasks that algorithms can’t employers. It’s difficult for them to an increasing number of art
而且是看不到进展、得不到反馈的，就像 handle, or rely on API platforms to document their achievements, and workers are actively calling on
家务劳动一样令人沮丧。 connect with people or companies they must constantly be on the lookout the community to fight for its
in need, completing macro-tasks that for the next assignment. The fact rights, but the current situation is
我又想到了我进入 Neevo 的初衷。离开 don’t appear much different from that the calculation and distribution far from a sound, transparent, and
无偿的、实习和助理级别艺术工作。 regular work. The two types of tasks of payment are usually completely healthy ecosystem for art labor.
are not clearly distinguished from one dictated by algorithms means that it is In times when income is limited,
艺术家和工匠也有着悠久的按需工作的历 another. Both rely on algorithms to practically impossible to get redress many artists resort to ghost
史，并深谙其中种种剥削之道。如今，许多艺术工作者 be allocated to workers, and together in the event of an error. Admittedly, working to support themselves.
亦在积极号召社群为自身权益抗争，但现况与一个完 they make clear that, at least in the workers have in return acquired a Ironically, AI curating and self-
善、透明，健康的艺术生态圈仍然相去甚远。在收入有 short term, human labor will not be valuable mobility and relative freedom generating art creation seem to
限的时候，很多艺术家也会选择从事幽灵工 easily replaced by algorithms. On to work on their own time, but making be all the rage in contemporary
作支持自己的事业。讽刺的是，AI 策展、自 the one hand, the process of probing ends meet with such work as the sole art recently. Will algorithms turn
繁殖式的艺术创作好像正成为艺术界的热 automation’s boundaries always source of income is a whole other art creation into another type
门研究话题。算法会让艺术创作成为幽灵 demands human participation, which story. Flexibility with zero protection of ghost work? If the future art
工作吗？如果未来的艺术界将算法平台纳 the authors have called “the paradox is a significant price to pay for the world introduces algorithmic
入自身的工作流管理系统，我们将会得到 of automation’s last mile.” On the other, majority of workers, especially platforms to manage art labor,
一个更加公开透明、开放中立的平台，还是 human communication and interaction for on-demand laborers who deal would that give us the open,
会走向一条风格趋同、疏于交流和保 remain an indispensable component with “micro-tasks.” Their freedom transparent field we desire,
障的死路？ of the majority of tasks. would be comparable to that of or yet another monotonous
stay-at-home parents. dead end?
TRANSLATED FROM CHINESE
BY REN XINYI
LEAP S/S 2021 141 幽灵派对 GHOSTED
 沈心怡的物之剧场
案
个
家
术
艺

沈 GHOST DANCE—
ON SYDNEY SHEN’S
心
怡

THEATER OF
OBJECTS
杨宇青 Edel Yuqing Yang

在沈心怡2021年 Gallery Vacancy 空间 In “Misery Whip,” Sydney Shen’s solo exhibition at Gallery
的个展“苦鞭作乐”
（Misery Whip）中，情色 Vacancy, eroticism and labor, desire and humour, ornamentation
和劳动、欲望和幽默、装饰和身体打造了一套 and body all become rhetorical counterpoints that underscore a
感性的修辞对位法。展览围绕对于美式装饰和 theater of objects. Loosely organized around cross-references to
田园美学的介入展开，使整个空间看上去像是 “farmhouse chic” or “American decorativeness,” the exhibition
堆满了抽象化的女性衣饰、处刑工具、农舍用 looks like a plethora of things ranging from feminine garments,
品。绵延的稻草垛成为篮子、
“琴”、束身衣、铁 archaic implementation devices of punishment, and farmhouse
锨的布景或台座。观者似乎置身于葬礼、农舍、 tools. Much like scenography design, what can be gleaned
缝纫室，抑或是在观察一部尴尬的性爱喜剧留 from those things are imaginations about farmhouse, funeral,
下来的残余。这一幕物的剧引发了自相矛盾的 needlework studio, or even a sex farce. The carefully organized
感受：仿佛受辱是优雅的、荒诞是可爱的、而真 “pool” of materials simultaneously evoke polarizing and ambivalent
心话都是可悲的（抑或反之）。就像“苦鞭作乐” feelings—somehow someone finds oneself elegantly humiliated,
（Misery Whip）这个标题一样，whip（鞭 lovingly grotesque, and miserably funny. The exhibition’s
子）和whipping cream（泡打奶油）勾起语 title evokes the phonological association between “whip” and
音上的联想，而奶油之甜又和苦鞭之苦形成语 “whipping cream.” The sweetness of cream and the bitterness
义的对照。口腹之欲和鞭的暴力指向欲望和惩 in the Chinese word for “misery” make an intriguing semantic
戒、游戏和荒诞。沈心怡的作品像一出关于材 contrast, as if both good and bad appetites are welcome. Desire
质的复调音乐，让闯入者失措，进而被推入迷 and violence are both present. Almost like a multipart music piece,
宫般的即兴剧场。 Shen’s work creates the labyrinth of improvised motifs and the
theater of great madness for invaders as much as absentees.
沈心怡，
《我的名字是鲁本‧戴斯》 ，2021年­ Sydney Shen, Myne Name Is Lubbert Das, 2021 “沈心怡：苦鞭作乐”展览现场，Vacancy画廊，上海，2021年­ View of “Sydney Shen: Mysery Whip,” Gallery Vacancy, Shanghai, 2021
古董篮、布料、树脂，37 x 37 x 23 厘米­ Vintage basket, fabric, flocked resin, 37 x 37 x 23 cm 图片致谢Vacancy画廊 Courtesy Gallery Vacancy
图片致谢艺术家及Vacancy画廊 Courtesy the artist and Gallery Vacancy

142 LEAP S/S 2021 143 幽灵派对 GHOSTED

 案
个
家
术
艺
心
怡
琴形母题
《愈后创痕》
《肠卜司》和《嘉娜·萨克斯》
（均
为 2021）中，沈心怡以中世纪用来惩罚女性
犯人的琴形枷锁为样板锻造物件，并在其中
加入金属小球或恐龙的胃石。枷锁型木胚中
的轨道和胃石形成星轨和星石，奏响一种几
何学上的多声部合奏。而在早期作品《请不
要吃我》
（2015）中，琴型扫帚和蝎子标本这
两件看似风马牛不相及的物件被重组成为一
件物品，蝎尾和蝎螯像散落一地的高音谱号
和音符，仿佛清扫完毕就会奏出不成句的乐
章。回到展览中最核心的《歌剧是一种坏影响》
（ 2017 ），稻草束上抛掷的束身衣像是被解
构的稻草人，其语义在野合、劳作、疯癫之间
摇摆，暧昧不定。
如艺术家本人所言，这些装置有一种舞台
道具般的特质。如果沈心怡的作品可以被视
为剧场，那么这是一场消音后的符号剧场。这
些装置从特定的装饰母题出发、以音乐性的
格式组合不同材料、从中浮现女性消费品中
常见的特征，即可爱和诡谲的统一。
沈 心 怡 2016 年 的 作 品《 Avicularia
Avicularia 》中，一条绳索从吊顶上伸出，
将倒吊的钢琴四角如日本绳缚一般绑缚起
来。钢琴成为塔罗牌里发疯的骑士奥兰多，
它同时也是艺术家饲养的蜘蛛（Avicularia
avicularia）。沈心怡搜集的民间神话中，钢
琴又化身成为被毒蛛咬伤而疯狂跳起塔兰台
拉舞，直到力竭而死的少女。钢琴、舞蹈、少女
沈心怡，《愈后创痕》
，2021年­ Sydney Shen, Cicatrix, 2021 沈心怡，《戏剧是一种坏影响》 ，2017年­
木材、金属零件、恐龙胃石，92 x 49 x 5 厘米­ Wood, metal hardware, dinosaurs gastrolith stones, 92 x 49 x 5 cm 棉、金属零件、稻草、烫金纸板火柴、牛奶桶、蜡，尺寸可变­
图片致谢艺术家及Vacancy画廊 Courtesy the artist and Gallery Vacancy 图片致谢艺术家及Vacancy画廊
144 LEAP S/S 2021 145
PR
O
FI
LE
SYDNEY SHEN
THE
MUSICAL
MOTIF
In Cicatrix, Haruspex, and Gunne Sax (all 2021), Sydney
Shen borrows the form of a “shame fiddle,” a violin-shaped
medieval implement of punishment for those—mostly women—
convicted of petty crimes. The restraint devices are “propped”
like minilabyrinths with embedded dinosaur gastroliths and
round metal objects, looking almost like planets orbiting in the
universe. She often improvises in a way not dissimilar to musical
improvisation: you see an object or decorative motif reinvented
through changes in forms and materials, much like musical motifs
chiming in and fading out. In her earlier piece Please Don’t Eat
Me (2016), scorpion specimens and a cello-shaped mopping brush
find each other in “f”- and “s”-shaped patterns as if both are tuned
in perfect strings. In Opera is a Bad Influence (2017), embroidered
straitjackets are scattered over heaps of straw like the remains of
a dissembled scarecrow, conveying something between hysterical
sex and farmhouse labor. The installations encumber the space
with a cast of sculptures, like a muted theater. Starting with some
repetitive decorative motifs and a dancelike shuffling of materials
emanating from her earlier work, these installations introduce an
oneiric conjuncture of uncanniness and cuteness, like messages
embedded in female-targeting consumer goods.
In Shen’s Avicularia Avicularia (2016), a toy piano is hung
upside down, its four legs tied by a rope from the ceiling. The work
recalls so many things: Orlando Furioso, kinbaku, and of course
Sydney Shen, Opera is a Bad Influence, 2017
Cotton, metal hardware, hay, embossed matchbook, milk bucket, wax, dimension variable
Courtesy the Artist and Gallery Vacancy
幽灵派对 GHOSTED
 案
个
家
术

和蜘蛛在神话层面相交。而《伟大浪漫主义时
艺

the titular tarantula. The title also alludes to the misogynistic

代的最终降临》
（2016）是更加怪异的一种变 fable of a girl bitten by a poisonous spider who dances a tarantella
体。艺术家将使用了猪血和自己的血液混合 until her death from exhaustion. In Here Comes the Last of the Great
制成的颜料涂抹在琴谱上，又将潮湿的银耳 Romantics (2016), Shen mixes pig’s blood with her own and applies
如献礼的白色花束一般排列在琴板上。韩炳 it over sheet music placed in the music rack of a piano, this one
哲在《美的救赎》中分析，黑格尔认为视觉和 upright and full-size, with blooms of the fungus tremella fuciformis
听觉在品味艺术品时占据主导，而嗅觉和触 lining its interior like white rose bouquets. According to the
沈 觉被抛弃，因为这二者跟物质本身固有的感 philosopher Byung-Chul Han, artworks that align with the senses
心 官属性不可分割。潮湿的银耳、血液分子，头 of smell and touch instead of sight
怡 骨和蜘蛛……这种杂糅带来的感触显然不是 and hearing undermine that which
波平浪静的，而透露着主体对观众的否定。在 otherwise appears to be attractive
韩炳哲看来，这种主体的否定能力使艺术品 and beautiful1. The moist textures
避免沦为讨好消费者的工具。 of blood and fungus, the skull,
“钢琴对我来说意味着一种身体的规训, the spider… all thrust upon you a
和我的装置可以说是截然相反。”沈心怡在 mixture of feelings that contrast with
和我的对话中提到。或者，罗兰·巴特在《符号 the pleasure of a smooth surface.
帝国》中写作日本文化的方式可以为观察沈 The subjectivity of things begins
心怡的作品提供一种注解：从细微的触觉、嗅 where the pure pleasure of looking
觉、听觉出发，让对于陌生之物的身体实感带 (and hearing) ends.
引想象力在思维的边界漂游，直到和物一起 “Perhaps for me piano practice
在能指之池中畅游。空间的主角是石头、稻草 implies a sense of physical discipline
人、乐器、刑具、以及死人面具，是不被人推动 which is quite different from [my]
而会随着雷霆震响而跌落移位的巨石。钢琴 sculptures,” Shen has said. Perhaps
在准备下坠、跌碎自己。草垛可能会减少，束 Roland Barthes’s myriad writings
身衣可能移位。材料拼接像一段新颖的旋律 on the place of the Other, such as
动机，不断在其作品的各个声部中轮次浮现 his travel journal vignettes in The
或消失，从而创造出一种丰盈的秩序感，一种 Empire of Signs (1970), suggest a
不对称的平衡。 way of being mesmerized by Shen’s
而在《歌剧是一种坏影响》中，沈在束身 installations. You start with subtle
衣上绣着的昆虫具有灵媒般的力量，这种力 senses of touch, of smell, of hearing, to contemplate on alien things
量被刺绣这一童话中经常出现的“女性行动” that dawn on you (and now make your carnality) until you become
引出：
“我喜欢渺小和宏大事物之间的摩擦 part of the arena. The cast of this carnival theater consists of
角力……昆虫对于自然的影响可能跟天气一 everything but the real body—the stones, the bugs, the scarecrows,
样重要。”石头进入人体并产生斥力、昆虫引 the musical references, the devices for punishment, and death masks.
发气象灾变……这些非生命体构成的行动者 In Opera is a Bad Influence, embroidered bugs invoke the
网强调物的环境本身具有的生命力和可变性 fairytale moments when women access magically transformative
（vitality and volatility of things），生命 power via acts of weaving or sewing. “I like the friction between
体和非生命体在其中享有同等的地位。在材 these lowly creatures and things that seem noble and sublime…
料的混沌和表面的炼金术中，缺席的不仅仅 The insects also have the capacity to bring great pestilence.”2
是情欲的主体——那个理应和束缚、恐惧、拜 The loosely connected nonliving things produce a sophisticated
物紧紧相连，成为主演的女性身体，还有由于 network of nonliving “agents” in which objects are endowed with
身体缺席而无可寻觅的凝视之眼。 vitality and volatility, and both living and nonliving things are
given equal weight. Amidst this alchemy of materials and surfaces,
the occult subject of desire—the female body bound up by fear and
fetish—is absent but felt; so too the eyes gazing upon her.

沈心怡，《请别吃我》
，2015年­ Sydeny Shen, Please Don’t Eat Me, 2015 沈心怡，《伟大浪漫主义时代的最终降临》，2016年­ Sydeny Shen, Here Comes The Last of the Great Romantics, 2016
簸箕，蝎子标本，手提扫帚，尺寸可变­ Dustpan, scorpion specimens, hand broom, dimensions variable 制备小型三角钢琴，猪/人类血液，手工纸上墨水­ Petite baby grand piano prepared with rehydrated Tremella fuciformis, blood (pig, artist’s own)
图片致谢艺术家 Courtesy the artist （含纤维素、害虫残骸及研磨人骨）­ and drawing ink on handmade paper (cellulose, Tremella fuciformis, Agrocybe aegerita, Nostoc
图片致谢艺术家 flagelliforme, vermin remains harvested from owl pellets, ground human bone)
Courtesy the artist

146 LEAP S/S 2021

 案

PR
个

O
家

FI
术

LE
艺

SYDNEY SHEN
心
怡

装饰作为 ORNAMENT AS
“义体” PROSTHETICS
法 语 中 失 音 的“ h ”创 造 了 和 本 体 论 In French, the “h” is not pronounced, and “Ontology” is a
（ontology）同音而不同义的“幽灵本体论” homophone with “Hauntology”—a sarcastic punch to Anglo-
（hauntology）一词，从而构成对盎格鲁萨 Saxon philosophy. A letter marks the place where sound is
克逊式哲学的一记讥讽的闷锤。字母来到了 eliminated. Sydney Shen’s work emits an echo in the place
声音消弭之处。沈心怡的作品在声音的消弭 where sound is eliminated, a mark that is neither ontological nor
之处唤起余响，那是一种非本体论也非表音 phonological.
学上的标记。 In Moi Même Moitié Le Momo, Folly Madness Phrensy Fever,
在《 Momo 是我的化身》
《 嗔痴疯傻热》 and All the World Makes Great Blood (all 2021), a piece of iron
和《 全 世 界 所 有 的 人 都 是 伟 大 的 人 》
（均 为 with letters in cutout design cast from a traditional crosscut saw
2021）中，铁器打造的刺绣文字成为一段自 drapes like a real lace. Other hanging objects include a set of four
然下垂的蕾丝花边。而另一侧，四个 3D 打印 “fly-swatter” pads with decorative fence patterns, but made of 3D
尼龙制成的“苍蝇拍”上各自刻着一句话。历 printed nylon and velvet ribbons. The pads could be employed as
史表示这些“苍蝇拍”显然在中世纪具有促进 an execution prop for self-punishment. In Myre Name is Lubbert
排泄、刺激性欲的作用。而在《我的名字是鲁 Das (2021), a “death mask” that occupies the negative space of
本·戴斯》
（2021）中，艺术家用自己的脸倒模 the basket is a cast of the artist’s own face—circumscribed by soft
制作了一副提篮中的死亡面具，旁边缀以蕾 lace like that of a doll. Many of Shen’s works are presented as and
丝花结。花边蕾丝作为充满女性特质的可爱 through ornamentation. Emanating from the creatively chaotic
之物，具有明确的指向性——即被父权凝视爱 empire of things, ornamentation functions as technology that
抚、物化、注视的女性自我。 disrupts linear time and conceals truth. Similar to “Hauntology/
沈 心 怡 的 装 置 作 为（ a s ）且 通 过 Ontology,” “Ornamentalism” and “Orientalism” are almost coined
（ through ）装饰呈现。在看似杂乱无章的 in a punning riddle. Historian and theorist Anne Anlin Cheng
符号国度里，装饰成为一种改变时间刻度、 asserts that ornamentalism forges the sense of personness through
掩 藏 真 相 、甚 至 摒 弃 线 性 叙 事 法 的 技 术 。 artificial and prosthetic extensions in her critique of western
和“Hauntology / Ontology”异曲同工的 Orientalist shaping of Chinese women. Contextualized as a kind of
是，装饰主义（ ornamentalism ）和东方主 technology, ornaments (inorganic things) become a precondition
义（Orientalism）也成了一对谐音梗。程安 for the embodiment of personhood of a woman, and “style” is no
沈心怡，
《我的名字是鲁本‧戴斯》 （局部） ，2021年­ Sydney Shen, Myne Name Is Lubbert Das (detail), 2021 沈心怡，《Momo是我的化身》 ，2021年­ Sydney Shen, Moi Même Moitié Le Momo, 2021
古董篮、布料、树脂，37 x 37 x 23 厘米­ Vintage basket, fabric, flocked resin, 37 x 37 x 23 cm 铁、木材，33 x 200 x 4 厘米­ Iron, wood, 33 x 200 x 4 cm
图片致谢艺术家及Vacancy画廊 Courtesy the artist and Gallery Vacancy 图片致谢艺术家及Vacancy画廊 Courtesy the Artist and Gallery Vacancy

148 LEAP S/S 2021 149 幽灵派对 GHOSTED

 案
个
家
术

琳（ Anne Anlin Cheng）在分析东方主

艺

more ontologically opposite to “personhood.”3 Like the muted

义视角对于华裔女性形象的塑形时指出，装 piano, defunctionalized ornamental things manifest as ghostly
饰主义通过人工性、义体性的程序来炮制人 personified beings.
格性。在装饰主义作为技术的语境中，
“风格” Velvet flocking, ribbons, stumbling garment—all cheat by
（ style ）和“人格”在本体论层面不再处于对 mixing contemporary middle-class imaginations of the Victorian
立面；相反，前者（非有机物）成为后者（建立 or medieval sexual fantasy. Although deliberate confusion of
在有机物的生物基础上）存在的前提——装饰 time implies something too nostalgic for digestion, it calls out
沈 成为女性人格具身化的要素，甚至是性欲倒 a suppressed desire for the ghostly echo of the “past” ringing in
心 错的物质证据。 和无力发出声音 “now” and “future.”
怡 的倒吊之琴一样，取消了功能的 It also renders various
装饰元素鬼魅般地发出人格化的 derivative points about
声音。 being sarcastic with the
丝绒和尼龙制成的拍、铁质 objects to prefer nature
的缎带，这些装饰物以装饰本身 to culture, ornament to
为刻度，糅合了当代中产消费文 function, instinct for
化对于中世纪及维多利亚时期的 death to drive for life, and
性 倒 错 的 想 象。蒸 汽 朋 克 将“做 sex drive to intellectual
旧”视为一种粗俗的美学，用以掩 drive—being pared
饰“真实”的时间标记。与其将这 down to a new cycle of
种刻意为之的差时性处理视作复 extraction, fermentation,
古审美的趋向力，不如视作幽灵 condensation, and
本体论的另一个侧面，即过去在 transpiration.
未来中奏出的幽灵回响。审美的 This collision between
回潮是时间闭环的例证。而这装 disparate materials at
饰所代表的女性符号的种种衍生 first seems like a failed
定义——自然而非文化、装饰而 alchemy or even a Gothic
非功能、死亡本能而非生命驱动、 Frankenstein sci-fi comedy
性驱动而非智力驱动——又进入 brought to a halt by an
新一轮萃取、发酵、凝结、蒸腾， “unperformed” action
减去枝叶，在寓言或展厅中若隐 by the absent women or
若现。 sexual inverts—decisive
当今天的媒体开始贩卖以女 actions such as going mad,
性为代言人的高度浪漫化的田园 seducing/being seduced;
牧歌式的生活想象，甚嚣尘上的 and humiliating/being
科技进步论叙事将历史勾画为单 humiliated. Looking as
向度的线性发展时，沈心怡用物 if the stage were left only
之剧场讲述反直觉的故事。这一 with props and specters
次次不同材料的碰撞似乎像是失 and no actors, giving off
败的炼金术，又像是弗兰肯斯坦 only muffled sounds for
式的哥特科幻喜剧，影射场景中 occasional eavesdropping.
尚未完成的动作——女性劳动、
尖叫、受辱、引诱的动作。仿佛帘幕合拢，舞台
只留下道具，演员步入台后换装、聊八卦，只
向观众耳边送来窸窣响声。

1 See “the Aesthetics of the Smooth”, from Byung-Chul

Han, Saving Beauty, translated by Daniel Steuer.
2 “Danse Macabre: Sydney Shen,” Sydney Shen in
Conversation with Xin Wang, Mousse Magazine, http://
moussemagazine.it/sydney-shen-xin-wang-2021/
3 See Anne Anlin Cheng, “Ornamentalism: A Feminist
沈心怡，
《嘶声铭心》（一组四件之一） ，2017年­
Theory for the Yellow Woman”, Critical Inquiry, Vol 44,
尼龙塑料、天鹅绒、罗缎绸带，43 x 15 x 0.25 厘米/件­ No. 3.
图片致谢艺术家及Vacancy画廊­
­ 沈心怡，
《原初（神降少女）》 ，2021年­ Sydney Shen, 1st Knowing (Manifesteange Metamorphose temps de fille), 2021
Sydney Shen, I Want My Scream to Count, 2017 古董篮、布料、聚氨酯泡沫塑料，69 x 28 x 16 厘米­ Vintage basket, fabric, high density urethane foam, 69 x 28 x 16 cm
3D-printed nylon, velvet flocking, grosgrain ribbon, 图片致谢艺术家及Vacancy画廊 Courtesy the artist and Gallery Vacancy
43 x 15 x 0.25 cm, one of the set of 4
Courtesy the artist and Gallery Vacancy

150 LEAP S/S 2021

 我们盘桓

FE
AT
题
专

UR
E
在夜色里
被烈火吞噬张瀚文 Zhang Hanwen

WE SPIN AROUND
THE NIGHT, CONSUMED
BY THE FIRE
152 LEAP S/S 2021 153 幽灵派对 GHOSTED

题
1843年中英《南京条约》签订以后， After the signing of the Sino-British Treaty of
专
上 海 开 埠 ，成 为 对 外 通 商 五 口 之
一。1845年上海租界设立以后，受益
于得天独厚的地理位置与便捷的水运
体系，只过了不到十年，上海就已取代
广州一跃成为中国最大的外贸港口。
我 外国商人与资本争前恐后地登陆上
海，购置土地，修整基建，开办洋行，
们
盘 had replaced Guangzhou as the largest foreign
桓 从事进出口贸易。除茶叶生丝瓷器之
在 外，货品中当然也包括鸦片。剧烈的经
夜 济结构发展也同时冲击并重新塑造了
上海地区的人口结构。除了部分获益
色
里 infrastructure, opening companies, and engaging
被 于外向贸易而发财的买办商人与官员
烈 外，还有大量失业的船夫、苦工、手工
火 业者、逃荒逃难者汇聚在上海。一时间
游民数量达两三万之众。
吞
噬 structure also impacted and reshaped Shanghai’s
1853 年，受太平天国运动影响，上海地
区爆发了一次由民间秘密结社领导的城市
反清运动，史称“上海小刀会起义”。起义成
员成分复杂，但主体仍然是无产游民和城市
贫民。他们基于不同的地域形成集团，其中
闽粤籍占多数；他们以红色为徽志，身上佩
戴红头巾、束腰等配饰。小刀会占领上海老
城后，曾使用豫园中的点春堂作为起义的指
挥部之一，颁布了基于稳定城市工商秩序的
严格纪律，并向当时已经占领南京的太平天
国发出称臣奏书。1854 年，清军已基本摧毁
上海东郊，转而对上海县城实施封锁。小刀
会在城内一直坚守到 1855 年春节，并最终
在清法政府的联手镇压下突围出城。伴随起
154
FE
AT
UR
义失败的是一场蔓延燃烧超过二十四小时
E
Nanjing in 1843, Shanghai was opened as one 的大火，几乎将整座上海县城烧成废墟。
of five Chinese ports for foreign trade. Within 主体拍摄于豫园这一或许是上海外滩最
为知名的历史文化建筑保护单位， 《我们盘
a decade, and following the establishment 桓在夜色里，被烈火吞噬》不能称为是考据
of the British Concession in 1845, Shanghai, 式论文影像或一次对历史的深长回望，亦不
benefiting from its unique geographical location 同于众多倾力展示所谓“风貌”的城市纪录
and convenient water transportation systems, 片。艺术家借几乎剖析了景观社会理论形成
WE SPIN AROUND THE NIGHT, CONSUMED BY THE FIRE
过程的情境主义宣言影片《Ingirum imus
nocte et consumimur igni》之名，完成了
trade port in China. Foreign merchants and 一次连接文化故迹、老城厢现貌和资本世界
governments scrambled to establish themselves 景观截面的试验性掠影。
in Shanghai, purchasing land, repairing 我们看到夜色侵浸在缓步御灯而行的红
衣女子和与之竞逐的摄影机之间，剧烈压缩
的时空传递出可说是十分有限却并不艰涩
in import and export trade. Tea, silk, porcelain, 的信息：百余年来上海滩的政治经济势力角
and opium were among the traded goods. 逐从未止歇，豫园门头、深嵌着待拆老旧民
The dramatic development of the economic 居的暗巷、直至不远处即将覆盖前者的灯火
霓虹，则相应地组成了这种漫长、剧烈社会
代谢的复杂皮相。这些大多已无人居住的建
demographics. In addition to the merchants and 筑，充当了曾生产并雪藏无数信件档案的历
officials who benefited from the opium trade, a 史关隘的粘连剂，同时也剥落出加速时代的
本质和节拍。
large number of unemployed boatmen, laborers,
随着红衣女子身影渐远，照亮故往角隅 In this sense the collaged form of Debord’s earlier film—constructed
craftsmen, and refugees converged on Shanghai. 的灯火被现代商业大厦的夺目光芒吞没，历 from movies and advertising footage—is now found in Shanghai
The number of nomads reached 20,000 to 30,000 史剧场中的梭往鸿鳞也如潮水不能重来。余 itself. For more than a hundred years, the streets and architectural
at one time. 下的或许仅是德波式“纵火者”们密谈中的 structures of Shanghai have borne witness to the perpetual struggle of
一问——有没有一种情境主义的“烈火”，能 competing political and economic forces. The gate of Yu Garden, the
In 1853, during the Taiping Rebellion, an anti-Qing movement 够终结这种鞍马劳顿的历史转圜？ dark alleyways with old houses awaiting demolition, and neon lights
called the “Small Swords Society” formed in Shanghai. Its members that are about to devour everything make up the complex surface of
were a mix of proletarian nomads and urban poor of Min and 本项目创作于复星艺术中心驻地期间 a turbulent and ongoing metabolism. Largely uninhabited buildings
Cantonese ethnicities; they wore red as their emblem, in turbans, 由 Sdodo Studio 提供技术与设备支持 act as an adhesive for the shifting ideologies of the past century and
waistbands, and other accessories. The Small Swords occupied the sheltered countless letters and artifacts. As the woman in red fades
Old City of Shanghai, claiming Dianchun Hall in Yu Garden (now an from view, streetlamps that illuminated the corners of the past are
architectural preservation site on the Bund) as its headquarters. The engulfed by the even more dazzling light of nearby highrises. What
Qing army launched a counterattack while also tentatively seeking remains is a Debordian quest: can a Situationist flame light up a path
cooperation with the British, French, and American governments. In that allows us to escape history’s unending loop?
1854, following several failed sieges, the Qing army largely destroyed
the eastern suburbs of Shanghai and imposed a blockade on the Old This project is created during the Fosun Foundation Art Residency
City. The Small Swords held out until the Spring Festival of 1855 and with technical and equipment support from Sdodo Studio
eventually broke through the Qing and French lines, and out of the
city. The failed uprising was accompanied by a fire that burned for
more than 24 hours, reducing almost the entire Old City to rubble.
We Spin Around the Night Consumed by the Fire stands apart
from the many documentaries that portray Shanghai. Mostly shot in
Yu Garden, the film is neither a forensic investigation of history’s dusty
shelves nor a nostalgic look back at an ever-lingering past. In a nod
to In girum imus nocte et consumimur igni, Guy Debord’s 1978 film
of the same name (albeit in the form of a ‘borrowed’ Latin palindrome
believed to have been composed in Europe’s Mediaeval period), the
artist makes an experimental collage through his lens, overlaying
cultural legacy, the Old Town’s current appearance, and a silhouette
张瀚文，《我们盘桓在夜色里，被烈火吞噬》
，2021年­ Zhang Hanwen, We Spin Around the Night Consumed by the Fire, 2021
of the world flooded with capital. Night encroaches on a woman in 剧照，尺寸可变­ Film stills, dimensions variable
摄影：郑安东 Photo: Andong Zheng
red carrying a lit oil-lamp. Her slow walk through the city illustrates
the violent compression of time and space that makes up its fabric.
LEAP S/S 2021 155 幽灵派对 GHOSTED
 噬
吞
火
烈
被
里
色
夜
在
桓
盘
们
我
专
题

156
上海怡和洋行致香港总
行的信

1853年9月14日信
在7日黎明的时候，一支
由广东、广西、福建人组成
的武装队伍冲进了上海
城，并在三小时内控制住
整个城市〔1〕。……虽然
很久外面便流传着一种
谣言，说有一次大的暴动
在酝酿之中，但暴动的进
行非常秘密，这一次袭击
竟不曾被人预料到……
这次变乱，使上海大受震
动，许多买卖人携带家眷
逃来租界区躲避。 此时
租界区的一切必要的防
备均已完成。转运货物
比以前更加危险，许多
茶商都不敢冒险到上海
来。一般人相信：不久将
听到其他的城市，如苏
州、杭州、宁波等地的陷
落。……

〔1〕译者注：按此指小刀
会领袖刘丽川、潘金珠、
陈阿林等

1853年9月21日信

LEAP S/S 2021

自从本月14日以来，各方面
的情况都没有发生什么重
大的变化。一般人揣测，此
地的暴乱者似未与南京的
太平军取得联系。 外边传说
清军三千人已开到上海近
郊，企图反攻上海。 在此期
间，市民成群结队的涌出城
外，市面商业因之日见萧条。

1855年1月1日信
近来上海的情况，由于法国
人和本地暴乱者之间发生
冲突而更加复杂化。暴乱者
拒绝向法国人低头让步，
于是双方正式宣吿敌对行
动。……英美当局没有参

157
与这次敌对行动。最感遗憾
的是:我得再向你们报吿，
鸦片市场仍然连续的不景
气 ……

1855年3月8日信
2 月17日夜，正是中国旧历
­

除夕，暴乱将领们收集余
众，冲出上海，奔往乡下，
张瀚文，

在那里，他们似乎各自星
散了。 清军和清朝官吏立
刻占据了上海。 上海大半个
全文图片由艺术家提供­

城市的房屋都被烧毁，在市
区和市郊有无数的人被捕
Consumed by the Fire, 2021­

All Images courtesy the artist

入狱，更有成百的人立即斩
16毫米彩色电影，16帧/秒，有声，14分钟­
《我们盘桓在夜色里，被烈火吞噬》

首。……最近因为清朝强拉
民船运军队，使上海与苏州
Zhang Hanwen, We Spin Around the Night
，2021年­

16mm color film, 16fps, sound, 14 minutes

及内地的交通完全切断，目
前尚难预定何时这些民船
才能重作交通运输之用，或
到何时一切事情才能希望恢
复常态。
幽灵派对

1855年4月7日信
自从上月8日写信后，上海及
其近郊已完全恢复平静了，现
在无须再担心会重演最近所
GHOSTED

发生的暴动事件。……

FE
AT
UR
WE SPIN AROUND THE NIGHT, CONSUMED BY THE FIRE E
 噬
吞
火
烈
被
里
色
夜
在
桓
盘
们
我
专
题

Letters from Jardine Matheson’s

Shanghai Post to its Hong Kong
Headquarter

158
LETTER ON SEPTEMBER 14, 1853
At dawn on the 7th, an armed
force of Cantonese, Guangxi, and
Fujianese origins stormed the city
of Shanghai and took control of
the entire city within three hours.
...... Although a rumor had been
circulating outside for a long time
that a big riot was in the making,
it was carried out so secretly that
the attack was not anticipated ......
This time, the mutiny, Shanghai
was greatly shaken, many
merchants with their families
fled to the concession area
to take refuge. At this time,
all the necessary defenses in
the concession area had been
completed.
The transit of goods is more
dangerous than before, many tea
merchants are afraid to risk coming
to Shanghai. It was generally
believed that: the fall of other cities,
such as Suzhou, Hangzhou, Ningbo,
etc., would soon be heard. ......

LETTER ON SEPTEMBER 21, 1853

Since the 14th of this month, nothing
significant has happened on all fronts.
The general speculation is that the

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rioters here do not seem to have
made contact with the Taiping army in
Nanjing. It is said that the Qing army
of over 3,000 men have marched
to the outskirts of Shanghai in an
attempt to counter-attack. During this
period, citizens poured out of the city
in droves, and commerce in the city
became increasingly depressed.

LETTER ON JANUARY 1, 1855

The recent situation in Shanghai was
further complicated by the conflict
between the French and the local
rioters. The rioters refused to give
­

in to the French, and hostilities

were formally declared. ...... British
张瀚文，

and American authorities are not

involved in this hostilities.

159
Most regrettably: I have to report
全文图片由艺术家提供­

to you again that the opium market

remains continuously depressed
Consumed by the Fire, 2021­

All Images courtesy the artist

......
16毫米彩色电影，16帧/秒，有声，14分钟­
《我们盘桓在夜色里，被烈火吞噬》

Zhang Hanwen, We Spin Around the Night

LETTER ON MARCH 8, 1855

，2021年­

16mm color film, 16fps, sound, 14 minutes

On the night of February 17, which

is Chinese New Year's Eve, the
riot leaders gathered the rest
of the crowd and rushed out of
Shanghai to the countryside, where
they seemed to have scattered
separately. The Qing army and
the Qing officials immediately
occupied Shanghai. More than
half of the houses in Shanghai
were burned, countless people
were arrested and imprisoned in
and around the city, and hundreds
more were immediately beheaded...
Recently, because the Qing army
forced civilian ships to transport
幽灵派对

troops, it is difficult to predict when

these ships will be available for
transportation again, or when things
will hopefully return to normal.
GHOSTED

LETTER ON APRIL 7, 1855

Since the letter from the 8th of last
month, peace has been completely
restored to Shanghai and its suburbs,
and there is now no need to fear a
repetition of the riots which have
recently taken place. ......

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鬼楼几种
HISTORY: ONE OR
SEVERAL GHOST
HOUSES

在历经了现代中国剧烈社会变化的都市 In these age-old buildings that have borne

建筑里，一定藏着一些幽灵。它们栖居在 witness to modern China’s turbulent
人类生活的负形空间里，悄然观望着人 history, there must be one or several
间烟火 。 ghosts in hiding. They inhabit the negative
space of human traces, and lurk behind
前四则作者：赖非 the smoke and mirrors.

COMPILED BY LAI FEI

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位于北京白塔寺西北胡同群落的福绥境大楼曾享有“人
民公社大楼”、
“ 社会主义大厦”和“共产主义大厦”的盛
名。一些建筑研究者称它为北京的马赛公寓。福绥境大楼
楼高八层，楼体呈“Z ”字形，体量宏伟，在1958 年用建设
FUSUIJING
人民大会堂的余料建成，是北京最早装有电梯的居民楼，
也是典型的“大跃进”时期的产物。当年能够入住福绥境
大楼的居民都需要经过严格的政治审查。 大楼的305室曾
被 是艺术家张伟在1970年代的家，也是当时尚未成形的“无
BUILDING
历 名画会”最早的据点。有着社会主义时期闪耀历史的福绥
史 境大楼在今天却是北京有名的鬼楼之一。因设施老旧且
缠 缺乏维护和修缮，福绥境大楼在2004 年被认定为北京市
绕 重大安全隐患，住户被陆续腾退，原本的三百多住户在之
后几年中减少至仅剩二十几户，大部分楼层为废弃状态。
鬼 夜间的福绥境只有局部的光亮，成为名副其实的黑楼。都
楼 市传说中的福绥境大楼是灵异事件的频发地，一说大楼
几 曾是文革期间红卫兵关押“牛鬼蛇神”的地方，而楼后就
种 是埋葬被迫害者的乱葬岗。 2014年，鬼片《诡捌楼》在此取
景，将关于楼中文革冤魂的传说搬上银幕，影片虽烂却成
功助长了福绥境闹鬼的声名，福绥境成为社交媒体上鬼
楼探险的热门地点。早在2007年公布的第一批北京市近
现代历史保护建筑名录中，福绥境大楼位列第二，名单上
的建筑原则上不得被拆除，且外立面不得改变。但在之后
的十几年中福绥境大楼的状态没有任何实质性的变化。
这栋曾经的共产主义大厦的未来依然迷雾重重。
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Fusuijing Building, located in the hutong complex
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northwest of Beijing's Baita Si, was once called the
“People's Commune Building,” “Socialist Mansion” and
“Communist Mansion.” Architectural historians like to refer
to it as the Unité d'Habitation Marseille (La Cité Radieuse)
of Beijing. Built in 1958 with leftover materials from the
construction of the Great Hall of the People, Fusuijing is a
typical product of the “Great Leap Forward” period. Eight-
HAUNTED BY HISTORY: ONE OR SEVERAL GHOST HOUSES
story tall and “Z”-shaped, it was the first residential building
in Beijing to install an elevator. Back then, to move into the
communist mansion, residents had to go through a strict
vetting process of their political backgrounds. Room 305
was once the artist Zhang Wei’s home in the 1970s. It was
then a gathering place for the Wuming Painting Society still
in the forming at the time. Fusuijing Building, with all of its
shiny badges from the socialist era, is now widely known as
a haunted house in Beijing. Due to its decrepit facilities and
lack of maintenance, the building was identified as a major
safety hazard by the city officials in 2004. Following years
saw the majority of its residents move out, the original 364
resident units reduced to only two dozen, with most floors
completely abandoned. At night, the building turns into a
dark monolith with only a few windows lit. Urban legend
has it that Fusuijing is a hotbed of paranormal activities.
Some believe that the building was where the Red Guards
held “cow demons and snake spirits”—a Chinese term
used during the Cultural Revolution to demonize perceived
enemies—during the Cultural Revolution, and behind the
building was a mass grave where the persecuted were
buried. The 2014 ghost film The Eighth House, shot in the
building, brought to the public eye wild urban legends about
ghosts from the Cultural Revolution haunting the building.
The poorly-made film amplified Fusuijing’s reputation
as a haunted house. Subsequently the building became
a popular attraction on social media for haunted house
tours. Fusuijing Building has been listed as a “Historic
Modern Architecture for Protection in Beijing” since 2007.
In principle, buildings on the list cannot be demolished and
their facades cannot be changed. But not much protection
has been in place since the list came out, and the state of
the building has not changed in any substantial way in over
a decade. For now, the future of this former communist
mansion remains in the shadow.
福绥境大楼外景，北京西城，2019年­
摄影：新京报记者郑新洽
The exterior of Fusuijing Building, Beijing, 2019
Photo: Zheng Xinqia
163 幽灵派对 GHOSTED
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Wukang Mansion is a landmark building in

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Wukang Mansion, Shanghai, 2019
Shanghai’s former French Concession. Bearing
a resemblance to the Flatiron Building in New
York, the wedge-shaped building sits at the
intersection of Huaihai Road and Wukang
Road, where they meet at a 30-degree angle.
Built in 1924, Wukang Mansion was originally
被 named Normandie Apartments and was the

HAUNTED BY HISTORY: ONE OR SEVERAL GHOST HOUSES

历 first apartment building in Shanghai styled with
史 a veranda. Before Wukang Mansion became
缠 a popular instagram spot, online searches for
绕 the building always immediately conjured up
ghosts—stunning apartment listings that didn't
鬼 actually exist but were used as a lure on rental
楼 websites for one, and stories of ghost sighting
几 in the building for another. It is said that people
种 have seen a white silhouette wandering on the
balcony of the unoccupied seventh floor more
than once, and some believe it to be the ghost
of Shangguan Yunzhu—allegedly Mao’s favorite
actress at a time, and some even say that they
can smell Shangguan’s favorite perfume, the
scent of ylang-ylang tree and orange blossom, at
the end of the hallway in autumn. This is likely a
projection, especially after many urban legends
by way of online forums incorrectly identified the
place where Shangguan jumped to her death
in 1968 as Wukang Mansion (Shangguan once
lived in the apartment on the seventh floor of
武康大楼是上海旧法租界地标性的建筑。它 Wukang Mansion, but ended her life at a different
坐落在淮海路和武康路三十度角相交的夹 apartment building). What cannot be denied
角处，有着类似纽约的熨斗大厦那样的楔形 though, is that during the manic decade of the
设计。武康大楼始建于 1924 年，原名诺曼底 Cultural Revolution, Wukang Mansion, together
公寓，是上海第一座外廊式公寓大楼。在武 with other tall buildings rare in Shanghai at the
康大楼成为当下热门的网红打卡点之前，关 time, became a convenient spot for the tortured
于武康大楼的网上搜索总能召唤出一些幽 souls to find instant relief. Official records stated
灵——充斥于租房网站上的一些并不实际 that ten people jumped off Wukang Mansion
存在但被作为吸引客户的钓饵的幽灵房源， during the Cultural Revolution, and one of them
以及楼中住户撞见鬼的故事。据说，人们不 survived. Older people who lived through the
止一次看到一个白影在无人居住的七楼阳 era still remember the nickname for the building

武康大楼
台上游荡，有人相信那是女演员上官云珠的 back then: Shanghai Diving Board.
幽魂，甚至说秋天在走廊尽头还能闻到上官
云珠生前最爱的香水味道——伊兰树和橙
花香。这大概是人们一厢情愿的投射，尤其
是在诸多都市传说和网络野史将上官云珠
1968 年跳楼自杀的地点错误地指认为武康
大楼之后（上官生前曾在武康大楼七楼走廊

WUKANG
尽头的公寓居住，但最后结束生命的地方是
另一处公寓）。不可否认的是，在那疯狂的十
年间，武康大楼和上海当时为数不多的其他
高层建筑一样，成为了被折磨的灵魂寻得最
快解脱的地点。据官方统计，文革时期从武

MANSION 康大楼跳楼自杀的一共有十人，其中一人幸
免于难。亲历了那个时代的老人们还记得武
康大楼当年的别名——上海跳水池。

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 合肥路592号
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被 592 HEFEI ROAD
历
史
缠
绕 合肥路592 弄25 号是艺术家张充仁（1907-1998）在上
海的故居，这里曾是中国最早的私人画室。张充仁在欧洲
鬼 为人所知的身份是比利时漫画家埃尔热所绘的《丁丁历
楼 险记》中的角色的“中国张”的原型。上世纪 30 年代张充
几 仁在比利时的布鲁塞尔皇家美术学院求学时结识了埃尔
种 热，两人成为挚友。抗日战争爆发后，张充仁回国参加救
亡运动。1936 年张充仁在合肥路 592 弄 25 号创办了充
仁画室，一楼为素描班，二楼为水彩班，三楼为雕塑班。
在剧烈的社会变动中，张充仁坚持授课三十年，直到文革
开始，画室被迫停办。张充仁受到残酷的批斗，油画被红
卫兵用刀破坏或烧毁，雕塑被砸，本人被下放到郊区的农
场，被迫住在牛棚里。1977年，张充仁获得平反，相隔了
四十多年与埃尔热再次取得联系。1981年，两人在布鲁
塞尔重逢，相拥而泣。
166
HAUNTED BY HISTORY: ONE OR SEVERAL GHOST HOUSES
No. 25, Lane 592, Hefei Road is the former residence of the
artist Zhang Chongren (1907-1998) in Shanghai, and the
first private artist’s studio in the history of modern China.
Zhang Chongren is better known in the Francophone
regions as the inspiration for the Chinese character “Chang
Chong-Chen” in the Belgian cartoonist Hergé’s series The
Adventures of Tintin. Zhang met Hergé in the 1930s while
studying at the Royal Academy of Fine Arts in Brussels,
and the two became close friends. After the outbreak of
the Sino-Japanese War, Zhang returned to China to join
the National Salvation Movement. In 1936, Zhang founded
the Chongren Studios at No. 25, Lane 592, Hefei Road,
with a sketching workshop on the ground floor, watercolor
on the second, and sculpture on the third. He continued
to teach for thirty years in the midst of social turmoil,
until the Cultural Revolution began in 1966. Zhang was
brutally criticized. Red Guards broke into the premises
and destroyed all of his paintings and sculptures. He was
then sent to a farm in the suburbs and forced to live in a
cowshed. After his rehabilitation in 1977 and China’s reform
and opening up, Zhang got in touch with Hergé after losing
contact for more than forty years. The two reunited in
Brussels in 1981, and embraced in tears.
合肥路592弄25号门外，上海黄浦，2021年
Outside the gate at No. 25, Lane 592, Hefei Road, Shanghai, 2021
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北京孩子多多少少听说过隆福寺过往的恐怖故事。 在我童年的大部分

LI
Almost every kid that grew up in Beijing around

O
记忆里，隆福大厦都是那个像纸扎房子一样内部是已被烧尽的虚空、 the millennium knew about the horror stories
头上还顶着一座被整体平移的寺庙的神秘建筑。 地处北京市中心的黄 looming over Longfu Temple. In most of my
金地段却常年荒废，隆福寺是街坊口中那个被诅咒了的地方。隆福寺 childhood memories, Longfu Mansion had

LONGFU TEMPLE
始建于1452 年，所在的区域在历史上经历过两次大火。1901年的大 always been the mysterious structure that
火烧毁了当时寺庙的殿堂。1993 年的另一场大火摧毁了 1988 年在 looked like a joss paper house with a burned
邓小平带领的资本主义建设热潮中建成的隆福大厦，北京第一家配备 out void inside and a temple directly hoisted
被 中央空调、引进自动扶梯的现代百货大楼的内部被十几个小时的大 on its head. Located at a prime location in the

HAUNTED BY HISTORY: ONE OR SEVERAL GHOST HOUSES

历 火烧成灰烬。之后隆福寺区域经 center of Beijing, but vacant for decades, the
史 历多番定位调整却不见起色，地 Longfu Temple area is “cursed” in the words
缠 处市中心的偌大商业园区人迹 of local residents. The original temple was
绕 罕至。2019 年，经历了几年改造 built in 1452. The surrounding area has seen
计划的隆福寺园区以文艺新地 two major fires in its history, one in 1901 that
鬼 标的面貌重生，迎来了木木艺术 destroyed the temple’s halls, and another in
楼 社区和WeWork等时髦产业的 1993 that obliterated the interiors of Longfu
几 入驻。经过一番士绅化改造的隆 Mansion, the first modern department store in
种 福寺园区虽然被赋予了现代主 Beijing equipped with central air conditioning
义的光鲜皮囊，却依然弥漫着令 and escalators. Longfu Mansion was built in
人生怯的氛围。被胡同居民区包 1988 during the capitalist building boom led by
围的隆福寺仿佛一个文艺废墟， Deng Xiaoping. In 2019, after several years of
其空间叙事和国内四处开花的 renovation, the Longfu Temple area refashioned
文化产业园区、以及一些海外城 itself as a new cultural landmark, with the
市的案例并无太大差别。一个幽 arrival of trendy businesses like M Woods Art
灵，资本主义的幽灵，在园区上 Community and WeWork. The now-gentrified
空游荡。2021年 3 月，一名工人 area, though donning a sleek, modernist facade,
在木木美术馆顶楼露台施工时 still exudes a ghostly atmosphere. Surrounded by
意外坠落至死。这本可以避免的 residential neighborhoods in the hutong, the area
人伦悲剧是对表面勃兴的文化 feels like a fancy ghost town, resembling just
产业的一记尖刻讽刺，繁荣的背 another cultural industry park seen everywhere
后隐匿着资本的狂妄和无限扩 in China and in the world. A specter is haunting
张的欲望。 the area, a specter of capitalism. In March 2021,
a worker plunged to his death while installing on
the roof terrace of the M Woods building. This
avoidable tragedy is a poignant satire ripping
apart the rosy image of the cultural industry.
Behind the prosperity lies the capital’s hubris and
desire for unlimited expansion.

隆福寺区域，图右为改造前的隆福大厦，北京东城，2010年­
摄影：杨圆圆
Longfu Temple area, to the right is Longfu Mansion before renovation, Beijing, 2010
Photo: Yang Yuanyuan

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LI
O
个地方任何一点你都会觉得被很多人注视——个人生活
空间的被剥夺，个人生活重叠为集体的共同生活，如今里
面充满了各种违章搭建的空间，而这些空间恰恰都是厕
所、卫浴或厨房等个人或家庭化色彩的秘密空间。 “秘密
空间”同时伴生的概念是“争斗空间”，因为从公共空间中
分割、硬切和溢出的私人空间，必然产生冲突和妥协的反
被 复，同时，这些也都成为集体空间话语的组成部分。

HAUNTED BY HISTORY: ONE OR SEVERAL GHOST HOUSES

历
史 吉列
缠
绕 Longchang Apartment, a former police station
built by the British colonial government in
鬼 Shanghai’s Yangpu District, is circular in its
楼 spatial arrangement. Standing anywhere in the
几 panoptic structure, you feel as if you are being
种 observed by many others—you are deprived
of personal living space, and personal life
overlaps with collective or communal life. Now
it is full of all kinds of illegal constructed spaces,
secret spaces used by individuals or families
as toilets, bathrooms, or kitchens. The concept
of “combative space” is a byproduct of secret
space, because private spaces split off from
public space inevitably lead to cycles of conflict
and compromise, components of discourse in
collective space.

Ji Lie

隆昌公寓
隆昌公寓，上海杨浦，2010年
Longchang Apartments
Shanghai, 2010
Photo: _4gb

LONGCHANG
APARTMENTS
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历
史
缠
绕

鬼
楼
几
种

江海关大楼
CUSTOM
HOUSE
在巫鸿看来，上海的资本主义现代性和北京这一封建王
朝都城的区别在于它关于时间的度量规则。位于外滩的
江海关大楼上的钟楼每敲一下，就标志着一次关于时间
的小型革命的发生。在数次大型革命之后，这座钟从现代
化的象征转为怀旧情怀的载体。那些曾在外滩地区工作
的人们可以证明：大钟仍然会响起，也仍在被使用（这时
他们通常会抱怨自己又要加班工作了）。马克思曾写道，
我们对时间的体验来自于我们通过劳动获得的关于经济
的经验。钟声将我们从白日梦中唤醒，像刀子划过正在融
化的黄油一样划过午后的时光。
卓睿
For Wu Hung, the capitalist modernity of Shanghai differed
from Beijing’s feudal dynasty in its regulations of time. The
clock tower on the Bund at the Custom House tolls on the
hour, marking yet another small revolution of time. Several
larger revolutions later, this bell has gone from icon of the
modern to object of nostalgic reminisce. Those who have
worked in the Bund area can attest: it still tolls and it is still
used (usually to curse fate that they have to do overtime
again). Marx wrote that our experience of time is an
experience of the economy through labor. The chiming of
the bell wakes us from our daydreams, slicing through the
afternoon like a knife through melting butter.

Jacob Dreyer

江海关大楼，上海外滩，2017年
Custom House, the Bund, Shanghai, 2017

172 LEAP S/S 2021 173 幽灵派对 GHOSTED

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REVIEWS
174 LEAP S/S 2021 175 幽灵派对 GHOSTED
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神仙们最近很忙
Nawin Nuthong:
The Immortals Are
Quite Busy These
Days
曼谷CityCity­
画廊，泰国
Bangkok CityCity
Gallery, Thailand
01/30/2021–
03/22/2021 “神仙们最近很忙”展览现场，曼谷CityCity画廊，曼谷，2021年 ­
图片致谢艺术家及曼谷CityCity画廊
View of “The Immortals Are Quite Busy These Days,”
Bangkok CityCity Gallery, Bangkok, 2021
Courtesy the artist and Bangkok CityCity Gallery

176 LEAP S/S 2021 177 幽灵派对 GHOSTED


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多数剧本里都会有这样一个时刻：主角被迫离开舒适区，
被逼到弹尽粮绝。通常来说，一旦越过了这道象征性的边
界，主角便也终结了其日常世界的生活——而对观众而
言，这种逃避主义才真正开始。曼谷策展人纳温·努通在
其首次展览“神仙们最近很忙”中同样使用了这种经典的
叙事范式。该展览在曼谷的CityCity Gallery 举办，以动
画形式讲述了一个男孩进入童话森林的故事。展览空间
的一面墙上放映着动画，而对面的墙上则展出了连环画
风格的图解，其中，反面角色“守门人”——另一种剧本创
作里经常出现的比喻——在男孩前行的路上隐约现身。
男孩对他们说道：“亲爱的树们，我有一个关于历史的问
题，这个问题不是历史的一部分，而是关于历史本身！”
在第一展厅里，循环播放的影像没有依照剧本创作范式
去构建有头有尾的完整叙事，而是试图打破常规，将之作
为展览的说明性场景呈现。也就是说，
“神仙们最近很忙”
看似仅仅讲述了在森林里迷路的好奇男孩的故事，实则
更是对游戏的模拟，一个开放世界的展览——它将带领
观众走出舒适区，步入游戏星系的星轨，而这些星系间散
布着跨学科的、有关游戏学或游戏研究的绝妙想法。
为 了 记 录 这 些 想 法，展 览 模 拟 了 开 放 世 界 游 戏 的 布
景——大受欢迎的沙盒冒险可供玩家任意构筑地形。在
第二展厅里，地板上的叶状边框代表入口，或一道现实中
的裂缝；该展厅用绿色生态墙搭建郁郁葱葱的布景，在不
规则的人造草坪上放置了三架体育馆内的阶梯式座椅模
型（兴许使人想起《堡垒之夜》的防御工事）。超过 150 件
物件以透景画的形式在这些阶梯式座椅模型上陈列，其
中大部分是游戏中物质文化的现实体现，诸如以《我的世
界》（2011）、《魔兽世界》 （2004）和《动物之森》 （2001）
等角色扮演游戏和开放世界游戏中的角色为原型塑造的
玩具塑像。这些超现实的微缩世界——包括被电线套住
的矛尾鱼、栖息在魔法森林边缘的剪影猫头鹰和被琥珀
色灯光包裹着的各种小雕像——有着一套自身的逻辑。
这种不寻常的逻辑看似是在模拟《无人的天空》 （2016）
“神仙们最近很忙”展览现场，曼谷CityCity画廊，曼谷，2021年­
纳温·努通，
《书工厂与魔法森林》 ，2021年­
混合材料，29 x 33 x 38 厘米­
图片致谢艺术家及曼谷 CityCity画廊
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In most screenplays, there comes a moment when our main
character is forced out of their comfort zone, stretched to
their limit. Typically, the instant they cross this figurative
line, this threshold, is when the ordinary world ends for
them—and the escapism for us, the viewer, really begins.
The Immortals Are Quite Busy These Days, the debut
exhibition of work made by Bangkok-based curator Nawin
Nuthong, held at the Thai capital’s Bangkok CityCity gallery,
invokes this classical storytelling convention by way
of a wall-mounted digital animation depicting a boy
heading into a fairytale forest. On the opposite wall,
meanwhile, is a comic book-style illustration in which
said boy addresses the antagonistic "threshold
guardians" —another screenwriting trope—looming
in his path: “Dear all trees, I have a question about
history. Not just part of it! But about it!”
Playing on loop in the first of two rooms, this video
does not tell a complete, rounded story. Rather, it is
an expository cut-scene for an exhibition that seeks
to shrug off, rather than to satisfy, the narrative
conventions of screenwriting. In other words, The
Immortals… is only nominally about an inquisitive
boy lost in woods. It is much more an analogue game
about videogames, an open-world exhibition that takes us
out of our comfort zone and into the orbit of a gaming galaxy
filled with pulsating constellations of ideas that fall loosely
within the interdisciplinary field of ludology, or game studies.
To achieve this, the show simulates the mise-en-scène
of the open-world game, the type of hugely successful
sandbox adventure wherein players are free to explore the
terrain at whim. Beyond another threshold—a leaf-shaped
border on the floor representing a portal, a tear in the fabric
of reality—lies the second room: a verdant set with green
walls and, atop amorphous patches of fake grass, three
islands of prefab stadium seating (reminiscent, perhaps,
of the fortifications in Fortnite). Grouped in dioramas on
the latter are over 150 objects, most of them real-world
manifestations of in-game material culture, such as toy
figurines based on characters from RPG and open-world
games like Minecraft (2011), World of Warcraft (2004–)
and Animal Crossing (2001–). If there is a logic to these
absurdist worlds in miniature—a coelacanth fish snared
in wires, a silhouetted owl perched on the edge of a magic
forest, sundry figurines warming themselves in the glow of
an amber bulb—then it appeares, at first, to be an off-kilter
logic mimicking the deterministic algorithms found in
videogames such as No Man’s Sky (2016), wherein infinite
universes unfurl and NPCs (nonplayable characters) spawn
courtesy of raw computing power. (Similarly, the loud, green
View of “The Immortals Are Quite Busy These Days,” 纳温·努通，《庙宇01》 《庙宇02》 《庙宇03》
，2021年­ Nawin Nuthong, Temple 01, Temple 02, Temple 03, 2021
Bangkok CityCity Gallery, Bangkok, 2021 LED 灯箱，73 x 60 x 7.2 厘米/件­ LED Lightbox, 73 x 60 x 7.2 cm each
Nawin Nuthong, Book Factory Magic Forest, 2021, Mixed media, 29 x 33 x 38 cm 图片致谢艺术家及曼谷CityCity画廊 Courtesy the artist and Bangkok CityCity Gallery
Courtesy the artist and Bangkok CityCity Gallery
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等视频游戏中的确定性算法，模拟游戏中漫无边际的宇
宙场景以及基于原始运算能力被创造出来的 NPC（非游
戏角色）。
（这套逻辑同样体现于NPC 背后花哨的绿色背
景，该背景效仿游戏运用数学公式的做法模拟自然效果，
将人工技术和预定义结构相结合，创造出引人注目的奇
妙生命体。）
如何理解这些基于科技产生的小小人的社交聚会？如何
找出这些遍布展厅的小塑像之间的关联？第一展厅促使
观展者给出人类中心主义的回应，以自我为中心思考叙
事学和叙事者身份——我们是那个在一趟既定冒险中试
着前行的男孩吗？还是自己设定的地图的主人？——第二
展厅的关注点则从观展者这个主体变成了观展对象的本
体，就计算机游戏的符号学进行了梳理。积极探索计算机
游戏的规则和机制不是努通的创作意图；静态玩具无非
是游戏角色和对象的仿像，用这些玩具对计算机游戏进
行仿真俨然是个不小的挑战。展览的目的并非是要让观
展者有置身游戏之感。我们在玩游戏的过程中，在最爱的
游戏环节加速通关时会如痴如醉，时而惊叹于游戏中的
自己和自己的把控技术，时而忘了自身存在和游戏技巧。
而该展览也并非是要还原我们的这些感觉。 “神仙们最近
很忙”既注重体验，也注重理论，不过最重要的是，它能作
“神仙们最近很忙”展览现场，曼谷CityCity画廊，曼谷，2021年­
图片致谢艺术家及曼谷CityCity画廊
180
environment around them parodies such games’ use of
mathematical formulae to mimic nature, to turn human-
supplied art and predefined structures into new lifeforms
that are at once appealing and uncanny.)
How to parse these Lilliputian techno-social gatherings?
How to create something coherent from these scattered
pieces? While the first room provokes an anthropocentric
response, leading us towards self-centered questions about
narratology and authorship—Are we that boy taking our
first tentative steps into a prescribed adventure? Or are we
masters of our own maps?—the second room teases out
the semiotic aspects of computer games through a focus
on the ontology of the object, rather than "you" the subject.
By this, I do not mean that Nuthong actively explores the
rules and mechanics of gameplay; an analogue simulacrum
of a computer game, wherein static toys are mere ciphers
or doppelgängers for in-game characters and objects,
would surely struggle to do so. Nor does the exhibition
come remotely close to approximating actually being
inside a videogame, in replicating that sense of wonder or
forgetting, of both ourselves and the artifice, we sometimes
feel when speedrunning through our favorite levels. No,
View of “The Immortals Are Quite Busy These Days,”
Bangkok CityCity Gallery, Bangkok, 2021
Courtesy the artist and Bangkok CityCity Gallery
LEAP S/S 2021
为跳板供我们思考意识形态、历史和叙事等在游戏内部
循环的诸多概念。
2012 年攻读泰国先皇技术学院（ King Mongkut ’s
Institute of Technology Ladkrabang）的电影研究
和数字媒体专业之前，努通已对日常文化现实与视频游
戏对其修辞之间的关系关注多年。这一研究方向最先引
起他兴趣的是美国游戏开发商 Firaxis Games 在热门
战略游戏《文明5》
（2010）中对古代泰国国王兰甘亨的形
象描绘。在兰甘亨真实肖像缺失的情况下，开发商将其塑
造成了与被赶下台的泰国前总理他信·西那瓦相似的模
样，这使得泰国当局政府大为懊恼。泰国威胁称要发布游
戏禁令，网络游戏社区对此抱怨连天。努通尽可能试着了
解这一研究对象。不久后，他开始以同样的方式调查其他
游戏世界的传说和对象的阈界存在。
努通因此变成了挖掘和研究虚拟场所的“考古式玩家”。
对他来说，游戏世界里的每个对象都是一个文化制成品：
一个拥有自身记忆和历史的时间旅行者、一个因游戏剧
情或玩家操作产生的幽灵、一个粉丝表情包或一套被干
掉的敌人掉落的盔甲，都可以在游戏空间的内外被玩家
感知。诚然这一研究主题晦涩难懂，然而展览的核心任务
却是通过为观众提供游戏考古学所需的概念工具，从而
为这一新兴领域消除歧义并扩大影响。
为了更有助于观众的游戏考古，展厅还展出了策展人
邓智文（John Tung ）的几则短文。这几页纸上文本以­
《论边界》
（An Essay on the Margins）为名，合并成
一页文档在线上呈现。这些说明性的短文正如游戏中弹
出的提示窗口，总在观众考古过程中遇到困难时出现；其
内容涉及深奥的欧陆哲学思想（从马丁·海德格尔的“此
在”概念——“此时此地”或“存在”——到莫里斯·梅洛·庞
蒂的现象学）以及细微的历史概念和科技趣闻。与此同
“神仙们最近很忙”展览现场，曼谷CityCity画廊，曼谷，2021年
纳温·努通，
《铲子草丛》，2021年­
木板及贴纸上喷墨打印，117 x 88 x 62.25 厘米­
图片致谢艺术家及曼谷 CityCity画廊
181
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The Immortals… is, while experiential as well as theoretical,
most emphatically a springboard for thinking about the
systems—the ideologies, histories, and narratives—
circulating within games.
It was back in 2012, years before he chose to read film
studies and digital media at Thailand’s King Mongkut’s
Institute of Technology Ladkrabang, that Nuthong began
interrogating the relationships between our
quotidian cultural reality and the rhetoric
manifesting in videogames. First piquing his
interest was American game developer Firaxis
Games’s depiction of the ancient Siamese
King Ramkhamhaeng in the hit strategy game
Civilization V (2010). In the absence of a true
likeness, they had settled on a face resembling
that of Thaksin Shinawatra, the ousted former
Thai Prime Minister, much to the chagrin of
the then Thai government. At the time, it led to
threats of a game ban in the country, rants by the
gaming community, and Nuthong trying to get
as close to this object as possible. Shortly after,
he began investigating the liminal lives of other
gameworld lore and objects in the same manner.
This makes Nuthong an archeogamer: somebody
who excavates and studies virtual sites. Each and every
game-world object is for him a cultural "artifact"; a time
traveller with its own memory and history; a specter that,
whether originally generated by a game’s own diegetic
content or forces external to it, a fanboy meme, or a suit
of armour dropped by a slain enemy, can be sensed both
beyond and within the borders of game space. Esoteric
stuff, yes, but then the core mission of the exhibition is
arguably disambiguating—and evangalising for—the
burgeoning field of archeogaming by equipping us with the
conceptual tools necessary to get digging.
Helping us dig smarter are short texts by the curator
John Tung, displayed on separate sheets of paper and
collated online in a one-page miscellany entitled "An Essay
on the Margins". Manifesting at tricky moments, much
as in-game pop-ups tend do, these explainer texts veer
from strains of esoteric Continental European thought
(from Martin Heidegger’s concept of Dasein—"being
there" or "presence"—to Maurice Merleau-Ponty on
phenomenology) to the nuanced concepts of history and
tech-related tidbits. Laid out on a table in a corner of the
second room, meanwhile, are cards representing each
object. While collectible cards and card games are one of
the most common physical extensions—and, conversely,
View of “The Immortals Are Quite Busy These Days,”
Bangkok CityCity Gallery, Bangkok, 2021
Nawin Nuthong, Shovel Bush, 2021
Inkjet printed on sticker, wood; 117 x 88 x 62.25 cm
Courtesy the artist and Bangkok CityCity Gallery
幽灵派对 GHOSTED
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时，第二展厅的角落里设有一张桌子，摆放着代表每个游
戏对象的卡片。收藏卡和纸牌游戏是计算机游戏最常见
的物理延伸——反过来说，也是计算机游戏的前身——而
努通似乎试图通过打破物理分层，将游戏对象仅仅表示
为符合其基本属性的数据，在观众面前布下考古游戏的
数据陷阱。此外，努通在www.busyimmortal .com 上
将游戏对象按类型学归类。网站设置了七个主题，包括历
史考证、边界、建构世界和游戏/游戏文化，点击其中一个
主题，可看见多个相关游戏对象在动态流程图中
被相应地折叠或区隔开来。人们着迷于浏览流程
图，就像沉迷于努通的展览。如协助策展的社会
学家克里特·坦塔西（Kritti Tantasith）所写，人
们会看到“游戏中所表达的内容是如何安排的，
事物是如何分类的，某些东西是如何被公然作为
垫牌使用的”。
努通的首次展览是一次大胆的尝试，表面上他
用孩童般的感知打造了一个藏有各种细节和惊
喜的、摸不着头脑的符号学欢乐屋，实则也揭示
了益智计算机游戏，尤其是那些元小说式的、有
突破虚实边界倾向的游戏，有时也会展现出乏味
的真挚和自负。不过，就像那些最精彩的游戏一
样，
“神仙们最近很忙”想要表达的东西很多（对
于这样一次游戏大会来说可能有点太多了）。努
通模拟虚拟世界这件事之所以具有魅力，在于他
的初衷，即“与其逃避现实，不如探寻模拟之中的内在真
理”，这恰能诠释邓智文仿佛给电脑安装硬件般在展览中
植入的一个鲍德里亚式观念。一切正如展览中向身临边
界，即将展开冒险、获得力量的主角（即观众）发出的一个
温柔提醒：“这世界往往比你知道的更大”。
麦克斯·克罗斯比-琼斯
李婉莹译自英文
“神仙们最近很忙”展览现场，曼谷CityCity画廊，曼谷，2021年­
图片致谢艺术家及曼谷CityCity画廊
182
progenitors—of computer games, here Nuthong appears
to be attempting to map the morass of archeogaming data
before us by shattering the physical hierarchy, reducing
the objects to pure data in accordance with their essential
properties. Lastly, an even more intrepid attempt to
classify the objects by typology can be found at the URL
www.busyimmortal.com. Click on one of the seven
themes—among them Historical Inquiry, Threshold, World
Building, and Game/Play Culture—and interrelated objects
are pulled into a fluid flow-chart that serves to both collapse
and compartmentalise. As with the exhibition itself, one can
get lost here seeing how, as sociologist collaborator Kritti
Tantasith writes, “said content is arranged, how things are
classified, how certain things are so blatantly discarded.”
While it initially feigns a childlike sensibility, Nuthong’s
daring debut exhibition—a confounding semiotic funhouse
full of nooks and hidden Easter eggs—also goes on to
reveal the same nerdy earnestness and self-importance you
sometimes find in cerebral computer games, particularly
those of a metafictional, boundary-breaking bent. But
like the best of those, The Immortals… has much to
say (too much for one gaming session). To paraphrase
a Baudrillardian notion hardwired into the exhibition’s
mainframe by Tung, the appeal of Nuthong’s analogue
simulacra of the virtual realm stems “not so much from an
escape from the real, but a longing for the truth inherent
of the simulacrum.” Or as one of the exhibition’s mild
admonishments, directed at the lead character on the
threshold of new adventures and powers (i.e., us), puts it:
“The world has always been bigger than you had known.”
Max Crosbie-Jones
View of “The Immortals Are Quite Busy These Days,” 纳温·努通，
《树议会》
，2021年­ Nawin Nuthong, Tree Council, 2021
Bangkok CityCity Gallery, Bangkok, 2021 木板及贴纸上喷墨打印，201 x 85 厘米­ Inkjet printed on sticker, wood, 201 x 85 cm
Courtesy the artist and Bangkok CityCity Gallery 图片致谢艺术家及曼谷CityCity画廊 Courtesy the artist and Bangkok CityCity Gallery
LEAP S/S 2021 183 幽灵派对 GHOSTED
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郝量，
《套数·秋思——十小时》 ，2020-2021年­

W
绢本重彩，147 × 233.5 厘米­
图片致谢艺术家及维他命艺术空间­
­
Hao Liang, Suite: Autumn Thoughts —
Ten Hours, 2020-2021, ink and color on silk,

Hao Liang:
147 × 233.5 cm
Courtesy the artist and Vitamin Creative
Space

Autumn
Thoughts
镜花园,维他命­
艺术空间,广州
Mirrored Gardens,
Vitamin Creative
Space, Guangzhou
01/23/2021–
“秋思——郝量个展”展览现场，镜花园，维他命艺术空间，广州，2021年­ View of “Autumn Thoughts: Solo Exhibition of Hao Liang,”
图片致谢维他命艺术空间 Mirrored Gardens, Vitamin Creative Space, Guangzhou, 2021
Courtesy Vitamin Creative Space

184 LEAP S/S 2021 185 幽灵派对 GHOSTED

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将中国传统的绘画语言转译到当下的创作中往往是一 Translating the language of traditional Chinese painting to 构，但多层叠嶂的手法并未摒弃，仍以水流来处理纵深， is the focal point for several figures scattered around the
件让艺术家望而却步的事情。因为这种做法不仅需要掌 the present is often a daunting task for artists. It requires 一直到远处的城市，这会让人想起倪瓒画作中一江两岸 lake, apart from a figure in the lower right corner, who
握精湛的技术，它更需要把握并沿袭古人绘画中的气韵 not only consummate technique but also the ability to 的构图方式。一方面这种方式更顺应其大型画作长方形 looks away to something outside the picture plane. To the
去转译此刻的现实与发生。从郝量以往的展览呈现中， translate the spirit of traditional painting into present reality. 的尺幅，另一方面，这种具有电影画面感的手法看似更适 northeast sits a white tower atop a distant mountain, a flock
我们不难发现，他由“潇湘八景” （2016）到“夜以继日” Hao Liang’s research and study of traditional landscape 用于将当下碎片化的信息，以隐喻的手法去影射当下的 of circling crows overhead signaling a foreboding omen in
（2017- 2018）双联画中在古代山水画形式上的剖析与 painting are evident in works like Eight Views of Xiaoxiang 政治形势，社会变迁，人文环境，官方说辞，艺术圈的现状 the early morning light. Dead trees and leafless weeping
研究，以及持之以恒地寻觅与古今中外绘画形式上变通 (2016) and Night and Day (2017–18). He is persistent in his 以及身边的很多人的遭遇。如“日暮”中同样以正面示人 willows are scattered across the bottom of the picture
的可能。而近期在镜花园呈现的个展“秋思”中，郝量则将 search for ways to formally adapt traditional techniques 的托洛茨基，背对着昏黄的夕阳，定格于共产主义早期的 like wandering ghosts, adding a bleak, postapocalyptic
形式上的研究通过借用元代作家马致远的散曲《套数·秋 to modern painting. And in the Mirrored Gardens Hao 理想远去的瞬间，那一刻，他化为背负不可违之命运的盲 quality to the work. Hao Liang employs a montage-style
思》的章节作为“主题” ，提升到对精神性制式的推敲中。 Liang takes inspiration from Yuan dynasty playwright Ma 人俄狄浦斯。 composition to replace planarity, height, and depth—the
Zhiyuan’s poem Autumn Thoughts to elevate his formal three distances in traditional paintings. He does not
如果宋画的美学追求的素雅让清逸之气溢出卷外，那么 research to a new level of spiritual inquiry. 郝量的这组大尺幅的作品隐藏了沉重，危机，谜团和虚 abandon the use of overlapping multiple layers, however,
元代文人画则以“隔江秋色，一江两岸的”的图式著称， 无的世界观。一些形象和细节中给出的线索又如草蛇灰 nor the flow of water to suggest depth as it stretches to a
作品多隐喻安于隐居的心态，以闲情逸致的生活勾勒出 If Song dynasty painting aesthetics pursued simple and 线般延伸着，比如人面与动物的结合，枯树与荒原共同 distant city, techniques that recall Ni Zan’s “one river, two
一幅幅清静无为的图景。郝量在《套数·秋思》系列中呈现 fresh elegance that overflowed from the scroll, then Yuan 营造出的宏大场景。蛛网及画面中的几何元素切割着画 banks” compositions. In one sense, this style lends itself
的“晨昏”
“ 日暮”
“ 牛羊草”
“ 十小时”以及“梦呓”与马致 dynasty literati painting used the style of “rivers cutting 面，每件作品的调性让观者不尽联想到本雅明提到的光 well to the large rectangular dimensions of his paintings,
远书写的章节有着某些殊途同归之处，如对自然时刻的 through autumn scenery” and depictions of life at rest 晕（aura）与文人画中气韵的变通。此外，郝量在应物象 and in another sense, the cinematic approach seems better
关注和某些情景的呈现，但事实上，每一件作品都打破了 as metaphors for a reclusive and peaceful state of mind. 形和经营位置上更进一步，如画面上诸多视觉元素和内 suited to capturing the fragmented nature of information in
时空的界线。例如在预言式的开篇之作“晨昏”中，水天一 In five large-format works, Dawn (2020), Sunset (2020), 容，而不乏宋代工笔重彩画中均匀色彩的处理所营造的 the present. He uses metaphors to allude to current politics,
色的处理为阴郁的画面奠下了基调，湖面中的水线仿佛 Pasture (2018-19), 10 Hours (2020-21), and Sleep Talking 质感又回归到随类赋彩的范畴，它们相互呼应，为画面绘 social change, the environment, official rhetoric, the current
街道般排布，与中央局部的漩涡状描绘共同营造出令人 (2019-20), Hao Liang draws on verses in Autumn Thoughts 制了某种整体感。其中，艺术家在寻找薄厚之间，透明与 state of art, and his many encounters with people around
诧异的氛围，也成为对湖零散而立的几个人物的视觉焦 that describe certain scenes and environments. Each work 不透明的关系上大下功夫，从而达成一种半隐半显的状 him. In Sunset, the figure of Leon Trotsky turns his back on
点，唯独右下角的猴面人望出了画面，而东北方向远山上 breaks the boundaries of time and space. For example, in 态。 这似乎也与展览空间以自然光线为主的观展条件相 the fading sun. It frames the moment in history when the
那座白塔则被一群盘旋的乌鸦，在昏暗的清晨提示着某 the prophetic opening piece, Dawn, water and sky merge 呼应。迫使观者，远观近赏艺术家埋伏在作品中的思绪。 ideals of the early communist era slipped out of reach, and
种不祥之兆。枯树与失去叶片的垂柳似鬼魂游走、散布在 into one color, setting a gloomy tone. The lines depicting the Marxist revolutionary became Oedipus, a blind man
画面下方，更增添出萧索的末世之境。郝量采用了蒙太奇 water in the lake look like streets, and at the center is a 而此次展览中的小幅作品中，艺术家则采用了愈加扁平 with a destiny foretold.
的构图方式去替代古代绘画中平远、深远、高远的图像结 swirling vortex that creates a surprising visual effect. This 化和抽象的元素、画面构成。一方面郝量借鉴了南宋绘画

郝量，
《套数·秋思——日暮》 ，2020年­ Hao Liang, Suite: Autumn Thoughts — Sunset, 2020 郝量,《套数·秋思——晨昏》 ，2020年­ Hao Liang, Suite: Autumn Thoughts — Dawn, 2020
绢本重彩，111.4 × 205.5 厘米­ Ink and color on silk, 111.4 × 205.5 cm 绢本重彩，156.8 × 291.7 厘米­ Ink and color on silk, 156.8 × 291.7 cm
图片致谢艺术家及维他命艺术空间 Courtesy the artist and Vitamin Creative Space 图片致谢艺术家及维他命艺术空间 Courtesy the artist and Vitamin Creative Space

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中一角半边的图式，大量摒弃画面留白的取舍选择与大

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Hao Liang’s large-format works present a worldview of
幅作品取得了一致。如作品《河伯娶妻》的三联画中，艺术 heaviness, crisis, mystery, and nothingness. Threads
家同样采用了如同电影镜头般，镜深，单向甚至双向的窥 running between figures and details are like the grey lines
视去呈现某一个情景的多重角度以及叙事方式，现实与 of snakes stretched out in the grass. There are animals
创作的世界在眼神交错中打破了界限。 with human faces and dead trees in a wasteland. Spider
webs and the pictures’ geometric elements cut through
郝量在古今不党的学习和实践中，顺从着自己内心，创造 images, the blended quality in each work recalling Walter
出了一个生活在当下的个体对于现实的直观反馈。虽然 Benjamin’s notion of aura and the resonance of spirit in
沿袭宋元绘画的技法与图示与当下流行的视觉语言显得 literati painting. Hao Liang goes a step further in dealing
格格不入，但这种剑走偏锋的执念不失为某种坚持，“我 with the image and placement of objects. He creates a
觉得我的创作方式完全是在东西方绘画边缘上行走，坚 rich tactile quality amidst his monochromatic palette,
决地在保留传统的同时去破解它。”换言之，艺术家在不 using the meticulous brushwork techniques of the Song
停获取与积累知识的同时，持续思考如何找到知识与个 dynasty to summon a class of poetry and painting. Image
性之间的关系。如何抵抗思想的固化可能对个体本性的 and placement echo each other, bringing a sense of
压制，以及如何在两者之间寻找到某种平衡感。这如同古 wholeness to the picture. The artist has made a great effort
画中考究的“景的再现与境的营造”，前者无疑是对艺术 to find equilibrium between thinness and thickness and
家技法和学识的考量，而后者则展现了其代表的人文价 transparency and opacity, so as to achieve a quality of semi-
值取向。 hidden and semi-visible within these works. It is a quality
that works well with the natural light in the exhibition space,
贺潇 compelling the viewer to appreciate from afar the thoughts
the artist has buried within the works.

With the smaller works in the exhibition, the artist has

郝量,《河伯娶亲》 ，2019年­
绢本重彩，34.4 x 24 厘米/27.4 x 19.3厘米­
图片致谢艺术家及维他命艺术空间­
­
Hao Liang, Arranged Marriage for HeBo, 2019
Ink and color on silk, 34.4 x 24 cm/27.4 x 19.3cm
Courtesy the artist and Vitamin Creative Space
adopted a flatter and more abstract composition in the
painted elements. Hao Liang draws inspiration from the
one-corner compositions of Southern Song painting,
leaving a large portion of the picture plane empty. In
the triptych Arranged Marriage for HeBo (2019), the
artist employs depth-of-field and single- and multipoint “秋思——郝量个展”展览现场，镜花园，维他命艺术空间，广州，2021年­ perspective like a cinematographer to present the scene’s
图片致谢维他命艺术空间­
­ narrative. The boundary between real and created worlds is
View of “Autumn Thoughts: Solo Exhibition of Hao Liang,”
Mirrored Gardens, Vitamin Creative Space, Guangzhou, 2021 broken by the eye’s interplay across the work.
Courtesy Vitamin Creative Space

In his study and practice of both the traditional and the

modern, Hao Liang follows his heart to create reflections
based on his direct observation of reality as an individual
living in the present. Although the illustrations and
techniques of Song and Yuan dynasty painting seem out
of step with current popular visual language, Hao Liang’s
insistence on veering off the beaten path requires no small
amount of persistence, as he himself states: “I feel that
my way of creation walks on the absolute edge between
eastern and western painting, and I’m resolute in trying to
decipher it and preserve the tradition.” That is to say that
while the artist continues to pursue knowledge, he also
considers the relationship between knowledge and self.
How does one resist the possible suppression of self in the
face of ideas and knowledge? How does one find a sense
of balance between the two? The former is undoubtedly
a consideration of the artist’s technique and knowledge,
while the latter shows the value the human perspective
represents.

Fiona He

TRANSLATED FROM CHINESE BY JOY BLOSER

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西斯特·盖茨

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Theaster Gates
多宝阁 China Cabinet
Prada荣宅，上海
Prada Rong Zhai
03/11–05/23/2021
坏霓虹 Bad Neon
油罐艺术中心
TANK, Shanghai
03/19–08/29/2021 “西斯特·盖茨：多宝阁”展览现场，Prada 荣宅，上海，2021年­
摄影：Alessandro Wang­
图片由Prada基金会提供
View of “Theaster Gates: China Cabinet,” Prada Rong Zhai, Shanghai, 2021
Photo: Alessandro Wang
Courtesy Prada

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近期，上海的荣宅和油罐艺术中心同时展览着西斯特·盖 Work by Theaster Gates is currently being exhibited at 两个主题的展厅，“访客”里的作品都以比较典型和正式 the gaze projected from the subjective “viewer” onto
茨的作品。前者的展览名为“多宝阁” （China Cabinet） two venues in Shanghai: Prada Rong Zhai and TANK. 的展览方式呈现。通过一系列脱离语境的作品，艺术家表 the passive “viewed.” In comparison with the other two
，后者则为“坏霓虹” （ Bad Neon ）；它们都仿佛表现 The exhibitions, titled “China Cabinet” and “Bad Neon” 现了，当一切主观的观看维度碰上一种新文化时均可能 sections in this exhibition, artworks in the “guest” gallery
着 艺 术 家 对 社 会 系 统 和 结 构 的 迷 恋 。正 如 盖 茨 所 说， respectively, have the same discursive focus: a fascination 面临失语的危险，因此人们只能从其熟悉和习惯的文化 are displayed in a relatively conventional way. Presenting
他 某 种 程 度 上 是 个 社 会 装 置 艺 术 家 ；由 于 一 直 对“事 with social systems and structures. Through Gates’s 认知出发来理解新的社会系统。以作品《黑砖人力车》为 a series of decontextualized artworks, the artist reminds
物 被 控 制 的 方 式、它 们 是 如 何 被 塑 造 的，以 及 根 据 特 attentive observation and alteration of materials, cultures, 例，人力车乃外国人眼中中国文化的典型表现符号，但此 us of our tendency to understand a new social system
定 主 体 立 场 和 定 位 的 不 同，其 视 觉 是 如 何 变 化 的”等 and scenes, identities that were once cemented by 件作品却是由艺术家从墨西哥找到的类似的人力车，以 through the lens of our own cultural background. In Gates’s
议 题 着 迷，其 作 品 所 表 达 的 结 构 和 系 统 也 并 非 固 定 。 “politically correct” discussions in our societies are no 及同样出现在荣宅此次展览的5 号展柜“具象主义历史” Rickshaw for Black Bricks (2013), the rickshaw, long
艺 术 家 对 材 料、文 化 和 情 景 进 行 细 微 观 察 和 加 工，使 longer abstract concepts but now substantial and concrete 中的孔子雕塑和 4 号展柜“中国瓦片的回归”中的瓦片所 associated by westerners with China, was in fact sourced
得 当 下 社 会 一 些 被“ 政 治 正 确 ”所 僵 化 的 身 份 认 同 entities. What the viewers see in Gates’s works are not 构成——它们都混合了“黑人文化”的一类象征物。当主 in Mexico. Combined with a Confucius statue presented
从 抽 象 变 为 具 体 。在 艺 术 家 的 作 品 里，人 们 看 到 的 antagonistic identities but rather a fluid community that, as 体进入陌生社会系统时，都会无意识地把对自身习惯之 in the showcase Concrete Historicism (No.5) and clay
不 再 是 对 立 的 身 份 差 异，相 反，根 据 社 会 学 家 塔 尔 德 sociologist Gabriel Tarde proposed in his Laws of Imitation 想象和新事物进行类比。然而，有别于一般人对异文化的 tiles in The Repatriation of Chinese Tiles (No.4), the artist
（Gabriel Tarde）的模仿律（laws of imitation），­ (1890), defies the atomic structure of interrelationship 妄下判断，盖茨对搜集回来的瓦片进行考察和加工处理， creates a mélange of signifiers for various cultures. When
文化可以被模仿并共融于物和容器之中，人和人之间的 among individuals, since cultures can be imitated and 务求从对物料性质的研究中理解新的文化。或许只有具 an individual enters a foreign social system, in this case
关系也绝非原子化的结构和系统，而是可流动的社群。 embodied in objects and vessels. 备这样谦逊的态度，才有可能消除从“不习惯”而来的主- Chinese society, they will inevitably resort to creating an
客凝视关系。 analogue between their own background and the strange
艺术家将“多宝阁”的展场分为三个主题，分别是“访客”、­ Gates divides “China Cabinet” into three thematic things they discover in the new environment. Gates resists
“幽影”和“主人”。对于理解一种陌生的社会系统，他似乎 sections—“guest,” “ghost,” and “host.” “Guest” denotes 然后，当我们慢慢融入某种文化语境时，便可以开始利用 projecting a stereotypical judgement onto the other culture,
不愿意扮演抽象的旁观者。当人们进入一个不曾接触过 the position of a newcomer to an unfamiliar land. To such 新系统中的物料来表达我们自己。首先，主客体关系被取 instead delivering in-depth studies and the remolding of
的国度，对于这些“访客”而言它首先是个展示品。这是主 a person, the new country appears to be, foremost, an 消了，人们便可以如“幽影”般随心所欲地放置诸物。相对 tiles collected from various sites in China to understand
客二分的“被看”和“观看”的凝视结构。因此，相比起另外 object on display. A structure of domination is found in 于“访客”，
“幽影”的展品更像被“在熟悉的家里”一样摆 the culture through research into its materiality. Perhaps

“西斯特·盖茨：多宝阁”展览现场，Prada 荣宅，上海，2021年­ View of “Theaster Gates: China Cabinet,” Prada Rong Zhai, Shanghai, 2021 “西斯特·盖茨：坏霓虹”展览现场，上海油罐艺术中心，上海，2021年­ View of “Theaster Gates: Bad Neon,” TANK Shanghai, Shanghai, 2021
摄影：Alessandro Wang­ Photo: Alessandro Wang 图片由上海油罐艺术中心提供 Courtesy TANK Shanghai
图片由Prada基金会提供 Courtesy Prada

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 “西斯特·盖茨：多宝阁”展览现场，Prada 荣宅，上海，2021年­ View of “Theaster Gates: China Cabinet,” Prada Rong Zhai, Shanghai, 2021
摄影：Alessandro Wang­ Photo: Alessandro Wang
图片由Prada基金会提供 Courtesy Prada

西斯特·盖茨，
《灵魂化石人力车》，2012年­ Theaster Gates, Rickshaw for Fossilized Soul Wares, 2012 “西斯特·盖茨：坏霓虹”展览现场，上海油罐艺术中心，上海，2021年­ View of “Theaster Gates: Bad Neon,” TANK Shanghai, Shanghai, 2021
木，黑色水泥，陶土，塑料­ Wood, cast black concrete, clay, and plastic 图片由上海油罐艺术中心提供 Courtesy TANK Shanghai
图片由艺术家及白立方画廊提供 Courtesy the artist and White Cube

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放着。当然，对新系统真正的热爱不可能脱离物料，那么 关于禅宗的画作、取材黑人民权历史社会学家杜波依斯

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his humble attitude will offer a long-awaited counter to the from an external system and reconstructs them as sacred
人们就必须放弃大脑的控制，以身体的实践来思考新语 unidirectional gazing that results from foreignness between （ W.E.B. Du Bois ） 的作品，以及向起源于芝加哥的 treasures that call for spirituality.
境。艺术家在和黏土的不断“交流”中学习；因为只有从 a subject and an object. 浩室音乐（ House ）致敬的雕塑……盖茨从没有放弃
物料和身体的相互反馈出发，创造和把新元素注入当下 过在系统里加入“反思社会”的意图。他的作品尝试让我 If “China Cabinet” presents the artist attempting to enter
语境才成为可能。故在作品《Corpus》中，观者看到所有 As a subject adjusts to a new cultural context, they can 们的身体沉浸在具备愉悦和美感的系统里，但又要我们 a new system, “Bad Neon” illustrates the way in which
陶器都不限于某一种文化；艺术家的身体亲力亲为地介 start to deploy materials found in the new system for the 保持对陌生事物的一定反思。因而他认为自己的作品是­ he skillfully represents a new system for his viewers
入到物料之中，使得非洲、欧洲、亚洲和美洲文化同时能 purposes of self-expression. The subject-object relationship “社会装置“：它们一直在探求一种社会学意义上不同系 under the ongoing topic of “calling for spirituality.” As
交汇在作品之中。无怪乎艺术家提出了德语中的词“Das breaks down, and one is free to move and place objects at 统之间互相介入的关系。艺术家发现一切事物都基于模 Tarde understood, the only social fact lies in imitation, but
will, much as a ghost might imitation always comes
roam a house. In contrast with variation. The artist
to the more conventional lures his audience into
installation of works in a state of ecstasy by
the “guest” section of the repeating his context in a
exhibition, the artworks different place. A scene
in “ghost” look as though is indispensable to the
they have been displayed process when a subject is
in a domestic setting. trying to be integrated into
One’s fondness for a new a new system—therefore
system always involves we have the neon lights, a
its materials, encouraging roller-skating rink for public
the individual to forgo socialization, and pop
intellectual comprehension music from the 1980s to
of a new cultural context enliven the field of a system
in favor of physically in this institutional show, so
experiencing it. Gates that visitors can partake in it
continuously learns through through physical activities.
his “communication” with In addition, the artist does
clay. Only when body and not forget to imbue his
material “speak” to each system with philosophical
Ding”
（物）
，在海德格尔（ Martin Heidegger ）的哲 other can the person create and apply new elements to 仿，或者说我们每天所看到的社会现象都只不过是一种 discourses: using neon lights to recreate Zen paintings
学中强调了其容器的意思。物成为了身体的容器，让一切 the current cultural context. In Corpus (2021), the viewer 模仿的结构。而重点在于，谁越愿意细致地模仿和学习， by Agnes Martin, drawing inspiration from the works of
创造变得开放。 最后，身体经过浸淫日久的参与，人们才 will notice that each of the clay vessels represents multiple 谁就能创新。因此，盖茨在访谈中戏称自己是个语境制 African-American writer, teacher, and activist W.E.B. Du
有机会在系统中从“访客”过渡为“主人”。 “主人”已经对 cultures: the artist’s body has intervened in the materiality 造者（ context maker ），甚或是个“骗子”
（ hustler ） Bois, as well as paying tribute to Chicago house music.
系统中的一切游刃有余，他可以随时挖空自己，让新的访 of the objects with the result that cultures from African, 俨然是对的。 Gates never ceases to evoke the intention of “reflecting
客把外来系统的物或身体投入其中。如同海德格尔所谓 European, and Asian regions all converge in these works. It on social issues” in his works. His creative products invite
的上手状态（ Zuhandenheit ），此时身体和物已经融 is not surprising to see Gates propose a German vocabulary 张嘉荣 us to submerge our bodies into a system brimming with
为一体，
“主人”展厅中的各个作品也都在展示如何把外 in his work—Das Ding, or “The Thing” in English, in pleasure and aesthetics, while also asking us to maintain
部系统的不同物料重新编织为召唤灵性之圣物，包括含 which the philosopher Martin Heidegger underscored a focus on things unfamiliar to us. Taking these ideas into
有高锰的砖块、旧地毯、黏土等等。 a secondary meaning of “vessel.” The object becomes account, he considers his works as “social installations”
a vessel of one’s body, opening up every possibility for in that they are always exploring the sociologically defined
如果说“多宝阁”展示了试图进入新系统时艺术家的姿 creation. Eventually, after a body has fully participated in mutual intervention among various systems. Gates realizes
态，那么在“召唤灵性”这个意义下，另一个展览“坏霓虹” and adapted to the new environment, the “guest” goes that everything is based on imitation, which is another way
则表现了其如何高超地把一个新系统重现于人们眼前。 through a rite of passage to turn into a “host,” who has of saying that the social phenomenon we witness on a daily
正如塔尔德所理解，唯一的社会事实不过是模仿，但模仿 made itself completely comfortable within the system. basis is nothing but an imitative structure. The point is that
中总存在变异。艺术家通过在异地重复自己所熟悉的语 The “host” can hollow itself out as if it is a vessel, allowing diligent imitation results in innovation. Which is perhaps
境，来让观众达到”入神“（ ecstasy ）的效果。
当然，要 new guests to fill it with objects and bodies from external why Gates once described himself, half-jokingly, as a
主体融入新系统，场景仍然是首要的。这就是为什么一个 systems. By doing so, as Heidegger’s term Zuhandenheit, context maker, or even a hustler.
80 年代用于社交的轮滑冰场、霓虹灯和当时的流行音乐 or “ready-to-hand,” suggests, the body and the object have
让系统的场所活了起来——人们可以切身处地通过身体 “西斯特·盖茨：坏霓虹”展览现场，上海油罐艺术中心，上海，2021年­
become a unified entity. Items in the “host” gallery, such as 图片由上海油罐艺术中心提供­
Nelson Zhang
参与其中。另外，艺术家也不忘把深刻的哲理渗透到系统 bricks containing potassium permanganate, old carpets, ­

中：以霓虹灯来复刻艾格尼丝·马丁（ Agnes Martin ）

View of “Theaster Gates: Bad Neon,” TANK Shanghai,
and clay, demonstrate how the artist assembles materials Shanghai, 2021­ TRANSLATED FROM CHINESE BY LILY SUN
Courtesy TANK Shanghai
西斯特·盖茨， 《黑砖人力车》，2013年­ Theaster Gates, Rickshaw for Black Bricks, 2013
摄影：Marc Tatti­ Image: Marc Tatti
图片由艺术家提供 Courtesy the artist

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 蒲英玮：晦涩历险——­

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思辨波普与泛中主义
Pu Yingwei:
Obscure Adventure—
Speculative Pop &
Pan-Chinesism
星美术馆SSSSTART­
研究中心，上海
SSSSTART, Shanghai
03/20/2021–
05/10/2021
“蒲英玮：晦涩历险——思辨波普与泛中主义”展览现场， View of “Pu Yingwei: Obscure Adventure—
星美术馆SSSSTART研究中心，上海，2021年­ Speculative Pop & Pan-Chinesism,” SSSSTART, Shanghai, 2021
图片致谢星美术馆SSSSTART研究中心 Courtesy SSSSTART Shanghai

198 LEAP S/S 2021 199 幽灵派对 GHOSTED


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20 世纪下半叶，伴随新中国经历的从“文化大革命”到改
革开放、政治体制改革等社会意识形态和经济巨大变革
的是新中国美术在不同历史时期的发展历程，尤其在文
革结束后的1978 年至2000 年间，中国迎来了美术史上
最具革新性的时期，伤痕美术、星星画会、八五新潮、政治
波普、顾德新及新刻度小组、1989 中国现代艺术大展、
大尾象等艺术团体、事件和运动纷纷涌现，它们被广泛地
认为是当代艺术在中国最初始的面貌。在21世纪的第二
个十年，艺术家蒲英玮试图在今天的现
实语境下重访那时期艺术观念及思潮建
构的状态，提出“思辨波谱”、 “泛中主义”
和“晦涩历险”的概念，在星美术馆一项
致力于艺术家个案研究的“艺术家谱系
研究”项目中进行了一次尝试性实践。
展览采用了与过去对话的方式，从星美
术馆的收藏中选取了九件作品一一展开
绘画语言和图像上的再诠释。延续了其
近年来的“帝国字体”系列绘画，蒲英玮在
《帝国字体（红色与其之间的微妙差别）
》中创造了一组符号式的字库，回应一旁
吴山专的绘画《三十二个错别字：第 3 / 3
次》（1985 -2005）。吴山专在80 年代中
期发起的“国际红色幽默”以制造错字伪
字的行为幽默地消解“红色”代表的意识
形态和大字报的政治宣判，蒲英玮在保
留了大字报的书写形式下将之转译为汉
字体系外的另一种不可读的语言符号，
使这种不可读性变得更加普适。政治波
普最重要的代表王广义、李山、余友涵等
人都曾对毛泽东形象进行过大量再创
作；整个8、90年代，西方现代思潮的涌进也随之带动了商
业、资本和消费主义的兴起，政治波普正是诞生在宏大的
社会主义政治情节向日常的现实社会经验的转向之中。
余友涵在《毛主席爱人民：蓝》 （1995）中将毛的形象悬置
于工人妇女的群像中，与此对应的，是蒲英玮用“华”字和
一片红色覆盖的与毛亲切握手的非洲劳动妇女形象（ 《华
（CHINAFRICA ）》）。相似的手法还可见于他对王广义
的一幅用工业快干漆涂抹西方古典名画的挪用： 《华（彩色
覆盖）》以黑色的“华”覆于一片彩色背景上， 《20世纪非洲
美术》的封面被压在画面的最底层，上世纪中国与西方的
关系在今天转变为中非之间复杂而微妙的政治经济纽带。
由此，“思辨波谱”和“泛中主义”的指向逐步明晰，前者是
对不再合时宜的政治波谱在今天中国的意义潜能的重思，
后者则是对当代中国在国际社会上建构、扩张其主体性的
反思和想象，对二者的思考与实践过程正是一场“晦涩历
险”，历史的隐晦和未来的缺席终究如幽灵般缠绕着当下
的方方面面。
李山的政治波普自始把政治权利与情欲魅力结合在其
图像语法中，
《每星期的七天 六十七号》
（1994）中两只
蒲英玮，
《临摹潘⽟良（⿊人男子）》 ，2019年­
布⾯油画，30 x 20 厘米­
图片致谢艺术家
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形象完全相同的、嘴里同衔一支艳粉色莲花的大鹅被转
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The new art of China developed in step with the enormous In contrast, Pu Yingwei covers an image of a working
social and economic changes of the second half of the 译为蒲英玮在“中国资本China Capital”系列里的对各 African woman shaking hands with Mao with the character
twentieth century, from the Cultural Revolution to China’s 类视觉符号的挪用和拼贴。借以可口可乐英文字体书写 “Hua” and a red patch in his work Hua (CHINAFRICA)
economic and political reform. Between 1978 and 2000, 的“China Capital”字样、1978、邓小平形象、工人阶级 (2021). A similar technique can be seen in his appropriation
in the years following the end of the Cultural Revolution, 画像以及两只大鹅的形象都被拼贴重组在画作《统梦（情 of Wang Guangyi’s technique of painting classic western
Chinese art witnessed one of its most innovative periods, 人）》中，李山作品里用动物戏剧化地表现人类理性之外 paintings with fast-drying industrial paint. Hua (Overlaid
with the emergence of art groups, events, and movements 的生命力和情欲的建构在蒲英玮这儿以更外化直接的方 by Color) (2020) features a black “Hua” over a colored
like Scar Art, the Stars Group, ‘85 New Wave, Political 式处理成资本主义和社会主义两大意识形态相互博弈的 background. The cover of a book titled 20th Century African
Pop, Gu Dexin and the New Art is overlaid onto the bottom
Measurement Group, the 1989 of the picture, transforming the
China/Avant-Garde Exhibition, relationship between China and
and Big Tail Elephants art group, the West over the past century
all of which are widely recognized into today’s complex and delicate
as the initiators of contemporary political and economic bond
art in China. Now, in 2021, artist between China and Africa. In
Pu Yingwei attempts to revisit the this way, the direction of the
artistic concepts and ideological concepts “Speculative Pop”
constructs of that period in the and “Pan-Chinesism” becomes
context of today. He proposes the clear. The former is a rethinking
concepts of “Speculative Pop,” of the potential irrelevance of
“Pan-Chinesism,” and “Obscure Political Pop in today’s China,
Adventure” as his thesis for the while the latter is a reflection on
“Genealogy Study of Artists” at and imagination of contemporary
the SSSSTART museum, a project China’s construction and
dedicated to artist case studies. expansion of its subjectivity within
the international community. The
Selecting nine works from process of thinking and practicing
SSSSTART’s collection, the both is an “Obscure Adventure”
exhibition presents a dialogue in which the obscurity of history
with the past to reinterpret the and the absence of the future
language of painting and imagery ultimately haunt every aspect of
one-by-one. In response to Wu Shanzhuan’s painting Thirty- the present like a ghost.
Two Wrongly-Written Characters: 3/3 (1985–2005), Pu
Yingwei creates a symbolic Empire Font (Subtle Difference Li Shan’s Political Pop has always
Between Reds) (2021), a continuation of his recent painting combined politics with eroticism
series of the same name. Wu Shanzhuan’s International in its pictorial grammar. Two
Red Humor from the mid-1980s humorously dismantled the identical geese with lotus flowers
ideology of “red” and the political pronouncement of large- in their mouths in The Seventh
character posters by creating misspellings and pseudo- Day of Every Week No. 67 (1994)
characters. Retaining this large-character poster format, are translated into Pu Yingwei’s
Pu Yingwei translates them into other unreadable linguistic collage of the appropriated visual
symbols outside the Chinese character system, making this symbols in his series “China
unreadability more universal. The leading figures of Political Capital” (2021). Pu Yingwei writes
Pop, like Wang Guangyi, Li Shan, and Yu Youhan, recreated “China Capital” and “1978” like
Mao Zedong’s image in extensive repetition. The influx of “Coca-Cola” and reorganizes the
western modern thought throughout the 1980s and 1990s 状态。而他对顾德新的一件刺绣作品《B44》（1983）的回 image of Deng Xiaoping, portraits of the working class, and
led to the rise of commerce, capital, and consumerism. 应则更加具象、大胆而直白，《B44》中两个童话般奇异的 the two geese to collage them into his painting Dream of
Political Pop was born in its midst, between grand socialist 形象毫不遮掩地展示着各自的性征和他们之间暧昧的互 Unity (Lovers) (2021). In Li Shan’s work, animals are used
political plots and everyday real-life social experiences. In 动，蒲英玮在画作《自我的会饮（苏联美术史与西方美术 to dramatize life force and lust beyond human reason. In
Chairman Mao Loves the People: Blue (1995), Yu Youhan 史做爱）》中将其诠释为社会主义和资本主义这两个被具 Pu Yingwei’s work, the animal is used to dramatize the
suspends Mao’s image above a group of working women. 象化为人物形象的媾合。 constructs of life and lust outside of human rationality,
Pu Yingwei, Imitating Pan Yuliang (Black Man), 2019 蒲英玮，
《华CHINAFRICA》，2021年­ Pu Yingwei, Hua (CHINAFRICA), 2021
Oil on canvas, 30 x 20 cm 布⾯油画、丙烯、纸本拼贴、油漆，90 x 70 厘米­ Oil, acrylic, paper collage, paint on canvas, 90 x 70 cm
Courtesy the artist 图片致谢艺术家 Courtesy the artist
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此外，展厅入口处的两件单独的作品《父亲，或视觉政
治序言》和《临摹潘玉良（黑人男子）》分别回应了两件
不在星美术馆馆藏的绘画：罗中立的《父亲》和潘玉良
的《黑人男子》。前者的对话是艺术家对自己的母校四
川 美 院 曾 经 承 载 的 从 伤 痕 美 术 到“生 命 流”的 社 会 现
实主义题材绘画传统及其政治能量的回溯，后者则重
拾起艺术家在法国求学时期，在面对世界主义的框架
和语境之时对现实社会的探索。我愿意将此次展览同
本期关于“幽灵本体论” （hauntology）的讨论相结合
进 行 再 度 审 视 ；这 一 由 德 里 达 在 9 0 年 代 提 出 的 概 念
或许能够帮助我们理解艺术家试图重启早期中国当
代 艺 术 现 象 的 行 为 。近 二 十 年 来，持 续 出 现 在 当 代 文
化 里 的“复 古 美 学”、文 化 形 式 的 重 复 与 怀 旧、不 断 固
化 的 资 本 主 义 体 制 促 使“幽 灵 本 体 论”被 广 泛 运 用 于
文学、艺术、音乐和政治等领域的理论批判中，不论是
马克·费舍尔提出的“未来的消失”或弗朗西斯·福山
的“历史的终结”的论述，都指向“幽灵本体论”中那个
来自过去，却不仅仅属于过去的、无所不在的“幽灵”。
在这个展览上，我们看到的是来自中国过去几十年历史
的幽灵的复现，它附着在今天看似全新的语境上，一个被
过去持续缠绕的结果，使得艺术的创新/原创性逐渐成为
一个伪命题。20 世纪社会、政治和文化艺术的变革遗留
的阴影早已遮天蔽日，而艺术家恰是在这片无法消散的
阴影中持续着他的历险之旅。
李素超
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but in a more externalized and direct way, playing the two
ideologies of capitalism and socialism off of one another.
His response to an embroidery work by Gu Dexin, B44
(1983), is even more figurative, bold, and direct. Pu Yingwei
interprets the two imaginary figures from B44, casually
displaying their sexuality and ambiguous interaction
as the coitus of socialism and capitalism in his painting
Symposium of the Self (Love-Making of Soviet Art History
and Western Art History) (2021).
In addition, two works at the entrance of the gallery,
FATHER, or Visual Politics Preface (2019) and Copy of
Pan Yuliang (Black Man) (2019), respond to two paintings
not in SSSSTART’s collection, Father (1980), by Luo
Zhongli, and Black Man, by Pan Yuliang. The former is
a dialogue on the social realism traditions and political
energy of Pu Yingwei’s alma mater, Sichuan Fine Arts
­ Institute, from Scar Art to “livestream” painting. The latter
recalls the artist’s exploration of social reality within the
context and cosmopolitan framework during his studies
in France. Hauntology, a concept developed by the
French philosopher Jacques Derrida during the 1990s,
can help us understand the artist’s attempts to revive the
phenomenon of early Chinese contemporary art. Over the
past two decades, “retro aesthetics” continue to appear
in contemporary culture as a repetition of cultural forms
and nostalgia. The ubiquity of capitalism has led to the
widespread use of hauntology in theoretical critiques of
literature, art, music, and politics. Whether Mark Fisher’s
“cancellation of the future” or Francis Fukuyama’s “end of
history,” all point to the omnipresent “ghost” of hauntology
that comes from the past, but does not only belong to the
past. What we see in this exhibition is the resurgence of a
ghost from China’s past attached to the seemingly “new”
context of today and the result of a persistent haunting that
makes originality in art a progressive pseudo-proposition.
The shadow of the social, political, and cultural changes of
the twentieth century looms large. And the artist continues
his adventure precisely in the presence of this shadow that
cannot be dispelled.
Li Suchao
TRANSLATED FROM CHINESE BY JOY BLOSER
蒲英玮,《⽗亲草图，或视觉政治序⾔》, 2019年­
布⾯油画、宣纸、邮票、油漆笔、⽯墨, 30 x 20 厘米­
图片致谢艺术家­
­
Pu Yingwei, Sketch of FATHER, or Visual Politics Preface, 2019
Oil, paint and graphite on canvas, 30 x 20 cm
Courtesy the artist
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必须穿过一道由铁丝网与石膏板构筑的墙，从墙上那扇

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To enter Candice Lin’s exhibition “Pigs and Poison,” you

猪仔叹和毒物赋
关闭着却仍可容人俯身进出的铁栅门中钻入，你才能进入­ must first pass through what appears to be a sheetrock
“林从欣：猪仔叹和毒物赋”的展览现场。这道具有悖谬意 wall topped with barbed wire by pushing open a closed
味的墙毫无分说地指定了观众进入展厅的方式，它也是 metal gate. A Robot Spoke What My Father Wrote (2019)
这个展览的第一件作品《机器之言，我父所写》（2019）。
林 is the first work in the show; it is not accompanied by any
从欣将一句带有西方中心主义意味的、从某篇认知哲学 explanation. Cut into the wall is a quote that Candice Lin
论文中摘取的引言镂刻于墙面，透过笔画被凿穿的局部， plucked from some philosophical essay on cognition with
可以望向其背后明亮的、白色的展厅空间。由此，功能性 a western-centric undertone; something else has been

Candice Lin:
Pigs and Poison
广东时代美术馆，广州
Times Museum,
Guangzhou
03/20/2021–
05/16/2021
的墙被转化为由语句所构筑的、象征性的墙：它拱卫和守 carved into the other side, and where the two texts overlap
闭，同时又透露和允诺着那个白色空间。通过这道模棱两 one can see through the wall into the bright, white space of
可又绝无商量的墙，就像完成一种仪式，观众用（短暂地） the gallery beyond. In this way, the functional wall becomes
屈从的身体，同艺术家即将带给他/她们的东西达成了临 a symbolic wall; it surrounds and guards the white space,
时的契约。这也是整个展览中我认为最重要的一件作品， while at the same time revealing and offering access to it.
从一开始它就给出了如下预示：在墙/门背后的白色空间 The encounter with this ambiguous and nonnegotiable wall
中同时包含了区隔和转化，禁止和许可，进路和阻障，它 makes you feel as if you are party to some kind of ritual.
并不如看上去那般明亮，而是被不可见的阴影所纠缠，充 The viewer (briefly) submits their body to the artist in a
满暧昧、困难和矛盾。 temporary contract that announces what is to come and the
rules of the game. In my opinion, this is the most important
这种困难之感不可避免地来自于林从欣的研究和创作对 work in the exhibition. The white space behind the wall/
象，无论是致瘾植物、病毒、劳工移民和殖民商品历史等 gate is both out of bounds and open to view, prohibited and
一度（且仍在）被现代文明所压抑、抹除和掩饰的主题，还 permissive, accessible and obstructed. It is not as bright

“林从欣：猪仔叹与毒物赋”展览现场，广东时代美术馆，广州，2021年­ View of “Candice Lin: Pigs and Poison,” Times Museum, Guangzhou, 2021
林从欣，《机器之言，我父所写》 ，2019年­ Candice Lin, A Robot Spoke What My Father Wrote, 2019
钢铁、铁丝网、石膏板、骨黑颜料、木，920 x 240 x 12 厘米­ Iron, barbed wire, drywall, bone black pigment and wood, 920 x 240 x 12 cm
摄影：Ian Byers-Gamber­ Photo: Ian Byers-Gamber
图片由盖巴利画廊（洛杉矶）提供 Courtesy of François Ghebaly, Los Angeles

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是萦绕其中无数已彻底沉默的幽灵，不可见的劳动，无迹

可寻的身体与生命，档案中从未存在过的暴力现场和目
击证词，无法传递的记忆和无法想象的正义……如赛蒂
亚·哈特曼所说，事关如何“与此不可能性相角力” ，如何
去书写“一部人类的反向历史”。 1 在林从欣的作品中，我
们看到一种模仿的策略被用于不可见暴力的反向呈现，
她用水流持续冲刷一堆摊开的、记载华人移民和契约劳
工历史的档案与书籍，直至它们腐烂（《我记忆里父亲的
房间下着雨 60（飞向太空）》2020 ） ，她使用黑色的骨
炭颜料创作关于种植园制糖场景的壁画，当年正是以劳
工的骨殖为原料，被漂白的原糖才流向各个文明世界的
餐桌（《浴火重生》(2018/2021)）。她曾经服食由致瘾植
物炮制的酊剂，在它们的作用之下作画，用身体作为通道
来召唤未知历史的幽灵。林从欣曾经引用格里桑关于“不
透明性”的概念来帮助阐明她的创作原则：由于知识或透
明度是不可能的， 作品只能如织网般尽可能地打捞事物
的阴影 2，也即，创造底片一样的空间来想象档案中失落
的内容。3
然而，进一步追问这个起到如此关键的中介作用的“底片
空间”到底位于何处，我们或许会发现自己又回到了初
始的悖谬中。艺术家的研究、叙述和创作都需要经由展览
（它既是动词也是名词）的中介，方在物质性的空间中得
以显形。首先需要进入那道最初的墙/门，在白色空间所
提供的合法性平面上，作品、叙事和转换性的阐释得以一
一构筑起来和相互支撑。白色空间不仅装配或象征了某
种秩序，同时也是秩序本身。换句话说，我们同样无法拥
有一张可靠的底片来期待最接近“真实”的投射。艺术家
展出了被污名化的草药、香料和酊剂，观众可以从陈列着
这些“毒物”的长桌和展位边走过，购买、嗅闻，这一切因
发生在白盒子之中而“自动”被解毒、净化和担保为安全
的知识，就像学生们在教室或实验室里面所经历的一样。
在悬挂于白墙上的一批关于鼠疫、灾难、劳工和猪的尸体
的绘画中，人们会发现一种内在的吊诡：似乎激进的叙事
仍需要经典的展陈秩序来维系其可读性。那么，我们能
够期待用传统的教学法来打开这样一部反向的人类历史
吗？就像带着屈从的身体穿过这堵墙。这一切似乎是无解
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as it seems and is entangled in invisible shadows, full of
ambiguity, difficulty, and contradiction.
This sense of difficulty unavoidably comes from the objects
Candice Lin researches and creates, whether they are
addictive plants, viruses, or items connected to migrant
labor or the history of colonial commodities. Subjects that
were (and are still) suppressed, erased, and disguised by
modern civilization and by the countless lingering ghosts
that haunt them—invisible labor, missing bodies and lives,
scenes of violence and personal testimony that have
never existed in the archives: untransmissible memories
and unimaginable justice. As writer and academic
Saidiya Hartman (who is an acknowledged reference for
the artist) puts it, at stake is how we “wrestle with this
impossibleness” and write “a counter-history of humanity.” 1
In Candice Lin’s work, we see a strategy of mimicry in her
counter-presentation of invisible violence. In In my memory
it is raining inside my
father’s house (Solaris)
(2020), piles of archive
materials and books
documenting the history
of Chinese immigration
and indentured laborers
are continuously
washed with water
until they degrade.
In Refined by Fire
(2018/2021), she uses
black-bone charcoal
to create a mural of
sugar production on a
plantation, where, quite literally, the bones of indentured
laborers served as the raw material to bleach raw sugar in
order to make it suitable for the tables of the civilized world.
She once took a tincture concocted from addictive plants,
then painted while under their influence, using her body to
channel the ghosts of their unknown history. Candice Lin
has cited Édouard Glissant’s concept of “opacity” to help
elucidate the principles that govern her creativity; since
neither knowledge nor transparency is possible, the work
can only be woven like a net that might be used to catch
something of what lurks in the shadows, in as much as it
is even possible.2 Or, as the artist herself suggests, her
work serves to double up the negative space that exists in
relation to such issues in the archives.3
And yet in asking where this crucial “negative space”
is located, we may find ourselves back in the initial
paradox. The artist’s research, narrative, and work must

“林从欣：猪仔叹和毒物赋”展览现场，戈维特布鲁斯特美术馆，
新西兰，2020年­
林从欣，《我记忆里父亲的房间下着雨（飞向太空）》，2020年­
书籍、木材、海洋环氧树脂、泵、水、铝窗格、织物材料、纸上油漆、摄影、­
织物和现成品，尺寸可变­
图片由戈维特布鲁斯特美术馆提供
View of “Candice Lin: Pigs and Poison,” Govett-Brewster Art Gallery, 林从欣，
《浴火重生》 ，2018/2021年­ Candice Lin, Refined by Fire, 2018/2021
New Zealand, 2020 骨黑颜料、壁画，485 x 950 厘米­ Wall paintings, bone black pigment, 485 x 950 cm
Candice Lin, In my memory it is raining inside my father’s house (Solaris), 2020 图片由艺术家提供 Courtesy the artist
Books, timber, marine epoxy, pump, water, aluminum grid, plant material,
oil paint on paper and photographs, fabric, found objects, dimensions variable
Courtesy Govett-Brewster Art Gallery

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的，但不应因此被忽略。在这个意义上，我认为林从欣的

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be mediated through exhibition so as to become visible
这道墙用它独一无二的方式穿刺入当代的展示文化和其 as a material presence: as something “real”. In that sense,
维系的知识秩序，它是一个有益的提醒，当我们安全地游 the wall/gate highlights the white-cube gallery space as
弋于艺术的场域之中，最好不要忘却它的存在。 a manufacturer of legitimacy, in which works, narratives,
and transformative interpretations can be constructed,
李佳 mutually supported, and ultimately made present. In this
sense, the white cube not only assembles and symbolizes
a certain order—it is order itself. In other words, the
exhibition cannot reliably construct a negative space. The
artist includes stigmatized herbs, spices, and tincture
in the show and viewers can walk past these “poisons”
displayed on long tables and pedestals; they can smell and
even purchase them. But the fact that this transaction is
taking place in an “official” space means that everything
is “automatically” detoxified, purified, and guaranteed as
safe. And the viewers’ experience is akin to that of students
working in a classroom or laboratory: controlled. The viewer
discovers this inherent paradox when encountering the
drawings of plague, disaster, and the corpses of coolie
laborers that hang on the gallery’s white walls. In the space
of the exhibition, what is a counter history appears as if
an official history. What happens to the artwork is much
the same as what happens to the viewer when they drag
their capitulating body through that initial wall. But that
“林从欣：香料”展览现场，Ludlow 38空间，纽约，2019年 ­ View of “Candice Lin: Spice,” Ludlow 38, New York City, 2019
this double-bind appears insurmountable is precisely 林从欣，
《香料》，2008年­ Candice Lin, Spice, 2008
贴有标签的塑料袋、LED灯、陶瓷、纸上酪蛋白颜料、­ Plastic pouches with sticker labels, LED signs, ceramics, casein paint on paper,
why it should not be ignored. In this sense, Candice Lin’s 影印图片、草药，尺寸可变­ photocopies, herbs, Dimensions variable
wall unmasks the contemporary culture of display and 图片由艺术家及Ludlow 38空间（纽约）提供 Courtesy the artist and Ludlow 38
the intellectual order it maintains in its own unique way. It
is a timely reminder that when we are blindly swimming
through the artworld, it is too easy to forget that it too is a
construction, with a particular position and presence in
the world.

Li Jia

TRANSLATED FROM CHINESE BY JOY BLOSER

1 赛蒂亚·哈特曼，
《维纳斯双幕剧》，黄琨译， 1 Saidiya Hartman, “Venus in Two Acts,”
https://www.timesmuseum.org/cn/journal/south-of-the- translated by Huang Kun.
south/venus-in-two-acts https://www.timesmuseum.org/cn/journal/south-of-the-
2 蔡影茜，《被投掷到当下的过去与未来­ south/venus-in-two-acts
——关于林从欣:猪仔叹和毒物赋》，展览场刊，­ 2 Nikita Yingqian Cai, “Thrown into Now – on Candice Lin:
https://www.timesmuseum.org/cn/program/thrown- Pig and Poison,” Times Museum.
into-now https://www.timesmuseum.org/cn/program/thrown-
3 同上 into-now
3 Ibid.

林从欣，《抚育亡灵》 ，2008年­ Candice Lin, Raising the Dead, 2008 “林从欣：猪仔叹和毒物赋”展览现场，戈维特布鲁斯特美术馆， View of “Candice Lin: Pigs and Poison,” Govett-Brewster Art Gallery,
纸本水彩，111.8 x 139.7 厘米­ Watercolor and ink on paper, 111.8 x 139.7 cm 新西兰，2020年 New Zealand, 2020
摄影：Joshua White Photo: Joshua White 林从欣，《目击者（蓝色版本）》，2019年­ Candice Lin, Witness (Blue Version), 2019
图片由艺术家及盖巴利画廊（洛杉矶）提供 Courtesy the artist and François Ghebaly, Los Angeles 陶瓷、织物、金属、纸浆、合成毛发、植物材料，180 x 50 x 50 厘米­ Ceramic, fabric, metal, papier-mâché, synthetic hair, plant material,180 x 50 x 50 cm
图片由戈维特布鲁斯特美术馆提供 Courtesy Govett-Brewster Art Gallery

208 LEAP S/S 2021 209 幽灵派对 GHOSTED

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广州影像三年展2021
Intermingling Flux:
Guangzhou Image
Triennial 2021
广东美术馆，广州
Guangdong Museum
of Art, Guangzhou
03/30/2021–
05/30/2021
广州影像三年展2021“前沿心智”部分展览现场 ­ Installation view at the “Frontier Mentality”
刘窗，
《锂矿湖与复⾳孤岛》 ，2020年­ section of Guangzhou Image Triennial 2021
三频彩色有声影像，35分55秒­ Liu Chuang, Lithium Lake and the Lonely Island of Polyphony, 2020
3-channel video, color, sound, 35 min 55 sec

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岭南清明，扫墓、踏青、广东人称为拜山的习俗，都和这 在展厅一楼，超图像小组（董冰峰、向在荣、滕宇宁）策划

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During the Qingming festival in the Lingnan region, (there is also an archival exhibition). Right in front of me are
个清爽明净的节气有关。往年清明的珠三角沿江码头， traditions such as tomb-sweeping, hiking, and what 的“我们，集体”的展览中，涉及了从生态问题到历史幻 dynamic images of “Intermingling Flux,” the theme for the
是一年中的入关高峰期。对于推尊节气传统的广东人， Cantonese people call mountain worshipping take place 像，从集体意识到身体记忆的多层状况。不能不说，这里 triennial’s 2021 edition, written in Chinese and English. The
清明总是要回家乡祭祖，安抚亡灵与告慰先贤，一年中 under generally bright, clear weather. In the Pearl River 看到的是一幅幅令人沮丧的地球哀歌：巴西艺术家马丽 words are shattered into pieces, reversed and combined
最重要的节气。然而疫情不仅锁断了粤港之间的通行， Delta area, Qingming is normally the peak period for 娜·卡马戈（Marina Camargo)以未知大陆在废墟中的 in the digital matrix, suggesting the perpetually fluid “flux”
就连宗族亲情也被悬置在隔岸，江面上明显稀疏的交通 cross-border travel. For the Cantonese who embrace the 残留为线索，想像出《消失的大洲“的地形图》；毛晨雨把 of ideas, emotions, materials, and images, as well as the
映照出连接与信任的缺乏。过去的一年，我们体会到了 traditions, Qingming is the most important solar term of the 稻电影农场酿造的粮食白酒带到了展厅，每一个酒标拾 “intermingling” nature of this integrative, interdisciplinary,
前所未有的孤独与隔绝，体验到了日趋激烈的对立关系­ year, a time when they return to their hometowns to worship 起一段洞庭湖乡土旷野的神话。他的影片《成为父亲》， multidimensional, and multisource cluster. Today, in the
ancestors, appease the
souls of the dead, and
console the deceased
sages. The pandemic,
however, not only disrupted
transportation between
Guangdong and Hong Kong
but also separated families
and other kinship groups
living on opposite sides of
Victoria Harbour. The loss
of water transport links
also delineates the loss of
connection and trust.

During the past year, we

have been exposed to
unprecedented levels of
loneliness and isolation. So
——人与人，国与国，人与自然，贫与富，游民与定居者...­ too have we experienced intensifying adversarial relations
齐格蒙特·鲍曼（Zygmunt Bauman)在20 年前就认识 – between individuals and nations, humans and nature, rich
到万维网终结了旅行和旅行距离的观念，使信息在实践 and poor, nomads and residents… The internet, in addition
中和在理论上一样，在全球范围内瞬间可达。虚拟形式的 to theoretically making information instantly available
全球化关联成为新冠疫情催生出的常态，但鲍曼也不无 around the world, has transformed notions of travel and
忧虑地指出，在我们的身体与网络、数据库和信息高速公 distance. A virtual form of globalized connection has
路结下不解之缘的同时，全景监狱之后还有生活吗？答案 become the norm, accelerated by the COVID-19 pandemic.
是忧喜参半的，在我们交出所有与自己有关或无关的信 However, as the Polish sociologist Zygmunt Bauman
息后，技术提供给我们的是严格控制的安全感。因为拥有 pointed out 20 years ago, not without worry, what kind of life 提出转基因技术对父权社会中男性主权地位的威胁。联 field of contemporary art, artists are responsible for more
这份安全感，我们能够在人间四月，沐熏风，倚栏杆，在珠 awaits us once our bodies have become intertwined with 想到孤雌生殖在植物界、动物界已不是特例，延续到人类 than reflecting on themselves and the world. Their role has
江岸边的广东美术馆，亲身经历国内疫情得以控制后的 network, database, and the internet? The answer combines 繁衍的进程中，景象令人忧心忡忡。这种忧虑在刚刚被 become interwoven with that of geologists, hydrologists,
第一个线下大型国际展——广州影像三年展。 hope and fear: once we have handed over every last bit of 郑波的作品中展现的，废弃工厂的土壤中长出新植物的 botanists, zoologists, and folklorists as the spokespeople
information, technology will provide us with the sense of 希望缓解一下，走进下一个展厅，我又被电脑屏幕上放 for nonhuman species, creatures, the natural and the
扫码登记测体温，经历一番习以为常的步骤，我安全地进 security that comes from being tightly held. It is this sense 映着与我同行的朋友戴着口罩看作品的画面惊诧到。这 unnatural, as well as the “finger” with which Earth, seeking
入美术馆。迎面的动态影像是快速转动的展览中英文题 of security that allows us to be here at the Guangdong Art 里展出的是徐冰和他的团队用监视视频拍摄《蜻蜓之眼》 communication, reaches out to humans.
目：交融的激流（Intermingling Flux )。字被敲散成碎 Museum, Guangzhou, by the Pearl River on a balmy April 中的创作文献和纪录片，而展厅的电脑连线的是放映厅
片，在数码矩阵中翻转组合，指向永远处于流动状态的思 day, present at the first largescale international offline 内的摄像头，每个人都处在监视和被监视的状态，世界 On the first floor, “Why Collectivity,” curated by Hyperimage
想、情感、物质与图像的“激流” ，和它们跨领域跨学科多 exhibition in China following the success of measures to 变成了一个拍摄场。法律学家托马斯·马蒂森（Thomas Group (Dong Bingfeng, Xiang Zairong and Teng Yuning),
维度多源头的“交融”状态。今天，在当代艺术领域，艺术 control the pandemic. Mathiesen）从监视摄像头无所不在的现代社会重审福 addresses multiple layers of collective consciousness
家不仅担负起思考自身和反思世界的责任，至少有一次， 柯的全景监狱，提出了全景监狱的历史命运已从许多人 and physical memory relating to issues that range from
他们的角色交融于地质学家、水文学家、植物学家、动物 After taking the familiar steps of scanning a registration 监视少数人的局面，向少数人监视多数人的局面转变。 ecological problems to historical illusions. What one sees
学家、民俗考察家…等等的研究领域，成为地球上人类之 QR code and having my body temperature measured, I 在我看来，新冠疫情只是将这一切推向更加极端。在隔 here is clearly a series of depressing elegies for Earth.
外的物种，生物、自然和非自然的代言人，成为地球伸向 enter the museum, which is host to the Guangzhou Image 壁展厅半拉开的黑色布帘后面，阿彼察邦光影斑驳的热 In her film Lost Continent (2021), Brazilian artist Marina
人类寻求沟通的“手指”。 Triennial’s three-part “Rethinking Collectivity” exhibition 带影像营造的异度空间倒仿佛变得真实起来。 Camargo attempts to reconstruct history based on the

广州影像三年展2021
“我们，集体”部分展览现场­ Installation view at the “Why Collectivity” 广州影像三年展2021“前沿心智”部分展览现场 ­ Installation view at the “Frontier Mentality”
亚伯拉罕·克鲁兹威力戈斯，
《自我构建：安吉利斯·富恩特斯与­ section of Guangzhou Image Triennial 2021 莫妮拉·卡迪里， 《圣地》，2020年­ section of Guangzhou Image Triennial 2021
罗杰里奥·克鲁兹威力戈斯的对话》，2009年 影像、布面喷绘等­ Abraham Cruzvillegas, Autoconstrucción: A Dialogue Among Angeles 4K影像，16:9，彩色，有声，18分48秒­ Monira Al Qadiri, Holy Quarter, 2020
Fuentes and Rogelio Cruzvillegas, Fuentes and Rogelio Cruzvillegas, 2009 4K video, 16:9, color, sound, 18 min 48 sec
Films and prints on canvas etc.

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一个夜空下火焰熊熊的喷泉的画面，(瑞士艺术家朱利安·
查里埃（Julian Charriere)的作品）
，在二楼楼梯口迎接观
众，隐隐预示了由杨北辰策划的“前沿心智”的这部分展览
激烈不安的情绪。 莫妮拉·艾·卡迪里（Monira Al Qadiri)
的《圣地》在全馆最大的展厅内巨幅呈现，干涸的沙漠，粗
糙的砂石布满画面，凸显影像对画质、声音和呈现方式的
兼容和依赖。在另一个被包裹在全红墙纸的放映厅内，刘
窗的三频影像《锂矿湖与复音孤岛》继续用画面和声音制
造迷幻视听的现场感受。 两条互不搭边的线索——一条指
向为全球新能源发展提供资源的锂矿，另一条追寻人类的
唱歌历史。如果寻找关联，那该是它们都是以人世纪的目
光，试图为掠夺资源和发展文明的人类在地球找到一个体
面的位置。 就像影片中借用的库布里克的电影《2001太空
漫游》的画面，猿猴抛向空中的骨棒，在阿洛拉&卡尔扎迪
拉（Allora&Calzadilla）的影片《鹰之歌》中，演变成一只
三万五千年前的古猿人用鹰骨打磨出来的人类最古老的
乐器。“前沿心智”反射出人类历史在野蛮与文明，掠夺与
反抗的叙事中，寻求知识与理性的进程，艺术是这个艰难
历程中的诗与浪漫，就像立陶宛艺术家艾米利娅·斯卡努
利特（Emilija Skarnulyte)的作品中，一条孤独的美人鱼
出现在北极冰川，在森严壁垒的北约海军潜水艇基地的冰
海中自由地游向大海。
展览的三楼大厅几乎完全交给了将摄影作为思考宇宙、
自然和人类关系的艺术家的作品，由赫拉尔多-莫斯克拉­
（Gerardo Mosquera）策划的“全球景观”，从艾萨克·
朱利安（Isaac Julien)镜头中真正的北方，到裴炳雨拍摄
的水墨画感的韩国松林，从亚马逊沿岸的人文风景（路易
斯·布拉加（Luiz Braga)作品）到中国海岸线上如织的
游客(张晓作品） ，摄影艺术打动人心的“决定时刻”在图像
时代已经化为一个接一个的景观艺术，与我们相视两茫
茫。西野壮平用西洋镜地图的方式还给我们一个上帝视角
的大都市画面，隐隐中，我们似乎听得到来自上天的一声­
叹息。
广州影像三年展2021“我们，集体”部分展览现场
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remnants of a destroyed planet. Mao Chenyu brings
Chinese liquor into the exhibition hall: brewed at his Paddy
Film Farm, a rural film studio and brewery in Yueyang, its
label picks up on a legend from the vast lands surrounding
the region’s Dongting Lake. He has also brought a film,
Becoming a Father (2021), which focuses on the challenge
GM technology poses to the status of men in a patriarchal
society: given that parthenogenesis is increasingly common
in the world of plants and animals,
will human evolution also marginalize
the role of men in reproduction? Such
thoughts are soon pushed aside by the
hope expressed in work by Zheng Bo
featuring new plants emerging from an
abandoned factory. In the next section, I
am surprised to see my companion and
me on a screen, our masks on, looking
at artworks. Exhibited here are the
archive and documentary of Xu Bing and
his team making Dragonfly Eyes (2017)
from surveillance videos. A camera in
the exhibition section is connected to a
screen in the projection hall: everybody is
at once the surveillant and the surveilled,
the whole world a site for filmmaking. In a
study published in 1997, the Norwegian sociologist Thomas
Mathiesen reexamined Michel Foucault’s theories of the
panopticon from the perspective of a society equipped
with omnipresent surveillance cameras, proposing that the
contemporary model for the panopticon (which he renames
the synopticon) is no longer that of the minority surveilling
the majority but the majority surveilling the minority. In my
opinion, the COVID-19 pandemic has pushed this shift to
an even more extreme level. Behind the half-open black
curtains leading into the next section, an otherworldly
space consisting of Apichatpong Weerasethakul’s tropical
images of scattered and sprinkled spots of light now
seemed closer to reality.
Julian Charrière’s film And Beneath It All Flows Liquid Fire
(2019), consisting of a fiercely burning fountain under night
sky, greets visitors as they arrive on the second floor and
establishes the intense and anxious mood for this part
of the exhibition, “Frontier Mentality,” curated by Yang
Beichen. Monira Al Qadiri’s film installation Holy Quarter
(2020) is presented on a huge scale in the museum’s
largest hall. Desert sands fill the entire screen: the video’s
resolution, sound, and means of presentation striving to
match the vastness of its subject. In another projection
hall, this one lined with red wallpaper, Liu Chuang’s
three-channel video Lithium Lake and the Lonely Island
Installation view of the “Why Collectivity” section,
Guangzhou Image Triennial 2021
LEAP S/S 2021
瑞典电影导演罗伊·安德森针对上世纪 90 年代欧洲大
陆右派势力和反犹太人主义复苏的社会形势，曾经发表
过一篇题为“我们时代对严肃性的恐惧”的文章。在他看
来，今天人类不敢正视灾难，对严肃性和严谨性的恐惧，
是在助长对未来缺乏信心的虚无主义。今天的世界无疑
处在更加严峻的危机时刻，警示人类，分析人性，这是艺
术被赋予的最本质的功用，无论它被怎样绑缚调教，总
有挣脱出来的羽翅。在广州影像三年展上，我看到很多
沉浸在作品中一起观看屏幕的人，放下手机轻声交流的
人。在艺术展览日趋被娱乐化的今天，我们需要这样一
个严肃的展览。
王凯梅
广州影像三年展2021“前沿心智”部分展览现场 ­
朱利安·查理埃，《烈焰之下静水深流》，2019年­
高清影像，11分13秒
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of Polyphony (2020) uses image and sound to create a
psychedelic audiovisual experience across two parallel
threads, one focused on the mining of lithium as a new
source of energy and the other on the history of polyphonic
music. In Allora & Calzadilla’s film Raptor’s Rapture (2012),
a flautist attempts to play the oldest known musical
instrument, carved by Homo sapiens some 35,000 years
ago from the wing bone of a griffin vulture.
“Frontier Mentality” reflects on the pursuit of knowledge and
rationality across human history via narratives of barbarism
and civilization, plunder and rebellion. Art is poetry and
romance in this difficult journey, as is shown in Emilija
Škarnulytė’s film Sirenomelia (2018): a lonely mermaid
swimming through Arctic drift ice on a decommissioned
NATO submarine base and out towards the ocean.
On the third floor, Gerardo Mosquera has curated
“Globalscape,” an exhibition of works by artists who use
photography to address the interrelationship of universe,
nature, and human being. From Isaac Julien’s True North
to the calligraphic Korean pine forests photographed by
Bae Bien-U, Luiz Braga’s cultural landscapes along the
Amazon River, and Zhang Xiao’s overflowing crowds of
tourists on the Chinese coast, the touching “highlight”
of art photography in the era of images has become the
landscape. It’s when we look at each other that the view
is obscured and alienated. Sohei Nishino provides the
metropolitan view from an omniscient perspective using
the method of a diorama map.
In a book titled Our Time’s Fear of Seriousness (1995),
Swedish film director Roy Andersson, writing on the topic
of resurgent rightwing ideologies and anti-Semitism in
Europe, posited that mankind couldn’t face up to disaster,
and that a fear of seriousness and rigor were encouraging
nihilism among those who had lost confidence in the
future. The world today undoubtedly finds itself in a still
more dangerous state of crisis. Analyzing humanity and
alerting people are surely the most essential functions
now designated to art. At the Guangzhou Image Triennial
I saw many visitors immersed in the works, their phones
exchanged for quiet conversation. At a time when
exhibitions are increasingly about entertainment, we need a
serious one like this.
Wang Kaimei
TRANSLATED FROM CHINESE BY YURI
Installation view at the “Frontier Mentality”
section of Guangzhou Image Triennial 2021
Julian Charrière, And Beneath It All Flows Liquid Fire, 2019
HD Video, 11 min 13 sec
幽灵派对 GHOSTED
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BODIES OF WATER:

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度的美学

上海双年展
AESTHETICS OF
­ THE PLANETARY
SCALE
Bodies of Water:
the 13 Shanghai
th

Biennale
上海当代艺术­
博物馆，上海
Power Station
of Art, Shanghai
04/17/2021–
07/25/2021
第13届上海双年展“水体”第三段落“一个展览”现场， View of the 13th Shanghai Biennale PHASE 03: “AN EXHIBITION,” 2021
上海当代艺术博物馆，2021年­ Cao Minghao and Chen Jianjun, Water System Refuge#2, 2021
曹明浩，陈建军，《水系避难所#2》 ，2021年­ Mixed media, 850 x 400 x 500 cm
综合媒介，850 x 400 x 500 厘米­ Photo: Chen Hao
摄影：陈颢­ Courtesy Power Station of Art
图片致谢上海当代艺术博物馆

216 LEAP S/S 2021 217 幽灵派对 GHOSTED


何谓水体？­
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展
反二元论式的身体
由安德烈斯·雅克担任主策展人的第十三届上海双年展
与往年不同，并未直接以现成的展品来开启展览，而是
历经“湿运行”、
“生态联盟”两个阶段，以一种“渐强”的方
式迎来了最终的实体展览。新冠疫情背景下跨国艺术分
工与协作的方式转变，使得双年展策划框架中展览本身
与其他的认知性劳动紧密链接，如同在一张水系密布、
去中心化的知识性网络中彼此交融、对话，共享着同一­
具身体。
主 策 展 人 雅 克 提 出 的 展 览 关 键 词 之 一“ 水 性 ”
（aqueuousness），将我们引向了一种有别于陆地性
（territoriality）的异-本体论( hetero - ontology )。在
去人类中心主义的视角下，我们如何不单单将水视为一
种有待利用的资源，而更将其视为一种本体论意义上具
有政治潜能的身体？——水，具有连通性和渗透性，并且
在行星尺度内流动、交换、生成，塑造并缔结着地缘政治。
本届双年展的主题“水体”同样与生态女性主义紧密相
关，其理论依据来自于后人类生态女性主义作家阿斯特
里达•奈伊玛尼斯。她受到法国哲学家梅洛-庞蒂的身体
现象学的启发，进而提出“水体现象学”。水有“生成”的特
质，而我们的身体被水构成。由于这种生成具有普遍性，
身体与身体的界限不再泾渭分明，而这与启蒙运动以来
所标榜的理性主义的、稳定的、个体式的现代主权身体是
相悖的。“水性”在此并不能简单地被化约为液态性或者
流动性，因为各种后现代理论对“液态性”的描述已经数
见不鲜（比如齐格蒙·鲍曼的“流动的现代性”）。
“水体”哲
学毋宁说呼唤了被笛卡尔主义所剥夺的物的意向性，由
此聚焦于水的媒介特性本身，即它的可渗透性、多孔性与
可塑性。受到当前的新唯物主义思潮影响，水体哲学延续
了反二元论逻辑的思路，因为二元论作为分析性的成就，
并不完全是对“真实”本身的描述。正如“自然”实际上是
一个政治范畴而非描述性的概念，它和身体/女性等概念
一起常常被理性主义视为居于次等地位的“他者”。而“水
体”具有生产一套新的政治学和伦理学范式的潜能，为我
们提供了一种柔软的、多孔的、灵活的认识论界面。
低氧 / 欲望（组合）
，《极尽宏大》
，2018—2021年­
录像、表演、音乐、诗歌，三频影像，彩色有声，16分38秒­
由第13届上海双年展、提森-博内米萨艺术当代基金会与庞贝地质公园发起的­
“庞贝委任：地质事宜”联合委任创作­
由那不勒斯的多米切拉的文化工厂国际艺术驻留项目支持­
图片致谢上海当代艺术博物馆
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DUALISTIC BODIES 从大地艺术­ AESTHETICS: FROM
The 13th Shanghai Biennale, with Andrés Jaque as chief 到行星艺术 EARTH ART TO
curator, is different from the pre-pandemic editions that
have preceded it in that it went through two rounds
of “soft-opening” with public and educational events
雅克在 2018 年作为联合策展人策划了以“行星花园”
（The Planetary Garden）为主题的第12 届欧洲宣言
PLANETARY ART
before culminating in the final exhibition form. Fittingly, 展（Manifesta 12） ，其对生态系统的关注可初见端倪。 ­ In 2018, Jaque co-curated Manifesta 12 in Palermo, Italy,
“aqueuousness,” one of the keywords of the exhibition “行星性” （planetarity）这个概念由印度理论家加亚特 with the theme of “The Planetary Garden,” in which he
points to a hetero-ontology that distinguishes itself from 里·斯皮瓦克（Gayatri Spivak）提出，是对“全球化”的 expounded and explored ideas of ecosystems. The concept
territoriality. From the perspective of de-anthropocentrism, 替代；而“行星思考” （planetary thinking）和“行星感 of “planetarity” was proposed by the Indian theorist Gayatri
how do we regard water as a body with political potential 觉”（planetary feeling）意味着我们不再将世界分为 Spivak, as an alternative to “globalization,” while phrases
in the ontological sense, and in addition to its status as a 自我和他人，主体与客体，人类与非人类。就此而言，行星 such as “planetary thinking” and “planetary feeling” are
resource to be consumed? Water, featuring connectivity 美学并非那种使人与自然相分离的、将自然客体化的审 constructed so as to suggest that we no longer divide the
and permeability, flows, exchanges, and generates on the 美视角。当艺术关注那些超出人类控制的宇宙力量时，可 world into binaries such as self and others, subject and
planetary scale, shaping and concluding geopolitics. 能会产生更真实的行星视角。这种行星尺度（planetary object, human and non-human. Consequently, planetary
scale）的美学涉及人类与世界互动的规模、艺术家如 aesthetics is not a perspective that separates man from
The theme of this year’s Biennale, “Bodies of Water,”
is also closely related to ecological feminism, with its
theoretical basis in the work of posthuman ecological
feminist theorist Astrid Neimanis, who, in turn inspired by
the French philosopher Merleau-Ponty’s phenomenology
of the body, wrote Bodies of Water: Posthuman Feminist
Phenomenology (2017). Water embodies the quality of
“generation,” and, famously, is both the principal component
of our own bodies and a primary component of the natural
world. Because of this universality, the boundary between
one body and another is no longer clear cut, in contrast to
the modern sovereign body of rationalism, stability, and
individuality that has been generally promoted since the
Enlightenment. And yet the philosophy of “bodies of water”
cannot simply be reduced to liquidity or fluidity. Instead,
the philosophy of “Bodies of Water” calls for the return of
intentionality to objects that was removed from them by
Cartesian logic, and thus focuses on the media properties of
water itself, namely its permeability, porosity and plasticity.
Influenced by the current trend of new materialism,
the philosophy of “Bodies of Water” has continued the
anti-dualism logic, because dualism, as an analytical
achievement, is not a complete description of “reality” itself.
Just as “nature” is actually a political category rather than a
descriptive concept, it, together with the concept of body/
female, are often regarded by rationalism as the second-
class “other.” “Bodies of Water” has the potential to produce
a new set of political and ethical paradigms, providing us
with a soft, porous, and flexible epistemological interface.
Hylozoic/Desires (Collective), As Grand As What, 2018–2021
Video, performance, music, poetry, 3-channel video, color, sound,
16 minutes 38 seconds
Co-commissioned by the 13th Shanghai Biennale,
Thyssen-Bornemisza Art Contemporary, and The Archaeological
Park of Pompeii in the context of Pompeii Commitment.
Archaeological Matters With the support of Kulturfactory Residency in
Domicella, Napoli
Courtesy Power Station of Art
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何可能对改造人类主观性作出贡献，以及艺术如何处理
ANTHROPOCENE,

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nature, or objectifies nature. Moreover, when art focuses on

技术圈与­
与非人类实体的新型伦理关系。对于艺术史而言，则提­ cosmic forces beyond human control, it can produce a more
供 了 一 种 思 考 艺 术 实 践 与 人 类 世 物 种 危 机 之 间 关 系­ realistic perspective of planets. Thinking on a planetary
TECHNOSPHERE
基础设施
的方式。 scale allows a quantification of human interaction with the

对非人类实体的关切在本次双年展作品中普遍存在。一
world, allows artists to contribute to the transformation of
human subjectivity, and examine how art deals with new AND
楼展厅，来自低氧/欲望组合的三频影像装置《极尽宏大》
（ 2018 - 2021）探索了人类—城市—行星尺度上的身
体，辅以诗歌念白的节奏，重新发明了对时空轮回结构
ethical relationships with non-human entities. For art history,
it provides a way to think about the relationship between
artistic practice and the crisis of the Anthropocene.
人类活动强调了行星的可居住性，以至于让我们忽视了
行星的他异性。人类世（anthropocene）要求我们从生
INFRASTRUCTURE
的想象力；而在塔比塔·雷扎尔的《祖先的血脉》 （2019） 物学和地质学角度重新思考人类在这个行星上的发展轨 Human activities construct a vision of planets in terms
中，单频影像装置和环绕四周的岩石组成了一个富有宇 A concern for the fate of non-human entities is common 迹。技术圈（technosphere）涵盖了人类活动的产物， of their habitability, and conceal their alterity. The
宙性象征的方阵，对人类先祖的追寻和对征服太空的当 among the works included in this biennale. On the first 而基础设施可以理解为不断形成的技术圈结晶，于是废 Anthropocene requires us to rethink the trajectory of
代欲望加以并置，实则代表了矿物所沉积的地质时间和 floor, the three-channel video installation As Grand As What 弃现场和矿井等更可称之为人类的“新博物馆”。人类世 human development on this planet from the perspective
以人类为标度的现代性时间的对撞。矿物也让人想起置 (2018-21) by the collective Hylozoic/Desires explores bodies 实际上是通过视觉的模式来构建的：可视化数据、卫星图 of biology and geology. The technosphere covers the
身思辨实在论阵营的哲学家甘丹·梅亚苏对“前先祖性” on a scale that moves from human to city to planetary, 像、气候建模和其他“地球遗产” ，而基础设施则储存、传 products of human activities, and infrastructure can
（ancestrality）的描述，其指向一种独立于人类主体而 supplemented by rhythmic poetic chanting, re-imagining 输了人类世的能量、记忆和情感。 be understood as the constant crystallization of the
存在的知识。这种冷峻的前先祖式陈述跳脱了人类中心 the structure of the transmigration of time and space; in technosphere. In this sense, sites such as abandoned
主义视角，将对存在及起源问题的思考范围拓展至行星 Tabita Rézaire’s Mamelles Ancestrales (2019), a single- 基础设施提供了事物组织方式的背后原因。基础设施通 mines, might be called the “new museums” of mankind.
尺度。 channel video installation and surrounding rocks form a 过管道、能源、人和街道等等配置都市空间网络，充分体 The Anthropocene is actually constructed through visual
cosmic symbolic square, in which the juxtaposition of the 现着人类的掌控欲望，并据此定义了现代生活。人类学家 patterns: visualized data, satellite images, climate modeling,
走向二层展厅，琼·乔 纳 斯 的《通 往 深 海 平 原 的 河 流》 pursuit of human ancestors and the contemporary desire 布莱恩·拉金认为，“基础设施是一种心理状态和生活方 and other “earth heritage,” while infrastructure stores
（2021）占据了一整个房间。艺术家创作的 75 幅水彩画 to conquer the outer space represents a collision between 式。”本届双年展中的不少作品涉及到了对基础设施及其 and transmits the energy, memories and emotions of the
作、视频和装置延续了其对洋底河流系统的研究，展示了 the geological time represented by mineral deposits and 背后的地质动力学研究。 Anthropocene.
宇宙力量如何造就海洋运动和海底地貌； 艺术家将深海科 the modern time as scaled by humans. The minerals are
学测绘结果予以图像化，呈现了人类之力尚不能勘测的地 also reminiscent of the description of “ancestrality” by 曹明浩和陈建军的研究项目《生境、地质和能量基础》、­ Infrastructure configures the network of urban space—
域。这些项目与兴起于二十世纪六七十年代的大地艺术 the philosopher Quentin Meillassoux one of the main （2019 - 2021）占据了 PSA一楼大厅主入
《水系避难所》 through pipelines, energy, people, streets, etc.—which
运动具有某种概念上的相似性，但艺术家并没有对地质景 proponents of Speculative Realism, which points to a type of 口的位置。这一系列作品从实地考察出发，重新审视了水 fully embodies the desire of mankind to control, and define
观直接进行人为干预，反而记录了现象的变化和地球的颤 knowledge that exists independently of the human subject. 利工程、地质能量与灾难之间的关系，反思人类社会与自 modern life. Indeed, anthropologist Brian Larkin believes
抖，从而揭示着任何可能成为主权的概念的虚幻性。 This kind of stern pre-ancestral statement breaks away from 然的现代性问题；而刘窗的《声音是货币吗？》 （2021）延 that “infrastructure is a mental state and way of life.” Many
the perspective of anthropocentrism and expands the scope 续了他之前的《比特币与少数民族田野录音》 （2018）计 works included in this Biennale involve research into
of reflection on existence and origin to the planetary scale. 划，以人类学方法考察了比特币矿场与少数民族地区废 infrastructure and the geodynamics behind it.
弃水电站之间的关联，关注构成形成媒体技术的“自然”
On the second floor, Joan Jonas’s Rivers to 元素；加拿大艺术家薇拉·弗伦克尔的影像作品《一度亲 Cao Minghao and Chen Jianjun’s research projects Habitat,
the Abyssal Plain (2021) occupies a whole 水：脚手架档案笔记》（2008）通过半虚构的诗性叙事反 Geology and Energy Basis and Water System Refuge
room. The 75 watercolor paintings, videos and 映了城市在转型中与湖泊的日益疏离，对持续而不可阻 (2019-21) occupy the main entrance of the PSA lobby on
installations created by the artist continue her 挡的城市发展潮流提出了微妙的批评。 the first floor. Starting from field investigations, this series
research on ocean-current systems, showing of works re-examines the relationship between water-
how cosmic forces create ocean motions and 不仅如此，基础设施还参与着对欲望/情感结构的塑造， conservancy engineering, geological energy and disasters,
seabed topography; the artist has imaged the 它们“编码了个人和社会的梦想”。譬如蒲英玮的《水坝 and reflects on the modernity of human society and nature;
results of deep-sea scientific surveying and 剧场》（2020 - 2021）以一种颇具自传性的方式，通过水 Liu Chuang’s Can Sound Be Currency? (2021) continues
mapping in areas that lie beyond the range 坝装置、绘画与影像连通了个体记忆、集体情感和历史 his previous Bitcoin Mining and Field Recordings of Ethnic
of human beings’ ability to survey. Jonas’s 档案；石青的影像装置《钱学森与长江计算机》 （2021）则 Minorities (2018) project, using anthropological methods to
projects have a certain conceptual similarity 对历史文献进行了一次重构式的排演，在影片中虚构了 examine the connection between Bitcoin mining farms and
with the Earth art movement that emerged 一台借助自然能量和人体计算力耦合的计算机，也称之 abandoned hydropower stations in minority areas, focusing
during the 1960s and 1970s, except that, 为“人民计算机”。这印证了布莱恩·拉金对基础设施的 on the “natural” elements that form the media technology;
unlike her predecessors, she did not directly 表述，“它生动再现了欲望、幻想和骄傲感的复杂混合物， Canadian artist Vera Frenkel’s video work Once Near Water:
intervene in the geological landscape; instead, 并有力地提醒着我们人与基础设施之间深厚的情感纽带 Notes from the Scaffolding (2008) uses a poetic, semi-
she has recorded changes in phenomena and （敬畏、迷恋） ，而这，正是政治影响力的重要组成部分。 ” fictional narrative to study the increasing alienation of a city
movements of the earth to reveal the illusion of from its lake during the course of its transformation, and
any concept of individual planetary sovereignty. makes subtle criticisms on the unstoppable but continuous
trend of urban development.

塔比塔·雷扎尔，
《祖先的血脉》 ，2019年­ Tabita Rézaire, Mamelles Ancestrales, 2019
彩色有声影像，45分45秒­ Color video, with sound, 45 minutes 45 seconds
由丹麦当代艺术自由博物馆委任创作­ Commissioned by Den Frie Museum of Contemporary Art, Denmark
图片致谢上海当代艺术博物馆 Courtesy Power Station of Art

220 LEAP S/S 2021 221 幽灵派对 GHOSTED

­第13届上海双年展“水体”第三段落“一个展览”现场，­ View of the 13th Shanghai Biennale PHASE 03: “AN EXHIBITION,” 2021 ­第13届上海双年展“水体”第三段落“一个展览”现场， View of the 13th Shanghai Biennale PHASE 03: “AN EXHIBITION,” 2021
上海当代艺术博物馆，2021年­ Cecilia Vicuña, Quipu Menstrual (Shanghai), 2006/2021 上海当代艺术博物馆，2021年­ Carlos Casas, 1883/Krakatoa, 2021
塞西莉亚·维库尼亚， ，2006/2021年
《奇普纪事（上海）》 Mixed media installation with unspun wool and video, dimensions variable, 4 min 12 sec 《1883/喀拉喀托》
卡洛斯·卡萨斯， ，2021年 Sound installation, dimensions variable; continuous loop (approx. 40 min cycles)
混合媒材装置，未纺羊毛、视频，尺寸可变，4分12秒 Photo: Chen Hao 声音装置，尺寸可变，40分钟持续循环 Commissioned by the 13th Shanghai Biennale/Power Station of Art
图片致谢立木画廊及艺术家 Courtesy Power Station of Art, Lehmann Maupin, and the artist 由第13届上海双年展/上海当代艺术博物馆委任创作， Photo: Chen Hao
Courtesy Power Station of Art

222 LEAP S/S 2021 223 幽灵派对 GHOSTED


从陆地性社会到海
评
展
洋性社会
长期以来，海洋容易被视为无主之地（terra nullius），
作为被船只“穿越”而并非“停留”的空间，它是资本主义
进行殖民扩张的档案，承载着漫长的暴力的历史。早期殖
民主义者开辟新航线、发现新大陆时的同时，海洋实则处
于“缺席”的状态。而海洋与陆地之间的权力关系的变化，
也体现在殖民者与自然开发的紧张对峙之中。由澳洲北
部土著原住民组成的卡拉宾电影小组（“卡拉宾”在当地
土语中意为“退潮” ，体现了与海洋的关系）对国家的理解
植根于人与土地、记忆的联系，与西方自由主义式的国家
观念相冲突。其创始成员之一，伊丽莎白·波维内利认为
他们的实践是以“一种特殊的人类学形式为土著人民收
回土地的授权”。他们富有迷幻性的影像作品《乌瑟尔，咸
水之梦》（2016）展示了来自愤怒的先祖灵魂、国家管控
与基督教信仰之间的种种矛盾。这些与海洋相关的作品
实际上体现了海洋解域化的超主权性质，譬如位于二楼
展厅的艺术家伊西娅尔·欧卡里兹与其女儿共同表演的
的声音作品《海洋呼吸》 （2018）
，其声息起伏贯穿着整个
场域，宛如全世界共同经历了一次共呼吸。
“水体”不单单作为一个具有高度开放性和兼容性的国
际双年展主题而存在，而且也不应当获得那种简化的、
对自然生态的他者式理解，我们应将目光转向二元结构
之外的身体的复杂性，转向科学、
社会与技术研究
（STS）。
正
224
Moreover, infrastructure also plays a part in the shaping of
desire and emotional structures. For example, Pu Yingwei’s
Dam Theater (2020-21), created in a rather autobiographical
way, connects individual memories, collective emotions
and historical archives
through dam installations,
paintings and images; Shi
Qing’s video installation
Qian Xuesen and the
Yangzte River Computer
(2021) performs a
reconstructed narrative
of historical documents.
In the film, a fictitious
computer, powered by
natural energy coupled with
human computing power,
is known as the “people’s
computer.” This mirrors
what Brian Larkin has
said about infrastructure,
“It vividly reproduces the
complex mixture of desire,
fantasy, and pride, and
powerfully reminds us of
the deep emotional bond
(awe, infatuation) between
humans and infrastructure,
and this is an important part
of political influence.”
FROM A
TERRESTRIAL
SOCIETY TO
A MARITIME
SOCIETY
For a long time, the ocean was regarded as terra nullius,
as a space through which ships “traversed” rather than
“stayed.” When the early colonialists discovered new
routes and new continents, the oceans were “absent.” And
yet, in one way, their motion is an archive of capitalism’s
colonial expansion, carrying a long history of violence.
The change in the power relationship between the ocean
and the land is also reflected in the tense confrontation
between the colonists and the natural development. The
Karrabing Film Collective’s (“karrabing” is an Indigenous
word for “low tide/tide out” and reflects the fact that many
LEAP S/S 2021
RE
VIE
如双年展标题中的身体呈现为复数的身体，水体本身是
W
of the group’s members are indigenous to the lands along
一种异质性的集合，是多而不是一。水体所勾连的生态、 the northwestern coast of Australia) work is formed by an
地质、人文之网或许是对拉图尔行动者网络理论（Actor- understanding of Australia that is rooted in the connection
Network-Theory）的实体阐释，消除了人类与非人类、 between people and the land and memory, in opposition
自然与社会的二元对立，通过转译（translation）来联接 to the concepts of the state that characterize Western
行动者。 而《川流终为海》 （2021）作为本次双年展特别委 Liberalism. One of its founding members, Elizabeth Povinelli
任创作项目，由三位研究者-实践者发起，包括女性主义 believes that their practice seeks “to reclaim land for
哲学家奈伊玛尼斯、艺术家克莱尔·布里顿以及社群活动 indigenous people through a special anthropological form
家隆达·迪克森—格罗夫婶婶。步行者们分别在悉尼和上 of authorization.” Their psychedelic video work Wutharr,
海两城沿着潮汐前行，遥相呼应，完成了一次水文漫步。 Saltwater Dreams (2016) explores the contradictions
水体提供了一种陆地中心主义以外的想象力，时刻酝酿 between angry ancestral souls, state control and the
着公共性身体的生成，如同奈伊玛尼斯本人写道，水体要 Christian faith. That these ocean-related works embody
求我们“在熟练掌控的范围之外，找到与其他的身体和时 the super-sovereign nature of ocean deterritorialization
间的汇合点。 ” is further evinced in the sound work Ocean Breath (2018)
performed by artist Itziar Okariz and her daughter on the
汪嫣然 Power Station of Art’s second floor: the ups and downs
of the sound run through the entire space, as if the whole
world has experienced a common breath.
“Bodies of Water” functions as more than a subject of a
highly open international biennale. It argues that we should
第13届上海双年展“水体”第三段落“一个展览”现场，
上海当代艺术博物馆，2021年 ­ turn our attention to the complexity of the body, to scientific,
阿斯特里达·奈伊玛尼斯、克莱尔·布里顿、朗达·迪克逊-格罗弗劳婶婶,­
《川流终为海：踏浪向前》，2021年行为，持续性公共步行，照片文献，折叠册页，
social and technological research that moves beyond a
沿悉尼库克斯河步行时收集物件的铸银翻件，沿长江和黄浦江步行时收集的物 dualist structure. Just as the plural form of “bodies” in the
件，尺寸可变­
摄影：陈颢­ title suggests, it refers to a heterogeneous collection. A
图片致谢上海当代艺术博物馆­
­
River Ends as the Ocean (2021) is a specially commissioned
View of the 13th Shanghai Biennale PHASE 03: “AN project for this biennale, initiated by three researchers,
EXHIBITION,” 2021
Astrida Neimanis, Clare Britton, and Aunty Rhonda Dixon- including the feminist philosopher Neimanis, the artist Clare
Grovenor, A River Ends as the Ocean: Walk the Tide Out,
2021. Performance, durational public walk, photographic Britton and the Indigenous rights activist Aunty Rhonda
documentation, concertina book, silver castings of objects Dixon-Grovenor. The walkers strolled along the tides in
collected on walks along the Cooks River, Sydney, alongside
objects collected on a walk along the Yangtze and Huangpu Sydney and Shanghai respectively, echoing each other,
rivers, dimensions variable
Photo: Chen Hao completing a hydrological roam. Like “Bodies of Water” as a
Courtesy Power Station of Art
whole, the work speaks of an imagination that goes beyond
our terrestrial centrism. As Neimanis wrote, bodies of water
require us to “always swim beyond our masterful grasp,
finding confluence with other bodies and times.”
Wang Yanran
TRANSLATED FROM CHINESE BY HU TIANXIU
Neimanis, Astrida. (2016).Bodies of Water:
—
Posthuman Feminist Phenomenology.
London: Bloomsbury Academic.
— Spivak, Gayatri. (2003).Death of a Discipline.
The Wellek Library Lectures Series. New
York: Columbia University Press.
— Larkin, Brian. (2013). The Politics and
Poetics of Infrastructure. Annual Review of
Anthropology. 42. 327-343.
— Turpin, Etienne, Davis, Heather. (2015). Art
in the Anthropocene: Encounters Among
Aesthetics, Politics, Environments and
Epistemologies . : Open Humanities Press.
225 幽灵派对 GHOSTED
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