汪建偉，《隔離》
關(guān)于“隔離”
我們?cè)诒狙琶鞯摹豆袄扔?jì)劃》研究的條目中，看到了他對(duì)馬克思關(guān)于自然與知識(shí)的記載：
N16.4“……馬克思從一開(kāi)始就是從社會(huì)范疇上認(rèn)識(shí)自然的，物質(zhì)自然并不直接進(jìn)入世界歷史；相反，它是作為一種正在進(jìn)行的物質(zhì)生產(chǎn)過(guò)程而間接進(jìn)入世界歷史的，這個(gè)過(guò)程從最初就不僅是人與自然，也是人與人之間的關(guān)系。
……
一切人類活動(dòng)所預(yù)設(shè)的純自然無(wú)處不被作為物質(zhì)生產(chǎn)的自然所替代，即被人類的社會(huì)活動(dòng)所中介并轉(zhuǎn)換的一種社會(huì)“物質(zhì)”所替代，因此，也就能夠在現(xiàn)在或未來(lái)被進(jìn)一步改造和修正。”
《模型》
塔特林（Tatlin）從接受第三共產(chǎn)國(guó)際的委托，到“第三共產(chǎn)國(guó)際紀(jì)念碑”的誕生，至今已經(jīng)九十年（1919.10—2009.9），這個(gè)關(guān)于人類未來(lái)理想的方案，一直保持在模型的位置。它包括強(qiáng)烈的政治學(xué)隱喻、實(shí)用主義功能以及對(duì)于新型生產(chǎn)關(guān)系的想像，同時(shí)政治訴求被嚴(yán)格的分配到所有人造的技術(shù)指標(biāo)、功能作用以及尺度（303米的高度指向?qū)⒊^(guò)作為資本主義象征的埃菲爾鐵塔）之中。
這個(gè)理想模型的另一個(gè)重要信息是希望建立起一種可以超越資本主義生產(chǎn)方式的共產(chǎn)主義政治理想與工業(yè)化生產(chǎn)有機(jī)結(jié)合的模式，并強(qiáng)調(diào)了新的生產(chǎn)方式的政治正確性。
《生產(chǎn)》
中國(guó)在整個(gè)五十年代的社會(huì)主義建設(shè)中，以“經(jīng)濟(jì)、適用，在可能的條件下注重美觀（周恩來(lái)）”為指導(dǎo)原則，某種程度上延續(xù)了“第三共產(chǎn)國(guó)際紀(jì)念碑”的政治理想，他們被整合為文化革命與藝術(shù)生產(chǎn)所共享的新秩序，現(xiàn)實(shí)被縫合在縝密的生產(chǎn)方式以及實(shí)用功能的統(tǒng)一體。它們呈現(xiàn)了幾個(gè)基本特征：適合簡(jiǎn)單的，同時(shí)標(biāo)準(zhǔn)化的生產(chǎn)模式；降低生產(chǎn)成本，使產(chǎn)品保持在很均質(zhì)化的狀態(tài)以保證使用者在最大限度的平等，從而使差異降低到忽略不記，使技術(shù)有可能產(chǎn)生的特殊性消失；以及產(chǎn)品所關(guān)聯(lián)的過(guò)程標(biāo)準(zhǔn)化，生產(chǎn)、運(yùn)輸、儲(chǔ)存、使用變得盡可能的節(jié)約。
《實(shí)踐》
《隔離》的基本材料全部來(lái)自于回收的舊家具，所有家具有明確的時(shí)間性，制作日期都是在五十至八十年代，它們既有別于中國(guó)傳統(tǒng)制造工藝，又隔絕于當(dāng)代制造工業(yè)，成為某種特定生產(chǎn)關(guān)系和生產(chǎn)方式的歷史承載，以及我們的日常生活經(jīng)驗(yàn)如何被轉(zhuǎn)化為意識(shí)形態(tài)物質(zhì)化的過(guò)程記錄。
這些意識(shí)形態(tài)的建構(gòu)被分配在功能與使用，它保證了生產(chǎn)方式與生產(chǎn)關(guān)系的一致，產(chǎn)品的功能決定了意識(shí)的范圍，同時(shí)，身體在使用過(guò)程中被同質(zhì)化。
《方法》
《隔離》也可以被理解為另一種方式的建立，事物原有的秩序被部分解除，同時(shí)又部分的保留，包括它們的物質(zhì)屬性和功能，它們被不同的描述方式重新組織，與其它的事物發(fā)生新的聯(lián)系，在互相矛盾中共享彼此的差異，并發(fā)展為新的物質(zhì)與功能的“有機(jī)體”。這既是我對(duì)于世界的一種看法，也是我對(duì)環(huán)境與自然的一種理解，即如何在一種關(guān)系、共享、重疊中去理解事物的態(tài)度。
《現(xiàn)場(chǎng)》
所謂整體應(yīng)該保持在“散落”和“失序”的狀態(tài)，堅(jiān)持現(xiàn)場(chǎng)的非確定性，即“事件”的整體是建立在被不同的知識(shí)系統(tǒng)所描述的可能性，而不被完美的封閉在一種經(jīng)驗(yàn)系統(tǒng)內(nèi)。也許可以稱之為對(duì)自然的拓?fù)鋵W(xué)描述，不同的知識(shí)提供了對(duì)原有“事件”的“切割”性描述，使“事件”的整體性被破壞，既建立在某種秩序的唯一性受到質(zhì)疑，同時(shí)，它使被質(zhì)疑的部分成為了不確定的因素。
汪建偉
周偉，自然生態(tài)_1
“自然生態(tài)”
高仿真植物即人造植物，是利用現(xiàn)代工業(yè)材料模仿自然生長(zhǎng)的鮮花、盆栽花卉、觀葉植物、庭院花卉、綠化苗木、觀賞樹(shù)木、草坪等制成的仿真產(chǎn)品，并以其獨(dú)特的景觀價(jià)值成為美化人們生活、綠化環(huán)境的重要組成部分。仿真植物不僅能長(zhǎng)久保持鮮麗，更能讓消費(fèi)者根據(jù)季節(jié)和需求隨心所欲。仿真植物用料非常廣泛，紗、麻、毛、木、滌綸、無(wú)紡布、紙、發(fā)綸、塑料等材料都可以作原材料。
經(jīng)過(guò)近30年的發(fā)展，我國(guó)仿真植物已發(fā)展為科技含量高、工藝水平高的行業(yè)。按照行業(yè)組織歸納，高仿真植物具有以下特點(diǎn)：1）可塑性強(qiáng)，綠色環(huán)保，人造花原料主要有：塑料制品、絲綢制品、滌綸制品，也有用樹(shù)脂粘土調(diào)配制成的材料，此外還用到金屬棒、玻璃管、吹塑紙、纖維絲、裝飾紙、彩帶，這些材料均無(wú)污染或污染很小。因材料的彈性大可配合特殊高度、形狀的模型，并且可保常綠，突破真品的限制。形象逼真，生動(dòng)活潑，完全能與種植的花草媲美。 2）受環(huán)境影響小，現(xiàn)在的公共場(chǎng)所、辦公室大多采用空調(diào)，室內(nèi)光線常常不充足，因此在室 內(nèi)要種好一棵植物并不是一件容易的事，但人造花可輕易地達(dá)到此目的，人造花草的色澤，可長(zhǎng)時(shí)期保持鮮艷四季如一，不會(huì)像種植的花草那樣會(huì)衰敗干枯。 3）維護(hù)簡(jiǎn)便，人造花的枝葉不發(fā)霉、不腐爛，不需澆水，不滋生蚊蠅；人造花草不需要人工進(jìn)行培育，可省去澆水、修剪、冶蟲(chóng)等麻煩；人造花不必進(jìn)行光合作用，更無(wú)孩童誤食傷人的副作用，這非常適合家中有小孩老人而夫妻都上班的家庭。4）大多人造花草的價(jià)格不高，有的還大大低于真花真草，運(yùn)輸便利、搬運(yùn)輕松：在需變更設(shè)計(jì)時(shí)，重新組合搭配，可變化不同的氣氛。適合大眾家庭美化環(huán)境，而且經(jīng)久不衰。
仿真植物因滿足了遠(yuǎn)離自然的人們對(duì)自然的親和想象而日益受到都市人的喜愛(ài)。巨大的市場(chǎng)需求與巨大的經(jīng)濟(jì)利益的誘惑相互作用形成了系統(tǒng)、完整的人造植物產(chǎn)業(yè)生態(tài)鏈。參考資料顯示，仿真植物產(chǎn)業(yè)在我國(guó)已進(jìn)入成熟發(fā)展期，2004年以來(lái)國(guó)內(nèi)仿真植物消費(fèi)達(dá)年百億元以上，2004年出口歐美等60多個(gè)國(guó)家仿真植物達(dá)600億支（棵），2005--2008年，仿真植物生產(chǎn)及銷售以年平均17.2%的速度增長(zhǎng)，2009年在全球金融危機(jī)的影響下仍保持了10%的增速，成為地區(qū)
GDP增長(zhǎng)及出口創(chuàng)匯的重要產(chǎn)業(yè)之一。行業(yè)市場(chǎng)分析預(yù)測(cè)，2010-2012年人造植物生產(chǎn)規(guī)模年均增速為18%以上，表現(xiàn)出強(qiáng)勁的發(fā)展?jié)摿Α?/p>
周偉
“什么正在消逝？”
目前，我們正經(jīng)歷地球歷史上第六次大規(guī)模生物滅絕。這也是唯一一次由人類活動(dòng)，而非災(zāi)難，引起的大滅絕。平均每二十分鐘，就有一種動(dòng)植物毀于人類之手。按此速度，有人預(yù)計(jì)，一百年后世界上高達(dá)30%的動(dòng)植物將不復(fù)存在。
《什么正在消逝？》將首先讓人們認(rèn)識(shí)到：大量的物種、生物多樣性正在消失，我們不僅要記住那些已經(jīng)失去的，更要保護(hù)極度瀕危、可能滅絕的生物。除非我們有所作為，否則它們將一去不返。而保護(hù)的關(guān)鍵，在于將目光投向它們賴以生存的棲息地和生態(tài)系統(tǒng)?！妒裁凑谙牛俊穼⒏叨茸⒁馊蚍秶鷥?nèi)急速消失的生物群落。
然而僅僅近距離地關(guān)注這場(chǎng)物種消逝的危機(jī)還遠(yuǎn)遠(yuǎn)不夠；正如我的其他藝術(shù)作品，它們讓你注意到那些在不經(jīng)意間失去的東西。我相信藝術(shù)常常會(huì)有與眾不同的視物之道，從而引起人們更深層次的注意?！妒裁凑谙?？》將指引我們?nèi)ぴL、發(fā)現(xiàn)不為人知的殘酷現(xiàn)實(shí)：從種群數(shù)量規(guī)模的由豐漸少；從遷徙通道的消亡到因我們惡劣行為所致的全球范圍內(nèi)生態(tài)環(huán)境的惡化；從童年記憶中那熟悉的鳥(niǎo)鳴歡悅漸行漸遠(yuǎn)，到夜晚星空遙望不再。
“地方”到底意味著什么？如果我們視而不見(jiàn)，又怎能對(duì)其加以保護(hù)？《什么正在消逝？》將提出這些質(zhì)疑，讓面臨威脅的蟲(chóng)魚(yú)鳥(niǎo)獸廣袤的海陸空遷徙通道統(tǒng)統(tǒng)納入我們思考的范疇。這將為我們展現(xiàn)全球海洋以及水路環(huán)境的急劇惡化——過(guò)度捕撈是如何導(dǎo)致90%的大型海洋生物消失殆盡?！妒裁凑谙?？》讓我們把整個(gè)河流體系看作一個(gè)地方，或者將非洲大平原上的遷徙通道作為一個(gè)系統(tǒng)——這些棲息地往往因?yàn)楸粴w納在人為地理區(qū)域范圍之外而被忽略；同時(shí)，它關(guān)注導(dǎo)致物種滅絕的主要因素——刀耕火種的農(nóng)業(yè)、不符合可持續(xù)發(fā)展規(guī)律的獵殺及捕撈行為、非本土物種的引進(jìn)、棲息地的破壞，以及全球變暖：這些問(wèn)題的解決要求我們拋卻地緣政治的界限。
《什么正在消逝？》由引發(fā)人們關(guān)注正瀕臨滅絕的物種作為起點(diǎn)，同時(shí)告訴我們：面對(duì)如此局面，我們?nèi)钥捎兴鳛椤＿@個(gè)項(xiàng)目致力于給予人們希望，展現(xiàn)優(yōu)秀的環(huán)保實(shí)踐，并號(hào)召人們?yōu)樨酱淖兊牡貐^(qū)貢獻(xiàn)力量。
林瓔
“Distance”
In The Arcades Project, Benjamin Walter cited Karl Marx’s concepts of nature and knowledge:
N16.4 “… then Marx conceives nature from the beginning in social categories. Physical nature does not enter directly into world history; rather, it enters indirectly, as a process of material production that goes on, from the earliest moment, not only between man and nature but also between man and man.
…
that pure nature presupposed by all human activity is replaced by nature as material production – that is, by a social ‘matter’ mediated and transformed through human social activity, and thus at the same time capable of further change and modification in the present and the future.”
“Model”
Though nine decades have passed since Vladimir Tatlin was commissioned by the Communist International and designed “Monument to the Third International” (1909.10 – 2009.9), this project about humanity’s idealistic future remains an architectural model. However, it contains deep political and pragmatic metaphors and the imagination of new production capabilities, acting as an artificial constitution with every detail of specification, function, and dimension penetrated by political aspiration and defiance; with a height of 303 meters it would have dwarfed the great symbol of capitalism, the Eiffel Tower.
The model embodied a desire to construct an organic combination of communist political ideals and industrialized production – a new means of production featuring political ideology– that would surpass that of capitalism.
“Production”
The socialist construction of China in the 1950’s was under the principles of “be economically viable first, take aesthetics into consideration if possible (Zhou Enlai)”, which to some extent continued the political idealism of “Monument to the Third International”. These principles were integrated into a shared new order of cultural revolution and art production, with reality being encapsulated in the rigid amalgamation of means of production and practical funtion. These principles had their own characteristics, they met the demand for a simple, standardized mode of production; lowered production cost, guarantying a highly homogeneous execution of products and maximized equality among users, while balancing the differences and dissolving the possibility for technological irregularities; while standardized processes relevant to the product, reduced expenses in sectors of production, transportation, storage, and utility.
“Practice”
“Distance” uses vintage reclaimed furniture as its material. All furnishings were specifically dated and manufactured during the 1950s to 1980s. The designs of this period are vastly distinguished from both Chinese traditional craftsmanship and modern manufacturing; they have become specific historical carriers of social relations and a means of production, marking how our daily life can be transferred into materialized ideologies.
The construction of these ideologies was distributed to function and utility, ensuring the consistence between both means, and relations of production. While the function determined the scope of ideology, the body was homogenized in the process of utility.
“Method”
“Distance” can be understood as another way of constructing: the original instructions, including material property and function, were either partially removed or maintained. They were re-organized using different methods of description to build new bonds with other substances. In doing so, they share with each other their contradictions and turn into a new “organism” of material and function. This means of production explains one of the ways I perceive the world and the natural environment: as an attitude of how to grasp the essence within the related, shared, and duplicated complexity.
“Site”
The so-called material integration should be kept in a scattered and chaotic state. To maintain on-site uncertainty means the integration of an “event” is established within a diverse set of knowledge systems, rather than flawlessly enclosed into a single type of experiential manifestation. It can be regarded as a topological description of nature: different knowledge could destroy an integral “event” by descriptively cutting it into fragments. Once the uniqueness of certain order is questioned, undetermined factors give way to ambiguity.
Wang Jianwei
“Natural System”
Artificial plants take up a considerably extensive fraction of our daily life and environment. They replicate the natural – individual and potted flowers, foliage, nursery and courtyard grown plants, made of modern industrial materials: muslin, linen, wool, wood, polyester, non-woven fabrics, paper and plastic; immortal and elastic, they withstand the most demanding of customers.
The last three decades have witnessed the soaring development of China’s artificial plants industry featuring high level of state of the art technology. According to their trade organization, artificial plants boast the following characteristics: 1) highly flexible and environment-friendly. Major sources of artificial plants are pollution-free or low pollution materials such as plastic, silk, polyester, a mixture of resin and clay, metal bar, glass tube, blow molding paper, cello silk, decorative paper, and colored ribbon. These materials are highly shapeable and colorfast, which contribute to the life-like quality of the product allowing it to rival its natural counterpart. 2) Well-adapted to the environment. It is not an easy task to grow natural plants, especially in urban cities given their insufficient sunlight resulting from a massing of buildings and the application of household appliances like air conditioners. On the contrary, artificial plants maintain their color and gloss, never fading from bloom. 3) Easy to maintain. Artificial plants are the best choice for working couples. They will never bother you with mold growth or decay; no need to water, trim or debug. They don’t require natural sunshine, and are much safer that natural flowers if put into a child’s mouth. 4) Inexpensive, easy to move and versatile. Most types of artificial plants are much cheaper than living flowers. They can be easily moved and recycled to fit any new atmosphere and decor.
Artificial plants have become increasingly popular in urban life as they fill a void within people eager to regain an intimacy with nature. Collective demands together with enormous profit margins have provoked the formation of a systematic artificial ecology industry. It is noted that this industry in China has already stepped into the maturity phase. Since 2004, the consumption of artificial plants has exceeded ten billion Yuan, with up to 60 billion plants exported to more than 60 countries in Europe and North America in 2004 alone, and the number has continued to increase by an average 17.2% every year between 2005 and 2008. In 2009, though facing a financial crisis worldwide, the increasing rate was maintained at 10%. The industry has become a significant contributor to the growth of regional GDP and export value. It is expected that the scale of production in this promising industry will grow at an annual average rate of over 18% from 2010 to 2012.
Zhou Wei
What is Missing？
Currently we are experiencing the sixth mass extinction in the planet’s history, and the only one to be caused not by a catastrophic event, but by the actions of a single species – mankind. On average, every 20 minutes a distinct living species of plant or animal disappears at the hands of mankind. At this rate, by some estimates, as much as 30 percent of the world’s animas and plants could be on a path to extinction in 100 years.
What is Missing? will first make one aware of this enormous loss of species and biodiversity that is presently occurring, chronicling not just specific species that have gone extinct, but focusing equal attention on the critically endangered species that will most likely disappear unless immediate action is taken. Crucial to this focus is the need to link those threatened species to the habitats and ecosystems that are vital to these species survival. What is Missing? will highlight the biomes that are rapidly disappearing throughout the world.
It will ask us to pay closer attention not just to this crisis in biodiversity loss, but like my other artworks will focus your attention on things that we have lost that we might not even be thinking about. I believe that Art, at times, can look at a subject differently, and in doing so can get people to pay closer attention. What is Missing? will focus attention on issues and things that people are not even aware are disappearing, from the sheer abundance of species to their scale, from the loss of migratory corridors to threatened ecosystems throughout the world that we are rapidly destroying, from the diminished sounds of songbirds that were so common in our childhood, to even the visibility of the stars at night.
What exactly is a place? And how can we protect it if we do not see it as existing? What is Missing? will pose these questions, challenging us to consider the air, land, and oceanic migratory corridors of birds, animals, and sea-life that are at risk. It will show us the alarming degradation of the world’s oceans and waterways – how over fishing has led to a 90% loss of large marine fish. What is Missing? will allow people to see an entire river system as a place, or the African Plains migratory corridors as a system – habitats that must be seen outside of man-made boundary zones. It will focus on the main causes of extinction – direct harvesting, non-sustainable hunting and fishing practices, the introduction f non-native species, habitat destruction, and especially global warming: problems that must be pondered in the absence of geopolitical boundaries.
Although it starts with making us aware of what we are losing, What is Missing? is equally focused on making us aware of what can be done to help. It is a project focused on giving us hope, highlighting conservation success stories as well as asking us to help specific areas in need.
Maya Lin
【編輯：海英】
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