19世紀的德國思想家馬克思曾說：“人類科學將包含自然科學，同樣，自然科學也將涉及人類科學。在不遠的將來，這兩種不同的科學將融為一體。”他對未來的預(yù)測已出現(xiàn)并貫穿于整個20世紀的時空。
在21世紀，馬克思關(guān)于人與自然混合（橫向交流）的科學理論已逐漸演變?yōu)橐环N新的統(tǒng)一。這種統(tǒng)一的情形和觀念綜合了所有不同領(lǐng)域的知識、文化、政治和社會經(jīng)濟學，它是結(jié)合了現(xiàn)有理論和事實的一種新現(xiàn)象或新態(tài)度，也是把現(xiàn)有的態(tài)度結(jié)合起來的理論和現(xiàn)實。在20世紀，馬克思科學理論在唯物主義的框架內(nèi)是實用且有價值的。而在21世紀的“信息時代” ，所有的人類實踐和紛繁的現(xiàn)實相互交織在一起，這個統(tǒng)一的概念更成為當今人類新的指導體系.
社會生物學家愛德華 O. 威爾遜指出，二十一世紀的人類信仰已進入一個物質(zhì)現(xiàn)實和網(wǎng)絡(luò)現(xiàn)實統(tǒng)一認識的新范疇。在當今世界互聯(lián)網(wǎng)的影響下，歷史變遷、政治議題、文化經(jīng)濟和人文科學正在經(jīng)由混雜的方式改變。在這個統(tǒng)一的新時代，圖像和 現(xiàn)實越來越像鬼魂一樣到處浮游。換句話說，今天的圖像和現(xiàn)實像一個透明的“玻璃”一樣在存在和虛無之間變得越來越脆弱。
在這統(tǒng)一的時代，武明中的新作品不斷地質(zhì)疑人的關(guān)系的脆弱性，這種情形貫穿于從20世紀到21世紀復(fù)雜的歷史、政治、經(jīng)濟和文化的過渡時期。他以其獨特的方式傳達統(tǒng)一的觀念，表現(xiàn)著像倒塌的墻壁般的人與人，物與物，空間與空間，時間與時間和情感與情感之間的關(guān)系。用他自己的視覺語言——“玻璃”意象去表達世界和真理的脆弱性（不僅是人與人之間的關(guān)系），武明中帶領(lǐng)觀眾重新思考我們曖昧的、脆弱的、甚至破碎的人類經(jīng)驗。在他的作品中，政治人物、宗教圣像和情人好像是出現(xiàn)的不可觸及的鬼魂。然而，這些浮游的鬼影不時地進出我們的身體，就像是武明中玻璃圖像中的空氣和葡萄酒。由此，我設(shè)想武明中是想通過他的象征性脆弱圖像來表達荒謬的具體現(xiàn)實和關(guān)系?？傊?，他以本土和全球的視角來觀察詭異、變化的社會經(jīng)濟和文化價值。在這一背景下，他的脆弱現(xiàn)實象征著當今充滿了不確定性和不穩(wěn)定性的虛假現(xiàn)實。
在武明中的一系列新作品中，如“朋友，小心輕放！”“心靈”“宗教圣像”“情人”和“相撲”等，讓我體會到，他通過脆弱的“混合現(xiàn)實”方式對中國和世界的現(xiàn)實表達關(guān)切。這是對當今混雜與統(tǒng)一的現(xiàn)實的一種獨特的藝術(shù)視角與思考。因此，我認為武明中的新作品是以他自己的創(chuàng)作方法來呈現(xiàn)21世紀的混雜與統(tǒng)一的宏大敘事。
此外，武明中以互聯(lián)網(wǎng)為新媒介的實驗作品《搜索歷史》，其本身就是對統(tǒng)一的另一方式的認知。換言之，這一新作是世態(tài)畫和互聯(lián)網(wǎng)藝術(shù)流派中對混雜和統(tǒng)一的新視野。在不同流派共生的過程中，在統(tǒng)一的藝術(shù)大網(wǎng)里，不同流派借由新網(wǎng)絡(luò)共同成長。
如今，武明中的新實驗藝術(shù)正跨越到“混合現(xiàn)實”、“擴張現(xiàn)實”和“整合過程” 的新軌道。在他視野的新角度中，我看到了一位藝術(shù)家“平衡”思想的軌跡，以及對于不同時間、空間和歷史的敏銳判斷力。
Entering a Unique Hybridity and Consilience
-New dimension of Wu Mingzhong’s Art
Wonil Rhee /Curator of BSi Art Collection, Switzerland
In 19th century, German Thinker Karl Marx said “Human Science will involve Natural Science. Likewise, Natural Science will also face to Human Science. In nearest future, these two different sciences will merge into oneness.” His words became a futuristic forecasting value which emerged and penetrated throughout the entire time and space of 20th century universe.
Nowadays, in our contemporary era of 21st century, Marx’s science theory of Hybrid (or Cross-over exchange) between nature and human being has been evolved as a new status of “Consilience”.The status and concept of “Consilience” is about gathering all different streams of knowledges, cultural studies, politics, and socio-economics.This new notion of “Consilience” means a new phenomenon or attitude of linking existing theories and realities. Marx’s science theory was effective and valuable within the frame of “Materialism” which was the essence of 20th century. Whereas, in 21st century of “Information Era”, in which all of human practices and mixed realities started to mingle from one to the others, this notion of consilience became more a new navigation system for contemporary human kind.
As Scociobiologist Edward 0. Wilson pointed out, the faith of 21st century human kind entered a new horizon of “The Unity of Knowledge” in both physical reality and cyber reality. On the universal net work of today, transitional history, political issues, cultural economics and humanities is on the track of transforming through the passage of “Hybrid knowledges”. In this new era of “Consilience”, images and realities are becoming more and more like ghost-spirit which is floating in the middle of nowhere. In other words, today’s images and realities are becoming more vulnerable and fragile in between “existence” and “absence” like the nature of a transparent “Glass”.
In this Era of “Consilience”, Wu Minzhong’s new works are constantly questioning about the fragility of human relations, which is in the state of being complicated situation of history, politic, economic, and culture throughout the transition from 20th century to 21st century. His unique methodology of conveying the notion of “Consilience” reflects the collapsed firm walls of the relations between human to human, object to object, space to space, time to time, and emotion to emotion. By using his own visual language of “glass” imagery that symbolized the fragility of universe and truth (not only human relations), Wu Mingzhong guides the viewer to rethink our ambiguous, fragile, and even dismantled human experiences. His images of politicians, objects, religious icons and lovers are rather to be appeared as a shape of ghost, which is unable to retreat as it is untouchable. Rather, these floating ghost images come in and out over and over again into our body, just like the air and wine in Mingzhong’s own image of glass. At this point, I assume Wu Mingzhong may paradoxically dream about a more firm and concrete realities and relations by presenting his symbolic fragile images. After all, his painted imagery is representing the haunted, transferring relationship and socio-economic, cultural values in local and global perspective. Within this context, his ‘fragile reality’ is symbolizing the artificial reality of today, which is filled with uncertainty and unstableness.
In his new series of “Friends”, “Heart in a box”, “Religious Icons”, “Lovers”, and “Sumo Wrestlers”, I breathe the fragile “mixed reality zone” on the orbit of his thoughtful idea of Chinese local reality and global reality. It is a unique artistic observation and reflection on today’s Hybrid and Consilience realities.
Therefore, I manifest that Wu Mingzhong’s new works present the grand narrative of the Hybridity and Consilience in 21st century by his own creative methodology.
Moreover, his new trial of new medium of Internet art “Search for History” itself is another type of realization of his notion of “Consilience”. In other words, his new Internet piece of “Search for History” is a new type of horizontal hybrid and consilience among the genre of painting and Internet art. These “Horizontal Consilience” among different genres is a process of “mutual evolution” maintaining the nature of differences of genre. In this net of artistic consilience, new net-work in between two different genres proliferates together.
Now, his new experimental artistic trials are leaping onto a new track of “Mixed Reality Zone”, “Augmented Reality Zone”, and “Horizontal Consilience Process”. Standing on his new horizon of perspective, I see an artistic orbit of “Navier-Stokes Eqauation” by a thoughtful, penetrating sense of history and different time and space.
【編輯：大崔】
