A crow has been calling for a whole day 一只乌鸦叫了一整天

Liu Yi [CN]
刘毅(中国)

Animation and video installation
旅行记录体实验影像动画装置

12′

2016

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Commissioned by 3rd Shenzhen Independent Animation Biennale
由第三届深圳独立动画双年展委约创作

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November 2015 I went to India, India came back the whole year, after traveling back to the time of radiation can disappear. Hangzhou look back, the boundaries of local boundaries have disappeared, perhaps at the moment and another city-related, and their own bodies. The flow of images, there is a latent time is very full of imagination, animation is part of the psychological changes into visual presentations, it is a very long painting, painting as a potential clue, and painting part is Tile things down after image erase time.

Crow is a very special impression of India, everywhere, there are numerous, they are not afraid of people, not afraid of cars, full of magic quack sound resounded through the whole city, with the distance between death and erosion on the streets of India lying down Of the people have a kind of spirit, seems to have a kind of unparalleled survival posture, to the night is that they patronize the poor people of the nightmare.

In Hindi, yesterday and tomorrow are the same words.

Time does not move forward. When all the riverside people understand the time with the river, they burn the body here, incarnate as gray, return to the eternal life, they will finish drinking the clay cup on the offal, fell to the ground into dust, they use Banana leaf to dress food, with short flowers to worship the rock …

Time beyond the spatial partition, the survival of the different regions of the city, natural state, normal, social potential development. Whether it is to capture the dynamic memory or memory of the scene of the theater, have become our common life theater.

2015年11月我去了印度,印度回来后整一年,旅行回来后所能辐射的时间消失了。杭州回望,地方性的边缘界限已经消失,也许此刻和另外一个城市有关,和自己的身体有关。影像流动的画面,有潜在的时间性又是非常充满想象,动画部分又是将心理的变化,变成视觉呈现,它是一部非常长的绘画,绘画成为潜在的线索,而绘画部分又是影像消除时间之后平铺下来的东西。

乌鸦是我对印度的一种很特别的印象,到处都是,纷纷扬扬,他们不怕人,也不怕车,富有魔性的呱呱叫声响彻整座城,它们与死亡糜烂的距离与印度街头随地躺倒的人有一种神似,似乎都有着一种庞若无人的生存姿态,到了夜晚便是它们光顾着这些穷人们的梦魇。

在印地语中,昨天与明天是同一个词汇。

时间并不向前流动。当所有傍河生息的民族都用河流来理解时间,他们在这里焚烧躯体,化身为灰,回归生命的永恒,他们将喝完的陶土杯喝完就杂碎,落到地上化为尘土,他们用芭蕉叶来盛装食物,用短暂的鲜花来供奉岩石….

时间超越了空间隔断,城市的不同地域的生存状况,自然的状态,常态,社会潜在的发展。不管是即性捕捉的记忆动态还是记忆中的情景剧场,都变成我们的共同的生活剧场。

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