空间哲学/The Philosophy of the Space

一月 15, 2017
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创造差异空间

空间创建於2012年,命名为small-logosmall-logo是一个自造的汉字,读yao,二声,与我的姓氏“堯”以及烧制所用的“窑”炉同音。字的结构上部为三个土“垚”,下部为一个“火”字,非常形象地传递出制陶术最基本的两个元素以及装窑的重叠方式。空间位于大学城与重庆主城区之间的城中村——歌乐山之中,离学校约13公里,半小时的路程。2012年7月动工,八个月时间将一个废弃了十五年的农舍改造成一个将艺术与生活融为一体的实验场,并於2013年3月18日入驻。空间位于两村交界处,几乎接近盆地的中心,成凹陷之势,当你踏着乱石路走进空间,就犹如从外部进入了内部。
作为一位生活在当下的制陶女,如何在全球化的矩阵中创造出一个差异空间——small-logo,这是一个福柯意义上的异托邦。small-logo不是一个表意的符号,而是一个主观的自然编码,它指向制陶术最核心的状态和元素之间的关联。水的流动,风的气化,土的意志与火的精神处于异质并存的关系之中。整个烧制的过程历时10天,我们共同生活共同劳动,烧窑这个具体的行为将我们每一个人重组为一个差异的共同体,将参与其中的个体带入了共变之中。共变效应接下去会进入到参与者的生命计划之中,并会产生新的变化。强化这一共变,是因为在当下的语境中,设计已经不是在为社会或者为大众服务了,而是在为资本服务。因此,设计不能只是生产物质性的商品,而是直接生产一种社会关系和政治秩序。设计是行动者的实践,是在具体的历史语境下的反思者的行动。
small-logo空间意在将火的精神重新带回当下的中国,这意味着我们的探索不是为了满足自己,也不是为了获得社会的认同,我们只是在日常生活中渗透到接触的各种元素之中,完全地投入进这种探索。

空间的哲学

无学科运思“无学科”不是“跨学科”,也不是“多学科”,而是不存在学科界限的运思。当一门学科被极端专业化之后,它实际上已耗尽了属己的活力。无学科运思在与专业化決裂的同时,反而將一种新的潜能重新帶回自身,由于它着眼于如何能令不同领域一同运动一起变化,从而将自身从原有的限制中解放出來,产生出另样的空间。无学科运思的主体再不是某个学科的建构,因为这样的主体通常导致各学科之间的较量,在这场持久的话语权的争夺中,人类的知识大厦已然分崩离析。无学科运思的主体是“每个人”,每个人的发展被看成是一切发展的基础。

• 非异化劳动与非物质劳动
在我们探讨创造性思维的時候,很容易犯这样一种错误,那就是,过高地估计了非物质劳动的创造性潜力。当我们意识到非物质劳动的去身体化倾向已无法激活创造性思维的潜力时,非异化劳动的实践成为空间的核心问题。

• 日常生活实践
忠实你的真实感受,不要隐藏或逃避。
冒险,真正进入未知之境 。
用心去做,不要想到你將完成的东西。
无条件地付出自己
日常生活实践意味着制陶术成为一种探寻生活方式的途经。
空间在做什么
在这个不断被破坏的世界中,我们如何才能抵挡住这种破坏力的袭击,如何能创造出一种不受潮流影响的日常生活,由此从永无止尽的变迁中逃逸。这就是logo空间从2012年开始在歌乐山进行的探索计划,具体从以下三个方向展开:

• 柴烧实验
将四川民间频临消亡的梯窑改造成小型的舞焰柴窑,探索柴烧技艺和挖掘薪烧诗学的潜能。薪烧是以木柴为燃料,从实践不同的烧制方式(熏烧、盐烧、梳打烧以及高温乐烧)上去探索火的语言。这是一种懂得与火对话的制陶者喜爱的方式,这种方式使制陶者置身于一种流变的存在之中。这是一个不断试错的过程,由重复和差异共同构成的迷人现场,充满了偶然和惊喜! 薪烧是一种关于偶然性的思考方式和生活方式,它即是制陶者在日常生活中的艺术实践也是探讨未来的一种方式。对于制陶者来说,薪烧最大的魅力就是可以与偶然性一起工作,这也是为什么薪烧对于制陶者如此富有吸引力的原因所在。

• 弥补学院教学的不足
这个空间是对校内教学的一个补充,为想要继续陶艺之路的学生提供一个深入学习的交流平台。校内没法提供教师和学生一起做陶共同生活的空间,教与学还停留在制陶的初级阶段。在这个空间里所呈现的氛围给新型的艺术形式提供更多的可能性。在工作室、窑炉边上、院子里、餐桌上和喝茶时处处都是艺术与生活的融合点,我们在探讨火的语言的同时,也造就了一种更富有活力的生活方式。

• 驻留与交流计划
邀请国内的民间艺人和国外的陶艺家共同参与薪烧诗学的交流和研究;邀请具有独立精神的艺术家参与“火的精神”的多种艺术实验。每年1次,每次驻留时间为1-3个月。薪烧一次一般需要三天三夜,从装窑到出窑历时十天。薪烧是一件特别劳作的烧制方式,因此集合多人烧陶是薪烧的一个特色,除了大家可以一起在具体的烧制中研讨火的语言之外,还可以在这个过程中生成出更多的可能性。你可以想象一位日本的舞踏者,凝视着燃烧的火焰将会激发出怎样的舞姿?围绕着火,我们可以一边探讨诗歌、音乐、文学、戏剧、电影和社会问题,一边把火烧的更旺。这样我们也建立起了一种新型的社会关系,这种关系完全不同与当下商业-资本逻辑所造就的利益关系。

——2013年3月18日 尧波写于歌乐山

 


Creating Heterotopic Space

The space was built in 2012, and I named it YAO. This is a Chinese character I invented, pronounced Yao. My surname, and the Chinese word for KILN are pronounced exactly the same way. The invented character has three “earth” characters on top and one “fire” character on the bottom. Visually, it represents the interaction of earth and fire, and the three earths on top represent the arrangement of objects in the kiln. Chongqing is a mountain city, and since 2000 it has been expanding rapidly. Geleshan-the name means Song Mountain—is between the central city and the new satellite city- University City. It’s 13 kilometers from my university. Work on the space started in July of 2012, and in 8 months a farmhouse that had been abandoned for 15 years was turned into a space for art and life practice. We opened it on March 18, 2013. The space is near the center of a basin between two villages. As you approach it along the stone path, it’s as if we’re leaving one world behind for another one.

How, as a woman potter in the present age, do I create, within the matrix of capitalist globalization, a heterotopic space? I take this concept from Foucault, not as some kind of symbol, but more as a subjective code, and by “hetero” I point toward the relationships between the essence of ceramic practice and the fundamental elements that constitute it: the flowing of water; the volatility of wind; the will of earth, and the spirit of fire have a complex interrelationship throughout our making. The firing lasts for ten days. We live together and work together, and the firing process itself makes us into a kind of heterotopic community, changing and transforming each individual. And just as the fire transforms the clay, the firing transforms our lives and projects, bringing transformation and change into our daily life. I emphasize this aspect of transformation—collective, personal, and material transformation—because in our current context design is no longer in service of society or of the masses, but in the service of capital. So what I look for in design is not only the design of material things, but the design of new social and political relations. Design is, for us, is the practice of social activists and a product of their reflection on contemporary conditions.

An impetus for YAO space was to bring the spirit of fire back to China. Our exploration is not, therefore, for personal satisfaction, or for social recognition. It’s about a direct and primary connection with pottery’s primary elements, and about a total commitment to the exploration.

The Philosophy of the Space

Thinking outside the disciplines
Thinking outside the disciplines doesn’t mean “trans- disciplinary” or “multi-disciplinary”, but outside. When a discipline becomes too rigid and specialized it loses its vitality. By thinking outside the disciplinary boundaries—between the making of useful objects and decorative objects;between ceramics, sculpture, painting, acting, and installation art, and other boundaries—we involve creativity and the body in new and unexpected ways; this creates new spaces too.

• Unalienated labor but not Immaterial labor
When we examine creativity, it is common to overestimate the latent component of creativity in immaterial labor, a dominant form of labor in our socity.Because immaterial labor is so often a form of labor that rejects the body, it is incapable of being a vehicle of real creativity, and does nothing about the problem of alienated labor. Working on unalienated labor becomes a key concern in the Yao space.

• Practice of Everyday life
Be true to your genuine experience: do not conceal or avoid.
Take risks: this is the only way you will expand your knowledge and awareness
Be attentive to the process: don’t be focused on the completed object.
Give yourself fully to the materials and to the activity.
The Practice of Everyday life implies that Pottery-making becomes a way of exploring another way of life.
Activities at Yao Space.
In our search for a mode of life outside the mainstream, for a way out of the cycles of destruction and ruin that surround us, for new modes of everyday life, our first steps are in the following directions

• Experiments in wood-firing
The Dancing Fire Kiln is a small kiln based roughly on the “staircase”folk kilns of Sichuan province, now all but disappeared. We continually experiment with wood-firing technique in order to bring out the latent poetics of wood firing. We draw on techniques from smoke-firing, salt firing, soda firing, and high-temperature raku to decipher the language of fire. The potter is thus in deep conversation with the fire, and is drawn into its transformational energy. Experimentation means failure too, and the process is full of repetitions and reversals. There is real pleasure in being subject to chance and contingency. Going with the flow of chance and contingency is, for the potter, a way to form a new relationship with the future. Probably the deepest attraction of wood-firing for the potter is this deepened relationship with chance and contingency.

• Providing education beyond what is possible in the academy.
The space is intended to give students opportunities that they don’t have in the academy, and to give opportunities for those students who want to continue their work in ceramics beyond the academy. The academy doesn’t offer opportunities for faculty and students to live and work together, so teaching and learning remain at a basic stage. The atmosphere of the space is designed to open up new possibilities. The workshop, the kiln-side, the garden, the dining table and the tea-drinking space are all places where art and life blend together. As we explore the language of fire together, we are also exploring new ways of living together.

• Residency and Exchange programs
We invite folk artists from China and artists from outside China to visit and explore together the poetics of wood-firing. We invite artists with an independent spirit to do various art projects around the theme of “the spirit of fire”. We plan on one residency a year, for one to three months. Wood-firing normally lasts three or four days. From loading the kiln to unloading the kiln is a 10 day process. One characteristic of wood-firing is that it takes a lot of people. Aside from our concrete work with the language of fire, there are many other possibilities. Imagine a Japanese butoh dancer and the kind of movements inspired by the gaze into the fire. We have in the past explored poetry, music, literature, theater, film and social problems while the wood-firing gets brighter and hotter. This makes for new kinds of relations between us. Fire creates ties that commerce , capital, and profits cannot provide.

——18/3 2013  YaoBo,  Written in Song Mountain


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