对视一种新型的性别美学

1、1对视：一种新型的性别美学“ 2009上海浦江华侨城十年公共艺术计划”选择了中国最富才华的女艺术家林天苗，她为计划提供了四组展品，分别是妈的、徽章、诞和对视，其中除妈的是2008 年在北京长征艺术空间大型个展中展出的作品外，其它三组都是为今年的公共计划创作的新作品，这也是林天苗第一次以公共艺术形式展出自己的作品。对视”表达了林天苗艺术中的这样一种美学，它不是对传统意义上的男性凝视”(malegaze )的一种简单的反凝视，而是希望通过重组一种超越性的互视，改变主体凝视建立在 性别差异基础上的权力本性， 使其成为一种交流和反省的互动机制，这种美学有三种视觉形式：1、强调女性自我凝视在改变她的它者

2、”地位时的必要性， 镜像阶段”的自我凝视是一种想象性的视觉化自我完善过程，它有其虚幻、误识和自恋性特征， 但它却是建立主体意识的必不可少的环节(拉康)，所以，这种方式也是女性建立自己主体认知的第一步；2、在此基础上寻求不同主体间的 对视”这种对视不是母子间那种封闭的凝视(loced gaze)，而是主体与主体间开放性、交流性的互视，它以改变掠取性、猎奇性和窥淫式的男性观看方式为 目标；3、这种视觉美学最终将导向一种社会学，从而使女性这种新型主体具有政治表述能 力。妈的是由数组微观作品组合而成的大型室内装置作品，它以铺陈各种赤裸无头的女性肢体、腔内脏器和动植物构造出宏大离奇的视觉景观，精致丝绸包

3、裹下的躯干碎片和弥漫四周的无名球体完成了一种矛盾的美学叙事：它们既是和谐的又是撕裂的，既是美丽的又是残酷的，既是平静的又是躁动。它是女性作为生命之源和作为无意识主体悲剧性纠缠的视觉 描述，我们可以将这样的景观解读为女性作为它者”的史前史。在这里展出的是这件宏大作品中的最大的一组(作品第 14号)。诞是对女性作为生命之母这一主题的反叙事，离奇怪诞的视觉场景提示了女性作为 生物主体和反思主体的矛盾属性。对视是林天苗性别美学的点题之作，它由六组微型装置作品构成，作品形态仍是妈 的延续，但六组作品却更像是一部女性通过自我凝视和互视的过程建立主体意识的启示录。 从夏娃的故事隐喻开始，女性身体就一直是男性

4、权力的窥视对象，由古典时代羞涩的受罚形象到消费时代炫耀的视觉景观，它们身体的被观者性质从来都没有改变，在“2009上海浦江2华侨城十年公共艺术计划 ”的公共空间中，这组作品以生育、自视、仪式、对视、天使等多 重叙事性造型，视觉化地展现女性身体身份由生理属性向主体属性转换的觉悟史：在高度个人主义觉悟的今天，女性有机会以独立的身份及视角多层次解剖自己，将被观者的身份转变成为 剖析者的视角来把握和支配自己。把只能在私密的个人空间的展示方式移植到开 放性空间来，把女人的欲望、激情、要求和意识直接暴露给观赏者，颠覆和考验传统美的概念和传统 道德的标准。深层次地挖掘深藏在人们的内心世界，以平等的心态重建自

5、我”（林天苗）。徽章是林天苗性别美学的社会学实践。苏珊桑塔格说人们通常对制服怀有一种幻想。制服暗示着团体、秩序、身份（身份的表示依靠的是军衔、徽章、勋章，以及那些表明 制服的人是谁，他又做了什么事的东西：其价值得到了承认）、能力、合法的权威以及合法地使用暴力”（苏珊桑塔格：“迷人的法西斯主义”），在我们的生活中制服和徽章仍然是 这类男权中心社会特征的象征符号，作品通过“误用”徽章的权力表达形式，以刺绣这种传统女红”方式制作出各种“女族”徽章，夸张的尺寸和精心的”制作不仅暗示了这种权力的 广泛性和深刻性，也是对这种权力的一种内敛含蓄的反讽和嘲弄，背景中不断出现的 咒语一般的女声更加剧了这种警示。

6、这件作品是林天苗艺术中不多见的具有政治表述意味的作品之 一，表明女性主义作为一种文化批判力量的可能性途径。我们将对视观念作为理解林天苗艺术的一个关键词，它是对一种解放性的性别美学的最好诠释。2009年7月29日3,weGazing Back: A New Aesthetics of GenderHuang ZhuanFor the “ 2009 Shan ghai Pujia ng Overseas Chin ese Town Ten Year Public Art Project have chose n Lin Tianm iao, the most tale nted female ar

7、tist in Chi na. She has provided three groups of works for this exhibition. Mother !, Badges and Gazing Back. Aside from Mother ! which was show n at a large solo exhibiti on for the artist at Long March Art Space in Beiji ng in 2008, the works were created especially for this public art project. Th

8、is is also the first time the artist has prese nted her work in a public form.“ Gazi ng Back ” con veys the particular aesthetics of Lin Tia nmiao is n ot a simple eiurrt. It of the “ male gaze ” in the traditi onal sen se. In stead, it hopes to reassemble a transcendent mutual gaze, cha nging the s

9、ubjective gaze built upon the power in st inct of gen der differe nces, and turning it into an in teractive system for excha nge and reflect ion. This aesthetic has three visual forms. First, it emphasizes the necessity of female self-gazing when changing her status as an other . The self-gaze of th

10、e mirror stage is an imaginary visualization of the procpesfctslf It is marked by illusion, misperception and narcissism, but it is an essential step in establishing subjectivity (Lacan). Therefore, this method is the first step for women to establish subject cognition. Second, it seeks out mutual g

11、azes between various subjects on this foundation. This gaze is not the locked gaze betwee n mother and child, but an ope n, in teractive mutual gaze. Itgoal is to cha nge the plun derous, perverted and no velty-seek ing male view ing method. Third, this visual aesthetic in the end will point towards

12、 a kind of sociology, givi ng this new female subject powers of political expressi on.Mother ! is a gia nt in door in stallatio n made from a comb in ati on of smaller works. It creates a massive visual spectacle by comb ining depict ions of headless female bodies, internal orga ns and parts of ani

13、mals and pla nts. The cracked torsos exquisitely wrapped in silk, and the proliferati on of anonym ous spheres complete a con tradictory aesthetic n arrative: they are at once harm onious and fragmented, beautiful yet brutal, peaceful yet agitated. It is a visual depiction of the tragic tan gli ng o

14、f woma n as a source of life, and as an uncon scious subject. We can read this spectacle as a prehistory of the woman as other Exhibited here is the largest component of this massiveartwork. (artwork nu mber 14)Returned Gaze is a work that brings out Lin Tianmiao philosophy of gender. It is an arran

15、gement of six miniature installation pieces continuing along the formal lines of Mother !, but these six pieces seem even more like an in spirati 4onal tome on a woma n establishi ng subjective con scious ness through the process of self-gaz ing and mutual gaz ing. Begi nning with the metaphor of Ev

16、e, the female body has always been the subject of peeping by male authority. From the embarrassed puni shme nt imagery of classical times to the dazzli ng spectacles of the con sumer era, the watched aspect of their bodies has not changed. In the “ 2009Shanghai Pujiang Overseas Chin ese Town Ten Yea

17、r Public Art Project” putiie： wpOceappear in multiple n arrativecon structs of birth-givi ng, self-gaz ing, rituals, mutual gaz ing and an gels, visually prese nting the en lighte ned history of the female body being tran sformed from biological properties to subjective properties. Inthese times of

18、highly developed individualist enlightenment, women have the opport unity to en gage in self-dissecti on from multiple visual perspectives and levels and with independent identities, turning the watched identity into aughdWsieCltOp identity thrograsp and allocate the self. Taking a prese ntati onal

19、method that can only be en acted in a private space and moving it to an open space and directly revealing women s desires, passions, needs andconsciousness to the audienee overturns and tests the traditional concept of beautyand thetraditi onal sta ndards of morality . By diggi ng out that which is

20、con cealed with in the inner depthsof people, the self can be recon structed accord ing to a men tality of equality.” (Lin TianmiaBadges is Lin T ianm iao s gen der aesthetics put into sociological practice. Susa n Son tag said,Uniforms suggest fan tasies of com mun ity, order, ide ntity (through ra

21、n ks, badges, medals which say who the wearer is and what he has done: his worth is recog ni zed), compete nee, legitimate authority, the legitimate exercise of violenee.FaSSimsalimSFnrtsejs m ) In our lives,uni forms and badges are still symbols and markers of such social traits of male-do min ated society as authority and violenee. This work uses a