2017 OCT-LOFT 創意節 | 參展藝術家陣容全公佈

由深圳華僑城創意文化園主辦的 2017 OCT-LOFT 創意節，主題爲“現在的未來不是將來”，將於2017年12月9日至2018年3月8日在深圳華僑城創意文化園北區C2展廳展出。

此次展覽旨在透過這個主題，使人們擺脫對於未來的臆想，重塑“未來”與“未知”於當下的意義。現在的人如何通過創意重塑自身的主體性？未來的人如何通過創意找到新的主體性？在此設問下，我們強調“現在的未來不是將來”與發生地華僑城創意文化園（OCT-LOFT）之間的本地聯繫，引入人本科技作爲創意文化園升級延展的引擎。

基於這個主題，今年的OCT-LOFT 創意節我們邀請到國內外12個（組）藝術家／設計師，與公衆一起浸入基因技術、大數據、VR、無人機等等能夠鏈接“未來”的相關熱點詞彙，以藝術設計爲媒介，探討當下與未來。本次參展的12個（組）藝術家名單如下：

巴特•赫斯 Bart Hess （荷蘭，NL）

弗蘭克•哈弗曼斯 Frank Havermans（荷蘭，NL）

郝振瀚 HAO Zhenhan（中國，CN）

希瑟•杜威•哈格堡 Heather Dewey-Hagborg （美國，US）

LAVA北京

利亞姆•揚 Liam Young（澳大利亞，AU）

麥瑪•奧塔肯 Memo Akten （英國，UK）

理查德•威赫 Richard Vijgen（荷蘭，NL）

羅斯•曼寧 Ross Manning（澳大利亞，AU）

上官喆+蘇五口 SHANG GUAN Zhe + SU Wukou（中國，CN）

秦鈴森 QIN Lingsen（中國，CN）

應歆珣 YING Xinxun（中國，CN）

藝術家簡介

巴特•赫斯 Bart Hess

巴特·赫斯的作品是最有觸覺和直覺感的。通過創新身體的材料，他開創了一個關於智能紡織品未來的感性和性感話題。赫斯將我們的原始需求和天生觸覺賦予材料，向人們展示出這些人造材質只有先引逗我們，才能成爲我們的一部分。

在過去的十年中，赫斯的藝術發展成績令人印象深刻。他將與人體相關的材料固定，拉伸，粘貼和刮取，並與Lucy McRae，Nick Knight，Lady Gaga，Iris van Herpen和Walter van Beirendonck等人合作。2013年，他成爲了Stichting Profiel獎的獲得者，其作品還是Rijksmuseum Enschede中期職業調研的主題。在這個展覽中，赫斯創造了另一個世界，這個世界中“技術融合了身體和客體的東西......當我們把赫斯所創造的材料和應用程序穿戴整齊，我們就變成了一個新的但又完全合乎邏輯的生物。”

The work of Bart Hess is of the most tactile and intuitive nature. He first delved into instinctive textiles when studying at the Design Academy Eindhoven, where he created A Hunt for High Tech, a collection of materials that mimicked the bestial outer layers of unfamiliar hybrid species, accompanied by an evocative film that brilliantly brought his concepts to life.

Over the past ten years, Hess has developed an impressive roster of work. He has pinned, stretched, slimed and scraped materials in relation to the human body, and collaborated with the likes of Lucy McRae, Nick Knight, Lady Gaga, Iris van Herpen and Walter van Beirendonck. In 2013, he is the recipient of the Stichting Profiel prize and his work is the subject of a mid-career survey at the Rijksmuseum Enschede. The exhibition notes explain that Hess creates another world, one “in which technology melds body and object… when we don the materials and applications that Hess has created, we are transformed into a new but completely logical creature.”

If Hess is on the hunt for tactilities that can transform the design landscape, he is definitely on the right track. By innovating materials that braise the body, he has opened up a sensual and sexually-charged discourse about the future of smart textiles. Hess introduces materials to our primal needs and innate sense of touch, showing that fabrications will first need to seduce us before they can become part of us.

弗蘭克•哈弗曼斯 Frank Havermans

弗蘭克·哈弗曼斯工作室（Studio Frank Havermans）創立於1998年，致力於藝術、建築、設計和城市發展，研究領域分別是KAPKAR（建築角度）和TOFUD（城市化角度）。工作室現由藝術家獨自運營。

Frank Havermans的作品來源於對建築空間、建造、城市動態的融合之美。整個建築範疇的工作：裝置製作、傢俱設計、室內裝飾設計，建築設計以及放大城市化問題，都是工作室研究和工作的領域。工作室的工作在研究與委託項目中交替進行，藉以找到兩者之間的相互影響。藝術家創作項目和委託項目之間應該沒有差別，自主創作作品和委託作品必須表達相同的意思。弗蘭克·哈弗曼斯工作室認爲，視覺藝術領域終止在其失去建築語境之時，而當實驗性消失，修建和操作不可被獨立運作的時候，即是建築領域的終止。這樣的理論引導出建築裝置使用性的可有可無。

Studio Frank Havermans is an office for Art, Architecture, Design and Urban development, founded in 1998. The work evolves from a combined fascination for architectural space, construction and urban dynamics.

The entire spectrum of architecture: autonomous installations, furniture, interiors, buildings, to large urbanism questions are the office work and research field, always looking for an alternation between research and more applied projects with the intention that it is constantly influencing each other. No distinction is made between autonomous and applied projects. An autonomous work or a commission work must have the same expressiveness. For Studio Frank Havermans the field in the visual arts ends where it loses the architectural context, and in architecture where the building or operation can’t be managed by oneself anymore, or loses its experimental character. This approach leads always to (site-specific) architectural installations with or without the purpose of use. The research fields are called KAPKAR and TOFUD.

郝振瀚 HAO Zhenhan

郝振瀚是一個“好事”的藝術家。他經常以社會議題或是稀疏平常的小事爲出發點，挖掘其背後的文化根源，探討因不同地域文化相互融合與衝突所帶來的影響。在中國和英國完成了六年的設計學習之後，郝振瀚與社會學者合作完成了一系列的活動。隨後他加入一家商業諮詢公司，參與了兩年的調研和諮詢工作。這些看似雜亂的工作履歷和生活經歷使得他有機會了解到不同行業的狀況，接觸到來自不同背景的人。這些寶貴經歷賦予了他獨特的視角，使得他可以更好地瞭解現有生產系統的運行方法、局部地區與全球文化的相互影響、傳統與現代的衝突和融合所帶來的新可能性。圍繞着自發性、共同創造等概念，郝振瀚的實踐方法總是和人、社會環境緊密聯繫在一起，而不是侷限於身份、材料或者具體學科的框架中。

Zhenhan Hao is a socially engaged artist who is fascinated by grass roots cultural and culture exchanges in history and across continents. With various experiences of study and living in China and Europe, working with people from different fields Hao has developed a unique understanding of how the existing production systems operate, how local and global contexts interact and how tradition and modernity can stimulate meaningful opportunities. Centering on the concepts of emergence, self-organization and co- evolution, his approach often engages with people, environments rather than limited by identity, materials or academic disciplines.

希瑟•杜威•哈格堡 Heather Dewey-Hagborg

希瑟·杜威·哈格堡是一位跨學科藝術家和教育家，對藝術研究和批判實踐領域有着濃厚的興趣。她頗具爭議的生物政治藝術實踐——肖像雕塑作品“陌生人視野”（Stranger Visions），是通過對在公共場所收集的基因攜帶因子（頭髮、菸頭、口香糖）進行分析而來。

希瑟曾在世界經濟論壇、深圳城市規劃與建築雙年展、新博物館、蓬皮杜中心和PS1 MOMA等活動和場館展示過自己的作品。她的作品得到了媒體的廣泛討論，包括紐約時報、BBC、TED、Wired等。

希瑟擁有倫斯勒理工學院（Rensselaer Polytechnic Institute）電子藝術博士學位，並且是數據與社會（Data＆Society）的成員。

Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (hair, cigarette butts, chewed up gum) collected in public places.

Heather has shown work internationally at events and venues including the World Economic Forum, Shenzhen Urbanism and Architecture Biennale, the New Museum, the Centre Pompidou and PS1 MOMA. Her work has been widely discussed in the media, from the New York Times and the BBC to TED and Wired.

Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute and is an affiliate of Data & Society.

LAVA 北京

熔岩設計是一家荷蘭的國際設計公司，致力於用設計改變世界，爲那些正在改變和創新自己形象的品牌、公司和組織做設計。熔岩設計提供品牌戰略諮詢，設計視覺與企業形象。在設計出一個新的品牌和視覺形象後，會使其在線上、線下以及三維的空間內發揮作用。熔岩設計於1990年創始於荷蘭阿姆斯特丹，辦公室亦設立於此，並在首爾、伊斯坦布爾、莫斯科和北京設有移動團隊工作。

Lava Design is an international operating Dutch design agency. Lava focusses on design for change. We work for brands, companies and organizations who are in a process of changing and innovating their identity. We advice on brand strategy and we design visual and corporate identities. After a brand and new visual identity is created we make it come alive in on and online media and 3 dimensional environments. Lava Design was founded in 1990 in Amsterdam, The Netherlands and has offices in Amsterdam and Beijing.

利亞姆•揚 Liam Young

利亞姆·揚是一位在設計、虛擬和未來之間穿梭的預言型建築師。作爲澳大利亞的建築師，利亞姆·揚早先曾在多個世界領先的事務所工作過，包括扎哈·哈迪德建築師事務所和LAB建築工作室。隨着技術日益成爲城市變化的根本動力，利亞姆對建築設計發展的緩慢步伐感到沮喪，隨後逃脫了建築師明星體系，建立了自己的城市虛擬智庫TTT（明天—思考—今天）。 TTT是一個協作型工作室，跨越科學、技術和設計等領域。他與TTT一起爲Arup-For-Change、Phillips Technologies、BBC等電影業和各種藝術和科學組織進行諮詢及舉辦新興技術和未來預測研討會。

爲了將他在虛擬的創作拉回現實，揚還聯合創辦了備受褒獎的“遊牧”工作室——“未知領域”研究工作室，這個工作室會每年組織一次深入到地球盡頭的探險活動，調查新興趨勢，發現可能未來的微弱信號。

利亞姆還撰寫文章，並協調了一系列多媒體活動和展覽，包括《驚險的奇蹟故事：另一種現實的未來可能》。亦曾擔任2013年裏斯本建築三年展的策展人，兼任ICON雜誌的特約編輯。利亞姆被Blueprint雜誌評選爲改變建築和設計的25人之一。利亞姆現在一邊探索着遙遠的發展圖景，一邊假定推斷關於未來的原型。

LIAM YOUNG is a speculative architect who operates in the spaces between design, fiction and futures. Trained as an architect in Australia, Liam has worked for a number of the world’s leading practices including Zaha Hadid Architects and LAB Architecture Studio. As technology increasingly became the fundamental driver of urban change Liam became frustrated with the slow pace of architecture and escaped the star architect system to set up his own urban futures think tank, Tomorrows Thoughts Today. TTT is a collaborative practice, working across science, technology and design.

To ground his design fiction practice in the realities of present Young has also cofounded the research studio ‘Unknown Fields’, an award winning nomadic workshop that travels on annual expeditions to the ends of the earth to investigate emerging trends and uncover the weak signals of possible futures.

Liam also writes and coordinates events and exhibitions including the multimedia series ‘Thrilling Wonder Stories: Speculative Futures for an Alternate Present’, was a curator of the 2013 Lisbon Architecture Triennale and is a contributing editor for ICON magazine He has been acclaimed in both mainstream and architectural media, including the BBC, NBC, Wired, Time Magazine, New Yorker and Dazed and Confused. Liam was named by Blueprint magazine as one of 25 people who will change architecture and design. Liam now manages his time between exploring distant landscapes and prototyping the future worlds he extrapolates from them.

麥瑪•奧塔肯 Memo Akten

麥瑪·奧塔肯是一位來自伊斯坦布爾的藝術家，目前在英國倫敦工作和生活。他的作品探索着自然、科學、技術、倫理、儀式、傳統和宗教之間的碰撞。將批判性和概念性方法與對形式、運動和聲音的研究相結合，他圍繞自然和人爲過程創造出戲劇化的數據處理。他研究處理複雜的系統、行爲、算法和軟件，跨越視頻、聲音、燈光、舞蹈、軟件、在線作品、裝置和表演等多個學科。麥瑪·奧塔肯目前還在倫敦金·史密斯大學攻讀人工智能和人機交互表達領域的博士學位，繼續探索人與機器之間的協作創造力。麥瑪·奧塔肯着迷於理解世界和人性，並從量子力學、天體物理學、分子與進化學、生態學、生物起源、神經科學、人類學、社會學和哲學等領域汲取靈感。

Memo Akten is an artist from Istanbul, based in London, UK. His work explores the collisions between nature, science, technology, ethics, ritual, tradition and religion. Combining critical and conceptual approaches with investigations into form, movement and sound he creates data dramatizations of natural and anthropogenic processes. He studies and works with complex systems, behaviour, algorithms and software; and collaborates across many disciplines spanning video, sound, light, dance, software, online works, installations and performances. Alongside his practice, he is currently working towards a PhD at Goldsmiths University of London in artificial intelligence and expressive human-machine interaction, exploring collaborative co-creativity between humans and machines. Fascinated by trying to understand the world and human nature, he draws inspiration from fields such as quantum mechanics, astrophysics, molecular & evolutionary biology, ecology, abiogenesis, neuroscience, anthropology, sociology and philosophy.

理查德•威赫 Richard Vijgen

理查德·威赫設計工作室致力於當代信息文化，其研究策略即是發掘和設計大數據中的大事件。理查德·威赫的工作深耕於數字領域但又始終與物理或社會空間相連。從微觀結構到整體架構，再以空間、代碼和像素來實現使隱形現身，實現了交互式的數據可視化，並製作了裝置。

理查德·威赫設計工作室是基於國際網絡存在的，總部位於荷蘭境內。但在世界各地與客戶和機構展開廣泛的合作。工作室得到了歐洲電氣電子學會、ZKM、Rhizome.org,還有維特拉設計博物館、洛杉磯藝術博物館、荷蘭設計周等的認可。理查德·威赫設計工作室還會就數碼文化進行思考和寫作活動，發起和參與到研究項目中，與客戶合作設計和製作出能夠聯繫社會及物理空間的數碼文化作品。威赫同時亦在阿納姆藝術設計學院教授信息設計和交互建築設計。

“科技進步將不斷顛覆傳統，改變潮流，自動化時代將會是自己動手的時代。“

——馬歇爾·麥克盧漢

Richard Vijgen-design studio for contemporary information of culture. Studio Richard Vijgen is a design studio for contemporary information culture. I investigate new strategies to find the big stories in big data through research and design. My work is deeply rooted in the digital domain but always connects with physical or social space. I create interactive data visualizations and installations ranging from microscopic to architectural in scale and use space, code and pixels to visualize the invisible.

The studio is based online, but resides in the Netherlands. I work with a wide range of clients and institutions around the world. The studio's work has been recognized internationally by Ars Electronica, ZKM, Rhizome.org, Vitra Design Museum, Los Angeles County Museum of Art and the Dutch Design Awards.

I reflect on and write about digital culture. I initiate and participate in research projects and work with clients to design and produce work that connects the digital realm with social and physical space. I teach Information Design and Interactive Architecture at the Arnhem school of art and design.

"As technology advances, it reverses the characteristics of every situation again and again. The age of automation is going to be the age of 'do it yourself.' " – Marshall McLuhan

羅斯•曼寧 Ross Manning

羅斯·曼寧，1978年出生於布里斯班，目前生活和工作在澳大利亞布里斯班。

羅斯·曼寧用日常樸實的材料，如家用風扇、熒光燈、家用繩和電子產品製造出動態的雕塑。裝置中的建築和材料性詼諧地分析了被人忽視的技術。羅斯·曼寧利用光線、聲音和運動等諸元素製造出一種似催眠式的交流，並將日常電子產品與它們既定慣常的功用一起解構，從而剖析了聲音光影幻變的奇觀。

Ross Manning，born 1978, Brisbane. Lives and works Brisbane.

Ross Manning creates kinetic sculptures made from everyday unpretentious materials such as domestic fans, fluorescent lights, household twine and electronics. Revealing both the construction and materials in his installations, Manning playfully dissects overlooked technologies to produce hypnotic exchanges between light, sound and movement. Ross Manning, everyday electronics—along with their prescribed, ubiquitous purposes—are deconstructed to show the fundamental wonders of light, movement, and sound.

上官喆+蘇五口 SHANG GUAN Zhe + SU Wukou

上官喆

1984年出生於福建長汀，國內著名新銳設計師，同名品牌SANKUANZ創始人。上官喆畢業於廈門大學，獲視覺傳達與廣告學雙學位。2006年，上官喆成立SANKUANZ品牌。2014年12月30日，上官喆獲“2014青春的選擇年度盛典”年輕人年度設計師。

Shang Guanzhe, born in Changting, Fujian in 1984, famous and cutting-edge designer, founder of the brand SANKUANZ. Shang Guanzhe graduated from Xiamen University, received a double degree of visual communication and advertising. In 2006, Shang Guanzhe established SANKUANZ brand. Shang Guanzhe won the

title of Young People Annual Designer of "2014 Youth Selection Annual Festival" on 30th of December 2014.

蘇五口

畢業於英國愛丁堡大學建築設計專業，獲得過“靳埭強設計獎全球華人比賽”平面設計優秀獎，創立了個人品牌PURLICUE，因THE FAKE抄襲系列備受關注。受Opening Ceremony邀請，成爲-Year Of China-企劃的重要一員。

Su Wukou，Chinese independent designer, major of architectural design, graduated from the University of Edinburgh, has won the "Jin Taiqiang Design AwardGlobal Chinese Competition" graphic design Excellence Award, has founded the personal brand PURLICUE, highly noted by THE FAKE plagiarism series. Invited by Opening Ceremony to become an important member of -Year Of China-.

秦鈴森 QIN Lingsen

1994年出生于山東，畢業於中央民族大學2013級油畫系，現工作和生活於北京。秦鈴森對於藝術與各學科間相互交錯的關聯有着濃厚的興趣，他的藝術創作涵蓋了架上繪畫、多媒體影像、裝置等，在其過往作品中能看到鮮活並帶有強烈視覺衝擊的個人美學呈現方式。

近期個展及項目：

2017 “1229”，陌上畫廊，北京

2017 “類固醇的擬人化”，F · SPACE ，北京

2017 “森羅萬象”，德薩項目空間，北京

2017 “引復往歸”，中畫廊，北京

2017 “ 法華寺個人藝術項目”，投助站，北京

近期羣展：

2017 “Every Man Has One Destiny”，這個畫廊，深圳

2017 “時間無間”第三屆深圳獨立動畫雙年展，華僑城創意文化園，深圳

2016 “.com.cn”, K11 Art Foundation, 香港

2016 “空間協商: 沒想到你是這樣的”第三CAFAM雙年展，

中央美術學院美術館，北京

2016 “事件視界”，中畫廊，北京

2016 “尖先生與卡小姐: 項目 B”，宋莊美術館，北京

2016 “尖先生與卡小姐: 項目 A”，宋莊美術館，北京 (2016) 等

Qin Lingsen

1994 Born in Shan Dong, China

2017 Graduated from Minzu University Of China , Beijing, China

Currently live and work in Beijing, China

Qin Lingsen’s artworks consist of easel painting, multimedia image and installation. This post-90 artist have keen interest in the intersection between art and various disciplines. It can be seen from his earlier works vivid presentation of individual aesthetics with strong visual impact, trying to touch the blurred non-conscious form till reaching sub-thickness boundary through the non-linear behind the material outside the image. Meanwhile, he reorganizes, transforms, metaphorizes, and finally presents the elements and fragmented objects in the various domain of humanities.

SOLO EXHIBITIONS & PROJECTS

2017 “1229”, MoShang Gallery, Beijing

2017 “Anthropomorphism On Steroids”, F · SPACE, Beijing

2017 "The Theory of Everything",de Sarthe Project Space, Beijing

2017 “Eternal Recurrence”, Zhong Gallery, Beijing

2017 “Fahua Tample”, Mutual Help Art Lab, Beijing

GROUP EXHIBITIONS

2017 “Every Man Has One Destiny”,The gallery,Shenzhen

2017 “Time Based. Non-Places”,OCT Loft,Shenzhen

2016 “.com.cn”, K11 Art Foundation, HK

2016 “MEGOTIATING SPACE”, CAFA Art Museum, Beijing

2016 “Events Horizon”, Zhong Gallery,Beijing

2016 “Mr.Jian And Miss Ka Project B ”, Songzhuang Art Center, Beijing

2016 “Mr.Jian And Miss Ka Project A ”, Songzhuang Art Center, Beijing

應歆珣 YING Xinxun

1981年出生於浙江永康，畢業於中國美術學院雕塑系纖維與空間藝術工作室，任教於中國美術學院纖維藝術系。現工作生活於杭州。應歆珣的藝術創作呈現多元面貌，主要包括纖維裝置、身體裝置、劇場化展演、燈光裝置、影像、繪畫等，近期着力於新物種物像、科技生態、精神問題等探索研究媒介與身體、生命、社會生態之間的關係。她的作品曾參加北京今日美術館、北京時代美術館、北京民生美術館、上海當代藝術館、浙江美術館、深圳何香凝美術館、北京偏鋒新藝術空間、杭州半野藝術空間、杭州清影當代藝術空間、上海喜瑪空間等舉辦的國內展覽，作品也出現於德國、保加利亞、日本等國家的美術館。應歆珣曾獲馬爹利藝術基金未來藝術“英才獎”等獎項，作品被今日美術館、馬爹利藝術基金會、王式廓基金會及其他藏家收藏。

Ying Xinxun

Born in 1981 in Yongkang, Zhejiang Province, Ying Xinxun graduated from the Sculpture Department in the Chinese Academy of Fine Art. Now she teaches at the Fiber Art Department in her Alma Mater and lives in Hangzhou. Her artistic creations, including fiber installation, body installation, light installation, theatrical exhibition, image, painting and so on, presents diversified features. Recently, she has been focusing on the relationship between research media (such as creating a new object from an object, new species object, ecology of science and technology) and body, life and social ecology. And her work has been exhibited in some China’s famous museums, such as Beijing Today Art Museum, Beijing Times Museum, Beijing Minsheng Art Museum, Museum of Contemporary Art Shanghai, Zhejiang Art Museum, Hexiangning Art Museum, etc, as well as in foreign museums in German, Bulgaria and Japan and so on. Ying Xinxun has won the Talent Award from Martell Art Found with her work collected in Today Art Museum, Martell Art Foundation，Wang Shikuo Foundation and other collectors.