在物质材料上施以主体用意，

To impose the main intention on the material,

使之具有生气和活力，

make it alive，

并重获新生。

and reborn.

 

 

 

 

 

 

艺术活动是一场游戏。

这是一种以主观性交互为基础，把观众与艺术品之间的相遇赋予精神元素的意义所产生的艺术实践。标志、材料、装置、陈列、家具、花草都能够产生情感和共鸣，聚集人们的情绪，使得人们不停地在艺术中追问本身及身外的环境。

 

Art activity is a game.

This is an artistic practice based on subjective interaction, which gives the meaning of spiritual elements to the encounter between the audience and the artwork. Signs, materials, installations, displays, furniture, flowers and plants can all generate emotion and resonance, gather people’s emotions, and make people constantly question themselves and their external environment in art.

 

 

 

 

 

 

或许可以用“缝隙”这个词来形容这个人类与艺术对话的空间，这个空间相对和谐、开放、融合在整个系统之中，并且对这个系统之外可能相关的关系提出建议。而不定时更新的艺术展览陈列在这个缝隙中创造了相对自由的区域，超越了与日常生活节奏相对应的时间跨度，与以往被强加在人们身上的社交关系不同，构建出了新的艺术与空间、空间与人、人与艺术的交流。

 

Perhaps the word “gap” can be used to describe this space where human beings and art dialogue, this space is relatively harmonious, open, integrated into the whole system, and proposes possible related relationships outside this system. Art exhibitions that are updated from time to time create a relatively free area in this gap, beyond the time span corresponding to the rhythm of daily life, and different from the social relationships that were imposed on people in the past, creating new art and communication between space, space and people, people and art.

 

 

 

 

 

 

艺术能够产生特殊的社交性，与电影、文学等相比，展览是具有即时讨论的可能性的。人们看到并认识、评论或参与到一个特殊的空间和时间，而这个空间是切实存在并实时变化的。

 

Art can generate special sociality. Compared with films and literature, exhibitions have the possibility of instant discussion. People see and recognize, comment on, or participate in a particular space and time that is tangible and changing in real time.

 

 

 

 

 

 

置身于历史与新生交汇的场景中，商品与艺术品置于同一个时空之间。随着日用家具物品的移动变化，艺术稍纵即逝，却无时无处不与观者同在。在看似有序的状态中变换出不同的形态，观者则成为了另一种形式上的“创作者”。

 

In a scene where history and new life meet, commodities and works of art are placed in the same space and time. With the movement and change of daily furniture items, the art is fleeting, but it is always and everywhere with the viewer. Transforming into different forms in a seemingly orderly state, the viewer becomes another form of “creator”.

 

 

 

旧的界限开始模糊

Old Boundaries Begin to Blur

 

 

 

当下的空间已不再是一个简单的遮蔽物，而是组成外部世界这个巨大空间的各色各样的“拼图”，使到访者产生更深的参与感与趣味性。当下，已经不能再按照一种特定的方式存在，而是多元的共生，要自由地去思考，解放心灵。

 

The current space is no longer a simple shelter, but a variety of “puzzles” that make up the huge space of the external world, making visitors feel more involved and interesting. At present, it can no longer exist according to a specific way, but a multi-dimensional symbiosis. It is necessary to think freely and liberate the mind.

 

 

 

看似传统的架构却涵盖着新鲜的血液

Seemingly traditional structure covers fresh blood

 

 

 

艺术中的游戏，不仅指一种精神层面上的审美状态，同时也需要注重具有物质或生理层面上的互动性，看似稳固的架构会根据功能的转换而改变。观者可以在“游戏”的状态下，完成对整个空间乃至艺术作品的欣赏，并且获得愉悦与满足感。

 

Games in art not only refer to an aesthetic state on the spiritual level, but also need to focus on interactivity on the material or physiological level. The seemingly stable structure will change according to the transformation of functions. Viewers can appreciate the entire space and even the works of art in the state of “playing”, and gain a sense of pleasure and satisfaction.

 

 

 

 

 

 

新社会的平衡需要实用空间、艺术和虚拟情感的相互作用，而创造者用秩序和情感来面对它。这些互补的力量都对社会的意识产生了影响。一方面，世界正变得前所未有地沉思和深刻；另一方面，它也正变得越来越物质化。

 

The balance of the new society requires the interplay of practical space, art and virtual emotion, and creators face it with order and emotion. These complementary forces all have an impact on the consciousness of society. On the one hand, the world is becoming more contemplative and profound than ever; on the other, it is also becoming more and more materialistic.

 

 

 

 

 

 

人的天性有着感性和理性两个方面，感性是人的现实状态，而理性则是人本身最内在的实质，然而人的感性与理性是矛盾的，游戏则是二者的调和，可以将前两种天性结合在一起，因为游戏既随心所欲，又要遵循规则。

 

Human nature has two aspects: sensibility and rationality. Sensibility is the reality of human beings, while rationality is the innermost essence of human beings. However, human sensibility and rationality are contradictory, and games are the reconciliation of the two. The two natures come together because the game is both freewheeling and rules-based.

 

 

 

 

 

 

人的思想和言语都有一个载体，空间内的拼图游戏就是其独特的承载物。在面对历史遗留时抱着一种“后来者”的共生之心，将空间视为有机物，使其在重构、释放、控制、动态平衡中突显部件之间的内在气质与功能的延伸性。

 

Human thoughts and words have a carrier, and the jigsaw puzzle of space is its unique carrier. In the face of the legacy of history, it holds a symbiotic heart of “latecomers”, regards space as an organic matter, and makes it highlight the inherent temperament and functional extension of the components in the process of reconstruction, release, control, and dynamic balance. 

 

 

 

 

 

 

游戏化的空间艺术背后的美学和哲学是通过传播整个创作过程而产生的。这是对直觉的回归，对潜意识影响的原始起源的回归。它实现了其最终的目标——发现原创性，真正表达独特个体的本质。

 

The aesthetics and philosophy behind gamified space art are generated by disseminating the entire creative process. This is a return to intuition, a return to the origin of subconscious influence. It achieves its ultimate goal of discovering originality, truly expressing the essence of the unique individual.