魔力女孩——苏山·席勒
　　开幕时间：2008年7月5日星期六下午4点
　　展览时间：2008年7月6日－9月
　　展览地点：卓越艺术，北京市朝阳区酒仙桥路4号798艺术D10
　　开放时间：周二至周日上午10点至下午6点
　　联系电话：010-8459 9788
　　电子邮箱：info@joyart-beijing.com,
　　网 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,

　　苏山·席勒（Susan Hiller）是英国当代重要的观念艺术家，她的的作品成就显著，在当代艺术图景中占据着显著的位置，引发众多文化本位探讨，从人类学到心理分析到大众传媒技术，涉及从摄影到装置、声音到物品等多种艺术形质。她的作品不断延续着自己自七十年代早期开始形成的美学经验，运用综合而又诗意简朴的方法探索深处的秘密。马赛尔·普鲁斯特要是看过她的作品，可能会为其显示出“天才的神秘之处”而感到惊讶。她的作品一面寻找着艺术创作的神秘源泉，同时又探索着其实现的地点。

　　作品《魔力女孩》（Psi Girls）初展于1999年，这件装置作品由5个同步影像组成，每部分都是一小段来自不同流行电影的镜头剪辑，展映具有超能力的年轻女孩的行为。比如说，我们看到一个女孩只用意念就让一根笔立在桌上旋转起来（电影《魔女游戏》，“the Craft”，Andrew Fleming导演，1996年），或者用意念让玩具火车在轨道上跑起来（电影《愤怒》，“the Fury”，Brian De Palma导演，1979年），或者让桌子上的杯子急速旋转，摔到地上碎成一片（电影《潜行者》，“Stalker”，导演Andrew Tarkovsky，1979年）。每个屏幕都设置成不同的颜色，以改变图像的本质，重构其语义内涵：紫色与神圣，绿色与超自然，蓝色与再生，黄色与犯罪，红色与激情。六种颜色中唯独没有桔黄色，一种心理学家认为可以代表内心和谐的颜色。装置配以一段由某灵乐唱团改录的节奏感强烈的音乐，给人以迷惑和惊愕的感觉。罗杰·凯洛依斯（Roger Caillois）把这种迷惑的方法称为“制造眩晕与快乐的感觉，以摧毁制度和稳定。”的确，席勒的作品经常有意地配以玄妙和怪异之物，制造眩晕的效果，玩笑般地恐慌造成了与既存现实的巨大差异。

　　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.