2016 CHANNEL-IV
2015 Guy Laurent
2014 原型觀想
2012 黑夜之後
2016 CHANNEL-IV





關於CHANNEL-IV


此影像关键词为网络隐私、与网络暴力,重点讨论网络言论自由。本以自由互通为宗旨的互联网其实是充满各种意识形态监控的。片中涉及人物包括维基揭秘者阿桑奇、美国菱镜门事件斯诺登、“互联网之子”Aaron Swartz、暗网事件Ross William Ulbricht、非新闻事件李婷玉与卢昱宇等,这些年轻人都为网络言论、民主付出人生自由甚至生命的代价。用病态故障屏幕作为基底来制作这条动态影像映射意识形态监控的屏蔽性、变异性。希冀由此引出的相关议题引发大众对网络空间的思考与讨论。在限定条件下表达数据隐私、网络言论与暴力及后网络等议题,在后人类时代,我们需要面对的不仅是传统意义的国家政府统治,还有网络科技所带来的新型网络统治


“它们相互关联而又逐层推进。无形之手与监控术为此次展览的主要部分,艺术家郑龙一海阐释了如何将TTC改造成为一个监控室,在限定条件下表达数据隐私、网络言论与暴力及后网络等议题,并与现场观众就其在监控室中展示的后摄影作品进行深入地探讨。”

-节选自移动剧场TTc@郑龙一海:CHANNEL-e 展览评论


more‍:【移动剧场TTc】@郑龙一海|展览与讲座回顾


2015 Guy Laurent





關於《居依.罗朗》 (中英)


本辑所有图像皆来自一条漏光的底片,拍摄的内容已经没有印象。后来用药水将其发酵,企图逆转底层的残余图像真相,结果是徒劳,以致使其变成抽象图像。在影像创作中,为了达到自己的意图,作者不免对图像进行修饰、涂抹、放大、叠加甚至扭曲。处理图像的手段与人对待历史手段非常相同,“某段历史”也与底片一样,见光即死。一张图片通过扭曲色阶等后期处理,可以派生出无数个衍生版本,一个母本可以复制出无数个不同的副本,这和历史被无休止的杜撰是一样的道理,历史是任人蹂躏的婊子。自人类有历史以来它就没停止过被篡改(反映历史的照片同理),例子不胜枚举。 谢尔埃斯普马克曾说“时代换上失忆症,过去变成了黑洞”。这种“失忆”正是由于各有意图的修饰和扭曲所造成。


关于作品名称,“居依罗朗” (Guy.Laurent)是作家莫迪亞諾小說《暗店街》的失忆男主角。其失忆後被一個老年偵探家收留,做侦探助理工作。老年人退休后罗朗继承了偵探所,用偵探方式展开了寻找自己遗失的记忆之旅。但真实的记忆、真实的历史在哪里?飘渺得像海市蜃楼。在全球化语境下,“历史”这个东西在迅速“域界损失”。被“润色”的历史文化导致的时代失忆症所带来的“大同”是好是坏?我个人观点比较悲观。大多数人都摆出一副无所谓的模样,继续用绚丽的色彩讴歌我们身处的这个时代。在这个影像项目中我用图像类比的手法,给历史的现象做一次X 光透视。


关于视频,“本辑所有图像皆来自一条漏光的底片”是本文的第一句话,图像部分的确如此,但在将图像编辑成视频的过程中,我为了满足视觉语言的“丰富性”,将其他图像有企图地用跳桢方式杂糅进去。所以这视频这和任何一部史书一样——历史的书写必定带有写史者的个人主观性等因素。艺术创作是“真实的谎言”,这条视频则是谎言的谎言。


郑龙一海 2015



关于居依罗朗  English  .jpg



Guy Laurent  (EN)

The experimental film originates from a light leak black negative. I have noimpression about the contents what I shoot. Then make it fermented, withmedicinal liquid tried to turn the burned truth off but it was useless. In the finalversion,it turned to be an abstract picture. When creating the film, the producerunavoidably decorated, scribbled, overlapped even screwed the images in order toreach his own creating intention. The processing of images is similar to thetreatment of history. ‘The Histroty’ was actually same with the negative film, deadon arrival.A film after color distortion and some other post processing can derivatenumerous types, which is similar to the fabricating of history endlessly. History isnot only a whore who can daub casually and the pimp who is ravaged by othersfreely. There are many instances to show that history never stops being distorted.Espmark said: “the times is sick with amnesia, and the past turns into a black hole”.The amnesia is caused by purposeful decoration and distortion.


The name of this film is Guy Lo. Lang is the hero with amnesia in the novel DarkStreet of Modiano who is a Nobel Laureate. He was kept by an old detective andperforms as a assistant for the detective after suffering amnesia. Lolang inherits thedetectives agency after the old man died. He started to explore his past in ways adetective may use. However, where are the true memory and the history? Amirage.In the context of globalization, histories are rapidly disappearing. As aresult, the polished histories and illusions can easily blind our eyes which mayfurther cause collective amnesia. Personally, the Great Harmony under theglobalization is pessimistic. Most people are pretended to be nothing to care, theycontinued with flowery praise of our great time. With image analogy method inthis vision project, I’m trying to do an x-ray to the historical phenomenon.


About the video, which different from the image part, as I’m saying ‘Theexperimental film originates from a light leak black negative’ at the beginning. Inorder to satisfy the rich of visual language , in the production process,mixed withother image has attempted to jump by way of hybridity frame.

So this video is similar with any one of history book, which the history of writing isbound to include the personal opinions and subjective factors. Art creation is a‘true lie’ while this video is a lies in lie.


Dragon Zheng2015



2014 原型觀想




關於原型觀感 (中英)


 

  不是歌德创造了《浮士德》,而是《浮士德》创造了歌德——卡尔.荣格


摄影术被公认为记录真实最有效的媒介,然而何谓真实?其与记忆何为关系?是我长期考量的问题。随着数码工业化的发展,摄影带有明显侵略性的真实还原能力过于强大,这种真实性给我适得其反的虚假观感,因为我对“真实”这个词语本身高度存疑。


在创作层面我放弃数码摄影这种方式,倾向于用错误的传统银盐显影媒介-碎片化的重组与非理性呼应的方法,反击摄影先天自带的“真实性”,让影像符合我个人化的记忆逻辑。在我看来,硬性写实影像无法抵达深层的意识,记忆是无实体的飘渺映像,像云一样柔软,充满幻变的色彩。


我-她-民国-时间-海洋-天空,原型系列的六个主题之间有非线性的内在关联,是我对荣格的集体潜意识理论的一种视觉延伸,视觉排序用时间回流的方式,是对深层感知溯源的尝试性探索。


郑龙一海 2014


     ‍靜態攝影圖片鏈接






(EN)Archetype  Aesthetics


Photography is commonly accepted as the mosteffective media to record the reality. However, the question of “What isReality?” and “What’s its relationship with memory?” are my frequentmeditations (considerations). As the development of digital industry, the over-aggressivereappearing ability of photography has brought an opposite effect of fake.

In my works I abandoned digital photographicmethods and used personal and traditional silver salt developing medium - fragmentedrestructuring and irrational echoes - to fight the innate Reality of photography,through which makes these time-fermented images correspond my personal memoriallogics. Personally I think hard realistic photos cannot reach the depth ofmemories, memories are ethereal and vague reflections, soft like cloud and filledwith changeable colors.

I – She –The Republic – Time – Ocean – Sky, thereare nonlinear inner connections between the six themes of Archetype series.These are my visual extensions for the theory of collective unconscious, usingthe backward time flow in visual sequence attempted to explore the origin ofour deep aesthesia.


Dragon Zheng 2014



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