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身外身——关于卡特娅辛克的艺术

 

卡特娅•辛克文章2013、8

身外身

冯博一

 

卡特娅﹒辛克的实验性艺术,我以为针对的是个人、身份存在与现实处境冲突的关系。而她在这一扣连的依存里,通过行为、影像、绘画等多媒介的方式寻求着一种间离效果。比如《小调》的身体力行介入方式,将纸张褶皱、捆绑、再铺开的处理装置,具有集合、遮蔽与消解的意味,仿佛是一种多声部的合奏式基调,或者说是围绕着同一种心绪的多声共鸣曲。而她对织物、线性网状的青睐,如在《veröffnen》作品中,线与线的环绕、悬挂、纠缠,没有边际,形成了一种静与动、有形与无形,以及虚与实的互为结构的形态。在我看来,她的艺术创作正是由她生存处境和态度所决定的。《堡垒》、《填充》等作品不仅是一种自我的闭锁设置,更是她个人对现实生存实在属性的感触,并强化了对现实的无奈,甚至尴尬的境遇。如同在她这些作品之间的临界点上,构成了无边的抽离与延伸的过程。作为观者的我们又仿佛被裹狭在其中,象征、隐喻并体验出现实无法把握的无限矛盾的不确定之中。

当人们惊叹于具象写实的绘画或纪实影像的力量时,总是说:看啊,多么真实!其实,艺术的力量并不在此,或许它的意义在于,使人在自以为是的状态中突然发现,自己距离真实是多么遥远。我们都生活在自己的圈子之内,而艺术家的工作决定了他\她们在生活的同时,需要疏离于生活表象,进入到一个所谓艺术转化的环境,进而让自己的境遇和观察、思考与表现提升到一个纯粹的境地,成为其中的一部分。因为对当代文化境遇的思考和敏锐,将导致对旧有艺术形式在方法论上的改造,而艺术家需要用一种规定为“艺术”的方法来体现这种思想和观念。这是艺术家所能达到的极限,如同一个演员难以和他扮演的角色相区别,进而陷入癫狂。

卡特娅﹒辛克的行为艺术展现了一个艺术家逼近极限的整个过程。她的艺术在于她在行为处理上进行了一系列视觉张力的设置。这种张力一方面体现在她为这些作品的整个行动,恰如《小调》,当1000平方米的纸张粘接接、捆扎成250公斤重的包裹,并在展厅被打开,延展在你面前时,纸质的蓬松、褶皱与肌理的起伏所产生的韵律,使观者在惊叹之余自然会联想到纸的韧性与节奏的美感;另一方面是融入纸张媒介的复合与打开的纠结里,从而使整个行为处在一种“居间”的过程,并达到了一种饱和的现场视域,乃至身临其境。这种演绎的方式是有意地打乱了媒介结构的次序,把柔软的、可塑的白纸揉搓又粘接,再铺成变形状态,意味着突兀的扭曲、抽象的混淆。从而为她艺术表现提供了广阔而又深邃的背景,提供了一种沉郁、惆怅的神秘。而这种神秘的振颤,铺垫了视觉主干的质地,达到了真实和表现产生的间隔、交杂与叠加,拓展了冲突的容量,产生了一种“隔空”的变幻。

这是一种相互关系的吸附,或许还是日常生存的繁杂琐碎,导致的抑或烦闷情绪的心理踪迹,也凭附出亦真亦幻的玄目与天马行空般的想象。她是在现实与虚置的差异对比中,将自我的主观艺术创造和空间意识凸现在扭曲的维度之上,并又强制性地将我们带回到社会现实的处境当中。这种行动与视觉效果,恰恰是作为个人,甚至女性生存状态的的某种真实写照。所以,与其说卡特娅是在处理这些媒介材料,不如说这是她有意带有一种实验性的破坏,也是拼贴与建构性的尝试,使这些熟悉的物质陌生化,以控制观者的期待,让观者体味到经过处理的媒介所产生的惊奇。这种态度不仅是个人的,其实也是差不多是我们大家共同的。时代和社会当然是大手笔,几乎没有谁能够躲避和拒绝这种强加,我们只好按照时代和社会的规定性成长。或许只要把握住了介入性处理,便能够更好地认清背后的意图,从而使我们能更加清楚地认知事物的本质。因为,我们离“本原”愈来愈远,真实的本质被各种各样的“规矩”与“处理”所扭曲。

除非是精神病,很少有人因幻想而崩溃。这是我面对卡特娅﹒辛克的艺术所展现的真实世界时,最后的一道心理安全底线。毕竟,这只是具有规定性的行为展示和一些影像、绘画、图片。对于一个观看者,想象之中的事实总是遥远的。更多的时候,当行为成为艺术,并展览的时候,或者印刷成精美的画册供人购买的时候,人们只看到了凝固的时间和空间,而事实却远不是这样简单。也许,我们永远不能体会一位艺术家所能达到的极限。这令人深感不安,因为你突然发现,现实生活的深度和广度远在我们想象之外,幻想的力量变成了生命中不能承受之轻。我想,也许安静地感受她的境遇,她的艺术,要比总是问一些无知而无聊的问题有意义得多。

 

 

 

 

 

 

 

 

 

Body Outside of Body

Feng Boyi

 

I believe that the focus of Katja Schenker’s experimental art is the conflicting relationship between the individual, identity, and reality. In this dependent relationship, she seeks to create a new effect of distance through a multi-media approach including performance, video, and painting. For example, in minor, Schenker stages a bodily intervention in the installation, folding and binding paper before spreading it flat again, thereby gathering, hiding, and dispersing the paper. It is as if multiple instruments are playing a motif together, or multiple sounds are centering on the same mood. She also favors fabric and linear grids; in unenclosed, the encircling, hanging, and entangled strands cannot be separated, thus forming a structure that moves between static and dynamic, tangible and intangible, illusory and real. In my view, her artistic creations are determined by her life circumstances and attitudes. Works such as fortress and filled are not only self-enclosed installations; they also represent her thoughts and feelings about the actual nature of reality and existence; they are spaces that highlight our indifference to reality and the awkwardness of our circumstances. Crucial to these works is the construction of boundless distance and extended processes. As viewers, we feel wrapped up in them, along with the symbols, metaphors, and infinitely contradictory uncertainties about a reality that we are unable to grasp.

 

When people exclaim over the power of figurative, realistic painting or documentary films, they always say, “Look, it’s so real!” However, they soon discover that the artistic power or meaning of such works actually lies in their distance from reality. We all live within our own circles, and artists’ works determine their lives; they need to distance themselves from the appearances of life and enter into an environment of artistic transformation. As a result, they elevate their circumstances, observations, thoughts, and expressions to a pure state, and become a part of this state. The reflective and sensitive nature of contemporary culture leads to the methodological transformation of existing art forms. The artist must use a method stipulated as “art” to represent these thoughts and ideas. This is the limit that Schenker reaches, just like a performer who finds it difficult to separate herself from the role she plays and descends into madness.

Katja Schenker’s performance art represents the entire process of an artist approaching her limits. Her art relies on the visual tension of her performances that result in a series of installations. In Minor, she spliced and bound a 1,200 square-meter sheet of paper into a 84-kilogram package. The package was placed in the exhibition hall and then opened in front of viewers. The resonance between the paper’s loose and wrinkled texture and the artist’s undulating skin naturally draw attention to the toughness of paper and the rhythmic beauty of Schenker’s movements. These thoughts enter into the complexity of the paper medium and the unfolding tangle, thereby making the entire performance an intermediary process that saturates the audience’s visual field, providing a new range of personal experience. This deductive method consciously confuses the order of media structures; Schenker kneads and splices a piece of soft, pliable paper and spreads it out again in a deformed state, implying sudden distortions and abstract confusion. This provides a broad and profound background for her artistic expression, as well as a depressing and melancholy mystery for the viewer. The mysterious trembling of the paper serves as a foil to the texture of the work’s visual focus, separating, mixing, and layering reality and expression. Conflicting capacities are expanded to produce a fluctuating “interval.”

 

Reality and expression absorb each other, as well as the miscellaneous details of daily existence, possibly leading to psychological traces of unhappiness, relying on half-real, half-illusory mysteries and powerful imagination. In the contrast between reality and illusion, Schenker’s subjective artistic creations and spatial awareness become distorted, which compels us to return to social reality. This performance and its visual effects are an individual and true depiction of a woman’s lived experience. Schenker is not merely handling these materials; she consciously performs an act of experimental destruction, and then attempts to put the pieces back together. These once familiar substances have been alienated, undermining expectations and enabling viewers to appreciate the wonder created by a processed medium. Eras and societies are written in broad strokes, and almost no one can elude or escape their impact. We can only grow in keeping with our times and our society and in an orderly manner. Perhaps the artist only wants to master this artistic mode of interfering, thus causing us to more clearly recognize the essence of the underlying intentions. Because we are detached from these original principles, they are distorted by all kinds of rules.

 

Unless mental illness is involved, very few people break down due to hallucinations. This is my last psychologically safe baseline when I confront the real world as presented in Katja Schenker’s art, consisting of orderly performances and some videos, paintings, and photographs. For a viewer, the facts hiding within imagination are always distant. Many times, when performance is exhibited, or printed in beautiful catalogs, people only see a fixed time and space, but things are never that simple. Perhaps we can never experience the artist’s limits, and this is deeply unsettling, because we suddenly discover that the depth and breadth of real life is far beyond our imaginations. The power of fantasy becomes an unbearable lightness. I think that I might be able to peacefully appreciate Schenker’s circumstances; her art is always more meaningful than the stupid and boring questions asked about it. 

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