duilianr

[duilianr]

BYOB Beijing 2014 My song “Back to the Patio” as the background music for the BYOB (Bring Your Own Beamer) event a couple weeks ago in Beijing. Visual artists showcased their works in the alleyways of the old city.

[duilianr]

《地下》 屋頂怎麽看怎麽像紅色沙漠 / 狐狸尾巴 / 總之我們居於地下 / 通常這種時候 地下響起大片癖好迥異的紫 但今晚是白 / 那是一盞從未亮起的白熾燈 / 内部一覽無餘 一無所有 ——潘

Roofs are looking like a red desert  tail of a fox We live underground At this hour of a regular day purples of varying preferences ring out while tonight it is the white It is an incandescent lamp that was never on The inside makes an unobstructed view of nothing at all

——Pan

[duilianr]

无题

當然是可以這樣開局的。

荷塘把她乾枯的影子吸進了水中，她本就沮喪著，這回沒什麼力氣差點跪坐在地上。她能看到前方的亭子，她知道他是看不見的——望遠鏡是實心的嘛，誰讓你是個雕像呢。從不同礦物中提取的，糖豆似的彈藥也只是浮現在展館的衛生間上空出現一下，紀念那個年代好像有過虛幻的輝煌似的。她拍了他PS了它又丟掉了被拍的然後再次被拍攝，在重複疊加的曝光和行為中，她也成為了一個道具。

然後也是可以這樣繼續的。

關於這兩張圖片，有三條外部新聞，以及兩個私人事件。

1.1997年始，東港市人民政府和中國藝術研究院企業文化研究所，策劃從黃海深海海域打撈致遠艦一事。經國家文物局批准成立了“打撈籌備辦公室”。澄西工程公司在沉船海域開始了探摸工作並產生勘測費用欠款200餘萬元。然而這之後不知何故“打撈籌備辦公室”又被國家文物局取消。於是三家政府單位被告上法庭，演變成為一場與致遠艦看似有關但又無關的官司。

2.重慶2011年2月7日凌晨零時許，沙坪壩區磁器口正街發生火災。

3.2013年11月28日凌晨4時許，重慶黔江濯水古鎮風雨廊橋遭遇大火，橋身上的木質建築被燒毀。

4.2010年，重慶，我的佳能卡片相機丟在了出租車上。丟之前剛在磁器口的雞雜火鍋店拍了一段特別好的，大家談話的錄像。那次谈话中印象最深的一段话是“摄像机总这样晃观众不会晕么？” “没关系他们会习惯的。”

5.2012，在蘭州的皇廟，當時喜歡一個男孩兒，那是第一次和他約會。

我做了一個小圖表：按照內部時間和外部谷歌搜索量來排列順序。可能他們之間暫時沒什麼關係，但覺得這樣羅列自己的生命點，朋友的生命點，世界的事件點是件有趣的事。

Of course it could be start in this way.

Lotus pond  drew all of her withered  shadows in the water. She was depressed before this moment. This time she are so weak that almost  kneeling on the ground. She could see the front of the pavilion , She knows that he can’t see it------because the  telescope is solid. who let you  are a stone statues? Extracted from the different minerals, ammunition just like jelly beans was appears in pavilion over the toilet. Commemorate that times maybe have some illusory glory. She shoot him and PS it and lost the shoot thing and was shot again. In the double-exposed, she had been a stage prop.

  And then it could be continued  in this way.

1. 1997, Donggang City People's Government and the China Academy of Art Institute of Corporate Culture, planed to salvage Zhiyuan ship from the deep waters of the Yellow Sea. National Heritage Board approved to establishment of the "salvage Preparatory Office".Chengxi engineering company had  began work and survey that costs incurred about  more than 200 million RMB. However, after this somehow, National Heritage Board had canceled the "salvage Preparatory Office". So the three government  taked to court.

2. Chongqing 7 February 2011 12.30am, Shapingba District Ciqikou Street  had fire

3. At 4:00 on November 28, 2013, Chongqing Qianjiang wash water bridges suffered fire storm town, wooden bridge buildings were burned.

4. 2010, Chongqing, my Canon camera had lost in a taxi. Before lost I had shot a perfect talking video from friends.

5. 2012,The imperial temple in Lanzhou ,I was like a boy, that was the first date .

I made a chart: According to the internal time and external Google search volume for the sort order.

From YueMing

[duilianr]

From GaoYuan to YueMing

[duilianr]

From YueMing to GaoYuan

[duilianr]

地心說

說：凡通道總有因果——來處、去處——是為“通”道。說：妳的方向是“走”——向内向外、及上及下、至左至右。而“走”本身即是蠱惑：令眼睛看向腳下；唯腳下的是方向。而“說”沒有主語——把這稱作破綻？缺口、漏洞或裂縫？

我的旅程即由它開啓：沿側壁滑動，手搭在天花板上；而牽引我的是重力；而向我敞開的是地心。它贈我格言如下：

（一）“通道”的著力點在於“道”；（二）所有的入口也即出口，任意一點都可以是入口或出口；（三）目的地是不可靠的，它可能存在鏡像；（四）重復可能加強也可能消除；（五）比方向更真實的，是留（在）或走（動）。

我“回”顧前面的旅程：“沿側壁滑動，手搭在天花板上；而牽引我的是重力”——不合邏輯，卻儘管發生。以“走”的方式擺脫“走”（或“發生”）的蠱惑之後，我的眼睛得到解放：縱深化于平面，一切都分散了。儅我尋找一件言説的工具（紅色喇叭），我就得到四件一模一樣的——兩兩一組分處彼此兩岸（當然沒有岸）；儅我尋找一棵樹，我就得到一片林；我要邁出一步，面前便是數節沒有起點和終點的臺階；要滑動，便有數條平行的索道。我於是陷在這樣一種處境裏：我被方向/選擇/可能性包圍了，卻只有“在這裡”這一種可能——

一種既無速度也無始終、均勻的懸浮狀態；一種依靠不斷違反自身而維持的處境。

——潘

Say: Where there is a passage, there is always a cause and an end -- where from, where to -- so shall it be a passage. Say: Your direction is "to move" -- inward or outward, upward or downward, to the left or to the right. Yet "to move" is itself a bewitchment: making your eyes look down; only what is down there indicates direction. And yet there is no subject that did "say" -- call this a seam? A gap, a leak, or a crack? That is what initiates my journey: I slide along a wall, with one hand placed on the ceiling; whereas it is gravity that pulls me; whereas it is the heart of the earth that opens to me. It gives me mottoes, as follow: (a) The point of "passage" is "Tao"; (b) all entrances are exits too, and any point can be an entrance or exit; (c) destinations are unreliable, since they might have doubles; (d) to repeat can either enhance or eliminate; (e) what is more real than directions is to stay (at) or to move (toward). I look "back" at my previous journey: "I slide along a wall, with one hand placed on the ceiling; whereas it is gravity that pulls me" -- it is illogical, yet it just so happens. Being rid of the bewitchment of "moving" (or "happening") by the way of "moving", my eyes are emancipated: depths dissolve into a plane, and all things are scattered. When I look for a tool for speaking (a red loudspeaker), I get four that look exactly the same -- two in a pair and scattered on two sides (yet no side truly exists); when I look for a tree, I get a forest; when I intend on one step, there are staircases without any start or end; when I am to slide, there are several cable-ways that parallel each other. I therefore find myself in such a situation: I am surrounded by directions/choices/possibilities, while the sole possibility I have is "to be here" -- An even and suspending state where there is neither speed nor ends; a situation which maintains itself by constantly violating itself. -- Pan

[duilianr]

From YueMing to Pan

[duilianr]

From Pan to YueMing

[duilianr]

"明智﹣給六個朋友"一種顏色等待另一種顏色/愛在等待中枯萎/ 物與物相近的方式是點、線、面/ 挨着/ 你與我永遠平行/ 不相交便不會相叉/ 不能成為Y的H歡喜至少沒有成為X/ 在晚霞中走上天台看書/我手裡永遠捧滿五十色/你知道 ──溪

"Wise - to six friends," One color wait for another color / Love withered in the waiting / Things and things similar to the way a point, line, surface / Besides to each other /  You and I will always in parallel /  If we not intersect we will not separate /  H is happy about even it cant be Y at least not become X /  Walk onto the roof in the sunset, reading /  My hand will always full of fifty colors /  That you know. ─ ─ Xi

[duilianr]

From Pan to Xi

[duilianr]

From Xi to Pan

[duilianr]

他看到城牆從每一寸磚縫起褪毛般迅速溶解為透明，看到那個人從海中走來，一隻木船像循環GIF一樣在那人背後機械地搖晃，輕如紙殼。這時他是坐在母親的車座上，他和她和一個路人同時把目光投向城牆，但只有他看到有人從海中走來。它們都沒有影子。

     有三種路徑通往這個場景：1、我虛構一個人但假設他是真實的人而服用了藥物，他如實記錄下以上幻覺；2、我虛構了他也虛構了他的這一經歷，在我的敘述中他 真的有透視能力；3、這是一個隱喻，隱喻總有動機，隱喻不一定可以解釋但總有動機，而這動機必深埋於我的經驗。無論哪一種路徑都不能讓場景成真，也不能使 其擺脫與真實的牽連，這就是敘事的牢獄。只有超越敘事的書寫能溢出這一牢獄，一種幾乎不可能的書寫，而正是這個“幾乎”不斷引誘出新的文學和哲學。         也許還有第四種路徑：說出這一場景，僅此而已，任其自我指涉，但前三種路徑帶來的閱讀經驗總使第四種路徑無法成立，或是掉入另一個牢獄：無。         ——高源

[duilianr]

From Xi to Gao

[duilianr]

From Gao to Xi

[duilianr]

墓穴

他是個乒乓球運動員


他得過無數次冠軍


風和角度可從他的指縫里輕易生長縮回

一次月亮石的引誘


“多漂亮啊，我要追求所有美好之物的界限。”


他在月食那日來到墓穴的洞口


涼風刮來古人的哀歌


淒楚的夢言語了地圖

怎麼可能那麼簡單就讓你得到呢


一場對決勢在必行


急轉球，短球，也有下旋球


通紅的贋品一顆顆碎掉


腳下遍是經商的虛榮與大賽的榮耀

舞者踏住月亮的邊沿


甘願被線圈束縛手腕


裝著薄夢的蒼白身體滾滿黑泥


巍巍而立的屍體

然而，只有一顆夜明珠


然而，月食之夜的盜墓者不止一人

——YueMing

[duilianr]

lunar eclipse

From Gaoyuan to Yueming 

[duilianr]

Moon Dance From Yueming to Gaoyuan