http://www.ddmwarehouse.org
http://art.mofile.com/cn/subject/detailSubject.do?subjectId=8

Hasan Elahi
阿桑•阿莱茜

Tracking Transience, 2007
locative performance, video projection
site: Campo Santa Margherita, Dorsoduro, 3054

追求短暂，2007
互动行为，录像
地点：圣玛格丽塔广场，多索度洛3054号


Tracking Transience

From June to November of 2002, I had been the subject of a FBI investigation as a terrorist suspect. I was reported to the police as “an Arab that had explosives who fled on September 12th. As I returned to the US on June 19, I was met at the airport by a FBI agent who rigorously interrogated me on my whereabouts and activities. I spent the next six months frequently meeting FBI agents justifying each and every move that I made around 9/11. After repeated questionings and nine polygraphs, I was eventually cleared and to the relief of friends and family, I am officially no longer considered a terrorist threat.
These experiences have led me to voluntarily develop a network device built upon a modified/hacked mobile phone which in fact opens just about every aspect of my life to the public. Throughout the FBI investigation, I have actively decided to cooperate with them to a point of aggressive compliance to where the current work now borders on a collaboration with them, albeit unauthorized. This network device generates a database of imagery and locative information that combined with a web-enabled companion tracks me and my points of transit live. Since the development of this device, my FBI agent (along with anyone with access to the web) has been able to look me up online to track me. Currently, the device is in a semi-autonomous stage allowing uploads of images tagged with exact GPS coordinates of where the original image was shot to my server which then sends the GPS tag to Google which returns an aerial surveillance image of my exact location. My server then compiles this map with my uploaded image and thumbnails of the used images into a web based file which is then accessed through any computer with net access.
I feel that the level of transparency and the volunteering of information is crucial in the success of this project. I feel that by publicly disclosing every bit of personal information about me attempts to subvert the methodology that is used by intelligence agencies where the main commodity is secrecy and restricted access to information. In this work, I wish to not only devalue the currency of the FBI by disclosing the information that is held secret in my file, but also make every detail about myself completely transparent to the public to the point where it clearly demonstrates how invasive the new Homeland Security and Patriot Act laws in the United States are. Using the powers of the web and new technologies originally intended for military use and their alternate uses for surveillance, I hope to bring to light the political ramifications of such a project and its repercussions on an individual level, using myself as subject.

－ Hasan Elahi


追求短暂

自2002年6月起，我作为恐怖主义可疑分子受美国联邦调查局调查，警方的记录为"于9月12日逃离的持有爆炸物的阿拉伯人"。当我于6月19日返回美国时，一名联邦调查局(FBI)探员在机场严厉地盘问我的行踪及活动。其后的6个月中，联邦调查局探员频繁约见我，向我求证"9.11"期间我的所有活动。在反复审问和9次测谎后，终于洗清了我的嫌疑，正式不再视我为恐怖主义威胁，让我的家人朋友不再担心。
这些经历使我自发研制了一套基于改装/非法侵入手机系统的网络设备，它事实上可以将我生活中的方方面面向公众开放。在被联邦调查局调查期间，我决定主动与他们合作，在现在这件作品所到达的领域内侵入我的个人空间，尽管是非官方的。这个网络设备与实时追踪我和我的所经之处的网络配套设备相连，产生图像和我的所在地信息，自该设备启用后，联邦调查局(以及所有可以上网的人)能够在线查找并追踪我。目前该设备处于半自动阶段，允许将有拍摄地GPS(全球卫星定位系统)标志的原始图像上传到我的服务器，然后将GPS标志发送到谷歌(google)上，它将返回我所在位置的准确航拍图像。我的服务器则将这幅地图与上传的我的图像、使用的图像的标记编辑为网络文件，任何上网的计算机都可以观看。
我认为信息的透明度和自愿性对这个项目的成功是非常关键的。通过公开我所有的个人信息，我试图颠覆情报机构使用的方法，而情报机构的主要工作就是保守秘密，限制信息传播。在本作品中，我不仅希望通过将我生命中的秘密公诸于世来表现联邦调查局的(信息)贬值，也同时希望通过将我自己的所有细节向公众透明化来清楚地说明美国的新《国土安全与爱国法案》法律是多么的具有侵犯性。通过利用网络和原为军事用途的新科技手段的监视功能，我希望以我自己为主体，表现该项目的政治衍生意义，及其在个人层面上的反响。

－ 阿桑•阿莱茜

http://www.ddmwarehouse.org
http://art.mofile.com/cn/subject/detailSubject.do?subjectId=8

Mogas Station
莫卡斯•斯泰兴

Rokovoko, 2007
video projection
Aurora Association, Caffè Aurora, Piazza San Marco, 48,49,50/Credits: Justin Miller

洛科沃克，2007
录像
欧若拉协会， 欧若拉咖啡店，圣马可广场48,49,50号/图片版权：贾斯丁•米勒


Rokovoko

"Queequeg was a native of Rokovoko, an island far away to the West and South. It is not down in any map; true places never are."
－ Herman Melville, «Moby Dick»

Mogas Station is itself a representative point of contact of various migrations. The multicultural, multidisciplined characteristic of Mogas Station also illustrates the dynamism and the cosmopolitism of a rapidly developing city that is Ho Chi Minh city today. For the Migration Addict Project, Mogas Station will realize a video work. Members of the group will also be the actors of the film.
The actors are filmed drifting at sea, each upon a floating white surface, the ruins of a deconstructed of "white cube", minimally designed and perfectly finished. We could imagine these surfaces as pieces of banquise, or sea ice, carried south by arctic currents to warmer waters.
Curiously they arrive off the Vietnamese coast and a tropical climate.
The film narrative is non-linear, fractured and speaks to isolation, searching for the power of company.
The gestures of the actors imitate the activities of everyday life as if performed in a real-time social context. However once removed from the quotidian into an almost empty environment－a non-space, they create an atmosphere where the absurdity reigns and banality is pushed until the limits of madness.

－ Mogas Station


洛科沃克

"Queequeg是Rokovoko西南的一个遥远的小岛，地图上从来都没有，真实的地方永远都没有。"
－ 赫尔曼•麦尔维尔(Herman Melville)，《白鲸记》(Moby Dick)

莫卡斯•斯泰兴本身就是多种迁移交流的一个代表点。莫卡斯.斯泰兴多文化、多方面的特点也强调了飞速发展的胡志明市今日的活力与都市化。莫卡斯•斯泰兴将为"迁移嗜好者"项目创作一个视频作品。团体成员也将作为电影的演员。
演员在摄制过程中将在海上漂浮，每个人都在一个漂浮的白色表面上，它们是一个“白色立方”解构后的碎片，设计极简，且精致。我们可以将这些表面想象为大浮冰或是海上冰块，被北极洋流带到了温水带。
奇怪的是他们来到了越南海岸，这里是热带气候。
电影叙述是非线性的，破碎的，对孤独讲话，寻找团体的力量。
演员的动作模仿日常生活活动，就像在现实的社会环境中一样。然而一旦从日常惯例来到一个近乎空白的环境，一个非空间，他们就会产生一种荒谬至极的气氛，将平庸推至疯狂的边缘。

－ 莫卡斯•斯泰兴

http://www.ddmwarehouse.org
http://art.mofile.com/cn/subject/detailSubject.do?subjectId=8

Yap Sau Bin
叶绍斌

MappingKLArtSpace, 2007
video projection
site: Aurora Association, Caffè Aurora, Piazza San Marco, 48,49,50

为吉隆坡艺术空间绘地图，2007
录像
地点：欧若拉协会， 欧若拉咖啡店，圣马可广场48,49,50号


MappingKLArtSpace

MappingKLArtSpace is in effect a mapping project of art spaces in the city of Kuala Lumpur. It continually maps the various exhibition spaces, art agencies and also site of public art of past and present. It is a historical documentary presented in a ‘flat’, sterile, spatially represented manner.
As part of the Migration Addict project this time, MappingKLArtSpace explores also the context of its existence - the mapping project itself having been featured in Kuala Lumpur and Havana in 2006, is now in Venice - thus a visible trajectory of its movement across the world.
It is also interesting to note that Migration Addicts is itself a migratory project. From Shanghai in 2005, then to Singapore in 2006 and now in Venice, as if making port calls on 3 significant port cities with its own glorious past or present. They were all places of trades of commodities, of dynamism, of exchange, of convergence of cultures.
And essentially, the personnel involved - artists, curators and art administrators in the project - many whom could have extensive traveling experience, which the individual biography could also read as geographical tracks.

－ Yap Sau Bin

为吉隆坡艺术空间绘地图

"为吉隆坡艺术空间绘地图"其实是一个将吉隆坡市艺术空间绘于地图上的项目。它不断将过去和现在各个展览空间、艺术机构和公共艺术场所绘成地图。它是以一种"平面的"、枯燥的，空间表现的形式实现的一个历史纪录。
作为本次的"迁移嗜好者"项目的一部分，探索的是它存在的内容。2006年在吉隆坡和哈瓦那进行的地图绘制项目现在来到了威尼斯，这是它可见的穿越世界的活动轨迹。
还有一个有趣的事实，就是"迁移嗜好者"本身也是一个迁移性的项目。从2005年在上海，然后2006年在新加坡，现在又来到威尼斯，就像对3个历史上或现在星光闪耀的港口城市进行港口访问。它们过去都是有商品贸易、活力、交换和融合的文化的地方。
最重要的是，项目的参与人员包括艺术家、策展人和艺术管理人员都有着丰富的旅行经历，他们的履历同样也可以作为地理轨迹来看。

－ 叶绍斌

http://www.ddmwarehouse.org
http://art.mofile.com/cn/subject/detailSubject.do?subjectId=8

Rizman Putra
瑞泽曼•普托拉

The Hyperbolic Alpha Male, 2007
performance
site: Orange Restaurant and Lounge, Campo Santa Margherita, Dorsoduro, 3054

双曲线阿尔法男性，2007
表演
地点：圣玛格丽塔广场，多索度洛3054号


The Hyperbolic Alpha Male

The Hyperbolic Alpha Male (H.A.M) together with the fabulous master of puppets and the obsessed toy maker from hell. Presenting, a spectacle of bona fide souls in liberation for the celebration of life coming together hand in hand like twisted rubber band shooting paper bullets to the sky.
Bodies in the search of meanings in a synthetic space, souls all itching for a ride. The self is lost in the vortex of rapid transformation of ideas and lame conversation.
The elegy is the irony of how one observes the self and the external factors that evolve around him or her. Based on his or her perception, the weapon of choice is the execution of ideas into various forms, and the medium is performance.

－ Rizman Putra


双曲线阿尔法男性

双曲线阿尔法男性(H.A.M)与著名的木偶大师及沉迷其中的非常棒的玩具制造者。表现，手拉手来到一起为生命庆祝的，被解放的一个好的真诚的心灵的展示物，就像弹弓向天空射出纸做的子弹。
人造空间中寻找意义的身体，灵魂渴望超度。自我在迅速变化的意念和没有说服力的交谈漩涡中迷失。
一个人怎么看待自己和外界因素在他或她周围的变化之间的讽刺实在是一首悲歌。以他或她的感知为基础，选择的武器就是以各种形式实现想法，而媒介就是表演。

－ 瑞泽曼•普托拉

http://www.ddmwarehouse.org
http://art.mofile.com/cn/subject/detailSubject.do?subjectId=8

Miljohn Ruperto
米尼约赫•洛普托

Acting Exercise: Adrian Leftwich's I Gave the Names, 2007
installation/potential performance
site: Campo Sant'Angelo

表演练习：阿德里安•莱夫维奇的《我告密了》，2007
装置/行为
地点：圣天使广场


Acting Exercise: Adrian Leftwich's I Gave the Names

This project centers around the text I Gave the Names written by Adrian Leftwich for Granta magazine. The LCD flashes the text of the essay in sequential increments allowing the participant to read / perform the essay aloud through the microphone.
The essay accounts Leftwich's betrayal of his friends, comrades, and political cause. Leftwich, a South African, was a militant activist against the apartheid regime in the 1960's. When arrested, Leftwich gave the names, provided information, and served as witness for the prosecution of his friends and fellow activists in exchange for exile. One of the conceits of the essay as a confessional is to provide a vehicle for which the reader can identify with the narrator and be able to share and occupy the space of the transgressor. In this project, the confessional is physicalized and acted out, implicating the participants and the audience in this public performance with the possibility of identifying with this horrible betrayal. More implications arise from there. In the text, Leftwich discusses that his sin isn't the betrayal per se but the lack of self-knowledge about his own limits (i.e. he believed he was a heroic person, yet in reality he was a coward). In enacting/reading the text, the participant embodies those limits through the act of acting/performing. The promises of acting: of empathy, transparency and the transgression of the limits of self, (whether they be possible), become the channels by which the participant re-enacts the betrayer's sin, that is, the lack of self-knowledge.

－ Miljohn Ruperto


表演练习：阿德里安•莱夫维奇的《我告密了》

该作品以阿德里安•莱夫维奇为《格兰塔》(Granta)杂志所撰写的文章《告密》文本为中心。LCD屏幕上按顺序闪动着文章内容，参与者可以阅读或通过麦克风大声地将文章表演出来。
文章说明了莱夫维奇对他的朋友、同志和政治事业的背叛。莱夫维奇是一名南非人，1960年代是反种族隔离的军事活动家。被逮捕后，莱夫维奇说出了(同志)的姓名，提供了信息，作为证人观看对其朋友和其他活动家的处决，以换取流放。这篇忏悔文章的目的之一是为博得读者对叙述者的认同，并去了解他。通过该作品，忏悔被实体化并表演出来，暗示着该公共行为的参与者和观众对这次可怕的背叛的认同。表演中还有更多暗示。莱夫维奇在文字中讨论了自己的罪行，认为那其实并不是背叛，而是不了解自己的极限在哪里(也就是说他相信自己是个英雄，但现实中他是个狗熊)。通过表演/阅读文字，参与者在表演/行为的过程中表现了那种极限。对同情、透明度和自身极限的违背(不论是否可能)的表演可能性成为了参与者重现背叛者的罪行，即缺乏自知之明。

－ 米尼约赫•洛普托

www.ddmwarehouse.org
http://art.mofile.com/cn/subject/detailSubject.do?subjectId=8

Li Pinghu
李平虎

My Toy, 2007
installation/performance
site: Campo San Barnaba

我的玩具，2007
装置/行为
地点：圣巴拿吧广场

http://www.ddmwarehouse.org
http://art.mofile.com/cn/subject/detailSubject.do?subjectId=8

Htein Lin
赫特英林

How Do You Find Venice?, 2007
performance
site: Campo San Barnaba

你怎么找到威尼斯的/觉得威尼斯怎么样?，2007
行为
地点：圣巴拿吧广场


How Do You Find Venice?

"How you do find London?" Now that I have arrived in a foreign land, in Burmese 'naing-ngan-kyar, 'another state', this is the question I am asked over and over again.
At first the question was strange to me. What did they mean? And even when I knew what the question meant, how should I answer? Is 'finding' a place about the journey to get there or your experience once you get there? How far does your journey affect the way you find your destination?
And then I am asked, "How did you find prison?" I think that prison found me. I did not set out to get there. Once I arrived I found some things were different from the world outside. Space (small), food (bad), light (dim), sex (none).
But some things remained the same. The freedom to think, to remember, to meditate, to create, to perform, to paint, once I had found new types of canvas, new instruments.
Your spiritual space looks the same, wherever you find yourself.

－ Htein Lin

[url]http://www.hteinlin.com

你怎么找到威尼斯的/觉得威尼斯怎么样？*

"你怎么找到伦敦的/觉得伦敦怎么样?"，这是我来到外国后经常被问到的问题。(缅甸语中的naing-ngan-kyar指另一个国度)
起初我觉得这个问题很奇怪。它们是什么意思呢？即使我知道这个问题是什么意思，我该怎么回答呢？"怎么找到伦敦的/觉得伦敦怎么样?"是指到那里的旅途还是到那里之后的经历呢？你的旅途对你到达终点的方式/你对旅行目的地的看法究竟有多大影响呢？
后来有人问我，你怎么找到监狱的？我认为是监狱找到了我。我并没有打算到那里去。我一到达就发现了一些与外面的世界不同的东西。 空间(小)，食物(差)，光线(暗)，性(无)。
但有些东西是一样的。当我找到了新的"画布"，新的工具，我便又有了思考的自由，记忆的自由，冥思的自由，创作的自由，表演的自由，绘画的自由。
你的精神空间看起来是一样的，无论你发现你在哪里。

－ 赫特英林

[url]http://www.hteinlin.com

http://www.ddmwarehouse.org
http://art.mofile.com/cn/subject/detailSubject.do?subjectId=8

Huang Kui
黄奎

I Believe, 2007
Performance
site: Campo San Maurizio

我信，2007
行为
地点：圣矛利奇奥广场


I Believe

1.  Star, hot incandescent sphere of gas, held together by its own gravitation, and emitting light and other forms of electromagnetic radiation
whose ultimate source is nuclear energy.
2.  Energy, the property of a system that diminishes when the system does work on any other system, by an amount equal to the work so done.
3.  Entropy, a function of thermodynamic variables, as temperature, pressure, or composition, that is a measure of the energy that is not available for work during a thermodynamic process. A closed system evolves toward a state of maximum entropy.
4.  E=mc²
...

－ Huang Kui

我信

1.  恒星是由炽热气体组成的,能自己发光的球状或类球状天体。
2.  能量是物理学中描写一个系统或一个过程的一个量。
3.  "熵"表示任何一种能量在空间中分布的均匀程度。能量分布得越均匀，熵就越大。如果对于我们所考虑的那个系统来说，能量完全均匀地分布，那么，这个系统的熵就达到最大值。
4.  E=mc²
……

－ 黄奎

http://www.ddmwarehouse.org
http://art.mofile.com/cn/subject/detailSubject.do?subjectId=8

Josefina Posch
娇索芬娜•波士

Iceberg, Right Ahead, 2007
installation
site: Campo Santo Stefano

冰山，就在前方，2007
装置
地点：桑托•斯代法诺广场


Iceberg, Right Ahead

For the Migration Addicts Exhibition in Venice I propose to create a large scale inflated rubber iceberg that expands and contracts as if "breathing", sometimes illuminated blue. The iceberg is variable dimensions and can be a closed sculptural mass or constructed to be entered into. The breathing motion is created through a custom electronic device that controls the blowers that inflates the piece. In this way rhythm the iceberg breaths is decided by sound inputs. These sounds will be underwater/hydrophone recordings from various water ways around and in Venice. The sounds will be fed into the Blower Control Device (BCD) and trigger various breathing patterns at different db. e.g. Hyperventilation versus Long slow sleeplike breath. At extreme db the iceberg will be illuminated in blue from inside.
The project is a continuation of my other work that utilizes inflated rubber structures and sound transformed into visual movement. For the Migration Addicts exhibition in Venice I chose to use an iceberg as the inflated shape for several reasons first since icebergs actually migrates. In the Atlantic it is called the IRD Belt and about 90% of Canadian Icebergs originates from Greenland a 2－3 years Migration. I was also inspired about the recent story about 2 large icebergs off the coast of New Zealand, an occurrence that has not happened in over 75 years but immediately triggered our human skin deep desire and for conquest and ownership when the Australian planted their flag and claimed the iceberg!
Even though these iceberg migrations have not officially been linked to global warming they are a reminder of it. In the past changes and/or migrations in societies that climate crises have played a role in, includes the demise of the Vikings during the little ice age beginning of 1300'ds when Greenland cooled off enough to make travel there impossible and only 175 years ago the Potato Famine partly induced by climate change, in Ireland killed one million people and triggered migration. We are still to see what changes and migrations the effects of global warming will trigger in the future and I find it especially appropriate to address the issue in the city of Venice that is notoriously threatened by the raising sea levels. It is with this in mind I chose to bring attention to what is in and under the water and to use these sounds to be the dictator of the movement of the piece.
On a social level the “iceberg” in summer in Venice symbolizes the to me and many more fellow Migrating Addicts well known feeling of being out of place and vulnerable as an immigrant to a new place.

－ Josefina Posch


冰山，就在前方

在威尼斯"迁移嗜好者"展览上，我计划创作一个大型充气橡胶冰山，像"呼吸"一样可以鼓起、收缩，有时可以用蓝色照明。冰山的尺寸可以变化，可以是封闭的雕塑实体，或者设计为可进入的。呼吸动作可以通过一个控制充气的电子装置完成。这样冰山呼吸的节奏就可由音频输入决定。这些声音是威尼斯附近和威尼斯城市内水道内设置的水下听音器所记录到的。这些声音将进入充气控制装置(BCD)，激发随分贝数而变化的呼吸模式，如：换气过度对应悠长而缓慢的睡眠式呼吸。在分贝极限处冰山内部将点亮蓝色光源。
这个作品是我其它使用充气橡胶结构及音频转化为可视活动作品的延续。在威尼斯的"迁移嗜好者"展览上，我选择以冰山来作为充气的形状，这是有多个理由的。首先，冰山确实在迁徙，在大西洋上称为IRD(Ice-rafted debris belt)带，加拿大90%的冰山是格陵兰出发，经过2-3年的迁徙产生的。同样让我产生这个念头的还有最近的一件事，新西兰海岸附近有两个巨大的冰山，它在最近75年内都未引人注意，但最近两个澳大利亚人在冰山上树起国旗，宣布占领，突然激起了人类深层的欲望和征服欲及占有欲。
尽管这些冰山的迁徙还没有被确认与全球变暖有关，但确实提醒了人们。过去的历史上，气候危机曾经参与一些社会变化和/或迁移，如在14世纪初的小冰河时代，格陵兰岛变冷，无法越过，造成了维京人的衰落；仅175年前，部分因气候变化引起的土豆荒，在爱尔兰导致一百万人的死亡，引发了移民潮。在未来我们仍将看到全球变暖所引起的变化和迁徙，而我认为在威尼斯这个始终被海平面上升所威胁的城市来表现这个问题尤其适合。想到这些，我选择让人们关注水中和水下有些什么，用这些声音来作为水下运动的表现者。
在社会层面上，威尼斯夏天的"冰山"对于我和其他许多"迁移嗜好者"也象征着典型的觉得处于自己不该在的地方，作为到一个新地点的移民那种脆弱感。

－ 娇索芬娜•波士

http://www.ddmwarehouse.org
http://art.mofile.com/cn/subject/detailSubject.do?subjectId=8

Jin Shan
靳山

Micturation Urgency, 2007
site: Campo San Polo

尿急，2007
地点：圣保罗广场



I like art in a humoristic way, so I use this method to express my ideas.  Sociology, urban anthropology are for me the methods for observing humans and society.  But when people try to explain the relation between human and society, words and language logic turns to become weak. This is the one of the main reasons I chose humor as an artistic language to express ideas. I know that art cannot solve the existing problems of the real society. I want to display it, just to display it, and I believe this is the role that art is playing in society.
The real power of art lies in a variety of humours. Sociology, urban anthropology cannot substitute art and its language, each of them can not replace the other one, they need to merge.

－ Jin Shan


我喜欢幽默的艺术，我也一直致力于用这一方法来表现我的想法。社会学和都市人类学一直是我观察人和社会使用的方法，但当人们去解释人与社会的关系时似乎正常的文字和语言逻辑都显得无能为力，这正是我选择用各种各样幽默的艺术语言来表达艺术的重要理由之一。我知道艺术不能解决社会中现实的问题，但我仅仅是想用它来展现，仅仅是展现，我想这才是艺术真正的社会功能之所在。并且艺术的真正力量便体现在这各种各样的幽默之中.社会学，都市人类学对我来说它们在艺术上不能直接取代艺术的语言，他们之间是不能被任何一方所替代的，它们之间必须是融合在一起的。

－ 靳山

http://www.ddmwarehouse.org
http://art.mofile.com/cn/subject/detailSubject.do?subjectId=8

TODO
托多

Are You Here?, 2007
urban mobile game
Starting Point at Chiostro Ex Chiesa Santi Cosma e Damiano, Giudecca, 620

你在那里吗?，2007
城市移动游戏
起点为Chiostro Ex Chiesa Santi Cosma e Damiano，珠玳卡620号


Are You Here?

"Are You Here?" is an urban mobile game that aims to explore Venice through its inhabitants/migrants.
More and more Venetians are leaving the lagoon to settle in other towns. In the next 30-40 years, it is certain that Venice’s population will be dramatically reduced.
More and more Venetians are moving away from the lagoon to settle down in other towns. Bars, hotel owners come now from abroad while the town is losing its original inhabitants and becoming more and more globalized. In Venice thousands of tourists arrive everyday. The Observer provocatively wrote that if the only destiny of the town is low cost tourism then it would be better to have Venice managed by Disneyland Corporate.
A kind of paradox is happening. Venice could be everywhere, that “exotic” does not exist anymore. Labor migrants from Asia are welcoming you and serving you Italian food.
You are in Venice. But are you really in Venice? What do you see? Who do you meet?
An urban exploration through the faces of the people anyone can meet during his/her staying. Faces of migrants that have become the actual inhabitants, while the player is the stranger.
A touristic and personal exploration of people and their faces. Those photos will be joined together into a personal postcard. He/she will receive the postcard at home. A postcard that is  actually sent by him/herself.
The player receives a flyer, an invitation card with a mobile phone number and some instructions: visiting defined places, just like a touristic path. But the places you are supposed to visit, however, are not the ones you would expect to go, the top visited.
And surely you'd never take a photo of people who lives and works in these places. That's what you have to do, though: shoot photos at 11 immigrant people who live and work in Venice, carefully following the path that has been created for you, because you are the stranger, the tourist, and they are a part of Venice instead.
You have to take those photos with your mobile phone and send them by MMS to the number you found on the invitation. But remember, the first photo you send must be a photo of yourself: because you are a part of the game.

－ TODO


你在这里吗？

"你在这里吗?"是一个城市移动游戏，意在通过它的居民/移民探索威尼斯。
越来越多的威尼斯人离开礁湖，定居在其他城镇。在未来三、四十年内，威尼斯人口肯定会剧烈减少。
越来越多的威尼斯人离开礁湖，定居在其他城镇。现在酒吧、旅馆业主来自国外，原住民流失，威尼斯越来越全球化。每天数以千计的旅行者来到威尼斯。观察者(The Observer)煽动性地写道“如果这个城市最终只能靠低成本旅游生存，那还不如让迪士尼公司来经营。”
这非常矛盾。威尼斯可以是任何地方，而异国情调再也不存在了。来自亚洲的移民工欢迎你，并为你送上意大利美食。
你在威尼斯，但你真的在威尼斯吗？你看到了什么？你遇到了什么人？
对当地人们面容的研究发现。移民的面孔成为了实际的居住者，而游戏者却是陌生人。
一个旅游者对人与面孔的研究。这些照片可以放在一起成为一张个人明信片。他/她将在家里收到明信片。一张他/她自己寄出的明信片。
游戏者接到一张传单，一张邀请卡上有一个手机号码和一些说明：参观规定之处，如同旅游线路。然而你将参观的地方并不是游览胜地，不是你打算去的地方。
当然你也决不会拍下在这些地方生活工作的人们的照片。尽管那是你必须做的，拍摄在威尼斯工作和生活的11个移民的照片，谨慎的按照为你规定的线路行走，因为你是陌生人，旅游者，而他们却是威尼斯的一部分。
你必须用手机拍下他们的照片，并用短信发给你在邀请卡上发现的手机号码。但你要记住，你发送的第一张照片必须是你自己的照片，因为你也是游戏的一部分。

－ 托多

http://www.ddmwarehouse.org
http://art.mofile.com/cn/subject/detailSubject.do?subjectId=8

TODO
托多

Are You Here?, 2007
urban mobile game
Starting Point at Chiostro Ex Chiesa Santi Cosma e Damiano, Giudecca, 620

你在那里吗?，2007
城市移动游戏
起点为Chiostro Ex Chiesa Santi Cosma e Damiano，珠玳卡620号


Are You Here?

"Are You Here?" is an urban mobile game that aims to explore Venice through its inhabitants/migrants.
More and more Venetians are leaving the lagoon to settle in other towns. In the next 30-40 years, it is certain that Venice’s population will be dramatically reduced.
More and more Venetians are moving away from the lagoon to settle down in other towns. Bars, hotel owners come now from abroad while the town is losing its original inhabitants and becoming more and more globalized. In Venice thousands of tourists arrive everyday. The Observer provocatively wrote that if the only destiny of the town is low cost tourism then it would be better to have Venice managed by Disneyland Corporate.
A kind of paradox is happening. Venice could be everywhere, that “exotic” does not exist anymore. Labor migrants from Asia are welcoming you and serving you Italian food.
You are in Venice. But are you really in Venice? What do you see? Who do you meet?
An urban exploration through the faces of the people anyone can meet during his/her staying. Faces of migrants that have become the actual inhabitants, while the player is the stranger.
A touristic and personal exploration of people and their faces. Those photos will be joined together into a personal postcard. He/she will receive the postcard at home. A postcard that is  actually sent by him/herself.
The player receives a flyer, an invitation card with a mobile phone number and some instructions: visiting defined places, just like a touristic path. But the places you are supposed to visit, however, are not the ones you would expect to go, the top visited.
And surely you'd never take a photo of people who lives and works in these places. That's what you have to do, though: shoot photos at 11 immigrant people who live and work in Venice, carefully following the path that has been created for you, because you are the stranger, the tourist, and they are a part of Venice instead.
You have to take those photos with your mobile phone and send them by MMS to the number you found on the invitation. But remember, the first photo you send must be a photo of yourself: because you are a part of the game.

－ TODO


你在这里吗？

"你在这里吗?"是一个城市移动游戏，意在通过它的居民/移民探索威尼斯。
越来越多的威尼斯人离开礁湖，定居在其他城镇。在未来三、四十年内，威尼斯人口肯定会剧烈减少。
越来越多的威尼斯人离开礁湖，定居在其他城镇。现在酒吧、旅馆业主来自国外，原住民流失，威尼斯越来越全球化。每天数以千计的旅行者来到威尼斯。观察者(The Observer)煽动性地写道“如果这个城市最终只能靠低成本旅游生存，那还不如让迪士尼公司来经营。”
这非常矛盾。威尼斯可以是任何地方，而异国情调再也不存在了。来自亚洲的移民工欢迎你，并为你送上意大利美食。
你在威尼斯，但你真的在威尼斯吗？你看到了什么？你遇到了什么人？
对当地人们面容的研究发现。移民的面孔成为了实际的居住者，而游戏者却是陌生人。
一个旅游者对人与面孔的研究。这些照片可以放在一起成为一张个人明信片。他/她将在家里收到明信片。一张他/她自己寄出的明信片。
游戏者接到一张传单，一张邀请卡上有一个手机号码和一些说明：参观规定之处，如同旅游线路。然而你将参观的地方并不是游览胜地，不是你打算去的地方。
当然你也决不会拍下在这些地方生活工作的人们的照片。尽管那是你必须做的，拍摄在威尼斯工作和生活的11个移民的照片，谨慎的按照为你规定的线路行走，因为你是陌生人，旅游者，而他们却是威尼斯的一部分。
你必须用手机拍下他们的照片，并用短信发给你在邀请卡上发现的手机号码。但你要记住，你发送的第一张照片必须是你自己的照片，因为你也是游戏的一部分。

－ 托多

Belén Cerezo
巴伦•克瑞索

Far and Close, 2007
video installation and mms via Bluetooth
site: Campo Santa Margherita, Dorsoduro, 3054

远与近，2007
录像装置及蓝牙短信
地点：圣玛格丽塔广场，多索度洛3054号


Far and Close

“Today I am going to explain you the difference between far and close”. One character of a popular children television program said this sentence. This character used to make little performances to teach children opposite concepts. However the difference between being far and being close cannot be explained in such a simple way. Between being far and being close there is a huge space, and we have to move in and to inhabit this space. It can be a space of distance, a space of separation, of pain, hope, desire…
Far and close is exploring the connections between the public space, the city, and our private space referring to our feelings and desires.
In our daily lives we walk fast around a city passing by a great number of unknown faces. Although sometimes we experience the city in a different way, experiencing pain or love, distance or closeness can be very essential suspending or motivating forces.
Migration, the movement of people across the globe, is becoming one of the biggest defining issues of our times. Nevertheless we usually do not tend to look at the emotional side emigration implies. Migration always involves separation, leaving behind at least the past, the home and the customs. Every migrant knows very well the difference between being far and being close.

－ Belén Cerezo


远和近

"今天我将向你们说明远和近之间的差别。"一个流行的儿童电视节目人物说了这句话。这个人物过去通过微型表演教给儿童一些相对的概念。但远和近之间的差别无法通过如此简单的方式来解释。在远和近之间有非常广阔的空间，我们搬了进去，住在这个空间里。它可以是距离上的空间，分离的空间，痛苦、希望和欲望的空间……
"远和近"探索的是公共空间、城市和与我们的感觉和欲望相关的私人空间之间的联系。
在我们的日常生活中，我们在城市中快步行走，周围都是陌生的面容。尽管有时候我们以不同的方式感受城市，对痛和爱、远与近的体验，可能是使我们停步或激发我们的重要力量。
迁移，全球人类都在从事的活动，正在成为我们这个时代的最显著定义之一。而我们通常不会去思考移民所暗示的情感那一面。迁移通常还包含着分离，至少会离开过去，背离家和抛弃习惯。每一名移民都非常清楚远和近的差异。

－ 巴伦•克瑞索

靳山 的 最好玩