流体：她要么游过去，要么下沉 Fluid: She either swims over or sinks 秦婕 Qin Jie

 艺术家简介 About the Artist 

秦婕，1998年生。是一名实验方向的跨媒介艺术家/体验设计师/写作者/工业设计师，目前在英国皇家艺术学院攻读信息体验设计硕士。她专注于用实验性的方法论将有效信息素进行体验设计和创作。因此，她的作品形式十分多元，包括交互装置、实验移动影像、理论性小说、视觉传达等。目前，她致力于在文学和艺术领域，将人类、意识与社会等思想内核通过跨媒介的方式进行研究、并寻找联结的可能性。

她同时也是公众号Howmanyhowmuch的创始人，创作有短篇小说《送命的动物》、短文合集“无现实”系列等。

她的作品曾获2021年Inkbeat全球园中艺术展览（ Arts in the park ）艺术与诗歌大赛19-24岁组冠军，2021年G-CROSS全球大学生创意银星铜奖、2021年中英国际创意大奖中国赛区铜奖、2021年CADA日本概念艺术设计铜奖等。

她的作品已在北京、上海、伦敦、米兰、杭州等地展出。近期，她的部分作品作为Inbeat大赛获胜作品，将在伦敦、阿姆斯特丹等全球16个城市进行同时展出。

Qin Jie(b.1998), is an experimental experience designer, cross-media artist, writer, and product designer. She is currently studying her Master of Information Experience Design at the Royal College of Art in the UK. She focuses on the experience design and creation of effective information with experimental methodologies. Therefore, her works’ formats are very diverse, including interactive installations, experimental moving images, theoretical fictions, and visual communication, etc.

At present, she is committed to researching human, consciousness, and society, in the field of literature and art through a cross-media approach, and looking for the possibility of connection.

She is also the founder of the WeChat subscription: Howmanyhowmuch. She has created short fiction “Lethal Animals” and a series of short essays “No Reality”, etc.

Her work has won the winner of Inkbeat Global “Arts in the park ”competition (age 19-24 ), the 2021 G-CROSS Global College Student Creative Silver Star Bronze Award, the 2021 Sino-British International Creative Award China Division Bronze Award, and the 2021 CADA Japan Concept Art Design Bronze Award, and so on. Her works have been exhibited in Beijing, Shanghai, London, Milan, Hangzhou, and other places.

Recently, some of her works will be exhibited in 16 cities around the world, including London, as winning works of the Inbeat competition.

海报设计：秦婕&Tlight

 展览导语 Introduction 

“能够滚动的自由构筑了权力的金字塔

放弃拔河比赛吧

从混乱的敌意和风险的荒野疾走逃离

喘息

躺在河底喘息”——泩几《流体I》

现代社会是流动的。

在材料特性与之象征意义中，固体往往被隐喻成固化的、抵制改变的；相对的，流体则是流动的，易于改变的。固形物在现代性中的表现，通常被形容为僵死的存在。社会发展的方向通常希望经历“液化”的过程，因为液化使得整个社会变得更容易推进和更新，反之，抵制液化则是社会保持僵死、固步自封的表现。

流动，也是社会“净化”的过程。新的事物不断冲刷过去的污渍和淤泥，使社会不断更新原本错误的内容。在艺术家以往的研究中，后现代的流动性吸引着她，也成为她寻找自我、个体与社会的连接点。整个社会正在变得自由，通过不断否定的方式获得更多的可能性。

极盛的现代性带来的，是对自我认同与现代制度之间的相互连结。安东尼·吉登斯认为，在现代性的情境下，自我之改变则必须被视为个人变迁和社会变迁两者相连的反身性过程的一部分来供人们探索和构建。艺术家通过探寻个人在晚现代社会环境背景下的变迁，讨论自我产生的本体安全与存在性焦虑的游离性。

我们好像正在变得自由，通过质问秩序、混乱和内卷，……我们获得了什么？我们失去了什么？

“The freedom to roll builds the pyramid of power

Give up the tug-of-war

escape from the chaos of hostility and risk of the wilderness

gasp

Lying at the bottom of the river to catch his breath” – Shengji”Fluid I.”

Modern society is mobile.

In the symbolic sense of material properties, solids are often metaphorically cured and resistant to change; The expression of solids in modernity is often described as the existence of rigid death. The direction of social development usually wants to go through “liquefaction” because liquefaction makes it easier for society to advance and update. On the contrary, resisting liquefaction is the performance of society to remain rigid and self-styled.

Mobility is also the process of social “purification”. New things continue to wash away the stains and silt of the past so that society constantly updates the wrong original content. In the artist’s previous research, post-modern mobility attracted her and became the connection point between her search for self, individual, and society. As a result, society as a whole is becoming free to acquire more possibilities through constant negation.

Great modernity brings about the connection between self-identification and the modern system. Anthony Giddens believes that in the context of modernity, self-change must be regarded as part of the intuitive process of connecting personal and social change for people to explore and construct. By exploring the individual’s changes in the late modern social environment background, the artist discusses the freeness of self-generated mental security and existential anxiety.

We seem to be becoming free by questioning the order, chaos, and internal volume …… What did we get? What have we lost?

 展出部分作品介绍 

22+

综合材料，可变尺寸，2021

波曼所言：成为现代的就是发现我们身处这样的境况中，它允许我们和这个世界去经历冒险、强大、欢乐、成长和变化，但同时又可能摧毁我们所拥有的、所知道和所是的一切。

现代性把我们卷入一个有着永恒的分裂和革新、抗争和矛盾，含混和痛楚的巨大漩涡之中。如何连接过去和不断的革新，在混沌的变化中，艺术家试图通过碎片之间的连结与编制，去建造一条虚幻的通向和解之路。

What Zigment Bauman said: To become modern is to discover that we are in such a situation. It allows us and the world to experience adventure, strength, joy, growth, and change, but at the same time, it may destroy what we have, what we know, and what we have. Yes, everything.

Modernity involves us in a huge vortex of eternal division and innovation, resistance and contradiction, ambiguity, and pain. How to connect the past and continuous innovation, in the chaotic change, the artist tries to build an illusory path to reconciliation through the connection and organization of fragments.

焦虑的距离

雕塑，可变尺寸，2021

现代制度化形式构成的风险环境在绝大多数情况下将个体与集体风险联系在一起。现代人类对于风险的评估使得其拥有超前思考的能力和需要，也要求人们对未来与当下行动现实反向相关的可能性产生预估。

然而与此同时，人类所获的“自由的可能性”也带来了对本体意义上的不安全感，即焦虑的产生。在充满变迁的流动社会中，人们会着魔般地全神贯注于那些影响其存在的可能性风险，进而陷入行动上的瘫痪。

在这个作品中，透明气球与蜡烛被放置在一个光具座上，观众可以控制两者之间的距离，但是两个过近就会使气球爆炸。通过这个作品，艺术家希望观众作为风险“玩家”，去体验焦虑，并感受缺乏抵挡冲击性危险的能力的状态，进而反思个体在现代制度化风险社会中产生的矛盾与冲突。

The risky environment constituted by modern institutionalized forms, links individual and collective risks in most cases. Modern mankind’s assessment of risk gives it the ability and need to think ahead. And it also requires people to estimate the possibility of the future being inversely related to the reality of current actions.

At the same time, however, the “possibility of freedom” obtained by humans also brings about insecurity in the ontological sense, that is, anxiety. In a fluid society full of changes, people will become obsessed with the possible risks that affect them to become paralyzed in action.

In this work, the transparent balloon and the candle are placed on an optical bench. The audience can control the distance between the two, but if the two are too close, the balloon will explode. Through this work, the artist hopes that audiences, as risk “players”, will experience anxiety and feel the lack of ability to withstand shock hazards, and then reflect on the contradictions and conflicts that individuals have generated in the modern institutionalized risky society.

月光：昨夜我遇见一个池塘

Moonlight：I met a pool last night

综合材料 152 x 200 x 30cm

实验影像 1920 x 1080

月光：昨夜我遇见一个池塘

我写了一首诗，这也是我的梦，一个幻境。

我遇见了一个池子。

它在地上，但又像飘荡在空中。

它是轻盈的，以至于没有固定的空间外形，也没有时间上的持久性。

实际场域和虚幻感受互相缠绕，让我在虚幻的景象中不断寻觅，直到寻找到我本体的存在方式。

I wrote a poem, which is also my dream, an illusion.

I met at a pool. It is on the ground, while it seems to be floating in the air.

It is so light that it does not have a fixed spatial shape, nor is it durable in time.

The actual field and illusory feelings are intertwined with each other, allowing me to constantly search in the illusory scene until I find the way of my being.

 开放时间/地址 

星期三到星期日 13:00-17:00 (公共节假日休息)

上海市青浦区朱家角证大大拇指广场12号

 Opening Hours/Address 

Wednesday to Sunday 13:00-17:00

(Closed on public holidays)

No.12 Thumb Plaza, Zhujiajiao, Qingpu, Shanghai

 关于无题空间 

无题空间是由艺术家创立和运营的画廊和艺术家驻地计划，坐落于上海市青浦区朱家角。基于“无题”即是命题的理念，致力于为艺术家提供自由，无国界的创作空间和交流平台。无题空间的实践范围包括举办当代艺术展览、持续运作的艺术家驻地计划、以及面向大众的艺术工作坊等。与此同时，无题空间鼓励国际艺术家在中国当代社会的语境，和本土艺术家展开对话；在多文化表达方式下激发新的视角和灵感。

 About UИTITLEDSPΛCE 

UИTITLEDSPΛCE is an artist-run gallery, art residency based in Zhujiajiao, Shanghai. As the name ‘Untitled’ suggests, we strive to provide a creative space and exchange platform for contemporary artists without any restrictions and boundaries. UИTITLEDSPΛCE is dedicated to showcasing contemporary art exhibitions, artist in residence, and providing workshops for the public, etc. In addition, UИTITLEDSPΛCE encourages collaboration between international artists and local artists in the context of Chinese contemporary society; where multicultural expression sparks fresh perspectives and ideas.

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