枕流漱石

Void on Fire: On Nadim Abbas' works

2010-11-07T18:02:00.000-08:00

photo courtesy of the artist

Void on Fire

Venus Lau

“The fire runs, and hollers on the blank page”

Liu Wai Tong, “Mysticism, a Song of Failure”

Telling stories with the body itself, narrative cannot avoid the trajectory of moving from one door (material or imaginary) to another, walking or rushing between being and becoming, presence and absence. The window, which constitutes one of the primary moments of imagery in the visual language of Nadim Abbas, acts to interpret the door, demonstrating its dialectics of inside/outside without bringing it into ontological existence. For Abbas, the window is sometimes a gasp voiced in the midst of a confrontation between mirror images and sometimes a fountain of bliss for the voyeur. One portion of the installation “I Would Prefer Not To”(2009) is a line of windows formed by dark glass mounted with window grates. In “Untitled” (2000), the viewer is seduced to look through a window into a boxlike white room without doors. “Perspective Studies” (2001) places wheelchairs, light, and windows in a set intended to test the viability of optical illusions, the black-and-white checkered floor twisted nauseatingly out of space.

This interest in windows also extends to the grates and frames so ubiquitous throughout the city-scapes of of Hong Kong and South China. “The Bride Stripped Bare by Her Bachelors, Again” (2007) represents yet another attempt to interact with the possibilities of the window, here in the form of a sound installation making explicit reference to Marcel Duchamp. The work develops strata of signification, juxtaposing a porn magazine clipping resembling Duchamp's “Étant donnés,” window grates framing images of waterfalls, and a chair covered with cacti.

Within the household, the installation of window grates is typically intended to either prevent robbery or avoid small children falling out--these different aims that are actually one: the prohibition of traversal (through the window). Abbas further consolidates this interdiction by hanging his window frames on solid walls, a limit in contact with the rejection of continuity. Abbas is not, of course, the first person to transform observations of these grates into art. Mainland Chinese artist Liu Chuang's “Split Landscape” (2005) marks a similar such interrogation of the spatial functions of such extensions to the window, extracting the visual elements of a three-dimensional cage-like grate form once popular in Shenzhen and turning it into a stainless steel sculpture with a highly formalized and flattened visual presentation. This same object clearly serves different purposes in the practices of these two artists: Liu is concerned with researching a geometric aesthetic of the grate as an image by peeling it off from the functionality of the defensive structure, while Abbas displaces the windows in order to dissolve the dialectics of inside/outside through a discontinuity in visual perception raised by a physical aluminum veil. The window, here, is like a ship--Foucault's heterotopia par excellence--a “placeless place ... closed in on itself and at the same time ... given over to the infinity of the sea” (Michel Foucault, “Of Other Spaces”). It goes nowhere and everywhere.

Besides the window, the figure of the Rorschach test image makes a significant appearance in the practice of Nadim Abbas. The window grate patterns from “I Would Prefer Not To” actually correspond to ten strictly symmetrical inkblots from the Rorschach, while “Untitled (14-03)” (2010) consists of a set of drawings mingling the outlines of such inkblots with the floor plans of apartments in Hong Kong in which there occurred a homicide or suicide on 14 March within the past 15 years. This project creates an imaginary non-space defined only by absence. Less obviously, example “Ornament and Crime” (2008) involves an installation constructed out of white pipes through which observers roll ceramic fengshui balls before smashing on the floor. The symmetrical design of the pipes here certainly resonates with the Rorschach test images, if remotely. Abbas makes reference to clinical psychology again in “I Would Prefer Not To,” another component of which is a specimen box of different manga action figures intended to correspond with MCMI-III (Millon Clinical Multiaxial Inventory-III) disorders. In comparison with the hype of psychoanalysis adopted as cultural theory in the art world, Abbas is far more concerned with psychopathology. The body, which Schilling calls an “unfinished biological and social project,” is manipulated and fragmented by the clinical gaze, while psychology expands and limits the possible dimensions of the subject through language. Here, art cuts into the human body without the presence of the latter.

Nadim Abbas’s latest project, “Cataract” (2010), is consistent with a certain obsession with windows and grates, including a light box highlighting an image of a waterfall (similar to that used in “The Bride Stripped Bare”). But this is only half of the project: the other half is a continuously running shower system within an environment making reference to a certain filmic anxiety, mirroring the imagery of the waterfall in a different register. The continuous artificial waterfalls may resemble the cylindrical lamp depicting the Iguazu Falls that features prominently in Wong Kar-wai's movie Happy Together, or perhaps the digital fengshui calenders mass-produced in mainland China, typically consisting of a large light box occupied by a lush landscape or Buddhist images on one side and digital clock on the other. It would be overly hasty, however, to cloak this work in the narrative fabric of social criticism related to the extremes of Fordist production modes or clichéd cinematic reference.

The title of this project relates the imagery of the waterfall with a pun, a linguistic forking path. Semiotically and physically, as translucent water is beat into a milky color by virtue of its own velocity, the project speaks in opacity. But opacity, from the window grates that divide the fabricated continuity of an imagined landscape to pieces of dark glass, deformed floor plans, and inkblot images, far from acting to block vision, can actually open up space for new interpretations of the phenomenology of space. This space, however, is never as simple as a large void or volume to be filled with whatever appears. Opacity in some ways wipes out the visual markers of certain objects while producing new schematics of signification and metaphors, but, on the other hand, it also provides a “universalized process of recognition” (Slavoj Zizek, “The Matrix, or the Two Sides of Perversion”) for the viewer--quite similar, in fact, to the function of the Rorschach test. For Nadim Abbas, the production of the space of possible symbolic engineering is a fire that simultaneously burns down and lights up its object; the singularity of space is always followed by vanishing, remaining in an unavoidable moments of becoming or morphing into a new and ephemeral appearance.

周俊辉: 衍生的衍生

2010-11-07T18:00:00.000-08:00

原文载于artfroum.com.cn

汉雅轩(HANART SQUARE) | HANART TZ GALLERY(HANART SQUARE)

香港新界葵涌（近大连排道）工业街17-21号美安工业大厦二楼

2010.09.30–2010.10.23

Venus Lau

白立方式的展场内尽是画布上的金甲干戈、锦绣绫罗，带来的重量感犹如将倾玉山。周俊辉的第四次个展展出其新作品，再一次展示艺术家的签名式：截取电影场景（连同字幕和荧幕的黑边）的绘画。周的前作聚焦于以现代为背景的电影，如《无间道》、《纵横四海》和《英雄本色》。《衍生的衍生》作品的蓝本则来自古装电影，包括《唐伯虎点秋香》、《投名状》、《济公》、《霸王别姬》、《倚天屠龙记之魔教教主》等。新作品仍呼应艺术家一直关注的主题：《唐伯虎点秋香：没天分就不要画》表达的对艺术本身的诘问、《孔子：天下莫柔弱于水》（该句实来自《道德经》）陈述的哲学主题、《新半斤八两：繁荣盛世度度有金执》（2008）揭示的政治和香港人的身份认同问题。新作还增加了一个维度 - “衍生的衍生”，如《帝女花：将柳荫当做芙蓉帐》以电影《帝女花》为蓝本，该电影改编自同名粤剧，以明末长平公主的故事为创作灵感。《三国：不如弃子而取胜》（2009）的场景来自改编《三国演义》的《三国之见龙卸甲》。电影历史或文学人物带来的想象造就陈述，进而引发各种文本如粤剧和电影的生产。这些具有互文性的衍生物，像水晶棱面不断在自身和其身处的符号系统之间折射光线，一如早期摄影上过度曝光的虹影，以纯视觉体验消除某些历史的框线。

在 “超级真实”的世界，处处充斥没有指向的指向，若以复制/元件的二元对立来看待周俊辉对电影场景的“重置”，实在过分轻率，展览的题目（虽然英文用的字眼是“reproduction”）也在“衍生”一词上做文章，而非以忠实为本的“复制”。其实周俊辉的绘画并不以忠实重现细节和延展视觉为目的。作品不是复制，反而更像翻译，把作为热媒介的电影，转化为随时可以重阅的冷媒介，打破被叙述时间的牵引。翻译总是让人沉迷于“中心信息“是否准确传达。但周俊辉的作品一如永未完成的巴别塔，告知观者翻译不存在什么准确，只从新印证语言的异质性和随机性。

除了借用古装片创作，周俊辉新作的特点来自画面的光泽感，这在展场射灯光下尤为明显。另一方面，新作画面明显较早期作品精细。这种美学转变并不单源于艺术家的笔触实验，画面从粗糙到精细的过度，道出香港视听媒介从VCD到DVD的转变，也阐述了当今图像经济学的等级系统：高解像度是进入图像经济体系的本钱，解像度低的“烂图” (Hito Steyerl口中的poor image)只能在体系外围打转，成为该制度的无产阶级。科技实现观众对高解像度和清晰的不断追求，以致各种媒介成为以视觉快感争夺注意力的战场。

作品的试图通过转换媒介脱离原叙述，从原有历史语境解放视觉符号，可是作品旁边图文并茂的解说却成为返回旧历史语境的康庄大道。艺术家的作品虽然与前作在细节上有异，但并未在概念上带来突破。

展评：幽灵证据

2010-11-07T17:58:00.000-08:00

幽灵证据 (Spectral Evidence) 1a Space

香港九龙土瓜湾码头角道63号牛棚艺术村14号

2010.07.15 - 2010.09.05

展覽标题在香烛铺成行成市的香港，确实引人注目。展覽的目的并非要印证鬼神的存在，也无意把鬼的極端他性，作为藝術家的狄奥尼索斯面具。“幽灵证据”源于17世纪美国的巫女审判案, 赋予异象和梦境在法律上的合法性。策展人林司律道出，展覽旨在“探讨历史如何像幽灵一样影响現况”。

二人組Lin+Lam 的作品Even The Trees Would Leave (2005) 通過攝影和文字聚焦香港越南難民营（原址已改建为高尔夫球场），对旁观和消费他人痛苦的行为极尽讽刺。装置/录像作品Tomorrow I leave (2010) 内容环绕马来西亚業已關閉的越南难民营，展示众多白色木台上的明信片、来自難民營的物品、并置馬來西亞風光和前难民信件的录像。作品恰似祭坛，显影人在飄泊流程中的呢喃。

梁硕恩的录像作品Poe (2007)從爱倫坡(Edger Allan Poe)身后的线索 - 包括其故居、遠房親戚、文字等 - 展开史密生(Robert Smithson)式的地點/非地點辯證。錄像作品Time Museum Time (2010)以藝術家的招牌动作 - 蹲，透过身体的空间概念回應庫哈斯(Rem Koolhaas) 在广州的美术馆项目，作品和内格里(Antonio Negri)批评“junkspace（“垃圾空间”）是生物政治”异曲同工。

Horizon出自Sreshta Rit Premnath之手，藝術家从网络收集哥伦布纪念碑的照片，消去人物雕像，留下纪念碑底座的图像 - 历史叙事基础的虚拟的自明性隨之崩塌。

展覽明显并非探寻所谓“历史真相” ，历史在此是载体。作品展示的历史残骸作为缝合点(point de caption)，建构永不闭合的的文学机器，通过建构叙述展开历史机理的新创口和文化病理学，成为无止的叙述空间。这个空间恰如德里达(Jacques Derrida)的幽灵，不属于现在或将来，它暗示放射式时间性的延展，消解线性历史，抱着自己没有躯体的躯体，又作为主人能指，从我们感官擦过。此外，作品对不同地点的意象，是以语句结构和之间的隐喻关系“定位“的非地点，这和作品之中的文字譜出双重文学性。香港鲜有展出以研究和檔案为基礎的藝術，是次展覽填补了这方面的空白。可惜，部分作品的符号过于强势：汇丰商标、殖民地难民营，维多利亚皇后像，对某些惯于把香港展覽化约为“后殖民叙述”的观众来说，诱惑实在太大，有形成意指短路的隐患。

张洹：我山之石

2010-11-07T17:55:00.000-08:00

(Published by Leap magazine)

张洹：创世纪
Zhang Huan：Dawn of Time
上海美术馆
Shanghai Art Museum
2010.02.03 — 2010.02.28
Venus Lau

張洹個展“創世紀”二月初在上海美術館開幕，展出五件作品，包括三件裝置作品和兩幅香灰畫。無論是因為“張洹首個中國個展”，還是因為2008年展覽被取消的風波，開幕式上蒸騰著由好奇醞釀出的某種期待，漫溢在悉心打扮的人群和名牌手袋之間。

作品“創世紀”散落的老青磚在發鏽的車斗後面拖了大半個展廳，車斗上面站著小馬標本。作品的青磚是從上海的拆遷地區收集所得。同樣的素材也運用在“寶塔” 上：青磚堆砌的鐘形塔上一窗洞開，內置小豬標本。兩件作品不約而同借用動物意象。其實，張洹並不是使用動物意象的新手，2002年的裝置“大佛” ，2004年雕塑“馬”，2005年的雕塑“驢”，2008年的裝置“竹林百賢”都用上動物形象甚至是活動物（如“竹林百賢”的猴子）。現代動物和人之間不是明了的隔扇，而是懸而未決的地域（有可能是阿甘本（Agamben）所指的 Homo Sacer），這片地域是人性和動物性的豁口。但張洹的作品似乎不屬於這種開放地域，而是擬人法，把我們和動物之間的距離拉的更遠。

作品“英雄一號”背對展廳入口——不知道是否對凝視的抗拒——臉熟非常，這件大型雕塑，跟藝術家2008年作品巨人1，2，3 號非常類近，同樣是以上百張經過處理的牛皮拼湊而成，形式上也同樣是殘缺獸肢看似隨意而痛苦的糾結。“英雄一號”披著一身腫瘤狀的凹凸不平，裂邊和累贅，但觀者還是可以辨認出肉食動物粗拙的前肢，人的耳廓和模糊的臉。作品的粗糲形態與其說是來自藝術家對不同材質的隨意實驗，倒不如說是來自計算，作品的粗悍掩蓋了其機關算盡（張洹有專用的車間加工毛皮）。“英雄一號”是否是藝術家對自己和同代中國藝術家的一種反諷：英雄是由預設的時間性事件築就的。经典的悲情英雄俄狄浦斯通過預言得知自己將來杀父娶母，雖然他千方百計逃避歹運，他一路從命運安排的荊途走來，從命運那里收集成就其英雄身分的事件，最後悲劇還是如期降臨。張洹出國成名再歸國再在國家級美術館辦個展，聽起來耳熟能詳，藝術家的命運，是否就是英雄的劇目一樣是先驗的圖冊？

香灰製作的繪畫作品“水庫”和“大運河”，畫面圖像參照六七十年代的新聞照片，表現了至少一部分人的集體回憶，另一部份沒有相關經驗的人回憶缺席的懷念。張洹在訪問時提到收集香灰是“凝固靈魂”，此概念與老新聞照片表現的集體性一拍即合：一方面是無數善信對形而上存在和遙遙彼岸的遠觀，另一方面是圖像通過大眾媒體無限複製和傳播。可惜作品僅僅憑借兩者脆弱聯繫成型，作品難免有些先天不足。比起這兩張畫（和張洹其他的香灰畫），協助藝術家生產作品的“張洹工作室”分工的細緻似乎更具美學性：工作人員從上海和其周邊廟宇收集香灰，把香灰按顏色分類，再以膠質把香灰按選定圖像固定在畫布上。這種精微彷如脆薄的白紙上無數深灰直線，也如卡爾維諾在未來千年文學備忘錄：輕逸篇引艾米莉·狄根森 (Emily Dickinson)詩句：
“一个花托，一片花瓣和一根刺针，
在一个普通的夏日的清晨
长颈瓶上挂满露珠”。在香灰畫的薄弱概念的反襯下，其藝術形式只能變得更矫饰冗长，反不如香灰和車間本身。

同樣是運用甚至濫用中國符號，張洹相對比其他藝術家是要显得圓熟些。或許因為張洹甚少運用飽和的顏色和質地，故此其作品裡的佛像，書法，漢字，舊照片和香灰，雖然是耳熟能詳的“中國牌”，可是打出來的確是比較順眼，作品有時候也甚至靜謐過機警過。比如製作“上海家譜”（2001），張洹用墨汁把祖先的名字塗在臉上，直到滿臉烏黑，剩下一雙眼睛。作品的概念非常直白：中國人宗法制度／文化遺產，成為消失的“自我”的包袱。墨汁和筆畫下的皮膚吸收了自己的光澤，緊繃在自己的物性里，象抽象畫里被筆觸和色塊洗練的臉，變成了純粹的肉－骨骼和肌理的困獸斗。

創世紀作為標題，刻意指涉舊約聖經首章創世記。創世記和其他宗教經典一樣，包含天地起始和早期文明誕生的敘述。展覽的英文題目沒有用上創世紀／記英文 Genesis，卻翻譯成Dawn of the Time。 Dawn，即破曉。創世記描述上帝說“光，就有了光”。又因為光是好的，所以需把日夜分隔。破曉就是晝夜切割線。這次展覽標題直指藝術的真實困境，就像齊澤克(Slavoj Zizek) 所講共產國家建築上揭露了政治真相（不管當權者口里是怎樣的“人民至上”，大樓頂上政治領導的巨型雕塑形象地道出人民的卑微）：成為藝術家是不是等於成為破曉，擔當藝術史各個“時期”的分界線？

這次展覽作品的大尺寸（當然在國家級美術館展示巨型藝術品一般都被認為合理）和寓言式視覺語言，令人聯想起拉伯雷（François Rabelais）的著作《巨人傳》（The Life of Gargantua and of Pantagruel）。小說中荒誕又枝節蔓生的劇情加上主角巨人父子的驚人體量，本來氛圍應該像巴洛克皺摺一樣繁繁複複，時而舒展時而緊縮。可是拉伯雷放肆的幽默和想像力像氫氣一樣注滿作品，其輕靈在諷刺中世紀文化時足以做到四兩撥千斤（笑就是可以控制的瘋狂）。反之，創世紀的作品概念薄弱，拖曳著自己的重量，艱難的演著獨角戲，猶如展場鋪天蓋地的青磚。

希臘女妖美杜莎(Medusa)滿頭蛇髮，凝視她眼睛的人會變成頑石。其實變成石頭的人，都從美杜莎的凝視看到自己作為主體的沈重和無力——主體對他者的結構性依賴，作為向死而生的存在，主體面對作為永久入侵者／陌生人的死亡，無論顛覆還是接受，帶來的都是疏離。如果這次展覽的是石頭，它們，其實就是美杜莎面前的藝術家。Venus Lau

幾年前寫的六四文章

2010-03-09T03:35:00.000-08:00

六四过了十六年，我才第一次走到街上。我一直觉得不上街不要紧，重要的是莫失，莫忘，记得，记着。每个人都有不同的悼念方法，有的人喊口号，有的人舞动旗帜，有的人痛哭，有的人沉默，也有人为了那些逝去的人在“默默中揪心，一根头发渐渐变白“。只要不忘记。

游行队伍的口号浪涛一般云涌而起，我混在好多人当中，从铜锣湾到中环，维园到政府总部，我连一句平反六四都没有说，我真的，没有说。四周卷起的潮骚样的律动，在两边刮出跌宕的版画的黑线条，浪潮转折的地方勾着像压抑的荇藻般咸腥的喘息，然后一路颠颠顿踬至我身边-------那些结束一党专政释放民运人士民主万岁宛如渗进黑鹤带体温的铁色羽毛-------声浪嘎然而止，如触礁一样。我知道一定会有人要说我这种表现跟横额底下，干裂的嘴唇边的愤慨格格不入，我的木无表情是对那些神情哀伤的人们的背叛。那又怎样呢，对我没有买支联会的T恤我没有高举那些黑底白字的纸牌我没有抬着发泡胶制的民主女神边流汗边唱血染的风采，我好多好多都没有做，但我在队伍中间，我在里面走一步就说了一句话，是的，我患了中国人那种所谓内敛的遗传病，在公众场合尤其发作的厉害。如果有人要把我的沉默从我的肉骨剔出，我会说我对我的诉求很清楚，不需要口号的连连提醒。诉求很明确，因为我就在路上，队伍中间。被群体纳入吸收是危险的，但我今天不介意我作为个人的身份被模糊，成为“要求平反六四“的游行者之一员。

今天其实不是很热，但香港湿毒的天气，总是令人成身汗。纵我心静如柳下惠枯山水，明绿t 恤却紧贴着我皮肤为我湿涟涟，我的身体执意奉迎毒日尘封的阴霾，坚决不肯自然凉。柏油路上的热气，点点聚，变成触角，躯干，带毛的四肢，小小的黑蚂蚁，潜进我的布鞋底。鞋面套桃红的手绣鸳鸯，在绿彩线培植的莲叶底下吐气。好湿。伏在莲叶鸳鸯下，平素最冷静的彩蓝，感染潮气后竟渐渐变成暖色，慢慢炖着菊花细火。

今天才知道，为了别人行，为了很多人行，跟很多人行，好累。

香港人很善忘，不知是否与天气有关。十六年前那天，我的父母坐在电视前，透过夜视镜的绿瞳看长安大街，我们听见炮火，爆出的火星，看不见流血，大人杜绝幻想和视线游溢至坦克轮带底下，爸爸妈妈把我和妹妹的疑问埋在默默无言里。荧幕切换着绿色与橙色，长安大街的灯亮了就是橙色，有人用手掌扑灭了灯，街就变了绿色。爸爸说橙色的街灯是用来防雾的，其实北京少有雾，听着哪，一支支高大的街灯，谁用来燃亮硝烟。那些目击的街灯，那时候有没有闭上无睫毛的秃眼睛，默许鲜血蜿蜒而过，填满天安门前的灰砖？？第二天学校罢课，我们对着粗糙的油印纸唱爱自由为自由，真奇怪我那时怎么会唱普通话，学校都没有教。

那时我呢，二年级，七岁。回家看鬼马哺哺车的时候，哺哺车香蕉黄的车身传来枪声。达达达。

扣在浅蓝色的确凉校服的黑纱，乌蝶鳞一样轻，后来纱跌了，我在小吃部顾住买薯片没有去捡。初夏时香港有一百万人大游行，社会课本写着香港人口有六百多万，一百万人，即是，全香港，六个人，就有一个人在那队伍里。好多人。中环排到西环，几个地铁站。公益金百万行都没有那么多人。一路行一路行，涉着自己的汗水而过。哈。六月四日。我爸妈，现在一句都没有提。只是忙着搞离婚，在大陆开制衣厂，裁纸样，剪布。我都记得，你们怎么说忘了呢。

现在你怎么跟我说你们忘了呢。啊。咸丰年的事你提来把鬼。喂。世道艰难我地要揾食呀姐姐仔。游甚么行，赶住返屋企煮饭。目睹那么多年轻的生命流逝，你怎能跟我说，啊，那是。几时的事。

那些学生，如果他们没有举起横额，如果他们没有绝食，如果他们没有面对全副武装，如果他们不是生在中国，如果，如果，他们有多十六年，看着自己仔大女大，油烟把老婆的脸颊晕黄，腰间的皮肉在微小的平淡里滋长。如果，如果什么都没有用，如果任何行动只会换来绝望，如果，如什么果，其人已殁。

旺角街头展出六四的图片。脸的肌肉明明摆好了哭的姿势，可我一滴眼泪也没有，好像出嫁闭上眼等开脸，等哀伤以棉细的白线，把纤稀的淡黑的汗毛般的克制，沿雪白香粉摊开的路，片掉。哭十六年，水塘都流干，流入记忆的死海。

不少人都集中观看受害者血肉模糊的死状。其实不需要血腥的影象配合，整件事情都足以刺痛任何人，当然，前提是每一个人都有良知。我看见有几个十几岁的年轻人，挂一身鲜烈的颜色，对六四死难者的照片指手画脚，说咁核突咪睇啦我唔駛食飯。我真想。车她一巴掌。连基本的人道关怀都没有，这些人脱了一身潋滟的时尚，底下就是废物。

我对着那些坦克入城，空寂大街的照片，感到特别心痛，通明的首都盛满了虚空，华灯底下空无一人，像丢空的电影布景，演员全死掉，感觉又荒诞又荒凉。装甲车开走了，仗打完了，人人都输，有人输手手脚脚有人输民心有人输家人有人输命，赢的只有僵绿的铁皮。抹杀了人文的无机金属，宛如里面从来没有过人，有意识自生自灭随机地杀戮。面向镜子，在自己的毛孔稍大的脸上窥见清冷的玻璃下固态的水银。面对坦克，就看见在背面聚满柔润的宝石光泽，軟嫩的粉红石榴红内脏。

未必人人都要做烈士，甚至不一定要上街，喊口号，买支联会的胶手带。只要记得，起码在六月四日的时候，在物质与娱乐的甜头之间，记得，有很多人，普通人，用血来提醒我们自由是要争取，革命尚未成功。

走着的时候我跟伟棠说，在中国，烈士没有价值，用刀剑枪矛血汗消费希望，到最后志气消磨，花从梅萼落，然明春依旧韶光艳，漾如线。伟棠说有的。有他们的价值的。现在看不到。过了好多年后，会看到六四的价值的。中环竖满玻璃幕墙建就的图腾，对面行车线上车辆熟练地滑过，车上的乘客拿相机拍游行的队伍。汇丰和中银大厦外墙好象一面面大镜，却什么都照不到。我忽然有误入仙境的虚虚的感觉，足底的路面恍恍惚惚生出了有机的弹性。要不然就是世界误入了以脚步叠成的仙境，眼睛半开看着成群的人的出行，像凝视小小玻璃瓶里桅杆轻脆，白帆摆出受风的圆浑的鼓胀姿势的模型船。

然后我说。真o加。

后记：去年十月路过长安街，时逢国庆，街上灯白如昼，硬生生挤出一个个皮笑肉不笑的假太阳，伪婵娟。无端的热情与喧闹压在黑夜上，黑夜就一点一点的断了呼吸，声声明如剪。谁还记得，十六年前。人人齐奔小康的步伐那么一致，怎复记那大街上，有几多双眼睛就此闭上。铛铛亮的皮鞋底下，经济收益的香甜里，谁还会理九里香之地，平凡的曾经的生生灭灭。
或者有人不再提起是因为恐惧，到一天恐惧的对象消失，他们便会开口，不过老实说我不知道他们是否能等到那一天。可是更可怕的是麻木。不是不能提，不该提，不堪提，是“为什么要提？”

The outline for my book (that will not be published) , Eng

2010-02-24T16:15:00.000-08:00

Jianghu and Empire: Cultural Geographies in Chinese Contemporary Art

Background:

In Postmodern Geographies, Edward W Soja commented on an obsession with time in 19th century: time is considered to be rich and dialectic; space, to the contrary, is regarded as "the dead, the fixed, the undialectical,the immobile". In the fields of critical theory and epistemological production, the temporally-focused point of view
was expressed in the form of obsession with history and idling of geography. Although academic stars like Foucault had already expressed doubt towards this hegemony, it is obvious that enthusiasm about history in critical and
cultural theory has not yet faded away. In the contemporary art scene, the obsession is manifested as a drive towards art history. Although there are scholars who investigate the cultural geography of (Chinese) contemporary
art, the results are generally either regional stereotypes or absorption of cultural geography into art history. This essay aims at investigating Chinese contemporary art with reference to two spatially-oriented concepts:jianghu
and Empire.

Empire, a significant text by Antonio Negri and Michael Hardt, virtually maps the narrative and diagnosis on the sovereignty "Empire" in the context of globalization. (Although Negri's Marxist reference may raise suspicion about the possibility of historicism, the spatiality of Empire acts as a plane of immanence to thought.) The concept of "Empire" already existed during the Roman Empire, but Negri and Hardt's Empire in the context of globalization is not simply a heritage of antiquity, but also a fracture motivated by capital. The ceaseless self-production of capital
as a cancerous body-without-organs drives towards over-top national-states and super-national organisms while capital endlessly reproduces its own pattern. This ceaseless reproduction results in a weakening of the
independence of nation-states, which, along with other super-national organisms, are accommodated by the capitalist apparatus and "united under the logic of the single rule." The result is a new form of sovereignty: Empire.

The development of info-technology shortens or even erases the physical distances and hence strengthens the influence of Empire. Subjects are passively subsumed by the new sovereignty, like bodies inscribed with medical signs. The concept of Empire takes a crucial role in the production and identification of Chinese contemporary art.
Apart from Empire,jianghu is another cultural concept that is inseparable from the cultural geography of Chinese contemporary art.

jianghu, literally "rivers and lakes," initially referred to a name collectively for rivers and lakes. The term then transformed over time and becomes a word standing for either: the habitat of the hermit; or the environment where you min(the people who are outside of the ancient Chinese hierarchy comprised of government officials, peasants, workers and merchants) make a living. This essay adopts the latter.

Jianghu embodies an alternate space with loose organization and its own hierarchy and rules. As an industry for which it would be difficult to obtain a firm definition, contemporary art in China had a sphere of influence which is a
jianghu.

The geography of Chinese contemporary art depicts in a spatial form the simultaneity of the society and the map of power among producers and participants in the industry.
It is too imprudent to equate jianghu of Chinese contemporary art with resistance against the capitalist apparatus and Empire, as the relationship between jianghu and Empire should not be reduced to a simple dualism. Yet it is
even worse to think that they are equivalent. The two sometimes overlap: sometimesjianghuis the Lacanian symptom of Empire; sometimes jianghuis the metaphorical surplus of Empire.Despite the uncertainty, what can
be sure is that the two concepts are among the factors that determine the legitimacy of Chinese contemporary art.

Outline:

• “Empire" and "China": Concept of Empire and Chinese Contemporary Art in an International
Horizon
◦ This part investigates how the Empire concept is applied to the art mechanism and how the
concept molds the signifier “China art.” Under the mechanism of Empire, the independence of
China as a nation-state is weakened, and Chinese contemporary art is transformed to a noun
floating in the chain of signifiers, always drifting on its relative positions.

• Chinese Contemporary Art and the Concept ofjianghu
◦ This part investigates the history of jianghuas a concept in Chinese contemporary art and how
the participants in the scene interact with this cultural topography when transcending physical
geography.

• Interaction Between Empire and Jianghu in Chinese Contemporary Art
◦ Comparing the structure and symbolic networks in Chinese contemporary art under the
concepts of Empire and jianghu
◦ The influence on art production by the epistemology engendered by the suspension of physical
geography by Empire and jianghu
◦ Point de Capiton: This is the part probing into the overlapping and dislocation of Empire and
jianghuin the context contemporary art in globalization, with a focus on the expansion of
jianghuof Chinese contemporary art beyond the previous nation-state-geography boundaries
through globalization.
◦ The Name of the Other: Investigating the positions of Chinese galleries and artists in
international art events: Venice Biennial, Documenta and Art Basel, with a reference to concept
of "outsider" which Derrida mentioned inOf Hospitality.
◦ Who is whose symptom: The subjectivity between Empire andJiang Hu, and how it works on
art
◦ Biopolitics:jianghunever exists without people; Empire obtains its legitimacy from its
"multitudes"; this section analyzes how the politics between the people differ in the context of
jianghuand Empire
• Treading onJianghuand Striding through the Empire:Case Studies on Artists' Productionofa
Nation in a Nation/ Carrying the Tao to the West:Chinese
◦ Writing about the pioneers who made Chinese artist in an international horizon
◦ Artists: Cai Guoqiang, Huang Yongping, Xu Bing
• South to the Border:the "Southern" Artists in Cultural Geography
◦ Investigating how the “southerness” of the artists are produced injianghuand Empire.
◦ Artists: Chu Yun, Jiang Zhi, Liu Chuang, Zheng Guogu
• The World is the Corner: "International" / Non-Place Artist
◦ Focusing on how the Chinese artists who are considered to be international due to their
distance from conventional Chinese icons
◦ Artists: Cao Fei (early work), Adrian Wong, Xu Zhen

The outline for my book (that will not be published) , Chinese Version

2010-02-24T16:10:00.000-08:00

(請勿轉載)

江湖與帝國：中國當代藝術的文化地理
by Venus Lau

Edward W. Soja 在Postmodern Geographies 提到19世紀人們對時間的迷戀：時間被認為是豐饒而辯證的，與之相反，空間卻是“死實，固定，非辯證和不變”的客體。時間主導的觀點在知識生產和批判理論上表現為對歷史的迷戀和對地理的投閒置散。縱使如褔柯之流的學術明星對這種一廂情願作出質疑，批判理論和文化研究界對歷史的迷戀仍未全面減退。此點在當代藝術表現為對美術史的狂熱。縱使有部份學者試圖探索（中國）當代藝術文化地理，結果卻是藝術典型化，或者文化地理被吸收為藝術史的一部分。本文將以“帝國”和“江湖”這兩個建基於空間性的概念，探索中國當代藝術。

內格里(Antonio Negri)和哈特(Michael Hardt)的著作帝國描述全球化語境下“帝國”主權的虛擬版圖。（帝國作者對馬克思主義的引用，難免會有歷史主義的意味，但是其帝國概念的空間性可作為思考的內在性平面Plane of immanence）資本作為“癌變無器官身體(cancerous body-without-organs)”，不斷複製自身的樣式，產生超越民族國家的要求。資本加速流通生產更多資本，民族國家的獨立性則日趨薄弱，它們連同其他超國家組織被資本制度編收；在單一，共享的邏輯下，築造了全新的主權形式 — 帝國。另一方面，信息科技的發達縮短甚至取消了物理距離，使帝國主權的影響力日益擴大，個體包括藝術只能被動地受其包攬，如醫學符號被刻寫在身體上，故帝國對目前中國當代藝術的生產和身份認同有密切的關系。

另一個與中國當代藝術無法分開的文化地理概念是“江湖”。江湖原本為江水湖泊總稱，后演變成隐士避世之處，亦指“游民”謀生的環境（本文取后者）。江湖是一“另類宇宙”，也是官方/傳統宗法制度的例外。江湖結構鬆散卻又具有自己的等級結構和规则，是“游民”浪蕩的世界。藝術作為難以定義的生產業，其有效範圍一如古時中國“四民”語境之外的江湖。中國當代藝術的江湖地理，以空間化形式，揭示現今社會的共時性(simultaneity)，也展示藝術生產者之間的的權力地圖。

草草把江湖當成藝術對資本机器和“帝國”的反抗未免天真 — 二者的關係不可化約為簡單的二元對立 — 把二者等同卻更大錯特錯。帝國和江湖范圍偶有重疊，江湖時而是帝國的徵兆，又可以是帝國的隱喻剩餘(metaphorical surplus)。。。但可以肯定二者是中國當代藝術合法性的組成部分。

結構：

“帝國”和“中國”：國際視野里的中國當代藝術
－中國當代藝術里的“中國”是一個能指鏈裡的名詞，經常游移在相對的位置，此部分采用帝國概念探討“中國當代藝術”此能指的歷史

江湖概念和中國當代藝術
－探討江湖作為當代藝術文化地形學的歷史，江湖如何與藝術生產者越過傳統地緣政治互動

帝國和江湖在中國當代藝術的共同作用
－探討在帝國和江湖的概念下中國當代藝術的符號網絡和結構
－帝國和江湖懸置物質地理對藝術帶來的影響
－Point de Capiton：研究中國當代藝術江湖和帝國的重疊和錯位
，并集中討論當代藝術江湖如何通過全球化超越昔日的民族國家 -地理局限
－"他者之名"：以德里达論好客的“外人”概念，看中國藝術在國際藝術事件 — 威尼斯雙年展/文獻展/巴塞爾 — 的位置
－誰是誰的征兆：探討中國當代藝術“帝國”和“江湖”的的主體間性(intersubjectivity)
－生命政治：江湖無人不立，帝國需要不斷尋求人的認受。此部分探討江湖和帝國語境下中國當代藝術的生命政治(biopolitics)

涉足江湖，通行帝國：藝術家個案研究

生產國中之國：“中國藝術家們”（蔡国强，黃永砯，徐冰）

討論把“中國當代藝術家”概念帶到國際視野的中國藝術先行者

“國境之南”：文化地理中的“南方”藝術家（儲云，蔣志，劉窗，鄭國谷）
探索文化地理產生的“南方性”

“世界就是角落”：“國際”／“非空間”藝術家（曹斐，Adrian Wong，徐震）
討論與“中國符號”有所距離的國際藝術家

On Rirkrit

2010-02-24T16:09:00.000-08:00

(published by art-ba-ba.com)

Rirkrit Tiravanija 的首個中國展覽“別干了”在唐人畫廊舉行。主要作品“无题2010（14086）”: 一個迷你磚窯，工人在微溼的磚胎上印上“別干了”和編號，燒製的14086塊磚以单价三十元人民幣供觀眾認購。新聞稿說14086等同築造一所簡易房子的磚塊數量。“无题2010（北京市朝阳区建国门外大街一号，上海市普陀区中山北路二十五号）”展示扎作成中國地標大樓形状的鸟笼，裏面进驻小鹦鹉等鸟类。藝術家参照画廊老板座驾制作的实物大石膏雕塑“无题2010（奶粉奔驰）”，上面铺了一层奶粉。“无题2010 （豆腐脑）”的豆腐腦攤及时消解北京冬天干硬的寒冷，工人忙着盛豆腐脑炸油条，虽然没有Rirkrit亲自下厨的泰式青咖哩和炒河粉，观/嚐者還是非常关照这“小吃摊”。

Rirkrit Tiravanija,泰國人生于布尔诺思艾利斯，居于纽约，柏林，曼谷，在不同国家举办展覽，在各地藝術節獲奬。這樣的藝術家不需要刻意经營，就已经够“国际”（他的 passport作品很好的体现了这一点）。除了少數家乡美食，Rirkrit鲜有宣传其家鄉文化符号。所以這次展覽符号之充溢叫人驚訝。這些符號並非產自泰国，而是现代中国：奔驰，奶粉，中国地标建筑，豆腐脑等，都是談論（尤其在討論發展的代價時）中國飛速發展經濟時避免不了的能指。Rirkrit在座谈会，新闻稿和杂志访谈中，早已表示展覽是对中国國家發展的回应。展覽把中国符号反饋中国，例如以奶粉把中國食品業醜聞和作為金錢象徵的奔馳融合在作品裡。或者邀請在中國一直作為底層人（subaltern）的磚窯工人參與藝術生產。這種反饋仿佛藝術家2008年作品 “无题2008：鉻就是未来” - 一張镜面乒乓球桌。

在Art Info 的访问里，Rirkrit好几次提到“超生产”（hyper production），这个辭彙暗示了速度和超越。人類的歷史就是速度的歷史，不管是資訊，武器，醫藥，商品，当掌握了速度，基本上就抓住世界，不妨在此引用Virilio 的一句名言，“光速不单改變世界，它變成了世界”。艺术家面对高速生产的中國社会，使用了反面的敘事－减速甚至靜止－娓娓道來无止境增长的资本：口号式的“不干了”，工人以竹篾慢慢扎作的高大鸟笼，代表富裕和速度的奔驰轿车－文化意蕴被抽出，功能性被剥夺，在展厅里拖着自己沉重的肉身，跟以艺术家对自己砖头作品的解说“把概念视觉化”互相观照。

评论Rirkrit的看客不少着眼于其跟食物有关的作品，例如著名的“无题 1992 （免费）”（1992）和“社会布丁角” （2004），老實說公眾的参与和作為事件的作品本身，才是這些“藝術盛宴”的精要。Bourriaud 早在展覽Traffic（1996）的畫冊首次提到关系美學，闡述一種以社會語境的人際關係為出發點的新藝術。作為Traffic的参展艺术家藝術家之一，Rirkrit 的即場生產－消耗－再生產的藝術生产模式，为关系美學提供一個重要案例。關係美學概念的产生和当时互联网的兴起有关，新的溝通和建立社會關係的方式，促使人们重新梳理社会关系的可能性。关系藝術後來發展成涉及公眾參與的藝術的代名詞，不少人依照这个思路草草概括有关作品。十多年後的今天，當Apple IIc已經演變成iPhone和Macbook Pro，當你已經可以在家裡對著电脑购物，建立人際網絡的重大轉變，使我們需要重新审视关系藝術的概念。我認為Rirkrit的豆腐腦攤依然屬於關係美學的範疇，但這種想法沒有給我答案，反而給出更多問題：關係美學的關係是甚麼与什么的關係？是怎樣產生的關係？是為了誰產生的關係？藝術家是不是一句 “”社會責任”就可以和公眾接軌？到底誰是公眾？以hyperlink放射形式攝受資訊的人們，如何看待自己在這個公共活動的位置？關係美學能否向公眾示範更好的社會協作方式？現今觀眾對公眾參與的藝術作品駕輕就熟，藝術展覽的強勢的語境令關係美學有機會墮進“畫廊派對”的危險，我們怎樣重新在這樣的語境中重新成為公眾？Rirkrit的這個展覽不能回答以上問題，唯有希望藝術家和公眾的關係，不會像這次鳥籠作品的婉轉的鳥音那樣，只在畫廊裡生效。

说到吃这个題目，讓人想起Rirkrit的另外一件作品“Fear eats the soul”（“恐惧吞噬灵魂”），作品名稱來自德國導演法斯賓德（Rainer Werner Fassbinder）1974年执导作品，該電影内容围绕一对忘年恋男女的爱情。電影說甚麼其實不重要，但是Rirkrit這個作品標題的eat－這個簡單辭彙無比赤裸，發音時的咬牙切齒，提醒人們遠古人類社會關係的起源其實為了填飽肚子。此論調和已經發展為文化學科的飲食，還有Rirkrit這種通過食物來進行社交的儀式性质，誠然相映成趣。

畫廊展廳與豆腐腦攤的陌生組合帶來的錯置感，加上展覽名稱的點題，不難使觀者把這次展覽與Guy Debord的奇觀社會（The Society of the Spectacle）聯繫起來。Debord的奇观理論是評論資本主義時被頻繁引用的思想，說明集中和彌散兩種奇觀(這次展覽是兩者的混合)。奇觀以林林總總的形態出現，不同的奇觀，不管背後運作的是甚麼（政治，文化，商業。。。）架構，都有一個共同點，需要注視。奇觀對注視的渴求，使其喜新厭舊，不斷被自己新的面目取代。展場裡繃蹦跳的小鳥和參與豆腐腦攤，拉長了觀眾注視的時間，在觀眾的心理地理上落了戶，帶來的是分神和反記憶。

Rirkrit以往作品大部份命名為“無題”(Untitled)，後面往往附上一個副標題，以括號圈住。此舉貌似以通過放棄命名，暗示藝術家要退下造物主的位置，另一方面卻又有點像香港人說的“唔（注：廣東話，“不”的意思）嫁又嫁” 。這樣的括號是迴避的姿勢（但是迴避並不是否定），比如說1999年的作品“無題（明天閉嘴滾開）”。Rirkrit命名的迂迴猶如德里達談到的避免（Vermeiden），也像在"On Spirit"（“論靈魂”）開首的“I shall speak of ghost, of flame, and of ashes" 一樣，在有限的音素裡，除了火和灰，燃燒的背後，煙霧蜿蜒。迴避，其實就是不可迴避本身。奇怪的是，此次中國展覽的題雖然還是沿用無題加括號的標題格式，副標題的內容卻清楚明了，“豆腐腦”，“奶粉奔馳”等跟作品的聯繫非常直白，這種處理，使這次展出的作品與以往相比，少了一些睿智。

本来可以用更多的理论来切割出这次展覽的各個稜面，可惜展覽裡某些露白的“中国印象”，使作品的闡釋可能性在在剥削-资本主义-过度生产-过度消费这样的圈子里打转。不要誤會，我没有要求Rirkrit说一口京片子喝豆汁，也没有想过什么“展示真实的中国”之類的幻覺，如果這是 Rirkrit要說的中國，我尊重他的看法。中國一如其他能指，對應不同人心裡的概念，每個人都有自己的中國，正如我的紅跟你的紅不一樣。縱使Rirkrit這次展覽像本Lonely Planet導遊書，卻正正揭示了我們都是活在自己的寂寞星球，Negri式帝國時代的國家－撫摸著自己的模糊的地理邊界－只是全球化經濟下的又一件產品。

李傑－物品的臉孔

2009-12-16T11:03:00.001-08:00

李傑－物品的臉孔

Lee Kit: The Faces of Objects

是的，李傑把卡拉ok帶到了展廳。藝術家在Osage Soho的個展Someone Singing and Calling Your Name展出兩件作品：“Fragments” 和“Sing any one of them, or all of them”。兩者儼然是兩個卡拉ok包房，“Fragments”展出摹仿廉價卡拉ok風格的錄像，影像在投影牆上循環往復，配合“As Time Goes By”, “The End of the World”等音樂播放；藝術家故意調低的室內溫度，使展廳貼近卡拉ok包廂的環境（可惜開幕當日人數太多，展場室溫其實不太低）；牆身鋪上淺棕色紙皮，上面描畫著名的商品標誌；投影牆跟老舊的沙發打照面，音箱將展廳內的音樂潑向畫廊外的街道。“Sing any one of them, or all of them”為四個堆疊成田字形的電視，分別展示著潤手膏，包裝咖啡糖，半滿咖啡和Vaseline潤膚霜的錄像；各種物品的名字，披著卡拉ok字幕的大衣，現身畫面下方。

兩件作品明顯是戲仿卡拉ok這個為港人熟知的半公共空間。Scott Lash 在北京的講座里，提到馬清運的觀點－中國沒有公共空間，這或許是指Habermas式的，進行公開討論的空間，不一定是實體空間。Lash眼中的中國的公共空間卻是副作用，並非刻意為之。卡拉ok是“刻意為之”的實體半公共空間，人們在滿足了相當條件（主要是錢）就可以進入，和一牆之隔的陌生人，在廉價的裝修映襯下，不是交換意見，而是展覽同樣廉價的情緒，附和大賣的甜酸情歌，吞下幻想中的凝視，然後把“是日特價”的啤酒一飲而盡。卡拉ok具有嚴格的功能性（雖然你以為自己在裡面有種種自由），並賦予歌唱這種個人娛樂以正當性（不少人深信在公眾地方唱歌，必須有合適的理由和場所），這種空間功能在資本增殖中進一步強化和合理化。另一方面，畫廊的主要功用是展覽，（展覽開幕式中拿起米高峰高歌的觀眾確實寥寥，如此就能看出空間功能性的嚴格）。李傑的兩件作品以場景的形式重新檢視著空間負荷著的功能性。卡拉ok的功能性和畫廊的展示功能互相撞擊之後，前者為後者所吸納，並彰顯二者的相似之處：兩個空間有條件對外開放，而且需要他者（不止是人）的參與來支撐（雖然說當代藝術並非為大眾而設）。“場景”是李傑常用的表現方式，除了這次的作品，今年五月Louis Vuitton展覽裡“有浴室的房間”以及更早在北京維他命空間這個店舉行的“We Already Lost Too Many Interest”是其場景生產的例子。德勒茲評論Francis Bacon的畫作時，道出Bacon頻密運用圓形場景，通過隔離（isolation）展開了敘事和比喻之間的第三條道路。李傑的場景則展示了空間和物件重置和重疊的可能，以物件和空間實體的明晰，模糊空間／物自身的功能性的藩籬。

展覽名稱原來為Singing like someone calling your name 後來因為文法原因改稱Someone Singing and Calling Your Name。原文的模稜兩可，跨越語法產生詩意的效果。文字和詩意在李傑的作品比比皆是，或許這樣可以探求李傑對物品的“感覺”。感覺就是不能納入語法裡面的，甚至是創傷性的不可言傳。這種含混並非語言試圖重現世界和遇見他者時，所遭遇的自身極限，反而是意義因不斷延遲而豐滿，進而消失。李傑說作品中的“生命麵包”，"Johnson and Johnson's" ，"保礦力"等名稱和商標，其實“像人的名字”。命名本身就是一種虧欠，某一能指與所指扣合的同時剔除了其他可能（即使是百科全書式／非一對一的意義關係亦是如此）。李傑的作品如歌唱又像呼喚（某人／物的）名字（而不是分別的兩個動作），縈繞作品的浮動能指鏈，在作品的詩性之間疾走，放慢，暫立。。。在物件的表面和影子里。

焦香的咖啡，縱橫著色彩的手繪布，燒到身體盡頭的香煙－李傑的物品不斷製造，紀錄並消去自己和他人的痕跡，表現藝術家對物的迷戀。這種物戀不是純粹由小對形發展成慾望，而是捨棄主體霸業的，對作為他者的物件的依戀，淡墨描出物品作為他者作為終極他性而呈現的“臉”。這次展覽進一步強化了這特點，戲仿卡拉ok視覺風格的錄像通過重複，在觀眾前面，不斷重複預演自己的終結。早前李傑在韓國的作品“Nivea” －玻璃上從純白變成透明的厚重護膚脂和消逝的人工香料味，不斷預示物品作為用品的消亡，為藝術家選中的物品撰寫一段編年史。現代的生產世界裡，物沒有原件也沒有複製品，物的尊嚴在全自動的流水線造就的同一性消逝，此一事實是人的影子也是人的鏡像（鏡像如何不是影子呢？）。卡拉ok作為商品的精彩之處，不在於胡亂堆砌的歌詞，不在於“寰宇風情”式的視覺符號，而是螢幕投在人臉上明明滅滅的光影，畫裡畫外的人們為作為物件的空間塑造輪廓，臉在承受流逝的時間和光線／影像無邊的重量，成為音樂錄像的一扇風景。一如瓦雷里言，人體最深刻的部份是皮膚，皮膚表現人類超越生命限制的徒勞，以卡拉ok為披掛的展覽，流溢的是豐厚的物哀。不知藝術家知不知道，卡拉ok("空オケ")的原意所為“無人樂隊”，撕開紛擾的伴唱音樂，就是空無（カラ），四大皆空的空。展覽的其中一段錄像以微波爐的“叮”一聲收尾，聲音酷似打坐後的磬聲。

Meeting Gary Snyder

2009-11-27T15:09:00.000-08:00

Great to meet one of the members of Beat Generation, although he refused the label of "Beat writers".
I am not a big fan of Snyder, yet I appreciate his insistence on Zen's ineffability - which makes the Koan of a monk got his finger cut make sense -and I am happy to know that there is another Noh fan.

Badiou; 15 Theses on Contemporary Art

2009-11-13T02:16:00.000-08:00

(From Lacan.com)
I think everybody has the 15 theses, it is necessary, I think, for the talk. I'll comment about the theses and you can read them. I think the great question about contemporary art is how not to be Romantic. It's the great question and a very difficult one. More precisely, the question is how not to be a formalist-Romantic. Something like a mixture between Romanticism and formalism. On one side is the absolute desire for new forms, always new forms, something like an infinite desire. Modernity is the infinite desire of new forms. But, on the other side, is obsession with the body, with finitude, sex, cruelty, death. The contradiction of the tension between the obsession of new forms and the obsession of finitude, body, cruelty, suffering and death is something like a synthesis between formalism and Romanticism and it is the dominant current in contemporary art. All the 15 theses have as a sort of goal, the question how not to be formalist-Romantic. That is, in my opinion, the question of contemporary art.

Lombardi is really a good example, and I am very glad to speak here tonight. We can see that there is something like a demonstration, a connection, points of connections. You have something very surprising, because Lombardi knew all that before the facts. We have somewhere, a great drawing about the Bush dynasty which is really prophetic, which is an artistic prophecy, that is a creation of a new knowledge, and so it's really surprising to see that after the facts. And it's really the capacity, the ability of art to present something before the facts, before the evidence. And it's something calm and elevated, like a star. You know, it's like a galaxy, see, it's something like the galaxy of corruption. So, the three determinations are really in the works of Lombardi. And so it's the creation of a new possibility of art and a new vision of the world, our world. But a new vision which is not purely conceptual, ideological or political, a new vision which has it's proper shape, which creates a new artistic possibility, something which is new knowledge of the world has a new shape, like that. It's really an illustration of my talk.

The first thesis: Art is not the sublime descent of the infinite into the finite abjection of the body and sexuality. It is the production of an infinite subjective series through the finite means of a material subtraction.

This is an intimation of how not to be a Romantic. It consists of the production of a new infinite content, of a new light. I think it’s the very aim of art; producing a new light about the world by means of precise and finite summarization. So, you have to change the contradiction. The contradiction today is between the infinity of the desire for new forms and the finitude of the body, of the sexuality, and so on. And new art needs to change the terms of this contradiction and put on the side of infinity new content, new light, a new vision of the world, and on the side of finitude, the precision of means and of summarization. So, the first thesis is something like the reversal of the contradiction.

Subtraction: the word subtraction has two meanings. First, not to be obsessed with formal novelty. I think it’s a great question today because the desire for novelty is the desire of new forms, an infinite desire for new form. The obsession of new forms, the artistic obsession with novelty, of critique, of representation and so on, is really not a critical position about capitalism because capitalism itself is the obsession of novelty and the perpetual renovation of forms. You have a computer, but the following year it’s not the true computer, you need a new one. You have a car, but the coming year it’s an old car, something like an old thing and so on. So, it’s a necessity for us to see that the complete obsession with new forms is not really a critical position about the world as it is. It’s a possibility that the real desire, which is subversive desire, is the desire of eternity. The desire for something which is a stability, something which is art, something which is closed in-itself. I don’t think it’s quite like that, but it’s a possibility because the perpetual modification of forms is not really a critical position, so the desire of new forms is certainly something important in art, but the desire for the stability of forms is also something important. And, I think we have to examine the question today.

The second meaning of subtraction is not to be obsessed with finitude, with cruelty, body, suffering, with sex and death, because it’s only the reversal of the ideology of happiness. In our world there is something like an ideology of happiness. Be happy and enjoy your life and so on. In artistic creation we often have the reversal of that sort of ideology in the obsession with suffering bodies, the difficulty of sexuality, and so on. We need not be in that sort of obsession. Naturally a critical position about the ideology of happiness is an artistic necessity, but it’s also an artistic necessity to see it as a new vision, a new light, something like a positive new world. And so, the question of art is also the question of life and not always the question of death. It is a signification of the first thesis; we have to search for an artistic creation which is not obsessed with formal novelty, with cruelty, death, body, and sexuality.

Second thesis: Art cannot merely be the expression of a particularity (be it ethnic or personal). Art is the impersonal production of a truth that is addressed to everyone.

The great question here is a question of universality: is there, or is there not, a universality of artistic creation? Because the great question today is the question of globalization, the question of the unity of the world. Globalization proposes to us an abstract universality. A universality of money, the universality of communication and the universality of power. That is the universalism today. And so, against the abstract universality of money and of power, what is the question of art, what is the function of artistic creation? Is the function of artistic creation to oppose, to abstract from universality only a singularity of particularities, something like being against the abstraction of money and of power, or as a community against globalization and so on? Or, is the function of art to propose another kind of universality? That’s a big question. The more important issue today is the main contradiction between capitalistic universality on one hand, universality of the market if you want, of money and power and so on, and singularities, particularities, the self of the community. It’s the principal contradiction between two kinds of universalities. On one side the abstract universality of money and power, and on the other the concrete universality of truth and creation. My position is that artistic creation today should suggest a new universality, not to express only the self or the community, but that it’s a necessity for the artistic creation to propose to us, to humanity in general, a new sort of universality, and my name for that is truth. Truth is only the philosophical name for a new universality against the forced universality of globalization, the forced universality of money and power, and in that sort of proposition, the question of art is a very important question because art is always a proposition about a new universality, and art is a signification of the second thesis.

Third thesis. It’s only a definition of the universality of art. What is an artistic truth? Artistic truth is different from scientific truth, from political truth, from other sorts of truths. The definition is that artistic truth is always a truth about the sensible, an outline of the sensual. It’s not a static sensible expression. An artistic truth is not a copy of the sensible world nor a static sensible expression. My definition is that an artistic truth is a happening of l’Idèe in the sensible itself. And, the new universality of art is the creation of a new form of happening of the Idea in the sensible as such. It’s very important to understand that an artistic truth is a proposition about the sensible in the world. It’s a proposition about a new definition of what is our sensible relation to the world, which is a possibility of universality against the abstraction of money and power. So, if art seems very important today, it is because globalization imposes to us the creation of a new kind of universality, which is always a new sensibility and a new sensible relation to the world. And because the oppression today is the oppression of abstract universality, we have to think of art along the direction of the new sensible relation to the world. And so, today, artistic creation is a part of human emancipation, it’s not an ornament, a decoration and so on. No, the question of art is a central question, and it’s central because we have to create a new sensible relation to the world. In fact, without art, without artistic creation, the triumph of the forced universality of money and power is a real possibility. So the question of art today is a question of political emancipation, there is something political in art itself. There is not only a question of art’s political orientation, like it was the case yesterday, today it is a question in itself. Because art is a real possibility to create something new against the abstract universality that is globalization.

Fourth thesis. This thesis is against the dream of totalization. Some artists today are thinking that there is a possibility to fuse all the artistic forms, it’s the dream of a complete multimedia. But it’s not a new idea. As you probably know, it was the idea of Richard Wagner, the total art, with pictures, music, poetry and so on. So the first multimedia artist was Richard Wagner. And, I think multimedia is a false idea because it’s the power of absolute integration and it’s something like the projection in art of the dream of globalization. It’s a question of the unity of art like the unity of the world but it’s an abstraction too. So, we need to create new art, certainly new forms, but not with the dream of a totalization of all the forms of sensibility. It’s a great question to have a relation to multimedia and to new forms of images, of art, which is not the paradigm of totalization. So we have to be free about that sort of dream.

A few words about theses five and eight. The question here is what exactly is the creation of new forms. It’s very important because of what I previously said about the infinite desire for new forms being a problem in contemporary art. We have to be precise about the question of new forms in themselves. What is the creation of new forms? I hint that, in fact, there is never exactly pure creation of new forms. I think it’s a dream, like totalization, pure creation of absolute new forms. In fact, there is always something like a passage of something which is not exactly a form to something that is a form, and I argue that we have something like impurity of forms, or impure forms, and purification. So, in art there is not exactly pure creation of forms, God created the world, if you want, but there is something like progressive purification, and complexification of forms in sequence. Two examples if you wish. When Malevich paints the famous white on white, the white square on white square. Is that the creation of something? In one sense yes, but in fact, it’s the complete purification of the problem of the relation between shape and color. In fact, the problem of the relation between shape and color is an old one with a long story and in Malevich’s white square on white square, we have an ultimate purification of the story of the problem and also it’s a creation, but it’s also the end, because after white square on white square there is, in one sense, nothing, we cannot continue. So we have a complete purification and after Malevich all correlation between shape and color looks old, or impure, but it’s also the end of the question, and we have to begin with something else. We may say that with artistic creation, it’s not exactly the pure creation of new forms, something like the process of purification with beginnings and with ends too. So, we have sequences of purification, much more than pure rupture of pure creation. And it’s the content of theses five and eight.

We come now to theses six and seven. The question here is what exactly is the subjective existence of art? What is the subject in art, the subject in the subjective sense? It’s a great discussion, a very old one. What is the subject in art? What is the agent of art? The subject in art is not the artist. It’s an old thesis too, but an important one. So, if you think that the real subject in artist creation is the artist, you are positing the artistic creation as the expression of somebody. If the artist is the subject, art is the expression of that subject, thereby art is something like a personal expression. In fact, it is necessary for contemporary art to argue the case that art is a personal expression, because you have no possibility to create a new form of universality and you oppose to the abstract form of universality only the expression of the self or the expression of communities. So, you understand the link between the different problems. It’s imperative for us to say that the subject in artistic creation is not the artist as such. “Artist” is a necessity for art, but not a subjective necessity. So, the conclusion is quite simple. The subjective existence of art are the works of art, and nothing else. The artist is not the subjective agent of art. The artist is the sacrificial part of art. It’s also, finally, what disappears in art. And the ethic of art is to accept the disappearance. Sometimes the artist is someone who wants to appear, but it’s not a good thing for art. For art, if you want art to have today the very important function of the creation of a new universality, if you think that art is something like a subjective expression for the market, it’s necessary that the artist make a great appearance, naturally, but if art is the creation, the secret creation, something like that, if art is not something of the market, but is something against the force of universality of the market, the consequence is that the artist must disappear, and not to be someone who appears in the media and so on. And a critique of art is something like a critique of something like desperation. If the ethic of art is something like desperation, it is because what show are works of art, which are the real subjective existence of art in-itself.

It’s also the same thing in thesis nine. I don’t comment The question of the ethic of art is not to be imperial. Desperation because operation is always something like imperial operation, because the law of operation is today imperial law.

About theses ten and eleven, I think we can demonstrate that imperial art is the name for what is visible today. Imperial art is exactly Romantic-formalism. That is a historical thesis, or a political thesis if you want. The mixture of Romanticism and formalism is exactly the imperial art. Not only today, but, for example, during the Roman Empire too. There is something common between the situation today and the situation at the end of the Roman Empire. It’s a good comparison, you see, and more precisely between the United States and the Roman Empire. There is really something very interesting with that sort of comparison, and in fact the question is also a question of artistic creation, because by the end of the Roman Empire we have exactly two dispositions in artistic creation. On one side, something really Romantic, expressive, violent, and on the other, something extremely formalist, politically straight. Why? When we deal with the situation of something like an empire, something like having the formal unity of the world, if you want, it’s not only the United States, it’s finally the big markets, when we have something like a potential unity of the world, we have in artistic creation something like formalism and Romanticism, a mixture of the two. Why? Because when we have an empire, we have two principles. First, all is possible because we have a big potency, a unity of the world. So we may say, all is possible. We may create new forms, we may speak of everything, there is not really laws about what is possible, what is not possible, so everything is possible. Yet, we also have another maxim, everything is impossible, because there is nothing else to have, the empire is the only possible existence, the only political possibility. So, you can say that everything is possible and you can say that everything is impossible, and when the two are said you have an artistic creation, formalism, that is to say all is possible, new forms are always possible, and Romanticism and nihilism because all is impossible, and finally, we have the mixture of the two, and contemporary art is saying that all is possible and that all is impossible. The impossibility of possibility and the possibility of impossibility. That is the real content of contemporary art. To escape that sort of situation is to state that something is possible, not all is possible, not all is impossible, but something else is possible. There is a possibility of something else. So, we have to create a new possibility. But to create a new possibility is not the same thing as to realize a new possibility. It’s a very fundamental distinction, to realize a possibility is to think that the possibility is here and I need to conceive the possibility. For example, if all is possible, I have to realize something, because all things are possible, but, naturally, it’s quite a different thing to create something possible. The possibility is not here. So, it is not true, that all is possible, some things are not possible, and you have to create the possibility of that thing which is not possible. And it is the great question of artistic creation. Is artistic creation the realization of a possibility or is artistic creation the creation of a new possibility? The possibility of something, the possibility of saying something is possible. If you think all is possible (that is the same as to think all is impossible), your conviction in the world is finished, the world is something closed. It is closed with all the possibilities, which is the same thing that everything are impossibilities and artistic creation is closed too, it’s closed in formalist-Romanticism which is the affirmation that all is possible and all is impossible. But the true function of artistic creation today is the possibility of saying that something is possible, so to create a new possibility. But where can we create a new possibility when something is impossible? Because we can create a new possibility when something is not a possibility. If all is possible, you cannot create a new possibility. So, the question of a new possibility is also the question of something impossible, so we have to assume that it’s not true that all is possible, that also it’s not true that all is impossible, we have to say something is impossible where something is impossible. I have to create a new possibility. And, I think the creation of new possibility is today the great function of art. In other activities of circulation, communication, the market and so on, we have always the realization of possibilities, infinite realization of possibilities. But not creation of possibility. And so it’s also a political question, because politics truly means the creation of a new possibility. A new possibility of life, a new possibility of the world. And so the political determination of artistic creation is today whether it is possible, or impossible to create a new possibility. Actually, globalization carries the conviction that it is utterly impossible to create a new possibility. And the end of Communism, and the end of revolutionary politics is, in fact, the dominant interpretation of that all: it is impossible to create a new possibility. Not to realize a possibility, but to create a new possibility. You understand the difference. And I think the question of artistic creation lies here. It proves for everybody, for humanity in general, that it is a possibility to create a new possibility.

About thesis twelve. It’s a poetic thesis. The three determinations of artistic creation, to compare artistic creation with a demonstration, with an ambush in the night and with a star. You can understand the three determinations. Why a demonstration? Because finally the question of artistic creation is also the question of something odd, something possessing a sort of eternity, something which is not in pure communication, pure circulation, something which is not in the constant modification of forms. Something which resists and resistance is a question of art also today. Something which resists is something endowed with some stability, solid. Something which is a logical equation, which has a logical coherence, consistence, is the first determination. The second determination is something surprising, something which is right away the creation of a new possibility, but a new possibility is always surprising. We cannot have a new possibility without some sort of surprise. A new possibility is something that we cannot calculate. It’s something like a rupture, a new beginning, which is always something surprising. Thus, the second determination. And it’s marvelous, like something in the night, the night of our knowledge. A new possibility is something absolutely new for our knowledge, so it’s the night of our knowledge. Something like a new light. Elevated as a star because a new possibility is something like a new star. Something like a new planet, a new world, because it is a new possibility. Something like a new sensible relation to the world. But the great problem lies elsewhere. The formal problem for contemporary art is not the determination, one by one. The problem is how to relate the three. To be the star, the ambush, and the demonstration. Something like that. And Lombardi is really a good example, and I am very glad to speak here tonight. We can see that there is something like a demonstration, a connection, points of connections. You have something very surprising, because Lombardi knew all that before the facts. We have somewhere, a great drawing about the Bush dynasty which is really prophetic, which is an artistic prophecy, that is a creation of a new knowledge, and so it’s really surprising to see that after the facts. And it’s really the capacity, the ability of art to present something before the facts, before the evidence. And it’s something calm and elevated, like a star. You know, it’s like a galaxy, see, it’s something like the galaxy of corruption. So, the three determinations are really in the works of Lombardi. And so it’s the creation of a new possibility of art and a new vision of the world, our world. But a new vision which is not purely conceptual, ideological or political, a new vision which has it’s proper shape, which creates a new artistic possibility, something which is new knowledge of the world has a new shape, like that. It’s really an illustration of my talk.

The last thesis. I think the great question is the correlation between art and humanity. More precisely the correlation between artistic creation and liberty. Is artistic creation something independent in the democratic sense of freedom? I think if you consider Lombardi for a second time, we may consider the issue of creating a new possibility as not exactly a question of freedom, in the common sense, because there is an imperial definition of freedom today, which is the common democratic definition. Is artistic creation something like that sort of freedom? I think not. I think the real determination of artistic creation is not the common sense of freedom, the imperial sense of freedom. It’s a creation of a new form of liberty, a new form of freedom. And we may see here that sort of thing because the connection between the logical framework, the surprise of new knowledge, and the beauty of the star is a definition of freedom which is much more complex than the democratic determination of freedom.

I think of artistic creation as the creation of a new kind of liberty which is beyond the democratic definition of liberty. And we may speak of something like an artistic definition of liberty which is intellectual and material, something like Communism within a logical framework, because there is no liberty without logical framework, something like a new beginning, a new possibility, rupture, and finally something like a new world, a new light, a new galaxy. This is the artistic definition of liberty and the issue today consists not in an art discussion between liberty and dictatorship, between liberty and oppression, but in my opinion, between two definitions of liberty itself.

The artistic question of the body in some art forms, like cinema or dance, is precisely the question of the body within the body and not the body without body. It is an idealistic conception of the body without the body or the body as something else, crucial in the story of Christianity and in Paul. For example in the Greek classical painting the body is always something else than the body, and if you consider something like the body in Tintoretto, for example, the body is something like movement which is body like something else than the body. But in fact today the body has a body, the body in the body is the body as such. And the body as such is something very hard, because the body has no representation which is really a representation as a star, something like that. In that sort of painting (Lombardi), we have names, and no bodies. It is a substitution of names to bodies. We have no picture of Bin Laden, but the name of Bin Laden. We have no picture of Bush, but the name of Bush. Father and sons.

Zizek: 20 Years of Collapse

2009-11-13T02:15:00.000-08:00

20 Years of Collapse

By SLAVOJ ZIZEK

TODAY is the 20th anniversary of the fall of the Berlin Wall. During this time of reflection, it is common to emphasize the miraculous nature of the events that began that day: a dream seemed to come true, the Communist regimes collapsed like a house of cards, and the world suddenly changed in ways that had been inconceivable only a few months earlier. Who in Poland could ever have imagined free elections with Lech Walesa as president?

However, when the sublime mist of the velvet revolutions was dispelled by the new democratic-capitalist reality, people reacted with an unavoidable disappointment that manifested itself, in turn, as nostalgia for the “good old” Communist times; as rightist, nationalist populism; and as renewed, belated anti-Communist paranoia.

The first two reactions are easy to comprehend. The same rightists who decades ago were shouting, “Better dead than red!” are now often heard mumbling, “Better red than eating hamburgers.” But the Communist nostalgia should not be taken too seriously: far from expressing an actual wish to return to the gray Socialist reality, it is more a form of mourning, of gently getting rid of the past. As for the rise of the rightist populism, it is not an Eastern European specialty, but a common feature of all countries caught in the vortex of globalization.

Much more interesting is the recent resurgence of anti-Communism from Hungary to Slovenia. During the autumn of 2006, large protests against the ruling Socialist Party paralyzed Hungary for weeks. Protesters linked the country’s economic crisis to its rule by successors of the Communist party. They denied the very legitimacy of the government, although it came to power through democratic elections. When the police went in to restore civil order, comparisons were drawn with the Soviet Army crushing the 1956 anti-Communist rebellion.

This new anti-Communist scare even goes after symbols. In June 2008, Lithuania passed a law prohibiting the public display of Communist images like the hammer and sickle, as well as the playing of the Soviet anthem. In April 2009, the Polish government proposed expanding a ban on totalitarian propaganda to include Communist books, clothing and other items: one could even be arrested for wearing a Che Guevara T-shirt.

No wonder that, in Slovenia, the main reproach of the populist right to the left is that it is the “force of continuity” with the old Communist regime. In such a suffocating atmosphere, new problems and challenges are reduced to the repetition of old struggles, up to the absurd claim (which sometimes arises in Poland and in Slovenia) that the advocacy of gay rights and legal abortion is part of a dark Communist plot to demoralize the nation.

Where does this resurrection of anti-Communism draw its strength from? Why were the old ghosts resuscitated in nations where many young people don’t even remember the Communist times? The new anti-Communism provides a simple answer to the question: “If capitalism is really so much better than Socialism, why are our lives still miserable?”

It is because, many believe, we are not really in capitalism: we do not yet have true democracy but only its deceiving mask, the same dark forces still pull the threads of power, a narrow sect of former Communists disguised as new owners and managers — nothing’s really changed, so we need another purge, the revolution has to be repeated …

What these belated anti-Communists fail to realize is that the image they provide of their society comes uncannily close to the most abused traditional leftist image of capitalism: a society in which formal democracy merely conceals the reign of a wealthy minority. In other words, the newly born anti-Communists don’t get that what they are denouncing as perverted pseudo-capitalism simply is capitalism.

One can also argue that, when the Communist regimes collapsed, the disillusioned former Communists were effectively better suited to run the new capitalist economy than the populist dissidents. While the heroes of the anti-Communist protests continued to dwell in their dreams of a new society of justice, honesty and solidarity, the former Communists were able to ruthlessly accommodate themselves to the new capitalist rules and the new cruel world of market efficiency, inclusive of all the new and old dirty tricks and corruption.

A further twist is added by those countries in which Communists allowed the explosion of capitalism, while retaining political power: they seem to be more capitalist than the Western liberal capitalists themselves. In a crazy double reversal, capitalism won over Communism, but the price paid for this victory is that Communists are now beating capitalism in its own terrain.

This is why today’s China is so unsettling: capitalism has always seemed inextricably linked to democracy, and faced with the explosion of capitalism in the People’s Republic, many analysts still assume that political democracy will inevitably assert itself.

But what if this strain of authoritarian capitalism proves itself to be more efficient, more profitable, than our liberal capitalism? What if democracy is no longer the necessary and natural accompaniment of economic development, but its impediment?

If this is the case, then perhaps the disappointment at capitalism in the post-Communist countries should not be dismissed as a simple sign of the “immature” expectations of the people who didn’t possess a realistic image of capitalism.

When people protested Communist regimes in Eastern Europe, the large majority of them did not ask for capitalism. They wanted the freedom to live their lives outside state control, to come together and talk as they pleased; they wanted a life of simplicity and sincerity, liberated from the primitive ideological indoctrination and the prevailing cynical hypocrisy.

As many commentators observed, the ideals that led the protesters were to a large extent taken from the ruling Socialist ideology itself — people aspired to something that can most appropriately be designated as “Socialism with a human face.” Perhaps this attitude deserves a second chance.

This brings to mind the life and death of Victor Kravchenko, the Soviet engineer who, in 1944, defected during a trade mission to Washington and then wrote a best-selling memoir, “I Chose Freedom.” His first-person report on the horrors of Stalinism included a detailed account of the mass hunger in early-1930s Ukraine, where Kravchenko — then still a true believer in the system — helped enforce collectivization.

What most people know about Kravchenko ends in 1949. That year, he sued Les Lettres Françaises for libel after the French Communist weekly claimed that he was a drunk and a wife-beater and his memoir was the propaganda work of American spies. In the Paris courtroom, Soviet generals and Russian peasants took the witness stand to debate the truth of Kravchenko’s writings, and the trial grew from a personal suit to a spectacular indictment of the whole Stalinist system.

But immediately after his victory in the case, when Kravchenko was still being hailed all around the world as a cold war hero, he had the courage to speak out passionately against Joseph McCarthy’s witch hunts. “I believe profoundly,” he wrote, “that in the struggle against Communists and their organizations … we cannot and should not resort to the methods and forms employed by the Communists.” His warning to Americans: to fight Stalinism in such a way was to court the danger of starting to resemble their opponent.

Kravchenko also became more and more obsessed with the inequalities of the Western world, and wrote a sequel to “I Chose Freedom” that was titled, significantly, “I Chose Justice.” He devoted himself to finding less exploitative forms of collectivization and wound up in Bolivia, where he squandered all his money trying to organize poor farmers. Crushed by this failure, he withdrew into private life and shot himself in 1966 at his home in New York.

How did we come to this? Deceived by 20th-century Communism and disillusioned with 21st-century capitalism, we can only hope for new Kravchenkos — and that they come to happier ends. On the search for justice, they will have to start from scratch. They will have to invent their own ideologies. They will be denounced as dangerous utopians, but they alone will have awakened from the utopian dream that holds the rest of us under its sway.

Slavoj Zizek, the international director of the Birkbeck Institute for the Humanities in London, is the author, most recently, of “First as Tragedy, Then as Frace.

Terayama Shuji: Pastoral Hide-and-Seek

2009-11-13T01:48:00.000-08:00

寺山修司的田园之死 (Pastoral Hide-and Seek, 1974, dir. Terayama Shuji)

By Venus Lau
《田园之死》是寺山修司五部长片之一，是新手观其电影的入门课。片中华丽的视觉隐喻流溢，碎片般的情节，穿插期间的古怪人物（马戏团里的空气女，侏儒，全身披黑袈裟，带海盗眼罩的白面老妇，硫磺味弥漫的恐山，化浓妆的小孩等），种种意象搭构出寺山修司的世界，跟寺山修司的整个电影系列组成庞大的风格化异色空间。

不少人看过《田园之死》后均认为其为寺山的自传体作品，除了以第一人称作为陈述角度外，戏中主角（以成人和少年两种姿态出现）与寺山修司同月同日生（同为12月10日，但寺山修司生于公元1935年，主角“我”出生年份则为昭和49年，即公元1974年，亦即该片拍摄年份）；寺山修司在日本青森县出生，戏中主角的出生地是位于青森县，有日本三大灵场之称的恐山（电影里主角称自己的出生地－－恐山地处东京市）。种种非巧合的安排，证明寺山修司欲一借电影改写自己的历史而重生的意图。故此，解读此片的时候，不少人会堕入以作者生平为阐释作品的单一切入点的圈套，出色的电影随即代替作者经验（empirical）生活成为主线，不论是意难平或者有病呻吟，戏里的肆意的意象和诗意都沦为对作者来得太迟的抱怨的附庸。

艺术作品一如艺术家之儿。父母和子女的关系强调的是被伦理强化的，以脐带为象征的血缘关系。但是作品不是艺术家的附属，作品俨如离开子宫的幼儿，已然是独立个体，而不是父母共同投下的影子。电影是开放的，流动的文本，解读（虽然所有阐释都是误读）若然只取作者主导的方式，难免减损作品的价值－－作品的价值就是的每次阐释的内容，每一次解读赋予作品新的生命。我不否定寺山修司欲以〈田园之死〉来表现昔日屈服于母亲权威下迟熟的反抗，继而获得重生，但寺山修司的想法并不是诠释的唯一路标，而且这观点在云云有关寺山修司的评论已被多番提及，更有有心人以寺山修司生平对号入座，把电影各元素与寺山生平的经验事件等同，把寺山多彩诡奇的想像力拉低到生活牢骚的水平，艺术里的直观成分亦被完全消去。

反抗权威的败北
寺山修司电影里对权威的反抗极为明显，如在实验短片《番茄酱皇帝》里小童追杀成人，《再见方舟》近亲表兄妹不顾坚固的贞操带的阻隔，坚持尝试做爱，片中人物对权力象征权力实体的颠覆意图都非常明显。这些露白的反抗行动是寺山修司电影的重要课题。对权威的挑战在《死在田园》展示为弑母意识。主角想借对记忆的操控，让少年时代的自己杀掉母亲，事与愿违，弑母计划最后失败。

弑母计划是对母亲此权力／权威象征和实体的挑战。权力是弥散的，是一种力量关系，权力并不是由在上者的创造，权力得以成就，有赖所有参与者（包括在下者）的共谋，而作为共谋者，在下者的权力就是作为社会共谋的权力；权力，需要两端的支撑。所以死在田园的主角弑母失败，不单因为受制与社会伦理的羁绊，而是自己还没有脱离作为权力共谋的脚色，主角一厢情愿地企图抹走权力实体或者象征带来的阴影，根本不能切断权力力量关系的纽带，反而越踩越深。这样的反抗一如萨德对神的亵渎，一切最后只是徒劳。

不少人认为弑母是一种“反俄狄浦斯”, 把寺山得作品一把跟法国哲学家德勒兹(Gilles Deleuze)联系起来。但是单单把主角身兼父职的母亲等同德勒兹以差异和生成(becoming)挑战being的游牧，似乎有有点太草率。俄狄浦斯情结作为主体进入象征界(the symbolic)的关键,也是主体建立和认同(identification)的关键，当中的关键词是弑父意图，继而带出父明(the name of father)。田园之死里的弑母意图，与其说是对传统主体概念的颠覆，倒不如说是对家庭结构的崩坏和重组。
寺山修司的时间
无论在寺山的电影，还是在他主持的《天栈屋敷》话剧团的作品里，时间的象征和隐喻无处不在：《再见方舟》内失去时间的村庄；舞台剧由真人扮演的巨钟，或者，，〈田园之死〉主角母亲收集的破钟堆。形形色色，表报不同时间的时钟，没有提醒人时间，相反，它们让人忘掉时间。时钟不但是象征，更是实际工具，令量化客观时间的统一结构可以复印在世界之上。至少是人所认知的世界，之上。

客观时间是我们所熟悉的时间，三点半，美国比中慢，十三小时，一分钟等同六十秒。。。。。这都是被普遍默认的，跟本真时间对立的派生概念。客观时间也是“时间对我们显现为各个当下，各个现在的次序” （1）这些现在可以在某写发生事情的时段上被计数”，这种概念为时间的量化和一体化提供了可能性。相反，本真时间没有经过任何概念的干扰，是本原地向人展示的时间。本真时间就是我们的此在，就是我们的主体性，那是真正的自我（无意识？他者的语言？），而非透过线性时间里，拉康的镜象自我。

〈死在田园〉主角母亲尝试把自己的儿子（少年时代的“我”）困在她的时间里，此举跟客观线性时间的霸权如出一辙。唯压力越大反抗越大，主角为古灵精怪的马戏团所吸引，决心逃离母亲，离开村子过新生活，最后他阴差阳错失去了童贞。客观时间象征－－母亲的时钟堆－－渐渐远离的同时，少年手上多了一只象征本真时间的手表。比起弑母此类对某一权力对象的颠覆，重新阐释时间，并展示时间的伯格森式(Bergson)不可分割性并以此建立主体性是更为彻底的革命。

除了控制戏中人的时间，〈田园之死〉也操控观者的时间。电影开端小朋友玩躲猫猫，原本的小玩伴忽然变成大正年代打扮的诡异人物，电影结尾主角跟母亲在故乡家中，刹那间四面墙倒下，主角暴露与东京繁华的街头，还有电影中空气女的呻吟，系在殉情男女身上的红线，鬼火般飘浮的日本老童谣。。。。。。这些感官异觉化（视觉和听觉上）不啻是寺山修司强烈风格特征，也是延长艾柯（Umberto Eco)在〈优游小说林〉里述及的阅读（观看）时间的技巧。对于电影和书本里寻常的物事和情节，我们会用在现实中早已熟知的经验／取自经验的逻辑推断，加快阅读时间。面对寺山修司精心布局的奇形怪状，既有逻辑无用武之地，观众只好费尽心神寻找当中的意蕴，或者象我那样，尽情享受日本cult 片鬼才预备的感官盛宴。如是者，观众所经验的时间不是放片的102 分钟，而是他们迷路的时间。

记忆的不可信性

在阳光灿烂的日子（或原著《动物凶猛》）里，主角马小军越深入自己的记忆，就越发现处处出错，到后来甚至黑白不分，我们就知道记忆的不可信。记忆隐恶扬善，只保留对意识有利的叙述，甚至对你作出彻底背叛。《死在田园》的“我”以为可以驾驭记忆，并以这种自信武装自己回到故乡恐山。可惜，当他跟昔日年轻的自己开始对话，少年主角马上揭露成年主角美化了过去，记忆本是一连串谎言。记忆就是这么不可靠。无奈的是，我们需要从记忆抽取经验来建立自我的主体性和应付生活上的决定，无法进入记忆和意识的，就是我们生活里的惊颤。

俳句
寺山是俳人，在〈田园之死〉里，俳句俯拾皆是，有人理解其所为是对美国强势文化的抗议。俳句的节奏是跟日本人的呼吸非常吻合的，再好的文笔，也只可以翻译俳句书面的意思，但不可能翻译俳句的呼吸。田园之死的俳句表示了艺术的直观成分，那些部分，一如禅言，同为不可说，不可说。我没有大道理，只是任何的解释读不及无法解释的呼吸，那么有趣。

田园之死的流程里，主角不断与权力短兵相接，不断重建主体性。那些我们永无完结的游戏。

寺山修司的重口味freak show 意向让不少人把他跟费里尼（Federico Fellini)连在一起,也有人说寺山修司象拍过Salo的柏索里尼（Pier Paolo Pasolini )，因为大家都有或隐晦或露白的性描写。但，

寺山修司就是寺山修司，只能是寺山修司。
（1）胡塞尔与海德格尔的“本真”时间现象学，克劳斯·黑尔德

Eyes Wide Shut: The Feng Jiangzhou solo

2009-11-13T01:45:00.000-08:00

Eyes Wide Shut: Feng Jiangzhou opens the realm of senses

Venus Lau

Among the world’s living creatures, human beings are a species that relies heavily on vision, a perception that fosters itself in art with intoxicatingly bright colors and eye-catching images on canvas and sculpture and allows an equation between art and visual art. This assessment is further reinforced by the conditioned practice that humans have of watching TV, by which they let canned laughs and big grins determine the point at which they should be amused. Perhaps this is what is most exciting about Feng Jiangzhou’s first solo exhibition, “Dharmaguptaka-vinaya,” a multimedia art show that promises enough sensual texture to steer a little bit away from the ocularcentricism of the contemporary art world, and ultimately the world at large.

After producing copious amounts of music under the names of The Fly and Far East Digital Hardcore, and others, and following his 2006 solo release Si Fen Lü (Dharmaguptaka-vinaya), Feng began a move into the realm of multimedia art, including designing stage works for famed director Meng Jinghui. The artist-cum-musician finally had his first solo debut in October 2008.

The show put on display a video and a multi-track sound art installation, the former titled Ni Kan Jian Xu Kong Dui Ni Zha Yan Le Ma?, or, to be more concise, Do You See the Void Blinking Back at You?, and the latter titled Dharmaguptaka-vinaya (also the name of the show as a whole). The video consists of an appropriation of the Yongle Gong (literally “Forever-Bliss Palace”) painting in Shanxi province, a mural dating back to the Yuan dynasty, in which the 200-plus supernatural Taoist immortals of the original wall painting are made by Feng to blink imperceptibly at the audience. Calling reference to a Zen Koan about “the emptiness blinks,” the piece meshes elements of Taoism and Zen, and offers a Chinese cultural label wittier than the Orientalist fantasy of mass-producing Mao’s face in 70 different colors. The appropriation of the symbols in both religions also engenders a look into nihilism characterized by negation.

If this piece grants any pleasure (or more precisely, jouissance), the pleasure comes from — instead of the surprising witness of a Taoist immortal blinking at you after a long wait — how the video exposes viewers to the uncanny gaze of the actually larger-than-human Taoist immortals in a reification of the “Big Other.” It is a bit unsettling to look into the eyes of deities on video, looking into the absolute alterity manifested in the face and the heavy ruffles on the ancient Chinese costumes: this is the otherness whereby death is forever postponed, while I am still stuck in the "being towards death," in a plural form with other beings. It would be wrong to spend too much time on this piece, waiting for a wink from a nameless deity. The piece requires intrinsic power beyond mere size in order to allow the gaze to be activated between the piece and the viewers; otherwise, it could easily be criticized for transplanting Chinese visual icons of any type onto a digital screen and calling it Chinese new media art.

Feng’s Buddhist proclivities led him to titled the show Dharmaguptaka-vinaya (also the name of his 2006 album), which means “the discipline in four parts” and is a title taken from a Theravada Buddhist book of rules. Feng’s audio installation is a 3.5 meter cage-like metal structure covered with black fabric, with amplifiers fixed on the inner frame. This constructed dark space creates total blindness while the amplifiers radiate random sounds from different directions, tickling and distracting the listener from localization within the body of blackness. The disorientation of senses constructs a space that is occasionally disrupted by sound morsels and recalls what anthropologist Edmund Carpenter referred to as “Eskimo Space,” described in his seminal 1973 work, Eskimo Realities, as a place where there is no distance and there are no angles or contours but only a barely-visible cold mist rising from the ice. Similarly, Feng’s piece creates a nomadic space, a stroll in darkness navigated by sensory geography in which the database of perception is rendered useless. As the sounds are produced out of context, the listener perceives the immediate power of the piece without an ability to decode it. It would be cliche to conclude this synopsis piece with a simple diagnosis of regression to the mother's womb. Man, as an animal of meaning, is thrown into this blanket of insecurity (the dark cage), the signification process for the noise — glitches that are the symptom of its signifying system — sounds like a futile attempt. Just as Zizek notes in Lacanian Real Television, the symbolic representation of the subject always ends up as a signifying surplus trying to hide fundamental lack. In this piece, Feng Jiangzhou takes a poetic artistic practice, providing poetry as a known symbolic dispositif pointing to an unknown. This is a subversion of language inside itself, transforming the it-is-very-dark-in-here installation into a smooth plane with only it inside itself.

If I may add another personal point, I would like to express my respect for Feng Jiangzhou's use of numerals in his concepts, explicitly highlighted in the pieces' titles. From Si Fen Lu in this show to Ba Yin,the Mariko-Mori-esque sound installation, the artist successfully brings an aesthetics of musical precision to his work.

This exhibition may claim nothing worth “seeing,” but it makes an effort to trick the senses into the process contradicting our obsession with residues of light reflections.

洗頭要用哥麗美之清新香氣讓人更文明

2009-10-28T09:34:00.000-07:00

from Jandan.net

来自美国Brigham Young University 的一项研究：清新的气味，清爽的环境能使人变得更加宽宏大量，行为举止更加文明。简单的说，只要使用几支香味剂，人类就能进入‘文明社会’。

一个有趣的实验：
研究人员分发给志愿者每人12美元，让他把这钱和同一房间的另一人未领钱的人平均分配(同时此人也不明真相不知道一共有多少钱)。
干净房间里的‘文明人’分给了同伴5.33元(平均值)。
而普通房间里的人只分给了同伴2.81元(平均值)。也就是说他们并没有做到真正的平均分配。

同时还发现干净房子里的人更愿意捐助、充当志愿者等等。研究人员认为，当我们需要教育小朋友需要更加懂礼貌时，不妨先把他们的屋子打扫干净弄点香香，这可能自然就会改变他们的行为。

齊澤克新書

2009-10-28T09:29:00.000-07:00

齊老又有新書：First as Tragedy, Then as Farce.
剛開始看，菜譜看來少不了共產主義/拉康/后911政治/流行文化/法國解構主義，看看有沒時間試試譯下。

藥

2009-10-23T00:42:00.000-07:00

小時候有十多年基本每星期要看一次醫生，一般是咳嗽，氣管炎，腸胃炎等等，不是大病，但這種持久戰折磨了我很長時間。咳嗽時一般是咳水比藥丸管用，顏色越深的越難喝。（雖然人稱“馬尿”的黑色藥水我倒覺得沒什麼）小時候我一般每天要喝六種藥水，深顏色占多數，紫紅色那種甜中包裹陰毒的微苦，像陌生人的汗濕的肌膚，讓我寒顫連連。淺顏色的一般甜酸口，黃色菠蘿味，透明的也好喝，綠色的還好，就是不喜歡它那種假蜜瓜味。

弟弟妹妹小時候在父母的祖村生病，都去村里的衛生站，因為當時村里并沒有醫院診所。簡陋的衛生站窩縮在土色斑駁的平房里，到處放著殘舊的藥瓶，安置在更殘舊的木架子上。藥瓶大多深棕色，上面貼著標簽，寫上了艱深的元素表式藥名。也有中藥片。妹妹一咳嗽就喝川貝液，下屬淡黃色裝載小小玻璃瓶里，用小吸管吸飲。弟弟妹妹也服些些中藥片研碎而成的藥散，因為藥丸吞不下，淡淡的藥香蜿蜒一夏。現在想起，警覺他們以前原來那么小。

家里也給我燉制大量補品，固本之余清清身體，因為西藥毒。補藥除了比較大路的北芪黨參雞湯，花旗參瘦肉，蟲草鵪鶉，紅參，燕窩，紅棗肉餅水，水魚，鱷魚肉，南豆衣等。

當然也有另類的，銀灰帶紅點的蛤蚧，從蛇腹直接擠出的生蛇膽，拌以不知名汁液的濃稠川貝糊，蟬蛻，不知名蟲類等。

大人感冒時，祖母會給他們弄一碗“盒仔茶”，盒仔茶和我體質不夾，所以我從來沒喝過。只記得一煮就一屋子那種味道，聞起來像咸味的木片和生姜。

Aspirin我自懂事開始就沒接觸，因為爸爸說我對其過敏。我在嬰兒時期曾經因服用該藥以致胃出血，一個月的小小身體，小小的胃，鮮血漫漫浸潤。朋友曾經告訴我aspirin的水楊酸可以融化胃內壁，不知是真是假。在藥店看到一膠瓶雪白的藥片，想像粉紅光滑的肉質上面，一層辛勞悄悄剝落。

來不及問的問題

2009-10-22T02:46:00.000-07:00

從以前到現在，一直有很多想問但是無法問，忘了問的問題

（給他們）1998年6月4號的那個清晨是甚麼顏色的？

（給Abbas Kiawostami，那天我就在你身後）你電影裡的長鏡頭，和你的短促的俳句式詩歌相映成趣，你的詩歌像呼氣那麼短，連吸氣的時間段都取消，比Rubaiyat 更短？

（給祖母）你去世那天給我留著的鳳梨哪裡去了呢？
在那個灰色的夢裡你為甚麼一直跑呢？你的鞋跟在地上烙下了一個個黑色的圓，裡面爬滿了螞蟻，你燙好了頭髮呢？在醫院裡洗得掉色的，像別人的體溫那樣陌生的被子呢？

（給你）你想看一下我們的孩子嗎？他現在在黑暗裡。

月木

2009-09-19T02:11:00.000-07:00

他们说起那个在房间殉死的双胞妓女。

他们死的时候面对面，看着自己的死相。他们的客人发现了他们，因为很多天都没有联系了。

最早知道他们的死信的是对面楼的那个长期生病的男人。他在自己房间的窗户一直看着。他们服药，躺下，面对面，然后换了几个姿势，抽搐，面对面。

那种口红的红色他们叫豆沙色。

奇怪

2009-09-16T11:37:00.000-07:00

为什么现在的影评人基本上花上超过三分之二篇幅来作剧情简介？

怎樣打飛機

2009-09-03T23:22:00.000-07:00

教你怎樣打飛機
廣州軍區司令部編印

赵已然来香港演出

2009-08-24T03:00:00.000-07:00

一起去吧

北京民謠老大趙已然將於９月５首次來港演出。
嘉賓：Ｍy Little Airport阿P，JENNY

他們將在上海街的唐三──一幢舊唐樓隱匿於紅粉霓燈、新建豪宅和種種現代建制之例外接踵摩肩的一處空間── 以音樂感動這七月流火的夜。

趙已然，人稱老大（民謠／藍調歌手）:
一九六三年生於知識分子家庭。中國第一代搖滾人，鼓手、吉他彈唱歌手，寧夏人。

老大自述──
我本該是一名化學教師，陰差陽錯，不幸做了鼓手。十多年來，不求上進，碌碌無為，混跡於狹小的地下音樂王國，沉迷於越來越糊塗越來越荒唐的卡通境地，信以為真地在有限的幾位朋友面前義正辭嚴、斬釘截鐵地鼓吹著“垮到極處”的寄生蟲哲學。從沒有過工作，後以借錢為生。
後來，我慢慢變成了一個人。只有一雙拖鞋、一隻牙刷，住在了農村，且越搬越遠。
再後來，我笑得有些難看了，因為我越來越沒錢。以至於常常被迫求告家人，艱難度日。
有一天，我終於發現，磕不動了，再也垮不下去了。我頭天讓酒喝醉，吐了；第二天一早，酒還沒醒，咣嘰，又讓茶給喝吐了。
那一天，我發現，我的臉特別難看，太難看了。我終於知道，我太不漂亮了。
我一生熱愛漂亮女人，痴情於不敢面對、不敢褻瀆的漂亮女人，然而我自己卻從沒漂亮過，從沒漂亮過一次。
我也知道了，在我所追求的自由中，我沒有自由過一次。
於是，我終於倒下了。
於是，在深夜裡，在不要錢的燦爛陽光下，在只有神或鬼才能看得見的微笑或悲痛中，我想起了那些曾經會唱的歌。
於是今天，被逼無奈，我端正了思想，換了身份，不做鼓手，稍不情願地自覺有些滑稽般地坐在了這裡，懷著年輕時代的美好夢想，准備唱歌。

抿一口啤酒就唱起了他傷感、蒼老的情歌，就像Tom Waits在美國的小酒館，那催人淚下的滄桑感，絕對是貨真價實的。 ──廖偉棠

老大的吉他也簡單，有布魯斯的味道，有西北民歌的味道，但就像他按著琴弦的手指一樣，又靈活又粗糙。他唱的不是那些歌，而是他的生命。所有的苦，所有的美好回憶，他的窮睏和悲哀，他的自由的靈魂。 ──顏峻

視頻：http://www.youtube.com/results?search_type=videos&search_query=趙已然&search_sort=video_date_uploaded

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日期：9月5日星期六晚8時正開唱（請提前半小入場）
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寺山修司的田园之死 (Pastoral Hide-and Seek, 1974, dir. Terayama Shuji)

2009-08-22T05:05:00.000-07:00

By Venus Lau

《田园之死》是寺山修司五部长片之一，是新手观其电影的入门课。片中华丽的视觉隐喻流溢，碎片般的情节，穿插期间的古怪人物（马戏团里的空气女，侏儒，全身披黑袈裟，带海盗眼罩的白面老妇，硫磺味弥漫的恐山，化浓妆的小孩等），种种意象搭构出寺山修司的世界，跟寺山修司的整个电影系列组成庞大的风格化异色空间。

不少人看过《田园之死》后均认为其为寺山的自传体作品，除了以第一人称作为陈述角度外，戏中主角（以成人和少年两种姿态出现）与寺山修司同月同日生（同为12月10日，但寺山修司生于公元1935年，主角“我”出生年份则为昭和49年，即公元1974年，亦即该片拍摄年份）；寺山修司在日本青森县出生，戏中主角的出生地是位于青森县，有日本三大灵场之称的恐山（电影里主角称自己的出生地－－恐山地处东京市）。种种非巧合的安排，证明寺山修司欲一借电影改写自己的历史而重生的意图。故此，解读此片的时候，不少人会堕入以作者生平为阐释作品的单一切入点的圈套，出色的电影随即代替作者经验（empirical）生活成为主线，不论是意难平或者有病呻吟，戏里的肆意的意象和诗意都沦为对作者来得太迟的抱怨的附庸。

艺术作品一如艺术家之儿。父母和子女的关系强调的是被伦理强化的，以脐带为象征的血缘关系。但是作品不是艺术家的附属，作品俨如离开子宫的幼儿，已然是独立个体，而不是父母共同投下的影子。电影是开放的，流动的文本，解读（虽然所有阐释都是误读）若然只取作者主导的方式，难免减损作品的价值－－作品的价值就是的每次阐释的内容，每一次解读赋予作品新的生命。我不否定寺山修司欲以〈田园之死〉来表现昔日屈服于母亲权威下迟熟的反抗，继而获得重生，但寺山修司的想法并不是诠释的唯一路标，而且这观点在云云有关寺山修司的评论已被多番提及，更有有心人以寺山修司生平对号入座，把电影各元素与寺山生平的经验事件等同，把寺山多彩诡奇的想像力拉低到生活牢骚的水平，艺术里的直观成分亦被完全消去。

反抗权威的败北
寺山修司电影里对权威的反抗极为明显，如在实验短片《番茄酱皇帝》里小童追杀成人，《再见方舟》近亲表兄妹不顾坚固的贞操带的阻隔，坚持尝试做爱，片中人物对权力象征权力实体的颠覆意图都非常明显。这些露白的反抗行动是寺山修司电影的重要课题。对权威的挑战在《死在田园》展示为弑母意识。主角想借对记忆的操控，让少年时代的自己杀掉母亲，事与愿违，弑母计划最后失败。

弑母计划是对母亲此权力／权威象征和实体的挑战。权力是弥散的，是一种力量关系，权力并不是由在上者的创造，权力得以成就，有赖所有参与者（包括在下者）的共谋，而作为共谋者，在下者的权力就是作为社会共谋的权力；权力，需要两端的支撑。所以死在田园的主角弑母失败，不单因为受制与社会伦理的羁绊，而是自己还没有脱离作为权力共谋的脚色，主角一厢情愿地企图抹走权力实体或者象征带来的阴影，根本不能切断权力力量关系的纽带，反而越踩越深。这样的反抗一如萨德对神的亵渎，一切最后只是徒劳。

不少人认为弑母是一种“反俄狄浦斯”, 把寺山得作品一把跟法国哲学家德勒兹(Gilles Deleuze)联系起来。但是单单把主角身兼父职的母亲等同德勒兹以差异和生成(becoming)挑战being的游牧，似乎有有点太草率。俄狄浦斯情结作为主体进入象征界(the symbolic)的关键,也是主体建立和认同(identification)的关键，当中的关键词是弑父意图，继而带出父明(the name of father)。田园之死里的弑母意图，与其说是对传统主体概念的颠覆，倒不如说是对家庭结构的崩坏和重组。

寺山修司的时间
无论在寺山的电影，还是在他主持的《天栈屋敷》话剧团的作品里，时间的象征和隐喻无处不在：《再见方舟》内失去时间的村庄；舞台剧由真人扮演的巨钟，或者，，〈田园之死〉主角母亲收集的破钟堆。形形色色，表报不同时间的时钟，没有提醒人时间，相反，它们让人忘掉时间。时钟不但是象征，更是实际工具，令量化客观时间的统一结构可以复印在世界之上。至少是人所认知的世界，之上。

客观时间是我们所熟悉的时间，三点半，美国比中慢，十三小时，一分钟等同六十秒。。。。。这都是被普遍默认的，跟本真时间对立的派生概念。客观时间也是“时间对我们显现为各个当下，各个现在的次序” （1）这些现在可以在某写发生事情的时段上被计数”，这种概念为时间的量化和一体化提供了可能性。相反，本真时间没有经过任何概念的干扰，是本原地向人展示的时间。本真时间就是我们的此在，就是我们的主体性，那是真正的自我（无意识？他者的语言？），而非透过线性时间里，拉康的镜象自我。

〈死在田园〉主角母亲尝试把自己的儿子（少年时代的“我”）困在她的时间里，此举跟客观线性时间的霸权如出一辙。唯压力越大反抗越大，主角为古灵精怪的马戏团所吸引，决心逃离母亲，离开村子过新生活，最后他阴差阳错失去了童贞。客观时间象征－－母亲的时钟堆－－渐渐远离的同时，少年手上多了一只象征本真时间的手表。比起弑母此类对某一权力对象的颠覆，重新阐释时间，并展示时间的伯格森式(Bergson)不可分割性并以此建立主体性是更为彻底的革命。

除了控制戏中人的时间，〈田园之死〉也操控观者的时间。电影开端小朋友玩躲猫猫，原本的小玩伴忽然变成大正年代打扮的诡异人物，电影结尾主角跟母亲在故乡家中，刹那间四面墙倒下，主角暴露与东京繁华的街头，还有电影中空气女的呻吟，系在殉情男女身上的红线，鬼火般飘浮的日本老童谣。。。。。。这些感官异觉化（视觉和听觉上）不啻是寺山修司强烈风格特征，也是延长艾柯（Umberto Eco)在〈优游小说林〉里述及的阅读（观看）时间的技巧。对于电影和书本里寻常的物事和情节，我们会用在现实中早已熟知的经验／取自经验的逻辑推断，加快阅读时间。面对寺山修司精心布局的奇形怪状，既有逻辑无用武之地，观众只好费尽心神寻找当中的意蕴，或者象我那样，尽情享受日本cult 片鬼才预备的感官盛宴。如是者，观众所经验的时间不是放片的102 分钟，而是他们迷路的时间。

记忆的不可信性

在阳光灿烂的日子（或原著《动物凶猛》）里，主角马小军越深入自己的记忆，就越发现处处出错，到后来甚至黑白不分，我们就知道记忆的不可信。记忆隐恶扬善，只保留对意识有利的叙述，甚至对你作出彻底背叛。《死在田园》的“我”以为可以驾驭记忆，并以这种自信武装自己回到故乡恐山。可惜，当他跟昔日年轻的自己开始对话，少年主角马上揭露成年主角美化了过去，记忆本是一连串谎言。记忆就是这么不可靠。无奈的是，我们需要从记忆抽取经验来建立自我的主体性和应付生活上的决定，无法进入记忆和意识的，就是我们生活里的惊颤。

俳句
寺山是俳人，在〈田园之死〉里，俳句俯拾皆是，有人理解其所为是对美国强势文化的抗议。俳句的节奏是跟日本人的呼吸非常吻合的，再好的文笔，也只可以翻译俳句书面的意思，但不可能翻译俳句的呼吸。田园之死的俳句表示了艺术的直观成分，那些部分，一如禅言，同为不可说，不可说。我没有大道理，只是任何的解释读不及无法解释的呼吸，那么有趣。

田园之死的流程里，主角不断与权力短兵相接，不断重建主体性。那些我们永无完结的游戏。

寺山修司的重口味freak show 意向让不少人把他跟费里尼（Federico Fellini)连在一起,也有人说寺山修司象拍过Salo的柏索里尼（Pier Paolo Pasolini )，因为大家都有或隐晦或露白的性描写。但，

寺山修司就是寺山修司，只能是寺山修司。

（1）胡塞尔与海德格尔的“本真”时间现象学，克劳斯·黑尔德

梦之三

2009-04-28T02:20:00.001-07:00

弟弟失踪了。不知跑那去了。都半夜十二点了现在。一个小学生，你说他能跑到哪去。我沿着家门前的河一直走，河边的街灯在半干的河道投下层层叠叠，好似颤搐的白菊的碎冠。明明只有一支街灯，却无端生出那么多枝枝节节的浮影，是谁在这样的夜里倒泻满盘的银晕，任由它在流动的齐黑里自生自灭，繁衍疯长，爆出一丛丛银火花。河岸堆积一塚塚死贝，福寿螺还有一些像青口的小贝。全都是指甲大小，没什么肉，肉又无味。所以覬覦看不上他们。那些小贝成队的塞着河道水闸，所以要把他们挖出来。那些带壳生物今早已堆于此地，贝肉晒了一整天，都腐烂了，死肉流出黄濁的尸水。烂艳的颜色半明半灭如死去的珍珠。我一边呼喊弟弟的名字，一边吸入腐烂贝肉的咸腥，嗅到其在衰敗中渐渐模糊的肌肉纹理。

前面有小水一滩，落满了破败的星宿，猎户座的腰带轻贱的簪在水面。要是我以履作舟涉水而过，不知可会惊起鸥鹭一群，响天的白羽一离空变成了箭雨，落在将军的桐花枝上。蒙尘的破布鞋且置一旁，我要用落凡的银河濯洗泥污的赤脚。弟弟啊，吾弟，你在哪里。天上的水里的下弦月弯开释迦智目一双，两眼遥遥相望，所有的秘密洞穿，你到底看见了什么，告诉我。欲问吾弟身在何。藕花深处抑杨柳堆烟之途？死水泡得我足色如乳胶白，碎步浮浮，一跨一沓都似乎在水中央，鱼们把我的皮屑，脱落的肌肉啄食。走了十步不到，我再也行不了，弓腰扶着一棵紫荆树喘气。这树不知何德何能赢得市花之名，丧气到不得了，叶子一年四季都是青黄不接的颜色，黛啊翠啊这些颜色词它从未够资格穿上身，那个花红不红紫不紫的，又干又扁，仿佛从未流出花蜜，从未丰润甘甜。正当花季的时候，花团如一树吊死的瘦骨伶仃的老处女乘春暖梳头弄髻，从没见过丧气如斯的树。紫荆是我见过最不像生物的树，我不时身备界刀，忍不住要刮下那树皮色的脂粉，要那混凝土结成的枝干重见天日。紫荆树，你跟那些水门汀麻花柱，是不是一家？但今夜，我要说，今夜。紫荆花在月下开得特别艳，苏摩用光华在嫩瓣画出我从未见过的兰紫色，嘿，我知你为自己随机的惊艳沾沾自喜。连我，今夜也要你做依靠。

沿河一路，似行了几十年，好累。我弟我弟，你在何方。你会不会让那个河里的阿姨，偷偷抱去了。你妈姐弟四个，就那个阿姨最聪明，三岁背唐诗，窗前明月光，疑是地上霜。霜和月光都白白你那个好聪明阿姨说。你妈只会担水劈柴，沉默地过草垛，跟你那个阿姨一点不似。阿姨生的好靓，外婆说阿女你真靓，眼珠亮晶晶又圆似两粒龙眼核，皮肤白胜瓷，红嘴文又细。你姐皮肤十足粗沙陶。他们姐妹几个都比不上你一个，加加埋埋都比不上。唉是不是有鬼迷，又，是不是红颜，必招天妒。你才八岁那么个人仔，怎怪不给那大水冲了去呢。我们家前的那条河，不宽不深，但急到死，肥硕的照夜白在里面也站不住脚。难怪是虚龄八岁的小小女孩儿。河未小到成溪，大又没大到江那样，水色从不清澄，没人看过那河底，但又不如黄河颜色有厚实的泥濁，这条河，就这样不温不火，不紧不慢，日复日慢悠悠扶着不汤不水的颜色淌过，它的每一个弯转，都提醒人们它的平凡及不足挂齿。阿姨你呢个人中之凤，那个玉串样精致的身体，亮晶晶眼，瓷白肌肤，文细红嘴，沉在那条不汤不水河的河床，真不抵。阿姨我没有见过你，你还在怨吗，恨那推你落河的谁谁谁吗？恨那生满苔藓的湿滑石阶嘛。呢你是不是抱走我弟，要是请把他抱回来。我烧你一双红鸳鸯绣花鞋，阴丹士林旗袍翡翠头花。阿姨啊你是不是抱走了他。

其实不用担心呢我真傻，我弟，可能你是踢球去了，三里外的球场，夜里没有灯，要一直摸黑回来。我到得家里，必看见你带回一身调皮的泥污，泄气的皮球，大堆的牢骚话，在春天的烂泥球场探头探脑的饮管粗的蚯蚓。又，也许你是去了朋友家里玩那种穷一生都玩不完的电脑游戏，寻找青龙演偃月刀倚天屠龙剑。一脸光辉地履行勇者的任务。我左脚踏进家门时你一定会扑向我，如数家珍地说你的历险。你如何从龙潭虎穴救回的貌美的异国公主，皇者之剑又怎样反射太阳之辉。我弟，你都会告诉我，你说是不是。可能你是让一个爱唱歌的人邀去了，他一生注定要歌唱，他要你帮。点样帮点样帮。你要随他走。一开步，满头黑发落。二开步，你的蜜色皮肤连里面蓄了一年的阳光成块剥落，三开步，宝石红的内脏跳出，一跃妆一朵湿濡的闪光，四开步，歌者云现在你得棚骨啦细路，不如你把脆响的白骨，比埋我。弟弟你一生都那么善良，你一定默默点了头，你的声带已经没了。发皮肉骨，歌者用你，作了一个琴。你从来没听过自己唱歌，想不到第一次，那么好听。弓上绷直的发，扫到你发育没完全的声带，夭折的肌肉，易啊啊。我弟，你是不是变了那么一个琴，在歌人双手之间以不完整饕客。喂。

快走到家时，迎面来了焦急的妈妈，好似没有看见我那样，直行直过。嗨如果丢了的是我你还会不会这样紧张。妈妈不应我，一头栽进外面的夜色。我住的港式公营屋村，楼房七层高，四四方方棺材咁,多年来葬送不少人的身份和特征。在屋村范围内走到哪里都会遭建筑物呆笨的线条围困包抄，一楼至七楼都一个样，因为每层楼都用相同的铸件砌就，叠积木那样叠上去，看来如一个个一模一样的额头，眉骨的位置一样那抬头纹一样，里面装的也一样。住客都一个样，陈师奶黄师奶刘生张生都一样。黄林两家甚至连教仔的口吻也无有分别，全村对准顽皮马髅的枪口口径式样为一致的，哎你个短命仔，睇你今晚无饭食就知死，正一干巴铲。全村人都这样闹仔，字数从不增不减。个个阿爸阿妈这样骂，个个仔都当他们唱歌好少理。全村的男女老幼都顶着同一发型，春夏板寸，秋冬one-length。我偶尔电个发，便遭全村指摘，从此村内设施均不让我沾手，按电梯按钮都要用塑料袋包着手，对所有村人我要以敬语称呼之，那管他是三岁小毛孩，我成了村内的贱民，因为我跟他们不一样，哪怕只是一点。在如此千人一面的环境里我不入仙南铎也像陷进五里云雾，常常不知谁是谁认不出哪是哪，同时目睹自己的指纹在雾里模糊。所以我在这里由细住到大却成天迷路，一次下午三点放学回家在屋村里天光转到天黑，跌撞于重复的排比的风景之间，找到家时，家人已睡，大被盖过头，若已忘了我此人。兜兜转转之间，忙于流汗着急疲惫，我也差点忘了自己，只记得后楼梯一个个整齐的合格式的代表楼层的黑色数字。

弟弟啊。我还没找到你。快到家了。走廊的拐角处坐了三四桌人高声歌唱且同时吃喝，神乎其技真如人人有两把口。在他们吞咽歌声豪声饮笑语的间隙间我问那些喝到火红火绿的男人有没有见过我弟弟，他们忽然有默契地放下筷子，一个卤水蛋轱辘轱辘滚在地。他们互相交换了一下眼色，确定了某种内容后同声说不知道。然后一起把口臭从我面前移到桌上一大金属锅边，里面咕嘟咕嘟冒泡煮什么好香，他们对着那锅紫黑哇哇声，我知我知，他们吃小孩，未出世的死胎。他们又朝我不怀好意的笑，其中一个女人向我展示T恤上的窟窿，并不住以五指之力把它越撑越大，直至我看见她半个溃烂含脓的茄色乳头。我抱起地上黑白相间的箭猪，掉头走，后面起哄的笑声是一堆骚动的死苍蝇缠在我发上。

家里静英英。弟弟不在。连妹妹都出去了，一个人没有。窗外的月华亮得晃眼，甚至有点不友善了。一片及时的稀云把它罩住，云随飋而漾,　俨如在空中放旧了的无主棉铃，鱼丝一般坚韧，足以成为止血的伤疤，我手多多把云撕下来，月忽的就暗了，我抬臂去摘，握在掌中的是发黑的头盖骨，一捏，即成灰。妈妈在楼下的大树旁，和妹妹把弟弟颈项上，拉着红藻状血丝的绳子，解下来。

剔

2009-04-28T02:14:00.001-07:00

五花马，千金裘，蛾儿雪柳黄金镂，苹果笔记本，步步高dvd机，威而钢蓝精灵。扎彩铺里堆满各色纸品，种类之繁令人咋舌。我肢体小小的挪动总要以跌撞的代价换得。触到冰冷的蜡光纸如摩挲死人脸，朱红雀蓝松叶绿之类鲜辣颜色，预告生命炎尽之后。殡仪馆的死人，总是画着比生前任何时候都浓的妆，最尾一次化妆，总要化的好好睇睇。人断了气，油彩就可以大摇大摆，就此一次，不用附庸会出汗，发怒，皱眉的脸皮。然后安心在千度高温的猛火里干裂焦黑，于窝着蠕虫的沃泥里溶化腐败，发出烂肉味。彩红彩绿的扎纸像太阳一样，快把我晒盲。老板怕我砸了人家身后的荣华富贵，连连扬手示意我离开。我说看看又怎么着。看你这金楼玉柱乱生色，一放入那个铁皮小屋一烧，扎得几靓到头来不就一堆灰。还有啊，儒释道都没有叫人烧衣啊老细，你这不是骗人是什么。老板别过面，抬起地上半张桌子大的纸坦克，又拿了双红烛出了门口。我问他你烧这给谁？他也不搭理。拿起一盒纸扎烧卖，白纸压成四方方，剪刀剪出浑浑圆的绿纸充青豆，拿起来真轻清，没有一点湿气，多余的重量。我死后，天地是否摇身一变成白纸那样浅薄干净。从此只需意会，抛弃世界，拧掉多余的动作，咬嚼吞，视嗅闻。对一只苹果，省略牙齿交吻的动作，食道的艰难，粉红胃袋的絮絮研磨，不移一步，直达甜美的核心。引诱夏娃的糖汁，跳过了青蛇，注入精神。那么生活可以扼死几许枝节，世界不用再被暗哑的小麻烦以黄旧布条束住脚。不过话时话，这样的淡木木烧卖，真是揾鬼食。莫不道，他朝君体也相同啊。小姐你属木，命又硬，生命线快伸至腰间，好长命啊你至少有八九十岁命啊。那个睇相佬五十多岁，睁着一对女人那样亮晶晶眼睛跟我说。

前路漫漫，九十岁，你说我要挨到几时。

天花跌了什么在我头顶，痒得不得了。抬头望才知天花是扎纸铺里唯一不漆红色的地方，满地的彩色纸花纸人都照不亮上面发黑的木板，密封的天堂。头顶像有蚁咬，好痕。摸摸头皮，已经长了无数疙瘩，小小的圆润光滑讨好指尖。火辣辣的很痒。宛如生了满头山棯。小时候暑假故乡的瓜田边有山棯，它们吵吵的，偷倚藤架。小小紫浆果，舅婆管它们叫火炭仔。没有什么汁，好甜，每次路过山便都会吃。后来知道有种叫胭脂虫的圆轱辘小虫，通体酱紫，性喜伏于灌木枝上冒充甘果，还做戏做全套的分泌粘甜的体液，跟山棯差不多样。整个身体没有器官，塞满一肚的白虫卵。不知我在吃山捻的时候曾把多少的胭脂虫吞下，让他们孵化再麻麻密密地锁满支气管。从此我一见山棯就痒，连喉咙也痒，仿佛身体里所有瘦瘦的管道生满甜滴滴赘瘤。谁也好，请把这些无用的肉芽连同他们故作的媚态从我头上宛出，留下我脑袋空空。我叫老板老板。没人应。只有过度的寂静憋出来的电流般的鸣咽声。

浮想联翩之间，冷不防踩中一纸马，马体高壮甚有盛唐遗风。马身蒙上鲜红玻璃纸，桃红色绿色黄色装饰图案往马壳上贴，恰是花钿两面煎。我踩断纸马的一腿一尾，不知从哪冒出来的老板面露不悦，是是，可以理解，我弄坏人家店里的东西，还搞搞震无帮衬。后生仔，那腿断了烂了不能卖了。“老板你急忒？它原来就不会跑腾，没了个腿又如何？断了的是我们的期望”。“细路”“我们冀望从它身上知道形体，而形体失，就没用了，扫它去垃圾桶吧”“老细把它卖给我好吗？“ “不要钱，你，留下衣服”

我一丝不挂，抱着血红纸马。低头看，阴毛都变得陌生。陌生人似乎更熟悉我身体，他们用五感进入我身，我的五感却困坐乏味的肌肉愁城。离开扎彩店，越走那纸马越热，随时都会烧着。不知是不是那老板怀恨在心落了降头。我走三步看那纸马，走两步又看瞟瞟那纸马。越走越热我是抱着一怀虚火。燎燎的焚三焦。但玻璃纸上带沙的红光宁静如烟波，我怎能对它生疑呢，它在我怀里那样乖。回头看看那光光红的铺头，老板不见了，店比刚才越发假十足模型胶屋，雕栏玉砌地划生者的歉咎到彼岸,店门前一双扎彩童男童女妆着蜡光纸的虚华脸红红对我笑。店里燃着的劣质檀香很臭，笨重地盆卷愚黄色，烧炼恶菩提，闻得我好留恋现世。四下望望，才发现周围非常黑。街道墨漆漆跟其他更黑的交错的巷接轨。扎彩铺是唯一的光源，太阳月亮缺席。连小小鼻屎大的星都隐沉。极目而望就得我一个人。无声在敲响玉磬，耳鸣处处扩散开，一环环。

十步以外的东西完全看不清了因为实在黑。能看见的楼房，都是十多年前的式样，长长方方，十多层重复吟唱一样的小气窗户，水管及灰色外墙。是最宜用来扼杀想象力建筑物。眼下的街道是从文明疲乏的灰嘴唇拉的长长的嚼到无味的香口胶，长远淡稀薄。两边建筑些许辛辣的棱角被反芻至血肉模糊，变了黑团团的寒酸在路旁。我爱的人住在长街另一头，要见他必要经过黑里黑的夜路，这世人我又惊鬼又惊贼。我实在不敢。吾爱，真的，对不起。柏油路望望我洒手拧头的怯懦样子，妖笑一声，挨欹高尖音跑到天边，死了，那街更长了。黑夜的纤索曳不到天光那头。我不会再见到白日了。我知道这里从没有昼日。眼眯眯只见右手面一间大茶楼，三层，有大会堂那么大，人气一点无有，招牌上的字号青铜色。乌灯黑火楼上面看不见一个人，但隐隐有声声唤。时而高亢一点，退下去时如半垂的眼目，几乎可以感到睫毛在手背念念扫。纸马盯住二楼，原来二楼的窗里点着暗兰色鬼火，饮茶鬼在自己的尸骨描画蓝莲花。埃及种的蓝莲，酿成酒喝了飘飘然，四肢又面又软。女祭司干杯后迷迷糊糊跳神舞，清醒的人在她身后又拜又唱，眼珠游离粗黑眼线：阿努比斯！阿努比斯！我如那些鬼，歠醉餔薰，穷一生祭自身。二十岁前以为自己擅写能画，到头来发现自己是色盲，红绿不分，过马路看错灯，差点让撞死。用间尺也画不成直线。常用的字不多于一百个。读小学的小表妹问我功课问的我口哑哑。

茶楼里不知有没有坐了爷爷，我从来没见过的爷爷，抛妻弃子的男人。他离家时爸爸好小，上小学那时。爷爷做酒楼，会整广式点心，有些我听都未听过，例如猪润烧卖。爸爸说爷爷正一酒鬼，一天到晚抱住樽孖蒸喝, 年年过去，酒依旧清澄，酒精把爷爷的眼球腌的白濁。爷爷后来差不多半盲了。

是不是爷爷？二楼那鬼，向着我展示脸上欠了眼珠的两个窟窿。一直招我。乖孙乖孙。我抱抱。我穿过酒楼大门，门边铁栅倒在地上，全然是一从废铁枝了。

一楼黑墨墨，依稀见得有钟，指针全断了，分不出长短针。行楼梯上二楼，木板支呀呀，好旧了纸马说。我踏一步镶在檀木上的裂口又深一些。上得二楼，二楼地上铺了纸皮石，密密细，整整齐齐排出死人蓝色，殡仪灯笼的蓝色。四周放置台凳，没有一个人。锈得发黑的痰罐斜瞟着我看，里面干干的一滴水都没有，暗哑的黑色内壁独自回应空洞。乖孙。乖孙，你来。爷爷坐在最黑哪个角落里，边叫我，边煽起蓝鬼火。你来。快来。我在爷爷纸白的脸上找不到眼珠，鬼火就在那两个窟窿鲽出。爷爷唱支曲你听。凉风有信。秋月无边-----边。他越唱，我的口越干，及至到最后我口中没有一滴口水，说话时差点把舌头吞下去，舌苔像愤怒的赤目粒粒饱开。爷爷跟我说乖孙你饿不饿。我点点头。已经说不出话。爷爷掀开上衣，就是那种白色的厨房佬衫，干净得丝毫人气都不占，条条衣纹宛如白拍子手上纸扇一样洁净。你吃。爷爷递给我两个烧卖，冷的。跟他手一样。放倒口里我才发现我没了味觉了，我忍不住哇啦哇啦呕出包有指头的烧卖，泼了满地黄胆水，半个指甲插在舌头暖红肉上，同但就是吞吐不出味道。爷爷刚才把烧卖收埋的地方，近着肝那里，破了一个大洞，里面半个烂肝，肿瘤层层绽开若山茶。我转身走，凉鞋面上的十多个小银玲，一齐响了起来，是一城的艳妓妆罢顶着金步摇脂粉亭亭赘。耳根揉搓厌人的花枝招展。我回头看，爷爷的肩上伏了个人，是个皮色粉蓝的男子，刘海疏软形如櫛，睫毛的影子映入眼底，吊稍眼角晕染粉红，那红花红粉染就，我一看就想起那些冷硬的深红如披旧盖头的茶果。男人看看我，又对爷爷媚笑，低低唱便赏心乐事谁家园。忘了说，他有一个头，而且就只是一个头，粉颈根底虚空悠悠下潛。

离开茶楼，鬼火都睡了。独剩几个空鸟笼于窗前挂，有的用铁做，有的用竹和的泠仃的空心鸟骨。

再找不到扎彩铺。街上只能是更黑。我一直走，一个暗影蹲在地上，差点被她绊倒。那女人四十上下，脸上隐隐蛤蟆色的斑点，夜里她的黑脸更黑。她木木的半蹲坐，已经死了，口里叼住发臭腐坏的肥肉。我估计那肥肉本来放在旁边的石老虎的口里。那肥肉用来祭那白虎的------那石雕的百兽之王。其实那石头一点也不像老虎，连眼耳口鼻都欠奉，只在大石上勾出弯弯的尾巴。倒像折手断脚的灰鹦鹉，了无生气的一旧肉，灰色羽毛辗作尘，红喙流不出鸟语那是血和口水。你知道吗隔壁陈生那只红顶灰鹦鹉，好贵又会学人语，陈生好疼它，比自己个仔还亲，天天带它公园散步，睡觉都要放在身边。有一天陈生个仔把鹦鹉翅膀齐根用剪刀剪断，从二十几楼丢落街。今天驚蟄, 春雷惊破满山毒。以前阿婆跪在大榕树下打小人，一打你小人脚，打到你有鞋不晓着。二打你小人口，打到你食饭都会呕。麻麻带我打小人好细个的时候，选个破日，买猪血肥猪肉，润润那白虎口等它不会咬人，买份大白衣，烧了。拿一只拖鞋，一块砖头，使劲打。周身病。婚外情。考试落第。人际关系欠佳。统统打扁扁敲碎。生活顿时甩开如蚤虱的诸多死结，人也轻松起来。在那张霉霉烂烂的草纸上，绿线描绘的古人陋像旁边我睥见妈妈的名字。
那个死女人不见了，谁能告诉我那不是假的呢。我手抹了抹石虎口，上面腻满了珠黄肥油粒的无牙的洞，还有发了臭的血，已是橡紫色。把命运的不能理解借动物的凶猛还魂，人就是这样。街越走越黑，连影子都沉吟在一色的鳗黑里，不露面。背后的空茶楼还依依传出乖孙乖孙。你去边。飘呀飘的飘至我耳边。漾如烟线，好似麻麻葬礼上，火葬到尾声的时候，淡墨色细烟，断断续，续续断，慢慢把焦肉香从烟囱拖出抽出掏出。我突然疯了似的跑起来，连自己都不知道拔足的缘由，可能想在这条街烧盛一点点人气。

过一街口，一只手把我拦住。是个故去的女歌星，脸紫紫，半张的嘴唇黑色。她就地唱起来，黑水与歌词自涂了炭末的牙齿踉蹌而出，黑唇一路震。唱完了她就走。她头发好厚，仅有生命力的残余。

后来我又拔光了自己头发。

儿

2009-04-28T02:12:00.000-07:00

香港好热，热风跟了我一个小时的船程。到了澳门，还是成身汗。

到了澳门更热。汗没有停过。水分大面积地流失，却令人个更湿，同药引那样诱发更多。
赶到一小寺，里面供着我儿。

三几个阿婆身穿玄色蜡光衫，有一搭没一搭地说着话，轻松的道家常，一个个混濁的浮泡从她们乾瘪的嘴唇悃悃而出。我忍不住摸摸她们谷壳样的嘴。笑意全滑进她们的唇纹里。她们围住一个桶。那高身錫桶水半满，插菊花，数有五六。黄色紫色菊花，非雪球非蟹爪，最普通的拜山菊，说不上名字来。水里习习煮婆婆的皱纹，酸臭薄薄流，是那菊根已烂。挨尽了菊老荷枯几度秋。菊花在檀香炉灰边，比耄耋老得更快，馥香自管瓣瓣上扬，那黄那紫已没有激烈地干戈相向，各自背对背，困坐愁城。唉，惜费尽三春，东风渡。

外面街市的热闹，慢慢随水下沉，和那腐败的菊根，姽嫿幽静兮，催那形态换。后来也没有声，只听见耳鸣，血流过耳朵。

寺里一间间房，房里一排排神主牌，神主牌上照片一张张，有些好旧了，蒙蒙尘。家人可能很久没有来过，可能，移了民，可能。或者连家人朋友都死了，一针针钩断个人的不朽。处处塔香昏昏烧，油灯滴滴亮，房里还是阴凉，看的我眼睛好冷，眼水干。油灯是古装片里看到那种，油拖灯芯拉着火。人死了，作古了，真是古了，成历史的一坏土了，连油灯都有古意。房间都没有门，众生詵詵，随意来随意去。香炉余烬温温，让先人黑白照片吸饮。

未见天未出生的小儿，没有神主牌，就一张纸，画满细长方格，名也没有，就叫血光。佛门也不得清静，一双双腿大张，流出烂熟樱桃红。一张张腿，也没有脸，只是成脚的血。一个身体换一个身体。女人排排坐，等什么。等落仔。其中一个落仔前还在打机。无敌马里奥，人头碰砖头，叮叮叮，掉出好多金币，一滴血都没有，面不红气不喘，汗也无一滴。小小儿女们，是不是如电视游戏里的红怪物，一团团模糊等着人踩，过了几步路，再生，几步路，细胞分裂，几步路，成形，复而在你身后喊，妈妈，是我。有好多方法：用真空吸管吸，刮宫，打盐水，注射前列腺素，割腹取儿。上一辈就用崩大碗五花茶西瓜绿豆沙，至寒至凉。多么方便。为了不负责任我们发明了那么多方法。杀一个人好像用剪刀采朵花般利落。嚓。嚓。坐我隔壁的女人，说那时我六个月才发现有病，开肚拿出那东西。宝宝满身血，好似湿水鸡仔。拿了出来医生说要把她浸在水里，好在那个女来的，我老公恨仔。个女没有多久就死了，好过要在鋅盆里慢慢等饿死。那时我流了好多血。扫地阿婶话那些血，抹了就无问题，下一个。

好难才找到你，你就是一行蝇头小字。你被搅碎，穿过我阴道飞出，变了七个字。哪个是你眼，哪个是你，没有手指的球状的手，哪个是你张不开的嘴，注满粘液的鼻？“黄泉路上头不回，去一切苦厄阿弥陀“僧人的灰衣染炉灰，已是更不纯不清不楚的灰，具足戒的颜色。他大声念佛经，也听不清楚他说的什么。万物为声，即鸣动的总和，念经声似乎不是来自声带的肉质，而是现世孤寂在沙燥的石化的喉咙上推刮，刮出珊瑚灰，落纷纷。干哑照亮房里的每个小角落，明明灭灭如烛火。僧手里鈸又把烛花剪复剪，照住纸扎小蓝人笑，我望着僧人的寸头，和下面绝血的嘴唇，凸出如黄铜片带锋利边沿，金属的冷声，积在天花板。所以室里更冷。地上大块绿方砖划出生锈棺材钉颜色，打在我儿身上，我的儿的身体像僵蚕了。从粉红变白。丁丁丁。和尚的唱念几时完，铜鈸敲得我头痛，阿弥陀佛啊阿弥陀佛，经咒流入我体。沿着我儿独行的路。浓盐水沿着同一幽径，小朋友敲浆而过之处，冲洗到子宫，母亲的手抚皱你们的肉，那皮多么细，碰到空气都会痛，何况炙人的浓盐液。像一千个大海的活火烧你们身，你们还没有见过火呢。盐水把你们铸成鲜红。薄荷而饮。杯里盏盏生红浪。眼里的微血管都爆裂，内脏全扭碎。我明白了你们为什么叫血光，因为你们的父母满手血，因为要他们看他们推你们走的路，步步生滚烫沥青色恶莲。你的路就是他们的，一红一蓝重叠着，谁道不是他朝君体也相同。你的父母像两个做错事的孩儿，牵着冷手，在菩萨面前一句话也不敢说。从此你们恨，跟你们的父母一样，跟所有人一样，恨。父母借你们翻搅乳海，你们一端洒甘露一段煽毒火，最后你们的恨很纯粹，厚厚奶白色。僧人的经还没有念完，锵锵说着大道理，色即是空空即是色，诸法空相，潄过人的挤满黄牙齿的口腔，竟成了像北京夜行动物馆里的倭蜂猴，两眼空空的，坐在假树枝上。（夜行动物馆五点收工。照明用的灯是长关的，剩下一盏盏暗红灯泡赶着动物活动。）半梦半醒地看不见天明。绒毛揉散灯泡的红光，玻璃因缺乏清洁而生出白翳，小生物的大眼睛，还是空空的，以至连死亡之降临也看不见。晚上慈禧光绪，挂着朝珠来。缺了眼珠的窟窿，一样双目空空。渡一切。如何渡。还要我给封利事与那僧。这样的经听得我眼睛发绿发蓝惧光。

外面的白石观音满了尘，四处围满神主牌，鲜红的枣红的。人造的彼岸近在咫尺，行两步路，便得阿耨多羅三藐三菩提，从一个世界到另一个世界，可呢真如我们期望的那么直接干净，甚至于连蔓珠沙华都焚尽，沿路没有风景。走着，发现连路也没有。俗諦义諦不二，根本空。心灭世灭何有蹊。观音后面一个小池，锦鲤黛水悠悠转，污物里互相推撞。有三条小小的，一条是你，一条是我，一条呢，是我儿。远一点有金身地藏菩萨，匾额书“地狱未空誓不成佛“，旁边有个钟，善男信女过过往往，那钟我不敢敲。

出得到近门口处，见有浅池两个，上罩拱形红铁条网。大大小小巴西龟伏在瓷砖上，有些比我双掌大，淡黄石绿撇出脸上花纹。拿硬币擲那些龟，擲中者，多福多寿，生生富贵。真是好。有一个小龟，孩儿巴掌大，龟壳边沿崩了大块，里面装着的黑暗也没有流出来。里面的情况不知怎样，不过我肯定那小龟死了，壳都发暗了，已然不是有呼吸的东西。龟壳前面有小滩墨绿稠浆，依稀可辨龟首和被拉长的颈项的形状。大龟们悠然的晒着太阳，他们如何以缓慢的步伐，笨重的不勤的四体，短厚的尾巴，把幼小的同类从抵御性里扯出。也还不见血。从长圆的白卵到火焰状的固甲，肉从生到死，是由骨到骨。

大龟们，叠褶的皮间揣上虚构的国籍与假山及葡币周旋。温柔的草食者眼睛，不知望着何界。原来小龟残壳里填满了更小的蛆，肉生肉，变色变相，色无相相无色，园融无碍。大龟们还是，两颊大红不易色。

越过寺门，外面的声音一下冲上来，各色各样的脑袋个个撞上来。闪着蜡光的橙，葱油烧味饭，傲直的剑兰，荒弃照相馆阳台的通花大门，琳琅满目像垃圾山傀俄崩坍而下，打得我头钝痛一阵阵。鲜桃红色小发糕委身小小白瓷碗，连指甲油也不敢用的辣色，强撐手臂，啜饮碗沿，大咆哮。这样的东西真是揾鬼吃。我想起一张唱碟的封套，卷头发女人，穿过金黄星星的中央的洞口，把身体挤往宇宙。脸上的表情跟二十年代的广告明星的一样，她是不是已预知面前的镜像，才摆出这样的姿势。我儿的眼欠眼帘缺睫毛，雨花石黑洞洞，从碗沿看世界。

离开寺。各类冰冻饮料，用来灌醒身体。热啊。冻柠茶挟着寒毒，过甜的刀锋一直开到子宫的创口。密密流血的地方，那里有一个绿色小凳子，因为我的孩子跟我一样喜欢树叶和湖水。他坐在那里等如他软软的手指的细枝，涨出新芽，月亮底下的水从蓝色变成绿。一直等。妈妈我可以看到林花，春红吗？可以的，只要你一直等。妈妈我可以看到夜行动物园里，扎着暗朱神台灯的箭猪和眼镜猴吗？可以的，但你要乖，要乖乖等。妈妈我可以看到那个木造的大种，无端敲响十二声吗？可以的。妈妈，我可以见你吗？可以的。只要你乖。你要等。

你别烧衣给他，他会留恋现世，投不了胎。连人世唯一的繫带都捏灭，还恋什么，还要留下吗。唯一的亲也黑布覆眼，三番四次不认你，不止天亮以前。你还要留？

他就一直等，很乖，也没有哭。因为声带还没长成。

手术时间不长。椅子一直从那时空着。椅脚压住我的小孩儿，睡过的地方。这里有很多酒精棉花。

他说妈妈，这是我看见的第一朵花。

竹取物语

2009-04-28T02:10:00.000-07:00

竹取物语是一个我很喜欢的日本古故事，结尾是这样的：

"輝夜姬乘飛車,同天人俱昇天際.身著羽衣,則返天人之性.俗世種種,無論喜怒哀樂之事,皆將忘卻.是超脫人間業障,俗世依情已不值一顧. "

跟那历尽红尘诸种难劫的补天余石，何其相似。

杂

2009-04-28T02:07:00.001-07:00

油麻地段的上海街就像庙街的死去的孪生兄弟，鼓着灰色大肚，里面翻搅黄黄白白的冷酱汤。街上没有什么人，但又不觉冷清。好几间刀庄，食具铺。大蒸笼。厚砧板。大块锌铁照不到人脸照鬼脸。

深红色小店三面墙上镶了木架，放满各色香枝，有等人高的檀香，斜斜倚墙。主要是檀香。其实也不是纯檀香，混了各种香料的木末，薰薰浮着，黄黄地拒绝门外的试探，和不知来去的汽车。老板身旁，几块沉香恹恹睡，连自己的香味都忘了。

想把线香铺放入新写的东西里。上网咨询其制法，不果。

看见了传说中的小狗，可爱非常。

可以思念的人，多了一个，呵呵。

过孔庙

2009-04-28T02:04:00.000-07:00

北京的树，很多都很老，从它们的根到树梢，我就活了几世。孔庙的大丝柏，辩忠奸，电光闪闪。树上两个人头，朝珠垂到月夜里。震震。树干在你脸上扭出流水纹，你一边摇头一边唱“君子有所为有所不为”，牙齿碎在喉头，牙龈发黑，裸露北风下。面圣时候如何说。几多功名。烂在鞋底下。
我丛石碑上闻到南方的臭气，进士，好多个，何许人，光绪年间，要上京。文以载道。石碑上没有你的名字。
你解开灰白长辫，潮气，烂菜叶，粉红扎纸，蚝油腥，八股，统统游弋而出，随着我颈上吊着木桶，绞上来。
我要烧那树。看你的脸被熏黑，爆出肉香，黑嘴唇里你慢慢道来：
“汝家何处？”

白

2009-04-28T02:03:00.000-07:00

吉他不时拉紧你的肌腱一，二，三，四，
手里的戒指吐气，复又沉没，
他垂下眼睛，
所以我知道左面是火，右面是口气和酒。
吉他不时拉紧你的肌腱一，二，三，四，
跳进不停站的电梯，在你面前生命总太长，
丁，丁，上上落落，银色的门推开你的脸，
左眼和右眼，是你还是我的对面
喜相逢，
来来来
何不喝光自己的头发
吉他不时拉紧你的肌腱一，二，三，四，
毛竹筷子
又长又直
请。罗汉松和搅动湖色的鱼龙
同你一起摔死在山水的盘子里
手指头一个个红润发亮
这晚鸟羽淹没呕吐着的雪白人面
我说了与你不相干的名字
就走了
不知你死了没有

十进位和十退位

2009-04-22T01:07:00.000-07:00

刚才看到一篇新闻，标题是1.2兆美元可以做什么，有人说可以再打一场伊拉克战争，或者成立一个癌症基金。但是我们不是大国政府，作为一芥草民，兆这个数字实在是大的超过人们想像范围，变成抽象了。该贴的回复基本上是在争论兆到底有多少，一般认为是10的12次方，也有人认为是10的六次方，亦即一百万，连字典也没有统一解释，但是现在一般取前者为解释。

兆作为一以汉字表示的数学概念，代表一万个亿，后来我在网上搜索汉字的“十进制” （万位以上的是万进制）依次为：个，十，百，千，万，亿，兆，京，垓，秭，穰，沟，涧，正，载，极，恒河沙，阿僧祇, 那由他，不可思议，无量。另外又有十退制，依次为：分、厘、毫、丝、忽、微、纤、沙、尘、埃、渺、莫、模糊、逡巡、须臾、瞬息、弹指、刹那、六德、空虚、清静。最大跟最小的都跟佛教有关系，大概是因为中国古时跟印度僧人交流了除了经卷佛学，也包括数学吧。我觉得到了最大或者最少了，就已经不是人数了，已经是另一境界了，都无所谓了。就空了。或者这样说，作为星斗市民，亿跟兆基本上对我来说一样，是个数字，是个能指的能指，两者互相抵消，就好像阿基米德要计算宇宙球体里沙的总数，数到最后沙和球体互相抵消，就空了。

日本通缉令

2009-04-21T01:51:00.001-07:00

从另一个blog转来，博主说其像大竹伸朗作品 http://shinroohtake.jp/

杂杂

2009-04-13T02:05:00.000-07:00

今天看到了一位艺术家的作品，跟有限期有关。食品上药品上的expired by 清楚明了刻下有用跟无用的分界线，也描画了物品状态一路走下坡的地图，同时把个人生活和物品网入“客观”量化时间的格子里。偏偏有些东西，例如为了一次特别场合卖的衣服，为了朋友庆生卖的蜡烛，这些物品的有限期缠缠绵棉，有用跟无用的分界含糊不清，是不是巴塔耶的色情经济学再这里发生了作用，这些延搁／阉割了的消费。。。

另外，今天看到有人问一人份到底有多少？我因为爱吃所以爱煮，继承了祖母的遗传，我一般材料分量都是“随量”，除非碰见了烘焙类我一直甚少接触的领域。如果我吃了两人份的菜肴（经常发生），是不是我在烹饪的层面上就是两个人呢？我们对一个人和另一个人的理解是在否定的层面上，也是面孔为代表的不可制约性，在烹饪世界里，你跟我，一人或二人，是建基于我跟你之间的相同处，甚至是连结，就像在一条绵延的面条上，这里切一刀，就是我的后面的就是他人的，也是因为有了一个人的机制，所以第二人的出现才变的可能。这种强加于我自己和别人之间的绵延的统一，我称之为面条关系。

罗马斗兽场Vs上海市松江大學城立信會計學院教學樓

2009-04-10T20:40:00.000-07:00

困兽斗

转自：http://www.post-concrete.com/blog/?p=567

杂谈

2009-04-09T03:02:00.000-07:00

早前看了Milk, 前几天看了饥饿 (Hunger), 后来又听到妹妹说她在今届香港电影节看了出四个小时长的哲古华拉电影，当我今天看到Bobby Sands 的生平的时候，觉得我们对英雄和烈士的消耗量还是很大的，只要那个烈士不是自己的话。

今天看到一些在俄罗斯的流浪犬在生活中学会了跨越重重障碍，练就一身好本领，我想看看他们在城市里到底是怎么（地理上／心理上）定向的。

今天在某网站看见一名为“Venila Style”的拍照方式，基本上就是俯卧，脸朝上望镜头，屁股翘起，正面看屁股高于头部，罗宋此一新开发招牌拍照姿势比东亚少女的撑眼七分面V字手势明显强悍好几倍，在此连结（http://englishrussia.com/?p=2449）可以一睹俄国少女的vilena风采。奇怪的是，我本着无知者无畏的信条在浩浩网络海洋寻找有关Venila-style的资料，发现搜到的资料大部分来自中文网站，我要调查下，唔唔唔唔。

哈

2009-04-07T21:02:00.000-07:00

他们都说这个庙有鬼，这个庙里面的神都是鬼。这里所有的木头都被漆成大红，不是现世的颜色。上面有金色大字，我只知道是中文，那些字手掌那么大，我知道是中文，那些字我都认识，为什么就是不明白。

我们是音乐家，带着黑色帽子的男人说。他跟另外一个带眼镜的光头男人坐在桌子旁边，用不同的条状物，绳子，黑色的宽带子，在不同的东西周围打结。
我从庙里出来就浑身寒气。我们尽量不说话，黑帽子男人说。

他们有很多人，我不知道他们是谁，只知道他们寄住在我的房子里。我自己住小房间，他们住的房间，有四分之一个足球场那么大。

另外一个戴着红帽子的男人，拿出来半个房间长的黑色拐杖，绕过半个房间去勾黑帽男人的腿。

梅毒

2009-04-06T02:57:00.000-07:00

一种疾病把哲学界从深山出来的莽夫和清末傀儡天子连在一起。

看同治的病历的时候看到“走马牙疳” 一词，本来以为是牙周病，但是病征非常吓人，不只是牙痛那么简单。

计划

2009-04-05T22:59:00.000-07:00

数着数着可能会让它们变少，每天吃着的豌豆，第二天还是出现在她的餐桌前。

那个房间连地板都没有，就是一个坑坑洼洼的泥地上面罩着几面墙，一个屋顶。泥地上面深深插着铁架床, 她爬下床去看，一条蚯蚓正在探头，离头一两寸的地方有个淡粉色环。

她叫身边的他把它们都弄走，虽然她不知道他是什么时候开始站在那里，也不知道他是谁，或者他旁边还有多少个他。

在他的手掌底下她的脸跟蚯蚓越来越近，直到他们彼此都意识到，他们嘴唇的质感的相似。她的腿慢慢伸向床脚／墙角，墙上花花绿绿的，突然一条碗口粗的蚯蚓啪嗒啪嗒的，因为房顶抵受不住它的重量而掉下来，它想一个饱胀，外露的胃重重的塌在她的棉被上，蚯蚓身体湿滑，血丝一根根。

Night Butterflies

2009-04-05T21:22:00.000-07:00

昨天晚上看了比利时动画大师Raoul Servais的合缉。这张dvd去年我就买了，那时侯被封面上的夜之蝶（"Nachtvlinders" /"Nocturnal Butterflies"）的精美剧照吸引，才掏了钱买高于市价一倍的价钱把它收归门下。夜之蝶是Raoul Servais的后期作品，有别于Raoul Servais早期政治味浓，批判战争和媒体对话语的控制，作品如 To Speak or Not to Speak (1970) 或者Operation X-70都属此类。作为对比利时超现实大师Paul delvaux的致敬／挽歌，夜之蝶把Harpya (Raoul Servais 1979年半动画作品，该作品获得同年康城电影节最佳短片)的半动画半电影。

等下再讲。

ps. 搜了下夜之蝶的影评，竟然有人说夜之蝶是Raoul Servais跟Paul delvaux合作的作品，他老人家分分钟从棺材弹起，哎。

碟内另一作品Harpya也是一佳作，并曾获得1979年康城电影节的最佳短片奖。

法定喝酒年龄地图

2009-04-02T21:26:00.000-07:00

在夜生活网站Sloshspot看到的法定喝酒年龄世界地图，颜色越深代表年龄越大。给个世界地图大家对照下。

姑妈

2009-03-29T22:45:00.000-07:00

爸爸前天给我个电话，我说我在工作，爸爸支支吾吾跟我说姑妈已经过身了，有十几天了，怕影响我工作所以一直没有告诉我。姑妈其实是爸爸的表姐，爸爸是独子，姑妈就像他亲姐姐一样了。我小时候，因为父母常在深圳做生意，好几年是在姑妈家住，姑妈照顾我。姑妈有四个孩子，三女一子，我叫他们家姐哥哥。

后来我上幼稚园，便搬回去跟父母住，由奶奶照顾。姑妈在我小学（忘了几年级）到上初中的时候每天都来我家照顾我跟弟妹。

姑妈在我童年占了极大的位置，她的离开让我觉得自己很大的一部分空空落落。我一直认为我的现在是挤在过去和将来的轮里，现在觉得我的过去由一部分不是跟着我的当下转动，像一个齿轮其中一个齿脱落，突然变成了骨头，好像我在一家快倒闭的超级看到的冷藏柜看到的一包火腿，粉红全然褪尽，变成了灰色。

Dreams

2009-03-23T20:31:00.000-07:00

昨天晚上头疼嗓子疼，一边吞口水一边辗转反侧居然成了上刀山之等难事。这个痛一直深入到梦里（好像电视上的药物广告），在梦里的我，辗转反侧想睡, 却隐隐知道自己睡去了就会死。整个梦里我艰难的一次一次把自己从水里拖上来，好像西方酷刑历史里专门用来教训多嘴女人的浸水椅，这是一个貌似天平的刑具，犯人被绑在椅上，固定在天平的一端（这一端一般是布置在河边，湖边，水井甚至沟渠），另一方则有刽子手把犯人时而浸到水里，时而提上来透透气。后来我就放弃了，自己做自己的刑具太累了。

今天想起这个梦，不知道为什么想起布列松的黑白照片。

梦之五

2009-03-23T03:37:00.000-07:00

他们都不说话。其实我都不清楚他们到底有多少人。看的到的，看不到的，可能有几十人，也可能是没有人的。但是这个药店为什么一点药味都没有。看不到的人，你不可以不算他是人，因为这样有些不礼貌。

石灰，鹿筋，紫河车，白色台阶状的上面每一个角落都有东西，旁边的人说那时两条蛇，我看看果然有两条蛇。我用尽全身的力气往左看，其实没有人，好像有些衣袖裙脚之类，都是白色的，跟地板那种发灰的白，可能跟比天花那种白暗些。我一双近视眼看什么都是长着棉絮的花朵。

我用尽全力往右望，眼珠每移动一毫米就一阵酸痛。右边可能有人最少有声音。

白色台阶上的蛇不见了。我眨眨眼它们就在我前面，咖啡色的咖啡，黑色的黑，完全没有光泽的身体像轮胎。

你不要动一移动它们就咬你。旁边阿姨带着白口罩穿着白大挂。你别动。

我是没有动，然后感觉到它们的牙齿在我的皮肤底下。在右微温的硬度里面看到温情的黄白色。我拼命把毒液从伤口挤出来，一个牙冻顽固地滴出点血，另一个牙洞不断喷射出黄色毒水。

阿姨用替着一根管子将一股气体喷向毒蛇，黑色塑料管的另一端是半个房间大的锅，里面咕嘟咕嘟煮着剥了壳的海胆，艳丽的橙色在灰水里上上下下。

我是这时闻到了药味和腥气。

Jeff Koons in Milk

2009-03-15T22:51:00.000-07:00

Milk 已经看完，电影中规中矩，但是Harvey Milk作为争取同性恋权益的一个Icon，绝对值得拍一部电影来纪念他。电影看完出credit的时候，赫然看到被称为“balloon animal lover” 的Jeff Koons的大名。初时以为是时同名同姓，后来上网一找，发现有关讨论的搜寻结果铺天盖地，片中人果然是Jeff Koons。Koons一直不是我杯茶，所以在这种艺术八卦的语境上面看见他的“out of place”，符号交换之间就觉得有些意思慢慢溢出来。

Akihiro Miwa 美轮明宏

2009-03-12T21:16:00.001-07:00

一直非常喜欢日本电影，可能是中日两国有些文化渊源。
从朋友那边借来了日本导演深作欣二的六十年代作品黑玫瑰公寓（1969，Black Rose Mansion），朋友说我大有电影里面黑玫瑰之风范云云。片中的黑玫瑰并非香港电影里的女侠盗，却是神秘又吸引的歌女，歌女手中一朵黑玫瑰是她的动情银针，当歌女遇到真爱，玫瑰会由黑转红，最后故事以悲剧告终（不透露剧情了）。

电影的Femme Fatale老土情节对我来说不是卖点，倒是电影的坎普氛围和“妖气冲天”地反串女主角美轮明宏才是戏中亮点。美轮明宏原名丸山明宏，生于1935 年，17岁作为歌手出道，翻唱Edith Paif 等歌手的法国香颂，丸山有种中性美，而且有种诡异的气质，连唯美至死的三岛由纪夫也忍不住要赞丸山为天人。丸山的妖气不单迷到了三岛，也促使鬼才寺山修司以其话剧团天井桟敷之名度身定做的《青森県のせむし男》和《毛皮のマリー》。丸山在某年觉得受到感召，脑海中出现“美轮”二字，继而把自己的名字改为美轮明宏。近年丸山仍旧活跃艺能界，包括为宫崎峻的哈尔移动城堡里的荒野女巫配音，其招牌造型是其一把染成鲜黄色（真是黄色，不是金色）的秀发，看上去大有草间弥生婆婆的风范。

看到丸山的青春从盛到衰，看到他一头你色彩鲜艳，camp爆的头发，然后想想他因三岛切腹自尽而一夜白发的传言，就觉得一堆堆华丽的符号的场景，劈头劈脑的倾泻而下，最后你还是好像你独自在一间放满各色假发的房间。

哀悼格里耶（Alain Robbe-Grillet，1922－2008）

2009-03-03T00:25:00.000-08:00

格里耶于上月18号逝世，虽然其享年85，算是笑丧。但是还是有些戚戚然。

第一次知道格里耶“是当年（“当年”的意思是，那时我看的是录像带，不是vcd更没有dvd）在朋友家中看了阿伦雷奈的去年在马伦巴（L'Annee Derniere a Marienbad，1961），那时看完电影就想看看原文，知道作者是法国新小说创始人格里耶。真正看到格里耶的作品是四五年前，那时侯跟一个深圳的劳工组织工作，我在一个为工人而设的图书馆里，在一堆堆廉价，颜色鲜烈的杂志之间，看到了格里耶比较早期的作品橡皮。前年某出版社出版了一套格里耶的作品，就又买了好几本。

格里耶死后就开始有讨论，讨论他能不能上文学殿堂。这些死后功名我是不太感兴趣，我最喜欢的三岛由纪夫都没有拿过诺贝尔奖啦。媒体报道说格里耶“因为不理解这个世界，所以动笔写下来。然而写作不断，他对世界却越来越不理解”，我觉得很多人写作都有这样一个过程，由于受到几千年来东西哲学的 “求真” 包袱，老想在文字里面理清一些什么，然后找出个形而上的拐杖，慢慢的，写着写着，就发现离开所谓的真（如果有的话），所谓的世界越来越远，笔下的已经是另一个现实。好像入梦以后，在另一个梦里醒过来。

廖伟棠很久以前在他的博客上引用了瓦雷里的一句诗：“人体最深刻的地方是皮肤”。当我看到格里耶白发苍苍，皱纹满面，不禁黯然。那些在他小说里让人迷路的女孩，凶杀，石头路，青蛙。。。都敌不过我们一开始就想翻阅的东西，当我们开始的时候，原因已经翻了一面，变成结果了。德里达去世的时候一位朋友哭了，那时侯不明白，现在是有点知道了。通过文字，音乐或者其它，我们试图把自己跟他人连结起来，试图造就我们的，或者他们的，身后的不朽，这种友爱的关系开始的时候就注定被“没有回应” －德里达在别了，列维纳斯提到的，列维纳斯对死亡的解释。