{{sindex}}/{{bigImglist.length}}

新展预告｜滑梯，旋转木马，跷跷板 Slides, Carousels, Seesaws

{{newsData.publisher_name}} {{newsData.update_time}} 浏览：{{newsData.view_count}}

来源 | {{newsData.source}} 作者 | {{newsData.author}}

滑梯，旋转木马，跷跷板 Slides, Carousels,Seesaws

展期 Duration

2025年11月15日-2026年1月11日

15 Nov.2025 - 11 Jan. 2026

展期内每天 12:00-19:00开放（周一闭馆）

accessible between 12:00 - 19:00 （closed on Monday）

艺术家 Artists

丰丰

Feng Feng

开幕 Opening

2025年11月15日，星期六，15:00

Saturday, 15 Nov. 15:00

票务信息 Tickets

学生票20，普通票28（现场购票）

Student ticket 20, regular ticket 28 (buy on-site)

展览地址 Address

杭州市凤山路79号杭州商业储运有限公司3仓3层303

Hangzhou Storage and Transportation Co. ltd

building 3 floor 3 303

“滑梯，旋转木马，跷跷板 Slides, Carousels, Seesaws”展览呈现丰丰近期以海绵泡沫与轻木条为材料，对游乐设施进行重构的创作，展期为2025年11月15日至2026年1月11日。滑梯、旋转木马、跷跷板，以及其他熟悉的游乐设施，在这里被重新塑造成雕塑——原本的功能性消失，却保留了旋转、摇晃、起伏的动作轨迹，展览也强调游乐园里会产生的声音和旋律。整个展览空间因此转化为一个“游乐场”，既是展示空间，也是参与的空间，观众在展厅内行走、观看、玩乐，不可避免地参与到动作、节奏与空间的关系之中。

丰丰的过往作品总是存在着对于现成的日常物件的观察与改造实践，日常物件总存在着“他人”制定的使用规则，他对于重新挪用和定义这样的使用规则存在着兴趣：他希望把?业物件的压制性关系被转化为?种充满童真或情感扩张的游戏。他在之前的创作中把重点放在家具和家电的观察中，家电产生的动态和声音，以及对生活中细微的家具的观察，他将改造理解成?歇尔·德塞托所称之为“?常?活的实践” 。

而这一系列新的系列的创作源自他对游乐设施的兴趣。游乐设施本身的可爱与想象力成为观众身体与感知的媒介：秋千的起源可追溯至古希腊宗教仪式，旋转木马起源于拜占庭骑兵训练。在游乐场里，每一种游乐设施都对应特定的参与方式：旋转木马带来持续的旋转与漂浮，秋千使人脱离重心腾空摇摆，跷跷板借由两端重量的变化制造上下起伏。在这些参与中，玩乐者的身体以特定的姿势与设施形成一种短暂和谐的整体：或旋转，或摇摆，或上下起伏，呈现出一种玩乐为纽带的装置关系，一种“游乐动态”。这也是作品本身想要提出的问题：作品是否能够仅仅展演游乐的动态本身？作品又能如何演绎“游乐”的节奏与旋律？

游乐设施作为工业化社会中特殊的功能物件，其存在的独特性在于“玩乐”本身——成年人和儿童在此都被允许脱离日常规则，强调“快乐”而存在。在这一系列作品，海绵泡沫以其特有的雕塑性呈现柔软的游乐设施，展览现场与游乐场都是特别的社会场所，两者都给人们带来可能的天真与想象。丰丰的创作借此探索玩乐与物件、空间与身体之间的关系，同时也提出对日常生活以及人类体验的反思：当功能消失、动作保留时，物件如何被重新理解？当展览空间被游乐设施占据，观众如何在互动与观察之间建立新的经验？丰丰在两年前与卡斯普多特的合作中“拾得”了海绵泡沫这一材料，这种轻盈廉价并且色彩鲜明的材料，对他而言同时具有某种当下特性与特殊的意义。“滑梯，旋转木马，跷跷板 Slides, Carousels, Seesaws”既是一个游乐场也是一个实验场。在它接管空间的这段时间里，游乐的雕塑成为感知玩乐与想象的媒介。我们邀请每一位进入空间的观众，与我们共同思考玩乐的意义，因为我们想要更认真地面对玩乐，并且玩得更开心。

“Slides, Carousels, Seesaws” presents Feng Feng’s recent reconstructions of amusement rides using sponge foam and balsa strips. The exhibition runs from November 15, 2025 to January 11, 2026. Slides, carousels, seesaws, and other familiar rides are reshaped here as sculptures. Their original functions fall away, yet the trajectories of rotation, rocking, and rising and falling remain, and the show also foregrounds the sounds and melodies that arise in the playground. The gallery is thus transformed into a “playground,” at once a display space and a participatory space, where visitors walk, look, and play, inevitably becoming involved in the relationships among movement, rhythm, and space.

Feng Feng’s past work consistently revolves around observing and altering ready-made everyday objects. Such objects come with usage rules set by “others,” and he is drawn to reassigning and redefining those rules. He seeks to convert the coercive relations of industrial objects into games charged with childlike wonder or an expansion of feeling. Earlier projects focused on furniture and home appliances: on the dynamics and sounds they produce, and on close observation of the subtle presence of furnishings in daily life. He understands acts of modification as what Michel de Certeau calls “the practice of everyday life.”

This new series grows from his interest in amusement rides. The rides’ innate charm and imaginative charge become a medium for the viewer’s body and perception. Swings trace back to ancient Greek religious rites, and carousels to Byzantine cavalry training. In the playground, each ride entails a specific mode of participation: the carousel offers continuous rotation and a sense of floating; the swing lifts the body off its center of gravity into a suspended sway; the seesaw creates vertical undulation through shifting weight at either end. In these engagements, the player’s body briefly forms a harmonious whole with the apparatus—rotating, swaying, or moving up and down—a device-relation knit by play, a “ludic dynamic.” The works ask: can a piece exist simply to stage the dynamics of play itself? How might it render the rhythms and melodies of “play”?

As specialized functional objects within industrial society, amusement rides are distinctive because they exist for “play” itself, allowing both adults and children alike to step outside of everyday rules and foreground joy. In this series, sponge foam, with its unique sculptural quality, is used to shape soft amusement installations. Both the exhibition site and the playground are special social spaces that open onto innocence and imagination. Through them, Feng Feng explores relationships among play and objects, and between space and the body, while inviting reflection on daily life and human experience. When function disappears and motion remains, how are objects re-interpreted? When rides take over the exhibition space, how do viewers form new experiences between interaction and observation? Two years ago, in his collaboration with cuspdot, Feng Feng “picked up” sponge foam as a material. Light, inexpensive, and in vibrant colors, it carries a sense of contemporaneity and a particular personal meaning. “Slides, Carousels, Seesaws” is both playground and site of experimentation. During its takeover of the space, the sculptures of play become media for experiencing play and imagination. We invite every visitor to consider the meaning of play with us, because we want to treat play more seriously—and also to have more fun.

Untitled (Carousels)

无题（旋转木马）

2025

是一个用海绵泡沫、轻木条结合动力装置制作的“旋转木马”，有五彩的伞状顶和黄色的小马，它跟着勃拉姆斯《摇篮曲》的旋律在翩翩起舞。

This work is a carousel made from sponge foam and balsa wood combined with a kinetic mechanism. It features a colorful umbrella-shaped top and small yellow ponies, gently dancing to the melody of Brahms’ “Lullaby.”

Untitled (Loving Heart Seesaw in C Major)

无题（C大调爱心跷跷板）

2025

双杆跷跷板才能放4个爱心，分别是黄色、绿色、蓝色和紫色的，它们在跷跷板上随着do re mi fa so la ti do～8个音符上下起伏，一同演绎着C大调音阶的旋律。

Only the double-bar seesaw can hold four hearts — yellow, green, blue and purple. As it rocks, the hearts move up and down to the eight notes of do, re, mi, fa, so, la, ti, do, together performing the melody of the C major scale.

Untitled (A Pair of Ponies)

无题（一对小马）

2025

一匹黄色的小马和一匹绿色的小马（配有蓝紫色的扶手和红黄色的底座）。

This work presents a pair of small ponies—one yellow and one green—featuring blue-purple handles and a red-and-yellow base.

Untitled (Swing with Loving Heart Seat)

无题（爱心座椅秋千）

2025

秋千上的是一个带有左右两侧爱心扶手的座椅，随着莫扎特钢琴变奏曲《小星星》轻轻摇摆。

This swing features a seat with heart-shaped armrests on both sides. It sways gently to Mozart’s piano variations on “Twinkle, Twinkle, Little Star.”

Untitled (Cake Turntable)

无题（蛋糕转盘）

2025

中间是一个爱心的“蛋糕转盘”，环绕在周围的座椅手拉手，随着生日快乐曲的旋律缓缓旋转。

At the center is a heart-shaped “cake turntable,” with surrounding seats linked hand-in-hand, slowly rotating to the melody of “Happy Birthday.”

Untitled (Love collection and installation)

无题（爱心收集和爱心雕塑）

2021-2025

对爱心的收集和创作 2021-2025 。

Collection and creation of hearts 2021-2025。

客厅

各种颜色的海绵泡沫棒

偶遇到一些小朋友在大树边做的作品

椅子们

某个小区的游乐场

创作者分享：家庭电器，爱心和游乐园

Artist Talk: Household Appliances, Hearts, and Amusement Parks

时间：2025年11月30日（日） 15：00

Time: Sunday, 30 November 2025, 15:00

分享者：丰丰

Speaker：Feng Feng

在这场分享中，艺术家丰丰将回顾他对日常物件的长期关注：从家电与家具的再造，到“爱心”图像的收集与整理，再到近期围绕游乐设施展开的实践。他的创作常常脱离物件既定的使用方式，将功能性的工具转化为具有开放体验的装置，邀请观众重新思考物与人的关系。本次分享也将结合展览滑梯，旋转木马，跷跷板 Slides, Carousels, Seesaws 展开，探讨这些熟悉的设施如何在被重构后，成为关于动作、身体与空间的新的叙事场域。本次分享既是对丰丰创作方法的回顾，也是观众理解展览的重要线索——在家庭物件与游乐设施之间，建立关于动作、空间与玩乐经验的开放性对话。

In this talk, artist Feng Feng will revisit his long-term focus on everyday objects—from the remaking of home appliances and furniture, to the collection and categorization of “heart” imagery, and to his recent practices centered around amusement rides. His works often detach objects from their prescribed uses, transforming functional tools into installations that enable open experiences and invite viewers to rethink the relationship between objects and humans. This talk also connects to the exhibition Slides, Carousels, Seesaws, exploring how familiar facilities, once reconstructed, become new narrative spaces of movement, body, and spatial experience. It serves both as a reflection on Feng Feng’s creative approach and as a key for audiences to understand the exhibition—opening an ongoing dialogue about movement, space, and play between domestic objects and amusement structures.

丰丰过往的作品们

游乐园：游玩和观察

Amusement Park: Playing and Observing

时间：2025年12月13日（六） 14：00

Time: Saturday, 13 December 2025, 14:00

合作者：丰丰

Collaborator：Feng Feng

地点：杭州少年宫

Venue：Hangzhou Children’s Palace

本次展览的主要作品都是不同的可以观看的游乐设施，我们想和大家一起重新回到真实的游乐园场所里面。去观看不同的游乐设施的：运动节奏，颜色，运行方式等等，记录游乐园里面会产生的：机械碰撞的声音，讲话的声音，每一个特定的装置而配套的音乐。通过不同的对于游乐园设施的观察，尝试让大家更理解创作者背后的内容，并且大家一起更快乐地在游乐园里玩耍。

The main works in this exhibition are various visible amusement rides. We would like to invite everyone to return to the real setting of an amusement park—to observe the rhythm, colors, and motion of the different rides, and to record the sounds within: the collisions of machines, conversations, and the specific music paired with each installation. Through these observations, participants can gain a deeper understanding of the ideas behind the artist’s work, while joyfully playing together in the park.

少年宫和游乐园

跨年游园会！

New Year’s Carnival!

时间：2026年1月1日（四） 14：00

Time:Thursday, 1 January 2026, 14:00

地点：卡斯普多特

Venue：cuspdot

我们庆祝在新年的到来的日子里，把空间重新变成充满游乐设施的游园会。游园会历史来源于古罗马的 Saturnalia 节庆，更早的起源可以追溯至古埃及或希腊，用于庆祝冬末春初、万物复苏的仪式。而游园会狂欢节最初的功能包括：暂时打破日常固定、庆祝季节变化、作为社会变革或群体认同的载体。我们在新年的时期，把空间变成有各种各样游戏环节的游园会，我们在真真假假的游乐里面重新理解游乐园。

To celebrate the arrival of the New Year, we will transform the space into a fairground filled with amusement structures. The history of fairs traces back to the Roman Saturnalia, and even earlier to Egyptian and Greek rituals celebrating the transition from winter to spring and the renewal of life. The original functions of carnivals and fairs included temporarily breaking everyday routines, celebrating seasonal change, and serving as a medium for social transformation and collective identity. During this festive time, we will turn the space into a playful fair with a variety of games and activities—through both real and imagined amusements, we will rediscover and reinterpret what an amusement park can be.

图片来自网络

用木头搭建游乐装置

Building Amusement Structures with Wood

时间：2026年1月10日（六） 15：00

Time: Saturday, 10 January 2026, 15:00

合作者：atelier und

Collaborator：atelier und

在本次展览中，大型的“游乐设施”里面也会存在着泡沫和木头两种材料。这两种材料有着不同的支撑状态，木头坚硬而泡沫柔软，坚硬的部分可以成为装置的支撑而柔软的部分可以随着想法的变化而变化。我们邀请到我们的木头好朋友：atelier und，和我们一起去制作小型的可以动的桌面游乐装置，再次搭建一个小型游乐设施。

In this exhibition, the large “amusement facilities” also incorporate two main materials: foam and wood. These materials offer contrasting forms of support—wood is rigid while foam is soft. The solid parts provide structure, while the soft ones can shift with changing ideas. We have invited our good friends at atelier und to join us in creating small, movable tabletop amusement devices, building together another miniature playground.

图片来自网络

线上活动：（爱心收集：发现爱心形状的一切）

Heart Symbol Collection: Discover Everything in the Shape of a Heart

当一个物体具有固定的形态，然后我们对于这样的相同形态进行收集。这样的收集行为背后存在着对于这样的图形所传递出来的形象意义，“爱心”是什么意义的象征呢？ “爱心”会出现在什么样的地方？以什么样的形式出现呢？我们熟悉的爱心符号曾出现在古希腊城市昔兰尼的银币当中，多数人认为银币上的心形取自串叶松香草（Silphiumd）的种子外观；此后“?”常常在历史记录中代表植物。法国中世纪《梨之诗篇》微型画中的类心形图案，使人们产生了对心形与浪漫爱情象征的猜测，1977年纽约市宣传“I?NY”，心形开始广泛被接受为“爱”的代表。

如同心形从植物到情感的象征意演变，丰丰在生活中与爱心总是见面，所以我们想延续爱心的收集，和大家征集包含爱心的图片，可以是来自自然的云朵、树叶，传递心情的涂鸦、食物，可以是路线、管道与水渍，也可以是任何你想分享的爱心样式，大家在小红书上发布爱心图片和展览海报@卡斯普多特@fengfeng以及#cuspdotheart，我们会在2026.01.01新年的第一天抽取5个观众送上我们的爱心礼物。

When an object possesses a fixed form, and we collect multiple instances of this same form, such an act of collecting carries with it the symbolic meaning embedded within that shape. What does the “heart” symbolize? Where does the heart appear? And in what forms does it manifest? The familiar heart symbol once appeared on ancient silver coins from the Greek city of Cyrene. Most believe the heart shape on those coins was inspired by the seed of the Silphium plant. Since then, “?” has often been used in historical records to represent plants. A heart-like motif also appears in the French medieval manuscript The Romance of the Pear, which has led people to associate the heart shape with romantic love. It was not until 1977, when New York City launched the “I?NY” campaign, that the heart symbol became widely accepted as a representation of “love.”

Just as the heart evolved from symbolizing a plant to symbolizing an emotion, Fengfeng often encounters heart shapes in everyday life. So we hope to continue this act of collecting hearts, and invite you to join us in gathering images of heart shapes. They may come from nature—clouds, leaves—or from emotional expressions such as doodles or food. They can be routes on a map, pipelines, water stains, or any kind of heart you wish to share. If you post heart-shaped images and our exhibition poster on Redbook and tag @卡斯普多特, @fengfeng, and #cuspdotheart, we will randomly select 5 participants after the exhibition to receive a small “heart gift” from us.

丰丰（b.1993）从事日常与游戏性的实践，作品常以爱心形状的雕塑呈现，现居长沙，任教于湖南师范大学艺术设计学系。

Fengfeng (b.1993) is an artist whose practice explores everyday experience and playfulness. His works often take the form of heart-shaped sculptures. He lives and works in Changsha, where he teaches in the Department of Art and Design at Hunan Normal University.