ANNOTATED BIBLIOGRAPHY:

Robbe-Grillet, Alain, Two Novels: Jealousy and In the Labyrinth. Grove Press, January 14, 1994.

Robbe-Grillet's novel has an amazingly objective manner. In the novel Jealousy, methodical and

geometric words lead to a kind of repetitive descriptions of objects replace. After reading this book, I

started to think about, if image could be totally replaced by words with highly particularity? With this

question I made my own project.

Source: my own book collection

Cook, Peter. Archigram. Princeton Architectural Press, September 1, 1999.

The book documents works of Archigram. The most important thing I learned from this book is that

when we meet questions in one area, maybe we could find answers in another area. many works of

Archigram stretched out from the architecture area but amazingly solved the problem of

architecture. This hit helped me solve a lot trouble when I am designing something.

Source: my own book collection

Kimmelman, Michael. The Accidental Masterpiece: On the Art of Life and Vice Versa. Penguin Press

HC, The First Edition, August 18, 2005.

This book does not only fill in our knowledge about art but also inspires us to think about connections

between art and the larger world. In this book Kimmelman raised a point which interests me a

lot: The real thing that the contemporary art museums and galleries provide us is not art, but a

seemingly closer relationship between people and art. I used this idea to make my own project

though I could not totally agree with Kimmelman's point. This book is the most important

reference for my MoMA remix Project.

Source: my own book collection

Kuma, Kengo. Introduction of Architecture. Beijing, China: China CITIC Press, 2011.

As a book on the issue of history of architecture, this one does not simply tell people great changes of

formation of architectures in different periods. It focus on changes in thinking and points out all the

questions and troubles people have faced. Those questions and queries all linked with each other and

finally become a chain of thought. Since I make my own work with questions and suspicious as

guidance. This book helps me to find out a more logic and macro way of raising and developing

questions.

Source: my own book collection

Ishigami, Junya. Another Scale Of Architecture. Japan: Seigensha, January 1, 2011.

There two things that I learned from Junya Ishigam: 1. he does experiment on architecture in a

extreme variety of scale, ranging from huge cosmic size, to micro raindrop size. 2. He set cameras in

his work to document people's activity in the space, he consider the reaction of audience is not a

result in his working process, instead of that, it could be a trigger for new queries.

Source: my own book collection

Calvino, Italo. Invisible Cities. Harcourt Brace Jovanovich, May 3, 1978.

This book is a 'faked' version of Marco Polo's expressions of those weird, exotic cities, indeed they

are just reflections on different aspects of Venice. It is a strong reminder for me that there hundred

of approaches when doing my own piece.

Source: my own book collection

Lewitt, Sol. Sentences on conceptual art. First published in 1969

Sol Lewitt says 'the artist’s will is secondary to the process', I appreciated this process-oriented

methodology. That means, we should have an very humble manner when we face given content and

subject, and consider our research as an journey without certain end. All the products and conclusion

we make are periodical since whole working process base on a chain of ideas all linked with one

another.

Source: http://www.altx.com/vizarts/conceptual.html

Wilke, Hannah. Hannah Wilke Through the Large Glass. 16mm film transferred to video, 1976.

Hannah Wilke dancing behind the duchamp's famous glass piece. This piece make me look through

the subtle relationship between objects. It's remix version of art. I use this piece as reference in my

MoMA Remix project.

Source: MoMA

Rist, Pipilotti. Pour Your Body Out. Video installation, 2008

Pipilotti set huge scale projection installation in Museum of Modern Art. People could be totally

merged in the whole space. She really use projector as material instead of tool of playing video. She's

expertise of using projector inspired me a lot.

Source: MoMA

Screening: later Bradley and Ed Lachman, Shadow. Whitney Museum of American Art, October 28,

2010 – April 10, 2011.

The video work takes as its inspiration the unfinished Hollywood film Dark Blood (1993), which was

never completed due to the untimely death of its star River Phoenix. Seventeen years later, Shadow

presents a kind of prologue to the original film, revisiting Phoenix’s character while creating a new

narrative which, when woven together with the original, creates a labyrinthine tale that blurs the

lines between illusion and reality. This piece of work shows a possibility of creating a new story

based on narrative already existed.

Hitchcock, Alfred. Hitchcock Demonstrates Montage. Online video.

After watching this video I start to think about what is the movie editing and what is montage. It is

interesting for me because it brings a new point to me that using montage to edit movie is like

making a high density of time. Making movie is exactly like using time as bricks to build a structure.

Source: http://www.youtube.com/watch?v=ruoPT9JeYHA

Rainer, Yvonne. Trio A. Online video, First created in 1965, filmed in 1978.

Yvonne Rainer's dance interests me with its constructive feature. For me, the dancer does not dance

on a stage, she builds a stage using movement of her body. Here body and space become materials.

Source: http://www.youtube.com/watch?v=Ikaj6QFLZnU

TEN IMAGES WITH CAPTIONS.

Image: "Pavilion for listening to the rain", 1509, Suzhou, China.

I visited some Chinese traditional gardens in Suzhou four years ago. I got an unforgettable

impression of a small pavilion surround by flourishing plantains, called "Tingyuxuan". The name of

this small scale architecture in Chinese means "pavilion for listening to the rain". It's the time when I

was in college of architecture and urban planning. For me, architecture was just related to density,

society and ideology, or cold-proof, defense and protection in earlier times. This is the first time I

knew that, people could build an architecture to just listen to the raindrops falling on the leaves of

plantain. This small architecture broaden my horizon in a flash.

Image: "Ancient male figure", Hunan Museum, Changsha, China.

I once viewed an ancient male figure holding a piece of ‘hu’, a tablet held before the breast by

officials when received in audience by the emperor, in Shanghai Museum, and I firstly misread it as a

man holding a remote control. He was so absorbed in watching an invisible Televetion. This piece of

work was created by ancient Chinese people according to their own experience; while viewing it from

today‚ it is inevitable that I will view this piece differently than an ancient Chinese person. This

ancient figure is the starting point of my exploration on misreading. Misreading certainly exists in

Design. The viewer of a piece of design can read the work in a way the designer may not have

intended. Since every single person is different, it is impossible for the viewers of a piece of work to

completely as well as perfectly 100% understand the ideas of the designer. Vision transmission, just

like many information transmission processes, must be a transmission method with information loss.

Traditional image design education and image design knowledge systems are mostly based on design

element structure, including fonts, typography, color and texture etc, to express ideas, aiming at

minimizing the misreading, which is a sort of “anti-misreading”. Misreading is, therefore, ruled out

from design's scope. But what if we treat misreading in a totally reverse direction?

Image: "peddlers' design", 2004, Shanghai, China.

In China, Selling something on the street is illegal. So that peddlers design their own tools of selling,

trying to run faster before police catch them. Design to fight against a standard (Chinese law) is

based on life instinct.

Image: "Corridor", Bruce Nauman, 1970, Guggenheim Museum, New York.

For me, It is interesting to look at an art piece with certain non-art standard. Can we analyze Bruce

Nauman's work Corridor with a view of Ergonomics (a tellingly scientific standard of scale)? The

minimum width of a public corridor is 1600 mm, this size ensures that two people may pass through

simultaneously. That means, any corridor with a less than 1600 mm width is actually a private place.

The interesting point of Bruce Nauman's Corridor is that, it's a private space with two-way opening. I

guess when Bruce Nauman began to compose the Corridor in his mind, there would be at least two

people presenting in this piece, one was the participant, another was the viewer. When you

participate, you could not see the whole piece; When you see, you could only stay outside. Since the

space is both private and public.

Image: "Imponderabilia", Marina Abramovic and Ulay, 1977

Challenging, uncompromising and often shocking, Abramović’s durational practice continually tests

and experiments with both her mental and physical endurance and that of her audience.

"Imponderabilia" seems like a sexual embarrassment version of Corridor. With a nude couple

standing sideways, audience had to make two choices: Should I pass through? Should I face to the

man or the woman?

Image: "Three Transitions", Peter Campus, 1973.

In three short exercises, Campus uses basic techniques of video technology and his own image to

create succinct, almost philosophical metaphors for the psychology of the self. In these concise

performances, he employs video's inherent properties as a metaphorical vehicle for articulating

transformations of internal and external selves, illusion and reality. To some extent I followed this

simple but strong approach in my own work.

Image: "One minute sculpture", Erwin Wurm.

Since the late 1980s Wurn has developed an ongoing series of "One Minute Sculptures," in which he

poses himself or his models in unexpected relationships with everyday objects close at hand,

prompting the viewer to question the very definition of sculpture. I am interested in how he use

normal things in daily life as his materials, since all the materials that surrounded us could be useful,

as well as the objects, topics involved in contemporary society.

Image: "Room with Broken Sentence", Mark Manders, 1993-1998, Courtesy Zeno X Gallery, Antwerp.

Mark Manders' works have a sort of linguistic manner. He uses daily objects as words to build 'a

sentence in space'. I am trying to put this kind of metaphor into my work.

Image: "Technological dreams series: No. 1", Anthony Dunne & Fiona Raby, 2007, z33 Gallery,

Hasselt, Belgium

I am interesting in Dunne & Raby's piece because they impose man made products personality. It

allow people to rethink about the relationship between man and object.

Image: "Night Revels of Han Xizai", Gu Hongzhong, 964, The Palace Museum, beijing, China.

A Drawing with Chinese ancient perspective. In this ancient visual world, The law of perspective was

not included. This is totally different from the western's painting in that period. Perspective indeed

does not exist, we can see it because of physical structure of our eyeballs. Chinese ancient painting is

interesting for me because it shows another possibility of drawing and documenting, here making

replica of what we really see is not so important.