“现在的将来不是未来”展览开幕

    天津美术网讯 由华侨城创意文化园主办的2017 OCT-LOFT 创意节，于2017年12月9日正式亮相深圳华侨城创意文化园北区。本届创意节由创意品项担任策展团队，以“现在的未来不是将来”为主题，特邀国内外12个（组）艺术家/设计师共同参与，在为期3个月的展期里，包含展览、讲座、工作坊等一系列的活动将与公众见面，以艺术设计为媒介，为公众提供N种路径，共同探讨当下与未来。

    展览作品介绍：

　　郝振瀚，Hao Zhenhan

　　作品介绍：

　　模仿，模仿

　　“模仿，模仿”意在揭示中国模仿文化在新的社会背景下的政治、经济以及社会意涵。借由“中介”的身份，艺术家通过参与式的调研方法与景德镇以及大芬村的手工艺人共同呈现出中国模仿文化的不同面向。在对参与的手工艺人进行深入了解之后，艺术家根据每个手工艺人的经历和技能为他们设计了特殊的“订单”。完成这些订单的过程中，这些手工艺人潜意识地把他们多年以来通过模仿和复制所掌握的知识连同他们人生经历也一起带到了作品里。最后艺术家又将中国式的模仿文化和教育方法通过一系列徒手画圆课程介绍给大家。徒手绘制一个完美的圆是一件看似荒谬又不可能实现的事情，但是通过模仿和重复的训练，徒手画圆变成了可能。画圆的过程也正代表着千千万万中国工厂工人和手工艺人的学习经历和生活。在这个过程中艺术家的身份悄悄地发生了转变，变成了一个中介、中间人，甚至是催化剂，激发了人们对于模仿文化的新的理解和想象。

　　Imitation， Imitation

　　‘Imitation， Imitation’ uncovers the social， political and economic implications of Chinese imitation culture。 Through participatory research methods， the artist presents different perspectives of Chinese imitation culture with the handicraftsmen of Jingdezhen and Dafen Village。 After taking an in-depth look at participating artisans， the artist has designed special “orders” for them based on the experience and skills of each artisan。 In completing these orders， these craftsmen subconsciously bring the knowledge they have acquired through imitation and reproduction over the years， along with their life experiences， into the work。 Finally， the artist introduces the Chinese-style imitation culture and education methods through a series of freehand circle lessons。 Drawing a perfect circle by hand is something that seems absurd and impossible to achieve， but by imitation and repetitive training， freehand circles have become possible。 The process of drawing a circle also represents the learning experience and lives of thousands of Chinese factory workers and artisans。 In the course of this process， the artist‘s identity has been quietly transformed into an intermediary， middle person and even a catalyst to inspire people’s new understanding and imagination of imitating the culture。

　　秦铃森，Qin Lingsen

　　作者自述：

　　我的艺术创作涵盖了架上绘画、纸本拼贴、多媒体影像、装置现成品等。我出生于1994年，对于艺术与各学科间相互交错的关联有着浓厚的兴趣。在我过往作品中能看到鲜活并带有视觉冲击的个人美学的呈现方式。我尝试透过图像外的物质背后非线性的关联触及那些模糊的非意识形态至次厚度边界，将各个人文学科领域的元素和碎片化的物件身体力行地重新组织转化隐喻并将其呈现。

　　本次创作的推进思索着是什么催生了观察这个世界的推动力。如果说每个人对世界的看待方式都有一种模式，或者说是可以预测我们希望看到什么，那么我们也许会想知道是什么影响了我们的视觉行为。在显而易见的对我们产生了吸引的主体之下，我们能够察觉到事物的隐秘或是潜在的兴趣的力量。有时候它是一种情绪的受欢迎的重复，有时候它是理解了一个新的事物、一种奇怪的颜色或是一种未知的技术兴奋。

　　My artistic creation covers easel painting， paper collage， multimedia video， ready-made installations and much more。 Born in 1994， I was interested in the interrelations between art and various disciplines。 In my past works you see a vivid and personal aesthetical presentation。 I try to touch upon those vague non-ideological surfaces through connections with the non-linear part behind the physical image and reshape and render the elements and fragments of various humanities disciplines。

　　This artistic creation explores what motivates the observation of this world。 If everyone has a pattern of looking at the world， or predicts what we want to see， then we may wonder what influences our visual behavior。 Under the obvious subject that appeals to us， we can perceive the power of secrecy or potential interest in things。 Sometimes it is a popular repetition of emotions， sometimes it is a new thing to understand， a weird color or an unknown technological excitement。

苏五口+上官喆，PURLICUE+SANKUANZ

　　不合作系列，Non-Cooperation Collection

　　2017

　　作者自述：

　　不合作是一种普世中的对立状态。我把“对立”这个词放大到服装这个具象的事物上来思考，将衣服里的对立抽离成为简单的词组文字，再将这些词组纯粹地安置在衣服上。作品的展现从与sankuanz的对立到颜色的对立、风格的对立、材料的对立以及价格的对立。同时，两件对抗的衣服强行被暗扣捆绑在一起作为一件进行销售。我试图通过这种观念探索的方式，将服装作为载体去引发更多思考。

　　PURLICUE+SANKUANZ NOON-COOPERATION 2017 COLLECTION

　　Non-cooperation is a state of opposition in the common world。 I enlarge “opposition” this word as big as onto the costume and abstract the opposite relationships from the costume into simple words or phrases， then put this words or phrases back on the costume。 The display of the work ranges from its opposition with sankuanz， with color， with style， with material， with price， to force two opposite costume into one via hidden buttons to sell together。 I try to use this conceptual ways of exploration and make the best of costume as a bridge to induce much more reflection。

　　抄袭系列，The Fake Collection

　　作品介绍：

　　抄袭系列是对现实服装行业普遍存在的问题的一种讨论。行业内部在成衣的版型上进行直接加工的事情已经已经成为心照不宣的事情。于是在这个系列中，这个问题被摆在最赤裸的地方进行阐述，所有衣服基本都没有设计，抄袭的内容直接被标明在衣服上。衣服成为不重要的一部分。而唯一的设计点是每一件衣服会附带一个纸样，消费者可以根据纸样将衣服裁开成做成一件新的衣服，同时衣服离开了它原本的属性成为一块纯粹的布料，而消费者将再一次进行抄袭的行为。

　　THE FAKE 2016 COLLECTION

　　THE FAKE 2016 COLLECTION taps into the general issues existing in the fashion industry。 To directly work and manufacturing on the ready made model has already become a common knowledge among the industry。 Thus in this collection， the plagiarism problem is exposed in a naked way in the public， with all the clothes （exhibits） plagiarized and moreover explained with the source of inspiration。 Clothes become less important。 The only design element is the paper sample on the clothes， consumers can tear open the clothes and use the paper sample to construct a new clothes， meanwhile the clothes itself becomes purely a piece of cloth， and the plagiarism continues by the consumers。

苏五口，Su Wukou

　　未完成系列，Unfinish Collection

　　作品介绍：

　　鞋子结合建筑学理念，把每一双鞋子解读为一个建筑物，再保留物件原有的属性上，尽量少的附加东西，但又有大可能的变化。其中的未完成系列，是需要顾客自行裁剪的鞋子，剪错也变成为一种形式，错误也变成款式的一部分。系列受到美国时尚名所Opening Ceremony的认可，并成为“Year of China”企划的重要一员，成功进驻国外买手店。Opening Ceremony，是美国知名连锁潮牌店，发觉全球设计师作品。

　　鞋子还原了他最初的状态，它全部封闭，没有出口，是一座建筑只保留其最基本原始骨架，封口的时候它不具备鞋子的一切使用性能。但封口一旦被打开时，它具备所有的使用可能性，剪刀变成了契机，不安与不确定被定义在这双鞋里。

　　UNFINISH COLLECTION 2014

　　Shoe， combined with architecture concepts， each becomes a piece of architecture。 We keep as much original shape， add as little attachment as possible， but at the same time transform as much as possible。 Unfinished series invited customers to cut their own shoes， so the mistake also becomes a kind of form， a kind of style。 The collection has been recognized by American Fashion Brand Opening Ceremony and become one of the most important member of “Year of China”， successfully entering into the market of international Buyer shops。 Opening Ceremony is a well-known franchise in American， aiming to discover top-notch international designers。

　　Shoes go back to its preliminary state， with whole body covered， without any exit， it is the primitive skeleton of an architecture， after being capped， it does not satisfy any shoe function； once the exit is opened， it has all the pragmatic functions， a pairs of scissors providing opportunities， while uncertainty and anxiety are all contained in that shoes。

　　苏五口，Su Wukou

　　淘宝抄袭截图 TAOBAO FAKE COLLECTION

2017

　　应歆珣，Ying Xinxun

　　作者自述：

　　别怕

　　我：怕。

　　你：怕什么？

　　我：事实。

　　你：乱了头发？

　　我：不是。

　　你：什么事实？

　　我：“害怕”这一事实。

　　我：所有的事实都是身体能承受的。

　　你：那你为什么怕？

　　我：成为……

　　你：Don‘t worry。

　　我：有没有一个至高的存在？

“DON’T WORRY”

　　手术前的母亲，因为医生的一句话“别怕，我会给你缝道美丽的伤疤的”，当时的母亲暂时得到了无奈下的慰藉，恐惧之下的感官转移，似乎很具有能量。

　　“Don’t worry”是心理引导下的自我安慰，暂时遮掩了“害怕”这一事实的存在，看上去似乎有一种能量可以转移事实的呈现，某种程度上战胜了“害怕”。换句话说，你可以用另一种方式观看“伤痛”、“恐惧”这一事实。“Don’t worry”是寻求慰藉，从一种意识形态中寻求一种安全感，或者将不愉快的事物转移至意识上的美化。

　　我可以将这一事实呈现于众吗？虽然我们都不想看到所有引起不适的感受，想逃避“伤痛”，逃避“害怕”这一事实。那么我们是否可以彻底摆脱？以什么样的方式超越它？我们也许可以依赖于这种使伤痛转移的形态？

　　我试图以物造物，假装创造着现在及未来的新物种，用科技生态的假象营造既安详又令人不适的物象，探讨面对现实、时间所产生的焦虑与期望的矛盾心理，我们所正在应对这一事实的现状。　　

Don’t Worry

　　Me： Fear。

　　You： What’s your fear？

　　Me： The truth。

　　You： Messy hairstyle？

　　Me： No。

　　You： Then what’s the truth？

　　Me： My fear。

　　Me： Nothing is beyond my physical endurance。

　　You： Then what’s your fear？

　　Me： I’m afraid to become…

　　You： Don’t worry。

　　Me： Is there a supreme being？

　　“DON’T WORRY”

　　Before the surgery， the surgeon told my anxious mother， “Don‘t worry。 I’ll suture nicely for you。” It indeed comforted her for that moment。 Perhaps it‘s a powerful way to divert the attention on fears when people are terrified。

　　By saying or hearing “don‘t worry”， one can comfort himself mentally by veiling the “fear” inside。 It seems that there is a certain power altering the appearance of the facts， and in a sense， overcoming the “fear”。 In other words， it allows you to approach “wounds” and “fears” from another angle。 By saying “Don’t worry”， people are seeking for comfort and an ideological sense of security， and even disguising the unpleasant things into beautiful mental pictures。

　　Should I reveal the stark reality to the world？ It‘s human nature to have the inclination of escaping from any disturbing feelings， such as “wounded” or “fears”。 Then can we get rid of these feelings？ If yes， how can we make it？ Can we rely on the way of diverting our attention on wounds？

　　What I am striving for is to create things upon existing ones。 Under the pretext of ecology of technics， I build up the tranquil but uncomfortable scenarios and objects。 By pretending that I am making up new species for now and the future， I explore the conflicting sentiments of anxiety and aspiration when we are exposed to the reality and time， and how we are coping with it。

　　巴特?赫斯，Bart Hess

　　牢笼，Caged

　　作品介绍：

　　在“时尚怪兽”展览中，赫斯设计了一个牢笼，它是一个位于巴黎LaGaitéLyrique的360度投影浸入式装置。

　　展览空间墙壁上的声音网格充当了想像中的鲨鱼笼的框架。游客会受到赫斯创作中的各种生物的“攻击”。

　　赫斯掌握着这些生物的规模：从和人差不多的体量的个体到那些试图进入整个藩篱里的巨人。

　　Caged

　　For the exhibition Monsters in Fashion Hess designed Caged， an immersive installation created by a 360 projection at La Gaité Lyrique， Paris。

　　The grid of sound panels on the walls of the exhibtion space served as the skeleton of an imaginary shark cage-like experience。 The visitors are attacked by a variety of creatures in Hess’ creations。

　　Hess played with the scale of the creatures， varying from human size to those of giants trying to find their way in to the structure。

巴特?赫斯，Bart Hess

　　数字人工制品，Digital Artifacts

　　作品介绍：

　　在2013年的里斯本建筑三年展上，巴特·赫斯（Bart Hess）提出了“数字人工制品”，展望了机器人时装的未来，脉冲信号穿过我们的皮肤，改变了我们的身体。

　　我们的身体被无穷的拍摄、监视并用毫米精度激光扫描。这种监视、面部识别、虚拟身体使我们想像在不远的未来，数字静态、扭曲和小故障将成为新装饰形式。对于未来的青年群来说，完美的身体是适应、增强和实验的场所。他们用扫描文件中呈现的不完美的装饰线条来庆祝身体数据的损坏。

　　展览中闪闪发光的是熔融蜡的几何反射池网络。它们的镜像表面被一个身体打破，被悬挂在一个机械装置上，坠入液体中。蜡状结晶在其曲线周围结晶，并逐渐变成建筑形式，像3D打印机直接绘制在皮肤上。慢慢地，身体出现，被包裹在湿淋淋的现成的假肢里。它是一个物理故障，是数字人工制品运动中损坏的数据的表现，一种数字伪影。他们像一群奇怪的野兽和冷冻的化身被挂起来。身体的印记，不完美和扭曲，总是独一无二的。

　　Digital Artifacts

　　Fashion and Performance， Video installation 2013

　　During the 2013 Architecture Triennale in Lisbon Bart Hess presented Digital Artifacts， looking at a future of cyborg couture， where glitches play across our skin and transform our bodies。

　　‘our bodies are endlessly photographed， monitored and laser scanned with millimetre precision。 from this context of surveillance， facial recognition， avatars and virtual ghosts， we imagine a near future where digital static， distortions and glitches become a new form of ornament。 for the youth tribes of future perfect the body is a site for adaption， augmentation and experimentation。 they celebrate the corruption of the body data by moulding within their costumery all the imperfections of a decaying scan le。

　　Shimmering in the exhibition landscape is a network of geometric reflective pools of molten wax。 their mirrored surface is broken by a body， suspended from a robotic harness， plunging into the liquid。 a crust of wax crystallises around its curves and folds， growing architectural forms， layerby layer， like a 3D printer drawing directly onto the skin。 slowly the body emerges， encased in a dripping wet readymade prosthetic。 it is a physical glitch， a manifestation of corrupt data in motion， a digital artefact。 they hang from hooks like a collection of strange beasts and frozen avatars。 body prints， imperfect and distorted and always utterly unique。’

希瑟·杜威·哈格堡，Heather Dewey-Hagborg

　　DNA 欺骗术，DNA Spoofing 

　　作品介绍：

　　在这个项目中，我们预测在后世界末日时，基因监测已经成为可能。作为人类的我们在公共空间中不断地散落自己的基因材料。将这些痕迹用于监视和重建变得越来越普遍。IP欺骗使匿名网络浏览成为可能，那么DNA欺骗也通过加密基因材料来延伸这种潜力，从而使得匿名的物理痕迹与数字匿名相一致。本着这种精神，我们的作品提供了一些抵制基因监测的DIY技术。

　　DNA欺骗术已经在包括瑞士温特图尔影像博物馆、日本福冈市立美术馆、犹他州当代艺术博物馆、埃因霍温MU艺术空间和鹿特丹博伊曼斯博物馆等场馆展出过。 

　　本项目与Aurelia Moser，Allison Burtch和Adam Harvey合作制作。特别感谢ArtHackDay和319Scholes。

　　DNA Spoofing  

　　In this project， we anticipate the possibility of genetic surveillance in the post-apocalyptic present.As humans， we are constantly shedding genetic material in public space。 It is becoming increasingly common to use those traces for surveillance and reconstruction。 As IP spoofing makes anonymous internet browsing possible， DNA spoofing extends that potential by scrambling genetic material， enabling anonymous physical trajectories in tandem with digital。 In this spirit， our work offers some DIY techniques for counteracting genetic surveillance。

　　DNA Spoofing has been exhibited at venues including Fotomuseum Winterthur， Fukuoka City Museum， Japan， Utah Museum of Contemporary Art， MU Art Space Eindhoven， and Museum Boijmans， Rotterdam， among many others。 

　　Produced in collaboration with Aurelia Moser， Allison Burtch， and Adam Harvey。 Special thanks to ArtHackDay and 319Scholes。

希瑟·杜威?哈格堡，Heather Dewey-Hagborg

　　隐形术，Invisible 

　　作品介绍：

　　隐形术是一套功能齐全的基因隐私产品，由假想的生物技术公司Biogenfutures出售。该项目被设计为一种艺术性的挑衅，它超越了监控的话题，直接审视所谓的DNA“黄金标准”的绝对无误这一流行观念。为此，隐形术像一种黑客技术的利用，指出了安全的漏洞。如果DNA数据可以像任何其他数据一样被黑客攻击、伪造和种植，那么它是否值得拥有这么高的地位呢？

　　隐形术是一套两个互补的产品。清理喷雾删除您在公开场合下遗留的99.5%的DNA。替换喷雾则在这一范围内覆盖上干扰性DNA材料。替换喷雾源自超过50种不同的DNA来源，并利用特殊的防腐剂，将电子隐私的混淆方法引入到生物世界。

　　隐形术作为一种形式大集合而存在。它既是艺术装置也是产品和设计品、公司网站、视频甚至是广告——有着干预主流社交媒体的潜力，随着产品在世界各地的隐蔽发售而引发了一场持续中的公众干预，同时还在线提供一系列DIY指南的开放源码。

　　隐形术得到了诸多媒体报道：包括《新闻周刊》、《波士顿环球报》、《科学周刊》、《赫芬顿邮报》、VICE、Rhizome等等。这个装置已经在国际各地展出：包括深圳城市建筑双年展，荷兰埃因霍温凡·阿贝博物馆，福冈市立美术馆，犹他州当代艺术博物馆和柏林跨媒体等活动和场地。限量版设计品在新博物馆商店有售。

　　Invisible  

　　Invisible is a fully-functional genetic privacy product offered for sale by the imaginary biotechnology company Biogenfutures。 Designed as an artistic provocation， Invisible points beyond surveillance to interrogate the alleged infallibility of the DNA “gold standard。” To this end Invisible is an exploit – in the hacker sense of the term。 It points out a security vulnerability。 If DNA evidence can be hacked， forged， and planted like any other evidence does it deserve its elevated status？

　　Invisible is a suite of two complementary products。 The Erase spray deletes 99.5% of the DNA you leave in public。 The Replace spray cloaks biological material with DNA noise。 Derived from over 50 different DNA sources and utilizing a special preservative， Replace brings the electronic privacy method of obfuscation to the biological。

　　Invisible exists as a synthesis of forms： an art installation， a working product and designed object， a company website， a video/commercial， an intervention in mainstream and social media， a series of hands-on workshops， an ongoing public intervention where packages are covertly planted in stores around the world， and a set of open source DIY guides available online。

　　Invisible has been covered in press including Newsweek， the Boston Globe， Science Friday， the Huffington Post， Vice， Rhizome and many others。 The installation has been exhibited internationally at events and venues including the Shenzhen Urbanism and Architecture Biennale， Van Abbemuseum， Fukuoka City museum， Utah Museum of Contemporary Art， and Transmedia le Berlin。 The limited edition designed object is for sale in the New Museum store。

Lava北京，Lava Beijing

　　2018新日历，Calendars 2018

　　作品介绍：

　　Lava北京为本次展览带来了两册2018年日历设计。一册的设计以排列不同视角的字体空间表达了未来的变幻莫测，就好像你当下走的每一步都会影响到你的下一步。另外一册则以更当代的设计，即双色重叠，重新阐释了中国的旧黄历。这两册日历的共同点就是来年的每一天每一页的设计都有所不同。于此同时，伴随日历设计，Lava北京也带来了他们在国内早期设计的经典作品。所有作品呈现的尺寸均与日历尺寸保持一致性。

　　Calendars 2018 

　　In this exhibition Lava Beijing brings two different calendars。 One plays with changing perspectives， based on the thought that every step you take influences the next step。 A typographic space that can be entered from different perspectives， that deforms， squeezes and stretches。 The other is a modern take on Chinese calendars， playing with overlay of two colors at the time。 They have in common that everyday of the coming year has a different design。 Next to this Lave Beijing also showcases some of their earlier projects in China， on the same size of paper as the calendars。　　

利亚姆·扬，Liam Young

　　机器人天空，In the Robot Skies 

　　作品介绍：

　　这是第一部完全由无人机拍摄的短片，这些无人机摄像机按照特定的电影规则和行为进行编程。这部影片讲述了两名青少年的爱情故事，他们各自被束缚在伦敦议会大厦所限定的特定地理区块数字范围中，只能通过黑客无人机进行交流。这部电影将无人机视为视觉叙事的新工具，同时也是激发智能城市基础设施内监视活动者和无人机黑客社会网络平台的一个催化剂。

　　该电影由提姆·茅汉姆编写，利亚姆导演，并与比利时鲁汶大学的嵌入式与人工智能视觉实验室合作开发。《机器人天空》由比利时第4频道“随机行为”和STUK委托创作。

　　In the Robot Skies 

　　In the Robot Skies is the first narrative short film shot entirely by drones whose cameras are programmed with specific cinematic rules and behaviors。 The film tells the love story of two teenagers who communicate via a hacked drone from within the digital confines of their own council estate tower block in London。 The film embraces the drone as a new instrument of visual storytelling， but also as the catalyst for a new network of surveillance activists and drone hackers within the infrastructure of smart cities。 

　　In the Robot Skies was directed by Liam Young， written by Tim Maughan， and developed in collaboration with the Embedded and Artificially Intelligent Vision Lab at Belgium‘s University of Leuven。 In the Robot Skies was commissioned by Channel 4 Random Acts and STUK， Belgium。

利亚姆·扬，Liam Young

　　城市目不所及之处，Where the City Can‘t See 

　　作品介绍：

　　《城市目不所及之处》是第一部完全通过激光扫描技术拍摄的电影。这部电影设定在虚构的底特律经济区（DEZ），发生在不远的将来，到那时谷歌地图，城市管理系统和闭路电视监控就会绘制和统治我们的城市。这部影片探讨了这些新技术下可能出现的亚文化，镜头在一个夜晚跟踪拍摄了一群年轻的工厂工人，他们在一辆无人驾驶的出租车中穿梭于智慧城市之内。

　　《城市目不所及之处》是由提姆·茅汉姆编写，利亚姆导演，由AND艺术节制作，得到林业委员会英国森林艺术项目的支持以及英国艺术委员会、圣海伦玻璃之心、索尔福德大学艺术收藏的资助。

　　Where the City Can‘t See

　　Where the City Can‘t See is the first fiction film shot entirely through laser scanning technology。 The film is set in the fictional Detroit Economic Zone （DEZ）， in a not-too-distant future where Google maps， urban management systems， and CCTV surveillance are mapping， and ruling， our cities。 The film explores the subcultures that could emerge from these new technologies， following a collection of young factory workers across a single night as they drift through the smart city in a driverless taxi。

　　Where the City Can‘t See was directed by Liam Young， written by Tim Maughan， and produced by AND Festival and with support from Forestry Commission England’s Forest Art Works and funding from Arts Council England， St Helens Heart of Glass & University of Salford Art Collection。

利亚姆·扬，Liam Young

　　渲染地，Renderlands

　　作品介绍：

　　《渲染地》是一部混合现实电影，情景设定在印度的外包电子游戏公司和渲染工厂里。这部电影讲述了一个数字渲染器爱上了自己所渲染出来的动画演员的故事。故事设置在它所建造的梦幻城市，这作为自己浪漫幻想的舞台，是由数字渲染器从视觉特效电影模型和3D工作室硬盘中搜刮的素材混搭而来的，其实就是被取消的工程项目残余物的一个大拼凑。电影利用了真实的电影和游戏行业的实际数字碎片，提取出了当代的乌托邦，它存在于屏幕的厚度之中，混杂着城市拆除的地标、淹没的街景、外星人入侵和合成演员等碎片。

　　《渲染地》由提姆·茅汉姆编写，利亚姆导演，与杜瓦互动、迷宫影视方案合作制作，并得到了哥伦比亚建筑规划和保护研究院（GSA）的支持。

　　Renderlands 

　　Renderlands is a mixed reality film set in the outsourced video game companies and render farms of India。 The film tells the story of a digital renderer who has fallen in love with an animated actor he has created。 It chronicles his construction of a dream city as the stage for his romantic fantasy， which he collages together from scavenged VFX movie models and 3D game assets that remain on studio hard drives--the remnants of cancelled production jobs。 Using actual digital detritus from the film and game industries， Renderlands presents a contemporary utopia that exists in the thickness of the screen--a virtual city of demolished landmarks， drowned streetscapes， alien invasions， and synthetic actors。

　　Renderlands was directed by Liam Young， written by Tim Maughan， developed in collaboration with Dhurva Interactive， Labyrinth Cinematic Solutions and with support from Columbia GSAPP。

　　战，FIGHT

　　作品介绍：

　　战是由STRP委托的虚拟现实艺术作品。作品分别向观众的两只眼睛呈现出完全不同的图像，导致形成称之为双目对抗的现象。对抗的信号使有意识的头脑不会“看到”或“察觉”，相反地眼睛只看到两幅中的一幅，而且不可预测地在它们之间不稳定的过渡中交替出现。观众所感知到的两幅图像中的哪一幅，如何和何时交替取决于观众的生理状况。每个人都将看到一些独特的东西，即使呈现的是同样的图像。观察和探索对抗刺激行为允许观众探测信号的哪些部分成为主导或哪些则被抑制。进一步来说，在更广泛的术语中，传感和感知是一个活跃的由运动、期望和意图驱动的过程。我们在意识思想中看到的画面并非外部世界的直接体现，也不是由我们感官所直接提供的，而是基于我们的期望和因先前观念而重建的模拟世界。

　　FIGHT 

　　FIGHT is a Virtual Reality artwork commissioned by STRP in which the viewer’s two eyes are individually presented with radically different images， resulting in a phenomenon known as binocular rivalry。 Presented with rival signals， the conscious mind does not ‘see’ – or perceive – both images blended as one might expect， but instead ‘sees’ only one of the two images， and unpredictably alternates between them with unstable， patchy transitions。 Which of the two images the viewer perceives，how and when they alternate depends on the viewer’s physiology。 Everybody will ‘see’ something unique， even though they are presented with the same images。 The act of looking around and exploring the rival stimulus allows the viewer to probe which sections of each signal becomes dominant and which is suppressed， further underlining the notion that seeing – and in broader terms sensing and perception in general is an active process， driven by movement， expectations and intent。 The picture we see in our conscious minds is not a direct representation of the outside world， or of what our senses deliver， but is of a simulated world， reconstructed based on our expectations and prior beliefs。

　　电波造筑，Architecture of Radio

　　作品介绍：

　　信息通信依靠复杂的有线和无线信号网络来支撑。我们完全被来自接入点、蜂窝塔和卫星的无形数据电缆和无线电信号系统所包围。人们的数字生活依赖于这些系统来进行通信、观测和导航。

　　电波造筑是一个特定的iOS和Android应用程序，反转了信息环境的属性来可视化了整个网络之“网”。隐藏可见的同时揭示隐性，揭示我们通过设备与电波进行交互的技术景观。

　　Architecture of Radio

　　The info sphere relies on an intricate network of signals， wired and wireless。 We are completely surrounded by an invisible system of data cables and radio signals from access points， cellular towers and overhead satellites。 Our digital lives depend on these very physical systems for communication， observation and navigation。

　　The Architecture of Radio is a site-specific iOS and Android application that visualizes this network of networks by reversing the ambient nature of the infosphere； hiding the visible while revealing the invisible technological landscape we interact with through our devices。

　　罗斯?曼宁，Ross Manning

　　熔调，Wrong Notes

　　作品介绍：

　　声音和光线在艺术家的实践中发挥着关键作用。艺术家早年曾作为电视维修工和实验电子音乐人的平行经验塑造了他的审美倾向。这两方面的追求最终结合了起来，他开始利用旧的电视、录像机和电脑来创造出乐器。制作声音组件的特殊实践激发了他对“动力雕塑”的探索。同时，他对声波的研究也激起了他对光波的兴趣，艺术家后来作为视听技术工作者的经验即源于此。在音视频方面的工作让曼宁洞察了加色混合。现代屏幕技术的核心即不同颜色的光束重叠将产生新的颜色——例如通过红色、绿色和蓝色的混合在屏幕上呈现为白色。光谱在曼宁正在进行的工作中位于显眼位置，这是以电子方式构建色彩光束的指称。艺术家的创作既涉及科学技术，也同时参考了极简主义、声音艺术和舞台电影的丰富资源。

　　Wrong Notes 

　　Sound and light play a key role in his practice。 During his formative years， the parallel experience of working as a television repairer and experimental electronic musician informed his aesthetic development。 Eventually the two pursuits conjoined。 He began to create instruments out of the old televisions， VCRs and computers from his workplace。 This lead to explorations into kinetic sculpture， which Manning initially created specially for their sound component。 From his research into soundwaves came an interest in light waves， which was also informed by his latter experience as an audiovisual technician。 Working with AV gave Manning insight into additive colour mixing， the process central to contemporary screen technology where different coloured light beams overlap to produce new colours – the primary example being the construction of white onscreen by the mixing of red， green and blue。 This process is seen most clearly in Manning’s ongoing body of work called Spectra， another name for the beams of light that construct colour electronically。 Whilst his work addresses science and technology， it also references the legacy of minimalism， sound art and expanded cinema。

　　弗兰克·哈弗曼斯，Frank Havermans

　　作品介绍：

　　2016年在重庆创作的TOFUD#重庆-BB2这件作品，是以重庆特有的劳动力“棒棒”和城市之间的关系来创作的。棒棒肩上扛着的标志性圆木棍或者竹筒，被艺术家转换成了截面为十字的形状，几乎无法让人辨识出它的原型。城市化让机械渐渐代替人力，重庆在飞速扩张的同时，城区里面“棒棒”这种劳动力也在快速的消失着。哈弗曼斯这根带棱角的棍子，扛在肩上负荷一定是件痛苦的事情，像是部分人在艰难的跟着变化越来越快的时代步伐。那经一根细木棍链接在下面的，仿佛一块被切割开的黑色岩石，以一种具未来感的样式重新组合，正是重庆这座立体饱满的“山城”，被看似危险的悬吊在空中。整个城市的问题——紧张和压力——在作品中巧妙的得以彰显。

　　艺术家的每一件作品都综合了大量的信息，又有推敲的细节，有材料和形状的隐喻，简练的表面背后带出它们与社会和人类欲求的错综的关系。

　　TOFUD#Chongqing-BB2

　　‘TOFUD#Chongqing-BB2’， which Havermans created in Chongqing in 2016。 It is based on the relationship between Chongqing’s unique type of laborers ‘Bangbang’ （professional porters in Chongqing who use bamboo sticks as tools for their work） and the city Chongqing。 The signature bamboo （or wooden） stick held on the bangbang’s shoulder is transformed by Havermans into something with a different look – one with a cross-shaped cross section。 While the city is expanding at an extremely rapid speed， bangbang men are disappearing from the urban scene at a similarly rapid speed。 Havermans’s stick is not round-shaped – it has edges and corers。 One could imagine that it must be very painful to use Havermans’s stick to carry any heavy parcels， similar to the ways part of the population have been struggling painstakingly to adapt to the ever-faster pace of the modern day。 There is an object suspending from the stick by a thin wooden stick； it looks like a black rock that’s cut into pieces， then re-assembled into a futuristic-looking object； this object actually stands for the ‘Mountain City’ Chongqing， which suspends in a seemingly dangerous manner in midair。 The tension and stress that faces the entire city of Chongqing is thus expressed subtly。

　　Every work contains a large amount of information and delicate details that are worth pondering on； the materials he uses and the shapes he adopts are metaphors； behind their clean and simple looks hides their complex relationships with the society and with the human desires。