上海無聲之后展(zhan)覽(lan)演(yan)出(chu)信息

無聲之后

策展人(ren)：龍星如、錢詩(shi)怡(yi)

藝術家(jia)：Vibeke Mascini & Ella Finer 、費亦寧 Fei Yining、Julie Freeman、劉窗 Liu Chuang、Nicole L’Huillier、許家(jia)維 Hsu Chia-Wei、Knowbotiq、Jeroen van Loon、Nicholas Mangan、Yuri Pattison、Diana Policarpo、Shubigi Rao、Riar Rizaldi、Susan Schuppli、Nastassja Simensky、Himali Singh Soin、蘇郁(yu)心Su Yu Hsin、Jol Thoms、Nomeda & Gediminas Urbonas、Richard Vijgen、Susanne M. Winterling、黃美婷 Cosmo Wong、張(zhang)北(bei)辰 Zhang Beichen

主辦(ban)：明園(yuan)集團、McaM明當代(dai)美(mei)術(shu)館

出(chu)品(pin)人：李松堅、凌菲(fei)菲(fei)

時間：2023年11月4日—2024年2月25日

地(di)址：明當代美術館｜上海靜(jing)安(an)區永和東路436號

票價：90元

* 殘障人士、現役軍人、1.2米(mi)以(yi)下兒童及70周(zhou)歲(sui)以(yi)上憑有效證件免(mian)票

*退役(yi)軍(jun)人、優撫對象(xiang)憑有效證(zheng)件(jian)購(gou)半價票

一個探索人類感(gan)知邊界的展(zhan)覽

一條非(fei)(fei)視(shi)覺中心亦(yi)非(fei)(fei)科學中心的閱(yue)讀(du)路徑

一場打(da)破標準(zhun)經驗才能(neng)重新聆聽(ting)的(de)旅程(cheng)

聆(ling)聽(ting)的(de)反面(mian)是無聲(sheng)嗎？展覽(lan)“無聲(sheng)之后”意在探索尚未被(bei)編碼入人類感知(zhi)語(yu)系的(de)萬物(wu)，亦(yi)就此考察和提問那(nei)些逐漸(jian)被(bei)技(ji)術化(hua)和操作化(hua)（operational）的(de)有關環境的(de)知(zhi)識。

以媒介化方法和“操作(zuo)性的(de)(de)本體(ti)論”（operational ontologies）展(zhan)開對(dui)(dui)于(yu)(yu)物質、生命(ming)及地球時間的(de)(de)理(li)解(jie)和演(yan)繹，既是(shi)對(dui)(dui)人類世生態危機的(de)(de)回(hui)應，也存在于(yu)(yu)許多(duo)當代創(chuang)作(zuo)之中。如唐娜·哈拉維(wei)所(suo)言(yan)，一系列生命(ming)的(de)(de)擴延顯影(ying)技術（超聲、核磁共振，電子顯微鏡等(deng)(deng)等(deng)(deng)）逐漸讓(rang)我們所(suo)關(guan)注的(de)(de)對(dui)(dui)象和自(zi)然處(chu)(chu)于(yu)(yu)客體(ti)的(de)(de)位置，讓(rang)更(geng)多(duo)的(de)(de)觀(guan)測細節滲入未知的(de)(de)領域，使其成為(wei)可(ke)閱讀、理(li)解(jie)并(bing)利用的(de)(de)對(dui)(dui)象，并(bing)納入到以科(ke)學為(wei)底色的(de)(de)世界認知體(ti)系中。在“無聲之后”的(de)(de)語境里，這種(zhong)對(dui)(dui)自(zi)然知識(shi)的(de)(de)“操作(zuo)”既包含(han)一套(tao)探測、檢驗和處(chu)(chu)理(li)數據和信號的(de)(de)基礎設施，也隱(yin)含(han)著一套(tao)科(ke)學或(huo)客觀(guan)性驅動的(de)(de)行為(wei)和管(guan)理(li)模(mo)式。對(dui)(dui)于(yu)(yu)規(gui)律(lv)、模(mo)型乃至(zhi)預測的(de)(de)迷戀(lian)，恰恰忽視了科(ke)學感知也是(shi)一種(zhong)集體(ti)的(de)(de)經驗主義，以及被劃界為(wei)“科(ke)學”內(nei)外的(de)(de)知識(shi)動態本身亦是(shi)權力的(de)(de)流(liu)動，而非真相的(de)(de)流(liu)動。

面對上述(shu)境(jing)(jing)況(kuang)，展(zhan)覽(lan)以(yi)“無(wu)聲(sheng)(sheng)(sheng)”為(wei)隱喻的(de)(de)(de)起(qi)點，試圖通過(guo)(guo)一(yi)系列圍繞聲(sheng)(sheng)(sheng)學、聆(ling)聽、或(huo)聲(sheng)(sheng)(sheng)音可抵達的(de)(de)(de)環境(jing)(jing)和技術展(zhan)開的(de)(de)(de)關鍵詞（靜音、噤聲(sheng)(sheng)(sheng)、無(wu)聲(sheng)(sheng)(sheng)物(wu)等），來打(da)開一(yi)條(tiao)非(fei)視覺中心亦非(fei)科(ke)學中心的(de)(de)(de)閱讀路徑，投(tou)射進以(yi)媒介基礎設施為(wei)軸(zhou)線(xian)的(de)(de)(de)現(xian)代進程與自然的(de)(de)(de)糾葛之中。我(wo)們將注意力投(tou)向那些非(fei)標準化(hua)的(de)(de)(de)操作(zuo)，不(bu)可被(bei)解(jie)碼的(de)(de)(de)信號(hao)和游離、逃逸、不(bu)被(bei)捕(bu)捉和鑒定的(de)(de)(de)因(yin)子。通過(guo)(guo)23位(wei)/組藝術家(jia)的(de)(de)(de)創作(zuo)，讓這些拒絕(jue)被(bei)客體化(hua)的(de)(de)(de)環境(jing)(jing)知識，無(wu)法預測(ce)和規則之外的(de)(de)(de)自然本體發出聲(sheng)(sheng)(sheng)響，并(bing)在聲(sheng)(sheng)(sheng)音的(de)(de)(de)發出與被(bei)采集(ji)、聆(ling)聽之間的(de)(de)(de)空隙中，推(tui)演一(yi)種被(bei)重新打(da)開的(de)(de)(de)認(ren)識路徑。

視覺設(she)計 伍子杰 Visual Design Zijie Wu

Postscript of Silence

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

Organizers: Ming Yuan Group, Ming Contemporary Art Museum

Producer: Li Songjian, Lin Feifei

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

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

Admission: 90RMB

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

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

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