Sun Boxuan, Outcast II, 2023, Aluminium, resin, metal fixtures
温柔的痛楚，脆弱的力量和愉悦的战斗力
The gentle anguish, the
fragileforce and the joyful
militancy
Writer: 陈鹳莼 Guanchun Chen
Date: 11/03/2024
Keywords: decentering the human subject / joyful militancy / nostalgia / detour as a mode of entry / post-fordist condition / artistic production
The acute observation of the organisms within the natural world has become the reason behind Sun’s ability to imbue inanimate objects with vitality, shaping his distinctive artistic language — the gentle anguish, fragile force, and the joyous power. After all, there isn’t a vine in this world that would have a flower stalk made of resin and aluminium, the work is made of eight elongated, tentacle-like components with semi-translucent purple bell-shaped flowers repeating their ascent in the shape of human spine structure. Eight flower stems are meticulously nailed onto orderly cross-sections, carefully arranged together, pretending to be alive. It is a bold imagination to create a such “new hybrid species”. However, as I take a few steps back to survey my surroundings, such as the laptop I use for writing, the underground I take on a daily basis, the cars, the smart speakers in the room and the airplanes flying high in the sky etc., these things that were once considered mere fantasies become essential necessities of life that can be accessed easily. So will Sun’s artificial beings become part of quotidian life in the future? They are both made from industrial materials, reliant on industrial technology, what could be the factors that differentiate them?
Sun Boxuan, Peduncle in disarray, 2023, Aluminium, resin, perspex, metal fixtures, 186 x 200 x 60 cm
Sun Boxuan, Peduncle in disarray, 2023, Aluminium, resin, perspex, metal fixtures, 186 x 200 x 60 cm, detail
<孔雀樱桃> (Pecock Cherry)由吉他弦和树脂组成，一颗快要掉落的樱桃被半托住，顺着时几根幼细的吉他琴弦是挂在半空中的一串沉甸甸樱桃——叶子带着孔雀羽毛的纹理，半遮半掩的缝隙里瞥⻅等待成熟的果实们就像站在未开屏的孔雀的侧边，给整个作品似植物似动物的恍惚感。微妙的粉色让人想起常玉(1895-1966)画，就像《⻛景画家的片段人生》中描述：“我是巨大的，透明的，遥不可及的，我的荒谬的生活映衬着这片天空。生活是我自己画的画，或者就是用那片悬在空中的，不可思议的粉红色粉饰自己。” [1] 荒谬与诗意矛盾着交叉在一个30厘米精细小巧的雕塑里，越靠近仔细端详，越觉得在轻飘飘的缝隙里瞥⻅诗人和神秘主义者所梦寐以求的，对现实的直觉性吸收：在吉他弦被拨动的时刻，也能⻅到在乐曲中开屏的樱桃叶。如果玲珑剔透的质感归功艺术家本人对制作技巧的深度投入和对材料的敏感，那脆弱中闪烁的生命力则取决于他对自我与自然关系的理解。通过对机械的替代概念的研究，利用工业材料模拟非人类物种的⻣骼形态再现人、物(有机与无机)、社会之间的暧昧关系，提供另一种非人类中心视⻆的观看自然与现实世界(nature and the real world)的方式——带着以人类生产为中心的 “身体”，和以反人类中心主义的“灵魂”。
The work Peacock Cherry is made of UV-printed resin and guitar strings, a near-failing translucent sphere was attached to the slender guitar string, dangling from the end in midair, carrying a weighty string of cherries. The “cherries” are fused with the shape of peacock feathers, half-concealed and half-revealed within the crevices, hinting at ripening fruits akin to standing beside an unopened peacock feather, imparting a surreal sense of both plant and animal to the entire piece. The subtle pink hue brings to mind the background in Sanyu’s (常玉, 1895-1966) paintings, much like the description in "An Episode in the Life of a Landscape Painter": "I am gigantic, transparent, and unattainable, my absurd life reflecting against the sky. Life is a painting I've created myself, or it's just the incredible pink embellishment hanging in the air." [1] Absurdity and poeticism co-inhabit within this finely crafted 30-centimetre sculpture. The closer one scrutinises, the more it feels like glimpsing what César Aira describes in his novels — the intuitive absorption of reality sought after by poets and mystics — perhaps witnessing cherries spreading their feathers in the music as the guitar strings are plucked. The trait of delicate translucency in Sun’s work in crafting techniques and the use of the materials reflects his understanding of the relationship between self and nature while he seeks strength and vitality within fragility. Through the exploration of alternative concepts to mechanics and the use of industrial materials to simulate the skeletal forms of non-human species, Sun offers another perspective for viewing nature and the real world, one that transcends the anthropocentric lens, with a "body" centred around manmade and a "soul" characterised as de-anthropocentric.
Sun Boxuan, <孔雀樱桃> Peacock Cherry, 2023，by Boxuan Sun, Resin, guitar strings, 30 x 30 x 7cm
工业科技作为人类的奇迹之一， 被人类信仰的神何尝不是另一个奇迹。正如《哥多林前书》6:19中为世人言：“岂不知你的身体是神的宫殿，神的灵住在里面？”[2] 这是到底拟生化的工业产物还是拟工业化的仿生生物或许已不重要，“你”的形态或体量可能千差万别，但谁能说其中的灵魂有轻重贵贱之分？当我们理解一只蝴蝶的灵魂与躯壳和一个人的灵魂及躯壳并无差别时，或许能察觉到环绕在我们身边非人类的一切，并重审、重建彼此的关系。
If industrial technology is one of humanity's created wonders, then the gods revered by humans represent another kind of miracle. As the First Epistle to the Corinthians 6:19 states: "Do you not know that your bodies are temples of the Holy Spirit, who is in you, whom you have received from God?"[2] Whether these are pseudo-biological industrial products or bio-mimetic organisms does not matter anymore, the form or size of "you" may vary greatly, but who can say that the soul within holds any more or less significance? Perhaps only when we understand that the soul of a butterfly is no different from that of a human, regardless of their physical images, can we truly observe all non-human entities surrounding us and reconsider and rebuild our relationships with one another.
更有机的关系(relationship)和非人类中心化视⻆的建立，对于生活在当今社会环境下的人来说，意味着停下来回望、自省的勇气。神学家保罗·蒂利希(Paul Tillich)在晚年时骤然醒悟，原来自己选择在大⻄洋上度过最后的日子，是因为幼年时他成⻓的地方远离海洋。成⻓在被围墙所环绕的中世纪式建筑里的他，只有在想象一望无际的波罗的海时会感到自由和惬意[3]。早年经历对我们有着不可磨灭的意义，正如保罗一样，Sun的童年也对他的创作影响颇深。在孙的网站上有一个关于<如何捕捉蝴蝶以及如何处理它 > (How to catch a butterfly and what to do with it) 的十一行清单。这源于一段童年乡村生活的回忆。他喜爱蝴蝶，记得有一次终于捕捉到一只蝴蝶后突发奇想为它洗澡，一步步清洗它翅膀上的粉末，终于得到美丽的透明蝴蝶翅膀。在重温这段记忆时，这份喜爱是致命的，行径的残酷被天真粉饰。自我审判式的操作指南被挂在主⻚作为了解他的第一步，是观看他从小孩蜕变为大人过程中裹挟着苦涩的剪影；也成为理解他所观看到的一切的第一步，反省人类中心视⻆的自然化和合理化带来的问题之紧急。Sun的自省延伸到Abdomen (Body of Three) 中是锋利的像镰刀一般的蝴蝶⻣骼，透明但锐利的有机玻璃；在Fluted Cascade 里是像手枪一样的关节；是Silent Bird中面目全非蜷缩一团的禽类。铝作为 “⻣”，将perspex作为 “肉” 或 “皮”，利用金属固定装置、树脂和硅胶作为更加灵活的 “关节”，反映了自然与人工之间微妙的相互作用，打开了对用工业材料再现非人类⻣骼形态这一悖论的思考，同时保留了⻣骼结构天然的脆弱性。虽然指南确实强调了人类中心主义的经验，但值得注意的是，它让人们回顾了人类中心主义是如何变得如此有问题和有毒的，以及我们是如何将人类中心主义日常化以掩饰自己对非人类的责任的。这就倡导了一种考虑到所有生物相互联系的整体性环保方法。注重个人行为和个人责任，鼓励考虑自己的选择对整个环境的影响。一如这些作品的任何一部分被单独拆卸后都是一件冷兵器。与常⻅的冷兵器不同，它不作用于他者(殖⺠或统治)，而是用作自我反思(直面并反抗的勇气)。
The establishment of longing a more organic relationships and the adoption of a de-anthropocentric perspective means having the courage to pause, reflect, and introspect amidst the current social climate. The theologian Paul Tillich had a sudden realisation in his later years that he chose to spend his final days on the Atlantic because the place of his upbringing was far from the sea. Growing up surrounded by medieval-style buildings, he only felt freedom and contentment when imagining the boundless Baltic Sea. [3] Early experiences hold indelible significance for us, as with Paul, Sun's childhood memories echoes through many of his works. On Sun's website, there's an eleven-point list titled "How to catch a butterfly and what to do with it". This stems from his memories of rural childhood, his love for butterflies, and a whimsical incident where he finally caught one and decided to give it a bath, painstakingly washing the powder off its wings until they became beautifully transparent. Revisiting this memory, the love was fatal, and the act was cruelly disguised by innocence. This self-judgmental guide, serving as a self-reflexive manifesto, serves the access to a bitter emblem of his transition from a child to adulthood, it's also the first step in understanding the urgent questions brought about by naturalising and rationalising the reflection of anthropocentrism. This introspection extends to the work Abdomen (Body of Three) , with its sharp, sickle-like butterfly skeleton made of transparent yet sharp organic glass; in Fluted Cascade, the work resembles a soft joint in the shape of gun-like structure; and in Silent Bird, the bird is coiled into an unrecognisable mass. In Sun’s words, he sees aluminium as the "bones," perspex (organic glass) as the "flesh" or "skin," utilising metal fixings, resin, and silicone as more flexible "joints," reflecting the subtle interaction between nature and artifice, opening up reflections on the paradox of using industrial materials to replicate non-human skeletal forms while retaining the inherent fragility of skeletal structures. While the guide does emphasise the experience of anthropocentrism, it is important to note that it offers people to review how anthropocentrism becomes so problematic and toxic, and the truth about humans normalises it to dress up their responsibility to non-human beings. This advocates for a holistic approach to environmentalism that takes into account the interconnectedness of all living beings. Focus on individual actions and personal responsibility, encourages to consider the impact that their choices have on the environment as a whole. Disassembling any part of Sun's work can be likened to a cold weapon, although, unlike traditional weapons, it does not harm others through actions such as colonisation or domination. Instead, it serves as a tool for introspection, fostering the courage to confront and resist this harmful mindset.
Sun Boxuan, <如何捕捉蝴蝶以及如何处理它 > (How to catch a butterfly and what to do with it)
Sun Boxuan, Abdomen (Body of Three), 2022，by Boxuan Sun, Aluminium, perspex, metal fixtures, 13cm x 200cm x 81cm
在Sun最新的作品The Toy That Came with the Magazine中，明显可⻅他已从捕捉蝴蝶进入了新的阶段。只不过，这次的捕捉没有后悔和创伤，半透明的材质使得⻜机模型变得可爱童趣，想象这架透明的⻜机在一阵轰鸣中擦过天空，留下漫⻓尾鸣和嗡嗡堵塞的耳膜，磨砂的质感给这个冰冷的交通工具、或军事武器裹上一曾绵砂糖粉，在太阳下就有香甜气味的玩具。底部带着银灰色镂空支架带着镂空的背脊，仿佛戳一下它就会开始上下前后的弹跳，即将起⻜。以至于在以工业制造业为主导的经济模式和工业科技技术为驱动力的社会发展前景下，我们能期待艺术与这个世界相撞后发出或激起这样的回响——那些撞击带来的波纹，终于触碰到了快被遗忘的过去。童年的快乐回忆作为支撑我们渡过困难的伙伴，自成⻓过程中痛苦与挣扎逐渐转变为愉悦(Joy)留存在作品中。这就是你的悲伤如何为快乐留出空间，反之亦然。而强调快乐就是摆脱受条件限制的习惯、反应和情绪，保持自身的完整性、你的创伤、你的触发点和那你的才华。这一切都是为了活在当下，在现实生活中实时保持清醒。
In Sun’s latest work, The Toy That Came with the Magazine, his retrospective on early experiences has transitioned from capturing butterflies to capturing airplanes. However, this time, there's no regret or trauma attached. The semi-translucent material imbues the airplane model with a childlike quality. Imagining this airplane zooming through the sky with a roar, leaving behind a long tail of sound and buzzing ears, the frosted texture gives this cold transport, or military weapon, a sugary coating, emitting a sweet scent under the sun. The bottom, with its silver-grey hollowed-out support frame and perforated spine, seems like it could bounce up and down with a poke, ready to take off. In the context of an economic model dominated by industrial manufacturing and driven by industrial technology, can we expect art to collide with this world and produce such echoes — those ripples from impact finally touching upon the almost forgotten past? Pain and struggle gradually fade away, with childhood memories of joy serving as companions to navigate through difficulties, remaining as joy preserved within the artwork. This is how one's sadness makes room for happiness, emphasising that happiness is breaking free from conditioned habits, reactions, and emotions, maintaining integrity, wounds, triggers, and talents. All of this is to live in the present, to stay alert in real-time within the realm of reality.
Sun Boxuan, The Toy That Came with the Magazine, 2023, aluminium, resin, 15.5 x 23 x 30cm
这里的怀旧倾向与尝试使用更加适应性的方式应对自身创伤和困境相关(Nostalgia proneness correlated with use of adaptive coping)，包括表达情感，但与逃避现实或回避策略无关。相反，怀旧作为对过去的未来——现在的动力 (motivational force)，和快乐关联后，能抵达被社会规训和框定的“幸福”所不能抵达和改变的一切。就像Clara和Nick将 快乐与战斗性(Militancy)联系起来，鼓励激烈的感情和激烈的斗志，怀着快乐的战斗精神，去生动的展开和感受自己和周围事物之间力量的加强。在生机勃勃的分崩离析中面对转变的过程，去切实加入和了解什么是携手并进，关怀和温柔，去学习更积极地参与构成世界和自身的力量。在拒绝继承二元论、父权制的世界观的基础上，快乐是一种去主体化的过程。[4]
The nostalgia tendency here is related to attempting to cope with personal trauma and difficulties in a more adaptive manner, including expressing emotions, but not related to avoidance or evasion strategies. Instead, nostalgia serves as a motivational force towards the future of the past — the present. When associated with joy, it can reach what "happiness" conditioned and framed by society cannot reach or change. Just as Clara and Nick connect happiness with militancy, encouraging intense emotions and fierce determination, fostering a joyful spirit of battle to vividly unfold and feel the strengthening of oneself and the surrounding elements. In the vibrant disintegration, facing the process of transformation, one truly engages in understanding what it means to move forward together, to care and be gentle, to learn to actively participate in shaping the world and one's own strength. In rejecting inherited dualism and patriarchal worldviews, happiness becomes a process of de-subjectification.[4]
如同弗朗索瓦·朱利安(法)在《迂回与进入》中声明：“我希望大胆的提出这样一个问题：战场上方阵的面对面较量，是否能够在城邦由之组织起来的话语的对峙中找到等同物——围绕着它，城邦被组织起来呢？我这里说的是等同，而不仅仅是类似”。[5] 所以在此，相比于纯粹的反驳，反复直指工业所带来的问题如何致命，尽可能与相反的论据保持近距离——在围绕着工业的一切里，在关于工业时代带来的一切美好图景里——组织出能与以人类为中心的世界观，和以工业时代为目标的发展观进行正面较量的等同物呢？通过孙的作品为索引，与其避开工业材料不如将它作为保护自身的盾，并用围绕其一切的生物的运动方式和身体，在对工业材料的重塑中摧毁其指向生产，社会价值的意义，成为自己的愉悦且好战的矛。
As François Julien asserts in "Detour and Access," I dare to pose this question boldly: can the face-to-face confrontation of phalanxes on the battlefield find an equivalent in the confrontation of discourses organised by the city-state — around which the city-state is organised? I am speaking here of equivalence, not merely similarity.[5] Therefore, rather than simply refuting, repeatedly pointing out how industrialisation's problems can be fatal, it is important to maintain close proximity to opposing arguments — within everything surrounding industrialisation, within all the beautiful images brought forth by the industrial era — to organise equivalents that can engage in a positive confrontation with the anthropocentric worldview and the development perspective centred around the industrial era. Through Sun's works as a reference, rather than avoiding industrial materials, it's more effective to use them as a shield for self-protection and to use the movements and bodies of all surrounding organisms to reshape industrial materials, destroying their significance directed towards production and societal value. This transforms into one's own joyful and combative spear.
在当今全球工业化浪潮的鼓动下，艺术创作从未像当今一样和社会经济结构如此紧密。仅对生产技术在艺术品的生产问题的应用已无法再满足科技和社会人文的发展的需求。“教育导向”“艺术产业链化”等形式的出现，使得艺术、艺术家 与工业之间关系更为复杂。Sun的作品在未来即便不会成为像⻜机汽⻋一样的现实生活的必需品，但它们为我们如何能期待一个更好的未来提供必需的新思路：更为急迫的反思并重新感知和处理与周遭一切的关系，拒绝人类中心视⻆的社会发展模式。同样是工业材料，也依赖于工业技术，Sun将个人的回忆揉杂在铝、有机玻璃和其他金属装置等工业元素的无机物中创造出生命力——在向前时先向后，在忍不住前进时先回头，在我们的社会不断向城市化迈进并与工业结构共存的过程中，先探讨人类对日益受到重视的包容性生态世界的反应。
In the current global wave of industrialisation, artistic creation has never been so closely intertwined with socio-economic structures as it is today. Merely applying production techniques to the creation of artworks can no longer satisfy the demands of technological and socio-humanistic development. The emergence of forms such as "education orientation" and "art industry chain" has made the relationship between art, artists, and industry even more complex. While Sun's works may not become necessities of everyday life like airplanes or cars in the future, they provide essential new avenues for how we can envision a better future: a more urgent reflection and reevaluation of our relationships with non-human species around us, rejecting the anthropocentric perspective of social development. Utilising industrial materials, reliant on industrial technology, Sun blends personal memories into inanimate objects such as aluminium, organic glass, and other metallic devices, infusing them with vitality — moving forward by looking back, hesitating before forging ahead. As our society continues to urbanise and coexist with industrial structures, it is imperative to first explore humanity's response to an increasingly valued inclusive ecological world.
1 [阿根廷]塞萨尔·艾拉.《⻛景画家的片段人生》(Un Episodio en la Vida del Pintor Viajero)[M].王纯麟译.浙江文艺出版 社.2021-3.第77⻚.
2 《哥林多前书》.https://cnbible.com/1_corinthians/6-19.htm.(2024.03.11)
3 Tuan, Y., 2018. Space And Place. Minneapolis: University of Minnesota Press, p2.
4 Bergman, C. and Montgomery, N., 2017. Joyful militancy: Building thriving resistance in toxic times. AK Press.
5 [法]弗朗索瓦•朱利安(Francois Julien).《迂回与进入》[M].杜小真译.商务印书馆.2017-11-1.