《放心》下的不放心——梁越的公共图像
王南溟
从2001年春天梁越在经过一家荣获放心店的招牌前拍下第一张《放心》照片开始，他寻找并拍下了各种有“放心”叫法的店名和产品，比如：
“鼎好放心店”
“永昌放心店（经营粮油、禽蛋、洋果和调料）”
“河南酒店餐饮业诚信经营，消费放心示范单位”
“农资放心店（软硬通杀：杀不死害虫不要钱，杀死害虫请宣传）”
“本店已消毒、请放心购物”
“放心豆腐”
“放心包子”
“白玉黄豆芽（白玉品质保证，可放心食用的豆芽）”
“中国放心米”
“利民放心肉店”
“完达山放心奶（全程无污染、100个放心）”
“腊汁肉夹馍（吃放心食品，走健康人生）”
“新大陆大红果（放心食品）”……
除自己所拍到的外，梁越还从网上搜索和报刊上收集到与“放心”相关的图片和文字。由我策划的将这些《放心》组成“放心广告——梁越的公共图像”在北京墙美术馆展出，不但直指今日的“奶粉”事件，将这种供货商、质量技术监督部门和消费者之间的紧张关系，“放心”招牌和国家“免检”的行政弊端都挪用到了展览现场，而且展览本身也强化了新闻批评的性质，展览中的《放心》图片都在暗示着我们——“放心”下的不放心。
中国问题情境可以把我们的思考不停地卷入到各种各样新出现的问题中，“放心”这个产品生产原本对消费者是必须履行的义务，但也被做成了广告词。以至于变成哪怕不虚假的“放心”广告也构成了对“放心”的反讽。梁越的《放心》作品在进入2008年的上海证大现代艺术馆的“介入艺术生活366天”项目中就开始发布，像在暗示着有一场不放心的“放心”食品危机会发生。方法是，梁越在自己的博客网站上每天发一个“放心”图片，遇到节假日就发于此节假日有关的图片，如中秋节就发放心月饼，腊八节就发放心米等。这个“放心366天”的项目还在进行中。
当摄影领域还在争论什么摄影是艺术，什么摄影不是艺术的时候，梁越的展览本身就在说，这种争论已经毫无意义，关键不在摄影有多少艺术特征，而在于摄影有多少能为“批评性艺术”所用，哪怕它不太像摄影了。
2008年10月于上海
The Unsafety behind “safe” ——The Public Images of Liang Yue
Wang Nanming
Starting from his first photo named safe in spring 2001, taken from a signboard of a store which won the title of “reassurance”, Liang Yue found and took various photos of shops and products named“safe”, such as:
“Safe shop of Ding Hao”
“Safe shop of Yong Chang ( Selling food oil, eggs, fruits and spices”)
“Honestly Operated and safely Consumed units demonstration in He Nan Hotel and Catering Industry”
“Safe store of Agricultural materials (No charge if pests won’t be killed, publicize for us if pests be killed)”
“ Our shop has been disinfected , please feel assured to do shopping”
“Safe Tofu”
“Safe Baozi”
“White Jade Soybean Sprout (quality assured, please feel assured to use it) ”
“Chinese safe Rice”
“ Safe Meat Stroe”
“Wondersun Safe Milk (non-pollution , 100\% safe)
“La zhi rou jia mo( eating safe food to own a healthful life)”
“New mainland pre-served olive (Safe food)”
……
Except the photos, Liang Yue has also collected pictures and articles related with “safety” on the internet and newspapers. “Safe Advertisements—the public images of Liang Yue ” curated by me, which are made up by these “safe”, will be exhibited in Bei Jing Wall Museum. This exhibition shows the tensive relationships between suppliers, Institute of Inspection on Quality and Technology and consumers, and it moves “safe” signboard and the disadvantages of “Exemption from Inspection” to the public. This exhibition not only refers to the “milk powder” event, but also emphasizes the critique character of the press. All the images in Safe are implying the unsafety behind “safe”.
Our thoughts have been involved with various problems in the Chinese problem situation. To guarantee the safety of products should be the obligation of suppliers, however, “safety” has become an advertisement word today. Even the “safety” advertisements themselves have grown into an irony of “safety” itself.The works of “Safe” starts to be exhibited in the program called “Intrude: Art & Life 366” in Shang Hai Zendai Museum of Modern Art. It seems to imply the coming of a food safety crisis. Liang Yue uploads a “safe” image on his blog everyday, on holiday, he uploads relative images, and for instance, he uploads the image of safe moon cake in the Mid-autumn Festival, the image of safe rice in La Ba Day. The “Safe for 366 days” program keeps moving on.
When people in photography field still argue what kind of photograph is more like a kind of art , the exhibition of Liang Yue shows that this kind of argument is meaningless. The key point is not how many artistic characters dose photography have, but to which extend photography can be used by “critical art”, even if it does seems like photography.
October 2008 in Shang Hai
【编辑：霍春常】
