City of Streams–Bi-City Biennale of Urbanism\Architecture Yan Tian Venue

对流城市—深港城市建筑双城双年展盐田分展

2019.12

Bi Rongrong’s participating works:

Wall Painting: Connection Mode No. V – Laying/Overlaying

Wall Paper: Connection Mode No. X – Unknotting/Knotting

Fishing Net: Connection Mode No. L – Hauling In/Throwing Out

Cable: Connection Mode No. C – Floating/Navigating

毕蓉蓉的参展作品：

空间一：壁画：关于连结的第V种方式—层／叠

空间二：壁纸：关于连结的第 X 种方式—解／结

空间三：渔网：关于连结的第 L种方式—收／放

绳索：关于连结的第C中方式—浮／引

The façade, the passageway and the corridor are integral parts of the building with different functions. And in terms of the communication with the public, the route forms a shift from a completely open and outdoor space to a half-open public space and then to a long, narrow and relatively less public indoor space. While working with the three spaces which are visually and physically interrelated, I resort to “cable”, a common tool to be seen at the Yantian Port, to make a connection among them. In reality, fishing boats are connected by cables that are seemingly messy and yet arranged quite in order. The ways they are fastened and the thickness of the cables vary due to their different uses. For the wall paper at the passageway, I did some research into the parabola-like patterns composed by the cables as well as how they were knotted. If we see the different surfaces of the passageway as those of a fishing boat, would these parabola-like patterns and knotting methods make the interconnection between these surfaces more visible? 

从外墙到楼道再到长廊空间，它们各自作为建筑物的一部分，承载着不同的功能，在与公众的交流上也从一个完全敞开的户外空间渐渐向一个半开放的公共空间转换，进而转入了一个室内的相对与更少数的公众进行交流的狭长的空间。对于这三个在视觉和物理上有着一定关联的空间中，我尝试用盐田港的日常工具‘绳索’将它们进行进一步的关联。在渔船之间，有着看似错综却不失秩序的绳索维系着它们，它们的固定方式、绳索的粗细因各自的功能不同而发生变化。在楼道的这件作品中，我采集了一些渔船上绳索的抛物线形态和它们结节的方式，如果说把楼梯道的各个面看作是不同方位的渔船的各个面，那么这些抛物线形态和结节方式是否能使这些面之间的关联变得更具可能性？

Standing in front of the building, viewers would gain a full picture of a huge wall painting on the façade. Covering the whole space of the front façade, the wall painting features fragments of objects I encountered during my previous journeys. Making their way into the painting, forms, colors and lines are constantly blending and progressing, generating a variety of connections among which I feel that light is the only connector that could break through time and space and wanders smoothly within. 

站在这个楼道空间的最外部，放眼能望见户外外墙面上大体量的壁画作品，这件与墙面同宽同高的壁画中之物则采集自我在不同旅途中所遇见的对象物之碎片，它们转换至绘画之中，则以形、色、线之间的层次递进交叠而不断地创建关联，在这种关系中， 我似乎感受到光是能够打破时间和空间，而穿梭在其中的连结物。

Following the passageway and going upstairs, the space becomes more independent. It could block light and re-generate it. In the corridor space I try to extend my research into the cables, managing to have a more intimate dialogue with viewers through the light rays and weaving texture of the cables. The cables in this work are knotted in a way similar to the fishing net commonly used in this area. Sharing the same height of the space, but due to the different proportional relation, its function and interrelation with us change accordingly. The shape of anchor imbues it with great intensity. I endeavor to capture such intensity and foster new power within the space, which embodies an alternative kind of connection I observe in this corridor space. 

依楼道而上，空间变得更为独立，它可以阻断光、并且重新产生光，因此在过道空间中我将线做了进一步地延展，尝试用线自身的光线和编织纹理来与观众进行更为亲密的对话。这件作品中绳的编织方式模仿了当地常用的一种渔网的造型，它尝试打开至与空间同高，由于不同的比例关系，它与我们之间的功能关系也在此随之产生了变化。锚的三角形状使之产生的巨大抓力，我尝试模仿这种抓力在这个空间之间建立一种新的力量，这也是我在这个通道空间中进行考察的另一种连结关系。

Connection modes evolve infinitely according to space and time. Within these three spaces, I number my way of connecting with roman numerals V, X, L and C. The numbers increase continuously and substantially, implying that there are countless possibilities lying within. 

连结的方式，它随空间和时间而被无限生发，在这三个空间中，我以罗马数字V、X、L、C为我实施的几种方式进行了编号，跳跃而递增的编号方式，暗含其中或存在的无数可能性。