《放心》下的不放心——梁越的公共圖像
王南溟
從2001年春天梁越在經過一家榮獲放心店的招牌前拍下第一張《放心》照片開始，他尋找并拍下了各種有“放心”叫法的店名和產品，比如：
“鼎好放心店”
“永昌放心店（經營糧油、禽蛋、洋果和調料）”
“河南酒店餐飲業(yè)誠信經營，消費放心示范單位”
“農資放心店（軟硬通殺：殺不死害蟲不要錢，殺死害蟲請宣傳）”
“本店已消毒、請放心購物”
“放心豆腐”
“放心包子”
“白玉黃豆芽（白玉品質保證，可放心食用的豆芽）”
“中國放心米”
“利民放心肉店”
“完達山放心奶（全程無污染、100個放心）”
“臘汁肉夾饃（吃放心食品，走健康人生）”
“新大陸大紅果（放心食品）”……
除自己所拍到的外，梁越還從網上搜索和報刊上收集到與“放心”相關的圖片和文字。由我策劃的將這些《放心》組成“放心廣告——梁越的公共圖像”在北京墻美術館展出，不但直指今日的“奶粉”事件，將這種供貨商、質量技術監(jiān)督部門和消費者之間的緊張關系，“放心”招牌和國家“免檢”的行政弊端都挪用到了展覽現場，而且展覽本身也強化了新聞批評的性質，展覽中的《放心》圖片都在暗示著我們——“放心”下的不放心。
中國問題情境可以把我們的思考不停地卷入到各種各樣新出現的問題中，“放心”這個產品生產原本對消費者是必須履行的義務，但也被做成了廣告詞。以至于變成哪怕不虛假的“放心”廣告也構成了對“放心”的反諷。梁越的《放心》作品在進入2008年的上海證大現代藝術館的“介入藝術生活366天”項目中就開始發(fā)布，像在暗示著有一場不放心的“放心”食品危機會發(fā)生。方法是，梁越在自己的博客網站上每天發(fā)一個“放心”圖片，遇到節(jié)假日就發(fā)于此節(jié)假日有關的圖片，如中秋節(jié)就發(fā)放心月餅，臘八節(jié)就發(fā)放心米等。這個“放心366天”的項目還在進行中。
當攝影領域還在爭論什么攝影是藝術，什么攝影不是藝術的時候，梁越的展覽本身就在說，這種爭論已經毫無意義，關鍵不在攝影有多少藝術特征，而在于攝影有多少能為“批評性藝術”所用，哪怕它不太像攝影了。
2008年10月于上海
The Unsafety behind “safe” ——The Public Images of Liang Yue
Wang Nanming
Starting from his first photo named safe in spring 2001, taken from a signboard of a store which won the title of “reassurance”, Liang Yue found and took various photos of shops and products named“safe”, such as:
“Safe shop of Ding Hao”
“Safe shop of Yong Chang ( Selling food oil, eggs, fruits and spices”)
“Honestly Operated and safely Consumed units demonstration in He Nan Hotel and Catering Industry”
“Safe store of Agricultural materials (No charge if pests won’t be killed, publicize for us if pests be killed)”
“ Our shop has been disinfected , please feel assured to do shopping”
“Safe Tofu”
“Safe Baozi”
“White Jade Soybean Sprout (quality assured, please feel assured to use it) ”
“Chinese safe Rice”
“ Safe Meat Stroe”
“Wondersun Safe Milk (non-pollution , 100\% safe)
“La zhi rou jia mo( eating safe food to own a healthful life)”
“New mainland pre-served olive (Safe food)”
……
Except the photos, Liang Yue has also collected pictures and articles related with “safety” on the internet and newspapers. “Safe Advertisements—the public images of Liang Yue ” curated by me, which are made up by these “safe”, will be exhibited in Bei Jing Wall Museum. This exhibition shows the tensive relationships between suppliers, Institute of Inspection on Quality and Technology and consumers, and it moves “safe” signboard and the disadvantages of “Exemption from Inspection” to the public. This exhibition not only refers to the “milk powder” event, but also emphasizes the critique character of the press. All the images in Safe are implying the unsafety behind “safe”.
Our thoughts have been involved with various problems in the Chinese problem situation. To guarantee the safety of products should be the obligation of suppliers, however, “safety” has become an advertisement word today. Even the “safety” advertisements themselves have grown into an irony of “safety” itself.The works of “Safe” starts to be exhibited in the program called “Intrude: Art & Life 366” in Shang Hai Zendai Museum of Modern Art. It seems to imply the coming of a food safety crisis. Liang Yue uploads a “safe” image on his blog everyday, on holiday, he uploads relative images, and for instance, he uploads the image of safe moon cake in the Mid-autumn Festival, the image of safe rice in La Ba Day. The “Safe for 366 days” program keeps moving on.
When people in photography field still argue what kind of photograph is more like a kind of art , the exhibition of Liang Yue shows that this kind of argument is meaningless. The key point is not how many artistic characters dose photography have, but to which extend photography can be used by “critical art”, even if it does seems like photography.
October 2008 in Shang Hai
【編輯：霍春常】
