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
-JV $IVOGFO ⷠ僱蓸
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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EDITOR’S NOTE âšşçŽĄăş•é“ƒ
THIS MAGAZINE LOOKS AMAZING #SINCE CREATIVE
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
Innovative design always since creative. | hello@sincecreative.com
&EJUPS JO DIJFG ⚺玥
ĺšłé?˘č¨č¨ˆĺ?ŻäťĽć‹Żć•‘ä˝ çš„ ç”&#x;ĺ‘˝ ďź&#x;
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ăž?éŒ“ĺ„—ę&#x;Śď˜ť 4FQUFNCFS ËŠ +BOVBS Z ĺˆżă˘´âĽŒäœ‚ď˜ťX X X XFMMDPNFDPMMFDUJPO PSH
The exhibition covers corporate identity in the
Advertising pamphlet for Medomina, Geigy, c. 1960. Courtesy - Display, Graphic Design Collection (thisisdisplay.org)
Can Graphic Design Save Your Life?
5JQT ăźéĄŚçˆ™
pharmaceutical industry, and considers how graphic
designers deliver clear healthcare instructions to consumers
and health opens at Wellcome Collection in September 2017. Comprising some 200 objects including hardhitting posters, ashing 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.
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. Renaissance plague notices and Victorian quarantine bills 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 exhibition considers the persuasive strategies employed in shaping public
The ďŹ nal part of the exhibition considers how graphic
the 1980s. It also reveals the imaginative educational approaches taken to
response. Inspired by a contemporary reimagining of Ken
perceptions around smoking, featuring luxuriant advertising campaigns from 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
design can empower people and provoke an individual
Garland s First Things First manifesto (1964), this section
includes powerful campaigns focused on raising awareness of breast cancer, and other complex conditions.
in children s wards to transform the hospital experience and improve
patient wellbeing in settings traditionally considered to be intimidating and unpleasant.
痧♧âŚ?乳鎣䎂ꏗé?¤éŽ™čŽ…⨴ä? ⛓ę&#x;ŚęĄ ⤚朸ăŁ?ă˜—ăž?錒 ա䎂ꏗé?¤éŽ™ă€łâ&#x;ƒä‘佚⥚朸揰ă„?ăŒ¨îšŽŐ¸ ăź&#x;倴 䎃 ĺ‰˘ă–ˆä&#x;ƒä? ä˝?询ę¸ę&#x;šä?Œď˜ˇé‘Şăž?éŒ’âť˝ę§ŒâœŤâşŤä?ä˛ƒé´€ć…¨ć?™ćś¸ĺľłăœĄď˜śę&#x;?旪朸谔ä?…垌 é’&#x;ㄤ䞸㜜❋朸䞆㡸ă?źĺ‹žă–ˆâ°‰éľœ â&#x;?ćš&#x;ă…ˇď˜šăž?ć¤?âœŤäŽ‚ęŹ—é?¤éŽ™ă–ˆâš†ć˛ă ?ă–’ĺœ“ä’Šă„¤âŤ„äš…é ş ćŹ°âĽƒâ¨´âĽŒäœ‚ĺ€°ęŹ—ćś¸âĄ˛ćŹ˝ď˜šâ&#x;ƒâżťă¸?ăĽśâĄŚé„„ćŹ˝ĺ€´é“žĺ‰Şď˜śăš’âŤ„ă„¤é˘ĺĽšď˜ˇ
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
鸒麕ă”?ęłƒ âš†ç§ äŽƒâžżâ&#x;ƒâ˘ľéžŽăş˘ćś¸ä‘žăƒ‡ăš’âŤ„ĺ´žâš›ď˜šé¸?âŚ?ăž?éŒ’éŽŁé”¸âœŤé˝Ąâ?‰ć?€ä’¸ăźŹâ°—杞㟊
ăž?éŒ’ćś¸ĺ‰“ä–•â™§éżˆâ´•ăź&#x;鎣锸䎂ꏗé?¤éŽ™ăĽśâĄŚé˘âœŽâžƒâŚ›ĺĽšâ¸‚ㄤ慨
ç§ ćś¸é?‘âś†ç”¨ë„“ĺ‰…âľŒ âš†ç§ ćś¸äĽ°ćŹ˝éŽżâ&#x;?âą„âľŒâŚ¸ăźŹă¸žďˆŁäš?é ¤ć?€ćś¸ć ćŽĽĺ‰…ď˜šćšĄćś¸ĺƒ˝äž†ăźŹâžƒâŚ›
âžżę…žă?–ć™?ĺŠĽă‰ŹćśŽď˜šé¸?éżˆâ´•ăź&#x;⺍ä?ę†šăźŠä˛żë„žăźŠâœŒč‰’ćľ“ă„¤â°ŚâžŽ
ď‰šć‘łćś¸éŒšä™‚ç˝œäą°ćŹ˝ćś¸âş˜é“žç˜źćŽœď˜ˇé‘Şăž?éŒ’éźŠăź&#x;ăž?ⴀ㢾ç??㺢剤ä&#x;?⍚⸂朸䞆肏倰ä’ď˜šä–° ⚆
姝無㖒钢é™?č?ˆäŠšćś¸é¨ë„“ď˜ˇăž?éŒ’éźŠăź&#x;ęĄ ĺ˛¤äŽ‚ęŹ—é?¤éŽ™ă–ˆę„´ć´žç‘ ę&#x;ŚâšĽć?€âžƒâŚ›âŤ„éş¨âĽŒäœ‚ă„¤ăźŹă ˘ ćś¸âĄ˛ćŹ˝ď˜šâşŤä?ă–ˆâŻĽç•™ć°ťä¨źâšĽâ˘ŞćŹ˝ëŠŤéž´ę˛?蒀朸é?¤éŽ™ĺ€°ĺ‘Şď˜šâ&#x;ƒâżťé¸’麕佖㊼齥â?‰âŤ„窥♳鄄钢 ć?€â&#x;‚âžƒâ™śă¸žćś¸ę„´ć´žćŠ‡ăžŻâ˘ľéą˛éšść°ťâžƒă–ˆę„´ę¤Žćś¸ë„“ë€żď˜šéźŠĺ‰¤ä˛żë„žâžŽâŚ›ćś¸çŠˇçˆ¸ď˜ˇ
朎ă”?äĽ°ď˜ˇă€ŒâľŒč‚Ľâ¸ˆč˛˝ćś¸ŐˇćŽšâšĄâ›“äšŠăš’éŽŠŐ¸  朸♧âŚ?掚 䗂꧚ć°ć°ťé’˘é™?ćś¸ĺ‰¤â¸‚ăš’âŤ„ď˜ˇ
Fritz Khan, El hombre como palacio industrial. Man as palace of industry. Credit Wellcome Library, London
Advertising pamphlet for Sterosan, Geigy, c. 1960. Courtesy - Display, Graphic Design Collection (thisisdisplay.org)
The ďŹ rst major exhibition exploring the relationship between graphic design
Basquiat ďŹ rst came to the media s attention in
塴斯弎牚çœ&#x;ćŁçš„çš ćŚŽ
Al Diaz to graďŹƒti enigmatic statements across
Jean-Michel Basquiat, Untitled 1982, Museum Boijmans Van Beuningen, Studio Tromp, Rotterdam
Basquiat: Boom for Real
1978, when he teamed up with his classmate 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.
Basquiat: Boom for Real is the ďŹ rst large-scale
Highlights of this Barbican s exhibition include
artist Jean-Michel Basquiat (1960-1988). One of
of exhibited work, made for Diego Cortez s
exhibition in the UK of the work of American
the most signiďŹ cant painters of the 20th century,
watershed group show New York / New Wave
Basquiat came of age in the late 1970s in the
at P.S.1 in February 1981. Fifteen works are
New York. By 1982, he had gained international
years, allowing visitors to understand how
post-punk underground art scene in downtown 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.
brought together for the ďŹ rst time in over 35 Basquiat so quickly won the admiration of fellow artists and critics.
5JQT ăźéĄŚçˆ™ ăž?éŒ“ăœĽă–‘ď˜ť#BSCJDBO "S U (BMMFS Z 䊟卹肤谀 é ŽâšĽä—ą
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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™
䊟倛㤇 暜 î™¸ă–ˆč–Šă•œćś¸ęťˇĺŚ„ăŁ?ă˜—ăž?éŒ’ď˜ˇäŠź
ĺ€›ă¤‡ćšśĺƒ˝âœłâź§âš†ç§ ĺ‰“ę…žéŠ´ćś¸ćŽĽăšťâ›“â™§ď˜ˇâžŽă–ˆ äŽƒâžż ä–•ĺŠ?ç§Łç§‰â™´ă™šćś¸ä–•ĺ‰ŚâŻ˜ă–’â™´č° é Żĺ¨ă• ⚼ä§ę&#x;€ď˜ˇâľŒ
äŽƒď˜šâžŽäŠşčš?č€Ťă•œęĽšď˜šĺƒ˝ç—§â™Źăž‚â˝“ă?ąć™‹äż’ćĄ?ăž?âšĽĺ‰“äŽƒé°‹
ćś¸č° é Żăšťď˜ˇâžŽćś¸é‹•éŒ?铃鎊âŻ?ć€?ĺ´žâ¸‚ď˜šçŁ§ćĄ‰ç˝œâ™śę§¨ęˇ‡ď˜šâ¸ˆ
姽 ĺŚ„äŠźĺŤ˛č‚Ľč° é ŻâšĽä—ąăź&#x;ăž?ⴀ䊟倛 㤇 暜随朰â&#x;?⥲ ă…ˇď˜šâłźęł?Ⰼ⥲ㅡ莅갉ĺ?żď˜śăť¨âĄ˛ď˜śé‚?ć€ľď˜śę¨śä•§ă„¤ę¨śé‹• ç˜žč° é Żę&#x;Œę˛łâ›“ę&#x;Śćś¸ęĄ â¤šď˜šäŞžâžŽä˝žâľŒâœŤĺˆżä‘žęĄ€ćś¸ĺ„˜ âžżäż’âť‹é“ƒăžŻâšĽéšŽé ¤éŽŁé”¸ď˜ˇ
䊟倛㤇 ćšśă–ˆ äŽƒęťˇĺŚ„ć?€ăŻŻë„“ ä¨žęĄ ĺ˛¤ď˜šćŽšĺ„˜âžŽ ㄤ㠚㡸꣚晋˙霔â??č˜˜ćś¸ă –âĄ˛â&#x;ƒďšł4".0hďš´ć?€ă ?ď˜š
ă–ˆç§Łç§‰ă ?ă–’ă?¤ë’Şç‰&#x;çŒ˝ćś¸ăš’éŽŠď˜ˇâžŽéźŠă„¤â°ŚâžŽč° é Żăšť ă –âĄ˛éş•ď˜šâ°ŚâšĽĺ‰“ĺ‰¤ă ?ćś¸ĺ‰¤ă¸žéś”Ë™ĺ°†ęŠ›ć™‹ď˜šéźŠć?€č??ă ? ĺƒťčĄ˝ćś¸ç§Łç§‰ă˘šçą?ĺ‰šď˜šâşŤä?ç? 䗞⼥ĺ?żéżˆď˜śă–’㚖⼥ĺ?ż éżˆă„¤ä‹ŞäŹ˜ĺ€›ç‰&#x;⍚⼥ĺ?żéżˆď˜šâśžâĄ˛ă —ćŽĽă„¤é…¤ç¸¨âĄ˛ă…ˇď˜ˇ
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â™łçƒąć™šâť‹ćś¸çŁ§ë„“ăŁ?ăť¨ćś¸äż’ĺŠĽď˜šé›Šä§ŽâŚ›ä–¤â&#x;ƒćş?ⴀ➎齥朰
姽匄ăž?éŒ’ćś¸â?Žë&#x;ŠâşŤä?䊟倛㤇暜剓ĺ‚?ĺŠ?âĄ˛ă…ˇćś¸éżˆâ´•
⥎č?ˆâ°Śĺ¨Śĺ€´ äŽƒä–•ď˜šă–ˆč–Šă•œęĄ ĺ€´âžŽćś¸â™§â´—â¤‘äŽ™â›–ć?‚
ä§˘Ë™çŒ°ć™‹ćšśĺ€›ç˜źâˇ”ćś¸çşˆăž?ա秣秉 ĺ€žĺľ ćƒ?ո䨞✞⥲
çŒ°ďˆŁĺ‰…ä’ćś¸čŽ‡éŚąâżťĺŠ˘ă€Œéş•ĺ§ťé‹Šč° é Żäž†č‚Źćś¸âŚ?âžƒçŤ¤ĺ¨œď˜ˇ âžƒé”“éĽąď˜ˇ
ę…žć¤?ď˜šâž˛âĄ˛ćŽšâ´˛ĺƒ˝ć?€ äŽƒâœłĺ‰˘â&#x;¨ă–ˆç§Łç§‰1 4 éśœ ćś¸ď˜ˇăž?éŒ’ćŽšâšĽĺ‰¤ â&#x;?ꅞ銴ăž?ă…ˇĺƒ˝ äŽƒâ˘ľęťˇĺŚ„éšŽé ¤ ăž?â´€ď˜šé¸?ăź&#x;ĺ‰¤â¸”ĺ€´éŒšç˝?ĺˆżăĽŞă–’ć¤šé?‘䊟倛㤇暜⥌â&#x;ƒ ăĽśĺ§˝ä˜°é¸ ă–’éŁˇä–¤č° é Żăšťă šé ¤âżťäŞĄé?ąăšťćś¸é›™é?Şď˜ˇ
Jean-Michel Basquiat, Untitled (Pablo Picasso), 1984, Provate collection
Jean-Michel Basquiat painting, 1983, Photo copyright Roland Hagenberg
a partial reconstruction of Basquiat s ďŹ rst body
Jasper Johns, Flag, 1958. Encaustic on canvas. 105.1 x 154.9 cm. Private collection Š Jasper Johns / VAGA, New York / DACS, London 2017. Photo: Jamie Stukenberg Š The Wildenstein Plattner Institute, 2017
Jasper Johns: ‘Something Resembling Truth’ čłˆć–Żĺ&#x;š ç“Šć–Żďźš čż‘äźźçœ&#x;相䚋牊
The Royal Academy of Arts presents an exhibition of the Honorary Royal
Widely known for his iconic images of ags,
ďŹ rst 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 signiďŹ cant and inuential artists of the twentieth and twenty-ďŹ rst 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 Š Jasper Johns / VAGA, New York / DACS, London. Photo: Š 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
5JQT ăźéĄŚçˆ™
Jasper Johns: Something Resembling Truth
ăž?éŒ“ăœĽă–‘ď˜ť3PZBM "DBEFNZ PG "S U T 薉㕂朽㚝谀 é Žăˇ¸ĺ‰š
been dominated by Abstract Expressionism.
reveals the continuities and changes that
have occurred over the past six decades, and
ăž?éŒ“ĺ„—ę&#x;Śď˜ť 4FQUFNCFS 0DUPCFS ĺˆżă˘´âĽŒäœ‚ď˜ťX X X SPZBMBDBEFNZ PSH VL
the curiosity and experimentation that Johns continues to apply to his current practice. The exhibition is arranged thematically,
č–Šă•œćś˝ăšťçšĄé Żăˇ¸ĺ‰šăź&#x;ć?€ĺ›™éš˜ćś˝ăšťę¤ŽăĄŚéĄźĺ€›ă›†Ë™ćŠľĺ€›čŽŠéłľăž?éŒ’ŐˇéĄźĺ€›
motifs and techniques including his unique use
ďˆŁęŹ—ćś¸ĺ”šć¤šď˜ˇé‘Şăž?錒ăź&#x;ăž?ⴀ⺍ä?ꧨă?–ď˜śç˛ćŽĽâ&#x;ƒâżťć™?ćŽĽâĄ˛ă…ˇç˜žéšŹ â&#x;?
encompassing the full range of Johns materials, 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
ă›†Ë™ćŠľĺ€›îš‰éľœâĄ‚ćşŤćšąâ›“ćš&#x;Ő¸ď˜ˇé¸?ĺƒ˝č–Šă•œ äŽƒâ˘ľęťˇĺŚ„ć?€ćŠľĺ€›ćś¸âĄ˛ă…ˇéšŽé ¤
ŐˇéĄźĺ€›ă›†Ë™ćŠľĺ€›îš‰éľœâĄ‚ćşŤćšąâ›“ćš&#x;Ő¸äłˇçˆšâœŤéş•âżĄâ°™âź§äŽƒč° é Żâš†ć˛é…朸障
ĺˇ†éĽąă¨ĽâľŒĺ‰“ĺ€žćś¸âśžâĄ˛éżŞăź&#x;ă–ˆăž?éŒ’âšĽăƒ„ć¤?ď˜ˇ
ăž?錒äžć’‘âšşę˛—éšŽé ¤ç˜źăž?ď˜šâ˘żăĽśćŠľĺ€›ä¨žäą°ćŹ˝ćś¸ĺ‹žäż˛ď˜śă•Źä•Žă„¤äŞŽäŠŤď˜šâ°ŚâšĽ
ç§ ĺ‰“ę…žéŠ´ď˜śĺ‰“â°¨ä•§ę° â¸‚ćś¸č° é Żăšťâ›“â™§ď˜šâžŽéş•âżĄ äŽƒćś¸âśžâĄ˛ď˜šä–°č° é ŻćŹ°
抾倛剓 ä‘žć?€âžƒ 濟朸➿ é‚?ă•ŹâŤšĺ‰¤ĺ ŤăśŠď˜śęŹśăśŠď˜śäž¸ăśśď˜śă–’ă•Źă„¤ć•šĺ˛™ď˜ˇč?ˆ
resembling truth, some sense of life, even of
âžŽäą°ćŹ˝ăˆ°äŠ›ă€łä–¤ćś¸ĺ‚ˆäŒ˘ă•ŹâŤšçŞ?ç˛ćŽĽč° é ŻäŒ&#x;â˘ľâœŤĺ€žé“ƒéŽŠď˜ˇâžŽăźŠă•ŹâŤšéšŽé ¤
grace, to icker, at least, in the work.
ęĄŹâœŤęĄ ę’łäš?ćś¸ĺ€žĺ€°ă ˘ď˜šâ™§ä˝–ĺ§˝âľšäŹ„é&#x;?é‚?ć¤?âšşçş?ęą†ęą§ćś¸ă˝ˇęŹ—ď˜ˇ
ę…žéŠ´âĄ˛ă…ˇď˜šâ°ŚâšĽéźŠâşŤä?â°Śĺ‰“ĺ€žćś¸âĄ˛ă…ˇď˜ˇćŠľĺ€›é„„é’˘ć?€ĺƒ˝âœłâź§âżťâœłâź§â™§âš†
of the exhibition comes from a statement
by Johns in 2006: One hopes for something
äœŤćś¸ĺŒŒéŠŻéšśä–¤ęŁŤćŹ°ď˜ˇé¸’éş•ę&#x;šâśžäš?朸ç˛ćŽĽă„¤ę§¨ă?–ď˜šćŠľĺ€›ă–ˆč° é Żâš†ć˛âšĽę&#x;š
äŽƒâžżâ˘ľâľŒç§Łç§‰ä–•ď˜šâžŽâ¤‘ĺƒ˝çšĄă•œćŽšâžżč° é Żćś¸âšĽä—ąâžƒćš&#x;ď˜ˇâľŒ äŽƒď˜š
č´–ć¤šď˜šăźŠćš&#x;ă…ˇă„¤ç—˜č´ŤéšŽé ¤äŽąćŹ˝ď˜šé¸’éş•âĄ˛ă…ˇâšĽć Źćšśç˝œä—‚ę§šćś¸çŠĄĺœ“ď˜šé›Šć“ż
韄莅朎ăž?ď˜šâ›łäłˇçˆšâœŤćŠľĺ€›â™§ćšŹă–ˆâĄ˛ă…ˇâšĽçŒĽä°čĄ˝ăĽŞăŁźă„¤ăťœë€żćś¸ç¤śç‰&#x;ď˜ˇé‘Ş ⺍ä?âžŽăźŠé€•ä•™ć Źćšśćś¸â˘ŞćŹ˝ĺ€°ĺ˛ ď˜šă–ˆç˛ćŽĽâšĽäą°ćŹ˝ä¨éĄŚď˜šé¸’麕䏪㝍⍄窥㯯
âž?〳腋äš?ă–ˆę§¨ă?–ă„¤ă•Źä•Žč° é ŻâšĽä¨žäą°ćŹ˝ćś¸âśžĺ€žĺ€°ĺ˛ ç˜žç˜žď˜ˇăž?éŒ’ćś¸ĺžŚę˛—â˘ľ č?ˆćŠľĺ€› äŽƒćś¸â™§â&#x;¨č€Ťĺƒˆîš‰ďšłâžƒâŚ›çą?ĺƒ˝ä‹žĺŠ†ĺ‰¤éľœâĄ‚ćşŤćšąâ›“ćš&#x;ćś¸ăś¸ă–ˆď˜š é‚?ć¤?揰ă„?ď˜šâŤ„éş¨âŽ›ę§‰ď˜šč?›ăźąă–ˆč° é ŻâĄ˛ă…ˇé…č…‹ćŽ†â™´ă —âŻ•ć™šçşˇďš´ď˜ˇ
ĺ?—äşžč—?čĄ“ć–‡ĺŒ–é …ç›Ž
ăž?éŒ“ăœĽă–‘ď˜ť.BODIFTUFS 削䗢倛暾
Corrections to the First Draft of History
South Asia Art and Culture Programme
5JQT ăźéĄŚçˆ™
ăž?éŒ“ĺ„—ę&#x;Śď˜ť 4FQUFNCFS
ĺˆżă˘´âĽŒäœ‚ď˜ťX X X OFXOPS UIBOETPVUI PSH
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
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 Time Symposium Mexico
Raqs Media Collective: Twilight Language (30 September 2017 ‒
the ďŹ rst major UK exhibition by Raqs Media Collective and the
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.
é Żă•°ë„“3BRT㯯넓ăźçŠ‰ćś¸ęťˇâŚ?č–Šă•œăŁ?ăž?ď˜šâ&#x;ƒâżťçşˆăž? ա⽂â??ć¤?âžżâšşçş? î™¸Ő¸îšŠĺ‰‹ä—Łĺ€›ćšśçšĄé Żę¸čŽŠ
éłľćś¸č° é Żăšťă§šă† Ë™ă‹ŽâŻ˜č—Śď˜śćŞłâ˝“ĺ€›Ë™â˝“ä›¸ď˜śéĽ&#x;ꨎ䛸˙
ç? 晋ă??äŠ&#x;ď˜śéĽ&#x;ę°žË™ä‹Şćšść™‹ď˜śćŚ°ăźżéŁ“çş?ä—žâŚ?ăž?â&#x;ƒâżťč°
This September Manchester s cultural institutions
âž›äŽƒâ›°ĺ‰˘ď˜šĺ‰‹ä—Łĺ€›ćšśćś¸äż’âť‹ĺ Ľĺœ“ăź&#x;龔⢾㢾⥙⪂ⴀ朸⽂â??ㄤ⽂â??é…“č–Šă•œč°
Asian descent in a celebration of shared heritage and
猺⴪朸ăž?éŒ’ă„¤é‚?ć€ľď˜ˇâ§Šâ˝Ťä?žď˜śäŠźă›‡ĺ€›ă—žă„¤ä–•â˘ľćś¸ăˇ†â¸ˆäŹ˜ă•œä§ç”¨â™Źâź§éš‹äŽƒâ›“
welcome leading South Asian and British artists of South historic connections through a series of exhibitions and
é Żăšťď˜šć?€âœŤäŁ”ç‰?䕚姽â°&#x;剤朸éź?ćŹ´ă„¤ĺ¨œă€ˇĺš‡ĺ˝‚ď˜šă ?ĺ Ľĺœ“ăž‚ĺ„˜ĺ‰šă–ˆďˆŁă™šăž?ę&#x;šâ™§
ęĽšď˜šâ°”ăŁ?ăž?錒ăź&#x;ăƒ„ć¤?ďˆŁĺ€žâš›â°¨ĺ‰¤ę&#x;šâśžäš?ćś¸âĄ˛ă…ˇď˜šç˝œę&#x;šä?Œä’â™łéźŠĺ‰ščŽŠéłľĺˆżâ¸ˆ
é Żă•°ë„“é‘‘ë€żăźçŠ‰ćś¸â™§ĺŚ„äš?é‚?怾é—?ä? îšŠçŒ°ăˇ¸čŽ…äŠ¨ĺ™ â˝ˆćš&#x;ę¸âšĽă˝łéĽ&#x;Ë™ă‹Žĺ…œäŹ˜ćś¸ ăźĺ„˜â™§ĺŚ„äš?é‚?怾剋 ä—Łĺ€›ćšśâ˝ˆćš&#x;ę¸ď˜šć‹ćŚ°ăŤŤË™â˝“čŹ ćšśäŒ&#x;⢾朸âŚ?➃ăž?錒 ă„¤č° é Żâž?â°…ď˜ˇ
㢾垺朸갉ĺ?żď˜śę¨śä•§ă„¤é‚?怾çœ?ćšĄď˜šéź?é”žéŒšćťžë„“ë€żéžŽăş˘ćś¸â˝‚â??äż’âť‹ď˜ˇ
Őˇ3BRT㯯넓ăźçŠ‰îš‰ĺ‡„âŻ•é“ƒŐ¸î™ˇ 䎃 剢 ĺ‚ˆč?›
exhibitions present both new and seminal works, while a
倞⽂âť?ďš´ĺƒ˝ć‹âź§â™§âŚ?⽂â??ㄤ薊呔貽âť?éżˆćś¸č° é Żĺ Ľĺœ“ä¨žçŠ‰ä§ćś¸çŹŞçŞ„ď˜ˇăž?
ĺ€›â°—ă•¨â°‰äąłéŽŁéź‡čŽŠĺĽšćś¸ĺ¨œă€ˇă„¤äŠ¨âžƒéşŒâš›ćś¸é’˛ćŹ°ď˜ˇ
opening weekend invited audiences to experience a wealth
ę¸ď˜śçŒ°ăˇ¸čŽ…äŠ¨ĺ™ â˝ˆćš&#x;ę¸ă„¤)0.&äż’âť‹âšĽä—ąď˜ˇé¸?âŚ?ć?€ĺŠ?â™˛äŽƒćś¸ę°ŞćšĄĺ‚Œă–ˆć?€â°?
performances across the city. Marking the 70th anniversary
of the creation of India, Pakistan and later Bangladesh, eight wider programme of music, ďŹ lm and performances for the of South Asian culture.
éŒ’ă„¤ĺ´žâš›ăœĽă–’â´•â´˝ă–ˆä&#x;ƒćšśĺ°†ĺ€›çšĄé Żę¸ď˜śĺ‰‹ä—Łĺ€›ćšśçšĄé Żę¸ď˜šĺ‰‹ä—Łĺ€›ćšśâ˝ˆćš&#x;
ăŁ?ĺ´Žćś¸â™śă šéŒšćťžä’Šç”¨č€˘ç˛Żď˜šăž?çˆšâ˘ľč?ˆăˇ†â¸ˆäŹ˜ă•œď˜śâ˝Ťä?žď˜śäŠźă›‡ĺ€›ă—žď˜śĺ€›é…貽 ⽓â&#x;ƒâżťč–Šă•œĺ‰“âŞ‚â´€ćś¸ćŽšâžżč° é ŻâĄ˛ă…ˇď˜ˇ
䎃 剢 ĺ‚ˆî™¸ăź&#x;ă–ˆä&#x;ƒćšśĺ°†ĺ€›çšĄé Żę¸ă„¤ä&#x;ƒćšśĺ°†
Ⰼ⚼韊⺍ä?âœŤă€Œĺ‰‹ä—Łĺ€› ćšśäŠ¨ĺ™ ă‰ŹćśŽćś¸ďˆŁ 倞㨽鎡
âĄ˛ă…ˇď˜ˇ3BRT㯯넓ăźçŠ‰é“žîš‰ďšłäłˇę&#x;šâš†ć˛ď˜šâśžé?¤ă‰?ę˛—ď˜š ă–ˆ ç§ ä™‚çƒľä–§ ä–‘ď˜šâ´•ĺ?€â?œ ę?Ť çłź 粕 朸é?‘佞 ĺ¨œ 〡 莅䙟 é¨&#x;ď˜ˇďš´
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°
Nadja Michael as Salome Royal Opera House, London, 2008 ROH Š Robbie Jack - Corbis. Corbis Entertainmen. Getty Images
Opera: Passion, Power and Politics
ćŒĺŠ‡ďźšćż€ćƒ…ă€ ćŹŠĺŠ›ĺ’Œć”żć˛ť 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 Š 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.
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
č–Šă•œçŹžă˘ľâľ„â??ㄤ꣚晋â ćšśâ˝ˆćš&#x;ę¸ă„¤ćś˝ăšťĺ§?âˇœę¤Žă –âĄ˛â°&#x;ă šé?¤
di Poppea. Original material from the 1934 St Petersburg premiere of
աꅽç§?晋㢾ո  珞⛳ç§?Ő‚čœ“äŠ&#x;ćšśćś¸ŐˇéĄĽâ¸ˆ
Őˇĺ§?âˇœîš‰ć…¨äž•ď˜śĺĽšâ¸‚ă„¤ä˝&#x;ĺą›Ő¸ď˜šä–°âšĽäąłç¨‹âœŤĺ§?âˇœâšĽćś¸ć…¨äž•ď˜śĺĽš
displayed outside Russia for the ďŹ rst time.
éŽ™âœŤâ™§âŚ?ëŠŤĺ´žćś¸ď˜śĺ°?ĺľśä’ćś¸ď˜śĺ žé¨—âœŤéľœ äŽƒćś¸ĺ§?âˇœĺ¨œă€ˇăž?錒 ⸂ㄤä˝&#x;ĺą›â™˛âŻ‹ç¨‡ď˜ˇ
é‘Şăž?éŒ’ĺƒ˝ĺ¨œă€ˇâ™łăˆ”â™§â™§âŚ?â&#x;ƒĺ§?âˇœć?€âšşę˛—朸ăŁ?ă˜—ăž?éŒ’ď˜šă¸?çżš
ć?‹â™Źä? ă™šä‹‘ćś¸â™ŹăœĽĺ§?âˇœęťˇć€ľď˜šé›ŠéŒšç˝?ç‘ĺ”Žă–ˆĺ§˜ĺ´Žĺ§?âˇœĺ¨œă€ˇćśŽ
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
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,
ăž?朸ă ?âŚ?ę…žéŠ´ĺ„˜ĺŠ?é…ď˜šä–°äż’č° ä—‚čŽ‡ćśŽăž?âľŒćŽšâžżď˜ˇă¸?ăž?çˆšâœŤĺ§?
1861; Dresden - Strauss Salome, 1905; St Petersburg - Shostakovich s Lady
çˆ˘ĺ‰šď˜śä˝&#x;ĺą›ď˜śč° é Żă„¤çŤ¤ć†˜ă””ç¨‡ĺƒ˝ăĽśâĄŚä•§ę° ĺ§?âˇœă€ˇâ™łĺ‰“â¨€ăŁ?朸
headphones, dynamically changing as you explore the cities and objects, to
âˇœĺƒ˝ăĽśâĄŚçŠĄă –ă˘ľç??č° é Żä•Žä’â˘ľâśžé¸¤ă˘ľä Žă¸˝ćś¸č° é ŻâĄ˛ă…ˇď˜šâ&#x;ƒâżť ćž–ę&#x;Śď˜šä–°ç˝œâ˘Şä–¤ĺ§?âˇœä–¤â&#x;ƒéś¤é“žĺ§˜ĺ´ŽäŽ™ćś°äŽƒćś¸ĺ¨œă€ˇď˜ˇ
Macbeth of Mtsensk, 1934. World-leading opera performances are played via 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
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
Tove Jansson (1914-2001)
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?¤
ć‰˜čŠ™ ć?šć?ž
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
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, 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
continues to stretch across generations,
Jansson s wider outputs of graphic illustration
and painting are relatively unseen outside her
5JQT ăźéĄŚçˆ™
home country of Finland.
ăž?éŒ“ăœĽă–‘ď˜ť%VMXJDI 1JDUVSF (BMMFS Z 麧⾄㣟掼ä?¤
Tove Jansson brings together 150 works to
ĺˆżă˘´âĽŒäœ‚ď˜ťX X X EVMXJDIQJDUVSFHBMMFS Z PSH VL
reintroduce Jansson as an artist of exceptional
ăž?éŒ“ĺ„—ę&#x;Śď˜ť 0DUPCFS ËŠ +BOVBS Z
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
The exhibition opens with Jansson s self-portraits,
the Moomin characters and original comic
been seen before in the UK. She always considered
a comprehensive display of early sketches for strips.
landscapes, and still-lifes, many of which have never 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
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
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
Tove Jansson in her studio ŠPer Olov Jansson
characters and books, a phenomenon which
special pictorial and thematic characteristics of CĂŠzanne's portraiture,
奞尚䚋肖ĺƒ?
versions of the same subject. The chronological development of CĂŠzanne's portraiture is considered, with an examination of the
Self Portrait in a Bowler Hat, 1885-86 by Paul CĂŠzanne Ny Carlsberg Glyptotek, Copenhagen. Photo: Ole Haupt
CĂŠzanne Portraits
including his creation of complementary pairs and multiple
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 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
studio, made shortly before the artist's death in 1906.
exhibition devoted entirely to portraits by Paul
CÊzanne is widely understood to be one of the most inuential
Portraits, brings together for the ďŹ rst time over 50
Impressionist, his unique method of building form with colour,
of CĂŠzanne's portraits from collections across the world.
Portraits previously unseen in the UK include the
artists of the nineteenth century. Generally categorised as a Postand 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.'
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 identiďŹ ed as Michelangelo de Rosa, and Madame
CĂŠzanne in a Yellow Chair (1888-90) last exhibited
in London in 1936 and 1939 respectively.
âĽƒçš?Ë™ă?ąăźżî™ˇ ♧揰⚼掼麕秉 äŒ´č ą
Paul CĂŠzanne (1839-1906) painted almost 200
ăźżâ›“č ąâŤšŐ¸äąłç¨‹âœŤâ°Śč ąâŤšćŽĽćś¸ç˛ćŽĽćšśä—šâżťâšşę˛—ćšś
portraits during his career, including 26 of himself and 29 of his wife. CĂŠzanne Portraits explores the
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 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
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
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
â™śĺƒ˝ä—łć?朸倞鋅é?‘ď˜ˇé¸’éş•â?€ăŁ?⚺겗ç‰&#x;çżą 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€°
喎色靑白皪畍
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
This autumn, the National Gallery presents a journey
ăšťâŚ›ă–ˆç˛ćŽĽâšĽé¸’麕垸â&#x;Źç€–ę§¨ćś¸ă˘ŤéŒšâ˘ľéšŽ
through a world of shadow and light: Monochrome:
é ¤č?ˆä§ŽäŽ‹ä¨žď˜šă šĺ„˜čŽ…ć™?ćŽĽď˜śäź˘ä•§ă„¤ę¨śä•§ćś¸
Painting in Black and White. With more than ďŹ fty
倞朎ăž?ćšąâœ˝ç•šć˜°ď˜ˇă šĺžşă–’ď˜šäŹ„é&#x;?ㄤ酤縨č°
painted objects created over 700 years, it is a radical
é Żăšťâ™§ćšŹéżŞé„„ëžąćśŻä¨žď‰šä’¸ď˜ˇćŽšč° é ŻăšťâŚ›äŠş
new look at what happens when artists cast aside the
çŤ¤č…‹ęŚ‘ä ‘â˘ŞćŹ˝â&#x;¤âĄŚâ™§ç??ă€łč…‹ćś¸č’€é”…ĺ„˜ď˜šč’€
colour spectrum and focus on the visual power of
䕙朸國ăŁ&#x;âżžç˝œĺ‰šĺˆżâ&#x;‚➃ęŠ?ë ‡ä§´ćśŽâžƒĺš€ćş ď˜ˇ
black, white, and everything in between.
Paintings and drawings by Old Masters such as Jan van Eyck, Albrecht DĂźrer, 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
5JQT ăźéĄŚçˆ™ ăž?éŒ“ăœĽă–‘ď˜ť/BUJPOBM (BMMFS Zč–‰ă•œă•œăšťćŽĽä?¤
ăž?éŒ“ĺ„—ę&#x;Śď˜ť 0DUPCFS 'FCSVBS Z ĺˆżă˘´âĽŒäœ‚ď˜ťX X X OBUJPOBMHBMMFS Z PSH VL
Olafur Eliasson.
Monochrome reveals fresh insights into the use of
The earliest surviving works of Western art made in grisaille
ďŹ ve themes Sacred subjects, Studying light and shade,
to eliminate distractions, and focus the mind. From the 15th
colour as a choice rather than a necessity. Through
An artistic aesthetic, Challenging other media and
Abstraction, Monochrome addresses a dierent aspect
of painting in black, white and grey, also known as grisaille.
âž›äŽƒçŒ¨ăŁ”ď˜šă•œăšťćŽĽä?¤äŒ&#x;â˘ľâœŤâ™§ăœĽé¸’ä–ƒâŻ•ä•§âš†ć˛ćś¸ĺ ‡çŽ‘ա㋲
蒀랹术ç˛ćŽĽŐ¸ď˜ˇâť˝çżšâœŤâ?€âź§äŽ™â&#x;?钲揰倴 ă˘ľäŽƒâľšćś¸âĄ˛ă…ˇď˜š é¸?éŚŤĺ ‡çŽ‘ăź&#x;â&#x;ƒâ™§âŚ?ďˆŁĺ€žď˜śâľšé şćś¸éŒŹä?žćş?ä–Šč° é ŻăšťâŚ›ä–°äŹšĺ”łč’€
é™—ď˜šâľŒę§ŒâšĽĺ€´ëžąćśŻćś¸é‹•éŒ?é źäššď˜šâ&#x;ƒâżťâž?倴â°?蒀⛓ę&#x;Śćś¸â&#x;¤âĄŚă€ł č…‹ď˜ˇ
ĺ‚?ĺŠ?朸ăŁ?äŒŒâŚ›ăĽśäł“Ë™çœ•Ë™č’•âŻ˜ď˜śâš“âš—ď˜śâ§?â¸˝ĺ‰˝ă„¤ă¸žĺ‘”ć™‹ćś¸ĺą˜ćŽĽ
⿝稇䲞⥲ㅡăź&#x;čŽ…ćŽšâ™´ĺ‰“ĺ´žéŹŞćś¸ćŽšâžżč° é Żăšťćś¸âĄ˛ă…ˇâ™§ă šăž?â´€ď˜š Ⰼ⚼⺍ä?ĺ‘”ă† ä—žË™ę…˝ä‹žćšśď˜śĺ?†âŻ˜Ë™âŻ˜ĺłŤĺ€›ď˜śä‹’ꅽ㣟暜˙飅⾄朸 âĄ˛ă…ˇď˜šâ&#x;ƒâżťă¤šäŹ˜çŹžć™‹Ë™ă™Şâľ„â??ĺŒĄćś¸ĺ°?ĺľśä’ć•šâŻ•é…¤ç¸¨ď˜ˇ
were created in the Middle Ages for devotional purposes,
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
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, Š Kupferstichkabinett. Staatliche Museen zu Berlin / Photo: JÜrg P. Anders
Monochrome: Painting in Black and White
ę˛—ĺ‹žď˜śâŻ•ä•§ç ‡ç‘–ď˜śč° é Żăť¤çšĄď˜śäŽ‹ä¨žâ°ŚâžŽăŻŻ
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
Őˇă‹˛č’€Ő¸âŤ„éş¨âœŤäŞžę˛?蒀朸⢪揽⥲ć?€éź‡äšľç˝œ
Reclining Nude, 1919, Oil on canvas, 724 x 1165 mm, Museum of Modern Art, New York
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
5JQT ăźéĄŚçˆ™
largest group ever seen in the UK, with paintings
ăž?éŒ“ăœĽă–‘ď˜ť5BUF .PEFSO 岲暾ć¤?âžżçš é Žę¸Ź
ďŹ gurative painting. A group of 10 nudes will be the
including Seated Nudeďźˆ1917and Reclining Nude
ďźˆ1919.
ăž?éŒ“ĺ„—ę&#x;Śď˜ť /PWFNCFS ËŠ "QSJM ĺˆżă˘´âĽŒäœ‚ď˜ťX X X UBUF PSH VL
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 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
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.
â&#x;?âĄ˛ă…ˇď˜šę…žĺ€žé?ąâ ŽâœŤé¸?⥙ć?€âžƒć“żäœŤćś¸č° é Żăšťď˜šćŹ˝ďˆŁĺ€žćś¸ĺ€°ä’
The exhibition concludes with some of Modigliani s best-known
ĺ™ ď˜šâš›â˘ŞâžŽä§ć?€âœłâź§âš†ç§ 剓⨀ăŁ?ćś¸č° é Żăšťâ›“â™§ď˜ˇ
much-needed ďŹ nancial and emotional support during his turbulent
ćş?ä–ŠâžŽä¨žäą°ćŹ˝ćś¸ăťœë€żäŠ›ĺ˛ ď˜šç˝œĺ§ťĺƒ˝é¸?â?‰äŠ›ĺ˛ ä§ă˝ âœŤâžŽćś¸âœ˛ 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
depictions of his closest circle. Friends and lovers provided him with 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‡
㧚˙éĽ&#x;ä‹’ćšśă˝łĺƒ˝čœ“éś”ę…˝ęŁšă˝łăˇ›ăśŠćś¸ĺŤ˘é‹ˇď˜šă šĺ„˜â›łĺƒ˝âžŽćŹ° 崞⚼剓ꅞ銴朸ăĽ?äš?â›“â™§ď˜ˇćŽš äŽƒčœ“éś”ę…˝ęŁšă˝łĺ¨Śĺ€´çŠĄĺ‘? äš?čˆĄčŠ™ć‹¨ĺ„˜ď˜šćŁ‡ă§šâ›łä?˛ä˘”ă–’éź‡äšľâœŤč?ˆĺŞšď˜ˇĺ˛˛ćšść¤?âžżçšĄé Ż ę¸ăž?â´€âœŤčœ“éś”ę…˝ęŁšă˝łĺ‰“ä–•ĺ¨”ĺ‰˘ę…˝â&#x;ƒăĽ ć?€âž˛ă˜—䨞ç˛ćś¸č ą
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, Amazon, 2016, Š Andreas Gursky/DACS, 2017. Courtesy: Sprßth Magers
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
to the vast distribution centre shown in Amazon (2016), and from the sea of
é‘Ş ăž? 錒 ăž? â´€âœŤ č° é Ż ăšť 剓 襽 ă ? 朸 ⥲ ă…ˇď˜š
the boundaries of the medium. Gursky s art is driven by an
eerily empty display shelves in Prada II(1997) his images provide a sweeping
č˜&#x;幎 **ո î™¸ď˜śŐˇ 錄 秚ç‰&#x; 䀼 äął
through to his most recent work, which continues to push interest, and insight, into forms of collective existence and includes depictions of massive man-made structures and
encyclopedia of life.
of our faith in the factual veracity of images. As he has remarked, today, reality can only be shown by constructing it .
ĺş ă?źŐ¸î™ˇ â&#x;ƒâżťŐˇâ?€â™§ă•œęĽšâšŞâš›çœ?*7Ő¸
 î™¸ď˜ˇâžŽćś¸âĄ˛ă…ˇçŤ¤äŒ˘äą°ćŹ˝ë‘ˇćž›é‹• éŒŹď˜šďŠľăŁ?朸撑 ć™šă˝ŻäŒ´âŤš  ă˜— ç˛ ćŽĽ ♧垺 ęŠ?
äš&#x;ď˜šâ°ŚâšĽĺ‰¤ăŁ?ꆀ礜無䯲äŻ?âľŒćś¸ç¨Łçœ?ď˜šç˝œĺˆż â&#x;‚âžƒë ‡ćŽŻćś¸ĺƒ˝ď˜šé¸?â?‰ç¨Łçœ?ć?‚â™§â˘żă˘ŤéżŞĺƒ˝ĺš˘ ĺ… ăźŠć?‹ćś¸ď˜ˇ
Often employing a bird s-eye perspective, these large-format
ă˜—ę‚‚éĄŠâšĽä—ąď˜šâą„âľŒŐˇ â´•**ď˜šę§ąč€˘Ő¸  
an abundance of precisely captured details, all of which are uncannily in focus.
ä—žă•œčĄ˝ă ?äź˘ä•§äŒŒă¸žä—žć?™â??倛˙〢晋倛㛇朸ꝡâŚ?č–Šă•œăŁ?ă˜—ă”?ęłƒăž?ăź&#x;ă–ˆĺľł
â?œĺƒ’ä¨žď˜šâľŒŐˇâ??ꟛ麽ո  ⚼ăž?çˆšćś¸ăŁ?
⚼缍ĺ?“蒀䎂â†éĄŠćš&#x;ćś¸ĺľłĺł•ď˜šâą„âľŒŐˇĺ…œäŹ˜éş¨ **Ő¸  ⚼â&#x;‚âžƒĺš€ä ŽăŁźćŽŻćś¸ç‘ ç‘ ăĽśâ›łćś¸
饊ĺ?şď˜šâžŽćś¸âĄ˛ă…ˇĺƒ˝ăźŠä§ŽâŚ›ĺ„˜âžżćś¸ďˆŁĺ…žä’é‹• éŒ?鎚ę?—ď˜ˇ
将䗞掼ä?¤čŽŠéłľď˜ˇă€˘ć™‹ĺ€›ă›‡é„„ä‘žĺ˛Œé’˘ć?€ĺƒ˝ä§ŽâŚ›ĺ„˜âžżĺ‰“ę…žéŠ´ćś¸äź˘ä•§äŒŒâ›“
éľœäŽƒâ˘ľď˜šă€˘ć™‹ĺ€›ă›‡ăťœë€żäš?朸㕏⍚贖椚倰ä’
ㄤ掚➿揰崞朸垌é’&#x;äš?ăœĽĺ…žă„¤ăœĽĺ…žď˜ˇ
â?‰ăťœë€żé›ŠâžŽĺ‰¤ĺˆżăĽŞćś¸ĺ€°ĺ˛ ⢾䲿ⴀč?ˆäŠšă‚?
â™§ď˜šâ&#x;ƒâžŽăŁ?é‹Šĺž¸ćś¸ď˜śăĄéŒšćś¸ă•Źć™šç˝œč€‚ă ?ď˜šâžŽćś¸äź˘ä•§âĄ˛ă…ˇä˛žç˛âœŤâš†ć˛çŤ¤ć†˜ 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´
â&#x;‚âžŽâśžâĄ˛â´€â™śăźąďšłč´Ąĺœ“äź˘ä•§ďš´ćś¸âĄ˛ă…ˇď˜šé¸? ç˝œâ™śęŞŤćś¸é˘śćŻ ď˜šé¸?ç??é˘śćŻ ę†šăźŠćś¸â¤‘ĺƒ˝ä§ŽâŚ›
ăźŠä•§âŤšćşŤăťœäš?ćś¸âĽŒä™‚ď˜ˇĺ§ťăĽśâžŽä¨žé“žď˜šă–ˆâž› ăŁ”ď˜šďšłă€Ťĺ‰¤é¸’éş•ĺœ“ä’Šď˜šäŠžč…‹ăž?爚ć¤?ăťœďš´ď˜ˇ
Andreas Gursky, Bahrain I, 2005, Š Andreas Gursky/DACS, 2017. Courtesy: Sprßth Magers
ä–°Őˇč“?â¸ˆă†Ľâ?œĺƒ’䨞***Ő¸  ㋥뇀朸肆䋑
pictures‒which rival the scale of monumental paintings‒boast
ĺˆżă˘´âĽŒäœ‚ď˜ťX X X TPVUICBOLDFOUSF DP VL
create examples of ďŹ ctional photography, extending his implicit questioning
⺍ ä?ա䊟 ëžŤď˜šč¤‘ä‹Ş ç§? 倛ո î™¸ď˜śŐˇ č&#x;›
known works including Paris, Montparnasse (1993), Rhine II
(1999/2015), Kamiokande (2007), and May Day IV (2000/2014).
ăž?éŒ“ĺ„—ę&#x;Śď˜ť +BOVBS Z ËŠ "QSJM
visual record of our age.
In recent years, Gursky s experiments in manipulating images have led him to
The exhibition includes some of the artist s most well-
ăž?éŒ“ăœĽă–‘ď˜ť)BZ XBSE (BMMFS Z 徳将䗞掼ä?¤
candy-coloured budget items featured in of 99 Cent II, Diptych (2001) to the
huge gatherings of people in nightclubs, factories, arenas, and vast landscapes. As he has stated: I only pursue one goal: the
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From the frenzied stock exchange seen in Chicago Board of Trade III (2009)
of the artist s ground-breaking photographs, from the 1980s
Thomas Ruff: Photographs 1979–2017
Alfredo Jaar: The Garden of Good and Evil
27 September 2017 ‒ 21 January 2018 Whitechapel Gallery
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
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
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
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?
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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
侷㶶谀遮
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
In 2012, Art Historian Claire Bishop wrote for Artforum with a famous essay
ĺ… ă–’é‚?ĺƒˆâĄŚć?€äž¸ăśśâť‹ă–’ä™źç˝Œă„¤éŒšćş?ď˜ˇç˝œé¸?âŚ?ă”ŽăžŻď˜šă””ć?€
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
nature, and overlooks the digital revolution and its impact on everyday life.
ăž?ⴀ朸 č?› äŽƒćŽšâžżâĄ˛ă…ˇâšĽâżžĺƒŚćś¸â¤‘ĺƒ˝é¸?ç??ă”ŽăžŻď˜š
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
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˛
coined.
MutualArt.com, writer Natalie Hegert provides a complementary perspective by underlining that, despite the fact that digital has become more central to contemporary ďŹ ne art practices, we are still struggling to articulate what it
means to think and see digitally. This is a struggle that is rendered more diďŹƒcult by the ever-changing nature of the digital landscape. The contemporary
pieces from 2000 to 2016 displayed at Electronic Superhighway reect this
éŒ?â¤‘ĺƒ˝ď˜šćŽšâžżč° é Żćś¸ä‹’ăž?ĺƒ˝âź§â´•ă”Žę¨ˆćś¸ď˜šĺŠĽé‘ŞćŹ°ä˝Şćś¸ĺ„˜ ę&#x;Śéş•ć‡?ă?źä˝ŞäĽ°âš›ĺ°?ĺ‰¤ă–ˆç˜źăž?âšĽéĽąâĄ˛ćŹ˝ď˜šç˝œâĽŒäœ‚ćś¸ĺ˛Œć†â›ł ĺŠ˘ä–¤âľŒč´–ć¤šď˜ˇé¸?ç??ăž?éŒ’â™łéżˆâ´•ę…ˇćŹ˝ď˜šă šĺ„˜â›łé„„ăş˘âš—ä¸â´€
ćś¸ďšłęŚ‘ĺ Ľĺž¸ä’ďš´ď˜šă€łâ&#x;ƒé„„ćş?ä§ĺƒ˝ä–•ă””暜珪倰ä’朸♧âŚ?ćšś
ä–„ď˜ˇç„ˇăťœď˜šăĽśćŽ—ă˘šĺ…œă„¤ăŁ?é şË™ă‹Žĺ€›âľ„ćšśă–ˆ äŽƒä¨žé“žćś¸ď˜š ă–ˆâ™§âŚ?ă• ç˛•čĄ˝âžƒäŠ¨âľ–ă…ˇę…žĺ€žé“ƒăžŻâť‹ă„¤ę…žĺ€žâ˘ŞćŹ˝ćś¸č° é Żăťœ éŠ?ăŁ?ćŠ‡ăžŻâ™´ď˜šâž˛âśžäš?ㄤ⥲ç˝?é¨â&#x;¨äŠşçŤ¤ĺƒ˝éş•âżĄćś¸éŒšë&#x;ŠâœŤď˜ˇ
ăźŠďšłäž¸ăśśč° é Żďš´â™§é‘‚ćś¸ę…žĺ€žâ˘ŞćŹ˝â›łĺƒ˝ć?€âœŤčŽ…䖕㔔暜珪 č° é Żďš´ĺšŒä™‚äŹ˜ę&#x;šé¨…ę¨†ď˜šâš›ä–°ĺšŒä™‚â™łäŞžä–•ă””ćšśçŹŞč° é Żä¨žéŠ´
寚é„ćś¸ĺŒŒéŠŻćş?ä§ĺƒ˝ĺ¨œă€ˇä’‚çłľă„¤ä•§ę° ćś¸â™§ç??ĺ€°ĺ˛ ď˜ˇâ°¨ë„“
â˘ľé“žď˜šĺŠĽĺŠ?âšşę˛—ä ‘ĺŚ?äŽ‹ä¨žä–•ă””ćšśçŹŞč° é Żä&#x;?ĺ˛ âšĽćś¸ćšąăźŠâšş
çş?ď˜ˇç—§â™§âžżćś¸çŹŞçŞ„č° é ŻăšťäŤ’äŹŠăŻŻë„“ćšśćŽŻäš?é¸?ç??éŒšä™‚ď˜šĺ§ť ăĽśč° é Żă€ˇăˇ¸ăšťâĄŚă?ąâľ„äŠŻă–ˆŐˇč° é Żâ›“ä–•Ő¸âšĽé?‘ę…źćś¸é˝Ąĺžşď˜š ę…ˇćŹ˝é–€ă˘ľę§šâœĽć?‚äŽ¸ćś¸č° é ŻăťœéŠ?ă€ŠâžżâœŤă¸?ď˜ˇâĄŽĺƒ˝ď˜šé¸?é…ę…ˇ
ćŹ˝ďšłäž¸ăśśč° é Żďš´ćś¸ĺŻšăš âľąĺƒ˝éŠ´ăŽ˛é‘‘ă–ˆćŽšâžżč° é ŻăťœéŠ?朸Ⰹ éżˆĺ&#x; 用ä¸ă ˘ĺžŚď˜šä˛żâ´€â™§âŚ?㢾垺䎂č?Šď˜šă–ˆé¸?é…ď˜šé“ƒéŽŠćś¸â˘ŞćŹ˝
⥲ć?€â™§ç??㯯âž?ď˜šĺƒ˝ç¨&#x;ĺ‘?ĺ€´ĺš€â°…âœŤé?‘䞸㜜㕏兞犉ä§ä§â´•ćś¸ ă›‡ç‡Šâ™łćś¸ď˜ˇăť¤é‹•âž›ăŁ”ä§ŽâŚ›âĄŚâ&#x;ƒć¤šé?‘♧âŚ?äž¸ăśśă•ŹâŤšč…‹ăŁ ä ‘
ä¸âžŠëž†ď˜šâ¤‘ĺƒ˝ä§ŽâŚ›ä‹žĺŠ†ăźŠäž¸ăśśč° é Żćś¸ćš&#x;颜❋ㄤ⿞ćš&#x;颜❋
éş•çŽ‘éšŽé ¤ĺš€â°…ć¤šé?‘ď˜ˇä¨žé–—âżžćš&#x;é˘śâť‹ď˜šĺƒ˝é¸’éş•ä–°ĺž¸äşźçŚşçŞĄ âľŒçŽĄç„şéş•çŽ‘ăťœć¤?ćś¸ď˜ˇâĄŽĺƒ˝ď˜šé¸?âŚ?éş•çŽ‘éźŠĺƒ˝ăś¸ă–ˆćš&#x;é˘śâť‹ď˜š
â˝°â˘Şĺƒ˝ĺ‰“ä—‚ę§šćś¸çŽĄçŽ‘çŠĄĺœ“â›łĺƒ˝ăś¸ĺ€´â™§âŚ?ăťœë„“ďšłć¸ąăśŠďš´â›“
â°‰ď˜šç˝œé¸?â?‰çŠĄĺœ“⛓䨞â&#x;ƒăś¸ă–ˆď˜šâ›łéźŠĺƒ˝é¸’éş•âžżé‚? ㄤ 朸ꨜ 彂ę&#x;šęĄ ćś¸éšśâť‹ăťœć¤?ćś¸ď˜ˇé“žâľŒä? ď˜šä§ŽâŚ›ćś¸ç”¨ăœĽď˜šă˝ ĺƒ˝éŠ´ă–ˆč° é Żă„¤äŞŽé ŻăťœéŠ?⚼ꅞ倞䒊用ăš?ë„“ă„¤âšşë„“ćś¸ăźŠé‘¨ď˜ˇ
朸♧âŚ?겗ć?€Őˇă””ćšśçŹŞâ›“ä–•č° é Żćś¸éş‰ä¨Ąď˜śĺĽšâ¸‚ă„¤ĺ?żéŚąŐ¸ćś¸
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
äž¸ăśśćś¸çŠĄĺœ“ď˜šâ°ŚĺŠĽé˘śâ˝żĺƒ˝ĺž¸äşźćś¸ď˜šâš›âš‚ä™?é‹•âœŤäž¸ăśśęŹ ă„?
that contributes to the digital divide in contemporary art that Claire Bishop has
contemporary art practices. In her well observed review of the exhibition for
äŽƒâžżî™¸ćś¸âĄ˛ă…ˇäŠşçŤ¤é„„ä˝?âĄ˛â˝ˆćš&#x;ę¸čŻ˘ă…ˇď˜šâ°&#x;ă šä§ć?€č° é Ż
ĺš˘ĺ˜˝ă–’ęĄŞę…źď˜ˇâ›łé?Şď˜šă–ˆăž?錒č?†éľœçŠĄĺ‹˛éżˆâ´•î™ˇéŠźčŚˆ ď˜ś ㄤ
of art and technology. If the ratio of space/artwork in the upper galleries of the viewer, their technological obsolescence might tint them with a nostalgic hue
gains an aesthetic of its own and becomes available for a nostalgic re-use in
é¸?â?‰âĄ˛ă…ˇďˆŁéżŞé„„ä˝žă–ˆćŽĽä?¤ćś¸â™§č´Ťăž?ä‘źď˜šé¸?çŞ?錚ćş?ç˝?ćś¸ä Ž
ä§ŽâŚ›ä˛żâ´€ď˜šďšłäž¸ăśśč° é Żďš´ă˝ ĺƒ˝ĺ€žćś¸ę–?ęą§ď˜ˇä§ŽâŚ›â›“ä¨žâ&#x;ƒćŹ˝âŻ•
ă–ˆ äŽƒď˜šč° é Żĺ¨œă€ˇăˇ¸ăšťâŻ˜č&#x;›ć™‹Ë™ćŽ—ă˘šĺ…œć?€Őˇč° é Żé”¸ă ˘Ő¸
Whitechapel Gallery might allow the pieces to conceptually breathe for the
In her article she describes how once a medium has become obsolete, it
äž¸ăśśĺľ ćƒ?ă˘ľéšśćś¸ĺŠĽé˘śď˜šéšśä–¤ĺˆżâ¸ˆä—‚ę§šď˜ˇŐˇäž¸ăśśë„žé¸ â°—é¨&#x;Ő¸
ㅡ腋㣠ä§ć?€âžżé‚?ďš´ď˜šç˝œé¸?ç??ć¤?é&#x;?âżśĺƒ˝ăĽśâĄŚćŹ´ćŹ°ćś¸â˝żĺ°?剤
the end of the exhibition (covering the 60s 70s and 80s) have already been
established as museum pieces, as identiďŹ able moments in the common history
on why contemporary art despite being digital in structure is analogue in
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˘
ăˇ¸ęŚĄăŒˆď˜šä ‘ă–ˆ äŽƒę…žĺ€žăž?劆䕎ä’âšşçş?ď˜ˇĺ‚?ă–ˆäŽƒâ´˛6$ĺ‰šé™žâ™łď˜šâşŤä?č° é Żć¤šé”¸äž†äą‡âŻ˜ĺ€›â™¨Ë™ĺ€›ă??â˝“ç˘œć™‹ă–ˆâ°‰ćś¸ ăźçŠ‰ä˛żâ´€ď˜šę§Şć?ĺ°Žăş‘âœŤä–Žę&#x;€ĺ„˜ę&#x;Śď˜šâĄŽĺƒ˝ä•Žä’âšşçş?䧴é?Şâ§Š
ä–¤âą„ĺŚ„ăť¤é‹•ď˜šă šĺ„˜ď˜šâžŽâŚ›ä’¸ćŹ˝ä? ăš ĺ€›ă›‡ćś¸âĄ˛ă…ˇé“žĺƒˆď˜šä•Ž ä’âšşçş?腋㣠넓ć¤?ĺš€âľ ćś¸çˆ˘ĺ‰šă„¤ä˝&#x;ĺą›éŒšë&#x;Šď˜ˇă›‡ĺ€´ĺ§˝ď˜šĺŠĽĺŠ? âšşę˛—é¸’éş•ăť¤é‹•ćś¸éŒŹä?žď˜šéŒšăťŒéŒšë&#x;Šă„¤ĺ´ŠçŽ‘ĺƒ˝ăĽśâĄŚé„„é‹•éŒ?âť‹
ăƒ„ć¤?ćś¸ď˜ˇč–Šă•œč° é ŻăšťäŠŻęź›ĺ–€ă„¤âŻ˜ę¨Žëžąä—žćś¸é‹•éŒ?镞⾞⥲ㅡ â¤‘ĺƒ˝â™§â˘żď˜ˇă šĺ„˜ď˜šâ§Šä–¤ĺ˛¤ä ‘ćś¸ĺƒ˝ď˜šă–ˆŐˇę¨śăśŠë„žé¸ â°—é¨&#x;ո꣥
äŒ&#x;ćś¸ĺ‰…âšĽď˜šĺ‰¤â°?çœ?äż’ç•Žâ›łĺƒ˝ęĄ ĺ€´é‹•éŒ?ć¤?é&#x;?ćś¸ď˜ˇâ°ŚâšĽâ›“â™§ď˜š ⚛䢀䕧⍚é—?äŒŒč’•ëœŠâ˝“Ë™äŠźć™‹ĺ–€ä˛żę„ éšĄç˝?卌âŚ?䞸㜜㕏⍚
éżŞĺƒ˝â™§âŚ?âŤšç¨‡ďš´ď˜ˇç˝œč–Šă•œč° é Żăšťă„¤âĄ˛ăšťĺ‘”äŹ˜ă¨—Ë™ă† â&#x;żä—ž âľąä¸â´€ďšłâŤšç¨‡çşˆâ˘Şä–¤ä§ŽâŚ›ă€łâ&#x;ƒéˇ´éş•ăž“ä?Œď˜šç•€ă–ˆę–?깧䨞贖
ćś¸âĄ™ç¸¨ďš´ď˜šé¸?â˘Şä–¤ä§ŽâŚ›äšŠĺ‰¤ă˘ľę…žé‹•éŒŹď˜ˇă””ĺ§˝ď˜šâŤšç¨‡ä§âœŤé“ƒ
éŽŠď˜šâ˘Şä–¤éŒšćťžč…‹ăŁ éšŽâ°…ă˘ľăžľć¤?ăťœď˜šä¨žâ&#x;ƒď˜šä§ŽâŚ›éź‡äšľĺ˛¤ę…žâŤš ç¨‡ćś¸âĄ˛ćŹ˝ď˜šé›ŠéšĄç˝?乳程鋕éŒ?ă„¤ĺ€°ĺ˛ ćś¸ă˘ľę…žéŒŹä?žď˜ˇ
Installation View of Electronic Superhighway at Whitechapel Gallery
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?‰
struggle, for they are all contained within the first room of the gallery, giving
here to pay attention to the pixel as a way of letting
by definition the filter of time hasn t played its role in curation, and where the
different approaches.
the viewer a sense of the difficulty in curating contemporary fine art, where
the reader explore multiple points of views and
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
The current context of media theory and art
David Joselit remarked in 2012, originality and authorship are bygone ideas in
digital or the post-human, and consequently the
as a characteristic of the post-internet approach. Indeed, as both Bishop and
criticism revolves around concepts of the post-
departure from the visuals they imply. If this is true,
appropriation of artefacts.
then this issue sets up a dialogue between the
ubiquity of digital technology in the everyday and
The re-appropriation of the term digital art is also a way of taking some
a new form of medium specificity or, as Rosalind
distance away from the term post-internet art and to conceptually see a set of
Krauss called it, technical support (2010: 37). The
continuations and influences where post-internet art advocates ruptures. More
commodification of online information, that one
specifically, this special issue aims at challenging the relativism embodied in the
witnesses in today s cognitive capitalism and the
notion of post-internet art. The notion of medium specificity was rejected by
experience economy, invites a displacement of her
the first generation of net-artists and has been substituted by various forms of
concept of technical support into another field.
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
One of the reasons that accounts for the digital
a hybrid platform where the use of language as a medium is anchored into
the traditional resistance of digital art to be
set a few pointers within the realm of contemporary practices, and to propose
divide, described by Claire Bishop, also lies in
a deep understanding of what constitutes a digital image. Thinking back
commercialised and to fall under conditions of
to an understanding of what a digital image can signify today is a wish to
spectatorship set up by art institutions. As Bishop
gain a deeper comprehension of both the processes of materialisation and
remarks, the potential endless multiplication
dematerialisation at play in digital art. Dematerialisation is a process of shifting
of the digital images goes against the notion
from analogue systems to coding. There is, however, still some materialisation,
of rarity crucial to the commercialisation of an
as even the most sophisticated java script structures are locked in a physical
artwork. The architecture of the web in net art
box and their existence is thanks to a variation of electrical switches symbolised
challenges traditional ideas of what an artwork
in zeros and ones. In the end, the position adopted here is an attempt to re-
visually represents. Yet, it is striking to observe
that within Electronic Superhighway, many of the
establish a dialogue between the object and the subject in art and technology
recent examples of works selected are embodied in
practices.
traditional medium, be it photograph, painting, or
sculpture. What does it say about post-internet art? Is
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
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
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
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
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
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
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
殗㢚兜䨾閗涸侸㶶ⴕ鄭瑖Ⱖ⾲㔔⛓♧⛳㖈倴⫄窡
oscillate between these two positions. It represents a
ⵖ㥠钢捀侸㶶䕧⫹悴㖈涸搂侸䗂ⵖ〳腋ㄤ谁遯ㅷ㉂
where a selection of what used to be a rather niche
涸㼩倴侸㶶谁遯㉂噠⻋鄄谁遯堥圓ⷔ㹁錚溏哭⟝涸䫼
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
cornerstone in the representation of new media art, 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
a context where practices revolve around the re-contextualisation and re-
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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: 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
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.
Thomson & Craighead, A Temporary Index, 2016.
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 ďŹ lm-making, the intellectual rigour of
early Minimalism, and the compositional constraints of the inuential 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 ďŹ nished 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.
é¸?â?‰ďšłäŽ–ꍙ朸♜ĺŠ?ç˝œéş‚ë€?âš›čĄ˝č° é Żăšťćś¸é‘˜ä ‘ăťœéŠ?ď˜šç˝œ
éŒšćťžâľąă–ˆâĄ˛ă…ˇé…ćş?é‹…č?ˆäŠšď˜šč?ˆé¨ćś¸çŤ¤ĺ¨œâ›łé„„ĺƒŚć’‘ď˜šé„„ę…ž
ă?–ď˜šâš›éšśä–¤ęŁŤćŹ°ď˜ˇ
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
ĺź”ă¨—ĺ–€ă„¤âŻ˜ę¨Žĺ‘”ëžąä—žäą°ćŹ˝ă˘ľç??錚䙂â?œçą˝ćś¸äŠ›ĺ˛ ď˜šé›Šâžƒä&#x;?
statements or predictions of when the world will end. In a way, we see it very
ĺŠ?噲ç&#x;Śâšşçş?ćś¸ă“‚é˜Œď˜šéźŠĺ‰¤ć?Śâ¸‚ĺ˛šć‚´ă–ˆäż’ăˇ¸äŠ¨ä‘–ćś¸çŠ‰ă –ęŁł
we re showing 16 predictions for the end of the world and by just pitting them
鼹 äŽƒâžżćś¸çŚşçŞĄč° é Żď˜š äŽƒâžżćś¸çŠĄĺœ“âšşçş?ę¨śä•§ď˜šĺ‚?
âľ–ć¤šä™‚ď˜ˇé¸?ç??âľ ä ‘éą˛äł–ä•Žä’čŽ…ĺ€°ĺ˛ ăźŠâžŽâŚ›ćś¸ăťœéŠ?ă˝?ć?€
ę…žéŠ´ď˜ˇâžŽâŚ›ă˝ âŤšĺš˘éşĽăŁ—â™§ĺžşă–ˆâ™śâ¨˘éšśäŽ‘ćś¸ĺ…žéŒšé…䯲äŻ?ä ‘
çş?ď˜šä§´ç˝?䒸揽â&#x;ťă??çš?Ë™â˝“ć™‹çŹžé–‹ćś¸é‘¨â˘ľé“žîš‰ďšłçŤ¤â°ŠăĽśâą ď˜š
much like a documentary. We imagine documentary to be a ďŹ lm, but actually 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.
ăŤ”ăŤ”éşĽâ˘ľď˜šă€Šâ›“â™śćšˆď˜ˇďš´
JT: They start to act on each other. You can see there are false statements; you
ă–ˆâ˝“ĺłŤć™‹ ä’źč&#x;›ä—ŁćŽĽä?¤ćŽĽä?¤ä§â¸†čŽŠéłľâœŤç—§âœłĺŚ„âŚ?ăž?ա崣㟊
on each other we re hoping that it opens up the form, the idea of making a
é‘ ę¨ŽŐ¸ď˜šĺź”ă¨—ĺ–€čŽ…âŻ˜ę¨Žĺ‘”ëžąä—žęŚ‘ă—‚ă–ˆĺ€žď˜ščŽ…ä§ŽâŚ›ĺ†ąé”“ăž? 錒čƒ?䖕朸ä&#x;?ĺ˛ â&#x;ƒâżťćŽšâžżč° é Żé…â˘ŞćŹ˝äž¸äş™ĺ´ŠâśžâĄ˛ćś¸ä ‘çş?ď˜ˇ
♜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
âšâŚ?ăśśĺŤ˘ćś¸âžƒę˛łă›‡ă””çŠ‰âžżé‚?âœŤâ™§âŚ?ć Źç”¨ćś¸âžƒď˜ˇę§Şć?」
years it took for the human genome to be sequenced for the ďŹ rst time. We end
â™śĺƒ˝ćšŹäąşćś¸ęł?ć¤?ď˜ˇĺź”ă¨—ĺ–€ă„¤âŻ˜ę¨Žĺ‘”ëžąä—žäłˇçˆšâœŤçŹŞçŞ„â?œĺ´Š
➲㜊ĺ‘?ćś¸âĄ˛ă…ˇé”“é”¸ćś¸ĺƒ˝ă¸ŞăŁ?ćś¸ĺ„˜ę&#x;ŚçŽ°ä?žď˜šç˝œęťťĺŽ?⥲ㅡ
that s 3.2 billion letters. Although it is the representation of one person, to
trigger videos and create what we call poetry machine. It reects upon the 13
⚼悴询朸ä˝&#x;ĺą›ď˜šé˝Ąâ?‰âœ˝č€˘çŹŞâ™łćś¸âźŁă ?č€Ťę°‰éšśä–¤ă€łé‹…ď˜ˇčŽ…
ă€Ťĺƒ˝âżŽčŽ…âœŤâ°ŚâšĽâ™§ăźéżˆâ&#x;¨ćś¸ç ‡ç‘–ď˜ˇ
+5⥲ㅡա犥䊟ո䊺獤鄄ăž?çˆšéş•â™˛ĺŚ„âœŤď˜šă¸?䪞䧎⌛äŒ&#x;éšŽâœŤ
becomes an unimaginably long data set. We use that as a score and then to
systems on human relations to time and space. For Thomson & Craighead, the
é ŻčŽ…çˆ˘ĺ‰šăˇ¸ď˜ˇă¸?ĺƒ˝â™§âŚ?뼔ăŁ?ćś¸é¨—ăˇ¸çŒ°ç ‡ç‘–éŽ™âˇ”ď˜šç˝œä§ŽâŚ›
JT: Stutterer, which we have shown three times, takes ourselves into a huge
actually see the nuclear time describing the whole of the genome it suddenly
global communication systems while also exploring the implications of these
ă˜—ç ‡ç‘–ę°ŞćšĄď˜šé¸?âŚ?ę°ŞćšĄäąłç¨‹ćś¸ĺƒ˝âž˛ăśŠĺ‘?俒❋㼜⥌応Ⰵč°
ŐˇĺŠŁâš†Ő¸âľąĺƒ˝éŽŁé”¸ĺ„˜ę&#x;Śćś¸ćšˆęą§Ő‚⚆ć˛ĺŠŁĺ‚ˆď˜ˇä§ŽâŚ›é‘‘襽揽
stream of text, which is the human genome. It represents an individual person,
çŞĄăźŠâžƒę˛łčŽ…ĺ„˜ę&#x;Śď˜śčŽ…ç‘ ę&#x;Śćś¸ęĄ ⤚䨞äŒ&#x;â˘ľćś¸ä•§ę° ď˜ˇăźŠĺź”ă¨—
â´•ď˜ˇ é¸?âŚ?é“ę˛—ĺƒ˝ę†„âť ăˇ¸ę¤Žćś¸č’•ć™‹Ë™â˝“č§?ćšśä¸ăźŹćś¸â™§âŚ?ăŁ?
maybe the Apocalypse perfume is talking about the end of time, the end of
ways. There are small sections of time and then big pictures of time.
ĺ–€ă„¤âŻ˜ę¨Žĺ‘”ëžąä—žâ˘ľé“žď˜šĺ Ľă?źçą?ĺƒ˝äŒ&#x;ĺ‰¤âžƒäš?ćś¸éżˆâ´•ď˜šâ˝ç›˜
Őˇĺ†žĺ„˜ćś¸ç¨‹ä’¸Ő¸Ő‚ĺƒ˝Őˇâž˛ăśŠĺ‘?äż’âť‹Ő¸ç ‡ç‘–é“ę˛—ćś¸â™§éżˆ
"$䧎钢ć?€é¸?匄ăž?éŒ’ĺˆżăťŤä‘žćś¸âšşę˛—ĺƒ˝ęĄ ĺ€´ĺ„˜ę&#x;Śćś¸ď˜ˇĺ‰¤ęĄ
the world. We are trying to look at the hubris of thinking about time in dierent
structures and situations. These works mimic the fragmented frameworks of
+5é?Şă˘ľâĄ˛ă…ˇĺƒ˝ćšśâ´˝ć?€é¸?匄ăž?éŒ’ä¨žâśžâĄ˛ćś¸ď˜šä–°âżĄäŽƒçŒ¨ăŁ”
AC: I think that the really broad themes of the show are about dealing with
time. The nuclear counters are talking about really massive timescales and then
narrative, re-contextualising the familiar to allow for new readings of known
Őˇĺ´ŁăźŠé‘ ę¨ŽŐ¸ä¨žâśžâĄ˛ćś¸ăŒ¨îšŽ
♧âŚ?ć?‚卲뼔ăŁ?朸俒劼é…ď˜šâ›łă˝ ĺƒ˝âžƒę˛łă›‡ă””çŠ‰ď˜ˇé¸?âŚ?剤襽
âžżé‚?âœŤâ™§âŚ?âžƒď˜šâĄŽäŞžé¸?âŚ?ă›‡ă””çŠ‰ćŹ˝ĺ„˜ę&#x;Śćś¸ĺ€°ä’â˘ľăƒ„ć¤?朸
鑨㽠障ä§âœŤâ™§âŚ?ć?‚ĺ˛ ä&#x;?⍚Ⰼę&#x;€ä?žćś¸äž¸â´Şď˜ˇä§ŽâŚ›âľ„揽é¸?âŚ? 䞸⴪⥲ć?€ĺ?żé™—ď˜šâ˘ľé?¸ćśŽä•§âŤšćś¸äš…ä˝žď˜šâ°?ç˝?朸犥㠖ä§ć?€âœŤ ä§ŽâŚ›ä¨žâśžé¸¤ćś¸ďšłé‘˜ĺ§?ĺ Ľă?źďš´ď˜ˇŐˇçŠĄäŠźŐ¸ä™źç¨‹âœŤęťˇĺŚ„ä§â¸†äą–
â´Şâžƒę˛łă›‡ă””çŠ‰ä¨žč”…éĄĽćś¸ĺ„˜ę&#x;Śîš‰âź§â™˛äŽƒď˜ˇŐˇçŠĄäŠźŐ¸ă˝ ⍚♧ä? ç§ ä™‚çƒľď˜šç§ ä™‚čĄ˝ĺ„˜ę&#x;Śď˜šâĄŽă šĺ„˜ă¸?â›łĺƒ˝ăźŠâ™§âŚ?âžƒćś¸ä˛žç˛ď˜šă€Ť ĺƒ˝é¸?ç??䲞ç˛ę¨ˆâ&#x;ƒä&#x;?âŤšď˜ˇ
"35 ;*1é¸?匄ăž?éŒ’ćś¸âĄ˛ă…ˇę¤Ťâ´Şĺ€°ä’ä–Žĺ‰¤éŚąď˜šâŤšâ™§çŠ‰çŠ‰
ĺžŚçˆšâ™§ĺžşăƒ„ć¤?ă–ˆćŽĽä?¤ćś¸ă ?č´–ď˜ˇâĄ˛ă…ˇâ›“ä¨žâ&#x;ƒč…‹ä’¸éĽąâ°&#x;ë’Šâš›
â™śĺƒ˝ăƒ‡é?°éŒšç˝?ä™źç˝ŒâžŠëžƒď˜šç˝œĺƒ˝ćş?âĄ˛âžŠëžƒď˜ˇâĄšâŚ›ă–ˆâśžâĄ˛ćś¸ ĺ„˜âŚŹĺ‰šç˝ŒäŁ‚âĄ˛ă…ˇćś¸ă€łéšĄäš?ăŒ¨îšŽ
"$ 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
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.
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
"$䧎éŒ?ä–¤é?Şă˘ľâĄ˛ă…ˇéżŞäŒ&#x;ĺ‰¤é•žâľžä ‘ă„‚ćś¸ď˜šâĄŽă šĺ„˜â›łĺ‰¤äŽ–
ëžżď˜šă””ć?€ä§Žä‹žĺŠ†ä§ŽâŚ›ćś¸ĺ˛¤é‹•éšśä–¤â™śé˝ĄëžƒĺŠŤä—žď˜ˇä§ŽâŚ›ä&#x;?é“ž ćś¸ĺƒ˝ď˜šďšłä§ŽâŚ›â›łé¨ă–ˆâ°ŚâšĽďš´ď˜ˇăž?éŒ’ćś¸ĺžŚę˛—Őˇĺ´ŁăźŠé‘ ę¨ŽŐ¸ĺ†? ä¸âœŤé¸?ç??â™śă¸žď˜ˇę˛—ćšĄĺƒ˝ă”?äż’ćś¸ä•Žä’ ę°ŤčĄ˝éšĄä§´éˇ čĄ˝éšĄéżŞĺƒ˝ ä§ç”¨ćś¸ď˜šç˝œâš‚揽ç—?街 âœŒä¨źďš´é¸?âŚ?ăśśćťšĺ‰šé›Šâžƒĺ‰¤ç??♜莞
something a little bit funny their guard comes down a bit and perhaps the
+5⥎é¸?â?‰č´Ąäşźâš†ć˛ćś¸âżžęşˆă–ˆăťœë„“⚆ć˛â›łă šĺžşé“žä–¤é¸’ď˜š
language is a good place to play with those. Also with humour, if people ďŹ nd work can communicate a little bit more directly. It can be a strategic device.
ART.ZIP: You ve always worked with streams of data, how has the evolution in the ways in which information is circulated shaped your practice?
éş¨âľŒâœŤ ă˘ľĺŚ„ď˜ˇ
templates and structures.
ę&#x;Śď˜śĺ„˜ę&#x;ŚéźŠĺ‰¤âš†ć˛éŒšćś¸ä’Šĺœ“ď˜ˇä§ŽâŚ›çŤ¤äŒ˘ăť¤é‹•é˝Ąâ?‰ä’Šĺœ“ㄤ
⛳é?Şă€łâ&#x;ƒé„„é‹•ć?€â™§ç??ç˜źćŽœă‚…ď˜ˇ
"$îš‰ä§ŽâŚ›ćś¸ä•§âŤšâĄ˛ă…ˇŐˇç—§â™§âžƒç?–Ő¸ćšśâ´˝ä˛żâżťâœŤé¸?ç??âŚ?➃
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.
éŠ´ď˜šé•žâľžâ›łĺƒ˝ď˜ˇä§ŽâŚ›é?Şă˘ľâĄ˛ă…ˇćś¸ä&#x;?ĺ˛ éżŞĺƒ˝ă›‡ĺ€´é“ƒéŽŠď˜śç‘
JT: We ve described it as a cinematic plateau stage, because you always arrive
çŠĄĺœ“ď˜ˇâœ˝č€˘çŹŞĺƒ˝â™§âŚ?䖎㼪朸⢿㜊⢾é‚?ć¤?㼜⥌⾄揽垸ă?†ă„¤
really meaningful or it can be quite jarring or meaningless. As viewers, we are
çŠĄĺœ“â˘ľäŞŒĺˆźâĽŒäœ‚ćś¸ď˜ˇ
é?Şé¸’麕䎖랿〳â&#x;ƒé›ŠâĄ˛ă…ˇčŽ…錚ç˝?朸â?œĺ´ŠĺˆżćšŹäąşâ™§â?‰ď˜ˇäŽ–ëžż
person centred. We have a video of a house, which is constantly in a process of burning down but never burns down. It cut through inter-titles that we
â™łď˜šďšłCPPCZďš´é¸?âŚ?ęĄ ę’łăśśé›Šä§ŽâŚ›ćś¸ë&#x;ŠäššćĄ§ă–ˆ ăźĺ„˜â°‰
ă–’ď˜šăĽśĺ?“âžƒâŚ›ćśŽć¤?ĺ‰¤éŚąćś¸âœ˛ćš&#x;ď˜šâžŽâŚ›ă˝ ĺ‰šä˝žâ™´ä§ŻâŞ”ä—ąď˜šâ›ł
"35 ;*1îš‰âĄšâŚ›çŤ¤äŒ˘éşŒćŹ˝äž¸äş™ĺ´Šâ˘ľéšŽé ¤âśžâĄ˛ď˜šâĽŒäœ‚âŤ„äš…
+5⥎珪♳ë&#x;ŠäššćĄ§ä–Žë„žă‰‡î™° " $䧎 ⌛ 」 ĺƒ˝ 䪞 ♧ ä“š ăž? 錒 ć’‘ 晚ㄤ 垌 겗 朎 ⥑ âľŒ ' M J D L S
⥚ćş?ď˜šćš&#x;椚äš?ď˜śď‰šä’¸â¸‚ď˜śé“ƒéŽŠé¸?â?‰éżŞĺƒ˝ă€łâ&#x;ƒäŞžć˘–ćś¸ď˜ˇă šĺžş
AC: I guess, The First Person, comes very much about a change in focus
through status updates, about media becoming very narcissistic and very
+5é¸?ă˝ ĺƒ˝âœ˝č€˘çŹŞď˜šâĄŽ ĺƒ˝ä§Žä&#x;?䎖랿㟊䧎⌛⢾铞暜ⴽꅞ
AC: Facebook, Google, the browser‌
"$îš‰čŒ ĺ‰…ď˜śé?˝ĺ§?ď˜ść‡łéŒ’ă?źç˜žď˜žď˜žî™ˇéżŞĺƒ˝ďšłä?˛âŻ’ďš´î™¸ď˜ˇ
ĺ‰Şćś¸ä ŽéŒ?ď˜ˇ
We often interrogate those architectures and structures. The Internet is a
very good example of how we understand that information is distorted by
JT: But that feeds back into the physical world as well, physics, gravity and
in the middle and it never ends. I think using randomness in that work can be 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
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: 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
AC: I thought it was quite exciting actually, a little bit like the
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
and I ve never seen before and they ve done a brilliant job. If
âľŒâšĽę&#x;Śéżˆâ´•ď˜šĺ°?ĺ‰¤çŠĄă˝ľď˜ˇä§Žä&#x;?ă–ˆâĄ˛ă…ˇâšĽéşŒćŹ˝ęŚ‘ĺ Ľäš?ĺ‰šä–Žĺ‰¤ä ‘ 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˝
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
would say that couldn t work.
錚ćş?é¸?ç?? 痧♧➃ç?– ćś¸ćśŽćŹ°ď˜ˇ
JT: The work they ve included is a good piece from my point
mall as Internet.
+5îš‰âœ˝č€˘çŹŞĺƒ˝ăž?ć¤?âœ˛ćš&#x;㼜⥌障韄朸♧âŚ?ăĽŞâ˘żăśŠď˜ˇćŽšâœ˝č€˘çŹŞę&#x;š
in and of itself. What sits around the work becomes its own
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
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
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
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
of view, because it has a kind of autonomy and can operate context.
âśžä’ŠçŹŞę°¤ď˜šâ&#x;¤âĄŚâžƒéżŞă€łâ&#x;ƒĺ‰…㝨➎⌛č?ˆäŠšćś¸ć?ŚäŠŻé˝Śď˜šăĽśâĄŚä˝–éšś
AC: I m very pleased, we were talking with Emily [Butler] one
ăŁ?朸飑ćš&#x;ă‰‚ăœĽďš´ď˜ˇ
in front of our work More Songs of Innocence and of
⚆ć˛ď˜šăĽśâĄŚĺś‹ĺž§éĄťĺŠĽâšşçş?ç˜žç˜žď˜šâĄŽć¤?ă–ˆď˜šâœ˝č€˘çŹŞă˝ ĺƒ˝â™§âŚ?
of the curators, we had people singing karaoke everyday
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
"35 ;*1îš‰âĄšâŚ›ćś¸âĄ˛ă…ˇă–ˆŐˇę¨śăśŠë„žé¸ â°—é¨&#x;ո⚼â? 剤ăž?çˆšď˜šâĄš
performing your work for you.
"$îš‰č…‹ă–ˆé¸?âŚ?ăž?éŒ’â™łăž?çˆšä§ŽâŚ›ćś¸âĄ˛ă…ˇé›Šä§ŽâŚ›âź§â´•čŽ‡ăĽ…ď˜ˇ
JT: It was a fascinating show, quite interesting at the time as
+5îš‰ç˝œâš‚âĄ˛ă…ˇă–ˆâ™§ĺžœăž?ä‘źăž?çˆšé›Šä§ŽâŚ›ä ŽâľŒâź§â´•ë ‡é?„ď˜ˇ
House, which is quite an interesting comparison. It wasn t an
âŚ›ĺƒ˝ä™Śëžƒăž?ę&#x;šéŽŁé”¸ćś¸ăƒ¤îšŽ
AC: Being in the studio with young artists is really exciting because
well, because there was also Big Bang Data [1]at Somerset
art show in the same sense, but still interesting to see these dierent angles.
"$䧎⌛â&#x;ƒć?€ä§ŽâŚ›ĺ‰ščŽ…玖ä—?䎃ę&#x;€â™§ë&#x;Šćś¸č° é Żăšťâ™§â˘˜ăž?çˆšă–ˆę°Ľăžľćś¸ăž?ä‘źď˜ˇä§Ž ⌛䖎ę&#x;šä—ąč…‹ă„¤äŽƒé°‹č° é ŻăšťâŚ›â™§éĽąăž?çˆšď˜ˇ
+5îš‰âŤšŐˇę¨śăśŠë„žé¸ â°—é¨&#x;Ő¸é¸?垺朸ăž?éŒ’ä–Žę¨ˆâżĄéŽŁé”¸ď˜šă””ć?€ă¸?ĺƒ˝â™§âŚ?垌疊ä’朸锅 ĺ?†ăž?éŒ’ď˜šćŽĽâą â›łęŹŒäŒ˘ĺ‰¤ä ‘ä™źď˜ˇăž?éŒ’ĺŠĽé¨ă˝ 䖎⺍ä?âœŤä–Žă˘ľâ™śă šä•Žä’ćś¸âĄ˛ă…ˇď˜šâ°Ś ăťœäŻ†â°¨ä¸ä’¸äš?ćś¸ď˜ˇ
"$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
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?
*/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
RANDOM INTERNATIONAL 貼涬㕜ꥸ
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?
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.
♧âŚ?ĺ?ĽâźŚď˜šă–ˆâ™§ä? ăźăż‹â™łď˜ˇé˝ĄâŻĽĺ‰¤ë&#x;ŠâŤšâĽœéşĽę¤Žď˜ˇă–ˆĺ‰“䖕♧
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†
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
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 é¸?♧ë&#x;Šă–ˆďšłę¨Žăž‹ďš´é…ćŽŻäŒ˘ç‘łâ´€ď˜ˇâžƒâŚ›â˘ŞćŹ˝ă„¤ë„“ë€żă¸?朸倰ä’
ĺ Ľďš´é¸?âŚ?é‘‚ęŹŒäŒ˘ä ŽčŽ‡éŚąď˜ˇé¸?âŚ?é‘‚ĺ°?éłľĺ˛ ćšŹäąşçźşé™źä§ä—žäż’ď˜š
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›
â™§éĽąă–ˆćś˝ăšťč° é Żăˇ¸ę¤Žä˝™éšĄç„šăĄŚăˇ¸âĄ™ď˜šă–ˆäŽ™âŚ?갪暥♳⹄匄
when thinking of new work, that experience is deďŹ nitely something that will
âŚ?ă ?ăśśď˜šă””ć?€ä§ŽâŚ›â¨žćś¸ĺƒ˝â™śă šćś¸ĺŒŒéŠŻď˜šâą„â¸ˆâ™łä§ŽâŚ›ăźŠďšłęŚ‘ 㽠皿〳â&#x;ƒâš‰ä“˝çźşé™źď˜šă¸?é¸’äŒ˘â›łĺ‰¤é žęŹ—ćś¸ă‚?çş?ď˜ˇä§ŽâŚ›ä–•â˘ľ 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
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 –
bigger and more focused.
ă¸?朸ä§â¸†ď˜šä§ŽâŚ›č…‹ăŁ ĺ‰¤é§ˆăŁ ćś¸çĄ ç„şăźŠăž?â´€ćś¸ĺ„˜ę&#x;Śă„¤ĺ€°ä’
cultural background, we would have thought of it dierently.
â™śâ™§éĽąă –âĄ˛ăƒ¤îšŽďš´ă˝ ă–ˆé˝Ąĺ„˜âŚŹä§ŽâŚ›ä&#x;?âľŒâœŤďšłč˛˝ćśŹă•œęĽšďš´é¸?
where we worked together under that name, at the Valencia Biennale in 2003. We had already been working together on our respective individual projects,
âľŒä§ŽâŚ›ď˜ˇăĽśĺ?“é“žćşŤćś¸ĺ‰¤âžŠëž†ä•§ę° ćś¸é‘¨ď˜šâ›łă€Ťâ™śéş•ĺƒ˝ă””ć?€
â™śă šăŒ¨îšŽ
say it deďŹ ed the purpose, but I think next time we will set it up a little dierently
here near Winsor, on a hill. It was a bit like a monastery. In the last year we,
é¸?âŚ?⥲ㅡ剤é¸?랃ä°â›‰ćś¸ć”¨äž•ď˜ˇă¸?ćś¸ă€Œĺ§šéľ”ä?žâš›ĺ°?剤䕧ę°
dierent from London or New York. In New York and London it was all about the 15 people, switching o half of the Rain Room by moving collectively. I wouldn't
RI: We met at Brunel University in 1998, at one of their campuses west of
ă€Ťĺƒ˝ä§ŽâŚ›é–€ă˘ľâĄ˛ă…ˇâšĽćś¸â™§âŚ?ď˜ˇä§ŽâŚ›ä–°â˘ľĺ°?剤ä&#x;?麕Ⱇ杞㟊
"35 ;*1îš‰âĄšâŚ›ćś¸âĄ˛ă…ˇĺƒ˝â&#x;ƒé…¤ç¸¨ćś¸ä•Žä’â˘ľç ‡ç‘–ę§Œë„“é ¤ć?€
individual experience, solitude. In China, people went in large groups, of 10 or
"35 ;*1îš‰ďšłč˛˝ćśŹă•œęĽšďš´ĺƒ˝ăĽśâĄŚćŹ´ćŹ°ćś¸
3*銴铞䧎⌛䊺獤䪞é¸?âŚ?âĄ˛ă…ˇä˝žă–ˆâ™§éźšâœŤé˝ĄéźŠć?€ĺ„˜ăźżĺ‚?ď˜š
RI: There was a strong dierence yes. If you want to go into the speciďŹ c Rain Room behaviour, the high-density population behaviour in China is very
ART.ZIP: How did rAndom International start?
ĺƒ˝é¸?âŚ?⥲ㅡ䊺獤㸤ä§âœŤď˜šĺ§ťă–ˆéšŽâ°…♴♧âŚ?⥲ㅡ朸✞⥲
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
that Rain Room doesn't work in China. I think going forward, which is interesting
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
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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.
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"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?
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There is appreciation and challenge. I think we make them do stuďŹ&#x20AC; that they
ç??ä&#x201C;šâ¸&#x201A;ĺ&#x192;˝ď&#x160;ľăŁ?朸ď&#x2DC;šć&#x161;śâ´˝ĺ&#x192;˝ęŻ&#x201A;ä&#x203A;¸ćś¸çŽĄč&#x17D;ťď&#x2DC;šâ&#x;&#x192;âżťă&#x2013;&#x2C6;⥲ă&#x2026;ˇâľšé&#x152;&#x161;
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touches me, is the contrast: the purity and humbleness of the body and then
âłźęł?â&#x153;Ťé¸?ç??âš&#x203A;ä˘&#x20AC;㟊卲ď&#x2DC;ˇé¸?ç??âš&#x203A;ęŹ&#x2020;朸犥ă &#x2013;溍ĺ&#x192;˝éśľâ&#x17E;&#x192;朸â&#x2122;§
䧴ç&#x152;°äŞŽćś¸ĺ&#x152;&#x152;é&#x160;ŻâĄ˛ć?&#x20AC;č° é Żă&#x2026;ˇăž?ç&#x2C6;&#x161;â´&#x20AC;⢾ď&#x2DC;šâĄšč&#x2026;&#x2039;âľ&#x201E;揽朸ç&#x2018; ę&#x;Śĺ&#x160;Ľâ˘ľă˝ ăž&#x2026;ä¸ă&#x20AC;łäž¸ď&#x2DC;š č° é Żç &#x2021;ç&#x2018;&#x2013;ď&#x2DC;šä&#x2019;&#x160;ĺ&#x20AC;´ ä&#x17D;&#x192; ď&#x2DC;ˇć¤?ă&#x2013;&#x2C6;ă˝ â&#x2122;śâ&#x2122;§ĺ&#x17E;şâ&#x153;Ťď&#x2DC;šăźŠĺ&#x20AC;´ć¤?â&#x17E;&#x203A;ăŁ?㢾䞸â&#x17E;&#x192;⢾é&#x201C;&#x17E;ď&#x2DC;šé¸? ç??ĺ¨?겳ĺŹ&#x2014;ć?&#x201A;ä &#x2018;çş?ď&#x2DC;ˇ
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¸?
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 diďŹ&#x20AC;erent 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
diďŹ&#x20AC;erent things, the in-depth knowledge or interest they have. It all comes back to the human body. If it's within the ďŹ eld 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 diďŹ&#x20AC;erent aspect of what it means to be human.
ćş?朸ĺ&#x2026;&#x153;é¸&#x2019;â&#x17E;&#x192;Ő&#x201A;é¸?â?&#x2030;ă&#x2013;&#x2C6;é&#x152;&#x161;ćş?朸â&#x17E;&#x192;â&#x203A;łä§ć?&#x20AC;â&#x153;ŤâĄ˛ă&#x2026;ˇćś¸â&#x2122;§éż&#x2C6;â´&#x2022;ď&#x2DC;š
ä?&#x152;ď&#x2DC;ˇä§ŽâŚ&#x203A;â&#x2122;śćżźéşĽęŻ&#x201A;ä&#x203A;¸ĺ&#x192;˝ăĽśâĄŚâ¨&#x17E;âľ&#x152;朸ď&#x2DC;šâ&#x203A;łâ&#x2122;śćżźéşĽâ°Śâ&#x17E;Žč&#x17D;ťç˝? ä&#x2122;Śë&#x17E;&#x2020;č&#x2026;&#x2039;㼜姽č&#x17D;ťâš&#x203A;ď&#x2DC;ˇä§Žä&#x;?é¸?âŚ?ă &#x2013;⥲ć&#x2026;¨ćśŽâ&#x153;Ťä§ŽâŚ&#x203A;㟊ĺ&#x20AC;´â&#x17E;&#x192;ë&#x201E;&#x201C;âżť â°Śĺ´&#x17E;âš&#x203A;朸霾ä&#x2122;źď&#x2DC;ščź&#x2018;â°&#x2026;â&#x153;Ťä§ŽâŚ&#x203A;朸ա⟧â?&#x20AC;ë&#x;&#x160;ç &#x2021;ç&#x2018;&#x2013;Ő¸â&#x;&#x192;⿝䧎âŚ&#x203A;ăź&#x;
ă&#x2013;&#x2C6;â˘&#x2020;ĺ&#x20AC;&#x203A;掼ä?¤ăž?â´&#x20AC;朸⥲ă&#x2026;ˇćŽšâ&#x161;Ľď&#x2DC;ˇä§Žä&#x;?ĺ&#x160;˘â˘ľâ&#x203A;łă&#x20AC;łč&#x2026;&#x2039;ĺ&#x2030;&#x161;é¸&#x2019;éş&#x2022;玥 č&#x17D;ťćś¸ĺ&#x20AC;°ä&#x2019;⢾朎ăž?ա⟧â?&#x20AC;ë&#x;&#x160;ç &#x2021;ç&#x2018;&#x2013;Ő¸ď&#x2DC;šâ˘ľćş?ćş?âľ&#x152;ä? ĺ&#x2030;¤ä&#x2122;Śĺ&#x17E;şćś¸ă&#x20AC;ł č&#x2026;&#x2039;ä&#x161;?ď&#x2DC;ˇé¸?ĺ&#x17E;şćś¸é¨&#x2014;ć˛ă &#x2013;⥲éŚ&#x201E;éŚ&#x160;â&#x153;Ťĺ&#x201E;&#x2DC;ę&#x;Śă&#x201E;¤ăˇ¸ç&#x152;°ćś¸ęŁłâľ&#x2013;ď&#x2DC;šä¨žâ&#x;&#x192; 㟊䧎âŚ&#x203A;⢾é&#x201C;&#x17E;é¸?ĺ&#x17E;şćś¸ă &#x2013;⥲갪暥ä &#x2018;çş?ęŹ&#x152;âł?ď&#x2DC;ˇ
é¸?ĺ&#x2030;¤ë&#x;&#x160;⍚䧎âŚ&#x203A;ă&#x2013;&#x2C6;ă&#x2020; ⥹朸갪暥ď&#x2DC;ˇä§ŽâŚ&#x203A;ç &#x2021;ç&#x2018;&#x2013;â&#x17E;&#x192;âŚ&#x203A;ĺ&#x192;˝ä&#x2122;Śĺ&#x17E;ş éš&#x17D;
é ¤ă ?ä&#x2019;ä&#x160;¨âĄ˛ćś¸ď&#x2DC;šâ&#x;&#x192;âżťâ&#x17E;ŽâŚ&#x203A;ĺ&#x2030;¤čĄ˝ä&#x2122;Śĺ&#x17E;şćś¸ćżźé&#x2122;?䧴č&#x17D;&#x2021;錹ď&#x2DC;ˇé¸?â?&#x2030;
ĺ¨?ĺ&#x2018;?犥ä? 韊ĺ&#x192;˝ęĄ ĺ&#x20AC;´â&#x17E;&#x192;朸ç &#x2021;ç&#x2018;&#x2013;ď&#x2DC;ˇăĽśĺ?&#x201C;é¸?ç&#x161;żĺ&#x192;˝ĺ Ľă?źâ&#x17E;&#x192;㡸朸ęą&#x2020;
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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
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˛
At a deeper level, I also identify the studio with other sites close to my artistic
ĺ&#x2C6;żĺš&#x20AC;â°&#x2026;⢾é&#x201C;&#x17E;ď&#x2DC;šä§Žé&#x152;?ä&#x2013;¤ä§Žćś¸ä&#x160;¨âĄ˛ăš&#x201D;ă&#x201E;¤â°Śâ&#x17E;Žă&#x153;Ľä¨žŐ&#x201A;ꪍăŁ&#x201D;ä&#x2039;&#x2018;
whether use or exchange, are bought and sold, with much noise and colour
ćś¸č° é Żä&#x;?ĺ˛ ď&#x2DC;ˇă&#x2013;&#x2C6;é¸?â?&#x2030;ă&#x2013;&#x2019;ĺ&#x20AC;°ď&#x2DC;šć?&#x201A;é&#x201D;¸ĺ&#x192;˝â°¨ĺ&#x2030;¤â˘ŞćŹ˝â&#x2020;⧊韊ĺ&#x192;˝â?&#x153;
vision: souk, pescheria, trading desk. In all these places, things of value,
in the bargain. A vast hall ďŹ lled with Excel spreadsheets and ďŹ&#x201A;ashing lights, an
investment bank s trading ďŹ&#x201A;oor, not unlike Billingsgate or Tsukiji, was a charged site: smelling of sweat and cigarettes, ďŹ lthy, 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 order used to be scribbled on paper blotters , and passed to assistants to be typed into a computer. Today, most ďŹ nancial markets are entirely electronic, while bitcoin and blockchain apparently will revolutionise the essence of
money. Even the ďŹ sh-market has changed: my ďŹ shmonger 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 stuďŹ&#x20AC; of everyday life: steel, plastic, concrete, carpet, amber, rice.
äł&#x2013;â&#x2020;⧊朸ć&#x161;&#x;ă&#x2026;ˇă&#x2013;łč&#x2026;&#x2039;ĺś?â°&#x2026;éĄ é˘Şď&#x2DC;šă&#x2013;&#x2C6;ă?żę°&#x2030;č&#x17D;&#x2026;č&#x2019;&#x20AC;ä&#x2022;&#x2122;â&#x161;Ľĺ&#x20AC; ĺ &#x2019;ď&#x2DC;ˇâ&#x2122;§
âŚ?âŻ?ć&#x20AC;?é&#x201A;?ĺ&#x2018;&#x201D;č&#x17D;&#x2026;ę&#x;?âŻ&#x2022;ć&#x2022;&#x161;朸äŤ?饝ę&#x2039;&#x201C;é ¤ćś¸â?&#x153;ĺ&#x192;&#x2019;ăŁ?ä&#x2018;źď&#x2DC;šč&#x17D;&#x2026;â§?äž&#x161;朸 卲ĺ?&#x152;ĺ&#x20AC;&#x203A;čŚ&#x2C6;ć&#x161;śĺľłë&#x160;Ťä&#x2039;&#x2018;ă&#x153;Ľä§´ĺ&#x152;&#x152;â?Šćś¸ç&#x153;Ąă&#x2013;&#x2019;ć&#x20AC;&#x2019;ä&#x2039;&#x2018;ă&#x153;Ľĺ°?â&#x17E;&#x160;ë&#x17E;&#x192;â°?ĺ&#x17E;şď&#x2DC;š
â&#x203A;łĺ&#x192;˝ĺľĺ¨ç?ä&#x201C;šćś¸ă&#x2013;&#x2019;ĺ&#x20AC;°î&#x161;&#x2030;ç&#x2018; ĺľâ&#x161;ĽăŁ°ę§ščĄ˝ĺŻ&#x201A;ĺŽ? ă&#x201E;¤ć&#x2018;łč&#x2122;&#x2039;朸ă&#x201E;&#x201A;
麼ď&#x2DC;šč&#x17D;&#x2026;姝㟊襽ꨜé&#x2018;¨Ő&#x201A;ꨜé&#x2018;¨çŽ čş&#x2039;čš&#x201E;čšťç˛&#x2022;㼜ă&#x;Żë&#x2C6;´ë?łč?&#x203A;Ő&#x201A;ć?&#x2039; éŹ&#x2019;ă&#x201E;?ă&#x2020;łćś¸â&#x17E;&#x192;亥ă&#x2013;&#x2C6;â&#x2122;§ă?&#x2020;⯼ď&#x2DC;ˇć?ç˝&#x153;ć¤?ă&#x2013;&#x2C6;č&#x17D;&#x2026;掚ä&#x17D;&#x192;ăŁ?â&#x2122;śâ&#x2122;§ĺ&#x17E;şî&#x161;&#x2030;ă&#x2013;&#x2C6;
ä&#x17D;&#x192;â&#x17E;żď&#x2DC;šâ&#x17E;&#x192;âŚ&#x203A;ă &#x201C;ă&#x2039;&#x201C;襽â?&#x153;ĺ&#x192;&#x2019;ă&#x2020;&#x17E;⢾âľ&#x152;č&#x201C;?â¸&#x2C6;ă&#x2020;Ľă&#x2030;&#x201A;ĺ&#x2122; â?&#x153;ĺ&#x192;&#x2019;䨞ď&#x2DC;šă&#x2013;&#x2C6;齥 ⯼ç&#x2018;襽ĺ&#x192;&#x2C6;â?ŽăŁ°âŻ&#x2DC;朸â&#x17E;&#x192;姝ă&#x2013;&#x2C6;č´&#x2013;ć¤&#x161;ĺ´&#x17E;ë&#x201E;&#x201C;é&#x;ŁęŚˇď&#x2DC;śăžăšŹć&#x161;&#x2039;ꌡč&#x17D;&#x2026;皥 ă&#x2022;&#x153;â&#x2122;˛âź§ä&#x17D;&#x192;ĺ&#x160;?ď&#x161;łę&#x;&#x20AC;ĺ&#x160;?âŤ&#x2C6;âľ&#x161;ď&#x161;´ç&#x2DC;&#x17E;â?&#x153;ĺ&#x192;&#x2019;ď&#x2DC;ˇâ?&#x153;ĺ&#x192;&#x2019;朸ä¸â&#x;&#x201A;éş&#x2022;⿥é¸&#x2019;ä&#x152;˘é&#x201E;&#x201E;
㝨ă&#x2013;&#x2C6;ď&#x161;łď&#x2030;&#x161;ă&#x;Żç§śď&#x161;´â&#x2122;łď&#x2DC;šâ&#x161;&#x203A;â&#x161;&#x201A;â?&#x153;ć&#x2039;â¸&#x201D;äŠ&#x203A;éą&#x2019;â°&#x2026;ꨜč&#x2C6;Ąď&#x2DC;ˇâ&#x17E;&#x203A;ĺ&#x201A;&#x2C6;ď&#x2DC;šă˘ľäž¸
朸ę&#x2020;&#x201E;čź&#x2018;ä&#x2039;&#x2018;ă&#x153;Ľä&#x160;şă¸¤ď&#x2C6;Łę¨śăśŠâť&#x2039;ď&#x2DC;šç˝&#x153;卲ć&#x161;śä?¤č&#x17D;&#x2026;ď&#x161;łâźŚă?&#x2020;ę&#x2022;&#x2013;ď&#x161;´ç&#x2DC;&#x17E;ęł?ć? ä&#x152;&#x;⢾â&#x153;Ťę&#x2020;&#x201E;ę??ćś¸ęŹ ă&#x201E;?ä&#x161;?鹲é&#x161;śď&#x2DC;ˇâ˝°â˘Şĺ&#x192;˝ć&#x20AC;&#x2019;ä&#x2039;&#x2018;ă&#x153;Ľâ&#x203A;łä&#x160;şä˝&#x2013;é&#x161;śî&#x161;&#x2030;䧎
ćšąć&#x201C;żćś¸ë&#x2C6;´éĄ&#x2039;ć¤?ă&#x2013;&#x2C6;â&#x203A;łćŹ˝äŠ&#x203A;ĺ ĽäĽ°ćŹ˝ç&#x17D;&#x2018;ä&#x2019;éˇ&#x2020;éŤ â°Śĺľłâ&#x2122;łćś¸âŁ&#x2DC;估 ă&#x2030;&#x201A;ď&#x2DC;šâ&#x161;&#x203A;â˝°ĺ&#x201E;&#x2DC;濟麼ă&#x2020;â?&#x2030;â˝°ăź&#x;č?&#x2020;ä &#x2DC;朸ć&#x20AC;&#x2019;ć ˝ď&#x2DC;ˇć?ç˝&#x153;ď&#x2DC;šćŽšč?&#x2C6;âš&#x203A;âť&#x2039;ć?&#x201A;
䨞â&#x2122;śă&#x2013;&#x2C6;ĺ&#x201E;&#x2DC;ď&#x2DC;šä&#x2039;&#x2018;ă&#x153;Ľâ&#x161;Ľćś¸ĺŤŚâŚ?âŚ?ë&#x201E;&#x201C;â&#x17E; ć?ĺ&#x192;˝č &#x2DC;é¨â&#x161;&#x201A;ĺ&#x2030;¤ęŁłćś¸ď&#x2DC;ˇćŽ&#x2014; ç&#x2022;&#x152;ď&#x2DC;šĺŤ˛ć&#x161;śĺ&#x2030;&#x201C;çŠ&#x2026;韊ĺ&#x192;˝ĺ&#x2030;&#x161;äąşé?¸ć¤?ăť&#x153;揰ĺ´&#x17E;î&#x161;&#x2030;ę?&#x2C6;ę&#x2DC;Žď&#x2DC;śă?&#x2013;俲ď&#x2DC;śĺŽ?ĺ˛&#x;ď&#x2DC;ś ă&#x2013;&#x2019;ĺŹ&#x17E;ď&#x2DC;śćĽ&#x160;梾ď&#x2DC;śç˘&#x153;ď&#x2DC;ˇ
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
é ĽćŹ°č&#x17D;&#x2026;䞎ă &#x2013;
see creation as arising from a continual process of taking derivatives and
â&#x2122;łéś¤ćś¸â&#x153;łâ´&#x2022;㟊ç&#x201D;¨ď&#x2DC;šęĄ ĺ&#x20AC;´ăť&#x153;ë&#x201E;&#x201C;ä&#x160;¨âĄ˛ăš&#x201D;č&#x17D;&#x2026;䞸ç&#x201E;şĺ&#x2018;˛ęŹ&#x2014;ď&#x2DC;šęĄ ĺ&#x20AC;´ä &#x2018;
French diďŹ&#x20AC;erence, and both terms refer to an activity of perturbing a complex
ä&#x2039;&#x2018;ă&#x153;Ľâ°?ç˝?â&#x161;Ľď&#x2DC;šä§ŽäŞžâśžé¸¤é&#x2039;&#x2022;⥲â&#x2122;§ç??ä°çłľă&#x2013;&#x2019;â&#x2122;śĺ&#x20AC;Źĺ´ŁćŹ°č&#x17D;&#x2026;䞎ă &#x2013;
integrating. What do I mean by that? Derivative is closely related to the
and reďŹ&#x201A;exive system, to ďŹ nd 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.
of Germany, but why stop there, he s picking up Mesopotamia via Judaism,
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,
朸éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;ˇä§Žä¸ćś¸ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x192;î&#x161;&#x17D;ď&#x161;łĺ´ŁćŹ°ď&#x161;´ćšąćŽšäąşéľ&#x153;ĺ˛ äż&#x2019;â&#x161;Ľćś¸ď&#x161;łé Ľ
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;§
ć¤&#x161;é?&#x2018;é¸?ă¤&#x203A;猺窥㼜⥌⥲â´&#x20AC;⿞估ď&#x2DC;ˇčŻ&#x201D;ć&#x2039;䞸朰ĺŚ&#x201E;é¸?ĺ&#x17E;şćś¸äť âš&#x203A;â&#x161;&#x203A;
mythical Greek serpent Ouroboros, turn on themselves, and re-deďŹ ne the very
掯ď&#x161;´ď&#x2DC;šé¸?â°?é&#x2018;&#x201A;ćśźä¸â&#x2122;§âŚ?ç§&#x2014;â&#x153;Ľé&#x2020;łę§šâ&#x161;&#x201A;Ⱘ⿞ä&#x2122;źä&#x161;?朸ĺ´&#x17E;âš&#x203A;ď&#x2DC;šä &#x2018;ă&#x2022;Ź
é&#x17D;šă&#x20AC;&#x160;犥ĺ?&#x201C;ď&#x2DC;šç˝&#x153;ä&#x2022;&#x17D;ä§â&#x2122;§ă¤&#x203A;ęĄ ĺ&#x20AC;´é¸?ă¤&#x203A;çŚşçŞĄé ¤ć?&#x20AC;朸ď&#x2C6;Łĺ&#x2026;&#x17E;ă&#x2022;Źă&#x201E;¤ă&#x2013;&#x2019;
ă&#x2022;Źď&#x2DC;ˇę˛łâĄ&#x201A;ă&#x2013;&#x2019;ď&#x2DC;šă&#x2013;&#x2C6;ä&#x160;¨âĄ˛ăš&#x201D;â&#x161;Ľď&#x2DC;šćŽšč° é ŻăšťęŹ&#x2014;㟊â&#x17E;Žä§´ăĽ ĺ&#x160;˘ćżźćś¸âśž
⥲éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;獤ä&#x152;˘ĺ&#x192;˝â&#x2122;śä&#x152;&#x;ĺ&#x2030;¤ĺ&#x192;&#x2C6;ç&#x201E;ˇä &#x2018;ă&#x2022;Źč&#x17D;&#x2026;暥ĺ&#x17E;Śćś¸ď&#x2DC;śä°çłľă&#x2013;&#x2019; éš&#x17D;é ¤ă&#x17D;˛é&#x2018;&#x2018;ă&#x201E;¤ăť&#x153;éŠ?ď&#x2DC;ˇé¸?é&#x2026;â¸&#x2C6;â&#x2122;§â?&#x2030;ę˛?俲ď&#x2DC;šé˝ĄéźšâżĄäą&#x2C6;â&#x2122;§â?&#x2030;ď&#x2DC;šĺ&#x2030;&#x201C; ę&#x2026;žé&#x160;´ćś¸ĺ&#x192;˝ď&#x161;łé&#x152;&#x161;ćş?ď&#x161;´çŠĄĺ?&#x201C;㼜⥌ď&#x2DC;šéźŠĺ&#x2030;¤é&#x203A;&#x160;â´˝â&#x17E;&#x192;ď&#x161;łé&#x152;&#x161;ćş?ď&#x161;´ď&#x2DC;ˇé¸?ĺ&#x192;˝â&#x2122;§
together. In the most exciting cases, these freshly-created worlds, like the category of art .
ON SIMULATION
traders, have to bring together a vast amount of historical and practical
㟊卲朸ă&#x20AC;Ľâ&#x2122;§ęą§âľąĺ&#x192;˝äžŽă &#x2013;ď&#x2DC;ˇč° é Żăšťď&#x2DC;šč&#x17D;&#x2026;ä&#x2039;&#x2018;ă&#x153;Ľâ?&#x153;ĺ&#x192;&#x2019;ă&#x2020;&#x17E;朸ä&#x160;¨âĄ˛
excited about simulating, on an ďŹ rst-generation Apple Macintosh, Ronald
present circumstances. Then do it again. And again, for as long as one can.
ă&#x2013;&#x2C6;â&#x2122;§éĽąď&#x2DC;šć¤&#x161;嚢饝俲朸č&#x2026; çŞ&#x201E;ď&#x2DC;šâą&#x201E;估揽âľ&#x152;掚â&#x2122;´ď&#x2DC;ˇéš&#x2039;ç˝&#x153;ä&#x2014;&#x201A;㨼ď&#x2DC;šćš&#x2C6;
sky that would shoot down Soviet ICBMs before they hit the U.S. Neither
Ⰼ㟊ĺ&#x20AC;´ĺ&#x2039;&#x17E;俲ď&#x2DC;śéş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;śč° é Żă&#x20AC;ˇď&#x2DC;śâŚ?â&#x17E;&#x192;獤ë&#x20AC;żč&#x17D;&#x2026;č° é Żâ&#x161;&#x2020;ć˛â&#x203A;&#x201C;㢍
capitalism had triumphed - and the 26-year bull market in art and debt really
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 historyâ&#x20AC;Ś.
look at someone like Anselm Kiefer: here s a guy pulling in the entire history
⽍âľ&#x2DC;
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;
consistency : some of the most interesting artists have work that is dramatically
A particular species of world-making that is relevant to my own practice is the
information, understand the context of that information, and apply it to
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;
imbuing them with an internal relationship, a coherence. Note, I don t say
㢍č&#x17D;&#x2026;é&#x17D;&#x2122;掼â&#x203A;&#x201C;ę&#x;Śćś¸ăźŠĺŤ˛ď&#x2DC;šăź&#x;䧎ä&#x2019;¸ă ˘ă&#x20AC;Ľâ&#x2122;§ç??㟊ç&#x201D;¨ď&#x2DC;ˇă&#x2013;&#x2C6;č° é Żč&#x17D;&#x2026;
ă&#x153;Ľćżźé&#x2122;?â&#x;¨ăśŠćś¸ć&#x17E;¤ĺş éş&#x2030;䨥ď&#x2DC;šć&#x2039;㢾ä&#x17D;&#x192;⢾ç?&#x17D;稥朸暏é&#x152;?䨞ä&#x2019;¸ăźŹď&#x2DC;ˇ
At the other analogical extreme lies integration. Artists, like market
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;
ä&#x161;?颜暹âĄ&#x201A;ď&#x2DC;šä&#x2014;łę°ăź&#x;â&#x2122;§äžŽâ&#x161;Žč&#x17D;&#x2026;ĺ¨&#x153;ă&#x20AC;ˇâżťăť&#x153;ęĽšćšąęĄ ćś¸âĽ&#x152;ä&#x153;&#x201A;犥ă &#x2013; ă&#x20AC;łč&#x2026;&#x2039;ă&#x2013;&#x2019;â&#x2122;§âą&#x201E;ă&#x17D;˛é&#x2018;&#x2018;ď&#x2DC;ˇăźŠč° é Żăšťç˝&#x153;é&#x17D;&#x160;ď&#x2DC;šé¸?â?&#x2030;ď&#x161;łâĽ&#x152;ä&#x153;&#x201A;ď&#x161;´ă˝ ç&#x2DC;&#x17E;ă &#x161;ĺ&#x20AC;´
朸çą?ë&#x201E;&#x201C;ćżźé&#x2122;?ď&#x2DC;ˇé¸?â?&#x2030;ćżźé&#x2122;?朸ď&#x2030;&#x161;ä˝?éş&#x2022;ç&#x17D;&#x2018;㟊ĺ&#x20AC;´ä&#x2022;&#x17D;ă?&#x2013;皥㡸ⴟĺ&#x20AC;Źĺ&#x192;˝ ę&#x2026;žé&#x160;´ćś¸ď&#x2DC;ˇă¸?ç&#x201E;ˇăť&#x153;â&#x2122;śĺ&#x192;˝č° é ŻâśžâĄ˛ćś¸ă&#x2C6;&#x201D;â&#x2122;§ĺ&#x20AC;°ä&#x2019;ď&#x2DC;šâĄ&#x17D;䧎é&#x2019;˘ć?&#x20AC;㟊
computer simulation. I m dating myself here, but I remember getting really
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;
hit its stride.
ĺ&#x20AC;´ä˝&#x;ĺą&#x203A;â&#x17E;?â°&#x2026;朸掚â&#x17E;żč° é Żăť&#x153;éŠ?ć&#x161;śâ´˝ă¤&#x2030;佪ď&#x2DC;ˇâ˝°â˘Şĺ&#x192;˝ď&#x2DC;šä§´ç˝?é&#x201C;&#x17E;
At university in the 1990s, I started looking at how to visualise ďŹ nancial data
â°?⟪ä&#x17D;&#x192;â&#x;&#x192;â&#x2122;łćś¸č° é Żă&#x20AC;ˇď&#x2DC;žď&#x2DC;žćş?ćş?ă¸&#x17E;ă?ąă¨&#x2014;Ë&#x2122;ă&#x203A;&#x2021;ä&#x2019;źî&#x161;&#x2030;é¸?⪨â &#x2019;䪞
then just becoming available in academia and Wall Street. This was still on
ć&#x161;śâ´˝ĺ&#x192;˝ç˛ćŽĽęą&#x2020;ă&#x161;&#x2013;ď&#x2DC;šč° é Żăšťä&#x2014;łę°ç?&#x17D;稥ď&#x2DC;śćśŽăž?ď&#x2DC;śâ&#x161;&#x203A;ĺ&#x201D;&#x161;ć¤&#x161;éŚ&#x201E;éş&#x2022;
✞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;
comprising millions of data points, using high-speed computer graphics -
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
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
ă&#x153;Ľď&#x2DC;śë&#x2C6;´ä&#x2039;&#x2018;ă&#x153;Ľď&#x2DC;śâ?&#x153;ĺ&#x192;&#x2019;䨞Ő&#x201A;ĺ&#x192;˝č&#x20AC;˘ç˛Żă&#x2013;&#x2C6;â&#x2122;§éĽąćś¸ď&#x2DC;šă&#x20AC;Ťĺ&#x192;˝ĺ&#x2C6;żäąşéľ&#x153;䧎
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
ă&#x2013;&#x2C6;â&#x2122;§ä&#x201C;šâ&#x;Źęź&#x203A;ĺ§&#x2020;ć&#x2122;&#x2039;Ë&#x2122;ä&#x2039;&#x2019;ë&#x2030;&#x201C;çžłĺ&#x2013;ąăśŠăźŠęŹ&#x2014;朸ć&#x2122;&#x2DC;â&#x2122;łäąŚâ&#x2122;łé§&#x2C6;ĺ&#x2030;¤ă&#x201D;&#x2039;ç˘&#x153; ë&#x201E;&#x17E;朸ꨜč&#x2C6;Ąä¨&#x201D;ăž&#x201C;ă&#x2022;Źć&#x2122;&#x161;ď&#x2DC;šéżŞĺ&#x192;˝ę¨śč&#x2C6;Ąĺ&#x2018;˛ęŹ&#x2014;č&#x17D;&#x2026;é&#x17D;&#x2122;ç&#x161;żé&#x201A;?ĺ&#x2018;&#x201D;â&#x17E;&#x160;ë&#x17E;&#x192;朸ď&#x2DC;š
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
ă&#x20AC;łâ&#x;&#x192;ă&#x2013;&#x2C6;é¸?é&#x2026;çš?â´Şé?Şă˘ľď&#x2DC;šâĄ&#x17D;㟊䧎ç˝&#x153;é&#x17D;&#x160;ď&#x2DC;šă&#x201D;?âľ&#x152;é¸?äż&#x2019;ç&#x2022;&#x17D;朸ĺ&#x2030;&#x201C;ⴲ朸ă&#x2030;?ę˛&#x2014;î&#x161;&#x2030;齥â?&#x2030;磧缴朸ď&#x2DC;śäŠ&#x203A; ç˛ćś¸ď&#x2DC;śăť&#x153;ë&#x201E;&#x201C;朸ć&#x161;&#x;ă&#x2026;ˇăĽśâĄŚč&#x2026;&#x2039;č&#x17D;&#x2026;㸤皥朸ď&#x2DC;śäžŽă &#x2013;朸ď&#x2DC;śäž¸âĄ&#x2122;朸ä&#x2022;§âŤšçŠĄă &#x2013;î&#x161;&#x17D;
also doing a performance in there - dressed in a suit,
é¸?ĺ&#x17E;şćś¸çŠĄă &#x2013;č&#x2026;&#x2039;㣠ä§â¸&#x2020;ă&#x152;¨î&#x161;&#x17D;䧎â&#x2122;śćżźéşĽď&#x2DC;ˇâĄ&#x17D;ĺ&#x2030;¤éŚąćś¸ĺ&#x192;˝é&#x152;&#x161;ç˝?朸ă&#x201D;?估ď&#x2DC;šĺ&#x2030;¤â?&#x2030;â&#x17E;&#x192;ĺ&#x2018;?ĺ&#x160;ĽăźŠă¸?ă?&#x201C;
big ďŹ&#x201A;ip-chart. I chatted to some of the visitors, about
â&#x161;&#x201A;鼼éľ&#x153;稣ćş?é¸?â?&#x2030;ä˝&#x17E;ăŁ?â&#x153;Ťćś¸ăž&#x201C;ä?&#x152;ä¨&#x201D;ă&#x2022;Źď&#x2DC;ˇä§Žâ&#x203A;&#x201C;䨞â&#x;&#x192;ă&#x20AC;łâ&#x;&#x192;é&#x17D;&#x2122;ç&#x161;żĺ&#x201E;&#x2DC;ę&#x;Śď&#x2DC;šĺ&#x192;˝ă&#x201D;&#x201D;ć?&#x20AC;䧎â&#x203A;łă&#x2013;&#x2C6;ć¤?ă&#x153;Ľ
writing banking formulas, commodity prices, etc. on a the ďŹ nancial 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 ďŹ nd people had written things on the ďŹ&#x201A;ip-chart -
judging by what they wrote and the cider cans, they
had a small party. To me, this deďŹ ned the installation
as a success - viewers, some and others repelled, found a space with which they could actively engage.
â&#x203A;&#x201C;â&#x;&#x192;ë˘&#x2122;ď&#x2DC;šć?ç˝&#x153;â&#x203A;łĺ&#x2030;¤é?Şă˘ľâ&#x17E;&#x192;č&#x201D;&#x2026;â&#x153;ŤéŚ&#x201E;éş&#x2022;âźąăźĺ&#x201E;&#x2DC;ă&#x2013;&#x2C6;é¸?âŚ?é&#x2026;¤ç¸¨â&#x2122;łď&#x2DC;šçźşę &#x2014;äż&#x2019;â&#x;?ď&#x2DC;śé&#x152;&#x161;ćş?é&#x2039;&#x2022;ęą˝ď&#x2DC;šâ&#x161;&#x203A; éš&#x17D;é ¤é ¤ć?&#x20AC;é&#x201A;?ć&#x20AC;ľŐ&#x201A;é&#x160;Żé&#x2026;¤ęŹ 㞡朸䧎ă&#x2013;&#x2C6;â&#x2122;§ă?&#x2020;ăŁ?ă&#x2DC;&#x2014;术ĺ&#x152;˘â&#x2122;łĺ&#x2030;&#x2026;㝨ă ?ç??ę&#x2039;&#x201C;é ¤â°&#x2014;ä&#x2019;ď&#x2DC;śă&#x2030;&#x201A;ă&#x2026;ˇâ&#x2020;ĺ&#x2018;&#x201D;
ç&#x2DC;&#x17E;ç&#x2DC;&#x17E;ď&#x2DC;ˇä§ŽćŹŠč?&#x203A;ă&#x201E;¤é&#x152;&#x161;ćť&#x17E;çż?ę&#x2020;&#x201E;čź&#x2018;â˝ĺ Ľď&#x2DC;śâ&#x;ťĺ&#x20AC;&#x203A;ĺ˛ ç¸&#x201A;ă&#x2013;&#x2019;ĺŹ&#x17E;ď&#x2DC;šâ&#x;&#x192;âżťä&#x2013;°ä§Žćś¸ă?ąäŹ&#x2DC;â&#x;Źâą&#x17D;⥲ă&#x2026;ˇâŤ&#x201E;⢾ 朸齥č&#x201A;&#x2020;â&#x;&#x201A;â&#x17E;&#x192;ă?˛ä&#x2014;ąćś¸ĺ Şč&#x160;Łă&#x201E;&#x201A;ç&#x2DC;&#x17E;ç&#x2DC;&#x17E;ď&#x2DC;ˇä§Žĺ&#x2030;&#x17D;獤ĺ&#x2030;¤â°?âŚ?ĺ&#x201A;?ĺ&#x2026;&#x2019;朎ć¤?ăž?é&#x152;&#x2019;ç&#x2018; ę&#x;ŚćśŽćŹ°â&#x153;Ťé&#x161;śâť&#x2039;ď&#x2DC;šĺ&#x2018;?
äş&#x2122;术ĺ&#x152;˘â&#x2122;łćś¸ď&#x161;łćŽ&#x2020;é&#x17D;&#x160;ď&#x161;´ă&#x201E;¤ă&#x2013;&#x2019;â&#x2122;łćś¸čąĺ?&#x201C;ę&#x201A;&#x2039;硜ď&#x2DC;šä§Žć&#x17E;¤é&#x152;&#x161;ćť&#x17E;估é&#x2018;Şă&#x2013;&#x2C6;é¸?é&#x2026;éłľâ&#x153;Ťâ&#x2122;§âŚ?ăźĺ´ŁăźŠď&#x2DC;ˇ 㟊䧎⢾é&#x201C;&#x17E;ď&#x2DC;šé¸?ä &#x2018;ă&#x201E;&#x201A;čĄ˝ä§Žćś¸č° é Żé&#x2026;¤ç¸¨ęą&#x192;ć?&#x20AC;ä§â¸&#x2020;ď&#x2DC;šă˝ 鸎齥â?&#x2030;â&#x2122;śă&#x2039;?姚䧎朸⥲ă&#x2026;ˇćś¸é&#x152;&#x161;ćť&#x17E;鿪 ă&#x2013;&#x2C6;é¸?é&#x2026;䪪âľ&#x152;â&#x153;Ťâ&#x2122;§âŚ?ä&#x2013;¤â&#x;&#x192;ç?&#x17D;ĺ&#x2122;˛âżŽč&#x17D;&#x2026;â&#x17E;?â°&#x2026;朸ç&#x2018; ę&#x;Śď&#x2DC;ˇ
THIS THISISISBEING BEINGWRITTEN WRITTENON ONAADIGITAL DIGITALDEVICE DEVICE Barrier Barrier
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
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 .
幋幋
Bodies Bodies
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
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.
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
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
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
5)*4 *4 #&*/( 83*55&/ 0/ %*(*5"- %&7*$&
♧⟝鄄㸤侸㶶⻋涸⡲ㅷ剚㼟㸐荈䊹莅錚罏⛓ꥬ♧䏠㿋 ♧⟝鄄㸤侸㶶⻋涸⡲ㅷ剚㼟㸐荈䊹莅錚罏⛓ꥬ♧䏠㿋
剅倴侷焺鏤⪓♳
ꥻꥻ
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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.
剅倴侷焺鏤⪓♳ 剅倴侷焺鏤⪓♳
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;
5&95 #: äš&#x160;äż&#x2019; î&#x203A;&#x2021; $)3*4 #&33: é&#x2020;?ę&#x;&#x161;挰 ;)"/ 96)6" ĺťłĺ&#x201A;&#x2019;č&#x17E;&#x; 53"/4-"5&% "/% &%*5&% #: çźşé&#x2122;źâżşçŽ é°ż î&#x203A;&#x2021; "/(&- $)6/ ç?&#x201C;äż&#x2019;㍹ *."(&4 $0635&4: 0' ă&#x2022;ć&#x2122;&#x2122;䲿âŁ&#x2DC; î&#x203A;&#x2021; 7*5".*/ $3&"5*7& 41"$& $"0 '&* çŹ&#x17E;â&#x17E;ă&#x201E;?č°&#x20AC;é Žç&#x2018;&#x;ę&#x;Śâżşĺ&#x2030;&#x2020;俥
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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âˇ&#x153;ď&#x2DC;śč´Ąäşźâ&#x17E;&#x192;揰ď&#x2DC;śę¨ść˘&#x2013;ď&#x2DC;śč?˛â˘ľćś¸âš&#x203A;掼ď&#x2DC;ść˘&#x2013;â°¨âľ&#x152;㼪č&#x;&#x203A;ă?¸âŹżăž?ꨜ
ä&#x2022;§ď&#x2DC;šâśžâĄ˛â´&#x20AC;ĺ&#x201A;&#x201A;ĺ&#x2030;¤éş&#x2030;ä¨Ąä ŽâżśâŻ?ć&#x20AC;?䪥ⴟä&#x161;?ćś¸č° é ŻâĄ˛ă&#x2026;ˇď&#x2DC;ˇ
ä&#x2013;°ăŁ?㡸ĺ&#x201E;&#x2DC;â&#x17E;żĺ&#x2030;&#x2020;俢㽠ę&#x;&#x161;㨼â&#x153;Ťä&#x2022;§âŤšâśžâĄ˛ď&#x2DC;ˇăĽ 朸ä&#x17D;&#x2122;éż&#x2C6;ĺ&#x201A;?ĺ&#x160;?⥲
ă&#x2026;ˇăĽśŐˇę&#x2022;&#x2013;Ő¸î&#x2122;ˇ î&#x2122;¸ď&#x2DC;śă?Şă&#x2020; 猺⴪⥲ă&#x2026;ˇă&#x201E;¤â&#x;&#x192;$PTQMBZé&#x201A;?ć¤?â&#x161;Ľ
ă&#x2022;&#x153;ä&#x17D;&#x192;é°&#x2039;â&#x2122;§â&#x17E;żä&#x2013;°äž¸ç&#x201E;şč´Ąäşźâ&#x161;&#x2020;ć˛â&#x161;ĽéĽĽâ°&#x2026;溍ăť&#x153;揰ĺ´&#x17E;朸աé&#x152;Źč&#x2019;&#x20AC;Ő¸
î&#x2122;ˇ î&#x2122;¸ď&#x2DC;šéżŞä&#x152;&#x;ĺ&#x2030;¤ä&#x201C;˝ć?&#x2122;朸䨥âˇ&#x153;ď&#x2DC;śé&#x201A;?ć&#x20AC;ľă&#x201E;¤âŚ?â&#x17E;&#x192;č&#x2019;&#x20AC;ä&#x2022;&#x2122;ď&#x2DC;ˇä&#x2013;°â&#x;&#x192;
çŽ&#x201D;ä&#x2022;§ĺ&#x2030;&#x161;ă ?çş?ĺ&#x2030;&#x2020;俢č&#x17D;&#x2026;ĺ§&#x2DC;ăť&#x17E;ď&#x2DC;śë&#x17E;&#x201D;â¨&#x20AC;⳯ă &#x2013;⥲✞⥲朸աâ&#x2122;˛âŻ&#x2039;ę&#x2026;˝Ő¸
ę&#x;&#x161;㨼ď&#x2DC;šĺ&#x2030;&#x2020;俢朸✞⥲ä&#x2013;°ęĄ 岤ęŤä&#x17D;&#x192;â&#x2122;§â&#x17E;żćś¸éśľä&#x17E;ľď&#x2DC;śéŹ&#x2019;âš&#x203A;
ă&#x201E;¤âżžäŤ&#x2019;ď&#x2DC;šéą˛ă ˘â&#x153;ŤăźŠç&#x2C6;˘ĺ&#x2030;&#x161;ă&#x201E;¤â&#x17E;&#x192;ä&#x161;?ĺ&#x2C6;żĺš&#x20AC;ăžľćś¸ęĄ ä§&#x192;ď&#x2DC;ˇăĽ â&#x;&#x192;䞎ë&#x201E;&#x201C;
朸㸪é&#x152;&#x161;é&#x152;Źä?&#x17E;⿥é&#x152;&#x161;ăť&#x152;䲞ç˛â&#x153;ŤćŁ&#x;â&#x2122;˛é&#x152;Źă˘Ťâ˘ľä&#x160;¨ć¤&#x161;ä&#x;?č&#x17D;&#x2026;ć¤?ăť&#x153;ę&#x;Śćś¸
ä&#x160;´é¨&#x2026;ď&#x2DC;šâĄ˛ă&#x2026;ˇŐˇé&#x201C;Şćś¸ć?ŚäŠŻé˝ŚŐ¸î&#x2122;ˇ î&#x2122;¸ę&#x;&#x161;ă&#x2030;Źâ&#x153;Ťâ&#x;&#x192;č° é Żč&#x17D;&#x2026;ç&#x2C6;˘ĺ&#x2030;&#x161;
ę&#x;Śâ&#x2122;§ç??ĺ&#x20AC;&#x17E;朸ĺ˝&#x2DC;é¸&#x2019;ĺ&#x20AC;°ä&#x2019;ď&#x2DC;ˇŐˇä§Ž ę&#x2013;?Ő¸î&#x2122;ˇ î&#x2122;¸ă&#x201E;¤Őˇâ&#x17E;&#x192;ĺ&#x2014;ă&#x2122;šăťĄŐ¸
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
揰ď&#x161;˛ĺ&#x153;&#x201C;ä&#x2019;&#x160;朸败亟é&#x152;Źč&#x2019;&#x20AC;ď&#x161;łâ&#x161;Ľă&#x2022;&#x153;çťźé&#x160;Żď&#x161;´äąłé&#x17D;Łď&#x2C6;Łć¤&#x2022;âť&#x2039;â&#x2122;´â&#x161;Ľă&#x2022;&#x153;ă&#x201E;¤â&#x161;&#x2020;
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
亟溍ăť&#x153;朸ć¤&#x161;é?&#x2018;ď&#x2DC;ˇ
'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
ć˛â°&#x;ă &#x161;ęŹ&#x2014;㟊朸ă&#x2030;?ę˛&#x2014;î&#x161;&#x2030;é¨â&#x;¨é&#x2019;˘ćżźď&#x2DC;śäž¸ăśśĺ&#x201E;&#x2DC;â&#x17E;żćś¸â§?ć¤&#x161;⿝㟊败 ä§ć?&#x20AC;卢é&#x2039;ˇâ&#x203A;&#x201C;ä&#x2013;&#x2022;朸ĺ&#x2030;&#x2020;俢ä&#x2013;°ăˇ&#x203A;㜊ă&#x2039;?ä Śćś¸â˝&#x201C;é¸&#x2019;䪪âľ&#x152;ĺ´Šé ¤äż&#x2019;âť&#x2039;č&#x17D;&#x2026;
㼠č&#x17D;&#x2021;éŚąä ŚăĽŞćś¸çŠĄă &#x2013;ë&#x;&#x160;î&#x161;&#x2030;Őˇĺ&#x152;&#x152;ę´?Ő¸î&#x2122;ˇ î&#x2122;¸â&#x;&#x192;ç§ ę?&#x2014;ć&#x2122;&#x161;朸ä&#x2022;&#x17D;ä&#x2019;
î&#x2122;ˇâ&#x2122;śéť&#x2021;朸ĺ&#x160;˘â˘ľâ&#x203A;&#x201C;ă&#x2013;&#x2019;î&#x2122;¸ę&#x;&#x161;âľ&#x152;â&#x153;Ťă&#x2DC;?ă&#x2013;Łă&#x153;Ľî&#x2122;ˇă&#x2122;ľč˘ąéş&#x2022;⿥â&#x203A;&#x201C;ă&#x2013;&#x2019;î&#x2122;¸ď&#x2DC;ˇć?&#x20AC;
La Town and our own reality today.
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
庌ă&#x2013;&#x2019;ĺ&#x17E;ŚćŠ&#x2021;ć¤&#x2022;饏ĺ&#x192;&#x2019;ä&#x2018;&#x17E;ă&#x153;ĽăŁ?ĺ&#x17E;&#x153;㢍ç&#x201D;¨ęŹ&#x2014;â&#x2122;łď&#x2DC;šď&#x160;ľăŁ?朸-&%ęł?ç&#x2C6;&#x161;ăž&#x201C;
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
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
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˛
disaster. The ďŹ lm shuttles us back and forth between the global microcosm of
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
ă&#x2013;&#x2019;ĺ&#x20AC;°ď&#x2DC;šĺ&#x2030;¤čĄ˝ä&#x2013;&#x17D;嚢ĺ&#x2026; 朸â&#x161;Ľă&#x2022;&#x153;č&#x192;?ĺ&#x2026;&#x17E;ď&#x2DC;ˇâĄ&#x17D;ă&#x2013;&#x2C6;Őˇ-B 5PXOŐ¸â&#x161;Ľď&#x2DC;šę§Ş
ă&#x2013;&#x2C6;ĺ&#x160;&#x160;襽â&#x2122;§ç??éĄ?é¸&#x2019;朸ď&#x2DC;šâ&#x161;&#x2020;ć˛ćś¸ç&#x2018; ę&#x;ŚćśŽăž?ď&#x2DC;šĺ&#x192;˝é¸?ĺ&#x17E;şă&#x152;¨î&#x161;&#x17D;ć?&#x20AC;â&#x17E;&#x160; ë&#x17E;&#x2020;ă&#x192;¤î&#x161;&#x17D;
$'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;
ă&#x2030;Źç&#x2C6;&#x161;ę?&#x2014;â&#x161;&#x2020;ć˛ď&#x2DC;ˇâ&#x161;&#x2020;ć˛â&#x2122;łâ&#x161;&#x203A;â&#x2122;śćşŤĺ&#x2030;¤-B 5PXOé¸?âŚ?ă&#x2013;&#x2019;ĺ&#x20AC;°ď&#x2DC;šâĄ&#x17D;ă&#x2013;&#x2C6;䧎 ✞鸤朸ç&#x2030;&#x;é&#x2018;¨ä˝Śâ&#x153;˛â&#x161;Ľď&#x2DC;šăĽ 㜸ă&#x2013;&#x2C6;ĺ&#x20AC;´â&#x161;&#x2020;ć˛ă ?ă&#x2013;&#x2019;ă ?âŚ?ä&#x17D;&#x192;â&#x17E;żď&#x2DC;ˇé&#x201C;&#x17E;术
â&#x153;Ťă˝ ĺ&#x192;˝ä§Žčź&#x2018;ă &#x2013;â&#x153;Ťé?Şă˘ľâ&#x2122;śă &#x161;ä&#x17D;&#x192;â&#x17E;żâ&#x2122;śă &#x161;äż&#x2019;âť&#x2039;â&#x161;Ľćś¸ă ?ç??ĺ&#x17E;¸ă&#x2DC;&#x2014;ď&#x2DC;š
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 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;
䧎âŚ&#x203A;é&#x201C;&#x17E;é&#x201C;&#x17E;é¸?â?&#x2030;ç&#x2018; ę&#x;ŚăĽśâĄŚď&#x2030;&#x161;ä&#x2019;¸âĄšď&#x2DC;šç˝&#x153;⥚é¸?ĺŚ&#x201E;éź&#x2021;äšľâ&#x153;Ťĺ&#x17E;¸ă&#x2DC;&#x2014;ă&#x201E;¤
ăźâ&#x17E;&#x192;âŠ&#x2018;朸➲ă&#x201D;&#x201D;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;ă&#x152;¨ Őˇ-B 5PXOŐ¸ă&#x201E;¤ă&#x20AC;Ľâ&#x2122;§â&#x;?éľ&#x153;ĺ&#x160;?⥲ ă&#x2026;ˇŐˇęŤ&#x201A;Ő¸é&#x2026;鿪ĺ&#x2030;¤â&#x2122;§ç??ĺ&#x160;Łĺ&#x201A;&#x2C6;ă&#x201E;¤â˝°ăź&#x;ĺ&#x2030;¤ć&#x2039;&#x2026;ę¨&#x2C6;朎揰朸ĺľĺ¨ď&#x2DC;šâ°Ś â&#x161;ĽŐˇ-B 5PXOո卲աęŤ&#x201A;Ő¸é&#x160;´ăźąâ&#x153;Ťä&#x17D;&#x2122;â´&#x2022;ć˘&#x2013;ă&#x201E;&#x201A;ď&#x2DC;ˇâĄšă&#x2013;&#x2C6;äş&#x152;ä&#x2014;ąâ&#x17E;&#x160;ë&#x17E;&#x2020; ă&#x152;¨î&#x161;&#x17D;
$'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
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;˛
"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;˝
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
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;
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
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;
ä&#x160;´â´&#x20AC;ĺ&#x17D;Ľç??ă&#x201E;¤ă&#x2022;ŹâŤšć?&#x201A;ęĄ ćś¸ď&#x161;łćŽŻă&#x2022;&#x153;ä&#x17E;&#x2022;é&#x201D;&#x2026;ď&#x161;´ď&#x2DC;ˇ Őˇ-B 5PXOŐ¸â&#x161;Ľćś¸ äž&#x192;霤⿎ç˝&#x152;â&#x153;Ťę¨śä&#x2022;§Őˇä&#x2018;&#x17E;ä&#x192;&#x2039;â&#x203A;&#x201C;ä§&#x2014;ո朸âˇ&#x153;ĺ&#x160;Ľď&#x2DC;šćŽšä&#x17D;&#x192;ä&#x2018;&#x17E;ä&#x192;&#x2039;➲㜊ä&#x201D;&#x17E;ć&#x2014;&#x2122;
ć&#x152;žé&#x;?ä&#x2013;&#x201E;朸ĺ&#x160;Łĺ&#x201A;&#x2C6;ă&#x2022;Źĺ&#x2026;&#x17E;ď&#x2DC;šâ&#x2122;§ćšŹä&#x2019;&#x201A;â ˝âľ&#x152;ĺ&#x160;˘â˘ľâ&#x2122;śă&#x20AC;łćżźćś¸-B 5PXOď&#x2DC;š ç˝&#x153;ĺ&#x192;&#x201C;ĺ&#x201A;&#x2C6;朸ď&#x161;łĺ&#x160;Łĺ&#x201A;&#x2C6;ď&#x161;´ď&#x2DC;šä&#x160;şçŤ¤ä§ć?&#x20AC;â&#x153;Ťĺ&#x201A;&#x2C6;ä&#x152;˘ć&#x2039;&#x2026;ę¨&#x2C6;ď&#x2DC;šç&#x2018;ĺ&#x201D;&#x17D;ĺ&#x20AC;´ć?&#x201A;é&#x201D;¸ĺ&#x192;˝ č´Ąĺ&#x153;&#x201C;朸ď&#x2C6;Łć¤&#x2022;ä&#x2014;?ç°Žĺ&#x2026;&#x17E;é&#x152;&#x161;朸-B 5PXO韊ĺ&#x192;˝ä§ŽâŚ&#x203A;朸ć¤?ăť&#x153;ď&#x2DC;ˇ
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
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; 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).
synchronized to sound piece references iconic images from 1980s video games
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
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
Centre (ICC)Ěśthe tallest skyscraper in Hong Kong Ěś a large-scale animation
of La Town is adapted from the screenplay of the ďŹ lm, Hiroshima Mon Amour.
é&#x17D;šę?&#x2014;â&#x153;Ťâ&#x2122;§é°&#x2DC;䊧äŞ?ä§č&#x2013;&#x160;ă&#x2022;&#x153;襽ă ?âš&#x203A;掼ä&#x2022;&#x17D;é&#x;?ď&#x161;ąäŠŻęź&#x203A;ĺ&#x20AC;&#x203A;ăźć&#x160;ĄéŽŚď&#x161;˛ćś¸
ă&#x2022;&#x153;援ď&#x161;łĺ&#x152;&#x152;ę´?ď&#x161;´ć&#x2122;Śâ˝&#x201C;鎌朸ĺ &#x2021;ç&#x17D;&#x2018;î&#x161;&#x2030;ä&#x2013;°ă&#x2122;šä&#x2039;&#x2018;獤ć&#x2020;&#x2DC;ć&#x161;śâźŚćś¸ä&#x2019;&#x160;ç&#x153;Ąä&#x160;¨ă&#x2013;&#x2019;
(somewhere in the near future) to a dump at the city s edge (somewhere the
past is buried). Same Old, Brand New (2015) was commissioned for the Art Basel
CF: The ďŹ rst thing is that the sound of French is nice. It creates an irrelevant
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
鹲é&#x161;śăźŠâĄšćś¸âśžâĄ˛é¨&#x;ä&#x2013;&#x153;ď&#x2DC;šä&#x2122;źçŹ&#x17E;ĺ&#x20AC;°ä&#x2019;ď&#x2DC;šç˝&#x152;äŁ&#x201A;ă&#x201E;¤é&#x17D;Łé&#x201D;¸ă&#x2030;?ę˛&#x2014;朸ę&#x2026;ž ë&#x;&#x160;ĺ&#x2030;¤ä&#x2122;Śĺ&#x17E;şćś¸ä&#x2022;§ę° î&#x161;&#x17D;
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.
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
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
㝥ո✞⥲ĺ&#x201E;&#x2DC;ę&#x;Śé¨&#x2014;ä?&#x17E;ĺ&#x2030;&#x201C;ę&#x;&#x20AC;î&#x2122;ˇ î&#x2122;¸î&#x161;&#x160;â°ŚĺŚ&#x201E;ď&#x2DC;šă&#x2013;&#x2C6;ç&#x2018; ę&#x;ŚçŹ&#x17E;ä?&#x17E;
â&#x2122;łď&#x2DC;šă¸?âŚ&#x203A;鿪č&#x17D;&#x2026;ä&#x2019;&#x160;ç&#x153;Ąă&#x153;Ľă&#x161;&#x2013;ď&#x2DC;śç&#x2C6;˘ĺ&#x2030;&#x161;ç&#x2018; ę&#x;Śĺ&#x2030;¤ęĄ ď&#x2DC;šć?&#x201A;é&#x201D;¸ĺ&#x192;˝Őˇâ&#x17E;&#x192;ĺ&#x2014;ă&#x2122;š 㝥ոă&#x2013;&#x2C6;ď&#x161;ąç&#x2014;§â&#x153;łâ&#x17E;&#x192;揰ď&#x161;˛č´Ąäşźâ&#x161;&#x2020;ć˛ä&#x2019;&#x160;鸤朸ď&#x161;łäž¸ăśśă&#x2122;šä&#x2039;&#x2018;ď&#x161;´ ď&#x2DC;šéźŠĺ&#x192;˝ć&#x2039;
î&#x161;&#x2030; 朸ăť&#x153;ë&#x201E;&#x201C;ä&#x2019;&#x160;ç&#x153;Ąĺ&#x17E;¸ă&#x2DC;&#x2014;çŠ&#x2030;ă &#x2013;ä§ćś¸ĺ&#x160;Łĺ&#x201A;&#x2C6;â&#x161;&#x2020;ć˛Őˇ-B 5PXOŐ¸ď&#x2DC;šäŤ&#x2C6; 韊ĺ&#x192;˝ŐˇęŤ&#x201A;Ő¸âť?â?Šć¤?â&#x17E;żâť&#x2039;ăźâźŚćś¸ĺŽ?ĺ˛&#x;ę?&#x2C6;ç&#x2DC;˘ĺš&#x2039;âł&#x2013;ă&#x2022;źď&#x2DC;šéżŞä&#x201D;Ľć 襽ĺ&#x17D;Ľç??â&#x2122;śç&#x201E;ˇâ´&#x2014;朸č?&#x2C6;暹濨暽ď&#x2DC;šč´Ąäşźč&#x17D;&#x2026;溍ăť&#x153;â&#x203A;&#x201C;ę&#x;Śâ&#x153;˝ć?&#x20AC;é&#x161;ść?&#x2039;î&#x161;&#x160;
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;?
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
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;
the end of the world -- La Town; -- and Haze and Fog - the modern concrete
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
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;¤
be rebirth after doomsday â&#x20AC;&#x2019; where we turn to the narrative of dystopia in
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;˘
system in La Town.
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
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
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;
I made in Beijing - after I left my hometown of Guangzhou in 2006. In terms of
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?
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
(2014) could be seen as marking a watershed. In terms of time, these are works
housing compound in Beijing permeated with a vague sense of paradox and a
ĺ&#x20AC;°ä§Žćś¸â´&#x20AC;揰ă&#x2013;&#x2019;ä&#x2018;&#x17E;ä&#x160;?ç?ľăž&#x20AC;âť?â?Šä&#x2013;&#x2022;朸✞⥲ď&#x2DC;šâ°Śâ&#x161;Ľâ&#x;&#x192;Őˇâ&#x17E;&#x192;ĺ&#x2014;ă&#x2122;š
ăĄ?ä&#x201E;śćś¸â&#x2122;§ç??ă&#x201D;?估ď&#x2DC;ˇ
resources and no one relates to the land emotionally. We are all outsiders. There
CF: Beijing Ěś Insecurity. As a city of immigrants, people compete for the
â&#x2122;śă¸&#x17E;â&#x161;Ľď&#x2DC;šäŤ&#x2C6;éž?â&#x161;ĽćŹ´ćŹ°ćś¸ę¨&#x2020;äž&#x2022;ăˇ&#x2018;ć Źâ&#x203A;&#x201C;ä Žď&#x2DC;ˇŐˇęŤ&#x201A;Ő¸ď&#x2DC;śŐˇâ&#x17E;&#x192;ĺ&#x2014;ă&#x2122;š
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;
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
#'* ď&#x161;ąăť&#x153;ë&#x20AC;żă&#x153;Ľď&#x161;˛ę°ŞćšĄ
'digital city' in Second Life s virtual space; the 1:87 maquette designed to depict
㝥ոă&#x201E;¤Őˇ-B 5PXOŐ¸é¸?â&#x2122;˛çŠ&#x2030;⥲ă&#x2026;ˇă&#x20AC;łâ&#x;&#x192;č&#x17D;&#x2026;姽⾚⥲ă&#x2026;ˇâ&#x203A;&#x201C;ę&#x;ŚĺŤ˛âĄ˛
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
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?
$'î&#x161;&#x2030;â&#x2122;śă¸&#x17E;ď&#x2C6;Łä Žď&#x2DC;śç?ľĺ&#x2014;ă&#x2122;šä&#x2039;&#x2018;ď&#x2DC;śâ&#x17E;&#x192;âŚ&#x203A;依㤞ă ?ç??饝ĺ˝&#x201A;ď&#x2DC;śĺ°?ĺ&#x2030;¤â&#x17E;&#x192;㟊 é¸?âŚ?ă&#x2022;źă&#x2013;&#x2019;ćŹ´ćŹ°ä Žä&#x17E;&#x2022;ď&#x2DC;śéżŞĺ&#x192;˝ćŽŻę&#x20AC;&#x20AC;ăš?ď&#x2DC;śâ&#x17E;&#x192;ă&#x2013;&#x2C6;ă ?ç??ä&#x2DC;°é¸ ĺś&#x2039;饼ă&#x201E;¤
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;?
utopia under the constraints of globalized capital, La Town (2014) would
response to all the questions Whose Utopia? asked and collapse of the global
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.
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
speciďŹ cally about the idea of the relevance of those technologies,
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
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
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
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.
⴪⥲ă&#x2026;ˇćś¸ď&#x2DC;ˇâ&#x17E;ŽâŚ&#x203A;鿪ä&#x2013;°äž¸ç&#x201E;şçŚşâ´Şâśžé¸¤â°&#x2026;äŠ&#x203A;ď&#x2DC;šâ&#x2122;śéş&#x2022;â&#x17E;ŽâŚ&#x203A;估揽
ä Žď&#x2DC;ˇâ??âľ&#x201E;ćŁ âźžË&#x2122;㢾ć§&#x2C6;é&#x2013;&#x2039;çŹ&#x17E;㣟朸⥲ă&#x2026;ˇâ&#x203A;łĺ&#x192;˝â&#x2122;§ĺ&#x17E;şď&#x2DC;šĺ&#x192;˝ă&#x203A;&#x2021;ĺ&#x20AC;´ć?ŚäŠŻ 齌ä&#x2019;朸ĺ&#x160;źĺ&#x201D;&#x2019;⧺č&#x201A;&#x2030;✞⥲朸ď&#x2DC;šâ°Ść¤&#x161;é&#x201D;¸ă&#x20AC;łéˇ&#x2020;彸č?&#x203A;â&#x2122;§âĄ&#x2122;ă?ąć&#x2122;&#x2039;çŹ&#x17E;â?? ç&#x152;°ăˇ¸ăšťäŹ&#x2DC;â&#x;ťç&#x152;°Ë&#x2122;䊯ĺ&#x160;ŁçŹ&#x17E;㣟ď&#x2DC;ˇé¸?â?&#x2030;äŠ&#x203A;鿪ĺ&#x192;˝ă&#x203A;&#x2021;ĺ&#x20AC;´â&#x17E;Žćś¸ĺ Ľĺ&#x201D;&#x2019;⧺
č&#x201A;&#x2030;✞⥲朸ď&#x2DC;šâĄ&#x17D;ĺ&#x192;˝ă ?âŚ?⥲ă&#x2026;ˇâżśă ?ĺ&#x2030;¤ć&#x161;śä¸ď&#x2DC;ˇĺŤ˛ăĽśď&#x2DC;šćŽšâĄšćş?âľ&#x152;ęŁ&#x161; 貽朸čąĺ?&#x201C;ĺ&#x201E;&#x2DC;ă˝ ĺ&#x2030;&#x161;ä&#x;?鼹ęŁ&#x161;貽Ë&#x2122;ă&#x2022;ŹęŤ&#x2122;ď&#x2DC;ˇ
掚ă&#x2022;ŹâŤšâ´&#x20AC;ć¤?ă&#x2013;&#x2C6;ꨜä&#x2022;§â&#x161;Ľď&#x2DC;šćŽšă¸?âŚ&#x203A;ä§ć?&#x20AC;ęł?ç˝&#x153;ĺ&#x192;&#x2019;é&#x2039;&#x2026;朸ć&#x161;&#x;ă&#x2026;ˇď&#x2DC;šé¸?
â?&#x2030;ă&#x2022;ŹâŤšĺ&#x2030;¤â¸&#x201D;ĺ&#x20AC;´é&#x152;&#x161;ćť&#x17E;âŚ&#x203A;㟊⥲ă&#x2026;ˇćś¸äžŽë&#x201E;&#x201C;ć¤&#x161;é?&#x2018;ď&#x2DC;ˇé¸?ç??č´Ąäşźâ°&#x2030;ăş&#x201A; č&#x17D;&#x2026;ä Žă¸˝ćś¸â&#x153;˝âš&#x203A;ĺ&#x192;˝ęŹ&#x152;ä&#x152;˘â&#x2122;śă &#x161;朸ë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;šă˝ 㼜â??皥č&#x203A;&#x201A;ę§&#x2030;Ë&#x2122;ă&#x2122;Şć&#x2122;&#x2039;
ĺ&#x2030;&#x2039;ă&#x2013;&#x2C6;*OTUBHSBNćś¸é ¤ć?&#x20AC;é&#x201A;?ć&#x20AC;ľâ&#x;&#x192;䟢ä&#x2022;§ćś¸ĺ&#x20AC;°ä&#x2019;ă&#x192;&#x201E;ć¤?ď&#x2DC;ˇé&#x152;&#x161;ćş?ăĽ
When they are in a ďŹ lm, when they become protruding objects, those images
é&#x203A;&#x160;䧎襽霾â&#x153;ľč´Ąäşźç&#x2018; ę&#x;Śćś¸âž˛ă&#x201D;&#x201D;韊ĺ&#x2030;¤ä&#x2013;&#x17D;㢾ď&#x2DC;šĺŤ˛ăĽśă&#x2013;&#x2C6;â&#x153;łăžľăž?ä&#x2018;ź
⥚㟊ăĽ?ä&#x161;?č &#x2DC;ë&#x201E;&#x201C;朸ä˘&#x20AC;ä?&#x17E;鿪ä§ć?&#x20AC;â&#x153;ŤăĽ ⥲ă&#x2026;ˇç&#x153;&#x2022;ćŻ&#x2018;朸â&#x2122;§âŚ?éż&#x2C6;â´&#x2022;ď&#x2DC;ˇ
a very diďŹ&#x20AC;erent wayĚś and likewise in Amalia Ulman s Instagram performance
ă¸?âŚ&#x203A;ăź&#x;ă&#x2013;&#x2C6;ăž?é&#x152;&#x2019;犥ĺ&#x2039;˛ă &#x;çł&#x2019;糾㜸ă&#x2013;&#x2C6;ĺ&#x20AC;´č´ĄäşźçŹŞçŞ&#x201E;â&#x203A;&#x201C;â&#x161;Ľď&#x2DC;ˇä§ŽâŚ&#x203A;
朸é¸?â&#x;?⥲ă&#x2026;ˇâ&#x2122;śâŤŚâŤŚĺ&#x192;˝ď&#x161;łęĄ 岤ď&#x161;´â°Śé˘šč´Ťă&#x201E;¤ĺ&#x2C6;żĺ&#x20AC;&#x17E;齥ë&#x17E;&#x192;ă&#x2039;˛ç§Ťď&#x2DC;š 掚⥚䪞é¸?ĺ&#x17E;şćś¸âĄ˛ă&#x2026;ˇä˝&#x17E;縨ĺ&#x20AC;´ăž?ä&#x2018;źâ&#x203A;&#x201C;â&#x161;Ľď&#x2DC;šă¸?âŚ&#x203A;㽠⍚ä§â&#x153;Ťä§&#x2014;ć&#x161;&#x;
澤ä?&#x2013;ç˝?朸ä˝?询ă&#x2026;ˇď&#x2DC;šč° é ŻăšťćŹ˝é¸?ĺ&#x17E;şćś¸äŠ&#x203A;媯ä&#x;&#x201A;㌍ä&#x;&#x201A;č ąă&#x2013;&#x2019;⾠掼 ă&#x201E;¤äŞĄâ´źâ&#x153;ŤćŽšâ&#x2122;´ç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;ă&#x201E;¤ç&#x152;°äŞŽçŞ?䧎âŚ&#x203A;é¨ë&#x201E;&#x201C;ä&#x152;&#x;⢾朸㠺â¸&#x201A;ď&#x2DC;ˇ
姝ă&#x201D;&#x201D;ć?&#x20AC;é¨ë&#x201E;&#x201C;ĺ&#x192;˝é˝ĄâŚ?č´Ąäşźç&#x2018; ę&#x;Śćś¸ę&#x2026;žé&#x160;´çŠ&#x2030;ä§éż&#x2C6;â´&#x2022;ď&#x2DC;šäŞžă¸?ă&#x2013;&#x2C6;ć&#x161;ś
ăš ă&#x153;Ľă&#x161;&#x2013;â°&#x2030;ć&#x161;&#x;颜âť&#x2039;朸ä&#x;?ĺ˛ ĺ&#x153;&#x201C;鸤â´&#x20AC;â&#x153;Ťâ&#x2122;§ç??â&#x2122;śă &#x161;朸ĺ¨ă&#x2022; ď&#x2DC;šâ&#x;&#x192;âżť â&#x2122;§ç??â&#x2122;śă &#x161;朸č&#x17D;&#x2026;é&#x152;&#x161;ćť&#x17E;â&#x203A;&#x201C;ę&#x;Śćś¸ęĄ â¤&#x161;ď&#x2DC;ˇâ&#x2122;śéş&#x2022;ď&#x2DC;šă &#x161;ĺ&#x17E;şćś¸ď&#x2DC;šä§ŽćŹŠč?&#x203A;â&#x203A;ł
ç˝&#x152;äŁ&#x201A;éş&#x2022;齥â?&#x2030;â&#x161;&#x203A;â&#x2122;śâżŽč&#x17D;&#x2026;姽겳珪çŞ&#x201E;ĺ´&#x17E;âš&#x203A;朸é&#x152;&#x161;ćť&#x17E;ď&#x2DC;šä&#x2122;Śĺ&#x17E;şäŞžé¸?â?&#x2030; ⥲ă&#x2026;ˇâĄ˛ć?&#x20AC;â&#x17E;ŽâŚ&#x203A;ę&#x;&#x161;ă¨ĽâżĄęĄ ĺ˛¤çŹŞçŞ&#x201E;â&#x153;˛ć&#x161;&#x;朸â´&#x2014;â°&#x2026;ë&#x;&#x160;ď&#x2DC;ˇä¨žâ&#x;&#x192;䧎é&#x2019;˘
ć?&#x20AC;é¸?â?&#x2030;â&#x153;˛ć&#x161;&#x;ĺ&#x192;˝â°¨ĺ&#x2030;¤é&#x;?ä&#x2014;&#x161;ä &#x2018;çş?朸ď&#x2DC;šă¸?âŚ&#x203A;â&#x161;&#x203A;â&#x2122;śĺ&#x192;˝ćšąâ&#x153;˝ăˇ&#x2018;ç&#x201D;¨ăś¸ ă&#x2013;&#x2C6;朸ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;ă&#x2013;&#x2C6;ă &#x161;ĺ&#x17E;şćś¸ă&#x153;Ľĺ&#x2026;&#x17E;â&#x161;Ľćş?é¸?â?&#x2030;⥲ă&#x2026;ˇď&#x2DC;šĺ&#x20AC;&#x17E;朸ă&#x2030;?ę˛&#x2014;â&#x203A;łĺ&#x2030;&#x161;
援揰ď&#x2DC;ˇĺŤ˛ăĽśď&#x2DC;šĺ§ťăĽśâĄšä¨žé&#x201D;&#x201C;âľ&#x152;朸ă&#x203A;&#x2021;ĺ&#x20AC;´ć&#x2021;łé&#x152;&#x2019;ă?źćś¸ęĄ ĺ&#x20AC;´ă&#x2013;&#x2C6;çŽ ç&#x2DC;ź ăž?ă&#x201E;¤č° é Żĺ&#x2014;â&#x161;şâť&#x2039;朸ă&#x2030;?ę˛&#x2014;ď&#x2DC;šćŽšâĄšä&#x2013;°ç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;朸é&#x152;Źä?&#x17E;⿥ćş?ä&#x2013;&#x160; é¸?â?&#x2030;ă&#x2030;?ę˛&#x2014;ĺ&#x201E;&#x2DC;ď&#x2DC;šâ&#x2122;śćżźâ&#x2122;śé&#x152;?â&#x203A;&#x201C;â&#x161;Ľă&#x2013;&#x2C6;çŽ č° é Żĺ&#x2014;â&#x161;şâť&#x2039;朸ă&#x2030;?ę˛&#x2014;âżśä&#x2013;°
ă&#x20AC;Ľâ&#x2122;§âŚ?é&#x152;Źä?&#x17E;é&#x201E;&#x201E;âą&#x201E;ĺŚ&#x201E;é˘śćŻ ď&#x2DC;ˇâĄšĺ&#x192;˝ă&#x201A;&#x201E;é&#x2019;˘ć?&#x20AC;ç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;ă&#x20AC;łâ&#x;&#x192;⥲ć?&#x20AC; 珪çŞ&#x201E;č° é Żĺ&#x2014;â&#x161;şâť&#x2039;朸â&#x2122;§ç??ä&#x2019;&#x201A;â ˝î&#x161;&#x17D;
0,î&#x161;&#x2030;䧎ä&#x2013;&#x17D;ĺ&#x192;&#x2C6;ç&#x201E;ˇă&#x2013;&#x2019;ä Žă&#x20AC;&#x152;âľ&#x152;â&#x153;Ťç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;ă&#x2013;&#x2C6;â&#x2122;§ăš ç&#x17D;&#x2018;ä?&#x17E;çŞ?â&#x153;Žâ&#x153;Ť č° é Żé&#x17D;Łé&#x201D;¸ćś¸ç&#x2018; ę&#x;Śď&#x2DC;ˇä§ŽăźŠăś¸ă&#x2013;&#x2C6;ĺ&#x20AC;´çŹŞçŞ&#x201E;朸败亟ç&#x2018; ę&#x;ŚęŹ&#x152;ä&#x152;˘ä Žč&#x17D;&#x2021;
錹ď&#x2DC;šé¸?ç??â°&#x2014;ĺ&#x2014;ä&#x161;?朸ĺ&#x2014;â&#x161;şç&#x2018; ę&#x;Śâ°&#x2030;援揰朸ă &#x2013;⥲ă&#x201E;¤çŠ&#x2030;çą˝ä&#x2022;&#x17D;ä&#x2019;é&#x203A;&#x160; 䧎襽霾ď&#x2DC;ˇç˝&#x153;â&#x161;&#x201A;ď&#x2DC;šä§ŽăźŠč° é ŻăšťăźŠĺ§˝ä¨žâĄ˛â´&#x20AC;朸䪥ⴟă&#x201E;¤ä&#x2122;źç˝&#x152;â&#x203A;ł
ä&#x2013;&#x17D;ä Žč&#x17D;&#x2021;錹ď&#x2DC;šĺŤ˛ăĽśă&#x2013;&#x2C6;ć&#x161;śę¨Žä&#x2019;źË&#x2122;â˘&#x2020;ĺ&#x2018;&#x201D;貽աč?&#x2C6;â&#x161;şç&#x201D;¨ĺ˛ ո朸⥲ă&#x2026;ˇâ&#x161;Ľ 朸ę§&#x152;çŽ ă?źă˝ ĺ&#x192;˝ć&#x2039;ă&#x2022;&#x153;ăšťă¸&#x17E;ď&#x2C6;Łă˝ˇé&#x2020;˘âĄ˛ćś¸ď&#x2DC;ˇ
become hermeneutic spatial eďŹ&#x20AC;ects for the viewer. They engage the sense in represented in photographs. I think it does something very diďŹ&#x20AC;erent 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 speciďŹ c 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 diďŹ&#x20AC;erent kind of atmosphere and a
very diďŹ&#x20AC;erent 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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â&#x153;Ťâ&#x2122;˛âŚ?â&#x2122;śă &#x161;朸ć&#x2021;łé&#x152;&#x2019;ă?źâ˘ľă&#x192;&#x201E;ć¤?ď&#x2DC;šäş&#x2122;姽ăž?ç&#x2C6;&#x161;â&#x153;Ťç&#x152;°äŞŽĺ&#x192;˝ăĽśâĄŚéą˛ é&#x161;śă&#x201E;¤ćśŽăž?朸ď&#x2DC;šĺ&#x20AC;´ĺ&#x192;˝âĄ˛ă&#x2026;ˇćś¸ĺ&#x2030;&#x201C;çŠ&#x2026;ä&#x2022;&#x17D;ä˘&#x20AC;â&#x203A;łă&#x201D;&#x201D;姽ç˝&#x153;ĺ&#x2030;¤ä¨žâ&#x2122;śă &#x161;ď&#x2DC;ˇ ĺ&#x20AC;´ĺ&#x192;˝ď&#x2DC;šăž?é&#x152;&#x2019;䲿âŁ&#x2DC;â&#x153;Ťâ&#x2122;§âŚ?ă&#x20AC;łč&#x2026;&#x2039;ä&#x161;?⢾ăž?ç&#x2C6;&#x161;㯯ë&#x201E;&#x201C;ă&#x201E;¤ć&#x161;&#x;颜ęą&#x2020;ă&#x161;&#x2013;朸
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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, Š Oliver Laric
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;
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 Installation view of Electronic Superhighway at Whitechapel Gallery
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
*/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.
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⹗
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
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
traditional art school, where I painted landscape and I did life drawings. I
â&#x2122;§ćšŹĺ&#x192;˝ä?Ąăť&#x153;éŠ?朸â&#x2122;§éż&#x2C6;â´&#x2022;ă&#x152;¨î&#x161;&#x17D;
)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
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
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
understood the power of pioneering software artists. Christiane Paul argues
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.
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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˝
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 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.
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
䨞â&#x;&#x192;䧎ę?Ťéş&#x2022;â&#x153;Ťç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;é¸?ĺ˛&#x161;ć&#x201D;¨ć&#x192;?ď&#x2DC;ˇâĄ&#x17D;ĺ&#x192;˝ď&#x2DC;šäş&#x2122;䧎é&#x152;&#x161;ăť&#x152;ď&#x2DC;šä§Žă&#x2013;&#x2C6;
揰ăźăˇ&#x203A;â&#x203A;&#x201C;⾚朸㨽é&#x17D;ˇč° é Żę°ŞćšĄď&#x2DC;šâŤšĺ&#x160;ĽË&#x2122;ë&#x2030;&#x201C;é˘&#x2018;ă&#x201E;¤ęź&#x203A;âŻ&#x2DC;Ë&#x2122;ć &#x17D;ĺ&#x2013;&#x20AC;朸 Őˇč &#x192;ä&#x2039;ŤŐ¸ď&#x2DC;šé¸&#x2019;éş&#x2022;é&#x152;&#x161;ç˝?ă&#x2013;&#x2C6;ç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;朎ä&#x2039;&#x2019;ä&#x2039;ŤăśŠč&#x2013;ąăĄćśŽăž?â&#x153;ŤéĽą
⢾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?
ę°ŞćšĄéĄ â&#x2122;´â˘ľâ&#x153;Ťď&#x2DC;ˇâ&#x161;¸ë?&#x2039;č° é Żăšťă&#x2022;°ë&#x201E;&#x201C;4VQFS GMFYćś¸č° é Żę°ŞćšĄ
Őˇčž&#x2030;čťşĺ &#x2021;éş&#x2030;â&#x203A;&#x201C;ç&#x152;°ăˇ¸â˝&#x2C6;ć&#x161;&#x;ę¸Ő¸ă&#x2013;&#x2C6;çŽ â&#x2122;łćś¸ćŹ°ă&#x201E;?â¸&#x201A;ä&#x2013;&#x17D;ä&#x201C;˝ď&#x2DC;šâŤšé¸?
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;
"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
⢾ĺ&#x2030;&#x161;ĺ&#x2030;¤ä&#x2122;Śĺ&#x17E;şćś¸é?¤é&#x17D;&#x2122;î&#x161;&#x17D;
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
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;¤
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
develop physical encounters with art, with art that is multisensory. On the other
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;˘
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;
of questions I would like to ask if someone really wanted to harness social media in
would give people permission to do that, what would set the tone? There are a lot
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; "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
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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
I ve never been attracted to curate online per se because I like to work with
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
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create the right conditions for really deeper, meaningful conversations? What
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physical space and I like being in command of that space with an artist and to
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"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
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Thomson & Craighead, Voyager (MicromĂŠgas), installation shot, ODI, 2015. Photo: Lewis Bush.
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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?
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
Julie Freeman, We Need Us , 2014. Production still, courtesy the artist. Commissioned by the ODI and The Space.
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?
Julie Freeman, We Need Us , 2014. Production still, courtesy the artist. Commissioned by the ODI and The Space.
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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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.
VINYL FACTORY: HUB OF CREATIVE COLLABORATION INTERVIEW WITH SEAN BIDDER 랱芢ⶽ䠑㣅䊨㜥 㼠鏞聰䛸 • 嫱䗞
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 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;
a pressing factory gives you a lot of ďŹ&#x201A;exibility in how you work, to have a record
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;˘
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
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;
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;
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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
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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;
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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;
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.
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Ragnar Kjartansson, The Visitor Š The Vinyl Factory. Photography by Michael Wilkin,
music industry, people thought it wouldn t work. However, we thought
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?
䧎âŚ&#x203A;韊ĺ&#x2030;¤ęŹ&#x152;ä&#x152;˘ĺ&#x2022;?朸ă&#x153;Ľă&#x2013;&#x2019;ä˝&#x2026;ä°ď&#x2DC;šć?&#x20AC;â°&#x2014;ćť&#x17E;ăž?ç&#x2C6;&#x161;䧎
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;˝
is really important to think of a record like that, it is not just music, it is also the physical,
âŚ&#x203A;ă&#x201E;¤č° é Żăšťă &#x2013;⥲ď&#x2DC;šć?&#x20AC;ä&#x2018;&#x2013;ć&#x2122;Śč&#x17D;&#x160;éłľăž?é&#x152;&#x2019;ă&#x201E;¤ĺ´&#x17E;âš&#x203A;ď&#x2DC;ˇ 䧎âŚ&#x203A;ĺ&#x192;&#x2C6;术ď&#x2DC;šé&#x201E;&#x201E;䧎âŚ&#x203A;朸ć¤&#x161;ä&#x2122;&#x201A;ď&#x2030;&#x161;ä&#x2019;¸ćś¸é&#x152;&#x161;ćť&#x17E;ä&#x2013;&#x17D;㢾ď&#x2DC;šâĄ&#x17D;
to present the shows as purely as we can. The other thing that is worth
é Żăšťćś¸î&#x161;&#x17D;
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
ĺ&#x2030;&#x201C;çŠ&#x2026;éŁ&#x2018;éĄ ë&#x17E;ąč&#x160;Łćś¸ă&#x20AC;Ťâ˝&#x2018;㟹䞸ď&#x2DC;ˇă&#x201D;&#x201D;姽ď&#x2DC;šä§ŽâŚ&#x203A;朸ĺ&#x17E;¸ä&#x2019; ĺ&#x2030;¤ë&#x;&#x160;é¨&#x2C6;⺍é&#x;?ĺ&#x20AC;&#x203A;ćšąâĄ&#x201A;ď&#x2DC;šäą?䳣â&#x153;Ťé&#x2020;˘âĄ˛ćś¸ĺ&#x20AC;°ĺ˛ â&#x203A;łă˝ ä &#x2018;ă&#x201E;&#x201A;襽ĺ&#x2030;¤â&#x153;Ťăť&#x153;ë&#x20AC;żćś¸éĄťĺ&#x160;Ľď&#x2DC;šé¸?ĺ&#x192;˝ĺ&#x2030;&#x201C;â&#x161;şé&#x160;´ćś¸ď&#x2DC;ˇ
then evolved into doing bigger exhibitions and installations. But essentially they are
ă˝ ę°&#x2030;ĺ?żćŹ´ĺ&#x2122; ĺ&#x17E;¸ä&#x2019;ç˝&#x153;é&#x17D;&#x160;ď&#x2DC;šä§ŽâŚ&#x203A;ä&#x;?é&#x160;´äŠ§é¸¤č?&#x2C6;ä&#x160;šćś¸
personal experience. The exhibition is a communal experience, we may all sit on our
ăšťă &#x2013;⥲ď&#x2DC;šâśžç&#x201D;¨č?&#x2C6;ä&#x160;šćś¸ĺ&#x17E;¸ä&#x2019;ď&#x2DC;šâ&#x161;&#x203A;暏乺䪞ă&#x2C6;&#x2013;ć&#x2122;&#x161;ę&#x152;źă&#x2C6;&#x2019;
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 diďŹ&#x20AC;erent. 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 ďŹ rst
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 ďŹ ne 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
âŚ&#x203A;ă&#x201E;¤ä&#x2018;&#x2013;ć&#x2122;Śď&#x2DC;śă&#x2C6;&#x2013;ć&#x2122;&#x161;ä?&#x2026;ď&#x2DC;śă&#x2C6;&#x2013;ć&#x2122;&#x161;ä&#x160;¨ä&#x2018;&#x2013;ă &#x2013;⥲朸갪暥ď&#x2DC;ˇä§Ž
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 ďŹ lms 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
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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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ă&#x20AC;łč&#x2026;&#x2039;ä&#x161;?ď&#x2DC;ˇé¸?ĺŚ&#x201E;ă &#x2013;⥲ć&#x2026;¨ćśŽâ&#x153;Ťä§Žď&#x2DC;šä&#x2013;&#x17D;㢾é&#x2039;&#x2022;é&#x152;?č° é Żăšťâ&#x203A;łé?ŞéżŞă&#x20AC;ł â&#x;&#x192;é¸?ĺ&#x17E;şă &#x2013;⥲朸ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;â&#x17E;ŽâŚ&#x203A;䧴é?Şâ&#x203A;łä&#x2013;°ęź&#x203A;â&#x2122;¨é˝Ąĺ&#x17E;şćś¸é&#x152;Źä?&#x17E;ç˝&#x152;äŁ&#x201A; 갪暥ă &#x2013;⥲朸ď&#x2DC;ˇé?Şă˘ľé&#x2039;&#x2022;é&#x152;?č° é ŻăšťéżŞĺ&#x2030;&#x161;✞⥲ę°&#x2030;ĺ?żď&#x2DC;šä§´ç˝?揽ę°&#x2030;
ĺ?żâ˘ľâ¨&#x17E;⥲ă&#x2026;ˇď&#x2DC;šâżśä§´ç˝?é&#x2039;&#x2022;깽⥲ă&#x2026;ˇé&#x2026;朸ę°&#x2030;ĺ?żâ&#x203A;łĺ&#x192;˝âśžâĄ˛ćś¸â&#x2122;§éż&#x2C6; â&#x;¨ď&#x2DC;ˇć?ä&#x2013;&#x2022;䧎㽠ę&#x;&#x161;㨼⿥č&#x20AC;˘ç˛Żé˝Ąâ?&#x2030;â&#x203A;łé?Şč&#x2026;&#x2039;â&#x2122;§éĽąéš&#x17D;é ¤ĺ&#x2030;¤éŚąă &#x2013;⥲ ćś¸č° é Żăšťď&#x2DC;šă&#x201D;&#x201D;姽â&#x203A;łă˝ ĺ&#x2030;¤â&#x153;Ťäąşâ&#x2122;´â˘ľä§ŽâŚ&#x203A;č&#x17D;&#x2026;âŞ&#x201A;ę&#x2026;˝ç˘&#x153;Ë&#x2122;䨼âš&#x2014;ă&#x201E;¤ â¸&#x2C6;äż&#x2019;Ë&#x2122;ć&#x161;śâŻ&#x2DC;朸ă &#x2013;⥲ď&#x2DC;ˇ
opportunity to use these spaces, which were not developed, still existing in a raw state,
"35 ;*1î&#x161;&#x2030;ä?Ąă&#x20AC;łâ&#x;&#x192;âą&#x201E;㢾é&#x201D;&#x201C;â&#x2122;§â&#x2122;´éş&#x2022;ä&#x2013;&#x192;ă &#x2013;⥲éş&#x2022;朸ăž?é&#x152;&#x2019;ä§´č° é Ż
people are looking for an experience, they are fantastic spaces. It is not such a great
4#î&#x161;&#x2030;č?&#x2C6;ä&#x2013;°ä§ŽâŚ&#x203A;幥襽é¸?ĺ&#x17E;şćś¸ĺ&#x20AC;°ă ˘ćśŽăž?â&#x;&#x192;ä&#x2013;&#x2022;ď&#x2DC;šéŚ&#x160;⢾éŚ&#x160;㢾朸č°
to showcase the work. Furthermore, I think for large scale audio-visual work, where
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 ďŹ lm 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.
갪暥ă&#x152;¨î&#x161;&#x17D;
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;?
ĺ&#x2026;&#x17E;ď&#x2DC;šä¨žâ&#x;&#x192;ĺ°?â&#x17E;&#x192;ĺ&#x2030;&#x161;ćş?ä&#x2013;&#x160;ä§č° é Żăž?é&#x152;&#x2019;ď&#x2DC;ˇă&#x201D;&#x201D;ć?&#x20AC;䧎âŚ&#x203A;ę§&#x152;ă&#x2022;°éźŠäšŠĺ&#x2030;¤ â&#x2122;§â?&#x2030;ä&#x160;¨ĺ&#x2122; ă&#x153;Ľă&#x2013;&#x2019;ď&#x2DC;šä¨žâ&#x;&#x192;â&#x203A;łă˝ ĺ&#x2030;¤â&#x153;Ťĺ Ľĺ&#x2030;&#x161;⿥⢪揽é¸?â?&#x2030;âĽ&#x192;ćŽ&#x2020;➲㨼
ć&#x153;&#x153;ä˘&#x20AC;朸ď&#x2DC;śĺ°?ĺ&#x2030;¤é&#x201E;&#x201E;ę&#x;&#x161;朎朸ç&#x2018; ę&#x;Śď&#x2DC;šâ˘ľéš&#x17D;é ¤ă ?겳ă&#x2DC;&#x2014;朸ăž?é&#x152;&#x2019;ĺ´&#x17E;âš&#x203A;ď&#x2DC;ˇ ç˝&#x153;â&#x161;&#x201A;㟊ĺ&#x20AC;´ăŁ?ă&#x2DC;&#x2014;é&#x2039;&#x2022;č &#x192;⥲ă&#x2026;ˇâ˘ľé&#x201C;&#x17E;ď&#x2DC;šă&#x2013;&#x2C6;é¸?ĺ&#x17E;şćś¸ç&#x2018; ę&#x;Śăž?ç&#x2C6;&#x161;ĺ&#x2030;&#x201C;éť ă &#x2013;
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
ç&#x2018; ę&#x;Śâ&#x2122;śĺ&#x192;˝ĺ&#x2030;&#x201C;㼪朸乌掼ăž?ç&#x2C6;&#x161;ç&#x2018; ę&#x;Śď&#x2DC;šâ´˝ćś¸ćśŻč&#x2019;&#x20AC;掼ä?¤ç&#x2018; ę&#x;Śĺ&#x2030;&#x161;ĺ&#x2C6;ż ă &#x2013;éť ď&#x2DC;ˇâŤščą¤č&#x161;&#x203A;⟌ä&#x2039;&#x2019;ë&#x2030;&#x201C;ć&#x2122;&#x2039;é łé˝Ąéźšćś¸â¨˘éŽŚă&#x153;Ľç&#x2018; ę&#x;Śă˝ ĺ&#x192;˝ä&#x2039;&#x2018;â&#x161;Ľä&#x2014;ą
â°&#x2030;ęŹ&#x152;ä&#x152;˘ĺ&#x2022;?朸ăŁ?ă&#x2DC;&#x2014;ç&#x2018; ę&#x;Śď&#x2DC;ˇä§ŽâŚ&#x203A;éş&#x2022;⿥â&#x2122;˛ä&#x17D;&#x192;鿪ă&#x2013;&#x2C6;éş&#x152;揽齥âŚ?ç&#x2018; ę&#x;Ś
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;
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
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;
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;
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
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 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?
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
ă &#x161;ćś¸č° é Żăšťď&#x2DC;šâ°&#x;ă &#x161;䊧鸤â&#x153;Ťâź§âŚ?ăŁ?ă&#x2DC;&#x2014;朸ä&#x2022;§âŤšé&#x2026;¤ç¸¨ď&#x2DC;šäŞžâŻ&#x201C;ę?ľ č° é Żč&#x17D;&#x2026;č&#x20AC;Ťę°&#x2030;ď&#x2DC;śç?ľâš&#x203A;ä&#x2022;§âŤšçŠĄă &#x2013;ă&#x2013;&#x2C6;â&#x2122;§éĽąď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;韊⺍ä?ꨜä&#x2022;§ćś¸
ăť&#x153;ë&#x201E;&#x201C;ë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;ˇâ&#x17E;&#x192;âŚ&#x203A;鼹ç&#x201E;şĺ&#x2030;&#x161;ă&#x2013;&#x2C6;齥é&#x2026;ä&#x2013;&#x160;â&#x2122;łä&#x17D;&#x2122;âŚ?ăźĺ&#x201E;&#x2DC;ď&#x2DC;ˇăźŠĺ&#x20AC;´é¸?ĺ&#x17E;ş 朸徜â°&#x2026;ä&#x2019;ë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;šâĄšâ&#x2122;śę¨žé&#x160;´ă&#x2013;&#x2C6;âŤ&#x201E;窥朸掼ä?¤ç&#x2018; ę&#x;Śéš&#x17D;é ¤ď&#x2DC;šâżžç˝&#x153; ĺ&#x192;˝é¸?ç??ć&#x161;śĺŠ&#x152;朸ç&#x2018; ę&#x;Śĺ&#x160;Ľé¨ă˝ 鼹â&#x153;ŤĺŻšăš ä&#x161;?朸⥲揽ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;7'ă&#x201E;¤é?Şă˘ľč° é Żĺ Ľĺ&#x153;&#x201C;ă &#x2013;⥲éş&#x2022;ď&#x2DC;šâŤšä&#x160;źĺŤ˛č&#x201A;Ľč° é Żâ&#x161;Ľ
ä&#x2014;ąď&#x2DC;śćśŻç&#x201D;¨ĺ&#x20AC;°ćŽĽä?¤ď&#x2DC;śčˇ&#x2018;ä&#x2022;&#x17D;掼ä?¤ď&#x2DC;šâĄšâŚ&#x203A;ĺ&#x192;˝ăĽśâĄŚä&#x2019;&#x160;ç&#x201D;¨ă &#x2013;âĄ˛ęĄ â¤&#x161; 朸î&#x161;&#x17D;
4#î&#x161;&#x2030;䧎âŚ&#x203A;č&#x17D;&#x2026;ä&#x2013;&#x17D;ă˘ľč° é Żăšťă &#x2013;⥲ď&#x2DC;šâĄ&#x17D;ę&#x2026;žä&#x2014;ąéżŞĺ&#x192;˝ă&#x203A;&#x2021;ĺ&#x20AC;´âśžä &#x2018;ă &#x2013;⥲
朸ď&#x2DC;šă &#x2013;⥲갪暥鿪ĺ&#x2030;&#x161;ĺś?âżťč&#x20AC;Ťę°&#x2030;䧴ç˝?ę°&#x2030;ĺ?żď&#x2DC;šă&#x201D;&#x201D;姽䧎âŚ&#x203A;ă &#x2013;⥲朸
č° é ŻăšťéżŞä&#x2014;łę°ĺ&#x192;˝ă&#x201D;&#x201D;ć?&#x20AC;é&#x201E;&#x201E;č&#x20AC;Ťę°&#x2030;䧴ę°&#x2030;ĺ?żä¨žć&#x161;˝ä&#x2019;¸äŠ&#x17E;éš&#x17D;é ¤ă &#x2013;⥲ď&#x2DC;š ă&#x20AC;Ťĺ&#x2030;¤é¸?ĺ&#x17E;şäŠ&#x17E;č&#x2026;&#x2039;é&#x203A;&#x160;â&#x17E;ŽâŚ&#x203A;ĺ&#x2030;¤ć&#x2026;¨ä&#x17E;&#x2022;ď&#x2DC;ˇâŤ&#x201E;窥掼ä?¤ćś¸ä&#x160;¨âĄ˛ę&#x2026;žä&#x2014;ąă&#x201E;¤ä§Ž âŚ&#x203A;ĺ&#x2030;¤ä¨žâźŚâ´˝ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;č&#x17D;&#x160;éłľăž?é&#x152;&#x2019;ĺ&#x192;˝ć?&#x20AC;â&#x153;Ťă&#x2030;&#x201A;ĺ&#x2122; ę&#x152;źă&#x2C6;&#x2019;ď&#x2DC;šâ&#x161;&#x203A;â&#x161;&#x201A;ꨞé&#x160;´
think that will continue to be exciting.
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;
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;
č° é Żćś¸ęą&#x2020;ă&#x161;&#x2013;ď&#x2DC;ˇä§ŽâŚ&#x203A;朸ă&#x2022;°ęĽ&#x2122;ĺ&#x2030;&#x201C;éľ&#x153;ă&#x2013;&#x2C6;ë&#x17E;ąč&#x160;Łé&#x2020;˘é¸¤ä&#x2018;&#x2013; äŹ?䟢â&#x153;Ťâ&#x2122;§ĺŞŻä&#x2022;§ć&#x2122;&#x161;ď&#x2DC;šé¸?媯⍌ĺ&#x2030;¤ ç&#x152;˛ćś¸ç&#x20AC;&#x160;ć&#x2122;&#x161;ăž?ç&#x2C6;&#x161;â&#x153;Ť
ë&#x17E;ąč&#x160;Łćś¸é&#x2020;˘âĄ˛éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;šć?&#x20AC;朸㽠ĺ&#x192;˝ę&#x201A;&#x201A;ă &#x2013;ć¤?â&#x17E;żâ&#x17E;&#x192;ă&#x2013;&#x2C6;äŠ&#x203A;
ĺ Ľď&#x2DC;ś4OBQDIBU䧴ă&#x2013;&#x2C6;'BDFCPPLâ&#x2122;łćś¸é&#x152;&#x161;ä&#x2022;§çť˘ä˘Ťď&#x2DC;ˇ 䞸ç&#x201E;şé&#x203A;&#x160;â&#x161;&#x2020;ć˛é&#x161;śä&#x2013;¤éŚ&#x160;⢾éŚ&#x160;ä&#x2DC;°ď&#x2DC;šâĄšä&#x2013;¤âĽ&#x192;é&#x2DC;Žă&#x2013;&#x2C6;â&#x2122;śä˝&#x2013;
é&#x161;śë&#x17E;ąč&#x160;Łćś¸âľšä˛żâ&#x2122;´éť 估é¸?âŚ?ĺ&#x201E;&#x2DC;â&#x17E;żď&#x2DC;ˇé¸?âŚ?é&#x2039;&#x2022;깽暥
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ćş?ĺŚ&#x201E;䞸韊ă&#x2013;&#x2C6;â&#x2122;śĺ&#x20AC;Źă&#x;&#x17E;â¸&#x2C6;ď&#x2DC;ˇä¨žâ&#x;&#x192;䧎âŚ&#x203A;朸ç&#x2DC;źćŽ&#x153;ă˝ ĺ&#x192;˝ â°?ç˝?朸犥ă &#x2013;ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;7'ĺ&#x160;˘â˘ľĺ&#x2030;¤â&#x17E;&#x160;ë&#x17E;&#x192;äť?ä&#x201C;šé&#x17D;&#x2122;âˇ&#x201D;ă&#x152;¨î&#x161;&#x17D;
4#î&#x161;&#x2030;䧎âŚ&#x203A;ĺ&#x2030;&#x161;çł&#x2019;糾⢪揽ĺą&#x17D;ä &#x2DC;é ł 贍朸ă&#x153;Ľă&#x2013;&#x2019;ď&#x2DC;š
ć?&#x20AC;é&#x152;&#x161;ćť&#x17E;✞鸤徜â°&#x2026;ä&#x2019;朸ë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;ˇéźŠĺ&#x2030;¤ä&#x2013;&#x17D;ă˘ľĺ Ľĺ&#x2030;&#x161;⢾ ăť&#x153;ć¤?䞸ç&#x201E;şč&#x17D;&#x2026;ăť&#x153;ë&#x201E;&#x201C;犥ă &#x2013;朸ă&#x20AC;łč&#x2026;&#x2039;ä&#x161;?ď&#x2DC;ˇé?Şă˘ľăž?é&#x152;&#x2019;ć?&#x20AC;
朸㽠ĺ&#x192;˝âśžé¸¤â&#x2122;§â?&#x2030;éŚ&#x201E;éŚ&#x160;䞸ç&#x201E;şćś¸ë&#x201E;&#x201C;ë&#x20AC;żď&#x2DC;šć?&#x201A;é&#x201D;¸ĺ&#x192;˝
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ä&#x160;źĺŤ˛č&#x201A;Ľč° é Żâ&#x161;Ľä&#x2014;ąâ&#x203A;łĺ&#x2030;¤éş&#x2022;겳âĄ&#x201A;朸ă &#x2013;⥲ď&#x2DC;ˇčˇ&#x2018;ä&#x2022;&#x17D;掼ä?¤ĺŤŚä&#x17D;&#x192;č&#x17D;&#x160;éłľ ăž?é&#x152;&#x2019;ćś¸č° é Żăšťé&#x2026;鿪ĺ&#x2030;¤ĺś?âżťč&#x20AC;Ťę°&#x2030;ă&#x201E;¤ę°&#x2030;ĺ?żćś¸âĄ˛ă&#x2026;ˇď&#x2DC;šă&#x201D;&#x201D;姽䧎âŚ&#x203A; â&#x203A;łĺ&#x2030;&#x161;ă &#x2013;⥲ă &#x161;ĺ§żćśŽé ¤ë&#x17E;ąč&#x160;Łă&#x2C6;&#x2013;ć&#x2122;&#x161;ď&#x2DC;ˇ
â&#x17E;&#x160;ë&#x17E;&#x192;î&#x161;&#x17D;
experience. I think there will be more opportunity in the way we use digital so I
that connects with the global community that is exciting for us. Bizarrely there was a
will just be one business within many business but if we can have a portal, a website
â¤&#x161;ď&#x2DC;ˇĺąŁâ&#x161;&#x201A;ď&#x2DC;šé&#x2026;¤ç¸¨č° é Żă&#x201E;¤é&#x201A;?ć&#x20AC;ľä&#x2013;&#x17D;ă&#x20AC;&#x152;ăŁ?ćť&#x17E;ă&#x2039;?ä Śď&#x2DC;ˇćŽĽä?¤â&#x203A;łĺ&#x192;˝ćş?ę&#x2026;ž
â˘&#x2022;朸ă &#x2013;⥲㟊é&#x;?ď&#x2DC;šä§ŽâŚ&#x203A;â´&#x2022;ä&#x160;¨ä&#x2013;&#x17D;ĺ&#x192;&#x2C6;ç&#x201E;ˇď&#x2DC;šé¸?é&#x2026;ęŹ&#x2014;â&#x2122;śăś¸ă&#x2013;&#x2C6;ç&#x2022;šć&#x2DC;°ęĄ
to see how digital and physical can work together. A lot of the shows, they are it s 5 screens, 10 screens, the sound setup or a 3D ďŹ lm, it has to be a distinct
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
č?&#x203A;ĺ&#x20AC;´ë&#x17E;ąč&#x160;Łă&#x2C6;&#x2013;ć&#x2122;&#x161;ď&#x2DC;šä&#x2039;&#x2018;ă&#x153;Ľâ&#x17E; ć?ă&#x2013;&#x2C6;ä°çłľâźŽĺ˝ąď&#x2DC;ˇć¤?ă&#x2013;&#x2C6;
"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
creating something that you can t necessarily experience digitally, whether
electronic music. The Vinyl Factory will become for voice for vinyl culture globally, we
ă&#x2013;&#x2C6;ä&#x2013;&#x17D;ę&#x;&#x20AC;â&#x2122;§ĺŞŻĺ&#x201E;&#x2DC;ę&#x;Śé&#x2026;ă&#x203A;&#x2020;ꡢč?&#x2C6;ä&#x160;šćś¸č° é Żăšťď&#x2DC;ˇä¨žâ&#x;&#x192;7'ĺ&#x192;˝â&#x17E;ŽâŚ&#x203A;ĺ&#x2122;˛
SB: Well, the future for us is to continue to use 180 The Strand, use that
opportunity to create an immersive experience. There are diďŹ&#x20AC;erent opportunities
Factory website is truly important for us, a voice in a way, like FACT, it has become for
濟麼⥚朸㜸ă&#x2013;&#x2C6;ď&#x2DC;ˇ
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¸
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ć?&#x20AC;â&#x161;Ľă&#x203A;&#x161;â¸&#x201A;ę&#x2020;&#x20AC;ď&#x2DC;ˇ7'朸珪ç&#x2022;&#x20AC;㟊䧎âŚ&#x203A;ä &#x2018;çş?ę&#x2026;žăŁ?ď&#x2DC;šă¸? 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
â&#x17E;&#x203A;ä&#x160;şçŤ¤ä§ć?&#x20AC;â&#x153;Ťâ&#x2122;§ĺ&#x160;Ľăź â¨&#x17E;ꨜ㜊ę°&#x2030;ĺ?żćś¸â´&#x161;ć&#x161;&#x;ď&#x2DC;ˇ7'
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䨊ď&#x2DC;śé¸?âŚ?珪ç&#x2022;&#x20AC;ď&#x2DC;šč&#x2026;&#x2039;é&#x203A;&#x160;ď&#x2C6;Łć¤&#x2022;ç&#x2C6;˘âźŚč&#x20AC;˘ç˛ŻéĽąâ˘ľĺ&#x192;˝ęŹ&#x152; ä&#x152;˘äŽ¸ăĽ&#x2026;â&#x17E;&#x192;ä&#x2014;ąćś¸â&#x153;˛ď&#x2DC;ˇăŁźä&#x161;&#x201C;朸ĺ&#x192;˝ď&#x2DC;šă&#x2013;&#x2C6;â&#x2122;łâ&#x161;&#x2020;ç§ ä&#x17D;&#x192;
â&#x17E;żď&#x2DC;šď&#x2C6;Łć¤&#x2022;ĺ&#x2030;¤ ď&#x2DC;ś âŚ?ë&#x17E;ąč&#x160;Łä&#x160;¨ä&#x2018;&#x2013;ď&#x2DC;šâĄ&#x17D;ä&#x2013;&#x2022;⢾⍌✌â&#x2122;´ â&#x2122;§ăšťč&#x2013;&#x160;ă&#x2022;&#x153;朸&.*ď&#x2DC;ˇâĄ&#x17D;⥚ćž&#x152;ć¤?ă&#x2013;&#x2C6;ď&#x2DC;šâ&#x17E;&#x192;âŚ&#x203A;鿪ă&#x2013;&#x2C6;ć&#x2DC;°âŻ&#x201C;
ä&#x203A;&#x152;ä&#x2013;&#x2022;ă&#x2013;&#x2019;ä&#x;?é&#x160;´ę&#x2026;žä&#x2019;&#x160;ë&#x17E;ąč&#x160;Łä&#x160;¨ä&#x2018;&#x2013;ď&#x2DC;šé¸?ă&#x2013;&#x2C6;掚ä&#x17D;&#x192;ĺ&#x192;˝ę¨&#x2C6;â&#x;&#x192; ä&#x;?⍚朸ď&#x2DC;ˇ
Carsten Nicolai: unicolor. Brewer Street Car Park (presented by The Vinyl Factory), London.
made in 60 seconds, because a lot of people are watching ďŹ lms on their phones,
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;
and the culture is continuing to grow, and we want to be at the heart of that. The Vinyl
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
Carsten Nicolai: unicolor. Brewer Street Car Park (presented by The Vinyl Factory), London.
and music and we make it happen as a joint release.
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
people are buying records and they don t have collections. It s even surprising to us.
REALITY THROUGH LIGHT: IN CONVERSATION WITH HELEN MARRIAGE 鷳麔教⯕涸植㻜⚆歲 㼩鑨嵳⧍ • 띊ꅽ㣼
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.
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僤僤럊럊侕䋒㖈 ⦐♶ず涸㖒倰⡎럊莅럊姿遤⤑〳ⵌ
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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
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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.
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
Aquarium, Benedetto Bufalino & Benoit Deseille, Lumiere Durham 2013. Produced by Artichoke. Photo by Matthew Andrews.
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. to work with that particular buildings.
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.
).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;
겊ď&#x2DC;ˇ
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;
of our job is to try and predict what the emotional reaction of the audience will
ă&#x152;¨î&#x161;&#x17D;
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;
make it serve all these diďŹ&#x20AC;erent purposes. What is most important, is the
audience member in front of these works. One of the most important aspects
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
ĺ&#x201C;â&#x;?ď&#x2DC;ˇ
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
or department of transport, was really concerned what it feel like to be an
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
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
When you do a programme in the public it is multi-layered in terms of what
audience s experienceĚśnone of these three people, government or sponsors
"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
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;?
1.
you are thinking about; you re always trying to ďŹ&#x201A;ex what you're talking to
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?
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
The curation of Lumiere is about the following aspects:
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;
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
ĺ&#x20AC;´ĺ&#x192;˝ä§Žé?¤é¨č´&#x2013;ă&#x2013;&#x2019;ă&#x2013;&#x2019;ę°¸ä&#x;?ăŁ?ćť&#x17E;朸ä &#x2018;겊č&#x17D;&#x2026;é ¤ć?&#x20AC;ď&#x2DC;šâ&#x161;&#x203A;é&#x2018;&#x2018;ă&#x2022;ŹâżĄé&#x201C;&#x17E;ĺ&#x2030;Şé˝Ą â?&#x2030;睢䢍äžĺ&#x201A;&#x2C6;ä&#x152;˘é&#x2039;&#x160;ç&#x20AC;&#x201E;éłľâ&#x153;˛ćś¸â&#x17E;&#x192;ď&#x2DC;šâ&#x;&#x192;⿝齥â?&#x2030;ă&#x201D;&#x201D;ć?&#x20AC;ä&#x160;źăĄŚçŽ é¨&#x;ä˝&#x2013;é&#x161;śä§´ 1.8 London, Janet Echelon / Studio Echelon (US). Lumiere London 2016, produced by Artichoke. Photograph Š Matthew Andrews 2016
⨢éş&#x152;㽠䍾ä&#x161;?âŚ?â&#x2122;śâ¨˘ćś¸â&#x17E;&#x192;ď&#x2DC;šé˝Ąă&#x20AC;łâ&#x2122;śĺ&#x192;˝â&#x2122;§â&#x;?ç&#x;Śă&#x2039;˛ćś¸ä&#x160;¨âĄ˛ď&#x2DC;ˇâĄ&#x17D;ć&#x2022;&#x161;âŻ&#x2022; ç&#x153;?㟊â&#x17E;&#x192;âŚ&#x203A;ä&#x17E;&#x2022;ä Žč&#x17D;&#x2026;ë&#x201E;&#x201C;ë&#x20AC;żä¨žč&#x2026;&#x2039;âľ&#x2013;鸤朸ä˝&#x2013;é&#x161;śĺ&#x192;˝ä&#x2013;&#x17D;ę&#x2026;žé&#x160;´ćś¸ď&#x2DC;šä¨žâ&#x;&#x192;齥ĺ&#x192;˝
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ă&#x2122;šä&#x2039;&#x2018;朸ç&#x203A;&#x2DC;ć¤&#x161;ç˝?ç˝&#x152;äŁ&#x201A;ď&#x2DC;ˇâ&#x17E;ŽâŚ&#x203A;ä&#x2013;¤ĺ&#x192;&#x2C6;术ă&#x2122;šä&#x2039;&#x2018;㜸ă&#x2013;&#x2C6;朸ä &#x2018;çş?ď&#x2DC;šä&#x2013;¤ăˇ¸ĺ&#x2030;&#x161;揽 â&#x2122;śă &#x161;朸ĺ&#x20AC;°ä&#x2019;ä Žă&#x20AC;&#x152;ď&#x2DC;ˇâĄ&#x17D;é¸?㟊â&#x17E;ŽâŚ&#x203A;⢾é&#x201C;&#x17E;ăŁ&#x2013;ę¨&#x2C6;â&#x153;Ťď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;â&#x17E;ŽâŚ&#x203A;朸ĺ&#x160;Ľč&#x20AC;ˇ ä&#x160;¨âĄ˛ă˝ ĺ&#x192;˝é&#x203A;&#x160;ă&#x2122;šä&#x2039;&#x2018;çŹ&#x17E;ä°ĺ§ťä&#x152;˘éş&#x152;é ¤ćś¸ć&#x153;&#x153;ä˘&#x20AC;ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;ç&#x201E;ˇăť&#x153;ď&#x2DC;šć&#x2022;&#x161;âŻ&#x2022;ç&#x153;?ĺ&#x2030;&#x201C;ĺ&#x2022;?朸â&#x2122;§ë&#x;&#x160;ă&#x2013;&#x2C6;ĺ&#x20AC;´é&#x203A;&#x160;â&#x17E;&#x192;âŚ&#x203A;â¨&#x2039;ę¨&#x2020;ĺ&#x201A;&#x2C6;ä&#x152;˘é¨&#x; çŽ ď&#x2DC;šä&#x2013;°ç˝&#x153;č&#x2026;&#x2039;ĺ&#x2C6;żâ¸&#x2C6;ăť&#x153;ăť&#x153;ă&#x2013;&#x2C6;ă&#x2013;&#x2C6;ď&#x2DC;śâŻ?ć&#x20AC;?ä&#x;?é&#x;?ă&#x2013;&#x2019;âżĄä Žćżźé¸?âŚ?ă&#x2122;šä&#x2039;&#x2018;ď&#x2DC;ˇ
).î&#x161;&#x2030;ĺ&#x192;˝ă&#x201A;śď&#x2DC;šč?&#x2C6;ä&#x160;šăźŚäŞŞé¨&#x;çŽ éźŠč&#x2026;&#x2039;é&#x203A;&#x160;â&#x17E;&#x192;č&#x17D;&#x2026;ă&#x2122;šä&#x2039;&#x2018;â&#x203A;&#x201C;ę&#x;Śćś¸ęĄ â¤&#x161;ĺ&#x2C6;żé&#x2039;ˇ ăş&#x2122;ă&#x192;¤ď&#x2DC;ˇâĄšé&#x160;´ĺ&#x192;˝ăŁ&#x201D;ăŁ&#x201D;â&#x203A;¨ă&#x2013;&#x2019;ę&#x2DC;Žď&#x2DC;šĺ&#x192;˝â&#x2122;śĺ&#x2030;&#x161;ä &#x2018;é&#x2122;?âľ&#x152;ä&#x2013;°ĺ&#x2018;&#x201D;çš?ăŁ&#x2014;ç§?ä&#x2018;&#x17E;ă&#x153;Ľâľ&#x152; 䟢ä˝&#x;é łéĽĽé¨&#x;ă&#x20AC;Ťé&#x160;´âź§â´&#x2022;ę&#x2014;ťćś¸ď&#x2DC;ˇéĽĽé¨&#x;韊č&#x2026;&#x2039;é&#x203A;&#x160;⥚朎ć¤?⥚â&#x;&#x192;âľšä&#x2013;°ĺ&#x160;˘
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âş&#x2018;â&#x17E;&#x192;âŚ&#x203A;ăź&#x;ĺ§żé ¤ćş?⥲â&#x2122;§ç??ĺ&#x201A;&#x2C6;ä&#x152;˘â´&#x20AC;é ¤ĺ&#x20AC;°ä&#x2019;ď&#x2DC;šâ&#x2122;śâ&#x2122;§ăš ęŹ&#x152;é&#x160;´äľŠâ°&#x2014;â?&#x153;鎌 䧴ă&#x2013;&#x2019;ę&#x2DC;Žď&#x2DC;ˇç˝&#x153;鼼ă&#x2020;ĺ&#x201C;é¨&#x;ĺ&#x2030;&#x161;ć ˝ä&#x2013;¤ä&#x2122;Śĺ&#x17E;şćś¸ë&#x201E;&#x201C;ë&#x20AC;żč&#x17D;&#x2026;ă&#x2013;&#x2019;ę&#x2DC;Žč&#x2026;&#x2039;ă&#x201A;&#x201E;äžĺ&#x201E;&#x2DC;âľ&#x152; 麨ĺ&#x192;˝ă &#x161;ç&#x2DC;&#x17E;ę&#x2026;žé&#x160;´ćś¸ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;朸ç&#x201E;ˇď&#x2DC;šĺ§żé ¤ĺ&#x192;˝ĺ&#x2030;&#x201C;ćŠ&#x2021;âĽ&#x192;朸â?&#x153;é¸&#x2019;ĺ&#x20AC;°ä&#x2019;â&#x153;Ťď&#x2DC;ˇä?Ąâ¨&#x17E;ç&#x2DC;źâˇ&#x201D;朸 ĺ&#x201E;&#x2DC;⌏ĺ&#x192;˝ă&#x201A;&#x201E;â&#x203A;łç˝&#x152;äŁ&#x201A;âľ&#x152;â&#x153;ŤăźŠćŠ&#x2021;ă&#x17E;Żćś¸ä&#x2022;§ę° ď&#x2DC;šä§´ä&#x2039;&#x17E;ĺ&#x160;&#x2020;č&#x2026;&#x2039;ä&#x2019;¸éĽąâ&#x17E;&#x192;âŚ&#x203A;朸 ćŠ&#x2021;âĽ&#x192;ä &#x2018;é&#x2122;?î&#x161;&#x17D;
).î&#x161;&#x2030;â°Śăť&#x153;ä&#x2013;&#x17D;ĺ&#x2030;¤ă&#x20AC;łč&#x2026;&#x2039;ĺ&#x2030;&#x161;ĺ&#x2030;¤â&#x17E;&#x192;䪥é?ąä§ŽâŚ&#x203A;é¸?ĺ&#x17E;şćś¸č° é Żç&#x153;?ĺ&#x192;˝ă&#x2013;&#x2C6;ĺľ éĄĽ č&#x2026;&#x2039;ĺ˝&#x201A;ď&#x2DC;šâĄ&#x17D;â&#x153;˛ăť&#x153;â&#x2122;łä§ŽâŚ&#x203A;ć¤?ă&#x2013;&#x2C6;ă˝ ĺ&#x192;˝ă&#x17D;˛é&#x2018;&#x2018;ć&#x201C;&#x2021;垧ĺ&#x201A;&#x2C6;ä&#x152;˘ćŹ˝ć&#x2022;&#x161;â&#x;&#x192;ä&#x17D;&#x201A;é&#x201A;&#x201A;䧎âŚ&#x203A;
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encountered. Part of the plan is to get people to move diďŹ&#x20AC;erently. Many
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
to regard walking as a form of transport. They don't actually need the bus
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
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 or the tube, the walking route and that experience was as important as whether the tube is running on time.
"35 ;*1î&#x161;&#x2030;㽠㟊ă&#x2122;šä&#x2039;&#x2018;朸ăť&#x153;ë&#x201E;&#x201C;ä Žă&#x20AC;&#x152;韊ĺ&#x2030;¤â&#x17E;&#x192;č&#x17D;&#x2026;â&#x17E;&#x192;â&#x203A;&#x201C;ę&#x;Śćś¸â?&#x153;ä&#x2013;&#x192;ç˝&#x153; é&#x17D;&#x160;ď&#x2DC;šć&#x2022;&#x161;âŻ&#x2022;ç&#x153;?é&#x203A;&#x160;â&#x17E;&#x192;âŚ&#x203A;ăť&#x153;ăť&#x153;ă&#x2013;&#x2C6;ă&#x2013;&#x2C6;ă&#x2013;&#x2019;çżšă&#x2013;&#x2C6;â&#x2122;§éĽąâ&#x153;Ťď&#x2DC;ˇ
).î&#x161;&#x2030;ĺ&#x192;˝ă&#x201A;śď&#x2DC;šâ&#x17E;&#x192;âŚ&#x203A;â&#x2122;§ë˘śéŽ&#x2026;ă&#x2013;&#x2C6;ć&#x161;&#x2039;ĺł¸é łćś¸ęź&#x203A;é¨&#x;â&#x161;ĽăŁ&#x153;颣ć&#x2022;&#x161;ď&#x2DC;šé˝Ąâ&#x2122;§ä?&#x152;ăŁ&#x2013;
皥㼪â&#x153;Ťď&#x2DC;ˇĺ§˝âľšä§Žă&#x2013;&#x2C6;â?&#x153;é¸&#x2019;é&#x2039;&#x160;âˇ&#x201D;㽡齥韚â¨&#x17E;â&#x153;Ťä&#x2013;&#x17D;ăŁ?朸â¸&#x2014;â¸&#x201A;ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;é&#x201C;&#x17E; ⥚â&#x2122;śč&#x2026;&#x2039;ă&#x2013;&#x2C6;ę&#x2026;žé&#x160;´ćś¸â?&#x153;é¸&#x2019;é¨&#x;ă&#x20AC;Ąăź&#x201C;é¨&#x;ď&#x2DC;šâĄšä&#x2013;¤é&#x203A;&#x160;ä&#x160;źăĄŚč&#x2026;&#x2039;㣠é¸&#x2019;é ¤ď&#x2DC;ˇâĄ&#x17D;âľ&#x152; â&#x153;Ťć&#x2022;&#x161;âŻ&#x2022;ç&#x153;?ę&#x;&#x161;ä?&#x152;齥ăŁ&#x201D;ď&#x2DC;šćŽšä§ŽéĽĽâ´&#x20AC;ă&#x2013;&#x2019;ę&#x2DC;Žâ˘ľâľ&#x152;é¨&#x;â&#x2122;łď&#x2DC;šćş?âľ&#x152;ăŁ?ăšťéŽ&#x2026;ă&#x2013;&#x2C6;
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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 actually a unique one to people.
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? HM: I am a very analogue person; I am very old. There is new
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
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
).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¸?
â?&#x2030;败亟㯯ë&#x201E;&#x201C;㟊ä&#x17D;&#x192;é°&#x2039;â&#x17E;&#x192;朸ď&#x2030;&#x161;ä&#x2019;¸â¸&#x201A;ď&#x2DC;šâĄ&#x17D;䧎韊ĺ&#x192;˝é&#x152;?ä&#x2013;¤ćşŤăť&#x153;朸ć¤? ăť&#x153;ĺ&#x2030;&#x201C;é&#x203A;&#x160;䧎姚ă&#x2039;?ď&#x2DC;ˇâĄšä&#x2013;¤âżĄăť&#x153;ăť&#x153;ă&#x2013;&#x2C6;ă&#x2013;&#x2C6;ă&#x2013;&#x2019;ä Žă&#x20AC;&#x152;ď&#x2DC;śâĄšä&#x2014;łę°ă&#x2013;&#x2C6;ă&#x153;Ľď&#x2DC;š
ç˝&#x153;ęŹ&#x152;é¸&#x2019;éş&#x2022;ăŁ?ăž&#x201C;ä?&#x152;䧴ꨜé&#x2039;&#x2022;ĺ ĽâżĄćş?ď&#x2DC;ˇă&#x2013;&#x2C6;掚â&#x17E;&#x203A;â&#x161;&#x2020;ć˛ď&#x2DC;šä§ŽâŚ&#x203A;ăŁ&#x2013;睢 䢍ĺ&#x20AC;´äŞžăŁ?ę&#x2020;&#x20AC;ĺ&#x201E;&#x2DC;ę&#x;Śč&#x201D;&#x2026;ă&#x2013;&#x2C6;ăž&#x201C;ä?&#x152;ęŹ&#x2014;âľšď&#x2DC;šé¸&#x2019;éş&#x2022;ă¸?⢾乺ă&#x20AC;&#x152;âĽ&#x152;ä&#x153;&#x201A;ď&#x2DC;šé&#x2019;˘
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
between you will be nonstop. It is actually about making real connection.
FIND OUT MORE ĺ&#x2C6;żă˘ľâĽ&#x152;ä&#x153;&#x201A;
Lumiere will return to Durham for the fifth time, commissioned by Durham County Council, 16-19 November 2017. www.lumiere-festival.com
that something is real. You have to put it as live experience, you
ç??ć¤?é&#x;?ä&#x2122;Śë&#x17E;&#x2020;ćş?ă&#x192;¤î&#x161;&#x17D;
your friends, who are not on your Facebook list, but connections
Instagram, although the oďŹ&#x192;ce for the company does it. I can up with it, but for me, the real pleasure is about discovering
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?
with thousands of other people that you don t know, who are not
This article and interview refer to the Lumiere festivals which took place in Durham in November 2015 and London in January 2016.
see how fascinating it is for the young people who have grown
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¸?
world has changed. You are invited and you can share the space
technology that I ďŹ nd it useful, but there is no passion. I don t feel the newest pieces and I don't do Facebook or Twitter or
"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?
as an alternative reality, in which for these brief moments the
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
Keyframes, Groupe LAPS/Thomas VeyssiÊre (France). Lumiere London 2016, produced by Artichoke. Photograph Š Matthew Andrews 2016
right decision then, good that we closed it. That experience was
we don t share space with other people because we are sitting in
SONICA č&#x20AC;Şę°&#x2030;č°&#x20AC;é Žç&#x153;&#x17D;
Onion Skin, Olivier Ratsi
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?
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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;
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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;
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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, Seismik.
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
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
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;
at the same time I also had a band, so I would play music. Slowly I moved from
),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 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
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;˝
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
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;
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
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.
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
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
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
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
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
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;
✞⥲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
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 Herman Kolgen, Seismik.
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;⢾
),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;
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.
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
䧎âŚ&#x203A;č&#x2026;&#x2039;㣠ę&#x201A;&#x201A;ă &#x2013;襽č&#x20AC;Ťę°&#x2030;ç?ľâš&#x203A;⍚ç¨&#x2021;ď&#x2DC;šé¸&#x2019;éş&#x2022;ä˝&#x2013;é&#x161;śęą˝ćĄ§çŞ?ă¸?âŚ&#x203A;ď&#x161;łčĄ˝č&#x2019;&#x20AC;ď&#x161;´ď&#x2DC;ˇă&#x2013;&#x2C6;
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 diďŹ&#x20AC;erent 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 diďŹ&#x20AC;erent 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.
ꨜč&#x2C6;Ąâ&#x2122;łď&#x2DC;šä§ŽâŚ&#x203A;č&#x2026;&#x2039;㣠â¨&#x17E;â&#x;¤âĄŚâ&#x153;˛ä&#x17E;&#x2022;ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;䨞ę&#x2026;ˇćŹ˝ćś¸é&#x201C;&#x192;é&#x17D;&#x160;ĺ&#x192;˝ćšąă &#x161;朸ď&#x2DC;ˇé¸?ĺ&#x192;˝ ä&#x2013;&#x17D;ę&#x2026;žé&#x160;´ćś¸â&#x2122;§ë&#x;&#x160;ď&#x2DC;šâĄ&#x17D;ĺ&#x2030;¤ĺ&#x201E;&#x2DC;⽿ă&#x20AC;łč&#x2026;&#x2039;ĺś&#x2039;é?&#x2018;äą&#x2C6;㢾âŻ&#x2039;ä&#x161;?ď&#x2DC;ˇä§Žâ&#x203A;łĺ&#x2030;¤â&#x2122;§â?&#x2030;⥲ă&#x2026;ˇâ&#x2122;ś
ĺ&#x192;˝â&#x;&#x192;䞸㜜äŠ&#x203A;媯㸤ä§ćś¸ď&#x2DC;ˇâżĄä&#x17D;&#x192;ĺ&#x192;ąăˇ&#x17D;ď&#x2DC;šč¤&#x2018;ć&#x161;śâľ&#x201E;ć&#x2122;&#x2039;朸ę°&#x2030;ĺ?żăˇ¸ę¤&#x17D;éź?é&#x201D;&#x17E;䧎č&#x17D;&#x160; éłľâ&#x2122;§ĺŚ&#x201E;ć&#x20AC;ľâ´&#x20AC;ď&#x2DC;ˇä§Žâ˘ŞćŹ˝â&#x153;Ťä&#x2013;&#x17D;ă˘ľäŞŽé Żď&#x2DC;šâĄ&#x17D;â°Śâ&#x161;Ľĺ&#x2030;¤â&#x2122;§â?&#x2030;韊ĺ&#x192;˝ĺ&#x17E;¸äşźäŠ&#x203A;媯ď&#x2DC;ˇä§Ž 朸✞⥲â&#x;&#x192;ĺ&#x161;&#x152;ä&#x2122;&#x201A;ć?&#x20AC;â&#x161;şď&#x2DC;šä¨žâ&#x;&#x192;â&#x2122;§â´&#x2014;ă&#x20AC;&#x160;寚ĺ&#x20AC;´ĺ&#x161;&#x152;ä&#x2122;&#x201A;â&#x;&#x192;⿝䧎é&#x160;´é&#x201A;?麨â&#x17E;&#x160;ë&#x17E;&#x2020;ď&#x2DC;ˇĺ&#x2030;¤
ĺ&#x201E;&#x2DC;䧎ä&#x2014;łę°â˘ŞćŹ˝â&#x2122;śă &#x161;朸ä&#x160;¨â°¨î&#x161;&#x160;ĺ&#x2030;¤ĺ&#x201E;&#x2DC;䧎ꨞé&#x160;´çŽĄăť¨éŽżâ&#x;?ď&#x2DC;ˇé¸?鿪ă&#x20AC;&#x160;寚ĺ&#x20AC;´ä§Ž
ä&#x;?é&#x160;´ćŹ˝â&#x17E;&#x160;ë&#x17E;&#x2020;âżĄä Žĺ&#x17D;Şé&#x152;&#x161;ćť&#x17E;ď&#x2DC;ˇĺ&#x2030;¤ĺ&#x201E;&#x2DC;ď&#x2DC;šä§Žä¨žę¨žćś¸â&#x2122;śéş&#x2022;ĺ&#x192;˝â&#x2122;§ä˝&#x2026;ç&#x2DC;&#x2DC;ď&#x2DC;śâ&#x2122;§ä&#x201C;šç§ś ă&#x201E;¤â&#x2122;§âŚ?ë?&#x2039;âŻ&#x2DC;ę´?ď&#x2DC;ˇä§Žâ˘ŞćŹ˝äŞŽé ŻäŠ&#x203A;媯ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;ă&#x2013;&#x2C6;ç˛ćŽĽă&#x201E;¤ę§¨ă?&#x2013;â&#x161;Ľĺ&#x2030;¤ä&#x2013;&#x17D;㢾äŠ&#x203A; 媯ä&#x160;şçŤ¤é&#x201E;&#x201E;揽éş&#x2022;â&#x153;Ťď&#x2DC;šä§Žâ&#x2122;śä&#x;?⿥ę&#x2026;žä&#x2014;&#x201A;é¸?â?&#x2030;ď&#x2DC;ˇäŞŽé Żéš§čĄ˝ä§Žę&#x2026;žĺ&#x20AC;&#x17E;ꥪę&#x2026;źď&#x2DC;šâ&#x203A;łä˝&#x2013;
é&#x161;śâ&#x153;Ťä§ŽâŚ&#x203A;✞⥲朸ĺ&#x20AC;°ĺ˛ ă&#x201E;¤ä§ŽâŚ&#x203A;ă&#x201E;¤ć&#x161;&#x;â&#x;?â&#x203A;&#x201C;ę&#x;Śćś¸ęĄ â¤&#x161;ď&#x2DC;ˇäŞŽé ŻçŞ?â&#x153;Ťä§Žăť¤é&#x2039;&#x2022;
ă&#x201E;¤é&#x201D;&#x2026;é&#x2018;&#x2018;朸ĺ&#x20AC;&#x17E;ĺ&#x20AC;°ĺ˛ ď&#x2DC;ˇé¸?ĺ&#x192;˝â&#x2122;§ç??â&#x2122;śă &#x161;朸é&#x201C;&#x192;é&#x17D;&#x160;ď&#x2DC;ˇé¸?â&#x203A;łĺ§ťĺ&#x192;˝č° é Żâ&#x203A;&#x201C;䨞â&#x;&#x192;ĺŽ&#x2022; éť&#x2021;âľšéš&#x17D;朸➲ă&#x201D;&#x201D;ď&#x2DC;ˇä§ŽâŚ&#x203A;朸揰ĺ´&#x17E;ĺ&#x20AC;°ä&#x2019;çŞ?䧎âŚ&#x203A;ä&#x152;&#x;⢾â&#x153;Ťĺ&#x20AC;&#x17E;ćś¸ćŻ ă&#x2030;?ď&#x2DC;ˇć¤?ă&#x2013;&#x2C6;ď&#x2DC;šä¨ž ĺ&#x2030;¤ĺ&#x152;&#x152;é&#x160;ŻéżŞĺ&#x192;˝äž¸ăśśćś¸ď&#x2DC;šĺŤŚâŚ?â&#x17E;&#x192;鿪ĺ&#x192;˝äž¸ăśśč° é Żăšťď&#x2DC;ˇ
),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.
Herman Kolgen. Photographed by Harry Liu.
computer is now very important to understand physics.
things, the language is more simple, just 1 s and 0 s. You can take a
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
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;
will use, but I have to deďŹ ne my direction and what I want to say. I don t want
é&#x2026;éź&#x2021;ă&#x20AC;&#x160;â&#x2122;§âŚ?⍚ç¨&#x2021;ď&#x2DC;śâ&#x2122;§âŚ?깽楧ď&#x2DC;šă¸?âŚ&#x203A;â&#x2122;śéş&#x2022;ĺ&#x192;˝ é¸?ĺ&#x17E;şćś¸äž¸äş&#x2122;ď&#x2DC;ˇä¨žâ&#x;&#x192;
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
technology. I work from the centre of the concept. One of my next projects, and they asked me to create a piece. I don t know exactly which technology I
é&#x161;śâ&#x153;Ťä&#x2013;&#x17D;㢾ĺ&#x152;&#x152;é&#x160;Żď&#x2DC;šă¸?䨞⢪揽朸é&#x201C;&#x192;é&#x17D;&#x160;ĺ&#x2C6;żâ¸&#x2C6;ç&#x;Śă&#x2039;˛ď&#x2DC;šă&#x20AC;Ťĺ&#x192;˝ ă&#x201E;¤ ď&#x2DC;ˇâĄšč&#x2026;&#x2039;ă&#x2013;&#x2C6;ꨜč&#x2C6;Ą
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
"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;
I had a residency in a particle accelerator in France. I spent one week there
digital, you have analogue for example. Digital changed a lot of
),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˛
ART.ZIP: What do you think your next step is?
HK: Now I work on three or four new projects. I don t want to follow
be art. It was justiďŹ ed. Digital is so speciďŹ c, technology is more than
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;
*/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.
GRAFFITI WITH SOUND AND LIGHT INTERVIEW WITH MARK LYKEN 䕧갉㝣뒩 㼠鏞꼛⯘v蟚肤
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
element, but everything we do, even if it s an analogue process, is recorded
"35 ;*1î&#x161;&#x2030;ä?Ąé&#x152;?ä&#x2013;¤äž¸ăśśč° é Żĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;î&#x161;&#x17D;ĺ&#x2030;¤ĺ°?ĺ&#x2030;¤â&#x2122;§ç??ĺ&#x20AC;°ĺ˛ ă&#x20AC;ł
separate things. I did an artist residency in the highlands with the School of
.-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
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;¨
capturing that data.
.-î&#x161;&#x2030;䧎é&#x152;?ä&#x2013;¤é¸?ă˝ ă&#x201E;¤â´˝ćś¸ĺ&#x152;&#x152;é&#x160;Żâ&#x2122;§ĺ&#x17E;şď&#x2DC;ˇé¸?ĺ&#x192;˝ćŹ˝â˘ľâśžâĄ˛ćś¸â&#x2122;§ç??
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 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?
digitally, and you can t escape that. It s just numbers, 0 s and 1 s, it s a way of
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;¤
ART.ZIP: Why do you have a digital methodology in your work?
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;§
and when I was growing up both my parents worked for a company called
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° 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
ML: Again, because it s an accessible tool and it s what I grew up with. I m 42 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 ďŹ rst computer in1982, and that s kind of incredible.
â&#x;&#x192;䲞霤㼜姽㝍ĺ˛&#x152;朸ęą&#x2020;ă&#x161;&#x2013;î&#x161;&#x17D;
㯯â&#x17E;?ď&#x2DC;šâ&#x2122;§ă¤&#x203A;ĺ&#x20AC;&#x17E;朸ä&#x160;¨â°¨ď&#x2DC;ˇâ&#x2122;śç&#x203A;&#x2DC;揽朸ĺ&#x192;˝ćŽĽç&#x2DC;&#x2DC;ď&#x2DC;ść&#x2019;&#x2018;ćšąĺ ĽéźŠĺ&#x192;˝ëĄ&#x2014;
ĺ&#x17E;Śď&#x2DC;šĺ&#x2030;&#x201C;ę&#x2026;žé&#x160;´ćś¸éźŠĺ&#x192;˝âĄšćś¸ă&#x2026;ˇă&#x201E;&#x201A;ă&#x201E;¤ăť¤çšĄä&#x17E;&#x2022;錹ď&#x2DC;ˇăźŠä§ŽâŚ?â&#x17E;&#x192;ç˝&#x153;é&#x17D;&#x160;ď&#x2DC;š 䧎ä&#x2039;&#x17E;ĺ&#x160;&#x2020;č&#x2026;&#x2039;㣠ä&#x2019;¸â°&#x2026;â&#x2122;§ë&#x;&#x160;ă&#x20AC;łé?¸ä&#x161;?朸âŻ&#x2039;ç¨&#x2021;ď&#x2DC;šâĄ&#x17D;ĺ&#x192;˝ď&#x2DC;šä§ŽâŚ&#x203A;â¨&#x17E;朸â&#x;¤
⥌â&#x153;˛ä&#x17E;&#x2022;ď&#x2DC;šă˝ ç&#x161;żĺ&#x192;˝ĺ&#x17E;¸äşźâĽ&#x152;贍朸ĺ&#x152;&#x152;é&#x160;ŻéżŞĺ&#x192;˝ćŹ˝äž¸ăśśćś¸ĺ&#x20AC;°ĺ˛ ę?&#x2014;âľ&#x2013;
â&#x2122;´â˘ľćś¸ď&#x2DC;šé¸?ĺ&#x192;˝ĺ°?ĺ˛ éˇ&#x2014;éź&#x161;朸ď&#x2DC;ˇä§ŽâŚ&#x203A;ĺ&#x2030;¤ćś¸ă&#x20AC;Ťĺ&#x2030;¤äž¸ăśśď&#x2DC;š ă&#x201E;¤ ď&#x2DC;šé¸? ă˝ ĺ&#x192;˝ć ˝ă&#x20AC;&#x160;䞸äş&#x2122;朸ĺ&#x20AC;°ĺ˛ ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;ä?Ąćś¸âĄ˛ă&#x2026;ˇâ&#x161;Ľć?&#x20AC;⥌âŻ?ć&#x20AC;?䞸㜜äŠ&#x203A;媯î&#x161;&#x17D;
.-î&#x161;&#x2030;ă&#x201D;&#x201D;ć?&#x20AC;䞸㜜äŠ&#x203A;媯ĺ&#x192;˝â&#x2122;§ç??ă&#x2C6;°äŠ&#x203A;ă&#x20AC;łä&#x2013;¤ćś¸ä&#x160;¨â°¨ď&#x2DC;šä§Žä&#x2013;°ăźă˝ ă&#x201E;¤ ă¸?䊧â?&#x153;麼ď&#x2DC;ˇä§Žć¤?ă&#x2013;&#x2C6; ĺ¨&#x201D;ď&#x2DC;šăźĺ&#x201E;&#x2DC;⌏䧎朸ć&#x2DC;żĺŤ˘ă&#x2013;&#x2C6;â&#x2122;§ăšťă ?ć?&#x20AC;岲
ĺ&#x201C;&#x2020;âŻ&#x2DC;ĺ&#x20AC;&#x203A;朸â°&#x2014;ă &#x20AC;â&#x2122;łćŁľď&#x2DC;šç˝&#x153;ĺ Ťâ&#x2122;´ćś¸ä&#x160;¨ä&#x2018;&#x2013;ă&#x2013;&#x2C6; ä&#x17D;&#x192;â&#x17E;żâľšĺ&#x160;?ă˝ ę&#x;&#x161; 㨼âľ&#x2013;鸤;9 4QFDUSVNé&#x17D;&#x2122;ç&#x161;żĺ Ľď&#x2DC;ˇä¨žâ&#x;&#x192;䧎âŚ&#x203A;齥ĺ&#x201E;&#x2DC;㽠鿪ĺ&#x2030;¤ę¨śč&#x2C6;Ą â&#x153;Ťď&#x2DC;ˇé˝Ąĺ&#x201E;&#x2DC;⌏朸ꨜč&#x2C6;Ąę¨žé&#x160;´âĄšçŞ?ă¸?âŚ&#x203A;é?¤ç¸¨ç&#x17D;&#x2018;ä&#x17D;¸ď&#x2DC;šă&#x201A;&#x201E;âľąă¸?âŚ&#x203A;â&#x17E;&#x160;
ë&#x17E;&#x2020;鿪â¨&#x17E;â&#x2122;śâ&#x153;Ťď&#x2DC;šä¨žâ&#x;&#x192;䧎âŚ&#x203A;ä&#x2013;°ăźă˝ 㟊玥ç&#x17D;&#x2018;ĺ&#x2030;¤ä¨žâ&#x153;Ťé?&#x2018;ď&#x2DC;šç˝&#x153;â&#x161;&#x201A;ă&#x20AC;łâ&#x;&#x192;
é&#x201C;&#x17E;ĺ&#x192;˝ă&#x201E;¤é&#x17D;&#x2122;ç&#x161;żĺ Ľâ&#x2122;§éĽąę&#x;&#x20AC;ăŁ?朸ď&#x2DC;ˇä§Žă&#x2013;&#x2C6; ä&#x17D;&#x192;ă˝ ĺ&#x2030;¤â&#x153;Ťç&#x2014;§â&#x2122;§č?Šę¨ś č&#x2C6;Ąď&#x2DC;šé¸?ĺ&#x192;˝äŻ&#x2020;â&#x2122;śă&#x20AC;łä&#x2122;źé&#x2122;žćś¸â&#x153;˛ä&#x17E;&#x2022;ď&#x2DC;ˇ
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; 朸ęĄ
ă&#x201E;¤äž¸ăśśä&#x160;¨â°¨äŠ§â?&#x153;麼㟊䧎⢾é&#x201C;&#x17E;ĺ&#x192;˝ä&#x2013;&#x17D;č?&#x2C6;ć?朸â&#x153;˛ä&#x17E;&#x2022;ď&#x2DC;ˇă&#x201D;&#x201D;ć?&#x20AC;齥â?&#x2030;
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;
ĺ&#x17E;şä§ŽâŚ&#x203A;ă˝ ĺ&#x2030;¤é&#x2039;ˇč?&#x2C6;â&#x2122;łäŠ&#x203A;朸ć&#x201C;żä&#x153;Ťä Žď&#x2DC;ˇä§Žćś¸ć&#x2DC;żĺŤ˘ă˝ ĺ&#x192;˝âľ&#x2013;鸤é¸?â?&#x2030;
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;˛ ä &#x2018;㜸ă&#x2013;&#x2C6;ď&#x2DC;ˇ
ꨜč&#x2C6;Ąĺ&#x192;˝ä&#x2013;&#x17D;ç&#x;Śă&#x2039;˛ćś¸ď&#x2DC;šä¨žâ&#x;&#x192;䧎âŚ&#x203A;ă&#x20AC;łâ&#x;&#x192;č?&#x2C6;ä&#x160;šäŠ§ę&#x;&#x161;ꨜč&#x2C6;ĄâĽ&#x153;ć¤&#x161;ď&#x2DC;šé¸? ꨜč&#x2C6;Ąćś¸ď&#x2DC;šä¨žâ&#x;&#x192;ꨜč&#x2C6;Ąâ°&#x2030;éż&#x2C6;朸ä&#x17E;&#x2022;幣䧎âŚ&#x203A;ĺ&#x192;˝ä&#x2013;&#x17D;嚢ĺ&#x2DC;˝ćś¸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
"35 ;*1î&#x161;&#x2030;ć¤?ă&#x2013;&#x2C6;䧴é?Şĺ&#x2030;¤é¸?ĺ&#x17E;şâ&#x2122;§ç??䪥é?ąď&#x2DC;šâ˝°ĺ&#x20AC;&#x17E;â&#x2122;§â&#x17E;żćś¸äž¸ăśś
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;
ĺ&#x192;˝ä&#x2DC;&#x2018;ĺ&#x20AC;´éˇ&#x2020;ĺŽ ĺ&#x20AC;&#x17E;朸佪ĺ?&#x201C;ď&#x2DC;ˇä?ĄăźŠĺ§˝ä&#x2122;Śë&#x17E;&#x2020;ćş?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;?
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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
č° é ŻăšťâŚ&#x203A;ĺ&#x2C6;żęĄ ä&#x2014;ąâĄ˛ă&#x2026;ˇćś¸çšĄăˇ¸ç˝&#x153;ęŹ&#x152;â°Śč&#x192;?ä&#x2013;&#x2022;朸ĺ&#x161;&#x152;ä&#x2122;&#x201A;ď&#x2DC;ˇâ&#x17E;ŽâŚ&#x203A;çą? .-î&#x161;&#x2030;é¸?ă&#x201E;¤â´˝ćś¸ĺ&#x152;&#x152;é&#x160;Żâ&#x2122;§ĺ&#x17E;şď&#x2DC;ˇäž¸ăśśč° é Żĺ&#x192;˝â&#x;&#x201A;â&#x17E;&#x192;č&#x17D;&#x2021;ăĽ&#x2026;朸ď&#x2DC;šâĄ&#x17D;⥚
ĺ&#x2030;&#x201C;â&#x2122;śä&#x;?â¨&#x17E;朸㽠ĺ&#x192;˝âśžâĄ˛ĺ&#x17E;¸â&#x;Źâ´˝â&#x17E;&#x192;朸⥲ă&#x2026;ˇď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;é¸?ä&#x2013;&#x17D;ä&#x2DC;°ă˝ ĺ&#x2030;&#x161;
éş&#x2022;ĺ&#x201E;&#x2DC;ď&#x2DC;ˇé¸?㽠⍚溽âŻ&#x2022;朸⢪揽â&#x2122;§ĺ&#x17E;şď&#x2DC;ˇć¤?ă&#x2013;&#x2C6;⥚ćş?ćş? ä&#x17D;&#x192;â&#x17E;żćś¸ ä&#x2018;&#x17E;ă&#x192;&#x2021;ď&#x2DC;šâľ&#x152;č´&#x2013;鿪揽â&#x153;Ťćş˝âŻ&#x2022;ď&#x2DC;šé¸?ăŁ&#x2013;ä&#x203A;&#x152;ä&#x2122;łâ&#x153;Ťď&#x2DC;ˇä&#x2013;°ä§Žč?&#x2C6;ä&#x160;šćś¸é&#x152;Źä?&#x17E;⢾ ćş?ď&#x2DC;šä§Žä&#x2039;&#x17E;ĺ&#x160;&#x2020;⍚✊éą&#x20AC;溍ăť&#x153;朸č&#x160;Łć&#x2122;&#x161;ă&#x201E;¤ç&#x2026;&#x201A;ä&#x152;&#x;齥ĺ&#x17E;şâ˘ŞćŹ˝ĺ&#x20AC;&#x17E;äŞŽé Żď&#x2DC;ˇ
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"35 ;*1î&#x161;&#x2030;ä?Ąé&#x2019;˘ć?&#x20AC;č° é Żă&#x201E;¤äŞŽé Żâ&#x203A;&#x201C;ę&#x;Śĺ&#x2030;¤âĄŚęĄ â¤&#x161;î&#x161;&#x17D;äŞŽé Żă&#x20AC;Ťĺ&#x192;˝ ä&#x152;&#x;⢾â&#x153;Ťĺ&#x20AC;&#x17E;ä&#x160;¨â°¨ă&#x152;¨î&#x161;&#x17D;韊ĺ&#x192;˝ă¸?ä˝&#x2013;é&#x161;śâ&#x153;Ťč° é Żćś¸ç&#x153;&#x2022;ćŻ&#x2018;î&#x161;&#x17D;
.- 䧎é&#x2019;˘ć?&#x20AC;é¸?â°?ç˝?ĺ&#x192;˝â&#x2122;śč?&#x2C6;â&#x161;şă&#x2013;&#x2019;ćšąâ&#x153;˝äŞ&#x153;ä°ă&#x201A;&#x2026;ď&#x2DC;šé¸?㽠⍚â&#x2122;§âŚ?
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âŻ&#x201C;é?¤ä&#x;?朸ď&#x2DC;ˇâ&#x17E;&#x192;âŚ&#x203A;çą?ĺ&#x192;˝ä˛&#x20AC;âš&#x203A;襽â&#x2122;§â´&#x2014;âľšéš&#x17D;ď&#x2DC;ˇâ&#x17E;&#x192;âŚ&#x203A;çą?ĺ&#x192;˝ĺ&#x2030;&#x161;ď&#x2DC;šç˝&#x153;â&#x161;&#x201A; ĺ&#x2030;¤ĺ§ťćŽšćś¸ć¤&#x161;ć&#x2039;ď&#x2DC;šćŹ˝ď&#x161;łę?Ťé&#x201C;?ď&#x161;´ćś¸ĺ&#x20AC;°ĺ˛ ⢪揽ä&#x160;¨â°¨ď&#x2DC;ˇâĄšçą?ĺ&#x2030;&#x161;揽玥
ç&#x17D;&#x2018;â&#x17E;&#x192;ă&#x2020;&#x17E;â&#x2122;śĺ&#x2030;&#x17D;é?¤ä&#x;?éş&#x2022;朸ĺ&#x20AC;°ä&#x2019;⢪揽ĺ&#x17D;Ľç??估揽ä&#x160;¨â°¨ď&#x2DC;šé¸?ĺ&#x192;˝â&#x2122;§â&#x;? 㼪â&#x153;˛ď&#x2DC;šă&#x201D;&#x201D;ć?&#x20AC;é¸?ă˝ ĺ&#x192;˝â&#x17E;&#x192;ä&#x161;?ď&#x2DC;ˇ
Mark Lyken. Photographed by Harry Liu.
to the person living next door. So I m really interested in those stories. I m
ę&#x;&#x161;㨼✞⥲揰ĺˇ&#x2020;朸î&#x161;&#x17D;
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
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 harmoniously as you can be. I then decided that, after so many years of 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
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;
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
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;
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
ML: No, I haven t. What I m interested in is the parallels 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
Mark Lyken, The Terrestrial Sea. Performance at Sonica 2015. Photo by Tommy Ga Ken Wan
to yourself, you have to be quite quiet. You meet some interesting, often
.-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;
means that I can score it as a composer as well.
between places, so if I m making work in a little ďŹ shing
you re painting places, as a graďŹ&#x192;ti artist, you don t want to draw attention
so you had that hands-on feel. My parents made them, so I knew what was
psychological way. It s a brand new challenge, but it
We re in this room now and I can hear the echo and I m thinking how I
you to be bold. I like to make work that is quite quiet and reďŹ&#x201A;ective. When
that you could open them up and repair them, because they were quite simple,
and documentary work, but taking it into a scripted
ART.ZIP: Have you been to China before?
could work with the space. The graďŹ&#x192;ti thing is really interesting. It teaches
"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
investigating people s idea to place from a previous art
I took from graďŹ&#x192;ti. When I go into a room, I might not think of it in terms of painting any more, but I think of it in terms of what I could do with it.
That kind of digital way feels natural. The thing about those computers was
reputation of being otherworldly, so it s an idea of
LU SISI: THE AGE OF DIGITAL/ANALOGUE 㼠鏞ス䙼倛 垷亻 侷㶶⻊儗➿
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)
*/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
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
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
Lu Sisi
reached almost to the sky, but we never saw another person, we actually only
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
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
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;
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Lu Sisi. Making of The Age of Digital/Analogue (2013-2016)
themselves. Other than the performance itself, I hope to release more of the
-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;
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;
-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
and natural landscapes we encountered many things that were interesting by
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;
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
I hope I have made something that will especially appeal to young people,
ďŹ nal desire for the project, although of course during the ďŹ lming of factories
LSS: This is a 45-minute performance, which uses music as a vector and
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;
"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;
and bring across my own research into this topic. A documentary was not my
"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
⢾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;
opportunity to present your own ideas, so with this project I hope I can
meaningfully connect with the audience. Using music, ďŹ lm and pop culture
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?
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
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 aďŹ&#x20AC;ected. Personal experiences aďŹ&#x20AC;ect 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 ďŹ lm, the application of digital is secondary; digital editing, digital eďŹ&#x20AC;ects and so on. Even so, the ďŹ rst 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
ä&#x160;¨ĺ&#x2122; ęŹ ă&#x201E;?ĺ&#x201E;&#x2DC;ĺ&#x160;?ď&#x2DC;šâ&#x17E;&#x192;âŚ&#x203A;䪞ăż&#x2039;é&#x2026;朸ĺ&#x; 鿪ç&#x20AC;ˇâŻ&#x2022;揽ĺ&#x20AC;´é&#x2020;˘é¸¤ę?&#x2C6;ę&#x2DC;Žď&#x2DC;š
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;
can still feel the work contains a number of digitally artistic parts. I feel digital
ă&#x2030;?ę˛&#x2014;äŠ&#x17E;ę&#x2026;žĺ&#x20AC;&#x17E;ę&#x;&#x161;㨼ç??ĺ&#x2014;&#x192;ĺ&#x; ĺ&#x160; ď&#x2DC;šć¤?ă&#x2013;&#x2C6;齥â?&#x2030;ę&#x2026;žĺ&#x20AC;&#x17E;ç??ĺ&#x2014;&#x192;朸ĺ&#x; ĺ&#x160; â&#x203A;ł
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;
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 diďŹ&#x192;culties? How do you approach conďŹ&#x201A;ict 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 diďŹ&#x20AC;erent types of media. Using a variety
of technologies I created a platform to generate my performances, which has
揰ä˘&#x20AC;猺窥č?&#x2C6;ć?ă˝ é&#x201E;&#x201E;ç śăĄ?â&#x153;Ťď&#x2DC;ˇă˘ľä&#x17D;&#x192;ä&#x2013;&#x2022;â&#x17E;&#x192;âŚ&#x203A;ę&#x;&#x161;㨼岤ä &#x2018;âľ&#x152;ćŠ&#x2021;ă&#x17E;Ż ä&#x160;şçŤ¤ę&#x;&#x20AC;ä§â&#x153;ŤâżŽăŁ&#x201D;ăŁ?ĺ&#x; ď&#x2DC;šăż&#x2039;é&#x2026;â&#x17E;&#x192;é¨&#x2039;ç¸&#x201A;č?&#x203A;ď&#x2DC;šâš&#x203A;ć&#x161;&#x;â&#x203A;łâ&#x2122;śă˘ľď&#x2DC;šé¸?ĺ&#x17E;ş
ä&#x17D;&#x2013;ĺš&#x20AC;朸ćŠ&#x2021;ă&#x17E;Żč&#x192;?ä&#x2013;&#x2022;朸佌â&#x153;˛ĺ&#x192;˝ä&#x160;¨ĺ&#x2122; ęŹ ă&#x201E;?ä&#x152;&#x;⢾朸ä&#x2013;&#x2022;ĺ?&#x201C;ď&#x2DC;šĺŤ&#x2020;垧âą&#x201E; ä&#x203A;Ťä&#x2014;&#x201A;ď&#x2DC;ˇä§ŽâŚ&#x203A;é¸?â&#x2122;§â&#x17E;żä&#x17D;&#x192;é°&#x2039;â&#x17E;&#x192;ă&#x20AC;łč&#x2026;&#x2039;ä Žé&#x152;?ä&#x160;¨ĺ&#x2122; ęŹ ă&#x201E;?ę¨&#x2020;䧎âŚ&#x203A;ăŁ&#x2013;éşś
éť&#x2021;â&#x153;Ťď&#x2DC;šâĄ&#x17D;掚é¸?â?&#x2030;溍ăť&#x153;朸é&#x2DC;Žäş&#x2122;ă˝ ăž?ć¤?ă&#x2013;&#x2C6;䧎âŚ&#x203A;ęŹ&#x2014;⾚朸ĺ&#x201E;&#x2DC;⌏ď&#x2DC;š
䧎âŚ&#x203A;鿪é&#x201E;&#x201E;ęŠ?äš&#x;â&#x153;Ťď&#x2DC;šé¸?â?&#x2030;é&#x2039;ˇé¨ë&#x201E;&#x201C;ë&#x20AC;żĺŤ˛ćş?ç§ ę?&#x2014;ć&#x2122;&#x161;⢾ä&#x2013;¤ęŠ?äš&#x;ä&#x2013;¤ 㢾ď&#x2DC;ˇă&#x20AC;łĺ&#x192;˝ćŠ&#x2021;ă&#x17E;Żă&#x2030;?ę˛&#x2014;â&#x2122;śĺ&#x192;˝ä§ŽâŚ&#x203A;ă&#x20AC;Ąęą§é&#x201C;&#x17E;é&#x201C;&#x17E;ă˝ ă&#x20AC;łâ&#x;&#x192;朸ď&#x2DC;šâ&#x17E;&#x192;겳é&#x160;´ 揰㜸ď&#x2DC;šâĄ&#x17D;ă &#x161;ĺ&#x201E;&#x2DC;â&#x203A;łé&#x160;´ç˝&#x152;äŁ&#x201A;âľ&#x152;ćŠ&#x2021;ă&#x17E;Żćś¸ă&#x2030;?ę˛&#x2014;ď&#x2DC;ˇă&#x2013;&#x2C6;䧎ćş?⢾ď&#x2DC;šä§ŽâŚ&#x203A;ꨞ
é&#x160;´â¨&#x17E;朸ĺ&#x192;˝çŞ?â°?ç˝?䲿âŁ&#x2DC;â&#x2122;§âŚ?ä&#x17D;&#x201A;é&#x201A;&#x201A;ď&#x2DC;šâĽ&#x192;é&#x161;&#x152;ćŠ&#x2021;ă&#x17E;Żď&#x2DC;šćśŽăž?ä&#x160;¨ĺ&#x2122; ď&#x2DC;šă &#x161;
ĺ&#x201E;&#x2DC;â&#x203A;łé&#x160;´ćśŽăž?ĺ&#x20AC;&#x17E;ç&#x152;°äŞŽâ˘ľâźżé&#x201D;&#x2026;ćŠ&#x2021;âĽ&#x192;ă&#x2030;?ę˛&#x2014;ď&#x2DC;šä&#x2013;°ç˝&#x153;麨âľ&#x152;â&#x2122;§âŚ?ä&#x17D;&#x201A;é&#x201A;&#x201A; 朸ä&#x2014;&#x2026;ćŠ&#x2021;ď&#x2DC;ˇ
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)
Lu Sisi at performance
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 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
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. Making of Taoda (2015)
only 60% of the whole project. In fact, my
濨暽î&#x161;&#x17D;
NeĂŻl Beloufa, Lifestyles, 2013, installation view Emotional Supply Chains at Zabludowicz Collection, London, 2016. Photo: David Bebber
20TH ANNIVERSARY OF ZABLUDOWICZ COLLECTION INTERVIEW WITH ELIZABETH NEILSON čŽ&#x152;ä&#x2039;&#x2019;㢴çŹ&#x17E;㣟Ⰺ该â&#x153;łâź§ä&#x17D;&#x192; ăź é?&#x17E;â&#x;ťë&#x153;¨č&#x203A;&#x17D;术v㽲ć&#x2122;&#x2039;ĺ&#x2022;ż
&%*5&% #: çŽ é°ż î&#x203A;&#x2021; ,& 2*8&/ ĺ?&#x2022;塯ę¨&#x161; 53"/4-"5&% #: çźşé&#x2122;źî&#x203A;&#x2021; $"* 46%0/( čŠ?蹣ĺ&#x152;&#x152; *."(&4 $0635&4: 0' ă&#x2022;ć&#x2122;&#x2122;䲿âŁ&#x2DC; î&#x203A;&#x2021; ;"#-6%08*$; $0--&$5*0/ čŽ&#x152;ä&#x2039;&#x2019;㢴çŹ&#x17E;㣟Ⰺ该긏
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
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?
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 Zabludowicz Collection, London
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
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
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
&/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¨˝
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.
ă&#x2022;źăĄ?朸ă&#x192;°éźšäż&#x2019;âť&#x2039;ď&#x2DC;ˇ
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
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
(brought up using digital devices and media rather than my generation that
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;
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⥲
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˛
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
&/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
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
sharing these experience resources amongst art organisations.
ART.ZIP: What do you see as the future of digital art?
"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; 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
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;?
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°
⥚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¸?
show where we have had the right equipment in stock - we have always had
to buy more! That's a challenge! There needs to be a better coordinated way of
concentrating on art since 1990 but going back to the 1940s in a few instances,
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
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;
and conservation. Decisions on what is purchased are based on the work itself -
EN: The collection is two things - a growing collection of contemporary art,
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;
obsolete formats from this period and these predate my work with the
distinct from the rest of the collection - everything requires special attention
ĺ&#x192;˝ä&#x2122;Śë&#x17E;&#x2020;ä&#x2019;&#x160;ç&#x201D;¨ćś¸î&#x161;&#x17D;
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;
"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;
collection. So digital media has always been part of the collection. It's not
"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¸?
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
EN: In the 1990s when the collection begun digital media of all forms was in its infancy - we have works by artists that are on VHS or laser discs or other
ART.ZIP: Would you please give us a brief introduction of Zabludowicz Collection? How was it established?
&/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;
EN: I think that there is so much potential and for those that are digital natives 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
EN: We often joke about looking for "genius" - a short hand for something unnamable but important - we seek out
Daniel Keller, Onanet Spiruline 1, 2015 (detail). Photo: David Bebber
"35 ;*1î&#x161;&#x2030;ä?Ąä&#x2122;Śë&#x17E;&#x2020;ćş?äž¸ăśśč° é Żćś¸âľšĺ&#x2026;&#x17E;î&#x161;&#x17D;
The decision to pilot our residency in Las Vegas with artists that we planned
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;¤
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;⿥éť
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
&/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
估䞸㜜é?¤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;
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
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?
*/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: 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
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 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, aďŹ&#x20AC;ordable 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 oďŹ&#x20AC;ering
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.
"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
ç&#x20AC;&#x160;ć&#x2122;&#x161;ď&#x2DC;śé&#x2039;&#x2022;ęą˝ă&#x201E;¤äž¸ç&#x201E;şâĄ˛ă&#x2026;ˇç&#x2DC;&#x17E;ď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;ď&#x2DC;šé¸?â?&#x2030;âš&#x203A;掼ć&#x2122;?ĺ&#x160;Ľćś¸âĄ˛ă&#x2026;ˇă&#x20AC;ł
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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 ? 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
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; 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;
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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
accessibility of music, Sedition s initial attempt of introducing digital editions
ä&#x2013;°â&#x17E;?稲â&#x2122;łćş?ď&#x2DC;š4FEJUJPOä&#x2013;°ĺ&#x160;Ľé˘śâ&#x2122;łĺ&#x192;˝â&#x2122;§âŚ?ĺ&#x2030;ŞâšĄď&#x2C6;Łć¤&#x2022;é&#x2039;&#x2022;é&#x152;?č°
é Żăšťćś¸č´Ąäşźä&#x17D;&#x201A;č?Šď&#x2DC;šă¸?ă&#x201C;ä?â&#x153;Ťé?Şă˘ľč° é Żăšťâśžĺ&#x20AC;&#x17E;ăť&#x153;éŠ?朸âš&#x203A;掼
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
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 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¸
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.
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;
Thus it is not necessarily a helpful term. It proves useful in how things are
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;
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
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 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
"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
are a digital artist doesn t really make any sense.
If you take an artist s work and then photographs of that work are transmitted
⿥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;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§´
themselves as digital artists, nor do they see themselves as any other particular kind of artist; they see themselves as artists. With one or two exceptions most
meaning of digital is ďŹ&#x201A;uid, to put it mildly. Where does digital begin and end?
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;˝
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;
displayed, or the angle by which you may choose to approach something. In
work, it becomes less and less relevant. The key thing is whether or not you like
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
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;
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⚪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
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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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橇㞯姻㖈⟃ぐ珏倰䒭隶䖤刿⸈琽㔿ㄤ鋊眕䧮錏䖤湡 涸笪窄橇㞯㥪㡏Ⱟ⼱❧剤荈歋僽㥪✲⡎ず儘⡹⿶♶
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
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â°?ç˝?鿪ĺ&#x2030;¤ă&#x201A;&#x2026;ď&#x2DC;ˇä§ŽâŚ&#x203A;ä˝?âľ&#x152;â&#x153;Ťä&#x2013;&#x17D;㢾â&#x17E;&#x192;朸⢾ç?łď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;䧎âŚ&#x203A;â&#x203A;łĺ&#x2030;&#x161;ĺ&#x2018;?äş&#x2122;掚ĺ&#x2030;˘ â&#x161;şę˛&#x2014;㟌䪪 éť ă &#x2013;ćś¸č° é Żăšťĺ˝&#x2DC;é¸&#x2019;ă &#x2013;⥲ď&#x2DC;ˇ
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.
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All source from 15folds
BEYOND NEW MEDIA ART
5&95 #: 乊俒 -* #08&/ 勚⽇俒
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
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
✲⚥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
շ 馄馊倞㯯넓谁遯ո
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
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
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.
⥲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
â&#x203A;&#x201C;â&#x2122;§ď&#x2DC;ˇă&#x2013;&#x2C6; ä&#x17D;&#x192;â&#x17E;żď&#x2DC;šé¸?âĄ&#x2122;č° é Żăšťé&#x2019;˘ć?&#x20AC;â°Śč° é Żę°ŞćšĄę°¸âŻ&#x201C;䲿 朸ć&#x2019;&#x2018;ć&#x2122;&#x161;猺⴪î&#x161;&#x2030;Őˇă¸&#x17E;ă?ąć&#x2122;&#x2039;Ë&#x2122;â??掚ĺ&#x20AC;&#x203A;Ë&#x2122;č˘&#x2013;č&#x;?â&#x153;?ë?łâşŤŐ¸ď&#x2DC;šč° é Żăšťę&#x2026;ž
ĺ&#x20AC;&#x17E;âĄ&#x2018;縨â&#x153;Ťâ&#x2122;§âŚ?鯊č&#x20AC;&#x201A;ď&#x2DC;šâ&#x17E;Žč &#x192;â&#x17E;&#x192;âŤ&#x201E;é&#x17D;&#x160;é&#x201C;&#x17E;ă¸&#x17E;ă?ąć&#x2122;&#x2039;Ë&#x2122;â??掚ĺ&#x20AC;&#x203A;ă&#x2013;&#x2C6;ć&#x160;&#x201C;⟌
ć?&#x20AC;掚ă&#x2013;&#x2019;朸ë?łâşŤä?&#x2026;✞⥲â&#x153;Ťâ&#x2122;§çŠ&#x2030;ă&#x2030;&#x201A;ĺ&#x2122; ä&#x2018;&#x17E;ă&#x192;&#x2021;⥲ă&#x2026;ˇď&#x2DC;ˇĺ&#x2018;?äş&#x2122;â&#x2122;§ç??é&#x201C;&#x17E; ĺ˛ ď&#x2DC;šâ??掚ĺ&#x20AC;&#x203A;äąşă&#x20AC;&#x152;㨽é&#x17D;ˇâśžâĄ˛â&#x2122;§ä&#x152;´ď&#x161;łé&#x203A;&#x160;â&#x17E;&#x192;ă&#x2DC;?ĺś&#x2014;朸č˘&#x2013;č&#x;?â&#x153;?ë?łâşŤ ć&#x2019;&#x2018;ć&#x2122;&#x161;ď&#x161;´ ď&#x2DC;šä&#x2019;¸ćŹ˝â&#x2122;§âĄ&#x2122;ă&#x20AC;ˇăšťćś¸é&#x201C;&#x17E;ĺ˛ ď&#x2DC;šé¸?âŚ?ď&#x161;łë?łâşŤď&#x161;´ĺ&#x192;˝ď&#x161;łć?&#x201A;ĺ˛ ă&#x2013;&#x2C6;ăŁ? č?&#x2C6;ć?â&#x161;ĽäŞŞâľ&#x152;朸ď&#x161;´ď&#x2DC;ˇć&#x2039;ĺ&#x20AC;´ăźŠč˘&#x2013;č&#x;?â&#x153;?ë?łâşŤăť&#x153;꼚朸ă&#x201E;¤ć&#x2019;&#x2018;ć&#x2122;&#x161;â&#x161;Ľćś¸
ĺ&#x17E;şăśŠâ&#x2122;ść&#x20AC;?ä &#x2018;ď&#x2DC;šâ??掚ĺ&#x20AC;&#x203A;揽颜ă&#x2013;&#x2019;âŻ&#x2022;垿朸术ë?łâşŤäŞžč˘&#x2013;č&#x;?â&#x153;?ë?łâşŤ ĺ&#x2030;?äł&#x2013;äą&#x2C6;â&#x153;Ťď&#x2DC;ˇâ&#x17E;ŽćŹ˝ę&#x161;´ăśŠäŞžč˘&#x2013;č&#x;?â&#x153;?ä&#x2026;şă&#x2013;&#x2C6;ë?łâşŤćś¸é&#x201A;?ęŹ&#x2014;ď&#x2DC;šç˝&#x153;â&#x161;&#x201A;韊 揽ĺ&#x2022;&#x2013;č&#x2019;&#x20AC;ĺą&#x2DC;ć&#x20AC;&#x161;ć?&#x20AC;术ë?łâşŤčĄ˝č&#x2019;&#x20AC;ď&#x2DC;ˇ
added with tweezers and the white bread was stained with a brown lacquer.
â˝&#x201C;ĺ&#x192;&#x2C6;ę&#x2026;žă?&#x2013;朸ă&#x153;Ľĺ&#x2026;&#x17E;ć&#x2019;&#x2018;ăž?ć¤?â&#x153;ŤćŽšĺ&#x201E;&#x2DC;朸é&#x2020;˘âĄ˛éş&#x2022;ç&#x17D;&#x2018;ď&#x2DC;ˇă&#x2013;&#x2C6;ä&#x160;Šéźšď&#x2DC;šâ&#x2122;§
Cumming s restaged scene depicts a before-and-after sequence. On the left, a
ĺ&#x192;˝â&#x2122;§ç&#x192;žăŁ?č˘&#x2013;č&#x;?â&#x153;?ď&#x2DC;šä&#x2013;&#x2022;ęŹ&#x2014;ĺ&#x192;˝â&#x2122;§ç&#x192;žăźč˘&#x2013;č&#x;?â&#x153;?ď&#x2DC;šâ&#x2122;§ĺ&#x201C;术ë?łâşŤď&#x2DC;š
collection of food-stuďŹ&#x20AC;s ďŹ nd 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 ďŹ&#x201A;oor. On the right,
ă&#x203A;&#x153;ęľşĺ&#x2039;&#x17E;é&#x201E;&#x201E;äž&#x2022;â&#x153;Ľă&#x2013;&#x2019;â´&#x2022;ä&#x2039;&#x2019;ă&#x2013;&#x2C6;â&#x2122;§ä&#x201C;šç&#x20AC;?ĺ&#x2018;˛â&#x2122;łî&#x161;&#x2030;â&#x2122;§ć¸ąč˘&#x2013;č&#x;?â&#x153;?ď&#x2DC;šâľšĺ&#x2026;&#x17E; ę&#x161;´ăśŠď&#x2DC;šâ°?ć&#x2122;&#x161;术ë?łâşŤď&#x2DC;šč&#x192;?ĺ&#x2026;&#x17E;ĺ&#x192;˝â&#x2122;§äą&#x2013;ć&#x201D;¨ä&#x152;&#x;ĺ&#x2022;&#x2013;壞ĺ&#x; ă&#x201E;¤ç&#x2026;´ă&#x2013;&#x2019;ď&#x2DC;ˇă&#x2013;&#x2C6;ă&#x20AC;¸
éźšď&#x2DC;šă &#x161;ĺ&#x17E;şćś¸ă&#x153;Ľĺ&#x2026;&#x17E;î&#x161;&#x2030;â&#x2122;§ć¸ąč˘&#x2013;č&#x;?â&#x153;?ď&#x2DC;šâ&#x2122;§ç&#x192;žăŁ?č˘&#x2013;č&#x;?â&#x153;?î&#x2122;ˇäž¸ę&#x2020;&#x20AC;ç&#x17D;&#x2013;ĺ&#x2030;¤ ĺšžăźąî&#x2122;¸ď&#x2DC;šâ&#x2122;§ç&#x192;žăźč˘&#x2013;č&#x;?â&#x153;?î&#x2122;ˇă &#x161;ĺ&#x17E;şĺ&#x2030;¤ä¨žĺšžăźąî&#x2122;¸ď&#x2DC;šâ&#x2122;§ĺ&#x201C;术ë?łâşŤď&#x2DC;šę&#x161;´ 㜊ď&#x2DC;šćŽĽęŹ&#x2014;â&#x161;Ľę&#x;Śĺ&#x192;˝â°?ć&#x2122;&#x161;术ë?łâşŤď&#x2DC;šă&#x20AC;Ťĺ&#x192;˝ć¤?ă&#x2013;&#x2C6;ë?łâşŤé&#x201A;?ęŹ&#x2014;ĺš&#x2018;â¸&#x2C6;â&#x153;Ť
1-1, 1999 Š Lisa Jevbratt
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
alternating terrains: at times, it was mobilised to describe a surge in electrical
produced a curious photographic series: Ansel Adams Raisin Bread (1973),
with smooth-textured white bread. On the bread s surface, dried raisins were
malfunction. Astronaut John Glenn ďŹ rst used the term in 1962 in the book,
suddenly underwent a new strain. In a technical context, the word was used in
his project as premised on a type of perceptual glitch . In 1973, Cumming
raisin bread looked and photographed, Adams replaced the real raisin bread
(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;
experienced in an electrical current. A surge usually occurred when a circuit
â´&#x20AC;â&#x153;Ťâ&#x2122;§ç??ď&#x161;łä Žä&#x161;?(MJUDIď&#x161;´ď&#x2DC;ˇ ä&#x17D;&#x192;ď&#x2DC;šâ˝&#x201C;ĺ&#x192;&#x2C6;â´&#x20AC;ă&#x2026;ˇâ&#x153;Ťâ&#x2122;§çŠ&#x2030;ç?şăŁź
photographer Robert Cumming. In the 1970s, the artist had described
as could not be found in nature. DissatisďŹ ed with the way in which the actual
Glitch is a slang term. The earliest usage of the term was in the 1960s among
Into Orbit, on the ďŹ rst human spaceďŹ&#x201A;ight program of the United States.
In an art historical context, one of the ďŹ rst uses of the term came from the
compelling photograph of raisin bread Ěś bread, to cite one historian, such
5&95 #: äš&#x160;äż&#x2019; î&#x203A;&#x2021; "/%3&8 8*55 ă¸?ä&#x2014;&#x17E;ë&#x2030;&#x201C;vçŹ&#x17E;ć&#x161;ľ 53"/4-"5&% #: çźşé&#x2122;ź î&#x203A;&#x2021; +": $)6/ $)*&) -"* éŁ&#x2020;ęž&#x2122;ĺ&#x152;&#x160; &%*5&% #: çŽ é°ż î&#x203A;&#x2021; .*$)&--& :6 ⥎ăźä&#x153;Ł
For Glenn, a glitch represented a spike, surge or sudden change in voltage
ă&#x2013;&#x2C6;č° é Żă&#x20AC;ˇé&#x201C;&#x192;ă&#x17E;Żâ&#x161;Ľď&#x2DC;šäź˘ä&#x2022;§ăšťçš?â ć&#x161;śË&#x2122;â˝&#x201C;ĺ&#x192;&#x2C6;ĺ&#x192;˝ĺ&#x2030;&#x201C;ĺ&#x201A;?朸⢪揽ç˝?
According to one story, Adams was commissioned to compose, in his words, a
ăŁ&#x;ęŤ&#x2122;
astronauts to describe a technical hitch. The term signaled an unexpected
of electrical current moved vertically across a television s screen.
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 ďŹ&#x201A;uid 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 ďŹ&#x201A;oating signiďŹ er, burdened with an overďŹ&#x201A;ow of meaning. Even artist Amalia Ulman, who is known for her four month long Instagram performance, Excellences & Perfections (2014),
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 ďŹ lm The Matrix. In ďŹ lm, a glitch is read as an experience of dejĂ vu: the encounter of a stray black cat moving through a corridor as if on loop. Paolo
Virno argues that when dejĂ vu occurs the perception of the present collapses
and is confused with a memory. For Virno, dĂŠjĂ vu arises precisely when a pastform is ďŹ gured 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 ďŹ rst 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
ę˛&#x17D;㣟ä&#x161;&#x201C;朸č˘&#x2013;č&#x;?â&#x153;?ď&#x2DC;ˇă&#x2013;&#x2C6; ä&#x17D;&#x192;ćś¸Őˇč° é Żé&#x201D;¸ă ˘Ő¸â&#x2122;łď&#x2DC;šäŞĄé?ąăšťĺ?&#x2020;
precision, this same image is beset by errors, malfunctions, and other
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
ć?&#x20AC;â&#x2122;§ç??č?&#x17E;â¸&#x201A;ĺ&#x20AC;´ä˛&#x20AC;䞍ä &#x2018;çş?ĺ&#x2122;˛ęŁłćś¸ĺ&#x20AC;°ĺ˛ ď&#x2DC;ˇâ˝&#x201C;ĺ&#x192;&#x2C6;朸ď&#x161;ł(MJUDIď&#x161;´ ď&#x2DC;šćŹ˝
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
ć&#x2122;&#x2039;ĺ&#x20AC;&#x203A;Ë&#x2122;ë&#x17E;ąĺ&#x2018;?朎é&#x201A;?â&#x153;Ťę&#x;&#x20AC;麨 갤朸äż&#x2019;ç&#x2022;&#x17D;ď&#x2DC;šâ&#x17E;ŽäŞžâ˝&#x201C;ĺ&#x192;&#x2C6;朸ç&#x2DC;źćŽ&#x153;é?&#x2018;é&#x161;Ą ë&#x17E;ąĺ&#x2018;?朸é&#x2018;¨â˘ľé&#x201C;&#x17E;㽠겳âĄ&#x201A;ĺ&#x20AC;´â&#x2122;§âŚ?â&#x;¤ä&#x161;?朸ăˇ&#x203A;㜊揽ď&#x2018;śęą§â˘ľĺ˘&#x17E;ë&#x20AC;ż â&#x2122;§ę˛&#x17D;氨湼朸ć&#x161;&#x2020;ëŁ&#x2C6;ď&#x2DC;ˇâ˝&#x201C;ĺ&#x192;&#x2C6;䪞ć¤&#x161;é?&#x2018;ë&#x201E;&#x201C;猺㠢ä&#x2013;&#x2022;äŤ&#x201D;ćŻ&#x2022;ď&#x2DC;šâ˘ľâżžęź¸ĺ&#x192;&#x2C6; ęł?â&#x2122;śă &#x161;朸겳ⴽď&#x2DC;ˇ
â&#x17E;&#x203A;ăŁ&#x201D;ď&#x2DC;š(MJUDI朸ĺ&#x161;&#x152;ä&#x2122;&#x201A;ă&#x2013;&#x2C6;ć˛ęŁłĺ&#x201A;&#x2C6;ć ¸ĺ&#x17E;¸çĽ&#x17D;朸掚â&#x17E;żč° é Żă&#x201E;¤ç&#x152;°äŞŽ ęą&#x2020;ă&#x161;&#x2013;â&#x161;Ľĺ´Šé¸&#x2019;ę&#x;&#x161;⢾ď&#x2DC;ˇă&#x2013;&#x2C6;掚â&#x2122;´ď&#x2DC;šé¸?â&#x2122;§ĺ&#x161;&#x152;ä&#x2122;&#x201A;ä&#x160;şé&#x201E;&#x201E;鹲ç?ľč?&#x203A;䞸㜜č°
é Żă&#x201E;¤ä&#x2013;&#x2022;珪çŞ&#x201E;č° é Ż ęą&#x2020;ă&#x161;&#x2013;â&#x161;Ľď&#x2DC;ˇ(MJUDIĺ&#x201A;&#x201A;â&#x2122;ść&#x2026;¨ éš&#x17D;â&#x203A;łâ&#x2122;śâ°¨ĺ&#x2030;¤ęŹ ă&#x201E;? ä&#x161;?ď&#x2DC;šăŁ?㢾 ä&#x17E;&#x2022; 幣â&#x2122;´ă¸?ă&#x20AC;Ť ĺ&#x192;˝ â&#x2122;§ç?? ć&#x2019;&#x2013; â&#x17E;&#x192;朸朎揰ď&#x2DC;ˇăźŠĺ&#x20AC;´ĺ&#x17D;Ľâ?&#x2030;
â&#x17E;&#x192;⢾é&#x201C;&#x17E;ď&#x2DC;šé¸?â&#x2122;§ĺ&#x161;&#x152;ä&#x2122;&#x201A;ă&#x20AC;Ťĺ&#x192;˝â&#x2122;§âŚ?䏾â¸&#x152;ćś¸é Żé&#x201C;&#x192;ď&#x2DC;šă&#x20AC;Ťĺ&#x192;˝é&#x201E;&#x201E;é?&#x2018;é&#x161;Ąć?&#x20AC;
â&#x2122;§ç??éş&#x2022;ĺľćś¸ę¨śăśŠĺ?żĺ´Šé ¤ę´?ć&#x192;?ď&#x2DC;ˇăźŠĺ&#x20AC;´ă&#x20AC;Ľâ&#x2122;§â?&#x2030;â&#x17E;&#x192;⢾é&#x201C;&#x17E;ď&#x2DC;šé¸?â&#x2122;§
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;
çş?ď&#x2DC;ˇćŹŠč?&#x203A;ĺ&#x192;˝â&#x;&#x192;ę&#x;&#x20AC;麨ă&#x201D;&#x2039;âŚ?ĺ&#x2030;˘ćś¸*OTUBHSBNé&#x201A;?ć&#x20AC;ľŐˇâźžéŚ&#x160;č&#x17D;&#x2026;㸤
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
ăť&#x153;č&#x17D;&#x2026;č´Ąäşźç&#x2018; ę&#x;Śâ&#x153;˝ćšąĺ&#x17D;Şä¸ćś¸ç&#x2C6;˘â?&#x153;㯯ë&#x201E;&#x201C;â&#x161;Ľć˘&#x2013;ă&#x201E;&#x201A;(MJUDIď&#x2DC;ˇă&#x2013;&#x2C6;掚
in London s Serpentine Gallery: A Minute Ago (2014) and Palisades, Palisades (2014). In A Minute Ago, Rose s camera meanders through
é Żé&#x201C;&#x192;â&#x17E;żé&#x201A;?襽â&#x2122;§ç??ď&#x161;łęľ?ä&#x2122;?â&#x2122;śăš 朸č&#x2026;&#x2039;ä¸ď&#x161;´ď&#x2DC;šäŞéŻşâ&#x153;Ťéş&#x2022;㢾朸ä &#x2018; 皥ոî&#x2122;ˇ î&#x2122;¸ç˝&#x153;â´&#x20AC;ă ?ćś¸č° é ŻăšťęŁ&#x161;ć§&#x2C6;âľ&#x201E;â??Ë&#x2122;ć?Ść&#x2122;&#x2039;ĺ&#x2030;&#x2039;â&#x203A;łă&#x2013;&#x2C6;ć¤? â&#x17E;żď&#x2DC;š(MJUDI朸â´&#x20AC;ć¤?â&#x2122;śĺ&#x192;˝â&#x2122;§ç??é&#x201E;&#x201E;ë&#x201E;&#x201C;ë&#x20AC;żćś¸ć&#x153;&#x153;ä˘&#x20AC;ď&#x2DC;šâżžç˝&#x153;ĺ&#x192;˝â&#x2122;§ç??犥 ĺ&#x153;&#x201C;ä&#x161;?➲⾹ď&#x2DC;ˇ
incorporates a glitch. In the fall of 2015, Rachel Rose showed two ďŹ lms
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
which plays with the glitches in social media where real and ďŹ ctional identities
Rachel Rose, Still from A Minute Ago, 2014.
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
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
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
ăź é?&#x17E;裌ă¨&#x2014;vę&#x2026;˝ăŁ&#x2014; */5&37*&8&% "/% 5&95 #: äą°é?&#x17E;âżşäš&#x160;äż&#x2019; î&#x203A;&#x2021; -* #08&/ ĺ&#x2039;&#x161;â˝&#x2021;äż&#x2019;
ART.ZIP: How would you describe your relationship between the V&A museum and the Sea World Arts and Culture Centre?
"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
China Merchants Shekou Holdings (CMSK), in association with founding partner the Victoria and Albert
Museum (V&A), has announced the brandĚśDESIGN SOCIETYĚś 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 OďŹ&#x192;cer of the V&A, spoke to ART.ZIP about the collaboration. â&#x161;Ľă&#x2022;&#x153;䏸ă&#x2030;&#x201A;čˇ&#x2018;ă&#x20AC;Ąč&#x17D;&#x2026;č&#x2013;&#x160;ă&#x2022;&#x153;ă&#x2022;&#x153;ç&#x201D;¨çŹ&#x17E;㢾âľ&#x201E;â??č&#x17D;&#x2026;ęŁ&#x161;ć&#x2122;&#x2039;â ć&#x161;śâ˝&#x2C6;ć&#x161;&#x;ę¸â°&#x;ă &#x161;âśžéłľâ&#x153;Ťď&#x2C6;Łĺ&#x20AC;&#x17E;朸äż&#x2019;âť&#x2039;â&#x161;Ľä&#x2014;ąŐšé?¤é&#x17D;&#x2122;â&#x153;˝č&#x20AC;˘Őşď&#x2DC;šăź&#x;ä? čĄ&#x2020;ĺ&#x20AC;´ ä&#x17D;&#x192;ä&#x2019;&#x160;
ä§ćś¸čˇ&#x2018;ă&#x20AC;Ąĺľłâ&#x2122;łâ&#x161;&#x2020;ć˛äż&#x2019;âť&#x2039;č° é Żâ&#x161;Ľä&#x2014;ąď&#x2DC;ˇŐšé?¤é&#x17D;&#x2122;â&#x153;˝č&#x20AC;˘Őşäż&#x2019;âť&#x2039;â&#x161;Ľä&#x2014;ąăź&#x;ć&#x2039;é?¤é&#x17D;&#x2122;â˝&#x2C6;ć&#x161;&#x;ę¸ď&#x2DC;śâˇ&#x153;ę¤&#x17D;ď&#x2DC;śă˘ľâ¸&#x2020;č&#x2026;&#x2039;ăž?ä&#x2018;źď&#x2DC;śĺš&#x20AC;ă&#x2013;&#x2022;é&#x152;&#x161;ä&#x2014;&#x201A;â˝&#x2C6;ć&#x161;&#x;ę¸â&#x;&#x192;âżť
㡸睢č&#x17D;&#x2026;â°&#x2014;â°&#x;갪暥éż&#x2C6;çŠ&#x2030;ä§ď&#x2DC;šç˝&#x153;â˝°ăź&#x;čĄ&#x2020;ä§ćś¸é?¤é&#x17D;&#x2122;â˝&#x2C6;ć&#x161;&#x;ę¸â°&#x2030;â? ĺ&#x2030;&#x161;ä§ç&#x201D;¨ć&#x161;śâ´˝ćś¸7 "ăž?ä&#x2018;źď&#x2DC;ˇ 7 "朸✰ę¸ę&#x;&#x20AC;⿝ꝡä&#x152;?éş&#x152;ć&#x2013;&#x160;㸽裌ă¨&#x2014;Ë&#x2122;ę&#x2026;˝ăŁ&#x2014;ć?&#x20AC;䧎âŚ&#x203A;é&#x2014;?霤â&#x153;Ťĺ&#x2C6;żă˘ľćś¸ă &#x2013;⥲稣ç&#x153;?ď&#x2DC;ˇ
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
çŹ&#x17E;㢾âľ&#x201E;â??č&#x17D;&#x2026;ęŁ&#x161;ć&#x2122;&#x2039;â ć&#x161;ś â˝&#x2C6;ć&#x161;&#x;ę¸ă&#x2013;&#x2C6;â&#x161;Ľă&#x2022;&#x153;
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
Phantom Professional, Drone, DJI, 2013
get a great deal out of it in a short period of time. It is distinct from
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
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,
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
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
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, 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;
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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
in collaboration. We have spent a great deal of time over the past
Seeeduino, Seeed Studio, 2015
"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;
is quite dynamic, it might extend, but if it doesn t, it is a very short
museology and get down to museum and gallery concepts, we are
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 and mortar with a new museum being constructed and branded by
learning from that in a very positive way. When you talk about
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;⢾
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
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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;
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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
"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.
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?
"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.
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;
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;
ART.ZIP: Is there a Chinese translation of your digital archive?
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;
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
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;?
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
TR: We have a Chinese language version of the website, but it didn t
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.
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
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
any opportunity to put your ideas and your collections in front of
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 "
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
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
Even though it is 20th and 21st century there will be historical
our relationship here, over and above the V&A gallery, are
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
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
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East and West are by no means a mere geographical parting; to any Chinese
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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;¤
ă&#x2013;&#x2C6;â´&#x2022;é&#x201E;掚â&#x161;Ľćś¸ĺŽ ç¨&#x2039;â¤&#x2018;ä§ć?&#x20AC;â&#x153;Ťé?&#x2018;é&#x161;Ąâ&#x17E;Žč° é ŻâśžâĄ˛ćś¸â&#x2122;§ĺ&#x201C;çŽ ç¨&#x2039;ď&#x2DC;ˇç˝&#x153;é¸?ç??çŽ ç¨&#x2039;㟊ĺ&#x20AC;´ćŹ°ĺ´&#x17E;ă&#x2013;&#x2C6;徳㢍朸â&#x161;Ľă&#x2022;&#x153;č° é Żăšťâ˘ľé&#x201C;&#x17E;ď&#x2DC;š ĺ&#x2C6;żč&#x2026;&#x2039;ăŁ ä Žă &#x161;é¨ă&#x20AC;&#x152;ď&#x2DC;šăźŠâ&#x2122;śă &#x161;朸ç&#x2C6;˘ĺ&#x2030;&#x161;éş&#x152;é ¤ĺ&#x20AC;°ä&#x2019;ď&#x2DC;śâ&#x2122;śă &#x161;朸äż&#x2019;
âť&#x2039;é&#x201C;&#x192;ă&#x17E;Żă&#x201E;¤â&#x2122;§â´&#x2014;ä&#x2022;&#x17D;ç˝&#x153;â&#x2122;łćś¸ĺ&#x161;&#x152;ä&#x2122;&#x201A;⢾é&#x201C;&#x17E;ď&#x2DC;šä§ŽâŚ&#x203A;ć?&#x201A;ĺ&#x201E;&#x2DC;ć?&#x201A;âľ â&#x2122;śă&#x2013;&#x2C6; éť äĽ°ď&#x2DC;śâżžäŤ&#x2019;ď&#x2DC;śç&#x2020;&#x152;ă &#x2013;â&#x;&#x192;âżťę&#x2026;žă?&#x2013;č?&#x2C6;䧎â&#x2020;⧊é&#x152;&#x161;朸ä&#x2014;&#x2026;ćŠ&#x2021;â&#x161;Ľă&#x192;°ç˝&#x153; ä&#x2014;&#x201A;㨼ď&#x2DC;šçŚžçŠĄć?&#x201A;卲ď&#x2DC;ˇç˝&#x153;⡠ę&#x2020;&#x201E;ă&#x2122;šćś¸âĄ˛ă&#x2026;ˇĺ§ťĺ&#x192;˝ćŹ˝é&#x2039;&#x2022;é&#x152;?朸ĺ&#x20AC;°ä&#x2019; ä˝&#x17E;ăŁ?â&#x153;Ťé¸?ç??ć&#x153;&#x153;ä˘&#x20AC;ď&#x2DC;šćŹ˝ĺ&#x2030;&#x201C;暏é&#x152;&#x161;朸ä&#x2022;&#x17D;ä&#x2019;ăž?ç&#x2C6;&#x161;çŞ?ăŁ?ăšťď&#x2DC;šé¸?â&#x203A;ł â¤&#x2018;ĺ&#x192;˝ĺ§˝ĺŚ&#x201E;ăž?é&#x152;&#x2019;朸ç&#x201D;¨ä &#x2018;䨞ă&#x2013;&#x2C6;ď&#x2DC;ˇ
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
ä¸
ⷠꆄ㙹⡲捀耷噠谁遯㹻涸 䎃⟃⢵Ⱖⶾ⡲
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
爢剚植㻜⚺纏谁遯涸鎯箻ㄤⶾ⡲倰岁ㄤⰦ⢵
art exploration in the West. He studied at Slade School of Fine Art, the top British
⿾꺈
竤娜✫䎙⦐♶ず涸ꥣ媯➮㖈⚥㕜儘䱺「涸 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➿
FALSE REAL. S ERIES 15 / Oil Acrylic on canvas, 100x 70cm, 2013
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
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
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 .
occupation may seem to be a dream for many, but as a professional artist, he had 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
The False/Real series fully reflects Liu s exploration and thinking in art in the past
society by means of ultra realism. The vivid works with lifelike details are very
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.
background and tradition he was immersed in, and his current artistic climate. The
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
⡲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
罜շ瀖䥊ո禺姻䒭➮㖈鸏珏⿾䙼莅䱳程♴涸⡲
life with an artist s language.
⟃宠涸䊨⡲Ⱖ㻜⡲捀♧⦐秫礩涸谁遯㹻
㖈丘鄭涸魨⟨钢ず爢剚钢濼⟃⿻荈䊹涸Ⰹ
䖃鄄錚罏铐⟃捀僽♧䓹鄄䫔䲵涸秶䓹䧴僽伢䕧
consistent logic̶to express the understanding of the world and the feedback to
At the same time, he has been probing into values based on his personal living
⛓涸濨湽⡲捀➃涸⦐넓谁遯㹻♶䖤♶
钢濼齡❉吲吲㥶欰乩剤䟂㦫䟂聱稣眏涸殥⡲䖃
ず 儘 ➮ ⛳㖈 䱳 宠⦐ ➃ 欰 崞 竤 娜 涸 ⭆ ⧩ 錚㼦 䪪
are unique, but never for the sake of showing off. His practice is governed by a
♧⡙耷谁遯㹻⟃谁遯ⶾ⡲⡲捀荈䊹涸耷 Ⱖ㼩涸⽿刿㢵涸僽秫礩涸谁遯莅⚆⤺欰崞
鵜❀䎃⢵㖈谁遯걆㚖涸䱳程ㄤ䙼罌鸒麕馄㻨㻜
his works is contemporary, but his works are never kitsch; the skills he develops
often mistaken by viewers as crumpled paper or photocopies of photographed
騋⛳僽䖰齡儘饱➮㽠焷㹁✫荈䊹涸ⶾ⡲倰
their artistic experiments and explorations with movements like 85 New Wave and
artist s view of the world with his unique language.
㾝齅鱀㨥㖈ⷠꆄ䧭涸谁遯㻜驏⚥涮ꃋ湬 㖈匌銯Ⰽ㤛넓禺⛓⚥焥中ㄤ欰Ꟁ䖕殆♴涸汚
looked to the outside world, especially in art, young and idealistic artists began
art does not simply showcase life but is more about creation, that is, expressing the
five years, which is dedicated to his understanding of the current world and
ⵌ➛傈䧮⦛➠〳⟃䖰Ⱖ谁遯⡲ㅷ⚥溏ⵌ➮
society. In the 1980s, with the open door policy, more and more Chinese students
涸ⶾ⡲䩛岁⢵邍麨Ⱖ㼩殹♴⚆歲ㄤ爢剚涸溏岁ㄤ
two systems. It was also from that time on, he confirmed his artistic orientation̶
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
Liu s university time coincided with the first enlightenment age in modern Chinese
we can still discern in his works the traces of the collision and combination of the
to confront the dilemma between the pursuit of pure art and a realistic worldly
鰜娔剢涸鋷娜ㄤ鋅阮罏➮穉籽✫⻍❩շ⼧♧
ideas.
姽妄㾝ⴀ涸շ⧺溫ո禺⡲ㅷ㖒⿾僦✫ⷠꆄ䧭
logic from the East and the West began to ferment in his practice. Up until today,
䟝涸谁遯㹻ㄤꫭ䎃⦛㨥㖈谁遯♳鹎遤倞涸
ㄤ㕰넓㨥㾝植罜ⷠꆄ䧭⛳姻僽齡♧媯⯕
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
After graduation from Slade, Liu became a full-time artist. The high-brow
㎲鑑ㄤ䱳程 倞惐 僤僤殥剚瘞麌⹛
a profound impact on the formation of his artistic style, whether in his techniques or
school of art, where he was exposed to authentic Western art and had access to
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
in China severely contrasted the contemporary artistic and philosophical practice
Therefore, Liu came to Britain in search of a broader artistic horizon and started his
experience and finding appropriate artistic representations for the cultural
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
*/5&37*&8&% #: äą°é?&#x17E; î&#x203A;&#x2021; )"33: -*6 ⡠ç&#x2022;šĺ&#x2026;&#x2018; 5&95 #: äš&#x160;äż&#x2019; î&#x203A;&#x2021; 2*8&/ ,& ĺ?&#x2022;塯ę¨&#x161; 53"/4-"5&% #: çźşé&#x2122;ź î&#x203A;&#x2021; /*$)0-"4 "/%&340/ 㽲ă&#x20AC;˘äŹ&#x2DC;ĺ&#x20AC;&#x203A;vă¸?ä&#x2014;&#x17E;ĺ&#x2022;ż *."(&4 $0635&4: 0' ă&#x2022;ć&#x2122;&#x2122;䲿âŁ&#x2DC; î&#x203A;&#x2021; , "35 '06/%"5*0/ , č°&#x20AC;é Žă&#x203A;&#x2021;ę&#x2020;&#x201E;ĺ&#x2030;&#x161;
ART.ZIP: In the cooperation between ICA and K11, ICA chose a selection of Chinese artists. How were you chosen to become the resident artist?
"35 ;*1î&#x161;&#x2030;ă&#x2013;&#x2C6;é¸?ĺŚ&#x201E;*$"ă&#x201E;¤, 朸ă &#x2013;⥲갪暥â&#x161;Ľď&#x2DC;šć&#x2039;*$"äŽ&#x2039;éź&#x2021;ă &#x2013;éť
and K11 and the ďŹ rst institution that K11 has a cooperative relationship
č° é Żćś¸âŤ&#x201E;窥ď&#x2DC;šç˝&#x153;â&#x161;&#x201A;ĺ&#x192;˝ĺ&#x2030;¤â¨&#x17E;é¸?ç??ăť&#x153;ë&#x20AC;żę°&#x2030;ĺ?żćś¸âŤ&#x201E;窥ď&#x2DC;ˇ ä&#x17D;&#x192; ĺ&#x2030;˘
ZD: Actually, I m still not too sure. This is the ďŹ rst joint project between ICA with in the UK. The ICA not only has a history of putting on this sort of performance art, but also experience with more experimental music. In April 2014, I put on a performance in Beijing called Orbit of Rock.
Taking inspiration from the 1991 Monsters of Rock show in Moscow, that legendary show which was rumoured to have contributed to the fall of the USSR, but in actuality it was just a way for the government to show
K11 Art Foundation (KAF) and Institute of Contemporary Arts (ICA) jointly
presented the ďŹ rst solo UK institutional exhibition of Chinese artist Zhang
Ding, entitled Enter the Dragon. The exhibition consisted of an installation
that directly references the ďŹ nal scene from the seminal Bruce Lee ďŹ lm Enter
the Dragon (1973). Zhang transformed the ICA theatre into a mutating sound
sculpture , covering the room with mirrored surfaces, suspended sound panels and a series of rotating mirrored sculptures situated next to two identical
music stages. For the duration of the exhibition a series of daily performances by 28 local bands seek to activate the installation to create a platform for cooperative improvisation, experimentation and self-reďŹ&#x201A;ection.
, č° é Żă&#x203A;&#x2021;ę&#x2020;&#x201E;ĺ&#x2030;&#x161;î&#x2122;ˇ,"'î&#x2122;¸ă&#x201E;¤â§?äž&#x161;掚â&#x17E;żč° é Żç &#x2021;ç&#x2018;&#x2013;ę¤&#x17D;î&#x2122;ˇ*$"î&#x2122;¸č&#x20AC;˘
ă &#x2013;â&#x161;şéłľâ&#x153;Ťâ&#x161;Ľă&#x2022;&#x153;č° é Żăšťä&#x201C;šë łćś¸ęťˇă&#x153;Ľč&#x2013;&#x160;ă&#x2022;&#x153;âŚ?â&#x17E;&#x192;ăž?é&#x152;&#x2019;Őˇä&#x201C;šë łî&#x161;&#x2030;
ëĽ&#x152;ć&#x2DC;°č´&#x2026;ë&#x2020;˝Ő¸ď&#x2DC;ˇăž?é&#x152;&#x2019;ćś¸č° é Żé&#x2026;¤ç¸¨ä&#x2019;¸ćŹ˝â&#x153;Ťâ&#x161;&#x2020;ć˛č&#x20AC;&#x201A;ă ?朸ĺ¨&#x20AC;䊧ĺ&#x192;&#x2C6;
ĺ&#x192;¤ĺ&#x2039;&#x203A;ăźëĽ&#x152;朸ꨜä&#x2022;§ŐˇëĽ&#x152;ć&#x2DC;°č´&#x2026;ë&#x2020;˝Ő¸î&#x2122;ˇ î&#x2122;¸â&#x161;Ľĺ&#x2030;&#x201C;ä&#x2013;&#x2022;â&#x2122;§ä?&#x152;ď&#x2DC;ˇč°
é Żăšťä&#x201C;šë łäŞžâ§?äž&#x161;掚â&#x17E;żč° é Żç &#x2021;ç&#x2018;&#x2013;ę¤&#x17D;朸âˇ&#x153;ă&#x153;Ľç&#x2018; ę&#x;Śä˝&#x2013;鸤ä§â&#x2122;§
ä? ď&#x161;łč&#x20AC;Ťę°&#x2030;ꧨă?&#x2013;ď&#x161;´ď&#x2DC;šä¨źę&#x;Śč&#x17D;Ść&#x20AC;?梯槾ę&#x2013;?ęŹ&#x2014;ď&#x2DC;śę°&#x2030;ę° é&#x2026;¤ç¸¨ă&#x201E;¤â&#x2122;§é¸Žâ&#x161;Ž
ĺ &#x2019;鹲朸ę&#x2013;?㜊ꧨă?&#x2013;é&#x201E;&#x201E;縨ĺ&#x20AC;´â°?âŚ?é&#x201A;?ć&#x20AC;ľč&#x17D;ťă&#x20AC;ľâ&#x203A;&#x201C;ę&#x;Śď&#x2DC;ˇâ&#x17E;Žâ°&#x2014;ę&#x;&#x161;䏸⚏
â&#x153;Ťč&#x2013;&#x160;ă&#x2022;&#x153;ĺ&#x160;Ľă&#x2013;&#x2019;朸 ä˝&#x2026;ĺ?żęĽ&#x2122;ď&#x2DC;šă&#x2013;&#x2C6;é¸?âŚ?ć&#x161;śĺŠ&#x152;朸č&#x17D;ťă&#x20AC;ľâ&#x2122;łă &#x161;ĺ&#x201E;&#x2DC;éš&#x17D;é ¤
ăť&#x153;ë&#x20AC;żä&#x161;?ă&#x201E;¤č?&#x2C6;䧎é&#x152;&#x161;ć&#x2019;&#x2018;朸⽰č&#x17D;&#x2021;é&#x201A;?ć&#x20AC;ľď&#x2DC;ˇ
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;
;%î&#x161;&#x2030;â°Śăť&#x153;ď&#x2DC;šä§Žâ&#x203A;łâ&#x2122;śĺ&#x192;˝ä&#x2013;&#x17D;ç&#x201E;ˇăš î&#x2122;ˇç&#x2013;Žî&#x2122;¸ď&#x2DC;žď&#x2DC;žé¸?ĺ&#x192;˝*$"ă&#x201E;¤, ç&#x2014;§â&#x2122;§âŚ? ă &#x2013;⥲갪暥ď&#x2DC;šâ&#x203A;łĺ&#x192;˝, ă&#x2013;&#x2C6;č&#x2013;&#x160;ă&#x2022;&#x153;朸ç&#x2014;§â&#x2122;§ăšťă &#x2013;âĄ˛ĺ Ľĺ&#x153;&#x201C;ď&#x2DC;ˇ*$"ĺ&#x2030;¤â¨&#x17E;é&#x201A;?ć&#x20AC;ľ
â&#x;¨ä§Žĺ§ťăĽŞă&#x2013;&#x2C6;âť?â?Šâ¨&#x17E;éş&#x2022;â&#x2122;§âŚ?ć&#x20AC;ľâ´&#x20AC;갪暥աâ&#x2122;§ă&#x153;Ľć&#x20AC;ľâ´&#x20AC;Ő¸ď&#x2DC;šä§ŽäŞž ä&#x17D;&#x192;ă&#x2013;&#x2C6;č&#x153;&#x201C;ĺ&#x20AC;&#x203A;ç&#x152;°ç§&#x2039;ă&#x153;Ľćś¸â&#x2122;§ă&#x153;Ľć&#x20AC;ľâ´&#x20AC;ę&#x2026;žĺ&#x20AC;&#x17E;é&#x2020;łé&#x2020;˘â&#x153;Ťâ&#x2122;§éş&#x2019;ď&#x2DC;ˇé˝Ąă&#x153;Ľć&#x20AC;ľâ´&#x20AC;ç&#x161;żĺ&#x192;˝
ä´¸ć&#x20AC;&#x17D;ć˛ćś¸âŤ&#x201E;㣟â&#x153;Ťď&#x2DC;šă&#x2013;ˇę&#x;Śäş&#x2122;âŤ&#x201E;ă¸?겎é&#x160;źâ&#x153;Ťčą¤č&#x20AC;˘ćś¸ä˝&#x;ĺĽ&#x161;ď&#x2DC;ˇâĄ&#x17D;ăť&#x153;꼚â&#x2122;ł
â&#x2122;śĺ&#x192;˝ćś¸ď&#x2DC;šĺ&#x192;˝čą¤č&#x20AC;˘é?&#x2018;ë&#x201E;&#x201C;ä&#x2013;&#x2022;äŠ&#x17E;ĺ&#x2030;¤ćś¸ć&#x20AC;ľâ´&#x20AC;ď&#x2DC;šĺ&#x192;˝ćŽšĺ&#x201E;&#x2DC;朸ä˝&#x;ä?&#x17D;ć?&#x20AC;â&#x153;Ťä Žé&#x2014;&#x2019; č&#x153;&#x201C;ĺ&#x20AC;&#x203A;ç&#x152;°ęŤä&#x17D;&#x192;ç˝&#x153;â¨&#x17E;朸ć&#x20AC;ľâ´&#x20AC;ď&#x2DC;ˇ*$"é&#x152;?ä&#x2013;¤é¸?âŚ?갪暥ä&#x2013;&#x17D;ç&#x2014;&#x2DC;ă &#x2013;â&#x17E;ŽâŚ&#x203A;朸㚠âĄ&#x2122;ď&#x2DC;šă&#x201D;&#x201D;姽㽠䢊䢊ę&#x;&#x161;㨼乺崥â&#x153;Ťď&#x2DC;ˇ
their goals and slowly we began to discuss how we could work together.
"35 ;*1î&#x161;&#x2030;⥚䪞ăž?ä&#x2018;źäŠ§é¸¤ä§â&#x153;Ťâ&#x2122;§âŚ?ä´¸ć&#x20AC;&#x17D;ć¤?ă&#x153;Ľď&#x2DC;šâĄšć?&#x20AC;â&#x17E;&#x160;ë&#x17E;&#x192;ĺ&#x2030;&#x161;ä&#x;?
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;
ę°&#x2030;ĺ?żď&#x2DC;šâ&#x2122;łă&#x153;Ľćś¸éżŞĺ&#x192;˝1BOUFSBď&#x2DC;ś5IF #MBDL $SPXTď&#x2DC;ś.FUBMMJDBď&#x2DC;ś"$ %$é¸?ĺ&#x17E;şćś¸ĺ?żęĽ&#x2122;ď&#x2DC;šćŽšĺ&#x201E;&#x2DC;é&#x152;?ä&#x2013;¤é¨ë&#x201E;&#x201C;⿞估ä&#x2013;&#x17D;ä&#x201C;˝ć?&#x2122;ď&#x2DC;šé &#x17D;ĺˇ&#x160;ć&#x201E;&#x2C6;ĺť&#x160;ä&#x2013;¤â&#x2122;śä&#x2013;¤
â&#x153;Ťď&#x2DC;ˇé¸?âŚ?갪暥Ⰼăť&#x153;ă&#x201E;¤ä§Žăźĺ&#x201E;&#x2DC;⌏朸ä&#x2014;ąä&#x17E;&#x2022;ĺ°?ăŁ&#x2013;ăŁ?ęĄ â¤&#x161;â&#x153;Ťď&#x2DC;šâĄ&#x17D;ä&#x2013;&#x17D;ĺ&#x2030;¤ ä &#x2018;ä&#x2122;źćś¸ĺ&#x192;˝ď&#x2DC;šćŽšä§Žę&#x2026;žĺ&#x20AC;&#x17E;ćş?é¸?⽡ä&#x152;&#x;㜊ď&#x2DC;šéş&#x2022;â&#x153;Ťé¸?ë&#x17E;&#x192;㢾ä&#x17D;&#x192;ď&#x2DC;šä&#x2013;&#x17D;㢾â&#x153;˛éżŞ
é&#x161;śâ&#x153;Ťď&#x2DC;šé¸?ç??ę°&#x2030;ĺ?żćś¸ç&#x153;?ă¤&#x2030;ă&#x201E;¤ć¤?ă&#x153;Ľćś¸ä Žé&#x152;?㼪⍚⿜䪪ă&#x201D;?⢾â&#x153;Ťď&#x2DC;ˇä§Žă˝ ä&#x;?é&#x2018;&#x2018;â&#x2122;§é&#x2018;&#x2018;ď&#x2DC;šćş?é¸?ç??ä&#x17E;&#x2022;çąćś¸ĺ&#x152;&#x152;é&#x160;Żĺ&#x192;˝â&#x2122;śĺ&#x192;˝â&#x203A;łă&#x20AC;łâ&#x;&#x192;é&#x201E;&#x201E;é&#x2020;łé&#x2020;˘ď&#x2DC;ˇä§ŽäŞŞâ&#x153;Ť
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
ä&#x201C;šë łî&#x161;&#x2030;ëĽ&#x152;ć&#x2DC;°č´&#x2026;ë&#x2020;˝
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
that too, but there are a lot of western factors as well. In fact I think there is a lot 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
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;
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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strong work initiative and there would be emails going back and forth each day
;%î&#x161;&#x2030;䧎âŚ&#x203A;朸ĺ˝&#x2DC;é¸&#x2019;ä&#x2013;&#x17D;ę°Ťâľ&#x201E;ď&#x2DC;šĺ°?ĺ&#x2030;¤ăŁ&#x2013;ăŁ?朸ă&#x2030;?ę˛&#x2014;ď&#x2DC;šę¤&#x2018;â&#x153;Ťę°¸ç&#x161;żâ&#x2122;łćś¸â&#x2122;§
Matt Williams did not ďŹ t my expectations for foreigners, people who would not 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;
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"35 ;*1î&#x161;&#x2030;č&#x2013;&#x160;ă&#x2022;&#x153;č&#x17D;&#x2026;â&#x161;Ľă&#x2022;&#x153;朸ä&#x160;¨âĄ˛ĺ&#x20AC;°ä&#x2019;ăŁ?â&#x2122;śćšąă &#x161;ď&#x2DC;šă&#x2013;&#x2C6;é¸?ĺŚ&#x201E;ă &#x2013;⥲éş&#x2022;
solving any issues as they arose including the selection of the band. The curator
rhythm of the music can be the same. I feel the 91 performance also ďŹ ts the
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from some issues with the budget, when I would have to insist and then they would try their hardest to make it happen. The team at the ICA has a very
be replicated. I found four bands, and as long as the tapes are still there, the
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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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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
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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
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
prime example of artists going crazy and people see rock musicians as doing
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 Ղ䖕侸焺儘➿涸谁遯㹻 5&95 #: 乊俒 +04)6" (0/( 륞⛓⯈
DIGITAL ART AND POST MODERNISM:
侸焺谁遯莅䖕植➿⚺纏
In discussing the Post Digital Era, Post Modernism is inevitably involved,
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become widely used since the 1980s; and not only had it questioned
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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
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.
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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
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was a rare high quality game that fully presents those two elements. Even
捀 娔⟃♴⚆歲剓剤䕧갠⸂涸 ⡙ⶾ倞罏⛓♧< >➮
was heavily influenced by film. Only until digital games could justify its
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though Kojima was regarded as talented as a great film director, his game
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
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Super Mario Bros Original screenshot
康倴谁涸꤫僤恎
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
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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
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
⡲⛳尝剤Ⱘ넓涸侃✲ⷜ䞕㸤ꬒ㈔繡涸殥괐ㄤ幢
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⟃
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
to be nominated for that category. Since the sound track was
and fewer were regarded by historians as artistically significant.
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✽⹛
also be regarded as such. And Jenova Chen, its maker should be
forms and experiences. Even though he made a living as a
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
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,
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
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
Flower, game screenshot
BBC The Queen s Jubilee Concert
be realised: wisdom reaching the opposite shore.
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
REFERENCE
㖒⺠⹗ⴀ⢵剓傍鄄鷆彸荛 䎃➿< >✲㻜♳⽈
[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。
颶毠< >搂晘繡遯긭莅遺谁遯ㄤ⯓ꍵ瘼㾝♧垺㖈䖕
9>, [12 Mar 2016].
[10] Mihaly Csiksgentmihalyi, 1975, Beyond boredom and anxiety,
暟긭涸牟翱䚍傍㖈♳⚆私劣㽠ㄤ⫄窡谁遯〷♧垺「ⵌ 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
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
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銯倰ꨶ
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
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
荁贅询륌
directors growth, the Festival also hopes to inject new
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
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
the respect that they deserve. By helping with young blood into Chinese film industry.
暶ⴽ䱇奚♴䎂麶㕜ꥹꨶ䕧㾝⟃荁贅询륌捀そ䎂麶䕧㾝⚥涸
BRIDGING AND CONVERSING
ꡠ岤㼟鄄ㄐそ捀询륌㋲⯋罜껷㾂䎂麶㕜ꥹꨶ䕧㾝⛳㼟
Acting as a bridge to connect China and non-western
倞㼬怵㋲⯋㼟⟃荁贅ㄐそ罜〥♧⦐ꅾ럊㋲⯋겳㘗ꨶ䕧暶ⴽ 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
filmmakers, PYIFF encourages more communication and
collaboration of both and will construct a unique aesthetic standard of PYIFF.
巊
Screenings at the Festival will focus on non-western films,
堀哀莅㼩鑨
films to create more possibilities for Chinese film industry.
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
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
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
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.
僦劥㋲⯋㾝僦䎂麶㕜ꥹꨶ䕧㾝姻䒭㋲⯋⛓㢫涸⮛猗Ꟁ
STRONG LINEUP
⣘㢵珏鼇乵⟃⿻荈歋❜崩涸瑠
The Festival has assembled a team of selectors that includes well-known filmmakers: Marie-
䓽㣐涸ꤏ㺂
D Cunha, Tomita Mikiko, Babak Karimi, and Jeremy Chua.
晚瀊晚鸏㼟䍲⸔鸏❉倞늫䕧⫹㼦䪪錚滞⛳捀錚滞䲿
ꨶ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
Pierre Duhamel, Richard Lormand, Sandra Hebron, Alena Shumakova, Diego Lerer, Deepti
The remarkable line-up also includes creative and strategic advisors who are renowned
directors, experienced producers, film festival organisers and distinguished film investors.
㢚怏⯘㪳⤜繏倛䊼䊼⯘v⽓ꅽ碜⟻剽裦❏䧢vꨮ
The creative advisory board consist of acclaimed directors, namely: the mainstay of Chinese
㗗㖈Ⰹ涸鼇晚곃㉏㕰㼟捀⸈䎂麶㕜ꥹꨶ䕧㾝涸
Prize winner Walter Salles; Alexander Sokurov, one of the most eminent contemporary
晋呏䒄裦兜䲿v鶔䱾꧉⽫䏞ㄤ⪂峫碜v詎倞⸈ ⢵频ㄤ錚滞礶鼇ⴀ 긅鿈㺢剤暶蒀涸ꨶ䕧
film industry Feng Xiaogang; noted Hongkong director Johnnie To; Berlinale Golden Bear directors in Russia and all-rounded Indian filmmaker Anurag Kashyap.
ꤑ姽⛓㢫䎂麶㕜ꥹꨶ䕧㾝涸곃㉏㕰⺫䭍谁遯곃㉏ㄤ瘼
The strategic advisors includes: James Schamus, American producer, screenwriter, and long-
须幀ꨶ䕧醢晚➃ꨶ䕧眏穉籽罏ㄤ衽そꨶ䕧䫏须➃ꤏ㺂
producer; Roger Garcia, executive director of Hongkong International Film Festival; Olivier
殜곃㉏㓭䭍⚥㢫ꨶ䕧歲涸㣐䌌秹➃暟嫲㥶濼そ㼬怵 㜖珖䓽㣐
term collaborator with director Ang Lee; Aleksandr Rodnyansky, leading Russian-Ukrainian 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
饟ĺ&#x17E;´ĺ?&#x2022;
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
received critical praise and have been recognized internationally. His ďŹ rst feature ďŹ lm "Xiao Wu" ďź&#x2C6; The Pickpocket , 1998ďź&#x2030;received a great successďź&#x152;winning both the Wolfgang Staudte Award and the NETPAC Award at the Berlin International Film Festival. His ďŹ lm "Still Life" won the Golden Lion Award in the Venice Film
Festival in 2006 and his ďŹ lm "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.
饟ĺ&#x17E;´ĺ?&#x2022;ď&#x2DC;šâ&#x161;Ľă&#x2022;&#x153;襽ă ?㟏ć&#x20AC;ľď&#x2DC;śâĄ˛ăšťď&#x2DC;śâľ&#x2013;ć&#x2122;&#x161;â&#x17E;&#x192;ď&#x2DC;šâ°ŚâĄ˛ă&#x2026;ˇă&#x2013;&#x2C6;
ĺ&#x17D;Łĺ?&#x152;ꨜä&#x2022;§ç&#x153;?ęŤä&#x17D;&#x192;é&#x201D;¸ă ˘ăŁ?ć ď&#x2DC;ˇ ä&#x17D;&#x192;ď&#x2DC;šä˝Śâ&#x153;˛ć&#x2122;&#x161;Őˇâ&#x2122;˛ä&#x192;&#x161;
㼪â&#x17E;&#x192;Ő¸ć ˝ç&#x2014;§ ăž&#x201A;㪎㽳ĺ&#x20AC;&#x203A;ă&#x2022;&#x153;꼚ꨜä&#x2022;§ç&#x153;?ĺ&#x2030;&#x201C;â˘&#x2022;ä&#x2022;§ć&#x2122;&#x161;ę&#x2020;&#x201E;ć&#x;˛
ć ď&#x2DC;ˇ ä&#x17D;&#x192;ď&#x2DC;šä˝Śâ&#x153;˛ć&#x2122;&#x161;ŐˇăŁ&#x201D;é?˝ăš Ő¸ć ˝ç&#x2014;§ ăž&#x201A;䧺ç§?ă&#x2022;&#x153;꼚
ꨜä&#x2022;§ç&#x153;?ĺ&#x2030;&#x201C;â˘&#x2022;玥âˇ&#x153;ć ď&#x2DC;ˇ ä&#x17D;&#x192;ď&#x2DC;šéĄźĺ&#x17E;´ĺ?&#x2022;ć ˝ćŚ°ăĄŚĺłŤéś&#x2039;é&#x2013;&#x2039;
ă&#x2022;&#x153;꼚ꨜä&#x2022;§ç&#x153;?ĺ&#x203A;&#x2122;é&#x161;&#x2DC;ę&#x2020;&#x201E;é&#x;ľć ď&#x2DC;ˇ ä&#x17D;&#x192;ď&#x2DC;šć ˝ä§şç§?ă&#x2022;&#x153;꼚ꨜä&#x2022;§
ç&#x153;?㟏ć&#x20AC;ľę§ąă&#x192;°ă&#x2039;˛âŻ&#x2039;çŠ&#x2026;é¨ä§ă˝ ę&#x2020;&#x201E;ęź&#x203A;鎌ć ď&#x2DC;ˇ
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
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.
we must also operate in accordance with the Chinese Film Act.
ă&#x2022;&#x153;꼚â&#x2122;łć ˝ä&#x2013;¤ä&#x2013;&#x17D;ë&#x201E;&#x17E;č&#x20AC;Ťé&#x161;&#x2DC;ď&#x2DC;ˇ ä&#x17D;&#x192;ď&#x2DC;šč´&#x2013;ăĽ?⥲աăźĺ¨&#x20AC;Ő¸ć ˝
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
+;,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 only have one selection standard, an artistic standard. However
He is both an award-winning auteur ďŹ lm director and producers. His ďŹ lms have
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;
ART.ZIP: What is the ratio of Chinese and non-western ďŹ lms showing at this ďŹ lm festival?
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?
Jia Zhang-ke is one of the most critically acclaimed ďŹ lmmakers working in China.
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
"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¸
prominent in the year, we will select more ďŹ lms from that region, it is not
*."(& $0635&4: 0' ă&#x2022;ć&#x2122;&#x2122;䲿âŁ&#x2DC; î&#x203A;&#x2021; 1:*'' ä&#x17D;&#x201A;éşľă&#x2022;&#x153;꼸꨾ä&#x2022;§ăž? 53"/4-"5&% #: çźşé&#x2122;ź î&#x203A;&#x2021; /*$)0-"4 "/%&340/ 㽲ă&#x20AC;˘äŹ&#x2DC;ĺ&#x20AC;&#x203A;Ë&#x2122;ă¸?ä&#x2014;&#x17E;ĺ&#x2022;ż &%*5&% #: çŽ é°ż î&#x203A;&#x2021; .*$)&--& :6 ⥎ăźä??
+;,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¸
curatorial approach to inform the audience.
JZK: We don t have a set ratio. If a particular region s ďŹ lms are especially
ăź é?&#x17E;ä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?✞㨼â&#x17E;&#x192;
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;
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
"35 ;*1î&#x161;&#x2030;é?Şă˘ľę¨śä&#x2022;§ç&#x153;?ę¤&#x2018;â&#x153;Ťç¤śéź&#x2021;ä&#x2022;§ć&#x2122;&#x161;ä˝&#x17E;ĺ&#x192;Śâ&#x;&#x192;㢍â&#x203A;łĺ&#x2030;&#x161;岤ę&#x2026;žćŹ´ĺ&#x2122;
"35 ;*1î&#x161;&#x2030;ę¤&#x2018;â&#x153;Ťă&#x201D;&#x201D;ć?&#x20AC;ăż&#x2039;é&#x160;Żĺ&#x192;˝ä?Ąćś¸ä˝Śę&#x20AC;&#x20AC;â&#x;&#x192;㢍ď&#x2DC;šĺ&#x2030;¤ĺ°?ĺ&#x2030;¤â´˝ćś¸âž˛ă&#x201D;&#x201D;é&#x203A;&#x160;ä?Ąéź&#x2021;äšľă&#x2013;&#x2C6;ä&#x17D;&#x201A;éşśč&#x17D;&#x160;éłľ
+;,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
é&#x17D;&#x2122;âˇ&#x201D;ă&#x192;¤î&#x161;&#x17D;
+;,î&#x161;&#x2030;ăźă&#x2122;šä&#x2039;&#x2018;ęŹ&#x152;ä&#x152;˘éť ă &#x2013;â¨&#x17E;ꨜä&#x2022;§ç&#x153;?ď&#x2DC;ˇćšąăźŠä&#x17D;&#x201A;ęŹ&#x2020;朸ă&#x2122;šä&#x2039;&#x2018;ĺ¨ă&#x2022; ď&#x2DC;šăş&#x201A;ĺ&#x192;&#x2019;é&#x203A;&#x160;ꨜä&#x2022;§ç&#x153;?ä&#x2022;&#x17D;ä§çżšć?&#x2039;
朸â¤&#x203A;éš&#x17D;⥲揽î&#x161;&#x17D;
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
㟊乺ď&#x2DC;šé˝Ąë&#x17E;&#x2020;ä&#x17D;&#x201A;麜ꨜä&#x2022;§ç&#x153;?ă&#x2013;&#x2C6;ă&#x2030;&#x201A;ĺ&#x2122; 朎ăž?ă&#x201E;¤ćŹ´ĺ&#x2122; 㟊乺â&#x2122;łĺ&#x2030;¤ä&#x2122;Śĺ&#x17E;şćś¸
+;,î&#x161;&#x2030;䧎âŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;č&#x2026;&#x2039;ăŁ ć ˝ä&#x2013;¤ę¨śä&#x2022;§ćŹ´ĺ&#x2122; ć˛ĺ&#x2C6;żă˘ľćś¸âĽ&#x152;â&#x;¤ď&#x2DC;šâ˘Şâ&#x17E;ŽâŚ&#x203A;ç?&#x17D;
ĺ&#x2122;˛âżŽč&#x17D;&#x2026;ꨜä&#x2022;§ăž?朸ĺ´&#x17E;âš&#x203A;ď&#x2DC;ˇâĄ&#x17D;ꨜä&#x2022;§ăž?ă&#x20AC;Ťĺ&#x192;˝â&#x2122;§âŚ?ä&#x17D;&#x201A;č?Šď&#x2DC;šä§ŽâŚ&#x203A;â&#x2122;śĺ&#x2030;&#x161;â°¨ ë&#x201E;&#x201C;ă&#x2013;&#x2019;â&#x17E;?â°&#x2026;âľ&#x152;ꨜä&#x2022;§ćŹ´ĺ&#x2122; ä&#x161;?朸ä&#x160;¨âĄ˛â&#x203A;&#x201C;â&#x161;Ľď&#x2DC;ˇç&#x;Śă&#x2039;˛é&#x201C;&#x17E;ď&#x2DC;šę¨śä&#x2022;§ăž?ă˝ ĺ&#x192;˝âĽ&#x153;
ꨜä&#x2022;§ç&#x153;?î&#x161;&#x17D;
佪ĺ?&#x201C;ď&#x2DC;ˇä§ŽâŚ&#x203A;ă&#x2013;&#x2C6;ä&#x17D;&#x201A;麜䚊ĺ&#x2030;¤ć Źç&#x201D;¨ćś¸ę¨śä&#x2022;§ăš¨ď&#x2DC;šâ˘ľé˘&#x2018;ăş&#x201A;ĺ&#x192;&#x2019;çżšă &#x2013;ď&#x2DC;šĺ&#x20AC;°â¤&#x2018;â&#x153;˝âš&#x203A;ď&#x2DC;šâ&#x2122;śé&#x201E;&#x201E;ă&#x2122;šä&#x2039;&#x2018;朸ă&#x2039;Ąă&#x201C;? ä&#x17D;?äť ď&#x2DC;ˇ
ĺ &#x20AC;ď&#x2DC;śę&#x17D;Śé¨&#x;ď&#x2DC;ˇ
"35 ;*1î&#x161;&#x2030;㟊ĺ&#x20AC;´ç&#x2014;§â&#x2122;§ĺŚ&#x201E;⢾ä&#x17D;&#x201A;麜朸⿟â&#x17E;&#x192;ď&#x2DC;šä?Ąĺ&#x2030;&#x161;ä˛&#x20AC;čŽ&#x201E;â&#x17E;Žä&#x2122;Śë&#x17E;&#x2020;ä?&#x17E;éş&#x2022;ă&#x2013;&#x2C6;ä&#x17D;&#x201A;麜朸â&#x2122;§ăŁ&#x201D;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;˛
"35 ;*1î&#x161;&#x2030;✞鳾姽ĺŚ&#x201E;ꨜä&#x2022;§ç&#x153;?ĺ&#x2030;&#x201C;ăŁ?朸äŽ&#x2039;ä¨&#x17E;ĺ&#x192;˝â&#x17E;&#x160;ë&#x17E;&#x2020;î&#x161;&#x17D;
é§&#x2C6;é¨&#x2039;ă&#x20AC;łâ&#x;&#x192;ĺś?âżťĺ&#x201E;˘â&#x161;Ľă&#x192;°éźšă ?ç°&#x2013;ä&#x2039;&#x2018;ď&#x2DC;ˇă&#x201D;&#x201D;ć?&#x20AC;ĺ&#x201E;˘â&#x161;Ľĺ&#x2030;¤ăŁ?ę&#x2020;&#x20AC;朸äż&#x2019;ć&#x161;&#x;ă&#x20AC;˘é¨&#x2039;ď&#x2DC;šé¸?â?&#x2030;ĺ&#x2026;&#x17E;ë&#x;&#x160;é¨&#x2026;ę¨&#x2020;ä&#x17D;&#x201A;éşś
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?
ä&#x17D;&#x192;朸č&#x17D;&#x160;éłľď&#x2DC;šä&#x2022;&#x17D;ä§â&#x2122;§âŚ?â°¨ĺ&#x2030;¤çŤ¤ë&#x20AC;żď&#x2DC;śâ°¨ĺ&#x2030;¤âśžé¸¤â¸&#x201A;朸çŠ&#x2030;çą˝ă&#x2022;°ęĽ&#x2122;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;
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? 㟏ć&#x20AC;ľĺ&#x2C6;żă˘ľă&#x2013;&#x2019;ă&#x20AC;&#x152;渤ď&#x2DC;ˇ
+;,î&#x161;&#x2030;ę¤&#x2018;â&#x153;Ťéź&#x2021;ć&#x2122;&#x161;ă&#x2022;°ęĽ&#x2122;ď&#x2DC;šä§ŽâŚ&#x203A;朸çŠ&#x2030;繽獤ë&#x20AC;żĺŚ çˇ&#x201E;ď&#x2DC;ˇä§ŽâŚ&#x203A;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;é¸&#x2019;éş&#x2022;â&#x2122;˛
+;,î&#x161;&#x2030;ă&#x2013;&#x2C6;ćş?ꨜä&#x2022;§â&#x203A;&#x201C;⥎ď&#x2DC;šé&#x152;&#x161;ćť&#x17E;ćś¸ęĄ ĺ˛¤ë&#x;&#x160;ă&#x20AC;łâ&#x;&#x192;ă ˘ă&#x192;°éźšä&#x2019;&#x201A;â ˝ď&#x2DC;ˇä§Žä&#x2019;&#x160;é&#x2122;žăŁ?ăšťâ&#x;&#x192;ä&#x17D;&#x201A;éşść?&#x20AC;â&#x161;Ľä&#x2014;ąď&#x2DC;š ä&#x2013;&#x17D;éľ&#x153;ď&#x2DC;šâ?&#x153;é¸&#x2019;ęŹ&#x152;ä&#x152;˘ĺ&#x20AC;°â¤&#x2018;ď&#x2DC;ˇ
INTERVIEW WITH MARCO MĂ&#x153;LLER ARTISTIC DIRECTOR OF PYIFF
ęź&#x203A;ă&#x20AC;ł â&#x20AC;˘ ç? âš&#x2014;
ăź é?&#x17E;ä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?č° é Żçą?ćš&#x152; *."(& $0635&4: 0' ă&#x2022;ć&#x2122;&#x2122;䲿âŁ&#x2DC; î&#x203A;&#x2021; 1:*'' ä&#x17D;&#x201A;éşľă&#x2022;&#x153;꼸꨾ä&#x2022;§ăž? 53"/4-"5&% #: çźşé&#x2122;ź î&#x203A;&#x2021; )"0 ;)*;* éžšĺ&#x2026;°ĺ&#x201C;&#x; &%*5&% #: çŽ é°ż î&#x203A;&#x2021; .*$)&--& :6 ⥎ăźä??
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
Marco MĂźller is a ďŹ lm critic, award-winning ďŹ lm producer, and former director of prestigious Rotterdam, Locarno, Venice and Rome ďŹ lm
Festivals. Renowned for injecting new life into festival, MĂźller is also
one of the ďŹ rst curators to introduce Asian ďŹ lms to European audiences, in particular Chinese cinema. He is honoured as the ďŹ rst person of introducing Chinese ďŹ lms to the world.
ęź&#x203A;ă&#x20AC;łvç? âš&#x2014;ď&#x2DC;šă&#x2022;&#x153;꼚濟ă ?ä&#x2022;§é?ąâ&#x17E;&#x192;ď&#x2DC;ść ˝ć ꨜä&#x2022;§é&#x2020;˘ć&#x2122;&#x161;â&#x17E;&#x192;ď&#x2DC;šă˘ľĺŚ&#x201E;äş&#x152;â&#x;¤ă&#x2022;&#x153;
꼚ę&#x2026;žé&#x160;´ę¨śä&#x2022;§ç&#x153;?ćś¸č° é Żçą?ćš&#x152;î&#x2122;žâ&#x161;şä&#x152;?ď&#x2DC;šăĽśë&#x203A;Šć&#x161;śâ&#x161;¸ă&#x2022;&#x153;꼚ä&#x2022;§ăž?ď&#x2DC;śĺłŤéś&#x2039;
é&#x2013;&#x2039;ă&#x2022;&#x153;꼚ꨜä&#x2022;§ç&#x153;?ď&#x2DC;śăŞŽă˝łĺ&#x20AC;&#x203A;ă&#x2022;&#x153;꼚ꨜä&#x2022;§ç&#x153;?ď&#x2DC;śçš?ęź&#x203A;ă&#x2022;&#x153;꼚ꨜä&#x2022;§ç&#x153;?ç&#x2DC;&#x17E;ď&#x2DC;ˇç?
âš&#x2014;ă&#x160;Ľĺ&#x20AC;´é¸&#x2019;éş&#x2022;â&#x2122;§çŚşâ´Şä˝&#x2013;ęŹ ć?&#x20AC;ꨜä&#x2022;§ç&#x153;?岤â°&#x2026;ĺ&#x20AC;&#x17E;ĺ´&#x17E;â¸&#x201A;ď&#x2DC;šâ&#x203A;łĺ&#x192;˝ĺ&#x2030;&#x201C;ĺ&#x201A;?䪞â??
ĺ´&#x17D;ꨜä&#x2022;§î&#x2122;ˇć&#x161;śâ´˝ĺ&#x192;˝â&#x161;Ľă&#x2022;&#x153;ꨜä&#x2022;§î&#x2122;¸â&#x17E;?稲âľ&#x152;ĺ§&#x2DC;ĺ´&#x17D;朸âŻ&#x201C;ë&#x20AC;?ď&#x2DC;ˇă&#x201D;&#x201D;姽ç? âš&#x2014;é&#x201E;&#x201E;
é&#x161;&#x2DC;ć?&#x20AC;ď&#x161;łäŞžâ&#x161;Ľă&#x2022;&#x153;ꨜä&#x2022;§ä˛&#x20AC;ă ˘â&#x161;&#x2020;ć˛ćś¸ç&#x2014;§â&#x2122;§â&#x17E;&#x192;ď&#x161;´ď&#x2DC;ˇ
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: 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;¤ 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
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°
There is deďŹ nitely also a strong case to be made for the
serves also as a platform for the national industries to dialogue with foreign
..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; 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
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
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;
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
spin-oďŹ&#x20AC; industrial and economical beneďŹ ts generated
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
THE COLLISION OF OLD AND NEW
TURNING TRASH TO TREASURE PINGYAO INTERNATIONAL FILM FESTIVAL MOVIE THEATRE
隶䑛捀㼂
䎂麶㕜ꥹꨶ䕧㾝涸ꨶ䕧㹨
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
they meet, what kind of collision will it be?
♧⦐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
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
One is an old factory, and the other is a large international film festival. When
倞莅莍涸焥中
DESIGN PLANS, CHANGE!
é?¤é&#x17D;&#x2122;ä&#x2122;źé¨&#x;ď&#x2DC;šé&#x161;śî&#x2122;°é&#x161;śî&#x2122;°é&#x161;śî&#x2122;°
design. He crafted the layout of the park and gave supervision with meticulous
ăž&#x201A;ę&#x;&#x161;ä?&#x152;ä&#x2013;&#x2022;ď&#x2DC;šă&#x2013;&#x2C6;ä&#x17D;&#x201A;éşśĺ?&#x17E;ĺą&#x2DC;ĺ Ľä&#x2018;&#x2013;äż&#x2019;âť&#x2039;č° é Żă&#x2022;¨âźŚâ°&#x2030;朸ꨜä&#x2022;§ę¤&#x17D;ę&#x;&#x20AC;
The cinema s construction created 11,000 m2 of space of which 5,700 m2 was new
ä&#x2022;§ăž?ď&#x2DC;śĺ&#x201A;&#x2C6;ĺ&#x160;Ľę¨śä&#x2022;§ăž?ç&#x2DC;&#x17E;ď&#x2DC;ˇď&#x161;´ę&#x201A;&#x201A;ă &#x2013;é¸?â&#x2122;§ć¤&#x161;ä&#x2122;&#x201A;ď&#x2DC;šę¨śä&#x2022;§ăž?ă&#x2022;°ęĽ&#x2122;姝ă&#x2013;&#x2C6;
include the 1,500-seat open-air cinema, the 500-seat indoor cinema, a VIP area
Jia Zhang-ke said that they don t only want an eight-day ďŹ lm festival. After the
饟ĺ&#x17E;´ĺ?&#x2022;é&#x201C;&#x17E;ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;â&#x2122;śä&#x2039;&#x17E;ĺ&#x160;&#x2020;â¨&#x17E;â&#x2122;§âŚ?ă&#x20AC;Ťĺ&#x2030;¤â°&#x201D;ăŁ&#x201D;朸ꨜä&#x2022;§ăž?ď&#x2DC;ˇď&#x161;łç&#x2014;§â&#x2122;§
into a long-term art and culture park. At the same time, they hope to host
ĺ&#x160;?éş&#x152;ć&#x2013;&#x160;ď&#x2DC;šă &#x161;ĺ&#x201E;&#x2DC;ä&#x2039;&#x17E;ĺ&#x160;&#x2020;꧹ă&#x192;°ĺ&#x2030;¤â&#x2122;§âŚ?ꨜä&#x2022;§ăź ę˛&#x2014;ăž?ď&#x2DC;šĺŤ˛ăĽśĺ˛ ă&#x2022;&#x153;ꨜ
opening ceremony, they hope to turn Pingyao diesel engine factory cinema special fortnightly ďŹ lm festivals, for instance, having a focus on French and
Japanese ďŹ lms 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 ďŹ lm festival model could continue to grow and
侊ä&#x2019;&#x160;ď&#x2C6;Łă&#x2022;&#x153;朸ç&#x2030;ąâšĄä&#x17D;&#x201A;č?Šď&#x2DC;šä&#x2039;&#x17E;ĺ&#x160;&#x2020;ꨜä&#x2022;§ăž?ă&#x20AC;łâ&#x;&#x192;ä&#x152;&#x;⢾ď&#x2C6;Łă&#x2022;&#x153;朸é&#x152;&#x161;ćť&#x17E; â&#x17E;&#x192;ĺ´Šď&#x2DC;šäŞžę¨śä&#x2022;§ăž?â¨&#x17E;ä§ä&#x152;˘ä˘&#x20AC;âť&#x2039;朸éş&#x152;ć&#x2013;&#x160;ĺ&#x17E;¸ä&#x2019;ď&#x2DC;ˇ
become regular. Therefore, accompanying this concept, Tsinghua Architectural
䨞â&#x;&#x192;ď&#x2DC;šć?&#x20AC;â&#x153;Ťę&#x201A;&#x201A;ă &#x2013;é¸?â&#x2122;§é&#x152;&#x161;ä&#x2122;&#x201A;ď&#x2DC;šę¨śä&#x2022;§ăš¨ćś¸é?¤é&#x17D;&#x2122;é?¤é&#x17D;&#x2122;ă&#x2022;°ęĽ&#x2122;嚢č&#x17E; ăŁ?
Lian Yirui, the head of industrial park design. The co-founder of PYIFF as well as
ä&#x152;&#x;ęą&#x2020;â&#x2122;´ď&#x2DC;šé?¤é&#x17D;&#x2122;â&#x153;Ťę¨śä&#x2022;§ăš¨ćś¸ä˝&#x2013;ä&#x2019;&#x160;갪暥ď&#x2DC;ˇ
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
㡸ä&#x2019;&#x160;ç&#x153;Ąé?¤é&#x17D;&#x2122;ç &#x2021;ç&#x2018;&#x2013;ę¤&#x17D;ď&#x2DC;šă&#x2013;&#x2C6;援ĺ&#x2122; ă&#x2022;¨âźŚç &#x2021;ç&#x2018;&#x2013;â&#x161;Ľä&#x2014;ąâ&#x161;şâ&#x;¤ä?˘ĺŤ?ę&#x152;´ćś¸ ç˝&#x153;⥲ć?&#x20AC;ä&#x17D;&#x201A;麜ꨜä&#x2022;§ăš¨ăš&#x201D;â°&#x2030;é?¤é&#x17D;&#x2122;朸ꝡä&#x152;?é?¤é&#x17D;&#x2122;ä&#x152;&#x152;ď&#x2DC;šăż&#x2039;é&#x160;ŻăŁ?㡸皥
consideration of design and attention to detail.
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;¸
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
ANCIENT WALLS
PINGYAO
The walls surrounding the ancient city of Pingyao, are one of four best-preserved
REAL GEM OF SHANXI
Xuanwang (? â&#x20AC;&#x2019; 782 BC). The existing walls date back to the Ming Dynasty (1370) as over
ancient walls that still exist.
ĺ&#x201E;˘ă&#x160;Ľĺ&#x201E;˘çšĄä&#x17D;&#x201A;éşśă&#x2122;š
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
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
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 ďŹ lm and television programs and is inextricably linked to ďŹ lm 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
꼚ꨜä&#x2022;§ăž?éź&#x2021;ă&#x2013;§ă&#x2013;&#x2C6;ä&#x17D;&#x201A;éşśď&#x2DC;šĺ&#x192;˝ĺ&#x2030;¤â°Śĺ¨&#x153;ă&#x20AC;ˇď&#x2DC;śäż&#x2019;âť&#x2039;ă&#x201E;¤ă&#x2013;&#x2019;ć¤&#x161;朸
ç˝&#x152;ę&#x2020;&#x20AC;ď&#x2DC;ˇä&#x17D;&#x201A;éşśĺ&#x192;˝â&#x2122;§ä? ĺ&#x2030;¤čĄ˝ ä&#x17D;&#x192;ĺ¨&#x153;ă&#x20AC;ˇćś¸ă&#x20AC;˘ă&#x2122;šď&#x2DC;šĺ&#x192;˝â&#x161;Ľă&#x2022;&#x153;
ć¤?㜸朸ă&#x201D;&#x2039;ä? 㸤㼪朸ă&#x20AC;˘ă&#x2122;šâ&#x203A;&#x201C;â&#x2122;§ď&#x2DC;ˇç˝&#x153;ä&#x17D;&#x201A;麜⥲ć?&#x20AC;é?Şă˘ľä&#x2022;§é&#x2039;&#x2022;
âˇ&#x153;朸äŹ?䟢ă&#x153;Ľă&#x2013;&#x2019;ď&#x2DC;šĺ&#x2C6;żĺ&#x192;˝č&#x17D;&#x2026;ꨜä&#x2022;§ĺ&#x2030;¤čĄ˝âźŞçŞŁč ?çą&#x20AC;朸č&#x20AC;˘ç˛Żď&#x2DC;ˇ
㼜ĺ?&#x201C;é&#x201C;&#x17E;ď&#x2DC;šä&#x17D;&#x201A;éşśă&#x2022;&#x153;꼚ꨜä&#x2022;§ăž?ă&#x2013;&#x2C6;ä&#x17D;&#x201A;éşśč&#x17D;&#x160;éłľď&#x2DC;šĺ&#x192;˝ă&#x20AC;˘â&#x17E;&#x203A;â&#x161;Ľă˘Ť
朸ĺ¨&#x153;ă&#x20AC;ˇç&#x201E;Ľä¸ď&#x2DC;šé˝Ąë&#x17E;&#x192;ď&#x2DC;šä&#x17D;&#x201A;éşśâ&#x;&#x192;âżťéš&#x2039;韚朸ĺ&#x2026;&#x17E;çŻ&#x160;ď&#x2DC;šĺ&#x2C6;żć?&#x20AC;ꨜ
ä&#x2022;§ăž?ă&#x;&#x17E;ĺš&#x2018;â&#x153;ŤăźŠé&#x2018;¨ćś¸â°&#x2030;ĺˇ&#x2019;ď&#x2DC;ˇ
ä&#x17D;&#x201A;éşśă&#x20AC;˘ă&#x2122;šî&#x161;&#x2030; ćś°ä&#x17D;&#x192;垼ĺ&#x2018;şď&#x2DC;šâźŞä&#x17D;&#x192;ç?&#x17D;ć&#x2026;&#x2C6;
â&#x2122;§ç&#x2026;´â&#x2122;§ćŞłď&#x2DC;šâ&#x2122;§ĺ&#x160; â&#x2122;§ç&#x20AC;&#x2013;ď&#x2DC;šéżŞé&#x2039;&#x2026;é&#x2DC;Žâ&#x153;Ťä&#x17D;&#x201A;麜朸ĺ¨&#x153;ă&#x20AC;ˇď&#x2DC;ˇ
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.
Brick and tile, wood and stone, all have witnessed the history of Pingyao.
ä&#x17D;&#x201A;éşśă&#x20AC;˘ă&#x2122;šă¨Ľä&#x2019;&#x160;ĺ&#x20AC;´é&#x160;Żă&#x192;°ď&#x2DC;šé¨&#x2026;â&#x17E;&#x203A;ä&#x160;şçŤ¤ĺ&#x2030;¤ ä&#x17D;&#x192;朸ĺ¨&#x153;ă&#x20AC;ˇ
Guards relied on wheelbarrows, pushing gold and silver treasures, walking thousands
The ancient city was ďŹ rst established in the Western Zhou Dynasty, and has now
ă&#x2022;&#x153;ď&#x161;łâĽ&#x192;㜸ĺ&#x2030;&#x201C;ć?&#x20AC;㸤㼪朸ă&#x201D;&#x2039;ăŁ?ă&#x20AC;˘ă&#x2122;šď&#x161;´ď&#x2DC;šâ&#x203A;łĺ&#x192;˝ćšĄâľšâ&#x161;Ľă&#x2022;&#x153;ă&#x2C6;&#x201D;
were not loyal, why would the Biaoju serve? If there is no loyalty, why protect others and
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 ďŹ nancial centre,
becoming a prosperous and ďŹ&#x201A;ourishing city. Everywhere you go you can feel the atmosphere of traditional Shanxi culture, peering back 100 years into the past.
â&#x153;Ťď&#x2DC;ˇă¸?č&#x17D;&#x2026;ă&#x201D;&#x2039;ä&#x160;&#x203A;ę ?â&#x161;Ľď&#x2DC;śę¨Łâ˝&#x201A;ë&#x153;ŠĺŻ?ď&#x2DC;śă¸&#x17E;ä&#x2014;Šĺ§Šç°&#x2013;â&#x161;&#x203A;ç?&#x2013;ć?&#x20AC;â&#x161;Ľ â&#x2122;§â&#x;&#x192;䞎ä? ă&#x20AC;˘ă&#x2122;šć?ă&#x153;Ąâ&#x161;&#x2020;ć˛äż&#x2019;âť&#x2039;éź?ćŹ´ć ˝ä&#x2013;¤ä§â¸&#x2020;朸ă&#x20AC;˘ç°&#x2013;
ă&#x2122;šď&#x2DC;ˇä&#x17D;&#x201A;éşśĺ&#x2030;&#x17D;ĺ&#x192;˝ĺ&#x201E;ťĺš˘ĺ&#x201E;&#x2DC;ĺ&#x160;?â&#x161;Ľă&#x2022;&#x153;朸ę&#x2020;&#x201E;čź&#x2018;â&#x161;Ľä&#x2014;ąď&#x2DC;šéĽĽéš&#x17D;é¸?ä? ĺ&#x2030;&#x17D;獤çą&#x2014;č&#x17E; 朸ă&#x20AC;˘ă&#x2122;šď&#x2DC;šč´&#x2013;č´&#x2013;ă&#x20AC;łâ&#x;&#x192;ä Žă&#x20AC;&#x152;âľ&#x152;ĺ&#x201E;˘ă&#x2030;&#x201A;äż&#x2019;âť&#x2039;ćś¸ĺľ ä&#x153;&#x201A;ď&#x2DC;šé&#x203A;&#x160;â&#x17E;&#x192;ĺ&#x2030;¤â&#x2122;§ç??ç&#x2018;éŚ&#x160;ă&#x201D;?ćś°ä&#x17D;&#x192;⾚朸ę?Ťé&#x152;?ď&#x2DC;ˇ
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; 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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ď&#x161;łâť˝é¸&#x2019;ăŁ&#x201D;â&#x2122;´ď&#x161;´ĺ&#x201A;&#x2C6;ĺ&#x201A;ťĺ&#x192;&#x2026;
ĺ&#x192;&#x2C6;嚢ĺ&#x201E;&#x2DC;ĺ&#x160;?朸ăż&#x2039;é&#x160;Żç&#x2030;ąč´Ťă&#x20AC;łé&#x2013;&#x2014;ĺ&#x192;˝â&#x161;Ľă&#x2022;&#x153;ć¤?â&#x17E;żę&#x2039;&#x201C;é ¤ćś¸
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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
ę&#x2013;&#x2019;㽡 é&#x2014;?朸ĺ&#x192;˝çş?ď&#x2DC;šé&#x201D;&#x201C;朸ĺ&#x192;˝ä&#x2DC;&#x17E;
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
ę&#x2013;&#x2019;ä&#x152;&#x152;âŚ&#x203A;ęŹ&#x2019;襽â&#x2122;§ĺ?şć Źé°śéŽŚď&#x2DC;šä˛&#x20AC;襽é&#x161;&#x152;éˇ&#x2018;朸ę&#x2020;&#x201E;ę&#x2039;&#x201C;é ż
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;
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
Rishengchang could develop such a strong position due to its perfect employment ä&#x17D;&#x201A;éşśă&#x20AC;˘ă&#x2122;šâżťâ°Śă&#x192;°éźšĺ&#x2030;¤ä&#x2013;&#x17D;㢾⧊ä&#x2013;¤â&#x2122;§âżĄćś¸ă&#x2013;&#x2019;ĺ&#x20AC;°ď&#x2DC;šä&#x17D;&#x201A;éşśă&#x2022;&#x153;
ă&#x2122;šă &#x17D;â&#x203A;&#x201C;â&#x2122;§ď&#x2DC;ˇ
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;°
this way, it controlled the economic lifeline of the 19th Qing Dynasty.
The ancient city of Pingyao and its surrounding areas have many deserving places
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;˘
The construction of Pingyao s ancient city can be traced back to at least Zhou
style survives till today.
5&95 "/% 1)050(3"1)&% #: äš&#x160;äż&#x2019;⿺䟥ä&#x2022;§ î&#x203A;&#x2021; 4)03"/ +*"/( ăŠ?ă&#x160;?ć?Ź *."(& $0635&4: 0' ă&#x2022;ć&#x2122;&#x2122;䲿âŁ&#x2DC; î&#x203A;&#x2021; 1:*'' ä&#x17D;&#x201A;éşľă&#x2022;&#x153;꼸꨾ä&#x2022;§ăž? 53"/4-"5&% #: çźşé&#x2122;ź î&#x203A;&#x2021; /*$)0-"4 "/%&340/ 㽲ă&#x20AC;˘äŹ&#x2DC;ĺ&#x20AC;&#x203A;Ë&#x2122;ă¸?ä&#x2014;&#x17E;ĺ&#x2022;ż
ă&#x20AC;˘ă&#x2122;šă &#x17D;
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;
torture, which would cause people to shudder when they looked upon them.
ա⿜é&#x2039;&#x2026;ä&#x17D;&#x201A;éşśŐ¸é&#x2014;?霤â&#x153;Ťâ&#x2122;§âŚ?ä Žâ&#x17E;&#x192;朸ĺ&#x201E;˘ă&#x2030;&#x201A;佌â&#x153;˛ď&#x2DC;ˇä˝Ś
shows, called Impression Series ; and indoor shows called 'See Again Series . In the way
ç&#x2030;&#x;ď&#x2DC;ˇé&#x201C;&#x2021;âĽ&#x152;ă&#x201E;¤â&#x17E;&#x2039;çş?ĺ&#x192;˝ĺ&#x201E;˘ă&#x2030;&#x201A;äż&#x2019;âť&#x2039;朸礜ë&#x201E;?ď&#x2DC;ˇăĽśĺ?&#x201C;é&#x201C;&#x17E;
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.
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.
ä&#x17D;&#x201A;éşśŐ¸ăž?ç&#x2C6;&#x161;朸⾹ĺ&#x192;˝ç¤śç&#x2030;&#x;ď&#x2DC;ˇ
ćş?ď&#x2DC;šć&#x20AC;ľă&#x2020;&#x17E;ď&#x2DC;śéşĽâ°¨éľ&#x153;ă&#x2013;&#x2C6;靜㽯ď&#x2DC;ˇâ&#x2122;§éš&#x17D;âľ&#x152;âˇ&#x153;ă&#x153;Ľď&#x2DC;šä&#x2022;ąä&#x2013;
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?
benevolence are the essence of Shanxi culture. If the ancient city of Pingyao shows
é&#x2030;Źé&#x2039;&#x2026;č ´ď&#x2DC;ˇ
of the story is to show the integrity and spirit of the Shanxi merchants. Honesty and Pingyao s history, then "See Again Pingyao" shows the spirit.
é Żä&#x2022;&#x17D;ä&#x2019;㸤皥犥ă &#x2013;ď&#x2DC;šĺ°?ĺ&#x2030;¤é&#x152;&#x161;ćť&#x17E;ĺ&#x2013;ąď&#x2DC;šé&#x152;&#x161;ćť&#x17E;ęŚ&#x2018;鼼ęŚ&#x2018;
â&#x2122;§ĺ§żç&#x2018;éŚ&#x160;ă&#x201D;?â&#x153;Ťćś°ä&#x17D;&#x192;⾚朸ä&#x17D;&#x201A;éşśď&#x2DC;šă&#x201E;¤âˇ&#x153;â&#x161;Ľćś¸â&#x17E;&#x192;ć&#x161;&#x; â&#x2122;§éĽąë&#x201E;&#x201C;ĺ&#x2030;&#x161;â&#x17E;ŽâŚ&#x203A;朸ĺ&#x201E;&#x2DC;â&#x17E;żé&#x161;śéź&#x201E;č&#x17D;&#x2026;ă&#x2039;?ä&#x2122;ă&#x2026;śĺ?żď&#x2DC;ˇâˇ&#x153;â&#x161;Ľ ĺ&#x2030;¤â&#x2122;§ä?&#x152;ĺ&#x192;˝ę&#x2013;&#x2019;ęĽ&#x2122;ă&#x2013;&#x2C6;â´&#x20AC;ę&#x2013;&#x2019;âľšé&#x160;´ĺł¤ć&#x201E;Şď&#x2DC;šâ&#x2122;§ĺ&#x192;˝ç&#x2039;˛éş&#x201A;ď&#x2DC;šâ&#x153;ł ć?&#x20AC;ç&#x2C6;śç&#x160;ˇď&#x2DC;ˇä&#x17D;&#x2122;âĄ&#x2122;ć&#x20AC;ľă&#x2020;&#x17E;ă&#x2013;&#x2C6;顴ĺ&#x192;&#x2C6;徎ć¸?â&#x161;Ľćś¸é&#x201A;?ć&#x20AC;ľă ?â&#x2122;ś ćšąă &#x161;ď&#x2DC;šâ˝żéżŞâź§â´&#x2022;â´&#x20AC;ä&#x2022;&#x2122;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
"See Again Pingyao" perfectly combines drama, dance, video, music and other forms of
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;
the actors and sets in close proximity. Entering the theatre is like stepping back through
é¸?â&#x2122;§ä?&#x152;â&#x203A;&#x201C;ä&#x2013;&#x2022;ď&#x2DC;šĺ&#x20AC;žćśŻé&#x201C;&#x17E;î&#x161;&#x2030;ď&#x161;łäąşâ&#x2122;´â˘ľé&#x201D;&#x17E;ăŁ?ăšťćş?ćş?ď&#x2DC;š
the actors lives and emotions. There is a scene in the play where two armed guards
ĺ´&#x17E;ă&#x201A;&#x2026;ď&#x2DC;ˇď&#x161;´ăŁ?ę&#x;&#x152;䊧ę&#x;&#x161;ď&#x2DC;šćś°ä&#x17D;&#x192;⾚朸ä?&#x2026;ę&#x17D;Śä&#x17E;&#x2022;ĺ&#x2026;&#x17E;ĺ&#x192;Śâ°&#x2026;ćť&#x161;
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 ć&#x153;śâ&#x17E;˛ćś¸ăŁ?â&#x17E;˛ĺ&#x17E;&#x153;ď&#x2DC;ˇ
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
art. There will be no chairs for the audience, instead the audience will walk and observe 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 diďŹ&#x20AC;erent styles, in a transparent bathtub, it s magniďŹ cent.
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 ďŹ lled with
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
Fenyang, the Starting Point of Jia Zhang-keâ&#x20AC;&#x2122;s films
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;˝
of Jia Zhang-ke. He lived in Fenyang for 21 years, and it provides a lot of material for his
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;
If you drive 40 minutes from Pingyao, you arrive in Fenyang. Fenyang is the hometown ďŹ lms. From 1998 s, Xiao Wu to his later work "Mountains May Depart", most of his ďŹ lms are shot on location.
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¸?
Jia Zhang-ke's ďŹ lms are mixed with his memories of his hometown. Walking in the
朸ç&#x2030;?âŻ&#x201C;ď&#x2DC;śä§Žćś¸âľšćŹ°â˘ľâ&#x161;&#x2020;â&#x2122;§ĺ&#x17E;şď&#x2DC;ˇď&#x161;´
ke s ďŹ lms.
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
ĺ&#x2030;¤č?&#x2C6;ä&#x160;šćś¸č?Šé&#x2018;&#x201A;ď&#x2DC;šĺ&#x2030;¤č?&#x2C6;ä&#x160;šćś¸ä˝Śâ&#x153;˛ď&#x2DC;šâ&#x203A;łĺ&#x2030;¤č?&#x2C6;ä&#x160;šćś¸ä&#x17E;&#x2022; ä Žď&#x2DC;ˇ
寿ꤿ 饟ĺ&#x17E;´ĺ?&#x2022;ꨜä&#x2022;§ę&#x;&#x161;㨼朸 ă&#x2013;&#x2019;ĺ&#x20AC;°
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
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&#x152;Źč&#x2019;&#x20AC;äŞ?ć&#x20AC;ľéş&#x2030;䨥â&#x161;Ľćś¸ęŹ&#x152;é&#x152;Źč&#x2019;&#x20AC;ć˘&#x2013;ăšťî&#x2122;ˇ/1$î&#x2122;¸ď&#x2DC;šâ&#x17E;ŽâŚ&#x203A;
"See Again Pingyao", lets people immerse themselves in a period drama.
but also their own feelings.
THE STARTING POINT
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;
ç Ąď&#x2DC;ˇä¨žĺ&#x2030;¤ćś¸ä?&#x2026;ę&#x17D;Śâ&#x161;Ľćś¸â&#x17E;&#x192;ć&#x161;&#x;鿪ĺ&#x192;˝ćşŤâ&#x17E;&#x192;äŞ?ć&#x20AC;ľď&#x2DC;šăĽśă &#x161;
ա⿜é&#x2039;&#x2026;ä&#x17D;&#x201A;éşśŐ¸ď&#x2DC;šé&#x203A;&#x160;â&#x17E;&#x192;é¨č?&#x2020;â°Śă&#x17E;Żćś¸ď&#x161;łç&#x2018;éŚ&#x160;âˇ&#x153;ď&#x161;´ď&#x2DC;ˇ
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
ę&#x2013;&#x2019;ä&#x152;&#x152;âŚ&#x203A;â´&#x20AC;⿥朸é¸?â?&#x2030;ä&#x17D;&#x192;ď&#x2DC;šä&#x17D;&#x201A;éşśĺ&#x2026;&#x153;é¸&#x2019;ç˝&#x2030;朰㨺朸揰
actors, like characters in a video game, they have their own lines, have their own stories,
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;
"See Again Pingyao" is China's ďŹ rst large-scale indoor immersive theatre, its well-
ä&#x17D;&#x201A;éşśă&#x20AC;˘ă&#x2122;šăž?ç&#x2C6;&#x161;朸ĺ&#x192;˝ä&#x17D;&#x201A;麜朸ĺ¨&#x153;ă&#x20AC;ˇď&#x2DC;šé˝Ąë&#x17E;&#x2020;ա⿜é&#x2039;&#x2026;
"See Again Pingyao" tells a story of a touching story of Shanxi business. The background
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;
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;
â&#x20AC;&#x153;See Again Pingyaoâ&#x20AC;? One Step Across
â&#x153;˛č&#x192;?ä&#x2013;&#x2022;ăž?ć¤?朸ĺ&#x192;˝âŤ&#x201E;äŞă&#x2013;&#x2C6;ĺ&#x201E;˘ă&#x2030;&#x201A;é &#x17D;č&#x2026; â&#x161;Ľćś¸é&#x201C;&#x2021;âĽ&#x152;礜
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;
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
well as oubliettes. Pingyao Xian Ya also had a variety of ancient instruments of
cultural, so we want to expound on the art, not to drown in it, but to stay a little aloof, to
ա⿜é&#x2039;&#x2026;ä&#x17D;&#x201A;éşśŐ¸ăź&#x;䨥âˇ&#x153;ď&#x2DC;śč&#x17D;ťéŞŞď&#x2DC;śä&#x2022;§âŤšď&#x2DC;śę°&#x2030;ĺ?żç&#x2DC;&#x17E;č°
courtyard, from outside to inside in order: the door, lobby, house, second house,
Pingyao County also has its own cell, there are well-equipped superior cells as
ĺ&#x20AC;´ĺ&#x192;˝ď&#x2DC;šď&#x161;łâżśé&#x2039;&#x2026;ď&#x161;´çŚşâ´Şă˝ é¸?ĺ&#x17E;şé&#x2019;˛ćŹ°â&#x153;Ťď&#x2DC;ˇ
And so, the See Again Series was born.
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⧺
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
inner chambers and the shrine.
Wang Chaosong said: The ancient city of Pingyao is not a big landscape, its renown is
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
situated on the left while oďŹ&#x192;ces of military oďŹ&#x192;cers on the right, courts at the
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;
streets of Fenyang and the old city, you can often can see the backdrops of Jia Zhang-
ę&#x;&#x161;㨼朸ă&#x2013;&#x2019;ĺ&#x20AC;°
ä&#x2013;°ä&#x17D;&#x201A;éşśę&#x;&#x161;鎌ăŁ?ĺ&#x161;&#x152;ă&#x201D;&#x2039;⟧â´&#x2022;ę&#x2014;ťď&#x2DC;šă&#x20AC;łâ&#x;&#x192;⢾âľ&#x152;寿ꤿď&#x2DC;ˇĺŻż ꤿď&#x2DC;šĺ&#x192;˝éĄźĺ&#x17E;´ĺ?&#x2022;朸佌ę&#x20AC;&#x20AC;ď&#x2DC;ˇâ&#x17E;Žă&#x2013;&#x2C6;寿ꤿ揰ĺ´&#x17E;朸 ä&#x17D;&#x192;ď&#x2DC;š
ć?&#x20AC;â&#x17E;Žćś¸ę¨śä&#x2022;§ä˛żâŁ&#x2DC;â&#x153;Ťç¨&#x2021;ĺ&#x2039;&#x17E;ď&#x2DC;ˇä&#x2013;° ä&#x17D;&#x192;朸աăźĺ¨&#x20AC;Ő¸ âľ&#x152;ä&#x2013;&#x2022;⢾朸աăż&#x2039;ĺą&#x17D;佌â&#x17E;&#x192;Ő¸ď&#x2DC;šâ&#x17E;Žćś¸ăŁ?㢾䞸ꨜä&#x2022;§âĄ˛ă&#x2026;ˇ 鿪ă&#x2013;&#x2C6;寿ꤿäŹ?䟢ă&#x20AC;&#x160;ĺ&#x2026;&#x17E;ď&#x2DC;ˇ
ç˝&#x153;ă&#x2013;&#x2C6;饟ĺ&#x17E;´ĺ?&#x2022;朸ꨜä&#x2022;§â&#x161;Ľď&#x2DC;šä§´ă˘ľä§´ăźąăŁ°ę§šâ&#x153;Ťâ&#x17E;ŽăźŠ
ĺ&#x20AC;´ä˝Śę&#x20AC;&#x20AC;朸ä§&#x192;ä&#x2122;&#x201A;ď&#x2DC;ˇéĽĽă&#x2013;&#x2C6;ĺŻżę¤żćś¸é łęą§ď&#x2DC;šç&#x2018;ĺ&#x201D;&#x17D;ă&#x2013;&#x2C6;寿 ꤿ朸ç˝&#x2030;ă&#x2122;šâźŚď&#x2DC;šçŤ¤ä&#x152;˘ă&#x20AC;łâ&#x;&#x192;ćş?é&#x2039;&#x2026;饟ĺ&#x17E;´ĺ?&#x2022;ꨜä&#x2022;§â&#x161;Ľćś¸ ă&#x153;Ľĺ&#x2026;&#x17E;ď&#x2DC;ˇ
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
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
the stamp of the government of the Empress Dowager Cixi. The
ĺ&#x2014;ä&#x2014;ąĺ&#x2014;겊꧹ĺ?&#x152;ăź&#x2030;
Chinese Buddhists believe the King of the South holds a sword, the
꧹ĺ?&#x152;ăź&#x2030;㨼ä&#x2019;&#x160;ĺ&#x20AC;´âť?뢜䧴ç˝?ĺ&#x2C6;żĺ&#x201A;?ď&#x2DC;šé¨&#x2026;â&#x17E;&#x203A;ĺ&#x2030;¤ 㢾ä&#x17D;&#x192;ď&#x2DC;ˇçŤ¤ĺ¨&#x153;â&#x153;ŤâźŞćś°ä&#x17D;&#x192;朸
the King of the East a snake. Together they are The Four Heavenly
ä&#x160;şçŤ¤ĺ&#x192;˝ĺ&#x192;&#x2C6;ĺ&#x160;&#x160;ă&#x201E;¤ĺš˘ĺ&#x160;&#x160;朸ä&#x2019;&#x160;ç&#x153;Ąâ&#x153;Ťď&#x2DC;ˇç˝&#x153;â°&#x2030;éż&#x2C6;朸ä&#x2022;&#x2122;ă?&#x2013;ă&#x201E;¤ă &#x2014;掼ď&#x2DC;šă&#x20AC;łéˇ&#x2020;彸âľ&#x152;âť?
Four Warrior-Attendants are also called The Four Heavenly kings .
King of the West holds a ďŹ&#x201A;ute, 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
ĺ¨&#x201D;ĺ&#x2030;˘ď&#x2DC;šâľ&#x152;â&#x153;Ťĺ&#x192;&#x2C6;嚢ĺ&#x201E;&#x2DC;â&#x17E;żĺ&#x2030;¤éş&#x2022;ä&#x17D;&#x2122;ĺŚ&#x201E;ăŁ?é&#x2039;&#x160;ĺ&#x17E;¸ćś¸ę&#x2026;žä&#x2019;&#x160;ă&#x201E;¤ę&#x2026;žâĽ&#x153;ď&#x2DC;šć¤?㜸朸ä&#x2018;&#x201D;ă¸&#x2122; 㸢ď&#x2DC;šç&#x201E;ˇăť&#x153;ĺ&#x192;˝ę¨&#x2C6;ä&#x2013;¤â&#x2122;§é&#x2039;&#x2026;朸礜ă&#x2026;ˇď&#x2DC;ˇ
č&#x17D;&#x2026;ä&#x17D;&#x201A;éşśă&#x20AC;˘ă&#x2122;šćś¸çą&#x2014;ä&#x2DC;&#x2018;č&#x17D;&#x2026;ă&#x2039;Ąë&#x2021;&#x20AC;ď&#x2DC;šé ¤ç&#x17D;&#x2018;ë&#x160;Ťĺ&#x192;&#x2C6;朸㟊卲ď&#x2DC;šâ&#x2122;§éš&#x17D;â°&#x2026;꧹ĺ?&#x152;ăź&#x2030;ď&#x2DC;šęŹ&#x2020;
é&#x2013;śď&#x2DC;šĺš˘č?&#x17E;ď&#x2DC;ˇă˝ 鸎ăź&#x2030;â&#x161;Ľćś¸ćź&#x2014;č§&#x2019;â&#x203A;łĺ&#x192;˝ęŹ&#x2020;ęŹ&#x2020;ă&#x2013;&#x2019;ę&#x;&#x161;ä˝&#x17E;ď&#x2DC;šă&#x2013;&#x2C6;ꤿâŻ&#x2022;朸ć&#x2019;&#x2018;ăź&#x2122;â&#x2122;´ď&#x2DC;šęťť éť&#x2021;渤嚢ď&#x2DC;ˇ
suďŹ&#x20AC;ering of the world.
ăŁ&#x201D;楏ĺŤ&#x201E;ę&#x;&#x152;⾚朸ĺ&#x192;˝ă&#x201D;&#x2039;ăŁ?ę&#x2020;&#x201E;âś?ď&#x2DC;šéşĽâŻ&#x2022;ä&#x17D;&#x192;ę&#x;Śćś¸âź ę˛&#x2122;ď&#x161;łăŁ&#x201D;ç&#x2013;&#x20AC;⚨ă&#x17E;Żď&#x161;´ä§&#x2020;ĺ&#x20AC;´ĺŤ&#x201E;
An old phrase in China states: Vajra can surrender devils with his
âś?â&#x203A;łé&#x201E;&#x201E;ç?&#x2013;ć?&#x20AC;ď&#x161;łę´?é&#x201D;&#x2026;ę¨&#x17D;ę°Ťď&#x161;´ ď&#x2DC;š â&#x161;Ľă&#x2022;&#x153;⥹äž&#x2020;ä&#x2013;?é&#x2019;˘ć?&#x20AC;â˝&#x201A;ĺ&#x20AC;°ă&#x;&#x17E;ę&#x;&#x20AC;ăŁ&#x201D;楏ä°âˇ§ď&#x2DC;šă &#x20AC;
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
ę&#x;&#x152;ď&#x2DC;ˇâź ę˛&#x2122;â&#x2122;łë&#x2019;&#x2030;ă&#x2013;&#x2C6;â&#x2122;łď&#x2DC;šëĽ&#x152;ă&#x2013;&#x2C6;â&#x2122;´ď&#x2DC;šĺ&#x192;˝äĄšç&#x2039;ŁăŁ&#x2013;ä&#x2013;&#x2022;ć Źäźžĺ&#x160;&#x160;ä˝&#x;朸⽍é&#x17D;šď&#x2DC;ˇă&#x201D;&#x2039;ăŁ?ę&#x2020;&#x201E;
ę´?î&#x161;&#x160;ĺ&#x152;&#x152;ĺ&#x20AC;°ä°ă&#x2022;&#x153;ăŁ&#x201D;楏äćĽćĽŽď&#x2DC;šă &#x20AC;é&#x201D;&#x2026;î&#x161;&#x160;âť?ĺ&#x20AC;°ă˘ľč&#x20AC;&#x201A;ăŁ&#x201D;楏ă&#x203A;&#x201A;âŞ&#x2018;ď&#x2DC;šă &#x20AC;ę¨&#x17D;î&#x161;&#x160;é&#x160;Żĺ&#x20AC;°ä&#x2018;&#x17E; 暥ăŁ&#x201D;楏ä°čˇ&#x2018;ď&#x2DC;šă &#x20AC;ę°Ťď&#x2DC;ˇçŠ&#x2030;ă &#x2013;鼹⢾â¤&#x2018;ä§â&#x153;Ťď&#x161;łę´?é&#x201D;&#x2026;ę¨&#x17D;ę°Ťď&#x161;´ď&#x2DC;ˇä¨žâ&#x;&#x192;â&#x17E;ŽâŚ&#x203A;â&#x203A;łĺ&#x192;˝ ⟧â´&#x2022;ă&#x20AC;&#x152;ćś°ă¨şä Śä¨Ľćś¸ç&#x2030;&#x;ĺ&#x192;&#x2C6;ď&#x2DC;ˇ
sculptures and The Scholar Tree. In the courtyard is a preserved
ă&#x2013;&#x2C6;ę&#x2026;źéś&#x2039;ĺŤ&#x201E;â&#x161;Ľď&#x2DC;šę&#x2026;źéś&#x2039;äˇ&#x2019;㽳⍚â°?âŠ&#x17D;â´&#x2022;â´˝ĺ&#x192;˝äŠ&#x203A;ä°č§&#x2019;č&#x201D;&#x2026;朸ĺ&#x2026;&#x153;颊č&#x17E;&#x2019;čŽ?ă&#x201E;¤äŠ&#x203A;ä°
people s prayers. The locals believe that this tree is full of spirituality
é&#x152;&#x161;ę°&#x2030;ćş?ćť&#x161;âĄ&#x153;ă&#x2DC;?ď&#x2DC;šâ&#x2122;§ę§ąäŠ&#x203A;â&#x161;Ľćś¸ę§ąćť&#x161;ď&#x2DC;šćş?ćš&#x2C6;â&#x153;Ťâ&#x17E;&#x192;ę&#x;Ść°č&#x2022;˛ď&#x2DC;ˇä¨žâ&#x;&#x192;ď&#x161;łę&#x2020;&#x201E;âś?â¸&#x2014;
Tang Dynasty Scholar tree, the tree is covered with the red cloth of
ĺ&#x2030;&#x2026;ĺ&#x160;Ľćś¸äż&#x2019;ĺŠ&#x152;č&#x17E;&#x2019;čŽ?ď&#x2DC;ˇäż&#x2019;ĺŠ&#x152;č&#x17D;&#x2026;ĺ&#x2026;&#x153;颊č&#x17E;&#x2019;čŽ?鸤ă&#x2DC;&#x2014;âŽ&#x203A;皥ď&#x2DC;šé&#x201A;&#x2020;ç§&#x2122;çŽ ĺ&#x201C;ĺ´Šĺ&#x2020;ąď&#x2DC;ˇâźŞäŠ&#x203A; 暥ď&#x2DC;šä¨žâ&#x;&#x192;꣎â &#x192;ă&#x201D;&#x2039;ë&#x2C6;Śî&#x161;&#x160;č&#x17E;&#x2019;čŽ?âĄ&#x153;ćş?ď&#x2DC;šä¨žâ&#x;&#x192;䥚ä?˛â°&#x2122;麼ď&#x2DC;ˇď&#x161;´
꧹ĺ?&#x152;ăź&#x2030;朸â&#x2122;§ăŁ?ć&#x161;śë&#x;&#x160; âŁ&#x2DC;ă¤&#x20AC;â&#x17E;&#x192;âŚ&#x203A;ă&#x2039;?ä Śćś¸ç&#x2030;&#x;ĺ&#x192;&#x2C6;č&#x17D;&#x2026;ęŤ&#x2122; ć&#x161;&#x;ď&#x2DC;šăź&#x2030;â&#x161;Ľâ&#x2122;śă&#x20AC;Ťĺ&#x2030;¤âĄąäž&#x2020;ĺ˛&#x;ă?&#x2013;ď&#x2DC;šéźŠĺ&#x2030;¤éşĽäž&#x2020;ĺ˛&#x;ă?&#x2013;ď&#x2DC;šéźŠ
ĺ&#x2030;¤ç&#x2C6;śç&#x160;ˇćś¸ă&#x2021;Ťĺ&#x153; ď&#x2DC;ˇę¤&#x17D;â&#x161;Ľćś¸ă&#x2021;Ťĺ&#x153; ĺ&#x192;˝ă&#x2021;Ťâ&#x17E;żâĽ&#x192;㜸â&#x2122;´â˘ľ 朸ĺ&#x153; ĺ&#x; ď&#x2DC;šĺ&#x; â&#x2122;łäąŚć&#x20AC;?â&#x153;Ťâ&#x17E;&#x192;âŚ&#x203A;ç&#x2C6;śç&#x160;ˇćś¸ç§&#x2039;ä&#x2039;&#x2019;ĺ&#x201C;ď&#x2DC;šćŽšă&#x2013;&#x2019; â&#x17E;&#x192;ćšąâĽ&#x152;é¸?⟪ä&#x17D;&#x192;朸ĺ&#x153; ĺ&#x; âŻ?ć&#x20AC;?ęŤ&#x2122;ä&#x161;?ď&#x2DC;šă&#x20AC;łâ&#x;&#x192;âĽ&#x192;⥥â&#x17E;&#x192; âŚ&#x203A;ä&#x17D;&#x201A;ă¸&#x17E;č&#x17D;&#x2021;ç&#x160;ˇď&#x2DC;šä&#x2014;ąä&#x;?â&#x153;˛ä§ď&#x2DC;ˇ
楏㚝ĺ¨?⢾â&#x2122;śćş?ę¤&#x17D;
é¨&#x2026;ä&#x17D;&#x201A;éşś â°&#x2014;ę&#x2026;˝ćś¸ćĄŹăšťăŁ?ę¤&#x17D;ď&#x2DC;šĺ¨&#x153;獤ĺ&#x192;&#x2C6;嚢â°?ĺ&#x160;&#x160;ď&#x2DC;š ĺ¨&#x153;ĺ&#x201E;&#x2DC; ä&#x17D;&#x192;ç˝&#x153;ä&#x2019;&#x160;ä§ď&#x2DC;ˇç&#x2026;´ď&#x2DC;śĺ&#x160; ď&#x2DC;śç&#x20AC;&#x2013;暹犥ă &#x2013;朸ď&#x161;łâ&#x2122;˛
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âľ&#x152;ď&#x2DC;ˇćĄŹăšťâĄ˛ć?&#x20AC;㸽ăš&#x2122;â&#x203A;&#x201C;ăšťď&#x2DC;šâ&#x161;Ľă&#x2022;&#x153;ă&#x20AC;˘â&#x17E;żćś¸ç&#x2DC;&#x17E;秚âľ&#x2013;ä?&#x17E; ă&#x20AC;łé&#x2039;&#x2026;â&#x2122;§äż¤ď&#x2DC;ˇç˝&#x153;ę¤&#x17D;â&#x161;Ľćś¸é¸?â?&#x2030;ç&#x2026;´ę§¨ď&#x2DC;śĺ&#x160; ꧨď&#x2DC;śç&#x20AC;&#x2013;ꧨâ&#x203A;ł ĺ&#x192;˝çŞ?â&#x153;Žâ&#x153;Ťę&#x;&#x20AC;鰳㟊ĺ&#x20AC;´ăśŠăˇ&#x;ď&#x2DC;śăźŠĺ&#x20AC;´äžŽâŚ?ăšťĺ &#x153;朸ĺ&#x160;? ĺ&#x160;&#x2020;ď&#x2DC;šä&#x2039;&#x17E;ĺ&#x160;&#x2020;â&#x17E;ŽâŚ&#x203A;ă&#x20AC;łâ&#x;&#x192;ä&#x201D;&#x17E;âą&#x;ćšąäŁ&#x201D;ď&#x2DC;šä¸ĺ&#x201A;&#x2C6;ë&#x201E;&#x17E;⟎ď&#x2DC;ˇ
ĺ&#x201E;˘ă&#x2030;&#x201A;â°Šç&#x153;&#x2022;ď&#x2DC;šă&#x2039;ŽăšťăŁ?ę¤&#x17D;
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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
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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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