Song Monk has a lot of unfinished work, and it's a big problem for her, and I said, "Let's just go to 510 and do an exhibition, and in two weeks, we'll get all your material back together, and we'll finish the clips, the music. She said yes.
In recording her personal record, she had to look at me and say that she would not leave her cell phone between me and her, that she would talk and express it at close range. I said good.
She said that she was deeply influenced by Calvino, that she did not want to be in the sky, that she did not want to be on the ground, that she wanted to be stuck in a tree. She states that she was abandoned by her parents as a child and raised herself, and that she was her own mother. She said that people were sand, that there was no pipe between us, that only water flowed through it, and that sand remained forever in the river.
She's a movie director, and her images are weird, and she's gonna be something nobody knows. But it is certain that she has never compromised before the ideal, with a knife and a star, into the deep sea to catch butterflies and become fish.
"The Song of the Traveling."
Song Monk.
The song of the tour is made up of images, but it's not just images. All of them are "occupying" and "evidence."
The idea of the song "Tourism" came about at the beginning of two to three years.
At first, the main character of the video was "walking." A man who lost his voice wanted to express his desire through the words of a performing role. Indeed, this problem is often faced as an actor, usually in the form that the depressed parts of life that cannot be shown are released through performances in the prescribed context, and that part of the performances is removed by the status of "actors". There are, of course, others who would think that performance in a prescribed situation is, on the contrary, real and that the repression in life is forced to be played. These two different rhetorics, which lead together to real and played borders, seem to be true on both sides and all appear to be false.
So, in the production of the " Songs of the Touring ", we actually conducted a play reading in the AC community art space and with the help of our friends, except for the part of Sun Garrett, the player who went around, who walked within the established circumstances, and the rest of us were told that the camera had been turned on and that you would be invited to the stage to perform the drama at random with an actor. So everyone has more than two identities: first, different forms of participants in reading sessions, and second, the role in their own script.
Of course he has a third role as a traveler.
This role is a typical gender prototype in my creation, which essentially stems from my fantasy of male identity, who always seem to be on a path to () production. When a man imagines what to become and holds himself in order to achieve "he", he becomes his own great other, and he is always on his way to becoming that, and on his way to becoming, when the pause begins, he falls into endless void. And that's exactly what he wanted. The "foresee, step before step" is a "god" path that aspires to become a self-producer. In turn, women who have acquired fertility are themselves creators, and the female prototype is been, so to be is no longer an end for women. Men seem to aim to become gods and women.
This was the beginning of a gender cut-in, and production was a theme for me.
Traveling is not a gender representative, and the "male" here is a nature, a post-Siciversian growth path: playing in a defined scenario. It seems that this is more in tune with reality, where art works create the person who travels from the very end of his life to the end. The role played in the video must be a role, but if you can't play, you have to play. That is where the contradictions arise, and where is the truth? Religious people point to God, and those who communicate point to themselves. This void cycle continues to strengthen until the load collapses. But is it really just a dialectic law?
It is the first perspective that real terms are falsely capped, and that playing true oneself in fiction is bound to collapse, standing in the eyes of the world.
The question of traveling around is my problem. How can you let yourself go if you can't play it? The letter has no object, and this alienation is both a creative instinct and a painful bottomless hole. The second perspective came out here, moving the lens to watch it all with everyone. Simulate an eye for eternity. In fact, there is no real entry of a role, and here is the part from which the scenarios are defined. This eye keeps an objective illusion, watching what is planned to happen. Like an invisible surveillance camera, behind which a self-absorbed god himself stood in the name of the Creator, he seemed to prejudge and manipulate the occurrence of everything, and the pain that it created was his purpose. Hold still until the last step towards a solution, forever, in the fuzzy zone. And where is the real audience? Without a real audience, the audience is part of the scene, the audience is the audience in the post-image relationship, and the audience is the viewer behind all this, and behind all this...
We have always been in an unfinished performance relationship, and we thought we were the creators. That's the second perspective around.
The role played by the travelling players is one that the audience plays, and the role played by the viewers is one that is constructed as the creator of the whole scene, and as the creator of the whole scene, I've built the tour, and I've stood with you behind the camera, and this is the God's perspective that we opened in watching a video. Such a set of performances, in a fictional process, the boundaries of truth and falsehood are blurred, but at this point in time your identity as an audience is random, and you become uncertain in all certainty, of course, far from the end.
It's the third perspective, you can be you, you can be a trip, you can be a withdrawal, you can be me.
In fact, there is no answer to the proliferation of deep-seated explorations of the root causes, both inwardly and outwardly, and inwardly, to the analysis of the false spirit, and outwardly to the practice of living back. How the old language carries the weight of an empty gold without an end to it, we can only do it, create it, make it new.
Song Monk used to work.
I don't know how to say goodbye.
2021 Tyre Silent Frame
2022 When I awake
2022 PTSD Silent Frame
Exhibition address
1st East of the Hanayang District, Beijing Building
(scanning booking)
Cost: 50 people
Song Monk Weissin.