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设计与想象
人们总是习惯于把艺术与日常生活实践区分开来，把艺术看作是日常生活之外的一个特殊领域，一个理想世界的崇高的意义客体。事实上，日常生活不但为艺术想象提供了经验和土壤，而且为艺术创造提供了催化剂，更加重要的，它还是当代艺术的舞台和战场。对生活的设计是艺术的日常生活实践。它符合设计的本意，也承接了艺术的初衷。
但是，在这一单元，我们要追问的是：哪些价值隐藏在功能性的对象背后？我们如何重新建构这些对象的历史，并追本溯源，展望新的远景？如何通过日常生活的象征物重新建构一个新世界？这些追问无疑将激发艺术与日常事物的交汇。由此，我们将日常生活实践作为想象、发明、创造艺术品的动力和能量，既在日常与异常、日常与超日常中提出对现实经验的质疑，又把自己的生活设计成具有审美品质的作品，并在存疑和共生的日常实践中构筑社会生活的美学理想。
Design and Imagination
Before the emergence of large-scale industrial production, design was a sublime and metaphysical pursuit. In Renaissance Italy, design was a 083 member of the “rational concept” family, and the plans of the Creator were taken as the source and basis for all imagination. In the modern era, design has come to be seen as an “applied art,” with the task of building functional objects based on proportional, modernized production. In a parallel trend, as art travels the path of modernism, it is removed from daily life and grows daily as it finds its own world of meaning.
To many “traditional” modernists, design is often seen as functional and pragmatic, and functionality has often been thought to counter imagination. However, imagination as implied by design often unfolds along the line of functionality. This sort of limited imagination and conditional freedom is achieved not merely by overcoming functionality, but rather precisely by fulfilling the mandates of functionality. In design, creative and imaginative power take functionality as both fundament and condition. This sort of independent limitation over creativity and imagination, this sort of “limited imagination” or “conditional freedom” has extremely important implications for the restructuring of the public nature and meaning of contemporary art. The artists in this section depart from design itself, thinking about the possibilities for deconstructing and rebuilding the designed object within the scope and practice of contemporary art.
Alessandra Tesi
亚历山德拉·特西 （Italy 意大利）
《上海玫瑰》是一个含有七件录像的作品，影像投影到彩色亮片的地板上，像坠落大地的花瓣。其创意是把上海高耸的建筑压平，像一包撒向地板的卡片。亚历山德拉特西
艺术家在作品说明书中概括了她对上海的看法，似乎十分简单，甚至有些随意通过控制视觉效果让摩天楼的图像滑向大地，像是生长在仙女洞穴花朵的花瓣。她运用影片的拍摄和展示技术创造了一面液体镜子，来反射建筑的光影。她收集这些上海建筑影像的过程就像人们采下雏菊，把花瓣片片拔下来的过程。数台投影机将明亮的锥形光束投向地面，地面布有亮片，它们精心设计的色彩使光线更耀目，同时也使光具有了物质性，这具有艺术家常用的光绘画创作方式的特点，它们有别于录像以及由激光与摄影合成的三维图像（holography）。亚历山德拉特西的作品十分具体、生动、自成一体，影像与其承载物融为一体。她的作品不光靠投影，而是由影像的承载物产生，她的作品不是投射到银屏上的影片， 而是一些构图，一种科技壁画的新发明。
Rose of Shanghai is a seven-video floor projection onto colored sequins, like fallen
flower petals. The idea is to flatten the vertical architecture of Shanghai, like a pack of
cards scattered on the floor. (A. Tesi)
With this statement, the artist summarizes her view of the city and makes it seem rather simple, even casual - a visual manipulation that allows images of skyscrapers to fall on the ground, as if they were petals. And the technological devices she uses to film and exhibit this create a liquid mirror that can reflect the light and images of buildings, collected in Shanghai just as one might pick and trim a daisy. On the ground, awaiting the descent of the luminous cone of projectors, the calibrated colors of the sequins further “inflame” the light and invest it with matter, in accordance with the artist’s characteristic mode of constructing light-paintings that distance themselves from video and holography. For Alessandra Tesi’s works seem to express themselves concretely, present themselves, alive and autonomous, becoming one with their support. Indeed, the works are generated by support, not simply projected, not films “cast” onto screens. Instead, these are compositions, a sort of invention of a “technological fresco.”
——Gianfranco Maraniello 伽弗兰科·马拉涅罗
亚历山德拉·特西上海玫瑰录像装置
All the days of my life Alessandra Tesi
亚历山德拉·特西我生命中的每一天录像Video
Armando Andrade Tudela
阿曼多·A·图德拉 （Peru 秘鲁）
我一直在创作中发展“信息元”的理念。信息面或者信息模块流过文化的不同方面：历史、建筑、日常器具等等。在这个过程中，这些面变成话语被迫以不停的置换复位的方式迁移或移动的接触区域或场所。追踪这些变化时，首先我尝试打散标记和符号得以固定和静止的条件；其次，加强以下这个理念：通过重组或者打破价值、意义和过程，我们可以找到一种意念的解决方法，让我们可以更清楚地把握我们眼前的所见和历史背景。
我关注的是现代性和当代文化的各个方面在秘鲁被吸收和理解的几种方式。这两个进程，与日渐迫切地要把外界信息转换为具体平常的行为，同时在不断进行调整时要对我们自己的历史背景重新进行思考这两个需要相比，就显得不那么重要了。因此，这些行为不仅作为以适用的“真实”的数据来替代置换陌生信息的策略，而且也是作为保持信息传输流动的另类方式。同样的，这种转换变成了对话和交流的灵活而可伸展的平台，这两者不仅是我作品内至关重要的前提，而且还是颠覆、流动和变化的永恒隐喻。
Armando Andrade Tudela has been developing the idea of ‘units of information.’ Surfaces
088 or modules of information that flow through different aspects of culture such as history and architecture. Within this process, these surfaces become fields of contact or grounds in which several discourses are forced to migrate or move in acts of ever increasing replacements of displacements. In tracing such moves Tuleda pretend, first, to decentralize the conditions by which signs and symbols become fixed and static. Secondly, he emphasizes the idea that through the reconfiguration or the interruption of values, meanings and processes, one can create imaginary solutions to better comprehend our immediate landscape and historical background.
Tuleda has been focusing on ways in which aspects of modernity and contemporary culture have been assimilated and understood in Peru. Both processes have been overshadowed by an increasing need to transform external information into concrete and ordinary actions and, at the same time, to reconsider Peru's own historical background in the face of a constant call for adaptation. Hence, these actions not only function as strategies to replace and displace unfamiliar information for applicable, ‘real’ data, but also as alternative ways of keeping all information in transit and in motion. By the same token, these transformations become a flexible and extendible platform of dialogue and exchange, both of which are not only vital premises within my art work, but permanent metaphors of subversion, mobility and change.
—— Jonathan Watkins 乔纳森·沃特肯斯
阿曼多· A ·图德拉 印加的雪 综合材料
Armando Andrade Tudela Inca Snow Mixed media
· A ·
阿曼多图德拉
印加的雪综合材料
Armando Andrade Tudela Inca Snow Mixed Media
Cody Choi
崔玄周 （Korea 韩国）
崔玄周的作品体现了二元关系的哲学思想。1980年代初，22岁的崔玄周自韩国赴美求学，先后在洛杉矶和纽约各居住了十年。由东方到西方，从东岸到西岸的迁徙经历促使他对文化现象进行深刻反思，他对两种元素之间的关系异常敏感，这充分体现在他的作品中。他洞察到历史的表层，新世纪带来了虚拟性、电子领域的控制理论、反欧几里得几何律这些新事物，标志了一个新时代；但在历史的另一层面，一些事物正在悄然消失并获得新生。在《双重葬礼》系列中可以发现这种观念，即把屏幕上像素组成的影像转到画布上，以此隐喻现实在传统和数码成像过程中的双重死亡。
Cody Choi’s work has a philosophical dimension eloquently visualized in a personal way. His sensitivity to the relationship between the East and the West owns much to his experience of moving first from Seoul to Los Angeles in the early 1980's, and then to New York City in the 1990's. This double-layered situation, East (Korea) and West (USA)/East (NY) and West (LA), inspires his work Twin Funerals. The migrating experience inspires him to adopt a critical attitude towards culture. He observes that though the new millennium seems to signal a new era with new things such as virtuality, cybernetics, anti-Euclidean theories, there is, beneath the surface of history, another layer where things disappear and are reborn. This notion can be found in Gone With The Wind1, a series of paintings on canvas with vibrantly colored images transferred from video scenes. According to the artist, Gone With The Wind1 suggests the double death of reality through conventional and digital imagery.
--- Edited by Wang Yiyou 王伊悠编译
崔玄周 随风而逝1 数码绘画 Cody Choi Gone with the Wind1 Digital Painting
Chan Yau Kin，Alan
陈幼坚 （Hong Kong China 中国香港）
陈幼坚素有香港设计之父的美誉，对商业文化、消费市场有着敏锐的洞察力。商业社会弱肉强食，竞争对手之间不只是希望进占敌方的市场地位，更存在着知己知彼、互相制衡的微妙关系。是否想过有一天，这些对立的品牌会走在一起来个crossover?
陈幼坚本次参展作品是一系列大型海报，来自不同界别的跨国品牌，细看之下原来它们的logo是由对手的商标拼凑而成。它们在消费市场斗得难分难舍，在这里却是惺惺相惜。艺术家把竞争品牌的宣传口号对调，是因为虽然它们多年来营造了独特的品牌个性，但它们对现今的消费文化持有共同的观念和态度。
Alan Chan has been recognized as the father of design in Hong Kong. With an unusual sensitivity to the business world, he perceives that rivals not only follow the rule of survival the fittest, but also coexist in a space where interaction, balance and counterbalance operate. The question for Alan Chan is: Will the opposing forces come together one day?
What Chan presents at the Biennale is a series of large scale posters featuring logos of transnationals from a variety of fields. A close examination reveals that each large logo is a collage of its rival s logos. By fusing seemingly distinct logos, the artist suggests that though each brand name attempts to establish a unique identity, it nevertheless, shares the same attitude towards consumerist culture as their competitor.
Zhang Qing 张晴
陈幼坚英雄所见略同电脑平面拼贴
Chan Yau Kin,Alan A Brand New Game Computer Graphic Collage
Ding Yi
丁乙 （China 中国）
丁乙是中国当代艺术领域具有影响力的艺术家，他的本次参展作品一反往常平面绘画的经典样式，作品《时空邮局》在展览现场呈现了一个设计感极强的互动装置，并以常年创作的“十”字符号布满信箱，由此来连接艺术与设计甚至观众的心愿，同时将邮局传递信件的地理概念延伸为时空概念，使得观众在现场通过时空邮局向未来寄发信件、表达心声，同时观众也可以作为未来人检索、查阅别人寄发的信件。因此，该作品的意义在于揭示人类以未来学和社会学的方法来远望未来、建构历史的愿景。
Ding Yi, the foremost contemporary artist in China, is best known for his painting. He changed his strategy and presents a highly interactive installation for this exhibition. In the work, entitled Time-Space Post Office, a mailbox covered with his signature “十”pattern serves as a link between art and design, the audience and the object and the present and the future. Ding Yi’s post office in the gallery has a unique temporary-spatial dimension that allows visitors to send letters to express their hopes for the future. Visitors can also browse and check letters others have sent. Ding Yi’s futuristic and sociological investigation offers a classic example of how the “future constructs history.”
---Zhang Qing 张晴
丁乙时空邮局装置
Ding Yi Time- Space Post Office Installation
吉尔达·斯坦纳和约格·连兹林格 故园机械 装置 Gerda Steiner & J?rg Lenzlinger Heimatmaschine Installation
Haruki Nishijima
西岛治树 （Japan 日本）
在资讯泛流的媒体时代中，人类已经不再需要借由物理性的身体移动，来满足获得资讯或相互沟通的需求，时间与空间的概念也因此不断被真空：环境、空间、时光的相对位移变成资讯化后的符码，而那些不被眼见、不在弹指之间被传送到我们面前的信息也由于我们仰赖媒体的视觉惯性，就此消失。
假媒体以苏醒身体感官的方式，他的作品《光的遗迹》巧妙地转换原本穿透城市的类比音频，借由参与者身体的运动来捕捉艺术家所设计的电子昆虫，将其中的资讯转化成音讯与视讯，一连串的行为介入，重新启动人与时空的对话关系，也再度定义我们对于媒体的认识。两岛治树以媒体的界面，缝合了我们这个时代与环境的互动与感知。
Haruki Nishijima’s piece offers the viewer/participant a sensory experience to rediscover the interaction between humans and their surroundings in a media and information age. We are able to get a lot of information or communicate instantly without physically moving around. Time and place move, but have no relationship to the body. Information about our surroundings, time and space, once converted to invisible data, does not appear to be special in an image-oriented world because we can't see it.
Remain in Light involves visual representation of ambient analog sound waves that have been captured using an "electronic insect-collecting kit." The process of collecting these waves begins with a participant carrying an insect net for catching and accumulating radio-wave data, which is then converted to images. Nishijima’s work, as a dialog between humans, time and space, sheds new light on the role of media.
—— Lin Shumin 林书民
西岛治树 光的遗迹 多媒体表演 Haruki Nishijima Remain In Light Media Performence
西岛治树光的遗迹多媒体装置
Haruki Nishijima Remain In Light Multi media Installation
Huang Kui
黄奎 （China 中国）
黄奎是一位年轻的艺术家，本次参展作品《称》将称出本届双年展参观者的体重总量。他在美术馆主入口，即观众进入展厅的必经之途放置一个地秤装置，同时在出口处挂置一个led显示器，不断显示出观众重量的数据。地秤与显示器通过电脑相连，当观众进入美术馆展厅时，其体重被记录在显示器上，并相互累加，而显示器上的数字也会随着观众人数的增加而不断累计，从而得到参观者的总重量，由此彰显在计量领域中的设计与想象。
The emerging artist Huang Kui's project entitled Scale is designed to obtain data about the cumulative weight of all visitors to this year's Shanghai Biennale. Visitors are invited to weigh themselves on a scale at the museum entrance. The data will be processed by a computer and sent to the LED screen installed at the exit to show the updated cumulative weight of the visitors. The project demonstrates the creative design element in the field of measurement.
—— Zhang Qing 张晴
黄奎称装置
Huang Kui Scale Installation
黄奎 称 装置 Huang Kui Scale Installation
Joachim Sauter
约奇·索特 （Germany 德国）
媒体影像或网络中的虚拟世界在我们所累积的视觉中，已经造成一种平面认知的困窘与失真，即使透过所谓3D影像效果的呈现，也无法改变如今我们视觉经验中那些无法被再度建构为实体景象的遗憾，尤在我们大量透过记录影像来认识这个世界的真实性时。《过去事物的不可见形状》（1996柏林2006上海）将影像转变成虚拟建筑的概念与技术，重建摄影当时的取像路径，和以此视角所见的立体世界。作品将西方传统中的单点透视法扩充了新的意义，也为下一个阶段的媒体影像操作趋势，开拓未来性的想象观点。
Images created by media technology and the virtual space on the Internet have a profound impact on how we see the world. Unfortunately, we have lost touch with reality as we increasingly rely on two dimensional images to perceive the world. Even such cutting-edge technologies as 3-D visual effects are not able to compensate this loss. The Invisible Shape of Things Past is an attempt to reconstruct a three-dimensional world based on the perspective of a camera lens. The project transforms images into virtual information architecture. It broadens the concept of the one-point perspective in Western art history and promises new avenues for the development of media art.
--- Lin Shumin 林书民
约奇索特和迪克卢森布雷克 过去事物的不可见形状，一个基于电影的实物的发展，1996年摄于柏林 Joachim Sauter & Dirk Luesebrink The Invisible Shape of Things Past, Object based on a film shot in 1996 in Berlin
约奇索特和迪克卢森布雷克 过去事物的不可见形状，一个基于电影的实物的发展，2006年摄于上海美术馆
Joachim Sauter & Dirk Luesebrink The Invisible Shape of Things Past, Object based on a film shot in 2006 in the Shanghai Art Musuem
Julian Opie
朱利安·奥培 （UK 英国）
朱利安奥培是当今英国艺坛最有影响的人物之一。他既是画家，也是雕塑家、版画家和装置艺术家。他在作品中创造了自己的绘画语言，从再现传统中探索新形式。奥培探讨了人们是如何解读和解释视觉形象以及我们的所见与所知之间的关系。他总是指涉世界，以及那些具刺激性的事物，然后他会努力融合或是把他所见的事物以自己的方式表现出来。奥培运用摄影和电脑创造了一种极少背景的语言。他拍摄人物或物品，然后把图像缩减为最基本的线条和色彩，使表面平面化，删去细节。他作品中行走的人物有大胆的线条、明晰的边界、鲜明的表面，像图形文字一样简洁明了。奥培使用的铝、钢、乙烯颜料、混凝土、灯箱和发光二极管这些材料，更突出了他作品图像鲜明简洁的特色。有时，奥培颠倒尺寸，把通常巨大的物品缩小，小型物品放大。这一变化促使观众思考：物体的大小如何改变我们对世界的感知，如何改变我们的观察重点，与他作品发生意想不到的关系。他的作品还探讨了人们对外在世界漠然、肤浅的情感反应；这一反应可以是麻木，同样也可以是对事物出于无知的惊讶。
Julian Opie is a painter, sculptor, printer and installation artist who is one of the most influential figures on the British art scene today. His works are the invention of the artist’s own pictorial language to explore new codes from the conventions of representation. Opie explores how people “ read” and interpret visual images and the relationship between what we see and what we know. He always refers to the world and to things that seem poignant to him, and then he tries to synthesize or make his own version of what he saw. Utilizing photographs and computers to create his own minimal-contexted language, Opie takes photographs of people or objects, then reduces the image into the most essential lines and colors, flattens surfaces and omits details.
The bold lines, clean edges and vivid surfaces of his walking figures become as straightforward as pictograms. Opie chooses materials such as aluminum, steel, vinyl, paint, concrete, light boxes and Light Emitting Diode (LED) that augments the simple features of his works. Sometimes Opie reverses the scale of objects, representing conventionally large objects as small ones and vice versa.
This change allows viewers to consider how scale changes our perception of the world, shifts emphasis and creates unexpected relationship between newly invented images. His work also reflects upon disengaged and superficial emotional response to the outside world : such a response could be either one of apathy or naivity.
—— Wonil Rhee 李圆一
朱利安奥培这是夏诺扎多媒体装置
Julian Opie This is Shahnoza Mixed media
朱利安奥培这是夏诺扎多媒体装置
Julian Opie This is Shahnoza Installation Mixed media
Kristian Ryokan
克里斯坦·容坎 （UK 英国）
慢慢地好好地画什么，是对那个东西的学习，估量自己跟它的关系，然后尝试去解释它。思考式的观看也与此相似，不过稍微清醒些。这种观看，受到完成一种艺术意图模糊性的需要驱使，一种因为对表现的确信而不依不饶的需要。这些对容坎作品中那种悄无声息的效果都至关重要。在《作品No.40》(2003)中, 四十把现代主义风格的椅子，如布罗伊尔、埃姆斯、凡·德·罗等被放置在一个向后倾斜的白色金属架上，像是露天看台上的人群。中心问题看来是形式与功能的关系，这两种形影不离的人类的驱动力，驱使人类表达自我，追寻有营养保证的安全，由设计激进的产品使它们运行起来；这样的画面透露出不论你要看这个平凡世界的哪个方面，都有哲理蕴涵其中。但是容坎营造出的是一个开放的系统。在画家就他个人对一种外部存在（其历史同东西方上世纪五六十年代的对话一样重要，一样复杂，而且优雅地被规矩于画布的四边之内）的反应的判定上，那些被断言的东西对观者来说，可能会变成对欲望的治疗功能的牢骚满腹的模仿。
To paint something slowly and well is to learn about that thing, assess one’s own relationship to it, and try and explain it. The same, on a slightly less onerous level, goes for the act of considered viewing, which can be spurred by the need to work through an ambiguity of artistic intent made insistent by certitude in presentation. All this appears crucial to the stealthy effect of Ryokan’s works. In Painting No. 40 (2003), forty chairs of modernist design — Breuer, Eames, Van Der Rohe, among others
— are positioned on a white metal receding shelf unit, like crowds in the bleachers. What appears to be at stake is the relationship between form and function, the twin human impulses toward self-expression and sustenance. The painting alludes to philosophical arguments encoded wherever one might choose to look in our prosaic world. But it is an open system that Ryokan has created. What seems to be very much predicated on the painter's judgment of his own reaction to an exteriority (one whose history is every bit as large and convoluted and elegantly held within four sides of canvas here as, say, the dialogue between East and West in the 1950'0s and 1960's was above) might become, for the viewer, more like a querulous modeling of the therapeutic function of desire.
—— From Martin Herbert, Suzuki’s Jaguar, （Kristian Ryokan, exhibition catalogue, Milton Keynes Gallery, 2005）
摘自马丁·何伯特的《铃木的美洲虎》（《克里斯坦·容坎》，展览画册，米尔顿·凯恩斯画廊，2005年）
克里斯坦容坎企鹅布上油画
Kristian Ryokan Penguin Oil on Canvas
克里斯坦·容坎 作品No.40 布面油画 Kristian Ryokan Painting No. 40 Oil on Canvas
克里斯坦·容坎 BMW 布面油画 Kristian Ryokan BMW Oil on Canvas
李容德 失语症的反应 装置 Lee Yong Deok Aphasia reflex Installation
Daniel Lee
李小镜 （USA 美国）
上海繁华嬉闹的夜色底层上演着各色戏码，都会中的人物锦裳华囊，动作眼神之间又同时隐述着不同版本的故事。李小镜的新作《夜生活－新天地》 捕捉了都市生活中瞬间潜流的人性直觉和欲望深处的想象，真确又惊悚地逼近一种等待救赎的张力。这些肖像中几乎戏剧性的诡异效果，亦反应出当前上海正在面临的种种巨大改变与冲击效应，以及其中人们不自觉表露出的姿态——一种都会丛林里似兽的生存本能。李小镜重现对于现实生活的切面观察，将文化现象与人性的混种现象作了一个由里而外的剖析。
Daniel Lee, in his recent work entitled Nightlife/Xintaindi, creates a psychological drama of human instinct and desire. Striking images of luxurious clothing, posture and facial expressions in his work suggest a variety of forces and narratives lying beneath the surface of the sensuous Shanghai. The artist forcefully captures those moments when figures in the portrait struggle for salvation. The oddly realistic and compelling images allude to our repressed primal instincts in a contemporary “urban jungle,” a place undergoing drastic changes. The work, therefore, can also be read as Lee’s investigation into human nature and such cultural phenomena as hybridity in an urban environment.
—— Lin Shumin 林书民
李小镜夜生活－新天地（局部）数码图片
Daniel Lee Nightlife-Xintiandi(detail) Digital C-print
Liang Shaoji
梁绍基 （China 中国）
梁绍基，这位中国当代艺术界的隐居者，长期以蚕这一奇异的生命历程为素材，创作出充满隐喻性的生态学作品。在本次展览上，他却从蚕的生长和变幻转向对于“木”这种中国古典建筑材料的关切和凝注上。《说文》中说：“木，最可观者也。”由木之生长变化衍生出诸种景观，眼睛（目）与万物之最可观者（木）的相遇，成就了中国思想史上的一个核心概念“相”（the visible）。在过去几年中，梁绍基浸淫在古建筑的世界中，以摄影、录像等各种媒介之“眼”记录和描述出一个已为陈迹的“木”的世界。在他看来，“木”是中国人“生而在世”的依托根本，从建筑居住（构、栋、梁、楼、栖），到行走迁徙（桥、辇），直至最终的归宿（棺），国人的生存与木结缘。而在今日，钢筋水泥正以惊人的速度覆盖大地，木已逐渐从我们的家园退出，转化为被刻意保护的遗产与旅游业的景观。木的世界正在远去，梁绍基向人们揭示的是这个世界被挽留住的最后一瞥。展厅中呈现的朽坏的巨木，是木的废墟，同样也是一个行将消亡的木之世界的纪念碑。吊诡的是：木的衰老、必朽所暗喻出的是时间的黑洞，而木的腐朽同样也是另一些生命滋生的过程。
Liang Shaoji’s quiet approach to art and nature recalls an ancient Chinese literati in hermitage. Liang Shaoji's nature-inspired work is distinguished by its sheer beauty and rich symbolism. His well-known silkworm projects illustrate his interest in the cycle of life and the relationship between humans and nature. In the work shown at the Biennale, he directs our attention to wood, the material par excellence of Chinese traditional architecture. According to Shuo Wen, the first comprehensive Chinese character dictionary, “The things worth viewing most is wood.” Etymologically, xiang 相 (the visible), one of the most important concepts in Chinese intellectual history, is understood as the encounter between mu 木(wood) andmu 目(eye). In the past few years, Liang’s tireless investigation of Chinese traditional architecture has resulted in a body of photography and video works featuring wood. The artist sees wood as the basic building block of life in China, as illustrated by the numerous characters with mu 木(wood) radicals such as:gou 构(structure),dong 栋(major beam),liang 梁(beam),lou 楼(tower),qi 栖(to perch),qiao 桥(bridge),nian 辇(sedan chair),guan 棺(coffin). Wooden structures, however, are disappearing from our daily life because wood, as building material, has largely been replaced by concrete. Wooden buildings are now preserved, displayed and viewed as vestiges of the past. The monumental wooden debris in the artist’s work commemorates the passage of time. At the same time, suggests that regeneration is yet another dimension of the same process.
—— Zhang Qing 张晴137
梁绍基 听蚕 声音装置 Liang Shaoji Listen to the Silkworm Sound Installation
梁绍基 木极 多媒体装置 Liang Shaoji Essence of Wood Multimedia Installation
Masanori Sukenari
佑成政德 （Japan 日本）
佑成政德非常重视艺术品与其展示空间的关系，他会在展览之前去倾力理解展示空间；同时也非常强调艺术品必须是艺术家亲手制作的，不能像工业品似的现成品或者经过工厂外包加工。艺术家曾说：对于杜尚的成就无尚崇敬，然而对于杜尚留下的一些作品从视觉上看会觉得缺少了一点什么。他认为艺术品首先要在视觉上做文章，必须具有感性和知性的色彩和形态，通过视觉唤起人们的各种欲望，好比马蒂斯的作品仿佛带来一种爆炸性色彩的视觉盛宴，又如毕加索表现出逼人的重量感。
艺术家的参展作品《友谊》是只大气球，色彩鲜艳亮丽，体形硕大但轻盈自在地高悬于中信泰富中庭，俯瞰着其下来来往往、行色匆匆、日复一日为生计而奔波的人群。受重力作用被约束于地面的人们，看看自在飘摇的气球，不免生出像鸟儿般自在飞翔的期待和梦想。
The artist always studies carefully the display space in order to create strong resonance between his work and the site. To him, it is the artist s hand, rather than the machine, that plays a central role in making art. Admittedly, he has great respect for Duchamp. But he also notes that Duchamp s extant works are not always visually satisfying. He thinks that a good artist should devote his or her attention, first of all, to the visual aspect of the work. A good work in terms of color and form should be visually and intellectually stimulating. Matisse s vibrantly colored works, for instance, often offer the viewer a visual feast. Picasso s paintings are distinguished by a compelling sense of volume.
His project for the exhibition is named Friendship. It is a brightly colored gigantic balloon, graciously floating over the court of Citic Square. Overlooking the busy cityscape, the balloon invites viewers to take an imaginary flight in the sky.
Zhang Qing 张晴
佑成政德友谊装置Masanori Sukenari Friendship Installation
佑成政德天国，和平与血装置
Maurizio Mochetti
毛里奇奥·莫切蒂 （Italy 意大利）
“除了地球上的人类，这里还描绘了另一类人，他们已为体验未来做好准备，他们不再保守，不具动物性，不受制于习惯。不用多久，就会有分野：传统的人
类会被地球遗弃，而其他人将逃向太空的他处