Extensions of a No-Place (发条人) Peter Nelson (澳大利亚）
“无境”的延伸
此系列的作品揭涵盖在“无境”的标题下。这是个未刻意规划、想像的地景，使用绘画、影片、雕塑、和文字等方式表现。建构的过程中，我评论现代都市环境反映历史的叙述如何影响我们自身关於文化、政治、及个人身份的认同。我研究乌托邦都市建筑，文人地景卷轴於手册、指南（如芥子园画传）中的编码，18世纪英国风景画运动，即时策略性电脑游戏（如星际争霸等）。我运用这些不同的文化参考素材来解构我所想像的世界，并建立关於“地点”的，多元、矛盾、冲突的叙述。
Introduction to Extensions of a No-Place
I place all my artistic projects under the title Extensions of a No-Place. This place is an unplanned, imaginary landscape made in drawing, film, sculpture and text. Within this construction, I critique the contemporary urban environment and reflect on how historical narratives influence our understanding of cultural, political and personal identity. I research utopian urban architecture, literati scroll landscapes and their codification in manuals such as The Mustard Seed Garden Manual of Painting, the 18th century English picturesque movement, and Real Time Strategy computer games such as Starcraft. I use these diverse cultural references to deconstruct my imaginary world, and to produce multiple and contradictory narratives of ‘place’.
此系列的作品揭涵盖在“无境”的标题下。这是个未刻意规划、想像的地景，使用绘画、影片、雕塑、和文字等方式表现。建构的过程中，我评论现代都市环境反映历史的叙述如何影响我们自身关於文化、政治、及个人身份的认同。我研究乌托邦都市建筑，文人地景卷轴於手册、指南（如芥子园画传）中的编码，18世纪英国风景画运动，即时策略性电脑游戏（如星际争霸等）。我运用这些不同的文化参考素材来解构我所想像的世界，并建立关於“地点”的，多元、矛盾、冲突的叙述。
Introduction to Extensions of a No-Place
I place all my artistic projects under the title Extensions of a No-Place. This place is an unplanned, imaginary landscape made in drawing, film, sculpture and text. Within this construction, I critique the contemporary urban environment and reflect on how historical narratives influence our understanding of cultural, political and personal identity. I research utopian urban architecture, literati scroll landscapes and their codification in manuals such as The Mustard Seed Garden Manual of Painting, the 18th century English picturesque movement, and Real Time Strategy computer games such as Starcraft. I use these diverse cultural references to deconstruct my imaginary world, and to produce multiple and contradictory narratives of ‘place’.
“无尽”的延伸：艺术书籍
2008年至2013年的5年间，我辗转于中国、韩国、台湾、法国、新西兰和澳大利亚之间，游走，思考，体验。这些思考的痕迹被我记录在笔记本。在器·Hausk空间的两个月中，这些被一页一页书写绘制的随笔最终被编辑整理为三本独立的书：18世纪英国风景画派/乌托邦城市规划/山水（中国传统绘画）。这是在过去的五年间一直伴随着我的工作重心，它们对于我关于‘虚拟化的风景平台’的理解，至关重要。在本次展览中，我把这三本书以独立作品的形式进行展示，我以其间的‘素描’，‘关于历史的分析思考’，‘创造性的书写’这三种方式来回应这三个话题，而展墙上展览的作品仅仅是每本书的掠影。我和一群重庆的年轻学生们分享着这些概念，并在她们的帮助下完成了大家在展览现场看到的，这些手写的翻译。
Extensions of a No-Place: Artist Books
The pages in these books were made between 2008 and 2013, in China, Korea, Taiwan, France, New Zealand and Australia.
During my two months with Organhaus, I have edited and organised these pages into three separate books, based on the 18th century Picturesque, Utopian Urbanism, and historical Chinese painting. These topics have been the focus of my work over the past 5 years, and are central to my understanding of imaginary landscape environments. Notebooks are important to my residency projects. I use them both for artistic exploration and experimental theory. In this exhibition, I present each book is a separate artwork, with drawing, historical research and creative writing used to explore each topic. The prints on the wall give a short overview of each book. I have worked with a group of students from Chongqing to share the concepts and make a translation for this exhibition.
2008年至2013年的5年间，我辗转于中国、韩国、台湾、法国、新西兰和澳大利亚之间，游走，思考，体验。这些思考的痕迹被我记录在笔记本。在器·Hausk空间的两个月中，这些被一页一页书写绘制的随笔最终被编辑整理为三本独立的书：18世纪英国风景画派/乌托邦城市规划/山水（中国传统绘画）。这是在过去的五年间一直伴随着我的工作重心，它们对于我关于‘虚拟化的风景平台’的理解，至关重要。在本次展览中，我把这三本书以独立作品的形式进行展示，我以其间的‘素描’，‘关于历史的分析思考’，‘创造性的书写’这三种方式来回应这三个话题，而展墙上展览的作品仅仅是每本书的掠影。我和一群重庆的年轻学生们分享着这些概念，并在她们的帮助下完成了大家在展览现场看到的，这些手写的翻译。
Extensions of a No-Place: Artist Books
The pages in these books were made between 2008 and 2013, in China, Korea, Taiwan, France, New Zealand and Australia.
During my two months with Organhaus, I have edited and organised these pages into three separate books, based on the 18th century Picturesque, Utopian Urbanism, and historical Chinese painting. These topics have been the focus of my work over the past 5 years, and are central to my understanding of imaginary landscape environments. Notebooks are important to my residency projects. I use them both for artistic exploration and experimental theory. In this exhibition, I present each book is a separate artwork, with drawing, historical research and creative writing used to explore each topic. The prints on the wall give a short overview of each book. I have worked with a group of students from Chongqing to share the concepts and make a translation for this exhibition.
“无尽”的延伸：发条人
这个动画是我对于重庆城市环境的反应。我运用了绿屏抠像、3D建模和摄影的拼贴糅合，来创造了一个基于中国传统绘画和电脑游戏的交汇而产生的想象世界。我做了一个被建筑物和群山环绕的河床的倾斜的草图，而它是来源于重庆的北桥头长江之景。“发条人”是我在黄桷坪散步时创造的一个虚构的人物。关于这个人物的笔记和他的动画正一直在旁边的作品中爆发。
Extensions of a No-Place: The Clockwork Man (发条人)
This animation is a response to the Chongqing urban environment. It uses a combination of remixed green-screen footage, 3D modeling and photography to create an imaginary world based around the intersection of traditional Chinese painting and computer games. I created an oblique sketch of a riverbed surrounded by buildings and mountains, which is based on the view of the Yangtze River at Beiqiaotou. The Clockwork Man (发条人) is a fictitious character I invented during my walks around Huangjueping. The notebooks of this character and the development of this animation are displayed alongside to the work.
这个动画是我对于重庆城市环境的反应。我运用了绿屏抠像、3D建模和摄影的拼贴糅合，来创造了一个基于中国传统绘画和电脑游戏的交汇而产生的想象世界。我做了一个被建筑物和群山环绕的河床的倾斜的草图，而它是来源于重庆的北桥头长江之景。“发条人”是我在黄桷坪散步时创造的一个虚构的人物。关于这个人物的笔记和他的动画正一直在旁边的作品中爆发。
Extensions of a No-Place: The Clockwork Man (发条人)
This animation is a response to the Chongqing urban environment. It uses a combination of remixed green-screen footage, 3D modeling and photography to create an imaginary world based around the intersection of traditional Chinese painting and computer games. I created an oblique sketch of a riverbed surrounded by buildings and mountains, which is based on the view of the Yangtze River at Beiqiaotou. The Clockwork Man (发条人) is a fictitious character I invented during my walks around Huangjueping. The notebooks of this character and the development of this animation are displayed alongside to the work.