陈采鋆 Caiyun Chen
The Declaration of the Rights of Man and of the Citizen retranscribed on white paper
2023.01
Installation
Material: A4 paper, hammers
Combining what I saw and heard during the prevention and control of the epidemic in Shanghai. With my work, I want to commemorate the people who are controlled by the politics of power. The demands of the masses were ignored by the government, and the people's right to speak was denied. So this people's demand can only be a blank piece of paper because no piece of paper can be filled with the demands of the Chinese people. It would be better to write nothing, as we have written everything. Our throats are curbed, and our mouths are muffled. There is no content on a blank piece of paper, but it terrifies another group of people. A piece of paper is fragile, but the power of many sheets folded together is impenetrable.
The A4 white paper represents each individual in the collective, it transcribes the invisible manifesto of the people's right to public power. The iron-tipped hammer is the power that can silence and numb some, but it cannot penetrate all. Referring to the shape of the monument, I placed the installation on the ground in an upright position. And throwing a light source at a specific angle, a giant shadow envelops the space as a warning to remember history. Don't forget what we have given.
这件作品名为无题，我希望探索金属材料的最大张力，以抽象的表现形式制作成具有冷静克制特性的雕塑。在不同光影下这件作品投掷出的影子也会签罩在空间结构上，以此凸品出它的神圣感。
他的作品中充满着光与影交递的变化，通过人为的选材与合理的位置摆放，引入了自然的光线，放大了外部环境对内部的作用。
这件作品名为无题，我希望探索金属材料的最大张力，以抽象的表现形式制作成具有冷静克制特性的雕塑。在不同光影下这件作品投掷出的影子也会签罩在空间结构上，以此凸品出它的神圣感。三角形和半圆形的应用源自包豪斯风格。铁材料的锈红色和尖锐向上的形态，代表力量的集权。尝试以最简约的外形展现最强烈不适的气氛。
Inspired by the Chinese street lasso game, participants in the game each have a fixed ring in their hands and stand at a certain distance away to throw the ring at a target object on the ground and take it away for free if they hit it.
The process of throwing is like a form of confinement, which I liken to the influence of the outside world on a niche group. Mainstream culture is always trying to change niche groups (LGBT, women, subcultures, etc.), but the definitions between mainstream and non-mainstream are so blurred that they are, to some extent, interchangeable.
Through my interactive installation, I want to represent the process by which the mainstream tries to change the non-mainstream: the installation itself exists as a "niche culture", and the loops that each participant puts on the installation are a way of confining and rejecting the "other". The more participants there are, the more circles are placed on the installation until the installation itself is submerged by the circles. The unconscious participation of the audience and the accumulation of circles gradually form an invisible wall, with no understanding between the inside and outside of the circles. I hope that my work can awaken the public to understand and communicate with non-mainstream culture, to accept and embrace diverse communities and that each individual has something unique and beautiful to offer.