I SEE International Video Art Festival 国 际 艺 术 影 像 节

第一单元：已知影像的终结

TOTAL 66 MIN
总时长66分钟

THE END OF THE IMAGE AS WE KNOW IT examines constructed digital entities and re-values social norms. It bends the boundaries of original content and newly created context in a consumer-driven reality. In treating the frame as a space to break apart filmic forms and narratives, the works in the program look at ways to juxtapose diverse ranges of assembling narratives and stylistic elements.

How are the images of the past reassembled in the present? Would you like to become an alpha-male overnight? Is the image of an old white male ruling class still adequate? How does the experience of war change the image of home? What if there was a superhero with the special forces of a uterus? How can your family appear more happy in photos?

“已知影像的终结”这一单元审视了建构虚拟主体以及重新评价社会标准。在消费至上的现实，这些作品打破原创内容与再构造的语境之间的边界。以每一个画面作为打破电影化和叙事的空间，这系列作品寻求一种可让多元化叙事和独特元素并存的方式。

过去的影像当下如何重新建构？你想一夜就成为领导者吗？年长白人男性统治阶层的形象如今还适用吗？战争经历如何改变了家庭形象？如果子宫拥有一个特殊力量的战士会如何？怎样让你的家庭在照片里看起来更开心？

FROM TRUCK DRIVER TO THE POLITICAL COMMISSAR OF THE MOUNTED TROOPS

从卡车司机到骑兵政委

Li Ran / 9 min
李然 / 9分钟

Along both stretches of the village road, one sees flowers blooming naturally, without an object of reference or the pursuit of meaning. Simply walking and encountering completed the entire meaning. Here, language and time are safe in their own domains, and yet they represent and intermesh with one another. Li Ran’s poetic lines refract the temporality which was of concern to the artist at the time of creation, along with the related question of modernity. In this work, a mimicry of a Soviet film, “The Fate of a Man”, Li Ran plays the role of a Soviet soldier: he imitates the affected and artificial style of acting under Communist ideology, and enacts the story of a Soviet soldier reminiscing on the past and yearning for the future.

走在乡村小路上，两旁的花朵按其本来的面貌开放，没有对象的指称，没有意义的追寻，仅仅行走、相遇，就完成了全部含义。在这里，语言和时间既安守在各自的地域，又相互象征和牵引着。李然诗意十足的文字折射出他创作中所关心的时间性、及其连接的现代性问题。在这部取材于前苏联的电影《一个人的遭遇》的作品中，李然扮演了一位前苏联的士兵形象，惟妙惟肖地模仿了共产主义意识形态下矫情做作的演员表演方式，诉说了一位前苏士兵缅怀过去、憧憬未来的故事。

ALPHA

男性领导者（阿尔法） 

Constantin Hartenstein / 11 min
11分钟

The first letter of the Greek alphabet Alpha has come to denote “the first of anything.” Animal researchers use the word to signify dominance, applying it to the leader of the pack, who is first in power and importance. Among humans, an alpha-male is defined as “a man tending to assume a dominant role in social or professional situations, or thought to possess the qualities and confidence for leadership.” This project is based on a subliminal soundtrack called ‘Be the Alpha Male’. The narration is re-enacted by three muscular men. The resulting multi-layered video is presented as a larger than life projection.

希腊字母中的阿尔法（Alpha）代表“第一”。动物研究学者用这个字母／词语来标识群体中的拥有权力和重要性的霸主地位，表示领导者的角色。在人类当中，“阿尔法男”被定义为“通常情况下在社会或者专业领域占主导地位，或被认为有着领导能力和自信的男性”。这个项目是基于阈下录音“成为阿尔法男”，再由三位强健的男性重新演绎。影像的层次折射出比生命更高贵。

THE SMELL OF RAIN

雨的味道

Julia Charlotte Richter / 15 min
15分钟

Three grey-haired business executives find themselves in a dusty German basement party room. But the party is over. They aren’t friends. Strange sounds penetrate the walls. A tiny helicopter circles around their heads. A large flat-screen TV shows mysterious sequences. In the underground, shelter and prison at the same time, gestures and power relations of the business world do no longer count. They are condemned to stay where fire spits its flames into their helpless minds. „You are riding a tiger and you don’t know how to get off without being eaten.“ (Ramalinga Raju, former top manager)

三位满头银发的商界高层领导发现他们置身于落满灰尘的德式地下派对房间。派对已经结束。他们也并非朋友。奇怪的声音从墙外传来。一个小型的直升飞机围绕着他们的头在转。一个巨大的平板电视机在播放着神秘的影像。在地下，避难所和监狱共存，商界的姿态和权力在这里都已失效。当火焰在他们无助的脑中闪现，带着谴责，他们被留在此地。 “骑虎难下，你不知道如何在不被吃掉的情况下来。”（Ramalinga Raju，商界高层管理）

I AM NOT THE ENEMY

我不是敌人

Bjørn Melhus / 14 min
14分钟

Home is a place of comfort, of security and peace. Delve into the world of a Post Traumatic Stress Disorder suffering war veteran however, and such notions drastically become perverted and uneasy. The home becomes alien and family members come to encapsulate the demons against whom the veteran has to fight. Appropriating dialogues from Hollywood movies that deal with the legacy of the Vietnam War and firmly implanting them amongst quiet German suburbs, I’M NOT THE EMEMY cuts open the ways in which a society engaged in war deals with the guilt of problematic returns. In a society that has such little interest in the faraway Afghan war that is fought in its name, how then is the war veteran ever to find any degree of acceptance?

家总被认为是慰藉、安全和平静的地方。然而，探究罹患创伤后压力心理障碍的退伍士兵的世界，这样的定义彻底被颠覆，变得不再恰当。家变得陌生，家人变成他们需要战斗的怪物。作品截取好莱坞电影中涉及越南战争遗留问题的对话，将画面植入到德国安静的郊区。《我不是敌人 》 剖析审视一个社会如何利用战争获利，这利是棘手的原罪的。这里的社会利益与阿富汗战争几无关联，却无奈成为出师之名，那么问题来了，战后，退役的士兵如何重新融入社会呢？

UTERUSMAN

子宫战士

Lu Yang / 10 min
陆扬 / 10分钟

Like other great superheros, Lu Yang’s genderless Uterus-Man has its own special powers, weapons and vehicles. It rides a chariot made of a human pelvic bone, which fires a “Deep Throat Laser Cannon” that emerges from the skull at the end of a scorpion-like spinal column tail. Uterus-Man also skateboards on a winged sanitary pad, uses a baby as a mace, and shoots “ovum light waves” at its enemies.

女性子宫的形状和人类张开双臂、双腿并拢站立的形象十分相似，子宫战士的角色造型灵感即来源於此。在子宫战士的设定上，子宫战士鎧甲的各个组成部分对应人类子宫的各个部位。从模糊的性别上来说，一个具有特殊力量的超级英雄看似是一名男性，但其超能的源头却是女性独有的繁殖生命的子宫。

这样一个矛盾设定下的子宫战士的性别为无性。子宫战士拥有各种独特的超必杀，部分攻击拥有基因与遗传的属性，例如使用基因属性的攻击能将敌人瞬间转换為较弱的物种属性再进行攻击；遗传属性的攻击可以改变敌人性别，或者瞬间使敌人遗传疾病来削弱对方的攻击力而进一步攻击。

这个矛盾的设定是对自然世界中生物繁衍的法则產生质疑，这些对於生物性别、物种等级、遗传繁衍与进化的质疑都被隐藏在子宫战士的整个设定中。

THE HAPPY FAMILY

开心家庭

OQ Rizki Resa Utama / 7 min
7分钟

Despite the lack of significant definition and measurement, happiness is generally understood as something that people aim or wish for. Happiness is frequently re-valued in order to balance human needs. In popular culture, where therapeutic and self-help became an ordinary discourse, happiness is used to re-describe social norms, values, and roles in a form of capital. Happiness is both produced and consumed banally through the media in ’how to live better’ or living ’rightly’ discourse. This condition drives society to justify it’s products to be associated with happiness.

这个影像作品是《开心的人》系列的其中一部，展现一家人在照相馆拍全家福的情形。扮演妈妈、爸爸和孩子的的都是20、30多岁的没有子女的单身人士。摄影师仅仅以声音在片中出现，通过指导被拍摄对象的肢体语言来构建一个开心家庭的全家福。为了拍下完美的一刻，摄影师既将拍摄对象视为单独个体，也将他们作为相关联的整体，指导话语中带着许多对家庭描述以及关系的固有成见。