展览 | 唐潮：话音未落

Vanguard画廊将于2022年11月8日呈现唐潮个展“话音未落”。这是唐潮在Vanguard画廊的第二次个展，将以电影拍摄及制作过程中的各个环节为载体，来探讨信息时代个人情绪状态与数字媒体技术之间的关系。展览将持续至2023年2月4日。

Vanguard Gallery is pleased to present “Out of Sync” by Tang Chao, the artist’s second solo exhibition with the gallery. From November 8, 2022 through February 4, 2023, the gallery space will be converted into a film set by the artist, which is instrumental in exploring personal and emotional shifts in the digital era.

唐潮的创作惯于捕捉并记录个体身处某个特定环境中的临时反应。一个人在某种应急状态下引发出的私人化的观感，实则可以提供一种“通感”去连接观众。本次展览中唐潮尝试以电影拍摄片场般的布景来阐述“忧郁”“愤怒”及“恐惧”三种基础情绪：“话音未落”以图像装置《心之电影：一个恐怖故事》展开叙事，这件作品由一组200张分镜故事板组成，其中的人物及场景源自日本恐怖电影《午夜凶铃》，并被数字建模技术解构及重组，而后通过分镜头剧本中的运镜指示箭头相串联，组建出属于信息时代的全新叙事。主角贞子经历了由显像管电视向高清数位时代的转变，其自身也投射出对图像技术迭代的恐惧。分镜故事板中阴郁昏暗的视觉语言进而延展到展厅现场的另一端：《怒兔》是蓝幕搭建而成的摄影棚，叠加其上的是题为《呜咽曲2：逆向掩蔽》的录像。两件作品都贯穿了蓝色的基调，而录像中空白信号所产生的雪花点，则被渲染为宇宙微波背景辐射。在《呜咽曲2：逆向掩蔽》中，唐潮拼合了真实世界与媒体世界初始状态中的各类基础图像，并尝试以此为基础引发观者的忧郁情绪。《怒兔》蓝幕上的十字标记被艺术家嵌入了小巧软弱的兔子形象：博伊斯行为艺术中僵直的死兔子，以及动漫系列《蜡笔小新》中的角色樱田妮妮用来泄愤的兔形玩偶。两种兔子形象在作品中并置，作为美术史乃至流行文化中频繁承载愤怒情绪的客体。

Throughout his artistic practice, Tang Chao creates curious and extraordinary scenarios in which he captures the most personal reactions provoked in the characters or projected onto the audience through a channel of synesthesia. In “Out of Sync,” Tang Chao exercises three types of emotions—melancholy, anger, and fear—with a series of installations that resembles a film set. The exhibition starts with "Mind Movie: A Horror Story", a spanning storyboard consists of 200 computer-generated illustrations. The plot is adapted from the classic Japanese horror film "Ring". In the original 1998 production, the vengeful ghost used an old TV monitor as a portal to crawl back into the real world. However, in Tang Chao’s reconstructed scenes, ironically, the ghost struggles with its own horror caught in an age of high-resolution digital images. The nightmare in "Mind Movie: A Horror Story" reincarnates in the gallery space as "Angry Rabbits", a blue-screen motion capture set, and "Whimper Song No.2: Backward Masking", a video fixed to the center of the blue set. Rendered in a melancholic tone, the video mixes images of fundamental elements from both the analog world and the cyber space, and emits grainy graphics and white noise which is imagined as cosmic microwave background. Surrounding the video, the same-sake protagonists of "Angry Rabbits" hide in plain sight—there imbedded in the orange cross marks of the blue set are images of two rabbits: one derived from Joseph Beuys’ 1965 performance piece How to Explain Pictures to a Dead Hare, and one borrowed from the punchbag bunny doll in popular Japanese carton Crayon Shin-Chan. The two rabbits cross-referenced as a witty metaphor for anger.

在互相关联及指涉的展览空间中，“忧郁”“愤怒”及“恐惧”作为概念化、象征性的基本元素在不同的载体和形式间转换及流变，进而唤起观者复杂且怪诞的综合性感官体验。“话音未落”有意悬停在电影即将开机拍摄的微妙时刻，留待观看者凭借自身的观看经验接手余下的成片制作；唐潮在其间设置了多重线索及结构，以激起观者对气氛、图像、声效等的自我觉察。录像作品声轨中的白噪音、海浪声及类似电影角色间的对白制造出音画不同步的错位感，却又呼应了人们飘忽而隐性的各类情绪，引申出言语之外的空间供观者审视技术语境下的私人感知。

“Out of Sync” is constructed as a film production suspended at the conception stage, offering interrelated parts to be weaved together in the mind of viewer. It provides emotional clues—melancholy, anger, and fear, as well as the structural, graphic, and audio materials to be detected, processed, reorganized, and reimagined. The components of the exhibition stimulate an unsynchronized experience that echoes the displacement of emotions in the age of digital fabrication.