Wei Plan NO.003
未计划003
The space of this project was an office space of Ugan concept originally , designed by Chen Feibo .In order to preserve this space, the artist Li Ming was invited to transform it into a habitable exhibition space in the form of artistic intervention. This space is the superposition of the office state and the living state. It is the logic of the artist's creation with images and the practice of dealing with the realistic material space，to disscuss the relationship between space conversion and time experience in the process of conversion.
这次项目空间原为感物的一个办公空间，由陈飞波设计。为了保留这个空间，邀请了艺术家李明以艺术介入的方式将它改造成可以居住的展览空间。办公状态与居住状态的叠加。
Wei Plan is a funding scheme, started and sponsored by the brand founder of Ugan concept, Mr Wang, 1 or 2 projects a year, open to artists, designer etc, to present the artistic and social value of art.In the past two years,Ugan concept have worked with Juehui Wu and A John respectively on Wei Plan 001, technique,time capsule and Wei Plan 002 Home in transparent memory.This collaboration with artist Li Ming is unplanned 003: superimposed 17520 hours.The project that we collabroate with artist Li Ming this time is Wei Plan 003 Transition：superimposed 17520 hours.
未计划是由Ugan concept感物品牌创始人王国华先生发起的一项资助计划，每年1-2项，对象包括艺术家 设计师等，以展现项目的艺术和社会价值为目标。在过去的两年里，感物已经先后与吴珏辉、蔡俊林分别合作了未计划001《术》、《时间胶囊》以及未计划002 《透明记忆里的家宅》。这次与艺术家李明的合作项目为未计划003《转场：叠加17520小时》。
1601 once was a hidden office space on the side of Qiantang River. The people in the space followed the system of commuting to and from work, and carry on production activities under the regular time rhythm. When the concept of office moved to the new space, 1601 ended the space function as an office, like a circle, back to the beginning of the space.
1601原为一个隐匿在钱塘江边的办公空间，空间内的人遵照上下班的制度，在规律的时间节奏下进行生产活动。当办公室这种概念搬移至新的空间时，1601结束了作为办公的空间职能，像一个循环的圆，回到了空间开始的时刻。
Transition：superimposed 17520 hours : Superposition is the placement of one thing on another, usually both obvious. When we view the image, the superposition is that before the last picture disappears, the next picture is gradually revealed, and the two pictures overlap for several seconds. Different Superposition times create different atmosphere and make people feel different emotions. Perhaps when we step into the new 1601 space, we can see the superposition of two states: 1601 in the office state and 1601 in the residential state. This is a practice of using the logic of image thinking to deal with the real material space.
《转场：叠加17520小时》：“叠加”是将一件事物放在另一件事物上，通常是两者都是明显的。在观看影像时，叠加是上个画面消失之前，下个画面已逐渐显露，两个画面有若干秒重叠的部分。不同的叠加时间会营造出不同的氛围使人产生不同的情绪感受。或许当我们踏入新的1601空间时，我们能看到两种状态的叠加：一种是办公状态下的1601，一种是居住状态下的1601.这是用影像思考的逻辑处理现实物质空间的一次行为实践。
Jump out of the apartment itself, part of the "enclosure" privatized, using the balcony and entrance connectivity, so that stepping people through the sculpture gap to change the angle "look out".
Inside the gate, "live" a soul of art. The bookcase in the living room is not a simple function. The book of fools is designed as a filler to make the whole event an art act. A fool is a state of entertainment, not a derogatory term. Sometimes we can be a simple fool.
大门内，“住”着一颗艺术的灵魂。客厅内的书柜不是简单的功能性，以“傻瓜之书”作为填充物去设计，让整个事件成为一种艺术行为。 这里傻瓜指的是一种娱乐的状态，并不是一个贬义词,有时候我们可以做一个单纯的“傻瓜”。
△《the Book of fools"》artistGuido Renishaw
《傻瓜之书》艺术家 圭多·雷尼绍/Guido Renishaw
Guido Renishaw, who was born in Brazil in 1984 and now lives in Augsburg, Germany. The fools of book is a nomadic project, and every time I go to a new city, I try to build a collection of books about "fools" in the local language. I believe that the pursuit of any key word in the contemporary world will eventually reach the essence of other words.
圭多·雷尼绍（Guido Renishaw）1984年生于巴西，现生活于德国奥格斯堡。《傻瓜之书》是一个游牧计划，每到一个新的城市，我都会试图在当地语言中建立起关于“傻瓜”的图书收藏，我相信，在当代世界追逐任何一个关键词最终都会抵达其他词汇的本质。
The various combinations on the wall are displayed by different artists. The “H” letter lamp expresses the artist's fascination on symmetry; the crutches turned out from inside out, mango trees, beech trees, Simple Design of "Happy socks"; Two hands-off clocks inspired by his right eye problems,invisible transformation of time and space; Through the study and misunderstanding of the signboards on the streets of Shanghai, he will open the physical scaffolding under the text and try to enter the space behind the signboard of the hair salon (below the gallery) to bring the works the wonderful passage of the hermit crab moving into another sunflower.
墙壁上的多种组合，由不同的艺术家作品陈列。H字母灯表达了艺术家对对称性的执迷；由内而外翻出的拐杖、芒果树、榉木，“开心袜子”牌袜子简约的设计；以他的右眼问题为灵感而衍生出的两根指针脱落的时钟，时间空间无形的转换；通过对上海街边招牌的研究与误解，他将拆开文字之下的物理支架并试图进入发廊（位于画廊楼下）招牌背后的空间带来在地作品《寄居蟹搬进另一只海葵的精彩段》。
△Artist Anders Lindberg
艺术家 安德斯·林德伯格
Anders Deborg was born in 1983 and currently works and lives in Oslo. His recent works revolve around the time lag in comet remains and scar tissue, reaching new spiritual and expressive spaces in a variety of work forms.
安德斯·林德伯格生于 1983 年，目前工作、生活在奥斯陆。他近年的创作围绕彗星遗迹与疤痕组织中的时滞问题，以多种作品形态抵达新的精神空间与表达空间。
△Artist ZhuyunJiang 《Picture of prime number》
艺术家 蒋竹韵《质数的图景》
On the other side of the living room is the living area, with a simple kitchen and dining room. Further ahead, we are about to face a crossroads, left or right? Will take us to different interesting spaces.
客厅另一侧偏于生活化的区域，有简单的厨房以及餐厅。再往前，我们即将面临一个十字路口，向左or向右？都将带我们去往不同的有趣空间。
The cross road to the left is a master bedroom. We can see the manuscripts in the form of carbon paper and made into curtains; stone islands, helmet, water, cypress photography made of background panels; several installation stacked beds and stands; Photographs on display cabinets and comics on drawers and bedside each piece of work of art scattered in it, independently but sequentially displayed.
十字路向左是一个主卧，我们可以看到将手稿用复写纸的形式保留并制作而成窗帘；石头岛、安全帽、水、柏树摄影作品制成的背景板；几个装置堆叠的床和展台；展柜上的摄影作品以及抽屉和床头的漫画，每一件艺术品散落在其中，独立却有序地陈列着。
△Curtain artist Guo Xi
窗帘 艺术家 郭熙
△Background artist ChangquanZhu
背景画 艺术家 朱昶全
Introduction:Definition of image and space can activate emotion in memory and vice versa. We always look for familiar and safe areas of our lives. The sensibility of digital space is based on absolute rationality. Based on our bodies, it doesn't have the temperature to be too cool. It's pure fresh for memory, as through the fog to see things directly. Stone Island, helmet, water, cypress trees are "identified" in photography, but the image is subtle and almost inaudible. its expression is inward, talking to itself, and all we have to do is ask questions about it. How do we come close to the truth in memory? The light, the temperature, the smell, and even the texture of the objects that our hands touch are the same as we imagine? The process is two-way compromise. We can not return to the past but free in the moment, only to get the spirit of the body. Numbers are arranged by algorithms, and their aesthetics is based on image determination, which can be generally open or closed. Space is the body of the number, and the image is the spirit of the number.
作品简介：形象和空间的确定可以激活记忆中的情感，反之亦然。我们总在找生活中熟悉和安全的区域存身。 数字空间的感性都是建立在绝对的理性上的，基于我们的身体它没有温度过于冷静。对于记忆却是纯 粹鲜活的，如同拨开了种种迷雾直接看到的物。 石头岛，安全帽，水面，柏树在摄影中是被“确定”的物，但形象又很微妙，几乎感觉不到，它的表达是向内的，跟自己对话，而我们要做的就是对其发问。我们怎么呈现一个无比接近记忆中的真实， 光线，温度，气味，甚至手碰到的物体质感都跟我们的想象一样？其过程是双向妥的，回不到过去又游离在此刻，只能得到精神的躯壳。 数字是算法排列，其美学也是基于形象的确定，它可以是普遍开放的也可以是闭合的。空间既数字的身体，形象是数字的精灵。
△< True blue production > Artist：JiChen & ZhenQiu
艺术家： 陈戟&裘臻
Introduction:Life is a booth, we get what we need. In fact, accurate and clear production, several masonry overlapping or array. "now" need a non-orthogonal quadrant reason, and this reason can not seem to be a spatial factor. A sloping dream that needs to be spoken but not spoken: support me, form me, and repeatedly divide me in two. Household goods can be displayed like exhibitions, even when placed with the walls left between the space, sleeping people also become one of the works of the whole booth.
作品介绍：生活是一个展台，我们各取所需。精确和清晰的生产，几个砌体交叠或者阵列，“现在”需要一个非正交象限的理由，这个理由仿佛可以不是空间因素的，一个倾斜着的需要被言说却不由言说的梦:支撑我，构成我，并重复着将我一分为二。生活用品可以像展览一样陈列，甚至于在摆放的时候故意与墙体间留下的空隙，睡眠中的人也成为整个展台的作品之一。
△Cartoon artist ranLu
漫画 艺术家 陆冉
Introduction:Most of the time, drawers are hidden, as everyone does not want to confide in the heart, but free time to read, interpretation. It's another way to enjoy. If you read a story, perhaps your story is better than the lines in the picture.
作品介绍：很多时候抽屉是被隐藏的，如同每个人不愿吐露的心声，但是闲暇时的翻阅、解读....同样是另一种曼妙享受，读故事的人，或许你的故事比画中线条更精彩.....
The cross passes to the right through a shower, with walls made of traditional Chinese ink stone. In design of trapezoid staircase, people can stand, squat. Maybe When we bathe in time, fog, foam can also become a magnificent exhibition.
十字路向右会经过一个淋浴间，墙壁使用中国传统磨墨用的砚石为材料，梯形楼梯设计人可以站立、蹲坐，或许沐浴时光影、雾气、泡沫也可以变成一场华丽的展览。
△Shower artist Zhou Chen
淋浴间 艺术 家陈轴
The forward region is like the heart of the entire space, a connected hub. The artist made some installations and images, the boating machine kept rowing but still stayed in the "sea", the video kept playing, the protagonist of the story will never jump out of the wall. Life is like a cycle, the spatial conversion of different reference objects. the constant circulation of artist images, the design of stainless steel guardrails, the movement, the jump, and no matter how you struggle, you can't escape the "garden of the sky."
再往前的区域就像整个空间的“心脏”，是连通的枢纽地带。艺术家做了一些装置及影像，划船机不停划动却依然停留在这片“海”，视频不停播放，故事的主人公永远跳不出这堵高墙。生活就像一个循环，参照物的不同产生的空间转换，艺术家影像作品不断的循环播放，不锈钢护栏的设计，运动、跳跃、不管如何挣扎你都逃不出这个“空中花园”....
△Atrium stainless steel installation, lighting device, guardrail renovation artist WenqiangLi
中庭不锈钢装置，灯光装置 护栏改 造艺术家 李文强
The other end of the heart connection is a secondary bedroom that is in the same as the master bedroom.
“心脏”连接的另一端是一个次卧，与主卧一脉相承。
In fact, the whole space also used some interesting plug-in, such as cement basin, a white porcelain bowl, an unstyled chair, ashtray.
其实仔细观察，整个空间还用了一些有趣的小插件，例如水泥盆、一只白瓷碗、一把说不上造型的椅子、烟灰缸。
△09,01 Artist Shuzhi Mei
《09》《01》 艺术家 梅数植
△Chair artist Rong jin
椅子 艺术家 戎瑾君
Introduction:The artist attaches his interesting soul to the play lift, giving it the stomach, intestines, and stomach. A piece of furniture can also be a life entity.
作品介绍：艺术家把自己有趣的灵魂附着在玩提上，给予它肚子、肠道、胃.....一件家具也可以成为一个生命体。
△Ashtray Wen Office
烟灰缸 稳 ffice
△Bowl artist A John
碗 艺术家 蔡俊林
These "new" invited artists are abstractly referred to as "new space material", which connects the "superimposed field" in the video clip with the past [1601], and sets the connecting time at 17520 hours (two years). All the people who enter the "turn field" will enter the soft transition time and space that are connected and blend, and experience the artistic atmosphere derived from the mixed fermentation of the existence that occurs successively in time. The audience were all participants in the time-to-digital quantization of space.
这些“新建”的受邀艺术家作品被抽象所指为“新的空间素材”，以影像剪辑中的“叠加转场”与过去的【1601】衔接，设定衔接时间为17520小时（两年）。所有走进“转场”的人将走进被衔接交融的软过度时空之中，体验时间先后发生的存在物混合发酵衍生的艺术氛围。在场的观众都是这场用时间数字量化空间的转场参与者。
项目名称
未计划003《转场：叠加17520小时》
项目策划
李明
空间设计
陈飞波
项目发起人
王国华
参与艺术家名单（排名不分先后）
圭多·雷尼绍/Guido Renishaw ，安德斯·林德伯格 / Anders Lindberg，蒋竹韵，郭熙，稳 Office, 陈戟&裘臻，蔡俊林，陆冉， 梅数植，陈轴，李文强，戎瑾君，朱昶全。
特别鸣谢
秋布鲁
Project name
Wei Plan 003 Transition：superimposed 17520 hours
project planning
Ming Li
space design
Feibo Chen
Project sponsor
Guohua Wang
List of participating artists (regardless of rank)
Guido Renishaw, Anders Lindberg, Zhuyun Jiang , Xi Guo, Wen Office, Ji Chen & Qiu Zhen, A John, ran Lu , Shuzhi Mei, Zhou Chen, Wenqiang Li, Rong jin, Changquan Zhu.
Special thanks
Qiubulu
原工作室
The original studio
About LiMing
关于李明
Born 1986, Yuan jiang, currently lives and works in Hangzhou, China.
His recent solo presentations include: 1703, Antenna Space, Shanghai (2018); INSPIRED BY TRANSLITERATION, HDM gallery, Hang Zhou(2017), MEIWE at Ullens Center for Contemporary Art, Beijing (2015); and Mediation at Antenna Space, Shanghai (2014).
His recent group exhibitions include: A World in a Grain of sand: Mapping Shapes and sites for Social Geometries. Sanya(2018); HUGO BOSS ASIA ART: Award for Emerging Asian Artists， Rockbund Art Museum，Shanghai(2017), No walk, no work, Centre d'Art Contemporain Yverdon-les-Bains, Switzerland (2016); Hybridizing Earth, Discussing Multitude, Busan Biennale (2016); TUTORIALS – Moving Images and A User’s guide from China, Museo Pino Pascali, Polignano, Italy (2016); WE – A Community of Chinese Contemporary Artists, chi K11 artmuseum, Shanghai, China (2016); Essential Matters at Borusan Contemporary, Istanbul (2015); Shenzhen Biennial (2014); Pandanonium at Momentum, Berlin (2014);
1986年出生于湖南沅江，2008毕业于中国美术学院，现在居住并工作于杭州。
近期个展包括：1703，天线空间，上海，2018；烟士披里纯，和维画廊，杭州，2017；“MEIWE”，尤伦斯当代艺术中心，2015；“中介”，天线空间，上海，2014。
部分群展包括：“一沙艺世界：探索社会几何形态”，三亚亚特兰蒂斯，海南，2018；中国HUGO BOSS亚洲新锐艺术家大奖，上海外滩美术馆，上海，2017；No walk, no work，伊韦尔冬当代艺术中心，瑞士，2016；“混杂的世界，议论中的大多数”，釜山双年展，釜山，韩国，2016；“Tutorials– Moving Images and A User’s guide from China”，皮诺帕斯卡里博物馆，波利尼亚诺，意大利，2016；“我们 —— 一个关于中国当代艺术家的力量”，chi K11美术馆，上海，2016；“必要元素-中国移动影像”，Borusan 当代艺术中心，伊斯坦布尔，2015；第八届深圳雕塑双年展，深圳OCT当代艺术中心，深圳，2014。
