Pavilion|亭

单频影像 9′15″ 2019

摄像技术在发明之初，记录功能是它为全新的观看敞开的新世界。在《亭》系列中，艺术家 用了近十年时间对山上的一座亭子进行了无数次的观察和记录，并从气象学的角度对同一景观 反复阐释，以选择性记录的单纯动作回到静观式的观看，探讨真实与虚幻、遮蔽与显现的哲学 命题，是向默片时代朴素纯影的致敬。天气成为剧场，风、湿度、雨雪，这些天气元素是统摄 剧场观看的决定力量，它可以瞬间改写剧场的气质，任意遮蔽或显现场景中的母题，令它们出 现或消失。同时，景观的观看在时间中显影，揭示出时间的形状。 道路所舍，人停集也，亭是中国传统园林建筑的经典形制，除供人休息、乘凉和观景之用， 开敞性的结构，也提供了由内向外的观看和由外向内观看的双重视角。在天气和时间的流转之 间，《亭》也成为传统文化影像化的符号象征。

video，9′15″，16:9，mp4，2019

Pavilion is Che Jianquan’s solo project that has been operating for over a decade. With a distinctive working method compared to that of his previous art practice, Che digs deep repeatedly into an identical motif in this series. Started from the debut of the first work of the Pavilion series in 2007, the artist has made ten video works for this project, with which creative premise is based on the long-term observation and recording during different time and seasons. Seeing the same pavilion in such a cross-timal manner, Che hopes to eradicate an individually inherent view of the world—namely jneyavarana ( the obstruction of what remains to be known) in Zen Buddhism—that shows strongly self-existence- based thinking and judgment hindering a perception of the infinity of the world. In fact, it is through this selective manifestation that we can sufficiently present the endlessly changing world through the lenses; despite being an obstacle itself as well, this selective manifestation by an undifferentiated viewing has reduced the author’s intervention and has become Che Jianquan’s working method as seemingly doing nothing but viewing, in an attempt to get rid of jneyavarana. As a result, images from Pavilion become multiple sections of the process of manifestation. In repeated presentations, objects or motifs under frequent inspection reveal the original shape of the world. If this original shape could also be seen as some sort of generalizable tendency or style, it must be the world’s multifaceted extension which, relatively, will invalidate habitual experiences and concept

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