上海無(wú)聲之后展覽

上海無(wú)聲之后展覽演出信息

無(wú)聲之后

策展人：龍星如、錢(qián)詩(shī)怡

藝術(shù)家：Vibeke Mascini & Ella Finer 、費(fèi)亦寧 Fei Yining、Julie Freeman、劉窗 Liu Chuang、Nicole L’Huillier、許家維 Hsu Chia-Wei、Knowbotiq、Jeroen van Loon、Nicholas Mangan、Yuri Pattison、Diana Policarpo、Shubigi Rao、Riar Rizaldi、Susan Schuppli、Nastassja Simensky、Himali Singh Soin、蘇郁心Su Yu Hsin、Jol Thoms、Nomeda & Gediminas Urbonas、Richard Vijgen、Susanne M. Winterling、黃美婷 Cosmo Wong、張北辰 Zhang Beichen

主辦：明園集團(tuán)、McaM明當(dāng)代美術(shù)館

出品人：李松堅(jiān)、凌菲菲

時(shí)間：2023年11月4日—2024年2月25日

地址：明當(dāng)代美術(shù)館｜上海靜安區(qū)永和東路436號(hào)

票價(jià)：90元

* 殘障人士、現(xiàn)役軍人、1.2米以下兒童及70周歲以上憑有效證件免票

*退役軍人、優(yōu)撫對(duì)象憑有效證件購(gòu)半價(jià)票

一個(gè)探索人類(lèi)感知邊界的展覽

一條非視覺(jué)中心亦非科學(xué)中心的閱讀路徑

一場(chǎng)打破標(biāo)準(zhǔn)經(jīng)驗(yàn)才能重新聆聽(tīng)的旅程

聆聽(tīng)的反面是無(wú)聲嗎？展覽“無(wú)聲之后”意在探索尚未被編碼入人類(lèi)感知語(yǔ)系的萬(wàn)物，亦就此考察和提問(wèn)那些逐漸被技術(shù)化和操作化（operational）的有關(guān)環(huán)境的知識(shí)。

以媒介化方法和“操作性的本體論”（operational ontologies）展開(kāi)對(duì)于物質(zhì)、生命及地球時(shí)間的理解和演繹，既是對(duì)人類(lèi)世生態(tài)危機(jī)的回應(yīng)，也存在于許多當(dāng)代創(chuàng)作之中。如唐娜·哈拉維所言，一系列生命的擴(kuò)延顯影技術(shù)（超聲、核磁共振，電子顯微鏡等等）逐漸讓我們所關(guān)注的對(duì)象和自然處于客體的位置，讓更多的觀測(cè)細(xì)節(jié)滲入未知的領(lǐng)域，使其成為可閱讀、理解并利用的對(duì)象，并納入到以科學(xué)為底色的世界認(rèn)知體系中。在“無(wú)聲之后”的語(yǔ)境里，這種對(duì)自然知識(shí)的“操作”既包含一套探測(cè)、檢驗(yàn)和處理數(shù)據(jù)和信號(hào)的基礎(chǔ)設(shè)施，也隱含著一套科學(xué)或客觀性驅(qū)動(dòng)的行為和管理模式。對(duì)于規(guī)律、模型乃至預(yù)測(cè)的迷戀，恰恰忽視了科學(xué)感知也是一種集體的經(jīng)驗(yàn)主義，以及被劃界為“科學(xué)”內(nèi)外的知識(shí)動(dòng)態(tài)本身亦是權(quán)力的流動(dòng)，而非真相的流動(dòng)。

面對(duì)上述境況，展覽以“無(wú)聲”為隱喻的起點(diǎn)，試圖通過(guò)一系列圍繞聲學(xué)、聆聽(tīng)、或聲音可抵達(dá)的環(huán)境和技術(shù)展開(kāi)的關(guān)鍵詞（靜音、噤聲、無(wú)聲物等），來(lái)打開(kāi)一條非視覺(jué)中心亦非科學(xué)中心的閱讀路徑，投射進(jìn)以媒介基礎(chǔ)設(shè)施為軸線的現(xiàn)代進(jìn)程與自然的糾葛之中。我們將注意力投向那些非標(biāo)準(zhǔn)化的操作，不可被解碼的信號(hào)和游離、逃逸、不被捕捉和鑒定的因子。通過(guò)23位/組藝術(shù)家的創(chuàng)作，讓這些拒絕被客體化的環(huán)境知識(shí)，無(wú)法預(yù)測(cè)和規(guī)則之外的自然本體發(fā)出聲響，并在聲音的發(fā)出與被采集、聆聽(tīng)之間的空隙中，推演一種被重新打開(kāi)的認(rèn)識(shí)路徑。

視覺(jué)設(shè)計(jì) 伍子杰 Visual Design Zijie Wu

Postscript of Silence

Artists: Vibeke Mascini & Ella Finer 、費(fèi)亦寧 Fei Yining、Julie Freeman、劉窗 Liu Chuang、Nicole L’Huillier、許家維 Hsu Chia-Wei、Knowbotiq、Jeroen van Loon、Nicholas Mangan、Yuri Pattison、Diana Policarpo、Shubigi Rao、Riar Rizaldi、Susan Schuppli、Nastassja Simensky、Himali Singh Soin、蘇郁心 Su Yu Hsin、Jol Thoms、Nomeda & Gediminas Urbonas、Richard Vijgen、Susanne M. Winterling、黃美婷 Cosmo Wong、張北辰 Zhang Beichen

Organizers: Ming Yuan Group, Ming Contemporary Art Museum

Producer: Li Songjian, Lin Feifei

Duration: 3rd Nov, 2023- 25th Feb, 2024

Venue: Ming Contemporary Art Museum | NO.436 East Yonghe Road, Jing’an District, Shanghai

Admission: 90RMB

Is silence the opposite side of being heard? The exhibition “Postscript of Silence” aims to explore aspects of the world that have not yet been coded into the human perceptual lexicon, thereby examining and questioning knowledge pertaining to environments that are increasingly being technologized and operationalized.

Understanding and interpreting matter, life, and geological time through “operational ontologies” and a mediatized approach—as both a response to the anthropocentric ecological crisis and as a thematic element—are present in much of contemporary artistic creation. As Donna Haraway suggests, a range of life-extending imaging technologies (such as ultrasounds, MRIs, and electron microscopes) are gradually placing the objects of our focus and nature itself in the position of the observed. This allows more observational detail to infiltrate previously unknown domains, rendering them readable, understandable, and exploitable, and integrating them into a worldview underpinned by scientific thought. In “Postscript of Silence,” this operationalization of natural knowledge involves not only a foundational infrastructure for probing, verifying, and processing data and signals but also implies a set of actions and management patterns driven by scientific or objective reasoning. The fascination with laws, models, and even predictions often overlooks the fact that scientific perception is also a form of collective empiricism, and that the dynamics of knowledge categorized as “scientific” are flows of power rather than flows of truth.

Confronted with this situation, the exhibition takes silence as its metaphorical point of departure, aiming to carve out an interpretive method that does not center on the visual or scientific by utilizing a series of key terms centered around acoustics, listening, or the reachable environs and technologies of sound (such as muting, silencing, or inaudible entities). This leads us to focus on non-standardized operations, undecodable signals, and fugitive, elusive, uncaptured, or unidentified elements. Through the works or projects of 23 artists or artists groups, the exhibition allows the environments and natural entities that resist objectification and defy prediction and regulation to make their voices heard. In the gaps between sound emission and its capture or listening, the show implies a newly reopened cognitive pathway.