Article

Impossible to Get All

Wei Xing

Although the works of Sun Yuan & Peng Yu, in terms of conception and form, are more direct than those of the previous generation of artists in China, even "devil may care" at times, in fact, the violence and aggression of their works are subject to rigorous control. For this work, they undertook many tests, including detailed time and temperature calculations in order to achieve the controlled environment they sought. The name of the work and the feeling conveyed to the audience express an attitude and understanding in relation to the world. They used 32 smoke sprayers that produced fog with only one-meter visibility that lasted in the hall continuously for four hours. In the fog, the audience moved forward slowly, could only see each other when less than a meter away, and had difficulty finding the exit from the fog. Technically, by means of cold air, the fog was kept below the top floor; therefore, if one who could find the way to the top floor, one would have a view of the beautiful sea of fog below. Unfortunately, only a few people were able to see the beautiful view while the others looked for each other and played in the fog below. One senses the artists knew this would be the case and thus, Can't Have It All reminds: even if you have seen it all firsthand, can you really ever have it all?

不可能完全得到

魏星

尽管孙原和彭禹的作品在概念和方式上比他们上一代的艺术家常常来得更加直接，甚至显得“不记后果”，但是他们的血液里，仍然流露着无法忽略的东方哲学精髓，实际上他们的暴力和侵略是有控制的，甚至显得十分严谨。这个作品的效果不仅经过了多次的实验，并且计算了时间，温度，以达到在效果上的控制；而作品的名字和作品最后传达给观众的感觉则显示出对世界观悟道般的态度和认识。在这个作品中他们使用了三十二台烟雾机，在美术馆内放了一场能见度只有一米的大雾，大雾持续了四个小时。在这场大雾中，观众摸索前行，总是在别人走近一米左右的时候才会发现对方，走进大雾就很难再找回到出口，完全淹没在大雾中。在技术上由于对冷气的控制，雾在最顶层被控制了高度，所以如果观众能找到去顶层的路，就可以在那里看到一片美丽的云海，可惜的是，永远只有少数的人能够最终看到这个美景，多数的人只是在雾中不断地相互寻找与嬉戏，但是，不可能完全得到似乎让人感到作者对此早有预料，它像是在提醒：即便你看到了作品的全部，你完全得到了么？


	Impossible to Get All Wei Xing Although the works of Sun Yuan & Peng Yu, in terms of conception and form, are more direct than those of the previous generation of artists in China, even "devil may care" at times, in fact, the violence and aggression of their works are subject to rigorous control. For this work, they undertook many tests, including detailed time and temperature calculations in order to achieve the controlled environment they sought. The name of the work and the feeling conveyed to the audience express an attitude and understanding in relation to the world. They used 32 smoke sprayers that produced fog with only one-meter visibility that lasted in the hall continuously for four hours. In the fog, the audience moved forward slowly, could only see each other when less than a meter away, and had difficulty finding the exit from the fog. Technically, by means of cold air, the fog was kept below the top floor; therefore, if one who could find the way to the top floor, one would have a view of the beautiful sea of fog below. Unfortunately, only a few people were able to see the beautiful view while the others looked for each other and played in the fog below. One senses the artists knew this would be the case and thus, Can't Have It All reminds: even if you have seen it all firsthand, can you really ever have it all? 不可能完全得到魏星尽管孙原和彭禹的作品在概念和方式上比他们上一代的艺术家常常来得更加直接，甚至显得“不记后果”，但是他们的血液里，仍然流露着无法忽略的东方哲学精髓，实际上他们的暴力和侵略是有控制的，甚至显得十分严谨。这个作品的效果不仅经过了多次的实验，并且计算了时间，温度，以达到在效果上的控制；而作品的名字和作品最后传达给观众的感觉则显示出对世界观悟道般的态度和认识。在这个作品中他们使用了三十二台烟雾机，在美术馆内放了一场能见度只有一米的大雾，大雾持续了四个小时。在这场大雾中，观众摸索前行，总是在别人走近一米左右的时候才会发现对方，走进大雾就很难再找回到出口，完全淹没在大雾中。在技术上由于对冷气的控制，雾在最顶层被控制了高度，所以如果观众能找到去顶层的路，就可以在那里看到一片美丽的云海，可惜的是，永远只有少数的人能够最终看到这个美景，多数的人只是在雾中不断地相互寻找与嬉戏，但是，不可能完全得到似乎让人感到作者对此早有预料，它像是在提醒：即便你看到了作品的全部，你完全得到了么？