Rockbund Art Museum 上海外滩美术馆

Making Substance 2022: Finding Maritime Asia 造物谈2022: 寻找海洋亚洲

Portrait of the God of the Sea 海神的肖像

Event Information

Date: 16 September 2022
Time: 11:00 14:00
Venue: Rockbund Art Museum


日期: 2022年 9月 16日
时间: 11:00 14:00
场馆: 上海外滩美术馆

About the Event 关于活动

The fishermen's paintings on the East China Sea islands can be traced back to the boat paintings of the Ming and Qing Dynasties, and even the statues, flags, and clothing patterns. The spiritual totems of the ancient Yue people were secretly passed on among the people. The ancient Chinese sea gods also appeared in fishermen's paintings. Poseidon scrupulously performs its duties, maintains the daily operation of the island, is responsible for escorting, curing epidemics, fending off pirates, quelling disasters, commanding the sea, island, sky and fire, and everything is in order. In addition, there are also some individual experiences that are worth cherishing. Their contents are mostly the daily life pictures of the old islands, which have triggered people's long-term memories. This ancient and young art of fishermen is inadvertently leaving precious historical images for the vast East China Sea. These images are unrepeatable. The faces in the painting clearly look at us, but look elsewhere. Their faces are vague, and they can't see their true faces, but they can sympathize with them, as if they are already in it.

After the Asian sea monster imagination, the film Leviathan (2012), produced by the Harvard Laboratory of Sensory Anthropology and directed by Lucien Kastein Taylor and Verena Parawell, will also be shown on the scene. In this film, the filmmaker used multi angle scattered shooting, such as tying GoPro to fishermen, throwing it into a pile of dead fish, and tying it to a wooden pole with tape and putting it into the sea. In a sense, this shooting method gives up the director's powerful position in film production, makes the camera disappear, and lets the audience experience the delirious deep-sea fear of Lovecraft style. The narrative structure of the film, from the outside to the inside of the ship, from the fish caught, to the sea birds accompanying the ship, to the fishermen who manipulate the ship and deal with the catch, outlines the image of a sea monster, and the transition from the eyes to the tail to the digestive tract, which also forms an ethical experiment from a radical perspective on the sea and fishing.



About the Speaker 关于讲者

Sheng Wenqiang, born in Qingdao in 1984, is a writer and marine culture researcher.



Making Substance 2022: Finding Maritime Asia 造物谈2022: 寻找海洋亚洲

Making Substance 造物谈