Forensis: Field and Forum of 'The Long Duration of a Split Second' | 法证:艺术展“一瞬的漫长持续”的现场与会场
    This essay reflects on the visit to Forensic Architecture's 'The Long Duration of a Split Second', the 2018 Turner Prize winner exhibited at the Tate Britain. The exhibition presents the team's investigation on the deaths of a Palestinian Bedouin villager and an Israeli police during a violent demolition activity of local houses in the Negev/Naqab desert on January 18th, 2017. The minor section 'Traces of Bedouin Inhabitation' surveys the historical context behind the incident-- the decades-long Israeli-Palestinian disputation over the site's ownership and residency right. The essay analyzes the exhibition from two perspectives: field and forum. 'Field' corresponds to the on-site investigation of the case in south Israel, while 'forum' is the presentation of it at Tate Britain. The methodology used in the investigation combines the traditional witness testimony and site re-enactment, digital technology (digital mapping, 3D modeling) and social media (Twitter, YouTube). The staging of the show invites the audience to actively interact with the content, constantly raising their head to read the texts printed on the wall and picking up the earphone to watch the videos. The evidence and the presentation put the audience in the role of judge in a courtroom.
    The essay argues that the show challenges and broadens public's definition of art. Regardless of being criticized for 'pretentious methodology and excessive objectivity', the team's moths-long investigation reflects their ardent pursuit of truth and justice. They are the among the few resistant guarantees of human status by fighting for the ignored, the destroyed, and the forgotten.        
        文章回顾了我在泰特英国馆中,对“法证建筑”团队2018年透纳奖获奖作品 “一瞬的漫长持续”的参观体验。作品展览了团队针对内盖夫/纳卡布沙漠村庄暴力拆迁事件的调查。事件发生于2017年1月18日,造成一名巴勒斯坦贝都因村民和一名以色列警察的死亡。副展区“循迹贝都因栖息地”调查了这次事件的历史背景——数十年就土地所属权与居住权的巴以冲突。本文从两方面分析展览:现场与会场。“现场”对应在以色列南部对本案的现场勘察,“会场”则指在泰特英国馆的展出设计。在勘察中应用的方法论结合了传统的目击证词与现场重演,数字技术(数码绘图法,三维建模)和社交媒体(推特,油管)。会展的设计邀请观众通过不断抬头阅读印在墙上的文字与戴上耳机观看视频来主动互动。物证与呈现方式将观众置于庭审中法官的角色。    本文论证本次展览挑战并拓展了公众对于艺术的定义。尽管被批评为“做作的方法论与过度的客观性”,团队长达数月的调查反映了其对真相与正义的炽热求索。其团队是为数不多的对人权的顽固捍卫者,为那些被忽视的、被摧毁的、被遗忘的群体而战。