严密的学科分类法面对日益抽象的社会问题似乎越来越束手无策。一系列新问题的解决有赖于研究者们走出各自为营的学术堡垒，消除文化上的劳动分工，以跨学科作为手段进行知识生产工作。与此同时，当代艺术的边界日趋模糊，来自不同领域、地域、数量飞速增长的参与者在艺术世界来去自由，促使艺术批评投入全新的智力讨论。
此次“跨学科写作计划”将艺术家雷安德罗·埃利希在中央美术学院美术馆的个展“太虚之境”作为首次写作对象，邀请到来自学院内外的研究者、工作者，从艺术家的创作实践出发，以各自的学科研究视角开展讨论，以期跨越艺术批评的范畴，进⼀步延展至⼈文与社会科学的相关领域，为观者拓宽观察艺术的不同视角，尝试以交叉学科的方法，介入对当代艺术问题的讨论之中。
“黑白盒子”的内与外：装置的叙事与电影的反叙事
在名叫《房间（监视II）》这个由几十台监视器组成的装置前，当你完成对这些监视器的一次凝视时，就像短暂地完成了电影《后窗》——这部最出名的关于监视的电影——中的一幕。
雷安德罗·埃利希，《房间（监视II）》
面对这件作品的观众，就如同《后窗》里透过窗去窥探别人生活的主人公一样，发现对窥视到的事件走向无能为力，才恍然，原来把自己当做了故事中的人。
何为真实，何为虚幻？这是艺术家雷安德罗·埃利希用几十件大型装置艺术探讨的主题。自承受到希区柯克、罗曼·波兰斯基等导演影响的雷安，恰恰在用不同的媒介，与这些电影大师们进行着同样的思考。
《后窗》中的31座公寓形成了经典的监视器构图群像
麦高芬：雷安德罗·埃利希的叙事秘诀
在《门》这件作品中，兀自伫立的门，底下透出一层光亮。这道光显然成为了作品的悬念。观众自然而然地期待，推开门会有怎样的景象。但门被推开后，另一侧依然是和刚才一样的空间，毫无差别。
雷安德罗•埃利希，《门》
推门这样一个简单的动作，承载了这件作品叙事的使命。诱使观众推开门的那道光，恰如悬疑电影中经常出现的名词：“麦高芬”。
麦高芬是什么不重要，它只是在电影中推展剧情的物件或者目标。对观众的重要程度远不如电影中的一众角色。
鸟是希区柯克电影中著名的麦高芬之一
靠着这样一个麦高芬，雷安用最常见的物件完成了一次从日常生活剥离开来的叙事：以事件为基础，通过中介，有开头、中间和结尾，以及和日常动作区分开的差异化表达。
叙事是把生活流加以截取，并赋予其意义的行为。通过叙事，我们处理日常生活中所接触到的纷杂感受，将它们整理成可把握的现实，进而构成我们身处其中的世界。
在当代，叙事遇到了最大而有力的载体：大众传媒。这一电影、影像、新媒体的正本始源。透过它，叙事转化为一种能量。叙事作为电影的基础，也成为了雷安德罗·埃利希作品与这一媒介联结最为紧密的地方。
电影院与美术馆，两个截然不同的空间：前者封闭、黑暗，光影投射在银幕上造梦；后者明亮、雪白、依靠展陈完成与观众的对话。“黑盒子”内的作品，天然带有叙事使命，预设了一段完整封闭的观赏时间。“白盒子”内的作品，具备凝视的姿态，对观众的停留并无过多要求。
雷安德罗·埃利希，《试衣间》
和架上绘画不同，雷安的作品不止于凝视。他摆出邀请的姿态，让观者参与其中。而其对于真幻二者的讨论，则在某种程度上“限定”了观众的观看角度。看似开放的作品，实则早已被作者规定了需要被感受到的场景与内容。比如《门》，参与者注定要完成推门的动作；再比如《试衣间》与《美发沙龙》的镜渊，观众必须停留在特定位置，去“偶然”遇见与他人四目相对的时刻。
雷安德罗·埃利希，《美发沙龙》
这些作品与观众间无形的媒介，恰如横亘在电影作品与观众间的摄影机。在新媒体时代，电影的视觉规范早已与传统架上绘画背道而驰。在这个全新的视觉传统里，摄影机不是眼睛的延伸，而是对视觉的规定，呈现出一系列有选择性的画面。
游嬉“黑白盒子”：瓦尔达的叙事自觉
同时游弋于电影与装置艺术之间的法国新浪潮导演阿涅斯·瓦尔达深谙此二者之中的叙事之道。
2012年，瓦尔达将她的装置艺术携带到中央美术学院美术馆。这个名叫《中国门》的摄影/装置艺术，呈现出影像与叙事最紧密的结合。她用一座屋顶取材老式木制衣夹的 “中式红门”装置，承载了她在1957访问中国时拍下的照片。
瓦尔达《中国门》装置
在美术馆的二楼，陈列了她50多年前在中国搜集的纪念品。按照她本人的意思：“所有的小杂件、旧书、照片和玩具都是我55年前收集并带回巴黎的。所有的这些东西都做了一次回归之旅。过往和现时在这间展厅里融洽共生。”
这不是瓦尔达第一次对于装置艺术的尝试。在用数码摄像机拍完纪录法国拾荒人的影片《拾穗者》后，她被威尼斯双年展邀请，用《拾穗者》中拍摄的土豆完成了自己的第一件装置艺术作品。
阿涅斯·瓦尔达《拾穗者》剧照
这个名为《土豆乌托邦》的装置，采用了文艺复兴时期流行的三联画形式，最经典的视觉叙事结构。在这三联屏上，中间一屏是一颗心形土豆，两侧则是土豆发芽和萎缩的视频。她把700公斤的土豆散布在屏幕前的地面上，让观众们实时看到新芽的萌发。
《土豆乌托邦》里的6分钟影像，是瓦尔达几个月拍摄的素材选择剪辑得来。她知道以装置的形式呈现影像，必然比电影呈现了更多的疏离感和可能性。瓦尔达说，自己不知道多少人会真正看完六分钟，或者看了两次六分钟，又或者看了几秒钟就离开。
瓦尔达装置作品《土豆乌托邦》
并不是所有的装置艺术天然地承担着叙事功能。从雷安作品中发现的叙事，不仅因艺术家从电影中汲取场景元素，也是因为他邀请观众进入其作品。观众成为雷安作品中推衍剧情的主角。
像瓦尔达这样以导演身份进入装置领域的艺术家，叙事是一种自觉。对于另一些导演而言，装置影像带来的，是消解叙事这一电影的中心元素。这是从拍完《黑眼圈》后，蔡明亮一直在做的事情；也是阿巴斯在他的遗作《24帧》中，试图对传统电影发起的革新。
《24帧》之第24帧
这两位导演，一位选择走出“黑盒子”进入新的空间进行电影创作；另一位则留在“黑盒子”内，以空间为界限，探讨电影新的可能性。
走出“黑盒子”：新空间作为影像的救赎
有人曾以柏拉图的洞穴论类比影院：囚徒们对世界的认知都来自投射在洞穴墙壁内的影子。诚然，柏拉图所说的洞穴是常人一种固执的谜误；他可能没有想到，2000多年后，一部分人的解脱之路，就是建造一个个洞穴，去探究这如梦似幻的投影与它们实在的意义。
洞穴内外，是真是幻？打破叙事是不是就能更加接近真实？
蔡明亮从院线“出走”美术馆，一方面是对商业电影发行系统的抗议，另一方面是在扩展自己影像艺术的边界，试图用其他样态补充进原本的电影艺术中。和瓦尔达不同，他的“出走”是愤怒与抗议，带着些许的无奈。他的最大特点，便是充分利用影像与空间的关系。
蔡明亮《郊游》美术馆放映空间
长片《郊游》选择在美术馆放映，七卡车的枯枝败叶装点成了美术馆中的废墟。观众在高丽菜坐垫上或坐或卧，和屏幕中李康生吃高丽菜的一幕形成了有趣的互文。
蔡明亮《郊游》美术馆放映空间
另外几段《郊游》的删减片段，同样被投映在美术馆的空间中。从电影院黑盒子洞穴般的单一凝视，到美术馆白盒子的漫视，蔡明亮把何时进入放映空间的选择权交给了观众。
因为观众可以选择在何时进入放映空间，电影的叙事反而不再重要。装置艺术利用空间，瓦解了电影的本能。
蔡明亮《郊游》电影中的废墟空间
留在“黑盒子”：对叙事传统的革新与挑战
阿巴斯在做的，则是在本源的“黑盒子”中，重新探索电影本质与电影边界。2017年于戛纳电影节首映，120分钟的《24帧》，由24个5分钟左右的片段“画面”构成。大部分画面取材于阿巴斯对自己摄影作品中某些元素的动态处理或者其他不同素材的合成，辅之制作精良细节丰富的音轨。
老勃鲁盖尔画作《雪中猎人》
不少评论者认为这是阿巴斯的美术馆电影——24段影像几乎放弃了电影的叙事。从“第一帧”致敬文艺复兴时期画家老勃鲁盖尔的著名画作《雪中猎人》开始，每一帧画面都从第一帧中挑选出一个元素：人、雪天、烟、马、树林、鸟。
《24帧》之第1帧
结合动态的影像，《24帧》又讨论了另一种矛盾：这部电影在反叙事的同时，几乎每一帧，都是将平凡事物从日常状态剥离出来的一种叙事。
比如第8帧中的海鸟在巨浪中落单；第13帧中一只海鸟中枪，另一只则不肯离去。又或者第15帧中人们观看着埃菲尔铁塔；以及最后一帧里，显示器里播放着电影片段，一旁有一个睡着的人。
《24帧》之第15帧
看似没有完整故事的《24帧》，在每一帧中，似乎都可以找到叙事的存在。如果将这部电影的放映改在美术馆，会有多少观众耐心在这24幅“动态摄影作品”中找到叙事的可能？是不是“黑盒子”的存在，本身规定了观众格外留意电影影像中的叙事？
也许阿巴斯做出的这种尝试，是他对电影未来的想象：故事不再重要，叙事可以更具开放性。艺术创作者自然无法满足被电影绑架的创作。无论是我们在雷安的作品中找到的叙事，还是电影导演们力图做到的反叙事，都在借用对真实与虚幻之边界的探寻，斟酌“黑盒子”的内外与去留，在分享自己对于外部世界之体验的同时，传达对于自身所处系统的反思。
策划／CAFAM官网编辑部
文／派翠克（电影记者）
编辑／胡炘融 庄双博
图／李标
部分图片来源于网络
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Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
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Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
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During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
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According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
CAFA Art Museum Publication Authorization Agreement
I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
CAFA Art Museum Event Safety Disclaimer
Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
Article II
Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
Article III
Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.
Article IV
Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
Article V
During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
Article VI
Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
