【GCA展览】我们在此相遇——明希豪森循环与中止

时间2018-09-10

我们在此相遇——明希豪森循环与中止

Here We Meet – Münchhausen Trilema and Rest

出品人:黄中华

艺术总监:杨述

策展人:倪昆

策展助理:聂利莎

展览统筹:张静、陈瑶

联合出品:卡蒂斯特艺术基金会

开幕时间/Opening Time:2018/9/8,16:00

开幕时间/Opening Time:2018/9/8,16:00

展期/Duration:2018/9/8-2018/11/4

艺术家:

Yael Bartana(以色列)、Chulayarnnon Siriphol(泰国)、Jakrawal Nilthamrong(泰国)、Oded Hirsch(以色列)、关小(中国)、Halil Altindere(土耳其)、Kota Takeuchi(日本)、Binelde Hyrcan(安哥拉)、Alexandre Arrechea(古巴)、Jun Nguyen-Hatsushiba(日本)、Carlos Amorales(墨西哥)、Angelica Mesiti(澳大利亚)、Jason Hendrik Hansma (荷兰)、Deimantas Narkevicius(立陶宛)、Aslan Gaisumov(车臣)、Igor Grubic(克罗地亚)、Enrique Ramirez(智利)、Rodrigo Brage(巴西) 

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我们在此相遇——明希豪森循环与中止

策展人:倪昆

哲学层面的明希豪森三难困境(Münchhausen trilemma)是知识论中的一个思想实验,用以表明任何论证的不可能。当论证某一陈述时,这一论证的前提亦需要论证。而对这前提的论证,其本身亦有进一步的前提需要论证,即论证具有倒退性。

Münchhausen循环涉及到裂缝、对抗、紧张关系,尽管它表面呈现着永恒的时间属性。这种循环和自发的主动论证,恰好会在论证衍进的进度中揭示或呈现局部细微的真空之地。吊诡之处在于,当加入到论证的某种结论被视为正确解答之时,论证循环将就此终止。

本次展览所代表的艺术立场正试图就无处不在的晚期资本主义社会景观展开批判,参与艺术家的工作是待完成的共同阻力的潜台词,却并未陷入悲观或浪漫主义的圈套或循环。阿尔君• 阿帕杜莱(Arjun Appadurai)关于文化全球化的讨论所强调的 “作为社会实践的想象”,将“想象”赋予了一种更为激进而重要的社会重构能力,艺术以及艺术行动在此背景里的关于“身份/境况/遭遇/自塑”的自证自洽,都将构成以“想象”作为实践主体的Münchhausen提问,当然,它依旧呈现出脆弱性的开放状态,却也是可能出现的结构变革的基础。

“我们在此相遇”尝试描绘出这种遭遇(或者是困境),它既存在于当今全球化交互作用的中心问题—文化的同质化和异质化之间的张力—之间,也关联着基于流动或游牧而“创造”衍生出的当代日常与景观,更处于不同发展阶段以及意识形态(国家)间的对话、碰撞或冲突之地。18位来自不同国家的艺术家的工作为本次讨论提供了一场全景性的思想文本,人和城市的关系,个人和群体的关系,个体与身份、历史的对话,个人与政治、灾害的讨论等,新自由主义背景下的经济全球化事实,地方以及区域文化、区域政治在此基础上的重构书写……这些看起来同步于时间的当下表达,却在事实上的区域(国家)间发展不平衡之状况下,呈现和强调着不同场域和文化的特殊性、丰富性和多元性,以及更为明显的自我塑造中的彼此渗透融汇之现状。关于当代和当代性困境的追问一直以来都很难获取某种一致的积极回应,焦虑源于内部自身,全球化延缓了资本主义自身的某些症状,却又将整个世界拉至一个更为复杂的当下场域。人和自然的关系,人和科技及未来的关系,以及与之对应的万物有灵论,科技伦理和宿命论,正成为新的焦虑热点被主动导入,诘问的循环或者中止,也将注定无休止的伴随着我们的存在、困境,以及我们的不可救药和无可中止的现代性。

最后,感谢卡蒂斯艺术基金会所提供的艺术家作品。期待,以此为例证,来谈论、触及、诱发,乃至介入、重构某些艺术家可能触及的现实场域。

2018年9月8日

重庆/中国

Here We Meet – Münchhausen Trilemma and Rest

 

Curator: Ni Kun

Münchhausen trilemma is an important thought experiment used to demonstrate that in epistemology, it is impossible to prove anything to be true. When providing proof for a statement, the proof itself requires proving, hence leading to an infinite regress.

Münchhausen trilemma involves breaks, resistance and tense relationships, although superficially it appears to be timeless in nature. The regression and constant invite for subsequent proof, happens to reveal in the justification process some fine vacuity. What strikes as paradoxical is when a certain proof is accepted, the regress stops.

The artistic stance of this exhibition is a critique of the ubiquitous social scenes of late capitalism. Participating artists’ work is a joint force of resistance to be formed, yet their work does not regress to pessimism or romanticism. In his discussion of cultural globalism, Arjun Appadurai emphasizes on “the imagination as a social practice,” which endows “imagination” with an important and more drastic ability of social restructuring;against this context, the self-justification and affirming of the identity – circumstances –encountering – self-shaping evolving around art and artistic practice would then raise a Münchhausen trilemma question to “imagination” as the subject of practices; it remains fragile and open, but in the meantime becomes a foundation for potential structural reforms. 

“Here we meet” tries to depict this encountering (or dilemma), which exists in “the central problem of today’s global interactions (as) the tension between the global cultural homogenization and cultural heterogenization;” it correlates to the contemporary daily scenes that are “created” on the basis of fluidity and nomadism; it also exists in a space of dialogues, contradiction and collision between different ideologies or countries at various stages of development. The work of 18 artists from different countries present a wide variety of thoughts on the relationship between humans and cities, the relationship between individuals and groups; it starts a conversion between individuals, identities and histories, as well as a discussion of individuals, polities and disasters etc;the economic globalization, local and regional culture/politics are being rewritten in the context of neoliberalism. These expressions of the contemporary presence, while seemingly in sync, in fact exist in regions/nations at different stages of development; despite the imbalanced development, they present and emphasize on the peculiarity,richness and diversity of each region and culture, furthermore they evidently infiltrate each other and integrate in the process of self-shaping. The inquiry into the contemporary time and its dilemmas has not yet been met with any kind of unanimous and positive response; the anxiety arises from within; the globalization eases some symptoms of the capitalism yet brings the whole world into a more complex field. New relationships and concepts are actively introduced into this series of questioning: the relationship between humans and nature, the relationship between humans, technology and the future, animism, ethics of technology, fatalism etc. The questioning could be an infinite regression/circle or it could be put to a stop, it would however, perpetually exist in company of our existence, our dilemma as well as our helpless and unstoppable modernity. 

In the end, I would like to thank Kadist Art Foundation for providing the art works. I look forward to the discussions arisen from these artworks as well as the potential reconstructing or intervening of the social reality.

 

September 8, 2018

Written in Chongqing, China

 

开幕现场

 

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展览现场

 

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部分艺术家作品

 

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Antheraea II 》 Jason Hendrik Hansma

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 Action 》Guan Xiao

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  The Calling 》Angelica Mesiti

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East Side Story》Igor Grubic

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 White Corner 》Alexandre Arrechea

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Un hombre que camina 》Enrique Ramirez

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 Cambeck 》Binelde Hyrcan

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 El hombre que hizo todas las cosas 》Carlos Amorales

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Provisão》Rodrigo Braga

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A Declaration》 Yael Bartana

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 Nothing New 》 Oded Hirsch   

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 Wonderland 》 Halil Altinere

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 The Dud effectDeimantas Narkevicius

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Volga》 Aslan Gaisumov

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The InternationaleChulayarnnon Siriphol

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  Man and Gravity 》Jakrawal Nilthamrong

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 Point at Fukuichi Live Cam 》Kota Takeuchi and Finger Pointing Worker 

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 Ho! Ho! Ho! Merry Christmas: Battle of Easel Point - Memorial Project OkinawaJun Nguyen-Hatsushiba

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