欧普照明委任艺术项目《正午》正在上演
小枫来为解答以上问题。欧普照明委任艺术项目《正午》正在上演,这个很多人还不知道，现在让我们一起来看看吧~.~！
艺术家张培力
Artist Zhang Peili
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“如果说到新媒体艺术创作，张鼎是一个一直在往前走的人，他的作品中有很多种元素的结合，且现场感特别强。有很多艺术家都会用新媒体这一技术进行创作，但像他这样比较综合性地运用不同材料来创作的人不多。
有一类新媒体创作是比较强调观念的，它并没有让人的感官与视觉有一种简单的满足与愉悦，而是让你在他的情境、氛围当中去思考很多问题，一方面使你受到了物理性/材料/声音的感官刺激；另一方面，这些刺激又会激发你去思考，而张鼎的作品恰好就是这一种耐人寻味的创作。”
“In the realm of new media art,Zhang Ding stands out as someone constantly moving forward.His works are a synthesis of various elements,with a particularly strong sense of presence.While many artists use new media,few employ such a comprehensive approach to materials as he does.There is a genre of new media art that prioritizes concepts over sensory pleasure,engaging viewers to think deeply within its context.Zhang Ding’s creations are exemplary in this regard,provoking thought through a combination of physical,material,and auditory stimuli.”
空间设计师陈耀光
Spatial designer Chen Yaoguang
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“作为设计师离不开所有的物理材料，有重量有尺度的，而“光”则属于精神材料，我认为，即便再昂贵的大理石、奢华的材料，都是“素”的，唯独“光”这样的材料与其他的不同，它是“荤”的。因为光可以直达灵魂，它跟你的对话绝不是视觉上、亮度上、和以往经验中的一种日常对话，它可以瞬间穿越你的情绪，如果再有音乐的相伴，它会让你感动到流泪。我15年前就表达过，“光不仅是点燃方向，更能点燃你的想象。没有想象的日子是黑暗的。”对于敏感又热爱生活艺术的人们来说，它远远不只是照明和照亮，它更是一种置换情绪的助推器。”
“As a designer,I rely on physical materials,which are tangible and measurable,while light is a spiritual material.Even the most luxurious materials are,in essence,plain compared to light,which I regard as'rich'because it can directly touch the soul.Light doesn’t just engage in a visual dialogue;it transcends everyday experiences,piercing through emotions instantly.When paired with music,it can even move you to tears.Fifteen years ago,I said,'Light not only guides but ignites the imagination.A life without imagination is a life shrouded in darkness.'For those sensitive to life and art,light is more than illumination—it’s an emotional catalyst.”
建筑师王子耕
Architect Wang Zigeng
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“除了策展人，我还是一个展陈设计师，我过往的作品都与光有关。我的角色有点介于艺术家与建筑师之间的角色，我曾与邬建安合作展览，当时的策展人为李振华，整个空间的调性与节奏是我们三个人共同商讨出来的。邬建安决定在这1000平米的展厅里打破原有常规的展陈布局方式，创造一种比较有意思的互动与沉浸关系。而其中比较有意思的就是光，我们在整个展厅的对角线做了两个大型探照灯，它们交互打开，形成了变换的光影组合，光与作品的关系是不断变化的。同时它也区别于传统美术馆的匀光布局，实际上提供了一种非常硬质的光，人走在沙地的表面上与邬建安本身的作品有一定的契合度。”
“Beyond my role as a curator,I also design exhibitions,many of which have centered around light.My role often bridges the gap between artist and architect.In a past collaboration with Wu Jian’an,curated by Li Zhenhua,we deliberately broke from traditional exhibition layouts in a1,000-square-meter gallery,opting instead for an immersive environment.Light played a pivotal role,with two large searchlights positioned diagonally across the space,interacting to create dynamic light and shadow patterns.This approach diverged from the typical uniform lighting in museums,offering a harsher,more intense illumination that resonated with the sandy floor and Wu Jian’an’s work.”
建筑学者谭峥
Architecture scholar Tan Zheng
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“光是一种媒介，但它和影像等其他的媒介不同，跟当代的媒介不同的是它是可以有体量的，光是由照明的器具产生的，照明器具本身是有体量的，要用技术体系去控制它、激发它。我对张鼎老师作品的理解，它是一种光所能实现的基础设施功能的集大成之展示，他将这种功能做到了极致，且运用了最当代、最先进的技术，它本身是一种技术物，这种技术物在体量和形式上模拟信号塔，其实是有一种纪念性，是对技术的纪念性的表达。”
“Light is a medium,but unlike other contemporary media,it can possess physicality.It originates from lighting fixtures,which themselves have form and require technology to control and amplify.Zhang Ding’s work embodies the full potential of light as a medium,utilizing cutting-edge technology to its utmost.His installation,with its signal tower-like form,serves as a monumental tribute to technology.”
艺术家张鼎
Artist Zhang Ding
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“前一段时间，我和刘畅刚在阿那亚做完一个戏剧叫做《4.48》，最后的台词是：抛开一切，我们见到光，我觉得这次的作品恰好和这句台词有一个呼应。刚启动这个项目的时候，我开始系统性的学习关于光的知识。我开始发现光其实一直在伴随着我们，但也是常常处于最容易被人们忽略的状态，大多数情况下，我们脱离了光的一种常识在生活。越在这样的情况下，你会发现光这件事对我来讲会变得越来越复杂。你系统性学习光的知识的时候会发现这个东西越来越复杂，但到后来我就开始抛弃这个知识系统，到最简单的感知状态，将所有的状态放到这个项目之中，让所有来的朋友们去感知欧普照明（603515）SDL智慧光谱技术产生的光。”
“Recently,Liu Chang and I completed a theatrical piece called*4.48*at Aranya,ending with the line:‘Leaving everything behind,we see the light.’I feel this project echoes that sentiment.As I embarked on this project,I delved deeply into the science of light,uncovering its omnipresence yet also its frequent disregard.Our lives are so entrenched in light that we often overlook its essence.As my understanding of light deepened,it grew increasingly complex,prompting me to eventually strip away the technicalities and focus purely on perception.I wanted to offer visitors an unfiltered experience of the light produced by OPPLE SDL Technology.”
独立策展人缪子衿
Independent curator Miao Zijin
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“如果重访一些以光为媒介的个人项目，可以看到艺术家提出了视觉、观念、技术、社会性的问题。光作为场域特定的装置介入美术馆，随着信息技术的发展，让建筑内外的人造光与日落同步成为可能(James Turrell“Meeting”，1980–86/2016)；模拟太阳的作品不仅在制造现象，更试图揭示机构运转的条件(Olafur Eliasson，“The Weather Project”，2003)；在公共空间收集路人的脉搏，则让光以移动影像的形式再现观众的身体数据(Rafael Lozano-Hemmer“Pulse Corniche”，2014–15)。这些艺术家的思考和实践刚好回应了今天在场几位老师的分享。”
“Looking back at projects that use light as a medium,we see that artists have tackled visual,conceptual,technological,and societal questions.Light has evolved as a site-specific installation medium,capable of syncing artificial light with natural sunsets,as seen in James Turrell’s*Meeting*(1980–86/2016).Works like Olafur Eliasson’s*The Weather Project*(2003)mimic the sun not just to create phenomena,but to reveal institutional frameworks.In public spaces,artists like Rafael LozanoHemmer use light to translate data into moving images,reflecting the pulse of passersby,as in*Pulse Corniche*(2014–15).These explorations resonate with the themes discussed today.”These revisions aim to elevate the language,enhancing the sophistication and depth appropriate for an elite audience.
来源：上海照明电器行业协会
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