作品／Title：还没定／Of A Piece

材制／Materials: 布料、织物、配饰等 ／ Clothe, thread, ribbons, zippers, and lace
艺术家／Artist: 握手302 ／ Handshake 302
志愿者 ／ Volunteers：黄梓欣　王珺　张淼 ／ Huang Zixin, Wang Jun, Zhang Miao
摄影及剪辑／Videographer and editer：王一新 ／ Wang Yixin

创作人员（部分）／ Participants (partial list)：
王也 操天然 林正丰 周怡婷 熊冬晴 刘夏星 方嘉瑜 文慧怡 呈 魏一一 王圣凯 李家 刘雨晴 陈晴如
陈晴琪 蒋明君 杨锐 王露杨 杨君如 王雁 杨传铸
黄东英 彭星悦 陈键濠 卫思思 孙晴 曹仪华 郑快
王子安 王美淇 黄仲有 刘佳 刘赫 胡然元 黄榕
韩心怡 朱乐桐 李籽萱 刘惠娜 李娜娜 胡欣怡 毛紫依
胡心婷 张皓南 尚子珺 韩翠翠 林炎 唐柳 游江
吴浩妍 罗淳仪 刘丽澄 刘馨语 张艺馨 朱少清 高丽
何心 李其木格 罗奕清 张梓斐 张斐然 谢文苇
张楚茵 王文 冯涂唯 涂明睿 文慧怡 吕若寒 ／
Wang Ye, Cao Tianran, Lin Zhengfeng, Zhou Yiting, Xiong Dongqing, Liu Xiaxing, Fang Jiayu, Wen Hui, Yi Cheng, Wei Yiyi, Wang Shengkai, Li Jia, Liu Yuqing, Chen Qingru, Chen Qingqi, Jiang Mingjun,Yang Rui, Wang Luyang, Yang Junru, Wang Yan, Yang Chuanshou, Huang Dongying, Peng Xingyue, Chen Jianhao, Wei Sisi, Sun Qing, Cao Yihua, Zheng Kuai, Wang Zi’an, Wang Meiqi, Huang Zhongyou, Liu Jia, Liu He, Hu Ranyuan, huang Rong, Han Xinyi, Zhu Letong, Li Zixuan, Liu Huina, Li Nana, Hu Xinyi, Mao Ziyi, Hu Xinting, Zhang Haonan, Shang Zijun, Han Cuicui, Lin Yan, Tang Liu, You Jiang, Wu Haoyan, Luo Tingyi, Liu Lideng, Liu Xinyu, Zhang Yixin, Zhu Shaoqing, Gao Li, He Xin, Liqi Muge, Luo Yiqing, Zhang Zifei, Zhang Feiran, Xie Wenwei, Zhang Chuyin, Wang Wen, Feng Tuwei, Tu Mingrui, Wen Huiyi, Lv Ruohan

Thoughts on “of a piece” from Zhang Kaiqin, a founding member of Handshake 302.

“还没定”是件结果开放的作品，展览开幕时是一片空白，它的外观每一天都随着参与者的加入而变化。作者团队提供了工作场地、基本材料和工具，其余创作部分则交给参与的观众。／ Of A Piece is an open-ended work that began as a blank space of possibilities that participants changed everyday. The Shenzhen Art Museum provided the venue, Handshake 302 supplied materials and tools, and museum visitors offered their talents to create a freeform quilt.

类似的形式就是我们很熟悉的填色游戏和乐高积木。与这些备受欢迎的产品不同，人们不仅是在特定的形式、结构、材料框架下表达自己的想法，同时在这一过程中接受其他人作品的影响和启发，并成为其他人创作的灵感来源，最终和其它作品联系在一起，在整体中找到自己的位置。本作品的“游戏规则”蛮简单：参与者可以使用任何布、配饰、等原料包括已经完成的作品。其实唯一“不能碰”的元素就是正在创造过程的作品，其他的都是《还没定》的元素。这些创作的结果不是孤立存在的“手工”，当它们以群体面貌呈现时，这种复杂所带来的震撼力和想像力却呈现出令人不安的美感。／ The structure of the project resembled that of coloring books and legos; people played within a given form and a set of materials to create objects that expresses something personal. However, Of A Piece differs in practice from these popular toys because we emphasized collective inspiration and improvisation as participants figured out both what they wanted to express and how their individual piece might be placed within a larger whole. The rules of engagement were simple: anything on the boards, on the clothes rack, or in one of the bins could be used to create a piece of textile art. The only elements that were “off limits” for transformation were pieces under construction, however, once pinned to one of the boards (and ultimately the felt wall), the pieces could be taken down and reworked. Consequently, every “work” was not only an independent “handicraft”, but also an element of a larger (as yet undefined) whole. This fundamental collaboration enabled unexpected insights and moments of surprizing beauty.

传统艺术展览方式在泛娱乐化的时代受到的冲击和挑战是前所未有的。在互联网还未普及的时代，“展览”类似于“集市”，是一种人们熟悉的信息、物品交流方式，所以人的“在场”是交流可能性的起点。而面对五光十色的媒体和无孔不入的互联网信息设备，人在物理空间上的“在场”已经不是必要条件，“在线”取代了“在场”的重要性。但是艺术家就是在不断尝试利用各种感官传达意图，所以展览的“现场性”是图像无法取代的。所以在当前地理位置、宣传经费、宣传手段的条件下，一个非娱乐化的艺术展如何把普通观众从光怪陆离的游艺场里吸引到美术馆，在现场感受策展人、艺术家的表达,是我们作品想要进行的尝试。／ The project also allowed Handshake 302 to respond to the challenges and provocations that the internet has posed for traditional art and exhibition culture. Before the internet restructured society, “art exhibitions” functioned analogously to “farmers’ markets”. They were familar gatherings where people came to exchange objects and ideas in expected times and places. Presence at the gathering was itself the condition of possibility for exchange. Today, we take for granted that virtual presence is a new condition of social possibility; indeed, many of us (and yes, this “us” is marked by class and generation) assume that “online existence” has replaced actual “presence” in any gathering. But artists continuous challenge accepted knowledge, including today’s received wisdom that virtual reality is the most important site of social existence. The creators of Of A Piece assert that actual presence in situ can not be replaced. And there’s the rub: how can a non-entertainment, non-commodified piece of art attract ordinary people to come into a museum and be present to work(s) that curators and artists have produced?

深圳美术馆由于地理位置的原因，在东湖公园深处，虽然环境清幽，依山傍水，美术馆常年组织高品质的艺术展览，但却鲜有普通市民知道并前往。握手302团队希望借助城中村的智慧为展览带来更多参观者和参与者。深圳美术馆邀请展览《温度》提供了机会让握手302团队迈出城中村进入美术馆。／ The reason that most Shenzhen residents have never heard of, let alone visited the Shenzhen Art Museum is the same reason that it is beautifully situated: Shenzhen Art Museum is located next to East Lake Resevoir at the edge of Old Shenzhen in Luohu. Once the center of “Special Zone” cultural life, the Shenzhen Art Museum is now peripheral to hipster Shenzhen in Futian and Nanshan Districts. Handshake 302 wanted to bring its urban village street smarts to the challenge of enticing ordinary people to enter museums in general and Shenzhen Art Museum, specifically. The Museum’s invitational exhibition, ThermoMatter Exhibition provided us the perfect opportunity.

在《温度》的展览时间（2015.7.5至7.19）握手302成员想以创造作品为创造观众的机会。换一句来说，我们认为艺术实践本身是吸引观众的最直接方法；互动、参与、动手等在场交流方法恰好体现美术馆不一样的魅力。因此，握手302团队分成三个分队，一组负责在现场组织创作，一组在东湖公园内向游客派发传单（传单详见图片）并介绍展览，还有一组负责整个过程的影像记录（详见附件视频）。为了尝试与破美术馆一贯高贵冷艳的印象产生反差，还引进了商家促销惯用的“抽奖”环节，大奖则是实惠的一桶花生油。／ Throughout the ThermoMatter Exhibition (July 3 through July 19, 2015), Handshake 302 repurposed the creative process itself as an opportunity to create an audience for the museum. In other words, we believe that art practice is the most direct method to attract visitors to the museum. Interactivities, participation, hands-on experience — these forms of exchange and communication can only take place through presence in shared space, revealing the irreplaceable difference of the museum to society. To realize these goals, Handshake 302 organized three teams. The first team took responsibility for organizing the fabrication of an artwork, the second team handed out fliers in the nearby park, and the third team documented the process.To further breakdown the invisible walls that seperate “high art” from the “public”, we also organized a weekly drawing with a first prize of bottle of peanut oil.

作品的一系列行动方式也是在思考公立文化艺术机构与市民的联系。公立文化艺术机构是政府拨款单位，受政府委托宣传和推广文化、艺术作品，进行专业的艺术研究和为市民提供艺术服务的机构。体制内展馆、艺术、观众，作品本身也是在对三者之间关系进行重新思考。“还没定”挑战了这三者的传统角色和行为：作品创作者不再是艺术家而是观众；艺术家成了创意发起的组织者和协作者；美术馆不再是的专家和教化者，而是文化环境的提供者和艺术服务平台。当三者突破原有的限定和角色时互动和交流便以完全不同的面貌呈现出来。／ Of A Piece also participated in larger debates on how one might nuture viable relationships between the museum and the public. In Shenzhen, the municipal government provides funding for museums in order to disseminate information about culture and art, to support art research, and to encourage the development of art more generally. Currently, the relationships that integrate state run galleries, state sponsored art, audiences, and individual artworks are being rethought. Of A Piece intervenes in ths conversation by challenging the traditional roles within a museum experience–museum visitors are repositioned as artists; the artist is repositioned as an organizer, and; the museum is repositioned as a cultural platform, relinquishing its traditional roles as cutural professional and education.Rethinking these three traditional components of museum experience–audience, artist, venue–enables new kinds of interaction and dialogue, which in turn generates new kinds of creativity.

参与到“还没定”作品中创作的观众多达一百五十多位，没有“艺术表达”的包袱，他们带着朴素的意图开始剪裁布料、挑选配件，很多人就把这次动手参与理解为“做手工”，但是作品最终呈现的面貌却令人惊讶。“还没定”总体呈现的是一个抽象形态的纺织品组群，仔细关注细节才令人讶异作者们在方寸之间的心意。对布料材质的搭配、对彩色纽扣的选择、对花边具体用在什么位置的考量、甚至加入了自带的材料，每一个局部都倾注了作者对“什么才是恰当”的思考。由于对创作结果也并没有固定的形式要求，人们凭借对于纺织品的天然感受来组合、想向。这样的“非正式”设计也在不断地给下一位参与者以鼓励和启发，它们不断地替组织者吸引更多的观众坐下、拿起工具和线轴，用一针一线告诉他们“你也可以”。／ Over 150 people participated in the creation of Of A Piece. Without the burden of “artistic expression”, many participants cut clothe according and selected accessories within and against the discourse of “making handicrafts”. As such, the finished product (and its implicit possibilities) caught everyone off guard. The final version of Of A Piece was an abstract, freeform quilt that in the details revealed participants’ aesthetics,skills, and concerns–the basic elements of any piece of art. Participants matched fabrics, selected colors, positioned ruffles and ornatetrims, and even brought their own materials, demonstrating how each considered act is itself an experiment in figuring out “what works?” Importantly, because there was no predetermined goal for the project, participants developed their pieces based on both their understanding of textiles and the experience of working with the materials at hand. In addition, this “informal” approach continuously produced new designs and inspirations as participands learned from and encouraged each other. In turn, their work enticed other participants to sit down at the table, pick up needle and thread, each stitch confirmation that “you can make art, too”.

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