山河跳！《三百年後》
Mountain River Jump! : After Three Hundred Years
黄河：一个数码化的占星骰子，脱离了个人命运，而走向文明的“进化-退化”论。对社会形态的达尔文主义式的观点的怀疑是创作的出发点之一。作品也和太阳“日行迹”、北极星有关。
Huang He: A set of digitalized astrology dices, which is far beyond fortune telling cater for daily use. We are trying to forecast the destiny of certain civilization. Is it possible that different ideas in people's mind will shape the future? In this work, you can also find hints of Solar analemma as seen from Earth and the Polaris.
黄山：“天”“地”“人”三面毯上图案分别是日月星辰与微生物、飞禽走兽花鸟鱼虫、人类与性别染色体等，山河图样包边。三面毯安置后中心自动形成神圣三角——生命起源的象征。
Huang Shan: These three carpets stand for the universe, the earth and human being separately. The patterns are celestial bodies, microorganism, creature, mankind and XY chromosome. The edges of carpets are decorated with Images of mountains and rivers. When the carpets set together a holy triangle is formed which means the source of life.
2018
三屏录像装置，地毯半径150cm，整体尺寸可变
录像无声，6min20sec，循环
山河跳！企图在星空和宇宙无限的时间线上截取一个时刻，而每个运用《三百年后》占卜的人都会获得一个偶然的提示，也许这个偶然驱使向一个必然的方向。星空、方向性、人的行为和思考在此刻形成一体。在生活里人们使用占卜来指引当下，在现世的此作品里我们试图把想象引向难以预料的、似乎与个人生活关系更为遥远的未来文明。未来也未必是进步，文明也许会倒退式发展。
Commissioned by K11 Art Foundation/Courtesy of the Artist
Thanks to Canton Gallery 鸣谢广州画廊
由K11 Art Foundation 委托创作/版权所有
Video installation, the radius of each carpet unit is 150cm
installation dimensions variable
A series of 3 videos, each 6 mins 20secs, silent, looped
Astrology relies on meticulous geometric calculation and close observation of the movements and relative positions of celestial objects to divine counsel about the present and prophesies about the future. Mountain River Jump! attempts to extract a specific moment from the infinite timeline of the galaxy and the universe. Viewers who consult the video installation After Three Hundred Years will each get a random hint that indicates a direction of life. The starry sky, orientations, human thoughts, and behaviors momentarily converge into a unity. While people use divination for secular guidance about the present moment, After Three Hundred Years points to the time and space beyond imagination. ‘Future’ does not necessarily mean advancement; it could also be a regression.
位于展览Emerald City
的这个展厅：香港中环皇后大道中18号新世界大厦2期8楼chi art space
时间：2018年3月28日至5月31日 ；早上11 时至下午7时
完整信息：http://www.k11artfoundation.org/sc/programme/emerald-city/
策展：刘秀仪（K11 Art Foundation）
参展艺术家：Ashley Bickerton丶Dora Budor丶Nina Canell丶陈翊朗 丶陈轴丶Carl F. Cheng丶Dumb Type丶Peter Halley丶Nik Kosmas丶Ajay Kurian丶刘窗丶 陆浩明/ Alexis Mailles/ Peter Nelson丶山河跳！丶Oscar Murillo丶沈莘 丶田名网敬一 丶THE PLAY丶唐嘉豪丶Clarissa Tossin丶Adrián Villar Rojas丶王凝慧丶黄慧妍丶杨沛铿丶张恩利丶张如怡丶周思维
在另外一个展厅<中远大厦地下K11 Art Foundation 临时展览空间>除了也有本人憧憬的作品们，还有山河跳！的《动物成语占卜卡》，黄山的《劳模塔罗牌》、《二十一世纪中国列仙牌》在pop up store出售，目前还是按需小量出现全人工组装，小数额的收入会用来支持主办方的公共教育项目。2个展厅之间每天会有来往导览，具体请咨询工作人员
* Emerald City *
自欧几里得的《几何原本》闻世以来，几何学从未停止演化，甚至蜕变成数理以外的知识系统，阐释人与宇宙万物的空间关系。1980 至 90 年代，科技和贸易急速扩展，促使国际间紧密结合，全球化的现象因此在文化、经济及学术层面引起广泛讨论。全球意识的觉醒，亦使艺术家重新思考和想象地方与地方之间的连系，并建立自己的一套视觉语汇，以几何隐喻社会空间——这种时代解读，从在美国兴起的新几何派、中国的理性绘画，以及超扁平运动前的日本艺术可见一斑。
“Emerald City”汇聚来自中国和世界各地的艺术家，带来一系列当代艺术作品，包括绘画、录像、雕塑和场域特定装置， 以审视几何概念的转译方式，对比文化转译中两个重要概念——“透明性”与“阴晦性”。展览从点线、比例和距离等表现“关系”的基本几何概念出发，解构宇宙星宿、海洋大地、建筑环境、人类身体等实体及抽象空间，以探讨不同文化在全球化的浪潮下共存的可能。我们所感知的世界与世界本身难以相称——在文学经典《绿野仙踪》中的 “翡翠城”里，每个人都要戴上特制的绿色眼镜，以遮挡此乌托邦城市的光芒；几何学寄寓人类对普同真理的追寻，但亦令人一叶障目。除了展示几何学如何牵动人类对于世界的想象，展览亦鼓励观众摆脱根深蒂固的几何思维， 重新认识世界。
Since the birth of Euclid’s Elements, geometry has evolved into branches of knowledge that goes beyond mathematics and science to explain our spatial relations with the universe. In the 1980s and 1990s, a new wave of expansion in technology and trade accelerated international integration, ushering in the concept of ‘globalisation’ in cultural, economic, and academic discourses. Artists, at the same time, started to invent their own visual lexicons in re-conceptualising spatial interconnectedness; geometric elements were used in art as metaphors for social space, as exemplified by Neo-Geo Conceptualism in America, Rational Painting in China, and the art styles preceding the Superflat movement in Japan.
Emerald City examines the idea of translation within geometry and compares two important concepts in cultural translation—‘transparency’ and ‘opacity’—by bringing together 40 works including paintings, videos, sculptures, and site-specific installations by artists from China and other parts of the world. Beginning with basic geometric concepts that represent spatial relations, such as dots and lines, ratio, and distance, the exhibition looks into the structures and meanings of the cosmos, land and sea, architectural environments, the human body, and other physical and abstract spaces to shed light on the stories of cultural coexistence amid globalisation. The world as we perceive is hardly symmetrical to the world as it is. In the literary classic The Wonderful Wizard of Oz, everyone in Emerald City is required to put on a pair of green-tinted spectacles intended for filtering out the brilliant radiance of the utopia. Our pursuit of universal knowledge through geometry nonetheless prevents us from seeing the things we want to know. Not only will the exhibition demonstrate how geometry shapes our conception of the world, it will also inspire us to look at the world outside the confines of geometric thinking.
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