王国俊：稍纵即逝的结构

R.A. 苏里 文 刘惠芳 译

王国俊：稍纵即逝的结构

R.A. 苏里 文 刘惠芳 译

编者按：该文是加拿大评论家R. A. Suri，在观察了王国俊一系列由影像和画作构成的观念艺术作品之后，英文写作翻译而来。作者认为王国俊的创作理念在于坚持对结构性的理解——其本质乃稍纵即逝——的潜力与持续性作进一步沉思。这样一种流动性的结构，能更加恰当地描述艺术家本人的创作活动，不论是以油画颜料、数位还是影片的语言，都是一种对于物质本身的反转表达。非静态的视觉平面元素刻画出漂流的、浮动的形象，指向一个被悬置的生命。无需强调光学的暗示，客体对象可被构想，我们见证并看到，无需其他的感官能力。我们从他的影像创作所体验到的形态模拟，导致了对规则的抛弃。如作者所言，王国俊是位敏感且投入的评论者，他将自己目睹的主要结果和社会的断裂结合在一起，使得个人诗性的解放与创作者充满生动想象力的诗艺达到一种和谐状态。

Editor’s note: This is a translation of an English paper by the Canadian critic R.A. Suri following his observation of Wang Guo Jun’s conceptual art works consisting of videos and paintings. The author believes that Wang’s art ideas lie in his persistent understanding of structural properties—ephemeral by nature—a further refection upon their potential and continuity. Such a fowing structure describes the artist’s creative activities more accurately; oil paint pigment, digits and flm language are all a reverse expression of the substance itself. Non-static visual plane elements portray drifting, floating images, pointing to a suspended life. An object can be conceived without emphasizing any optic hint, which we can witness and see without having to resort to other sense organs. Morphological simulations that we experience from his video creations lead to his disregard of rules. Wang, a sensitive and dedicated critic, combines most of his fndings and social fracture, and achieves a harmony between his own poeticized liberation and his full vivid imagination as a creator.

王国俊 电影 Water Light Human 系列 2012年 Wang Guo Jun, the flm Water Light Human series, 2012

哲学所处的状态，不是对其他领域进行外在的思考，而是与它们进行积极的、内在的联合，它既不更加抽象，也不更加困难。

——吉尔·德勒兹

Philosophy is not in a state of external refection on other domains, but in a state of active and internal alliance with them, and it is neither more abstract nor more diffcult. - Gilles Deleuze

在观察了这一系列观念艺术作品——不论是否属于录像影像的画作——之后，我以为王国俊的创作理念在于坚持对结构性的理解——其本质乃稍纵即逝——的潜力与持续性作进一步沉思。相较于几何序列，流动性能更加恰当地描述艺术家本人的创作活动——以油画颜料或数位、影片的语言——皆回归到反转建立于辩证物质之上的表达。

On observation of the series of conceptual works, whether paintings of video’s, the creations by Wang Guo Jun insist upon further speculation as to the potential and viability of structural reasoning of an ephemeral, impermanent nature. The fluid rather than geometrical sequence is preferred, apt, to better articulate the artist whose movement, whether in oil or digital/flmic language, returns to an invert dialectical material based expression.

王国俊 电影 Water Light Human 系列 2012年 Wang Guo Jun, the flm Water Light Human series, 2012

The aesthetic and visceral impact of the visual core remains centric upon the transient and fuid rather than abrupt concretism of structural or post-structural compositional attributes. The artist connotates the instantaneous and spiritual rather than an ocular deviation which plays on predetermined codifcations and logistical necessity.

非静态的视觉平面元素刻画出漂流的、浮动的形象，指向一个被悬置的生命——悬浮于消费主义的因果关系——之中的生命力，显示了具备社会良心的艺术特征。该含义是朝着一种分离的，既非认同亦非争论的归属。创作本身暗示一种“他者”的形式，在其中个别形象透露出对具体的、存在的及风格主义面向的抛弃。

Non-static, the visual planar elements depict fgures adrift, foating, indicating the sense of animus within a suspended life, a suspension amidst causal consumerism and indicative of a socially conscientious artistic signature. The indication is towards an apart, a non-identifcation nor polemic of belonging. The creations themselves suggest an“otherness” of form, wherein the individual fgure bespeaks of abandon on both concrete, existential and mannerist aspects.

当他摇摆于一种现存的精神主义以及呼应物质进程的辩证式理解之间的同时，情境的面向进一步延伸。超乎将“内容”狭隘地视为相同呼应的隐秘状态——一种对“真实”的视觉上的歧义，并在公理化控制上出了差错。反转：这个词出现于视觉鲜明的美学主义，预示了艺术家在构图上或哲学上真正的“意向性”。反转乃是以其语言的高度动态艺术而言，而非一种相反的绝对体，在其中光学的平面可能落入传统窠臼，内容和形式不再是分开的实体成分。这些作品在溶解，沉重的预设及说教主义逐渐腐蚀。留给我们的是视觉经验的顺从薄膜，一个视觉的基调，指向德勒兹的立场——本质的论述，其中经验性与生命力共存。

在这个非——晦涩的宝藏或艺术——历史的必要命题的意义之下，这些创作标志出艺术家细腻的敏感性，随着媒介的前沿——我们集体经验里的最恰当领域：他自己的艺术面貌在其中遗失，借由来自互联网随机噪音的语言的发现，引申出构图式的客观主义者宣言，就如同诞生自它们的“源头”的构成性描述。视觉上的获取已然变成惯用手段，艺术家于是转向完善框架本身，因而撕裂了叙事的潜力，编辑时的行动式操作，启动了对镜头前事物的认知，并呼应留在他创作推动力的想象的一切。

疑惑、光学幻象和同步经验的属性激发他对可修饰的“真实”的思索，而不是将自己知性的努力臣服于一种加密的“真实”的谬误之下。

对于1个普通的NVIDIA GPU，CUDA线程数目通常能达到数千个甚至更多，因而问题划分模型可成倍地提升计算机的运算性能。GPU由多个流水处理器构成，流水处理器以Block为基本调度单元，对于流水处理器较多的GPU，它一次可以处理的Block更多，从而运算速度更快，时间更短。该原理如图1所示,由图1可知，1个多线程程序被划分为多个线程块，块之间彼此无关，均独立执行，因而核心越多执行效率越高。

事实上，他作品里的视觉动感提供了一种催眠般的诱惑，中央的人物以非公式化的序列变化：画家莱昂内尔·法宁格有一次评论道，表达是为了产生客体，“就像一艘画出来的船在一片画出来的大海上一般漫无目的”，而王国俊转向某种特别的语言，在其中视觉客体隶属于一种无形态的消亡，一种无溶解力，呼应其所选择的媒介。视觉的灵巧性发生了，相似的审美与融化般影像的至上，在绘画与影片的视觉性之间摇摆，这是一种操作性的资源，反映我们自身的视觉文化和对光学的而非感官体验的着迷。演绎地——尽管同时被抹去——我们感受到物理存在的瞬逝，当它从视觉的范围延伸，开启一个诞生自动感张力、声音与反应的遗迹——其中回音首先发言——空间地认知的精神活力。因此，无需强调光学的暗示，客体对象可被构想，我们见证并看到，无需其他的感官能力。

The situational perspective further extends as he oscillates between suggestions of a spiritualism existent and a dialectical reasoning which resonates material process. One beyond the narrow estimation of“content” as being ulterior to the same resonancy. An ocular deviation of the “real” and one which is amiss of axiomatic control. Inversion: the term arises in the visually distinct aestheticism prefgures the actual compositional or philosophical “intentionality” of the artist. Inverse in the hyper-kineticism of the language, rather than a converse absolute wherein the optical plane might fall prey to convention, content and form cease to be separate entitical components. The works are in effuvium, the weight of presupposition and didacticism are eroded. We are left with the flial membrane of an experience visual, a visual leitmotif which suggest’s the Deleuzian position of an essential discourse wherein the emperical and vital co-exist.

This sense of an non-arcane lore or art-historico imperative, the creations demarcate the exquisite sensitivity of the artist, bearing the mediatic fore as being the most apt feld of our collective experience: his own artistic countenance therein, lost, he discovers languages drawn from the random noise of the internet and renders compositional objectivist statements as composite expressions born of their “source”. Visual capture being themodus operandi, the artist has opted to render finite the frame itself, hence, rupturing the potential of narrative, performatory operations in editing which enact cognition of what lies before the lens, and echo what remains within the imaginary of his creative impetus.

Doubt, optical illusion and synchronous experiential attribute invigorate his meditations as to the qualifable “real” rather than subject his own intellectual labour to the fallacy of an encrypted “real”.

In effect, the visual dynamism of his creations offer a hypnotic seduction as the central fgures morph in non-axiomatic sequence: the painter Lionel Feininger once commented that the cause of expression was to render the object, “As idle as a painted ship on a painted sea”, whereas Wang opts for a vernacular wherein the visual objects are subject to a formless disappearance, a non-solvency which echos the medium in selection. That a visual dexterity occurs, the similar aesthete and primacy of the soluable image, oscillates between both paint and filmic visuality is an operative ressource that reflects our own visual culture and fascinus with the optical rather than sensual experience. Apriori, while yet effaced, we sense the ephemeral of the physical, as it extends from the visual sphere and opens a vestige born of dynamic tension, sound and response - where the echo speaks frst - of a spatially cognitive spiritual animus. Hence, the object may be considered without an exaggerated optical connotative, we witness and see without other sensory faculty.

在脉络里，随着技术官僚国家的出现，不可或缺的流行游戏装置、虚拟世界和我们的媒体依赖症里的数字至上的联合体产生，视觉上的背离也许对内地年轻一代的创作者来说不算罕见。一个立场超然的细腻观察者显然会让王国俊感到困扰，而作为一个知性地并敏感地参与其中的评论者，我相信这一发自良心的灵魂的不同寻常声音的标志，是他拒绝仅仅停留于重述科技的初步证据，而是返回这场竞赛，如同本文稍早暗示的，挑战并反转离去本身。颠覆分子通常被理解为对至高政治权力的对立结果以及所导致的必然。在其中，我们可能会询问为什么那模式比起结果本身较少被关照到。在数次讨论与介入之后，无比勤勉的王国俊透过对科技法典化的非－否定，引致推论要素的崇高转化：对媒介的物质辩证与“机器性”——在社会政治领域的资本主义或共产主义，物质辩证主义的具体化——持续预设的并置。

In context, with the advent of a technocratic statehood, with the imperative devices of popular gaming, virtual reality and associated tenements of digital supremacy within our own mediatic dependancy, visual deviation might not be uncommon amongst the younger generation of mainland creators. A refned sense of the detached observer appears to plague Wang Guo Jun, as an intellectually and sensitively engaged commentator, yet I believe that what “signals” a rather exceptional voice of this conscientious soul is his adversion to simply reiterate the rudimentary evidence of the technological, one returns to the contest, challenge and inverse deperature as alluded to earlier in this text. The subversive is often read as an oppositional result of political primacy and resultant necessity, therein, where we might enquire as to why the modal is less attended to than the result. Wang Guo Jun, following several discussions and interventions, reveals an absolute diligence towards a non-negation of the codifcation of the technical, rather, incurs a sublime transmutation of the discursive element: the material dialectic of medium juxtaposed with the continual presupposition of the “machinus” owed to either capitalist or communist, material dialecticism incarnate, in the social political sphere.

因此，因果关系的虚构薄膜自虚拟气候的证据而生出，主体与主体性以“有机的”过程被小心翼翼地瓦解——科技的过程倾向，带着迫切的必要性。

当观点执着于非视觉的经验，我们可以进一步质疑我们自己在观看行为的视觉相互依赖。因此，部分作为沉迷的解放，非－标志性的绘画、流行图像志的空白以及如同我们从他的影像创作所体验到的形态模拟，导致了对规则的抛弃。艺术具备解放的固有潜质吗？假使是肯定的，固守于个人主义的艺术，如同王尔德所说的“……艺术是个体的最佳表达”，得以与科技官僚的事实融合吗？伴随着视觉上的满足，王还纪录同样的质疑，他尖锐地指出人类经验与时间牢不可破的关系，不论是寓言式的，历史切片的或媒体生成的时间。手机相机光学的使用，作为偏好的工具，开启日后编辑过程时的沉思，该工具的普及性坚持的是可行的资源与刻意的另辟蹊径：由内在风景与图像拼贴所共同定义的过程倾向来自于“真正的”外在纪录。

Hence, causal membranes fctive are derived from the evidence of climates virtual, subject and subjectivity erodes under a cautious labour with the “organic” process, the process orientation of the technical, with imminent necessity.

As the perspective holds to a non-ocular experience alone, we may question further our own visual interdependancy in the act of viewing. Thus, partial to a liberation of the “fascinus”, paintings non-emblematic and void of pop-iconography and the morphic simulacra as experienced with his flmic and video creations, result with an abandon of preception. Does art hold an inherent potential to liberate? If yes, does a qualifying adherent to individualism, which Wilde is quoted a stating, “…art being the best expression of the individual”, converge with solvent truths of technocracy? That Wang documents this same questioning along visual stratification, operates to poignantly denote the indissoluable of the human experience with time, time whether fabulae, historical (specumen) speculation or media generic. The usage of camera optics from the mobile phone, as a preferred instrument, opens upon later meditation during the process of editing, the commonality of the device insist’s on viable ressource and deliberates new paths: the process orientation defned as much by inner landscapes as pictoral collage derived from the“actual” external record.

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过去几世纪来，由于个人评论以及艺术的、文学的或哲学的进化，客观美感事物的重要性高度扩张，尽管感官和相关的发展是个无底洞。当后工业主义时代终结，一个预言纪元降临，其中数位与科技满足至上的欲望无休无止。在全球化的背景下是乌托邦式的社会带着不可磨灭的热望。因此，与光学以及视觉背离、催眠的、另类的表达的脱离也许描绘出社会－政治至上的决定因素可被缓解，为更知性的、哲学的简明所取代。理性的沉默或可引来“不和谐”状态的声音与空间诗性的出现。

Within the past centuries locus of individual commentary and emergence of artistic, literary or philosophical evolution, the importance of things aesthetic and objective hyperextends, despite an abyss of developments sensual or peripheral. As the era of post-industrialism ends, a prophetic epoch wherein the primacy of digital and technological stratification proves indefatigable. Indelible aspirations of Utopic congress within a conduit of globalization. Hence, the disseverance with the optical and visually deviant hypnotic alternative expressions might illustrate that the parameters of social-political primacy might yet be assuaged for a more intelligent and philosophical concision. The mute of reason might implore the sound of “discordant” states, of spatial poetics.

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对于去看，去目睹的行为的分析，表明了对事件与经验的诠释上对视觉的依赖，显示对知觉体验的否定，在可辨认的认知的决定因素之外的探索。在一个被视为同时代的情况的出现，未来主义的投射充满了恐惧的心理诡计－集权主义的科技“他者”，它驱逐人性的、宗教的或直觉的权威，就如库斯勒所评论的，保持为迫近的专制主义的焦点。后者，较不反动的以及机械性的中心情境，引至一个不同的推论，物理性的断裂介入，展示了固有的破坏以及破坏性的概念和哲学区域的悲剧行动，创作因之被鼓动而生。

An analytical of the act to see, to witness, implies a reliance of the optical in interpretation of events & experiences which are in manifest denial of sensory experiences, explorations which lie beyond the parameters of thus “identifiable” cognition. At the advent of the situation considered contemporaneous, futurist projections imbued with the psychical machinations of fear, of a totalitarian technological“Other” which would banish the authority of the humane, the religious or inuitive, as commented upon by Koestler, remained focal on the imminence of authoritarianism. Latter less reactionary and mechanically centric episodes led to a different speculation, the interventions being physical ruptures which displayed the inherent tragic act of destruction and destructive conceptual & philosophical zones which instigated creation.

理性的经验性还是一股暗流，不论是被惧怕或对之反应，交错逻辑的检验来规避固有的或它们的反艺术的系统结构来源的自我生成。“真实”的崇高意义或独特性包容不了太多，不论是借由实验的行动或提供乌托邦他者的另类边界所做的努力。离心的，科技架构和由非面向想象之虚空界使之成为可能的经验的“存在”的发生。为艺术范围的逻辑而生的幽灵般的动力，而非绝对具体或物理的“生活”宣言，出现了。

The emperical of reason was yet an undercurrent, whether feared or in reaction to, alternating logical examinations in order to evade the inherent or self-engenderment of the source of their anti-art systematic structures. The sense of the sublime or singularity of “truth” was not afforded much ground, either in the act of experimentation nor labour which was intent on offering alternative margins of a Utopic otherness. Centrifugal, the occurrence of technological frameworks and experiential“existence” made possible by a nether-realm of non-dimensional imagination. The spectral impetus for a logistic in the artistic sphere rather than absolute concrete or physical manifesto of “life” occurred.

虚拟的生活为无止境的重复性及易变性提供客体性的“影像”，在心灵之眼的良知之中同样的影像进化为“真实”的构成部分。同一虚构的成分显得无法仿效，坚不可摧，“绝对主义”与“辩证的事实”这些难以根除的怪物，在转瞬即逝不断转变的相互关系的确实证据之间，显得依然牢固。当较早世代的视觉先锋夺得视觉“平面”的雏形，庆祝或是咒骂社会变革的出现，一个来自边缘并具备原动力的青年已经到来，他在关于物质辩证法里的物质的本质的探讨做出了更加个人化、敏感且深刻的评论：该运动和强度一开始是虚无主义的并消沉的，然而却作为一个具备更强大恢复活力的隐秘模式取代了一个不协调“真实”的“非－真实”。一个极度机智巧妙的非－对照，以及作为来自边缘经验的一种观点，不同于它们的先驱——不论是土生土长的或站立在数十年的文化霸权角度来引领当代的那些人——的反动戏剧。

这些非因果的目击者提出衍生的评论并与随机性共生，超越“成分”指示的关于细胞膜，关于“设备”至上……我们谈及在网络层想象的困境的流动，以及经验的创造与没有破坏性冲动的扩散。当经验主义的东方、西方的分野逐渐消退，随着两区域拒绝简单二元思维的行为准则和特别语言的崛起。清晰表达的幽灵式体验无反应地发生，我们有了进入遗忘状态的开端，出自包含经验成分生命的面向及决定因素衍生来的真实，在技术官僚短视的制裁底下沉默了。回响着空间的、精准的、动力的意义的沉思，既不折射也不反驳事物的真实。

王国俊是位敏感且投入的评论者，他将自己目睹的主要结果和社会的断裂无法磨灭地结合在一起，漫无目的的目光或焦虑激发他对所见的反思，而他艺术的、敏锐的感受力坚持一种对动机与精神的和科技的状态做出准科学的探问。写入他的影片创作、横过他的画布之上的，是幽灵的姿态，重述创作的一个非客观性的契机：个人诗性的解放与创作者充满生动想象力的诗艺所达到的一种和谐状态。

The virtual life offered the endless multiplicity and mutability of the“image” of objecthood, evolved the same imagery as a constituent “real’in the conscience of the mind’s eye. The same constituent of fabrication appeared inimitable, impregnable, while the hydra of “absolutism”and “dialectial truth” appeared to remain entrenched amidst the actual evidence of a transformative near transient inter-relationship. As the earlier generation of visual pioneers in contemporaneous practiced seized upon rudiments of the visual “plane” to articule expressions which either celebrated or damned the advent of social change, a peripheral and seminal youth have come to create more individually sensitive and profound remarks on the nature of the material within material dialecticism: the movement and magnitude being one at first nihistic and dispirited, yet with a greater licence of a rejuvenation as an ulterior modality to replace “non-truth” with a licence upon incongruous“truth’s”. An extremely dextrous and intelligent non-counter point, a view of an experience from a peripheral aside to the reactionary play of their predecessors, whether indigenous or those who heralded the sense of contemporary practice given several decades of cultural hegemony.

These non-causal witnesses issue commentary derivative and symbiotic of randomness, of the stuff of cellular membrane beyond that of the directives of the “component”, of the primacy of the “device”…we speak of the fuity of strait’s imagined in cyber-strata and of experiential creation and diffusion without a time for destructive impulse. As the imperical shores of Occident/Orient dissipate with the emergence of both zones of code and vernacular which desist facile dualistic speculations. Articulated spectral experience occurs without response, we have an initiation into states oblivious, in the literal sense, which issues truths derivative of aspects and parameters of a life experiential component which has fallen silent in the myopia of sanctioned technocratic practice. Meditations which resound with a forensic kinetic spatial which neither refracts nor retorts upon the actual of things.

Wang Guo Jun appears as an engaged and sensitive commentator, indelibly wed with the prime consequences and social ruptures he witnesses, idle gaze or angst inspired refections on that which he has seen, while his artistic and acute sensitivity insist on a quasi-scientifc enquiry into motives and states spiritual and technical. Written within his flmic creations and morphed across his canvas, are spectral gestures which reiterate the momentum of a non-objectivity in creation: wherein the poetic liberation of the individual comes to harmony with thears poeticaof the author of such a vivid imaginary spectrum.

R. A. Suri

中国西安

2016年5月26日

R. A. Suri

Xi’an, P.R.C

2016/05/26

R.A. 苏里：前泰达美术馆策展人 现自由策展人 艺术评论家

刘惠芳：自由翻译

R.A. Suri: former curator of TEDA Contemporary Art Museum, presently freelance curator and art critic

Liu Huifang: freelance translator

Wang Guo Jun: Structures Ephemeral

Text by R. A. Suri, translated by Liu Huifang