PLAN8T AIR S21 “The invisible sound”

Yiding Zhang is a multimedia artist and guitarist whose works are mainly related to installation, video, painting and sound sampling, and audiovisual art performance. His work focuses on human emotions throughout modern society, presenting the materials and media of life in a tender way and actively exploring the delicate situation of the 'identity' of sound in the realm of modern life. He was nominated for the Art 11 Prize 2020 inaugural K11 Young Art Creators Award.

张一丁是一位多媒体艺术家，吉他手，他的作品主要涉及装置、影像、绘画以及声音采样，视听艺术表演，其作品关注于整个现代社会的人类情感，善于将生活材料和媒体以一种温柔的方式呈现给观众，并积极探讨声音的“身份性”在  现代生活领域中的微妙处境。他入围了Art 11 Prize 2020首届 K11 新锐青年艺术创作奖。

30°24'59.6"N，114°25'20.9"E
Installation

30°24'59.6"N, 114°25'20.9"E is a sound Installation, using a variety of road signs commonly used for traffic and protection, as well as safety signs, blockages, and other ready-made objects in combination with sound playback objects.

The work is completed during the residency. Due to the epidemic, the artist was forced to participate in this residency remotely and stayed in Wuhan. At the same time, at the beginning of the residency program, Jiangxia District of Wuhan where the artist lives, had a new round of the epidemic, the city government decided to block all major traffic roads and highway sections leaving Jiangxia District and enforced isolation. Under the conditions of "non-domestic segregation and semi-lockdown" and a very limited creative environment, the artist uses field recording methods to record various complex, dull, anxious, or anxious events that appear in a limited activity space from an objective perspective. The languid voices, together form the memory landscape of the closed area.

The whole work is composed of different roadblocks, safety signs, traffic signs, etc., forming an semi-closed space. Ignoring the rules of road traffic safety, the artist relocated and arranged them to form a chaotic and disordered space. But audiences can hear a lot of sounds when they walk or pass by, which are played through hidden speakers. These roadblocks and prohibition signs represent strict enforcement of rules in modern society, an order under regulations, just like the ossified traffic control during the lockdown period. By resetting or even adapting its slogans or icons, the artist hopes to dissolve the cold and harsh symbols with artistic language and buffer the discomfort of institutional rules in the contemporary social context. At the same time, the voices during the lock-up period are part of the force majeure event and become a kind of voice conflict behind these signs under the highly refined event.

This is not so much a residency project, as it is an attempt by the artist to think about and dialogue with the virus, epidemic prevention, and the personal living space wrapped in the current human social city when force majeure and special times occur. This kind of dialogue is more like self-examination and monologue. In the post-epidemic era, art is a kind of comfort and “active and passive” creation in the face of the epidemic.

《30°24'59.6"N，114°25'20.9"E》是一件声音装置作品，利用在交通道路安全中普遍适用的各种路标以及防护、安全标识牌、指示牌、封锁路障等各个现成物结合声音播放物件组成。

该作品完成于本次驻留期间，由于疫情反扑的不可抗力因素，艺术家被迫转于线上并继续留在所在城市武汉进行驻留项目，同时在驻留计划开始之初，艺术家居住所在地——武汉市江夏区，在出现新一轮疫情后市政府决定封锁所有离开江夏区的各交通主干道以及高速路段，进行强制封区隔离。艺术家在“非居家隔离的半封锁”以及非常有限的创作环境条件下，利用田野录音手段，从一个客观的身份角色，记录了在有限的活动空间下出现的各种繁杂、沉闷、焦虑或是怠倦的声音，它们共同形成关于封区的记忆景观。

整件作品由不同的路障、安全标识、交通指示牌等组成，形成一个“半封闭”的空间，并忽略道路交通安全的规则，艺术家对其进行重新安置与排列，组成一个混乱、无序的空间，但观众在其中行走或路过时却可以听到许多声音，通过隐藏的扬声器或耳机播放出来。这些路障、禁行标识在现代社会中代表着一种规则的严格执行，一种规章制度下的命令，就如同封区期间的冷酷的交通管制，艺术家通过重置甚至改编其标语或图示希望对冰冷又严酷的符号用艺术的语言进行消解，缓冲制度规则在当代社会语境中的不适感。同时在封区期间留下的声音是不可抗力事件的一部分，成为了被高度提炼的事件下这些标识背后的一种声音冲突。

与其说这是一件驻留计划作品，不如说是艺术家在不可抗力因素和特殊时期发生之时，与病毒、防疫以及被当下人类社会城市所包裹的个人生活空间的一次尝试思考、对话。这种对话更像是自省式的、独白式的，

在后疫情时代下，艺术面对疫情的一种“聊以慰藉”的安抚、一种“主动的消极”式的创作。