张思扬
This work is based on a story: On February 27, 1900, a potentially rainy overcast day, Birkeland arrived at the Halde Observatory to study magnetic storm phenomena. During a night of barbiturate-induced paranoia, he observed rapid geomagnetic oscillations occurring simultaneously in forty-four locations around the globe—aurora appeared in Norway, and solar storms disrupted all electrical currents. The aurora persisted for 17 years. In the summer of 1917, during a journey to visit old friends, his plane deviated due to high-altitude electrical interference. While waiting, he proceeded to an abandoned old house atop the mountain. On June 17th, he passed away at the Seiyoken Hotel in Tokyo, having ingested 10 grams of barbiturates, rather than the recommended dose of 0.5 grams, with a revolver placed on his bedside table.
“How to Make Aurora Borealis in a Bedroom” enters the story through a fissure from Birkeland’s final moments using video. Eight channels of video are installed within a darkened bedroom using dim projections. The videos are heavy, slow, and lengthy, creating a contemplative “vacuum”—attempting to glimpse some kind of inner undertow. If the aurora is a visual spectacle born from the impact of immense energy, then the blurred nocturnal walks in the videos, a hand slowly rolling dice, a dilapidated door frame, handwriting endlessly circling a small tower—these images focus more on the language concealed within the darkness. It is an excavation, a presentation of the loneliness of the individual when confronted by incomprehensible forces, and a scrutiny of the invisible energies that subtly, and at times violently, weave our reality.
In the suffocating darkness of the bedroom, fleeting images flicker like half-formed memories or inauspicious omens. It transforms into a topography of premonition, a space resonant with memory, a place where the boundaries between inside and outside dissolve, and ultimately becomes a site of confession and an existential stage.
“如何在卧室制作北极光“的叙事源自克里斯蒂安·贝克莱（Kristian Birkeland）——这位挪威物理学家的一生，特别是他那充满争议和谜团的最后时刻。作品尝试以一种诗意的方式，重构一段贝克莱生命中未被记录的旅程：在一次偏航中，他走上了一座山。
这件作品基于一个故事创作：1900年2月27日 一个可能要下雨的阴天，贝克莱来到哈德山上的观测站，进行磁暴现象的研究。在一个巴比妥导致偏执症 发作的夜晚，他观测到了在整个地球四十四个事件中同时发生的地磁快速震荡——极光出现在挪威，太阳风暴震动了所有的电流。极光闪耀了17年。 1917 年夏天 在拜访老友的旅程中，他的飞机受高空电流干扰导致了偏航。等待中，他去往了 山顶上一座废弃的老屋。 6月17日 他在东京青训酒店身亡。他服用了10克巴比妥，而不是推荐的0.5克，床头放着一把左轮手枪。
“如何在卧室制作北极光“使用影像从贝克莱死前的一个裂隙切入这个故事，八个通道的影像通过幽暗的投影被安装在一间黑暗的卧室内。这些影像沉重，缓慢，冗长，制造了一片沉思的“真空”——试图窥见内心的某种暗涌。如果说极光是一种在巨大能量冲击下的视觉奇观，那么影像中模糊的夜间行走、缓慢掷骰子的手、破旧的门框、不断围绕小塔画圈的笔迹，它们更注重那些隐藏在黑暗中的语言。它是一次挖掘，一次对个体在面对无法理解的力量时的孤独的呈现，以及对那些微妙地、有时是猛烈地编织我们现实的不可见能量的审视。
在卧室令人窒息的黑暗中，短暂的影像如同半成形的记忆，或是不祥的预兆般闪烁。它被转化为一处预兆的地形，一个与记忆共鸣的空间，一个内外边界消融之地，并最终成为忏悔的场所和存在主义的舞台。