张思扬
My mother was a radio broadcaster, but I had never heard her voice. During last year's Spring Festival, my grandfather gave me a cassette tape recording of her.
I transform a space into an abstract machine—a complex network of devices, performances, and fragmented narratives—which is both a receiver and a recorder. Four performers navigate the installation, their voices traversing surreal texts, tongue twisters, and fragmented stories. They reenact the residual bodily traces of my mother's vocal training as a broadcaster. One of them, silent, continuously materializes their breath on a glass plate. For my mother, these are all re-collections of what once was.
Small devices echo the mechanical principles of radio and recording equipment: a constantly ticking, disassembled metronome movement, a lead crystal dice made from the physical medium of early radio waves, and a hand-engraved aluminum plate with audio waveforms. In the center of the room hangs a weathered cloth inscribed with "Why do we eventually decay?"—a tribute to Theo Angelopoulos' film Eternity and a Day. This evokes a reversal of memory: while the protagonist's mother calls out to her child, I grapple with the opposite absence.
我的母亲是一位广播员，但我从未听过她的声音。在去年的春节，一个对中国家庭来说无比敏感的时间点，我的祖父将一份她的磁带录音给了我。
我将一个空间转化为一个抽象机器，这台机器——既是接收器也是记录器——是一个由设备、表演和碎片化叙述构成的复杂网络。四位表演者穿梭于装置之中，他们的声音穿梭于超现实文本、绕口令和碎片化故事之间。他们再现了我母亲作为广播员的声乐训练的残余身体痕迹。而其中一位沉默的，他不断将吐息具现在一块玻璃板上。对我的母亲来说，这都是对曾经存在之物的召回。
小型装置呼应了无线电和录音设备的机械原理：一个不断滴答作响的拆卸下来的节拍器机芯，一个由早期无线电波物理介质做成的铅晶体骰子，以及一张刻有音频波形的手工铝板。在房间的中心，悬挂着一块风化的布料，上面刻着“我们为何最终会衰败？”——这是对西奥·安哲罗普洛斯的电影《永恒和一日》的致敬。这唤起了一种记忆的反转：当主角的母亲呼唤她的孩子时，我与相反的缺席作斗争。