[参展作品]
作品名称： Exploding Camera
艺术家：Julien Maire
作品类型： 装置
创作时间：2007
作品概念：
911事件的前两天，塔利班最大的敌人指挥官Massoud遭到谋杀，两名恐怖分子在阿富汗的一个山谷化妆成新闻记者用装有炸弹·的相机袭击了他。
这次暗杀与911明显是有关联的，不过几天后发生的大事使得这件事几乎被人遗忘，恐怖分子用相机炸弹的方式给我留下了深刻印象。
对我来说，仿佛那个装有炸弹的相机还在工作并记录下了在接下来的六年里发生的战争。
所有的这些包括神秘的Massoud指挥官的死讯，引导我开发一种相机可以创造出再次揭示战争的历史电影。
这个装置由一个电视监控器连接分离的录像机机身构成，录像机的镜头被取下，但机器本身仍旧工作，通过用室内简单的外光和LED和激光，我通过感光器制造出视频影像。
一张含有一些图片的透明光盘被放在感光器和外光之间，当灯光开启，图像映射在感光器上，通过变换外光位置我可以制造出影像移动的效果。通过变换灯光或激光的强度我可以制造出爆炸的效果。
这种形式制造出的爆炸不仅有影像爆炸的效果还会影响整个展示空间与观众。
通过影剧院的方式让展览地点变成试验性的电影工作室，当然很重要的一点是影像内容要基于历史事实。
[Works]
Title: Exploding Camera
Artist: Julien Maire
Type: Installation
Created in 2007
Description:
«Two days before the 11th September, Commander Massoud, the most senior war commander and the most credible opponent to the Taliban was murdered. Two al-Qaida suicide bombers posing as journalists killed him with an exploding camera at his camp in Afghanistan's remote Panjshir Valley.
The connection between his assassination and 9/11 is certain, but this act has been almost completely forgotten because of the magnitude of the events a few days later. The fact that the terrorists used a camera made a deep impression on me.
For me, it is as if the destroyed camera used in the attack against Massoud had continued to work and has been filming a war film for the last 6 years.
All of this, as well as the death of the almost mythic figure of Massoud, has lead me to develop the piece ‘the exploding camera’: a kind of destroyed medium able to produce live an experimental historical film reinterpreting the events of the war. »
« The piece is constructed with a TV monitor connected to the dissected body of a video camera lying on a table. The camera works however, but the lens has been taken out and is not used anymore. By using simple external light in the room the installation is in as well as LEDs and laser placed on the table, I produce the video images by direct illumination of the camera's CCD (light sensor).
A transparent disc containing a few photographic positives is placed between the lights and the CCD. The pictures are projected onto the CCD when a light is turned on. Because of the different position of the lights, I can produce movement in the same picture (illuminating the picture with different angles makes the picture appear to move). Large lights and the laser create explosions (they trigger a sound that overlays the backing soundtrack).
The lights that produce the ‘explosions’ not only illuminate the frame for the video image but also the exhibition space and spectators at the same time.
By using theatrical methods and turning the exhibition space into an experimental film studio thought of as a battlefield, the ‘exploding camera’ expresses, in relation to an historic fact and through its process of image production, the importance of the actual facts ».
[参展作品]
作品名称：低象素电影
艺术家：Julien Maire
作品类型： 装置
创作时间：2007
作品概念：
“低象素电影”项目是由一组相同基本投影系统的片断，幻灯投影转换成很低很低的象素单色的录像投影机。
数字影像在这个过程中被降低到最小的象素范围，只能表现出几何的抽象图片，并显示最小范围的移动。而与之相反的是，对于每个象素的描述却十分精确，这使得投影机有了许多很模糊不清的方面。
“低象素电影”项目的目的与在19世纪初很盛行的几何抽象移动的理念是相似的。几何抽象的技术是基于无目标的散射出幻觉的图像，极低的象素使得表现现实的东西变得不可能。另外，如此低的象素使得图像无法表现角度。与一个高清晰度的录像投影机或者一个大尺寸的图画一样，隐含了现实与行为。为了保证抽象的效果，硬件与软件的应用都被限制到了最低程度。最终形式的"Panorama1"是一个384 x 32象素的投影机。通过一个全景活动的窗口，在象素与非象素之间移动。
[Works]
Title: Low Resolution Cinema
Artist: Julien Maire
Type: Installation
Created in 2007
Description:
The "Low resolution cinema" project consist of a group of pieces, of which the same basic projection system is used: slide projectors converted into extreme low resolution and monochrome customized video projectors.
The digital image in this work is reduced to minimum amount of pixels that displays geometrical abstract pictures and performs minimal movements.
Paradoxically, the definition of each of the pixels is extremely precise, which confers to the projection an ambiguous aspect.
The purpose of the "low resolution cinema" project is similar to the Geometrical Abstraction movement, which was active in the beginning of the 20th century, and who based their work on a non-objective practice while ejecting the illusionistic practices. The extreme low resolution of each projection in this work forbids in that sense the representation of reality. Furthermore, the geometrical shape which is defined by each of the pixels makes it an "impossible" true representation of perspective.
Similar to a high definition video projection or to a large-sized painting which holds the potential of reality and action.
Both the hardware and the software in this work are reduced to a minimum and hold the potential of abstraction.
The Final form of "Panorama1" is a 384 x 32 pixels projection, viewed through a panoramic window, moving between resolution and dissolution.
[参展作品]
作品名称：微观图像
艺术家：Casey Reas
作品类型： 装置
创作时间：2003
作品概念：
微观形象技术通过软件的媒介探索“浮现”现象。这是一个数以千计的独立的软件组织和很小的一个环境形成一个软件生态组织。随着环境的改变，内部小组织也根据规定的行为随之积聚又分散。它们与外部环境联系紧密，很小的一些变化可能会对外部大环境造成很大改变。外部环境与内部组织的的交互影响成波浪形式。
与微观影像相关的概念“浮现”是未经详细制定规定的一代结构，没有任何结构是事先规定或计划好的，简单的程序被用来定义元素间的交互活动而不是有意识的去规定整个系统。程序被写成四种不同形式每个被复制几千次，结构从每个组织谨慎的移动中浮现出来并随之修改它的位置与大环境的关联。这样的结构形成过程不能被预测而且在不断变化。我对于“浮现”的理解受到科学家与新闻记者的影响，如John Holland, Mitchell Resnick, and Kevin Kelly.
[Works]
Title: MicroImage
Artist : Casey Reas
Type: Installation
Created in 2003
Description:
MicroImage explores the phenomenon of emergence through the medium of software. It is a micro world where thousands of autonomous software organisms and a minimal environment create a software ecosystem. As the environment changes, the organisms aggregate and disperse according to their programmed behavior. They are tightly coupled to the environment and slight changes in the environment create macroscopic changes in the ecosystem. A field of undulating form emerges from the interactions between the environment and the organisms.
In relation to MicroImage, the concept of “emergence” refers to the generation of structures that are not specified or programmed. None of the structures produced through interacting with the software are predetermined or planned. Instead of consciously designing the entire structure, simple programs were written to define the interactions between the elements. Programs were written for the four different types of organism and each was cloned in the thousands. Structure emerges from the discreet movements of each organism as it modifies its position in relation to the environment. The structures generated through this process cannot be anticipated and evolve through continual iterations involving alterations to the programs and exploring the changes through interacting with the software. My understanding of emergence was informed by the publications of scientists and journalists including John Holland, Mitchell Resnick, and Kevin Kelly.
[参展作品]
作品名称： 启示模式
艺术家：Julien Maire
作品类型： 装置
创作时间： 2008
作品概念：
该装置在两张桌子上展示了一座建筑模型。每座建筑均从桌子的下方开始建造，然后缓慢地崩塌。崩塌后的混合物又在一个模具内再次塌陷（建筑物周围区域的凹陷引发了材料再次塌陷入模具内）混合物随后被压在模具上（电机），并被（模具）再次向上推动循环往复。
每个建筑模型都是由一种“慢动作材料”构成。所谓的慢动作材料是由一种特殊材料与很小的钢球混合而成，每栋建筑都经历建成，倒塌然后再无休止的这样反复。
角度这个概念在文艺复兴时期被用来作为空间绘画的度量工具，在911事件之后，西方对于角度这一理念被削弱。角度理念就是既要有现实意义又要数学代表性的实物。这些必须在未来为人们所理解。在这样一个三部环节的过程中，空隙变成时间的定义，如果有新的动作引入这个三D模型，整个速度与规模都会随之改变。这就是该模型不能被移动的原因在数字效果之前的电影中，大毁灭与大灾难的效果就是用这样的模型做出来得。即使缩小这一模型的大小，使时间延长这是不可能的。实际上，电影制片人经常通过减慢这些动作来控制画面的时间和尺寸。
作为规模模型，虽然是一个相对来说很抽象的景观，但还是包含了物理时间和戏剧性变化。
Julien Maire 经常把“动作”模型运用到她的表演和装置当中，目的就是用来与传统电影画面与现实生活形成冲击。这些技术运用使得它有了个别称叫“梦想实现机。
Works]
Title: Model for the Apocalypse
Artist: Julien Maire
Type: Installation
Created in 2008
Description:
The "Model for the apocalypse " is a town planning scheme for the future which appears to be a model of architecture, yet in fact it shows skyscrapers collapsing in a slow movement.
Each of the town's construction model is made out of "slow motion material", which is a unique mixture composed out of steel micro-balls. Each building model increases, collapses and returns back to the ground, then grows again in an endless loop.
Perspective was invented during the renaissance as a measurement tool to aid representation of space in drawings or paintings. Since the eleventh of September, the western countries idea of the perspective has been reduced. Perspective means both a realistic and mathematical representation of reality but it must also be understood as a into the future.
In a three dimentional reproduction or a sculpture, space definitely consists the notion of time. For example, if there is motion introduced in a scaled down 3D model, the speed must also be scaled in order to correspond to the reduced size. That’s why models usually don't move and that’s also why an electric train set always seems to go too fast. In movies, prior to the development of digital effects, catastrophe and destruction have also been produced with models.
Even if it's possible to reduce the size and to show a realistic model in front of a camera, it's not possible to extend time : In fact, filmmakers always shoot models with a slow motion effect in order to adjust time and size!
The "model for the apocalypse" introduces in real time this effect of slowmotion: a proportional reduction of the speed in correlation to the model.
The scaled model seems to contain its proper physical time and dramatize its representation, even-though it is a very abstract landscape.
"Real Slow Motion " is often used by Julien Maire in his performance and installations in order to confront two realities: the cinematic image and the real-life. The power of the cinematic image suggests the manipulation of its own appropriate time. This skill is often doubted in Maire's work, which gives him the nickname of "Machine of dream".
[参展作品]
作品名称：妈妈
艺术家：Christian Partos (瑞典)
作品类型：
创作时间：2003
作品概念：
5000面倾斜的镜子反射了对面受光照的空墙的不同色调。反射出的映像描绘成了我母亲的肖像（†1996）。
少有艺术家有与Christian Partos一样大的调色盘。大到可以用真正的微反射镜将其母亲的肖像像素化，该微反射镜的极限倾斜使反射光的强度变化多端。他同样能让我们看见一场无实体的脱衣舞，抑或建造一个用发光二极管跳绳制成的玫瑰圆。
其他能力：他推使喷泉自我对话，他用二极管飞鸟殖民地铁站，为设计双人舞动作，他变更系统路径以发送气动信件，而且他还用婴儿的星座制作了一个作品嵌套。
[Works]
Title: MOM
Artist: Christian Partos (Sweden)
Type:
Created in 2003
Description:
Five thousand slanted mirrors reflect different shades of the illuminated, opposite empty wall. The reflections create a portrait of my mother (†1996).
Few artists have a palette as large as Christian Partos does.
Able to pixelize his mother’s portrait with real micro-mirrors whose infinitesimal slant makes the intensity of the reflected light vary, he can also make us witness a disembodied strip-tease or build a rosary of luminescent diodes jump rope.
Some other abilities: he pushes a fountain to dialog with itself, he colonizes a metro station with diodes flying birds, he reroutes a system for sending pneumatic missives in order to choreograph a duet for lighting bullits and he makes a mise-en-abyme out of a constellation of babies…
[参展作品]
作品名称： POL
艺术家：Julien Maire
作品类型： 装置
创作时间： 2008
作品概念：
POL(德语词汇，意为磁极)是一个现场临时准备的演出。
POL是一个由七块足以占据观众整个视野的大型屏幕所构成的一个半环绕式环境。这些屏幕整体上呈碗状排列。在这个环境中有一个特定的中心点，声音和图像由其开始，慢慢地向边缘的屏幕扩散。在此过程中，人们能感受到的是一种“视觉辐射”的感觉。
POL主要是由一个人的音像样本来表现，他是广受欢迎的歌手及演员迪阿曼达 格拉斯。这个展示事实上就是把表演者几秒钟的电子样本隐藏于声音波形之中，转化为介于异型和天使间的某个产物。现实的“人体”部分激发出像闪光一样的持续的抽象的声音。视频变成了一种光源，而不是表现出来的图像。光或者说图像并重要，实际上声音才是POL最至关重要的表现方式。
[Works]
Title: POL
Artist: Julien Maire
Type: Installation
Description:
POL (German word for pole) is a live improvised performance.
POL is a semi-surround environment composed of 7 videoscreens forming a parabolic panorama that fills the entire viewfield of the audience. It has a dedicated centre, from which the sounds and images originate and from there then flicker from screen to screen, towards the edges, emanating a sense of "visual radiation".
POL features audiovisual samples of a human being, of acclaimed singer/performer Diamanda Galas. The show virtually buries the few seconds of electronic evidence = samples of this performer in waves of audiovisual noise, transforms it into something inbetween an alien and an angel. Realistic “Flesh portions” occur flashlike in a continuous stream of abstract noise mass. Video becomes a light source rather than presenting images. No light / images at all but sound Is a crucial part of the POL dramaturgy.
[参展作品]
作品名称： Step – motor animations
艺术家：Christian Partos (瑞典)
作品类型： 装置
创作时间：2003
作品概念：
一张由频闪观测仪旋转照亮的光盘，光盘本身被一系列图片覆盖，由外部边缘向中心螺旋式旋转。观察者可以通过一条向内延伸的半径观赏电影。就像人可以在记忆中随意的前进后退，在这里面你可以随意控制影像的进程。
[Works]
Title: Step – motor animations
Artist: Christian Partos (Sweden)
Type: Installation
Created in 2003
Description:
A disc lit by a stroboscopic light rotates. The disc is covered with a series of pictures which move in a spiral from the outer edge to the centre. The observer can follow the film along a radius inwards. Like in memory one can move freely back and forth in time, here you can switch track anytime to repeat a sequence."
[参展作品]
作品名称：达玛斯特斯之路
艺术家：Jean Michel Bruyère
作品类型：
创作时间： 2008
作品概念：
达玛斯特斯之路一件由21根悬挂着的日光灯管和21张白色病床构成的雕塑作品。病床由恒动装置驱动，并且通过电脑进行同步控制。它们仿佛是在演奏一出芭蕾舞剧般，出现在观众面前。
达玛斯特斯是希腊神话中的一个人物。又叫做普罗克鲁斯忒斯或普罗珀蒙，生活在艾琉西斯和阿提卡之间的平原上。他会抓住过往的行人，然后将其放在一张床上。如果他们比床长，普罗克鲁斯忒斯就会将他们的腿锯掉，以便使其身高与床的长度一致；如果他们的身高比床要短，他就会用一把铁锤把人家的腿砸平，然后拉伸，直到他们的“身高”够得着床的边缘为止。
[Works]
Title: The path of Damastes
Artist: Jean Michel Bruyère
Created in 2008
Type:
Description:
The path of Damastes is a sculpture made of 21 white medical bed overhung by 21 fluorescent tubes, type “daylight”. The beds are animated with permanent movements, set and synchronized through a computer. Together they perform a true ballet.
The path of Damastes
Damastes is a character from Greek mythology. Damastes, also known as Procustes and Polypemon, lived by the road from Megara to Athens. He had a bed on which he forced travelers to lie down. From those who’s size exceeded the size of the bed, he cut off the feet and legs to make them fit perfectly into the bed. From those who were too small, he stretched their limbs until they reached the exact measurements of the bed.
【编辑：姚丹】
