魔力女孩——蘇山·席勒
　　開幕時間：2008年7月5日星期六下午4點
　　展覽時間：2008年7月6日－9月
　　展覽地點：卓越藝術，北京市朝陽區酒仙橋路4號798藝術D10
　　開放時間：週二至週日上午10點至下午6點
　　聯繫電話：010-8459 9788
　　電子郵箱：info@joyart-beijing.com,
　　網 址：www.joyart-beijing.com,

　　Psi Girls——Susan Hiller
　　Opening: 4pm, Saturday, July 5, 2008
　　Exhibition Dates: July 6 – September, 2008
　　Venue: JoyArt, Zone D10, 798 Art District, 4 Jiuxian Qiao Road, Chaoyang District, Beijing, China
　　Opening Hours: 10am – 6pm, Tuesday – Sunday
　　Tel: ＋86 10 8459 9788
　　Email: info@joyart-beijing.com,
　　Website: www. joyart –beijing. com,

　　蘇山·席勒（Susan Hiller）是英國當代重要的觀念藝術家，她的的作品成就顯著，在當代藝術圖景中佔據著顯著的位置，引發眾多文化本位探討，從人類學到心理分析到大眾傳媒技術，涉及從攝影到裝置、聲音到物品等多種藝術形質。她的作品不斷延續著自己自七十年代早期開始形成的美學經驗，運用綜合而又詩意簡樸的方法探索深處的秘密。馬賽爾·普魯斯特要是看過她的作品，可能會為其顯示出“天才的神秘之處”而感到驚訝。她的作品一面尋找著藝術創作的神秘源泉，同時又探索著其實現的地點。

　　作品《魔力女孩》（Psi Girls）初展于1999年，這件裝置作品由5個同步影像組成，每部分都是一小段來自不同流行電影的鏡頭剪輯，展映具有超能力的年輕女孩的行為。比如説，我們看到一個女孩只用意念就讓一根筆立在桌上旋轉起來（電影《魔女遊戲》，“the Craft”，Andrew Fleming導演，1996年），或者用意念讓玩具火車在軌道上跑起來（電影《憤怒》，“the Fury”，Brian De Palma導演，1979年），或者讓桌子上的杯子急速旋轉，摔到地上碎成一片（電影《潛行者》，“Stalker”，導演Andrew Tarkovsky，1979年）。每個螢幕都設置成不同的顏色，以改變圖像的本質，重構其語義內涵：紫色與神聖，綠色與超自然，藍色與再生，黃色與犯罪，紅色與激情。六種顏色中唯獨沒有桔黃色，一種心理學家認為可以代表內心和諧的顏色。裝置配以一段由某靈樂唱團改錄的節奏感強烈的音樂，給人以迷惑和驚愕的感覺。羅傑·凱洛依斯（Roger Caillois）把這種迷惑的方法稱為“製造眩暈與快樂的感覺，以摧毀制度和穩定。”的確，席勒的作品經常有意地配以玄妙和怪異之物，製造眩暈的效果，玩笑般地恐慌造成了與既存現實的巨大差異。

　　Susan Hiller is an important conceptual artist of UK, she occupies an original and anticipatory place with respect to the landscape of contemporary international art, drawing on many cultural references, from anthropology to psychoanalysis to mass media technologies, and operating across various means from photography to installation, sound and object. It presents a continuity of aesthetic experience that the artist began in the early 1970s through an exploration of the deep place of visibility using com,plex and poetic minimal means. Marcel Proust might have said that her work is an astonishing revelation of the ‘mysterious phenomenon of scintillation’. It searches at one and the same time for the secret source of artistic creation and the place of its realization.

　　Psi Girls, first exhibited in 1999, is an installation of five simultaneous video projections, each a montage of brief sequences from various popular films that figure an act of telekinesis performed by young girls. For instance, among them we recognize the sequences in which, through her powers of concentration alone, a girl spins a pencil on its point (Andrew Fleming’s The Craft, 1996)， or accelerates a miniature train around a track (Brian De Palma’s The Fury, 1978), or shifts glasses across a table to smash out of frame onto the floor (Andrei Tarkovsky’s Stalker,1979). Each screen is suffused by a different colour, altering the nature of the images and remapping their semantic meanings: violet and the sacred, green and the supernatural, blue and regeneration, yellow and transgression, red and passion. Of the six primary colours, orange, thought by psychologists to reflect internal harmony, is ‘missing’. The projections are accom,panied by a pulsating soundtrack remixed from a gospel choir, which contributes to a sense of disorientation and amazement. Roger Caillois speaks of such disorientation as linking ‘the sense of vertigo and the pleasure to destroy order and stability.’ Indeed Hiller’s work is always orchestrated around nuances of the occult and aberrant, the play of the vertiguious, and a ludic panic that produces a disjunction with established reality.