葉甫納作品——家春秋
"入戲"的砝碼："扮演"白娘子、 蘇妲己 、葉倩文、福瑞達(dá)……
The model for "getting into the act": "playing" the White Madame, Su Danji, Sally Yeh, Frida Kahlo…
想必，同時(shí)期出生的小囡會(huì)回想起一連串名詞來(lái)。葉甫納的"入戲"能力多少來(lái)自童年的那些貧乏記憶，如此共通的記憶樣本化地采集了85年左右出生的一代數(shù)目可觀的城市獨(dú)生子女生活。
Presumably, most girls of the same age will think of a whole series of related names. Ye Funa's ability to "get into the act" stems, to a certain extent, from her "impoverished memories." Such shared memories have brought together the lives of urban single daughters born around the year 1985.
對(duì)"記憶貧乏"的印象最好的解釋是：那個(gè)年歲中，我們對(duì)每一部流行娛樂(lè)文化的代言人有相當(dāng)明確的記憶標(biāo)識(shí)，真可謂歷歷可數(shù)--電視劇《白蛇傳》里的白娘娘和小青姑娘、《封神榜》中的蘇妲己、每每在《邋遢大王》片頭曲出現(xiàn)扎著歪辮子的曹蕾、 演唱風(fēng)行曲"瀟灑走一回"的歌星葉倩文及她的喇叭褲、電影《北京小妞》里的金京、《少女慈溪》中的蘭兒，甚至稍后才風(fēng)靡的《健康歌》"領(lǐng)隊(duì)"范曉萱……透過(guò)她們，已經(jīng)大致可以獲得認(rèn)可當(dāng)時(shí)娛樂(lè)文化副產(chǎn)品的質(zhì)量標(biāo)準(zhǔn)和審美態(tài)度。
The best explanation of the impression of these "impoverished memories" is as follows: in those days, we had clear memories of every spokesperson for popular culture, as there really were so few-Madame White and Madame Green from the TV series Legend of the White Snake, Su Danji from Gods and Heroes, Cao Lei, who appeared in braids at the opening of King of the Slobs, bell-bottomed Sally Yeh, singer of the hit song Xiaosa Zou Yi Hui, Jin Jing from the movie Little Beijing Girl, even Mavis Fan, who came to fame slightly later as the "lead" in Healthy Song. Through these women, you can basically gain an understanding of the quality standards and aesthetic attitudes for entertainment and cultural products at the time.
很容易想象，以"榜樣"為普遍教育的時(shí)代里，"模仿"、"扮演"為何首選為"入戲" 的方式，幫助我們膚淺地?zé)釔哿餍袠?biāo)桿。"模"和"演"也間接變成獨(dú)生子女和自己玩耍的途徑。 我們古板地用垂手可得的"道具"來(lái)模仿這些廣受艷羨的對(duì)象，方法也由于注重"寫實(shí)"而顯得趨于雷同：白蛇娘娘盤旋的發(fā)髻可以用皮鞋盒硬紙板剪出固定；慈溪的垂墜發(fā)飾品理應(yīng)用媽媽的珍珠項(xiàng)鏈--當(dāng)時(shí)項(xiàng)鏈的長(zhǎng)度和形狀基本一致；水袖是錦緞大花的被面子；至于《西游記》這樣的神怪劇的低特效，完全能夠一點(diǎn)一指而實(shí)現(xiàn)簡(jiǎn)易意象……中規(guī)中矩的道具制作手段陳舊、土氣、小心，卻也側(cè)重質(zhì)感上的貨真價(jià)實(shí)--即追求"寫實(shí)"。
It is easy to imagine how, in a time when "role models" were the primary source of education, "imitation" and "playing the part" became the main means for "getting into the act," allowing us to shallowly love these models of popular culture. "Imitation" and "acting" also indirectly became the way for these single child girls to play by themselves. Owing to the focus on "realism," the methods can appear quite repetitive: Madame White Snake's coiled hair can be approximated using cut-out strips of cardboard from shoeboxes; for her dangling jewelry, you could use your mother's pearl necklace-which is about the same length; an embroidered quilt cover can stand in for the long flowing sleeves; as for bizarre and cheap special effects from such shows as Journey to the West, it's pretty easy to replicate the imagery… those standard props are outmoded, unsophisticated and cautious, but they are faithful to the textures of the original, a pursuit of "realism."
如同你我記憶里高頻率浮現(xiàn)的珠片衣、珍珠衫、人人會(huì)攢的球狀紅紗頭飾…… 那時(shí)的設(shè)計(jì)師兼技師"媽媽"習(xí)慣毫不懈怠地把尺度正常的物形拼接一起 。簡(jiǎn)直相當(dāng)于完成了一件幾周的素描臨寫，而不是側(cè)重意象表達(dá)的速寫。這類普遍的審美習(xí)慣回應(yīng)在葉甫納的那組《民族畫報(bào)》創(chuàng)作中，它們?cè)谒嗽噲D探究藝術(shù)家創(chuàng)作之始時(shí)，給出一些基本的印象。如果說(shuō)這套創(chuàng)作牽涉《民族畫報(bào)》雜志有關(guān)民族政策的歷史負(fù)擔(dān)的話，那么，在實(shí)驗(yàn)藝術(shù)系的一系列名為"審美調(diào)查"的訓(xùn)練作業(yè)中，葉甫納對(duì)這些土氣的、寫實(shí)的、陳舊的、模糊的、穿色的物件的持續(xù)收羅表明其得意態(tài)度。這些年通過(guò)觀察她的生活環(huán)境，被搜集的圖像鮮活自信起來(lái)。它們咋看之下是一些來(lái)源家鄉(xiāng)云南的民族物件，經(jīng)過(guò)仔細(xì)審閱分析后，竟然就是：山水風(fēng)景畫電子鐘掛歷、絳紅色的橡皮臉盆、眼珠會(huì)滾動(dòng)的動(dòng)物秀花服裝貼物，如此種種大城市街道巷子隨處可見。不同的是，至今葉甫納仍舊歡樂(lè)地把它們分享到公眾環(huán)境中去，就像我們兒時(shí)穿戴著相同的"標(biāo)識(shí)物件"來(lái)到公園廣場(chǎng)般臭美和自信。
Like the pearl necklaces, blouses and veils that constantly emerge in my memory, that designer and technician of the time known as "Momma" had a habit of quickly slapping together various shapes and forms. It's more like making a copy sketch than a more expressive drawing. Such widespread aesthetic habits find their echoes in Ye Funa's Nationalities Pictorial; when others begin to approach an artist's creations, they leave a fundamental impression. If this series of creations touches on the historical burden of policies regarding ethnic minorities found in Nationalities Pictorial magazine, then in a series of assignments for her experimental art class entitled Aesthetic Survey, Ye presents an attitude of satisfaction towards the sustained accumulation of these unsophisticated, realistic, outmoded, hazy, technicolor objects. In these past few years, through observation of her living environment, these collected images have grown more vivid and confident. At first glance, they are ethnic objects from her home in Yunnan Province. Upon closer inspection, they are: a calendar of landscape paintings with a digital clock, a purple rubber washbasin, an embroidered animal brooch with googly eyes, things that can be found in the streets and alleys of any big city. What is different is that to this day, Ye Funa still enjoys sharing them in the public environment, just as we used to haughtily wear such "markers" as children on outings to the park.
然而，如此"入戲" 顯然也是"臭美"所致 ，小囡們對(duì)誘人的美貌和感人的表情是多么心悅誠(chéng)服，包括對(duì)潛臺(tái)詞的幻想：超能力、女王權(quán)利、女扮男裝、姐妹情誼…… 葉甫納孩童的時(shí)代，標(biāo)識(shí)形象的層出不窮生動(dòng)地對(duì)應(yīng)了引導(dǎo)獨(dú)生子女潛意識(shí)的價(jià)值標(biāo)桿。對(duì)獨(dú)生女孩來(lái)說(shuō)，她們其實(shí)塑造了一個(gè)獨(dú)立鮮豔的女子形象，幾多程度我們忘卻了這些女子的陰險(xiǎn)，也無(wú)從了解她們的孤寂，反而給予她們自信和無(wú)所不能的美好賦加。這些"代言人"從此顯得經(jīng)典而永垂不朽。獨(dú)生子女們"臭美"著與對(duì)象溝通，亦與自己玩耍談話，除了流行標(biāo)桿蘇妲己，葉甫納從小就莫名迷戀墨西哥女藝術(shù)家福瑞達(dá)也是一樣的道理。
Also, such a degree of "getting into the act" is apparently also the result of "vanity"; little girls are drawn to alluring beauty and moving expressions, including fantasies about the words unspoken: super abilities, the powers of the queen, dressing up as a man, sisterly friendship… the rich outpouring of signifying images from Ye Funa's childhood correspond to the values standards that subconsciously influence children from single child families. For the single daughter, they have come to form the image of an independent and beautiful woman, but to a great extent, we have forgotten the treachery of these women, and cannot understand their loneliness, instead bestowing them with confidence and great ability. These "spokeswomen" thus appear classic and timeless. Single daughters "vainly" communicate with others, just as they talk to themselves in jest. Aside from pop standard-bearers such as Su Danji, Ye Funa's longstanding infatuation with Mexican artist Frida Kahlo has the same reasoning behind it.
時(shí)而"出戲"的《家春秋》
The Often Out of Character Family Album
回味葉甫納的扮演對(duì)象，都有些催人發(fā)笑的意思。自知對(duì)"對(duì)象"不可及在"入戲"之初就已經(jīng)為戲碼留下了破綻。扮演父母祖輩的"家春秋"系列被認(rèn)為是藝術(shù)家身體力行地對(duì)祖輩的情感以及身份的體悟，這類型的系列幾乎都是刻靠近了機(jī)械攝影時(shí)代的審美，色澤和清晰度都由于技術(shù)的阻礙反倒忠實(shí)得猶如人的眼睛。除了焦距變化出現(xiàn)的自然結(jié)果外，還攜帶上人眼的主觀色彩--人的意識(shí)和情感。就像我們會(huì)給定一個(gè)年代某個(gè)色澤標(biāo)簽，似乎的確有那么幾種色彩元素構(gòu)成過(guò)形容過(guò)去年代的習(xí)慣審美，然而記憶從技術(shù)不完善的照片中不斷獲得肯定，反復(fù)提新著記憶中的真實(shí)環(huán)境。藝術(shù)家對(duì)此從不懷疑，膠卷年代的笑容是擺拍所致的模式化，情感卻是單純而真實(shí)的。她從一開始就慫恿自己以熱忱的 "臭美"為途徑，去穿梭來(lái)往與自己好奇的對(duì)象間。
Looking back over the objects of Ye Funa's roleplaying, they all seem designed to induce laughter. The knowledge of the unattainability of the object at the outset of "getting into character" has laid down fissures in the plot. The series Family Album, in which she plays the roles of her parents and grandparents, is seen as the artist's bodily experience of her forebears' emotions and identities. This series intentionally approaches the aesthetics of the age of mechanical photography, as the colors and clarity, owing to technical limitations, are faithful to the human eye. Aside from the natural effects of shifting focus, it also has the subjective tones of the human eye-human awareness and emotions. Just as we assign color markers to a certain era, as if those color elements came to form the aesthetic habits that describe that time, our memories are constantly affirmed by the technical imperfections of the photographs, reminding us of the real environment of our memories. The artist has never doubted that though the smiles of the age of film were patternized by posing, the emotions were pure and true. From the outset, she pushed herself to shift between the objects of her curiosity with "vain" enthusiasm.
如果說(shuō)戲碼的參照是剛剛坦率分析的"女子"形象，載體是"女小囡"（女孩）。那么，這里的"女孩"，并不會(huì)演變成少女和女人，而是一個(gè)永恒而中性化的載體，就類似劉易士.卡羅兒筆下的女孩愛麗絲。吉爾.德勒茲在《哲學(xué)的客體》中分析到：《愛麗絲夢(mèng)游仙境》強(qiáng)調(diào)的是造成過(guò)去和未來(lái)同時(shí)性拖拉的純粹"事件"，而作者集中抽離了愛麗絲的身體并讓其作為"非物質(zhì)的替身"活動(dòng)。（劉易士.卡羅兒 的原文是"小女孩……對(duì)事件的感覺，能釋放出非物質(zhì)的替身。"）那么，暫且把葉甫納每一次"入戲"過(guò)看作是一個(gè)事件的發(fā)生，戲碼的重復(fù)使得扮演對(duì)象成為奇幻的反復(fù)冒險(xiǎn)。為了努力穿越對(duì)象，藝術(shù)家本人在不斷的冒險(xiǎn)中挑戰(zhàn)自己的彈性。德勒茲指出愛麗絲的身體是"非物質(zhì)的"實(shí)體也就是無(wú)感覺的結(jié)果，女孩（葉甫納）穿越模仿對(duì)象的結(jié)果導(dǎo)致一個(gè)無(wú)法對(duì)應(yīng)所處時(shí)代的無(wú)感覺的結(jié)果--怪異的世界觀：天真而公平地看待世界上事物，對(duì)性別產(chǎn)生的社會(huì)差異的遲鈍（諸如《第二性》所分析的女性身份），不能駕馭公認(rèn)成熟的價(jià)值判斷，對(duì)記憶中陳舊事物毫不自卑的持續(xù)熱忱……她時(shí)時(shí)刻刻"處在追溯和形成某一從未有過(guò)的前沿的過(guò)程之中。" 。
If the reference for the plot is the image of the "lady" we have so frankly analyzed above, then the little girl is its carrier. The "little girl" here will not develop into a young woman and then a lady, but remain as a perpetual and neutralized carrier, like Lewis Carrol's Alice. In Logic of Sense, Gilles Deleuze says that the emphasis in Alice in Wonderland is on pure "events" that form synchronous tension between past and future, and that the author has stripped Alice of her body, making her act as a stand-in for the "immaterial." If, for a moment, we treat each of Ye Funa's acts of "getting into character" as an event, then the repetition of the plot turns the object of the roleplaying into a fantastic repeated adventure. In an effort to penetrate the object, the artist is challenging her own resilience through constant adventures. Deleuze points out that Alice's body is "immaterial", that substance is the result of nonsense. The result of the girl's (Ye Funa's) penetration of the object of imitation leads to a senseless result that cannot respond to the era in which it is situated-a bizarre worldview: viewing things in the world with an innocent and fair eye, slow to pick up on the social disparities arising from gender (like the female identity as analyzed in The Second Sex), an inability to master accepted mature values judgments, an unabashed continued enthusiasm for old things from memory… she is perpetually "in a process of shaping and forming a frontier that never existed."
在《愛麗絲夢(mèng)游仙境》里，女孩愛麗絲是一個(gè)自由的身體，葉甫納的女孩（身體）性質(zhì)在"家春秋"系列中實(shí)現(xiàn)說(shuō)服力。藝術(shù)家在努力地裝扮祖輩、模擬眼神并講述故事的進(jìn)行中，還是偷偷暴露了"臭美"的行跡，女孩皎潔的眼神是拙劣演技導(dǎo)致的偶然"出戲"，卻抽象了對(duì)象在歷史中那沉甸甸的評(píng)價(jià)，也大大削弱了歷史那高瞻遠(yuǎn)矚般的深度。無(wú)法真正"入戲"（和對(duì)象的不可重疊）最終導(dǎo)致戲碼只能在延展的表面升華。 靜態(tài)影像讓講述過(guò)程持續(xù)破綻百出，暴露出女孩在試圖潛入年代生活時(shí)攜帶的渴望--冒險(xiǎn)樂(lè)趣以及無(wú)限幻想。
In Alice in Wonderland, the girl Alice is a free body. In Family Album, Ye Funa's qualities as a girl realize their power to convince. As the artist strives to play her ancestors, imitating their facial expressions and telling their stories, the traces of "vanity" are also revealed; the girl's clear glances are cases of "falling out of character" due to weak acting skills, but they also abstract the object from the heavy appraisal of history and dilute the far-reaching depth of history. The inability to truly "get into the act" (the impossibility of overlapping the object) makes it so that the plot can only find sublimation on the expanding surface. The static images leave many fissures in the narrative process, revealing the desires that the girl brings with her as she attempts to enter into the life of an era-the joy of adventure and the boundless fantasies.
每每露怯（"出戲"）的情況導(dǎo)致愁苦的歷史情緒瓦解，進(jìn)而趨向一個(gè)夢(mèng)幻、冒險(xiǎn)、游走的扁平樹干，簡(jiǎn)直就如愛麗絲"懂得事件越是跨越整個(gè)無(wú)深度的延展的表面，就越是影響它們割破和擦傷的身體。" 藝術(shù)家在用身體的穿行打亂了正常的因果結(jié)構(gòu)，"扮演"的命運(yùn)脫離老氣橫秋的歷史關(guān)懷，回歸到表面上來(lái)，"隱藏最深的東西成了最明顯的東西"。家族歷史的"生成無(wú)限逐漸成了觀念的和非物質(zhì)的事件"，一切歷史被孤立，從而消失。
Each slip-up ("falling out of character") leads to the disintegration of vexing historical sentiments, and it trends towards a dreaming, adventuring, wandering flat tree-trunk, just as Alice understands that "the more events traverse the depthless, expansive surface, the more they influence their cut and scraped bodies." The artist has used her body's penetration to scramble the normal structure of cause and effect, and the "acted out" fate is decoupled from the aged historical sentiments to return to the surface. "That which is most concealed becomes the most obvious."
縱情"出戲""入戲"的露西
Lucy, Freely Wandering Between "In" and "Out"
"要猥瑣，要墮落，要失敗，要永遠(yuǎn)未完成，將虛構(gòu)和事實(shí)，暴露癖和偷窺癖，以及表演者和旁觀者混為一談。以達(dá)到失控的邊緣（但又不完全失控）為目標(biāo)。"--葉甫納《露西》視頻 2012
"The trivial, the degenerate, the failed, the never-completed, the fabricated and the real, the exhibitionist and the voyeur, the performer and the viewer, all are treated as one in an effort to reach the limits of control (without fully losing control)." - Ye Funa, Lucy, Video, 2012
"女孩"的性質(zhì)在一系列名為"露西"的自我隨機(jī)拍攝中更加具體，愛麗絲通過(guò)穿梭古怪的冒險(xiǎn)事件不斷詢問(wèn)"我是誰(shuí)？"，借著"露西"這個(gè)興奮和困惑的"迷一樣的身份"，藝術(shù)家將永遠(yuǎn)"入戲""出戲"，處在未完成的"自我尋找"中。如若不是偶爾間發(fā)現(xiàn)葉甫納的電腦有如此多個(gè)未剪輯的片段，那么多個(gè)"極致的露西"還真容易被隱藏。過(guò)去的多年間，她記錄了無(wú)數(shù)段長(zhǎng)短不一的無(wú)序拍攝，地點(diǎn)幾乎都發(fā)生在云南，永遠(yuǎn)有一張臉（稱作"露西"的紙面具）作為線索把'隨機(jī)'串聯(lián)起來(lái)，藝術(shù)家把自己穿插在頻繁發(fā)生在生活情境中，以紀(jì)錄片的方式植入這個(gè)不變的有趣形象--比如：抱起隨處可見得半段塑料模特偏偏起舞、帶上面具給一旁化緣得和尚搗蛋、在拆遷廢墟中假意忘情地彈奏電吉他……毫無(wú)半點(diǎn)批判山寨環(huán)境的跡象，永恒的"扮演"熱情讓人相信她的這出戲碼處在沸騰的"熱土"中，藝術(shù)家沉浸其中的考察導(dǎo)致隨時(shí)"入戲"又"出戲"，行走間相互穿梭、不可分離。
The qualities of the "girl" are more concrete in the series of candid self-shots entitled Lucy. By entering into bizarre, adventurous events, Alice constantly asked the question, "Who am I?" Now, through "Lucy," an excited, perplexed, "mysterious identity," the artist is perpetually getting "in" and "out" of character, situated in a never-ending "search for the self." If it weren't for the large amount of unedited clips on Ye Funa's computer, then the very "exquisite Lucy" would be easily concealed. Over the past few years, she has recorded countless random video segments, almost all of them taking place in Yunnan, always with a face (a paper mask named "Lucy") connecting the randomness of these otherwise candid shots. The artist inserts herself in the frequently occurring circumstances of life, using documentary methods to transplant this unchanging, interesting image-for instance, picking up half a mannequin and dancing with it, putting on a mask to tease a begging monk, playing guitar in a phony manner amidst the ruins of demolished buildings…the uncritical traces of a counterfeit environment and the perpetual passion for "acting" lead people to believe that this plot is unfolding in her "hometown," and the artist's observations within it lead to a constant flux between being "in" and "out" of the act, the two inextricably interwoven.
她的"日常"--《無(wú)處藏身》
Her "Everyday"--Nowhere to Live
在最近的展示《無(wú)處藏身》里，"日常"作為話題解來(lái)讀受西方教育藝術(shù)家的個(gè)人創(chuàng)作，《 How i become a Illiteracy》 是一組被涂鴉的泰晤士日?qǐng)?bào)，隨處可見的報(bào)紙信息通過(guò)手稿般的涂繪、注釋、改正，看似一本正經(jīng)的'改錯(cuò)'又好似浪漫的打岔，像小孩冠冕堂皇得佯裝成人的說(shuō)話方式，去教導(dǎo)閱讀的人如何走神或處理缺席的圖像，'Ccameronalist says sorry to women ' 成為 'Ccanmera says sorry to women'。當(dāng)'官員'篡改成'相機(jī)'的時(shí)候，身份由人替換成了物，相機(jī)的在歷史中的維度忽然打開一個(gè)語(yǔ)言維度，通過(guò)"女孩"的傳譯將具有時(shí)效的短句變成無(wú)時(shí)效的詞句， 時(shí)間的存在被徹底抽離從而永恒。 也就像《Irreversible》 中的芭比娃娃，'made in China'的芭比娃娃也許通過(guò)"女孩"懵懂的眼睛才會(huì)如此糾結(jié)：染過(guò)的頭發(fā)是否會(huì)長(zhǎng)出新黑發(fā)而需要補(bǔ)染？婆婆媽媽的關(guān)照消除了芭比不可質(zhì)疑的女神特質(zhì)，女神降為了也會(huì)長(zhǎng)頭屑的凡人！
In her recent exhibition Nowhere to Live, the "everyday" becomes the theme through which we can read into the artist's individual creations as a recipient of a Western education. How i become a illiteracy consists of a series of altered pages in the Sunday Times, with scribbles, notes and revisions all over the paper like a true "correction" but also like a romantic interruption, like a child taking on the haughty airs of an adult's manner of speaking, as if teaching the reader how to daydream, or sometimes, how to deal with an absent image: the headline "Cameron Says Sorry to Women" has been changed to "Camera Says Sorry to Women." When the Prime Minister's name is changed to 'camera,' the identity shifts from that of a person to that of an object, and the camera's historical dimension gains the depth of speech. Through a "girl's" translation, a time-sensitive phrase is turned into a timeless statement, the existence of time completely removed and transformed into perpetuity. This is like the Barbie Doll in Irreversible; perhaps only through the unknowing gaze of the "girl" can the 'made in China' Barbie Doll become so conflicted: will dyed hair grow out black, or will it need to be dyed again? Motherly concern has wiped out Barbie's unassailable goddess qualities. The goddess has been brought down to the level of a normal person with growing hair!
