2G4G+4Q Íng-hô-khu

我们的欲望早被媒体和政治经济所污染-- 倘若我们脑海中的历史不曾存在,承载着的回忆顿时化成虚壳。 也许人类都只在舔舐伤口,就像一条銜尾蛇在吮吸自己的尾巴。 当过去剩下模拟,我们只能努力活着,并真诚地感受蜃景中的情感。

Tu Hao was a mocking term from the 2010s to describe the aesthetics of luxury signalling deployed by the nouveau riche: ironically circulated via memes, their aesthetic conventions involuted into a new genre of post-sincerity: 土味 (Tu Ku, tacky cool, too cool). Layered into 土味 are convergences of global Internet culture: gradients, liquid chrome text, clipart overlayer - compressing multiple conflicts (the crass consumerism of middle-aged parents / the unsophistication of the rising wealthy class vs the more sophisticated and :internetty: younger generation in first-tier cities): simple cringe is recuperated into a singular visual style. Recurrent motifs: saturated pastoral scenes, unabashedly ultrafake replicas, “naive” commercial design of bygone eras, typography ripped from dad’s special-occasion cigarette brand, 1980s lower-tier interiors and commodities, ayicore - all evoke a strong sense of nostalgia for a past which never quite existed.

“土豪”是一个2010年代出现的戏谑称呼,用来形容暴发户刻意炫示奢华的审美风格:通过网络表情图的讽刺性传播,他们的审美习惯逐渐演变成了一种新的后真诚主义风格:土味(Tu Ku, tacky cool, too cool)。土味包含了全球互联网文化的趋同点:色彩渐变、液态金属文字、剪切覆盖贴图——它集中了许多种冲突(中年人的粗俗消费主义/新兴富裕阶层的单纯vs更老练的新生代一线城市网民):直白的尴尬被复原成为一种独特的视觉风格。其中经常出现的模式有:鲜艳的田园风光、毫不掩饰的假货、幼稚过时的商业设计、爸爸在重要场合抽的香烟品牌上撕下来的字体、80年度低端的室内陈设和物品,ayicore——所有这些都激起了一种强烈的怀旧情绪,哪怕这些“旧”从未真正存在过。

Hauntology is (broadly) the domain of heavily mediated memories -- our commercially jacked-up childhood nostalgia, the pervasive commodification which enframes our life experiences, and the industrial production of sentiment which brings it full circle. Haunted media is like a portal where the compression or encoding of an artifact brings us into direct contact with the absence of the Real, or the irrevocably mediated Real - or whatever- in a way that connects us to the geist of a specific, manufactured past: a state of truth achieved by way of deliberate artifice, sometimes expressive of but warily embracing irreducible loss.

幽灵学是合成记忆的家。 儿时记忆里的广告歌曲也许比已故母亲的脸更令人难忘,唯独商品化已经缠绕我们的日常生活,规范着我们被工业化的情感结构。 闹鬼的媒体建成一个通灵的隧道,让我们直接接触这个总是虚假的过去现实。 它将我们连接到特定的时空,从而制造过去的幽灵。 我们通过伪造来实现真理,因为真理总是虚构的。面对着不可逆转的损失,我们也只能把它紧紧地拥入胸怀里。

Involutional aesthetics can be mapped as a mobius strip where the meaning of a signifier or set of visual conventions constantly shifts and slips with each twist, usually in relation to its positionality in mainstream markets and underground production. The myth of authenticity coincides with the myth of its erasure; irony, post-irony, and post-sincerity jockey in their positions until new (and temporary) paradigms of sincerity emerge. Amy Min’s 2G4G+4Q occupies one such moment -- an intimately manufactured sentiment expressed through the layered apparatus of 土味 and haunted media technologies. Projected on the streets of Yonghe district, Amymin’s videos depict scenes deadlocked between the extraneation of the subject and the psychopathology of the Tu Ku mallscape.

内卷化美学看起来像莫比乌斯带。 每当它 扭转的时后,图像的含义随即改变。 莫比乌斯带的映像虽决定于主流市场和地下文化生产之间的关系,但过去的事实重复地自我消除, 介乎于真相与幻想之间的虚像暗合。讽刺、后讽刺与后真诚互相摩擦,释放了一种真诚情感的新范式。 Amymin’s 2G4G+4Q 占据了这样的时刻--通过 Tu Ku 的分层设备和困扰性媒体技术表达的一种亲密制造的情感。 閔詩涵(Amymin)的视频投射在《永和》(Yonghe)区的街道上,以幽灵取代了精神。这里变成了情感和心理病理之间的僵局,就像一个被遗弃的 Tu Ku 百货公司 。



最近的例子來自於與模特一起前往拍攝的西門獅子林大樓,穿梭在舊時舞廳服飾的櫥窗間來回走動拍攝,長廊天花板上打著灰藍色調的日光燈,而左右側打在櫥窗舞群上的暖光崁燈,以及店裡在日常不過的修改服飾的老闆娘,琳瑯滿目仍舊營業的店面,親臨現場時真的會使人有一瞬感受到強烈的時代落差感,甚至不像身處於2020疫情時局的年代,但如今這樣的日常只有在台灣與它國間疫情局勢的差距裡才會特別被彰顯及被意識到 ,而這樣的體認來自於親身到訪過該地的經驗,以及身處環境中多數人們對於出入公共場合與活動的泰然自若。



AMYMIN | 2G4G+4Q Íng-hô-khu
Reviewed by Solo Show: ¥土鬼 《too cool ghost》
translation: henry c., @jennnital, @pooppijam| photos: amymin