“蜕皮动物”项目

2017

 

在“蜕皮动物”(2017)这一项目中,姚清妹通过《刺(一米线)》,《触(安检机)》,《蜕(人身检查)》三件作品制造出一个庄严与诙谐并置的“安全检查”现场。她设计的机制强制参观者进入一个由放置着仙人掌的伸缩隔离带组成的狭窄通道。经过这一“危险”通道后,参观者的身体被依次输送进《触(安检机)》,柔软的黑色鸵鸟毛代替了铅帘,拂过参观者全身时带起一阵激灵;冥想音乐回响在机器内部,艺术家模仿瑜伽放松术的指示让人卸下防备。然而参观者在享受装置的按摩与安抚的同时,也接受着安检机和其他参观者的审视。

 

三屏影像《蜕(人身检查)》延续了姚清妹对音乐、舞蹈、文本与影像间复杂张力的兴趣。女舞者与安检员构成了一个“人身检查”歌舞剧表演现场,分别以滑稽脱衣舞与机械舞表现赤裸生命与权力机器的螺丝钉两极。合唱团以类似古希腊歌队的形象出现,是内置在作品中的观众;他们在戏剧的进程中充当强有力的审判者,讥讽角色,作出神意的判决,但同时亦是戏谑旁观的乌合之众。舞蹈与音乐的间隙有时出现漫长的静止与沉默,此时的参观者便被女舞者、安检员与歌队久久凝视着——第四面墙的在场使空间真正成为一个全景敞视(Panopticism)的剧场。肃穆的唱诗班风格音乐和玛丽莲·梦露的歌曲交替出现——这种杂糅方式在姚清妹的作品中并不少见。在唱词中艺术家同样运用拼贴手法,将“老大哥”“利维坦”“深渊”“神圣人”“圆形监狱”等文学与哲学概念挪用、置换,成为安全检查流水线的注脚。

The Ecdysiast

Project, 2017

 

In the Ecdysiast, the artist employs the apparatus of a security checkpoint as inspiration to create an absurd and satirical setting within the gallery. The installation is partitioned into three areas across the exhibition building: custom-made stanchions delineate a path from the entryway into the exhibition; an ‘x-ray machine’ awaits viewers to pass into; and a triptych of moving-image projections coerces audience members into a final theatrical space that combines burlesque performance, choral music and modern dance. Mimicking the protocols of a checkpoint, the artist highlights the linguistic and physical experiences of control as they become exerted onto the public - parodying its conventions as well as the choreographed assembly line-like procedures. 

 

The Ecdysiast takes its title from a term originally coined by H.L. Mencken, meaning to ‘molt’, a word envisaged as a replacement for the word ‘stripper’. Here, the description can also be considered within the context of our contemporary condition and today’s state of affairs: the increasing scrutiny on our individuality as it becomes exposed to tighter systems of collective control. Seemingly benign in appearance, these systems operate in spaces of ambiguity where a suspension of law occurs. Behind the gentle gestures belies a logic of forced compliance, something so routine to our daily lives that its violence eventually has become imperceptible to us. Theatrical and burlesque, Yao brings to our attention the absurdity, but also the ambivalence of our tacit assent to the situation - subverting this logic by imagining a new form of play through her satirical imitations. 

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