来自建筑内部
From Architectural Immanence
胡介鸣
Hu Jieming
单频录像，6分18秒
Single channel video, 6’18”
2002
录像素材来自两个部分的建筑影像和图片：一部分摄自安徽传统老建筑，另一部分影像摄于西方现代都市建筑。通过计算机技术将这两部分的影像素材合成相互覆盖、交替、对抗等拉锯状态，产生出一系列戏剧性的效果。从这些风格大不相同的建筑轮廓中获取信息，再将这些信息演变为音乐。影像中的红点和黄点是乐谱的依据所在，红、黄点沿着建筑的轮廓行走，它们在五线谱上的位置便是音符。红点沿着中国传统建筑轮廓行走，用传统乐器演奏;黄点则沿都市轮廓行走，以西洋乐器演奏。
The video presents a situation that is very common everywhere in China. On the one hand, more and more old Chinese houses are being destroyed and new international-style buildings are being built. On the other hand, many new buildings carry Chinese traditional elements. In the video, the artist placed scores on top of the images of Chinese- and western-style buildings. The red and yellow dots hit the pitches as they move along the outlines of the buildings and the scores. Interestingly, the red dots, which follow the outlines of traditional Chinese buildings, generate sounds of Chinese intruments; while the yellow dots, which follow the outlines of western style buildings, generate sounds of western instruments.
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无休无止…
The End Has No End…
杜震君
Du Zhenjun
互动装置|钢管、LCD显示器、电脑、传感器
Interactive Installation | Steel pipe, LCD monitor, computer, sensor
5mx6mx8m
2008
作品是一件“8”字型的大型装置，使用一台计算机来操控附着在8字型钢结构上面的60台LCD液晶显示器。录像里面描绘着来自各个不同文化的人们在地上缓慢爬行的景象，观众通过鼓掌或发声可以改变那些人的运动方向。可一旦这种互动消失，他们又会重新回到原来的方向。作品在观念上透露的是：当全球之钟的滴答声深入我们的灵魂，我们能在多大程度上真正掌握我们自己的行动呢?如果自我抉择已经成为某种微观管理的产物，想要干涉这样一个单调过程的欲望只会遭遇一场无可避免的前进。
Du creates a large scale figure-eight installation called The End has no End… The installation uses a computer to control 60 LCD monitors which are attached to the steel frame. The piece depicts people from different cultures crawling on the ground in slow motion. The audience can reverse the direction of the figures’ movements by clapping their hands or by using their voices. Once the interaction stops, the figures resume their original flow of movement. Here lies the thinking behind the work : if self-determination is already micromanaged, the desire to intervene in such a monotonous process would only meet an inevitable marching forward - such is the brutality of today’s world.
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纪录零秒
Timeless Recording
林俊廷
Lin JunTing
综合媒体装置|镭射及影像设备
Mixed Media Installation | Laser and Imaging Devices
35m x 4.5m x 4m
2011
http://jiunting.spaces.live.com/blog/
装置在廊道近中间处设有一张椅子，椅子的前方有一镜子(镜后为一LED显示器与摄影机)，当观众进入廊道中时，镜中即时显现廊道中观众的影像，椅子上方有一盏灯引领着观众坐上，待观众坐定后灯光逐渐熄灭，随后观众将看见“镜中的自己”正在离开，而“当下的自己”彷佛进入另一维度。同时前方逐渐形成时光隧道，引导观者向隧道的方向走去，当
观者离开隧道时，发现自己又过渡到另一个时空……。
从心理学在现代文明中成熟，并且以科学性的态度进行人类心理的探索，从人的主观意识、人和社会的关系，到对于梦境、潜意识等等进行的研究，心理学逐渐借用各种催眠、静坐、身体电磁波、脑波测试和变化，企图了解“不可见”世界的神秘形式。种种探索，特别在科技的高度研发和激化中，出现层出不穷的诠释和想象。实体世界和虚拟世界、或者各种宗教的世界观在当代文化的讯息交流中，产生更多维度的坐标。
This installation includes a chair positioned close to the center of a corridor. In front of the chair is a mirror, behind which hides an LED TV and a camera. The mirror immediately reflects the images of visitors as they enter the corridor and a light above the chair guides them forward and encourages them to sit down. Once a visitor is seated, the light fades away and he or she watches “their reflection” leave the mirror. It is almost as if “the present self” enters another dimension. A time tunnel opens up in front of the viewer, leading him or her to proceed. On leaving the tunnel, he or she becomes aware of entering another time and space.
As Psychology matures in modern society, it strives to explore the human psyche through scientific approaches. It studies subjective consciousness, social relations, dreamstate and the subconsciousness applying methods such as hypnotism, meditation, body electro-magnetic imaging and brainwave testing, attempting to understand the mysteries of the “invisible” world. These explorations, especially those supported by high-tech research and development, have provided us with seemingly endless interpretations and new ideas. As a result, a more comprehensive understanding is brought about by the exchange of information between the real and the virtual, and between the global perspectives of different religions.
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生命映射 - 道恩灯塔水母
Life Mapping - Turritopsis nutricula
徐文恺
aaajiao(Xu Wenkai)
计算机衍生动态影像装置
Computer Generated Moving Image installation
算法生成的道恩灯塔水母
algorithm generated Turritopsis nutricula
压克力、不锈钢、iTouch、计算机衍生动态影像装置
acrylic, stainless steel, itouch
125cm×35cm×60cm
2011
计算机图形设计：徐文恺、刘晓光
computer graphics : aaajiao, liu xiaoguang
作品利用程序模拟道恩灯塔水母的生命特征。道恩灯塔水母是迄今已知的唯一能在性成熟后重返幼年期的多细胞生物。艺术家试图在新的维度中模拟一种可以不死的生物，由此探讨维度的永恒性，抑或是存在和消亡的关系。
The artwork is a digital program imitating Turritopsis nutricula, the only known multi-cellular organisms that can revert stages of growth. Through this artwork, aaajiao is trying to simulate the immortal creature in the new dimension of data, and thus discuss immortality and the relationship between “to be” and “not to be”.
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水测
Water measure
徐文恺
aaajiao(Xu Wenkai)
信息互动装置
Information interactive installation
木头 铁 蠕动泵 烧杯
Wood, iron, peristaltic pump, glass jar
原数据来自于artmailart的通讯录信息
Original data is from the email list of artmailart
90cmx50cmx230cm
2010
Technical support: Shen Jiujiu
技术支持：沈赳赳
Hardware: Ma Jian
硬件：马健
水滴是按照0\1(二进制)来操作的，也就是0为一滴水，1为一条水，也就是点和线的关系。还是要测量数据的体积。
作品的意义表现为其循环进出的形态。它将一份特定的邮件名单(全球艺术家、艺术团体、画廊和收藏家们 的电子邮件地址)看做是理想化的事物,每一个水滴都代表了列表上的一个人,水从容器中漏出,落入量杯中, 在下落的时候一滴水象征着一个存在的人,落进量杯中就又回到了被测量的水。于是,水滴=数量=人,人简化为数量,与其身份和意义剥离,前提是人们满足于列表的参数,并增加和扩充这一量的变化。水滴在量杯四周溅 落——失去的水滴、失去的人,未测量的、已测量的都被遗忘,渗透和蒸发成为其他系统的一部分,可以又一次被测量。价值不会完全覆灭,只会失去存在于特定系统中的价值:这就是 “数据” 的真相。
The installation figuratively funnels, meaning in and out. The dripping water corresponds to a mailing list specially tailored to a certain group (global artists, art organizations, galleries, collectors). Every drop represents a person from that list, as the water drains away from the container, falling into the measuring jar, it refers to the implied person only at that particular moment. After the water drops reach the measuring jar, the implication disappears. As long as they satisfy the parameters of the list and add up to fill a volume, drops = a number = people, people are simplified into a number, deprived of their identity and significance. The water splashes around the jar suggesting that both the lost drops and the people, the unmeasured and the measured will be forgotten, permeate and evaporate away to resume the process in some other system. Their significance is never completely lost; they can only lose their significance to a particular system: this is the nature of "data".
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神经故障
Nervous Breakdown
吴珏辉
Wu Juehui
有声激光装置
Light Installation with sound
2006-2011
作品由一组配对的低频音响与激光发射器组成。每只低频音响循环播放着各种各样简单的，沉闷的机械噪音片段，利用音响发声的原理，音响的振膜不断作用于放置其表面的激光发射器，发射器在不规则推力的作用下不断改变着投射方向，投射出的红色激光束在黑暗中舞动，也切割着空间的墙、地面、屋顶，以及进入空间的观众。
The installation consists of several low-frequency speakers, each of which is paired with a laser transmitter. The speakers are all continuously playing a variety of simple, boring soundtracks composed of mechanical noise. By using the sound principles of the speaker, its diaphragm continuously vibrates the laser transmitters placed on the surface of the speaker. The irregular impulses keep altering the projection direction of the transmitters, which in response emits dancing laser beams in the dark space, cutting the wall, the floor, the roof, and even the audience who enter this space.
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0~255之间
Between 0～255
张辽源
Zhang Liaoyuan
有声灯光装置| LED落地灯、计算机、单片机、音响
LED installation with soundtrack| LED Floor Lamp, computer, SCM, speaker
35cm x 35cm x 160cm
2010
作品以简单的形式完成了一次对于多媒介信息的解构和再构成。独立的展览空间中一盏落地灯时明时暗不停变化着，观众可以辨别出背景声来自于一部电影，现场缺失的是影片的画面，没有投影或电视在播映，视觉上唯一可感受到的光影变幻来自那盏灯，而这似乎隐若间又与电影的声音有着默契，实时的彼此呼应。其实那落地灯的光源由红、绿、蓝三盏LED灯组成，其亮度变化恰恰对应于影片原始数字文件中某个具体像素点RGB参数的实时变动。作品从数字影像的媒介构成单元中抽取局部信息，简单的转换形式以后将这一局部信息的表达做了放大，并且与本身完整的声音信息再度构成一个新的呈现状态，一种多媒介信息内部的不对称性，这不符合常规的信息读取机制，但的确产生了新的感官、认知经验，以及作品可能的表达维度。
The installation, in a simple form, completes the deconstruction and recomposition of multi-media information. A floor lamp placed in an independent space constantly changes its illumination. It is easy for the audience to figure out that the background sound comes from a movie, but its moving pictures are missing at the site. There is no projection or television playing the movie. The changing of light and shadow comes solely from the lamp and seems to be related to the soundtrack as well as the movie. In fact, the lamp consists of three LED lights: one in red, one in green and one in blue. Their brightness changes according to the change of RGB values of a specific pixel from the original video file. The installation extracts local information from a component unit of the digital image media, and then enlarges its expression after a simple translation. This new expression, together with the original sound track, present the movie in a new way. Although the asymmetry within the multi-media information here obviously does not meet the general mechanism of information management, it does create a new sensory / cognitive experience and explores possibilities.
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空.器 – 三重版
Kong.Qi -triple
王仲堃
Wang ChunKun
互动装置|空压机、电子设备、铝、铜、铁、压克力
Interactive Installation | air compressor, electronic device, Aluminum ,copper, iron,acrylic
180cm x 40cm x 40cm
2011
艺术家从2008年的“声瓶”系列创作起，作品就开始尝试回归透过最基本的物理发声方式来制造出作品的声响，而非习以为常的运用扬声器。王仲堃在本展中所展出的则是于2009年“空•气”创作系列的延伸作品。“空•气 – 三重版”一作，使用三个方向垂直排列的电磁气阀，借由观者身体的介入而触发预设定好的数段随机节奏，于此同时，气阀随着错落的节奏，朝着观者身体吹拂着，激发皮表细毛的触感。
Starting from the "Sound of Bottles” collection in 2008, the artist creates sounds through the most basic way of voicing instead of using common loudspeakers. Wang’s piece for the exhibition is a continued exploration of the 2009 “Kong•Qi” collection. “Kong•Qi – triple” uses three vertically arranged electromagnetic valves. As the viewer approaches the installation, several pre-arranged ryhthms will be randomly selected and activated. Following the rhythems, the valves gently blow air towards the viewer’s body, stimulating a special skin sensation.
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我会坏掉
I WILL BE BROKEN
姚仲涵
Yao Chunghan
声光装置|电子设备、荧光灯管
Light Sound Installation| Electronic devices, fluorescent lamps
200cm (W) x 200cm (D) x 270cm (H)
2010-2011
我会坏掉 坏掉前
我的声音很美妙
我正以每秒16.6次开关的频率 歌唱
我也以每秒16.6次开关的频率 坏掉
然后 完全坏掉
可以被丢掉
I will be broken.
Before that, my voice is beautiful.
With a 16.6/second switching frequency, I sing.
With the same 16.6/second switching frequency, I break.
After that, I will be broken, completely.
Discard me.
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声川海
OCEANIC SIGNAL
姚仲涵
Yao Chunghan
视听装置|单频录像，立体声，2分4秒(循环)
Audiovisual installation | Single channel video, stereo sound, 2’4” (loop)
2007
“墨汁缓缓流动、光线局部闪烁、声音哄哄发响”
墨汁的流动在水里划分出许多的空间区块,使用不同方位的灯光以加强区块空间内的事件。墨汁、光线、声音,形成了一个如海、如山的一个流动地景。这件作品最吸引人的地方是,除了墨汁缓缓流动的部份以外,其他变数均是激烈的,而两者间强烈的对比，更吸引观者注意到墨汁慢慢形成一个抽象的地景。
艺术节利用拍摄的装置将声音作品中所强调的空间概念,延续到影像的媒材中：利用电脑程式分析声音频率的数值,再将此数据转化为拍摄现场灯光控制的参数。
"The ink is flowing slowly, the light is flashing and the sound, it rumbles."
The flowing ink divides the water into many sections. The lights from different directions accentuate the events happening in these sections. Ink, light and sound form a sea-and mountain-like landscape. The most intriguing part of this work is that except for the slowly flowing ink, other variables all undergo radical changes. The contrast between these two enables the viewer to notice how the ink slowly forms an abstract scene.
The artist used video-shooting devices to extend the concept of space, emphasized in audio works, to the visual media; that is, to use a computer program to analyze sound frequency and then to convert this result into the parameter controlling the lighting in the filming.
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II. 特别项目Special Project
通
Connection
刘毅 + 复旦大学上海视觉艺术学院学生( 胡蕴梦、尚梦云、张子豪、骆亦舟、程悦、姚心怡、李璇、徐珂、王淇锋、张丹丹、宋柯蒙、郑喻世、肖芸珊、沈晓婷、万千云、周敏、黄许鑫、梅琳玉、魏维、王延楠、周艳娣、纪开元、张筠、鄢成龙、吴伟民、汪雨薇、张竞伯、张东源、戴维莎、林思洁)
Liu Yi + Students from SIVA (Hu Yunmeng, Shang Mengyun, Zhang Zihao, Luo Yizhou, Cheng Yue, Yao Xinyi, Li Xuan, Xu Ke, Wang Qifeng, Zhang Dandan, Song Kemeng, Zheng Yushi, Xiao Yunshan, Shen Xiaoting, Wang Qianyun, Zhou Min, Huang Xuxin, Mei Linyu, Wei Wei, Wang Yannan, Zhou Yandi, Ji Kaiyuan, Zhang Jun, Yan Chenlong, Wu Weimin, Wang Yuwei, Zhang Jingbo, Zhang Dongyuan, Dai Weisha, Lin Sijie)
原作为30件可穿戴的人体装置|单频录像、幻灯
The original artwork consists 30 pieces of wearable installation |
Single channel video, slides
音乐：《沙丘》，Tape(瑞典)
Music: 《Sand Dunes》, Tape (Sweden)
2010
所有的人与人之间，物与物之间，都会有着主动或者被动的链接关系。这种关系的发生和存在取决于产生关系的事件、动作、物理、心理、情境、感觉，以及一些自然现象。把这种“通”的关系放大并视觉化，戏剧性的让我们的观众可以看到人与人之间各种“通”的方式。
这是艺术学院里一堂课程, 通过表演以及对熟悉的现成品服饰的改造，使自己身上的某一个部分能与周围的人们发生关系。链接、交互、通畅、沟通、反应、传递、影响、传达、交接、共享、往来在这些表演者之间。
这是一个“关系世界”的塑造。
Connections, whether initiative or driven, exist everywhere between people and between objects. The existence of such connections depends on the involved events, actions, physics, psychology, circumstances, senses and natural phenomena. The aim of this work is to show the various connections between people by amplifying, visualizing and dramatizing them.
The project took place in a SIVA art course. It asks the participants to link themselves to their neighbors through performances and specially designed costumes. The performers connect, link, communicate, react, transmit, influence, share and interact. They display the construction of a "Connected" world.
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普洱咖啡
Poor Coffee
郑云瀚
Zheng Yunhan
综合媒体装置
Mixed Media Installation
尺寸可变
Variable Size
2010
这个计划是一个关于“混杂”、“传承”、“时间”、“记忆”、“情感”与“生命”的作品。通过混杂日常中两种普通的味觉，进而带动他们背后所传承的信息,进化成一种“新的思考”，一种“新的体验”。
普洱咖啡：是将纯正的咖啡和发酵后的熟普洱茶混合处理的饮料。无论从时间线索，文化线索还是习惯反应来讲，普洱茶和咖啡都是这个世界上最具有代表性的饮料。
普洱咖啡既是一个公共装置，也是一个服务空间。他可以在一夜之间切入一个环境内，在空间中作为一个节点而存在。通过普洱咖啡这种饮料为触角，将空间中交流交换的信息保存在作品中。通过信息的交换传达出普洱咖啡所倡导的“新的思考”“新的体验”。
“新的思考”是在浮躁混乱的现实世界里，怎样才能用一种更加“平和”，更加“开阔”，更加“包容”，更加“融智”的状态来行走我们短暂的生命体验。
“新的体验”，咖啡与熟普洱茶同样具有着悠久的历史和美丽的传说。在汤色与情感上有类似的地方，浑浊中透着空冥。咖啡醇香提神，先苦后甘，普洱茶同样是回甘青涩，细品之下有历史的余韵和遐思。
咖啡根植到西方世界的每一个空间，作为一种文化与空间紧密相连。茶——具有同样的地位在中国、日本、印度等亚洲国家，同时作为西方异国情调的高雅饮品，成为当代讲求自然、环保、养生理念需要的必需。普洱茶的历史很悠久，普洱本身的品性、色泽、味道在很大程度上与咖啡具有一定的相似性。两种饮料的综合可以产生一种特别的情绪，在口感上多层次的感受，也是文化思考上多重的体现。
直面当下全球性，浮动与碰撞不断的背景下，恐怖袭击、暗杀、政变、海啸、地震等天灾人祸，以及人类个体的道德缺失。我们到底怎么了?之前那么多伟大哲人的思想那里去了?我们所拥有过的准则那里去了?普洱咖啡不仅仅提供了一种新的味觉，新的文化思考，同时也是使时间停留的时光机器，也许会是一种生活的调剂，也许是关于“慢”的希望。
作品形态：
普洱咖啡可以有很多种形态，大到一个真正的咖啡馆，小到一个标牌或者是一个移动的装置皆无可无不可，无处不在，都可以是传达出作品内在的信息的外在体验。
作品呈现时有免费的WIFI对环境开放，这一混杂的环境，是普洱咖啡为外在体验所创造的融合空间。
The project is about Mix, Lineage, Time, Memory, Emotion and Life. By mixing two common tastes in daily life, the traditional information within them evolves into a brand new thinking and experience.
Poor Coffee is a beverage composed of authentic coffee and fermented Poor tea. In terms of timeline, cultural background and tradition, Poor and coffee are the most symbolic beverages.
Poor Coffee is both a public installation and a service space. It can break into a certain context in the turn of a hand, and then exists and serves as a node. With Poor Coffee, the information being conveyed and exchanged in some certain space can be stored in the piece of artwork, thus, the exchange of information conveys the brand new thinking and experience which are advocated by Poor Coffee.
The new thinking is how to experience our short life in a state which is more peaceful, more open, more tolerant and more wisdom integrating in this impulsive and chaotic world?
Coffee and Poor tea both have a long history as well as beautiful legends. They also have similar colors and emotions, whose profoundness lies in the thick color. Coffee is refreshing with its distinctive aroma. Its bitterness comes first, and then follows sweetness. Similarly, Poor tea's bittersweet taste leaves people the aftertaste of the legacy of history and reverie.
Coffee finds itself in every corner of the western world and it is closely related to space as a form of culture. And tea enjoys the same status in Asian cultures, such as those of China, Japan and India. It is also a noble beverage in western countries with an exotic touch, and it has become a necessity in a time advocating the concept of nature, environmental protection and health maintenance. Poor enjoys a long history and its nature, color and taste resemble those of coffee to a considerable degree. The combination of the two drinks can generate a special emotion and multi-level taste, which also reflects the diversity of culture.
Confronted with globalization, surrounded by conflicts in the world, we are facing terrorism attacks, assassinations, coups, tsunami, earthquakes and the loss of morality of human beings. What happened to us? Where have all those glorious philosophical ideas gone? What about the humanism that we used to have? Poor Coffee is more than just a new taste and new cultural rethink, it is also a time machine which makes time stand still. Maybe it is a complement of life, or maybe it is about the hope of “slowness”.
The form of the piece
Poor Coffee can be presented in various kinds of forms. It can be as large as a real cafe or as small as a sign or even a mobile installation. It can be omnipresent. Each one of the potential forms can be the external experience conveying the inner information within the piece.
The piece provides free WIFI on site when displaying. The surroundings will be the integrated space created for external experience by Poor coffee.
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III上海开幕演出Performance for Shanghai Opening：
非建筑
大型随境生象作品
Non-Architecture A Large-scale 3D Mapping Audiovisual Perfromance
吴珏辉、姚大钧、范宗海、叶蕊、邵鼎、杨志敏、何德良
Wu Juehui, Dajuin Yao, Fan Zonghai, Ye Rui, Shao Ding, Yang Zhimin，He Deliang
2011
创作团队将建筑原有的一切信息剥离，信息真空化后的建筑，成为等待能量和信息重新注入的奇异容器，成为了“非建筑”。
接着，艺术家把抽出的一切信息：文化、符号、历史、声音、生命……重新注入，使他们在容器中剧烈碰撞和疯狂生长。
在这个容器里，信息不再随着时间直线向前，而是跳跃和闪回的释放，信息不再从物理的表层映射，而是在三维空间中蒙太奇化的放射，“非”化后的建筑，重新排列、集合与定义原有的信息，并在同一时空中演绎多重历史、多重文化、多维现实和未来…
“非”化后的建筑，不止是其所处历史文脉中的一个片段，而成为过去、现实和未来的通道，不止是物理世界中的一个存在，而成为现实空间、意像空间、想象空间的交集，通过“非”化后的建筑，我们会以完全陌生化的方式接受原有信息，更深度的解读历史，更多维的展望未来。
The artists disposed of all information originally attached to the architecture. The devoid building turns into a container waiting to be filled with new energy and information, and thus becomes a piece of “Non-Architecture”.
Then artists refill the building with what they have taken away: culture, symbols, history, sound, life, etc., allowing them to collide and grow wildly inside this container.
In the container, information no longer proceeds with time, instead, it bounces back and forth. Information no longer displays only on the surface, it shines in the 3-dimensional world in a montage way. The “Non-Architecture” rearranges and redefines its original information, and presents at the same time multiple histories, cultures and dimensions and the future.
“Non-Architecture” is not only a fragment of the culture it is in, but also a tunnel between the past, the present and the future. Besides its existence in the physical world, it becomes the intersection between reality, abstraction and imagination. Through this piece, we accept the familiar information in an unfamiliar way, further understand the history and look forward to the future.
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III 深圳开幕演出Performance on Shen Zhen Opening
镭射-日光灯-声音-表演
LLSP ( Laser-Lamp-Sound Performance )
姚仲涵
Yao Chunghan
装置|声音表演
Installation | audio performance
我在弹奏一个自制的乐器，弹奏一道绿色的镭射光，当我碰到镭射的时候，日光灯将通电亮起，我在日光灯周围放置类似麦克风的装置，将日光灯微小的噪音输入电脑之后放大，镭射从发射到接收的距离约170cm，这170cm的距离之內，我用感应器判断我手的位置，将可以控制声音的高低…
My self-made instrument allows me to play on a green laser light. My touch on the laser lights the fluorescent lamps and triggers the sounds. I place some microphone-like devices around the fluorescent lamps and then amplify the tiny noises generated by the lamps using my computer. Laser lights are projected 170 cm long and I use sensors to judge the position of my hands to control the tune of this 170 cm long green laser light …
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