Eyes Wide Open 大开眼界

The River Knows All Our Story 《河流知道我们所有的故事》
Charlotte Chin (Singapore 新加坡)

The ancient body of water surrounding Shanghai is a silent witness to the constant change and renewal of its bustling metropolis. Flowing through the quiet Yangtze estuary, through sleepy water towns and into the glistening lights of the Huangpu River, stories of blood, sweat, and toil are steeped in its veins.

My work captures the shifting moments where towering skyscrapers wrestle one another to optimise the best views. Everything moves in full throttle and Old Man River reacts violently to the altered states. The blue waves in my painting are reminiscent of  embroidery used in traditional garments, and it is contrasted with grey blocks and construction in background - all three are jostling with one another to establish its own rite of passage and identity. Where is the old amidst the new, and can one do without the other?

上海周围的古老水域是其繁华大都市不断变化和更新的沉默见证。 穿过宁静的长江口，穿过沉睡的水乡，进入黄浦江的闪闪发光的灯光，血脉，汗水和辛劳的故事沉浸在它的血管中。

我的作品捕捉到了高耸的摩天大楼不停变化的时刻，以及其仿佛彼此较量着谁有最佳的视野。 一切都在全速运转，让我想起《老人河》对变化的国家作出了猛烈的反应。 我画中的蓝色波浪让人想起传统服装中使用的刺绣，它与背景中的灰色块和建筑形成鲜明对比 - 三者互相推挤以建立自己的过往和身份仪式。 新旧相辅相成，缺一不可。

Between a rock and a hard place 《在石头和坚硬的地方之间》
Divaggar (Singapore 新加坡)

The city of Shanghai is host to entire districts of massage parlors, wellness centers, and spas, engaging in both the most wholesome and healing to the more salacious aspects of therapy. Negotiating the necessary existences of these services, the performance venue stages both in subject and performer, the unifying notion of care.

Created within unstable former military barracks in a quaint river town, a seedy, make-shift massage parlor occupies a room within the compound. Once utilized for rest and recuperation, Between a rock and a hard place investigates notions of comfort, trust, and intimacy through conversation, fragrance, and massage with people in the vicinity. 

上海市拥有众多的按摩院、足疗、健康中心和水疗中心，从事最有益健康的治疗方法和治疗方法。 这个作品在讨论这些服务的存在必要性，行为表演的场地在主题和艺术家，统一的护理、呵护的概念中发挥作用。

在一个古色古香的水乡小镇，被遗弃的军工厂内建造，一个不整洁的，转移的暂时性按摩院占据了大院内的一个房间。 一旦用于休息和恢复，在岩石和坚硬的地方之间通过谈话，香水和与附近的人按摩来调查舒适，信任和亲密的概念。

Two Colors 《双色》
Hyun J Lim (South Korea 韩国)

I found red and blue colored wool and plastic baskets at the traditional markets near the space. The appealing materials let me make something. While I did a performance to make a video, I was very interested in my movement with the objects because I was wearing blindfolded baskets with two bold colored wool.  Based on my own personal experiences, memory, and learning, I engaged my videos and objects through a process of immersive performance bound by society, history, relationship, and metaphor.

我在附近的传统早市上发现了红色和蓝色的毛线球和塑料垃圾篮。 如此吸引人的材料激发了我的创作。 我蒙着眼戴着带有两个大胆的彩色的毛线覆盖的垃圾篮，这让我对我与物体共同的运动状态产生了兴趣，所以我决定做一个视频纪录的行为表演。 基于我自己的个人经历，回忆和所学，我想要通过一个由社会，历史，关系和隐喻约束的沉浸式表演，来创作我的视频表演和装置。

Flesh and stone 《肉与石》
Jae Youl Jeoung (South Korea 韩国)

The artist Jae Youl Jeoung concerns about the invisible and intangible phenomena and variations according to environmental human conditions. Explore the materiality of object and subject relation to weightiness. The sense of weight here refers to at least minimum movements from surroundings such as gravity, tension, and other atmospheric conditions.

As individual memories of object and subject are all different, between the ideality and the reality we think are a continuation of the encounter to sealed or unsealed fragments of our own memories. The memories also apply a little bit of regeneration pressure through silent regeneration. They are similar to those shown on the ground and to those exposed on the surface or being in the air.

According to his understanding of sculpture is a standing form object. And his paintings are recognized as reminders of a corner of the memories. He maximizes the properties of materials and objects that are subtle elements and sensitive to peripheral motion, making them feel they are incapable of measurement as lingering imageries in physically and mentally. Also, he addresses the possibility of invisible and intangible matters to be another form of the language.

艺术家郑在烈实践根据受环境影响的人类状态，关注到隐性和无形的现象和变化。探索物体的重要性和主体与重量的关系。这里的重量感指的是小到来自周围环境的细微运动，例如重力，紧张感和其它氛围条件。

由于对象和主体的个体记忆都是不同的，在理想与现实之间，”我们“可定义为，我们自己记忆（密封或未密封）碎片的面对的延续。记忆也通过静音再制造着某种再生压力。它们类似于地板上展示的那些作品，以及暴露在表面上或在空中的那些作品。

根据郑在烈对雕塑的理解 - 是一个站立形式的物体。以及他的画作被认为是记忆角落的提醒。他最大限度地提高了材料和物体的属性，这些物质和物体是微妙的元素，对周边运动很敏感，使他们感觉自己无法在身体和精神上作为挥之不去的图像进行测量。此外，他还将隐性和无形问题的可能性理解为另一种形式的语言。

Aren't You Local? 《你不是本地人吗？》
Kenn Lam (Singapore 新加坡)

This body of work seeks to capture the feelings of an outsider in a foreign land, namely, Displacement. It is based on my self-consciousness as an ethnically-Chinese foreigner in China. Displacement is a feeling known to many but its subtleties are often experienced at a personal level; the intangibility of those emotions may invite an unwelcome sense of loneliness to a person. With this series, I endeavor to visualize displacement through characters and narratives; creating a kind of mythology through the pieces. The ethereal nature of the illustration allows the viewer to fill in the blanks with their own unique experiences of displacement.

这个作品旨在捕捉一种外人在异国他乡的感情，也可以说是流离失所。 这是基于我作为一个华人外国人在中国的某种自我意识。 流离失所是许多人都听说过的“情感”，但它的微妙之处往往是在私人层面上体验到的， 这些无形的情绪可能会让一个人感受到不被欢迎的孤独感。 通过这个系列作品，我努力通过人物和叙事来形象化这种感受。 通过不同的作品来创造一种神话。插图的空灵感能使观众以自己独特经历去填补作品的留白。