Blogs/ About 《Expressionism》
By Zhang Xianmin, published on 02 Apr 2019
This is Chinese expressionism. Its focus is not on the contrast of light and shadow, nor on the strange structure of architecture, but on the collision of people.
I want to portray it as a closed collective act. Several people locked themselves in a space, collided with each other, confronted each other and went to violence.
This film is not a record of this behavior, but participation and assistance; this is not fictitious, there is no narrative line, no character set, everyone just collides with others according to their own personality and their own imagination. So this is an experimental work.
The shooting process is consistent with the experimental process. It seems that the two lenses (small SLR) are mixed and edited after shooting. The tasks undertaken by the two lenses are witnesses and records, but the lens itself is catalyzing the progress of things, and is also avoiding, to slow down the speed of things to the direction of violence. The lens is a participant in the event, the photographer joins the collision with others, and also avoids the collision to the point of hardware damage.
Another obvious feature of this experiment is that there are no processes, or nodes of the process, so that it is not only a test of closed space and humanity, but also a test of freedom, placing individual freedom in the group. The starting point is just a concept, the concept is constantly fermenting, like the variation of music, or the repetition of the theme of some paintings, such as the use of iron brushes in modernism to brush out the different lines of black paint. One effect of freedom of process is that everything begins and ends, and a free collision must reach a certain critical point, making it impossible to continue.
This is the abstraction of this piece. On the figurative level, it is performed by several specific free artists. Xu Ruotao is the director of the film and is probably the main proponent of the concept of collective behavior. All the participants contribute to the conceptual level, at least their bodies. And words are free, they contribute a lot to themselves. This question, Xu Ruotao tried to explain, and the words and the words stopped. I don’t really want to know it. I can see the film. Xu Ruotao is the director of one of several shots. In addition to him, the performers include Hua Yong, Ye Haiyan, Qiu Hongfeng, Chasing Soul, Huang Xiang and others. In this way, even if you don't see this experimental film, some people will have a concrete understanding of it.
The ultimate enclosed space is about an artist studio. It’s okay to walk 15 steps in a straight line. The wall is tall and dark, with light coming from above and some different directions. There are a few simple props like the stage, such as a half-old single sofa, at the heart of the performance area.
Xu Ruotao's paintings, I have seen the multi-color straight lines in multiple directions, large, abstract, not consistent with the expressionism of the painting I understand. His video works, or the video works he has worked with others, are changeable and difficult to ponder. They are neither in the customary exhibition of video art/devices nor in the cinema.
Looking back at his previous video works from Expressionism, I think there are several common features: he has the intention to condense the "world" into a small theater. What happens to him watching this theater himself, this is the opposite In the script, the script will stipulate what should happen and how it happens; he needs a few friends, friends are providers of physical and discourse, free to play a large space, is a model of living meaning, but does not carry the task of character or plot, but also It is difficult to say that there are moral orientations of characters, but there are certain metaphors. Metaphors are also open. Interested viewers can sum up a lot of them; the body is very important, touching, binding, colliding, hanging, stumbling, etc.; the concept of the game is not On the basis of narrative, it does not operate according to the size of meaning or interest, but how the continuity of the physical performance of the living model depletes energy in time, the natural cultural symbols or metaphors how to exhaust their own variations, but the second There is also a change between the two, the new game repeatedly solves the old game, although the power is exhausted but the problem is not solved; Or restart relations; forced Meng, very easy to watch.
I am very worried about the process of watching Expressionism. Netizens use words to say my heart. I understand that the setting is that they can't get out, and I understand that they will inevitably collide with each other. It's a bit like whether a horror film really makes us fear. Is violence really terrible? Who would be afraid of the sticks in the classmate's bag? Who is afraid of the teacher's pointer? Will we stop outside the violence because of the intimidation of violence against us? "Don't go to the good night with gentleness." How do you know if violence really happened? How do you learn to stop violence without going in? "Don't be afraid of the darkness" does not mean that we are passing through, but that we should not be afraid to walk into areas that we do not understand. Religious people use this phrase to refer specifically to the world after death.
Fear is not the only choice.