妄念
时间: 2018年9月12—10月24日
地点: 英国伦敦 萨奇美术馆 
艺术总监：管怀宾   张颂仁
策展人：王岩
助理策展人：林灿文
主办：中国美术学院跨媒体艺术学院      萨奇美术馆
鸣谢：平行当代艺术（英国）    杭州世通文化艺术策划有限公司

　　2018年9月12日，由策展人王岩策划的展览《妄念》将在英国伦敦萨奇美术馆举行，本次展览由中国美术学院跨媒体艺术学院、萨奇美术馆和START艺术博览会主办，得到了中国驻英国大使馆文化处的大力支持。展览呈现了十位/组中国青年艺术家(朱玺、段官来、王震宇、吴穹&汪洋、王志鹏、孙晓宇、宋戈文、傅冬霆、邵睿璐)全新创作的十余件绘画、装置及影像作品，不仅融合东方传统哲思与西方当代文化视野，更集中呈现了中国青年艺术家对社会当下的回应、反思与预测。折叠现实与精神世界，领观者游走其中，同时探寻虚妄与执念、身份与权利、政治与信仰等议题。作为一次实践，“妄念”不矫准任何偏离，也肯定非常规的生命体验，挖掘并还原隐含于艺术创作中不可视的信息和精神图景，重新思考艺术的力量。

　　展览启幕之前，雅昌艺术网将陆续刊发十位/组参展艺术家的对话内容，以期更真实地呈现他们的所思所为。

　　对象：傅冬霆Fu Dong Ting

Q&A

　　Q：《Light Field》《光场域》这件作品的创作契机是什么？

　　What motivated you to create Light Field?

　　A：我一直对世界上的物理现象十分感兴趣，经常会思考世界是如何构成与运作的。过去曾经观察手掌在墙面上的影子，惊叹于居然能通过影子在墙面上的虚实变化还原出手掌的立体结构。

　　I have always been interested in the physical phenomena in the world, and often think about how the world is formed and operated. I used to observe the shadow of the palm on the wall and marveled at how the changes of the shadow on the wall restore three-dimensional structure of the palm.

　　而随着近年来虚拟现实技术商业化的迅速发展，原本抽象化的电子网络空间逐渐形成并且为大众所认知，这也引发了一个全新的问题：从人类诞生以来始终包裹着我们的物质世界与由我们创造并且越来越接近真实世界的电子虚拟世界，这两者在物理空间上是否是完全隔绝的。

　　With the rapid development of the commercialization of virtual reality technology in recent years, the original abstract electronic network space is gradually formed and recognized by the public, which has also caused a new problem: whether the physical world that has always enveloped us since the birth of mankind and the electronic virtual world that we create and become closer to the real world are completely isolated in physical space.

　　这件作品正是我通过阴影的角度来探讨这一问题的某种可能性。

　　The work is a possibility for me to explore this issue from the perspective of shadow.

傅冬霆   空间缝合之处    2018    虚拟现实交互程序   投影装置   尺寸可变    2.37m×1.48m

　　Q：在作品体验上你是如何控制现实与虚拟的混合比例的？

　　How do you control the mix ratio of reality and visual reality in your work experience?

　　A：目前绝大多数虚拟现实作品，是将观者完全沉浸式得浸入虚拟世界，而刻意弱现实世界与观者的联系，若以此为标准，似乎当观众完全陷入创作者制造的虚拟空间中，忘记现实的存在，这件作品便是成功的虚拟现实作品。这种主流认知本身并没有很大问题，因为虚拟现实技术相比于其他观看方式的最突出的便是其沉浸式特性，但虚拟现实并非只有完全沉浸这一条道路，增强现实与混合现实即是从虚拟现实之中延伸而来。增强现实与混合现实相比较于虚拟现实，其差别便是混合现实的比例。其差别便是混合现实的比例。

　　At present, most virtual reality works make the audience immerse in the virtual world, and weaken the connection between the real world and the audience deliberately. If this is the standard, it seems that when the audience is completely immersed in the virtual space created by the creator and forgets the existence of reality, this work is a successful virtual reality work. This kind of mainstream cognition itself is not a big problem, because the most outstanding feature of VR technology is its immersive feature compared with other viewing methods. However, virtual reality does not only have the way of full immersion. Augmented reality and mixed reality are extended from virtual reality. The difference between augmented reality and mixed reality is the proportion of mixed reality

　　虽然增强现实与混合现实相比于虚拟现实，能够将现实与虚拟在电子屏幕上以一定比例混合，但就当下而言，屏幕的存在本身就使得观者在观看内容之前便有了“在看屏幕”，“在用摄像头来完成增强现实”的潜意识认知，而对混合虚拟与现实空间造成障碍。

　　在此前提下，在我们思考如何控制混合比例之前，需要先解决如何打破屏幕的限制，呈现虚现结合的作品。作品中，阴影这一视觉元素所扮演的角色相当于现实空间与空间的粘合剂，它将虚拟空间中的物与现实的展厅墙面紧紧“缝合”到了一起，两个空间并没有主次之分，从直观体验来看，观者既可以身处现实的展厅中看到虚拟物体在墙面上的影子，也能够戴上头盔进入虚拟空间中直观虚拟物体的实际形态，甚至往返于两种观看模式，细细体验两个空间是如何交叠到一起的。与此同时，观者可以操纵手柄生成与改变虚拟的光，使得影子产生实时的变化，达成虚拟与现实更高的融合度。

　　Although augmented reality and mixed reality can mix reality and virtual reality in a certain proportion on the electronic screen compared to virtual reality. However, for the moment, the presence of the screen itself brings the audience the cognition of “watching the screen” and “using the camera to complete the subconscious” before viewing the content, which poses a barrier to the mixing of virtual and real space. Under this premise, before we think about how to control the mixture ratio, we need to solve the problem of how to break the screen limit and present the works of virtual combination first. The role played by the visual element of shadow in the work is equivalent to the adhesive of real space and space. It stitches the objects in the virtual space closely together with the real exhibition wall. There is no primary or secondary space between the two spaces. From the perspective of intuitive experience, the audience can not only see the shadow of the virtual object on the wall in the exhibition hall of reality, but also can put on the helmet to enter the actual form of the visual virtual object in the virtual space, and even go back and forth between the two viewing modes to experience how the two spaces overlap. At the same time, the audience can control the handle to generate and change the virtual light, so that the shadow can produce real-time changes to achieve a higher degree of integration between virtual and reality.

　　Q：虚拟与现实，无形与有形，私人与公共的关系是你创作中的一个重要主题吗？ 

　　Are virtual and real, invisible and tangible, private and public relations, important themes in your creation?

　　A：没错，正如前文所说，这件创作是对目前主流虚拟现实创作思路的再思考，虚拟与现实的关系是这一创作的最主要所探讨的命题，而不同于混合现实或是增强现实透过液晶屏幕进行简单粗暴的直观混合，利用作品中阴影拼合的方式则更像外科手术式的精密缝合，无形的物与有形的影虽然并没有在视觉上直观混合到一起，但却能借助人的想象力来达到混合空间的目的。投射到墙面上的虚拟阴影也使得虚拟与现实的交界之处从个人私有，附着于双眼前的液晶屏幕，扩展延伸到了固定开放的展厅空间，私有化沉浸式的虚拟空间由此实时得被缝合到了公共开放的展厅中。

　　Yes, as mentioned above, this creation is a rethinking of the current mainstream of virtual reality creation idea, and the relationship between virtual and reality is the main topic discussed in this creation. It is different from the mixed reality or augmented reality which is simple and intuitively mixed through the LCD screen, the shadow split in works is more like precise surgical suture, although the intangible and tangible shadow is not intuitively mixed in visual, but can use the imagination of people to achieve the purpose of the mixed space. The virtual shadow projected on the wall also makes the interface between the virtual and the real world extend from the personal private liquid crystal screen attached to the eyes to the fixed open exhibition space, and the private immersive virtual space is then stitched into the public open exhibition space in real time.

　　Q：VR作为一个技术平台，如何看待虚拟与现实的关系？

　　As a technology platform, how does VR view the relationship between virtual and reality?

　　A：从虚拟现实技术本身来看，排除一些医疗，军事的特定功能性追求，能够制造现实中不存在的空间，令人体验到现实世界中体验不到的经历自然是这一技术的主要追求，仅仅着眼于虚拟世界自然无可厚非，但现实世界始终都在，不应该是当我们玩VR游戏时一头撞到墙壁才会想起我们实际身处于现实之中。

　　From the point of virtual reality technology itself, eliminate some medical and military specific functional pursuit, it can create space that does not exist in reality. To undergo the experience that the real world can’t is the main pursuit of the technology. Focusing on the virtual world natural is nothing wrong, but the real world is always exists. It shouldn't be the situation that only hitting a wall while playing VR can reminds us that we're in reality.

　　Q：希望观众能够得到什么样的经验与体验？ 

　　A：What experiences do you want your audience to have?

　　希望观众能够像在路边发现一个绝对透明没有实体却能投射出影子的奇怪物体之时一样，经历这种不可能发生的情境，通过自己的视觉经验仔细观察，证实这一物体的存在，合理却又不合逻辑。

　　I hope that the audience can experience this impossible situation as when they find a strange object which is absolutely transparent and has no entity but can cast shadow on the roadside. Through careful observation of their own visual experience, they can confirm the existence of this object, which is both reasonable but illogical.