Austro Sino Arts Program left/right 左 / 右 gauche / droite by Lukas Birk

We are grateful to all artists for their cooperation and contribution of art work.

With generous support by

Content Left and right 左右 Exhibition 2012 Forewords Translation, Humans Machines, not so easy Artists

Karel Dudesek 5 Lukas Birk 7 Franz Amann Christine Cheung Marianne Csaky Fanni Futterknecht & Camilo Latorre Oda Fiskum Jorge Fuembuena Sylwia Gorak G.R.A.M. Frederique Hervet Tina Hochkogler Richard Hoeck Michael Höpfner Christian Hutzinger Shana Kaplow Sylvia Kummer Li Qiang Moritz Majce & Sandra Man Lisa Meixner Moritz Neumüller Joyce Rohrmoser Christian Rupp Florian Schmeiser & Ma Jia Markus Sepperer Joe Sneed & Jordan Mitchel Axel Stockburger Heimo Wallner Shen Wei Roswitha Weingrill Kathryn Zazenski Moira Zoitl & Ralf Hoedt Anne Zwiener

14 18 22 28 32 38 42 48 54 60 64 68 72 78 82 86 92 96 102 106 110 114 120 126 132 136 142 146 150 154 160

Special feature, animation, coding & algorythmic work

dextro 166

Special feature, Czech Artists

Veronika Vlková & 174 Jan Šrámek

Special feature, How to open a museum

Andreas Zingerle & 180 Linda Kronman

Special feature, Filmfestival Salzburg Foreword Directors

Special feature, Kunsthaus Alxingergasse Special feature, Indonesia Introduction AIAP / SAS Artists in residence

Curiculum vitae

Sarah Linder Lin Hongjie Zheng Kuo Zhu Jie Li Junhu King Wai Cheung Su Che-hsien Fan Popo Ji Dan Feng Yan Li Dong Pan Zhiqi Qiu Jiongjiong Wen Hui

186 187 187 188 188 189 189 190 190 191 191 192 193 193

ASAP 194 AIAP 198 Sophie Hirsch 200 Erkin Bayirli & Philip 204 Fischer Left and right 左右 artists Film directors Czech Artists AIAP Artists

208 229 232 233

串门儿 chuan men exhibition Beijing 2011

Documentation 234

Austro Sino Arts Program information

ASAP 236

Special feature, Austrian Fushionist

Walter Steiner 240

Special feature, Beijing Community Dinner

Crazy Bake 241

Credits & Acknowledgements

ASAP 242

Foreword

Links / Rechts - Left / Right 左 / 右 - gauche / droite Left as leaving something, left as leftist, art gratuit, art in public space, street art, theft and inspiration, left China, Austro Sino leftists, history left, media left, left Austria, the Tao and Te, way and the virtue, the instant, the official. Right as right, as right side, right as conservative, Yin and Yang, dichotomy, right to do so, the unofficial, fundamental normative rules. The 41 artists in this year’s exhibition, translated China as they went along, so we do understand this 4th volume of the ASAP exhibition catalogue, as a contemporary encyclopedia, where artists summarize and illustrate their holistic approach in their own grammar and language. The works are not to be interpreted as “Western art presented in China”. Many of these works were made here in China. The artists made China just as well their home as the place they originate from. This year, ASAP introduces an indoor and outdoor exhibition. Both exhibitions are curated by Lukas Birk and Karel Dudesek. Indoor exhibition at Hong Studio, Beijing: In this year’s 4th exhibition, the 41 artists come from Austria, Canada, China, Colombia, the Czech Republic, Hungary, Italy, France, Spain and the USA. The works on display have been created by Franz Amann, G.R.A.M., Christine Cheung, Marianne Csaky, Dextro, Oda Fiskum, Jorge Fuembuena, Fanni Futterknecht, Sylwia Gorak, Frederique Hervet, Tina Hochkogler, Richard Hoeck, Michael Höpfner, Christian Hutzinger, Shana Kaplow, Sylvia Kummer, Li Qiang, Camilo Latorre, Moritz Majce & Sandra Man, Lisa Meixner, Moira Zoitl & Ralf Hoedt, Moritz Neumüller, Joyce Rohrmoser, Christian Rupp, Florian Schmeiser & Ma Jia, 6

Markus Sepperer, Joe Sneed & Jordan Mitchell, Jan Šrámek, Axel Stockburger, Veronika Vlková, Heimo Wallner, Wei Shen, Roswitha Weingrill, Kathryn Zazenski, Andreas Zingerle & Linda Kronman and Anne Zwiener. In the frame of the outdoor exhibition Left/ Right works by over 20 artists will be released into public space from Hangzhou to Beijing. Wallpaper on the way—representing the idea of a wider context for public inspiration through art works. In China, art in public space is hardly known besides the display of history related objects, patriotic sculptures and monuments decorating parks and squares. Contemporary art rarely leaves galleries or museums whereas, in the West, art in public space is a common form of expression. ASAP will select spaces and place sequences of art there. This process will be captured and feed into the virtual space (internet). Between Left and Right Values in Asia are predominantly very conservative, Singapore is the blueprint for how many Asians favor progress and improvement. China’s culture is rich in its traditional and also contemporary literature, painting, drawing, poetry, music, folklore and philosophy. Often, this cultural output is unknown, because it is either not translated, not shown, not propagated, or not fitting to the current fashion, kept in hiding. China is by far more than a Peking Opera where Kung Fu Pandas dance with Terra-cotta warriors, kept save behind the big wall under Confucius’ supervision. Confucius may have led to a sort of a working bureaucracy and a framework, how citizens have to behave, but they are other philosophers. One of them is Chuang Tzu, living around 370-319 BC to whom we are dedicating space in this year’s catalogue.

On the contrary, Austria is mainly known in China due to the commercial Hollywood movie “Sound of Music” which can hardly be called typically Austrian and is rather unknown in Austria. On both sides, tourism is a big revenue stream that contributes to the GDP, based on metaphors and naivety. Through this, both countries sacrifice big portions of their identity, history and contemporary culture. Bouncing between left and right, is meant in a wider sense as reflection of today’s conditions of society globally—on one hand, the totalitarian commodity dogma, and on the other, the vanishing human identity—comparable to the melting of arctic ice, caused by long years of penetration of the media economy. As more we shop as faster we dry out. The media economy is all and everything, a car company, a steel factory, a environmentally friendly farmer, a political party, a newspaper, a television company, a bakery, a museum and a gun manufacturer —all are embedded in the media economy grid. All need to feed otherwise they vanish in the unknown and go bankrupt. What counts today is the survival within the media economy, the human is uprooted and in this state he and she must feed the media economy to keep here a live. We learn the game in kinder garden, school and later in universities how to play. Lifestyle, design, fame, image, fashion, customized and constantly updated. In big cities there is little left for humans, either you sit as a slave behind the desk, or you run the red carpet, or you walk on the catwalk. Yes, you can also walk the dog in anonymity in the street at night. Art today in China is made public by government or by corporate investment, both ways bear a danger that art gets reduced to design. Big portion of artist works need to be 7

visible and able to stay independent from government policies or corporate strategies. Contemporary art in China is a new phenomenon and has not the same trace of history and experience as in the west. Contemporary art needs to have obligation to the here and now, without the necessity to please economic or political interests. Contemporary art means naturally, confrontation with the society and with our selves. Many Austrian artists are able to work in China, through the support of the Austrian Ministry of Education, Art and Culture. What we wish is that the same Ministry in China facilitates this to the same financial degree, enabling Chinese artist to come to Vienna. The Austrian Ministry in its internationalization program, brings annually, 12 artists on a 3 months residency, to Beijing, Chengdu and Shanghai. This is an exceptional achievement compared to the economic size and volume of Austria. By making exhibition, studio and residency place available in Vienna, ASAP will be able to help in the coming years, A small calculation of the mind below: 12 Austrian artists come to China every year. Austria has a population of roughly 8 million. That would be 0.0000015% of the population. An equivalent of China’s 1.3 Billion citizens would be 1950 artists coming to Austria every year. Karel Dudesek ASAP cofounder, vice chancellor of the Embassy of the Arts, Beijing Sanlitun Diplomatic compound.

左/右

Left: 离，左翼，艺术福利、公共空间艺术、街头艺术，盗窃和灵感，脱离中国，奥中左派，脱离历史，脱离媒介，脱离奥地利，道与德，方式和美德，瞬间的，正式的。

Right: 正确，右面，右作为保守，阴阳，二元，正确的，非官方，基本叙事法。今年展览中的41位艺术家，在前进中诠释了中国。因此我们非常了解这个 ASAP展览画册的第4辑。作为一本当代的百科全书，艺术家们在这里用他们的规则和语言总结和例证了他们的整体进程。这些作品不会被阐释为“在中国展出的西方艺术”。其中的很多作品都是在中国产生的。这些艺术家把中国当作他们家，如同他们起航的那个地方。今年，ASAP推出了室内和户外的展览。两个展览都由卢卡斯·比尔克和卡尔·杜德赛克策划。室内展览位于北京的Hong工作室：今年的第4届展览“艺术使馆”展示了来自奥地利，加拿大，中国，哥伦比亚，捷克共和国，匈牙利，意大利，法国，西班牙以及美国的艺术家及其作品，他们包括：室内展览·泓空间·北京：在这第四届年展中，“艺术外交部”展出的艺术家来自奥地利、加拿大中国、哥伦比亚、捷克共和国、匈牙利、意大利、法国、西班牙和美国，他们是：弗朗茨·阿曼，G.R.A.M. ，克里斯汀· 张，玛丽安娜·查齐，dextro，欧妲·菲思库，豪尔赫·弗布埃纳，范妮·福特科内希特，席尔维亚·格拉克，弗雷德里克·赫尔维特，蒂娜·赫科格勒，理查德·荷克米歇尔·赫夫纳，克里斯提安·胡兹辛格，莎娜·卡普罗，西尔维娅·库默尔，李枪，卡米洛·拉图尔，莫里茨·麦策，丽萨·迈克斯纳，莫雅拉·左依特，拉尔夫·赫特，莫里茨· 诺穆勒，乔伊斯·罗姆勒尔，克里斯提安·鲁普，弗罗里安·希麦塞，马佳，马库斯·塞派尔，乔·思尼，乔丹·米切尔，杨·什拉梅克，阿克塞尔·斯塔伯格，薇罗妮卡·沃克娃，海默·瓦尔纳，沈玮，罗丝维塔·瓦恩格利尔，凯瑟琳·扎赞斯克,安德里亚斯·金格勒，琳达·科曼，安妮·茨威娜。在户外的框架下，左／右展览中的20 位艺术家的作品将被投放到从杭州到北

京的公共空间内。沿途的墙纸——通过艺术作品来展现一个为公众启发营造更大环境的想法。在中国，除了一些历史性物件，爱国主义雕塑以及装饰公园和广场的纪念碑，公共空间艺术并不为人所知。当代艺术很少离开画廊或博物馆，然而在西方，公共空间艺术仍是一种很常见的表达形式。ASAP将在那里挑选出艺术的空间并安放一系列艺术作品。这个进程将被采集并投放于虚拟空间（网络）。左右之间亚洲的价值观念总体非常保守，对许多亚洲人而言新加坡就是他们发展和提高的蓝本。中国文化在传统以及当代文学、绘画、诗歌、音乐、民间风俗还有哲学方面都是很丰富的。然而，这种文化输出却是不为人知的。因为他们即既没有被翻译，被展示，也没有被宣扬，或者说没有跟上时代的潮流。他们是隐藏起来的。中国远不只一个上演功夫熊猫和兵马俑跳舞的北京大剧院，躲在孔儒监管的高墙之后，以保安全。与此相反，奥地利因一部好莱坞商业电影《音乐之声》在中国闻名，这部电影很难称其为典型的奥地利，而在奥地利也可以说没人知道它。对于双方来说，基于隐喻和天真无邪，旅游业的巨大收益为GDP作出了贡献。尽管如此，两个国家都牺牲了他们大部分的身份、历史和当代文化。跳转于左右之间，这意味着在更广泛的意义上，作为对今天当代社会的全球性反思——一边是极权主义的商品教条，另一边是消失的人类身份——堪比由长年媒体经济渗透而导致的北极冰盖融化。消费越多，枯竭得越快。媒体经济就是一切，汽车公司、钢厂、绿色农夫、政治聚会、报纸、电视公司、面包店、博物馆、还有枪支制造商——所有这些都被框在媒体经济之下。他们都需要给养，不然就会默默无闻地消失然后倒闭。今天我们要注意的

是如何在媒体经济下生存。人类的生活已被改变，他们必须依赖媒体经济而得以存活。我们在幼儿园、学校或之后的大学里学会怎么玩这个游戏。生活方式、设计、名誉、图像、流行，持续的客户化更新。不管你在桌子背后当奴隶，或在红地毯上奔波，亦或走着猫步，大城市留给人的空间已所剩无几。当然，你还可以在夜晚的街道上默默地遛狗。如今的中国艺术是由政府或者公司投资所发布的，两种方式都具有将艺术降级为设计的危险。大部分的艺术作品都应该得到展示，并且独立于政策和公司策略。中国艺术是一种新现象，它和西方的历史和经验轨迹并不相同。此时此刻，当代艺术要有自己的责任，没有必要去迎合经济或政治趣味。当代艺术意味着坦然地面对社会和自我。许多奥地利艺术家通过奥地利的教育、艺术、文化部门的支持而得以在中国创作。我们也希望中国的相关部门能在财政上作出相应的帮助，让中国的艺术家也能拜访维也纳。奥地利政府部门在其国际化项目中，每年会有12位艺术家在北京、成都以及上海进行为期3个月的驻留。这是一个相对于奥地利经济规模来说非常特别的成就。通过举办展览，并提供在维也纳的工作室和驻留空间，ASAP将在今后几年提供帮助。以下是一个小测算：每年12位艺术家拜访中国。它占到奥地利8百万人口的0.0000015%。如果以这个这个比率算到中国的13亿公民上，每年就应该有1950位艺术家来奥地利。卡尔·杜德赛克，ASAP合作创办人，艺术使馆副主席北京三里屯外交公寓

Translation, Humans—Machines, not so easy After four annual efforts of translating various kinds of artistic, poetic, abstract, solid and lucid writings accompanying or describing artwork in the ASAP exhibitions I felt the time is right to jot down some comments and notes on the experiences collected. Like any other bilingual publisher, we face the challenge of not only translating written material but also trying to adopt and combine cultures via text. Even more than visual work text forms a direct dialog. More so, as writing opens up less space for interpretation and often constitutes a definite statement. Visuals have fewer cultural boundaries as the translation of the work is done in the individual viewer’s mind, though formed by the culture the viewer belongs to; so this translation, unlike written text, is not a literal one. As Walter Benjamin argues in his text “The Task of the Translator” (that served as a introduction to a translation of Baudelaire’s Tableaux parisiens), translating not only creates a translated message it recreates the value provided by the text throughout the ages. As he points out, a translation is a part of the “afterlife” of any text. And thus this translation is always part of the text’s history. Benjamin quotes Rudolf Pannwitz in his text, “Our translations [German ones], even the best ones, proceed from a wrong premise. They want to turn Hindi, Greek, English into German instead of turning German into Hindi, Greek, English.” By this he means that to start understanding a translated text the reader must first broaden his or her understanding of the original language of the text. The main goal and key of an interpreter and not a mere translator is to understand the text’s intention and not purely its meaning. The interpretive meaning of a text is well established in the “translation” of philosophical texts where translation and interpretive extensions of the text very often go hand in hand. These interpretive translations have in many cases been done by philosophers who are famous in their own right. My first personal contact with the extension of interpretive intent was with regard to a text written in English about an art work of mine. The poetic prose seemed rather untranslatable to me and yet a Hong Kong-based translator took on the task of translating it into Mandarin. After many corresponding questions and interrogations with the original author, she presented me with the translated text and one accompanying sentence: “I believe my version is better than the original”. With this she meant, of course, better for a Mandarin speaking audience and its understanding with regard to its upbringing and possible cognitive/historic connections to the past. Many bilingual Chinese artists confirmed this sentence afterwards. If writing is interpreted to such an extent and such efforts to convey not only literal meaning but intention with regard to the recipient’s culture, the translators themselves deserve a credit far beyond the usual note on the second page—1“Translated by…” Their work is almost like an adaptation from script to stage or stage to film. Let us return to Benjamin’s arguments about translations. He argued that translations are never definite just as language is not definite and so any type of transla10

tion will need to be re-translated or re-interpreted in order to stay “fresh” as he called it. In the history of books and printed matters we have seen these updates, and essential as well as classic texts have been translated over and over in the past. For this year’s ASAP exhibition we initially planned an altogether different type of translation: a non-agenda translation, as much as this is possible. Google Translate, the currently most widely used online translator, allows quick and fast literal linguistic transformation of 53 languages (08/2012). Though this application has seen rapid improvement, its translations lack any kind of interpretative or culturally related intention. The programmed machine mostly translates first to English and then to the target language. The idea for ASAP using these non-agenda translation derived from experiences of the usage in China by both individuals and companies. Indecipherable sentences printed on 30 meter wide advertisements in the city center of Beijing are not a rare sight. Magazines, newspapers, advertisements, any kind of signature or brochure might bear traces of translation machines and their bad results. “Careful landslight” on a please flush the toilet sign, “if you are stolen, please call the police at once” stated outside the police office, “racist park” on a sign on the highway pointing towards the national park exit. In public, these translations are funny and in fact many books dealing with these “fun” encounters in China have been published in recent years. To fully express the idea of this nonagenda translation, we want to have the artists’ texts re-translated into English. As an experiment, these texts will be translated in “regular” form by our translator and then twice by a translation machine to illustrate the extent of fragmentation. Lukas Birk, ASAP co-founder, His Excellency PlentyPotential to the Embassy of the Arts, Sanlitun Diplomatic Compounds, Beijing.

翻译，人－机器，谈何容易经过四年的努力，在翻译过各种用于描述或伴随ASAP展览中艺术作品的——艺术的、诗意的、抽象的、扎实的、明晰的写作之后。我认为现在是个好时机，粗略记下一些在积累的经验之上的评论和注解。如同其他双语出版者一样，我们面临着一种挑战，不仅要翻译出文字材料，同时还要尝试经由文本来适应和结合文化。不仅像视觉作品文本那样建立直接的对话。尤其写作给阐释留下了更少的空间，并且时常构建出一种确切的叙述。视觉的东西相对于那些翻译作品所带给个体阅读者思想的影响而言，则具有更少的文化界限，即使这些界限是由阅读者所属的文化所造就的。因此这种翻译，并不像写作本身，并不是字面的翻译。就像华尔特·本雅明在他的《译者的任务》中所辩论主张的（它曾作为波德莱尔《巴黎即景》译本的引言），翻译工作并不只是制造翻译的信息，而是对文本所提供的贯穿时代的价值进行再创作。就像他指出的那样，翻译 11

是所有文本“后半生”的一部分。因此，这个翻译也会始终作为文本历史的一部分。本雅明在其写作中引用了鲁道夫·帕维茨的一段话，“我们的翻译（德语），即使是最好的翻译，也开始于错误的前提。他们希望把北印度语、希腊语、英语翻译成德语，而不是把德语翻译为北印度语、希腊语、英语。”这里他指的是如果一个读者想要理解译本，甚至需要首先要拓展自己对于原版的理解。作为一个阐释者，而不仅仅是个翻译者，他的主要目标和关键，是要理解文本的意图，而不只是其单纯的意义。

Translated by Google Translate 由谷歌翻译 Tanslation Experiment

文本的阐释意义被很好地建立在哲学“翻译”之中，其间文本的翻译和阐释的外延常常紧密相关。在很多情况下，这些阐释性的翻译是由一些以自己的方式闻名于世的哲学家所完成的。我第一次与这种具有阐释意图的外延的接触，源自一篇关于我的一件艺术作品的英文写作。这篇诗意的散文对于我来说是可理解的，而一位香港的译者还要负责将其翻译为中文。经过和原文作者的一番沟通和询问后，她在提交给我译本的同时还附上了一句话：“ 我相信我的翻译比原版更好。”当然，她的意思是，这个版本对于说中文的观众来说更好，也就是说这种理解还关系到教养，以及引向过去的可能认知或历史渊源。许多双语的中国艺术家之后也肯定了这句话。如果原文被翻译到如此的程度，在传达字面意思的同时还联系到接受者文化，那么译者应该得到更多的赞誉，而不仅仅是在第二页的普通标注——“X X 译”。他们的工作已经几近于从剧本到戏剧，或者从戏剧到电影的改编。

任何其他双语出版商一样，我们面临的挑战是，不仅翻译书面材料，但尝试和采纳，并结合文化通过文字。文字更是让视觉工作形成了直接对话。更何况写的是解释性的，往往形成一个明确的说法。视觉的翻译工作是在的个别观众心中，虽然所形成的文化的观众是从文化的界限少，这不像书面文字翻译不是文字。

让我们再次回到本雅明的关于翻译的论述。他辩论说，翻译绝不像语言本身那样确切，因此任何形式的翻译都需要被重译或再次阐释。用他的话说是为了保持其“鲜活”。在书籍和印刷物的历史中，我们已经看到这些更新、本质以及经典文本在过去一次又一次地被翻译。为了今年的ASAP展览，我们开始设计一个完全不同的翻译样式：尽可能的“非定式”翻译。作为目前最普遍使用的在线翻译，谷歌翻译提供53种语言的快速字面翻译（截至2012年8月）。尽管这个程序已经有了极大的改进，但它的翻译却不包含任何一种阐释性或文化性意图。这个程序机制通常是先将原文转换为英语，进而再翻译为目标语言。ASAP使用非定式翻译的想法源于对中国的个体和公司的惯常经验。在北京市中心，难以理解的句子被印在 30米宽的广告牌上已经不是什么稀奇景象。杂志、报纸、广告，、任何标语或者册子上都可能有翻译机器的踪迹以及他们的及其坏结果。“小心地滑” （Careful landslight）印在冲洗厕所的警示板上，“如果被盗，请通知警察” （if you are stolen, please call the police at once）出现在公安局门外，“种族主义者公园”（racist park）印在高速公路国家公园的出口处。在公共场所，这些翻译很滑稽，甚至近几年还有一些关于在中国遭遇这些“趣事”的书出版。为了完整展现这种非定式翻译的想法，我们希望这些艺术家的文本都被重译成英文。作为一种尝试，这些文本会被我们的译者翻译成“常规”的形式，之后再由翻译机器进行翻译，由此例证其支离破碎的程度。卢卡斯·比尔克，ASAP合作创办人北京三里屯外交公寓翻译：陈一中

翻译，人类 - 机器，不是那么容易的。经过4年的努力，翻译各种艺术，诗化的，抽象的，固体的和清晰的著作陪同或描述在ASAP展览的作品中，我觉得时间是正确的点的经验，收集了一些注释和说明。

正如瓦尔特·本雅明认为在他的文字“译者的任务”（作为翻译波德莱尔的场面Parisiens酒店介绍），翻译不仅创建了一个翻译的消息，它再现了整个时代的文本提供。正如他所指出的“来世”的任何文字翻译的一部分。因此，这个翻译的文本历史的一部分。本杰明在他的文本中引用鲁道夫Pannwitz，“我们的翻译[德国]，即使是最好的，从一个错误的前提出发。要转成德语，而不是把德国成印地文，希腊文，英文，印地文，希腊文，英文。”他的意思，开始了解的翻译文本，读者必须拓宽首先是理解原语的文字。的解释，而不是一个单纯的翻译的主要目标，关键是要了解文本的打算，而不是纯粹的意义。解释性文本的含义是公认的“翻译”的哲学文本的翻译和解释的扩展名的文本，往往齐头并进。这些解释性翻译在很多情况下已经完成了自己的权利的著名哲学家。我的第一个个人接触的延伸解释的打算是用英文写的，我的艺术作品到文本的问候。诗意的散文显得有些不可译的，我还没有一个香港人解释了它翻译成普通话的任务。与原作者她我的许多相应的问题和审讯后的文本和一名随行的句子：“我相信我的版本是更好的话，原来的”。她的意思当然，一个说普通话的观众和他们的理解方面对他们的成长和可能的认知/过去的历史渊源。许多双语的中国艺术家随后证实了这句话。如果书面解释，这样的扩展，这种努力不仅传达的字面意思，而是打算在对受助人的文化，自己的解释是值得的信贷远远超出了通常的注意第二页上的翻译他的作品几乎是一样的从剧本到舞台或舞台，电影的改编。回到本雅明的翻译争论。他认为，翻译是从来没有明确的语言是不明确的，因此任何类型的翻译将需要重新翻译或重新解释，以保持“新鲜”，因为他把它叫做。在历史的书籍和印刷品中，我们已经看到了这些更新和必要的，因为经典文本已翻译了过来，并且在过去。这几年ASAP展览中，我们最初是刨一起不同类型的翻译。非议程的翻译，尽可能多的，因为这是可能的。谷歌翻译目前使用最广泛的在线翻译允许快速和快速的文字语言转换的53种语言（08/2012）。虽然这个应用程序得到了较快的改善，它的翻译没有任何一种的解释性或文化相关的打算。编程的机器大多翻译第一个英文，然后在目标语言。这个想法尽快使用这些非议程的翻译来自个人和公司在中国的使用经验。难懂的句子印在30米多宽的广告在北京的市中心，是难得一见的景象。杂志，报纸，广告，任何形式的 13

签名或小册子可能会承担与机器翻译和他们的坏结果的痕迹。 “小心landslight”请冲洗厕所的标志，“如果你是偷来的，请致电警方在一次”说的警察局外，“种族主义者公园”的标志在高速公路上指向国家公园出口。在公开场合，这些翻译是有趣的，在事实上，许多书籍都出现在最近几年在中国的这些“好玩”的遭遇。充分表达想法，这非议程翻译，我们会重新翻译了艺术家的英文文本。在“常规”的形式作为一个实验，该文本将被翻译，我们的翻译，然后翻译机的两倍，说明延长的碎片。卢卡斯·伯克，ASAP联合创始人，他的的的阁下PlentyPotential的大使馆的艺术，北京

Retranslated by Google Translator. Further translation experiment. Translation, human - machine is not so easy. After four years of hard work, the translation of a variety of artistic, poetic, abstract, solid and clear writings be accompanied or description ASAP exhibition of works, and I think the time is right point experience, collected some notes and instructions . Any other bilingual publishers, like, the challenges we face, not only to translate written materials, but try and adopt, and combined with the culture through text. Text more visual form of direct dialogue. Let alone write explanatory, tend to form a clear view. Visual translation of the individual in the hearts of the audience, although the formation of the culture of the audience is less cultural boundaries, unlike written text translation is not literal. As Walter Benjamin in his words “Task of the Translator” (as the translation of Baudelaire scenes Parisiens also introduced), the translation is not only to create a translation of the message, it reproduces the text of the entire era. As he pointed out that “the afterlife” part of the translation of any text. Therefore, this part of the history of the translation of the text. Benjamin Rudolf Pannwitz references in his text, our translation [Germany], even the best, starting from a false premise. Want to turn into a German rather than German into Hindi, Greek, English , Hindi, Greek, English. “he meant, and begin to understand the translated text, readers must broaden first understand the original language text. Explanation, and not a mere translation of the main objective, the key is to understand the intention of the text, rather than the pure sense. The explanatory text is the meaning of the text recognized the extension of the philosophy of “translation” of the translation and interpretation of the text, often go hand in hand. In many cases, these interpretative translation has completed the famous philosopher of their rights. My first personal contact with the extended explanation intend is written in English, my works of art to the greetings of the 14

text. Poetic prose somewhat untranslatable, I have not had one in Hong Kong to explain it translated into Mandarin task. With the original author, she my problem and the text after the trial and an accompanying sentence: “I believe that my version is better then the original. She meant, of course, and one said the Mandarin audience and their understanding of their growth and cognitive / past historical origins. The many bilingual Chinese artist subsequently confirmed this sentence. Written explanation, this extension, this effort not only to convey the literal meaning, but intend to credit worthy in the culture of the recipients own interpretation goes far beyond the usual attention on the second page of the translation of his works almost the same from the script to the stage or the stage adaptation of the movie. Back to Benjamin’s translation controversy. He believes that translation is never clear language is not clear, the translation of any type will need to re-translate or reinterpret, to keep “fresh”, because he called it. In the history books and prints, we have seen these updates and necessary, because the classic text has been translated over, and in the past. ASAP exhibition the past few years, we initially planed together different types of translation. The translation of non-agenda, as much as possible, because it is possible. Google Translator is currently the most widely used online translator allows quick and fast text language into 53 languages (08/2012). Although this application has been improved faster, its translation is not any kind of interpretative intention or cultural. Most of the programming machine translation of the first in English, then in the target language. This idea as soon as possible the use of these nonagenda translation from the use of the experience of individuals and companies in China. Difficult sentences printed in more than 30 meters wide advertising in Beijing’s city center, is a rare sight. Magazines, newspapers, advertising, and any form of signatures or booklets may bear traces of machine translation and their bad results. “Beware landslight” the flush toilets sign, “If you are stolen, call the police at the time,” said the police station, “Racist Park” signs point to the national park on the highway export. In public, these translations is interesting, in fact, many books have appeared in recent years in China’s “fun” encounter. To fully express their ideas, this non-agenda translation, we will re-translation of the English text of the artist. As an experiment in the form of “conventional”, the text will be translated, the translation, then the translation machine twice extended debris. Lucas Burke, ASAP, co-founder, He’s Lord PlentyPotential embassy Art, Beijing

A continuation of the translation process can be found on www.austrosinoartsprogram.org.

Franz Amann Happy Valley - 欢乐谷（香港跑马地的英文名） Photograph & Text - 摄影、文本 16

This work is about the essence of traveling: Finding yourself in another place and getting along with your new surrounding. Apart from the difficulties one might have with traveling, as Robert Walser describes in his book “the Tanners”, there the main character prefers not to travel at all. Because he finds more enjoyment in “seeing the new in the old”. This work also refers to the story of the “Happy Valley” on Hong Kong Island, and its radical change since the British Army established a military Camp in this rural area in early 1840. Until the British settled, this area was barely inhabited, because of its marshy environment. This was the reason, why malaria spread there, and many soldiers got infected by this disease. Because the death rates got high in early colonial days, the valley became a burial ground for the dead. That’s where the area also got its name from: “Happy Valley”, a common euphemism in the english language for “Cemetery”. Today you’ll still find clusters of cemeteries of many different religions, just next to the racecourse, belted by enormous highway traffic and expensive Skyscraper apartment blocks. This work is about the essence of traveling: Finding yourself in another place and getting along with your new surrounding. Apart from the difficulties one might have with traveling, as Robert Walser describes in his book “the Tanners”, there the main character prefers not to travel at all. Because he finds more enjoyment in “seeing the new in the old”. This work also refers to the story of the “Happy Valley” on Hong

Kong Island, and its radical change since the British Army established a military Camp in this rural area in early 1840. Until the British settled, this area was barely inhabited, because of its marshy environment. This was the reason, why malaria spread there, and many soldiers got infected by this disease. Because the death rates got high in early colonial days, the valley became a burial ground for the dead. That’s where the area also got its name from: “Happy Valley”, a common euphemism in the english language for “Cemetery”. Today you’ll still find clusters of cemeteries of many different religions, just next to the racecourse, belted by enormous highway traffic and expensive Skyscraper apartment blocks. 这是件关于旅行的本质的作品：在他处找寻自己，在新的周遭中跟自己相处。旅行不仅艰辛，正如罗伯特·瓦尔泽在《唐纳兄妹》中描述的，主人公认为压根儿不旅行才好，因为他更能在故常之中品出新的滋味。作品说到香港岛跑马地（此地英文名为“欢乐谷”）的故事，关于1840年英国军队在农村地区建立军营后它的嬗变。因为遍布沼泽，所以英军驻扎后便鲜有岛民居住。也是在这样的环境下，许多士兵没有逃过肆虐的疟疾。由于早期殖民时期当地死亡率攀高，这个村子变成了一片遍布死亡气息的土地，人们委婉地称它为“欢乐谷”——在英语中含蓄地指代墓地。至今在赛马场旁，庞大的公路交通和摩天大楼区域之间，依然可以看到不同宗教的墓地聚落。

Christine Cheung Paintings - 绘画 20

My work has grappled with the visual representation of places, often referring to daily anxieties, and impermanence of life – both in one’s identity and everyday choices in the medium of painting and drawing. Using a wide vocabulary of accidental and gestural, abstract expressionist mark making, my work attempts to encapsulate the world through the lens of a migratory and transitory viewpoint. Capturing the subjective grasp of place in this way calls into question issues of identity, nationalism, globalization and the simultaneous duality of the individual and collective gaze. These works were completed in China during the 2008 Olympics. As a Chinese Canadian who was born and raised in Canada, I was interested in the tactile qualities of the place itself. I completed these paintings during my stay at Red Gate Residency, which was located next to Fei Jia Cun, in the North end of Beijing. I was primarily responding to the environmental and tactile cues of the place and the soft pastels of architectural advertisements around me. The paintings themselves are compressed spaces, with a kind of jostling relationship of the materials within them. For me, they also remind me of links to other places, including the UK. I was also experimenting with the idea of using giant brushes, as inspired from the calligraphic practitioners in Beijing parks.

绘画和色彩是我的媒介，将对空间的图像化呈现、对日常焦虑的描写以及生命的无常，紧扣在个体的身份认同与每天的抉择之中。运用一种宽泛的、充满抽象表现主义记号、手舞足蹈的意外语言，试图透过游离且转瞬即逝的晶状体去囊括世界。找寻一种对身份认同、民族主义、全球化、个人与集体的二元对立关系的问题的主观把握。作为一个在加拿大出生的加籍华人，我对地点本身的质感颇具兴趣。具体的细节工作是在北京2008奥运会期间完成。我参与了位于北京城北的费家村红门画廊的艺术家驻留项目，在那期间我创作了这些绘画。置身于各个据点和色调淡柔的建筑广告中，空间、触感与我暗中互动。在北京的公园里，习艺者们用巨大的毛笔练习书法，我也学着他们的样子去感受全身肢体与绘画的微妙关系。绘画本身既一种内部质料间相互堆挤的压缩空间，。与于我而言，这些质料让我想起我与各个据点间的联系，又比如包括英国......

Marianne Csaky Video - 影像 24

The themes For the past few years, my practice has taken the form of artistic research, looking for patterns of existence, behavior, customs and thinking that are local and universal at the same time. My focuses of interest are the interrelations of history and personal memory and various aspects of individual desire. The Delete project The source materials for this project about history and memory are old home movies, from Eastern Europe in combination with footage and photographs I made in China and Korea with local people of different personal backgrounds. Delete starts out from an old East-European (Hungarian) home movie. 26

I re-shot some of its sequences and stills in Kunming, China, asking my Chinese colleagues and friends to perform the original Hungarian scenes in their interpretation. In this project the process of making the work, thinking together and working together with others, is as important as the end-product. This working method can bring new aspects into the process of interpreting and re-interpreting history and re-writing memory. Presenting cultural and behavioral patterns in various contexts seems to liberate their images from locally and individually fixed notions, meanings and memories, revealing more of the process in which we construct ourselves and our vision of the world.

Local Everywhere Shapes is a two-channel animated video I shot in China and Belgium – at places I called my home at the time of the shooting. It is part of my public art project Local Everywhere, meant to run in different cities in Europe and Asia. It is composed of video projections in public places. I filmed local people in everyday scenes, walking along the Jangtze river in China and the North Sea coast in Belgium, at places where they like to be, doing what they like doing. My aim was to identify the patterns of our everyday movement and existence. Integrated in the communities of my local colleagues and friends in Kunming, Shanghai and Chongqing for more than a year, I was immersed in local

life, while maintaining the patterns of my everyday existence, originally shaped in another part of the world. This extends basically to the entire spectrum of life, from the most basic activities of sleeping, eating, communicating or doing the groceries, to the practice of working on projects, participating in discussions, hearing and delivering lectures and exhibiting my works. I felt totally natural living local people’s life – it became my life. In other words, I felt local at these places – and this feeling was far from what they call “cross cultural” experience. It was the experience of being local everywhere. 27

主题过去的几年里，我一直在寻找同时具备本土性和全球性的存在、行为、习俗和思维模式，采取艺术研究的形式进行实践。历史和个人记忆之间的相互关系，以及个人欲望的千姿百态是我感兴趣的关注点。《删除》这个项目结合了东欧旧家庭影像素材和我在中国、韩国当地为不同身份背景的人制作的视频和图片。“删除”行为从东欧（匈牙利的）旧家庭录影取材开始。我依照影片的幕序，邀请我在昆明的中国同事和朋友，用他们的演绎方式将原版录影中的桥段翻拍出来。在过程中同他人一起思考、工作与这个项目的成果一样重要。这种工作方式可以注入新的征态到记忆的再书写、故事的转译和再转译过程当中。在各种语境中呈现文化和行为模式，仿佛要将它们从本土化个人化的固有概念、意味和回忆中解放出来，更多揭示我们对自身和世界观的构建过程。 28

无所不本土在中国和比利时——我称作拍摄时期的家乡的地方，我拍摄了《形》，一个双通道的动画视频，也是我公共艺术项目“无所不本土” 的一部分。该项目在欧洲和亚洲的各个城市运作，通过在公共场所置放摄像机的方式创作。我拍摄了当地百姓的日常生活，在他们喜欢的地方做想做的事儿，比如在中国人们沿长江边散步在比利时人们在北海岸边休闲的场景。我的目标是定位我们每天的运动和存在的模式。昆明、上海、重庆。和伙伴们融洽地相处一年多了，我完全沉浸当地的生活中。伴随着在我每天的状态中留下的痕迹，我活生生地被世界的另一个部分塑造着。这种塑造普遍地延伸至生活的整个幅度，从最基本的吃饭睡觉，到参与项目的创作、讨论、聆听、发表演讲以及作品的展出。我觉得我浑然天成地融入了当地人民的生活——它成了我的生活。换句话说，我在这些地方感受到了与所谓的“跨文化”经验相去甚远的“本土”概念。这就是我的“无所不本土”。

Fanni Futterknecht & Camilo Latorre When West meets East - 当西方遇到东方 Performance - 表演艺术 30

Fanni Futterknecht researches the mechanism of representation. Within her performances and video works she reflects social and philosophical appearances within society that carry a potential of poetic interpretation. She tries to move those reflections from the known ground of „objective reality“ and to „fictionalize“ them until they are transformed to the dreamlike. Camilo Latorres work concentrates in writing texts based on personal perceptions and improvising music. He has been involved since 2011 in projects with Fanni Futterknecht. In the project WHEN WEST MEETS EAST Fanni Futterknecht and Camilo Latorre present a surreal musical poem where a fictional meeting between “the west “and “the east” takes place, each repre32

sented as metaphorical characters. The performative video narrates a love relationship between those two cultural, political, ideological and poetic contexts. Positioning themselves in the character of „the west“ the two artists, who have never before been to Asia, will speak from the perspective of their personal dreams of these places and cultures. ‘The East’ becomes the character on whom these dreams and imaginations are projected. They question the cultural specificity of their position within a globalized world. The polarity of those two different entities plays an important role in the work, representing the mechanisms by which cultures and people define themselves in relation to, and particularly in opposition to others.

范妮·福特科内希特研究呈现的技巧。在艺术家的表演艺术和视频作品中，带着一种对社会进行诗意演绎的可能性，折射着的社会与哲学的现象。她想把这种折射从“客观存在”抽取出来，并将其“虚构”，以把它们转化成梦幻。卡米洛·拉图尔专注于基于个人知觉的文本书写和即兴音乐创作。他自 2011年起与范妮·福特科内希特一同合作。《当西方遇到东方》中，范妮·福特科内希特和卡米洛·拉图尔分别用象征的手法演绎“西方”和“东方”两个角色，虚构了一段在他们相互遭遇之时的光怪陆离的诗歌音乐剧。

这是一段讲述两个不同文化、政治、意识形态、诗学语境之间的恋爱关系的表演视频…… 两个将自己置换到“西方”这个角色的艺术家，谁也从未去过亚洲，而他们将从个人理想的角度去讲述这些地方和文化。“东方”则是被这些梦幻和想象因投射出来的角色。他们质疑在一个全球一体化的世界中，文化特异性的位置。这两个截然相异客观实在演绎一个重要的内涵，既文化和人们定义相互之间关系的机制，尤其体现在它们相互对立上。

Oda Fiskum Elephant in the Room Theatre - 欧妲·菲思库 Video & Photographs - 剧场房间里的大象 34

The Red Alert project started in Florence by Leonardoworx and Fabrizio Massini in 2009. The concept is simple: Contemporary urban landscape, and a red plastic bag doubling as a mask. The project has been done in several cities on various scales, and Elephant in the Room Theatre is now presenting the Beijing interpretation. We have chosen to focus on Beijing as it descends into night. The entire sequence is shot in one evening, and we started at one of the city’s busiest roundabouts at 21.00 (which at the time was still a buzzing beehive) and kept shooting until midnight, moving into the streets of the old town as the main roads gradually emptied. When we reached the midnight mark, one of the busiest and most crowded cities in the world had already turned into a ghost town, the only remnant of day being the red neon signs and paper lanterns. The exhibition is in two parts, the first is a loop video showing the city while the merry-go-round is still spinning. The second is a series of “still” photo prints where the masked character comes into focus as the people gradually disappear. She can be anything from the loneliness we feel when confronted with a large anonymous crowd to the red speckles of characters painted on a grey wall. From a lost foreigner to a differently lost local, to the silent watcher that all cosmopolitans eventually become.

《红色警戒》项目于2009年在佛罗伦萨由Leonardoworx 和 Fabrizio Massini 启动。这个概念很简单：当代城市景观，一个当作面罩套了两层的红色塑料袋。该计划已经在一些城市不同程度地完成，《剧场房间里的大象》就是呈现在北京表演的部分。我们将关注点放在北京夜幕降临的时候。拍摄整个夜晚的过程，我们在21 ：00从市内一个最繁忙的环岛开始（此时这儿还是一个闹嗡嗡的蜂窝）然后一直拍到午夜，同时向那些老城区逐渐被腾空的路移动。在凌晨时刻，这世上最为繁忙和拥挤的城市已经变成了一座空城，唯一剩下的是红色的霓虹灯和纸灯笼。作品分两部分展出，一是循环播放的视频中，旋转木马仍然在旋转的城市。第二个是一系列“静止”的摄影是在逐渐退散的人群中凸显出来的蒙面主角。她可以是当我们遭遇一大群陌生人时所感到的孤独，亦或她是被泼到一面灰墙上的一抹红墨。从迷路的外国人到迷失的本地人，所有的世界主义者最后也成为沉默的守望者。我们力图要保存录影和照片的“生鲜”和不经剪辑。我们时常参与舞台摄影的工作，于是我们的方法不可避免地更偏戏剧，而多媒体剧场到摄影展览的这个举措并不无道理。

We have tried to keep the video and the prints as “raw” and un-edited as possible. Since we often work with video and photography on stage, the step from multimedia theatre to video/print exhibition did not seem entirely illogical, although our approach is on the theatrical side. 36

Jorge Fuembuena Kung Fu story series - 功夫系列 Photographs - 摄影 40

Kung-Fu is the most ancient of all martial arts and it is possible to trace its roots back more than 4,000 years. The earliest form of Chinese martial arts were those practiced by soldiers for direct use in battlefield combat. Inspired by the exercise routines of the Kung-Fu I witnessed at the Theater in Spain (Europe), the series explores the potential of the scenario and how it creates a cinematic space, the stage of fiction. A theater with a stage and a purple curtain in the background, where Shaolin monks are training before performing the show for European spectators, an Oriental sport in Spain. Theater and documentary, a Chinese belief in Europe. 42

功夫是所有武术中最古老的，它的历史可以追溯到多年前。最初的中国武术是供士兵练习，直接用于作战。我的灵感来于在西班牙的剧院里亲眼见证的一个功夫操练表演，这个系列探索了分镜头及其如何创建电影构图——虚构的舞台的潜能。舞台、背景、一袭紫色的幕布，远在西班牙的剧院里，少林武僧们正在为欧洲观众表演这种东方体育之前练习着。对于欧洲来说，这是一种戏剧，一部纪录片，是一个中国的信仰。

Sylwia Gorak Paintings - 绘画 44

Sylwia Gorak is a vocal performer and painter. As a painter, she seeks to reevaluate the inherently awesome beauty of landscapes by introducing man-made objects, both inconsequential and architectural, that create a tension between a sense of permanence and materialism. Inspired by her hometown of Lezajsk, Poland, her paintings also draw from prior residency experiences in London, Osaka, and Sierre, Switzerland. A vocalist and performance artist as well, Gorak is also interested in acoustics and the material properties of sound. In 2001 she was a soprano with The Paderewski Festival Singers in a concert at Carnegie Hall. She intends to explore both her visual and vocal pursuits . 46

席尔维亚·格拉克是一位声乐演员兼画家。作为一个名画家，她通过建筑式的方式间接引入人造物，制造出永恒感和唯物主义之间的紧张关系，以试图重新审视自然风景本身令人敬畏的美。她的绘画灵感来源于她的家乡——波兰的莱扎伊科斯，和之前在伦敦、大阪和瑞士的delete谢尔生活经历。同时作为歌唱家和表演艺术家，格拉克对声音的声学和材料特性也感兴趣。2001年，她在卡内基音乐厅与帕岱莱夫斯基音乐节的歌唱家们同台演出，担任合唱团的女高音。她打算坚持对视觉和声音的的探索与追求。格拉克出生于波兰，毕业于波兹南美术学院，并在克拉科夫学习声乐。 47

G.R.A.M. Straßenzeitung (Street Newspaper) - 街头报纸 Photographs -摄影 50

One of the completed projects during the scholarship in Chengdu in 2006, was “Strassenzeitung” (Street Newspaper). On daily bases we visited the vitrines with publicly displayed newspapers and photographed the images. Due to the often back to back attached news papers, images appear almost like digital collages , as the images from the back sides are partially visible on to the front layer. It is comparable to an “old school” technique, namely that of rephotographing. With hundreds of photos taken in many cities GRAM created a kind of image memory. An analysis of the photographs illuminate the image politics of the Chinese media. Detached from their texts and captions, the photos appear from the “street newspaper” with irritation as decorative elements. 52

《街头报纸》，是2006年在成都奖学金期间完成的项目之一。我们每天都去瞄一瞄玻璃橱窗里公开展示的报纸和照片。因为报纸总是一份紧贴着一份，图片文字会层层叠叠阴差阳错地粘到别的报纸上去，就会形成类似数码合成拼贴图片的效果。现实技术上讲，它不过是一个“老把戏”，也就是所称的再摄影。G.R.A.M.在诸多城市拍了成百上千的照片，创造了一种图像记忆。是一份关于摄影对中国媒体的图像政治的阐释分析。一份对照片的分析阐明中国媒体的图像政治。脱离了它们的文本和标题，图片从“街头报纸”变成了让人恼火的装饰玩意。 53

Frédérique Hervet Metamorphoses -蜕变 Mix-media - 综合材料 56

I walk. Walking is a movement in perpetual search of a new equilibrium. During my two months stay last summer I wandered, discovering Beijing through daily walks. How to give back to Beijingers the pleasure they offered me during my first stay? Finding out how became my objective. Last winter I came back to this city. The cold weather didn’t allow me to walk as usual. The kitchen of the place where I lived gave me the opportunity to cook a lot, an occupation, verging on obsession, common to both China and France where I come from. I don’t understand a word of Chinese but I was struck by the dubious manner in which people looked and touched food all over the market. The huge attractive vegetables and fruits fascinated me, beautiful and maleficient at the same time, concealing Chinese environmental problems within their seductive forms. At home, before cooking, I modeled and fossilized fruits and vegetables with Chinese papers to keep an imprint of them. 我喜欢步行。步行，是一种不断寻找新平衡的运动。去年夏天在北京停留的两个月，我每天行走游荡在这个城市中，探索着她。初来宝地，北京的人们给予了我很多快乐，我要怎样回报他们？我要寻找到这个方式。去年冬天，我回到这个城市。寒冷的天气不允许我像往常一样散步。我住的地方有厨房，于是我大玩三汤五割，中国和我家乡法国烹饪的一些共性让我近乎痴迷。我一句中文都不懂，但市场里随处可见人们对食品精挑细选的宏大场景，我太吃惊了。巨大的蔬菜和水果太有吸引人了，可看着漂亮却是不健康的，中国的环境问题就隐藏在这诱人的外表里。回家开锅前，我用宣纸制模把这些水果和蔬菜拓了下来，想保留他它们的印记。 60

Tina Hochkogler Koi - 锦鲤 Video - 影像 62

An old Chinese legend has it that people used to place messages in the bellies of Koi and, thus, this fish has come to symbolize communication with a distant friend or loved one. Koi are the mythical pigeons of our waterways. Gliding along slowly and continuously, they come and go, are always there at various levels. You may not always be aware of them, but these couriers of the mind are always around, waiting to deliver a message. This retrospective silent-film unfolds to the deep bordun/drone sounds of Stefan Neméth‘s composition and elements of a second moment begin to emerge: drops of dark liquids, paper textures, dripping sounds.

中国有一个古老传说，人们曾经将消息放置在锦鲤的肚子里，因此，这种鱼就演变成远方的朋友或爱人的象征。锦鲤是我们神话般的水下信鸽，它们延绵悠哉地在水里滑翔，来去自如，层层叠叠。你可能不总是了解它们，但这些心灵的信使始终围绕着主人，等待着传递你的心声。这次回顾展默片深度展开了斯特凡·内梅特创作的低沉声音和第二个时刻开始出现的声音元素：几滴深色的液体，、纸张的机理，、滴滴的水声...... 这部影片灵感来自我们的心灵进入半梦半醒之间的状态，随着呼吸节奏的带动，似乎残余的思想和图像是由他们自己的意志出现在我们内在之眼中。

This video takes inspiration from the state our mind enters when it is no longer awake and not yet asleep, when remnants of thoughts and residual images begin to appear before our inner eye, seemingly of their own volition and stimulated by rhythms related to breathing. 64

Richard Hoeck Brass knuckles Photographs - 摄影 66

In the last eastern corner of Austria, towards the Czech Republic is Kleinhaugsdorf. The area is a nomansland. Part of it is the entertainment and shopping city called “Excalibur” where busloads of entertainment seeking people, descent to celebrate and shop. Around this compound, wooden huts settled down, run by Chinese merchants selling all the copyright infringement products, they are not allowed to sell in Europe. Besides all and everything, you can buy these “brass knuckles” in black, silver and gold. I am trying now for 5 years, but Swarovski refuses to decorate the brass knuckles with their original Swarovski crystals. In 2010 I have produced the first “Swarovski Brass Knuckles”. 68

在奥地利最东边和捷共和国接壤的地方叫Kleinhaugsdorf。这片区域是一个自由城。其中的一部分是一个娱乐购物城叫做“王者之剑” ，那里有大量的娱乐项目寻求消费者，屈尊于庆祝和购物。这个综合区周围，坐落着一些木质小屋，他们由中国商人经营，卖的都是不允许在欧洲销售的山寨商品。不仅如此，你还可以在那里买到黑色、银色和金色的“铜拳指环”。我已经试了五年了，但施华洛世奇始终拒绝用他们的钻石来装饰铜拳指环。2010年我就自己做出了第一个“施华洛世奇铜拳指环”。 69

Michael Höpfner after five and a half days the trail peters out (between here and there and now and then 五天半后足迹渐渐消失（此地与彼地，之前与之后）摄影 Photographs - 摄影 70

After five and a half days walking the trail peters out is a project about hiking journeys in steppe and desert areas of Qhinghai and Gansu Provinces in Western China. In winter 2010/11 I started to follow roads and tracks on foot to what was depicted as nomad camps on maps. Instead I ran into new mining areas and development zones in the middle of nowhere – once mystical nature was taken over by the brutal interests of a new time. As I carry all my belongings I am working rather minimal. In black and white photos and notes in travel-diaries I try to document my silent approach to these landscapes and its people. After five and a half days the trail peters out (between here and there and now and then) shows a religious place where pilgrims leave clothing like a t-shirt, a pullover, shoes on this particular hill as a symbol to leave the past behind and step down into a new time. After five and a half days walking the trail peters out is an ongoing project - I am planning the next trip end of March 2012.

《五天半后足迹渐渐消失》是一个在中国甘肃和青海省草原沙漠地区搭便车旅行的项目。在2010/11年间的冬天，我开始跟沿着公路和轨道步行，去寻找描绘在地图上的游牧营地。相反，我却碰到了新的采矿区和开发区，一个块无名之地的中央——神秘的大自然曾被新的残酷的利益占领。因为我带着全部行李，我的工作量相当小。在我的旅行日记里，我试着用黑白照片、笔记记录下我悄无声息地靠近这片大地和它的人民。《五天半后足迹渐渐消失（此地与彼地，之前与之后）》展现了一个虔诚的地方，那里的朝圣者们像扔一件T恤一样抛弃他们的罩衫、鞋履。在这个特殊的山坡上，服装作为过去的象征而被舍弃，以此步入崭新的未来。这个项目仍在进行——我正在计划2012 年3月末的下一个旅程。米歇尔·赫夫纳，2012年3月于柏林

Michael Höpfner, Berlin, March 2012

Christian Hutzinger November- 十一月 Collage - 拼贴 75

Using a varying form of paper cut-outs, developed over the last years and which I have used in different contexts - painted paper, found materials from Ningbo (most of them from packaging-material of food i ate at that time) and Chinese date- and letter-stamps the series develops from day to day. At first glance the collages seem to be very similar, but looking at them exactly, each of them gets it‘s own character and leads the viewer to the next one. This series is also a kind of humorously journal respectively diary of my stay in China. 76

我使用的是变化着的剪纸花样，过去几年里，我用在宁波找到的材料（其中大多数是从我那时吃的食品包装上弄来的）和在中国一系列信件邮票上一天接一天的邮戳，创作了不同内容的作品。乍一看这些拼贴似乎非常相似，但仔细一瞧，它们分别都有自己的个性，引领观众去了解下一个。这个系列也是关于我中国之行的一个幽默日志。

Shana Kaplow Close to home - 离家很近 Video - 影像 80

My artworks often explore the psychological inferences held within the bodies and spaces we inhabit. Restless and shifting worlds seem most truthful to me. How do we connect to each other, to the body politics, or to the larger world? How do we relate within and to surrounding environments?

我的作品一直探讨我们对所居住的身体和场所进行的心理推论。

I spent a month last year living in Beijing, China – in unfamiliar surroundings. It was exhilarating because it forced to the surface my own impulses of desire, separation, and ultimately connection. My work is a way of redefining how I experience what is close or far, what is intimate or separate. Concepts of ‘close’ and ‘home’ for me have become expanded, ungrounded, and can be inhabited both intimately and from far distances. I like the kind of stretching and conflating that can happen in a painterly hypnotic artwork - it summons a sense of continuum.

去年，我在全然陌生的城市——北京生活了一个月。这样的经历让人激动，它使我的私欲冲动受到压制、分解、最终又回归表浅。我的作品对什么是近什么是远，什么是亲密或什么是分离的体验方式进行了定义。对“亲密”和“家”的概念已经变得扩大、背离根据，我可以无间地宅在家里，也可以在遥远的距离之外感受到家。我喜欢那种将人催眠，有延展性，又混沌的绘画作品——一种对连续感的召唤。

对于我来说，似乎焦躁和变幻的世界才是真实的。我们是如何互相连接的，与国家，或更大的世界？我们与自身、周围的环境又是如何相互依存的呢？

Sylvia Kummer Oneing Video & Prints - 影像&照片 84

An important impetus for the present work relies on an artist, theorist and a monk converted from Buddhism to Taoism in the 17th Century called Shi Tao, who wrote an ancient philosophical concept, called “Oneing”, in his work cycle “Words On Painting” 画语录. This concept dealt with the core focus of my own artistic work and the present study: The impossibility of translation. Shi Tao used in his paintings classic characters as they were common in ancient China, but since the early 20th Century they are no longer in use. The original meaning of individual words can not be due to the uncertainties and ambiguities of the characters really translated or examined, so the translation must remain vague and imprecise. “ONEing” stands for “one”. For the “One” creates something new, which in turn collapses or continues to grow, helps each other, to compose something independent, but also reconnect to the traditional. Just as in Chinese, the spiral or circle is the symbol of infinity and timelessness, there is no real starting or ending point. During several years I captured interviews with people from different countries amongst others about their “being” and “visions”. This I also continued while I was in China. The themes have always revolved around cultural identity, inner and outer perception and their expression. You can find writings in my pictures; writings that cannot be read, as well as membranes installed in space and dissecting, distorting the projected images. i work against the recognizable, the easily tangible. What matters to me, what I focus on is ‘to record the intangible’. Silvie Aigner: “ [...] Sylvia Kummer is a traveller. Even when she doesn’t roam remote parts of the world, she explores places in the immediate vicinity of her work to collect stories, to question social connotations, expose them and bring the concealed to the surface.” It is not only the inability to translate something within one language or from one 86

language to another, that excites me about this ongoing project, but the challenge lies already in the term “being”. The differences between Western and Asian thinking appear alone in this word, which does not allow for translation. The whole philosophical attitude is embodied there. 目前工作的一个重要推动力依赖于一个古老的哲学概念“一”。石涛是17世纪的中国艺术家、理论家，佛家弟子，他写的《苦瓜和尚画语录》中也继承了道家思想。这一概念支撑了我自己艺术创作和研究的核心：翻译是不可能的。石涛在他的画里使用文言文，但自20世纪初，文言文便不再使用。因为一些文字概念的含糊之处，很难逐字将原义真正翻译出来甚至考究到位，所以翻译的不精准是必定会留下隐患的。 “一即是心，心即是一，心生万法，万法归一”，毁灭和创造相抱相生，得一画之法者，即可运墨自如，不作墨的奴隶；得一画之法者，笔随人意，不受笔的限制，但依然与古法同通。正如回旋是无限与永恒的象征，有没有真正的起点或终点。在几年中，我奔走于不同的国家之间，忙着采访人们关于“存在”和“期望”的想法。在中国的时候我也做了这件事情。一直围绕着文化认同的主题，还有内外兼顾的感知和表达。你可以在我的画儿里找到文字，不过是读不懂的，还有一些安装在空间里的薄膜，分解、扭曲着投影图像。我抵触那些看得见摸得着的东西。我更在意、更为之重点的是“记录无形的财富”。希尔维·爱格纳说：“...西尔维亚·库默尔是个游侠。即便她不是在世界的偏远地区漫游，她也紧紧围绕工作的领域收集故事，质疑社会的内涵，去伪存真。”虽说在一种语言间翻译或从一种语言翻译到另一种是不能完全实现的，这却激发了我做这个项目的想法。不过“存在”这个主题还真是一个挑战，西方和亚洲的思维之间的差异就存在于这个没法翻译的词里，它们各自整个的哲学态度尽显其中。 87

李枪 / Li Qiang 100 middle school students phone diary - 100名中学生的手机日记 Video & Text - 影像& 文本 88

Handwritten diary 手写日记

In December 2007, I was implementing a program in a school I have worked before, Fang Shan Middle School, Dong Hai County, Jiangsu Province. It was founded in 1956 and was the first middle school of Dong Hai County. In 2000, it became the key middle school in Jiangsu Province and awarded one of the three “3-star” schools in county now. Over 5000 students are from surrounding towns, most students are in residence and implemented full-closed management. Everyone needs to wake up at 5 o’clock in the morning and go to sleep at 10pm, two days off in a month and it’s the only time that students are allowed to be out of school .

2007年12月份，我在我工作过的学校实施一个方案。江苏省东海县房山中学，她创办于1956年，是东海县境内第一所完中，2000年成为江苏省重点中学，现在是省三星级学校，象这样的学校全县有三所。在校五千多人来自周边乡镇，学生大多数为住校生，实行全封闭管理。学生每天早上五点起床到晚上十点休息，一个月休息两天，允许出校门，其它时间不可以。实施过程：我让高一年级四个班级两百名学生，记录他们在房山中学的一天生活。名字叫《我在房山中学的一天日记》，要求从早上5：40起床开始把一天中几点几分发生的事情尽量都记下来，按照时间顺序排列，直到晚上十点钟睡觉。这不是一个普通意义上一天记一件事的日记，而是一天生活扫描式的全记录。学生表现出极大的热情，交上来的日记，有的是几张纸写得密密麻麻，有的是长达两米多的长卷，有的一本笔记就是一天日记。如你可以看到这样记录的5：45起床，5 ：52穿好袜子，照了一下镜子，整理发型，5：54和往常一样向教跑去，6：44 ：50发呆，6：56拿出政治书背……。也许他们是记录只是一个中学生普通的一天，但是这一天无疑成为中国中学生的一个生活切面-------一个中国教育的切面。看着这一篇篇手写日记，我就希望有一天能让更多的人看到它们，包括这些小孩的父母和老师，还有管教育的政府官员，让他们看到当下的教育模式下的中国中学生的真实生活。 90

366介入 366介入，是我的朋友吴高钟先生打电话告诉我的。他希望我能够拿出一个方案给策展组看看,是否适合介入的主题，就这样我就提交了我的方案。为了更好更地体现介入特点，我让学生把手写日记的方式转换成用手机短信的方式发送到上海证大艺术馆提供的几个商业中心的室外大屏幕上。一百名中学生的手机日记在证大艺术馆有利支持下与3月28日在上海实施了。我觉得366介入是一个具有当代意义的文化项目，特别是艺术已经跟金钱越来越近的今天，她重新拉近艺术与生活的距离。

During implementation process, I let 200 first year high school students from 4 classes record their one day life in Fang Shan Middle School . I named it “My one day diary of Fang Shan Middle School”, I request them to record at 5:40am since they wake up and write down the time and the minute details of everything that happened at the day, order by the time separation, until they go to bed at 10pm at night. This is not just a general dairy that record one thing in one day, but a day life scan recording. Students showed great enthusiasm, the diaries they handed over, some are full written in a few pages, some are even 2 meters long scroll, some are written in one notebook just for one day story. As you might see some are recorded like this, wake up at 5:45am, put

on socks at 5:52, glance in the mirror, comb hair, run to classroom at 5:54 as usual, being lazy for a while around 6:44, reading politic books… Maybe they were just recording a regular day of a middle school student, but it definitely shows the side of students life and also the side of Chinese education. Watching these handwriting diary’s, I wish there are more people who can read it in future, including parents and teachers of students who made the recording, also the officers of government education department, so they can see the real life of a regular Chinese middle school student under current education system. 366 Intervention 366 Intervention, was told by my friend Mr. Wu Gao Zhong over the phone. He hoped I could come up with a solution to the curatorial group to see if its suitable the subject of the intervention. So I submitted my proposal. To have better reflection of characteristics of intervention, I had students send diary by text instead of hand writing to the outdoor big screen in commercial center of Shanghai Zhengda Art Museum. 100 middle school students phone diary program was carried out on 28 March by the favorable support of Zhengda Art Musem. 91

Moritz Majce & Sandra Man Animation - 动画电影 94

他—— 一个冷漠的幽灵在西方世界各地漫游。就在登上舞台的时候，他开始痛苦地哭号着再次乞求激情的火花。 “再多一些共鸣吧！”他们惊呆了，接着是那渴望的嚎叫：“回到真正的价值！” ——回到深思熟虑的新型旧体制——人性实事求是的价值！这集结诚实的保守分子的号角，让那些在忙碌的世界中泰然自若的人们，无论在哪个角落都能听见。这世界并不是一出戏剧，而是萎靡无能之后的

»A spectre is roaming around the western world – the spectre of apathy. And as soon as it has taken to the stage, the first wails of suffering set in to entreat again the spark of passion. “More empathy!” they lament aghast and then, the eager howl, “Back to true values!” – back to the new old regime of the considerate and measured – veracious values of humanity! These are the bugle calls of the reactionaries of truthfulness, the school masters of a proper world of busyness, which can be heard far and wide. And their world is not a theatre, it is the operating system for the production of total impotence… but, why not for once and for the sake of decency save Miss Apathy from 96

无病呻吟......但，为何不就这一次，看在正义的份上，把冷漠小姐从故作悲惨的跛足者无止尽的折磨中解救出来；为何不停止千篇一律的卷发把她矫饰得媚俗不堪，反而不时地把这个可人儿带出来戏弄戏弄；不仅不用博学的有教养的方式，举止谈吐还如此笨拙？（来自：《冷漠和地面》，忌惮的实践，莫里茨·麦策)

being screwed non-stop by limpest Pathos, why not stop tarting her up in a string of always the same permanent wave looks, but instead take the babe out sometimes and fool around with her a bit – and do it preferably in neither a well-read nor well-educated, but almost clueless manner!« (from: Apathy and Areal. Practice without Discipline, Moritz Majce)

Lisa Meixner Chiron - of twofold nature - Chiron公司的双重性质 Video - 录像 98

Chiron is a film about the human hand, about the relation between gesture and speech and was shot in Chengdu, China and Frankfurt, Germany. Combining French anthropologist Andre Leroi-Gourhain’s theorie of evolution with the myth of the centaur Chiron the film narrates the hybrid existence of human beings in contemporary urban environments, their unseparable bond with touchscreens, ear phones and vehicles. „My intention was to make a film about the human hand and the relationship between gesture and speech, about this highly complex tool which enabled a technical evolution as well as the development of language and writing. But very soon the central subject of my research became more and more the most famous pedagogue of Greek mythology, a centaur named Chiron (hand or skilled with the hands). Chiron educated many of the greek heroes and was, due to his twofold hybrid nature, a great healer, astrologer and mediator between humans and gods. His naming derived from the fact that a Begriff, or notion, is something that arises only from materials and issues that have been grasped by our hands and by extension, our minds. Yet I was wondering why exactly a half-horse man was so wise and skilled with the hands? The figure of Chiron unifies two different types of grasping, the rational and intuitional. Chiron is wise, not only because of his human brain and his skilled hands, but because he is a 100

hybrid and can therefore combine human intelligence with the emotional, instinctive intelligence of his animal abdomen. He is skilled with the human hand, but consisting of two bodies, has the ability to empathise more easily with other creatures. A contrabassist needs the whole body to play his instrument and when really mastering it he actually melds into a contrabass hybrid. Similarly we constantly unify with other bodies and machines when we drive cars, ride bicycles or sit for many hours at our desks in front of the computer. The modern subject is “transformed with its surface and profoundity into centaurs that have a human front side and an automobile abdomen“ according to Peter Sloterdijk in his essay “The society of centaurs“. But today, almost twenty years later, there are further technical body extensions. We have become even more hybrid, not only grown together with vehicles, but also inseparatable from touch screens and earphones. In the end it didn’t seem convincing to consider just the hand and brain as the motor of the technical evolution. Where was the rest of the body to which they belong? I forgot this lower part of the story and its clear I cannot just focus on one highly complex tool, but Chiron, a half-horse man has become the indispensable protagonist of my film and his legend, the guiding theme for a reflection on the human hand.“

《喀戎》是一部关于人的手、手势和言说之间的关系的影片，在中国的成都和德国的法兰克福拍摄。结合法国人类学家安德烈·勒鲁瓦—古昂关于神话中半人马与喀戎相结合的演变理论，电影讲述人类在当代城市环境中混杂的存在状态，他们与触摸屏、耳机和交通工具不可分割的联系。我的目的是要拍一部电影关于人的手和手势和言说之间关系的影片，这个高度复杂的工具促使了一个技术的演变以及语言文字的发展。但很快我研究的中心课题变得越来越像希腊神话中最有名的教育家，一个命名为喀戎的半人马（他的手非常灵巧）。喀戎教育了许多希腊英雄，由于他的双重混合的秉性，他是一个伟大的治疗师，人类与诸神之间的占星师和调解人。他的命名起源与这样一个事实，即一个术语、概念，一定只能从我们的通过双手、延展、到头脑所占有的材料和问题中产生的。不过，我想知道到底为什么是一个半人马，如此明智并熟练地运用双手？喀戎的形象统一了两种占有类型：理性的和感性的。喀戎是明智的，不仅是因为他的人类的大脑和他的巧手，而是因为他是一个混合体，有着动物的腹

部，于是他可以将人类的智慧与动物的情感的、本能的天赋结合在一起。他擅长用人的手，也是由两个身体组成的，有更容易同情其他生物的能力。大提琴家需要调动整个身体去演奏他的乐器，当真正掌握它的时候，他其实已然人琴合一了。同样，在开车、骑自行车或对着电脑待好几个钟头的时候，我们在不断地与其他机体和机器结合着。根据彼得·斯劳特戴克在他的文章《社会半人马》中提到的，现代的社会主题是“由表及里地变成了人身车尾的混合体”。但到了近二十年后的今天，科技有了更进一步的发展。我们已经变得更加混杂，不仅与车张在一起，还跟触摸屏和耳机不可分割地杂交在一起。最后，将手和脑作仅为技术革新的动力来考虑似乎不再令人信服了。身体其余的部分服从于哪里？我忘了故事接下来的部分，我当然不能只集中在非常复杂的工具上，而是在喀戎，半人马，一个在我的电影和他的传说中不可缺少的主角和反映人类之手的指导主题上。

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Moritz Neumüller German is art-language - 德语是艺术的语言 Video - 录像 105

German is art-language. The (un)translatable of Ernst Jandls poetry Havana, Cuba. The home of Francisco Diaz. Francisco is a translator who has become an Ernst Jandl specialist. He began his career, however, as mandated translator for the Cuban government. With a travel grant Francisco arrives in Vienna. Here he is received by freezing temperatures. Bundled in jackets and with a red nose thus begins his Jandl research on location. Francisco got to know Ernst Jandl several years ago and during a short conversation with him proposed translating his poems into Spanish. Jandl liked the idea but his sudden death closed the first chapter of their author-translatorrelationship. In his second visit, Francisco turns to friends and associates who could help him get to know the ingenious Jandl and his world. The film shows that with wit and insistence, it is sometimes possible to do the impossible, such as making poetry popular to thousands of listeners (as has Jandl), translating untranslateable poems (as does Francisco Diaz), or to talk about all this in an audiovisual language, which is inspired but Jandl’s poems, but not limited by them (which I tried). 106

古巴，哈瓦那，弗朗西斯科·迪亚兹的故乡。弗朗西斯科是一位恩斯特·杨德尔（奥地利著名诗人和剧作家，生于1925年）专家兼翻译家。但他是作为一名古巴政府指定翻译开始他职业生涯的。身揣他人赞助的盘缠，他来到了维也纳。而这儿寒冷的天气给他来了个下马威。一件夹克裹身，鼻子被冻得通红，他就这样开始了在恩斯特·杨德尔之乡的考察。弗朗西斯科几年前认识了杨德尔，在一次简短的谈话中，他提议要将杨德尔的诗翻译成西班牙语。杨德尔相当赞成这个想法，而他的突然离世使这段译作关系在第一阶段就嘎然而止。这一次，弗朗西斯科便着力寻找那些朋友和同事，以帮助他了解杨德尔和他玄妙的个人世界。

正如杨德尔，他让诗歌在成千上万的受众间广为流传；正如弗朗西斯科，他证明了诗歌是可以被成功翻译的；又正如受到杨德尔的诗歌启发且不受限于其下，我致力尝试用视听语言讲住这段故事——只要运用智慧，金诚所至，金石为开。

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Joyce Rohrmoser Surviving China - 幸存的中国 Video - 录像 108

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I have been learning Chinese for 4 years. 3 years ago I went a few months to China to make photos and videos for an Italian fashion company. In my spare time I tried to cope with life there. For this purpose I have developed a strategy: to make video-performances in which I assume different roles. This video-project helps me to understand China in a critical and humorous way. 我学习了四年中文。三年前，为了给一家意大利时装公司拍摄照片和录像，我在中国带了几个月。闲暇的时候，我想尽办法去应付当地的生活琐事。于是我研究出了一套对策：我扮演不同的角色来拍一部表演视频。这布影像作品帮助我以一种批评和幽默的方式去理解中国。

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Christian Rupp Patterns of discourse - 言说的模式 Performance - 表现 112

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The performance “patterns of discourse” was created in cooperation of Dimitris Halatsis and Christian Rupp. For the premiere at the MOPE08 Performance Festival in Vaasa, Finland 2008 the two artist also performed the piece themselves. Men wearing shorts and sports-shoes take books from a box. On the outside these books show only one name each in black letters on white. It is the names of famous and frequently quoted thinkers, philosophers, essayists, scientists. The books are placed on the bodies like protective padding for contact-sports and held in place by saran wrap as is used in the kitchen to package food. The first part of the performance is the time that the men take to build up protection for the more exposed parts of the body. After that the performer in “full gear” (consisting of these books) walk outside onto the grass. There they position themselves across from each other and alternately yell the signal to start. They collide very much like in American football practice - the one whose turn it is to yell the command tries to run by the other while that other tries to stop him either by forceful blocks with arms and shoulders or by crashing into him and taking him to the ground. While the performers keep repeating these exercises clashing their bodies, every now and then books keep falling off to the ground. Discourse is a very productive tool. But while academic discourse often helps to advance in understanding or even towards new approaches and solutions it also can derail. Egos and personal agendas can lead away from substance / the core of a matter. Big Names are thrown in and quotes turn into attacks. While drifting off the quotes are countered with error-corrections and counter-quotes. Knowledgeably (be it substantial or pretentious) becomes armor and weapon... 114

表演作品《言说的模式》是在狄米崔斯·海拉提斯和克里斯提安·鲁普的联合创作下完成的。在2008年芬兰的瓦萨 MOPE08表演艺术节上，两位艺术家曾为总理先生现场表演过该作品。两名穿着短裤和运动鞋的男性从箱子里拿书，这些书的封皮上只白纸黑字地出现一个名字，这些人名是通常被引用的著名思想家、哲学家、论文作家和科学家。这些书会被当作对抗运动的护具性质，用厨房里的保鲜膜绑在两人的身体上。表演开始部分，是两个人先为身体上暴露的部分帮上“护具”。接着，全身披盔戴甲（甲胄全部由书本组成）的表演者走到室外的草地上。然后他们面对面地站好位置，轮流喊开始的口令。他们互相撞击的方式和美式橄榄球很相似，无论对方是竭尽全力用胳膊、肩膀撞击，还是要把他撂倒在地，喊口令的人要设法跑过对手。表演者重复着这个对抗运动，他们身上的书本时不时地掉到地上。言说是一个非常有效的工具。不过，虽然学术话语往往有助于推动理解，或者直引新的解决方案，但它也可以导致曲解。自我和个人议题可能会被引离事物的核心真谛。名人被引用到言说当中可能就会转化成攻击。当被错误的更正和反引渐渐误导的时候，引述便（无论是实质性地还是矫饰地）成为了铠甲和武器....... 115

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and Helmut Schäfer Florian Schmeiser & MaJia Noise as language The Dragon Rising It’s Music Head - -龙抬头音乐 Photographs & Music - 照片和音乐 14.08.1969 - 20.04.2007

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马佳几天前瘦了7斤，真不可思议。这是在Hanusch医院发生的事儿，我们为他取名叫“Anatol Zai Tian”——“潜龙在渊”以及“来自东方的人”，出生于二月二十三日，正巧是“龙抬头”——the dragon rising it’s head。他出生了，一个观念杰作。 Zai Tian Anatol 是奥地利艺术家弗罗里安·希麦塞和中国艺术家马佳历时一年的生物融合的产物。作为承载着奥中两国的一个社会个体，得拿着签证穿梭在国境之间，怀胎9 月是令人提心吊胆的体验。在奥地利，只有在一个家庭的收入充裕的情况下才会为其女性成员（妻子）发放居留许可。我们最终是成为奥籍华人还是中籍奥地利人，还在等看移民局的决定。《乖，把奶嘴吐出来》是我翻译的一首上世纪70年代儿歌。把它献给Zai Tian Anatol。 118

Majia lost incredible 3,5 kg a few days ago. It happened at the hanusch hospital and we called it “anatol zai tian” - ‘the dragon on the ground’ and ‘the one who comes from orient’, born on feb. 23rd, on occasion of the lóng táitóu festival - the ‘dragon rising it’s head’, and that’s what he did. a conceptual masterpiece... Zai Tian Anatol / Anatol Zai Tian is the product of one year intense biogenetical fusion of the Chinese artist Ma Jia and the Austrian artist Florian Schmeiser. The 9 months of production time were a thrilling bodily experience, as well as one of the social body in forms of Austrian and Chinese government, who had to approve this intersection of national borders by visa. For the Austrian government, the residence permit of a family member (wife) is only given, if the income of the family is sufficient. We are still waiting for the decision of the migration office, if we will finally become Austrochinese or Chinese Austrians. The song “Come On, Spit Out That Pacifier” is a children’s song from the 1970ies, which I reinterpreted. It is dedicated to Zai Tian Anatol. 119

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and Helmut Schäfer Noise as language Markus Sepperer Music - 音乐 Verschichtet-global - 图层全球 Photo-collage 照片拼贴 14.08.1969 - 20.04.2007 122

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Verschichtet-global#x is interweaving and compressing photos taken in Hong Kong and around many places in mainland China. My work tries to combine parallel worlds that are occuring in China very often by constructing complex compositions, to form a new, merged meta-system. On the one hand I am layering photos congruent to each other to form a new organized carpet out of the accidental object collisions throughout the layers, a process which tries to shape out new connections of the realities in the single pictures. It forms accidentally merging and intersections following a Three-dimensional logic with new relations between background and foreground. The trial of finding and shaping new logic connections out of the accidental layering of the pictures is a very important driving force. Transformation from Photography to Architecture in Photography The 2nd technical form of the series consists of collages which are rationally composed. Photos are still merged in many layers but the content is rational organized, accidental forms are still present but more controlled and kept in detail. Taking painting as a role model I create unrealistic room situations, torn dimensions, self alienated protagonists, hybrid fairy tale creatures. They are Hyronimus Bosch related inter-sectional figures, coming out of tradition/ globalization / 126

liberalization / economic transformation. The used photos in my collages are all part of my china archives, resulting of five journeys between 2006 and 2011 verschichtet-global #x is an ongoing work series. Comparable to musical composition there is always an interplay between form and content, simplicity or complexity. Markus Sepperer, Wien 2012

《图层全球》是用在中国大陆城市和香港拍摄的图片相互交错叠加而成。香港民主和资本主义体制的影响一方面威胁到中国社会主义大陆，另一方面，其资本主义模式漂亮地被如今春笋怒发的中国大陆照搬过来。中国旧时的社会体系由儒家价值观构建，在20世纪则是共产党的意识形态和宣传。上世纪80年代开始的“改革开放”是一个巨大的成功。时下全球化进程使得中国凭其廉价劳动力成为世界头号生产国。大量外来务工人员背井离乡，从各地涌入巨大、狂妄的城市，只为去摩天大楼、购物商场和高速列车工作。我的作品尝试通过构建复杂的组合，将这些平行的世界结合起来，形成一个新的、合并后的元系统。

首先，我把照片分出不同图层，再进行相互叠加，物体通过各个图层意外地错位，在前后景间三维逻辑关系下交错构成了新的画面。在图像偶然生发的图层间寻找新的逻辑关系，这条轨迹是一个非常重要的推动力。

景下，Heironimus 象。

从摄影到摄影建筑的转型该系列的二次技术形式包括理性的拼贴画。接下来处理是理性的拼贴形式。照片依然是很多图层，但内容却是理性的有组织的，偶然的形式仍然存在，更多地加入了细节和控制。我按照绘画的理念打造了超现实的空间、分裂的维度、自我疏离的角色和混合魔幻生物。它们是在传统、全球化、自由民主、经济转型背

《图层全球》X是正在进行的系列作品。可以和音乐作品相媲美。形式和内容、简单或复杂性之间的总是相互作用着。

Bosch式相互穿插的形

拼贴画中使用的照片都出自我的中国档案，它们是在2006年和2011年间5次中国之旅的成果。

马库斯·塞派尔 2012年，维也纳

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Joe Sneed & Jordan Mitchel Video - 录像 128

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These five works have their source in YouTube videos posted by RT, a mass media corporation in Russia. The original footage was published within hours of being filmed in Cairo and was viewed by millions of people seeking a lens into the revolution that unfolded in Egypt in January 2011. We have appropriated and edited segments of these source videos and redrawn a media’s presentation of history. The form of the edited videos is sketched out in their time-lines. We have stretched, mirrored, cut and sewn together pieces of the visual and audio time-lines to make complex loops from the original footage. Each video has been uniquely altered, though they all share a circularity in form. The videos have no beginning or end. They are revolutions in time. The poignancy of the source videos is in their rawness. They were produced for immediate consumption and offer an objective eye into the making of Egypt’s history. We intend our work to also be impartial and unresolved, but from a viewpoint that is distanced in time and lacking the breaking moment of news. We have placed a frame and a focus on the imagery so that it can be re-consumed slowly, like an album of family portraits. The subject of the work belongs to a specific time and place. But revolution and its representation in the work will resonate differently with each viewer. How will it differ between a Russian, an American, or a Chinese? Our work aims to emphasize this confusion between personal history and objective fact. The videos present history not as a progression in time, but rather as a knot to be untangled within each witness of time. 132

这五部影像作品的素材取自You Tube，由一个叫RT的俄罗斯大众传媒公司发布。几小时拍摄而成的原作曾在开罗播放，百万群众在片中寻找播放在2011年1月在埃及发生的革命的镜头。我们挪用并剪辑了这些素材的片段，重绘了这段视频的历史表述。视频的编辑形式是建构在各自的时间轴上。我们将视频和音频的时间线段拉伸、镜像、剪切、拼合，在原有的镜头上造成了复杂的循环。每段视频都进过了独具匠心的编改，但它们在形式上都是循环的一部分，因此这部片子没有开始也没有结尾。它们是时间的革新。视频素材之所以令人有发肤之痛是因为它们的“生鲜感”。它们是为即时消费而创作，为我们提供了观察埃及历史进程的客观之眼。我们想让作品以新闻的及时性和连贯性为出发点，而不是偏颇的，经过分析的。我们在图像上设立了一个框架和关注点，以便可以像翻阅家庭相册一样，将其缓慢地再消化。该作品的主题产生于一个特定的时间和地点，但作品的革命性和代表性将会与不同的受众产生不同的共鸣。一个俄罗斯人看会是什么感受？一个美国人看会有什么联想？一中国人看了又会体会到什么？我们的作品旨在强调个人历史经验和客观事实间的困顿。该影片不是作为一个时间的进程来呈现历史，而更像一个结症，等待被时间的见证治愈。 133

Axel Stockburger JingShenFenXi - 精神分析 Video - 录像134

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JINGSHENFENXI is a three-channel video installation that was realised as a collaboration between Lisa Meixner and Axel Stockburger during an artist residency in Chengdu, China. The piece poses a number of questions concerning the relationship betweenthe concept of Psychoanalysis and Chinese Culture. Since Sigmund Freud’s writing was translated into Chinese in the 1920s, Chinese history in the last century led to a disruption of discourse with such concepts. At present a new interest in the concepts of Psychoanalysis seems to emerge with analysts and scholars such as the Lacan specialist Professor Huo Datong who works and teaches in Chengdu. At the core of the installation is a video of a performance in Chengdu city where Axel Stockburger posed as a highly depressive Panda. The iconic power of this animal that is often connected to ease and happiness, as well as its use by numerous brands, agencies and artists made it an ideal vehicle for the projection of an emotional state that public audiences in the city could connect to. This video is accompanied by a text animation which focuses on the Chinese translation of the word “Psychoanalysis” and the different layers of meaning associated with the characters. A third video consists of an interview with Professor Datong, posing questions about the function and meaning of Psychoanalysis in present day China.

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“无意识像汉字一样构成。” 霍大同《精神分析》是一个三频影像装置作品，它是由丽萨·迈克斯纳和阿克瑟· 斯托克伯格在中国成都的一项艺术家驻地创作计划期间共同完成的创作。这个作品提出了很多关于精神分析与中国文化之间的关系的问题。希德蒙德·弗洛伊德的著作于19世纪20年代被翻译传播到中国后，已经在“文化大革命”时期被遗忘了。时下，分析者和学者们在精神分析观点上的一个新的关注点似乎开始浮现，工作并授课于成都的拉康研究专家霍大同教授就是其中之一。这个装置作品围绕一个拍摄于成都的影像作品展开。影片中阿克瑟·斯托克伯格扮演一个极度抑郁的熊猫，这个动物形象经常与表达舒适与幸福的符号有关，并且被运用到许多品牌上、服务机构上。艺术家也把它当作人们在城市中的情绪状态的投射。视频中也伴随着动态文字，主要演示英文“Psychoanalysis”的中文翻译，并且展示与每个词有关的不同层面的解释。第三个影像有一个对霍大同教授进行的访谈组成，提出了一些关于谨慎分析在当今中国的意义与作用的问题。

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Heimo Wallner Video & Prints - 视频及印刷品 138

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Mao Tse Tung, Ausgewählte Werke, Band II, 35 mm, colour, music: Martin Zrost, 2001 In the late 80ies I got an edition of “Mao Tse Tungs Selected Works” in 5 volumes (printed in 1968 in Beijing in German). And ever since then they are standing in my book shelf challenging me… 2 volumes I have transformed in the meantime. Volume I is a drawing book and volume II is an animation movie - 3 more are waiting. It is a project that stretches over a long period of time. In a way it is my struggle to make sense of something so clearly written, so easily understood, so linear, so horrifyingly consequential! I consider myself very much as a political being and clearly a political being of the left and it is astounding to me how the human animal continously manages to screw up in the biggest possible ways (often with the best intentions). I don’t think that my work is political first and foremost - it is more a visceral response to what I encounter, using stupidity (or to tone it down a bit: the disability to grasp the complex chain of cause and effects) to probe the world.

毛泽东选集，II带，35毫米丁·左思特，2001年

，音乐：马

八十年代末时我有一套5卷的《毛泽东选集》（北京和德国的1968版）。从那时起，就立在书架里挑战我... 目前我转译了2卷。第I卷“是一个绘本，第二卷是一个动画电影——还有3卷候着。这是一个历时相当长的作品。在某种程度上，我要费尽力气才能把一个写得如此清晰，如此通俗，如此有条理，如此令人生畏地重要的东西弄懂！我认为自己是一个政治生物，还很明显地是非常左的政治生物，而且我也非常吃惊人类总是把最明了的可能性给搞砸（通常是最好的意图）。我不认为我的作品是政治第一，最重要的是——它更是我对周遭的一种本能反应，用笨办法（甚至再降一个等级：残疾人一般去掌握复杂的因果链接）来探测世界。

Chinese Diary, Ink on Paper, Beijing 2007 When I was in Beijing in 2007 I had 3 weeks to explore the city and the surroundings. I decided to make at least 10 drawings a day. On the one hand I was completely lost in a new environment on the other hand a lot of it was kind of a “second hand–experience” influenced by chlichés, movies, books …the absurd feeling of being in “China Town” in Beijing. And all those endless discussions with Chinese artist friends – trying to understand – trying to make oneself understood… The result is the Chinese Diary, banal little drawings of a somewhat banal little trip. 140

《中国日记》墨水纸本，北京，2007年 2007年在北京时我有3周的时间去探索城市和周围环境。我决定每天至少画10张画。一方面，我在一个新的环境中不知所措，另一方面，它的更多是一种在陈规旧习、电影、书籍等影响下的“二手体验” ，一种北京的“中国城”荒谬感觉。还有与中国艺术家朋友们的用无休止的讨论 ——努力去理解——努力被理解...... 其结果就是这本中国的日记，一部平凡的小绘本，画着一段有些平凡的小旅行。 141

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Shen Wei / 沈玮 Chinese Sentiment - 中国（人）的情绪 Prints - 打印 144

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Chinese Sentiment is a personal journey for me to reconnect with the authentic Chinese life, both in the private and public space. My goal is to appreciate the real China without its political and economic influence, to reveal China from an internal and intimate perspective. 146

中国的情绪是个人的旅程，让我重新拥有地道的中国人的生活中，无论是在私人和公共空间。我的目标是撇开政治和经济的影响去领会真正的中国，从内在的和亲密的角度揭示中国。 147

Roswitha Weingrill Collage - 拼贴 148

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Roswitha Weingrill’s work often takes an analytical approach towards the materials she´s working with. Whilst her collages are not immediately attention seeking, they do slowly lure the viewer in. A big part of her work is dealing with non-academic approaches towards drawing, material and image production in general. Found footage material is used in drawing to explore the possibilities and limitations of this medium. This includes a special interest in information graphics, where data content is being shortened to be displayed more easily. In the depiction of ideas and concepts in general, she´s trying to broaden the narrative possibilities in single drawings. 150

罗丝维塔·瓦恩格利尔的作品往往带着她的作品运用的材料的分析。虽然她的拼贴都不会立即引人注意，但这些作品的确将观众逐渐引诱进来。她作品的大部分着力于非学院派的绘画、材质和普通图像制。绘画当中使用特写镜头素材以探索这种媒介的可能性和局限性。其中包括缩短材料内容，以便更容易被显示出来了，形成了图像信息中的特殊趣味。简单说来，她的概念就是试图拓展每幅绘画叙事的可能性。 151

Kathryn Zazenski Animated drawings - 动态绘画 152

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Central to my work is the relationship of applied and implied emotion in communication, specically within language and word systems. Using these structures to inspire new visual relationships and patterns, I create the opportunity to experience these ideas in unconventional ways. I am fascinated by the possibility that lies within perceived absolutes, and the duality of the vital yet arbitrary nature of these constructed systems. Through my time living and working in China the philosophies central to Traditional Chinese Medicine have become a guiding force in my work, most specically the yin yang principle of harmonious relationships. Exploring perceptions of created binaries, I am drawn to the polarity that exists within word usage especially seen through translation and cross-cultural interpretation. This has also inspired an interest in the use of characters vs. letter-based systems, and the associations that we create with abstract shape. Based on relational qualities, shapes become inherently negative or positive, and ultimately assume characteristics of their own. I am interested in how and why we form these associations, and by how minor adjustments become major shifts in both physical and emotional concept. For my body of work Geometry of Thought: Visualizing Binaries, I expose the variation that is inherent in the structure and interpretation of a descriptive word. To create this body of 162 unique drawings I developed a list of human emotions and character traits and paired them each with an opposing sentiment. The pairs were then plotted by hand on a traditional x-y graph where numerical values are replaced by the English alphabet. The values are arranged both in traditional order along one axis (a,b,c…z) and then ac154

cording to frequency of occurrence along the other (e,i,a…z). Frequency was calculated from the list of 320 unique words used in this series. The words are then plotted one letter at a time and are connected by a line in the order that they assume to form the word. The word pairings are plotted together, the image is mirrored, and then transferred onto paper to create the nal drawing. I use drawing, interactive experiences, and object making to explore physical and emotional landscape, and the elements that contribute to this relationship development.

在交流当中彰显和隐含的情感之间的关系是我作品的中心，尤其是在语言和文字系统之中。用这些体系激发新的视觉关系和模式，我创造了以非常规方式体验这些想法的机会。在被感知到的绝对真理中蕴藏的可能性和这些被建构的系统中至关重要却又主观的二元性令我万分着迷。贯穿在我在中国的生活和工作之中，中式哲学思想和传统中医成为我作品的引导动力，尤其是和谐关系的阴阳法则。我通过存在于遣词法的两极来探索对二元对立的认知，特别是在翻译和跨文化的诠释中。这也激起了对使用字母和字符系统间的兴趣和我们用抽象形象创造出的联想。基于其联系的质量，形象从本质上划分为消极或积极，并最终承担了自己的特色。我感兴趣的是我们如何和为什么构建了这些联想，以及轻微的调整怎样成为在肢体和心理观念中主要的转换。

二元可视化，我揭示的变化本身就存在于一个描述词汇的结构和阐释中。为了创作这个162张特殊绘画的身体，我裂了一个表格，罗列出人的情绪和性格特征，并分别为其匹配对立的元。然后以手工绘制的方式，在被英文字母表依次换掉数值的X-Y数轴上标出配对的位置。数值依照数轴传统的顺序排开（a,b,c... ），另一侧根据之前出现的频率（e,i, a...z）。频率是由这个系列的320个特殊词汇列表中

计算得来。词汇中的一个字母被标注一次然后用线连起来以表示它们能还原成一个词。配对的词被互相连接起来后成轴对称图形，最后转换到纸上创作出绘画。我用绘画、互动体验、和现成品来探索身体和情感的景象以及促进这种关系的发展的元素。

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Moira Zoitl & Ralf Hoedt Video - 影像 156

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In their artistic practice Moira Zoitl and Ralf Hoedt mainly deal with issues like migration, gender and (auto)biography, as well as architectural settings and city development. Moira Zoitl’s recent drawings, video and installation works focus on questions of how does a ‘aesthetic of resistance’ look like (scaffold /authoritarian 2011), the re-presentations and self-empowerment of Philippine domestic workers in Hong Kong (Chatter Gardens. Stories by and about Filipina Workers, 2004-2008) and the racial and gendered dimension of migrant labor in the global context ( In winter it’s cold outside, 2006. Centrifugal force 2010). Both artist use manifold forms of documentary practice. Zoitl tries to entwine with her own person into the narration, like in “Centrifugal force”, by bringing the story of a migrant fleeing out of its abstract alienation. While Hoedt puts up a system of documentation using different forms of the photography medium in his process (and usually over a period of several years): photos, material from magazines, visual reference material from various publications. His visual analyses refer to a politics of pictures and gazes that he picks up, inscribes in his work, and at the same time subjects to analytical and critical comment (e.g. corporate identity01_ case Olivetti, 1996 – 2006). 160

在他们的艺术实践中，莫雅拉·左依特和拉尔夫·赫特主要是致力于移民、性别和（自）传记、以及建筑设置和城市发展等问题。莫雅拉·左依特最近的绘画、影像和装置作品重点关注如何体现“抵抗美学” （《断头台/独裁者》2011年），在香港的菲律宾家政从业人员（《啾啾的花园，菲律宾工人自己的故事》2004-2008年），以及在种族与性别方面的和国际劳务问题（《在冬天，外面很冷》2006年，《离心力》2010年）。两个艺术家利用多种形式的纪录片进行创作。左依特尝试将自己带到叙事，比如在作品《离心力》中，她为这个故事带来了流浪者抽象的异化感。同时在这一过程中，赫特呈现了不同媒介的摄影形式（通常需要数年的时间）：照片、从杂志上取下的材料、从各种出版物的视觉参考材料。他的视觉分析是指他在作品中选取的图象政治并同时经得住分析和批判性评论的洞见（如《身份企业案例01——奥利维蒂，1996年 - 2006年）。

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Anne Zwiener Prints & Animation - 版画和动画 162

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China is experiencing simultaneously, a revival of ancient culture and craft and at the same time, a rapid change into a future where modern industry, architecture, technology and western influence dominate. This creates a peculiar ambivalence in a city like Beijing, where the elements of this juxtaposition co-exist awkwardly. Villages, mainly at the outskirts of Beijing, survive containing life on a small scale. Humans still coexist with farm animals, carts, little shops and markets, without the convenience of proper plumbing, water supplies, sewerage or heating. Nearby can be found the revival of artistic communities, which require cheap space and low cost living conditions. These villages and artist communities tumble before the ongoing advance of modern development. Where does this development lead? How will it effect the environment? What longterm effect will this fast-paced modernization have on the soul of the Chinese people? My work draws attention to these contradictions. My impressions and interpretations of today’s Beijing inform my artworks and give them my personal mythology. These are 166

the impressions of a visitor, collecting fragmented images and projecting them from my own perspective. 中国正在经历古老的文化和工艺的复兴，现代工业、建筑、技术迈向未来的急速转型，和西方主导地位的影响。在像北京这样一个城市将创建一个奇特的矛盾，这些并列的元素尴尬地共存。村落，主要集中地生存在北京郊区，麻雀虽小五脏俱全。人类依然与农场动物、推车、小商店和集市共存，没有正规管道工程、自来水、污水处理或暖气带来的方便。附近可以找到文艺社区的再次流行，这只需要廉价的空间和低成本的生活条件。这些村庄和艺术家社区的翻滚之前的持续推进现代化的发展。这？它将如何影响环境？这个快节奏的现代化的中国人的灵魂有什么长期影响？我的工作提请注意这些矛盾。我的印象和解释，今天的北京，通知我的作品，我给他们个人的神话。我对今日北京的印象与阐释灌注我的艺术作品，并赋予它们我的个人神话。这是一个游客的印象，收集分散的图像和投影他们从我自己的角度并从我自己的角度投射图像。 167

Special Feature

animation, coding & algorythmic work

dextro

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Still images from dextroâ&#x20AC;&#x2122;s animations. 171

on non-linear processes and non-objective visuals all algorithmic works on dextro.org are based on non-linear mathematic scripts, meaning that the variables used are attributed a fixed numerical value only at the beginning, and as the calculations proceed the results of one iteration become the starting values of the next. like in nature, these processes refer to themselves: their current state is based upon their past, and movements resulting from them are dynamic. (it is not possible to predict where an object will be after a certain number of iterations, you can only find out by running the script.) unlike in nature, these non-linear processes are entirely repeatable: since the script is only calculated to the 4th decimal place (and even if it was to the 1000th decimal place) it will behave in exactly the same way whenever it is restarted, whereas any process involving real atoms does not. (whether this is merely due to a lack of information is still subject to debate among physicists.) one similarity between the two, however, is: when three or more equations are interlinked with each other their results start to show unex-

pected and counter-intuitive properties. artifacts appear, and disturbances, and the more equations are used, and (even more important) the more they are interlinked, the more so. it is such ripples of the uniform that i try to amplify them, and show them on dextro.org as animations, videos and images. (by the way, “non-linear” is not the same as “fractal” or “chaotic”: while all these animations are non-linear, only some are chaotic (meaning that consistency is enabled by constant feedback and repeated corrections instead of fixed paths) and none are fractal (meaning that their shapes and paths are similar to themselves at different sizes).) the algorithmic works on dextro.org can be divided into particle animations and self-generating images. while their scripts can be similar or even identical, the difference lies in the fact that in the latter the objects leave a print of themselves wherever they are moved by the script and by doing so paint an image. (in macromedia director, the software i use for programming all these works, this function is called “trails”.) usually all objects in such an animation, be it a particle animation of a self-generating image, obey

the same rules, and only their position leads to their different paths. like in a flock of birds or a school of fish individual behaviour only results from applying identical rules to different situations. floating in time: while a film or video (and in most cases a flash animation, too) is based on a timeline, the kind of animations i make has only two frames: in one the variables are defined and attributed a value, and in a second one the calculations are performed. frame one will be passed only once when the animation is started, and after that frame two will be passed repeatedly, in a loop. this way numeric values change constantly, and it is possible to influence them at any time, for example through combining them with the xand y-coordinates of the cursor (which we call “interaction” then). whenever a script is too complex to be run in real-time on the viewers pc, i pre-render it and publish it as video. in this case there cannot be any interaction, and linearly (or circularly) changing numeric values are used instead. typically, such videos show different movements than the corresponding animations, since the images (the frames of the video) they consist of, are not building up but are already finished, and only the different parameters in the script lead to movement. programming such animations is not so much a target-oriented process as one might expect. of course there has to be a clear idea at the beginning, but then, in the process of programming it, other aspects become more interesting. my attention then shifts from translating real-world observations into code to experimenting with the code itself. this is not so much my choice as it is a necessity, since all numbers have to be kept within certain boundaries: first, i want the objects to stay within the format of the animation, but i also want the interesting aspects of it to be in a certain size, and not become too small or too big to even see them. since the numerical window, that i have to find for each variable, can be very small, and since

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all variables affect one another, programming an animation like this is very time-consuming: i have to watch it run for a long time to make sure it behaves as i want it to. my intention when creating interactive animations has always been to enable the viewer to take part in the process, so every script has to offer a certain amount of variety, that can be triggered by interacting with it. it should be predictable, but not too much. the challenge is to enable diversity while avoiding randomness. in my opinion these scripts can only partially be created intentionally, partially they can only be found, discovered. when finished, they are very short (yet interlaced), shorter than we might expect judging from the intricacy of the shapes and movements they produce. they are surely shorter than they would be if programmed in an aim-oriented manner (if it is at all possible, which i doubt). one way to understand how these scripts work is to imagine magnetic fields: invisible points apply attraction or repulsion to the visible ones, according to their distance or angle. when such images slowly build up by repeatedly moving thousands of objects (usually just one pixel in size, and with 2% transparency) from their random starting positions, it is like scattering magnetic dust onto a set of magnets: the dust will settle down on certain areas, and avoid others. indeed images like the ones from the “k456”series are visualizations of force fields, the difference to magnetic fields being their ability to interfere with one another in more complex ways (usually defined by trigonomic functions), which is why the resulting images don’t resemble photos of iron powder in magnetic fields. yet their forming principles are the same... it is my aim to keep the animations and videos relatively simple, so that viewers can, to some extent, still understand their underlying principles, and be it only through their subconscious. this way not only aesthetic preferences can be shown and shared, but an understanding of mechanisms can be conveyed, mechanisms that can be found in nature and in our mind. 173

while a single image can only show one possible application of its forming principles, an interactive animation can, through the variety it offers, show these principles much more directly. for that, an intuitive approach has to be enabled. i try to ensure it by avoiding addressing the rational mind of the viewer, which is why i don’t offer any concepts

can easily be translated into words and diagrams (which could one day result in a (hardware) video synthesizer). this diagram visualizes the script of the “k456”-series. (the icons in it are fictional and don’t comply with technical standards.) selecting from overabundance: working with algorithms is, in my eyes, a good way to overcome creative limits. every script defines a frame for possible behaviours set up during the process of programming and observing it. once it is finished it yields an abundance of more or less different images, from which i can then choose. visual solutions that i would otherwise not even think of are now presented to me and i can choose from them. most of these images i will 174

and explanations of the works on my site, nor information about my person.

translations: the scripts used in the animations on dextro.org

never use, but making these decisions is something completely different than not thinking of them at all (comparable to carving a figure out of stone, as opposed to modeling it with clay): i intentionally discard them, i knowingly exclude everything that doesn’t match my way of expression, thereby making it more precise. dextro.org exists since 1994 and shows non-objective graphic design experiments, algorithmic animations, videos, photos and paintings. turux. org, a project i started in 1997, was entirely dedicated to interactive animations. most of it is integrated into dextro.org now. Text a graphics by dextro. 175

Special Feature

Czech Artists

Veronika Vlková & Jan Šrámek with Video & Prints

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If we wanted to describe the common working space of Veronika Vlková and Jan Šrámek, we might suggest seeing it as broadening the field of animation. The artists approach it from separate angles, thought the two have much in common, including having graduated from the Faculty of Visual Arts of the Technical University in Brno (he in 2009, and she a year later). Over the course of the last few years Vlková’s work has matured, arriving at a complex working methodology where everything unfolds from narrative, offering a rich array of forms: paintings, mostly watercolor; as well as objects, installations and videos. We may assign attributes such as delicacy, lyricism and fantasy to her work. Šrámek’s work, on the other hand, connects several leitmotifs - above all, apartment blocks with flora and (mostly winged) fauna presented with an almost autistic concern for detail. His unmistakable working style relies on a highly developed sense of the possibilities of vector graphics, which also allows him a place in the Czech and international VJ scene. In the past, Vlková and Šrámek have tried many different forms of collaboration, with the idea of broadening their creative potential. For example, collaborations with, Radoslav Zrubec and Vojtěch Vaněk, among others, focused their interest on objects and installations. In the past year, they have arrived at the point where their work has become increasingly intertwined, culminating in a VJ set by the group Teve, also first presented at Školská 28. Šramek has made use of his previous collaboration with Vojtěch Daněk in the animation, combining elements of vector graphics and bitmap backgrounds. The basis for the play of deconstructive animation was provided by Vlková’s watercolors, which often bear motifs of elemental natural material such as water, stone (crystal), or fire. From remixes of found visual „samples“ Vlkova and Šrámek have proceeded to real 178

collaborative animation work, resulting in the short film Bubi which received first prize in the category of „best non-narrative/experimental film“ at the Anifest Festival this year. Visitors to the exhibition will be able to view this animation in a different context than the jury and spectators at Anifest. Jan Zálešák 若是想形容一下薇若妮卡·沃尔科娃和杨·什拉梅克的交集，我们可能希望将其视作一个对动画领域的延展。两位艺术家先后从布尔诺技术大学视觉艺术毕业。在过去的几年里沃尔科瓦的创作已经成熟，达至一套复杂的工作方法，一切从叙事展开，提供了一系列丰富的形式：绘画，装置和影像。我们可以替她的作品归类一些属性，例如精致、抒情和幻想。什拉梅克的作品，另一方面，连接了多个主旨—— 最重要的是，用一种对有翅动物和植物群的公寓楼的细节近乎神经质的关注。他精确无疑的工作作风，依赖于他高度发达的矢量图可能性的意识，这也使他在捷克和国际VJ舞台上有一席之地。为了拓宽他们的创造潜力，沃尔科娃和什拉梅克用了几年时间去尝试许多不同形式的合作。例如，如拉多斯拉夫·祖鲁贝茨和沃伊捷赫·瓦涅克等其他艺术家合作，其中包括他们感兴趣的现成品和装置。在过去的一年中，他们已经到达的地步，他们的作品变得日益紧密地联系在一起，在Teve的一集VJ活动后解散，同时也是第一次在Školská 28画廊展出。什拉梅克把他与沃伊捷赫·丹涅的合作动画利用了起来，并结合了矢量图和位图背景的元素。沃尔科娃的水彩画往往承载了天然材料例如水，水晶石，或火的图案，它为这部解构主义动画提供了基调。从对采集的视觉“样本”进行混合起家，如今沃尔科娃和什拉梅克已开始进行真正的动画作品联袂创作。今年的捷克 Trebon 镇每年一度的AniFest动画节上，他们凭借短片《布比》获得“最佳非叙事性/实验电影”单元一等奖。与AniFest的陪审团评审委员会和观众不同的是，本次展览的观众将置身另一种语境里观看这部动画。 179

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Special Feature

How to open a museum

a workshop with CAFA city design school students & Today Art Museum Andreas Zingerle & Linda Kronman

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During a 3 month artist in residency (September-December 2011) at Red Gate Gallery in Beijing, China, we conducted a research, how to “open museums” with the help of digital technologies. As an outcome of the residency we published the book “Opening Museums – new interaction methods for future museum experiences”. As a part of the research we organized a workshop in collaboration with Central Academy of Fine Arts (CAFA) City Design School and Today Art museum. In this this book we acknowledge that the role of museums are changing, we address visitors as participants rather than passive consumers and recognize that a manifold of visitors need diverse approaches to engage with museums. Owing to our backgrounds in interaction design, new media production, digital media art and participatory art & design, we approach the theme of “opening museums” from a point of view where digital technologies can be used as tools to facilitate vistor-museum and visitor-visitor interaction. When exploring “new interaction methods”, with the word “new” we refer to emerging practices in museums that encourage openness. On one hand we as184

sociate the term “interaction methods” to interactive technologies and suggest how museum visitors as users can intervene in computing processes through various interfaces. On the other hand we look at “interaction methods”, as in how to encourage visitors to become interactive participants, following the theory that human communication is based on dialog and exchange. And the last part of the title “for future museum experiences”, attributes to the 20 design concepts presented in this book, the aim to enhance openness in museums. All in all this book reflects on how attitudes in museums are changing, how visitor expectations are changing and how we as designers, considering both opportunities and challenges of digital technologies, can design for these opening institutions and their visitors. We included a design workshop into our research process to acquire understanding of how young Chinese designers reflect on museums and their possibilities to open up as institutions through more interactive and participatory practices. China, with its continuously changing and developing view on art and cultural heritage, offered us an interesting playground to explore our ideas and attitudes with these young designers.

在中国北京红门画廊为期3个月的艺术家驻地创作期间（2011年9月），我们进行了一项研究，如何在数码技术的帮助下“开放美术馆”。作为这次驻留计划的一项成果，我们出版了《开放博物馆 - 未来博物馆的新交互方式法》一书。作为研究的一部分，我们与中央美术学院城市设计学院和今日美术馆合作举办了一次研讨会。我们在这本书中承认，美术馆的角色正在发生变化，我们把观众当作参与者对待，而不是被动的消费者，并且我们认识到，不同的的观众需要通过不同的途径来与美术馆建立联系。在从事过交互设计，新媒体制作，数字媒体艺术，参与艺术与设计的背景下，立足于数字技术作为工具这一观点，以建立起观众与美术馆、观众与观众之间的互动关系为目的，我们找到了“开放的美术馆” 这一主题。在探索“新交互方式”的这个“ 新”时，我们强调促进美术馆开放性的新型实践。一方面，我们将“互动方法”与互

动技术联系起来，并旨在建议美术馆的观众作为用户通过各种接口介入计算程序。另一方面，我们寄希望于如何利用“交互方法”，鼓励参观的人们成为互动的参与者，因为理论上人际交往的基础是对话与互通。最后一部分的题目是“未来博物馆” ，在这本书中提出的20个设计属性的概念，目的是加强在博物馆的开放性。在这本书反映了博物馆的态度正在如何发生变化，参观者的期望也在不断地变化，作为设计师，同时考虑到数字技术的机遇和挑战，我们可以围绕这些开放的机构和他们的受众进行设计。美术馆作为一个需要更多互动性和参与性实践去打开其诸多可能性的机构，中国年轻设计师如何对它作出反应？这需要我们如何去理解？我们在研究过程中就包含了以此为核心的设计研讨会。中国，随着她的不断变化和发展的艺术和文化财富，为我们提供了一个有趣的园地，与这些年轻设计师一起去探索我们的想法和立场。 185

Human Images New documentaries China Hongkong Taiwan Looking back to the roots of New Documentaries/ Independent Films: Since their formation towards the end of the 1980s Independent Film directors have produced films, investigated a new film language and created new styles to base their work on. Independent Films share some common qualities: They are produced outside the state system, with low-budget, they engage socially, document individuals stories and realities and they don`t go through the common censorship program. In September2011 the BNYFF Beijing New Youth Film Festival was organized to give credit to Chinese Independent Film productions. As a part of the program Karel Dudesek Co-founder of ASAP and Sarah Linder Film Coordinator of ASAP were invited to show 9 films from Austria in an Austrian selection. During the BNYFF the idea was born, to show Chinese Independent Films to an audience in Austria. In June 2012, the program Human Images New Documentaries China Hongkong Taiwan was realized in Salzburg. The works of 13 documentary film directors were shown. The film program opened new context a way to learn more about films directed in an East Asian environment, contributing to a more diverse opinion building process among the people in Austria. During the festival the audience not only had the chance to discover independent films, as an important part of contemporary visual culture in China Hongkong and Taiwan, but also did meet and interact with people who are connected to film, arts and the intercultural community building projects between East Asia and Austria. Independent Films will be shown again in Austria next year, providing individual points of view on the reality of people’s lives. In 2013 ASAP will collaborate with CIFA, the Chinese Independent Film Archive and Zhang Yaxuan, for the organization of 2 Austrian screenings of the AIFB, Asian Independent Film Biennial project. The AIFB is intended to show Asian creative films in Europe. The first edition will take place in spring or autumn of 2013. The Program will especially focus on independent films made by 186

Special Feature

young filmmakers coming from East Asia and South-East Asian. The Selection will include different formats from fiction, documentary, to experimental and animation works. ASAP intends to present the AIFB in collaboration with cinemas in Salzburg and Vienna. Michael Bilic, director of DAS KINO and CoOrganizer of Human Images about the festival: Films can be doors to the world. German film theorist and cultural critic Sigfried Kracauer saw in cinema a mirror of social conditions and desires. Up to the Human Images film series it was rarely possible to show independent Films from East Asia in Das Kino. That`s why it was a meaningful opportunity to organize this film festival in Salzburg. The films invited the audience to dive into microcosms of hopes and dreams and allowed precious insights into people`s sociopolitical realities. Each film offered a unique chance to learn more about a different and new world and motivated to open up the own cultural field of vision, interact and discus. CNEX International Green Campus Tour 2011/2012 During term 2011/2012 ASAP could partner up for the first time with CNEX for the International Green Campus Tour. Our daily bread an Austrian documentary shown during the BNYFF in 2011 was invited to join the program of the CNEX International Green Campus Tour. Our daily bread was shown at Universities in Wuhan, Xi`an and Hefei where it fitted perfectly to this years theme of the Campus Tour: Environmental Protection Low Carbon Emission Sustainable Lifestyle. Feedbacks of the students have shown that the screenings of Our daily bread had stimulating effects on them. Thanks a lot to Nikolaus Geyrhalter Filmproduktion GmbH and Silvia Burner, for their agreement to show Our daily bread. Amy Liu from CNEX commented on the film: Food hygiene und food security in China comes thick and fast. The documentary Our Daily Bread showed different advanced food industry scenes. Some students in the audience were amazed by the efficient modes of production; others started reflecting on the philosophical relationship between food and human beings, worrying about the highly industrialized modes of production.

Chinese Film Festival

MENSCHENBILDER

中国，香港，台湾新纪录片 • 2012 年6月6号到17号 • 斯尔斯堡电影院 DAS KINO

6.—1– /. Juni 2012 DAS KINO| Salzburg Austro Sino Arts Program ASAP und DAS KINO bringen 14 Dokumentarfilme aus China, Hongkong und Taiwan nach Salzburg. Chinesische Kultur ist im österreichischen Alltag bereits verankert und gestaltet in vielen Bereichen unser Leben mit. Zentrale Idee von Menschenbilder ist, Einblicke ins tägliche Leben von Menschen zu geben und die ambitionierten Arbeiten von unabhängigen DokumentarfilmregisseurInnen aus China, Hongkong und Taiwan vorzustellen. Das Rahmenprogramm schafft Raum für Begegnungen und Gespräche zwischen Menschen aus Österreich, China, Taiwan, Hongkong, Hip-hop Clubbing, Teezeremonie im eigens für die Menschenbilder eingerichteten „Teehaus“ im 1. Stock von DAS KINO. 奥地利中国艺术项目, 斯尔斯堡电影院 DAS KINO 为您展现中国, 香港, 台湾的新纪录片。共有14部纪录片。每部纪录片都采用了独特的视角来展现不同人群的日常生活。放映之后观众可以参加工作室进行讨论、交流活动, 让中西方影视爱好者彼此交换不同的观点和看法。在斯尔斯堡电影院 DAS KINO 的一楼有个«茶馆»可供大家饮茶, 聊天。人类图像将与北京新青年影像年度展、CNEX合作为您展出。 DIE REGISSEURiNNEN

导演

Ji Dan 季丹 · Fan Popo 范坡坡 · Li Dong 李栋 Lin Hung-Chieh 林宏杰 · King Wai Cheung 张经纬 · Zhu Jie 祝捷 Li Junhu 李军虎 · Pan Zhiqi 潘志琪 · Qiu Jiongjiong 邱炯炯 Feng Yan 冯艳 · Wen Hui 文慧 · Su Che-hsien 苏哲贤 Zheng Kuo 郑阔

Eine Kooperation zwischen Austro Sino Arts Program ASAP und DAS KINO bringt 14 Dokumentarfilme aus China, Hongkong und Taiwan nach Salzburg.

1 SALZBURGER FILMKULTURZENTRUM

Förder DAS KINO

Unterstützer der Dokumentarfilmreihe

UNIVERSITÄT SALZBURG China-Zentrum Chinese Studies Center

Die Filme werden mit freundlicher Unterstützung von Beijing New Youth Film Festival und CNEX präsentiert.

studio west

ASAP Chinese Film Festival in Salzburg. Organized by Sarah Linder in collaboration with Das Kino. ASAP 在萨尔茨堡的中国电影节。在与达斯基诺合作组织由萨拉·林德 187

With thanks to all supporitng institutions and individuals. Sarah Linder, ASAP Film Coordinator and Organizer of Human Images Filmfestival.

人类图像

——中国大陆及香港、台湾地区的试验纪录片。回顾试验纪录片／独立电影的根源：从它们的形成一直到20世纪80年代末，独立电影导演拍摄影片探寻新的电影语言，同时创造新的风格以承载它们的创作性。独立电影拥有一些共通的特质：它们在标准系统外生产，低预算运作，融入社会，纪录个体的故事和现实，并且不经过普通的审核程序。 2011年举办的BNYFF新北京青年电影节对中国的独立电影给予了肯定。作为这个项目的一部分，ASAP合作创办者卡瑞· 杜德赛科和ASAP电影合作者莎拉·林德应邀展示了9部选自奥地利实验电影。并在此期间萌生了将中国独立电影展示给奥地利观众的想法。 2012年六月，名为“人类图像：中国大陆及香港、台湾地区的试验纪录片”的项目在萨尔斯堡拉开了帷幕。13位纪录片导演的作品在此展映。这个电影项目打开了一个新的背景，开辟了一条新的道路以学习更多在东亚环境中导演出的电影。它为奥地利的观众展现出了多样的观点建立方式。展映期间，作为中国香港和台湾最重要的一部分视觉文化，观众在有机会体验独立电影的同时，还能和从事电影、艺术以及在东亚和奥地利不同文化社群之间建立项目的相关人士相遇和互动。明年，独立电影还将在奥地利展映，并提供一些关于人们现实生活的个人视角。2013 年，ASAP将与CIFA（中国独立电影档案）以及张亚轩（音译）合作，为AIFB（亚洲独立电影双年展）组织两个奥地利展映。AIFB致力于在欧洲展示亚洲具有创造性的电影。第一版将在 2013年的春季或秋季举行。这个项目将主要目光投向来自东亚和东南亚年轻电影制作人的独立影像作品。将挑选出从虚构、纪实到试验和动画不同类型作品。ASAP希望和萨尔斯堡和维也纳的影院一起合作展示AIFB项目。迈克尔·比利克，DAS KINO总监和“人类图像”电影节的合作组织者：电影能成为通向世界的大门。德国电影理论家和文化批评家克拉考尔（Sigfried Kracauer）把影院看作反映社会现状和欲望的一面镜子。在“ 人类图像”系列电影之前，很难有来自东亚的独 188

立电影在Das Kino上映。这些电影邀请观众跃入希望和梦想的微观世界里，让宝贵的洞察力介入到了人们的社会政治现实中。每一部电影都提供了同等的机会，让观众去领悟一个不同的，全新的世界。并鼓励他们去打开打开一片自己的视觉、交互和探讨的文化领域。 CNEX 国际绿营巡回展2011／2012 2011／2012季度期间，ASAP第一次有机会和CNEX合作组织国际绿营巡回展。我们在 2011BNYFF期间放映的奥地利纪录片《我们每天的面包》（Our daily bread）应邀加入到了CNEX国际绿营巡回展之中。《我们每天的面包》曾在武汉、西安和合肥的大学中展映。它恰好迎合了今年这些地方的校园巡回主题：环保低炭可持续生活方式。从展映上学生们的反馈来看，这个作品的展映对他们确实产生了积极的影响。感谢葛霍特电影公司（Nikolaus Geyrhalter Filmproduktion GmbH）和西尔维亚·布尔勒同意我们放映《我们每天的面包》。来自CNEX的艾米·刘评论说：食品卫生和安全问题在中国非常突出。纪录片《我们每天的面包》展现了不同食品加工产的景象。观众中的一些学生被高效的生产模式所震惊，还有一些人开始反思人与食品之间的哲学关系，开始担心高度工业化的生产模式。在CNEX和圣丹斯电影节跟进项目的协助下，纪录片《未完成的空间》得以在中国展映。这个纪录片以一个古巴学校为中心，勾画出了在政治动荡和社会变革时期，建筑师在坚持艺术自由时的努力。通过这部影片观众可以领略古巴建筑的魅力，以及从古巴革命再到中国文化大革命的联盟。它展现了对于那些在政治动荡时期仍然坚持艺术创作自由的艺术家们的赞美。感谢所有支持该项目的机构及个人。

CARD BOOM Year / 完成年份: 2007 Director / 导演: Lin Hongjie Lenght / 时长 : 32 min Language / 语言: Chinese / 中英 Subtitles / 字幕: Chinese and English / 中英文字幕

COLD WINTER / 暖冬 Year / 完成年份: 2011 Director / 导演: Zheng Kuo Lenght / 时长 : 102 min Language / 语言: Chinese / 中英 Subtitles / 字幕: Chinese and English / 中英文字幕

In Taiwan, each month some 40,000 people on average become “card slave” as a result of failing to meet credit card payment. Some people pay off one card with more cards, but end up unable to meet all his debt obligations. Pressed by heavy debts, the living standards of card slaves make a dramatic turn for the worse. The film traces the consumption experiences of two extreme individuals, and takes the audience on a tour to explore the credit card phenomena in Taiwan.

From the end of 2009 to early 2010, some of the art districts near the 798 Art Zone in Beijing suffered violence strong remove. Artists’ stand fast, struggle, hesitation and infighting all put on the stage in the extremely cold winter. 2009 年底到2010 年初, 798 周边的一些艺术区遭遇暴力强拆, 艺术家们的坚守、抗争、彷徨和内讧, 都在那个极其寒冷的冬天上演。

“卡神”和“卡奴”两种极端的经济个体的消费经历, 带领观众一同探寻台湾现有的信用卡现象。 ASAP FIlm coordination by Sarah Linder sarah.linder@austrosinoartsprogram.org 189

TAXI / 移动之外 Year / 完成年份: 2007 Director / 导演: Zhu Jie Lenght / 时长 : 32 min Language / 语言: Chinese / 中英 Subtitles / 字幕: Chinese and English / 中英文字幕 “To learn about a city, you learn about its taxi drivers first.” This is a very common but quite representative vocation. They come to contact with the largest number of people and are most familiar with urban life. This film describes money and life in the eyes of taxi drivers in five representative metropolises in the Greater China Region—Beijing, Guangzhou, Hong Kong, Taibei and Singapore, and in two characteristic small and medium-sized cities—Chengdu and Dieling.

BRAVE FATHER / 父亲 Year / 完成年份: 2007 Director / 导演: Li Junhu Lenght / 时长 : 48 min Language / 语言: Chinese / 中英 Subtitles / 字幕: Chinese and English / 中英文字幕

In China many parents are sacrificing everything to see their children graduate successfully from university in order to obtain highly paid jobs. Han Peiyin has sold off all the family’s home valuables and now works in Xi’an to make the money for his son, Shengli, to attend university. For years, Han, carried a notebook in which he recorded all of his loans - mostly small amounts such as 10 or 20 RMB. Han is convinced that knowledge has the power to change destinies 当你想了解一个地方, 搭个出租车吧。无论你在 and expects his son to be successful. 什么地方、什么城市。北京、成都、台北、香港、新加坡, 故事就在车窗之外移动之中展开。 “我儿胜利要在2013前后, 也就是父亲的60岁前后, 咱们全家到北京好好的玩几天, 那时候。。咱们大家都很有钱” 。。。 190

KJ / 音乐人生 Year / 完成年份: 2008 Director / 导演: King Wai Cheung Lenght / 时长 : 92 min Language / 语言: Cantonese/ 广东话 Subtitles / 字幕: Chinese and English / 中英文字幕

HIP-HOP STORM/ 街舞狂潮 Year / 完成年份: 2009 Director / 导演: Su Che-hsien Lenght / 时长 : 80 min Language / 语言: Chinese / 中英 Subtitles / 字幕: Chinese and English / 中英文字幕

KJ is a 17-year-old music prodigy from a well-todo family, and lives an inexhaustible life provided by his doctor father. At the age of 11, he won his Best Pianist title at the Hong Kong Interscholastic Competition in Music and the opportunity to play Beethoven’s Concerto for Piano No. 1 with a professional orchestra in Czech. However, in the mind of the young talent, he began to question incessantly about his life, about “why piano?”, and “what is in life, if not music?”

This is story about two generations of hip-hop dancers. “I’m 34 and still dancing. I’ll dance until I win,” says Alun. Dancing is his life; it’s in his blood. During the 90’s, when Taiwan was just liberated from authoritarian rule, and despite disapproving looks and pressures from a traditional society, Alun formed the first Taiwanese hip-hop group, “The Party”. Due to various reasons, the group eventually disbanded and the members went their separate ways. But for Alun, the hip-hop journey continues 今年他17岁了, 就实际音乐成绩而言, 例如奖项以 because for him “as a dancer, I have to challenge 及演出机会, 他没有太大进展, 其中有两年他更 myself otherwise I’ll always have regrets.” 停止了钢琴演奏。有时他并不快乐。。。这不单单就一个功利层面而言, 黄家正所思考的不止这是一部关于两个街舞世代的纪录片。 34岁的于此。阿伦与高三的八个小孩, 都怀着对跳舞的热血与梦想。 191

BE AWOMAN / 舞娘 Year / 完成年份: 2011 Director / 导演: Fan Popo Lenght / 时长 : 80 min Language / 语言: Chinese / 中英 Subtitles / 字幕: Chinese and English / 中英文字幕

WHEN THE BOUGH BREAKS / 危巢 Year / 完成年份: 2011 Director / 导演:Ji Dan Lenght / 时长 : 148 min Language / 语言: Chinese / 中英 Subtitles / 字幕: Chinese and English / 中英文字幕

A group of migrant children have grown up next to a rubbish dumpsite in Daxing in the southern suburbs of Beijing. As high rise buildings begin to encroach upon their shanty settlement and threaten to swallow up their makeshift hut, the children are faced with a predicament. Should they continue their studies or submit to the early onset of adulthood? As they try to come to terms with their fu在西南一隅的南宁市, 有著全国最大的反串演出 ture and the limited choices before them, they be团体。演员们都有着自己精彩的人生故事。。 gin a struggle to fight against their fate. 。在北京南郊大兴, 垃圾坑边长大的孩子们。当楼群蔓延过来, 即将吞噬他们风雨飘摇的小屋时, 他们也正面临升学和成年的人生岔路。面对狭窄而迷茫的未来, 他们开始了与宿命的抗争。 On Gonghe Road in Nanning, a city located in southwestern China, there is a bar called OnlyLove, where luxurious merry-making happens every evening. Gorgeous apparels, glittering stage lighting, tempting dancing...behind their sophisticated performance, what life stories do these drag queens hind?

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BINGAI / 秉爱 Year / 完成年份: 2007 Director / 导演:Feng Yan Lenght / 时长 : 114 min Language / 语言: Cantonese/ 广东话 Subtitles / 字幕: Chinese and English / 中英文字幕

EIGHT-INGREDIENTS PORRIDGE / 八宝粥 Year / 完成年份: 2010 Director / 导演: Li Dong Lenght / 时长 : 62 min Language / 语言: Chinese / 中英 Subtitles / 字幕: Chinese and English / 中英文字幕

With the completion of the Three Gorges Dam, now under construction, 1.13 million people along the Yangtze River will have been dislocated. The majority of them are farmers. BINGAI features one woman farmer who refuses to move away from her village. The audience will follow her seven-year struggle with officials who pressure her to relocate, while a strong devotion to her land compels her to remain in the place she calls home.

In this film director Li Dong turns his camera on his cousin Brother, a worker who relocated to the city years ago to make it big. Brother went into the used car business after getting laid off as a driver .His wife works in a Japanese leather factory and comes back home very late at night. The brother ‘s girlfriend brakes up with him and his second had car business doesn’t bring in money either...

经过15年的建设, 到明年, 2009年, 三峡大坝即将完工。这个号称世界最大的水利工程背后有无数个数字, 其中包括多少个县市区被淹没, 多少人要迁移。秉爱是否是官方公布的那113万移民当中的一个？那里有一种个人命运在反对国家意志, 或某种权力意志的胁迫和改变时, 所表现出来强悍的道德力量。从另一个角度, 它又有一种美, 因为它呈现了一个人想要活着的尊严。

影片中哥已经在城里溷了很多年了。因为房贷的压力和城里较大的花开销, 哥把女儿留给村子里的父母看养。以前他给人开过车拉过货, 后来因为赔了钱转行贩卖二手车。嫂子在一家日资皮革厂里上班, 每天晚上很晚回家。哥在外面认识了一个女孩小倩。年底, 小倩提出要和他分手。手里的二手车也没有卖出去, 哥找人算命, 算命的说他应做食品生意。 193

ALL IS RIGHT WITH THE WORLD / 歌舞升平 Year / 完成年份: 2007 Director / 导演: King Wai Cheung Lenght / 时长 : 73 min Language / 语言: Cantonese/ 广东话 Subtitles / 字幕: Chinese and English / 中英文字幕

LOST WALL / 迷墙 Year / 完成年份: 2010 Director / 导演: Pan Zhiqi Lenght / 时长 : 81 min Language / 语言: Chinese / 中英 Subtitles / 字幕: Chinese and English / 中英文字幕

No country in the world is without poverty, capitalist or communist. Affluent Hong Kong is one of the largest financial centers around the world. According to a 2006 research by the World Development and Economy Research Institute of UN University in Finland, 1% of the richest adults in the world own 40% of global wealth, while the poorer half of the global population merely owns 1% of total wealth. In Hong Kong, the wealth gap the 5th highest globally.

Xiao Zhang (Zhang Jianqiang) is born to be blind and brought up by his single parent. He is anxious and depressed. He is working in his friend Yutou’s Massage Shop with his girlfriend Zhao Rong. He is anxious and worried about the ambiguous relationship between his girlfriend and Yutou. Confuse and love tangle seem like an invisible wall, which torture Zhang. Documentary “Lost Wall”expresses a spiritual course of Xiao Zhang gradually set himself free from the complicated love.

2007年, 维多利亚港上空, 23,888个贺年烟花背后, 小张（张建强）, 从小双目失明, 父母离异, 忧虑多疑。他和女友（赵榕）在朋友余头的推拿店有著五个贫穷家庭的故事。。工作, 女友和余头间的暧昧关系, 总令张心神忧虑。猜测、迷惑、恐惧象一堵无形的墙, 令张无能摆脱。影片展现了小张从扑朔迷离的情感世界中逐渐解脱的心灵历程。 194

LISTENING TO THIRD GRANDMOTHER’S STORIES / 听三奶奶讲过去事情 Year / 完成年份: 2011 Director / 导演: Wen Hui Lenght / 时长 : 71 min Language / 语言: Chinese / 中英 An eighty-year-old mother and a sixty-year-old Subtitles / 字幕: Chinese and English / 中英文字幕 son aging in step, give a salty and savory account of their epic life journey. An eightyyear- old mother While searching for the memories that the rest of her family has forgotten, director Wen Hui found and a sixty-year-old son aging in step, stumble in what time they have to defend: their own opinions her third grandmother Su Meiling, her father`s aunt. Su Meiling is the only living relative of Wen and their natural gifts. Hui`s grandparents’ generation. No one ever men八十多岁的妈和六十岁的儿共同老去, 有盐有味 tioned Su Meiling until during winter 2011 Wen Hui 的演讲漫长生活史。八十多岁的妈和六十岁的 discovered her in a village in the mountains of Yun儿共同老去, 在光阴中踉跄地捍卫：主见与天 nan, where she reveals the story of her life in front of the camera. 赋。

MY MOTHER’S RHAPSODY / 萱堂闲话录 Year / 完成年份: 2011 Director / 导演: Qiu Jiongjiong Lenght / 时长 : 111 min Subtitles / 字幕: Chinese and English / 中英文字幕

三奶奶名叫苏美玲, 83岁, 面目清癯, 谈吐清晰, 精神矍铄, 身板硬朗。“从大庄讲起么”, 文慧央求道。大庄是这位阿奶的娘家。“小时候玩玩么回去吃吃, 玩玩么回去吃吃”, 阿奶一边说, 一边笑笑。这样混沌的开头, 不知道要将故事引向何方。文慧在一旁耐心地听着, 好像那是最重要的事情。 195

Special Feature

Kunsthaus Alxingergasse

Kunsthaus Alxingergasse, is home to past and present art and artists. A studio and exhibition space is configured on the ground floor. In the future there will be a study facility, library and place for two international residencies for artists and researchers at the 1st floor. The archive area contains art works, photographs, texts, sund recordings and videos by IUPA, Minus Delta t and Van Gogh TV. It is also the administrative base of SewoArtSpace Yogyakarta, the Austro Sino Arts Program and the Austro Indonesia Arts Program in Vienna.

Alxingergasse艺术空间对于过去和当下的艺术和艺术家来说是一个家。它得一层被设置为展示空间和工作室。随着时间的推移，将会在二楼会摆设学习设施：一个图书馆和一个能容纳两位国际驻留艺术家或学者的空间。文档区域储藏着IUPA的一大部分，Minus Delta t and Van Gogh TV，艺术作品，摄影，文本以及影像。它同样也是Yogyakarta Sewon艺术空间、奥地利中国艺术项目、以及维也纳奥地利印尼艺术项目的大本营。 196

New ASAP/ AIAP studio Alxingergasse 26, 1100 Vienna 197

Drawing by Planhaus

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Special Feature

Indonesia

Artists in Residence Sophie Hirsch Erkin Bayirli & Philip Fischer

Austro Indonesian Arts Program (AIAP)

Residencies at SewonArtSpace

The Main Goals of AIAP are: Facilitating collaboration and discourse between Indonesian, Austrian and European artists. AIAP supports the cultural activities of partner organizations within Indonesia, with the purpose of promoting contemporary art of various disciplines. Providing the Yogyakarta community with open access to Austrian and European contemporary arts and culture through a stable venue in which they may engage and build future relationships with Austrian and European artists and art platforms.

SewonArtSpace is offering residency spaces through out the year. 3 artists can comfortable live and work along side each other at the property. Our local staff and English speaking management can provide and facilitate all necessary means for a productive stay. Yogyakarta offers a wide range of local handcrafts. Materials and suppliers are easily available.

SewonArtSpace SewonArtSpace is an official registered foundation (Yayasan) in Yogyakarta, Java. Founding members are Lukas Birk, Karel Dudesek and Dya Soemarno. SewonArtSpace is located Â in South Yogyakarta, in Sewon, Bantul, 10 minutes from the city center. It holds 300 m2 indoor and 700 m2 outdoor space. This includes 5 bedrooms, kitchen bathrooms, office spaces, as well as a work and exhibition studio of 120 m2. The front yard offers an enclosed outdoor area with wall space which extends the indoor studio facility. SewonArtSpace is a fully equipped work, living and exhibition center. 200

Austrian Residency Program The Austrian residency program in cooperation with AIAP is funded by the Austrian Federal Ministry for Culture, Arts and Education and is supported by the Austrian Embassy in Jakarta. Every year, two Austrian visual artists are living and working at SewonArtSpace, Yogyakarta, for a period of 3 months. In addition to these 2 artists with focus on media work are going to spend as well 3 months at SewonArtsSpace. SewonArtSpace contact: Dyah Soemarno +62 856 267 0177 dyahsoemarno@sewonartspace.org www.sewonartspace.org Apply for residency at residency@austroindonesianartsprogram.org 201

Kijang Kijangan

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Sophie Hirsch

Untitled (2012) used plastic rice bags, metal, bamboo, neon lights, dimensions variable The sculpture â&#x20AC;&#x17E;Untitledâ&#x20AC;&#x153; is a sensuous response to materials, exploring how these are perceived and what sensations they can evoke. I was interested in materials that confronted me in everyday life in Yogyakarta, especially those that had seemingly fulfilled their original purpose. The process began in recognizing the potential of such materials, expanding their nature by exploring their possibilities through collecting, breaking, twisting, pressing, spearing, in reconnecting, as in stretching them, thus transforming their original form and function.

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My slow and excessive process worked as an act of balance to the accelerated speed of oversupply in everyday life. The idea of repetition, gravity, tension, balance, and rhythm are addressed in the composition and installation of the work. The large scale of the sculpture investigates a dialogue between the viewer and the work in relation to their physical proportion, encouraging a movement that is triggered by the dynamic flow of materials.

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superViVo

The project superViVo is an eclectic artistic experiment, in the field of new media art and can be situated in the combination of robotic art, bio art and game art. In a playful way it develops, realizes, tests, documents and analyzes ”cybernetic plants” in three adjacent cycles. Three robots are built within the threestage experiment. Traditionally, the legs of robots are mechanic, but in this project they are replaced by branches of fast growing plants. Thus, the plants are expanded by mechanical motor activity on the one hand, and on the other hand the machine is expanded by organic components. Both entities are driven by controversial ‘instincts’: The machine strives to stay in motion, but the plants urge to settle down. By conjoining both, a unit fighting itself is formed. The play ground for this schizophrenics inner conflict is the ´s u p e r V i V o – Arena´. This dramatization determines which of the two artificially constructed, allegedly symbiotic, components succeeds over the other. The playing field is changed according to each act and bears lethal or vital zones for each 206

n t i ce tis n Ar side Re

Erkin Bayirli & Philip Fischer

‘cyborg’. The first robot operates as a walking machine, its organic legs work against the mechanism’s movement by rooting and sprouting. In the second part of the experiment the robot’s movement is influenced by two entities: on the one hand it is steered by community networks, on the other hand it is governed by the organisms, which want to settle down – literally set down roots. In the third act, the manipulation by the community is omitted, which neutralizes its ambivalence and only the plants remain to govern over the robot according to their needs. At SewonArtSpace we perform the Indonesian-Version of the first scene: ´Organism versus Mechanism´. In July 2012 we participated the ‘Cellsbutton #06 – Dark Cells’ Media Art Festival held by HONF (House Of Natural Fiber). We performed three workshops: “Bamboo Tensegrity Kinetics”, “Gardening in Dystopia” and “CellsKiD” a robotic workshop at the SD Kanisius Kenalan Primary School. Also a presentation about our recent projects was held at the architecture school in Gadjah Mada University. 207

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ASAP artist’s curiculum vitae 艺术家简历 210

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The Seal of Virtue Complete by Chuang Tze

In Lu there was a Wang Tai who had lost both his feet; while his disciples who followed and went about with him were as numerous as those of Zhongni. Chang Ji asked Zhongni about him, saying, ‘Though Wang Tai is a cripple, the disciples who follow him about divide Lu equally with you, Master. When he stands, he does not teach them; when he sits, he does not discourse to them. But they go to him empty, and come back full. Is there indeed such a thing as instruction without words? and while the body is imperfect, may the mind be complete? What sort of man is he?’ Zhongni replied, ‘This master is a sage. I have only been too late in going to him.

Franz Amann 1973 born in Feldkirch/ Austria philosophy and art history studies, University of Vienna 2000-04 Academy of fine Arts Vienna, Renèe Green, Marina Grzinic Exhibitions/ Projects 2012 “animals”, antiquarian bookshop chybulski, Feldkirch(A) Nada, Art Cologne 2011 Artist in Residence (bmukk), Beijing (Cn) “Die Farbe ändert nichts an der Funktion”, gallery Emanuel Layr “from erewhon to here knows when”, Schattendorf Biennial (A) “A Conversation”, Forum Stadtpark (Graz/A) (with Misha Stroj) 2010 “the whoevertries committee”, Dis Play Prater Stern “Rookie of Art Bodensee” (Dornbirn/ A) Artist in residence (Land Vorarlberg), Berlin 2009 “in memory of painting 1”, gallery Layr Wüstenhagen, (Vienna) Slide Show “Freie Ornamente/ Freie Radikale”, gallery Layr Wüstenhagen (P) Ja, Panik, record cover Vienna Art Week, The Center of Attention. Art as Sociotopia 2008 “HOMES (Alles ist weg./ In der Provinz”), (stipend Vorarlberg) Artist in residence (Vorarlberg) , Paliano (I) “As Bring Collective”, Künstlerhaus Vienna

I will make him my teacher; and how much more should those do so who are not equal to me! Why should only the state of Lu follow him? I will lead on all under heaven with me to do so.’ Chang Ji rejoined, ‘He is a man who has lost his feet, and yet he is known as the venerable Wang - he must be very different from ordinary men. What is the peculiar way in which he employs his mind?’ The reply was, ‘Death and life are great considerations, but they could work no change in him. Though heaven and earth were to be overturned and fall, they would occasion him no loss. His judgment is fixed regarding that in which there is no element of falsehood; and, while other things change, he changes not. The transformations of things are to him the

Marianne Csáky Born in Hungary, Marianne Csáky currently lives and works in Brussels, Belgium. She has spent longer periods in Korea, China and the US as a resident artist, exhibiting her work, teaching at universities and holding presentations. She uses various media, ranging from photo and video to painting, drawing, sculpture, embroidery and installation. In addition to classical training in art, she studied multimedia design/development and video art, and holds and M.A. in cultural anthropology and literature. Most recent exhibitions include solo shows at VOLTA New York (USA), Institute of Contemporary Art Dunaujvaros (Hungary), Organhaus Art Space Chongqing (China), Changdong Art Studio Seoul (Korea), VideoSpace Gallery Budapest (Hungary) and participations in Art Stays 9 (Slovenia), “Visual Dialogue”, Mingyang Art Centre, Shanghai, (China), “Her Vision” Qi Sheng Art Museum Chengdu (China), and in other exhibitions in Finland, China, Austria, France and Hungary. Her works are included in various public and private collections, such as the collection of the Institute of Contemporary Art Dunaujvaros (Hungary), Lila and Gilbert Silverman (Detroit, USA), Yoko Ono (New York, USA), Arturo Schwarz (Milan, Italy), Somlói-Spengler Collection (Hungary) and Karvalits-Szelényi Collection (Hungary). www.mariannecsaky.be

dextro Christine Cheung Born in Canada is a Berlin-based painter. She received the Joseph Beuys Scholarship during her MFA at the Nova Scotia College of Art and Design. Her work has been shown internationally, and is part of the permanent collection of the Sørlandet Art Museum in Norway. Cheung has taken part in residencies in Norway, Austria, Indonesia, China and Thailand.

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since 1994: dextro.org: abstract graphic design experiments and algorithmic animations 1997-2001: turux.org: interactive animations

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developments prescribed for them, and he keeps fast hold of the author of them.’ Chang Ji said, ‘What do you mean?’ ‘When we look at things,’ said Zhongni, ‘as they differ, we see them to be different, (as for instance) the liver and the gall, or Chu and Yue; when we look at them, as they agree, we see them all to be a unity. So it is with this (Wang Tai). He takes no knowledge of the things for which his ears and eyes are the appropriate organs, but his mind delights itself in the harmony of (all excellent) qualities. He looks at the unity which belongs to things, and does not perceive where they have suffered loss. He looks on the loss of his feet as only the loss of so much earth.’ Chang Ji said, ‘He is entirely occupied with his (proper) self.

By his knowledge he has discovered (the nature of) his mind, and to that he holds as what is unchangeable; but how is it that men make so much of him?’ The reply was, ‘Men do not look into running water as a mirror, but into still water - it is only the still water that can arrest them all, and keep them (in the contemplation of their real selves). Of things which are what they are by the influence of the earth, it is only the pine and cypress which are the best instances - in winter as in summer brightly green. Of those which were what they were by the influence of Heaven, the most correct examples were Yao and Shun; fortunate in (thus) maintaining their own life correct, and so as to correct the lives of others. As a verification of the (power of) the

Fanni Futterknecht

Jorge Fuembuena

Fanni Futterknecht creates performances for a stage context and works with video. Born in Vienna she has been studying visual art at the Gerrit Rietveld Academy in Amsterdam and at the Academy of Applied Arts in Vienna followed by a Masters study in visual art at the Piet Zwart Institute in Rotterdam. Her work began with video installations and evolved from performative interventions in public space to performances that are constructed for a stage context. She is curious to explore the borders between the context of performing arts and the context of fine art. She has previously been invited to participate at the program essai at CNDC in France, a program that researches contemporary performance strategies, and was artist in residence at La Cite International des Arts.

Born in Zaragoza, 1979. Lives and works in Madrid and Nantes.

Her work has been shown at performance festivals as well as in exhibition contexts within Europe. From October 2012 she will stay for a period of 3 months as artist in residence in Shanghai. www.fannifutterknecht.com

Camilo Latorre Camilo Latorre is a young artist from Colombia who lives in Vienna since 2008. He studies piano pedagogy at the University of Music and Performing Arts and social cultural anthropology at the University of Vienna. He composed music for various contexts, including the performance project I almost love you from Fanni Futterknecht, in which their collaboration began. Besides his interest in experimental music his main area of research is in writing reflective text fragments that are situated in the relation between philosophy and literature.

He explores the boundaries of the subject and the fragile boundary that separates the individual from another, and investigates the relationship between human and his environment. He has developed his creative process in Artist Residence Programs such as the Contemporary Art Center in Essaouira (Marroc), the Upernavik Museum (Greenland) or the Noass Art Proyect in Latvia. Fuembuena’s work has attracted many accolades. In 2011, he was awarded with Air Fellowship. Kultuuritehas Polymer. Tallinn, OCEMX Mexique D.F. Prize, Art Generations Caja Madrid 2011 and ARCO portrait Photographer or as well as finalist in both the International Festival Emergent. In 2009, he was announced as the Emerging Artist Award in the St.Isabel of Portugal Art Prize. As well, he was awarded with the Sta. Maria de Albarracin Grant or the Encontro New Artist Grant. His work has been selected in Photoespaña 2011 Festival and nominated in the 2011 European Sovereign Art Prize ( Hong Kong) or Fotomuseum Wintherthur portfolio Review. His work has been published in magazines such as OjoDePez, EFE24, New_Papers, Fanzine 10 X 15, 30y3, 485C; His work has been exhibited both nationally and internationally and is included in public and private collections such as Buñuel Foundation or CDAN.

Sylwia Gorak Oda Fiskum

Master Fine Arts Degree , Academy of Fine Arts , Poznan, Poland Laboratory of Voice by Prof Olga Szwajgier , Krakow, Poland

Elephant in the Room Theatre stared as a group of European and Chinese students from the Beijing Central Academy of Drama gone rouge in 2009. Since then we have done several theatre productions in Beijing, and worked with various institutions here and abroad, including the Beijing Fringe Festival, The Odin Theatre, and the National Theatre of Scotland. For more information about the company, see www. elephantintheroom.me

Exhibitions (selection last 5 years) 2012 “Male Pranie Reczne” Strefa A Gallery, Krakow,Poland “Wystawa Zimowa” Bochenska Gallery, Warsaw, Poland 2011 International Art Fairs , Essen, Germany Contemporary ArtRuhr Essen ,Innovative Art Fairs , Germany Strefa A Gallery, Krakow, Poland 2010 „The Largest Sundial in The World „ Stipend Landeshauptstadt Kulturamt, Dusseldorf , Germany in cooperation with Sandhofer Gallery, Innsbruck , Austria 2009 -”Pink Sapphire „ -individual exhibition of painting BB Gallery, Wroclaw , Poland -SIEGesIKONen / Icons of Victory - transFORM – exhibition of Polish contemporary art

Red Alert is shot and edited by Oda Fiskum (Norway)and modelled by Boryana Trifonova (Bulgaria). Music for the video by Leonardoworx (Italy). Photo and video consultant Liang Anzheng (China).

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original endowment, when it has been preserved, take the result of fearlessness - how the heroic spirit of a single brave soldier has been thrown into an army of nine hosts. If a man only seeking for fame and able in this way to secure it can produce such an effect, how much more (may we look for a greater result) from one whose rule is over heaven and earth, and holds all things in his treasury, who simply has his lodging in the six members of his body, whom his ears and eyes serve but as conveying emblematic images of things, who comprehends all his knowledge in a unity, and whose mind never dies! If such a man were to choose a day on which he would ascend far on high, men would (seek to) follow him there. But how should he be willing to occupy himself with other men?’

Humbolt Gallery , Berlin , Germany „Summer in The City”-young Polish art Bochenska Gallery , Warsaw, Poland „Synesthesia/Toys for Adults”-individual exhibition of painting + vocal performance „Zappa” Bochenska Gallery , Warsaw, Poland 2008 -CECArtsLinkFellowship ,USA -Artist in Residence ,Headlands Center for the Arts, San Francisco Bay Area, California -FlipFest, 15-th Anniversary of CECArtsLink Awards, vocal performance „Zappa” Orensanz Foundation , New York -JunKRoom , International Art Festivan, Kyoto ,Japan ( vocal-video performance) -RYBIE OKO 5, Young Polish Art Biennial , (2nd award for painting) Baltycka Gallery,Ustka, Poland - Diary of the Tamagotchi Generation , painting Bochenska Gallery, Warsaw , Poland -Mazovian Center for Contemporary Art, vocal performance „Oh Superman”+ mural Radom , Poland.

Shen-tu Jia was (another) man who had lost his feet. Along with Zi-chan of Zheng he studied under the master Bo-hun Wu-ren. Zi-chan said to him (one day), ‘If I go out first, do you remain behind; and if you go out first, I will remain behind.’ Next day they were again sitting together on the same mat in the hall, when Zi-chan spoke the same words to him, adding, ‘Now I am about to go out; will you stay behind or not? Moreover, when you see one of official rank (like myself), you do not try to get out of his way - do you consider yourself equal to one of official rank?’ Shen-tu Jia replied, ‘In our Master’s school is there indeed such recognition required of official rank? You are one, Sir, whose pleasure is in your official rank, and would therefore take precedence of other men. I have heard that when a mirror is bright, the dust does not rest on it;

Frédérique Hervert Architect by training, I travel daily through Paris and its suburbs. Drawing, painting and alternative photo processes help me transcribe my perceptions. I also have extensive experience teaching in several schools of architecture and interior-design architecture. I practice art interventions with all ages. The projects I teach are always closely related to the themes and practices of my personal work. ment, self-deception and the spiritual impulse. Credites fo Video Installation shown at Chuan Men Exhibition

Tina Hochkogler

G.R.A.M The Austrian artist group G.R.A.M was founded in 1987 by Günther Holler-Schuster, Ronald Walter, Armin and Martin Ranner Behr. The collective works in various media (photography, film, video, installation, painting, printmaking, performance, DJing). They held numerous international exhibitions, won prizes and fellowships in Los Angeles, London and Chengdu. The best-known works include the series “Paparazzi” and “re-enactments.” G.R.A.M. deals with clichéd, memorable images and characters world often emerging from everyday life, media, and product aesthetics.

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born 1967 in Vienna. Lives and works in Vienna. Work with video and animation, photography and graphic design. The Work is focused on the ratio imagination and reality and their interstices and options in a lyric way. and perhaps also about matters they could not occur. Video and media installations at international festivals and exhibitions amongst others at NY Underground Film Festival 01, Abstraction Now - Künstlerhaus Wien, Transmediale Berlin, Cut and Splice - Dots and Lines Festival Edinburgh, Lovebytes Festival - Sheffield, Hanoi Sundstuff Festival - Vietnam, Paris - Festival des Cinemas Differents Collectif Jeune Cinema, Vilnius Tindirindis International Animated Film Festival. Co-Founder of the artists collective RE-P

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when dust rests on it the mirror is not bright. When one dwells long with a man of ability and virtue, he comes to be without error. There now is our teacher whom you have chosen to make you greater than you are; and when you still talk in this way, are you not in error?’ Zi-chan rejoined, ‘A (shattered) object as you are, you would still strive to make yourself out as good as Yao! If I may form an estimate of your virtue, might it not be sufficient to lead you to the examination of yourself?’ The other said, ‘Most criminals, in describing their offences, would make it out that they ought not to have lost (their feet) for them; few would describe them so as to make it appear that they should not have preserved their feet.

Richard Hoeck born 10.10.1965 in Hall in Tirol, Austria studied at the University of Applied arts, class Oswald Oberhuber, Vienna 1994 PS1 New York, USA 2000 Blinky Palermo award - Gallery for contemporary art, Leipzig, Germany Exhibitions: (selection) 2010 Delivery in the Rear, ORF Landesstudio-Tirol, Austria 2010 Original- Functional, Vienna Art Foundation 2009 Top Ten Allegories, Gallery Francesca Pia, Zuerich, 2009 Cave Painting, PSM Gallery Berlin und Greshams Ghost New York, 2009 No Comedy, No tragedy...(organised by Bob Nickas), Light Industry, New York 2008 Go West, Kunsthalle Krems, Austria 2008 Camouflage on a Mannequin, KOER- Wien, Austria 2007 Carte Blanche, Elisabeth Dee Gallery, New York, USA 2007 Social Sculpture, Cultural Design, Michael Hall Contemporary, Vienna, Austria

Michael Höpfner Born 1972 in Krems/Donau, Austria selected Exhibitions 2011 Sense and Sensibility, (curated by Hemma Schmutz), Kunstverein Salzburg, Salzburg; Alpine Desire, Austrian Culture Forum New York (curated by Agnes Husslein), New York; Like a Stranger in Moscow, Christinger de Mayo, Zürich; The Discovery of Slowness, TABAČKA Kulturfabrik (curated by Dorota Kenderova and Jaro Varga), Kosice 2010 Katarina Zdjelar – Michael Höpfner (curated by Luigi Fassi), ar/ge kunst, Bozen; Shorakapoch, Antonio Rovaldi – Michael Höpfner (curated by Davide Ferri), Magazzino 1b, Prato; Nous ne notons pas les fleurs, dit le géographe (curated by Virginie Bobin and Julia Kläring), Betonsalon, Paris; HaVE A LoOk! HAve a Look! (curated by Caterina Riva), FormContent, London; Talking to Rocks, Galerie Olaf Stüber, Berlin (solo); Outpost of Progress, Galleria HIT, Bratislava (solo) 2009 On Foot, Galerie Hubert Winter, Vienna (solo); The Outpost, abc – Art Berlin Contemporary, Akademie der Künste, Berlin (solo); Die Form der Isolation, Marc Aschenbrenner, Michael Höpfner, Galerie Olaf Stüber, Berlin; Distance Creates Desire, Salzburger Kunstverein, Salzburg; Herring Under A Furcoat, Caitlin Berrigan, Martin Kohout, Michael Höpfner (curated by Carson Chan), Program, Berlin; Open Space Uncurated 09 | Creative Migration, Austrian Cultural Forum, New York 2008 unsettled conditions, Kunstraum Noe, Vienna (solo); An Area, a Territory, a Zone, Ferdinandeum, Innsbruck (solo); Dragged Down Into Lowercase (curated by Clementine Deliss), Zentrum Paul Klee, Bern; Open Plan, Art Athina (curated by Bettina M. Busse), Athens

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They are only the virtuous who know that such a calamity was unavoidable, and therefore rest in it as what was appointed for them. When men stand before (an archer like) Yi with his bent bow, if they are in the middle of his field, that is the place where they should be hit; and if they be not hit, that also was appointed. There are many with their feet entire who laugh at me because I have lost my feet, which makes me feel vexed and angry. But when I go to our teacher, I throw off that feeling, and return (to a better mood) - he has washed, without my knowing it, the other from me by (his instructions in) what is good. I have attended him now for nineteen years, and have not known that I am without my feet.

Christian Hutzinger born 1966 in Vienna. He grew up in Mödling, Old Greenwich and Ebensee. Lives and works in Vienna Solo- and Groupexhibitions at home and abroad Selexted exhibitions in the last 5 years 2011 warm* Galerie Martin Janda, Vienna no room to move AGENT DOUBLE, Geneva 2010 Christian Hutzinger* Galerie Nikolaus Ruzicska, Salzburg Top* Nakameguro Rooftop, Tokyo (with Lotte Lyon) Malerei / Prozess und Expansion MUMOK, Vienna 2009 November* Ningbo Museum of Art, Ningbo Spotlight, Museum der Moderne, Salzburg Intervention*, Belvedere, Vienna Best of Austria / Eine Kunstsammlung, Lentos Kunstmuseum, Linz Dark Side of the Moon, Galerie Martin Janda, Vienna 2008 Menschen und Orte, Kunstverein Konstanz / Wessenberg-Galerie, Konstanz l´été, Galerie Martin Janda, Vienna 2007 halt*, AOYAMA | MEGURO, Tokyo (with Lotte Lyon) Christian Hutzinger*, Galerie Nikolaus Ruzicska, Salzburg Who remembers where they are from?, Galerie Martin Janda, Vienna instant*, Gallery at the Austrian CulturalForum, Tokyo (with Lotte Lyon) 2006 Christian Hutzinger*, Galerie Martin Janda, Vienna Konfrontationen und Kontinuitäten/Österreich 1900 – 2000, Sammlung Essl, Klosterneuburg Festsaalbild 2006*, OÖ Landesmuseum, Linz Berlaymont – Summa Artis, Berlaymont Building, Brussels Publications: “slow” catalogue, 60 pages Kerstin Engholm Gallery, Vienna 2000, ISBN 3-9501358-0-4 “still” catalogue, 120 pages, MUMOK, Vienna Schlebruegge.Editor, Vienna 2004,ISBN 3-85160-041-X “Was bisher geschah” book, 160 pages Christian Hutzinger Galerie Martin Janda , Galerie Nikolaus Ruzicska Schlebruegge.Editor, Vienna 2007, ISBN 978-3-85160-114-5 “Intervention” catalogue, 56 pages, Belvedere, Vienna 2009, ISBN 978-3-901508-67-7

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Now, you, Sir, and I have for the object of our study the (virtue) which is internal, and not an adjunct of the body, and yet you are continually directing your attention to my external body - are you not wrong in this?’ Zi-chan felt uneasy, altered his manner and looks, and said, ‘You need not, Sir, say anything more about it.’ In Lu there was a cripple, called Shu-shan the Toeless, who came on his heels to see Zhongni. Zhongni said to him, ‘By your want of circumspection in the past, Sir, you have incurred such a calamity; of what use is your coming to me now?’ Toeless said, ‘Through

my ignorance of my proper business and taking too little care of my body, I came to lose my feet. But now I am come to you, still possessing what is more honourable than my feet, and which therefore I am anxious to preserve entire. There is nothing which Heaven does not cover, and nothing which Earth does not sustain; you, Master, were regarded by me as doing the part of Heaven and Earth - how could I know that you would receive me in such a way?’ Confucius rejoined, ‘I am but a poor creature. But why, my master, do you not come inside, where I will try to tell you what I have learned?’ When Toeless had gone out, Confucius said, ‘Be stimulated to effort, my disciples. This toeless cripple Li Qiang / 李枪

Shana Kablow Solo and Two-Person Exhibitions 2010 Minnesota Center for Book Arts, New Paintings, Minneapolis, MN (solo) 2009 Macalester College Gallery, ReGroup, St. Paul, MN (solo) 2008 Franklin Art Works, New Paintings, Minneapolis, MN (solo) 2005 Weinstein Gallery, Portraits, (with Kelli Connell), Minneapolis, MN 55 Mercer Gallery, Eye Witness (with Christine Baeumler), New York, NY 2001 Franklin Art Works, A Sense of Pull, Minneapolis, MN (solo) Fellowships, Awards and Residencies 2011 Vermont Studio Center International Artists Residency, Artist Grant St Cloud State University Researcher Grant 2010 Red Gate International Artists Residency, Beijing, China 2000 Purchase Award, Minnesota Museum of American Art 1999 + 1993 Minnesota State Arts Board Visual Arts Fellowship 1997 + 1991 McKnight Foundation Artist Fellowship

Qiang Li, graduated from Jiang Su Education College in 1993. He currently lives in Beijing. He started printing art in the early 90’s and combines these with video, Installation, action art and photography since the year 2000. His multi disciplinary work work includes documentaries “cabin in the wilderness”, “ Buried Chinese rural” series and Installation work “elapsing sound” ; Printing work” Trace- seeds” series. These works were filled with personal experience and reflection on contemporary life in the countryside, religion and culture. The installation work “The Subtraction” series started from 2010 up to now. Solo Exhibitions: 1993 “Lee Qiang Printing Art Exhibition” Nanjing Art College 1996 “Lee Qiang Printing Art Exhibition” Beijing Yun Feng Art Gallery 1999 “Lee Qiang Modern Printing Art Exhibition” Beijing International Art Gallery 1999 ““Lee Qiang Printing Art Exhibition” Beijing Ke Chuang Art Gallery 2002 “A Doll’s House “Installation Shanghai Ding Ceng Art Gallery 2008 “100 high school students cell phone diary” Shanghai Zheng Da Art Gallery 2009 “lonely lane”--- Lee Qiang Printing Art Exhibition Beijing 798 Group Exhibitions: 2002 contemporary printing Academic Invitational Exhibition of Sichuan Academy Si Chuang Art School 2007 “underlying cultural exhibition” Beijing 2008 798 Art festival Beijing 2009 “Searching for spirituality in contemporary Chinese Art” Frederieke, Taylor, Gallery USA 2010 Cress Gallery USA

Silvia Kummer born 1959 in Vienna, University of Applied Art Vienna, lives and works in Austria, before in France, Canada, USA, Australia. National and international exhibitions, her work is included in public collections. Exhibitions (selection): 2012: „Natürlich Natur – Paralipomena“, AB-ART Ausstellungshaus Spoerri, Hadersdorf, A, „Kummer, Kümmerer, Kümmerlinge“, gemeinsam mit Daniel Spoerri, Seitzersdorf / Wolfpassing, A, „Walla“, Museum Gugging, A, „Sampling, Konzert der Skulpturen“, Stift Ossiach, A 2011: art-connection, Seitzersorf/ Wolfpassing, A, „Das ‘Unsichtbare’ - the ‘invisible’ in painting“, workshop, Gallery grenzART, A, „visit your friends house’,‚churn men,串门儿“, Amelie Art Gallery at 798, Beijing, China, in:visible city -project, “making the invisible visible”, Die Seestadt Wiens, A, „making the invisible visible“, Preview China Dialogue, Seitzersdorf / Wolfpassing A, „Begegnung und Wiedersehen“, Kunst und Kulturkreis Stift Geras, Geras, A, „participatory and interrelational art“, Workshop, Hangzhou Normal University, Zhejiang, China, „you are wherever you are“, Modern Art Gallery, Hangzhou, China, „making the invisible visible“, Zhejiang Library, Hangzhou, China

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Moritz Majce and Sandra Man are living and working in Berlin. Moritz Majce was born in Vienna and studied fine arts and philosophy in Vienna and Frankfurt/Main. Sandra Man was born in Knittelfeld and studied literature and philosophy in Vienna, Paris and St. Petersburg. They are working in-between the fields of installation, fiction, performance art, and theatre in what they calls areal actions. Expositions and shows in Austria, Croatia, England, France, Germany, Serbia, Switzerland, Syria, USA. Last actions: „Jetzt Wird´s Ernst“, Ballhaus Ost, Berlin, 2012; „In the Areal“, Sophiensäle, Berlin, 2012; „A Sojourn“, Ballhaus Ost, Berlin, 2011; CAZ Project Space, Cornwall, 2011; „The Realisation“, Localize-Festival, Potsdam, 2011; „An Exchange with Sol Lewitt“, Massachusetts Museum of Contemporary Art (MASS MoCA), 2011; Videomedeja – International Video Art Festival, Museum of Contemporary Art, Novi Sad, 2010; Festival „Zellen. Life Science – Urban Farming“, Hebbel-am-Ufer-Theatre, Berlin, 2010. For more information on their work please refer to www.moritzmajcesandraman.com

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is still anxious to learn to make up for the evil of his former conduct;-- how much more should those be so whose conduct has been unchallenged!’ Mr. Toeless, however, told Lao Dan (of the interview), saying, ‘Kong Qiu, I apprehend, has not yet attained to be a Perfect man. What has he to do with keeping a crowd of disciples around him? He is seeking to have the reputation of being an extraordinary and marvellous man, and does not know that the Perfect man considers this to be as handcuffs and fetters to him.’ Lao Dan said, ‘Why did you not simply lead him to see the unity of life and death, and that the admissible and inadmissible belong to one category, so freeing him from his fetters?

Would this be possible?’ Toeless said, ‘It is the punishment inflicted on him by Heaven. How can he be freed from it?’ Duke Ai of Lu asked Zhongni, saying, ‘There was an ugly man in Wei, called Ai-tai Tuo. His father-in-law, who lived with him, thought so much of him that he could not be away from him. His wife, when she saw him (ugly as he was), represented to her parents, saying, “I had more than ten times rather be his concubine than the wife of any other man.” He was never heard to take the lead in discussion, but always seemed to be of the same Joyce Rohrmoser 1954 Born in Milan, Italy

Lisa Meixner Born 1983 in Stuttgart lives and works in Vienna. She studied at Städelschule Frankfurt with Simon Starling and at the Academy of Fine Arts Vienna with Manfred Pernice and Elisabeth von Samsonow Lisa Meixner holds a Bachelor of Fine Arts from the Accademia di belle Arti Bologna, Italy and is cofounder of the public art project „Fliegende Bauten“. 2011 Übermorgenkünstler II, Heidelberger Kunstverein, Germany / Urbanes Leben, Stuttgarter Kunstverein, Germany / Lummerland I, Toves Galleri, Kopenhagen, Denmark / rhein II (sweeping into action) at NoMad, Projekt Display Frankfurter Kunstverein, Germany / Baby, I lost my handshoes..., Kurant Gallery, Tromsø, Norway / Ständige Wechselausstellung, Galerie Taubenschlag, Berlin, Germany / 2010 Saturday Film Screening, Elephant Bar, Chengdu, China / Psychopanda, A Thousand Plateaus Art Space, Chengdu, China / Artist talk, Southwest Jiaotong University, Chengdu, China / Dynasty – Performance Night with Daimlerclan, Daimlerstrasse 32, Frankfurt, Germany / FILMIKI curated by Pawel Althamer, Galerie Dana Charkasi, Vienna, Austria / 2009 die Arme rings im Kreise, neocon: Central, Frankfurt, Germany / Miss Mary Shelley, Secession, Vienna, Austria / Dr. Fragenstein, Knickquadrat, Galerie an der Hangbrücke, Zirl, Austria / Geranium Project, the new gallery, Haifa, Israel / Kran und Kranich stehen auf einem Fuß, Habsburgerallee 13, Frankfurt, Germany.

Education 1972‐74 Photography workshops in Istituto Europeo del Design, Milan, and in the London College of Printing, London 1982 Doctorate in russian Literature and History of Art 1983‐1989 Photoworkshops with Nan Goldin, Verena von Gagern, Dieter Appelt 2006 begins to work as fashion photographer in China and to learn chinese. Lives and works as photo und videoartist in Salzburg, Austria Exhibitions 2011 „Sweet Anticipation“, Salzburger Kunstverein 2010 „Uebermodels“. Programgalerie, Berlin 2010 „Rencontres internationales“, Centre Pompidou, Paris 2009 „Temporäre Bewohner“, Salzburger Kunstverein „Golf subversiv‐Artificial green“, Haus der Fotografie, Burghausen „Biografischer Ausnahmezustand“, Dresden 2007 „Achtung Golfplatz“, Fotoforum Innsbruck 2004 Preise des Landes Salzburg, Museumsquartier, Vienna 2000 „Due storie d’amore“, Galerie Bureau des Esprits, Milano „Re: Development Re: Considered“ Oberwelt e.V. Stuttgart, Germany (S) „Contemporary Flanerie: Reconfiguring Cities“ Oakland University Art Gallery, USA (C) „Subversivmesse“ Linz - European Cultural Capital, Austria 2009 „Visions in the Nunnery” The Nunnery, London, GB

Christian Rupp Moritz Neumüller Born in . Linz, Austria, 1972 is a curator, educator and film-maker in Barcelona. He has worked for several art institutions, such as the Museum of Modern Art, PhotoEspaña, LOOP and teaches photography and new media at universities and schools. In 2009, he founded ArteConTacto, a project aimed at exploring art through all senses, in order to provide access for all visitors, including the visually impaired. His photographs are sometimes shown in exhibitions, such as the Havanna Biennale, but he is more interested in helping others to create, than to show his own work. His filmography (apart from “deutsch sein kunstsprach, 2005”) includes “Ein Heiliger für alle?” (Austria, 2003), a 30 min. documentary film on the Cult of San Lázaro, for the Austrian Broadcasting Company and the 3Sat channel; and “El otro lado del alma” (Cuba/Austria, 2002), a 20 min. film, shown at the International Black Film Festival in Berlin, Düsseldorf, Vienna and Ljubljana.

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Lives and works from Vienna, Austria. Started studies at the technical University of Vienna (Physics) - continued at the University of Applied Arts in Vienna. His dual approach stemming from natural sciences and arts also led to further studies in interdisciplinary communication (University of Vienna). Scholarships abroad include USA, Sweden and China. Conceptual approach: media vary according to ideas and subjects touched. Frequently works involve photography, graphics, video, elements of performance and installations. Frequently exhibiting and at times curating abroad, often in Greece, Finland and northern Europe. Projects and exhibitions in .at.ar.cz.de.fi.gr.il.it.li.net.no.pl.ro.se.th.tr.us.uz With partners in Athens initiated, co-organized and curated projects which include: ARTmART (large scale exhibitions, 250 artists with egalitarian, low-treshold sales principle, attracting audiences of about 5000 people and thereby significantly stimulating interest in contemporary art), Künstlerhaus Vienna, 2007, 2008 and 2010 so far. 2007 „Traumaqueen“, Athens (co-curator, participant) / 2009 „Flavors of Austria” + 2010 „Austria la Vista Baby“, the art foundation, Athens (curator). 223

opinion with others. He had not the position of a ruler, so as to be able to save men from death. He had no revenues, so as to be able to satisfy men’s craving for food. He was ugly enough, moreover, to scare the whole world. He agreed with men instead of trying to lead them to adopt his views; his knowledge did not go beyond his immediate neighbourhood. And yet his father-in-law and his wife were of one mind about him in his presence (as I have said) - he must have been different from other men. I called him, and saw him. Certainly he was ugly enough to scare the whole world. He had not lived with me, however, for many months, when I was drawn to the man; and before he had been with me a full

year, I had confidence in him. The state being without a chief minister, I (was minded) to commit the government to him. He responded to my proposal sorrowfully, and looked undecided as if he would fain have declined it. I was ashamed of myself (as inferior to him), but finally gave the government into his hands. In a little time, however, he left me and went away. I was sorry and felt that I had sustained a loss, and as if there were no other to share the pleasures of the kingdom with me. What sort of man was he?’

Florian Schmeiser Media artist, focussing on installation, soundart and public art. He is working in the fields of media art, installation and music. Study of philosophy, University Vienna. Master degree in visual media, University of Applied Arts, Vienna at Valie Export, Peter Weibel, Karel Dudesek. Works (last 5 years) 2011 “Asian Art Expo Beijing” “vibrate space” Soundinstallation in public space, Vienna “Schmesiér” soundperformances at Amann Studios, Fluc, Mediaopera, Queerograd, Austria 2010 “Expo Shanghai” soundperformances at the Austrian Pavillon “da bao” groupshow at 798, Beijing, China “Horizons” Groupshow at 1000 Plateaus Art Gallery, Chengdu, China “sickL” soundperformance, Kuala Lumpur, Malaysia “The End” public art installation, liquid music, Austria, schuda/schmeiser 2009 Ninliho Gallery, soundperformance, Foshan, China Dawang Culture Highland, soundperformance, Shenzhen, China Waterland Kwanyin, soundperformance, Beijing, China “Red Gate Residency Exhibition”, Beijing, China Residency Chengdu, scholarship of the Austrian Ministry for Cultural Affairs, China “The Poet. I dont want to set the world on fire” exhibition with Susanne Schuda, Medianoche, NY, US “Boundary Signal / Grenzsignal” groupexhibition, OPEN SPACE, Vienna, A 2008 Residency Krumau; scholarship of the Austrian Ministry for Cultural Affairs “The Templesleeper” temporary installation, public art Styria, schuda/schmeiser “paraflows08”, Groupexhibition, Flakturm Vienna, A “Multiplace 2008” SOUNDBUS / NOMADSPACE, groupexhibition Bratislava, Slovakia Ma Jia Born 1981 in China Artist in Beijing (C), Vienna (A). Education 2011- 2001-2005 1997-2001

Academy of Fine Arts, Vienna China Central Academy Of Fine Arts - Bachelor of Arts China Academy of Art-High School

Exhibition (selection) 2011 SAUNA, Schloss Laudon, Vienna TATORT Hernals, Vienna Asian Art Top Show, Beijing 2010 Black-Bridge-Off Space, Beijing 2000 Gallery, Beijing In-Shine Gallery, Beijing 2009 NOVA Space, Beijing Room-In Gallery, Beijing 2007 HanJiaXuan Gallery, Beijing 2004 CAFA graduateds’ Exhibition, Beijing 2003 Olympic Art Fair CAFA Exhibition, Beijing 224

Markus Sepperer born 1978 in Carinthia, the southermost district of austria. Following his first and early passion, which is music, he began to study classical Music at the Mozarteum in Salzburg and Vienna Conservatory.Seeking for more contemporary-style education he started to focus on contemporary music and moved on to Leipzig and London for improving in Improvisation and Avantgarde Music.Since he was early fascinated on visual arts too he started autodiactically to teach himself in photography and when he moved back to Vienna after finishing his music education, he did a three years education at artistical photography in Vienna at FotoK-Wien.Shortly after that he he won a prize at the international Epson Art photo Award, moreover his work was shown at Art Cologne the same year. In 2011 he received a Culture Promotional Prize from the Austrian Government for promising young artists.His work was shown internationally in Austria, Germany, HongKong, China, Macau and Serbia. Besides his career as a visual artist he is working for several contemporary music ensembles and doing electronic music.

Joe Sneed Education 2008 Graduated from University of Oregon with a Bachelors Degree in Mathematics and Art 2003 Graduated from Robert Service High School Artist Residencies 2010 Red Gate Gallery in Beijing, China. Four weeks. 2010 Artist Village Gallery in Beijing, China. Eight weeks. 2009 Helena Public Arts in Helena, Montana. Four weeks. 2008 Two Spirits Gallery Anchorage, Alaska. Two weeks. Exhibitions 2011 Launchpad Gallery, Portland, Oregon 2010 Floyd’s, Portland, Oregon 2009 Two Spirits Gallery, Anchorage, Alaska 2008 Omnitudo Realitatis Installation, Eugene, OR 2005 LaVerne Krause Gallery, Eugene, Oregon 2004 Kaladi Brothers, Anchorage, Alaska Public Art Commissions 2012 TCG Nordica, “Kunming Markets”, Public Event, Kunming, China 2011 Alberta Coop, “Living Wall”, Public Installation, Portland, Oregon 2009 Da Vinci Middle Arts School, “Working Together”, Interactive Mural, Portland, Oregon

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德充符

魯有兀者王駘，從之遊者，與仲尼相若。常季問於仲尼曰：「王駘，兀者也，從之遊者，與夫子中分魯。立不教，坐不議，虛而往，實而歸。固有不言之教，無形而心成者邪？是何人也？」仲尼曰：「夫子，聖人也。丘也，直後而未往耳。丘將以為師，而況不如丘者乎！奚假魯國！丘將引天下而與從之。」常季曰：「彼兀者也，而王先生，其與庸亦遠矣。若然者，其用心也，獨若之何？」仲尼曰：「死生亦大矣，而不得與之變，雖天地覆墜，亦將不與之遺。審乎無假，而不與物遷，命物之化，而守其宗也。」常季曰：「何謂也？」仲尼曰：「自其異者視之，肝膽楚越也；自其同者視之，萬物皆

一也。夫若然者，且不知耳目之所宜，而游心於德之和，物視其所一，而不見其所喪，視喪其足，猶遺土也。」常季曰：「彼為己，以其知得其心，以其心得其常心，物何為最之哉？」仲尼曰：「人莫鑑於流水，而鑑於止水，唯止能止眾止。受命於地，唯松柏獨也在，冬夏青青；受命於天，唯舜獨也正，幸能正生，以正眾生。夫保始之徵，不懼之實。勇士一人，雄入於九軍。將求名而能自要者，而猶若此，而況官天地，府萬物，直寓六骸，象耳目，一知之所知，而心未嘗死者乎！彼且擇日而登假，人則從是也。彼且何肯以物為事乎！」申徒嘉，兀者也，而與鄭子產同師於伯昏無人。子產謂申徒嘉曰：「我先出，則子止； Heimo Wallner

2009 Consumer Web, Two Murals, Anchorage, Alaska Grants/Awards 2011 Grassroots Grant, Meyer Memorial Trust 2011 Small Grant, NE Coalition of Neighborhoods 2010 Professional Development Grant, Regional Arts and Cultural Council 2010 Project Grant, Regional Arts and Culture Council Reviews - “Get Involved: Siyou Tan on Wake Up Art”, Beijing City Weekend, April 19, 2010. - “Greenhouse Project Grows Bonds at Northeast Portland’s Dignity Village”, The Oregonian, October 21, 2010: http://www.oregonlive.com/portland/index.ssf/2010/10/greenhouse_project_grows_bonds.html - Radio interview on netFM, 77.4 FM in Beijing, China. Discussed Wake Up Art projects on Foreigner’s Life in Beijing. March 28, 2010. - “First Friday Rambles”, Anchorage Daily News, January 2, 2009.

Axel Stockburger is an artist and theorist who lives and works in Vienna. He studied at the University of Applied Arts in Vienna with Peter Weibel and holds a PhD from the University of the Arts, London. His films and installations are shown internationally. Among other projects he has initiated the independent art television channel TIV in Vienna in 1998 and collaborated on international projects with the London based media art group D-Fuse (2000-2004). At present he works as a scientific staff member at the Academy of Fine Arts / Department for Visual Arts and Digital Media in Vienna. Recent exhibitions include, “Troubling Research: Performing Knowledge in the Arts”, xhibit, Academy of Fine Arts (2011) Vienna, “Nothing in the World but Youth”, Turner Contemporary, Kent (2011), “Jingshenfenxi”, organhaus art space, Chongqing (2011). For more information please visit www.stockburger.at.

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20. 9. 1961 born in Tamsweg (Salzburg) 1981 - 88 Academy of Fine Arts, Vienna since 1988 Studio in Schrattenberg, St. Lorenzen bei Scheifling (Styria) since 1990 annual intermedial Symposia in Schrattenberg since 1998 „Hotel PUPIK“, organisation of the artists in residence in Schrattenberg He lives and works in Vermont and Austria.

Exhibitions and projects (selection) since 2005 2005 SAU AUS USA“, solo show, Hampden Gallery, University of Massachusetts, Amherst Reciprocity, exhibition and 3 concerts with „Fugu & the Cosmic Mumu“ in Gallery éf, Tokyo „vedi quattro“, an exhibition of O.R.F., Laboratorio dell’imperfetto, Gambettola 2006 Selections from the LeRoy Neiman Center for Print Studies“, Marianne Boesky Gallery, NY „RESET>>>FORWARD“, an exhibition with O.R.F. in O’artoteca, Milan „Mark und Pein“, O.R.F. exhibition in Donaulandstudios, Graz, Austria (invited by RHIZOM) „immer ich“, solo show, Galerie Ardizon, Bregenz, Austria 2007 Double Feature, Screening and concert with Good Enough for You, Diapason Gallery, New York Works for Amerika, Exhibition with Hans W. Koch and Bettina Wenzel, UTSA Satellite Space, San Antonio Artist in Residence, Schloss Salzau, Germany „Himmel“, solo show, mel contemporary gallery, Vienna 2008 C. A. Johnson Artist in Residence, Middlebury College, Vermont „Whatever“, solo show Millersville University, Pennsylvania „Twisted Reality“, Participation, The Israeli center for Digital Art, Holon “Flatus - Luft und Getoese”, Performance with Bettina Wenzel, Musiknacht Koeln “Blasmusikausflug”, solo show, Galerie Slowboy, Duesseldorf “Wolke”, PENG!raum fuer kunst, Mannheim 2009 Visiting Artist, University of Texas at San Antonio “TAT EVE”, participation, Forum Stadtpark, Graz Participation in “What You Really Need“, MKH, Wels “Zwischen Nordlicht und Alpenglühen“, participation, Elbeforum, Brunsbüttel und Burgkloster, Lübeck „ Manifesto“, participation, Trieste 2010 “Lieblingspositionen“, participation, Forum Stadtpark, Graz “2010 Fioritura O“, participation with Osmosi,Villa Basaglia, Livorno „KING KONG – contemporary art project“, participation, Mannheim 2011 “BLACK ON WHITE”, solo show, RED LINE, Milwaukee “BLACK AND WHITE”, participation, Museum of Modern Art, Warsaw2009 Consumer Web, Two Murals, Anchorage Grants/Awards 2011 Grassroots Grant, Meyer Memorial Trust 2011 Small Grant, NE Coalition of Neighborhoods 2010 Professional Development Grant, Regional Arts and Cultural Council 2010 Project Grant, Regional Arts and Culture Council

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子先出，則我止。」其明日，又與合堂同席而坐。子產謂申徒嘉曰：「我先出，則子止；子先出，則我止。今我將出，子可以止乎，其未邪？且子見執政而不違，子齊執政乎？」申徒嘉曰：「先生之門，固有執政焉如此哉？子而說子之執政而後人者也！聞之曰：『鑑明則塵垢不止，止則不明也。久與賢人處，則無過。』今子之所取大者，先生也，而猶出言若是，不亦過乎！」子產曰：「子既若是矣，猶與堯爭善，計子之德不足以自反邪？」申徒嘉曰：「自狀其過以不當亡者眾，不狀其過以不當存者寡。知不可奈何而安之若命，惟有德者能之。遊於羿之彀中，中央者，中地也，然而不中者，命也。人以其全足笑吾不全足者多矣。我怫然而怒，而適先生之所，則廢然而反。不知先生之洗我以善邪！吾與夫子遊十九年矣，而未嘗知吾兀者也。今子與我遊於形骸之內，而子

索我於形骸之外，不亦過乎！」子產蹴然改容更貌曰：「子無乃稱！」魯有兀者叔山無趾，踵見仲尼。仲尼曰：「子不謹，前既犯患若是矣。雖今來，何及矣？」無趾曰：「吾唯不知務而輕用吾身，吾是以亡足。今吾來也，猶有尊足者存，吾是以務全之也。夫天無不覆，地無不載，吾以夫子為天地，安知夫子之猶若是也！」孔子曰：「丘則陋矣。夫子胡不入乎？請講以所聞！」無趾出。孔子曰：「弟子勉之！夫無趾，兀者也，猶務學以復補前行之惡，而況全德之人乎！」無趾語老聃曰：「孔丘之於至人，其未邪！彼何賓賓以學子為？彼且蘄以諔詭幻怪之名聞，不知至人之以是為己桎梏邪？」老聃曰：「胡不直使彼以死生為一條，以可不可為一貫者，解其桎梏，其可

Shen Wei Born and raised in Shanghai, Shen Wei is a fine art photographer currently based in New York City. Shen?s work have been exhibited nationally and internationally, with venues including the Museum of the City of New York, Lincoln Center Avery Fisher Hall, and the Harn Museum of Art. His photographs have been featured in publications such as The New Yorker, Aperture, American Photo and Chinese Photography. Shen’s work is featured in many private and public collections including the Museum of Modern Art (MoMA), J. Paul Getty Museum, Museum of Contemporary Photography, Museum of Fine Arts St. Petersburg, Library of Congress, Florida Museum of Photographic Arts, Museum of Chinese in America, Rockefeller Brothers Fund and Kinsey Institute. Shen holds an MFA in photography, video, and related media from the School of Visual Arts, New York; a BFA in photography from Minneapolis College of Art and Design; and a BA in decorative arts from Shanghai Light Industry College.

Kathryn Zazenski Kathryn completed her BFA in Sculpture in 2004 from the Kutztown University of Pennsylvania. She has participated in several artist residencies including the Vermont Studio Center in Johnson, VT, the Red Gate Gallery in Beijing, China, Honeur Gallery in Washington, DC, Arteles in Haukijarvi, Finland, and the Fountainhead in Miami, FL. She has participated in arts events and lecture series including URB 11 at the Kiasma Museum of Contemporary Art in Helsinki and Tr1 in Tampere, Finland, Ptarmigan in Tallinn, Estonia, the Hamiltonian Gallery, SWAN Day at Hillyer Art Space in Washington, DC, and the 2012 Bridges Math Conference at Towson University in Towson, MD. Kathryn’s group exhibitions include Home is Where the Art Is, Mainline Arts Center in Haverford, PA, Hotwood Volume II, OK Hotel in Seattle, WA, Of House and Home, The Whole Gallery, Baltimore, MD, We Feel Like ****, Gallery Bar, New York, NY, The White Show, Hot Wood Arts Center, Brooklyn, New York, and The Fountainhead, Miami, FL. Her work is also included within the continually traveling exhibition Petit, which has been shown in several venues in France, Russia, and China. Her two-person exhibitions include Blank Space in Washington, DC, Oksasenkatu 11, Helsinki, Finland, and STUDIO 371 in Jersey City, NJ, a solo exhibition at the Hillyer Art Space in Washington, DC has been her most recent endeavor. Kathryn has shown at the Detroit Center for Contemporary Photography and 10m2 in Sarajevo, Bosnia as a collaborative member of Free Space Collective based in Washington, DC.

Roswitha Weingrill born 1984 in Graz 2003 – 2010 University of Applied Arts, Vienna (Erwin Wurm, Barbara Putz-Plecko, James Skone) Awards 2012 Theodor Körner Award 2011 Bmukk Residency Shanghai 2011 Scholarshipaward for fine arts of the City of Graz 2009 Scholarship for fine arts of the province of Styria Publication (with Eva Engelbert, Marlene Hausegger und Tina Oberleitner) 2010 „Traiskirchen“, Metrov Publishing 2006 „Hier wird nur mit Liebe gekocht! – Rezepte und Geschichten aus dem Gemeindebau“, Folio Publishing Exhibition (Selection) 2011 in view of..., Austrian Cultural Forum, London Chambers of Commerce, para_site Galerie, Graz (solo) are we there yet, periscope/Hödlmoser Atelier, Salzburg where we were, The smallest Gallery, Graz (solo) 2010 Inside Outside....and the space between, Kunstraum Next Andrä, Graz Director´s Cut, Stadtgalerie Kunsthaus Weiz (solo) When a stranger calls a friend calls a friend, Project 165, Toronto, Canada 2009 Dach und Fach/Innenansichten 05, Stadtmuseum Graz (solo) Ich bin ganz woanders, Wiener Festwochen, Vienna, Linz, Peja De Ostenriikers komen, Galerie bij de boeken, Ulft 2008 Förderpreis für Bildende Kunst des Landes Steiermark, 228

Andreas Zingerle Andreas is a media artist from Innsbruck, Austria. He holds a Master of Arts degree; he studied in Linz (Austria) and Helsinki (Finland) at the Interface Culture/Media Lab department. In the last years he worked on several installations exploring a creative misuse of technology and alternative ways of Human Computer Interaction. Since 2004 he takes part in international conferences and exhibitions, among others Ars Electronica, Siggraph, Japan Media Arts Festival, File Electronic Language International. Linda Kronman Linda is a media artist and designer from Helsinki, Finland. She has worked as an Art Director for media production companies and taken part in several multidisciplinary design projects. Spring 2010 she graduated Masters of Art in New Media from Aalto University, School of Art and Design (Helsinki, Finland), with an exchange semester at IDAS Hong-ik University (Seoul, South Korea). In her artistic work she explores interactive and transmedial methods of storytelling. She is interested in participatory art and design practices and she has organized several participatory workshops and attended international exhibitions.

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乎？」無趾曰：「天刑之，安可解？」魯哀公問於仲尼曰：「衛有惡人焉，曰哀駘它。丈夫與之處者，思而不能去也。婦人見之，請於父母曰『與為人妻，寧為夫子妾』者，十數而未止也。未嘗有聞其唱者也，常和而已矣。無君人之位以濟乎人之死，無聚祿以望人之腹。又以惡駭天下，和而不唱，知不出乎四域，且而雌雄合乎前。是必有異乎人者也。寡人召而觀之，果以惡駭天下。與寡人處，不至以月數，而寡人有意乎其為人也；不至乎期年，而寡人信之。國無宰，寡人傳國焉。悶然而後應，氾而若辭。寡人醜乎，卒授之國。無幾何也，去寡人而行，寡人卹焉若有亡也，若無與樂是國也。是何人者也？」

Moira Zoitl & Ralf Hoedt Moira (Selected Exhibition) 2012 «Tausend Stimmen», Volkspark Halle, D 2011 «Rencontres Internationales Paris/Berlin/Madrid», Centre Pompidou and the Gaîté lyrique, Paris, FR. «To Serve – House without a Maid», Villa Tobler Zürich, CH. «Other Possible Worlds – Proposals on this Side of Utopia», NGBK Berlin, D. «An Exchange with Sol LeWitt», MASS MoCA, New York, US 2008 «The Third Guangzhou Triennial». Guangdong Museum of Art, Guangzhou, China 2007 «Moira Zoitl – EXCHANGE SQUARE», Solo @ Kunsthalle Exnergasse, A. 2006 «Arbeit*» (Publ.), OBG Ormeau Bath Gallery, Belfast, Northern Ireland. «Equal and less Equal» Museum on the Seam, Israel. www.moirazoitl.com   Ralf (Selected Exhibition) 2012 «Schaufenster zur Sammlung 2 – Tag- und Nachtbilder», Museum der Moderne Salzburg / Collection Rupertinum, A 2010 OÖ Kunstverein Linz «MEZ + 6h», A (Solo with Robert Gschwantner) 2008/9 «(under)construction - austrian architectural photography», Museum der Moderne, Salzburg, Collection Rupertinum and MNAC Bukarest, BG 2007 Festival der Regionen “exits and deadends” OÖ, A, with Zaim Kamal 2006 «first the artist defines meaning», camera austria – Kunsthaus Graz, A

Film festival director’s curiculum vitae 电影节导演的课程简章

Ji Dan wurde 1963 in der nordchinesischen Provinz Heilongjiang geboren und schloss 1987 ihr Studium an der Pädagogischen Universität Peking ab. Gemeinsam mit Feng Yan und weiteren Regisseurinnen zählt sie zu den Pionierinnen der neuen chinesischen Dokumentarfilmbewegung. Ji Dan macht seit 1993 Dokumentarfilme. 季丹导演, 1963 于黑龙江出生, 1987 年毕业于北京师范大学中文系, 1993 年起开始拍摄纪录片。

Fan Popo. Gay film maker, Writer, Activist. Born in 1985, graduated from Beijing Film Academy. Published Happy Together: Complete Record of a Hundred Queer Films (Beifang Wenyi Press, 2007). Third Prize in the LGBT Research Paper Prize, Chi-Heng Foundation; Second Prize in the sina.com’s parize for online video; Participation in directing China Queer Film Festival Tour in over twenty major cities in China since 2008. International exchange in Taipei, Copenhagen, Los Angeles etc. Winner of Prism Award of 22nd Hong Kong Lesbian and Gay Film Festival in 2011. 范坡坡北京酷儿影展组委会成员, 中国酷儿独立影像小组协调人, 男同杂志《点》编辑, 北京同志中心执行主任。曾出版《春光乍泄：百部同志电影全记录》；曾获智行基金同性恋议题论文奖三等奖《从女权主义角度分析电影中的女同性恋形象》, 新浪博客大赛二等奖《同志放轻松》。

Anne Zwiener Born 1982 in Dornbirn, (A) lives and works in Vienna 2002-2007 Academy of Fine Arts Vienna,”Art and Communication” and “Design and Context” 2006-2010 Academy of Fine Arts Vienna, Graphic Arts and Printmaking Techniques 2007 Study Abroad in Barcelona

Li Dongsheng. Born in February 1987 in Qingdao, Shan Dong province. 2007 until now, studying in the China Central Academy of Fine Arts. 李栋生于1987 年2 月, 山东省青岛人。2007 年至今就读于中央美术学院。

Solo exhibitions 2011”Phantasmascope” Art forum Ebendorf, Vienna 2010”first garden future emerging artists show”, Future Garden, Vienna “Do it yourself” diploma exhibition, Academy of Fine Arts Vienna Group exhibitions(selection) 2012”V-Art”, video and media art, (Video screening) Frankfurt “Festival of the districts”, Das Viadukt, Vienna “Pressure”, Künstlerhaus, Bregenz 2011”Intersection, International Art Exchange Exhibition Feijiacun”, Beijing, China “The Unbearable Lightness” Kro-Art Gallery, Vienna Art Austria, Leopold Museum, MQ, Vienna “Miracles” Wunderkammer, Kro-Art Gallery, Vienna 2010 Artdesign fair, Feldkirch Art.fair 21-Fair for Contemporary Art, Cologne 2009 “Where the pepper grows”, Kro-Art Gallery, Vienna 230

Lin Hongjie As a senior video worker, Lin Hongjie is good at creating drama in his work, reminiscent of Japanese filmmaking. In 2006 he was candidate for Best Director of Golden Bell Award with his DETECTIVE STORY. 林宏杰导演, 资深影响工作者。擅长一镜头表现出戏剧节奏, 因此作品多能出现日节奏与运镜。

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SU Che-hsien . Born in Taipei, SU Che-hsien graduated from National Taiwan University of Arts (NTUA) in 2005. He received his M.F.A. from the School of Applied Media Arts of NTUA in 2010. SU directed several award winning short fiction films. 苏哲贤, 出生于台北, 目前就读于台北艺术大学应用媒体艺术研究所, 主修电影编导。自大学开始其进行短片创作。

King Wai Cheung was born in Hong Kong. He learned the Cello as child and later studied music, film production and philosophie in New York. he direkted numerous short films and was awarded many times. 张经纬, 香港出生, 祖籍广东深圳湖贝村。年轻时, 学习大提琴。后到美国修读音乐硕士课程, 亦因此有机会接触其它科目, 最后主修电影制作、副修哲学。他的作品在多个国际影展中参展及获奖。

Zhu Jie obtains his bachelor’s degree from Nankai University and master’s degree from Beijing Normal University. Currently he is studying directing at the Beijing Film Academy and also acting as a director with Special Programs Team of News Review Division, CCTV. 祝捷, 南开大学学士, 北京师范大学博士, 现于北京电影学院导演系进修, 中央电视台新闻评论部特别节目组编导。

Li Junhu born in 1977. He graduated with a degree in photography from Xi’an Academy of Fine Arts. He currently works for the International Division of Shaanxi TV Station. 李军虎, 生于1977年, 毕业于陕西安美术学院摄影专业, 现就职于陕西电视台国际部。他的作品在多个国际影展中参展及获奖。

Pan Zhiqi Independent director, born in Zhejiang Wencheng. Graduated from Xi¡¯an Academy of Art, then got Art Master program in Beijing Film Academy. Now he is a lecturer of Zhejiang University of Media and Communication. 潘志琪独立纪录电影导演, 出生于浙江温州文成。浙江传媒学院影视艺术学院讲师, 先后就读于西安美术学院、北京电影学院艺术硕士。

Qiu Jiongjiong . Born in 1977 in Sichuan, Qiu Jiongjiong is something of an eccentric in the art community: he began painting at age two, at three he began performing local opera (his grandfather was a famous Sichuanese Opera performer). He dreamt of being an artist when he was young, and at 18 years old, he dropped out of school to become a full-time artist. In 2007, Qiu completed his first film, “ Moon Palace”, documenting his father’s life, in which Qiu Jiongjiong’s unique narrative style began to form. He now lives and works in Beijing. 邱炯炯成长经历在当代艺术圈堪称“奇特”：两岁开始画画, 三岁开始表演川剧（爷爷是著名的川剧丑角演员）, 在少年时代就确立了艺术家的梦想, 但是从未受到正统美术学院的改造, 18 岁辍学, 即成为职业艺术家。丰富的人生经历使邱炯炯的作品有着异于同龄艺术家的深沉感。

Zheng Kuo, graduated from the Department of Electronic Engineering of BUAA and the College of Ad of Beijing Union University. He joined the army as military artist for five years. After that, he worked in communication companies, newspapers, m a g a z i n e s , a d v e r t i s i n g companies and film companies. 郑阔导演, 毕业于北京航空航太大学电子工程系和北京联合大学广告学院。当过五年文职兵, 转业后曾供职通信公司、报社、杂志社、广告公司、影视公司等。

Feng Yan, a native of Tianjin, Feng Yan studied Japanese at the Tianjin Foreign Language Institute before relocating to Japan for 13 years in 1988. She has been shooting Super 8 and DV films since 1994, many of which focus on the Yangtze River. 冯艳, 天津人。80年代毕业于天津外国语学院日本文学专业。1988年赴日学习环境经济学, 之后一直在那里生活到2002年。1993年, 她作为一名普通观众在山形国际纪录片电影节与纪录片相遇, 并由此认识到小川绅介的著作和电影。 232

Wen Hui was born in 1960 in Yunnan Province. Majoring in choreography and dance, she studied choreography at the Beijing Dance Academy and graduated in 1989. In 1994 she founded the Living Dance Studio together with Wu Wenguang in Beijing. During the following years she created and choreographed many performance pieces that toured around the world. In 2005 she founded CCD Workstation, an independent art space in Beijing, together with Wu Wenguang. LISTENING TO THIRD GRANDMOTHER`S STORIES is her first documentary. 文慧从北京舞蹈学院毕业之后, 曾任东方歌舞团的舞蹈编导, 后来是现代舞编导和表演者, 为中国当代舞蹈剧场早期骨干。2008年, 她长达8个小时的作品《回忆》, 在欧洲各地演出, 很受好评。2011年春天, 她只身带着机器, 从北京出发, 去云南父亲的出身地云南易门, 找到了祖父辈的三奶奶, 她父亲的婶婶, 拍摄了这部纪录片《听三奶奶讲那从前的故事》, 如此不同和令人惊喜。

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Czech artists curiculum vitae

AIAP artist in residence curiculum vitae

Veronika Vlková born 1985 in Brno

Sophie Hirsch

Education 2004 – 2010 Faculty of Fine Art, University of Technology Brno, Multimedia studio (Richard Fajnor)

1986 born in Vienna

Residencies 2006 FAMU Praha, Center of Audiovisual Studies 2007 Sichuan Fine Art Institut, Oil painting studio, China 2009 Iceland Academy of Arts, Fine Arts Department, Iceland 2009 Association of Iceland Artists, SÍM, Reykjavík, Iceland Solo Exhibitions ( last 5 years) 2012 The Dawn May Not Come, Školska 28, Prague, with Jan Šrámek 2012 Lost Perspective, Chodovská tvrz Gallery, Prague, with Jan Šrámek 2012 In me like in a goat, Gallery Sam83, Česká Bříza, with Pavla Malinová 2011 Sykur, ateliér Nová média 2, AVU Praha, with Jan Šrámek 2010 Landscape Obsessed by Dark, Anne Frank Memorial Gallery, Brno, with Adéla Sobotková 2010 Church!, Galerie Pavilon, Praha, with Daniela Baráčková 2010 Hell, I Don`t Mind My Finger, But the Ring, Galerie Pavilon, Prague, with Daniela Baráčková 2010 Demi-Invisible, Demi- Brown, Gallery 35m2, Prague 2010 The Volcano Show, Galerie Mladých, Brno 2010 L, (flat gallery), Bratislava, with Vojtěch Vaňěk

2006–2011 2004–2006 2006 2011 2012

University of Applied Arts Vienna, Sculpture and Multimedia (Erwin Wurm) School of the Art Institute of Chicago, emphasis in Photography and Sculpture Merit Scholarship, School of the Art Institute of Chicago Achievement Enhancement Award, School of the Art Institute of Chicago Award of the Kunsthalle Vienna (special acknowledgement from the jury) Residency in Yogyakarta/ Indonesia, Austrian Ministry of Art and Culture (BMUKK)

Exhibitions (selected) 2012 Kijang Kijangan, Sewon Art Space, Yogyakarta, INA (solo) heut schau ich mir schöne Bilder an, damit ich besser schlafen kann, Projektraum Vik tor Bucher, Vienna/A (solo) Räumung, Artspace Palais Kabelwerk, Vienna/A 2011 wünschen erwünscht, handeln verlangt, Project Space Kunsthalle Vienna/A (with Cori na Vetsch) Nur die Guten kommen in den Garten, Galerie beim Engel, Luxemburg/L 2010 The Old Man and the Sea, Documentation Center for contemp. Art, Linz/A Shifting West, Studio Art Gallery, Capilano University, Vancouver/CA 2009 Sophie Hirsch, Samuel Schaab, Tina van Duyne, Projectspace das weisse haus, Vienna/A 2008 Beletage, Hektor, Vienna/A Ursula Blickle Videolounge, Kunsthalle Vienna/A 2007 Burn Baby, Burn, Kunstverein Ettlingen/D

Jan Šrámek born 1983 in Prague Jan Šrámek is an animator, illustrator and graphic artist. He is a PhD. student at the Studio of Intermedia led by Václav Stratil at the Faculty of Fine Arts in Brno. In 2007 he participated in a study stay at the Centre of Audiovisual Studies at FAMU in Prague. Together with Petr Kocourek and Jan Žalio, he founded the artistic group ANYMADE, later joined by two more FaVU students. A part of the group transformed in 2009 into a graphic studio of the same name. Jan Šrámek, Filip Cenek and Magdalena Hrubá co-create the visual aspect of the electronic music project MIDI LIDI. Jan also represents the visual half of the 1A2V1 project. Since 2007, he’s participated in the organization of the NEW NEW! festival as the programme coordinator of the VJ section. As for his work, he deals mainly with experimenting in animated film, vector graphics, illustration and exploration of the relationship between static and motion picture. His VJ sets are based on vector graphics. He began with VJing in 2006 and since then, he took part in many national and international festivals under the stage name VJ Kolouch. HYPERLINK “http://www.anymadestudio.com/artists/jan-sramek/” www.anymadestudio.com http://www.behance.net/vjkolouch Filmography: 2012 Bubi Laputoids – Ticking Landscape (design, illustration) 2011 Baby Blue HYPERLINK “http://mediabaze.cz/page.php?artwork=75” The Purpose of Sleep (Reedit) 2010 Untitled Nematophorma 2009 Pouzdro HYPERLINK “http://mediabaze.cz/page.php?artwork=289” The Sound of Birch Forest 2008 HYPERLINK “http://mediabaze.cz/page.php?artwork=288” Hommage á VJ Věra Lukášová

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Erkin Bayirli born in Vienna, Austria, deals with contemporary trends in technology, art and architecture. He realized several projects of bamboo in tensegrity design in Vienna and Montpellier, France. He organized several symposia and workshops and was the head of the studio community LTEX. Together with Philip Fischer he founded DAAL. He does Robot Building workshops for Children. Erkin is researching on kinetic architectural structures and biomimetics.

Philip Fischer born in Vienna, Austria, is a board member of 5uper. net and project coordinator of DAAL. Together with 5uper.net he produced Symposia, Workshops and Exhibitions in MuseumsQuartier Vienna, Kunsthaus Graz and various Off-Spaces (e.g. ‘Playfulness’, ‘21st Century Art Practices’, ‘Vizinhos – Networked Arts in Brazil’, ‘Cuisine Digitale’, ‘Coded Cultures’). Besides organizing, Philip is researching on manmachine-interaction, man-nature-interaction&relationship and hybrid media evolutions. He is actively working in the areas between arts, technology and biology.

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ASAP exhibition 2011, 串门儿 chuan men

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in 798 Art district, Beijing

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串门儿 chuan men

ASAP Get involved ASAP is collecting biographical and project information on all current and past Austrian artists and researchers who have worked in China as well as Chinese artists who have worked in Austria. Please contact ASAP. Programming ASAP organises events and produces publications, the centre objectives include: Showcasing recent China-produced works by Austrian artists in China. Creating an multimedia arts archive of past artistic creations by Austrian artists and researchers in China which is accessible online. Providing resources for interested international and local artists and academics in China, as well as incoming Austrian artists. Producing on-going ASAP Exhibition, holding lectures and workshops. Publishing a book about annual activities. ASAP’s regular programming is in alignment with organisational goals and objectives. The steering Committee member oversee the programming in following areas of focus: Austrian artist in residence program results. Architecture and Urban studies. Book presentations on literature, philosophy, and theory. Fashion and textile design. Film and Video. Fine arts. Interdisciplinary arts. Media art. Music.Performance and Live art. Photography. Steering committee ASAP is an artist founded, artist run, not-for-profit, independent organisation. The founding members are Austrian artists with extensive experience in Chinese culture, Austrian contemporary art, multiple art mediums as well as backgrounds in program management and events coordination. Passionate about arts programming and community networking, ASAP’s founding members believe in the importance of intercultural dialogue and cooperation. The steering committee is made up of ASAP’s founding members and is responsible for the development of ASAP’s mission, goals, and objectives. The acting members in 2012 are: Lukas Birk, AT, Karel Dudesek, AT, Ingrid Fischer-Schreiber, AT. 238

Background In 2012 the Austrian ministry of education culture and art has nine years of formal investment in Austro-Sino arts initiatives conducted in China. ASAP seeks to create a China based, multifunctional, arts venue to serve as exhibition, and resource space for information exchange between Chinese and Austrian artists. ASAP programming is shedding light on past initiatives and bringing them to international attention, providing a comprehensive platform for the current contemporary community, and better facilitating the Austro-Sino arts and culture dialogue. In conjunction with these objectives and the thriving international arts interest in Beijing, ASAP was founded. Though mainly sponsored by two funding bodies, the Federal Ministry for Education, Art and Culture in Vienna and the Cultural Forum in Beijing, artists come to China on an individual basis. Many Austrian artists stay on to continue the development of their works and many more return annually. ASAP seeks to unite these individual creative efforts to showcase Austrian contemporary arts and more formally offer an open invitation for engagement and collaboration to the Chinese community. ASAP does not seek to be a gallery or a museum but a flexible independent cultural space, showcasing the Austrian-Sino ongoing arts dialogue by presenting Austrian artistic works of all mediums in an accessible open environment for the general public. ASAP is happy to cooperate with museums and curators throughout Asia, to make the collected content available for exhibitions. Since 2011 ASAP extended the curatorial search throughout the ASEAN states, exchanges ideas and inspirations with several artists and institutions and invited artist to shows theire work in the annual exhibition.

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加入我们

ASAP目前面向所有曾在或正在中国工作的奥地利艺术家以及奥地利的中国艺术家征集简历和艺术项目信息。请联系我们。规划 ASAP将全年举办各种活动、展览以及特别的艺术项目。 ASAP的项目及其目标包括：为中国的奥地利艺术家举办展览，展示他们的近期作品；建立多媒体资料库，记录在中国的奥地利艺术家之前的艺术创作；为感兴趣的国际和当地学院、学生、公众以及即将到中国的奥地利艺术家提供资源；推进中奥艺术项目的合作；举办讲座和研讨会等。 ASAP举办的项目将与其组织目标保持一致。筹划指导委员负责以下几个主要方面：访问艺术家项目的进展和成果；建筑物和城市研究；文学、哲学和理论方面的书籍展示；服装设计和纺织品图案设计；电影和录像；美术和跨学科艺术；传媒艺术；音乐；开源软件和硬件；行为艺术和现场艺术；摄影等。国际咨询委员会 ASAP的国际咨询委员会成员包括ASAP的合作者、法律和金融方面的专业人士、来自中国和奥地利的文化大使等。策划指导委员会 ASAP是由艺术家创立和经营的非赢利性组织。创始成员是几位奥地利艺术家，他们在项目管理、协调和活动策划方面有丰富的经验，熟知中国文化和奥地利当代艺术，在多媒体艺术方面也颇有建树。ASAP 成员对艺术项目和团队合作充满热情，相信跨文化交流和合作的重要性。策划指导委员会是由ASAP创始成员组成，主要负责ASAP的项目和发展目标。成员包括：Lukas Birk, AT, Karel Dudesek, AT, Ingrid FischerSchreiber, AT。背景介绍奥地利政府在中国投资中奥艺术项目已有6年，其发展和产生的影响清晰的呈现在大众眼前。ASAP寻求北京的艺术基地来举办展览，以便为中国和奥地利艺术家的交流提供多功能的展示空间。ASAP项目也关 240

注艺术家过去的创作，并致力于把它们推向国际舞台，为当代艺术提供全面化的平台，更好的促进中奥艺术与文化的交流和对话。ASAP分析了目前在中国的奥地利艺术家的需求：他们希望展示在中国创作的作品；希望得到多方面的资源；需要在国外拥有一个更为强大的奥地利群体。鉴于北京繁荣的国际艺术市场能够满足艺术家的这些愿望，ASAP在北京成立。尽管艺术家有资助方，他们还是以个人身份来到中国。许多奥地利艺术家继续在中国创作，也有一些艺术家每年返回奥地利。 ASAP试图把中国的奥地利艺术家联合起来，共同表现奥地利艺术并与中国的艺术群体合作。 ASAP不希望发展成为画廊或美术馆，而是成为一个灵活的文化空间，通过展示奥地利艺术家的多样化作品推进中奥艺术的对话和交流。 ASAP的主要目标是：提升在中国生活和工作的奥地利艺术家的国际意识；促进奥地利和中国艺术家之间的对话和合作；支持中国的合作机构举办的文化活动，旨在丰富奥地利当代艺术的多样化形式；提供一个固定的场所，方便中国的艺术团体了解奥地利的当代艺术和文化，与奥地利艺术家之间建立紧密的合作。 Contact ASAP – Austro Sino Arts Program, Beijing 朝阳区水碓子东路22号606室。 ChaoYang Qu, Shui Dui Zi Dong Lu 22hao 606shi 100026 BeiJing, Telephone: 186 1005 6552 / 138 1109 4494 E mail: beijing@austrosinoartsprogram.org ASAP – Austro Sino Arts Program, Vienna Alxingergasse 26/1 A-1100 Wien Telephone: 0699 19900370 E mail: vienna@austrosinoartsprogram.org 241

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r prises, think-tanks and individuals. BCD has evolved into a great place to eat, meet and learn about important issues affecting the planet and its people. We also make every effort to visit those organizations we’ve supported. To be inclusive we choose quality but affordable restaurants: we rarely pay more than RMB60 per head. Contact BCD: beijingcommunitydinner@gmail.com

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eating out on Saturday nights since 2007, in the company of some of China’s most interesting nonprofit organisations and changemaking people. Beijing Community Dinners was started in 2007 by a group of Beijingbased Chinese and international friends. We wanted to meet and enjoy varieties of regional Chinese cuisine. The dinners intention is to help those less well off, hence the customary donation at each dinner. We invite representatives from NGOs, social enter-

Walter Steiner, aka, Waltaji, aka Water, aka Flying Monk. He is a flowing easy sinologist who seems to have always been in China though with years of experiences in India. He was baptized by unaccounted numbers of Gurus, has frequent appearances at CCTV as Austrian star, is a sitar Ambassador and on a constant tour in China between Blues, Jazz, Ethno, Fusion and

Beijing Community Dinners,

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An Austrian in China

Retro. A vegetarian and healthy food professional. He plays with easy tunes where ever he is asked to, speaks better Chinese then most Chinese themselves. Carinthia is unlikely to get a better communications officer ever. After long years digging and shoveling in Beijing, now lives and works in Lijang. To the editors it feels that he always does the right think and is where we all want to be - surrounded by beauty. For booking please email to: waltaji@gmail.com

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The Embassy of the Arts

All rights reserved. Without limiting the rights under copyright reserved above, no part of the publication may be reproduced, stored in or introduced into a retrieval system, or by any means (electronics, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book. These regulations do not apply for educational purposes world wide. ASAP online at www.austrosinoartsprogram.org Printed in the Global Marketplace. Sehr schön Design, Vorarlberg, Austria. I S B N: 978-3-9502829-3-1 Editorial by Karel Dudesek & Lukas Birk Layout by Lukas Birk + Film programming by Sarah Linder Production Assistant April Zhang+ Translation by April Zhang & Chen Yizhong + Text polishing by Otmar Lichtenwoerther & Evelyn Chen Sino consultancy: Ingrid Fisher Schreiber Technical consulent: Katrina Sun 606 polishing: Hui Tsche Hui We would like to thank In China: Gudrun Hardiman-Pollross, Hermine Pfeiffer, Sabrina Hu, Stella Wang, Zhang Hui, Robin Cong, Juan Silvestre, Martin Wehmer, Kat Don, Dong Mei, Lao He, Anni Ma, Xudu, Enji Tu, Walter Steiner and Han Fei from DongShanZone. In Austria: Bert Estl, Martin Birk, Tobias Prinz, Olga Okunev, Claudia Poellerbauer, Planhaus. In Indonesia: Andreas Karabaczek, Klaus Wölfer, Sulaiman Suigiharto, Dyah Somerano, Yusuf Kurniawan, Brahm, Puri, Mr. Noor Landlord. Mobility: by Trek and Dahon ASAP official doping Männerschnitten co KG & Vorarlberger Bergkäse.

Friends of the house

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