Qin Lingsen is deeply influenced by cyberpunk aesthetics, and the scenes in “”Blade Runner”” are the inspiration for many of his works. Familiar visual symbols in daily life are grafted and moved into the artist’s pictures and installations, but is the final landscape formed? Aren’t these visible signs all nostalgic? The spell of Hauntology manifests. This concept is derived from Jacques Derrida’s Spectres of Marx (1993). In that manifesto of 1848: “”A specter, the specter of communism, roams Europe.”” Still echoed in my ears. The end of history has become the fashionable post-Cold War rhetoric, the specter beckons communism in its neither presence nor absence, and at this moment we can hardly imagine a new future. Also contributing to this situation is Capitalist Realism – “”it is easier to imagine the end of the world than to imagine the end of capitalism”” implies a coercive and unthinking presupposition: even as we continually question the legitimacy of social rules, We still have no choice. No matter how bad capitalism is, it is always better than the alternative.
The crux of the trend culture is paradoxically reflected in the following continuous questions: “”How to identify the object of resistance? How to make a commodity that contains one’s own opinion among many commodities, and then let it enter into circulation?”” In capitalism, creativity and innovation must be beneficial Can be pictured. Trend culture actually constitutes a special industrial form, which is bound to obey the rules of capitalism, and creativity is restricted by the pursuit of profit. From this, a superficial and lazy conclusion is drawn: the trend culture chooses not to imagine new products and new things, because they are only interested in money – nostalgia has flooded in recent years, and it has become more and more It is an excellent example that many retro models and re-engraved products have been fired at sky-high prices and become trendy hot spots. However, this argument seems to ignore some kind of morbid coercion—not that the creator chooses the profit, but that the creator “”must”” choose the profit. In fact, Qin Lingsen’s multiple series of visual experiments in the past few years have plunged the viewer into a familiar yet unfamiliar vision of the future. But like Blade Runner, in a future borrowed from the past, we still cannot imagine a new future without capitalism. The future is fundamentally cancelled, and our thinking is morbidly “”wound”” around capitalist realism.
However, is it really impossible to imagine new worlds outside of the “”now””? Mark Fisher coined a concept with a bit of cunning: “”Acid Communism.”” Among them, “”Acid”” also refers to hallucinogens. For Fisher, psychotropic drugs are indeed listed as one of the ways to escape from reality and imagine the future, but they are by no means condoned. Nor is “”communism”” understood on a historically necessary level, it merely represents a philosophical tendency, a rational core beyond capitalist realism. Fisher did not perfect this doctrine during his lifetime, leaving only a simple message: We must go beyond the imaginary present. Qin Lingsen may not have known “”acid communism”” yet, but his latest work on the facial system is aptly the “”spillover”” part of the practice of “”acid communism””. It is also in the dimension of “”acid communism”” that his creations have advanced compared to the previous series. While still maintaining a “”lover-like”” secret relationship with Leninism, Qin Lingsen began to try to reconstruct a new revolutionary subject – no longer “”deriving the revolutionary subject from historical inevitability””. Abstract color blocks, rapidly extruded lines, and unknown symbolic information, but the meaning of these codes is no longer critical. We seem to have entered a hallucinatory state in the eccentric color stimulation (in contrast, Qin Lingsen’s black and white line draft is more rational and safe). Actions in this state are no longer “”revolution without revolution””. Some deliberately rough details are on the opposite side of the smooth capitalist reality, and the viewer also passes through the “”pseudo”” mirror that recognizes himself in the gaze of the painting, and gets rid of the strictly limited field of vision.