十方展覽｜宇宙的交匯·禁止區域

■ ■ 策展人前言■ ■

Curator’s Foreword

「文不幻不文，幻不極不幻。是知天下極幻之事，乃極真之事；極幻之理，乃極真之理。

—《西遊記》題辭幔亭過客袁於令

產生交匯就意味著宇宙並非唯一，世界透過自我的選擇與重構在個體心中映照出形狀各異的宇宙。而正因為其形狀各異，才需要相互交匯，而在交匯處才有碰撞與交融。

本次國際主流項目的兩位藝術家去往川渝陜的不同城市和歷史遺跡，選擇並掃描了50個物件與空間。這50個3D模型是構成作品的基本要素。藝術家利用物件和空間的本身具有的符號特性與所指含義，通過VR體驗設計創造出了一種類遊戲的虛擬體驗。同時兩位藝術家在駐留期間開展了創作開放日活動以及多次討論，與諸多參與者深度交流，並根據反饋調整優化作品。

虛擬現實技術在誕生之時就以無限貼近真實為目的，這一技術的出現與發展使得何為真實？何為虛幻？的問題更加凸顯。如果試圖探索真實與虛幻之間的界限，就必須思考何為真？從無到有，從簡單到繁復，再試圖回歸簡單，難在如何返璞歸真。有趣的是我們同兩位國際藝術家共同交匯在此，在「幻境」中思考微小與巨大、此岸與彼岸、真實與虛幻。

Curator’s Foreword:

“If Writing is not illusory then no writing ; if illusions are not extreme then no illusions. The extremely illusory things in the world are the extremely true things; the extremely illusory reasons are the extremely real reasons.

——The inscription of “Journey to the West” by Yuan Yuling

Universes is plural. Through self-selection and reconstruction of individuals, universes of different shapes and forms are formed in the hearts. because of their different shapes and forms, they need to intersect , and through intersection can they collide and merge.

The two artists of the international residency program went to different cities and historical sites in Sichuan, Chongqing and Shanxi, they selected and scanned 50 objects and spaces. These 50 3D models are the basic elements of the VR world. The artists use the symbolic characteristics and meanings to create a game-like virtual experience through virtual reality experience design. At the same time, during the residency period, the two artists carried out a three day open lab and many discussions to have in-depth communications with participants, so that they can adjust and optimize their works according to the feedback.

When virtual reality technology was invited, it aimed to be as close to the reality as possible. The invention and development of this technology make what is real? What is illusory? becomes more prominent. If you try to explore the boundary between real and unreal, you must ask what is real? Starting from nothing, from simple to complex, and then trying to return to simplicity, the difficulty lies in how to return to the basics. It is interesting that here we intersect with two international artists, thinking about the small and the big ,here and there, reality and illusion in the virtual world.

■ ■ 藝術家自述 ■ ■

Artist Statement of Exhibition

Benjamin Efrati是一位多媒體藝術家。他的作品意在質疑經驗、語言和想象之間的關係，他通過文本、裝置、表演、聲音、電影、插圖、虛擬現實、網絡實踐、視頻遊戲，創造了一個多層次的跨媒體宇宙，讓人想起達達主義和迷幻美學。

作為電子音樂製作人和藝術家多重身份，他還為獲獎動畫短片（「Amok」，Balazs Turai在2022年的作品）和沈浸式電影（「Inner Feels：Everything Flows」，Carin Klonowski在2021年的作品）創作了原創配樂。

1985年出生於日內瓦，畢業於里昂第三大學哲學系和巴黎美術學院多媒體實踐專業。自2020年以來，他在法國社會科學高等研究院（巴黎）攻讀博士學位，研究電子遊戲中對史前史的描述。他在2013年結識了武當武術學校Yuan Xiu Gang的學生Fabien Fromont後接觸了太極拳。

Benjamin Efrati is a media artist. His work questions the relations between experience, language and imagination. He creates a multi-layered transmedia universe reminiscent of Dadaist and Psychedelic aesthetics through texts, installations, performances, sound pieces, films, illustration,VR, web-based practices, video games. Electronic music producer and artist using a multiple digital identities, he also composes original soundtracks for award-winning animated shorts (Amok, Balazs Turai, 2022) and immersive cinema (Inner Feels : Everything Flows, Carin Klonowski, 2021). Born in 1985 in Geneva, graduated Université Lyon 3’s Philosophy Faculty and Beaux-Arts de Paris in multimedia practices. Since 2020, he studies depictions of prehistory in video games as a PhD candidate at EHESS (Paris). He

discovered Tai Chi in 2013 upon meeting Fabien Fromont, a student of Yuan Xiu Gang from the Wudang Wushu School of Martial Arts.

“Dream Invaders”, Benjamin Efrati, 2020

“Iphigénie”, performance at Faux Positifs solo show（在Faux Positifs個展上的表演）, Benjamin Efrati, 2021

“Mushroom”, Benjamin Efrati, from Faux Positifs exhibition（來自Faux Positifs展覽）, 2021

“The Gnozo Show”, Benjamin Efrati, 2018, in “Talk Show”, exhibition curated by Nicolas Bourriaud, MOCO, Montpellier

“Gnozo Show”，Benjamin Efrati，2018，参与由Nicolas Bourriaud策划展览“脱口秀”中，MOCO，位于法国蒙彼利埃

Shu Isaka是完成了東京美術音樂大學中級藝術系博士學位。他在研究在自然環境中的不可察覺現象和人類活動的同時，創作了跨越科學知識和敘事聯想的作品。他利用實地考察鏡頭、3DCG和VR等媒介以及自制的觀察設備，探索了一種融合紀錄片和小說語言獨特的講述風格。

近年來，他前往各國的火山地區製作視頻作品，探索火山活動與周圍地區居民生活，火山與人類之間的獨特交互現象。這不是關於超自然現象，而是關於風險交流，例如如何積極感知和計算與自然現象相關的不確定風險。然而，在他的視頻製作中，他並沒有將其簡化為防災工程或社會學領域探究，而是旨在通過小說這種跳躍性的表達方式來延展它，例如Shu Isaka的作品「Sprout」, 「Sprites」。

Completed the doctoral program of Tokyo University of Fine Arts and Music, Department of Intermedia Art. While researching imperceptible phenomena in the natural environment and human activities in response to them, he creates works in the realm that crosses scientific knowledge and narrative imagination. Using fieldwork footage, visual media such as 3DCG and VR, and self-made observation devices, he explores a unique storytelling style that mixes documentary and fiction techniques.

In recent years, he has traveled to volcanic regions in various countries to make video works that explore the special communication between volcanoes and humans that occurs in volcanic activities and in the lives of people living in the surrounding areas. This is not about supernatural phenomena, but rather about risk communication, such as how to positively perceive and calculate risks associated with natural phenomena that behave in

an uncertain manner. However, in his filmmaking, he does not reduce it to the realm of disaster prevention engineering or sociology, but aims to expand it with a leap forward in fiction. [Reference work: “Sprout”, “Sprites”]