霾

Haze and Fog

2013，影像，彩色，有声

46分30秒

作品由艺术家和王兵先生提供

2013, Video, colour, sound

46'30''

Courtesy of the artist and Wang Bing 

当所有大都市都成为了“魔都”，它同时具备着魔鬼的恐怖与魔幻的奇异，在这部作品里，探讨的不是“魔”的正与邪，恐与惧，善与恶，英雄主义，或者末日危难中的人性，而是生活在此时的人们，他们集体潜意识如何从一个看似乏味的日常情境中浮现出来，在可见和不可见的临界点，用自身的冲突创造出生活的魔幻现实。

北京，作为最大版图的超现实主义政治中心，重度污染的空气让城市仿佛堕入网络游戏“迷雾”，它看来正好适合被最符合荒蛮与残暴的视觉消费与最好莱坞式的流行想象进行清洗。艺术家想象一些人形异物出现在北京郊外的一片野树林里。从一些在树林里莫名被袭击的时间开始，我们开始进入一个和中国的现实正在发生重叠的魔幻情景剧。

作品《霾》重点刻画的是“异现实”部分，一如人们所生活在的那个同质化的世界，在不同层次、阶层之间参与某种未经协商的共谋、密谋，他们生产制造出某种传染病毒的同时，又吞噬这些病毒，继续衍生新的传染源，而总有那么一些坚韧与生猛，善良和悲悯，在生物链最末端的那些草根市民、儿童、老者、大妈等这些安于被命运或权力系统分配的小角色中得以体现。尽管他们属于绝大部分的“弱者”，但在面对某些“强大”时，却是执拗的勇者、民间的智慧和享受弱者的小幸运。

Cities, when morphed into magical metropolises, are possessed by both the magic’s fanciful illusion and its devilish terror. This film will not explore the good and the evil of the magic, nor the heroics and the human drama in that apocalyptic world. The film will explore how the collective consciousness of people living in the time of magical metropolises emerges from seemingly tedious, mundane, day-to-day life where the magic reality is created through struggles at the tipping point between the visible and the invisible.

Enveloped in heavily polluted air, Beijing, the largest surrealistic city, seems to have fallen into a Dense Fog of online video games and is ready for the most barbaric and savage visual consumption and Hollywood-style ablution. The artist imagines some humanoids appearing in a wild forest located in the outskirts of Beijing. Beginning with a few inexplicable attacks, we enter a magic realism drama that superposes the current reality in China.

This film focuses its characterization on the aspects of the alternate reality. How people, living in the homogenized world, without consulting each other, scheme and conspire and manufacture the infectious virus. They devour it, spinning off a new virus. Yet, there are those who are tenuous and vigorous, kind and compassionate, who at the bottom of the food chain, the grassroots city dwellers, the children, the elderly, and the aunties, are content with the minor roles allotted to them by fate and the power structure. Even though they are mostly weak, faced with the formidable power, they are stubbornly brave with their folksy wisdom, blessed with the luck of the disadvantaged.

曹斐，1978年出生于广州，现工作、生活于北京，是活跃于国际舞台的具有代表性的新一代中国青年艺术家。曹斐的作品融合了社会评论、流行美学、超现实主义的影响和纪实的惯例，反映出当代中国社会急速不安的变化。

近期部分个展:

“Cao Fei”，K21当代美术馆（北威州艺术品收藏馆），杜塞多夫，2018年

“在过满的世界挖一个洞”，大馆当代美术馆，香港，2018年

“Cao Fei”，纽约现代艺术博物馆当代艺术中心，纽约，2016年

近期部分群展：

“监狱建筑师”，第69届柏林国际电影节，柏林，2019年

“单手拍掌”, 所罗门·R·古根海姆博物馆, 纽约，2018年

“虚实莫测：抵抗真实的真实时代”，OCAT上海馆，上海，2018年

Cao Fei (b. 1978, Guangzhou, China), currently living and working in Beijing, is one of the most active representatives of Chinese young artists internationally. Cao Fei merges influences from social commentary, popular aesthetics and Surrealism with documentary conventions in her films and installations. Her works reflect the rapid and unstable changes in Chinese society today and explore perception and reality in places as diverse as a Chinese factory.

Selected Solo Exhibitions:

Cao Fei, K21 Kunstsammlung, Nordrhein-Westfalen, Dusseldorf, 2018

A hollow in a world too full, Tai Kwun Contemporary, Hong Kong, 2018

Cao Fei, MoMA PS1, New York, 2016

Selected Group Exhibitions:

Prison Architect at Forum Expanded, 69TH BERLINALE, Berlin, 2019

One Hand Clapping, Solomon R.Guggenheim Museum,New York,  2018

On Struggling to Remain Present When You Want to Disappear, Kadist, OCAT Shanghai, Shanghai, 2018