「雷达计划云南驻地展览」该死的灵韵 Bloody Aura

SIMULACRA ART EDU

灵韵，它是一种空间与时间奇特交织，是一种幻象（Schein），无论我们离作品有多近，我们同时又感到遥远。

Aura, It is a strange tissue of space and time, an illusion (Schein) where no matter how close we are to the work, we feel distant at the same time.

在这个时代中，图像复制技术的迅猛发展，实物复制登峰造极。这些技术压缩了我们与艺术作品的时空距离，“原作”和“仿作”也更加真伪难辨，世界也变得扁平化。在这个祛魅的过程中，对作品的崇高信仰逐渐减退。本雅明指出，在艺术史中，艺术作品的展示价值与崇拜价值总是处于此消彼长的对立状态。但作品完全、彻底的展示所带来的，并不是完全的世俗化和崇拜的消失。一方面，是对灵韵百般叛逆、甚至试图挫骨扬灰的艺术，但这些艺术，当它们成为“独一无二”的经典之后，又形成了新的灵韵。而另一些艺术则主动追求着灵韵，渴望观众的顶礼膜拜，这些艺术巧妙地把握着与观众的距离，犹如一位深谙交际之道的情场老手。

In this age of rapid advances in image reproduction technology, physical reproduction is at its peak. These technologies have compressed the distance between us and the work of art in time and space, making the 'original' and the 'copy' more indistinguishable and flattening the world. In this process of demystification, the belief in the sublimity of the work is diminished. Walter Benjamin points out that in the history of art, the exhibition value of a work of art has always been in opposition to its cult value. But what comes with the complete and utter display of the work is not a complete secularisation and the disappearance of worship. On the one hand, there is art that rebels against Aura, that even tries to bury it, but that, when it becomes a "unique" classic, forms a new Aura, while on the other hand, there is art that actively seeks Aura, that aspires to be worshipped by the viewer, and that is skillfully distanced from the viewer. As if a master of the art of love who knows how to make friends.

这说明，这又是一个灵韵复归的时代。

This suggests that this is also an era of the return of the Aura.

在商品拜物教的社会里，当艺术品也沦为商品时，艺术品又返祖般地重新成为了崇拜的对象。商业社会里，交换价值的逻辑已经从日用品的可用性渗透到艺术品的无用性，人们对艺术作品符号价值的需求吸引了资本的目光。于是，一系列新的造神运动开始了：距离的缩小总是在冲淡作品的灵韵，而为了获得崇拜价值，作品又总是在千方百计制造距离、美与神秘。而狂热的人们不知道，美是幻象，但不是假象，人们感受到的，不过是借尸还魂、死而不僵的灵韵。当我们置身于古城中时，历史的遗迹围绕着我们，但这些遗迹又被当下的资本所控制，消费社会把我们带入仿真的“历史”中，而真实的历史却无比遥远。

In a society of commodity fetishism, when artworks are also reduced to commodities, they revert to being objects of worship in a reductive manner. In a commercial society, the logic of exchange value has permeated from the usability of everyday objects to the uselessness of artworks, and the demand for the symbolic value of artworks has attracted the attention of capital. Thus began a new series of god-making movements: the shrinking of distance always diluted the spirituality of the work, which in turn always did everything possible to create distance, beauty and mystery in order to gain cult value. What the fanatics do not know is that beauty is an illusion, but not a lie, and that what people feel is nothing more than aura on borrowed time, dead but not stiff. When we are in the old city, we are surrounded by the relics of history, but these relics are controlled by the capital of the present, and consumer society takes us into a simulated "history", while the real history is incredibly distant.

如果说我们的社会在解辖域化的同时又在再辖区化，那么，解构的方法就永不会过时。上帝已死，却总有人在造神，如此便总需要摧毁偶像的人。既然死去的灵韵总是在不断地复活，既然这个时代并不满足真正的灵韵存在的条件，那么，做灵韵的掘墓人便是必然且适宜的。

If our society is deterritorializing while being reterritorializing, then the method of deconstruction will never go out of fashion. God is dead, but someone is always making gods, and so there is always a need for people who destroy idols. Since the dead Aura is always rising again and again, and since this age does not fulfil the conditions for the existence of the true Aura, it is inevitable and appropriate to be the gravedigger of Aura.

—— 叶锦珂 Janko Ye

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我见到一头黄牛的死亡，这让我好奇它的生活，它从出生就待在这个村子里，10年，10年间的每一天，它都沿着同样的道路往返于草场和自己的家，我沿着它生前的道路行进。

I saw the death of a yellow cattle, which made me curious about its life. It had been in this village since birth, for 10 years, and every day for 10 years it had followed the same path to and from the pasture and its home, and I travelled along the path it had taken in its lifetime.

在此次三日驻地中，因我无法想出一个作品能同时达到渣老师的七个标准：场域性、完整度、观念性、视觉爆炸力、阐述力、反常规力与可延续性。于是我便拒绝作为一个等待判决者的被动性，去试图主动而积极的生成新的可能性。我需要同时达到这七个标准吗？多少艺术家作品可以达到？我进行了“这种点子我一天能想200个”的痛快创作去表达，最终又通过自我嘲讽与消解去逃逸、冲破与连结，在其中寻找武器，利用它来尝试抹平个体阶级差异与攻击灵韵。与此同时也提醒同伴们思考内在系统的规训与改变固化思维。艺术需要被规则评判吗？“该死的”只是一种发泄吗？什么程度算是自娱自乐？创作欲望本能产生的快乐还在吗？都在寻找各自的艺术世界与本体，开心就好。

In this three-day residency, I was unable to think of a work that met all seven of Mr. Zach's criteria: field, completeness, conceptuality, visual explosiveness, exposition, anti-conventional power and continuity. So I rejected the passivity of being a person waiting for a verdict and tried to be proactive and active in generating new possibilities. Do I need to meet all seven criteria at once? How many artists' works can meet them? I express myself through the painful creation of "I can think of 200 ideas a day", and ultimately through self-deprecation and dissolution to escape, to break through and to connect, to find weapons in which to try to erase individual class differences and to attack aura. At the same time, it also reminds fellow artists to think about the rules of the inner system and to change the solidified thinking. Does art need to be judged by rules? Is "damnation" just an outlet? To what extent is it self-indulgence? Is the joy that comes from the instinct to create still there? We are all searching for our own artistic worlds and ontologies, and it is good to be happy.

“the world as image”，海德格尔说世界作为图像本身， 既然世界本身作为图像了，那么一切图像都是实体。那么是否可以通过数字化的方式来解放通过奴役压迫动物来产生利润的产业，一张孩子或情侣与动物的合照往往是中产阶级周末的重要组成元素，这种欲望的外延，我们是否可以将其从这种主客体关系中剥离开来，进入虚拟的世界，但依旧保持其象征性效果。解构性的方式往往比建构性的方式更容易建构，所以低科技式的传递往往象征着图像世界对真实世界的宣战，也象征着对传统主客体关系的宣战。游客在获得照片的模式中获得了一种自我消遣式的快乐，甚至获得了比和真实动物拍照更多的体验感和新鲜感，当他们把照片发至社交媒体的一瞬间，我的作品也就成功了。

Heidegger regards the world as image itself, and since the world itself is now as image, then all images are entities. Is it then possible to digitally liberate an industry that generates profit through the enslavement and oppression of animals, a picture of a child or a couple with an animal is often an important component of a middle class weekend, an extrapolation of this desire, can we divorce it from this subject-object relationship into the virtual world but still maintain its symbolic effect. Deconstructive approaches are often easier to construct than constructive ones, so low-tech delivery often symbolises a declaration of war by the world of images against the real world, and against the traditional subject-object relationship. Visitors gain a self-pastoral pleasure in the mode of obtaining the photograph, and even gain a greater sense of experience and novelty than if they were photographed with a real animal, and the moment they post the photograph to social media, my work is successful.

使用规则：

1. 向垃圾庙供奉垃圾；

2. 点香；

3. 拜垃圾神；

4. 反省乱丢垃圾的行为；

5. 真诚地向垃圾神祈福，以获得垃圾神的救赎。

垃圾庙是一座用于供奉和祭拜垃圾神的神庙，由白沙本地垃圾临时搭建而成。该神庙的建造起源于白沙景区垃圾桶的缺失，旨在平衡垃圾生产与垃圾回收之间不对等的关系，将消费主义产物重新送回神坛。

Instructions:

1. Making offerings of litter to the litter temple.

2. Lighting incense.

3. Worshiping the God of Litter.

4. Reflecting on the act of littering.

5. Sincerely praying to the God of Litter for salvation from him.

The Litter Temple is a temple for worshipping and dedicating to the God of Litter and is improvised from local rubbish in Baisha. The construction of the temple originated from the lack of rubbish bins in Baisha's scenic area and aims to balance the unequal relationship between rubbish production and rubbish recycling and to return the product of consumerism to the altar.

经历过11天的快节奏调研，我身心俱疲，来到丽江之后，我被它优美的环境和慢节奏的生活方式，还有这里纯朴的风土人情所吸引，内心深处萌生出想要留在这里的想法，但是现实却是我只能在这里待3天，所以我需要一个方式把“我”留在这里。这件作品更像是一个谐音梗，我通过拥抱松树在松树上用红色喷漆留下自己的影像，使其成为自己的化身。

After 11 days of fast-paced research, I was physically and mentally exhausted, and when I arrived in Lijiang, I was attracted by its beautiful environment and slow-paced lifestyle, as well as the simplicity of its people. I need a way to keep "me" here. This piece is more of a harmonic stalk, where I embrace the pine tree and leave my image in red spray paint on it, making it my own personification.