“迷失在建筑中”尼古拉•葛罗皮耶尔（Nicolas Grospierre）摄影展
视频全景记录：http://www.artspy.cn/html/video/0/765.html
近三个月的时间里，先锋影像及多媒体艺术家汪建伟，带我们走进一个“中间的”、“难以定义的”地带，其间蕴藏着有待发现的真理，而我们大多数人正寄居其中。黄色交通信号灯，它既是信号，也是征兆，更是介于红灯和绿灯、禁止与允许之间的合理状态。“黄灯”以四个连贯又独立的章节，为我们逐一揭幕一次持续的、完成中的叙述。
今天，汪建伟打造《返场》，将人的身体作为媒介和材料，在体验和表演的过程中，产生人与人、人与物、人与环境的交流与特殊表达，在“黄灯”的展厅中，传达出丰富、特殊的审美体验，以及耐人寻味的内涵。这一次行为表演，让表演者和观看者之间的关系相互参照和变化，究竟是谁介入了谁？引发人们视角的转变，开始探索我们看见和相信以外的世界。
第一章节：《用赝品等待》
大展厅里的四面展墙，被8台投影在正反两面投射上不同的影像。这8个平行的影像间由墙面上特别打造的通道连接，观众可自由穿越展墙，建立起一连串不同体验的视觉场。通过巨幅的投影及层层环绕的立体音效，个体生命与社会之间的模糊关系，透过不同层面的场景中进行的片段，呈现在观众眼前。
Chapter One: Making do with Fakes
Eight different videos are projected on both sides of four large gateways, or portals. As visitors move freely through these portals, they pass directly beneath eight parallel video projections and encounter a series of different visual spaces. The result is a multimedia experience that combines large-scale projection video, stereo sound and video clips that reveal the blurred connections between the individual and society.
第二章节：《“我们知道我们在做什么……”》
“黄灯”的第二章节，一开始就让我们看见一个环形监狱，这个概念源自1785年边沁提出的“环形监狱”，讨论了人的自我束缚和监禁。
无尽的篮球和破碎国旗组成的篮板，游戏，规则，国家，政治，被分裂又再重组，原本每个元素的意义被挑战。那洗手池里的会堂，难道是集体的一种姿态？那些破碎的电视荧幕，到底投射了什么？在这个黄灯共同体内，提问是接近真理的方法，任何确定的答案都将被质疑。
Chapter Two: “We know what we are doing…”
Entering the second chapter of Yellow Signal, the first thing we see is a sculptural installation modeled on the The Panopticon, a circular prison proposed by 18th century legal and social reformer Jeremy Bentham.
An infinite maze of basketball nets and backboards resembling fragmented national flags dismantle and reconfigure our conventional notions of games, rules, nations and politics. And the two communal sinks with their hidden dioramas—are they making a point about collectivism? The heap of broken TV sets toward the back—what exactly are they projecting?
In this “yellow signal community,” clear-cut answers are suspect, questioning is essential, and skeptical inquiry is the only thing that draws us closer to the truth.
第三章节：《内战》
当代艺术正在中国发生作用：它不仅仅以审美作为其功用存在，它也以别的方式参与社会。
我们以为解决困惑的方法是明确，但困惑存在的那么合理，所以我们就以这里为起点去探讨，而不是找到一个知识来说服自己。
这些看似家具的作品，是来自中国1950-70末时期的家具，此前都有着别处的意义和记忆，完全解构后再进行重组，造成冲突，矛盾，却微妙地平衡的共同体。
“黄灯”让我们可以去思考，但更应该学会尊重所有的结论，并不固定的结论。
Chapter Three: Internal Conflict
Yellow Signal’s third chapter, Internal Conflict, features Chinese furnishings dating from the 1950s to the late 1970s. These repositories of meaning and memory from a bygone era have been deconstructed, then reconstructed in confusing and contradictory ways. Taken together, they form a community defined by a delicate, even fragile, equilibrium.
Wang Jianwei’s “furniture creations” are as puzzling and complex as the society we live in: concatenations of circumstance, cobbled together from the past and present. When confusion is a logical response to our contemporary society, perhaps the best approach is to embrace confusion as the first step toward real understanding, rather than trying to comfort ourselves with false illusions or convince ourselves of foregone conclusions.
Internal Conflict allows us to ponder numerous conflicting interpretations and possible conclusions—all of them complex, and none of them foregone.
第四章节：《去十三楼的会议室看免费电影》
汪建伟大展“黄灯”第四章节《去十三楼的会议室看免费电影》，让四幕展览循环并置。多个语汇在同一时空出现，融装置与影像为一体，挑战人们的观展逻辑。汪建伟用作品呈现出看得见的幻象，让我们承认一个不明确存在并且不需要结果的世界。
每个人都被知识系统捕获，知识的搭建让人不加思考地相信一些东西。我们相信了很多看不见的东西，但我们只是在知识局限里制造真理。我们所信任的是知识能到达的，但是不能到达的地方呢？是否应该留有一个途径？汪建伟用“黄灯”给你答案。
Chapter Four: Go to the Conference Room on the 13th Floor for Free Films
Go to the Conference Room on the 13th Floor for Free Films, the fourth and final “act” of Yellow Signal, brings Wang Jianwei’s UCCA solo exhibition full circle. Like the three previous chapters, it employs a range of artistic vocabularies to challenge the conventional logic of an art exhibition, and optical illusions to reveal an amorphous and inconclusive universe.
Every one of us is caught up in a system of knowledge that demands belief before proof, blind faith before thoughtful analysis. So many of the things we believe in cannot be seen or touched; so many of our “manufactured truths” are constrained by the limits of our knowledge. We trust that knowledge is the way forward, but what of the spaces that are beyond our reach, impossible to grasp? Shouldn’t we leave open a “channel” of sorts to give ourselves more room for maneuver? With Yellow Light, Wang Jianwei offers us an answer, an alternative way of moving forward.
现场图片分享：
近三个月的时间里，先锋影像及多媒体艺术家汪建伟，带我们走进一个“中间的”、“难以定义的”地带，其间蕴藏着有待发现的真理，而我们大多数人正寄居其中。黄色交通信号灯，它既是信号，也是征兆，更是介于红灯和绿灯、禁止与允许之间的合理状态。“黄灯”以四个连贯又独立的章节，为我们逐一揭幕一次持续的、完成中的叙述。
今天，汪建伟打造《返场》，将人的身体作为媒介和材料，在体验和表演的过程中，产生人与人、人与物、人与环境的交流与特殊表达，在“黄灯”的展厅中，传达出丰富、特殊的审美体验，以及耐人寻味的内涵。这一次行为表演，让表演者和观看者之间的关系相互参照和变化，究竟是谁介入了谁？引发人们视角的转变，开始探索我们看见和相信以外的世界。
第一章节：《用赝品等待》
大展厅里的四面展墙，被8台投影在正反两面投射上不同的影像。这8个平行的影像间由墙面上特别打造的通道连接，观众可自由穿越展墙，建立起一连串不同体验的视觉场。通过巨幅的投影及层层环绕的立体音效，个体生命与社会之间的模糊关系，透过不同层面的场景中进行的片段，呈现在观众眼前。
Chapter One: Making do with Fakes
Eight different videos are projected on both sides of four large gateways, or portals. As visitors move freely through these portals, they pass directly beneath eight parallel video projections and encounter a series of different visual spaces. The result is a multimedia experience that combines large-scale projection video, stereo sound and video clips that reveal the blurred connections between the individual and society.
第二章节：《“我们知道我们在做什么……”》
“黄灯”的第二章节，一开始就让我们看见一个环形监狱，这个概念源自1785年边沁提出的“环形监狱”，讨论了人的自我束缚和监禁。
无尽的篮球和破碎国旗组成的篮板，游戏，规则，国家，政治，被分裂又再重组，原本每个元素的意义被挑战。那洗手池里的会堂，难道是集体的一种姿态？那些破碎的电视荧幕，到底投射了什么？在这个黄灯共同体内，提问是接近真理的方法，任何确定的答案都将被质疑。
Chapter Two: “We know what we are doing…”
Entering the second chapter of Yellow Signal, the first thing we see is a sculptural installation modeled on the The Panopticon, a circular prison proposed by 18th century legal and social reformer Jeremy Bentham.
An infinite maze of basketball nets and backboards resembling fragmented national flags dismantle and reconfigure our conventional notions of games, rules, nations and politics. And the two communal sinks with their hidden dioramas—are they making a point about collectivism? The heap of broken TV sets toward the back—what exactly are they projecting?
In this “yellow signal community,” clear-cut answers are suspect, questioning is essential, and skeptical inquiry is the only thing that draws us closer to the truth.
第三章节：《内战》
当代艺术正在中国发生作用：它不仅仅以审美作为其功用存在，它也以别的方式参与社会。
我们以为解决困惑的方法是明确，但困惑存在的那么合理，所以我们就以这里为起点去探讨，而不是找到一个知识来说服自己。
这些看似家具的作品，是来自中国1950-70末时期的家具，此前都有着别处的意义和记忆，完全解构后再进行重组，造成冲突，矛盾，却微妙地平衡的共同体。
“黄灯”让我们可以去思考，但更应该学会尊重所有的结论，并不固定的结论。
Chapter Three: Internal Conflict
Yellow Signal’s third chapter, Internal Conflict, features Chinese furnishings dating from the 1950s to the late 1970s. These repositories of meaning and memory from a bygone era have been deconstructed, then reconstructed in confusing and contradictory ways. Taken together, they form a community defined by a delicate, even fragile, equilibrium.
Wang Jianwei’s “furniture creations” are as puzzling and complex as the society we live in: concatenations of circumstance, cobbled together from the past and present. When confusion is a logical response to our contemporary society, perhaps the best approach is to embrace confusion as the first step toward real understanding, rather than trying to comfort ourselves with false illusions or convince ourselves of foregone conclusions.
Internal Conflict allows us to ponder numerous conflicting interpretations and possible conclusions—all of them complex, and none of them foregone.
第四章节：《去十三楼的会议室看免费电影》
汪建伟大展“黄灯”第四章节《去十三楼的会议室看免费电影》，让四幕展览循环并置。多个语汇在同一时空出现，融装置与影像为一体，挑战人们的观展逻辑。汪建伟用作品呈现出看得见的幻象，让我们承认一个不明确存在并且不需要结果的世界。
每个人都被知识系统捕获，知识的搭建让人不加思考地相信一些东西。我们相信了很多看不见的东西，但我们只是在知识局限里制造真理。我们所信任的是知识能到达的，但是不能到达的地方呢？是否应该留有一个途径？汪建伟用“黄灯”给你答案。
Chapter Four: Go to the Conference Room on the 13th Floor for Free Films
Go to the Conference Room on the 13th Floor for Free Films, the fourth and final “act” of Yellow Signal, brings Wang Jianwei’s UCCA solo exhibition full circle. Like the three previous chapters, it employs a range of artistic vocabularies to challenge the conventional logic of an art exhibition, and optical illusions to reveal an amorphous and inconclusive universe.
Every one of us is caught up in a system of knowledge that demands belief before proof, blind faith before thoughtful analysis. So many of the things we believe in cannot be seen or touched; so many of our “manufactured truths” are constrained by the limits of our knowledge. We trust that knowledge is the way forward, but what of the spaces that are beyond our reach, impossible to grasp? Shouldn’t we leave open a “channel” of sorts to give ourselves more room for maneuver? With Yellow Light, Wang Jianwei offers us an answer, an alternative way of moving forward.
现场图片分享：
不要再来贩卖集体记忆了。你的集体是集体被阉割的记忆，是可耻的记忆。你在这个时候来歌颂这种阉割。是在助纣为孽。
楼上自以为看懂了他的作品
