ANDREAS GURSKY 㸝䗞捘❏倛v〢晋倛㛇
BASQUIAT: BOOM FOR REAL 䊼倛㤇暵溫姻涸籖囘
VINYL FACTORY: HUB OF CREATIVE COLLABORATION 랱芢ⶽ䠑㣅䊨㜥
DIGITAL ART: A META-MORDEN VIEW 侷㶶谀遮⯋植➿鋕ꅿ
START FROM ZERO: PINGYAO INTERNATIONAL FILM FESTIVAL 䖰ꨪⴀ涮䎂麵㕜ꥸꨵ䕧㾝
SOUK, DERIVATIVES, SIMULATION: THE WORLD CREATED IN ART 䋑㜥ծ遥欰ծ亻⫸谀遮䨾䒊圓涸⚆歲
ISSUE 16, 2017 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100
NEVER STOP MAKING GOODIDEAS BETTER XY COLLECTIVE STUDIO / LONDON BRANDING DESIGN w w w. x y c o l l e c t i v e . c o m
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ISSUE 16, 2017
ANDREAS GURSKY 㸝䗞捘❏倛v〢晋倛㛇
BASQUIAT: BOOM FOR REAL 䊼倛㤇暵溫姻涸籖囘
VINYL FACTORY: HUB OF CREATIVE COLLABORATION 랱芢ⶽ䠑㣅䊨㜥
DIGITAL ART: A META-MORDEN VIEW 侷㶶谀遮⯋植➿鋕ꅿ
START FROM ZERO: PINGYAO INTERNATIONAL FILM FESTIVAL 䖰ꨪⴀ涮䎂麵㕜ꥸꨵ䕧㾝
SOUK, DERIVATIVES, SIMULATION: THE WORLD CREATED IN ART 䋑㜥ծ遥欰ծ亻⫸谀遮䨾䒊圓涸⚆歲
ISSUE 16, 2017 INTERNATIONAL EDITION €15 / £10 / $17.50 / ¥ 100
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THIS MAGAZINE LOOKS AMAZING #SINCE CREATIVE
Innovative design always since creative. | hello@sincecreative.com
EDITOR’S NOTE âšşçŽĄăş•é“ƒ
In a sense, the history of humanity is a history of technology. Presumably, early humans had begun to take the
path unparalleled by other species the moment they learned to set a bonďŹ re. With the unceasing upgrading of technologies, human life has been transforming all the time.
In the wake of internal combustion engine and nuclear power, digital technology and network communication technology have the most disruptive power in modern times. They fundamentally change the way we relate
to life and the world, and consequently has thoroughly altered how we view ourselves as well as the world.
The emergence and popularization of new words like computer, mobile phone, Internet, Bitcoin and App not only make our life easier, but also transform everything around us, and art is no exception. In this issue, we bring together the digitalization trend in various art circles, followed by an exploration of how digital revolution plays a role in British art scenes through an investigation into the formulation and presentation of art as well as academic discussions and artists arguments about digital art. Hopefully this will reveal an art world of 0s and 1s to you.
âžƒę˛łćś¸ćśŽăž?〡厼ç??ä ‘çş?â™łâ˘ľé“žă˝ ĺƒ˝â™§éżˆçŒ°äŞŽćśŽăž?ă€ˇď˜šâ›łé?Şä–°âž˛ă¨Ľâžƒç—§â™§ĺŚ„⟎鼹ç?ŒćŠĄé˝Ąâ™§âľ ď˜šâ¤‘éŠŽâ™łâœŤâžƒâ›“ä¨žâ&#x;ƒć?€âžƒćś¸ 莅杞♜㠚朸朎ăž?é¨&#x;ä–œď˜ˇâ śęŚ‘čĄ˝âžƒę˛łä¨žäą?äłŁćś¸çŒ°äŞŽćś¸â™śĺ€ŹâźŽç§šď˜šâžƒę˛łćś¸ćŹ°ĺ´žâ›łă–ˆćśŽćŹ°čĄ˝çźşăŁ”éŠźă–’ćś¸éšśâť‹ď˜ˇ
ă–ˆâ°‰ć•Žĺ Ľă„¤ĺ‘?č…‹â›“ä–•ď˜šäž¸ăśśçŒ°äŞŽă„¤çŹŞçŞ„é¸’éŽ?äŞŽé Żćś¸ćśŽăž?ĺƒ˝éľœâžżĺ‰“â°¨ĺ‰¤ę˛ŽéŠźäš?ćś¸çŒ°äŞŽä§ĺ?“âœŤď˜šă¸?ä–°ĺ‰“ĺš€ăžľĺŚ„ä˝–éšśâœŤä§ŽâŚ› 莅揰崞ㄤ⚆ć˛ćś¸ęĄ â¤šď˜šâžƒâŚ›ćş?ä–Šč?ˆé¨ă„¤âš†ć˛ćś¸ĺ€°ä’â›łćśŽćŹ°âœŤä—Łä? ćś¸ä˝–éšśď˜šę¨śčˆĄď˜śäŠ›ĺ Ľď˜śâœ˝č€˘çŹŞď˜śĺŤ˛ćšśä?¤ď˜ś"11瘞瘞ă ?鑂朸 â´€ć¤?ă„¤ĺ…œâżťâ™śâŤŚâŤŚĺƒ˝é›Šä§ŽâŚ›ćś¸ćŹ°ĺ´žéšśä–¤ĺˆżâ¸ˆé°‹ë…źâ¤‘ä°Śď˜šâ›łă šĺ„˜ę˛ŽéŠźčĄ˝ä§ŽâŚ›ăƒ°éťŠćś¸â™§â´—ď˜šč° é ŻćŽšć?â›łâ™śâ˘żă˘Ťď˜ˇă–ˆé¸?ĺŠ?꧚é’&#x;
ćŽšâšĽď˜šä§ŽâŚ›ăź&#x;ć?€ăŁ?ăšťäŒ&#x;⢾♧猺⴪ⴀć¤?ă–ˆč° é Żęą†ăš–âšĽćś¸ďšłäž¸ăśśâť‹ďš´ĺ€žâš›ă ˘ď˜šä–°č° é Żćś¸çŠ‰çą˝ä•Žä’ď˜śăž?çˆšĺ€°ä’ď˜śăˇ¸é ŻäąłéŽŁâ&#x;ƒâżťč° é ŻăšťăźŠäž¸ç„şč° é Żćś¸ć˜°é”¸âšĽâ˘ľâ™§ç“šäž¸ăśśâť‹ęŹ ă„?ĺƒ˝ăĽśâĄŚă–ˆč–Šă•œč° é Żęą†ăš–âšĽćśŽäł¸âĄ˛ćŹ˝ćś¸ď˜šăž?ć¤?ꨍ莅♧⛓ę&#x;Śćś¸č° é Żâš†ć˛ď˜ˇ
)"33: -*6 ⡠畚兑
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Can Graphic Design Save Your Life?
平面設計可以拯救你的 生命 ？ Advertising pamphlet for Sterosan, Geigy, c. 1960. Courtesy - Display, Graphic Design Collection (thisisdisplay.org)
The first major exhibition exploring the relationship between graphic design
and health opens at Wellcome Collection in September 2017. Comprising some 200 objects including hardhitting posters, flashing pharmacy signs, and digital
teaching aids, Can Graphic Design Save Your Life? considers the role of graphic
design in constructing and communicating healthcare messages around the world and shows how graphic design has been used to persuade, to inform and to empower.
The exhibition considers the persuasive strategies employed in shaping public perceptions around smoking, featuring luxuriant advertising campaigns from the 1980s. It also reveals the imaginative educational approaches taken to instruct us about our bodies, from 16th century anatomical pop-up books
to 21st century apps, through to comic books advocating safe sex. The role
that design plays in informing and orientating people in medicalised spaces is also explored. These include the use of brightly coloured design schemes in children s wards to transform the hospital experience and improve
patient wellbeing in settings traditionally considered to be intimidating and unpleasant.
痧♧⦐䱳鎣䎂鏤鎙莅⨴䐁⛓ꡠ⤚涸㣐㘗㾝錒 շ䎂鏤鎙〳⟃䭑佹⡹涸欰ㄐ㌨ո 㼟倴 䎃 剢㖈䟃䐁佐询긭䍌鑪㾝錒꧌✫⺫䭍䲃鴀慨捙涸嵳㜡Ꟑ旪涸谔䏅垦 钟ㄤ侸㶶⻋涸來㷸㐼勞㖈Ⰹ鵜 ⟝暟ㅷ㾝植✫䎂鏤鎙㖈⚆歲ぐ㖒圓䒊ㄤ⫄久遺 欰⥃⨴⥌䜂倰涸⡲欽⟃⿻㸐㥶⡦鄄欽倴铞剪㹒⫄ㄤ颭奚
鸒麕㔐곃 ⚆私 䎃➿⟃⢵鞮㺢涸䑞デ㹒⫄崞⹛鸏⦐㾝錒鎣锸✫齡❉捀䒸㼬Ⱇ滞㼩 摳涸錚䙂罜䱰欽涸⺘铞瘼殜鑪㾝錒鼩㼟㾝ⴀ㢵珏㺢剤䟝⫹⸂涸來肬倰䒭䖰 ⚆ 私涸鍑ⶆ用넓剅ⵌ ⚆私涸䥰欽鮿⟝ⱄⵌ⦸㼬㸞䚍遤捀涸恠殥剅湡涸僽來㼬➃⦛
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The exhibition covers corporate identity in the
Advertising pamphlet for Medomina, Geigy, c. 1960. Courtesy - Display, Graphic Design Collection (thisisdisplay.org)
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pharmaceutical industry, and considers how graphic
designers deliver clear healthcare instructions to consumers through carefully designed colour coding systems, written instructions and pill packaging. The front-line response in
battling epidemics continues to be crucial in global health. are displayed alongside global public health campaigns
sparked by the emergence of HIV/AIDS in the 1980s and
Ebola and Zika in Africa and Brazil respectively in the last few years.
The ďŹ nal part of the exhibition considers how graphic
design can empower people and provoke an individual
response. Inspired by a contemporary reimagining of Ken Garland s First Things First manifesto (1964), this section
includes powerful campaigns focused on raising awareness of breast cancer, and other complex conditions.
é‘Şăž?éŒ’â›łĺˇ’čŚˆâœŤé†˘č°”é ¤ĺ™ ćś¸â&#x;ąĺ™ ä•Žé&#x;?é?¤éŽ™ď˜šäąłéŽŁäŽ‚ꏗé?¤éŽ™ äŒŒăĽśâĄŚâ˘ŞćŹ˝é?¤éŽ™ă–ˆč’€ä•™çŽĄç„şçŚşçŞĄď˜śĺ‰…ęŹ—é“žĺƒˆă„¤č°”âšˇâşŤé…¤â™ł 㠢國饼ç˝?âŤ„éťƒĺƒˆç„ˇćś¸ę„´ć´žâĽŒäœ‚ď˜ˇăž?éŒ’âšĽă šĺ„˜ăƒ„ć¤?朸韊剤俒 č° ä—‚čŽ‡ĺ„˜ĺŠ?ćś¸ćłąć°‹é¸’ćżźď˜śçŹžă˘ľâľ„â??ĺ„˜ĺŠ?ćś¸ĺ˘žć°‹ĺ˛ ĺ‘Şâ&#x;ƒâżťă„¤ ä Śĺžąć°ťď˜śă™Şâ˝ˆäŹ˜ď˜śă?ąâ˝“ć°ťĺŤŹćšąęĄ ćś¸ăš’âŤ„é?¤éŽ™ď˜ˇ
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Fritz Khan, El hombre como palacio industrial. Man as palace of industry. Credit Wellcome Library, London
Renaissance plague notices and Victorian quarantine bills
Basquiat: Boom for Real 塴斯弎牚çœ&#x;ćŁçš„çš ćŚŽ
Basquiat: Boom for Real is the ďŹ rst large-scale
exhibition in the UK of the work of American
artist Jean-Michel Basquiat (1960-1988). One of
the most signiďŹ cant painters of the 20th century, Basquiat came of age in the late 1970s in the
post-punk underground art scene in downtown
Jean-Michel Basquiat painting, 1983, Photo copyright Roland Hagenberg
New York. By 1982, he had gained international recognition and was the youngest ever artist to participate in Documenta 7 in Kassel. His
vibrant, raw imagery, abounding with fragments of bold capitalised text, oers insights into both his encyclopaedic interests and his experience as a young black artist with no formal training.
Since his tragic death in 1988, Basquiat has had remarkably little exposure in the UK.
Bringing together an outstanding selection of more than 100 works, Basquiat: Boom for Real
focuses on the artist s relationship to music,
writing, performance, ďŹ lm and television, placing
him within the wider cultural context of the time.
ŐˇäŠźĺ€›ă¤‡ćšśîš‰ćşŤĺ§ťćś¸çą—ĺ›™Ő¸ĺƒ˝çšĄă•œč° é Żăšťé›Š ç˘œâ´—ć™‹Ë™
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ćś¸č° é Żăšťď˜ˇâžŽćś¸é‹•éŒ?铃鎊âŻ?ć€?ĺ´žâ¸‚ď˜šçŁ§ćĄ‰ç˝œâ™śę§¨ęˇ‡ď˜šâ¸ˆ â™łçƒąć™šâť‹ćś¸çŁ§ë„“ăŁ?ăť¨ćś¸äż’ĺŠĽď˜šé›Šä§ŽâŚ›ä–¤â&#x;ƒćş?ⴀ➎齥朰
çŒ°ďˆŁĺ‰…ä’ćś¸čŽ‡éŚąâżťĺŠ˘ă€Œéş•ĺ§ťé‹Šč° é Żäž†č‚Źćś¸âŚ?âžƒçŤ¤ĺ¨œď˜ˇ
⥎č?ˆâ°Śĺ¨Śĺ€´ äŽƒä–•ď˜šă–ˆč–Šă•œęĄ ĺ€´âžŽćś¸â™§â´—â¤‘äŽ™â›–ć?‚ âžƒé”“éĽąď˜ˇ
Basquiat ďŹ rst came to the media s attention in 1978, when he teamed up with his classmate
Jean-Michel Basquiat, Untitled 1982, Museum Boijmans Van Beuningen, Studio Tromp, Rotterdam
Al Diaz to graďŹƒti enigmatic statements across the city under the collective pseudonym
SAMOŠ (a contraction of same old, same old shit ). He collaborated with other artists, most famously with Andy Warhol, created murals and installations for notorious New York
nightclubs including the Mudd Club, Area
and Palladium, and in 1983 produced Beat
Bop , a classic hip hop record with K-Rob and Rammellzee.
Highlights of this Barbican s exhibition include a partial reconstruction of Basquiat s ďŹ rst body of exhibited work, made for Diego Cortez s
watershed group show New York / New Wave
at P.S.1 in February 1981. Fifteen works are
brought together for the ďŹ rst time in over 35 years, allowing visitors to understand how Basquiat so quickly won the admiration of fellow artists and critics.
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Jean-Michel Basquiat, Untitled (Pablo Picasso), 1984, Provate collection
姽 ĺŚ„äŠźĺŤ˛č‚Ľč° é ŻâšĽä—ąăź&#x;ăž?ⴀ䊟倛 㤇 暜随朰â&#x;?⥲
Jasper Johns: ‘Something Resembling Truth’ 賈斯培 瓊斯： 近似真相之物
The Royal Academy of Arts presents an exhibition of the Honorary Royal
Widely known for his iconic images of flags,
first comprehensive survey of the artist s work to be held in the UK in 40 years.
has occupied a central position in American
Academician, Jasper Johns. Jasper Johns: 'Something Resembling Truth' is the
The exhibition comprises over 150 works including sculpture, drawings and
prints, together with new work from the artist. Johns is recognised as one of the
most significant and influential artists of the twentieth and twenty-first centuries and the exhibition will span over 60 years from his early career, right up to the
Jasper Johns, Target, 1961. Encaustic and collage on canvas. 167.6 x 167.6 cm. The Art Institute of Chicago © Jasper Johns / VAGA, New York / DACS, London. Photo: © 2017. The Art Institute of Chicago / Art Resource, NY / Scala, Florence
present time.
targets, numbers, maps and light bulbs, Johns contemporary art since his arrival in New York
in the 1950s. By 1955 his use of accessible and
familiar motifs established a new vocabulary in painting. Johns treatment of iconography and
the appropriation of objects and symbols made the familiar unfamiliar, achieving this through the distinctive, complex textures of his works. Through his ground-breaking paintings and
sculptures, Johns established a decisive new direction in an art world that had previously
been dominated by Abstract Expressionism.
Jasper Johns: Something Resembling Truth reveals the continuities and changes that
have occurred over the past six decades, and
the curiosity and experimentation that Johns continues to apply to his current practice. The exhibition is arranged thematically,
encompassing the full range of Johns materials, motifs and techniques including his unique use of encaustic (heated beeswax) and collage in
paintings, and the innovations he has achieved in sculpture and the graphic arts by expanding the possibilities of traditional media. The title of the exhibition comes from a statement
by Johns in 2006: One hopes for something
resembling truth, some sense of life, even of grace, to flicker, at least, in the work.
Jasper Johns, Flag, 1958. Encaustic on canvas. 105.1 x 154.9 cm. Private collection © Jasper Johns / VAGA, New York / DACS, London 2017. Photo: Jamie Stukenberg © The Wildenstein Plattner Institute, 2017
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South Asia Art and Culture Programme
Time Symposium Mexico
南亞藝術文化項目
This September Manchester s cultural institutions
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Asian descent in a celebration of shared heritage and
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welcome leading South Asian and British artists of South historic connections through a series of exhibitions and
performances across the city. Marking the 70th anniversary
of the creation of India, Pakistan and later Bangladesh, eight
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exhibitions present both new and seminal works, while a
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opening weekend invited audiences to experience a wealth
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wider programme of music, film and performances for the of South Asian culture.
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5JQT ăźéĄŚçˆ™ Corrections to the First Draft of History
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New North and South is a network of eleven
arts organisations from South Asia and the
North of England. The exhibitions and events will take place at the Whitworth, Manchester
Art Gallery, Manchester Museum, Museum of
Science and Industry and HOME. The three-year project aims to connect with diverse audiences on both continents that showcase the best
of contemporary art from Bangladesh, India, Pakistan, Sri Lanka and the UK.
2017 programme highlights include the Whitworth to present
Raqs Media Collective: Twilight Language (30 September 2017 ‒
the ďŹ rst major UK exhibition by Raqs Media Collective and the
25 February 2018) at the Whitworth and throughout Whitworth
Neha Choksi, Waqas Khan, Mehreen Murtaza, Hetain Patel,
movement. The exhibition includes new commissions inspired
work of South Asian Modernists 1953-63; Solo exhibitions from Risham Syed and a one-o performance lecture by Tentative
Collective at Manchester Art Gallery; 48hr one-o performance by Nikhil Chopra at the Museum of Science and Industry; Solo
show and interventions at Manchester Museum by Reena Saini Kallat.
Park explores the history of Surage and the birth of the labour by Manchester s industrial heritage. In the Collective s own
words, unravel worlds, make questions, haunt memorials, and
follow the tangled threads of how histories and ways of thinking about emancipation intersect.
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Raqs Media Collective, 2017, Sitting at the desk and alcove where Karl Marx and Fredrich Engels worked at Chetham s in 1845
äŽƒćś¸ę°ŞćšĄâ?Žë&#x;ŠâşŤä?ä&#x;ƒćšśĺ°†ĺ€›çšĄé Żę¸ćś¸â˝Ťä?žč°
Opera: Passion, Power and Politics
歌劇：激情、權力和政治 The Victoria and Albert Museum, in collaboration with the Royal Opera House, creates a vivid and immersive journey through nearly 400 years of opera, exploring its passion, power and politics.
Opera: Passion, Power and Politics is the only
exhibition ever to explore opera on a grand scale, it Barbara Hannigan in Written on Skin. Director Katie Mitchell, designer Vicki Mortimer © 2012 ROH Stephen Cummiskey
immerses visitors in some key moments of the history of European opera from its roots in Renaissance Italy
to its present-day form, by focusing on seven operatic premieres in seven cities. It reveals how opera brings together multiple art forms to create a multi-sensory
work of art, and show how social, political, artistic and economic factors interact with great moments in the
history of opera to tell a story of Europe over hundreds of years.
薊㕜笞㢵ⵄ❏ㄤ晋⠭暶⽈暟긭ㄤ涽㹻姐ⷜꤎざ⡲Ⱏず鏤
鎙✫♧⦐늫崞涸尐嵶䒭涸堾騗✫鵜 䎃涸姐ⷜ娜〷㾝錒 շ姐ⷜ慨䞕奚⸂ㄤ佟屛ո䖰⚥䱳程✫姐ⷜ⚥涸慨䞕奚 ⸂ㄤ佟屛♲⯋稇
鑪㾝錒僽娜〷♳㈔♧♧⦐⟃姐ⷜ捀⚺겗涸㣐㘗㾝錒㸐翹
搋♬䏠㙹䋑涸♬㜥姐ⷜ껷怵雊錚罏瑭唎㖈姘崎姐ⷜ娜〷涮 㾝涸ぐ⦐ꅾ銴儘劍酭䖰俒谁䗂莇涮㾝ⵌ殹➿㸐㾝爚✫姐 ⷜ僽㥶⡦穡ざ㢵珏谁遯䕎䒭⢵ⶾ鸤㢵䠮㸽涸谁遯⡲ㅷ⟃⿻ 爢剚佟屛谁遯ㄤ竤憘㔔稇僽㥶⡦䕧갠姐ⷜ〷♳剓⨀㣐涸 澖䖰罜⢪䖤姐ⷜ䖤⟃鶤铞姘崎䎙涰䎃涸娜〷
Nadja Michael as Salome Royal Opera House, London, 2008 ROH Š Robbie Jack - Corbis. Corbis Entertainmen. Getty Images
5JQT ăźéĄŚçˆ™
é‘Şăž?錒ăź&#x;ăž?ⴀ錄麕 â&#x;?ćš&#x;ă…ˇď˜šă šĺ„˜â›łĺ‰¤ĺ§?âˇœé‚?
ăž?éŒ“ăœĽă–‘ď˜ť7 " .VTFVN 珞㢴⾄â??莄꣚晋â 暾⽇ćš&#x;긏
ä‹’ë‰“âŻ˜ äŽƒćś¸Őˇč›?ĺ?żçšĄŐ¸ä¨žâĄ˛ćś¸ĺ‰Şęˇ‡é?¤éŽ™îšŠä Ś
ăž?éŒ“ĺ„—ę&#x;Śď˜ť 4FQUFNCFS ËŠ 'FCSVBS Z ĺˆżă˘´âĽŒäœ‚ď˜ťX X X WBN BD VL
More than 300 extraordinary objects are shown alongside digital footage of compelling opera performances. Objects on display include Salvador Dali s costume design for Peter Brook s 1949 production of Salome; Music in the
Tuileries Gardens by Edouard Manet, a masterpiece of modernist painting contextualising Wagner s modern approach to music in 1860s Paris; the
ć€ľćś¸ä•§ć™šäš…ä˝žď˜ˇăž?ㅡ⺍ä?čŽ?晋檳㢾˙麨⾄ć?€ä•šä–¤Ë™ ä—ž čž Ë™ęź›ăŁžćś¸Őˇĺ‹â&#x;ťâš—ꅽ蔅㕨갉ĺ?żĺ‰šŐ¸ď˜šé¸? ĺƒ˝ ➎
äŽƒâžżĺ€´äŠźëžŤäą°ćŹ˝ćŞłĺ‘”ç§?ć¤?âžżę°‰ĺ?żć¤šä™‚✞⥲朸 ć¤?âžżâšşçş?ç˛ćŽĽâŞ‚âĄ˛îš‰čŻ˘ĺ€´ę°‰ĺ?żĺ¨œă€ˇä˝?询ę¸ćś¸ăŞŽć™‹ 痧朸աää‹’ĺ?“Ő¸âž˛é™—îšŠęťˇăœĽâ°—â°&#x;ĺ§?âˇœŐˇć˘ľé şâŻĽćś¸â¸ˆ
⹒ո⍌㜸朸â°?ĺŠĽĺˆźé™—â›“â™§îšŠ äŽƒçżąä•šä–¤ăœ„ęťˇć€ľ ćś¸č ąĺ€›ă??çŒ°çŹžăŁźćś¸âŻ“ę?ľĺ§?âˇœŐˇă¨—ĺŚ˛ĺ€›âŻ˜ç°–ćś¸ë?‹âŻ˜
ćśŻăŁ—âžƒŐ¸âž˛ă¨ĽéĄťäż˛â›łăź&#x;ę…žĺ€žäžŽć¤šâš›ęťˇĺŚ„ă–ˆâ¤œçš?倛 ⛓㢍ăž?â´€ď˜ˇ
original score of Verdi s Nabucco from the Archivio Storico Ricordi in Milan;
ăž?éŒ’ćś¸â™ŹăœĽă™šä‹‘ęťˇć€ľâşŤä?㪎㽳倛Ղ褑暜ꯂ晋
di Poppea. Original material from the 1934 St Petersburg premiere of
աꅽç§?晋㢾ո  珞⛳ç§?Ő‚čœ“äŠ&#x;ćšśćś¸ŐˇéĄĽâ¸ˆ
and one of two surviving scores from the ďŹ rst public opera L incoronazione Shostakovich s avant-garde Lady Macbeth of Mtsensk is reunited and
displayed outside Russia for the ďŹ rst time.
The seven cities and premieres are: Venice - Monteverdi s L incoronazione di
Poppea, 1642; London - Handel s Rinaldo, 1711; Vienna - Mozart s Le nozze
di Figaro, 1786; Milan - Verdi s Nabucco, 1842; Paris - Wagner s Tannhäuser,
1861; Dresden - Strauss Salome, 1905; St Petersburg - Shostakovich s Lady
Macbeth of Mtsensk, 1934. World-leading opera performances are played via headphones, dynamically changing as you explore the cities and objects, to create an evocative and fully immersive sound experience.
éś”ćś¸Őˇć˘ľé şâŻĽćś¸â¸ˆâą’Ő¸î™ˇ â§?äžšŐ‚â?Łä—žć™‹ćś¸
çš?朸ăśç‹˛Ő¸  î™¸îšŠç˘œč˛˝Ő‚ăŞŽć™‹ç—§ćś¸Őˇää‹’ĺ?“Ő¸
  䊟랍Ղ檳呔ç§?朸ա㇍é&#x;?挹ո   䗞
稥倛갞Ղ倛暜⚪倛朸աč›?ĺ?żçšĄŐ¸  翹䕚䖤 ăœ„Ő‚č ąĺ€›ă??çŒ°çŹžăŁźćś¸Őˇă¨—ĺŚ˛ĺ€›âŻ˜ç°–ćś¸ë?‹âŻ˜ćśŻăŁ—
âžƒŐ¸  î™¸ď˜ˇâĄšă€łâ&#x;ƒé¸’éş•çžŽĺ ĽĺŚ‡é˘Łâš†ć˛ęťˇăž…â™§ä¸ ćś¸ĺ§?âˇœé‚?ć€ľď˜šęŚ‘čĄ˝âĄšéŒšćş?厼ä? 㙚䋑ㄤăž?ă…ˇď˜šę°‰ĺ?ż
éżŞĺ‰šĺ‰¤ä¨Ąâˇœäš?ă–’éšśâť‹ď˜šâśžé¸¤â´€â™§ç??ĺľśĺ°?ä’朸耍갉 ë„“ë€żď˜ˇ
Tove Jansson (1914-2001) ć‰˜čŠ™ ć?šć?ž
The Dulwich Picture Gallery presents the ďŹ rst major UK retrospective of work by one of
the most celebrated illustrators of the 20th century, Tove Jansson (1914-2001). Known
internationally as the creator of the Moomin
Tove Jansson in her studio ŠPer Olov Jansson
characters and books, a phenomenon which continues to stretch across generations,
Jansson s wider outputs of graphic illustration
and painting are relatively unseen outside her home country of Finland.
Tove Jansson brings together 150 works to
reintroduce Jansson as an artist of exceptional breadth and talent, tracing the key stages of her proliďŹ c career including her surrealist-
inspired paintings of the 1930s and abstract work of the 60s, her satirical anti-war
cartoons and book jacket designs, as well as
a comprehensive display of early sketches for the Moomin characters and original comic strips.
麨⾄㣟掼ä?¤ć?€âœłâź§âš†ç§ 剓襽ă ?朸䳄掼㚝⛓♧䊯㣗˙
äł“ĺŒĄčŽŠéłľâœŤâ°Śă–ˆč–Šă•œćś¸ęťˇĺŚ„ăŁ?ă˜—ă”?ęłƒăž?ա䊯㣗˙䳓
ĺŒĄî™ˇ î™¸Ő¸ď˜ˇäł“ĺŒĄă””ć?€âśžâĄ˛ă¨—ĺƒˆé¸?âŚ?ę´?ꏖ䞸 âžżâžƒćś¸ć 掼䕎é&#x;?ă„¤ĺ‰…çĄƒç˝œâ?§éš˜âš†ć˛ď˜šăťœęĽšâ™łăĽ 朸✞ ⥲韊ĺś?âżťâľŒäŽ‚ęŹ—äł„ćŽĽă„¤ĺą˜ćŽĽď˜šć?ç˝œă¸?âŚ›ă–ˆäł“ĺŒĄćś¸ç‰? ă•œč“¸č˛˝â›“ă˘ŤćšąăźŠâš›ĺŠ˘ă€ŒâľŒęĄ ĺ˛¤ď˜ˇ
ŐˇäŠŻč“‡Ë™äł“ĺŒĄŐ¸ăž?éŒ’âť˝ę§ŒâœŤ â&#x;?âĄ˛ă…ˇď˜šéˇ†ĺ˝¸âœŤ ăĽ ă˘ľćŹ´ćś¸č€ˇĺ™ ćŹ°ĺˇ†âšĽćś¸ęĄ ę’łĺ„˜ĺŠ?ď˜šâşŤä?ăĽ ă–ˆ äŽƒâžżćś¸ă€ŒéŚ„ć¤?ăťœâšşçş?ä•§ę° ćś¸ç˛ćŽĽď˜ś
äŽƒâžżćś¸äŹ„é&#x;?âĄ˛ă…ˇď˜śé•žâľžäš?朸⿞䨞ć 掼ㄤ剅㟓é?¤ éŽ™ď˜šâš›ďˆŁęŹ—ăž?çˆšâœŤă¨—ă…•ćś¸ĺ‚?ĺŠ?虋㕏ㄤ鸎抇掼➲ ç?łď˜ˇ
é¸?匄ăž?éŒ’éźŠĺ‰šăž?â´€äł“ĺŒĄćś¸č?ˆćŽĽâŤšď˜śę´?兞ㄤꏆćš&#x; ćŽĽď˜šâ°ŚâšĽé?Şă˘ľä–°ĺŠ˘ă–ˆč–Šă•œăž?â´€ď˜ˇäł“ĺŒĄâ™§ćšŹé‹•č?ˆ
äŠšĺƒ˝â™§ âĄ™ćŽĽăšťď˜šă–ˆâ°Śč° é ŻćŹ°ĺˇ†ćś¸ç—§â™§ âŚ?âź§äŽƒ é…ď˜šăĽ âśžâĄ˛âœŤç??ę˛łă˘ľä–¤ë ‡âžƒćś¸äł„ćŽĽď˜šă¸?⌛ęł?爚 âœŤäł“ĺŒĄäž’âĄ˛äž’ć?€čŽ…ă›šĺŻšâżžăźŠä¨žć˜°ď˜śĺ˛ éŠŻĺ€›âšşçş?
ㄤ噲弚⚺çş?朸䢀ä?žď˜ˇäł“ĺŒĄă–ˆä¨žć˜°ĺŠ?ę&#x;Śâ¤‘ę&#x;šă¨Ľäš‹ ăť¨ă¨—ĺƒˆćś¸ä˝Śâœ˛ď˜šé¸?âŚ?ć 掼䕎é&#x;?çŠĄă –âœŤăĽ éş•âžƒćś¸
č° é ŻăŁ”â´•čŽ…ĺ´Šĺ†ąćś¸äż’ç˜˜ď˜ˇă–ˆâž˛ć™?㕏剅䳄掼朸ăž? çˆšâšĽéŒšćťžă€łâ&#x;ƒéšŽâ™§ĺ§żâœŤé?‘ă¨—ĺƒˆę´?ćƒ?ćś¸éĽąĺ˝‚ď˜ˇ
Tove Jansson, Illustration for the book Comet in Moominland, 1946, wash and indian ink, 15,8 x 15,8 cm, Moomin Museum, Tampere Art Museum Moominvalley Collection. Photo: Finnish National Gallery / Hannu Aaltonen.
ć?€âœŤé›Šâ°—杞ꅞ倞钢é™?é¸?âĄ™ă˘ľäŠžă˘ľč° ćś¸č° é Żăšťď˜š
5JQT ăźéĄŚçˆ™ ăž?éŒ“ăœĽă–‘ď˜ť%VMXJDI 1JDUVSF (BMMFS Z 麧⾄㣟掼ä?¤ ăž?éŒ“ĺ„—ę&#x;Śď˜ť 0DUPCFS ËŠ +BOVBS Z
ĺˆżă˘´âĽŒäœ‚ď˜ťX X X EVMXJDIQJDUVSFHBMMFS Z PSH VL
landscapes, and still-lifes, many of which have never been seen before in the UK. She always considered herself primarily a painter. During her ďŹ rst decades
as an artist, Jansson produced an astonishing variety of illustrations which reveal Jansson s boldness and staunch opposition to war, fascism, and
totalitarianism. The Moomin characters brought
together Jansson s gifts as an artist with her uency as a writer. Jansson began writing stories about the Moomin during the war. A display of original book illustrations provides an insight into the genesis of the Moomin phenomenon.
Tove Jansson, Smoking Girl (Self-Portrait), 1940, Private Collection. Photo: Finnish National Gallery / Yehia Eweis. ŠMoomin Characters
The exhibition opens with Jansson s self-portraits,
CĂŠzanne Portraits 奞尚䚋肖ĺƒ? 5JQT ăźéĄŚçˆ™
The National Portrait Gallery is to stage the ďŹ rst
ăž?éŒ“ăœĽă–‘ď˜ť/BUJPOBM 1PS USBJU (BMMFS Zč–‰ă•œă•œăšťč °âŤ¸ćŽĽä?¤
CĂŠzanne. This major new exhibition, CĂŠzanne
ăž?éŒ“ĺ„—ę&#x;Śď˜ť 0DUPCFS 'FCSVBS Z ĺˆżă˘´âĽŒäœ‚ď˜ťX X X OQH PSH VL
exhibition devoted entirely to portraits by Paul
Portraits, brings together for the ďŹ rst time over 50 of CĂŠzanne's portraits from collections across the world.
Portraits previously unseen in the UK include the
artist's arresting Self Portrait in a Bowler Hat(1885-
6). Also on UK display for the ďŹ rst time since the
1930s is Boy in a Red Waistcoat(1888-90), one of a Boy in a Red Waistcoat, 1888-90 by Paul CĂŠzanne National Gallery of Art, Washington. Collection of Mr. and Mrs. Paul Mellon, in Honor of the 50th Anniversary of the National Gallery of Art, 1995.47.5
series of paintings of a young man in Italian clothes identiďŹ ed as Michelangelo de Rosa, and Madame
CĂŠzanne in a Yellow Chair (1888-90) last exhibited
in London in 1936 and 1939 respectively.
Paul CĂŠzanne (1839-1906) painted almost 200
portraits during his career, including 26 of himself and 29 of his wife. CĂŠzanne Portraits explores the
č–Šă•œă•œăšťč ąâŤšćŽĽ ä?¤ăź&#x;莊 鳾ꝡâŚ?âĽƒçš?Ë™ă?ąăźżč ąâŤšăž?ď˜ˇé¸?
âŚ?ă ?ć?€Őˇă?ąăźżâ›“č ąâŤšŐ¸ćś¸ăŁ?ă˜—ăž?錒ăź&#x;ăž?ⴀ⢾č?ˆďˆŁâš†ć˛ćś¸ 随 䌴ă?ąăźżâśžâĄ˛ćś¸č ąâŤšćŽĽď˜ˇ
é‘Şăž?錒ăž?â´€âœŤâ›“âľšä–°ĺŠ˘ă–ˆč–Šă•œăž?â´€ćś¸Őˇă•Šę°Ľç‹˛äŒ¨č?ˆćŽĽ
⍚ո î™¸îšŠă šĺ„˜ď˜šâ›łĺ‰¤ äŽƒâžżä–•ă˝ ĺŠ˘ĺ‰Žă–ˆč–Šă•œ ăž?ⴀ朸աç‘秋蒀ꟛćŒćś¸ć‘㡛ո î™¸ď˜šé¸?ĺƒ˝ă?ąăźżć?€ ♧é¨čĄ˝ä ‘ăŁ?⾄剪ꡇ朸ć‘ęŤäŽƒä¨žâĄ˛ćś¸çŚşâ´ŞćŽĽâĄ˛â›“â™§ď˜šçŤ¤éş•
éłşé’˘ď˜šé¸?⥙ć‘ęŤäŽƒĺƒ˝ç˘œę&#x;šĺ‰˝ă›‡çš?˙䗞˙çš?čŽ?韊剤ĺ‚?ă–ˆ
äŽƒă„¤ äŽƒĺ‰Žĺ€´â§?äžšăž?ⴀ麕朸ա랔喹♳朸ă?ąăźżăŁ— âžƒŐ¸  î™¸ď˜ˇ
special pictorial and thematic characteristics of CĂŠzanne's portraiture, including his creation of complementary pairs and multiple
versions of the same subject. The chronological development of
Self Portrait in a Bowler Hat, 1885-86 by Paul CĂŠzanne Ny Carlsberg Glyptotek, Copenhagen. Photo: Ole Haupt
CĂŠzanne's portraiture is considered, with an examination of the
changes that occurred with respect to his style and method, and his understanding of resemblance and identity. The exhibition
also discusses the extent to which particular sitters inected the characteristics and development of his practice.
Works included in the exhibition range from Cezanne's remarkable
portraits of his Uncle Dominique, dating from the 1860s, through to his ďŹ nal portraits of Vallier, who helped CĂŠzanne in his garden and studio, made shortly before the artist's death in 1906.
CÊzanne is widely understood to be one of the most inuential
artists of the nineteenth century. Generally categorised as a PostImpressionist, his unique method of building form with colour,
and his analytical approach to nature inuenced the art of Cubists, Fauvists, and successive generations of avant-garde artists. Both Matisse and Picasso called CÊzanne the father of us all.'
âĽƒçš?Ë™ă?ąăźżî™ˇ ♧揰⚼掼麕秉 äŒ´č ą âŤšćŽĽď˜šâ°ŚâšĽč?ˆćŽĽâŤš äŒ´ď˜šâ°ŚăŁ—âžƒćś¸ćŽĽâŤš äŒ´ď˜ˇŐˇă?ą
ä—šď˜šâşŤä?âžŽä¨žâśžćś¸âœ˝é…˘č’€ä•™ď˜šâ&#x;ƒâżťăźŠă šâŚ?⚺겗朸㢾 ć™?ĺŠĽâśžâĄ˛ď˜ˇé¸’éş•ăť¤é‹•ă?ąăźżč° é Żę´?ĺ‘”ă„¤âśžâĄ˛ĺ€°ĺ˛ ćś¸
éšśâť‹ď˜šâ&#x;ƒâżťâžŽăźŠćšąâŤšäš?ㄤ♧č?žäš?朸椚é?‘ď˜šé‘Şăž?錒
ă”?ęłƒâœŤă?ąăźżč ąâŤšč° é Żćś¸ĺ„˜ę&#x;Śäš?朎ăž?ď˜ˇăž?éŒ’éźŠéŽŁé”¸
âœŤâ™§â?‰ĺž¸ćšśă–ˆâ™§ăš 玑ä?žâ™łä•§ę° âœŤă?ąăźżč° é ŻăťœéŠ?朸 暜蒀ㄤ朎ăž?ď˜ˇ
é‘Şăž?錒ăž?ㅡ⺍ä?ă?ąăźż äŽƒâžżć?€â°Śă€ˆă€ˆă˘ľç˘œă˝łâŻ˜ ç˛é†˘ćś¸â´€č’€č ąâŤšćŽĽď˜šâľŒ 䎃ă?ąăźżĺ¨Śâľšâ™śâ›‰ć?€ă•¨ â™¨ă„¤ćŽĽăš”â¸”äŠ›ćŞłę…˝ć™‹ä¨žâĄ˛ćś¸âĄ˛ă…ˇď˜ˇ
ă?ąăźżé„„ ä‘žĺ˛Œé’˘ ć?€ĺƒ˝âź§â›°âš†ç§ 剓剤䕧 ę° â¸‚ćś¸ćŽĽăšť
â›“â™§ď˜ˇâ™§č?›é’˘ć?€âžŽĺƒ˝ä–•â˝Ťé&#x;?ĺ´ŁćŽĽăšťď˜šâ°ŚćŹ˝č’€ă?–ä•Ž â&#x;ƒâżťćŹ˝â´•ĺ?€ĺ€°ĺ˛ 䲞ç˛č?ˆć?ćś¸ć Źćšśĺ€°ĺ˛ ä•§ę° âœŤç”¨ë„“
ĺ´Łď˜śę…żćĄŠĺ´Łâżťä–•âš†ćś¸ćťžă˘ľâľšę?ľč° é Żăšťď˜ˇęź›čŁŚĺ€›ă„¤ćŽ— â¸ˆç¨‹éżŞäŞžă?ąăźżç?–⥲ć¤?âžżç˛ćŽĽâ›“ć˜żďš´ď˜ˇ
Madame CĂŠzanne in a Yellow Chair, 1888-90 by Paul CĂŠzanne Wilson L. Mead Fund, 1948.54, The Art Institute of Chicago
ăźżâ›“č ąâŤšŐ¸äąłç¨‹âœŤâ°Śč ąâŤšćŽĽćś¸ç˛ćŽĽćšśä—šâżťâšşę˛—ćšś
Domenico Ghirlandaio or workshop of Andrea del Verrocchio,Drapery Study (possibly study for Saint Matthew and an Angel), about 1477, Brown and black wash heightened with white on brown linen, 26.2 x 17.1 cm, © Kupferstichkabinett. Staatliche Museen zu Berlin / Photo: Jörg P. Anders
Monochrome: Painting in Black and White 單色：黑白繪畫
This autumn, the National Gallery presents a journey through a world of shadow and light: Monochrome:
Painting in Black and White. With more than fifty
painted objects created over 700 years, it is a radical
new look at what happens when artists cast aside the colour spectrum and focus on the visual power of black, white, and everything in between.
Paintings and drawings by Old Masters such as Jan van Eyck, Albrecht Dürer, Rembrandt van Rijn, and JeanAuguste-Dominique Ingres appear alongside works by some of the most exciting contemporary artists
working today including Gerhard Richter, Chuck Close, Bridget Riley, and an immersive light installation by Olafur Eliasson.
Monochrome reveals fresh insights into the use of
colour as a choice rather than a necessity. Through
five themes Sacred subjects, Studying light and shade,
An artistic aesthetic, Challenging other media and
Abstraction, Monochrome addresses a different aspect
of painting in black, white and grey, also known as grisaille.
➛䎃猨㣔㕜㹻殥䐤䌟⢵✫♧㜥鸒䖃⯕䕧⚆歲涸假玑շ㋲
蒀랱涯粭殥ո翹✫❀⼧䎙⟝钲欰倴 㢵䎃涸⡲ㅷ 鸏馫假玑㼟⟃♧⦐倞遺涸錬䏞溏䖊谁遯㹻⦛䖰䬚唳蒀
陗ⵌ꧌⚥倴랱涯涸鋕錏遼乹⟃⿻➝倴Ⰽ蒀⛓涸⟤⡦〳 腋
傍劍涸㣐䌌⦛㥶䳓˙眕˙蒕⯘⚓⹗⧍⸽剽ㄤ㸞呔晋涸屘殥
⿻稇䲾⡲ㅷ㼟莅殹♴剓崞鬪涸殹➿谁遯㹻涸⡲ㅷ♧ず㾝ⴀ Ⱖ⚥⺫䭍呔ㆁ䗞˙ꅽ䋞暶叆⯘˙⯘峫倛䋒ꅽ㣼暶˙飅ⵄ涸 ⡲ㅷ⟃⿻㤹䬘笞晋˙㙪ⵄ❏匡涸尐嵶䒭敚⯕酤縨
â™śĺƒ˝ä—łć?朸倞鋅é?‘ď˜ˇé¸’éş•â?€ăŁ?⚺겗ç‰&#x;çżą ę˛—ĺ‹žď˜śâŻ•ä•§ç ‡ç‘–ď˜śč° é Żăť¤çšĄď˜śäŽ‹ä¨žâ°ŚâžŽăŻŻ
넓ㄤ䏄é&#x;?ď˜šé‘Şăž?éŒ’ç ‡ç‘–âœŤëžąď˜śćśŻă„¤ćŠŤç˛ćŽĽ ćś¸ă€Ľâ™§ęą†ăš–ď˜šâżśç?–抍蒀䕙ç˛ĺ˛ ď˜ˇ
ć¤?㜸剓ĺ‚?äą°ćŹ˝ćŠŤč’€ĺž¸äşźĺľĽę§¨ćŽĽĺ˛ ćś¸éŠŻĺ€° č° é Żă…ˇé’˛ćŹ°ĺ€´âšĽâš†ç§ ď˜šé¸?ĺƒ˝â™§ç??ⴀ倴贓铇 äŠžâśžé¸¤ćś¸âĄ˛ă…ˇď˜šćšĄćś¸ć?€âœŤâ¨žâľŒë€?ꤑ䗹⚼朸
ę§šä™‚ď˜šâ¨žâľŒä—ąć?‚ĺ€žęż†ď˜ˇä–° âš†ç§ éĽąď˜šč° é Ż ăšťâŚ›ă˝ é¸’éş•âśžâĄ˛ëžąćśŻç¨‡ä˛žâżĄç‘łç śćŽĽâĄ˛âšş ę˛—ă„¤ĺœ“ă•Źä¨žä˛żâ´€ćś¸äŽ‹ä¨žď˜ˇ
â›“ä–•ď˜šéŚŠâ˘ľéŚŠă˘ľćś¸ç§ŤćŠŤč’€ćŽĽâĄ˛ă…ˇé„„âĄ˛ć?€ć Ź ç”¨ćś¸č° é Żă…ˇâ˘ľâśžâĄ˛ď˜ˇäŽ™âŚ?âš†ç§ â&#x;ƒâ˘ľď˜šč° é Ż
ăšťâŚ›ă–ˆç˛ćŽĽâšĽé¸’麕垸â&#x;Źç€–ę§¨ćś¸ă˘ŤéŒšâ˘ľéšŽ é ¤č?ˆä§ŽäŽ‹ä¨žď˜šă šĺ„˜čŽ…ć™?ćŽĽď˜śäź˘ä•§ă„¤ę¨śä•§ćś¸
倞朎ăž?ćšąâœ˝ç•šć˜°ď˜ˇă šĺžşă–’ď˜šäŹ„é&#x;?ă„¤é…¤ç¸¨č° é Żăšťâ™§ćšŹéżŞé„„ëžąćśŻä¨žď‰šä’¸ď˜ˇćŽšč° é ŻăšťâŚ›äŠş
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Jan van Eyck, The Annunciation Diptych (The Archangel Gabriel; The Virgin Mary), about 1433‒5, Oil on panel, left wing 38.8 × 23.2 cm, right wing 39 × 24 cm, Š Museo Thyssen-Bornemisza. Madrid
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The earliest surviving works of Western art made in grisaille were created in the Middle Ages for devotional purposes,
to eliminate distractions, and focus the mind. From the 15th century onward artists made drawings in black and white to work through challenges posed by their subjects and compositions.
Increasingly, paintings in grisaille were made as independent works of art, complete unto themselves. For centuries artists have challenged themselves to mimic the appearance of stone sculpture in painting, to compete with new
developments in printmaking, photography and ďŹ lm.
Abstract and installation artists have always been drawn to black and white. When artists have ready access to every possible hue, the absence of colour can be all the more shocking or thought-provoking.
Stained Glass Panel with Quarries and a Female Head, about 1320-4, Paris Grisaille glass with silver stain, 59.5 x 39 cm, Š Victoria and Albert Museum, London
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Modigliani čŽŤčżŞé‡Œé˜żĺ°ź
Tate Modern stages the most comprehensive Jeanne HĂŠbutern, 1919, Medium Oil paint on canvas, 914 x 730 mm, The Metropolitan Museum of Art, New York
Modigliani exhibition ever held in the UK, bringing together a dazzling range of his iconic portraits,
sculptures and the largest ever group of nudes to be
shown in this country. Including almost 100 works, the exhibition Modigliani re-evaluates this familiar ďŹ gure,
looking afresh at the experimentation that shaped his
career and made Modigliani one of the greatest artists of the twentieth century.
A section devoted to Modigliani s nudes is a major highlight. In these striking canvases Modigliani
invented shocking new compositions that modernised ďŹ gurative painting. A group of 10 nudes will be the largest group ever seen in the UK, with paintings
including Seated Nudeďźˆ1917and Reclining Nude
ďźˆ1919.
岲暜ć¤?âžżçšĄé Żę¸čŽŠéłľâœŤč–Šă•œé´ťâž›ĺ‰“ďˆŁęŹ—ćś¸čœ“éś”ę…˝ęŁšă˝łâĄ˛ă…ˇăž? Őˇčœ“éś”ę…˝ęŁšă˝łŐ¸ď˜šăž?ⴀ朸⥲ㅡ⺍ä?Ⰼ剓Ⱘ垌é’&#x;äš?ćś¸č ąâŤšćŽĽď˜ś
ꧨă?–âżťč–Šă•œé´ťâž›ĺ‰“ăŁ?é‹Šĺž¸ćś¸é†—ë„“ćŽĽâŤšď˜ˇé¸?匄ăž?錒ăž?ⴀ秉 â&#x;?âĄ˛ă…ˇď˜šę…žĺ€žé?ąâ ŽâœŤé¸?⥙ć?€âžƒć“żäœŤćś¸č° é Żăšťď˜šćŹ˝ďˆŁĺ€žćś¸ĺ€°ä’ ćş?ä–ŠâžŽä¨žäą°ćŹ˝ćś¸ăťœë€żäŠ›ĺ˛ ď˜šç˝œĺ§ťĺƒ˝é¸?â?‰äŠ›ĺ˛ ä§ă˝ âœŤâžŽćś¸âœ˛ ĺ™ ď˜šâš›â˘ŞâžŽä§ć?€âœłâź§âš†ç§ 剓⨀ăŁ?ćś¸č° é Żăšťâ›“â™§ď˜ˇ
é‘Şăž?錒â&#x;ƒč° é ŻăšťâľŒéş¨äŠźëžŤć?€éĽąë&#x;Šď˜šäąłéŽŁâœŤăźŠâ°ŚćŹ°ĺ´žă„¤âĄ˛ă…ˇéĽą âľŒę…žéŠ´ä•§ę° ćś¸âśžĺ€žćŠ‡ăžŻă„¤ĺ´Šé ¤äż’âť‹âŻ‹ç¨‡ď˜ˇă€ŒâĽƒçš?Ë™ă?ąăźżď˜śâ?Ł
âľ„Ë™ä—žË™ă•Źćš–č˜˜ çš?ćšśâ´ŞâŻ˜ă„¤ä‹Şä‹’ĺłŤË™ćŽ—â¸ˆç¨‹ćś¸ă‰ŹćśŽď˜ščœ“éś”ę…˝
꣚㽳ę&#x;šă¨Ľăťœë€żâš›ä•Žä§č?ˆäŠšć Źćšśćś¸é‹•éŒ?é“ƒéŽŠď˜ˇé‘Şăž?éŒ’â›łę…žĺ€žăť¤ é‹•âœŤčœ“éś”ę…˝ęŁšă˝łč° é ŻăťœéŠ?⚼朸ăĽ?äš?éŒŹč’€ď˜šă˝?â°Śĺƒ˝â°ŚâšĽâ™§âĄ™ ꅞ銴ăĽ?äš?Ő‚é‘˜âžƒă„¤âĄ˛ăšťç„—çťźçŞŁË™ĺľłĺ€›â™¨ĺ€›ď˜ˇ
Reclining Nude, 1919, Oil on canvas, 724 x 1165 mm, Museum of Modern Art, New York
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The exhibition begins with the artist s arrival in Paris, exploring the creative environments and elements of popular culture that were
central to his life and work. Inspired by the art of Paul CĂŠzanne, Henri
Toulouse-Lautrec and Pablo Picasso, Modigliani began to experiment and develop his own distinctive visual language. The exhibition is also reconsidered the role of women in Modigliani s practice,
particularly an important ďŹ gure -poet and writer Beatrice Hastings. The exhibition concludes with some of Modigliani s best-known
depictions of his closest circle. Friends and lovers provided him with much-needed ďŹ nancial and emotional support during his turbulent life while also serving as models. Jeanne HĂŠbuterne, the mother of
Modigliani s child and one of the most important women in his life. When Modigliani died in 1920 from tubercular meningitis, Jeanne
tragically committed suicide. Tate Modern brings together several
searching portraits of her from Modgliani s ďŹ nal years, which depict her in a range of guises from young girl to mother.
čœ“éś”ę…˝ęŁšă˝łćś¸é†—ë„“ćŽĽâŤšĺƒ˝ĺŠĽĺŚ„ăž?â´€ćś¸ę…žęą§ä¨Ąď˜ˇă–ˆé¸?â?‰â&#x;‚ âžƒë ‡ćŽŻćś¸âĄ˛ă…ˇâ™łď˜ščœ“éś”ę…˝ęŁšă˝łćśŽĺƒˆâœŤďˆŁĺ€žćś¸ĺœ“ă•Źĺ˛ ď˜šâš›
⢪Ⱘé&#x;?ç˛ćŽĽä–¤â&#x;ƒć¤?âžżâť‹ď˜ˇâ°&#x;剤⺍ä?ա㗂㪨醗넓⍚ ո ㄤաâŚăŞ¨é†—ë„“âŤšî™ˇ î™¸Ő¸ă–ˆâ°‰ćś¸âź§äŒ´é†—ë„“âĄ˛ă…ˇé„„ăž?â´€ď˜š é¸?ĺƒ˝ĺ¨œă€ˇâ™łč–Šă•œăž?â´€é‘Şč° é ŻăšťâĄ˛ă…ˇĺ‰“ă˘ľćś¸â™§ĺŚ„ď˜ˇ
ăž?éŒ’ćś¸çŠĄĺ‹˛éżˆâ´•ăź&#x;ăž?â´€éżˆâ´•čœ“éś”ę…˝ęŁšă˝łä˛žç˛é¨éźšĺ‰“é‹ˇéľœ
ćś¸âžƒćš&#x;âĄ˛ă…ˇď˜ˇâžŽćś¸ĺ‰Śâżźă„¤ä Śâžƒă–ˆâžŽâš›ćššâ™śă¸žćś¸ćŹ°ĺ´žâšĽçŞ? âœŽâžŽçŤ¤ć†˜ă„¤äž•ä Žâ™łćś¸ä˝…ä°ď˜šă šĺ„˜âżśĺƒ˝âžŽćś¸ĺž¸ćšśď˜ˇâ°ŚâšĽćŁ‡
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âŤšď˜šćŽĽęŹ—âšĽâžŽä¨žäą°ćŹ˝ćś¸ęĽťćťšĺ˛ ăź&#x;㼠酤勲ä§äŽƒé°‹ăźąăĽ?ㄤ卢 鋡朸䕎é&#x;?ď˜ˇ
Andreas Gursky
ĺŽ‰ĺžˇçƒˆäşžć–Ż ĺ?¤çˆžć–Żĺ&#x;ş The Hayward Gallery stages the ďŹ rst major retrospective in a
UK institution of the work of acclaimed German photographer Andreas Gursky, Bahrain I, 2005, Š Andreas Gursky/DACS, 2017.,Courtesy: Sprßth Magers
Andreas Gursky (Germany, 1955). Widely regarded as one
of the most signiďŹ cant photographers of our time, Gursky
is known for his large-scale, often spectacular pictures that
portray emblematic sites and scenes of the global economy and contemporary life.
The exhibition Andreas Gursky will feature approximately 60
of the artist s ground-breaking photographs, from the 1980s through to his most recent work, which continues to push the boundaries of the medium. Gursky s art is driven by an interest, and insight, into forms of collective existence and includes depictions of massive man-made structures and
huge gatherings of people in nightclubs, factories, arenas, and vast landscapes. As he has stated: I only pursue one goal: the encyclopedia of life.
The exhibition includes some of the artist s most well-
known works including Paris, Montparnasse (1993), Rhine II
(1999/2015), Kamiokande (2007), and May Day IV (2000/2014). Often employing a bird s-eye perspective, these large-format
pictures‒which rival the scale of monumental paintings‒boast an abundance of precisely captured details, all of which are uncannily in focus.
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ㄤ掚➿揰崞朸垌é’&#x;äš?ăœĽĺ…žă„¤ăœĽĺ…žď˜ˇ
é‘Şăž?錒ăź&#x;ăž?ⴀ〢晋倛㛇 âĄŽäŒ´ĺ™˛â°¨ę&#x;šâśžäš?ä ‘çş?ćś¸äź˘ä•§âĄ˛ă…ˇď˜šä–° 䎃
âžżâľŒć¤?ă–ˆćś¸âśžâĄ˛éżŞâ™§ćšŹă–ˆä˛€âš›äź˘ä•§ćś¸ć˛ęŁłď˜ˇă€˘ć™‹ĺ€›ă›‡č° é Żćś¸ë€?⚛⸂ꆀ
â˘ľĺ˝‚ĺ€´âžŽăźŠę§Œë„“ăś¸ă–ˆä•Žä’ćś¸čŽ‡éŚąă„¤ĺłŻäœŤď˜šâžŽćś¸č° é Żä˛žäˇŽâœŤăŁ?ă˜—âžƒé¸¤çŠĄ
ĺœ“ď˜šâ&#x;ƒâżťă–ˆă˘šçą?ĺ‰šď˜śäŠ¨ä‘–ď˜śç•šäŞŽăœĽă„¤ä‘žęĄ€ĺ…žéŒšâšĽăŁ?ę†€çżšę§Œćś¸âžƒçşˆď˜ˇĺ§ťăĽś âžŽä¨žé“žćś¸îš‰ďšłä§Žă€Ťéˇ†ĺŽ â™§âŚ?ćšĄĺžŚîš‰ćŹ°ĺ´žćś¸ćś°çŒ°ďˆŁĺ‰…ď˜ˇďš´
Andreas Gursky, Amazon, 2016, © Andreas Gursky/DACS, 2017. Courtesy: Sprüth Magers
From the frenzied stock exchange seen in Chicago Board of Trade III (2009)
to the vast distribution centre shown in Amazon (2016), and from the sea of
鑪 㾝 錒 㾝 ⴀ✫ 谁 遯 㹻 剓 衽 そ 涸 ⡲ ㅷ
eerily empty display shelves in Prada II(1997) his images provide a sweeping
蘟屎 **ո շ 馄 秹牟 䀥 䱳
candy-coloured budget items featured in of 99 Cent II, Diptych (2001) to the visual record of our age.
In recent years, Gursky s experiments in manipulating images have led him to
create examples of fictional photography, extending his implicit questioning
of our faith in the factual veracity of images. As he has remarked, today, reality can only be shown by constructing it .
⺫ 䭍շ䊼 랫褑䋪 秝 倛ո շ 蟛 庠㐼ո ⟃⿻շ❀♧㕜ꥹ⹛眏*7ո
➮涸⡲ㅷ竤䌢䱰欽둷澛鋕 錬㣐涸撑 晚㽯䌴⫹ 㘗 粭 殥 ♧垺
也Ⱖ⚥剤㣐ꆀ礶焷䯲䯝ⵌ涸稣眏罜刿 ⟂➃끇殯涸僽鸏❉稣眏搂♧⢿㢫鿪僽幢 兠㼩搋涸
䖰շ蓐⸈ㆥ❜僒䨾***ո ㋡뇀涸肆䋑 㘗ꂂ顊⚥䗱ⱄⵌշ ⴕ**꧱耢ո ⚥祫卓蒀䎂⭆顊暟涸嵳峕ⱄⵌշ兜䬘麨 **ո ⚥⟂➃幀䠮㣼殯涸瑠瑠㥶⛳涸
顊卺➮涸⡲ㅷ僽㼩䧮⦛儘➿涸兞䒭鋕 錏鎹ꏗ
鵜䎃⢵〢晋倛㛇㻜뀿䚍涸㕬⫹贖椚倰䒭
⟂➮ⶾ⡲ⴀ♶㼱贡圓伢䕧涸⡲ㅷ鸏 ❉㻜뀿雊➮剤刿㥪涸倰岁⢵䲿ⴀ荈䊹わ
罜♶ꪫ涸颶毠鸏珏颶毠ꆚ㼩涸⤑僽䧮⦛
㼩䕧⫹溫㻜䚍涸⥌䙂姻㥶➮䨾铞㖈➛ 㣔〫剤鸒麕圓䒊䩞腋㾝爚植㻜
Andreas Gursky, Bahrain I, 2005, © Andreas Gursky/DACS, 2017. Courtesy: Sprüth Magers
❜僒䨾ⵌշ❏꼛麽ո ⚥㾝爚涸㣐
Alfredo Jaar: The Garden of Good and Evil 14 October 2017‒8 April 2018 Yorkshire Sculpture Park
Dalí / Duchamp Royal Academy of Arts 7 October 2017 ‒ 3 January 2018
Rose Wylie 29 November 2017 ‒ 4 February 2018 Serpentine Sackler Gallery
Soutine’s Portraits: Cooks, Waiters and Bellboys
Drawn in Colour: Degas from the Burrell 20 Septembr 2017 ‒ 1 April 2018 National Gallery
19 October 2017 ‒ 21 January 2018 Courtauld Gallery
Thomas Ruff: Photographs 1979–2017 27 September 2017 ‒ 21 January 2018 Whitechapel Gallery
Red Star Over Russia: A Revolution in Visual Culture 1905-55
Everything At Once October ‒ December 2017 Lisson Gallery x The Vinyl Factory
8 November 2017 ‒ 18 February 2018 Tate Modern
Ferrari: Under the Skin 15 November 2017 15 April 2018 Design museum
Scythians: warriors of ancient Siberia
14 September 2017 ‒ 14 January 2018 British Museum
DIGITAL ART: A META-MODERN VIEW?
侷㶶谀遮
⯋植➿鋕ꅿ馄植➿鋕ꅿ䖔植➿鋕ꅿ
5&95 #: 乊俒 /*-4 +&"/ 㽲晋倛˙し䛸 53"/4-"5&% #: 缺陼 $"* 46%0/( 詍豣匌
In June 2015, renowned new media art curator, Christiane Paul
䎃 剢濼そ倞㯯넓谁遯瘼㾝➃⯘ꅽ倛裦㸞˙⥃繏㼩շ侸㶶谁遯ո
of this fundamental book, not only gives evidence of how rich
շ侸㶶谁遯ո涸痧♲晝雊䧮⦛♶⫦溏ⵌ✫齡❉〳腋鄄垦硹捀侸㶶谁
re-edited her book Digital Art for the third time. The new edition the practices potentially labelled as digital art are, but it also indicates the constant need for new theoretical tools. In the
introduction, Paul explains that the term digital art has become
an umbrella for such a broad range of artistic works and practices that it simply cannot encompass a uniformed set of aesthetics. If the term digital art seems so elusive in describing a specific set
of practices, one might wonder why we would choose it as the
♧剅鹎遤✫痧♲妄⥜鎎⡲捀锸鶤侸㶶谁遯㛇劥㉏겗涸♧鿈ꅾ銴衽⡲ 遯涸谁遯㻜驏剤㢵랃鞮㺢ず儘❠䭸ⴀ✫倞椚锸䊨Ⱘ涸宠彂彂♶ 倬㖈䒸锸鿈ⴕ⥃繏鍑ꅼ✫侸㶶谁遯鸏⦐そ珖涸⢪欽㸐䊺竤䧭
捀♧⦐㓭䭍滞㢵谁遯⡲ㅷㄤ㻜驏涸窡珖鸏❉⡲ㅷ鿪搂岁欽♧㤛窡♧
涸繡㷸禺窡⢵鹎遤娝겳⛳鏪⡹剚㉏傂搭侸㶶谁遯♧鑂搂岁彋焷
䲾鶤厥珏暶㹁涸谁遯㻜驏齡랃䧮⦛捀➊랃鼩銴䪾㸐⡲捀劥劍涸⚺겗 ヤ
editorial line of this issue?
Ⱖ㻜䪾侸㶶谁遯鼇⡲劥劍㼠겗僽ⴀ倴Ⰽ럊罌䣂Ⱖ♧㔔捀侸㶶谁
The idea of selecting digital art as a special feature is twofold.
瑠莅鎙皿堥涸歲箁涸㻜驏Ⱖ妄醢⡲鸏♧劍侸㶶谁遯㽠僽䋞劆
First, it is precisely the nature and capacity of the term to
be able to include such a broad variety of practices, which
ubiquitously blur the boundaries between the gallery space and the computer. The idea is also to acknowledge and embrace the paradoxes within all the works that can be classified as digital
art. Our ambition for this issue is to generate a fruitful, playful,
and dynamic set of conversations between curators, artists and collectives. Therefore practices embracing the term digital art
will coexist alongside critical views of the term. Curator Hannah
Redler, for example, who has been interviewed for this issue, will explain why the term digital art might be too deterministic. By
遯鸏⦐嚌䙂腋㣁㓭䭍㥶姽㢵垺⻋涸谁遯㻜驏⺫䭍✫齡❉垸祎✫殥䐤
䪭钢⚛䱺「鸏❉䨾閗侸㶶谁遯酭䨾⺫わ涸ぐ珏濨湽䧮⦛䋞劆鸏♧
劍腋莅湱ꡠ瘼㾝➃谁遯㹻鼩剤谁遯㕰넓涮欰鞮㺢剤馱⿶Ⱘ崞⸂涸㼩 鑨㔔姽劥劍䲿ⵌ涸♶⫦⫦僽侸㶶谁遯㻜驏鼩⺫䭍✫㼩侸㶶谁 遯鸏♧珖閗涸䪡ⴼ嫲㥶铞劥劍ꅷ鏞涸瘼㾝➃恎㫫˙榰䗞⹗㽠剚鍑
ꅼ捀⡦侸㶶谁遯♧鑂剚䌟剤麕㢵涸焷㹁䚍䠑Ⱖ妄⠶ꦑ猰䪮涸 涮欰莅佅䭰侸㶶谁遯剤✫倞涸わ纏鸏⦐珖閗⛳䎙⛖䧭捀✫厥珏 㹒鎊侸㶶谁遯鸏⦐珖閗剤䠑㖒넓植衽Ⰽ倰涸䠑격Ⱖ♧㼩猰䪮
暶殯䚍涸ꅾ倞ꡠ岤Ⱖ✳歋倴鑪珖閗劥魨剤衽暶㹁涸娜〷わ纏鸒
麕㻤鋕殹♴谁遯㻜驏ㄤ麕䖃谁遯莅猰㷸䪮遯⛓涸ꦡ猽耢粯䖰罜椚 鍑殹♴涸谁遯㻜驏
Lynn Hershman Leeson, Seduction of a Cyborg, 1994, DVD with sound, still image, 6.48mins, ZKM Collection © (2015) ZKM Center for Art and Media, Karlsruhe, © Lynn Hershman Leeson
referring to the technology that supports it, digital art takes on a new meaning
é¸?â›łĺƒ˝ć?€âžŠëžƒä§ŽâŚ›ĺŻšăš éŠ´ă–ˆďšłäž¸ăśśč° é Żďš´é¸?âŚ?窥ç?–â™´ď˜š
to pay new attention to the speciďŹ cities of the technology but also, with its
äž¸ăśśč° é Żćś¸ĺ¨œă€ˇâŻ“ë€?ď˜ˇăĽśĺ?“倞㯯넓⚛ĺ°?剤㼜Ⰼă ?ăśś
and appears almost as a statement. The term deliberately crystallises a will
historical undertone, a will to understand contemporary practices by looking at the subterranean relations that connects them to previous incarnations of art and technology.
This is why it has been decided to, under the umbrella of digital art, map out
é˝Ąĺžşä“˝é”…çŒ°äŞŽćś¸ćšśćŽŻäš?ď˜šç˝œă€Ťĺƒ˝â™§ĺŞŻç€Šĺ†žćś¸ăš çş?ćś¸é‘¨ď˜š
é˝Ąëž†ď˜šă¸?â¤‘ç˜žĺ€´ĺ°?ĺ‰¤é“žĺƒˆâĄŚâ&#x;ƒä§ă˝ äŞŽé Żâ›“ďšłĺ€žďš´ď˜ˇä§ŽâŚ›ă€ł â&#x;ƒäŞžäž¸ăśśč° é Żćş?ä§ĺƒ˝â™§âŚ?ĺ‘Ľĺ?şď˜šă¸?äŞé’˘âš›ď‰šă€ŠâœŤéş•ä–ƒč° é Żă„¤äŞŽé Żćś¸çŠĄĺ…Şď˜šâĄŽă–ˆćŽšâžżé“ƒăžŻâ™´ď˜šâ˝żĺ°?剤㠢Ⰼč?žäžŁď˜ˇ
the practices which are engaging with digital technology, and to reect on the
ć?€âœŤĺˆżĺš€â°…㖒乳鎣é¸?âŚ?ă‰?ę˛—ď˜šé¸?♧ĺŠ?㟠겗é…䧎⌛锞⢾㤚
emphasis o the speciďŹ cities of the technology to a more temporal deďŹ nition,
é¨&#x; ո朸ꝡäŒ?ç˜źăž?âžƒď˜ˇé¸?âŚ?ăž?éŒ’čŽŠéłľĺ€´ćśŻäž†
historical precedents of digital art. If new media, in its denomination, shifts the Nam June Paik, Internet Dream, 1994, Video sculpture, 287x380x80cm, ZKM Collection Š (2008) ZKM Center for Art and Media Karlsruhe, photo: ONUK (Berhard Schmitt) Š Nam June Paik Estate
䲞ç˛é˝Ąâ?‰čŽ…äž¸ăśśçŒ°äŞŽćśŽćŹ°ęĄ â¤šćś¸č° é ŻăťœéŠ?ď˜šâš›ă”?ęłƒé˝Ąâ?‰
the term does not clarify what constitutes the newness of the technology. One can see digital art as a framework, which acknowledges and absorbs previous embodiments of art and technology, but which nonetheless inscribes it in a contemporary context.
To explore this question further, one of the features of the issue is the interview of Omar Kholeif, curator in chief of the Electronic Superhighway (2016-1966)
exhibition held at the Whitechapel Gallery. This ambitious show sets a historical survey of proto and post-internet art, in a process of curatorial analepsis. This issue and the exhibition itself looks at digital art, as it is re-deďŹ ned by both
today s economical context and yesterday s experiments with computers. The
non-didactic yet critical space that the curators of the exhibition have managed to create is worth examining. Yet, their exhibition seems to have received
ć§ˆË™âŻ˜ę¨ŽăŁ—äąşă€Œä§ŽâŚ›ćś¸äą°é?žď˜ˇâŻ˜ę¨ŽăŁ—ĺƒ˝ăž?éŒ’Őˇę¨śăśŠë„žé¸ â°— 㛔掼ä?¤ď˜šăźŠĺ‚?ĺŠ?âœ˝č€˘çŹŞč° é Żâżťä–•âœ˝č€˘çŹŞč° é ŻéšŽé ¤âœŤĺ¨œă€ˇ
ă”?ęłƒčŽ…é”…ĺ?†ď˜ˇĺŠĽĺŠ?꧚é’&#x;⚺겗ㄤ♳霤ăž?éŒ’éżŞă–ˆăť¤é‹•äŠşé„„ăĽś âž›çŤ¤ć†˜é“ƒăžŻă„¤éş•âżĄę¨śčˆĄăťœë€żę…žĺ€žăš çş?ćś¸ďšłäž¸ăśśč° é Żďš´ď˜ˇ
ç˜źăž?âžƒâśžé¸¤âœŤâ™§âŚ?ĺ°?ĺ‰¤é“žäž†č’€ä•™ď˜śâĄŽâżśĺ™˛â°¨äŞĄâ´źä ‘ă„‚ćś¸ ç‘ ę&#x;Śď˜ˇć?ç˝œď˜šč° é Żăź ăšťâŚ›ăźŠĺ€´é‘Şăž?éŒ’ćś¸é?ąâ†â˝żâ´•ä§âœŤâ°?
âŚ?ĺ™˛ç•Žď˜ˇäž¸ăśśăŻŻë„“ć¤šé”¸ăšťęź›âĽœË™ăş˘âš—ć?€Őˇă‰ŞäŠźŐ¸ę§šé’&#x;䚋㝨
âœŤăž?é?ąď˜šâ&#x;ƒĺ™˛â°¨é•žâľžćś¸ĺ€°ä’ć?€ç˜źăž?âžƒâ¨žâœŤâ™§âŚ?⺍ă‚? ĺ“ éĄŚăĄŚćś¸ä¸â˝‚äŠ›âą ď˜ˇăĽśĺ?“é“žď˜šâžŽäŞĄé?ąé‘Şăž?ćś¸âž˛ă””ĺƒ˝â°Śçˇ„â›˜
ăˇ¸é Żĺ˝‹ç„ˇäš?ď˜šâ&#x;ƒâżťéź?ć€ŞâœŤĺŽĽâ?‰č° é Żăšťď˜šĺŤ˛ăĽśęŁšę¨Žé—’Ë™čŽžć™‹
ę†„ď˜šé˝Ąëžƒă”?估⛳é?Şĺƒ˝îš‰é‘Şăž?ă€Ťĺƒ˝ä–°ćŽšâž›ćž–äœ‚č ?障朸珪窄 抇㞯é…éź‡ă€ŠâœŤâ™§âŚ?ďšłăž“ä?Œä¨”ă•Źďš´ ď˜šé›ŠéŒšç˝?潓潓麕⿥莅ć¤?ă–ˆ ćś¸äž¸ăśśč° é Żď˜ˇ
polarised reviews from experts in the ďŹ eld; as is evidenced by digital media
â™śç›˜ĺƒ˝âĄ˛ć?€ç˜źăž?䎂č?ŠéźŠĺƒ˝ç ‡ç‘–äŠ¨â°¨ď˜šé¸?âŚ?ăž?éŒ’éżŞă€łâ&#x;ƒćş?
an ironic guide in which he spells out 11 tips for curators. If the author criticises
ĺš˘ĺ… ă–’é‚?ĺƒˆâœŤď˜šé‘Şăž?ćś¸ä ‘ă•Źâ›“â™§ď˜šâ¤‘ĺƒ˝äŞžé˝Ąâ?‰çŚžçłźâ™śĺš˘ćŹŠ
theorist Mathew Fuller and his critique for Mute. The author wrote his review as the exhibition Electronic Superhighway for its lack of scholarly accuracy and
omitting certain artists, such as Alexei Shulgin, one response could be that the show takes a screen capture of past and present practices alike, as found in today s irregular online environment.
The show could be read as an example of the epistemological limitations of the internet, both as a curating platform and as a research tool. After the interview with Omar Kholeif, it becomes clear that one of the intentions for the show
was to include those entangled and at times contradictory online concerns
as a way of reecting the relationship between art and network technologies. Fuller also starts his critique by pointing at how, as the exhibition unfolds, the inverse pyramid of art shown becomes smaller and the rooms get emptier as less work stands in for more art . Perhaps, as the works shown towards
ä§ĺƒ˝ăž?ć¤?㔔暜珪钢濟㽡ꣳ朸♧âŚ?çœ•â˘żď˜ˇčŽ…âŻ˜ę¨ŽăŁ—ćś¸é?žé”“
č?›ĺ‰¤ĺ„˜âœ˝ćšąćż¨ćš˝ćś¸çŹŞçŞ„ä ‘é‹…ă“ä?éšŽâ˘ľď˜šâ˘Şâ›“ä§ć?€ä§ŽâŚ›âżž ä™źč° é Żă„¤çŹŞçŞ„äŞŽé ŻęĄ â¤šćś¸â™§ç??ĺ€°ĺ˛ ď˜ˇăş˘âš—ă–ˆâžŽäŞĄâ´źćś¸â™§ ę&#x;šă¨Ľâ›łä˛żâ´€âœŤď˜šęŚ‘襽ăž?éŒ’ćś¸ăž?ę&#x;šď˜šďšłăž?éŒ’ćś¸č° é ŻâĄ˛ă…ˇâŤšâŚ?
â™˛éŒŹâ™§ĺžşéŚŠâ˘ľéŚŠăźď˜šä¨źę&#x;ŚéŚŠâ˘ľéŚŠç‘ ď˜šă””ć?€éŚŠâ˘ľéŚŠăźąćś¸âĄ˛ ㅡ腋㣠ä§ć?€âžżé‚?ďš´ď˜šç˝œé¸?ç??ć¤?é&#x;?âżśĺƒ˝ăĽśâĄŚćŹ´ćŹ°ćś¸â˝żĺ°?剤
ĺš˘ĺ˜˝ă–’ęĄŞę…źď˜ˇâ›łé?Şď˜šă–ˆăž?錒č?†éľœçŠĄĺ‹˛éżˆâ´•î™ˇéŠźčŚˆ ď˜ś ㄤ äŽƒâžżî™¸ćś¸âĄ˛ă…ˇäŠşçŤ¤é„„ä˝?âĄ˛â˝ˆćš&#x;ę¸čŻ˘ă…ˇď˜šâ°&#x;ă šä§ć?€č° é Ż
ă€ˇă„¤äŞŽé Żă€ˇâ™łâ°¨ĺ‰¤ĺžŚé’&#x;äš?ćś¸ĺ„˜âľ ď˜ˇăĽśĺ?“铞术䞆㛔朸갼㞾 掼ä?¤ĺ‰¤é§ˆăŁ ćś¸č° é Żă…ˇăž?â´€ç‘ ę&#x;Śď˜šé˝Ąëž†ă–ˆéŒšćş?ç˝?ęŹ—âľšď˜šé¸? â?‰âĄ˛ă…ˇă–ˆĺšŒä™‚â™łâ¤‘č…‹ăŁ ĺˆżâ¸ˆëŠŤĺ´žď˜šă¸?⌛襆â&#x;żćś¸äŞŽé Żä§´é?Ş
韊〳â&#x;ƒçŞ?ă¸?⌛äŒ&#x;⢾♧ë&#x;Šä§ƒčŽ?朸ĺľäœ‚ď˜šé¸¤ä§âŻ˜č&#x;›ć™‹Ë™ćŽ—㢚 ĺ…œä¨žé–—ćś¸ćŽšâžżč° é ŻâšĽćś¸ďšłäž¸ăśśâ´•é„ďš´ď˜ˇ
the end of the exhibition (covering the 60s 70s and 80s) have already been
ă–ˆ äŽƒď˜šč° é Żĺ¨œă€ˇăˇ¸ăšťâŻ˜č&#x;›ć™‹Ë™ćŽ—ă˘šĺ…œć?€Őˇč° é Żé”¸ă ˘Ő¸
of art and technology. If the ratio of space/artwork in the upper galleries of the
äž¸ăśśćś¸çŠĄĺœ“ď˜šâ°ŚĺŠĽé˘śâ˝żĺƒ˝ĺž¸äşźćś¸ď˜šâš›âš‚ä™?é‹•âœŤäž¸ăśśęŹ ă„?
established as museum pieces, as identiďŹ able moments in the common history Whitechapel Gallery might allow the pieces to conceptually breathe for the
viewer, their technological obsolescence might tint them with a nostalgic hue
that contributes to the digital divide in contemporary art that Claire Bishop has coined.
ăť¨âœŤâ™§çœ?剤ă ?ćś¸äż’ç•Žď˜šé”“é”¸âľŒć?€âžŠëž†ćŽšâžżč° é Żę§Şć?剤襽 âżťâ°ŚăźŠĺ‚ˆäŒ˘ćś¸ä•§ę° ď˜ˇă–ˆăĽ ćś¸äż’ç•Žé…ď˜šăĽ ä˛žéś¤âœŤéş•ĺ„˜ćś¸ăŻŻ
ë„“ăĽśâĄŚć ˝ä–¤č?ˆé¨ćś¸çšĄăˇ¸ď˜šâš›ă–ˆćŽšâžżč° é ŻăťœéŠ?âšĽé„„ćŽšâĄ˛ä§ƒ
čŽ?äŠ›ĺŞŻę…žĺ€žâ˘ŞćŹ˝ď˜ˇç˝œâĄ˛ăšťăŤŤă??蛂˙銯呔暜㝨⥲朸♧çœ?噲 â°¨éŒšăťŒâ¸‚ćś¸äż’ç•Žé…ď˜šâ›łä˛żâ´€â™§âŚ?é…˘âŻ?äš?ćś¸éŒšë&#x;Šď˜šâ˝°ę§Şć?
䞸㜜䊺獤ä§ć?€ćŽšâžżč° é ŻăťœéŠ?ćś¸âšĽä—ąď˜šâĄŽä§ŽâŚ›âŁœčŽ?ć?‚ĺ˛ ĺš˘
In 2012, Art Historian Claire Bishop wrote for Artforum with a famous essay
兠㖒邍僈⡦捀侸㶶⻋㖒䙼罌ㄤ錚溏罜鸏⦐㔮㞯㔔捀
nature, and overlooks the digital revolution and its impact on everyday life.
㾝ⴀ涸 荛 䎃殹➿⡲ㅷ⚥⿾僦涸⤑僽鸏珏㔮㞯
on why contemporary art despite being digital in structure is analogue in In her article she describes how once a medium has become obsolete, it
gains an aesthetic of its own and becomes available for a nostalgic re-use in
contemporary art practices. In her well observed review of the exhibition for
MutualArt.com, writer Natalie Hegert provides a complementary perspective by underlining that, despite the fact that digital has become more central to contemporary fine art practices, we are still struggling to articulate what it
means to think and see digitally. This is a struggle that is rendered more difficult by the ever-changing nature of the digital landscape. The contemporary
pieces from 2000 to 2016 displayed at Electronic Superhighway reflect this
侸㶶嵠惐㢵隶涸劥颶隶䖤刿⸈䗂꧹շ侸㶶넞鸠Ⱇ騟ո
鸏❉⡲ㅷ鿪鄄佞㖈殥䐤涸♧贫㾝䑼鸏窍錚溏罏涸䠮
錏⤑僽殹➿谁遯涸䋒㾝僽⼧ⴕ㔮ꨈ涸劥鑪欰佪涸儘 麕懏㐼佪䥰⚛尝剤㖈瘼㾝⚥饱⡲欽罜⥌䜂涸岌憭⛳ 劢䖤ⵌ贖椚鸏珏㾝錒♳鿈ⴕꅷ欽ず儘⛳鄄㺢⹗䭸ⴀ
涸ꦑ堥垸䒭〳⟃鄄溏䧭僽䖕㔔暶笪倰䒭涸♧⦐暶
䖄焷㻜㥶殗㢚兜ㄤ㣐遺˙㋮倛ⵄ暶㖈 䎃䨾铞涸 㖈♧⦐㕠粕衽➃䊨ⵖㅷꅾ倞铃㞯⻋ㄤꅾ倞⢪欽涸谁遯㻜 驏㣐橇㞯♴⾲ⶾ䚍ㄤ⡲罏魨⟨䊺竤僽麕涸錚럊✫
㼩侸㶶谁遯♧鑂涸ꅾ倞⢪欽⛳僽捀✫莅䖕㔔暶笪 谁遯嚌䙂䬘騅ꨆ⚛䖰嚌䙂♳䪾䖕㔔暶笪谁遯䨾銴
对鄭涸匌銯溏䧭僽娜〷䒂糵ㄤ䕧갠涸♧珏倰岁Ⱘ넓
纏痧♧➿涸笪窄谁遯㹻䫒䬩㯯넓暶殯䚍鸏珏錚䙂姻 㥶谁遯〷㷸㹻⡦㝱ⵄ䩯㖈շ谁遯⛓䖕ո⚥鍑ꅼ涸齡垺
ꅷ欽門㢵꧹✥搂䎸涸谁遯㻜驏《➿✫㸐⡎僽鸏酭ꅷ
欽侸㶶谁遯涸对㹁僽銴㎲鑑㖈殹➿谁遯㻜驏涸Ⰹ 鿈埠用䭸ぢ垦䲿ⴀ♧⦐㢵垺䎂荩㖈鸏酭铃鎊涸⢪欽
⡲捀♧珏㯯➝僽稟呏倴幀Ⰵ✫鍑侸㶶㕬兞穉䧭䧭ⴕ涸 㛇燊♳涸㻤鋕➛㣔䧮⦛⡦⟃椚鍑♧⦐侸㶶㕬⫹腋㣁䠑
䭸➊랆⤑僽䧮⦛䋞劆㼩侸㶶谁遯涸暟颶⻋ㄤ⿾暟颶⻋
麕玑鹎遤幀Ⰵ椚鍑䨾閗⿾暟颶⻋僽鸒麕䖰垸亼禺窡 ⵌ管焺麕玑㻜植涸⡎僽鸏⦐麕玑鼩僽㶸㖈暟颶⻋
⽰⢪僽剓䗂꧹涸管玑穡圓⛳僽㶸倴♧⦐㻜넓渱㶩⛓
Ⰹ罜鸏❉穡圓⛓䨾⟃㶸㖈⛳鼩僽鸒麕➿邍 ㄤ 涸ꨶ 彂ꡠ涸隶⻋㻜植涸铞ⵌ䏁䧮⦛涸用㜥㽠僽銴㖈谁 遯ㄤ䪮遯㻜驏⚥ꅾ倞䒊用㹐넓ㄤ⚺넓涸㼩鑨
䧮⦛䲿ⴀ侸㶶谁遯㽠僽倞涸ꖏ걧䧮⦛⛓䨾⟃欽⯕
㷸ꦡ㌈䠑㖈 䎃ꅾ倞㾝劆䕎䒭⚺纏傍㖈䎃ⴲ6$-
涸♧⦐겗捀շ㔔暶笪⛓䖕谁遯涸麉䨡奚⸂ㄤ坿馱ո涸 剚陾♳⺫䭍谁遯椚锸來䱇⯘倛♨˙倛㝝⽓碜晋㖈Ⰹ涸 㼭穉䲿ⴀꧪ搭導㺑✫䖎Ꟁ儘⡎僽䕎䒭⚺纏䧴鏪⧩
䖤ⱄ妄㻤鋕ず儘➮⦛䒸欽䐁㹁倛㛇涸⡲ㅷ铞僈䕎 䒭⚺纏腋㣁넓植幀ⵠ涸爢剚ㄤ佟屛錚럊㛇倴姽劥劍 ⚺겗鸒麕㻤鋕涸錬䏞錚㻌錚럊ㄤ崩玑僽㥶⡦鄄鋕錏⻋
ツ植涸薊㕜谁遯㹻䩯꼛喀ㄤ⯘ꨮ랱䗞涸鋕錏镾ⵞ⡲ㅷ ⤑僽♧⢿ず儘⧩䖤岤䠑涸僽㖈շꨶ㶩넞鸠Ⱇ騟ո꣡
䌟涸剅⚥剤Ⰽ眝俒畎⛳僽ꡠ倴鋕錏植韍涸Ⱖ⚥⛓♧ ⹛䢀䕧⫹闍䌌蒕뜩⽓˙䊼晋喀䲿ꄁ隡罏嫦⦐侸㶶㕬⫹
鿪僽♧⦐⫹稇罜薊㕜谁遯㹻ㄤ⡲㹻呔䬘㨗˙ㆁ⟿䗞 䭸ⴀ⫹稇纈⢪䖤䧮⦛〳⟃鷴麕㾓䍌畀㖈ꖏ걧䨾贖
涸⡙縨鸏⢪䖤䧮⦛乩剤㢵ꅾ鋕錬㔔姽⫹稇䧭✫铃
鎊⢪䖤錚滞腋㣁鹎Ⰵ㢵㾵植㻜䨾⟃䧮⦛鼇乵岤ꅾ⫹ 稇涸⡲欽雊隡罏䱳程鋕錏ㄤ倰岁涸㢵ꅾ錬䏞
Installation View of Electronic Superhighway at Whitechapel Gallery
⢵铞劥劍⚺겗䠑妝䮋䨞䖕㔔暶笪谁遯䟝岁⚥涸湱㼩⚺
struggle, for they are all contained within the first room of the gallery, giving the viewer a sense of the difficulty in curating contemporary fine art, where
by definition the filter of time hasn t played its role in curation, and where the overflow of information has yet to be processed. This randomness at play in
some parts of the exhibition and pinned down by Mathew Fuller, can be seen as a characteristic of the post-internet approach. Indeed, as both Bishop and
David Joselit remarked in 2012, originality and authorship are bygone ideas in a context where practices revolve around the re-contextualisation and reappropriation of artefacts.
The re-appropriation of the term digital art is also a way of taking some
distance away from the term post-internet art and to conceptually see a set of
continuations and influences where post-internet art advocates ruptures. More
specifically, this special issue aims at challenging the relativism embodied in the notion of post-internet art. The notion of medium specificity was rejected by
the first generation of net-artists and has been substituted by various forms of
discursiveness in art practices, as explained by art historian Davis Joselit in After
Art. However, the decision to adopt the term digital art, here, is an attempt to
set a few pointers within the realm of contemporary practices, and to propose a hybrid platform where the use of language as a medium is anchored into a deep understanding of what constitutes a digital image. Thinking back
to an understanding of what a digital image can signify today is a wish to
gain a deeper comprehension of both the processes of materialisation and
dematerialisation at play in digital art. Dematerialisation is a process of shifting from analogue systems to coding. There is, however, still some materialisation, as even the most sophisticated java script structures are locked in a physical
box and their existence is thanks to a variation of electrical switches symbolised in zeros and ones. In the end, the position adopted here is an attempt to re-
establish a dialogue between the object and the subject in art and technology practices.
Digital art then is proposed as a new lens. The optical metaphor is intended
here as a way of re-envisioning what formalism can be in 2016. At a conference held earlier this year at UCL, titled Playing Games, Power and Pleasure in Art
殹♴㢵㯯넓椚锸ㄤ谁遯䪡鐱涸铃㞯㕠粕衽䖕侸㶶䧴罏䖕
pointed out that the notion of formalism, which has been dismissed for a while,
卓溫僽鸏垺齡랆劥劍꧹钟鏤用涸⤑僽傈䌢侸㶶䪮遯兜
After the Internet, a panel with professor of art theory Kerstin Stakemeier,
was perhaps worth examining again, and citing Kandinsky s work, formalism
had the capacity to embed poignant social and political ideas. Accordingly, this issue will observe the ways in which ideas and processes are visually conveyed. We examine the visual irony at play in the work of British artists Thomson &
Craighead for one example. It is worth noticing that, in the book accompanying Electronic Superhighway s exhibition, two essays are concerned with visual
phenomena. One of them, by lecturer in moving image Erika Balsom, reminds the reader that every digital image is a pixel (44:2016). According to British
artist and writer Graham Harwood, clusters of pixels enable us to dive through our screens and stand in the position occupied by the lens (Harwood, 2008:
215) and as such allows a multiplicity of viewpoints. Thus, the pixel becomes
language, allowing the viewer to enter a multi-layered reality, hence the choice
➃겳嚌䙂穡卓⤑僽黇ꨆ✫椚锸ㄤ䪡ⴼꦡわ涸㕬兞㥶
麒䚍ㄤ㯯넓暶殯䚍倞䕎䒭⿶䧴罏繏蛏楧˙⯘窣䨾珖 涸䪮遯佅䭰⛓涸㼩鑨㖈箁⥌䜂涸㉂ㅷ⻋鸏珏
䧮⦛殹♴湡漾涸钢濼须劥⚺纏ㄤ넓뀿竤憘⚥涸鹎玑ㄎ ㋎衽⯘窣䨾閗涸䪮遯佅䭰嚌䙂鹎ⰅⵌⰦ➮걆㚖
殗㢚兜䨾閗涸侸㶶ⴕ鄭瑖Ⱖ⾲㔔⛓♧⛳㖈倴⫄窡 涸㼩倴侸㶶谁遯㉂噠⻋鄄谁遯堥圓ⷔ㹁錚溏哭⟝涸䫼
ⵖ㥠钢捀侸㶶䕧⫹悴㖈涸搂侸䗂ⵖ〳腋ㄤ谁遯ㅷ㉂
噠⻋涸ꅾ銴哭⟝Ղ獺緄䚍Ղ僽胝麥罜꼦涸谁遯笪 畀涸䒊鏤䮋䨞✫谁遯ㅷ鋕錏邍麨涸⫄窡錚럊⡎僽곏
罜僒鋅涸շꨶ㶩넞鸠Ⱇ騟ո♳鼇ⴀ涸鏪㢵鵜劍涸⡲ㅷꅷ
欽涸➠僽⫄窡涸㯯넓♶盘僽伢䕧粭殥鼩僽ꧨ㝖鸏
here to pay attention to the pixel as a way of letting the reader explore multiple points of views and different approaches.
The current context of media theory and art
criticism revolves around concepts of the post-
digital or the post-human, and consequently the then this issue sets up a dialogue between the
ubiquity of digital technology in the everyday and a new form of medium specificity or, as Rosalind Krauss called it, technical support (2010: 37). The
commodification of online information, that one
witnesses in today s cognitive capitalism and the
experience economy, invites a displacement of her concept of technical support into another field. One of the reasons that accounts for the digital divide, described by Claire Bishop, also lies in the traditional resistance of digital art to be
commercialised and to fall under conditions of
spectatorship set up by art institutions. As Bishop remarks, the potential endless multiplication
of the digital images goes against the notion
of rarity crucial to the commercialisation of an
artwork. The architecture of the web in net art
challenges traditional ideas of what an artwork visually represents. Yet, it is striking to observe
that within Electronic Superhighway, many of the
recent examples of works selected are embodied in traditional medium, be it photograph, painting, or
sculpture. What does it say about post-internet art? Is 㥶卓䭭䖕㔔暶笪谁遯⢵铞⿶僽䙦랆㔐✲ヤ䖕㔔暶笪谁遯僽♶僽䭸谁遯㹻란ⵄ㖒䖰 門㥶ꨶ舡谁遯⛓겳涸㖒倰⦶欽瘼殜搭䖕䪾㸐麌欽ⵌ厥⦐ꦑ儘〳鄄谁遯䋑㜥嶋顥涸㯯
넓♳鸏僽♶僽♧珏䖰Ⰹ鿈仠✥侸㶶谁遯㉂噠⻋涸⨞岁䫈䧴僽谁遯莅猰䪮㻜뀿⚥䗱 涸䖕糒罏⦛荈격痘ざ谁遯䋑㜥宠涸倰䒭շꨶ㶩넞鸠Ⱇ騟ո雊➃錏䖤剤馱涸㖒倰㖈 倴㸐⡂⛖㖈鸏Ⰽ珏用㜥䴸仗㸐㤮㹁✫倞㯯넓谁遯涸㛇瀖㖈鸏酭♧❉⟃䖃谁遯 㻜驏⚥剤ⵄ〳㕬涸걆㚖彗鹎✫刿㣐涸㣔㖒䖰罜㉬✫兜⿻⻋ㄤ㉂噠⻋涸鹎玑鸏酭 䧴鏪㽠僽腋㣁䪪ⵌ⯋植➿䚍涸㖒倰
post-internet art a situation where the artist astutely borrows tactics from, for instance, computer art and applies them to a medium ready to be consumed by the art market? Is this a way of disrupting the
commodification of digital art from within? Or is one witnessing the heirs of, for instance E.A.T., willingly complying with the demands of the art market? One of the interesting things about Electronic
Superhighway is the way in which it seems to
oscillate between these two positions. It represents a cornerstone in the representation of new media art, where a selection of what used to be a rather niche
field of art practices has developed a broader reach and as such started a process of popularisation and commercialisation. This, is perhaps where metamodernity can be found.
Aristarkh Chernyshev, Loading, 2007, Custom LED Panel, 50x6cm, Courtesy the artist and XL Gallery, Moscow © Aristarkh Chernyshev
departure from the visuals they imply. If this is true,
THOMSON & CRAIGHEAD: TIMESCALES AND POETRY MACHINES ĺź”ă¨–ĺ•żčŽ„âŻ˜ę¨ĺ‘”ëžąä—žď˜ť ĺ„—ę&#x;Śă ˘ä?žčŽ„é‘—ĺ§?ĺ ¤ă?ź
*/5&37*&8&% "/% 5&95 #: äą°é?žâżşäšŠäż’ /*-4 +&"/ 㽲晋倛˙㠗䛸 53"/4-"5&% #: 矺陟  .*$)&--& :6 ⥎ăźäœŁ +": $)6/ $)*&) -"* éŁ†ęž™ĺŒŠ *."(&4 $0635&4: 0' ă•ć™™ä˛żâŁ˜  $"330-- '-&5$)&3 ("--&3: ⽓峍晋 ä’źč&#x;šä—˘ćŽĽä?¤ 1)050(3"1)&% #: 䟥䕧  4:/%* )6"/( 랓撎匇
Jon Thomson and Alison Craighead work across video, sound, sculpture,
installation and online space, using technology as a means to reformulate fundamental human questions for contemporary times. Through
sensitive appropriation of images, texts, and data from online sources, the artists produce generous, lyrical works that both exercise the dramatic conventions of cinema and examine the changing socio-political
㋎䛸˙埔㨗喀ㄤ蒕蛂喀˙ꨎ呔랹䗞朸✞⥲騗錊䕧⍚耍갉
ꧨă?–î™—é…¤ç¸¨ă„¤çŽ â™łç‘ ę&#x;Śď˜šâžŽâŚ›äš˛ĺ€´âľ„ćŹ˝äŞŽé Żď˜šâ˘Şâ›“âĄ˛ć?€â™§ç??
ę…žĺ€žé‘Łę…źćŽšâž›âžƒę˛łă›‡ĺŠĽă‰?ę˛—ćś¸äŠ›ĺŞŻď˜ˇé¸’éş•ăź&#x;ă–ˆçŽ ćś¸ă•ŹâŤšî™—äż’
ăśśî™—äž¸äş™ă„¤â°ŚâžŽéĄťĺ˝‚éšŽé ¤ä˝ľęŒ´ćś¸äŽąćŹ˝ď˜šč° é Żăšťâśžé¸¤â´€éžŽâžŠćś¸
äŤ‰äž•âĄ˛ă…ˇď˜šĺ‚‚éşŒćŹ˝âœŤę¨śä•§é“ƒéŽŠćś¸ä¨Ąâˇœäš?ď˜šă šĺ„˜âżśĺ˘žé‹•âœŤâĽŒäœ‚
ĺ„˜âžżçˆ˘ĺ‰šä˝&#x;ĺą›çŠĄĺœ“ćś¸éšśâť‹ď˜ˇă–ˆâžŽâŚ›ćś¸âĄ˛ă…ˇâšĽď˜šĺ„˜ę&#x;Śä§âœŤę§¨ă?–
structures of the Information Age. In their works, time is treated with
ăšťäŠ›â™łćś¸âž˛ĺ‹žäż˛ď˜šâ™śĺ€Źé„„ę§¨ćĽƒď˜šé„„ę™?é¸¤ď˜šé„„ę…žă?–ď˜ˇ
remodelled.
é¸?ăźŠč° é ŻäľŠĺ˘‚âśžä’ŠâœŤč…‹č?ˆä§ŽćŹ°ä§ćś¸é‹•éŒ?âżťę°‰ĺ?żçŚşçŞĄď˜šâľ„ćŹ˝ęŚ‘
a sculptor s mentality, as a pliable quantity that can be moulded and
The duo create generative visual and musical systems that employ chance operations as a means to cut loose from the conďŹ nes of traditional
ĺ Ľćś¸äš˝âĄ˛ĺ€°ä’äť—č†¨âŤ„çŞĄäžƒâœ˛ćś¸ă˝ˇęŁłď˜šăź&#x;ć“żäœŤâ›“âœ˛ç¸¨â°…ĺ€žćś¸é“ƒ
ăžŻćŽšâšĽď˜šé›ŠéŒšç˝?ăźŠäŠşćżźçŠĄĺœ“âżťäž•ăžŻćŹ´ćŹ°ďˆŁĺ€žćś¸é?‘éšĄď˜ˇâžŽâŚ›ćś¸
âĄ˛ă…ˇĺž¸äşźâœŤďˆŁć¤•é¸’âĽŒçŚşçŞĄâšĽä˝…ę¨†ç śçƒąćś¸ĺ?şĺœ“ď˜šäąłç¨‹čĄ˝é¸?â?‰çŚş
Thomson & Craighead. Photographed by Syndi Huang.
Thomson & Craighead, A Temporary Index, 2016.
narrative, re-contextualising the familiar to allow for new readings of known
structures and situations. These works mimic the fragmented frameworks of
global communication systems while also exploring the implications of these
systems on human relations to time and space. For Thomson & Craighead, the
spectre of humanity is always present in the machine, even as a disappearance. The pair expose the concealed politics of cyber-interaction, giving tactile form to the multitude of anonymous disembodied voices inhabiting the internet. The encounter with these ghosts is what drives the poetics of the artists
practice: the viewer seeing themselves within the work, their experiences mirrored, reframed, and made strange.
Thomson & Craighead apply a diverse range of conceptual tactics, evoking 1960s systems art, 1970s structuralist film-making, the intellectual rigour of
early Minimalism, and the compositional constraints of the influential Oulipo literature group. This intentional shifting of form and approach is vital to
Thomson & Craighead s practice; art-making as a scavenger hunt for meaning in a landscape of constant change, or as Italo Calvino said, A classic is a book that has never finished saying what it has to say.
Presented an engaging and successful show at Carroll/Fletcher, the duo sat
down with us to talk about some of the intentions behind Party Booby Trap and what it means to work with streams of data in contemporary art.
窡㼩➃겳莅儘莅瑠涸ꡠ⤚䨾䌟⢵涸䕧갠㼩弔㨗
喀ㄤ⯘ꨮ呔랱䗞⢵铞堥㐼籏僽䌟剤➃䚍涸鿈ⴕ⭽盘
♶僽湬䱺涸곏植弔㨗喀ㄤ⯘ꨮ呔랱䗞䳷爚✫笪窄❜崩
⚥悴询涸佟屛齡❉✽耢笪♳涸⼣そ耫갉隶䖤〳鋅莅
鸏❉䎖涸♶劍罜麂뀝⹛衽谁遯㹻涸鑘䠑㻜驏罜
錚滞㖈⡲ㅷ酭溏鋅荈䊹荈魨涸竤娜⛳鄄僦撑鄄ꅾ
㝖⚛隶䖤꣫欰
弔㨗喀ㄤ⯘ꨮ呔랱䗞䱰欽㢵珏錚䙂❜籽涸䩛岁雊➃䟝
饱 䎃➿涸禺窡谁遯 䎃➿涸穡圓⚺纏ꨶ䕧傍
劍噲矦⚺纏涸㓂阌鼩剤捦⸂岚悴㖈俒㷸䊨䑖涸穉ざꣳ
ⵖ椚䙂鸏珏ⵠ䠑鱲䳖䕎䒭莅倰岁㼩➮⦛涸㻜驏㽍捀
ꅾ銴➮⦛㽠⫹幢麥㣗♧垺㖈♶⨢隶䎑涸兞錚酭䯲䯝䠑
纏䧴罏䒸欽⟻㝝繏˙⽓晋笞開涸鑨⢵铞竤Ⱙ㥶ⱁ
㫔㫔麥⢵《⛓♶湈
㖈⽓峫晋 䒼蟛䗣殥䐤殥䐤䧭⸆莊鳵✫痧✳妄⦐㾝շ崣㼩
鑠ꨮո弔㨗喀莅⯘ꨮ呔랱䗞ꦑ㗂㖈倾莅䧮⦛冱锓㾝 錒胝䖕涸䟝岁⟃⿻殹➿谁遯酭⢪欽侸亙崩ⶾ⡲涸䠑纏
ART.ZIP: The show presents a lot of new works, have they been conceived especially for Party Booby Trap?
"35 ;*1é¸?匄ăž?éŒ’ăƒ„ć¤?âœŤâ™śăźąĺ€žâĄ˛ă…ˇď˜šă¸?âŚ›ĺƒ˝ćšśâ´˝ć?€
that we d be doing this exhibition since last autumn. Although one of the
ę&#x;šă¨Ľä§ŽâŚ›ă˝ 濟麼 銴鳾é¸?匄 ăž? éŒ’ď˜ˇâĄŽ Ⰼ⚼♧ â&#x;?⥲ㅡ Ő‚
JT: A lot of the works were made especially for the show, because we ve known works, A Temporary Index, is part of an extended research based project, which is called Nuclear Culture. Dr Ele Carpenter, at Goldsmiths, is overseeing a large
project that looks at the ways in which our legacy nuclear culture is embedded within the art world, but also within sociological frameworks. It is a vastly interdisciplinary project and we are one small part of this.
Őˇĺ´ŁăźŠé‘ ę¨ŽŐ¸ä¨žâśžâĄ˛ćś¸ăŒ¨îšŽ
+5é?Şă˘ľâĄ˛ă…ˇĺƒ˝ćšśâ´˝ć?€é¸?匄ăž?éŒ’ä¨žâśžâĄ˛ćś¸ď˜šä–°âżĄäŽƒçŒ¨ăŁ” Őˇĺ†žĺ„˜ćś¸ç¨‹ä’¸Ő¸Ő‚ĺƒ˝Őˇâž˛ăśŠĺ‘?äż’âť‹Ő¸ç ‡ç‘–é“ę˛—ćś¸â™§éżˆ â´•ď˜ˇ é¸?âŚ?é“ę˛—ĺƒ˝ę†„âť ăˇ¸ę¤Žćś¸č’•ć™‹Ë™â˝“č§?ćšśä¸ăźŹćś¸â™§âŚ?ăŁ?
ă˜—ç ‡ç‘–ę°ŞćšĄď˜šé¸?âŚ?ę°ŞćšĄäąłç¨‹ćś¸ĺƒ˝âž˛ăśŠĺ‘?俒❋㼜⥌応Ⰵč°
é ŻčŽ…çˆ˘ĺ‰šăˇ¸ď˜ˇă¸?ĺƒ˝â™§âŚ?뼔ăŁ?ćś¸é¨—ăˇ¸çŒ°ç ‡ç‘–éŽ™âˇ”ď˜šç˝œä§ŽâŚ› ă€Ťĺƒ˝âżŽčŽ…âœŤâ°ŚâšĽâ™§ăźéżˆâ&#x;¨ćś¸ç ‡ç‘–ď˜ˇ
AC: I think that the really broad themes of the show are about dealing with
"$䧎钢ć?€é¸?匄ăž?éŒ’ĺˆżăťŤä‘žćś¸âšşę˛—ĺƒ˝ęĄ ĺ€´ĺ„˜ę&#x;Śćś¸ď˜ˇĺ‰¤ęĄ
maybe the Apocalypse perfume is talking about the end of time, the end of
ŐˇĺŠŁâš†Ő¸âľąĺƒ˝éŽŁé”¸ĺ„˜ę&#x;Śćś¸ćšˆęą§Ő‚⚆ć˛ĺŠŁĺ‚ˆď˜ˇä§ŽâŚ›é‘‘襽揽
time. The nuclear counters are talking about really massive timescales and then the world. We are trying to look at the hubris of thinking about time in dierent ways. There are small sections of time and then big pictures of time.
➲㜊ĺ‘?ćś¸âĄ˛ă…ˇé”“é”¸ćś¸ĺƒ˝ă¸ŞăŁ?ćś¸ĺ„˜ę&#x;ŚçŽ°ä?žď˜šç˝œęťťĺŽ?⥲ㅡ ♜㠚朸倰ä’éŒšĺş ĺ„˜ę&#x;Śď˜šéŒšćş?♧ăźĺŞŻĺ„˜ę&#x;Śé…朸â&#x;ƒâżťĺˆżëĽ”ăŁ? ĺ„˜ę&#x;Śĺ‘Ľĺ?şé…ćś¸ďšłĺ„˜ę&#x;Śďš´ď˜ˇ
JT: Stutterer, which we have shown three times, takes ourselves into a huge
+5⥲ㅡա犥䊟ո䊺獤鄄ăž?çˆšéş•â™˛ĺŚ„âœŤď˜šă¸?䪞䧎⌛äŒ&#x;éšŽâœŤ
that s 3.2 billion letters. Although it is the representation of one person, to
âšâŚ?ăśśĺŤ˘ćś¸âžƒę˛łă›‡ă””çŠ‰âžżé‚?âœŤâ™§âŚ?ć Źç”¨ćś¸âžƒď˜ˇę§Şć?」
stream of text, which is the human genome. It represents an individual person, actually see the nuclear time describing the whole of the genome it suddenly becomes an unimaginably long data set. We use that as a score and then to
trigger videos and create what we call poetry machine. It reects upon the 13
years it took for the human genome to be sequenced for the ďŹ rst time. We end
up creating a form of monument, but also an unimaginable representation of a self.
ART.ZIP: It is really interesting to see how the works displayed are like a set of pointers displayed in the gallery space, they are evocative without telling the viewer what to think, but rather what to consider. Are you thinking in term of accessibility when you re in the process of making the work? AC: Common Era is a series of crayon drawings that have a collection of
statements or predictions of when the world will end. In a way, we see it very
much like a documentary. We imagine documentary to be a ďŹ lm, but actually
we re showing 16 predictions for the end of the world and by just pitting them against one another you start to see the dates that have passed and the ones that are very into the future. It s an interesting gaze.
JT: They start to act on each other. You can see there are false statements; you
♧âŚ?ć?‚卲뼔ăŁ?朸俒劼é…ď˜šâ›łă˝ ĺƒ˝âžƒę˛łă›‡ă””çŠ‰ď˜ˇé¸?âŚ?剤襽 âžżé‚?âœŤâ™§âŚ?âžƒď˜šâĄŽäŞžé¸?âŚ?ă›‡ă””çŠ‰ćŹ˝ĺ„˜ę&#x;Śćś¸ĺ€°ä’â˘ľăƒ„ć¤?朸
鑨㽠障ä§âœŤâ™§âŚ?ć?‚ĺ˛ ä&#x;?⍚Ⰼę&#x;€ä?žćś¸äž¸â´Şď˜ˇä§ŽâŚ›âľ„揽é¸?âŚ? 䞸⴪⥲ć?€ĺ?żé™—ď˜šâ˘ľé?¸ćśŽä•§âŤšćś¸äš…ä˝žď˜šâ°?ç˝?朸犥㠖ä§ć?€âœŤ
ä§ŽâŚ›ä¨žâśžé¸¤ćś¸ďšłé‘˜ĺ§?ĺ Ľă?źďš´ď˜ˇŐˇçŠĄäŠźŐ¸ä™źç¨‹âœŤęťˇĺŚ„ä§â¸†äą–
â´Şâžƒę˛łă›‡ă””çŠ‰ä¨žč”…éĄĽćś¸ĺ„˜ę&#x;Śîš‰âź§â™˛äŽƒď˜ˇŐˇçŠĄäŠźŐ¸ă˝ ⍚♧ä? ç§ ä™‚çƒľď˜šç§ ä™‚čĄ˝ĺ„˜ę&#x;Śď˜šâĄŽă šĺ„˜ă¸?â›łĺƒ˝ăźŠâ™§âŚ?âžƒćś¸ä˛žç˛ď˜šă€Ť ĺƒ˝é¸?ç??䲞ç˛ę¨ˆâ&#x;ƒä&#x;?âŤšď˜ˇ
"35 ;*1é¸?匄ăž?éŒ’ćś¸âĄ˛ă…ˇę¤Ťâ´Şĺ€°ä’ä–Žĺ‰¤éŚąď˜šâŤšâ™§çŠ‰çŠ‰
ĺžŚçˆšâ™§ĺžşăƒ„ć¤?ă–ˆćŽĽä?¤ćś¸ă ?č´–ď˜ˇâĄ˛ă…ˇâ›“ä¨žâ&#x;ƒč…‹ä’¸éĽąâ°&#x;ë’Šâš›
â™śĺƒ˝ăƒ‡é?°éŒšç˝?ä™źç˝ŒâžŠëžƒď˜šç˝œĺƒ˝ćş?âĄ˛âžŠëžƒď˜ˇâĄšâŚ›ă–ˆâśžâĄ˛ćś¸ ĺ„˜âŚŹĺ‰šç˝ŒäŁ‚âĄ˛ă…ˇćś¸ă€łéšĄäš?ăŒ¨îšŽ
"$ Őˇâ°—âŻ‹Ő¸ĺƒ˝é€•ç˜˜ćŽĽâĄ˛ă…ˇď˜šâ™łęŹ—ę§Œă –âœŤâ™§çŚşâ´ŞęĄ ĺ€´âš†ć˛ĺŠŁ ĺ‚ˆćś¸ăš’éŽŠä§´ę°¸éŽŠď˜ˇă–ˆĺŽĽç??玑ä?žâ™łâ˘ľé“žď˜šă¸?ă˝ âŤšĺƒ˝ç§ ę?—晚
â™§ĺžşď˜šç§ ę?—ć™šäĽ°é‘Şĺƒ˝ę¨śä•§â™§ĺžşćś¸ď˜šâĄŽĺƒ˝ä§ŽâŚ›ăƒ„ć¤?ćś¸ă€Ťĺƒ˝
âŚ?⚆ć˛ĺŠŁĺ‚ˆćś¸ę°¸éŽŠď˜šäŞžă¸?⌛♧âŚ?âŚ?âš›â´Şäą–ä˝žď˜šâĄšĺ‰šćśŽ ć¤?ă¸?âŚ›ĺƒ˝âœ˝ćšąăźŠç”¨ćś¸ď˜šĺ‰¤â?‰ę°¸éŽŠä˛żâżťćś¸ĺŠŁĺ‚ˆĺ„˜ę&#x;ŚäŠşçŤ¤éş•
âżĄď˜šĺ‰¤â?‰éźŠă–ˆĺŠ˘â˘ľď˜ˇä§ŽéŒ?ä–¤ćş?襽é¸?â?‰ăźŠĺŤ˛ă„¤ćż¨ćš˝ä–Žĺ‰¤ä ‘ ä™źăƒ¤ď˜ˇ
can see that there are statements that we can t really contemplate. In acting
+5ă¸?⌛⛓ę&#x;Śćšąâœ˝éĽąčĄ˝âĄ˛ćŹ˝ď˜ˇă””ć?€âĄšă€łâ&#x;ƒćş?âľŒé˝Ąâ?‰ę?Ťé“?
prediction in the ďŹ rst place, because it seems to me to be a hubristic tendency
鸒麕é¸?â?‰ę°¸éŽŠăž?ę&#x;šéŽŁé”¸ď˜šćş?ćş?ä§ŽâŚ›ĺƒ˝é˝Ąëžƒćś¸ćœ&#x;ăĽźď˜šĺ´žă–ˆ
on each other we re hoping that it opens up the form, the idea of making a
when we all live in a universe we have no control over. So making a prediction of a world s end is an act trying to take control. Seeing them operating in that way refers to religion and refers to science.
ćś¸ę°¸éŽŠď˜šâĄšă€łâ&#x;ƒćş?âľŒé˝Ąâ?‰ä§ŽâŚ›ć?‚ĺ˛ ĺƒˆćśŻćś¸ăš’éŽŠď˜ˇä§ŽâŚ›ä‹žĺŠ†
♧âŚ?ĺ‘?劼ć?‚ĺ˛ äąžâľ–ćś¸ă¸™ă¸żé…ď˜ˇć?‚é”¸ĺƒ˝ă¸ťäž†éźŠĺƒ˝çŒ°ăˇ¸âĄ˛â´€ ę°¸éŽŠď˜šé¸?éżŞĺƒ˝é‘‘ă•Źă¤žä–¤äąžâľ–ĺĽšćś¸â™§âŚ?é ¤ć?€ď˜ˇ
When you ask the question about the space that the work creates, it s very
ęĄ ĺ€´âĄšă‰?âľŒćś¸âśžâĄ˛ç‘ ę&#x;Śď˜šä§ŽâŚ›é’˘ć?€ęŹŒäŒ˘ę…žéŠ´ď˜ˇä§ŽâŚ›â™śĺ‰š
making something that proselytising. Rather, we re trying to create spaces that
ĺˆżę˛Šä ‘ć–Šé¸¤ç‘ ę&#x;Śé›ŠéŒšç˝?éšŽé ¤äŞĄâ´źâżŽčŽ…ď˜šâĄŽĺƒ˝ä§ŽâŚ›â›łâ™śĺƒ˝
important to us, critically, that we make work that s not too didactic, not
might allow for critical engagement, but we don t see ourselves outside of that. We see ourselves, in an anthropological sense, participant observers. I think
Untitled (balloon work) is very much like that, because we re trying to make
quite spectral connections with warfare and how it impedes on our psyche collectively. How we collectively live in a constant state of denial.
縨é¨âœ˛ă˘Ťćś¸ď˜ˇä§ŽâŚ›ĺˆżâŤšĺƒ˝â™§âŚ?âżŽčŽ…ă˜—ćś¸éŒšăťŒç˝?ď˜šä–°âžƒę˛ł ăˇ¸ćś¸éŒŹä?žâ˘ľćş?ä–Šăƒ°ă• ćś¸â™§â´—ď˜ˇä§Žä&#x;?ĺľć¤•âĄ˛ă…ˇŐˇć?‚겗ոă˝
ĺƒ˝é˝Ąĺžşćś¸ď˜šä§ŽâŚ›é‘‘ă•Źé›Šé¸?âŚ?âĄ˛ă…ˇčŽ…ä¨žć˜°ćŹ´ćŹ°â™§ç??č€˘ç˛Żď˜š
ćş?ćş?ä¨žć˜°ä™Śëžƒä•§ę° ę§Œë„“ä—ąć¤šćś¸ď˜šä§ŽâŚ›ä™Śëžƒă–ˆâ™§âŚ?國噲や ăš ćś¸ćœœä˘€â™´â°&#x;č´–ď˜ˇ
AC: We all know we re at war at the moment, but it s very easy to tune out of it.
"$䧎⌛鿪濟麼⚆ć˛â™łéźŠĺ‰¤ä¨žć˜°ćś¸ćśŽćŹ°ď˜šâĄŽä§ŽâŚ›çą?ĺƒ˝ä–Ž
bursting sounds so like anti-aircraft trials.
ă˝ âŤšĺƒ˝ęŁˆç‘ ć€ľçŽťď˜ˇ
We re thinking that somehow watching those balloons and the noise of them
ăş‚ĺƒ’äŞžă¸?ăž“čŞŒäąˆď˜ˇé˝Ąâ?‰ĺľć¤•ćś¸ć—™ç śâ&#x;ƒâżťă¸?⌛朎ⴀ朸耍갉
JT: It is the act of those women popping balloons after a corporate balloon
+5é¸?âŚ?âĄ˛ă…ˇĺƒ˝ä•§âŤščŽ…ć¤?ăœĽćšąçŠĄă –ćś¸â™§âŚ?âĄ˛ă…ˇď˜ˇé‹•ęą˝é…
inscribed with the names of the military actions: Dessert Storm , Urgent
朸ĺľć¤•âľąâ˝Ťĺ‰¤éŽŞâœ˛é ¤âš›ćś¸ă ?ç?–îš‰ďšłĺ°Şć Šę´?ĺ‡?ďš´ď˜šďšłćœ&#x;ĺ‡?ä™
drop, in the video work, combined with the balloons in the gallery space
Fury . The names are so romantic. They re heroic, they re propaganda, they re
idealistic. The way in which all of that horror is mediated to us is interesting and how we ritualise things. Thomson & Craighead, Stutterer, 2014
䪞⥲ㅡ⨞䖤䖎铞䞆ä’ćś¸ď˜šâ›łâ™śĺ‰šĺƒ˝â¨‹ęąƒćś¸ď˜ˇćšąâżžă–’ď˜šä§ŽâŚ›
AC: We re trying to look at the language of war. JT: But in a way that s very open-ended.
ART.ZIP: The works presented for Party Booby Trap seem to have a sense of wit in them. Humour has always been present in your practice; do you think that in this instance, humour plays an even more important role? AC: I think there s satire in many of the works and there is, I hope, humour because we don t want our gaze to be cruel. We want it to say: we are
part of this . The title of the exhibition, Party Booby Trap, gives a clue to the uncomfortableness. The title is a palindrome, it can be read both ways and there s an uncomfortableness using the term booby. JT: It gets a lot of hits online, I can tell you that. AC: We put an image of the show on Flickr with the name of the show, using the word booby we had 12 000 hits in 24hrs without us doing anything.
JT: That s the Internet, but I think humour is critically important to us and also satire. Underlying a lot of the works that we are making is that idea of the
architecture of language, space and time and the way we perceive the world.
朸ăĽ?ăĄŚâŚ›ĺƒ˝ă–ˆâ°—ă €čŽŠéłľĺ´žâš›ä–•ăź&#x;ĺľć¤•âľžç śď˜šç˝œćŽĽä?¤ć¤?ăœĽ ćŠĄďš´ç˜žç˜žď˜šé˝Ąâ?‰ă ?ăśśĺƒ˝é˝Ąëžƒćś¸ĺľ ć ď˜ˇă¸?âŚ›ĺƒ˝č–Šę§†âšşçş?ä’
ćś¸ď˜šă¸?âŚ›ĺƒ˝ć’ťâš›ä’ćś¸ď˜šă¸?âŚ›ĺƒ˝ć¤šä&#x;?âšşçş?ćś¸ď˜ˇé˝Ąâ?‰ć—™ç śäŒ&#x;⢾
ćś¸ä›Œä§Œçą?ĺƒ˝ç‘łć?ćśŽćŹ°ď˜šç˝œä§ŽâŚ›çą?č…‹ä—?㌍㖒䪞é¸?ç??ä›Œä§Œéą˛ âť‹ć?€é‹…ä˘Ťâ™śäš“ćś¸âœ˛äž•ď˜ˇĺ§ťăĽśâžƒâŚ›ăźŠä–Šä¨žć˜°ćś¸ä˘€ä?žď˜ˇ "$îš‰ä§ŽâŚ›é‘‘ă•ŹéŒšăťŒé¸?â?‰ęĄ ĺ€´ä¨žć˜°ćś¸é“ƒéŽŠď˜ˇ +5䖰厼ç??玑ä?žâ™łâ˘ľé“žď˜šä§ŽéŒ?ä–¤é˝Ąĺƒ˝ę&#x;šä˝žä’ćś¸ď˜šä§ŽâŚ›ă–ˆ éŒšăťŒď˜ˇ
"35 ;*1ăž?éŒ’Őˇĺ´ŁăźŠé‘ ę¨ŽŐ¸âšĽćś¸âĄ˛ă…ˇéżŞâŻ?ć€?čĄ˝ĺ Ľĺ…°é’
é•œď˜ˇäŽ–ëžżçŤ¤äŒ˘â´€ć¤?ă–ˆâĄšâŚ›ćś¸č° é ŻăťœéŠ?é…ď˜šâĄšâŚ›éŒ?ä–¤ă–ˆé¸? âŚ?âĄ˛ă…ˇćŽšâšĽď˜šäŽ–ëžżĺƒ˝â™śĺƒ˝ĺˆżę…žéŠ´îšŽ
"$䧎éŒ?ä–¤é?Şă˘ľâĄ˛ă…ˇéżŞäŒ&#x;ĺ‰¤é•žâľžä ‘ă„‚ćś¸ď˜šâĄŽă šĺ„˜â›łĺ‰¤äŽ–
ëžżď˜šă””ć?€ä§Žä‹žĺŠ†ä§ŽâŚ›ćś¸ĺ˛¤é‹•éšśä–¤â™śé˝ĄëžƒĺŠŤä—žď˜ˇä§ŽâŚ›ä&#x;?é“ž ćś¸ĺƒ˝ď˜šďšłä§ŽâŚ›â›łé¨ă–ˆâ°ŚâšĽďš´ď˜ˇăž?éŒ’ćś¸ĺžŚę˛—Őˇĺ´ŁăźŠé‘ ę¨ŽŐ¸ĺ†? ä¸âœŤé¸?ç??â™śă¸žď˜ˇę˛—ćšĄĺƒ˝ă”?äż’ćś¸ä•Žä’ ę°ŤčĄ˝éšĄä§´éˇ čĄ˝éšĄéżŞĺƒ˝ ä§ç”¨ćś¸ď˜šç˝œâš‚揽ç—?街 âœŒä¨źďš´é¸?âŚ?ăśśćťšĺ‰šé›Šâžƒĺ‰¤ç??♜莞 ĺ‰Şćś¸ä ŽéŒ?ď˜ˇ
+5⥎珪♳ë&#x;ŠäššćĄ§ä–Žë„žă‰‡î™° " $䧎 ⌛ 」 ĺƒ˝ 䪞 ♧ ä“š ăž? 錒 ć’‘ 晚ㄤ 垌 겗 朎 ⥑ âľŒ ' M J D L S
â™łď˜šďšłCPPCZďš´é¸?âŚ?ęĄ ę’łăśśé›Šä§ŽâŚ›ćś¸ë&#x;ŠäššćĄ§ă–ˆ ăźĺ„˜â°‰ éş¨âľŒâœŤ ă˘ľĺŚ„ď˜ˇ
We often interrogate those architectures and structures. The Internet is a
+5é¸?ă˝ ĺƒ˝âœ˝č€˘çŹŞď˜šâĄŽ ĺƒ˝ä§Žä&#x;?䎖랿㟊䧎⌛⢾铞暜ⴽꅞ
templates and structures.
ę&#x;Śď˜śĺ„˜ę&#x;ŚéźŠĺ‰¤âš†ć˛éŒšćś¸ä’Šĺœ“ď˜ˇä§ŽâŚ›çŤ¤äŒ˘ăť¤é‹•é˝Ąâ?‰ä’Šĺœ“ㄤ
very good example of how we understand that information is distorted by
AC: Facebook, Google, the browser‌
éŠ´ď˜šé•žâľžâ›łĺƒ˝ď˜ˇä§ŽâŚ›é?Şă˘ľâĄ˛ă…ˇćś¸ä&#x;?ĺ˛ éżŞĺƒ˝ă›‡ĺ€´é“ƒéŽŠď˜śç‘ çŠĄĺœ“ď˜ˇâœ˝č€˘çŹŞĺƒ˝â™§âŚ?䖎㼪朸⢿㜊⢾é‚?ć¤?㼜⥌⾄揽垸ă?†ă„¤ çŠĄĺœ“â˘ľäŞŒĺˆźâĽŒäœ‚ćś¸ď˜ˇ
"$îš‰čŒ ĺ‰…ď˜śé?˝ĺ§?ď˜ść‡łéŒ’ă?źç˜žď˜žď˜žî™ˇéżŞĺƒ˝ďšłä?˛âŻ’ďš´î™¸ď˜ˇ
something a little bit funny their guard comes down a bit and perhaps the
+5⥎é¸?â?‰č´Ąäşźâš†ć˛ćś¸âżžęşˆă–ˆăťœë„“⚆ć˛â›łă šĺžşé“žä–¤é¸’ď˜š
language is a good place to play with those. Also with humour, if people ďŹ nd work can communicate a little bit more directly. It can be a strategic device.
ART.ZIP: You ve always worked with streams of data, how has the evolution in the ways in which information is circulated shaped your practice?
⥚ćş?ď˜šćš&#x;椚äš?ď˜śď‰šä’¸â¸‚ď˜śé“ƒéŽŠé¸?â?‰éżŞĺƒ˝ă€łâ&#x;ƒäŞžć˘–ćś¸ď˜ˇă šĺžş
ă–’ď˜šăĽśĺ?“âžƒâŚ›ćśŽć¤?ĺ‰¤éŚąćś¸âœ˛ćš&#x;ď˜šâžŽâŚ›ă˝ ĺ‰šä˝žâ™´ä§ŻâŞ”ä—ąď˜šâ›ł é?Şé¸’麕䎖랿〳â&#x;ƒé›ŠâĄ˛ă…ˇčŽ…錚ç˝?朸â?œĺ´ŠĺˆżćšŹäąşâ™§â?‰ď˜ˇäŽ–ëžż ⛳é?Şă€łâ&#x;ƒé„„é‹•ć?€â™§ç??ç˜źćŽœă‚…ď˜ˇ
AC: I guess, The First Person, comes very much about a change in focus
"35 ;*1îš‰âĄšâŚ›çŤ¤äŒ˘éşŒćŹ˝äž¸äş™ĺ´Šâ˘ľéšŽé ¤âśžâĄ˛ď˜šâĽŒäœ‚âŤ„äš…
person centred. We have a video of a house, which is constantly in a process
"$îš‰ä§ŽâŚ›ćś¸ä•§âŤšâĄ˛ă…ˇŐˇç—§â™§âžƒç?–Ő¸ćšśâ´˝ä˛żâżťâœŤé¸?ç??âŚ?➃
through status updates, about media becoming very narcissistic and very
of burning down but never burns down. It cut through inter-titles that we
took from a website called The Experience Project where people put a limited number of characters looking for people who feel the same I hate Mondays , I love soldiers and they re looking for like-minded people to create those
communities with that particular interest. It becomes this kind of hypnotic work.
JT: We ve described it as a cinematic plateau stage, because you always arrive
in the middle and it never ends. I think using randomness in that work can be really meaningful or it can be quite jarring or meaningless. As viewers, we are left in that almost liminal space.
ćś¸éšśęŹ ĺƒ˝ăĽśâĄŚä•§ę° âĄšâŚ›ćś¸ăťœéŠ?朸
ćœœä˘€ĺˆżĺ€žćś¸éšśâť‹ď˜šăŻŻâž?éšśä–¤č?ˆä§—ㄤč?ˆä§Žć?€âšĽä—ąď˜ˇé‹•ęą˝é… 朸䨟㜊贖倴♧âŚ?ĺ§ťă–ˆé„„ć•Žć•Żď˜śâĄŽâ˝żâżśĺŽ•éť‡â™śĺ‰šé„„ć•ŻĺŤ†ĺŠƒ
ćšˆćś¸ćœœä˘€ď˜ˇä•§ć™šç‘䳄襽♧â?‰éş•ăœĽăśśä?Œď˜šé¸?â?‰ăśśä?Œä–°â™§âŚ? ă€ŐˇçŤ¤ë€żę°ŞćšĄŐ¸ćś¸çŹŞç•€â™łä˛żă€Šćś¸ď˜šă–ˆé¸?âŚ?çŹŞç•€â™łď˜šâžƒâŚ›ă€ł
â&#x;ƒă–ˆęŁłăš ăśśäž¸â°‰ćśŽâĄ‘â™§ă€Łé‘¨ď˜šâ˘żăĽśďšłä§Žä›śéš‹â™§ďš´ď˜šďšłä§Žä Ś
ăĄŚâ°Ľďš´ç˜žç˜žď˜šć?ä–•ä˜‹ă šéşĽă –ćś¸âžƒă˝ ă€łâ&#x;ƒę†šăźŠé¸?〣暜㚠朸 é‘¨éšŽé ¤ćŽ†éŽŠéšŽç˝œćŹ´ćŹ°éšŽâ™§ĺ§żćś¸â?œĺ´Šď˜ˇä§ŽâŚ›ă˝ ĺƒ˝çŠĄă –âœŤé¸? âŚ?çƒąć™šä•§âŤšă„¤äż’ăśśď˜šçł’ç˝œâśžâĄ˛âœŤé¸?âŚ?Ⱘ剤⪜ćşăż‚äš?朸⥲ ă…ˇď˜ˇ
Thomson & Craighead, Stutterer, 2014
JT: But that feeds back into the physical world as well, physics, gravity and
AC: I think we see a change towards a worship of the self with social
media and the work is looking at those kinds of ďŹ rst person statements. JT: The Internet is a good example of how things have changed. We
started making work when the web began to attract attention. In the
early 90s it was a very dierent space, it was very idealistic. Anybody could make a web page, everyone was writing their own utopia and how it
would change the world, capitalism will fall, and now we have a shopping
âľŒâšĽę&#x;Śéżˆâ´•ď˜šĺ°?ĺ‰¤çŠĄă˝ľď˜ˇä§Žä&#x;?ă–ˆâĄ˛ă…ˇâšĽéşŒćŹ˝ęŚ‘ĺ Ľäš?ĺ‰šä–Žĺ‰¤ä ‘
çş?ď˜šä§´ç˝?â›łĺ‰¤ă€łč…‹é›Šâžƒâ™śă¸žä§´ç˝?éŒ?䖤受ć?‚ä ‘çş?ď˜ˇâĄ˛ć?€éŒšç˝?ď˜š ä§ŽâŚ›é„„ćŽ†ă–ˆâœŤę ŹęŁłćś¸ç‘ ę&#x;Śé…ď˜ˇ
"$îš‰ä§ŽâŚ›é‹…é˜ŽčĄ˝çˆ˘â?œăŻŻë„“⚼č?ˆä§ŽäƒŞäŹşćś¸éą˛éšśď˜ˇé¸?âŚ?âĄ˛ă…ˇă˝ ĺƒ˝ 錚ćş?é¸?ç?? 痧♧➃ç?– ćś¸ćśŽćŹ°ď˜ˇ
mall as Internet.
+5îš‰âœ˝č€˘çŹŞĺƒ˝ăž?ć¤?âœ˛ćš&#x;㼜⥌障韄朸♧âŚ?ăĽŞâ˘żăśŠď˜ˇćŽšâœ˝č€˘çŹŞę&#x;š
ART.ZIP: Your work has recently been exhibited in Electronic Superhighway, how do you approach this type of conversation?
ĺƒ˝â™§âŚ?ćšśâ´˝â™śâ™§ĺžşćś¸ç‘ ę&#x;Śď˜šă¸?ĺƒ˝ć¤šä&#x;?âšşçş?ćś¸ď˜ˇâ&#x;¤âĄŚâžƒéżŞă€łâ&#x;ƒ
AC: I think it was really exciting to be exhibited in that exhibition. JT: We were quite surprised to be on the ground oor.
AC: We thought we d be with the slightly more senior people, on the top Thomson & Craighead, Six Years of Mondays, 2014
+5䧎⌛䪞ă¸?䲞霤ć?€ę¨śä•§ä’朸넞➲ĺŠ?ď˜šă””ć?€âĄšĺŽ•éť‡ă€Ťč…‹ćş?
oor, so we were actually happy to be included among the young artists. JT: A show like Electronic Superhighway is quite hard to talk about
because it s a sort of landmark survey exhibition and the catalogue is
quite interesting I think. The exhibition is an explosion of stu and it s quite instructive actually.
ă¨Ľă€ŒâľŒęĄ ĺ˛¤ćś¸ĺ„˜âŚŹä§ŽâŚ›â¤‘ę&#x;šă¨ĽâśžâĄ˛ď˜ˇă–ˆ äŽƒâžżĺ‚?ĺŠ?ď˜šâœ˝č€˘çŹŞ âśžä’ŠçŹŞę°¤ď˜šâ&#x;¤âĄŚâžƒéżŞă€łâ&#x;ƒĺ‰…㝨➎⌛č?ˆäŠšćś¸ć?ŚäŠŻé˝Śď˜šăĽśâĄŚä˝–éšś ⚆ć˛ď˜šăĽśâĄŚĺś‹ĺž§éĄťĺŠĽâšşçş?ç˜žç˜žď˜šâĄŽć¤?ă–ˆď˜šâœ˝č€˘çŹŞă˝ ĺƒ˝â™§âŚ? ăŁ?朸飑ćš&#x;ă‰‚ăœĽďš´ď˜ˇ
"35 ;*1îš‰âĄšâŚ›ćś¸âĄ˛ă…ˇă–ˆŐˇę¨śăśŠë„žé¸ â°—é¨&#x;ո⚼â? 剤ăž?çˆšď˜šâĄš âŚ›ĺƒ˝ä™Śëžƒăž?ę&#x;šéŽŁé”¸ćś¸ăƒ¤îšŽ
"$îš‰č…‹ă–ˆé¸?âŚ?ăž?éŒ’â™łăž?çˆšä§ŽâŚ›ćś¸âĄ˛ă…ˇé›Šä§ŽâŚ›âź§â´•čŽ‡ăĽ…ď˜ˇ +5îš‰ç˝œâš‚âĄ˛ă…ˇă–ˆâ™§ĺžœăž?ä‘źăž?çˆšé›Šä§ŽâŚ›ä ŽâľŒâź§â´•ë ‡é?„ď˜ˇ
Royal Academy s Summer Exhibition, it was like a salon hang
ART.ZIP: You arre also educators, what is the most challenging when you work with young practitioners?
you ever said to me we d do a salon hang of media works, I
they grew up with the Internet and with computers. It s just a very
AC: I thought it was quite exciting actually, a little bit like the
and I ve never seen before and they ve done a brilliant job. If would say that couldn t work.
JT: The work they ve included is a good piece from my point of view, because it has a kind of autonomy and can operate in and of itself. What sits around the work becomes its own context.
AC: I m very pleased, we were talking with Emily [Butler] one of the curators, we had people singing karaoke everyday in front of our work More Songs of Innocence and of
AC: Being in the studio with young artists is really exciting because dierent way and a very natural way, it isn t a political decision
to work with video rather than paint, it s just, well, these are the
materials we have to hand. It s really exciting that they don t see
boundaries in the same way as was when I was 19. I had to ďŹ ght to get into a computer department and the ďŹ ne art tutors thought I was crazy. Now of course that wouldn t happen in the same way.
[1] Thomson and Craighead were exhibiting London Wall (2015) and
Horizon (2015) at Big Bang Data.
Experience. It s lovely to Google it and see online people
performing your work for you.
JT: It was a fascinating show, quite interesting at the time as
art show in the same sense, but still interesting to see these dierent angles.
⌛䖎ę&#x;šä—ąč…‹ă„¤äŽƒé°‹č° é ŻăšťâŚ›â™§éĽąăž?çˆšď˜ˇ
+5îš‰âŤšŐˇę¨śăśŠë„žé¸ â°—é¨&#x;Ő¸é¸?垺朸ăž?éŒ’ä–Žę¨ˆâżĄéŽŁé”¸ď˜šă””ć?€ă¸?ĺƒ˝â™§âŚ?垌疊ä’朸锅 ĺ?†ăž?éŒ’ď˜šćŽĽâą â›łęŹŒäŒ˘ĺ‰¤ä ‘ä™źď˜ˇăž?éŒ’ĺŠĽé¨ă˝ 䖎⺍ä?âœŤä–Žă˘ľâ™śă šä•Žä’ćś¸âĄ˛ă…ˇď˜šâ°Ś ăťœäŻ†â°¨ä¸ä’¸äš?ćś¸ď˜ˇ
"$䧎éŒ?ä–¤äŻ†é›Šâžƒć…¨âš›ćś¸ď˜šĺ‰¤ë&#x;ŠâŤšćś˝ăšťč° é Żăˇ¸ĺ‰šćś¸ă˘šăˇŽăž?ď˜šĺ‰¤ë&#x;ŠâŤšĺ°ŞëĽŒăž?ď˜š 䖎㢾⥲ㅡ䧎⛓⾚鿪ĺ°?ćş?é‹…éş•ď˜šâĄ˛ă…ˇéżŞä–Žĺ•?ď˜ˇă–ˆé¸?âŚ?ăž?éŒ’â›“âľšď˜šăĽśĺ?“ĺ‰¤âžƒé¨ˆä§Ž é“žâ&#x;ƒĺ°ŞëĽŒăž?朸䕎ä’⢾ăž?çˆšĺ€žăŻŻë„“âĄ˛ă…ˇď˜šä§Žč‚Ľăš ĺ‰šé“žâ™śă€łč…‹ď˜ˇ
+5䧎âŚ?➃éŒ?ä–¤ăž?éŒ’ä–Žâ™śę?Ťď˜šĺŤŚâ™§â&#x;?⥲ㅡ鿪剤č?ˆĺą›äš?ď˜šâĄ˛ă…ˇă€łâ&#x;ƒč?ˆäŠšćśŽč€Ťćś¸ ă šĺ„˜ď˜šâ°ŚâžŽčŽ…â›“â™§éĽąăž?ⴀ朸⥲ㅡ⾹⿜ć?€âž˛â˘ľćś¸âĄ˛ă…ˇâśžé¸¤âœŤĺ€žćś¸é“ƒăžŻď˜ˇ
"$ăž?éŒ’â°ŚâšĽâ™§âĄ™ç˜źăž?âžƒč’•ç˘œëœŠË™äŠźćšśâš—ăƒ‡é?°ä§ŽâŚ›ď˜šĺŤŚăŁ”éżŞĺ‰¤éŒšćťžă–ˆä§ŽâŚ›
ćś¸âĄ˛ă…ˇŐˇĺˆżă˘ľç§ŤćşŤë„“ë€żćś¸ĺ§?Ő¸âľšăˆ–â˝“äŹ˜0,ď˜šä§ŽćşŤćś¸ä–Žę&#x;šä—ąď˜ˇé¸’éş•é?˝ĺ§?〳â&#x;ƒ äľƒç¨‹âš›ćş?âľŒéŒšćťžć?€ä§ŽâŚ›é‚?ć€ľä ŽéŒ?ćşŤćś¸ä–ŽăĽŞď˜ˇ
+5é¸?ĺƒ˝âŚ?ä–Žĺ•?朸ăž?éŒ’ď˜šĺ‰¤éŚąćś¸ĺƒ˝ď˜ščŽ?ëžżă?ąćšśăš¨äŠ´â™śă˘ľă–ˆă šâ™§ĺ„˜ę&#x;Śâ›łčŽŠéłľâœŤ
ęĄ ĺ€´âœ˝č€˘çŹŞäž¸äş™ćś¸ăž?éŒ’Őˇäž¸äş™ăŁ?ć—™ćŒžŐ¸ď˜šé¸?â°?âŚ?ăž?éŒ’ćś¸ăźŠĺŤ˛ćšśâ´˝ĺ‰¤ä ‘ä™źď˜ˇ ա䞸亙ăŁ?ć—™ćŒžŐ¸â™śĺƒ˝č° é Żăž?éŒ’ď˜šâĄŽĺƒ˝ä–°â™śă šéŒŹä?žéŒšćş?é¸?â?‰ĺ‚ˆäŒ˘ćś¸çŹŞçŞ„äž¸äş™ ĺƒ˝ä–Žĺ‰¤ä ‘ä™źćś¸ď˜ˇ
"35 ;*1⥚⌛â°?âĄ™éżŞĺƒ˝äž†č‚ŹäŠ¨âĄ˛ç˝?ď˜šâĄšâŚ›éŒ?ä–¤ă„¤äŽƒé°‹č° é Żăšťâ™§éĽąäŠ¨âĄ˛ĺ‰“ ăŁ?ćś¸äŽ‹ä¨žĺƒ˝âžŠëžƒîšŽ
"$îš‰čŽ…äŽƒé°‹č° é Żăšťâ™§éĽąă–ˆäŠ¨âĄ˛ăš”ĺƒ˝ä–Žĺ•?ćś¸ď˜šă””ć?€âœ˝č€˘çŹŞă„¤ę¨śčˆĄâ śęŚ‘襽➎⌛
ä§ę&#x;€ď˜šä¨žâ&#x;ƒâžŽâŚ›ćś¸ăťœéŠ?倰ä’ă„¤ä§ŽâŚ›â™śâ™§ĺžşď˜šâžŽâŚ›â›łĺƒ˝ä–Žč?ˆć?㖒剚韇䚾鋕깽
ç˝œâ™śĺƒ˝ç˛ćŽĽď˜šâš›â™śĺƒ˝âžŠëžƒä˝&#x;ĺą›äŞ˝äšľď˜šă€Ťĺƒ˝é¸?â?‰ç¨‡ĺ‹žéżŞĺƒ˝ć¤?ä§ćś¸ď˜šéżŞĺƒ˝âžŽâŚ›ęŚ‘ äŠ›ă€łâżťćś¸ď˜ˇé›Šä§Žä ŽâľŒë„žčŽ‡ćś¸ĺƒ˝âžŽâŚ›â™śĺ‰šâŤšä§Ž ĺ¨”ĺ„˜é˝Ąĺžşĺ‰¤čĄ˝é¸?垺齥垺朸㽡
ꣳäš?ď˜ˇćŽšĺ„˜ćś¸ä§ŽéŠ´ä–Žč‘žę¨ˆäŠžč…‹ć˜°ă€ŠéšŽâ°…ę¨śčˆĄçŚşď˜šä§Žćś¸č° é ŻçŚşăźŹäŒŒćŽšĺ„˜éŒ?ä–¤ ä§Žč‚Ľăš ĺƒ˝ćł‡âœŤď˜ˇćŽšć?ď˜šć¤?ă–ˆă šĺžşćś¸äž•ĺąŁâ™śĺ‰šâą„ćśŽćŹ°âœŤď˜ˇ
Thomson & Craighead, Common Era XV, 2016
well, because there was also Big Bang Data [1]at Somerset
House, which is quite an interesting comparison. It wasn t an
"$䧎⌛â&#x;ƒć?€ä§ŽâŚ›ĺ‰ščŽ…玖ä—?䎃ę&#x;€â™§ë&#x;Šćś¸č° é Żăšťâ™§â˘˜ăž?çˆšă–ˆę°Ľăžľćś¸ăž?ä‘źď˜ˇä§Ž
RANDOM INTERNATIONAL 貼涬㕜ꥸ
*/5&37*&8&% "/% 5&95 #: 䱰鏞⿺乊俒 +&4$ #6/:"3% ⪁銯˙劥꧈䗞 53"/4-"5&% #: 缺陼 $"* 46%0/( 詍豣匌 *."(&4 $0635&4: 0' 㕭晙䲿⣘ 3"/%0. */5&3/"5*0/"- 貼涬㕜ꥸ
Collaborative studio rAndom International are most famous for their
3BJO 3PPNշꨎ㾋ո僽S"OEPN *OUFSOBUJPOBM貽涬㕜ꥹ剓ⴀそ涸
Barbican in London and subsequently at MoMA in New York, Yuz
ⴀ錚滞⦛捀⛓⫙⦝ꦑ䖕⿶㖈秣秉涸植➿谁遯⽈暟긭.P."
Rain Room installation. This work enchanted viewers first at the
Museum in Shanghai and LACMA in Los Angeles. Led by duo Florian Ortkrass and Hannes Koch, the team blend science and art in their investigations of the relationship between man and machine. The viewer, or rather participant, has an emphasized role in the work.
These extraordinary works are unleashed upon the world ready and yearning for human interaction.
酤縨⡲ㅷ鸏⦐⡲ㅷ껷⯓㖈⧍侚涸䊼嫲肥谁遯⚥䗱#BSCJDBO㾝
♳嵳涸⡮䗞罇繡遯긭ㄤ峫勒熘谁遯⽈暟긭-"$."㾝ⴀ貽
涬㕜ꥹ䊨⡲㹔歋'MPSJBO 0SULSBTTㄤ)BOOFT ,PDIⰍ➃걆ꌊ涸 ➮⦛涸⡲ㅷ輑ざ✫猰㷸ㄤ谁遯䱳鎣➃莅堥㐼⛓涸ꡠ⤚錚滞
䧴罏铞莅罏㖈➮⦛涸⡲ㅷ⚥剤衽莊駈鰋ꅾ涸㖒⡙➮⦛鸏❉ ꬌⳝ涸⡲ㅷ䜄㥪钲欰㖈鸏垺♧珏胝兞♴⽰䧮⦛涸⚆歲㼩倴➃ 겳涸✽⹛傂Ⱘ⪔✫哭⟝⿶⯏怏✫庯劆
As well as continuing to tour Rain Room, the studio are planning
ꤑ✫䊣㔐㾝ⴀ酤縨⡲ㅷշꨎ㾋ո鑪㕰넓䊨⡲㹔鼩㖈鹎遤♧⦐
Harvard, enabled by Le Laboratoire. One of these is Study for Fifteen
㖒갪湡鸏⦐갪湡僽歋殹➿谁遯鏤鎙⚥䗱-F -BCPSBUPJSF暽걧涸
ever-bolder works partially informed by their recent residency at
Points, which explores how little visual information is needed for the human brain to perceive a human form.
刿㣐苠涸鎙ⷔ鸏⦐鎙ⷔ涸ⶾ⡲⢵彂倴➮⦛鵜劍㖈ㆁ⡱㣐㷸涸꽏
殹⚥⤑⺫䭍✫倞⡲ㅷշ⼧❀럊灇瑖4UVEZ GPS 'JGUFFO 1PJOUTո 䱳程涸僽➃겳㣐舡㖈鳺钢➃넓㘗䢀儘䨾銴涸鋕錏⥌䜂剓㼭⧩
Visiting their main studio at The Old Warehouse in London, we
䧮⦛⢵ⵌ✫貽涬㕜ꥹ㖈⧍侚涸䊨⡲㹔5IF 0ME 8BSFIPVTFㄤ
by different audiences, and also the terms like digital art in the
涸ず儘䧮⦛⛳鎣锸✫㖈馊⢵馊尝剤㓂呔歲㹁涸殹➿騗㷸猰㻜
discussed the success of Rain Room and how it s approached
contemporary landscape towards less restrictive interdisciplinary practices.
➮⦛䱳鎣շꨎ㾋ո涸䧭⸆⟃⿻♶ず涸錚滞僽䙦랆溏䖊鸏⟝⡲ㅷ 驏⚥門㥶侸㶶谁遯鸏❉嚌䙂涸㉏겗
Rain Room (2015) ，150 Square Metres，Exhibited at Yuz Musuem, Shanghai courtesy of Yuz Foundation and VW China Photography by Delia Keller
ART.ZIP: How did rAndom International start?
"35 ;*1îš‰ďšłč˛˝ćśŹă•œęĽšďš´ĺƒ˝ăĽśâĄŚćŹ´ćŹ°ćś¸
here near Winsor, on a hill. It was a bit like a monastery. In the last year we,
♧âŚ?ĺ?ĽâźŚď˜šă–ˆâ™§ä? ăźăż‹â™łď˜ˇé˝ĄâŻĽĺ‰¤ë&#x;ŠâŤšâĽœéşĽę¤Žď˜ˇă–ˆĺ‰“䖕♧
RI: We met at Brunel University in 1998, at one of their campuses west of
individually, had pieces in exhibitions. We thought: "why don't we join forces?" That's when we came up with the name, because we were doing all dierent things, plus we were very intrigued by the word random. There's no direct
translation into German, or there is a translation but it usually has a negative connotation. We went to do our Masters degree at the Royal College of Art,
again working in several projects, both at the college and externally, together. We ďŹ nished the RCA and we incorporated the studio in 2005.
It started out as this collective umbrella. We did our ďŹ rst actual Random project,
3*䧎⌛ äŽƒă–ˆä‹’ë‰“â°‰ć™‹ăŁ?㡸钢é™?ď˜šé˝Ąĺƒ˝ęŹ’éľœĺ˝ąč›?朸 âŚ?ăˇ¸äŽƒď˜šä§ŽâŚ›ă ?č?ˆéżŞĺ‰¤âĄ˛ă…ˇâżŽâ¸ˆăž?éŒ’ď˜ˇä§ŽâŚ›ä&#x;?ć?€âžŠëž†
â™śâ™§éĽąă –âĄ˛ăƒ¤îšŽďš´ă˝ ă–ˆé˝Ąĺ„˜âŚŹä§ŽâŚ›ä&#x;?âľŒâœŤďšłč˛˝ćśŹă•œęĽšďš´é¸?
âŚ?ă ?ăśśď˜šă””ć?€ä§ŽâŚ›â¨žćś¸ĺƒ˝â™śă šćś¸ĺŒŒéŠŻď˜šâą„â¸ˆâ™łä§ŽâŚ›ăźŠďšłęŚ‘
ĺ Ľďš´é¸?âŚ?é‘‚ęŹŒäŒ˘ä ŽčŽ‡éŚąď˜ˇé¸?âŚ?é‘‚ĺ°?éłľĺ˛ ćšŹäąşçźşé™źä§ä—žäż’ď˜š 㽠皿〳â&#x;ƒâš‰ä“˝çźşé™źď˜šă¸?é¸’äŒ˘â›łĺ‰¤é žęŹ—ćś¸ă‚?çş?ď˜ˇä§ŽâŚ›ä–•â˘ľ â™§éĽąă–ˆćś˝ăšťč° é Żăˇ¸ę¤Žä˝™éšĄç„šăĄŚăˇ¸âĄ™ď˜šă–ˆäŽ™âŚ?갪暥♳⹄匄 ă –âĄ˛ď˜šé¸?⺍ä?âœŤĺ?Ľâ°‰ĺ?Ľă˘Ťćś¸ę°ŞćšĄď˜ˇä§ŽâŚ›ć ˝ä–¤âœŤăˇ¸âĄ™ä–•ă–ˆ äŽƒĺ§ťä’é?˝âą ä§ç”¨âœŤäŠ¨âĄ˛ăš”ď˜ˇ
where we worked together under that name, at the Valencia Biennale in 2003.
ďšłč˛˝ćśŹă•œęĽšďš´â™§ę&#x;šă¨Ľă˝ 剤â°&#x;ă šë„“ćś¸ä ‘ă„‚ď˜ˇä§ŽâŚ›ă–ˆ 䎃
but there our complementary skills and interests really became something
âĄ˛âžƒă ?çş?ćś¸âĄ˛ă…ˇď˜ˇă–ˆĺ§˝â›“âľšď˜šä§ŽâŚ›ă€Ťĺƒ˝ă–ˆă ?č?ˆćś¸ę°ŞćšĄâ™łă –
We had already been working together on our respective individual projects, bigger and more focused.
檳â§?銯â??ę§ąäŽƒăž?â™łćś¸âĄ˛ă…ˇĺƒ˝ç—§â™§âŚ?â&#x;ƒďšłč˛˝ćśŹă•œęĽšďš´ć?€âśž âĄ˛ď˜šâĄŽä–°é˝Ąĺ„˜éĽąď˜šä§ŽâŚ›ă–ˆäŞŽé Żă„¤čŽ‡éŚąâ™łćś¸âœ˝é…˘äŠžéšśä–¤éŚŠ â˘ľéŚŠă˘ľď˜śéŚŠâ˘ľéŚŠę§ŒâšĽď˜ˇ
ART.ZIP: You're most well known for the incredible Rain Room installation. Do you consider this your signature work? Do you still work with it or is it considered done and move on to the next work?
"35 ;*1îš‰Őˇę¨Žăž‹Ő¸ĺƒ˝âĄšâŚ›ĺ‰“ä‘žć?€âžƒćżźćś¸âĄ˛ă…ˇď˜ˇâĄšéŒ?ä–¤ă¸?
practice, but it's just one of the works. We wouldn't have, in our wildest dreams,
é¸?âŚ?âĄ˛ă…ˇâŁœčŽ?ĺƒ˝ä–Žĺ‰¤éŚąćś¸ď˜šâž ć?ĺƒ˝ă–ˆâ™śĺ€ŹćśŽăž?ćŽšâšĽď˜šă¸?
RI: Far from putting it to one side, it's still very interesting and current within the expected that sort of persistent public reaction to it. It is also, still to this day,
not really guided by that. If anything, then we're picky about when and how
interesting bits in it that's in development, we've got four more to make and we're actively involved in every single one and they all will have permanent
homes. We're actively involved in making and ďŹ nding those homes. I don't see it as a done and dusted thing.
Each time Rain Room goes to a dierent country, it s dierent.
ART.ZIP: Your works use installation in order to study collective behaviour. Are the reactions that the Chinese audience had dierent to the ones experienced elsewhere?
ĺƒ˝é¸?âŚ?⥲ㅡ䊺獤㸤ä§âœŤď˜šĺ§ťă–ˆéšŽâ°…♴♧âŚ?⥲ㅡ朸✞⥲
3*銴铞䧎⌛䊺獤䪞é¸?âŚ?âĄ˛ă…ˇä˝žă–ˆâ™§éźšâœŤé˝ĄéźŠć?€ĺ„˜ăźżĺ‚?ď˜š
ă€Ťĺƒ˝ä§ŽâŚ›é–€ă˘ľâĄ˛ă…ˇâšĽćś¸â™§âŚ?ď˜ˇä§ŽâŚ›ä–°â˘ľĺ°?剤ä&#x;?麕Ⱇ杞㟊 é¸?âŚ?⥲ㅡ剤é¸?랃ä°â›‰ćś¸ć”¨äž•ď˜ˇă¸?ćś¸ă€Œĺ§šéľ”ä?žâš›ĺ°?剤䕧ę°
âľŒä§ŽâŚ›ď˜ˇăĽśĺ?“é“žćşŤćś¸ĺ‰¤âžŠëž†ä•§ę° ćś¸é‘¨ď˜šâ›łă€Ťâ™śéş•ĺƒ˝ă””ć?€ ă¸?朸ä§â¸†ď˜šä§ŽâŚ›č…‹ăŁ ĺ‰¤é§ˆăŁ ćś¸çĄ ç„şăźŠăž?â´€ćś¸ĺ„˜ę&#x;Śă„¤ĺ€°ä’
ä˛żâ´€éŠ´ĺŽ ď˜ˇé¸?âŚ?⥲ㅡ韊剤♧â?‰ĺ‰¤éŚąćś¸ĺ€°ęŹ—ă–ˆćśŽăž?âšĽď˜šă¸?䊺 獤䖰➲⢾朸♧âŚ?ć™?劼朎ăž?âľŒă”‹âŚ?ć™?ĺŠĽď˜šä§ŽâŚ›ă–ˆĺŤŚâŚ?酤縨
⥲ㅡ♳鿪ç?Žĺ™˛âżŽčŽ…ď˜šä‹žĺŠ†ă¸?⌛ăź&#x;⢾鿪剤♧âŚ?腋㣠厕⛉ăž?
çˆšćś¸ç‘ ę&#x;Śď˜ˇä¨žâ&#x;ƒä§ŽâŚ›ă–ˆç?Žĺ™˛é†˘âĄ˛ćś¸ă šĺ„˜ď˜šâ›łă–ˆâ¸—⸂ć?€ă¸? ⌛䪪♧âŚ?ďšłăšťďš´ď˜ˇä¨žâ&#x;ƒä§Žâ™śé’˘ć?€Őˇę¨Žăž‹Ő¸é¸?âŚ?⥲ㅡ䊺獤䗣 ä? 㸤ä§âš›é„„äť†ç¸¨â™§ĺ€žď˜ˇ
Őˇę¨Žăž‹Ő¸ĺŤŚâľŒâ™§âŚ?â™śă šćś¸ă•œăšťď˜šă¸?éżŞĺƒ˝â™śâ™§ĺžşćś¸ď˜ˇ
RI: There was a strong dierence yes. If you want to go into the speciďŹ c Rain
"35 ;*1îš‰âĄšâŚ›ćś¸âĄ˛ă…ˇĺƒ˝â&#x;ƒé…¤ç¸¨ćś¸ä•Žä’â˘ľç ‡ç‘–ę§Œë„“é ¤ć?€
dierent from London or New York. In New York and London it was all about the
â™śă šăŒ¨îšŽ
Room behaviour, the high-density population behaviour in China is very
individual experience, solitude. In China, people went in large groups, of 10 or
15 people, switching o half of the Rain Room by moving collectively. I wouldn't say it deďŹ ed the purpose, but I think next time we will set it up a little dierently to take that into account. There was a very dierent collective behaviour, how people experience the work and themselves. It was 1 or 2 people at a time in
LACMA and there were 15 or 20 people at a time, moving as a chunk in China. It's the dierent deďŹ nitions of personal space. That becomes manifest in Rain Room. I think the way people use it and
experience it here reects that. Here [London] you like to be in it alone and have it for yourself. That's not a thing in China.
Initially we were thinking of one person in the Rain Room. If we had a dierent
ćś¸ď˜ˇâšĽă•œéŒšćťžăźŠĺ§˝ćś¸âżžäĽ°ă„¤â°ŚâžŽă•œăšťéŒšćťžćś¸âżžäĽ°ĺ‰¤âžŠëž† 3*îš‰ĺƒ˝ćś¸ď˜šĺ‰¤ęŹŒäŒ˘â™śă šćś¸ă–’ĺ€°ď˜ˇăĽśĺ?“䧎⌛ćş?ćş?Ⱘ넓朸ꨎ
ăž‹ďš´é ¤ć?€ĺ€°ä’ď˜šâšĽă•œéŒšćťžćś¸ë„žăş™ä?žâżŽčŽ…ㄤâ§?䞚䧴ç˝?秣秉 éŒšćťžĺƒ˝ęŹŒäŒ˘â™śă šćś¸ď˜ˇă–ˆç§Łç§‰ă„¤â§?äžšď˜šé¸?ĺƒ˝â™§ç??âŚ?ë„“ë„“ë€żď˜š
ĺƒ˝ă‹˛ć Źćś¸ď˜šç˝œă–ˆâšĽă•œď˜šâžƒâŚ›äŒ˘äŒ˘ĺƒ˝â™˛â?€ä§çşˆćś¸ď˜š č?› ➃ â™§çŠ‰éšŽâ°…ď˜šâžŽâŚ›â™§éĽąĺ´žâš›ď˜šä–ƒä–ƒăźŹč?žďšłę¨Žăž‹ďš´â™§âźąćś¸ç‘ ę&#x;Ś éżŞâ™śďšłâ™´ę¨Žďš´ď˜ˇä§Žâ™śĺ‰šé“žă¸?麏čƒ?âœŤä§ŽâŚ›âž˛â˘ľćś¸ĺœ“ä&#x;?ď˜šâĄŽä§Ž
âŚ›ă–ˆĺŠ˘â˘ľâśžâĄ˛ćś¸ĺ„˜âŚŹĺ‰šäŞžé¸?âŚ?ă””ç¨‡ç˝ŒäŁ‚ă–ˆâ°‰ď˜ˇé¸?ç??ę§Œë„“ é ¤ć?€ćşŤćś¸ĺƒ˝é›Šä§ŽâŚ›ä ŽâľŒä ‘ă˘Ťćś¸ď˜šéŒšćťžăźŠĺ€´âĄ˛ă…ˇă„¤č?ˆé¨ćś¸ ë„“ë€żâ›łĺƒ˝â™śă šćś¸ď˜ˇă–ˆĺłŤĺ‹’ç†˜č° é Żâ˝ˆćš&#x;ę¸ď˜šďšłę¨Žăž‹ďš´é…䖃䖃
♧匄」剤♧â°?âŚ?éŒšćťžď˜šâĄŽĺƒ˝ă–ˆâšĽă•œď˜šâ™§ĺŚ„ă˝ ĺ‰¤ 䧴ç˝? ă ?éŒšćťžéšŽâ°…ď˜šä§çşˆçŠĄęĽ™ă–’ç?ľâš›ď˜ˇ
é¸?â›łâżžĺƒŚâœŤâ™śă šâžƒçşˆăźŠĺ€´âŚ?âžƒç‘ ę&#x;Śćś¸ăš çş?ĺ‰¤ä¨žâ™śă šď˜ˇ
cultural background, we would have thought of it dierently.
é¸?♧ë&#x;Šă–ˆďšłę¨Žăž‹ďš´é…ćŽŻäŒ˘ç‘łâ´€ď˜ˇâžƒâŚ›â˘ŞćŹ˝ă„¤ë„“ë€żă¸?朸倰ä’
We would have probably made a completely dierent work. I wouldn't argue
ăž‹ďš´é…ď˜šâ?§ă€ŒâŚ?âžƒčŽ…âĄ˛ă…ˇćś¸âœ˝âš›ď˜ˇâĄŽă–ˆâšĽă•œď˜šâžƒâŚ›âĄ‚â›–âš›
that Rain Room doesn't work in China. I think going forward, which is interesting when thinking of new work, that experience is deďŹ nitely something that will
ë&#x201E;&#x201C;ć¤?â&#x153;Ťé¸?â&#x2122;§ë&#x;&#x160;ď&#x2DC;ˇă&#x2013;&#x2C6;<â§?äž&#x161;>é¸?é&#x2026;ď&#x2DC;šâ&#x17E;&#x192;âŚ&#x203A;ĺ&#x2C6;żă&#x2039;?姚ă&#x2039;˛ć Źä&#x2013;&#x160;ă&#x2013;&#x2C6;ď&#x161;łę¨&#x17D; ĺ°?ĺ&#x2030;¤é¸?ç??ä&#x;?ĺ˛ ď&#x2DC;ˇ
remain.
â&#x2122;§ę&#x;&#x161;㨼ď&#x2DC;šä§ŽâŚ&#x203A;朸é?¤ä&#x;?ă˝ ĺ&#x192;˝ď&#x161;łę¨&#x17D;ăž&#x2039;ď&#x161;´é&#x2026;卌ĺŚ&#x201E;ă&#x20AC;Ťä&#x2013;&#x160;â&#x2122;§âŚ?â&#x17E;&#x192;ď&#x2DC;ˇăĽś
ART.ZIP: For your project Study for Fifteen Points, will it exist on a larger scale? Your previous work engages more with the audience, does Study for Fifteen Points just move automatically?
ç˝&#x152;äŁ&#x201A;â&#x153;Ťď&#x2DC;ˇ
RI: At the moment, yes. It's very much what it says: A Study for Fifteen Points.
There's a much larger work, a human sized work in production, which is going to be presented publicly at Menlow Park at PACE. This study and also our research
ĺ?&#x201C;䧎âŚ&#x203A;â&#x2122;śĺ&#x192;˝ĺ&#x2030;¤é¸?ĺ&#x17E;şćś¸äż&#x2019;âť&#x2039;č&#x192;?ĺ&#x2026;&#x17E;ď&#x2DC;šä§ŽâŚ&#x203A;â&#x2122;§ę&#x;&#x161;㨼㽠â&#x2122;śĺ&#x2030;&#x161;é¸?ë&#x17E;&#x2020;
䧎âŚ&#x203A;䧴é?Şă˝ ĺ&#x2030;&#x161; ✞⥲â´&#x20AC;㸤ď&#x2C6;Łâ&#x2122;śâ&#x2122;§ĺ&#x17E;şćś¸âĄ˛ă&#x2026;ˇď&#x2DC;ˇä§Žâ&#x2122;śĺ&#x2030;&#x161;ć&#x2DC;°é´&#x201E;
Őˇę¨&#x17D;ăž&#x2039;Ő¸ă&#x2013;&#x2C6;â&#x161;Ľă&#x2022;&#x153;ĺ&#x192;˝ă&#x201A;&#x201E;č&#x192;?ę¨&#x2020;⥲ă&#x2026;ˇâž˛â˘ľćś¸ć¤&#x161;ä&#x2122;&#x201A;ď&#x2DC;ˇâĄ&#x17D;ă&#x2013;&#x2C6;ĺ&#x160;˘â˘ľä§Ž
âŚ&#x203A;ĺ&#x153;&#x201C;ä&#x2122;źĺ&#x20AC;&#x17E;⥲ă&#x2026;ˇćś¸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;šä§ŽâŚ&#x203A;韊ĺ&#x192;˝ĺ&#x2030;&#x161;âĽ&#x192;ćŽ&#x2020;é¸?ç??ä&#x201C;˝é&#x201D;&#x2026;âŚ?â&#x17E;&#x192;ë&#x201E;&#x201C; ë&#x20AC;żćś¸ć¤&#x161;ä&#x2122;&#x201A;ď&#x2DC;ˇ
Random International. Study for Fifteen Points / I 2016ďź&#x152;Motors, custom driver electronics, customďź&#x152;software, aluminium, LEDs, computer 712 x 552 x 606 mm
we show it, we can aďŹ&#x20AC;ord that due to the public success of it. There are other
ĺ&#x192;˝âĄšâŚ&#x203A;朸â&#x17E;żé&#x201A;?⥲ă&#x152;¨î&#x161;&#x17D;⥚âŚ&#x203A;韊ă&#x2013;&#x2C6;ä°çłľé¨&#x2C6;éš&#x17D;é¸?âŚ?⥲ă&#x2026;ˇă&#x152;¨î&#x161;&#x17D;韊
and talks programme at Harvard at Le Lab is really serious. We
"35 ;*1î&#x161;&#x2030;⥚âŚ&#x203A;朸⥲ă&#x2026;ˇŐˇâź§â?&#x20AC;ë&#x;&#x160;ç &#x2021;ç&#x2018;&#x2013;Ő¸ĺ&#x2030;&#x161;â&#x;&#x192;ĺ&#x2C6;żăŁ?é&#x2039;&#x160;ĺ&#x17E;¸ćś¸ä&#x2022;&#x17D;ä&#x2019;ăž?â´&#x20AC;ă&#x152;¨î&#x161;&#x17D;⥚
engagement, to what extent behavioural reactions are interesting
âš&#x203A;âť&#x2039;éş&#x152;é ¤ćś¸âĄ˛ă&#x2026;ˇă&#x152;¨î&#x161;&#x17D;
are studying to what extent we can open the sculptural up for
or boring, and to what extend we can implement the motion of the viewer and whether that's interesting. We're really actively
studying that, looking at the technical possibilities and, foremost, the conceptual implications. We don't always see the need for
interaction. I think our interpretation of the man/machine, viewer/ object, viewer/environment relationship is much broader. There's something powerful about the recognition of human motion
and there is something potentially powerful about recognising
yourself, but there's something potentially one-liner-ish about it
as well. We're gagging to make sense of it and it's not happening. The big one is going to go along 12-metre rails, it's not going to Swarm Study / IX Random International 2016, Photography by Jan Bitter
be a study anymore, and it will be exuberant.
You can even scramble the movement up and the brain works
hard to make sense of it, and in most cases can still see, that it's
still a human. We haven't even touched that at the moment, we have the Fifteen Points.
ART.ZIP: Digital art can be a dividing term, some people think it's too broad or outdated, whilst others think there is no digital art, digital is merely a tool to use. Some would see it as constrictive, but it's good to use such a decisive term to get passionate opinions. What's your view? RI: I think it cuts yourself short. By compartmentalising yourself,
you limit yourself. I ďŹ nd it very unhelpful and irrelevant. Previously, if you wanted to show stuďŹ&#x20AC; that used digital or tech as art, you
were in a limited number of spaces, like Ars Electronica. Now it's not the same, with most people today, compartmentalising is really not a thing.
âŚ&#x203A;â&#x203A;&#x201C;⾚朸⥲ă&#x2026;ˇč&#x17D;&#x2026;é&#x152;&#x161;ćť&#x17E;朸â&#x153;˝âš&#x203A;鯹ć?&#x20AC;ăş&#x2122;â´&#x2014;ď&#x2DC;šé¸?ĺŚ&#x201E;朸ա⟧â?&#x20AC;ë&#x;&#x160;ç &#x2021;ç&#x2018;&#x2013;ո⍌⍌ĺ&#x192;˝č?&#x2C6; 3*î&#x161;&#x2030;ĺ&#x192;˝ćś¸ď&#x2DC;šćšĄâľšĺ&#x192;˝é¸?ĺ&#x17E;şď&#x2DC;ˇă˝ ĺ&#x192;˝ăĽśăśśęŹ&#x2014;䨞䲞霤朸î&#x161;&#x2030;⟧â?&#x20AC;ë&#x;&#x160;ç &#x2021;ç&#x2018;&#x2013;ď&#x2DC;ˇä§ŽâŚ&#x203A;ăź&#x;ĺ&#x2030;&#x161;ĺ&#x2030;¤
ĺ&#x2C6;żăŁ?ă&#x2DC;&#x2014;朸ć&#x2122;?ĺ&#x160;Ľă&#x2013;&#x2C6;é&#x2020;˘âĄ˛ćŽšâ&#x161;Ľď&#x2DC;šă¸?ăź&#x;č&#x17D;&#x2026;溍â&#x17E;&#x192;â&#x2122;§č?&#x203A;ăŁ?ăźă&#x2013;&#x2C6;ĺ&#x2030;&#x2039;çš?â°&#x2014;ă&#x2022;¨ćś¸â˘&#x2020;ĺ&#x20AC;&#x203A;掼ä?¤
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ĺ&#x2018;?ĺ&#x160;Ľćś¸ď&#x2DC;šâĄšéźŠĺ&#x192;˝ă&#x20AC;łâ&#x;&#x192;ćş?â´&#x20AC;ă¸?ĺ&#x192;˝ĺ&#x17E;¸äşźâ&#x17E;&#x192;ë&#x201E;&#x201C;ă&#x2DC;&#x2014;ä˘&#x20AC;朸ď&#x2DC;ˇä§ŽâŚ&#x203A;韊ĺ°?ę&#x;&#x161;㨼䪞é¸?âŚ?ć¤&#x161; ä&#x2122;&#x201A;ä&#x2019;&#x201A;ăž?ä&#x2013;¤ĺ&#x2C6;żĺš&#x20AC;ď&#x2DC;šä§ŽâŚ&#x203A;暥⾚ă&#x20AC;Ťĺ&#x2030;¤ĺ&#x2030;&#x201C;ⴲ㨼朸ć&#x2122;?ĺ&#x160;ĽŐˇâź§â?&#x20AC;ë&#x;&#x160;ç &#x2021;ç&#x2018;&#x2013;Ő¸ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;ď&#x161;łäž¸ăśśč° é Żď&#x161;´ă&#x20AC;łâ&#x;&#x192;é&#x201C;&#x17E;ĺ&#x192;˝â´&#x2022;ĺ¨&#x201A;ä&#x2013;&#x17D;ă&#x201C;&#x201A;ę&#x2026;žćś¸ç?&#x2013;é&#x2013;&#x2014;ď&#x2DC;šĺ&#x2030;¤â?&#x2030;â&#x17E;&#x192;é&#x2019;˘ć?&#x20AC;é¸?âŚ?
é&#x2018;&#x201A;ăŁ&#x2013;ç&#x2018; ĺ˛&#x152;ď&#x2DC;śăŁ&#x2013;éş&#x2022;ĺ&#x201E;&#x2DC;ď&#x2DC;šĺ&#x2030;¤â?&#x2030;â&#x17E;&#x192;é&#x2019;˘ć?&#x20AC;ĺ&#x2018;?ĺ&#x160;Ľĺ°?ĺ&#x2030;¤ď&#x161;łäž¸ăśśč° é Żď&#x161;´é¸?ç??ĺ&#x152;&#x152;é&#x160;Żď&#x2DC;šäž¸ăśś
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3*î&#x161;&#x2030;䧎é&#x152;?ä&#x2013;¤é¸?ĺ&#x192;˝âĄ˛ç˛łč?&#x2C6;ç°&#x201E;Ő&#x201A;⥚䪞č?&#x2C6;ä&#x160;šĺ¨?â°&#x2026;â&#x2122;§âŚ?ăźęą&#x2020;ă&#x161;&#x2013;ď&#x2DC;šă˝ˇęŁłéĽąâ˘ľâ&#x153;Ťď&#x2DC;ˇä§Ž é&#x2019;˘ć?&#x20AC;é¸?ç??ă ?ç?&#x2013;ĺ&#x192;˝ä&#x2013;&#x17D;ć?&#x201A;渤ď&#x2DC;śâ&#x161;&#x201A;ć?&#x201A;ęĄ ç?é&#x160;´ćś¸ď&#x2DC;ˇă&#x2013;&#x2C6;â&#x;&#x192;âľšď&#x2DC;šăĽśĺ?&#x201C;⥚ä&#x;?䪞ĺś?⿝䞸㜜
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ART.ZIP: Most of the contemporary art we encounter is inter-disciplinary, with artists like yours, starting dialogues between diďŹ&#x20AC;erent genres inside and outside of art. I know you've collaborated with dancers. What do you feel the beneďŹ ts are from bringing in outside collaborators?
"35 ;*1î&#x161;&#x2030;䧎âŚ&#x203A;䨞é&#x2039;&#x2026;âľ&#x152;朸ăŁ?㢾䞸ć¤?â&#x17E;żč° é ŻéżŞĺ&#x192;˝é¨&#x2014;㡸ç&#x152;°ćś¸ď&#x2DC;šă˝ ⍚⥚âŚ&#x203A;â&#x2122;§
new. The idea always comes ďŹ rst. Working with dance and Wayne
ç&#x2DC;&#x17E;ď&#x2DC;šé¸?鿪é&#x203A;&#x160;䧎âŚ&#x203A;âŻ?ć&#x20AC;?č&#x17D;&#x2021;錹ď&#x2DC;ˇäł&#x2013;⥲ĺ&#x192;˝ä§Žď&#x2DC;šä§Žă¸¤ď&#x2C6;Łâ&#x2122;śćżźéşĽé&#x2018;Şä&#x2122;Śë&#x17E;&#x2020;ę&#x;&#x161;㨼ď&#x2DC;ˇé¸?â¤&#x2018;
RI: Every time we do something it's partially exciting because it's McGregor for example, we didn't really know anything about
contemporary dance. It's interesting how people use their body
as a material and what is involved in that, including remembering
ĺ&#x17E;şď&#x2DC;šă&#x2013;&#x2C6;č° é Żęą&#x2020;ă&#x161;&#x2013;â°&#x2030;㢍ä&#x2019;&#x160;ç&#x201D;¨ă ?겳é¨&#x2014;㡸ç&#x152;°ćś¸ăźŠé&#x2018;¨ď&#x2DC;ˇâĄšâŚ&#x203A;â&#x203A;łĺ&#x2030;&#x17D;獤ă&#x201E;¤č&#x17D;ťéŞŞć&#x20AC;ľă&#x2020;&#x17E; ă &#x2013;⥲éş&#x2022;ď&#x2DC;šé¸?ç??é¨&#x2014;ć˛ă &#x2013;⥲ä&#x152;&#x;⢾â&#x153;Ťâ&#x17E;&#x160;ë&#x17E;&#x2020;㼪č´&#x2013;î&#x161;&#x17D;
3*î&#x161;&#x2030;卌ĺŚ&#x201E;䧎âŚ&#x203A;ę&#x;&#x161;ă&#x2030;Źĺ&#x20AC;&#x17E;朸갪暥ď&#x2DC;šĺ&#x2030;&#x201C;â&#x;&#x201A;䧎âŚ&#x203A;č&#x17D;&#x2021;ăĽ&#x2026;â&#x2122;śä&#x160;şćś¸ď&#x2DC;šĺ&#x2030;¤éż&#x2C6;â´&#x2022;➲ă&#x201D;&#x201D;ĺ&#x192;˝ć&#x2039;ĺ&#x20AC;´
ĺ&#x17D;Ľç??ĺ&#x20AC;&#x17E;ç??ä&#x161;?ď&#x2DC;ˇä&#x;?ĺ˛ ĺŽ&#x2022;éť&#x2021;ĺ&#x192;˝ĺ&#x2030;&#x201C;ę&#x2026;žé&#x160;´ćś¸ď&#x2DC;ˇă&#x201E;¤č&#x17D;ťéŞŞăšťă &#x2013;⥲ď&#x2DC;šĺŤ˛ăĽśęŻ&#x201A;ä&#x203A;¸Ë&#x2122;ë?&#x2039;âŻ&#x2DC;ĺ&#x2018;&#x201D;
ꨎĺ&#x2018;&#x201D;ď&#x2DC;šâ&#x2122;§ę&#x;&#x161;㨼ĺ&#x201E;&#x2DC;䧎âŚ&#x203A;â&#x161;&#x203A;â&#x2122;śâ&#x153;Ťé?&#x2018;ć¤?â&#x17E;żč&#x17D;ťď&#x2DC;ˇč&#x17D;ťç˝?ä&#x2122;Śĺ&#x17E;şâ˘ŞćŹ˝â&#x17E;ŽâŚ&#x203A;朸é¨ë&#x201E;&#x201C;⥲ć?&#x20AC;㯯
â&#x17E;? ➲ĺ&#x2039;&#x17E;俲ď&#x2DC;šâ&#x;&#x192;âżťé¸?â°Śâ&#x161;Ľĺś?âżťâľ&#x152;朸ĺ&#x20AC;°ĺ&#x20AC;°ęŹ&#x2014;ęŹ&#x2014;ď&#x2DC;šĺŤ˛ăĽść&#x201C;żé&#x17D;šâ&#x2122;§ăźĺ&#x201E;&#x2DC;朸玥č&#x17D;ťç&#x2DC;&#x17E; ĺ&#x192;˝ĺ&#x2030;¤éŚąćś¸ă&#x2013;&#x2019;ĺ&#x20AC;°ď&#x2DC;šâ&#x17E;&#x192;âŚ&#x203A;ä&#x2122;Śë&#x17E;&#x2020;ä&#x2013;°ćšąă &#x161;朸ć¤&#x161;ä&#x2122;&#x201A;â´&#x20AC;朎ď&#x2DC;šĺ&#x2030;&#x201C;ä&#x2013;&#x2022;㸤ä§â&#x2122;śâ&#x2122;§ĺ&#x17E;şćś¸âśžâĄ˛ď&#x2DC;ˇ ă&#x2013;&#x2C6;é¸?ĺŚ&#x201E;ă &#x2013;⥲â&#x161;Ľď&#x2DC;šä§ŽâŚ&#x203A;鿪㟊㟊ĺ&#x20AC;°ĺ&#x2030;¤â&#x153;Ťĺ&#x2C6;żăĽŞćś¸â&#x153;Ťé?&#x2018;â&#x161;&#x203A;㡸ĺ&#x2030;&#x161;â&#x153;Ťâ&#x153;˝ćšąĺŚ&#x2021;颣ď&#x2DC;ˇ
an hour of choreography. I would have no idea how to start with
ă&#x20AC;Ľă˘Ťď&#x2DC;šĺŚ&#x2021;颣ă&#x201E;¤äŽ&#x2039;ä¨&#x17E;ĺ&#x192;˝â&#x2122;§â&#x161;&#x203A;㜸ă&#x2013;&#x2C6;朸ď&#x2DC;ˇä§Žä&#x;?ď&#x2DC;šä§ŽâŚ&#x203A;č&#x201A;Ľăš ĺ&#x2030;&#x161;é&#x203A;&#x160;â&#x17E;ŽâŚ&#x203A;â¨&#x17E;â&#x2122;§â?&#x2030;â&#x17E;ŽâŚ&#x203A;
do very diďŹ&#x20AC;erent things. In the work, there's an appreciation that
ęą&#x2020;ă&#x161;&#x2013;ď&#x2DC;ˇé&#x203A;&#x160;䧎é&#x152;?ä&#x2013;¤é?¸âš&#x203A;ĺ&#x2030;&#x201C;ăŁ?朸ĺ&#x192;˝â&#x2122;§â?&#x2030;ä&#x201C;˝ć?&#x2122;朸⿞ä&#x160;´ăźŠĺŤ˛î&#x161;&#x2030;â&#x17E;&#x192;ë&#x201E;&#x201C;ĺ´&#x17E;âš&#x203A;朸种礊ä&#x161;?
that. That is really interesting, how people use the same engine to goes both ways.
ä&#x17D;&#x201A;ĺ&#x201E;&#x2DC;â&#x2122;śĺ&#x2030;&#x161;â¨&#x17E;朸â&#x153;˛ä&#x17E;&#x2022;Ő&#x201A;â&#x17E;ŽâŚ&#x203A;â&#x203A;łâ&#x2122;§ĺ&#x17E;şď&#x2DC;ˇé¸?ĺ&#x17E;şä§ŽâŚ&#x203A;ă˝ č&#x2026;&#x2039;â°&#x;ă &#x161;äąłé&#x17D;Łĺ&#x2C6;żć?&#x20AC;ä&#x2018;&#x17E;ęĄ&#x20AC;朸
ă&#x201E;¤é&#x2014;&#x2030;âźťä&#x161;?ď&#x2DC;šĺ Ľă?źéş&#x152;é ¤ćś¸ęŁłâľ&#x2013;ä&#x161;?ă&#x201E;¤é&#x2020;łę§šä&#x161;?ď&#x2DC;šéżŞĺ&#x192;˝â&#x2122;§ç??ď&#x161;łäŞŽé Żâ&#x2122;łď&#x161;´ćś¸äŤ&#x2019;é&#x201A;&#x201A;ď&#x2DC;ˇé¸?
There is appreciation and challenge. I think we make them do stuff that they
珏䓹⸂僽㣐涸暶ⴽ僽ꯂ䛸涸管莻⟃⿻㖈⡲ㅷ錚
touches me, is the contrast: the purity and humbleness of the body and then
⳼곏✫鸏珏⹛䢀㼩嫲鸏珏⹛ꬆ涸穡ざ溫僽鶵➃涸♧
would normally not do and likewise. So that creates a fairly rich ground. What the restrained, but technically complex counterpart. That tension was great,
especially with the way that Wayne choreographs, but also with normal people in front of the piece, as an extension to his suggestions. It is something that is
really beautiful to watch. We wonder how it is that Wayne does what he does and how the dancers move like that do. I'm sure that some of that fuels this
fascination for the body or movement, which ultimately come out in the Study
for Fifteen Points or for what we're showing for PACE. I'm sure that will fuel back and we will see what kinds of possibilities arise from exposing that work to
choreography and what triggers that. It's a ping-pong through different time
frames or arches. Outside collaborators are really essential to the way we work. It s a bit like what we did in Harvard. We looked at how people work with
different things, the in-depth knowledge or interest they have. It all comes back to the human body. If it's within the field of robotics, then it's how can robots work next to humans without the humans getting in the way and hurt. With
every subject, you get a glimpse and get a different aspect of what it means to be human.
溏涸兜鸒➃Ղ鸏❉㖈錚溏涸➃⛳䧭捀✫⡲ㅷ涸♧鿈ⴕ
䍌䧮⦛♶濼麥ꯂ䛸僽㥶⡦⨞ⵌ涸⛳♶濼麥Ⱖ➮莻罏 䙦랆腋㥶姽莻⹛䧮䟝鸏⦐ざ⡲慨涮✫䧮⦛㼩倴➃넓⿻ Ⱖ崞⹛涸鶵䙼輑Ⰵ✫䧮⦛涸շ⼧❀럊灇瑖ո⟃⿻䧮⦛㼟
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遤ぐ䒭䊨⡲涸⟃⿻➮⦛剤衽䙦垺涸濼陏䧴莇馱鸏❉
娝呏穡䏁鼩僽ꡠ倴➃涸灇瑖㥶卓鸏皿僽堥㐼➃㷸涸걆
㚖齡䧮⦛灇瑖涸䥰鑪僽堥㐼➃䙦垺ㄤ➃겳Ⱏ贖㥶⡦ 荈歋⢪欽⿶♶剚「ⵌ⫊㹳㖈嫦⦐铭겗酭䧮⦛鿪腋盘 ⚥瓹韵䖰〥♧⦐錬䏞钢陏⡦捀➃䚍
SOUK, DERIVATIVES, SIMULATION: THE WORLD CREATED IN ART ä&#x2039;&#x2018;ă&#x153;ĽŐŽé ĽćŹ°ŐŽäşťâŤ¸ď&#x2DC;ť č°&#x20AC;é Žä¨žä&#x2019;&#x160;ĺ&#x153;&#x201C;朸â&#x161;&#x2020;ć˛
5&95 "/% *."(&4 #: äš&#x160;äż&#x2019;č&#x17D;&#x201E; ă&#x2022;ć&#x2122;&#x2122;䲿âŁ&#x2DC; î&#x203A;&#x2021; 6 ,"/"% $)",3"#"35* ă˝? â˝&#x201C;ç§&#x153;ä&#x2014;&#x17E;Ë&#x2122;ĺ?&#x2026;âŻ&#x2DC;äŹ&#x2DC;ä&#x160;źčŁĽ 53"/4-"5&% #: çźşé&#x2122;ź î&#x203A;&#x2021; +": $)6/ $)*&) -"* éŁ&#x2020;ęž&#x2122;ĺ&#x152;&#x160; .*$)&--& :6 ⥎ăźä&#x153;Ł
My studio is a place of clashes: imperfection and chaos in close proximity
䧎朸ä&#x160;¨âĄ˛ăš&#x201D;ĺ&#x192;˝âŻ?ć&#x20AC;?ç&#x201E;Ľä¸ćś¸ă&#x2013;&#x2019;ĺ&#x20AC;°î&#x161;&#x2030;â&#x2122;śă¸¤çšĄćś¸ď&#x2DC;śĺš&#x2039;â&#x153;Ľćś¸ď&#x2DC;śćšąăźŠęľ?
resistance of physical materials gives rise to surprises, accidents, mistakes.
ë &#x2021;ă&#x2039;?ď&#x2DC;śä &#x2018;㢍ă&#x201E;¤ăŁ&#x;é&#x201C;?ď&#x2DC;ˇäž¸ç&#x201E;şč´&#x2013;ć¤&#x161;â&#x203A;łĺ&#x2030;&#x161;â´&#x20AC;ć¤?佌꼝ď&#x2DC;šă&#x20AC;Ťĺ&#x192;˝äł&#x2013;â&#x153;Ťă&#x20AC;Ľâ&#x2122;§ç??
to the comparatively ethereal praxis that is digital video-editing. The
In a diďŹ&#x20AC;erent way, digital processes also present obstacles: corruptions in image data, or glitches that arise when pure data meets display medium - whether out-of-gamut colours on a web browser or a leaky cartridge
messing up an otherwise perfect inkjet print. For instance, in a recent
video, I used 3-D CGI, digital eďŹ&#x20AC;ects, electronic music, all that trendiness, but as I put it together I realised that the artefacts - dust, scratches,
printing errors - in my original black-and-white analogue photographs from Sicily resonated the most in this world of instant, perfect images, endlessly reproduced on screen after screen after screen.
庝朸ăť&#x153;éŠ?ď&#x2DC;šâ˝°äž¸ç&#x201E;şé&#x2039;&#x2022;깽✊éą&#x20AC;ď&#x2DC;ˇăźŠć&#x161;&#x;ć¤&#x161;ĺ&#x2039;&#x17E;俲朸äŤ&#x2019;䏊⿞ç˝&#x153;鸤㽠â&#x153;Ť ĺ&#x20AC;°ä&#x2019;ď&#x2DC;šăĽśî&#x161;&#x2030;ä&#x2022;§âŤšĺ˘&#x201A;ĺ&#x2018;Şćś¸ä´ŚĺŤ&#x2020;ď&#x2DC;šâżśä§´ĺ&#x192;˝ćŽšç§Ťäž¸äş&#x2122;éş&#x201A;â&#x2122;łăž?ç&#x2C6;&#x161;㯯â&#x17E;?
䨞援揰朸ä&#x2022;§âŤšä&#x17D; äť ä§´ăŁ&#x;ęŤ&#x2122;Ő&#x201A;é&#x160;´ë&#x17E;&#x2020;ĺ&#x192;˝ć&#x2021;łé&#x152;&#x2019;ă?źć?&#x201A;ĺ˛ éş¨âľ&#x152;č&#x2019;&#x20AC;ă&#x161;&#x2013;ç&#x153;&#x2022;
ă&#x2022; ď&#x2DC;šé&#x160;´ë&#x17E;&#x192;ă&#x;ŻĺŽ?ĺżść&#x20AC;Şä¨žé¸¤ä§ćś¸äŠ§â˝ŤăŁ&#x;é&#x201C;?ď&#x2DC;ˇč&#x17D;&#x160;âŚ?⢿㜊ď&#x2DC;šă&#x2013;&#x2C6;䧎朸â&#x2122;§ âŚ?éľ&#x153;ĺ&#x160;?é&#x2039;&#x2022;깽⥲ă&#x2026;ˇâ&#x161;Ľď&#x2DC;šä§Žâ˘ŞćŹ˝â&#x153;Ťę¨śč&#x2C6;Ąâ&#x2122;˛çŹ&#x17E;âš&#x203A;掼ď&#x2DC;šäž¸ç&#x201E;şć&#x161;śä˝Şď&#x2DC;šę¨ś 㜊ę°&#x2030;ĺ?żç&#x2DC;&#x17E;䨞ĺ&#x2030;¤ćŽšâľšĺ´Šé ¤ćś¸ĺ&#x20AC;°ä&#x2019;ď&#x2DC;šâĄ&#x17D;掚䧎䪞é¸?â?&#x2030;鿪䲾ă &#x2013;ă&#x2013;&#x2C6;â&#x2122;§éĽą
朸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;šä§ŽäŠ&#x17E;朎ć¤?ď&#x2DC;šé˝Ąâ?&#x2030;éş&#x2022;⿥ă&#x2013;&#x2C6;é&#x160;Żé&#x160;Żę&#x2026;˝ä&#x192;&#x2039;äŹ?䟢朸âŤ&#x201E;窥ë&#x17E;ąćśŻćšą ć&#x2122;&#x161;朸â&#x17E;&#x192;鸤ćą&#x161;é¨&#x2039;î&#x2122;ˇă&#x17E;&#x201D;çŁ?ď&#x2DC;śâľ&#x2030;ćą&#x161;č&#x17D;&#x2026;尣⽍ăŁ&#x;é&#x201C;?î&#x2122;¸äŠ&#x17E;溍姝ă&#x201D;?估â&#x153;ŤăĽśâ&#x17E;&#x203A;
ĺ˛&#x152;ć&#x2020;朸⽰ĺ&#x201E;&#x2DC;揰ä§ćś¸ă¸¤çšĄä&#x2022;§âŤšâ&#x161;&#x201A;ć?&#x201A;姺ćš&#x2C6;ă&#x2013;&#x2019;ă&#x2013;&#x2C6;â&#x2122;§âŚ?äąşâ&#x2122;§âŚ?ăž&#x201C;ä?&#x152; â&#x161;Ľé&#x2020;łé&#x2020;˘âżťęł?ć¤?ď&#x2DC;ˇ
Installation view of Derivative Work by U. Kanad Chakrabarti
At a deeper level, I also identify the studio with other sites close to my artistic
刿幀Ⰵ⢵铞䧮錏䖤䧮涸䊨⡲㹔ㄤⰦ➮㜥䨾Ղꪫ㣔䋑
whether use or exchange, are bought and sold, with much noise and colour
涸谁遯䟝岁㖈鸏❉㖒倰搂锸僽Ⱘ剤⢪欽⭆⧩鼩僽❜
vision: souk, pescheria, trading desk. In all these places, things of value,
in the bargain. A vast hall filled with Excel spreadsheets and flashing lights, an
investment bank s trading floor, not unlike Billingsgate or Tsukiji, was a charged site: smelling of sweat and cigarettes, filthy, crowded with irascible characters
who barked into phones, the long cords of which snaked around like squid-ink spaghetti. Yet this is no longer: in the 1990s, one hollered trade orders down
to the Chicago Mercantile Exchange, where guys in bright jackets would buy
Study for Fifteen Points, 2016: Motors, custom driver electronics, custom, software, aluminium, LEDs, computer 712 x 552 x 606 mm / Photography by Random International
and sell live hogs, dead cows, as well as the U.S. 30-year long bond . A trade order used to be scribbled on paper blotters , and passed to assistants to be typed into a computer. Today, most financial markets are entirely electronic, while bitcoin and blockchain apparently will revolutionise the essence of
money. Even the fish-market has changed: my fishmonger now has an app that tracks his suppliers at sea and the soon-to-be-landed catch. Yet, as automation becomes ubiquitous, the individuals in the markets remain corporeal and
mortal. After all, the bit must still touch the stuff of everyday life: steel, plastic, concrete, carpet, amber, rice.
㜥눴䋑㜥❜僒䨾Ղ僽耢粯㖈♧饱涸〫僽刿䱺鵜䧮
䳖⭆⧩涸暟ㅷ㖳腋嶍Ⰵ顠颪㖈㐿갉莅蒀䕙⚥倁偒♧
⦐⯏怏邍呔莅Ꟑ⯕敚涸䫏须ꋓ遤涸❜僒㣐䑼莅⧍侚涸 嫲卌倛覈暶嵳늫䋑㜥䧴匌❩涸眡㖒怒䋑㜥尝➊랃Ⰽ垺
⛳僽孵孨筝䓹涸㖒倰瑠孵⚥㣰꧹衽寂宐 ㄤ摳虋涸
麥莅姻㼩衽ꨶ鑨Ղꨶ鑨箁躋蹄蹻粕㥶㟯눴띳菛Ղ搋 鬒ㄝㆳ涸➃亡㖈♧㝆⯥搭罜植㖈莅殹䎃㣐♶♧垺㖈
䎃➿➃⦛こ㋓衽❜僒㆞⢵ⵌ蓐⸈ㆥ㉂噠❜僒䨾㖈齡 ⯥瑭衽僈❮㣰⯘涸➃姻㖈贖椚崞넓韣ꦷ㾭㹬暋ꦷ莅繡 㕜♲⼧䎃劍Ꟁ劍⫈ⵚ瘞❜僒❜僒涸䭸⟂麕鸒䌢鄄
㻨㖈㟯秶♳⚛⚂❜歋⸔䩛鱒Ⰵꨶ舡➛傈㢵侸
涸ꆄ輑䋑㜥䊺㸤ꨶ㶩⻋罜嫲暶䍤莅⼦㝆ꕖ瘞곏搭 䌟⢵✫ꆄꐏ涸ꬠㄐ䚍鱲隶⽰⢪僽怒䋑㜥⛳䊺佖隶䧮
湱擿涸눴顋植㖈⛳欽䩛堥䥰欽玑䒭鷆髠Ⱖ嵳♳涸⣘䥰 ㉂⚛⽰儘濼麥ㆭ❉⽰㼟荆䁘涸怒栽搭罜殹荈⹛⻋搂
䨾♶㖈儘䋑㜥⚥涸嫦⦐⦐넓➠搭僽聘魨⚂剤ꣳ涸殗 界嫲暶剓穅鼩僽剚䱺鍸植㻜欰崞ꏈ㝖俲宐岟 㖒嬞楊梵碜
DERIVATIVES & INTEGRALS The dichotomy above, of physical studio and digital desk, of accident versus planning, leads me to another opposition. In both art and the market, I
遥欰莅侮ざ
see creation as arising from a continual process of taking derivatives and
♳鶤涸✳ⴕ㼩用ꡠ倴㻜넓䊨⡲㹔莅侸焺呲ꡠ倴䠑
French difference, and both terms refer to an activity of perturbing a complex
䋑㜥Ⰽ罏⚥䧮䪾ⶾ鸤鋕⡲♧珏䭰糵㖒♶倬崣欰莅侮ざ
integrating. What do I mean by that? Derivative is closely related to the
and reflexive system, to find out how it reacts. By making hundreds of such perturbations, and noting the results, one forms an overall view, a map, of
the system s behaviour. Similarly, in the studio, the artist, faced with his/her unknowable creative process, is constantly trying things, often without a
conscious destination or objective. Add a bit of paint here, take some away
there, and most importantly, look at the result - and get others to look at it. This is a game of educated guesswork, guided mostly by intuition accumulated over the years.
At the other analogical extreme lies integration. Artists, like market
㢫莅鎙殥⛓涸㼩嫲㼟䧮䒸ぢ〥♧珏㼩用㖈谁遯莅 涸麕玑䧮䭸涸僽➊랃崣欰湱殹䱺鵜岁俒⚥涸遥 殯鸏Ⰽ鑂涼䭸♧⦐秗✥醳꧹⚂Ⱘ⿾䙼䚍涸崞⹛䠑㕬
椚鍑鸏㤛禺窡㥶⡦⡲ⴀ⿾䥰诔歋侸涰妄鸏垺涸仠⹛⚛ 鎹《穡卓罜䕎䧭♧㤛ꡠ倴鸏㤛禺窡遤捀涸兞㕬ㄤ㖒
㕬겳⡂㖒㖈䊨⡲㹔⚥殹谁遯㹻㼩➮䧴㥠劢濼涸ⶾ
⡲麕玑➮⦛竤䌢僽♶䌟剤僈焷䠑㕬莅湡垦涸䭰糵㖒 鹎遤㎲鑑ㄤ㻜驏鸏酭⸈♧❉겝俲齡鼹䱈♧❉剓 ꅾ銴涸僽錚溏穡卓㥶⡦鼩剤雊ⴽ➃錚溏鸏僽♧ 㜥濼陏⟨㶩涸枤庠麉䨡歋㢵䎃⢵琎稡涸湬錏䨾䒸㼬
traders, have to bring together a vast amount of historical and practical
㼩嫲涸〥♧걧僽侮ざ谁遯㹻莅䋑㜥❜僒㆞涸䊨⡲
present circumstances. Then do it again. And again, for as long as one can.
㖈♧饱椚幢须俲涸腠窄ⱄ䥰欽ⵌ殹♴鹋罜䗂㨥湈
information, understand the context of that information, and apply it to
For artists, this amounts to knowledge of materials, processes, art history,
personal experience and the world-outside-art. This process of assimilation is
fundamental to forming an aesthetic judgement. It certainly isn t the only way
of art-making, but it seems to me to be particularly applicable to contemporary, politically-engaged art. Even within, or perhaps especially within, painting, one must accumulate, process, and channel 2,000+ years of art history….
look at someone like Anselm Kiefer: here s a guy pulling in the entire history
䚍颶湱⡂䗳갭㼟♧侮⚮莅娜〷⿻㻜ꥹ湱ꡠ涸⥌䜂穡ざ 〳腋㖒♧ⱄ㎲鑑㼩谁遯㹻罜鎊鸏❉⥌䜂㽠瘞ず倴
Ⱖ㼩倴勞俲麕玑谁遯〷⦐➃竤뀿莅谁遯⚆歲⛓㢫
涸籏넓濼陏鸏❉濼陏涸佐麕玑㼩倴䕎㝖繡㷸ⴼ倬僽 ꅾ銴涸㸐焷㻜♶僽谁遯ⶾ⡲涸㈔♧倰䒭⡎䧮钢捀㼩
倴佟屛➝Ⰵ涸殹➿谁遯㻜驏暶ⴽ㤉佪⽰⢪僽䧴罏铞 暶ⴽ僽粭殥걆㚖谁遯㹻䗳갭琎稡涮㾝⚛唚椚馄麕
Ⰽ⼪䎃⟃♳涸谁遯〷溏溏㸞㝱㨗˙㛇䒼鸏⪨⠒䪾
䞎âŚ?ä&#x2014;&#x17E;ă&#x2022;&#x153;ĺ¨&#x153;ă&#x20AC;ˇäľŚâ´&#x20AC;⢾ď&#x2DC;šâĄ&#x17D;ć?&#x20AC;â&#x17E;&#x160;ë&#x17E;&#x192;韊⨢ćŽ&#x2020;ă&#x2013;&#x2C6;齥⯼î&#x161;&#x17D;â&#x17E;Žĺ§ťă&#x2013;&#x2C6;
and intensely physical. Nothing 3-D printed, no Instagram, no UV-on-Mylarâ&#x20AC;Ś
朸ď&#x2DC;śă&#x203A;&#x2021;ĺ&#x160;Ľćś¸č&#x17D;&#x2026;ĺ&#x2122;˛ä?&#x17E;ć&#x161;&#x;颜朸ä&#x160;¨âĄ˛ăš&#x201D;ăť&#x153;éŠ?ç&#x201E;Ľä¸ä˛ľă &#x2013;ă&#x2013;&#x2C6;â&#x2122;§éĽąď&#x2DC;ˇ
smashing that together with studio processes that are archaic, foundational,
Kiefer is, for me, notable for an ability to create a world within his paintings.
Artists produce or appropriate a set of symbols, practices, and movements,
顴éş&#x2022;ć&#x;&#x201D;ăŁ&#x2013;äž&#x2020;é&#x2039;&#x2022;é&#x152;Źâ&#x;&#x192;äŤă&#x20AC;&#x160;皥ç¨&#x2039;â&#x2122;śéş¨ç˘&#x153;â??äż&#x2019;âť&#x2039;ď&#x2DC;šăź&#x;é¸?â?&#x2030;ă&#x20AC;˘ç˝&#x2030; â&#x17E;Žćś¸ăť&#x153;éŠ?ĺ°?ĺ&#x2030;¤ %䊧⽍ď&#x2DC;šĺ°?ĺ&#x2030;¤*OTUBHSBNď&#x2DC;šâ&#x203A;łĺ°?ĺ&#x2030;¤67č&#x160;Łć&#x2122;&#x161; ⽍âľ&#x2DC;
imbuing them with an internal relationship, a coherence. Note, I don t say
㟊䧎⢾é&#x201C;&#x17E;ď&#x2DC;šă&#x203A;&#x2021;ä&#x2019;źé&#x203A;&#x160;â&#x17E;&#x192;濧暥朸➲ă&#x201D;&#x201D;ĺ&#x192;˝â&#x17E;Žč&#x2026;&#x2039;㣠ă&#x2013;&#x2C6;â&#x17E;Žćś¸ćŽĽâĄ˛é&#x2026;
diverse in appearance, but somehow when they re done, people think it hangs
âš&#x203A;ď&#x2DC;šâ&#x161;&#x203A;岤â°&#x2026;â&#x2122;§ç??â°&#x2030;ă&#x2013;&#x2C6;ęĄ č&#x20AC;˘ă&#x201E;¤é¸ŽéĄ?ä&#x161;?ď&#x2DC;ˇĺ˛¤ä &#x2018;ď&#x2DC;šä§Žé&#x201C;&#x17E;朸â&#x2122;śĺ&#x192;˝ď&#x161;łâ&#x2122;§
consistency : some of the most interesting artists have work that is dramatically
together. In the most exciting cases, these freshly-created worlds, like the
mythical Greek serpent Ouroboros, turn on themselves, and re-deďŹ ne the very category of art .
ON SIMULATION A particular species of world-making that is relevant to my own practice is the computer simulation. I m dating myself here, but I remember getting really excited about simulating, on an ďŹ rst-generation Apple Macintosh, Ronald
✞鸤â&#x2122;§âŚ?â&#x161;&#x2020;ć˛ď&#x2DC;ˇč° é ŻăšťâśžâĄ˛ä§´äŽąćŹ˝â&#x2122;§çŚşâ´Şç&#x2014;&#x2DC;č´Ťď&#x2DC;śăť&#x153;éŠ?ď&#x2DC;śéş&#x152;
č?&#x17E;ä&#x161;?ď&#x161;´î&#x161;&#x2030;â&#x2122;§â?&#x2030;ęŹ&#x152;ä&#x152;˘ĺ&#x2030;¤éŚąćś¸č° é ŻăšťâĄ˛ă&#x2026;ˇĺ&#x2030;¤čĄ˝ă ?ç??é&#x201A;?ęŹ&#x2014;â&#x2122;łćş? 鼹⢾鿪â&#x2122;śćšąç?&#x2013;朸âŻ&#x2039;ç¨&#x2021;ď&#x2DC;šâĄ&#x17D;ĺ&#x192;˝ćŽšä§ă&#x2026;ˇăž?ç&#x2C6;&#x161;â´&#x20AC;⢾朸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;šâ&#x17E;&#x192;
âŚ&#x203A;â&#x161;&#x203A;â&#x2122;śĺ&#x2030;&#x161;é&#x152;?ä&#x2013;¤éşŹă&#x201E;¤ď&#x2DC;ˇé˝Ąâ?&#x2030;ĺ&#x2030;&#x201C;ć&#x2026;¨âš&#x203A;â&#x17E;&#x192;ä&#x2014;ąćś¸ĺ&#x2018;Şâ˘żé&#x2026;ď&#x2DC;šä§ŽâŚ&#x203A;暥 ćźžâ&#x153;Ťé¸?â?&#x2030;ĺ&#x20AC;&#x17E;ă&#x2DC;&#x2014;ä˘&#x20AC;â&#x161;&#x2020;ć˛ď&#x2DC;šć&#x;&#x201D;㼜ä&#x2039;&#x17E;č&#x152;Łç&#x2030;&#x;é&#x2018;¨é&#x2026;朸ę&#x152;&#x160;㽾čˇ&#x2018;ď&#x2DC;šč?&#x2C6;䧎 ĺŤ&#x2020;垧朸ă &#x161;ĺ&#x201E;&#x2DC;âżśč?&#x2C6;䧎ę&#x2026;žćŹ°ď&#x2DC;šâ&#x2122;§âą&#x201E;ę&#x2026;žĺ&#x20AC;&#x17E;ăš çş?ď&#x161;łč° é Żď&#x161;´ď&#x2DC;ˇ
é&#x201D;¸ĺ&#x17E;¸äşźâ&#x;ŹćşŤ
Reagan s Star Wars missile-defence system - a network of satellites in the
č&#x17D;&#x2026;䧎č?&#x2C6;é¨ăť&#x153;éŠ?ĺ&#x2030;¤ęĄ 朸â&#x2122;§ç??ć&#x161;śĺŠ&#x152;朸â&#x161;&#x2020;ć˛âśžä&#x2019;&#x160;ĺ&#x20AC;°ä&#x2019;ĺ&#x192;˝ę¨śč&#x2C6;Ąâ&#x;Ź
my simulation nor Star Wars itself ever got built: the USSR was already toast,
č&#x2C6;Ąä¨žć&#x20AC;ľçł&#x2039;ćś¸ęĄ ĺ&#x20AC;´çš?ç§?ä&#x2014;&#x17E;Ë&#x2122;ę&#x2026;˝ĺ&#x2018;?朸աĺ&#x192;¤ć¤&#x2022;ăŁ?ä¨&#x17E;Ő¸é&#x2026;朸꾳ä&#x201D;&#x17E;
sky that would shoot down Soviet ICBMs before they hit the U.S. Neither
capitalism had triumphed - and the 26-year bull market in art and debt really hit its stride.
At university in the 1990s, I started looking at how to visualise ďŹ nancial data comprising millions of data points, using high-speed computer graphics -
then just becoming available in academia and Wall Street. This was still on
溍ď&#x2DC;ˇĺ&#x2030;¤ë&#x;&#x160;â&#x2122;śăŁ&#x2013;ç&#x201E;ˇăš ä&#x17D;&#x192;â&#x;¨ď&#x2DC;šâĄ&#x17D;䧎â&#x17E; é&#x17D;šä&#x2013;¤ćŽšĺ&#x201E;&#x2DC;ç&#x2014;§â&#x2122;§â&#x17E;żčąĺ?&#x201C;ꨜ ęŁ&#x2C6;ç&#x2039;ĄçŚşçŞĄŐ&#x201A;â&#x2122;§ă¤&#x203A;ęŁ&#x2C6;ç&#x2039;Ąčą¤çŹ&#x17E;ă&#x2122;Şĺ´&#x17D;꼚ä&#x201D;&#x17E;麼꾳ä&#x201D;&#x17E;é&#x160;&#x201D;䚚皥ă&#x2022;&#x153;ĺ&#x160;Ľ ă&#x2022;źćś¸é şĺ&#x192;¤çŹŞçŞ&#x201E;猺窥ď&#x2DC;šä§ŽăźŠĺ&#x20AC;´é˝Ąäşźâ&#x;ŹäŠ&#x203A;ĺ˛ ĺ&#x2122;˛ć?&#x20AC;č&#x17D;&#x2021;ăĽ&#x2026;ď&#x2DC;ˇć?&#x201A;é&#x201D;¸ ĺ&#x192;˝ä§Žćś¸äşźâ&#x;Źä§´ĺ&#x192;¤ęĽšä¨&#x17E;ć&#x2DC;°çŚşçŞĄä&#x2013;°ĺ&#x160;˘ĺ&#x2030;&#x17D;溍姝ăť&#x153;ć¤?î&#x161;&#x2030;ă&#x201D;&#x201D;ć?&#x20AC;蹤çŹ&#x17E;
ă&#x2122;Şç&#x2C6;˘ĺ&#x2030;&#x161;â&#x161;şçş?â°&#x;ă&#x201E;¤ă&#x2022;&#x153;č&#x20AC;˘ćš&#x2026;ä&#x160;şçŤ¤é?&#x2018;ë&#x201E;&#x201C;ď&#x2DC;šç˝&#x153;饝ĺ&#x160;Ľâ&#x161;şçş?âľąď&#x2C6;ŁęŹ&#x2014;⚨
âľ&#x201E;ď&#x2DC;ˇćŹŠâ&#x161;&#x201A;ď&#x2DC;šč° é Żč&#x17D;&#x2026;⌜饥猺窥â&#x161;Ľę&#x;&#x20AC;麨 ä&#x17D;&#x192;â&#x203A;&#x201C;â&#x203A;&#x2030;朸ć&#x161;&#x2039;ä&#x2039;&#x2018;éŚ&#x160;鼼 éŚ&#x160;ę°Ťâľ&#x201E;ď&#x2DC;ˇ
Fictionalised website of the hedge fund : www.iodcapital.ch
of Germany, but why stop there, he s picking up Mesopotamia via Judaism,
Sun SPARCstations running on the U.S. Defense Department s ARPANET, now
ä&#x17D;&#x192;â&#x17E;żćŽšä§Žă&#x2013;&#x2C6;ăŁ?㡸ĺ&#x201E;&#x2DC;ď&#x2DC;šä§Žę&#x;&#x161;ă¨ĽęĄ ĺ˛¤ăĽśâĄŚâ˘ŞćŹ˝ë&#x201E;&#x17E;é¸ č´&#x2013;ć¤&#x161;朸
Carlo simulation, a glamorous name suggesting strapless gowns and baccarat
ĺ˘&#x201A;ĺ&#x2018;Şé&#x2039;&#x2022;é&#x152;?âť&#x2039;ď&#x2DC;šă¸?ęŚ&#x2018;â˝°ä§ć?&#x20AC;ă&#x2013;&#x2C6;ăˇ¸é Żć˛č&#x17D;&#x2026;č&#x17E; ć&#x2122;&#x2039;é łâ&#x161;Ľĺ&#x2026;&#x153;éş&#x2019;é&#x201E;&#x201E;⢪
recognised as the fore-runner of the Web. We used something called Monte-
tables, but really just a programme that would calculate how esoteric ďŹ nancial
derivatives would behave under thousands of diďŹ&#x20AC;erent hypothetical scenarios, so-called states of the world . One adds up all the possible ways the future
could unfold, takes an average of the whole thing, and gets an estimate of what the present moment might be worth. Conceptually, and procedurally, this is an echo of the integration I mentioned earlier.
In my last major programming project, in 2009, I wrote a ray-tracer from scratch. Ray-tracing is critical in digital cinema, video games, and computer vision. As the term implies, this involves following each possible ray of light from lamp
ćŹ˝ćś¸äŞŽé Żď&#x2DC;ˇćŽšĺ&#x201E;&#x2DC;皥ă&#x2022;&#x153;ă&#x2022;&#x153;ęŁ&#x2C6;éż&#x2C6;朸ë&#x201E;&#x17E;ç&#x2DC;&#x17E;ç &#x2021;ç&#x2018;&#x2013;é&#x17D;&#x2122;âˇ&#x201D;ç¸çŹŞé¨&#x;â&#x17E; â&#x;&#x201C; éŁ&#x2026;ĺ&#x201A;ťę¤żâ°&#x2014;ă &#x20AC;䨞é&#x2020;˘é¸¤ćś¸ă˘ľä&#x160;¨č´&#x2013;ć¤&#x161;ă?źď&#x2DC;šâ˝°ć¤?ă&#x2013;&#x2C6;䨞濟朸â&#x153;˝č&#x20AC;˘çŹŞ
âŻ&#x201C;ë&#x20AC;?ď&#x2DC;ˇä§ŽâŚ&#x203A;⢪揽ĺ&#x17D;Ľç??é&#x201E;&#x201E;ç?&#x2013;ć?&#x20AC;Őšč¤&#x2018;ă&#x2013;&#x2019;â˝&#x201C;çš?Őşĺ&#x17E;¸äşźç&#x17D;&#x2018;ä&#x2019;ď&#x2DC;šâ°Śč&#x17E;
ë&#x153;Šćś¸ă ?ç?&#x2013;ĺ&#x2020;?ä¸ęŞŤč&#x201A;&#x2013;ç&#x2039;˛ĺ&#x2030;Şč&#x17D;&#x2026;ćś°ăšťĺ?żé˘ťĺ&#x2018;˛ď&#x2DC;šâĄ&#x17D;ăť&#x153;꼚â&#x2122;łă&#x20AC;Ťĺ&#x192;˝â&#x2122;§ âŚ?éş&#x152;ç&#x161;żç&#x17D;&#x2018;ä&#x2019;ď&#x2DC;šé&#x17D;&#x2122;ç&#x161;żé&#x2020;łę§šćś¸ę&#x2020;&#x201E;čź&#x2018;é ĽćŹ°ćŹ´ă&#x2026;ˇăĽśâĄŚă&#x2013;&#x2C6;䞸â&#x;&#x192;⟪é&#x17D;&#x2122; 朸⧺é&#x201C;&#x17E;ă&#x153;Ľĺ&#x2026;&#x17E;â&#x161;Ľéş&#x152;鹲ď&#x2DC;šâ&#x203A;łă˝ ĺ&#x192;˝ä¨žé&#x2013;&#x2014;朸՚â&#x161;&#x2020;ć˛ćś¸âš&#x203A;ă ˘Őşď&#x2DC;ˇâ&#x17E;&#x192;âŚ&#x203A; ă &#x2013;é&#x17D;&#x2122;â&#x153;Ťä¨žĺ&#x2030;¤ĺ&#x160;˘â˘ľćś¸ă&#x20AC;łč&#x2026;&#x2039;ä&#x161;?ď&#x2DC;šé&#x17D;&#x2122;ç&#x161;żâ´&#x20AC;ä&#x17D;&#x201A;ă&#x2013;łâ§Šď&#x2DC;šéš&#x17D;ç˝&#x153;é?ąâ ŽćŽšâľš
朸â&#x2020;⧊ď&#x2DC;ˇé&#x152;&#x161;ä&#x2122;&#x201A;â&#x2122;łď&#x2DC;šâ&#x;&#x192;âżťç&#x17D;&#x2018;ä&#x17D;¸â&#x2122;łď&#x2DC;šéżŞă&#x201E;&#x17D;估â&#x153;Ťä§Žă&#x2013;&#x2C6;â&#x203A;&#x201C;⾚䲿鼹朸 䞎ă &#x2013;é¸?â&#x2122;§ĺ&#x161;&#x152;ä&#x2122;&#x201A;ď&#x2DC;ˇ
to object to camera, then averaging together all the light-beams to render a
ä&#x17D;&#x192;ď&#x2DC;šä§Žĺ&#x2030;¤â&#x2122;§âŚ?ę&#x2026;žăŁ?朸玥ç&#x17D;&#x2018;갪暥ď&#x2DC;šä§ŽçŽĄăť¨â&#x153;ŤâŻ&#x2022;ĺ&#x2039;˛éˇ&#x2020;éŤ
metal, paper, fabric, or blood reďŹ&#x201A;ect, refract, and transmit light; what the nature
ęĄ ę&#x2019;łď&#x2DC;ˇęł&#x192;ă ?ä&#x2122;źçş?ď&#x2DC;šă¸?éˇ&#x2020;éŤ ĺŤŚéşĽćśŽč?&#x2C6;ć&#x2022;&#x161;ĺ˝&#x201A;č?&#x203A;ć&#x161;&#x;â&#x;?â&#x203A;&#x2021;č?&#x203A;䟢⍚
scene. From a technical perspective, it is all about understanding materials: how
Installation view of Derivative Work by U. Kanad Chakrabarti
ꨜč&#x2C6;Ąă&#x2022;Źç˛éş&#x152;⥲猺窥ăź&#x;齥â?&#x2030;ć&#x2026;Žç°Žâ&#x153;Ťäž¸â&#x;&#x192;č ?é&#x17D;&#x2122;朸䞸äş&#x2122;â&#x203A;&#x201C;é żçŤ¤
of light itself is; where shadows come from. Yet, are these not the fundamental pre-occupations of still-life painting? What Chardin and Morandi did with eye
and hand, we now do in silicon: as in markets, so in painting, digital supersedes analogue. Yet I suspect something is thereby lostâ&#x20AC;Ś
Anyway, what s interesting to me about the examples above is this idea that
one can model the real world of external objects and phenomena. Curiously, the contemporary philosopher Nick Bostrom thinks about the theoretical
possibility that all of us, collectively, are part of a giant universe-scale simulation created by our distant descendants, a so-called post-human civilisation.
THE COLLECTORâ&#x20AC;&#x2122;S WORLD The notion of a created-world was something I explored in my installation
Derivative Work, a pun connecting the ďŹ nancial term with the cheaply-copied artwork. I was thinking of a hedge-fund manager s oďŹ&#x192;ce, perhaps situated above the Nobu on Berkeley Square, whose responsibilities are suďŹ&#x192;ciently
light to give him time to collect a great deal of art. Thus I ordered in copies
ç&#x17D;&#x2018;ä&#x2019;ď&#x2DC;ˇâŻ&#x2022;ĺ&#x2039;˛éˇ&#x2020;éŤ ă&#x2013;&#x2C6;䞸ç&#x201E;şä&#x2022;§ę¤&#x17D;ď&#x2DC;śę¨ść˘&#x2013;č&#x17D;&#x2026;ꨜč&#x2C6;Ąç&#x2DC;&#x17E;朎ăž?â&#x161;Ľĺ&#x2122;˛â°Ś
ĺ Ľćś¸ă&#x20AC;łč&#x2026;&#x2039;âŻ&#x2022;ĺ&#x2039;˛ď&#x2DC;šć?ä&#x2013;&#x2022;ă&#x2013;łâť&#x2039;䨞ĺ&#x2030;¤âŻ&#x2022;ĺ&#x2039;˛ç˝&#x153;ă&#x192;&#x201E;ć¤?â&#x2122;§âŚ?ă&#x153;Ľĺ&#x2026;&#x17E;ď&#x2DC;ˇä&#x2013;°
äŞŽé Żćś¸é&#x152;Źä?&#x17E;⢾ćş?ď&#x2DC;šę&#x2026;žé&#x160;´ćś¸ĺ&#x192;˝ć¤&#x161;é?&#x2018;ĺ&#x2039;&#x17E;俲î&#x161;&#x2030;ę&#x2020;&#x201E;ăż&#x201A;ď&#x2DC;śç§śä&#x201C;šď&#x2DC;śçą˝ć&#x161;&#x;
䧴é &#x17D;ĺˇ&#x160;㼜⥌⿞ăź&#x2122;ď&#x2DC;śäŤ&#x201D;ăź&#x2122;č&#x17D;&#x2026;äŤ?ăź&#x2122;âŻ&#x2022;î&#x161;&#x160;âŻ&#x2022;朸ĺ&#x160;Ľé˘śĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x192;î&#x161;&#x160;ä&#x2022;§ăśŠ ä&#x2013;°âĄŚç˝&#x153;⢾ď&#x2DC;ˇć?ç˝&#x153;ď&#x2DC;šę¨&#x2C6;麼é¸?â?&#x2030;㟊ĺ&#x20AC;´ęŹ&#x2020;ć&#x161;&#x;ç˛ćŽĽă˝ â&#x2122;śę&#x2026;žé&#x160;´ă&#x152;¨î&#x161;&#x17D;
掚ä&#x17D;&#x192;â°?âĄ&#x2122;ęŹ&#x2020;ć&#x161;&#x;ăŁ?ä&#x152;&#x152;ă˘&#x161;ć&#x2122;&#x2039;â&#x161;¸č&#x17D;&#x2026;č&#x153;&#x201C;貽éś&#x201D;â&#x;&#x192;â°Śćť&#x161;č&#x17D;&#x2026;äŠ&#x203A;䨞â¨&#x17E;朸 â&#x153;˛ď&#x2DC;šâ&#x203A;łă˝ ĺ&#x192;˝ä§ŽâŚ&#x203A;ć¤?ă&#x2013;&#x2C6;揽ç&#x201A;&#x160;䨞â¨&#x17E;朸î&#x161;&#x2030;姝㼜ă &#x161;ă&#x2013;&#x2C6;ä&#x2039;&#x2018;ă&#x153;ĽçŚşçŞĄâ&#x2122;§ č?&#x203A;ď&#x2DC;šă&#x2013;&#x2C6;ç˛ćŽĽâ&#x161;Ľâ&#x203A;łĺ&#x192;˝ď&#x2DC;šäž¸âĄ&#x2122;ă&#x20AC;&#x160;â&#x17E;żâ&#x153;Ťę˛łĺŤ˛äŞŽé Żď&#x2DC;ˇć?ç˝&#x153;ď&#x2DC;šä§Žć&#x17E;¤ä&#x;? ĺ&#x17D;Ľâ?&#x2030;â&#x153;˛ć&#x161;&#x;⽿ă&#x201D;&#x201D;姽ç˝&#x153;â&#x161;&#x201C;ăŁ&#x;â&#x153;Ťď&#x2DC;žď&#x2DC;ž
ć?&#x201A;é&#x201D;¸ăĽśâĄŚď&#x2DC;šęĄ ĺ&#x20AC;´â&#x2122;łéś¤ä¨žä˛żćś¸â˘żăśŠâ&#x161;Ľď&#x2DC;šăźŠä§Žç˝&#x153;é&#x17D;&#x160;ĺ&#x2030;¤éŚąćś¸ĺ&#x192;˝ď&#x2DC;š
â&#x17E;&#x192;âŚ&#x203A;č&#x2026;&#x2039;㣠ă?&#x2013;鸤â´&#x20AC;㢍éż&#x2C6;ć&#x161;&#x;â&#x;?č&#x17D;&#x2026;ć¤?é&#x;?朸՚溍ăť&#x153;Őşâ&#x161;&#x2020;ć˛ď&#x2DC;ˇâ&#x;&#x201A;â&#x17E;&#x192;㼪 㣟朸ĺ&#x192;˝ď&#x2DC;šćŽšâ&#x17E;żă&#x2020;šăˇ¸ăšťă˝łâŻ&#x2DC;Ë&#x2122;â˝&#x2C6;ĺ&#x20AC;&#x203A;ć&#x161;śçš?ă¨&#x2014;ă&#x201D;&#x201D;姽ä&#x;?â´&#x20AC;â&#x153;Ťâ&#x2122;§ç??ă&#x20AC;ł
č&#x2026;&#x2039;Ő&#x201A;䨞ĺ&#x2030;¤ćś¸ä§ŽâŚ&#x203A;ď&#x2DC;šéżŞĺ&#x192;˝ć&#x2039;䧎âŚ&#x203A;éşśéť&#x2021;朸ä&#x2013;&#x2022;é&#x2026;&#x201C;䨞é&#x2020;˘é¸¤ćś¸ăĽś ă¸&#x2122;㸿č?&#x203A;ĺľ&#x17E;ć&#x2C6;&#x2021;朸亟⍚â&#x161;Ľćś¸â&#x2122;§éż&#x2C6;â´&#x2022;ď&#x2DC;šä¨žé&#x2013;&#x2014;朸ď&#x161;łä&#x2013;&#x2022;â&#x17E;&#x192;겳ď&#x161;´äż&#x2019;ĺ&#x192;&#x2C6;ď&#x2DC;ˇ
询㚝朸â&#x161;&#x2020;ć˛
of paintings by Raphael and On Kawara, and made loose re-interpretations of
ęĄ ĺ&#x20AC;´âśžä&#x2019;&#x160;â&#x161;&#x2020;ć˛é¸?â&#x2122;§é&#x152;&#x161;ë&#x;&#x160;ď&#x2DC;šă&#x2013;&#x2C6;ä§Žćś¸Őˇé ĽćŹ°âĄ˛ă&#x2026;ˇŐ¸é&#x2026;¤ç¸¨â&#x161;Ľĺ&#x2030;&#x17D;é&#x201E;&#x201E;
Breuer chair were 4-metre-high screenshots of desktops and spreadsheets,
â¸&#x152;é˘śč° é Żâ&#x;Źâą&#x17D;ă&#x2026;ˇď&#x2DC;ˇä§ŽćŽšĺ&#x201E;&#x2DC;ä&#x;?âľ&#x152;â&#x153;Ťâ&#x2122;§âŚ?䚽⥲㟊尣ă&#x203A;&#x2021;ę&#x2020;&#x201E;朸獤
early Richard Serra and late Franz West. On the wall opposite a faux Marcel
while online, one could visit the ďŹ ctionalised website of the hedge fund (www. iodcapital.ch).
There is lots of boring theory about institutional critique, appropriation art, etc. I could bring to bear here, but really the work, for me, went back to my initial point in this essay: how do rough, painterly, corporeal things come together with perfect, corporate, digital images?
Did it work? I have no idea - but what was interesting was how viewers reacted - some basically threw up and walked out. Many however spent more than
äąłç&#x2018;&#x2013;éş&#x2022;ď&#x2DC;ˇâĄ˛ă&#x2026;ˇă ?ç?&#x2013;ĺ&#x192;˝â&#x2122;§éşĽę§ąęĄ é&#x201C;&#x192;ď&#x2DC;šĺ&#x201A;&#x201A;ĺ&#x192;˝ę&#x2020;&#x201E;čź&#x2018;揽é&#x201C;&#x192;ď&#x2DC;šâżśä¸ă ˘
ć¤&#x161;éłľâ°&#x2014;ăš&#x201D;ď&#x2DC;šä§´é?Şă˝ ä? čĄ&#x2020;ĺ&#x20AC;´â âŻ&#x2DC;âľ&#x201E;ä&#x2018;&#x17E;ă&#x153;Ľćś¸/PCVĺ&#x201A;&#x2C6;ĺ&#x160;Ľęˇä&#x2018;ź
â&#x203A;&#x201C;â&#x2122;łď&#x2DC;šâŻ?é§&#x2C6;朸ę&#x2026;ˇâŻ&#x2022;é§&#x2C6;â&#x;&#x192;é&#x203A;&#x160;â&#x17E;Žĺ&#x2030;¤ĺ&#x201E;&#x2DC;ę&#x;ŚâżĄä˝?ę§&#x152;ăĽŞćś¸č° é Żă&#x2026;ˇď&#x2DC;ˇ
ĺ&#x20AC;´ĺ&#x192;˝ď&#x2DC;šä§Žé&#x17D;&#x17D;é&#x2020;˘â&#x153;ŤäŹ&#x2DC;č&#x17E;Šć&#x2122;&#x2039;č&#x17D;&#x2026;ĺą&#x17D;➲役朸â&#x;Źé&#x2020;˘ćŽĽâĄ˛ď&#x2DC;šâ&#x161;&#x203A;â&#x161;&#x201A;磧ćŽ&#x153; é&#x2020;˘âĄ˛â&#x153;Ťć¤&#x161;ĺ?&#x2020;Ë&#x2122;ă?ąäŹ&#x2DC;ĺ&#x201A;?ĺ&#x160;?č&#x17D;&#x2026;ä&#x2019;źĺ&#x2030;˝č&#x2DC;&#x2DC;Ë&#x2122;ęŻ&#x201A;ĺ&#x20AC;&#x203A;ć&#x161;śĺ&#x201E;ťĺ&#x160;?ćś¸č° é Żă&#x2026;ˇď&#x2DC;ˇ
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é&#x152;&#x161;ç˝?â&#x203A;łă&#x20AC;łâ&#x;&#x192;ă&#x2013;&#x2C6;çŽ â&#x2122;łé?&#x17E;ă&#x2030;?é¸?âŚ?㟊尣ă&#x203A;&#x2021;ę&#x2020;&#x201E;朸败ĺ&#x153;&#x201C;珪ç&#x2022;&#x20AC; XXX JPEDBQJUBM DI ď&#x2DC;ˇ
ć¤?ă&#x2013;&#x2C6;ĺ&#x2030;¤é?Şă˘ľęĄ ĺ&#x20AC;´ë&#x201E;&#x201C;âľ&#x2013;䪥ⴟď&#x2DC;śäŽąćŹ˝č° é Żç&#x2DC;&#x17E;朸ć?&#x201A;çż?ć¤&#x161;é&#x201D;¸ď&#x2DC;ˇä§Ž
half an hour in the installation, thumbing through
documents, watching the video, going up close to
the blown-up screens. I could time it because I was
〳⟃㖈鸏酭繏鏪㢵⡎㼩䧮罜鎊㔐ⵌ鸏俒畎涸剓ⴲ涸㉏겗齡❉磧祴涸䩛 粭涸㻜넓涸暟ㅷ㥶⡦腋莅㸤繡涸侮ざ涸侸⡙涸䕧⫹穡ざ
also doing a performance in there - dressed in a suit,
鸏垺涸穡ざ腋㣁䧭⸆㌨䧮♶濼麥⡎剤馱涸僽錚罏涸㔐䥰剤❉➃呏劥㼩㸐㍓
big flip-chart. I chatted to some of the visitors, about
⚂饥鵜稣溏鸏❉佞㣐✫涸㾓䍌䨔㕬䧮⛓䨾⟃〳⟃鎙皿儘僽㔔捀䧮⛳㖈植㜥
writing banking formulas, commodity prices, etc. on a the financial crisis, the carpets of Isfahan, and the
nauseating smell of rubber from my Serra-derivatives.
On two mornings when I came into the space, I would find people had written things on the flip-chart -
judging by what they wrote and the cider cans, they
had a small party. To me, this defined the installation
as a success - viewers, some and others repelled, found a space with which they could actively engage.
⛓⟃뢙搭罜⛳剤鏪㢵➃蔅✫馄麕⼱㼭儘㖈鸏⦐酤縨♳缺ꠗ俒⟝錚溏鋕걽⚛ 鹎遤遤捀邍怵Ղ銯酤ꬠ㾷涸䧮㖈♧㝆㣐㘗涯匢♳剅㻨ぐ珏ꋓ遤Ⱇ䒭㉂ㅷ⭆呔
瘞瘞䧮欩荛ㄤ錚滞翝ꆄ輑⽭堥⟻倛岁縂㖒嬞⟃⿻䖰䧮涸㝱䬘⟬ⱎ⡲ㅷ⫄⢵ 涸齡肆⟂➃㏲䗱涸堪芣瘞瘞䧮剎竤剤Ⰽ⦐傍兒涮植㾝錒瑠涮欰✫隶⻋呏
亙涯匢♳涸殆鎊ㄤ㖒♳涸豭卓ꂋ緶䧮枤錚滞䥰鑪㖈鸏酭鳵✫♧⦐㼭崣㼩
㼩䧮⢵铞鸏䠑衽䧮涸谁遯酤縨걃捀䧭⸆㽠鸮齡❉♶㋐姹䧮涸⡲ㅷ涸錚滞鿪 㖈鸏酭䪪ⵌ✫♧⦐䖤⟃琎噲莅➝Ⰵ涸瑠
THIS THISISISBEING BEINGWRITTEN WRITTENON ONAADIGITAL DIGITALDEVICE DEVICE Barrier Barrier AAfully fullydigitalized digitalizedwork workcreates createsdistance distancebetween betweenartwork artworkand andviewer. viewer. Why Whydoes doesa musician a musicianwith witha guitar a guitarorormicrophone microphonegain gainmore morebodily bodilyengagement engagement from the viewer than a musician with a laptop? from the viewer than a musician with a laptop? Are digital works a barrier toto the eyes, ears and the body? Arecertain certain digital works a barrier the eyes, ears and the body? Works Worksthat thathave havefull fulldigital digitaltechnology technologyand anda digital a digitalaesthetic aestheticcreate createdistance. distance.
Blend Blend AAcombination combinationofofdigital digitaland andanalogue analogueallows allowsthe thepotential potentialforforengagement. engagement . techniques andand technologies. Blend Blendtogether togetherdigital digitaland andanalogue a nalogue techniques technologies . Blend Blendtogether togetherdigital digitaland andanalogue analogueaesthetics. aesthetics .
Bodies Bodies Digital two bodies, Digitaland andanalogue analogueareare two bodies, two zones of potentiality. two zones of potentiality. These Thesebodies bodiesare arecapable capableofofaffecting affectingeach eachother otherand andofofbeing beingaffected. affected. These bodies are not static they can change and adapt. These bodies are not stati c they can change and adapt. Analogue Analogueis isnot notininthe thepast. past.Digital Digitalis isnot notpresent presentand andfuture. future.
cyBorg cyBorg A cyborg is a space for potential, A cyborg is a space for potential, a fusion between digital and analogue, a fusion between digital and analogue, a space of affect. a space of affect. The space of the cyborg can combine any of the assets or aspects of digital or The space of the the other. cyborg can combine any of the assets or aspects of digital or analogue with analogue with the other. It’s not digital for the sake of digital. It’stime notand digital for the sake of digital. It’s effort, It’sa time not quickand fix effort, not a quick fix A cyborgian approach preserves as well as creates. cyborgianapproach approachengages. preserves as well as creates. AAcyborgian A cyborgian approach engages .
Digital/Analogue is not a helpful divide Digital/Analogue Digital is out of date is not a helpful divide Digital is out of date Digital is finite Digital finite Art is not is finite Art isartist not finite Digital - too restrictive Digital artist too restrictive Visual artist – too- restrictive Visual artist – too restrictive Ditch the finite Ditch the finite
捀⡦䭭衽し➮䧴鑨瘳涸갉坿➃腋嫲➮⦛欽ꨶ舡⡲坿涸ず⬌莅錚滞欴欰刿㢵涸魨넓✽⹛ヤ 捀⡦䭭衽し➮䧴鑨瘳涸갉坿➃腋嫲➮⦛欽ꨶ舡⡲坿涸ず⬌莅錚滞欴欰刿㢵涸魨넓✽⹛ヤ 厥❉侸焺⡲ㅷ僽ꥬ穪滚漌 羮労莅魨넓涸㾓ꥻ랆 厥❉侸焺⡲ㅷ僽ꥬ穪滚漌 羮労莅魨넓涸㾓ꥻ랆 䪭鯺衽侸焺繡㷸涸秫侸焺⡲ㅷ剚ⵖ鸤ꥬꟻ 䪭鯺衽侸焺繡㷸涸秫侸焺⡲ㅷ剚ⵖ鸤ꥬꟻ
幋幋 垸亼莅侸㶶涸穡ざ捀❜✽ⶾ鸤✫〳腋 垸亼莅侸㶶涸穡ざ捀❜✽ⶾ鸤✫〳腋 幋ざ垸亼莅侸焺涸猰㷸莅䪮遯 幋ざ垸亼莅侸焺涸猰㷸莅䪮遯 幋ざ垸亼莅侸焺涸繡㷸 幋ざ垸亼莅侸焺涸繡㷸
넓넓 侸焺莅垸亼捀䨔搭Ⰽ넓 侸焺莅垸亼捀䨔搭Ⰽ넓 Ⰽ珏⯏怏悴⸂涸⼦㚖 Ⰽ珏⯏怏悴⸂涸⼦㚖
鸏❉堥넓腋㣁湱✽䕧갠莅鄄㸐罏䕧갠 鸏❉堥넓腋㣁湱✽䕧갠莅鄄㸐罏䕧갠
鸏❉堥넓⚛ꬌꬆ䢀㸐⦛腋⡲ⴀ佖隶莅黠䥰 鸏❉堥넓⚛ꬌꬆ䢀㸐⦛腋⡲ⴀ佖隶莅黠䥰 垸亼⚛ꬌ㿂倴麕侸焺⛳♶僽植㖈䧴劢⢵ 垸亼⚛ꬌ㿂倴麕侸焺⛳♶僽植㖈䧴劢⢵
佖鸤➃ 佖鸤➃ 飓⽈呔 飓⽈呔
♧⦐佖鸤➃僽♧⦐悴⸂搂ꣳ涸瑠 ♧⦐佖鸤➃僽♧⦐悴⸂搂ꣳ涸瑠 僽♧⦐侸焺莅垸亼涸ざ䧭ㅷ 僽♧⦐侸焺莅垸亼涸ざ䧭ㅷ ♧⦐䪭鯺✫⡲欽⸂涸瑠 ♧⦐䪭鯺✫⡲欽⸂涸瑠
佖鸤➃涸瑠〳⟃穡ざ⟤⡦侸㶶䧴垸亼涸⮛莅Ⱖ㸐倰 佖鸤➃涸瑠〳⟃穡ざ⟤⡦侸㶶䧴垸亼涸⮛莅Ⱖ㸐倰 鸏⚛ꬌ僽捀✫侸焺罜侸焺 鸏⚛ꬌ僽捀✫侸焺罜侸焺 鸏僽儘莅礶⸂ 鸏僽儘莅礶⸂ 罜ꬌ鸠䨞鸠对 罜ꬌ鸠䨞鸠对
侸焺垸亼㻜ꬌ♧⦐剤佪涸⼦ⴕ 侸焺垸亼㻜ꬌ♧⦐剤佪涸⼦ⴕ
♧⦐堥唒⻋涸鸁䖜傂腋殆㶸❠〳ⶾ鸤 ♧⦐堥唒⻋涸鸁䖜傂腋殆㶸❠〳ⶾ鸤
侸焺僽剤ꣳ涸 侸焺僽剤ꣳ涸
♧⦐堥唒⻋涸鸁䖜雊➃莅 ♧⦐堥唒⻋涸鸁䖜雊➃莅
侸焺僽麕儘涸 侸焺僽麕儘涸
谁遯♶僽剤ꣳ涸 谁遯♶僽剤ꣳ涸
侸焺谁遯㹻㣖麕㽷ꣳ 侸焺谁遯㹻㣖麕㽷ꣳ
鋕錏谁遯㹻㣖麕㽷ꣳ 鋕錏谁遯㹻㣖麕㽷ꣳ 䪾剤ꣳ䬚ゅ 䪾剤ꣳ䬚ゅ
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Cao Fei, La Town, 2014 (production still).
CAO FEI: DAYDREAM, GAMES AND VIRTUAL REALITY ĺ&#x2030;&#x2020;俥ď&#x2DC;ť 术ĺ&#x201A;&#x2C6;ăŁ&#x2026;ŐŽéş&#x2C6;ä¨ č&#x17D;&#x201E;č´ äşťć¤?ăť&#x153;
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Cao Fei was born and raised in Guangzhou, the Southern Gateway to China s reform and opening up process that began in the 1980s, introducing the
market economy to China and turning the country into a major international
trading nation. Her art has always focused on the relations between ordinary people and various issues in Chinese society, including youth culture,
urbanization, risk society, the impact of the Internet, globalisation and more. She combines keen observation with elements drawn from popular culture, ranging from street culture, to performance, virtual reality, video games,
animation, toys and Hollywood zombie movies, creating playful yet critical artworks.
Cao has been an active artist since graduating from university. Several of
her early works, such as Chain Reaction (2000), the Hip Hop Series (2003),
and Cosplayers (2004), present Chinese young people bringing the digital
virtual world into oďŹ&#x201E;ine real life, They are dramatic, performative and highly distinctive. . In the U-thèque collective, together with Ou Ning and Huang
Weikai, Cao made the documentary video San Yuan Li in 2003. This marks a
shift to broader her focus from concerns about the vicissitudes of the younger generation to the society and humanity in general. In Whose Utopia? (2006),
ĺ&#x2030;&#x2020;俢揰ę&#x;&#x20AC;ĺ&#x20AC;´â&#x161;Ľă&#x2022;&#x153;ä˝&#x2013;ęŹ ę&#x;&#x161;ä˝&#x17E;ď&#x161;łâ˝&#x201A;ăŁ?ę&#x;&#x152;ď&#x161;´ă&#x2122;šä&#x2039;&#x2018;ä&#x2018;&#x17E;ä&#x160;?ď&#x2DC;ˇâ°Śč° é Ż
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î&#x2122;ˇ î&#x2122;¸ĺ&#x192;˝ĺ&#x2030;&#x2020;俢朸✞⥲ä&#x2013;°âŁ&#x153;䊯ç&#x2C6;˘ĺ&#x2030;&#x161;ć¤?ăť&#x153;é&#x152;&#x161;ăť&#x152;ď&#x2DC;šéą˛ă ˘
č´Ąäşźć¤?ăť&#x153;朸â&#x17E;żé&#x201A;?⥲ď&#x2DC;ˇŐˇä§Ž ę&#x2013;?Ő¸é¸&#x2019;éş&#x2022;â&#x;&#x192;çŽ â&#x2122;łéş&#x2030;䨥ď&#x161;ąç&#x2014;§â&#x153;łâ&#x17E;&#x192;
she observes and depicts migrant workers in the Pearl River Delta area and
the gap between their dreams and reality. I.Mirror (2007) and RMB City (2007 - 2011) reďŹ&#x201A;ect Cao s source of inspiration turning from social reality to virtual reality. Constructing an avatar Ěś China Tracy â&#x20AC;&#x2019; in the online game Second
Life, I.Mirror (2007) explores the problems faced by not only China but also the world under globalisation: identity issues, ethics and understanding virtual reality in the digital age.
After becoming a mother, Cao Fei discovered a new link between her own
interests and popular culture from her child s favourite cartoon. East Winds
(2011) records the journey of a Chinese-manufactured East Wind-brand truck,
which has the smiling face of Thomas the Tank Engine tied to its grill. It barrels across urban highways to deliver refuse from a construction site in the city
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ꝝ庌ä&#x160;źă?ąć&#x2122;&#x2039;č° é Żâ˝&#x2C6;ĺ&#x2030;&#x161;✞⥲朸աĺ?żč&#x17D;? ă&#x2022;Źĺ&#x20AC;&#x17E;Ő¸î&#x2122;ˇ î&#x2122;¸î&#x161;&#x2030;ă&#x2013;&#x2C6;ęťť
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äš&#x2026;ä˝&#x17E;襽â°&#x201D;⟧ä&#x17D;&#x192;â&#x17E;żé˝Ąâ?&#x2030;䧎âŚ&#x203A;瞎ć&#x201C;żč&#x2026;&#x2039;é&#x2018;Źćś¸ę¨śăśŠéş&#x2030;䨥âľ&#x2013;⥲朸č&#x20AC;Ť
âŻ&#x2022;é&#x2026;¤ç¸¨âš&#x203A;掼ď&#x2DC;šęŹ&#x2014;㟊é&#x;?ä&#x2013;&#x201E;ꝝ庌朰ä&#x17D;&#x192;çą&#x2014;ĺ&#x203A;&#x2122;朸çŹ&#x17E;㢾âľ&#x201E;â??庌ď&#x2DC;šă˘š
(somewhere in the near future) to a dump at the city s edge (somewhere the
ç&#x2018; â&#x161;Ľăž&#x201C;ä?&#x152;ę&#x;?âš&#x203A;襽ď&#x160;ľăŁ?朸ď&#x161;ąă ?é&#x17E;?â&#x17E;&#x192;ď&#x161;˛éş&#x2030;䨥㠾ă&#x2018;&#x192;â&#x153;ŤăŁ&#x2020;ä&#x;?ď&#x2DC;ˇ
Hong Kong 2015: playing on the LED façade of the International Commerce
ĺ&#x2030;&#x201C;ĺ&#x201A;?朸败亟ć¤?ăť&#x153;ć˘&#x2013;Ⱘ朸ĺ¨&#x153;ă&#x20AC;ˇă&#x20AC;łâ&#x;&#x192;éˇ&#x2020;彸âľ&#x152;ă&#x201D;&#x2039;ćś°ä&#x17D;&#x192;⾚朸ä&#x2014;?ç°Ž
past is buried). Same Old, Brand New (2015) was commissioned for the Art Basel Centre (ICC)Ěśthe tallest skyscraper in Hong Kong Ěś a large-scale animation
synchronized to sound piece references iconic images from 1980s video games Pac Man and Tetris. In front of the Victoria Harbour, a symbol of Hong Kong s
century of prosperity, the huge screen with a Pac-Man lighting up the night sky seems to devour dreams.
The history of virtual reality toys can be traced back 400 years, because
the doll's house can be understood as the ďŹ rst toy of this kind for children.
Starting in 2014, Cao Fei constructed a utopian/dystopian city called La Town with miniature models she shopped from Taobao, the Chinese equivalent of
Amazon. Museums exist side by side with ďŹ&#x201A;ooded railway platforms, crumbling McDonald's, slums, a vulgar fountain with a statue of Venus, violence, murder
and looting, as well as sunny beaches somewhere in the outskirts and beautiful scenery. Accompanied by rousing music, this stop-motion ďŹ lm depicts the
history and fate of a ďŹ ctional city, reďŹ&#x201A;ecting the reality of many countries and
ĺ&#x17E;¸ă&#x2DC;&#x2014;㪳㪳ăž&#x2039;ď&#x2DC;ˇ ä&#x17D;&#x192;ĺ&#x2030;&#x2020;俢â&#x;&#x192;éŁ&#x2018;č?&#x2C6;ĺ¸&#x152;ăź&#x201A;â&#x2122;łćś¸é&#x192;&#x153;ćŁ&#x2021;ĺ&#x17E;¸ă&#x2DC;&#x2014;é&#x2039;ˇäŠ&#x203A;
ĺ&#x153;&#x201C;ä&#x2019;&#x160;â&#x153;Ťć?ŚäŠŻé˝Śă&#x2122;šä&#x2039;&#x2018;Őˇ-B 5PXOŐ¸î&#x2122;ˇ î&#x2122;¸ď&#x2DC;šâ&#x2122;§âŚ?â°?ĺ&#x2122;˛ă&#x2122;šä&#x2039;&#x2018;î&#x161;&#x2030;
çšĄé Żę¸ď&#x2DC;śĺš&#x17D;ĺŽ?朸ç&#x2022;&#x20AC;č?Šď&#x2DC;śç śäž 朸ë?&#x2039;掚⚪ď&#x2DC;śéĄ&#x2021;ĺ&#x2014;⟌ď&#x2DC;śçŁ§â¤şćś¸çŹ&#x17E;
ç§?ĺ&#x20AC;&#x203A;ă&#x2018;&#x2018;幎ď&#x2DC;śĺ&#x2021;?â¸&#x201A;ď&#x2DC;śé&#x2013;&#x2018;媚ď&#x2DC;śäľťäąŻč&#x17D;&#x2026;éž&#x;㢍ĺ&#x17D;Ľč´&#x2013;朸ꤿâŻ&#x2022;ĺľłć&#x160;&#x201A;ď&#x2DC;śč&#x2018;ť
é´&#x2021;皥ĺ&#x2026;&#x17E;â°&#x;㜸ď&#x2DC;šă&#x2013;&#x2C6;é˛&#x203A;ęĽ&#x2018;朸ĺ?żč&#x20AC;Ťâ&#x161;Ľé¸?çŠ&#x2030;ĺ&#x17E;¸ă&#x2DC;&#x2014;ă&#x201E;¤â&#x;&#x192;姽âľ&#x2013;⥲朸ăš
ĺ&#x2018;&#x201D;ä&#x2022;§ć&#x2122;&#x161;䲞ç˛â&#x2122;§ä? č´Ąĺ&#x153;&#x201C;ă&#x2122;šä&#x2039;&#x2018;朸ĺ¨&#x153;ă&#x20AC;ˇč&#x17D;&#x2026;ă&#x201E;?éş&#x152;ď&#x2DC;šć?ç˝&#x153;ď&#x2DC;šă¸?ä&#x153;&#x201E;ä&#x153;&#x201E;
ĺ&#x192;˝ď&#x2C6;Łć¤&#x2022;é?Şă˘ľă&#x2022;&#x153;ä?&#x17E;ă&#x201E;¤ă&#x2122;šä&#x2039;&#x2018;朸溍ăť&#x153;㝨ć&#x2019;&#x2018;ď&#x2DC;ˇé¸?ä&#x2014;?ç°Žă&#x2122;šä&#x2039;&#x2018;é&#x201C;&#x2021;ć?č&#x17D;&#x2026;
âŤ&#x201E;窥é&#x192;&#x153;ćŁ&#x2021;ĺ&#x17E;¸ă&#x2DC;&#x2014;㪳㪳ăž&#x2039;ĺ&#x153;&#x201C;ä&#x2019;&#x160;朸齥âŚ?ć¤&#x161;ä&#x;?ăšťă&#x2022;¨ćšąâżĄćŹŠéť&#x2021;ď&#x2DC;šä§Ž
âŚ&#x203A;朸ç&#x2C6;˘ĺ&#x2030;&#x161;ęŹ&#x2014;㟊ď&#x2C6;Łć¤&#x2022;âť&#x2039;ă&#x201E;¤ë&#x201E;&#x17E;ä?&#x17E;饝ĺ&#x160;Ľâ&#x161;şçş?朎ăž?䨞ä&#x152;&#x;⢾朸ç??ç??
ă&#x2030;?ę˛&#x2014;ć&#x2026;Žç°Žăš ĺ&#x2018;&#x201D;ă&#x2013;&#x2C6;é¸? 㢾â´&#x2022;ę&#x2014;ťćś¸ä&#x2022;§ć&#x2122;&#x161;é&#x2026;&#x2020;ď&#x2DC;šä˛żę&#x201E; 䧎âŚ&#x203A;ęŹ&#x2014;㟊朸
ĺ&#x192;˝â&#x2122;§âŚ?â°&#x;ă &#x161;朸â˝ĺ Ľď&#x2DC;ˇ
éş&#x2030;䨥ď&#x2DC;śćśŻĺ&#x201A;&#x2C6;ăŁ&#x2020;ď&#x2DC;śä&#x17D;&#x2018;ä&#x;?ď&#x2DC;śč´Ąĺ&#x153;&#x201C;č&#x17D;&#x2026;ć¤?ăť&#x153;ç&#x2DC;&#x17E;âŻ&#x2039;ç¨&#x2021;â&#x2122;§ćšŹéĄ?ç&#x2018;ĺ&#x2030;&#x2020;俢朸
✞⥲ď&#x2DC;šâ&#x17E;&#x203A;ăŁ&#x201D;â&#x161;Ľă&#x2022;&#x153;ă&#x201E;¤ď&#x2C6;Łć¤&#x2022;朸ç&#x2C6;˘ĺ&#x2030;&#x161;ă&#x2030;?ę˛&#x2014;ă&#x201E;¤ä˝&#x;獤ă&#x2013;&#x2019;é &#x2014;䲿âŁ&#x2DC;çŞ?ăĽ
é&#x17E;Žăş˘ćś¸ç¨&#x2021;ĺ&#x2039;&#x17E;ď&#x2DC;ˇĺ&#x2030;&#x2020;俢䪞㼠㟊ĺ&#x201E;&#x2DC;â&#x17E;żćś¸ä&#x2122;źç˝&#x152;é¸&#x2019;éş&#x2022;㼠朸⥲ă&#x2026;ˇä˛žç˛
cities around the world. A far cry from the ideal home constructed in the
â´&#x20AC;⢾ď&#x2DC;šçŤ¤éş&#x2022; ä&#x17D;&#x192;朸✞⥲揰ĺˇ&#x2020;ĺ&#x2C6;żâ¸&#x2C6;顴ä&#x2014;Łď&#x2DC;ˇ
and high level of capitalist development are captured in this miniature city
ç&#x2014;§â°&#x2122;ăž&#x201A;č&#x17E; é&#x201C;&#x192;é&#x2039;&#x2022;âŤšč° é Żç&#x153;?ăź&#x;č&#x20AC;˘ă &#x2013;č&#x2013;&#x160;ă&#x2022;&#x153;ꨜä&#x2022;§âźżĺ&#x2030;&#x161;ď&#x161;ąăť&#x153;ë&#x20AC;żă&#x153;Ľď&#x161;˛
traditional doll's house, but the various social problems caused by globalisation video of forty minutes, reminding us that what we are facing is a common crisis.
Elements such as games, daydreams, fantasies, ďŹ ction and reality run through
갪暥ă&#x201E;¤â§?äž&#x161;ăŁ?㡸ă&#x2022;&#x153;楏㡸ę¤&#x17D;çżšć?&#x2039;ĺ&#x2030;&#x2020;俢ď&#x2DC;šč&#x17D;&#x160;éłľď&#x161;łĺ&#x2030;&#x2020;俢î&#x161;&#x2030;â&#x2122;§ă&#x153;Ľ
éş&#x2030;䨥ď&#x161;´ă&#x201D;?ęł&#x192;ä&#x2022;§ăž?ď&#x2DC;šâ&#x;&#x192;㼠ä&#x17D;&#x192;ę&#x;ŚâśžâĄ˛ćś¸âşŤä?Őˇ-B
5PXOŐ¸ç&#x2DC;&#x17E;â°&#x201D;éż&#x2C6;ä&#x2022;§âŤšâĄ˛ă&#x2026;ˇâ&#x17E;?稲㼠朸ä&#x2022;§âŤšč° é Żč&#x17D;&#x2026;✞⥲ä&#x2122;źć&#x192;?ď&#x2DC;ˇ
Cao Fei s creative practice. The social problems and the political and economic
"35 ;*1î&#x161;&#x2030;ć?&#x20AC;â&#x17E;&#x160;ë&#x17E;&#x2020;⥲ă&#x2026;ˇŐˇ-B 5PXOŐ¸â&#x161;Ľćś¸äž&#x192;霤ĺ&#x192;˝â&#x;&#x192;ĺ˛ é&#x201C;&#x192;ăž?
illustrates her thought about of the era through her artworks, which have
$'î&#x161;&#x2030;ꝡâŻ&#x201C;ĺ&#x192;˝ĺ˛ é&#x201C;&#x192;朸é&#x201C;&#x192;é&#x201D;&#x2026;ä&#x2013;&#x17D;㼪č &#x192;ď&#x2DC;šč&#x2026;&#x2039;âľ&#x2013;⥲â´&#x20AC;ă&#x201E;¤ä&#x2022;§âŤšâ&#x203A;&#x201C;ę&#x;Śâżž
landscape of China and the world are fertile sources of her inspiration. She become ever more incisive after her twenty year-long artistic career.
Working together with the Experimenta programme of the British Film Institute and King s College London, the sixth Chinese Visual Festival (CVF) focuses
on Cao Fei. CVF is pleased to present Cao Fei: It s a Game , a retrospective screening of eight of the artist s moving image works from 2000-2015, to introduce her video art and creative trend to British audiences.
ę&#x;&#x161;朸î&#x161;&#x17D;
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ART.ZIP: Why is the narrative of La Town in French?
"35 ;*1î&#x161;&#x2030;⥚ăŁ?éż&#x2C6;â´&#x2022;朸⥲ă&#x2026;ˇéżŞĺ&#x192;˝ęĄ ĺ&#x20AC;´â&#x161;Ľă&#x2022;&#x153;䧴â&#x161;Ľă&#x2022;&#x153;朸ć&#x161;śăš
'exotic' atmosphere that contradicts that in the image itself. Also, the narrative
ć?ë&#x201E;&#x17E;ę&#x2DC;Žĺ&#x192;˝â&#x161;Ľă&#x2022;&#x153;朸ď&#x2DC;šâĄ&#x17D;â&#x203A;łĺ&#x2030;¤ä&#x2013;&#x17D;㢾ĺ&#x17E;Śé&#x2019;&#x;ĺ&#x192;˝č&#x2013;&#x160;äż&#x2019;朸ď&#x2DC;ˇâĄšâĄ&#x201A;â&#x203A;&#x2013;â&#x203A;ł
CF: The ďŹ rst thing is that the sound of French is nice. It creates an irrelevant
of La Town is adapted from the screenplay of the ďŹ lm, Hiroshima Mon Amour. In the ďŹ lm, Hiroshima Mon Amour, a nuclear bomb in Hiroshima signiďŹ es
doomsday. This image is extended to La Town, an unknown city of the future,
where what was once perceived as doomsday has become an everyday
disaster. The ďŹ lm shuttles us back and forth between the global microcosm of
La Town and our own reality today.
ART.ZIP: Most of your work is clearly Chinese in setting, and it s about China or speciďŹ c places in China. In La Town, the high-speed train is Chinese, but there are plenty of signs in English. You seem to be moving towards a sort of generic, global space. Is that right? Why? CF: La Town is a work of total ďŹ ction. The world is post-apocalyptic. There is no La Town in the world but according to the myth I have created, it is a town
that has existed in many diďŹ&#x20AC;erent parts of the world in many diďŹ&#x20AC;erent time
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$'î&#x161;&#x2030;Őˇ-B 5PXOŐ¸ĺ&#x192;˝â&#x2122;§â&#x;?种ăż&#x201A;č´Ąĺ&#x153;&#x201C;朸⥲ă&#x2026;ˇď&#x2DC;šĺ&#x153;&#x201C;ä&#x2019;&#x160;â&#x153;Ťâ&#x2122;§âŚ?ä&#x2013;&#x2022;
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䨞â&#x;&#x192;ă&#x2013;&#x2C6;é&#x2026;&#x2020;ęŹ&#x2014;ĺ&#x201A;&#x201A;ĺ&#x2030;¤é˘Şęťťč&#x2030;?朸ä&#x2014;&#x17E;ă&#x2022;&#x153;éŚ&#x201E;ä&#x2039;&#x2018;ď&#x2DC;śë?&#x2039;掚⚪ď&#x2DC;śâ&#x2122;§ăšťĺ§ťă&#x2013;&#x2C6; ä˝&#x17E;ĺ&#x192;ŚŐˇęľ?ո朸âˇ&#x153;ę¤&#x17D;ď&#x2DC;šâ&#x203A;łĺ&#x2030;¤č&#x17D;?ăŁ&#x201D;ë&#x201D;ă&#x153;&#x201E;é&#x2026;朸ăźäŤľë&#x201D;â&#x17E;&#x192;ă&#x2018;&#x2018;幎ď&#x2DC;śçżą
é&#x2019;˛ç˝&#x2030;â&#x17E;&#x192;ă&#x201E;¤â&#x17E;Žćś¸ę¨&#x201D;ĺ&#x;šď&#x2DC;šéźŠĺ&#x2030;¤â&#x161;Ľă&#x2022;&#x153;朸ë&#x201E;&#x17E;ę&#x2DC;Žď&#x2DC;ˇé¸?ĺ&#x192;˝â&#x2122;§âŚ?č?&#x2C6;â¸&#x201D;ęˇ
äż&#x2019;âť&#x2039;ă&#x2013;&#x2019;ä&#x152;&#x;ď&#x2DC;šâĄšă&#x20AC;łâ&#x;&#x192;ă&#x2013;&#x2C6;ă &#x161;â&#x2122;§âŚ?â&#x2122;śăŁ&#x2013;ăŁ?朸ćŠ&#x2021;ä&#x2022;&#x17D;ęˇč?Šâ&#x2122;łć ˝ă&#x20AC;&#x160;ĺ&#x201A;&#x2C6; ĺ&#x160;ĽăĄ˝ă &#x20AC;朸ă &#x161;ĺ&#x201E;&#x2DC;ď&#x2DC;šă ?âľ&#x152;çš?㸢ĺź&#x201D;â&#x;&#x192;âżťä&#x2018;&#x17E;ĺ&#x152;&#x152;ë&#x;&#x160;ä&#x2014;ąď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;ă&#x2013;&#x2C6;Őˇâ&#x17E;&#x192;ĺ&#x2014;ă&#x2122;šăťĄŐ¸â&#x161;Ľď&#x2DC;šâĄšă&#x2013;&#x2C6;éş&#x2030;䨥ç&#x2014;§â&#x153;łâ&#x17E;&#x192;揰é&#x2026;ä&#x2019;&#x160;ĺ&#x153;&#x201C; â&#x153;Ťâ&#x2122;§ä? ä&#x17D;&#x2018;ä&#x;?ă&#x2122;šä&#x2039;&#x2018;ď&#x2DC;šç˝&#x153;é¸?ĺŚ&#x201E;ă&#x2013;&#x2C6;Őˇ-B 5PXOŐ¸â&#x161;ĽâĄšâ˘ŞćŹ˝ĺ&#x17E;¸ă&#x2DC;&#x2014;ď&#x2DC;š
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$'î&#x161;&#x2030;Őˇ-B 5PXOŐ¸ĺ&#x192;˝ä§ŽäŹ?䟢աęŤ&#x201A;ո朸é&#x2026;˘âŻ?ď&#x2DC;ˇď&#x2C6;Łć¤&#x2022;獤ć&#x2020;&#x2DC;é&#x201A;?éˇ&#x17D; ä&#x2013;&#x2022;朸ĺ&#x201E;&#x2DC;ę&#x;Śă˝ 㼪卲ĺ&#x192;˝éš&#x17D;â°&#x2026;â&#x153;Ťâąşĺą&#x17D;ĺ&#x160;?ď&#x2DC;šäžŽâŚ?ç&#x2C6;˘ĺ&#x2030;&#x161;çş&#x2C6;ë&#x201E;&#x201C;鿪ĺ&#x192;˝äŞŞ â&#x2122;śčĄ˝âť?朸ć&#x153;&#x153;幣ď&#x2DC;šč&#x17D;&#x2026;éśľăŁ&#x;ă&#x2013;&#x2C6;ęŞ&#x201C;ęŤ&#x201A;â&#x161;Ľć?&#x201A;掯ď&#x2DC;ˇä¨žĺ&#x2030;¤č&#x17D;&#x2026;ęŞ&#x201C;ĺ&#x2030;¤ęĄ 朸 ĺ´Šé ¤äż&#x2019;âť&#x2039;ă&#x201E;¤ę¨śä&#x2022;§â&#x161;Ľâ&#x203A;łçą?ĺ&#x192;˝ä&#x201D;Ľć 襽â&#x2122;§č&#x201A;&#x2020;ä&#x203A;&#x152;ä§&#x152;ď&#x2DC;šä§ŽâĄ˛ć?&#x20AC;â&#x2122;§âŚ?
č° é Żăšťä§´âŚ?â&#x17E;&#x192;ă˝ ĺ&#x192;˝ă&#x2013;&#x2C6;é¸?â&#x2122;§ç??â&#x2122;śă¸&#x17E;â&#x203A;&#x201C;â&#x161;Ľâ˘ľâśžâĄ˛ćś¸ď&#x2DC;ˇâ˘ŞćŹ˝ĺ&#x17E;¸ ă&#x2DC;&#x2014;č&#x17D;&#x2026;â&#x17E;&#x192;âŠ&#x2018;ă&#x20AC;łâ&#x;&#x192;äť&#x2014;č&#x2020;¨ă&#x2013;&#x2C6;ć¤?ăť&#x153;揰ĺ´&#x17E;â&#x161;ĽäŹ?䟢朸ꣳâľ&#x2013;ď&#x2DC;šä§Žă&#x20AC;łâ&#x;&#x192;äť&#x2014;
ä&#x2019;&#x161;ă ?ç??ă&#x153;Ľĺ&#x2026;&#x17E;ď&#x2DC;ˇâŤšă&#x2013;&#x2C6;Őˇ-B 5PXOո朸✞⥲â&#x161;Ľď&#x2DC;šäŹ?äź˘çšĄé Żę¸ćś¸ ä&#x;?ĺ˛ ĺ&#x192;˝ĺ&#x2030;&#x201C;ä&#x2013;&#x2022;äŠ&#x17E;â´&#x20AC;ć¤?朸ď&#x2DC;šć?ä&#x2013;&#x2022;䧎âŚ&#x203A;äŠ&#x17E;ă&#x201E;¤ă¤šę¨ŽË&#x2122;č&#x17D;&#x201C;â&#x17E;&#x192;î&#x2122;ˇă&#x2013;&#x2C6;âť?â?Š 朸ä&#x2014;&#x17E;ă&#x2022;&#x153;çĄ&#x192;ä&#x2019;&#x160;ç&#x153;Ąä&#x152;&#x152;î&#x2122;¸âŚśâ˘ľâ&#x2122;§ä? â˝&#x2C6;ć&#x161;&#x;ę¸ĺ&#x17E;¸ă&#x2DC;&#x2014;ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;⥚ä§ę&#x;&#x20AC;ĺ&#x20AC;´ä&#x2018;&#x17E;ĺ&#x152;&#x152;ď&#x2DC;š ä&#x17D;&#x192;â&#x17E;żâ´˛ę&#x;&#x161;㨼ď&#x2DC;šä&#x2018;&#x17E;ä&#x160;?â&#x2122;§ćšŹĺ&#x192;˝
â˝&#x201A;â&#x161;Ľă&#x2022;&#x153;âŻ&#x201C;ę?ľč° é Żĺ´&#x17E;鏪朸â&#x161;Ľä&#x2014;ąď&#x2DC;šăĽś ä&#x17D;&#x192;â&#x17E;żăŁ?㽾é&#x;?ä&#x160;¨âĄ˛çŠ&#x2030; î&#x2122;ˇę¤Ťâ¸&#x203A;ę§&#x2020;ď&#x2DC;śĺ&#x201C;&#x20AC;ę&#x2030;Łé°&#x153;ď&#x2DC;śĺ?&#x152;â&#x2122;§ĺ?&#x152;ď&#x2DC;śä&#x2013;&#x203A;ă&#x2014;&#x17E;î&#x2122;¸ď&#x2DC;śĺ§&#x2DC;ăť&#x17E;ă&#x201E;¤çŽ&#x201D;ä&#x2022;§ĺ&#x2030;&#x161;ď&#x2DC;śâ˝&#x2C6; ć&#x2122;&#x2039;éĽ&#x;ĺ&#x20AC;&#x203A;ĺ&#x2030;&#x2026;ä?&#x2026;ď&#x2DC;śä&#x2013;&#x2022;⢾朸é&#x152;&#x161;ăť&#x152;ç&#x2C6;˘î&#x2122;ˇč&#x201E;&#x152;㠢⾚ď&#x2DC;śçť&#x20AC;㜊⨴ç&#x2DC;&#x17E;â&#x17E;&#x192;î&#x2122;¸ď&#x2DC;śę?&#x2014;
⍚㽡î&#x2122;ˇĺ&#x160;Ťâ¸&#x2C6;ď&#x2DC;śę¤ŤâŁ&#x2019;ď&#x2DC;śĺ&#x20AC;°ć¨?î&#x2122;¸ď&#x2DC;śë&#x17E;&#x201D;éźšç&#x2022;&#x20AC;î&#x2122;ˇä&#x2013;&#x203A;ă&#x2014;&#x17E;ď&#x2DC;śë&#x17E;&#x201D;ăźë&#x2022;&#x192;î&#x2122;¸ď&#x2DC;šâľ&#x152;
ç?&#x201D;ĺ&#x201E;˘ď&#x2DC;śă&#x192;°ĺż&#x201E;ç&#x2DC;&#x17E;ď&#x2DC;šé¸?ĺŚ&#x201E;ć?&#x20AC;#'*䧎âŚ&#x203A;ă &#x2013;⥲ç&#x2DC;źâˇ&#x201D;â&#x153;ŤŐˇä&#x2022;§âŤšćŁ&#x;â&#x2122;˛ é&#x152;ŹŐ¸ă&#x2039;˛âŻ&#x2039;ď&#x2DC;šé¸&#x2019;éş&#x2022;⥲ă&#x2026;ˇăźŠč&#x2013;&#x160;ă&#x2022;&#x153;é&#x152;&#x161;ćť&#x17E;â&#x17E;?稲 ä&#x17D;&#x192;â&#x17E;żĺ&#x160;Łč?&#x203A; ä&#x17D;&#x192;깧â&#x2122;§ âŚ?⟧ä&#x17D;&#x192;ĺ´&#x17E;鏪ĺ&#x20AC;´ä&#x2018;&#x17E;ĺ&#x152;&#x152;朸é¸?â?&#x2030;č° é Żăšťď&#x2DC;ˇé¸?â?&#x2030;ć Źç&#x201D;¨âŻ&#x201C;
ę?ľč° é Żçş&#x2C6;ë&#x201E;&#x201C;ď&#x2DC;śč° é Żăšťč&#x17D;&#x2026;⥚â&#x203A;&#x201C;ę&#x;Śĺ&#x2030;¤â&#x17E;&#x160;ë&#x17E;&#x2020;ĺ&#x17E;şćś¸â&#x153;˝âš&#x203A;ă&#x201E;¤ćšąâ&#x153;˝ä&#x2022;§ ę° î&#x161;&#x17D;
$'î&#x161;&#x2030;ä&#x2018;&#x17E;ä&#x160;?ď&#x2DC;šâ&#x2122;§âŚ?éť&#x2021;ę¨&#x2020;äż&#x2019;âť&#x2039;č&#x17D;&#x2026;ä˝&#x;ĺą&#x203A;â&#x161;Ľä&#x2014;ąćś¸ă&#x2122;šä&#x2039;&#x2018;暹㟊ĺ&#x20AC;´âť?ĺ&#x20AC;° ä&#x201C;˝âš´ćś¸č° é Żĺ&#x2122; ä˘&#x20AC;⢾ćş?ď&#x2DC;šęł?ä&#x2013;¤é˝Ąë&#x17E;&#x2020;éźšçŽ&#x201D;âť&#x2039;ď&#x2DC;šć?&#x201A;é&#x201D;¸é&#x2039;&#x160;ĺ&#x17E;¸ä§´ä&#x2013;° ĺ&#x2122; ćś¸č° é Żăšťä§´ă&#x2022;°ë&#x201E;&#x201C;ĺ Ľĺ&#x153;&#x201C;ď&#x2DC;šâĄ&#x17D;ć&#x2039;姽⽿揰朎â´&#x20AC;â&#x2122;§ç??ć Źç&#x201D;¨ćś¸ë&#x2C6;&#x192; â¸&#x201A;î&#x161;&#x2030;揰ć&#x17E;Ąď&#x2DC;śč?&#x2C6;ćş ď&#x2DC;śâ°¨ĺ&#x2030;¤ć Źć&#x161;śćś¸č° é Żé&#x201C;&#x192;é&#x17D;&#x160;ă&#x201E;¤é&#x152;&#x161;ăť&#x152;㟊é&#x;?ď&#x2DC;ˇ
Can Fei, Hip Hop: Guangzhou, 2003 (production still).
ć˘&#x2013;Ⱘ鎌ă&#x201E;¤ć˘&#x2013;â°¨ć&#x160;ĄéŽŚâ˘ľä&#x2019;&#x160;ç&#x153;Ąă&#x20AC;Ľâ&#x2122;§ä? ä&#x17D;&#x2018;ä&#x;?朸ă&#x2122;šä&#x2039;&#x2018;ď&#x2DC;ˇâĄšă&#x20AC;łâ&#x;&#x192;é¨&#x2C6;
periods. Literally, I combined models from many diďŹ&#x20AC;erent cultures and time
periods. I mixed them all together. So there is a German supermarket that has a deal on bratwurst; a McDonald s; the movie theater playing Gone with the
ăŁ?㽾é&#x;?ä§ă&#x2020;&#x17E;㢾䞸ĺ&#x192;˝ä§Žć&#x2DC;żĺŤ˘ ä&#x17D;&#x192;â&#x17E;żćś¸ăˇ¸ćŹ°ď&#x2DC;šç˝&#x153;ä&#x2013;&#x17D;㢾Ⰼâ&#x17E;Žä&#x17D;&#x192;
Claus with his sleigh; and a high-speed train. This is the space of buďŹ&#x20AC;et culture:
ă&#x201C;ä?â&#x153;ŤäžŽâŚ?ćŁ&#x;â&#x2122;˛é&#x152;Źč° é ŻćŹ°ä˘&#x20AC;ď&#x2DC;šă&#x20AC;łâ&#x;&#x192;ä&#x;?⍚㼜ă &#x161;â&#x2122;§âŚ?ăšťĺ &#x153;â°&#x2030;
Wind; the famous fountain from Nuremberg, The Little Gooseman ; Santa
you can have sushi, a bowl of borscht and Cantonese-style dim sum all in one meal on one small table.
ART.ZIP: In RMB City you built a kind of fantasy city in Second Life. This time (in La Town) you are using maquettes and toy cars and trains to build another fantasy city. Can you tell us about why you ďŹ nd these spaces fascinating? And why did you want to work with these maquettes and models this time? In both La Town and your other recent work, Haze and Fog, there is a sense of doom and impending disaster. In fact, La Town is less playful than even Haze and Fog. What s worrying you so much?
é°&#x2039;č° é Żăšťĺ&#x192;˝ăŁ?㡸ă &#x161;㡸ď&#x2DC;śăˇ¸ä&#x201C;?㧜ď&#x2DC;šé¸?âŚ?â&#x2122;śăŁ?朸ď&#x161;ąçŹŞď&#x161;˛â˝żä&#x17D;&#x2122;â&#x203A;&#x2013;
éż&#x2C6;朸âŤ&#x201E;äŞď&#x2DC;šćśŽę&#x192;&#x2039;ď&#x2DC;šéżŞă&#x203A;&#x2021;ĺ&#x20AC;´ćŁ&#x;â&#x2122;˛é&#x152;Źé¸?ë&#x17E;&#x2020;â&#x2122;§âŚ?ć Źć&#x161;śćś¸ă&#x2022;źăĄ?î&#x2122;ˇâ˝&#x201A; ĺ&#x20AC;°âĄ˛ć?&#x20AC;é¸?âŚ?ă&#x2022;&#x153;㚝朸韚ć˛ď&#x2DC;śĺ¨&#x153;ă&#x20AC;ˇâ&#x2122;łć&#x153;&#x2C6;縢ç˝?朸崊ä˝&#x17E;ă&#x2013;&#x2019;ă&#x201E;¤ĺ&#x201A;?ĺ&#x160;?
ęŹ ă&#x201E;?朸朎ĺ˝&#x201A;ă&#x2013;&#x2019;î&#x2122;¸ď&#x2DC;šâŁ&#x2DC;çŞ?ă&#x2013;&#x2C6;é¸?é&#x2026;&#x2020;ć?&#x20AC;䞸â&#x2122;śă˘ľćś¸č° é Żăšťä&#x2014;łâ&#x2122;śă&#x20AC;ł çˇ&#x201E;朸äż&#x2019;âť&#x2039;ä&#x2122;źç˝&#x152;ç&#x2018; ę&#x;Śď&#x2DC;ˇ
㼜ĺ?&#x201C;âť?ĺ&#x20AC;°ĺ&#x192;˝äż&#x2019;âť&#x2039;é&#x2018;¨é&#x201C;&#x192;ĺĽ&#x161;朸â&#x161;Ľä&#x2014;ąď&#x2DC;šé˝Ąë&#x17E;&#x2020;ćŁ&#x;â&#x2122;˛é&#x152;Źč° é Żăšťćś¸âĄ˛ ă&#x2026;ˇéżŞă&#x2013;&#x2C6;ĺ&#x17D;Ľç??ç&#x17D;&#x2018;ä?&#x17E;č?&#x2C6;ć?ă&#x201D;?éź&#x161;â&#x153;Ťé¸?â?&#x2030;â&#x161;Ľä&#x2014;ąâť&#x2039;äž&#x192;霤朸꼝ç&#x2021;&#x2DC;î&#x2122;ˇč°
é Żâ&#x161;Ľë&#x201E;&#x201C;ć¤?ć?&#x20AC;â&#x;&#x192;âŚ?ë&#x201E;&#x201C;朸ä&#x201C;˝ä&#x153;˛ăźŠäŤ&#x2019;â&#x161;Ľä&#x2014;ąćś¸ä&#x201C;˝âš´î&#x2122;¸ď&#x2DC;šâ&#x;&#x192;ĺ&#x17D;Ľç??ĺ&#x2C6;ż
ăŁ&#x201D;ć?ď&#x2DC;śćşŤăť&#x153;ď&#x2DC;śĺ&#x2026;°ä&#x161;?朸ď&#x2DC;śĺ&#x2C6;żć?&#x20AC;ę&#x;&#x161;ä˝&#x17E;ä&#x161;?朸é&#x201C;&#x192;ă&#x17E;Żâ&#x17E;?â°&#x2026;㟊ć¤?ăť&#x153;ćś¸ä Ž ćżźď&#x2DC;ˇ
CF: La Town (2014) is my next step after Haze and Fog (2013). Our era after the
"35 ;*1î&#x161;&#x2030;⥚ ä&#x17D;&#x192;âľšă&#x2013;&#x2C6;ä&#x2018;&#x17E;ä&#x160;?ĺ&#x201E;&#x2DC;ĺ&#x160;?朸✞⥲ă&#x20AC;łâ&#x;&#x192;ćş?â´&#x20AC;ĺ&#x2030;¤ä&#x2013;&#x17D;
way forward, and it is just like being lost in a haze. A kind of horror and fear
鼼㠢ĺ&#x192;&#x2C6;ęł?ĺ&#x2030;¤â&#x153;Ťä&#x2013;&#x17D;㢾â&#x2122;śă &#x161;ćś¸ęĄ ĺ˛¤ď&#x2DC;šăĽśŐˇęŤ&#x201A;Ő¸é&#x2026; é¸?âŚ?ă&#x2013;&#x2019;çŽ&#x201D;朸
global economic recession is like entering an ice age. Society cannot ďŹ nd a
permeates most pop culture or ďŹ lms that feature fog. To me, it is this situation,
full of uncertainty, that I, as an artist or an individual, am basing my practice in. Maquettes and models remove the limits of real life shooting. I can play with
diďŹ&#x20AC;erent scenes. For example, when I was working on La Town (2014), the idea of ďŹ lming a museum setting came out at the end, and so we went to Buro Ole Scheeren to borrow the museum model.
ART.ZIP: Guangdong is the region where you grew up. Since early 1990s, Guangzhou has been the centre of avant-garde art in South China: with groups ranging from Big Tail Elephants (Chen Shaoxiong, Liang Juhui, Lin Yilin, and Xu Tan), Ou Ning s U-thèque, Borges Libreria, Observation Society (Hu Xiangqian, Anthony Yung Tsz Kin etc), and Video Bureau (Zhu Jia, Chen Tong, Fang Lu), to Huang Bian Station (Xu Tan, Huang Xiaopeng), as well as individual artists such as Qin Jin and Zhou Tao. This time for Experimenta at the BFI Southbank, we are co-curating the Pulse of the Pearl River Delta session to introducing these artists to British audiences. What are the interactions and mutual inďŹ&#x201A;uences between you and these independent avant-garde groups and artists? CF: Guangzhou is a long way from the centre of the art market, both
culturally and politically. In relative isolation, no matter how big or small the
organisations or artist groups are, they were born with a diďŹ&#x20AC;erent kind of charm - independent, dynamic, self-reďŹ&#x201A;ective and unique in their artistic language and their stance towards their observed subjects.
The members of Big Tail Elephants are mostly students of my parents (both of
whom taught at the Guangzhou Academy of Fine Arts) and born in the 1980s. Many young artists were my classmates, or came after me at the academy.
㢾â˝&#x201A;â&#x161;Ľă&#x2022;&#x153;ä˝&#x2013;ęŹ ę&#x;&#x161;ä˝&#x17E;朸尣䚚ă&#x201E;¤ćą&#x161;é¨&#x2039;ď&#x2DC;šâĄ&#x17D;⥚侌âľ&#x152;âť?â?Šä&#x2013;&#x2022;⥲ă&#x2026;ˇ
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â&#x2122;§âŚ?â´&#x2022;ĺŽ?ä&#x2030;&#x161;ď&#x2DC;šä&#x2013;°ĺ&#x201E;&#x2DC;ę&#x;ŚçŹ&#x17E;ä?&#x17E;ď&#x2DC;šă¸?âŚ&#x203A;ĺ&#x192;˝ä§Ž ä&#x17D;&#x192;ę¨&#x2020;ę&#x;&#x161;â&#x161;Ľă&#x2022;&#x153;â˝&#x201A;
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ç˝&#x153;ă&#x2013;&#x2C6;䧎âŚ?â&#x17E;&#x192;ăžľęŹ&#x2014;ď&#x2DC;šé¸?â?&#x2030;ä&#x17D;&#x192;䧎獤ĺ¨&#x153;â&#x153;ŤăśăŞ&#x;ă&#x201E;¤ćŹ°č&#x201A;Źď&#x2DC;šâĄ˛ć?&#x20AC;â°?
ă ?ăˇ&#x203A;㜊朸卢é&#x2039;ˇď&#x2DC;šĺ&#x201E;&#x2DC;âŻ&#x2022;âĄ&#x201A;â&#x203A;&#x2013;ĺ&#x2030;¤ä¨žä˝&#x17E;玣ď&#x2DC;šâĄ&#x17D;â&#x17E;&#x192;揰朸ĺą&#x17D;ĺ´Šď&#x2DC;šäŞžä Ž ă&#x20AC;&#x152;â¸&#x201A;ę&#x2026;žĺ&#x20AC;&#x17E;ĺ°Łâľ&#x2DC;ď&#x2DC;šâ&#x161;&#x203A;䏪㝍â&#x153;Ťĺą&#x17D;ä&#x17D;Żď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;é¸?âŚ?ă&#x2030;?ę˛&#x2014;ĺ&#x192;˝ęĄ ĺ&#x20AC;´č´Ąäşźć¤?ăť&#x153;朸ď&#x2DC;šä&#x2013;°âĄšćś¸âĄ˛ă&#x2026;ˇăĽś Őˇâ&#x17E;&#x192;ĺ&#x2014;ă&#x2122;šăťĄŐ¸ă&#x201E;¤Őˇ-B 5PXOŐ¸ç&#x2DC;&#x17E;ĺ&#x2030;¤é?Şă˘ľč´Ąäşźč&#x17D;&#x2026;ć¤?ăť&#x153;朸č&#x20AC;˘
粯ď&#x2DC;šâĄšä&#x2122;Śë&#x17E;&#x2020;ćş?ä&#x2013;&#x160;â&#x17E;&#x192;âŚ&#x203A;çŽ â&#x2122;łçŽ â&#x2122;´ćś¸ę§ąę&#x2026;žé¨â&#x;¨ď&#x2DC;šă&#x2013;&#x2C6;珪â&#x2122;łćś¸â§ş ęŹ&#x2014;ç&#x2DC;&#x17E;ć¤?é&#x;?
$'î&#x161;&#x2030;é¸?âŚ?ć&#x2039;ć?&#x201A;䞸ĺ&#x2030;ŞâšĄă?źä˝&#x2026;ä¸&#x2018;朸珪ĺ&#x2018;&#x201D;â&#x161;&#x2020;ć˛ď&#x2DC;šĺ&#x201A;&#x201A;ä&#x2014;&#x201A;âľ&#x2013;⢾č?&#x2C6;溍
ăť&#x153;â&#x161;&#x2020;ć˛ćś¸â&#x2020;⧊é&#x152;&#x161;ă&#x201E;¤â&#x17E;&#x192;겳ë&#x17E;ąĺ&#x2020;?é&#x152;ŹčĄ&#x2020;ď&#x2DC;šâ&#x203A;łçŞ?â&#x153;Žâśžä&#x2019;&#x160;âŚ?â&#x17E;&#x192;ä&#x17D;&#x2018;ä&#x;? 朸ă&#x20AC;łč&#x2026;&#x2039;ď&#x2DC;šć&#x2039;姽ď&#x2DC;šŐˇâ&#x17E;&#x192;ĺ&#x2014;ă&#x2122;šăťĄŐ¸ä§ć?&#x20AC;â&#x153;Ťä§Žă&#x2013;&#x2C6;č´Ąäşźâ&#x161;&#x2020;ć˛ćś¸é&#x152;&#x161;ăť&#x152; ç&#x2019;ď&#x2DC;šâ&#x2122;§âŚ?ęŹ&#x152;ä&#x152;˘ę&#x2026;žé&#x160;´ćś¸é¨&#x2014;äż&#x2019;âť&#x2039;ăť&#x153;ë&#x20AC;żă&#x153;Ľď&#x2DC;ˇä§ŽâŚ&#x203A;â&#x17E;&#x203A;ăŁ&#x201D;姝ęŹ&#x2014;č?&#x2020;âŚ?
ë&#x201E;&#x201C;č&#x17D;&#x2026;â&#x161;&#x2020;ć˛â&#x203A;&#x201C;ę&#x;Śĺ&#x20AC;&#x17E;朸翚ă &#x2013;î&#x2122;ˇč´Ąäşźă&#x201E;¤ć¤?ăť&#x153;â&#x203A;&#x201C;ę&#x;Śćś¸ä&#x201D;Ľă &#x2013;ď&#x2DC;šč&#x17D;?ĺ&#x2030;¤ ęĄ çŚşćś¸ä¸&#x2DC;é&#x201E;î&#x2122;¸ď&#x2DC;šäŤ?é¨ĺ&#x20AC;´é¸?â?&#x2030;ď&#x161;łć¤?ă&#x153;Ľď&#x161;´ ď&#x2DC;šä§ć?&#x20AC;ă¸?âŚ&#x203A;朸â&#x2122;§â´&#x2022;㜊ď&#x2DC;š äŠ&#x17E;č&#x2026;&#x2039;ä Žćżźé¸?âŚ?ĺ&#x201E;&#x2DC;â&#x17E;żćś¸ĺ?żč&#x17D;&#x2026;湼ď&#x2DC;šâ&#x161;&#x203A;ă&#x2013;&#x2C6;é¸?âŚ?âŻ?ć&#x20AC;?â&#x2122;śç&#x201E;ˇăš 朸ĺ&#x160;˘
This circle is not big, but somehow it encapsulates the whole art world of the
ćżźâ&#x161;ĽăźŚäŞŞĺ&#x20AC;&#x17E;朸ă&#x20AC;łč&#x2026;&#x2039;ä&#x161;?ď&#x2DC;ˇăĽśĺ?&#x201C;é&#x201C;&#x17E;Őˇé&#x201C;Şćś¸ć?ŚäŠŻé˝ŚŐ¸ĺ&#x192;˝ăźŠâ&#x2122;§ç??ć&#x2039;
were once exiled to and revolutions began, the Pearl River Delta is its unique
č&#x17D;&#x2026;ć&#x201D;¨ĺ&#x160;&#x2020;朸乳㟌 齥ë&#x17E;&#x2020;Őˇ-B 5PXOŐ¸ĺ&#x160;Łĺ&#x201A;&#x2C6;â&#x203A;&#x201C;ä&#x2013;&#x2022;朸ę&#x2026;žćŹ° â&#x;ŹâĄąé&#x203A;&#x160;
Pearl River Delta region. On the southern boundaries of China, where criminals culture that has shaped all of the artists from there. If the north of the country
is the cultural power centre, then art in the Pearl River Delta naturally avoid the restrictions that go with such a hierarchical situation and perceive reality in a more open, natural, sincere and insightful way.
ď&#x2C6;Łć¤&#x2022;âť&#x2039;饝ĺ&#x160;Ľę&#x2022;&#x2013;ĺ&#x201C;â&#x2122;´é&#x201E;&#x201E;ă şäŤ&#x2C6;ď&#x2DC;śęŁłâľ&#x2013;朸ć?ŚäŠŻé˝Śę˛Šĺ&#x2026;&#x17E;â&#x161;ĽăźŠä&#x17D;&#x2018;ä&#x;? â&#x17E;&#x192;⿥ä&#x2013;&#x192;âżžć?ŚäŠŻé˝Śä&#x2019;朸äž&#x192;â&#x153;˛â&#x161;Ľď&#x2DC;šâ&#x203A;łâ˝°ĺ&#x192;˝ä&#x2013;°â&#x203A;&#x201C;âľšŐˇé&#x201C;Şćś¸ć?ŚäŠŻ 齌ո⥲ă&#x2026;ˇćś¸ď&#x161;łäĄă&#x2030;?ă&#x20AC;Łä&#x2019;ď&#x161;´âľ&#x152;㟊ă&#x2013;&#x2C6;Őˇ-B 5PXOŐ¸â&#x161;Ľď&#x2C6;Łć¤&#x2022;猺窥 ăĄ?ä&#x201E;śćś¸â&#x2122;§ç??ă&#x201D;?估ď&#x2DC;ˇ
ART.ZIP: The impact of the reform and opening up policy in South China appears often in your works created in Guangzhou before 2006. But after your relocation to Beijing, your works have been more diverse, as seen in Haze and Fog. How has this geopolitical transformation inďŹ&#x201A;uenced your creative path, way of thinking, and the key issues to consider and discuss?
#'* ď&#x161;ąăť&#x153;ë&#x20AC;żă&#x153;Ľď&#x161;˛ę°ŞćšĄ
resources and no one relates to the land emotionally. We are all outsiders. There
ă&#x201E;¤ĺ&#x192;&#x2C6;â?Žćś¸ä&#x2014;ąŐ¸âżžĺ&#x192;Śč&#x17D;&#x2026;㼠ă &#x161;ĺ&#x201E;&#x2DC;â&#x17E;żćś¸âŻ&#x201C;ę?ľä&#x2022;§âŤšč° é Żă&#x2013;&#x2C6;â˝&#x201A;â&#x161;Ľă&#x2022;&#x153;朸
CF: Beijing Ěś Insecurity. As a city of immigrants, people compete for the
are isolation and loneliness in all this rapid consumption, as well as insecurity and depression. Haze and Fog (2013), RMB City (2007 - 2011) and La Town
ä&#x17D;&#x192; ĺ&#x2030;˘ćś¸č&#x2013;&#x160;ă&#x2022;&#x153;ꨜä&#x2022;§âźżĺ&#x2030;&#x161;ď&#x161;łăť&#x153;ë&#x20AC;żă&#x153;Ľď&#x161;´ę°ŞćšĄę¤&#x2018;ď&#x161;łĺ&#x2030;&#x2020;俢î&#x161;&#x2030;â&#x2122;§ă&#x153;Ľ
éş&#x2030;䨥ď&#x161;´ă&#x201D;?ęł&#x192;ä&#x2022;§ăž?㢍ď&#x2DC;šĺ&#x2030;&#x2020;俢č&#x17D;&#x2026;ĺť´ĺ&#x201A;&#x2019;č&#x17E; ă &#x2013;⥲ć?&#x20AC;č&#x2013;&#x160;ă&#x2022;&#x153;ꨜä&#x2022;§âźżĺ&#x2030;&#x161;ç&#x2DC;ź
âˇ&#x201D;ď&#x161;łä&#x2022;§âŤšćŁ&#x;â&#x2122;˛é&#x152;Źď&#x161;´ă&#x2039;˛âŻ&#x2039;ď&#x2DC;ˇç¤śéź&#x2021;ꤍâ¸&#x203A;ę§&#x2020;Őˇę´?ĺ&#x2026;&#x17E; Ő¸ď&#x2DC;śĺ§&#x2DC;ăť&#x17E;ď&#x2DC;śĺ&#x2030;&#x2020; 俢ď&#x2DC;śë&#x17E;&#x201D;â¨&#x20AC;⳯աâ&#x2122;˛âŻ&#x2039;ę&#x2026;˝Ő¸ď&#x2DC;šč&#x201E;&#x152;㠢⾚աčŻ?ĺ Ťęľ?ęľ?Ő¸ď&#x2DC;šă&#x192;°ĺż&#x201E;Őˇ Ő¸ď&#x2DC;š ç?&#x201D;ĺ&#x201E;˘Őˇâ&#x153;łâź§â&#x203A;°ä&#x17D;&#x192;â°&#x201D;âŚ?ĺ&#x2030;˘ę¨Ťâ&#x203A;°ăŁ&#x201D;Ő¸ă&#x201E;¤ë&#x17E;&#x201D;ăźë&#x2022;&#x192;ա䧎朸齥ę˛&#x17D;ç§&#x2039;č&#x2019;&#x20AC;朸 朎ăž?ď&#x2DC;ˇ
(2014) could be seen as marking a watershed. In terms of time, these are works
ď&#x161;łăť&#x153;ë&#x20AC;żă&#x153;Ľď&#x161;´ă&#x2013;&#x2C6;č&#x2013;&#x160;ă&#x2022;&#x153;ꨜä&#x2022;§âźżĺ&#x2030;&#x161;â˝&#x201A;ä &#x2DC;â&#x161;Ľä&#x2014;ąč&#x17D;&#x160;éłľ ăź é?˝ĺ&#x20AC;´č° é Żç?ľâš&#x203A;
space, they are depict architecture and social space. This is true of RMB City - a
ä&#x2013;°âŻ&#x201C;ę?ľč° é Żâľ&#x152;掚â&#x17E;żäž¸ç&#x201E;şâĄ˛ă&#x2026;ˇç&#x2DC;&#x17E;â&#x2122;śă &#x161;겳ă&#x2DC;&#x2014;é¨&#x2014;ć˛ä&#x2022;§âŤšč° é Żď&#x2DC;šé¸&#x2019;
I made in Beijing - after I left my hometown of Guangzhou in 2006. In terms of
'digital city' in Second Life s virtual space; the 1:87 maquette designed to depict the end of the world -- La Town; -- and Haze and Fog - the modern concrete
housing compound in Beijing permeated with a vague sense of paradox and a
ä&#x2022;§âŤšď&#x2DC;śâŻ&#x201C;ę?ľă&#x201E;¤ăť&#x153;ë&#x20AC;żę¨śä&#x2022;§ç &#x2021;ç&#x2018;&#x2013;朸ĺ&#x2030;˘ä?&#x17E;ä˝&#x17E;ĺ&#x192;Śę&#x;&#x20AC;ĺ&#x160;?갪暥î&#x161;&#x2030;ç &#x2021;ç&#x2018;&#x2013;ç&#x153;&#x2022;ă&#x2022; éş&#x2022;ăž?ĺ&#x192;Śď&#x2DC;śç&#x2DC;źăž?â&#x17E;&#x192;ď&#x2DC;śăˇ¸ç˝?ď&#x2DC;śč° é Żăšťćś¸â?&#x153;ĺ´Šé&#x2014;?ä? äąłé&#x17D;Łä&#x2022;§âŤšď&#x2DC;śę¨śä&#x2022;§ č&#x17D;&#x2026;č° é Żćś¸â°&#x2030;ă&#x2013;&#x2C6;č&#x20AC;˘ç˛Żă&#x201E;¤ă ?ç??ć&#x201A;´ă&#x2013;&#x2C6;ă&#x20AC;łč&#x2026;&#x2039;ä&#x161;?ď&#x2DC;ˇ
blurring between the real and virtual world. For me, these have been the years of marriage, having babies and being a mother of two. Time seems to have
slowed down, yet the current of the river of life is bringing out new sensibilities.
ART.ZIP: This following question is about virtual reality: In your works such as RMB City and La Town, the virtual world and reality are connected in many ways. What do you think of people s double identities online and oďŹ&#x201E;ine, and the phenomena of online personas? CF: Second Life is an online would supported by numerous internet servers,
EXPERIMENTA AT THE BFI SOUTHBANK In 2016, May s Experimenta of BFI includes It s a Game
and Pulse of Pearl River Delta co-curated by Cao Fei
and Zhan Xuhua. The latter features video art works by Chinese artist Chen Shaoxiong s Landscape-2 (1996),
Ou Ning, Cao Fei, Huang Weikai s San Yuan Li (2003), Hu
Xiangqian s Blue Flags Waving (2006), Zhou Tao s 1, 2, 3, 4
(2007-2008), Qin Jin s Nine Days, Eight Months and Twenty
copying the values of the real world, with the dark side of human nature, yet
Nine Years (2009), and Huang Xiaopeng s My Red and
become my window on the virtual world and an important cross-cultural
art development of Canton area.
with the close relationship of the virtual and the real but also the tearing up of
BFI s Experimenta (formerly Essential Experiments)
way to feel the happiness and sorrow of this age - and to ďŹ nd new ways in the
use the moving image to change the way we think of
also making it possible for individuals to create their fantasies. RMB City has
experiment. We are facing a new assemblage of individuality and the world
the original relationship. To be part of this live, on site and in person is the only unknown.
If Whose Utopia? (2006) is an exploration of the fantasies of and hopes for utopia under the constraints of globalized capital, La Town (2014) would
be rebirth after doomsday â&#x20AC;&#x2019; where we turn to the narrative of dystopia in
response to all the questions Whose Utopia? asked and collapse of the global
system in La Town.
Bright Heart (2011) to showcases the avant-garde video
screens ďŹ lms by artists from around the world that ďŹ lm and how it functions. The monthly programme is accompanied by talks involving the artists. These artists work in a variety of formats and styles to investigate not only the subject but the very medium itself, whether digital or celluloid, to challenge the distinction between form and content and to inspire us to new interpretations of our world and its construction through images.
Installation view of Electronic Superhighway at Whitechapel Gallery
INTERVIEW WITH OMAR KHOLEIF ON ELECTRONIC SUPERHIGHWAY (2016-1966)
㤸ęź&#x203A;ć&#x2122;&#x2039;â&#x20AC;˘âŻ&#x2DC;č&#x;&#x161;ăŁ&#x2014;é?&#x17E;é&#x201D;&#x2019;ď&#x2DC;ť ա꨾㜊éŚ&#x201E;秸ë&#x201E;&#x17E;é¸&#x;â°&#x2013;é¨&#x; Ő¸ */5&37*&8&% "/% 5&95 #: äą°é?&#x17E;âżşäš&#x160;äż&#x2019; î&#x203A;&#x2021; /*-4 +&"/ 㽲ć&#x2122;&#x2039;ĺ&#x20AC;&#x203A;vă &#x2014;ä&#x203A;¸ 401)*& (60 éż&#x201C;ç&#x2013;č&#x17E;¨ 53"/4-"5&% #: çźşé&#x2122;ź î&#x203A;&#x2021; +04)6" (0/( ëĽ&#x17E;â&#x203A;&#x201C;âŻ&#x2C6; )"33: -*6 ⡠ç&#x2022;šĺ&#x2026;&#x2018; *."(&4 $0635&4: 0' ă&#x2022;ć&#x2122;&#x2122;䲿âŁ&#x2DC; î&#x203A;&#x2021; 8)*5&$)"1&- ("--&3: 术äž&#x2026;ă&#x203A;&#x201D;掼ä?¤
Electronic Superhighway (2016-1966) at the Whitechapel Gallery is a recap
ă&#x2013;&#x2C6;术äž&#x2020;ă&#x203A;&#x201D;掼ä?¤ăž?â´&#x20AC;朸աꨜ㜊éŚ&#x201E;秚ë&#x201E;&#x17E;é¸ â°&#x2014;é¨&#x; Ő¸ĺ&#x192;˝
together multimedia works including painting, video, sculpture, and
é&#x152;&#x2019;çżšę§&#x152;â&#x153;Ťć&#x2039; ⥎âĄ&#x2122;č° é ŻăšťâśžâĄ˛ćś¸ă˘ľç??㯯ë&#x201E;&#x201C;ä&#x2022;&#x17D;ä&#x2019;朸⥲ă&#x2026;ˇď&#x2DC;š
of the history of Internet art from 1966 to the present day. The show brings photography by over 70 artists to illustrate how network and computer technologies expand the deďŹ nition of art. As a survey show, Electronic
Superhighway encompasses the diďŹ&#x20AC;erent art forms as technologically
contingent to the diverse debates that net artists positioned in relation to socio-political environments both online and oďŹ&#x201E;ine.
㟊 ä&#x17D;&#x192;â&#x;&#x192;⢾朸â&#x153;˝č&#x20AC;˘çŹŞč° é Żă&#x20AC;ˇćś¸â&#x2122;§ĺŚ&#x201E;ç&#x;Śé&#x160;´ă&#x201D;?ęł&#x192;ď&#x2DC;ˇé¸?ĺŚ&#x201E;ăž? ⺍ä?ç˛ćŽĽď&#x2DC;śé&#x2039;&#x2022;ęą˝ď&#x2DC;śę§¨ă?&#x2013;ă&#x201E;¤äź˘ä&#x2022;§ď&#x2DC;šăž?ç&#x2C6;&#x161;â&#x153;ŤçŹŞçŞ&#x201E;ă&#x201E;¤ę¨śč&#x2C6;Ąç&#x152;°äŞŽĺ&#x192;˝
㼜⥌äť?ăž?č° é Żăš çş?朸ď&#x2DC;ˇâĄ˛ć?&#x20AC;â&#x2122;§ĺŚ&#x201E;é&#x201D;&#x2026;ç &#x2021;ä&#x2019;朸ăž?é&#x152;&#x2019;ď&#x2DC;šŐˇę¨śăśŠ éŚ&#x201E;秚ë&#x201E;&#x17E;é¸ â°&#x2014;é¨&#x;Ő¸ĺˇ&#x2019;čŚ&#x2C6;â&#x153;Ťă ?ç??č° é Żä&#x2022;&#x17D;ä&#x2019;ď&#x2DC;šă˝ 㼜ă &#x161;ç&#x152;°äŞŽćś¸ćś°
ăšťć&#x2DC;°ë&#x2019;&#x160;â&#x2122;§ĺ&#x17E;şď&#x2DC;šçŹŞçŞ&#x201E;č° é ŻăšťâŚ&#x203A;䪞č?&#x2C6;ä&#x160;šă &#x161;ĺ&#x201E;&#x2DC;縨é¨ĺ&#x20AC;´ă&#x2013;&#x2C6;çŽ ă&#x201E;¤ę¨&#x2020; çŽ ćś¸ç&#x2C6;˘ĺ&#x2030;&#x161;ä˝&#x;ĺą&#x203A;ćŠ&#x2021;ă&#x17E;Żâ&#x203A;&#x201C;â&#x161;Ľď&#x2DC;ˇ
The interview with the curator Omar Kholeif reveals his curatorial strategies in
é¸?ĺŚ&#x201E;č&#x17D;&#x2026;ç&#x2DC;źăž?â&#x17E;&#x192;㤚ęź&#x203A;ć&#x2122;&#x2039;Ë&#x2122;âŻ&#x2DC;č&#x;&#x203A;ăŁ&#x2014;朸é?&#x17E;é&#x201D;&#x201C;顴ꪍâ&#x153;Ťâ&#x17E;Žď&#x161;łéˇ ĺ&#x201E;&#x2DC;ĺ &#x2021;
behind his visual negotiation between the virtual and the physical inside the
é&#x152;?â&#x203A;&#x201C;ę&#x;Śćś¸ęĄ â¤&#x161;ď&#x2DC;šâ&#x;&#x192;âżťâ&#x17E;ŽăźŠęĄ ĺ&#x20AC;´â&#x153;˝č&#x20AC;˘çŹŞč° é Żĺ&#x2014;â&#x161;şâť&#x2039;ă&#x2030;?ę˛&#x2014;朸
presenting the exhibition in the way of traveling back in time , the rationale gallery space, as well as his insight upon issues around democratisation of Internet art as he put together the varied kinds with diďŹ&#x20AC;erent discourses.
é ¤ď&#x161;´ä&#x2019;朸ăž?é&#x152;&#x2019;ç&#x2DC;źćŽ&#x153;ď&#x2DC;šâ&#x17E;Žă&#x2013;&#x2C6;č´&#x2013;ć¤&#x161;ăž?é&#x152;&#x2019;ç&#x2018; ę&#x;Śâ°&#x2030;č´Ąäşźă&#x201E;¤ć&#x161;&#x;ć¤&#x161;é&#x2039;&#x2022; ćş?ĺ˛ ď&#x2DC;ˇ
ART.ZIP: What is the genesis of this project?
"35 ;*1î&#x161;&#x2030;é¸?ĺŚ&#x201E;ăž?é&#x152;&#x2019;朸⢾ëĽ&#x152;⿥č&#x2026; ĺ&#x192;˝ä&#x2122;Śĺ&#x17E;şćś¸î&#x161;&#x17D;
very speciďŹ cally to do with the history of the Whitechapel as a museum of ďŹ rsts.
ę&#x;&#x152;䲿â´&#x20AC;⢾é&#x2014;?é&#x2014;?术äž&#x2020;ă&#x203A;&#x201D;掼ä?¤âĄ˛ć?&#x20AC;âŻ&#x201C;ë&#x20AC;żâ˝&#x2C6;ć&#x161;&#x;ę¸ćś¸ĺ¨&#x153;ă&#x20AC;ˇď&#x2DC;ˇćśŻäž&#x2020;
OK: Up until a couple of months ago, I proposed the exhibition as something
Opened in 1901, it often gives artists, from Robert Rauschenberg, to Frida Kahlo, and Jackson Pollock their ďŹ rst solo show as well as lots of artists who have
engaged with new media, from Bruce Nauman, to Bill Viola, and to Chris Marker. So I started thinking what the urgent discussions or debates of that speciďŹ c
0,î&#x161;&#x2030;暏âľ&#x152;ăž?é&#x152;&#x2019;ę&#x;&#x161;ä?&#x152;朸䞸ĺ&#x2030;˘âľšď&#x2DC;šä§ŽäŠ&#x17E;䲿é&#x2122;žäŞžé¸?ĺŚ&#x201E;ăž?é&#x152;&#x2019;ăź ă&#x203A;&#x201D;âśžç&#x201D;¨ĺ&#x20AC;´ ä&#x17D;&#x192;ď&#x2DC;šă¸?â&#x2122;§ćšŹć?&#x20AC;é?Şă˘ľâŻ&#x201C;ę?ľč° é Żăšťč&#x17D;&#x160;鳾ꝡĺŚ&#x201E;âŚ? ăž?ď&#x2DC;šâ˘żăĽśçš?â ć&#x161;śË&#x2122;⚪ć?â ď&#x2DC;śä&#x2019;źę&#x2026;˝éş¨Ë&#x2122;â˝&#x201C;峍ď&#x2DC;śâŞ&#x201A;âŻ&#x2DC;éş˝Ë&#x2122;ĺ˛&#x161;峍
âŻ&#x2DC;ď&#x2DC;šéźŠĺ&#x2030;¤é?Şă˘ľâľ&#x201E;揽ĺ&#x20AC;&#x17E;㯯ë&#x201E;&#x201C;âśžâĄ˛ćś¸č° é Żăšťď&#x2DC;šăĽśä&#x2039;&#x2019;ë&#x2030;&#x201C;ĺ&#x20AC;&#x203A;Ë&#x2122;挧 ĺ&#x2030;&#x2039;ď&#x2DC;śĺŤ˛ć&#x2122;&#x2039;Ë&#x2122;çŹ&#x17E;ĺ§&#x2DC;äŹ&#x2DC;ă&#x201E;¤âŻ&#x2DC;ę&#x2026;˝ĺ&#x20AC;&#x203A;Ë&#x2122;ęź&#x203A;âŻ&#x2DC;ć&#x2122;&#x2039;ç&#x2DC;&#x17E;ď&#x2DC;ˇ
moment were. I ve been invested in the history of the Internet speciďŹ cally and
ĺ&#x20AC;´ĺ&#x192;˝ä§Žę&#x;&#x161;㨼ä&#x2122;źç˝&#x152;齥â?&#x2030;ć&#x161;śĺŠ&#x152;ĺ&#x201E;&#x2DC;ĺ&#x160;?ĺ&#x2030;&#x201C;éś&#x2014;â´&#x2014;朸é&#x17D;Łé&#x201D;¸ä§´ć&#x2DC;°é&#x201D;¸ĺ&#x192;˝â&#x17E;&#x160;
to that. I was very excited to think about the possibility of creating a framework
é Żč&#x17D;&#x2021;鼹č&#x17D;&#x2026;ă¸?â&#x203A;&#x201C;ę&#x;Śćś¸ęĄ â¤&#x161;ď&#x2DC;ˇä§Žä&#x;?ă&#x17D;˛é&#x2018;&#x2018;ä&#x2019;&#x160;ĺ&#x153;&#x201C;â&#x2122;§âŚ?ĺ&#x2018;Ľĺ?şď&#x2DC;šâ&#x;&#x192;ĺ¨&#x153;
thinking about the context by which contemporary art has emerged in relation that would historically examine and locate those practices.
ë&#x17E;&#x192;ď&#x2DC;ˇä§Žâ&#x2122;§ćšŹăź 岤â&#x153;˝č&#x20AC;˘çŹŞĺ¨&#x153;ă&#x20AC;ˇćś¸ç &#x2021;ç&#x2018;&#x2013;ď&#x2DC;šâ&#x161;&#x203A;â&#x2122;§ćšŹä&#x2122;źç˝&#x152;掚â&#x17E;żč° ă&#x20AC;ˇé&#x152;Źä?&#x17E;⢾ĺ˘&#x17E;é&#x2039;&#x2022;ă&#x201E;¤äŽ&#x2022;乥é¸?â?&#x2030;č° é Żăť&#x153;éŠ?朸⢾ĺ˝&#x201A;ď&#x2DC;ˇ
So I proposed the exhibition with those in mind and as it developed over a
ă&#x201D;&#x201D;姽ď&#x2DC;šä§Žä&#x152;&#x;襽é¸?ĺ&#x17E;şćś¸ć¤&#x161;ä&#x2122;&#x201A;ę&#x;&#x161;㨼ç&#x2DC;źâˇ&#x201D;é¸?ĺŚ&#x201E;ăž?é&#x152;&#x2019;ď&#x2DC;šä&#x2013;°ĺ&#x153;&#x201C;ä&#x2122;źâľ&#x152;
that was very speciďŹ cally about the digital but it really became a show much
âĄ&#x17D;ĺ&#x2030;&#x201C;ä&#x2013;&#x2022;ă¸?é&#x161;śä§â&#x153;Ťâ&#x2122;§âŚ?ç˛é&#x2020;˘â&#x153;˝č&#x20AC;˘çŹŞĺ¨&#x153;ă&#x20AC;ˇćś¸ăž?é&#x152;&#x2019;ď&#x2DC;šâ&#x153;˝č&#x20AC;˘çŹŞäŞŽ
number of years, the form started to take shape. It started of being a show
more about mapping the history of the Internet and thinking about networked technologies as opposed to purely about the digital, over the digital, and the composite part of that narrative and history.
I also wanted to think about the genesis of these movementsĚś very
speciďŹ cally about experiments in art and technology in 1966, which was this
event that happened one year before the ARPANET when Internet became a
concept, to computer-generated drawings, to the replacing of the hand with the machine, to early interactive art. As we moved into the present thinking
about the new aesthetic that had emerged in those digital spaces, we see that
ä§ă&#x2DC;&#x2014;獤ĺ¨&#x153;â&#x153;Ťäž¸ä&#x17D;&#x192;â&#x203A;&#x201C;â&#x203A;&#x2030;ď&#x2DC;ˇăž?é&#x152;&#x2019;朸꧜ä&#x2022;&#x17D;ĺ&#x192;˝ăź ę&#x;&#x152;ę&#x2020;&#x161;㟊䞸ç&#x201E;şćś¸ď&#x2DC;š é Żä&#x2013;°č&#x17D;&#x2026;种礊朸䞸ç&#x201E;şăźŠç&#x201D;¨ď&#x2DC;šâľ&#x152;éŚ&#x201E;éŚ&#x160;䞸ç&#x201E;şĺ&#x160;Ľé¨ď&#x2DC;šéźŠé&#x161;śä§â&#x153;Ťäž&#x192; 霤ă&#x201E;¤ĺ¨&#x153;ă&#x20AC;ˇćś¸çŠ&#x2030;ä§éż&#x2C6;â´&#x2022;ď&#x2DC;ˇ
䧎韊ä&#x;?äąłç¨&#x2039;â&#x2122;§â?&#x2030;éş&#x152;âš&#x203A;朸鼹ĺ˝&#x201A;Ő&#x201A;ć&#x161;śâ´˝ĺ&#x192;˝ ä&#x17D;&#x192;č° é Żč&#x17D;&#x2026;ç&#x152;°
䪎犥ă &#x2013;朸ăť&#x153;ë&#x20AC;żď&#x2DC;šé¸?â?&#x2030;朎揰ă&#x2013;&#x2C6;ęŁ&#x161;ä&#x2039;ŞçŹŞćś¸âľšâ&#x2122;§ä&#x17D;&#x192;ď&#x2DC;šâ&#x203A;&#x201C;ä&#x2013;&#x2022;äŠ&#x17E;â´&#x20AC;
ć¤?â&#x153;Ťâ&#x153;˝č&#x20AC;˘çŹŞćś¸ĺ&#x161;&#x152;ä&#x2122;&#x201A;ď&#x2DC;šę¨śč&#x2C6;Ąç&#x17D;&#x2018;ä&#x17D;¸ćŹ°ä§ă&#x2022;ŹâŤšď&#x2DC;šĺ Ľă?źĺ&#x2030;?â&#x17E;żäŠ&#x203A;ä&#x160;¨ď&#x2DC;ś ĺ&#x201A;?ĺ&#x160;?â?&#x153;â&#x153;˝č° é Żç&#x2DC;&#x17E;ç&#x2DC;&#x17E;ď&#x2DC;ˇćŽšä§ŽâŚ&#x203A;ç&#x2022;&#x20AC;ă&#x2013;&#x2C6;掚â&#x17E;&#x203A;朸ç&#x201D;¨ă&#x153;Ľâ˘ľä&#x2122;źç˝&#x152;齥â?&#x2030; 朎ăž?č?&#x2C6;䞸ç&#x201E;şç&#x2018; ę&#x;Śćś¸ĺ&#x20AC;&#x17E;皥㡸ĺ&#x201E;&#x2DC;ď&#x2DC;šä§ŽâŚ&#x203A;ĺ&#x2030;&#x161;朎ć¤?䞸ç&#x201E;şç&#x2018; ę&#x;Śĺ&#x201A;?ä&#x160;ş čź&#x2018;â°&#x2026;ć¤?ăť&#x153;揰ĺ´&#x17E;â&#x203A;&#x201C;â&#x161;Ľď&#x2DC;ˇ
ďŹ nally the digital spaces transfer into real world.
ăŁ?ę&#x2020;&#x20AC;朸ç˛ćŽĽă&#x201E;¤ę§¨ă?&#x2013;㟊é¸?ç??ç?ä&#x201C;šä ŽâĄ˛â´&#x20AC;â&#x153;Ťă&#x201D;?估ď&#x2DC;ˇä§Žă&#x201E;¤ç&#x2DC;źăž?
There are a lot of paintings and sculptures that look at those tensions. I worked
äŹ&#x2DC;Ë&#x2122;ĺ&#x2026;&#x153;ć&#x2122;&#x2039;âŻ&#x2DC;ĺ&#x20AC;&#x203A;韊ĺ&#x2030;¤ĺľłćŚąË&#x2122;ęĄ&#x20AC;âŻ&#x2DC;â§?â&#x2122;§éĽąă &#x2013;⥲ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;鿪çŞ?é¸?âŚ?
with a curatorial advisory committee of four people: Ed Halter, Erika Bolsom,
Sarah Perks, Heather Corcoran, each brought diďŹ&#x20AC;erent expertise and I started with a very long list of over 200 artists and started to discuss who the key
ďŹ gures were, what the key works were and how they would spatially speak to
ęł&#x192;ă&#x2030;?㨽ă&#x2020;&#x17E;ĺ&#x2030;&#x161;朸ă&#x201D;&#x2039;â&#x17E;&#x192;î&#x161;&#x2030;ă&#x2122;Şä&#x2014;&#x17E;Ë&#x2122;ă&#x2020; ć&#x2122;&#x2039;ć&#x161;śď&#x2DC;śč&#x2019;&#x2022;ë&#x153;Šâ˝&#x201C;Ë&#x2122;梯ć&#x2122;&#x2039;ĺ&#x152;Ąď&#x2DC;śč&#x203A;?
갪暥ä&#x152;&#x;⢾â&#x153;Ťâ&#x2122;śă &#x161;朸㟠ĺ&#x2122; ćżźé&#x2122;?ď&#x2DC;ˇâ&#x2122;§ę&#x;&#x161;㨼䧎ĺ&#x2030;¤â&#x2122;§â&#x;¨éŚ&#x201E;éş&#x2022; ă ?č° é Żăšťćś¸ĺš˘ă&#x2039;˛ď&#x2DC;šć?ä&#x2013;&#x2022;䧎âŚ&#x203A;ę&#x;&#x161;㨼é&#x17D;Łé&#x201D;¸ă&#x2020;â?&#x2030;ĺ&#x192;˝ęĄ ę&#x2019;łćś¸â&#x17E;&#x192;ć&#x161;&#x; ă&#x201E;¤âĄ˛ă&#x2026;ˇď&#x2DC;šâ&#x;&#x192;âżťă¸?âŚ&#x203A;ă&#x2013;&#x2C6;ç&#x2018; ę&#x;Śé&#x2026;㼜⥌ă&#x192;&#x201E;ć¤?é¸?ĺ&#x201C;佌â&#x153;˛çŽ ď&#x2DC;ˇ
the story.
掚ăž?é&#x152;&#x2019;ä&#x2DC;°ä§ă&#x2DC;&#x2014;朸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;šä§ŽĺŻšăš 揽âŚ?äž&#x192;朸ĺ&#x20AC;°ä&#x2019;⢾ă&#x192;&#x201E;ć¤?ď&#x2DC;šä&#x2013;°
As the show started to come together, I decided very speciďŹ cally to run it
ä&#x2022;§ę° â&#x153;Ťä˝Śâ&#x153;˛ćś¸ćśŽăž?ĺ&#x20AC;°ă ˘ď&#x2DC;ˇä§Žĺ°?ĺ&#x2030;¤éź&#x2021;äšľâŤ&#x201E;窥朸ĺ¨&#x153;ă&#x20AC;ˇäž&#x192;霤é¨&#x;
backwards, to start in the present and the rational behind that had to do with thinking about how the history of the Internet is one that skews conventions.
It is of so many innovations and diagonal criss-crossings that I thought, rather
than a traditional historical route, was to start with the visual kind of cacophony of the present and then move back in time.
ART.ZIP: Is it not also maybe a wish to start with the technologies that might be the most familiar to the viewers, as a way of engaging them in a diďŹ&#x20AC;erent way? OK: In some ways it is about that idea of the immediacy of the media. Thinking
ć¤?ă&#x2013;&#x2C6;掚â&#x2122;´ćś¸č° é Żę&#x;&#x161;㨼é&#x2014;?鼹ď&#x2DC;ˇă&#x201D;&#x201D;ć?&#x20AC;姝ĺ&#x192;˝â&#x153;˝č&#x20AC;˘çŹŞćś¸ćśŽăž?ĺ¨&#x153;ă&#x20AC;ˇ
çŽ ď&#x2DC;šç˝&#x153;ĺ&#x192;˝äą°ćŹ˝ăŁ?ę&#x2020;&#x20AC;朸✞ĺ&#x20AC;&#x17E;ă&#x201E;¤â?&#x153;ę?Ťćś¸ĺ&#x20AC;°ä&#x2019;ď&#x2DC;šâ&#x2122;§ę&#x;&#x161;㨼éš&#x17D;é ¤ď&#x161;ąă&#x17D;&#x2022; ꧚ď&#x161;˛ćś¸é&#x2039;&#x2022;é&#x152;?ă&#x192;&#x201E;ć¤?ď&#x2DC;šâą&#x201E;䢊䢊ă&#x201D;?彸ĺ¨&#x153;ă&#x20AC;ˇď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;齥ĺ&#x2030;&#x161;â&#x2122;śĺ&#x2030;&#x161;â&#x203A;łä&#x2039;&#x17E;ĺ&#x160;&#x2020;é¸&#x2019; éş&#x2022;é&#x152;&#x161;ç˝?ĺ&#x2030;&#x201C;ć&#x201C;żä&#x153;Ťćś¸ç&#x152;°äŞŽę&#x;&#x161; 㨼ď&#x2DC;šćŹ˝â´˝ĺ&#x17E;şćś¸ĺ&#x20AC;°ä&#x2019;â˘ľë ˝âş&#x2018;⿎č&#x17D;&#x2026;î&#x161;&#x17D;
0,î&#x161;&#x2030;ă&#x2013;&#x2C6;ĺ&#x17D;Ľç??ç&#x17D;&#x2018;ä?&#x17E;â&#x2122;łé¸?âŚ?ăž?é&#x152;&#x2019;ĺ&#x192;˝čĄ˝ę&#x2026;žĺ&#x20AC;´é&#x201A;?ć¤?㯯ë&#x201E;&#x201C;朸⽰ĺ&#x201E;&#x2DC; ä&#x161;?ď&#x2DC;ˇć&#x161;śâ´˝ĺ&#x192;˝é¸?â?&#x2030;ç&#x152;°äŞŽč&#x17D;&#x2026;â&#x161;şę˛&#x2014;ćś¸ęĄ č&#x20AC;˘ä&#x161;?ď&#x2DC;šä&#x2013;°*OTUBHSBNâľ&#x152;
1IPUPTIPQď&#x2DC;šćŹŠč?&#x203A;ĺ&#x192;˝â˝&#x201C;äŹ&#x2DC;0,ď&#x2DC;šé¸?â?&#x2030;â&#x153;˛ć&#x161;&#x;鿪ĺ&#x2030;&#x161;ă&#x2039;&#x17D;鼹é&#x152;&#x161;ćť&#x17E;朸 â°&#x;ë&#x2019;&#x160;ď&#x2DC;šçŞ?â&#x17E;ŽâŚ&#x203A;â&#x2122;§âŚ?ć¤&#x161;é?&#x2018;⥲ă&#x2026;ˇč&#x192;?ä&#x2013;&#x2022;é&#x152;&#x161;ä&#x2122;&#x201A;朸â´&#x2014;â°&#x2026;ë&#x;&#x160;ď&#x2DC;šé¸?â&#x203A;łĺ§ť ĺ&#x192;˝ä§Žä&#x2039;&#x17E;ĺ&#x160;&#x2020;朸佪ĺ?&#x201C;ď&#x2DC;ˇ
ă &#x161;ĺ&#x201E;&#x2DC;ď&#x2DC;šä§Žâ&#x203A;łęŹ&#x152;ä&#x152;˘ĺ˛¤ę&#x2026;žäžŽâŚ?ăž?é&#x152;&#x2019;ç&#x2018; ę&#x;Śćś¸âĄ&#x2018;㽡ď&#x2DC;šé¸&#x2019;éş&#x2022;ç˛ćŽĽă&#x201E;¤ę§¨ă?&#x2013;⥲ă&#x2026;ˇ
of things that will automatically click to the viewer and give them
卲㼜ď&#x2DC;šé&#x160;Żâľ&#x201E;â??Ë&#x2122;ć &#x17D;ĺ&#x2026;&#x153;갞朸ęŚ&#x2018;ĺ Ľę&#x;Ľçż?ç˛ćŽĽäžć¤&#x161;é&#x201C;&#x17E;ĺ&#x192;˝â&#x2122;§â&#x;?ç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;⥲
from Instagram to Photoshop, to even Karaoke as the very kind
an access point, or an entry point, was certainly something I was thinking about.
I ve also been trying to be more critical of that space, and so I
brought in a lot of paintings and sculptures that really seek to
朸ăž?ç&#x2C6;&#x161;ď&#x2DC;šä§Žä&#x2039;&#x17E;ĺ&#x160;&#x2020;č&#x2026;&#x2039;㣠㟊掚â&#x2122;´ćś¸ç&#x152;°äŞŽăž?ę&#x;&#x161;â&#x2122;§ç??ă&#x201C;&#x201A;č ?朸é&#x17D;Łé&#x201D;¸ă&#x201E;¤ĺ˘&#x17E;é&#x2039;&#x2022;ď&#x2DC;ˇ ă&#x2026;ˇď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;㼠ꨞé&#x160;´ă&#x201E;¤â´˝â&#x17E;&#x192;â&#x2122;§ćšŹăźŠé&#x2018;¨â&#x161;&#x203A;ă &#x161;ĺ&#x201E;&#x2DC;éš&#x17D;é ¤â˝°ĺ&#x201E;&#x2DC;ç˛ćŽĽď&#x2DC;ˇâ&#x2122;śéş&#x2022;㼠⥲ ă&#x2026;ˇćś¸ăŻŻâ&#x17E;?â&#x17E; ć?ĺ&#x192;˝ç˛ćŽĽď&#x2DC;šç˝&#x153;â&#x161;&#x201A;㼠â&#x203A;łĺ&#x192;˝â&#x2122;§âĄ&#x2122;卲鯹âŤ&#x201E;窥朸掼㚝ď&#x2DC;ˇä¨žâ&#x;&#x192;䧎
ă &#x161;ĺ&#x201E;&#x2DC;ă&#x2013;&#x2C6;揽䧎é&#x2019;˘ć?&#x20AC;朸â&#x2122;§ç??ęŹ&#x152;ä&#x152;˘é&#x2039;&#x160;朸é&#x152;Źä?&#x17E;⿥é&#x152;&#x161;ćş?â&#x2122;§â?&#x2030;ćş?âĄ&#x201A;ć&#x201C;żä&#x153;Ťćś¸ăŻŻâ&#x17E;? ă&#x201E;¤ç&#x2018; ę&#x;Śď&#x2DC;ˇ
critique or examine those very contemporary technologies. For
"35 ;*1î&#x161;&#x2030;é¸?ĺŚ&#x201E;ăž?é&#x152;&#x2019;â&#x161;ĽéźŠăž?â´&#x20AC;â&#x153;Ťä&#x2013;&#x17D;㢾â&#x;&#x192;â&#x153;˝č&#x20AC;˘çŹŞć?&#x20AC;✞⥲㯯â&#x17E;?朸珪çŞ&#x201E;
social media artwork because they are painted live as she was
縨ĺ&#x20AC;´ăž?ă &#x17D;â&#x203A;&#x201C;â&#x2122;łď&#x2DC;šâĄšă&#x20AC;łâ&#x;&#x192;é&#x201D;&#x201C;é&#x201D;&#x201C;ęĄ ĺ&#x20AC;´é¸?ç??č´Ąäşźč&#x17D;&#x2026;ć&#x161;&#x;颜ĺ&#x161;&#x152;ä&#x2122;&#x201A;â&#x203A;&#x201C;ę&#x;Śćś¸č´&#x2013;ć¤&#x161;
example, Celia Hampton s chat random paintings is arguably a
trying to hold these conversations. But her medium is painting and she is a very traditional painter. So at the same time I am looking
at these familiar media or spaces, from what I believe to be a fairly unconventional perspective.
č° é Żăšťď&#x2DC;šâĄšăź&#x;â&#x17E;ŽâŚ&#x203A;朸⥲ă&#x2026;ˇé¸&#x2019;éş&#x2022;ć&#x161;&#x;颜âť&#x2039;朸äŠ&#x203A;媯鹲äł&#x2013;ä§äŠ§â˝Ťćś¸ă&#x2022;Źć&#x2122;&#x161;ä&#x17D;&#x2021; ă&#x152;¨î&#x161;&#x17D;
0,î&#x161;&#x2030;䧎ä&#x;?ä&#x2013;°ĺ¨&#x153;ă&#x20AC;ˇćś¸é&#x152;Źä?&#x17E;⢾é&#x201C;&#x17E;é¸?ĺ&#x192;˝é?Şă˘ľă˘ľăŻŻë&#x201E;&#x201C;č° é ŻăšťęĄ ä&#x2014;ąćś¸ęĄ ę&#x2019;łă&#x2030;?
ę˛&#x2014;ď&#x2DC;šć&#x161;śâ´˝ĺ&#x192;˝é˝Ąâ?&#x2030;â&#x153;˝č&#x20AC;˘çŹŞč&#x17D;&#x2021;鼹ä&#x2013;&#x2022;ç˝&#x153;â´&#x20AC;ć¤?ćś¸č° é Żăšťď&#x2DC;ˇĺŤ˛ăĽśď&#x2DC;šâ&#x2122;§ćšŹăś¸ă&#x2013;&#x2C6;襽 â&#x2122;§âŚ?ĺ¨&#x153;ă&#x20AC;ˇă&#x2030;?ę˛&#x2014;ď&#x2DC;šă˝ ĺ&#x192;˝ăĽśâĄŚč´&#x2013;ć¤&#x161;ă&#x203A;&#x2021;ĺ&#x20AC;´ć&#x2021;łé&#x152;&#x2019;ă?źăž?ç&#x2C6;&#x161;朸⥲ă&#x2026;ˇă&#x2013;&#x2C6;掼ä?¤ç&#x2018; ę&#x;Ś â&#x161;Ľă&#x192;&#x201E;ć¤?佪ĺ?&#x201C;朸ä&#x160;´ćŽŻă&#x2030;?ę˛&#x2014;ď&#x2DC;ˇ
Celia Hempton, Aldo and Jesi, Albania, 16th August, 2014. 2014. Oil on Canvas, 30 x 25 cm, Courtesy Southard Reid, London Š Celia Hempton
speciďŹ cally about the idea of the relevance of those technologies,
ART.ZIP: There are many Internet artists in the show based their work upon the Internet, but you physicalise them to digital print, to attached photographs on the wall. Can you speak a bit more about this engagement between the physical and the virtual?
ă&#x2013;&#x2C6;䧎朸č&#x2C6;Ąĺľłé&#x2026;â&#x2122;§ćšŹăś¸ă&#x2013;&#x2C6;襽é¸?ĺ&#x17E;şâ&#x2122;§âŚ?ę&#x2026;žé&#x160;´ćś¸é&#x2122;žę˛&#x2014;ď&#x2DC;šă˝?â°Śĺ&#x192;˝
and especially who emerged after the advent of the World Wide Web. For
掚⥚䊧⽍é¸?â&#x;?⥲ă&#x2026;ˇĺ&#x201E;&#x2DC;ď&#x2DC;šăť&#x153;꼚â&#x2122;łĺ&#x2030;¤äž¸ćś°âŚ?败亟朸ă&#x2022;Źăžľď&#x2DC;šäŠ§
OK: I think that it is a key concern historically for artists who work with media, example, there has always been a historical tension between representing
Olia Lialina, My Boyfriend Came Back from the War, 1996, Net Art â&#x20AC;&#x2019; screenshot, Courtesy the artist Š Olia Lialina
browser-based work in the gallery and how spatially it has to work diďŹ&#x20AC;erently.
ă&#x201D;&#x201D;ć?&#x20AC;䧎ĺ&#x160;Ľé¨ă˝ ă&#x2013;&#x2C6;ĺ Ľĺ&#x153;&#x201C;é&#x2026;é¸&#x2019;éş&#x2022;珪çŞ&#x201E;ă ˘č° é Żăšťä&#x2014;&#x161;ę§&#x152;⥲ă&#x2026;ˇă&#x201E;¤ĺ˝&#x2DC;
é¸&#x2019;朸ë&#x201E;&#x201C;ĺ&#x2030;&#x161;ď&#x2DC;ˇä§Žă&#x17D;˛é&#x2018;&#x2018;襽â¨&#x17E;朸â&#x153;˛ä&#x17E;&#x2022;ăť&#x153;꼚â&#x2122;łĺ&#x192;˝ęĄ ĺ&#x20AC;´é˝Ąâ?&#x2030;ęŹ&#x2014;㟊é¸? â?&#x2030;ă&#x2030;?ę˛&#x2014;ç˝&#x153;⥲â´&#x20AC;âżžäĽ°ćś¸č° é Żăšťď&#x2DC;šĺŤ˛ăĽśâ˘&#x2020;äŹ&#x2DC;ć&#x161;śË&#x2122;ç&#x152;°ć&#x161;śč&#x;&#x203A;ć&#x161;śćś¸ 掼⥲㽠⢪揽â&#x153;Ťă&#x203A;&#x2021;ĺ&#x20AC;´ď&#x161;ł1IPUPTIPQć˛ęŹ&#x2014;ď&#x161;´â&#x2122;łćś¸ęŹ&#x152;ä&#x152;˘é&#x2039;&#x160;ç&#x2DC;&#x2DC;âľ&#x2DC;ď&#x2DC;ˇ â˝Ťĺ Ľę¨žé&#x160;´ć&#x161;śăš ă&#x2013;&#x2019;⢾ă&#x201D;?䊧⽍Ő&#x201A;㼠ç&#x201E;ˇăť&#x153;ä&#x;?â&#x153;Ťä&#x2013;&#x17D;ă˘ľęĄ ĺ&#x20AC;´äž¸ç&#x201E;ş ă&#x2022;ŹâŤšćś¸â&#x2122;śă &#x161;é˘śä Žćś¸ä˝Şĺ?&#x201C;ď&#x2DC;ˇ
There was a very critical concern that was always in the back of my
ă &#x161;ĺ&#x17E;şćś¸ď&#x2DC;šćŠľË&#x2122;äŹ&#x2DC;ăŁ&#x2014;â&#x203A;łĺ&#x192;˝é¸?ë&#x17E;&#x192;ç˝&#x152;äŁ&#x201A;é&#x2020;˘âĄ˛ %䊧⽍ć¤?â&#x17E;żęą§âŤšçŚş
commissioning and working with artists online. The thing that I tried to do was
ç&#x152;°äŞŽćś¸ĺ&#x20AC;°ä&#x2019;ęŹ&#x152;ä&#x152;˘â&#x2122;śă &#x161;㟌ä&#x152;˘Ő&#x201A;㨼çŠ&#x2026;ç˝&#x152;äŁ&#x201A;ăť&#x153;ë&#x201E;&#x201C;朸ä&#x2022;&#x17D;ä&#x2019;ă&#x201E;¤çšĄ
mind, particularly because of my own experience working in institutions,
to really think about artists who were engaging in that speciďŹ city, for example, Petra Cortright s paintings that are made by using a series of brush acquired
from deviant arches of the Photoshop canvases . They are literally hundreds of
layers of virtual paint, once you print the work, there is a very speciďŹ c back and forth with the printerĚś she is really thinking about the very diďŹ&#x20AC;erent texture eďŹ&#x20AC;ects in the digital image.
Likewise, with Jon Rafman who began this series of modernist 3D printed head. They start as digital series but the way they engage the technologyĚśalso
thinking about the form and aesthetics as physical objectĚśwas very diďŹ&#x20AC;erent. Also likewise Aleksandra Domanovi s hands pieces, which were based on
an utopian potential of the prothesis, man and the machine, physically, these hands are referring back to those very speciďŹ c Serbian scientist whose name
is Rajko Tomovi . They are based on his prosthesis, but each of them is layered with speciďŹ cities. For instance, you see Alan s apple as an evocation of Alan Turing.
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a very different way̶ and likewise in Amalia Ulman s Instagram performance
㸐⦛㼟㖈㾝錒穡勲た糒糵㶸㖈倴贡亼笪窄⛓⚥䧮⦛
become hermeneutic spatial effects for the viewer. They engage the sense in represented in photographs. I think it does something very different than
simply following the performance, which is when you watch it online, whether
you re appreciating those examination of the female body. When you put them as object in a gallery, they become these almost fetish things, which speak
very critically to the fact that she is drawing a very particular portrait of how these performative technologies create those very specific pressures on the
body. So because the body is such an important part of the virtual space, the
idea of materialising it in situ creates a very different kind of atmosphere and a
very different type of relationship with the viewer. But also, I was even thinking about our visitors who don t necessarily engage with those practices online, how these can be an entry point for them to start looking at those things
online. So I think that those things are symbiotic as opposed to exclusive of each other.
ART.ZIP: To see those works in the same context, new questions arise. For instance, around the browser-based, you were taking about discourses around online curating and democratisation of art; but all the sudden you see them with the basis of social media and somehow those questions of democratisation of the art online are requestioned in a way. Do you see social media then as a way of extending the democratisation of online based art? OK: I certainly feel that social media to a degree allows the conversation around art to emerge. I am into mind about the potential of these spaces about civic
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垺涸㉏겗㼩䧮⢵铞鸏❉鿪僽暶ⴽ剤䠑䙼涸✲䞕鸏雊
䧮⦛腋㣁䙼罌ㄤ䱳程鸏珏捦䩯齦䒭涸字⚺侃✲䕎䒭
㔔捀笪窄瑠♶籏僽字⚺涸歋倴猰䪮涮㾝涸傈倞剢殯 ⟃⿻鮿炽⟝涸希寧 馊⢵馊䘰㖈笪窄瑠⥃㶸鸏❉谁 遯⡲ㅷ䖃䖃䧭捀✫♧珏頾二鸏⛳僽〥♧⦐䧮㼩笪窄贡
亼瑠嫲鯱䠮莇馱涸㖒倰ꡠ倴㼩希寧ㄤ⥃㶸嚌䙂涸䱳
鎣㥶⡦雊鸏❉Ⱘ剤娜〷䠑纏涸⡲ㅷ腋㣁㖈頿㠺⸂⛓ ♴䭰糵㖒鄄⥃㶸荛➛
㔔姽䧮䋞劆鸏妄㾝錒〳⟃䒸涮㼩倴鸏❉㻜驏㉏겗涸鎣
锸姻㥶䧮䪾㸐鏤縨䧭♧㜥鎣锸䒭涸㾝錒齡垺䋞劆㸐 腋㣁ⴗ㻜㖒䧭捀馄ꕖ䱺✽湱❜涸僤ꨣ㕬剤儘㸐⦛✽
湱濨湽⡎僽鸏䜄㥪僽✽耢笪涸穪㦫⛓贖㖈鸏♧铃㞯 ⚥⯏怏✫ぐ珏ぐ垺涸❜輑⛳欴欰✫ぐ珏䕎䢀涸鎣锸
Oliver Laric, Versions (Missile Variations), 2010, Airbrushed paint on aluminum composite board, in 10 parts, 25 x 45 cm (each) Private Collection, London, Image courtesy the artist and Seventeen Gallery, London, © Oliver Laric
When they are in a film, when they become protruding objects, those images
Installation view of Electronic Superhighway at Whitechapel Gallery
Rafael Lozano-Hemmer, Surface Tension, 1992, Plasma or rear-projection screen, computerised surveillance system, customâ&#x20AC;?made software, Dimensions variable, Courtesy the artist and Carroll/Fletcher, London. Installation photograph by Maxime Dufour, Š Rafael Lozano-Hemmer
democratic spaces because of the option of that cooperation or governments.
from these things and how artists push and stretch
Paglen in the show of Autonomy Cube, the hybrotic cables that were done by
to create ideas. So in a sense I think doing an
Indeed I am very interested in artists critique about that, for instance, Trevor the National Security Agency.
But what I love about these spaces is that, for example, all the browser-based
things against their original intention or purpose
exhibition can achieve that from the conďŹ guration of it.
pieces shown on the second ďŹ&#x201A;oor which were co-curated with Rhizome: those are all the pieces that would continue to exist online. We very speciďŹ cally thought about how we will present them in the gallery. For example, Jan
Robert Leegte s piece is a browser-based artwork which is very aesthetic and
formal, is presented in the gallery in three diďŹ&#x20AC;erent web browsers, to illustrate how the technology shifts and evolves, and makes the actual formal makeup of these works become diďŹ&#x20AC;erent. And then, in a way, the exhibition has a
potential to show an archaeology of the media and material of what can
happen online , which, for me, is a very interesting thing which is also about
exploring this utopic narrative of democracy. Because sometimes it isn t very
democratic when technology shifts so quickly and becomes so obsolete that to maintaining the work that you produce becomes a huge burden. Another interest of mine is this idea of obsolescence and conservation. How these
more historic ďŹ gures have really struggled because of the ďŹ nancial pressures of maintaining these works into the 21st century.
So what I hope the show does is to create the conversation about these practices as I see this is a debate show to bring it, really a constellation
of hyperlinks together, this kind of crisscross and dovetails. Sometimes it
"35 ;*1î&#x161;&#x2030;掚⥚䪞é¸?â?&#x2030;â&#x2122;śă &#x161;朸âŤ&#x201E;窥❽翚ă&#x2013;&#x2C6;â&#x2122;§éĽąĺ&#x201E;&#x2DC;ď&#x2DC;šĺ&#x2030;&#x201C;ăŁ?
context by which to engage is a varied kind of ďŹ&#x201A;uid and would allow this kind
0,î&#x161;&#x2030;䧎é&#x152;?ä&#x2013;¤â&#x2122;śăźąăž?é&#x152;&#x2019;鿪ăŁ&#x2013;éş&#x2022;岤ę&#x2026;žé&#x201C;&#x17E;äž&#x2020;ď&#x2DC;šä§Žä&#x2039;&#x17E;ĺ&#x160;&#x2020;ä˝&#x2013;é&#x161;śé¸?ç??
contradict each other but is also part of the beauty of the Internet that the of morphous discourses to emerge as well.
ART.ZIP: What was the most diďŹ&#x192;cult thing when you put together these very diďŹ&#x20AC;erent traditions? OK: For me one of the problems is that some exhibitions can be very didactic. And also I want to shift this idea that exhibition has to engage multiple
media and multiple functionsĚśbeing didactic overlooks boundary and
overly explanatory. There was a very sophisticated spatial negotiation with
my colleagues here to think about how the works were formally and spatially dialogue with each other to create a sense of connection. So as you walk
around this space you are confronted by various diďŹ&#x20AC;erent bodiesĚśfrom James
朸ă&#x201D;Žę¨&#x2C6;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x192;î&#x161;&#x17D;
ć¤?ć&#x153;&#x153;ď&#x2DC;šăž?é&#x152;&#x2019;â&#x2122;śâ&#x2122;§ăš ęŹ&#x152;é&#x160;´äą°ćŹ˝ă˘ľăŻŻë&#x201E;&#x201C;朸ä&#x2022;&#x17D;ä&#x2019;ď&#x2DC;šâ&#x203A;łâ&#x2122;śę¨žé&#x160;´ăŁ&#x2013; 㢾朸â¸&#x2020;č&#x2026;&#x2039;ä&#x161;?ď&#x2DC;šé&#x201C;&#x17E;äž&#x2020;ä&#x2019;朸ăž?é&#x152;&#x2019;ä&#x2013;&#x192;ä&#x2013;&#x192;çŞ?â´&#x20AC;â&#x153;ŤăŁ&#x2013;㢾朸é?&#x2018;ę&#x2026;źď&#x2DC;šé?¤
縨â&#x153;Ťéş&#x2022;㢾朸韚ć˛ď&#x2DC;ˇä§Žă&#x201E;¤ă &#x161;â&#x153;˛âŚ&#x203A;éš&#x17D;é ¤â&#x153;ŤęŹ&#x152;ä&#x152;˘é&#x2020;łę§šćś¸ç&#x2018; ę&#x;Śâˇ&#x201D; â´&#x2022;ď&#x2DC;šä§ŽâŚ&#x203A;ä&#x2122;źç˝&#x152;â&#x153;ŤăĽśâĄŚé&#x203A;&#x160;卌â&#x;?⥲ă&#x2026;ˇč&#x2026;&#x2039;㣠ă&#x2013;&#x2C6;ä&#x2022;&#x17D;ä&#x2019;â&#x2122;łă&#x201E;¤ç&#x2018; ę&#x;Śâ&#x2122;ł 援揰â?&#x153;ĺ´Šď&#x2DC;šć&#x2039;姽ĺ&#x153;&#x201C;ä&#x2019;&#x160;â&#x2122;§ç??â&#x153;˝ćšąęĄ č&#x20AC;˘ćś¸ä Žă¸˝ë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;ˇĺ&#x20AC;´ĺ&#x192;˝ď&#x2DC;šă&#x2013;&#x2C6;
ăž?é&#x152;&#x2019;ç&#x2018; ę&#x;Śâ&#x161;Ľć 姿ĺ&#x201E;&#x2DC;⥚ăź&#x;ęŹ&#x2014;㟊â&#x2122;śă &#x161;朸ë&#x201E;&#x201C;ë&#x20AC;żŐ&#x201A;ä&#x2013;°é&#x2018;šă¨&#x2014;㥌Ë&#x2122;
ä&#x2039;&#x2019;č&#x;&#x203A;ä&#x2014;&#x17E;ć&#x2122;&#x2039;âľ&#x152;㤚äŹ&#x2DC;ăŁ&#x2014;Ë&#x2122;ä&#x2039;&#x2019;ë&#x2030;&#x201C;ăť&#x17E;âą&#x201E;âľ&#x152;â˝&#x201C;䲿â??Ë&#x2122;é&#x2013;&#x2039;㪎č&#x2DC; ç&#x152;°ăŞłî&#x2122;ˇă&#x201E;¤ â??âľ&#x201E;ćŁ âźžË&#x2122;㢾ć§&#x2C6;é&#x2013;&#x2039;çŹ&#x17E;㣟ď&#x2DC;šć?ä&#x2013;&#x2022;⥚㽠ĺ&#x2030;&#x161;ĺ&#x2C6;żĺš&#x20AC;â°&#x2026;乳㟌ç&#x2014;§â&#x2122;§â&#x;? ⥲ă&#x2026;ˇćś¸č &#x17E;ć¤&#x161;ď&#x2DC;šĺ&#x20AC;´ĺ&#x192;˝âĄšĺ&#x2030;&#x161;ę&#x;&#x161;㨼朎ć¤?ç˛ćŽĽé&#x201E;&#x201E;é?&#x2018;ĺ&#x153;&#x201C;â&#x153;Ťď&#x2DC;šć?ä&#x2013;&#x2022;ć¤? â&#x17E;żâ&#x161;şçş?朸âŤ&#x201E;窥â&#x203A;łé&#x201E;&#x201E;äâ´&#x20AC;⢾乳ç¨&#x2039;ă&#x201E;¤ĺ˘&#x17E;ë&#x20AC;żď&#x2DC;ˇ
Bridle to Olaf Breuning to Katja Novitskova and Aleksandra Domanovi , then
ęŚ&#x2018;襽⥚朸éš&#x17D;â&#x2122;§ĺ§żé&#x152;&#x161;ćş?ď&#x2DC;šâĄšĺ&#x2030;&#x161;朎ć¤?ă&#x2022;ŹâŤšé&#x2020;˘âĄ˛ćś¸ĺ¨&#x153;ă&#x20AC;ˇâ&#x203A;łé&#x201E;&#x201E;é?&#x2018;
that has been deconstructed, and basically modernist tradition is explored and
挰âŻ&#x2DC;⢾㸤ä§é¸?â&#x2122;§éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;šă&#x201D;&#x201D;姽é¸?â°Śăť&#x153;ĺ&#x192;˝ęĄ ĺ&#x20AC;´â&#x2122;śă &#x161;ăžľĺŚ&#x201E;朸ë&#x201E;&#x201C;
you move deeper into the texture of the ďŹ rst one and you start to see painting examined. And as you go deeper you start to see the history of image making
deconstructedĚś completed through Constant Dullaart, Evan Roth, Oliver Laric, and so really it was about those layers of experience and layers of connection as opposed to thinking and bearing hermetically of trying to think about the over-didactic. But I think that maybe it is an exhibition more speciďŹ cally tied
to the technology itself and I try to give it a speciďŹ c look only into technology. Also I am interested in the concepts of forms and the aesthetics that emerge
ĺ&#x153;&#x201C;â&#x153;ŤŐ&#x201A;é¸&#x2019;éş&#x2022;ä? ĺ&#x20AC;&#x203A;ă&#x2014;&#x17E;ć&#x161;śË&#x2122;ĺ&#x2039;äŹ&#x2DC;ć&#x2122;&#x2039;ď&#x2DC;śâ&#x;ťâł?Ë&#x2122;çš?ĺ&#x20AC;&#x203A;ď&#x2DC;śă¤šâ´Şä&#x2019;źË&#x2122;äŹ&#x2DC; ë&#x20AC;żă&#x201E;¤ęĄ č&#x20AC;˘ď&#x2DC;šé¸?č&#x17D;&#x2026;é&#x201C;&#x17E;äž&#x2020;ä&#x2019;朸ĺ&#x153;&#x201C;ä&#x;?ă&#x201E;¤éş&#x2022;ĺ&#x20AC;´é&#x201C;&#x17E;äž&#x2020;ä&#x2019;ćś¸ęĄ ĺ&#x20AC;´éŚ&#x201E;é´&#x201E;
é&#x2DC;Žćś¸ĺ&#x153;&#x201C;ä&#x2122;źĺ&#x192;˝ćšąä&#x160;Šćś¸ď&#x2DC;ˇâ&#x2122;śéş&#x2022;䧎ä&#x;?â&#x203A;łé?Şĺ&#x192;˝ă&#x201D;&#x201D;ć?&#x20AC;é¸?ĺ&#x192;˝â&#x2122;§ă&#x153;Ľč&#x17D;&#x2026;ç&#x152;°
䪎ĺ&#x160;Ľé¨ç?ăş&#x2122;ćšąęĄ ćś¸ăž?é&#x152;&#x2019;ď&#x2DC;šç˝&#x153;䧎é&#x2018;&#x2018;襽㟊ç&#x152;°äŞŽćś¸ęĄ ĺ˛¤çŞ?â&#x153;Žâ&#x2122;§ ç??ć&#x161;śĺŠ&#x152;朸ă&#x192;&#x201E;ć¤?ď&#x2DC;ˇă &#x161;ĺ&#x201E;&#x2DC;䧎â&#x203A;łä&#x2013;&#x17D;ęĄ ĺ˛¤ä&#x2013;°é¸?â?&#x2030;â&#x153;˛ć&#x161;&#x;â&#x161;ĽćŹ´ćŹ°ćś¸ä&#x2022;&#x17D; ä&#x2019;ă&#x201E;¤çšĄăˇ¸ĺ&#x161;&#x152;ä&#x2122;&#x201A;ď&#x2DC;šâ&#x;&#x192;âżťč° é Żăšťĺ&#x192;˝ăĽśâĄŚéŚ&#x201E;éŚ&#x160;â&#x17E;ŽâŚ&#x203A;➲⢾朸é?¤ä&#x;?
麨ä§âśžĺ&#x20AC;&#x17E;朸ď&#x2DC;ˇă&#x201D;&#x201D;姽ä&#x2013;°ĺ&#x17D;Ľç??ä &#x2018;çş?â&#x2122;łâ˘ľé&#x201C;&#x17E;ď&#x2DC;šä§Žä&#x;?â&#x2122;§ă&#x153;Ľăž?é&#x152;&#x2019;ĺ&#x192;˝ ă&#x20AC;łâ&#x;&#x192;é¸&#x2019;éş&#x2022;č?&#x2C6;䧎ę&#x201A;&#x201A;縨⢾ăť&#x153;ć¤?朸ď&#x2DC;ˇ
UNSTABLE MEDIA: A CONVERSATION WITH ART CURATOR HANNAH REDLER 隶⹛♶㹁涸㯮넒 㼩鑨谀遮瘻㾝➃恍㫪 •榰䗞⹗
*/5&37*&8&% "/% 5&95 #: 䱰鏞⿺乊俒 /*-4 +&"/ 㽲晋倛 v し䛸 53"/4-"5&% #: 缺陼 $"* 46%0/( 詍豣匌 *."(&4 $0635&4: 0' 㕭晙䲿⣘ )"//") 3&%-&3 恍㫪v榰䗞⹗
Hannah Redler is a curator of cross-disciplinary projects
between art, photography, science and technology. Prior to her current role as associate art curator for the Open Data Institute, Hannah was Head of Science Museum Arts Programme from 2005-2014. At the time when the retrospective exhibition
Electronic Superhighway has just finished, Hannah talks to
us about her practice and the ways in which the field of new media has evolved, providing us an insightful view on the
directions and upcoming challenges of this unstable yet rich field of practices.
恎㫫˙榰䗞⹗僽♧そ瘼㾝➃㥠䨾嶍駈涸걆㚖堾騗谁遯
伢䕧ㄤ猰䪮㥠湡僽Ⱇ侸亙㷸ꤎ涸耢ざ谁 遯瘼㾝
➃㖈鸏⛓涸 荛 䎃㥠僽猰㷸⽈暟긭谁遯갪
湡涸⚺盘黠鸫侸㶶谁遯㔐곃㾝շꨶ㶩넞鸠Ⱇ騟ո涸穡
勲恎㫫莅䧮⦛锓ⵌ✫㥠涸瘼㾝㻜驏ㄤ倞㯯넓涸鹎⻋
鸏窍䧮⦛䲿⣘✫♧⦐噲Ⱘ峯㻌⸂涸鋕錬䖤⟃㻤鋕鸏⦐
崩⹛♶㾀⽿⿶䧭卓鞮焚涸걆㚖涸倞倰ぢㄤ荆涸䮋䨞
Julie Freeman, We Need Us , 2014. Production still, courtesy the artist. Commissioned by the ODI and The Space.
ART.ZIP: You trained as a ďŹ ne artist, where did the overlap between art and technology started, has it always been part of your practice?
"35 ;*1î&#x161;&#x2030;ä?Ą éş&#x2022;ä&#x2013;&#x192;äąşă&#x20AC;&#x152;朸ĺ&#x192;˝č° é Żăšťäž&#x2020;č&#x201A;Źď&#x2DC;šé˝Ąë&#x17E;&#x192;㟊ä?Ąâ˘ľ
traditional art school, where I painted landscape and I did life drawings. I
)3î&#x161;&#x2030;é¸?â°?ç˝?ĺ&#x160;Ľâ˘ľę¨&#x2020;ä&#x2013;¤â&#x2122;śč&#x2026;&#x2039;âą&#x201E;éť&#x2021;â&#x153;Ťď&#x2DC;ˇä§Žă&#x2013;&#x2C6;â&#x2122;§âŚ?ęŹ&#x152;ä&#x152;˘âŤ&#x201E;窥朸
HR: It couldn t have been further away. I was a ďŹ ne art painter in a very
started working with photocopying technology towards the end of my degree. I graduated not only in the middle of the recession of the 1990s but also at the time where YBAs were at their heights. There was a lot of amazing art around, but there was also a lot of dross. Rather than being an artist, what I started
Study for Fifteen Points, 2016: Motors, custom driver electronics, custom, software, aluminium, LEDs, computer All photos ŠVitamin Creative Space& Cao Fei
to ďŹ nd more urgent was what I saw as the growing ďŹ eld of interactive media technology. I co-founded a digital media production company with some
friends. The World Wide Web was in its infancy, commercial browsers were not available and no one commissioned websites. We made CD-ROMs for several years. We had all sorts of clients, from book publishers to museums and the
BBC. It was a commercial company but we had a very artistic ethos. We were
determined to develop new software with every project we did. We employed some amazing coders, so software development was at the core of what we
were doing. I became really aware of the software art community and more
interested in the role that computers can potentially have in museums, which inďŹ&#x201A;uenced my second degree at the Royal College of Art in Curating.
ART.ZIP: You did a lecture at the Open Data Institute where you said that whether we use the term digital art or new media, it is all art in the end. How do you articulate the relationship between art and technology now? HR: Well, ďŹ rst of all, I don t like the term digital art because I think it s really
reductive. I think that it suggests one type of practice in a ďŹ eld, which I prefer to call new media. I think that V2_ in Rotterdam have the best description, which is unstable media. The problem with new is that it isn t always new .
ART.ZIP: Yes, and once you ve labelled it new you haven t answered what the newness might be. The term digital is also an attempt to come back to an understanding of the technology. In Digital Folklore, Olia Lialina and Dragan Espenschied explain that the technology we possess now has never been so sophisticated and yet our understating of it has never been so minimal.
é&#x201C;&#x17E;ď&#x2DC;šč° é Żă&#x201E;¤ç&#x152;°äŞŽćś¸ę&#x2026;žă &#x2013;ĺ&#x192;˝ä&#x2013;°âĄŚč´&#x2013;ę&#x;&#x161;㨼朸ď&#x2DC;šé¸?â°?ç˝?朸犥ă &#x2013; â&#x2122;§ćšŹĺ&#x192;˝ä?Ąăť&#x153;éŠ?朸â&#x2122;§éż&#x2C6;â´&#x2022;ă&#x152;¨î&#x161;&#x17D;
č° é Żăˇ¸ĺ?Ľé&#x161;Ąĺ&#x2030;&#x2026;ď&#x2DC;šä§Žă&#x2013;&#x2C6;齥é&#x2026;㡸睢ę´?ĺ&#x2026;&#x17E;掼ă&#x201E;¤ăť¨ćŹ°ď&#x2DC;šä¨žâ&#x;&#x192;䧎ç&#x161;ż
ĺ&#x192;˝â&#x2122;§âŚ?掼㚝ď&#x2DC;ˇă&#x2013;&#x2C6;䧎ä˝&#x2122;é&#x161;Ąăˇ¸âĄ&#x2122;朸ĺ&#x2030;&#x201C;ä&#x2013;&#x2022;꼣媯ď&#x2DC;šä§Žę&#x;&#x161;㨼ă&#x201E;¤ä&#x2014;&#x201A;⽍ äŞŽé ŻäŠ§â?&#x153;麼ď&#x2DC;ˇä§ŽćŽ&#x2014;ĺ&#x2122; 朸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;šâ&#x2122;śâŤŚĺ&#x192;˝ ä&#x17D;&#x192;â&#x17E;żçŤ¤ć&#x2020;&#x2DC;ĺś&#x2039;éˇ&#x17D; 朸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;šâ&#x203A;łĺ&#x192;˝ď&#x161;łä&#x17D;&#x192;é°&#x2039;č&#x2013;&#x160;ă&#x2022;&#x153;č° é Żăšťď&#x161;´ î&#x2122;ˇ:#"î&#x2122;¸ćśŹä&#x201A;žé¸¤ĺ&#x2122;˛ćś¸ĺ&#x201E;&#x2DC;
⌏ď&#x2DC;ˇé˝Ąĺ&#x201E;&#x2DC;é¨éźšĺ&#x2030;¤â&#x2122;śăźąâ&#x2122;śę?Ťćś¸č° é Żď&#x2DC;šâĄ&#x17D;â&#x203A;łĺ&#x2030;¤â&#x2122;śăźąă&#x2DC;?ă&#x2013;Łď&#x2DC;šä§Žâ&#x2122;ś ĺ&#x192;˝ä&#x2013;&#x17D;ç&#x201E;ˇăš č?&#x2C6;ä&#x160;šé&#x160;´â&#x2122;śé&#x160;´ćŽšâ&#x2122;§âŚ?č° é Żăšťď&#x2DC;šâĄ&#x17D;䧎ćş?âľ&#x152;â&#x153;Ťâ&#x153;˝âš&#x203A;㢾 㯯ë&#x201E;&#x201C;äŞŽé Żćś¸ĺ&#x201A;&#x2C6;ć ¸ăĄăŁ?Ő&#x201A;é¸?ĺ&#x192;˝ĺ&#x2C6;żéś&#x2014;â´&#x2014;朸â&#x153;˛ä&#x17E;&#x2022;ď&#x2DC;ˇä§Žă&#x201E;¤ä&#x17D;&#x2122;âŚ?
ĺ&#x2030;Śâżźâ&#x2122;§éĽąâśžç&#x201D;¨â&#x153;Ťâ&#x2122;§âŚ?䞸㜜㯯ë&#x201E;&#x201C;é&#x2020;˘âĄ˛â°&#x2014;ă &#x20AC;ď&#x2DC;ˇćŽšĺ&#x201E;&#x2DC;č ?çŹ&#x17E;珪朸
朎ăž?韊č´&#x2013;ĺ&#x20AC;´â´˛ĺ&#x160;?ď&#x2DC;šĺ°?ĺ&#x2030;¤ă&#x2030;&#x201A;ĺ&#x2122; ć&#x2021;łé&#x152;&#x2019;ă?źď&#x2DC;šâ&#x203A;łĺ°?ĺ&#x2030;¤â&#x17E;&#x192;㨽é&#x17D;ˇä&#x2019;&#x160;ç&#x201D;¨ 珪ç&#x2022;&#x20AC;ď&#x2DC;ˇä§ŽâŚ&#x203A;â¨&#x17E;â&#x153;Ťä&#x17D;&#x2122;ä&#x17D;&#x192;朸âŻ&#x2022;ćš?䞸äş&#x2122;ĺ&#x2122; ⚥ď&#x2DC;ˇä§ŽâŚ&#x203A;ĺ&#x2030;¤čĄ˝ă ?ç??ă ?
ĺ&#x17E;şćś¸ăš?䨊ď&#x2DC;šĺ&#x2030;¤ă&#x2022;Źĺ&#x2030;&#x2026;â´&#x20AC;ć&#x2122;?â&#x17E;&#x192;ď&#x2DC;šâ&#x203A;łĺ&#x2030;¤â˝&#x2C6;ć&#x161;&#x;ę¸ď&#x2DC;šéźŠĺ&#x2030;¤##$ď&#x2DC;ˇä§ŽâŚ&#x203A; 掚ĺ&#x201E;&#x2DC;朸â°&#x2014;ă &#x20AC;ĺ&#x192;˝ă&#x2030;&#x201A;ĺ&#x2122; â°&#x2014;ă &#x20AC;ď&#x2DC;šâĄ&#x17D;䧎âŚ&#x203A;ä&#x2013;&#x17D;ĺ&#x2030;¤č° é Żç¤śç&#x2030;&#x;ď&#x2DC;ˇä§ŽâŚ&#x203A;ă&#x2013;&#x2C6;
éš&#x17D;é ¤ĺŤŚâŚ?é&#x17D;&#x2122;âˇ&#x201D;ĺ&#x201E;&#x2DC;鿪寚ä&#x2014;ąę&#x;&#x161;朎ĺ&#x20AC;&#x17E;朸鎿â&#x;?ď&#x2DC;ˇä§ŽâŚ&#x203A;⏚揽â&#x153;ŤęŹ&#x152;ä&#x152;˘ â´&#x20AC;č&#x2019;&#x20AC;朸ç&#x17D;&#x2018;ä&#x17D;¸ă&#x2020;&#x17E;ď&#x2DC;šă&#x201D;&#x201D;姽鎿â&#x;?ę&#x;&#x161;朎ĺ&#x192;˝ä§ŽâŚ&#x203A;朸ĺ&#x2018;?ä&#x2014;ąď&#x2DC;ˇä§Žę&#x;&#x161;㨼â&#x153;Ť
é?&#x2018;âľ&#x152;鎿â&#x;?č° é Żă&#x2022;&#x2013;㜊ď&#x2DC;šăźŠĺ&#x20AC;´é&#x17D;&#x2122;ç&#x161;żĺ Ľă&#x2013;&#x2C6;â˝&#x2C6;ć&#x161;&#x;ę¸â&#x161;Ľă&#x20AC;łč&#x2026;&#x2039;äŞ?ć&#x20AC;ľćś¸
é&#x152;Źč&#x2019;&#x20AC;ď&#x2DC;šä§Žâ&#x203A;łę&#x;&#x161;㨼ĺ&#x2030;¤â&#x153;Ťć&#x2026;ŽâžŠćś¸č&#x17D;&#x2021;錹ď&#x2DC;ˇä¨žâ&#x;&#x192;ď&#x2DC;šä§Žćś¸ç&#x2014;§â&#x153;łâŚ?㡸âĄ&#x2122; â¤&#x2018;ĺ&#x192;˝ă&#x2013;&#x2C6;ćś˝ăšťč° é Żăˇ¸ę¤&#x17D;é&#x161;Ąćś¸ç&#x2DC;źăž?ăź ĺ&#x2122; ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;ă&#x2013;&#x2C6;â°&#x2014;ę&#x;&#x161;䞸äş&#x2122;㡸ę¤&#x17D;朸â&#x2122;§âŚ?é&#x2014;?ä? â&#x2122;łď&#x2DC;šä?Ąé&#x201C;&#x17E;ď&#x2DC;šâ&#x2122;śç&#x203A;&#x2DC;
䧎âŚ&#x203A;揽é&#x2018;&#x201A;ĺ&#x192;˝ď&#x161;łäž¸ç&#x201E;şč° é Żď&#x161;´éźŠĺ&#x192;˝ď&#x161;łĺ&#x20AC;&#x17E;㯯ë&#x201E;&#x201C;ď&#x161;´ď&#x2DC;šĺ¨?ĺ&#x2018;?犥ä? ď&#x2DC;šä§Ž âŚ&#x203A;é&#x201C;&#x17E;朸ĺ&#x192;˝č° é Żď&#x2DC;ˇä?Ąć¤?ă&#x2013;&#x2C6;ĺ&#x192;˝ä&#x2122;Śë&#x17E;&#x2020;ć˛ăš č° é Żă&#x201E;¤ç&#x152;°äŞŽâ&#x203A;&#x201C;ę&#x;Śćś¸ęĄ â¤&#x161;朸î&#x161;&#x17D;
)3î&#x161;&#x2030;ꝡâŻ&#x201C;ď&#x2DC;šä§Žâ&#x2122;śă&#x2039;?姚ď&#x161;łäž¸ç&#x201E;şč° é Żď&#x161;´ćś¸é¸?âŚ?ç?&#x2013;é&#x2013;&#x2014;ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;é¸?ç??
ç?&#x2013;é&#x2013;&#x2014;朸㽡ꣳä&#x161;?ăŁ&#x2013;ä&#x201C;˝ď&#x2DC;ˇä§Žé&#x152;?ä&#x2013;¤ă¸?ä¸ćś¸ĺ&#x192;˝ĺ&#x17D;Ľâ&#x2122;§âŚ?ęą&#x2020;ă&#x161;&#x2013;朸ĺ&#x17D;Ľç?? č° é Żăť&#x153;éŠ?ď&#x2DC;šä¨žâ&#x;&#x192;䧎卲鯹âŤ&#x2122;ă ˘ď&#x161;łĺ&#x20AC;&#x17E;㯯ë&#x201E;&#x201C;ď&#x161;´é¸?ç??é&#x201C;&#x17E;ĺ˛ ď&#x2DC;ˇä§Žä&#x;?ë&#x203A;Š ć&#x161;śâ&#x161;¸7 @é&#x161;śâš&#x203A;㯯ë&#x201E;&#x201C;ç &#x2021;ç&#x2018;&#x2013;â&#x161;Ľä&#x2014;ąćś¸ä˛žéś¤ĺ&#x192;˝ĺ&#x2030;&#x201C;㼪朸ď&#x2DC;šâ˝°ď&#x161;łé&#x161;śâš&#x203A;
â&#x2122;śăš 朸㯯ë&#x201E;&#x201C;ď&#x161;´ď&#x2DC;ˇä§Žä¨žä Žč&#x17D;&#x2021;錹朸齥â?&#x2030;⥲ă&#x2026;ˇćś¸ăŁ?éż&#x2C6;â´&#x2022;✞⥲ç˝?ď&#x2DC;š
â&#x17E;ŽâŚ&#x203A;朸⥲ă&#x2026;ˇă&#x201E;¤ę¨śăśŠď&#x2DC;śéŽżâ&#x;?䧴ç˝?珪çŞ&#x201E;ĺ&#x2030;¤ęĄ ď&#x2DC;ˇĺ&#x2030;¤ĺŞŻĺ&#x201E;&#x2DC;ę&#x;Śď&#x2DC;šé¸?â?&#x2030; ⥲ă&#x2026;ˇéżŞé&#x201E;&#x201E;ç?&#x2013;ć?&#x20AC;ĺ&#x20AC;&#x17E;㯯ë&#x201E;&#x201C;č° é Żď&#x2DC;šâĄ&#x17D;ĺ&#x192;˝é¸?âŚ?ç?&#x2013;é&#x2013;&#x2014;ĺ&#x192;˝ĺ&#x2030;¤ă&#x2030;?ę˛&#x2014;朸ď&#x2DC;š é¸?â?&#x2030;㯯ë&#x201E;&#x201C;â&#x161;&#x203A;ęŹ&#x152;鿪齥ë&#x17E;&#x2020;ď&#x161;łĺ&#x20AC;&#x17E;ď&#x161;´ď&#x2DC;ˇ
HR: What really interests me, if you look at the arc of video art practice
"35 ;*1î&#x161;&#x2030;ĺ&#x192;˝ćś¸ď&#x2DC;šä§ŽâŚ&#x203A;䪞ă¸?âŚ&#x203A;饌â&#x2122;łď&#x161;łĺ&#x20AC;&#x17E;ď&#x161;´ĺ&#x17E;Śç &#x17E;朸ă &#x161;ĺ&#x201E;&#x2DC;⽿ĺ°?
the pioneers at the beginning challenging the form right down to the material
朸â&#x2122;§ç??ă&#x17D;˛é&#x2018;&#x2018;ď&#x2DC;ˇă&#x2013;&#x2C6;ա䞸ç&#x201E;şĺ&#x2014;⤺㡸ոâ&#x161;Ľď&#x2DC;šă¤šé&#x2026;â??Ë&#x2122;鸎ë&#x153;ŠăŤŤă&#x201E;¤âźž
compared to computer art, digital art or new media art, is that what you get is level and later people work with diďŹ&#x20AC;erent issues. Software art pioneers like
David Rokeby wrote their own code, the net artists wrote their own code and in video art artists like Nam June Paik and Bill Viola were really pushing the
material qualities, like Paik s Magnet TV where he s disrupting the wave form
and Bill Viola aďŹ&#x20AC;ecting the construction of cameras with Sony. The YBAs in the 1990s were mostly working with the content of the video and, often criticised for that, although I like the work Douglas Gordon, Georgina Starr and others
made. Similarly in digital practice we now see a lot of younger artists working with the content of online imagery.
ĺ&#x2030;¤ă&#x201D;?ç&#x2DC;¸ď&#x161;łă&#x2020;é&#x2026;ĺ&#x20AC;&#x17E;ď&#x161;´ćś¸ă&#x2030;?ę˛&#x2014;ď&#x2DC;ˇď&#x161;łäž¸ç&#x201E;şď&#x161;´ćś¸é&#x201C;&#x17E;ĺ˛ â&#x203A;łĺ&#x192;˝ć¤&#x161;é?&#x2018;äŞŽé Ż 揼Ë&#x2122;ă&#x2122;Şĺ&#x20AC;&#x203A;ä&#x2022; ĺ&#x20AC;ˇä&#x2014;&#x17E;é&#x201C;&#x17E;âľ&#x152;ď&#x2DC;šä§ŽâŚ&#x203A;暥⾚䨞䚊ĺ&#x2030;¤ćś¸äŞŽé ŻĺŤ˛â&#x;&#x192;ä&#x2013;&#x192;â&#x;¤ ⥌ĺ&#x201E;&#x2DC;⌏ĺ&#x2C6;żâ¸&#x2C6;âŻ&#x201C;éš&#x17D;ď&#x2DC;šâĄ&#x17D;䧎âŚ&#x203A;㟊ă¸?朸â&#x153;Ťé?&#x2018;⽿卲â&#x;&#x192;ä&#x2013;&#x192;â&#x;¤âĄŚĺ&#x201E;&#x2DC;⌏ ĺ&#x2C6;żăźąď&#x2DC;ˇ
)3î&#x161;&#x2030;溍姝é&#x203A;&#x160;ä§Žä Žč&#x17D;&#x2021;錹朸ĺ&#x192;˝ď&#x2DC;šăĽśĺ?&#x201C;㧨㟊卲â&#x2122;§â&#x2122;´é&#x2039;&#x2022;ęą˝č° é Żă&#x201E;¤ ꨜč&#x2C6;Ąč° é Żď&#x2DC;śäž¸ç&#x201E;şč° é Żä§´ç˝?ĺ&#x20AC;&#x17E;㯯ë&#x201E;&#x201C;ë&#x201E;&#x201C;č° é Żćś¸ćśŽăž?ď&#x2DC;šă§¨ĺ&#x2030;&#x161;朎
ć¤?ď&#x2DC;šé˝Ąâ?&#x2030;溍姝朸âŻ&#x201C;ę?ľâ&#x2122;§ę&#x;&#x161;㨼㽠ä&#x160;şçŤ¤ă&#x2013;&#x2C6;ć&#x161;&#x;颜㞾ęŹ&#x2014;â&#x2122;łäŽ&#x2039;ä¨&#x17E;č° é Żćś¸ä&#x2022;&#x17D;ä&#x2019;ď&#x2DC;šçł&#x2019;ç˝&#x153;äŽ&#x2039;ä¨&#x17E;â°Śâ&#x17E;Žă&#x2030;?ę˛&#x2014;ď&#x2DC;ˇâŤšăŁ?é şË&#x2122;峍âŻ&#x2DC;卲é¸?ĺ&#x17E;şćś¸éŽż â&#x;?č° é Żăšťď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;ĺ&#x192;˝č?&#x2C6;ä&#x160;šăť¨â&#x17E;żç&#x201E;şćś¸ď&#x2DC;šçŹŞçŞ&#x201E;č° é Żăšťâ&#x17E;ŽâŚ&#x203A;â&#x203A;łĺ&#x192;˝
č?&#x2C6;ä&#x160;šăť¨â&#x17E;żç&#x201E;şćś¸ď&#x2DC;ˇç˝&#x153;⍚术â˝&#x201A;ĺ˝&#x2039;ă&#x201E;¤ĺŤ˛ć&#x2122;&#x2039;Ë&#x2122;çŹ&#x17E;㤚äŹ&#x2DC;é¸?ĺ&#x17E;şćś¸é&#x2039;&#x2022;ęą˝
ART.ZIP: Do you mean social media?
č° é Żăšťĺ&#x2C6;żĺ&#x192;˝äŽ&#x2039;ä¨&#x17E;â&#x153;Ťč° é Żćś¸ć&#x161;&#x;颜ä&#x161;?ď&#x2DC;ˇä&#x2013;°ćśŻâ˝&#x201A;ĺ˝&#x2039;äť â&#x153;Ľĺ˛&#x161;ä&#x2022;&#x17D;ă&#x2022;Ź
in the ďŹ rst room are responding to distributed images that we experience and
鸤ď&#x2DC;ˇâľ&#x152; ä&#x17D;&#x192;â&#x17E;żćś¸:#"ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;ĺ&#x2C6;żęĄ 岤â°&#x2030;ăş&#x201A;ď&#x2DC;šé¸?â&#x203A;łĺ&#x192;˝â&#x17E;ŽâŚ&#x203A;獤
HR: Yes, as well. You mentioned Electronic Superhighway, nearly all the works
download and share online. It seems, in my view, that the art world never really understood the power of pioneering software artists. Christiane Paul argues that to get media art you need media literacy and you need to understand
not just the art history but the science and technology histories that go with
them. To me, I think a media art work is probably a work that responds to the
full dimension of a technological proposition. I m very interested in the process of making and methods of production artists apply.
ART.ZIP: And ideas of labour and even craft perhaps? What s your view on the idea of craft in relation to new media, in a ďŹ eld where the term is often dismissed? HR: it depends who you re talking to. I m working at the moment as a curator in residence for the Open Data Institute. This year we ve got a sound artist in residence called Alex McLean who s a pioneer of live coding. Central to
his practice is an interest in patterns and he extends that to pre-electronic
朸աç&#x2026;&#x201A;ę&#x153;&#x2C6;ć?é&#x152; Ő¸âľ&#x152;卲ć&#x2122;&#x2039;Ë&#x2122;çŹ&#x17E;㤚äŹ&#x2DC;ä&#x2022;§ę° 襽ç¨&#x2039;ă˝łäź˘âŤšĺ Ľćś¸ĺ&#x153;&#x201C; ä&#x152;˘é&#x201E;&#x201E;䪥é?ąćś¸âž˛ă&#x201D;&#x201D;ď&#x2DC;šę§Şć?䧎â&#x203A;łäŻ&#x2020;ă&#x2039;?姚麼ĺ&#x2018;&#x201D;äŹ&#x2DC;ĺ&#x20AC;&#x203A;Ë&#x2122;ă&#x2020;Ľę°žď&#x2DC;śă&#x2039;Žĺą&#x203A; ㎼㍍Ë&#x2122;ĺ&#x20AC;&#x203A;ă??ć&#x2122;&#x2039;ă&#x201E;¤â°Śâ&#x17E;Žâ&#x17E;&#x192;朸⥲ă&#x2026;ˇď&#x2DC;ˇă &#x161;ĺ&#x17E;şă&#x2013;&#x2019;ď&#x2DC;šă&#x2013;&#x2C6;äž¸ăśśč° é Żăť&#x153;éŠ?
é&#x2026;ď&#x2DC;šä§ŽâŚ&#x203A;ćş?âľ&#x152;é?Şă˘ľä&#x17D;&#x192;é°&#x2039;č° é ŻăšťâśžâĄ˛ĺ&#x201E;&#x2DC;⢪揽朸â&#x203A;łĺ&#x192;˝çŹŞçŞ&#x201E;ă&#x2022;Ź ⍚朸â°&#x2030;ăş&#x201A;ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;ä?Ąä¸ćś¸ĺ&#x192;˝ç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;ă&#x152;¨î&#x161;&#x17D;
)3î&#x161;&#x2030;ĺ&#x192;˝ćś¸ď&#x2DC;šéżŞâşŤä?ď&#x2DC;ˇĺ§ťăĽśăž?é&#x152;&#x2019;աꨜ㜊ë&#x201E;&#x17E;é¸ â°&#x2014;é¨&#x;Ő¸ď&#x2DC;šă&#x2013;&#x2C6;â&#x2122;§č´Ť
ăž?ä&#x2018;źé&#x2026;ä&#x17D;&#x2122;â&#x203A;&#x2013;䨞ĺ&#x2030;¤ćś¸âĄ˛ă&#x2026;ˇéżŞĺ&#x192;˝ăźŠé˝Ąâ?&#x2030;䧎âŚ&#x203A;ă&#x2013;&#x2C6;çŽ â&#x2122;łë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;śâ&#x2122;´ 鯺䧴ç˝?â´&#x2022;â?§ćś¸ă&#x2022;ŹâŤšćś¸ă&#x201D;?估ď&#x2DC;ˇă&#x2013;&#x2C6;䧎ćş?⢾ď&#x2DC;šč° é Żâ&#x161;&#x2020;ć˛ä&#x2013;°ĺ&#x160;˘ćşŤ 姝ć¤&#x161;é?&#x2018;âŻ&#x201C;ę?ľéŽżâ&#x;?č° é Żăšťď&#x2DC;ˇâŻ&#x2DC;é&#x2026;ĺ&#x20AC;&#x203A;裌ă¸&#x17E;Ë&#x2122;âĽ&#x192;çš?é&#x201C;&#x17E;ď&#x2DC;šé&#x160;´ć¤&#x161;é?&#x2018;齥
ĺ&#x17E;şćś¸âĄ˛ă&#x2026;ˇď&#x2DC;šęťˇâŻ&#x201C;ꨞé&#x160;´â&#x153;Ťé?&#x2018;ă ?겳㯯ë&#x201E;&#x201C;ď&#x2DC;šç˝&#x153;â&#x161;&#x201A;ď&#x2DC;šâ&#x2122;śâŤŚé&#x160;´â&#x153;Ťé?&#x2018;č°
é Żăšťă &#x161;ĺ&#x201E;&#x2DC;â&#x17E;żćś¸č° é Żă&#x20AC;ˇď&#x2DC;šéźŠĺ&#x2030;¤ç&#x152;°äŞŽă&#x20AC;ˇď&#x2DC;ˇăźŠä§Žç˝&#x153;é&#x17D;&#x160;ď&#x2DC;šăŻŻë&#x201E;&#x201C;č° é Ż â&#x203A;łé?Şĺ&#x192;˝ď&#x2C6;Łĺ&#x20AC;°ęŹ&#x2014;ă&#x201D;?估ç&#x152;°äŞŽă&#x201E;?ę˛&#x2014;ćś¸č° é Żď&#x2DC;ˇä§ŽăźŠč° é Żăšťä¨žę&#x2026;ˇćŹ˝ 朸✞⥲ĺ&#x20AC;°ĺ˛ ă&#x201E;¤âśžâĄ˛ĺ´Šç&#x17D;&#x2018;ęŹ&#x152;ä&#x152;˘ä Žč&#x17D;&#x2021;錹ď&#x2DC;ˇ
digital technologies such as knitting and weaving. He s researching diďŹ&#x20AC;erent
"35 ;*1î&#x161;&#x2030;䧴é?ŞéźŠĺ&#x2030;¤âšŞâš&#x203A;朸ä&#x;?ĺ˛ ď&#x2DC;šćŹŠč?&#x203A;äŞŽč° î&#x161;&#x17D;ä?Ąĺ&#x192;˝ä&#x2122;Śë&#x17E;&#x2020;
narrative of software art and coding to oďŹ&#x20AC;er more expansive histories of us as
â&#x203A;&#x2013;ĺ&#x192;˝é&#x201E;&#x201E;éź?ä&#x2DC;&#x17D;朸ď&#x2DC;ˇ
narratives with various craft people. He s interested in challenging the hacker
humans capturing data in pattern forms, distributing it and giving it meaning. His practice is very current, very expansive and asks questions about those deďŹ nitions that we ve all experienced in certain hierarchies. I ve spent my
entire professional career working in science organisations or technology
organisations, but on art projects. If a project is going to work across disciplines you have to get rid of some of these hierarchies, otherwise you re dismissing too much stuďŹ&#x20AC;.
ART.ZIP: In an interview you gave while at the Science Museum, we are interested in the way you described art as a having the potential to shed a critical light onto technology, how would you negotiate that relationship, in the context of a large institution such as the Science Museum, between art as on the one hand a tool to render technology accessible and yet being critical of it? Hannah: I wouldn t use the term tool, because it makes the art sound utilised
ćş?ĺ&#x20AC;&#x17E;㯯ë&#x201E;&#x201C;â&#x161;Ľćś¸ď&#x161;łäŞŽč° ď&#x161;´ă&#x2030;?ę˛&#x2014;朸î&#x161;&#x17D;ă&#x2013;&#x2C6;é¸?âŚ?ęą&#x2020;ă&#x161;&#x2013;ď&#x2DC;šé¸?âŚ?é&#x2018;&#x201A;âĄ&#x201A; )3î&#x161;&#x2030;é¸?ă&#x20AC;&#x160;寚ĺ&#x20AC;´ä§ŽâŚ&#x203A;ă&#x201E;¤é&#x201C;Şé&#x17D;Łé&#x201D;¸é¸?âŚ?é&#x2018;¨ę˛&#x2014;ď&#x2DC;ˇä§ŽćšĄâľšă&#x2013;&#x2C6;ę&#x;&#x161;ä˝&#x17E;䞸 äş&#x2122;㡸ę¤&#x17D;掚ę˝?ă&#x2013;&#x2019;ç&#x2DC;źăž?â&#x17E;&#x192;ď&#x2DC;šâ&#x17E;&#x203A;ä&#x17D;&#x192;䧎âŚ&#x203A;é¸?é&#x2026;ĺ&#x2030;¤â&#x2122;§âĄ&#x2122;ę˝?ă&#x2013;&#x2019;朸č&#x20AC;Ťę°&#x2030;
č° é Żăšťď&#x2DC;šă ?ă&#x20AC;ęŁ&#x161;č&#x;&#x203A;âŻ&#x2DC;ĺ&#x20AC;&#x203A;Ë&#x2122;ë?&#x2039;âŻ&#x2DC;ĺ?&#x152;ď&#x2DC;šâ&#x17E;Žĺ&#x192;˝ć¤?ă&#x153;ĽçŽĄç&#x201E;şćś¸âŻ&#x201C;ę?ľď&#x2DC;ˇ â&#x17E;Žćś¸č° é Żăť&#x153;éŠ?â&#x161;Ľä&#x2013;&#x17D;ĺ&#x2018;?ä&#x2014;ąćś¸â&#x2122;§ë&#x;&#x160;ĺ&#x192;˝â&#x17E;ŽăźŠĺ&#x17E;şä&#x2019;ćś¸ęĄ ĺ˛¤ď&#x2DC;šâ&#x17E;ŽäŞž
é¸?ç??č&#x17D;&#x2021;錹ä&#x2019;&#x201A;â ˝âľ&#x152;⾚ꨜ㜊䞸ç&#x201E;şäŞŽé Żâ&#x2122;łď&#x2DC;šĺŤ˛ăĽśé&#x201C;&#x17E;çŽĄçą˝äŞŽé Żď&#x2DC;š â&#x17E;Žč&#x17D;&#x2026;ă ?겳ă&#x2DC;&#x2014;朸ä&#x160;¨âť č° â&#x17E;&#x192;ă &#x2013;⥲ď&#x2DC;šâ°&#x;ă &#x161;äąłç¨&#x2039;â&#x2122;śâ&#x2122;§ĺ&#x17E;şćś¸äž&#x192;â&#x153;˛ď&#x2DC;ˇ
äŽ&#x2039;ä¨&#x17E;鎿â&#x;?č° é Żă&#x201E;¤çŽĄç&#x201E;şâ&#x161;Ľćś¸ë&#x17E;ąăš?äž&#x192;â&#x153;˛â¤&#x2018;ĺ&#x192;˝â&#x17E;Žćś¸č&#x17D;&#x2021;錹䨞ă&#x2013;&#x2C6;ď&#x2DC;š â&#x17E;ŽçŞ?⥲ć?&#x20AC;â&#x17E;&#x192;겳朸䧎âŚ&#x203A;ăž?ć¤?â&#x153;Ťĺ&#x2C6;żä&#x2018;&#x17E;ęĄ&#x20AC;朸ĺ¨&#x153;ă&#x20AC;ˇă&#x2022;Źĺ&#x2026;&#x17E;Ő&#x201A;䧎âŚ&#x203A; ĺ&#x192;˝ăĽśâĄŚé¸&#x2019;éş&#x2022;ĺ&#x17E;¸ä&#x2019;朸ä&#x2022;&#x17D;ä&#x2019;ć ˝ă&#x20AC;&#x160;䞸äş&#x2122;ď&#x2DC;śćśŽéˇ&#x2018;䞸äş&#x2122;ď&#x2DC;šçŞ?â&#x153;Žäž¸äş&#x2122;
ä &#x2018;çş?朸ď&#x2DC;ˇâ&#x17E;Žćś¸č° é Żăť&#x153;éŠ?ĺ&#x192;˝ä&#x2013;&#x17D;掚â&#x2122;´ćś¸ď&#x2DC;šä&#x2018;&#x17E;ęĄ&#x20AC;朸ď&#x2DC;šâ&#x17E;Žä˛żâ´&#x20AC;朸ă&#x2030;? ę˛&#x2014;ęĄ â&#x203A;&#x2013;ĺ&#x17D;Ľâ?&#x2030;ăš çş?ď&#x2DC;šç˝&#x153;é¸?â?&#x2030;ă&#x2030;?ę˛&#x2014;䧎âŚ&#x203A;ăŁ?ăšťă&#x2013;&#x2C6;ĺ&#x17D;Ľâ?&#x2030;ç&#x2DC;&#x17E;秚犥ĺ&#x153;&#x201C;
â&#x161;ĽéżŞçŤ¤ĺ¨&#x153;éş&#x2022;朸ď&#x2DC;ˇä§Žćś¸äžŽâŚ?č&#x20AC;ˇĺ&#x2122; 揰ĺˇ&#x2020;鿪ă&#x2013;&#x2C6;ç&#x152;°ăˇ¸ä§´ç&#x152;°äŞŽĺ Ľĺ&#x153;&#x201C;
â&#x161;Ľéš&#x17D;é ¤č° é Żę°ŞćšĄď&#x2DC;ˇé&#x160;´â¨&#x17E;âľ&#x152;é¨&#x2014;㡸ç&#x152;°ď&#x2DC;šâĄšă˝ ä&#x2014;łę°äť&#x2014;č&#x2020;¨ä¨žĺ&#x2030;¤ćś¸ ç&#x2DC;&#x17E;秚犥ĺ&#x153;&#x201C;ď&#x2DC;šă&#x201A;&#x201E;âľąď&#x2DC;šă§¨ĺ&#x2030;&#x161;ę?ŤăŁ&#x;ăŁ&#x2013;㢾朸ĺ&#x152;&#x152;é&#x160;Żď&#x2DC;ˇ
or used. Artists raised the issue of avoiding the word use in relation to
"35 ;*1î&#x161;&#x2030;ä?ĄéźŠă&#x2013;&#x2C6;ç&#x152;°ăˇ¸â˝&#x2C6;ć&#x161;&#x;ę¸ä&#x160;¨âĄ˛ĺ&#x201E;&#x2DC;ĺ&#x2030;¤â&#x2122;§ç&#x153;?é?&#x17E;é&#x201D;&#x201C;é&#x2026;ĺ&#x2030;¤â&#x2122;§
it sound as if we were using the art, they didn t like it. I think that I have to
ä&#x2022;&#x17D;ä&#x2019;ď&#x2DC;ˇă&#x2013;&#x2C6;é&#x2013;&#x20AC;㼜ç&#x152;°ăˇ¸â˝&#x2C6;ć&#x161;&#x;ę¸â&#x203A;&#x201C;겳朸ăŁ?ă&#x2DC;&#x2014;ĺ Ľĺ&#x153;&#x201C;ćŠ&#x2021;ă&#x17E;Żâ&#x161;Ľď&#x2DC;šâ&#x2122;§ĺ&#x20AC;°
working with art at the Science Museum with me very early on. If we made concede that, although I didn t use the art, other colleagues might have had other motivations for including art. But what we were hoping to do, was to
bring in the art to oďŹ&#x20AC;er diďŹ&#x20AC;erent perspectives, which was very much part of an interpretation strategy that started to acknowledge multiple voices, to challenge the Victorian talking down to approach, telling visitors what to
think, to be more discursive. That s a contemporary approach to museology; it isn t unique to the Science Museum. But it was quite important in the Science Museum because in science museums, research suggests, visitors expect to
âŚ?é&#x152;&#x161;ë&#x;&#x160;ä&#x2013;&#x17D;ĺ&#x2030;¤éŚąď&#x2DC;šä?Ąé&#x201C;&#x17E;č° é Żč&#x2026;&#x2039;ä§ć?&#x20AC;㟊ç&#x152;°äŞŽéš&#x17D;é ¤äŞĄâ´źćś¸ć&#x201A;´ă&#x2013;&#x2C6;
ęŹ&#x2014;č° é ŻâĄ˛ć?&#x20AC;ä&#x160;¨â°¨â˘Şä&#x2013;¤ç&#x152;°äŞŽă&#x20AC;łâ&#x;&#x192;ć?&#x20AC;â&#x17E;&#x192;䨞乺ă&#x20AC;&#x152;ď&#x2DC;šç˝&#x153;ă&#x20AC;Ľâ&#x2122;§ĺ&#x20AC;°ęŹ&#x2014; č° é ŻâżśăźŠç&#x152;°äŞŽĺ&#x2030;¤äŞĄâ´źä&#x161;?ď&#x2DC;šä?Ąĺ&#x192;˝ăĽśâĄŚé&#x201D;&#x2026;ă&#x201E;¤â°?ç˝?ćś¸ęĄ â¤&#x161;朸î&#x161;&#x17D;
)3î&#x161;&#x2030;䧎â&#x2122;śĺ&#x2030;&#x161;揽ď&#x161;łä&#x160;¨â°¨ď&#x161;´é¸?âŚ?é&#x2018;&#x201A;ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;é¸?âŚ?é&#x2018;&#x201A;ä&#x152;&#x;ĺ&#x2030;¤ăŁ&#x2013;㢾朸ăť&#x153;
揽â&#x161;şçş?ä &#x2018;ă&#x201E;&#x201A;ď&#x2DC;ˇă&#x2013;&#x2C6;ä&#x2013;&#x17D;ĺ&#x201A;?â&#x203A;&#x201C;âľšď&#x2DC;šč° é Żăšťč&#x17D;&#x2026;ç&#x152;°äŞŽâ˝&#x2C6;ć&#x161;&#x;ę¸ă &#x2013;âĄ˛č° é Żę°ŞćšĄĺ&#x201E;&#x2DC;ă˝ ĺ&#x2030;&#x161;é¨&#x2C6;䧎䲿âľ&#x152;é&#x160;´éź&#x161;âŻ?ď&#x161;łâ˘ŞćŹ˝ âľ&#x201E;揽î&#x2122;ˇč° é Żî&#x2122;¸ď&#x161;´â&#x2122;§ é&#x2018;&#x201A;ď&#x2DC;ˇăĽśĺ?&#x201C;䧎âŚ&#x203A;é&#x203A;&#x160;갪暥č &#x192;鼹⢾⍚ĺ&#x192;˝ď&#x161;łâľ&#x201E;ćŹ˝č° é Żď&#x161;´ď&#x2DC;šč° é ŻăšťâŚ&#x203A; 鿪ĺ&#x2030;&#x161;â&#x2122;śĺ?żä &#x2018;朸ď&#x2DC;ˇä§Žä&#x;?䧎âŚ&#x203A;â&#x203A;łä&#x2014;łę°äŞé&#x2019;˘ď&#x2DC;šâ˝ç&#x203A;&#x2DC;䧎ĺ°?ĺ&#x2030;¤ď&#x161;łâľ&#x201E;揽ď&#x161;´ č° é Żď&#x2DC;šâĄ&#x17D;ĺ Ľĺ&#x153;&#x201C;é&#x2026;朸Ⰼâ&#x17E;Žă &#x161;â&#x153;˛â&#x203A;łĺ&#x2030;&#x161;ä§&#x192;襽Ⰼâ&#x17E;Žâš&#x203A;ĺ Ľâ˘ľäŞžč° é Ż
ă&#x201C;ä?éš&#x17D;⢾ď&#x2DC;ˇä§ŽâŚ&#x203A;䨞ä&#x2039;&#x17E;ĺ&#x160;&#x2020;朸ĺ&#x192;˝ď&#x2DC;šé&#x203A;&#x160;č° é Żä˛żâŁ&#x2DC;â&#x2122;śă &#x161;朸é&#x152;Źä?&#x17E;ď&#x2DC;šé¸?
â&#x203A;łĺ&#x192;˝â&#x2122;§ç??ꥪę&#x2026;źćś¸ç&#x2DC;źćŽ&#x153;ď&#x2DC;šâ°Śę&#x;&#x161;㨼äŞé&#x2019;˘ă˘ľç??č&#x20AC;Ťę°&#x2030;ď&#x2DC;šäŽ&#x2039;ä¨&#x17E;ď&#x161;łč?&#x2C6;â&#x2122;ł ç˝&#x153;â&#x2122;´ď&#x161;´ćś¸é&#x2018;¨é&#x201C;&#x192;ĺ&#x20AC;°ä&#x2019;ď&#x2DC;šäŽ&#x2039;ä¨&#x17E;ă&#x192;&#x2021;濟⿎é&#x152;&#x161;ç˝?é&#x2018;Şä&#x;?â&#x17E;&#x160;ë&#x17E;&#x2020;朸â¨&#x17E;ĺ˛ ď&#x2DC;šç˝&#x153;
é&#x203A;&#x160;é&#x152;&#x161;ćť&#x17E;ĺ&#x2C6;żâ¸&#x2C6;âĽ&#x152;ęź&#x203A;ć&#x2039;ꎍď&#x2DC;ˇé¸?ă˝ ĺ&#x192;˝ćŽšâ&#x17E;&#x203A;â˝&#x2C6;ć&#x161;&#x;ę¸ăˇ¸ćś¸äŠ&#x203A;媯ď&#x2DC;šé¸? â&#x203A;łâ&#x2122;śâŤŚâŤŚéť 揽ĺ&#x20AC;´ç&#x152;°ăˇ¸â˝&#x2C6;ć&#x161;&#x;ę¸ď&#x2DC;ˇé¸?ĺ&#x192;˝ä&#x2013;&#x17D;ę&#x2026;žé&#x160;´ćś¸ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;ç &#x2021;ç&#x2018;&#x2013;
é&#x201A;?ĺ&#x192;&#x2C6;ď&#x2DC;šă&#x2013;&#x2C6;ç&#x152;°ăˇ¸â˝&#x2C6;ć&#x161;&#x;ę¸é&#x2026;ď&#x2DC;šâżŽé&#x152;&#x161;ç˝?çą?ĺ&#x192;˝ĺ&#x2030;&#x161;ĺ&#x160;?ä&#x2013;&#x160;â´˝â&#x17E;&#x192;ă&#x192;&#x2021;é?°â&#x17E;Ž ⿥ä&#x;?â&#x17E;&#x160;ë&#x17E;&#x2020;ď&#x2DC;ˇă&#x201D;&#x201D;ĺ§˝č° é Żă&#x2013;&#x2C6;é¸?é&#x2026;ă˝ č&#x2026;&#x2039;äŠ§ç śé¸?ăžľă&#x203A;&#x161;âąşď&#x2DC;ˇé&#x160;´ăť¨â´&#x20AC;
â&#x2122;§â&#x;¨â´&#x20AC;č&#x2019;&#x20AC;ćś¸č° é ŻâĄ˛ă&#x2026;ˇęĄŞę&#x2026;źäż&#x2019;ĺ&#x160;Ľď&#x2DC;šč&#x17D;&#x2026;é&#x152;&#x161;ç˝?ĺ˝&#x2DC;é¸&#x2019;ć?&#x20AC;â&#x17E;&#x160;ë&#x17E;&#x192;é¸?â&#x;? ⥲ă&#x2026;ˇă&#x2013;&#x2C6;ç&#x152;°ăˇ¸â˝&#x2C6;ć&#x161;&#x;ę¸é&#x2026;㼜姽ę&#x2026;žé&#x160;´ď&#x2DC;šé¸?ĺ&#x192;˝ęŹ&#x152;ä&#x152;˘â°¨ĺ&#x2030;¤äŽ&#x2039;ä¨&#x17E;ä&#x161;?朸 â&#x;¤âšĄď&#x2DC;šä§ŽéżŞâ&#x2122;śç&#x201E;ˇăš 䧎ĺ&#x2030;¤ĺ°?ĺ&#x2030;¤ä˝&#x2122;âŻ&#x2DC;é¸?ç??äŽ&#x2039;ä¨&#x17E;î&#x2122;°
"35 ;*1î&#x161;&#x2030;ă&#x2013;&#x2C6;â&#x153;˝âš&#x203A;ă&#x201E;¤ç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;é&#x152;Źč&#x2019;&#x20AC;朸ă&#x2030;?ę˛&#x2014;â&#x2122;łď&#x2DC;šé&#x203A;&#x160;â˝&#x2C6;ć&#x161;&#x;ę¸
Natasha Caruana Married Man , installation shot, ODI, 2016. Photo Sarah Howe.
ä§ć?&#x20AC;㟊é&#x2018;¨ćś¸éĽąë&#x;&#x160;ď&#x2DC;šć?ä&#x2013;&#x2022;䏪ăž?âľ&#x152;çŽ â&#x2122;łď&#x2DC;šé¸?ç??â¨&#x17E;ĺ˛ ĺ&#x192;˝â&#x2122;śĺ&#x192;˝â&#x203A;ł čź&#x2018;ă &#x2013;âľ&#x152;ä?Ąćś¸ç&#x2DC;źăž?â&#x161;Ľî&#x161;&#x17D;
)3î&#x161;&#x2030;ä&#x2013;°ä§ŽâŚ?â&#x17E;&#x192;⢾é&#x201C;&#x17E;ď&#x2DC;šä§Žâ&#x161;&#x203A;ĺ°?ĺ&#x2030;¤â¨&#x17E;㢾㟹é¸?ĺ&#x20AC;°ęŹ&#x2014;朸ä&#x160;¨âĄ˛ď&#x2DC;ˇâ&#x2122;§ âŚ?➲ă&#x201D;&#x201D;ĺ&#x192;˝ď&#x2DC;šćŽšç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;č&#x17D;&#x2021;鼹朸ĺ&#x201E;&#x2DC;⌏䧎姝ä&#x152;&#x;襽â°?âŚ?ăˇ&#x203A;㜊ď&#x2DC;š
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⢾ď&#x2DC;ˇä§Žâ&#x161;&#x203A;ĺ°?ĺ&#x2030;¤ă¨˝äŠŻăš âľ&#x2013;é¸?âŚ?갪暥ď&#x2DC;šâĄ&#x17D;䧎ć?&#x20AC;â˝&#x2C6;ć&#x161;&#x;ę¸äŞžé¸?âŚ?
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be told what to think. So the art is there to challenge those assumptions. It is quite challenging to write really great art interpretation that communicates
everything about why an art work is in a science museum, I m not sure I ve ever cracked it!
ART.ZIP: In terms of interactions and the role of social media, with the museum space, where the museum becomes the starting point of conversations that are then extended online, is that something that you integrate in your curating process? HR: Personally I haven t done it very much; one reason is that I had two
children very closely around the point when social media lifted oďŹ&#x20AC;. I kind of missed the boat! However, what I ve observed are things I commissioned
just before having my kids did develop a big life of their own online through visitors posting stuďŹ&#x20AC; on social media, like Listening Post by Ben Rubin and
Mark Hansen. I didn t commission it, but I purchased it for the museum. The
Cockroach Tour of the Science Museum by SuperďŹ&#x201A;ex has a very strong life
online which we didn t plan, but which aďŹ&#x20AC;ected thinking about interpretation later on. I do see museums starting to consider social media but I don t think
any museum has really made it work yet. I think one of the reasons is that you have to give up the control and I think that it s really diďŹ&#x192;cult for organisations
to let people drive the agendas when the institution has constructed it already.
Social media does merge a lot with the curatorial and I foresee that it s going to become a much stronger dialogue moving forward. All organisations do think more about ways to communicate outwards now.
ĺ&#x17E;şćś¸ę°ŞćšĄä§ŽâŚ&#x203A;â&#x153;˛âŻ&#x201C;â&#x203A;łĺ°?ĺ&#x2030;¤ä&#x;?âľ&#x152;ď&#x2DC;šâĄ&#x17D;é¸?çŞ?䧎âŚ&#x203A;ä&#x2013;&#x2022;â˘ľćś¸č° é Ż ꥪę&#x2026;źä&#x160;¨âĄ˛éĽąâ&#x153;ŤâŚśę&#x2122;§âĄ˛ćŹ˝ď&#x2DC;ˇä§Žç&#x201E;ˇăť&#x153;â&#x203A;łćş?âľ&#x152;â&#x153;Ťé?Şă˘ľâ˝&#x2C6;ć&#x161;&#x;ę¸ę&#x;&#x161;
㨼ç˝&#x152;äŁ&#x201A;ç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;é¸?â&#x2122;§ë&#x;&#x160;ď&#x2DC;šâĄ&#x17D;ă&#x2013;&#x2C6;䧎ćş?⢾ď&#x2DC;šćšĄâľšĺ°?ĺ&#x2030;¤â&#x;¤âĄŚâ&#x2122;§ ăšťâ˝&#x2C6;ć&#x161;&#x;ę¸ä§â¸&#x2020;éş&#x2022;ď&#x2DC;ˇä§Žä&#x;?é¸?â°Śâ&#x161;Ľćś¸âž˛ă&#x201D;&#x201D;â&#x203A;&#x201C;â&#x2122;§â¤&#x2018;ĺ&#x192;˝ă§¨ä&#x2014;łę°ä˝&#x17E; ĺ&#x201D;łäąžâľ&#x2013;ď&#x2DC;šă&#x2013;&#x2C6;㧨ä&#x160;şçŤ¤ĺ?şĺ&#x153;&#x201C;㼪朸é&#x2122;žç&#x17D;&#x2018;é&#x2026;é&#x203A;&#x160;â&#x17E;&#x192;âŚ&#x203A;č?&#x2C6;ć&#x2039;ę˝&#x2122;ęź?ď&#x2DC;šé¸?
ĺ&#x192;˝ä&#x2013;&#x17D;ę¨&#x2C6;朸ď&#x2DC;ˇç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;ă&#x201E;¤ç&#x2DC;źăž?ç&#x201E;ˇăť&#x153;ăŁ?ä&#x152;´ä?&#x17E;čź&#x2018;ă &#x2013;â&#x153;Ťď&#x2DC;šä§Žâ&#x203A;łę°¸ ĺş ď&#x2DC;šé¸?č&#x201A;&#x2020;ć&#x192;?ĺ´Šĺ&#x2030;&#x161;é&#x161;śä§ĺ&#x2C6;żä&#x201C;˝ćś¸ăźŠé&#x2018;¨ď&#x2DC;šâ&#x161;&#x203A;ä°çłľćśŽăž?ď&#x2DC;ˇä¨žĺ&#x2030;¤ćś¸çŠ&#x2030; 繽鿪卲â&#x;&#x192;ä&#x2013;&#x192;ĺ&#x2C6;żâ¸&#x2C6;â¸&#x2014;â¸&#x201A;ă&#x2013;&#x2019;ç˝&#x152;äŁ&#x201A;㼜⥌ă&#x201E;¤ă˘Ťć˛â?&#x153;崊朸ă&#x2030;?ę˛&#x2014;ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;â&#x203A;łé?Şé¸?ĺ&#x17E;şćś¸çŠĄĺ?&#x201C;ĺ&#x2030;&#x161;â¤&#x203A;⢪䧎âŚ&#x203A;ä&#x2122;źç˝&#x152;齥â?&#x2030;çŽ â&#x2122;łăźŠ
é&#x2018;¨ćś¸ä&#x2022;&#x17D;ä&#x2019;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;ĺ&#x17E;şćś¸î&#x161;&#x17D;卲㼜ď&#x2DC;šç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;朸â?&#x153;â&#x153;˝ć˛ęŹ&#x2014;ă&#x2013;&#x2C6;ĺ&#x160;˘ ⢾ĺ&#x2030;&#x161;ĺ&#x2030;¤ä&#x2122;Śĺ&#x17E;şćś¸é?¤é&#x17D;&#x2122;î&#x161;&#x17D;
)3î&#x161;&#x2030;ĺ&#x2030;&#x201C;ăŁ?朸â&#x2122;śă &#x161;ĺ&#x192;˝ď&#x2DC;šâ&#x17E;&#x192;ă&#x20AC;łâ&#x;&#x192;č?&#x2C6;ć&#x2039;ă&#x2013;&#x2019;ă&#x201E;¤ä&#x2022;šĺ§˝ăźŠé&#x2018;¨ď&#x2DC;šé¸?ĺ&#x192;˝ä&#x2013;&#x17D; ĺ&#x2030;¤éŚąćś¸ď&#x2DC;šâĄ&#x17D;ĺ&#x192;˝ăĽśĺ?&#x201C;é¸?䞎âŚ?éş&#x2022;ç&#x17D;&#x2018;ĺ&#x192;˝â&#x2122;§âŚ?é&#x152;&#x161;ćş?朸éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;šé˝Ąë&#x17E;&#x2020;
ę¤&#x2018;ęŹ&#x152;ĺ&#x2030;¤ć&#x161;śâ´˝ćś¸ĺ&#x20AC;°ĺ˛ 玥éą&#x20AC;ă&#x201E;¤é&#x201D;&#x2026;ę&#x201A;&#x201A;ď&#x2DC;šă&#x201A;&#x201E;âľąâ?&#x153;崊朸㞾ĺŚ&#x201E; ĺ&#x192;˝ä&#x2013;&#x17D; ă&#x203A;&#x2021; ç&#x2021;&#x160;朸ď&#x2DC;ˇâ&#x2122;śă˘Ťâ&#x203A;&#x2013;ĺ&#x192;˝ď&#x161;łä§Žă˝ ç&#x2022;&#x20AC;ă&#x2013;&#x2C6;é¸?⥲ă&#x2026;ˇâľšęŹ&#x2014;ď&#x161;´ď&#x2DC;śď&#x161;łä§ŽäŻ&#x2020;ă&#x2039;? 姚朸ď&#x161;´ď&#x2DC;śď&#x161;łä§Žä&#x2013;&#x17D;ă&#x2039;?姚ď&#x161;´ď&#x2DC;śď&#x161;łä§Žâ&#x2122;śă&#x2039;?姚ă&#x201D;&#x201D;ć?&#x20AC; ď&#x161;´ď&#x2DC;šé¸?ç??㟊é&#x2018;¨
ă˝ ęŹ&#x152;ä&#x152;˘ç&#x;Śă&#x2039;˛â&#x153;Ťď&#x2DC;ˇä§Žä&#x;?ä&#x2014;łę°ä&#x2019;¸â°&#x2026;â&#x2122;§â?&#x2030;玥äą&#x2013;䧴ç˝?äąžâľ&#x2013;ď&#x2DC;šä&#x2013;°ç˝&#x153;
é&#x203A;&#x160;㟊é&#x2018;¨é&#x161;śä&#x2013;¤ĺ&#x2C6;żăş˘ĺ&#x2030;¤ĺš&#x20AC;ä?&#x17E;ď&#x2DC;ˇä§Žćś¸ä &#x2018;ä&#x2122;źĺ&#x192;˝ď&#x2DC;šé¸?估é&#x2018;Şĺ&#x192;˝âŤ&#x201E;窥⢾
é?&#x17E;ç˝?ćŽ&#x2020;é&#x17D;&#x160;ĺ&#x160;Ľćś¸â¸&#x2C6;ä&#x201C;˝ć&#x2122;?ď&#x2DC;ˇăĽśĺ?&#x201C;â&#x2122;śâ¸&#x2C6;ä&#x2019;¸ăźŹćś¸é&#x2018;¨ď&#x2DC;šâŤ&#x201E;窥朸⢾é?&#x17E; ç˝?ćŽ&#x2020;é&#x17D;&#x160;ĺ&#x160;Ľâ&#x2122;łĺ&#x2030;¤ä &#x2018;ä&#x2122;źćś¸ă&#x2030;?ę˛&#x2014;ăź&#x;ĺ&#x2030;&#x161;éŚ&#x160;⢾éŚ&#x160;ăźąď&#x2DC;ˇä§Žä&#x;?ď&#x2DC;šă&#x2030;?ę˛&#x2014;朸
ęĄ ę&#x2019;łă&#x2013;&#x2C6;ĺ&#x20AC;´ď&#x2DC;šä&#x2122;Śĺ&#x17E;şč&#x2026;&#x2039;✞鸤ă &#x2013;éť ćś¸ĺ&#x201C;â&#x;?⢪溍姝ĺš&#x20AC;â°&#x2026;ď&#x2DC;śĺ&#x2030;¤ä &#x2018;çş? 朸㟊é&#x2018;¨ä&#x2013;¤â&#x;&#x192;ä&#x2022;&#x17D;ä§î&#x161;&#x17D;ç˝&#x153;âżśĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;䲿âŁ&#x2DC;çŞ?â&#x17E;&#x192;âŚ&#x203A;ĺš&#x20AC;â°&#x2026;㟊é&#x2018;¨ćś¸ĺ&#x201C; â&#x;?ď&#x2DC;šă&#x203A;&#x2021;é&#x201D;&#x2026;âżśĺ&#x192;˝ć&#x2039;â&#x17E;&#x160;ë&#x17E;&#x2020;ăš â&#x2122;´ćś¸î&#x161;&#x17D;㼜ĺ?&#x201C;é&#x160;´â˘ŞćŹ˝ç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;ď&#x2DC;šé˝Ą 䧎㽠ĺ&#x2030;¤é&#x2013;&#x20AC;㼜â&#x;&#x192;â&#x2122;łćś¸é?Şă˘ľă&#x2030;?ę˛&#x2014;ď&#x2DC;ˇ
ART.ZIP: Maybe a consequence of that, is to ask what the form of those online conversations will be? What the potential of the design of social media interfaces, for instance, can have critically?
"35 ;*1î&#x161;&#x2030;ä?Ąé&#x152;?ä&#x2013;¤ć¤?ă&#x2013;&#x2C6;ă&#x2013;&#x2C6;çŽ ç&#x2DC;źăž?韊ĺ&#x2030;¤ć&#x201A;´â¸&#x201A;ă&#x152;¨î&#x161;&#x17D;韊ĺ&#x192;˝
and that s really interesting, but if you look at it, unless it is edited in some way and
é&#x201C;&#x17E;ď&#x2DC;šä§ŽâŚ&#x203A;ĺ&#x2030;&#x161;é&#x152;?ä&#x2013;¤ä§ŽâŚ&#x203A;䪞â&#x2122;§â´&#x2014;鿪é&#x201C;&#x17E;ćš&#x2C6;â&#x153;Ťď&#x2DC;šâĄ&#x17D;䧎â&#x203A;łč ?â´&#x2022;
HR: The big diďŹ&#x20AC;erence is that people can enter into a dialogue with one another channelled, the level of communication is pretty basic. It s here s me in front of
the work , l like it, I love it, I hate this becauseâ&#x20AC;Ś it can be quite simple. I think you
would have to introduce some elements of choreography or control to bring more of a critical edge to the conversation. I mean, it s a super souped-up version of the
traditional visitor comments book. The traditional visitor comments book gets less interesting questions if they re not directed. I think questions include: what would
é&#x201C;&#x17E;ă&#x2013;&#x2C6;çŽ ç&#x2DC;źăž?朸ĺ&#x201E;&#x2DC;ĺ&#x160;?ä&#x160;şçŤ¤éş&#x2022;â&#x153;Ťî&#x161;&#x17D;
)3î&#x161;&#x2030;䧎ä&#x;?â&#x2122;śă &#x161;鰳朸â&#x17E;&#x192;㟊é¸?âŚ?ă&#x2030;?ę˛&#x2014;ĺ&#x2030;¤â&#x2122;śă &#x161;朸ă&#x201D;?估ď&#x2DC;ˇăźŠ ĺ&#x20AC;´ä§ŽâŚ&#x203A;é¸?â?&#x2030;â&#x2122;§ćšŹä&#x2013;°â&#x153;˛é¸?â&#x2122;§é ¤ď&#x2DC;šé&#x2039;&#x2026;éş&#x2022;䞎âŚ?ĺ¨&#x153;ç&#x17D;&#x2018;朸â&#x17E;&#x192;⢾
ç&#x201E;ˇâĽ&#x152;ď&#x2DC;šăźŠĺ&#x20AC;´â&#x2122;§âŚ? ĺ¨&#x201D;朸â&#x17E;&#x192;⢾é&#x201C;&#x17E;ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;韊ĺ&#x2030;¤â&#x2122;§â?&#x2030;䧎âŚ&#x203A;
ä&#x;?é&#x;?â&#x2122;śâľ&#x152;朸é&#x2018;¨é&#x160;´é&#x201C;&#x17E;ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;â&#x17E;ŽâŚ&#x203A;朸獤ĺ¨&#x153;ă&#x201E;¤ä§ŽâŚ&#x203A;朸ä¨&#x201D;ć?
â&#x2122;śă &#x161;ď&#x2DC;ˇä§Žâ&#x2122;śĺ&#x2030;&#x161;é&#x2019;˘ć?&#x20AC;ď&#x2DC;šĺ&#x2030;¤čĄ˝â&#x2122;śă &#x161;獤ĺ¨&#x153;朸â&#x2122;śă &#x161;â&#x17E;&#x192;ď&#x2DC;šă&#x2013;&#x2C6;ęŹ&#x2014;
㟊㼜姽鴞ć&#x17E;ĄćśŽăž?ćś¸äŞŽé Żĺ&#x201E;&#x2DC;ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;朸ă&#x2030;?ę˛&#x2014;ĺ&#x2030;&#x161;ă&#x201E;¤ä§ŽăĽśâ´&#x20AC; â&#x2122;§éąźď&#x2DC;ˇ
çŽ â&#x2122;łç&#x2DC;źăž?ĺ&#x160;Ľé¨ăźŠä§Žĺ°?ĺ&#x2030;¤ă˘ľăŁ?朸ď&#x2030;&#x161;ä&#x2019;¸â¸&#x201A;ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;䧎ă&#x2039;?姚
of questions I would like to ask if someone really wanted to harness social media in
ç&#x2018; ę&#x;Śď&#x2DC;šćśŽăž?齥â?&#x2030;č&#x2026;&#x2039;㣠é&#x203A;&#x160;é&#x152;&#x161;ç˝?援揰㢾ę&#x2026;žä Žă¸˝ë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;śĺ&#x2030;¤
would give people permission to do that, what would set the tone? There are a lot that way.
ART.ZIP: Do you think there s still potential for online curating though? Or has the moment passed? HR: I think that there are diďŹ&#x20AC;erent generations responding to diďŹ&#x20AC;erent ways. Those of us who have been around and have seen the entire arc might feel we ve said
everything but I m absolutely sure that there are 15 year olds who have things to say about it that I can t imagine because their experience of the world is a world
ăť&#x153;ë&#x201E;&#x201C;朸ä&#x160;¨âĄ˛ç&#x2018; ę&#x;Śď&#x2DC;šä§Žă&#x2039;?姚ă&#x201E;¤č° é Żăšťă &#x2013;⥲äą?乞齥ĺ&#x17E;şćś¸
襽ăť&#x153;꼚乺é?¸ćś¸âĄ˛ă&#x2026;ˇď&#x2DC;ˇä&#x2013;°ă&#x20AC;Ľâ&#x2122;§ĺ&#x20AC;°ęŹ&#x2014;⢾ćş?ď&#x2DC;šä§Žé&#x152;?ä&#x2013;¤ćšĄâľš ĺ&#x2030;¤â&#x2122;§âŚ?ăŁ?ă&#x2030;?ę˛&#x2014;ď&#x2DC;šă&#x2013;&#x2C6;é¸?ĺ&#x17E;şâ&#x2122;§âŚ?䧎âŚ&#x203A;ăŁ?㢾䞸â&#x17E;&#x192;鿪â&#x2122;śĺ&#x2030;&#x161;⿥
ăť&#x153;ă&#x2013;&#x2019;ć ˝ă&#x20AC;&#x160;ćżźé&#x2122;?朸â&#x161;&#x2020;ć˛é&#x2026;ď&#x2DC;šăť&#x153;ë&#x201E;&#x201C;ç&#x2018; ę&#x;Śď&#x2DC;šĺŤ˛ăĽśé&#x201C;&#x17E;â˝&#x2C6;ć&#x161;&#x;ę¸ ă&#x201E;¤ćŽĽä?¤ćś¸ćšĄćś¸âĄŚă&#x2013;&#x2C6;î&#x161;&#x17D;䧎âŚ&#x203A; ä&#x17D;&#x192;âľšâ&#x203A;łé?Şĺ&#x2030;&#x161;⿥ď&#x2DC;šâĄ&#x17D;ĺ&#x192;˝ć¤? ă&#x2013;&#x2C6;ćżźé&#x2122;?ă˝ ă&#x2013;&#x2C6;㧨朸ĺ&#x2026;°č&#x2026;&#x2039;äŠ&#x203A;ĺ Ľé&#x2026;ď&#x2DC;ˇä¨žâ&#x;&#x192;ĺ&#x2030;&#x201C;ăŁ?朸濟é&#x2122;?ę§&#x152;
äž&#x2022;猺窥â&#x2122;śĺ&#x192;˝ă&#x2022;Źĺ&#x2030;&#x2026;ę¸ă&#x201E;¤â˝&#x2C6;ć&#x161;&#x;ę¸ď&#x2DC;šç˝&#x153;ĺ&#x192;˝ă&#x201D;&#x201D;ć&#x161;śçŹŞď&#x2DC;šç˝&#x153;é¸?ď&#x2DC;š 䪞â&#x2122;§â´&#x2014;鿪ä˝&#x2013;é&#x161;śâ&#x153;Ťď&#x2DC;ˇ
away from mine. I wouldn t want to assume that diďŹ&#x20AC;erent people who have a
"35 ;*1î&#x161;&#x2030;é¸?㽠䲿â´&#x20AC;â&#x153;Ťâ&#x2122;§âŚ?é&#x2019;˘é&#x2122;?é&#x201D;¸ă&#x2030;?ę˛&#x2014;ď&#x2DC;šçŽ â&#x2122;łćŹ°ćŹ´
questions than me.
ĺ&#x201E;&#x2DC;â&#x17E;żď&#x2DC;šä§ŽâŚ&#x203A;ꨞé&#x160;´ĺ&#x2030;¤â&#x17E;&#x160;ë&#x17E;&#x2020;ĺ&#x17E;şćś¸âżŽę&#x2020;&#x20AC;ă&#x201E;¤éş&#x2022;ć&#x2021;?ă?źâ˘ľč´&#x2013;ć¤&#x161;
diďŹ&#x20AC;erent experience of this really speedy technology wouldn t have some diďŹ&#x20AC;erent
I ve never been attracted to curate online per se because I like to work with
physical space and I like being in command of that space with an artist and to
develop physical encounters with art, with art that is multisensory. On the other
朸濟é&#x2122;?ĺ&#x160;Ľé˘śĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;î&#x161;&#x17D;ă&#x2013;&#x2C6;é¸?ĺ&#x17E;şâ&#x2122;§âŚ?ĺ&#x2030;¤čĄ˝ăŁ&#x2013;㢾âĽ&#x152;ä&#x153;&#x201A;朸 é¸?â?&#x2030;㼜ď&#x161;łĺľĺ˛&#x2122;佪估ď&#x161;´ćś¸âĽ&#x152;ä&#x153;&#x201A;î&#x161;&#x17D;
)3î&#x161;&#x2030;é&#x201C;&#x17E;âľ&#x152;ä? ď&#x2DC;šä§ŽâŚ&#x203A;韊ĺ&#x192;˝é&#x160;´ć ˝ă&#x20AC;&#x160;âĽ&#x152;ä&#x153;&#x201A;朸ď&#x2DC;šä§Žă&#x2013;&#x2C6;çŽ â&#x2122;łă&#x20AC;ł â&#x;&#x192;䪪âľ&#x152;䧎é&#x160;´ćś¸ĺ&#x152;&#x152;é&#x160;Żă&#x201D;&#x201D;ć?&#x20AC;䧎濟麼č?&#x2C6;ä&#x160;šé&#x160;´äŞŞćś¸ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;ď&#x2DC;ˇ
ă&#x2014;&#x17E;术é&#x201C;&#x17E;ď&#x2DC;šçŽ â&#x2122;łĺľłę&#x2020;&#x20AC;朸é&#x201D;¸äż&#x2019;ď&#x2DC;śćŽĽâą ç&#x2DC;&#x17E;ç&#x2DC;&#x17E;é&#x203A;&#x160;䧎ä&#x2013;&#x17D;ë &#x2021;é?&#x201E;ď&#x2DC;š â°&#x2122;ä&#x17D;&#x192;âľšď&#x2DC;šé¸?â?&#x2030;ĺ&#x152;&#x152;é&#x160;ŻéżŞĺ°?ĺ&#x2030;¤ď&#x2DC;ˇä§ŽćżźéşĽč?&#x2C6;ä&#x160;šé&#x160;´äŞŞâ&#x17E;&#x160;ë&#x17E;&#x2020;ď&#x2DC;š 䨞â&#x;&#x192;䧎é&#x2019;˘ć?&#x20AC;ă&#x2030;?ę˛&#x2014;ĺ&#x192;˝ď&#x2DC;šă§¨é&#x160;´ćżźéşĽč?&#x2C6;ä&#x160;šé&#x160;´äŞŞâ&#x17E;&#x160;ë&#x17E;&#x2020;ď&#x2DC;šâĄ&#x17D;çą? 朸⢾é&#x201C;&#x17E;ď&#x2DC;šä&#x2013;°ę¨śč&#x2C6;Ąâ&#x2122;łć ˝ă&#x20AC;&#x160;朸ĺ&#x152;&#x152;é&#x160;Żćś¸ăžľĺŚ&#x201E;ă&#x201E;¤ĺš&#x20AC;ä?&#x17E;ĺ&#x192;˝â&#x;&#x201A;â&#x17E;&#x192; ă&#x17D;&#x2019;ć?&#x20AC;é&#x152;&#x161;姺朸ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;ă&#x20AC;Ťé&#x160;´ćżźéşĽă§¨č?&#x2C6;ä&#x160;šé&#x160;´äŞŞćś¸ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;Ő&#x201A;齥䧴 é?Şé¸?â°Śâ&#x161;Ľĺ&#x2030;¤ä&#x2019;¸ăźŹćś¸ę¨žé&#x160;´î&#x161;&#x17D;
)3î&#x161;&#x2030;䧎é&#x152;?ä&#x2013;¤é¸?ĺ&#x192;˝â&#x2122;§ę°Şĺ&#x20AC;&#x17E;朸揰ĺ´&#x17E;䪎č&#x2026;&#x2039;ď&#x2DC;šä§ŽâŚ&#x203A;â&#x;&#x192;âľšĺ&#x2030;¤ă&#x2022;Ź
ĺ&#x2030;&#x2026;ç&#x203A;&#x2DC;ć¤&#x161;ă&#x2020;&#x17E;ď&#x2DC;ˇć¤?ă&#x2013;&#x2C6;溍姝ä &#x2018;çş?朸ă&#x2022;Źĺ&#x2030;&#x2026;ç&#x203A;&#x2DC;ć¤&#x161;ă&#x2020;&#x17E;ä&#x2013;&#x17D;ăźąâ&#x153;Ťď&#x2DC;ˇé&#x201C;Ş ĺ&#x192;˝çŹŞçŞ&#x201E;ç&#x2018; ę&#x;Śćś¸ă&#x2022;Źĺ&#x2030;&#x2026;ç&#x203A;&#x2DC;ć¤&#x161;ă&#x2020;&#x17E;ă&#x192;¤î&#x161;&#x17D;
Thomson & Craighead, Voyager (MicromĂŠgas), installation shot, ODI, 2015. Photo: Lewis Bush.
create the right conditions for really deeper, meaningful conversations? What
Julie Freeman, We Need Us , 2014. Production still, courtesy the artist. Commissioned by the ODI and The Space.
Julie Freeman, We Need Us , 2014. Production still, courtesy the artist. Commissioned by the ODI and The Space.
hand, I think there s a really big question, at the moment, about the purpose
"35 ;*1î&#x161;&#x2030;䧎âŚ&#x203A;â&#x203A;łé?Şçˇ&#x201E;â&#x203A;&#x2DC;â&#x2122;§ç??ă &#x2013;éť ćś¸é&#x201C;&#x192;é&#x17D;&#x160;ď&#x2DC;ˇęź&#x203A;âĽ&#x153;v㺢âš&#x2014;ĺ&#x2030;&#x17D;
go there to acquire the knowledge. We might have gone there 20 years ago,
㼜ꨣď&#x2DC;śă&#x2DC;?ă&#x2013;Łĺ&#x2019;ąç&#x2DC;&#x17E;ď&#x2DC;ˇé¸?ă&#x2013;&#x2C6;⥚ä&#x2014;łę°ĺš˘ĺ&#x2026; ă&#x2013;&#x2019;é&#x201A;?霤ç&#x2DC;źăž?äž&#x192;â&#x153;˛ĺ&#x201E;&#x2DC;ď&#x2DC;š
of physical spaces, museums and galleries in a world where most of us don t but now that knowledge is in our smartphones. So the biggest knowledge
distribution system is not the library and museum system, it s the Internet and that shifts things.
ART.IP: Then it poses an epistemological question, what s the nature of that knowledge produced online and what are the parameters and ďŹ lters required to process that information as for instance the bubble eďŹ&#x20AC;ect , when there s too much information? HR: Well you still need to be informed, I can ďŹ nd stuďŹ&#x20AC; online because I know
what I m looking for. I am astonished frankly at the papers, the catalogues, the things that are online now, that were not online six years ago. I know what I m
looking for, so I think there s the question of how you ďŹ nd what you re looking
for, but I think that the level and depth of what you can get from your desktop is phenomenal.
ART.ZIP: As long as you know what you re looking for. There s perhaps a need to be guided? HR: I think it s a new life skill, we used to have librarians. There are very few proper librarians any longer. Who are the librarians of cyberspace?
ART.ZIP: Maybe there s also a lack of an appropriate language. Mathew Fuller wrote about the misleading metaphors such as the cloud or the bin we are using in describing technology. Is that something you struggle with when you have to articulate a curatorial narrative? HR: The thing I m struggling with is the fact that, ironically we need to
diďŹ&#x20AC;erentiate between art and science in order to discuss our combined
intentions, to bring them together. So you re constantly toggling between specialism and the desire to branch out and I think that we are evolving
diďŹ&#x20AC;erent languages. The problem with the languages you referred to is that they are corporate-led. They re going for the lowest common denominator
because they want mass understanding right now, because they want mass
buying right now. This is where I think artists are so important in this ďŹ eld, we need artists to make us stop and think. To consider the language, to consider
the impact that language has on our thinking, which needs to be challenged because even if you look at your encounter with your desktop today, for me,
compared to the desktop I ďŹ rst started working with in the late 1980s the guts are less visible. So we have a very seamless experience of computing that
doesn t let us know what we are being sucked into and that worries me. We
think in Google documents now, we think in Twitter characters. Someone will come up with something that s better. Our experience is always rooted in our existing knowledge, and I think that people who come up with a diďŹ&#x20AC;erent
knowledge, will make diďŹ&#x20AC;erent metaphors and that s how the language will evolve.
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VINYL FACTORY: HUB OF CREATIVE COLLABORATION INTERVIEW WITH SEAN BIDDER 랱芢ⶽ䠑㣅䊨㜥 㼠鏞聰䛸 • 嫱䗞 */5&37*&8&% "/% 5&95 #: 䱰鏞⿺乊俒 ,& 2*8&/ 叕巯ꨚ &%*5&% #: 箠鰿 .*$)&--& :6 ⡮㼭䜣 /*$)0-"4 "/%&340/ 㽲〢䬘倛v㸝䗞啿 1)050(3"1)&% #: 伡䕧 )"33: -*6 ⷠ畹兑 *."(&4 $0635&4: 0' 㕭晙䲿⣘ 7*/:- '"$503: 랱芢ⶽ䠑䊨䑖
The British pop industry only truly started with the Beatles, then we had a proliferation of recording studios, music managers,
bands and the whole industry evolved from that point. The hub of it was EMI, the primary manufacturing site in the UK, and Abbey Road Studios.
By the year 2000, most people were no longer optimistic about
the future of vinyl, whereas the Vinyl Factory team still believed in it. Through a conversation with the Creative Director Sean Bidder, we will see that the Vinyl Factory team continues to make a solid living promoting this classic format into the digital era.
䫪걧㡦坿〳⟃铞僽薊㕜崩遤坿刼涸畮殹儘ꦑ
贖〳鋅ꏗ갉啟갉坿竤椚➃ㄤ坿Ⱖ⚥剓렳렳㣐
そ涸㽠㿂&.*㈖晚醢鸤䊨䑖ㄤ蒕嫲騟ꏗ갉㹔✫⡎
ⵌ✫ 䎃殹㣐㢵侸➃♶ⱄ溏㥪랱芣㈖晚涸涮㾝
儘鸒麕莅랱芣ⶾ䠑㣆䊨㜥7'⽿➠搭㛚⥌㸐剤
劢⢵鸒麕莅7'ⶾ䠑籏湌聱䛸˙嫲䗞涸㼩鑨➮雊
䧮⦛✫鍑ⵌ鸏⦐剤衽涰䎃娜〷涸竤Ⱙ呔䒭㖈侸㶶
⻋儘➿♴涸䧭⸆踙隶
Bill Viola, The Talking Drum. Brewer Street Car Park (presented by The Vinyl Factory), London.
ART.ZIP: Would you please introduce yourself? Your background and how you started working at the Vinyl Factory? SB: My initial background was in publishing, I edited music and art
magazines. Now, I am the creative director of the Vinyl Factory and that
means that I am lucky enough to oversee all the creative aspects of what we do. Primarily that involves working directly with the musicians and artists to create both large-scale exhibition events and also to release
records on vinyl and also on digital. It also encompasses everything from a single very speciďŹ c project to a mainstream album release.
Vinyl Factory was started in 2000 with the acquisition of the old EMI
factory, which was once the cornerstone of the British music industry.
When I joined there was a lot of pessimism about the future of vinyl in the music industry, people thought it wouldn t work. However, we thought at the end of the day there would be two formats left, vinyl and digital, because, as a physical format nothing is better than vinyl. You ll listen
to digital but you buy the vinyl. It is always going to be a mass product
versus something craft led, a collectible item. No matter how small the Sean Bidder. Photographed by Harry Liu.
audience is, it will be an audience that is loyal and faithful, excited and passionate and from that you have an opportunity to build.
Moreover with music, music is by its very nature international, it is a
language of its own. For us, we had this incredible opportunity; we had this heritage, this history, this craft that was unique to the plant and the
machinery. In the 60 s and 70 s a lot of time, money and energy was spent developing that. We also had the incredible heritage of the records that
"35 ;*1î&#x161;&#x2030;č&#x2026;&#x2039;é¨&#x2C6;䧎âŚ&#x203A;â´&#x2022;â?§â&#x2122;§â&#x2122;´ä?Ąćś¸âŚ?â&#x17E;&#x192;獤ĺ¨&#x153;ă&#x152;¨î&#x161;&#x17D;ä?Ąĺ&#x192;˝ä&#x2122;Śĺ&#x17E;şâ¸&#x2C6;
us we wanted to really engage with what a record company was at that
4#î&#x161;&#x2030;䧎éş&#x2022;⿥朸ä&#x160;¨âĄ˛č&#x17D;&#x2026;â´&#x20AC;ć&#x2122;?ĺ&#x2030;¤ęĄ ď&#x2DC;šé žéĄ&#x2018;玥éą&#x20AC;č° é Żă&#x201E;¤ę°&#x2030;ĺ?żę˛łćś¸ę§š
were made there, from The Beatles to The Sex Pistols and Pink Floyd. For period of time, which was a creative manufacturing unit. To work with
musicians, to enable their music to be made and then sold, not what it
became which was more marketing, distant from the actual music. It was making the music, recording the music, mixing the music, and releasing
the music, that was the primary function. That is what I wanted to engage.
ART.ZIP: You mentioned that in the digital age, the Vinyl Factory has expanded to a number of areas, could you just elaborate on what the main structure of the Vinyl Factory is now and how has the Vinyl Factory changed since it was establishedďź&#x; SB: With the Vinyl Factory Group, the ďŹ rst thing that happened was
the purchase of the pressing plant, which was the core, when I joined
my initial role was to set up a magazine FACT which was initially based
around music and vinyl. It was a physical magazine for some time and
â°&#x2026;ë&#x17E;ąč&#x160;Łâśžä &#x2018;ăŁ&#x2020;ä&#x160;¨ă&#x153;Ľî&#x2122;ˇ7'î&#x2122;¸ćś¸ă&#x192;¤î&#x161;&#x17D;
é&#x2019;&#x;ď&#x2DC;ˇćšĄâľšď&#x2DC;šä§Žă&#x2013;&#x2C6;7'äş&#x152;â&#x;¤âśžä &#x2018;çą?ćš&#x152;ď&#x2DC;šé žéĄ&#x2018;â&#x2122;§â´&#x2014;ă&#x201E;¤âśžä &#x2018;ĺ&#x2030;¤ęĄ 朸ä&#x160;¨
⥲ď&#x2DC;ˇâ&#x161;şé&#x160;´ă˝ ĺ&#x192;˝č&#x17D;&#x2026;ę°&#x2030;ĺ?żăšťď&#x2DC;śč° é Żăšťâ&#x2122;§éĽąçĄ âŞ&#x201D;ăŁ?ă&#x2DC;&#x2014;ăž?é&#x152;&#x2019;갪暥ď&#x2DC;šćśŽ é ¤ë&#x17E;ąč&#x160;Łă&#x2C6;&#x2013;ć&#x2122;&#x161;ď&#x2DC;šâ&#x203A;łćśŽé ¤äž¸ç&#x201E;şĺ&#x2018;&#x201D;ä&#x2019;ď&#x2DC;ˇä§Žĺ&#x2030;&#x161;⿎č&#x17D;&#x2026;ĺ&#x17D;Ľâ?&#x2030;ć&#x161;śâ´˝ćś¸é&#x17D;&#x17D;é&#x2020;˘ę°Ş 暥ď&#x2DC;šâ&#x203A;łĺ&#x2030;&#x161;é žéĄ&#x2018;â&#x161;şĺ´Šé¨&#x;çŽ ćś¸ăź éą&#x20AC;é&#x2020;˘âĄ˛ď&#x2DC;ˇ
7'ä§ç&#x201D;¨ ĺ&#x20AC;´ ä&#x17D;&#x192;ď&#x2DC;šćŽšĺ&#x201E;&#x2DC;ä˝? éŁ&#x2018;â&#x153;Ťč&#x2013;&#x160;ă&#x2022;&#x153;ę°&#x2030;ĺ?żćŹ´ĺ&#x2122; ĺ&#x2030;&#x17D;獤朸ď&#x160;ľęą§ &.*ď&#x2DC;ˇă&#x2013;&#x2C6;䧎â¸&#x2C6;â°&#x2026;齥ĺ&#x2030;&#x161;⯼ď&#x2DC;šé?Şă˘ľâ&#x17E;&#x192;鿪㟊ë&#x17E;ąč&#x160;ŁćŹ´ĺ&#x2122; 朸ĺ&#x160;˘â˘ľâ&#x2122;śäŤľĺ?ż
é&#x152;&#x161;朸ä˘&#x20AC;ä?&#x17E;ď&#x2DC;ˇâĄ&#x17D;ĺ&#x192;˝ä§ŽâŚ&#x203A;é&#x2019;˘ć?&#x20AC;ă&#x2013;&#x2C6;âŽ&#x203A;⚨â¸&#x152;寧â&#x161;Ľď&#x2DC;šę°&#x2030;ĺ?żĺ&#x2018;&#x201D;ä&#x2019;ĺ&#x2030;&#x201C;çŠ&#x2026;㜸ĺ´&#x17E; â&#x2122;´â˘ľćś¸ĺ&#x2030;¤â°?ç??Ő&#x201A;ë&#x17E;ąč&#x160;Łč&#x17D;&#x2026;䞸ç&#x201E;şď&#x2DC;ˇĺ°?ĺ&#x2030;¤ĺŤ˛ë&#x17E;ąč&#x160;Łă&#x2C6;&#x2013;ć&#x2122;&#x161;ĺ&#x2C6;żĺ&#x2022;?朸ăť&#x153;ë&#x201E;&#x201C;
ĺ&#x2018;&#x201D;ä&#x2019;â&#x153;Ťď&#x2DC;ˇâĄšä§´é?Şĺ&#x2030;&#x161;č &#x192;䞸ç&#x201E;şĺ&#x2018;&#x201D;ä&#x2019;朸ę°&#x2030;ĺ?żď&#x2DC;šâĄ&#x17D;⥚ĺ&#x2030;&#x161;éĄ ë&#x17E;ąč&#x160;Łă&#x2C6;&#x2013;ć&#x2122;&#x161;ď&#x2DC;ˇ çą?ĺ&#x192;˝ĺ&#x2030;¤ăŁ?é&#x2039;&#x160;ĺ&#x17E;¸ćŹ°ćŹ´ćś¸ă&#x2030;&#x201A;ă&#x2026;ˇă&#x201E;¤â°¨ĺ&#x2030;¤ä˝?询â&#x2020;⧊朸ä&#x160;¨č° 援ă&#x2026;ˇćś¸äŤ&#x2019;
é&#x201A;&#x201A;ď&#x2DC;ˇâ&#x2122;śé&#x201D;¸ă&#x20AC;&#x152;ćť&#x17E;çş&#x2C6;ĺ&#x192;˝ă˘ľăźď&#x2DC;šçą?ĺ&#x192;˝ĺ&#x2030;¤é˝Ąĺ&#x17E;şâ&#x2122;§çş&#x2C6;â&#x17E;&#x192;ĺ&#x192;˝ë&#x17E;ąč&#x160;Łă&#x2C6;&#x2013;ć&#x2122;&#x161;朸ä&#x2DC;&#x17E; ăť&#x153;çŁ&#x152;窣ď&#x2DC;šé¸?ă˝ ĺ&#x192;˝ä§ŽâŚ&#x203A;朸ç&#x201D;¨é§&#x2C6;ë&#x;&#x160;ď&#x2DC;ˇ
then grew to a digital platform. With physical you can only make so many
âą&#x201E;é&#x201C;&#x17E;ę°&#x2030;ĺ?żď&#x2DC;šă¸?ĺ&#x160;Ľé¨ă˝ ĺ&#x192;˝ă&#x2022;&#x153;꼚âť&#x2039;朸ď&#x2DC;šäšŠĺ&#x2030;¤č?&#x2C6;ä&#x160;šćś¸é&#x201C;&#x192;é&#x17D;&#x160;ď&#x2DC;ˇ7'ĺ&#x2030;¤ä&#x2013;¤
thing, whereas digital is worldwide straight away. The third thing we did
ă&#x20AC;ˇď&#x2DC;šâ&#x203A;łäšŠĺ&#x2030;¤é&#x2020;˘âĄ˛ë&#x17E;ąč&#x160;Łă&#x2C6;&#x2013;ć&#x2122;&#x161;é¸?ĺ&#x17E;şć Źć&#x161;śćś¸ä&#x160;¨č° ď&#x2DC;ˇă&#x2013;&#x2C6;â&#x2122;łâ&#x161;&#x2020;ç§ â°&#x2122;ď&#x2DC;śâ&#x2122;Ź
copies and then you have to get them to people, it becomes its own
was to open a record shop called Phonica and so our model was to have
the various diďŹ&#x20AC;erent aspects of what we felt was core to vinyl culture and the passion for music beyond the mainstream, within our group. To have
ăŁ&#x201D;ć ŹâžŠćś¸éĄťĺ˝&#x201A;î&#x161;&#x2030;䧎âŚ&#x203A;çł&#x2019;äŞâ&#x153;Ťë&#x17E;ąč&#x160;Łćś¸âŤ&#x201E;窥ď&#x2DC;šäŞéŻşâ&#x153;Ťë&#x17E;ąč&#x160;Łćś¸ĺ¨&#x153; ⟧ä&#x17D;&#x192;â&#x17E;żď&#x2DC;šâ&#x17E;&#x192;âŚ&#x203A;äŤ?â°&#x2026;â&#x153;ŤăŁ?䪞ę&#x2020;&#x201E;ę??ď&#x2DC;śĺ&#x201E;&#x2DC;ę&#x;Śă&#x201E;¤ç¤śâ¸&#x201A;⢾朎ăž?é¸?âŚ?援ĺ&#x2122; ď&#x2DC;ˇ
䧎âŚ&#x203A;韊ćŁ&#x2021;询掚ä&#x17D;&#x192;朸獤Ⰺë&#x17E;ąč&#x160;Łă&#x2C6;&#x2013;ć&#x2122;&#x161;ď&#x2DC;šâŤščĄ˝ă ?䍪깧㥌ĺ?żęĽ&#x2122;ď&#x2DC;śä&#x161;?äŠ&#x203A; ĺ&#x153;&#x2122;ĺ?żęĽ&#x2122;ď&#x2DC;śä&#x17D;&#x201A;âŻ&#x2DC;Ë&#x2122;ä&#x2019;źĺłŤâ&#x;ťä&#x2014;&#x17E;ç&#x2DC;&#x17E;ď&#x2DC;ˇä§ŽâŚ&#x203A;溍朸ä&#x2013;&#x17D;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;č&#x2026;&#x2039;ă ˘ë&#x17E;ąč&#x160;Łćś¸ë&#x17E;&#x201D;
ę&#x2020;&#x201E;ĺ&#x201E;&#x2DC;â&#x17E;żćş?뢜ď&#x2DC;šä§ć?&#x20AC;揰援✞ä &#x2018;ćś¸ĺ Ľĺ&#x153;&#x201C;Ő&#x201A;ă&#x201E;¤ę°&#x2030;ĺ?żăšťâ&#x2122;§éĽąé&#x2020;˘
gives you a platform to talk about the culture, the music and the vinyl that is
ă&#x153;Ľç˝&#x153;⿥揰援ď&#x2DC;ˇę°&#x2030;ĺ?żâśžâĄ˛ď&#x2DC;śă&#x2C6;&#x2013;ć&#x2122;&#x161;ę?&#x2014;é&#x2020;˘ď&#x2DC;śę°&#x2030;ĺ?żçŽĄéą&#x20AC;ď&#x2DC;śă&#x2C6;&#x2013;ć&#x2122;&#x161;朎âĄ&#x2018;
shop gives you the opportunity to engage with people, to have a magazine coming out.
⥲ď&#x2DC;śă&#x2C6;&#x2019;颪ă&#x2C6;&#x2013;ć&#x2122;&#x161;ď&#x2DC;šă&#x203A;&#x161;ä°ĺ&#x2030;&#x201C;种礊朸ę°&#x2030;ĺ?żâśžâĄ˛ď&#x2DC;šâ&#x2122;śĺ&#x2030;&#x161;ć?&#x20AC;â&#x153;Ťéľ&#x201D;ă &#x2013;ä&#x2039;&#x2018; é¸?â?&#x2030;鿪ĺ&#x192;˝ęťˇé&#x160;´ćś¸ď&#x2DC;šé¸?â?&#x2030;â&#x203A;łĺ&#x192;˝ä§Žä&#x;?⿎č&#x17D;&#x2026;朸ď&#x2DC;ˇ
We then also had access to these incredible spaces, so that we could bring
"35 ;*1î&#x161;&#x2030;ä?Ąĺ&#x2030;¤ä˛żâżťă&#x2013;&#x2C6;䞸㜜âť&#x2039;ĺ&#x201E;&#x2DC;â&#x17E;żâ&#x2122;´7'â&#x2122;śă&#x2039;˛ă&#x20AC;ŤćśŽé ¤ë&#x17E;ąč&#x160;Ł
doing with the record shop and the pressing plant to the public. We could
朸â°&#x2014;ă &#x20AC;犥ĺ&#x153;&#x201C;ă&#x152;¨î&#x161;&#x17D;ä&#x2013;°ă¸?ä§ç&#x201D;¨â&#x;&#x192;⢾ď&#x2DC;šćśŽćŹ°â&#x153;Ťă&#x2020;â?&#x2030;é&#x161;śâť&#x2039;î&#x161;&#x17D;
some of what we were doing with a record label and some of what we were work with some of the artists on the label to do exhibitions and events, and
engage with people in another way. We understood that the audience who
would buy the records was a small part of the overall audience who would be interested in our ideas. The vision for us was a little like the Bauhaus model,
to have the means of making things within your own grasp, so that it allows
you to experiment, that is the main thing. In terms of a music industry model we wanted to have our own label, make our own records, work directly with
musicians and artists and be able to create a structure that allowed us to do all that and sell records directly to people who wanted to buy them. At the same
time, we are always very collaborative with the way that we work, we also work
with other record labels and other galleries. I think that is important. For me the essence of what we do is collaborative, and we really want the creative people to be engaged. The more engaged they are the better the results are, which helps to steer it along.
ă&#x2C6;&#x2013;ć&#x2122;&#x161;ď&#x2DC;šâ&#x203A;łĺ&#x2030;¤ĺś?âżťâ°Śă¸?âśžä &#x2018;ęą&#x2020;ă&#x161;&#x2013;ď&#x2DC;ˇă&#x20AC;łâ&#x;&#x192;é&#x201D;&#x17E;ä?Ąä˛žéś¤â&#x2122;´ćŽšâľš7'
4#î&#x161;&#x2030;ꝡâŻ&#x201C;䧎âŚ&#x203A;éŁ&#x2018;éĄ â&#x153;Ťë&#x17E;ąč&#x160;Łé&#x2020;˘âĄ˛ä&#x160;¨ä&#x2018;&#x2013;ď&#x2DC;šé¸?â&#x203A;łĺ&#x192;˝7'朸ĺ&#x2018;?ä&#x2014;ąçŠ&#x2030;
ä§éż&#x2C6;â´&#x2022;ď&#x2DC;ˇâ°ŚĺŚ&#x201E;ď&#x2DC;šä§Žâś?â¸&#x2C6;â°&#x2026;齥ĺ&#x2030;&#x161;⯼ć?&#x20AC;7'âśžç&#x201D;¨â&#x153;Ťâ&#x2122;§ĺ&#x160;ĽęĄ ĺ&#x20AC;´ę°&#x2030;
ĺ?żă&#x201E;¤ë&#x17E;ąč&#x160;Łćś¸ę§šé&#x2019;&#x;Őˇâ&#x153;˛ăť&#x153;Ő¸ď&#x2DC;šé¸?ĺ&#x160;Ľę§šé&#x2019;&#x;ć&#x2039;ĺ&#x2030;&#x201C;ⴲ朸秜颜⽍âľ&#x2DC; ć ¸ć ¸ă&#x2013;&#x2019;鹲ć?&#x20AC;ꨜ㜊ć&#x2122;?ď&#x2DC;ˇă&#x201D;&#x201D;ć?&#x20AC;秜颜â´&#x161;ć&#x161;&#x;ćŽ&#x2014;ç&#x2022;&#x152;ĺ&#x2030;¤â˝Ťâľ&#x2DC;䞸ę&#x2020;&#x20AC;ă&#x201E;¤é&#x161;Ą
ç˝?çş&#x2C6;朸â¤&#x201A;ꣳď&#x2DC;šćšąĺŤ˛â&#x203A;&#x201C;â&#x2122;´ę¨śăśŠć&#x2122;?ĺ&#x160;Ľĺ°?ĺ&#x2030;¤â&#x;¤âĄŚă&#x2013;&#x2019;ă&#x161;&#x2013;ꣳâľ&#x2013;ď&#x2DC;šă&#x20AC;łâ&#x;&#x192; â¨&#x17E;âľ&#x152;ď&#x2C6;Łć¤&#x2022;ă &#x161;ĺ§żćśŽé ¤ď&#x2DC;ˇĺ§˝ă˘Ťď&#x2DC;šä§ŽâŚ&#x203A;韊ę&#x;&#x161;é?¤â&#x153;Ťâ&#x2122;§ăšťă&#x2C6;&#x2013;ć&#x2122;&#x161;ă&#x2030;&#x201A;ä?&#x2026;ă&#x20AC; 1IPOJDBď&#x2DC;ˇä¨žĺ&#x2030;¤ä§ŽâŚ&#x203A;é&#x2019;˘ć?&#x20AC;ĺ&#x192;˝ë&#x17E;ąč&#x160;Łäż&#x2019;âť&#x2039;朸ĺ&#x2018;?ä&#x2014;ąćŹ´ĺ&#x2122; âą&#x201E;â¸&#x2C6;â&#x2122;ł ă&#x2022;°ęĽ&#x2122;㟊ăźćť&#x17E;ę°&#x2030;ĺ?żćś¸ć&#x201D;¨ä&#x17E;&#x2022;ď&#x2DC;šă˝ çŠ&#x2030;ä§â&#x153;Ťć¤?ă&#x2013;&#x2C6;朸7'ď&#x2DC;ˇă&#x201D;&#x201D;ć?&#x20AC;ĺ&#x2030;¤â&#x153;Ť ë&#x17E;ąč&#x160;Łé&#x2020;˘âĄ˛ä&#x160;¨ä&#x2018;&#x2013;ď&#x2DC;šä§ŽâŚ&#x203A;ä&#x160;¨âĄ˛ćś¸ć&#x160;´ĺ´&#x17E;ä?&#x17E;ĺ&#x2C6;żë&#x201E;&#x17E;â&#x153;Ťî&#x161;&#x160;ă&#x201D;&#x201D;ć?&#x20AC;ĺ&#x2030;¤â&#x153;Ťă&#x2C6;&#x2013;ć&#x2122;&#x161; ă&#x2030;&#x201A;ä?&#x2026;ď&#x2DC;šĺ&#x2C6;żă˘ľâ&#x17E;&#x192;濟麼䧎âŚ&#x203A;朸㜸ă&#x2013;&#x2C6;î&#x161;&#x160;ă&#x201D;&#x201D;ć?&#x20AC;ĺ&#x2030;¤â&#x153;Ťę§šé&#x2019;&#x;ď&#x2DC;šä§ŽâŚ&#x203A;ă˝ ĺ&#x2030;¤ â&#x153;Ťé&#x201D;&#x201C;é&#x201D;¸äż&#x2019;âť&#x2039;ď&#x2DC;śę°&#x2030;ĺ?żă&#x201E;¤ë&#x17E;ąč&#x160;Łćś¸ä&#x17D;&#x201A;ă&#x20AC;ľď&#x2DC;ˇ
Ragnar Kjartansson, The Visitor Š The Vinyl Factory. Photography by Michael Wilkin,
a pressing factory gives you a lot of ďŹ&#x201A;exibility in how you work, to have a record
ART.ZIP: Vinyl Factory was founded because of its obsession with vinyl, what makes you start projects with visual artists? How did you select artists?
䧮⦛鼩剤ꬌ䌢問涸㜥㖒佅䭰捀Ⱇ滞㾝爚䧮
is really important to think of a record like that, it is not just music, it is also the physical,
䧮⦛僈涯鄄䧮⦛涸椚䙂䒸涸錚滞䖎㢵⡎
SB: The starting point for this is that I describe a record as an audio-visual experience, it the artwork and the design. When you stop thinking about pop music and when you
start thinking about sound, you can do anything with a record. Some things are more
popular, some things are more niche, some things are more art, some things are more for collectors and some things are for everyone. Then as we grew and developed we
⦛ㄤ谁遯㹻ざ⡲捀䑖晦莊鳵㾝錒ㄤ崞⹛ 剓穅飑顠랱芣涸〫⽑㼱侸㔔姽䧮⦛涸垸䒭 剤럊騈⺫韝倛湱⡂䱍䳣✫醢⡲涸倰岁⛳㽠 䠑衽剤✫㻜뀿涸须劥鸏僽剓⚺銴涸
then evolved into doing bigger exhibitions and installations. But essentially they are
㽠갉坿欴噠垸䒭罜鎊䧮⦛䟝銴䩧鸤荈䊹涸
personal experience. The exhibition is a communal experience, we may all sit on our
㹻ざ⡲ⶾ用荈䊹涸垸䒭⚛湬䱺䪾㈖晚ꌼ㈒
similar experiences. They are all physical and audio-visual. The record is almost the
computers or on our phones at home but when we come together in a physical space it is different. For us, we see a connection between all these things.
When we started the record label in 2008 we started with all that in mind, the first
people we started working with were musicians but also had a strong visual identity
like Primal Scream, Massive Attack and Bryan Ferry. We also did exhibitions with some
people like Grace Jones and The xx. There was a strong art element to that, but it wasn t until two years later that we did a record with a fine artist who made music - Martin
Creed. Martin had a band and we did a record with some of his music as well. We did a launch around Frieze, where the bands played live and he hand painted on the labels. The Vinyl Factory press
⦛ㄤ䑖晦㈖晚䏅㈖晚䊨䑖ざ⡲涸갪湡䧮
Straight away as a visual artist, he saw it as an opportunity to do something interesting, he wasn t thinking about the market, just about the object and the potential. It then
occurred to me that there were a lot of visual artists that we could work with in this way, because they approach it from that perspective. A lot of them make music, work with
music, or make films where music is a part of that. I then began to contact those artists that I thought would be interesting to work with, so that is how we started that with Jeremy Deller and Gavin Turk.
ART.ZIP: Could you tell us more about these exhibitions/visual art projects you did? SB: Once we started along this path, there were more and more interest from the
artists. We had already been doing these exhibitions with musicians that were in a way themselves already art exhibitions, but because they came from musicians, no one
really viewed them as such. As the Group owned industrial spaces suddenly we had the opportunity to use these spaces, which were not developed, still existing in a raw state, to showcase the work. Furthermore, I think for large scale audio-visual work, where
people are looking for an experience, they are fantastic spaces. It is not such a great
space if you are just putting pictures on a wall, a white gallery is better for that. Brewer Street is a great place in the heart of Soho, a car park, a big space in a central location.
We have been using that location for the past 3 years to really build up the program. We started with Richard Mosse and Ben Frost with a piece called The Enclave, which is this
incredible film shot in the Congo, which is shown on nine screens. We had 6,000 people come through the door with no press. You saw this engagement from people who
were really blown away by the production and the experience itself. From that moment we developed a program, with Conrad Shawcross, Ryoji Ikeda and other people. Every show we have done we have created a vinyl release to accompany the show.
䑖晦醢⡲荈䊹涸㈖晚湬䱺莅갉坿㹻ㄤ谁遯 窍㋐姹⚛溫䗱䟝銴涸곃㹐䧮⦛姹鵔ぐ겳㘗 涸ざ⡲㔔姽莅Ⱖ➮䑖晦ㄤ殥䐤涸ざ⡲⛳䖎 㢵䧮钢捀ざ⡲僽䖎ꅾ銴涸鸏⛳僽7'涸呍 䗱礶牟䧮⦛ꬌ䌢劍䖊ⶾ䠑➃㡦涸莅刿㢵 琎噲涸莅腋䌟⢵刿㥪涸穡卓⛳腋䍲⸔刿 㥪㖒涮㾝
In terms of funding, it s all done by the Vinyl Factory, we don t have sponsors,
"35 ;*1î&#x161;&#x2030;7'朸ä§ç&#x201D;¨ĺ˝&#x201A;ĺ&#x20AC;´ăźŠë&#x17E;ąč&#x160;Ł ę°&#x2030;ĺ?żćś¸ć&#x201D;¨ä Śď&#x2DC;šâĄšâŚ&#x203A;ĺ&#x192;˝
to present the shows as purely as we can. The other thing that is worth
é Żăšťćś¸î&#x161;&#x17D;
we aren t intrinsically opposed to sponsorship, but we ďŹ nd that we like
mentioning is that we have another space, 180 The Strand, which is on the
north bank of the river Thames, next to Somerset House. The ďŹ rst big show is called The InďŹ nite Mix, it will be a collaboration with the Hayward gallery to create, ten large-scale video pieces by diďŹ&#x20AC;erent artists we have chosen,
that forefront art and sound and moving image together, and there is also
the physical experience of ďŹ lms. People will spend a couple of hours there.
For us, trying to create that kind of experience, you don t need to do that in a traditional gallery anymore, it s really about the space.
ART.ZIP: The Vinyl Factory works in partnerships with many art organizations, such as the Barbican, the White Cube and the Serpentine Galleries, how did you approach each other? SB: We work with a lot of artists and our focus is always based around creative collaboration, it always involves some element of sound or music and the
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é ŻăšťăźŠé¸?ĺ&#x17E;şćś¸ă &#x2013;⥲援揰č&#x17D;&#x2021;錹ď&#x2DC;ˇâ°Śăť&#x153;䧎âŚ&#x203A;ć?&#x20AC;ę°&#x2030;ĺ?żăšťč&#x17D;&#x160;鳾朸 ăž?é&#x152;&#x2019;ä&#x160;şçŤ¤ăż&#x201A;ĺ&#x20AC;´č° é Żăž?é&#x152;&#x2019;朸ç&#x153;&#x2022;ćŻ&#x2018;ď&#x2DC;šă&#x20AC;Ťĺ&#x192;˝â&#x17E;ŽâŚ&#x203A;鿪⢾č?&#x2C6;ę°&#x2030;ĺ?żč&#x192;?
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â&#x2122;śéş&#x2022;â&#x153;Ťď&#x2DC;šé&#x152;&#x161;ćť&#x17E;č&#x201A;Ľăš č&#x2026;&#x2039;ć ˝ä&#x2013;¤â&#x2122;§ç??ć?&#x201A;č&#x17D;&#x2026;â§?卲朸ë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;ˇä§ŽâŚ&#x203A;朸
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artists that we work with are always super motivated by this, collaboration is
⿥䪞č?&#x2C6;ä&#x160;šćś¸ę°ŞćšĄâ¨&#x17E;鼹⢾ď&#x2DC;ˇç&#x2014;§â&#x2122;§âŚ?갪暥ĺ&#x192;˝ä Ść&#x2122;&#x2039;貽䟢ä&#x2022;§ä&#x152;&#x152;ć¤&#x161;
present work for commercial sale and they develop the artists over a period of
ä&#x2022;§ć&#x2122;&#x161;䟢ĺ&#x20AC;´âś?ĺ?&#x201C;ď&#x2DC;šă&#x2013;&#x2C6;â&#x203A;°âŚ?ăž&#x201C;ä?&#x152;â&#x2122;łă &#x161;ĺ&#x201E;&#x2DC;ä˝&#x17E;ĺ&#x192;Śď&#x2DC;ˇă&#x2013;&#x2C6;ĺ°?ĺ&#x2030;¤ăŻŻë&#x201E;&#x201C;ăš&#x2019;
what excites them. Galleries traditionally, that is not really what they do, they
time. We are in a position that we are quite good collaborators, we do one thing and galleries do another, so we don t compete with each other on a like for like
basis. The other thing is that the public love this kind of artist installation events, performances. The galleries love that excitement, and they want to bring those
people into the galleries. These two things mean we have a lot of conversations
ĺ?&#x2020;ä&#x2014;&#x17E;Ë&#x2122;č&#x153;&#x201C;ĺ&#x20AC;&#x203A;ă&#x201E;¤ę°&#x2030;ĺ?żăšťĺ&#x160;ĽË&#x2122;ä&#x2019;źçš?ĺ&#x20AC;&#x203A;ć&#x161;śćś¸âĄ˛ă&#x2026;ˇŐˇăˇ&#x2018;ă&#x161;&#x2013;Ő¸ď&#x2DC;ˇé¸?éż&#x2C6; âŤ&#x201E;朸ä&#x17E;&#x2022;幣â&#x2122;´ď&#x2DC;šé&#x152;&#x161;ăž?â&#x17E;&#x192;䞸ë&#x201E;&#x17E;麨 â&#x17E;&#x192;ď&#x2DC;šâĄšč&#x2026;&#x2039;ćş?âľ&#x152;é&#x152;&#x161;ćť&#x17E;é&#x201E;&#x201E;⥲ ă&#x2026;ˇâżťé&#x152;&#x161;ä&#x2022;§ë&#x201E;&#x201C;ë&#x20AC;żä¨žęŠ?äš&#x;âľ&#x152;ď&#x2DC;ˇä&#x2013;°é˝Ąĺ&#x201E;&#x2DC;鼹䧎âŚ&#x203A;ă˝ ę&#x;&#x161;㨼朎ăž?č?&#x2C6;ä&#x160;š
朸갪暥ď&#x2DC;šč&#x17D;&#x2026;ä? äŹ&#x2DC;ä&#x2014;&#x17E;Ë&#x2122;č ąâŻ&#x2DC;çš?ĺ&#x20AC;&#x203A;ď&#x2DC;šĺŻ&#x2019;ć&#x160;â?Žă &#x20AC;ç&#x2DC;&#x17E;č° é Żăšťă &#x2013;⥲ď&#x2DC;ˇ ă&#x20AC;Ľă˘Ťď&#x2DC;šä§ŽâŚ&#x203A;鿪ĺ&#x2030;&#x161;ă &#x161;ĺ§żćśŽé ¤ĺ&#x20AC;&#x17E;朸ë&#x17E;ąč&#x160;Łă&#x2C6;&#x2013;ć&#x2122;&#x161;ę&#x201A;&#x201A;ă &#x2013;卌âŚ?ăž?é&#x152;&#x2019;ď&#x2DC;ˇ
with the galleries, and it tends to be focused around an artist. With the White
ăž?é&#x152;&#x2019;朸獤饼ď&#x2C6;Łéż&#x2C6;ć&#x2039;7'䲿âŁ&#x2DC;ď&#x2DC;šä§ŽâŚ&#x203A;ĺ°?ĺ&#x2030;¤éŁŹâ¸&#x201D;ă&#x2030;&#x201A;ď&#x2DC;šâĄ&#x17D;䧎âŚ&#x203A;â&#x161;&#x203A;
Because he wanted performers and musicians to come into the space, to record
ăž?é&#x152;&#x2019;ď&#x2DC;ˇă&#x20AC;Ľă˘Ťâ§Šä&#x2013;¤â&#x2122;§ä˛żćś¸ĺ&#x192;˝ď&#x2DC;šä§ŽâŚ&#x203A;韊ĺ&#x2030;¤â&#x2122;§âŚ?ç&#x2018; ę&#x;Śď&#x2DC;šĺą&#x17D;ä &#x2DC;é ł
Cube, it was Christian Marclay, he came to us and ask if we could work with him. them and press records in the gallery. Between us, we came up with a mobile
vinyl factory, which we then installed. We had hundreds of people trying to get
into the gallery to see stuďŹ&#x20AC;, loads of young people. With the Barbican they came to us and it was a similar thing. With the Serpentine, they have diďŹ&#x20AC;erent artists each year putting on shows and some of those artists are interested in sound and music and we make it happen as a joint release.
ART.ZIP: Vinyl has such a long history over 100 years, its popularity and signiďŹ cance have changed a lot too. What are the strategies of Vinyl Factory in the digital age? SB: For us, the future was always a combination of the incredible analogue
format, and the craft that went into that, the skill, the passion, the precision
engineering, the experience, married with the fact that you have this incredible audio-visual object that was more than just a digital ďŹ le. However it wouldn t
exist as a business without digital, what the Internet and what digital provides
you with are many things but primarily with the opportunity to engage with a
worldwide audience. Prior to digital you would have had to somehow let people around the world know you exist, through marketing and advertising.
Now we have the Vinyl Factory website as well, in the same way that we started
with FACT, the idea is to have this global portal with more people, more interest in vinyl and audio-visual art and how you engage with that. Our team recently produced a ďŹ lm at the pressing plant, a ďŹ lm that shows how a vinyl record is
made in 60 seconds, because a lot of people are watching ďŹ lms on their phones, on Snapchat or on Facebook. Digital is getting faster and faster, you have to
adapt to the digital without changing the vinyl. This ďŹ lm got 1million likes, and the view on YouTube are going up and up. It is the two working together.
ART.ZIP: What do you think about the future of the Vinyl Factory? Has the Vinyl Factory got any plans for branching out further?
â&#x2122;śäą&#x2013;ĺ&#x20AC;&#x160;飏â¸&#x201D;ă&#x2030;&#x201A;ď&#x2DC;šă&#x20AC;Ťĺ&#x192;˝ä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;č&#x2026;&#x2039;㣠ćš&#x2C6;ă&#x20AC;łč&#x2026;&#x2039;ă&#x2013;&#x2019;â¨&#x17E;ĺ&#x2030;&#x201C;种礊朸
č´Ťď&#x2DC;šâĄ&#x2122;ĺ&#x20AC;´ĺ˛˛ĺ&#x2026;&#x160;㥌ĺą&#x17D;âť?ä &#x2DC;ď&#x2DC;šĺŤšę &#x2C6;čŽ?ë&#x17E;żă?ąć&#x161;śä?&#x17D;ď&#x2DC;ˇęťˇĺŚ&#x201E;ăŁ?ă&#x2DC;&#x2014; ăž?é&#x152;&#x2019;Őˇć?&#x201A;ꣳçŠ&#x2030;ă &#x2013;Ő¸ăź&#x;č&#x17D;&#x2026;ĺľłĺ°&#x2020;ä&#x2014;&#x17E;掼ä?¤ă &#x2013;⥲ď&#x2DC;šä§ŽâŚ&#x203A;äŽ&#x2039;éź&#x2021;â&#x153;Ťâ&#x2122;ś
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SB: Well, the future for us is to continue to use 180 The Strand, use that
"35 ;*1î&#x161;&#x2030;ë&#x17E;ąč&#x160;Łă&#x2C6;&#x2013;ć&#x2122;&#x161;朸ĺ¨&#x153;ă&#x20AC;ˇä&#x160;şéšŹćś°ä&#x17D;&#x192;ď&#x2DC;šă¸?ćś¸ĺ´Šé ¤ä?&#x17E;ă&#x201E;¤ę&#x2026;ž
to see how digital and physical can work together. A lot of the shows, they are
â&#x17E;&#x160;ë&#x17E;&#x192;î&#x161;&#x17D;
opportunity to create an immersive experience. There are diďŹ&#x20AC;erent opportunities creating something that you can t necessarily experience digitally, whether
it s 5 screens, 10 screens, the sound setup or a 3D ďŹ lm, it has to be a distinct
experience. I think there will be more opportunity in the way we use digital so I think that will continue to be exciting.
é&#x160;´ä&#x161;?â&#x203A;łéą˛é&#x161;śâ&#x153;Ťä&#x2013;&#x17D;㢾ď&#x2DC;ˇă&#x2013;&#x2C6;䞸㜜âť&#x2039;ĺ&#x201E;&#x2DC;â&#x17E;żé&#x2026;ď&#x2DC;š7'朸估㟊ç&#x2DC;źćŽ&#x153;ĺ&#x192;˝ 4#î&#x161;&#x2030;㟊䧎âŚ&#x203A;⢾é&#x201C;&#x17E;ď&#x2DC;šĺ&#x160;˘â˘ľč&#x201A;Ľăš â&#x2122;śâŤŚâŤŚĺ&#x192;˝â&#x2122;§âŚ?䞸ç&#x201E;şäż&#x2019;â&#x;?ď&#x2DC;šă¸?
估é&#x2018;Şĺ&#x192;˝â&#x2122;§ç??犥ă &#x2013;â&#x153;ŤâŻ&#x201C;éš&#x17D;朸ĺ&#x17E;¸äşźĺ&#x2018;&#x201D;ä&#x2019;ď&#x2DC;śäŞŽé Żď&#x2DC;ść&#x201D;¨ä&#x17E;&#x2022;â&#x;&#x192;⿝礜 ĺť´ä&#x160;¨č° â&#x161;&#x203A;ä&#x152;&#x;⢾ë&#x201E;&#x201C;ë&#x20AC;żćś¸çŤ¸ă &#x2013;ă&#x2DC;&#x2014;é&#x2039;&#x2022;č &#x192;援ć&#x161;&#x;ď&#x2DC;ˇâĄ&#x17D;ĺ&#x192;˝ăĽśĺ?&#x201C;ĺ°?ĺ&#x2030;¤äž¸
ç&#x201E;şćś¸ä˝&#x2026;ä°ď&#x2DC;šâ&#x;ąĺ&#x2122; â&#x203A;łä&#x2013;&#x17D;ę¨&#x2C6;ç&#x201D;¨é§&#x2C6;ď&#x2DC;šäž¸ç&#x201E;şă&#x201E;¤â&#x153;˝č&#x20AC;˘çŹŞçŞ?䧎âŚ&#x203A;ä&#x152;&#x;⢾
In terms of vinyl, it feels that the market continues to grow. It feels like lots of younger
â&#x153;Ťé?Şă˘ľĺ Ľĺ&#x2030;&#x161;ď&#x2DC;šęťˇé&#x160;´ćś¸â¤&#x2018;ĺ&#x192;˝ď&#x2C6;Łâ&#x161;&#x2020;ć˛â&#x17E;&#x192;ĺ&#x2014;鿪ĺ&#x2030;¤ĺ Ľ
There are more records being released each year, more pressing plants being set up
â&#x;ąĺ&#x2122; ꨞé&#x160;´é¸&#x2019;éş&#x2022;ä&#x2039;&#x2018;ă&#x153;Ľć&#x2013;&#x160;ę&#x152;źă&#x201E;¤ä&#x2018;&#x17E;ă&#x192;&#x2021;é&#x203A;&#x160;ď&#x2C6;Łâ&#x161;&#x2020;ć˛ćś¸â&#x17E;&#x192;
people are buying records and they don t have collections. It s even surprising to us.
and the culture is continuing to grow, and we want to be at the heart of that. The Vinyl Factory website is truly important for us, a voice in a way, like FACT, it has become for
ĺ&#x2030;&#x161;äąşé?¸ă&#x201E;¤âżŽč&#x17D;&#x2026;ď&#x2DC;ˇă&#x2013;&#x2C6;ĺ°?ĺ&#x2030;¤äž¸ç&#x201E;şă&#x201E;¤â&#x153;˝č&#x20AC;˘çŹŞâ&#x203A;&#x201C;âľšď&#x2DC;š 濟麼⥚朸㜸ă&#x2013;&#x2C6;ď&#x2DC;ˇ
electronic music. The Vinyl Factory will become for voice for vinyl culture globally, we
ć¤?ă&#x2013;&#x2C6; 7 ' ĺ&#x2030;¤č?&#x2C6;ä&#x160;šćś¸ 珪 ç&#x2022;&#x20AC;ď&#x2DC;šă˝ 㼜䧎 âŚ&#x203A; ę&#x;&#x161; 㨼✞鳾
that connects with the global community that is exciting for us. Bizarrely there was a
ä&#x161;?朸ę&#x;&#x152;䨊ď&#x2030;&#x161;ä&#x2019;¸ĺ&#x2C6;żă˘ľâ&#x17E;&#x192;⿎č&#x17D;&#x2026;âľ&#x152;ë&#x17E;ąč&#x160;Łă&#x2C6;&#x2013;ć&#x2122;&#x161;ă&#x201E;¤é&#x2039;&#x2022;č &#x192;
will just be one business within many business but if we can have a portal, a website point in the 1970 s where there were 27 or 28 vinyl pressing plants in the world, and
they all went apart from the one in the UK. Now ironically people are scrambling to get hold of them, you could never have imagined that at the time.
Őˇâ&#x153;˛ăť&#x153;ո꧚é&#x2019;&#x;â&#x2122;§ĺ&#x17E;şď&#x2DC;šć?&#x20AC;朸㽠ĺ&#x192;˝ę&#x;&#x161;ä˝&#x17E;â&#x2122;§âŚ?ď&#x2C6;Łć¤&#x2022;
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Carsten Nicolai: unicolor. Brewer Street Car Park (presented by The Vinyl Factory), London.
â°?ç˝?朸犥ă &#x2013;ď&#x2DC;ˇ
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Carsten Nicolai: unicolor. Brewer Street Car Park (presented by The Vinyl Factory), London.
ĺ&#x192;˝â&#x2122;§âŚ?朎č&#x20AC;Ťćś¸ĺş&#x2030;麼ď&#x2DC;šă˝ ⍚꧚é&#x2019;&#x;Őˇâ&#x153;˛ăť&#x153;Ő¸ď&#x2DC;šă¸?㼜
REALITY THROUGH LIGHT: IN CONVERSATION WITH HELEN MARRIAGE 鷳麔教⯕涸植㻜⚆歲 㼩鑨嵳⧍ • 띊ꅽ㣼 */5&37*&8&% "/% 5&95 #: 䱰鏞⿺乊俒 401)*& (60 鿓疭螨 *."(&4 $0635&4: 0' 㕭晙䲿⣘ "35*$)0,& 53645 峕謽㛇ꆄ剚
In a hope to revitalise the cities in the midst of the darkness of winter,
Artichoke Trust made an epic return to Durham with its four-day light
festival Lumiere in November 2015, followed by another turn in central London two months after. Dotted around 30 different locations yet highly accessible by walk between the spots, the site-specific light
projects in London attracted an estimated one million visitors. There were fluorescent giant whales swimming above Piccadilly, phone boxes in
Mayfair transforming into goldfish bowls and light graffiti paint spraying around at King s Cross. These eccentric light installations were the
elements that transformed the city landscape into a real-life dream space. Building the live experience is central to what Helen Marriage, the
Founder and the CEO of the Artichoke, thinks about when she plans the
project. Lumiere suggests an alternative way for people to sense the city, through a different interpersonal relationship as opposed to the virtual
kind that is highly common in the contemporary digital age. The festival attracted thousands of people who left their routine journeys, plotting out adventures into the once familiar, now strange, city. This is what
Marriage had to say about the challenges that she faced in her curatorial
process and the extraordinary change that the festival brought to the city and to its residents.
捀✫䗂豤㖈Ⱶ傈涸랱㺑⚥導漗涸鿪䋑峕謾㛇ꆄ剚倴 䎃
剢㖈勭⧍莊鳵✫捀劍㔋㣔涸湖碜㙪敚⯕眏Ⰽ⦐剢䖕
⿶䪾㸐䌟ⵌ✫⧍侚䋑⚥䗱⧍侚敚⯕眏䒸✫㼟鵜♧涰蠝錚
滞䖃錚颣鸏❉莅㙹䋑瑠⿻䒊眡顦ざ筝㺙涸敚⯕酤縨
僤僤럊럊侕䋒㖈 ⦐♶ず涸㖒倰⡎럊莅럊姿遤⤑〳ⵌ
麨擤擤涮❮涸댄黜麉㖈淼⽓鶔ⵄ遳♳倰哆顥晋遳
걧涸ꨶ鑨❫隶⡲✫ꆄ눴綿⟃敚⯕捀蒀涸㝤뒪겝俲䳸扵
㖈㕜桬⼧㶶涸⚥㣜㙹䋑⾲劥涸괐頗㔔鸏❉ⴽⰨ♧呔涸敚
⯕酤縨罜⻋⡲植㻜欰崞⚥涸㣆䎑⚆歲
峕謾㛇ꆄ剚ⶾ㨥➃껷䌏㛂遤㸽嵳⧍˙띋ꅽ㣼钢捀㥶⡦ⶾ
鸤植㜥넓뀿僽敚⯕眏䨾銴罌䣂涸呍䗱㉏겗敚⯕眏㼟➃⦛
䒸ⵌ✫遳♳雊➮⦛㖈㻜㻜㖈㖈涸Ⱏ贖⚥넓뀿鸏⦐㙹䋑
鸏珏溫㻜涸湱贖倰䒭姻㥪莅㖈侸焺儘➿涸殹♴➃⦛⛓绢
䢫귢䧭涸贡亼ꡠ⤚湱䜿敚⯕眏钸⢪✫䧭涰♳⼪涸纈滞佞唳
➮⦛䢫䌢涸遤饥騟箁㖈剎竤擿䜫罜㥶➛꣫欰涸㙹䋑㾝
䱳ꦖ䧮⦛⢵溏溏띋ꅽ㣼㖈㥠涸瘼ⷔ麕玑⚥鿪麂ⵌ✫ㆭ❉䮋
䨞敚⯕眏剓穅⿶捀㙹䋑莅㾀字涸傈䌢欰崞넓뀿䌟⢵✫䙦垺
涸㣐隶⻋
Circus of Light, Ocubo.com, Portugal 2013
Aquarium, Benedetto Bufalino & Benoit Deseille, Lumiere Durham 2013. Produced by Artichoke. Photo by Matthew Andrews.
ART.ZIP: We were so impressed by the Lumiere. According to reports from the government and the Guardian, the festival transformed the city. Was this public art programme a collaboration with the government in the ďŹ rst place?
"35 ;*1î&#x161;&#x2030;ćš&#x2013;ç˘&#x153;ă&#x2122;Şć&#x2022;&#x161;âŻ&#x2022;ç&#x153;?çŞ?â&#x17E;&#x192;âŚ&#x203A;ćŽ&#x2020;â&#x2122;´â&#x153;ŤęŹ&#x152;ä&#x152;˘ĺš&#x20AC;⾠朸⽍
us to do a study of whether Lumiere in London could work in the same way as
ăš&#x201D;é&#x203A;&#x160;䧎âŚ&#x203A;â´&#x20AC;â&#x2122;§âŚ?ă&#x153;Ąă&#x192;&#x2021;é&#x201C;&#x17E;ĺ&#x192;&#x2C6;ď&#x2DC;šăĽśĺ?&#x201C;ă&#x2013;&#x2C6;â§?äž&#x161;â¨&#x17E;ć&#x2022;&#x161;âŻ&#x2022;ç&#x153;?ď&#x2DC;šĺ&#x192;˝ă&#x201A;&#x201E;
HM: Sort of but not quite like that. The Mayor of London oďŹ&#x192;ce commissioned it was in North England, where we go every two years in Durham. We wrote a study for them, and also for several business districts that have the interest in animating West-end districts in the dead month of January when it is quiet,
end of Christmas, and everybody is feeling sad. They sponsored a lot of money and everybody was very excited about that possibility. However, it turned out
that they gave us 20% of the budget and then we raised the rest of the money from the business districts or from landowners from the central area. For
these organisations, having a big animated event is very important in terms of attracting people into the city and presenting London as a vibrant world.
é&#x;?ď&#x2DC;šä˝&#x; ä?&#x17D;č&#x17D;&#x2026;Őˇé ş ă&#x153;Ą Ő¸ă&#x153;Ą 麼 é&#x201C;&#x17E;ă¸?ć?&#x20AC;ă&#x2122;š ä&#x2039;&#x2018;ä&#x152;&#x;⢾â&#x153;Ťď&#x160;ľăŁ?朸 鹲
é&#x161;śď&#x2DC;šé˝Ąë&#x17E;&#x2020;é¸?âŚ?â°&#x2014;â°&#x;č° é Żę°ŞćšĄĺ&#x192;˝ä&#x2013;°č&#x17D;&#x2026;ä˝&#x;ä?&#x17D;朸ă &#x2013;⥲ę&#x;&#x161;㨼朸 ă&#x152;¨î&#x161;&#x17D;
).î&#x161;&#x2030;ă&#x2013;&#x2C6;ĺ&#x17D;Ľç??ç&#x17D;&#x2018;ä?&#x17E;â&#x2122;łç&#x161;żĺ&#x192;˝ă&#x201A;&#x2026;ď&#x2DC;šâĄ&#x17D;â&#x2122;śă¸¤ď&#x2C6;Łĺ&#x192;˝ď&#x2DC;ˇâ§?äž&#x161;ä&#x2039;&#x2018;ę&#x;&#x20AC;éłľâ°&#x2014; č&#x2026;&#x2039;č&#x17D;&#x2026;䧎âŚ&#x203A;ă&#x2013;&#x2C6;č&#x2013;&#x160;ĺ&#x2018;&#x201D;貽âť?éż&#x2C6;ă&#x2122;šä&#x2039;&#x2018;ĺ&#x2039;â§?č&#x17D;&#x160;鳾朸â°?ä&#x17D;&#x192;â&#x2122;§ä?&#x17E;朸ć&#x2022;&#x161;âŻ&#x2022; ç&#x153;?â¨&#x17E;â´&#x20AC;â&#x2122;§ĺ&#x17E;şćś¸ä˝Şĺ?&#x201C;ď&#x2DC;ˇä§ŽâŚ&#x203A;ć?&#x20AC;â&#x17E;ŽâŚ&#x203A;㝨â&#x153;Ťç˝&#x152;ăť&#x152;ă&#x153;Ąă&#x192;&#x2021;ď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;â&#x203A;ł č&#x20AC;˘ç˛Żâ&#x153;Ťä&#x17D;&#x2122;âŚ?ă&#x2030;&#x201A;ĺ&#x2122; ⟌ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;䧎âŚ&#x203A;č&#x2026;&#x2039;ă&#x2013;&#x2C6;çżąé&#x2019;˛ç&#x153;?犥ĺ&#x2039;˛ä&#x2013;&#x2022;ď&#x2DC;śâ&#x17E;&#x192;
âŚ&#x203A;ăş&#x201A;ĺ&#x192;&#x2019;ä Žâľ&#x152;ăť&#x161;čĄ&#x2020;ä ŽâŤ&#x160;朸â&#x2122;§ĺ&#x2030;˘âżĄé&#x203A;&#x160;é&#x160;Żéźšă&#x2030;&#x201A;ĺ&#x2122; ⟌ę&#x2026;žĺ&#x20AC;&#x17E;ć&#x2019;?朎揰
ĺ Ľď&#x2DC;ˇä˝&#x;ä?&#x17D;çŞ?â&#x153;Ťä§ŽâŚ&#x203A;â&#x2122;śăźąéŁŹâ¸&#x201D;ď&#x2DC;šâĄ&#x17D;ă&#x20AC;Ťéş¨âľ&#x152;ę°¸ç&#x161;żćś¸ćś°â´&#x2022;â&#x203A;&#x201C;â&#x153;ł ⟧ď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x2013;°ă&#x2030;&#x201A;ĺ&#x2122; âźŚé žéĄ&#x2018;â&#x17E;&#x192;č&#x17D;&#x2026;â&#x161;Ľä&#x2014;ąă&#x2013;&#x2019;⟌朸ă&#x2022;źă&#x2013;&#x2019;ä°ĺ&#x2030;¤â&#x17E;&#x192;齥⯼ çĄ ä&#x2013;¤â&#x153;ŤâĄŽâ&#x2122;´ćś¸ĺŚľę°Şď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;㟊ĺ&#x20AC;´â&#x17E;ŽâŚ&#x203A;⢾é&#x201C;&#x17E;č&#x17D;&#x160;éłľé¸?ĺ&#x17E;şâ&#x2122;§âŚ?âŻ? ć&#x20AC;?ĺ´&#x17E;â¸&#x201A;朸渿ĺ&#x2030;&#x161;č&#x2026;&#x2039;㣠ď&#x2030;&#x161;ä&#x2019;¸â&#x17E;&#x192;âŚ&#x203A;⢾â§?äž&#x161;ď&#x2DC;šĺ&#x2C6;żč&#x2026;&#x2039;ăž?ć¤?â§?äž&#x161;朸揰 ĺ Ľč&#x17D;&#x2026;çą&#x2014;ĺ&#x203A;&#x2122;ď&#x2DC;ˇ
ART.ZIP: In order for the light to adapt perfectly to the architecture and urban space, what did you need to take into consideration when you curated it? Is there any subtle digital programming set in beforehand?
"35 ;*1î&#x161;&#x2030;é&#x160;´é&#x203A;&#x160;ć&#x2022;&#x161;âŻ&#x2022;é&#x2026;¤ç¸¨é¨&#x2C6;ă&#x2122;šä&#x2039;&#x2018;ä&#x2019;&#x160;ç&#x153;Ąč&#x17D;&#x2026;ç&#x2018; ę&#x;Śç?ăş&#x2122;饌ă &#x2013;ď&#x2DC;š
the place that the artists felt suit their work best, but it also has to work in terms
â¸&#x201D;ă&#x2030;&#x201A;é¨&#x2C6;ä˝&#x;ä?&#x17D;朸ä &#x2018;겊ď&#x2DC;śç˝&#x152;äŁ&#x201A;â&#x17E;ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;䧎âŚ&#x203A;⿥ď&#x161;łć&#x2026;¨ĺ´&#x17E;ď&#x161;´ă&#x2020;ä&#x17D;&#x2122;
HM: Depends on the piece. When I curated the programme, I tried to choose
of particular buildings that we animate for the sponsor, for the government, or even to help with the crowd management. When you have so many people in
ä?Ąç&#x2DC;źâˇ&#x201D;朸ĺ&#x201E;&#x2DC;⌏ꨞé&#x160;´ç˝&#x152;äŁ&#x201A;âľ&#x152;â&#x17E;&#x160;ë&#x17E;&#x2020;î&#x161;&#x17D;ĺ&#x192;˝ă&#x201A;&#x201E;ꨞé&#x160;´â¨&#x17E;é&#x2018;Źç¨Łćś¸çŽĄç&#x17D;&#x2018; é?¤é&#x17D;&#x2122;ă&#x192;¤î&#x161;&#x17D;
).î&#x161;&#x2030;é¸?é&#x160;´ćş?â°¨ë&#x201E;&#x201C;⥲ă&#x2026;ˇç˝&#x153;é&#x201D;¸ď&#x2DC;ˇä§Žç&#x2DC;źâˇ&#x201D;䞎âŚ?갪暥朸ĺ&#x201E;&#x2DC;⌏ĺ&#x2030;&#x161;ä?˛ č° é ŻăšťäŞŞĺ&#x2030;&#x201C;éť ă &#x2013;â&#x17E;ŽâŚ&#x203A;⥲ă&#x2026;ˇă&#x192;&#x201E;ć¤?朸ă&#x2013;&#x2019;ĺ&#x20AC;°ď&#x2DC;šâĄ&#x17D;â&#x203A;łé&#x160;´ç˝&#x152;äŁ&#x201A;âľ&#x152;飏
ä?˘ăŁ?ĺ&#x17E;&#x153;ď&#x2DC;šćŹŠč?&#x203A;䧎âŚ&#x203A;韊é&#x160;´ç˝&#x152;äŁ&#x201A;âľ&#x152;â&#x17E;&#x192;çş&#x2C6;朸ç&#x203A;&#x2DC;ć¤&#x161;č&#x17D;&#x2026;â´&#x2022;ĺ´Šď&#x2DC;ˇć&#x2022;&#x161;âŻ&#x2022; ç&#x153;?ĺ&#x160;?ę&#x;Śĺ&#x2030;&#x161;ĺ&#x2030;¤ăŁ?ę&#x2020;&#x20AC;â&#x17E;&#x192;çş&#x2C6;ĺź&#x2030;â&#x2122;łé łęą§ď&#x2DC;šâĄšä&#x2014;łę°é&#x160;´ç˝&#x152;äŁ&#x201A;âľ&#x152;㼜⥌éź&#x161;
the streets, you have to be careful not to create a bottleneck or a jam. If you put
something very small at the little corner, so many people try to get to see it and this will cause problem.
ä˝&#x17E;ăźâĄ˛ă&#x2026;ˇď&#x2DC;šâ&#x17E;&#x192;âŚ&#x203A;ă˝ ă&#x20AC;ŤăĽŞă&#x2022; â&#x2122;łâżĄćş?ď&#x2DC;šé¸?ĺ&#x17E;şă˝ ĺ&#x2030;&#x161;援揰ë&#x17E;&#x20AC;ć&#x2019;&#x2013;ď&#x2DC;ˇ 䧎朸ç&#x2DC;źâˇ&#x201D;â&#x161;şé&#x160;´ç˝&#x152;äŁ&#x201A;朸ĺ&#x192;˝é¸?ä&#x17D;&#x2122;ë&#x;&#x160;î&#x161;&#x2030;
⥲ă&#x2026;ˇćś¸é˘śę&#x2020;&#x20AC;â&#x;&#x192;âżťă¸?ăź&#x;㼜⥌é˘â&#x153;Žă&#x2122;šä&#x2039;&#x2018;ä&#x2019;&#x160;ç&#x153;Ąĺ&#x20AC;&#x17E;朸揰ă&#x201E;?
architecture and the experience.
â&#x17E;&#x192;çş&#x2C6;ç&#x203A;&#x2DC;ć¤&#x161;č&#x17D;&#x2026;â´&#x2022;ĺ´Šď&#x2DC;šé¸?ĺ&#x192;˝č&#x2026;&#x2039;é&#x203A;&#x160;ć&#x2022;&#x161;âŻ&#x2022;ç&#x153;?ę°Ťâľ&#x201E;éş&#x152;é ¤ćś¸ä&#x2014;łé&#x160;´
Serving the purposes of the sponsor or the stakeholder who has asked us
The curation of Lumiere is about the following aspects: 1.
Quality of the artwork and how it reveals a new side to the urban
2.
Crowd management and the logistics of making the event work.
3.
âŻ?âľ&#x2013;鸤â?&#x153;é¸&#x2019;ćŤ&#x2013;깸č&#x17D;&#x2026;ă&#x153;§ă?ąď&#x2DC;ˇĺŤ˛ĺ&#x20AC;°é&#x201C;&#x17E;⥚č&#x2022;°éź&#x2021;äšľă&#x2013;&#x2C6;â&#x2122;§âŚ?ăźé&#x152;ŹčĄ&#x2020;
to work with that particular buildings.
â¸&#x201A;ď&#x2DC;śăĽśâĄŚć?&#x20AC;é&#x152;&#x161;ćť&#x17E;✞鸤ĺ&#x20AC;&#x17E;朸é&#x152;&#x161;ä Žč&#x17D;&#x2026;ë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;ˇ ĺ&#x201C;â&#x;?ď&#x2DC;ˇ
麨ä§éŁŹâ¸&#x201D;â&#x17E;&#x192;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;䧎âŚ&#x203A;ă˝ ć&#x161;śăš ä&#x2019;&#x160;ç&#x153;Ąâľ&#x2013;⥲ć&#x2022;&#x161;âŻ&#x2022;é&#x2026;¤ç¸¨ćś¸ä &#x2018; 겊ď&#x2DC;ˇ
When you do a programme in the public it is multi-layered in terms of what
䨞â&#x;&#x192;掚⥚ç&#x2DC;źâˇ&#x201D;â°&#x2014;â°&#x;갪暥朸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;šä¨žę¨žé&#x160;´ç˝&#x152;äŁ&#x201A;朸ă&#x2030;?ę˛&#x2014;ĺ&#x192;˝ă˘ľ
make it serve all these diďŹ&#x20AC;erent purposes. What is most important, is the
卲é¸?â?&#x2030;ĺ&#x2C6;żę&#x2026;žé&#x160;´ćś¸ĺ&#x192;˝é&#x152;&#x161;ćť&#x17E;ë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;šâĄ&#x17D;ć?&#x201A;é&#x201D;¸ĺ&#x192;˝ä˝&#x;ä?&#x17D;韊ĺ&#x192;˝éŁŹâ¸&#x201D;â&#x17E;&#x192;
you are thinking about; you re always trying to ďŹ&#x201A;ex what you're talking to
audience s experienceĚśnone of these three people, government or sponsors or department of transport, was really concerned what it feel like to be an
audience member in front of these works. One of the most important aspects
of our job is to try and predict what the emotional reaction of the audience will
ĺ&#x20AC;°ęŹ&#x2014;朸ď&#x2DC;ˇâĄšä&#x2013;¤é&#x2018;&#x2018;襽⿥ĺ&#x17D;ŹęŻ&#x2026;č´&#x2013;ć¤&#x161;â&#x;&#x192;ć&#x20AC;?é§&#x2C6;é¸?â?&#x2030;â&#x2122;śă &#x161;ćś¸ę¨žĺŽ ď&#x2DC;ˇ äŤ&#x2C6;䧴â?&#x153;é¸&#x2019;âźżé&#x201D;&#x2026;ĺ&#x20AC;°éżŞâ&#x2122;śĺ&#x2030;&#x161;é&#x2019;˘ćşŤç˝&#x152;äŁ&#x201A;⥲ć?&#x20AC;é&#x152;&#x161;ćť&#x17E;ç&#x2022;&#x20AC;ă&#x2013;&#x2C6;ć&#x2022;&#x161;âŻ&#x2022;⥲ă&#x2026;ˇ
âľšĺ&#x2030;&#x161;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;ä Žă&#x20AC;&#x152;ď&#x2DC;ˇç˝&#x153;䧎âŚ&#x203A;ä&#x160;¨âĄ˛â&#x161;Ľĺ&#x2030;&#x201C;ę&#x2026;žé&#x160;´ćś¸â&#x2122;§ë&#x;&#x160;ă˝ ĺ&#x192;˝â&#x153;Ťé?&#x2018; é&#x152;&#x161;ćť&#x17E;é&#x152;&#x161;ćş?⥲ă&#x2026;ˇĺ&#x201E;&#x2DC;ĺ&#x2030;&#x161;ĺ&#x2030;¤â&#x2122;§âŚ?ä&#x2122;Śĺ&#x17E;şćś¸ä&#x17E;&#x2022;çąâżžäĽ°ď&#x2DC;ˇ
have.
"35 ;*1î&#x161;&#x2030;ć&#x2022;&#x161;âŻ&#x2022;ç&#x153;?ă&#x2013;&#x2C6;é&#x152;&#x161;ćť&#x17E;朸ä&#x2014;ąć¤&#x161;č&#x17D;&#x2026;ä&#x17E;&#x2022;ä ŽăžľęŹ&#x2014;â&#x2122;łä¨žćŹ´ćŹ°ćś¸
ART.ZIP: The psychological aďŹ&#x20AC;ect that the Lumiere had on the audience is very interesting as it made the people so happy and calm in this busy urban environment. Did you study the psychological eďŹ&#x20AC;ect of the geographical environment to the emotion and behaviour of individuals before organising this event?
ă&#x17E;Żâ&#x161;Ľé&#x161;śä&#x2013;¤ăĽśĺ§˝ä&#x2DC;°ĺ?żď&#x2DC;śä&#x17D;&#x201A;ęŹ&#x2020;ď&#x2DC;ˇé˝Ąë&#x17E;&#x2020;ä?Ąă&#x2013;&#x2C6;çŠ&#x2030;çą˝é¸?âŚ?갪暥â&#x203A;&#x201C;âľš
HM: I don t study anything particularly-it is just an instinct. I ve been doing it for really long time and I can feel that if I have one skill, it s being able to feel what
it will be like. I can imagine. It is really hard for the people who participateĚś the public, authority, London Underground, London buses, metropolitan district
council, etc., because they don't have the advantage of being able to imagine. They just feel that it is a technical problem: how do we keep the tube running
when so many people want to come, how do we interrupt the buses. Whereas
I am thinking about something that is more adaptive for a transformation, but I
ĺ°Łäššä&#x2013;&#x17D;ĺ&#x2030;¤ä &#x2018;ä&#x2122;źď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;ă¸?é&#x203A;&#x160;â&#x17E;&#x192;âŚ&#x203A;ă&#x2013;&#x2C6;ä&#x17D;&#x201A;ĺ&#x201A;&#x2C6;㼜姽çą&#x2014;ä&#x2DC;&#x2018;朸鿪ä&#x2039;&#x2018;ćŠ&#x2021; â¨&#x17E;éş&#x2022;ęĄ ĺ&#x20AC;´ă&#x2122;šä&#x2039;&#x2018;ă&#x2013;&#x2019;ć¤&#x161;ćŠ&#x2021;ă&#x17E;ŻăźŠâ&#x17E;&#x192;âŚ&#x203A;ä&#x17E;&#x2022;ä Žč&#x17D;&#x2026;é ¤ć?&#x20AC;朸ä&#x2022;§ę° ćšąęĄ ćś¸ç &#x2021;ç&#x2018;&#x2013;ă&#x152;¨î&#x161;&#x17D;
).î&#x161;&#x2030;䧎ĺ°?ĺ&#x2030;¤ć?&#x20AC;姽â¨&#x17E;éş&#x2022;ć&#x161;śâ´˝ćś¸ç &#x2021;ç&#x2018;&#x2013;ď&#x2DC;šă&#x20AC;Ťĺ&#x192;˝ę°ŤäĽ°ĺ&#x160;Ľč&#x2026;&#x2039;ç˝&#x153;ć?&#x20AC;ď&#x2DC;ˇ ä¤&#x160;⌜㢾ä&#x17D;&#x192;âľ&#x2013;⥲ć&#x2022;&#x161;âŻ&#x2022;ç&#x153;?朸獤ë&#x20AC;żď&#x2DC;šä§Žč&#x2026;&#x2039;㣠갸ä&#x;?ă¸?ä§ă&#x2DC;&#x2014;朸ĺ&#x17E;ş
㜊ď&#x2DC;ˇę§Şć?䧎ă&#x20AC;łâ&#x;&#x192;ę°¸é&#x2039;&#x2026;âľ&#x152;䞎âŚ?ĺ´&#x17E;âš&#x203A;朸佪ĺ?&#x201C;ď&#x2DC;šâĄ&#x17D;ăŁ?ćť&#x17E;ď&#x2DC;śä˝&#x;ä?&#x17D;ď&#x2DC;ś â§?äž&#x161;ă&#x2013;&#x2019;ę&#x2DC;Žč&#x17D;&#x2026;ä&#x160;źăĄŚâ°&#x2014;ă &#x20AC;é žéĄ&#x2018;â&#x17E;&#x192;ď&#x2DC;śä&#x2039;&#x2018;⟌é&#x2122;žĺ&#x2030;&#x161;㸽ă&#x2020;&#x17E;â&#x161;&#x203A;â&#x2122;śâ°¨âŞ&#x201D;é¸?
ĺ&#x17E;şćś¸ä&#x;?é&#x;?â¸&#x201A;ď&#x2DC;ˇâ&#x17E;ŽâŚ&#x203A;ă&#x20AC;Ťĺ&#x2030;&#x161;ä¸â´&#x20AC;ĺ´&#x17E;âš&#x203A;â&#x161;Ľĺ&#x2030;&#x161;â´&#x20AC;ć¤?朸ă ?ä&#x2019;ă ?ĺ&#x17E;şćś¸ äŞŽé Żę¨&#x2C6;ę˛&#x2014;ď&#x2DC;šé&#x2122;śăĽśćŽšâ&#x17E;&#x192;âŚ&#x203A;ăŁ?ę&#x2020;&#x20AC;ĺź&#x2030;â°&#x2026;ć&#x2022;&#x161;âŻ&#x2022;ç&#x153;?ä&#x2039;&#x2019;ç¸¨ćś¸é łâźŚď&#x2DC;šâ&#x17E;Ž
âŚ&#x203A;é&#x2018;Ş ăĽśâĄŚé&#x203A;&#x160;ă&#x2013;&#x2019;ę&#x2DC;Žĺ§ťä&#x152;˘éş&#x152;⥲î&#x161;&#x160;é&#x2018;Ş ăĽśâĄŚă¸&#x17E;äą&#x2013;ä&#x160;źăĄŚçŽ é¨&#x;朸ĺ&#x2C6;ż ä˝&#x2013;î&#x161;&#x160;ç˝&#x153;䧎䨞ä&#x;?朸ĺ&#x192;˝č&#x2026;&#x2039;ăŁ éť äĽ°é¸?â?&#x2030;é&#x161;śâť&#x2039;朸ă&#x20AC;łă&#x20AC;&#x160;ç&#x2DC;źćŽ&#x153;ď&#x2DC;šâĄ&#x17D;ꝡ âŻ&#x201C;䧎ä&#x2013;¤č´&#x2013;ć¤&#x161;ă&#x201E;¤ç&#x2DC;¸é&#x160;źâ˘ľč?&#x2C6;ă ?ĺ&#x20AC;°ęŹ&#x2014;朸ęł&#x192;äŁ&#x201A;ă&#x201E;¤é˘śćŻ ď&#x2DC;ˇ
have to deal with all of these particular technical problems.
ĺ&#x2030;&#x201C;ĺ&#x2030;¤éŚąćś¸éźŠĺ&#x192;˝ä&#x;?é&#x;?揽â&#x2122;śă &#x161;朸ĺ&#x20AC;°ä&#x2019;⿥éş&#x152;鹲é¸?âŚ?ă&#x2122;šä&#x2039;&#x2018;ď&#x2DC;ˇâĄšä&#x;?
The interesting part is imagining the city behaving diďŹ&#x20AC;erently. So when you re
â&#x17E;&#x192;⢾ď&#x2DC;šé˝Ąë&#x17E;&#x2020;䧎ĺ&#x2030;&#x161;ä&#x2019;&#x160;é&#x2122;žăź&#x201C;é¨&#x;ď&#x2DC;šă&#x20AC;łä&#x160;źăĄŚçŽ é¨&#x;é&#x2039;&#x160;âˇ&#x201D;ĺ&#x20AC;°ĺ&#x2030;&#x161;⿞ꟸé&#x201C;&#x17E;
doing a huge event, in your heart you know that 200,000 people will come, I
say we have to close the road, the bus planner says this is really inconvenient because of the buses. What I am trying to explain is that you are only closing the road to accommodate the huge numbers of people who want to come,
and they won t mind if they can t get the bus, because they would rather be
standing in the road and walking ten minutes to a diďŹ&#x20AC;erent bus stop. Imagining they sit on the pavement, so you have to actually make adaptive changes in
your head about what the city is forĚś how it should work for. Because the will of the people is that makes the city behave diďŹ&#x20AC;erently.
⥚é&#x160;´â¨&#x17E;â&#x2122;§âŚ?é¸?ë&#x17E;&#x2020;ăŁ?朸ĺ´&#x17E;âš&#x203A;ď&#x2DC;šâ Žç&#x161;żčĄ˝ăĽśĺ?&#x201C;ĺ&#x2030;¤ăŁ?ç§&#x2030; é¸?㟊â&#x17E;&#x192;âŚ&#x203A;â´&#x20AC;é ¤ä&#x2013;&#x17D;â&#x2122;śâ¤&#x2018;âľ&#x201E;ď&#x2DC;ˇâĄ&#x17D;䧎ă&#x20AC;Ťä&#x;?é&#x201C;&#x17E;ĺ&#x192;&#x2C6;䧎ăź&#x201C;é¨&#x;朸➲ă&#x201D;&#x201D;ă&#x20AC;Ť
ĺ&#x192;˝ä&#x;?ĺ&#x20AC;°â¤&#x2018;ä&#x;?⢾⿎â¸&#x2C6;ć&#x2022;&#x161;âŻ&#x2022;ç&#x153;?朸é&#x152;&#x161;ćť&#x17E;ď&#x2DC;šç˝&#x153;é¸?â?&#x2030;â&#x17E;&#x192;ĺ&#x192;˝â&#x2122;śĺ&#x2030;&#x161;â&#x17E;?ä &#x2018; â&#x17E;ŽâŚ&#x203A;ĺ°?ĺ&#x2030;¤ä&#x160;źăĄŚă&#x2014;&#x201A;朸ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;â&#x17E;ŽâŚ&#x203A;ĺ&#x2030;&#x161;ĺ&#x2C6;żä&#x2039;&#x17E;ĺ&#x160;&#x2020;č&#x2026;&#x2039;㣠ç&#x2022;&#x20AC;ă&#x2013;&#x2C6;ęź&#x203A;é¨&#x;â&#x2122;ł
颣ć&#x2022;&#x161;ď&#x2DC;šć?ä&#x2013;&#x2022;ă&#x20AC;łâ&#x;&#x192;鼼⟧â´&#x2022;ę&#x2014;ťâľ&#x152;ă&#x20AC;Ľâ&#x2122;§âŚ?ä&#x160;źăĄŚç&#x2022;&#x20AC;â&#x203A;¨éŽŚď&#x2DC;ˇäż˛ä&#x;?â&#x17E;&#x192;
âŚ&#x203A;亥ă&#x2013;&#x2C6;â&#x17E;&#x192;é ¤éşĽâ&#x2122;łćś¸ä&#x17E;&#x2022;ä&#x2022;&#x17D;ď&#x2DC;šă&#x2013;&#x2C6;⥚č&#x2C6;ĄăśŠé&#x2026;ă˝ ä&#x2014;łę°ćŹ°ä§ćšąäĽ°ćś¸ é?&#x2018;ĺŻšéłľĺ˛ ď&#x2DC;šâżĄé&#x2018;&#x2018;ä&#x;?ă&#x2122;šä&#x2039;&#x2018;ĺ&#x192;˝ă&#x201D;&#x201D;⥌㜸ă&#x2013;&#x2C6;ď&#x2DC;šă¸?é&#x2018;ŞăĽśâĄŚć?&#x20AC;â&#x2122;§âŚ?ć&#x161;ś
ⴽ朸ăŁ?ă&#x2DC;&#x2014;ĺ´&#x17E;âš&#x203A;ç˝&#x153;⥲â´&#x20AC;ä˝&#x2013;é&#x161;śď&#x2DC;ˇćŽ&#x2014;ç&#x2022;&#x152;â&#x17E;&#x192;âŚ&#x203A;朸ä &#x2018;겊äŠ&#x17E;ĺ&#x192;˝é&#x203A;&#x160;ă&#x2122;šä&#x2039;&#x2018; 援揰â&#x2122;śă &#x161;éş&#x152;鹲ĺ&#x20AC;°ä&#x2019;朸ĺ&#x2030;&#x201C;çŠ&#x2026;ă&#x201D;&#x201D;ç¨&#x2021;ď&#x2DC;ˇ
1.8 London, Janet Echelon / Studio Echelon (US). Lumiere London 2016, produced by Artichoke. Photograph Š Matthew Andrews 2016
ok. So that is really complicated conversation, but you re right to be
ART.ZIP: Indeed, a great aspect about Lumiere is that it brought people away from their regular route in order to engage with the city more physically in a more imaginative way.
what it takes even in the planning, not just for the audience, but
between places. If you travel by underground you don t
I am second guessing how the public will behave and trying to
persuade people, whose job is to stick to routine and who were
very used to complain all the time, that if the bus doesn t run it's
focusing on quality of the emotional transformation, because that s those people I work with and those public authorities. They have to
understand the city and should be able to feel diďŹ&#x20AC;erently. And that s hard for them because their job is to make the city feel same.
HM: Yes, and more intimately in a way by discovering routes necessarily realise that the walk from Grosvenor Square to
Regent s Street takes literally 10 minutes and by taking that you realise the shops and architectures that you've never
倴僽䧮鏤魨贖㖒㖒갸䟝㣐滞涸䠑격莅遤捀⚛鑑㕬铞剪齡 ❉绢䢫䭾傈䌢鋊瀄鳵✲涸➃⟃⿻齡❉㔔捀䊼㡦箁騟佖隶䧴
⨢麌㽠䫵䚐⦐♶⨢涸➃齡〳♶僽♧⟝矦㋲涸䊨⡲⡎敚⯕ 眏㼩➃⦛䞕䠮莅넓뀿䨾腋ⵖ鸤涸佖隶僽䖎ꅾ銴涸䨾⟃齡僽
䧮⦛㖈⨞瘼ⷔ涸儘⦬剚衽ꅾ罌䣂涸♶㋲銴捀錚滞⛳銴捀 㙹䋑涸盘椚罏罌䣂➮⦛䖤僈涯㙹䋑㶸㖈涸䠑纏䖤㷸剚欽 ♶ず涸倰䒭䠮「⡎鸏㼩➮⦛⢵铞㣖ꨈ✫㔔捀➮⦛涸劥耷 䊨⡲㽠僽雊㙹䋑笞䭰姻䌢麌遤涸朜䢀
"35 ;*1焷㻜敚⯕眏剓問涸♧럊㖈倴雊➃⦛⨋ꨆ傈䌢騟 箁䖰罜腋刿⸈㻜㻜㖈㖈⯏怏䟝韍㖒䠮濼鸏⦐㙹䋑
).僽ザ荈䊹㼦䪪騟箁鼩腋雊➃莅㙹䋑⛓涸ꡠ⤚刿鋷 㺙ヤ⡹銴僽㣔㣔⛨㖒僽♶剚䠑陏ⵌ䖰呔繏㣗秝䑞㜥ⵌ
伢佟遳饥騟〫銴⼧ⴕꗻ涸饥騟鼩腋雊⡹涮植⡹⟃䖰劢
涮植涸䏅ꎦ莅䒊眡䨾⟃敚⯕眏涸湡涸㽠僽捀✫雊⡹䱳程㙹 䋑䧮涸㕰蔅 ⵌ ⴕꗻ䖰銯⼦饥ⵌ㕜桬⼧㶶♧菛➃♶ 剚鸏랆饥♧菛➃剚捀✫䘰䰦罜鼇乵䵩⛨㖒⡎籏剤❉暶
婌䞕屣剚雊➮⦛䵩♶䧭䧮⨞敚⯕眏Ⱖ⚥♧⦐湡涸㽠僽렽
⺑➃⦛㼟姿遤溏⡲♧珏傈䌢ⴀ遤倰䒭♶♧㹁ꬌ銴䵩Ⱇ❜鮦 䧴㖒罜饥ㆭ哭騟剚栽䖤䙦垺涸넓뀿莅㖒腋や䭾儘ⵌ 麨僽ず瘞ꅾ銴涸
"35 ;*1涸焷姿遤僽剓橇⥃涸❜鸒倰䒭✫䝡⨞瘼ⷔ涸 儘⦬僽や⛳罌䣂ⵌ✫㼩橇㞯涸䕧갠䧴䋞劆腋䒸饱➃⦛涸 橇⥃䠑陏
).Ⱖ㻜䖎剤〳腋剚剤➃䪡鐱䧮⦛鸏垺涸谁遯眏僽㖈嵠顥 腋彂⡎✲㻜♳䧮⦛植㖈㽠僽㎲鑑擇徧傈䌢欽敚⟃䎂邂䧮⦛ 幑⸈涸酤縨䨾涸腋罳♧❉⡲ㅷ涸焷䭸ぢ✫橇㞯莅欰䢀
㉏겗嫲倰铞暶䬘岁⸈䑞㜥❜⿸騟〡涸㑑屮⡲ㅷշ㝖俲䃋ո
㸐⦛♶⡎㥪溏鼩䖎㥪㖒䓽锅✫鸏⦐㉏겗㕜桬⼧㶶齡鼹涸 ⡲ㅷ⛳ㄎ碚✫捀搂岁欽ꨶ涸㖒⼦㾀字䲿⣘〳䭰糵⯕彂鸒麕
鸏⦐갪湡⡹〳⟃デ濼字滞⚛佖隶➮⦛㼩敚⯕⿻㼩⯕涸䠑纏 涸溏岁
encountered. Part of the plan is to get people to move differently. Many of my team walked to the West end to King s Cross took 25-30 minutes;
that s not the journey that anybody would normally take. They get to the underground because it is quick, but actually in certain circumstances
they can t. I suppose one of the aims of Lumiere was to encourage people to regard walking as a form of transport. They don't actually need the bus or the tube, the walking route and that experience was as important as whether the tube is running on time.
"35 ;*1㽠㼩㙹䋑涸㻜넓䠮「鼩剤➃莅➃⛓涸❜䖃罜 鎊敚⯕眏雊➃⦛㻜㻜㖈㖈㖒翹㖈♧饱✫
).僽ザ➃⦛♧뢶鮅㖈暋峸遳涸꼛騟⚥㣜颣敚齡♧䍌㣖
繡㥪✫姽䧮㖈❜鸒鋊ⷔ㽷齡鼹⨞✫䖎㣐涸⸗⸂➮⦛铞
⡹♶腋㖈ꅾ銴涸❜鸒騟〡㼓騟⡹䖤雊䊼㡦腋㣁鸒遤⡎ⵌ ✫敚⯕眏䍌齡㣔殹䧮饥ⴀ㖒⢵ⵌ騟♳溏ⵌ㣐㹻鮅㖈
꼛騟♳溏敚涸儘⦬䧮䎙⛖帒崩怏㼓騟僽姻焷涸对㹁 ♧ⴗ鿪僽⧩䖤涸䧮䟝鸏㼩➃⦛⢵铞僽♧⦐ꬌず㼦䌢涸넓 뀿
Keyframes, Groupe LAPS/Thomas VeyssiÊre (France). Lumiere London 2016, produced by Artichoke. Photograph Š Matthew Andrews 2016
"35 ;*1î&#x161;&#x2030;ç&#x201E;ˇăť&#x153;ĺ&#x192;˝ćś¸ď&#x2DC;šä?Ąâ&#x203A;&#x201C;âľšâ&#x203A;łé&#x201C;&#x17E;éş&#x2022;ă&#x2013;&#x2C6;䞸ç&#x201E;şĺ&#x201E;&#x2DC;â&#x17E;żâ&#x17E;&#x192;âŚ&#x203A;çą?
ART.ZIP: Walking is the cleanest form of transportation. Did you also consider the environmental issue, with the intention of invoking environmental consciousness in the individuals when you planned this project? HM: It is very easy to criticise this kind of festival as waste of energy, but actually what we were trying now is to get the ordinary lighting switch oďŹ&#x20AC;, so there is a balance for what we were adding. Some of the pieces pointed to ecological or
environmental questions like the fountains at the Trafalgar Square roundabout, where I thought was beautiful but also made a very interesting point (Plastic
Islands by Luzinterruptus). The piece up at King s Cross is a campaign about
providing sustainable lighting for people with no access to power. Through the
programme you can educate and inform people, and change their view of light and its signiďŹ cance.
ART.ZIP: In terms of the physical encountering with the city and interpersonal relations, inside the festival, people were getting together. HM: Yes, people lying in the middle of the road in Oxford Circus and it was the
ă&#x201D;&#x201D;ć?&#x20AC;â&#x2122;łçŹŞç˝&#x153;ă&#x2039;ŠăŁ&#x;â&#x17E;&#x192;č&#x17D;&#x2026;â&#x17E;&#x192;â&#x203A;&#x201C;ę&#x;ŚćşŤăť&#x153;朸â?&#x153;ä&#x2013;&#x192;č&#x17D;&#x2026;â&#x153;˝âš&#x203A;ď&#x2DC;ˇä?ĄăźŠé¸? ç??ć¤?é&#x;?ä&#x2122;Śë&#x17E;&#x2020;ćş?ă&#x192;¤î&#x161;&#x17D;
).î&#x161;&#x2030;䧎ĺ&#x192;˝â&#x2122;§âŚ?č&#x160;Łć&#x2122;&#x161;ĺ&#x201E;&#x2DC;â&#x17E;żćś¸â&#x17E;&#x192;ď&#x2DC;šä§Žä&#x2013;&#x17D;ç˝&#x2030;ĺ´Łď&#x2DC;ˇä§Žé&#x152;?ä&#x2013;¤ĺ&#x20AC;&#x17E;ç&#x152;°äŞŽ ĺ&#x2030;¤ćŹ˝ĺ&#x192;˝ĺ&#x2030;¤ćŹ˝ď&#x2DC;šâĄ&#x17D;ă˝ ĺ&#x192;˝ăźŠă¸?âŚ&#x203A;䲿â&#x2122;śéĽąč&#x17D;&#x2021;č?&#x17E;ď&#x2DC;ˇä§Žĺ°?ĺ˛ ăźŠĺ&#x2030;&#x201C;ĺ&#x20AC;&#x17E;
朸ç&#x152;°äŞŽćŹ´ćŹ°č&#x17D;&#x2021;錹ď&#x2DC;šä§Žâ&#x2122;śâ&#x2122;łč&#x152; ĺ&#x2030;&#x2026;ď&#x2DC;śä˛&#x20AC;ć&#x161;śä§´ç˝?ⴽ朸ç&#x2C6;˘â?&#x153;ä&#x17D;&#x201A;ă&#x20AC;ľď&#x2DC;š 掚ć?é žéĄ&#x2018;â°&#x2014;ă &#x20AC;ä˛&#x20AC;ä&#x2018;&#x17E;éş&#x152;ć&#x2013;&#x160;朸éż&#x2C6;ę&#x;&#x152;ĺ&#x2030;&#x161;⢪揽ă¸?âŚ&#x203A;ď&#x2DC;ˇä§Žč&#x2026;&#x2039;ć¤&#x161;é?&#x2018;é¸?
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ć?&#x20AC;䧎âŚ&#x203A;ĺ&#x2030;¤č ?⟪㼪⿟âĄ&#x17D;ăť&#x153;꼚â&#x2122;łä&#x2013;°ĺ&#x160;˘č&#x17D;&#x2026;â&#x17E;ŽâŚ&#x203A;ćšąé&#x2039;&#x2026;î&#x161;&#x160;⿜䧴ç˝?䧎 âŚ&#x203A;ä&#x2013;°â˘ľâ&#x2122;śč&#x17D;&#x2026;â&#x17E;Žâ&#x17E;&#x192;â°&#x;č´&#x2013;ă &#x161;â&#x2122;§âŚ?ç&#x2018; ę&#x;Śď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;䧎âŚ&#x203A;睢䢍䞎ĺ&#x201A;&#x2C6;ă&#x2014;&#x201A;
ă&#x2013;&#x2C6;č?&#x2C6;ä&#x160;šćś¸ä¨źę&#x;Śé&#x2026;ä&#x160;¨âĄ˛âŚ?ĺ°?㸤ď&#x2DC;ˇăźŠä§Žç˝&#x153;é&#x17D;&#x160;ď&#x2DC;šä§ŽâŚ&#x203A;朸㸝ĺ&#x201A;&#x152;ă˝ ĺ&#x192;˝ć?&#x20AC;â&#x153;Ťâśžé¸¤â&#x2122;§âŚ?č&#x17D;&#x2026;â&#x203A;&#x201C;暹⿞朸ć¤?ăť&#x153;ä Žď&#x2DC;šâ˝°â˘Şă&#x20AC;Ťĺ&#x2030;¤ă&#x2013;&#x2C6;齥ç&#x20AC;&#x160;ç&#x20AC;&#x160;
朸ä&#x17D;&#x2122;âŚ?ćž&#x2013;ę&#x;Śď&#x2DC;šâ&#x161;&#x2020;ć˛ćśŽćŹ°â&#x153;Ťä˝&#x2013;é&#x161;śď&#x2DC;ˇă&#x2013;&#x2C6;ć&#x2022;&#x161;âŻ&#x2022;ç&#x153;?⥚ĺ&#x2030;&#x161;č&#x17D;&#x2026;ä§âźŞâ&#x2122;ł
č ?朸Ⰼă¸?â&#x17E;&#x192;â°&#x;č´&#x2013;ă &#x161;â&#x2122;§âŚ?ç&#x2018; ę&#x;Śď&#x2DC;šâĄšâ&#x2122;śé&#x2019;˘é&#x2122;?â&#x17E;ŽâŚ&#x203A;ď&#x2DC;śâ&#x17E;ŽâŚ&#x203A;â&#x203A;łâ&#x2122;ś ă&#x2013;&#x2C6;⥚朸č&#x152; ĺ&#x2030;&#x2026;ĺ&#x2030;Śâżźâ´Şé&#x201A;?â&#x2122;łď&#x2DC;šâĄ&#x17D;ă&#x2013;&#x2C6;⥚âŚ&#x203A;â&#x203A;&#x201C;ę&#x;Śä&#x2022;&#x17D;ä§ćś¸ĺ&#x192;˝ăť&#x153;ăť&#x153;ă&#x2013;&#x2C6; ă&#x2013;&#x2C6;ćś¸ęĄ â¤&#x161;ď&#x2DC;ˇä§ŽâŚ&#x203A;ĺ&#x2030;&#x201C;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;â¨&#x17E;朸ď&#x2DC;šă˝ ĺ&#x192;˝ä&#x2019;&#x160;ç&#x201D;¨ćşŤăť&#x153;朸č&#x20AC;˘ç˛Żď&#x2DC;ˇ
most amazing scene. They were so beautiful and that was the
we have thousands of friends but actually never seeing them, or
services to important junctions for traďŹ&#x192;c; the buses have to be
our bedroom never stopping working. For me, Artichoke serves
huge argument with the transport planĚś you won t close up
able to run east west. And eventually on Friday when I stepped out of the tube, I walked into the road and all these people
were just lying on the road. I was almost in tears: that was the
right decision then, good that we closed it. That experience was actually a unique one to people.
HM: I am a very analogue person; I am very old. There is new
as an alternative reality, in which for these brief moments the
world has changed. You are invited and you can share the space
with thousands of other people that you don t know, who are not your friends, who are not on your Facebook list, but connections between you will be nonstop. It is actually about making real connection.
FIND OUT MORE ĺ&#x2C6;żă˘ľâĽ&#x152;ä&#x153;&#x201A;
technology that I ďŹ nd it useful, but there is no passion. I don t
This article and interview refer to the Lumiere festivals which took place in Durham in November 2015 and London in January 2016.
Instagram, although the oďŹ&#x192;ce for the company does it. I can
Lumiere will return to Durham for the fifth time, commissioned by Durham County Council, 16-19 November 2017. www.lumiere-festival.com
feel the newest pieces and I don't do Facebook or Twitter or
see how fascinating it is for the young people who have grown up with it, but for me, the real pleasure is about discovering
that something is real. You have to put it as live experience, you have to be there rather than being mediated to you through
big screen or television. I think in this world where we spend so
much time behind the screen, receiving information, we feel that
The second Lumiere London, commissioned by the Mayor of London, will take place from 18-21 January 2018. www.visitlondon.com/lumiere ĺ&#x160;Ľäż&#x2019;䲿âľ&#x152;朸ćš&#x2013;ç˘&#x153;ă&#x2122;Şć&#x2022;&#x161;âŻ&#x2022;č° é Żç&#x153;?ä¸ćś¸ĺ&#x192;˝ĺ&#x20AC;´ ä&#x17D;&#x192; ĺ&#x2030;˘ă&#x2013;&#x2C6;ĺ&#x2039;â§?č&#x17D;&#x160;鳾朸ď&#x2DC;śâ&#x;&#x192;âżťĺ&#x20AC;´ ä&#x17D;&#x192; ĺ&#x2030;˘ă&#x2013;&#x2C6;â§?äž&#x161;č&#x17D;&#x160;éłľćś¸č° é Żç&#x153;?ď&#x2DC;ˇ
ă&#x20AC;&#x152;âľ&#x152;ĺ&#x2039;â§?鞞㨽ă&#x2020;&#x17E;ĺ&#x2030;&#x161;㨽é&#x17D;ˇď&#x2DC;šç&#x2014;§â?&#x20AC;ăž&#x201A;ĺ&#x2039;â§?ćš&#x2013;ç˘&#x153;ă&#x2122;Şć&#x2022;&#x161;âŻ&#x2022;č° é Żç&#x153;?ăź&#x;ĺ&#x20AC;´ ä&#x17D;&#x192; ĺ&#x2030;˘ ĺ&#x201A;&#x2C6; ă&#x2013;&#x2C6;ĺ&#x2039;â§?č&#x17D;&#x160;éłľď&#x2DC;šç˝&#x153;ç&#x2014;§â&#x153;łăž&#x201A;â§?äž&#x161;ć&#x2022;&#x161;âŻ&#x2022;č° é Żç&#x153;?â&#x203A;łă&#x20AC;&#x152;âľ&#x152;â&#x153;Ťâ§?äž&#x161;ä&#x2039;&#x2018;ę&#x;&#x20AC;朸㨽é&#x17D;ˇď&#x2DC;šĺ&#x20AC;´ ä&#x17D;&#x192; ĺ&#x2030;˘ î&#x2122;ź ĺ&#x201A;&#x2C6;âą&#x201E;ä?&#x17E;ă&#x2013;&#x2C6;â§?äž&#x161;č&#x17D;&#x160;éłľď&#x2DC;ˇ
Plastic Islands, Luzinterruptus, Lumiere London 2016, produced by Artichoke. Photo by Š Matthew Andrews
ART.ZIP: Yes, and you expressed before that in the age of digital technology, people were always doing online surďŹ ng, losing interpersonal and physical interaction. How would you comment on this now?
we don t share space with other people because we are sitting in
SONICA č&#x20AC;Şę°&#x2030;č°&#x20AC;é Žç&#x153;&#x17D;
Sonica is a year-round programme of events dedicated to world-class sonic
arts, produced by Cryptic, Glasgow s internationally renowned art production house. Launched in Glasgow in 2012, it has since toured across six continents.
This extraordinary biennial festival brings together an unprecedented range of work by leading international artists and emerging British talents. In this issue, we have interviewed three featuring artists performing at the Sonica 2015,
Herman Kolgen, Mark Lyken, Lu Sisi, to see where their focus lies when it comes to addressing the construction of identity in the digital age.
Cryptic have a history of working with technology. Looking at how technology
can enhance a performance is very important to us. We live in a digital world now. There is a place for a bigger, more serious dialogue about how we can bring artists and scientists together. When scientists are developing new
technologies and prototypes, an artist will look at it in a completely diďŹ&#x20AC;erent
way â&#x20AC;&#x2019; so there's a lot of scope for bringing those together. In Sonica, these two
4POJDBĺ&#x192;˝ć&#x2039;ă&#x2022;&#x153;꼚濟ă ?č° é Żé&#x2020;˘âĄ˛â°&#x2014;ă &#x20AC;$SZQUJD✞鳾朸â&#x2122;§âŚ?
ď&#x2C6;Łä&#x17D;&#x192;â&#x2122;śę&#x;Śĺ&#x20AC;Źćś¸č&#x20AC;Ťę°&#x2030;č° é Żç&#x153;?ď&#x2DC;šĺŤŚâ°?ä&#x17D;&#x192;č&#x17D;&#x160;éłľâ&#x2122;§ĺŚ&#x201E;ď&#x2DC;ˇč?&#x2C6; ä&#x17D;&#x192;
ă&#x2013;&#x2C6;ĺ&#x2018;&#x201D;äŹ&#x2DC;ĺ&#x20AC;&#x203A;ă&#x2020;Ľęťˇä?&#x17E;ă&#x2030;Źâš&#x203A;č?&#x203A;â&#x17E;&#x203A;ď&#x2DC;šé§&#x2C6;é¨&#x2039;ä&#x160;şçŤ¤éş&#x2019;âĄ&#x2018;â&#x161;&#x2020;ć˛â°&#x2122;ăŁ?ĺ´&#x17D;ď&#x2DC;ˇ
㼜â&#x17E;&#x203A;ď&#x2DC;šéŚ&#x160;⢾éŚ&#x160;㢾ă&#x2022;&#x153;ęĽšę°Ľăźşćś¸č° é Żăšťă&#x201E;¤č&#x2013;&#x160;ă&#x2022;&#x153;ĺ&#x160;Ľă&#x2022;źćś¸ĺ&#x20AC;&#x17E;č&#x17D;&#x2021;â&#x17E;&#x192;
äŠ&#x17E;⢾âľ&#x152;é¸?âŚ?ĺŤ&#x201E;ă&#x203A;&#x201D;秚朸č&#x20AC;Ťę°&#x2030;č° é Żç&#x153;?ď&#x2DC;š"35 ;*1ć&#x161;śéź?â&#x153;Ťâ&#x2122;˛âĄ&#x2122;
ă&#x2013;&#x2C6;4POJDB č&#x20AC;Ťę°&#x2030;č° é Żç&#x153;?â&#x2122;łé&#x201A;?ć&#x20AC;ľĺ&#x2030;&#x201C;â°¨ć&#x161;śč&#x2019;&#x20AC;ćś¸č° é Żăšťď&#x2DC;š
éĽ&#x;ĺ&#x2030;&#x2039;Ë&#x2122;ç&#x152;°č&#x201A;Ľď&#x2DC;śęź&#x203A;âŻ&#x2DC;Ë&#x2122;č&#x;&#x203A;č&#x201A;Ľă&#x201E;¤ă&#x201A;šä&#x2122;źĺ&#x20AC;&#x203A;ď&#x2DC;šäąłăźŚă&#x2013;&#x2C6;䞸㜜âť&#x2039;ĺ&#x201E;&#x2DC;â&#x17E;żč&#x192;?
ä&#x2013;&#x2022;â&#x17E;ŽâŚ&#x203A;㼜⥌㸤ä§č?&#x2C6;䧎é¨â&#x;¨ćś¸ĺ&#x153;&#x201C;ä&#x2019;&#x160;ď&#x2DC;ˇ
ď&#x161;ł$SZQUJDč&#x17D;&#x2026;ç&#x152;°äŞŽćś¸ęĄ â¤&#x161;ĺ˝&#x201A;éť&#x2021;ĺ´Šę&#x;&#x20AC;ď&#x2DC;ˇćş?ä&#x2013;&#x160;ç&#x152;°äŞŽăĽśâĄŚă&#x;&#x17E;ä&#x201C;˝é&#x201A;?
ć&#x20AC;ľč° é ŻăźŠä§ŽâŚ&#x203A;⢾é&#x201C;&#x17E;ęŹ&#x152;ä&#x152;˘ę&#x2026;žé&#x160;´ď&#x2DC;ˇă&#x201D;&#x201D;ć?&#x20AC;䧎âŚ&#x203A;ĺ´&#x17E;ă&#x2013;&#x2C6;䞸㜜ĺ&#x201E;&#x2DC;â&#x17E;żď&#x2DC;š
é¸?âŚ?ĺ&#x201E;&#x2DC;â&#x17E;żę¨žé&#x160;´â&#x2122;§âŚ?ĺ&#x2C6;żăŁ?ĺ&#x2C6;żă&#x201C;&#x201A;č ?朸㟊é&#x2018;¨ď&#x2DC;šé˝Ąă˝ ĺ&#x192;˝ä§ŽâŚ&#x203A;㼜⥌
â¤&#x203A;ä§č° é Żăšťă&#x201E;¤ç&#x152;°ăˇ¸ăšťćś¸ă &#x2013;⥲ď&#x2DC;ˇćŽšç&#x152;°ăˇ¸ăšťćśŽĺ&#x192;&#x2C6;ĺ&#x20AC;&#x17E;ćś¸äŞŽé Żă&#x201E;¤
➲ă&#x2DC;&#x2014;ĺ&#x201E;&#x2DC;ď&#x2DC;šč° é Żăšťćş?ä&#x2013;&#x160;é¸?â&#x;?â&#x153;˛ć&#x161;&#x;朸é&#x152;Źä?&#x17E;ĺ&#x192;˝éś&#x2C6;ć?â&#x2122;śă &#x161;朸Ő&#x201A;
ă&#x201D;&#x201D;姽뢜翚â°?ç??é¨â&#x;¨ćś¸â&#x17E;&#x192;ăź&#x;ĺ&#x2030;&#x161;霸朎ć?&#x201A;ꣳ朸ă&#x20AC;łč&#x2026;&#x2039;ď&#x2DC;ˇă&#x2013;&#x2C6;4POJDB
realms are not divided...
č&#x20AC;Ťę°&#x2030;č° é Żç&#x153;?â&#x161;Ľé¸?â°?ăŁ?ęą&#x2020;ă&#x161;&#x2013;ĺ&#x192;˝ç?ăş&#x2122;犥ă &#x2013;â&#x2122;śă&#x20AC;łâ´&#x2022;✡朸ď&#x2DC;ˇ
The beauty of music is that it takes you on a journey that s incredibly personal.
ę°&#x2030;ĺ?żâ&#x203A;&#x201C;皥㌍ă&#x2013;&#x2C6;ĺ&#x20AC;´ă¸?ăź&#x;⥚ä&#x152;&#x;â°&#x2026;ę¨&#x2C6;â&#x;&#x192;縨âĽ&#x152;朸âŚ?â&#x17E;&#x192;ĺ &#x2021;ç&#x17D;&#x2018;ď&#x2DC;ˇä§Žä&#x;?
I want to create something which leaves space for people to go on that journey.
Ő&#x201A;Cathie Boyd, founder & artistic director of Cryptic.
é&#x160;´âśžé¸¤ćś¸ä&#x17D;&#x201A;ă&#x20AC;ľă˝ ĺ&#x192;˝é&#x203A;&#x160;â&#x17E;&#x192;âŚ&#x203A;ĺ&#x2030;¤é§&#x2C6;㣠朸ç&#x2018; ę&#x;Śă&#x2013;&#x2C6;â°Śâ&#x161;Ľéť&#x153;éş&#x2030;ď&#x2DC;ˇď&#x161;´ Ő&#x201A;⳯é&#x160;ŻË&#x2122;ĺ˛&#x161;â&#x;ť $SZQUJD✞㨼â&#x17E;&#x192;âżťč° é Żçą?ćš&#x152;
Onion Skin, Olivier Ratsi
FIND OUT MORE 更多信息 Sonica 2017 will take place in Glasgow, 21 October-5 November 2017. Sonica 2017聲音藝術節將於2017年10月21日至11月5日在格拉斯哥舉行。 www.sonic-a.co.uk
SCULPTING SOUND: INTERVIEW WITH HERMAN KOLGEN ꧧ㝕耪갉 㼠鏞饟削 • 猰肤
*/5&37*&8&% #: 䱰鏞 )"33: -*6 ⷠ畹兑 53"/4-"5&% #: 缺陼 $"* 46%0/( 詍豣匌 *."(&4 $0635&4: 0' 㕭晙䲿⣘ 40/*$" 耪갉谀遮眎
Herman Kolgen is an acclaimed multidisciplinary artist with more than two decades of experience on the international media arts scene. As an audiokinetic sculptor, he draws his inspiration from
the intimate relationship between sound and image. Kolgen s work takes the form of installations, video and film works, performances, and sound sculptures. He works in a constant cycle of exploration,
at the crossroads of different media, to conjure up a new technical language and a singular aesthetic. His attention to the impact of
territories on human life, and the resulting tensions and interplay
between these various elements, constitutes the core of his practice. Herman Kolgen has been awarded numerous prestigious prizes
including Ars Electronica and his works have been presented at the Venice Biennale and the Centre Pompidou.
饟剋˙猰肥僽♧⡙耫そ黇久涸騗㷸猰谁遯㹻✳⼧㢵䎃⢵♧湬崞鬪
㖈㕜ꥹ㯯넓谁遯䎂〵➮耫갉⹛⸂㷸ꧨ㝖㹻㖈耫갉ㄤ㕬⫹⛓
涸筝㺙ꡠ⤚⚥䲿《䠮乲Ꟁ⟃酤縨鋕걽ꨶ䕧邍怵耫갉ꧨ
㝖涸䕎䒭ⶾ⡲㖈䭰糵♶倬涸䗅橇䱳程⚥➮㎲鑑✫ぐ珏♶ず涸
㯯➝⟂➃♶犝耢䟝ⵌ♧珏倞涸䪮遯铃鎊ㄤ㣼殯涸繡䠮➮㼟岤䠑
⸂䫏佞㖈➃겳걆㕼涸䕧갠ㄤ㼬荞涸筝䓹㽷♳鸏❉♶ず銴稇⛓
涸湱✽⡲欽圓䧭✫㻜驏涸呍䗱㖈姽劍猰肥鄄䱇✮✫鏪㢵衽
そ涸栁갪➮涸⡲ㅷ⛳剎㖈㪮㽳倛꧱䎃㾝觍淼勭谁遯⚥䗱㾝爚
麕
Herman Kolgen, Seismik.
ART.ZIP: How did you start working in video art and what s your creative method?
"35 ;*1î&#x161;&#x2030;ä?Ąĺ&#x192;˝ăĽśâĄŚéĽĽâ&#x2122;łé&#x2039;&#x2022;ęą˝č° é ŻâśžâĄ˛â&#x203A;&#x201C;é¨&#x;朸î&#x161;&#x17D;ä?Ąćś¸âśž
at the same time I also had a band, so I would play music. Slowly I moved from
ăž?â´&#x20AC;â&#x153;Ťď&#x2DC;ˇâĄ&#x17D;ă &#x161;ĺ&#x201E;&#x2DC;ď&#x2DC;šä§Žâżśĺ&#x2030;¤â&#x2122;§ä˝&#x2026;ĺ?żęĽ&#x2122;ď&#x2DC;šä¨žâ&#x;&#x192;䧎â&#x203A;łă&#x2013;&#x2C6;ć˘&#x2013;ę°&#x2030;ĺ?żď&#x2DC;ˇ
HK: In my teenage years I started exhibiting, at around seventeen years old, but drums to all types of percussion. I also bought one of the ďŹ rst synthesizers. I d already started to create more texture. I was not interested in creating tunes [Herman starts to sing a tune] I was more interested in making texture and
sounds. At around twenty, I started to concentrate on the synthesizer and the percussion and to create new sounds. I started to make some music ďŹ lms, at this time it was not big. The attention was more to create a mood, I was not
interested to compose sound, but I saw the sound or the music like a sculpture, for me, it s always a sculpture. I move the sound. I sculpt the sound. At the
same time, I made paintings, I remember my father saw that I wanted to be
an artist. My father said to me: OK, you want to be an artist, you want to stop
school? If you can t choose between painting and music you will get lost. You
Herman Kolgen, Seismik.
need to forget one. I always have this in my head, but it was impossible for me
⥲ĺ&#x20AC;°ĺ˛ ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;î&#x161;&#x17D;
),î&#x161;&#x2030;ă&#x2013;&#x2C6;䧎⟧ä&#x17D;&#x2122;ĺ¨&#x201D;ď&#x2DC;šăŁ?ĺ&#x161;&#x152;ĺ&#x192;˝âź§â&#x2122;Źĺ¨&#x201D;朸ĺ&#x201E;&#x2DC;⌏䧎朸⥲ă&#x2026;ˇă˝ ę&#x;&#x161;㨼 ć ¸ć ¸ă&#x2013;&#x2019;ď&#x2DC;šę¤&#x2018;â&#x153;Ťć˘&#x2013;ë ˝ď&#x2DC;šä§Žâ&#x203A;łć˘&#x2013;â°Śâ&#x17E;Žćś¸äŠ§äššĺ?żă?źď&#x2DC;ˇä§ŽéĄ éş&#x2022;ĺ&#x2030;&#x201C;
ĺ&#x201A;?朸ă &#x2013;ä§ă?źď&#x2DC;ˇé˝Ąĺ&#x201E;&#x2DC;䧎ä&#x160;şçŤ¤ă&#x2013;&#x2C6;✞⥲â&#x2122;śă &#x161;ç??겳朸č&#x20AC;Ťä Žď&#x2DC;ˇä§ŽăźŠ ĺ&#x2C6;źé&#x201D;&#x2026;â&#x2122;śä Žč&#x17D;&#x2021;錹î&#x2122;ˇé¸?ĺ&#x201E;&#x2DC;éĽ&#x;ĺ&#x2030;&#x2039;ă&#x2021;&#x2021;ă&#x2C6;&#x2013;â&#x153;Ťâ&#x2122;§ĺŞŻĺ&#x2C6;źé&#x201D;&#x2026;î&#x2122;¸ď&#x2DC;šâĄ&#x17D;㟊č&#x20AC;Ťä Žď&#x2DC;ś č&#x20AC;Ťę°&#x2030;朸✞⥲⽿ĺ&#x192;˝ĺ?żĺ§˝â&#x2122;ść°&#x2022;ď&#x2DC;ˇă&#x2013;&#x2C6;ăŁ?ç§&#x2030;â&#x153;łâź§ĺ¨&#x201D;朸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;šä§Žę&#x;&#x161;
㨼㟠岤ă &#x2013;ä§ă?źă&#x201E;¤äŠ§äššĺ?żă?źď&#x2DC;šâ&#x161;&#x203A;✞⥲ĺ&#x20AC;&#x17E;朸č&#x20AC;Ťę°&#x2030;ď&#x2DC;ˇä§Žâ&#x203A;łę&#x;&#x161;㨼
✞⥲â&#x2122;§â?&#x2030;ę°&#x2030;ĺ?żć&#x2122;&#x161;ď&#x2DC;šę§Şć?ä&#x2013;°ć¤?ă&#x2013;&#x2C6;⢾ćş?ď&#x2DC;šé¸?â?&#x2030;ć?&#x201A;é§&#x2C6;ę&#x2026;žé°&#x2039;ď&#x2DC;ˇä§Ž ĺ&#x2C6;żęĄ 岤ä&#x17E;&#x2022;çąćś¸ć&#x2013;&#x160;鸤ď&#x2DC;šç˝&#x153;â&#x2122;śĺ&#x192;˝č&#x20AC;Ťę°&#x2030;ĺ&#x160;Ľé¨ď&#x2DC;ˇä§ŽâŤšćş?ä&#x2013;&#x160;ꧨă?&#x2013;â&#x2122;§
ĺ&#x17E;şćş?ä&#x2013;&#x160;č&#x20AC;Ťę°&#x2030;䧴ç˝?ę°&#x2030;ĺ?żď&#x2DC;šăźŠä§Žâ˘ľé&#x201C;&#x17E;ď&#x2DC;šé¸?â&#x203A;łéżŞĺ&#x192;˝â&#x2122;§ç??ꧨă?&#x2013;ď&#x2DC;ˇä§Ž
ç?ľâš&#x203A;â&#x153;Ťč&#x20AC;Ťę°&#x2030;ď&#x2DC;šä§Žę§¨ă?&#x2013;â&#x153;Ťč&#x20AC;Ťę°&#x2030;ď&#x2DC;ˇă &#x161;ĺ&#x201E;&#x2DC;ď&#x2DC;šä§Žâ&#x203A;łç˛ćŽĽď&#x2DC;ˇä§Žé&#x17D;šä&#x2013;¤é˝Ą ĺ&#x201E;&#x2DC;䧎朸ć&#x2DC;żé&#x2039;ˇă˝ ä&#x160;şçŤ¤ćş?â´&#x20AC;䧎ä&#x;?ä§ć?&#x20AC;č° é Żăšťćś¸äŠ§ç&#x161;żď&#x2DC;šâ&#x17E;ŽăźŠä§Ž
é&#x201C;&#x17E;î&#x161;&#x2030;ď&#x161;łăĽŞă&#x201A;&#x2026;ď&#x2DC;šâĄšé&#x160;´ä§ć?&#x20AC;â&#x2122;§ă ?č° é Żăšťď&#x2DC;šâĄšé&#x160;´é°Ąăˇ¸î&#x161;&#x17D;㼜ĺ?&#x201C;⥚â&#x2122;ś č&#x2026;&#x2039;ă&#x2013;&#x2C6;ç˛ćŽĽă&#x201E;¤ę°&#x2030;ĺ?żâ&#x203A;&#x201C;ę&#x;Śéź&#x2021;ăš â&#x2122;§âŚ?ď&#x2DC;šé˝ĄâĄšĺ&#x192;˝ĺ&#x2030;&#x161;éśľăŁ&#x;朸ď&#x2DC;ˇâĄšă&#x20AC;Ť
to choose because I love music and visual art. When I had my
č&#x2026;&#x2039;ä&#x2DC;&#x17D;äą&#x2C6;â°Śâ&#x161;Ľćś¸â&#x2122;§âŚ?ď&#x2DC;ˇď&#x161;´ä§Žâ&#x2122;§ćšŹé&#x17D;šä&#x2013;¤â&#x17E;Žćś¸é&#x2018;¨ď&#x2DC;šâĄ&#x17D;é&#x160;´ä§Žâ¨&#x17E;éź&#x2021;
and visuals at the same time, that was in the 80 s and it totally
䧎ĺ&#x2030;¤â&#x153;Ťę¨śč&#x2C6;Ąď&#x2DC;šä§Žă˝ ĺ&#x2030;¤éłľĺ˛ â°Żęł&#x192;ę°&#x2030;ĺ?żă&#x201E;¤é&#x2039;&#x2022;é&#x152;?✞⥲â&#x153;Ťď&#x2DC;ˇé˝Ąĺ&#x192;˝
ďŹ rst computer that I had enough speed for me to make music
changed my life. I didn t have to decide between two mediums, they had become one.
䚾⽿ĺ&#x192;˝â&#x2122;śă&#x20AC;łč&#x2026;&#x2039;朸ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;䧎ĺ&#x201A;&#x201A;ä Śę°&#x2030;ĺ?żâ&#x203A;łä Śé&#x2039;&#x2022;é&#x152;?č° é Żď&#x2DC;ˇä&#x2013;&#x2022;⢾ ä&#x17D;&#x192;â&#x17E;żćś¸â&#x153;˛ä&#x17E;&#x2022;â&#x153;Ťď&#x2DC;šç˝&#x153;é¸?㸤ď&#x2C6;Łä˝&#x2013;é&#x161;śâ&#x153;Ťä§Žćś¸ćŹ°ĺ´&#x17E;ď&#x2DC;ˇä§Žĺ°?ĺ&#x2030;¤ ä&#x2014;łé&#x160;´ă&#x2013;&#x2C6;㯯â&#x17E;?â&#x161;ĽäŞ˝äšľď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;ă¸?âŚ&#x203A;ă &#x2013;â&#x153;łć?&#x20AC;â&#x2122;§â&#x153;Ťď&#x2DC;ˇ
I had some old VHS documentary about war. I put this in the
䧎ĺ&#x2030;¤â&#x2122;§ â?&#x2030;ęĄ ĺ&#x20AC;´ä¨&#x17E;ć&#x2DC;°ćś¸ç§ ę?&#x2014;ć&#x2122;&#x161;ę?&#x2014; ⍚ä&#x152;&#x;ď&#x2DC;ˇä§ŽäŞžă¸?âŚ&#x203A;㟏â°&#x2026;ꨜ
a country, a clip from the country would come in. It s moved
âľ&#x152;ęĄ ĺ&#x20AC;´é¸?âŚ?ă&#x2022;&#x153;㚝朸✊éą&#x20AC;ď&#x2DC;ˇé¸?â?&#x2030;✊éą&#x20AC;é&#x160;´ë&#x17E;&#x2020;⢾č?&#x2C6;ä§Žćś¸ćšąĺ Ľď&#x2DC;š
computer, and edited this within the movie, whenever you saw from my camera and old vhs to this new medium. After that I
went to my music studio and tried to make music, to ďŹ t with this. I composed something very fast. I made maybe three minutes
worth of work and I asked one of my friends to have a look and
they suggested I sent it to festivals etc. So I sent it to a festival and I won ďŹ rst prize. After that, I knew this was my medium.
č&#x2C6;Ąď&#x2DC;šć?ä&#x2013;&#x2022;✊éą&#x20AC;ä§ä&#x2022;§ć&#x2122;&#x161;ď&#x2DC;šćŽšä&#x2022;§ć&#x2122;&#x161;â&#x161;Ľâ´&#x20AC;ć¤?â&#x2122;§âŚ?ă&#x2022;&#x153;ăšťď&#x2DC;šâĄšă˝ č&#x2026;&#x2039;ćş?
é&#x160;´ë&#x17E;&#x2020;⢾č?&#x2C6;â°Śâ&#x17E;Žćś¸ç˝&#x2030;ę?&#x2014;⍚ä&#x152;&#x;ď&#x2DC;šă¸?âŚ&#x203A;鿪é&#x201E;&#x201E;ĺš&#x2018;â¸&#x2C6;éš&#x17D;é¸?âŚ?ĺ&#x20AC;&#x17E;朸㯯
â&#x17E;?î&#x2122;ˇę¨śč&#x2C6;Ąî&#x2122;¸â&#x161;Ľď&#x2DC;ˇä&#x2013;&#x2022;⢾ď&#x2DC;šä§Žă&#x2013;&#x2C6;č?&#x2C6;ä&#x160;šćś¸ę°&#x2030;ĺ?żä&#x160;¨âĄ˛ăš&#x201D;é&#x2026;ć?&#x20AC;é¸?éż&#x2C6;ꨜ ä&#x2022;§ę&#x201A;&#x201A;ĺ?żď&#x2DC;ˇä§ŽâśžâĄ˛ęŹ&#x152;ä&#x152;˘ä&#x2DC;°ď&#x2DC;ˇä§Žă&#x20AC;łč&#x2026;&#x2039;č&#x201D;&#x2026;â&#x153;Ťâ&#x2122;˛â´&#x2022;ę&#x2014;ťă˝ 䪞⥲ă&#x2026;ˇâ¨&#x17E; â´&#x20AC;⢾â&#x153;Ťď&#x2DC;šć?ä&#x2013;&#x2022;䧎朸ĺ&#x2030;ŚâżźâŚ&#x203A;ä&#x2019;&#x160;é&#x2122;žä§Žă&#x20AC;łâ&#x;&#x192;äé¸?âŚ?⥲ă&#x2026;ˇâżĄâżŽâ¸&#x2C6;
â&#x2122;§â?&#x2030;ę°&#x2030;ĺ?żç&#x153;?â&#x17E;&#x160;ë&#x17E;&#x2020;朸ď&#x2DC;ˇä&#x2013;&#x2022;⢾䧎溍朸⿎â¸&#x2C6;â&#x153;Ťď&#x2DC;šéźŠć ˝ä&#x2013;¤â&#x153;Ťâ&#x2122;§ç&#x2DC;&#x17E; ć ď&#x2DC;ˇä&#x2013;°é˝Ąĺ&#x201E;&#x2DC;鼹ď&#x2DC;šä§ŽćżźéşĽé¸?ĺ&#x192;˝ăż&#x201A;ĺ&#x20AC;´ä§Žćś¸ăŻŻâ&#x17E;?ď&#x2DC;ˇ
ART.ZIP: So the medium found you?
"35 ;*1î&#x161;&#x2030;䨞â&#x;&#x192;ĺ&#x192;˝ăŻŻâ&#x17E;?䪪âľ&#x152;⥚â&#x153;Ťî&#x161;&#x17D;
each other. It s a love aďŹ&#x20AC;air! [he laughs].
âŚ&#x203A;âĄ&#x201A;ĺ&#x2030;&#x17D;ćšąé&#x2122;?ď&#x2DC;ˇé¸?ĺ&#x192;˝â&#x2122;§ă&#x153;Ľä§&#x2014;ä Śî&#x2122;°î&#x2122;ˇâ&#x17E;Žç&#x2013;Žâ&#x153;ŤéĽąâ˘ľî&#x2122;¸
HK: Probably, yes. The ďŹ rst time I saw it, I think we recognized
),î&#x161;&#x2030;ĺ&#x192;˝ćś¸ď&#x2DC;šä&#x2013;&#x17D;ă&#x20AC;łč&#x2026;&#x2039;ĺ&#x192;˝é¸?ĺ&#x17E;şćś¸ď&#x2DC;ˇä§Žç&#x2014;§â&#x2122;§ĺŚ&#x201E;é&#x2039;&#x2026;âľ&#x152;ă¸?ď&#x2DC;šă˝ é&#x152;?ä&#x2013;¤ä§Ž
ART.ZIP: Is there a common concept or theme that runs throughout your work?
"35 ;*1î&#x161;&#x2030;ĺ&#x192;˝ă&#x201A;&#x201E;ĺ&#x2030;¤éĄ?ç&#x2018;ä?Ąä¨žĺ&#x2030;¤âĄ˛ă&#x2026;ˇćś¸ĺ&#x161;&#x152;ä&#x2122;&#x201A;䧴ç˝?â&#x161;şę˛&#x2014;î&#x161;&#x17D;
living creatures. It s the impact of territory on us. I was interested
ĺ&#x152;&#x152;é&#x160;Żĺ&#x192;˝ď&#x2DC;šăĽśĺ?&#x201C;⥚䪞çŹ&#x17E;ä°â&#x2122;§ âŚ?â&#x17E;&#x192;朸ä&#x17D;&#x201A;é&#x201A;&#x201A;ęŹ&#x152;ä&#x152;˘ę&#x2026;žé&#x160;´ćś¸ĺ&#x152;&#x152;é&#x160;Ż
HK: I would say that the inďŹ&#x201A;uence is territories and human or
in what happens if you remove something that is very important for a human s equilibrium. I took a guy, who was totally naked
and put him in a water cistern for three days with four submarine cameras. I ďŹ lmed all of his behaviours and the change in his
psychology and facial expression over the days. This was just
a human naked in the blue water and what was his is reaction without oxygen. Another project I made after that was called
Dust . Again it s about territory as we have dust everywhere.
It s a microscopic territory. It s all about what happens with you, your relationship with your brain and body. The territory now
is the Internet. I m working on three new pieces. I work more in the contemporary art style. So it s not a performance with new
media. I m more on the side of thinking and reďŹ&#x201A;ection, to change
),î&#x161;&#x2030;䧎é&#x2019;˘ć?&#x20AC;ď&#x2DC;šč´&#x2013;ă&#x2013;&#x2019;韊ĺ&#x2030;¤â&#x17E;&#x192;겳䧴揰ć&#x161;&#x;çŞ?â&#x153;Ťä§Žä&#x2013;&#x17D;ăŁ?朸ä&#x2022;§ę° ď&#x2DC;ˇ éĄ?ç&#x2018;⥲ă&#x2026;ˇćś¸â&#x161;şę˛&#x2014;ĺ&#x192;˝č´&#x2013;ă&#x2013;&#x2019;㟊䧎âŚ&#x203A;朸ä&#x2022;§ę° ď&#x2DC;ˇä§Žä&#x2013;&#x17D;ä Žč&#x17D;&#x2021;錹朸 ääą&#x2C6;ď&#x2DC;šĺ&#x2030;&#x161;朎揰â&#x17E;&#x160;ë&#x17E;&#x2020;â&#x153;˛ä&#x17E;&#x2022;î&#x161;&#x17D;䧎ĺ&#x2030;&#x17D;獤é&#x203A;&#x160;â&#x2122;§âŚ?ď&#x2C6;Łé¨é&#x2020;&#x2014;ë&#x201E;&#x201C;朸ć&#x2018;â&#x17E;&#x192; éš&#x17D;â°&#x2026;â&#x2122;§âŚ?輾ĺŽ?ç&#x203A;łâ&#x161;Ľâ&#x2122;˛ăŁ&#x201D;ď&#x2DC;šćŹ˝ă&#x201D;&#x2039;âŚ?ĺŽ?â&#x2122;´äź˘âŤšĺ Ľé&#x17D;šę?&#x2014;â&#x17E;Žď&#x2DC;ˇä§Ž 䪞â&#x17E;Žä¨žĺ&#x2030;¤ćś¸é ¤ć?&#x20AC;ď&#x2DC;śâ&#x17E;Žćś¸ä&#x2014;ąć¤&#x161;ă&#x201E;¤ęŹ&#x2014;éż&#x2C6;é&#x201A;?ä&#x17E;&#x2022;é&#x161;śâť&#x2039;ď&#x2C6;Łéż&#x2C6;ę?&#x2014;â&#x2122;´â˘ľ
â&#x153;Ťď&#x2DC;ˇâ&#x2122;§âŚ?é&#x2020;&#x2014;ë&#x201E;&#x201C;朸â&#x17E;&#x192;겳ď&#x2DC;šç¸¨é¨ĺ&#x20AC;´čŻ?č&#x2019;&#x20AC;朸ĺŽ?â&#x161;Ľď&#x2DC;šĺ°?ĺ&#x2030;¤ĺťĺľâ&#x17E;Žĺ&#x2030;&#x161;
ĺ&#x2030;¤âĄŚâżžäĽ°ď&#x2DC;ˇé¸?âŚ?갪暥â&#x203A;&#x201C;ä&#x2013;&#x2022;䧎⿜✞⥲â&#x153;Ťâ&#x2122;§âŚ?ă ?ć?&#x20AC;Őˇă&#x17E;&#x201D;ո朸갪 暥ď&#x2DC;ˇé¸?âżśĺ&#x192;˝â&#x2122;§âŚ?äąłé&#x17D;Łč´&#x2013;ă&#x2013;&#x2019;朸⥲ă&#x2026;ˇŐ&#x201A;䧎âŚ&#x203A;č´&#x2013;ă&#x2013;&#x2C6;â&#x2122;§âŚ?âŻ?ć&#x20AC;?
çŁ&#x152;ă&#x17E;&#x201D;朸ćŠ&#x2021;ă&#x17E;Żâ&#x161;Ľď&#x2DC;ˇé¸?é&#x2026;äąłé&#x17D;Łćś¸ĺ&#x192;˝ĺ&#x2122;˛ç¨Łä&#x2014;?朸č´&#x2013;ă&#x2013;&#x2019;ă&#x2030;?ę˛&#x2014;ď&#x2DC;šâ&#x;&#x192;âżť 䧎âŚ&#x203A;é¨â&#x2122;łćśŽćŹ°â&#x153;Ťâ&#x17E;&#x160;ë&#x17E;&#x2020;Ő&#x201A;⥚ă&#x201E;¤âĄšćś¸ăŁ?č&#x2C6;Ąď&#x2DC;śé¨ë&#x201E;&#x201C;â&#x203A;&#x201C;ę&#x;Śćś¸ęĄ â¤&#x161;ď&#x2DC;ˇç˝&#x153;ć¤?ă&#x2013;&#x2C6;䧎âŚ&#x203A;朸č´&#x2013;ă&#x2013;&#x2019;âľąĺ&#x192;˝ă&#x201D;&#x201D;ć&#x161;śçŹŞď&#x2DC;ˇä§Žĺ§ťă&#x2013;&#x2C6;✞⥲â&#x2122;˛âŚ?⥲ ă&#x2026;ˇď&#x2DC;šĺ&#x2C6;żă˘ľă&#x2013;&#x2019;â¨&#x2039;㠢掚â&#x17E;żč° é Żćś¸ć¤&#x161;ä&#x2122;&#x201A;ď&#x2DC;ˇă&#x201D;&#x201D;ç˝&#x153;é¸?â&#x2122;śĺ&#x192;˝ćŹ˝ĺ&#x20AC;&#x17E;㯯ë&#x201E;&#x201C;
é&#x201A;?ć&#x20AC;ľćś¸ę°ŞćšĄď&#x2DC;šä§Žĺ&#x2C6;żâŤ&#x2122;ă ˘ĺ&#x20AC;´ä&#x2122;źç˝&#x152;ă&#x201E;¤âżžä&#x2122;źď&#x2DC;šä˝&#x2013;é&#x161;śâĄšăźŠâ&#x153;˛ć&#x161;&#x;朸 ćş?ĺ˛ ď&#x2DC;ˇ
your perception of something.
"35 ;*1î&#x161;&#x2030;ä?Ąę&#x;&#x161;㨼✞⥲朸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;šď&#x161;łäž¸ăśśč° é Żď&#x161;´é¸?âŚ?ă ?ç?&#x2013;韊
ART.ZIP: When you started working, they didn t have a term like digital art. What you deďŹ ne as digital art and what is the meaning of this for you? Are you a digital artist?
ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;ä &#x2018;ä&#x2122;źî&#x161;&#x17D;ä?Ąĺ&#x192;˝â&#x2122;§âĄ&#x2122;äž¸ăśśč° é Żăšťă&#x152;¨î&#x161;&#x17D;
HK: I don t really like the term digital art . At the beginning, we needed this term to make a split, to explain that digital could
ĺ°?â´&#x20AC;ć¤?ď&#x2DC;ˇä?Ąĺ&#x192;˝ä&#x2122;Śë&#x17E;&#x2020;ăš çş?äž¸ăśśč° é Żćś¸ď&#x2DC;šăźŠä?Ąâ˘ľé&#x201C;&#x17E;ď&#x2DC;šé¸?âŚ?é&#x2018;&#x201A;
),î&#x161;&#x2030;䧎â&#x2122;śĺ&#x192;˝ä&#x2013;&#x17D;ă&#x2039;?姚ď&#x161;łäž¸ăśśč° é Żď&#x161;´é¸?âŚ?é&#x2018;&#x201A;ď&#x2DC;ˇâ&#x2122;§ę&#x;&#x161;㨼ď&#x2DC;šä§ŽâŚ&#x203A; â&#x203A;&#x201C;䨞â&#x;&#x192;ꨞé&#x160;´é¸?âŚ?é&#x2018;&#x201A;ď&#x2DC;šĺ&#x192;˝ă&#x201D;&#x201D;ć?&#x20AC;䧎âŚ&#x203A;ä&#x;?é&#x160;´č?&#x2C6;ç&#x201D;¨ę&#x;&#x152;䨊ď&#x2DC;šé&#x201C;&#x17E;ĺ&#x192;&#x2C6;䞸 㜜朸ĺ&#x152;&#x152;é&#x160;Żâ&#x203A;łă&#x20AC;łâ&#x;&#x192; ä§ ć?&#x20AC;č° é Żď&#x2DC;ˇćŽšĺ&#x201E;&#x2DC;ď&#x2DC;šé¸?ĺ&#x17E;şćś¸ä˛ż ĺ˛ ĺ&#x192;˝ă &#x2013; ć¤&#x161;
朸ď&#x2DC;ˇď&#x161;łäž¸ăśśď&#x161;´ćś¸ç&#x153;&#x2022;ă&#x2022; ĺ&#x192;˝ć&#x161;śăš 朸ď&#x2DC;šď&#x161;łäŞŽé Żď&#x161;´é¸?âŚ?é&#x2018;&#x201A;卲ď&#x161;łäž¸ăśśď&#x161;´
ĺ&#x2C6;żăťŤĺ˛&#x152;ď&#x2DC;šĺŤ˛ăĽśé&#x201C;&#x17E;ď&#x2DC;šĺ&#x17E;¸äşźćś¸ĺ&#x152;&#x152;é&#x160;Żâ&#x203A;łăż&#x201A;ĺ&#x20AC;´ď&#x161;łäŞŽé Żď&#x161;´ď&#x2DC;ˇď&#x161;łäž¸ăśśď&#x161;´ä˝&#x2013;
Herman Kolgen. Photographed by Harry Liu.
be art. It was justified. Digital is so specific, technology is more than
隶✫䖎㢵匌銯㸐䨾⢪欽涸铃鎊刿⸈矦㋲〫僽 ㄤ ⡹腋㖈ꨶ舡
things, the language is more simple, just 1 s and 0 s. You can take a
䧮⦛腋㣁ꂂざ衽耫갉獵⹛⫹稇鸒麕佖隶걽桧窍㸐⦛衽蒀㖈
digital, you have analogue for example. Digital changed a lot of
pixel and take a frequency and in the computer it 0 1 0 1. That s why
we can move pixels with sound and colour things by their frequency. Everything is possible because, on the computer, it s all the same
language. It s important, but sometimes it can be very reductive. I
have other work, which I don t make digitally. At the Conservatoire de musique in Montreal last spring, they asked me to build a
performance. I used a lot of technology, but some of it was just
analogue. I work with the concepts, and it depends on the concept and what I want to say. Sometimes I have to use different tools;
sometimes I have to build software. It depends on what I really need in order to touch the audience. Sometimes it s just a pen, a piece of paper and a microphone. I use technology because a lot of things have already been done in painting and sculpture. I don t want
to repeat this. Technology has forced me to reinterpret and it has
changed the way we can create and changed our relationship with
objects. Technology has given me a new way to see and to modify.
It s a different language. This is why art is always in motion. The way we are living brings new questions. Now, everything is digital and everyone is a digital artist.
酭鼇《♧⦐⫹稇♧⦐걽桧㸐⦛♶麕僽 鸏垺涸侸亙䨾⟃
ꨶ舡♳䧮⦛腋㣁⨞⟤⡦✲䞕㔔捀䨾ꅷ欽涸铃鎊僽湱ず涸鸏僽 䖎ꅾ銴涸♧럊⡎剤儘⽿〳腋嶋鍑䱈㢵⯋䚍䧮⛳剤♧❉⡲ㅷ♶
僽⟃侸㶶䩛媯㸤䧭涸䎃僱㷎褑暶ⵄ晋涸갉坿㷸ꤎ鼝锞䧮莊 鳵♧妄怵ⴀ䧮⢪欽✫䖎㢵䪮遯⡎Ⱖ⚥剤♧❉鼩僽垸亼䩛媯䧮 涸ⶾ⡲⟃嚌䙂捀⚺䨾⟃♧ⴗ《对倴嚌䙂⟃⿻䧮銴邍麨➊랆剤
儘䧮䗳갭⢪欽♶ず涸䊨Ⱘ剤儘䧮銴管㻨鮿⟝鸏鿪《对倴䧮
䟝銴欽➊랆䠮厪錚滞剤儘䧮䨾涸♶麕僽♧佅瘘♧䓹秶 ㄤ♧⦐띋⯘괐䧮⢪欽䪮遯䩛媯㔔捀㖈粭殥ㄤꧨ㝖⚥剤䖎㢵䩛 媯䊺竤鄄欽麕✫䧮♶䟝ꅾ䗂鸏❉䪮遯鹧衽䧮ꅾ倞ꡪꅼ⛳佖
隶✫䧮⦛ⶾ⡲涸倰岁ㄤ䧮⦛ㄤ暟⟝⛓涸ꡠ⤚䪮遯窍✫䧮㻤鋕
ㄤ锅鑑涸倞倰岁鸏僽♧珏♶ず涸铃鎊鸏⛳姻僽谁遯⛓䨾⟃宕 黇鹎涸⾲㔔䧮⦛涸欰崞倰䒭窍䧮⦛䌟⢵✫倞涸毠㉏植㖈䨾 剤匌銯鿪僽侸㶶涸嫦⦐➃鿪僽侸㶶谁遯㹻
ART.ZIP: Some young artists today just think about the equipment and the quality of the presentation. Is this the future or is it a problem?
"35 ;*1î&#x161;&#x2030;â&#x2122;śăźąä&#x17D;&#x192;é°&#x2039;č° é ŻăšťâŚ&#x203A;ęĄ ĺ˛¤ćś¸ă&#x20AC;Ťĺ&#x2030;¤é?¤âŞ&#x201D;ă&#x201E;¤âĄ˛ă&#x2026;ˇćś¸
art, but they re more of game players, but it s still a way of expressing yourself.
é¸?â&#x2122;§ę˛łč° é Żď&#x2DC;šâĄ&#x17D;â&#x17E;ŽâŚ&#x203A;ĺ&#x2C6;żâŤšĺ&#x192;˝éş&#x2030;䨥ć˘&#x2013;ăšťď&#x2DC;šćŽšć?é¸?â&#x203A;łĺ&#x192;˝â&#x2122;§ç??
HK: Now it s trendy. We have a lot of new artists, who try to make this kind of
For me, the concept is important. If you want to push further you have to think, you need concepts. You have to ďŹ nd inside you what you re peculiarity is. If
everybody just ďŹ&#x201A;oats on the surface and plays with lines, it becomes boring.
ă&#x192;&#x201E;ć¤?颜ę&#x2020;&#x20AC;ď&#x2DC;ˇé¸?ĺ&#x192;˝č° é Żćś¸ăź&#x;⢾ď&#x2DC;šéźŠĺ&#x192;˝â&#x2122;§ç??ćś&#x192;犥î&#x161;&#x17D;
),î&#x161;&#x2030;é¸?ĺ&#x192;˝ć¤?ă&#x2013;&#x2C6;朸â&#x2122;§ç??ĺ&#x201E;&#x2DC;ăźżď&#x2DC;ˇć¤?ă&#x2013;&#x2C6;ĺ&#x2030;¤ăŁ?ę&#x2020;&#x20AC;朸ĺ&#x20AC;&#x17E;č° é ŻăšťâśžâĄ˛ é&#x201A;?麨č?&#x2C6;ä&#x160;šćś¸ĺ&#x20AC;°ĺ˛ ď&#x2DC;ˇăźŠä§Žâ˘ľé&#x201C;&#x17E;ď&#x2DC;šĺ&#x161;&#x152;ä&#x2122;&#x201A;ĺ&#x192;˝ĺ&#x2030;&#x201C;ę&#x2026;žé&#x160;´ćś¸ď&#x2DC;ˇâĄšé&#x160;´ä&#x2013;&#x192;âľš
éš&#x17D;ď&#x2DC;šă˝ ꨞé&#x160;´ĺ&#x161;&#x152;ä&#x2122;&#x201A;ď&#x2DC;ˇâĄšé&#x160;´äŞŞăźŚâĄšč?&#x2C6;ä&#x160;šćś¸ć Źć&#x161;śâ&#x203A;&#x201C;č´&#x2013;ď&#x2DC;ˇăĽśĺ?&#x201C;ăŁ?ăšť ă&#x20AC;Ťĺ&#x192;˝ĺľĽĺ&#x20AC;´é&#x201A;?ęŹ&#x2014;ď&#x2DC;šć&#x2019;&#x2018;ĺ&#x160;Ľăš&#x2019;ç&#x152;°ď&#x2DC;šé˝Ąă˝ ăŁ&#x2013;ć?&#x201A;çż?â&#x153;Ťď&#x2DC;ˇ
ART.ZIP: What do you think your next step is?
"35 ;*1î&#x161;&#x2030;ä?Ąâ&#x2122;´â&#x2122;§ĺ§żćś¸é&#x17D;&#x2122;âˇ&#x201D;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;î&#x161;&#x17D;
technology. I work from the centre of the concept. One of my next projects,
ĺ´Šď&#x2DC;ˇä§Žćś¸âśžâĄ˛éżŞĺ&#x192;˝ä&#x2013;°ĺ&#x161;&#x152;ä&#x2122;&#x201A;朸ĺ&#x2018;?ä&#x2014;ąâ´&#x20AC;朎朸ď&#x2DC;ˇä§Žćś¸ĺ&#x20AC;&#x17E;갪暥â&#x203A;&#x201C;
HK: Now I work on three or four new projects. I don t want to follow
I had a residency in a particle accelerator in France. I spent one week there
and they asked me to create a piece. I don t know exactly which technology I
will use, but I have to deďŹ ne my direction and what I want to say. I don t want
just to play with the particle accelerator. I want to ďŹ nd the link between it and humans. Now we can make very complicated calculations with computers. A computer is now very important to understand physics.
),î&#x161;&#x2030;ć¤?ă&#x2013;&#x2C6;䧎姝ă&#x2013;&#x2C6;✞⥲â&#x2122;˛ă&#x201D;&#x2039;âŚ?ĺ&#x20AC;&#x17E;갪暥ď&#x2DC;ˇä§Žâ&#x2122;śä&#x;?éˇ&#x2020;ęŚ&#x2018;äŞŽé Żć&#x192;? â&#x2122;§ď&#x2DC;šâ¤&#x2018;ĺ&#x192;˝ę˝?ćŽ&#x2020;ĺ˛ ă&#x2022;&#x153;â&#x2122;§âŚ?çŁ?㜊â¸&#x2C6;é¸ ă?źćś¸ę°ŞćšĄď&#x2DC;ˇä§Žă&#x2013;&#x2C6;齥é&#x2026;ä&#x2013;&#x160;
â&#x153;Ťâ&#x2122;§âŚ?ĺ&#x192;¤ĺ&#x160;?ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;é&#x160;´ä§ŽâśžâĄ˛â&#x2122;§â&#x;?⥲ă&#x2026;ˇď&#x2DC;ˇä§Žâ&#x2122;śç&#x201E;ˇăš 䧎ĺ&#x2030;&#x161;⢪ 揽â&#x17E;&#x160;ë&#x17E;&#x2020;äŞŽé ŻäŠ&#x203A;媯ď&#x2DC;šâĄ&#x17D;䧎ä&#x2014;łę°ĺ&#x192;&#x2C6;ç&#x201E;ˇä§Žćś¸ĺ&#x20AC;°ă ˘ă&#x201E;¤é&#x160;´é&#x201A;?麨朸ĺ&#x152;&#x152;
é&#x160;Żď&#x2DC;ˇä§Žâ&#x2122;śä&#x2039;&#x17E;ĺ&#x160;&#x2020;č?&#x2C6;ä&#x160;šă&#x20AC;Ťĺ&#x192;˝ă&#x2013;&#x2C6;ć˘&#x2013;ä&#x2019;&#x161;çŁ?㜊â¸&#x2C6;é¸ ă?źď&#x2DC;ˇä§Žä&#x;?䪪â´&#x20AC;çŁ?㜊 â¸&#x2C6;é¸ ă?źă&#x201E;¤â&#x17E;&#x192;겳â&#x203A;&#x201C;ę&#x;Śćś¸č&#x20AC;˘ç˛Żď&#x2DC;ˇć¤?ă&#x2013;&#x2C6;䧎âŚ&#x203A;č&#x2026;&#x2039;揽é&#x17D;&#x2122;ç&#x161;żĺ Ľéš&#x17D;é ¤ĺ&#x2122;˛
â°Śä&#x2014;&#x201A;꧚朸éş&#x152;ç&#x161;żď&#x2DC;ˇé&#x17D;&#x2122;ç&#x161;żĺ ĽăźŠĺ&#x20AC;´ć¤&#x161;é?&#x2018;ć&#x161;&#x;ć¤&#x161;鼹襽ĺ&#x2122;˛ć?&#x20AC;ę&#x2026;žé&#x160;´ćś¸âĄ˛ 揽ď&#x2DC;ˇ
Herman Kolgen, Seismik.
GRAFFITI WITH SOUND AND LIGHT INTERVIEW WITH MARK LYKEN 䕧갉㝣뒩 㼠鏞꼛⯘v蟚肤
*/5&37*&8&% #: 䱰鏞 )"33: -*6 ⷠ畹兑 53"/4-"5&% #: 缺陼 $"* 46%0/( 詍豣匌 *."(&4 $0635&4: 0' 㕭晙䲿⣘ 40/*$" 耪갉谀遮眎
Mark Lyken is an artist, filmmaker and composer based in rural
Dumfries & Galloway in Scotland. Utilizing his gifts as a musician
as well as a painter, he now creates observational film, music, and sound works, together with performances and installations that
have been presented nationally and internationally. His current work
explores the relationships to place and the interplay between nature and culture. This has led to collaborations with artists and scientists,
most notably from the University of Aberdeen s School of Biological Sciences. His film Mirror Lands, which co-directed with Emma Dove,
won the Award for Creativity at the IFFEST Documentary Art Festival 2014 in Bucharest and his latest audio-visual commission Oscillon Response premiered in Glasgow at Sonica 2015.
꼛⯘˙蟛肥僽♧そ谁遯㹻㼬怵Ⱟ⡲刼㹻䌢꽏豤呔貽涸ꀶ䒼ꅽ
倛莅峫ꯂ♧䌟㔔捀傍䎃鞮㺢涸갉坿ㄤ谁遯竤娜㥶➛➮䫏魨
ⶾ⡲錚㻌䚍ꨶ䕧갉坿ⷜㄤ耫갉⡲ㅷ㽍Ⱖ僽穡ざ✫邍怵ㄤ酤縨
䕎䒭涸耫갉⡲ㅷ傍䊺❧隘㕜Ⰹ㢫➮鵜劍涸⡲ㅷ♶⫦䱳鎣✫㖒倰
橇㞯ꡠ⤚ㄤ荈搭莅俒⻋⛓涸湱✽⡲欽刿僽⤛鹎✫谁遯㹻ㄤ猰
㷸㹻⛓涸騗歲ざ⡲Ⱖ⚥剓⧩䖤ꡠ岤涸㽠僽莅❏⠭♨㣐㷸欰暟
猰㷸㷸ꤎ涸ざ⡲姽㢫➮莅蒕槈˙麨㣗Ⱏず䭸㼬涸倞鵜ꨶ䕧շꖏ
㖒ո囙栽✫ 䎃*''&45私ꏗ晚谁遯眏涸ⶾ䠑㣐栁 䎃涸鋕
聃㨽⟤갪湡շ爚岚⿾䥰ո⛳㖈4POJDB耫갉谁遯眏㕩怏㸤䧭껷怵
Mark Lyken, Oscillon Response, Performance at Sonica 2015. Photo by Harry Liu.
ART.ZIP: Would you tell us a bit of your background and how did you start your practice?
"35 ;*1î&#x161;&#x2030;é&#x201D;&#x17E;ä?Ąâ&#x17E;?稲â&#x2122;§â&#x2122;´ä?Ąćś¸âśžâĄ˛č&#x192;?ĺ&#x2026;&#x17E;ď&#x2DC;šâ&#x;&#x192;âżťä?Ąĺ&#x192;˝ä&#x2122;Śĺ&#x17E;ş
separate things. I did an artist residency in the highlands with the School of
ä&#x2022;§ď&#x2DC;šä§Žé&#x2039;&#x2022;ć?&#x20AC;㸤ď&#x2C6;Łć Źç&#x201D;¨ćś¸â°?â&#x;?â&#x153;˛ä&#x17E;&#x2022;ă&#x2013;&#x2C6;â¨&#x17E;ď&#x2DC;ˇä§Žĺ&#x2030;&#x17D;獤ă&#x2013;&#x2C6;ęŁ&#x161;â â&#x2122;¨
ML: For 24 years or so I made electronic music and pieces of ďŹ lm as completely Biological Sciences at the University of Aberdeen, so I worked with ecologists.
They had a ďŹ eld station in a place called Cromarty, and they look at the impact of tourism and shipping on the local marine population. As I was interested in sand, I managed to get this amazing residency and go and hang with marine
biologists who do lots of underwater recordings. It was an absolute dream and a real turning point for me. They gave me a chance; they saw something in
my work, the music that I d made and the visuals. By that time, I d moved into
doing gallery paintings based on meteorological phenomena. I did a six-month residency with them and after that things kind of snowballed.
ART.ZIP: What do you think is the common theme throughout your work? What s your focus?
ML: It s mostly about sound. I m also interested in people s relationship to place. Why people are there, what they feel about it and then interviewing the next person. Their relationship to their town, city or village is completely diďŹ&#x20AC;erent to the person living next door. So I m really interested in those stories. I m interested in small and big. I think there s real poetry there.
ART.ZIP: For your performance Oscillon Response, you used the same machine to produce the work, but the original data is lost. What s the story?
ę&#x;&#x161;㨼✞⥲揰ĺˇ&#x2020;朸î&#x161;&#x17D;
.-î&#x161;&#x2030; ä&#x17D;&#x192;â&#x;&#x192;⢾䧎â&#x2122;§ćšŹă&#x2013;&#x2C6;✞⥲ꨜ㜊ę°&#x2030;ĺ?żď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;äŹ?â&#x2122;§â?&#x2030;ꨜ ăŁ?㡸朸揰ć&#x161;&#x;ç&#x152;°ăˇ¸ăˇ¸ę¤&#x17D;⿎â¸&#x2C6;éş&#x2022;č° é Żăšťę˝?ćŽ&#x2020;갪暥ď&#x2DC;šé˝Ąĺ&#x201E;&#x2DC;䧎ă&#x201E;¤
揰ä˘&#x20AC;㡸㚝â°&#x;â&#x153;˛ď&#x2DC;ˇâ&#x17E;ŽâŚ&#x203A;ă&#x2013;&#x2C6;â&#x2122;§ âŚ?ă&#x20AC;âŻ&#x2DC;çš?ęź&#x203A;裌朸ă&#x2013;&#x2019;ĺ&#x20AC;°ĺ&#x2030;¤â&#x2122;§ âŚ?
ę&#x2026;żă˘Ťé&#x152;&#x161;ĺş ç&#x2022;&#x20AC;ď&#x2DC;šćŹ˝ĺ&#x20AC;´é&#x152;&#x161;ĺş ĺ &#x2021;éş&#x2030;ă&#x201E;¤č?ťéş&#x152;㟊掚ă&#x2013;&#x2019;ĺľłĺł&#x2022;ç??çş&#x2C6;朸ä&#x2022;§ ę° ď&#x2DC;ˇć&#x2039;ĺ&#x20AC;´ä§ŽăźŠĺ°Şĺ&#x2030;¤čĄ˝ć&#x2026;ŽâžŠćś¸č&#x17D;&#x2021;錹ď&#x2DC;šä§Žâ¤&#x2018;é?¤ĺ˛ ⿎â¸&#x2C6;â&#x153;Ťé¸?âŚ?
갪暥ď&#x2DC;šâ&#x161;&#x203A;ă&#x201E;¤ĺľłĺł&#x2022;揰ć&#x161;&#x;㡸㚝â&#x2122;§éĽąä&#x160;¨âĄ˛ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;ę?&#x2014;âľ&#x2013;â&#x153;Ťä&#x2013;&#x17D;㢾ĺŽ?â&#x2122;´ ç¨&#x2021;ĺ&#x2039;&#x17E;ď&#x2DC;ˇé¸?媯獤ĺ¨&#x153;㟊䧎ç˝&#x153;é&#x17D;&#x160;ĺ&#x192;˝ăŁ&#x2020;ä&#x17D;&#x2018;č?&#x203A;朸ď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;â&#x203A;łĺ&#x192;˝ä§Žćś¸éą˛
äŤ&#x201D;ë&#x;&#x160;ď&#x2DC;ˇâ&#x17E;ŽâŚ&#x203A;çŞ?â&#x153;Ťä§Žă¤?ĺ Ľď&#x2DC;šâ&#x203A;łĺ§ťĺ&#x192;˝â&#x17E;ŽâŚ&#x203A;朎乥â´&#x20AC;䧎朸⥲ă&#x2026;ˇî&#x2122;ˇâşŤ ä?ę°&#x2030;ĺ?żă&#x201E;¤ä&#x2022;§âŤšâĄ˛ă&#x2026;ˇî&#x2122;¸â&#x161;Ľć Źć&#x161;śćś¸ĺ&#x152;&#x152;é&#x160;Żď&#x2DC;ˇä&#x2013;°é˝Ąĺ&#x201E;&#x2DC;鼹ď&#x2DC;šä§Žä&#x160;şçŤ¤ę&#x;&#x161;
㨼✞⥲č&#x17D;&#x2026;ĺľé&#x;?ć¤?é&#x;?ĺ&#x2030;¤ęĄ 朸掼⥲â&#x153;Ťď&#x2DC;ˇä§Žă&#x201E;¤â&#x17E;ŽâŚ&#x203A;â°&#x;â&#x153;˛â&#x153;Ťâ°&#x2122;âŚ? ĺ&#x2030;˘ď&#x2DC;šă&#x2013;&#x2C6;齥â&#x203A;&#x201C;ä&#x2013;&#x2022;ď&#x2DC;šâ&#x2122;§â´&#x2014;㽠㼜ă &#x161;ć&#x20AC;&#x17D;ę¨&#x201D;ć¤&#x2022;č?&#x203A;ăĄăŁ?鼹⢾â&#x153;Ťď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;ä?Ąé&#x2019;˘ć?&#x20AC;éĄ?ç&#x2018;ä?Ąä¨žĺ&#x2030;¤âĄ˛ă&#x2026;ˇćś¸â&#x161;şę˛&#x2014;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;î&#x161;&#x17D;ä?Ąćś¸ âŠ&#x17D;ę&#x2026;žë&#x;&#x160;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;î&#x161;&#x17D;
.-î&#x161;&#x2030;䧎朸ăŁ?㢾䞸⥲ă&#x2026;ˇĺ&#x192;˝ęĄ ĺ&#x20AC;´č&#x20AC;Ťę°&#x2030;朸ď&#x2DC;ˇä§ŽéźŠăźŠâ&#x17E;&#x192;âŚ&#x203A;ă&#x201E;¤č´&#x2013;䨞 â&#x203A;&#x201C;ę&#x;Śćś¸ęĄ â¤&#x161;ĺ&#x2030;¤čĄ˝ć&#x2026;ŽâžŠćś¸č&#x17D;&#x2021;錹ď&#x2DC;ˇä§Žĺ&#x2030;&#x161;ă&#x2030;?â&#x17E;&#x192;âŚ&#x203A;⿥âľ&#x152;ĺ&#x17D;ĽâŚ?ă&#x2013;&#x2019;ĺ&#x20AC;°
朸➲ă&#x201D;&#x201D;ď&#x2DC;šé˝ĄâŚ?ă&#x2013;&#x2019;ĺ&#x20AC;°ä&#x152;&#x;çŞ?â&#x17E;ŽâŚ&#x203A;ćś¸ä Žă&#x20AC;&#x152;ď&#x2DC;šć?ä&#x2013;&#x2022;â&#x2122;§âŚ?â&#x17E;&#x192;ç?乺襽 â&#x2122;§âŚ?ă&#x2013;&#x2019;é&#x2018;&#x2030;ă&#x2030;?ď&#x2DC;ˇâ&#x17E;&#x192;âŚ&#x203A;㟊ĺ&#x20AC;´č?&#x2C6;ä&#x160;šă&#x201E;¤ă&#x2122;šę&#x201D;Šď&#x2DC;śă&#x2122;šä&#x2039;&#x2018;䧴ç˝?ę&#x20AC;&#x20AC;ĺ&#x2039; ćś¸ęĄ â¤&#x161;朸ćş?ĺ˛ č&#x17D;&#x2026;â&#x17E;ŽâŚ&#x203A;朸ę &#x2C6;ăž&#x20AC;朸ćş?ĺ˛ ă¸¤ď&#x2C6;Łâ&#x2122;śă &#x161;ď&#x2DC;ˇä§ŽăźŠé¸?â?&#x2030;佌â&#x153;˛
ęŹ&#x152;ä&#x152;˘ä Žč&#x17D;&#x2021;錹ď&#x2DC;šć?&#x201A;é&#x201D;¸ä˝Śâ&#x153;˛é°&#x2039;ę&#x2026;žď&#x2DC;ˇä§Žé&#x152;?ä&#x2013;¤é¸?é&#x2026;ęŹ&#x2014;ĺ&#x2030;¤ćşŤĺ§ťćś¸é&#x2018;&#x2DC; ä &#x2018;㜸ă&#x2013;&#x2C6;ď&#x2DC;ˇ
ML: Yes, it s an oscilloscope, from the 1950 s, completely analogue; the trace
"35 ;*1î&#x161;&#x2030;ă&#x2013;&#x2C6;Őˇç&#x2C6;&#x161;ĺ˛&#x161;⿞估ոć¤?ă&#x153;Ľé&#x201A;?ć&#x20AC;ľâ&#x161;Ľď&#x2DC;šä?Ąâ˘ŞćŹ˝â&#x153;ŤćŽšâ´˛âśž
it s gone. Ben Laposky, who made the original Oscillons, would photograph
ëĽ&#x152;⿥č&#x2026; ĺ&#x192;˝ä&#x2122;Śĺ&#x17E;şćś¸î&#x161;&#x17D;
patterns are on the screen. You feed sound in, you see the patterns and then them with high-speed ďŹ lm and freeze those moments in time. When I came to do it, essentially I did the same thing. I had a really good camera, but with
a low-tech solution. I had a black material hood over the oscilloscope and me and I was just ďŹ lming. I had a modular synthesizer, so I had modules feeding
sound into the oscilloscope. It s a digital transfer of an analogue process. I was essentially using the same process as Laposky and I took all that raw footage
and then edited it digitally. I treated it like it was ďŹ lm, I wanted there to be some kind of narrative and structure.
I m really interested in mixing those two worlds: analogue and digital. I made digital work for a long time and I felt I was missing that tangible connection.
With the music as well, I started to get back to using synthesizers, things that I could touch, which I think is really important. I think there s a disconnection
⥲ĺ&#x201E;&#x2DC;朸ă &#x161;â&#x2122;§ă¤&#x203A;é?¤âŞ&#x201D;ď&#x2DC;šâĄ&#x17D;➲㨼䞸äş&#x2122;⽿â&#x161;&#x201C;ăŁ&#x;â&#x153;Ťď&#x2DC;ˇé¸?â°Śâ&#x161;Ľćś¸â˘ľ .-î&#x161;&#x2030;ĺ&#x192;˝ćś¸ď&#x2DC;šé˝Ąĺ&#x192;˝â&#x2122;§č?Š ä&#x17D;&#x192;â&#x17E;żćś¸ç&#x2C6;&#x161;ĺ˛&#x161;ă?źî&#x2122;ˇâ&#x2122;§ç??č&#x2026;&#x2039;㣠ęł?ç&#x2C6;&#x161; ꨜ㠺âĽ&#x152;č´Ťâš&#x203A;ä˘&#x20AC;ĺ˛&#x161;ä&#x2022;&#x17D;ćś¸ę¨śăśŠĺş ę&#x2020;&#x20AC;â&#x2018;ă?źî&#x2122;¸ď&#x2DC;šă¸¤ď&#x2C6;Łę&#x2026;ˇćŹ˝ĺ&#x17E;¸äşźâĽ&#x152;
č´Ťî&#x161;&#x160;鎨é¨&#x2039;ă&#x2022;ŹâŤšęł?ç&#x2C6;&#x161;ă&#x2013;&#x2C6;ăž&#x201C;ä?&#x152;â&#x2122;łď&#x2DC;ˇâĄšäąşâ°&#x2026;â&#x2122;§âŚ?č&#x20AC;Ťę°&#x2030;ď&#x2DC;šă˝ ă&#x20AC;łâ&#x;&#x192;ćş? âľ&#x152;ă&#x2022;ŹâŤšď&#x2DC;šć?ä&#x2013;&#x2022;ă&#x2022;ŹâŤšéą˛ćž&#x2013;â˝°é¸&#x161;ď&#x2DC;ˇç&#x2C6;&#x161;ĺ˛&#x161;朸➲✞ç˝?ĺ&#x160;ĽË&#x2122;äŹ&#x2DC;â˝&#x2C6;ĺ&#x20AC;&#x203A;ă&#x203A;&#x2021;
ĺ&#x2030;&#x161;揽ë&#x201E;&#x17E;é¸ č&#x160;Łć&#x2122;&#x161;䪞ă&#x2022;ŹâŤšäŹ?â&#x2122;´â˘ľď&#x2DC;ˇç˝&#x153;䧎â&#x203A;łę&#x2026;ˇćŹ˝ă &#x161;ĺ&#x17E;şćś¸ĺ&#x20AC;°ĺ˛ ď&#x2DC;ˇ 䧎ĺ&#x2030;¤â&#x2122;§č?ŠęŹ&#x152;ä&#x152;˘ăĽŞćś¸ćšąĺ Ľď&#x2DC;šâĄ&#x17D;⢪ 揽ĺ&#x20AC;°ĺ˛ ä&#x17D;&#x2122;â&#x203A;&#x2013;ĺ°?ĺ&#x2030;¤äŞŽé Ż ă&#x201A;?
ę&#x2020;&#x20AC;Ő&#x201A;ă˝ ĺ&#x192;˝ćŹ˝ë&#x17E;ąč&#x2019;&#x20AC;朸ç¸&#x;㜊ç¸&#x;âĄ&#x17E;ç&#x2C6;&#x161;ĺ˛&#x161;ă?źă&#x201E;¤č?&#x2C6;ä&#x160;šď&#x2DC;šć?ä&#x2013;&#x2022;ę&#x;&#x161;㨼äŹ? ć&#x2019;&#x2018;ď&#x2DC;ˇä§Žâ&#x203A;łĺ&#x2030;¤â&#x2122;§ă&#x20AC;ľĺ&#x17E;¸ă?&#x2020;âť&#x2039;ă &#x2013;ä§ă?źď&#x2DC;šă&#x201D;&#x201D;姽䧎č&#x2026;&#x2039;揽ĺ&#x17E;¸çŠ&#x2030;çŞ?ç&#x2C6;&#x161;ĺ˛&#x161;
ă?źéą&#x2019;â°&#x2026;č&#x20AC;Ťę°&#x2030;ď&#x2DC;šäł&#x2013;ă&#x20AC;Łé&#x2018;¨é&#x201C;&#x17E;ď&#x2DC;šä§ŽäŞžĺ&#x17E;¸äşźâĽ&#x152;贍䞸㜜âť&#x2039;â&#x153;Ťď&#x2DC;ˇä§Žă&#x201E;¤äŹ&#x2DC; â˝&#x2C6;ĺ&#x20AC;&#x203A;ă&#x203A;&#x2021;朸âľ&#x2013;⥲éş&#x2022;ç&#x17D;&#x2018;ĺ&#x192;˝â&#x2122;§ĺ&#x17E;şćś¸ď&#x2DC;šä§Žä˝?ę§&#x152;â&#x153;Ťä¨žĺ&#x2030;¤ćś¸ä? ć&#x2122;&#x161;ď&#x2DC;šć? ä&#x2013;&#x2022;éš&#x17D;é ¤äž¸ăśśâť&#x2039;玥éą&#x20AC;ď&#x2DC;ˇä§ŽäŞžă¸?掚⥲ꨜä&#x2022;§â˘ľăźŠä&#x2013;&#x160;ď&#x2DC;šä§Žä&#x;?é&#x203A;&#x160;⥲ ă&#x2026;ˇĺ&#x2030;¤â&#x2122;§ë&#x;&#x160;äž&#x192;â&#x153;˛ä&#x161;?ă&#x201E;¤çŠĄĺ&#x153;&#x201C;ä&#x161;?ď&#x2DC;ˇ
with digital, so I wanted to be able to engage with it in a tactile way.
䧎ęŹ&#x152;ä&#x152;˘ć&#x201D;¨é&#x201A;Şĺ&#x20AC;´ăź&#x;é¸?â°?âŚ?â&#x161;&#x2020;ć˛čź&#x2018;ă &#x2013;ă&#x2013;&#x2C6;â&#x2122;§éĽąî&#x161;&#x2030;ĺ&#x17E;¸äşźâ&#x161;&#x2020;ć˛ă&#x201E;¤äž¸
ART.ZIP: What do you think digital art is? Is there a way to describe such a large ďŹ eld?
ę&#x;&#x161;㨼ä§&#x192;ä&#x2122;&#x201A;î&#x2122;ˇĺ&#x17E;¸äşźäŠ&#x203A;媯î&#x2122;¸é˝Ąç??ćş?ä&#x2013;¤é&#x2039;&#x2026;䡏ä&#x2013;¤čĄ˝ćś¸č&#x20AC;˘ç˛Żď&#x2DC;ˇé¸?ă&#x2013;&#x2C6;ę°&#x2030;
ML: I think it s like anything else. It s a medium, another set of tools to produce work. Whether it s a brush, camera or a mouse, it s all to do with taste, your
aesthetic sensibility. For me personally, I like to be able to introduce a tactile
ăśśâ&#x161;&#x2020;ć˛ď&#x2DC;ˇä§ŽâśžâĄ˛äž¸ăśśâĄ˛ă&#x2026;ˇä&#x160;şçŤ¤ĺ&#x2030;¤ä&#x2013;&#x17D;ę&#x;&#x20AC;ĺ&#x201E;&#x2DC;ę&#x;Śâ&#x153;Ťď&#x2DC;šä§Žé&#x152;?ä&#x2013;¤ä§Ž ĺ?żâ&#x2122;łâ&#x203A;łâ&#x2122;§ĺ&#x17E;şď&#x2DC;šä§Žę&#x;&#x161;㨼ę&#x2026;žĺ&#x20AC;&#x17E;⢪揽ă &#x2013;ä§ă?źď&#x2DC;šé¸?ĺ&#x192;˝ä§Žč&#x2026;&#x2039;é?¸äˇŹâľ&#x152;
朸ĺ&#x152;&#x152;é&#x160;Żď&#x2DC;šé¸?ĺ&#x192;˝ä&#x2013;&#x17D;ę&#x2026;žé&#x160;´ćś¸â&#x2122;§ë&#x;&#x160;ď&#x2DC;ˇä§Žé&#x152;?ä&#x2013;¤äž¸ăśśäŠ&#x203A;媯çˇ&#x201E;â&#x203A;&#x2DC;溍ăť&#x153; 朸č&#x20AC;˘ç˛Żď&#x2DC;šă&#x201D;&#x201D;姽ď&#x2DC;šä§Žä&#x2039;&#x17E;ĺ&#x160;&#x2020;揽ă&#x20AC;łé?¸ćś¸éłľĺ˛ éš&#x17D;é ¤äž¸ăśśâť&#x2039;✞⥲ď&#x2DC;ˇ
element, but everything we do, even if it s an analogue process, is recorded
"35 ;*1䝡錏䖤侸㶶谁遯僽➊랆剤尝剤♧珏倰岁〳
capturing that data.
.-䧮錏䖤鸏㽠ㄤⴽ涸匌銯♧垺鸏僽欽⢵ⶾ⡲涸♧珏
digitally, and you can t escape that. It s just numbers, 0 s and 1 s, it s a way of
ART.ZIP: Why do you have a digital methodology in your work?
ML: Again, because it s an accessible tool and it s what I grew up with. I m 42 and when I was growing up both my parents worked for a company called Timex, and the factory in the town where I lived made the ZX Spectrum
computers in the early 80 s. So we all had these computers. Those computers didn t do anything unless you programmed them, so we all had a little
understanding of programming, and we all grew up with computers, from a really early age. I had my first computer in1982, and that s kind of incredible.
⟃䲾鶤㥶姽㻫岌涸걆㚖
㯯➝♧㤛倞涸䊨Ⱘ♶盘欽涸僽殥瘘撑湱堥鼩僽롗
垦剓ꅾ銴涸鼩僽⡹涸ㅷㄤ㻤繡䞕馱㼩䧮⦐➃罜鎊 䧮䋞劆腋㣁䒸Ⰵ♧럊〳鍸䚍涸⯋稇⡎僽䧮⦛⨞涸⟤
⡦✲䞕㽠皿僽垸亼⥌贫涸匌銯鿪僽欽侸㶶涸倰岁ꏗⵖ
♴⢵涸鸏僽尝岁鷗鼚涸䧮⦛剤涸〫剤侸㶶 ㄤ 鸏 㽠僽栽《侸亙涸倰岁
"35 ;*1䝡涸⡲ㅷ⚥捀⡦⯏怏侸㶶䩛媯
.-㔔捀侸㶶䩛媯僽♧珏㈰䩛〳䖤涸䊨Ⱘ䧮䖰㼭㽠ㄤ 㸐䩧❜麥䧮植㖈 娔㼭儘⦬䧮涸昿嫢㖈♧㹻そ捀岲
哆⯘倛涸Ⱇ♳棵罜偫♴涸䊨䑖㖈 䎃➿劍㽠 㨥ⵖ鸤;9 4QFDUSVN鎙皿堥䨾⟃䧮⦛齡儘㽠鿪剤ꨶ舡 ✫齡儘⦬涸ꨶ舡銴⡹窍㸐⦛鏤縨玑䎸や㸐⦛➊
랆鿪⨞♶✫䨾⟃䧮⦛䖰㼭㽠㼩管玑剤䨾✫鍑罜⚂〳⟃
铞僽ㄤ鎙皿堥♧饱Ꟁ㣐涸䧮㖈 䎃㽠剤✫痧♧荩ꨶ ㄤ侸㶶䊨Ⱘ䩧❜麥㼩䧮⢵铞僽䖎荈搭涸✲䞕㔔捀齡❉ ꨶ舡僽䖎矦㋲涸䨾⟃䧮⦛〳⟃荈䊹䩧ꨶ舡⥜椚鸏
垺䧮⦛㽠剤鋷荈♳䩛涸擿䜫䠮䧮涸昿嫢㽠僽ⵖ鸤鸏❉ ꨶ舡涸䨾⟃ꨶ舡Ⰹ鿈涸䞕屣䧮⦛僽䖎幢嘽涸
"35 ;*1植㖈䧴鏪剤鸏垺♧珏䪡鐱⽰倞♧➿涸侸㶶
谁遯㹻⦛刿ꡠ䗱⡲ㅷ涸繡㷸罜ꬌⰦ胝䖕涸嚌䙂➮⦛籏 僽䘑倴鷆宠倞涸佪卓䝡㼩姽䙦랆溏
.-鸏ㄤⴽ涸匌銯♧垺侸㶶谁遯僽⟂➃莇㥅涸⡎⡹
剓♶䟝⨞涸㽠僽ⶾ⡲垸⟬ⴽ➃涸⡲ㅷ㔔捀鸏䖎䘰㽠剚
麕儘鸏㽠⫹溽⯕涸⢪欽♧垺植㖈⡹溏溏 䎃➿涸 䑞デⵌ贖鿪欽✫溽⯕鸏㣖䛌䙳✫䖰䧮荈䊹涸錬䏞⢵ 溏䧮䋞劆⫹ⶩ鱀溫㻜涸芣晚ㄤ煂䌟齡垺⢪欽倞䪮遯
䧮䋞劆⫹⢪欽垸亼䩛媯齡垺⢪欽侸㶶䊨Ⱘ〫♶麕䖕罏 刿矦㋲䨾⟃䧮䩞欽㸐⡹銴➊랆㽠⢪欽➊랆尝剤 䗳銴㼩姽끇䛌䧮錏䖤➃⦛䪾侸㶶殹⡲➊랆䨔搭♶
ず涸匌銯僽䖎尝麥椚涸侸㶶谁 遯涸㉏겗㖈倴㸐涸欴
ⴀ侸㶶⡲ㅷ涸欴ⴀ㣖䘰✫⫹䩧⽫嵳㜡♧垺㺂僒➃⦛ 㼩姽䖎ꨈ䱺「鸏溫涸僽䖎끇殯涸✲䞕
"35 ;*1䝡钢捀谁遯ㄤ䪮遯⛓剤⡦ꡠ⤚䪮遯〫僽 䌟⢵✫倞䊨Ⱘ㌨鼩僽㸐佖隶✫谁遯涸眕毑
.- 䧮钢捀鸏Ⰽ罏僽♶荈⚺㖒湱✽䪜䭰ゅ鸏㽠⫹♧⦐
䚓㕖⡹⢪欽♧珏䊨Ⱘ涸倰岁⽿〳腋♶僽ⵖ鸤罏⦛䨾⾲
⯓鏤䟝涸➃⦛籏僽䲀⹛衽♧ⴗ鹎➃⦛籏僽剚罜⚂ 剤姻殹涸椚歋欽ꐫ铐涸倰岁⢪欽䊨Ⱘ⡹籏剚欽管
玑➃㆞♶剎鏤䟝麕涸倰䒭⢪欽厥珏䥰欽䊨Ⱘ鸏僽♧⟝ 㥪✲㔔捀鸏㽠僽➃䚍
Mark Lyken. Photographed by Harry Liu.
舡鸏僽䯆♶〳䙼陾涸✲䞕
Mark Lyken, The Terrestrial Sea. Performance at Sonica 2015. Photo by Tommy Ga Ken Wan
That kind of digital way feels natural. The thing about those computers was
"35 ;*1î&#x161;&#x2030;ă?¤ë&#x2019;Şäż&#x2019;âť&#x2039;ĺ&#x192;˝ă&#x201A;&#x201E;â&#x203A;łăźŠä?Ąĺ&#x2030;¤čĄ˝ä&#x2022;§ę° ď&#x2DC;žď&#x2DC;ž
so you had that hands-on feel. My parents made them, so I knew what was
ĺ&#x20AC;°ď&#x2DC;šć?ä&#x2013;&#x2022;⍚㟊ä&#x2013;&#x160;ăŁ?掼ä&#x2039;&#x2019;â&#x2122;§ĺ&#x17E;şäŠ§ę&#x2020;&#x20AC;ç&#x2018; ę&#x;Śćś¸ăŁ?ăźď&#x2DC;ˇé¸?ç??獤ĺ¨&#x153;
that you could open them up and repair them, because they were quite simple, inside them.
ART.ZIP: There is, perhaps, a criticism that a new generation of digital artists cares more about the aesthetics of a work rather than a concept behind it. They are busy chasing the new eďŹ&#x20AC;ect. What do you think? ML: I think it s like anything. It is quite exciting, but the last thing you want
to do is to make work that follows any kind of fashion because it s going to
date. It s like when lens ďŹ&#x201A;are came out, now you look at advertising from the
90 s and everything has lens ďŹ&#x201A;are, it s just horrible. Personally, I like to use the
technology in the same way as if I was cutting actual ďŹ lm or tape. I like to use digital tools in the same way as if I was doing an analogue process. It s just
much easier, that s why I use it. You can have everything in your bag that you
need. There s no reason to be scared of that. I think it s crazy that people would regard it as any diďŹ&#x20AC;erent. It s all about output, that s the problem with digital art. It s printed out; people have a problem with that process as if it s just a
.-î&#x161;&#x2030;ä&#x2013;°ă?¤ë&#x2019;Şé˝ĄâŻĽč&#x2026;&#x2039;㡸âľ&#x152;â&#x2122;śăźąď&#x2DC;ˇâĄšâżĄé˝Ąâ?&#x2030;ĺ&#x160;Ľâ&#x2122;śé&#x2018;ŞâżĄćś¸ă&#x2013;&#x2019; é&#x203A;&#x160;⥚ć&#x161;śâ´˝ă&#x160;Ľĺ&#x20AC;´č&#x17D;&#x2026;ç&#x2018; ę&#x;Śâ&#x153;˝âš&#x203A;ď&#x2DC;ˇä¨žâ&#x;&#x192;ä&#x2013;°ă?¤ë&#x2019;Şé˝Ąé&#x2026;䧎㡸âľ&#x152;â&#x2122;śăźą
ĺ&#x152;&#x152;é&#x160;Żď&#x2DC;ˇćŽšä§Žéš&#x17D;â°&#x2026;â&#x2122;§âŚ?䨟ę&#x;Śď&#x2DC;šä§Žă&#x20AC;łč&#x2026;&#x2039;ă˝ â&#x2122;śâą&#x201E;â&#x;&#x192;ç˛ćŽĽćś¸ĺ&#x20AC;°ä&#x2019;
ç˝&#x152;äŁ&#x201A;ă¸?â&#x153;Ťď&#x2DC;šä§Žĺ&#x2030;&#x161;ç˝&#x152;äŁ&#x201A;䧎č&#x2026;&#x2039;㟊ă¸?â¨&#x17E;â?&#x2030;â&#x17E;&#x160;ë&#x17E;&#x2020;ď&#x2DC;ˇâ˘żăĽśä§ŽâŚ&#x203A;ć¤?ă&#x2013;&#x2C6;
䨞ă&#x2013;&#x2C6;朸䨟ę&#x;Śď&#x2DC;šä§Žč&#x2026;&#x2039;č &#x192;âľ&#x152;ă&#x201D;?č&#x20AC;Ťď&#x2DC;šä§Žĺ§ťă&#x2013;&#x2C6;ç˝&#x152;äŁ&#x201A;ă&#x20AC;łâ&#x;&#x192;ä&#x2122;Śĺ&#x17E;şč´&#x2013;ć¤&#x161; é¸?âŚ?ç&#x2018; ę&#x;Śď&#x2DC;ˇă?¤ë&#x2019;Şĺ&#x192;˝ä&#x2013;&#x17D;ĺ&#x2030;¤ä &#x2018;ä&#x2122;źćś¸ĺ&#x152;&#x152;é&#x160;Żď&#x2DC;šă¸?é&#x203A;&#x160;⥚é&#x161;śä&#x2013;¤ăŁ?č&#x2039; ď&#x2DC;ˇ
䧎ă&#x2039;?姚✞⥲ă¸&#x17E;ęŹ&#x2020;ç˝&#x153;âŻ?ć&#x20AC;?âżžä&#x2122;źä &#x2018;ă&#x201E;&#x201A;朸⥲ă&#x2026;ˇď&#x2DC;ˇâĄ˛ć?&#x20AC;ă?¤ë&#x2019;Şč° é Ż
ăšťď&#x2DC;šćŽšéš&#x17D;é ¤âśžâĄ˛ćś¸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;šâĄšâ&#x2122;śăŁ&#x2013;ĺ&#x2030;&#x161;ęĄ ĺ˛¤č?&#x2C6;ä&#x160;šď&#x2DC;šç˝&#x153;ĺ&#x192;˝é&#x203A;&#x160;č?&#x2C6;ä&#x160;š é&#x161;śä&#x2013;¤ęŹ&#x152;ä&#x152;˘ă¸&#x17E;ęŹ&#x2020;ď&#x2DC;ˇă&#x2013;&#x2C6;é¸?â?&#x2030;ă&#x2013;&#x2019;ĺ&#x20AC;°ď&#x2DC;šâĄšé¸&#x2019;ä&#x152;˘ĺ&#x2030;&#x161;éş&#x201A;âľ&#x152;ĺ&#x2030;¤éŚąď&#x2DC;šĺ&#x2030;¤ĺ&#x201E;&#x2DC;揊
č?&#x203A;ă&#x20AC;łä&#x2122;˛ćś¸â&#x17E;&#x192;ď&#x2DC;ˇä§Žä&#x2013;°â&#x2122;śă&#x2039;?ĺ§šç śăĄ?ä&#x161;?朸ăŁ?ćť&#x17E;é ¤ć?&#x20AC;ď&#x2DC;šä§Žă&#x2039;?姚⿥ 䪪â&#x2122;§â?&#x2030;ä&#x2018;&#x203A;ĺ&#x201D;łćś¸ă&#x153;Ľä¨žď&#x2DC;šć?ä&#x2013;&#x2022;č&#x17D;&#x2026;â°Śćš&#x2C6;ă&#x20AC;łč&#x2026;&#x2039;ă&#x201E;¤é&#x2022;&#x153;â°&#x;č´&#x2013;ď&#x2DC;ˇä§Žä&#x2013;&#x2022;⢾ 朎ć¤?ď&#x2DC;šâ˘ŞćŹ˝ă&#x2018;&#x2018;ć&#x20AC;&#x161;é¸?ë&#x17E;&#x2020;㢾ä&#x17D;&#x192;ä&#x160;şçŤ¤ä&#x2022;§ę° â&#x153;Ťä§Žćś¸â¨´ä? ď&#x2DC;ˇć&#x161;śâ´˝ĺ&#x192;˝
ă&#x2013;&#x2C6; ä&#x17D;&#x192;â&#x17E;żď&#x2DC;šé˝Ąĺ&#x201E;&#x2DC;䧎âŚ&#x203A;揽朸ĺ&#x192;˝éŽŚć&#x20AC;&#x161;ď&#x2DC;šç˝&#x153;ć¤?ă&#x2013;&#x2C6;揽朸ĺ&#x192;˝ę&#x201A;&#x201A;âľ&#x2013; ć&#x20AC;&#x161;ď&#x2DC;ˇä§Žĺ&#x201E;&#x2DC;â&#x2122;śĺ&#x201E;&#x2DC;韊ĺ&#x192;˝ĺ&#x2030;&#x161;✞⥲â&#x2122;§â?&#x2030;ă &#x2014;掼ď&#x2DC;šâĄ&#x17D;揽ä&#x2013;¤ĺ&#x2C6;żă˘ľćś¸ĺ&#x192;˝â&#x153;&#x152; č&#x160;Łă&#x201E;¤â&#x161;&#x2039;ć&#x17D;?ę˛?俲ç&#x2DC;&#x17E;ç&#x2DC;&#x17E;ď&#x2DC;ˇä&#x2013;&#x2022;⢾ęŚ&#x2018;襽䧎⿎č&#x17D;&#x2026;â&#x153;ŤéŚ&#x160;⢾éŚ&#x160;㢾朸ćŠ&#x2021;âĽ&#x192; 갪暥ď&#x2DC;šä§Žă˝ â&#x2122;śâą&#x201E;揽ă&#x2018;&#x2018;ć&#x20AC;&#x161;â&#x153;Ťď&#x2DC;ˇ
poster. It s a really strange thing.
"35 ;*1î&#x161;&#x2030;ä?Ąĺ&#x192;˝ă&#x201A;&#x201E;ĺ&#x2030;¤â˝°ăź&#x;㸤ä§ä§´ĺ&#x2030;&#x201C;éľ&#x153;㸤ä§ćś¸ę°ŞćšĄî&#x161;&#x17D;
ART.ZIP: What do you think the relationship is between art and technology? Is technology just for bringing out the new tools, or is it changing the ďŹ eld of art?
é&#x2026;ď&#x2DC;šĺ&#x2030;¤â°&#x2122;âŚ?ĺ&#x2030;˘ä§Žăź č&#x20AC;ˇă&#x20AC;Ťâ¨&#x17E;é¸?â&#x;?⥲ă&#x2026;ˇď&#x2DC;ˇę¤&#x2018;姽â&#x203A;&#x201C;㢍ď&#x2DC;šä§ŽéźŠâśž
ML: I think they can t help but feed of one another. It s like a loop. You use
the tools, and then maybe use them in a diďŹ&#x20AC;erent way that the programmer intended. People drive it forward. People will always, and rightly so, use the
.-î&#x161;&#x2030;ĺ&#x2030;¤ćś¸ď&#x2DC;šé˝Ąă˝ ĺ&#x192;˝ď&#x2C6;Łĺ&#x20AC;&#x17E;ć&#x2122;?ĺ&#x160;Ľćś¸Őˇç&#x2C6;&#x161;ĺ˛&#x161;⿞估ոď&#x2DC;ˇéş&#x2022;⿥â&#x2122;§ä&#x17D;&#x192; ⥲â&#x153;Ťâ&#x2122;§éż&#x2C6;âˇ&#x153;ä&#x17E;&#x2022;ć&#x2122;&#x161;ď&#x2DC;šé¸?ĺ&#x192;˝ä§Žç&#x2014;§â&#x2122;§ĺŚ&#x201E;ĺś?é§&#x2C6;é¸?âŚ?ęą&#x2020;ă&#x161;&#x2013;ď&#x2DC;šĺ&#x192;˝â&#x2122;§éż&#x2C6;ĺ&#x2030;¤ 佌â&#x153;˛č&#x2030; ĺ&#x160;Ľćś¸ä&#x2022;§ć&#x2122;&#x161;ď&#x2DC;ˇă&#x201E;¤ä§Žă &#x2013;⥲朸韊ĺ&#x2030;¤â&#x2122;§âĄ&#x2122;âľ&#x2013;⥲â&#x17E;&#x192;ă&#x201E;¤â&#x2122;§âĄ&#x2122;玥
âˇ&#x153;ď&#x2DC;šä§ŽâŚ&#x203A;朸갪暥ă&#x20AC;ա鼼â´&#x20AC;ă&#x17E;&#x201D;â&#x161;&#x2020;ď&#x2DC;šĺ§żâ°&#x2026;â˝&#x2C6;ć&#x2122;&#x2039;ĺ&#x2018;&#x201D;Ő¸ď&#x2DC;ˇâ˝&#x2C6;ć&#x2122;&#x2039;ĺ&#x2018;&#x201D;ĺ&#x192;˝ 蹤ĺ&#x2018;&#x201D;貽ę&#x20AC;śä&#x2019;źę&#x2026;˝ĺ&#x20AC;&#x203A;čŚ&#x2C6;峍ęŻ&#x201A;⟌ă&#x161;&#x2013;朸â&#x2122;§âŚ?ăźę&#x201D;Šď&#x2DC;šĺ&#x2030;¤čĄ˝â&#x161;&#x2020;㢍ĺ&#x2018; ĺ˝&#x201A; 朸皥é&#x161;&#x2DC;ď&#x2DC;ˇă&#x201D;&#x201D;姽ď&#x2DC;šä§ŽâŚ&#x203A;朸ä&#x;?ĺ˛ ĺ&#x192;˝ĺ&#x2018;?äş&#x2122;ĺ&#x201A;?⾚朸â&#x2122;§éż&#x2C6;č° é Żç§ ę?&#x2014;
tools incorrectly. You ll use the application in a way that the programmer never intended, and that s good because that s humanity.
ART.ZIP: You re also inďŹ&#x201A;uenced by GraďŹ&#x192;ti cultureâ&#x20AC;Ś
ML: GraďŹ&#x192;ti teaches you. You go into places that you really shouldn t be
and you size them up, you regard them diďŹ&#x20AC;erently, as a canvas. It makes
you really good at interacting with spaces. So there are lots of lessons that
reputation of being otherworldly, so it s an idea of
investigating people s idea to place from a previous art and documentary work, but taking it into a scripted
psychological way. It s a brand new challenge, but it means that I can score it as a composer as well.
I took from graďŹ&#x192;ti. When I go into a room, I might not think of it in terms
ART.ZIP: Have you been to China before?
We re in this room now and I can hear the echo and I m thinking how I
between places, so if I m making work in a little ďŹ shing
of painting any more, but I think of it in terms of what I could do with it.
could work with the space. The graďŹ&#x192;ti thing is really interesting. It teaches you to be bold. I like to make work that is quite quiet and reďŹ&#x201A;ective. When
you re painting places, as a graďŹ&#x192;ti artist, you don t want to draw attention to yourself, you have to be quite quiet. You meet some interesting, often quite scary characters in these places. I was never into mass acts of
vandalism, I like to ďŹ nd an abandoned place and try and work with it as using spray paint, it was starting to aďŹ&#x20AC;ect my health. Particularly in the
80 s when it was car paint, now it s formulated. I still do mural works from
time to time, but it s more with emulsions, acrylics and things. As I do more and more of these environmental projects, I can t be spraying.
ART.ZIP: Do you have any upcoming or recently completed projects?
ML: The Oscillon Response, it s brand new. I ve been working on that
for about six months, well for a year actually, but six months full-time.
So beyond that, I ve developed a feature ďŹ lm, my ďŹ rst foray into drama, so it s a scripted work. I have a producer and a screenwriter and we re working on a project that s called Out of the World and Into Borgue. Borgue is a little town in Dumfries and Galloway that s always has a
village in the highlands I m very interested if there are
parallels between China or wherever. I m just interested in the everyday things. There s real poetry in people s everyday life and I like to try and reveal that. Going
somewhere as an outsider you would see things, that
you if lived there, you wouldn t, because you re used to it. I quite like being on the periphery.
ć&#x2122;&#x161;⢾乳é&#x17D;Łâ&#x17E;&#x192;âŚ&#x203A;㟊ĺ&#x20AC;´č´&#x2013;ă&#x2013;&#x2019;朸ćş?ĺ˛ ď&#x2DC;šâą&#x201E;é˘â&#x153;Žâ°Śâˇ&#x153;ä&#x17E;&#x2022;âť&#x2039;朸ä&#x2014;ąć¤&#x161;ĺ´&#x17E;âš&#x203A;
éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;ˇé¸?ĺ&#x192;˝ĺ&#x20AC;&#x17E;朸äŽ&#x2039;ä¨&#x17E;ď&#x2DC;šâĄ&#x17D;é¸?â&#x203A;łä &#x2018;ă&#x201E;&#x201A;襽䧎č&#x2026;&#x2039;â&#x;&#x192;⥲ĺ&#x2C6;źăšťćś¸é¨â&#x;¨ć?&#x20AC; é¸?éż&#x2C6;ć&#x2122;&#x161;㜊ę&#x201A;&#x201A;ĺ?żď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;ä?Ąâľ&#x152;éş&#x2022;â&#x161;Ľă&#x2022;&#x153;ă&#x152;¨î&#x161;&#x17D;
.-î&#x161;&#x2030;ĺ°?ĺ&#x2030;¤ď&#x2DC;ˇä§Žä Žč&#x17D;&#x2021;錹朸ĺ&#x152;&#x152;é&#x160;Żĺ&#x192;˝ă&#x2013;&#x2019;ĺ&#x20AC;°â&#x203A;&#x201C;ę&#x;Śćś¸ćšąâĄ&#x201A;ä&#x161;?ď&#x2DC;šä¨žâ&#x;&#x192;ď&#x2DC;šăĽś ĺ?&#x201C;䧎ă&#x2013;&#x2C6;ë&#x201E;&#x17E;ă&#x2013;&#x2019;朸ăźć&#x20AC;&#x2019;ĺ&#x2039; éš&#x17D;é ¤âśžâĄ˛ď&#x2DC;šä§Žä Žč&#x17D;&#x2021;錹朸ĺ&#x192;˝ă&#x2013;&#x2C6;â&#x161;Ľă&#x2022;&#x153;ĺ&#x192;˝ă&#x201A;&#x201E;ĺ&#x2030;¤
暹겳âĄ&#x201A;朸ă&#x2013;&#x2019;ĺ&#x20AC;°ď&#x2DC;ˇä§Žă&#x20AC;ŤăźŠĺ&#x201A;&#x2C6;ä&#x152;˘ćś¸â&#x153;˛ć&#x161;&#x;ä Žč&#x17D;&#x2021;錹ď&#x2DC;ˇĺ&#x201A;&#x2C6;ä&#x152;˘ćŹ°ĺ´&#x17E;ä&#x152;&#x;ĺ&#x2030;¤čĄ˝
溍姝朸é&#x2018;&#x2DC;ä &#x2018;ď&#x2DC;šä§Žä&#x;?é&#x2018;&#x2018;襽⿥ă&#x192;&#x201E;ć¤?ď&#x2DC;ˇâ&#x;&#x192;㽡㢍â&#x17E;&#x192;朸é¨â&#x;¨âľ&#x152;č´&#x2013;鼼ď&#x2DC;šâĄš â¤&#x2018;č&#x2026;&#x2039;朎ć¤?é?Şă˘ľćŽšă&#x2013;&#x2019;â&#x17E;&#x192;ć?&#x201A;ĺ˛ ăť&#x152;é&#x152;?朸â&#x2122;§ęŹ&#x2014;ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;⥚㟊â&#x2122;§â´&#x2014;ä&#x160;şçŤ¤çť˘ â&#x;&#x192;ć?&#x20AC;ä&#x152;˘ď&#x2DC;ˇä§Žä&#x2013;&#x17D;ă&#x2039;?姚č?&#x2C6;䧎韚çŽ&#x201D;âť&#x2039;朸㽡㢍â&#x17E;&#x192;é¨â&#x;¨ď&#x2DC;ˇ
Mark Lyken, Oscillon Response. Photo by Tommy Ga Ken Wan
harmoniously as you can be. I then decided that, after so many years of
ML: No, I haven t. What I m interested in is the parallels
LU SISI: THE AGE OF DIGITAL/ANALOGUE 㼠鏞ス䙼倛 垷亻 侷㶶⻊儗➿
*/5&37*&8&% #: 䱰鏞 )"33: -*6 ⷠ畹兑 53"/4-"5&% #: 缺陼 /*$)0-"4 "/%&340/ 㽲〢䬘倛v㸝䗞啿 **."(&4 $0635&4: 0' 㕭晙䲿⣘ .*(3"/5 #*3% 41"$& ⦫둷瑟 -6 4*4* ス䙼倛
Lu Sisi is an award-winning artist from Inner Mongolia who now works out of London, his work combines electronic music, film,
and live performance. In 2013 he was awarded a Sky Academy Arts Scholarship to create The Age of Digital/Analogue. This takes an
ス䙼倛僽♧⡙⢵荈Ⰹ褑〢涸倞欰➿谁遯㹻植假㾀⧍侚ス涸⡲
ㅷ鸒䌢僽⟃ꨶ㶩坿ꨶ䕧ㄤ植㜥邍怵穡ざ涸䕎䒭ツ植 䎃ス
囙栽✫㣔瑠谁 遯㷸ꤎ䱇✮涸栁㷸ꆄ䱺罜ⶾ⡲ⴀ✫Ⱖ➿邍⡲ㅷ
շ侸㶶⻋ 垸亼涸儘➿ոՂ♧媯瑭馊薊⧍涸鋕聃⛓假谁遯㹻劥
audio-visual journey across the UK and explores how our industry
➃㼟捀錚滞⦛ツ植薊㕜䊨噠ㄤ兞錚❜籽涸渿兞
a number of international festivals including the Glasgow Short Film
ス涸⡲ㅷ剎㖈㢵⦐㕜ꥹ谁 遯眏♳㾝ⴀ⢿㥶呔䬘倛ㆥ瀊晚ꨶ䕧
and landscape is intertwined. His work has since been showcased at Festival. On top of this, he has also produced work for the BBC, Sky
Arts, and has been the creative director and composer for Haizhen Wang at Fashion weekends in London and Shanghai.
眏姽㢫➮⛳「鼝捀薊㕜䑞久Ⱇ㣔瑠谁遯ⶾ⡲ず儘二⟤桬
嵳ㅷ晦㖈⧍侚ㄤ♳嵳儘酤猗涸ⶾ䠑籏湌ㄤ갉坿醢⡲➃
Lu Sisi. Still image of Forest Rising (2016)
Lu Sisi
ART.ZIP: The Age of Digital/Analogue is a combined audio and visual performance. Could you give us an outline of what it s about?
"35 ;*1 Őˇĺ&#x17E;¸äşź 䞸㜜âť&#x2039;ĺ&#x201E;&#x2DC;â&#x17E;żŐ¸ĺ&#x192;˝â&#x2122;§âŚ?犥ă &#x2013;č&#x20AC;Ťę°&#x2030;č&#x17D;&#x2026;ä&#x2022;§âŤš
combines 13 diďŹ&#x20AC;erent soundtracks with various visual eďŹ&#x20AC;ects. The performance
ä&#x2019;⥲ć?&#x20AC;鯺ë&#x201E;&#x201C;ď&#x2DC;šé¸&#x2019;éş&#x2022; ꝡâ&#x2122;śă &#x161;â&#x161;şę˛&#x2014;朸ę°&#x2030;ĺ?żę&#x201A;&#x201A;ă &#x2013;â&#x2122;śă &#x161;â&#x161;şę˛&#x2014;朸
LSS: This is a 45-minute performance, which uses music as a vector and
digitally simulates the development of modern society. Visually it incorporates a number of natural and industrial elements which I feel also share a
connection with my past. I grew up in Inner Mongolia and my father worked
in a factory, so my thoughts are always revolving around these points, I grew up loving both machinery and the great grass plains. At the same time I also felt my surroundings change and because of this I often think about the
complicated relationship between nature and industry. Later on, I came to the UK to study design at the University of Glasgow. Scotland has a long history of industrial development, and signs of the industrial revolution can still be seen
everywhere you look. I then embarked on further research into the relationship between nature and industry which I feel led to the creation of some
interesting pieces. I am also really grateful for meeting a tutor who encouraged me to develop myself, to study and master diďŹ&#x20AC;erent styles of production
like music, animation, video, and other techniques. In 2011, I then moved to London and took part in Sky Academy s national competition, fortunately
winning a ÂŁ30,000 scholarship and at the same time gaining extra ďŹ nancial
support from the Arts Council and via crowdfunding. I then spent nearly three years travelling all over the UK and ďŹ lming at many diďŹ&#x20AC;erent types of factory, both new and old. I had the opportunity to see every type of industry and visit many sites of natural beauty. After shooting was ďŹ nished, I tried again
to combine these two ideas of nature and industry. Using sound collected
朸ć¤?ă&#x153;Ľé&#x201A;?ć&#x20AC;ľď&#x2DC;šâĄšč&#x2026;&#x2039;çŞ?䧎âŚ&#x203A;ç&#x;Śéś¤â&#x2122;§â&#x2122;´é¸?âŚ?é&#x201C;ę˛&#x2014;ă&#x152;¨î&#x161;&#x17D;
-44î&#x161;&#x2030;é¸?ĺ&#x192;˝â&#x2122;§ă&#x153;Ľ â´&#x2022;ę&#x2014;ťćś¸ć¤?ă&#x153;Ľé&#x201A;?ć&#x20AC;ľď&#x2DC;šäžŽâŚ?⥲ă&#x2026;ˇâ&#x;&#x192;ę°&#x2030;ĺ?żä&#x2022;&#x17D; é&#x2039;&#x2022;é&#x152;?ä&#x2022;§âŤšâ˘ľâśžé¸¤â&#x2122;§âŚ?ç&#x2018; ę&#x;Śë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;ˇé¸?âŚ?é&#x201C;ę˛&#x2014;ă&#x2022; ç˛&#x2022;襽ć¤?â&#x17E;żç&#x2C6;˘
ĺ&#x2030;&#x161;朸䞸㜜ĺ&#x17E;¸äşźë&#x201E;&#x201C;ć¤?ç˝&#x153;ăž?ę&#x;&#x161;ď&#x2DC;šé¸&#x2019;éş&#x2022;ĺ&#x20AC;&#x17E;č&#x17D;?㯯ë&#x201E;&#x201C;朸犥ă &#x2013;č&#x17D;&#x2026;â´&#x2014;äł&#x2013;
⢾é&#x201A;?麨â°?ç˝?ę&#x;Śćś¸é źç&#x2018;łď&#x2DC;šă&#x2013;&#x2C6;é&#x2039;&#x2022;é&#x152;?â&#x2122;łă&#x192;&#x201E;ć¤?â&#x153;Ťé?Şă˘ľč?&#x2C6;ć?č&#x17D;&#x2026;ä&#x160;¨ĺ&#x2122; 朸âŻ&#x2039;ç¨&#x2021;ď&#x2DC;šä§Žä&#x;?é¸?ĺ&#x192;˝é¨&#x2C6;䧎ä&#x2013;°ăźä§ę&#x;&#x20AC;鼹⢾朸ćŠ&#x2021;ă&#x17E;Żĺ&#x2030;¤ęĄ â¤&#x161;ď&#x2DC;ˇä§Ž
ă&#x2013;&#x2C6;â°&#x2030;č¤&#x2018;ă&#x20AC;˘ę&#x;&#x20AC;ăŁ?ď&#x2DC;šć&#x2DC;żé&#x2039;ˇă&#x2013;&#x2C6;ä&#x160;¨ä&#x2018;&#x2013;ä&#x160;¨âĄ˛ď&#x2DC;šä¨žâ&#x;&#x192;ä§ę&#x;&#x20AC;ćŠ&#x2021;ă&#x17E;Żč&#x2020;¨ę¨&#x2020;â&#x2122;ś â&#x153;Ťă &#x161;ĺ&#x201E;&#x2DC;㟊č&#x2122;&#x2039;➲ă&#x201E;¤ăźŠĺ Ľĺ&#x201D;&#x2019;朸ă&#x2039;?姚ď&#x2DC;šč&#x17D;&#x2026;姽ă &#x161;ĺ&#x201E;&#x2DC;ď&#x2DC;šä§Žâ&#x203A;łćş?襽ćŠ&#x2021;
ă&#x17E;Żâ&#x2122;§ĺ§żâ&#x2122;§ĺ§żă&#x2013;&#x2019;朎揰é&#x161;śâť&#x2039;ď&#x2DC;šă&#x201D;&#x201D;姽䧎獤ä&#x152;˘ĺ&#x2030;&#x161;ä&#x2122;źç˝&#x152;ä&#x160;¨ĺ&#x2122; č&#x17D;&#x2026;č?&#x2C6;ć? â&#x203A;&#x201C;ę&#x;Śćś¸ä&#x2014;?ăŚŤęĄ â¤&#x161;ď&#x2DC;ˇä&#x2013;&#x2022;⢾䧎âľ&#x152;â&#x153;Ťč&#x2013;&#x160;ă&#x2022;&#x153;ĺ&#x2018;&#x201D;äŹ&#x2DC;ĺ&#x20AC;&#x203A;ă&#x2020;ĽăŁ?㡸㡸睢é&#x2039;&#x2022;
é&#x152;?âŤ&#x201E;麨é?¤é&#x17D;&#x2122;ď&#x2DC;ˇčą¤ĺ&#x2018;&#x201D;貽⼥ĺ&#x2030;¤ä?&#x2018;â&#x203A;&#x2030;朸ä&#x160;¨ĺ&#x2122; 朎ăž?ĺ¨&#x153;ă&#x20AC;ˇď&#x2DC;šä¨žâ&#x;&#x192;ä&#x160;¨ ĺ&#x2122; ęŹ ă&#x201E;?朸ĺ¨&#x153;ă&#x20AC;ˇćą&#x161;é¨&#x2039;ă&#x2013;&#x2C6;ă&#x2122;šä&#x2039;&#x2018;é&#x2026;ęŚ&#x2018;č´&#x2013;ă&#x20AC;łé&#x2039;&#x2026;ď&#x2DC;ˇč?&#x2C6;ć?ç˝&#x153;ć?ă&#x2013;&#x2019;ď&#x2DC;šä§Ž â¤&#x2018;ä&#x;?é&#x160;´ĺš&#x20AC;â°&#x2026;ç &#x2021;ç&#x2018;&#x2013;é¸?âŚ?ęĄ ĺ&#x20AC;´ä&#x160;¨ĺ&#x2122; č&#x17D;&#x2026;č?&#x2C6;ć?ęĄ â¤&#x161;朸é&#x201C;ę˛&#x2014;ď&#x2DC;šä&#x2013;°ç˝&#x153; ă&#x17D;˛é&#x2018;&#x2018;â&#x2122;§â?&#x2030;ĺ&#x2030;¤éŚąćś¸âśžâĄ˛ď&#x2DC;ˇä&#x2013;&#x17D;ä&#x17D;&#x2039;éş&#x152;ă&#x2013;&#x2019;ď&#x2DC;šä§Žéş&#x201A;âľ&#x152;â&#x153;Ťâ&#x2122;§âĄ&#x2122;ä&#x2013;&#x17D;㼪朸
㟏ä&#x152;&#x152;ď&#x2DC;šâ&#x17E;Žë ˝âş&#x2018;䧎⿥ă&#x17D;˛é&#x2018;&#x2018;ă ?ç??ä&#x2022;&#x17D;ä&#x2019;朸✞⥲ď&#x2DC;šč&#x20AC;Ťę°&#x2030;ď&#x2DC;śâš&#x203A;掼ď&#x2DC;śâ&#x;&#x192;
âżťă ?겳ä&#x2022;§âŤšäŞŽé Żç&#x2DC;&#x17E;ď&#x2DC;šä§ŽéżŞĺ&#x192;˝ă&#x2013;&#x2C6;齥ĺ&#x201E;&#x2DC;⌏č?&#x2C6;ä&#x160;šę&#x;&#x161;㨼ă&#x17D;˛é&#x2018;&#x2018; 犥
ă &#x2013;朸ď&#x2DC;ˇ ä&#x17D;&#x192;䧎âľ&#x152;â&#x153;Ťâ§?äž&#x161;ď&#x2DC;šâżŽâ¸&#x2C6;â&#x153;Ť4LZ "DBEFNZ朸ď&#x2C6;Łă&#x2022;&#x153; 卲éŁ&#x201C;ď&#x2DC;šä&#x17D;&#x2039; éş&#x152; ă&#x2013;&#x2019;ć ˝ ä&#x2013;¤â&#x153;Ťâ&#x2122;˛č ?ę&#x201C;&#x203A;朸ć 㡸 ę&#x2020;&#x201E;ď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;â&#x203A;łć ˝ ä&#x2013;¤â&#x153;Ť
č&#x2013;&#x160; ĺ&#x2018;&#x201D;č˛˝č° é Żă¨˝ă&#x2020;&#x17E;ĺ&#x2030;&#x161;ă&#x201E;¤ćť&#x17E;çĄ ę°ŞćšĄćś¸éĄťę&#x2020;&#x201E;ä˝&#x2026;ä°ď&#x2DC;šć?ä&#x2013;&#x2022;䧎č&#x17D;&#x2026;ä&#x17D;&#x2122; âŚ?㼪ĺ&#x2030;ŚâżźçŠ&#x2030;ä§ćś¸ăźă&#x2DC;&#x2014;ă&#x2022;°ęĽ&#x2122;ă˝ č&#x201D;&#x2026;â&#x153;Ťâ°?ä&#x17D;&#x192;㢾ăź&#x;éľ&#x153;â&#x2122;˛ä&#x17D;&#x192;朸ĺ&#x201E;&#x2DC;ę&#x;Ś 鼼éş&#x2019;â&#x153;Ťč&#x2013;&#x160;ă&#x2022;&#x153;ă ?ă&#x2013;&#x2019;ď&#x2DC;šäŹ?䟢â&#x153;Ťä&#x2013;&#x17D;㢾â&#x2122;śă &#x161;ĺ&#x201E;&#x2DC;ĺ&#x160;?â&#x;&#x192;âżťâ&#x2122;śă &#x161;겳ă&#x2DC;&#x2014;朸
ä&#x160;¨ä&#x2018;&#x2013;č&#x17D;&#x2026;ĺ Ľĺ&#x201D;&#x2019;ď&#x2DC;šĺ&#x20AC;&#x17E;朸ă&#x201E;¤č&#x17D;?朸鿪ĺ&#x2030;¤ď&#x2DC;šä&#x2013;°â&#x161;Ľćş?âľ&#x152;â&#x153;Ťă ?ä&#x2019;ă ?ĺ&#x17E;şćś¸ 援ĺ&#x2122; ď&#x2DC;šéźŠĺ&#x2030;¤éĽĽéš&#x17D;â&#x153;Ťé?Şă˘ľäšŠĺ&#x2030;¤č&#x2013;&#x160;ă&#x2022;&#x153;ĺ&#x160;Ľă&#x2022;źč?&#x2C6;ć?ă&#x2013;&#x2019;é &#x2014;卲鯹ĺ&#x2030;¤â&#x17E;ż
from the machines themselves, I re-edited the ďŹ lm to try and embody their
é&#x201A;?朸ă&#x2013;&#x2019;ĺ&#x20AC;°äą°ĺ&#x2026;&#x17E;â&#x;&#x192;âżťę?&#x2014;ę°&#x2030;ď&#x2DC;ˇäŹ?䟢㸤â&#x;&#x192;ä&#x2013;&#x2022;䧎âą&#x201E;ă&#x17D;˛é&#x2018;&#x2018;䪞č?&#x2C6;ć?ă&#x201E;¤
between its industrial development and the natural environment. I hope using
éą&#x20AC;⢾ë&#x201E;&#x201C;ć¤?â&#x17E;ŽâŚ&#x203A;ă ?č?&#x2C6;朸ď&#x161;łä&#x161;?ĺ&#x2018;&#x201D;ď&#x161;´ ď&#x2DC;šĺ&#x2030;&#x201C;ä&#x2013;&#x2022;â&#x;&#x192;ę°&#x2030;ĺ?żă&#x201E;¤é&#x2039;&#x2022;깽朸ä&#x2022;&#x17D;ä&#x2019;
personalities , ďŹ nally using music and video to show the country s connection
this new language will allow young people to connect with their cultural past.
While I was producing this project, I actually had many struggles and moments of deep contemplation, at points I was even ďŹ lled with self-doubt, so speaking personally, I also think this was a journey of self-exploration.
ART.ZIP: The language that you use in this project is very visually captivating, but behind the imagery, what is the message? LSS: In this excessively information driven age, it is rare to be given the
ä&#x160;¨ĺ&#x2122; â°?ç˝?犥ă &#x2013;鼹⢾ď&#x2DC;šé¸&#x2019;éş&#x2022;äą°ę§&#x152;â˘ľćś¸ĺ Ľă?źćś¸č&#x20AC;Ťę°&#x2030;ď&#x2DC;šę&#x2026;žĺ&#x20AC;&#x17E;玥 ⢾ë&#x201E;&#x201C;ć¤?â&#x2122;§âŚ?ă&#x2022;&#x153;㚝朸ä&#x160;¨ĺ&#x2122; 朎ăž?ă&#x201E;¤č?&#x2C6;ć?ćŠ&#x2021;ă&#x17E;Żćś¸ęĄ â¤&#x161;ď&#x2DC;ˇä§Žä&#x2039;&#x17E;ĺ&#x160;&#x2020;
揽é¸?ĺ&#x17E;şćś¸ĺ&#x20AC;&#x17E;é&#x201C;&#x192;é&#x17D;&#x160;é&#x203A;&#x160;ä&#x17D;&#x192;é°&#x2039;â&#x17E;&#x192;⿥ă&#x17D;˛é&#x2018;&#x2018;äąşé?¸é¸?â?&#x2030;éş&#x2022;⿥朸ĺ¨&#x153;ă&#x20AC;ˇäż&#x2019;
âť&#x2039;ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;é¸?â?&#x2030;ĺ Ľă?źćşŤćś¸ä&#x2013;&#x17D;ę&#x192;?ď&#x2DC;ˇâ¨&#x17E;é¸?âŚ?é&#x201C;ę˛&#x2014;朸éş&#x2022;ç&#x17D;&#x2018;掚â&#x161;Ľä§Ž
ĺ&#x2030;¤éş&#x2022;ä&#x2013;&#x17D;㢾乣äŠ&#x;ă&#x201E;¤ä&#x2122;źç˝&#x152;ď&#x2DC;šâ&#x203A;&#x201C;âľšę°¸ä&#x;?㼪朸é&#x17D;&#x2122;âˇ&#x201D;é&#x201E;&#x201E;č?&#x2C6;ä&#x160;šâ&#x2122;śâ¨˘ă&#x2013;&#x2019; ä˛&#x20AC;çźşâ&#x153;Ťď&#x2DC;šâĄ˛â&#x153;Ťé?Şă˘ľč?&#x2C6;䧎äŽ&#x2039;ä¨&#x17E;ă&#x201E;¤äŞĄé?ąď&#x2DC;šä¨žâ&#x;&#x192;㟊č?&#x2C6;ä&#x160;šâ˘ľé&#x201C;&#x17E;é¸?â&#x203A;ł ĺ&#x192;˝â&#x2122;§âŚ?ä&#x2013;&#x17D;㼪朸乳ç¨&#x2039;éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;šç˝&#x153;卌â&#x2122;§ĺŚ&#x201E;ć&#x20AC;ľâ´&#x20AC;鿪ĺ&#x2030;¤ĺ&#x20AC;&#x17E;朸é&#x161;śâť&#x2039;ď&#x2DC;š 鿪ĺ&#x192;˝ć?&#x20AC;â&#x153;Ťă¸¤ă&#x160;Ľé¸?âŚ?⥲ă&#x2026;ˇç˝&#x153;â¨&#x17E;â´&#x20AC;ĺ&#x20AC;&#x17E;朸â&#x153;˝âš&#x203A;ă&#x201E;¤äŽ&#x2039;ä¨&#x17E;ď&#x2DC;ˇ
opportunity to present your own ideas, so with this project I hope I can
"35 ;*1î&#x161;&#x2030;⥚䨞揽朸é&#x201C;&#x192;é&#x17D;&#x160;ă&#x2013;&#x2C6;ä&#x2022;&#x17D;ä&#x2019;â&#x2122;łä&#x2013;&#x17D;ď&#x161;łäŤ&#x152;â&#x17E;&#x192;ćť&#x161;ć¤&#x2022;ď&#x161;´ď&#x2DC;šâĄ&#x17D;ă&#x2013;&#x2C6;
I hope I have made something that will especially appeal to young people,
-44î&#x161;&#x2030;ă&#x2013;&#x2C6;ć¤?ă&#x2013;&#x2C6;é¸?âŚ?âĽ&#x152;ä&#x153;&#x201A;éş&#x2022;ä?&#x17E;朸ĺ&#x201E;&#x2DC;â&#x17E;żď&#x2DC;šćŽ&#x2020;çŞ?â&#x2122;§âŚ?⥲ă&#x2026;ˇćś¸ĺ Ľ
meaningfully connect with the audience. Using music, ďŹ lm and pop culture and bring across my own research into this topic. A documentary was not my ďŹ nal desire for the project, although of course during the ďŹ lming of factories themselves. Other than the performance itself, I hope to release more of the
behind the scenes work, for example, when the shooting team and I spent 5 days and nights in the remote Scottish mountains. We saw many trees that
reached almost to the sky, but we never saw another person, we actually only
ĺ&#x2030;&#x161;ä&#x2013;&#x17D;ĺ&#x2030;¤ęŁłď&#x2DC;šä¨žâ&#x;&#x192;䧎ă&#x2013;&#x2C6;ä&#x2022;&#x17D;ä&#x2019;â&#x2122;łä&#x2039;&#x17E;ĺ&#x160;&#x2020;č&#x2026;&#x2039;ăş&#x201A;ĺ&#x192;&#x2019;é&#x201E;&#x201E;é&#x152;&#x161;ćť&#x17E;äąşă&#x20AC;&#x152;ď&#x2DC;šćŹ˝ ä&#x17D;&#x192;é°&#x2039;â&#x17E;&#x192;朸é&#x201C;&#x192;é&#x17D;&#x160;ă&#x201E;¤ćŹ˝ĺ´Šé ¤äż&#x2019;âť&#x2039;朸é&#x201A;?麨äŠ&#x203A;ĺ˛ â˘ľä&#x152;&#x;â´&#x20AC;䧎朸ç &#x2021;ç&#x2018;&#x2013;
é&#x201C;ę˛&#x2014;ď&#x2DC;ˇç§ ę?&#x2014;â&#x2122;śĺ&#x192;˝ä§Žĺ&#x2030;&#x201C;ä&#x2013;&#x2022;ä&#x;?é&#x160;´ă&#x192;&#x201E;ć¤?朸ä&#x2022;&#x17D;ä&#x2019;ď&#x2DC;šćŽšć?ă&#x2013;&#x2C6;äŹ?䟢é¸? â?&#x2030;ä&#x160;¨ä&#x2018;&#x2013;ă&#x201E;¤č?&#x2C6;ć?朸éş&#x2022;ç&#x17D;&#x2018;â&#x161;Ľä§ŽâŚ&#x203A;éş&#x201A;âľ&#x152;â&#x153;Ťä&#x2013;&#x17D;㢾ĺ&#x2030;¤éŚąćś¸â&#x153;˛ď&#x2DC;šä¨žâ&#x;&#x192;
ę¤&#x2018;â&#x153;Ťć&#x20AC;ľâ´&#x20AC;â&#x;&#x192;㢍韊ĺ&#x2030;&#x161;朎ăž?ä?&#x152;ä&#x2013;&#x2022;朸é&#x2020;˘âĄ˛č&#x201D;&#x2026;çŞ&#x203A;ď&#x2DC;ˇé&#x2122;śăĽśä§Žă&#x201E;¤äŹ?䟢 ă&#x2022;°ęĽ&#x2122;ă&#x2013;&#x2C6;蹤ĺ&#x2018;&#x201D;貽ĺš&#x20AC;ăż&#x2039;é&#x2026;äŹ?䟢â&#x153;Ťâ?&#x20AC;ăŁ&#x201D;â?&#x20AC;㢚ď&#x2DC;šâżŽăŁ&#x201D;ăŁ?ĺ&#x; ä&#x2013;&#x17D;㢾ď&#x2DC;š âĄ&#x17D;ĺ&#x192;˝ă&#x20AC;Ťç&#x201E;Ľâ&#x2122;łâ&#x153;Ťâ°?ă&#x20AC;ŤęŤčˇ¨ă&#x201E;¤â&#x2122;§ęŚˇë&#x203A;Šď&#x2DC;ˇâ°Śăť&#x153;ă&#x2013;&#x2C6; 㢾ä&#x17D;&#x192;⾚朸
Lu Sisi. Making of The Age of Digital/Analogue (2013-2016)
and natural landscapes we encountered many things that were interesting by
ä&#x2022;&#x17D;ä&#x2019;č&#x192;?ä&#x2013;&#x2022;ď&#x2DC;šâĄšćś¸â´&#x20AC;朎ë&#x;&#x160;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x192;î&#x161;&#x17D;
ever saw a deer and two frogs. In fact, 200 years ago during the industrial
revolution, people cut down all of the trees on the mountain and not long
after that the animals also died out. 100 years later, people were paying more attention to the environment and started replanting those trees, now the
trees are towering high once again but the mountains themselves still have no trace of man and there aren t many animals. It is striking to think that it
was against this kind of serene backdrop that the industrial revolution took
place, destruction then restoration. This generation of youth might feel that
the industrial revolution is distant from them, but it was these developments
that led to our modern age, we are all still affected. Personal experiences affect us more than a documentary could, but the environmental problems aren t
something we can just discuss, mankind does need to live, but we also need to consider the environmental impact. In my opinion we need to live in balance, both protecting the environment and developing industry. At the same time
we should develop new techniques for tackling the environmental issues, this
Lu Sisi. Still image of The Age of Digital/Analogue (2013-16)
way we can attain a measure of balance.
ART.ZIP: How would you describe your occupation? More of an artist or a designer? I think that I am an artist that uses logic to create my work. In fact, I may not be
so much of an artist, although my work includes many visual and audial motifs. I use digital means to carry out my creativity, but my ideas are sometimes
deeply thought out design. I don t start work from a client s brief, I d much rather develop my own ideas.
ART.ZIP: How do you feel about digital art?
In my opinion digital art is this generation s art style, it represents a unique
attitude. In the beginning when everyone was trying digital art, it was novel and fresh, but with continued technological development, what was new is
no longer new. I still feel that artwork s meaning remains the most important factor and I have been slowly reducing my use of digital art. The foundation of my artwork is built on film, the application of digital is secondary; digital editing, digital effects and so on. Even so, the first time after I watched my
work, I started to wonder whether I was using digital art for digital s sake and
I decided to delete the purely digital sections. The intentionally showy display
䊨噠ꬠㄐ儘劍➃⦛䪾㿋酭涸埠鿪瀷⯕欽倴醢鸤ꏈ
can still feel the work contains a number of digitally artistic parts. I feel digital
㉏겗䩞ꅾ倞㨥珏嗃埠加植㖈齡❉ꅾ倞珏嗃涸埠加⛳
was obscuring the cinematic and visual language. However, despite this, you art is a good method of expression, but it is the content that separates the good and bad parts.
ART.ZIP: During the production of this work, have you encountered any technical difficulties? How do you approach conflict between the technical issues and the artistic presentation? LSS: I have encountered more than one technical problem during my
performances but I don t see this as a major failure. To explain a bit, my
performance shows my live experience with multiple machines, I call it the
Grand Array . It is the grafting of many different types of media. Using a variety
of technologies I created a platform to generate my performances, which has
欰䢀禺窡荈搭㽠鄄灶㡏✫㢵䎃䖕➃⦛㨥岤䠑ⵌ橇㞯 䊺竤Ꟁ䧭✫㣔㣐埠㿋酭➃騋縂荛⹛暟⛳♶㢵鸏垺
䎖幀涸橇㞯胝䖕涸佦✲僽䊨噠ꬠㄐ䌟⢵涸䖕卓嫆徧ⱄ 䛫䗂䧮⦛鸏♧➿䎃鰋➃〳腋䠮錏䊨噠ꬠㄐꨆ䧮⦛㣖麶
黇✫⡎殹鸏❉溫㻜涸阮亙㽠㾝植㖈䧮⦛涸儘⦬
䧮⦛鿪鄄也✫鸏❉鋷魨넓뀿嫲溏私ꏗ晚⢵䖤也䖤 㢵〳僽橇㞯㉏겗♶僽䧮⦛〡걧铞铞㽠〳⟃涸➃겳銴 欰㶸⡎ず儘⛳銴罌䣂ⵌ橇㞯涸㉏겗㖈䧮溏⢵䧮⦛
銴⨞涸僽窍Ⰽ罏䲿⣘♧⦐䎂邂⥃隌橇㞯涮㾝䊨噠ず
儘⛳銴涮㾝倞猰䪮⢵⼿锅橇⥃㉏겗䖰罜麨ⵌ♧⦐䎂邂 涸䗅橇
led to many unexpected results but in creating new work like this, accidents
"35 ;*1î&#x161;&#x2030;⥚㟊č?&#x2C6;ä&#x160;šćś¸ăš âĄ&#x2122;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x192;î&#x161;&#x17D;
have the perfect quality of ďŹ lm on YouTube, and my source material is ďŹ lm
✞⥲ç˝?ď&#x2DC;ˇä§Žâ¨&#x17E;朸⥲ă&#x2026;ˇĺˇ&#x2019;čŚ&#x2C6;â&#x153;Ťä&#x2013;&#x17D;㢾é&#x2039;&#x2022;é&#x152;?ă&#x201E;¤č &#x192;é&#x152;?ă&#x201E;¤ć¤?ă&#x153;Ľë&#x201E;&#x201C;
are hard to avoid. With the limitations of internet speed it is impossible to
quality. In the performances, there are more than 400 clips that need real time synchronized rendering to deliver 2K quality whilst at the same time I also
need to deliver the music. Altogether the platform itself actually has over 900 clips that could be run, and so for both hardware and software this is a big
struggle. After I ďŹ nished building the platform, I really didn t know what the results would be, for me that was the challenge. I m still not keen on simply showing a pre-edited output, for me faking a performance would be like
-44î&#x161;&#x2030;䧎é&#x152;?ä&#x2013;¤ä§Žĺ&#x192;˝â&#x2122;§âŚ?â&#x;&#x192;é?¤é&#x17D;&#x2122;ä&#x152;&#x152;ä&#x2122;źçŹ&#x17E;é˝&#x2026;éą&#x20AC;⢾é&#x201A;?麨ä&#x;?ĺ˛ ćś¸
ë&#x20AC;żćś¸âŻ&#x2039;ç¨&#x2021;ď&#x2DC;šä§Žă&#x20AC;Ťĺ&#x192;˝éş&#x152;揽ç&#x152;°äŞŽäŠ&#x203A;媯⢾ĺ&#x2C6;żć?&#x201A;ç°§ă&#x2013;&#x2019;䞎ă &#x2013;䧎朸ä&#x;?
ĺ˛ ď&#x2DC;šâ˘ľéš&#x17D;é ¤â&#x2122;§âŚ?ĺ&#x161;&#x152;ä&#x2122;&#x201A;é&#x201A;?麨ď&#x2DC;ˇă&#x20AC;łĺ&#x192;˝ä§Žćś¸ć¤&#x161;ä&#x2122;&#x201A;ĺ&#x2030;¤ĺ&#x201E;&#x2DC;⌏⿜ä&#x2013;&#x17D;é?¤ é&#x17D;&#x2122;ä&#x152;&#x152;ä&#x2122;źçŹ&#x17E;ď&#x2DC;šę§Şć?䧎â&#x2122;śĺ&#x2030;&#x161;äâ&#x2122;§âŚ?ď&#x161;łăš?䨊ď&#x161;´ćś¸ç&#x;Śă&#x153;Ąâ˘ľćśŽăž?âśž
ä &#x2018;ď&#x2DC;šä§Žă&#x2039;?姚ć&#x2039;č?&#x2C6;ä&#x160;šâ&#x161;şâš&#x203A;⿥é&#x201A;?麨ä&#x;?ĺ˛ ď&#x2DC;ˇä§Žé¸&#x2019;ä&#x152;˘ĺ&#x2030;&#x161;䲿⾚㟊é&#x201C; ę˛&#x2014;éš&#x17D;é ¤ăŁ?ę&#x2020;&#x20AC;朸ç &#x2021;ç&#x2018;&#x2013;ď&#x2DC;šć?ä&#x2013;&#x2022;âą&#x201E;ă&#x2013;&#x2C6;é¸?âŚ?ă&#x203A;&#x2021;ç&#x2021;&#x160;â&#x2122;łäŞŞâľ&#x152;č?&#x2C6;ä&#x160;šä Žč&#x17D;&#x2021; 錹朸ë&#x;&#x160;⿥朎ăž?ď&#x2DC;ˇ
miming a song, there isn t much point. I like to move with the audience and so
"35 ;*1î&#x161;&#x2030;⥚ĺ&#x192;˝ä&#x2122;Śë&#x17E;&#x192;ćş?ä&#x2013;&#x160;äž¸ăśśč° é Żćś¸î&#x161;&#x17D;
a stronger connection and that feedback is vital. I need that process of mutual
é Żä&#x2022;&#x17D;ä&#x2019;ď&#x2DC;šă¸?â&#x17E;żé&#x201A;?â&#x153;Ťâ&#x2122;§ç??ć Źâ&#x2122;§ć?&#x201A;â&#x153;łćś¸ä˘&#x20AC;ä?&#x17E;ď&#x2DC;ˇĺ&#x2030;&#x201C;â´˛ăŁ?ăšťă&#x2013;&#x2C6;ă&#x17D;˛é&#x2018;&#x2018;
each performance is diďŹ&#x20AC;erent. Whilst performing with an audience, I can build stimulation, with every new performance I don t know what will happen. I
-44î&#x161;&#x2030;㟊䧎⢾é&#x201C;&#x17E;ď&#x2DC;šäž¸ăśśč° é Żĺ&#x2C6;żę˛łâĄ&#x201A;ĺ&#x20AC;´é¸?âŚ?ĺ&#x201E;&#x2DC;â&#x17E;żćś¸ćŽšâ&#x17E;żč° äž¸ăśśč° é Żćś¸ĺ&#x201E;&#x2DC;⌏â&#x203A;łé?Şă&#x201D;&#x201D;ć?&#x20AC;ä&#x2022;&#x17D;ä&#x2019;ä&#x2013;&#x17D;ĺ&#x20AC;&#x17E;ç??ď&#x2DC;šä&#x2013;&#x17D;ę&#x192;?ć&#x152;Ąď&#x2DC;šâĄ&#x17D;ęŚ&#x2018;襽
Lu Sisi. Still image of The Age of Digital/Analogue (2013-16)
hope that through performing with diďŹ&#x20AC;erent
ç&#x152;°äŞŽćś¸ćśŽăž?ď&#x2DC;šćŽšâ´˛ćś¸ď&#x161;łĺ&#x20AC;&#x17E;ď&#x161;´ä&#x160;şçŤ¤â&#x2122;śď&#x161;łĺ&#x20AC;&#x17E;ď&#x161;´â&#x153;Ťď&#x2DC;šâĄ˛ă&#x2026;ˇćś¸â°&#x2030;ĺˇ&#x2019;äŠ&#x17E;ĺ&#x192;˝ĺ&#x2030;&#x201C;ę&#x2026;žé&#x160;´ćś¸ď&#x2DC;ˇä¨žâ&#x;&#x192;䧎ę&#x;&#x161;㨼䢊䢊ä&#x201C;ł
That sort of openness is what I hope to see.
ăśśč° é Żćś¸éż&#x2C6;â´&#x2022;ď&#x2DC;šă&#x17D;˛é&#x2018;&#x2018;ă ?ç??ăŁ?č&#x2039; 朸ăŁ&#x;溍č&#x17D;&#x2026;ç śăĄ?佪ĺ?&#x201C;ď&#x2DC;šă&#x20AC;łĺ&#x192;˝ćŽšä§Žćş?㸤ç&#x2014;§â&#x2122;§ă&#x153;Ľć&#x20AC;ľâ´&#x20AC;ä&#x2022;&#x2122;äą&#x2013;ę?&#x2014;⍚朸ĺ&#x201E;&#x2DC;
audiences the piece will continue to improve.
ART.ZIP: Some comment that your work is stunning but lacking in artistry, seeming more commercial than artistic, how do you feel about this opinion?
âť&#x2039;äž¸ăśśč° é Żćś¸ĺ&#x161;&#x152;ä&#x2122;&#x201A;ď&#x2DC;ˇĺŤ˛ăĽśé&#x201C;&#x17E;ď&#x2DC;šä§Žćś¸âĄ˛ă&#x2026;ˇĺ&#x192;˝ä&#x2019;&#x160;ç&#x201D;¨ă&#x2013;&#x2C6;ꨜä&#x2022;§ä&#x2022;§âŤšćś¸ă&#x203A;&#x2021;ç&#x2021;&#x160;â&#x2122;łćś¸ď&#x2DC;šâ&#x161;&#x203A;â&#x161;&#x201A;䧎čź&#x2018;â°&#x2026;ä&#x2013;&#x17D;㢾䞸 ⌏ď&#x2DC;šä§Žę&#x;&#x161;㨼ä§&#x192;ćŻ č?&#x2C6;ä&#x160;šĺ&#x192;˝â&#x2122;śĺ&#x192;˝ă&#x20AC;Ťĺ&#x192;˝ć?&#x20AC;â&#x153;Ťéˇ&#x2020;ĺŽ ä&#x2022;&#x17D;ä&#x2019;ç˝&#x153;暹㟊朸ä&#x2122;?ćŽ&#x153;â&#x153;Ťĺ&#x160;Ľé¨â°&#x2030;ăş&#x201A;âŤ&#x201E;麨朸ę&#x2026;žé&#x160;´ä&#x161;?â&#x153;Ťď&#x2DC;ˇ 䧎嚞⿥â&#x153;Ťä&#x2013;&#x17D;㢾â&#x161;&#x203A;â&#x2122;śĺ&#x192;˝ęŹ&#x152;ä&#x152;˘ĺ&#x2030;ŞâšĄĺ&#x20AC;´â°&#x2030;ăş&#x201A;朸佪ĺ?&#x201C;ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;ĺ&#x2030;¤â?&#x2030;ĺ&#x201E;&#x2DC;⌏ă¸?朸佌ä &#x2018;ć&#x152;ĄäŞŽâ°Śăť&#x153;äŹ&#x20AC;⿥â&#x153;Ťâ°&#x2030;ăş&#x201A;
ĺ&#x160;Ľé¨ď&#x2DC;ˇâ˝ç&#x203A;&#x2DC;㼜姽ď&#x2DC;šâĄ˛ă&#x2026;ˇćś¸ć&#x20AC;ľâ´&#x20AC;佪ĺ?&#x201C;韊ĺ&#x192;˝č&#x2026;&#x2039;ä Žă&#x20AC;&#x152;âľ&#x152;ä&#x2013;&#x17D;ă˘ľäž¸ăśśč° é Żćś¸éż&#x2C6;â´&#x2022;ď&#x2DC;ˇä§Žé&#x152;?ä&#x2013;¤äž¸ăśśč° é Żĺ&#x192;˝ ä&#x2013;&#x17D;㼪朸é&#x201A;?ć¤?ä&#x2022;&#x17D;ä&#x2019;ď&#x2DC;šâĄ&#x17D;â°&#x2030;ăş&#x201A;ĺ&#x160;Ľé¨äŠ&#x17E;ĺ&#x192;˝ĺŻšăš ⥲ă&#x2026;ˇăĽŞăĄ?ćś¸ęĄ ę&#x2019;łď&#x2DC;ˇ
LSS: I think that diďŹ&#x20AC;erent opinions are good. I
"35 ;*1î&#x161;&#x2030;ć&#x20AC;ľâ´&#x20AC;朸ĺ&#x201E;&#x2DC;⌏éş&#x201A;â&#x2122;łéş&#x2022;äŞŽé Żă&#x2030;?ę˛&#x2014;ă&#x152;¨î&#x161;&#x17D;⥚ä&#x2122;Śë&#x17E;&#x192;ćş?ä&#x2013;&#x160;é¸?ĺ&#x17E;şäŞŽé Żä˝ŚęĽťă&#x201E;¤č° é Żä&#x2022;&#x17D;ä&#x2019;â&#x203A;&#x201C;ę&#x;Śćś¸
a bit dazzling for some people, but once they
-44î&#x161;&#x2030;äŞŽé Żä˝ŚęĽťâ&#x2122;śĺ&#x192;˝ç&#x2014;§â&#x2122;§ĺŚ&#x201E;â&#x153;Ťď&#x2DC;šä§Žé&#x2019;˘ć?&#x20AC;â&#x203A;łâ&#x2122;śĺ&#x192;˝â&#x2122;śăź ĺ&#x2122; 朸é&#x201A;?ć¤?ď&#x2DC;ˇć¤?ă&#x153;Ľć&#x20AC;ľâ´&#x20AC;ĺ&#x2C6;żâŤšĺ&#x192;˝ä§Žă&#x2013;&#x2C6;䚽⥲â&#x2122;§
can t deny that the results of my work can be hear about my artistic process, or after they see my documentary, I believe they will be
surprised to see the depth of work that goes
into the production. The performance shows only 60% of the whole project. In fact, my
hobbies are broad; music, art, performance and ďŹ lm, no matter whether it is classic or modern, I like to try new things out. This
whole project is an experiment and I believe that in the future I will continue to develop
it further. I think my study is still continuing, fortunately I still have a real passion for
濨暽î&#x161;&#x17D;
ă&#x20AC;ľă˘ľâŻ&#x2039;ćś¸ĺ Ľă?źď&#x2DC;šä§Žă&#x20AC;㼠ď&#x161;łď&#x160;ľę¤?ď&#x161;´ď&#x2DC;šă¸?ĺ&#x192;˝ć&#x2039;ä&#x2013;&#x17D;㢾â&#x2122;śă &#x161;㯯ë&#x201E;&#x201C;ę&#x2022;&#x2013;乺鼹⢾朸ď&#x2DC;šę¨śč&#x2C6;Ąď&#x2DC;šă ?겳乞âľ&#x2013;ă?źď&#x2DC;šâ&#x;&#x192; ⿝䞸㜜âť&#x2039;朸佪ĺ?&#x201C;ă?źä§´ĺ&#x192;˝ä&#x17D;&#x2122;⟧ä&#x17D;&#x192;⾚朸ĺ&#x17E;¸äşźé&#x2039;&#x2022;é&#x152;? č&#x20AC;Ťę°&#x2030;ĺ&#x17E;¸ă?&#x2020;ç&#x2DC;&#x17E;ç&#x2DC;&#x17E;ď&#x2DC;šäŞžé¸?â?&#x2030;â&#x2122;śă &#x161;ćś¸äŞŽé Żă &#x161;ĺ&#x201E;&#x2DC;估揽
ă&#x2013;&#x2C6;䧎✞ä&#x2019;&#x160;ćś¸ĺ Ľă?źâ&#x2122;łĺ&#x2030;&#x161;â´&#x20AC;ć¤?ä&#x2013;&#x17D;㢾ä &#x2018;ä&#x;?â&#x2122;śâľ&#x152;朸犥ĺ?&#x201C;ď&#x2DC;šä &#x2018;㢍â&#x203A;łę¨&#x2C6;â&#x;&#x192;éź&#x161;âŻ?ď&#x2DC;šé¸?ĺ&#x2C6;żâŤšĺ&#x192;˝â&#x2122;§âŚ?ĺ Ľă?źç&#x2020;&#x152;ă &#x2013; 朸éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;šâ&#x203A;łĺ&#x192;˝ć&#x20AC;ľâ´&#x20AC;ĺ&#x160;Ľé¨ćś¸â&#x2122;§éż&#x2C6;â´&#x2022;ď&#x2DC;ˇä§Žćś¸ç¨&#x2021;ĺ&#x2039;&#x17E;鿪ĺ&#x192;˝äžć&#x2019;&#x2018;ꨜä&#x2022;§ćś¸ĺ´Šç&#x17D;&#x2018;⢾é&#x160;´ĺŽ 朸ď&#x2DC;š 㢾ĺ&#x201C;ꨜä&#x2022;§
ć&#x2122;&#x161;媯ď&#x2DC;šę¨žé&#x160;´ă&#x2013;&#x2C6;溍ăť&#x153;ĺ&#x201E;&#x2DC;ę&#x;Śă &#x161;姿ă&#x192;&#x201E;ć¤? L朸颜ę&#x2020;&#x20AC;ď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;韊ꨞé&#x160;´č&#x20AC;Ťę°&#x2030;朸ă &#x161;姿â&#x;&#x192;âżťâ&#x2122;śă &#x161;ă &#x2013;ä§ă?źă&#x201E;¤ĺ&#x17E;¸ă?&#x2020; 朸ę&#x201A;&#x201A;ă &#x2013;ď&#x2DC;šé¸?㟊ç&#x201A;˝â&#x;?ă&#x201E;¤éŽżâ&#x;?⢾é&#x201C;&#x17E;鿪ĺ&#x192;˝â&#x2122;§âŚ?ä&#x2013;&#x17D;ăŁ?朸äŽ&#x2039;ä¨&#x17E;ď&#x2DC;šä¨žâ&#x;&#x192;掚䧎玥éą&#x20AC;㼪ç&#x17D;&#x2018;ä&#x17D;¸äľŠä&#x2019;&#x160;㸤é¸?âŚ?ä&#x17D;&#x201A;ă&#x20AC;ľ
ä&#x2013;&#x2022;ď&#x2DC;šä§Žâ&#x2122;śćżźéşĽć¤?ă&#x153;Ľĺ&#x2030;&#x161;ĺ&#x2030;¤ä&#x2122;Śĺ&#x17E;şä &#x2018;ä&#x;?â&#x2122;śâľ&#x152;朸佪ĺ?&#x201C;ď&#x2DC;šăźŠä§Žâ˘ľé&#x201C;&#x17E;齥ĺ&#x192;˝â&#x2122;§âŚ?äŽ&#x2039;ä¨&#x17E;ď&#x2DC;ˇä§Žă&#x2039;?姚⥲ă&#x2026;ˇč&#x17D;&#x2026;é&#x152;&#x161;ćť&#x17E;
朸â&#x153;˝âš&#x203A;ď&#x2DC;šĺŤŚâ&#x2122;§ĺŚ&#x201E;ć¤?ă&#x153;ĽéżŞĺ&#x2030;&#x161;ĺ&#x2030;¤â&#x2122;śâ&#x2122;§ĺ&#x17E;şćś¸ä˝Şĺ?&#x201C;ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;é&#x152;&#x161;ćť&#x17E;ă&#x2013;&#x2C6;ă&#x20AC;ľâ&#x2122;´ćś¸âżžęş&#x2C6;ă&#x20AC;łâ&#x;&#x192;č&#x17D;&#x2026;é&#x201A;?ć&#x20AC;ľćŹ´ćŹ°ĺ&#x2C6;żĺ&#x2030;¤éŚą 朸â&#x153;˝âš&#x203A;ď&#x2DC;šç˝&#x153;â&#x161;&#x201A;ă&#x2013;&#x2C6;ć¤?ă&#x153;Ľćś¸â&#x2122;śă&#x20AC;łę°¸ćżźä&#x161;?ă&#x20AC;łâ&#x;&#x192;é&#x203A;&#x160;䧎㟊č?&#x2C6;ä&#x160;šćś¸âĄ˛ă&#x2026;ˇâĄ˛â´&#x20AC;â&#x2122;śâ&#x2122;§ĺ&#x17E;şćś¸ć¤&#x161;é?&#x2018;ď&#x2DC;ˇä§Žę¨žé&#x160;´é¸?âŚ? â?&#x153;崊朸éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;šä§Žä&#x2039;&#x17E;ĺ&#x160;&#x2020;é¸&#x2019;éş&#x2022;ć¤?ă&#x153;Ľćś¸é&#x152;&#x161;ćť&#x17E;朸â&#x153;˝âš&#x203A;⿥âľ&#x17E;ć&#x2026;¨é¸?âŚ?⥲ă&#x2026;ˇç˝&#x153;⿥ä˝&#x2013;éš&#x17D;ď&#x2DC;šé¸?ç??ę&#x;&#x161;ä˝&#x17E;ä&#x161;?ĺ&#x192;˝ä§Žĺ&#x160;? ä&#x2013;&#x160;ćş?âľ&#x152;朸ď&#x2DC;ˇ
the topic. In the end, I believe that before
"35 ;*1î&#x161;&#x2030;ĺ&#x2030;¤â&#x2122;§â?&#x2030;âżžęş&#x2C6;é&#x201C;&#x17E;⥚朸⥲ă&#x2026;ˇä˝Şĺ?&#x201C;ä&#x2013;&#x17D;ę&#x192;?ć&#x152;Ąď&#x2DC;šçˇ&#x201E;ăźąč° é Żä&#x161;?ď&#x2DC;šćş?鼹⢾ĺ&#x2030;¤ë&#x;&#x160;ă&#x2030;&#x201A;ĺ&#x2122; âť&#x2039;ď&#x2DC;ˇâĄšä&#x2122;Śë&#x17E;&#x192;
yourself.
-44î&#x161;&#x2030;䧎é&#x152;?ä&#x2013;¤ĺ&#x2030;¤â&#x2122;śă &#x161;朸č&#x20AC;Ťę°&#x2030;ĺ&#x192;˝â&#x2122;§ăš 朸ď&#x2DC;ˇâ&#x2122;śă&#x20AC;łă&#x201A;&#x201E;é&#x2019;˘ä§Žćś¸âĄ˛ă&#x2026;ˇä¨žă&#x192;&#x201E;ć¤?â´&#x20AC;⢾朸佪ĺ?&#x201C;㟊ĺ&#x2030;¤â?&#x2030;â&#x17E;&#x192;⢾é&#x201C;&#x17E;
you move other people, you have to move
ćş?ä&#x2013;&#x160;é¸?ç??é?ąâ&#x2020;î&#x161;&#x17D;
ĺ&#x192;˝ď&#x161;łę&#x192;?ć&#x152;Ąď&#x161;´ćś¸ď&#x2DC;šâĄ&#x17D;䧎â&#x161;&#x203A;ĺ°?ĺ&#x2030;¤ä Žé&#x152;?é¸?ĺ&#x2030;¤â&#x17E;&#x160;ë&#x17E;&#x192;â&#x2122;śăĽŞď&#x2DC;šé¸?â&#x2122;śâŤšĺ&#x192;˝ă&#x2013;&#x2C6;äŹ?ç§ ę?&#x2014;ć&#x2122;&#x161;ꨞé&#x160;´ă&#x201C;&#x201A;č ?é&#x2019;˘ćşŤă&#x2013;&#x2019;ă&#x192;&#x201E;ć¤?
溍ăť&#x153;朸éş&#x2022;⿥ď&#x2DC;šăźŠä§Žâ˘ľé&#x201C;&#x17E;é¸?ĺ&#x192;˝âŚ?â&#x17E;&#x192;â&#x161;şé&#x152;&#x161;朸朸✞⥲ď&#x2DC;šč?&#x2C6;ä&#x160;šâŻ&#x201C;ć&#x2122;&#x160;č&#x201A;Ľăš ĺ&#x192;˝äą&#x2013;ç&#x2014;§â&#x2122;§âĄ&#x2122;朸ď&#x2DC;šćŽšć?䧎â&#x203A;łä&#x2013;&#x17D;
ä&#x2039;&#x17E;ĺ&#x160;&#x2020;ăŁ?ăšťćş?éş&#x2022;č &#x192;éş&#x2022;ä&#x2013;&#x2022;鿪ĺ&#x2030;¤ă &#x161;ĺ&#x17E;şćś¸ä Žă&#x20AC;&#x152;ď&#x2DC;ˇä§ŽćšąâĽ&#x152;ĺ&#x160;˘â˘ľĺ&#x2030;&#x161;ĺ&#x2030;¤ĺ&#x2C6;żă˘ľćś¸ćśŽăž?ä&#x2019;&#x201A;â ˝ď&#x2DC;šé¸?âŚ?é&#x201C;ę˛&#x2014;韊ĺ&#x2030;&#x161;ä° çłľéš&#x17D;é ¤ćś¸ď&#x2DC;ˇä&#x17D;&#x2039;éş&#x152;朸ĺ&#x192;˝é¸?âŚ?é&#x201C;ę˛&#x2014;ăş&#x201A;ę&#x2020;&#x20AC;ä&#x2013;&#x17D;ăŁ?ď&#x2DC;šç˝&#x153;â&#x161;&#x201A;䧎溍朸㟊é¸?âŚ?é&#x201C;ę˛&#x2014;ä&#x2013;&#x17D;ă&#x2039;?姚ď&#x2DC;šä§Žâ&#x2122;§ćšŹé&#x2019;˘ć?&#x20AC;é&#x160;´äŠ§ âš&#x203A;â´˝â&#x17E;&#x192;朸⾚䲿ĺ&#x192;˝âŻ&#x201C;é&#x160;´äŠ§âš&#x203A;č?&#x2C6;ä&#x160;šď&#x2DC;ˇ
Lu Sisi at performance
Lu Sisi. Making of Taoda (2015)
20TH ANNIVERSARY OF ZABLUDOWICZ COLLECTION INTERVIEW WITH ELIZABETH NEILSON 讌䋒㢴笞㣼Ⱙ诡✳⼧䎃 㼠鏞⟻뜨蛎涯v㽲晋啿
&%*5&% #: 箠鰿 ,& 2*8&/ 叕巯ꨚ 53"/4-"5&% #: 缺陼 $"* 46%0/( 詍豣匌 *."(&4 $0635&4: 0' 㕭晙䲿⣘ ;"#-6%08*$; $0--&$5*0/ 讌䋒㢴笞㣼Ⱙ诡긬
NeĂŻl Beloufa, Lifestyles, 2013, installation view Emotional Supply Chains at Zabludowicz Collection, London, 2016. Photo: David Bebber
The Zabludowicz Collection, founded in 1994 by Poju and Anita
Zabludowicz, is dedicated to fostering new audiences and a sustainable environment for contemporary art. The Collection contains over
3,000 works of art by more than 500 artists, spanning four decades
of art production. Regarded as one of the world s most outstanding
ć?&#x20AC;â&#x153;Ťă&#x203A;&#x2020;ꡢĺ&#x20AC;&#x17E;朸é&#x152;&#x161;ćť&#x17E;çş&#x2C6;ë&#x201E;&#x201C;ă&#x201E;¤ă&#x20AC;łä°çłľćśŽăž?朸掚â&#x17E;żč° é ŻćŠ&#x2021;ă&#x17E;Żď&#x2DC;ščŽ?ä&#x2039;&#x2019;
㢾çŹ&#x17E;㣟㚝ĺ &#x153;ă&#x2013;&#x2C6; ä&#x17D;&#x192;âśžç&#x201D;¨â&#x153;Ťă &#x161;ă ?Ⰺ询ę¸Ő&#x201A;čŽ?ä&#x2039;&#x2019;㢾çŹ&#x17E;㣟Ⰺ
询ę¸ď&#x2DC;šé&#x201E;&#x201E;é&#x161;&#x2DC;ć?&#x20AC;ď&#x2C6;Łć¤&#x2022;ĺ&#x2030;&#x201C;ę°Ľăźşćś¸ć Źç&#x201D;¨ćŽšâ&#x17E;żč° é Żĺ Ľĺ&#x153;&#x201C;â&#x203A;&#x201C;â&#x2122;§ď&#x2DC;šé&#x2018;Şę¸çŚş
窥ĺ&#x201D;&#x161;ć¤&#x161;â&#x153;Ťä&#x2013;° â&#x161;&#x2020;ç§ ĺ&#x160;Łč?&#x203A;â&#x17E;&#x203A;ćś¸č° é ŻčŻ˘ă&#x2026;ˇč&#x2026; çŞ&#x201E;ď&#x2DC;šâ&#x161;&#x203A;â&#x161;&#x201A;ä°çłľă ˘âľšćśŽ
ăž?ď&#x2DC;ˇé´ťâ&#x17E;&#x203A;ć?&#x20AC;姺ď&#x2DC;šéľ&#x153;ă&#x201D;&#x2039;⟧ä&#x17D;&#x192;⢾â?&#x20AC;ćś°ę¸&#x2026;âĄ&#x2122;č° é Żăšťćś¸â&#x2122;˛âźŞă˘ľâ&#x;?⥲ă&#x2026;ˇ
independent contemporary art collections, its focus is on emerging
ä&#x160;şâ´Şć?&#x20AC;ę¸čŻ˘ď&#x2DC;ˇ
development. Taking the recent digital art exhibition Emotional Supply
â&#x;&#x192;ăŁ?ă&#x2DC;&#x2014;äž¸ăśśč° é Żăž?é&#x152;&#x2019;Őˇä&#x17E;&#x2022;ä ŽâŁ&#x2DC;估ę&#x2022;&#x2013;Ő¸ć?&#x20AC;çŽ ç¨&#x2039;ď&#x2DC;š"35 ;*1äą°é?&#x17E;â&#x153;Ť
art from the late 20th century to the present day and is still in constant Chains as a starting point, Collection Director Elizabeth Neilson talks about her approach to collecting and her future strategy .
ę¸ę&#x;&#x20AC;â&#x;ťë&#x153;Šč&#x203A;?术Ë&#x2122;㽳ć&#x2122;&#x2039;ĺ&#x2013;&#x20AC;ď&#x2DC;šč &#x192;㼠⢾é&#x2014;?é?°é&#x2018;Şę¸ă&#x2013;&#x2C6;äž¸ăśśč° é Żĺ&#x20AC;°ă ˘ćś¸
ä˝?询ĺ&#x20AC;°ä&#x2019;ă&#x201E;¤ĺ&#x160;˘â˘ľćś¸ćśŽăž?ç&#x2DC;źćŽ&#x153;ď&#x2DC;ˇ
Zabludowicz Collection, London
ART.ZIP: Would you please give us a brief introduction of Zabludowicz Collection? How was it established?
"35 ;*1î&#x161;&#x2030;é&#x201D;&#x17E;ä?Ąç&#x;Śé&#x160;´ă&#x2013;&#x2019;â&#x17E;?稲â&#x2122;§â&#x2122;´čŽ?ä&#x2039;&#x2019;㢾çŹ&#x17E;㣟Ⰺ询ę¸î&#x161;&#x17D;ă¸?
concentrating on art since 1990 but going back to the 1940s in a few instances,
ĺ&#x20AC;&#x17E;询ă&#x2026;ˇćś¸ćŽšâ&#x17E;żč° é Żä˝?čŻ˘ĺ Ľĺ&#x153;&#x201C;ď&#x2DC;šâ&#x161;şé&#x160;´â&#x;&#x192; ä&#x17D;&#x192;â&#x203A;&#x201C;ä&#x2013;&#x2022;朸掚â&#x17E;ż
EN: The collection is two things - a growing collection of contemporary art,
and a programme of exhibitions, residencies, commissions and publicly facing projects working with living artists. It was founded in the mid 1990s by the
Zabludowicz family - from the start they were not just buying art works but also supporting other art organisations.
ART.ZIP: How do you position the Zabludowicz Collection?
EN: It's a non market orientated family collection with a philanthropic aim to
nurture and support art and the surrounding culture that makes that possible.
ART.ZIP: What is the Collection s strategy on acquisition?
EN: We are not just buying works but also commissioning and exhibiting so it's
ĺ&#x192;˝ä&#x2122;Śë&#x17E;&#x2020;ä&#x2019;&#x160;ç&#x201D;¨ćś¸î&#x161;&#x17D;
&/î&#x161;&#x2030;é¸?âŚ?Ⰺ询ę¸ĺ&#x2030;¤â°?âŚ?č&#x20AC;ˇč&#x2026;&#x2039;î&#x161;&#x2030;â°Śâ&#x2122;§ď&#x2DC;šă¸?ĺ&#x192;˝â&#x2122;§âŚ?â&#x2122;śĺ&#x20AC;Źă&#x;&#x17E;â¸&#x2C6; č° é ŻâĄ˛ă&#x2026;ˇć?&#x20AC;â&#x161;şď&#x2DC;šę§Şć?ĺ&#x2030;¤â?&#x2030;询ă&#x2026;ˇă&#x20AC;łâ&#x;&#x192;éˇ&#x2020;彸âľ&#x152; ä&#x17D;&#x192;â&#x17E;żî&#x161;&#x160;â°Ś â&#x153;łď&#x2DC;šă¸?ĺ&#x2030;¤č?&#x2C6;ä&#x160;šćś¸č° é Żę°ŞćšĄď&#x2DC;šâŤšăž?é&#x152;&#x2019;ď&#x2DC;śč° é Żăšťę˝?ă&#x2013;&#x2019;ď&#x2DC;śč° é Żă¨˝ é&#x17D;ˇă&#x201E;¤č&#x17D;&#x2026;â°&#x2014;ćť&#x17E;â&#x2122;§éĽąâżŽč&#x17D;&#x2026;朸갪暥ç&#x2DC;&#x17E;ď&#x2DC;ˇă¸?ĺ&#x192;˝ć&#x2039;čŽ?ä&#x2039;&#x2019;㢾çŹ&#x17E;㣟㚝ĺ &#x153;
ĺ&#x20AC;´ ä&#x17D;&#x192;â&#x17E;żâ&#x161;Ľĺ&#x160;?é?¤ç&#x201D;¨ćś¸Ő&#x201A;â&#x17E;ŽâŚ&#x203A;ä&#x2013;°â&#x2122;§ę&#x;&#x161;㨼㽠â&#x2122;śâŤŚä˝?éŁ&#x2018;č° é Żă&#x2026;ˇď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;â&#x203A;łâ&#x2122;§ćšŹä˝&#x2026;ä°â°Śâ&#x17E;Žč° é Żĺ Ľĺ&#x153;&#x201C;ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;⥚ĺ&#x192;˝ä&#x2122;Śë&#x17E;&#x2020;ăš âĄ&#x2122;čŽ?ä&#x2039;&#x2019;㢾çŹ&#x17E;㣟Ⰺ询ę¸ćś¸î&#x161;&#x17D;
&/î&#x161;&#x2030;ă¸?ĺ&#x192;˝â&#x2122;§âŚ?ęŹ&#x152;ä&#x2039;&#x2018;ă&#x153;Ľâť&#x2039;朸㚝ä?ä˝?询ę¸ď&#x2DC;šă¸?ĺ&#x192;˝â&#x;&#x192;䥚ă&#x160;Ľć?&#x20AC;暥
朸朸ď&#x2DC;šć?&#x20AC;â&#x153;Ťă&#x203A;&#x2020;č&#x201A;Źă&#x201E;¤ä˝&#x2026;ä°ć¤?掚â&#x17E;żč° é Żď&#x2DC;šâżťć?&#x20AC;ć¤?掚â&#x17E;żč° é Żä˛żâŁ&#x2DC; ă&#x2022;źăĄ?朸ă&#x192;°éźšäż&#x2019;âť&#x2039;ď&#x2DC;ˇ
combination of ways of working to facilitate art practice. Also, we very rarely
"35 ;*1î&#x161;&#x2030;é&#x2018;Şę¸ćś¸ä˝?éŁ&#x2018;ç&#x2DC;źćŽ&#x153;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;î&#x161;&#x17D;
are known for searching out artists and not just going with what is "hot" or
é¸?âŚ?갪暥犥ă &#x2013;â&#x153;Ťé?Şă˘ľä&#x160;¨âĄ˛ĺ&#x20AC;°ä&#x2019;⢾ä˛&#x20AC;âš&#x203A;ć¤?掚â&#x17E;żč° é Żăť&#x153;éŠ?ď&#x2DC;ˇ
sell the works we hold - so it s a growing and very much living collection. We shown at art fairs - and that takes time and patience.
ART.ZIP: Do you still remember the very ďŹ rst digital art pieces? What are they and how do you make the decision? How are they special and distinct from the others?
&/î&#x161;&#x2030;䧎âŚ&#x203A;â&#x2122;śâŤŚâŤŚĺ&#x192;˝ä˝?éŁ&#x2018;⥲ă&#x2026;ˇď&#x2DC;šéźŠä&#x2013;°â&#x153;˛ă¨˝äŠŻă&#x201E;¤ăž?é&#x152;&#x2019;ď&#x2DC;šä¨žâ&#x;&#x192;
ç˝&#x153;â&#x161;&#x201A;ď&#x2DC;šä§ŽâŚ&#x203A;ä&#x2013;&#x17D;ăźąâ´&#x20AC;ă&#x2C6;&#x2019;询ă&#x2026;ˇŐ&#x201A;䨞â&#x;&#x192;ă¸?ĺ&#x192;˝â&#x2122;§âŚ?ä§ę&#x;&#x20AC;â&#x161;Ľćś¸ď&#x2DC;śâ&#x2122;ś
ĺ&#x20AC;ŹćŹ°ę&#x;&#x20AC;朸ä˝?询갪暥ď&#x2DC;ˇä§ŽâŚ&#x203A;ć?&#x20AC;â&#x17E;&#x192;䨞濟朸➲ă&#x201D;&#x201D;â&#x203A;&#x201C;â&#x2122;§ă&#x2013;&#x2C6;ĺ&#x20AC;´ä§ŽâŚ&#x203A; ă&#x160;Ľĺ&#x20AC;´ăźŚäŞŞč° é Żăšťď&#x2DC;šç˝&#x153;â&#x2122;śĺ&#x192;˝éˇ&#x2020;ęŚ&#x2018;齥â?&#x2030;ď&#x161;łăŁ?ć&#x201D;¨ď&#x161;´ä§´ç˝?č° é Żä&#x2039;&#x2018; ă&#x153;Ľâ&#x2122;łĺ&#x2C6;&#x2022;âŻ&#x2022;楧ë&#x201E;&#x17E;朸ĺ&#x152;&#x152;é&#x160;ŻŐ&#x201A;é¸?âŚ?éş&#x2022;ç&#x17D;&#x2018;ꨞé&#x160;´ĺ&#x201E;&#x2DC;ę&#x;Śă&#x201E;¤ç˝Łä&#x2014;ąď&#x2DC;ˇ
EN: In the 1990s when the collection begun digital media of all forms was in
"35 ;*1î&#x161;&#x2030;ä?ĄéźŠé&#x17D;šä&#x2013;¤âĄšâŚ&#x203A;ꝡ䪥ä˝?čŻ˘ćś¸äž¸ăśśč° é ŻâĄ˛ă&#x2026;ˇă&#x152;¨î&#x161;&#x17D;
obsolete formats from this period and these predate my work with the
â?&#x2030;⥲ă&#x2026;ˇĺ&#x2030;¤â&#x17E;&#x160;ë&#x17E;&#x2020;ć&#x161;śĺŠ&#x152;朸ă&#x2013;&#x2019;ĺ&#x20AC;°î&#x161;&#x17D;
its infancy - we have works by artists that are on VHS or laser discs or other collection. So digital media has always been part of the collection. It's not
distinct from the rest of the collection - everything requires special attention
and conservation. Decisions on what is purchased are based on the work itself what it does in context but also autonomously.
ART.ZIP: Are there any issues or challenges when collecting and exhibiting digital art works? EN: Conservation is still in development - we keep ďŹ les in diďŹ&#x20AC;erent places and formats - in case of ďŹ re or theft but also corruption and obsolescence.
People often think that presenting new media work - including moving image
work - that is cheap or easy - it can be... But the hardware can also be expensive and changes so quickly. And spatially the works can be demanding - often an environment will need to be specially created. I don't think we have done one
⥚âŚ&#x203A;ä&#x2122;Śë&#x17E;&#x2020;寚㚠ä˝?询é¸?ĺ&#x17E;şćś¸âĄ˛ă&#x2026;ˇćś¸î&#x161;&#x17D;ă&#x201E;¤â´˝ćś¸âĄ˛ă&#x2026;ˇćšąĺŤ˛ď&#x2DC;šé¸? &/î&#x161;&#x2030; ä&#x17D;&#x192;â&#x17E;żä§ŽâŚ&#x203A;朸갪暥âś?ę&#x;&#x161;㨼朸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;šä¨žĺ&#x2030;¤ä&#x2022;&#x17D;ä&#x2019;朸䞸
㜜㯯ë&#x201E;&#x201C;鿪韊č´&#x2013; ĺ&#x20AC;´ä&#x17D;&#x201C;ä&#x17D;&#x192;ĺ&#x160;?Ő&#x201A;䧎âŚ&#x203A;ĺ&#x2030;¤é˝ĄâŚ?ĺ&#x201E;&#x2DC;ĺ&#x160;?齥â?&#x2030;⢪ 揽 ę?&#x2014;⍚猺窥ď&#x2DC;ść&#x2026;¨âŻ&#x2022;âŻ&#x2022;ćš?䧴ç˝?â°Śâ&#x17E;Žä&#x160;şçŤ¤éş&#x2022;ĺ&#x201E;&#x2DC;朸ĺ&#x2018;&#x201D;ä&#x2019;ę?&#x2014;âľ&#x2013;朸⥲
ă&#x2026;ˇď&#x2DC;šé¸?â?&#x2030;⥲ă&#x2026;ˇćś¸ä˝?询ĺ&#x201A;?ă&#x2013;&#x2C6;䧎â¸&#x2C6;â°&#x2026;é¸?âŚ?갪暥â&#x203A;&#x201C;âľšď&#x2DC;ˇä¨žâ&#x;&#x192;ď&#x2DC;šäž¸ 㜜㯯ë&#x201E;&#x201C;çą?ĺ&#x192;˝ä§ŽâŚ&#x203A;갪暥朸â&#x2122;§éż&#x2C6;â´&#x2022;ď&#x2DC;ˇă¸?ă&#x201E;¤â°Śâ&#x17E;Žćś¸čŻ˘ă&#x2026;ˇĺ°?ĺ&#x2030;¤â&#x2122;ś ă &#x161;Ő&#x201A;鿪ꨞé&#x160;´ć&#x161;śâ´˝ćś¸ęĄ 岤ă&#x201E;¤âĽ&#x192;㜸ď&#x2DC;ˇä§ŽâŚ&#x203A;é&#x160;´éŁ&#x2018;éĄ ă&#x2020;â?&#x2030;⥲ă&#x2026;ˇ
ă&#x20AC;&#x160;寚ĺ&#x20AC;´âĄ˛ă&#x2026;ˇă&#x2013;&#x2C6;齥ĺ&#x201E;&#x2DC;朸é&#x201C;&#x192;ă&#x17E;Żâ&#x2122;´ćś¸ä &#x2018;çş?â&#x;&#x192;⿝⥲ă&#x2026;ˇĺ&#x160;Ľé¨ćś¸č?&#x2C6;ĺą&#x203A; ä&#x161;?ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;ă&#x2013;&#x2C6;ä˝?询ă&#x201E;¤ăž?â´&#x20AC;äž¸ăśśč° é ŻâĄ˛ă&#x2026;ˇćś¸ĺ&#x201E;&#x2DC;⌏ĺ&#x2030;¤ĺ°?ĺ&#x2030;¤éş&#x201A; âľ&#x152;éş&#x2022;ă&#x2020;â?&#x2030;ă&#x2030;?ę˛&#x2014;䧴äŽ&#x2039;ä¨&#x17E;î&#x161;&#x17D;
&/î&#x161;&#x2030;âĽ&#x192;ăś¸äŞŽé ŻéźŠă&#x2013;&#x2C6;â&#x2122;śĺ&#x20AC;ŹćśŽăž?ď&#x2DC;šä§ŽâŚ&#x203A;䪞äż&#x2019;â&#x;?揽â&#x2122;śă &#x161;朸ĺ&#x2018;&#x201D;ä&#x2019; âĽ&#x192;㜸ă&#x2013;&#x2C6;â&#x2122;śă &#x161;朸ă&#x2013;&#x2019;ĺ&#x20AC;°ď&#x2DC;šâ&#x;&#x192;ęŁ&#x2C6;ć&#x160;Ąć&#x2039;&#x2026;ď&#x2DC;śâŠ&#x201D;ćš ď&#x2DC;śä´ŚăĄ?ă&#x201E;¤ăŁ&#x;佪ď&#x2DC;ˇ
show where we have had the right equipment in stock - we have always had
â&#x17E;&#x192;âŚ&#x203A;çą?ĺ&#x192;˝ĺ&#x2030;&#x161;é&#x2019;˘ć?&#x20AC;ăž?â´&#x20AC;ĺ&#x20AC;&#x17E;㯯ë&#x201E;&#x201C;⥲ă&#x2026;ˇď&#x2DC;šâşŤä?ä&#x2022;§âŤšâĄ˛ă&#x2026;ˇď&#x2DC;šĺ&#x192;˝â&#x;?
sharing these experience resources amongst art organisations.
ĺ&#x192;˝ä&#x2013;&#x17D;éĄ&#x153;朸ď&#x2DC;šç˝&#x153;â&#x161;&#x201A;ĺ&#x2C6;żĺ&#x20AC;&#x17E;äł&#x2013;â&#x17E;żâ&#x203A;łä&#x2013;&#x17D;ä&#x2DC;°ď&#x2DC;ˇä&#x2013;°ç&#x2018; ę&#x;Śâ&#x2122;łâ˘ľé&#x201C;&#x17E;ď&#x2DC;šäž¸ăśśâĄ˛
to buy more! That's a challenge! There needs to be a better coordinated way of
ART.ZIP: What's the diďŹ&#x20AC;erence between collecting other art forms and digital art? Is there a diďŹ&#x20AC;erence in preservation, ensuring that you have the correct technology to show to work on, even when the technology becomes out of date? EN: I think I answered that above. It's a little more demanding than painting.
â&#x2122;śéĄĽę??䧴ç˝?ç&#x;Śă&#x2039;˛ćś¸â&#x153;˛ä&#x17E;&#x2022;ď&#x2DC;šâ&#x153;˛ăť&#x153;ĺ&#x2030;¤ă&#x20AC;łč&#x2026;&#x2039;ĺ&#x192;˝é¸?ĺ&#x17E;şď&#x2DC;šâĄ&#x17D;ç&#x201A;˝â&#x;?â&#x203A;ł ă&#x2026;ˇćś¸ăž?â´&#x20AC;â&#x203A;łĺ&#x192;˝ä&#x2013;&#x17D;ę¨&#x2C6;朸ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;é¸&#x2019;ä&#x152;˘ä§ŽâŚ&#x203A;é&#x160;´âśžé¸¤â&#x2122;§âŚ?ć&#x161;śĺŠ&#x152;朸 ăž?â´&#x20AC;ćŠ&#x2021;ă&#x17E;Żď&#x2DC;ˇä§Žâ&#x2122;śé&#x2019;˘ć?&#x20AC;䧎âŚ&#x203A;ĺ&#x2030;¤ă&#x2020;â&#x2122;§ĺŚ&#x201E;ä&#x2039;&#x2019;ăž?朸ĺ&#x201E;&#x2DC;⌏ĺ&#x2030;¤ć¤?ä§ćś¸ é?¤âŞ&#x201D;ă&#x20AC;łâ&#x;&#x192;揽Ő&#x201A;䧎âŚ&#x203A;çą?ĺ&#x192;˝é&#x160;´éĄ ĺ&#x2C6;żă˘ľćś¸î&#x2122;°é¸?ă˝ ĺ&#x192;˝âŚ?äŽ&#x2039;ä¨&#x17E;â&#x153;Ťî&#x2122;°
䧴é?Şč° é ŻçŠ&#x2030;çą˝â&#x203A;&#x201C;ę&#x;Śę¨žé&#x160;´ĺ&#x2030;¤â&#x2122;§ç??âźżé&#x201D;&#x2026;â°&#x;â?§é¸?â?&#x2030;獤ë&#x20AC;żă&#x201E;¤éĄťĺ˝&#x201A; 朸ĺ&#x20AC;°ĺ˛ ď&#x2DC;ˇ
Hence it doesn't have the same hype or market around it. That gives a certain
"35 ;*1î&#x161;&#x2030;ä˝?čŻ˘äž¸ăśśč° é ŻâĄ˛ă&#x2026;ˇă&#x201E;¤â°Śâ&#x17E;Žä&#x2022;&#x17D;ä&#x2019;朸⥲ă&#x2026;ˇĺ&#x2030;¤âĄŚâ&#x2122;ś
used in the 60s and 70s as a way of staying outside of the art market.
éť ćś¸äŞŽé ŻäŠ&#x203A;媯⢪ăž?â´&#x20AC;ä§â¸&#x2020;ď&#x2DC;šă˝ ç&#x161;żé¸?â?&#x2030;äŞŽé Żä&#x160;şçŤ¤éş&#x2022;ĺ&#x201E;&#x2DC;â&#x153;Ťî&#x161;&#x17D;
freedom and for some is a reason to use it in the same way performance was
ART.ZIP: What do you see as the future of digital art?
EN: I think that there is so much potential and for those that are digital natives (brought up using digital devices and media rather than my generation that
adapted to them in their teens) it's going to be more unusual to think of art in a massive white gallery space than it is on a screen or server. As with industry or photography in the nineteenth century technology will heavily inďŹ&#x201A;uence the development of art.
ă &#x161;î&#x161;&#x17D;ĺ&#x192;˝â&#x2122;śĺ&#x192;˝ă&#x2013;&#x2C6;âĽ&#x192;ăś¸äŞŽé Żâ&#x2122;łĺ&#x2030;¤âźŚâ´˝ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;çą?ĺ&#x192;˝é&#x160;´ç&#x201E;ˇâĽ&#x192;ĺ&#x2030;¤ă &#x2013; &/î&#x161;&#x2030;䧎ä&#x;?䧎ä&#x160;şçŤ¤ă&#x201D;?ç&#x2DC;¸éş&#x2022;é¸?âŚ?ă&#x2030;?ę˛&#x2014;â&#x153;Ťď&#x2DC;ˇé¸?卲ä˝?询ç˛ćŽĽĺ&#x2C6;żĺ&#x2030;¤
ę¨&#x2C6;ä?&#x17E;ď&#x2DC;ˇă&#x201D;&#x201D;姽é¸?âŚ?ęą&#x2020;ă&#x161;&#x2013;ĺ°?ĺ&#x2030;¤ă&#x201E;¤ç˛ćŽĽâ&#x2122;§ĺ&#x17E;şćś¸ć&#x2039;°âĄ˛ä§´ä&#x2039;&#x2018;ă&#x153;Ľď&#x2DC;ˇâĄ&#x17D; é¸?â&#x203A;łçŞ?äž¸ăśśč° é Żăšťä&#x152;&#x;⢾â&#x153;Ťâ&#x2122;§â?&#x2030;č?&#x2C6;ć&#x2039;ď&#x2DC;šăźŠâ&#x2122;§â?&#x2030;č° é Żăšťç˝&#x153;é&#x17D;&#x160;ď&#x2DC;š é¸?â¤&#x2018;⍚ĺ&#x192;˝ ď&#x2DC;ś ä&#x17D;&#x192;â&#x17E;żé ¤ć?&#x20AC;č° é Żâ&#x2122;§ĺ&#x17E;şď&#x2DC;šäŞžé¸?掚⥲ĺ&#x192;˝â&#x2122;§ç??éş&#x2030; ę¨&#x2020;ĺ&#x20AC;´č° é Żä&#x2039;&#x2018;ă&#x153;Ľâ&#x203A;&#x201C;㢍朸ç&#x201D;¨ă&#x153;Ľď&#x2DC;ˇ
Daniel Keller, Onanet Spiruline 1, 2015 (detail). Photo: David Bebber
ART.ZIP: Taking Emotional Supply Chains as an example, what s the most important quality you would pay attention to when selecting artists or works? What about choosing artists for residency programmes? EN: We often joke about looking for "genius" - a short hand for something unnamable but important - we seek out
"35 ;*1î&#x161;&#x2030;ä?Ąä&#x2122;Śë&#x17E;&#x2020;ćş?äž¸ăśśč° é Żćś¸âľšĺ&#x2026;&#x17E;î&#x161;&#x17D;
&/î&#x161;&#x2030;䧎é&#x2019;˘ć?&#x20AC;é¸?âŚ?ęą&#x2020;ă&#x161;&#x2013;ĺ&#x2030;¤čĄ˝ď&#x160;ľăŁ?朸ć&#x201A;´â¸&#x201A;ď&#x2DC;šăźŠĺ&#x20AC;´é˝Ąâ?&#x2030;ď&#x161;łäž¸ăśśâž˛âĄ&#x17E;ĺ&#x2014;ď&#x161;´ î&#x2122;ˇă&#x2013;&#x2C6;⢪揽䞸
ăśśé?¤âŞ&#x201D;ă&#x201E;¤ăŻŻë&#x201E;&#x201C;朸ćŠ&#x2021;ă&#x17E;Żâ&#x161;Ľę&#x;&#x20AC;ăŁ?朸â&#x2122;§â&#x17E;żď&#x2DC;šç˝&#x153;â&#x2122;śĺ&#x192;˝âŤšä§ŽâŚ&#x203A;é¸?â?&#x2030;âľ&#x152;â&#x153;Ťâź§â˘ľĺ¨&#x201D;äŠ&#x17E;âżĄéť äĽ°äž¸ăśśé?¤âŞ&#x201D;ă&#x201E;¤ăŻŻë&#x201E;&#x201C;朸â&#x17E;&#x192;î&#x2122;¸ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;ä&#x2014;ąćšĄâ&#x161;Ľćś¸č° é Żĺ&#x2C6;żă˘ľćś¸ĺ&#x192;˝ă&#x2013;&#x2C6;ăž&#x201C;ä?&#x152;â&#x2122;łä§´ĺ&#x2030;ŞâšĄă?ź
é&#x2026;朸ĺ&#x152;&#x152;é&#x160;Żď&#x2DC;šç˝&#x153;â&#x2122;śăŁ?ĺ&#x2030;&#x161;ĺ&#x192;˝ă&#x2013;&#x2C6;ăŁ?ă&#x2DC;&#x2014;术č&#x2019;&#x20AC;掼ä?¤é&#x2026;朸ĺ&#x152;&#x152;é&#x160;Żď&#x2DC;ˇă˝ ⍚ â&#x161;&#x2020;ç§ ä&#x160;¨ĺ&#x2122; ď&#x2DC;śäź˘ä&#x2022;§ăźŠ č° é Żćś¸ä&#x2022;§ę° â&#x2122;§ĺ&#x17E;şď&#x2DC;šäŞŽé Żĺ&#x2030;&#x161;ăŁ?ăŁ?ă&#x2013;&#x2019;ä&#x2022;§ę° č° é Żćś¸ćśŽăž?ď&#x2DC;ˇ
works which speak to our time and to each other across
"35 ;*1î&#x161;&#x2030;äŐˇä&#x17E;&#x2022;ä ŽâŁ&#x2DC;估ę&#x2022;&#x2013;Ő¸ăž?é&#x152;&#x2019;ć?&#x20AC;⢿ď&#x2DC;šä?Ąă&#x2013;&#x2C6;éź&#x2021;äšľč° é Żăšťä§´âĄ˛ă&#x2026;ˇćś¸ĺ&#x201E;&#x2DC;⌏䨞
what it is to live today, but also somehow transcends that!
&/î&#x161;&#x2030;䧎âŚ&#x203A;獤ä&#x152;˘äď&#x161;łăŁ&#x201D;äŠ&#x17E;ď&#x161;´â˘ľę&#x;&#x161;ć˘&#x2013;ç&#x2013;ŽŐ&#x201A;䨞é&#x2013;&#x2014;ď&#x161;łăŁ&#x201D;äŠ&#x17E;ď&#x161;´ ď&#x2DC;šă˝ ĺ&#x192;˝é˝Ąâ?&#x2030;ĺ°?ĺ˛ é&#x201C;&#x17E;ĺ&#x192;&#x2C6;术âĄ&#x17D;
time. We are hoping to make a collection that embodies
From the works on show in Emotional Supply Chains I
think you can see a multitude of approaches to art making - from autobiographical and narrative, to more materially
ęĄ ĺ˛¤ćś¸ĺ&#x2030;&#x201C;ę&#x2026;žé&#x160;´âŻ&#x2039;ç¨&#x2021;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;î&#x161;&#x17D;éź&#x2021;äšľę˝?ă&#x2013;&#x2019;č° é Żăšťćś¸ĺ&#x201E;&#x2DC;⌏⿜ĺ&#x2030;&#x161;ęĄ ĺ˛¤ă&#x2020;â?&#x2030;ĺ&#x152;&#x152;é&#x160;Żă&#x192;¤î&#x161;&#x17D;
⽿ä&#x2013;&#x17D;ę&#x2026;žé&#x160;´ćś¸â&#x17E;&#x192;Ő&#x201A;䧎âŚ&#x203A;é&#x160;´äŞŞćś¸âĄ˛ă&#x2026;ˇä&#x2014;łę°ĺ&#x192;˝é˝Ąâ?&#x2030;č&#x17D;&#x2026;䧎âŚ&#x203A;朸ĺ&#x201E;&#x2DC;â&#x17E;żâź&#x2018;ę&#x201A;&#x201A;朸ď&#x2DC;šâ&#x;&#x192;âżť é¨&#x2014;éŚ&#x160;ĺ&#x201E;&#x2DC;â&#x17E;żâ&#x153;˝ćšąă&#x201E;&#x17D;估朸⥲ă&#x2026;ˇď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;䧎âŚ&#x203A;朸询ă&#x2026;ˇč&#x2026;&#x2039;㣠ë&#x201E;&#x201C;ć¤?掚â&#x2122;´â¸˝â¸˝ćŹ°ĺ Ľď&#x2DC;š âĄ&#x17D;âżśč&#x2026;&#x2039;éŚ&#x201E;éŚ&#x160;ć¤?ă&#x2013;&#x2C6;朸ĺ&#x152;&#x152;é&#x160;Żď&#x2DC;ˇ
focussed. All have a conceptual rigour that is tempered
ä&#x2013;°Őˇä&#x17E;&#x2022;ä ŽâŁ&#x2DC;估ę&#x2022;&#x2013;Ő¸ăž?é&#x152;&#x2019;â&#x2122;łćś¸âĄ˛ă&#x2026;ˇď&#x2DC;šä§Žä&#x;?⥚č&#x2026;&#x2039;ćş?â´&#x20AC;â˘ľč° é ŻâśžâĄ˛ćś¸ă˘ľç??ĺ&#x20AC;°ĺ˛ ď&#x2DC;šä&#x2013;°
viewers.
ĺ&#x192;˝ă&#x201D;&#x201D;ć?&#x20AC;ĺ&#x2030;¤â&#x153;Ťĺ&#x2C6;żé&#x2039;ˇéľ&#x153;朸ď&#x161;łäąşâ°&#x2026;ď&#x161;´ĺ&#x20AC;°ä&#x2019;ď&#x2DC;šâĄ˛ă&#x2026;ˇă˝ ĺ&#x2C6;żăş&#x201A;ĺ&#x192;&#x2019;é&#x201E;&#x201E;é&#x152;&#x161;ćş?ç˝?äąşă&#x20AC;&#x152;ď&#x2DC;ˇ
with approachable and accessible ways in to the work for
č?&#x2C6;âŤ&#x201E;ä&#x2019;朸ď&#x2DC;śäž&#x192;â&#x153;˛ä&#x2019;朸ď&#x2DC;šâľ&#x152;ĺ&#x2C6;żâŠ&#x17D;ę&#x2026;žĺ&#x20AC;´ć&#x161;&#x;颜朸ď&#x2DC;ˇé¸?â?&#x2030;ĺ&#x20AC;°ĺ˛ 鿪ĺ&#x2030;¤ĺ&#x161;&#x152;ä&#x2122;&#x201A;â&#x2122;łćś¸ă&#x201C;&#x201A;č&#x2022;&#x2122;ď&#x2DC;šâĄ&#x17D;
䧎âŚ&#x203A;ă&#x2013;&#x2C6;äŹ&#x2DC;ĺ&#x20AC;&#x203A;çŹ&#x17E;â¸&#x2C6;ĺ&#x20AC;&#x203A;朸ę˝?ă&#x2013;&#x2019;갪暥é&#x160;´éź?é&#x201D;&#x17E;â&#x17E;&#x160;ë&#x17E;&#x2020;ĺ&#x17E;şćś¸č° é Żăšťă&#x201E;¤
those artists. The possibility for them to make new work in Las Vegas wasn't so
â?&#x2030;č° é Żăšťă&#x2013;&#x2C6;äŹ&#x2DC;ĺ&#x20AC;&#x203A;çŹ&#x17E;â¸&#x2C6;ĺ&#x20AC;&#x203A;朸갪暥â&#x2122;łâ¨&#x17E;â´&#x20AC;â&#x17E;&#x160;ë&#x17E;&#x2020;ĺ&#x20AC;&#x17E;ë&#x160;Ťćś¸ä§ĺ?&#x201C;ď&#x2DC;š
to include in this exhibition related to the concepts and working methods of
much the aim rather we wanted to foster a slower and more engaged way of
working with those artists and gain a deeper understanding of their practices.
é¸?â?&#x2030;č° é Żăšťćś¸ä&#x;?ĺ˛ ă&#x201E;¤ä&#x160;¨âĄ˛ĺ&#x20AC;°ĺ˛ ĺ&#x2030;¤ęĄ ď&#x2DC;ˇč&#x17D;&#x2026;â°Śé&#x201C;&#x17E;䧎âŚ&#x203A;ăş&#x2022;ĺ&#x160;&#x2020;é¸?
âŚ?â&#x2122;śăĽśé&#x201C;&#x17E;䧎âŚ&#x203A;ĺ&#x2C6;żä&#x2039;&#x17E;ĺ&#x160;&#x2020;âśžé?¤â&#x2122;§ç??č&#x17D;&#x2026;é¸?â?&#x2030;č° é Żăšťâ°&#x;â&#x153;˛ćś¸ä˘Šç&#x153;? ă¤&#x2030;ď&#x2DC;śâżŽč&#x17D;&#x2026;ä?&#x17E;ĺ&#x2C6;żë&#x201E;&#x17E;朸ä&#x160;¨âĄ˛ĺ&#x20AC;°ä&#x2019;ď&#x2DC;šâ˘Şä§ŽâŚ&#x203A;㟊â&#x17E;ŽâŚ&#x203A;朸✞⥲ăť&#x153;éŠ? ĺ&#x2030;¤ĺ&#x2C6;żĺš&#x20AC;â°&#x2026;朸â&#x153;Ťé?&#x2018;ď&#x2DC;ˇ
ART.ZIP: Are there any more upcoming projects/programmes related to digital art?
"35 ;*1î&#x161;&#x2030;äąşâ&#x2122;´â˘ľéźŠĺ&#x2030;¤ă&#x201E;¤äž¸ăśśč° é ŻćšąęĄ ćś¸ę°ŞćšĄä§´ç˝?é&#x17D;&#x2122;âˇ&#x201D;
exclusive focus - we have an upcoming project looking at the rise and eďŹ&#x20AC;ect of
ĺ&#x2030;&#x161;âŤŚâŤŚęĄ ĺ˛¤é¸?âŚ?ď&#x2DC;ˇä§ŽâŚ&#x203A;ă&#x2013;&#x2C6; ä&#x17D;&#x192;ĺ&#x2030;&#x161;č&#x17D;&#x160;éłľâ&#x2122;§âŚ?ęĄ ĺ&#x20AC;´ä&#x2022;§âŤšâľ&#x2013;
EN: We continue to research and acquire digitally based works but it's not an
the digital on image making that will take place in 2017, as well as continuing to collect the works that are produced via the Daata Editions platform.
ă&#x152;¨î&#x161;&#x17D;
&/î&#x161;&#x2030;䧎âŚ&#x203A;ĺ&#x2030;&#x161;çł&#x2019;çłľç &#x2021;ç&#x2018;&#x2013;ď&#x2DC;ść ˝ă&#x20AC;&#x160;䞸㜜ä&#x2022;&#x17D;ä&#x2019;朸⥲ă&#x2026;ˇď&#x2DC;šâĄ&#x17D;䧎âŚ&#x203A;â&#x2122;ś
⥲â&#x161;Ľäž¸ăśśäŞŽé Żćś¸ę&#x2026;ˇćŹ˝ă&#x201E;¤ä&#x2022;§ę° 朸갪暥ď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;䧎âŚ&#x203A;â&#x203A;łĺ&#x2030;&#x161;çł&#x2019;çłľ ä˝?ę§&#x152;é¸&#x2019;éş&#x2022;ď&#x161;łäž¸äş&#x2122;ć&#x2122;?ĺ&#x160;Ľď&#x161;´ä&#x17D;&#x201A;ă&#x20AC;ľâľ&#x2013;⥲朸⥲ă&#x2026;ˇď&#x2DC;ˇ
Ed Fornieles, Dorm Daze, 2011-16 (detail). Photo: David Bebber
The decision to pilot our residency in Las Vegas with artists that we planned
SEDITION: PATRONISING THE PRODUCT INTERVIEW WITH RORY BLAIN 4&%*5*0/ 谀遮䋑㜥涸倝毐歲 㼠鏞繏ꅽv䋒蟚䛸 */5&37*&8&% "/% 5&95 #: 䱰鏞⿺乊俒 3"+&4) 16/+ 榰⪁銯v륓屛 53"/4-"5&% #: 缺陼 $"* 46%0/( 詍豣匌 *."(&4 $0635&4: 0' 㕭晙䲿⣘ 4&%*5*0/ 侷㶶谀遮䎂〵
The condition of being modern, of our living through modernity has
been effectively harnessed by new technologies that predict precisely our thoughts as a set of rudimentary likes and dislikes, so that industry can
more easily package all of our sensations back to us. As a consequence of such invasive innovation, we are able to be less active and more efficient in our unconscious search for the simple pleasures. The major industries
have modernized and culture and creative aesthetics have come to bear a more sophisticated fruit. Animation, video, sound performance, light
installations, and digital displays have become the major background for
modern life. It allows non-physical forms, or virtual artworks, to effectively enter into the physical domain by communicating remotely by new
devices. Art has replaced corporeal materials, (paints, wood, steel, plastics and the readymade), with the apparatus of a mechanical age, in order to better serve artificial endeavour.
㥶⡦珖⛓捀植➿植➿䚍♴䧮⦛涸欰崞捀ㆭ菛倞䪮
遯䊺剤佪㖒䱍䱾✫鸏❉㉏겗涸㔐瘸㸐䪾䧮⦛涸䨾䙼䨾䟝ⴕ
ⴽ겳捀䎙珏剓㛇劥涸㥪䟅䖰罜彋焷㖒⡲ⴀ갸ⴼ鸏垺♧
⢵ぐ珏欴噠⛳〳刿鰋匡㖒䪾䧮⦛銴涸䨾剤䠮「䩧⺫❜➰
窍䧮⦛鸏珏噲Ⱘ殜䚍涸ⶾ倞䌟⢵涸穡卓僽㼩倴㼦宠矦
㋲涸❧坿Ղ鸏珏♶銴㣖㢵䠑陏莅涸麕玑䧮⦛〳⟃㼱
顥럊⸆㣗㢵♧럊❧「罜莅鏪㢵㣐欴噠㻜植植➿⻋ず姿涸
僽俒⻋ㄤⶾ䠑繡㷸⛳㻜植✫刿幀ⵠ涸踙隶
⹛殥鋕걽耫갉邍怵敚⯕酤縨ㄤ侸㶶곏爚䊺竤䧭捀植➿
欰崞涸ꅾ銴胝兞ꬌ㻜넓䕎䒭贡亼涸谁遯⡲ㅷ鹎Ⰵⵌ㻜넓
걆㚖Ⱖ佪卓㥶ず䧮⦛⢪欽倞鏤⪔鹎遤黇玑❜崩♧垺곏衽
谁遯⛳䱰秝✫侸㶶䕎䒭欽堥唒儘➿涸⭑㐼《➿✫㻜颶涸勞
俲㥶겝俲加걧ꏈ㝖俲⟃⿻Ⱖ➮植䧭涸勞俲䖰罜
刿㥪㖒剪倴➃鸤걆㚖涸䱳程
Casey Reas，100% Gray Coverage,（2013）on iPad
Sedition is essentially a virtual platform for international artists creating
visual art as audiovisual artifacts. Short animations, video and digital displays
encompass a new element of the artist s practice, and are available as animated editions for one s laptop, smartphone, and iPad. Allowing an interactive
audience the ability to acquire limited edition works by leading artists for the
cost of one s lunch, and the opportunity to create a digital collection as easily as messaging friends.
Where once art was distinguishable from music, and architecture was an industry entirely separate from design, now aesthetics, virtual and visual,
are an amalgamation of ideas and industries that ceaselessly cross over one
another. The machinery of the modern has only positively complicated matters further, by equipping aesthetics with the facility for new possibilities that
are as responsive to the audience as they are to the artist. A sophisticated
art engine that exists entirely in the virtual realm, Sedition is part of such an
inclusive platform for video and animation. Sedition have introduced new art
to a populous that indulge in the immediacy of new technologies; so that they
can adorn our smart devices with an aesthetic skin. By positively mimicking the accessibility of music, Sedition s initial attempt of introducing digital editions to audiences required them borrowing from the existing appeal for physical
Cheng Ran, Joss, 2013
artworks, in order to operate dematerialised art as virtually viable. Moving
forward in Sedition s hands, art as an animated form has become an attractive, affordable product that is likely to become as integral to our lives through our
smart devices, as our relationship to the art object in the public realm. Allowing for the virtual to become visual, Sedition sees new technology offering
aesthetics a greater elasticity and mechanised emotional charge, which takes
us all into the new age as agents of art; individually able to cultivate and curate our own cultures.
䖰➝稲♳溏4FEJUJPO䖰劥颶♳僽♧⦐剪椕鋕錏谁
遯㹻涸贡亼䎂荩㸐㓭䭍✫鏪㢵谁遯㹻ⶾ倞㻜驏涸⹛殥
瀊晚鋕걽ㄤ侸焺⡲ㅷ瘞ず儘鸏❉⹛殥晝劥涸⡲ㅷ〳
⟃㖈⦐➃瘘鎹劥ꨶ舡兰腋䩛堥ㄤJ1BE♳鰋匡栽䖤錚
滞〳⟃⟃♧갾⼯귭涸⭆呔㽠腋栽䖤濼そ谁遯㹻涸ꣳꆀ⡲
ㅷ侸焺⡲ㅷ涸佐询⛳隶䖤ㄤ剦⿼涮瀊⥌♧菛㺂僒
㖈⟃谁遯ㄤ갉坿⛓涸湱殯幢兠〳鳺䒊眡遤噠莅
鏤鎙㸤搂ꡠ罜㥶➛♶盘僽贡亼鼩僽鋕錏繡㷸䊺
竤䧭✫♶ず䟝岁ㄤ♶ず遤噠✽湱❜⿸涸꧌ざ넓植➿䊨
Ⱘ雊 鸏⦐㽷刿⸈䗂꧹㸐雊繡㷸䖤⟃栽䖤倞涸〳腋
䚍罜姻僽鸏珏〳腋䚍䩞腋鴾鸠㖒ず儘㔐䥰谁 遯㹻⿻
「滞涸宠⡲捀♧⦐㸤㶸㖈倴贡亼⚆歲涸礶㺙谁遯
䒸乿4FEJUJPO僽♧⦐Ⱟ佐⚛襵涸鋕걽ㄤ⹛殥䎂荩㸐
䲀䑞⚛ꬠ倞✫倞谁 遯雊㣐滞㼩倞䪮遯涸湬䱺僒䖤䚍
ꨈ⟃莓罜㸐⛳〳⟃欽谁遯涸淼芕酤귇䧮⦛涸兰腋鏤
⪔4FEJUJPO琎噲㖒⟬佪✫갉坿涸栽《倰䒭⡲ⴀ✫桧
⯓䲀䑞侸㶶谁遯涸㎲鑑㸐⦶Ꙥ㻜넓谁遯⡲ㅷ涸植剤눃
⸂⚛鸒麕贡亼䩛媯雊谁遯暟颶⻋⢪⛓䧭捀ꦑ䩛
〳䖤涸谁遯㖈4FEJUJPO涸䲀⹛♴⡲捀⹛殥䕎䒭涸谁
遯䧭✫♧珏雊➃䗱⹛⭆呔ざ椚涸欴ㅷ⚛⚂鸒麕兰腋
鏤⪔䧭捀䧮⦛傈䌢欰崞䗳♶〳㼱涸暟ㅷ姻㥶㖈ⰗⰟ걆
㚖䧮⦛㼩倴谁遯暟ㅷ剤衽♶〳䧴緄涸宠♧菛雊贡亼
谁遯鋕錏⻋4FEJUJPO钢捀倞䪮遯窍㻤繡䲿⣘✫刿㣐涸
䔞䚍⚛岤Ⰵ✫堥唒⻋涸䠮䞕⹛⸂雊䧮⦛鹎Ⰵⵌ♧⦐
➃➃涼䧭谁遯鯺넓涸倞⚆私㖈鸏⦐儘➿酭嫦⦐➃鿪
〳⟃ⶾ鸤ㄤ瘼ⷔ荈䊹涸谁遯俒⻋
"35 ;*1î&#x161;&#x2030;䧎âŚ&#x203A;ä&#x;?é&#x201D;&#x17E;ä?Ąâ˘ľé&#x201D;&#x201C;é&#x201D;&#x201C;4FEJUJPO朸é&#x2019;˛ćŹ°ď&#x2DC;šâ&#x;&#x192;âżťä?Ą ĺ&#x192;˝ăĽśâĄŚć¤&#x161;é?&#x2018;ď&#x161;łäž¸ăśśč° é Żď&#x161;´ćś¸ď&#x2DC;ˇ
3 #î&#x161;&#x2030;4 F EJ U JPO朸ć¤&#x161; ä&#x2122;&#x201A; ă&#x201E;¤ é&#x2019;˛ 揰ç&#x201E;ˇ ăť&#x153;ĺ&#x2030;¤ 襽 â&#x2122;§ĺŞŻĺ&#x2030;¤éŚą 朸 佌 â&#x153;˛ď&#x2DC;ˇă&#x2013;&#x2C6; 韊 ĺ°? ĺ&#x2030;¤ ć¤? ä§ äŞŽ é Ż ä˝&#x2026; ä° ćś¸ ćŠ&#x2021; ă&#x17E;Ż â&#x2122;´ 䧎 âŚ&#x203A; ă˝ ę&#x;&#x161; 㨼 ä&#x;? ⍚ď&#x161;ł4FEJUJPOď&#x161;´ćś¸ĺ&#x161;&#x152;ä&#x2122;&#x201A;â&#x153;Ťď&#x2DC;ˇä§Žćś¸âŻ&#x152;ä&#x201C;?ă&#x2020; ę&#x2026;˝ĺ&#x192;˝â°&#x2014;ă &#x20AC;ç˝&#x2030;ę ¸ď&#x2DC;šäšŠ
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ä &#x2018;ď&#x2DC;ˇä§Žâ&#x2122;śăŁ?é&#x17D;šä&#x2013;¤ĺ˝&#x2039;ç&#x201E;ˇćś¸ĺ&#x192;˝ă&#x2020;â&#x2122;§ä&#x17D;&#x192;ď&#x2DC;šăŁ?ĺ&#x161;&#x152;ĺ&#x192;˝ 䧴ç˝? ä&#x17D;&#x192;âľšä&#x2013;&#x2022;ă&#x201A;&#x2026;ď&#x2DC;šâżžĺ§ťĺ&#x192;˝ä&#x2013;&#x17D;â&#x203A;&#x2030;â&#x;&#x192;⾚朸â&#x153;˛ä&#x17E;&#x2022;â&#x153;Ťď&#x2DC;ˇâ&#x17E;Žé&#x201D;&#x201C;âľ&#x152;â&#x153;Ťç?ľâš&#x203A;é?¤
âŞ&#x201D;ă&#x201E;¤ăž&#x201C;ä?&#x152;č° é Żćś¸ă&#x20AC;łč&#x2026;&#x2039;ä&#x161;?ď&#x2DC;šé˝Ąĺ&#x201E;&#x2DC;äŠ&#x203A;ĺ Ľă&#x2013;&#x2C6;â&#x17E;&#x192;âŚ&#x203A;朸揰ĺ´&#x17E;â&#x161;Ľĺ§ťć ¸ ć ¸ĺ&#x2026;&#x153;âżťď&#x2DC;ˇâ&#x17E;ŽâŻ?ć&#x20AC;?ć&#x2026;¨ä&#x17E;&#x2022;ď&#x2DC;šé&#x2019;˘ć?&#x20AC;é¸?âŚ?ĺ&#x20AC;°ă ˘ĺ&#x2030;¤čĄ˝ă&#x20AC;łé&#x152;&#x161;朸⾚ĺ&#x2026;&#x17E;ď&#x2DC;š âĄ&#x17D;齥ĺ&#x201E;&#x2DC;⌏é¸?â?&#x2030;ä&#x;?ĺ˛ ĺ&#x192;˝ă¸¤ď&#x2C6;Łâ&#x2122;śă&#x20AC;łč&#x2026;&#x2039;ăť&#x153;ć¤?朸ď&#x2DC;ˇă&#x2013;&#x2C6;䧎âŚ&#x203A;ćş?⢾ď&#x2DC;š
é&#x203A;&#x160;4FEJUJPO溍姝ä§ć?&#x20AC;ă&#x20AC;łč&#x2026;&#x2039;朸ĺ&#x192;˝â°?ç??äŞŽé Żćś¸ä˛&#x20AC;âš&#x203A;ď&#x2DC;šç&#x2014;§â&#x2122;§ç??
ĺ&#x192;˝ď&#x161;łă&#x201D;&#x201D;ć&#x161;śçŹŞä&#x152;&#x;㝍ď&#x161;´ î&#x2122;ˇä§´ç˝?é&#x201C;&#x17E;č&#x2026;&#x2039;㣠ă&#x2013;&#x2C6;çŽ âŤ&#x201E;éą&#x2019;ăŁ?ę&#x2020;&#x20AC;äż&#x2019;â&#x;?ă&#x201E;¤âĽ&#x152; ä&#x153;&#x201A;朸č&#x2026;&#x2039;â¸&#x201A;î&#x2122;¸ćś¸ĺ&#x2026;&#x153;âżťď&#x2DC;šç&#x2014;§â&#x153;łĺ&#x192;˝ăž&#x201C;ä?&#x152;â´&#x2022;鳺楧朸ă&#x;&#x17E;ä&#x201C;˝ď&#x2DC;ˇâ&#x2122;§ę&#x;&#x161;㨼ď&#x2DC;š ĺ°?ĺ&#x2030;¤č° é Żăšťę˛Šä &#x2018;揽ăž&#x201C;ä?&#x152;ă&#x192;&#x201E;ć¤?â&#x17E;ŽâŚ&#x203A;朸⥲ă&#x2026;ˇď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;齥ĺ&#x17E;şĺ°?ĺ&#x2030;¤
RB: The idea, the birth, the genesis of Sedition if you like is actually quite an interesting story. We had the seeds and the conversation for it long before
we were able to realise it. My brother who is the owner of the company, who also owns the gallery, Blain Fine Art which became the Haunch of Venison , which is now Blain Southern , founded Sedition. The original conversation
éš&#x17D;姿ď&#x2DC;šç˝&#x153;â&#x161;&#x201A;â&#x17E; ć?卌ăŁ&#x201D;鿪ă&#x2013;&#x2C6;㸤ă&#x160;Ľď&#x2DC;šé¸?ĺ&#x17E;şćś¸äŞŽé Żé&#x161;śâť&#x2039;⢪ä&#x2013;¤č°
é Żăšťč&#x2026;&#x2039;㣠ă&#x2013;&#x2C6;ăž&#x201C;ä?&#x152;ď&#x2DC;śäŤ?ä&#x2022;§é?¤âŞ&#x201D;ď&#x2DC;śä§´ç˝?â°Śâ&#x17E;Žäž¸ăśśä§´ă&#x2039;˛â&#x2122;§ăŻŻë&#x201E;&#x201C;
â&#x2122;łăť&#x153;ć¤?â&#x17E;ŽâŚ&#x203A;ä &#x2018;ĺŚ?é&#x201A;?麨朸â°&#x2030;ăş&#x201A;ď&#x2DC;ˇé¸?â¤&#x2018;ĺ&#x192;˝4FEJUJPOä&#x2013;¤â&#x;&#x192;é&#x2019;˛ćŹ° 朸ę&#x2026;žé&#x160;´âš&#x203A;â¸&#x201A;ď&#x2DC;ˇăŻŻë&#x201E;&#x201C;â&#x2122;§ä?&#x17E;ć&#x201D;¨é&#x201A;Şĺ&#x20AC;´ď&#x161;łĺ&#x2014;â&#x161;şâť&#x2039;ď&#x161;´é¸?âŚ?é&#x2018;&#x201A;ď&#x2DC;šä§Žâ˝żâ&#x2122;ś ă&#x2039;?姚é¸?âŚ?é&#x2018;&#x201A;ď&#x2DC;ˇé¸?ä&#x2013;&#x17D;ăŁ?ç&#x17D;&#x2018;ä?&#x17E;â&#x2122;łĺ&#x192;˝ă&#x201D;&#x201D;ć?&#x20AC;䧎â&#x2122;śé&#x152;?ä&#x2013;¤č° é Żâ&#x161;&#x2020;ć˛ę¨ž é&#x160;´ĺ&#x2014;â&#x161;şâť&#x2039;ď&#x2DC;šâĄ&#x17D;䧎ć¤&#x161;é?&#x2018;é¸?č&#x192;?ä&#x2013;&#x2022;朸ä˛&#x20AC;âš&#x203A;â¸&#x201A;ď&#x2DC;ˇă¸?朸é&#x152;&#x161;ë&#x;&#x160;ă&#x2013;&#x2C6;ĺ&#x20AC;´ď&#x2DC;šé&#x203A;&#x160;
â&#x17E;&#x192;âŚ&#x203A;ĺ&#x2030;¤č&#x2026;&#x2039;â¸&#x201A;⿥ä˝?ę§&#x152;ď&#x2DC;śéŁ&#x2018;éĄ ď&#x2DC;śćŹŠč?&#x203A;ä&#x2014;łé&#x160;´ĺ&#x201E;&#x2DC;â´&#x20AC;ă&#x2C6;&#x2019;⥲ă&#x2026;ˇď&#x2DC;šé¸?ĺ&#x17E;şâ¤&#x2018; č&#x2026;&#x2039;ĺ&#x2C6;żăĽŞă&#x2013;&#x2019;饝â¸&#x201D;⥚ă&#x2039;?ĺ§šćś¸č° é Żăšťď&#x2DC;ˇ
we had about an idea that he mentioned to me was many years ago, back
ä&#x;?ä&#x;?ĺ&#x201D;&#x17E;ë&#x201E;&#x17E;ă&#x201E;¤â¸&#x2C6;é&#x2014;&#x2019;ę&#x201E;´ćŹ°ď&#x2DC;šé˝Ąĺ&#x201E;&#x2DC;⌏㽠ĺ&#x192;˝ă&#x201D;&#x201D;ć?&#x20AC;ĺ&#x2030;¤éĄťâ¸&#x201D;â&#x17E;&#x192;朸ä˝&#x2026;ä°
I think it was somewhere in the region of 1999, 2000; it was that far back. It
çšĄé Żę¸ćş?ăž?é&#x152;&#x2019;朸é&#x152;&#x161;ćť&#x17E;鿪č&#x2026;&#x2039;⍚询㚝â&#x2122;§ĺ&#x17E;şč&#x17D;&#x2026;é¸?â?&#x2030;⥲ă&#x2026;ˇćśŽćŹ°č&#x20AC;˘
when mobile phones were brand new. I don t remember the year exactly, but was about the idea of art for these kinds of screens and devices, which were
gradually becoming more ubiquitous in people s lives. That was something he had as a passionate possibility, way back when it was completely unrealisable at the time. The two drivers that made sedition possible from our vision were
really Internet bandwidth , (or the ability to deliver much larger ďŹ les and much broader reams of information online), and screen resolution . Initially none of
â&#x2122;´ä¨žâ&#x;&#x192;č° é Żăšťă&#x20AC;łâ&#x;&#x192;ă¸&#x17E;ä&#x2014;ąâśžâĄ˛ď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;卌âŚ?⿥â˝&#x2C6;ć&#x161;&#x;ę¸ď&#x2DC;š
粯ď&#x2DC;ˇä§ŽâŚ&#x203A;ĺ°?ĺ˛ č&#x17D;&#x2026;ă&#x20AC;˘â°ŠăŁ?ä&#x152;&#x152;ď&#x2DC;śâ˝Ťé&#x;?ĺ´ŁăŁ?ä&#x152;&#x152;朎揰ęŹ&#x2014;㟊ęŹ&#x2014;朸â&#x153;˝ âš&#x203A;ď&#x2DC;šâĄ&#x17D;ĺ&#x192;˝ä§ŽâŚ&#x203A;č&#x2026;&#x2039;㣠䪞䳣䧎âŚ&#x203A;č?&#x2C6;ä&#x160;šćś¸ĺ&#x201E;&#x2DC;â&#x17E;żćś¸ď&#x161;łč&#x153;&#x201C;㣞ď&#x161;´ă&#x201E;¤ď&#x161;łćŽ&#x2014;â¸&#x2C6;
ç¨&#x2039;ď&#x161;´ ď&#x2DC;šâ&#x2122;śĺ&#x192;˝ĺ&#x2C6;żâ§Šä&#x2013;¤ćŁ&#x2021;ä&#x17E;źă&#x152;¨î&#x161;&#x17D;䧎âŚ&#x203A;ă&#x20AC;łâ&#x;&#x192;é¨&#x2C6;â&#x17E;ŽâŚ&#x203A;â&#x153;˝âš&#x203A;ď&#x2DC;šăźŠé&#x2018;¨ď&#x2DC;š ⿎é&#x152;&#x161;â&#x17E;ŽâŚ&#x203A;朸⥲ă&#x2026;ˇď&#x2DC;šĺ&#x2030;¤ĺ&#x201E;&#x2DC;⌏韊č&#x2026;&#x2039;⿥⿎é&#x152;&#x161;â&#x17E;ŽâŚ&#x203A;朸ä&#x160;¨âĄ˛ăš&#x201D;ď&#x2DC;ˇé¸? â&#x2122;śĺ&#x192;˝ä&#x2013;&#x17D;ăŁ?朸ĺ&#x203A;&#x2122;ç˝&#x2021;ă&#x152;¨î&#x161;&#x17D;
the artists would want to have their works up on a screen, because it wouldn t
"35 ;*1î&#x161;&#x2030;é&#x160;´ăš çş?4FEJUJPOă ?â&#x2122;´ćś¸ă &#x2013;ę§&#x152;⥲ă&#x2026;ˇď&#x2DC;šăĽśĺ?&#x201C;é&#x160;´çŞ?
massively, and are still changing on a daily basis. So now the technology has
âš&#x203A;ćŽĽč° é ŻâĄ˛ă&#x2026;ˇă&#x192;¤î&#x161;&#x17D;
do justice to what they were trying to do. Both of those ďŹ elds have advanced
gotten to the point where the artist really can realise what is in their mind s eye, whether it's on a screen, or as a projection, or some sort of digital or mono-
media device. That has been the key driver for Sedition. The press at the time
picked up on the word democratisation , which is something I dislike. Largely because it never felt to me that the art world needed democratizing, but I
understand the impulse behind it. The idea was to make sure of the ability to collect, to buy, and if necessary to sell works, in order to patronise the artists you really love.
ă¸?âŚ&#x203A;饌ĺ&#x17E;Śç &#x17E;朸é&#x2018;¨ď&#x2DC;šă¸?âŚ&#x203A;ĺ&#x192;˝ĺ¨?ăż&#x201A;䞸㜜⥲ă&#x2026;ˇď&#x2DC;šéźŠĺ&#x192;˝ä&#x2018;&#x17E;çş?â&#x2122;łćś¸
3#î&#x161;&#x2030;ăš çş?ĺ&#x192;˝â&#x;?ĺ&#x2030;¤éŚąćś¸â&#x153;˛ď&#x2DC;ˇä§Žé&#x152;?ä&#x2013;¤é¸?䞎âŚ?ęą&#x2020;ă&#x161;&#x2013;鿪äŻ&#x2020;ĺ&#x2030;¤ä &#x2018;ä&#x2122;ź 朸ď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x2013;&#x17D;č?&#x2C6;ć?ă&#x2013;&#x2019;ĺ&#x2030;&#x161;⿥ĺ¨?겳ď&#x2DC;śé&#x2122;?â´˝ď&#x2DC;śâ´&#x2022;ę¨&#x2020;ă&#x201E;¤çŠ&#x2030;çą˝â&#x153;˛ć&#x161;&#x;ď&#x2DC;šä&#x2013;&#x17D; ĺ&#x192;&#x2C6;ęł?é¸?ĺ&#x192;˝ä§ŽâŚ&#x203A;ć¤&#x161;é?&#x2018;â&#x161;&#x2020;ć˛ćś¸ĺ&#x20AC;°ĺ˛ ď&#x2DC;ˇâĄ&#x17D;ă &#x161;ĺ&#x201E;&#x2DC;é¸?ç??â¨&#x17E;ĺ˛ â˝żă&#x20AC;łč&#x2026;&#x2039;
ĺ&#x2030;¤â°Śă˝ˇęŁłä&#x161;?ď&#x2DC;ˇćŽšä§ŽâŚ&#x203A;ę&#x;&#x161;㨼✞鳾4FEJUJPOĺ&#x201E;&#x2DC;ď&#x2DC;šä§ŽâŚ&#x203A;çą?ĺ&#x192;˝ĺ&#x2030;&#x161; é&#x17D;Łé&#x201D;¸ď&#x161;łäž¸ăśśč° é Żď&#x161;´ď&#x2DC;śď&#x161;łäž¸ăśść&#x2122;?ĺ&#x160;Ľď&#x161;´ă&#x201E;¤ď&#x161;łäž¸ăśśăŻŻë&#x201E;&#x201C;ď&#x161;´é¸?ĺ&#x17E;şćś¸ĺ&#x161;&#x152;
ä&#x2122;&#x201A;ď&#x2DC;ˇé¸?ç??é&#x17D;Łé&#x201D;¸ĺ&#x192;˝ĺ&#x2030;¤éşĽć¤&#x161;朸ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;ä&#x2013;&#x17D;ĺ&#x192;&#x2C6;ęł?朸ď&#x2DC;šä§ŽâŚ&#x203A;ĺ¨?ĺ&#x2018;?犥 ä? ä&#x2013;°â&#x153;˛ćś¸â¤&#x2018;ĺ&#x192;˝äž¸ăśśăŻŻë&#x201E;&#x201C;â&#x161;Ľćś¸ęŁłăš ć&#x2122;?ĺ&#x160;Ľď&#x2DC;ˇâĄ&#x17D;ć¤?ă&#x2013;&#x2C6;䧎âŚ&#x203A;㟊䞸
ăśśč° é Żă&#x201E;¤äž¸ăśśč° é Żăšťé¸?ç??ĺ&#x161;&#x152;ä&#x2122;&#x201A;朸é&#x17D;Łé&#x201D;¸éŚ&#x160;⢾éŚ&#x160;ăźąď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;é¸? ç??é&#x17D;Łé&#x201D;¸ăť&#x153;꼚â&#x2122;łâ&#x161;&#x203A;ĺ°?ĺ&#x2030;¤â&#x17E;&#x160;ë&#x17E;&#x2020;ä?˛â¸&#x201D;ď&#x2DC;ˇč° é Żăšťâ&#x2122;śäŞžč?&#x2C6;ä&#x160;šćş?⥲ĺ&#x192;˝
Liu Ye, The Little Match Seller (2012) on TV
ART.ZIP: For this interview it would prove very interesting if you could begin by talking about the birth of Sedition . What are the circumstances surroundings it conception, and of your understanding of digital art ?
éłľĺ˛ âŻ?â´&#x2022;ăž?ć¤?â&#x17E;ŽâŚ&#x203A;朸✞⥲ď&#x2DC;ˇä&#x152;&#x;㝍ă&#x201E;¤â´&#x2022;鳺楧㼜â&#x17E;&#x203A;ĺ&#x2030;¤â&#x153;Ťę&#x;&#x20AC;é§&#x2C6;
If you look back at (Vincent) Van Gogh and Doctor Gachet, these were people
äž¸ăśśč° é Żăšťď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;â&#x203A;łâ&#x2122;śäŞžč?&#x2C6;ä&#x160;šćş?⥲ĺ&#x192;˝â°Śâ&#x17E;Žć&#x161;śâ´˝ę˛łă&#x2DC;&#x2014;朸č°
everyman, the person that was going to the museum, going to the gallery and
ä &#x2018;㢍ď&#x2DC;šăŁ?ă˘ľäž¸č° é Żăšťâ&#x161;&#x203A;â&#x2122;śę˛Šä &#x2018;é&#x201E;&#x201E;â&#x17E;ŽâŚ&#x203A;č&#x2026;&#x2039;㣠ä&#x2013;°â&#x153;˛ćś¸ĺ&#x152;&#x152;é&#x160;Żä¨ž
who were patronising artists at that time. We wanted to make sure that the
looking at these things could engage with those works; in the same way as the collector can. It is huge to take an interest in contemporary art, and not say the
impressionists, or Old Master painting. It is massively rewarding, and personally
é Żăšťî&#x161;&#x160;â&#x17E;ŽâŚ&#x203A;é&#x2019;˘ć?&#x20AC;č?&#x2C6;ä&#x160;šă˝ ĺ&#x192;˝ă&#x2039;˛ç§Ťćś¸č° é Żăšťď&#x2DC;ˇę¤&#x2018;â&#x153;Ťĺ&#x2030;¤â&#x2122;§â°?âŚ? 㽡ꣳď&#x2DC;ˇă&#x2039;˛ă&#x2039;˛âżĄé&#x201C;&#x17E;ď&#x161;łâĄšĺ&#x192;˝â&#x2122;§âŚ?äž¸ăśśč° é Żăšťď&#x161;´â&#x161;&#x203A;ĺ°?ĺ&#x2030;¤ă˘ľăŁ?ăť&#x153;ă&#x2013;&#x2C6; 朸ä &#x2018;çş?ď&#x2DC;ˇ
a very exciting thing to see the greats of our generation. The (Claude) Monet s
"35 ;*1î&#x161;&#x2030;䨞â&#x;&#x192;ď&#x2DC;šăźŠĺ&#x20AC;´č° é Żăšťç˝&#x153;é&#x17D;&#x160;ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;â&#x161;&#x203A;â&#x2122;śę˛Šä &#x2018;é&#x201E;&#x201E;â&#x2122;§
to set up a dialogue with these artists, see their work, and sometimes even
3#î&#x161;&#x2030;â&#x17E;ŽâŚ&#x203A;â&#x2122;śę˛Šä &#x2018;é&#x201C;&#x17E;â&#x17E;ŽâŚ&#x203A;揽ĺ&#x17D;Ľç??ć&#x161;śăš 朸㯯â&#x17E;?✞⥲⥲ă&#x2026;ˇď&#x2DC;ˇĺ&#x2030;¤
and (Pablo) Picasso s of today. You have a chance to interact with, engage with, visit their studios, which is an enormous privilege.
ART.ZIP: In order to deďŹ ne the collected works that come under the Sedition umbrella, in terms of their label, are they digital works, or animated artworks in their broadest sense? RB: DeďŹ nitions are interesting. I ďŹ nd that whole ďŹ eld very fascinating. It is a very natural instinct to pigeonhole, to categorise, to identify, separate and organise. It is obviously how we make sense of the world, but at the same
time that impulse can be slightly restrictive. When we ďŹ rst started Sedition there was a great deal of talk about digital art , digital editions and digital
media . Obviously that makes sense because a limited edition in digital media is ultimately what Sedition is oďŹ&#x20AC;ering. Now we talk less and less about digital art
and digital artists, because ultimately it is not really helpful. The artists don t see
ç??㯯â&#x17E;?䧴ĺ&#x20AC;°ĺ˛ 䨞㚠çş?î&#x161;&#x17D;
â&#x2122;§â°?âŚ?č° é Żăšťę˛Šä &#x2018;é¸?ë&#x17E;&#x2020;é&#x201C;&#x17E;ď&#x2DC;šâĄ&#x17D;ăŁ?㢾䞸â&#x2122;śę˛Šä &#x2018;ď&#x2DC;ˇĺ§ťăĽśä§Žâ&#x203A;&#x201C; âľšé&#x201C;&#x17E;朸ď&#x2DC;šćŹŠč?&#x203A;ď&#x161;łäž¸ăśśď&#x161;´ćś¸ä &#x2018;çş?鿪ĺ&#x192;˝é&#x161;śâš&#x203A;朸ď&#x2DC;šé¸?ë&#x17E;&#x2020;é&#x201C;&#x17E;韊ĺ&#x192;˝ĺŤ˛
鯹㨽ă&#x201C;朸ď&#x2DC;ˇď&#x161;łäž¸ăśśď&#x161;´éĽąĺ&#x20AC;´âĄŚĺ&#x201E;&#x2DC;î&#x161;&#x17D;ĺ¨?ĺ&#x20AC;´âĄŚč´&#x2013;î&#x161;&#x17D;㼜ĺ?&#x201C;č° é Żăšťćś¸ ⥲ă&#x2026;ˇé&#x201E;&#x201E;ä&#x2014;&#x201A;⽍ď&#x2DC;šć?ä&#x2013;&#x2022;揽+1&(ĺ&#x2018;&#x201D;ä&#x2019;鹲éˇ&#x2018;âľ&#x152;ĺ&#x17D;ĽâŚ?ć&#x201A;´ă&#x2013;&#x2C6;ćś¸éĄ ăšťä§´
ăš?䨊äŠ&#x203A;é&#x2026;ď&#x2DC;šé¸?ç&#x161;żĺ&#x192;˝ď&#x161;łäž¸ăśśď&#x161;´ă&#x152;¨î&#x161;&#x17D;ăť&#x153;꼚â&#x2122;łâĄ˛ă&#x2026;ˇĺ&#x160;Ľé¨â&#x161;&#x203A;â&#x2122;śĺ&#x192;˝ď&#x2DC;š âĄ&#x17D;ĺ&#x192;˝ä&#x2022;§âŤšćś¸â?&#x153;ĺ´Šď&#x2DC;šćŹ˝ă&#x20AC;Ľâ&#x2122;§ç??㯯â&#x17E;?䪞⥲ă&#x2026;ˇâŤ&#x201E;âľ&#x152;çŠ&#x2026;ç&#x2022;ŽéĄ ăšťäŠ&#x203A; â&#x161;Ľćś¸äŠ&#x203A;媯⽿ă&#x20AC;łč&#x2026;&#x2039;ĺ&#x192;˝äž¸ăśśćś¸ď&#x2DC;ˇä¨žâ&#x;&#x192;ď&#x161;łäž¸ăśśď&#x161;´é¸?âŚ?ä˛żĺ˛ â&#x2122;śâ&#x2122;§
ăš ĺ&#x2030;¤ä?˛â¸&#x201D;ď&#x2DC;ˇă&#x2013;&#x2C6;䲞霤â&#x153;˛ć&#x161;&#x;㼜⥌ăž?ç&#x2C6;&#x161;ď&#x2DC;šä§´ç˝?⥚éź&#x2021;äšľä&#x2013;°ă&#x2020;âŚ?é&#x152;Ź ä?&#x17E;äąşé?¸â&#x153;˛ć&#x161;&#x;é¸?âŚ?ä &#x2018;çş?â&#x2122;łď&#x2DC;šă¸?䧴é?Şĺ&#x2030;¤ćŹ˝î&#x161;&#x160;âĄ&#x17D;ă&#x2013;&#x2C6;ć¤&#x161;é?&#x2018;č° é Żď&#x2DC;šâ?§
ă&#x20AC;&#x152;ď&#x2DC;śĺš&#x20AC;â°&#x2026;ă&#x201E;¤ĺŚ&#x2021;颣⥲ă&#x2026;ˇé¸?âŚ?ä &#x2018;çş?â&#x2122;łď&#x2DC;šă¸?é&#x161;śä&#x2013;¤éŚ&#x160;⢾éŚ&#x160;ć?&#x201A;é§&#x2C6;ę&#x2026;ž
é°&#x2039;ď&#x2DC;ˇę&#x2026;žé&#x160;´ćś¸ĺ&#x192;˝ď&#x2DC;šâĄšĺ&#x192;˝ă&#x201A;&#x201E;ă&#x2039;?姚⥲ă&#x2026;ˇă&#x201E;¤č° é Żăšťď&#x2DC;šâ&#x;&#x192;âżťé¸?â&#x153;łç˝?âŤ&#x201E; 麨朸ĺ&#x152;&#x152;é&#x160;Żď&#x2DC;ˇ
themselves as digital artists, nor do they see themselves as any other particular
"35 ;*1î&#x161;&#x2030;䨞â&#x;&#x192;ď&#x2DC;šäŹ&#x161;ę&#x;&#x161;â&#x153;Ťăš çş?ď&#x2DC;šâĄ˛ă&#x2026;ˇă&#x201E;¤č° é Żăšťćś¸ă&#x20AC;łă?&#x2013;ä&#x161;?
of them do not wish to be restricted by what they can do. By trying to say you
3#î&#x161;&#x2030;䧎é&#x152;?ä&#x2013;¤ă¸¤ď&#x2C6;Łĺ°?ę?Ťď&#x2DC;ˇä§Žĺ°?ĺ&#x2030;¤äž¸äş&#x2122;⢾ä˝&#x2026;ä¸&#x2018;é¸?âŚ?é&#x152;&#x161;ë&#x;&#x160;ď&#x2DC;šä§Ž
kind of artist; they see themselves as artists. With one or two exceptions most are a digital artist doesn t really make any sense.
ă˝ éŚ&#x160;ë&#x201E;&#x17E;î&#x161;&#x17D;
â&#x203A;łâ&#x2122;śé&#x2019;˘ć?&#x20AC;ĺ&#x2030;¤é¸?ĺ&#x17E;şćś¸äž¸äş&#x2122;ď&#x2DC;šâĄ&#x17D;䧎é&#x2019;˘ć?&#x20AC;ćť&#x17E;㢾朸ă&#x20AC;&#x152;ćť&#x17E;ä&#x160;şçŤ¤é&#x2DC;Žĺ&#x192;&#x2C6;
â&#x153;Ťé¸?âŚ?é&#x152;&#x161;ë&#x;&#x160;ď&#x2DC;ˇä&#x2013;&#x192;ä&#x2013;&#x192;ĺ&#x192;˝č° é Żâ&#x161;&#x2020;ć˛ćś¸ăź ĺ&#x2122; â&#x17E;&#x192;㥌ď&#x2DC;śç&#x2DC;źăž?â&#x17E;&#x192;ă&#x201E;¤çŠ&#x2030; çą˝ç˝?ď&#x2DC;śĺŤŚăŁ&#x201D;ă&#x201E;¤č° é ŻäŠ§â?&#x153;麼朸â&#x17E;&#x192;äŠ&#x17E;ĺ&#x2030;&#x161;ĺ&#x2C6;żę¨žé&#x160;´â´&#x2022;ę&#x;&#x152;ⴽ겳ď&#x2DC;ˇâĄ&#x17D;
ĺ&#x192;˝âĄšăĽśĺ?&#x201C;⿥â˝&#x2C6;ć&#x161;&#x;ę¸ćş?ćş?â&#x2122;§č?&#x203A;朸⿎é&#x152;&#x161;ç˝?ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;â&#x2122;śâ&#x2122;§ăš ĺ&#x2030;&#x161;ä&#x;?
medium. One or two artists do do that, but the majority don t. Even the
âŚ&#x203A;ĺ&#x192;˝éš&#x17D;â°&#x2026;č° é Żâ&#x161;&#x2020;ć˛ćś¸â°&#x2026;ă&#x20AC;Ąď&#x2DC;ˇä§ŽâŚ&#x203A;â´&#x20AC;ă&#x2C6;&#x2019;䞸㜜ĺ&#x2018;&#x201D;ä&#x2019;朸ꣳę&#x2020;&#x20AC;⥲
RB: They do not wish to say they are producing works in one particular
meaning of digital is ďŹ&#x201A;uid, to put it mildly. Where does digital begin and end?
If you take an artist s work and then photographs of that work are transmitted
to a potential buyer or client as a JPEG, is it digital? The actual artwork isn t, but the communication of the image and the use of another medium to the end buyer are potentially digital.
Thus it is not necessarily a helpful term. It proves useful in how things are
displayed, or the angle by which you may choose to approach something. In
襽ď&#x161;łä§Žé&#x160;´âżĄćş?ćş?äž¸ăśśč° é Żăšťď&#x161;´éźŠĺ&#x192;˝ď&#x161;łäź˘ä&#x2022;§ä&#x152;&#x152;ď&#x161;´ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;ă˝ ĺ&#x192;˝ ⿥ćş?č° é Żćś¸ď&#x2DC;ˇé¸?ă˝ ĺ&#x192;˝4FEJUJPOćş?ä&#x2013;&#x160;é¸?âŚ?ă&#x2030;?ę˛&#x2014;朸ĺ&#x20AC;°ä&#x2019;ď&#x2DC;šä§Ž
ă&#x2026;ˇď&#x2DC;šâĄ&#x17D;䧎âŚ&#x203A;çŞ?⥚䲿âŁ&#x2DC;朸ĺ&#x192;˝â&#x2122;§âŚ?éš&#x17D;â°&#x2026;ĺ&#x2C6;żä&#x2018;&#x17E;ęĄ&#x20AC;ăŁ&#x201D;ă&#x2013;&#x2019;朸â°&#x2026;ă&#x20AC;Ąď&#x2DC;š 卲㼜é&#x201C;&#x17E;⿥âľ&#x152;â˝&#x2C6;ć&#x161;&#x;ę¸ä§´â°Śâ&#x17E;Žć&#x161;śâ´˝ćś¸ăž?é&#x152;&#x2019;ď&#x2DC;ˇä§ŽâŚ&#x203A;é&#x203A;&#x160;ăŁ?ăšťĺ&#x2030;¤ĺ Ľ
ĺ&#x2030;&#x161;ę &#x2014;é&#x161;Ąč° é Żăšťé?&#x17E;é&#x201D;&#x201C;ď&#x2DC;šâżĄâľ&#x152;č° é Żăšťćś¸ä&#x160;¨âĄ˛ăš&#x201D;é&#x152;&#x161;ćş?⥲ă&#x2026;ˇď&#x2DC;šâ&#x203A;ł
ă&#x20AC;łâ&#x;&#x192;ćş?ćş?č° é ŻăšťâśžâĄ˛ă&#x153;Ľĺ&#x2026;&#x17E;č&#x192;?ä&#x2013;&#x2022;â&#x2122;ść?&#x20AC;â&#x17E;&#x192;濟朸â&#x153;˛ä&#x17E;&#x2022;ď&#x2DC;ˇâ&#x203A;łă&#x20AC;łâ&#x;&#x192; é&#x201E;&#x201E;ă&#x192;&#x2021;ćżźč° é Żăšťéš&#x17D;é ¤ăť&#x153;ë&#x201E;&#x201C;䧴ç˝?ă&#x2013;&#x2C6;çŽ âśžâĄ˛ćś¸ć¤?ć&#x153;&#x153;ď&#x2DC;ˇă&#x201D;&#x201D;ç˝&#x153;ď&#x2DC;šă&#x20AC;Ť é&#x160;´âĄšé¨č´&#x2013;4FEJUJPO朸ç&#x2018; ę&#x;Śâ&#x161;Ľď&#x2DC;šă˝ ĺ&#x2030;&#x161;ć ˝ä&#x2013;¤éš&#x17D;â°&#x2026;䞎ë&#x201E;&#x201C;č° é Żâ&#x161;&#x2020; ć˛ćś¸é¸&#x2019;é¨&#x;ď&#x2DC;ˇă¸?â&#x161;&#x203A;ĺ°?ĺ&#x2030;¤ă˝ˇęŁłă&#x2013;&#x2C6;䞸㜜朸ă&#x2022;&#x2013;㜊é&#x2026;ď&#x2DC;ˇ
terms of understanding the art and enjoying, engaging with and viewing the
"35 ;*1î&#x161;&#x2030;ă&#x201D;&#x201D;姽卌âŚ?âŚ?â&#x17E;&#x192;⥲ă&#x2026;ˇă˝ ĺ&#x192;˝éš&#x17D;â°&#x2026;č° é Żćś¸â°&#x2026;ă&#x20AC;Ąď&#x2DC;ˇ
the artwork or the artist, and the ideas that they are communicating.
ĺ&#x2C6;żä&#x2018;&#x17E;ęĄ&#x20AC;朸â&#x161;&#x2020;ć˛ď&#x2DC;ˇă&#x201D;&#x201D;姽䧎掚ć?â&#x2122;śä&#x2039;&#x17E;ĺ&#x160;&#x2020;ć?&#x20AC;é&#x201C;ŞćŽĽă&#x2013;&#x2019;ć?&#x20AC;ć&#x161;&#x2013;ď&#x2DC;ˇ
work, it becomes less and less relevant. The key thing is whether or not you like
3#î&#x161;&#x2030;姝ĺ&#x192;˝ăĽśĺ§˝ď&#x2DC;ˇâĄ˛ă&#x2026;ˇé¸&#x2019;ä&#x2013;&#x192;č° é Żâ&#x161;&#x2020;ć˛ćś¸â°&#x2026;ă&#x20AC;Ąď&#x2DC;šé&#x203A;&#x160;䧎âŚ&#x203A;éš&#x17D;â°&#x2026;
ART.ZIP: So by removing such deďŹ nitions, the works and their artists have greater plasticity?
"35 ;*1î&#x161;&#x2030;⥚âŚ&#x203A;䨞â¨&#x17E;朸é¸?â?&#x2030;ç&#x161;żâ&#x2122;śç&#x161;żĺ&#x17D;Ľç??ď&#x161;łęŹ ă&#x201E;?ď&#x161;´î&#x161;&#x17D;䧎âŚ&#x203A;
broader audience does that already. It is usually the art world professionals, the
ĺ&#x2030;¤ä &#x2018;é&#x2122;?ă&#x2013;&#x2019;⽚ę¤&#x2018;č° é Żăšťćś¸ä˝&#x;ĺą&#x203A;é žäş&#x152;ď&#x2DC;šĺ˝&#x2039;é?Şâ&#x17E;ŽâŚ&#x203A;č?&#x2C6;ć&#x2039;✞⥲î&#x161;&#x17D;
RB: I think so, absolutely. I suspect, and I don t have any data to back this up, the curators and organisers, the people who work with art on a daily basis, appear
to have more of a need to separate things into various areas. Whereas, if you go
to the average museum and see a visitor, they are not necessarily thinking: I am going to see a digital artist , or that they are going to see a videographer . They go to see some art, and that is very much how Sedition likes to approach it. We are a portal to the art world. We sell limited editions in digital format, but we
ä&#x160;şçŤ¤çť˘ä˘Ťâ&#x153;Ťęą&#x2020;ă&#x2013;&#x2019;寚㚠â&#x161;şçş?Ő&#x201A;é&#x201C;Şć?&#x20AC;é&#x201C;Şä¨žäšŠĺ&#x2030;¤î&#x161;&#x160;掼ä?¤çŤ¤ć&#x2013;&#x160;
ç˝?ď&#x2DC;śč° é ŻçŤ¤ę&#x152;źă&#x2030;&#x201A;ď&#x2DC;śä˝?询ç˝?éżŞăźŠč° é Żăšťä¸äŠ&#x203A;掼č&#x2030; ď&#x2DC;ˇâĄšĺ&#x192;˝ă&#x201A;&#x201E; 3#î&#x161;&#x2030;䧎é&#x2019;˘ć?&#x20AC;é¸?ĺ&#x192;˝ĺ&#x2030;¤ë&#x;&#x160;ęŹ ă&#x201E;?ä &#x2018;ă&#x201E;&#x201A;朸ď&#x2DC;ˇâĄ&#x17D; é¸?â&#x2122;śĺ&#x192;˝ä§ŽâŚ&#x203A;朸â¸&#x2020;
⚪ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;é&#x201C;&#x17E;âľ&#x152;ä? ă&#x201D;&#x201D;ć&#x161;śçŹŞâĄ˛ć?&#x20AC;â&#x2122;§ âŚ?䞎ë&#x201E;&#x201C;äŠ&#x17E;ĺ&#x192;˝ęŹ ă&#x201E;?朸朎鼹
ç˝?ď&#x2DC;ˇâ&#x17E;&#x192;âŚ&#x203A;ć¤?ă&#x2013;&#x2C6;ä &#x201A;朎ĺ&#x2030;¤č&#x2026;&#x2039;â¸&#x201A;ä&#x2013;°â&#x;¤âĄŚă&#x2013;&#x2019;ĺ&#x20AC;°ć ˝ä&#x2013;¤â&#x;¤âĄŚâ&#x153;˛ć&#x161;&#x;ď&#x2DC;ˇăť&#x153; 꼚â&#x2122;łä§ŽâŚ&#x203A;â&#x2122;§ę&#x;&#x161;㨼ęŹ&#x2014;㟊朸ęŁ&#x2013;â¸&#x201A;â&#x203A;&#x201C;â&#x2122;§ď&#x2DC;šâ¤&#x2018;ĺ&#x192;˝â˘ľč?&#x2C6;ĺ&#x20AC;´ä&#x17D;&#x192;é°&#x2039;â&#x2122;§â&#x17E;żď&#x2DC;ˇ ă&#x2013;&#x2C6;â&#x17E;ŽâŚ&#x203A;ćş?⢾ď&#x2DC;šçŽ â&#x2122;łćś¸ĺ&#x152;&#x152;é&#x160;ŻéżŞäĽ°é&#x2018;Şĺ&#x192;˝âŻ?饼朸ď&#x2DC;ˇăźŠâ&#x2122;§â?&#x2030;â&#x17E;&#x192;ç˝&#x153;
é&#x17D;&#x160;ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;朸ă&#x2030;?ę˛&#x2014;ĺ&#x192;˝ď&#x161;łä§Žć?&#x20AC;â&#x17E;&#x160;ë&#x17E;&#x2020;é&#x160;´ć?&#x20AC;姽â&#x17E;°éĄĽî&#x161;&#x17D;é¸?ă&#x20AC;łĺ&#x192;˝çŽ â&#x2122;ł
Gordon Cheung, New Order Rachel Ruysch (2014) on TV
ART.ZIP: So for artists, they wouldn t wish to be deďŹ ned by one medium or method?
Pascal Haudressy Somewhere We Will Meet Again (White Version)
offer you access to a much wider world than that; Museum entries and special
It is good to have the freedom there, but at the
look behind the scenes of their creative process, notifications of other things
act as the Wild West. It should still be structured
exhibitions, chances to read artist s interviews, see works from their studio, a
that are happening in the artist s world, both physical and online. So once you are in the Sedition universe that becomes a portal to the art world as a whole. It doesn t pigeonhole you just to the digital sphere.
ART.ZIP: So the individual works act as points of entry into the arts.
same time you don t wish to have the Internet
enough that you can put your works out and run
your business. So essentially you conduct what you
want to do online as you would in the real world, or physical world as well.
RB: That is exactly it, exactly that. It is an entry point, a portal into a much wider world; the art world. I certainly wouldn t wish to restrict anyone to a particular segment of it.
ART.ZIP: Is what you have done is a revolution of sorts? When we are so used to the territorial determinism of who is owned by whom; gallerist, dealers, collectors, all pulling at the artists shoestrings. Are you consciously allowing them to be creative without burdening them with politics? RB: It is slightly revolutionary I think. But we probably can t take credit for that
in the way that is sounds, because ultimately that revolution was driven by the
Internet as a whole. People have become far more used to the ability of having access to everything everywhere. Actually one of the resistances we came up against initially was very much from the younger generation, from whom the
perception was that anything online should be free. So for some people, it was a question of why should I pay for this, it is online? Now people, the audience, are becoming far more understanding of the fact that an artist s work is an
artist s work. The online sphere is becoming far more entrenched, and far more policed in many ways. I suppose it is a good and a bad thing.
涸匌銯㥶➛涸➃⦛「滞馊⢵馊✫鍑ⵌ谁遯㹻涸⡲ㅷ 㽠僽谁遯㹻涸⹛⡹焥䊫㖈箁♳䧴罏鸒麕Ⱖ➮庉麥嶋 顥✫㸐⡎鸏⚛♶䠑衽⡹〳⟃䌟饥㸐㔔姽4QPUJGZ
Ⱖ➮➰顥갉坿崩㯯넓莅⯝顥㯯넓涸㯯넓⛓昰⿻Ⱖ➮湱ꡠ
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䟝雊㔔暶笪䧭捀岁㢫⛓㖒笪窄橇㞯圓䒊鼩⸈䓽雊 䧮⦛腋㣁㖈♳縨佞䧮⦛涸⡲ㅷㄤ竤斊䧮⦛涸噠鸏
垺⡹㽠腋⫹㖈溫㻜㻜넓⚆歲⚥♧垺㖈箁♳⨞⡹䟝⨞ 涸✲䞕
Wang Qingsong, Follow Me (2003)
15 FOLDS 䡰
*/5&37*&8&% "/% 53"/4-"5&% #: äą°é?&#x17E;âżşçźşé&#x2122;ź î&#x203A;&#x2021; ,& 2*8&/ ĺ?&#x2022;塯ę¨&#x161;
Remember that game where you would write each part of the body onto folded
paper. In China, we call it North South East and West while Western countries have diďŹ&#x20AC;erent versions. At the beginning of the twentieth-century, surrealists invented a game Exquisite Corpse - each collaborator added a word onto a piece of paper, folded it and passed on to the next person in sequence creating a surrealist style sentence out of the individual contributions.
15 Folds brings this idea to the digital age - Every month 15 outstanding creatives are invited to make original GIFs in response to one another. In order to present a taste of the digital, ART.ZIP has an Instagram interview with the founders Margot Bauman and Sean Frank, and simulates 15 Folds exhibition where entire gallery walls are QR codes, presenting dynamic GIF artworks on static paper.
韊é&#x17D;šä&#x2013;¤âŻĽĺ&#x201E;&#x2DC;朸䡹秜éş&#x2030;䨥ă&#x152;¨î&#x161;&#x17D;â&#x161;Ľă&#x2022;&#x153;朸ć&#x2122;?ĺ&#x160;Ľĺ&#x192;˝ď&#x161;łĺ&#x152;&#x152;â˝&#x201A;é&#x160;Żâť?ď&#x161;´ď&#x2DC;šé&#x160;Żĺ&#x20AC;°â&#x203A;łĺ&#x2030;¤ă ?č?&#x2C6;â&#x2122;śă &#x161;朸ć&#x2122;?ĺ&#x160;Ľâ&#x;&#x192;âżťć˘&#x2013;
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㍜ 䧮⦛僽"35 ;*1։
⡹⦛鋕荈䊹捀殥䐤瑠㌨
㍜ザ䧮僽聱䛸 銯棵暆铃
넓
㍜ 䧮僽꼛䧢暶
⡹⦛捀➊랃〭 'PMET
䧮⦛罌✫♧⦐馄植㻜⚺纏涸麉䨡礶繡㾏껷齡僽麉䨡⚥䫔 秶涸鿈ⴕ
䧭用涸ⴲ邪僽➊랃
㔔捀㣐㹻鿪䖎攨䠦笪窄俒⻋ㄤ笪窄鶵㔔 嫦⦐涸⚺겗鿪剤➊랃
剢涸⚺겗〭⨞㼩用 俒⻋Ղ㼟㖒♴俒⻋ㄤ⚺崩俒⻋幋ざ㖈 ♧饱欽侸㶶⻋涸倰䒭ツ植
僽鸒麕Ⱇ䗚⟝鼩僽剤暶㹁涸➃鼇ヤ⡲ㅷ涸鼇乵垦彋僽➊ 랃
Ⰽ罏鿪剤ゅ䧮⦛佐ⵌ✫䖎㢵➃涸⢵珳ず儘䧮⦛⛳剚呏亙殹剢 ⚺겗㼦䪪 黠ざ涸谁遯㹻彘鸒ざ⡲
僽涸䧮⦛僽㛇倴笪窄涸殥䐤瑠「滞㽠僽鸏❉笪窄谁遯纈 捀➊랃(*'㕬⫹剚⡲捀谁遯⡲ㅷ膨琐罜ⴀヤ 㔔捀㸐僽䧮⦛鸏➿➃涸ⶾ⡲铃鎊
捀➊랃(*'㕬⫹腋㖈笪窄⚆歲鸤䧭鲛⹛ヤ
⡹剚鄄䗅橇久佞垸䒭峤舡ⱄ⸈♳(*'俒⟝⿶䖎㼭⫄久饱⢵䖎 倰⤑
㥶➛⡹⦛涸笪畀姻㖈笞隌⚥剚剤➊랃㣐⹛⡲㌨
䧮⦛姻㖈㸤㊥欽䨩넓뀿䋞劆䌟窍錚滞刿㥪涸谁遯錚颣넓뀿 䱺♴⢵⡹⦛剤➊랃㥪梖涸갪湡㌨
䧮⦛㼟㖈ㆥ劥ㆁ呏涸5SBJMFSQBSL *P谁遯眏♳ⴕ❧ 'PMET涸 佦✲鸏僽䧮⦛劍䖊䊺⛉涸 闒闒
All source from 15folds
BEYOND NEW MEDIA ART
շ 馄馊倞㯯넓谁遯ո 5&95 #: 乊俒 -* #08&/ 勚⽇俒
Like other books of similar titles - and the overwhelming abundance of
㥶ずⰦ➮剤衽겳⡂垦겗涸衽⡲♧垺Ղ罜鵜䎃⢵姽겳衽
Quaranta attempts in the Beyond New Media Art to define New Media Art in a
纏涸㽪㽘朜屣Ղ瘼㾝➃谁遯鐱锸㹻㢵僈㽳⯘˙⸈貽㝝
publications as such in recent years is already a very telling fact - Domenico
clear, honest and innovative fashion, against similar and related terms such as
Digital Art (it narrows the field to digital media , and shifts the focus unduly
low , namely towards any kind of creative use of digital media ), Media Art (it
extends the reach to all media: press, radio, fax…and also computers, software,
the web and video games, and along with New Media Art it is saved from
these base associations by their high origins. ), Electronic Art, Computer Art,
Cyberart, et cetera; and to place this notion next to the notion of Contemporary Art here, indeed to give birth to two separate, independent but correlated
realms that struggle and negotiate with each other, one in the movement of
becoming, or migrating into another. Interesting to the author is the assertion
⡲涸㣐ꆀ⚆冝爚✫鸏♧䎃鰋谁遯겳鶗ⴗ銴彋焷㹁 㖈շ馄馊倞㯯넓谁遯ո♧剅⚥㎲鑑⟃♧珏幢兠铇䥬罜 倞琐涸倰䒭㹁纏倞㯯넓谁遯➮⼦ⴕ✫鏪㢵겳⡂罜湱ꡠ
涸鑂侸㶶谁遯 鸏鑂㼟鎣锸걆㚖㽷ꣳ㖈侸㶶
㯯넓⚥⚛㼟ꡠ岤럊翹搋倴麕ⴕ⡜秹涸㾵⽰䨾剤
ⶾ鸤䚍㖒⢪欽侸㶶㯯넓涸㻜驏㯯넓谁遯 鸏珏 谁遯巒覈✫䨾剤㯯넓겳⽫ⵘㅷ谁遯佐갉堥谁遯 ⫄溫谁遯⟃⿻ꨶ舡谁遯鮿⟝谁遯笪窄谁遯⿻ꨶ㶩
麉䨡谁遯瘞⛳莅倞㯯넓谁遯♧垺㔔Ⱖ넞顜ⴀ 魨罜♶衆倴瓀荮 ⟃⿻ꨶ㶩谁遯 ꨶ舡谁遯 贡
亼谁遯瘞瘞⸈貽㝝㼟倞㯯넓谁遯莅殹➿谁遯Ⰽ罏湱
part of the story of new media, and that they can (or rather must)
continue to exist as a sector, distinct from contemporary art in virtue of the fact that they genuinely do differ from it.
This book was first written in Italian as the author s thesis in 2008
and 2009, and later published in English only in 2013, with somehow understandably no substantial revisions but few updates and
addition of appendixes as the author admits. Reviewing an old book, however, seems to be even stranger an idea. Before the publication of the book in its full-length, made available were a number of
嫲鯱鹎遤鎣锸⟃䒊用ꡠ倴Ⰽ⦐ⴕꨆ栬用涸⚆歲涸侃✲㖈姽侃
the early history of the publication - including the reviews - is
㖈姽麕玑⚥ぢ殹➿谁遯⚆歲鹎遤鱲隶䧴鼄䖩㼩倴⡲罏⢵铞剤
reviews of the abstract of the English version, and with hindsight just amusing. The title of the book changed from the even more confusing Media, New Media, Postmedia; to the author of this
review, the dichotomy of New Media World versus Contemporary Art World that was the ongoing, troubling war could be hardly
found today (but of course one reads towards the end of the book
✲⚥倞㯯넓⚆歲莅殹➿谁遯⚆歲✽湱䫒昰⼿锅倞㯯넓⚆歲⛳
馱涸僽鸏垺♧珏钢濼➃⦛钢捀倞㯯넓谁遯⿻倞㯯넓俒⻋僽倞 㯯넓侃✲涸穉䧭鿈ⴕ⛳腋㣁䧴䗳갭⡲捀鸏珏穉䧭鿈ⴕ糒糵涮 㾝莅殹➿谁遯⼦ⴕ⢵㔔捀鸏谁遯俒⻋涸焷僽莅殹➿谁遯♶ず 涸
The Postmedia Perspective , ). For anyone who might be basically
劥剅涸䠑㣐ⵄ铃⾲晝㸤䧭倴 荛 䎃䖕㖈 䎃陼捀薊
recognised that in the new media art program taught and learned
⚛尝剤㖈薊俒晝⚥鹎遤㣐ꆀ佖⹛罜〫僽㼱ꆀ刿倞✫衽⡲⚺넓⚛
familiar with the general structure of art schools in China today, it is is first and foremost how to make animations. More or less, it means, in the Chinese context, the revival of Chinese animation, and the competition with Japanese animes or Hollywood animals. But
this is neither here or there, unless we, for reasons that are merely strategic, place provisionally this fact as an instance in relation to Quaranta s idea of New Media Art as an independent world, as a
thing that does not belong properly, or a priori, to the art world: … above all we need to set aside the Duchampian concept of art as
being something that happens in the art world. It is not happening in the world of the contemporary art; it has its own tradition, its
institutions, its jargon, its idea of art… Placed resolutely next to the contemporary art world is the world known as the New Media Art
俒晝涮遤湈盘劥剅涸錚㻌㼩韍㖈䎙䎃Ⰹ涮欰✫鴾鸠涸隶⻋⡲罏
幑⸈✫♧❉꣡ꏗⰉ㺂罜捀♧劥Ⰹ㺂湱㼩麕儘涸衽⡲鹎遤➝稲⡂ ⛖⛳僽♧ ⟝㣼䚓涸✲䞕傍㖈薊俒晝剅涮遤⛓⸈貽㝝⤑䊺
涮䋒շ馄馊倞㯯넓谁遯ո涸䶰銴罜鸏矦瀊涸䶰銴㖈殹儘䒸饱✫鏪
㢵鐱锸㹻涸莇馱⪶欰✫鏪㢵澰䚍涸剅鐱植㖈溏⢵⺫䭍鸏❉ 鐱锸㖈Ⰹ涸ⴀ晝暟傍劍娜〷⛳僽ꬌ䌢剤馱涸衽⡲겗湡䖰刿捀雊
➃㔮仠涸շ㯯넓倞㯯넓䖕㯯넓ո佖䧭✫շ馄馊倞㯯넓谁遯ո罜
㼩倴䧮⢵铞⡲罏䲿ⴀ涸倞㯯넓⚆歲ˋ殹➿谁遯⚆歲㼩用朜屣䊺 ♶䗂㶸㖈⡎殹搭⸈貽㝝㖈衽⡲剓䖕♧畎䖕㯯넓鋕ꅿ⚥鎣锸
✫鸏⟝✲莊⢿⢵铞擿䜫⚥㕜谁遯㷸ꤎ穡圓涸➃⦛幢嘽倞㯯 넓谁遯㼠噠䌢鹎遤⹛殥ⵖ⡲铭玑殗噠涸㷸欰⦛⛳䌢⟃⹛殥捀㯯 ➝鹎遤谁遯ⶾ⡲罜鸏㖈⚥㕜铃㞯⚥䠑衽⚥㕜⹛殥ⶾ⡲涸䗂莇
莅傈劥⹛殥䧴㥪蟛㝸⹛殥⦛涸畹昰鸏♧✲㻜瘼殜䚍㖒捀倞㯯넓
Domenico Quaranta, Translated and Edited by Anna Rosemary Commons LINK Editions, Brescia 2013
that New Media Art and the culture of new media are an integral
World, a multidisciplinary, varied set of practices evolved into a niche and then established itself as an entirely autonomous art world ;
⚆歲涸栬用䚍䲿⣘✫⿾⢿㼩倴⸈貽㝝⢵铞ꅾ銴涸僽倞㯯넓谁
between the two worlds are migrations, resistances and wars.
⦛銴佞♴齡珏勭㼿䒭涸椚䙂⽰䨾剤谁遯鿪僽涮欰倴谁遯⚆歲
but the relationship between the two worlds is far from static, for
The author's history of New Media Art from the 60s to the 90s is very valuable and goes on for about thirty pages. Ambitious of course, as this lengthy narration is practically the mapping out of the territory
of the World created a moment ago. The author concedes however, in order to focus on the New Media Art world s social history, this
history overlooks the aesthetic and cultural aspects of it. Following
遯⚆歲⚛♶僽䖰⢵㽠僽殹➿谁遯⚆歲涸♧鿈ⴕ剓ꅾ銴涸僽䧮 ⛓⚥涸倞㯯넓谁遯⚛♶僽涮欰倴殹➿谁遯⚆歲⛓⚥涸倞㯯 넓剤荈䊹涸⫄窡禺窡㼠噠遯铃谁遯椚䙂鄄穪对㖒佞㖈
殹➿谁遯⚆歲⛓㢫涸♧⦐鄄珖⡲倞㯯넓谁遯涸⚆歲♧⦐騗㷸
猰涸鞮㺢涸㻜驏넓禺鳧✫♧晚㣔㖒鹎罜䧭捀✫♧⦐㸤荈
⚺栬用涸谁遯⚆歲⡎鸏Ⰽ⦐⚆歲涸ꡠ⤚穪♶僽ꬆ䢀涸罜 僽⯏倊衽❜崩鼄䖩䫼䫒⟃⿻䨞昰
this chapter is a point-to-point comparison of both worlds of the
⡲罏⛳㖈姽剅⚥陗㻨✫ ⚆私 䎃➿荛 䎃➿涸倞㯯넓谁遯娜
of the internet. The author by no means attempts to sustain the
⚥ꬌ䌢棇顜涸Ⰹ㺂⡲罏傌㖈鸒麕鸏珏倰䒭殥ⴀ倞㯯넓谁遯⚆歲
New Media Art and Contemporary Art, and, interestingly, the realm independence of the New Media Art World, but tries to examine its movement of migration into the Contemporary Art World. Overall,
founded on a very interesting hypothesis of two different worlds, this
book tackles the complicated problem of the New Media Art in a way that was refreshing and thought-provoking. The author did a good job in anticipating a postmedia (arriving at this term when reading
I felt the spectral presence of transmedia or whatever similar terms they might come up); along with Regine Debatty who reviewed
the abstract of the book back in 2011, I would still recommend it
to anyone interested in the idea of New Media Art, at least for the
author/curator s mentioning and evaluations of very great number
of cases - exhibitions, events, books and articles et cetera - one has
to complain a little bit, however, regarding the equally abundant but rather obscure cliches found in the book ( That said, one swallow
doesn t make a summer. A single event does not necessarily indicate a trend. An explanation of the cliche adds a curiously charming repetitive turn). The publication could be a solid starting point
for anyone interested in knowing more and being involved in the
making and undoing of the worlds. Though Quaranta s appropriation of Lev Manovich s Turing Land vs Duchamp Land seems problematic, as it opens the possibility of an abyss of countless worlds (whose
interiority is rendered void, no less abyssal), it nevertheless provides me, somebody who considers himself to be today working on the periphery of the contemporary art world, with an alternative to
the disillusion - that the monster with countless tentacles named contemporary art devours all, casually, without even a fight. The appendixes are also very amusing.
〷鸏峕峕扵扵♲⼧㢵갤涸娜〷侃✲僽շ馄馊倞㯯넓谁遯ո♧剅
涸晝㕬㔔姽鸏⛳僽ꬌ䌢剤ꅿ䗱涸♧妄娜〷唚椚㻜驏搭罜⸈貽 㝝⛳䪭钢鸏♧娜〷唚椚⫦⫦ꡠ岤✫倞㯯넓谁遯⚆歲涸爢剚䚍㾵
罜䙐鋕✫Ⱖ繡㷸⿻俒⻋㾵㖈娜〷侃鶤♧畎⛓䖕⡲罏鷷哭
㼩嫲✫倞㯯넓谁遯⚆歲⿻殹➿谁遯⚆歲Ղ剤馱涸僽姽畎⚥〥剤 莅✽耢笪걆㚖涸㼩嫲鎣锸⸈貽㝝⛳⚛尝剤㎲鑑䓽炽㖒笞隌倞㯯 넓谁遯⚆歲涸栬用䚍罜僽稣荞㖒增鋕✫姽⚆歲ぢ殹➿谁遯⚆歲
♶倬鹎遤涸鼄䖩麌⹛籏涸⢵铞䒊用㖈♧⦐剤馱涸꧱⚆歲⧺鏤 ⛓♳涸շ馄馊倞㯯넓谁遯ո⟃♧珏倞琐涸慨涮➃䙼罌涸倰䒭鎣
锸✫倞㯯넓谁遯鸏♧葾ꨈ⚺겗⸈貽㝝⛳㖈剅⚥捀䖕㯯넓儘 ➿涸ⵌ⢵⨞✫䖎㥪涸澰䚍䙼罌搭罜㖈隡ⵌ姽贖儘䧮♶犝䟝
韍馄㯯넓䧴ⴽ涸➊랆倞㣼鑂涸钲欰㽠⫹謠ꆄ˙䗞䊼裦㖈
䎃䨾⨞涸♧垺䧮⛳剚ぢ䨾剤㼩倞㯯넓谁遯鸏♧嚌䙂䠮莇馱 涸➃䲀讄姽剅剅⚥剤衽鞮㺢罜幀Ⰵ涸✲⢿鎣锸Ղ鎣锸筝㺙㕠 粕㣐ꆀ㾝錒崞⹛衽⡲⟃⿻俒畎鹎遤搭罜䧮⛳䟝銴鰋䗏㖒䫵 䚐ず垺걽籗ⴀ植涸僽㣐ꆀ剤衽剅タ㶩孵涸䧭铃⿻⤺铃湈盘㥶
姽♧〫敶㶩ⴀ植✫⚛♶䠑衽㢚㣔㽠⢵✫♧妄㋲♧涸✲⟝⚛
♶腋䧭捀♧⦐惐崩涸䭸垦⡲罏〳腋䙲➃⦛♶䥢鸏❉鴶臱涸⤺
铃鼩䗳갭銴㖈䖕⸈♳鍑ꅼ㥶卓⡹㼩倴門㢵⚆歲涸欰䧭莅嶋 㣟䠮莇馱涸鑨鸏劥剅〳⟃䲿⣘♧⦐䖎㥪涸䙼罌ⴀ涮럊⸈貽㝝
涸椚锸䨾⣜飅涸歋㣗˙꼛開笞㣼䲿ⴀ涸㕬⚆歲莅勭㼿⚆歲 涸㼩用涸焷僽剤㉏겗涸㔔捀鸏㉬✫鸏垺♧⦐幀幇搂湈侸ꆀ ⚆歲涸ⴕ鄭罜鸏❉⚆歲涸Ⰹ鿈䖎〳腋僽贡瑠涸罜♶僽⯏渠涸
⡎鸏劥剅捀䧮鸏垺♧⦐荈鋕㖈殹➿谁遯⚆歲鼹箔䊨⡲涸➃䲿⣘✫ 剤馱涸錚럊㼟䧮䖰鸏垺涸♧⦐䎑錏䬘ⴀ齡⦐鄄〭⨞殹➿谁遯
⚆歲涸䚓桊鰋僒㖒ふ㑃♴䨾剤涸✲暟շ馄馊倞㯯넓谁遯ո涸꣡ ꏗ⛳ꬌ䌢剤馱
GLITCH ăŁ&#x;ęŤ&#x2122;
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Glitch is a slang term. The earliest usage of the term was in the 1960s among
(MJUDIî&#x2122;ˇč&#x2026; é źĺ˛&#x161;ä&#x17D; äť î&#x2122;¸ĺ&#x192;˝â&#x2122;§âŚ?⤞é&#x201C;&#x192;é&#x2018;&#x201A;ď&#x2DC;šĺ&#x2030;&#x201C;ĺ&#x201A;?â´&#x20AC;ć¤?ĺ&#x20AC;´ ä&#x17D;&#x192;
malfunction. Astronaut John Glenn ďŹ rst used the term in 1962 in the book,
â&#x17E;żä &#x2018;㢍佌꼝ď&#x2DC;ˇă¸&#x2122;č?&#x2022;ă&#x2020;&#x17E; ç§&#x2030;矌Ë&#x2122;ĺ&#x2018;&#x201D;â§?ꝡĺŚ&#x201E;ă&#x2013;&#x2C6; ä&#x17D;&#x192;â´&#x20AC;ć&#x2122;?朸
astronauts to describe a technical hitch. The term signaled an unexpected
Into Orbit, on the ďŹ rst human spaceďŹ&#x201A;ight program of the United States.
For Glenn, a glitch represented a spike, surge or sudden change in voltage
experienced in an electrical current. A surge usually occurred when a circuit
suddenly underwent a new strain. In a technical context, the word was used in alternating terrains: at times, it was mobilised to describe a surge in electrical current; in other instances, it was deployed to describe a spurious electric signal.
â&#x17E;żď&#x2DC;šé&#x201E;&#x201E;ă¸&#x2122;č?&#x2022;ă&#x2020;&#x17E;âŚ&#x203A;ćŹ˝â˘ľä˛žéś¤äŞŽé Żä˝ŚęĽťď&#x2DC;ˇé¸?â&#x2122;§é Żé&#x201C;&#x192;é&#x201E;&#x201E;ćŹ˝â˘ľä¸ Őˇéš&#x17D;â°&#x2026;鎨麼ոé¸?â&#x2122;§ĺ&#x160;ĽęĄ ĺ&#x20AC;´çšĄă&#x2022;&#x153;ç&#x2014;§â&#x2122;§ĺŚ&#x201E;鯺â&#x17E;&#x192;č?&#x2022;ç&#x2018; 갪暥朸ĺ&#x2030;&#x2026; â&#x161;Ľâ˘ŞćŹ˝â&#x153;Ťé&#x2018;Şé Żé&#x201C;&#x192;ď&#x2DC;ˇăźŠĺ&#x20AC;´ĺ&#x2018;&#x201D;é&#x201D;¸â˘ľé&#x201C;&#x17E;ď&#x2DC;š(MJUDIâ&#x17E;żé&#x201A;?â&#x2122;§ç??ă&#x2013;&#x2C6;ꨜ崊
â&#x161;ĽćŹ´ćŹ°ćś¸ăźşâľ&#x17E;ď&#x2DC;śĺ´&#x2013;ĺź&#x2030;䧴ë ?ć?朸ꨜ㠺é&#x161;śâť&#x2039;ď&#x2DC;ˇé¸?ç??ç&#x2018;łć?朸ĺź&#x2030; âš&#x203A;é¸&#x2019;ä&#x152;˘ă&#x2013;&#x2C6;ꨜé¨&#x;獤ă&#x20AC;&#x152;ĺ&#x20AC;&#x17E;估é&#x161;śĺ&#x201E;&#x2DC;援揰ď&#x2DC;ˇă&#x2013;&#x2C6;ă&#x201E;¤ç&#x152;°äŞŽĺ&#x2030;¤ęĄ 朸é&#x201C;&#x192;ă&#x17E;Ż
â&#x161;Ľď&#x2DC;šé¸?â&#x2122;§é&#x2018;&#x201A;ä&#x2022;&#x20AC;é&#x201E;&#x201E;揽⢾䲞霤ęą&#x2020;ă&#x161;&#x2013;朸â?&#x153;ĺ&#x2030;?î&#x161;&#x2030;ĺ&#x2030;¤ĺ&#x201E;&#x2DC;ă¸?é&#x201E;&#x201E;é&#x201D;&#x2026;揽⢾ 䲞霤ꨜ崊â´&#x20AC;ć¤?朸ë ?é&#x161;śî&#x161;&#x160;ă&#x2013;&#x2C6;â°Śâ&#x17E;Žä&#x17E;&#x2022;幣â&#x2122;´ď&#x2DC;šă¸?韊é&#x201E;&#x201E;揽⢾䲞霤 ՚败⧺պ朸ꨜ㜊âĽ&#x152;č´Ťď&#x2DC;ˇ
To experience a glitch in the 1960s was to expose oneself to an unexpected,
ă&#x2013;&#x2C6; ä&#x17D;&#x192;â&#x17E;żď&#x2DC;šçŤ¤ĺ¨&#x153;éş&#x2022;(MJUDIă˝ ç&#x2DC;&#x17E;ĺ&#x20AC;´äŞžč?&#x2C6;ä&#x160;šĺ&#x2021;?ꪍă&#x2013;&#x2C6;â&#x2122;§âŚ?äš˝
understood as an obstruction of sorts. The term was deďŹ ned at the time as a
â&#x2122;łć¤&#x161;é?&#x2018;ć?&#x20AC;â&#x2122;§ç??ęŁ&#x2013;ç&#x2021;&#x2DC;ď&#x2DC;ˇé&#x2018;Şé Żé&#x201C;&#x192;ă&#x2013;&#x2C6;掚ĺ&#x201E;&#x2DC;é&#x201E;&#x201E;ăš çş?ć?&#x20AC;ꨜé¨&#x;â&#x161;Ľč&#x2026;&#x2039;ĺ˝&#x201A;
if not annoying interruption within an operating system. A glitch was
current s spurious straying from the source. The use of spurious to describe
an electrical current seems contradictory. The meaning of spurious oscillates between the fraudulent and the deceptive. How can an electrical current
be either? Later in the 1960s, the word glitch was repurposed as concept Ěś
brought back to earth from the lofty heights of astronauts Ěś to describe the
phenomena of low-frequency interference within a television s picture. A glitch was experienced by most as an encounter (now obsolete) where a narrow bar
⥲猺窥朸ä &#x2018;㢍î&#x2122;ˇä§´ë&#x17E;&#x20AC;ć&#x2019;&#x2013;朸î&#x2122;¸ä&#x17D; äť â&#x161;Ľď&#x2DC;ˇ(MJUDIé&#x201E;&#x201E;ĺ&#x17D;Ľç??ç&#x17D;&#x2018;ä?&#x17E; 朸՚败⧺ Őşă&#x2018;&#x2018;朎ď&#x2DC;ˇâ˘Ş 揽ď&#x161;łč´Ąâ§şď&#x161;´â˘ľä˛žéś¤ę¨śé¨&#x;âĄ&#x201A;â&#x203A;&#x2013;ĺ&#x192;˝ćż¨ćš˝ 朸ď&#x2DC;ˇď&#x161;łč´Ąâ§şď&#x161;´â&#x17E;?â&#x203A;&#x2013;匏ęż&#x2039;č&#x17D;&#x2026;éśľä&#x17E;¨â&#x203A;&#x201C;ę&#x;Śď&#x2DC;ˇâ&#x2122;§č&#x201A;&#x2020;ꨜ崊ä&#x2122;Śë&#x17E;&#x192;č&#x2026;&#x2039;é&#x201E;&#x201E; 㼜姽ä&#x2022;&#x17D;ăş&#x201A;ă&#x192;¤î&#x161;&#x17D;ă&#x2013;&#x2C6; ä&#x17D;&#x192;â&#x17E;żä&#x2013;&#x2022;ĺ&#x160;?ď&#x2DC;š(MJUDIé&#x201E;&#x201E;ä˝&#x2013;鸤ć?&#x20AC;â&#x2122;§ç??ĺ&#x161;&#x152;
ä&#x2122;&#x201A;Ő&#x201A;ä&#x2013;°ă¸&#x2122;č?&#x2022;ă&#x2020;&#x17E;朸ăŁ&#x201D;ęź&#x203A;é ¤ç&#x2018; é&#x201E;&#x201E;ä&#x152;&#x;ă&#x201D;?âľ&#x152;ć¤?ăť&#x153;朸ă&#x2013;&#x2019;ć¤&#x2022;â&#x2122;łŐ&#x201A;
揽⢾䲞霤â&#x2122;§ç??ꨜé&#x2039;&#x2022;ă&#x2022;ŹâŤšâ´&#x20AC;ć¤?朸âĄ&#x153;ęą˝ä&#x17D; äť ć¤?é&#x;?ď&#x2DC;ˇă&#x2013;&#x2C6;(MJUDI é&#x201E;&#x201E;ăŁ?㢾䞸â&#x17E;&#x192;é&#x2019;˘ć?&#x20AC;ĺ&#x192;˝â&#x2122;§ç??âŠ&#x2018;éş&#x201A;î&#x2122;ˇć¤?ă&#x2013;&#x2C6;ä&#x160;şé&#x201E;&#x201E;ä&#x2018;&#x203A;ĺ&#x201D;łî&#x2122;¸ď&#x2DC;šâ˝°ç&#x2018;ťä&#x152;&#x;ꨜ ĺ´Šă&#x2DC;?暏ă&#x2013;&#x2019;ĺžżéş&#x2022;ꨜé&#x2039;&#x2022;ăž&#x201C;ä?&#x152;ď&#x2DC;ˇ
of electrical current moved vertically across a television s screen.
㖈谁遯〷铃㞯⚥伢䕧㹻繏⠭暶˙⽓僈僽剓傍涸⢪欽罏
In an art historical context, one of the first uses of the term came from the
ⴀ✫♧珏䠮䚍(MJUDI 䎃⽓僈ⴀㅷ✫♧穉獺㣼
photographer Robert Cumming. In the 1970s, the artist had described
his project as premised on a type of perceptual glitch . In 1973, Cumming
produced a curious photographic series: Ansel Adams Raisin Bread (1973),
where the artist re-staged an anecdote, that the he had heard second-hand, about Ansel Adams s commercial work for a local bakery in the Bay Area.
According to one story, Adams was commissioned to compose, in his words, a compelling photograph of raisin bread ̶ bread, to cite one historian, such
as could not be found in nature. Dissatisfied with the way in which the actual raisin bread looked and photographed, Adams replaced the real raisin bread
with smooth-textured white bread. On the bread s surface, dried raisins were
⛓♧㖈 䎃➿鸏⡙谁遯㹻钢捀Ⱖ谁遯갪湡갸⯓䲿 涸撑晚禺շ㸞㝱晋˙❏殹倛˙袖蟏✝띳⺫ո谁遯㹻ꅾ
倞⡑縨✫♧⦐鯩耂➮聃➃⫄鎊铞㸞㝱晋˙❏殹倛㖈抓⼦
捀殹㖒涸띳⺫䏅ⶾ⡲✫♧穉㉂噠䑞デ⡲ㅷ呏亙♧珏铞 岁❏殹倛䱺「㨽鎷ⶾ⡲♧䌴雊➃㘍嶗涸袖蟏✝띳⺫
撑晚 䒸欽♧⡙〷㹻涸铞岁鸏⦐띳⺫僽搂岁㖈㣐 荈搭⚥䪪ⵌ涸歋倴㼩袖蟏✝띳⺫㻜ꥹ涸ㄤ撑晚⚥涸
垺㶩♶怏䠑❏殹倛欽颶㖒⯕徿涸涯띳⺫䪾袖蟏✝띳⺫ 剐䳖䱈✫➮欽ꚴ㶩䪾袖蟏✝䅺㖈띳⺫涸邍罜⚂鼩 欽啖蒀屘怚捀涯띳⺫衽蒀
added with tweezers and the white bread was stained with a brown lacquer.
⽓僈ꅾ㝖涸㜥兞撑㾝植✫殹儘涸醢⡲麕玑㖈䊩鼹♧
Cumming s restaged scene depicts a before-and-after sequence. On the left, a
僽♧烾㣐袖蟏✝䖕僽♧烾㼭袖蟏✝♧哭涯띳⺫
collection of food-stuffs find themselves scattered across a low standing table: a box of raisins, a bowl of large raisins in the foreground, a bowl of small raisins in the background, a loaf of white bread, tweezers, and two slices of white
bread placed against a group of tropical palms and a brick floor. On the right,
㛜굺勞鄄侕✥㖒ⴕ䋒㖈♧䓹瀍呲♳♧渱袖蟏✝兞 ꚴ㶩Ⰽ晚涯띳⺫胝兞僽♧䱖攨䌟啖壾埠ㄤ煴㖒㖈〸 鼹ず垺涸㜥兞♧渱袖蟏✝♧烾㣐袖蟏✝侸ꆀ玖剤 幾㼱♧烾㼭袖蟏✝ず垺剤䨾幾㼱♧哭涯띳⺫ꚴ 㶩殥⚥僽Ⰽ晚涯띳⺫〫僽植㖈띳⺫邍幑⸈✫
1-1, 1999 © Lisa Jevbratt
the same scene: a box of raisins, a bowl of large raisins (in reduced scale) , a
bowl of small raisins (again, slightly reduced), a loaf of white bread, tweezers, and two slices of white bread in the middle of the photograph, now with
twenty odd raisins placed on the surface of the bread. For a four-page essay published in Artforum in 1981, critic Charles Hagan interpreted Cumming s
strategy as a method working at the extremes of meaning. Cumming s glitch, in Hagan s words, was akin to a willful child testing a sore tooth with their
tongue. Cumming folded systems of comprehension back on themselves to contradict apparently distinct categories.
Today, the concept of a glitch has gained added currency when speaking to
the fluid boundaries of contemporary art and technology. In the present, the concept transits in the terrain of digital art and post-internet art. A glitch is
neither radical nor revolutionary, most often it is just an annoying occurrence.
For some, the concept is a clumsy term, merely interpreted as a passing fad for
electronic music. For others, the term represents a floating signifier, burdened with an overflow of meaning. Even artist Amalia Ulman, who is known for her four month long Instagram performance, Excellences & Perfections (2014),
which plays with the glitches in social media where real and fictional identities contaminate one another. In the contemporary moment, a glitch appears not as a condition to be experienced per se, but rather as a structuring principle. In contemporary criticism, a glitch can refer to an array of phenomena:
interruptions, malfunctions, hesitations, blockages, occlusions, accidents, and similar phenomena, all occurring at the level of the image, sound, or system.
For others, the term has a distinctly materialist condition: all that debris, residue, scrap, junk, clutter and other odds and ends that populate the edges of
images, sounds or systems. The concept appears not restricted to purely digital formats, but incorporates encounters between analog and digital, analog and analog, and digital and digital formats.
In the dubiously indistinct terrain of contemporary art, where concepts are
switched from one outlet to another, a series of questions confront us on the
nature of a glitch in the present: What do we talk about when we talk about a
glitch? What are a glitch s conditions? What is its pre-history? Where is the term glitch going?
There is a glitch in the matrix, Carrie-Anne Moss declares to Keanu Reeves in
the 1999 film The Matrix. In film, a glitch is read as an experience of dejà vu: the encounter of a stray black cat moving through a corridor as if on loop. Paolo
Virno argues that when dejà vu occurs the perception of the present collapses
and is confused with a memory. For Virno, déjà vu arises precisely when a pastform is figured in the present and is exchanged for a past-content that repeats. We believe that we have experienced (or seen, heard, done, etc.) something
that is, in fact, happening for the first time at the very moment. In the Matrix, a glitch is the uncanny cipher of repetition; it signals a sudden transformation occurring in a system.
Although the digital image is commonly encountered through its jewel-like
겎㣼䚓涸袖蟏✝㖈 䎃涸շ谁遯锸㠢ո♳䪡鐱㹻叆
晋倛˙랱呏涮邍✫Ꟁ麨 갤涸俒畎➮䪾⽓僈涸瘼殜鍑隡 捀♧珏荞⸂倴䲀侫䠑纏噲ꣳ涸倰岁⽓僈涸(MJUDI 欽
랱呏涸鑨⢵铞㽠겳⡂倴♧⦐⟤䚍涸㷛㶩欽걧⢵增뀿 ♧겎氨汥涸暆룈⽓僈䪾椚鍑넓禺ぢ䖕䫔毕⢵⿾꼸僈 곏♶ず涸겳ⴽ
➛㣔(MJUDI涸嚌䙂㖈歲ꣳ傈恸垸祎涸殹➿谁遯ㄤ猰䪮 걆㚖⚥崩鸒⢵㖈殹♴鸏♧嚌䙂䊺鄄鱲獵荛侸㶶谁
遯ㄤ䖕笪窄谁 遯 걆㚖⚥(MJUDI傂♶慨 鹎⛳♶Ⱘ剤ꬠ ㄐ 䚍㣐㢵 䞕 屣♴㸐〫 僽 ♧珏 撖 ➃涸涮欰㼩倴厥❉
➃⢵铞鸏♧嚌䙂〫僽♧⦐䬵⸌涸遯铃〫僽鄄鍑隡捀
♧珏麕孵涸ꨶ㶩坿崩遤괐惐㼩倴〥♧❉➃⢵铞鸏♧ 遯铃➿邍衽♧珏교䙐♶㹁涸腋䭸䪭鯺✫麕㢵涸䠑
纏欩荛僽⟃Ꟁ麨㔋⦐剢涸*OTUBHSBN邍怵շ⼾馊莅㸤 繡ո 罜ⴀそ涸谁 遯㹻槈ⵄ❏˙捦晋剋⛳㖈植
㻜莅贡亼瑠✽湱厪䭸涸爢❜㯯넓⚥梖(MJUDI㖈殹 ➿(MJUDI涸ⴀ植♶僽♧珏鄄넓뀿涸朜䢀⿾罜僽♧珏穡 圓䚍⾲
ă&#x2013;&#x2C6;掚â&#x17E;żäŞĄé?ąâ&#x161;Ľď&#x2DC;š(MJUDI韊ă&#x20AC;łâ&#x;&#x192;ä¸â&#x2122;§çŚşâ´Şćś¸ć¤?é&#x;?î&#x161;&#x2030;ä&#x17D; äť ď&#x2DC;śä˝ŚęĽťď&#x2DC;ść&#x;&#x201D;é&#x; ď&#x2DC;ś
contemporary image is like the clone of Leon Trotsky walking around
ć¤?é&#x;?ď&#x2DC;ˇăźŠĺ&#x20AC;´ă&#x20AC;Ľâ&#x2122;§â?&#x2030;â&#x17E;&#x192;⢾é&#x201C;&#x17E;ď&#x2DC;šé¸?â&#x2122;§é Żé&#x201C;&#x192;ä&#x152;&#x;ĺ&#x2030;¤ĺ&#x192;&#x2C6;ęł?朸ă&#x2C6;&#x201D;ć&#x161;&#x;â&#x161;şçş?č&#x2019;&#x20AC;ä&#x2022;&#x2122;î&#x161;&#x2030;䨞
interruptions. In one poignant conception, Hito Steyerl claims that the with an ice pick in his head. In this undead accumulation of matter, the
contemporary image appears wrenched open and bleeding. The glitch is the eďŹ&#x20AC;ect of this icepick. Images are violated, Steyerl writes, ripped
apart, subjected to interrogation and probing. They are stolen, cropped,
ęŁ&#x2013;ă?ąď&#x2DC;śę&#x;&#x2014;ă?ąď&#x2DC;śä &#x2018;㢍ď&#x2DC;šâ&#x;&#x192;⿝겳âĄ&#x201A;朸朎揰ă&#x2013;&#x2C6;ă&#x2022;ŹâŤšď&#x2DC;śč&#x20AC;Ťę°&#x2030;䧴猺窥â&#x161;Ľćś¸ă ?ç?? ĺ&#x2030;¤ćś¸ĺŠŤç&#x192;ąď&#x2DC;śĺŠŤćŽ&#x2020;ď&#x2DC;śĺŠŤę¸&#x2026;ď&#x2DC;śă&#x2DC;?ă&#x2013;Łćś¸ă ?ç??ꨍĺ&#x192;¤éżŞćš?銣ĺ&#x20AC;´ă&#x2022;ŹâŤšď&#x2DC;śč&#x20AC;Ťę°&#x2030;䧴猺 窥朸韚çŽ&#x201D;ď&#x2DC;ˇé¸?â&#x2122;§ĺ&#x161;&#x152;ä&#x2122;&#x201A;韊â&#x2122;śă˝ˇęŁłćŹ˝ĺ&#x20AC;´äž¸ç&#x201E;şĺ&#x2018;&#x201D;ä&#x2019;朸⥲ă&#x2026;ˇď&#x2DC;šéźŠă&#x201A;?ä?â&#x153;Ťĺ&#x17E;¸ äşźă&#x201E;¤äž¸ç&#x201E;şď&#x2DC;śĺ&#x17E;¸äşźă&#x201E;¤ĺ&#x17E;¸äşźď&#x2DC;śäž¸ç&#x201E;şă&#x201E;¤äž¸ç&#x201E;şĺ&#x2018;&#x201D;ä&#x2019;â&#x203A;&#x201C;ę&#x;Śćś¸ă ?ç??朎揰ď&#x2DC;ˇ
edited and re-appropriated. They are bought, sold, leased. Manipulated
ă&#x2013;&#x2C6;ę¨&#x2C6;â&#x;&#x192;ĺ&#x192;&#x2C6;ç&#x201E;ˇć˛ăš 朸掚â&#x17E;ż č° é Ż ęą&#x2020;ă&#x161;&#x2013;ď&#x2DC;šĺ&#x161;&#x152;ä&#x2122;&#x201A;â&#x2122;§ âŚ?äąşâ&#x2122;§ âŚ?ă&#x2013;&#x2019;â´&#x20AC;ć¤?ď&#x2DC;šĺ&#x20AC;´
is to take part in this wrenching of image and object. In the realm of
朸ĺ&#x201E;&#x2DC;⌏鿪ă&#x2013;&#x2C6;é&#x201D;&#x201C;é&#x201D;¸â&#x17E;&#x160;ë&#x17E;&#x192;ă&#x192;¤î&#x161;&#x17D;(MJUDI朸ć&#x153;&#x153;幣ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x192;î&#x161;&#x17D;ă¸?朸ă&#x20AC;ˇâľšă&#x20AC;ˇĺ&#x192;˝â&#x17E;&#x160;
and adulterated. Reviled and revered. To work with images in the present contemporary poetry and poetics, Nathan Jones labels this exchange
as a type of glitch poetics. Our experience of media, Jones writes, is
ĺ&#x192;˝ä§ŽâŚ&#x203A;姝ęŹ&#x2014;č?&#x2020;â&#x2122;§çŚşâ´ŞęĄ ĺ&#x20AC;´(MJUDIĺ&#x160;Ľé˘śćś¸ă&#x2030;?ę˛&#x2014;î&#x161;&#x2030;䧎âŚ&#x203A;ă&#x2013;&#x2C6;é&#x201D;&#x201C;é&#x201D;¸(MJUDI ë&#x17E;&#x192;î&#x161;&#x17D;(MJUDIé¸?âŚ?é Żé&#x201C;&#x192;⥌⿥⥌ä&#x2013;°î&#x161;&#x17D;
precisely Ěś and perhaps uniquely Ěś the experience of their failure.
ă&#x2013;&#x2C6; ä&#x17D;&#x192;朸ꨜä&#x2022;§Őˇę˝şăš?ä&#x2039;ˇă&#x2022;&#x153;Ő¸é&#x2026;ď&#x2DC;šâłŻč&#x203A;&#x201A; ă¸&#x17E;Ë&#x2122;äˇ&#x2019;窣㟊ă&#x203A;&#x2021;â¸&#x2014;Ë&#x2122;ĺ&#x2039;&#x203A;çŹ&#x17E;ĺ&#x20AC;&#x203A;
This aspect of media dissonance is a recurring thematic of an art that
ä&#x17D;&#x2018;é&#x152;?é&#x17D;šäĽ&#x160;î&#x2122;ˇĺ&#x201A;&#x201A;é&#x2039;&#x2022;ä Žî&#x2122;¸î&#x161;&#x2030;㽠㼜éş&#x201A;é&#x2039;&#x2026;â&#x2122;§ęŚˇë&#x17E;ąč&#x2019;&#x20AC;ćś¸ĺ´Šĺľ é Ľă&#x2013;&#x2C6;鼼ä?¤é&#x2026;鼼⢾鼼
incorporates a glitch. In the fall of 2015, Rachel Rose showed two ďŹ lms
in London s Serpentine Gallery: A Minute Ago (2014) and Palisades, Palisades (2014). In A Minute Ago, Rose s camera meanders through
Phillip Johnson s glass house in New Canaan Connecticut. Drifting from
é&#x201C;&#x17E;î&#x161;&#x2030;ď&#x161;łă&#x2013;&#x2C6;䞸ç&#x201E;şç&#x20AC;&#x201E;ę¤?â&#x161;Ľĺ&#x2030;¤â&#x2122;§âŚ?(MJUDIď&#x161;´ď&#x2DC;ˇă&#x2013;&#x2C6;ꨜä&#x2022;§é&#x2026;ď&#x2DC;š(MJUDIä¸ćś¸ĺ&#x192;˝â&#x2122;§ç?? ⿥ď&#x2DC;šä&#x2022;ąä&#x2013; ĺ&#x192;˝ă&#x2013;&#x2C6;â&#x2122;§ćšŹä&#x2014;&#x2026;ćŠ&#x2021;ď&#x2DC;ˇă&#x2020;šăˇ¸ăšťâĽ&#x192;çš?Ë&#x2122;çŹ&#x17E;ć&#x2122;&#x2039;é&#x2013;&#x2039;é&#x201C;&#x17E;ď&#x2DC;šćŽšé¸?ç??ä&#x17D;&#x2018;é&#x152;?é&#x17D;šäĽ&#x160; â´&#x20AC;ć¤?ĺ&#x201E;&#x2DC;ď&#x2DC;šăźŠćŽšâ&#x2122;´ćś¸ä Žćżźă˝ ĺ&#x2030;&#x161;ä&#x201E;śă?&#x152;ď&#x2DC;šç˝&#x153;â&#x161;&#x201A;ĺ&#x2030;&#x161;č&#x17D;&#x2026;é&#x17D;šäĽ&#x160;朎揰ĺš&#x2039;塎ď&#x2DC;ˇçŹ&#x17E;ć&#x2122;&#x2039;é&#x2013;&#x2039;
é&#x2019;˘ć?&#x20AC;ď&#x2DC;šä&#x17D;&#x2018;é&#x152;?é&#x17D;šäĽ&#x160;ä&#x153;&#x201E;ä&#x153;&#x201E;â´&#x20AC;ć¤?ă&#x2013;&#x2C6;éş&#x2022;⿥朸ĺ&#x17D;Ľç??ä&#x2022;&#x17D;ä&#x2019;ă&#x2013;&#x2C6;掚â&#x2122;´ä§ă&#x2DC;&#x2014;â&#x161;&#x203A;â&#x161;&#x201A;č&#x17D;&#x2026;â&#x2122;§ 媯ę&#x2026;žä&#x2014;&#x201A;朸éş&#x2022;⿥暹â&#x153;˝â?&#x153;äł&#x2013;朸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;ˇď&#x161;łä§ŽâŚ&#x203A;é&#x2019;˘ć?&#x20AC;䧎âŚ&#x203A;獤ĺ¨&#x153;â&#x153;Ťî&#x2122;ˇä§´ćş?âľ&#x152;ď&#x2DC;ś
Robert Cumming, Ansel Adams Raisin Bread, 1973
precision, this same image is beset by errors, malfunctions, and other
Rachel Rose, Still from A Minute Ago, 2014.
the transparent-glass-exterior to the transparent-glass-interior, Johnson
聃ⵌ⨞麕瘞厥❉㻜ꥹ♳㖈齡ⵠⴲ妄ⴀ植涸✲䞕㖈շ꽺
a pixelated-ghost. The camerawork is slick and seamless, yet Johnson s
⚥涸♧珏瑳隶
emerges on camera as if like an apparition. His body assumes the form of body is less so. As a collection of pixels, Johnson s body dissolves as
㹐䋷㕜ո⚥(MJUDI僽♧⦐牟猽涸ꅾ䗂鍑焺㸐갸爚✫㖈禺窡
quickly as he appears. Casting a sweeping glance over the modernist
⭽盘侸焺㕬晚涸䧭⫹⫹棟㼂♧垺礶彋⡎僽溏饱⢵♧垺涸㕬
Nicolas Poussin s The Funeral of Phocion (1648).
䟝⢵荈䋞䩯˙〷岲羳晋㥠铞殹➿㕬⫹㽠⫹舡郍♳䩟✫烱
interior, the camera comes across the centerpiece of the Johnson House:
Poussin s painting is a painting of expulsion: the removal of the disgraced
body of the Athenian general, Phocion, from the city center. The two men who are burdened with this task appear duty-bound: they look forlorn and cast their glance downwards to the ungrateful road ahead. Soon
Phocion will be turned to ash. This picture is not melancholic: shepherds
tend their sheep and conversations are had along the water s edge. Only
a man on horseback rides in haste at the picture s right-hand margin. For a painting of death and exile, the scene appears overwhelmingly warm
⫹⛳剚鄄ꐫ铐佦ꥻㄤⰦ➮䎁仠䨾⺫㕠Ⱖ⚥♧⦐㼺ꌴ涸圓 ⱺꏩ涸㣗˙䩯峫蘁㛇涸⯘ꥑ➃㖈ⵌ贖麉諴㖈鸏♧♶娦⛓
魨♳殹➿㕬⫹⪔「䫔熌늫過巵扽(MJUDI欴欰涸㽠僽鸏烱 ⱺꏩ涸⡲欽㕬⫹鄄灶㡏✫〷岲羳晋㻨麥㕬⫹鄄丘
烱黩「䭡㉏ㄤ䱳叆㸐⦛鄄湁欽鄄鄪ⶩ鄄管鱀鄄ⱄ妄 湁欽㸐⦛鄄顠颪ㄤ獆顲㸐⦛鄄乽簳鄄䷳⧺鄄倊顑鄄
侣歷㖈殹♴⢪欽㕬晚㽠䗳剚莅鸏㜥㕬⫹ㄤ㹐넓涸䪌
刼㖈殹➿鑘姐ㄤ鑘锸걆㚖Ⰹ喀˙橵倛䪾鸏珏❜䳖垦岤捀 ♧珏(MJUDI鑘锸䧮⦛涸㯯넓넓뀿橵倛㻨麥彋焷 㖒铞Ղ⛳鏪⛳䖎栬暶Ղ僽♧珏僽㯯넓㣟侁涸넓뀿
鸏珏㯯넓♶ㄤ镜僽(MJUDI谁遯⡲ㅷ酭⿾銼ⴀ植涸⚺겗㖈 䎃猨㣔榰猨˙開倛㖈⧍侚涸跑䕎殥䐤㾝僦✫Ⰽ鿈ꨶ䕧
շ♧ⴕꗻո ㄤշ䋪ⵄ㝱Ⱛ䋪ⵄ㝱Ⱛո 㖈 շ♧ⴕꗻոꅽ開倛涸ꖏ걧箣箣獵麕⡙倴䐁⛇鶔⯘䊝倞鶋 ⽂涸螩ⵄ兜˙秉缦麽涸梯槵䨼䖰鷴僈梯槵涸Ⰹ鿈ⵌ㢫鿈怔
獵秉缦麽㥶ず䎖♧菛㖒ⴀ植㖈ꖏ걧➮涸肉넓⟃⫹稇 ⻋涸뇬뇺䕎䒭ツ植伢䕧䪮岁䎂徿罜搂汚⽰⤑㥶姽秉缦麽
涸肉넓邍植⽿⚛ꬌ齡垺⡲捀♧㛜⫹稇秉缦麽涸肉넓䘰鸠 嶋侕㽠㥶➮䘰鸠곏植♧垺欽䰿鋕䕎䒭ꏗⵖ㸤植➿涸䒊眡
Ⰹ鿈䖕ꖏ걧獵ⵌ✫秉缦麽ⴽ㞱涸⚥䗱仗鏤兜呺涸շ犷㛇 绀涸袱狲ո
兜呺涸粭殥僽♧䌴⟃뀝鷷捀⚺겗涸殥⡲䪾褑繽涸꧉Ⱙ
and cool, rather than cold and sepulchral. As her camera studies
the painting s surface, Rose cuts to a deer convulsing in an open
field. The deer appears stuck in this interminable hell. Subsequently, the camera cuts to a freak hail-storm in the Ukraine. The scene is
captured by jittery movements from a cellphone. As chunks of ice fall from the sky, beachgoers scatter this way and that and find
shelter under inhospitably small umbrellas. A single voice speaks earnestly in emojis: If we die ̶ know that I love you ^_^ . In
Rose s case, the image is porous. Just as the Johnson s Glass House collapses the distance between interior and exterior, the world
depicted in Poussin comes to speak to an unexpected hailstorm in the Ukraine.
Where is the glitch in Rose s work? In a sense, the glitch seems to perforate the entire system.
㼟鮪犷㛇绀涸鼍넓䖰䋑⚥䗱獵饥Ⰽそ䪭二鸏♧䊨⡲涸歑㶩 곏䖤钢溫頾顑➮⦛溏♳䖎屇㋩⡜걧溏衽齡哭穪䞕涸麥
騟䖎䘰犷㛇绀㽠剚鄄敯䧭披旅鸏䌴殥⡲⚛♶䣯뇓暜繙 ➃撑溏衽➮⦛涸繙纈㖈屎歿翝㣔㈔剤♧そ꾷꼛涸歑㶩㖈殥
涸〸⩎䚊꼦㼩倴♧䌴ꡠ倴娦❗ㄤ崩佞涸殥⡲Ⱖ㜥兞⽿ 곏䖤噲捀影ㄤⲈꬆ罜♶僽ꤥ喀Ⲉꃏ殹㥠涸ꖏ걧窍鸏䌴殥
暶㻨儘開倛䪾殥ⴗ䳖ⵌ♧걧뛩㖈刜ꅿ⚥䬄䴬涸㜥兞鸏 걧뛩㽠⫹僽鄄搂湈涸㖒柱䨾㔮♧垺䱺衽ꖏ걧⿶ⴗ䳖ⵌ✫捦
⯘貽涸♧㜥䛌䙳涸ⱺꨲ♧⦐㓂聐涸䌟剤邍䞕痘贫涸耫갉 铞麥㥶卓䧮⦛銴娦Ղ銴濼麥䧮僽䠦⡹涸?@?㖈開倛
涸⦐呪⚥㕬⫹僽⼪泷涰㶰涸㽠㥶ず秉缦麽涸ⴽ㞱䪾䒊眡 涸Ⰹ鿈ㄤ㢫鿈檳鍑✫齡垺兜呺瘘♴涸⚆歲鶤铞✫捦⯘貽 齡㜥䠑㢫涸ⱺꨲ
㖈開倛涸⡲ㅷ⚥(MJUDI㖈ㆭ酭ヤ䖰厥珏䠑纏♳铞(MJUDI ⡂⛖顐瑭✫侮넓
V&A IN CHINA
INTERVIEW WITH TIM REEVE
笞㢵ⵄ❏莅晋⠭暶 ⽈暟긭㖈⚥㕜 㼠鏞裦㨗vꅽ㣗 */5&37*&8&% "/% 5&95 #: 䱰鏞⿺乊俒 -* #08&/ 勚⽇俒
China Merchants Shekou Holdings (CMSK), in association with founding partner the Victoria and Albert
Museum (V&A), has announced the brand̶DESIGN SOCIETY̶ a new cultural hub that will be located in
the Shekou Sea World Culture and Arts Center. DESIGN SOCIETY will comprise a design museum, within which the V&A Gallery will be located, a theatre, a multi-purpose hall, Shenzhen Guanfu Museum, and a learning and public event programme.
Tim Reeve, Deputy Director and Chief Operating Officer of the V&A, spoke to ART.ZIP about the collaboration. ⚥㕜䬸㉂跑〡莅薊㕜㕜用笞㢵ⵄ❏莅晋⠭暶⽈暟긭Ⱏずⶾ鳵✫倞涸俒⻋⚥䗱չ鏤鎙✽耢պ㼟䏠衆倴 䎃䒊
䧭涸跑〡嵳♳⚆歲俒⻋谁遯⚥䗱չ鏤鎙✽耢պ俒⻋⚥䗱㼟歋鏤鎙⽈暟긭ⷜꤎ㢵⸆腋㾝䑼幀㖕錚䗂⽈暟긭⟃⿻
㷸绢莅ⰗⰟ갪湡鿈穉䧭罜⽰㼟衆䧭涸鏤鎙⽈暟긭Ⰹ❠剚䧭用暶ⴽ涸7 "㾝䑼 7 "涸ⶰ긭Ꟁ⿻껷䌏麌斊㸽裦㨗˙ꅽ㣗捀䧮⦛闍鶤✫刿㢵涸ざ⡲稣眏
"35 ;*1î&#x161;&#x2030;ă&#x2013;&#x2C6;ä?Ąćş?⢾ď&#x2DC;š7 "č&#x17D;&#x2026;Őšé?¤é&#x17D;&#x2122;â&#x153;˝č&#x20AC;˘Őşćś¸ă &#x2013;âĄ˛ęĄ â¤&#x161;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x192;ĺ&#x17E;şćś¸
contractual and formal basis to it, but it feels over the last four years
ĺ&#x2030;¤čĄ˝âźżé&#x2122;žä&#x161;?âżťä&#x2022;&#x17D;ä&#x2019;ä&#x161;?朸ă&#x203A;&#x2021;ç&#x2021;&#x160;朸ď&#x2DC;ˇéľ&#x153;ă&#x201D;&#x2039;ä&#x17D;&#x192;⢾䧎âŚ&#x203A;č&#x17D;&#x2026;䏸ă&#x2030;&#x201A;㽡ă&#x201E;¤äŹ¸ă&#x2030;&#x201A;čˇ&#x2018;
TR: It feels to me like a real partnership, of course, there is a
that we have grown up with our colleagues at China Merchants
Group (CMG) and spent a lot of time getting to know each other both in London and there. It feels like a genuine collaboration.
ART.ZIP: From the press release it seems that the V&A is on the giving side and Shenzhen is on the receiving side, is that a fair way to put it? TR: I wouldn t describe it that way. Certainly, we were invited to
become involved, as we have a certain amount of knowledge and
experience of museums, of collecting and of presenting collections
to the public, and obviously we are a design museum, but it feels like much more of an equal relationship. I feel like we are learning as an institution, we are learning from China Merchants as much as they
are learning from us. One of the exciting things of being involved in this collaboration is that it is not a traditional museum-to-museum collaboration. It is a diďŹ&#x20AC;erent business culture, and I think we are
ă&#x192;¤î&#x161;&#x17D;
53î&#x161;&#x2030;䧎ä&#x;?é¸?ĺ&#x192;˝â&#x2122;§ç??溍姝朸ă &#x2013;⥲ăŁ&#x17D;â śęĄ â¤&#x161;ď&#x2DC;šćŽšć?ď&#x2DC;šé¸?ç??ă &#x2013;âĄ˛ęĄ â¤&#x161;ĺ&#x192;˝
ă&#x20AC;Ąćś¸ăŁ&#x17D;â śâŚ&#x203A;â°&#x;ă &#x161;ä§ę&#x;&#x20AC;ď&#x2DC;šă&#x2013;&#x2C6;â°?ă&#x2013;&#x2019;ĺ Ľĺ&#x153;&#x201C;ă &#x2013;⥲朸éş&#x2022;ç&#x17D;&#x2018;â&#x161;Ľă&#x;&#x17E;éš&#x17D;â&#x153;ŤăźŠä&#x2022;šĺ§˝ćś¸ â&#x153;Ťé?&#x2018;ď&#x2DC;ˇä§Žé&#x2019;˘ć?&#x20AC;é¸?ĺ&#x192;˝â&#x2122;§âŚ?é&#x201C;&#x2021;äˇ&#x203A;朸ă &#x2013;⥲éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;ä&#x2013;°ćšĄâľšćśŽä&#x2039;&#x2019;朸ĺś&#x2039;ä&#x153;&#x201A;⢾ćş?ď&#x2DC;šâĄ&#x201A;â&#x203A;&#x2013;7 "â¨&#x2039;ę&#x2026;žçŞ?â&#x153;Žď&#x2DC;šç˝&#x153;Őšé?¤é&#x17D;&#x2122; â&#x153;˝č&#x20AC;˘Őşâ&#x;&#x192;âżťĺľłâ&#x2122;łâ&#x161;&#x2020;ć˛äż&#x2019;âť&#x2039;č° é Żâ&#x161;Ľä&#x2014;ąâ¨&#x2039;ę&#x2026;žĺ&#x20AC;´ď&#x2C6;Łćš?äąşă&#x20AC;&#x152;ď&#x2DC;ˇé¸?ç??⽍é&#x;?ĺ&#x192;˝ 姝ç&#x201E;ˇćś¸ă&#x152;¨î&#x161;&#x17D;
53î&#x161;&#x2030;䧎â&#x2122;śé¸?ĺ&#x17E;şćş?ä&#x2013;&#x160;䧎âŚ&#x203A;朸ă &#x2013;âĄ˛ęĄ â¤&#x161;ď&#x2DC;ˇćŽšć?ď&#x2DC;š7 "⥲ć?&#x20AC;ăź ĺ&#x2122; 朸é?¤é&#x17D;&#x2122;â˝&#x2C6;
ć&#x161;&#x;ę¸é&#x201E;&#x201E;éź?é&#x201D;&#x17E;⿎č&#x17D;&#x2026;âľ&#x152;갪暥â&#x161;Ľâ˘ľď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;䧎âŚ&#x203A;ă&#x2013;&#x2C6;ä˝?询â&#x;&#x192;âżťâ°&#x2014;â°&#x;ăž?é&#x152;&#x2019;ĺ&#x20AC;°ęŹ&#x2014; ĺ&#x2030;¤čĄ˝é&#x17E;Žăş˘ćś¸çŤ¤ë&#x20AC;żâ&#x;&#x192;âżťăź ĺ&#x2122; ćżźé&#x2122;?ď&#x2DC;ˇâĄ&#x17D;ĺ&#x192;˝ä§ŽâŚ&#x203A;č&#x17D;&#x2026;Őšé?¤é&#x17D;&#x2122;â&#x153;˝č&#x20AC;˘Őşćś¸ă &#x2013;⥲ ęĄ â¤&#x161;ĺ&#x192;˝ä&#x17D;&#x201A;ç&#x2DC;&#x17E;朸ď&#x2DC;šă&#x2013;&#x2C6;é¸?ĺŚ&#x201E;ă &#x2013;⥲朸éş&#x2022;ç&#x17D;&#x2018;â&#x161;Ľä§ŽâŚ&#x203A;â&#x153;˝ćšąăˇ¸çť˘ď&#x2DC;ˇé¸?âŚ?갪暥é&#x203A;&#x160;
â&#x17E;&#x192;č&#x17D;&#x2021;ăĽ&#x2026;朸ă&#x2013;&#x2019;ĺ&#x20AC;°ă&#x2013;&#x2C6;ĺ&#x20AC;´ď&#x2DC;šé¸?â&#x161;&#x203A;â&#x2122;śĺ&#x192;˝â&#x2122;§ĺŚ&#x201E;âŤ&#x201E;窥朸ę¸ęĽšă &#x2013;⥲ď&#x2DC;ˇé¸?ĺŚ&#x201E;ă &#x2013;⥲ĺ&#x2030;¤
襽â&#x2122;§ç??â&#x2122;śă &#x161;朸ă&#x2030;&#x201A;ĺ&#x2122; äż&#x2019;âť&#x2039;ď&#x2DC;šç˝&#x153;䧎é&#x2019;˘ć?&#x20AC;䧎âŚ&#x203A;ä&#x2013;°â&#x161;Ľăˇ¸âľ&#x152;â&#x153;Ťé?Şă˘ľç?&#x17D;ĺ&#x2122;˛ćś¸â°&#x2030;
ăş&#x201A;ď&#x2DC;ˇĺ&#x2030;¤ęĄ â˝&#x2C6;é Żę¸ăˇ¸ä§´â˝&#x2C6;é Żę¸ď&#x2DC;śăž?ę¸éş&#x152;ć&#x2013;&#x160;ć¤&#x161;ä&#x2122;&#x201A;朸ĺ&#x20AC;°ęŹ&#x2014;ď&#x2DC;š7 "ĺ&#x192;˝â°&#x2030;ăş&#x201A;䲿 âŁ&#x2DC;ĺ&#x20AC;°ä§´ę&#x;&#x161;朎ĺ&#x20AC;°ď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;â&#x203A;łĺ&#x2030;¤â°&#x;ă &#x161;ă &#x2013;⥲朸éż&#x2C6;â´&#x2022;ď&#x2DC;ˇä§ŽâŚ&#x203A;ă&#x2013;&#x2C6;éş&#x2022;⿥ă&#x201D;&#x2039;ä&#x17D;&#x192;⢾äŤ?
â°&#x2026;â&#x153;Ťé?Şă˘ľĺ&#x201E;&#x2DC;ę&#x;Śâ˘ľâ&#x153;Ťé?&#x2018;掚ă&#x2013;&#x2019;â&#x17E;&#x192;çş&#x2C6;ď&#x2DC;śćŽšă&#x2013;&#x2019;é?¤é&#x17D;&#x2122;ćŠ&#x2021;ă&#x17E;Żç&#x2DC;&#x17E;ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;é¸?㟊ĺ&#x20AC;´äŠ§é¸¤
ä§â¸&#x2020;朸7 "ăž?ę¸ĺ&#x192;˝âź§â´&#x2022;ä&#x2014;łé&#x160;´ćś¸ď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;é¸?âŚ?7 "ăž?ę¸č&#x2026;&#x2039;㣠č&#x17D;&#x2026;掚
Design Society rendering. Š Maki_and_Associates
ART.ZIP: How would you describe your relationship between the V&A museum and the Sea World Arts and Culture Centre?
Phantom Professional, Drone, DJI, 2013
learning from that in a very positive way. When you talk about
ă&#x2013;&#x2019;äż&#x2019;âť&#x2039;援揰â&#x153;˝âš&#x203A;ď&#x2DC;šç˝&#x153;â&#x2122;śĺ&#x192;˝ç&#x;Śă&#x2039;˛ă&#x2013;&#x2019;ä&#x2013;°â§?äž&#x161;ă ˘ĺš&#x20AC;ă&#x2013;&#x2022;éą&#x2019;â´&#x20AC;䧴侌éş&#x152;â&#x17E;&#x160;ë&#x17E;&#x2020;â°&#x2030;
the provider or the developer of content, but we are doing that also
㠢朸ď&#x2DC;ˇ
museology and get down to museum and gallery concepts, we are in collaboration. We have spent a great deal of time over the past
four years getting to know the local community and the local design
"35 ;*1î&#x161;&#x2030;ä?Ąâś?äŠ&#x17E;䲿âľ&#x152;â&#x153;ŤâŤ&#x201E;窥朸ę¸ęĽšă &#x2013;⥲ď&#x2DC;šé˝Ąĺ&#x192;˝ä&#x2122;Śĺ&#x17E;şćś¸â&#x2122;§ç??ă &#x2013;⥲
V&A gallery. We want it to respond to something that is already here,
53î&#x161;&#x2030;â&#x2122;§č?&#x203A;⢾é&#x201C;&#x17E;â&#x161;şé&#x160;´ĺ&#x192;˝â°?ăšťęŹ&#x152;ä&#x152;˘ä§ć&#x201C;żćś¸â˝&#x2C6;ć&#x161;&#x;ę¸ć?&#x20AC;â&#x153;Ťăž?é&#x152;&#x2019;â&#x153;˝ćšąâŚśé&#x201D;&#x2026;询
community because that is how we will put together a really great
rather than something that simply lands from London in Shenzhen, Seeeduino, Seeed Studio, 2015
ăş&#x201A;ď&#x2DC;ˇä¨žâ&#x;&#x192;ď&#x2DC;šä§Žâ&#x2122;śé&#x2019;˘ć?&#x20AC;é¸?ĺ&#x192;˝ă&#x2039;˛ă ˘ćś¸çŞ?â&#x153;Žă&#x201E;¤äąşă&#x20AC;&#x152;éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;šä§ŽâŚ&#x203A;朸ă &#x2013;⥲ĺ&#x192;˝ę§ą
so I don t think it is giving and receiving, it feels like a much more two-way process to me.
ART.ZIP: What do you mean by a traditional museum-tomuseum collaboration?
ă&#x192;¤î&#x161;&#x17D;
ă&#x2026;ˇćś¸ă &#x2013;âĄ˛ęĄ â¤&#x161;ď&#x2DC;ˇĺ§˝ç??ęĄ â¤&#x161;ăŁ?㢾鿪ĺ&#x192;˝âżžä&#x2014;&#x201A;âźżă&#x2030;&#x201A;朸犥ĺ?&#x201C;ď&#x2DC;šâ˝&#x2C6;ć&#x161;&#x;ę¸â&#x203A;&#x201C;ę&#x;Ś ęą˝çą&#x2014;ă&#x2013;&#x2019;â?&#x153;äł&#x2013;饝ĺ˝&#x201A;ď&#x2DC;šé¸?â&#x203A;łĺ&#x192;˝ď&#x2C6;Łć¤&#x2022;â˝&#x2C6;ć&#x161;&#x;ę¸äż&#x2019;âť&#x2039;朸ę&#x2026;žé&#x160;´â&#x2122;§ćŠ&#x2021;ď&#x2DC;ˇâ&#x2122;§č?&#x203A;⢾é&#x201C;&#x17E;ď&#x2DC;š
ę¤&#x2018;ęŹ&#x152;隧â&#x2122;śä&#x2013;¤ä&#x160;şď&#x2DC;šâĄšâ&#x2122;§ăš â&#x2122;śĺ&#x2030;&#x161;㟊Ⰼâ&#x17E;Žâ˝&#x2C6;ć&#x161;&#x;ę¸ćś¸âŚśăž?é&#x160;´ĺŽ é&#x201C;&#x17E;ď&#x161;łâ&#x2122;śď&#x161;´ď&#x2DC;ˇâĄ&#x17D; é¸?ĺŚ&#x201E;7 "č&#x17D;&#x2026;Őšé?¤é&#x17D;&#x2122;â&#x153;˝č&#x20AC;˘Őşćś¸ă &#x2013;⥲⾹â&#x2122;śâ&#x2122;§ĺ&#x17E;şď&#x2DC;šä§ŽâŚ&#x203A;â°&#x;ă &#x161;ă &#x2013;⥲䊧鸤朸ĺ&#x192;˝ â&#x2122;§âŚ?ĺ&#x20AC;&#x17E;ă&#x2DC;&#x2014;äż&#x2019;âť&#x2039;獸ă &#x2013;ĺ Ľĺ&#x153;&#x201C;朸ä&#x17D;&#x201A;ă&#x20AC;ľč&#x17D;&#x2026;ă&#x2026;ˇć&#x2122;Śď&#x2DC;ˇ
TR: Typically this is loaning work from one to another, between two
"35 ;*1î&#x161;&#x2030;䨞â&#x;&#x192;é¸?ĺ&#x192;˝7 "ç&#x2014;§â&#x2122;§ĺŚ&#x201E;éš&#x17D;é ¤ăĽśĺ§˝ĺš&#x20AC;ä?&#x17E;朸ę¸ęĽšă &#x2013;⥲î&#x161;&#x17D;
honed, lots of give and take, and it s part of global museum culture
ç˝&#x153;é¸?ç??ă &#x2013;⥲ĺ&#x20AC;°ä&#x2019;č&#x201A;Ľăš č&#x17D;&#x2026;č&#x2013;&#x160;ă&#x2022;&#x153;ä&#x152;˘é&#x2039;&#x2026;朸ă &#x2013;⥲ĺ&#x20AC;°ä&#x2019;â&#x2122;śă &#x161;ď&#x2DC;ˇé¸?ĺŚ&#x201E;ă &#x2013;⥲ćş?鼹
very established museums. Most of those relationships are very well that you give a loan if you can, you don t say no unless you really
have to. This is diďŹ&#x20AC;erent because the museum doesn t yet exist, it is still an idea.
ART.ZIP: For the V&A museum this is the ďŹ rst of this kind, a new intimate museum collaboration. Correct? TR: I think that it is the very ďŹ rst one of this kind and the relationship between CMG and the state is slightly diďŹ&#x20AC;erent to what it might be in the UK, but it feels like a public sector cultural institution in the UK doing business with a Chinese commercial company. That is
very interesting for us, because increasingly museums in the UK and in Europe have to run themselves in a more business-like way. The
culture, or the long term plan, is not so dissimilar between a museum and a business. Obviously, working museums are not always known
53î&#x161;&#x2030;䧎ä&#x;?ĺ&#x192;˝ćś¸ď&#x2DC;šé¸?ĺ&#x192;˝7 "ç&#x2014;§â&#x2122;§ĺŚ&#x201E;č&#x17D;&#x2026;䏸ă&#x2030;&#x201A;čˇ&#x2018;ă&#x20AC;Ąâżťä˝&#x;ä?&#x17D;éš&#x17D;é ¤ĺ§˝ę˛łă &#x2013;⥲ď&#x2DC;š ⢾⍚ĺ&#x192;˝â&#x2122;§âŚ?č&#x2013;&#x160;ă&#x2022;&#x153;â°&#x2014;â°&#x;äż&#x2019;âť&#x2039;éż&#x2C6;ę&#x;&#x152;č&#x17D;&#x2026;â&#x2122;§ăšťâ&#x161;Ľă&#x2022;&#x153;ă&#x2030;&#x201A;ĺ&#x2122; â°&#x2014;ă &#x20AC;ă&#x2013;&#x2C6;éš&#x17D;é ¤ă &#x2013;⥲ď&#x2DC;ˇ é¸?ĺ&#x192;˝ęŹ&#x152;ä&#x152;˘ĺ&#x2030;¤éŚąćś¸â&#x153;˛ä&#x17E;&#x2022;ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;éŚ&#x160;⢾éŚ&#x160;㢾朸č&#x2013;&#x160;ă&#x2022;&#x153;âżťĺ§&#x2DC;ĺ´&#x17D;â˝&#x2C6;ć&#x161;&#x;ę¸ĺ Ľĺ&#x153;&#x201C;ꨞ
é&#x160;´â&#x;&#x192;â&#x2122;§ç??ĺ&#x2C6;żć?&#x20AC;ă&#x2030;&#x201A;ĺ&#x2122; 朸ĺ&#x20AC;°ä&#x2019;éš&#x17D;é ¤ç&#x203A;&#x2DC;ć¤&#x161;âżťéş&#x152;ć&#x2013;&#x160;ď&#x2DC;ˇâ˝&#x2C6;ć&#x161;&#x;ę¸éş&#x152;ć&#x2013;&#x160;ă&#x2013;&#x2C6;ă&#x2030;&#x201A;ĺ&#x2122; äż&#x2019; âť&#x2039;ă&#x203A;&#x2021;ç&#x2021;&#x160;âżťę&#x;&#x20AC;ĺ&#x160;?é&#x2039;&#x160;âˇ&#x201D;â&#x2122;łâ°Śăť&#x153;č&#x17D;&#x2026;â&#x;ąĺ&#x2122; 獤ć&#x2013;&#x160;â&#x161;&#x203A;ĺ°?ĺ&#x2030;¤ăŁ&#x2013;ăŁ?⟌ⴽď&#x2DC;ˇęł?ć?ă&#x2013;&#x2019;ď&#x2DC;š â˝&#x2C6;ć&#x161;&#x;ę¸ĺ Ľĺ&#x153;&#x201C;â&#x161;&#x203A;â&#x2122;śĺ&#x192;˝â&#x;&#x192;â°Śéş&#x152;âĄ˛é¸ ä?&#x17E;襽ç?&#x2013;朸ď&#x2DC;šă&#x201D;&#x201D;姽č&#x17D;&#x2026;â&#x2122;§ăšťă&#x2030;&#x201A;ĺ&#x2122; ĺ Ľĺ&#x153;&#x201C;ă &#x2013;
⥲ĺ&#x192;˝â&#x2122;§ç??ĺ&#x2030;¤ć¸¤ćś¸ăť&#x153;éŠ?ď&#x2DC;ˇĺ§˝ĺŚ&#x201E;ă &#x2013;⥲ď&#x2030;&#x161;ä&#x2019;¸ä§ŽâŚ&#x203A;朸ă&#x20AC;Ľâ&#x2122;§âŚ?ę&#x2026;žé&#x160;´âž˛ă&#x201D;&#x201D;ĺ&#x192;˝î&#x161;&#x2030;ă &#x2013; ⥲ĺ&#x201E;&#x2DC;ę&#x;&#x20AC;ĺ&#x192;˝ćšąăźŠç&#x20AC;&#x160;ĺ&#x2020;žćś¸ď&#x2DC;šé&#x17D;&#x2122;âˇ&#x201D;â&#x161;Ľç&#x2014;§â&#x2122;§ęĽŁĺŞŻćś¸ă &#x2013;⥲ĺ&#x201E;&#x2DC;ę&#x;ŚâŤŚć?&#x20AC;â?&#x20AC;ä&#x17D;&#x192;ď&#x2DC;ˇă&#x201D;&#x201D;
姽ď&#x2DC;šä§ŽâŚ&#x203A;ꨞé&#x160;´ă&#x2013;&#x2C6;ç&#x20AC;&#x160;ĺ&#x2020;žćś¸ă &#x2013;⥲ĺ&#x201E;&#x2DC;ę&#x;Śâ°&#x2030;éš&#x17D;é ¤ăş&#x2122;ę§&#x152;朸ă &#x2013;⥲ď&#x2DC;šâ&#x161;&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;ă &#x2013;⥲꧹ ĺ&#x20AC;°éżŞč&#x2026;&#x2039;㣠ĺ&#x2030;¤ä¨žä&#x2013;¤ć¸¤ď&#x2DC;ˇé¸?č&#x17D;&#x2026;䨞é&#x2013;&#x2014;朸ă&#x20AC;˘ĺ&#x2018;?ĺľłă¨&#x2014;ĺ&#x17E;¸ä&#x2019;â&#x2122;śă &#x161;ď&#x2DC;šę&#x2026;ˇă&#x20AC;&#x160;é¸?ç??ĺ&#x17E;¸
ä&#x2019;朸č&#x2013;&#x160;皥â˝&#x2C6;ć&#x161;&#x;ę¸ă&#x2013;&#x2C6;ă &#x2013;⥲ĺ&#x201E;&#x2DC;ĺ&#x2030;&#x161;ä&#x2019;&#x160;ç&#x201D;¨ĺ&#x20AC;&#x17E;朸ď&#x2DC;śę&#x;&#x20AC;ĺ&#x160;?éş&#x152;ć&#x2013;&#x160;朸ăť&#x153;ë&#x201E;&#x201C;â˝&#x2C6;ć&#x161;&#x;ę¸ď&#x2DC;š â&#x161;&#x203A;éź&#x2021;äšľä&#x2022;Ľęł?č?&#x2C6;ä&#x160;šćś¸äż&#x2019;âť&#x2039;ă&#x2026;ˇć&#x2122;Śď&#x2DC;ˇç˝&#x153;䧎âŚ&#x203A;éź&#x2021;䚾朸ă &#x2013;⥲ĺ&#x20AC;°ä&#x2019;âľąâ&#x2122;śâ&#x2122;§ĺ&#x17E;şď&#x2DC;š
ă&#x201D;&#x201D;ć?&#x20AC;é¸?ĺ&#x192;˝âš&#x203A;ä˘&#x20AC;朸ď&#x2DC;šä§ŽâŚ&#x203A;ĺ&#x2030;¤ă&#x20AC;łč&#x2026;&#x2039;ĺ&#x2030;&#x161;ä&#x2019;&#x201A;ę&#x;&#x20AC;ă &#x2013;⥲ĺ&#x201E;&#x2DC;ę&#x;Śď&#x2DC;šâĄ&#x17D;ă˝ ç&#x161;żä§ŽâŚ&#x203A;â&#x2122;śéź&#x2021;äšľ
ä&#x2019;&#x201A;ę&#x;&#x20AC;ă &#x2013;âĄ˛ęĄ â¤&#x161;ď&#x2DC;šé¸?â&#x203A;łăź&#x;ĺ&#x192;˝â&#x2122;§ĺŚ&#x201E;ç&#x20AC;&#x160;ĺ&#x2020;žç˝&#x153;ë&#x201E;&#x17E;颜朸ă &#x2013;⥲éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;ˇä§Žä&#x;?ď&#x2DC;šé¸?ç?? ă¸&#x17E;äą&#x2013;â&#x203A;łć?&#x20AC;ă &#x2013;⥲꧹ĺ&#x20AC;°ĺšžăźąâ&#x153;Ťę´?ęŚ&#x2013;ď&#x2DC;ˇâĄšă&#x20AC;łâ&#x;&#x192;ă&#x2013;&#x2C6;ä&#x2013;&#x17D;ç&#x20AC;&#x160;朸ĺ&#x201E;&#x2DC;ę&#x;Śâ°&#x2030;ä&#x152;&#x;⢾ä&#x2022;§ę° ď&#x2DC;š
to be the fastest moving of institutions, so working with a business
ç˝&#x153;â&#x2122;śĺ&#x192;˝ćśŻćśŻç&#x2DC;&#x17E;襽â˝&#x2C6;ć&#x161;&#x;ę¸ă&#x2013;&#x2C6;â?&#x20AC;ä&#x17D;&#x192;ä&#x2013;&#x2022;姝ä&#x2019;ä&#x2019;&#x160;ä§ď&#x2DC;ˇç˝&#x153;â˝&#x2C6;ć&#x161;&#x;ę¸ä&#x2019;&#x160;ä§âľšéš&#x17D;é ¤
thing that is distinctive, is that it is a relatively short collaboration,
é&#x201C;&#x17E;ĺ&#x192;˝â&#x2122;§ĺŚ&#x201E;é&#x2018;&#x2018;ë&#x20AC;żď&#x2DC;ˇćšĄâľšć?&#x20AC;姺ď&#x2DC;šé¸?ĺ&#x192;˝â&#x2122;§ĺŚ&#x201E;â&#x153;Ťâ&#x2122;śéĽąćś¸çŤ¤ë&#x20AC;żď&#x2DC;šä§ŽâŚ&#x203A;â&#x203A;łęŹ&#x152;ä&#x152;˘ĺ&#x160;?
that is more ďŹ&#x201A;eet of foot is a nice exercise to be involved in. The other initially of ďŹ ve years. It will be intensive and hopefully both sides will get a great deal out of it in a short period of time. It is distinct from
朸ä&#x160;¨âĄ˛ä&#x17D;&#x2122;â&#x203A;&#x2013;ă&#x201E;¤ĺ§ťä&#x2019;ę&#x;&#x161;ę¸ä&#x2013;&#x2022;朸ä&#x160;¨âĄ˛ă &#x161;ĺ&#x17E;şę&#x2026;žé&#x160;´ď&#x2DC;ˇé¸?ĺŚ&#x201E;ă &#x2013;⥲㟊ĺ&#x20AC;´ä§ŽâŚ&#x203A;⢾ ä&#x2013;&#x160;äąşâ&#x2122;´â˘ľä&#x17D;&#x2122;ä&#x17D;&#x192;â°&#x2030;朸朎ăž?ď&#x2DC;ˇ
the Guggenheim model, where the collaboration is deďŹ ned in bricks
"35 ;*1î&#x161;&#x2030;â?&#x20AC;ä&#x17D;&#x192;ä&#x2013;&#x2022;ă &#x2013;⥲꧹ĺ&#x20AC;°éź&#x2021;äšľçł&#x2019;çłľă &#x2013;âĄ˛ćś¸ĺ Ľĺ&#x2030;&#x161;ăŁ?ă&#x152;¨î&#x161;&#x17D;
a well-known American or UK institution. We like the fact that this
é&#x17D;&#x2122;âˇ&#x201D;ď&#x2DC;šĺ&#x2030;¤ă&#x20AC;łćśŽäąĄćś¸ĺ&#x20AC;&#x17E;ĺ Ľéş&#x201A;ď&#x2DC;šä§ŽâŚ&#x203A;â&#x2122;§ăš ĺ&#x2030;&#x161;㟊çł&#x2019;çłľă &#x2013;⥲âĽ&#x192;ä°ę&#x;&#x161;ä˝&#x17E;ä˘&#x20AC;ä?&#x17E;ď&#x2DC;ˇ
and mortar with a new museum being constructed and branded by is quite dynamic, it might extend, but if it doesn t, it is a very short
sharp collaboration. I think there is less risk involved for both sides but at the same time, you can get an impact much more quickly,
53î&#x161;&#x2030;䧎é&#x152;?ä&#x2013;¤é¸?ĺ&#x192;˝ęŹ&#x152;ä&#x152;˘ă&#x20AC;łč&#x2026;&#x2039;朸â&#x153;˛ä&#x17E;&#x2022;ď&#x2DC;ˇăĽśĺ?&#x201C;䧎âŚ&#x203A;é&#x152;?ä&#x2013;¤â&#x17E; ć?ĺ&#x2030;¤ă&#x20AC;łă &#x2013;⥲朸 âĄ&#x17D;㼜ĺ?&#x201C;ăž&#x201A;ĺ&#x201E;&#x2DC;䧎âŚ&#x203A;㸤ä§â&#x153;Ťâ&#x;¤âšĄď&#x2DC;šäŹ¸ă&#x2030;&#x201A;čˇ&#x2018;ă&#x20AC;Ąă¸¤ä§â&#x153;Ťâ&#x17E;ŽâŚ&#x203A;朸â&#x;¤âšĄď&#x2DC;šé˝Ąâ&#x203A;łĺ&#x192;˝ â&#x2122;śę?Ťď&#x2DC;ˇ
you aren t waiting for the museum to open its doors in ďŹ ve years
"35 ;*1î&#x161;&#x2030;ć?&#x20AC;â&#x17E;&#x160;ë&#x17E;&#x2020;7 "ĺ&#x2030;&#x161;ć¤?ă&#x2013;&#x2C6;äŠ&#x17E;ę&#x;&#x161;㨼姽겳ă&#x2022;&#x153;꼚ç&#x153;&#x2022;ă&#x2022; 朸ç?ăş&#x2122;ę¸ęĽšă &#x2013;
important as what happens after the doors open to the public. It is a
53î&#x161;&#x2030;é¸?ĺ&#x192;˝â&#x2122;§âŚ?ęŹ&#x152;ä&#x152;˘ĺ&#x2030;¤éŚąćś¸ă&#x2030;?ę˛&#x2014;ď&#x2DC;šä§Žâ&#x161;&#x203A;â&#x2122;śăŁ&#x2013;嚢ĺ&#x2DC;˝â°Śâ&#x161;Ľćś¸çŽ&#x201D;ć&#x2039;ď&#x2DC;šâĄ&#x17D;䧎
time. The process leading up to the museum opening is almost as
pilot for us, a trial for us, so far it has been a great experience and we look forward to seeing how the next couple of years go.
ART.ZIP: Is it possible that after ďŹ ve years, both parties will choose to continue? TR: Yes I think it is perfectly possible, if we feel there is more to do,
if there are new opportunities to explore, we are deďŹ nitely open to that. But if everything we set out to achieve, and everything China Merchants set out to achieve, has been achieved, then that is okay too.
ART.ZIP: What took so long to come up with this sort of collaboration? TR: That is an interesting question, I don t know, I think museums historically, maybe museum directors, maybe museum culture,
have been about big concrete structures and collections. They have
deďŹ ned overseas activity in quite a traditional and quite a binary way. I think that the way that museums are funded and how they have to be more competitive, more responsive, and are having to be more
business-like has almost forced, or has provided, the conditions for this sort of collaboration. It seems like much more of a ďŹ&#x201A;uid model to me, it seems much more appropriate to me. At the moment
you either invest in a loan or exhibition that goes from X museum to Y museum, or you invest for a hundred years, but nothing in
between. The great thing for us is that you are putting down roots
to an extent, but it is time limited and I think it is a nice counterpoint between the two.
⥲î&#x161;&#x17D;
ä&#x;?ď&#x2DC;šä&#x2013;°éş&#x2022;ä&#x2013;&#x192;朸ĺ¨&#x153;ă&#x20AC;ˇâ˘ľćş?ď&#x2DC;šâ˝&#x2C6;ć&#x161;&#x;ę¸ę¸ę&#x;&#x20AC;䧴â˝&#x2C6;ć&#x161;&#x;ę¸äż&#x2019;âť&#x2039;â&#x2122;§ćšŹâŤ&#x2122;ă ˘ĺ&#x20AC;´ęĄ 岤 ăŁ?ă&#x2DC;&#x2014;ăť&#x153;ë&#x201E;&#x201C;犥ĺ&#x153;&#x201C;âżťăŁ?ă&#x2DC;&#x2014;ä˝?询ç&#x2DC;&#x17E;ĺ&#x20AC;°ęŹ&#x2014;ď&#x2DC;ˇé¸?â?&#x2030;â˝&#x2C6;ć&#x161;&#x;ę¸ę¸ę&#x;&#x20AC;â&#x;&#x192;暹㟊âŤ&#x201E;窥ď&#x2DC;ś
â&#x153;łâŻ&#x2039;é&#x201D;¸ćś¸ĺ&#x20AC;°ä&#x2019;⢾㚠çş?ă&#x2013;&#x2C6;徳㢍éš&#x17D;é ¤ćś¸é&#x17D;&#x2122;âˇ&#x201D;ď&#x2DC;šç˝&#x153;䧎é&#x2019;˘ć?&#x20AC;ď&#x2DC;šâ˝&#x2C6;ć&#x161;&#x;ę¸éĄťę&#x2020;&#x201E; ⢾ĺ˝&#x201A;犥ĺ&#x153;&#x201C;朸鹲é&#x161;śď&#x2DC;śä &#x201A;â¸&#x2C6;ć&#x2026;¨ć?&#x2122;朸ç&#x2022;šć&#x2DC;°ćŠ&#x2021;ă&#x17E;Żď&#x2DC;śăźŠâ°&#x2014;ćť&#x17E;ĺ&#x201A;&#x2C6;渤ă&#x;&#x17E;ę&#x;&#x20AC;朸朸ęĄ
岤⿝ĺ&#x2C6;żâ¸&#x2C6;ă&#x2030;&#x201A;ĺ&#x2122; âť&#x2039;朸éş&#x152;⥲ĺ&#x17E;¸ä&#x2019;éś&#x2014;⢪â˝&#x2C6;ć&#x161;&#x;ę¸ä&#x2014;łę°éš&#x17D;é ¤é¸?ç??ă &#x2013;⥲ď&#x2DC;šä§´ç˝? é&#x201C;&#x17E;ď&#x2DC;šé¸?â?&#x2030;鹲é&#x161;ść?&#x20AC;é¸?ĺ&#x17E;şćś¸ă &#x2013;⥲䲿âŁ&#x2DC;â&#x153;Ťĺ Ľĺ&#x2030;&#x161;ď&#x2DC;ˇă&#x2013;&#x2C6;䧎ćş?⢾ď&#x2DC;šé¸?⪜揰â&#x153;Ťâ&#x2122;§ç?? ĺ´Šâš&#x203A;ä&#x161;?ĺ&#x2C6;żä&#x201C;˝ćś¸éş&#x152;⥲ĺ&#x17E;¸ä&#x2019;ď&#x2DC;šé¸?ĺ&#x192;˝ęŹ&#x152;ä&#x152;˘éť ă &#x2013;â˝&#x2C6;ć&#x161;&#x;ę¸ćś¸ď&#x2DC;ˇâ&#x17E;&#x203A;ăŁ&#x201D;ď&#x2DC;šâĄšé&#x160;´ë&#x17E;&#x2020;ć?&#x20AC;
ä&#x2013;°9â˝&#x2C6;ć&#x161;&#x;ę¸ă ˘:â˝&#x2C6;ć&#x161;&#x;ę¸âŚśâ´&#x20AC;朸â&#x2122;§â&#x;?询ă&#x2026;ˇéš&#x17D;é ¤äŤ?饝ď&#x2DC;šé&#x160;´ë&#x17E;&#x2020;ć?&#x20AC;ćś°ä&#x17D;&#x192;ă&#x203A;&#x2021;ĺ&#x2122; éš&#x17D;é ¤äŤ?饝ď&#x2DC;šă&#x2013;&#x2C6;é¸?â°?ç˝?â&#x203A;&#x201C;ę&#x;Śĺ°?ĺ&#x2030;¤äŤ&#x201D;â&#x161;Ľćś¸éź&#x2021;äšľď&#x2DC;ˇç˝&#x153;䧎âŚ&#x203A;暥⾚朸ă &#x2013;⥲⾹ĺ&#x192;˝
ă&#x2013;&#x2C6;â&#x2122;§âŚ?ꣳ㚠ĺ&#x201E;&#x2DC;ę&#x;Śâ°&#x2030;ć?&#x20AC;ĺ&#x160;˘â˘ľäŠ§â&#x2122;´ă&#x203A;&#x2021;ç&#x2021;&#x160;ď&#x2DC;šä§Žé&#x152;?ä&#x2013;¤é¸?ĺ&#x192;˝â°?âŚ?ĺ&#x2122;˛ç&#x2022;Žâ&#x203A;&#x201C;ę&#x;Śă&#x20AC;Ľ â&#x2122;§âŚ?ĺ&#x2030;¤ä &#x2018;çş?朸é?&#x2018;寚ĺ&#x20AC;°ĺ&#x2018;Şď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;⺍ä?岲ć&#x161;śçšĄé Żę¸ď&#x2DC;šç§Łç§&#x2030;ć¤?â&#x17E;żč° é Żâ˝&#x2C6;ć&#x161;&#x;ę¸âżťč§?桟ĺ&#x2039;â&#x161;Ľä&#x2014;ą
ă&#x2013;&#x2C6;â°&#x2030;朸é?Şă˘ľâ˝&#x2C6;ć&#x161;&#x;ę¸ĺ Ľĺ&#x153;&#x201C;鿪ă&#x2013;&#x2C6;ăźŚĺŽ â˘ľč?&#x2C6;â&#x161;Ľă&#x2022;&#x153;朸饝ę&#x2020;&#x201E;ä˝&#x2026;ä°ď&#x2DC;ˇé¸?ćş?鼹⢾ âĄ&#x201A;â&#x203A;&#x2013;ĺ&#x192;˝â&#x2122;§â&#x;?ĺ&#x201E;&#x2DC;ë&#x201E;šćś¸â&#x153;˛ď&#x2DC;šç˝&#x153;7 "â&#x203A;łă&#x2013;&#x2C6;é¸?â&#x2122;§ĺŞŻĺ&#x201E;&#x2DC;ę&#x;Śéš&#x17D;é ¤čĄ˝ę˛łâĄ&#x201A;朸ĺ´&#x17E; âš&#x203A;ď&#x2DC;ˇ
53î&#x161;&#x2030;㟊ĺ&#x20AC;´ä§ŽâŚ&#x203A;⢾é&#x201C;&#x17E;ď&#x2DC;šé¸?â&#x161;&#x203A;â&#x2122;śĺ&#x192;˝â&#x2122;§â&#x;?ĺ&#x201E;&#x2DC;ë&#x201E;šćś¸â&#x153;˛ď&#x2DC;šč?&#x2C6;7 "ä&#x2019;&#x160;ä§â&#x;&#x192;⢾䧎âŚ&#x203A; ă˝ č&#x17D;&#x2026;â&#x161;Ľă&#x2022;&#x153;ĺ&#x2030;¤čĄ˝ĺš&#x20AC;éť&#x2021;朸č&#x20AC;˘ç˛Żď&#x2DC;ˇä§Žé&#x2019;˘ć?&#x20AC;䧎âŚ&#x203A;ć¤?ă&#x2013;&#x2C6;ĺ&#x2030;¤čĄ˝ĺ&#x2C6;żăŁ?ćś¸ĺ Ľéş&#x201A;ď&#x2DC;šç˝&#x153;
č&#x2026;&#x2039;㣠é&#x203A;&#x160;é¸?ç??ă &#x2013;⥲ę&#x;&#x161;č&#x201D;&#x2026;犥ĺ?&#x201C;朸ĺ&#x201C;â&#x;?â&#x203A;łĺ&#x2C6;żâ¸&#x2C6;é&#x17E;Žć&#x20AC;?ď&#x2DC;šâĄ&#x17D;䧎âŚ&#x203A;朸ç&#x201E;ˇä&#x2013;°7 "
â˝&#x2C6;ć&#x161;&#x;ę¸ä&#x2019;&#x160;ä§ćś¸ç&#x2014;§â&#x2122;§ăŁ&#x201D;ę&#x;&#x161;㨼â¤&#x2018;č&#x17D;&#x2026;â&#x161;Ľă&#x2022;&#x153;éš&#x17D;é ¤ă &#x2013;⥲ď&#x2DC;ˇâ˝&#x2C6;ć&#x161;&#x;ę¸ĺ&#x2030;&#x201C;ĺ&#x201A;?朸â&#x2122;§äŞĄ
ä˝?询â&#x161;Ľă˝ ĺ&#x2030;¤â˘ľč?&#x2C6;â&#x161;Ľă&#x2022;&#x153;朸询ă&#x2026;ˇď&#x2DC;šä§ŽâŚ&#x203A;â&#x203A;łĺ&#x192;˝â&#x161;&#x2020;ć˛ç&#x153;&#x2022;ă&#x2022; â°&#x2030;ĺ&#x2030;&#x201C;ĺ&#x201A;?ä˝?询â&#x161;Ľă&#x2022;&#x153;
č° é Żé?¤é&#x17D;&#x2122;⥲ă&#x2026;ˇćś¸â˝&#x2C6;ć&#x161;&#x;ę¸â&#x203A;&#x201C;â&#x2122;§ď&#x2DC;šé¸?â&#x161;&#x203A;â&#x2122;śĺ&#x192;˝ęŚ&#x2018;ä &#x2018;éš&#x17D;é ¤ćś¸ä˝?询ĺ´&#x17E;âš&#x203A;ď&#x2DC;šä§Ž âŚ&#x203A;礜äŽ&#x2039;稣éź&#x2021;⢾č?&#x2C6;â&#x161;Ľă&#x2022;&#x153;朸询ă&#x2026;ˇď&#x2DC;šä§ŽâŚ&#x203A;â&#x203A;łă&#x201E;¤â&#x161;Ľă&#x2022;&#x153;朸â&#x2122;§â?&#x2030;ę&#x2026;žé&#x160;´â˝&#x2C6;ć&#x161;&#x;ę¸âĽ&#x192;
ä°čĄ˝ä&#x17D;&#x2122;⟧ä&#x17D;&#x192;ćś¸âżźăĽŞęĄ â¤&#x161;ď&#x2DC;ˇä§ŽâŚ&#x203A;â&#x2122;śĺ&#x192;˝ă&#x2013;&#x2C6;éŚ&#x153;ĺ&#x201E;&#x2DC;ë&#x201E;šď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;â°?ă&#x2022;&#x153;朸ă ?ç??ĺ&#x201C; â&#x;?é§&#x2C6;㣠ä§ć&#x201C;żď&#x2DC;šäŠ&#x17E;é§&#x2C6;â&#x;&#x192;⪜揰é¸?ĺ&#x17E;şćś¸ă &#x2013;⥲é&#x17D;&#x2122;âˇ&#x201D;ď&#x2DC;ˇä§Žä&#x;?ď&#x2DC;šăźŠĺ&#x20AC;´â&#x;¤âĄŚâ˝&#x2C6;ć&#x161;&#x; ę¸â˘ľé&#x201C;&#x17E;ď&#x2DC;šâ&#x2122;śéź&#x2021;äšľäŤ&#x152;âĄ&#x17E;é¸?âŚ?ĺ Ľĺ&#x2030;&#x161;ă&#x17D;˛é&#x2018;&#x2018;ă ˘ď&#x2C6;Łâ&#x161;Ľă&#x2022;&#x153;⟧â&#x2122;˛â&#x161;â°&#x2014;ćť&#x17E;ăž?ç&#x2C6;&#x161;č?&#x2C6;ä&#x160;š
朸ć¤&#x161;ä&#x2122;&#x201A;⿝询ă&#x2026;ˇâ&#x2122;§ăš ĺ&#x192;˝â&#x2122;§â&#x;?ă&#x20AC;˘ä&#x161;&#x201C;朸â&#x153;˛ď&#x2DC;ˇĺŤŚâ&#x2122;§âŚ?â˝&#x2C6;ć&#x161;&#x;ę¸éżŞä&#x;?é&#x160;´äąşé?¸â°&#x2014; ćť&#x17E;ď&#x2DC;śč&#x17D;&#x2026;â°&#x2014;ćť&#x17E;ĺ˝&#x2DC;é¸&#x2019;ď&#x2DC;šç˝&#x153;䧎âŚ&#x203A;朸㸝ĺ&#x201A;&#x152;č&#x17D;&#x2026;â°Śâ&#x17E;Žâ˝&#x2C6;ć&#x161;&#x;ę¸â&#x161;&#x203A;ć?&#x201A;â&#x2122;śă &#x161;î&#x161;&#x2030;ăź&#x;䧎âŚ&#x203A;朸
ä˝?询ćš&#x2C6;ă&#x20AC;łč&#x2026;&#x2039;ăž?ć¤?ă&#x2013;&#x2C6;ĺ&#x2C6;żă˘ľćś¸â°&#x2014;ćť&#x17E;ęŹ&#x2014;âľšď&#x2DC;ˇé¸?ĺ&#x192;˝ăź&#x;䧎âŚ&#x203A;ä&#x152;&#x;âľ&#x152;ĺš&#x20AC;ă&#x2013;&#x2022;朸➲âš&#x203A; â¸&#x201A;Ő&#x201A;䧎âŚ&#x203A;č&#x2026;&#x2039;㣠č&#x17D;&#x2026;â&#x161;Ľă&#x2022;&#x153;é&#x152;&#x161;ćť&#x17E;éš&#x17D;é ¤â?&#x153;ĺ´Šď&#x2DC;šâ&#x161;&#x203A;č&#x17D;&#x2026;â&#x17E;ŽâŚ&#x203A;â´&#x2022;â?§ä§ŽâŚ&#x203A;朸ć¤&#x161;ä&#x2122;&#x201A;ď&#x2DC;ˇ
ART.ZIP: Other museums like the Tate, MoMA or Centre Pompidou, are seemingly taking in a great deal of Chinese money. It seems that this sort of collaboration has become rather trendy in recent years and it seems what the V&A is doing is very timely.
"35 ;*1î&#x161;&#x2030;ⴲ姿ăš&#x2019;ä&#x2039;&#x2019;朸ä&#x160;Łă&#x201D;?ăž?é&#x152;&#x2019;ĺ&#x192;˝ă&#x201A;&#x201E;ä&#x160;şĺ&#x2030;¤ă&#x20AC;łâ&#x;&#x192;â°&#x2014;ä&#x2039;&#x2019;朸稣ç&#x153;?î&#x161;&#x17D;
the very beginning of the V&A. I think the opportunity is greater
"35 ;*1î&#x161;&#x2030;⥚âŚ&#x203A;暥⾚ă&#x2013;&#x2C6;ç˝&#x152;äŁ&#x201A;⥌ç??겳ă&#x2DC;&#x2014;朸ä&#x160;Łă&#x201D;?ăž?é&#x152;&#x2019;î&#x161;&#x17D;â§?äž&#x161;ĺš&#x20AC;ă&#x2013;&#x2022;â°?ă&#x2013;&#x2019;
to bear fruit, but we have been working in China since day one
53î&#x161;&#x2030;é¸?â&#x203A;łâ&#x17E; ć?ă&#x2013;&#x2C6;é&#x17D;Łé&#x201D;¸â&#x203A;&#x201C;â&#x161;Ľď&#x2DC;šâĄ&#x17D;7 "ĺ&#x2030;¤â&#x2122;§çŚşâ´ŞęŹ&#x152;ä&#x152;˘ëĽ&#x201D;ăŁ?朸ä&#x160;Łă&#x201D;?ăž?é&#x152;&#x2019;
TR: For us is not a fad or a trend, our relationship goes back to
now, the conditions are there for these sorts of collaborations
of the V&A s life. Some of earliest collections are from China, we
were the ďŹ rst museum to collect in China, this wasn t random but instead a process of very well considered collecting, and we have had relationships with major Chinese museums for decades. It is less a fad or a trend for us, but I think the conditions are there in both countries for this kind of collaboration to come about. For
any museum, I think it would be strange to not take advantage of
53î&#x161;&#x2030;䧎âŚ&#x203A;â&#x17E; ć?ă&#x2013;&#x2C6;ă˝ é?Şă˘ľç¨Łç&#x153;?éš&#x17D;é ¤é&#x17D;Łé&#x201D;¸ď&#x2DC;šä¨žâ&#x;&#x192;䧎âŚ&#x203A;ăźżâ&#x2122;śč&#x2026;&#x2039;çŞ?â´&#x20AC;ç&#x201E;ˇâ´&#x2014; ă&#x201D;?估ď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x2013;&#x17D;ä&#x2DC;°ă˝ č&#x2026;&#x2039;çŞ?â´&#x20AC;㸤䞎朸ăž?é&#x152;&#x2019;ĺ&#x20AC;°ĺ&#x2018;Şď&#x2DC;šé¸?â?&#x2030;ăž?é&#x152;&#x2019;â&#x2122;§ăš â°¨âŞ&#x201D;ä&#x2013;&#x17D;
ë&#x201E;&#x17E;ĺŽ?ĺ˝&#x2039;ď&#x2DC;šâ&#x153;˛ăť&#x153;â&#x2122;ł7 "â˝&#x2C6;ć&#x161;&#x;ę¸âľ&#x2013;⥲朸é?Şă˘ľä&#x160;Łă&#x201D;?ăž?é&#x152;&#x2019;鿪ĺ&#x192;˝â&#x161;&#x2020;ć˛â&#x2122;łĺ&#x2030;&#x201C;ę°Ľ 秚朸ăž?é&#x152;&#x2019;ď&#x2DC;ˇä§ŽćšąâĽ&#x152;⥚ĺ&#x2030;&#x161;ć&#x20AC;?ä &#x2018;䧎âŚ&#x203A;ăź&#x;é&#x160;´ă&#x192;&#x201E;ć¤?朸ăž?é&#x152;&#x2019;ď&#x2DC;ˇ
朸ä&#x160;Łă&#x201D;?ăž?é&#x152;&#x2019;ď&#x2DC;šäŤ&#x2C6;䧴ĺ&#x192;˝ă&#x2013;&#x2C6;â&#x161;&#x2020;ć˛ç&#x153;&#x2022;ă&#x2022; â°&#x2030;㢾ç&#x2022;&#x20AC;ä&#x160;Łă&#x201D;?朸ăž?é&#x152;&#x2019;î&#x161;&#x17D;
갪暥ď&#x2DC;šä§ŽâŚ&#x203A;ăź&#x;â§?äž&#x161;â˝&#x201A;č&#x201A;Ľéł&#x;ę°ž7 "â˝&#x2C6;ć&#x161;&#x;ę¸ćś¸ăž?é&#x152;&#x2019;ä&#x152;&#x;č?&#x203A;ď&#x2C6;Łâ&#x161;&#x2020;ć˛éš&#x17D;é ¤ä&#x160;Ł ă&#x201D;?ăž?é&#x152;&#x2019;ď&#x2DC;šâ&#x2122;§č?&#x203A;卌ä&#x17D;&#x192;ĺ&#x2030;&#x161;ä&#x160;Łă&#x201D;?č?&#x203A;⟧ä&#x17D;&#x2122;âŚ?â˝&#x2C6;ć&#x161;&#x;ę¸ď&#x2DC;ˇ7 "朸ăŁ?é şË&#x2122;ë&#x160;&#x201E;â&#x;ťăž?
é&#x152;&#x2019;暥⾚姝ă&#x2013;&#x2C6;â&#x161;&#x2020;ć˛ç&#x153;&#x2022;ă&#x2022; â°&#x2030;éš&#x17D;é ¤ä&#x160;Łă&#x201D;?ăž?é&#x152;&#x2019;ď&#x2DC;ˇâĄ&#x17D;ĺ&#x192;˝é&#x201C;ŞćżźéşĽă&#x192;¤ď&#x2DC;šă&#x2013;&#x2C6;ĺ&#x160;˘â˘ľâ?&#x20AC; č?&#x203A;⟧ä&#x17D;&#x192;â°&#x2030;ď&#x2DC;šă&#x2013;&#x2C6;čˇ&#x2018;ă&#x20AC;Ąč&#x17D;&#x160;鳾朸ăž?é&#x152;&#x2019;â&#x203A;łä&#x2013;&#x17D;ĺ&#x2030;¤ă&#x20AC;łč&#x2026;&#x2039;⢾âľ&#x152;â§?äž&#x161;7 "éš&#x17D;é ¤ä&#x160;Łă&#x201D;?
ăž?é&#x152;&#x2019;ď&#x2DC;ˇâ&#x17E;&#x203A;ä&#x17D;&#x192;ă&#x2013;&#x2C6;ĺš&#x20AC;庌ă&#x2122;šä&#x2039;&#x2018; ä&#x2019;&#x160;ç&#x153;Ąę§ąă&#x2122;šę§ąä&#x17D;&#x192;ăž?â&#x161;Ľä§ŽâŚ&#x203A;ç&#x2DC;źâˇ&#x201D;朸՚ć?&#x201A;ă ?朸 é?¤é&#x17D;&#x2122;é ¤ć?&#x20AC;Őşâ&#x161;Ľćś¸ĺ&#x17D;Ľâ?&#x2030;ăž?ă&#x2026;ˇă˝ é&#x201E;&#x201E;ä&#x152;&#x;âľ&#x152;â§?äž&#x161;é?¤é&#x17D;&#x2122;ç&#x153;?ăž?â´&#x20AC;ď&#x2DC;ˇ
any opportunity to put your ideas and your collections in front of
"35 ;*1î&#x161;&#x2030;㟊ĺ&#x20AC;´é¸?ĺ&#x17E;şăŁ?é&#x2039;&#x160;ĺ&#x17E;¸ćś¸ă &#x2013;⥲⢾é&#x201C;&#x17E;ď&#x2DC;šäž¸ăśśâť&#x2039;ä&#x2022;&#x17D;ä&#x2019;â&#x2122;§ăš ĺ&#x2030;¤čĄ˝â&#x2122;ś
the public. Our mission is no diďŹ&#x20AC;erent from most other museums, to
âĄ&#x2122;ĺ&#x20AC;´ĺš&#x20AC;ă&#x2013;&#x2022;朸ăž?ę¸ĺ&#x192;˝ă&#x201A;&#x201E;â&#x203A;łĺ&#x2030;&#x161;ăŁ?ę&#x2020;&#x20AC;ă&#x2013;&#x2019;âŁ&#x153;éŁ&#x2026;䞸㜜ç&#x152;°äŞŽéš&#x17D;é ¤âŽ&#x203A;âť&#x2039;î&#x161;&#x17D;
1.3billion people. Every museum is about access, the people and
take our collections to as many people as we can. That is the main driver for us being here, it is a new audience for us to talk to and share our ideas with.
ART.ZIP: Are the details of the upcoming touring exhibitions conďŹ rmed yet?
ă&#x20AC;łă&#x20AC;&#x160;â&#x17E;żćś¸ă&#x2013;&#x2019;âĄ&#x2122;ď&#x2DC;ˇ7 "â°&#x2014;â°&#x;ę&#x;&#x161;ä˝&#x17E;朸䞸㜜âť&#x2039;äż&#x2019;ćĄ?ä?¨ä&#x2018;&#x17E;ă&#x20AC;&#x152;㼪é?ąď&#x2DC;šé˝Ąë&#x17E;&#x2020; 53î&#x161;&#x2030;č&#x17D;&#x2026;é¸?âŚ?ăť&#x153;ë&#x201E;&#x201C;ăž?ę¸ă &#x161;姿朎ăž?朸㽠ĺ&#x192;˝é¸?âŚ?ăž?ę¸ćś¸äž¸ăśśâť&#x2039;ä&#x2022;&#x17D;ä&#x2019;â&#x;&#x192;
⿝䧎âŚ&#x203A;é¸&#x2019;éş&#x2022;é¸?ç??䞸㜜âť&#x2039;ä&#x2022;&#x17D;ä&#x2019;éš&#x17D;é ¤ćś¸â°&#x2014;ćť&#x17E;ĺ˝&#x2DC;é¸&#x2019;ä&#x160;¨âĄ˛ď&#x2DC;ˇä§Žâ&#x2122;śĺš˘ĺ&#x2DC;˝é¸? 䞸㜜âť&#x2039;éş&#x2022;ç&#x17D;&#x2018;朸稣ç&#x153;?ď&#x2DC;šâĄ&#x17D;ĺ&#x192;˝é¸?č&#x201A;Ľăš ĺ&#x192;˝ä&#x2013;&#x17D;ę&#x2026;žé&#x160;´ćś¸â&#x2122;§ćŠ&#x2021;ď&#x2DC;šä§ŽâŚ&#x203A;â&#x2122;śä&#x2039;&#x17E;ĺ&#x160;&#x2020;é¸?
ăž?ę¸âŤŚâŤŚă&#x20AC;Ťĺ&#x192;˝â&#x2122;§âŚ?⢾â&#x153;Ťâ&#x203A;&#x201C;ä&#x2013;&#x2022;äŠ&#x17E;č&#x2026;&#x2039;č&#x17D;&#x2026;â&#x203A;&#x201C;éš&#x17D;é ¤â&#x153;˝âš&#x203A;朸ă&#x2013;&#x2019;ĺ&#x20AC;°ď&#x2DC;šä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020; é¸?â&#x203A;łĺ&#x192;˝â&#x2122;§âŚ?č&#x2026;&#x2039;㣠ă&#x2013;&#x2C6;č´Ąäşźęą&#x2020;ă&#x161;&#x2013;ć ˝ä&#x2013;¤ä§â¸&#x2020;朸갪暥ď&#x2DC;ˇ
TR: They are still under discussion, so we are not able to conďŹ rm
"35 ;*1î&#x161;&#x2030;ć¤?ĺ&#x2030;¤ćś¸7 "䞸㜜äż&#x2019;ćĄ?ä?¨ĺ&#x192;˝ă&#x201A;&#x201E;ä&#x160;şĺ&#x2030;¤â&#x161;Ľäż&#x2019;ć&#x2122;?ĺ&#x160;Ľî&#x161;&#x17D;
will be great, whatever we end up doing will be great. Our touring
â&#x161;&#x203A;ĺ°?ĺ&#x2030;¤ď&#x2DC;ˇä§Žä&#x;?ä&#x2019;&#x160;ç&#x201D;¨â&#x161;Ľäż&#x2019;ć&#x2122;?ĺ&#x160;Ľĺ&#x2030;&#x161;ĺ&#x192;˝âŚ?â&#x2122;śę?Ťćś¸â&#x161;şä &#x2018;ď&#x2DC;šâ˝ç&#x203A;&#x2DC;ä&#x2013;°ä&#x2022;&#x17D;ä&#x2019;â&#x2122;łâ˘ľ
yet. It won t be too long until we can announce them but they
exhibitions and exhibitions at South Kensington are some of the
greatest in the world. I think you will be very pleased with what we send.
53î&#x161;&#x2030;䧎âŚ&#x203A;朸珪ç&#x2022;&#x20AC;ĺ&#x2030;¤â&#x161;Ľäż&#x2019;ć&#x2122;?ĺ&#x160;Ľď&#x2DC;šâĄ&#x17D;ĺ&#x192;˝ćšĄâľšä§ŽâŚ&#x203A;朸珪â&#x2122;łčŻ˘ă&#x2026;ˇäż&#x2019;ćĄ?ä?¨
é&#x201C;&#x17E;ď&#x2DC;šé¸?ĺŚ&#x201E;ă &#x2013;⥲é&#x17D;&#x2122;âˇ&#x201D;ă&#x20AC;łč&#x2026;&#x2039;ă&#x20AC;Ťĺ&#x2030;&#x161;ä°çłľâ?&#x20AC;ä&#x17D;&#x192;ĺ&#x201E;&#x2DC;ę&#x;Śď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;ă&#x20AC;łâ&#x;&#x192;çł&#x2019;糾朎 ăž?č&#x17D;&#x2026;â&#x161;Ľă&#x2022;&#x153;朸č&#x20AC;˘ç˛Żď&#x2DC;šâ&#x161;&#x203A;é&#x2039;&#x2022;姽ć?&#x20AC;â&#x2122;§ç??ĺ˝&#x2DC;é¸&#x2019;ä&#x17D;&#x201A;ă&#x20AC;ľď&#x2DC;šé¸?ä&#x17D;&#x201A;ă&#x20AC;ľăź&#x;ă&#x192;&#x201E;ć¤?é?Şă˘ľäž¸ ăśśâť&#x2039;援ă&#x2026;ˇď&#x2DC;ˇ
ART.ZIP: What sort of touring are we talking about here, touring between the two museums or other museums as well?
"35 ;*1î&#x161;&#x2030;ä?Ąĺ&#x192;˝ăĽśâĄŚćş?ä&#x2013;&#x160;ĺš&#x20AC;ă&#x2013;&#x2022;䧴â&#x161;Ľă&#x2022;&#x153;é?¤é&#x17D;&#x2122;朸î&#x161;&#x17D;
big touring program, we take exhibitions from South Kensington
é?Şă˘ľĺ§&#x2DC;ĺ´&#x17D;â°&#x2014;ćť&#x17E;㟊ĺ&#x20AC;´â&#x161;Ľă&#x2022;&#x153;é?¤é&#x17D;&#x2122;朸é&#x2019;˘ćżźâ&#x17E; ć?ă&#x20AC;Ťâ¨˘ćŽ&#x2020;ă&#x2013;&#x2C6;J1IPOFäŠ&#x203A;ĺ ĽĺŞ˝
TR: That is another discussion in due course, but we have a very
around the world, typically going to a dozen venues each year. At the moment we have David Bowie exhibition on tour, in its third
or fourth year. Lots of exhibitions are travelling around the world,
but who knows, in due course, an exhibition generated here in the Shekou design museum coming to the V&A in ďŹ ve or ten years time is not out of the question, some of the objects from the
Shenzhen Biennale will come to the V&A as part of the London Design Festival this year.
53î&#x161;&#x2030;㟊䧎⢾é&#x201C;&#x17E;ď&#x2DC;šĺ&#x160;Ľă&#x2013;&#x2019;é?¤é&#x17D;&#x2122;ä&#x2013;&#x192;ä&#x2013;&#x192;ĺ&#x192;˝ăźŠĺ&#x20AC;´ă ?âŚ?ä Žă¸˝ćś¸ćšŹäąşĺ°Łäššď&#x2DC;ˇâĄ˛ć?&#x20AC; â&#x2122;§ă ?㢍⢾ç˝?ď&#x2DC;šä§Žä Žă&#x20AC;&#x152;âľ&#x152;朸â&#x161;Ľă&#x2022;&#x153;é?¤é&#x17D;&#x2122;çą?ĺ&#x192;˝č&#x2019;&#x20AC;ä&#x2022;&#x2122;é&#x17E;Žăş˘ćś¸ď&#x2DC;šć&#x2026;¨ć?&#x2122;ç˝&#x153;âŻ?ć&#x20AC;?
âš&#x203A;ä Žćś¸ď&#x2DC;šç˝&#x153;䧎ä&#x;?é¸?ă˝ ĺ&#x192;˝é?Şă˘ľĺ§&#x2DC;ĺ´&#x17D;â°&#x2014;ćť&#x17E;ă&#x2039;?ä Śâ&#x161;Ľă&#x2022;&#x153;é?¤é&#x17D;&#x2122;朸➲ă&#x201D;&#x201D;ď&#x2DC;ˇć?ç˝&#x153; é?¤é&#x17D;&#x2122;援ă&#x2026;ˇćś¸ęĽŁĺŞŻâ&#x2122;łď&#x2DC;ˇâ˝ç&#x203A;&#x2DC;é¸?ä&#x2013;&#x17D;ĺ&#x2022;?ď&#x2DC;šâĄ&#x17D;â&#x161;Ľă&#x2022;&#x153;é?¤é&#x17D;&#x2122;éť&#x2021;â&#x2122;śĺ§şĺ&#x20AC;´ĺ§˝ď&#x2DC;ˇä§Žé&#x2019;˘
ć?&#x20AC;é&#x160;Żĺ&#x20AC;°â&#x17E;&#x192;éśľę&#x192;°ĺ&#x20AC;´â&#x161;Ľă&#x2022;&#x153;ă&#x2013;&#x2C6;âśžä &#x2018;ĺ&#x20AC;°ęŹ&#x2014;朸ä&#x2DC;°é¸ 朎ăž?ď&#x2DC;ˇăźŠĺ&#x20AC;´7 "â˝&#x2C6;ć&#x161;&#x;ę¸â˘ľ
é&#x201C;&#x17E;ď&#x2DC;šé¸?â&#x153;˛ăť&#x153;â&#x2122;łâżžĺ&#x192;Śâ&#x153;Ťâ˝&#x2C6;ć&#x161;&#x;ę¸â´˛âśžĺ&#x201E;&#x2DC;ĺ&#x160;?ĺ&#x17D;Ľç??䎸ăĽ&#x2026;â&#x17E;&#x192;ä&#x2014;ąćś¸ć&#x153;&#x153;幣ď&#x2DC;ˇă&#x2013;&#x2C6;齥
ĺ&#x201E;&#x2DC;ď&#x2DC;šč&#x2013;&#x160;ă&#x2022;&#x153;â&#x203A;łă&#x2013;&#x2C6;éš&#x17D;é ¤âľ&#x2013;鸤ĺ&#x2122; ă ˘é?¤é&#x17D;&#x2122;ä&#x160;¨ĺ&#x2122; 朸鹲é&#x161;śď&#x2DC;šä§ŽâŚ&#x203A;ĺ&#x2030;&#x17D;čĄ&#x2020;ä&#x2013;&#x2022;ĺ&#x20AC;´â&#x161;&#x2020;ć˛ ćś¸é?¤é&#x17D;&#x2122;朎ăž?ď&#x2DC;šç˝&#x153;7 "â˝&#x2C6;ć&#x161;&#x;ę¸ćś¸ä&#x2019;&#x160;ç&#x201D;¨ă˝ ĺ&#x201A;&#x152;ă&#x2013;&#x2C6;ć?&#x20AC;ę&#x2026;žĺ&#x20AC;&#x17E;䎸č&#x17D;&#x2021;č&#x2013;&#x160;ă&#x2022;&#x153;é?¤é&#x17D;&#x2122;ä&#x152;&#x; ⢾âš&#x203A;â¸&#x201A;ď&#x2DC;ˇă&#x2013;&#x2C6;ĺ&#x17D;Ľç??ä &#x2018;çş?â&#x2122;łď&#x2DC;šé¸?č &#x192;鼹⢾ă&#x201E;¤ĺš&#x20AC;ă&#x2013;&#x2022;姝ă&#x2013;&#x2C6;éš&#x17D;é ¤ćś¸éą˛é&#x161;śę˛łâĄ&#x201A;ď&#x2DC;š â&#x2122;§â´&#x2014;朎揰ä&#x2013;¤é´žé¸ ç˝&#x153;ĺ&#x2030;¤â¸&#x201A;ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;暥⾚ă&#x2013;&#x2C6;ä&#x160;şçŤ¤â°&#x2014;ä&#x2039;&#x2019;朸饝俲â&#x161;Ľĺ&#x2030;¤â&#x2122;§â&#x;¨é?¤é&#x17D;&#x2122;援ă&#x2026;ˇĺš˘ă&#x2039;˛ď&#x2DC;šâ°Śâ&#x161;Ľ
manifestation of it and how we communicate it. I don t know the
â&#x161;Ľăž?ç&#x2C6;&#x161;朸⥲ă&#x2026;ˇä&#x17D;&#x2122;â&#x203A;&#x2013;ď&#x2C6;Łéż&#x2C6;⢾ĺ˝&#x201A;ĺ&#x20AC;´7 "ëĽ&#x201D;ăŁ?ä˝?询â&#x161;Ľćś¸ âżť â&#x161;&#x2020;ç§ ă&#x2022;&#x153;꼚
TR: Hand in hand with this gallery concept itself will be the digital
detail of it yet, but it will be a big part of it, we don t want the gallery to be a something you can only interact or engage with if you come here, we want it to become something successful virtually as well.
ART.ZIP: Is there a Chinese translation of your digital archive? TR: We have a Chinese language version of the website, but it didn t
⺍ä?â&#x153;Ťé?Şă˘ľĺ&#x20AC;&#x17E;ä&#x2019;ĺ&#x2030;¤éŚąćś¸é?¤é&#x17D;&#x2122;ď&#x2DC;ˇé¸?â&#x;¨ĺš˘ă&#x2039;˛é&#x2026;朸⥲ă&#x2026;ˇăź&#x;â&#x;&#x192;â&#x2122;§ĺŚ&#x201E;ăž?é&#x152;&#x2019;朸
ä&#x2022;&#x17D;ä&#x2019;ă&#x192;&#x201E;ć¤?ă&#x152;¨î&#x161;&#x17D;é¸?ăź&#x;ĺ&#x192;˝7 "ĺš&#x20AC;ă&#x2013;&#x2022;ăž?ę¸ćś¸ęťˇâŚ?ăž?é&#x152;&#x2019;ď&#x2DC;šéźŠĺ&#x192;˝âŤŚĺ&#x192;˝ćšąăźŠć?&#x201A; ă&#x201C;&#x201A;ĺ&#x2018;&#x201D;â&#x161;şę˛&#x2014;䧴äž&#x192;â&#x153;˛ćś¸ď&#x2DC;śăš ĺ&#x160;?ĺ&#x2030;?äł&#x2013;朸7 "询ă&#x2026;ˇăž?ç&#x2C6;&#x161;î&#x161;&#x17D;
53î&#x161;&#x2030;暥⾚â°&#x2014;ä&#x2039;&#x2019;朸嚢ă&#x2039;˛â&#x161;Ľé?¤é&#x17D;&#x2122;ă&#x2026;ˇćś¸ę¤Ťâ´Şăź&#x;â&#x17E;?ĺ&#x20AC;´č?&#x2020;ĺ&#x201E;&#x2DC;â&#x161;şę˛&#x2014;ăž?ă&#x2026;ˇă&#x201E;¤ĺŽ&#x2022;â&#x203A;&#x2030; 询ă&#x2026;ˇâ°?ç??ä&#x2022;&#x17D;ä&#x2019;â&#x203A;&#x201C;ę&#x;Śď&#x2DC;šä§ŽâŚ&#x203A;ç?&#x2013;é¸?âŚ?7 "ăž?ę¸ć?&#x20AC;âźąĺŽ&#x2022;â&#x203A;&#x2030;ăž?ę¸ď&#x2DC;š7 "ăž?ę¸
é?¤é&#x17D;&#x2122;éż&#x2C6;â´&#x2022;ď&#x2DC;šé¸?â&#x203A;łă˝ ä &#x2018;ă&#x201E;&#x201A;襽ăž?ę¸â&#x2122;śâŤŚé&#x160;´äž&#x192;霤â&#x161;&#x2020;ć˛ă ?ă&#x2013;&#x2019;朸é?¤é&#x17D;&#x2122;朎ăž?ď&#x2DC;š â&#x203A;łč&#x17D;&#x2026;â&#x161;Ľă&#x2022;&#x153;朸朎ăž?ä&#x153;&#x201A;ä&#x153;&#x201A;ćšąęĄ ď&#x2DC;ˇăž?é&#x152;&#x2019;ĺ&#x201A;&#x152;ă&#x2013;&#x2C6;ă&#x2022; ç˛&#x2022;â°?âŚ?â&#x161;şę˛&#x2014;ăž?ę&#x;&#x161;äąłé&#x17D;Łî&#x161;&#x2030;â&#x2122;ś
ă &#x161;â&#x2020;⧊é&#x152;&#x161;㼜⥌ë&#x20AC;?âš&#x203A;é?¤é&#x17D;&#x2122;朎ăž?ď&#x2DC;šâ&#x;&#x192;⿝㼜⥌é?ąâ Žé?¤é&#x17D;&#x2122;朸â&#x2020;⧊ď&#x2DC;ˇâ˝ç&#x203A;&#x2DC;䧎
é&#x201C;&#x17E;ăž?ă&#x2026;ˇä&#x17D;&#x2122;â&#x203A;&#x2013;ď&#x2C6;Łéż&#x2C6;ĺ&#x192;˝ 䧴 â&#x161;&#x2020;ç§ ćś¸âĄ˛ă&#x2026;ˇď&#x2DC;šä§ŽâŚ&#x203A;â&#x203A;łć&#x161;śâ´˝éź&#x2021;äšľâ&#x153;Ťâ&#x2122;§â?&#x2030;ĺ¨&#x153; ă&#x20AC;ˇä?&#x2018;â&#x203A;&#x2030;朸⥲ă&#x2026;ˇď&#x2DC;šä&#x2013;°ç˝&#x153;ĺ&#x153;&#x201C;ä&#x2019;&#x160;暹估朸é&#x201C;&#x192;ă&#x17E;Żď&#x2DC;ˇ
cover the Search the Collections digital archive. I think that would
"35 ;*1î&#x161;&#x2030;é¸?ĺ&#x192;˝ă&#x20AC;Ťăż&#x201A;ĺ&#x20AC;´7 "â˝&#x2C6;ć&#x161;&#x;ę¸âźąĺŽ&#x2022;â&#x203A;&#x2030;ä˝?询ď&#x2DC;šăźŠă&#x152;¨î&#x161;&#x17D;
beyond ďŹ ve years. We want our relationship with China to keep on
ă ˘ĺš&#x20AC;ă&#x2013;&#x2022;â°&#x2014;ćť&#x17E;ăž?ç&#x2C6;&#x161;ď&#x2DC;ˇé¸?â?&#x2030;ăž?ă&#x2026;ˇé&#x2026;ĺ&#x2030;¤â&#x2122;§éż&#x2C6;â´&#x2022;ä&#x160;şçŤ¤é&#x201E;&#x201E;7 "â˝&#x2C6;ć&#x161;&#x;ę¸ä˝?询ď&#x2DC;š
be a wonderful thing, even if the relationship doesn t go on formally growing and to use this as a sort of platform, digital products of one sort or another will be part of that.
53î&#x161;&#x2030;ĺ&#x192;˝ćś¸ď&#x2DC;šé¸?ĺ&#x192;˝ä§ŽâŚ&#x203A;â°&#x;ă &#x161;ĺ&#x160;?ä&#x2013;&#x160;朸ăž?ç&#x2C6;&#x161;ă¸&#x17E;äą&#x2013;î&#x161;&#x2030;ăź&#x;7 "ę¸čŻ˘ä&#x152;&#x;âľ&#x152;ĺš&#x20AC;ă&#x2013;&#x2022;ď&#x2DC;š 䧎âŚ&#x203A;â&#x203A;łă&#x2013;&#x2C6;ç?&#x17D;ĺ&#x2122;˛ă&#x2013;&#x2019;ă&#x17D;˛é&#x2018;&#x2018;ä˝?询ĺ&#x20AC;&#x17E;⥲ă&#x2026;ˇď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;ä˝?询朸⥲ă&#x2026;ˇč&#x2026;&#x2039;ĺ&#x153;&#x201C;ä&#x2019;&#x160;鯹 ć?&#x20AC;ë&#x160;Ťĺ&#x192;&#x2C6;朸äž&#x192;â&#x153;˛ä&#x161;?ď&#x2DC;ˇ
ART.ZIP: In your personal opinion, how do you like the design of Shenzhen or China?
"35 ;*1î&#x161;&#x2030;7 "â˝&#x2C6;ć&#x161;&#x;ę¸ćś¸â??ĺ´&#x17D;éż&#x2C6;ĺ&#x192;˝ă&#x201A;&#x201E;ĺ&#x2030;¤â&#x17E;?â°&#x2026;姽ĺŚ&#x201E;ă &#x2013;⥲é&#x17D;&#x2122;âˇ&#x201D;â&#x203A;&#x201C;â&#x161;Ľî&#x161;&#x17D;
all ďŹ ve senses. For an outsider, Chinese design is always colourful,
ꪍă˘&#x161;ć¤?ä&#x152;˘ę˝?čˇ&#x2018;ă&#x20AC;Ąä&#x160;¨âĄ˛ď&#x2DC;ˇăĽ ĺ&#x2030;&#x17D;ă&#x2013;&#x2C6;â&#x161;Ľă&#x2022;&#x153;ćŽ&#x2020;㡸ď&#x2DC;šâ&#x161;Ľäż&#x2019;ĺ´Šâľ&#x201E;ď&#x2DC;ˇăĽ äŞ?ć&#x20AC;ľčĄ˝ęŹ&#x152;ä&#x152;˘
TR: For me, it is an assault on the senses, there is so much to take in, bold, and dynamic. I think that is what makes a lot of European audiences respond to it. However a lot of what the European
53î&#x161;&#x2030;ĺ&#x192;˝ćś¸ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;ç?&#x17D;ĺ&#x2122;˛ă&#x2013;&#x2019;⿎č&#x17D;&#x2026;â&#x153;Ťĺ§˝ĺŚ&#x201E;ă &#x2013;⥲é&#x17D;&#x2122;âˇ&#x201D;ď&#x2DC;ˇăźŠĺ&#x20AC;´ä§ŽâŚ&#x203A;⿝䏸ă&#x2030;&#x201A;čˇ&#x2018;ă&#x20AC;Ą
⢾é&#x201C;&#x17E;鿪ęŹ&#x152;ä&#x152;˘ę&#x2026;žé&#x160;´ćś¸ĺ&#x192;˝ď&#x2DC;šăş˘ĺ&#x2030;¤äŠ&#x17E;č&#x17E; 朸â??ĺ´&#x17D;ç&#x2DC;źăž?â&#x17E;&#x192;ď&#x2DC;ść&#x201C;żä&#x153;Ťâ&#x161;Ľă&#x2022;&#x153;äż&#x2019;âť&#x2039;朸ăˇ&#x2020; ę&#x2026;žé&#x160;´ćś¸ĺ˝&#x2DC;é¸&#x2019;č&#x20AC;˘ç˛Żćś¸é&#x152;Źč&#x2019;&#x20AC;ď&#x2DC;ˇâ&#x153;˛ăť&#x153;â&#x2122;łď&#x2DC;šĺ°?ĺ&#x2030;¤ăĽ ⥲ć?&#x20AC;7 "朸â&#x17E;żé&#x201A;?ă&#x2013;&#x2C6;â&#x161;Ľă&#x2022;&#x153;éš&#x17D; é ¤ä&#x160;¨âĄ˛ď&#x2DC;šä§ŽâŚ&#x203A;ă&#x20AC;łč&#x2026;&#x2039;ć?&#x201A;ĺ˛ é¸?ë&#x17E;&#x2020;ę°Ťâľ&#x201E;ă&#x2013;&#x2019;ę&#x;&#x161;ăž?é¸?ę°Şă &#x2013;⥲ď&#x2DC;ˇé&#x201D;&#x2026;ę&#x201A;&#x201A;㼠âľ&#x152;ĺš&#x20AC;ă&#x2013;&#x2022;
Flight Patterns, Aaron Koblin, 2009
ART.ZIP: For such a collaboration of this scale and distance, the digital will have to play an important role. You have a very well-known digital archive that is open to the public, is there anything digital planned speciďŹ cally for this gallery in Shenzhen?
audience understands is still through the casing of an iPhone, that
ä&#x160;¨âĄ˛ď&#x2DC;šç&#x201E;ˇâĽ&#x192;â&#x153;Ťé¸?ĺŚ&#x201E;ă &#x2013;⥲é&#x17D;&#x2122;âˇ&#x201D;â&#x161;Ľćżźé&#x2122;?â?&#x153;ĺ´Šâżťç&#x2DC;źăž?颜ę&#x2020;&#x20AC;ď&#x2DC;ˇăˇ&#x2020;ꪍă˘&#x161;ĺ&#x192;˝7 "
now. I think people in the west are mesmerised by the acceleration
â&#x17E;&#x192;ĺ&#x192;˝ă¸¤çšĄćś¸çŠ&#x2030;ă &#x2013;ď&#x2DC;ˇ
is still a beautiful thing, but there is much more to Chinese design in creativity in this part of China. For the V&A, it mirrors a journey
that went on in its early days, a similar transition from manufacturing
"35 ;*1î&#x161;&#x2030;7 "â˝&#x2C6;ć&#x161;&#x;ę¸č?&#x17E;â¸&#x201A;ĺ&#x20AC;´äž&#x2020;č&#x201A;Źâ&#x161;Ľă&#x2022;&#x153;â°&#x2014;ćť&#x17E;âżťâ˝&#x2C6;ć&#x161;&#x;ę¸ä&#x2013;°ĺ&#x2122; ç˝?ď&#x2DC;šé˝Ą
quality of design, and indeed manufacturing, the great exposition
53î&#x161;&#x2030;䧎âŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;ä&#x2013;°â&#x161;Ľă&#x2022;&#x153;â°&#x2014;ćť&#x17E;é¨â&#x2122;łć ˝ä&#x2013;¤ćś¸ĺ&#x192;˝äŽ&#x2039;ä¨&#x17E;ă&#x201E;¤ç?ăş&#x2122;ĺ˝&#x2DC;é¸&#x2019;ď&#x2DC;ˇä§ŽâŚ&#x203A;ă&#x201D;&#x2039;
to design. We were falling behind the rest of the world in terms of and the V&A was born out of the idea to rebuild momentum. In a way that feels similar to what is happening in Shenzhen. It is very powerful to observe as an outsider and to see it happening so quickly.
ART.ZIP: Already released is a list of very interesting designs such as the Seeeduino, that will be on view. Is it an exhibition, a debut show, or a permanent collection that you will change annually? Rare earthenware, Unknown Fields Division, 2015. Š Toby Smith
ăž?ę¸ćś¸ę°ŞćšĄé žéĄ&#x2018;â&#x17E;&#x192;ď&#x2DC;šč&#x17D;&#x2026;㼠ă &#x2013;⥲朸ĺ&#x192;˝7 "ĺ&#x20AC;&#x17E;ĺ&#x201E;˘ç&#x2DC;źăž?â&#x17E;&#x192;ĺ?&#x2022;ë&#x203A;Šë&#x2019;&#x160;ď&#x2DC;ˇâ&#x17E;ŽâŚ&#x203A;â&#x153;ł
TR: It is somewhere between an exhibition and a permanent
collection, we call it the semi-permanent V&A Gallery. It will almost exclusively be V&A objects telling a story of 20th and 21st century
international design but through or related to what has happened in terms of Chinese design. It is not a story of what is happening
ë&#x17E;&#x192;⥚âŚ&#x203A;ĺ&#x2030;&#x161;ĺ&#x160;?ä&#x2013;&#x160;â&#x161;Ľă&#x2022;&#x153;â°&#x2014;ćť&#x17E;äŞ?ć&#x20AC;ľâ&#x17E;&#x160;ë&#x17E;&#x2020;ĺ&#x17E;şćś¸é&#x152;Źč&#x2019;&#x20AC;î&#x161;&#x17D;
ä&#x17D;&#x192;⢾ç?&#x17D;ĺ&#x2122;˛ă&#x2013;&#x2019;ă&#x17D;˛é&#x2018;&#x2018;č&#x17D;&#x2026;â&#x161;Ľă&#x2022;&#x153;â°&#x2014;ćť&#x17E;â&#x;&#x192;⿝掚ă&#x2013;&#x2019;âśžä &#x2018;援ĺ&#x2122; ä&#x2019;&#x160;ç&#x201D;¨č&#x20AC;˘ç˛Żď&#x2DC;ˇé¸?č&#x20AC;˘ç˛Ż č&#x2026;&#x2039;㣠âŤ&#x201E;麨䧎âŚ&#x203A;朸âĽ&#x152;ä&#x153;&#x201A;ď&#x2DC;šâĄ&#x17D;ă&#x2013;&#x2C6;姝ä&#x2019;ę&#x;&#x161;ę¸â&#x203A;&#x201C;ä&#x2013;&#x2022;䧎âŚ&#x203A;ĺ&#x2C6;żä&#x2039;&#x17E;ĺ&#x160;&#x2020;éľ&#x201D;äąşäŽ&#x2039;ä¨&#x17E;ď&#x2DC;š
ç˝&#x153;â&#x2122;śĺ&#x192;˝ä&#x2013;¤ä &#x2018;ĺ&#x20AC;´č?&#x2C6;ä&#x160;šćś¸ä§ă˝ ď&#x2DC;ˇăĽśĺ?&#x201C;䧎âŚ&#x203A;7 "ăž?ę¸â¨&#x17E;ä&#x2013;¤ăŁ 㼪ď&#x2DC;šä§ŽâŚ&#x203A;ă˝ ă&#x20AC;ł
â&#x;&#x192;ä&#x2019;¸éĽąé&#x17D;Łé&#x201D;¸ćŹŠč?&#x203A;é´&#x201E;é&#x201D;¸ď&#x2DC;ˇä§ŽâŚ&#x203A;ć?&#x20AC;7 "ăž?ę¸éź&#x2021;äšľâ&#x153;Ťâ&#x2122;ŹâŚ?â&#x161;şę˛&#x2014;î&#x161;&#x2030;ä&#x161;?č&#x2026;&#x2039;ď&#x2DC;śä§
ĺ&#x160;Ľď&#x2DC;śé?&#x2018;寚ă&#x2030;?ę˛&#x2014;ď&#x2DC;śĺ&#x2039;&#x17E;颜ď&#x2DC;śâŚ?ä&#x161;?ď&#x2DC;śĺ˝&#x2DC;é¸&#x2019;č&#x17D;&#x2026;㼪㣟ä&#x2014;ąď&#x2DC;šă¸?âŚ&#x203A;â´&#x2022;â´˝â&#x17E;żé&#x201A;?襽ä˛&#x20AC;âš&#x203A;
é?¤é&#x17D;&#x2122;âżťé?¤é&#x17D;&#x2122;朎ăž?éš&#x17D;ç&#x17D;&#x2018;ćś¸ęĄ ę&#x2019;łâ&#x2020;⧊ď&#x2DC;ˇćŽšć?ď&#x2DC;šä˛&#x20AC;âš&#x203A;é?¤é&#x17D;&#x2122;朎ăž?ćś¸ęĄ ę&#x2019;łâ&#x2020; ⧊â&#x2122;śă&#x20AC;Ťâ&#x2122;ŹâŚ?ď&#x2DC;šâĄ&#x17D;䧎âŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;â&#x;&#x192;姽ć?&#x20AC;ă&#x203A;&#x2021;ç&#x2021;&#x160;ä&#x2019;¸ćśŽé&#x17D;Łé&#x201D;¸ď&#x2DC;šâ&#x203A;łä&#x2039;&#x17E;ĺ&#x160;&#x2020;â&#x17E;&#x192;âŚ&#x203A;č&#x2026;&#x2039;㣠䲿 â´&#x20AC;â°Śâ&#x17E;Žä˛&#x20AC;âš&#x203A;ä&#x161;?朸â&#x2020;⧊ď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x;?é&#x160;´ä&#x2013;¤âľ&#x152;âżžęş&#x2C6;ď&#x2DC;šç˝&#x153;â&#x2122;śĺ&#x192;˝âŤŚć?&#x20AC;â°&#x2014;ćť&#x17E;ä&#x152;&#x;⢾ é&#x201E;&#x201E;âš&#x203A;朸é&#x152;&#x161;ăž?ë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;ˇä§ŽâŚ&#x203A;掚ć?â&#x203A;łâ&#x2122;śä&#x2039;&#x17E;ĺ&#x160;&#x2020;䨞ĺ&#x2030;¤â&#x17E;&#x192;㟊ăž?ę¸ä˛żâ´&#x20AC;䪥é?ąď&#x2DC;šç˝&#x153;
ĺ&#x192;˝ä&#x2039;&#x17E;ĺ&#x160;&#x2020;â&#x17E;&#x192;âŚ&#x203A;č&#x2026;&#x2039;ă&#x2013;&#x2C6;ăž?ę¸â&#x161;Ľâ&#x153;˝âš&#x203A;ď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x2019;&#x160;ç&#x201D;¨ćś¸â°&#x2014;â°&#x;äž&#x2020;č&#x201A;Źé&#x17D;&#x2122;âˇ&#x201D;â&#x203A;łĺ&#x192;˝ĺ§˝ĺŚ&#x201E; ă &#x2013;⥲朸â&#x2122;§éż&#x2C6;â´&#x2022;ď&#x2DC;šĺŤ˛éĽą7 "ăž?ę¸â˘ľé&#x201C;&#x17E;ď&#x2DC;šĺ&#x2C6;żę&#x2026;žé&#x160;´ćś¸ĺ&#x192;˝â°&#x2014;ćť&#x17E;č&#x17D;&#x2026;7 "ć¤&#x161;ä&#x2122;&#x201A;朸 â&#x153;˝âš&#x203A;ď&#x2DC;šé¸?â°Śâ&#x161;Ľâ&#x203A;łâşŤä?鯹ć?&#x20AC;ă&#x203A;&#x2021;ç&#x2021;&#x160;朸â&#x153;˝âš&#x203A;ä&#x2022;&#x17D;ä&#x2019;ď&#x2DC;ˇâŤŚć?&#x20AC;掚ă&#x2013;&#x2019;ä&#x152;&#x;⢾ăž?é&#x152;&#x2019;â°&#x2030;
ăş&#x201A;ç˝&#x153;ć?&#x201A;é&#x2039;&#x2022;â&#x203A;&#x201C;ä&#x2013;&#x2022;朸朎ăž?ď&#x2DC;šé¸?â&#x161;&#x203A;â&#x2122;śç&#x2014;&#x2DC;ă &#x2013;7 "朸ć¤&#x161;ä&#x2122;&#x201A;ď&#x2DC;ˇä§ŽâŚ&#x203A;é&#x2019;˘ć?&#x20AC;é¸?ĺŚ&#x201E;ă &#x2013;⥲ â&#x2122;§ăš é&#x160;´âŞśćŹ°â´&#x20AC;ĺ&#x17D;Ľç??ĺ&#x20AC;&#x17E;朸ć¤&#x161;ä&#x2122;&#x201A;ď&#x2DC;šĺ&#x20AC;&#x17E;朸é&#x152;&#x161;ë&#x;&#x160;ď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;姽ĺŚ&#x201E;ă &#x2013;⥲č&#x2026;&#x2039;ăŁ
everywhere else, but it is linked to what is happening there. It is
but we want people to react to it and interact with it. The
Even though it is 20th and 21st century there will be historical
our relationship here, over and above the V&A gallery, are
about value driven design and the values that drive good design. objects that are that are carefully selected to provide context for the gallery. It will be here for up to two years and then it might move on to somewhere else.
ART.ZIP: Whose semi-permanent collection is this? The V&A s? TR: Yes it is something our partners are very keen on, right from
the word go, to use this as an opportunity to bring V&A objects to
audiences around Shenzhen. Some of the objects are already in the
V&A collection and some we are acquiring as we go along. We want to select things that will build a really strong narrative.
learning programs that we are putting together as part of an important way of prompting interaction with the V&A, with ideas at a more introductory level. It doesn t really
suit us, doesn t give us the impact we are after if we just bring content, it lands and then it goes. It has to create
something, a new idea or a new view, some sort of outcome. The outcome we are hoping for is that it will make people think, react, respond and then take away thoughts and
ideas that they then use in their daily lives. Whether they
are a designer, in the creative industries or just an interested member of society, we hope that they will take away something that they can use.
ART.ZIP: How much is the Asian department of the V&A museum is involved in this project?
ART.ZIP: How will the V&A s work here be evaluated?
important to us, and very important to China Merchants, was
and for new ideas to come about, but we also want people
TR: They are very heavily involved. One of the things that was
the secondment of one of our very talented Asia curators, Luisa
Mengoni. She is based in Shekou, she is a China expert, and she
studied in China and speaks Mandarin. That link which is very deep
and very real is absolutely crucial. In fact, it couldn t happen without it. If we couldn t eďŹ&#x20AC;ect that secondment, it would have been very
diďŹ&#x192;cult. It is what gives it the knowledge and curatorial credibility.
TR: We want to leave a lasting footprint for the V&A as well.
We want to be generous and provide a platform for debate to come to know the V&A, to know about the idea and the collection. In a very practical way, we want to see more
people in China coming to see the V&A or V&A exhibitions
around the world. We also want them to see the V&A online and get to know us, if they don t already.
Luisa is the head of the V&A gallery working with the new, very
talented, V&A curator Brendan Cormier. It is the perfect combination.
ART.ZIP: The V&A is keen on educating the public and professionals here in China. I think that the V&A has always been more open than other museums in the world. Could you talk about what you anticipate or expect from the Chinese public? TR: What we want from the Chinese public is challenge and
engagement. We have been provoking and encouraging that
relationship with the public and creative communities in China for the last two or three years. That relationship will inform what we
put on here, but when we open we then want challenge, this is not
ä&#x152;&#x;⢾朸ä&#x2022;§ę° ĺ&#x192;˝î&#x161;&#x2030;ë ˝âş&#x2018;â&#x17E;&#x192;âŚ&#x203A;ä&#x2122;źç˝&#x152;ď&#x2DC;śâ&#x153;˝âš&#x203A;ď&#x2DC;śă&#x201D;?估ď&#x2DC;šâ&#x161;&#x203A;ä&#x2013;°â&#x161;ĽĺŻŠă&#x20AC;&#x160;ć¤&#x161;ä&#x2122;&#x201A;ď&#x2DC;šäĽ°ćŹ˝
and discussion, we have chosen seven key valuesĚśperformance,
č&#x17D;&#x2021;錹朸â&#x17E;&#x192;ď&#x2DC;šä§ŽâŚ&#x203A;鿪ä&#x2039;&#x17E;ĺ&#x160;&#x2020;â&#x17E;ŽâŚ&#x203A;č&#x2026;&#x2039;㣠ä&#x2013;°ä§ŽâŚ&#x203A;朸ă &#x2013;⥲é&#x17D;&#x2122;âˇ&#x201D;â&#x161;Ľĺ&#x2030;¤ä¨žä&#x2013;¤ć¸¤ď&#x2DC;ˇ
the ďŹ nished article. If we get the gallery right, it will provoke debate cost, problem solving, materials, identity, communication and
âľ&#x152;ĺ&#x201A;&#x2C6;ä&#x152;˘ćŹ°ĺ´&#x17E;â&#x161;Ľď&#x2DC;ˇć?&#x201A;é&#x201D;¸ĺ&#x192;˝ĺ´&#x17E;鏪ĺ&#x20AC;´âśžä &#x2018;援ĺ&#x2122; â&#x161;Ľćś¸é?¤é&#x17D;&#x2122;ä&#x152;&#x152;ď&#x2DC;šéźŠĺ&#x192;˝ăźŠé?¤é&#x17D;&#x2122;ä Ž
wonderĚśthat we think drive design and the design process, we
"35 ;*1î&#x161;&#x2030;ĺ&#x2030;&#x201C;çŠ&#x2026;⥚âŚ&#x203A;ĺ&#x2030;&#x161;㼜⥌é?ąâ Ž7 "ă&#x2013;&#x2C6;ĺš&#x20AC;ă&#x2013;&#x2022;éš&#x17D;é ¤ćś¸ä&#x160;¨âĄ˛î&#x161;&#x17D;
a discussion around that, for people to tell us why they would have
ć¤&#x161;ä&#x2122;&#x201A;䲿âŁ&#x2DC;â&#x2122;§âŚ?ę&#x;&#x161;ä˝&#x17E;朸ä&#x17D;&#x201A;ă&#x20AC;ľď&#x2DC;šâ&#x203A;łä&#x2039;&#x17E;ĺ&#x160;&#x2020;â&#x17E;&#x192;âŚ&#x203A;â&#x153;Ťé?&#x2018;7 "朸ć¤&#x161;ä&#x2122;&#x201A;ă&#x201E;¤ä˝?询ď&#x2DC;ˇă&#x2013;&#x2C6;
wouldn t say that they are the only seven, but we want to provoke chosen diďŹ&#x20AC;erent values that they think are important. We want to see a reaction, we don t want this to be a passive experience for
the visitor, not that we want everyone to come in and criticise it,
53î&#x161;&#x2030;䧎âŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;ă&#x2013;&#x2C6;é¸?é&#x2026;ćŽ&#x2020;â&#x2122;´â&#x2122;§â?&#x2030;7 "朸é§&#x2C6;é¨&#x2039;ď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x;?é&#x160;´ć?&#x20AC;é&#x17D;Łé&#x201D;¸âżťĺ&#x20AC;&#x17E;
ĺ&#x2C6;żăť&#x153;꼚朸㞾ęŹ&#x2014;â&#x2122;łď&#x2DC;šä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;ĺ&#x2C6;żă˘ľâ&#x161;Ľă&#x2022;&#x153;朸â°&#x2014;ćť&#x17E;ă&#x20AC;łâ&#x;&#x192;é&#x2039;ˇé¨â˘ľâľ&#x152;č&#x2013;&#x160;ă&#x2022;&#x153;⿎ é&#x152;&#x161;7 "â˝&#x2C6;ć&#x161;&#x;ę¸ď&#x2DC;šë&#x201E;&#x201C;ë&#x20AC;ż7 "ă&#x2013;&#x2C6;â&#x161;&#x2020;ć˛ă ?ă&#x2013;&#x2019;朸ăž?é&#x152;&#x2019;ă&#x201E;¤ę°ŞćšĄď&#x2DC;ˇä§ŽâŚ&#x203A;â&#x203A;łä&#x2039;&#x17E;ĺ&#x160;&#x2020;ăŁ? ăšťă&#x20AC;łâ&#x;&#x192;ä&#x2013;°çŹŞçŞ&#x201E;ä&#x17D;&#x201A;ă&#x20AC;ľĺ&#x2C6;żă˘ľă&#x2013;&#x2019;â&#x153;Ťé?&#x2018;䧎âŚ&#x203A;ď&#x2DC;ˇ
PUNCH
ä¸
5&95 #: äš&#x160;äż&#x2019; î&#x203A;&#x2021; )"33: -*6 ⡠ç&#x2022;šĺ&#x2026;&#x2018; 53"/4-"5&% #: çźşé&#x2122;ź î&#x203A;&#x2021; $"* 46%0/( čŠ?蹣ĺ&#x152;&#x152;
East and West are by no means a mere geographical parting; to any Chinese
ĺ&#x152;&#x152;ĺ&#x20AC;°č&#x17D;&#x2026;é&#x160;Żĺ&#x20AC;°ď&#x2DC;šâ&#x17E;żé&#x201A;?朸â&#x2122;śâŤŚâŤŚĺ&#x192;˝â&#x2122;§âŚ?ă&#x2013;&#x2019;ă&#x161;&#x2013;â&#x2122;łćś¸é¨&#x2014;ä?&#x17E;î&#x161;&#x160;㟊
of living. With these two systems colliding with each other in his mind and
äŞéŻşćś¸ĺ&#x192;˝â°?ă¤&#x203A;éś&#x2C6;ć?â&#x2122;śă &#x161;朸é˝&#x2026;éą&#x20AC;ë&#x201E;&#x201C;猺ă&#x201E;¤ćŹ°ĺ´&#x17E;ĺ&#x20AC;°ä&#x2019;ď&#x2DC;ˇâĄ˛ć?&#x20AC;
people living in Britain, it represents markedly diďŹ&#x20AC;erent sets of logic and ways exerting their respective inďŹ&#x201A;uences on his art, Liu Jincheng, a Chinese artist who has been in Britain for over 20 years, has formed his own artistic style
and language. However, such formation has nothing to do with harmonyĚśa feeling so commonly felt in well-formed art; to the contrary, his art is ďŹ lled
with entanglement and disintegration such that it is impossible to succinctly summarise, and his pursuit of such dilemmas suggests a way to interpret his
works. Such a clue is understandable to overseas Chinese artists, for in response to a diďŹ&#x20AC;erent social mechanism, cultural context and all the metaphysical
concepts in a foreign land, we, just like Liu, have never stopped adapting,
revolting, repositioning and reshaping, in utter bewilderment. Through visual
means, Liu s works directly enlarge such a state of mind, which is the purpose of the show.
ĺ&#x20AC;´ĺŤŚâ&#x2122;§âĄ&#x2122;揰ĺ´&#x17E;ă&#x2013;&#x2C6;č&#x2013;&#x160;ă&#x2022;&#x153;朸â&#x161;Ľă&#x2022;&#x153;â&#x17E;&#x192;⢾é&#x201C;&#x17E;ď&#x2DC;šé¸?â?&#x2030;é&#x2018;&#x201A;ä&#x2022;&#x20AC;朸č&#x192;?ä&#x2013;&#x2022; â&#x2122;§âĄ&#x2122;č° é Żăšťâ˘ľé&#x201C;&#x17E;ď&#x2DC;šâˇ ę&#x2020;&#x201E;ä§ĺ &#x2021;ăž&#x20AC;č&#x2013;&#x160;ă&#x2022;&#x153;â&#x153;łâź§ă˘ľä&#x17D;&#x192;⢾ď&#x2DC;šă&#x2013;&#x2C6;é¸?
â°?ç??â&#x2122;śă &#x161;ë&#x201E;&#x201C;猺朸ç&#x201E;Ľä¸ă&#x201E;¤ä&#x2022;§ę° â&#x203A;&#x201C;â&#x2122;´ä&#x2022;&#x17D;ä§â&#x153;Ťč?&#x2C6;ä&#x160;šćś¸č° é Ż
ę´?ĺ&#x2018;&#x201D;ă&#x201E;¤é&#x201C;&#x192;é&#x17D;&#x160;ď&#x2DC;šé¸?ç??ď&#x161;łä&#x2022;&#x17D;ä§ď&#x161;´ćś¸č&#x192;?ä&#x2013;&#x2022;â&#x161;&#x203A;ĺ°?ĺ&#x2030;¤çŞŁĺŹ&#x2014;ď&#x161;łâĽ&#x153;ä§ĺ§ť ĺ?&#x201C;ď&#x161;´ćś¸ä &#x2018;ă&#x201E;&#x201A;ď&#x2DC;šé˝Ąç??âŻ?ĺ&#x20AC;&#x160;ă&#x2013;&#x2C6;ĺŽ&#x2022;éť&#x2021;ć?&#x201A;ĺ˛ ćśŽé&#x17D;&#x160;é&#x201C;&#x17E;â&#x161;Ľćś¸çŚžçŠĄă&#x201E;¤
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The solo show Punch in Bloomsbury Gallery displays 15 works by Liu from
ă&#x2013;&#x2C6;#MPPNTCVSZ (BMMFSZ朸âŚ?â&#x17E;&#x192;ăž?é&#x152;&#x2019;Őˇä¸Ő¸âť˝ę§&#x152;â&#x153;Ťâˇ ę&#x2020;&#x201E;
ďŹ gurative art series; False/Real and Memory of Stones in London, both of which
ĺ&#x192;˝é¸?â°?âŚ?猺⴪⥲ă&#x2026;ˇęťˇĺŚ&#x201E;ă&#x2013;&#x2C6;â§?äž&#x161;ę§&#x152;â&#x161;Ľăž?â´&#x20AC;ď&#x2DC;šŐˇâ§şćşŤî&#x2122;¸Ő¸çŚş
his two series produced during 2010 to 2015; it is also the debut of these two
convey the artist s perception of the current world and a reďŹ&#x201A;ection of the identity check in his inner world.
During his 30 years of being a professional artist, Liu s art career has gone
ä§ä&#x2013;° ä&#x17D;&#x192;✞⥲朸â°?âŚ?猺⴪朸â°&#x; ä&#x152;´âĄ˛ă&#x2026;ˇď&#x2DC;šâ&#x203A;ł â´Şă&#x201E;¤Őˇç&#x20AC;&#x2013;äĽ&#x160;Ő¸â°?âŚ?猺⴪鿪ĺ&#x192;˝â&#x;&#x192;â°¨é&#x;?朸é&#x201A;?麨äŠ&#x203A;ĺ˛ â˘ľâŤ&#x201E;麨
č° é Żăšťâ°&#x2030;ä&#x2014;ąăźŠćŽšâ&#x2122;´ă˘Ťă&#x2013;&#x2C6;â&#x161;&#x2020;ć˛ćś¸é&#x152;&#x161;ä Žč&#x17D;&#x2026;â°&#x2030;ä&#x2014;ąâ&#x161;&#x2020;ć˛é¨â&#x;¨é&#x2019;˘ ă &#x161;朸⿞ęş&#x2C6;ď&#x2DC;ˇ
FALSE REAL. S ERIES 01 / Oil Acrylic on canvas, 80x 60cm, 2011
ⷠꆄ㙹⡲捀耷噠谁遯㹻涸 䎃⟃⢵Ⱖⶾ⡲
竤娜✫䎙⦐♶ず涸ꥣ媯➮㖈⚥㕜儘䱺「涸 爢剚植㻜⚺纏谁遯涸鎯箻ㄤⶾ⡲倰岁ㄤⰦ⢵
ⵌ銯倰⛓䖕䨾䱺「涸殹➿谁遯ㄤㆹ㷸涸鎯箻 ㄤ䙼笞垸䒭欴欰✫噲㣐涸⿾䊴罜㖈鸏珏⿾ 䊴⛓⚥涸焥中♶锸僽䪮岁䧴僽錚䙂♳鿪㼩
ⷠꆄ䧭䕎䧭荈䊹涸谁遯괐呔欴欰✫噲㣐涸䕧 갠
ⷠꆄ䧭㖈㣐㷸宠㷸涸儘➿姻僽⚥㕜植➿爢 剚痧♧妄㨥䙼䟝㉬褑涸䎃➿㖈 䎃➿ ꦑ衽䋑㜥涸佞馊⢵馊㢵⚥㕜➃㨥滚
溏⚆歲㽍Ⱖ僽㖈谁遯倰䎃鰋涸剤俒⻋椚 䟝涸谁遯㹻ㄤꫭ䎃⦛㨥㖈谁遯♳鹎遤倞涸
㎲鑑ㄤ䱳程 倞惐 僤僤殥剚瘞麌⹛ ㄤ㕰넓㨥㾝植罜ⷠꆄ䧭⛳姻僽齡♧媯⯕ FALSE REAL. S ERIES 15 / Oil Acrylic on canvas, 100x 70cm, 2013
鰜娔剢涸鋷娜ㄤ鋅阮罏➮穉籽✫⻍❩շ⼧♧ 剢殥㾝ո⚛⸈✫⻍❩ꫭ䎃殥剚
䎃⛓䖕⚥㕜谁遯ㄤ䙼䟝歲㔔捀滞䨾ヰ濼 涸⾲㔔罜⪔「䩧㠺捀✫刿䑞ꡀ涸谁遯涮㾝
瑠ⷠꆄ䧭⢵ⵌ✫薊㕜㨥✫➮㖈銯倰
涸谁遯䱳程⛓騟➮⯓僽宠㷸倴薊㕜谁遯痧 ♧㷸䏎倛蟛䗞谁遯㷸ꤎⰦ➮㨥䱺鍸ⵌ 㸤侮涸銯倰谁遯㨥✫鍑ⵌ侮넓涸銯倰殹
➿谁遯嚌䙂匌銯Ⰽ鼹♶ず涸䙼罌ㄤ谁遯涮 㾝齅鱀㨥㖈ⷠꆄ䧭涸谁遯㻜驏⚥涮ꃋ湬
ⵌ➛傈䧮⦛➠〳⟃䖰Ⱖ谁遯⡲ㅷ⚥溏ⵌ➮ 㖈匌銯Ⰽ㤛넓禺⛓⚥焥中ㄤ欰Ꟁ䖕殆♴涸汚
騋⛳僽䖰齡儘饱➮㽠焷㹁✫荈䊹涸ⶾ⡲倰 ぢ谁遯⚛♶⫦僽矦㋲涸㾝爚欰崞刿僽ⶾ
鸤⽰⟃♧珏谁遯㹻栬暶涸铃鎊⢵邍麨㼩⚆ 歲涸錚럊
through several stages. The social realistic training and the artistic approach he received
䖰倛蟛䗞谁遯㷸ꤎ殗噠⟃䖕ⷠꆄ䧭䧭捀✫
and modes of thinking he had after moving to the West. Such a contrast resulted in
噠鸏ꤿ僱涯ꨔ涸耷噠㖈䖎㢵➃溏⢵僽㣆㺫
in China severely contrasted the contemporary artistic and philosophical practice
a profound impact on the formation of his artistic style, whether in his techniques or ideas.
Liu s university time coincided with the first enlightenment age in modern Chinese society. In the 1980s, with the open door policy, more and more Chinese students looked to the outside world, especially in art, young and idealistic artists began
their artistic experiments and explorations with movements like 85 New Wave and
organizations like the Stars Art Group popping up one after another. Liu experienced
and witnessed that golden age, he organized the November Exhibition in Beijing and participated in Beijing Youth Painters Club .
♧⡙耷谁遯㹻⟃谁遯ⶾ⡲⡲捀荈䊹涸耷 ⟃宠涸䊨⡲Ⱖ㻜⡲捀♧⦐秫礩涸谁遯㹻
Ⱖ㼩涸⽿刿㢵涸僽秫礩涸谁遯莅⚆⤺欰崞 ⛓涸濨湽⡲捀➃涸⦐넓谁遯㹻♶䖤♶
㖈丘鄭涸魨⟨钢ず爢剚钢濼⟃⿻荈䊹涸Ⰹ 䗱⚆歲⛓⚥䪪ⵌ♧⦐䎂邂럊罜鸏珏䎂邂㼩 ⷠꆄ䧭鸏垺♧⦐♶격莅⚆⤺㧇⼿涸谁遯㹻⢵
铞宕黇㷑用倴⚺崩⛓㢫宕黇䤨⚆㱸⤺㖒 訨鋕♶䎂瘞涸⭆⧩錚䙂宕黇⥃䭰㣔䚍秫葻
涸➿⭆㽠僽䖎ꨈ莅⚆⤺ず崩ざ寄➮涸⡲ㅷ
邍麨涸錚䙂僽殹➿涸⡎穪♶僽㰃⤺涸➮ 涮㾝ⴀ⢵涸䪮岁僽栬暶涸⡎穪♶僽捀✫挡
After 1989, however, the flourishing of art and different thinking came to a halt.
罇罜鸏♧ⴗⶾ⡲鿪僽黾䗅衽♧⦐窡♧涸齅鱀欽
art exploration in the West. He studied at Slade School of Fine Art, the top British
⿾꺈
Therefore, Liu came to Britain in search of a broader artistic horizon and started his school of art, where he was exposed to authentic Western art and had access to
谁遯㹻涸铃鎊⢵邍麨㼩⚆歲涸钢陏㼩ヰ黩欰崞涸
the Western contemporary artistic concepts. Different ways of thinking and artistic
姽妄㾝ⴀ涸շ⧺溫ո禺⡲ㅷ㖒⿾僦✫ⷠꆄ䧭
we can still discern in his works the traces of the collision and combination of the
涸ⶾ⡲䩛岁⢵邍麨Ⱖ㼩殹♴⚆歲ㄤ爢剚涸溏岁ㄤ
logic from the East and the West began to ferment in his practice. Up until today,
two systems. It was also from that time on, he confirmed his artistic orientation̶
art does not simply showcase life but is more about creation, that is, expressing the artist s view of the world with his unique language.
After graduation from Slade, Liu became a full-time artist. The high-brow
occupation may seem to be a dream for many, but as a professional artist, he had to confront the dilemma between the pursuit of pure art and a realistic worldly
life. An artist has to strike a balance between split identity, social recognition, and
his inner world, but this has proved difficult for Liu who is never ready to surrender himself to the mundane. He is always pushing to be alternative, despising unequal values with anger, and striving to maintain his pure nature. The idea expressed in
鵜❀䎃⢵㖈谁遯걆㚖涸䱳程ㄤ䙼罌鸒麕馄㻨㻜 钢濼齡❉吲吲㥶欰乩剤䟂㦫䟂聱稣眏涸殥⡲䖃 䖃鄄錚罏铐⟃捀僽♧䓹鄄䫔䲵涸秶䓹䧴僽伢䕧
⡲ㅷ⽫ⵘⴀ⢵涸㕬⫹罜㻜ꥹ♳⽿僽鸒麕醳꧹涸屘 殥䪮岁ⶾ⡲ⴀ⢵涸粭殥⡲ㅷ鸏珏⡂僽罜ꬌ涸ツ植 佪卓⛳姻邍麨✫谁遯㹻䨾銴䱳鎣涸ꡠ倴溫㻜莅 贡圓邍韍莅劥颶⛓涸ꡠ⤚⢪⧺⫹䧭溫涸
植韍僽♧⦐宕䚻涸ꦡ㌈㖈䧮⦛欰崞涸⚆歲殹⚥ 䧮⦛♶倬㖒䱺「ぐ珏⧺韍⚛幀幀㖒睛⥌鸏❉⧺ 韍捀溫⚛圓䧭✫䧮⦛欰崞涸鿈罜鸏⛳鏪僽 䧮⦛㈔♧腋㣁焷钢涸♧珏溫椚
his works is contemporary, but his works are never kitsch; the skills he develops
ず 儘 ➮ ⛳㖈 䱳 宠⦐ ➃ 欰 崞 竤 娜 涸 ⭆ ⧩ 錚㼦 䪪
consistent logic̶to express the understanding of the world and the feedback to
罜շ瀖䥊ո禺姻䒭➮㖈鸏珏⿾䙼莅䱳程♴涸⡲
are unique, but never for the sake of showing off. His practice is governed by a life with an artist s language.
The False/Real series fully reflects Liu s exploration and thinking in art in the past
five years, which is dedicated to his understanding of the current world and
society by means of ultra realism. The vivid works with lifelike details are very
often mistaken by viewers as crumpled paper or photocopies of photographed
works, however they are actually the product of intricate oil painting techniques. Furthermore, such somewhat ambiguous representation is, in fact, apt at
disclosing the relation between what is real and false and what is displayed and what is intended. Making illusion seem real is an eternal metaphor̶in our life,
we often take illusions as granted and have faith in them to be real, we see them
as indispensable parts that construct the whole of our life̶sadly this may be the only truth we can be sure of.
At the same time, he has been probing into values based on his personal living experience and finding appropriate artistic representations for the cultural
background and tradition he was immersed in, and his current artistic climate. The
Memory of Stones is a work that illustrates his reflection on these points. We have
every reason to believe that Liu will continue pursuing and innovating his art in the days to come.
荈魨涸俒⻋胝兞莅⫄窡㖈殹♴谁遯涸邍植䕎䒭
ㅷ湱⥌㖈劢⢵ⷠꆄ䧭刿㼟剚♶倬㖒宠程ㄤⶾ倞 ➮涸谁遯
ZHANG DING:
ENTER THE DRAGON
䓹렳륌昰贅놽 */5&37*&8&% #: 䱰鏞 )"33: -*6 ⷠ畹兑 5&95 #: 乊俒 2*8&/ ,& 叕巯ꨚ 53"/4-"5&% #: 缺陼 /*$)0-"4 "/%&340/ 㽲〢䬘倛v㸝䗞啿 *."(&4 $0635&4: 0' 㕭晙䲿⣘ , "35 '06/%"5*0/ , 谀遮㛇ꆄ剚
K11 Art Foundation (KAF) and Institute of Contemporary Arts (ICA) jointly
presented the first solo UK institutional exhibition of Chinese artist Zhang
Ding, entitled Enter the Dragon. The exhibition consisted of an installation
that directly references the final scene from the seminal Bruce Lee film Enter
the Dragon (1973). Zhang transformed the ICA theatre into a mutating sound
sculpture , covering the room with mirrored surfaces, suspended sound panels and a series of rotating mirrored sculptures situated next to two identical
music stages. For the duration of the exhibition a series of daily performances by 28 local bands seek to activate the installation to create a platform for cooperative improvisation, experimentation and self-reflection.
, 谁遯㛇ꆄ剚,"'ㄤ⧍侚殹➿谁遯灇瑖ꤎ*$"耢
ざ⚺鳵✫⚥㕜谁遯㹻䓹렳涸껷㜥薊㕜⦐➃㾝錒շ䓹렳
륌昰贅놽ո㾝錒涸谁遯酤縨䒸欽✫⚆歲耂そ涸娀䩧僈
僤勛㼭륌涸ꨶ䕧շ륌昰贅놽ո ⚥剓䖕♧䍌谁
遯㹻䓹렳䪾⧍侚殹➿谁遯灇瑖ꤎ涸ⷜ㜥瑠佖鸤䧭♧
䏠耫갉ꧨ㝖䨼莦怏梯槵ꖏ갉갠酤縨ㄤ♧鸮⚮
偒鱲涸ꖏ㶩ꧨ㝖鄄縨倴Ⰽ⦐邍怵莻〵⛓➮Ⱇ䬸
✫薊㕜劥㖒涸 佅坿㖈鸏⦐暶婌涸莻〵♳ず儘鹎遤
㻜뀿䚍ㄤ荈䧮錚撑涸⽰莇邍怵
"35 ;*1î&#x161;&#x2030;ă&#x2013;&#x2C6;é¸?ĺŚ&#x201E;*$"ă&#x201E;¤, 朸ă &#x2013;⥲갪暥â&#x161;Ľď&#x2DC;šć&#x2039;*$"äŽ&#x2039;éź&#x2021;ă &#x2013;éť
and K11 and the ďŹ rst institution that K11 has a cooperative relationship
č° é Żćś¸âŤ&#x201E;窥ď&#x2DC;šç˝&#x153;â&#x161;&#x201A;ĺ&#x192;˝ĺ&#x2030;¤â¨&#x17E;é¸?ç??ăť&#x153;ë&#x20AC;żę°&#x2030;ĺ?żćś¸âŤ&#x201E;窥ď&#x2DC;ˇ ä&#x17D;&#x192; ĺ&#x2030;˘
ZD: Actually, I m still not too sure. This is the ďŹ rst joint project between ICA with in the UK. The ICA not only has a history of putting on this sort of performance art, but also experience with more experimental music. In April 2014, I put on a performance in Beijing called Orbit of Rock.
Taking inspiration from the 1991 Monsters of Rock show in Moscow, that legendary show which was rumoured to have contributed to the fall of the USSR, but in actuality it was just a way for the government to show
their appreciation of the youth. The ICA felt that this project ďŹ tted with
朸â&#x161;Ľă&#x2022;&#x153;č° é Żăšťď&#x2DC;šâĄšĺ&#x192;˝ăĽśâĄŚé&#x201E;&#x201E;éź&#x2021;â&#x161;Ľä§ć?&#x20AC;ę˝?ă&#x153;Ľč° é Żăšťćś¸î&#x161;&#x17D;
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their goals and slowly we began to discuss how we could work together.
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ART.ZIP: You turned the exhibition space into a concert hall, why is rock music so connected to this project?
;%î&#x161;&#x2030;䧎ä&#x2013;°ăźă˝ č &#x192;ä´¸ć&#x20AC;&#x17D;â&#x153;Ťď&#x2DC;šé˝Ąĺ&#x201E;&#x2DC;ćş?é¸?ă&#x153;Ľć&#x20AC;ľâ´&#x20AC;朸ę?&#x2014;⍚ä&#x152;&#x;ď&#x2DC;šď&#x2C6;Łĺ&#x192;˝ę&#x2020;&#x201E;ăż&#x201A;
ZD: I grew up listening to rock and watching tapes of the performances,
it was all rock and metal music. Pantera, The Black Crowes, Metallica, AC/ DC, these kinds of groups. When listening I was energised, it really got
the blood pumping. Actually this project is not too closely related to my childhood, but it is interesting to watch those tapes again. Since that
time has passed, many things have changed and this sort of music scene is now seeing a resurgence. I wanted to try and see if the mood could
é&#x160;´â¨&#x17E;â&#x2122;§âŚ?ęĄ ĺ&#x20AC;´ä´¸ć&#x20AC;&#x17D;朸갪暥î&#x161;&#x17D;
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ă&#x201D;&#x2039;âŚ?ĺ?żęĽ&#x2122;â´&#x2022;ⴽ矺ć&#x20AC;ľâ&#x153;ŤćŽšĺ&#x201E;&#x2DC;朸ĺ?żęĽ&#x2122;é&#x201A;?ć&#x20AC;ľď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;齥ă&#x153;Ľć&#x20AC;ľâ´&#x20AC;朸饝俲 韊ă&#x2013;&#x2C6;ď&#x2DC;šę°&#x2030;ĺ?żćś¸ç&#x153;?ă¤&#x2030;ĺ&#x192;˝â&#x2122;śĺ&#x2030;&#x161;é&#x161;śâť&#x2039;朸ď&#x2DC;ˇä§Žâ&#x2122;śĺ&#x2030;&#x161;ęŚ&#x2018;â¤&#x2018;⿥é&#x2020;łé&#x2020;˘â&#x;¤âĄŚâ&#x2122;§
Installation view of ICA and K11 Art Foundation present Zhang Ding: Enter the Dragon Institute of Contemporary Arts London (ICA), Courtesy of K11 Art Foundation
ART.ZIP: In the cooperation between ICA and K11, ICA chose a selection of Chinese artists. How were you chosen to become the resident artist?
Installation view of ICA and K11 Art Foundation present Zhang Ding: Enter the Dragon Institute of Contemporary Arts London (ICA), Courtesy of K11 Art Foundation
be replicated. I found four bands, and as long as the tapes are still there, the
ă&#x153;Ľć&#x20AC;ľâ´&#x20AC;ď&#x2DC;šä§Žé&#x152;?ä&#x2013;¤ ä&#x17D;&#x192;朸齥ă&#x153;Ľă &#x2013;éť ĺ&#x192;˝ă&#x201D;&#x201D;ć?&#x20AC;ď&#x2DC;šâ&#x2122;§â˘ľă¸?ă&#x201E;¤ä§ŽâŚ&#x203A;
Chinese background, and secondly the USSR and China at that time were close
č&#x192;?ĺ&#x2026;&#x17E;ď&#x2DC;ˇę§Şć?䧎â&#x2122;śé&#x201D;&#x201C;ä˝&#x;ĺą&#x203A;ď&#x2DC;šâĄ&#x17D;韊ĺ&#x192;˝ę¨žé&#x160;´äŞŞâ&#x2122;§âŚ?â´&#x20AC;č´&#x2013;䧴ç˝?é&#x201C;&#x17E;
rhythm of the music can be the same. I feel the 91 performance also ďŹ ts the
too. Although I didn t want to focus on politics, I still needed a way to tell the story and the audience connected to it easily.
ART.ZIP: So is there a speciďŹ c story to tell with the ICA s show?
ZD: In the beginning we discussed just importing the Beijing show, and it was relatively easy. But I thought that the cultural musical background was too
diďŹ&#x20AC;erent. Beijing and the UK s connection is not that strong. I could not simply
transfer my memories across. After discussions with the ICA, I decided to create
a new project related to Western Culture. I thought of Bruce Lee, who everyone knows, and the last scene of his movie Enter the dragon, which was a mirrored
house. That thought was there from the beginning of the project and I gave
my project the same name Enter the dragon. The English name also seemed to ďŹ t with the international political relations with China. I don t focus on politics directly, but it wasn t possible to think of this project without it.
Speaking of culture, national boundaries are not so clear, especially when it comes to music. Unlike visual art which needs more experience to judge it, music is often more straightforward. Over the last few projects it became
increasingly clear that I was diluting my artistic identity, and acting more as a
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producer. For me being the artist is not too important, I wanted to be more like
ä&#x2013;¤ĺ&#x2C6;żćšŹäąşâ&#x2122;§â?&#x2030;ď&#x2DC;ˇä&#x2013;°âżĄä&#x17D;&#x192;âľ&#x152;â&#x17E;&#x203A;ä&#x17D;&#x192;â¨&#x17E;â&#x153;Ťä&#x17D;&#x2122;âŚ?갪暥â&#x;&#x192;ä&#x2013;&#x2022;ď&#x2DC;šä§ŽéŚ&#x160;â¸&#x2C6;ĺ&#x192;&#x2C6;
artists in the 60 s to 80 s had this sort of attitude, whereas these days it is not so
⥲â&#x17E;&#x192;ď&#x2DC;ˇč° é Żăšťâ&#x2122;śč° é Żăšťé¸?â&#x;?â&#x153;˛â&#x2122;śę&#x2026;žé&#x160;´ď&#x2DC;šă˝ ⍚ć¤?ă&#x2013;&#x2C6;朸ç&#x17D;&#x2018;ä&#x17D;¸ă&#x2020;&#x17E;é&#x160;´
an open source programmer. I just want to be able to express myself. In fact
common. In today s business environment it seems that artists have returned
to the renaissance or classical period. They pursue a strong personal language and become more and more conservative.
ART.ZIP: The sprit of rock and roll pervades this project. In the West, rock is pretty mainstream, but in China it is more niche, what is your take on this phenomenon? ZD: These ideas are connected. I feel that people who like rock see themselves on the margins. But I think we misread a lot of western artists. Van Gogh is a
prime example of artists going crazy and people see rock musicians as doing
of misunderstanding. We read these legendary biographies and then think we want to be like them.
ART.ZIP: The UK and China have diďŹ&#x20AC;erent ways of working, did you notice this during this collaboration? ZD: We communicated very smoothly and there were no real problems, apart
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"35 ;*1î&#x161;&#x2030;ä´¸ć&#x20AC;&#x17D;朸礜ç&#x2030;&#x;â&#x2122;§ćšŹéĄ?ç&#x2018;ă&#x2013;&#x2C6;é¸?ĺŚ&#x201E;ć&#x20AC;ľâ´&#x20AC;갪暥â&#x161;Ľď&#x2DC;šä´¸ć&#x20AC;&#x17D;ă&#x2013;&#x2C6; é&#x160;Żĺ&#x20AC;°ç&#x2C6;˘ĺ&#x2030;&#x161;ă&#x20AC;łâ&#x;&#x192;ç&#x161;żâ&#x161;şĺ´Šď&#x2DC;šâĄ&#x17D;ă&#x2013;&#x2C6;â&#x161;Ľă&#x2022;&#x153;çą?ĺ&#x192;˝č´&#x2013;ă&#x2013;&#x2C6;â&#x161;şĺ´Šâ&#x203A;&#x201C;㢍ď&#x2DC;šâĄšä&#x2122;Śë&#x17E;&#x192; ćş?ä&#x2013;&#x160;é¸?âŚ?ć¤?é&#x;?î&#x161;&#x17D;
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from some issues with the budget, when I would have to insist and then they
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strong work initiative and there would be emails going back and forth each day
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would try their hardest to make it happen. The team at the ICA has a very
solving any issues as they arose including the selection of the band. The curator Matt Williams did not ďŹ t my expectations for foreigners, people who would not work during weekends or holidays, Matt was the complete opposite. My team
in China was extremely rigorous. More than a month before I arrived, I send ICA a complete set of eďŹ&#x20AC;ect drawings, including details of the installation and ďŹ&#x201A;oor plans, it was all very accurate. I almost don t need to be there at the venue.
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â?&#x2030;ă&#x2030;?ę˛&#x2014;ď&#x2DC;šĺ&#x2030;¤ćś¸ĺ&#x201E;&#x2DC;⌏䧎ĺ&#x2030;&#x161;é&#x201C;&#x17E;â´&#x20AC;䧎朸ă&#x203A;&#x161;ä°ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;ĺ&#x2030;&#x201C;ä&#x2013;&#x2022;â&#x203A;łĺ&#x2030;&#x161;ćš&#x2C6;ę&#x2020;&#x20AC;ăť&#x153;
ć¤?ď&#x2DC;ˇ*$"ă&#x2022;°ęĽ&#x2122;朸ä&#x160;¨âĄ˛â&#x161;şâš&#x203A;ä&#x161;?ä&#x2013;&#x17D;ä&#x201C;˝ď&#x2DC;šăŁ?ăšťĺ&#x2030;&#x161;卌ăŁ&#x201D;â&#x153;˝é¸&#x2019;éż&#x;â&#x;?é?&#x2018;寚
ă&#x2030;?ę˛&#x2014;ď&#x2DC;šâşŤä?ă&#x2013;&#x2C6;ĺ?żęĽ&#x2122;äŽ&#x2039;éź&#x2021;朸ĺ&#x201E;&#x2DC;⌏â&#x203A;łĺ&#x192;˝ď&#x2DC;ˇç&#x2DC;źăž?â&#x17E;&#x192;ęź&#x203A;ć&#x161;śă&#x201E;¤ä§Žâ˝Ťé&#x;?â&#x161;Ľ 朸ç˝&#x2030;㢍â&#x2122;śăŁ&#x2013;â&#x2122;§ĺ&#x17E;şď&#x2DC;šä&#x2013;&#x17D;㢾â&#x17E;&#x192;ă&#x20AC;Ťé&#x160;´ä˝&#x17E;⧺㽠â&#x2122;śä&#x160;¨âĄ˛â&#x153;Ťď&#x2DC;šęź&#x203A;ć&#x161;śă¸¤ď&#x2C6;Łâ&#x2122;ś â&#x2122;§ĺ&#x17E;şď&#x2DC;ˇä§Žĺ&#x20AC;°ćś¸ă&#x2022;°ęĽ&#x2122;ä&#x160;¨âĄ˛â&#x203A;łĺŤ˛éŻąă&#x201C;&#x201A;é&#x2DC;&#x152;ď&#x2DC;šă&#x2013;&#x2C6;⢾â&#x203A;&#x201C;âľšâ&#x2122;§âŚ?㢾ĺ&#x2030;˘ď&#x2DC;šä§Ž ä&#x160;şçŤ¤ćśŽçŞ?*$"â&#x2122;§ă¤&#x203A;㸤䞎朸佪ĺ?&#x201C;ă&#x2022;Źď&#x2DC;šâşŤä?䨞ĺ&#x2030;¤ç¨Łç&#x153;?ă¸&#x17E;é&#x2026;¤ćś¸ĺ&#x20AC;ˇä&#x160;¨ ă&#x2022;Źď&#x2DC;śä&#x17D;&#x201A;ęŹ&#x2014;ă&#x2022;Źď&#x2DC;šéżŞä&#x2013;&#x17D;礜ç&#x201E;ˇď&#x2DC;ˇä§Žä&#x17D;&#x2122;â&#x203A;&#x2013;鿪â&#x2122;śę¨žé&#x160;´ă&#x2013;&#x2C6;ă&#x153;Ľď&#x2DC;ˇ
Installation view of ICA and K11 Art Foundation present Zhang Ding: Enter the Dragon Institute of Contemporary Arts London (ICA), Courtesy of K11 Art Foundation
that too, but there are a lot of western factors as well. In fact I think there is a lot
ç&#x201E;ˇćś¸ĺ&#x192;˝ď&#x2DC;šä§Žă&#x2013;&#x2C6;ĺ¸?âť&#x2039;ä§Žč° é Żăšťćś¸é¨â´&#x2022;ď&#x2DC;šä§Žĺ&#x2C6;żę˛Šä &#x2018;䪞č?&#x2C6;ä&#x160;šĺ¨?ć?&#x20AC;é&#x2020;˘
HOW TO JUSTIFY GAME PRODUCER
JENOVA CHEN AS AN ARTIST IN THE POST DIGITAL ERA
康倴谁涸꤫僤恎
Ղ䖕侸焺儘➿涸谁遯㹻 5&95 #: 乊俒 +04)6" (0/( 륞⛓⯈
Jenova Chen was a video game producer, born in Shanghai and now working
in the US. The games he made were conceptually avant-garde, and in 2008 he
was nominated by the MIT Technology Review as one of the top 35 innovators in the world under the age of 35. In spite of his technological education
forcedly set by his Chinese parents, Chen has always wanted to be an artist. He realised such a dream by making artistic digital programmes that expressed
his aesthetic and philosophic ideals. This article will try to analysis the relations
between Chen s art and the Post Digital Era, through three aspects: Art History, Psychoanalysis and Museology.
꤫僤恎僽♧⡙ⴀ魨倴♳嵳植㾀繡㕜涸麉䨡醢⡲➃➮
䨾醢⡲涸麉䨡歋倴Ⱖ遺涸✽⹛椚䙂鄄շ螠晋遳傈㜡ո
瘞㯯넓隘捀狪䌌 䎃➮鄄շ란溁椚䊨猰䪮鐱锸ո
捀 娔⟃♴⚆歲剓剤䕧갠⸂涸 ⡙ⶾ倞罏⛓♧< >➮
荈㼭ꃏ䠦谁遯〳➮昿嫢⽿䋞劆➮㷸绢椚猰< >鄄鶗饥
♳鎙皿堥管玑麥騟涸➮⽿䧭⸆㖒鸒麕侸焺玑䎸㻜植✫
谁遯涸㣆䟝鸒麕侸焺䩛媯ꡪꅼ✫➮㼩谁遯ㄤㆹ㷸涸椚
鍑劥俒傌㖈䖰谁遯〷䗱椚㷸ㄤ⽈暟긭㷸♲⦐倰⢵
ⴕ區꤫恎僤涸玑䎸莅䖕侸焺儘➿谁遯涸ꡠ⤚
侸焺谁遯莅䖕植➿⚺纏
In discussing the Post Digital Era, Post Modernism is inevitably involved,
锓⿻䖕侸焺儘➿♶〳鼚⯝㖒銴䲿ⵌ䖕植➿⚺纏涸憭
become widely used since the 1980s; and not only had it questioned
⚂莅⚥㕜涸倞惐俒谁⛳幇彂걃幀繡㕜俒⻋㷸㹻鑹僈⥌倴
no matter how vernacular it appears nowadays. Post Modernism has
the traditional linear historiographies, but also blurred the boundaries
between different art media. From a conservative view, Jenova Chen, as a game producer, cannot be qualified as an artist. Ironically, his work, in the
field of video games is thought to be art, a great experience rather than a serious game, due to its avant-garde concept. Traditional games whether focused on controllability (e. g. Super Mario series), or narrative-effects,
like a film (e. g. Final Fantasy series). Hideo Kojima s Metal Gear Solid series
was a rare high quality game that fully presents those two elements. Even though Kojima was regarded as talented as a great film director, his game was heavily influenced by film. Only until digital games could justify its
unique experience that traditional arts (painting, sculpture, film, literature, choreography etc.) failed to provide, could it claim itself as the Ninth Art.
Chen s work presented the essence of digital art that has never been fully articulated before.
He made Cloud, Flow, Flower and Journey, and none of which emphasised
on controllability or narrative. The naturalistic visual and easy listening
鍱䖕植➿谁遯椚锸㖈 䎃➿㨥♶⫦㖈銯倰㣐遤Ⱖ麥罜
䎃㖈⻍❩㣐㷸鹎遤✫捀劍㔋⦐剢涸闍㷸➮涸闍㷸Ⰹ
㺂⤑僽 䎃ⴀ晝涸շ䖕植➿⚺纏莅俒⻋椚锸ո⚥俒晝⯓ 倴薊俒晝䎙䎃僽䖕植➿⚺纏そ衽 䎃歍⠭㖈⚥㕜 涸㾝錒䒸涮✫⚥㕜谁遯歲㼩䖕植➿⚺纏⟃⿻倞㯯넓ㄤ䪮遯 涸鎣锸< >㖈 倞惐涮㾝䖕劍⚥㕜涸谁遯㹻ㄤ椚锸㹻䊺竤
㨥ꡠ岤䖕植➿椚锸搭罜殹儘鯱捀窡♧涸湡垦⽿僽谁遯涸
植➿⻋罜⚛♶僽䖕植➿⻋䄖饱倴 儘➿涸⚥㕜殹➿谁遯
そ㹻⦛鿪僽䖰垸亼儘➿饥⢵欽秶劥鸒⥌ⵌ✫ ⚆私ꦑ 衽䗏⽈䗏⥌涸䄖饱⟃⫄窡涸〵䒭ꨶ舡穅畮捀⣜鎷涸侸焺
❜崩倰䒭⛳涮欰✫佖隶剤㷸罏钢捀殹侸焺䊺竤忶鷴ⵌ爢剚
涸倰倰♶ⱄ倞늫儘⛳㽠鹎Ⰵ✫䖕侸焺儘➿< >⚥㕜 涸殹➿谁遯㹻⦛㖈ⶾ⡲儘䎙⛖ꨈ⟃鼚⯝⢪欽侸焺䩛媯鸏⢪ 䖤侸焺谁遯鸏♧嚌䙂⿾罜隶䖤⯏怏昰陾傂搭䨾剤谁遯㹻鿪
㖈♧㹁玑䏞♳ⵄ欽✫侸焺䪮遯齡랃僽や㶸㖈秫礩涸侸 焺谁遯㹻ヤ꤫僤恎䧴鏪腋㣁鄄珖捀僽侸焺谁遯㹻
Super Mario Bros Original screenshot
DIGITAL ART AND POST MODERNISM:
music conveyed a therapeutic experience to the participants. Digital art
presents its own idiosyncrasy: spontaneous and dynamic interaction with the
audience. In the light of this innovation, traditional viewers of art transcended to interactive participants.
Moreover, Chen can also be regarded as a contemporary artist, because his
work explored the critical issues in contemporary society. His observation, like many avant-garde masters, is acute and ahead of time. For example, Cloud
elucidated his anxiety caused by air pollution. It was produced in 2005, and
was based on his childhood memory: he was in a hospital in Shanghai due to asthma, dreaming about flying above the skyscrapers freely inhaling fresh air. The game was set in a scene consisting of blue sky, white clouds, and green
islands. The participants would control a flying boy collecting and interacting with white clouds and purify the polluted environment. When he arrived in the US, Chen was sad to see the difference between the skies in the US and Shanghai. The game reflected the critical issues caused by Modernisation,
Industrialisation and Urbanisation. Chen s satire on the Chinese environment
was prophetic, because the smog problem in China had not become apparent until 2010. Chen regarded himself as an artist and he stressed on such an
identity by comparing with famous directors such as Steven Spielberg and Journey, game screenshot
Hayao Miyazaki. Chen said: Deep down I feel I am still an artist, wishing to
make things and share. Even though my major is computing, for me it is just a suitable approach to art.
FLOW ART: Chen s games tended to be consistent, it was because he always applies
the psychologic ideas of Flow to his work. Flow theories was coined by the
Hungarian psychologist Mihaly Csikszentmihalyi in 1975. He postulated that
䖕植➿⚺纏涸ⴀ植♶⫦䩧灶✫⫄窡莅植➿⛓涸箁䚍娜
motivation; and once one s goal was fulfilled by the motivation, the ultimate
倬꤫僤恎僽♧⡙ꨶ㶩麉䨡醢⡲➃♶䥰鑪㿂倴谁遯㹻
when one immersed in a Flow zone, one will completely have focused on
satisfaction and happiness would be achieved. Chen studied Flow theories and drafted design concepts. According to the charts, Chen attempted to find a
path to happiness by keeping the balance between Challenge and Ability for
overcoming Anxiety and Boredom. Through this path, participants would find
happiness. It was due to such an idea, Chen s work always appears therapeutic. Advancing from Cloud, Flow and Flower tended to be more abstract and
conceptual. They formed a Taiji-flow between action and inaction, because concrete historical events (air pollution) had been downplayed. The most recent Journey can be regarded as a mature work of Flow philosophy.
In Journey, participants would assume the role of a journeyman in abstract figure, wandering in a vast desert. In the journey, participants are required
〷齅鱀刿垸祎✫谁遯㯯➝涸歲ꣳ欽⫄窡涸錚럊⢵ⴼ
搭罜㖈麉䨡歲꤫僤恎涸⡲ㅷ⽿鄄钢捀僽谁遯僽♧媯繡
㥪涸넓뀿罜♶僽麉䨡㔔捀➮涸⡲ㅷ湱殹ꬌ⚺崩< > ⫄窡涸ꨶ㶩麉䨡銴랃䓽锅乽⡲㥶շ馄秹꼛ꅽ㤹ո禺 銴랃䓽锅ꨶ䕧侃✲佪卓㥶շ剓穅䎑䟝ո禺罜䪾鸏Ⰽ
珏넓뀿涮䳸䖤巵怳湈荞涸㽠銴侸鸮倛淼晋⠭呔鿪飬♶穪 〡涸歋㼭䃋猗㣗醢⡲涸շ悴륌镄䕧ո禺✫⭽盘㼭䃋 猗㣗鄄钢捀噲Ⱘ管㼬䩞螠⡎僽➮涸麉䨡⛳鼩搂岁仗膨 ꨶ䕧涸䕧갠ꨶ㶩麉䨡㥶卓銴捀痧⛰谁遯姻そ齡랃
㸐㽠䗳갭ツ植ⴀ莅⫄窡Ⱄ㣐谁遯鿪♶♧垺涸暶蒀罜꤫ 僤恎涸⡲ㅷ䪾ꨶ㶩麉䨡涸谁遯䚍䲿⼮ⵌ✫♧㹁넞䏞 ꧪ搭㖈㉂噠♳⚛尝剤⫹䎙⦐禺麉䨡齡랃䧭⸆
to befriend other participants. In order to continue the quest, participants
꤫僤恎醢⡲涸շꨣոշ崩ոշ蔅ոㄤշ假ո傂帝⻋✫乽
through texts and talks; the one viable way is to chant with music. The chant
倞涸갉坿窍莅罏䌟⢵♧珏屛浝菛涸넓뀿罜鸏珏넓뀿
ought to help each other. However, they were not allowed to communicate
⡲⛳尝剤Ⱘ넓涸侃✲ⷜ䞕㸤ꬒ㈔繡涸殥괐ㄤ幢
⭽盘ㄤ⫄窡涸Ⱄ㣐谁遯鿪♶♧垺⽿⚛搂麬ㄤ䠮꤫僤恎䨾醢⡲涸麉䨡 娝呏ⵌ䏁僽㢵㯯넓侸焺玑䎸Ⱘ剤㢵㯯넓谁遯涸倞暶䗚⹛䢀涸⽰儘䚍 ㄤ✽❜䚍鸏僽⫄窡粭殥ㄤꧨ㝖䨾♶Ⱘ⪔涸
♶⫦㥶姽꤫僤恎⛳〳⟃鄄钢捀僽殹➿谁遯㹻㔔捀➮䨾醢⡲涸㔋鿈ꬌ 䌢〥겳涸麉䨡莅殹➿爢剚䨾ツ植ⴀ⢵涸珏珏㉏겗鿪䜂䜂湱ꡠ欩荛〳⟃
铞➮涸峯㻌⸂刿捀馄嫲㥶 䎃涮涸շꨣո僽➮栬涯䒭涸⡲ㅷ
鑑㕬䲾鶤➮⯥儘㔔捀ㆳ㋉⡞ꤎ栬荈㖈䨼儘涸涯傈㣆< >鸏⟝⡲ㅷ鏤
鎙✫♧⦐㣆䎑㜥兞歋话㣔涯ꨣ嵳䃋穉䧭莅罏剚㖈瑠⚥莅ꨣ労✽ ⹛䱖ꤑ捦ꨣ㟞⸈涯ꨣ帩⻋瑠孵⚛⚂玑ꂂ剤鰋논涸갉坿꤫恎僤
涸鏤鎙椚䙂僽仍㣐ꨶ㶩麉䨡ㄎ㋎䞕䠮涸眕㕠< >➮鸒麕♳嵳涸寓ꨣ 莅繡㕜刿捀荈搭⨴䐁涸涯ꨣ㼩撑⿾僦✫植➿⻋䊨噠⻋ㄤ㙹䋑⻋䨾䌟
⢵涸㼺ꌴ㉏겗꤫僤恎䨾⿾僦涸㉏겗ㄤツ植涸倰䒭ꬌ䌢Ⱘ剤澰䚍㔔
䖰屛浝㘗ⵌ濼莅遤
꤫僤恎醢⡲麉 䨡儘剤♧ ⦐顐瑭㨥穅涸ㆹ㷸椚䙂⽰䗱崩椚锸鸏 ♧椚锸剓傍歋⺱暆ⵄ䗱椚㷸㹻碜ㆁ⟻˙㣼⯘喀暶碜ㆁ⟻倴 䎃䲿
ⴀ< >➮钢捀鹎Ⰵ䗱崩朜䢀涸➃剚欴欰♧珏嵶尝䒭涸䫏Ⰵ䠮雊 ➃⚺⹛欴欰㻜植격劆涸⹛⸂⚛⚂㖈㸤䧭격劆䖕欴欰ꬌ䌢넞涸怏駈䠮
ㄤ䠅䜤䠮꤫僤恎呏亙鸏㤛椚锸粭ⵖⴀ✫⡲ㅷ錚䙂㕬鸒麕侸焺玑䎸
㖈䮋䨞莅腋⸂⛓㼦宠♧珏䎂邂⟃䫼䫒搋䣂莅搂翝䌟⢵
涸贡搂⚺纏鹎罜䍲⸔✽⹛罏䪪ⵌ䎋犷䠮< >呏亙鸏♧醢⡲錚䙂꤫
僤恎涸⡲ㅷ⛳ツ植ⴀ屛浝涸暶럊շ崩ո莅շ蔅ո湱㼩倴շꨣո⢵铞鏤 㹁刿⸈䬄韍⻋ㄤ嚌䙂⻋넓植✫♧珏搂捀莅剤捀⛓涸㣖噲崩 Ⱘ넓涸娜〷嚌䙂瑠孵寓厪鄄鹎♧姿帝⻋涮遤倴 䎃涸շ假ո〳 閗僽䗱崩谁遯涸㣐䧭
捀ꪓꫂ㉏겗㖈⚥㕜僽ⵌ✫ 䎃⟃䖕䩞傈馸㓂ꅾ䒸涮ꡠ岤< >➮劥
շ假ո雊✽⹛罏乽⡲♧そ瑭Ꟁ郐涸䬄韍錬蒀㖈䑞郺涸尪恊⚥ぢ黇倰
怵溏뢶䧮錏䖤荈䊹남㶩酭➠莍僽♧⦐谁遯㹻䟝銴ⶾ鸤匌銯ㄤⴽ➃
罏ꧪ搭Ⰽ➃〳⟃㖈假鸁⚥湱✽䍲⸔⽿搂岁鸒麕铃갉䧴俒㶶❜崩⚛
➃⛳⼧ⴕ㖈䠑䓽锅Ⱖ谁遯㹻涸魨⟨⚛ぢ倛淼晋⠭呔ㄤ㹨䃷꾚鸏垺涸㼬 ⴕ❧植㖈㷸✫鎙皿堥⛳〫僽䳖✫⦐刿䖤䗱䥰䩛涸䊨Ⱘ縴✫< >
㿋䂾涸갥畮遤㖈鸁⚥莅罏〳⟃ꦑ堥穡陏〥♧そ湱ず假玑涸✽⹛
⚂搂岁溏ⵌ㼩倰涸そ㶶莅罏涸㈔♧❜崩鸁䖜僽尝剤鑂〣涸へ㈖
would change the surroundings of participants, and the experience is about
鸏珏へ㈖剚㼩麉䨡⚆歲欴欰䕧갠⢪莅罏〳⟃鸒麕ꡠ
was a breakthrough for Chen, because the programme no longer takes
莅罏涸넓뀿♶ⱄ僽➃堥✽⹛罜僽➃莅➃⛓涸✽⹛
interacting with human intelligence rather than the artificial one. Journey
participants to solely explore a virtual world, but serves as a platform for telecommunication between human beings.
Participant would experience solitude and insignificance in the vast virtual world; and only by human communication can a real emotional tie being
forged. Journey transcend from being therapeutic, and was designed to help
its participant to realise the crises caused by digital era: humans become indoor and lonely. And such a notion was the cultural production of the Post Digital Era, when human societies immersed into the digital world, concerns about
being digital became less critical than being human. Journey expressed such a concern and reminded the people in the digital world of what is the most
important experience in life journey. Through such a goal, a Zen concept could
⽓糒糵✽⹛넓뀿շ假ո㼩倴꤫僤恎涸瑳灶⛓贖㖈倴 玑䎸劥魨〫僽➃겳黇玑❜ꥹ涸㯯➝
莅罏㼟넓뀿㖈⚆歲⚥涸庻㼭ㄤ㷑栬糒罜莅꣫欰➃穡
捀ず⠶⟃姽⢪梖㹻溫姻欴欰莇馱ㄤⰦ➮梖㹻爢❜䒊 用䞕䠮秣䌟倴僽⡲ㅷ馄馊✫屛浝⢪莅罏걆䝎ⵌ
侸焺儘➿䨾䌟⢵涸❜ꥹ⽭堥殹➿爢剚傈渤瑳ⴀ涸㸕俒
⻋䨾䌟⢵涸㷑栬鸏珏㷑栬姻僽䖕侸焺儘➿涸欴暟⽰ ➃겳嵶Ⰵ侸焺爢⼦搂岁荈䬫շ假ո鸒麕➃莅➃⛓涸 ✽⹛ⱄ妄陪ꄁ贡亼⚆歲涸➃⦛➊랃䩞僽➃欰假鸁⚥剓ꅾ
銴涸넓뀿䖰罜麨ⵌ濼莅遤涸狪㸻䒭錏䝎菛蕰岚繏 蹓兰䢵庋麕䕹䁘
BBC The Queen s Jubilee Concert
be realised: wisdom reaching the opposite shore.
CONTROVERSIAL DIGITAL ART:
侸焺谁遯涸昰陾
More and more art organisations start paying attention to the art possibility
鏪㢵谁遯堥圓鿪ꡠ岤ⵌ✫侸焺玑䎸䨾䌟⢵涸谁遯〳腋
obstacles in establishing institutions, researching, collecting and presenting
㉏겗껷⯓麉䨡醢⡲➃劥魨㼩谁遯㹻鸏♧魨⟨鼩㶸㖈
that may have been brought by digital programmes, however, there are many digital art. First and foremost, video game producers had different opinions about their identity as artists. For example, Kojima explicitly rejected the
idea of treating video games as art, because he did not believe games can be collected and exhibited like paintings and sculptures. Kojima failed to
realise that digital technology has already revolutionised museology: there
not only exist specialist institutions; such as the Los Angeles Center for Digital Art, but also traditional art museums, such as the V&A, started establishing digital art departments. The history of digital art has been systematically
stipulated, dating back as early as the 1950s. In fact, traditional art history and the idea of museum as a ritual were challenged by post modernist theories. Museums without walls, avant-garde art and curating emerged rapidly and
differed from those established aesthetic systems. With the advancement of
digitalising, there appeared more virtual museums, meanwhile there are more
institutions collecting and exhibiting digital art. Accordingly, new methods and approaches have emerged. The music in Journey was composed by Austin
Wintory. The composer deliberately created a kind of interactive sound effect,
determined by the response of the participants, so that the music would tend to be unfolding in real time. Its spontaneity is similar to John Cage s 4′33″, offering the third person the chance to reinterpret the notes. Due to such a brilliance, the sound track was nominated for the 2013 Grammy Awards
for Best Score Soundtrack for Visual Media, the first video game soundtrack
䚍⡎僽㖈圓䒊겳⡂繡遯긭涸佐询堥圓儘⽿麂ⵌ✫♶㼱
毠䣂嫲㥶㼭䃋猗㣗㽠僈焷や㹁ꨶ㶩麉䨡僽谁遯涸铞 岁㔔捀➮♶钢捀麉 䨡⫹粭殥䧴ꧨ㝖齡垺〳⟃鄄⽈暟
긭佐询ㄤ㾝爚< >〳僽鵜䎃⢵侸焺谁遯䒸涮✫⽈暟긭
㷸涸ꬠ倞♶⫦ⴀ植✫峫勒熘侸焺谁遯⚥䗱鸏垺涸 㼠噠㾝询堥圓㽠鸮笞㢵ⵄ❏ㄤ晋⠭暶鸏垺涸⫄窡⽈
暟긭⛳㼠鏤✫侸焺谁遯鿈侸焺谁遯〷⛳鄄禺窡 㖒⺠⹗ⴀ⢵剓傍鄄鷆彸荛 䎃➿< >✲㻜♳⽈
暟긭涸牟翱䚍傍㖈♳⚆私劣㽠ㄤ⫄窡谁遯〷♧垺「ⵌ 颶毠< >搂晘繡遯긭莅遺谁遯ㄤ⯓ꍵ瘼㾝♧垺㖈䖕
植➿⚺纏涸䒸㼬♴♶倬ぢ⫄窡넓禺䲿ⴀ䮋䨞ꦑ衽侸焺 ⻋涸幀Ⰵ贡亼涸⽈暟긭⛳ꤷ糵ⴀ植侸焺佐询⛳㖈䱳
程⚥遤歋㤹倛♨˙影暶ꅽ捀շ假ո陗㻨涸✽⹛ꂂ坿ㄤ 秉缦˙⳯し涸♶勁そ眝շ ո剤殯刼ず䊨⛓㦫邍植
✫✽⹛⽰儘怵㤉涸䠮錏刿「ⵌ✫痧 㾂呔蟛繡栁涸 䲿そ傂搭⡲捀շ假ո♧鿈ⴕ涸ꂂ坿〳⟃鄄钢捀僽谁遯
齡랃⡲捀侮鿈⡲ㅷ醢⡲➃涸꤫僤恎⛳䥰鑪鄄殹⛓搂䠺㖒 珖捀谁遯㹻➮涸䗱崩ㆹ㷸⡲ㅷ♶⫦겮銼✫⫄窡ꨶ㶩麉
䨡涸邍植䕎䒭刿欽㢵㯯넓谁遯涸倰䒭넓植✫䖕侸焺儘 ➿䨾欴欰涸⽭堥〳閗麨ⵌ✫康倴谁涸㞯歲
to be nominated for that category. Since the sound track was
and fewer were regarded by historians as artistically significant.
also be regarded as such. And Jenova Chen, its maker should be
forms and experiences. Even though he made a living as a
recognised as a piece of art, the whole package, Journey, should worthy of the title digital artist . His work of Flow Philosophy not only revolutionised the way in which video games are
presented, but also served as a revelation: the crisis in the Post
Jenova Chen, like those conceptualist artists, has created new
programmer, nevertheless as an innovative maker (of a digital world), he is worthy of the attention in the field of art history.
Digital Era. Video games have become such an important part of contemporary society, only a few were praised by gamers as art,
Flower, game screenshot
REFERENCE [1] TR35, 2008, MIT Technology Review, <http://www2.technology
中國政府開始把PM2.5納入空氣質量監測標準。
9>, [12 Mar 2016].
[10] Mihaly Csiksgentmihalyi, 1975, Beyond boredom and anxiety,
review.com/tr35/?year=2008&_ga=1.115530630.1637195230.145781954 [2] 大狗：《陳星漢的 中國式w 童年》，網易遊戲《見證》第23期2012年5 月29日，<http://play.163.com/special/jianzheng_23/>, [12 Mar 2016]. [3] Mary Yakush, 1991, ROCI, Washington DC: National Gallery of Art Press, p. 161.
[4] Mel Alexenberg, 2011, The Future of Art in A Postdigital Age, The
[9] 《陳星漢的 中國式 童年》 Jossey-Bass Publishers.
[11] Jenova Chen, 2006, Flow in Games, <http://jenovachen.com/ flowingames/Flow_in_games_final.pdf>, [12 Mar 2015].
[12] Ellie Gibson, 2006, Games aren t art, says Kojima , Eurogamer.net, 24 Jan, <http://www.eurogamer.net/articles/news240106kojimaart>,
University of Chicago Press.
[12 Mar 2015].
Vol. 165, No. 1.
www.vam.ac.uk/content/articles/a/computer-art-history>, [12 Mar
[5] Top Ten Games You ve Never Heard Of , 2006, Game Informer, May, [6] 《陳星漢的 中國式 童年》 [7] Ibid.
[8] 2013年12月中國中東部出現嚴重霧霾事件。中國國內的主流媒體如《
新京報》、 《人民日報》都有報道，並且引起了美國環保局的關注。2012年
[13] A History of Computer Art , Victoria and Albert Museum, <http:// 2015].
[14] Carol Duncan, 1995, The Museum as Ritual , Civilising Rituals: Inside Public Art Museums, Routledge.
START FROM ZERO PINGYAO INTERNATIONAL FILM FESTIVAL
䖰ꨫⴀ涮
䎂麶㕜ꥹꨶ䕧㾝 1)050(3"1)&% #: 伡䕧 4)03"/ +*"/( 㩍㏖搬 &%*5&% #: 箠鰿 .*$)&--& :6 ⡮㼭䝝 4)03"/ +*"/( 㩍㏖搬
The first edition of Pingyao Crouching Tiger Hidden Dragon
䎃 剢 傈ⵌ 剢 傈劍껷㾂䎂麶㕜ꥹꨶ䕧㾝㼟㖈乩剤
October 2017, held in the magnificent ancient city of Pingyao which
䕧㾝涸䎂麶⯋䎃 ♧⦐倞涸䎃鰋涸ꨶ䕧㾝涸倞㨥
International Film Festival (PYIFF) will take place from 19-26th
has a history of 2700 years. 2017 is Pingyao Year 0, meaning the fresh
start of a brand new and young film festival, which will celebrate the
latest achievements in international cinema, as well as promote work from young Chinese directors.
CROUCHING TIGER HIDDEN DRAGON Pingyao Crouching Tiger Hidden Dragon International Film Festival was initiated by leading Chinese filmmaker Jia Zhang-ke and
prestigious festival director Marco Müller, organized by Pingyao Film Festival Company.
PYIFF is named after Crouching Tiger, Hidden Dragon with film
director Ang Lee s special authorisation and it s hoped that the
success of that remarkable film will encourage PYIFF to become a vibrant and exciting event for China.
The Crouching Tigers section will focus on young directors, while the
䎃娜〷涸⚥㕜㿋銯䎂麶〢㙹莊鳵 䎃㼟僽䎂麶㕜ꥹꨶ
荁贅询륌
䎂麶㕜ꥹꨶ䕧㾝歋衽そꨶ䕧㼬怵顼垴叕涮饱ⶾ用歋꼛⯘v琁⹗ 二⟤谁遯籏湌歋䎂麶ꨶ䕧㾝剤ꣳⰗ⚺鳵㖈ꨶ䕧㼬怵勛㸞涸
暶ⴽ䱇奚♴䎂麶㕜ꥹꨶ䕧㾝⟃荁贅询륌捀そ䎂麶䕧㾝⚥涸 倞㼬怵㋲⯋㼟⟃荁贅ㄐそ罜〥♧⦐ꅾ럊㋲⯋겳㘗ꨶ䕧暶ⴽ
ꡠ岤㼟鄄ㄐそ捀询륌㋲⯋罜껷㾂䎂麶㕜ꥹꨶ䕧㾝⛳㼟 僽荁贅询륌 贅贅欰㪮涸♧妄渿剚
䎂麶㕜ꥹꨶ䕧㾝㽠僽䋞劆ꨶ䕧ⶾ⡲罏ㄤꨶ䕧錚滞鿪䖤ⵌ㼤ꅾ ꨶ䕧㾝⟃⸔䲀ꫭ䎃㼬怵䧭Ꟁ捀湡垦捀ꨶ䕧欴噠鱒鷑刿㢵倞늫過 巊
堀哀莅㼩鑨
䎂麶㕜ꥹꨶ䕧㾝傌㖈㟞䓽⚥㕜ꨶ䕧莅ꬌ銯倰涮㾝⚥㕜㹻ꨶ䕧䖰
噠罏涸耢粯ㄤざ⡲㖈谁遯걆㚖䒊用饱Ⰽ罏⛓涸剤⸂堀哀⚛ 埠用饱♧⦐㼠㿂倴䎂麶㕜ꥹꨶ䕧㾝涸鐱⭆넓禺
Hidden Dragons section will celebrate genre cinema .
䕧㾝⟃㾝僦ꬌ銯倰䕧晚捀⚺㖈乩剤 䎃娜〷涸䎂麶〢㙹䕎䧭ꬌ銯倰ꨶ
PYIFF aims to see all filmmakers and film audiences receive
岤⚥㕜ꨶ䕧鼩㼟湡⯕䫏ぢ✫㥪蟛㝸⛓㢫䫏ぢ匌姘莅䬘繡䫏ぢ❏崎莅ꬌ
the respect that they deserve. By helping with young
directors growth, the Festival also hopes to inject new blood into Chinese film industry.
BRIDGING AND CONVERSING Acting as a bridge to connect China and non-western
filmmakers, PYIFF encourages more communication and
collaboration of both and will construct a unique aesthetic standard of PYIFF.
Screenings at the Festival will focus on non-western films,
䕧莅銯倰ꨶ䕧涸㼩鑨捀⚥㕜ꨶ䕧欴噠䲿⣘刿㢵涸〳腋䚍ꨶ䕧㾝ꤑ✫ꡠ 崎䫏ぢ齡❉㺂僒鄄⚥㕜錚滞䙐殜涸㖒倰
Ⱉ㣐㋲⯋
䕧㾝歋秋嬞껷僦荁贅询륌䕧㾝⛓剓⚥㕜倞欰➿㔐곃 㾝僦Ⱉ㣐㋲⯋
圓䧭ず儘⛳㼟莊鳵♧禺莅佞僦崞⹛筝㺙穡ざ涸谁遯㾝锸㠢㣐䌌闍
㛔灇鎣剚瘞崞⹛㾝僦涸ꨶ䕧⟃颶《鸏❉ꨶ䕧Ⱘ剤늫僈涸暶蒀罜䎂 麶ꨶ䕧㾝⛳僽♧⦐㣐呔㽷㼭魨媯涸礶ㅷꨶ䕧㾝
秋嬞껷僦㋲⯋⺫䭍㢵鿈䎃䏞ꅾꆀ秹䕧晚姹鵔鸏❉䕧晚㖈䎂麶〢㙹鹎遤
椕껷僦㕜ꥹ껷僦䧴❏崎껷僦鸏䠑衽䎂麶㕜ꥹꨶ䕧㾝劍嫦㣔鿪剤 ♧鿈䕧晚㖈䎂麶〢㙹鹎遤ꥑꅾ涸秋嬞⭑䒭ㄤ껷僦狲
embracing dialogues between non-western and western
荁贅㋲⯋荞⸂倴涮䱡⮛猗倞➃倞⡲㖈椕眕㕠Ⰹ鼇乵倞㼬怵涸贖㥏⡲䧴
The Festival will reach out to eastern Europe, to Latin
❏崎껷僦
films to create more possibilities for Chinese film industry. America, to Asia, to Africa, and to places that are less known to the Chinese audience.
痧✳鿈ꨶ䕧姹鵔鸏❉䕧晚㖈䎂麶㕜ꥹꨶ䕧㾝鹎遤椕껷僦㕜ꥹ껷僦䧴 询륌㋲⯋ꡠ岤⢵荈⚆歲ぐ㖒涸겳㘗ꨶ䕧䎂麶㕜ꥹꨶ䕧㾝㼟捀錚滞䌟⢵➿ 邍殹➿剓倞馸꧌ざ剓倞⯋稇涸⮛猗겳㘗晚
WE ARE NOT PURSUING AN ENORMOUS AND LENGTHY MOVIE SHOW, WE HAVE BEEN LOOKING FOR EXQUISITENESS AND CREATIVITY. 䧮⦛鷆宠涸♶僽♧㜥륔㣐ⱔꟀ涸ꨶ䕧猗 䧮⦛♧湬㖈㼦䪪ꨶ䕧涸 栬ⴀ堥匝莅礶篊
SIX SECTIONS The Festival consists of six sections, Galas, Crouching Tigers, Hidden Dragons,
Best of Fest, New Generation China and Retrospective/Tributes. Alongside with screenings, exhibitions, forums, master classes, symposiums and many more
events would also be held. The quality of films is at the core of the Festival, and it strives for a boutique festival : modest in scale, but with big aspirations. The Galas section consists of major films, whose global or Asian premieres will take place during PYIFF. There will be Red Carpet galas and premiere celebrations every day throughout the Festival week.
The Crouching Tigers section is dedicated to the discovery of outstanding new directors and new films. Debut or second feature films will be selected from
young directors around the world. The Festival welcomes the selected films to present their world, international or Asian premiere at the Festival.
The Hidden Dragons section features genre cinemas from all over the world. The Festival will introduce a variety of high-quality genre cinemas which represents new trends and combines latest elements in the world.
The Best of Fest section will select outstanding and award-winning films from major internal festivals of 2017 to make their Asia debut in Pingyao.
The New Generation China section is designated for new voices from around the country. The latest works from young Chinese directors will be screened, showcasing new China's freedom and creativity with the hope to inspire by using the power of the moving image.
䕧㾝⛓剓㋲⯋㼟䖰 䎃⚺銴涸㕜ꥹꨶ䕧眏⚥礶鼇ⴀ⮛ 猗栽栁䕧晚㖈䎂麶㕜ꥹꨶ䕧㾝鹎遤❏崎껷僦
㔐곃 荞侣㋲⯋佞僦竤麕礶䗱瘼ⷔⰨ⪔栬暶鋕錬涸䕧〷 竤Ⱙ⡲ㅷ䧴㼟鏤縨ぢ濼そꨶ䕧➃荞侣橇眏
⡲捀䎂麶㕜ꥹꨶ䕧㾝涸䒂⠽갪湡䎂麶♧錬㼟㖈〢罉
罜徥呺涸䎂麶㙹㠎鼹ず儘鹎遤㢵㜥崞悝涸㼭鋊垸ꪫ㣔佞
僦劥㋲⯋㾝僦䎂麶㕜ꥹꨶ䕧㾝姻䒭㋲⯋⛓㢫涸⮛猗Ꟁ
晚瀊晚鸏㼟䍲⸔鸏❉倞늫䕧⫹㼦䪪錚滞⛳捀錚滞䲿 ⣘㢵珏鼇乵⟃⿻荈歋❜崩涸瑠
䓽㣐涸ꤏ㺂
ꨶ䕧㾝䊺穉䒊饱♧佅麒䋒椕涸㼠噠秹鼇晚곃㉏㕰
⺫䭍濼そꨶ䕧䖰噠罏勭哆岁㕜呺䗞䬘v䋞⠭⢵薊
㕜椚叆䗞v峫剋繡㕜Ɑ歊♲饱㶩傈劥⹗㫫v 㢚怏⯘㪳⤜繏倛䊼䊼⯘v⽓ꅽ碜⟻剽裦❏䧢vꨮ 晋呏䒄裦兜䲿v鶔䱾꧉⽫䏞ㄤ⪂峫碜v詎倞⸈
㗗㖈Ⰹ涸鼇晚곃㉏㕰㼟捀⸈䎂麶㕜ꥹꨶ䕧㾝涸 ⢵频ㄤ錚滞礶鼇ⴀ 긅鿈㺢剤暶蒀涸ꨶ䕧
ꤑ姽⛓㢫䎂麶㕜ꥹꨶ䕧㾝涸곃㉏㕰⺫䭍谁遯곃㉏ㄤ瘼
殜곃㉏㓭䭍⚥㢫ꨶ䕧歲涸㣐䌌秹➃暟嫲㥶濼そ㼬怵 须幀ꨶ䕧醢晚➃ꨶ䕧眏穉籽罏ㄤ衽そꨶ䕧䫏须➃ꤏ㺂 㜖珖䓽㣐
Retrospective／Tributes section will show selected classic films or pay tribute to specific filmmakers.
As extended events of the Festival, Corners of Pingyao is a special open-air screenings
programme for off-sections films, which shall provide a wider selection for the audience and better place for interaction.
STRONG LINEUP The Festival has assembled a team of selectors that includes well-known filmmakers: MariePierre Duhamel, Richard Lormand, Sandra Hebron, Alena Shumakova, Diego Lerer, Deepti D Cunha, Tomita Mikiko, Babak Karimi, and Jeremy Chua.
The remarkable line-up also includes creative and strategic advisors who are renowned
directors, experienced producers, film festival organisers and distinguished film investors. The creative advisory board consist of acclaimed directors, namely: the mainstay of Chinese film industry Feng Xiaogang; noted Hongkong director Johnnie To; Berlinale Golden Bear Prize winner Walter Salles; Alexander Sokurov, one of the most eminent contemporary directors in Russia and all-rounded Indian filmmaker Anurag Kashyap.
The strategic advisors includes: James Schamus, American producer, screenwriter, and longterm collaborator with director Ang Lee; Aleksandr Rodnyansky, leading Russian-Ukrainian producer; Roger Garcia, executive director of Hongkong International Film Festival; Olivier
Père, director of film acquisitions 1for Arte France, and the distinguished film investor Tony Cao, Chairman of Puhua Capital.
䎂麶ꨶ䕧㾝涸谁遯곃㉏㕰乩剤❀そ⚥㢫
濼そ㼬怵➮⦛ⴕⴽ僽⚥㕜ꨶ䕧䩳렳➃暟 꼟㼭ⶍ⚥㕜껻度衽そ㼬怵勭楑䂾厣卌 ꨶ䕧眏ꆄ擕栁䖤⚺将晋暶v㝱⹗倛⤜繏
倛殹➿剓ꅾ銴涸㼬怵⛓♧❏娜㿋㣐v程猰
峫㣗⟃⿻⽫䏞腋㘗ꨶ䕧➃⸗䬘呔v ⽓倷❏兜
瘼殜곃㉏涸❀⡙䧭㆞⺫䭍繡㕜衽そⵖ 晚➃管ⷜ莅勛㸞㼬怵Ꟁ劍涸ざ⡲罏鑹
㨗㡦˙尪㨗倛⤜繏倛衽そⵖ晚➃❏娜㿋 㣐˙繏䗞㽳❏倛㛇껻度㕜ꥹꨶ䕧眏⚺䌏 넞䙼꧉岁㕜谁 遯ꨶ鋕荩ꨶ䕧鿈籏湌㤹 ⵄ笞晋˙䬺羮兜螠꧌㕰袚✲Ꟁ剆㕜擕⛳
䧭捀✫䎂麶㕜ꥹꨶ䕧㾝곃㉏剆㕜擕僽♧ ⡙⟱噠㹻➮盘椚涸㛇ꆄ鋊垸馄麕涰⭚⯋
➃字䍤⚛⚂⯓䖕䫏须麕⽈秝䕧噠卓띋 俒⻋⟃⿻ꯓ㺯涸❫匌䕧噠顼垴叕涸军 崩俒⻋瘞㢵㹻ꨶ䕧⿻岌㫨坿Ⱇ
INTERVIEW WITH JIA ZHANG-KE FOUNDER OF PYIFF
顼垴叕
㼠鏞䎂麶㕜ꥹꨶ䕧㾝ⶾ㨥➃ *."(& $0635&4: 0' 㕭晙䲿⣘ 1:*'' 䎂麵㕜ꥸꨵ䕧㾝 53"/4-"5&% #: 缺陼 /*$)0-"4 "/%&340/ 㽲〢䬘倛˙㸝䗞啿 &%*5&% #: 箠鰿 .*$)&--& :6 ⡮㼭䝝
Jia Zhang-ke is one of the most critically acclaimed filmmakers working in China. He is both an award-winning auteur film director and producers. His films have
received critical praise and have been recognized internationally. His first feature film "Xiao Wu" （ The Pickpocket , 1998）received a great success，winning both the Wolfgang Staudte Award and the NETPAC Award at the Berlin International Film Festival. His film "Still Life" won the Golden Lion Award in the Venice Film
Festival in 2006 and his film "A Touch of Sin" selected in Competition at the Festival de Cannes 2013 won the Best Screenwriter Award. In 2010, Jia received Locarno s Leopard of Honour, while in 2015, he was awarded the Carrosse d Or prize at the Cannes Festival.
顼垴叕⚥㕜衽そ㼬怵⡲㹻ⵖ晚➃Ⱖ⡲ㅷ㖈
㕜ꥹ♳栽䖤䖎넞耫隘 䎃贖㥏⡲շ㼭娀ո栽
厣卌ꨶ䕧眏ꫭ䎃锸㠢㣐栁 䎃佦✲晚շ♲䃚
㥪➃ո栽痧 㾂㪮㽳倛㕜ꥹꨶ䕧眏剓⢕䕧晚ꆄ柲
栁 䎃佦✲晚շ㣔鏽㹁ո栽痧 㾂䧺秝㕜ꥹ
ꨶ䕧眏剓⢕管ⷜ栁 䎃顼垴叕栽榰㡦峫鶋開
㕜ꥹꨶ䕧眏囙隘ꆄ韵栁 䎃栽䧺秝㕜ꥹꨶ䕧
眏㼬怵꧱ヰ㋲⯋穅魨䧭㽠ꆄ꼛鮦栁
ART.ZIP: From the perspective of choosing the ďŹ lms for Pingyao International Film Festival, are there any unique ideas that separate this from other national or international ďŹ lm festivals?
"35 ;*1î&#x161;&#x2030;ä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?ä&#x2013;°éź&#x2021;ć&#x2122;&#x161;朸é&#x152;Źä?&#x17E;⢾é&#x201C;&#x17E;ĺ&#x2030;¤ĺ°?ĺ&#x2030;¤ć Źć&#x161;śćś¸
have a team of 8 people, they take charge of the process of ďŹ nding,
ä&#x17D;&#x192;ä?&#x17E;â°¨ë&#x201E;&#x201C;朸✞⥲ä&#x17E;&#x2022;幣ď&#x2DC;šä&#x2022;&#x17D;ä§â&#x17E;ŽâŚ&#x203A;朸é&#x152;&#x161;ë&#x;&#x160;ă&#x201E;¤é&#x2019;˘é&#x2122;?ď&#x2DC;ˇę¨śä&#x2022;§ăž?朸éź&#x2021;
JZK: I personally don t speciďŹ cally participate in the selection work. We watching and contacting various ďŹ lm teams. According to the year s
speciďŹ c creative plan they will frame their viewpoint and understanding. Selecting ďŹ lms for a ďŹ lm festival is an abstract proposition and relies on
the creative needs of the actual situation. For ďŹ lm selection teams, their main focus is to understand these ďŹ lms and to capture their creative
aspects, as well as sorting a trend from them. All these ďŹ nds will form a
ç&#x201D;¨ä &#x2018;⟌ⴽĺ&#x20AC;´â°Śâ&#x17E;Žă&#x2022;&#x153;꼚ä&#x161;?䧴ă&#x2022;&#x153;â°&#x2030;朸ꨜä&#x2022;§ç&#x153;?î&#x161;&#x17D;
+;,î&#x161;&#x2030;䧎âŚ?â&#x17E;&#x192;â&#x2122;śâżŽč&#x17D;&#x2026;â°¨ë&#x201E;&#x201C;朸éź&#x2021;ć&#x2122;&#x161;ä&#x160;¨âĄ˛ď&#x2DC;ˇä§ŽâŚ&#x203A;ĺ&#x2030;¤â&#x2122;§âŚ? â&#x17E;&#x192;çŠ&#x2030;ä§ćś¸
éź&#x2021;ć&#x2122;&#x161;ă&#x2022;°ęĽ&#x2122;ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;ĺ&#x2030;&#x161;ă&#x2013;&#x2C6;é&#x152;&#x161;ćş?ď&#x2DC;śäąşé?¸ď&#x2DC;śăźŚäŞŞę¨śä&#x2022;§éş&#x2022;ç&#x17D;&#x2018;â&#x161;Ľď&#x2DC;šâżĄĺ&#x2018;?äş&#x2122;掚 ć&#x2122;&#x161;ä&#x160;¨âĄ˛ă&#x20AC;Ťĺ&#x2030;¤ăŁ?朸äŹ&#x201E;é&#x;?ä&#x161;?➲⾹ď&#x2DC;šç˝&#x153;éź&#x2021;ć&#x2122;&#x161;ĺ&#x192;˝é&#x160;´ă&#x203A;&#x2021;ĺ&#x20AC;´âśžâĄ˛ćś¸ăť&#x153;꼚ä&#x17E;&#x2022; 幣éš&#x17D;é ¤ćś¸ď&#x2DC;ˇăźŠéź&#x2021;ć&#x2122;&#x161;ă&#x2022;°ęĽ&#x2122;⢾é&#x201C;&#x17E;ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;朸ĺ&#x2018;?ä&#x2014;ąä&#x160;¨âĄ˛ĺ&#x192;˝â&#x153;Ťé?&#x2018;é¸?â?&#x2030;ꨜ
ä&#x2022;§ď&#x2DC;šäŻ˛äŻ?é¸?â?&#x2030;ꨜä&#x2022;§â&#x161;Ľâśžĺ&#x20AC;&#x17E;ä&#x161;?朸éż&#x2C6;â´&#x2022;ď&#x2DC;šâ&#x;&#x192;âżťĺ&#x201D;&#x161;ć¤&#x161;ćť&#x17E;㢾ꨜä&#x2022;§â&#x161;Ľă&#x192;&#x201E; ć¤?â´&#x20AC;⢾朸ĺ&#x17D;Ľç??錸⚴ď&#x2DC;šăź&#x;é¸?â?&#x2030;朎ć¤?é¸&#x2019;éş&#x2022;ç&#x2DC;źăž?朸ĺ&#x20AC;°ĺ˛ ď&#x2DC;šă&#x192;&#x2021;é?°é&#x152;&#x161;ćť&#x17E; č&#x17D;&#x2026;㯯ë&#x201E;&#x201C;ď&#x2DC;ˇ
curatorial approach to inform the audience.
"35 ;*1î&#x161;&#x2030;姽ĺŚ&#x201E;ꨜä&#x2022;§ăž?ăź&#x;ĺ&#x2030;&#x161;ä˝&#x17E;ĺ&#x192;Śâ&#x161;Ľă&#x2022;&#x153;ꨜä&#x2022;§č&#x17D;&#x2026;ęŹ&#x152;é&#x160;Żĺ&#x20AC;°ę¨śä&#x2022;§ćś¸
ART.ZIP: What is the ratio of Chinese and non-western ďŹ lms showing at this ďŹ lm festival?
+;,î&#x161;&#x2030;䧎âŚ&#x203A;ĺ°?ĺ&#x2030;¤ę°¸é?¤ă&#x2013;&#x2019;⟌卲⢿ď&#x2DC;ˇăĽśĺ?&#x201C;ĺ&#x17D;Ľâ&#x2122;§âŚ?ă&#x2013;&#x2019;⟌朸ꨜä&#x2022;§ă&#x2013;&#x2C6;ĺ&#x160;Ľ
JZK: We don t have a set ratio. If a particular region s ďŹ lms are especially
prominent in the year, we will select more ďŹ lms from that region, it is not
卲⢿ĺ&#x192;˝ä&#x2122;Śĺ&#x17E;şćś¸î&#x161;&#x17D;
ä&#x17D;&#x192;ä?&#x17E;ć&#x161;śâ´˝ç&#x2018;łâ´&#x20AC;ď&#x2DC;šăź&#x;ĺ&#x2030;&#x161;â¸&#x2C6;ăŁ?é¸?âŚ?ă&#x2013;&#x2019;⟌朸éź&#x2021;ć&#x2122;&#x161;ę&#x2020;&#x20AC;ď&#x2DC;šâ&#x2122;śĺ&#x2030;&#x161;ä&#x2013;°ĺŤ˛â˘żâ&#x2122;ł ç˝&#x152;äŁ&#x201A;ď&#x2DC;ˇ
considered from a set ratio point of view.
"35 ;*1î&#x161;&#x2030;é¸?â?&#x2030;ęŹ&#x152;â&#x161;Ľă&#x2022;&#x153;ď&#x2DC;śęŹ&#x152;é&#x160;Żĺ&#x20AC;°ćś¸ę¨śä&#x2022;§ä¨žâżžĺ&#x192;Śćś¸â&#x2122;śă &#x161;ç&#x2C6;˘ĺ&#x2030;&#x161;ä&#x2022;&#x17D;
ART.ZIP: These non-Chinese, non-western ďŹ lms all reďŹ&#x201A;ect diďŹ&#x20AC;erent societies and contexts. For Chinese audiences there must be some diďŹ&#x192;culty in connecting with them?
ä?&#x17E;î&#x161;&#x17D;⥚âŚ&#x203A;ĺ&#x2030;&#x161;č&#x17D;&#x160;éłľä&#x2122;Śĺ&#x17E;şćšąäĽ°ćś¸ĺ´&#x17E;âš&#x203A;⢾éš&#x17D;é ¤ĺš&#x20AC;â°&#x2026;äąłé&#x17D;Łă&#x192;¤î&#x161;&#x17D;
JZK: From a personal point of view, I feel that non-western ďŹ lms can be understood by China because they are closer to Chinese society, the
level of development is more similar. Of course, another important part of the ďŹ lm festival is the academic forum. Pingyao International Film
Festival emphasizes academic discussion, we will gather world-class ďŹ lm historians, ďŹ lm critics and conduct multi-event symposiums and other academic activities.
ART.ZIP: If a prominent ďŹ lm reďŹ&#x201A;ects societal problems and diďŹ&#x20AC;erences to mainstream values, will they be included in your selection? JZK: We only have one selection standard, an artistic standard. However we must also operate in accordance with the Chinese Film Act.
ART.ZIP: You mentioned Pingyao International Film Festival will establish a speciďŹ c evaluation system, can you speciďŹ cally talk about this? JZK: The recognition and evaluation system of the artistry of ďŹ lm is based on the overall understanding of contemporary movies. For a variety of reasons, ďŹ lms made outside of China, Europe and America, cannot be
fully understood, commented and discussed. There are areas that have for a long time been active components of ďŹ lm s language, expanding the overall craft as well as being able to describe human life from diďŹ&#x20AC;erent angles. Each nation s respective industrial strengths and weaknesses
aďŹ&#x20AC;ect the spread of the outstanding creative work and the understanding of their artistic value. In my experience of working in China, every year
ä˘&#x20AC;ă&#x201E;¤â&#x2122;łâ&#x2122;´äż&#x2019;ď&#x2DC;šăźŠĺ&#x20AC;´â&#x161;Ľă&#x2022;&#x153;é&#x152;&#x161;ćť&#x17E;⢾é&#x201C;&#x17E;äąşă&#x20AC;&#x152;鼹⢾ĺ&#x2030;&#x161;â&#x2122;śĺ&#x2030;&#x161;ĺ&#x2030;¤â&#x2122;§ăš ę¨&#x2C6; +;,î&#x161;&#x2030;ä&#x2013;°âŚ?â&#x17E;&#x192;朸é&#x152;Źä?&#x17E;ď&#x2DC;šä§Žé&#x152;?ä&#x2013;¤â˘ľč?&#x2C6;ęŹ&#x152;é&#x160;Żĺ&#x20AC;°ă&#x2022;&#x153;㚝朸ꨜä&#x2022;§ĺ&#x2C6;żč&#x2026;&#x2039;é&#x201E;&#x201E;
â&#x161;Ľă&#x2022;&#x153;ć¤&#x161;é?&#x2018;ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;ă¸?âŚ&#x203A;č&#x17D;&#x2026;â&#x161;Ľă&#x2022;&#x153;朸ç&#x2C6;˘ĺ&#x2030;&#x161;ä&#x17E;&#x2022;幣乺éľ&#x153;ď&#x2DC;šćśŽăž?꼣媯暹 âĄ&#x201A;ď&#x2DC;ˇćŽšć?ď&#x2DC;šä&#x2022;§ăž?ă&#x20AC;Ľă˘Ťâ&#x2122;§âŚ?ę&#x2026;žé&#x160;´ćś¸éż&#x2C6;â´&#x2022;ă˝ ĺ&#x192;˝ăˇ¸é Żé&#x201D;¸ă ˘ď&#x2DC;šä&#x17D;&#x201A;éşśă&#x2022;&#x153;
꼚ꨜä&#x2022;§ăž?朸ç&#x153;?暥ç&#x2DC;źâˇ&#x201D;ä&#x201C;˝é&#x201D;&#x2026;ăˇ¸é Żă&#x201A;?ę&#x2020;&#x20AC;ď&#x2DC;šä§ŽâŚ&#x203A;ĺ&#x2030;&#x161;çŠ&#x2030;çą˝ă&#x2022;&#x153;꼚â&#x2122;§ĺ´Šćś¸ ꨜä&#x2022;§ĺ¨&#x153;ă&#x20AC;ˇăˇ¸ăšťď&#x2DC;śę¨śä&#x2022;§é?ąé&#x201D;¸ăšťď&#x2DC;šéš&#x17D;é ¤ă˘ľă&#x153;ĽĺŚ&#x201E;朸㟠ę˛&#x2014;é&#x17D;Łé&#x201D;¸é&#x201D;¸ă ˘ç&#x2DC;&#x17E; ăˇ¸é Żĺ´&#x17E;âš&#x203A;ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;㼜ĺ?&#x201C;⿎éź&#x2021;䨞⿞ĺ&#x192;Śćś¸ç&#x2C6;˘ĺ&#x2030;&#x161;ă&#x2030;?ę˛&#x2014;č&#x17D;&#x2026;â&#x161;şĺ´Šâ&#x2020;⧊é&#x152;&#x161;ĺ&#x2030;¤ä&#x160;´
掯朸é&#x2018;¨ď&#x2DC;šĺ&#x2030;&#x161;é&#x201E;&#x201E;ç§?â°&#x2026;⥚âŚ&#x203A;朸éź&#x2021;ć&#x2122;&#x161;ç&#x153;&#x2022;ă&#x2022; ă&#x152;¨î&#x161;&#x17D;ĺ&#x192;˝ă&#x201A;&#x201E;㜸ă&#x2013;&#x2C6;č° é Żâ&#x;&#x192;㢍朸 é?ąâ&#x2020;ĺ&#x17E;Śĺ˝&#x2039;î&#x161;&#x17D;
+;,î&#x161;&#x2030;䧎âŚ&#x203A;ă&#x20AC;Ťĺ&#x2030;¤â&#x2122;§âŚ?é?ąâ&#x2020;ĺ&#x17E;Śĺ˝&#x2039;ď&#x2DC;šă˝ ĺ&#x192;˝č° é Żĺ&#x17E;Śĺ˝&#x2039;ď&#x2DC;ˇâĄ&#x17D;ĺ&#x192;˝ä§ŽâŚ&#x203A;â&#x203A;ł ä&#x2014;łę°äžć&#x2019;&#x2018;â&#x161;Ľă&#x2022;&#x153;ä&#x160;şę°źä&#x2039;&#x2019;朸ꨜä&#x2022;§ĺ˛ é&#x2039;&#x160;ăš éš&#x17D;é ¤äš˝âĄ˛ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;⥚âŚ&#x203A;䲿âľ&#x152;ä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?ĺ&#x2030;&#x161;ĺ&#x; ç&#x201D;¨éĽąâ&#x2122;§âŚ?ăź ăż&#x201A;朸 é?ąâ&#x2020;ë&#x201E;&#x201C;猺ď&#x2DC;šé&#x201D;&#x17E;ă&#x2030;?č&#x2026;&#x2039;â°¨ë&#x201E;&#x201C;é&#x201D;&#x201C;é&#x201D;&#x201C;ĺ&#x192;˝ä&#x2122;Śĺ&#x17E;şćś¸ă&#x152;¨î&#x161;&#x17D;
+;,î&#x161;&#x2030;ꨜä&#x2022;§č° é Żćś¸é&#x2019;˘é&#x2122;?ă&#x201E;¤é?ąâ&#x2020;ë&#x201E;&#x201C;猺ď&#x2DC;šĺ&#x192;˝ä&#x2019;&#x160;ç&#x201D;¨ă&#x2013;&#x2C6;㟊掚â&#x17E;żę¨śä&#x2022;§äžŽ
ë&#x201E;&#x201C;â&#x153;Ťé?&#x2018;ď&#x2DC;ść&#x201C;żä&#x153;Ťćś¸ă&#x203A;&#x2021;ç&#x2021;&#x160;â&#x2122;łćś¸ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;ă ?ç??ă ?ĺ&#x17E;şćś¸âž˛ă&#x201D;&#x201D;ď&#x2DC;šă&#x2013;&#x2C6;â&#x161;Ľă&#x2022;&#x153;ď&#x2DC;šĺ§&#x2DC;
皥â&#x203A;&#x201C;㢍朸ꨜä&#x2022;§â&#x161;&#x203A;â&#x2122;śč&#x2026;&#x2039;㣠ä&#x2013;¤âľ&#x152;âŻ?â´&#x2022;朸â&#x153;Ťé?&#x2018;ď&#x2DC;śé?ąé&#x201D;¸ă&#x201E;¤é&#x2019;˘é&#x2122;?ď&#x2DC;šç˝&#x153;é¸? â?&#x2030;⟌ă&#x161;&#x2013;ď&#x2DC;šę&#x;&#x20AC;ĺ&#x160;?ĺ´&#x17E;鏪襽㟊ꨜä&#x2022;§é&#x201C;&#x192;é&#x17D;&#x160;䏪ăž?ä&#x161;?朸ä&#x160;¨âĄ˛ď&#x2DC;šâ&#x;&#x192;⿝㟊â&#x17E;&#x192;겳
揰ĺ´&#x17E;㢾é&#x152;Źä?&#x17E;朸䲞霤ď&#x2DC;ˇă ?č?&#x2C6;ă&#x2022;&#x153;ăšťä&#x160;¨ĺ&#x2122; ë&#x201E;&#x201C;猺朸ä&#x201C;˝ä&#x201C;łď&#x2DC;šä&#x2022;§ę° â&#x153;Ťé¸?â?&#x2030; âŽ&#x203A;ç&#x152;&#x2014;✞⥲朸âŤ&#x201E;äš&#x2026;ď&#x2DC;šă&#x201E;¤â&#x17E;&#x192;âŚ&#x203A;㟊ă¸?âŚ&#x203A;č° é Żâ&#x2020;⧊朸é&#x2019;˘ćżźď&#x2DC;ˇă˝ 䧎ă&#x2013;&#x2C6;â&#x161;Ľ
ă&#x2022;&#x153;ä&#x160;¨âĄ˛ćś¸çŤ¤ë&#x20AC;żď&#x2DC;šâ&#x161;Ľă&#x2022;&#x153;卌ä&#x17D;&#x192;ĺ&#x2030;¤ęŹ&#x152;ä&#x152;˘ă˘ľćś¸ä&#x17D;&#x192;é°&#x2039;㟏ć&#x20AC;ľď&#x2DC;šâ&#x17E;&#x192;âŚ&#x203A;㟊â&#x17E;ŽâŚ&#x203A; 朸â&#x153;Ťé?&#x2018;⽿â&#x2122;śă˘ľď&#x2DC;ˇä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?ä&#x2039;&#x17E;ĺ&#x160;&#x2020;é&#x203A;&#x160;â&#x17E;&#x192;âŚ&#x203A;ęĄ ĺ˛¤âľ&#x152;é¸?â?&#x2030;ăş&#x201A;ĺ&#x192;&#x2019; é&#x201E;&#x201E;ä&#x2122;?é&#x2039;&#x2022;朸ä&#x2022;§ć&#x2122;&#x161;ď&#x2DC;šâ˘Şä&#x2013;¤é¸?â?&#x2030;äż&#x2019;âť&#x2039;ä§ĺ?&#x201C;č&#x2026;&#x2039;㣠é&#x201E;&#x201E;ĺ&#x2C6;żă˘ľćś¸â&#x17E;&#x192;â´&#x2022;â?§ď&#x2DC;ˇé¸&#x2019;
éş&#x2022;ꨜä&#x2022;§ăž?ď&#x2DC;šä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;ä&#x2019;&#x160;ç&#x201D;¨éĽąâ&#x2122;§ç??ĺ&#x20AC;&#x17E;朸é&#x2039;&#x2022;ę&#x2026;żď&#x2DC;šâ&#x161;&#x203A;âľ&#x201E;揽ꨜä&#x2022;§ăž?朸 âŤ&#x201E;äš&#x2026;č&#x2026;&#x2039;â¸&#x201A;ď&#x2DC;šĺ&#x2030;¤ä˝Şă&#x2013;&#x2019;ć?&#x20AC;é¸?â?&#x2030;ä&#x2022;§ć&#x2122;&#x161;ĺ&#x2030;ŞâšĄď&#x2DC;ˇ
China has many young directors, but the number of people understanding
of them is actually limited. Pingyao International Film Festival hopes to draw people attention to these overlooked ďŹ lms. We d like to share these cultural
achievements with more people. Using this ďŹ lm festival, we hope to establish a new vision and use the nature of a ďŹ lm festival to more eďŹ&#x20AC;ectively air these movies.
ART.ZIP: What kind of beneďŹ ts do you expect this ďŹ lm festival to have on Chinese cinema? JZK: I hope that the ďŹ lms shown at the ďŹ lm festival will inspire people working
Jia Zhang-ke Portrait
in the Chinese ďŹ lm industry, at the same time, I hope that through the ďŹ lm
festival, it will encourage greater understanding and cooperation between Chinese ďŹ lmmkers and the ďŹ lm industry all over the world.
ART.ZIP: To the winners or selected directors, what kind of follow up support will they get? JZK: Pingyao International Film Festival is a young ďŹ lm festival, freshly
conceived. We hope the ďŹ rst few years will allow people to understand this ďŹ lm festival, at the same time I also hope to organize more resources in the future, to allow the participating directors to beneďŹ t more.
ART.ZIP: Many ďŹ lm festivals, apart from featuring ďŹ lms also focus on networking, so with Pingyao International Film Festival what plans are there to develop business and industry connections? JZK: We hope to gain more conďŹ dence in the ďŹ lm industry. So that they can more actively participate in the festival s activities. But the festival is just a platform. We won t specially intervene in the ďŹ lm industries work. Simply speaking the festival aims to pave the road for creative ďŹ lmmakers.
ART.ZIP: What is the biggest challenge in creating this ďŹ lm festival? JZK: Apart from the team selecting the ďŹ lms, our organization has a lack of experience. We hope through 3 years of hosting we will become an experienced and creative group.
ART.ZIP: Apart from Shanxi being your hometown, is there any other reason that you chose Pingyao to host the ďŹ lm festival? JZK: Small cities are well suited to hosting ďŹ lm festivals. In relatively peaceful cities, it is easy to focus on the festival. In Pingyao we have an independent cinema, guest can easily meet and interact, undisturbed by the hustle and
bustle of a big city.ART.ZIP: For people coming to Pingyao for the ďŹ rst time, how would you recommend they spend a day?
JZK: Apart from watching the movie, the audience s attention can be drawn
to the surroundings. I suggested everyone treats Pingyao as the centre, tracks connect Jinzhong to the surrounding counties. Because Jinzhong has a large number of cultural relics, the attractions are close to Pingyao and easy to access.
"35 ;*1î&#x161;&#x2030;ä?Ąĺ&#x160;?ä&#x2013;&#x160;é¸?ĺŚ&#x201E;ꨜä&#x2022;§ăž?㟊ĺ&#x20AC;´â&#x161;Ľă&#x2022;&#x153;ꨜä&#x2022;§č&#x2026;&#x2039;鼹âľ&#x152;ä&#x2122;Śĺ&#x17E;ş 朸â¤&#x203A;éš&#x17D;⥲揽î&#x161;&#x17D;
+;,î&#x161;&#x2030;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;ꨜä&#x2022;§ăž?ăž?â´&#x20AC;朸ä&#x2022;§ć&#x2122;&#x161;č&#x2026;&#x2039;㣠㟊â&#x161;Ľă&#x2022;&#x153;ꨜä&#x2022;§ä&#x160;¨âĄ˛ç˝?ĺ&#x2030;¤ä¨ž ă&#x2030;ŹćśŽď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;â&#x203A;łä&#x2039;&#x17E;ĺ&#x160;&#x2020;顴éş&#x2022;ꨜä&#x2022;§ăž?ď&#x2DC;šä&#x2019;&#x160;ç&#x201D;¨éĽąă ?ă&#x2022;&#x153;ꨜä&#x2022;§ä&#x160;¨âĄ˛ç˝? â&#x203A;&#x201C;ę&#x;Śď&#x2DC;śę¨śä&#x2022;§ä&#x160;¨ĺ&#x2122; â&#x203A;&#x201C;ę&#x;Śćšąâ&#x153;˝ĺ&#x2C6;żă˘ľćś¸â&#x153;Ťé?&#x2018;ď&#x2DC;šâ¤&#x203A;ä§ĺ&#x2C6;żă˘ľćś¸ă &#x2013;⥲ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;㟊ĺ&#x20AC;´ć ˝ć 䧴⿎éź&#x2021;朸㟏ć&#x20AC;ľď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;ĺ&#x2030;&#x161;ć ˝ä&#x2013;¤ä&#x2122;Śĺ&#x17E;şćś¸ ä&#x2013;&#x2022;çłľä˝&#x2026;ä°ă&#x192;¤î&#x161;&#x17D;
+;,î&#x161;&#x2030;ä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?ĺ&#x192;˝â&#x2122;§âŚ?ä&#x17D;&#x192;é°&#x2039;朸ꨜä&#x2022;§ăž?ď&#x2DC;šă¸?âś?âś?é&#x2019;˛ 揰ď&#x2DC;ˇćšĄâľšď&#x2DC;šä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;é¸&#x2019;éş&#x2022;âľšä&#x17D;&#x2122;ăž&#x201A;朸č&#x17D;&#x160;éłľé&#x203A;&#x160;â&#x17E;&#x192;âŚ&#x203A;â&#x153;Ťé?&#x2018;é¸?âŚ? ꨜä&#x2022;§ăž?ď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;â&#x203A;łä&#x2039;&#x17E;ĺ&#x160;&#x2020;č&#x2026;&#x2039;ćš&#x2C6;ä&#x2DC;°çŠ&#x2030;繽㼪ĺ&#x2C6;żăĽŞćś¸éĄťĺ˝&#x201A;ď&#x2DC;šé&#x203A;&#x160;⿎ăž? 㟏ć&#x20AC;ľĺ&#x2C6;żă˘ľă&#x2013;&#x2019;ă&#x20AC;&#x152;渤ď&#x2DC;ˇ
"35 ;*1鏪㢵ꨶ䕧眏ꤑ✫礶鼇䕧晚佞僦⟃㢫⛳剚岤ꅾ欴噠
"35 ;*1ꤑ✫㔔捀㿋銯僽䝡涸佦ꀀ⟃㢫剤尝剤ⴽ涸⾲㔔雊䝡鼇乵㖈䎂麶莊鳵
鎙ⷔヤ
+;,㼭㙹䋑ꬌ䌢黠ざ⨞ꨶ䕧眏湱㼩䎂ꬆ涸㙹䋑孨㕠㺂僒雊ꨶ䕧眏䕎䧭翹搋
㼩䱺齡랆䎂麶ꨶ䕧眏㖈㉂噠涮㾝ㄤ欴噠㼩䱺♳剤䙦垺涸
+;,䧮⦛䋞劆腋㣁栽䖤ꨶ䕧欴噠歲刿㢵涸⥌⟤⢪➮⦛琎
噲莅ꨶ䕧㾝涸崞⹛⡎ꨶ䕧㾝〫僽♧⦐䎂荩䧮⦛♶剚Ⱘ 넓㖒➝Ⰵⵌꨶ䕧欴噠䚍涸䊨⡲⛓⚥矦㋲铞ꨶ䕧㾝㽠僽⥜
ꨶ䕧眏
佪卓䧮⦛㖈䎂麶乩剤栬用涸ꨶ䕧㹨⢵频㺂僒翹ざ倰⤑✽⹛♶鄄㙹䋑涸㋡㓝 䎍仠
堀ꎦ騟
"35 ;*1㼩倴痧♧妄⢵䎂麶涸⿼➃䝡剚䲀讄➮䙦랆䏞麕㖈䎂麶涸♧㣔
"35 ;*1ⶾ鳵姽妄ꨶ䕧眏剓㣐涸䮋䨞僽➊랆
駈騋〳⟃嶍⿻儢⚥ヰ鼹ぐ簖䋑㔔捀儢⚥剤㣐ꆀ涸俒暟〢騋鸏❉兞럊騅ꨆ䎂麶
+;,ꤑ✫鼇晚㕰䧮⦛涸穉籽竤뀿妁緄䧮⦛䋞劆鸒麕♲ 䎃涸莊鳵䕎䧭♧⦐Ⱘ剤竤뀿Ⱘ剤ⶾ鸤⸂涸穉籽㕰
+;,㖈溏ꨶ䕧⛓⡮錚滞涸ꡠ岤럊〳⟃ぢヰ鼹䒂⠽䧮䒊陾㣐㹻⟃䎂麶捀⚥䗱 䖎鵜❜鸒ꬌ䌢倰⤑
INTERVIEW WITH MARCO MÜLLER ARTISTIC DIRECTOR OF PYIFF
꼛〳 • 琁⹗
㼠鏞䎂麶㕜ꥹꨶ䕧㾝谁遯籏湌 *."(& $0635&4: 0' 㕭晙䲿⣘ 1:*'' 䎂麵㕜ꥸꨵ䕧㾝 53"/4-"5&% #: 缺陼 )"0 ;)*;* 龹兰哟 &%*5&% #: 箠鰿 .*$)&--& :6 ⡮㼭䝝
Marco Müller is a film critic, award-winning film producer, and former director of prestigious Rotterdam, Locarno, Venice and Rome film
Festivals. Renowned for injecting new life into festival, Müller is also
one of the first curators to introduce Asian films to European audiences, in particular Chinese cinema. He is honoured as the first person of introducing Chinese films to the world.
꼛〳v琁⹗㕜ꥹ濼そ䕧鐱➃栽栁ꨶ䕧醢晚➃㢵妄二⟤㕜
ꥹꅾ銴ꨶ䕧眏涸谁遯籏湌⚺䌏㥶뛩暶⚸㕜ꥹ䕧㾝峫鶋
開㕜ꥹꨶ䕧眏㪮㽳倛㕜ꥹꨶ䕧眏繏꼛㕜ꥹꨶ䕧眏瘞琁
⹗㊥倴鸒麕♧禺佖ꬠ捀ꨶ䕧眏岤Ⰵ倞崞⸂⛳僽剓傍䪾❏
崎ꨶ䕧暶ⴽ僽⚥㕜ꨶ䕧➝稲ⵌ姘崎涸⯓뀝㔔姽琁⹗鄄
隘捀䪾⚥㕜ꨶ䕧䲀ぢ⚆歲涸痧♧➃
ART.ZIP:What prompts the collaboration with Jia to organise the PYIFF?
"35 ;*1î&#x161;&#x2030;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x192;ĺ ĽçŽ&#x201D;â¤&#x203A;⢪ä?Ąă&#x201E;¤éĄźĺ&#x17E;´ĺ?&#x2022;㟏ć&#x20AC;ľâ&#x2122;§ă &#x161;č&#x17D;&#x160;éłľä&#x17D;&#x201A;éşś
therefore be more exciting than to help him realise his vision of a special
â¸&#x201D;â&#x17E;Žăź&#x;â&#x17E;Žâ&#x2122;§ćšŹâ&#x;&#x192;⢾朸ä&#x17E;&#x2022;ä§&#x192;â&#x17E;°é&#x2013;&#x20AC;ăť&#x153;éŠ?ď&#x2DC;šă&#x2013;&#x2C6;ăż&#x2039;é&#x160;Żč&#x17D;&#x160;éłľâ&#x2122;§âŚ?ď&#x161;łć&#x161;ś
MM: Jia Zhang-ke has always been a visionary ďŹ lmmaker. What could festival in Shanxi?
ă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?î&#x161;&#x17D;
..î&#x161;&#x2030;饟ĺ&#x17E;´ĺ?&#x2022;â&#x2122;§ćšŹĺ&#x192;˝â&#x2122;§âĄ&#x2122;ęŹ&#x152;ä&#x152;˘ĺ&#x2030;¤éť&#x2021;é&#x2039;&#x2026;ď&#x2DC;śĺ&#x2030;¤ä&#x17E;&#x2022;ä§&#x192;朸ꨜä&#x2022;§â&#x17E;&#x192;ď&#x2DC;ˇč&#x2026;&#x2039;ä?˛ â´˝ď&#x161;´ćś¸ę¨śä&#x2022;§ç&#x153;?ď&#x2DC;šä§ŽâŚ&#x201D;ä Žć&#x2026;¨âš&#x203A;ď&#x2DC;ˇ
ART.ZIP: You have engaged in various kinds of ďŹ lm festivals for decades, and you ve tried to make it revolutionary in some way. So this time, are there any ideas or projects that did not carry out in the previous ďŹ lm festivals for some reasons, but manage to do so in PYIFF?
"35 ;*1î&#x161;&#x2030;ă&#x2013;&#x2C6;éş&#x2022;⿥朸䞸⟧ä&#x17D;&#x192;â&#x161;Ľď&#x2DC;šä?Ąĺ&#x2030;&#x17D;獤ć?&#x20AC;é?Şă˘ľâ&#x2122;śă &#x161;겳ă&#x2DC;&#x2014;朸ꨜ
sense of fear for ďŹ lm festivals worldwide. Festival organizers have been
âŚ&#x201D;ä ŽäŁŻäŁ&#x201A;ď&#x2DC;ˇçŠ&#x2030;çą˝ç˝?âŚ&#x203A;ęŹ&#x2014;č?&#x2020;襽â&#x2122;§â?&#x2030;ĺ&#x2022;&#x153;äŠ&#x203A;朸䪽䚾ď&#x2DC;šç˝&#x153;â&#x2122;śé&#x201D;¸ĺ&#x192;˝âżžćş
MM: The economic climate of the past ďŹ ve years has been marked by a faced with diďŹ&#x192;cult managerial decisions: whether it was rethinking
niche programming or seeking new funding streams, action had to be taken to keep festivals from falling behind. Film festivals must become again crucial exhibition circuits. They represent the antidote to market homologation - they nurture ďŹ lm culture, aďŹ&#x192;rm the multi-faceted
identities of contemporary cinema, create visibility for the new ďŹ lm-artists they showcase, facilitate the promotion of the very original works. Those very original works that could now in China receive a theatrical release
ä&#x2022;§ç&#x153;?ä&#x160;¨âĄ˛éş&#x2022;ď&#x2DC;šç˝&#x153;ä?Ąâ&#x203A;łâ&#x2122;§ćšŹä&#x2039;&#x17E;ĺ&#x160;&#x2020;č&#x2026;&#x2039;㣠㟊ꨜä&#x2022;§ç&#x153;?ĺ&#x160;Ľé¨éš&#x17D;é ¤â&#x2122;§â?&#x2030; ęŹ ă&#x201E;?ä&#x161;?朸ă&#x17D;˛é&#x2018;&#x2018;ď&#x2DC;ˇä?Ąĺ&#x2030;¤ĺ°?ĺ&#x2030;¤â&#x17E;&#x160;ë&#x17E;&#x2020;â&#x203A;&#x201C;âľšă&#x2013;&#x2C6;â°Śâ&#x17E;Žę¨śä&#x2022;§ç&#x153;?ă&#x201D;&#x201D;ć?&#x20AC;ç??ç?? ➲ă&#x201D;&#x201D;ć?&#x201A;ĺ˛ âżĄăť&#x153;éŠ?朸ä&#x;?ĺ˛ ď&#x2DC;śé&#x17D;&#x2122;âˇ&#x201D;ď&#x2DC;šă&#x2013;&#x2C6;é¸?ăž&#x201A;ä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?â&#x2122;łä&#x2013;¤ â&#x;&#x192;ăť&#x153;ć¤?朸ă&#x192;¤î&#x161;&#x17D;
..î&#x161;&#x2030;éş&#x2022;⿥â?&#x20AC;ä&#x17D;&#x192;ď&#x2DC;šď&#x2C6;Łć¤&#x2022;獤ć&#x2020;&#x2DC;ćŠ&#x2021;ă&#x17E;Żćś¸â&#x2122;śĺ&#x2026;&#x17E;ĺľâ&#x203A;łé&#x203A;&#x160;ď&#x2C6;Łâ&#x161;&#x2020;ć˛ćś¸ę¨śä&#x2022;§ç&#x153;?
ꨜä&#x2022;§ç&#x153;?éş&#x2022;ĺ&#x20AC;´ć?Žăźćś¸ă&#x20AC;&#x152;ćť&#x17E;ď&#x2DC;šéźŠĺ&#x192;˝ăźŚĺŽ â°Śâ&#x17E;ŽéĄťę&#x2020;&#x201E;⢾ĺ˝&#x201A;ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;鿪ꨞ é&#x160;´é¸&#x2019;éş&#x2022;â&#x2122;§â?&#x2030;č&#x17D;&#x160;ä˛&#x192;⢾ęŁ&#x2C6;姺ꨜä&#x2022;§ç&#x153;?é&#x201A;?äž â&#x2122;´âżĄď&#x2DC;ˇę¨śä&#x2022;§ç&#x153;?ä&#x161;&#x160;ꨞę&#x2026;žĺ&#x20AC;&#x17E;ä§ ć?&#x20AC;ꨜä&#x2022;§ĺ&#x2030;&#x201C;ć?&#x20AC;ę&#x2026;žé&#x160;´ćś¸ăž?ĺ&#x192;Śĺ&#x20AC;°ä&#x2019;ď&#x2DC;šç˝&#x153;ă¸?âŚ&#x203A;â&#x203A;łĺ&#x192;˝ä&#x2039;&#x2018;ă&#x153;Ľä&#x2019;¸ćśŽćś¸ă &#x161;颜âť&#x2039;
朸â&#x2122;§âˇé?&#x2018;č°&#x201D;Ő&#x201A;ꨜä&#x2022;§ç&#x153;?ꡢč&#x201A;ŹčĄ˝ę¨śä&#x2022;§äż&#x2019;âť&#x2039;ď&#x2DC;šçŹ&#x17E;é&#x161;&#x152;襽ć¤?â&#x17E;żę¨śä&#x2022;§ćś¸
㢾ęŹ&#x2014;ä&#x161;?ć&#x161;śé˘śď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;â&#x203A;łć?&#x20AC;⿎č&#x17D;&#x2026;ꨜä&#x2022;§ç&#x153;?朸ĺ&#x20AC;&#x17E;č° é ŻăšťâŚ&#x203A;䲿âŁ&#x2DC;ă&#x20AC;&#x152;ćť&#x17E;ď&#x2DC;š ć?&#x20AC;ĺ&#x2030;&#x201C;Ⱘ✞é&#x2039;&#x2026;朸⥲ă&#x2026;ˇéš&#x17D;é ¤ăš&#x2019;âŤ&#x201E;ä˛&#x20AC;ä&#x2018;&#x17E;ď&#x2DC;ˇăĽśâ&#x17E;&#x203A;ă&#x2013;&#x2C6;â&#x161;Ľă&#x2022;&#x153;ď&#x2DC;šé¸?â?&#x2030;⟧â´&#x2022;â°¨ ĺ&#x2030;¤ć Źâśžä&#x161;?朸ĺ&#x20AC;&#x17E;⥲ä&#x160;şçŤ¤ę&#x;&#x161;㨼ă&#x2013;&#x2C6;ĺ&#x20AC;&#x17E;éľ&#x153;â´&#x20AC;ć¤?ćś¸č° é Żę¤&#x17D;çŽ â&#x2122;łĺ&#x192;Śď&#x2DC;ˇ
within the newly-created art-cinema circuit.
â&#x2122;§âŚ?ăźăźćś¸ç&#x2DC;źăž?â&#x17E;&#x192;ă&#x2022;°ęĽ&#x2122;ď&#x2DC;šă&#x2013;&#x2C6;é&#x152;&#x161;ćş?â&#x153;Ťäž¸ćś°éż&#x2C6;ä&#x2022;§ć&#x2122;&#x161;â&#x203A;&#x201C;ä&#x2013;&#x2022;ď&#x2DC;šâŤŚâŤŚéź&#x2021;
The miracle of ďŹ lm festival programming is that a small team of
ä&#x2022;§ć&#x2122;&#x161;î&#x2122;ˇă&#x2013;&#x2C6;䧎âŚ&#x203A;朸ä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?ď&#x2DC;šé¸?âŚ?䞸㜜ĺ&#x192;˝ éż&#x2C6;î&#x2122;¸ď&#x2DC;ˇä§Žé&#x2019;˘ć?&#x20AC;
programmers watch hundreds of ďŹ lms and choose only those few (our PYIFF will only show 40 new ďŹ lms) that they consider worthy of being
shared with all the diďŹ&#x20AC;erent groups of audience. Curatorial work can create
â´&#x20AC;â&#x17E;ŽâŚ&#x203A;é&#x2019;˘ć?&#x20AC;ĺ&#x2030;¤â&#x2020;⧊ď&#x2DC;śč&#x2026;&#x2039;㣠č&#x17D;&#x2026;ă ?ç??â&#x2122;śă &#x161;朸é&#x152;&#x161;ćť&#x17E;çş&#x2C6;ë&#x201E;&#x201C;â´&#x2022;â?§ćś¸â&#x2122;§â?&#x2030; é¸?ĺ&#x192;˝ăż&#x201A;ĺ&#x20AC;´ę¨śä&#x2022;§ç&#x153;?朸㣟é¨&#x2039;ď&#x2DC;ˇç&#x2DC;źăž?ä&#x160;¨âĄ˛ă&#x20AC;łâ&#x;&#x192;䲿âŁ&#x2DC;â&#x2122;§ç??â°¨ĺ&#x2030;¤ĺ&#x2C6;żä&#x2018;&#x17E;ęĄ&#x20AC; çŹ&#x17E;ä?&#x17E;朸č?&#x2C6;ć&#x2039;ď&#x2DC;ˇ
a more capacious vision of freedom.
ART.ZIP: What would you expect PYIFF to achieve this year?
"35 ;*1î&#x161;&#x2030;ä?ĄăźŠâ&#x17E;&#x203A;ä&#x17D;&#x192;朸ä&#x17D;&#x201A;麜ꨜä&#x2022;§ăž?ĺ&#x2030;¤â&#x17E;&#x160;ë&#x17E;&#x2020;ĺ&#x160;?é?Şî&#x161;&#x17D;
talented and innovative new ďŹ lm artists, introducing them to young
ăŁ&#x201D;é˘ćś¸ď&#x2DC;śâśžĺ&#x20AC;&#x17E;朸ĺ&#x20AC;&#x17E;ę&#x152;´ę¨śä&#x2022;§â&#x17E;&#x192;ď&#x2DC;šâ&#x161;&#x203A;ăź&#x;â&#x17E;ŽâŚ&#x203A;â&#x17E;?稲çŞ?â&#x161;Ľă&#x2022;&#x153;朸ä&#x17D;&#x192;é°&#x2039;é&#x152;&#x161;
MM: We should be able to fulďŹ l at least three tasks: 1. to champion
viewers in China; 2. to build an expansive reach with an army of the
most original auteurs and genre directors; 3. to play a role in the global expansion of Chinese-language cinema. We have striven to strike
a balance between artistic research and the part of genre cinema
that has stayed engaging and rich in texture. We want to focus on
new directors, and also to ďŹ lmmakers who have been able to literally
"reinvent" themselves, turning their attention to intriguing material and to compelling issues.
..î&#x161;&#x2030;䧎âŚ&#x203A;估é&#x2018;Şč&#x2026;&#x2039;㣠㸤ä§č?&#x203A;ăźąâ&#x2122;˛âŚ?â&#x;¤âšĄî&#x161;&#x2030;ç&#x2014;§â&#x2122;§ď&#x2DC;šć âş&#x2018;齥â?&#x2030;ĺ&#x2030;¤ ćť&#x17E;î&#x161;&#x160;ç&#x2014;§â&#x153;łď&#x2DC;šä&#x2019;&#x160;ç&#x201D;¨â&#x2122;§âŚ?ĺ&#x2122;˛â°¨âşŤăş&#x201A;ä&#x161;?朸â&#x17E;&#x192;č&#x2026; 珪ď&#x2DC;šâ°Śâ&#x161;ĽâşŤă&#x201A;?襽ĺ&#x2030;&#x201C;Ⱘ✞
é&#x2039;&#x2026;朸⥲ç˝?㟏ć&#x20AC;ľď&#x2DC;šâ&#x;&#x192;⿝겳ă&#x2DC;&#x2014;ć&#x2122;&#x161;㟏ć&#x20AC;ľî&#x161;&#x160;ç&#x2014;§â&#x2122;˛ď&#x2DC;šć?&#x20AC;č&#x17E; é&#x201C;&#x192;ꨜä&#x2022;§ćś¸ď&#x2C6;Łć¤&#x2022;ä&#x161;? âŤ&#x201E;äš&#x2026;â¸&#x201D;â¸&#x201A;ď&#x2DC;ˇă&#x2013;&#x2C6;齥â?&#x2030;éš&#x17D;é ¤č° é Żăť&#x153;éŠ?朸ä&#x2022;§ć&#x2122;&#x161;ă&#x201E;¤é˝Ąâ?&#x2030;ă &#x161;ĺ&#x17E;şä&#x2019;¸â&#x17E;&#x192;â°&#x2026;⚨ â&#x161;&#x203A;â&#x161;&#x201A;ĺ&#x2030;¤čĄ˝č&#x2018;ťăĽŞé˘śä Žćś¸ę˛łă&#x2DC;&#x2014;ꨜä&#x2022;§â&#x203A;&#x201C;ę&#x;Śď&#x2DC;šä§ŽâŚ&#x203A;â&#x2122;§ćšŹă&#x2013;&#x2C6;ă&#x17D;˛é&#x2018;&#x2018;âĽ&#x192;ä°ä&#x17D;&#x201A;
é&#x201A;&#x201A;ď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;č&#x2026;&#x2039;ăŁ ęĄ ĺ˛¤ĺ&#x20AC;&#x17E;ę&#x152;´ę¨śä&#x2022;§ăźŹć&#x20AC;ľď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;ď&#x2DC;šăźŠé˝Ąâ?&#x2030;ä§â¸&#x2020;鹲 ă&#x2DC;&#x2014;ď&#x2DC;šę&#x;&#x161;ă¨ĽęĄ ĺ˛¤â&#x2122;§â?&#x2030;ĺ&#x2030;¤éŚąćś¸ć¤?ăť&#x153;ç¨&#x2021;ĺ&#x2039;&#x17E;ă&#x201E;¤ç&#x2C6;˘ĺ&#x2030;&#x161;ă&#x2030;?ę˛&#x2014;朸ꨜä&#x2022;§â&#x17E;&#x192;ď&#x2DC;šä§Ž âŚ&#x203A;â&#x203A;łă &#x161;ĺ&#x17E;şâĽ&#x192;ä°čĄ˝ęĄ 岤ď&#x2DC;ˇ
ART.ZIP: How would you balance the artistry of ďŹ lm with the Chinese national situation under its particular regulations?
"35 ;*1î&#x161;&#x2030;ă&#x2013;&#x2C6;â&#x161;Ľă&#x2022;&#x153;朸ć&#x161;śĺŠ&#x152;ç&#x203A;&#x2DC;âľ&#x2013;ćŠ&#x2021;ă&#x17E;Żâ&#x203A;&#x201C;â&#x2122;´ď&#x2DC;šâĄšâŚ&#x203A;㼜⥌âĽ&#x192;ä°
serves also as a platform for the national industries to dialogue with foreign
ĺ&#x201E;&#x2DC;ď&#x2DC;šă &#x161;ĺ&#x17E;şĺ&#x192;˝â&#x2122;§âŚ?ĺ&#x160;Ľă&#x2022;źę¨śä&#x2022;§ćŹ´ĺ&#x2122; č&#x17D;&#x2026;ă&#x2022;&#x153;㢍ꨜä&#x2022;§ä&#x160;¨âĄ˛ç˝?ď&#x2DC;śă&#x2022;&#x153;꼚
MM: An international ďŹ lm festival, while opening a window to the world,
professionals and international media â&#x20AC;&#x2019; but more particularly to engage also the various - and diďŹ&#x20AC;erent - groups of viewers. PYIFF could strengthen the
network of ďŹ lm culture, assume the role of a permanent event, trying in every way to extend outside the days of the event, and through the whole year, the excitement of young viewers for all kinds of cinematic experiences.
ꨜä&#x2022;§ćś¸č° é Żä&#x161;?î&#x161;&#x17D;
..î&#x161;&#x2030;â&#x2122;§âŚ?ă&#x2022;&#x153;꼚ä&#x161;?朸ꨜä&#x2022;§ç&#x153;?ď&#x2DC;šă&#x2013;&#x2C6;â°¨ĺ&#x2030;¤ă¸?朸ď&#x2C6;Łć¤&#x2022;ä&#x161;?é&#x2039;&#x2022;ę&#x2026;żćś¸ă &#x161; 㯯ë&#x201E;&#x201C;â?&#x153;ĺ´Šď&#x2DC;śăźŠé&#x2018;¨ćś¸ä&#x17D;&#x201A;č?ŠŐ&#x201A;ć?ç˝&#x153;ĺ&#x2C6;żę&#x2026;žé&#x160;´ćś¸ĺ&#x192;˝ď&#x2DC;šă¸?ęŹ&#x2014;㠢朸ĺ&#x192;˝
㢾ĺ&#x17E;şćś¸ď&#x2DC;šćŹŠč?&#x203A;ä&#x160;´â´˝ď&#x160;ľăŁ?朸é&#x152;&#x161;ćť&#x17E;çş&#x2C6;ë&#x201E;&#x201C;ď&#x2DC;ˇä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?㼜 ĺ?&#x201C;č&#x2026;&#x2039;㣠갍âľ&#x201E;ă&#x2013;&#x2019;ę&#x;&#x20AC;ĺ&#x160;?č&#x17D;&#x160;éłľâ&#x2122;´âżĄď&#x2DC;šă¸?ĺ&#x2030;&#x161;猺窥ä&#x161;?ď&#x2DC;śéą&#x2013;ăź&#x2122;ä&#x161;?ă&#x2013;&#x2019;⿥
ä&#x201C;˝âť&#x2039;ꨜä&#x2022;§äż&#x2019;âť&#x2039;ă&#x2013;&#x2C6;â&#x161;Ľă&#x2022;&#x153;朸ä&#x2022;§ę° ď&#x2DC;šă&#x17D;˛é&#x2018;&#x2018;ăź&#x;â°Śä&#x2022;§ę° â¸&#x201A;ä&#x2019;&#x201A;â ˝âľ&#x152;ꨜ ä&#x2022;§ăž?朸ĺ&#x201A;&#x2C6;ĺ&#x160;?â&#x203A;&#x201C;㢍ď&#x2DC;šć?&#x20AC;ä&#x17D;&#x192;é°&#x2039;朸é&#x152;&#x161;ä&#x2022;§ç˝?âŚ&#x203A;䲿âŁ&#x2DC;ă ?ç??ă ?ĺ&#x17E;şćś¸ę¨ś ä&#x2022;§ë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;ˇ
ART.ZIP: China has been named as the world s fastest-growing ďŹ lm market, what do you think of this growth and Chinese ďŹ lm industry? MM: From the mid-1990 s onwards, China entered into an era of
unprecedented economical and social transformation, touching every
strata and aspect of its society and culture, while altering in a deďŹ nitive
way the composition of its social landscape. Chinese cinema has been a
started urging the uniďŹ cation of politics and market. But a central hub for international exchanges and for the cross-fertilization of talent, ideas and techniques was still needed. Will PYIFF become that central hub? PYIFF
should at least be able to act as a catalyst to bring forth the new Chinese talents to launch in both the national and international arena.
掚ć?ď&#x2DC;šâ&#x2122;§âŚ?ć&#x161;śâ´˝ćś¸ę¨śä&#x2022;§ç&#x153;?â&#x203A;łĺ&#x2030;&#x161;㟊獤ć&#x2020;&#x2DC;ă&#x201E;¤äžŽâŚ?援ĺ&#x2122; ę&#x2022;&#x2013;ä&#x152;&#x;⢾é?Şă˘ľĺ&#x2030;¤âľ&#x201E;ćś¸é ĽćŹ°â&#x2020;⧊Ő&#x201A; ĺ &#x2021;éş&#x2030;ĺ&#x2122; ď&#x2DC;śä&#x160;¨ĺ&#x2122; ă&#x201E;¤ă&#x2030;&#x201A;ĺ&#x2122; 鿪ĺ&#x2030;&#x161;ä&#x2013;°â&#x161;Ľć ˝ć¸¤ď&#x2DC;ˇç˝&#x153;㟊ĺ&#x20AC;´é˝Ąâ?&#x2030;ăŁ?â¸&#x201A;äŤ?饝â¸&#x201A;ă&#x2022;ŹćśŽăž?掚ă&#x2013;&#x2019;ä&#x2022;§é&#x2039;&#x2022;援ĺ&#x2122;
朸ă&#x2013;&#x2019;⟌⢾é&#x201C;&#x17E;ď&#x2DC;šä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?ăź&#x;ć?&#x20AC;â&#x17E;ŽâŚ&#x203A;ä&#x152;&#x;⢾鼼㠢ă&#x2022;&#x153;ęĽšćś¸ĺ Ľĺ&#x2030;&#x161;ď&#x2DC;šé¸?㟊ă¸?âŚ&#x203A;⢾é&#x201C;&#x17E;â°¨ĺ&#x2030;¤
There is deďŹ nitely also a strong case to be made for the spin-oďŹ&#x20AC; industrial and economical beneďŹ ts generated
ę&#x2026;žăŁ?朸ä &#x2018;çş?ď&#x2DC;ˇä&#x17D;&#x201A;éşśă&#x201E;¤ă¸?䨞ă&#x2013;&#x2C6;朸ăż&#x2039;é&#x160;Żćş 鿪ĺ&#x192;˝ęŹ&#x152;ä&#x152;˘ăĽŞćś¸ę¨śä&#x2022;§ă&#x20AC;&#x160;ĺ&#x2026;&#x17E;ă&#x2013;&#x2019;ď&#x2DC;šç˝&#x153;ꨜä&#x2022;§ç&#x153;?â&#x203A;łĺ&#x192;˝â&#x2122;§ âŚ?犪â˘&#x2022;朸㠢ă&#x2022;&#x153;꼚ꨜä&#x2022;§â&#x17E;&#x192;ăž?ć¤?ä&#x17D;&#x201A;éşśď&#x2DC;śăž?ć¤?ăż&#x2039;é&#x160;Żćś¸ä&#x17D;&#x201A;č?Šď&#x2DC;ˇ
by a special' festival â&#x20AC;&#x2019; stimulating tourism, industry and
"35 ;*1î&#x161;&#x2030;â&#x161;Ľă&#x2022;&#x153;ä&#x160;şçŤ¤ä§ć?&#x20AC;â&#x161;&#x2020;ć˛ă&#x;&#x17E;ę&#x;&#x20AC;é¸ ä?&#x17E;ĺ&#x2030;&#x201C;ä&#x2DC;°ćś¸ę¨śä&#x2022;§ä&#x2039;&#x2018;ă&#x153;Ľď&#x2DC;šä?ĄăźŠĺ&#x20AC;´é¸?ç??é´žć&#x17E;Ąă&#x;&#x17E;ę&#x;&#x20AC;ď&#x2DC;š
that has been evident in regions that have invested
..î&#x161;&#x2030;ä&#x2013;° ä&#x17D;&#x192;â&#x17E;żâ&#x161;Ľĺ&#x160;?ę&#x;&#x161;㨼ď&#x2DC;šâ&#x161;Ľă&#x2022;&#x153;éš&#x17D;â°&#x2026;â&#x153;Ťâ&#x2122;§âŚ?ç&#x2018; ⾚朸獤ć&#x2020;&#x2DC;ď&#x2DC;śç&#x2C6;˘ĺ&#x2030;&#x161;鹲ă&#x2DC;&#x2014;ĺ&#x160;?ď&#x2DC;šé¸?â&#x203A;łä&#x2022;§ę° â&#x153;Ť
business. Not forgetting the substantial multiplier eďŹ&#x20AC;ect money and energy in developing their local ďŹ lm and television industry in connection with a festival that
would link them to the global scene. PYIFF would also be an exceptional platform to promote Pingyao and Shanxi as a location for international ďŹ lm shoots.
â&#x;&#x192;⿝䞎âŚ?â&#x161;Ľă&#x2022;&#x153;ꨜä&#x2022;§ä&#x160;¨ĺ&#x2122; ä&#x2122;Śë&#x17E;&#x2020;ćş?î&#x161;&#x17D;
â°Śç&#x2C6;˘ĺ&#x2030;&#x161;ă&#x201E;¤äż&#x2019;âť&#x2039;朸ă ?âŚ?꼣㞾ď&#x2DC;śă ?âŚ?ĺ&#x20AC;°ęŹ&#x2014;ď&#x2DC;šäžŽâŚ?ç&#x2C6;˘ĺ&#x2030;&#x161;ćŠ&#x2021;ă&#x17E;Żâ&#x203A;łćŽšć?ęŚ&#x2018;â&#x203A;&#x201C;ä˝&#x2013;é&#x161;śď&#x2DC;ˇâ&#x161;Ľă&#x2022;&#x153;ꨜä&#x2022;§
â&#x2122;§ćšŹâżžĺ&#x192;ŚčĄ˝äžŽâŚ?ç&#x2C6;˘ĺ&#x2030;&#x161;朸é&#x161;śęŹ ď&#x2DC;šćšŹâľ&#x152;ç&#x203A;&#x2DC;ć¤&#x161;ç˝?ę&#x;&#x161;㨼é&#x160;´ĺŽ ăź&#x;ä˝&#x;ĺą&#x203A;ę¨žĺŽ ă&#x201E;¤ä&#x2039;&#x2018;ă&#x153;Ľę¨žĺŽ 窥â&#x2122;§ 鼹⢾ď&#x2DC;ˇć?ç˝&#x153;ď&#x2DC;šâ&#x161;Ľă&#x2022;&#x153;â&#x17E; ć?ꨞé&#x160;´â&#x2122;§âŚ?â&#x;&#x192;č&#x17D;&#x2026;â&#x161;&#x2020;ć˛â?&#x153;ĺ´Šâ&#x17E;&#x192;äŠ&#x17E;ď&#x2DC;śé&#x152;&#x161;ë&#x;&#x160;ă&#x201E;¤äŞŽé Żć?&#x20AC;â°Śč&#x20AC;ˇč&#x2026;&#x2039;朸â&#x161;Ľä&#x2014;ą
ĺ&#x17E;˛ç§Łď&#x2DC;ˇä&#x17D;&#x201A;麜ꨜä&#x2022;§ăž?č&#x2026;&#x2039;㣠ä§ć?&#x20AC;齥âŚ?ĺ&#x17E;˛ç§Łă&#x152;¨î&#x161;&#x17D;č?&#x203A;ăźąď&#x2DC;šä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?č&#x2026;&#x2039;㣠⥲ć?&#x20AC;â&#x2122;§âŚ?ăź&#x; â&#x161;Ľă&#x2022;&#x153;ä&#x17D;&#x192;é°&#x2039;ꨜä&#x2022;§â&#x17E;&#x192;ä&#x152;&#x;â&#x2122;łă&#x2022;&#x153;â°&#x2030;ď&#x2DC;śă&#x2022;&#x153;꼚č&#x17D;ťč?Šćś¸âŞśâť&#x2039;âˇç˝&#x153;㜸ă&#x2013;&#x2C6;ď&#x2DC;ˇ
Marco Mueller ŠRoberto Pellegrini
mirror of this transformation. To the point that central ďŹ lm authorities have
TURNING TRASH TO TREASURE PINGYAO INTERNATIONAL FILM FESTIVAL MOVIE THEATRE
隶䑛捀㼂
䎂麶㕜ꥹꨶ䕧㾝涸ꨶ䕧㹨 5&95 "/% 1)050(3"1)&% #: 乊俒⿺伡䕧 4)03"/ +*"/( 㩍㊍搬 *."(& $0635&4: 0' 㕭晙䲿⣘ 1:*'' 䎂麵㕜ꥸꨵ䕧㾝 53"/4-"5&% #: 缺陼 /*$)0-"4 "/%&340/ 㽲〢䬘倛˙㸝䗞啿
FROM A DIESEL ENGINE FACTORY TO A MOVIE THEATRE From design to construction, the transformation has taken advantage of the
local environment. The original factory floor has become a multi-purpose venue encompassing viewings, press conferences and office space.
Pingyao diesel engine factory is located in the old city s North West corner,
occupying 71,000 m2 and first built in 1920, it was previously an iron foundry
until the early 1970s when it became Jinzhong Diesel Engine Factory. The Factory
ceased operating in 1994, but the factory was preserved with relics of its industrial past.
叞屘堥䑖隶ⴀ⢵涸ꨶ䕧㹨
䖰ꨶ䕧㹨涸鏤鎙ⵌ䒊鸤刿㢵涸僽㔔㖒ⵖ㹆佖鸤
ⵄ欽㼟⾲剤涸叞屘堥䑖涸䑖 䨼佖 䒊䧭✫꧌錚 䕧倞耂涮䋒鳵Ⱇ倴♧넓涸㢵⸆腋㜥㖒
䎂麶叞屘堥䑖⡙ 倴〢㙹涸銯⻍錬籏Ⱏ⽑㖒
殎㨥䒊倴字㕜 䎃 䎃魨僽䊨䑖湬
荛 䎃➿ⴲ䊨䑖刿そ捀儢⚥叞屘堥䑖 ⵌ 䎃叞屘堥䑖ꡠꟗ⡎㸐涸䑖䨼鿪⥃㶸✫♴ ⢵䔥恠衽罉䊨噠涸鎹䥊
THE COLLISION OF OLD AND NEW One is an old factory, and the other is a large international film festival. When they meet, what kind of collision will it be?
倞莅莍涸焥中
♧⦐僽莍䑖䨼♧⦐僽㕜ꥹ䚍涸㣐㘗ꨶ䕧㾝✳罏湱麂 剚剤䙦垺涸焥中
The diesel engine factory has its advantages when it comes to cinema, being
叞屘堥䑖涸罉䑖䨼剤㸐涸⮛嫲㥶㣁넞㣁侎❮⡎
problems, especially as a multi-purpose venue for viewings, press conferences,
䋒鳵Ⱇ㾝錒瘞㢵⸆腋捀♧넓涸㼠噠㜥䨾儘㽠䗳搭
sufficiently tall, light and spacious. Nonetheless, an old factory also has its
office space and exhibitions. For professional use, it needed new designs, new ideas and revitalization.
Recently, the workers have been particularly busy, working to prepare the site in time before September. It has to be transformed into an open-air cinema that can accommodate 1,500 people and another indoor cinema with 500
seats. At the same time, the old workshop will also be turned into four small
ず垺罉䑖䨼⛳剤㸐涸㉏겗㽍Ⱖ僽⡲捀꧌錚䕧倞耂涮 銴⸈Ⰵ倞涸鏤鎙倞涸椚䙂倞涸佖鸤
罜➛䊨➃⦛殯䌢籗䘑➮⦛銴馜㖈 剢⛓㖈鑪贖倞 䒊♧⦐〳㺂秝 ➃涸ꪫ㣔ꨶ䕧ꤎ♧⦐〳㺂秝 ➃ 涸ꨶ䕧㹨ず儘佖鸤莍鮦㸤䧭㔋⦐㼭䕧䑼顜频㹔⿻ 倞耂⚥䗱涸䒊鏤
screening rooms, a VIP area and space for press centres.
UNCOOPERATIVE WEATHER AND CAPABLE WORKERS
♶⡲繡涸㣔孵ㄤ剤⡲捀涸䊨➃
By the end of August, tensions are still high. August brought several spells
Ⱄ剢䏁➠㖈筝䓹馜䊨殹⚥Ⱄ剢涸䎙㜥㣐ꨎ幾䢩✫䊨
especially the outdoor areas, which was forced to halt work temporarily.
⢵
of heavy rain, slowing down the transformation of the diesel engine factory,
玑鹎䏞㽍Ⱖ僽銴㹔㢫ꎦ鏤䵩䒊涸䊨⡲♶䖤♶⨢♴
The sky just cleared as the deadline approached and the workers couldn t
㣔ⶍⶍ佞內荆衽䊨劍㖈⽰䊨➃⦛♶侒䥭䚁ꨶ䕧㹨
system to check the daily progress of those responsible for each task. If the
㸤䧭殹㣔涸䊨⡲鹎䏞㽠皿⸈棵⛳銴㸤䧭
slack off. The construction of the movie theatre was controlled by a managing day s work wasn t completely finished, that meant overtime until it was done. The site s skilled workers, engineering contractors and design teams did their duties, pushing for the movie theatre to be completed on schedule.
湡涸佖鸤㻜遤嫦傈䊨玑鹎䏞呍叆涸顑⟤ⵖ㥶卓尝剤
植㜥涸䪮遯䊨➃䊨玑䪭⺫㉂鏤鎙㕰ぐⰦ耷ぐ 㽠Ⱖ⡙鿪㖈捀ꨶ䕧㹨涸㥶劍❜➰⸗⸂䊨⡲衽
Pingyao International Film Festival Movie Theatre Rendering
DESIGN PLANS, CHANGE!
鏤鎙䙼騟隶隶隶
Jia Zhang-ke said that they don t only want an eight-day film festival. After the
顼垴叕铞➮⦛♶䋞劆⨞♧⦐〫剤Ⱄ㣔涸ꨶ䕧㾝痧♧
into a long-term art and culture park. At the same time, they hope to host
劍麌斊ず儘䋞劆꧱ヰ剤♧⦐ꨶ䕧㼠겗㾝嫲㥶岁㕜ꨶ
opening ceremony, they hope to turn Pingyao diesel engine factory cinema special fortnightly film festivals, for instance, having a focus on French and
Japanese films among others. Accompanying these ideas, the execution team is building a national ticketing platform, hoping that the festival will bring
people in from all over, and the film festival model could continue to grow and
㾂䍌䖕㖈䎂麶叞屘堥䑖俒⻋谁遯㕨⼦Ⰹ涸ꨶ䕧ꤎꟀ 䕧㾝傈劥ꨶ䕧㾝瘞ꂂざ鸏♧椚䙂ꨶ䕧㾝㕰姻㖈
䵩䒊㕜涸牱䎂荩䋞劆ꨶ䕧㾝〳⟃䌟⢵㕜涸錚滞 ➃崩䪾ꨶ䕧㾝⨞䧭䌢䢀⻋涸麌斊垸䒭
become regular. Therefore, accompanying this concept, Tsinghua Architectural
䨾⟃捀✫ꂂざ鸏♧錚䙂ꨶ䕧㹨涸鏤鎙鏤鎙㕰幢螠㣐
Lian Yirui, the head of industrial park design. The co-founder of PYIFF as well as
䌟걆♴鏤鎙✫ꨶ䕧㹨涸佖䒊갪湡
Design Institute was appointed as a major design team, under the guidance of
the head of experimental art and city design at Art School of Shanxi University, Wang Huaiyu, is appointed as the chief designer of the movie theatre s interior
㷸䒊眡鏤鎙灇瑖ꤎ㖈欴噠㕨⼦灇瑖⚥䗱⚺⟤䐢嫏ꌴ涸 罜⡲捀䎂麶ꨶ䕧㹨㹔Ⰹ鏤鎙涸껷䌏鏤鎙䌌㿋銯㣐㷸繡
design. He crafted the layout of the park and gave supervision with meticulous consideration of design and attention to detail.
The cinema s construction created 11,000 m2 of space of which 5,700 m2 was new
é Żăˇ¸ę¤&#x17D;ăť&#x153;ë&#x20AC;żč° é Żă&#x201E;¤ă&#x2122;šä&#x2039;&#x2018;é?¤é&#x17D;&#x2122;猺â&#x161;şâ&#x;¤ď&#x2DC;šä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§
ăž?č&#x20AC;˘ă &#x2013;✞㨼â&#x17E;&#x192;楏ä§&#x192;ă¸&#x2122;ď&#x2DC;š ę&#x201A;&#x201A;ă &#x2013;ä&#x2022;§ăž?čĄ&#x2020;ă&#x2013;&#x2019;ď&#x2DC;šăźŠäžŽâŚ?ă&#x2022;¨âźŚ ä&#x2019;&#x160;é?¤ćś¸ę˝?ă&#x2013;&#x2019;éš&#x17D;é ¤ä¸ăźŹă&#x201E;¤ă¸Şé&#x152;&#x161;䪞乞ď&#x2DC;ˇ
buildings and reconstruction of old spaces was 5,700 m2. The new constructions
ꨜä&#x2022;§ăš¨ä&#x2019;&#x160;ç&#x153;ĄęŹ&#x2014;ç?&#x17D; č ?ä&#x17D;&#x201A;ĺ&#x20AC;°ç˘&#x153;ď&#x2DC;šâ°Śâ&#x161;Ľĺ&#x20AC;&#x17E;ä&#x2019;&#x160;ä&#x2019;&#x160;ç&#x153;ĄęŹ&#x2014;ç?&#x17D;
and area for forums and conferences. The reconstruction involved overhauling
ç&#x153;Ąĺ&#x2030;¤ â&#x17E;&#x192;ꪍăŁ&#x201D;ä&#x2022;§ę¤&#x17D;ď&#x2DC;ś â&#x17E;&#x192;ăš&#x201D;â°&#x2030;ä&#x2022;§ę¸ď&#x2DC;ś7*1⟌ď&#x2DC;śé&#x201D;¸
include the 1,500-seat open-air cinema, the 500-seat indoor cinema, a VIP area ďŹ ve workshops in the diesel engine factory; D7, A5, D1, D2 and D3. D7 will be
transformed into an administrative oďŹ&#x192;ce for a ďŹ lm and television company. A5
will become a media and customer service centre. D1 will become the entrance
hall of the main venue, D2 will become four small screening rooms, and D3 will be transformed into a news centre.
ä&#x17D;&#x201A;ĺ&#x20AC;°ç˘&#x153;ď&#x2DC;šä˝&#x2013;ä&#x2019;&#x160;ä&#x2019;&#x160;ç&#x153;ĄęŹ&#x2014;ç?&#x17D; ä&#x17D;&#x201A;ĺ&#x20AC;°ç˘&#x153;ď&#x2DC;ˇĺ&#x20AC;&#x17E;ä&#x2019;&#x160;ä&#x2019;&#x160;
㠢⟌ď&#x2DC;šä˝&#x2013;鸤éż&#x2C6;â´&#x2022;ĺś?⿝➲ĺ?&#x17E;ĺą&#x2DC;ĺ Ľä&#x2018;&#x2013;朸â?&#x20AC;âŚ?鎌ę&#x;Śď&#x2DC;šâ´&#x2022;â´˝
ć?&#x20AC;% ď&#x2DC;ś" ď&#x2DC;ś% ď&#x2DC;ś% ď&#x2DC;ś% 鎌ę&#x;Śď&#x2DC;ˇ% 鎌ę&#x;Śăź&#x;é&#x201E;&#x201E;ä˝&#x2013;鸤ä§ä&#x2022;§ é&#x2039;&#x2022;â°&#x2014;ă &#x20AC;é ¤ä˝&#x;éłľâ°&#x2014;ăš&#x201D;ď&#x2DC;š" 鎌ę&#x;Śăź&#x;é&#x201E;&#x201E;ä˝&#x2013;鸤ä§ăŻŻë&#x201E;&#x201C;âżťăš?
ĺ&#x2030;Şâ&#x161;Ľä&#x2014;ąď&#x2DC;š% 鎌ę&#x;Śăź&#x;é&#x201E;&#x201E;ä˝&#x2013;鸤ä§â&#x161;şăž?é&#x152;&#x2019;ă&#x153;Ľă&#x2013;&#x2019;朸â°&#x2026;ă&#x20AC;ĄăŁ?
ä&#x2018;źď&#x2DC;š% 鎌ę&#x;Śăź&#x;é&#x201E;&#x201E;ä˝&#x2013;鸤ä§ă&#x201D;&#x2039;âŚ?ăźä&#x2022;§ä&#x2018;źď&#x2DC;š% 鎌ę&#x;Śăź&#x;ĺ&#x2030;&#x161; é&#x201E;&#x201E;✞鸤ä§ĺ&#x20AC;&#x17E;č&#x20AC;&#x201A;â&#x161;Ľä&#x2014;ąď&#x2DC;ˇ
PINGYAO REAL GEM OF SHANXI
儢㊥儢繡䎂麶㙹 5&95 "/% 1)050(3"1)&% #: 乊俒⿺伡䕧 4)03"/ +*"/( 㩍㊍搬 *."(& $0635&4: 0' 㕭晙䲿⣘ 1:*'' 䎂麵㕜ꥸꨵ䕧㾝 53"/4-"5&% #: 缺陼 /*$)0-"4 "/%&340/ 㽲〢䬘倛˙㸝䗞啿
The ancient city of Pingyao and its surrounding areas have many deserving places
to visit. Pingyao International Film Festival is based in Pingyao, which is historically, culturally and geographically blessed. Pingyao is an ancient town with 2,700 years of history, one of China s four great ancient towns. Pingyao is often used as the
backdrop for a lot of film and television programs and is inextricably linked to film and TV.
If holding Pingyao International Film Festival in Pingyao is a collision of the ancient and the modern, then the city and its surrounding landscape will add an extra layer to the Film Festival.
The Ancient City of Pingyao: A Hundred Years of Change, A Thousand Years of History
䎂麶〢㙹⿻Ⱖヰ鼹剤䖎㢵⧩䖤♧涸㖒倰䎂麶㕜
ꥹꨶ䕧㾝鼇㖧㖈䎂麶僽剤Ⱖ娜〷俒⻋ㄤ㖒椚涸
罌ꆀ䎂麶僽♧䏠剤衽 䎃娜〷涸〢㙹僽⚥㕜
植㶸涸㔋䏠㸤㥪涸〢㙹⛓♧罜䎂麶⡲捀鏪㢵䕧鋕
ⷜ涸䬝伢㜥㖒刿僽莅ꨶ䕧剤衽⼪窣蠝籀涸耢粯
㥶卓铞䎂麶㕜ꥹꨶ䕧㾝㖈䎂麶莊鳵僽〢➛⚥㢫
涸娜〷焥中齡랃䎂麶⟃⿻鹋鼹涸兞篊刿捀ꨶ
䕧㾝㟞幑✫㼩鑨涸Ⰹ巒
䎂麶〢㙹 涰䎃徥呺⼪䎃琎慈
♧煴♧檳♧加♧瀖鿪鋅阮✫䎂麶涸娜〷
Brick and tile, wood and stone, all have witnessed the history of Pingyao.
䎂麶〢㙹㨥䒊倴銯ヰ騅➛䊺竤剤 䎃涸娜〷
The ancient city was first established in the Western Zhou Dynasty, and has now
㕜⥃㶸剓捀㸤㥪涸㔋㣐〢㙹⛳僽湡⚥㕜㈔
experienced 2,700 years of history. Together with Sichuan s Langzhong, Yunnan s Lijiang and Anhui s Shexian, it is known as one of China s top four best preserved
ancient cities. It is currently the only one in China to be declared a UNESCO World Heritage Site. In the late Qing Dynasty Pingyao was China's financial centre,
becoming a prosperous and flourishing city. Everywhere you go you can feel the atmosphere of traditional Shanxi culture, peering back 100 years into the past.
✫㸐莅㔋䊛ꠏ⚥ꨣ⽂뜩寐㸞䗩姩簖⚛珖捀⚥ ♧⟃侮䏠〢㙹歍㜡⚆歲俒⻋鼍欴栽䖤䧭⸆涸〢簖
㙹䎂麶剎僽儻幢儘劍⚥㕜涸ꆄ輑⚥䗱饥鹎鸏䏠 剎竤籗螠涸〢㙹贖贖〳⟃䠮「ⵌ儢㉂俒⻋涸孵 䜂雊➃剤♧珏瑭馊㔐涰䎃涸ꐫ錏
ANCIENT WALLS The walls surrounding the ancient city of Pingyao, are one of four best-preserved ancient walls that still exist.
ă&#x20AC;˘ă&#x2122;šă &#x17D;
ă&#x20AC;˘ă&#x2122;šă &#x17D;ćŠ&#x2021;ă&#x2122;šç˝&#x153;ä&#x2019;&#x160;ď&#x2DC;šĺ&#x192;˝â&#x161;Ľă&#x2022;&#x153;ć¤?㜸ĺ&#x2030;&#x201C;㼪朸ă&#x201D;&#x2039;ä? ă&#x20AC;˘ ă&#x2122;šă &#x17D;â&#x203A;&#x201C;â&#x2122;§ď&#x2DC;ˇ
The construction of Pingyao s ancient city can be traced back to at least Zhou
ä&#x17D;&#x201A;éşśă&#x20AC;˘ ă&#x2122;š ă &#x17D;朸㨼ä&#x2019;&#x160;ĺ&#x201E;&#x2DC;ę&#x;Śč?&#x203A; ăźąă&#x20AC;łâ&#x;&#x192; éˇ&#x2020; 彸âľ&#x152;ă&#x192;°
its long history Pingyao underwent numerous renovations but the early Ming Dynasty
ĺ&#x160;&#x160;ĺłżĺ¨&#x20AC;â&#x2122;˛ä&#x17D;&#x192;î&#x2122;ˇ ä&#x17D;&#x192;î&#x2122;¸ă&#x2013;&#x2C6;é&#x160;Żă&#x192;°ćś¸č&#x17D;?ă&#x2122;šă&#x203A;&#x2021;ç&#x2021;&#x160;â&#x2122;ł
Xuanwang (? â&#x20AC;&#x2019; 782 BC). The existing walls date back to the Ming Dynasty (1370) as over style survives till today.
The walls are roughly 12 meters high, averaging 3.5 meters wide and 6.4 kilometres long. It surrounds the ancient city, creating a solemn and imposing atmosphere.
â&#x20AC;&#x153;LAND OF WEALTHâ&#x20AC;?-RISHENGCHANG The Shanxi exchange shops of the Ming and Qing Dynasties can be considered the
precursor to China s modern banks. Rishengchang was China s ďŹ rst exchange shop. In
Rishengchang could develop such a strong position due to its perfect employment
management system. Its tickets implemented the owner-manager partnership. The owners were responsible for the supply of money and not partaking in business decisions.
Business decisions were taken by the treasurer, acting as the company's general
manager. Shareholders enjoyed ownership, and the treasurer the right to operate. From top to bottom, responsibility, power, and proďŹ t were clearly split. In Rishengchang s
most prosperous period, it was known as "the best in the world", "The Land of Wealth ". It had branches all over the country in more than 30 cities, and operated even as far away as Europe, the United States and Southeast Asia.
BIAOJU: SPEAK OF RIGHTEOUSNESS, TALK ABOUT LOYALTY In ancient times, Biaoju provided people with security when transferring money to
each other, acting as escorts for the money. The modern equivalent is now the courier service, but in the past to ensure ďŹ nancial security; armed guards were employed.
Guards relied on wheelbarrows, pushing gold and silver treasures, walking thousands
ăŁ?é&#x2039;&#x160;ĺ&#x17E;¸ę&#x2026;žâĽ&#x153;朸ď&#x2DC;šĺ§˝ä&#x2013;&#x2022;獤éş&#x2022;â&#x153;Ťäž¸âź§ĺŚ&#x201E;朸âĽ&#x153;é&#x2026;˘ď&#x2DC;šâĄ&#x17D; ĺ&#x192;&#x2C6;â&#x17E;żâ´˛ĺ&#x160;?朸ę´?ĺ&#x2018;&#x201D;ë&#x201E;&#x201C;é &#x2014;é&#x201E;&#x201E;âĽ&#x192;㜸â&#x153;Ťâ&#x2122;´â˘ľď&#x2DC;ˇ
ă&#x2122;šă &#x17D;ë&#x201E;&#x17E; ç˘&#x153;ä&#x160;Šă&#x20AC;¸ď&#x2DC;šä&#x17D;&#x201A;ă&#x2013;łăťŤ ç˘&#x153;ď&#x2DC;šéš&#x2039;ę&#x;&#x20AC; â°&#x2014;
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âŚ?ę¤&#x17D;čĄ&#x2020;ď&#x2DC;šĺ&#x2030;&#x17D;獤䚽簳襽⟧â&#x203A;°â&#x161;&#x2020;ç§ äžŽâŚ?嚢楏ĺ&#x160;&#x160;朸 獤ć&#x2020;&#x2DC;ă&#x201E;?č&#x2026; ď&#x2DC;ˇ
ĺ&#x201A;&#x2C6;ĺ&#x201A;ťĺ&#x192;&#x2026;â&#x203A;&#x201C;䨞â&#x;&#x192;ă&#x20AC;łâ&#x;&#x192;朎ăž?ä&#x2013;¤ăĽśĺ§˝ăĄăŁ?ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;ă¸?
ĺ&#x2030;¤â&#x2122;§ă¤&#x203A;㸤ă&#x160;Ľćś¸ç&#x203A;&#x2DC;ć¤&#x161;揽â&#x17E;&#x192;ĺ Ľâľ&#x2013;ď&#x2DC;ˇç&#x2030;ąč´Ťăť&#x153;é ¤ćś¸ĺ&#x192;˝
ĺ&#x152;&#x152;äą?ă &#x2013;ăŁ&#x17D;âľ&#x2013;ď&#x2DC;šé żĺ&#x152;&#x152;暹掚ĺ&#x20AC;´ć¤?ă&#x2013;&#x2C6;朸č˘&#x161;â&#x153;˛ę&#x;&#x20AC;ă&#x20AC;Ťĺ&#x192;˝
â´&#x20AC;ę??ď&#x2DC;šâ&#x2122;śâżŽč&#x17D;&#x2026;獤ć&#x2013;&#x160;寚ç&#x2DC;źď&#x2DC;ˇçŤ¤ć&#x2013;&#x160;寚ç&#x2DC;źâľąĺ&#x192;˝ć&#x2039;äą? ĺŁ&#x153;⢾㸤ä§ď&#x2DC;šäą?ĺŁ&#x153;㽠㼜ă &#x161;â°&#x2014;ă &#x20AC;朸çą?獤ć¤&#x161;ď&#x2DC;ˇé żĺ&#x152;&#x152; â?§ĺ&#x2030;¤ä¨žĺ&#x2030;¤ĺĽ&#x161;ď&#x2DC;šç˝&#x153;äą?ĺŁ&#x153;â?§ĺ&#x2030;¤çŤ¤ć&#x2013;&#x160;ĺĽ&#x161;ď&#x2DC;ˇä&#x2013;°â&#x2122;łâľ&#x152;â&#x2122;´ćś¸ éĄ&#x2018;ď&#x2DC;śĺĽ&#x161;ď&#x2DC;śâľ&#x201E;ęŹ&#x152;ä&#x152;˘ĺ&#x192;&#x2C6;ç&#x201E;ˇď&#x2DC;ˇ
ĺ&#x201A;&#x2C6;ĺ&#x201A;ťĺ&#x192;&#x2026;ĺ&#x2030;&#x201C;ë łć¸żĺ&#x201E;&#x2DC;ĺ&#x160;?ď&#x2DC;šé&#x201E;&#x201E;é&#x161;&#x2DC;ć?&#x20AC;ď&#x161;łăŁ&#x201D;â&#x2122;´ç&#x2014;§â&#x2122;§ď&#x161;´ď&#x2DC;śď&#x161;łâť˝ é¸&#x2019;ăŁ&#x201D;â&#x2122;´ď&#x161;´ď&#x2DC;šâ´&#x2022;č´Ťéş&#x2019;âĄ&#x2018;ď&#x2C6;Łă&#x2022;&#x153; ę¸&#x2026;ä? ă&#x2122;šä&#x2039;&#x2018;ď&#x2DC;šćŹŠč?&#x203A;éť&#x2021; âżťĺ§&#x2DC;皥ď&#x2DC;śĺ&#x152;&#x152;â˝&#x201A;â??ď&#x2DC;ˇ
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ę&#x2013;&#x2019;㽡ĺ&#x192;˝ă&#x20AC;˘ĺ&#x201E;&#x2DC;⌏ć?&#x20AC;â&#x17E;&#x192;䲿âŁ&#x2DC;ę??é żćś¸â&#x153;˝éˇ&#x2018;ĺ&#x2122; âšĄćś¸ĺ Ľ ĺ&#x153;&#x201C;ď&#x2DC;šăĽśă &#x161;ć¤?ă&#x2013;&#x2C6;ĺ&#x192;˝ä&#x2DC;°éť&#x192;鹲éˇ&#x2018;ĺ&#x2030;ŞâšĄď&#x2DC;ˇă&#x20AC;Ťâ&#x2122;śéş&#x2022;ď&#x2DC;šć¤?ă&#x2013;&#x2C6; 朸ä&#x2DC;°éť&#x192;ăź ă&#x2020;&#x17E;ęŹ&#x2019;朸ĺ&#x192;˝ăź ĺ&#x2122; 朸é?¤âŞ&#x201D;âĽ&#x192;é&#x2DC;Žé żâšĄćś¸ă¸&#x17E; ď&#x2C6;Łî&#x161;&#x160;ç˝&#x153;ă&#x2013;&#x2C6;éş&#x2022;⿥ď&#x2DC;šęŹ&#x2019;朸⾹ĺ&#x192;˝ę&#x2013;&#x2019;ä&#x152;&#x152;âŚ&#x203A;朸â&#x2122;§é¨ĺ¨&#x20AC;č° ď&#x2DC;ˇ
of miles. In the past, transport and communication were not so well developed. If they
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their own safety? In this way, the Biaoju were bywords for chivalry.
麨朸éş&#x2022;⿥ď&#x2DC;šăĽśĺ?&#x201C;ĺ°?ĺ&#x2030;¤â&#x2122;§č&#x2039; ä&#x2DC;&#x17E;ä&#x2014;ąď&#x2DC;šâĄŚâ&#x;&#x192;ăź&#x;ę&#x2013;&#x2019;ć&#x161;&#x;
were not loyal, why would the Biaoju serve? If there is no loyalty, why protect others and
ăź&#x201A;ď&#x2DC;šé ¤éĽĽâźŞę&#x2026;˝ď&#x2DC;ˇă&#x2013;&#x2C6;â&#x;&#x192;⾚齥ç??â?&#x153;é¸&#x2019;ď&#x2DC;śé¸&#x2019;é&#x17D;?鿪â&#x2122;śćśŽ éˇ&#x2018;麨î&#x161;&#x17D;㼜ĺ?&#x201C;ĺ°?ĺ&#x2030;¤â&#x2122;§é¨çş?ĺľď&#x2DC;šâĄŚâ&#x;&#x192;âĽ&#x192;â&#x17E;Žâ&#x17E;&#x192;ă&#x201E;¤č?&#x2C6;ä&#x160;š ă¸&#x17E;ď&#x2C6;Łî&#x161;&#x17D;㼜姽ä&#x;?⢾ď&#x2DC;šă˝ é&#x152;?ä&#x2013;¤ę&#x2013;&#x2019;㽡ĺ&#x192;˝â&#x2122;§âŚ?âŻ?ć&#x20AC;?âĽ&#x160; č žçş?č&#x2039; 朸ă&#x2013;&#x2019;ĺ&#x20AC;°ď&#x2DC;ˇ
Acient Walls, Pingyao
this way, it controlled the economic lifeline of the 19th Qing Dynasty.
ăš&#x2019; 楏î&#x2122;ˇî&#x161;&#x17D;î&#x2122;źâľš ä&#x17D;&#x192;î&#x2122;¸ĺ&#x201E;&#x2DC;ĺ&#x160;?ď&#x2DC;ˇć¤?㜸朸ă&#x2122;šă &#x17D;ĺ&#x192;˝ĺ&#x192;&#x2C6;
PINGYAO XIAN YA: ACTING AS AN OFFICIAL IS NOT EASY Pingyao County government magistrate was the equivalent of the county party secretary, the county government's administrative level is almost the same as a current prefecture-level city.
At that time, the magistrate would act as magistrate in areas ďŹ ve hundred miles
from their families, only able to return once a year during the Spring Festival. As
they were not locals, they would need to pay out of their own pocket to hire a local person as a private assistant. In the underdeveloped transport systems of ancient times, more than half of the time for the Spring Festival was wasted on the road. It was not easy to be a county magistrate. The annual salary was just 45 silver. In
the Qing Dynasty, the cost of supporting a family of ďŹ ve each year was more than 20 silver. So, after the cost of the local private assistant magistrate's wages, the remaining salary was already stretched.
The Pingyao county government building covers an area of more than 26,000
square meters. It is laid out following the feudal ritual system, oďŹ&#x192;ces of civil oďŹ&#x192;cials
ä&#x17D;&#x201A;éşśç°&#x2013;é śćś¸ç°&#x2013;â&#x;&#x201A;㸽ăž&#x20AC;â&#x2122;Źă&#x2026;ˇď&#x2DC;šćšąćŽšĺ&#x20AC;´ç°&#x2013;㨽ĺ&#x2030;&#x2026;é&#x17D;šď&#x2DC;šç°&#x2013;é ś ćś¸é ¤ä˝&#x;秚ⴽä&#x160;´â&#x2122;śă˘ľă&#x201E;¤ć¤?ă&#x2013;&#x2C6;朸ă&#x2013;&#x2019;秚ä&#x2039;&#x2018;ćšąă &#x161;ď&#x2DC;ˇ
掚ĺ&#x201E;&#x2DC;â¨&#x17E;ç°&#x2013;â&#x;&#x201A;ď&#x2DC;šé&#x160;´âľ&#x152;ę¨&#x2020;ăšťę&#x20AC;&#x20AC;â?&#x20AC;ćś°ę&#x2026;˝â&#x;&#x192;㢍朸ă&#x2013;&#x2019;ĺ&#x20AC;°ćŽšă¸˝ď&#x2DC;š 韊â&#x2122;śă&#x20AC;łâ&#x;&#x192;ä&#x152;&#x;ăšťćť&#x2018;ď&#x2DC;šâ&#x2122;§ä&#x17D;&#x192;ă&#x20AC;Ťĺ&#x2030;¤ĺ&#x192;ąç&#x153;?ĺ&#x160;?ę&#x;Śĺ&#x2030;¤â&#x2122;§ âŚ?ĺ&#x2030;˘ćś¸
ĺ¨?ăšťäąłé&#x2039;ˇâ§şď&#x2DC;ˇă&#x201D;&#x201D;ć?&#x20AC;â&#x2122;śĺ&#x192;˝ĺ&#x160;Ľă&#x2013;&#x2019;â&#x17E;&#x192;ď&#x2DC;šä¨žâ&#x;&#x192;é¸&#x2019;ä&#x152;˘éźŠę¨žé&#x160;´č?&#x2C6; äą&#x2019;č&#x2C6;šâşŤď&#x2DC;šâŹšćŹ˝â&#x2122;§âŚ?掚ă&#x2013;&#x2019;â&#x17E;&#x192;â¨&#x17E;č?&#x2C6;ä&#x160;šćś¸ä&#x152;&#x152;ć&#x2122;&#x2020;ď&#x2DC;ˇă&#x2013;&#x2C6;â?&#x153;é¸&#x2019;â&#x2122;ś
朎麨朸ă&#x20AC;˘â&#x17E;żď&#x2DC;šéş&#x2022;ä&#x17D;&#x192;ă&#x201D;?ăšťď&#x2DC;šă˝ é&#x160;´ă&#x2013;&#x2C6;é¨&#x;â&#x2122;łçż é&#x201C;?ăŁ?⟹朸⧺
ĺ&#x160;?ď&#x2DC;ˇé¸?ë&#x17E;&#x192;â&#x2122;śăş&#x201A;ĺ&#x192;&#x2019;朸ç°&#x2013;㸽ď&#x2DC;šâ&#x2122;§âŚ?ä&#x17D;&#x192;ĺ&#x2030;¤ă˘ľăźąćś¸ä˝?â°&#x2026;ă&#x192;¤î&#x161;&#x17D; â°?术ę&#x2039;&#x201C;ď&#x2DC;šĺš˘ĺ&#x160;&#x160;â&#x2122;§âŚ?â?&#x20AC;ă&#x20AC;Ąâ&#x203A;&#x201C;㚝朸ę&#x;&#x161;ę&#x152;źď&#x2DC;šĺŤŚä&#x17D;&#x192;éŚ&#x201E;éş&#x2022;
â°?ď&#x2DC;ˇä¨žâ&#x;&#x192;ę¤&#x2018;⿥ęł&#x192;ä&#x152;&#x152;ć&#x2122;&#x2020;朸ę??ď&#x2DC;šç°&#x2013;â&#x;&#x201A;朸ä&#x160;¨éĄťď&#x2DC;šä&#x160;şć?ĺ&#x192;˝äŻ? é&#x2030;Źé&#x2039;&#x2026;č ´ď&#x2DC;ˇ
ä&#x17D;&#x201A;麜朸ç°&#x2013;é śâĄĽă&#x2013;&#x2019; 㢾ä&#x17D;&#x201A;ĺ&#x20AC;°ç˘&#x153;ď&#x2DC;šéťžä&#x2014;&#x2026;ăź&#x201C;ä&#x2019;&#x160;ç&#x2039;˛âľ&#x2013;ď&#x2DC;š
ä&#x160;Šäż&#x2019;ă&#x20AC;¸ĺ¨&#x20AC;ď&#x2DC;šâľšĺ&#x160;&#x160;ä&#x2013;&#x2022;ăť&#x201D;ď&#x2DC;ˇâ&#x161;ĽéŻĽçŽ â&#x2122;łĺ&#x2030;¤â°&#x2122;éš&#x17D;ę¤&#x17D;čĄ&#x2020;ď&#x2DC;šć&#x2039;㢍
č?&#x203A;â°&#x2030;âŁ&#x153;ĺŚ&#x201E;ć?&#x20AC;î&#x161;&#x2030;ăŁ?ę&#x;&#x152;ď&#x2DC;śăŁ?ă&#x203A;&#x201D;ď&#x2DC;śă¸&#x2022;ę&#x;&#x152;ď&#x2DC;śâ&#x153;łă&#x203A;&#x201D;ď&#x2DC;śâ°&#x2030;ă¸&#x2022;ă&#x201E;¤âŁ&#x2DC;ă¤&#x20AC; ć&#x153;śâ&#x17E;˛ćś¸ăŁ?â&#x17E;˛ĺ&#x17E;&#x153;ď&#x2DC;ˇ
situated on the left while oďŹ&#x192;ces of military oďŹ&#x192;cers on the right, courts at the
ä&#x17D;&#x201A;éşśç°&#x2013;é śéźŠé?¤ĺ&#x2030;¤č?&#x2C6;ä&#x160;šćś¸ć&#x161;&#x2013;䨟ď&#x2DC;šĺ&#x2030;¤é?¤ĺ&#x20AC;ˇă¸¤ă&#x160;Ľćś¸ď&#x161;łë&#x201E;&#x17E;秚
courtyard, from outside to inside in order: the door, lobby, house, second house,
ĺ&#x2030;¤ă&#x20AC;˘â&#x17E;żă ?ç??ⴥⰨ朸ăž?ç&#x2C6;&#x161;ď&#x2DC;šé&#x203A;&#x160;â&#x17E;&#x192;ćş?â&#x153;Ťâ&#x2122;śăşŻç˝&#x153;䥯ď&#x2DC;ˇ
front while bedrooms at the back. There are six areas from the central axis of the Pingyao Acient City
ä&#x17D;&#x201A;éşśç°&#x2013;é ś ć?&#x20AC;㸽â&#x2122;śĺ&#x192;&#x2019;
inner chambers and the shrine.
Pingyao County also has its own cell, there are well-equipped superior cells as well as oubliettes. Pingyao Xian Ya also had a variety of ancient instruments of torture, which would cause people to shudder when they looked upon them.
ć&#x161;&#x2013;䨟ď&#x161;´ď&#x2DC;šâ&#x203A;łĺ&#x2030;¤ĺ°?ĺ&#x2030;¤ë&#x17E;ąâ&#x2122;śé&#x2039;&#x2026;ä¸ćś¸çĄąăśŠć&#x161;&#x2013;䨟ď&#x2DC;ˇç°&#x2013;é śé&#x2026;韊
ա⿜é&#x2039;&#x2026;ä&#x17D;&#x201A;éşśŐ¸â&#x2122;§ĺ§żç&#x2018;éŚ&#x160;
ա⿜é&#x2039;&#x2026;ä&#x17D;&#x201A;éşśŐ¸ĺ&#x192;˝â&#x161;Ľă&#x2022;&#x153;ç&#x2014;§â&#x2122;§éż&#x2C6;ăŁ?ă&#x2DC;&#x2014;ăš&#x201D;â°&#x2030;ä&#x17E;&#x2022;ĺ&#x2026;&#x17E;ë&#x201E;&#x201C;ë&#x20AC;żâˇ&#x153;ď&#x2DC;š ĺ&#x192;˝ćżźă ?㟏ć&#x20AC;ľćĄŹć&#x192;?ĺ§?ä&#x152;&#x;ęą&#x2020;ď&#x161;łâ˝Ťé&#x;?ă&#x2022;°ęĽ&#x2122;ď&#x161;´ă&#x2013;&#x2C6;â&#x161;Ľă&#x2022;&#x153;âť?ĺ&#x20AC;°ă&#x2013;&#x2019;
âźŚć Źâśžćś¸ç&#x2014;§â&#x2122;§âŚ?ăŁ?ă&#x2DC;&#x2014;ä&#x17E;&#x2022;ĺ&#x2026;&#x17E;ć&#x20AC;ľč° 갪暥ď&#x2DC;šĺ&#x192;˝ć&#x2039;ăš&#x201D;㢍ăť&#x153;ĺ&#x2026;&#x17E;
â&#x20AC;&#x153;See Again Pingyaoâ&#x20AC;? One Step Across "See Again Pingyao" is China's ďŹ rst large-scale indoor immersive theatre, its well-
known director Wang Chaosong leads the Impression Team" in what is Northern
China's ďŹ rst large-scale scene performing arts project. This is the ďŹ rst breakthrough from outdoor show to indoor experience.
"See Again Pingyao" is a continuation and a follow up thought of Wang Chaosong s Impression Series". The "Impression Series" is a true performance, from the
Impression of Liu Sanjie" to Impression of Lijiang" and Impression of the West
Lake", the series keeps the outdoor landscape as its core, designing and factoring the performance around the space. However, the Impression Series" has been
focused on the south, since it focuses on utilizing outdoor landscapes, it is not as well suited for the ďŹ erce weather in the north.
ć&#x20AC;ľâ´&#x20AC;鼼㠢ăš&#x201D;â°&#x2030;ä&#x17E;&#x2022;ĺ&#x2026;&#x17E;ë&#x201E;&#x201C;ë&#x20AC;żćś¸ęťˇĺŚ&#x201E;ç&#x2018;łç śď&#x2DC;ˇ ա⿜é&#x2039;&#x2026;ä&#x17D;&#x201A;éşśŐ¸ĺ&#x192;˝ćĄŹć&#x192;?ĺ§?㟏ć&#x20AC;ľçł&#x2019;
ď&#x161;łâ˝Ťé&#x;?猺⴪ď&#x161;´â&#x203A;&#x201C;ä&#x2013;&#x2022;
朸⿜â&#x2122;§ă&#x17D;Žä&#x2014;ąâ&#x203A;&#x201C;⥲ď&#x2DC;ˇ ď&#x161;łâ˝Ťé&#x;?猺⴪ď&#x161;´ĺ&#x192;˝ăť&#x153;ĺ&#x2026;&#x17E;ć&#x20AC;ľâ´&#x20AC;ď&#x2DC;šä&#x2013;°Őˇ
⽍é&#x;?⡠â&#x2122;˛ă¨ąŐ¸âľ&#x152;ա⽍é&#x;?ë&#x153;ŠĺŻ?Ő¸âą&#x201E;âľ&#x152;ա⽍é&#x;?é&#x160;ŻĺťŞŐ¸ç&#x2DC;&#x17E;ď&#x2DC;š
鿪ĺ&#x192;˝â&#x;&#x192;ăš&#x201D;㢍朸ăż&#x2039;ĺŽ?ę´?ĺ&#x2026;&#x17E;ć?&#x20AC;ĺ&#x2018;?ä&#x2014;ąď&#x2DC;šé?¤é&#x17D;&#x2122;玥é&#x2020;˘ç˝&#x153;ä§ćś¸ć&#x20AC;ľ
â´&#x20AC;ď&#x2DC;ˇâĄ&#x17D;ĺ&#x192;˝ď&#x161;łâ˝Ťé&#x;?猺⴪ď&#x161;´â&#x161;şé&#x160;´ă&#x2013;&#x2C6;â˝&#x201A;ĺ&#x20AC;°ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;é¸?ç??岤ę&#x2026;ž ăš&#x201D;㢍ĺ&#x2026;&#x17E;é&#x152;&#x161;朸ä&#x2022;&#x17D;ä&#x2019;â&#x161;&#x203A;â&#x2122;śéť ă &#x2013;âť?ĺ&#x20AC;°ä&#x;&#x2026;â¸&#x152;朸ăŁ&#x201D;ĺľď&#x2DC;ˇ
楏ć&#x192;?ĺ§?ĺ&#x192;˝é¸?ĺ&#x17E;şé&#x201C;&#x17E;朸 ď&#x161;łä&#x17D;&#x201A;éşśă&#x20AC;˘ă&#x2122;šâ&#x2122;śĺ&#x192;˝ăŁ?ăż&#x2039;ĺŽ?ď&#x2DC;šă¸¤ď&#x2C6;Łĺ&#x192;˝
â&#x17E;&#x192;äż&#x2019;朸ć&#x161;śä&#x2014;&#x161;ď&#x2DC;šä¨žâ&#x;&#x192;ä&#x;?é&#x160;´č° é Żâą&#x201E;ć¤?朸é&#x2018;¨ď&#x2DC;šâ&#x2122;śĺ&#x192;˝é&#x160;´äąşéľ&#x153; ă¸?ď&#x2DC;šç˝&#x153;ĺ&#x192;˝ç&#x17D;&#x2013;ä&#x2014;?â´&#x20AC;ę¨&#x2020;â&#x2122;§ë&#x;&#x160;ď&#x2DC;šă&#x2013;&#x2C6;㢍ă&#x2022; 飏皥ă¸?ď&#x2DC;šä¨žâ&#x;&#x192;é&#x160;´ă&#x2013;&#x2C6;
é¸?é&#x2026;čŚ&#x2C6;âŚ?ăŁ?âˇ&#x153;ă&#x153;Ľď&#x2DC;ˇé¸?ĺ&#x17E;şď&#x2DC;šĺ&#x2030;¤â&#x2122;§âŚ?ĺ&#x192;˝ăť&#x153;ĺ&#x2026;&#x17E;ď&#x2DC;šă&#x20AC; ⽍é&#x;? î&#x161;&#x160;
ĺ&#x2030;¤â&#x2122;§âŚ?ĺ&#x192;˝ăš&#x201D;â°&#x2030;ď&#x2DC;šă&#x20AC; âżśé&#x2039;&#x2026; ď&#x2DC;ˇâŤšä§ŽâŚ&#x203A;䨥é&#x2026;ć&#x20AC;ľćś¸â&#x2122;§ĺ&#x17E;şď&#x2DC;šă¸? ĺ&#x192;˝âżśâ&#x2122;§ĺŚ&#x201E;é&#x2039;&#x2026;âľ&#x152;ď&#x2DC;šâŤšä§Žâżśâ&#x2122;§ĺŚ&#x201E;ćş?âľ&#x152;䧎朸ć&#x2DC;żĺŤ˘ď&#x2DC;śćş?âľ&#x152;䧎 朸ç&#x2030;?âŻ&#x201C;ď&#x2DC;śä§Žćś¸âľšćŹ°â˘ľâ&#x161;&#x2020;â&#x2122;§ĺ&#x17E;şď&#x2DC;ˇď&#x161;´
Wang Chaosong said: The ancient city of Pingyao is not a big landscape, its renown is
倴僽⿶鋅禺㽠鸏垺钲欰✫
cultural, so we want to expound on the art, not to drown in it, but to stay a little aloof, to
շ⿶鋅䎂麶ո闍鶤✫♧⦐䠮➃涸儢㉂佦✲佦
shows, called Impression Series ; and indoor shows called 'See Again Series . In the way
牟铇⥌ㄤ➋纏僽儢㉂俒⻋涸礶널㥶卓铞
praise it from the outside. So we have constructed a big theatre here. We have outdoor that we perform, Pingyao can be seen again, as I see my parents, my ancestors and my past life.
✲胝䖕㾝植涸僽⫄䪭㖈儢㉂過腠⚥涸铇⥌礶
䎂麶〢㙹㾝爚涸僽䎂麶涸娜〷齡랆շ⿶鋅 䎂麶ո㾝爚涸僽礶牟
And so, the See Again Series was born.
շ⿶鋅䎂麶ո㼟䨡ⷜ莻骪䕧⫹갉坿瘞谁
"See Again Pingyao" tells a story of a touching story of Shanxi business. The background
溏怵㆞麥Ⱘ鵜㖈黶㽯♧鹎ⵌⷜ㜥䕱䖁
of the story is to show the integrity and spirit of the Shanxi merchants. Honesty and benevolence are the essence of Shanxi culture. If the ancient city of Pingyao shows Pingyao s history, then "See Again Pingyao" shows the spirit.
"See Again Pingyao" perfectly combines drama, dance, video, music and other forms of
art. There will be no chairs for the audience, instead the audience will walk and observe
遯䕎䒭㸤繡穡ざ尝剤錚滞喱錚滞ꦑ饥ꦑ
♧姿瑭馊㔐✫涰䎃涸䎂麶ㄤⷜ⚥涸➃暟 ♧饱넓剚➮⦛涸儘➿隶鼄莅㋐䙭ㅶ坿ⷜ⚥
剤♧䍌僽ꖒ㖈ⴀꖒ銴峤愪♧僽狲麂✳ 捀父犷䎙⡙怵㆞㖈鷴僈嵮渝⚥涸邍怵ぐ♶ 湱ず⽿鿪⼧ⴕⴀ䕙
the actors and sets in close proximity. Entering the theatre is like stepping back through
鸏♧䍌⛓䖕倾涯铞䱺♴⢵锞㣐㹻溏溏
the actors lives and emotions. There is a scene in the play where two armed guards
崞ゅ㣐䩧涰䎃涸䏅ꎦ䞕兞僦Ⰵ滚
time to the Pingyao of a hundred years ago. The audience will collectively experience
leave an exchange house to get a bath. There follows a scene with several actors, each with completely different styles, in a transparent bathtub, it s magnificent.
After this scene, the narrator says: "Now everybody sees the typical life of these armed
guards. A door opens on the scene of shop a hundred years ago. The shop is filled with
ꖒ䌌⦛ⴀ涸鸏❉䎃䎂麶兜鸒罉涰㨺涸欰
砡䨾剤涸䏅ꎦ⚥涸➃暟鿪僽溫➃䪐怵㥶ず
錬蒀䪐怵麉䨡⚥涸ꬌ錬蒀梖㹻/1$➮⦛ 剤荈䊹涸荩鑂剤荈䊹涸佦✲⛳剤荈䊹涸䞕 䠮
actors, like characters in a video game, they have their own lines, have their own stories,
շ⿶鋅䎂麶ո雊➃魨荆Ⱖ㞯涸瑭馊ⷜ
"See Again Pingyao", lets people immerse themselves in a period drama.
寿ꤿ 顼垴叕ꨶ䕧㨥涸 㖒倰
but also their own feelings.
Fenyang, the Starting Point of Jia Zhang-ke’s films THE STARTING POINT If you drive 40 minutes from Pingyao, you arrive in Fenyang. Fenyang is the hometown of Jia Zhang-ke. He lived in Fenyang for 21 years, and it provides a lot of material for his
films. From 1998 s, Xiao Wu to his later work "Mountains May Depart", most of his films are shot on location.
Jia Zhang-ke's films are mixed with his memories of his hometown. Walking in the
streets of Fenyang and the old city, you can often can see the backdrops of Jia Zhangke s films.
㨥涸㖒倰
䖰䎂麶鮦㣐嚌㔋⼧ⴕꗻ〳⟃⢵ⵌ寿ꤿ寿 ꤿ僽顼垴叕涸佦ꀀ➮㖈寿ꤿ欰崞涸 䎃
捀➮涸ꨶ䕧䲿⣘✫稇勞䖰 䎃涸շ㼭娀ո ⵌ䖕⢵涸շ㿋屎佦➃ո➮涸㣐㢵侸ꨶ䕧⡲ㅷ 鿪㖈寿ꤿ䬝伢《兞
罜㖈顼垴叕涸ꨶ䕧⚥䧴㢵䧴㼱㣰꧹✫➮㼩
倴佦ꀀ涸䧃䙂饥㖈寿ꤿ涸遳걧瑭唎㖈寿 ꤿ涸罉㙹⼦竤䌢〳⟃溏鋅顼垴叕ꨶ䕧⚥涸 㜥兞
MOUNTAINS MAY DEPART Mountains May Depart was released in 2015. Directed by Jia Zhang-ke, it
See Again Pingyao, Production Still
is a film about family drama. It received many awards, both in China and
abroad, including the Palme d'Or at the Cannes Film Festival. Mountains May Depart is also the name of a themed restaurant, which shows his
love to films. It features a variety of posters, stills, and the various awards
given to "Mountains May Depart". The restaurant also regularly organizes screenings, to give young people a platform to show their work, and to exchange their artistic knowledge.
FENYANG, ZHONGZI-“THE SEED” Jia Zhang-ke established the Jia Zhang-ke Art Center in Fenyang. An
important part of the art centre is the establishment of Zhongzi Cinema , which is regarded as seed of future cinema. Jia Zhang-ke hopes that the
"seeds" can take root, flourishing, through Zhongzi, to expand out into the Chinese cinematic art scene.
Zhongzi Cinema came about through the transformation of a disused
cement plant workshop. It is another example of transforming waste sites
into new centres for the cultural and creative industries.
THE PEOPLE’S SHUANGLIN TEMPLE Shuanglin temple was established in the northern Qi Dynasty or
㿋屎佦➃ շ㿋屎佦➃ո㖈 䎃ⴀㅷ僽歋顼垴叕㼬怵涸㹻䏭ⷜ䞕植㻜겗
勞涸ꨶ䕧鸏鿈ꨶ䕧㖈㕜Ⰹ㕜ꥹ♳栽䖤✫♶㼱栁갪鸏Ⱖ⚥㽠⺫ 䭍䧺秝ꨶ䕧眏涸ꆄ啖壾栁
earlier, over 1,400 years ago. During its long history, it had several
⟃㿋屎佦➃捀そ涸⚺겗귭䑼刿僽怏䧃衽♧⦐ꨶ䕧➃㼩倴ꨶ
current temple originates from that era.
屎佦➃ո栽䖤涸ぐ珏栁匉㿋屎佦➃˙㹻䑉鼩㹁劍莊鳵ꨶ䕧涸㾝
large scale reconstructions in the Ming and Qing Dynasties and the
northern Song Dynasty. It is indeed a rare treasure.
In contrast to the bustling ancient city of Pingyao, stepping into
the Shuanglin temple you are met with peace and tranquility, with
the calming waterlilies of the temple fragrantly basking in the sun s warm rays.
In front of the King s hall are the Four Warrior-Attendants, a plaque from the 1800 s reading Wonderland of Tianzhu hangs on the
door. The plaque has a phoenix on top and a dragon below, and
僦窍䎃鰋ꨶ䕧➃♧⦐㾝爚荈䊹⡲ㅷ涸䎂荩❜崩谁遯䗱䖤涸堥 剚
寿ꤿ珏㶩
顼垴叕㖈寿ꤿ䒊用✫顼垴叕谁遯⚥䗱⡲捀谁遯⚥䗱涸ꅾ銴穉䧭 鿈ⴕ珏㶩䕧ꤎ涸䒊用刿鄄鋕捀僽⚥㕜谁遯ꤎ箁涸珏㶩顼 垴叕䋞劆珏㶩〳⟃衆㖒欰呏单籗衞薳〳⟃鸒麕珏㶩䕧ꤎ 䱳程ⴀ⚥㕜谁遯ꨶ䕧ꤎ箁⛓騟
珏㶩䕧ꤎ僽鸒麕佖鸤宐岟䑖涸䑛莍鮦罜⢵涸鸏⛳僽㼟寓厪遤 噠佖鸤䧭俒⻋ⶾ䠑欴噠涸呪⢿⛓♧
Mountains May Depart Restaurant
The interior sculptures and murals can be traced back to the
䕧涸㛂䙂莅䠦귭䑼⚥꤫衽ぐ珏ꨶ䕧嵳㜡ⷜ撑⟃⿻ꨶ䕧շ㿋
the stamp of the government of the Empress Dowager Cixi. The
字䗱字격꧱卌㼉
Chinese Buddhists believe the King of the South holds a sword, the
꧱卌㼉㨥䒊倴⻍뢶䧴罏刿傍騅➛剤 㢵䎃竤娜✫⼪涰䎃涸
the King of the East a snake. Together they are The Four Heavenly
䊺竤僽僈劊ㄤ幢劊涸䒊眡✫罜Ⰹ鿈涸䕙㝖ㄤ㠗殥〳鷆彸ⵌ⻍
Four Warrior-Attendants are also called The Four Heavenly kings .
King of the West holds a flute, the King of the North an umbrella and kings who could control gentle breeze and timely rain for promising harvest, loved and treasured deities.
In the temple of Sakyamuni, Sakyamuni is placed between Manjusri and Samantabhadra, both beautifully stylized and smooth. A
Thousand-Eyed Avalokitesvara, with eyes in the palms, see the
娔剢ⵌ✫僈幢儘➿剤麕䎙妄㣐鋊垸涸ꅾ䒊ㄤꅾ⥜植㶸涸䑔㸙 㸢焷㻜僽ꨈ䖤♧鋅涸礶ㅷ
莅䎂麶〢㙹涸籗䘑莅㋡뇀遤玑늫僈涸㼩嫲♧鹎Ⰵ꧱卌㼉ꬆ
閶幢荞㽠鸮㼉⚥涸漗角⛳僽ꬆꬆ㖒佞㖈ꤿ⯕涸撑㼙♴껻 黇渤幢
suffering of the world.
㣔桬嫄涸僽㔋㣐ꆄⶍ麥⯕䎃涸⼠겙㣔疀㞯䧆倴嫄
An old phrase in China states: Vajra can surrender devils with his
ⶍ⛳鄄珖捀괐锅ꨎ갫 ⚥㕜⡱來䖝钢捀⽂倰㟞Ꟁ㣔桬䭰ⷧ
angry eyes, Buddha has mercy on world with his tendered eyes.
Shuanglin temple s highlight is its consecrated statues and artifacts. The temple not only has Buddhist sculptures but also Taoist
⼠겙♳뒉㖈♳륌㖈♴僽䡹狣㣖䖕栬伾劊佟涸⽫鎹㔋㣐ꆄ
괐匌倰䭰㕜㣔桬䭭業楮锅⻍倰㢵耂㣔桬㛂⪑ꨎ銯倰䑞 湡㣔桬䭰跑갫穉ざ饱⢵⤑䧭✫괐锅ꨎ갫䨾⟃➮⦛⛳僽 ⼧ⴕ「涰㨺䠦䨥涸牟僈
sculptures and The Scholar Tree. In the courtyard is a preserved
㖈ꅼ鶋嫄⚥ꅼ鶋䷒㽳⫹Ⰽ⩎ⴕⴽ僽䩛䭰角蔅涸兜颩螒讍ㄤ䩛䭰
people s prayers. The locals believe that this tree is full of spirituality
錚갉溍滚⡜㘍♧꧱䩛⚥涸꧱滚溏湈✫➃氭蕲䨾⟃ꆄⶍ⸗
Tang Dynasty Scholar tree, the tree is covered with the red cloth of
剅劥涸俒婌螒讍俒婌莅兜颩螒讍鸤㘗⮛繡邆秙箁哭崩冱⼪䩛 湡䨾⟃꣮⠃㔋눦螒讍⡜溍䨾⟃䡹䝲Ⱉ麥
and can bless people to be safe and happy, and all their dreams can come true.
WANGâ&#x20AC;&#x2122;S ETERNAL COURTYARD 35 kilometres away from Pingyao is Wang s grand courtyard. It was constructed over 300 years, through the Ming and Qing Dynasty. Formed of brick, wood and stone, it was a
combination of the Three Carving Art . Wang s courtyard is covered in ďŹ ne details. Wang s home functioned as an
oďŹ&#x192;cial s residence and the hierarchy of ancient China can be
clearly seen. The brick, wood and stone carvings were passed from generation to generation, encompassing the family s successes, congratulating each other on promotions and rising prospects.
AN EXAMPLE OF SHANXI TRADE, QIAOâ&#x20AC;&#x2122;S GRAND COURTYARD Because of the success of the TV series "Qiao s Grand Courtyard
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Qiao s grand courtyard became famous.
ă&#x2039;Žč?&#x17E;ä?&#x201E;朸ę&#x;&#x20AC;ăˇ&#x;ă&#x2039;Žĺ&#x192;ŚęŠžď&#x2DC;šĺ&#x192;˝â&#x161;Ľă&#x2022;&#x153;ç&#x2014;§â&#x2122;§äŞĄĺľłă˘ŤćŽ&#x2020;
Qiao Zhiyong's grandson Qiao Yingxia, was one of China's ďŹ rst
â&#x153;Ťâ&#x2122;śăźąď&#x161;łé&#x160;Żĺ&#x20AC;°âŻ&#x2039;ç¨&#x2021;ď&#x161;´ď&#x2DC;ˇĺŤ˛ăĽśç&#x2026;´ę§¨â&#x161;Ľâ¸&#x2C6;â°&#x2026;â&#x153;Ťé&#x160;Żĺł&#x2022;
batch of overseas students. Because of his background studying overseas, his courtyard contained a lot of "Western elements. ,
such as a Western clock carved into brick and an impressive train.
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