高岩|第三次摆放——高岩
高岩|第三次摆放
Gao Yan | The Third Arrangement
文／李泊岩（Li Boyan）
假如说，游客是以闲逛者的状态观看景点的，高岩作为深谙观看之道的行家，对于博物馆的陈列方式提出了新的问题，即如何摆布那些本无意义的东西？和我们怎样使用日常物件来的呈现历史与重构公共记忆? 他将展品通过摄影进行再次的框取，图像化后的场景被简化得只剩下物件与空间。当照片里的内容开始变得单一乏味，但物件本身的质感与秩序，却将观看的路径引向了更复杂的意义里。
Supposedly,visitors visit tourist spots as flaneurs, Gao Yan, as an expert on ways ofseeing, brings up new questions about the displaying methods in museums, whichis how to manipulate meaningless objects? What could we do, by using everydayobjects, to present history and reconstruct public memory? He reframes theexhibits through his camera, with photographed scenes simplified to exclusivelyobjects and space. While the content of the photographs started to becomeunvarying and drab, the way of seeing is leaded into more complex meaning bythe objects’ materiality and order.
景点中的纪念馆、博物馆、名人故居，是高岩这次走访的重点，从华北到西北又到华南，他感叹到：“中国有那么多的博物馆。”当然，这里的“博物馆”还需要额外加引号，因为它们都是被社会主义美学所引导的政治空间，展陈着许多中国近现代历史人物所使用的生活物品，和与之相关的装饰化景观。因为这些物品的年代并不久远，所以通常使用精心打造的展台，或者还原现场来突出它的视觉效果。
Amongtourist spots, memorials, museums and former residences of well-known peopleare the focus of Gao Yan’s visits. From North China to the Northwest, then toSouth China, it makes him to give the exclamation that “China has so manymuseums.” Yet, the ‘musuesms’ needs to be put in quotation marks, because theyare political spaces guided by socialist aesthetic, presenting everyday objectsused by historical figures in the history of modern China, with relateddecorative scenes. Since these objects do not date back to a faraway past,elaborately made exhibition stands or restored locations are commonly used toemphasis the visual effect.
点石成金，是高岩作品一贯的特色，他关注那些廉价的，被赋予特别含义的，由于阶级不对等而体现出来的日常场景。当摄影被等同于看法，那些分布在大小景点中的博物馆，就像丛林生长一样快，成为了现实景观的纪念碑。博物馆中的物品，从各处散落到集中呈现可以说是第二次摆放，它们失去了实用意义却换来了某种崇高的纪念意义，那么高岩的摄影又将精心摆放的物品再次截取，成为了更为集中的观看，也使得各处的纪念集中在第三次摆放里。
Touchinga stone and turning it into gold has always been a feature of Gao Yan’s work.He pays close attention to everyday scenarios which are uncostly, embedded withspecial meaning, and made visible by classes nonequivalence. When photographyis equalized to opinion, the museums, scattering in tourist spots of differentscales, as if growing rapidly in a jungle, become the monuments of therealistic scenery. From scattering everywhere to being collectively presented,the objects in the museum went through a second time arrangement, with theirpractical function sacrificed for some exalted memorial meaning. By reframingthe elaborately organized objects through his camera, Gao Yan makes it into afurther collective viewing, gathering the memorials of different places in thethird arrangement.
Gao Yan | The Third Arrangement
文／李泊岩（Li Boyan）
假如说，游客是以闲逛者的状态观看景点的，高岩作为深谙观看之道的行家，对于博物馆的陈列方式提出了新的问题，即如何摆布那些本无意义的东西？和我们怎样使用日常物件来的呈现历史与重构公共记忆? 他将展品通过摄影进行再次的框取，图像化后的场景被简化得只剩下物件与空间。当照片里的内容开始变得单一乏味，但物件本身的质感与秩序，却将观看的路径引向了更复杂的意义里。
Supposedly,visitors visit tourist spots as flaneurs, Gao Yan, as an expert on ways ofseeing, brings up new questions about the displaying methods in museums, whichis how to manipulate meaningless objects? What could we do, by using everydayobjects, to present history and reconstruct public memory? He reframes theexhibits through his camera, with photographed scenes simplified to exclusivelyobjects and space. While the content of the photographs started to becomeunvarying and drab, the way of seeing is leaded into more complex meaning bythe objects’ materiality and order.
景点中的纪念馆、博物馆、名人故居，是高岩这次走访的重点，从华北到西北又到华南，他感叹到：“中国有那么多的博物馆。”当然，这里的“博物馆”还需要额外加引号，因为它们都是被社会主义美学所引导的政治空间，展陈着许多中国近现代历史人物所使用的生活物品，和与之相关的装饰化景观。因为这些物品的年代并不久远，所以通常使用精心打造的展台，或者还原现场来突出它的视觉效果。
Amongtourist spots, memorials, museums and former residences of well-known peopleare the focus of Gao Yan’s visits. From North China to the Northwest, then toSouth China, it makes him to give the exclamation that “China has so manymuseums.” Yet, the ‘musuesms’ needs to be put in quotation marks, because theyare political spaces guided by socialist aesthetic, presenting everyday objectsused by historical figures in the history of modern China, with relateddecorative scenes. Since these objects do not date back to a faraway past,elaborately made exhibition stands or restored locations are commonly used toemphasis the visual effect.
点石成金，是高岩作品一贯的特色，他关注那些廉价的，被赋予特别含义的，由于阶级不对等而体现出来的日常场景。当摄影被等同于看法，那些分布在大小景点中的博物馆，就像丛林生长一样快，成为了现实景观的纪念碑。博物馆中的物品，从各处散落到集中呈现可以说是第二次摆放，它们失去了实用意义却换来了某种崇高的纪念意义，那么高岩的摄影又将精心摆放的物品再次截取，成为了更为集中的观看，也使得各处的纪念集中在第三次摆放里。
Touchinga stone and turning it into gold has always been a feature of Gao Yan’s work.He pays close attention to everyday scenarios which are uncostly, embedded withspecial meaning, and made visible by classes nonequivalence. When photographyis equalized to opinion, the museums, scattering in tourist spots of differentscales, as if growing rapidly in a jungle, become the monuments of therealistic scenery. From scattering everywhere to being collectively presented,the objects in the museum went through a second time arrangement, with theirpractical function sacrificed for some exalted memorial meaning. By reframingthe elaborately organized objects through his camera, Gao Yan makes it into afurther collective viewing, gathering the memorials of different places in thethird arrangement.
