第四届杭州纤维艺术三年展“缓存在/Being Theoria”于10月18日在浙江美术馆开展，来自全球十数个国家的60余名参展艺术家/团体的近百件杰作向公众全面开放。国美学术通讯特推出海外参展艺术家访谈系列，带您走近艺术家的创作空间和思想世界。
本届印度参展艺术家印德尔·萨利姆的《疫情期间来自我露台上的旗帜》（Flag series from my terrace during COVID-19 Pandemic）系列作品，表达了在印度疫情封控期间，艺术家对于“自我”和“存在”的思考，并通过“旗帜”这一表现形式串联起“本体”与“世界”的时空关系。
Inder Salim
印德尔·萨利姆
印德尔·萨利姆[印度]，1958年生于克什米尔，现居德里。印德尔是一名行为艺术家和诗人，二十五年来活动轨迹覆盖印度、欧洲、日本和中国。他曾参加由Khoj（印度）国际艺术家协会组织的2008年表演艺术节，于2011年在萨莱的地下室创作Harkat系列行为艺术，于2016年参加“理论剧院-上海双年展”同年参加了伦敦SACRED行为艺术节。目前正在撰写两部著作《影像之书》和《克什米尔到远方的诗》。
Born in 1958, Kashmir, Inder Salim presently lives in Delhi. As a performance artist and poet, he has performed in India, Europe, Japan, and China for the past 25 years. He participated in the performance festival 2008 by Khoj (India), created Harkat series of Performance Art at Sarai basement in 2011, and attended “Theory Opera” of the 11th Shanghai Biennale as well as the London SACRED: Homelands Festival in 2016. He is working presently on two books, Ghazal Numa (book of images) and a book of poems about Kashmir and other places.
艺术家自述
Artist Statement
在印度疫情期间，我每天会制作一面旗帜。这个系列作品的灵感来自于我想要同时“飞翔”以及“停留在地面上”，使我在2019年隔离期间还能感受到自己与世界的联系。在创作这件作品的同时，我也会在Facebook和Instagram上发布图片和视频片段。这些旗帜是用我之前表演时，散落在露台上剩余的废弃织物所制，十分便利。现在，这几乎变成我的日常仪式了：清晨做好一面旗帜，然后看它随风飞舞。
我称其为“HARKAT”，试图用这个词作为“行为艺术”的替代词。“HARKAT”意图在“行为艺术”本地化之后，体现出与其本意的细微差别和上下文语境的不同。想要成为“此在”（thisness）密度中的一部分，“be动词”是关键，否则我们会在逻辑层面上感到难以捉摸。简而言之，每一种意义和无意义的同时参与构成了“HARKAT”。
从微观层面上来讲，在印度隔离期间，常规被出人意料地打破。但同时，疫情也提供了一个独特的机会去创造出超越行为。每一条“飞行路线”都在全新的时间起飞和降落。新的心灵美学让我们学会了接受不完美的状态，谦逊地摆脱了沉重的历史和过去的记忆。在疫情期间，要想聆听地球之音，最重要的是在身体的褶皱中深深跳舞……
The idea to make a flag on a daily basis during the Pandemic was an idea to fly and be on the ground and to feel connected to the world during complete lockdown during 2019. Facebook and Instagram helped me to disseminate the images and video clips of the flags. The fabric material was actually the residual waste on the terrace from my earlier performances, which was handy. It was almost like a daily ritual to get a flag done in the morning and then watch the wind playing with it.
I call it HARKAT, a term that attempts to alternate the term Performance Art. Not unlike Performance art, Harkat too intends to localize the nuance and context of doing an act. The “verb-to-be” is the essence of an act to become the part of that density of “thisness” which otherwise eludes us at logical levels. In a nutshell, a simultaneity of participation of every sense and non-sense makes a Harkat.
At a molecular level, the lockdown time was a time when the routine got disrupted unpredictably but provided a unique opportunity to invent the act to transcend. Every “line of flight” arrives and departs with a newness of time. The new aesthetic of mind learns to accept the state of imperfection and humbles to get rid of heavy history and memory of the past. To listen to the music of the earth, it was important during the Pandemic that we dance profoundly within the folds of body….
疫情期间来自我露台上的旗帜系列 Flag series from my terrace during COVID-19 Pandemic
印德尔·萨利姆 Inder Salim
展于第四届杭州纤维艺术三年展 Exhibited at the 4th Hangzhou Triennial of Fiber Art
Q: 您好，请问最初您是怎样与杭州纤维艺术三年展产生联系，并最终投入到本届展览中来的？
Would you mind telling us how you first got to know and finally participate in the 2022 Hangzhou Triennial of Fiber Art?
几年前，总策展人刘畑在新德里的麦克斯穆勒学院发表了一场精彩的演讲，我仍然记忆犹新。后来我还参加了他的“理论剧院——2016年上海双年展”，我们一直保持着联系。在我回应了本次纤维艺术三年展“缓存在”的主题概念后，刘畑的策展计划中就特别关注了我的“旗帜”系列作品。
Chief Curator Liu Tian, I remember his brilliant lecture at Max Muller Bhawan in New Delhi few years back, and then we were in touch, even after I participated in his “Theory Opera–Shanghai Biennale 2016”. Liu Tian certainly zeroed in on my “Pandemic Flag series” after I responded to the concept note of ”Being Theoria“.
Q: 请问本届杭州纤维艺术三年展您带来了什么作品？可以简单介绍一下这件作品吗？
What artworks did you bring to 2022 Hangzhou Triennial of Fiber Art? I’d be grateful if you could introduce your artworks in this exhibition.
“疫情期间来自我露台上的旗帜系列”系列作品是关于我在2020年期间对印度隔离的回应。 直到现在，我才把整个创作过程看作是对德里日常生活突然停滞的回应。在这段不寻常的时期里，我每天都会制作一面旗帜。这几乎变成我的日常仪式了：清晨做好一面旗帜，然后看它随风飞舞。
Pandemic Flag Series is about my response to the Lockdown crises during 2020. It is only now that I see the entire activity as a response to the sudden shutdown of usual flow of routine in Delhi. That time it was a strange time, and I made a flag for each day. It was almost like a daily ritual to get a flag done in the morning and then watch the wind playing with it.
Q: 您创作这些作品的灵感源自哪里?
Where did your inspiration come from when you were creating these artworks?
在印度隔离的几天里，我渴望与人交谈，而社交媒体是唯一可用的窗口。我在德里一栋四层楼的顶层有一个小阁楼工作室，那儿有一个开放的露台。由于我的工作室空间太小，所以我把我曾用过的将近1000米长的黑白两色纤维织物废料，堆放在我那日晒雨淋的露台上。我又从邻居那找到了一根闲置的金属杆，用它展开废料做成的旗帜。房子里正好有一些丙烯刷墙涂料，我顺手就拿来创作了。当处理完这堆破烂的布料后，我环顾四周，又从垃圾堆和市场中寻找其他普通的布料，这能让我在印度德里隔离后继续制作旗帜。
On an open terrace, I have my little attic-studio on the top floor flat of a four-story building in Delhi. Within few days of lockdown, I yearned to talk, and social media was the only window available. In the open rain and sun on my terrace, primarily due to lack of space in my flat and my little studio, I had literally dumped nearly 1,000-meter black and white fabric from another performance. I found an idle metallic rod from my neighbour’s terrace which I used to unfurl flags made from the waste. There was some little acrylic house-paint in the house which I used readily. And once I was done with the tattered fabric, I looked around to find other ordinary fabric from waste and the market which helped me to extend the making of flags after the lockdown even.
Q: 请问您想通过这些作品向参观者传达什么样的内涵和思想?
Could you tell us about the messages and ideas you try to convey to the audience through these artworks?
如果从全球层面考虑，我们剩余的是什么？当我们思考在地球上的实际生活以及剩余废物时，似乎很自然地想到某种亲密的关系，以某种直接的存在目的填补时间的流动。除此之外，在一些像新冠疫情一样的危机中，人类也许总是能够找到一种新的表达工具，从这个意义上来说，旗帜并不是一种新的与周围人接触的媒介，但它帮助我发泄我内心的想法。德勒兹在每一件艺术作品中都看到一面“旗帜”，它宣告着艺术家的真实存在。
If we think at a global level, what is that which we have in surplus: what else but the WASTE? And to contemplate our actual living on earth along with the surplus of the Waste, it looks very natural to imagine some sort of intimacy to fill the time’s flow with some immediate purpose of being. Besides this, during some Covid-like crises, a human being, perhaps, always enabled herself/himself to find a new tool to express, and the Flag idea in that sense is not new medium to engage the people around, but it helped me to vent my inner thoughts. Deleuze sees a “Flag” in every artwork, something that announces the artist’s actual presence.
Q: 您的作品与本次三年展主题“缓存在”有着怎样的联系和契合？
The theme of this exhibition is “Being Theoria”. Can I ask how are your artworks related to the theme?
“艺术综合了所有的哲学”，我喜欢引用德勒兹的话。也许，没有后缀或前缀的“存在”一词会消失在无意义的抽象的领域里。在“沉思”的古老肩膀上，“存在”发展出了翅膀，发现了一个独特的“飞行路线”。破败的纤维、文字和风在一个特定的时刻，使我有资格与时间对话。现在，所有的旗帜聚集在一个单一的空间里，就像一场史诗般的舞蹈，它们在低语，渴望与观众交流。我感到非常震惊，我的旗帜好像再一次拥紧了我……
“Art synthesizes all philosophies”, I love to quote Deleuze. Perhaps, the term “Being” without a suffix or prefix would be lost in the realms of meaningless abstractions. On the ancient shoulders of “Theoria”, the “Being” developed some wings for a lift to discover a unique “line of flight”. Text-as-material on the fragile waste, here fabric, and the wind during a particular moment of time entitled me for a dialogue with the Time. Now a togetherness of all the Flags in a single space is like an epic dance of all the whispers and desires to communicate with the audiences. This is absolutely stunning for me, since I feel a second synthesisation of my flags for a big embrace…
Q: 可以分享一下在您在创作这些作品的过程中遇到的困难、有趣或难忘的事情吗？
Any difficulties, interesting or unforgettable things happened when you were creating these artworks? It would be great if you share with us.
就在每天展开旗帜的仪式上，我有过从露台上摔下来的经历。非常戏剧性的是，我发现自己很幸运地被吊在阳台的缝隙和墙上的梯子之间，否则可能会导致致命的伤害甚至死亡。我还记得另一件事，邻居们注意到我的阳台上每天都挂着旗帜，当他们看到一些形似特殊符号的东西就会抱怨起来。
Yes, I experienced a big fall from the terrace during this daily ritual of unfurling the flag. It was very dramatic that I found myself hung between the gaps of the terrace and the ladder on the wall, which otherwise might have resulted into a fatal injury or death even. Another one I remember, my neighbours noticed this daily happening of flags on my terrace and complained when they saw something that looked like a special symbol.
Q: 这次展览对您的意义是什么？对您未来的创作是否有影响？
What is the significance of this exhibition to you? Does it have any influence on your future creation? If so, in what ways?
能参加这样的大型展览真是太高兴了。祝贺我自己和整个团队，特别是本届杭州纤维艺术三年展总策展人，他确实很有远见。我多么希望能到现场看到所有的东西，但疫情又一次限制了实际的到来和体验，这个空间充满了令人惊叹的概念性实验。
Ah! what a delight to be a participant in a mega show like this. I congratulate myself and the entire team in particular dear Liu Tian who has a vision indeed. How I wish to be there to see all, but again this Covid restriction paralyzed the actual coming and experiencing of the space loaded with an amazing range of experiments in concepts.
Q: 在全球疫情的背景下，您的艺术和思想是如何做出回应的?
In the context of the global crisis of COVID-19, how did your art and ideas respond to the pandemic?
作为一个艺术家/行为艺术家，这个“旗帜”系列作品帮助我以一种独特的方式理解疫情封控。我可能会读一本书，甚至在网上看电影。但在大流行期间，我的中心活动是我和我的孤独，以我自己谦卑的方式与外界进行至关重要的时间连接。
As an artist/performance artist, this “Flag Series” helped me to understand the Lockdown uniquely. I might have read a book or so or even watched films on the Internet, which I did but the central activity during the Pandemic was me and my solitude, that vital time-connection with the OUT-THERE in my own humble way.
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