刘雨佳 Liu Yujia 黑色海洋Black Sea

刘雨佳 1981年出生于四川,2004年毕业于四川美术学院,2009年硕士毕业于伦敦艺术大学传媒学院。目前工作、生活于北京。 近期展览主要有： “刘雨佳个展：眩晕”，当代唐人艺术中心，北京（2016）；“刘雨佳个展：第三人”，沪申画廊，上海（2015）； “何不再问?”，第11届上海双年展，上海当代艺术博物馆，上海（2016）； “复活”计划－据点的再生，剩余空间，武汉（2017）； “万丈高楼平地起”—第二届长江国际影像双年展，重庆长江当代美术馆，重庆（2017）； “化学之爱”，当代唐人艺术中心北京第一空间，北京（2017）；“所见非所见”，影像旧金山，旧金山，美国（2017）；“使我行动TAKE ME OUT”，chi K11美术馆，上海（2016）；“新一代艺术实践中的影像表达”，西安美术馆，西安（2016）； “影像景观”，OCT当代艺术中心，上海（2015）；“物体系”，民生现代美术馆，上海（2015）；“光映现场”，香港巴塞尔艺术展影像单元，香港（2015）等。 2015年底，刘雨佳只身来到新疆克拉玛依某能源工业基地。在近一个月的时间里，她置身于这一混合着戈壁和雅丹地貌的奇景中，完成了《黑色海洋》的拍摄。这部受卡尔维诺《看不见的城市》启发的影像，透过对现代变迁中的边疆及其韧性与脆弱的描绘和刻划，建构了一部被毁灭与被建造的魅影般的风景叙事。然而其目的并非是吟唱一首现代边疆的挽歌，而是意图在这一被合理性所包围的蛮荒之地，探触一种新的感知和行动的潜能。 《黑色海洋》这部影片描绘了被摧毁与被建造的人类风景。它受到了意大利小说家－伊塔洛·卡尔维诺（Italo Calvino）的小说《看不见的城市》（Invisible Cities）的启发，由一些短小的章节构成，其中交织着马可波罗(Marco Polo)与忽必烈(Kublai Khan) 关于想象中的城市与风景的叙述、辩论与诘问。它提供一个入口，观众进入它，在里面行走、迷路，又在某一个时刻找到一个出口或者多个出口。Black Ocean pictures the human landscape destroyed as well as in construction, and its fragility as well as indestructibility. The structure of storytelling of this film is inspired by the novel  of Italian writer Italo Calvino. Several chapters are interwoven with the debate and inquiry raised by Marco Polo and Kublai Khan about their imagined city and landscape in this film. It provides an entrance to allow the audience to get in, to wander, to get lost, and to find an exit or several ones somewhere at some time. 作者自述：这是一片由国家垄断能源行业所建造的城市工业景观，一个有着极端货币价值的地方。当这一片人造风景置身于当地的戈壁滩与雅丹地貌中时,它形成了一种宏大、超现实的电影布景美学,镜头所纪录的人与事物都是真实存在的,同时也是荒诞不羁的。 在这样一片人类建造的区域，机械与动物都被编上了序号。机械与非自然的秩序催生了现在与当下。而那些出现在影像中的人,只是影子与迹象,他们操作钻井平台与各种器械或车辆,只是一种功能性的生命,他们在恢宏的自然景观、工业景观、与一个庞大的运转体系下显得非常渺小。他们都身着统一的工服, 成群结对的出现在镜头里,蚂蚁一般,甚至镜头里不曾出现过他们的一张脸。它是野性的、阴郁的，它非常安宁,甚至是一片能引起幻觉的魅影世界,它一只脚扎根于遥远的过去, 一只脚迈向遥远的未来。 Artist Statement:This is an urban industrial spectacle built by the monopolized resource industry, and naturally a place of extremely monetary value. Being established in the local gebi desert and yardang landform, it makes an immense and surreal film set aesthetics come into being. What’s in the lens are all real, only seem to be rather absurd. Machines and animals are serialized in such areas constructed by humans, and this mechanic and unnatural system created the present situation there. People in the shoot are only shadows and signs, functional beings operating drilling platform, machines and vehicles, of no significance in this vast natural industrial landscape and a huge persistently-running system. They are dressed in the same uniform and show their appearance in groups as streams of ants, with no face identifiable in every shoot. This work looks into the fragility and resilience of those spectacles built and destroyed by humans, presenting a primitive, gloomy, meanwhile peaceful, even hallucinogenic phantom place of its one foot rooted in the distant past, and another marching toward a far future.