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Thanks JXY Studio for authorizing the publication of the project on mooool, Text description provided by JXY Studio.
JXY Studio：对于现成物的争辩距离我们已然超过一个世纪，而关于机械复制的讨论距今也将接近百年，如果两者之间可以被认为具有交集，那么这种交集或许在很大程度上植根于其共同的起源，即从工业革命伊始人类生产与制造方式的机械化变革。而这种机器时代所产生的波澜，包括为了被复制而创造的物质，及其对于制作与创作关系的扰动，一直蔓延持续至今。
JXY Studio:The debates surrounding found objects have existed for over a century, while discussions on mechanical reproduction are nearing the same milestone. If we were to identify an intersection between the two, it would likely be rooted in their shared origins—the mechanized transformation of production and manufacturing in the human world catalyzed by the Industrial Revolution. The upheavals of the machine age, encompassing materials created for the very purpose of replication and the disruption of the relationship between making and creating, continue to ripple through to the present.
▽艺术装置-潺潺 ©JXY Studio
▽装置由日常可得的批量制造家居用品，以及随处可见的现成工业生产零件所构成 ©JXY Studio
在当下时代的社会生产模式中，由所谓机械复制手段所制作而成的现成物，无疑成为人类日常活动当中最为大量而普遍，甚至熟视无睹的客观存在。从实体世界的物质材料，到虚拟世界的数字程序，从巨型工业机器所驱动的庞大制作，到精密电气元件所控制的微观反应，不断根据社会各自的市场供求关系，灵活且批量地渗透至集体与个体的运作系统中。
In contemporary modes of social production, readymades—products created through so-called mechanical reproduction—are undoubtedly the most ubiquitous and pervasive objects embedded in human daily life, so commonplace as to escape notice often. From tangible physical materials to intangible digital programs, from mass production driven by large-scale industrial machinery to microscopic reactions controlled by precise electronic components, these objects adapt to market demands and infiltrate collective and individual systems with unparalleled flexibility and scale.
▽设计图纸 ©JXY Studio
装置作为对于如是语境的综合回应，由日常可得的批量制造家居用品，以及随处可见的现成工业生产零件所构成。其中稳定的结构部分，除材质模糊的视觉反射以外，并不因外界而变化，而非稳定的置入部分，则因特定的自然元素作用而运动，从而其表现形式可以被视作机械的自然，抑或自然的机械，可以被视作复制的批量制品，抑或挪用的特殊作品。
The installation emerges as a composite response to this context, constructed from mass-produced household items readily available in daily life and ubiquitous industrial components. The stable, structural elements remain unaffected by external conditions, aside from the blurred visual reflections of the materials. Meanwhile, the unstable, inserted elements move in response to specific natural forces. As such, the installation’s expressive form can be interpreted as the mechanical rendered natural, or the natural rendered mechanical, as mass-produced copies, or singular appropriated works.
由此，装置试图重温某些启示并对其予以补充。即理解与应用由机械复制手段，包括以实体方式操作物质材料，及以虚拟方式运作数字程序，所制作生成得到的批量现成物，并于其中注入差异化、社会化、个人化等挪用的努力，从而使其得以适应性地演化生长，或许将成为这个被工业机械与数字技术所深刻震荡的时代浪潮中，社会生产运转的母题之一。
Thus, the installation seeks to revisit and expand upon certain critical insights. That is, to comprehend and utilize mass-produced readymades generated through mechanical reproduction—whether involving physical manipulation of material substances or virtual operation of digital programs, while imbuing these objects with the endeavor of appropriation, including differentiation, social contextualization, and personalization, enabling which to transform and evolve adaptively, could become one of the central motifs in the systems of social production, amid such an era profoundly shaped by the intertwined waves of industrial machinery and digital technologies.
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