《第五类森林》视频截图

　　被囚禁，人存在的永恒物理状态

　　文 瑞艾侬·墨菲

　　翻译 李淼

　　黑纱遮了我的视线，横在我的面前，挡住了太阳，阻碍了我的指尖，让我无法去触碰你的有致身形。

　　我不是我的肉体。我的皮肤，我的瞳孔，我的舌头，统统不是我，至少不全是。我被包裹在肉体里，驱使着一个躯壳，或者匹配或者不匹配我心目中的自我，费力的解读着经由人类头骨里面的神秘器官，通过数以百万计的感知细胞，强行向"这个东西"----我----输入晦涩难懂的信息。

第五类森了 视频装置  150x96.5x86  2017

　　第一次在栗子的工作室观看她的电影"第五类森林"时， 我站在从高高的屋顶倾泻而下的明媚阳光里。电影在一个小小的黑盒子里播放，我想投仪器应该是在里面。盒子的一端有一个华美的画框，框上有个圆形的开口便于观看。我说小小的黑盒子好像并不小，只是感觉小，因为电影在盒子的另一端播放。向里看的时候，我必须得伸着脖子，弓起身子。感觉电影很远很小，就好像一个模糊的窗口，或者女巫的水晶球，或者一面漆黑的镜子。

　　但是，离得越近我越看不清楚，因为有一层黑色的格状的纱绷在画框之上，阻隔了我和屏幕，但是当我后退的时候，看得反而越清楚，可我并不想后退。

　　第二次，第三次再看的时候，我还是后退了。第四次，我又弯下身子，贴近纱布，近到我都担心如果有人撞一下，我的鼻子会直接刺穿纱布。当我如此之近得时候，我开始思考这块布是否真的有看起来那么结实。它看起来很薄，像蕾丝一样，结果很可能会让我出乎意料吧。

　　在第四次看的时候，我用手机把电影录下来。开始的时候贴紧了纱布，也就一寸远，什么都录不下来。我后退几步，即使已经一英尺远了，我镜头里的纱屏还是黑乎乎的。

　　回来后，偶尔，我会再看看我手机里录下来的"第五类森林"录影。录制的效果很不好。我常常眯着眼睛，弯腰弓颈，有时又靠着椅背，把手机举在面前。我总是试图绕过或者穿过那个薄纱隔层，是不是直接把它撕开就看清楚了？我是不是真的想要撕掉它呢？又或者，一旦没有了这个纱网，电影又会以什么样的第一印象在我心里扎根呢？

第五类森了 视频装置  150x96.5x86  2017

　　我们现实的身份就是"会思考的东西"，如笛卡尔所定义。也就是说我们每一个人都是孤独的生物，我们每时每刻都面对着自我意识，那个被完全囚禁在思考里面无法挣脱的自我意识。我就是我，恒定，无有中断。我生活在一个充满了他人的世界里，这些人，我只能假定，与他们的自我彻头彻尾一致----却跟我毫无关联。当然，他们永远也不可能是我。

　　所以，孤独啊。语言是个绝妙的东西，人们可以用它营造令人眼花缭乱的效果，但是纵使在艺术、文学、心理学这些辉煌灿烂的领域，也存在语言匮乏的现象。没人能知道他人的想法，永远能会，不管我有多爱他们多恨他们，不管他们多努力的想要告诉我。

　　当然，在这种孤独和隔离之外，还有别的东西--因为，无论如何，我都不是孤立存在的。不。我身边是数以亿计的他人，我既不了解，也不真的能够理解。我们聊天，我们交往，我们欢笑争吵，我们彼此攻击，我们生儿育女，但是在整个过程中，我都时而不时的记着，你，是的，你，你是一个人，你是一个会思考的东西--于我而言，你始终都是一个神秘的存在。记住这个就是去感受敬畏，记住这个就是去感受恐惧。

第五类森了视频装置  150x96.5x86  2017

　　透过观众自己这端的黑纱，"第五类森林"呈现给观众的是一个罩着黑纱的女人。她行走着，时而不时的挥动手臂，动作幅度非常大，最后她停了下来。总觉得她会做一些幅度更大的更有活力的动作，才畅快才过瘾，可那终是别人的想法。我却对她没有任何此类的期待。我，看着，观察着她在黑纱下面的动作，观察着她向上向外挥动着手臂，好像她在努力的抛开这令人窒息的纱布，只是我透过我自己这一端的黑纱远远看过去，她无非是做着动作，那个动作背后的所有情绪都被屏蔽了。那可能是一段舞蹈，也可能是一场愤怒的发泄，一段狂野的旋舞，一个悲哀的仪式。我看不清，我感知不到，也许有提示，只是，我无从感知。

第五类森了视频装置  150x96.5x86  2017

　　笛卡尔最著名的观点，"我思故我在"，论证了他所认定的所有知识的绝对起点。现在想一想笛卡尔哲学你有没有喜欢的点，----尽管我对他的大部分论述都不认同，----有一个观点是出自他灵光乍现的思考实验，这个观点后来演化出了超越笛卡尔本意的分支。

　　他设想有一个恶魔，建造了海市蜃楼，一个完全基于感官体验的、不真实的完整世界。魔鬼想要把思想家骗进这个现实的错觉里面。因此，追求真理的思想家必须面对这个恐怖的事实，也就是他们对此一无所知，他的所有表象知识的参照物都是虚幻的。

　　在笛卡尔写作《第一哲学沉思录》的很久以前，小众的诺斯替教派就已经在讨论这个类似于哲学命题的神秘的存在，其起源于柏拉图哲学的相关观点，在柏拉图哲学中被称之为"工匠之神"。对少数的诺斯替思想家来说，他也是笛卡尔所说的执掌宇宙的恶魔。从概念上说，这个"工匠之神"并不是一个表象上的妖怪，坐在天上张牙舞爪，而是一个概念----一个物理的、物质世界的观念，充满欺骗与干扰，是事实的相反面。少数诺斯替教徒说，"工匠之神"创造世界，但只创造了物质世界。人被囚禁在感官的牢狱中，因此，我们每个个体的神性----灵气、灵魂、纯洁的自我----都被束缚在肉体的形式里。

　　一些诺斯替教徒认为，这种囚禁是个悲剧， 因为我们的本性是不想被囚禁在"工匠之神"创造的物理形态里。

　　对于这个哲学和神学研究的边缘领域来说，做人就是要做那个更高大、更明媚、更圆满的自我，那个摆脱了纷繁杂芜干扰之后所构建的自我。这就意味着我们不仅仅要在生活里奋力前行，出生，生存，从本质上说，更意味着我们要挖掘自我的神性。

　　他们说，"工匠之神"对人所做的一切，----也即这个物理的和感官的世界所呈现的样子----是切断了人与自己精妙绝伦内核的连结，同时也将人与人之间彼此隔离。

　　想一想此处的惊喜与恐怖----我们每一个人都是神，但是我们每一个人都是又瞎又聋又哑又孤独！

《第五类森林》视频截图

　　"第五类森林"的最后一个镜头是，被遗弃的黑纱飘过人先前站立的空间。我，观察着，想要转身去找她。我想要伸出手，去感受纱布与我的指尖羁绊的感觉。我想要撕掉阻隔我们彼此的纱，去看，去理解，去了解她的所知，去发现她的发现，去弄清楚是什么赋予的力量，让她紧抓着那块她与天空之间的纱不能放手，是愤怒是悲伤还是顿悟？我要把它从她脸上扯下来。

　　但是我永远也做不到。

　　那些在物质世界里看到这样的邪恶情绪的古诺斯替教徒，可能会在九世纪的中国临济义玄的禅宗里获得些许慰藉，他说："向里向外，逢着便杀，逢佛杀佛。"

　　我被震撼了，一次又一次的感受到孤独感的袭击。在观赏"第五类森林"的时候，孤独感就直直的刺进我大脑的中枢。我的纱贴近我的眼睛，所以我无法否认它的存在，透过它，我看到佛祖----那是人，诺斯替教徒会说，那不过是个人罢了，"罢了"用在此处是错的，因为做人即是未来，也是永恒，----他的路径我未曾走过，他的心灵我不能理解。

　　我与我自己同在，这个别人比我自己还知之甚多的持续的存在。阳光穿过面纱，如同水流过渔网，消除了形态的所有痕迹。

《第五类森林》视频截图

Being Trapped, the Consistent Physical State of Man's Being

　　Reannon Murphy

　　There is a veil across my eyes, a silkenshroud between my face and the sun, a gauze that keeps my fingertips from feeling the texture of your shape.

　　I am not my physicality. I am not my skinor pupils or tongue, at least, not entirely. I am wrapped in meat, piloting avessel that does, or doesn't, match what I picture as myself, reading the esoteric input that a million tingling instruments zap into 'this,' me, thisbaffling mystery contained within the human skull.

　　I watch Yu Lizi's film "The Fifth Kind Forest" for the first time standing in her studio, my two feet grounded in bright light beaming down from the high ceiling. It plays within a little black box, projected, I think, from within, and open for my viewing through a circular hole in an ornate frame. I say the box is little - it probably is not.It feels little, because the film is playing on the back of the box, and to seeinside, I must crane my eyes, bend down just a bit, and it all feels quite distant and small and maybe like gazing into a misty looking glass, or anenchantress's scrying pool, or a dark, dark mirror.

　　But the closer I get, the harder it is to watch, because there is a dark latticed cloth stretched across the viewingframe between me and "The Fifth Kind Forest." It's easy enough to see through when I step back. I don't want to step back.

　　I do step back, the second and third timeI watch it. For the fourth, I bend close again, close enough to the fabric thatI worry, distantly, that if anyone bumps me I might smash my nose straight through. When I'm this close, I catch myself wondering if that cloth is asrough as it appears. It looks scratchy, like lace. It might surprise me.

　　Sometime after my fourth viewing, I record"The Fifth Kind Forest" on my phone. I start the video tight against the cloth screen, just inches away, and realize none of the film is making it through, soI back off. The blackness of the fabric only soaks into my phone video when my camera is a foot or more away.

　　Afterward, sporadically, I watch my phone recording of the "The Fifth Kind Forest" again. My recording is terrible.Wherever I am, I squint. I hunch in my chair. I raise my phone to my face. Ilean in place, trying to get around or past or through that fabric divide,wondering if it would be easy to rip open. Wondering if, in fact, I actually want to tear it off, or if, once it was gone, I'd wonder what it was about this film that rooted me to the spot in the first place.

　　The reality of our condition as 'things that think,' as Descartes puts it, means we are, each of us, lonely creatures. We are confronted every moment with our own self-awareness, trapped so entirely with our thoughts that we can't escape ourselves. I am me, constantly, without respite. And I live ina world full of baffling others who, I can only presume, are as equally and utterly themselves - only themselves. They, of course, are never me.

　　And so, loneliness. Language is a wonderful thing, and so many people use it to dizzying effect, but still. Art, literature, psychology, all splendid, all falling short of the mark. There can be no knowing what's in someone else's mind. Never. No matter how much I loveor hate them. No matter how hard they try to tell me.

　　Beyond this lonely isolation, of course,is something else - because, after all, I am not actually existing all alone.No. I am surrounded by billions of others whom I cannot ever know, not really,cannot ever really understand. We talk, we mingle, we make sounds of joy andrage, we lash out, we procreate, but throughout it all, I now and then remember that you, yes, you, you're a person. You're a thing that thinks - and you are amystery to me. To remember this is to feel awed. To remember this is to feel terror.

　　"The Fifth Kind Forest" shows the viewera veiled woman through the viewer's own veil. The woman walks, then the woman casts her arms about her in huge, sweeping movements, then the woman stands still. One might expect the great, dynamic motions of the woman to be cathartic, or at least celebratory - maybe they are, for her - and yet, I donot feel myself rising toward anything of the sort. I, the watcher, watch her move beneath the cloth, watch her toss her hands upward and outward like she is throwing off a smothering shroud, but I watch from the far side of a veil of my own. She moves, and whatever feeling is within that movement is hidden from me.It might be a dance or a fury, a wild tarantella or a somber ritual. I cannot see it clearly. I cannot feel it. She might have had a revelation. If so, I will never have it too.

　　Descartes's most famous argument "je pense, donc je suis" ("I think, therefore I am") articulates what he considers the absolute starting point for all knowledge. Now, think whatever you likeabout Cartesian philosophy - I, for one, am not sold on most of its particulars- but he gets to this premise through a chilling thought experiment that has ramifications outside Descartes' own intentions.

　　He presents the supposition of an "evil demon" who has built the ultimate mirage, a fully fledged world of sensory experience that is not real. This demon wants to deceive the thinker into mistaking illusion for reality. Thus, the thinker who seeks truth must confrontthe terrifying realization that, in effect, the thinker knows nothing, becauseall referential points for external knowledge are illusory.

　　Long before Descartes wrote his Mediationes de prima philosophia, small Gnostic sects were talking about a similar philosophical, and sometimes mystical, being. Born from ties to Platonic philosophy, it was called the Demiurge, and for a few Gnostic thinkers, it was Descartes' evil demon writ on the cosmic scale. The Demiurge was not, in their conception, a literal monster sitting up in the sky cackling about its mischief, but instead was a concept - the idea of the physical, material world and all its deceptions and distractions. It is the opposite of truth. The Demiurge shaped the world, these few Gnostics said, but only the material world.It has trapped humanity in a prison of the senses, and thus diminishes the divinity - the spark of spirit, the soul, the pure self - of each human bybundling them up in physical form.

　　This imprisonment was a tragedy, some Gnostics believed, because by our very natures we were not meant to be swaddled by the Demiurge's physical universe.

　　For these fringe sects of philosophers and theologians, to be human was to be something bigger, brighter, fuller than what we in our cursed distraction perceive ourselves to be. It meant more than slogging through life, being born, surviving. To be human was, by its verynature, to be divine.

　　What the Demiurge has done to humanity,they said - what the presence of the physical, sensory world has done - is cut them off from their own brilliant cores, and shut them away from each other.

　　Consider the wonder and the terror here - every one of us a god, and every one of us blind and deaf and mute and lonely.

　　In the final shots of "The Fifth Kind Forest," a castaway veil floats past the space where a person once stood. I,watching, want to turn and find her. I want to reach out and feel that veilsnag on my fingertips. I want to tear away the fabric between us, and see, and understand, and know what she knew, find what she found, whatever rage or grief or epiphany gave her the power to catch hold of that shroud between her and thesky and pull it from her face.

　　But I never can.

　　Those ancient Gnostics who saw such evilin the physical world may have found some solace in Linji Yixuan, ninth century Chan Buddhist. "If you see the Buddha on the road," he wrote, "kill him."

　　I am stricken, now and again, with shocks of existential loneliness. "The Fifth Kind Forest," when I watch it, thrusts that loneliness straight to the forefront of my mind. It presses my own veilclose to my eyes so that I cannot deny that it is there, and through it shows me a Buddha - a human, the  Gnostics would have said, just a human, and 'just' here is wrong, for only being human is all there is to be, all that can ever be - whose path I cannot walk and whose heart I cannot understand.

　　I am left with only myself, and the last lingering traces of someone who knows something I do not. The sunlight passes through the veil like water through a net, and smooths away all traces of her shape.

栗子作品

刺 视频装置  84cm x 104cm x 150cm  2019

博物馆 装置  尺寸可变  2019

博物馆装置  尺寸可变  2019

气味香水装置  127cm x 80cm x 122cm  2019

气味（局部）香水装置  127cm x 80cm x 122cm  2019

气味（局部）香水装置  127cm x 80cm x 122cm  2019

躯干综合材料  76cm x 110cm x 9cm  2019

躯干综合材料  86cm x 58cm x 10cm  2019

　　栗子2003年毕业于湖北美术学院油画系，完成了学士学位，2007年毕业于湖北美术学院取得了硕士学位。现生活工作于北京。多次受邀在国内，瑞士，巴黎，意大利，德国，美国，马来西亚等地举办个展和参加群展。作品也被筑中美术馆，K11艺术机构、深圳e当代美术馆、漓江美术馆、深圳美术馆、石家庄美术馆、上海中邦美术馆等和私人收藏。个展经历：2019年"LIZI"个展，Visionarea Art Space，罗马梵蒂冈；2018年  "LIZI"当代艺术展，拿破仑私人博物馆，法国巴黎；"直刺灵魂- 栗子个人项目"，瑞士洛桑；2017时间的复现，筑中美术馆，中国北京；2016第五类森林，e当代美术馆，中国深圳；2015影子的影子，桥舍画廊，中国深圳；2014浮沉，Fabrik Gallery，中国香港；2014影子的影子，桥舍画廊，中国北京；2013年160分贝，悦·美术馆，中国北京；2012迷失，Director's House，德国柏林；2010阿修罗，中邦美术馆，中国上海；2007般若心经·彼岸花，深圳美术馆，中国深圳。重要群展：2017：形态之谜，TOTEM- IL CANALE画廊，意大利威尼斯；160分贝-栗子个人项目，巴黎大皇宫，法国巴黎；2016：the-solo-project当代艺术博览会, 瑞士巴塞尔..等。栗子创作早期以架上绘画为主，近几年扩展至装置，影像等多个纬度的创作。"神秘感"是栗子作品的最大特点，这应对了哲学上人在世界中存在的基本体验。"这个世界是无限大的，也是无限小的，只是我们在这个点上相遇了"，她认为人有无数个前世今生的积累，这构成了绘画中的"异次空间"，仿佛有"无数维"，由此视觉看见的和没有看见的以一种"幻影"的方式"罩染"在她绘画之中。

　　Li Zi

　　Graduated from the Department of oil painting of Hubei Institute of Fine Arts in 2003, completed the bachelor's degree, graduated from Hubei Institute of Fine Arts in 2007 and got a master's degree.She works and lives in Beijing.

　　She has been invited to hold solo exhibitions and participate in exhibitions in China, Switzerland, Paris, Italy,Germany, the United States, Malaysia and other places. Her works have also beencollected by chi K11 art space，Li Jiang Art Museum, Shen Zhen Art Museum, Shi JiazhuangArt Museum, Zhong Bang Art Museum, Zhu Zhong Art MuseumM and so on.SoloExhibition: 2019 "Li Zi"  Contemporary Painting Solo Show,Visionarea Art Space，Rome, Italy；2018  "Li Zi"  Contemporary Painting Solo Show, PalaisVivienne, Paris, France 2017 "Representation of Time"li Zi's exhibition, ZhuZhong Art Museum,Beijing,China; 2016 "Forest：The 5th Category- Li Zi Solo Exhibition",e Museum of Contemporary Art, Shenzhen,China; 2015"The Shadow of Sense" Li Zi' s New ArtShow, Bridge Gallery, Shenzhen, China; 2014 "The Shadow of Sense" Li Zi's Contemporary Art Show , Bridge Gallery, Beijing, China; 2014  "Moisterles" Li Zi's Contemporary Art Show , Fabrik GALLERY, HK, China;2013  "160 Decibels"---- Li Zi's Contemporary Art Show, YueGallery, China; 2012 "LOST" Li Zi Contemporary Painting Solo Show, Director'sHouse, Berlin , Germany; 2010 "Asura" Li Zi Contemporary Painting Solo Show,Shanghai Zhongbang Gallery, Shanghai, China ; 2007 "The Heart of PrajnaParamita SitraoManjusaka" Li Zi Contemporary Painting Solo Show, Shenzhen ArtMuseum, China; Group Show: 2017 "THE MISTERY OF FORM"，TOTEM-IL CANALE Gallery，Venice，Italy;"160DB- Li Zi's solo project", Grand Palais, Paris,France；2016 "the-solo-project | Contemporary art fair"，Basel，Switzerland…

　　Li Zi painting was mainly basedon easel painting in the early years, and expanded to several fields such asinstallation, video in recent years."Mystery" is the most obviousfeature of Li Zi's works, which meets the basic experience of human beings inthe world in philosophical concept."The world is infinite and infinitelysmall, we just met at this point." She believes that people have countless pastlives, which constitutes a painting of "Cross space". Like "countlessdimension",Thus the visual and the invisible are "stainedcovered" in her paintings in a "Phantom" way.