凤凰艺术 展评 | 文静：制动力加强体——疾病的现时代隐喻

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文静： 制动力加强体，器空间展览现场，2020

苏珊·桑塔格的观点是， 疾病并非隐喻，而看待疾病的最真诚的方式，是尽可能消除或抵制隐喻性思考。 尽管如此，疾病本身所具备的唤醒古老恐惧的力量却是无可撼动的，这份恐惧根植之深，人们甚至不愿将一些病症的名称从口中说出，将它们归为禁忌，谈虎色变，带有一种反智识的虔诚。从某种意义上， 文静似乎是在以一种人文关怀的心态将心理疾病在政治与社会学中所被分配的隐喻性身体进行解剖和祛魅， 但这样做的难度在于， 心理疾病的语言自身就带有映射性，并且通常是对于某种身体疾病的二次隐喻（某些危险的想法“如癌细胞一样蔓延”），或是被标记为意志力的软弱和萎靡。 要非神秘化心理疾病的癌症隐喻，或许是要赋予它更加独特、私密与多元化的颜貌。

▲ 文静：制动力加强体，器空间展览现场，2020

Susan Sontag pointed out that illness is not a metaphor, and the most sincere way to look at it is to eliminate or resist metaphorical thinking as much as possible. Nevertheless, the innate power of illness to awaken ancient fear is unshakable. This fear is so deeply rooted that people are even reluctant to speak of the names of illness and label them as taboos with an anti-intellectual piety. In a sense, Wen Jing seems to be dissecting and disenchanting the metaphysical body to which mental illness is allocated in politics and sociology with a humanistic mindset, but the difficulty is that the language of mental illness is inherently mapped within a secondary metaphor for physical illness (with expressions such as malicious thoughts "spread like cancer cells"), or marked as signs of weakness and lack of willpower. To demystify the cancerous metaphor of mental illness, one should perhaps situate it in a more unique, private and diverse landscape.

▲ 文静：制动力加强体，器空间展览现场，2020

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梅洛-庞蒂在《知觉现象学》中将人与世界之间发生的的某种角色转换命名为“可逆性”（reversibility）。感知通常具有可逆性： 我们既可以触摸到某物，也可以被触摸； 既可以注视，也可以被注视。 尽管身体的任何部分都可以触摸或被触摸，但每个动作之间始终存在间隙。我们无法同时感受到触摸和被触摸。 艺术家在通过对世界的观察和描绘来锻炼自身的肉体视力时似乎经常会遇到一种特别强烈的可逆性，其自身和可见者之间的角色可能会发生对调 ：Paul Klee曾说过，“在森林里，我不止一次地意识到，不是我在注视着森林。有时，我觉得树木在看着我，正在对我说话。” 这种可逆性并不意味着梅洛-庞蒂在将意识和视觉归因于无生命的事物。 相反， 它一方面指的是在人体中被感知到（作为一个物体）和感知（作为一个主体）两者之间重叠的模棱两可。 另一方面，它指的是艺术家/感知者如何通过某种媒介而紧密地陷入并纠缠于可见物之中。 由于对可见物的极度曝光，艺术家可以互换观看者和被观看者的惯常角色，以使他们想象并亲身体验到正常事物的反面， “为世俗感官所认为不可见的东西赋予了可见的存在”，一个我们所占领和居住的“存在的纹理”。

▲ 《大禁闭》文静 装置 特斯拉线圈 190cm x 320cm  2020

▲ 《大禁闭》影像记录

In The Phenomenology of Perception, Merleau-Ponty terms "reversibility" as a role-swapping that occurs between a human and the world. Perception is usually characterized as reversible: one can both touch something, and be touched, one can both look at something, and be looked at. While any part of the body can touch or be touched, there is always a gap between each action. We cannot be aware of touching and being touched right at the same time. Artists often seem to encounter a particularly strong reversibility when continuously exercising their incarnated vision through observation and depiction of the world, and the roles between the artist and the visible world may be reversed: Paul Klee is reputed to have said that “in a forest, I have felt many times over that it was not I who looked at the forest. Some days I felt that the trees were looking at me, and speaking to me.” This reversibility does not mean that Merleau-Ponty is imputing consciousness and/or vision to inanimate things. Rather, it refers on the one hand to the general ambiguity of the overlapping experienced in a human body to be both perceived (as an object) and perceiver (as a subject). On the other hand, it refers to how the artist-seer is intensely caught up and intertwined in the midst of the visible, through their affiliation with a medium. By result of their heightened exposure of the visible, the artist may interchange the usual roles of watcher and watched so that they both imagine and physically experience the opposite of what is considered normal, "giving visible existence to what profane vision thinks is invisible", a " Texture of Being" which we occupy and inhabit.

▲ 文静：制动力加强体，器空间展览现场，2020

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文静的《制动力加强体》以装置、影像、摄影的方式表达出个体如何与他们所居住的世界进行对话的实验性，感官性和体现性探索 。“制动力”一词原指机动装置中刹车可达到的最大滚动摩擦力，是行车安全的保障。伽马氨基丁酸是大脑中的一种制动体，当我们激动、害怕或愤怒时，伽马氨基丁酸就被释放出来，消除不安和忧虑，而像苯二氮卓、巴比妥酸盐一类的麻醉剂便充当所谓的制动力加强体，协助抑制服用者各式各样的恐惧。与此同时，这些药物也会造成依赖性，服用过量会有导致呼吸中枢瘫痪以致死亡的危险。 在艺术家构筑的感官复杂性下，这种危险却迷人的特质微妙地存在于世俗感官可见的门槛上。

▲ 《万灵药》 多屏高清数码影像 彩色，有声 7’00”循环播放 2020

Through installation, video and photography, Wen Jing's solo exhibition Inhibitory Substances expresses experimental, sensory, and manifested explorations of how individuals engage in dialogue with the world in which they live. The term "Inhibitory Substances" refers to chemical substances such as Gamma aminobutyric acid, which acts as a brake force in the brain. When we are excited, scared or angry, gamma aminobutyric acid is released to eliminate anxiety and fear. Anesthetics such as benzodiazepine act as so-called brake boosters, helping to suppress emotional agonies among users. At the same time, these drugs can also cause dependence, and overdose can cause paralysis of the respiratory center and death. Within the sensory complexity constructed by the artist, this dangerous but charming trait subtly exists on the threshold of profane vison.

▲ 文静：制动力加强体，器空间展览现场，2020

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