藍色「幻肢覺痛」
港幣貳萬元
收藏家：你說這是你幻肢的幻痛，但看見這個泳池被擾動的畫面，艾格妮絲馬丁（Agnes Martin）一定會說這代表著雜亂無章的夏天。
鍾正：她的夏日泳池沒有光或漣漪。也許它是一個陽光還未至，黎明時分的泳池。
收藏家：《藝術的誕生》中巴塔耶(Georges Bataille)曾說過：「希臘也給我們留下奇蹟的印象，但希臘顯露的光是大白天的光：黎明的晨曦是不那麼確定、明顯的。暴風雨的季節，晨光卻是最耀眼的。」
鍾正 ：我的妄想只會衍生於強烈的日光或黃昏的微光中。
收藏家：那鋁板上的光是來自強烈的白天還是微暗的黃昏？
鍾正：都不是，而是二維表面解壓縮至三維的結果——鋁板的表面反射著熒幕上的LED，彷彿打破了白天和黑夜的界線。
收藏家：液體凝固成為玻璃的意想使人耐人尋味。
鍾正：玻璃和水有相似的波阻抗。它們體內的電波可阻止光的穿透並使之折射。
收藏家：玻璃和水本身的反光源於它們的阻光性，使光波處於游離狀態。我一直以為水裡的紫外線比水面更強。但現在才意識到水裡和大廈內的紫外線強度是相當的。只有接近水面或立於玻璃大樓的矩陣中才會被灼傷。
鍾正：因此，我的倒影永遠被禁於鋁板之外。我們只能從作品的側面才見到不經反射影響的完整作品。
「驅動未來」
港幣三萬（不包括LED面板）
收藏家：最近我一直在思考規模大與小的問題。我喜歡你在新作品中減弱你以往的龐大感。即使這LED面板組合龐大壯觀，畫面也只聚焦在一個極其微小的細節上：一束光線從中銀大廈無縫的表面折射，打在無人機鏡頭上。你有沒有意識到，面板上的窗戶是你展覽中所有表面中的唯一裂縫？它試圖並成功地斷裂了折射，但光線再次侵入。你令它看似天衣無縫，仿佛太陽在玻璃上畫了一條連續的線。但它不是連續的，有一種逃生的可能。
鍾正：當然，龐大感的減弱在內在慾望和外部表現的矛盾中被形象化了：技術官僚性的慾望在曲折中反抗了其上下貫穿的自負的權威。三維空間消散為二維。
收藏家：展覽中的唯一逃生處是那扇窗戶，潛伏後幻覺與表面皆已熄滅。
鍾正：就像相機鏡頭一樣，這扇打開的窗戶把光線消化後吐出了一堆貌似太陽的像素。我們正在隧道的另一端。
收藏家：你以前見過LED屏幕的照片嗎？相機傳感器的疊加干擾了屏幕上的光照模式，通過干擾產生了波紋。他們稱之為摩爾紋 （Moiré pattern），就像紗線被壓制和編織成為更細更亂的馬海毛。
鍾正：可披上、沉溺其中的質地。
收藏家：有趣的是，其實你用手臂一推就能打開大廈的窗戶，打亂矩陣。我們都知道，大廈是空調的溫室，冷空氣是不該被釋放的。而且，站在窗邊看起來是那麼危險 —— 這些窗戶都是無框的。
鍾正：我猜這就是馬海毛與紗線、紫外線輻射和LED照明、被窒息和不被窒息之間的區別。當你側身看LED屏幕時，它看起來像一個籠子。
編者按：本文以虛構對話回應了藝術家鍾正在灣仔富德樓個展《思想是負擔》（2022年2月19日至2022年3月27日）的展覽現場以及島聚之前的展覽評論《誰又想要自尋煩惱？》。
作者：朱芷晴，以筆名屌勒茲寫作，是一位專業的業餘愛好者。空閒時，她會從海水中拯救各種電器以放縱她的拖延症。
翻譯：萬豐、朱芷晴
Extracts from the Price Catalog
Blue Figments
HKD 20,000
Collector: you call it the illusional pain of your phantom limbs, but I think Agnes Martin would call it chaotic summer – the disrupted surface of a pool.
Mark: Her pool in summer doesn’t have light. It is not rippled by movement. Perhaps it is a pool at dawn when the sun rays haven’t hit.
Collector: In the Birth of Art, Bataille once said: “Greece also gives us the impression of a miracle, but the light that emanates from Greece is the light of broad day: dawn’s early light is less certain, less distinct, but during a stormy season, morning light is the most dazzling of all.”
Mark: My delusions only occur in intense daylight, or in the waning light of the dusk.
Collector: Is the light from the intense daylight or waning dusk?
Mark: none but the result of a decompression of the two-dimensional surface into three – now the surface of the aluminum reflects the LED from the panels, as if breaking the boundaries between day and night.
Collector: there is something intriguing in the idea in which liquid becomes hardened to glass.
Mark: Glass and water have similar wave impedance. They are both electrical bodies that impede light from entering through refraction.
Collector: the luminosity of the bodies of glass and water owes only to the fact that neither of them absorb light, leaving the light waves in limbo. I have always been told that the UV rays inside the water are stronger, but now I suddenly realized that the level of sunlight is only akin to the amount one receives inside an office building. You only get burnt when you are near the surface, or when you stand amidst a matrix of glass buildings.
Mark: But the light of my reflection is never allowed to enter the body of the image. You can only see a complete image of the piece when you look at it sideways.
Dead End
HKD $30,000 (sans LED Panels)
Collector: Recently I have been thinking about bigness and smallness a lot. And I like how you diminished the monumentality in your work. Even this huge LED panel is focused on a miniscule detail of the ray hitting the drone lens as it refracts against the seamless surface of BOC. Did you ever realize that the window on the panel is the single point of rupture in your whole show of surfaces? it attempts and succeeds in fracturing the point of refraction for one second, but light enters again. You made it look seamless, as if the sun was drawing a continuous line on the glass, but it is not. There is a possibility of escape.
Mark: Sure, the diminishing of monumentality is visualized in the contradiction between inner desire and external representation: the twist and turns of technocratic desire rebels against the authority of its vertical ego. Three dimensions dissipate into two.
Collector: And the only possible escape is from that window, where both illusion and surface are extinguished.
Mark: Like the lens of a camera, the open window digests light and spits out an aggregate of illuminated pixels that resemble the sun. We are at the other end of the tunnel.
Collector: Have you seen photos of LED screens before? The superimposition of camera sensors interferes with the light patterns on the screen to produce waves through interference. They call it moiré patterns, like how yarn is pressed and woven to become the finer and more chaotic mohair.
Mark: something that you can wear, be smothered in.
Collector: it’s fascinating to see that you can actually open the office buildings windows to disrupt the matrix with a push of the arm. We all know that they are greenhouses of air-conditioning where you aren’t supposed to release the cold air. And it just looks so precarious to stand next to the window. None of those windows are designed with window frames.
Mark: I guess that’s the difference between mohair and yarn, UV radiation and LED illumination, and to be smothered and not. When you look sideways at the LED screen, it looks like a cage.
Editor Notes: This fictional dialogue is fabricated as response to Mark Chung’s solo exhibition “Dead End” at Foo Tak Building ( Feb 19 to Mar 27, 2022) and the art review by Gut Ming Water on Daoju.
About the writer: Joy Zhu, writing under the pseudonym diuleuze, is a professional amateur. In her spare time, she procrastinates by rescuing her electrical devices from salt water.
