展评｜朱迪 · 希尔评约翰内斯 · 博西西奥：我们必须经历分离或者毁灭才能进化。

文 / 朱迪·希尔

唐娜·哈拉维在《赛博格宣言》中描述了一个乌托邦，在那里，人类可以彻底挣脱道德和伦理的束缚，性别、种族和资本主义都不再是约束。不再受制于此的赛博格能完全超越二元论和人的限制；人体、土地、思想、身躯和技术相互融合，彼此不断影响和修正。后现代社会从传统中迅速得到解放，思维习惯和社会界限被打破，进而突破和人有关的所有边界。我们必须清楚这确实是一个乌托邦，尽管赛博格摆脱了那些人类的特质，但人和机器之间仍存在着相互依存的关系。人工智能从与人类密不可分的现实中解放出来，没有它，人类无法生存。

博西西奥通过一系列新作进一步揭示这一困境，并呈现他对哈拉维文本的持续性思考。尽管《赛博格宣言》比他的作品早了近四十年，但博西西奥依然被文本中固有的二元论所吸引，这与他自身的存在具有相似性。对于博西西奥而言，这个乌托邦是一种象征，在此那些对立的要素成为了一种全新的、彻底自由且无限的存在。在博西西奥的画作中，我们能够发现那些与技术无机体相融合的有机体形态，博西西奥重新思考了我们与技术的关系，它在我们作为物种的进化中起到了关键性作用，同时它又将我们进化出一种混合且复杂的二元论状态，既迷人又怪诞。就像哈拉维的文章一样，博西西奥用对立的相互作用来评论作品中的二元主题，协调那些彼此似乎毫不相关的、有机和无机的绘画元素，并有趣地使用不同质感的组合材料于画布上重现。博西西奥持续探索两种不相关事物之间的潜在联系，邀请观者进入一个新奇世界，并从其内部在不断发展的相互联系中产生了一种继续性的相互依赖。

博西西奥用各种极具张力的创作方式来阐释他和物体之间的关系，并在自己的艺术世界中探索不同的可能性和存在方式。在J. G. 巴拉德1973年的小说《超速性追缉》中，汽车成为主人公的欲望对象，反过来也标志着他们的毁灭。博西西奥将光滑的、镜像的材料转变成扭曲的表面，并在想象的事故中被破坏，成为废弃的、破裂的、伤痕累累的形态。汽车本身曾是未来主义的象征，反映了社会对完美主义的追求，并成为人类与技术之间的纽带，是推动资本主义和文化发展的社会产业。博西西奥将这种破坏转变成象征着欲望和诱惑的对象。从象征意义上来说，这些材料本身不再指向当代世界，相反地，它们提醒着我们自身的绝望和自我毁灭。像哈拉维的赛博格一样，我们必须经历分离或者毁灭才能进化。

Text / Jodie Hill

In Donna Haraway’s A Cyborg Manifesto, she describes a utopia where one is able to entirely detach from human restraints, moral and ethical. Restraints such as gender, race and capitalism. The cyborg, once free from these qualities, is able to fully exceed binary logic, transgressing human boundaries and constraints; figure, ground, mind, body and technology all infused and continually influencing and modifying each other. Postmodern society is at once able to liberate itself from convention and break down its ways of thinking, its societal boundaries, and thus all boundaries associated with human form. Though we must remember that this is indeed a utopia, and although the cyborg is free of these human qualities, there is still a dependency between mankind and machine, and while artificial intelligence is liberated from reality in which humans are inextricably entwined with, us as humans are still incapable of existing without it. 

In a new series of paintings, Bosisio looks to further unravel this dilemma and his ongoing preoccupation with Haraway’s text. Despite pre-dating his work by nearly four decades, he is drawn to the dualism which is inherently at play within A Cyborg Manifesto and its likeness to his own existence. For Bosisio, this utopia becomes a metaphor of contrasts and how two opposing elements can form to become something not only new, but entirely free, limitless. In these paintings, we observe what seems to be organic bodies fused with technology. Bosisio reconsiders our relationship with technology, its crucial role in our evolution as a species, and how it evolves us into a hybrid and complex state of dualism, both fascinating and grotesque. Like Haraway’s writing itself, Bosisio uses the interplay of opposites to comment on the thematic binaries within the work, harmonising organic and inorganic pictorial elements which have little to no relationship to one another, and playfully using varying textures and materials to bring these components to life. Driven by the connection of two things which do not belong together, he invites us into something new and strange, and from within it births an inherent counter-dependence in its constant ever-evolving interconnectedness. 

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Using tension, Bosisio looks at alternate ways of interpreting the relationship between himself and objects and explores different possibilities and existences within its own world. In J. G. Ballard’s 1973 novel Crash, the automotive vehicle becomes the object of desire for its hero characters and in turn marks their demise. Bosisio takes smooth, mirror-like materials, transforming them into the deformed surfaces, destroyed in an imaginary accident and salvaged, cracked, scratched. Automobiles themselves were once the symbol of futurism, and reflected our own societal pursuit of perfection, becoming the connectivity between mankind and technology, an industry which fueled both capitalism and culture. Bosisio turns this destruction into an object of desire and seduction. Symbolically, the materials themselves no longer symbolise the contemporary world and in turn, they become a reminder of our own despair and self destruction. Like Harraway’s cyborgs, we must detach or destroy to evolve. 

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约翰内斯·博西西奥

Johannes Bosisio