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Exhibition
#HASHTAG
Duration
November 25, 2017 – March 18, 2018
Curator
Lixing Ivy Feng, Ji Shi, You Wu
Location
Power Station of Art, Shanghai, China
Inspired by the extensively used symbol “#” in social media, #HASHTAG marks a physical location for digital social space and
transforms the exhibition into a real-time updating cloud stor-
age. By inviting artists, curators, and visitors to join a“live chat,” #HASHTAG tries to reconfigure the roles each party plays in an exhibition.
#HASHTAG takes place in two parallel dimensions –“#online”and
“#on-site”.“#online”invites both artists and visitors to contribute
to its archive by sending hashtags to specific artworks.“#on-site”, on the other hand, becomes a physical address linked to the cloud, and a tangible screen displaying all social interactions.
Photo (above): Sending hashtag to screen display Photo (below): Printing hashtag receipt Photo (right): Screen display
In the context of the digital turn, #HASHTAG tries to record the
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陈抱阳 李维伊 李维伊 陈抱阳 刘诗园 李维伊 李维伊 张微伟 刘诗园 李宛
《不可同步的撕裂》 《风景》 《图中物》 《不可同步的撕裂》 《仙境》 《风景》 《图中物》 《 》 《仙境》 《无人售货》
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Chen Baoyang Li Weiyi Li Weiyi Chen Baoyang Liu Shiyuan Li Weiyi Li WeiyiWeiwei Zhang Liu Shiyuan Li Wan
Unsynchronized Memoirs Landscape Objects in Image Unsynchronized Memoirs Wonderland Landscape Objects in Image Wonderland Unmanned Square
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冯菲菲（澳） 王韫琛 蔡承良 王韫琛 蔡承良 冯菲菲（澳） 雷荣华 蔡承良 蔡承良 #工作组 雷荣华 #工作组
《断层线》 《大乘佛教千手观音》 《双重风景》 《无意识的等级》 《驯熟》 《断层线》 《自由城的轮回岛》 《双重风景》 《驯熟》 框/椅子/架子 《自由城的轮回岛》 微缩模型
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Feng Feifei Wang Caison Cai Chengliang Wang Caison Cai Chengliang Feng Feifei Lei Ronghua Cai Chengliang Cai Chengliang #Office Lei Ronghua #Office
Faultline Mechanical Avalokiteshvara Twin Panoramas Unconscious Tameness Hierachy Faultline Island - Samsara Christiana Twin Panoramas Tameness Frame/Bench/Shelf Island - Samsara Miniature Model Christiana
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王子耕 张微伟 王子耕 李宛 吴逸飞 王子耕 王骁楠 王子耕 吴逸飞 王韫琛 王骁楠 王韫琛
#工作组 #工作组 #工作组 #工作组 #工作组 #工作组 #工作组 #工作组
《目击记录 01-028254》 《 》 《算法景观》 《无人售货》 《屏中物》 《目击记录 《#十物件》01-028254》 《算法景观》 《屏中物》 《大乘佛教千手观音》 《#十物件》 《无意识的等级》
#直播间 框/椅子/架子 #小票打印机 微缩模型 空白 #直播间 #小票打印机 空白
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Wang Zigeng Zhang Weiwei Wang Zigeng Li WuWan Yifei Wang Wang Zigeng Xiaonan Wang Zigeng Wu Yifei Wang Caison Wang Wang Xiaonan Caison
#Office #Office #Office #Office #Office #Office #Office #Office
Witness Recod 01-028254 The Landscape of Algorithm Unmanned Square Life of Screen Witness Recod 01-028254 #10 Objects The Landscape of Algorithm Life of Screen Mechanical Avalokiteshvara #10 Objects Hierachy Unconscious
#Live Studio Frame/Bench/Shelf #Receipt Printer Miniature Model Blank #Live Studio #Receipt Printer Blank
shift in which artists abandoned grandiose intentions for a more nuanced range of concerns. Familiar daily objects – faith, fortune, street, cityscape, Apple store, unmanned grocery, etc. – are de-fa-
miliarized through digital observation, articulation and re-creation, therefore are reinterpreted to a new status of unfamiliarity. As a
response to the emerging phenomena, #hashtag crowds these provocative artworks into one space, where reactions and feed-
backs from all participants are synchronously inspired, captured, and archived.
Thus, no more gallery space, only interface; no more canvas, only
resolution; no more visitors, only players; no more observation, only intervention; no more anticipation, only statistics; no more
comments, only hashtags. No more speculation on the digital, only digital documentation; no more virtual reality, only real virtuality.
Drawing (left): Gallery plan
Photos (right): Artwork collage
#HASHTAG is an open field in which visitors collectively decide how to categorize artworks and how to make meanings out of it. This framework acts as the metaphor of knowledge construction
in digital age: an open list, like a bookshelf, in which items can be
constantly added in, replaced, and moved around. Each artwork has no fixed position in place, and visitors are licensed to arrange
them through their own understanding, which would then produce a non-standardized viewing experience. As a result, the exhibition is generated through visitors’notion rather than curator’s intention.
However, this initial idea was not able to be fully realized due to pratical issues such safety, management, and of course conser-
vative critique. Our compromised actions include a performance
before the opening and a miniature model, both in which“visitors” retrieve artworks from the“bookshelf”and arrange them freely in
the“gallery space”,yet with which the former trapped in time and the latter out-of-scale.
Photos (left): Performance
Photo (right): Tablet in gallery displaying the performance
Video Link: https://vimeo.com/258726475
Photo: Miniature model with movable exhibit walls Video Link: https://vimeo.com/258922229
Photo: Installation of the“bookshelf”
Video Link: https://vimeo.com/258920865
Exhibition
Weird Romance
Year
2014
Site
St. Louis, Missouri, USA
Instructor
Kathryn Dean
Image: Typology study of traditional American barns
Images: Barns in the city
Site Plan
Ground Floor Plans
Photo (left): Wedding chapel
Image (right): Interior view of wedding chapel
Photo (left): Divorce court
Image (right): Wedding chapel, divorce court, and City Hall
Photo (left): Amphitheater
Image (right): Amphitheater and opera house
Photo (left): Food bank and shelter
Image (right): Food bank, shelter, and church
Photo (left): Gallery
Image (right): Interior view of gallery
Photo (left): Horse barn and carriage storage
Image (right): Horse barn and the Grand Station
Exhibition
Soda Housing
Year
2012
Site
St. Louis, Missouri, USA
Instructor
Forrest Fulton
Photo: Site Model
Material: Chipboard and soap
Section
Ground Floor Plan
Photo (left): Plaza view
Photo (right): Courtyard view
Photo: Scaled model for opening study
Photo (left): Scaled model for exterior material study Image (right): Rendering of exterior view
Photo (left): Scaled model with furniture Photos (right): Interior views
Essay
⌘C, ⌘V
Publication
Room One Thousand #5: Timeless (2017)
Co-authors
Ji Shi, Ivy Feng
Copy-paste, as the most widely used computer command, establishes a unique human-data interaction, unimaginable in a pre-dig-
ital era. It is an instant reproduction that takes no time. Rather, it is a timeless reproduction.
The logic of industrial design follows well this metaphor of co-
py-paste in which the ease of reproduction of the assembly line is as important as the novelty of the products. This industrial de-
sign logic has now infiltrated architecture. On the one hand, digital workflow, software, and open-source libraries have largely benefit-
ed the ease of architectural production. On the other hand, the logic
of industrial design is now being applied to the scale of a building, a logic which favors reproducible universal design over novelty or
context. This ongoing trend forms a seamless transition between building as a uniquely constructed space versus building as a man-
ufactured object. Apple stores, which are spread all over the world, perfectly exemplify this infiltration - buildings as reproducible spa-
tial objects which embody the identity of Apple Inc. “Apple” ( ) just as well as their products.
Artwork
Real Virtuality - City of Bilibili (VR Video)
Team
Xin Zhou, Yubei Song, Yiyang Wang,
Design
Lixing Ivy Feng, Evan Tsai
Link
http://www.sohu.com/a/219300968_718744
2017 Bi-City Biennale (Shenzhen)
我们最隐秘的思想和身体与一个无限大的网络之间，仅隔着一面
小小的屏幕。每一个人都在数字世界中寻找自己的坐标，将无数个瞬
间的“我”投射到这个庞大的公共空间中去——我们的一举一动都在这
Yuan Zhang, Shuang Liang, Yue Sun
The only thing between our most private body and thoughts and
an infinite worldwide web is a small computer screen. In that digital world, everyone of us is looking for a set of coordinates to project
里留下了痕迹。于是，公共空间的消亡和私密空间的消亡同时发生了：
“me”within millions of moments into the giant public space -
这种自我讽刺和自相矛盾的载体。巨大的屏幕，跳跃的原子、分子、颗
space occurs contemporaneously with the loss of private space. –
前者不再是集体出席的盛大场景，后者也不再是秘密【1】。 而城市成为了
粒映射于其上——这是我们今天唯一的建筑。再也不见真正的公共场 所，只有充溢着交换、流通、联结的巨型空间【2】。
也许正如狂欢节上飘扬的彩带和亮片只是为了制造出缤纷的场景，并 不需要具有什么实际的意义，哔哩哔哩所营造的狂欢之感，也许就是 由这两者共同构成的，即：
信息过多的无意义，和无信息的意义
every single movement of“me”leaves a trace. The loss of public the one is longer a spectacle, the other no longer a secret【1】. A city has become the metaphor of this self-criticality and self-contradic-
tion. It is our only architecture today: great screens on which are
reflected atoms, particles, molecules in motion. Not a public scene or true public space but gigantic spaces of ventilation, circulation, and ephemeral connections【2】.
Maybe just like the bright and colorful belts and shiny plates on a carnival as the catalyst of ecstasy, incapable of generating actual
meanings, the ecstasy in the world of Bilibili has a similar formula of this two ingredience:
The meaningless of excess information, and the meaning of non-information.
Image: screenshot of VR video
【1】 【2】Baudrillard, J. & Lotringer, S., 1988. The Ecstasy of Communication, pp.149-150.
Project
Highendcracy - Architecture as Plot
Site
London, UK + Minas Gerais, Brazil
Year
2016
Instructor
Andres Jaque
Project
Self-Notion
Award
Second Place, Shanghai International Competition
Design
Lixing Ivy Feng, Ji Shi
of Lighttowers, 2016
Project
Garden in the Mountain ¡ Lodge in Glades
Award
B&B Competition for the South of Wuxiang Mountain,
Design
Ivy Feng, Tongtong Gong, Qiming Wang
2017
Photo: Street Near Seoul University, Seoul, South Korea, 2016
Photo: Michael Wolf Studio, Hongkong, 2016
冯立星
Lixing Ivy Feng Tel: (+86)186-0160-1573
E-mail: ivy.flx.arch@gmail.com
EDUCATION
教育
• Washington University in St. Louis, St. Louis, USA
• 华盛顿大学圣路易斯
• Princeton University, Princeton, USA
• Chongqing University, Chongqing, China
• 普林斯顿大学 • 重庆大学
EXPERIENCE
经历
• Curator，Power Station of Art, Shanghai, 2017
• 策展人，青年策展人计划，上海当代艺术博物馆, 2017
• Junior architect，SOM New York, 2014 - 2015
• Research Assistant，Washington University in St. Louis, 2014 • Researcher，Metropolitan Builder, St. Louis, 2014 • Intern，Neri&Hu, Shanghai, China, 2016
• Intern，Atelier FCJZ, Beijing, China, 2012
• Intern，URBANUS, Shenzhen, China, 2010-2011
• 建筑师，SOM建筑事务所，纽约, 2015
• 研究助理，华盛顿大学圣路易斯, 2014 • 研究员，大都会建造事务所, 2014
• 实习生，如恩建筑事务所，上海, 2016 • 实习生，非常建筑事务所，北京, 2012
• 实习生，都市实践建筑事务所，深圳, 2010-2011