“原代码”创作随感

　　“原代码”系列作品创作始于2006年底，至今历时5年共计约80余幅。
　　电影大师安东尼奥尼曾经说：任何的解释都不及神秘本身有趣。但在此我依然想，将近几年来在“原代码”系列作品创作过程中的些许随感，加以整理，并以此示人，但更多的还是想留给自己吧。
　　作品标题“原代码”，泊来于IT语言“源代码”。我将“源”置换为“原”，是试图在此系列作品中找寻“真相”，还原其社会及文化本质，而非查寻其出处。
　　将文字或数字符号结合于图像化的作品中，在当代艺术中已不鲜见。阿拉伯数字这一人工合成物、非天然品的最基本表现形式，这个比英文字母还要“原始化”、“国际化”的符号，在普及到近乎被麻木的惯用后，已失落了它本来的神秘出处，摇身变成为这个时代的绝对代码；数字符号化的当下世界，“原代码”已然变为全球性的社会基因。
　　在当下社会里，符号与现实的关系日益疏远，模拟物取代了真实物，拟像比真实的事物更加真实。在这样的环境中，人与现实的关系变得值得怀疑了，虚拟的社会现实变成一种“完美的罪行”。当我在“原代码”系列作品中将人工合成、非天然品阿拉伯数字在介乎东方水墨与西方抽象的画面中强行插入，人们似乎并不介意它突兀的存在。在有序排列的数字中的空格、那个遗失的数字所代表的寓意可能也已不再重要。当被反向置放的阿拉伯数字在符号学上是否还有其意义，人们也无意深究。那些象征社会道德和法律中可能造成严重后果的缺陷或干扰，象征人际交往中被公然编码的缺失部分，人们会试图寻找这遗失的数字吗? 在有着现代化的娱乐媒体，国家资本主义和消费主义符号的疲劳轰炸及与某种专权的同流合污、造假资讯的系统组合，大众逐渐脱离困难复杂的感情和思想——调教——脱离现实——弱智化。习惯、传统的反应，定型的态度，会阻碍和其他人以及和自己内在的真实之间有意义的沟通。
　　艺术家若把自己的力量借予大量生产制造虚假，制造陈词滥调，政治的简化、高科技的乐观主义、意识形态的扭曲，因而丧失自身的记录甚至透露真实的庞大力量。在“原代码”的创作过程中，我试图将自己从以往普遍滥用的许多不必要的正式技法中解放出来，丢弃技巧的包袱，消除逻辑的转接……我这样做是因为我相信：今天的艺术应该系身于艺术家内心的真实而不是逻辑，艺术家要消失于自己的作品中，目标是要在已被强行灌输的观念，以及一成不变的情感所造成令人窒息的重壳之下，重新找到一条出路。

　　焦振予
　　2011年10月于上海

　　Source Code Creative Essay

　　The creation of Source Code Series started in the end of 2006 and during the 5 years, a total of more than 80 pieces were created.
　　Film Master Antonioni once said: any explanation is not nearly as interesting as the mystery itself. But here I still want to write down the thoughts I had during the creative process of Source Code Series and sort them out to show others, and mostly to myself.
　　The title Source Code came from the IT language Source Code. In Chinese characters I replaced the “source” with “origin”, in order to try to find the truth through these works, to restore its social and cultural essence, instead of finding its source.
　　To combine words or symbols in a visualized art work is not uncommon among the rank of contemporary art. Arabic Numerals, being the basic expression of synthetical and unnatural compound, is more primitive and globalized than letters. It is so widely used that it became plain and lost its mysterious origin, and turned into the absolute code of this era. In the digitalized world now, Source Code is already becoming the global social gene.
　　In the society nowadays, the relationship between symbols and reality is becoming distant, virtual items are taking over the place of reality; virtual images are more realistic than reality. In such environment, the relationship between human beings and reality becomes questionable when the virtual society reality is a perfect crime. When I force insert the synthetic, unnatural Arabic Numerals drawn with the style in between oriental ink paintings and western abstract paintings, people doesn't seem to mind its awkwardness. The empty space in between orderly organized numbers, the missing number, has meanings no longer important. Whether reversely placed Arabic Numerals still has its meaning in symbolism is not concerned either. Those missing parts standing for the loopholes and disturbance which may potentially cause harm in social moral and law is normal to our eyes and are we still searching for the lost numbers? We are being bombarded by modern entertainment media, state capitalism and consumerism symbols, the autocrat corruption is combined with false information forging, the public is slowly losing the complex emotion and thinking, and then being tuned, lost reality and finally dumbed out. Tradition, accustomed reaction and pre-set attitude will prevent the true communication between people and other people as well as people and their inner truth.
　　If the artists lend their power to mass produce false information, stereotyped expression, the simplified politics, the high tech optimistic and the bending of ideology, they will lose their self-record and even the power to reveal reality. In the creation of Source Code series, I try to free myself from unnecessary formal techniques usually used by others. I throw away my burden of methods and logics. In doing so I believe that the artists today should connect to their hearts instead of logic and they should disappear in their work, in order to find a way out of the suffocating shell of force injected concepts and never changing feelings.

　　Jiao Zhenyu
　　In Shanghai, Oct, 2011 6