一隅之地 A Corner
[中国] 陈依依 [China] Chen Yiyi
画面中的投影和光亮形成强烈对比，表现了午后阳光透过玻璃窗照射到层层螺旋的楼梯上这一静谧美好的场景。作者试图将观者带入其中，亲身感受我们所处这个世界的美好光景，持久和平、 普遍安全、 共同繁荣、 开放包容、 清洁美丽。In this work, the shadow and highlight form a strong contrast, showing the quiet and beautiful scene of afternoon sunshine shining through the glass windows on the spiral stairs. The artist intends to bring the viewers into the scene so that they can experience the beauty of our own world—lasting peace, universal security, common prosperity, openness, inclusiveness, and a clean and beautiful environment.
七月 The Seventh Lunar Month
[中国] 杨世斌 [China] Yang Shibin
画面表现出物象表面背后，一种不可见的精神层面的真实：朴素、 透彻、 静穆、 永恒。作品创作的出发点来自于笼罩作者内心由来已久的，对时间静静流逝无法挽回的怅然，感伤人世的往复循环，犹如心宿二（天蝎座主星）西去，七月流火，夏去秋来。时间为一切铺上粉尘，抚平世间的所有繁杂。The picture shows an invisible spiritual truth behind the surface of the object: simplicity, clarity, solemnness and eternity. The inspiration of the work comes from the artist’s sentiment towards the irrevocable passing of time and the endless cycle of the world just as Antares (the brightest star in Scorpio) moves westward and summer turns to fall in the seventh lunar month.Time will cover everything with dust and quell all the chaos in the world.
日常形态系列 The Daily Forms Series
[中国] 房炯铭 [China] Fang Jiongming
作品主要以铜板飞尘腐蚀为主要技法。分析日常事物的种种潜在因素，是最吸引作者的创作源头，每件作品的诞生对他来说都是一次戏剧化的经历。作者试图把看到的各种荒诞事件转译成可视的载体，通过它们和自己建立微妙的联系。The technique of aquatint is adopted in this work. Analyzing the potentials of everyday things is the most attractive source of inspiration for the artist. Each creation is a dramatic experience for the artist for he always tries to visualize the absurd events in his life and establish subtle connections with them.
位置 Position [中国]
郑建辉 [China] Zheng Jianhui
作品运用黑白木刻的表现形式，看似画面内容以动物为主，实际上是在叩问人与大自然以及自然万物的关系。呼吁当下的人类应该更清晰地找到自身在世界中的准确位置，人作为万物之灵，应当为生物圈的和谐共生做出更多贡献。In the form of black-and-white woodcut, this work appears to depict mainly animals but in fact it inquires into the relationship between human beings and nature as well as everything in nature. The artist calls on human beings to find their right position in the world and, as creatures of intelligence, human beings should make more contribution to the harmonious coexistence of biosphere.
罔 Net
[中国] 周崇涨 [China] Zhou Chongzhang
作品为黑白铜版画，采用照相制版和传统版画技法相结合的技法。意指当下的水环境污染，如同水中的一张无形的“罔”，对鱼类等水中生物的生存构成危险，加重了生态危机。这种人为造就的“罔”，需要及时警觉，及时为自然生态“撤网”。This black-and-white copperplate print combines photographic lithography with traditional engraving techniques. It implies that the current water pollution is like an invisible “net” in the water, posing a danger to the survival of fish and other aquatic organisms and aggravating the ecological crisis. We need to be cautious of this artificial “net” and remove it timely from the ecology.
清寂在别处 Loneliness Rests Elsewhere
[中国] 陈伟 [China] Chen Wei
这组作品主要以表现人的“情感力”作为创作的立足点，作者刻意地选择了其中较为内敛、 含蓄、 无痛的情感元素作为创作的输出载体。这类情感也许是人们内心的某种细微情感对外的映射，也有可能是人们对生命存在意义的某种解读方式。This group of sculptures is mainly based on the expression of people’s “emotional power”. The artist chooses the more introverted, implicit and less painful emotional elements as the carriers because this type of emotions might be the manifestation of the subtle feelings of people, or it might be a kind of interpretation of the meaning of life.
岁月 The Old Days
[中国] 成志勇 [China] Cheng Zhiyong
作者通过写实的笔调和质朴的艺术语言，塑造了家中两位老人的肖像，力求真实而生动。作品在展现纯粹的视觉内容以外，同时流露出作者对一些人生问题的思考。In this picture, two old people are vividly portrayed with a realistic and unadorned style by the artist. Apart from the pure visual content, this work also reveals the artist’s reflection on some major issues in life.
大漠记-枯木逢春 Stories of the Desert: Spring Comes to the Withered Tree
[中国] 魏惠东 [China] Wei Huidong
作品运用大漆、 敦煌土等多种材质的艺术语言，表现出大漠所蕴含的深厚历史文化底蕴，追忆与缅怀丝绸之路上的千年文明。This work uses a variety of materials, such as lacquer and Dunhuang clay, to show the profound history and culture of the desert, recalling the ancient civilization of the Silk Road.
碎纸机的记忆2 Memory of the Shredder-2
[中国] 余王波 [China] Yu Wangbo
作品改变部分材质的质感，对材料、 物质进行解构、 重组。作者意在表达关于人性的思考，倡议诚信、 和谐、 信任是人类灵魂的一股清泉，也是万物共生的基础。作品引用东方古典，展现雄浑的世界气象。The work changes the texture of the materials by deconstructing and restructuring the substances. The artist intends to express his reflection on humanity, advocating integrity, harmony and trust. These factors would become a clear spring in the soul of human beings and the base of the symbiosis of all things. The magnificent universal spirit is shown in the picture with a classical Eastern style.
舞台系列No.15 Stage Series No.15
[中国] 张敏杰 [China] Zhang Minjie
作品以平板版画技法和象征手法，表现人类文明发展至今物质文明的极大丰富。当今世界是充满着美好的“大舞台”，但是在面对诸多的不协调时，还需要包容、 共济、 竞争、 进步。This work adopts the techniques of lithograph and symbolism to show the abundance of material since the development of human civilization. The world today is full of wonderful “big stages”, but in face with disharmonies, we also need inclusiveness, mutual help, competition and progress.
春之季（局部）The Season of Spring(part)
[中国] 施海 [China] Shi Hai
作者用写意的雕塑语言，具象地表现了一件大型高浮雕作品，熔炼了作者个人对雕塑的理解和对人性的思考。作品灵感源自斯特拉文斯基的芭蕾舞作品《春之祭》，其中始终贯穿着一样东西——生命的力量。The artist adopts the form of figurative sculpture in a freehand manner to create this large high-relief work, which is also infused with his personal understanding of sculpture and thinking of humanity. The work is inspired by Stravinsky’s ballet work The Rite of Spring, and there was one thing running through it—the power of life.
不安的黑色 The Restless Black
[中国] 徐忠波 [China] Xu Zhongbo
作品运用切割、 描绘、 拼贴等综合技法，利用不同的黑色隐喻社会及人类发展进程中所感受到的伤害和隐隐的不安，暗喻社会快速发展给人带来的一种脆弱感。This work adopts a combination of cutting, drawing, collage and other techniques. The different black tones in the picture are metaphors for the harms and unrest in the course of social progress, implying people’s sense of vulnerability brought by the rapid development of the society.
我在此 Here I Am （影像静帧）（8'53''）
[中国] 蒋涵萱 [China] Jiang Hanxuan(part of video)
作者以不同的身份分别与这些地点相遇，并随之产生了多个地点与作者之间的关联。在这些关联之中，有某些潜在的相似。这些潜在的相似仅对承受观察介入这一行为的人而成立。正如海德格尔所言的“让呈放”或“置放”，使遮蔽之物成为无蔽之物的解蔽过程就是在场者的在场本身。希望这些地点与观察者的这种依存在人们的思索中到场。 The artist encounters these sites in different identities, which leads to the associations between these sites and herself. There are some underlying similarities among these associations, which are limited to those who have performed the act of observing and intervening. According to Heidegger’s theory of “vorliegenlassen”(letting-lie) or “legen”(lie), the process of demasking what is masked is the presence itself of the person present. It is hoped that the interdependence between these places and the observers can be present in people’s thinking.
