Creativity as a strategy to activate urban creativity power

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2023-03-02 09:56:00

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Not long ago, the 18th Shenzhen "Creative December" with the annual theme of "Design City Lights up the City of Dreams, City of Innovation Inspires the City of Fashion", once again sounded the horn of innovation and creativity, 62 key projects and hundreds of creative activities were carried out in the city. 62 key projects and hundreds of creative activities are carried out in the city, presenting the city's creative vitality in a multi-dimensional and three-dimensional manner.

In this city-wide creative carnival, Nantou Ancient City "Read the wonderful night" creative art collection, OCT 24 History Academy series of creative activities, 2022 the first immersive interactive creative experience season, the fourth national non-foreign heritage innovation exhibition and "Cast Dream Cup" The 4th Chinese National Creative Design Competition, Guangdong-Hong Kong-Macao Greater Bay Area (Shenzhen) Cantonese Opera Week, "Pengcheng Art Rhyme, Branding Talking Brightness" Guangming District 7th Branding Art Festival, the 3rd Heritage of Beauty "Cross-border Fashion Show" series of thematic exhibitions, National Qu Opera Training and Performance Base Art Week, Everyone is a Creative Artist - Nanshan District National Creative Competition, the First Emerging Art Bazaar of the Sea World Culture and Art Center, 2022 Shenzhen International Low Carbon City - Public Art Exhibition, etc., have been held in succession to create a rich atmosphere of local creativity and innovation.


{Exploring the future through history}

When we go back in history, the rise of Shenzhen's creativity and design can be traced from the previous GDC Design Awards. As one of the key activities of the 18th Shenzhen "Creative December", the "Design that Influences China's Future - 30 Years of GDC Design Awards" special exhibition series is a retrospective of award-winning works, an invitational exhibition of thematic posters, in-depth interviews with people, and a documentary exhibition & publication. Through the four sections of the exhibition, 790 historical archives, 360 key moments, 550 works and 128 stories of the people who experienced the award, the series of activities will provide a comprehensive review of the past 30 years of the award and the most influential Chinese graphic design works, outline the portrait of modern Chinese graphic design, and use it as a starting point to open a new creative journey of the future.

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>GDC30" GDC Design Award Thirty Years Poster, designed by Wang Wei


When you enter the exhibition site, the visually striking LOGO installation at the entrance is composed of GDC three-dimensional letters, which is also the "punching point" of the exhibition. On the ground in front of the installation is the number "30" formed by the projection of GDC letters, which reveals the thirty-year history of GDC Design Award, and the "shadow" also echoes the main theme of GDC "Design for China's Future". The "shadow" also echoes the GDC's main theme of "Design for China's Future". This logo design also sets the core vision of the GDC Design Award Thirty Years Exhibition Series.

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>"Baseball Uniform" GDC Design Award Thirty Years Theme Poster, designed by Taro Kwao


"GDC Design Award as a very influential graphic design awards in the global Chinese circle, its LOGO design must be generous, classic, can not have too many tricks. Exhibition event posters, we use the physical shooting method, took a week to complete, the LOGO about 'shadow' creativity, using a unique photographic language to make a richer and more vivid expression." Designer Liao Bofeng explained, "The series of three posters in black and white tones, we have made a strong sense of rhythm and permanence by 'flattening' the projections and adjusting the number of projections on the screen, as a tribute to the numerous classics produced in the past 30 years of GDC Design Awards. We paid tribute to the numerous classics produced by the GDC Design Awards over the past thirty years. At the same time, we also explored the interpretation of the logo in different materials and forms, and creatively designed a series of objects such as badges, ceramic mugs, book stands and invitations."

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>Thirty Years of GDC Design Award Poster, designed by Han Xu


Handmade, interactive and social issues are the core of Liao Bofeng's creative approach and philosophy, which is also reflected in this exhibition. "In addition to the projections of 'GDC' and '30', the installation at the entrance of the exhibition is also handmade. Unlike 3D computer modeling rendering, the hand-made is rich in details that cannot be simulated by a computer, which is also my attitude of adherence to craftsmanship." Liao said that in the special section of the exhibition, he also initiated an interactive dialogue with the GDC Design Award. The organizing committee selected 30 people who are closely related to the 30-year history of the GDC Design Award and sent them them themed custom letter writing materials, inviting them to write a personal letter for the event, which was delivered to the organizing committee by surface mail. The event was a moving and fun interactive creative experiment, reflecting the broad social influence of the GDC Design Award. "The theme of 30 years is very grand, but this dialogue of letters is very personal. Often this personal content is what moves people the most, what I call 'real people, real events, real feelings, real touching'. This is also a complement to the grand narrative of the exhibition. Visitors to the site can take a moment to read each person's story with the GDC Design Awards."

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>Poster of "30 Years of GDC Design Awards", designed by Wang Bingnan


In Liao Bofeng's opinion, it is especially important to "be yourself". "Every era and every person's lifestyle is different. In the context of the current design convergence, we as designers must find our true interests and our own characteristics. At the same time, no matter what technical means or expressions are used, the core of design still lies in creativity and inventiveness, which cannot be replaced by computer AI." Liao Bofeng said.

Looking back on the thirty-year history of GDC Design Award, 2011 was an unusual year in the mind of designer Liu Yongqing. In this year, the "Western wind" has gone, and a Chinese cultural awakening has quietly opened. "After decades of Westernized learning and imitation, we began to re-examine ourselves and seek to establish our own design language. It was also the year that the theme of GDC was officially changed to 'design that influences the future of China'." Liu Yongqing said, "Ultimately, this requires a return to our cultural matrix. Chinese characters are the core of the core of Chinese culture, and Chinese character design is precisely where the backbone of Chinese graphic design lies."

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>Design for China's Future - Thirty Years of GDC Design Award" exhibition theme image derivative material, design: Liao Bofeng


In the same year, Liu Yongqing started an "experiment with Chinese fonts" based on Chinese characters. "As a symbol for recording language and carrying culture, Chinese characters are an ultimate art in themselves, which transcends the formal beauty of visuals and precipitates the wisdom of thoughts, and has evolved into an aesthetics full of philosophical mysteries." Liu Yongqing explained that around 2011, the debate over the traditional and simplified Chinese characters was repeatedly in the press. "When I looked into its history, I found that the evolution of Chinese character forms is actually in line with the development of Chinese culture. The stability of Chinese characters is temporary; evolution is the mainstream. We need to have a dynamic view of Chinese characters. The simplification of Chinese characters is only necessary as long as it is in line with the sentiments and customs." Based on this, he made an experiment of simplifying and reconstructing Chinese fonts: combining calligraphy with cursive, simplifying pictograms, combining square and round, avoiding the artifice of square characters, and deepening the creation of characters in the context of contemporary life.

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> Chinese Character Font Experiment, designed by Liu Yongqing


The first line of Chinese characters created for this experiment is "The moon sets and the crow cries frost". The character "月" is derived from the shape of the moon, with two dots in the arc of the moon, representing the purple clouds above the moon; the character "烏" evolves directly from the shape of a bird, combining cursive script and pictographs; "天 "is represented by the three crosses in the Qian trigram. Interestingly, no matter how the character shape changes, when you look closely, you can always detect its meaning, which is the charm of Chinese characters as pictographs. With its cutting-edge innovative concept, the "Chinese Character Experiment" won the 2011 GDC Design and Culture Award for Best Design.

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>"Seeing the Haze", GDC Design Awards 2015, Grand Prize, Design: Chen Junwei


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> 24th Macau Arts Festival, GDC Design Awards 2013 Brand Identity Award, Design by Chiii Design


How should Chinese design develop for the future? For Liu Yongqing, the trend brought about by changes in design methods, color techniques, and multi-dimensional technology is only a change in expression or form. Design should never remain on the surface. Only the ideas conveyed by design are eternal, and its core is based and rooted in local culture. A thoughtful design is like a cup of hot tea, when people drink it, they can taste and taste the sweetness; it is also like a cup of good wine, which lasts for a long time. At the same time, from the general environment, design cannot be separated from the soil of creativity. Shenzhen "Creative December" as a city-wide creative activities, the city has laid a solid foundation for the development of design in Shenzhen. "With a good soil, the seeds of creativity will naturally grow."

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>"Obsession messes up my life but enhances my work", GDC Design Award 2009 for Environmental Design, Design: Stefan Sagmeister


{The light of creativity through technology}

With the iteration of science and technology, the carriers and boundaries of art are constantly being broken, thus changing people's perception of nature, ecology, culture and art itself. In "Dimension of Perception - 2022 Hong Kong and Macau Visual Art Biennale (Shenzhen)", more than 30 artists/groups from Hong Kong, Macau and Mainland China stand at the forefront of the times and focus their art creation on "technology". field. In the form of independent units, they form a parallel dialogue, presenting the latest exploration of "art and technology" by artists from the Greater Bay Area in the context of the deep integration and development of Guangdong, Hong Kong and Macao.

Since its inception in 2008, the "Hong Kong and Macao Visual Arts Biennial" has become an important platform for promoting cultural exchange between young artists from the Mainland, Hong Kong and Macao. This year's "Hong Kong and Macao Visual Arts Biennale (Shenzhen)" was established for the first time on the basis of the previous one in Beijing only. "Shenzhen, as one of the central cities in the Guangdong-Hong Kong-Macao Greater Bay Area, is a jungle of tens of thousands of technology enterprises and a metropolis of creative culture, art and design, and holding this exhibition is a brand new step in its development path of integrating technology and art." Zhang Xinying, curator of this year's Biennale, said, "Nowadays, how to establish a connection between the external human device and the human inner being and construct an organic system has become an important theme for many new media artists to discuss, and with that theme as a guide, interaction, participation and sharing have become new ways that artists are keen on. In this process, 'perception' becomes the central force linking the relationship between art, subject and object, while the way artists apply mechanical and digital media and the humanistic concepts conveyed through their works constitute the multiple dimensions of art perception today, i.e. the 'perception dimension'."

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>The unmanned supermarket "Mercury", by Team 01 (Chen Rongbin, Liang Chainxi)


"In the rapid development of all kinds of technology, we should focus more on the feelings of people themselves." said Liang Chainxi, an artist from Guangdong Province. In this year's Biennale, he and artist Chen Rongbin formed the "01 Group", which brought the Internet art work "Explosive Mercury", by letting the web hosts go out of the indoor live broadcast room to sell the "art concept" in the nature. By letting webcasters go out of the indoor live broadcast room to sell "art concepts" in nature, the group calls on the public to move from the Internet to the real world. "The creation of 'Explosive Mercury' began in 2020 and was inspired by the new crown epidemic that ravaged the world. During that time, people had less and less physical contact with each other and were constantly engaged in social activities constructed by the virtual world of the Internet, of which webcasting with goods was the most typical, and the resulting business model was spurting." Chen Rongbin explains, "The emotional sales approach of webcasters always guides the public to complete consumption without notice, and the public gradually loses its natural attributes in the process. Based on this, 'Explosive Mercury' tries to deconstruct the business model of selling goods live through the 'absurd' way of selling nothingness and concepts, allowing the public to reflect on the meaning of consumption itself in buying and selling, and leading them to reflect on the fast-food, fragmented era. "

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>"Cinemorpheque", by Zhang Hanqian


"With the innovation of technology, the limited sensory and perceptual dimensions of human beings can transcend their own limits." So says Hong Kong artist Zhang Hanqian. His immersive art installation "Cinemorpheque" draws inspiration from the "Spring", "Summer", "Autumn" and "Winter" iconic scenes from several classic Hong Kong films. "After analyzing and learning from more than 10,000 scenes of the four seasons in different regions, a set of virtual seasonal deformation visuals composed of abstract particles is created by using artificial intelligence technology. Through sensory interaction, the work leads the viewer into a dimension of nature. "'Cinemorpheque' challenges the boundaries between time and space, physical and virtual, allowing the viewer not only to experience the changing seasons, but also to immerse themselves in a new landscape manipulated by artificial intelligence, moving between reality and reality, rethinking the laws of the time domain and the relationship between technology The exhibition not only allows the viewer to experience the changing of the seasons, but also to immerse himself in a new landscape controlled by artificial intelligence, to travel between reality and reality, to rethink the laws of time and the relationship between technology and nature. More importantly, it presents a new aesthetic view of cinema, in which future movie scenes can be created by artificial intelligence and the timing of the movie can be freely controlled by the viewer. This will break the inertia of coincidental playback in today's cinemas." Zhang Hanqian said.

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>"Rhythm 10", by Wu Shao Ying


To Macau artist Wu Shao Ying, public art works may have a healing effect on the mind and body. "The work 'Rhythm 10' presents a virtual water flow with the ground to form a lake space. When the viewer steps into the space, visual particles will appear randomly and the sound of Sanskrit will ring in their ears, causing them to relax and immerse themselves in it, as if opening a door in their hearts to face their softest and most vulnerable side, releasing their sincere selves and achieving a healing effect on the mind." Wu Shaoying said. In fact, "Rhyme 10" is a digital ink created based on codes such as Navi-Stokes equations, chaos theory and intricate underlying logic. The virtual ink particles show clear dynamic traces in the myriad turbulent flows created through the equations, with millions of particles constantly being impacted, rotated and pulled. "The creation program is linked to real-time weather data of Macau, using digital technology to simulate the changes associated with cloudy, sunny, cloudy and stormy weather. This way of linking the physical world (Macau weather) and the virtual world (program screen) through digital art presents a dynamic balance between controllable and uncontrollable."


{Creative Life is Everywhere}

When walking through the streets of Shenzhen, public service announcements (PSAs) are not only the "face" of the city's civilization, but also a vehicle for expressing creativity. In order to integrate PSAs into citizens' daily life, the 17th Design Capital (China-Shenzhen) PSA Competition collected various visual works from the society, and after three rounds of judging, 29 winning works were selected. "The more public welfare nature of the design, the more and better creativity is needed to trigger the public's resonance and thinking." Designer Zhao Gang said so. He designed and created the "Shenzhen and Hong Kong family" won the Golden Tree Award in the graphic category of the competition. The work uses the blue color symbolizing the sea as the background, and uses the common side of Shenzhen and Hong Kong - "Bac" as the creative entry, and uses the last stroke of "Bac" as the carrier of the dragon boat, showing that Shenzhen and Hong Kong The final stroke of "Bac" is used as the carrier of the dragon boat, showing the close ties between Shenzhen and Hong Kong, which share the same ancestral origin and the same geographical location, as well as the broad prospect for the two places to work together in the same boat and seek common development.

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>"Shenzhen and Hong Kong Family", by Zhao Gang


Interestingly, the inspiration for "Shenzhen-Hong Kong Family" came from a small, warm and loving incident between neighbors. "When I first thought of the idea, I was not satisfied after several drafts, which made me very distressed. One night at 9pm, my next door neighbor brought four or five wild carp that her husband had caught to my house and gave them to me, which surprised me. Usually our two families do not interact much, just meet to say hello and chat a few times, but this does not affect the friendship between neighbors in any way." Zhao Gang added, "Looking at the fish from my neighbor, I suddenly had an epiphany. Shenzhen and Hong Kong actually have such a harmonious neighborly relationship with each other. They are not only geographically close neighbors, but from history to today, they have even become a community long ago. Based on this, the 'Shenzhen-Hong Kong Family' is made from the fact that both characters 'Shenzhen' and 'Hong Kong' have the radical '氵'. I hope to convey a spirit of mutual assistance between Shenzhen and Hong Kong neighbors, common development, coexistence and win-win."

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>"Sanquantu-Shou", by Zhao Gang


When creativity extends to every corner of urban life, various creative bazaars are born. Especially during the "Creative December" period, a group of pioneering creators and lifestylers who are interesting, stylish and know how to live have gathered in the streets and alleys of Shenzhen, integrating their warm and interesting creative ideas into life, stringing the neighborhoods and lighting up the city. The T Street Creative Market "Creative Camp" held in OCT-Loft has gathered different types of original design power, and has become a representative of neighborhood-based creative market with intensive cycle and stable venue facilities in China by linking with workshops, small exhibitions, performances and other arts and cultural activities.

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> Dr. Wong's aroma product portfolio, photo by Dr. Wong


Creative atmosphere", "cultural atmosphere" and "trendy" were the key words that attracted people's attention at the "Creative Camp" event in 2022. The keywords that attracted people's attention were "creative atmosphere", "cultural atmosphere" and "trendy". In the opinion of Dr. Wong's director Ma Yuping, a good life requires a sense of ritual, and nature always gives people more surprises than they can imagine. "We try to go back to the origin of nature, carefully explore the aroma and energy of each plant, and collide them synergistically to build an energy aroma combination, which not only aromatically delights but also heals our body and mind." The Himalayan Mountains are high and cold, and the aromatic plants that grow in this pure land also possess pure and tough natural energy, based on this, Dr. Wong is committed to bringing the vitality and energy of the land and plants to life. Dr. Wong is dedicated to bringing the life and energy of the land and plants to life. The owner of SPACE-SHI, an independent jewelry design studio, grew up in the University of Aeronautics and has a strong interest in mechanics and crafts since childhood, and is fond of making toys with various space themes and elements. He uses astronauts as the main line of jewelry design, fusing micro-sculpting techniques and skills into silver jewelry creation, and adding spherical joints from childhood toys to make jewelry design more sculptural, interesting and imaginative. Since 2017, he has created a series of spaceman-shaped jewelry in three time dimensions: past, present and future. Among them, the future series focuses on cosmic exploration, with the moon, astronauts and spaceships as the creative elements, and has completed more than 2,800 pieces of works so far. The piece "Jade Rabbit Spaceman" draws on the traditional Chinese myth of the Jade Rabbit celebrating the Mid-Autumn Festival, while paying tribute to the successful landing of the Jade Rabbit, China's first lunar rover, with a mysterious science fiction and mechanical design. Just see the silver texture of the rabbit wearing space blue oxygen mask, wearing a cool space suit, oxygen bottles and other astronaut "equipment" elements, while a slightly curved ears, a hand than the "yea", and add a fun warmth to the spaceman and cute.

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>The "Future" series of astronaut silver jewelry, photo by Shiyao Original


The "Warm Winter Force Chill Project" held in the G&G Creative Community uses nature, relaxation and fireworks as keywords to encourage and stimulate creative culture with local characteristics, allowing citizens to fully experience the enhancement and beautiful changes brought by creativity to their lives, highlighting the new urban ecology of "art and design into life". "The new ecology of the city. "Make the boring life interesting" was fully reflected in the "experimental" clothing design studio HUOWUS bag series. The designer combines the bag with a plastic bag, and through the "double eye" design, it turns it into a hood, expressing a reversal of the nonsensical emotion, and using it to explore the multiple values of the object, using different textures of materials in a handmade form. In order to fit the concept of "value transformation", plastic bags, a material that can be found anywhere and discarded at any time, were chosen and brought to life in the form of an open-eyed hole. Later, the props gradually evolved into a small series of handbags. The design point of "open a pair of eyes to make everything come to life" is also getting more and more playful. "I found myself creating new friends and new characters in my life during the production process. Various styles emerged one after another, such as hand-beaded heavy-duty models are low-key but shiny friends, gingham studded models are friends who play punk, love eyes models are friends who always have love in their hearts ...... headgear handbags style also slowly become 'cute and fun'. "

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> Head Covering Handbag Collection, Design by asha, Photo by HUOWUS


In the bazaar, the unpredictable randomness brightens up the ordinary life, while the classic and everlasting designs stay with people across time and space. Yi:haus, the owner of the mid-century home furnishing store, focuses on classic German designs from the mid-1900s, and says that the space age, which began around the 1960s, inspired people to have unlimited visions of space. For example, the ceramic vase designed by E.A. Sundermann and made by Fürstenberg porcelain factory resembled a UFO, consisting of a cylindrical shape pulled out of a hexagon, with rounded curves and a sense of space and futuristic, carrying the designer's imagination of the space world and UFOs. 1960s to 1970s, Op Art was prevalent. The works of this period usually consisted of lines or geometric shapes arranged in a certain pattern, forming a visual illusion to shape a three-dimensional sense of space. Designed by Christa Häusler-Goltz and made by Rosenthal Porcelain in Germany, the Op Art vase is made of twisted and stacked squares, resembling a stylized building. It is a futuristic design example of the era.

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> 1980s Memphis era candlestick, photo by Yi:haus


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> 1980s German Rosenthal studio series coffee mug + 1980s German Arzberg teapot, photo by Yi:haus


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> 1990s MARC AUREL wine glass, France, photo by Yi:haus


Creative life is not only embellished with subtle objects, but also needs to be carried by a beautiful space with texture. In the G&G creative community, LA VIE material living space tries to play out the possibility of a good life with the gathering of interesting souls in addition to the scale and pleasant rhythm of human living, so that people can regain the desire to communicate with each other, let people have a relationship with the surrounding "world", and also let each individual face others sincerely, release themselves and integrate into the group. It also allows each individual to honestly face others, release themselves, and integrate into the group. In the exhibition "Ware Rhyme", presented in collaboration with Yiyunzhai, LA VIE Material Life Space uses artifacts as the basis and everyday tea and wine events as scenes to create an immersive oriental teahouse space. This "up-close" exhibition allows talented and creative people to socialize and collide with each other in a casual and comfortable atmosphere.


{A century-old village's art wave}

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>"Window No.1", by Zhou Jinhua, photo by Wang Yue


The accelerated urbanization brings about the disappearance of traditional villages and vernacular memories, how to retain the nostalgia and collective memory, and then let the old village renew its vitality and light? The "Fang Er Bo Liu" Contemporary Art Exhibition is an immersive architectural installation art exhibition that allows historical traces to dialogue with contemporary art and digital technology to find the inner logic of the evolution of human living environment. The exhibition will be held in Fang Er Village, Longhua District, Shenzhen for two months. "Fang Er" is the venue of the exhibition, the now uninhabited century-old Hakka village Fang Er Village, with row houses built on the mountain and water; the term "wave flow" was first seen in Zhuangzi, and in recent years it often appears in games. In the eyes of curator Sun Li, "wave flow" depicts both the changing water flow and the quiet essence beneath it, just like the unchanging truth in a rapidly changing world - people's vision of a better life. Regardless of the era in which one lives, the spirit of people striving for a better life deserves to be passed on and continued, "to make the old village 'reborn' is not to cut off the past, but to bring continuous hope into reality." Sun Li said.

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>"Exotic Flowers and Plants" by Cang Xin, photo by Wang Yue


Unlike the common "white box" pavilions that focus on the artworks themselves, Sun Li hopes to let the artworks react with the old village architecture, and even harmonize them, so that the present and the past, the material and the immaterial, and other multi-level information can collide and intertwine, forming a high-dimensional information flow. Walking through the old village of Fang Er, visitors can encounter artworks in courtyards, patios, corners and stoves. The venue has preserved the original structure of the old village buildings and the objects of the original inhabitants, such as wicker baskets, shovels, mirrors on the walls and New Year paintings, to the maximum extent possible. The exhibited works include both new and old works, including paintings, installations, videos and other forms. The works are laid out according to the relationship between the content of the creation and the location of the dwellings, and the artist also made secondary creations in conjunction with the exhibition space, with the intention of exploring topics such as cultural identity, community relations and ecological crisis in the current context.

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>"Quan"(Spring), by Jiang Guoyuan, photo by Wang Yue


The row houses in Fang Er Lao village have a pond in front and a hill in the back, reflecting the importance Hakka people attach to residential "feng shui", which inspired the artist Yu Tong. The work "Golden Jade Full Hall" is set in the patio, which is considered by traditional "feng shui" to be the "qi mouth" of the house, gathering wealth and nurturing qi. "The hanging goldfish lamp and the goldfish wandering in the transparent raincloth harmonize with 'Jin Yu', which means that there will be fish every year; the raincloth receives the rain from the sky, which harmonizes with 'fish water' and has the meaning of good fortune. " Yu Tong said that the mirror covering the pond was a "flash of light" when he set up the exhibition, which not only provides different viewing angles for the work, but also harmonizes with "calm", meaning calm and tranquil. He used the traditional auspicious symbols symbolizing wealth and prosperity combined with the photoelectric system, and used modern aesthetics to outline the "good omen" in "feng shui", soothing the hearts of people with beautiful symbols in the era of epidemic.

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>"Twilight of the Galaxy" (one), by Tong Dazhuang, photo by Wang Yue


"Life is movement, and as long as it moves, it generates infinite energy and presents countless changes and possibilities." The artist Liu Yuankai named the three series of works in this exhibition "Entanglement", presenting the intersection and influence of different things in the movement of life. Two works are mechanical devices made of driftwood and medical metal materials, in which the mechanical and the wood repeatedly twist and turn, generating variable images and a repetitive rhythmic sound field; the other is a wooden box loaded with medical metal materials, in which the metal collides under mechanical drive, sounding like a silkworm gnawing on mulberry leaves, "like a man-made object rambling, but also like eating nature. " Liu Yuankai said. The medical metal materials used in the work are surgical instruments, bone nails and artificial joints that have been used or removed from human bodies. The cold metal material contains human efforts for the ultimate goal, while the pitted driftwood has undergone natural baptismal "whitening" and bears a strong mark of life. The frictional collision of the two materials is like a dialogue between natural life and artificial life.

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>"Pixel Notes", by UFO Media Lab, photo by Wang Yue


The usual perception is that the old village is the past, the city is the present, and technology is the future. But can the old village only be history? In "Pixel Chronicle", UFO Media Lab tries to re-edit the temporal relationship between the old village and the city, creating a fictional "archaeology" of the future: a shovel for excavation stands in the corner, a chandelier once used by the residents hangs from the roof, and the compartment Several screen fragments were buried in the red dirt on the ground, and the screen flashed between images of TV signal test cards, app icons, keyboards, etc. When the screen stopped at the keyboard image, the sound of violent keyboard tapping could be heard. In this "archaeological" site, information technology products that do not belong to the perceived era of the old village are unearthed, and the past, present and future seem to coalesce in the same time and space, and the strong contrast between the site and the work gives the audience a brief sense of dislocation. Is it the future of the old village, or a fragment of the old village's past?" This question ponders both the future of the old village and the future of the city. The disappearance of the old village and the rapid change of the city to the new is like formatting the common memory of the city, which leads to the pattern of planning and construction, and the city becomes uniform. The intervention of art works can draw people's attention and rethink the cultural attributes and connotations of old villages, and perhaps provide another possibility for urban habitat planning and transformation.

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>"9am to 5pm", by Deng Chunru, photo by Ruisi Cultural Arts Center


Planning Planner / Editorial Department
Executive Pictures / Wen Yang Yang, Zou Yu Han, Li Xiaofang
Article / Wen Yangyang, Zou Yuhan, Li Xiaofang, Wang Yue
Pictures / The 18th Shenzhen "Creative December"
Article Source:艺术与设计

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