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Uselessness as Usage
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 Uselessness as Usage
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 无用之用
三角洲行动＃ 4 之建筑在行动
无 Uselessness as Usage
Operation Delta #4: Architects in Action

珠三角地区全情投入全球化，催生了急速的城
市化浪潮，也导致了生活方式的激烈转型，广
珠三角被重新界定为“大湾区”，由此引发了
中国的深刻的战略变化以及与外部世界关系的
用 Ever since the Pearl River Delta was integrated into globalization,
it has set off waves of rapid urbanization and radical lifestyle
东时代美术馆正是诞生于此一大环境的机构。
对建筑和城市创作来说，这种城市扩张过程惊
人地高速又极具创造力，本质上注重实效、不
全新摩擦和互动。疫情来袭，导致世界工厂退
潮雪上加霜，引发新的困难和矛盾，也激发了
对于“后疫情”可能的想像和发明创新。
之 transformations. The Guangdong Times Museum is an institution
born in such a context. In terms of architecture and urban
planning, this expansion process unfolded with stunning speed
拘成规。在经历了十多年的实验和发展后，现
在正是探索和领会这一特殊的历史转变真正意
义及其重要性的时机。另一方面，当下也是展
在过去一年无法进行国际旅行的状况下，计划
的参与者定期以在线的方式继续合作，借用超
现实主义的 exquisite corpse（意译：随机接龙）
用 and creativity, essentially lending to pragmatic results that often
appear unconventional. After more than a decade of growth and
experimentation, now is the time to explore and apprehend the

Uselessness as Usage
望规划下一个转变的关键时刻。这让我们又一 的游戏手段进行试验，形成既共同共享又突出 significance of this unique historical change. Moreover, the present is
次向更为激进的实验过渡：开放一种“非实效” 个性的“建筑设计”方案，并汇集形成一个在 also a critical moment to envision what comes next, which allows us
的可能，探讨“无用之用”的理念和实践。 活动中不断成长的“展览”。他们深入思索“有用” to imagine other forms of experiments: to open up a kind of possibility
有鉴于此，我们诚邀来自法国、日本和广州本 和“无用”之互相转换，社会距离和接触的矛盾， for the “inefficient” and to explore ideas and practices of the “useless”.
地的三组建筑师——他们都曾在珠三角有所实 藉以重新界定人人 / 人物之间的新关系和物理 -
践，共同发起一个相关的设计项目，一个进行 心理结构。同时“智能工作”等疫情应急措施 In light of this, we have invited three groups of architects from
中的展览，最终激发新的交流方式、对话行为 将有形劳动变成无形劳动，使很多人被卷入到 France, Japan, and Guangzhou, all of whom will jointly initiate
和建立社会文化群体。 不可预见的新关系中。业已形成的“内部全球化” a design-related project in the Pearl River Delta. It will be an on-
作为时代美术馆“三角洲行动”的一个新延展， 的文化多元和宽容也备受冲击；限制和监控激 going exhibition that ultimately aims to provoke new modes of
这个展览计划是紧随珠三角以及周边地区，以 发着对自由和抵抗的渴望；压抑引发着对享乐 communication, dialogical behaviors, and creations of social and
及全球范围在近年发生的急速而戏剧性的变化 更极端的追求，如此等等，为新的创作提供了 cultural communities.
而展开。源自对于现实变化的研究、反思、讨 最有价值的素材和能量。
论和想像而提出的开放的、试探性的“建筑答 同时，展览最终是为了给有意于梦想和尝试一 As a new extension of the Times Museum’s “Operation PRD”,
案”。展览不寻求有用、有效和“美”，而是 些既“无用”又值得去做的各种活动，从日常 this exhibition project follows the rapid and somewhat dramatic
试图制造与现实变化所衍生的新条件相关，甚 生活动作到戏剧性演练，与公众分享从新出发 changes that have occurred in recent years in the Pearl River Delta,
至相反的（自我）限定约束的条件和结构，与 的可能方式从努力工作到白日做梦的各种“公 its surrounding regions, and the world at large. It emerges from the
公众分享，以激发对与建筑、城市、文化和社 众”提供一个表达的平台。因此，我们特别邀 research, reflections, discussions, and new imaginings in response to
会状况的功用和意义的反思、批评和再发明。 请了国内外的一些艺术家、设计师、戏剧团体 this changing reality, and attempts to provide an open-ended, tentative
珠三角在近年从比较初级的制造工业或“世界 等参与到展览中，并从广州回应当前在柏林时 “architectural answer”. Rather than seeking to be useful, effective,
工厂”，到向科技创制或称“中国硅谷”的转 代中心的展览，以多样而活跃的形式，达成此 and “beautiful”, the exhibition creates conditions and structures that
变，形成了新的城市发展模式。工地和各种外 一意图。换言之，这将为时代美术馆进一步扩 relate to, or even contradict, the new conditions of (self-)limitation
来劳力大量撤出、城市荒芜、环境恶化，新的 展和深化其社区公共生活积极缔造者的重要使 derived from shifting realities, and to share them with the public in
建筑功能有待发掘。在“一带一路”的趋势中， 命开辟一个新的平台。 order to provoke reflection, criticism, and reinvention of the utility

02 03
 and meaning of the architectural, as well as urban, social, and cultural
conditions.
In recent years, the Pearl River Delta has transformed from an area
known for relatively rudimentary manufacturing industries, or “World
have also come under attack. Restrictions and surveillance incite a
desire for freedom and resistance; repression triggers a more extreme
quest for pleasure. Among others, such things supply the most valuable
materials and energy for new creativity.

前
Factory”, to a technological hub frequently referred to as the “Silicon At the same time, this exhibition ultimately intends to provide a
Valley of China”, resulting in a new model of urban development. With platform of expression for a public interested in dreaming and
the abandonment of construction sites and withdrawals of various experimenting with various activities deemed both “useless” and

言
migrant labors, cities have become deserted. The general environment worthwhile, from everyday actions to theatrical exercises, from
has deteriorated, and the new architectural functions of vacant perseverance to daydreaming. Therefore, we have invited a number
structures have yet to be determined. Following the rubric of the Belt of artists, designers, and theater groups from home and abroad to

and Road Initiative, the Pearl River Delta has been redefined as the
“Greater Bay Area”, thus triggering a profound change in China’s
socio-economic strategy and instigating new frictions and interactions
with the outside world. The onslaught of the pandemic has also
compounded the ebb and flow of the world’s manufacturing sectors,
raising new difficulties and contradictions, as well as stimulating
imaginations and innovations with regards to post-pandemic
possibilities.
Intro
participate in the exhibition, echoing the current exhibition at the
Times Art Center Berlin from Guangzhou, in order to realize this
intention in energetic and diverse forms. In other words, the exhibition
will open up a new platform for the Times Museum to further broaden
and deepen its important mission as an active creator of public life in
the community.

In a situation where international travel has not been possible for the
past year, the participants of the project have continued to collaborate
regularly online, conducting continual experiments by means of a
surrealist game of exquisite corpse. They have produced shared yet
individualized architectural designs brought together in a dynamic
and ever-expanding exhibition. They have deeply considered the
interchanges between “useful” and “useless”, as well as the paradoxes
arising from social distance and contact, in order to redefine new
relationships and physical-psychological structures between persons
and the interactions between human and objects. Concurrently,
“smart working” and other pandemic contingency measures have also
transformed tangible labor into intangible labor, forcing many subjects
into new and unforeseable relationships. The cultural pluralism and
tolerance formed and accepted under a certain “internal globalization”

04 05
 建築從來都係既有用又冇用嘅行為，因事勢人 呢個計劃蓄謀已久，不過年幾以嚟、因為疫情 建筑历来有无用或有用的时候，只因时势人事变迁而定。珠三角
事變遷而定。珠三角因為搞世界工廠同城市化， 嚟唔到廣州，我哋惟有靠喺網上定期溝通傾談， 作为世界工厂及城市化使然，一直是建筑行业大有作为的“实验
從嚟都係俾建築行業大有作為嘅“實驗室”， 又借埋超現實主義嗰種 exquisite corpse （𡃁 室”。几十年来已建了无数高楼大厦，还滋养出大排档宵夜、卡
幾十年嚟起咗無數高樓大廈，又刺激咗唔少以 仔死人頭） 遊戲嘅玩法，幾位建築師同埋策展 拉 OK、夜场等等繁荣景象。

前
大排檔宵夜唱 K 揼骨為最高境界嘅繁榮。 團隊卒之設計出幾個可以令觀眾親身體驗呢種
壓迫封閉嘅感受嘅方案，有令人入咗去出唔到 不过现在珠三角已被改作“大湾区”，那这个地方将会起何种作
不過，依家珠三角唔再叫珠三角，叫大灣區啦。 嚟嘅迷宮，又有自我關閉又可以俾人睇到嘅鋁 用呢？

言
咁呢個地方仲有冇用呢？ 籠，大到互相之間幾乎唔認得嘅圓檯，最後爬
上去避難嘅鐵梯。跟住又請埋其他藝術、設計 世界工厂想变成新硅谷、打工者回乡谋生、厂房丢空；加之疫情
原先嘅世界工廠變咗新矽谷，好多打工階層冇 同戲劇界朋友，用佢哋嘅作品嚟介入，搞出一 尚在、前阵子深圳第三高楼还摇晃不止，这不免让人疑神疑鬼。
嘢做，返鄉下耕田，廠房宿舍丟空，再加埋呢 個又有用又冇用嘅大龍鳳，同觀眾一齊玩。 现实既然如此，人心自然思变，建筑师也因此徒增压力。只是危

Intro
排新冠肺炎，前幾日深圳第三高樓又震騰騰， 机既是机会，我们绞尽脑汁想办法，务求激起创意。请来各届不
搞到個個疑神疑鬼，走夾唔抖。咁現實如此， 玩完之後仲喺覺得食過返尋味，仲想再嚟過。 同人士和国际友人一起发明创造，让整件事变成跨国合作，一起
焗硬要人心思變啦！咁樣嘅現實俾建築師壓力 咁你哋話，建築藝術係有用呢，定係冇用呢？ 异想天开，希望能对世人有所裨益，你们说这是有用还是无用？
一樣唔少。不過危機即係機會，我哋要落力去
惗計，創意即時爆發無盡，同時，又可以請做 所谓世事难料，我们只好各种办法都试试，加之还要保持安全距
第樣嘢嗰啲人仕同埋一齊發明創造，搞出好多 离，就想出种种害己不害人的办法、避免传染病毒、更不能传染
異想天開嘅嘢，令全世界人得益。 心病。最后建筑实验成了设计间隔和监房，令人心慌，有吓唬自
己和小孩的嫌疑，只是心惊之余也玩得很开心。
我哋唔止除咗請本地人仕參與之外，仲搵多幾
個鬼佬嚟玩埋一份，成件事即時變咗全球化大 这个蓄谋已久的计划，一年多以来，因为疫情无法到广州，我们
事件。 靠网上定期见面，用 exquisite corpse （随机接龙）游戏方式，
让几位建筑师想出令观众身体重游封闭隔离的空间、有去无回的
你話咁係有用定係冇用呢？ 迷宫、封闭又通透的笼牢、大到认不清对方的圆桌、爬上去避难
的铁梯；还请各位艺术、设计、戏剧界朋友加入我们。一起上演
世事難料，所以我哋冇乎，惟有様樣都要試下囉。 一场在有用无用之间的游戏，与众同乐。
不過呢個年頭又話要同人哋保持距離，所以就
要惗出種種害己唔害人嘅辦法，以免傳染病毒， 最后在游玩之余，进出之间，那建筑艺术是有用还是无用？
更加唔好傳染心病。
原文粤语由侯瀚如撰写，普通话由梁健华翻译，英文由钟玥妮翻译

最後建築實驗就成咗設計創意間隔或者監倉，
令人心慌，怕嚇親自己同細蚊仔，不過，驚驚
哋其實又可以玩得好開心㗎！

06 07
 Architecture has always had its useful or useless moments, depending
on the changing situations of the times or the movements of peoples.
Dubbed “the factory of the world” and a product of urbanization,
the Pearl River Delta has always served as a laboratory enabling the
construction industry to flourish. Over the past few decades, numerous
high-rises have been built, simultaneously fostering a prosperous
ecology of food stalls, karaoke, nightclubs and so forth.
However, now that the Pearl River Delta has been rebranded as the
“Greater Bay Area,” what new roles of usage will this place take on?
The factory of the world aspires to become a new Silicon Valley. Its
workers have retreated to their hometowns to earn livelihoods. The
manufacturing plants are left empty, coupled with a pandemic that
remains a threat. Not long ago, the third tallest building in Shenzhen
shook relentlessly, leaving city dwellers anxious and skeptical. Since
reality is in such a state, one inevitably ponders change. Architects,
too, are facing increased pressure stemming from such uncertainties,
but this crisis is also an opportunity for us to rack our brains and find
recourse to stimulate creativity. We have invited individuals from
various fields as well as international friends to invent and create
together, to indulge mutual fantasies, so that the entire operation
becomes a multinational collaboration that will, hopefully, benefit the
world. Would you say this is useful or useless?
While this project has been in planning for more than a year, with
many of us unable to visit Guangzhou due to pandemic travel
restrictions, we relied on regular online meetings that assumed the
format of a game of exquisite corpse. The process has led several
architects to come up with ideas of allowing the audience to physically
revisit insular and isolated spaces, unidirectional labyrinths with no
exits, enclosed yet permeable cages, round tables whose immense size
would deter sitters from recognizing each other, and iron ladders that
signal climbs for refuge. We also have invited many friends from the
arts, design, and theater sectors to join us and play together in a game
situated between usefulness and uselessness.
In the end, in between games, between entering and exiting, is the art
of architecture meant to be useful or useless?
Original Cantonese version written by Hou Hanru,
Mandarin translated by Liang Jianhua,
English translated by Yueni Zhong

Because our current world is unpredictable, we resort to trying all

methods while maintaining a safe distance. We have devised methods
that would merely injure ourselves without injuring others, to avoid
the transmission of the virus, and even more so, to prevent the
proliferation of mental harm. In the end, the architectural experiments
became anxiety-inducing designs of isolation and imprisonment. They
encompassed a suspicion of fearing for ourselves as well as fearing for
our children. Yet, even with those fears, the design games still provided
joy and relief.

08 09
 “无用之用”首先是由三组分别来自广州、巴黎和东
京的建筑师从建筑和城市空间变动的角度探讨在珠三
角发展模式转化过程中功用和社会影响的相应变化。
对话是此次“三角洲行动”计划展开和成形的中轴。
新型肺炎的泛滥中断了国际旅行，对话只能以隔岸观
火的方式在计算机屏幕背后进行，也促使参与者在围

引 城受困中调动更加开阔的想象力，从无能为力中发明
出更加独到而激进的对应策略。经过一年来近十次的
来回对话，一个个活跃而对症下药的文本跃然纸上。

言 以下摘录其中的关键片段，聊以与观众分享，并“引
导”观众领会此次展览的意图。

Introduction
“Uselessness as Usage” bega n with three groups of
architects from Guangzhou, Paris, and Tokyo who have
explored, from the perspectives of architecture and urban
space, corresponding changes in the functions and social
impacts of developmental paradigm shifts in the Pearl
River Delta. The use of dialogue as a method has formed
the central axis through which the planning of “Operation
Delta” has unfolded and taken shape. Because the novel
coronavirus pandemic has disrupted international travel,
the on-going dialogue could only be continued behind
computer screens, as if the participants were watching
fires from opposite shores. It also prompted them to
mobilize a wider imagina tion in the midst of a siege,
and to invent more original and radical responses out
of powerlessness. After nea rly a dozen of back- a nd-
forth dialogues over the course of a yea r, a dyna mic,
prescriptive text has emerged on the pages. The following
are key excerpts of the text to be shared with the audience
and to serve as a “guide” to the intents of the exhibition.

10 11
珠三角艺术概念地图
RIVER DELTA ART
MIND MAP OF PEARL
对
Special economic zone (1980)
Great Leap Forward, project by
Rem Koolhaas and Harvard
Design School (2001)
DIVERSITY;
LOCALITY;
话
摘
GLOBAL CITY
Guangdong-Hong Kong
-Macau Bay Area (2017)
CANTON
EXPRESS
Deng Xiaoping's
Hong Kong VIRTUAL REALITY

录
southern tour (1992)
handover FOR URBAN
(1997) INTERVENTION
CITY-STATE

CITY-REGION
China joins the WTO
(2001)

Conversation Excerpt
URBANISATION SELF-
West Kowloon
Cultural District ORGANISATION
(1998)

PEARL RIVER
DELTA vs
CHINA vs
REST OF
展览

THE WORLD
Exhibition

CURATORIAL
EXPERIMENT
事件
Event
艺术机构

#0
COLLECTIVE COMMUNITY
Art organisation

ACTIONS BUILDING

URBAN INSTITUTION
BEYOND THE INTERVENTION
UTOPIA LOGIC OF
INDIVIDUALITY 此概念图系由侯瀚如连同 M+ 及亚洲艺术文件库共同
DYSTOPIA 策划，于 2017 年 M+ 展览《广东快车——来自珠三
角的艺术》中展出的“珠三角艺术概念图”发展而来。
特别鸣谢：M+ 博物馆、皮力、谭雪凝

This version is developed from the original “Mind Map of

Pearl River Delta Art” presented in the exhibition “Canton
概念

Express: Art of the Pearl River Delta” (curated by You

Idea

Hanru, M+ Museum and Asian Art Archieve).

Special thanks to M+ Museum, Pi Li, Isabella Tam
对话部分整理和摘录：侯瀚如、周政
The Conversation chapter is exerpted and edited by Hou Hanru and Zhou Zheng

13
 #1 对

战时状态
War state
梁健华：在中国，一度替换了封城的名称。人们接受了，并认为一切都很正常。
这有点奇怪，加之被封闭城市传出来的信息很少，去年我们无法获取来自武汉

话
不同层面上新的挑战
的消息。这让一切看起来似乎已经没有问题了。
其后果会是含混不清的。我们不知道如果一些国家不实行检疫，
New challenge at different scales
我们正面临着一个具有挑战性的局面，从由技术发展和影
响世界的地缘政治冲突所推动的全球经济结构的调整—— 后果会是什么。数据会显示死亡的人数。并不比其他的疾病多。 塚本由晴：新名称是什么？
特别是在我们项目预备开展的珠三角地区，到新冠疫情所 人们面临着一个历史时刻，他们又回到了这种恐惧，并接受将
何健翔：“战时状态”。

摘
引发的健康危机。我们必须寻找新的建筑和城市解决方案 自己的权利交还给政府来替他们做决定。现在的想法其实就是
来应对它。建筑师可以做些什么来发挥作用？或者，实际 这个。人们对它没有意见。我们同意，因为这是他们需要为我
梁健华：是的。对于中国人来说已经无法记起战争是什么样子，因为关于战争
上人们应该意识到，许多有用的东西，包括建筑设计、楼 们管理的事情。没有人愿意承担自己的责任。责任要交给政府。
的记忆被严格控制，“战时状态”是个没法有确切认知的概念。因此将隔离措
房和基础设施，正在迅速地变得无用。如何让无用的东西 通过这种方式，政府能够实行管控。
( 迪埃·弗斯蒂诺 2020.5.5)
施表述为“战时状态”是一个很天才的做法，它将原来就在面前的事态引导到

录
变得有用？甚至，是否发挥作用也变成了一个无用的问题？ 一个遥远、含糊的概念上。如果你不是住在被封锁的城市，这听起来就像发生
( 侯瀚如 , 2020.5.5)
在远如欧洲的地方，为此人们认为一切都正在恢复正常。特别是在广州，这里
的疫情已经缓和下来，每个人似乎都很愉快，他们去逛商场，一切都很好。但
We are now facing a challenging situation, from the At the same time, we are facing something appearing from 2000. This
restructuring of the global economy driven by technological consciousness of state of emergency was already quite evident: global 非常奇怪的是，当你仔细地阅读各种新闻时，你会意识到疫情其实没有结束。
(2021.1.16)
development and geopolitical conflicts impacting on the various warming and all the excess our society has produced. And now we

parts of the world, notably on the Pearl River Delta, where our
project is supposed to unfold, to the emergency of health crisis
prompted by the pandemics of COVID-19. We have to look for
new architectural and urban solutions to deal with it. What can
architects do to be useful? Or, actually, one should be aware that
many useful things, including architectural designs, buildings
and infrastructures, are now quickly becoming useless. How to
make the useless useful? Even, being useful becomes a useless
question?
(Hou Hanru, referred to as HHR in the following texts, 2020.5.5)
紧急状态和例外状态
Conversation Excerpt
are in another situation. This time, the state of emergency has more
to do with the state of exception. The state of emergency was where LJH (Liang Jianhua, referred to as LJH in the following texts): In China, the
government changed the name of lockdown. People accept that and think everything
we're facing a situation and this situation will endure (perpétuer
in French). We have to solve it with the exception. It’s this notion is fine. It’s a bit strange because I think the authorities also locked down the message
from the cities which were already in lockdown. We couldn’t hear anything from
of instant moment we are facing, which might be back to normal
tomorrow. We know that “normal” will not be the reality in the Wuhan last year. All appeared to be OK.
short term. The consequence is that the state of exception will
last. It started with the reaction to terrorist attacks in France. In the YT (Yoshiharu Tsukamoto, referred to as YT in the following texts): what’s the new
world, where governments established the states of exception, our name?
society and people started to accept being out of time. In a way, we
accept that life will be changing a bit but it will be only lasting for a HJX (He Jianxiang, referred to as HJX in the following texts): “War State”.
short period. We don't know exactly if that period will be temporary,
something definitive or something forever. This happened with how LJH: Yes. Chinese people have already forgotten what war would be like. They are

we were dealing the Middle-East situation. Now with the virus wordings that people couldn't figure out the exact meaning. It’s a very “talented”
同时，我们正面临的是 2000 年后出现的情形。这种对紧 crisis, governments start again with this state of exception, and these thing to do in this way. If you don't live in the cities where they are already blocked,
State of emergency and state of exception

急状态的认识已经相当明显：全球变暖和人类社会的过度 conditions start to be seen as the possible new normal. it would sound like something happening in Europe, very far away, and people think
生产。这一次，紧急状态与例外状态更加相关。紧急状态 everything is normal. Especially in Guangzhou, everyone is happy, and they go to the
There is something which is changing with this notion of exception. malls. Everything is fine. They have already forgotten. It’s very strange that when you
是指我们正面临一种情况，而这种情况将持续下去（法语 Basically, the emergency is related to a catastrophe like a war, a read the news very carefully and you realize that it is actually a very serious situation.
为 perpétuer）。我们必须用例外状态来解决它。我们正 changing climate or any kind of thing with this idea of catastrophe. (2021.1.16)
是在面临这样一种瞬间，它可能明天就会恢复正常。我们 Exception is about fear. It’s not about confronting a catastrophe but

亚洲身份及其建筑代表
知道，“正常”在短期内不会成为现实。其后果是，例外 the fear of the catastrophe. It is about the sentiment and through

architectural representation
Asian identity and its
这与“新生活方式”的概念及其在历史上的演变有关。建筑师们一直试图
状态将持续下去。它始于对法国恐怖袭击的反应。在世界 that the government will change the social contract within the
population. The consequences are not visible if people are not 激发新的生活方式。在 20 世纪 50 年代，这是对日本美国化的一种宣传。
范围内，当政府建立了例外状态，我们的社会和人民就开 紧接着在 20 世纪 90 年代，日本经济实力非常强大，建筑师们开始以不同
empathetic with it. We don't know what the consequence will be
始接受一种处于时间之外的状态。在某种程度上，我们接 if some countries don’t impose quarantine. The data will show the 的方式利用这个词，并试图从亚洲其他地区寻找新的风格。伊东丰雄这一
受生活将在短时间内发生一些变化。我们并不确切地知道 people who died. It's not more than all other diseases. Population 代人受亚洲社会和亚洲文化的启发很大，特别是东南亚地区，比如泰国。
这个时期是否是暂时的，是有限的，还是永远的。这种情 were facing a moment of history where they are back to this fear 在那个时候，日本人对中国大陆并不怎么感兴趣，但却认为香港很具启发
况发生在了我们处理中东局势的时候。对于现在的疫情危 and accept to give their rights to the government to decide for them. 性。因此，这种亚洲风格和半开放式的建筑非常受这些建筑师的欢迎。他
机，政府又建立起了这种例外状态，这些情况开始被视为 The thinking now is really this one. People are okay with it. We agree 们还用“新生活方式”这个词来谈论他们的新兴趣。他们试图探索当时东
because it's something that they need to manage for us. Nobody
可能的新常态。 南亚建筑中的建筑原则。“新生活方式”获得了与众不同的意义。他们在
wants to take his own responsibility. The responsibility goes to the
governments. Through that the governments are able to do what 寻找受东南亚启发的新建筑风格。
有一些东西正在随着这种例外的概念而改变。基本上，紧 they want in terms of control.
急状态与灾难有关，如战争、气候变化或任何具有灾难意 ...
(Didier Fiúza Faustino, referred to as DFF in the following texts, 2020.5.5)
义的事物。例外是关于恐惧的。它无关于面对灾难，而关
乎于对灾难的恐惧。它与情绪相关，而政府通过这种情绪 在日本，新生活方式作为对美国化的一种宣传，从 20 世纪 50 年代开始流行。
将改变人们的社会契约。如果人们对于这种变化没有共识， 而在 20 世纪 80 年代，第二波浪潮转而寻找亚洲身份，并试图引入亚洲建

14 15
 亚洲身份及其建筑代表

珠三角地区的城市化
Asian identity and its
筑及其空间的总体布局。对于日本建筑师，如伊东丰雄，他们受这类建筑 自 20 世纪 80 年代以来的 40 年中，珠三角地区确实是中国人开始寻找和尝试
architectural representation

Urbanization in PRD
的启发很大。 新的生活方式的地方。首先是工业化和城市化，它们很大程度上受到香港的影
（塚本由晴，2020.5.5） 响。而目前这个疫情局面也是人们寻找另一种可能性的时刻。研究香港和深圳
之间的对比很有意思。深圳的发展方式与香港非常不同。这种新的城市化模式
This has to do with the notion “New Lifestyle” and its evolution in history. 既受到香港形象的影响，也受到苏联社会主义式城市规划的主导。这真是一个
Architects have always tried to provoke new life styles. In the 1950s, it was a 奇怪而“自然”的组合。
kind of propaganda on Americanization in Japan. Then, Japanese economy was
very strong in the 1990s, architects started utilizing this word differently and
trying to look at other parts of Asia for a new style. The generation of Toyo Ito is 实际上，珠三角地区一直是一个充满对立的地方。有用和无用，二者在此地交
very much inspired by the Asian society and Asian culture, especially Southeast 汇。例如，在人造环境的构建中，这里总是有一种非正式的建筑行动。这个地
Asia like Thailand. At that moment, mainland China was not so popular 区有着长期的非正式建筑的传统。时代美术馆就是一种非正式美术馆，因为它
among Japanese people to visit, but Hong Kong was very inspiring. So this 是在一个特殊的情况下即兴创作出来的。这是一个私人和社会生活的重叠。我
general feeling of Asian style and also semi-open architecture was very much 们已经可以从这个条件出发，去研究如何使潜力变得更强。
appreciated by these architects. They also used the word “New Lifestyle” to talk
( 侯瀚如 , 根据对话编辑合并 2020.5.5)
about their new interests. They tried to explore the architectural principles in
South East Asian architecture at that time. The “New Lifestyle” obtained a very
different sense. They were looking for new styles in architecture inspired by For the last 40 years from the 1980s, the region of the Pearl River Delta has been
South Eastern Asian sources. really the place where people in China started looking for and experimenting with
... a new lifestyle. The first are industrialization and urbanization. They are very much
influenced by Hong Kong. And currently this pandemic situation is also a moment
In Japan, the new lifestyle started from 1950s as a kind of propaganda for for people to look for an alternative model. It’s interesting to examine the contrast
Americanization. And then in 1980s the second wave was looking for Asian identity between Hong Kong and Shenzhen. The way how Shenzhen developed is very
and trying to introduce Asian architecture and its general arrangement of space. For different from Hong Kong. This new model of urbanization was both influenced by
Japanese architects such as Toyo Ito, they were very much inspired by this kind of Hong Kong’s image and the dominant influence of the Soviet socialist city planning.
architecture . It's a really strange but “natural” combination.
(YT, 2020.5.5)

Actually, the Pearl River Delta region has always been a place of confrontation,
另类生活方式

where these two things, the useful and the useless, come together. For example,
最近我在设计一个装有太阳能灶的小型花园厨房。我们可以用阳光提供的能量 there's always a kind of informal architectural actions in the making of the built
Alternative lifestyle

做饭，不需要煤气或电。这也是我们的生活方式的延伸，与周围环境发生更加 environment here. There is a long tradition of informal architecture in this area.
直接的关系。 The Times Museum is a kind of informal museum because it was improvised and
invented out of an exceptional situation. It's an overlapping of private and social
lives. We can already start from this condition and look into how to make the
在那里，我们还可以向公众提供膳食，在这个露台上尝试许多不同类型的菜肴。 potential stronger.
生活正在发生转变。今天的生活方式实际上还在 20 世纪工业化社会的假设范 (HHR, edited and combined from conversation 2020.5.5)

#2
围内。也许是时候提出不同的可能性来走出这种假设了。

我们现在的挑战之一是鼓励人们尽可能多地使用本地资源。他们需要设备和技
能来做到这一点。然后他们就可以重新思考他们的生计了，包括他们的生计是

建筑师的定位
如何被许多不同的行业和社会系统所支撑的。

The position of architects

( 塚本由晴 , 2020.10.3) 何健翔：最后一张照片是关于展览的空间理念。这个长方形就是时代美术馆。
Recently I am designing a small garden kitchen with a solar cooker. We can cook by 美术馆被设计在一个集合了珠三角地区各种建筑形态的区域。它们展示了岭南
sunshine without gas or electricity. It's also the extension of our lifestyle to connect 文化的古老历史和多样性，包括广府、客家、潮汕传统等等。它们各不相同。
more directly with our surrounding nature. 然而一切都正在变得同质化。在疫情之下，我们可以把这个讨论变成一个全球
There we can also offer meals to the public and experiment many different types of dishes 性的对话。这是为了创造一种新的文化对话形式，甚至是一种平行的局面。公
by this terrace. Life is now transforming. Today’s lifestyle is actually still within the 众可以在这个具有多样性的空间里体验和交流。
assumption of the 20th century industrialized society. Maybe it's also time to show
some sort of alternative to go out of this assumption. 侯瀚如：所以它就像一个来自不同背景的不同类型的拼贴。

One of the challenges we are working on now is encouraging people to access to the 何健翔：这取决于不同的建筑师。他们可以是古老历史的收藏家，也可以是未
surroundings for local resources as much as possible. They need the devices and the
skills to do that. Then they can rethink about their livelihood. How their livelihood is 来建筑类型的梦想家。
supported by many different types of industries and the social system, etc. ...
(YT, 2020.10.3)

16 17
 建筑师的定位

精致的尸体
This is like a surrealistic game, the exquisite corpse. You can fold the rectangle space into

Exquisite corpse
The position of architects
这张导图是几年前我们为时代美术馆的展览“不想点别的事情，简直就无法思
考”制作的。它不完全是为了我们要做的展览。但它表现了在单个展览空间里 different parts, then each of you add something into it, open it again and see what they'll
产生多样化互动的空间理念。我们每个人都可以把完全不同的想法带入这个空 end up with. We can do it again for several times and think about not only the accidental
collage of their effects but how, by accident, the history has been made in such a way and
间。在不同的项目、物件或装置之间有互动是很好的。 the future would come up also by accident.
(2020.5.30) (HHR, 2020.5.30)

侯瀚如：这就像一个超现实主义的游戏，“精致的尸体”（随机接龙）。你可
以把长方形折叠成几份，然后每个人都往里面添加一些东西，再打开，看看它
最后会变成什么。我们可以重复几次，并且不仅仅思考它们意外拼接的结果，
还有历史是如何以这样的方式被造就出来的，未来也会以偶发的形式呈现。
( 侯瀚如，2020.5.30)

#3

重叠的冲突
源计划，时代美术馆周围的建筑形态集合，2014

Overlapped conflicts
有一个非常有趣的背景的结合。一个是中国城市之间的关系所处的背景发生了
O-office Architects,
Mapping of typologies around the Times Museum, 2014 非常大的变化，特别是广州、深圳、香港和澳门，这是目前地缘政治愿景的结果。
这确实招致了巨大的变化。这是一个有趣的冲突。现在加上疫情，又多了另一
个不确定、不可见和不可预测因素。现在有着某种悬置，它使事情变得更加不
明确。
HJX: The last picture is about the spatial idea for the exhibition. This rectangular
form is the Times Museum. The museum is designed around a region with all 这绝对会对未来社会的构成产生影响。工业和农业的生产模式也受到了影响。
different morphologies throughout the Pearl River Delta area. They show the old 中美贸易战和他们的技术竞争正在加剧新的危机。这也产生了非常有趣的影响。
history and diversity of the Lingnan culture, which includes Cantonese, Hakka, 去观察不同层面冲突的重叠，以及这些冲突如何转化，这也许会很有趣。
Chaoshan and many others. They are all different. But things are becoming ( 侯瀚如 , 2020.12.30)
homogeneous. We can turn this discussion into a global conversation at this moment
by the virus. It’s to create a new form of cultural conversation or even a parallel
There is a combination of really interesting contexts. One is the very large background
situation. The public can experience and communicate with all the diversities inside
change of the relation among cities in China, especially Guangzhou, Shenzhen,
this space.
Hongkong, and Macau, as a result of the geopolitical vision of the Chinese party now. It’s
really imposing a huge change. The resistance comes especially from Hong Kong. That
HHR: So it's like a collage of different typologies originated from different is one interesting conflict. Now combined with the pandemic crisis, that brings another
backgrounds. uncertain, invisible and unpredictable element into this. There's a kind of suspension in a
way and it is making things even much more unclear.
HJX: It depends on different architects. They can be either collectors of older history
or dreamers of the future typology. This absolutely has an impact on the composition of the future community. The models
... of industrial and agricultural production have also been impacted. The China – America
This mapping is what we did several years ago for the exhibition "You Can Only trade war and their competition in technology are adding to the new crisis. That makes
Think About Something if You Think of Something Else" at Times Museum.It's not a very interesting impact, too. It could be really interesting to look at the overlapping of
exactly for the exhibition we are going to do. But it serves to add to the spatial idea different levels of conflicts and how these can be translated.
of a very diverse interaction in one exhibition space. Each one of us can bring in (HHR, 2020.12.30)
completely different ideas into this space. It's good to have interaction between
different projects, objects or installations.
(2020.5.30)

18 19
 #4
NPI
typologies invented by NPI
NPI and the architectural 非药物干预—这是应对病毒的唯一办法，使我们远离新冠疫情的风险，因
为我们还没有疫苗或药物。在找到药物解决方案之前，社会都会处在这种
和

非药物干预之中。根据不同的文化背景和社会背景，其实施方式会非常多
样化。
...
NPI
发明的建筑类型

例如，在 20 世纪 20 年代的瑞士，出现了建造疗养院的热潮。但这股热潮
只持续到抗生素的发现。然后这些疗养院就变得毫无用处了。这些疗养院
都建在风景秀丽的山顶上。其中一些被修复改造为高端的老人服务公寓或
度假酒店。非药物干预在某些领域发明了新的建筑类型。然而这些类型迟
早会变得无用。
( 塚本由晴 , 2020.5.30)

Non-pharmaceutical-intervention - it's the only way to deal with the virus and
take ourselves away from the risk of Covid-19 because we don't have a vaccination
or the medicine yet. Until a pharmaceutical solution is found, the society is in
this non-pharmaceutical intervention. Its implementations are very diverse
according to different cultural backgrounds and social backgrounds.
...
For example, in Switzerland, there was a boom of construction of sanatoriums
in the 1920s. But it lasted until the discovery of antibiotics. Then these sanatoriums
became useless. They were built in very beautiful sceneries on the top of mountains.
Some of them are restored to the very high-end service apartments for the elderly
people or the resort hotels. The NPI invented new typologies in certain areas.
Then these typologies will become useless sooner or later.
(YT, 2020.5.30)
由非医药介入产生的新的建筑类型
New typologies generated from NPI

编者注：
20 世纪 50 年代，随着链霉素、氨基水杨酸和异烟肼等治疗肺结核的药品的广
泛使用，这些疗养院失去作用。其中一个例子是于 20 世纪初建于瑞士达沃斯
的沙察普疗养院。它具备了疗养院的建筑特征：建筑朝南，整体结构细长，使
得阳光能够更好的穿透建筑物内部；开放的露台，用于通风换气。在 20 世纪
50 年代，沙察普疗养院被改造成为了酒店。（参见下页图片）

Editor’s Notes:
With the adoption of medicine treatment such as streptomycin, para-Aminosalicylic
acid and isoniazid in the 1950s, these sanatoriums became useless. One example is
The Schatzalp Sanatorium, which was built in the 1900s on a high plateau above
Davos, Switzerland. The Schatzalp Sanatorium has the typical topological features of
sanatoriums: south oriented, thin and elongated structures to allow the penetration
of sunlight; open galleries to facilitate air circulation. In the 1950s, The Schatzalp
Sanatorium was transformed into a hotel. (please refer to the images in the next page)

20 21
 身体作为个体与政治的中介
Body as a mediator between individuality and politics
你知道彼得·威尔逊在 1998 年的项目吗？那是一个参加竞赛的项目。他提出了 张培力，《X? 第四号》，1987
Zhang Peili, X? Series: No. 4 , 1987
一个阻绝信息波冲击的避难所。我认为我们也可以邀请彼得 - 威尔逊，并在新
语境下重新定义这个项目。我们的新环境完全被信息波所包围。那么这便是一
个对这个新环境迅速做出回应的建筑项目。它被称为“彼得·威尔逊忍者”。这
个手套是一个非常厚的控制杆，它阻止任何信息波的进入。它是一个躲避信息
波的庇护所。它并不完全适用于我们今天的情况。但这是一个试图将无形的语
境可视化的项目。身体是个体和政治之间的中介。这种建筑项目将作为政治与
个人精神之媒介的身体作为起始点。
( 塚本由晴 , 2020.5.30, 根据对话编辑合并 )

Do you know the project by Peter Wilson in 1998? It's a competition entry project. He

病毒的生物政治含义
proposed a shelter to be blocked from waves of information. I think we can also invite
Peter Wilson and recontextualize it. Our new circumstances are totally surrounded by

Bio-political implication of viruses

我不知道你是否熟悉张培力在 1980 年代的绘画作品。这位中国艺术家当时患
waves of information. Then it's a quick architectural project reacting to this new context. 有肝炎。他画了一系列的作品，用手术手套作为象征，说明病毒如何成为独裁
It's called “Peter Wilson Ninja”. This glove is a very thick lever and then it sealed off any
wave from coming in. It is a shelter from the wave. It's not perfectly fit to our today’s 统治下社会隔离的隐喻。还有一个非常著名的视频作品，应该是最早使用手套
situation. But it's a project which tried to visualize the invisible context. The body is 形象的视频作品之一。这段视频令人难以置信。他戴着手套，打碎了一面镜子，
a kind of mediator between the individuality and politics. This kind of architectural 然后不停地把碎片粘回去，直到镜子不能再被粘回去。他对此是如此痴迷。在
projects started from the aspect of the body which is a medium between politics and our 另一个视频作品中，他用肥皂无休止地清洗一只鸡。鸡一开始是反抗的。到了
individual spirit or humanity. 最后它变得非常安静。这挺疯狂的。
(YT, 2020.5.30, edited and combined from conversation)

那是 20 世纪 80 年代末，当时，肝炎确实是我们那代人中最严重的流行病。他
的这些作品揭示了这种流行病的社会和政治含义—病毒的生物政治意义。
( 侯瀚如 , 2020.5.30, 根据对话编辑合并 )

I don't know if you're familiar with the paintings, the works of Zhang Peili in the 1980s.
The Chinese artist had hepatitis at the time. He painted a series of works using the
surgery glove as an image of how virus becomes a metaphor of social segregation under
dictatorship. There's also another very famous video which is supposed to be one of
the first, let’s say, video work using the gloves. The video is incredible. He was wearing
the gloves and breaking a piece of mirror and then glue them back repetitively until
the mirror could no longer be glued back. He is so obsessed with it. In another video
work, he was washing a chicken with soap endlessly. The chicken was resisting in the
beginning. At the end, it became very quiet. It's sort of crazy.

张培力 ,
截取于影像《（卫）字 3 号》,1991
Zhang Peili,
Screenshot of the video Hygiene No.3 , 1991

彼得·威尔逊，《忍者舒适之家》方案图纸，1989
Peter Wilson, Composite drawing of Ninja Comfortable House , 1989
It was at the end of 1980s. At the time hepatitis was really the most aggressive
pandemic for our generation. He came up with these works revealing the social and
political implication of the pandemic - the biopolitical meaning of virus.
(HHR, 2020.5.30, edited and combined from conversation)

22 23
 #5
My question is, how can it still be a physical possibility? How can it be mobile but still
physically static? Maybe imagine the territory as something with architecture providing
more material conditions. With architecture, the answer is always about the context
流动性 非

and providing something visible in a way. How can architecture now in this note
Mobility - non-mobility
现在对我来说，无人之地或流动性的问题变成了一种固定的流动性，其中数据、 provide something without visible parts? It's about visibility and invisibility. If I
系统和运动在某种程度上变得更加依赖物质。这对我来说很重要。我认为我们 just take the name of this city or the edge of the city, how is this mobility possible? Or
处在相同的情况下这是一件好事。这些流动正变得越来越可控。也许这个境况 we can provide something like spaces which are out of visibility. How can we produce
的关键在于现实层面，因为在虚拟世界中我们可以逃离，并不断提出想法来进 a doppelganger of uncertainty where I can escape? It's a city or a space generating a
negative identity.
- 流动性

行改变。但与此同时，如何在本体上维持流动性是一个重要的问题。我现在在
(DFF, 2020.7.3)
思考如何在本体层面保存移动的可能性。对移动的控制正变得越来越激烈。我
感到我们应当想想如何在没有移动的情况下逃离。或者我们可以想象在某些地
方建筑可以提供一种“出口”。

无形的恐惧感成为建筑设计所面临的新环境
这种对“出口”的思考仿佛是 21 世纪的“出埃及记”。社群的概念总是与共
有的概念相联系，而流亡总是基于共同的或社群的移动。我们可以建立新的领

Invisible fear as new context for architectural design

我认为新冠病毒和带放射性污染的核能之间有一些相似之处。两者都是无形的，
土或新的出口或移动的可能性。在这个过程中，我希望思考如何在非流动性与 并且确实会引起恐惧。在与他人的日常关系上，人们会变得非常多疑。而且社
流动性的对立中找到一种出口。 会上会出现一种无意识的隔离现象。这种无形的恐惧在这两个事件中都存在，
而自福岛事件后它已伴随了我们十年。但时至今日我们仍然不知道，当核电成
而我们的流动性是与自由或自治有关的东西。这是重点。当你没有这个东西， 为虚构设计的背景时，如何纳入这种无形的恐惧。政府正在推动恢复的进程，
或者他们阻止了移动，我们如何才能扭转这个局面？ 试图忽略那些巨大的风险。政府想要证明自己在多大程度上投入了恢复工作。
但实际上，有很多事情被遗忘了。在这个匆忙的过程中，这个领域仍然是不可
我的问题是，它如何还能在物理上成为一种可能？它如何能够是移动的，同时 触碰的，我们对其束手无策。今天我认为新冠疫情也成了同样的情况。这种无
在物理上保持静态？也许可以把领土想象成有建筑提供更多物质条件的东西。 形的恐惧是建筑设计的一个新背景。
对于建筑，答案永远是关乎其所处的环境的，提供的也总是可见之物。建筑如 ( 塚本由晴 , 2020.7.3)
何能在现在这个基调下提供一些不可见之物？这是关于可见性和不可见性的问
题。比如，在无形的城市名字与有形的城市边界之间，这种流动性如何成为可 There is some similarity between coronavirus and nuclear which has radioactive
能？或者我们可否提供一些不可见的空间。我们如何能制造一个不确定性的幽 pollution. Both are invisible and really provoke fear. People will become very doubtful
灵来使我们逃离？是一种带有逆向性质的城市或者空间。 regarding the daily relationship with others. There is also the unconscious segregation
( 迪埃·弗斯蒂诺 , 2020.7.3） appearing in the society. This invisible fear existed in both cases and we have already
spent ten years with it from Fukushima. But still today we don't know how to
incorporate this invisible fear when the nuclear becomes a context of fictional design.
The government is pushing the recovery process, trying to ignore the risks that are at
Now for me, the question of no man's land or mobility becomes a kind of fixed
stake. The government wants to show evidence that how much government initiated
mobility where data, systems and flows of the movement became in a way more based
on materials. It is really important for me. I think it's a good thing we're in the same the recovery. But actually there are many things forgotten. In this rushing process, this
situation. These flows are becoming more and more under control. Probably the area is still something untouchable, about which we can't do anything. Today I think
key point of the situation is physically as virtually we can escape and continue to add coronavirus turns out to be the same situation. This kind of invisible fear is a new
ideas to make change. But at the same time, how movement can be preserved locally context for architecture design.
is an important question. What I'm thinking now is about the idea of preserving
possibilities of movement in terms of locality. Control of movement is becoming (YT, 2020.7.3)
more and more drastic. I feel we should ask how to escape without movement. Or
we can imagine some place where architecture provides a kind of “Exit”

It’s about possible exit while we are thinking about the Exodus in the 21 century.
The notion of community is always linked to the notion of communal, and exodus is
always based on the notion of communal or community moving. We can establish new
territories or new possibilities of exit or movement. In the process I would like to begin
to think about how to find a way to exit in non-mobility versus mobility.

And our mobility is something with a link to freedom or autonomy. And that's the key
point. When you don't have this or they stop the movement, how can we invert the
situation?

24 25
 矩阵

矩阵
Then we can make four different things from two different types of scenarios. One
Matrix
我画了这个图表矩阵。一边是人太多，另一边是没有人，一边是可见性和物理

Matrix
存在，另一边是不可见性和虚拟存在。 is too many people versus no-man. One is the visible versus the invisible. Then,
for example, visible no-man’s land is possibly the Fukushima situation. I checked the
然后我们可以从两种不同类型的情景中分析出四种不同的情况。一个是太多人 nuclear power plants near Shenzhen. There are two in a 20-kilometer distance. If the
nuclear power plants exploded, Shenzhen would become a no-man’s place.
对应没有人；一个是可见的对应不可见的。那么，比如说，可见的无人之地可
能是福岛的情况。我调查过深圳附近的核电站位置，在相隔 20 公里范围内就
Then nowadays in the Pearl River Delta, what is going to be invisible and no-man’s
有两个。如果这个核电站爆炸了，深圳就会变成一个无人之地。 land is not really in the virtual space. For example, now we have run this kind of
conversations through our remote meeting. There are too many people on the network
现在的珠三角，即将成为不可见的、无人之地的，其实并不在虚拟空间当中。 chatting and having conversations. So this is a remote meeting situation. The total
比如说现在我们通过远程会议来进行这种对话。网络上有太多的人在聊天，在 tracking system doesn't allow people to speak freely to each other. It treats people as a
对话。所以这是一个远程会议情况。跟踪系统不允许人们彼此自由交谈。它把 kind of mass. And they just check who they are and who are there. The mass is a no-man
人们当作一种群体，并且只是检查他们是谁，谁在那里。这个群体是一个无人 and invisible situation. Mobility is something in between, between no-man and too
和不可见的情况。流动性是介于两者之间的东西，介于无人和太多人之间，介 many, between invisibility and visibility. How can we open up this intermediate
于不可见和可见之间。我们怎样才能打开这个介于两者之间的空间？然后我们 space between the lines? Then we can make a proposition through opening these
lines.
可以透过这个“界限”来提出一个主张。 (YT, 2020.7.3)
( 塚本由晴 , 2020.7.3)

I drew this diagram matrix. There are too many people on one side and no man there
on the other side, visibility and physical presence on one side and invisibility and
virtual existence on the other side.

两种情形 ：人口过多与无人之地
Two scenarios : over-populated or no-man's land
也许我们可以想象，在美术馆里我们有两种场景并存。

第一种是当这个区域完全被其他人入侵。它将会失去它的特殊性，它的自由和
身份。这是一种这个地区被“入侵者”过度占据的情形。那么原本有用的基础
设施是怎么变得无用的？我们如何发明一些东西使人们逃离呢？

第二种是后人类场景。人们突然从这个区域消失。再也没有人了。虚空之地，
无人之地将发生什么？
( 侯瀚如 , 2020.7.3)

Maybe we can imagine in the museum we can have two scenarios coexisting.

One is when this region becomes completely invaded by many other people. It is going to
lose its special characteristics, its freedom and identity. It's a scenario when this region is
over populated by “invaders”. Then how does the originally useful infrastructure become
useless? How can we invent something for people to escape?

The second one is a post-human scenario. People suddenly disappear from this region.
There is nobody any more. What will happen to the empty lands, the no man's land?

(HHR, 2020.7.3)

塚本由晴，概念矩阵的草图，2020
Yoshiharu Tsukamoto, Sketch of the conceptual matrix, 2020

26 27
 #6
of approaching the architecture. If you go through the window but you
have been always passing through the door, the first time you go through
the window will change the way you read the space. It adds another layer
一房一人

of your understanding. That's probably the rule you put on the table
One person per-room at one time
我们还可以提出一种新的展览方式。比如说，一天一个人一个房间。房间里只
where making an exhibition is also about our reading of PRD. It would be
允许有一个人。你在展览空间里总是独自一人。你的行为完全取决于你进入的 interesting to translate the experience of going there in that way.
下一个房间。或许到下一个房间的时候，你就完全不能移动了。 (DFF, 2020.7.31)

我们可以把展览空间划分为几个房间。一个房间里只允许有一个人。每个房间
都有不同的情况。这形成了一个很有压迫感的体验。这是一个你可以自己占据
的展览空间，但你总是孤独的。有时候观众可以由线上观众陪同，使展览可以

引入可移动 不
远程呈现。他们可以成为展览的播报员。

Elements of mobility/uncertainty
我们如何才能引入一种不可预知系统？对于抽象的空旷空间中的装置，它们应
事实上这就是疫情之下的情形。 该是固定的吗？
( 塚本由晴 , 2020.7.31)

这是关于收集时刻、声音和领土作为固定的结构。但另一方面，我们在某一时
We can also propose a new way of the exhibition. For example, one day one person per
刻是观众。是否可以有一个情景，让我们看到移动的物件，甚至更加不可测的
room. Only one person is allowed in the room. You are always alone in the exhibition
space. Your behavior is totally dependent on passing through next room. When passing 元素？我在这种大型空间里想象的是，所有这些系统都可以移动的情形，也许
through to the next room, you can no longer move. 也不完全移动。

/ 确定性的元素
We can divide the exhibition space into a handful of rooms. Only one person is allowed 如果几何形状不是固定的就好了。它更像是一个装置间对话的系统。他们互相
to stay in one room. Each room has a different situation. It’s very stressful. It is an 从来没有类似的关系。这取决于不同的移动方式。
exhibition space you can occupy by yourself. But you’re always lonely. Sometimes the ( 迪埃·弗斯蒂诺 , 2020.10.3)
audience can be accompanied with the digital audience online, displaying the exhibition
remotely. They can be a kind of a reporter of the exhibitions.
This is actually the coronavirus situation.
(YT, 2020.7.31)
通过不同往常的方式进入建筑来增加
对于空间新的理解
alternative ways of approaching the architecture
Additional layer of reading a space from

这实质上是选择在展览中保持独处 / 独自一人。而最后的体验是我认
为可能特别有趣的地方。故事本身是关于你所经历的、你的记忆，以
及与做过同样事情的其他人的交流，因为没有人会有完全相同的体验。

当你在展览或是空间当中时，情况总是相同的。当你从前面或后面进
入空间，你会有不同的理解。如果你不遵循进入建筑的原则，第一印
象就会是不同的。如果你一直是从门通过，那么当你第一次穿过窗户， 迪埃·弗斯蒂诺， 在美术馆空间内引入移动或不确定元素的草图， 2020
这将改变你感知这个空间的方式。它增添了你另一层面的理解。因此 Didier Fiúza Faustino,
Sketch showing the mobile/uncertain elements in the museum, 2020
策划展览同时也成为了我们感知理解珠三角的过程，这或许是我们应
该遵循的游戏规则。诠释出以这种方式“去到”珠三角的体验，将会
很有趣。
( 迪埃·弗斯蒂诺 , 2020.7.31)
How can we bring a kind of unpredictable system? For the installations in the
abstract empty space, should they be fixed?

This is about choosing to be alone on the show. And experiencing at the
end is what I find can be super interesting. The story itself is about what
you experience, what is your memory and exchanging it with the others
who have done the same thing because nobody will have exactly the same.
It’s always the same thing when you are in the show or in the space. If you
come from front or back, then you don't have the same reading. The first
impression is always different even if you are not following the protocol
As this is about collecting moments, voices and territories as fixed structure. But on the
other side, we are at one moment the spectators. Can we be in this situation where we
see movement and something more unpredictable? What I was thinking in this kind of
big space is imagining if all these systems can move, maybe not fully moving.
It would be nice if the geometry is not fixed. It's more a system of the installations’
dialogue. They never have similar relationship to one and the other. The factors will
be different movements.
(DFF, 2020.10.3)

28 29
 设计一种物件 情
甚至带到城市里面体验
空
Dichotomy of inside and outside

experience and even take to the city

Invent a protocol for people to
(间 身 我现在对这种内与外的对立相当感兴趣。因为城市变得越发如此，给人留下鬼 我可以建议一些不起眼的东西，年轻人可以把它们带去看展览。在去
祟行动的印象。我现在出门时带着口罩，并且与人接触的时间很短。社交生活 看展览之前，他们可以拿一份指引包，到城市里去，然后将他们所携
被缩减为非常少的互动。互动消失得越来越多，所以我们甚至更被具有短暂属 之物或经历带回到展览。这可能挺有意义。这只是一些感觉。因为我
性的材料所吸引。相反，我们的内部生活，或家庭生活，变得更加遥远和漫长。 们不能去，我们不能去自己操纵信息。我们是否可以创造一个情境，
/ 体）内与外对立

让我们需要的信息自己出现。
( 迪埃·弗斯蒂诺 , 2021.1.16) ( 迪埃·弗斯蒂诺 , 2021.1.16)

I can suggest some obscure things young people can take to the show. Before
I am quite interested in this dichotomy of inside and outside now. Because the city going to the show they can take a protocol, go to the city and come back to

/ 形 让 人 们 体 验，
becomes more and more like the situation where we have this impression of furtive the show with what he brings or experiences. That could be something. It's
moments. When I go outside now, I’m wearing mask and meeting people very quickly. just some feeling. Because we cannot go, we cannot manipulate ourselves the
I think it's condensed to very few interactions. The interaction disappeared more and information. What if we produced situations where the information starts to
more so we're even more attracted to materials with very ephemeral attributes. On appear.
the contrary, our inside life, or domestic life, becomes more distant and longer. (DFF, 2021.1.16)

(DFF, 2021.1.16)
重新发现身体与周遭环境的关系
Rediscover relationship between the body and the surroundings

对我来说，我重新发现了阅读时身体的姿势。我花了更多的时间阅读，所以我
正在寻找一种 70 年代的家具，这能让人有不同的坐姿。我使用我的床。我有

#7
了更多的时间，并注意到不同的事情。
( 迪埃·弗斯蒂诺 , 2021.1.16)
In my case, I rediscovered positions of my body of reading. I spend more time reading, so
I was looking for a kind of 70s furniture to have different ways of sitting. I use my beds. I
got more time and paid attention on things different.

空间迷宫
(DFF, 2021.1.16)

Spatial maze
从上次的讨论出发，我建立了三种比较。第一种是展览对象完全占据空间，不
同于只占据空间的 50% 或不到 25%，而其余部分完全是空的。我不知道这可
以用来做什么。也许是一个图书馆，一个派对空间或其他什么。我认为以这种
方式来看待这个问题会很有趣。然后你可以像塚本由晴建议的那样创建房间。
三条线、四条线或更多的线，以获得数百个由墙分隔的房间。你可以为每个房
间留出非常有限的空间来展示一些东西，或者引导人们按照规定在房间之间流
动。三条线就像不同村庄或不同展览对象之间的关系。你有完全独立的空间或
对象，这样你就可以以内在关联的方式进行展览。或者你甚至可以展示更多，
在房间里展示多个装置。你可以把它们分散在房间里，仿佛他们在迭代生长。
所以我想这就是使展览更丰富的机会。我认为它正在变得越来越像上次我们谈
到的象棋游戏。将不同的情况结合起来，你就会使展览的组织方式更加复杂。
( 何健翔 , 2020.7.31)

Starting with the discussion last time, I created three kinds of comparison. The first one
is showing full occupation or exhibition objects occupying 50% or less than 25% of the
room while the rest is completely empty. I don't know what it could be for. Maybe a
library, a party room or anything else. I think it would be interesting to look at this in
this way. Then you can create rooms as Yoshi suggested. Three lines, four lines or more
lines to get hundreds separated by wall. You can have very restricted space for each
room to show something or guide people on a rule of how they can circulate among
the rooms. The three-lines is like the relationship between different villages or different
objects of exhibition. You have totally independent spaces or objects and in that you can
have interrelated way of exhibition. Or you can even have more in an exhibition where

30 31
 展览结构与体验
multiple installations are in the room. And you can scatter them in the room and mix

Exhibition structure and experience

我们可以采用这个原则来界定一个固定的系统，这意味着我们将会通过不同的
things up in a very growing situation. So I think that's the opportunity about where can 方式来重构这些情形，并以此来填满这个空间。我们可以利用塚本由晴的想法，
be more. I think it’s becoming like a chess game last time we talked about. Different 将观众一个个关起来。我也很喜欢迪埃提出的地下空间，被遗忘的空间以及在
situations can also be combined and you'll make more complex way of organizing the 密集与孤独之间的张力。 基于此，三位建筑师可以一起思考一种有三个重叠系

品
exhibition.
(HJX, 2020.7.31)
统的建筑。每次它都会迫使人们孤身一人去体会这种地下生活，然后将地下生
活通过互联网向外界播报。这是一个非常美丽的想法。那么展览又如何将珠三
角的经历与人们的生活和生活方式的改变相联系呢？可以想象为一个从珠三角
离开的人的自述，或者一个在这里长大的人见到了一个从外地来到这里的人。

简
他们在这里相遇；他们谈论着这里建筑环境的改变和他们在其中的经历。这就
是这个地方在过去四十年的一段真实的历史：一个“新常态”展览。
( 侯瀚如，2020.7.31)

介
We can apply this principle and define a stable situation, meaning that we rebuild
these conditions combining all these various ways to occupy that. Then we combine
the principle of Yoshi’s idea to lock down the visitors one by one. I also really like the
idea Didier said about the underground space, the forgotten space, the tension between
density and loneliness. Based on this, all three of you together can think about one
kind of architecture of three overlapping systems. Every time it's forcing people to be

Brief introduction
何健翔，展示不同方式使用美术馆空间的草图，2020 alone, to feel this kind of underground life and to report the underground to the outside
He Jianxiang, through the Internet. It's a very beautiful idea. How does the exhibition connect with the
Sketch showing different ways of occupying the museum space, 2020
experience in the Pearl River Delta region in relation to human life and the evolution
of lifestyles? Imagine that to become a biography of someone who moved from here or
who grew up here meeting with someone coming from outside. They encounter here;
they talk about their experiences of the change of this region in different architectural
conditions. It's a true history of this place for the last 40 years: a “New-normal”
个人体验作为时代的见证

exhibition.
Personal experiences as testimonies of the time

珠三角本身的历史也是我所喜欢的。一个地区有其本身的一种感知方式。当你 (HHR, 2020.7.31)

来到一个地方，这种感知是非常个人的，关乎你自身的全部体验。

尽管所有人都获取相同的信息，但同时你也会创造你自己关于这个空间的故事。
我记得二十年前我第一次来深圳。相比于第一次来的经历和故事，十年后第二
次来到的深圳几乎是一个全新的世界。因为我没能去深圳，现在我的故事更是
和这些不同的经历所重合。 我认为有某种方式可以展览中创造出空间，继而让
你在这个空间里创造关于这个展览独属于你的回忆。

制作展览亦是关于我们对珠三角的解读的过程。
( 迪埃·弗斯蒂诺 , 2020.7.31)

What I like is also about the history itself of the Pearl River Delta. A region is a way of
understanding. When you arrive at a place, the understanding is always personal about
your whole experience.

Everybody had the same information, but at the same time you create your own
narrative of the space. I remember the first time I came to Shenzhen was probably
20 years ago, and the second time was ten years after. That was an entirely new world
ten years after my first experience and narratives. Now, my story is overlapped with
different experiences because I didn't go to Shenzhen. I think there can be some way to
create the space itself from the show where you create your own memory of the show.

Making an exhibition is also about our reading of Pearl River Delta.

(DFF, 2020.7.31)

32 33
 迪埃·弗斯蒂诺
Didier Fiúza Faustino
多年以来，我们的社会都在经历着既开放又封闭的双向运动。一方面更多的经济活动、旅
行及旅游业。另一方面更多的行政控制、安全审查、更严的移民政策，以及对言论自由的
管控—简而言之，更少的自由。
作
在这样的背景下，有许多人离开家园以躲避战乱、贫穷和压迫，而另一些人则为享受生活、
享受舒适以及自我愉悦而旅行。有的人无法被看见，或是被刻意排除在外，而另一些人则
品
享受着自己的独立性，并成为了支配者中的一员。

疫情加剧了人类社会中的不平等。
简
我们提出三个游离的物件以供人们“关注”。关注他者，以及他者的缺席。关注在场人群
的同时，也要关注消失的人群。更重要的是，这些物件可以帮助我们理解世界的转变，以
介

Brief introduction
及我们对他者的凝视。这些物件让我们得以消失和重现。
《希望之物》Hopeful Object
For several years now, our societies have been experiencing a double movement of opening 2021

and closing. More economic exchanges, more travels, more tourism on one hand, more control,
stronger security and migration policies, more regulation of free speech – less freedom – on the
other hand.

In this context some people leave their country to run away from war, poverty, oppression while
others travel for their well-being, their comfort, their pleasure. Some are either invisible or

《希望之物》
excluded people, others enjoy individuality and are part of a dominant group at the same time.
With the pandemic, the human condition inequality has been exacerbated. 雕塑（四件）

2021
52 厘米 x 52 厘米 x 85 厘米 / 每件
由艺术家惠允

We propose 3 nomad objects to “pay attention”. Pay attention to others, but also to the absence
《希望之物》如义肢一般，是人身体的延伸。它可以作为凳子、手杖或者武器。正因为
of others. Notice the ones that are missing as well as the ones that are present. Most of all, these 缺乏明确的功能性，因此它能够被多种解读。就像魔法棒一样，它能赋予人们更好的或
objects are here to help us understand the transformations of the world and the gaze of others. 者更坏的。

They allow us to disappear or (re)appear.

sculpture (4 pieces)

Hopeful Object
2021
52 cm x 52 cm x 85 cm / each
courtesy of the artist

Altogether a stool, a cane, a weapon, the Hopeful Object is like a prosthesis, and
extension of the body. Its absence of clear function gives space to interpretation. Like
a magic stick, it empowers people for the better and the worse.

34 35
 《力量之物》
装置

2021
157 厘米 x 150 厘米 x 220 厘米
由艺术家惠允

《力量之物》是一个用于公共空间的可移动笼子。笼子的形状恰如火焰般的锦鲤鳞片图腾。
观众可走入其中，在笼子的包围下在公共空间中任意行动。它创造了一个兼具保护性和
防御性的空间，人身在其中既是自由的又是被隔绝的。

installation
Powerful Object
2021
157 cm x 150 cm x 220 cm
courtesy of the artist

Intended for the public space, the Powerful Object is a mobile cage with the shape
of a 3-dimensional koi flaming scales tattoo. One can be enclosed in it and move
around the public space at the same time. It is a space of protection as much as
defense, of freedom as much as isolation.

37
 《关怀之物》
装置（五件）

2021
82.4 厘米 x 60.3 厘米 x 150.5 厘米 / 每件
由艺术家惠允

《关怀之物》就像是一个蛹。它是一个被缩减至身体大小的建筑物，可用于冥想。当你
进入其中，你从环境中消失，但你仍能感知周遭。你隐匿于其他的躯体之间。

installation (5 pieces)
Careful Object
2021
82.4 cm x 60.3 cm x 150.5 cm / each
courtesy of the artist

The Careful Object is like a chrysalid. It is an architecture reduced to the size of the
body which serves as an object of mediation. Once inside, you disappear but are
aware of the world surrounding you at the same time. An anonymous body among
other bodies.

39
 犬吠工作室 自
Atelier Bow-Wow + Furii Studio + Yasushi Yamaguchi
纵观历史，为适应社会变革而发明出的建筑类型经
常会逐渐失去意义并被淘汰。其中一个例子就是肺
结核疗养所——一种结合了阳光和空气作为建筑材
料的，设计用于治疗肺结核病人的建筑物。这种建
筑物一度十分盛行，直至抗体的发现才失去了其价
值。
+ 由工作室 山
类似地，媒体中心的出现则是 20 世纪 90 年代快速
转变的信息社会的具象化。它在世界范围内被广泛
建立，成为一种结合了图书馆和博物馆的多功能场
所，并运用多种媒介展示和记录艺术活动。然而，
随着互联网的普及，现在每个人都可以在手中的智
能手机里拥有自己的媒体中心。
诚然，大师级作品，如阿尔瓦尔 . 阿尔托设计的帕
+ 口泰
伊米奥疗养院，或者伊东丰雄设计的仙台媒体中心，
至今屹立。但此外，这些本该绝迹的建筑物又给后
人留下了什么遗产呢？意想不到之处从他们的无用
当中涌现。例如，疗养院空旷而充满阳光的白色空
间启发了现代建筑的美学方向。又如，媒体中心功
能的不确定性则赋予使用者挪用机构空间的能力。
当下，世界上许多人仍然面临着疫苗短缺的问题，
这揭示了不同国家、不同阶级和不同年龄人群之间
显著的不平等。在此情况下，非医药介入一直作为
控制新冠传播的一种手段被运用。树脂玻璃隔断这
种从环保、美学和社交角度出发均不合格的产品被
广泛的运用在餐厅、商店和邮局中，并在一定程度
上成为一种有用的介入。
我们生活在一个特殊的情状下—每天都有数以百计
的物品出现，随即迅速成为无用。在这个时刻，特
立独行的探索也会演化出意想不到的未来之路。一
个为毫无逻辑的聚餐准备的荒谬的巨型餐桌正拥抱
这一时刻。围绕《隔离桌》，食客们保持安全距离
40
落座，尴尬的和对方相距甚远，甚至听不清对方的话。然而，通
过同一块桌面的连结，他们依然能够分享聚餐的快乐。
该装置声音《带鸟声的宁静的振动 2》由山口泰制作。
Repeatedly throughout history, building typologies that were invented
to anticipate new ways of coping with societal changes lost their
relevance and became obsolete. One example is the sanatorium, a
structure designed to treat tuberculosis patients by incorporating
sunlight and fresh air as building materials. It became widespread until
the discovery of antibiotics rendered it useless.
Similarly, the mediatheque emerged as a materialization of the
rapid transformations of the information society of the 1990s. It
propagated worldwide as a hybrid container that went beyond a
library or a museum, exhibiting and archiving artistic expressions in
different media. However, since the popularization of internet access,
we all have a mediatheque in the palm of our hand in the form of a
smartphone.
Indeed, masterpieces such as Alvar Aalto’s in Paimio or Toyo Ito’s
in Sendai remain standing. But what then is the legacy of these
otherwise extinct architectures? Unexpected features emerged from
that uselessness. Such as the sanatorium airy, sun-filled, white-painted
galleries, which fueled the aesthetic direction of the modern movement
architects. Or the functional indeterminacy of the mediatheque that
designers have incorporated for empowering users to appropriate
institutional spaces.
Currently, we are in a situation where the vaccine is still not supplied
to all citizens worldwide, revealing the significant inequalities between
countries, classes, and ages. In this scenario, non-pharmaceutical
interventions continue to be implemented to control the spread
of Covid-19. Plexiglas partitions populate restaurants, stores, and
41
 《隔离桌》
post offices as somewhat useful interventions, which otherwise fail 有声装置

2021
environmentally, aesthetically, and socially. 直径 : 750 厘米 , 高度 : 76.8 厘米
声音时长：8 分钟
由艺术家惠允

We live in unusual circumstances in which hundreds of particular

artifacts are sprouting every day, only to become useless very quickly.
It is also the moment when present unconventional explorations are
germinating unexpected future paths. An absurdly extensive table sound installation

DistanTable
2021
for an illogical dinner party embraces this moment. Around the Φ: 750 cm, h: 76.8 cm
sound duration: 8 min
DistanTable the diners are safely sitting. Awkwardly distanced from courtesy of the artists

each other, they can barely hear the conversations. Yet connected by
the same surface, they still share the joy of dining together.

Installation sound Peace Vibration with Birds 2 is produced by Yasushi

Yamaguchi.

43
 隔离桌派对 © 犬吠工作室 + 自由工作室
DistanTable_Dinner Parties © Atelier Bow-Wow+Furii

44 45
 源计划 the strength to break through the walls. It is a helpless status quo, but it
O-office Architects
在一个时势变幻，经济转型遇上病疫横行的“历史
关头”，如何重组生存空间以应对不测，成为了建 also spurs everyone on to seek escape and embrace freedom, however
筑师、创意人士面临的紧急问题。原来有用的观念 quixotic it may be.
和形式，大都变得无用。相反亦然。人人都在盲人
摸象似地在迷宫里打转，尽心寻求出路，又无力打 How can we maintain social distance while keeping warm around the
破围墙。这是一个令人无奈的“现状”，但是这又 fire, to protect our privacy while participating in public life? These are
促使人人想法脱逃，拥抱自由——即使是虚无飘渺 the questions we all have to ask ourselves. After more than a year of
的那种。 futile logistical attempts, O-office Architects, Atelier Bow-Wow, and
Didier Fiúza Faustino were unable to meet in Guangzhou and resorted
如何能够在保持社交距离又可以围炉取暖，既能够 to collaborating remotely online. Working closely with the curatorial
保护私隐又可以参与公共生活？这些正是我们都要 team, they have conceptualized the Maze after playing multiple rounds
自问的话题。经历了一年多的尝试，源计划、犬吠 of a design game that borrowed from the surrealist method of “exquisite
工作室和迪埃·弗斯蒂诺还是没有办法在广州聚会， corpse”.
只能在网上远程合作。他们和策展团队紧密合力，
借用超现实主义的“精致的尸体”（随机接龙）游 O-office Architects have translated the Maze into a cement
戏的玩法，经过多个回合，构思了这个《迷宫》。 cinderblock construction of local materials. The audience can choose
their own paths in and out of the structure. They can also meditate
源计划把它转译为当地材料水泥灰砖构造。观众可 on a variety of minuscule yet intense “works of art” whenever they
以自己决定进出《迷宫》的路径，还可以在遇到“掘 chance upon cul-de-sacs. Thus, the labyrinth becomes increasingly
头巷”（死胡同）时，对着各种微小却强烈的“艺 bewildering, and, in turn, even more captivating.
术作品”打坐反思。迷宫因而变得更加令人迷惑， (Hou Hanru)
也由此变得更加迷人。
（侯瀚如）
《迷宫》现场施工照片
Maze in construction

In a time of uncertainty, a historical juncture where

economic transformation intersects pandemic response,
how to reorganize habitable space in order to cope
with unpredictable situations has become an urgent
issue preoccupying architects and creators. Previously
useful concepts and forms have largely become useless.
The opposite is also true. Everyone is running circles
in a maze as if blind men feeling out an elephant. They
display earnest intentions of finding a way out but lack

46
《迷宫》

装置
2021

尺寸可变
由艺术家惠允

installation
Maze
2021

dimensions variable
courtesy of the artist

49
 源计划
O-office Architects
《得了塔》是长期在三角洲地区实践的建筑师为“无
用之用”展览而设计的一组空间装置。装置是在幽
闭的《迷宫》展厅与猛烈增殖的都市领域之间植入
的一个身体实验。装置由三个三角形平面的塔状爬
梯以及相应的红色配垫构成。装置在空间中有两种
构成状态。离散状态的“梯塔”以供向上攀爬以暂
时逃离地面而获得更佳的城市景观，从梯顶垂直返
落地面也是身体实验的一部分。展览最后一周三个
“塔梯”和三个红色配垫将分别汇聚而成为这个透
明的、但依然被禁闭的空间中一硬一软、一高一矮
两个三角形象。

Delta is a spatial installation designed for the exhibition

“Uselessness as Usage” by the architect who have
been practicing for long in the delta region. The
installation is a body experiment implanted between the
claustrophobic Maze hall and the rapid proliferating
urban domain.
The installation consists of three delta-plan tower-
ladders and related red mats. It has two different forms
in the space. The discrete-formed tower-ladder can
be used for climbing upwards to temporarily escape
from the ground to obtain a better view to the city.
Vertical jump-down from the top to the ground is also
considered part of the body experiment. During the last
week of the exhibition, three tower-ladders and three
red mats will respectively converge to become two “delta”
icons, one hard and one soft, one tall and one flat, in this
transparent but still confined space.

50 51
 《得了塔》
装置（三件）

2021
130 厘米 x 113 厘米 x 250 厘米 / 每件
由艺术家惠允
Delta

installation (3 pieces)
2021

130 cm x 113 cm x 250 cm / each

courtesy of the artist

53
 安格·卡伊发
Ange Kayifa
在当前冠状病毒大流行期间，我自己的精神状态是
一个麻烦。我被迫滞留在一个国家，与外界的一切
联系都被切断。我在当地的一家酒店进行隔离，不
允许离开房间，一日三餐都放在房间门口。对于本
来就有抑郁症病史的我来说，这样的隔离条件丝毫
没有缓解我的困难处境。我深陷抑郁症，每次当我
沉浸在深深的恐惧和不适中的时候，我总感觉自己
生活在已经历过的情境中，循环往复。我还被在同
一家酒店进行隔离三名男子骚扰……他们不停地在
很晚的时候打我酒店房间的座机，没完没了地说一
些不恰当的话。他们的冒犯和过失行为更加重了我
的精神错乱。每天深夜，我都因恐惧和精神创伤惊醒。

Trouble is the mental state I found myself in during

the current coronavirus pandemic. Stranded in a
country where I was cut off from all outside contact, I
was quarantined in a local hotel. I was not allowed to
leave my room; meals were left at our doorstep. Having
already a history of depression, the condition in which I
was lodged did not help my situation in any way. I was
sinking into depression; I was in deep fear, discomfort,
and I had the feeling of living in situations I had already
seen, it was repetitive. I was also harassed by three men 图片由时代艺术中心（柏林）惠允
image courtesy of Times Art Center Berlin
in quarantine in the same hotel… Late and repetitive
calls on the landline phone to my room for inappropriate
and insistent comments. Clumsiness and missteps
accentuated the confusion in me. The fear and trauma 《麻烦》 影像

2020
2 分 58 秒
woke me up in the middle of each night with a start. 由艺术家惠允

video
Trouble
2020

2 min 58 sec
courtesy of the artist

54 55
 张培力
Zhang Peili
《30 x 30》被普遍认为是中国第一件影像作品，作
品中张培力坐在地上，重复的将一块长、宽均为 30
厘米的镜子打碎，再将其粘回。影像于“黄山会议”
期间拍摄并展出。“黄山会议”汇聚了中国最具实
验精神艺术家和评论家，正是在这次会议上他们筹
备了 1989 年在中国美术馆（北京）进行的“中国现
代艺术展”。张培力不断重复的行为被局促的镜头
切割和局限，营造出一种时间和劳力耗费的氛围，
并令参与者意识到他们习以为常的职业惯例正是限
制他们走向先锋的桎梏。
文字来源“https://www.guggenheim.org/artwork/artist/zhang-peili”

Widely recognized as the first Chinese work of video art,

30 x 30 records Zhang sitting on the floor, repeatedly
breaking a 30-by-30 centimeter mirror, and gluing it
back together. The video was shot and shown during
the “Huangshan Conference”, in which China’s most
experimental artists and critics planned the show
“China/Avant-Garde” (1989) at the National Art Gallery
(now National Art Museum of China), Beijing. Zhang’s
repeated motions in a tightly cropped frame create a
sense of time and labor wasted, making the participants
aware of their own habituated professional routines that
doomed their avant-garde aspirations.

《
有声彩色影像
Excerpts from “https://www.guggenheim.org/artwork/artist/zhang-peili”.

1988
32 min 9 sec

30 X 30
由艺术家惠允

color video with sound

1988
30 X 30

32 min 9 sec
courtesy of the artist

56 57
 张培力
Zhang Peili
视频中，张培力坐在镜头面前，穿着一件条纹纽扣衫，
卡其色裤子，带着一副干净的聚乙烯手套，在用肥
皂清洗小盆里的一只活鸡。视频从艺术家腰部以上
开始拍摄，他给活鸡打上泡沫，对它进行彻底的清洗，
就连鸡翅膀下的部位和每一根羽毛之间的空隙都没
有遗漏。一开始，鸡在张培力手中抖动，十分抗拒
被清洗，但最终渐渐屈服，只偶尔拍打一下翅膀或
是踢出水花。张培力的动作中没有粗暴和焦急，也
不令人感觉这是一项对艺术家自身或是对鸡有放松
作用的有意义行为。本作品从长 150 分钟的原始视
频剪辑而来。作品采用一种稳定的节奏，不快也不慢，
使得艺术家的行为介乎于令人沉静和机械重复之间。

文字来源“Exploring Artist Zhang Peili’s Document on Hygiene No. 3 ”，

作者 朱筱蕤。

In this video, Zhang sits in front of a camera wearing

a striped button-down shirt, khakis, and a pair of clear

《（卫）字 号
polyethylene gloves, and washes a live chicken in a small 单频影像

1991
24 分钟 39 秒
bowl with a bar of soap. Filmed from the waist down, 由艺术家惠允

the artist lathers up the bird and thoroughly cleans it,

even washing underneath its wings and in between

3》
individual feathers. Initially, the chicken wriggles in
Zhang’s hands and resists being washed, but it eventually

Document on Hygiene No. 3

single-channel video

1991
submits, with the occasional flap and kick in the water. 24 min 39 sec
courtesy of the artist
There is no roughness or urgency in Zhang’s actions, nor
is there any sense that the bath is meant to be relaxing
or productive for either party. Edited down from a
150-minute recording, the video moves at a steady pace,
neither fast nor slow, framing the artist’s movements as
something between meditative and mechanical.

Excerpts from “Exploring Artist Zhang Peili’s Document on Hygiene No. 3”,
by X ZHU-NOWELL.

58 59
雷丽洁
Lei Lijie
《无声之间》讲述的是与社交恐惧症的斗争。作品
中没有语言，只用所见的图像、闪烁的光线和手势
来表现视频主人公饱受折磨的内心状况。主人公以
一种沉默的方式向观众求助：灯光的闪烁和眼睛的
眨动以摩尔斯密码的频率运动，从而发出“声音”。

Between Silence deals with the struggle of social

phobias—not using language, but images such as eyes,
flashlights, and gestures to convey the protagonist’s
anguished state of mind. In the video, the subject even
silently asks viewers for help, the flickering of lights
and the blinking of the eyes move with the frequency of
Morse code to make a “sound”.

《无声之间》
影像

2019
7分3秒
由艺术家惠允

video
Between Silence
2019
7 min 3 sec
courtesy of the artist

61
 女子天团 展 3.This pocket will be able to protect the information from any
NZTT Sewing Co-op X Display Distribute
我们改造了二手环保袋，每个袋子均为我们和展销
场成员收集，女子天团成员手工缝制并且独一无二， magnetic stripe card or ID card from being extracted or copied by
每个袋子增加了用防辐射布料缝制成能够阻挡信号 other electronic devices in the vicinity;
的暗袋，并携带着我们的信息，四处游历。 4.It can also block GPS tracking as well as the tapping of the
microphone in your mobile phone;
使用说明 5.It makes you unreachable. If you should receive an incoming call
X 销场

1. 把需要隔离的电子设备或磁卡放入金属色防辐射 when your phone is in the pocket, the caller will receive a message that
袋内； your number has no signal or is outside of service range;
2. 折叠或拉紧索带以确保开口闭合严实，防止信号 6.In order to ensure the proper functioning of the bag, it is best not to
从缝隙中漏出； wash it apply heavy friction upon the fabric.
3. 此口袋可以保护各种磁卡和身份证内的信息不被
电子设备远程盗取或复制；
4. 此口袋可以保护手机不被定位或被截取信号窃听；
5. 此口袋屏蔽信号，别人拨打你的手机时，你的状
态将为无法接通或不在服务区内；
6. 请不要刷洗或大力搓揉此口袋。

Members of NZTT Sewing Co-op has had a hand at

altering and reconstructing this series of secondhand
tote bags collected by us and members of Display
Distribute, making every Missing Persons Bag a
completely unique piece. Every bag is equipped with a
pocket made of RFID signal blocking fabric so that we
may travel with just a bit more security while carrying
about our personal information.

User Guide
1.Place the electronic items and credit/banking cards
you’d like to protect in the pocket made of metallic RFID
signal blocking fabric;
2.Fold close or draw tight the opening to ensure that it
can securely block any signals from entering or emitting
from the bag;

62 63
 《失踪人口袋》

信号隔离布料，热转印烫图，布料，棉线，丝带，塑料扣
2020

尺寸可变
由艺术家惠允

fabric, transprint, fabric, cotton thread, ribbons, plastic buckle

Missing Persons Bag
2020

dimensions variable
courtesy of the artists
 粘滞线 罗 Homemade” fosters the idea that design can enact positive change
Stickyline + Vanissa Law
自 2020 年 2 月，由香港设计大使创办的专案资助平
台及社群信言设计大使与众多合作单位一直携手准 in this challenging context. By inviting designers from both Hong
备一个社区平台，在减少我们与社会的距离下，与 Kong and beyond to channel their creativity and inspiration into
社群保持联系，并激发个人在群体中的力量，在家 unique homemade prototypes. Escapism is part of this initiative that
里或以家庭为背景进行批判性创作，并于 2020 年 9 addresses a pressing societal need, enabling designers and makers to
+ 颖纶

月推出由联合创办人兼执行总监姚嘉珊策划的“信 build a dialogue with one another and our surrounding communities.
言设计大使：因时‘制’宜”微型计划。“信言设 With the preview launch “DESIGN TRUST: Critically Homemade”,
计大使：因时‘制’宜”微型计划旨在疫情下拉近 as a prototype exhibition of 76 prototypes, created by 132 designers
大众的社交距离，让设计可以在这种充满挑战的环 and collectives working together, this micro-initiative has expanded,
境中为社区作出积极的改变。计划邀请香港及海外 showcasing the humbling power of the community to come together to
地区设计师将别具创意的构思变成在家中制作的原 support each other.
型作品，《脱离现实》作为这次计划其中一个作品
回应了当前社会需要，同时促进设计师和手艺人之
间的合作，及与广大社区的对话。“信言设计大使：
因时‘制’宜”原型初展集结 132 个活跃于香港及
国际间的设计师团队和成员，展出 76 件设计原型。
这个微型计划已经有机地成长并继续增长 , 展示了
当社群集结、每个人互相支持时可引发的力量。

In February 2020, Design Trust, a grant funding

and community platform established by the non-
profit registered charity Hong Kong Ambassadors of
Design, along with collaborators have been organically
preparing a new community platform to reduce

《脱离现实》
our social distance, with new collaborations and to
影像
inspire ourselves on the role of critical making within
2020
1分2秒
图片由艺术家和信言设计大使惠允
the home and the domestic landscape and launched 作品首展于“信言设计大使：因时‘制’宜”微型计划
“DESIGN TRUST: Critically Homemade” in September
2020, a micro-initiative conceptualized by Marisa Yiu
(Co-Founder / Executive Director of Design Trust). video
Escapism
2020

Created with a desire to reconnect and to reduce our 1 min 2 sec

image courtesy of the artists and Design Trust
social distancing “distance” during the COVID-19 the work first exhibited in the exhibition "DESIGN TRUST: Critically Homemade"

pandemic lockdown, “DESIGN TRUST: Critically

66 67
68 69
 草台班 In the spring of 2020, the coronavirus pandemic had just broken out
Grass Stage
2020 年春天，全球疫情刚开始爆发，而中国的已得
到基本控制。“草台班”又重新开始每周聚会，谈 globally while the domestic situation in China was already largely
论各种感触和周边发生的事情。刚开始时，面对当 under control. Grass Stage resumed its weekly meetings to discuss
时种种防疫的不安，大家去了郊外绿地中的一个人 various feelings in relation to current events. At the beginning, facing
工小岛。岛上四面环水，春花怒放。后来，他们把 the flood of anxiety stemming from the pandemic response at the
从那里开始的漫长对话，改写成一个三万多字的文 time, everyone in the group gathered on an artificial island within
本《蛤蜊岛》。它与薄伽丘的著名小说《十日谈》 the green fields and meadows of the countryside. The island itself was
同处在相近的时代和地域背景……然而，故事里又 circled by water on all sides, abound with spring blossoms furiously in
不乏古代与当代的各种时空穿越与凝望。遭遇挫折， bloom. Thereafter, they compiled and rewrote the long conversations
是否更有利于人探讨自己的作为和内心幽微？下半 initiated on the island into a text of more than 30,000 words titled The
年大家继续集体研读相关历史，又拓展了讨论和感 Geli Isle . It is set in a similar time and place as Giovanni Boccaccio's
触背后的纵深及维度。四季轮回，今年又在春天里， The Decameron. However, the stories are not without disparate time
时隔一年外面的疫情一波一波不见平复，我们如何 travels and entangled gazes between ancient and contemporary
与人、与时代和历史共处甚至共情？草台班人将那 periods. Is the encounter with setbacks and frustrations more
些故事以剧场方式逐步发展出一场表演。 conducive to the exploration of one’s own actions and inner secrets?
In the second half of 2020, the group continued to collectively research
那是一千多年前在佛罗伦萨郊外的蛤蜊岛上，“时间” and study pertinent histories, expanding the depths and dimensions
默默地移动身影— behind their discussions and sensitivities. The seasons have come
“这个情况我一般人不告诉，我就告诉你……” and gone, and spring is again here. It’s been one whole year, and the
“哇，这就是他们说的一千多年后才出现的数字化 pandemic outside China still has not subsided, swelling one wave
社会？哇呃，哇呃，数字化，怎么想得出来的。” of infection after another. How can we live with and, even more
“我一时忍不住，转过头跟她们说，保护好自己也 so, empathize across peoples, times, and histories? Grass Stage has
是在保卫社会。” gradually developed a performance of those stories through the art of
“普通人或许不一定很有思想，但也可以做出非常 theater.
英雄的事情。”
“当我被与这个世界隔开，跟它的联系越来越少， It was more than a thousand years ago on the Geli Isle outside of
感情也会越来越淡，而我的梦却越来越精彩，变有 Florence, when Time silently moved its silhouettes——
意思。” “I wouldn’t describe this situation to just any ordinary person. I’ve only
在草地上，在时间中，在人的面前，在历史的木屋边， told you about it …”
诺水莉亚、皮诺曹曹、乌鲁穆卢、菲丽娜·竺内尔、 “Wow, this is the very same digital society that they say will emerge in
苏菲亚玛妈、菲洛斯特拉图·旭非程、宙伊斯、孟伍 a thousand years? Wowzers, digitization, how did you come up with
尔芙、福莱尔、莱塔……她们有话要对你说。 that idea?”
“I couldn’t help myself for a moment. I turned to them and told them
that, by protecting themselves, they were also defending society.”

70 71
“Ordinary people may not lead much of an intellectual life, but they
can also do very heroic things.”
“When I am separated from this world, my connections with it are
fewer and fewer, and my feelings also become more and more diluted.
Yet, my dreams are imbued with more and more meaning and
excitement.”
In the grassy meadows, in midst of uncertain times, in the presence
of people, next to the wooden houses of history, Nosuria, Pinocchio,
Ulumuru, Fierina Jeannel, Sophia Mama, Philostrato Xufeicheng,
Zeus, Mengwoolf, Flair, Letha ...They all have something to tell you.

《蛤蜊岛》
表演及表演记录

2020
致谢艺术家
GELI Isle

performance and performance documentation

2020

courtesy of the artists

73
74 75
 黄小鹏
Huang Xiaopeng
长期以来，游行活动会使用带有颜色的横幅，比如
黑色或红色。在艺术作品《紫色是新的颜色》中，
黄小鹏将蓝色和红色这两种极具政治象征意义的色
彩相结合，创造出紫色这种“鲜艳”的颜色。他试
图引导参观者反思颜色的变化以及隐藏在它背后的
与当代政治相关的苦难、忧郁和不确定性。

The police have long used color-coded banners

accompanying demonstrations in the city, for instance in
black or red to warn of imminent use of force. In Purple
Is the New Color , Huang engages with this chromatic
“innovation” combining blue and red – two highly
symbolic, political colors – and invites viewers to reflect
on the color change and its coded message of anguish,
uncertainty, and melancholy vis-à-vis contemporary
politics.

《紫色是新的颜色》
旗帜

2020
130 厘米 x 90 厘米
​“畏无所畏”展览现场，2021，图片由时代艺术中心（柏林）惠允

Purple Is The New Color

flag

2020
130 cm x 90 cm
Installation view, "Fear no Fear", Times Art Center Berlin, 2021

76 77
Architects
建
筑
师
 迪埃·弗斯蒂诺

犬吠工作室
Conservation of the urban history and study on new urban collective living forms
Didier Fiúza Faustino
迪埃·弗斯蒂诺是一名建筑师和艺术家，他的作品通常探

Atelier Bow-Wow
犬吠工作室是位于东京的建筑师事务所，由塚本由晴和
讨身体和空间的关系。1995 年从建筑学专业毕业之后， 贝岛桃代于 1992 年创立。玉井洋一于 2015 年加入该事 in the expanding Pearl River Delta region has been O-OFFICE’s main design
focuses. O-office’s experimental regional practice has been recognized and featured

艺
他立足于艺术与建筑的交汇之处，发展出一种复合的艺 务所。他们的兴趣多样，从建筑设计到城市研究以及重
术方式，包括装置艺术和实验艺术。弗斯蒂诺的表现方 建公共空间，均基于被称为“行为学”的理论。他们在 internationally by top architectural medias, including The Architectural Review ,

建
Architectural Record , L’Architecture d’Aujourd’hui, CASABELLA, and Architectural
式包括视觉艺术以及多感官空间或建筑。他作品的显著 全球范围内实践该理论，并将其运用在建造房屋，公共
Journal (China).
特点是具有批判的视角，自由的使用符号，并能够为每 空间和设施，以及商业建筑中。他们出版了众多的书籍， O-office has also been awarded important architectural prizes, recently Gold
一个个体或者集体提供全新的体验。 例如《东京制造》（2001），《宠物建筑指南》（2001），

术
Winner of ARCASIA Awards for Architecture (2020) and the Architecture Award
2009 年，弗斯蒂诺创立并策划了关注于公共艺术的第一 以及《行为学》（2020），《共同性》（2014），《窗 of the 1st City for Humanity Award (China) in 2020. Other main awards include

筑
届波尔多双年展。2011 年以来，他开始任教于英国建筑 户和街道的谱系学》 （2014）以及《建筑民俗志》 （2017）等。 Highly Recommended Award in The Architectural Review New into Old awards
联盟学院。2015 年至 2016 年，他曾担任法国建筑与设 http://www.bow-wow.jp/ (2017) and nomination in BSI Swiss Architectural Award (2016). In 2015 O-office
计杂志《CREE》的主编。2018 年至 2019 年，弗斯蒂诺 was featured by Architectural Record as Design Vanguard practices. In 2020 O-office

家
的作品曾多次在古根海姆博物馆毕尔巴鄂馆、伦敦馆和 Atelier Bow-Wow is a Tokyo-based firm founded by was selected in the list of World’s 50 Best Architectural Firms by Domus.

师
柏林馆举办个展或参与群展，他同样参与了在德国克雷 Yoshiharu Tsukamoto and Momoyo Kaijima in 1992. Yoichi
费尔德举办的包豪斯 100 周年纪念展。 Tamai joined as partner in 2015. Their interest lies in diverse

何健翔
除此之外，他的作品曾还在法国、葡萄牙、日本和美国 fields ranging from architectural design to urban research
1972 年生于广东新会。1991 年至 2003 年间先后在广州华南理工大学和比利

He Jianxiang
and the reconstruction of commons, which are produced
等多国展出，并曾参与威尼斯双年展、台北双年展、横

Artists
based on the theory called “behaviorology”. The practice 时鲁汶大学学习建筑学，并且在国内和欧洲都有设计工作经历。2007 年后作
滨双年展、圣保罗双年展、伊斯坦布尔双年展和北京双 has designed and built houses, public spaces, facilities and 为源计划建筑师事务所的创始合伙人和主持建筑师至今。除了建筑设计实践

年展等多个国际双年展。他亦经常赴各大高校进行演讲
或参与国际学术会议。
Didier Fiúza Faustino is an architect and artist working on
the relationship between body and space.
He started his own practice at the crossroad of art and
architecture just after graduating in architecture in 1995.
He has been developing since then a multi-faceted approach,
Architects
commercial buildings across the world. They have published
extensively including books such as Made in Tokyo (2001) ,
Pet Architecture Guidebook (2001) , Behaviorology (2010) ,
Commonalities (2014) , Windowscape (2014) and Architectural
Ethnography (2017) .
http://www.bow-wow.jp/
以外，他经常客座于国内外建筑院校及受邀参加学术和研究项目，并在国内
外重要建筑期刊都有文章论著发表。
Born in Xinhui, Guangdong in 1972. He studied in architectural schools at SCUT
of Guangzhou and KU Leuven in Belgium, and gained work experience in both
countries from 1991-2003. He has been a founding pa rtner a nd Principal of
O-office Architects since 2007. Besides his design practice, He also tutors in design
schools in South China, and is often invited to lecture and seminar in domestic and

源计划
ranging from installation to experimentation, from visual art international academies.
to the creation of multi-sensorial spaces and buildings. His
O – Office Architects
源计划建筑师事务所 2007 年由何健翔和蒋滢创建于广
projects are characterized by their critical perspectives, their 州，以研究式的设计在高速成长与地域文化之间构建
freedom of codes and their ability to offer new experiences to 全新的空间话语。对珠江三角洲和大湾区城市历史和
the individual and collective body.
记忆的保护以及对新都市居住形态的研究是事务所近年

自由工作室
In 2009, Faustino founded and curated the first Bordeaux
的设计和研究重点。源计划独特的地域性实践获国内

Furii Studio
Biennial Evento dedicated to art in the public space. 自由工作室是一个新兴的工作室，他们关注实践和研究的边界，以及建筑和
He has been for two years the editor in chief of the French 外专业媒体广泛关注，作品和文章被收录于包括英国 城市化的连结。自由工作室的创立者，诺米·戈麦斯·洛博和迪耶戈·马丁·桑切
architecture and design magazine CREE (2015-2016) and is 《The Architecture Review》、 美 国《Architectural 斯，均毕业于马德里理工大学建筑学院，并取得东京工业大学博士学位。在
teaching at Architectural Association School of Architecture Record》、法国《L’Architecture d’Aujourd'hui》、 东京学习期间，他们开始在塚本由晴实验室研究与性别和生态相关的一系列
in London since 2011. 意大利《CASABELLA》中国《建筑学报》等顶级学术媒 问题。他们曾是日本多所高校的客座教授，而他们的作品也曾多次获得包括
In 2018 and 2019, Faustino’s works have been exhibited in 体及多本关于中国当代建筑研究和案例的国际出版物。 Europan 在内的国际奖项。自由工作室的实践旨在不断重塑设计理念中的基
several collective and solo shows, in Guggenheim Bilbao, 源计划作品多次获得国际和国内重要建筑和设计奖项， 本假设，展示这些假设的延迟性，并开创另一种现实。
London, Berlin, and for the 100th anniversary of the Bauhaus 其中包括 2020 年亚洲建筑师学会金奖、2020 年三联人
in Krefeld (Germany). https://furiistudio.com/
文 城 市 奖 建 筑 奖 唯 一 大 奖、 英 国《The Architecture
Exhibitions have been dedicated to his work in various
countries, including France, Portugal, Japan, and the USA. R e v i e w 》 N e w i n t o O l d 2 0 1 7 奖 项 （ H i gh l y Furii Studio is a young office that works at the boundaries between practice and
He has been invited as well to international biennials Recommended）和 2016 年瑞士 BSI 建筑奖提名等。 research, architecture and urbanism. Its founders, Noemí Gómez Lobo and Diego
(Venice, Tapei, Yokohama, Sao Paulo, Istanbul, Beijing, 2015 年获评为美国《Architectural Record》全球十大 Martín Sánchez, are architects from the School of Architecture of Madrid (ETSAM)
etc.) and frequently gives lectures at major universities and 先锋建筑事务所之一，2020 年源计划获权威建筑媒体意 and PhDs from the Tokyo Institute of Technology, where they have investigated
international institutions. 大利《Domus》杂志评选为 2020 年度全球 50 所最佳建 questions revolving around gender and ecology at the Yoshiharu Tsukamoto
筑设计事务所之一。 Laboratory. They have been visiting professors at several Japanese universities and
their practice has been awarded internationally in competitions such as Europan.
Their studio operates in the constant reframing of the assumptions embedded in
Established in 2007 by He Jianxiang and Jiang Ying,
design, revealing their latencies and creating alternative realities.
O-office Architects explores a new spatial paradigm between
https://furiistudio.com/
demands from hyper urban development and local cultures.

80 81
 徐程
草台班 “Staging Alterity”. He has participated in many international

Xu Cheng
生活在上海的声音艺术家，声音活动实践者与组织者。他涉足实验音乐、自
Grass Stage
草台班 2005 年春由赵川及合作者们于上海初创，通过每
周聚会研讨表演、剧场及社会议题，做富实验性的集体 residencies, co-creative projects as well as teaching. He has 由即兴、电子音乐等多个领域。于声音的本体论外，徐程也关注着声音与社
received numerous awards, including the United Daily News

艺
创作；多年来不拘一格地利用各种场地进行排演、交流， 会空间的相互关系与其相关行为与显现方式。
Literary Prize, and he has also published more than ten books
并策划“文化站”讲座系列和名为“拉练”的长途巡演等。
of fiction, essays, and art theory in China and abroad. Xu Cheng is a sound artist, sound event practitioner, and organizer living in
草台班鼓励普通人投身剧场，关注基层问题，强调剧场
与周围生活的积极关联，不断塑造出流动的公共空间， Shanghai. He is involved in various genres such as experimental music, freestyle
improvisation, and electronic music. In addition to the ontology of sound, Xu Cheng

术
催生思辨、讨论和试图超越的诗意想象。剧场作品包括
is also interested in the interrelationship between sound and social spaces and its
由不同生活形态的年轻人参与、关注当下青年生存状况

吴梦
related behaviors and manifestations.
的“草芥”系列（2018-2019）；关于底层、革命史和未

Wu Meng
艺术家、编导、演员及工作坊导师。创作涉及剧场、行
来讨论的“社会剧场三部曲”（2006-2016）：《世界工
为表演及纪录片等，作品围绕历史及个体生命样本间的
29 岁，目前在文化出版业工作。

ruojin
厂》、《小社会》和《狂人故事》等，已在国内外许多

家
连接和对话可能。作品曾受邀参与 “每个人的东湖”艺
地方呈现和演出。“人传人剧场”是他们自 2020 年初疫
术项目（武汉）、“向城市索取权力”（德国汉堡）、 roujin is 29 years old and currently works in the cultural publishing industry.
情时代以来一系列创作探索的新起点。
乌镇戏剧节、“他者的舞台”（上海民生现代美术馆、
Founded by Zhao Chuan and his collaborators in Shanghai 明当代美术馆）、“RAM HIGHLIGHT 2019：哨声响

周易
in the spring of 2005, Grass Stage is an experimental, creative 起前”（外滩美术馆）等。草台班的核心成员。
现在在上海当物理治疗师（Physiotherapist）。但因为 Physical（可译为：

collective that meets weekly to discuss performance, theater,
and social issues. The group has been using a variety of
venues for rehearsals and exchanges, as well as planning
the “Culture Outpost” lecture series and long-distance tours
called “field maneuvers”. Grass Stage encourages ordinary
citizens to participate in theater, focuses on grassroots issues,
and emphasizes the active connection between theater and its
peripheral life. It continually shapes mobile public spaces and
gives rise to discourse, discussion, and poetic imagination that
strive towards transcendence. Its theater works include the
series “Wild Seed” (2018-2019), which involve young people
of different existential situations and focuses on the survival
of youth today. Highlighting the underclass, revolutionary
histories, and future discussions, the “Social Theatre Trilogy”
(2006-2016): World Factory , Little Society, and Madmen’s
Issey
Artists
Wu Meng is an artist, choreographer, performer and
workshop instructor. Her works take on forms of theater,
performance, and documentary, and consider the possibility
of connections and dialogues between samples and models
excerpted from history and individual lives. Her works have
been invited to participate in “Everyone's East Lake” (Wuhan),
“Right to the City” (Hamburg, Germany), Wuzhen Theatre
Festival, “Staging Alterity" (Shanghai Minsheng Art Museum
and Ming Contemporary Art Museum), “RAM HIGHLIGHT
2019: Before the Whistle Blows” (Rockbund Art Museum), etc.
She is a core member of Grass Stage.
身体的、物质的）这个词根，我更喜欢把我的工作翻译成身体治疗师。城市
生活的诱惑拿走了我对身体的控制，想夺回自己身体的权利，尝试身体的玩
耍 / 实验。在青年空间居住、尝试探索共生的各种可能性；也在城市中漫游、
废墟中攀爬。
Issey currently works as a physiotherapist in Shanghai. However, because the root
word “physical” in “physiotherapy” ambiguously refers to both the bodily and the
material, she prefers to be called a body therapist. Feeling that the lure of city life
has taken away her control of her own body, she wishes to take back the rights to her
body by playing and experimenting with it. Living in spaces of youth, she attempts
to explore the various possibilities of symbiosis, roaming in the city and climbing
the ruins.

王鋆
Stories , has been presented and performed in many places
张若水

跨学科实践者，剧场、文学、音乐与社会发展人类学背景，围绕“人”与社

Wang Yun
in China and abroad. The “Person to Person Theater” marks
Zhang Ruoshui

剧场工作者，自由撰稿人。于 2017 年加入草台班，担任

a new starting point for the group’s subsequent series of 会的关系探索不同主题，性别、艺术人类学、发展研究、社会阶层和新宗教
剧场、展览及工作坊等制作助理，为女工、儿童提供戏
creative explorations since the beginnings of the pandemic 运动。目前在非政府组织从事社群工作。
剧教育。参与草台班剧场作品“草芥”系列（2017-2019）
era in early 2020.
集体创作及演出，及在乌镇戏剧节（2018）、上海外滩 Wang Yun is an interdisciplinary practitioner with backgrounds in theater,
美 术 馆（2019） 等 的 戏 剧 演 出。 文 学 作 品 散 见“ 人 间 literature, music, social development, and anthropology. His practice explores
theLivings”、“澎湃新闻”、“回响编辑部”、“字花”、 different themes surrounding the relationship between people and society, including
赵川

“尖椒部落”等。 issues of gender, art anthropology, development studies, social class, and new
religious movements. He currently works at an NGO that focuses on community
Zhao Chuan

六十年代生人。创作跨越剧场、写作及策划等，是 2005
年开始的民间戏剧团体草台班的共同创建者。他常年主 Zhang Ruoshui is a theater worker and freelance writer. work.
持草台班的创作和排演，并在上海策划“亚洲生动”、“他 She joined Grass Stage in 2017 as an assistant for theater,
exhibition, and workshop production, providing theater
者的舞台”等国际表演项目，参与许多国际驻地、联合
education for female workers and children. She has

张钊
创作项目及教学，曾获得联合文学小说新人奖等多种奖 participated in the collective creation and performance of 艺术创作者，毕业于西安美术学院，现纽约视觉艺术学院硕士在读。2020 年

项，已在海内外出版小说、随笔和艺术理论等十多种书籍。
Born in the 1960s, Zhao Chuan is a co-founder of the
theater group Grass Stage, which began in 2005. He leads
the performances and practices of Grass Stage, and has
initiated performance projects such as “Action Asia” and
Zhang Zhao
the theater series “Wild Seeds” (2017-2019), as well as theater 加入草台班剧场创作。
performances at the Wuzhen Theatre Festival (2018) and
the Rockbund Art Museum in Shanghai (2019). Her literary
Zhang Zhao is an artistic creator who graduated from the Xi'an Academy of Fine
works can be found on online platforms and blogs such as
Arts and is currently studying for his M.F.A. at the School of Visual Arts (NYC). He
The Livings , The Paper , Echo, JianJiao and in the literary
joined Grass Stage in 2020.
magazine Fleurs des lettres.

82 83
 Lili 毕业于香港岭南大学文化研究系，关注性别与劳动相关议题。她的博士论文 Xiaopeng” at Whitechapel Gallery, London (2011); “BE NATURAL, BE YOURSELF”
研究的是在上海生活和工作的年轻中产阶级女性。通过研究她们的日常生活， at FRAC, Nantes (2011); and “Farewell to Post-Colonialism” at The 3rd Guangzhou
她试图理解当生活与工作的界限越发模糊，具有较高文化资本和消费能力的 Triennial at Guangdong Museum of Art, Guangzhou (2008). He contributed a
年轻女性如何面对现今的工作文化以及如何处理生产与再生产的矛盾。除了 critical essay titled “Education as an Art Project” to Printed Projects 11 , published
for the 53rd Venice Biennale, in 2009.
学术文章，她也在自媒体上写作。

Lili graduated from the Department of Cultural Studies at Lingnan University

in Hong Kong, with emphasis on gender and labor-related issues. Her doctoral
dissertation focused on young middle-class women living and working in Shanghai.
By studying their daily lives, she tried to understand how young women with higher
cultural capital and consumptive power confront current work cultures and handle

安格·卡伊发
the contradictions of production and reproduction as the boundaries between life

Ange Kayifa
出生和居住在雅温得。
and work become increasingly blurred. In addition to academic articles, she also 对安格·卡伊发来说，艺术实践是她的精神和社会困境的一种解药，她也允许
writes on self-publishing platforms.
我们参与了这个实践过程。作为一个小男孩的母亲和致力于对抗女性暴力的
多媒体艺术家，卡伊发在她的实践中对舞蹈、行为展演、摄影和装置艺术进
行了探索。
2014 年，安格·卡伊发在雅温得的法国中心图书馆举办了名为“黑屋”的展览。
2018 年，她参加了刚果当代艺术国际会议，并获得了萨姆工作室的驻留奖。
黄小鹏

2019 年，她参与了位于库马西的“perfocraz 国际艺术家居住地”驻留项目，

Huang Xiaopeng

1960 – 2020, 出生于山西。

1992 年毕业于英国伦敦大学斯莱德美术学院研究生院，后任华南师范大学美 并在该地的法国联盟学院进行了演出。
术学院教授及香港浸会大学大学院士。黄小鹏为广州黄边站（当代艺术研究
Born and residing in Yaoundé.
中心）创办人，2003 至 2012 年出任广州美术学院第五工作室主任。其录像
Ange Kayifa’s art practice constitutes an antidote to her mental and social
和公共装置作品主要探讨现代化语境下文化复制 – 转换过程中出现的“误译” difficulties, in which she lets us participate. As a mother of a little boy and
问题，研究我们何以在“错位”的处境下诠释他者，以及这种想象与全球化 committed to fighting violence against women, the multimedia artist explores dance
的困境有何关系。作品亦尝试把语言和日常图像之间的关系推到极端，探索 and performance, as well as photography and installation art in her practice.
意义的边界，并质疑日常经验的“正确性”。近年展览包括“时代异托邦三 In 2014, Ange Kayifa presented Casa Negra at the library of the French Institute
部曲之 III——从不扔东西的人” （广东时代美术馆，2017）、 “影像珠三角” （伦 of Yaoundé. She participated in the International Meeting of Contemporary Art
敦，英国电影学会，2016）、“土尾世界——抵抗的转喻和中华国家想象”（香 in Congo and received the residence prize in 2018. In 2019, she was part of pIAR
港，Para Site，2015）、
“乔治·安德里欧塔、卡洛·贾拉·图菲克、黄小鹏” （伦敦， (perfocraZe International Artist Residency) in Kumasi, where she also performed at
白教堂美术馆，2011）、“顺其自然”（南特，卢瓦河地区当代艺术基金会， the French Alliance Institute of Kumasi.
2011）、“跟后殖民说再见——第三届广州三年展”（广东美术馆，2008）等。
2009 年为第 53 届威尼斯双年展参展刊物《Printed Projects 11》撰写文章《作
为艺术计划的教育》。

雷丽洁
Born in Shanxi, 1960 – 2020
Huang Xiaopeng obtained his MA from the Slade School of Fine Art of the

Lei Lijie
1998 年生于南宁，目前工作和生活在深圳。
University College London in 1992. He was professor at South China Normal 雷丽洁 2020 年毕业于华南师范大学美术学院实验艺术系。她的作品关注空间
University and a university fellow at Hong Kong Baptist University. He founded the 与情感之间的联系，以及不同空间条件与个体之间的关系。
HB Station (Contemporary Art Research Centre) in Guangzhou and was the head 雷丽洁的作品曾在华南师范大学 2018 年展览“潜行”，以及 2019 年“实验
of the fifth studio of Guangzhou Academy of Fine Arts between 2003 and 2012. His
艺术交流展”中展出。
video and public installation works explore the problem of (mis)translation arising
from cultural copy-transformation in the course of modernization; they also look
into how we project others in (dis)location, and how such projection relates to the Born in 1998 in Nanning; currently lives and works in Shenzhen.
dilemma of globalization. In addition, his works push the relationship between Lei Lijie graduated from the experimental art class of the Academy of Fine Arts
language and everyday images to its limits to challenge the boundaries of meanings of South China Normal University, Guangzhou, in 2020. Her work deals with the
and, ultimately, the ‘correctness’ of our daily experiences. Huang exhibitions include connection between space and emotions, and the relationship to oneself under
“The Man Who Never Threw Anything Away at Times Museum”, Guangzhou (2017); varying spatial conditions.
“Pulse of the Pearl River Delta”, presented by BFI South Bank, London (2016); “A Lei’s work has been shown at the 2018 South China Normal University College
Hundred Years of Shame—Songs of Resistance and Scenarios for Chinese Nations” Student “Sneak” Exhibition, and at the 2019 “South China Normal University
at Para Site, Hong Kong (2015); “Giorgio Andreotta Calo, Jalal Toufic, Huang Experimental Art Exchange Exhibition”.

84 85
 女子天团
罗颖纶

NZTT Sewing Co-op

我们因创作、交流和互助聚集在一起，探索创造力的柔软或硬核，保持软女
Vanissa Law
作曲家 / 音乐人 / 媒体艺术家。
罗颖纶是前富布赖特学者，在香港浸会大学获得音乐博士学位。她现为香港 和硬女并肩而行。2017 年成团至今，现成员有嘉璐、Bubu 和 Money。我们
多所大学的兼职讲师，教授多种音乐相关科目，其中包括电声创作及音乐科技。 在缝纫中对话、陪伴和互助，每周末为缝纫机开放日，开放给所有人来使用
缝纫机和相聚。我们也意在创造一个互助社区。
Composer/Musician/Media Artist
Vanissa Law is a former Fulbright Scholar, and obtained her PhD in music from It founded upon mutual aid, creation and communication, exploring both the soft
the Hong Kong Baptist University. She is currently a part-time lecturer at several and the hard cores of practice, and – with our shoulders side by side – keeping both
universities in Hong Kong, teaching va rious music rela ted subjects including the hardcore and flexibility. Formed a group since 2017, now members are Bubu,
electroacoustic composition and music technology. Jialu and Money. At the same time try to build a mutual help community through
sewing and events. We held Sewing Machine Open Day every weekend, our sewing
machine will open for anyone to use.

山口泰
Yasushi Yamaguchi
山口泰（日本，1965）是一名录音师和声音艺术家。他于东京电气大学和旧
粘滞线

金山州立大学学习声音工程，并在毕业后加入日本 JVC 工作室。1997 年，他

Stickyline

粘滞线由梁子程和黎意雄于 2011 年共同创立，创作二人组专注于研究纸的工

程和结构发展，通过解构和重构将二维平面转化为三维形式。利用折迭和折痕， 搬到纽约，并建立了自己的独立工作室——“梵高的耳朵工作室”。 “911 事件”
他们以独特的形式创造艺术和设计，如装置艺术、雕塑、舞台设计、橱窗展示等。 后，他返回日本，并将自己的录制工作室迁入拥有两百年历史的药王寺内。
此后他作为声音艺术家，以“monk beat”为名发行了 10 张专辑。他最近的
2013 至 2014 年间，粘滞线参与了 2013 年柏林国际设计节和 2014 年米兰设 一张专辑，《自然的宁静振动》聚焦于记录自然环境中丰富的声音。这张专
计周。与亨利克·维斯科夫、拉夫·劳伦、梅赛德斯奔驰、彪马、保鲨、LOMO 辑大获好评，而山口泰也同时在日本国内外举办了多场名为“宁静振动”的
相机和纪梵希等品牌合作。粘滞线是 2016 年信言设计大使 * 种籽资助计划成 音乐赏析会。
功申请人。他们也获得过众多新兴设计奖项。 http://monkbeat.work/

Yasushi Yamaguchi (Japan, 1965) is a recording engineer and sound artist. He

* 于 2007 年创立的慈善机构香港设计大使于 2014 年成立信言设计大使，作
为专案资助平台。 信言设计大使提供资助并协助成功申请人在香港和大湾区
发展设计专业和研究内容。信言设计大使旨在推动及资助具创意和新思维的
设计研究方案，合作设计领域包括但不限于平面视觉、媒体及建筑空间。
Stickyline was founded in 2011 by Mic Leong & Soilworm Lai. Focusing on paper
engineering and structure development, the creative duo has been transforming
two-dimensional planes into three- dimensional forms through deconstruction and
reconstruction. By folding and creasing, they have created art and design in its own
form as installation art, sculptures, stage designs, window displays, etc.
In 2013-14, Stickyline participated in the International Design Festival Berlin 2013
studied acoustic engineering at Tokyo Denki University and San Francisco State
University, and began his career at JVC Studios in Japan. In 1997 he moved to New
York and established independently Van Gogh’s Ear Studio. However, after the
9/11 attacks, he returned to Japan and based his recording studio in the 200-year-
old Yakuoji Temple, releasing 10 albums under the name of “monk beat” as a sound
artist. Recently, his album Peace Vibrations By Nature , focusing on field recording
in a rich natural environment, has gained popularity, and he has held music
appreciation events in Japan and abroad called Peace Vibration.
http://monkbeat.work/

展销场
and exhibited in Milan Design Week 2014. Collaborations with brands include

Display Distribute
Henrik Vibskov, Ralph Lauren, Mercedes-Benz, Puma, Paul and Shark, Lomography 集主题调研、分销服务、不时当作展览空间、忽而当作商店等，集多重身份
and Givenchy. Stickyline was awarded Design Trust Seed Grantee 2016. They have 于一身的“展销场”，可谓香港九龙区中的一朵奇葩。从 2015 年开始，它以
received various emerging design awards. “低端全球化”延蔓到各种海盗网络和文化沿岸。展销场最近的活动包括：
由艺术家运营的“后勤”慢递服务；诗歌研究及文档整理——“山寨歌词”；
*Design Trust was established in 2014 by Hong Kong Ambassadors of Design, 目录订阅读者文摘式出版物—《目录》，以及隐藏的女性主义叙事·漫游电台—
a registered charity in Hong Kong since 2007, as a grant funding platform and “郑氏海盗电台”。
community. Design Trust supports creative projects that develop expertise, build
research initiatives and content related to Hong Kong and the Greater Bay Area.
Display Distribute is a thematic inquiry, distribution service, now and again
Working across a multiplicity of design disciplines from graphics, media, and
exhibition space and sometimes shop founded in Kowloon, 2015. Seeping via
architecture to the built environment, Design Trust aims to actively accelerate
the capricious circulation patterns of low-end globalization into other subaltern
creative research, design and development of meaningful projects that advocate for
networks and grammars, recent activities include the experimental infrastructure
the positive role of design.
LIGHT LOGISTICS, poetic research and archival unit “Shanzhai Lyric”, the readers’
digest publication CATALOGUE and a peripatetic radio programme of hidden
feminist narratives known as “Widow Radio Ching”.

86 87
 张培力
Zhang Peili
张培力 1957 年出生于中国浙江省杭州市，是中国当代艺术重要的艺术家，也
是国际上重要的影像艺术家。张培力于 1984 年取得中国美术学院（浙江杭州）
油画系硕士学位，并曾参与中国第一次当代艺术运动“85 新潮运动”。他的
作品曾参展艺术史上著名的“中国现代艺术展”，该展览于 1989 年在国家博
物馆展出。

作为新媒体的先锋践行者，张培力于 20 世纪 80 年代和 90 年代开始实验影

像与影像装置艺术，并在 2000 年开始探索数字影像以及沉浸式多媒体装置艺
术。他早期的影像作品关注不断重复的，具体而又无用的行为——清洗一只鸡，
打碎和修复一面镜子，或是抓挠裸露的皮肤——这些行为在特写镜头和构图
的烘托下显得十分怪异。张培力是中国观念艺术的早期倡导者，使社会表征
系统、尤其是语言和意义不断强化的意识形态和方法论，正是张培力作品所
评论的对象。他的视频作品也讨论时间，这些作品中的刻板无聊、以序列结
构使用媒介的方式，记录和彰显时间的延续是存在最基本的因素。

B. 1957, HANGZHOU, ZHEJIANG PROVINCE, CHINA

Born in 1957 in Hangzhou, Zhejiang Province, China, Zhang Peili is a pivotal artist
in Chinese contemporary art and a critical figure in video art worldwide. Zhang
received an MFA in oil painting from Zhejiang Academy of Fine Arts (now China
Academy of Art), Hangzhou, in 1984, and was affiliated with the “’85 New Wave
movement”, showing in the historic Chinese avant-garde exhibition at the National
Art Gallery of China, Beijing, in 1989.
A pioneer of new media, Zhang experimented with video and video installation
in the late 1980s and 1990s and has explored digital formats and immersive
multimedia installations since the early 2000s. His early videos focus on the
repetition of specific, often futile actions—washing a chicken, breaking and
repairing a mirror, scratching exposed flesh—which are rendered bizarre through
extreme close-up shots and framing. An early proponent of conceptual art in
China, he has grounded his work in a critique of the ideology and methodology
that perpetuate systems of social representation, especially language and meaning.
Zhang’s video works are also about time; their deadpan banality and serial structure
use the medium to both record and evince durational time as the most basic fact of
existence.

88
1. 迪埃·弗斯蒂诺，《希望之物》 8. 张培力，《30 X 30》
Didier Fiúza Faustino, Hopeful Object Zhang Peili, 30 X 30

2. 迪埃·弗斯蒂诺，《力量之物》 9. 张培力，《（卫）字 3 号》
Didier Fiúza Faustino, Powerful Object Zhang Peili, Document on Hygiene No. 3

3. 迪埃·弗斯蒂诺，《关怀之物》 10. 雷丽洁，《无声之间》

Didier Fiúza Faustino, Careful Object Lei Lijie, Between Silence

4. 犬吠工作室 + 自由工作室 + 山口泰，《隔离桌》 11. 女子天团 × 展销场，《失踪人口袋》

Atelier Bow-Wow + Furii Studio + Yasushi Yamaguchi, DistanTable NZTT Sewing Co-op X Display Distribute, Missing Persons Bag

5. 源计划，《迷宫》 12. 粘滞线 + 罗颖纶，《脱离现实》

O-office Architects, Maze Stickyline + Vanissa Law, Escapism

6. 源计划，《得了塔》 13. 草台班，《蛤蜊岛》

O-office Architects, Delta Grass Stage, GELI Isle

7. 安格·卡伊发，《麻烦》 14. 黄小鹏，《紫色是新的颜色》

Ange Kayifa, Trouble Huang Xiaopeng, Purple Is The New Color
 公共项目 invite ‘wallbreakers’ from different fields and backgrounds to provide different
Public Program
展览内外
广东时代美术馆公共项目部以“打开白盒子”为行动理念，策划各类从每个 textures for each concentrated substrate and invite audience to experience the
展览延伸生长的学习与体验项目。包括艺式浓缩计划、失眠美术馆、艺术家 process of production and share nutrients. We encourage all participants to engage
工作坊、外拓讲座、在线学习平台等，通过跨界合作、知识共享、诠释实践， in dialogue and the re-production of the exhibition in the context of their knowledge
为不同群体的观众提供更多观展角度与体验方式。 and experience.

艺式浓缩计划 Guided Dialogues

展览如同美术馆为观众准备的一份浓缩基底，从宏大话题到细致感受，都浓 Dates: July 17th - August 29th, 2021. Every Saturday & Sunday
缩在策展人、艺术家以及丰富多元的艺术观念和创作手法的合奏之中。如果 Time: 15:00
观众把自己的感受、想象、洞见注入其中，便能碰撞出更具探索性的解读， In the digital age, we appreciate every opportunity for people to meet and
从而让这份浓缩基底释放更多风味和层次。 communicate face-to-face. Different from the omnipotent online world, Guided
Dialogues uses information exchange and confusion of limited knowledge to
“艺式浓缩计划”围绕展览内外发起深度体验与互动。在每次展览中，我们 stimulate learning instincts and create encounters with audiences. This is not only
邀请不同领域和背景的“破壁者”，为每份浓缩基底提供不同质地的激活方式， a platform to understand exhibitions and works, but also a starting point for us to
更邀请观众体验生产过程，共享养分。我们鼓励所有参与者结合自身的知识 deepen our mutual-understanding and make progress together.
背景和经验见解进行对话，共同对展览进行再生产。
T.I.M.E.S. pARTicle
人工对话 If you are curious about the behind-the-scenes of our exhibitions and events, join
日期：2021. 07.17 – 2021. 08. 29, 逢周六、日 our volunteer team and become a pARTicle of Guangdong Times Museum!
时间：15:00 开始
数字时代，我们更珍惜每一次人与人相遇、面对面交流的机会。相比全知全
能的网络世界，真实可感甚至存有漏洞的“人工对话”，以信息的交换，有
限之知的困惑，激发学习的本能，创造艺分子与观众的相遇。这不仅是你了
解展览和作品的平台，更是我们与你加深认识、共同进步的起点。

艺分子
如果除了我们的展览和活动之外，你强大的好奇心还无法得到满足，那就来
参与和支援我们的台前幕后，欢迎你成为广东时代美术馆的“艺分子”！

Open the Box

Guangdong Times Museum’s Public Programs Department uses “Open the White
Box” as a method to organize various experience-based learning programs for
each exhibition. Our programs include ArtXpresso, Museum Sleepover, artist
workshops, themed lectures, guided tours and an online learning platform. Through
crossdisciplinarity collaboration, sharing resources and methods of interpretation,
we aim to provide audiences with approaches in interpreting exhibitions and
enhancing their experiences.

ArtXpresso
An exhibition is like a cup of espresso. Big topics and subtle feelings are
concentrated in the symphony made by curators, artists, diverse art concepts
and creative techniques. Similar to the multiple layers and flavors of espresso, we
welcome audiences to inject their feelings, imagination and insight into ArtXpresso
to evoke exploratory interpretation.

ArtXpresso initiates in-depth experiences and interactions. In each exhibition, we

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《无用之用》 Uselessness as Usage 特别感谢以下机构及个人对本项目的支持：
2021.7.17 - 2021.8.29 2021.7.17 - 2021.8.29 皮力、谭雪凝、希蓓、柏林时代艺术中心
广东时代美术馆 Guangdong Times Museum 如无特别说明，作品陈述均由艺术家 / 建筑师本人提供，图片均由艺术家惠允。
保留所有权利，未经各版权所有者：广东时代美术馆、艺术家和作者的书面许可，不得以任何方式复制或传播本出版物
“无用之用”展览工作团队 Uselessness as Usage Exhibition Team 的任何部分。
主策展人：侯瀚如 Chief Curator: Hou Hanru
副策展人：梁健华、周政 Associate Curators: Liang Jianhua, Zhou Zheng P21 图片来源：
展陈主管：梁健华、彭铭钧 Installation Managers: Liang Jianhua, Peng Mingjun https://www.schatzalp.ch/en/htl/history/
展览助理：邱奕枳、宗晓 Exhibition Assistants: Qiu Yizhi, Zong Xiao https://www.schatzalp.ch/de/hotel/
平面设计：菠萝核 Graphic Design: BOLOHO https://twitter.com/Singlehandedly_/status/1217786490945777666/photo/1

场刊工作团队 Publication Team 二零二一年六月 中国

主编：侯瀚如 Chief Editor: Hou Hanru
执行编辑：蔡俏凌、梁健华、周政 Assistant Editors: Cai Qiaoling, Liang Jianhua, Zhou Zheng
平面设计：菠萝核 Design: BOLOHO
翻译：尹冬婷、钟玥妮、宗晓 We would like to extend our gratitude to the following institutions and individuals for their support of the exhibition:
Translation: Yin Dongting, Zhong Yueni, Zong Xiao
校对：蔡俏凌、侯瀚如、邱奕枳、周政、宗晓 Pi Li, Isabella Tam, Bei Xi, Time Art Centre Berlin.
Proofreaders: Cai Qiaoling, Hou Hanru, Qiu Yizhi, Zhou Zheng,
Except for the texts where the author is indicated, the artwork descriptions are written/provided by the artist. Unless otherwise
Zong Xiao
时代美术馆团队 specified, all images courtesy of the artist.
馆长：赵趄 All right reserved. No part of this publication may be reproduced or transmitted in any manner without permission in writing
Times Museum Team
策展与研究部 from each copyright holder: Times Museum, the artists and the authors.
Director: Zhao Qie
学术副馆长：蔡影茜 Curatorial and Research Department
展览制作总监：梁健华 P21 image resource：
Artistic Deputy Director: Nikita Yingqian Cai
副策展人：谭悦 https://www.schatzalp.ch/en/htl/history/
Exhibition Supervisor: Liang Jianhua
助理策展人：蔡俏凌 https://www.schatzalp.ch/de/hotel/
Associate Curator: Tan Yue
制作技术主任：彭铭钧 https://twitter.com/Singlehandedly_/status/1217786490945777666/photo/1
Assistant Curator: Cai Qiaoling
公共项目部 Exhibition Technical Manager: Peng Mingjun
首席策展人：刘阳 Printed in June, 2021 in China
Public Programs Department
副策展人：刘宣妤 Chief Curator: Luya Yang Liu
公共服务助理：刘亦果、黄小文、龙凤萍 Associate Curator: Crystal Liu
媒介实验室 Public Service Assistant: Liu Yiguo, Sylvia Wong,
首席策展人：吴建儒 Phoenix Long
多媒体运营官：周育贤 Media Lab
副策展人：郭芸 Chief Curator: Wu Jianru
社区实验室 Social Media Officer: Zhou Yuxian
首席策展人：张涵露 Associate Curator: Guo Yun
运营管理部 Social Practice Lab
运营总监：刘茜 Chief Curator: Zhang Hanlu
商业项目总监：余洁施 Operation Management Department
运营助理：蔡东秀 Head of Operations Management Department: Liu Qian
艺术商店店长：陈铭聪 Director of Commercial Projects: Yu Jieshi
艺术商店运营助理：张盼 Operating Assistant: Cai Dongxiu
战略发展部 Times Store Manager: Chen Mingcong
副馆长：子静 Times Store Operating Assistant: Zhang Pan
发展专员：张霁雯 Strategy and Development Department
Deputy Director: Zi Jing
Development Specialist: Zhang Jiwen

主办机构：广东时代美术馆 特别鸣谢：时代中国
Organizer: Guangdong Times Museum Special Thanks to Times China
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