唐骁 TangXiao

艺术常常作为一种链接，链接着不同的经验与视角，也正是如此，个体的局限才在丰富的经验维度中不断被突破，新收获的经验也将帮助我们更好的看待世界，观照生活。芷美空间近期推出的艺术Talk栏目，亦即期待用艺术与观众链接，让观众在新的经验与视野中，启发生活。

本期艺术Talk栏目，我们邀请到“百分百”2021东湖国际生态雕塑双年展的参展艺术家唐骁，在与他的对谈中，一起感受作品《撷音》中的“静中取声，声塑其形”。

对谈；

此次展览，您的参展作品为《撷音》，能否谈谈这件作品您的创作思路是什么？

20世纪30 年代军用雷达诞生以前，英国在靠近欧洲大陆一侧用混凝土塑造了巨型的回音壁，这些最初的科技设备在一战中出现，用来防控探测从欧洲大陆飞来的战机，现在看起来这些设备的外形十分的怪异。

虽然由于技术的局限，这些设备的探测范围并不远，但鉴于当时能够进行超视距攻击的导弹还没有出世，飞机空袭必须抵近目标上空，它们在实际运用中还是发挥了一定的作用。

19世纪末20世纪初一战时期的雷达士兵靠耳朵和声音放大装置来监测远处的动静。难以想象，一个战士在漫长的时间里，注视着大海远处，耳里是放大后的海涛和风声，他试图在不断重复的音浪中寻找飞机引擎的噪声，以期能够给予后方的家园多出10到15分钟的预警时间。战士努力辨别，但也许他希望敌机引擎的声音永远不会出现。

在这里，听音器变成了我们听觉器官的放大和延伸，让我们在庞杂的声音中去专注的寻找自己需要的一段音调变成可能。石门峰纪念公园山水树草间影影绰绰的声响让我感到在此处应有一处能让人背靠山水，在虚空中切割出一个停留听音的装置，静中取声，声塑其形。纪念公园现有抗战空军纪念区，声音互动雕塑应是传统纪念雕塑的有机补充。这即是表达声音的雕塑，雕塑的声音的概念由来。

作品是一件“声音”雕塑作品，声音是一种看不见摸不着的东西，为什么会选择这种创作方式？

我们感知这个世界的途径都是相对的，更何况看见摸到的不一定是我们所以为的东西。所以，世界的统一性在于其物质性，既然时间空间作为这个世界中的一个维度，也是物质。那么声音也可以被理解为波对于时空这种物质的某种描写，我把这种描写形容为一件关于声音景观的雕塑。

在您的思考中作品与观众之间是一种怎样的关系？

在绘画概念里，作品与观众是被观察之物和观察者之间的关系，空间相对是稳定而单向的。而在雕塑概念里，由于观看的动线发生了位移由单向变为多维，作品和观众是介入和围绕的关系，而且这种介入和围绕的关系在互动过程中还会随机转换。比如，当观众坐上那把椅子，整个作品的视觉、空间、重量、运动甚至价值等一系列关系都发生了改变。当观众离开，一切又清零回到原处，这对于创作者来说是一件很有意思的状态。

还有这件作品落地之后，与所处环境会是怎样一种关系？

希望这件作品落地之后就变成遗迹，遗迹意味着和生态达成妥协：泥土和植物会逐渐将作品的四周吞噬，灰尘雨雪会在作品表面留下风化的痕迹，经常被触摸的地方会露出金属的本来颜色等等诸如此类的“自然改造”。

所谓自然改造，是一件作品离开艺术家的工作室后所产生的自我成长的过程，环境才是作品最终的归宿，而环境所施加的力量是作品获得长久生命力的源泉。

作品与武汉这座城市的文脉是否有联系？

武汉这座城市是一座码头，一个车站，船泊船走，车来车往。在大多人心目中也许是一个旅途中稍作停留的地方。但也正因此，川流不息的人和物给这座城市留下了太多混杂而鲜活的信息和痕迹，化作大江大湖上云蒸雾绕的烟火气

这件作品也是一个中转站，它不属于任何人，也属于任何人，人的每一次停留都会给这件作品留下可见或不可见的改变，这就是某种联系。

此次展览的主题为“百分百”，对于这一主题您是如何理解的？

一百分之一百的答案就是“一”，道法自然而生一，一生二，二生三，三生万物。

自然之道，生态之道就是求一，我们在同一个空间里共生共存，然后从一这个元点和自然生态一起生发出万般可能。

展览聚焦“生态雕塑”，关于“生态雕塑”这一概念您是如何理解的？

我理解的“生态雕塑”是自然环境能够吞噬消化的物，是生态系统能接受并加以改造的寄生体。

此次展览还有新媒体作品，公共艺术的外延似乎在不断拓展，您是如何看待公共艺术在当下的发展的？或者在您看来当下公共艺术发展的趋势是什么？

公共艺术存在的正当性来自其公共物品属性，而完整的公共物品属性是人类社会在漫长的历史过程中始终在尝试提供给公众的产品，具有非排他性和非分割性等特征。

在当下，公共艺术还在逐步地向非排他性等这些特质的实现而努力。由于人的学习方式、交流方式、工作和生活习惯的改变越来越快，通过新的媒介、算法和大数据，公共艺术发展的趋势可能会更加个人化，针对不同人群，艺术需求投放得更具体。

具体到此次展览，在您看来，像“生态雕塑双年展”这样展览的举办对于城市或者公共艺术的发展有怎样的意义？

城市的发展在原始积累的阶段主要看经济数据的增长，而发展到一定阶段之后，生态数据和人文数据的重要性就会提升。“生态雕塑双年展”这样展览的举办对于一座基本架构规模发展都相对成熟的城市而言，是提升人文数据的重要工具，也是在旧发展点逐渐老化后再次加速的助推器。

Exclusive interview-Tang Xiao: Taking sound from silence and shaping it with sound

Art often serves as a link between different experiences and perspectives. It is precisely in this way that individual limitations are constantly being broken through in the rich dimension of experience. Newly gained experiences will also help us see the world and life better. . Zhimei Space recently launched the Art Talk column, which hopes to use art to connect with the audience, allowing the audience to enlighten their lives in new experiences and perspectives.

In this issue's Art Talk column, we invited Tang Xiao, a participating artist in the "100%" East Lake International Ecological Sculpture Biennale 2021. During the conversation with him, we felt the "sound in silence" in the work "Extracted Sound" , the sound shapes its shape.”

conversation; conversation

In this exhibition, your participating work is "Excerpted Sound". Can you tell us about your creative ideas for this work?

Before the birth of military radar in the 1930s, Britain built a giant echo gallery of concrete on the side of the European continent. These first technological devices appeared in World War I and were used to prevent, control and detect fighter planes flying from the European continent. Now The appearance of these devices seems to be very strange.

Although the detection range of these devices was not far due to technical limitations, given that missiles capable of beyond-visual-range attacks had not yet been developed and aircraft air strikes had to reach close to the target, they still played a certain role in practical applications.

Radar soldiers during World War I in the late 19th and early 20th centuries relied on their ears and sound amplification devices to monitor distant movements. It is unimaginable that a soldier stared at the distance of the sea for a long time, with the amplified sound of sea waves and wind in his ears. He tried to find the noise of the aircraft engine in the repeated sound waves, hoping to give more peace to his homeland behind. Give a warning time of 10 to 15 minutes. The soldier struggled to discern, but perhaps he hoped that the sound of the enemy's engines would never be heard.

Here, the listening device becomes an amplification and extension of our auditory organs, making it possible for us to focus on finding the tone we need among the huge sounds. The shadowy sounds among the mountains, rivers, trees and grass in Shimenfeng Memorial Park made me feel that there should be a place where people can lean against the mountains and rivers, cut out a device in the void to stay and listen to the sound, take in the sound in the silence, and shape its shape with the sound. The memorial park currently has a memorial area for the Anti-Japanese War Air Force, and the interactive sound sculpture should be an organic complement to the traditional memorial sculpture. This is the sculpture that expresses sound, and the concept of the sound of sculpture comes from.

The work is a "sound" sculpture. Sound is an invisible and intangible thing. Why did you choose this way of creation?

The ways in which we perceive the world are all relative, not to mention that what we see and touch may not necessarily be what we think it is. Therefore, the unity of the world lies in its materiality. Since time and space, as a dimension in this world, are also materials. Then sound can also be understood as a certain description of the material of space and time by waves. I describe this description as a sculpture about the sound landscape.

In your opinion, what is the relationship between the work and the audience?

In the concept of painting, the relationship between the work and the audience is the relationship between the object being observed and the observer, and the space is relatively stable and one-way. In the concept of sculpture, due to the displacement of the movement line of viewing from one-way to multi-dimensional, the relationship between the work and the audience is intervention and surrounding, and this relationship of intervention and surrounding will change randomly during the interaction process. For example, when the audience sits on that chair, a series of relationships such as vision, space, weight, movement and even value of the entire work change. When the audience leaves, everything returns to its original place. This is a very interesting state for the creator.

And what kind of relationship will this work have with its environment after it is put into place?

I hope that this work will become a relic after it is put on the ground. Relics mean reaching a compromise with the ecology: the soil and plants will gradually swallow up the surroundings of the work, dust, rain and snow will leave traces of weathering on the surface of the work, and places that are frequently touched will be exposed. The original color of the metal and other such "natural transformation".

The so-called natural transformation is the process of self-growth that occurs after a work leaves the artist's studio. The environment is the final destination of the work, and the power exerted by the environment is the source of the long-term vitality of the work.

Is there any connection between the work and the context of the city of Wuhan?

The city of Wuhan is a dock and a station, with boats moored and moving, and cars coming and going. In most people's minds, it may be a place to stop during the journey. But precisely because of this, the endless flow of people and things has left too much mixed and vivid information and traces on this city, turning into smoke and smoke on the rivers and lakes.

This work is also a transit station. It does not belong to anyone and does not belong to anyone. Every time a person stays will leave visible or invisible changes on the work. This is a certain connection.

The theme of this exhibition is "100%". How do you understand this theme?

The 100% answer is "one". Taoism naturally produces one, two produces two, two produces three, and three produces all things.

The way of nature and the way of ecology is to seek oneness. We coexist in the same space, and then from the point of oneness and natural ecology, all possibilities arise.

The exhibition focuses on "ecological sculpture". How do you understand the concept of "ecological sculpture"?

What I understand as "ecological sculpture" is something that the natural environment can swallow and digest, and it is a parasite that the ecosystem can accept and transform.

This exhibition also includes new media works. The scope of public art seems to be constantly expanding. How do you view the current development of public art? Or what do you think is the current trend in the development of public art?

The legitimacy of the existence of public art comes from its public goods attributes, and complete public goods attributes are products that human society has been trying to provide to the public throughout its long history, with characteristics such as non-exclusiveness and non-divisibility.

At present, public art is still gradually working towards the realization of these characteristics such as non-exclusiveness. As people's learning methods, communication methods, work and living habits are changing more and more rapidly, through new media, algorithms and big data, the development trend of public art may become more personalized, targeting different groups of people, and art needs will be more invested. specific.

Regarding this exhibition specifically, in your opinion, what significance does the holding of an exhibition like the "Eco-Sculpture Biennale" have on the development of cities or public art?

In the stage of primitive accumulation, the development of a city mainly depends on the growth of economic data. After a certain stage of development, the importance of ecological data and humanistic data will increase. For a city whose basic structure and scale are relatively mature, exhibitions like the "Eco-Sculpture Biennale" are an important tool for improving humanistic data, and are also a booster for accelerating old development points after they gradually age out.