Migration Addicts

Migration Addicts 迁移嗜好者 6 - 15. 6. 2007

It’s…

A starting point for migration addicts; An exploration into new territories for artists; A journey full of curiosity for each of us.

From Shanghai to Singapore and Venice…

More and more artists are joining in the discovery trip in search of greater surprises and pleasures.

And finally we realize we are migration addicts ourselves.

Then why don't we just keep moving?

Zheng Weimin Director ddmwarehouse

序 对于迁移嗜好者而言，永远都是起点。 对于艺术家而言，每一次都是新的探索。 对于我们而言，每一次都是充满新奇的发现。

2005年上海，2006年新加坡，2007年威尼斯，2008年…… 越来越多的艺术家加入到这个探索的行列，从中也获得越来越多的惊喜和快乐。 在不知不觉中，我们也开始成为一群迁移嗜好者。 既然如此，就让我们走下去吧

郑为民 东大名创库 总监

Migration Addicts

The structure of the exhibition is based on a series of interventions that will take place throughout the public spaces in Venice, articulating new perspectives entrenched directly in the urban environment, and methodologically operating in time and in space.

Text by Biljana Ciric, Karin Gavassa Venice is currently undergoing profound changes with respect to the urban landscape and its own future depends on the new structure it undertakes. More and more Venetians are leaving the lagoon to settle in other towns. In the next 30-40 years, it is certain that Venice’s population will be dramatically reduced.

The artists participating the Migration Addicts confront in their own culture and artistic practices the topic of migration, providing a direct relationship with the public space where the exhibitions is hosted, reflecting on the peculiarity of the territory, investigating differences and possible points in common.

In the last few years, since the Deng Xiaoping’s visit to South China, Shanghai has been turned into an experiment of Chinese modernization, becoming an outstanding site in the Asia Pacific region, with the highest attention of foreign curiosity and investment of capital which have rapidly brought social, material and environmental transformations. At present, Shanghai is definitely one of the most exciting cities on the planet.

Migration Addicts began as an ongoing project, investigating how migration re-determines issues related to human identity, gender and spiritual needs, touching upon topics which concern not only Shanghai but many other expanding Asian and western cities.

At the beginning Migration Addicts took place at the ddmwarehouse, the gallery space, proposing to local and foreign artists to react to the issue that the exhibition tempted to raise. The location of ddmwarehouse, which is situated in Hong Kou district, reminds of the island preserved while most of the buildings are torn down, waiting for the raise of skyscrapers. Gradually, Migration Addicts actually became form of the exhibition, not only the question raised by exhibition.

The exhibition structure meant to be flexible, elastic, ever changing one, inviting each time new artists to enrich the dialogues and to show strategies of their own interventions related to the topics of migration.

This kind of exhibition form brings unstable relationships which articulate new possibilities, as well as open new ways of artists independent expressions to reply on each locality where the exhibition is hosted. Last year Migration Addicts tried to respond on Singapore specific city-country locality with its unique position in Asia region through the dialogues with local artists.

Recently the tension between western and Chinese traditional values and lifestyles, as well as the late arriving of capitalism and the persisting communism, has not hindered the Chinese impulse towards assimilating the “international standards”, instead, it has been fostering Chinas economic development.

The fast expansion of urban spaces, following the model of Shanghai, has led to new social conflicts within the Chinese social structure. The urban environment and consumer’s desires draw the population from the countryside and small towns and push them into the big cities. This flow challenges the existing social structure and at the same time brings its own vitality into the life of cities. Migration is a phenomenon that all big cities around the world are dealing with. The communities and the people that migrate are those who actually take part in the process of reconstruction and transformation of the places. The migration of certain cultural groups in the metropolis brings a new atmosphere towards the uniformity of life and cultural codes. This climate requests the re-definition of individuality and the critical concept that cultural circles ought to bring.

Migration Addicts investigates the questions of temporal and spatial strategies which deal with this situation. On political and aesthetic levels, these projects interact with people from outside artistic circles opens to the encounter with the unknown viewer, and expands the idea of art and its experience, to continue an engagement with public sphere.

For the Italian step of the exhibition in Venice, Josefina Posch (Sweden, 1971) creates a large scale inflated rubber iceberg that expands and contracts as if "breathing". Changes and migrations, the effects of global warming, will trigger in the future and Posch finds it especially appropriate to address the issue in the city of Venice that is threatened by the raising sea levels.

The collective Mogas Station (Vietnam, 2005) presents a video work in which they are filmed drifting at sea, each upon a floating white surface, the ruins of a deconstructed of "white cube", arriving in a tropical climate off the Vietnamese coast.

The project by Miljohn Ruperto (Philippines, 1971) centers on the text I Gave the Names written by Adrian Leftwich, a South African militant anti-apartheid activist in the 1960s. When arrested, Leftwich provided information for the prosecution of his friends and fellow activists in exchange for exile.

Huang Kui (China, 1977) in his latest works stretches the limits of the viewers perception and uses his work as a mirror of the daily routine. The body of the work becomes the reality itself directed by artists. I Believe performance piece strives to bring Belief issue to audience through the game with dice tempting to prove the existence of God asking question Does God Exist?

Shanghai based artist Li Pinghu (China, 1976) raises the issues of temporary ascription and religion in peoples lives in big cities. He questions the notion of the holy and desire, setting game of faith in an unfamiliar environment in order to communicate with others.

TODO’s (Italy, 2005) urban mobile game Are You Here? aims to explore Venice through its inhabitants/migrants, through the faces of people one may encounter during his/her stay. Faces of immigrants that have become actual inhabitants, position the spectator as the stranger.

Recent works by Jin Shan (China, 1977) deal with public spaces and random people, exploring ordinary consciousness on certain issues.

Constructed as children’s games where people get involved in unusual actions in city, the artist’s work examines the lives of average passer-by.

Htein Lin (Myanmar, 1966) pioneered performance art in Burma, starting in 1996. He has been influenced by, and has formed an integral part of, his unique and challenging experiences as an activist, refugee, political prisoner and artist in Burma. In Venice he will present new performance piece How Do You Find Venice? directly dealing with his personal experience moving to England.

Yap Sau Bin’s MappingKLArtSpace art project uses the beta version of Google Earth, a virtual globe software to map the art related spaces in Kuala Lumpur and Petaling Jaya where his work has been shown.

Information technology also characterizes the locative performance by Hasan Elahi (Bangladesh, 1972). Tracking Transience investigates issues of surveillance, simulated time, transport systems, borders and frontiers.

Belén Cerezo’s (Spain, 1977) intervention is exploring relations between public space, the city, and our private space, our feelings and desires in new piece Far and Close.

Since 1997, Rizman Putra (Singapore, 1978) has been actively working in performative experimentation, crossing between different genres including poetry, photography, video, music, burlesque and dance. Elegy of A Man and His Weapon of Choice: The Hyperbolic Alpha Male addresses how one observes the self and the external factors that evolve around him or her. Based on his or her perception, the weapon of choice is the execution of ideas into various forms, and the medium is the performance.

Pieces that you have chance to see in this publication are artists' flat presentations of Migration idea specially produced for this catalog. Actually each artists piece in a two pages of this publication is continuation their work that will be in june presented in various public spaces in June.

March, 2007

此次展览的结构基于在威尼斯公共空间发生的一系列"干涉"，采用了一种新的视角，旨在阐释深植并有机作用于时空的城市环境。

迁移嗜好者

比利安娜、凯伦.嘎瓦萨 撰文

威尼斯城市景观方面正在深的层面发生变化，其自身的未来由它将形成的新结构所决定。越来越多的威尼斯人离开礁湖，去其它城镇定居。未来三四十年 内，威尼斯人口数量会急剧下降。 "迁移嗜好者"项目的参与艺术家在他们各自的文化和艺术实践中都面对"迁移"这个问题，为他们与展览举办地的公共空间提供了直接联系，反映展览地点的独 特个性，探讨差异和可能的共同点。 索芬娜.波士(瑞典，1971)为威尼斯的本次展览创作了一座大型的充气橡胶冰山，就像“呼吸”一样，能够收缩扩张。作为全球变暖的后果，变化和迁移将改 变未来，波士认为在威尼斯这样一个被海平面上升所威胁的城市，对这样一个话题的表述显得尤为合时宜。 莫格斯.斯泰兴团体(越南，2005)呈现的是一个视频作品，拍摄的是成员们站在白色的板面上，漂浮于海面。那是一个解体的"白色立方"的残骸，就像一块冰 漂浮在热带气候的越南海岸。 米尼约赫.洛普托(菲律宾，1971)的项目以阿德利安.莱夫维奇的文本《我告密了》为题，阿氏是1960年代南非一名反种族隔离军事活动分子。被逮捕后，莱 夫维奇向当局提供了其朋友和其他活动分子的信息以换取流放机会。 黄奎(中国，1977)在其最新作品中扩展了观众的视界，并将作品作为日常生活的一种镜像。艺术家自己导演了一出"将作品变成现实"的戏，作品试图向观众提 出一个有关信仰的问题，以验证"上帝是否存在？"。 李平虎（中国，1976）工作生活在上海，提出了大都市居民的临时归属和信仰问题。他对"神圣"和"欲望"的概念提出疑问，将信仰的场景设置在一个不熟悉的 环境中来与他人交流。 托多（意大利，2005）的城市移动游戏"你在这里吗？"通过当地居民/移民在他/她逗留期间可能遇到的人的面容来探索威尼斯。成为了实际居民的移民将观察 者定位为陌生人。 靳山(中国，1977)的近期作品与公共空间和随机人群相关，探讨特定条件下的大众感知。艺术家作品通过构建人们在城市中参与的特殊儿童游戏，调查了平 常路人的生活。 赫特英林(缅甸1966)自1996年起在缅甸做先锋行为艺术。他在缅甸作为激进分子、难民、政治犯和艺术家独特且具挑战性的经历对他产生了影响，也形成了 邓小平南巡讲话后，上海成为中国现代化的试验田，是亚太地区最令世人瞩目的城市，获得了全球的关注， 吸引着各国的投资。所有这一切带来了社会、物质和环境等各方面的飞速发展。毫无疑问，今天的上海是世

他作品不可分割的一部分。

界上最令人振奋的城市之一。

叶绍斌的"为吉隆坡艺术空间绘地图"使用Google Earth－虚拟全球定位软件的Beta版本，为吉隆坡和曾展出他作品的相关艺术空间绘制地图。

"迁移嗜好者"从一开始就是一个持续性项目，探讨由"迁移"所引发的诸多话题，如人的身份、性别和精神需求

阿桑.阿莱茜(孟加拉，1972)同样也利用信息技术做"定位"的行为。"追求短暂"探讨监视、时间同步、交通系统、界限和边境等问题。

等。所触及的话题在上海乃至亚洲及西方诸多不断扩张的都会城市中皆可窥见一斑。 "迁移嗜好者"项目始于东大名创库，旨在获得本地与国外艺术家对展览命题的回应。东大名创库位于上海市虹 口区，在这里老的建筑正被拆毁，不久之后摩天大楼将鳞次栉比，此时此刻东大名创库正成为一个固守的孤 岛。"迁移嗜好者"不仅是展览的主题，而事实上也成为了展览自身的形式。 "迁移嗜好者"的展览结构是弹性的、可塑的，也是变化的，每次均有新的艺术家受邀参与对话，以丰富"迁移" 命题，并展示各自与此相关的干涉策略。 此种展览形式带来的不稳定关系，说明了新的可能性，也为艺术家根据展览举办地的当地特点进行独立表达 开拓了新的方式。如去年的"迁移嗜好者"试图通过与当地艺术家对话，对新加坡"一城之国"的特点，及其在亚 洲地区的独特地位作出了反应。 近年来，西方与中国的传统价值观、生活方式之间，及资本主义与现存的社会主义之间的拉锯并没有抑制住 中国"与国际接轨"的冲动，反而促进了其经济的蓬勃发展。 以上海为"样本"的城市空间快速扩张，给中国社会结构带来了新的冲突。城市环境和消费欲望将农村和小城镇 人口吸引到城市。人口流动挑战着目前的城市结构，同时也给城市生活带来了独特的生命力。"迁移"，一种全 世界大都市都正在面对的现象。迁移的人和社群是真正参与地区重建和变化过程的族群。大都市特定文化族 群的迁移为单调的生活方式和固有的文化习俗带来了新的气息。这种氛围需要对"个体"进行再定义，而这是文 化圈应该进行的。 "迁移嗜好者"探讨与这类境况有关的时空策略问题。在政治和审美层面，这些项目接纳艺术圈外的人，保持着 对非艺术圈的开放态度。与公众的接触扩展了艺术及其体验的概念和范畴。

巴伦.克瑞索(西班牙，1977)的"干涉"探讨公共空间、城市、我们的私人空间、感觉的欲望之间的关系。 瑞泽曼.普托拉(新加坡，1978)自1997年起积极从事实验性表演，进行诗歌、摄影、摄像、视频、音乐、滑稽戏和舞蹈等多种跨界实践。"一个男人的悲歌和 他的选择武器：双曲线阿尔法男性"表述了一个人如何观察他/她周围的自我和外部因素。在他/她的观察的基础上，选择武器就是将想法转换为各种形式，而 媒介就是表演。 此次，艺术家为本画册特别制作了一些平面作品，可视作六月在威尼斯公共空间即将实现的作品的一种延伸。

2007年3月

Htein Lin 赫特英林

How Do You Find Venice?, 2007 performance site: Campo San Barnaba 你怎么找到威尼斯的/觉得威尼斯怎么样?，2007 行为 地点：圣巴拿吧广场

How Do You Find Venice?

"How you do find London?" Now that I have arrived in a foreign land, in Burmese 'naing-ngan-kyar, 'another state', this is the question I am asked over and over again.

At first the question was strange to me. What did they mean? And even when I knew what the question meant, how should I answer? Is 'finding' a place about the journey to get there or your experience once you get there? How far does your journey affect the way you find your destination?

And then I am asked, "How did you find prison?" I think that prison found me. I did not set out to get there. Once I arrived I found some things were different from the world outside. Space (small), food (bad), light (dim), sex (none).

But some things remained the same. The freedom to think, to remember, to meditate, to create, to perform, to paint, once I had found new types of canvas, new instruments.

Your spiritual space looks the same, wherever you find yourself.

你怎么找到威尼斯的/觉得威尼斯怎么样？ *

"你怎么找到伦敦的/觉得伦敦怎么样?"，这是我来到外国后经常被问到的问题。(缅甸语中的naing-ngan-kyar指另一个国度) 起初我觉得这个问题很奇怪。它们是什么意思呢？即使我知道这个问题是什么意思，我该怎么回答呢？"怎么找到伦敦的/觉得伦敦怎么样?"是指到那里的旅途 还是到那里之后的经历呢？你的旅途对你到达终点的方式/你对旅行目的地的看法究竟有多大影响呢？ 后来有人问我，你怎么找到监狱的？我认为是监狱找到了我。我并没有打算到那里去。我一到达就发现了一些与外面的世界不同的东西。 空间(小)，食物 (差)，光线(暗)，性(无)。 但有些东西是一样的。当我找到了新的"画布"，新的工具，我便又有了思考的自由，记忆的自由，冥思的自由，创作的自由，表演的自由，绘画的自由。 你的精神空间看起来是一样的，无论你发现你在哪里。

－ Htein Lin

－ 赫特英林

http://www.hteinlin.com

http://www.hteinlin.com

*

How Do You Find Venice? 在中文中有"你怎么找到威尼斯的"和"你觉得威尼斯怎么样？"双重含义。

Jin Shan 靳山

Let's Go to Venice to See "Migration Addicts", 2007 site: Campo San Polo 去威尼斯看"迁移嗜好者"，2007 地点：圣保罗广场

Let's Go to Venice to See "Migration Addicts"

I like art in a humoristic way, so I use this method to express my ideas. Sociology, urban anthropology are for me the methods for observing humans and society. But when people try to explain the relation between human and society, words and language logic turns to become weak.

This is the one of the main reasons I chose humor as an artistic language to express ideas. I know that art cannot solve the existing problems of the real society. I want to display it, just to display it, and I believe this is the role that art is playing in society.

The real power of art lies in a variety of humours. Sociology, urban anthropology cannot substitute art and its language, each of them can not replace the other one, they need to merge. － Jin Shan

去威尼斯看"迁移嗜好者"

我喜欢幽默的艺术，我也一直致力于用这一方法来表现我的想法。社会学和都市人类学一直是我观察人和社会使用的方法，但当人们去解释人与社会的关系 时似乎正常的文字和语言逻辑都显得无能为力，这正是我选择用各种各样幽默的艺术语言来表达艺术的重要理由之一。我知道艺术不能解决社会中现实的问 题，但我仅仅是想用它来展现，仅仅是展现，我想这才是艺术真正的社会功能之所在。并且艺术的真正力量便体现在这各种各样的幽默之中.社会学，都市人 类学对我来说它们在艺术上不能直接取代艺术的语言，他们之间是不能被任何一方所替代的，它们之间必须是融合在一起的。

－ 靳山

Li Pinghu 李平虎

It Is Your Arrival that Determines My Departure, 2007 performance site: Campo San Salvatore 我能否离开在于你的到来，2007 行为 地点：圣萨尔瓦多广场

It Is Your Arrival that Determines My Departure

I got handcuffed in a Venetian church. I tempt to expose my identity on a piece of paper that will be together with a map that leads to the church and handcuff key thrown in public space by curator and wait for someone to discover it randomly, I will not leave the church until someone believes the story and comes to rescue me.

We spend our time in transfer, choose a city to live and work but never know the next stop. However we have to resist untimely lifestyle. For many people, church is their ascription, place for refugee but for me as an absolute atheist it's only temporary and far-fetched. Though I have no reason at all to stay there, it is royal and holy just as holy is Venice and it's art and culture. The rule of this game full of threatening and uncertainty to me, as staying, alive the fact that can be changed at any time. I found it valuable when thinking about any changes even in the situation that appears to be fate. What can I do if I set trust in an environment I am not familiar with? It is probably the only way for me to communicate with others. We need another strength to maintain our common emotions and communication. － Li Pinghu

我能否离开在于你的到来

我用手铐把自己铐在威尼斯的一个教堂里，把自己的身份信息以及怎样去到教堂的路线图标明在一张卡片上,把卡片固定在手铐的钥匙上面，再找策划人把钥 匙扔在公众场合，等待观众捡到这把钥匙,直到有人相信这个事实来施救我才能脱身，没人施救我就一直呆在教堂里. 作品说明:我们在迁移中度过,选择一个城市生活和工作,但不知道下一个目的地是在什么地方,总是要面对一种不合时宜的生活方式,教堂在许多有信仰的人看来 是一个归属,但对我来说,它是陌生的,呆在那里只是暂时的,也是牵强的,我是一个无神论者,我没有必须要呆在那里的理由,但它在我的印象中是权威和神圣的,就 像威尼斯的艺术和文化在人们心中的权威一样,这个游戏的设定对我自己构成威胁和不确定的因素,就像平时的生存一样,但这会随时被改变,我的乐趣就在这种 表面看来是必须选择的时候希望有些变化.我把人的信任和良知放在首要位置,在一个我不熟悉的环境里,我能做什么呢?也许这是我目前跟人的唯一的沟通方式, 我们需要在文化差异的背后有另一种力量来维系我们共同的情感和交流.

－ 李平虎

Huang Kui 黄奎

I Believe, 2007 Performance site: Campo San Maurizio 我信，2007 行为 地点：圣矛利奇奥广场

I Believe

1. Star, hot incandescent sphere of gas, held together by its own gravitation, and emitting light and other forms of electromagnetic radiation whose ultimate source is nuclear energy.

2. Energy, the property of a system that diminishes when the system does work on any other system, by an amount equal to the work so done.

3. Entropy, a function of thermodynamic variables, as temperature, pressure, or composition, that is a measure of the energy that is not available for work during a thermodynamic process. A closed system evolves toward a state of maximum entropy.

4. E=mc² ... － Huang Kui

我信

1. 恒星是由炽热气体组成的,能自己发光的球状或类球状天体。 2. 能量是物理学中描写一个系统或一个过程的一个量。 3. "熵"表示任何一种能量在空间中分布的均匀程度。能量分布得越均匀，熵就越大。如果对于我们所考虑的那个系统来说，能量完全均匀地分布，那么，这 个系统的熵就达到最大值。

4. E=mc² ……

－ 黄奎

Miljohn Ruperto 米尼约赫.洛普托

Acting Exercise: Adrian Leftwich's I Gave the Names, 2007 installation/potential performance site: Campo Sant'Angelo 表演练习：阿德里安.莱夫维奇的《我告密了》，2007 装置/行为 地点：圣天使广场

Acting Exercise: Adrian Leftwich's I Gave the Names

This project centers around the text I Gave the Names written by Adrian Leftwich for Granta magazine. The LCD flashes the text of the essay in sequential increments allowing the participant to read / perform the essay aloud through the microphone.

The essay accounts Leftwich's betrayal of his friends, comrades, and political cause. Leftwich, a South African, was a militant activist against the apartheid regime in the 1960's. When arrested, Leftwich gave the names, provided information, and served as witness for the prosecution of his friends and fellow activists in exchange for exile. One of the conceits of the essay as a confessional is to provide a vehicle for which the reader can identify with the narrator and be able to share and occupy the space of the transgressor. In this project, the confessional is physicalized and acted out, implicating the participants and the audience in this public performance with the possibility of identifying with this horrible betrayal.

More implications arise from there. In the text, Leftwich discusses that his sin isn't the betrayal per se but the lack of self-knowledge about his own limits (i.e. he believed he was a heroic person, yet in reality he was a coward). In enacting/reading the text, the participant embodies those limits through the act of acting/performing. The promises of acting: of empathy, transparency and the transgression of the limits of self, (whether they be possible), become the channels by which the participant re-enacts the betrayer's sin, that is, the lack of self-knowledge. － Miljohn Ruperto

表演练习：阿德里安 . 莱夫维奇的《我告密了》

该作品以阿德里安.莱夫维奇为《格兰塔》(Granta)杂志所撰写的文章《告密》文本为中心。LCD屏幕上按顺序闪动着文章内容，参与者可以阅读或通过麦克 风大声地将文章表演出来。 文章说明了莱夫维奇对他的朋友、同志和政治事业的背叛。莱夫维奇是一名南非人，1960年代是反种族隔离的军事活动家。被逮捕后，莱夫维奇说出了(同 志)的姓名，提供了信息，作为证人观看对其朋友和其他活动家的处决，以换取流放。这篇忏悔文章的目的之一是为博得读者对叙述者的认同，并去了解他。 通过该作品，忏悔被实体化并表演出来，暗示着该公共行为的参与者和观众对这次可怕的背叛的认同。表演中还有更多暗示。莱夫维奇在文字中讨论了自己 的罪行，认为那其实并不是背叛，而是不了解自己的极限在哪里(也就是说他相信自己是个英雄，但现实中他是个狗熊)。通过表演/阅读文字，参与者在表演 /行为的过程中表现了那种极限。对同情、透明度和自身极限的违背(不论是否可能)的表演可能性成为了参与者重现背叛者的罪行，即缺乏自知之明。

－ 米尼约赫.洛普托

Josefina Posch 娇索芬娜.波士

Iceberg, Right Ahead, 2007 installation site: Campo Santo Stefano 冰山，就在前方，2007 装置 地点：桑托.斯代法诺广场

Iceberg, Right Ahead

For the Migration Addicts Exhibition in Venice I propose to create a large scale inflated rubber iceberg that expands and contracts as if "breathing", sometimes illuminated blue. The iceberg is variable dimensions and can be a closed sculptural mass or constructed to be entered into. The breathing motion is created through a custom electronic device that controls the blowers that inflates the piece. In this way rhythm the iceberg breaths is decided by sound inputs. These sounds will be underwater/hydrophone recordings from various water ways around and in Venice. The sounds will be fed into the Blower Control Device (BCD) and trigger various breathing patterns at different db. e.g. Hyperventilation versus Long slow sleeplike breath. At extreme db the iceberg will be illuminated in blue from inside.

The project is a continuation of my other work that utilizes inflated rubber structures and sound transformed into visual movement. For the Migration Addicts exhibition in Venice I chose to use an iceberg as the inflated shape for several reasons first since icebergs actually migrates.

In the Atlantic it is called the IRD Belt and about 90% of Canadian Icebergs originates from Greenland a 2－3 years Migration. I was also inspired about the recent story about 2 large icebergs off the coast of New Zealand, an occurrence that has not happened in over 75 years but immediately triggered our human skin deep desire and for conquest and ownership when the Australian planted their flag and claimed the iceberg!

Even though these iceberg migrations have not officially been linked to global warming they are a reminder of it. In the past changes and/or migrations in societies that climate crises have played a role in, includes the demise of the Vikings during the little ice age beginning of 1300'ds when Greenland cooled off enough to make travel there impossible and only 175 years ago the Potato Famine partly induced by climate change, in Ireland killed one million people and triggered migration. We are still to see what changes and migrations the effects of global warming will trigger in the future and I find it especially appropriate to address the issue in the city of Venice that is notoriously threatened by the raising sea levels. It is with this in mind I chose to bring attention to what is in and under the water and to use these sounds to be the dictator of the movement of the piece.

On a social level the “iceberg” in summer in Venice symbolizes the to me and many more fellow Migrating Addicts well known feeling of being out of place and vulnerable as an immigrant to a new place. － Josefina Posch

冰山，就在前方

在威尼斯"迁移嗜好者"展览上，我计划创作一个大型充气橡胶冰山，像"呼吸"一样可以鼓起、收缩，有时可以用蓝色照明。冰山的尺寸可以变化，可以是封闭 的雕塑实体，或者设计为可进入的。呼吸动作可以通过一个控制充气的电子装置完成。这样冰山呼吸的节奏就可由音频输入决定。这些声音是威尼斯附近和 威尼斯城市内水道内设置的水下听音器所记录到的。这些声音将进入充气控制装置(BCD)，激发随分贝数而变化的呼吸模式，如：换气过度对应悠长而缓慢 的睡眠式呼吸。在分贝极限处冰山内部将点亮蓝色光源。 这个作品是我其它使用充气橡胶结构及音频转化为可视活动作品的延续。在威尼斯的"迁移嗜好者"展览上，我选择以冰山来作为充气的形状，这是有多个理由 的。首先，冰山确实在迁徙，在大西洋上称为IRD(Ice-rafted debris belt)带，加拿大90%的冰山是格陵兰出发，经过2-3年的迁徙产生的。同样让我产生这 个念头的还有最近的一件事，新西兰海岸附近有两个巨大的冰山，它在最近75年内都未引人注意，但最近两个澳大利亚人在冰山上树起国旗，宣布占领，突 然激起了人类深层的欲望和征服欲及占有欲。 尽管这些冰山的迁徙还没有被确认与全球变暖有关，但确实提醒了人们。过去的历史上，气候危机曾经参与一些社会变化和/或迁移，如在14世纪初的小冰河 时代，格陵兰岛变冷，无法越过，造成了维京人的衰落；仅175年前，部分因气候变化引起的土豆荒，在爱尔兰导致一百万人的死亡，引发了移民潮。在未来 我们仍将看到全球变暖所引起的变化和迁徙，而我认为在威尼斯这个始终被海平面上升所威胁的城市来表现这个问题尤其适合。想到这些，我选择让人们关 注水中和水下有些什么，用这些声音来作为水下运动的表现者。 在社会层面上，威尼斯夏天的"冰山"对于我和其他许多"迁移嗜好者"也象征着典型的觉得处于自己不该在的地方，作为到一个新地点的移民那种脆弱感。

－ 娇索芬娜.波士

Mogas Station 莫卡斯.斯泰兴

Rokovoko, 2007 video projection Aurora Association, Caffè Aurora, Piazza San Marco, 48,49,50/Credits: Justin Miller 洛科沃克，2007 录像 欧若拉协会， 欧若拉咖啡店，圣马可广场48,49,50号/图片版权：贾斯丁.米勒

Rokovoko

"Queequeg was a native of Rokovoko, an island far away to the West and South. It is not down in any map; true places never are." － Herman Melville, «Moby Dick» Mogas Station is itself a representative point of contact of various migrations. The multicultural, multidisciplined characteristic of Mogas Station also illustrates the dynamism and the cosmopolitism of a rapidly developing city that is Ho Chi Minh city today. For the Migration Addict Project, Mogas Station will realize a video work. Members of the group will also be the actors of the film.

The actors are filmed drifting at sea, each upon a floating white surface, the ruins of a deconstructed of "white cube", minimally designed and perfectly finished. We could imagine these surfaces as pieces of banquise, or sea ice, carried south by arctic currents to warmer waters.

Curiously they arrive off the Vietnamese coast and a tropical climate.

The film narrative is non-linear, fractured and speaks to isolation, searching for the power of company.

The gestures of the actors imitate the activities of everyday life as if performed in a real-time social context. However once removed from the quotidian into an almost empty environment－a non-space, they create an atmosphere where the absurdity reigns and banality is pushed until the limits of madness. － Mogas Station

洛科沃克

"Queequeg是Rokovoko西南的一个遥远的小岛，地图上从来都没有，真实的地方永远都没有。" － 赫尔曼.麦尔维尔(Herman Melville)，《白鲸记》(Moby Dick) 莫卡斯.斯泰兴本身就是多种迁移交流的一个代表点。莫卡斯.斯泰兴多文化、多方面的特点也强调了飞速发展的胡志明市今日的活力与都市化。莫卡斯.斯泰兴 将为"迁移嗜好者"项目创作一个视频作品。团体成员也将作为电影的演员。 演员在摄制过程中将在海上漂浮，每个人都在一个漂浮的白色表面上，它们是一个“白色立方”解构后的碎片，设计极简，且精致。我们可以将这些表面想 象为大浮冰或是海上冰块，被北极洋流带到了温水带。 奇怪的是他们来到了越南海岸，这里是热带气候。 电影叙述是非线性的，破碎的，对孤独讲话，寻找团体的力量。 演员的动作模仿日常生活活动，就像在现实的社会环境中一样。然而一旦从日常惯例来到一个近乎空白的环境，一个非空间，他们就会产生一种荒谬至极的 气氛，将平庸推至疯狂的边缘。

－ 莫卡斯.斯泰兴

TODO 托多

Are You Here?, 2007 urban mobile game Starting Point at Chiostro Ex Chiesa Santi Cosma e Damiano, Giudecca, 620 你在这里吗?，2007 城市移动游戏 起点为Chiostro Ex Chiesa Santi Cosma e Damiano，珠玳卡620号

Are You Here?

你在这里吗？

"Are You Here?" is an urban mobile game that aims to explore Venice through its inhabitants/migrants.

More and more Venetians are leaving the lagoon to settle in other towns. In the next 30-40 years, it is certain that Venice’s population will be dramatically reduced.

More and more Venetians are moving away from the lagoon to settle down in other towns. Bars, hotel owners come now from abroad while the town is losing its original inhabitants and becoming more and more globalized. In Venice thousands of tourists arrive everyday. The Observer provocatively wrote that if the only destiny of the town is low cost tourism then it would be better to have Venice managed by Disneyland Corporate.

A kind of paradox is happening. Venice could be everywhere, that “exotic” does not exist anymore. Labor migrants from Asia are welcoming you and serving you Italian food.

You are in Venice. But are you really in Venice? What do you see? Who do you meet?

An urban exploration through the faces of the people anyone can meet during his/her staying. Faces of migrants that have become the actual inhabitants, while the player is the stranger.

A touristic and personal exploration of people and their faces. Those photos will be joined together into a personal postcard. He/she will receive the postcard at home. A postcard that is actually sent by him/herself.

The player receives a flyer, an invitation card with a mobile phone number and some instructions: visiting defined places, just like a touristic path. But the places you are supposed to visit, however, are not the ones you would expect to go, the top visited.

And surely you'd never take a photo of people who lives and works in these places. That's what you have to do, though: shoot photos at 11 immigrant people who live and work in Venice, carefully following the path that has been created for you, because you are the stranger, the tourist, and they are a part of Venice instead.

You have to take those photos with your mobile phone and send them by MMS to the number you found on the invitation. But remember, the first photo you send must be a photo of yourself: because you are a part of the game.

观察者 (The Observer)煽动性地写道“如果这个城市最终只能靠低成本旅游生存，那还不如让迪士尼公司来经营。”

－ TODO

－ 托多

"你在这里吗?"是一个城市移动游戏，意在通过它的居民/移民探索威尼斯。 越来越多的威尼斯人离开礁湖，定居在其他城镇。在未来三、四十年内，威尼斯人口肯定会剧烈减少。 越来越多的威尼斯人离开礁湖，定居在其他城镇。现在酒吧、旅馆业主来自国外，原住民流失，威尼斯越来越全球化。每天数以千计的旅行者来到威尼斯。 这非常矛盾。威尼斯可以是任何地方，而异国情调再也不存在了。来自亚洲的移民工欢迎你，并为你送上意大利美食。 你在威尼斯，但你真的在威尼斯吗？你看到了什么？你遇到了什么人？ 对当地人们面容的研究发现。移民的面孔成为了实际的居住者，而游戏者却是陌生人。 一个旅游者对人与面孔的研究。这些照片可以放在一起成为一张个人明信片。他/她将在家里收到明信片。一张他/她自己寄出的明信片。 游戏者接到一张传单，一张邀请卡上有一个手机号码和一些说明：参观规定之处，如同旅游线路。然而你将参观的地方并不是游览胜地，不是你打算去的地 方。 当然你也决不会拍下在这些地方生活工作的人们的照片。尽管那是你必须做的，拍摄在威尼斯工作和生活的11个移民的照片，谨慎的按照为你规定的线路行 走，因为你是陌生人，旅游者，而他们却是威尼斯的一部分。 你必须用手机拍下他们的照片，并用短信发给你在邀请卡上发现的手机号码。但你要记住，你发送的第一张照片必须是你自己的照片，因为你也是游戏的一 部分。

Belén Cerezo 巴伦.克瑞索

Far and Close, 2007 video installation and mms via Bluetooth site: Campo Santa Margherita, Dorsoduro, 3054 远与近，2007 录像装置及蓝牙短信 地点：圣玛格丽塔广场，多索度洛3054号

Far and Close

“Today I am going to explain you the difference between far and close”. One character of a popular children television program said this sentence. This character used to make little performances to teach children opposite concepts. However the difference between being far and being close cannot be explained in such a simple way. Between being far and being close there is a huge space, and we have to move in and to inhabit this space. It can be a space of distance, a space of separation, of pain, hope, desire…

Far and close is exploring the connections between the public space, the city, and our private space referring to our feelings and desires.

In our daily lives we walk fast around a city passing by a great number of unknown faces. Although sometimes we experience the city in a different way, experiencing pain or love, distance or closeness can be very essential suspending or motivating forces.

Migration, the movement of people across the globe, is becoming one of the biggest defining issues of our times. Nevertheless we usually do not tend to look at the emotional side emigration implies. Migration always involves separation, leaving behind at least the past, the home and the customs. Every migrant knows very well the difference between being far and being close. － Belén Cerezo

远和近

"今天我将向你们说明远和近之间的差别。"一个流行的儿童电视节目人物说了这句话。这个人物过去通过微型表演教给儿童一些相对的概念。但远和近之间的 差别无法通过如此简单的方式来解释。在远和近之间有非常广阔的空间，我们搬了进去，住在这个空间里。它可以是距离上的空间，分离的空间，痛苦、希 望和欲望的空间…… "远和近"探索的是公共空间、城市和与我们的感觉和欲望相关的私人空间之间的联系。 在我们的日常生活中，我们在城市中快步行走，周围都是陌生的面容。尽管有时候我们以不同的方式感受城市，对痛和爱、远与近的体验，可能是使我们停 步或激发我们的重要力量。 迁移，全球人类都在从事的活动，正在成为我们这个时代的最显著定义之一。而我们通常不会去思考移民所暗示的情感那一面。迁移通常还包含着分离，至 少会离开过去，背离家和抛弃习惯。每一名移民都非常清楚远和近的差异。

－ 巴伦.克瑞索

Yap Sau Bin 叶绍斌

MappingKLArtSpace, 2007 video projection site: Aurora Association, Caffè Aurora, Piazza San Marco, 48,49,50 为吉隆坡艺术空间绘地图，2007 录像 地点：欧若拉协会， 欧若拉咖啡店，圣马可广场48,49,50号

MappingKLArtSpace

MappingKLArtSpace is in effect a mapping project of art spaces in the city of Kuala Lumpur. It continually maps the various exhibition spaces, art agencies and also site of public art of past and present. It is a historical documentary presented in a ‘flat’, sterile, spatially represented manner.

As part of the Migration Addict project this time, MappingKLArtSpace explores also the context of its existence - the mapping project itself having been featured in Kuala Lumpur and Havana in 2006, is now in Venice - thus a visible trajectory of its movement across the world.

It is also interesting to note that Migration Addicts is itself a migratory project. From Shanghai in 2005, then to Singapore in 2006 and now in Venice, as if making port calls on 3 significant port cities with its own glorious past or present. They were all places of trades of commodities, of dynamism, of exchange, of convergence of cultures.

And essentially, the personnel involved - artists, curators and art administrators in the project - many whom could have extensive traveling experience, which the individual biography could also read as geographical tracks. － Yap Sau Bin

为吉隆坡艺术空间绘地图

"为吉隆坡艺术空间绘地图"其实是一个将吉隆坡市艺术空间绘于地图上的项目。它不断将过去和现在各个展览空间、艺术机构和公共艺术场所绘成地图。它是 以一种"平面的"、枯燥的，空间表现的形式实现的一个历史纪录。 作为本次的"迁移嗜好者"项目的一部分，探索的是它存在的内容。2006年在吉隆坡和哈瓦那进行的地图绘制项目现在来到了威尼斯，这是它可见的穿越世界 的活动轨迹。 还有一个有趣的事实，就是"迁移嗜好者"本身也是一个迁移性的项目。从2005年在上海，然后2006年在新加坡，现在又来到威尼斯，就像对3个历史上或现 在星光闪耀的港口城市进行港口访问。它们过去都是有商品贸易、活力、交换和融合的文化的地方。 最重要的是，项目的参与人员包括艺术家、策展人和艺术管理人员都有着丰富的旅行经历，他们的履历同样也可以作为地理轨迹来看。

－ 叶绍斌

Hasan Elahi 阿桑.阿莱茜

Tracking Transience, 2007 locative performance, video projection site: Campo Santa Margherita, Dorsoduro, 3054 追求短暂，2007 互动行为，录像 地点：圣玛格丽塔广场，多索度洛3054号

Tracking Transience

From June to November of 2002, I had been the subject of a FBI investigation as a terrorist suspect. I was reported to the police as “an Arab that had explosives who fled on September 12th. As I returned to the US on June 19, I was met at the airport by a FBI agent who rigorously interrogated me on my whereabouts and activities. I spent the next six months frequently meeting FBI agents justifying each and every move that I made around 9/11. After repeated questionings and nine polygraphs, I was eventually cleared and to the relief of friends and family, I am officially no longer considered a terrorist threat.

These experiences have led me to voluntarily develop a network device built upon a modified/hacked mobile phone which in fact opens just about every aspect of my life to the public. Throughout the FBI investigation, I have actively decided to cooperate with them to a point of aggressive compliance to where the current work now borders on a collaboration with them, albeit unauthorized. This network device generates a database of imagery and locative information that combined with a web-enabled companion tracks me and my points of transit live. Since the development of this device, my FBI agent (along with anyone with access to the web) has been able to look me up online to track me. Currently, the device is in a semi-autonomous stage allowing uploads of images tagged with exact GPS coordinates of where the original image was shot to my server which then sends the GPS tag to Google which returns an aerial surveillance image of my exact location. My server then compiles this map with my uploaded image and thumbnails of the used images into a web based file which is then accessed through any computer with net access.

I feel that the level of transparency and the volunteering of information is crucial in the success of this project. I feel that by publicly disclosing every bit of personal information about me attempts to subvert the methodology that is used by intelligence agencies where the main commodity is secrecy and restricted access to information. In this work, I wish to not only devalue the currency of the FBI by disclosing the information that is held secret in my file, but also make every detail about myself completely transparent to the public to the point where it clearly demonstrates how invasive the new Homeland Security and Patriot Act laws in the United States are. Using the powers of the web and new technologies originally intended for military use and their alternate uses for surveillance, I hope to bring to light the political ramifications of such a project and its repercussions on an individual level, using myself as subject. － Hasan Elahi

追求短暂

自2002年6月起，我作为恐怖主义可疑分子受美国联邦调查局调查，警方的记录为"于9月12日逃离的持有爆炸物的阿拉伯人"。当我于6月19日返回美国时， 一名联邦调查局(FBI)探员在机场严厉地盘问我的行踪及活动。其后的6个月中，联邦调查局探员频繁约见我，向我求证"9.11"期间我的所有活动。在反复审问 和9次测谎后，终于洗清了我的嫌疑，正式不再视我为恐怖主义威胁，让我的家人朋友不再担心。 这些经历使我自发研制了一套基于改装/非法侵入手机系统的网络设备，它事实上可以将我生活中的方方面面向公众开放。在被联邦调查局调查期间，我决定 主动与他们合作，在现在这件作品所到达的领域内侵入我的个人空间，尽管是非官方的。这个网络设备与实时追踪我和我的所经之处的网络配套设备相连， 产生图像和我的所在地信息，自该设备启用后，联邦调查局(以及所有可以上网的人)能够在线查找并追踪我。目前该设备处于半自动阶段，允许将有拍摄地

GPS(全球卫星定位系统)标志的原始图像上传到我的服务器，然后将GPS标志发送到谷歌(google)上，它将返回我所在位置的准确航拍图像。我的服务器则 将这幅地图与上传的我的图像、使用的图像的标记编辑为网络文件，任何上网的计算机都可以观看。 我认为信息的透明度和自愿性对这个项目的成功是非常关键的。通过公开我所有的个人信息，我试图颠覆情报机构使用的方法，而情报机构的主要工作就是 保守秘密，限制信息传播。在本作品中，我不仅希望通过将我生命中的秘密公诸于世来表现联邦调查局的(信息)贬值，也同时希望通过将我自己的所有细节向 公众透明化来清楚地说明美国的新《国土安全与爱国法案》法律是多么的具有侵犯性。通过利用网络和原为军事用途的新科技手段的监视功能，我希望以我 自己为主体，表现该项目的政治衍生意义，及其在个人层面上的反响。

－ 阿桑.阿莱茜

Rizman Putra 瑞泽曼.普托拉

The Hyperbolic Alpha Male, 2007 performance site: Orange Restaurant and Lounge, Campo Santa Margherita, Dorsoduro, 3054 双曲线阿尔法男性，2007 表演 地点：圣玛格丽塔广场，多索度洛3054号

The Hyperbolic Alpha Male

The Hyperbolic Alpha Male (H.A.M) together with the fabulous master of puppets and the obsessed toy maker from hell. Presenting, a spectacle of bona fide souls in liberation for the celebration of life coming together hand in hand like twisted rubber band shooting paper bullets to the sky.

Bodies in the search of meanings in a synthetic space, souls all itching for a ride. The self is lost in the vortex of rapid transformation of ideas and lame conversation.

The elegy is the irony of how one observes the self and the external factors that evolve around him or her. Based on his or her perception, the weapon of choice is the execution of ideas into various forms, and the medium is performance. － Rizman Putra

双曲线阿尔法男性

双曲线阿尔法男性(H.A.M)与著名的木偶大师及沉迷其中的非常棒的玩具制造者。表现，手拉手来到一起为生命庆祝的，被解放的一个好的真诚的心灵的展示 物，就像弹弓向天空射出纸做的子弹。 人造空间中寻找意义的身体，灵魂渴望超度。自我在迅速变化的意念和没有说服力的交谈漩涡中迷失。 一个人怎么看待自己和外界因素在他或她周围的变化之间的讽刺实在是一首悲歌。以他或她的感知为基础，选择的武器就是以各种形式实现想法，而媒介就 是表演。

－ 瑞泽曼.普托拉

Giorgio Pulini aka RACH3 乔治.普理尼 RACH3

Giorgio Pulini aka RACH3 performs on the opening of Migration Addicts, June 7th, 2007, from 9 p.m. to 2 a.m. at Orange Restaurant and Champagne Lounge, Campo Santa Margherita 乔治.普理尼 RACH3 2007年6月7日晚9时至凌晨2时 圣玛格丽塔广场Orange Restaurant and Champagne Lounge现场表演

Biography 艺术家简历

这是一个一日的绘画展览，是在1998 －2004年作为政治犯被关押于曼德勒(Mandalay)和渺妙(Myaungmya)期间的创作，作品在棉布上应用了多种 材质和技术。00235是国际红十字协会给赫特英林的囚犯编号。这些画作目前为阿姆斯特丹的国际社会历史研究所所有。http://www.iisg.nl/asia/acq burma.php 1997 "第31"第二次个展，苗觉艺术画廊(Myo Kyaw Art Gallery)，仰光 1996 "耳朵里的小虫"首次个展，罗卡纳特(Lawkanat)艺术画廊，仰光 行为作品 赫特英林在1996年与仰光市区的街头艺术团"塑料时代"和"吉他手"合作，在缅甸从事先锋行为艺术活动；然后进行了"耳朵里的小虫"个展(罗卡纳特/Lawkanat

Htein Lin 1966 Born in Ingapu, Irrawaddy Division, Myanmar Currently lives and works in London Solo Exhibitions 2006 "Come Rain or Shine" 5th solo show, River Gallery, Strand Hotel, Yangon Htein Lin has also participated in group shows, including the Gangaw Village art group, at galleries in Yangon and contributed illustrations for magazines in Burma, including Padauk Pwin Thit and IDEA to which he also contributes poetry, short stories and articles.

2005 "Recycled" 4th solo show, Lawkanat gallery, Yangon "00235" 3rd solo show, 35/B Art Studio, Yangon This was a one-day exhibition of paintings undertaken while a political prisoner in Mandalay and Myaungmya Jails, 1998-2004, on cotton cloth using a variety of media and techniques. 00235 was the prisoner number given to Htein Lin by the International Committee of the Red Cross. These paintings are now held in the International Institute for Social History in Amsterdam. http://www.iisg.nl/asia/acq-burma.php 1997 "31st" 2nd Solo Show, Myo Kyaw Art Gallery, Yangon 1996 "The Little Worm in the Ear" 1st Solo Show, Lawkanat Art Gallery, Yangon

艺术画廊，仰光)，接下来是"给世界的礼物"(罗卡纳特/Lawkanat，1997)。其他在狱中的行为包括"0 + 0 + 0 = 0"(曼德勒，1999)，"苍蝇"(渺妙，2001，法 语培训中心，仰光，2005年8月/日本国际行为艺术节，日本，2006)，"更洁净"(渺妙，2002)和"生命"(渺妙，2003)。

2004年11月出狱后，赫特英林在2005年与田秋怡(Chaw Ei Thein)合作了几个行为项目，包括"移动艺术画廊/移动市场"(仰光市区街头行为)。这个行为导致 5天的拘留和审问，释放后该行为被仰光因雅画廊(Inya Gallery)改变并再次表演。 近期的其他行为作品包括：与田秋怡合作的"桌上"(萨伊萨耶画廊/Saysaryar Gallery，赫来英塔亚/Hlaingthaya，仰光，2005年9月)；在Hnin-ka-gyo 群体行为"我们来到世上"，(赫来英塔亚/Hlaingthaya ，仰光，2005年11月)；在Hnin-ka-gyo群体行为中与田秋怡合作的"艺术家的生活"(萨伊萨耶画廊 /Saysaryar Gallery，赫来英塔亚/Hlaingthaya，仰光，2005年11月)；及随他的"可回收的"个展(罗卡纳特/Lawkanat艺术画廊，仰光，2005年12月)同时 进行的一日行为"静立"(曼德勒，2006年5月)，由4个小时站立冥思构成；"逃离"，与芬兰声音/装置/视觉艺术家雅里.哈佩拉(Jari Haapera)和米尔卡.弗兰德 (Mirka Flander)合作完成(吉塔迈/Gitameit，仰光，2006年1月)。 国际活动 日本表演艺术节，日本，2006年7月

http://www.aaa.org.hk/newsletter_wynipaf06.html 驻馆艺术家，雪兰莪(Rimbun Dahan)www.rimbundahan.org，近马来西亚吉隆坡，2006年12月/2007年1月，与文化和艺术创作网(NICA)(仰光)及海德里 希.波尔基金会(Heinrich Boll Foundation)合作。

Performance Art Htein Lin pioneered performance art in Burma in 1996 with "The Plastic Age" and "Guitarist", street performances in downtown Yangon and "The Little Worm in the Ear" (Lawkanat Gallery, Yangon), followed by "The Present for the World" (Lawkanat, 1997). Other performances in jail include "0 + 0 + 0 = 0" (Mandalay, 1999), "The Fly" (Myaung-Mya, 2001, Alliance Francaise, Yangon, August 2005 and NIPAF, Japan, 2006) "Cleaner" (Myaung－Mya 2002), and "Life"(Myaung-Mya 2003).

Following his release from jail in November 2004, Htein Lin partnered with Chaw Ei Thein on several performances in 2005 including "Mobile Art Gallery/Mobile Market" (Street Performance at downtown Yangon). This performance was followed by 5 days detention and interrogation; it was adapted and repeated at Inya Gallery, Yangon after their release.

Other recent performances include: "On the Table" with Chaw Ei Thein (Saysaryar Gallery, Hlaingthaya, Yangon, September 2005), "We have arrived in the world", group performance at Hnin-ka-gyo combined performance event, Saysaryar Gallery, Hlaingthaya, Yangon, November 2005 "Artist’s Life" with Chaw Ei Thein at Hnin-ka-gyo combined performance event, Saysaryar Gallery, Hlaingthaya, Yangon, November 2005, and Mandalay, May 2006‘Standstill’, a daily performance to accompany his Recycled Solo Show, Lawkanat Gallery, Yangon, December 2005 comprising four hours of standing meditation; "Escape", in collaboration with Finnish sound/installation/video artists Jari Haapera and Mirka Flander, Gitameit, Yangon, January 2006

Jin Shan 1977 Born in Jiangsu Province, China Currently lives and works in Shanghai

International Experience Nippon Performing Arts Festival, Japan, July 2006 http://www.aaa.org.hk/newsletter_wynipaf06.html Artist in Residence, Rimbun Dahan www.rimbundahan.org near Kuala Lumpur, Malaysia, Dec 2006/Jan 2007, in cooperation with Network Initiative for Culture and Arts (NICA), Yangon, and Heinrich Boll Foundation.

Selected Exhibitions 2007 "Interventions", public spaces, Shanghai 2006 "Belief", Singapore Biennale, Singapore "Migration Addicts" Sculpture Square, Singapore "Bitmap" International Digital Photo Project, Alternative Space Loop, Seoul 2005 "Ruse", Contemporary Art Exhibition, TS1 Contemporary Art Center, Beijing "Asian Traffic" International Contemporary Art Exhibition, Zendai MoMA, Shanghai "I’m 27 years old" Solo Exhibition, 1918 Art Space, Shanghai "Gbc-Diaspora and Return" Contemporary Art Exhibition, Advance Art Center, Shanghai "Shanghai, Shanghai" Contemporary Art Exhibition, Studio Rouge, Shanghai "Migration Addicts" Contemporary Art Exhibition, ddmwarehouse, Shanghai 2004 "Shadowing" Photography Exhibition, Shanghai Biennale Satellite Show, Mooma ART+DESIGN CO, LTD "Wall", Mooma ART+DESIGN CO, LTD, Shanghai 2003 "Interior Design and Contemporary Art Exhibition", Guan Da Exhibition Center, Shanghai 2002 "Shanghai Carnival Art Exhibition", Peoples Square, Shanghai "Shanghai Young Artists Exhibition-City-In", Zhu Qi Zhan Art Museum, Shanghai

赫特英林

1966 出生于缅甸伊洛瓦底省英加浦(Ingapu, Irrawaddy Division) 现工作生活于伦敦 个展

2006 "来吧，雨或阳光" 第五次个展，河滨画廊，河滨酒店，仰光 赫特英林还参加了一些群展，包括在仰光的甘高村艺术小组，并为缅甸杂志画插画，包括《Padauk Pwin Thit》和《IDEA》杂志，同时他还撰写诗 歌、短文和评论。

2005 "可回收的"第四次个展，罗卡纳特画廊(Lawkanat gallery)，仰光 "00235"第三次个展，35/B艺术工作室，仰光

Education 2000 East China Normal University, Faculty of Fine Art

Residency Programs 2005.12－2006.2 international artist residence at Goyang , Seoul. National museum of contemporary art, Korea

2000 "Wondering in the Language" Conceptual Art Exhibition, Chongqing 李平虎

靳山

1976 生于中国四川省南充

1977 出生于中国江苏省

现工作和生活在上海

现工作生活于上海 教育

2001 毕业于四川美术学院油画系

教育

2000 毕业于华东师范大学艺术系 群展 展览

2007 "干涉"，城市公共空间，上海 2006 "信仰"，新加坡双年展，新加坡 "迁移嗜好者"，雕塑广场，新加坡 "位图"国际图片展，Alternative Space Loop，首尔

2005 "反手为云，覆手为雨"，TS1当代艺术中心，北京 "亚洲交通"国际当代艺术展，证大现代艺术馆，上海 "我27岁"个展，1918艺术空间，上海 "Gbc"，现进艺术中心，上海 "上海，上海"，红寨画廊，上海 "迁移嗜好者"，东大名创库，上海

2007 "干涉"，公共空间，上海 2006 "第二届多伦青年美术大展"，多伦现代美术馆，上海 "趣味治疗"李平虎个展，2577创意大院，上海 2005 "六个帐篷艺术展"，金地世界，上海 "当绯闻遭遇粉饰"摄影艺术展，东大名创库，上海

2004 2003 2002 2001

"阴阳道具"艺术展，比翼艺术中心，上海 "电解质"当代艺术展，圣化艺术中心，南京 "蘑菇云，或者乌托邦"当代艺术展，外滩艺术馆，上海 "抛物线"当代艺术展，羚羊画廊，成都

"旋转 360 度－中国方案艺术展"，海上山艺术中心，上海 2000 "失语"观念艺术展，重庆

2004 "如影随形"摄影录像展，Mooma艺术设计机构，上海 "墙"，Mooma艺术设计机构，上海 2003 "上海室内设计与艺术大展"，光大会展中心，上海 2002 "嘉年华"，人民公园，上海 "City-In"，朱屺瞻美术馆，上海 工作室入住计划

2005.12－2006.2 古洋工作室艺术家驻馆计划，韩国国家当代美术馆

Huang Kui 1977 Born in Renshou, Sichuan Province, China Currently lives and works in Shanghai Education 1996－2000 Sichuan Fine Art College, Oil Painting Department

Li Pinghu 1976 Born in Nanchong, Sichuan Province, China Currently lives and works in Shanghai Education 2001 Sichuan Fine Art College, Oil Painting Department Group Exhibitions 2007 "Interventions", public places, Shanghai 2006 "Shanghai Duolun Exhibition of Young Artists", Shanghai Duolun MoMA, Shanghai "Solo Exhibition", 2577 Longhua Road, Shanghai 2005 "Rumor Decor", ddmwarehouse, Shanghai, China 2004 "Yin & Yang Settings" Contemporary Art Exhibition, BizArt Center, Shanghai 2003 "Electrolyte" Contemporary Art Exhibition, Shenghua Art Center, Nanjing 2002 "Mushroom, or Utopia" Contemporary Art Exhibition, The Bund Art Center, Shanghai 2001 "Sound" Art Exhibition, Beijing "The Chinese Project Revolves 360°C", Shan Gallery, Shanghai "Parabola" Art Exhibition, Antelope Gallery, Chengdu

Solo Exhibitions 2006 "VIP", 2577 Creative Garden, Shanghai, China 1999 "He She You and I" Personal top work exhibition (Chongqing) Group Exhibitions Selected Group Exhibitions 2006 "Restless－Photography and New Media", Shanghai Museum of Contemporary Art, Shanghai "High Art－From Shanghai", Exposition d’Art Contemporain de Shanghai au Toitde la Grande Arche de la Défense, Paris "Contemporary Video from Asia", Bonhams, London "Solo Exhibition", 2577 Creative Garden, Shanghai "Migration Addicts" Contemporary Art Exhibition, Sculpture Square, Singapore "Hyper Design" 6th Shanghai Biennale, Shanghai Art Museum, Shanghai "First 5×7" Pingyao International Photography Festival, The Ancient City of Pingyao Shanxi Province, TS1 Contemporary Art Center, Songzhuang, Tongzhou, Beijing 2005 "Migration Addicts", Contemporary Art Exhibition, ddmwarehouse, Shanghai "Back To the Future Shanghai Art", Germany, Poland "China Contemporary Performance Art－Video Photograph Exhibition", Informal space, Taipei "920 Kilograms" Art Exhibition, Shanghai Duolun Museum of Modern Art, Shanghai "Inward Gazes－Documentaries of Chinese Performance Art", Museu de Arte de Macau, Macao SAR "6 Wigwams" Art Exhibition, Gold World, Shanghai

2004

2003 2002

2001

2000

"Rumor Décor" Art Exhibition, ddmwarehouse, Shanghai "Asian Traffic" International Contemporary Art Exhibition, Zendai MoMA, Shanghai "The 2nd Guangzhou Triennial－How to become Shanghai", Guangzhou "Conspire", Beijing TS1 Contemporary Art Center 1st Exhibition, Beijing TS1 Contemporary Art Center, Beijing "62761232" Contemporary Art Exhibition, BizArt, Shanghai "Shanghai Duolun Exhibition of Young Artists", Shanghai Duolun Museum of Modern Art, Shanghai "Black & White" Art Exhibition, BizArt, Shanghai "Electrolyte" Contemporary Art Exhibition, Nanjing Shenghua Art Center, Nanjing "N-ply Identity" art exhibition, Informal space, Nanjing "Feel the spot", Informal space, Guangxi "It’s began" art exhibition, Informal space, Shanghai "Daydream" Chinese Contemporary Art Exhibition, Nanjing Museum, Nanjing as Curator "Mushroom, or Utopia" Contemporary Art Exhibition, Bund ART CENTER, Shanghai "Show to the Public", Shaoxing "The Chinese project revolves 360C", Shan Art Centre, Shanghai "Parabola" art exhibition, Antelope Gallery, Chengdu "Wondering in the Language" the art exhibition of conception, Informal space, Chongqing

黄奎

1977 生于中国四川省仁寿县 现工作生活于上海 教育

1996—2000 就读于四川美术学院油画系 个展

2006 "重要人物"黄奎个展，2577创意大院，上海 1999 "他她你我"个人架上作品展，重庆 群展

2007 "纸上中国"当代艺术展，456画廊，纽约 "走出西南"当代艺术展，广东美术馆，广州 "干涉"艺术行动，公共空间，上海

2006 "无休无止"摄影与新媒体艺术特展，上海当代艺术馆，上海 "高档货－来自上海"法国巴黎新凯旋门上海当代艺术作品展，巴黎

"It's began"当代艺术展，某仓库，上海 "白日梦”中国当代艺术展，南京博物院，南京 独立策划"蘑菇云，或者乌托邦"当代艺术展，外滩艺术馆，上海

2001 "示众"实验艺术展，秋瑾纪念碑，鲁迅小说《药》里面的丁字路口，绍兴 "旋转360度－中国方案"艺术展，海上山艺术中心，上海 "抛物线"当代艺术展，羚羊画廊，成都

2000 "失语"观念艺术展，重庆

Miljohn Ruperto Born in Philippines Currently lives and works in Los Angles, USA Education 1999 University of California, Berkeley Bachelor of Arts, Berkeley, California 2002 Yale University Masters of Fine Arts (Sculpture) , New Haven Connecticut Group Exhibitions 2005 "For Tomorrow" Lucky Tackle Gallery, Oakland, CA "Julieta Aranda, Jay Chung+Q Takeki Maeda, Melik Ohanian, Jef Robakowski, Miljohn Ruperto, Lawrence Weiner: Curated by Francesca Grassi of greengrassi gallery, London 2003 "Definitely Provisional" Whitechapel Project Space, London 2002 Thesis Show, Yale University New Haven, CT 2001 3rd Space Gallery, Quezon City, Manila, Philippines 米尼约赫.洛普托

"亚洲当代影像展"，伦敦

出生于菲律宾

"个展"，2577创意大院，上海

现生活工作于美国洛山矶

"迁移嗜好者"当代艺术展，雕塑广场，新加坡

"超设计"第6届上海双年展，上海美术馆

教育背景

"首届5×7"，平遥国际摄影大展，山西省平遥古城，TS1当代艺术中心，北京市通州宋庄 "没事"当代艺术展，胡庆余堂中药博物馆，杭州

2005 "迁移嗜好者"当代艺术展，东大名创库，上海 "回到未来－上海艺术展"，德国汉诺威浮士德画廊与波兰波支南IF MUSEUM画廊 "台湾中国当代行为艺术相遇－录像﹑图片展"，台北 "玖佰贰拾公斤"展览计划，多伦现代美术馆，上海 "以身观身－中国行为艺术文献展"，澳门艺术博物馆，澳门 "六个帐篷艺术展"，金地世界，上海 "当绯闻遭遇粉饰摄影艺术展"，东大名创库，上海 "亚洲交通-磁力－悬浮”国际当代艺术展，证大现代美术馆，上海 "广州三年展－如何将广州变成上海"，广州 "翻手为云，覆手为雨"北京TS1当代艺术中心第一回展，TS1当代艺术中心，北京 2004 "62761232"当代艺术展，比翼艺术中心，上海 "上海多伦青年美术大展"，多伦现代美术馆，上海 "阴阳道具"艺术展，比翼艺术中心，上海

2003 "电解质"当代艺术展，盛划艺术中心，南京 2002 "N重身份"当代艺术展，南京 "感受现场"实验艺术展，广西

1999 加大伯克利分校，艺术学士，伯克利，加利佛尼亚 2002 耶鲁大学艺术硕士(雕刻)，纽黑文，康提涅格 群展

2005 "为了明天"，幸运滑车画廊，欧克兰，加利福尼亚 "朱丽叶塔.阿兰达"，Jay钟+Q前田武纪、梅里克.欧哈尼安、罗巴科斯基、米尼约赫.洛普托、劳伦斯.威纳，弗朗西斯卡.格拉希策划，格林.格拉希画 廊，伦敦

2003 "纯属临时"，小白教堂项目空间，伦敦 2002 "主体展"，耶鲁大学，纽黑文，CT 2001 第三空间画廊，Quezon市，马尼拉，菲律宾

New Times, Beach Blanket Basel by Jennifer Rubell in Food and Wine Magazine, MAG Miami Art Guide, Lincoln Road Magazine, Featured Artist, Berliner Morgen Zeitung, Nuovo Herald, Miami, SurLaTerre-Miami, Jyllands-Posten, Denmark, ArtNet, Letter from Miami, 19 sessions, A survey of the Art Scene in Miami Where Art is happening, by Mark Coetzee director Rubell Family Collection, 2003 ISBN 0-9719492-0-4 Street Miami, Miami New Times, Sun Post, Best Art Installation in Miami, Miami Herald, El Pais, Spain, Levante, el Mercantil Valenciano, Las Provincias 娇索芬娜.波士

1971 生于瑞典哥德堡 Josefina Posch 1971 Born in Göteborg, Sweden Currently lives and works in Europe/USA Grants & Residencies 2007 Sculpture Space, Utica, NY Artist-in-Residency 2006 Duolon MOMA, Shanghai, China Artist-in-Residency Foundation for Contemporary Arts, NY, Grant Tigertail Artist Access Grant 2005 Modelmania with Olafur Eliasson, Invitational ArtExperience Workshop in conjunction with 51st Venice Biennale, Italy, June curated by Maurizio Bortolotti.

Artist Enhancement Grant, Division of Cultural Affairs 2004 Leo Chestler Contemporary Art Award Artist Access Grant, Miami-Dade 2002 Residency Art Center / South Florida, Miami Beach, FL 2001－2002 Creation of Cybersala comission, Museum de Beneficiary, Valencia, Spain 1993－1998 Bachelor of Fine Arts, Academy of Art College, San Francisco, CA 1989－1991 Diploma in Esthetic / Social Science Frölunda Gymnasium, Göteborg, Sweden 1988－1989 University of Salzburg, visiting program, Salzburg, Austria Selected Exhibitions 2006 Eikasia-Pride of Progress, ddmwarehouse, presented by Shanghai Duolun Museum of Modern Art, China 2005 Mayhem, Southern Exposure's Annual, San Francisco, Ca Tankloft, Chongqing, China, Biennale! Traveling video screening Occurrences: Artists Crossroads, Sydiart Studio, Chicago, Fundacion Arte Emergente, AIA Foundation Prog:ME, Centro Cultural Telemar, Rio de Janeiro, Brazil, July-Sept BizArt, Shanghai, China, Biennale! Traveling video screening Fuzzy was he? And Scope－Hamptons Art Fair both w/ Spinello/Liquid Blue Gallery, Miami Bootlab Gallery, Berlin, Germany Dashanzi International Art Festival, Beijing, Video Biennale!

Spinello Gallery (LiquidBlue) [Project] Analysis, Wynwood Arts District, Miami Temporarycontemporary Art Space, London, GB 2002－2004 "Check-in/Check-out" @ －Scope Miami, Miami Beach, FL Selection of the Jury, Salon International de Arte Digital VI, National Museum of Fine Art, Havana, Cuba "Sensitive materials", New York Academy of Science, NY Contemporary Art and Design Museum, San Jose, Costa Rica "The Petting Zoo" Art Basel Miami Beach, Art Loves Design DACRA w/ Oleg Kulik & Motohiko Odani M.A.I.S Paradise @ Art Forum Berlin, curators Torsten Roemer, Georgy Nikich & Flemming Nielsen The Moore Space Miami, "Surveillance" curator Silvia Karman The Leisure Club MOGADISHNI, Copenhagen, DENMARK Site specific installation, Art League Houston, Houston, TX The false promise of convenience -site specific installation, GenArt & Starwood Urban Investments Miami, FL Berkley Art Center－Juror Nancy Mizuno Elliot, Berkley, CA OPTIC NERVE IV Museum of Contemporary Art, MOCA , Miami, FL 1998－2001 San Francisco Art Institutes118th annual site-specific exhibition HOOVER, San Francisco, CA OVNI, temporary videoteque, Centre de Cultura Contempoteania de Barcelona, SPAIN Selected Publications NY Arts Magazine, China Arts Magazine, San Francisco bay Guardian, ArtNexus installation image, Miami Nuevo Herald Arte & Letras, Miami

现工作生活于美国和欧洲 教育经历、获奖情况

2007 纽约Utica雕塑空间艺术家工作室 2006 上海多伦现代美术馆艺术家工作室 纽约当代艺术基金会资助

Tigertail艺术家访问 2005 模特狂热(同Olafur Eliasson一起)，艺术体验工坊并同时展出于第51届意大利威尼斯双年展 策展人：Maurizio Bortolotti 其他参展人：Kjetil Thorsen, Hans-Ulrich Obrist 以及Yona Friedm 艺术家提升大奖，文化事务部

2004 艺术家接入大奖，Tigertail 2004 Leo Chestler现代艺术奖 2002－2005 驻南佛罗里达州艺术中心，迈阿密，佛罗里达州 2001－2002 创作网络客厅委员会，Beneficiary博物馆，瓦伦西亚，西班牙 1998 电影艺术基金会，旧金山，非线性影像编辑 1993－1998 艺术学学士，艺术学院，旧金山，加利福尼亚州 1995－1996 拜于雕塑家Kira Moon门下，旧金山，加利福尼亚州 1989－1991 取得美学、社会科学文凭，Frolunda高等学院，哥德堡，瑞典 1988－1989 参与萨尔茨堡大学的访问项目，萨尔茨堡，奥地利 部分展览

2006 臆想－光荣进步，东大名创库，上海 2005 大混乱，南部展示年展，旧金山，加利福尼亚州 红色天空艺术，海口，中国，双年展！影像放映巡回

NADA艺术博览会(火箭项目美术馆协助)，迈阿密，在巴塞尔艺术节期间 色情当代，Wynwood区，菜单和样品，在巴塞尔艺术节期间，迈阿密 罐子仓库，重庆，中国，双年展！影像放映巡回 事件：艺术家十字路口，Sydiart工作室，芝加哥，Arte Emergente基金会，AIA基金会。策展人：Melagros Bello 项目：ME，中心文化Telemar，里约热内卢，巴西

BizArt，上海，中国，双年展！影像放映巡回 毛绒绒的是他吗？Scope－汉普顿艺术博览会 同时在蓝色液体美术馆，迈阿密和靴子实验室美术馆，柏林同时展出 Dashanzi国际艺术节，北京，影像双年展 市办公厅市长办公室，迈阿密海滩 艺术垃圾，理查德.沙克美术馆，迈阿密海滩 蓝色液体美术馆，分析，Wynwood艺术社区，迈阿密 影像双年展！暂时的现代艺术空间，伦敦，英国 艺术城市，公平竞争，理查德.沙克美术馆，艺术中心/南佛罗里达州，迈阿密 海滩，佛罗里达州

2002－2004 "签入/签出"@Scope迈阿密，迈阿密海滩，佛罗里达州 陪审团的选择，国际艺术数码沙龙VI，国家艺术博物馆，哈瓦那，古巴 "敏感材料"，纽约科学学院，纽约 现代艺术和设计博物馆，圣何塞，哥斯达黎加 "充满温暖的动物园"巴塞尔艺术节 迈阿密海滩，艺术热爱设计DACRA，Oleg Kulik和Motohiko Odani "M.A.I.S天堂"@艺术论坛柏林，策展人：Torsten Roemer, Georgy Nikich以及Flemming Nielsen "监视"摩尔空间，迈阿密，策展人：Silvia Karman

SHOWTEL, BIBA西棕榈滩，策展人：Kara Walker-Tome，西棕榈滩现代艺术研究中心，佛罗里达州 休闲俱乐部MOGADISHNI，哥本哈根，丹麦 特定地点的装置，休斯敦艺术联盟，休斯敦，得克萨斯州

"便利的错误承诺"，特定地点的装置，GenArt和Starwood城市投资，迈阿密，佛罗里达州 "跺地"艺术中心/南佛罗里达，迈阿密海滩，佛罗里达州 驱散装置－enRUN，无联系的表演，策展人：Bernice Steinbaum和Don Chauncey，迈阿密艺术交流，巴塞尔艺术节，艺术热爱设计，投票评为 2002年度最佳迈阿密艺术装置 伯克利艺术中心－Juror Nancy Mizuno Elliot，伯克利，加利福尼亚州 "未经审查的迈阿密"，ATA－艺术家电视接入美术馆，旧金山，加利福尼亚州

1998－2001 "虚拟客厅"计算机房间装置，Beneficiary博物馆，瓦伦西亚，西班牙 A.R.C帆船，新媒体房间，芝加哥，伊利诺伊斯州 伯克利艺术中心，Clara Kim SFAI，伯克利，加利福尼亚州 旧金山艺术研究中心第118届年展，HOOVER特定地点展览，旧金山，加利福尼亚州 OVNI，临时的videoteque，巴塞罗那现代文化中心，西班牙 "思想之船"，欧洲文化之城，哥本哈根，丹麦 四墙美术馆，海报－海报，旧金山，加利福尼亚州 艺术学院98，99年度春季展，旧金山，加利福尼亚州

SOMAR美术馆，Ken Kesey与数码同在，旧金山，加利福尼亚州 部分出版物

2005.6－8 装置图象，《艺术纽带》 2005.6 Arte以及Letras，《迈阿密新先驱》 2005.3 《迈阿密新时代》第12期 2004.12 沙滩 毛毯 巴塞尔(Jennifer Rubell)，《美事美酒》杂志 2004.12 MAG迈阿密艺术指南 2004.6 林肯路杂志推荐艺术家 2003.10 Berliner Morgen Zeitung 2003.2 新先驱者，迈阿密先驱者西班牙版 2003.5 艺术家档案，《Sur La Tere迈阿密》 2003.3 Valby Rykker，《Jyllands-Posten》，丹麦 2003.10 来自迈阿密的信，《艺术网》 2003.12/2002.12 迈阿密最佳艺术装置，《太阳日报》 2002.3 《迈阿密先驱者》 2002.11.24 塞尔艺术(Elisa Turner)，《艺术评论》

Other works Publication of Aart Magazine, bilingual contemporary art magazine in Vietnamese and English 莫卡斯.斯泰兴 创建于2005年的艺术家团体 成员主要工作生活城市为胡志明市 成员 古尔山.戈特尔(Gulschan Gothel)、洪端坎(Hoang Duong Cam)、阮初枝淳(Jun Nguyen Hatsushiba)、桑德琳.露科特(Sandrine Llouquet)、波特伦 特.佩雷特(Bertrand Peret)、瑞奇.施莱特迈特-特伦(Rich Streitmatter-Tran)、谭渥飞(Tam Vo Phi)、武霖风(Vu Lien Phuong) 集展

2006 Aart/LZ，新加坡双年展 个展

2007 Aart，Khanhcasa，胡志明市，越南 2006 LZ-Hanoi，歌德学院，河内，越南 其他作品 出版越南语、英语双语当代艺术杂志《Aart》

TODO TODO is an Italian creative team exploring the uncharted territories between interaction, entertainment and communication that was founded in Turin in 2005 by Fabio Cionini, software designer and developer, and Giorgio Olivero, graphics and interaction designer. Fabio Franchino and Alessandro Capozzo, software artists, and Andrea Clemente, production manager, joined the team in 2006.

TODO deals with both corporate and research-based projects.

TODO’s main projects have been shown on international music and arts festivals, and exhibitions ArezzoWave, Arezzo, Italy Tomorrow now, Fondazione Bevilacqua La Masa, Venice, Italy, curated by S. Coletto First Croatian Biennial of Illustration, Galerija Klovicevi dvori, Zagreb, Croatia, Italian section curated by K. Gavassa Mogas Station Artists collective born in 2005 Members currently live and work in Ho Chi Minh city Members Gulschan Gothel, Hoang Duong Cam, Jun Nguyen Hatsushiba, Sandrine Llouquet, Bertrand Peret, Rich Streitmatter-Tran, Tam Vo Phi, Vu Lien Phuong Collective Exhibitions 2006 Aart/LZ, Singapore Biennale 2006 Solo Exhibitions 2007 Aart, Khanhcasa, Ho Chi Minh city, Vietnam 2006 LZ-Hanoi, Goethe Institut, Hanoi, Vietnam

Curated events 2007 B.I.P. －Building Interactive Playgrounds, Italianwave, Florence 2006 B.I.P.－Building Interactive Playgrounds, at ArezzoWave, Arezzo C-Stem, generative art festival, Turin, Italy Club To Club, Code in Motion, various venues, Turin, Italy 托多 托多是一个探索互动反应、娱乐和沟通之间的未知领域的意大利创作团队，由软件工程师法比奥.乔尼尼(Fabio Cionini)和图形及互动设计者乔奇奥.奥利维罗 (Giorgio Olivero)创立于2005年。2006年，软件艺术家法比奥.弗朗齐诺(Fabio Franchino)和亚历桑德罗.卡波佐(Alessandro Capozzo)和制作经理安德烈 亚.克莱门特(Andrea Clemente)也加入了团队。

托多的主要成果曾在国际音乐和艺术节、展览展出 爱瑞佐音浪(ArezzoWave)，爱瑞佐, 意大利 现在是明天，(Tomorrow now)，柏利拉夸.拉马萨基金会(Fondazione Bevilacqua La Masa)，威尼斯，意大利，S.克勒陀策划

首届克罗地亚插画双年展(First Croatian Biennial of Illustration)，加得利佳.克罗维奇维多夫瑞(Galerija Klovicevi dvori)，扎格勒布,克罗地亚，意大利部

分由K.嘎瓦萨策划(K. Gavassa) 策划的活动

2007 B.I.P.－建筑互动平台(Building Interactive Playgrounds)，意大利音浪(Italianwave)，佛罗伦萨 2006 B.I.P.－建筑互动平台(Building Interactive Playgrounds)，爱瑞佐音浪(ArezzoWave)，爱瑞佐(Arezzo) C-主干(C-Stem），生产艺术节(generative art festival)，都灵，意大利 从俱乐部到俱乐部(Club To Club)，动感密码(Code in Motion)，都灵多个地点，意大利

部分群展

2006 Fuori è un giorno fragile，凯伦.嘎瓦萨(Karin Gavassa)和罗瑞娜.塔多尼(Lorena Tadorni)和英母比安琪雅.德.瓦杰罗(Imbiancheria del Vajro)策划，切里(Chieri)， 都灵(cat.)

Jóvenes artistas de Castilla y León，Premio Caja de Burgos，CAB，布尔果斯中央艺术馆(Centro de Arte Caja de Burgos)，布尔果斯 (Burgos) 2005 Presencias/Ausencias. La Colección (4)，CAB，布尔果斯中央艺术馆(Centro de Arte Caja de Burgos)，布尔果斯(Burgos) 穿越城市，della Città地理，K.嘎瓦萨(K. Gavassa)，L.塔多尼策划，马赫(Machè)文化协会，都灵，意大利 2004 青年艺术(Arte Joven)2003，Junta de Castilla Leon，巡回展(cat.)

2003 Colección Caja de Burgos，Artistas Burgaleses: Una propuesta，Casa Del Cordón，Burgos(cat.) 青年艺术(Arte Joven)Focale，Junta de Castilla Leon，巡回展(cat.)

2002 第52届Alava，Caja Vital(Vital Bank)艺术比赛，Sala Luis de Ajuria,维多利亚(cat.) 其他习惯，其他视角，2002西班牙摄影，INJUVE(青年学院)，与Asturias青年学院，Castilla La Mancha，Castilla Leon and Murcia，Sala Amadís，马德里等城市市政当局合作出品(cat.) 青年艺术(Arte Joven)2001，de Castilla y León，巡回展(cat.)

2001 毕业展，群展，西英格兰大学，布里斯托，英国 收藏

Belén Cerezo 1977 Born in Vitoria, Spain Currently lives and works in Miranda de Ebro, Spain

Caja Vital，Caja de Burgos，Junta de Castilla Leon，INJUVE(青年学院)，Santa Gadea del Cid镇议会

Education 1999－2001 Degree in Art and Visual Culture, University of the West of England, Bristol 1995－2000 Degree in Fine Art, Universidad de País Vasco, Bilbao, Spain Selected Solo Exhibitions 2002 Illusions. Sandcastles. PHotoGalería, La Fabrica, Madrid Selected Group Exhibitions 2006 Fuori è un giorno fragile, curated by Karin Gavassa and Lorena Tadorni, Imbiancheria del Vajro, Chieri, Torino Jóvenes artistas de Castilla y León, Premio Caja de Burgos, CAB, Centro de Arte Caja de Burgos, Burgos 2005 Presencias/ Ausencias. La Colección (4), CAB, Centro de Arte Caja de Burgos, Burgos Trancity, Geografie della Città, curated by K. Gavassa, E. Ragusa and L. Tadorni Associazione Culturale Machè, Torino, Italy 2004 Arte Joven 2003, Castilla Leon, Junta de Castilla Leon , travelling exhibition 2003 Colección Caja de Burgos, Artistas Burgaleses: Una propuesta, Casa Del Cordón, Burgos Arte Joven: Focale, Junta de Castilla Leon, travelling exhibition 2002 52nd Competition of Art from Alava, Caja Vital (Vital Bank), Sala Luis de Ajuria, Vitoria Other Customs, Other Views, PHotoEspaña 2002, INJUVE (Institute for the Youth) and co-produced with Youth Institute of Asturias and the Regional Boards of Castilla La Mancha, Castilla Leon and Murcia, Sala Amadís, Madrid and other cities Arte Joven 2001, Junta de Castilla y León, Travelling Exhibition (cat.)

2001 Degree Show, Collective Exhibition, University of the West of England, Bristol, United Kingdom Collections Caja Vital, Caja de Burgos, Junta de Castilla Leon, INJUVE (Institute for the Youth), Santa Gadea del Cid Town Council 巴伦.克瑞索

1977 生于西班牙维多利亚 现工作生活于西班牙米兰达德埃布罗 教育背景

1999－2001 布里斯托西英格兰大学，艺术与视觉文化学位 1995－2000 西班牙毕尔巴鄂帕里斯.瓦斯科大学(Universidad de País Vasco)，艺术学位 个展

2002 印象，沙堡，拉法布利卡摄影展廊(PHotoGalería，La Fabrica)，马德里

Yap Sau Bin 1974 Born in Kuala Lumpur, Malaysia Currently lives and works Malaysia Biography Yap obtained his Bachelor of Arts in Fine Art from the Birmingham Institute of Art and Design, England in 1998. He is currently a staff at the Faculty of Creative Multimedia, Multimedia University. Yap is also a founding member of Rumah Air Panas [RAP], an artist initiative based in Kuala Lumpur. He had received awards in the Young Contemporaries Arts Award by the National Art Gallery in 2000 and 2002.

Selected Exhibitions and Project 2006 An Ideal Art Space, Gallery Without Walls - Off The Edge Magazine, KL The YCA Show, Gallery 153, KL Man+God 3 YEARS ON THE ROAD, Galleriiizu, KL Kata di Kota, Contemprary arts from Malaysia, Galeria de arte Boyeros, Cuba 2005 A Closer Look, Galeri Seni Maya, KL One Night Stand Series, Space Spirit Studio, KL Man & God Traveling Show by Arts4Souls, Stuggart Design Center, Stuggart 2004 ALaRm (Art Land Reclaim) Coop @ Notthatbalai Art Fest, Lost Generation Space, KL 2003 Man & God Traveling Show by Arts4Souls, +b Design Gallery, S’pore SPACE[S] Dialogue and Exhibition Project, Rumah Air Panas [RAP], KL 2002 New Bridge Artists @ Off Wall Off Pedestals, Akal diUlu, KL Chowkit Fest 2002, Chow Kit Road, KL 3 Installations +3, Rumah Air Panas (RAP), KL 2000 New Bridge Artists @ trans[formations]-6 from Malaysia, Sculpture Square, Singapore Landscape after Landscape, Galeri Petronas, KL 1998 Chinese Artists in the Midlands, Arcadian Centre, Birmingham Bibliography May Leong (2003, Mar) The White Cube Space, Rosa Sinesis March issue ’03, KL

Sharmin Varghese (2004, April) Art Therapy, Malaysian Business April issue, KL Laura Fan (2004, Nov) Sweet Bird of Youth, The Edge, Nov issue KL Michelle Antionette (2005) Different Visions: Contemporary Malaysian Art and Exhibition in the 1990s and Beyond, in Caroline Turner (ed.) (2005) Art and Social Change: Contemporary Art of Asia and the Pacific, Canberra ANU and Pandanus Press Benjamin McKay (2006, Nov) Crossing the River－The Young and the Restless: Yap Sau Bin and the concept of National Art, Kakiseni Art Portal, KL [http://www.kakiseni.com/articles/people/MDk5Ng.html] 叶绍斌

1974 生于马来西亚吉隆坡 现工作生活于吉隆坡 背景

1998年于英格兰伯明翰艺术设计学院获得美术专业艺术学士学位。目前在多媒体大学担任创意多媒体教职。Rumah Air Panas [RAP]的创始人之一，该组 织是吉隆坡的原创艺术组织之一。曾于2000、2002年两度获得国家艺术画廊颁发的青年当代艺术奖。 部分展览和项目

2006 一个理想的空间，没有墙的画廊－边缘外杂志，吉隆坡 YCA展览，153画廊，吉隆坡 人+上帝路上的3年，Galleriiizu，吉隆坡 Kata di Kota，来自马来西亚的当代艺术，de arte Boyeros画廊，古巴 2005 端详，Seni Maya画廊，吉隆坡 一夜情系列，空间精神工作室，吉隆坡Arts4Souls 人与上帝旅行表演，Arts4Souls，斯图加特设计中心，斯图加特 2004 ALaRm(艺术与重拾)Coop@ Notthatbalai艺术节，失去的一代空间，吉隆坡 2003 人与上帝旅行表演，Arts4Souls，+b设计画廊，新加坡 空间[S]对话与展览项目，Rumah Air Panas [RAP]，吉隆坡 2002 新桥艺术家在墙下人行道下，Akal diUlu，吉隆坡 Chowkit节2002，Chow Kit路，吉隆坡 3个装置+3，Rumah Air Panas [RAP]，吉隆坡 2000 新桥艺术家在变[形]-6，来自马来西亚，雕刻广场，新加坡 风景，又见风景，Petronas画廊，吉隆坡 1998 中陆的中国艺术家，Arcadian中心，伯明翰 书目

May Leong(2003年3月号)《白色立方空间》，《Rosa Sinesis03版》，吉隆坡 Sharmin Varghese(2004年4月号)，《艺术疗法》、《马来西亚商业》四月版，吉隆坡 Laura Fan(2004年11月号)，《年轻的甜鸟》《边缘》，11月版，吉隆坡 Michelle Antionette(2005)《不同的视角：1990年代当代马来西亚艺术和展览及其后》，在Caroline Turner(ed.)(2005)《艺术与社会变化：亚太地区当代 艺术》一书中，Canberra ANU and Pandanus出版社 Benjamin McKay(2006年11月)《穿越河流－年轻而不停歇：亚素滨和国家艺术概念》Kakiseni Art Portal，吉隆坡 [http://www.kakiseni.com/articles/ people/MDk5Ng.html]

Education 1996 MFA, Cranbrook Academy of Art, Bloomfield Hills, Michigan 1993 BA, Bloomsburg University of Pennsylvania, Bloomsburg, Pennsylvania Selected Exhibitions 2007 Tracking Transience: The Orwell Project, Civilian Art Projects, Washington, District of Columbia Contra Frontreras, MOV-iN Gallery, Santa Fe, New Mexico John Q. Public & Citizen Jane, University Art Gallery, San Diego State University, San Diego, California 2006 Prix Ars, Ars Electronica, Linz, Austria Unauthorized Access, The Hermitage, St. Petersburg, Russia Montezuma’s Revenge, Nicole Klagsbrun, New York, New York A Room (With a View), Arenberg Schouwburg, Antwerp, Belgium FILE－Festival Internacional de Linguagem Eletrônica, SESI Paulista Gallery, São Paulo, Brazil If a Cat Gives Birth in an Oven, Are They Kittens or Biscuits?, Roebling Hall, Brooklyn, New York The4thScreen, Scanners: New York Video Festival, Walter Reade Theater, Lincoln Center, New York, New York 2005 Monitoring, Dokfest/22nd Kasseler Dokumentarfilm-und Videofest, Kulturbahnhof, Kassel, Germany A Merced de Las Olas, Divergentes, Santa Lucia, Zumaia-Gipuzkoa, Basque Country/Spain Artronica: III Muestra Internacional de Artes Electrónicas, Biblioteca Luis Ángel Arango, Bogotá, Colombia 2nd International Media Art Festival, Center for Contemporary Experimental Art, Yerevan, Armenia Das Auge Des Ich (The Eye of the I), BStU-Stasi Unterlagen Behörde am Alexanderplatz, Berlin, Germany PartriART, Puffin Cultural Forum, The Puffin Foundation (sponsored by the ACLU), Teaneck, New Jersey V1B3, Cornerhouse Gallery, BBC Big Screen, Exchange Square, Manchester, England Exit Biennial II: Traffic, Exit Art, New York, New York 2004 D’Ailleurs, Le Carrosse, Paris, France I’ll Do Anything (with Elisabeth Condon), P.S. 122, New York, New York 2003 Digital Purr: Computer Aided Kunst, Beaker Gallery, Tampa, Florida 2002 bavf~NAF#1(Bandung Video, Film and New Media Art Forum) Bandung, Indonesia Hiss, Village des Arts Plastiques, Dakar, Senegal 9th Internation Biennale of Photography/Fotofest, Houston, Texas 2000 The All New & Improved Acme Collection, Elliott Gallery, St. Petersburg, Florida 1997 Weekend Gallery Introduces Hasan M. Elahi, Weekend Gallery, Houston, Texas 1993 Prints & Drawings, Bloomsburg University, Bloomsburg, Pennsylvania Selected Artist Lectures, Workshops and Conferences presented 2007 New York University, New York, New York 2006 Pop!Tech: Dangerous Ideas, Camden, Maine Tate Modern, London, England Siggraph Conference, Boston, Massachusetts Jersey City Muesem of Art, Jersey City, New Jeresy College Art Association, Annual Conference (with Creative Capital), Boston, Massachusetts 2005 Biblioteca Luis Ángel Arango, Bogotá, Colombia 2004 American Association of Artificial Intelligence (AAAI), Spring Symposium, Stanford University, Palo Alto, California 2002 Rumah Nusantara, Bandung, Indonesia 5th Dakar Biennale, Dakar, Senegal University of the Witwatersrand, Johannesburg, South Africa 1999 International Digital Video Conference (DVC 99), University of South Florida, Tampa, Florida 阿桑.阿莱茜

1972 生于孟加拉兰加普尔(Rangpur) 现居住工作于美国 教育背景

Hasan Elahi 1972 Born in Rangpur, Bangladesh Currently lives and works in USA

1993 艺术学士，宾夕法尼亚布鲁姆博格大学(Bloomsburg University of Pennsylvania)，布鲁姆博格(Bloomsburg)，宾夕法尼亚 1996 艺术硕士，克兰布鲁克艺术专科学院(Cranbrook Academy of Art)，不隆非尔德山(Bloomfield Hills), 密歇根

部分展览

2007 追寻透明(Tracking Transience)：奥威尔(Orwell)项目,市民艺术项目，华盛顿，哥伦比亚特区 反Frontreras，MOV-iN画廊,圣达非(Santa Fe)，新墨西哥州 约翰.Q.公立与市民简,校立艺术画廊,圣地亚哥州立大学，圣地亚哥，加利福尼亚 2006 新星(Ars)价格，新星(Ars) 电音，林兹(Linz)，奥地利 擅闯(Unauthorized Access)，遗产(The Hermitage)，圣彼得堡，俄罗斯 蒙特祖马的复仇(Montezuma's Revenge)，尼科尔.克拉格斯布伦(Nicole Klagsbrun)，纽约，纽约 房间(带风景的)，亚森伯格.首伍伯格(Arenberg Schouwburg)，安特卫普，比利时 文件－国际演讲电子节(FILE－Festival Internacional de Linguagem Eletrônica)，工业协会保利斯塔画廊(SESI Paulista Gallery)，圣保罗，巴西 如果一只猫在烤箱里产仔，它们是小猫还是饼干呢?，罗布零艺术画廊(Roebling Hall)，布鲁克林，纽约 第四届银幕，扫描器:纽约影像节, 沃尔特.里德剧院(Walter Reade Theater)，林肯中心，纽约，纽约 2005 监控，Dokfest/第二十二届卡塞尔纪录片节及影像节，文化车站(Kulturbahnhof)，卡塞尔(Kassel)，德国 A Merced de Las Olas，发散(Divergentes)，桑塔露琪亚, Zumaia-Gipuzkoa，巴斯科乡(Basque Country)西班牙 阿托尼卡(Artronica )：第三届姆埃斯特拉国际艺术电音节(III Muestra Internacional de Artes Electrónicas )，路易丝.安琪儿.阿朗哥图书馆 (Biblioteca Luis Ángel Arango)，伯戈塔(Bogotá)，哥伦比亚 第二届国际媒体艺术节，当代实验艺术中心，叶里万，亚美尼亚 我的眼睛(Das Auge Des Ich (The Eye of the I))，位于亚历山大广场BStU-Stasi出版社，柏林，德国 帕特瑞艺术(PartriART)，布芬文化论坛(Puffin Cultural Forum)，布芬基金(The Puffin Foundation)(由ACLU提供赞助)，提尼克(Teaneck)，新泽 西

V1B3,角房画廊(Cornerhouse Gallery)，BBC大荧幕，交换广场，曼彻斯特，英格兰 出口双年展II：交通，出口艺术，纽约，纽约 2004 D'Ailleurs，黄金马车(Le Carrosse)，巴黎，法国 我会做任何事 (与伊丽莎白.康登)，P.S. 122，纽约，纽约 2003 数码咕噜：计算机辅助艺术，比克画廊，坦帕，佛罗里达 2002 bavf~NAF1号(万隆视频、电影、新媒体艺术论坛)，万隆，印度尼西亚 嘘,艺术村，达喀尔，塞内加尔 第9届国际图片双年展，休斯敦，得克萨斯 2000 全新的改善的螺纹展，伊利亚特画廊，圣彼得堡，佛罗里达 1997 周末画廊阿桑.阿拉茜介绍,周末画廊，休斯敦，得克萨斯 1993 印刷与绘画，布鲁姆博格大学，布鲁姆博格，宾夕法尼亚 参与的部分艺术家论坛、工作室和出席的会议

2007 纽约大学，纽约，纽约 2006 流行!技术：危险的想法，开姆敦，缅因 塔特当代艺术馆，伦敦，英格兰

Siggraph会议，波士顿，马萨诸塞 泽西城市艺术馆，泽西市，新泽西 高校艺术协会年会(会同创意资本)，波士顿，马萨诸塞

2005 路易丝.安琪儿.阿朗哥图书馆，伯戈塔，哥伦比亚 2004 美国人工智能协会(AAAI)，春季论坛，斯坦佛大学，帕罗阿尔托，加利福尼亚 2002 Rumah Nusantara，万隆，印度尼西亚 第5届达喀尔双年展，达喀尔，塞内加尔 金山大学，约翰内斯堡，南非

1999 国际数码影像会议(DVC 99)，南佛罗里达大学，坦帕，佛罗里达

Rizman Putra 1978 Born in Singapore Currently lives and works in Singapore

Education 2006－present LaSalle-SIA College of The Arts, Master of Arts (Fine Arts), Singapore.

2002－2003 Royal Melbourne Institute of Technology Bachelor of Arts in (Fine Art) with Distinction, Singapore 1996－1999 LaSalle-SIA College of the Arts, Singapore, Diploma in Visual Arts (Painting) Selected Group Exhibitions 2007 Osaka Asia-Contemporary Dance Festival 2007, The Elegy of A Man and His Weapon of Choice Solo Performance, Dancebox dB, Osaka, Japan 2006 Singapore Biennale 2006, Sontol Al Loyo: The Elegy of A Man and His Weapon of Choice Performance and Installation, City Hall, Singapore Queen Ping, Directed by Natalie Hennedige, Theatre performance by Cake Theatrical Production, Esplanade Theatre Studio, SIngapore Future of Imagination 3, International Performance Art Meeting, Viva Genitalia, The Substation, Singapore Singapore Fringe Festival, Organised by The Necessary Stage, Pain of A Million Ants, A collaborative performance, The Substation, Singapore 2005 Fukuoka Asian Art Triennial Organised by Fukuoka Asian Art Museum, Not Available On Print Date by Kill Your Television, Fukuoka Asian Art Museum, Fukuoka, Japan President’s Young Talents Exhibition, Organised by Singapore Art Museum, Group Exhibition, The Singapore Art Museum, Singapore The P.O.P Station by Kill Your Television 3-nation tour, (interactive installation), Organised by Theatreworks as part of The Singapore Season, Institute of Contemporary Art (ICA), London, United Kingdom, Space and Shadows, House of World Cultures, Berlin, Germany, Omong Kosong 7, Cemeti Art House, Yogyakarta, Indonesia Contemporary Self-Potraiture/Reassesing Identity organised by Institute of Contemporary Arts Singapore, Institute of Contemporary Arts Singapore 2004 ISTANA 2000,Organised by Theater Ekamatra, ‘Generation: Lullabye’, a multi-media performance, In collaboration with Sabrina Annarhar, The Substation, Singapore SENI: Insomnia48, produced by Theatreworks,(The P.O.P Station), interactive installation by Kill Your Television (KYTV), The Art House at The Old Parliament House, Singapore SENI: Artists Investigating Monuments 2 (AIM2), ‘Frozen Ancestors’, In collaboration with Dovan Ong, A project organised by The Artists Village, Site specific performance at War World I monument, Singapore Sandakan Threnody, produced by Theatreworks, in collaboration with Ong Keng Sen, The Arts Centre, Melbourne (The Melbourne Arts Festival), The Suncorp Theatre, Brisbane (Brisbane Arts Festival), Australia Project Graphite, Drawing exhibition curated and organised by KYTV, Goethe Institute, Singapore Design For Death, Multi-media performance by Kill Your Television (KYTV), Seoul Fringe Festival, Post Theatre, Seoul, South Korea The LASALLE school exhibition, Video documentation of past performances (KYTV), Earl Lu Gallery, Singapore The Last Laugh, a video art exhibition (KYTV), Earl Lu Gallery, Singapore 2003 Future of Imagination, live art meeting, curated by Lee Wen, Love with Evol Kapitan at Armenian St, The Substation, Singapore Berita Harian,a group exhibition of Contemporary Malay Artists, curated by Khairuddin Hori, Substation Gallery, Singapore Sparks Presentation, Design for Death, performance with Kill Your Television (KYTV), Theatre Studio, Esplanade-Theatres on the Bay, Singapore Melatonin 2,dance performance choreographed by Daniel K, Tiny Alice Theatre, 3Tokyo, Japan, Little Asia Theatre Network No Apologies 10th RMIT University Bachelor of Arts (Fine Art), Graduation Exhibition, Earl Lu Gallery, LaSalle-SIA College of The Arts, Singapore Roundabout, A KYTV collaboration with Urich Lau and Scarlett Yew, Arts Fission Company, Carnhill, Singapore Blind Surprises, Tender Hearts and Wrinkled Union, A KYTV performance, The New Space, Fundamental Multi-Disciplinary, Telok Ayer Performing Arts Centre, Singapore Fusion Strength, Performance collaboration with Tang Da Wu, Jeremy Hiah and Lina Adam, Benda Art Space, Yogjakarta, Indonesia Fusion Strength, Visual Exhibition, Puri Gallery, Magelang, Indonesia 2002 Dead/Line, Kill Your Television Performance, Collaboration, The Substation, Guiness Theatre, Singapore Dark Room Devil and The Spoon Circus, Kill Your Television (KYTV) Performance, Collaborative Effort, Choreographer, The Substation, Guiness Theatre, Singapore Complementary, An exhibition of works in progress, RMIT University Bachelor of Arts (Fine Art),Earl Lu Gallery II, LaSalle-SIA College of the Arts Singapore Contemporary Artists Exhibition, Hanoi Contemporary Arts Centre, Hanoi, Vietnam (Organised by The Artists Village) Big Island, Small Island, Nothing To Declare KYTV collaboration with Juliana Yasin, Australian High Commission, Singapore Mata Koyak, A KYTV Performance, Music and movement improvisation, OniStudio, Singapore.

Time For Drunken Horses, Dancespace2002, choreographed by George Chua, invited as guest performer, The Substation Guiness Theatre, Singapore.

FeeLowSoFee, a collaborative performance with Aaron Kao, Ubin Day, Pulau Ubin Community Centre, Singapore.

I Hear Them Coming, KYTV Performance The Substation Classroom, Singapore.

Professional Memberships 2002 Founded Kill Your Television (KYTV) 2000 Member, The Artists Village

正式成员组织

Awards Received 2005 President’s Young Talents Award JCCI Award for The Arts (Kill Your Television) 2003 Best Bachelor Of Arts Program candidate 1999 Short-listed for Ericsson Scholarship

获得的奖项

瑞泽曼.普托拉

1978 生于新加坡 现工作生活于新加坡 教育背景

2006－至今 拉萨尔－SIA艺术学院，艺术硕士(美术)，新加坡 2002－2003 皇家墨尔本技术学院，特别艺术学士(美术)，新加坡 1996－1999 拉萨尔－SIA艺术学院，新加坡，视觉艺术文凭(绘画) 参与的部分群展和表演

2007 大阪亚洲当代舞蹈节，2007一个人的挽歌和他的选择武器，独舞，舞柜dB，大阪，日本 2006 新加坡双年展2006，Sontol Al Loyo：一个人的挽歌和他的选择武器，表演和装置，市会厅，新加坡 平皇后纳塔丽.汉尼迪基导演,蛋糕剧院出版公司进行戏剧表演，滨海艺术中心，新加坡 想象未来3国际表演艺术会议，活力女阴，轻轨站，新加坡 新加坡艺穗节，Organised by The Necessary Stage，必须阶段组织，一百万只蚂蚁的痛苦,协作表演,轻轨站，新加坡

2005 福冈亚洲艺术三年展2005，福冈亚洲艺术馆组织杀死你的电视在印刷日不提供，福冈亚洲艺术馆,福冈，日本 总统奖青年人才展览，新加坡艺术馆组织群展，新加坡艺术馆，新加坡 杀死你的P.O.P站，3国巡回(互动装置)，剧院工厂组织，新加坡季的组成部分，当代艺术系(ICA)，伦敦，英国，空间和影子，世界文化屋，柏林，德 国

Omong Kosong 7号，Cemeti艺术室，日惹，印尼 当代自我－肖像/重新评价身份，新加坡当代艺术学院组织，新加坡当代艺术学院 伊斯坦纳 2004 2000，提特.厄卡马特拉组织，"世代：摇篮曲"，多媒体表演，与萨布里纳.安纳哈协作，轻轨站，新加坡 赛尼：失眠48剧院工厂出品(P.O.P站)，互动装置－杀死你的电视(KYTV)出品，旧议会大厦艺术屋出品，新加坡 赛尼：艺术家研究纪念碑2(AIM2），冻结的祖先，与Dovan Ong合作，艺术家村组织的项目只在一战纪念碑处表演，新加坡 Sandakan悲歌，剧院工厂出品，与Ong Keng Sen合作艺术中心，墨尔本(墨尔本艺术节)，Suncorp剧院，布里斯班(布里斯班艺术节)，澳大利亚 石墨项目KYTV策划并组织的绘画展,歌德学院，新加坡 设计死亡KYTV出品的多媒体表演首尔边缘艺术节，邮政剧场，首尔，韩国 拉萨尔学校展览以往表演的录像(KYTV)Earl Lu画廊，新加坡 最后的笑容，视觉艺术展(KYTV)Earl Lu画廊，新加坡 未来想象，即时艺术会议， 2003 Lee Wen策划，爱上Evol Kapitan，亚美尼亚街轻轨站，新加坡 蓓蕾塔.哈里安当代马来西亚艺术家群展，Khairuddin Hori策划，轻轨站画廊，新加坡 斯巴克斯表演，设计死亡，KYTV表演湖滨剧场，新加坡 褪黑素2， Daniel K编舞的舞蹈表演，小爱丽丝剧场，东京，日本，小亚洲剧院网 不必道歉，第10届RMIT艺术学士(美术)毕业展Earl Lu画廊，拉萨尔－SIA艺术学院，新加坡 附近，KYTV与Urich Lau、Scarlett Yew合作项目，艺术裂变公司Carnhill，新加坡 盲目的惊喜，柔软的新和皱纹联盟，KYTV表演，新空间，基础多领域，Telok Ayer表演艺术中心，新加坡 熔化力量，Tang Da Wu，Jeremy Hiah and Lina Adam合作表演，Benda艺术空间，日惹，印尼 熔化力量，视觉展，Puri画廊，马格朗，印尼 截止/时间 2002 KYTV表演，合作轻轨站，吉尼斯剧院，新加坡 暗室魔鬼和勺子马戏团，KYTV表演合作编舞轻轨站，吉尼斯剧院，新加坡 全面工作进展展览，RMIT大学艺术学士(美术)，Earl Lu画廊，拉萨尔－SIA艺术学院，新加坡 新加坡当代艺术家展览，Hanoi当代艺术中心，Hanoi，越南(艺术家村组织) 大岛，小岛，无可宣告KYTV与Juliana Yasin合作，澳大利亚大使馆，新加坡 Mata Koyak，KYTV表演，音乐和动作即兴创作，Oni工作室，新加坡 醉马时间舞蹈空间2002，George Chua编舞，客座表演,轻轨站，吉尼斯剧院，新加坡 FeeLowSoFee，与Aaron Kao、Ubin Day合作表演，Pulau Ubin社区中心，新加坡 我听到他们来了KYTV表演，轻轨站教室，新加坡

2002 创立"杀死你的电视(KYTV)" 2000 艺术家村成员

2005 青年人才总统奖，艺术JCCI奖(杀死你的电视) 2003 艺术项目最佳学士候选人 1999 短期获得爱立信奖学金

Migration Addicts 迁移嗜好者

2005－2006

Migration Addicts 2005, Shanghai 迁移嗜好者 2005，上海 Venue: ddmwarehouse Dates: April 14th－May 16th, 2005 地点：东大名创库 时间：2005年4月16日－5月16日

Susanne Winterling 苏珊娜.文特灵 The Pearls Inbetween 其间的珍珠 Living Sculpture/Video Projection 活雕塑/录像投影 2005

Sookon Ang 安素坤 Away 离开 Installation 装置 2005

Naho Kawabe 河边菜穗 Sugar Cube 方糖 Video 录像 2005

Jin Shan 靳山 Slide 滑 Installation 装置 2005

Jiang Chongwu 蒋崇无 24 Bridges Under the Bright Moon Night 二十四桥明月夜 Installation 装置 2005

Huang Kui 黄奎 Super Structure 上层建筑 Installation 装置 2005

Migration Addicts 2006, Singapore 迁移嗜好者 2006，新加坡 Venue: Sculpture Square Dates: June 9th－July 16th, 2006

Susanne Winterling 苏珊娜.文特灵 Vision of a Diamond City 钻石城视角 Living Sculpture/Video Projection 活雕塑/录像投影 2006

地点：雕塑广场艺术中心 时间：2006年6月9日－7月16日

Sookon Ang 安素坤 Bekerja 博克佳 Video Installation 录像装置 2006

Naho Kawabe 河边菜穗 Tiger, Wake Up 老虎，苏醒吧 Video 录像 2006

Jin Shan 靳山 Shenzhou 7 神州7号 Installation 装置 2006

Jiang Chongwu 蒋崇无 New East Asia－Made in China 新东亚－中国造 Interactive Installation 互动装置 2006

Huang Kui 黄奎 Whip 鞭子 Installation 装置 2006

Zulkifle Mahmod 祖尔基福.马赫摩德 In My Space 在我的空间里 Sound Installation 声音装置 2006

This book is published in connection with the exhibition: "Migration Addicts" 52nd International Art Exhibition La Biennale di Venezia－Collateral Events Exhibition Dates: June 6th－15th, 2007 Opening Party: June 7th 2007, from 9 p.m. to 2 a.m., at Orange Restaurant and Champagne Lounge, Campo Santa Margherita, Dorsoduro, 3054, featuring Rizman Putra The Hyperbolic Alpha Male performance, and Giorgio Pulini aka RACH3 live dj set.

Presented and organized by: ddmwarehouse, 3F/713, Dong Da Ming Road, Shanghai 200080, China Website: www.ddmwarehouse.org Participating artists: Htein Lin(Myanmar), Jin Shan(China), Li Pinghu(China), Huang Kui(China), Miljohn Ruperto(Philippines/ USA), Josefina Posch(Sweden/USA), Mogas Station(Vietnam), TODO(Italy), Belén Cerezo(Spain), Yap Sau Bin(Malaysia), Hasan Elahi(Bangladesh/USA), Rizman Putra(Singapore) Curators: Biljana Ciric(biljana.ciric@gmail.com) & Karin Gavassa(karin.gavassa@gmail.com) Director: Zheng Weimin Media Promotion: Yan Yao, Cola Chen, Eun A Seo Coordination: Yan Yao Project Developing: Chris Hong Catalog Design: Cao Wei(caowei1@hotmail.com) Graphic Design: Huang Yuhua Sound Design: Yin Yi Project Support: Milk Liu, Alberto Gerosa, Huang Zaohong

Chief Editor: Zheng Weimin Editors: Biljana Ciric, Yan Yao Texts: Zheng Weimin, Biljana Ciric, Karin Gavassa Translation: Shui Jitian Proofreading: Biljana Ciric, Yan Yao, Cola Chen Images: courtesy of artists Edition: 1000 Publisher: ddmwarehouse, Shanghai, China Copyright: ddmwarehouse, the authors(texts) and the artists(images) Date: April 2007 Thanks from organizer, curators and artists Special thanks to Ni Jiaqi, Feng Tao, Rebecca Catching, Song Xianjun, Merry Lai, Chen Hangfeng, Laura Petican, Franco Rado, Chiara Sartori, Lorena Tadorni.

Thanks from Josefina Posch (Iceberg, Right Ahead) to Galleria d'Arte Santo Stefano, Venezia, Galleria Juris & Perl, Venezia, Flemming Nielsen－Production, David Spector, C.E.O, David Spector, Associates－Consulting Engineer, Malcom Maso－Venice Production Logistics, Caterina Margherita－ Artist assistant.

Thanks from TODO to Stefano Coletto, Cristina Balma Tivola, Nataša Radović and the Atelier of Fondazione Bevilacqua La Masa for their kind hospitality.

主编：郑为民 编辑：比利安娜、严嶢

文字：郑为民、比利安娜、凯伦.嘎瓦萨 翻译：税际天 校对：比利安娜、严嶢、陈乐

此画册与以下展览有关：

图片：艺术家版权所有

"迁移嗜好者"－第52届威尼斯双年展独立项目

印数：1000册

展览时间：2007年6月6日至15日

版权：东大名创库、作者(文章)、艺术家(图片)

开幕酒会：2007年6月7日晚9时至凌晨2时，Orange Restaurant and Champagne Lounge(圣玛格丽塔广场， 多索度洛3054号)，表演：瑞泽曼.普托拉《双曲线阿尔法男性》、DJ乔治.普理尼 RACH3

时间：2007年4月

主办方：东大名创库，中国上海市东大名路713号3楼 200080

主办方、策展人与艺术家鸣谢

网站：www.ddmwarehouse.org

特别鸣谢：倪嘉琦、冯涛、林白丽，宋贤军，黎海燕，陈航峰， Laura Petican ， Franco Rado ， Chiara

出版：东大名创库

Sartori，Lorena Tadorni 参展艺术家:

娇索芬娜 . 波士(冰山，就在前方 )感谢：威尼斯圣斯特法诺艺术画廊，威尼斯尤里斯与佩尔画廊， Flemming

赫特英林(缅甸)、靳山(中国)、李平虎(中国)、黄奎(中国)、米尼约赫.洛普托(菲律宾/美国)、娇索芬娜.波士(瑞典 /美国)、莫卡斯.斯泰兴(越南)、托多(意大利)、巴伦.克瑞索(西班牙)、叶绍斌(马来西亚)、阿桑.阿莱茜(孟加拉国

Nielsen－Production, David Spector, C.E.O, David Spector, Associates－Consulting Engineer, Malcom Maso－Venice Production Logisitics, Caterina Margherita－Artist assistant 托多感谢：Cristina Balma Tivola, Nataša Radović

/美国)、瑞泽曼.普托拉(新加坡) 策展人：比利安娜(biljana.ciric@gmail.com)、 凯伦.嘎瓦萨(karin.gavassa@gmail.com) 总监：郑为民 媒体：严嶢、陈乐、徐银儿 协调：严嶢 项目拓展：洪晨 画册设计：曹巍(caowei1@hotmail.com) 平面设计：黄聿华 声效设计：殷漪 项目支持：刘耐、Alberto Gerosa、黄枣红

ddmwarehouse all rights reserved 东大名创库 版权所有 3F/713 Dong Da Ming Road, Shanghai, China, 200080 中国上海东大名路713号3楼 200080 Tel: ＋86 21 3501 3212 Email: info@ddmwarehouse.org Website: www.ddmwarehouse.org

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