中国美术学院视觉传播学院三年级项目制教学·内容与策展

jiě jié jié jiè

绳子可能是人类最了不起的发明：当脆弱的纤维被拧成股、编成索，便获得了力量与韧性。它既是日常工具，也是深刻的文化隐喻——在捆绑、牵引与系紧的动作中，承载着人类对关系、秩序与力量的想象。

绳子介入生活的基本形态是打结与解开。打结不仅意味着物理上的固定，也象征牵连、约束与记忆的锚定；解开则代表解脱、疏离与流动。两者相互依存、动态转换，构成了人类经验的普遍节奏，同时映射出个体与社会、物质与心理之间的复杂互动。

“结”是一种跨越文明的原始结构技术，也是人类最早的符号系统之一。从结绳记事到宗教仪式，从航海建筑到社会制度，结始终扮演着秩序组织者、意义容器与关系生成机制的角色。考古学认为，结绳是最早的“结构思维”，帮助人类将复杂经验压缩、存储并传递。社会学视角下，我们的生活由无数隐形的“结”支撑：制度的编织、关系的牵引、身份的形成。每个人都在被这些结塑造，同时也参与打结、维结与解结。

《JieJie》展览邀请观众重新认识这些看似隐形的“结”，感受它们如何塑造我们的生活与世界秩序。展览不仅呈现物质与符号的美学，更希望引发思考：我们如何在复杂的结构中找到自己的位置？每个人都在不断编织自己的结构，而非被其完全定义。

The rope is arguably humanity's most remarkable invention: when fragile fibers are twisted into strands and braided into a cord, they gain strength and resilience. It serves as both a daily tool and a profound cultural metaphor - in the actions of binding, pulling, and tying, it carries humanity's imagination of relationships, order, and power.

The fundamental forms of rope intervention in life are knotting and unknotting. Knotting not only signifies physical fixation but also symbolizes entanglement, constraint, and the anchoring of memory; while unknotting represents liberation, alienation, and fluidity. The two are interdependent and dynamically transform, constituting the universal rhythm of human experience, while reflecting the complex interactions between individuals and society, material and psychology.

"Knot" is a primitive structural technology that transcends civilizations and one of the earliest symbol systems of humanity. From using knots to record events to religious rituals, from maritime architecture to social systems, knots have always played the role of order organizers, meaning containers, and relationship generation mechanisms. Archaeology believes that knot tying is the earliest "structural thinking," helping humans compress, store, and transmit complex experiences. From a sociological perspective, our lives are supported by countless invisible "knots": the weaving of systems, the traction of relationships, and the formation of identity. Everyone is shaped by these knots, while also participating in knotting, maintaining, and untying.

The "JieJie" exhibition invites viewers to re-examine these seemingly invisible "knots" and experience how they shape our lives and the order of the world. The exhibition not only showcases the aesthetics of matter and symbols, but also aims to provoke contemplation: how can we find our place within complex structures? Each individual is constantly weaving their own structure, rather than being completely defined by it.

头条

Headline

本次展览将假发视为一种跨越时空的社会文本与身份媒介，对其进行系统性的文化考察。从古埃及作为神圣象征的祭祀之物，到欧洲宫廷中彰显等级与权力的华饰；从东亚礼制社会中的规范性装束，到当代全球消费文化中的流行商品，假发的形态与功能演变，始终深刻映射着身体、个体与社会规训之间的复杂关系。它既是权力结构的外化符号，也是身份秩序的可视化界面。

在当代语境下，假发已超越传统功能边界，成为一种高度自觉的表达工具。它既是个体应对特定社会情境的策略性装置，也是挑战既定审美范式、重塑多元身份的实践路径。通过改变“发”的形与色，人们得以暂时脱离固有身份标签，在装扮中进行自我重构与身份试验。

展览以“形”与“色”为叙事线索，构建一个从历史认知到自我体验的完整场域。观者将从宫廷礼制的冠冕样式，走向街头反叛的发色宣言；从仪式性的庄严结构，进入实验性的身份表演。空间不再只是陈列场所，而成为一座关于身份生成机制的现场实验室。

在这里，假发不只是物件，而是一种持续书写的媒介。它游走于实用与象征之间，是权力、身份与表达的无声宣言。展览邀请观者重新审视：身份并非既定事实，而是一个不断生成、可以主动介入与改写的过程。每一顶假发，都是一则关于“我是谁”的身份头条；每一次佩戴，都是一次对自我叙事的更新。

This exhibition considers the wig as a social text and a medium of identity that transcends time and geography. From sacred symbolism in ancient Egypt to markers of hierarchy in European courts, from ritual dress codes in East Asia to contemporary global consumer culture, the evolving form and function of the wig reveal the complex relationship between the body, the individual, and social regulation. It serves both as a visible sign of power and as a surface upon which identity is constructed.

In today’s context, the wig extends beyond utility to become a dynamic tool of expression. It allows individuals to navigate social situations, challenge aesthetic norms, and experiment with multiple selves. Through shifts in form and color, identity becomes something performative and open to revision.

Structured around the threads of “form” and “color,” the exhibition moves from historical reflection to embodied experience. From courtly crowns to rebellious street hues, from ritual solemnity to experimental display, the space becomes a site where identity formation is made visible.

Here, the wig is not merely an object but a medium of declaration. Between function and symbol, it stands as a silent manifesto of power and self-expression. Each wig poses the question, “Who am I?”—inviting viewers to see identity not as fixed, but as something continually constructed and rewritten.

北去的河

The Northward River

本展览以中国上世纪90年代中后期国有企业改革与职工下岗潮为真实历史背景，虚拟一个名为“红星钢铁厂”的大型国营工厂。我们通过构建三位典型职工及其家庭的命运轨迹，以“尺度”为核心隐喻，探讨在时代剧变中，个人与社会所依赖的各种衡量标准（职业、价值、时间、伦理）如何经历粉碎、失准、混乱与艰难重建的过程。它既是一部宏大的时代叙事，也是一曲微观的家庭悲欢。

选择中国90年代国企改革作为背景，正是因为“尺子”既是其最核心的隐喻，又是其最真实的伤疤。这场变革的本质，就是一场衡量标准的革命。展览通过聚焦个体在这场革命中的命运，生动地展现了“尺度”绝非抽象的哲学概念，而是直接雕刻人生的现实力量。它让我们看到，一把尺子的改变，足以颠覆无数人的世界；而人之为人的尊严与韧性，恰恰体现在当旧尺断裂时，依然努力寻找或铸造新尺，重新丈量生活的勇气。

This exhibition is set against the real historical backdrop of China's state-owned enterprise reforms and the wave of layoffs in the mid-to-late 1990s, envisioning a large state-run factory named "Red Star Steel Plant." By constructing the life trajectories of three typical workers and their families, we use "scale" as a central metaphor to explore how the various standards (occupation, value, time, ethics) on which individuals and society rely undergo processes of shattering, distortion, chaos, and arduous reconstruction amid dramatic societal shifts. It serves as both a grand narrative of an era and a poignant portrayal of micro-level family joys and sorrows.

Selecting the reform of state-owned enterprises in China during the 1990s as the backdrop is precisely because the "ruler" serves as both its most central metaphor and its most genuine scar. The essence of this transformation is a revolution of measurement standards. By focusing on the fate of individuals during this revolution, the exhibition vividly demonstrates that "scale" is far from an abstract philosophical concept but a tangible force that directly shapes lives. It reveals how a single ruler's change can upend countless worlds, while the dignity and resilience of being human are precisely reflected in the courage to seek or forge new rulers when the old one breaks, to measure life anew.

棋盒

Museum in Valise

棋，以严密的体系容纳无尽的创造，在理性与偶然之间，映照出人类思维的美学。正是在这一张力之间，艺术得以进入。

本次展览选取“国际象棋”作为研究对象，受到杜尚的《手提箱里的盒子》作品灵感启发，命名为「棋盒：手提箱里的博物院」。这是一个将国际象棋的智慧之美、造型之美与思辨之美，浓缩于一方手提箱中的微型展览。

展览叙事与棋盒的物理结构环环相扣：第一幕「执子」中，我们聚焦历史上经典棋局中，那些被称为“神之一手”的瞬间；第二幕「入局」将目光投向十六套来自不同时代与文化背景的国际象棋设计；第三幕「破格」容纳了艺术家们以“棋”为语言创作的影像与装置作品；而最后的谢幕区则以杜尚留下的一盘未终之局收尾。

「棋盒」是一个可阅读、可互动、可重构的叙事场域。观众通过开合、取放与翻阅决定观看顺序，展览叙事随之被重排，让关于“棋”的造型美学与多重隐喻，在一次具体的“打开”动作中被激活。

Chess holds infinite creation within a rigorously structured system. Poised between reason and chance, it reflects the aesthetics of human thought. It is precisely within this tension that art finds its way in.

Taking chess as its subject, this exhibition draws inspiration from Marcel Duchamp’s Boîte-en-valise and is titled “Chess-Box: A Museum-in-a-Suitcase.” It is a miniature exhibition that condenses the beauty of chess—its intelligence, its forms, and its speculative depth—into a single portable case.

The exhibition narrative is tightly interwoven with the physical structure of the Chess-Box. In Act I, “Taking the Piece,” we focus on the “god moves” in classic historical games—those legendary moments often called the hand of God. Act II, “Entering the Game,” turns to sixteen sets of chess designs from different eras and cultural contexts. Act III, “Breaking the Rules,” brings together moving-image and installation works in which artists use chess as a language. The final epilogue closes with an unfinished game left behind by Duchamp.

“Chess-Box” is a narrative space that can be read, interacted with, and reconfigured. By opening and closing it, taking pieces in and out, and flipping through its contents, viewers determine their own viewing sequence. The story is rearranged accordingly, activating the formal aesthetics and layered metaphors of chess through the concrete gesture of “opening.”

阈限0.05mm

Threshold 0.05mm

本次展览以“精密与阈限”为叙事核心，其视觉系统本身即是观念的呈现。

从每把钥匙所关联的核心意象中提炼出基础图形，并以银色细线精准勾勒钥匙齿部轮廓，呼应0.05mm的尺度与阈值。

与之呼应的数字“1、2、3”被转化为锁孔形态，直观构建篇章逻辑。

此理念延伸至空间。

展具将钥匙齿口抽象为核心符号，特别打造两座“钥匙桌”：金属桌面切割出齿口轮廓，内嵌线性灯光。当光点亮，一道清晰的临界线被激活，宛如阈值状态的具象化身。冷冽金属与透亮亚克力、朦胧玻璃并置，在阻隔与通透之间达成微妙平衡，让观众沉浸于一场关于精密、临界与开启的视觉对话。

This exhibition centers on the theme of "Precision and Threshold," with its visual system itself serving as a presentation of this concept.

Basic graphics are extracted from the core imagery associated with each key, and the outlines of the key teeth are precisely delineated with fine silver lines, echoing the 0.05mm scale and threshold.

The corresponding numbers "1, 2, 3" are transformed into keyhole shapes, visually constructing the logical flow of the exhibition.

This concept extends to the space.

The exhibit uses the key teeth as a core symbol, creating two specially crafted "key tables": metal tabletops cut to outline the teeth, with embedded linear lighting. When the light is on, a clear critical line is activated, like a concrete manifestation of a threshold state. The juxtaposition of cool metal with translucent acrylic and hazy glass achieves a delicate balance between obstruction and transparency, immersing the viewer in a visual dialogue about precision, threshold, and opening.

四重帽剧

The Four Hat Act

本展以“帽子”为线索，探讨其材质、重 量与背后隐含的文化与社会意义。

博伊斯 说：“艺术在于赋予事物以第二重重量： 它既是物质的，又是象征的。”基于此， 本展以“轻”与“重”为思辨的两极，通 过不同的帽子构建出四重剧场——“轻之 轻、轻之重、重之轻、重之重”。它们既 非固定的物理量，也非单一的价值判断， 而是在社会、文化与感知层面不断流动的 意义形态。在这流动与变化的帽剧中，我 们在思考的不仅是物的轻重，更是意义在 时间与意识中的漂移。

This exhibition uses "hats" as a clue to explore their materials, weight, and the cultural and social meanings implied behind them.

Beuys said, "Art lies in giving things a second weight: it is both material and symbolic." Based on this, the exhibition takes "light" and "heavy" as two poles of reflection and, through different hats, constructs a fourfold theater—"light of light, heavy of light, light of heavy, heavy of heavy." They are neither fixed physical quantities nor single-value judgments, but forms of meaning that constantly flow on social, cultural, and perceptual levels. In this theater of shifting and changing hats, we are contemplating not only the weight of objects, but also the drift of meaning through time and consciousness.

掌上戏文

A Hand-Held Drama

手套，人类文明中一个独特而深刻的符号。在微观个体层面，手是人的首要生产力工具，而手套则是身体最直接的技术外延。在宏观历史层面，手套是社会与文明演化的物质证明。 危险与安全、平民与贵族、专业与业余的身份，都浓缩在可随时穿脱的手套之中，成为一套可演替的微缩戏剧。

Gloves are a unique and profound symbol within human civilization. On a micro-in-dividual level, the hand is the primary tool of human productivity, while the glove serves as the most immediate technological extension of the physical body. On a macro-historical level, gloves stand as material evidence of the evolution of society and culture.The dualities of danger and safety, commoner and nobility, professional and amateur-all these identities are condensed into the glove, an object to be donned or doffed at will. They transform into a set of evolving miniature dramas, capturing the very essence of human identity and societal transition.

我们为何而看

Why We Look

不论在何种语言中，都存在大量指向“看”的词汇：凝视、扫视、窥视、目击、见证、注视、旁观……这些词语的繁复，不仅源于视觉经验的丰富，更揭示了一个更深层的问题：人类从来不是被动地接收图像，而是在主动建构观看。词汇的细微差别里，埋藏人类文明深厚的脉络，记录着人与人、人与世界之间的碰撞交互。

“眼睛”作为这一行为的载体，背负起宏大的叙事与隐喻。展览以 “Why We Look” 为题，试图追问一个简单而根本的问题：当我们凝视、窥探、见证时，我们为何观看？将注意力投向我们观看背后的动机、机制与冲动，并在最后鼓励观众打破既定的视域，探寻一种新的可能性。

展览以“凝、窥、证”三章构成一个身体性的观看路径：从被规训的凝视，到被欲望牵引的窥探，再到以观看作为证成的过程。三组展具分别引导观众以不同的身体方式参与观看——俯视、探视、拼合——从而亲自体验观看的建构如何发生。

展览试图追问一个简单而根本的问题：当我们凝视、窥探、见证时，我们为何观看？“眼睛”究竟来自哪里、又属于谁？什么是“眼睛”，什么又不是“眼睛”？或许在观看的过程中，在某一个瞬间，与某一双眼睛对视时，你会有属于自己的答案。

Across all languages, there exists a vast lexicon denoting acts of vision: gazing, glancing, peeking, witnessing, observing, staring, spectating... The proliferation of such terms stems not only from the richness of visual experience but also reveals a more profound issue: humans never passively receive images; rather, they actively construct the act of seeing. Within the nuances of these words lies the intricate fabric of human civilization, documenting the complex interactions between individuals and the world.

As the vehicle for this act, the "eye" carries immense narrative and metaphorical weight. Titled "Why We Look," the exhibition delves into a fundamental yet essential question: When we gaze, spy, or witness—why do we look? It directs attention to the motivations, mechanisms, and impulses behind seeing, ultimately encouraging audiences to transcend conventional perspectives and explore new possibilities.

Structured in three chapters—"Gaze," "Peep," and "Witness"—the exhibition maps a corporeal pathway of viewing: from disciplined gazes, to voyeurism driven by desire, to the process of validation through observation. Three distinct sets of installations guide visitors to engage visually through different bodily postures—looking down, peering in, and piecing together—thereby enabling them to experience firsthand how visual perception is constructed.

The exhibition seeks to explore a simple yet fundamental question: Why do we look when we gaze, peer, or witness? Where does the "eye" originate, and to whom does it belong? What constitutes an "eye," and what falls outside this definition? Perhaps during the act of looking, in a fleeting moment of eye contact, you will arrive at your own answer.

黑色信箱

The Black Chamber

如今走在城市街头，曾经承载情感与信息的信箱已不复往日。

当信箱不再等待回音，它是什么?

是街角的失效空间，还是安放“投递”这一行为本身的纯粹容器?

街头那些静立的信箱，内里塞满广告或已成空壳。它们曾是连接世界的节点如今却是被遗忘的失效空间。

本次展览以“黑色信箱”为题，聚焦于城市中逐渐消逝的实体信箱及其所承载的情感与记忆。展览通过街头采集的“未寄出的信”与展厅内构建的“黑盒子”空间，引导观众重新审视信息传递中的“未达”与“静默”。

我们邀请您参与一场阅读的仪式，在文字投递、悬置与再现的过程中，思考信息在剥离实用性之后，是否仍蕴含着更深层的精神价值。这不仅是对旧日通讯方式的追忆，更是一次对当代沟通本质的追问与价值重估。

Nowadays, walking on the streets of the city, the mailboxes that once carried emotions and information are no longer what they used to be. What is it when the mailbox no longer waits for a reply? Is it the useless space at the street corner or the pure container that holds the act of "delivery" itself? The mailboxes standing still on the street are either stuffed with advertisements or have become empty shells. They were once the nodes connecting the world, but now they are forgotten and ineffective Spaces.

This exhibition, titled "Black Mailbox", focuses on the gradually vanishing physical mailboxes in cities and the emotions and memories they carry. The exhibition, through the "unsent letters" collected from the streets and the "black box" space constructed within the exhibition hall, guides the audience to re-examine the "unreached" and "silent" in information transmission.

We invite you to participate in a reading ritual. During the process of text delivery, suspension and reproduction, consider whether the information still contains deeper spiritual value after stripping away its practicality. This is not only a remembrance of the old communication methods, but also a questioning and revaluation of the essence and value of contemporary communication.