《从零到无限》
2024.11.08-2025.02.28
上海信泰中心T5栋15层 LAST Art Project
策展人：沈凌昊、徐怡琛
艺术家：高入云、高郁韬、Han Lee、
John Roloff、刘建华、林科、觉然、
龙盼、沈凌昊、邵译农、王恩来、
吴逸飞、杨熹、张翀
From Zero to Infinity
2024.11.08 - 2025.02.28
15th floor,Building T5,Shanghai T Center LAST Art Project
Curator：Zero Shen、Rebecca Xu
Artist：Gao Ruyun、Goo Yutao、
Han Lee、John Roloff、
Liu Jianhua、Lin Ke、Laurent Lettrée、
Long Pan、Zero Shen、Shao Yinong、
Wang Enlai、Wu Yifei、Yang Xi、
Zhang Chong
零是沉默。
零是开始。
零是圆的。
零在旋转。
零是月亮。
太阳是零。
零是白色的。
沙漠是零。
零点之上的天空。
夜晚。
——摘自Heinz Mack, Otto Piene, Günther Uecker 1963年的一首诗
Zero is silence.
Zero is the beginning.
Zero is round.
Zero is spinning.
Zero is the moon.
The sun is zero.
Zero is white.
The desert is zero.
The sky above zero.
The night.
— Excerpt from a poem by Heinz Mack, Otto Piene, Günther Uecker, 1963.
Zero Group（通常称为ZERO ）是艺术家海因茨·马克（Heinz Mack）、奥托·皮内（Otto Piene）、冈瑟·尤克尔（Günther Uecker）于 20 世纪 50 年代末在杜塞尔多夫创立的实验艺术团体，通过对于光、空间、动势的探索，延展艺术的边界与可能性。同时与ZERO同时代的欧洲、亚洲以及北美的前卫艺术运动同频共振，并邀请伊夫·克莱因（Yves Klein）、卢西奥·丰塔纳（Lucio Fontana）、草间弥生（Kusama Yayoi）、汉斯·哈克（Hans Haacke）等同时代先锋艺术家参与其中。ZERO并不是一个组织化的艺术团体，更像是一个全球性的艺术生态，正如艺术史学家凯瑟琳·米莱（Catherine Millet）所写的那样，“零是由机遇、邂逅与友谊所织成，推动着一场场展览与事件的涟漪，这如同寂静海洋中的波纹，层层扩展。”
The ZERO Group (commonly referred as ZERO) was an experimental art collective founded in the late 1950s in Düsseldorf by artists Heinz Mack, Otto Piene, and Günther Uecker. Through their exploration of light, space, and movement, they extended the boundaries and possibilities of art. ZERO resonated with the avant-garde movements of Europe, Asia, and North America of the same era, inviting pioneering artists like Yves Klein, Lucio Fontana, and Kusama Yayoi to participate. Rather than being an organized art group, ZERO was more like a global artistic ecosystem. As art historian Catherine Millet wrote, "Zero was woven from chance, encounters, and friendships, driving the ripples of exhibitions and events, expanding like waves in a silent sea."
展览《从零到无限》承载了ZERO的革命性精神与艺术理想，继承其前沿性的实验探索，并融入“去人类中心主义”的思辨。展览通过作品展开对人类与自然、科技及其他生命形式之间关系的重新审视，开启了跨越媒介与物质的对话，探讨生命、生态与技术共存的复杂性。
The exhibition "From ZERO to Infinity" carries ZERO's revolutionary spirit and artistic ideals, inherits its cutting-edge experimental exploration, and triggers "de-anthropocentrism" thinking. Through the works, the exhibition re-examines the relationship between humans and nature, technology and other life forms, opens a dialogue across media and materials, and explores the complexity of the coexistence of life, ecology and technology.
此次展览汇聚了来自中国、美国、法国、韩国的14位当代艺术家的23件作品，展现了关于动态、光学、生物、科技及新材料等领域的实验性场域艺术实践。作品不仅是对ZERO创作理念的回应，更是对当前全球化危机及技术发展挑战的深刻反思。艺术家们打破了人类与非人类生命形式的界限，展览从ZERO的历史视角出发，探讨艺术在当下的责任，启发观众思考人类在高度技术化未来中的角色。通过对生命多样性及生态系统共存方式的探索，艺术家们通过多感官的方式表达自然与科技的共生。这不仅是对历史的致敬，更是对未来无限可能的释放。正如奥托·皮内（Otto Piene）所言：“一片寂静之地，充满着全新开始的纯粹可能性。”
This exhibition brings together 14 contemporary artists from China, the United States, France, and South Korea, showcasing 23 works that explore experimental practices in dynamic, optical, biological, technological, and new materials fields. The works are not only a response to the creative philosophy of ZERO but also a profound reflection on the global crises and technological challenges of the present moment.
The artists break down the boundaries between human and non-human life forms, and the exhibition, from the historical perspective of ZERO, examines the responsibility of art in the contemporary era, inspiring the audience to reflect on humanity's role in a highly technological future. In their exploration of the diversity of life and the coexistence of ecosystems, the artists use multiple media to interact with the audience's senses and discuss the symbiosis of nature and technology. This is not only a tribute to history, but also a release of infinite possibilities for the future. As Otto Piene said: "A place of silence, full of the pure possibility of a new beginning."
在本次展览中，艺术家们通过各自的创作视角与主题，将目光投向生态、科技与人类之间的微妙平衡。他们的作品不仅映射了复杂的时代议题，更以超越媒介的形式开拓新的表达维度。从时间与空间的交错到自然与技术的融合，这些探索构筑了一个超越人类中心视角的审美框架，启发观众重新思考自身与世界的关联。展览不仅是对ZERO Group精神的承继，更是一次对未来无限可能性的呼应，以艺术的方式探寻生态与技术共生的崭新路径。
In this exhibition, the artists, through their unique creative perspectives and themes, delve into the intricate balance between ecology, technology, and humanity. Their works not only reflect the complexities of contemporary issues but also transcend traditional mediums to pioneer new dimensions of expression.
From the interplay of time and space to the convergence of nature and technology, these explorations construct an aesthetic framework that surpasses anthropocentric perspectives, inspiring viewers to reconsider their relationship with the world around them. The exhibition serves not only as a continuation of the ZERO Group's spirit but also as a response to the boundless possibilities of the future, seeking innovative pathways to the symbiosis of ecology and technology through the lens of art.
光与动势：零的起源与光学梦境
Light and Dynamics
20世纪的零小组（ZERO Group）以其对光与运动的创新探索，开启了光学艺术与动态艺术的全新起点。该小组的艺术家们将光与运动视为艺术表现的核心要素，通过技术、自然与人类感知的交织，打破了传统绘画和雕塑的二维界限。在本次展览中艺术家高入云、王恩来、刘建华、沈凌昊、与李翰（Han Lee）延续了ZERO对于光、空间和动势的研究，并展开一系列富有实验性的探索。
The ZERO Group of the 20th century pioneered a new paradigm in optical and kinetic art through its innovative explorations of light and motion. Treating light and movement as core elements of artistic expression, the group wove technology, nature, and human perception together, breaking free from the two-dimensional confines of traditional painting and sculpture.
In this exhibition, artists Gao Ruyun, Wang Enlai, Liu Jianhua, Zero Shen , and Han Lee build upon ZERO's investigations into light, space, and dynamics, engaging in a series of experimental explorations that push the boundaries of artistic practice.
高入云，《 Approaching 24-1》，2024 ，尺寸可变 , 运动装置
高入云 ，《LOOP LOOP e》，2023，60x40x6cm，
亚克?、不锈钢、电机
高入云的运动装置作品《Approaching 24-1》以及《LOOP》系列，通过机械运动和动态装置，展示了生命与自然中的循环与重复。他运用无意指的形态和节奏，规避主观性与情感，创造出可供沉思的场域，引导观者思考无尽追寻如何趋近于虚无，探讨无限性与有限性之间的矛盾。
Gao Ruyun's kinetic installations, < Approaching 24-1 > and the < LOOP > series, employ mechanical motion and dynamic structures to depict the cycles and repetitions inherent in life and nature. By utilizing non-referential forms and rhythms, Gao deliberately avoids subjectivity and emotionality, crafting contemplative spaces that invite viewers to reflect on how endless pursuits edge toward the void. These works delve into the paradox between infinity and finiteness, provoking a profound meditation on the contradictions of existence.
王恩来，《钢尺与G字夹》，2024，尺寸可变，钢尺，G字夹，挂架
王恩来的作品《钢尺和G字夹》通过材料的相互作用，展示物质转化的动态过程，并延续其对于雕塑中“临时关系”的语言探索。他把4根近两米长的钢尺用G字夹首尾相连形成一个圆环，悬挂后在重力的作用下形成自然下垂的状态，展示了力与力的相互拉扯，形成了一个稳定的状态，暗示尺度与分寸的重要性，探索材料之间的动态关系。
Wang Enlai's work highlights the dynamic process of material transformation through the interplay of elements, continuing his exploration of "temporary relationships" within the language of sculpture. In this piece, four nearly two-meter-long steel rulers are connected end-to-end with G-clamps to form a circular loop. Suspended and subjected to gravity, the structure naturally sags, illustrating the tension and balance between opposing forces. This stabilized state subtly underscores the significance of scale and precision while probing the dynamic relationships between materials.
刘建华自 2008 年提出“无意义，无内容”的艺术概念以来，作品一直在社会急速发展的现实环境中，深入、持续的进行。本次展览的雕塑作品《迹象》通过放大后的墨滴印迹如人的心灵思考痕迹，作品运用了中国自唐代确立的传统美学概念屋漏痕的形式，通过易碎且脆弱的陶瓷作为媒介，当人们踏入这个安静的空间中，作品引发观者对现实中矛盾和困惑的思考。
Since proposing the concept of "meaningless and contentless art" in 2008, Liu Jianhua has consistently pursued profound and enduring explorations within the context of a rapidly evolving society. His sculptural work presented in this exhibition, magnifies ink drop imprints to evoke the contemplative traces of human thought.
Drawing upon the traditional Chinese aesthetic concept of wu lou hen (roof leak marks) established during the Tang Dynasty, the work employs fragile and delicate porcelain as its medium. Upon entering the tranquil space, viewers are prompted to reflect on the contradictions and perplexities of reality, deepening their engagement with the work's subtle yet powerful resonance.
沈凌昊，时间的剧场：刺影，2024，尺寸可变，
场域特定装置（光敏树脂媒介、多刺枳树、鱼线、特殊光源装置、金属支架）
沈凌昊的光学场域特定作品《时间的剧场：刺影》延续了其对于摄影、空间与光学的实验性探索，将古老的物影摄影技术重新诠释，转化为一个开放的感知体验空间。在《时间的剧场：刺影》中，他通过多角度曝光与感光材料的实践，重新定义了摄影的“物质性”。多刺枳树的影像构成了一片荆棘般的光影从林，交织着观众的感知与存在状态。“荆棘”不再直接刺痛肉体，而是通过光影的交错，呈现出一种无形的痛感——这些刺影源自艺术家过去三年间对外部世界真实而深刻的体验。在这个“摄影场域”中，时间如同恒久的底片，将瞬息的存在定格，观者的感知与作品彼此共振，构成对个体与环境、时间与存在的未尽回响。
Zero Shen’s site-specific optical work <The Theatre of Time: Thorny Shadows> continues his experimental exploration of photography, space, and optics, offering a reinterpretation of the ancient photogram technique as an open perceptual experience. In this piece, Shen redefines the “materiality” of photography through multi-angle exposures and the use of photosensitive materials.The imagery of thorny trifoliate orange trees forms a bramble-like forest of interwoven light and shadow, engaging the audience's perception and presence. Here, the “thorns” no longer pierce the body directly but evoke an intangible sensation of pain through the interplay of light and shadow—reflections of the artist’s profound experiences with the external world over the past three years.
In this “photographic field,” time becomes an enduring negative, freezing ephemeral existence. The resonance between the viewer's perception and the work creates an ongoing dialogue, echoing unresolved questions about the individual and the environment, time, and existence.
沈凌昊，昙花，只为夜晚盛开，2023，60*60*10cm，
光敏媒介摄影（收藏级喷墨照片裱于亚克力、光敏树脂媒介、昙花影像、丝网版画）
光学摄影作品《昙花，只为夜晚盛开》记录了沈凌昊在阿那亚海岸引导光向大海的行为。黑暗中，他面向大海嘶吼，昙花随之怒放。作品运用特殊感光工艺制作的四联延时影像，在夜幕中散发出神秘的白色光晕，捕捉昙花瞬时绽放的“时间性”图像。昙花短暂而绚烂的花期，通过盛开迎接死亡，隐喻了人类在短暂而脆弱的存在中，某一刻的清醒与觉知，成为有限生命中的主体性觉醒与存在显现。
The optical photography series captures Zero Shen’s act of guiding light toward the sea on the coast of Aranya. In the darkness, he roars toward the ocean, prompting the ephemeral flower to bloom in response.
Created using a specialized photosensitive process, the four-panel time-lapse images radiate a mysterious white halo against the night sky, capturing the “temporality” of the fleeting bloom.
The brief and radiant flowering of the ephemeral bloom, which embraces death through its blossoming, serves as a metaphor for humanity’s transient and fragile existence. It symbolizes moments of clarity and awareness that emerge as acts of subjective awakening and the assertion of presence within the finite span of life.
Han Lee, The Interperter #2, 2024,1.2m*1.2m*35cm,
灯光，数控设备，木材
韩国艺术家李翰（Han Lee）的作品《The Interpreter》通过互动装置探讨现代交流中倾听的重要性，提醒观众在快节奏的生活中停下脚步，关注周围看似随机的信息所蕴含的深意。这件装置艺术以一台仿旧电视机的木箱为核心，唤起人们对过去家庭围坐观看电视的怀旧记忆。木箱由四脚支撑，正面镶嵌64颗暖白色灯泡，排列成8x8的矩阵，每颗灯泡会点亮一个英语字母或符号，形成引人深思的视觉序列。作品通过灯光与符号的互动，象征性地展示语言和信息的断裂，鼓励观众重新排列这些“片段”，从中发现隐藏的意义。
South Korean artist Han Lee’s work is an interactive installation that explores the importance of listening in modern communication. It invites viewers to pause amidst the fast pace of life and reflect on the deeper meanings embedded in seemingly random information. At the center of the installation is a vintage-style wooden television set, evoking nostalgic memories of families gathered around to watch TV in the past.
Supported by four legs, the box’s front panel is embedded with 64 warm-white lightbulbs arranged in an 8x8 matrix. Each bulb illuminates to display an English letter or symbol, creating thought-provoking visual sequences. Through the interplay of light and symbols, the work metaphorically illustrates the fragmentation of language and information. It encourages the audience to rearrange these “fragments,” uncovering hidden meanings and fostering a deeper connection to the act of communication.
《光与运动》展览海报，伯尔尼美术馆，1965 年，设计：Peter Megert，摄影：苏黎世设计博物馆，海报收藏，ZHdK
本次展览艺术家们的作品让人不尽联想到1965年伯尔尼美术馆零小组（ZERO Group）的展览《光与运动》（Licht und Bewegung），也是其重要的里程碑，充分展示了艺术家们对光作为动态媒介的创新与深度思考。展览汇集了包括光学装置、机械运动和自然力量驱动作品在内的多样形式，体现了艺术家们如何通过光与运动重新定义艺术的边界。ZERO Group的成员在这一展览中不仅展示了光在塑造空间和时间感知中的作用与美学潜能，还研究其在哲学和感知层面上的深远意义。
The works featured in this exhibition evoke comparisons to the 1965 ZERO Group exhibition " Light and Movement " at the Bern Art Museum, a landmark event that showcased the group’s innovative and profound engagement with light as a dynamic medium. This milestone brought together diverse forms, including optical installations, mechanical motion, and works driven by natural forces, demonstrating how the artists redefined the boundaries of art through light and movement.
In ZERO Group members not only explored the aesthetic potential of light in shaping spatial and temporal perception but also delved into its deeper philosophical and perceptual implications. This exhibition builds on that legacy, continuing to push the boundaries of artistic expression while inviting audiences to engage with the transformative interplay of light, motion, and meaning.
莫霍利·纳吉，光、空间、调制器，1930 年，201.7 x 78.8 x 69.7 厘米
奥托·皮内，北晃座, 1965年，144 x 95厘米，铝和镇铬黄铜，约400 个灯泡， 电气装置和计时器，ZERO基金会收藏
莫霍利·纳吉（Giacomo Balla）于1930年创作的作品《光、空间、调制器》是光动力学领域最重要的作品之一，他将动力学与灯光艺术结合起来，运用旋转机械和灯光的交互，营造出一个充满动态变化的光影环境，让光成为时间流动和空间塑造的核心。奥托·皮内（Otto Piene）的作品《北冕座》通过灯泡与投射光的结合，构建了一个沉浸式场域，邀请观众的身体和视角直接参与其中，体验光影的流动与交错。草间弥生（Kusama Yayoi）从1960开始与零小组保持通信，尽管她并非是零小组的正式成员。但在1965年参与了零小组在法兰克福举办的《NUL 65》展览，这是她与零小组的一次重要交集。她的作品《无限镜屋》通过镜子反射的多重影像营造出一种超越现实的空间感，成为其标志性的作品之一。
Moholy-Nagy’s 1930 work is one of the most significant contributions to the field of light dynamics. By integrating kinetics and light art, he created a dynamic interplay of rotating machinery and light projection, crafting an environment where light becomes the central medium for the flow of time and the shaping of space. Otto Piene’s similarly harnesses the interplay of lightbulbs and projected light to construct an immersive field, inviting viewers to engage both physically and perceptually.
Through the flow and intersection of light and shadow, the work transforms space into a participatory experience. While not an official member of the ZERO Group, Kusama Yayoi corresponded with the group starting in the 1960s. Her notable connection with ZERO occurred during the 1965 exhibitionin Frankfurt. Her iconic workuses reflective surfaces to generate a spatial experience that transcends reality, creating a hallmark piece that has become central to her artistic legacy.
草间弥生，无限镜屋——充满生命的光辉，2011/2017年，泰特美术馆
海因茨·马克、奥托·皮内、冈瑟·尤克尔，合作作品“白光磨坊”， 1964 年，Haus am Waldsee
海因茨·马克（Heinz Mack）、奥托·皮内（Otto Piene）、冈瑟·尤克尔（Günther Uecker）于1964年在德国当代艺术最重要的实验项目空间Haus am Waldsee完成的集体作品《白光磨坊》更是光与空间艺术的经典之作，他们将各自的艺术语言与空间融合，强调艺术不仅是视觉的呈现，更是知识、技术和观众互动的综合体，为光学与动态艺术的学术化和跨领域探索奠定了重要基础。
In 1964, Heinz Mack, Otto Piene, and Günther Uecker created the collective work at Haus am Waldsee, one of Germany’s most significant experimental art spaces. This iconic piece of light and spatial art merged each artist’s unique visual language with the environment, emphasizing that art is not merely a visual presentation but a synthesis of knowledge, technology, and audience interaction.
The work laid a critical foundation for the academic exploration and interdisciplinary expansion of optical and kinetic art, showcasing how light and space could serve as mediums to challenge and redefine artistic and perceptual boundaries.
技术与艺术：进步与焦虑的交织叙事
Technology and Art
零小组（ZERO Group）的诞生背景是第二次世界大战后的欧洲，在经历了战争的破坏后，他们对技术与工业化带来的毁灭性力量保持警惕。然而，他们并非完全排斥技术，而是试图将技术从战争和工业的语境中解放出来，用以促进人类的精神升华和审美体验。本次展览中艺术家对于技术与的思辨同样中孕育而生进而讨论我们当下的时空观。
The ZERO Group emerged in post-World War II Europe, a region deeply scarred by the devastation of conflict. While they remained wary of the destructive potential of technology and industrialization, they did not wholly reject these forces. Instead, they sought to liberate technology from its associations with war and industry, channeling it toward the elevation of human spirit and aesthetic experience. Similarly, the artists in this exhibition engage in a reflective dialogue on technology, using it as a lens to explore and interrogate contemporary notions of space and time.
林科,《风景17 / 截屏2024-05-07 09.04.15》,2024,123*186*3.5cm,
UV油墨在纳米海绵，无酸胶，多层板，亚克力
林科的作品《风景17 / 截屏2024-05-07 09.04.15》，利用Photoshop软件，搭建创建印象中的风景的随机条件。通过非传统方式使用电脑软件，将语言从基本的交流功能中解放，呈现出诗意的风景，探索自然与数字世界的融合。鼠标的勾线隐入到 Photoshop 半透明的灰白格中，在亲在的视觉中若影若现，趋于自然流动的生成，而非凝固。我们的意识在左右我们看到的，自然便是如此。
Lin Ke’s work, utilizes Photoshop software to construct landscapes shaped by random conditions drawn from memory. By employing computer software in unconventional ways, the work liberates language from its basic communicative functions, presenting poetic landscapes that explore the intersection of nature and the digital world.
The mouse-drawn outlines subtly merge into Photoshop's translucent gray-and-white grid, appearing ephemeral and fluid within an intimate visual field, leaning toward organic generation rather than static representation. Just as our consciousness influences what we perceive, nature itself emerges as an ever-shifting construct of perception.
沈凌昊 ，《日常史诗：水的章节 II》，2023， 尺寸可变
视频装置（慢动作视 频、iPhone手机、钢丝）
《日常史诗:水的章节II》这件作品中，沈凌昊挑选了拍摄于不同时刻、不同空间与状态下与水有关的日常瞬间。作为拍摄和播放装置的 iPhone 手机悬置于空间之上，观众可以自由穿行于这个视听场域， 感知水的潮湿、包容、多变、宁静与残忍等不同的特质。在慢镜头下，真实与虚幻的界限变得模糊，许多原本难以察觉的时间片段在我们眼前被解析和呈现。
沈凌昊说:“《日常史诗》的创作有点像用现实反刍时间的过程，当我们按下智能手机的拍摄键，就如同对我们当下的生命进行提取，而每次展览即是将这些已发生的现实进行再次的编码，从而书写一首关于时间的诗歌。”
In Zero Shen selects everyday moments related to water, captured across different times, spaces, and states. An iPhone, serving as both the device for filming and displaying, is suspended within the space, allowing viewers to freely navigate this audiovisual environment. Through this installation, the audience experiences water’s diverse qualities—its dampness, adaptability, mutability, serenity, and cruelty.
Presented in slow motion, the boundaries between reality and illusion blur, revealing fleeting moments that often escape perception, now meticulously unraveled and displayed before the viewer.Zero Shen describes the work as “a process of regurgitating time through reality. When we press the record button on a smartphone, it is akin to extracting fragments of our lives in the moment. Each exhibition serves to re-encode these past realities, writing a poem about time.”
沈凌昊的书籍装置作品《0= ∞》同样源起他在使用智能手机时的日常经验，自 2018 年起，沈凌昊通过手机拍摄与截图，采集和创作这两个符号。他发现“0”与“∞”广泛存在于当下视觉文化中，从风景、日常物品、纹身到电影、动漫、游戏、社交媒体等图像中无处不在。智能手机不仅是符号的采集工具，更成为连接“零”与“无限”的桥梁，甚至化为两者之间的等号。在信息时代，流动的信息量似乎无限丰富，但同时又加剧了内心的空虚，形成一种对立的隐喻——信息的无限与精神的空无交织。
Zero Shen’s book installation < 0 = ∞ > originates from his everyday experiences with smartphones. Since 2018, Shen has used his phone to photograph and screenshot, collecting and creating imagery centered on the symbols "0" and "∞". He observes their ubiquitous presence in contemporary visual culture, appearing in landscapes, everyday objects, tattoos, films, animations, games, and social media imagery.
The smartphone serves not only as a tool for collecting these symbols but also as a bridge connecting "zero" and "infinity," even transforming into the equals sign between them. In the information age, the seemingly infinite abundance of flowing data paradoxically intensifies an inner sense of emptiness. This interplay forms a poignant metaphor—the coexistence of boundless information and profound spiritual void.
高郁韬，《对白系列：春江花月夜》，
2020，影像，2分23秒
高郁韬的作品《对白系列：春江花月夜》，利用iPhone手机中的Siri功能，与其互读张若虚的《春江花月夜》。他在德国杜塞尔多夫的莱茵河畔的一片孤岛之上，与Siri一问一答，游子的乡愁唤起的古典情愫与现代科技的如影随形，体现了人类在技术时代的情感困境，探讨现代科技中的情感缺失与孤独感。艺术家自述道：“与 Siri 对读《春江花月夜》，虽然此时 Siri 的声音如此的冰冷，但却抚慰着我的寂寥之心。”
Gao Yutao’s work < Dialogue Series: A Moonlit Night on the Spring River > employs the Siri function on his iPhone to read aloud, a classic Chinese poem by Zhang Ruoxu. On a solitary island along the Rhine River in Düsseldorf, Germany, Gao engages in a back-and-forth with Siri, where the nostalgic longing of the traveler, evoked by the ancient sentiment of the poem, intertwines with the omnipresence of modern technology.
This interaction highlights the emotional dilemma of humans in the technological age, addressing themes of emotional disconnection and loneliness within modern technology. The artist reflects: "Readingwith Siri, though the voice of Siri is so cold, it still soothes my lonely heart."
高郁韬，《别睡，这里有蛇》，2024，尺寸可变，PET咖啡杯盖，吸管，铁丝，蓝色圆珠笔盖，金箔，亚克力盒子
高郁韬的《别睡，这里有蛇》以金属、金箔、吸管、塑料咖啡盖、圆珠笔帽等工业时代后的产物为材料，通过对现成品的重组与延展，传递了现代生活中的困境与焦虑。尽管作品不直接表达与技术的关系，却通过这些材料隐喻了工业化带来的便利与隐忧，也暗示了人与物质世界关系中的矛盾。它们是生活便利的象征，却同时是工业化与消费社会的隐喻，潜藏着“有毒的蛇”——那些隐藏在平凡日常中的焦虑、不安和无所适从。
Gao Yutao’s uses materials from the post-industrial era, such as metal, gold leaf, straws, plastic coffee lids, and ballpoint pen caps. Through the reorganization and extension of these ready-made objects, the work conveys the dilemmas and anxieties of modern life. While the piece does not directly express a relationship with technology, it metaphorically addresses the conveniences and hidden concerns brought about by industrialization.
It subtly suggests the contradictions within the human-material relationship. These everyday objects symbolize the ease of contemporary living, yet simultaneously serve as metaphors for industrialization and consumer society, harboring “poisonous snakes”—the anxieties, insecurities, and feelings of helplessness that lie hidden within the ordinary routines of daily life.
吴逸飞，《共生 No.14》，2023，18*14*50cm，
大哥大、红砖、树脂、3D打印光敏聚合物
吴逸飞的作品《共生 No.14》以植物学研究为基础，结合3D图像软件与3D打印技术，开创“无机植物学”这一新领域，将数字化植物实体化，探索技术对人类生活方式的深远影响。受康定斯基“点、线、面”理论启发，艺术家将植物器官与细胞结构抽象为体块化表现形式，展现无机植物的独特特征与美学价值。作品通过“微观器物”链接史学与社会学，以工业产物为切入点，反思技术变革对不同时代的众生相。无机植物创造的时空错觉模糊了观众的时间感知，揭示了技术在改变日常生活与习惯中的力量，同时折射了一个时代的文化与社会特征。
Wu Yifei’s work is grounded in botanical research, combining 3D imaging software and 3D printing technology to pioneer a new field he calls "inorganic botany." This innovative approach transforms digital plants into tangible forms, exploring the profound impact of technology on human lifestyles. Inspired by Wassily Kandinsky’s theory of "points, lines, and planes," the artist abstracts plant organs and cellular structures into block-like expressions, showcasing the unique characteristics and aesthetic value of inorganic plants.
Through these "micro-objects," the work links history and sociology, using industrial products as a point of departure to reflect on the effects of technological change on living beings across different eras. The spatial and temporal illusions created by the inorganic plants blur the viewer's sense of time, revealing the power of technology in altering daily life and habits, while also reflecting the cultural and social characteristics of a particular age.
《整合64》展览海报，Arena-Centrum，安特卫普，1964 年，设计：Heinz Mack，ZERO 基金会档案馆
零小组（ZERO Group）于1964年9月26日参与了在安特卫普开幕的《整合64》（Integratie 64）展览。该展览由比利时艺术家杰夫·费尔海恩（Jef Verheyen）和作家保罗·德弗里（Paul de Vree）共同组织。在其简短的介绍性文字中，德弗里强调，在技术于工业和社会层面创造出新的社会结构之后，建筑、艺术与技术的结合必须形成一个“普遍的统一体”，而这需要通过创新来实现。
On September 26, 1964, the ZERO Group participated in the exhibition "Integratie 64" in Antwerp, organized by Belgian artist Jef Verheyen and writer Paul de Vree. In his brief introductory text, de Vree emphasized that after technology created new societal structures on both industrial and social levels, the integration of architecture, art, and technology must form a "universal unity," which could only be achieved through innovation.
罗·德弗里的《整合》图表, 1964 年，照片：H. Erdmann
德弗里并未探讨传统意义上的艺术作品，而是设想了能够塑造未来的艺术原型。他甚至绘制了一张图表，展现了一个由社会环境和技术环境共同作用的艺术宇宙。他的艺术理想催化了实验艺术、抒情抽象，并延展至波普艺术与欧普艺术，展现技术与社会在塑造现代艺术中的深远作用。
De Vree did not discuss traditional artworks in the conventional sense; instead, he envisioned art prototypes capable of shaping the future. He even created a diagram depicting an artistic universe shaped by the interplay of social and technological environments. His artistic ideals catalyzed experimental art, lyrical abstraction, and extended to pop art and op art, demonstrating the profound role of technology and society in shaping modern art.
海因茨·马克，《零时间 220 伏》，1961/1964/2008年，210 x 62 x 62 厘米，金属、玻璃、电气，ZERO基金会收藏
零（圈圆），未注明日期， 46.5 x 68厘米，笔尖毡和画贴 拼的上板纸，ZERO基金会收藏
在这一时期作为零小组（ZERO Group）的三位初创成员之一的艺术家海因茨·马克（Heinz Mack）创作了一系列以机械为原型的装置与绘画，如1961的《零时间220》是一件以闹钟为基础的装置艺术作品，体现了海因茨·马克对机械装置和时间概念的艺术化探索。闹钟的指针和表盘被重新设计，每到整点时，闹钟便显示“零”。象征着零小组的艺术哲学——重置时间，重新开始，超越过去的艺术形式。《零（圆圈）》创作于1963年之后，由圆形碎片组成，通过轴对称排列形成整齐的行列。每个圆盘碎片代表了不同的符号和视觉元素，如光学转子、浅浮雕、文字和音箔等，中心的“电话拨号盘”象征零小组作为零艺术运动的枢纽，同时也是一个连接全球多元艺术生态的互动网络。
During this period, Heinz Mack, one of the founding members of the ZERO Group, created a series of works that were inspired by mechanical prototypes, including installations and paintings. One notable piece from 1961, is an installation based on an alarm clock, embodying Mack’s artistic exploration of mechanical devices and the concept of time. The clock’s hands and dial were redesigned so that every hour, the clock would display the word "ZERO," symbolizing the ZERO Group’s artistic philosophy of resetting time, starting anew, and transcending past artistic forms.
Created after 1963, consists of circular fragments arranged symmetrically, forming neat rows. Each circular disk represents different symbols and visual elements, such as optical rotors, shallow reliefs, text, and sound foils. The central "telephone dial" symbolizes the ZERO Group as the core of the Zero Art movement, while also representing an interactive network that connects diverse global artistic ecosystems.
生态的低语：
自然的隐喻与艺术的回应
The Whisper of Ecology
自然主题在零小组（ZERO Group）的艺术中象征着一种根本性的回归与重新出发。“零点”不仅是技术与艺术的交汇，更是对自然秩序的深刻反思与重新定义。零小组打破传统艺术的边界，将自然的力量与动态融入创作，以此探讨人与生态系统的共生关系。他们的作品不仅表达对自然的敬畏，更揭示了人类在科技进步与环境破坏之间的矛盾。通过重塑自然的象征，他们呼唤观众重新认识自然的本质，并思考技术与生态能否共存于未来的可能性。
In the art of the ZERO Group, the theme of naturesymbolizes a fundamental return and a fresh start. The “zero point” is not only the intersection of technology and art but also a profound reflection and redefinition of the natural order. The ZERO Group breaks the boundaries of traditional art by incorporating the forces and dynamics of nature into their creations, exploring the symbiotic relationship between humanity and the ecological system.
Their works express reverence for nature while revealing the contradictions between human technological progress and environmental degradation. Through the reimagining of nature’s symbols, they call upon the audience to reexamine the essence of nature and reflect on the possibility of technology and ecology coexisting in the future
龙盼，《流动的身体--菌丝手臂》，2022，
45*10*10cm, 菌丝雕塑
龙盼的菌丝雕塑作品《流动的身体——菌丝手臂》以生物材料与技术为核心，探索身体与生态系统的交融关系。作品中，她将自己的身体轮廓交付于真菌，让其自由生长，展现一种“流动的身体”——不断与他者交织、转化的动态存在，不仅模糊了人类与自然之间的界限，还彰显了生命体之间的互依共生。
Long Pan’s mycelium sculpture < Flowing Bodies-Mycelium Arm > centers on the fusion of biological materials and technology, exploring the interrelationship between the human body and ecological systems. In this work, she allows the contours of her own body to be taken over by fungi, enabling it to grow freely. The result is a “flowing body” — a dynamic existence that continuously intertwines and transforms with others. This work not only blurs the boundary between humanity and nature but also emphasizes the interdependent, symbiotic relationships between living organisms.
龙盼，《植物冶金计划--龙岗低碳城及其附近》，2022，8*3.5*0.5cm（瓷片），1.2m直径（装置），陶瓷，植物灰釉，金属，亚克力，钢丝绳
《植物冶金计划——龙岗低碳城及周边》通过植物吸收环境中的金属元素，将其转化为釉色变化，作为环境中金属元素含量的“指示器”。釉面颜色的深浅反映了植物体内重金属含量的高低，揭示不同环境下植物的金属富集特性。该项目通过对不同地域和日常环境中植物分布及重金属吸附情况的长期调查，试图绘制一张“植物金矿”地图，以此反映生态环境的变化，强调人类与植物、环境的相互关系，并质疑人类对自然的主导地位。
<Botanical Alchemy-Longgang Low Carbon City and Its vicinity> focuses on how plants absorb metal elements from the environment, transforming them into glaze color changes, serving as an "indicator" of the metal content in the surrounding environment. The depth of the glaze color reflects the concentration of heavy metals within the plant, revealing the metal accumulation characteristics of plants in different environments.
Through long-term surveys of plant distribution and heavy metal absorption in various regions and everyday environments, the project aims to create a "plant goldmine" map, reflecting ecological changes. It underscores the interconnectedness of humans, plants, and the environment, while questioning humanity's dominant position over nature.
Laurent Lettrée，《三体植物》，2024，尺寸可变，植物，不锈钢球，生物数据传感器，电容传感器，电脑，扬声器，放大器，屏蔽线
法国跨媒体艺术家Laurent Lettrée（觉然）的植物互动装置《三体植物》以天文学中的“三体问题”与刘慈欣的科幻小说《三体》为灵感，探讨和谐与混沌的双重特性及可能引发的灾难与混乱。作品邀请观众触碰不锈钢球，触发语言与噪音构成的声音系统，并通过触摸水生植物现场演奏音乐。声音根据观众的动作变化，和谐状态下表现为有序的稳定轨道，噪音的加入则模拟三体问题中的混沌轨迹。作品通过声音交互，探索自然与技术的深层联系，唤起观众对人与自然关系的思考。
Laurent Lettrée's interactive plant installation <Three Plants Solution> is inspired by the "three-body problem" in astronomy and Liu Cixin's science fiction novel. The artwork explores the dualities of harmony and chaos, along with the potential disasters and confusion they may provoke. The installation invites viewers to touch stainless steel spheres, triggering a sound system composed of language and noise, and to interact with aquatic plants to create live music.
The sound changes based on the viewers' movements: in a harmonious state, it reflects stable and orderly trajectories, while the introduction of noise simulates the chaotic orbits of the three-body problem. Through sound interaction, the piece delves into the deep connection between nature and technology, provoking contemplation on the relationship between humans and nature.
Laurent Lettrée，《觉醒》，2024，尺寸可变，金属弹簧，振动发生器，橡木板，植物生物数据传感器，定制贴片，微控制器，电线，仙人掌
Laurent Lettrée（觉然）的另一件作品《觉醒》，观众通过站立在金属弹簧装置上的振动橡木板上，并手触摸感受仙人掌生物数据输出的振动。植物通过振动与人体产生深层连接，并会给予不同的反馈，这一过程模糊人类与自然的界限。如一场超现实的跨物种对话，借助微妙的频率与触感，揭示人与植物之间未被察觉的共鸣与交流。
Laurent Lettrée's work invites viewers to stand on a vibrating oak platform supported by metal springs while touching a cactus to feel its biological data output as vibrations. Through this tactile experience, the plant establishes a profound connection with the human body, providing varying feedback that blurs the boundary between humans and nature.
The interaction resembles a surreal, interspecies dialogue, using subtle frequencies and sensations to reveal the unnoticed resonance and communication between humans and plants. This work highlights the potential for deeper understanding and empathy within the human-nature relationship.
张翀，《献给我们已经失去的和即将失去的...》，2023，4.5*19.4*31.7cm（主体），49x49x88cm(展台),木,金属，金箔,树脂,漆
张翀的作品《献给我们已经失去的和即将失去的...》取材于渡渡鸟灭绝及其被毛里求斯定为国鸟的讽刺历史。镀金渡渡鸟的3D打印雕塑被安置在古董展台上，台面描绘中世纪狩猎场景，底部则被一支弓箭贯穿，象征人类历史中循环上演的残酷与荒谬。这种不会飞的鸟类于1681年因人类捕杀和环境破坏而灭绝，仅存活200年，却讽刺性地成为毛里求斯的象征。2016年，其最完整骨骼标本以440万高价拍出，成为最昂贵的生物标本之一。艺术家通过这件作品揭示了人类对自然的破坏，将难以挽回的代价暴露于众，同时批判人类通过符号化和仪式将暴力合理化，用纪念失去之名掩盖冷漠与责任。
Zhang Chong's work draws inspiration from the extinction of the dodo and its ironic designation as Mauritius' national bird. A gilded 3D-printed dodo sculpture is displayed on an antique pedestal featuring medieval hunting scenes, pierced through its base by an arrow—symbolizing the recurring cruelty and absurdity in human history. The flightless bird, extinct by 1681 due to human hunting and habitat destruction, survived only 200 years but paradoxically became a national symbol of Mauritius.
In 2016, its most complete skeletal remains sold for a record 4.4 million, marking it as one of the most expensive biological specimens. Through this piece, the artist unveils the irreparable costs of humanity’s destruction of nature, exposing the unsettling juxtaposition of reverence and neglect. By critiquing the symbolic and ritualistic rationalization of violence, Zhang challenges the audience to confront the cold indifference and evasion of responsibility concealed under the guise of commemorating loss.
《海上的零》（ZERO op zee）是零小组（ZERO Group）的一次具有重要意义的展览，举办于1966年，在比利时著名的海滨城市克诺克（Knokke）。这次展览汇集了零小组的核心成员及其他国际前卫艺术家，旨在通过艺术装置和作品，与自然元素特别是海洋进行互动，探索艺术、自然与技术的深度融合。
<ZERO op zee>was a significant exhibition organized by the ZERO Group in 1966 in the renowned coastal city of Knokke, Belgium. This exhibition brought together the core members of the ZERO Group alongside other international avant-garde artists. It aimed to explore the deep integration of art, nature, and technology through interactive art installations and works, engaging particularly with natural elements such as the sea.
汉斯·哈克，生命飞行系统，1968 年 11 月 30 日，纽约科尼岛，由 Hans Haacke 提供
汉斯·哈克，《凝结立方体》，1963-1967 年，MACBA 收藏，惠特尼美国艺术博物馆国家委员会和董事会捐赠
1966年，汉斯·哈克（Hans Haacke）作为国际艺术家参与了零小组的《海上的零》展览，积极参与了这次关于自然与技术交融的艺术实践。他的作品《生命飞行系统》将海鸥的喂食处固定在船上，海鸥会聚集在一起，形成一个“飞行雕塑”，随着船的移动而改变位置，这件作品通过动态性与过程性，象征了自然生命系统与社会动态的微妙关系。汉斯·哈克的《凝结立方体》是其早期代表作之一，同样展现了与“零小组”的共鸣，对自然现象如光、影和运动的关注。作品采用密封的有机玻璃立方体，通过水的凝结与滴落展现动态变化。水滴的聚集与流动形成不断变化的痕迹，体现了自然过程的自发性与不确定性，超越静态艺术形式，呈现动态平衡与自由变化的视觉体验。
In 1966, Hans Haacke participated as an international artist in the ZERO Group’sexhibition, actively engaging in this artistic exploration of the fusion between nature and technology. His work fixed a feeding station for seagulls on a boat, creating a "flying sculpture" as the birds gathered and moved with the vessel. This piece, emphasizing dynamism and process, symbolized the intricate relationship between natural life systems and societal dynamics.
Another of Haacke’s early representative works also resonated with the ZERO Group's ethos, focusing on natural phenomena such as light, shadow, and motion. This piece used a sealed plexiglass cube where condensation and dripping water revealed ongoing dynamic transformations. The accumulation and flow of droplets created constantly shifting patterns, embodying the spontaneity and unpredictability of natural processes. By transcending static art forms, the work offered a visual experience of dynamic equilibrium and fluid change.
奥托·皮内 ，《天空艺术》，1969 年，共有 25 幅纸上石版画，第 XX 张，88.9 x 63.5 厘米，ZERO 基金会收藏
零飞机，日期不详，蒙太奇照片，48 x 33厘米，ZERO基金会收藏
零小组艺术家们在生态环境的艺术实践中进一步拓展了空域的可能性。奥托·皮内（Otto Piene）于1969年为麻省理工学院（MIT）的高级视觉研究中心（CAVS）构想了波士顿港的公共艺术方案《天空艺术》，计划通过火焰与人造云在夜空中呈现大型场域特定的艺术作品。尽管这一作品最终仅停留于构想阶段，却依然展现出令人着迷的创意。海因茨·马克（Heinz Mack）的《零飞机》则通过蒙太奇拼贴，将飞机飞行轨迹与ZERO理念相结合，营造出一种自由的诗意与广袤的意象。
The artists of the ZERO Group further expanded the possibilities of spatial art within ecological contexts. In 1969, Otto Piene conceptualized ,a public art project for the Massachusetts Institute of Technology’s (MIT) Center for Advanced Visual Studies (CAVS), envisioning large-scale site-specific artworks in the Boston Harbor sky using flames and artificial clouds.
Although the project ultimately remained in the conceptual stage, it showcased an enchanting and innovative vision. Similarly, Heinz Mack’s < ZERO Airplane > utilized montage techniques to merge the flight trajectories of airplanes with ZERO’s principles, crafting a poetic and expansive imagery that evokes a sense of freedom and boundlessness.
非人类的视角：
回溯时间深处的存在之歌
Perspectives Beyond the Human
零小组（ZERO Group）将“零点”视为一切的开端与重生，而这一主题通过非人类视角延展至时间的流动性。揭示那些超越人类感知的缓慢节奏与深层变迁。在这里，时间不再是线性的刻度，而是自然秩序中动态平衡的诗意回响，连接着过去、现在与未来。
"Zero point" symbolized both a beginning and a rebirth. This theme extended through non-human perspectives to explore the fluidity of time, unveiling rhythms and transformations imperceptible to human awareness. Here, time is no longer a linear measurement but a poetic resonance within the dynamic equilibrium of nature, bridging past, present, and future in a continuous flow of existence.
邵译农，《百年之梦》，2024，4x2.5m，1.7x2.5m，空间装置，烟熏
邵译农的场域特定艺术装置《百年之梦》以百年时间为线索，通过在白墙上用艾草薰香与火烛留下烟熏痕迹，象征生命短暂却铭刻历史的印记。每个燃烧的火焰如同生命的瞬间，在留下辉煌的同时也承载了个人、时代与民族的梦想。作品营造出时间流逝的氛围，打破历史与现实的边界，让观众感受到自身在历史与未来交织中的位置。以隐喻的方式探讨人类在自然永恒与历史巨变中的无常与挣扎，超越具体叙事，转向对命运与宇宙秩序的深刻共情与思索。
Shao Yinong’s site-specific installation <A Century‘s Dream> traces a century of time, using the residues of burning mugwort incense and candles to create smoke marks on white walls. These traces symbolize the ephemeral nature of life while imprinting the weight of history. Each flame, akin to a fleeting moment of existence, embodies the dreams of individuals, eras, and nations, simultaneously illuminating and fading into memory.
The work evokes a sense of temporal passage, dissolving the boundaries between history and reality, inviting viewers to reflect on their position within the interwoven tapestry of past and future. Through metaphor, it examines humanity's impermanence and struggle amidst the eternal flow of nature and the upheavals of history, transcending narrative to engage deeply with questions of fate and cosmic order.
John Roloff,《火焰/花朵横断II》，2024，1x2.4m（每面）,
人造纤维，UV 打印
约翰·罗洛夫（John Roloff）的作品《火焰 / 花朵横断 II》是其“元场脉络旗帜”项目的一部分，通过动态的旗帜装置，探讨地球生态的恒久时间维度与人类生命短暂时空之间的对比。作品融合生态系统与地质断层意象，以绿色火焰贯穿兰花图像，隐喻光合作用与地质过程中的古老能量流动，象征自然时间的永恒与循环。旗帜的旋转与变换暗示地质断层运动与有机过程的动态统一，展现超越人类时间的宇宙秩序与地球代谢，邀请观众思考在地球漫长历史中个体生命的微渺与共鸣。
John Roloff’s work , <Flame/flower Transect II> part of his *Metafield Context Banner* project, employs dynamic flag installations to explore the contrast between the enduring temporal dimensions of Earth's ecology and the fleeting timescales of human existence. The piece combines imagery of ecological systems with geological fault lines, featuring a green flame traversing an orchid motif. This imagery serves as a metaphor for the ancient energy flows within photosynthesis and geological processes, symbolizing the eternal cycles of nature.
The rotation and transformation of the flags evoke the movement of tectonic faults and organic processes in a unified dynamic, presenting a vision of cosmic order and Earth's metabolism that transcends human time. The work invites viewers to reflect on the insignificance and resonance of individual lives within the vast history of the planet.
杨熹，《没有器官的身体》，2024，50x53x60cm，鹿骨粉，树脂，清漆
杨熹的作品《没有器官的身体》的作品灵感来自德勒兹提出的“没有器官的身体”的哲学隐喻与哈拉维的赛博格理论，她借助3D打印技术与鹿骨粉等材料的结合，构想一种超越传统身体边界的未来形态。作品解构了人类与非人类动物的有机功能，将其视为一个潜在、流动的场域，不再受限于既定的结构或功能分工，而是不断生成与转化。作品模糊了生物与非生物、自然与人工的界限，展现技术介入身体后的开放性与可能性，这种融合超越了人类中心主义，引导观众重新审视人类未来的生命形态与共同命运。
Yang Xi’s work <Body without Organs> draws inspiration from Deleuze’s philosophical metaphor of the “body without organs” and Haraway’s cyborg theory. Utilizing 3D printing technology and materials like deer bone powder, she envisions a future morphology that transcends traditional bodily boundaries. The work deconstructs the organic functions of humans and non-human animals, framing the body as a potential and fluid field unrestricted by predetermined structures or functional roles, constantly evolving and transforming.
By blurring the lines between biological and non-biological, natural and artificial, the piece explores the openness and possibilities of a body shaped by technological intervention. This fusion surpasses anthropocentric perspectives, inviting viewers to reconsider the future of human lifeforms and our shared destiny.
杨熹，《没有器官的身体》，2024，40x30x80cm，鹿骨粉，树脂，清漆
在零小组（ZERO Group）的丰富艺术实践之中，他们曾希望通过艺术连接宇宙与太阳，火作为一种具有破坏性与爆发性的能量成为其核心符号之一。它不仅代表着光明、热能和生命力，还象征着一种不可预测和自发的力量。这种力量不以人类的控制为中心，而是以自然的法则为驱动。1997年，海因茨·马克（Heinz Mack）在阿曼瓦希巴沙漠实现其最具野心的公共艺术项目《撒哈拉计划》。
Within the diverse artistic practices of the ZERO Group, the artists sought to connect art with the cosmos and the sun, making fire a central symbol of their work. Fire represents not only light, heat, and vitality but also an unpredictable and spontaneous energy driven by natural laws rather than human control. In 1997, Heinz Mack realized one of his most ambitious public art projects <The Sahara Project> in the Wahiba Sands of Oman.
海因茨·马克，瓦希巴沙漠中的大型石碑，阿曼，1997 年，高 14 m，铝反射镜，阳极氧化，照片：海因茨·马克档案
他在那里安装了一座 14 米高的光碑，由 21 个铝反射器制成，并由细尼龙绳支撑并固定到位。他将石碑放在一个高沙丘的山顶上，日落在沙漠中只持续几分钟，夕阳在 21 个反射器中被放大多次，形成红色光球，光碑映射着红色的夕阳，也与火元素、太阳的光芒有关，它决定了昼夜的节奏，生命的节奏，成为可以在外太空观测到的光和颜色。
In the Wahiba Sands, Heinz Mack installed a 14-meter-tall Light Obelisk composed of 21 aluminum reflectors, supported and secured in place by fine nylon cords. Positioned atop a towering sand dune, the obelisk interacted dramatically with the desert’s fleeting sunset. The sunlight, amplified multiple times through the reflectors, created a striking red sphere of light.
This interplay linked the obelisk with the fire element and the sun's radiant energy, both of which dictate the rhythm of day and night—the rhythm of life itself. The Light Obelisk with its vivid glow and cosmic resonance, became a beacon visible from outer space, symbolizing the ZERO Group's vision of art as a bridge between earthly existence and the vast expanse of the universe.
伊夫·克莱因在创作火焰画，照片来自洛杉矶盖蒂研究所
伊夫·克莱因，《FC1》（火色 1），1962 年，141 x 299.5 x 3 厘米，干颜料与合成树脂，板面，带艺术家画框
伊夫·克莱因（Yves Klein）的深邃蓝色“国际克莱因蓝”（IKB）以其超越性和精神性成为经典艺术符号。他与零小组艺术家一样热衷于用火焰创作，赋予其宇宙性的意义，象征毁灭与新生的循环及能量的无形流动。他的艺术哲学深受禅宗与灵性观念影响，火焰成为指向超越人类经验的无形存在的超验表达。
Yves Klein’s profound “International Klein Blue” (IKB) has become an iconic symbol of transcendence and spirituality in art. Like the artists of the ZERO Group, Klein was fascinated by the creative potential of fire, imbuing it with a cosmic significance. For him, fire symbolized the cyclical nature of destruction and renewal, as well as the intangible flow of energy..
Deeply influenced by Zen philosophy and spiritual concepts, Klein used fire as a means of expressing the ineffable, pointing toward an existence beyond human experience. In his work, fire becomes a metaphysical gesture, a transcendent medium that bridges the visible and the invisible, the material and the immaterial.
在零小组（ZERO Group）的艺术公式：0 x 0 = 艺术
在《从零到无限》中，“0 x 0 = 艺术” 不仅仅是对ZERO精神的致敬，也是一次新的实验。参展艺术家来自不同的背景，有本土的共同成长者，也有跨越地域界限的国际伙伴，就像ZERO小组当年一样构成了一个艺术共同体。每位艺术家带来的作品都是从自己的“零点”出发，通过对艺术的探索与实践，生成全新的“无限”。
"0 x 0 = Art" serves not only as a tribute to the ZERO spirit but also as a new experiment. The participating artists come from diverse backgrounds, including local collaborators who share a common journey and international partners transcending geographic boundaries—much like the ZERO Group of its time, forming a unified artistic community. Each artist’s work originates from their personal “zero point,” where their exploration and practice of art converge to generate entirely new interpretations of the “infinite.”
“0 x 0 = 艺术” 也在提醒我们，艺术不是追逐确定性的答案，而是对未知的多维探索。它超越了人类中心主义的框架，成为一种更为广阔的存在状态。这不仅是ZERO的遗产，更是《从零到无限》所试图传递的精神：艺术，不是结果，而是从“零”到“无限”的旅程。
"0 x 0 = Art" also serves as a reminder that art is not about seeking definitive answers but about embracing multidimensional exploration of the unknown. It transcends the framework of anthropocentrism, becoming a broader state of existence. This idea is not only the legacy of ZERO but also the spirit thatstrives to convey: art is not an endpoint but a journey—from “zero” to “infinity.”
沈凌昊 & 徐怡琛 写于2024年11月21日，上海
Written by Zero Shen & Rebecca Xu?
November 21, 2024, Shanghai
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