展览开幕式新闻稿

（重）塑世界：法国国立当代艺术中心（LeFresnoy）稿20181222明珠美术馆于开馆一之际，精心策划推出新数字：“（重）塑世界：法国国立当代艺术中心（LeFresnoy）20181222（周六）举办开幕式暨。馆以“艺术点亮生活”为，勇于打破藩篱。此次展览与法国国立当代艺术中心（LeFresnoy），得以观察、思考并（重）塑——将世界数字化、以新的方式展现它，也印证了展览的核心：（重新）为世界建模/(re)modeltheworld。其中一些作品混合了传统技术（16毫米胶片3D2000领域的共同成果。如普鲁斯特所言，“只有借助艺术才能走出自我，了解别人在他的世界、那个与不同的世界里看到些什么，否则，那个世界上的景象会像月亮上有些什么一样不为我们所知晓”在这场全新的展览之中一切呈现给的都是被创造它们的艺术家重塑的世界。，1997年于法国北部城市图尔宽（Tourcoing）落成。法国前任文化部部长，前任蓬皮杜博物馆馆长多米尼克·博索（DominiqueBozo）为机构角色定义为：“视听高科技的梅迪奇”、“电子的包豪斯”和“造型的IRCAM”。作为欧洲殿堂级高等艺术机构，中心至今已培养了许多活跃在世界当代艺术舞台上的杰出艺术家，成为了促进青年艺术家创作的前沿。基于艺术观点的契合以及对法国国立当代艺术中心（LeFresnoy）在数字艺术创作领域取得的杰展出这些全球著名及新锐艺术家们综合多种技术与媒介的数字艺术作品在开馆一之际带来2018年12月到2019年3月整个展期内，明珠美术馆还策划了一系列丰富多彩的公共艺术教育活动，邀请策展人、LeFresnoy代表、科技与艺术的跨界艺术家、文化艺术学者、科学家、哲学家们，围绕“多-艺术”、“技术-艺术”等相关，在美术馆开展讲座、、工作坊等公共艺术教育活动。另外，明珠美术馆将携法国国立当代艺术中心（LeFresnoy）代表及部分参（Re）ModelThe 20YearsofDigitalCreation/LeFresnoyStudioforContemporaryNEWSDecember22,Forits,PearlArtMuseum(PAM)launchedanewmediadigitalartexhibitionnamed“Re(Model)TheWorld:20YearsofDigitalCreationofLeFresnoy/NationalStudioforContemporaryArts”andhelditsopeningceremony/pressconferenceonDecember22,2018Asaprivateandnon-profitartinstitutionforartexhibitions,education,researches,promotionsandculturalcommunications,PAMtakes‘artsilluminaife’asitsmissionandiscommittedtoremovingculturalbarriers.Asacooperation ebetweenPAMandLeFresnoy,thisexhibitioninvited20artistsfromallovertheworldandpresented20digitalartworkstotheaudience,lingthestoryofthetechnology-shapedfuture.Focusingongraphics,soundandcommunicationtechnologies,theexhibitedartworksuse,switchanddivertsuchtechnologiestoobserve,contemplateandreshapetheworld--presentingtheworldindigitalizedandnewways,whichechoesthecoreoftheexhibition:re(model)theworld.Someworkscombinetraditionaltechnologies(16mmfilmanddaguerreotype)withdigitaltechnologies;someputinmixeds,fipecialeffects,compositeimages,photogrammetryand3Dscanning;someusecutting-edgetechnologies,suchasmotioncaptureandinteraction,oruseaphotographymachinethatiscapableofrecognizing2000imagespersecond,ornanophotography,nanocarving,infraredimaging,digitalvisualization,algorithms,andgenerativeandmachinelearning.Otherworksderivefromcontactwithscienceandmagicalencounterwithscientists(visualizing mathobjects,reusingmaterialsandscientificimagingsystems,andprogrammingmodelingofmotions).Someworkswereevenconceivedascommonresultsoftwofields.AsMarcelProustsaid,“Throughartaloneareweabletoemergefromourselves,toknowwhatanother seesofauniversewhichisnotthesameasourownandofwhich,withoutart,thelandscapeswouldremainasunknowntousasthosethatmayexistonthemoon.”Theexhibitionpresentstousaworldremodeledbytheartists.Foundedin1997inTourcoing,acityinnorthernFrance,LeFresnoyisthemostimportantmodernaudiovisualartcreationcenterandacademyofartsinEurope.DominiqueBozo,FormerMinisteroftheMinistryofCultureofFranceandFormerCuratorofPompidou,definedtheroleofLeFresnoyas“anIRCAMofthevisualarts”or“ahi-techVillaMedici.”Asahigh-levelacademyofartsinEurope,LeFresnoyhasfosteredmanyoutstandingartistswhoareactiveinthecontemporaryartfield.ItisindisputablethatLeFresnoyisthe“dreamfactory”oftoday'sartists.SharingthesameartconceptsandappreciatingLeFresnoy'seffortsinfosteringartists,PAMinitiatedandplannedtheexhibition.PAMhopesthattheexhibitionwillbeashowwherescience,thoughtsandartsmeetandwheretheaudiencecanexperiencethefuture.TheexhibitionwilllastfromDecember2018toMarch2019,duringwhichPAMwilllaunchaseriesofartexchangeevents.ItwillinviteoutstandingartistsofLeFresnoy,cross-boundaryartistsandculturalscholarstogivelectures,salonsandworkshopson“multimediaandarts”and“scienceandarts”inthemuseum.PAMwillalsoholdcampustalksinuniversitiesaroundthecountrytoallowstudentstocommunicatewithartistsofLeFresnoyin

ParticipatingArtistsSaïd

DavidDeBeyterElisabethCaravellaIsmaëlJoffroyJunkaiChenHugoDeverchèreAlainFleischer/ArnaudPetit/Jean-PhilippeUzanSébastienHildebrandZhenqianAurélienVernhes-LermusiauxZhenchenLiuNicolasMoulinKingsleyNgBaptisteRabichonChristianRizzoGaëtanRobillardGwendalSartreLukasTrunigerJacobWienerFabienZocco明珠美术馆由新华与红星美凯龙家居合作创建，是一家从事艺术展览、教育、研究、推广及交流的民营非营利性艺术机构。美术馆由国际知名建筑大师安藤忠雄（TadaoAndo）设计，建筑名为“光的空间（LightSpace）”,由明珠美术馆与新华书店组成上下叠加的独显独树一帜的特色；全年举办展览和艺术家个展，涉及绘画、影像、装置、设计、摄影、书籍时尚和表演等多元领域将以的视野组织多层次的丰富的艺术教育与会员活动，开设以“艺术生活”（LAb）为的艺术商店，引领艺文生活。PearlArtCo-foundedbyShanghaiXinHuaDistributionGroupandRedStarMacallineGroup,PearlArtMuseum(PAM)isanartinstitutionforexhibitions,educationandresearch,promotingartandculturalcommunications.PAMisdesignedbyJapanesemasterarchitectTadaoAndo,andalongwiththeXinHuaBookstoreonthelowerfloor,theduplexartsspaceisnamed“LightSpace”.Asanexceptionalplaceforcommunications,PAMtakesthecouragetobreakdisciplinaryandculturalbarriers,playingasignificantroleinartistic,culturalandinlectualareas.Theannualprogramcoversthemedshowsaswellasartists’soloshowsaroundtheyear,touchingabroadscopeofartisticinterestslikepainting,,installation,design,photography,book,fashionandperformance.Besidesexhibitionswithaninternationalhorizon,PAMalsohasarichpubliceducationandmemberprogram,intandemwiththepioneerpracticeofitsmuseumshop‘laboratoryoflivingFresnoy法国国立当代艺术中心（LeFresnoy）由法裔建筑家伯纳德.屈米(BernardTschumi)设计，它的结构融合并保留了老式舞厅和中心弗雷努瓦（LeFresnoy）的设计，艺术中心的别称由此而来。它源于法国文化部决心建立一个艺术、视听和数字创作的现代中心的设想，•福莱歇(AlainFleischer)为其创始人和。法国国立当代艺术中心（LeFresnoy）被称为“视听高科技的梅迪奇”、“电子的包豪斯”和“造型的IRCAM（国际音乐音响）”，除了这些简单的，艺术中心的使命是通过提供优秀的跨LEFRESNOY:AUNIQUELeFresnoy-StudioNationaldesArtsContemporainsistheresultofthedeterminationoftheFrenchMinistryofCultureandCommunicationtosetupnewkindofhigherartisticteachingestablishmentintheNorthofFrance,aninnovative,world-classcreativehubthatwouldbelike“anIRCAMofthevisualarts”or“ahi-techVillaMedici.”Withcoursesarticulatedaroundtheproductionofartworksacrossawiderangeofdisciplinesandstyles,drawingontheavailabilityofaudiovisualtechniquestoprofessionalstandards,itisauniquecentreforproduction,experimentandpresentation.开幕式暨日期：20181222（周六）开幕式暨：15:00-16:00地址：市闵行区吴中路1588号，爱琴海购物公园8Opening&PressDate:December22th2018(Saturday)MediaPreview:2pm-3pmOpening&PressConference:3pm-4pmLocation:PearlArtMuseumVenue:8F,AegeanPlace,1588WuZhongRoad,MinhangDistrict,日期：20181223（周日）地点：明珠美术馆7楼心厅地址：市闵行区吴中路1588号爱琴海购物公园嘉宾：明珠美术馆执行馆长、策展人李法国国立当代艺术中心（LeFresnoy）数字研究部埃里克·普利让EricJunkai参展艺术家雨果·HugoDeverchère参展艺术家伍韶劲KingsleyNgCurators&ArtistsDate:December23th2018(Sunday)Time:3pm-5pmLocation:TheCenterofLightSpace,PearlArtVenue:7F,AegeanPlace,1588WuZhongRoad,MinhangDistrict,ShanghaiDandanLi(ExecutiveDirector&CuratorofPearlArtEricPrigent(DigitalStudiesDirectorofLeFresnoy,NationalStudioforContemporaryArts)ParticipatingArtists:JunkaiChenHugoDeverchèreKingsleyNg展期：20181215201933开幕式：2018年12月22日 策展人：李、埃里克•普利让、娜塔丽•崔比克艺术总监：•福莱歇展陈设计：MargoRENISIOProducer:ShuangCurator:DandanLi,EricPrigent,NataliaTrebikArtDirector:AlainFleischerScenographicDesign:MargoRENISIO-主办：明珠美术馆、法国国立当代艺术中心（LeFresnoy）承办：元真文化传媒支持：新 特别支持：法国驻Organizer:PearlArtMuseum,LeFresnoyNationalStudioforContemporaryArtsContractors:ShanghaiOriginsMediaSupport:ShanghaiXinhuaDistributionGroup,RedStarMacallineGroupSpecialSupport:ConsulateGeneralofFranceinShanghai15888107（61010（9Venue:PearlArt8F,AegeanPlace,1588WuZhongRoad,MinhangDistrict,ShanghaiOpeningHours:ClosedonMondays;Tuesday-Friday10.00am-7.00pm;Saturday-Sunday10.00am-10.00pm(Lastadmissiononehourbeforeclosing)明珠美术馆联Xingchen（mob邮箱（：zhaoxc@Xiafang（mob邮箱（：shixf@1/赛义德・阿菲Saïd1983年在摩洛哥出生，曾就读于法国国立当代艺术中心（LeFresnoy的和式的秩序维度来增强作品张力。在他的艺术实践中，各种新技术被充分运用，包括3DBornin1983inMorocco.TrainedattheFresnoy-NationalStudioofContemporaryArts,SaïdAfifihasbeendeveloresearchon"postmodernist"architectureforafewyears,increasingitwithachaoticandutopiandimensionoforder.Newtechnologiesareubiquitousinhisartisticpractice,includingtheuseof3Drenderingtools."Withoutresistingchangeandanecessaryevolutionoftheworldwhilemaintainingapositionofobserver,closetothereport,Itrytoquestioninametaphoricalwaythepolitical,socialandeconomiccircumstancesthatledtotheadventoftheultra-modernistlandscape."《叶马亚（Yemaya),模型出自法国国家科学（CNRS）数字，其数据来源采用海底摄影测量技术以及使去思考关于图像、再现形式及其美学和技术的表现形式的问题。TheYemayaprojectisavirtual-realityimmersiveinstallation,anattempttoreformulateavisualandpoeticlanguageusingscientifictoolsandprocesses.Itconsistsindeployinganoneiricstagingbasedoncertainmodellingsofcaves,fromtheCNRS(TheFrenchNationalCenterforScientificResearch)digitalarchive,entirelymadewiththetechnologyofunderseaphotogrammetry,acousticmeasurementsfromanactiveunderwatersensor,whichtechnologicalresourcesallowenhancedscientificobservationoftheunderseaworld,allwithhighresolutionthreedimensionalvisualisation.Theprojectoffersameditativeandpoeticexcursioninwhicheachdetailismodelledlikeamusicalvibration.Italsoencouragesustoconsiderthequestionoftheimage,offormsofrepresentationandtheiraestheticandtechnologicalmanifestations.2/戴维•德•拜特DavidDe戴维•德•拜特(DavidDeBeyter)1985年出生于兼具概念性和性。他一直在探索真实和虚构的工作涉及人类学层面，其作品从一开始就呈现出了人类学特点，并随着《大（BigBanger弃”这一概念细化他的和可塑性命题。2008DavidDeBeyter,bornin1985,isaFrenchphotographer.Hisapproachtophotographyisbothconceptualandary.HeexplorestheboundariesbetweenrealityandfictionandDeBeyter’sworkmeltstogetherdifferentregisters–thepresent,pastandfuture.HisartisticworkismainlybasedontheconceptofLandscapepracticeandthroughexhibition'sinstallationshequestionsthedifferentstatusoftheimage.ThereisananthropologicalsidetowhatDeBeyterdoes.Althoughpresentinhisworksincethebeginning,itflourishedwiththeBigBangers.Onthisoccasion,heopensuphisartisticworktomovingimagesandsculpture,thusrefininghisreflectionandhisplasticpropositionsaroundthenotionofDavidDeBeyterisgraduatedinPhotographyfromENSAVofLaCambreinBrusselsin2008andpost-graduatedfromLeFresnoyinTourcoingin2010.Atthemoment,HeresidesattheCasadeVélasquez,residenceoftheFrenchAcademyinMadrid.《混凝土镜子》(CONCRETEMIRRORS),《混凝土镜子》的是1960年代征服太空的图像，回溯到冷期的猜疑与妄想的氛围作品的第一章以历史学的形式展现了一些六十年代的式建筑科学设施和以因其类火学或国家航空航天局(NASA)下的一些经验，NASA的特定工具曾帮助重新定义了征ConcreteMirrorsdealswiththeiconographyofspaceconquestduringthe60s,backtoaclimateofsuspicionandparanoialinkedtothecoldwar.Presentedasafakephotograph-ary,thisprojectputstogetherthreecorpusofimagesofdifferentnatureandstatus,combiningtypesofreality,theseares,andvirtuality,thoseareWithaformofhistoriography,thechapterofthisworkshowsaselectionofutopianarchitecturesfromthe60s,scientificfacilitiesandlandscapesknownfortheirMartianorLunar-likelandscapes.Thesearchitecturesarenotchosenfortheformalappealtheycanwear,butbecausetheyembodytheobsolescenceofathought,thethoughtofutopaterritoryofthoughtandcreation.Fromaationfullofdrawingsandobjectsrelatedtotheprospectivearchitectureofthe70s,thesecondchapterofthisresearchaims,withascattereduseof3D,togiveaformofexistencetounrealizedprojectsthatembodythatmythologyandtointerpretthembymeansofaphotographicstaging.Thethirdchapterexploresascientificandphotographicationofthattime,suchasthephotogrammetryorexperiencesledbytheNASA,whosespecifictoolshelpeddefiningtheimageryofthisconquestanddevelothefantasyaroundit.Thisarcheologythusproceedstoamethodologyrevealingacorpuswhereeveryimageisinter-connected.Thisromanticexplorationestablishesanimaginaryterritorythroughouttheationofatestareawhereformalanachronismsstressthegapbetweenprospectivevisionandfallenmythology.3/伊丽莎白.卡拉维拉Elisabeth法国艺术家和人。她毕业于欧洲视觉艺术学院，巴黎国立来源于文化控制论和，作品包括Photoshop《电（又译：、机械《》(2018)。ElisabethCaravella,bornin1986,isafrenchartistfilmmakerwholivesandworksinParis.ShegraduatedfromEuropeanSchoolofVisualÉcoleNationaleSupérieuredesArtsDécoratifsinParisandLeFresnoy,NationalStudio.Herworksmixconceptualart,cinemaanddigitalart.Sherealizesexperimentalfictionmoviesinspiratedbycyberneticcultureandcinema,suchasaphotoshopmovieAnonymousPhoneCall(2009),Howto(2014)acinematographictutorial,andKrisis(2018)avirtualreality《操作方式》(Howto),《操作方式是一个其中它的拍摄者在教如何创作一个三维文本但很快的，操作变得复杂起来，开始失去控制，拍摄者发现她并不是独自一人。“Howto”是网络中的关键用词。这些解释性的屏幕截图最初用于电脑相关工作，通常由业余者制作。艺术家发现了这些截屏所具有的潜力，想要制作一部完全由电脑屏幕组成的新一代虚构片。就像一面镜子，正是用显示它的屏幕拍摄而成的。这件作品是异想天开的、式的，它却又是现实的图像。Howtoisatutorialinwhichitscreatorteachesushowtomakea3Dtext.Butquickly,herundertakinggetscomplicated,thesoftware esoutofcontrol,shediscoversthatsheisnomorealone.HowtoisthekeywordusedforInternettutorials.Originallyintendedforcomputing,theseexplanatoryscreencapturesaregenerallymadebyamateurs.Detectingthecinematographicpotentialofthesescreencasts,theartistwantedtomakeanew-generationfictionaryfilmedentirelyfromhercomputerscreen.Likeamirror,thetutorialisfilmedwiththescreenthatshowsit.Heterotopianandutopian,itistheimageofareality.4/提斯IsmaëlJoffroy1988年在法国出生先后毕业于比利时国家视觉艺术与技Fresnoy种流派界限的。他的对、虚拟、技术以及世最为代表性的作品是《黑波，该片曾在诸多国际节上展及青年评审团奖。伊斯梅尔同时也是一名剪辑师，目前在巴黎生活和工作BorninFrancein1988.GraduatedfromINSAS(Belgium)inediting,fromSaintLukasArtSchool(Belgium)infilmmakingandfromLeFresnoy(France).IsmaëlJoffroyChandoutisexploresacinemabeyondtheboundariesofgenres.Hisfiquestionmemory,virtual,technologyandtheintermediatespacesbetweentheworldsandbetweenthewords.HewasknownasafilmmakerwithhisfilmOndesnoireswhichhasbeenshowninmanyinternationalfestivals,suchastheIDFA,theClermontFDShortFilmFestival,theRegensburgShortFilmFestivaletc.Thefilmhasalsoreceivednumerousawards,includingtheGrandPrixandtheYouthJuryPrizeattheRegensburgFestival.Ismaëlisalsoafilmeditor.HecurrentlylivesandworksinParis.《黑波》(Ondesnoires),本片讲述了社会边缘的三个电子过敏的故事。影片的主线是三个主人公的叙述，他们讲述了之前和现在的生活、他们、感受、痛苦，以及对未来的期望。同时他们的《黑波》是三个电子过敏的。其中一个是计算机科学家，他无法工作或入睡，不得不逃离马徘徊了几个星期；另一个是住在铝箔保护室里的青少年，用音乐打发时光；最后一个人物是一位不得不躲在史前山洞里躲避电波的年轻女性。三位主人公向从而使看不见的电磁波在眼前变得具体化一些自然或城市景象先是慢慢出现在眼Intoday'ssociety,humansaregettingincreasinglycloser,withradiowavesinvadingallkindsofspace.Threepeoplewithelectromagneticradiationintolerancelhowtheyarestrugglingtosurviveinaworldgraduallybeyondtheirreach.Thisfilmlsthestoryofthreeelectronicallergysuffererslivingontheedgeofsociety.Themainlineofthefilmisthenarrativeofthethreeprotagonistswholaboutthepreviousandcurrentlife,theirstruggles,feelings,sufferings,andexpectationsofthefuture.Atthesametime,theirnarrativebroughtabouttheirself-introspection.Ondesnoires(DarkWaves)isthetestimonyofthreeelectronicallergysufferers.Oneofthemwasacomputerscientist.Hecouldn'tworkorfallasleepandhadtoescapefromlifeandspendafewweekswanderingontheroad.Theotherwasateenagerwholivedinthefoilprotectionroomandkilledtimebymusic.Thelastcharacterwasayoungwomanwhothoughtshehadtohideintheprehistoriccavestoavoidthewaves.Thethreeprotagoniststoldusabouttheirtravel,lonelinessandexpectationsofthefuture.Thefilmtriestousethenarrativewaytoshowtheirinnerstrugglessothattheinvisibleelectromagneticwaveseconcretebeforeoureyes.Somenaturalorurbanscenesunfoldslowlyinfrontofoureyes,andthensuddenlybegintochange:thesescenesbegintosquash,tear,deform,asiftheimageandsoundweregraduallycontaminatedbyelectricwaves.5/陈俊恺Junkai

1987年出生于，留法青年艺术家，毕业于法国尼立艺术学校（阿尔松别墅）阶段。2017年在法国国立当代艺术中心（LeFresnoy）获得第三阶段“大师班后文凭”。BorninShanghaiin1987,JunkaiChenisayoungartistlivinginFrance.Heearnedamaster’sdegreefromVillaArson’sNationalSchoolofFineArtsofNiceofinFrance.In2017,heobtainedthethird-stage“PostMaster-classDiploma”atLeFresnoyNationalStudioofContemporaryArtsinFrance.Hehasbeenmakingbreakthroughsinaudio-visualartandinteractiveinstallations.Hisworksguidetheaudiencetotryoutdifferentinteractiveexperiencesintheformofperformances,andthedifferentdetailsofeachperformancereflectthedifferentstylesoftheaudience.Hehasbeenconductinguniqueresearchandcreationinthefieldoftech-basedart.Hisworkshaveastrongsenseofon-sitecreation,withtheartistalsoapartoftheworks.Theuniqueperformanceformsmakehisworksmorerefreshing.Hehasdevelopeddifferentperformingtoolstobeintegratedwithdifferentartisticlanguagesandhasbeentryingtofindanewmusicalinstrumentandanewaudio-visualinstallationtolhisstorybyintegratinghisownexperienceintodifferentcultures.《和鸣》(Correspondance),读者，另一首来自于作品《鸟鸣涧，向读者展示了幽静而美丽的景色。所以，装置使CorrespondanceisaninteractiveworkandaperformanceinwhichJunkaiChendrawsfreelyontwopoems–oneFrench:CorrespondancebyCharlesBaudelaire,andotherChinese:TheTorrentwithBirdsongbyWangWei.Innovativeinteractivedevicesareusedtocompletethisinstallationwithperformativemoments.Theuseofacousticinstrumentsanddigitalprojectionhelpcreateareal-timeaudiovisualsymphony.Capturingtheperformer’smovementsgiveshisworkachoreographicdimensioncombininggesture,imageandsound.Thebodythus esatool,likethepainter’sbrushorconductor’sbaton.JunkaiCheninterrogateshissensorialandspiritualexperienceinrelationtothesetwoartisticandculturalworldswhichheinhabits.6/雨果•德维切尔Hugo高等装饰艺术学院，他的作品近期在法国和欧洲的众多展览中展出和放映，例如巴黎东京宫、敦刻尔克的法国大区当代Grade鹿特丹国际节、国际片节和蒙特利尔新节。、于故事的数据还是有意捕捉或偶然发现的图像，他的研究往往包含建模、转换和移置、最终的形式充当着现实与其表征之间的棱镜折射出的世界观与对世界的了解和认Bornin1988inLyon,France,HugoDeverchèregraduatedfromENSADParis(ÉcoleNationaleSupérieuredesArtsDécoratifs)andLeFresnoy-Nationalstudioforcontemporaryarts.HenowlivesandworksinParis.HisworkhasrecentlybeenexhibitedandscreenedinPalaisdeTokyo(Paris),FRACGrandLarge(Dunkerque),theInternationalFilmFestivalRotterdam,CPH:DOX(Copenhagen)andtheFestivaldunouveaucinéma(Montreal).Drivenbymostscientificapproach,hisworkattemptstosetupabodyofexperienceswhicharejustasmanywaystoquestionandevaluateourrelationshipwiththeworld.Whetherbasedonstories,collecteddata,capturedorsimplyfoundimages,hisresearchofteninvolvesprocessessuchasmodelization,conversion,andtransposition.Theresultingformsactasaprismbetweenrealityanditsrepresentations,revealingtheintervalwhichseparatesourperceptionoftheworldandtheknowledgeandawarenesswehaveofit.Byquestioningtheroleofimaginationandcollectivememoryinourapproachtoreality,theartistwishestohighlightphenomenaandeventswhichbytheirverynatureareintangibleandthereforeremainsubjecttodoubtanduncertainty.*Photo©DianeArques/ADAGP,Paris,《万象》(Cosmorama),图把一些概念，比如“未知”、“不确定”和“怪异”，重新引入与世界的关系中。影片拍摄于一座天文台附近——在一片国家航空航天局（NASA）近期测试过火星探测器的熔岩沙漠中，以及一处让看到五千万年前世界概况的原始森林中。它使用天文学家Cosmoramaobservestheworldasitdoesnotappear.Conceivedlikeajourneyfromourcloseenvironmenttothedistantandunknownhorizonsofthecosmos,itrevealsanimperceptiblestratumofthelightspectrum.Thefilmquestionsourcommonperceptionsandrepresentations,itreintroducesnotionssuchastheunknown,theuncertaintyandoddityinourrelationshipwiththeworld.Shotinthesurroundingsofanobservatory(inalavadesertwheretheNASArecentlytestedMartianrovers)andinaprimitiveforestwhichgivesusanoverviewofthestateoftheworld50Myearsago,thefilmusesanear-infraredimageryprocesswithwhichusuallyobservethedeepreachesoftheuniverse.Italsomakesaudiblethelightpulsationsemittedbydistantstarsandgalaxiesbytransposingradio-escopesdataintosound.Bydisruptingourusualspatiotemporalmarkers,Cosmoramaallowstheemergenceofasensitiveandcollectiveexperienceofpureperception.7/•福莱歇AlainFleischer/阿尔诺·波提ArnaudPetit/让-菲利普·乌赞Jean-Philippe•福莱歇AlainFresnoy）创始人和。AlainFleischer,bornin1944,isanartist,filmmaker,andwriter,founderanddirectorofLeFresnoy-NationalStudioofContemporaryArts.阿尔诺·Arnaud阿尔诺·1959ArnaudPetit,bornin1959,isa让-菲利普·Jean-Philippe让-菲利普·乌赞，生于1969年，天体物理学家，巴黎的庞加莱副Jean-PhilippeUzan,bornin1969,isanastrophysicistandtheDeputyDirectoroftheInstitutHenri-Poincarré(Paris).《公式集》(Formulaire),《公式集反映的是关于音乐如何在文字写作和数学之间创造这件影像装置作品着眼于巴黎亨利-庞加莱的数学模型收藏。这些由木头、石膏或电线制成的几何雕塑被这种既抽象又具体刻画的表现形式并不代表所能看到的而是代表所知道的以及它们是思维的形象，是片刻间思想调度的显现。人们已经从数学的、音乐的和摄影的角度“观察”了这些谜一般的实体形式《公式集》音展示了对世界的深刻理解，而这些声音正被演奏的所掩盖。“ThereisnothoughtwithoutFormulaireisareflexionabouthowmusiccreatesadialoguebetweenwords,writingandmathematics.TheinstallationfocusesonthecollectionofmathematicalmodelsoftheInstitutHenri-Poincaré(Paris).Thesegeometrical,sculpteddepictionsmadeofwood,plasterorwires,“sculpturesbornofequations’,wereinitiallyusedforteaching,soastovisualizethepropertiesof mathematicalobjects.Theseforms,whichareboth ionsanddepictions,donotrepresentwhatwecansee,butwhatweknow,andwhatmathematicalthoughthasproduced.Theydonotdepictanaturalobject,butrathersomethinglikealawwhichmighthavegivenbirthtoanobject.Theyaretheimageofathought,therepresentationofatemporaldeployment.Theveryformoftheseenigmaticobjectshasbeen“observed”mathematically,musicallyandcinematographically.Formulaireisadiscoursewhichattemptstorevealthehumannatureofmathematicalinventionasmuchasatinytheatreofsounds,someofwhichofferadeepknowledgeoftheworld,whichisbeingmaskedbythepleasureofplaying.8/塞巴斯蒂安•希尔德布兰 场景设计。塞巴斯蒂安于2011艺术中心（LeFresnoy）获得。他最近的作品均为对人与机器之间的关系保持质疑的图SébastienHildebrand(bornin1980)beganhisartisticformationattheSchoolofFineArtsofTourcoing,tospecializethenindigitalscenography.In2011awardedadiplomabytheFresnoy,NationalStudioofthecontemporaryarts,itslastproductionsdealwiththemanufacturingoftheimageswithalwaysthisquestioningoftherelationshipbetweenthemanandthemachine.Heworksdiversemediumstodaythatarethepainting,thephotographyandthenumeric&digitalinstallations.《奔跑吧宝贝》(RunBabyRun),。在塞巴斯蒂安•希尔德布兰德的实践中，他特别重视人与机器的关系。这一点首先反映于他尤其是与相关的图像与人机关系结合的形象曾逐步导致高水平的运动员的产生，为竞赛一点点微调而成，最终出现在的头条之中《奔跑吧宝贝》这个即一种以每秒2000张图像的速度拍摄1列，它呈现了商兵、消费者、消防员、旅行者等与时间赛跑者的日常情景。nndebandspactice,eispartiuarlyatachedtotherelatiopbeteennandthe.Thisrevealeditselfinpaiti,thenininteractiveinstallatiandagaininpcpojects.Tewrkisalaysapartnepandtheneimsctraintsthatthentriestotaeinwtharealplandtempoalimliation.Thequestinftheriationofthegecpiesthereforeanimtapaceinhispractice,particularlythatfa-reladimage.Thisxfimagesfrmtheaadten-erelatiopwastoledplytowardsteh-levelrts,fine-tunedrmpetitio,theresultsfwichareinthedliesfra.nteptRunBabyRu,theaccentisntheracetwardsa:thefinglie.Atechicaldeviceisusedfrthesedisilieswereextreecronometricpecisionisrequied.Thesearecamerasthattanimage1plwde(maerialgthefinglie)atadf200imagesatistheasemligfefineliesthatferareadingftephintime.RunBabyRunsasfpstanwthtiscamera.tpresentstheeverydaytionsfpeoperunnigaftertime:traders,cfireme,travelers,etc.。9/黄镇乾Zhenqian1980年出生于广州，2004文件的形式去质疑艺术于实验之间的界限地域的感知碎片的探索于图像，ZhenqianHuangwasborninGuangzhou(China)in1980andworksinFrancesince2004.Hisworksquestionthepathbetweenartandexperimentalcinemaintheformofimage-throughtimeandspace;theperceptionofplace,thefragmentsofmemory,exploretheinvisiblerelationshipbetweenimages,words,interpretation,symbolandspirituel.Hisworkinterweaveslinksbetweenevents,accountsoftherelationshipbetweenaryandfiction,inordertocreateanimaginaryrealworld.《行行重行行》(Laterrequitombe),。，地形外貌，穿梭煤矿的地层横折面运用了数码等工具，使艺术重新成为一种本体论的实验，一种勘察大地的方式。导演运用科学与诗意法,重新呈现世界文化遗产,欧洲最高的煤渣山：位于法国北部NordPas-de-Calais的煤矿地域面貌。作品试图通过煤矿资对地域环境的感知和生命存在的关注得以窥探它的过去和现在，并对与其地理空。，Thefilm“Fallingland”isatripbetweenvirtualandrealthroughthecutsland,strataofcoal,andasoundlandscaperelativetotheuniverseofminer.Theideaistorebuildtheoldundergroundgalleriesandtranscribethereliefoftheslagheapsandthemineonahumanscale.Theprojectgraspsthepastandthepresentwithinatopographicaldimensionandadepththatisatoncescientificandpoetic.Withthedigitaltool,theArt esanontologicalexperimentation,awaytoexploretheenvironmentofminer.TheimplementerrewritesandinterpretsthetopographiclandscapeandgeologyscientificintheminingareaofNordPas-de-Calais,ontheUNESCOWorldCulturalandNaturalHeritageinFrance.Thisvirtualjourneypromptsamentalnaturalattentiveness,thequestioningofbeing,andanexplorationofmanandthroughthedigital10/奥雷利安•凡纳-勒穆索AurélienVernhes-Lermusiaux住的环境产生了。他制作的、片和互动装置探 并在大学主修和哲学后他在法国国立当代艺术中（LeFresnoy）完成学业。他曾与安德烈•泰希内(AndréTéchiné)、沙鲁纳斯•巴塔斯(SharunasBartas)等导演合作，并参与了雅克•欧迪亚(JacquesAudiard)、尤瑟夫•沙欣(YoussefChahine)、伊利亚•苏雷曼(EliaSuleiman)等导演的。他的入围诸多法国和国际节并多次获AurélienVernhes-LermusiauxwasborninFigeacin1980.HavinggrownupnearLesCausses–adeserticenvironmentSouthofFrance–hedevelopedveryearlyaninterestforabandonedspacesandghostsinhabitingsuchplaces.Heproducesfi,ariesandinteractiveinstallationsthatquestionthelinksbetweentheconceptof"trace"andthequestionsof"memory".Afteradiplomainaudiovisual(BTS)andmajoringincinemaandphilosophyatuniversity,hefinishedhisstudiesattheFresnoy,nationalstudioofcontemporaryarts.HehasworkedwithdirectorssuchasAndréTéchiné,SharunasBartasandworkedonthefiofJacquesAudiard,YoussefChahine,EliaSuleiman...HisfihavebeenselectedfornationalandinternationalFestivalsandhavebeenrewardedmanytimes.Hisworkhasalsobeenscreenedandexhibitedinvariousmuseumsandartscenters.《“”系列之底特律》(L'EMPIREDETROIT),的存在物在废墟中穿行时可能对一个地方产生的影L'EMPIREDETROITisinteractiveinstallationthatprovidesimmersionandreflectiononthethemeofruins.Theinstallationplaysontheimpactthathumanandsensitivepresencecanhaveonaplacewhentravelinginaruin.11/刘真辰Zhenchen刘真辰,1976年出生在。2000年毕业于大学美术学院油画系，同年赴法，在尼立当代艺术学院（阿尔松别墅）相继获得艺术学士和。2005年考入位于图尔宽的法国国立当代Fresnoy术节等地展出，短片曾经入围珞珈诺节、阿姆斯特丹