星际大战 / THE
WAR OF THE WORLDS
胡任乂作品/ Hu Renyi Project
开幕 /OPENING ：2013.11.16 17:00 PM
视界艺术中心 2空间
V ART CENTRE space2
莫干山路50号6号楼104
104，Buliding6, Moganshan RD,Shanghai
2013.11.16 - 2013.12.14
November 16th - December 14th ,2013
文字提供：史蒂芬巴德利（策展人/艺术家）
马里兰大学艺术学院IMDA 研究生系主任
Writing：Stephen Bradley（Curator/Artist）
IMDA Graduate Program Director，UMBC
史蒂芬巴德利／文：
胡任乂的装置“星际大战”，和西方的2部文学作品有着强烈的共鸣。一部是20世纪美国文学作品，另外一部是6世纪的希腊文学作品。
“星际大战”是个广播剧最早在纽约的“空中水星剧院”演播。在世界文学史上，柏拉图的“洞穴的寓言”是一部在他任教之时的思想研究论文。这些都表明着在无知与僵化的信念中去解读一个不断变化的地球是会导致灾难性打击。展厅中墙体上的扁平生物在攀沿时失去平衡回落到地球，同时这2个空间象征阴影的视觉传达被LED灯交错反映着暧昧的有机数字，一个从下往上的移动主导又在吞噬黑暗中的观众。
1938年，权威的无线电广播使得“星际大战”引起社会的歇斯底里和无数听众的对外星人入侵地球的恐慌骚动。人类想像的力量被扩大到不可思议。柏拉图的故事中人们被拴在洞穴中无法移动他们的头并且每天只能观看到太阳投在墙上的神秘阴影形状，无数伟大的想象力使得这些阴影变得观众心目中的怪兽和恶魔，而且深深绑定了观众的意识。
对一个未知的恐惧会导致悲剧的发生，例如战争、贫穷和机会主义。直至忠言逆耳。
Writing of Stephen Bradley：
The installation “The War of The Worlds” by Hu Renyi, resonates with the sensibility of the two literary works in the Western tradition. One is 20th century American and one is 6th Century Greek. Orson Wells’ “War of the Worlds” is a radio play first performed live in the "Mercury Theatre on the Air,” in New York City. More familiar in world literature, “Allegory of the Cave” is a philosophical treatise written by Plato to challenge students at the academy where he taught. Each of these works of literature shows us how ignorance and rigid beliefs about human behavior can cloud our perceptions and lead to inadequate or disastrous adaptations to an evolving world.
Renyi half fills the gallery wall with hand-sized flat black protozoa shapes that appear to be climbing the walls, perhaps losing their hold and falling back to earth. These two dimensional graphic shadows are interrupted by cool LED lights that appear to glow from the ambiguous organic figures. One very large shape dominates the lower half of the frame appearing to be moving upwards, potentially engulfing the viewer with darkness.
In 1938, the authority of the “new” wireless medium of radio made the broadcast of the “War of the Worlds” seem so real that it created a social hysteria causing many of the listeners to panic when they believed that the world was being invaded by aliens from outer space. The power of the human imagination and the power of belief cannot be underestimated. In Plato’s story, individuals are chained in a cave unable to move or turn their heads; they can only see the mysterious shapes cast upon the wall in front of them of people going about their daily business outside in the sunlight. The details and meaning of these shadows are obscured and blurred creating great imaginary monsters and demons that are only in the minds of the bound viewers.
Reacting to the unknown with fear often results in tragic outcomes such as war, poverty and opportunistic greed. Listening has failed to take place.
艺术家自述:
在这个现实世界中除完全摹仿之外还存在其他方式来换取事物的真实身份。“魔法”，“神话”，“宗教”，“梦”，“反射”等怀疑论观点会时常以假乱真，那么“再现”到底是物体的“代表”还是物体的“化身”？ 这是我最近专注的一个比较有趣的问号。于是我开始搜索感兴趣的“再现”，这个“再现”是根据相似性标准来判断的，这也取决于我们对“再现”双重定义的心理判断标准。
我的工作是创造“现实”与“再现”的距离，不为迷惑观众的判断力，也不为制造恐慌的政治效果。可能“再现”出来的是另外一个“现实”，那么观众所需要接受的就有两种“现实”，一是新的现实；另外是对旧事物的反映。就像1938年10月30日美国广播主持人Orson Wells按照H.G. Wells的小说“星际大战”制造的“另一个现实”。Orson Wells的实况播报使得当时数百万美国人怀疑外星生物的入侵而引起的的大恐慌。
巧妙的是Orson Wells制造的现实是在另外一个“现实”上面的，几乎一百年后的今天“星际大战”仍然携带着这个精神。
Artist Statement:
In the real world there are always ways to exchange object identity besides mimicking. Skepticism produces reality, although can be contradicted by magic, myth, religion, dreams, etc. I will always remain skeptical of a viewpoint perceived as "real" for it is rather a "representation". Taking this further I began to discover just how the distance between reality and the mere representation of reality could be, as the reality of today is simply just a reflection of the past.
I’m trying to create the distance between reality and representation. This question of reality lead me to Orson Welles's October 30th, 1938 radio broadcast of H.G. Wells novel, The War of the Worlds. Orson Welles cleverly broadcasted in such a way that radio listeners believed it to be real news and there to be be an actual alien invasion causing mass hysteria throughout the nation affecting more than a million people. Welles use of of a news broadcast to create fiction into reality is just one way of how to create an imitation of a reality into actual reality. The War of the Worlds broadcast now nearly from a century ago still raises some extraordinary views into the human psyche.
史蒂芬巴德利简介：
马里兰大学艺术学院IMDA 研究生系主任
IMDA Graduate Program Director，UMBC
Steve Bradley是艺术家，策划人和批评家。他的艺术作品包括声音行动艺术，装置和物质文化实践等。他在城市与郊区收集物质碎片，声音，这些东西有些是工业商品有些是来自大自然。他的获得独立奖项包括
National Endowment for the Arts；Sonic Circuits VII: Walker Art Center; Inter-Society for the Electronic Arts (ISEA); Museum of Contemporary Art Kiasma, Helsinki; Blauschimmel Atelier, Oldenberg, Germany; Wave Hill, Bronx; and Hull Time-Based Arts, UK.
他的声音行动艺术，装置和物质文化实践在很多重要场所展出，包括：
the InterAizoni Festival, Sardinia, Italy; Kunstradio ORF1, Vienna, Austria; (((NOMUSIC))), Strasbourg, France; 2006 Soundscape, Zürich, Switzerland; Transmission 003.3: Sound Art Festival, Chicago; Smithsonian Institute, Washington, D.C.; Visual Arts Museum/SVA, Pulse Art, and Ricco Maresca Gallery, NYC; Red Room, the Vine, Contemporary Museum: Baltimore; and the Baltimore Museum of Art.
Bradley的写作与众多媒体机构紧密合作，包括
-Radio Territories, Errant Bodies Press, LA/Copenhagen
-Leonardo/the International Society for the Arts, Sciences and Technology (Leonardo/ISAST) Journal, MIT Press。
他的声音艺术合作的独立唱片公司有
Die Wohltemperierte Kuche, Alien Productions/edition Kunstradio, DISContact, Canadian Electroacoustic Community, and Forces in 2 Dimensions: Untitled, Public Guilt Records.
胡任乂作品/ Hu Renyi Project
开幕 /OPENING ：2013.11.16 17:00 PM
视界艺术中心 2空间
V ART CENTRE space2
莫干山路50号6号楼104
104，Buliding6, Moganshan RD,Shanghai
2013.11.16 - 2013.12.14
November 16th - December 14th ,2013
文字提供：史蒂芬巴德利（策展人/艺术家）
马里兰大学艺术学院IMDA 研究生系主任
Writing：Stephen Bradley（Curator/Artist）
IMDA Graduate Program Director，UMBC
史蒂芬巴德利／文：
胡任乂的装置“星际大战”，和西方的2部文学作品有着强烈的共鸣。一部是20世纪美国文学作品，另外一部是6世纪的希腊文学作品。
“星际大战”是个广播剧最早在纽约的“空中水星剧院”演播。在世界文学史上，柏拉图的“洞穴的寓言”是一部在他任教之时的思想研究论文。这些都表明着在无知与僵化的信念中去解读一个不断变化的地球是会导致灾难性打击。展厅中墙体上的扁平生物在攀沿时失去平衡回落到地球，同时这2个空间象征阴影的视觉传达被LED灯交错反映着暧昧的有机数字，一个从下往上的移动主导又在吞噬黑暗中的观众。
1938年，权威的无线电广播使得“星际大战”引起社会的歇斯底里和无数听众的对外星人入侵地球的恐慌骚动。人类想像的力量被扩大到不可思议。柏拉图的故事中人们被拴在洞穴中无法移动他们的头并且每天只能观看到太阳投在墙上的神秘阴影形状，无数伟大的想象力使得这些阴影变得观众心目中的怪兽和恶魔，而且深深绑定了观众的意识。
对一个未知的恐惧会导致悲剧的发生，例如战争、贫穷和机会主义。直至忠言逆耳。
Writing of Stephen Bradley：
The installation “The War of The Worlds” by Hu Renyi, resonates with the sensibility of the two literary works in the Western tradition. One is 20th century American and one is 6th Century Greek. Orson Wells’ “War of the Worlds” is a radio play first performed live in the "Mercury Theatre on the Air,” in New York City. More familiar in world literature, “Allegory of the Cave” is a philosophical treatise written by Plato to challenge students at the academy where he taught. Each of these works of literature shows us how ignorance and rigid beliefs about human behavior can cloud our perceptions and lead to inadequate or disastrous adaptations to an evolving world.
Renyi half fills the gallery wall with hand-sized flat black protozoa shapes that appear to be climbing the walls, perhaps losing their hold and falling back to earth. These two dimensional graphic shadows are interrupted by cool LED lights that appear to glow from the ambiguous organic figures. One very large shape dominates the lower half of the frame appearing to be moving upwards, potentially engulfing the viewer with darkness.
In 1938, the authority of the “new” wireless medium of radio made the broadcast of the “War of the Worlds” seem so real that it created a social hysteria causing many of the listeners to panic when they believed that the world was being invaded by aliens from outer space. The power of the human imagination and the power of belief cannot be underestimated. In Plato’s story, individuals are chained in a cave unable to move or turn their heads; they can only see the mysterious shapes cast upon the wall in front of them of people going about their daily business outside in the sunlight. The details and meaning of these shadows are obscured and blurred creating great imaginary monsters and demons that are only in the minds of the bound viewers.
Reacting to the unknown with fear often results in tragic outcomes such as war, poverty and opportunistic greed. Listening has failed to take place.
艺术家自述:
在这个现实世界中除完全摹仿之外还存在其他方式来换取事物的真实身份。“魔法”，“神话”，“宗教”，“梦”，“反射”等怀疑论观点会时常以假乱真，那么“再现”到底是物体的“代表”还是物体的“化身”？ 这是我最近专注的一个比较有趣的问号。于是我开始搜索感兴趣的“再现”，这个“再现”是根据相似性标准来判断的，这也取决于我们对“再现”双重定义的心理判断标准。
我的工作是创造“现实”与“再现”的距离，不为迷惑观众的判断力，也不为制造恐慌的政治效果。可能“再现”出来的是另外一个“现实”，那么观众所需要接受的就有两种“现实”，一是新的现实；另外是对旧事物的反映。就像1938年10月30日美国广播主持人Orson Wells按照H.G. Wells的小说“星际大战”制造的“另一个现实”。Orson Wells的实况播报使得当时数百万美国人怀疑外星生物的入侵而引起的的大恐慌。
巧妙的是Orson Wells制造的现实是在另外一个“现实”上面的，几乎一百年后的今天“星际大战”仍然携带着这个精神。
Artist Statement:
In the real world there are always ways to exchange object identity besides mimicking. Skepticism produces reality, although can be contradicted by magic, myth, religion, dreams, etc. I will always remain skeptical of a viewpoint perceived as "real" for it is rather a "representation". Taking this further I began to discover just how the distance between reality and the mere representation of reality could be, as the reality of today is simply just a reflection of the past.
I’m trying to create the distance between reality and representation. This question of reality lead me to Orson Welles's October 30th, 1938 radio broadcast of H.G. Wells novel, The War of the Worlds. Orson Welles cleverly broadcasted in such a way that radio listeners believed it to be real news and there to be be an actual alien invasion causing mass hysteria throughout the nation affecting more than a million people. Welles use of of a news broadcast to create fiction into reality is just one way of how to create an imitation of a reality into actual reality. The War of the Worlds broadcast now nearly from a century ago still raises some extraordinary views into the human psyche.
史蒂芬巴德利简介：
马里兰大学艺术学院IMDA 研究生系主任
IMDA Graduate Program Director，UMBC
Steve Bradley是艺术家，策划人和批评家。他的艺术作品包括声音行动艺术，装置和物质文化实践等。他在城市与郊区收集物质碎片，声音，这些东西有些是工业商品有些是来自大自然。他的获得独立奖项包括
National Endowment for the Arts；Sonic Circuits VII: Walker Art Center; Inter-Society for the Electronic Arts (ISEA); Museum of Contemporary Art Kiasma, Helsinki; Blauschimmel Atelier, Oldenberg, Germany; Wave Hill, Bronx; and Hull Time-Based Arts, UK.
他的声音行动艺术，装置和物质文化实践在很多重要场所展出，包括：
the InterAizoni Festival, Sardinia, Italy; Kunstradio ORF1, Vienna, Austria; (((NOMUSIC))), Strasbourg, France; 2006 Soundscape, Zürich, Switzerland; Transmission 003.3: Sound Art Festival, Chicago; Smithsonian Institute, Washington, D.C.; Visual Arts Museum/SVA, Pulse Art, and Ricco Maresca Gallery, NYC; Red Room, the Vine, Contemporary Museum: Baltimore; and the Baltimore Museum of Art.
Bradley的写作与众多媒体机构紧密合作，包括
-Radio Territories, Errant Bodies Press, LA/Copenhagen
-Leonardo/the International Society for the Arts, Sciences and Technology (Leonardo/ISAST) Journal, MIT Press。
他的声音艺术合作的独立唱片公司有
Die Wohltemperierte Kuche, Alien Productions/edition Kunstradio, DISContact, Canadian Electroacoustic Community, and Forces in 2 Dimensions: Untitled, Public Guilt Records.
