的|艺术中心 很荣幸地宣布，于2018年10月12日举办来自泰国的新锐影像艺术家蒙特的个展《消失：蒙特的三个电影》，这是艺术家在中国的首展，也是 的 | 艺术中心 继中国、日本、韩国艺术家项目之后，对亚洲当代艺术的持续关注。
作为阿彼察邦之后在国际上广受关注的泰国影像艺术家之一，蒙特的个人实践同样是对泰国社会现实的一种消极式的回应，并逐渐形成了其独特的个性视角和语言。他的作品以影像诗的形式，从代表性记忆和主体性政治的危机边界出发，来审视人类思维和记忆的复杂层理。恍惚的黑白影像、声音和粗糙胶片的质感，艺术家将个人记忆和历史、政治的现实相连接，作品如在梦境中游走，在脑海中找寻可以修补和翻新的记忆碎片。蒙特认为，创作其实是一种自我心理治疗，仿佛在催眠的仪式里，去挖掘自己被周遭环境留下的创伤，而创作的过程帮助他疏解了长期以来背负的沉重混乱与焦虑。
本次展览艺术家将重新设计展厅，影像和装置结合，观众将被邀请进入一种日常而特殊的观影环境中。展览将展出艺术家近些年重要的三件作品。
作品简介：
《无尽无名》- 2014
影片用超8毫米胶片手持拍摄于泰国军官居住的一处私人庭院，艺术家通过一种自我催眠的方式，追溯重构了关于在父亲庭院中工作的士兵的记忆。 一名逃兵醒来后发现了毫无生气地躺在地上的自己的尸体。在他新的旅程中，遇到了一些正要为他举行葬礼的少年，同时，也有一支军事巡逻队正在搜索他的尸体。 （艺术家注：自年幼时，我和我的朋友们的生命都跟音乐发生着密切的关联，我们因此还组建了一支乐队。不幸的是，乐队中一个成员在几年前过世了，而且我还错过了他的葬礼。《最后的村庄》是他生前我们还未发表的单曲之一，描绘了隐居的村民愉悦地举行葬礼的画面。《X之歌》实际上是在尝试续写这支单曲，使用过期的16毫米和超8胶片，用富有诗意的影像去呈现来世的图景。这是向我已故的乐队成员和朋友传递信息的一种方式，也是对死者的纪念。） 《迷惘接踵而至》- 2018 这是关于有着游牧精神的音乐家 Thom Assajan-Jakgawan 的动态肖像。在影片中他虚构的分身生活于一个脆弱的状态、一个崩塌的国度。他把自己困守在无人的房间，持续不断地哼唱自己内心的旋律。 ‘mare lu ze＝i’ 并非真实存在的语言，他只是偶然在自己的重复哼唱中捕捉到了它的发音。它莫名其妙地出现，它在他的脑中自然发声，仿佛一个守护咒语，将他带入恍若梦境般迷幻的情境。这也是他的项目 Sap (bewitched) 的组成部分。 （注：这件作品是蒙特在鹿特丹国际影展提案并获得资助的项目，推荐人为阿彼察邦。） We are pleased to announce our new exhibition ‘Disappearance: three films by Pathompon ‘Mont’ Tesprateep’ by Thai artist Pathompon ‘Mont’ Tesprateep opening at de Art Center on Friday 12th October 17:00. This is also the first exhibition to be devoted to him in China. As one of the emerging Thai artist after Apichatpong Weerasethakul, Mont’s body of works embrace the cinematic poetry to scrutinize the complex stratification of human mind and memory in relation to the crisis boundary of representative memory and politic of subjectivity. Constructed from layers of sound and filmic materials – from celluloid to digital – and photography, his works conjure trance-like and immersive experience while emerging the playground of conscious and the dream structure that associates singular memory to the fragments and uncertainty within the broader sense of public. For the artist himself, the process of producing video works is kind of like a psychotherapy session through practicing self-hypnosis. The artist will redesign the display room especially for this exhibition. Audiences are invited to enter a uniquescreening room, a space with daily atmosphere but also something different, where one can expect something unexpected happens. Works exhibited include three important video works produced by the artist in recent years. Details: ENDLESS, NAMELESS (2014) 22.39 min., S-8, 1.33:1, b&w Endless, Nameless is a hand-processed Super 8 film, shot in the private garden of a Thai army officer. The film reconstructs the filmmaker’s memories about groups of conscripts who worked in his father’s garden. The film was created as a self-hypnosis to reinvestigate his existence. 20.19 min., 16mm & S-8, 1.33:1, b&w A deserter awakes to discover that his body is laying lifelessly on the ground. He embarks on this new journey where he encounters a group of teenagers who intend to give him a cremation ceremony while, at the same time, his dead body is being searched by a military patrol. (Note from the artist: Since a young age, my life has been surrounded by music with my childhood friends whom we shared intimate friendship, which resulted in us forming a band together. Sadly, one of them passed away a few years ago, and I’ve missed his cremation ceremony. The Last Village is one of the unreleased songs, which depicts a group of hidden villagers delightfully conducting a funeral. Song X is an attempt to compose an extended version of this posthumous song, as a form of a visual poem, shooting with deteriorated 16mm and super 8 film stock, portraying life after death. It is a means to deliver out a message to my deceased band member and friend, and a memorial ritual for the dead.） 21.59 min., 16mm, 1.33:1, b&w A portrait of a nomadic musician Thom Assajan-Jakgawan. In the film, he appears as a fictionalized version of himself living in a fragile state, a collapsed country. He solitarily confines himself in an unoccupied room, continuing the meditative rhythms of his tunes. ‘mare lu ze=i’ is not a real word. He accidentally heard it from the repetitive layers of the loop of his sounds. It slips out of nowhere. It makes its own sound, in his head, which he then utters, as a mantra for protection, which transports him into a meditative trance before the working of his sounds. This is all part of his project, Sap (bewitched). (Note: this work was the project proposed by Mont and funded by the Rotterdam International Film Festival, recommended by Apichatpong.)
《X之歌》- 2017
SONG X (2017)
CONFUSION IS NEXT (2018)
