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/ 朱小地工作室","7bed2ce819f410ebd43723259c0616b8",0,10,95,"\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">由建筑师、艺术家朱小地创作的建筑装置《影壁》，于2026年8月22日在胡同美术馆夏季新展中展出。\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼影壁·全过程记录，Yingbi · Full Process Record\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">The architectural installation Yingbi, created by architect and artist Xiaodi Zhu, was presented on August 22, 2026, as part of the summer exhibition at JINGxHutong Museum.\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼开幕宣传海报，Opening Exhibition Poster\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007001.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼展签，Exhibition Label\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007002.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">在中国传统建筑中，影壁既是空间的界面，也是观看的起点。它通过重组人的行进路径，使“进入”不再是直线式的穿越，而成为一种被延宕、被引导、被重新分配视线的空间经验。在这一意义上，影壁并非在简单界定内外、调节视线，更成为了一种关于“观看如何发生”的装置。《影壁》试图在当代语境中重新激活这一空间原型，并将其置入当代艺术关于“物、观看与空间生产”的长期讨论之中。\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">In traditional Chinese architecture, a yingbi, or screen wall, is both a spatial interface and the starting point of viewing. By reorganizing the route of entry, it turns “entering” from a direct act of passage into a spatial experience of delay, guidance, and redistributed sightline. In this sense, the screen wall does not merely define inside and outside or regulate visibility; it becomes a device through which the act of viewing itself is formed. Yingbi(screen wall) attempts to reactivate this architectural prototype in a contemporary context, placing it within the broader discourse of contemporary art around objects, perception, and the production of space.\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼影壁完整画面，Full View of Yingbi\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007003.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">自20世纪60年代以来，当代艺术逐渐从对象转向关系，从物的呈现转向感知机制的建构。极简主义艺术家如唐纳·贾德（Donald Judd）与罗伯特·莫里斯（Robert Morris）通过“特定对象”（Specific objects）削弱象征性叙事，使作品回到空间、尺度与身体经验本身；观念艺术则进一步将作品从物质实体中抽离，强调语言、结构与观看条件的生成；而从理查德·塞拉（Richard Serra）到奥拉夫·埃利亚松（Olafur Eliasson）的装置实践，则不断将空间本身转化为可被进入、被扰动、被重新组织的感知场域。\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Since the 1960s, contemporary art has gradually shifted from object to relation, and from the presentation of things to the construction of perceptual mechanisms. Minimalist artists such as Donald Judd and Robert Morris, through the idea of “specific objects,” weakened symbolic narrative and returned the artwork to space, scale, and bodily experience. Conceptual art further detached the work from the material object, emphasizing language, structure, and the conditions of viewing. Installation practices, from Richard Serra to Olafur Eliasson, have continuously transformed space itself into a perceptual field that can be entered, disturbed, and reorganized.\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼唐纳德·贾德《无题》，\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Untitled work of Donald Judd\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007004.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼罗伯特·莫里斯1971年作品《Fountain》，Fountain,\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">1971 by Robert Morris during Crossroads, Kauffman, Judd and Morris\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007005.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼奥拉夫·埃利亚松《Dimmable firefly double polyhedron sphere experiment》，\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Olafur-Eliasson_Dimmable-firefly-double-polyhedron-sphere-experiment\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007006.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">在这一谱系中，《影壁》并非试图再现某种形式，而是延续一种问题意识：作品如何成为观看关系的生成机制，而非被观看的对象？一只350ml的塑料瓶，它出现在会议桌上、快递驿站旁、健身房饮水机边、孩子的书包侧袋里。没有人会专门去看它。它被握过、拧开、喝掉、捏扁、投入回收箱，然后迅速退出人们的视线。作品选取矿泉水瓶作为基本材料，这一选择并非出于对“废弃物”的考量，而是基于其在当代消费结构中的典型：它是高度标准化、瞬时使用、快速流通的工业容器，也是最缺乏“被观看价值”的日常物之一。当这些被忽略的物被重新收集、排列，并在其中注入不同浓度的色彩之后，它们不再作为“物品”存在，而开始转化为一种空间组织的单元。\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Within this lineage, Yingbi(screen wall) does not seek to reproduce a fixed form. Instead, it extends a question: how can an artwork become a mechanism for generating relations of viewing, rather than merely an object to be looked at? A 350ml plastic bottle appears everywhere: on meeting tables, beside parcel stations, near water dispensers in gyms, or in the side pocket of a child’s schoolbag. No one looks at it deliberately. It is held, opened, emptied, crushed, thrown into a bin, and then quickly disappears from sight. The work takes mineral water bottles as its basic material. This choice is not simply based on the idea of “waste”, but on the bottle’s representative position within contemporary consummation culture. It is a highly standardized, transparent, instantly consumed, and rapidly distributing industrial container, and also one of the most overlooked everyday objects, almost devoid of any conventional “viewing value.” When these neglected objects are collected, arranged, and filled with different densities of color, they no longer exist merely as objects. Instead, they begin to transform into units of spatial organization.\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼大画幅色彩位置关系，Large-Scale Color Relationships\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007007.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼侧面观察影壁时瓶体、水体、色彩的半重叠视觉，\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Overlapping Bottles, Water and Color in Side View\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007008.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007009.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">从远处观看，它呈现为一面连续的界面；而当观者接近时，这一界面不断被拆解为瓶身、液体、空气与光的叠加结构。作品的视觉完整性并不来自材料本身，而来自观看距离与身体移动所生成的临时秩序。在这一点上，它与装置艺术中“去中心化观看”（Decentralized view）的传统形成呼应，也与里克力·提拉瓦尼（Rirkrit Tiravanija）所代表的关系美学（Relational aesthetics）所强调的“作品作为关系发生的场所”构成隐性关联。\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Seen from afar, the installation appears as a continuous surface. As the viewer approaches, however, this surface is gradually dismantled into a layered structure of bottle, liquid, air, and light. The visual integrity of the work does not come from the material itself, but from the temporary order produced by viewing distance and bodily movement. In this regard, it echoes the tradition of the “decentralized view” in installation art, while also forming an implicit connection with the relational aesthetics represented by Rirkrit Tiravanija, in which the artwork is understood as a site where relationships take place.\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼光影加持下影壁的强烈纵深感呈现，Strong Spatial Depth Enhanced by Light\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007010.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007011.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼影壁视觉纵深感与背后冲孔板的对比，\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Visual Depth and Perforated Panel Behind\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007012.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼凑近时单元瓶体、色彩纵深关系，Depth of Bottles and Color at Close Range\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007013.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼瓶底在阳光下的光线矩阵，Light Matrix through Bottle Bases\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007014.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼凝结的水珠、半灌的彩色水体与光影，Condensation, Colored Water and Light\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007015.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">在色彩上，《影壁》参照了中国传统的五方色——青、赤、黄、白、黑。这五种色彩在中国古代不仅是视觉符号，更是宇宙秩序的象征：青色对应东方与木，赤色对应南方与火，白色对应西方与金，黑色对应北方与水，黄色对应中央与土。这种色彩体系贯穿于宫殿、庙宇与民居的建筑装饰中，尤其在瓦当、斗拱与彩画等构件上形成了经年累月沉淀下来的独特色层。\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">In terms of color, Yingbi(screen wall) refers to the traditional Chinese palette of the Five Directional Colors: blue-green, red, yellow, white, and black. In ancient China, these colors were not only visual symbols, but also representations of cosmic order: blue-green corresponds to the East and Wood, red to the South and Fire, white to the West and Metal, black to the North and Water, and yellow to the Center and Earth. This chromatic system runs through the decorative traditions of palaces, temples, and vernacular dwellings, forming distinctive layers of color over time, especially in architectural components such as eave tiles, bracket sets, and painted ornamentation.\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼与蓝天相接的影壁-古典五方色，Yingbi against the Blue Sky – Five Directional Colors\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007016.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">《影壁》并未简单复制这些历史色彩，而是将其视为一种“时间性视觉结构”：那些因风化、氧化与使用而变得温润、斑驳的色调，恰恰承载了材料自身的生命历程。在透明塑料瓶体与彩色液体的介质中，色彩被重新折射、分解并流动化，脱离了原有的静态属性与象征意义，转而成为空间中可被穿透、混合与重组的视觉。观者在不同角度和光线下看到的，并非固定的色块，而是五色相互渗透、彼此映照的动态光谱。\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Yingbi(screen wall) does not simply replicate these traditional colors. Instead, it treats them as a temporal visual structure. Tones softened, mottled, and altered by weathering, oxidation, and use carry within them the life process of the material itself. Through the medium of transparent plastic bottles and colored liquid, color is refracted, decomposed, and made fluid again. It moves away from static symbolism and becomes a kind of visuality that can be penetrated, mixed, and reorganized within space. What viewers encounter from different angles and under changing light is not a fixed color field, but a dynamic spectrum in which the five colors permeate and reflect one another.\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼有色水体、镜面反射加持下的光影效果，\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Light Effects through Colored Water and Reflections\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007017.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007018.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007019.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼装置光影效果局部，Installation Light Effects Partial View\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007020.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007021.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007022.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼装置光影效果近景，Installation Light Effects Close View\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007023.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">因此，《影壁》并非试图在“传统”与“当代”之间建立简单的对照关系，而是将二者置入同一空间机制之中：传统不再作为形式来源，而作为一种关于空间如何被组织的方法；当代材料也不再只是工业产物，而成为可以重新参与空间生产的媒介。五方色在此既非怀旧的装饰，亦非学术的引用，而是一种让色彩回归到身体感知与空间层面的策略。当这样的作品进入胡同，它所面对的不再是一个简单的白盒子空间（White Cube），而是正在不断更新的城市肌理。《影壁》进一步成为一种关于公共空间生成机制的实验。它并不以完成的形态出现，而是在光线、时间与人的经过中持续变化。观众的移动本身成为作品的一部分，观看不再是对对象的确认，而是对空间关系的不断重组。\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼井JING 胡同美术馆 · 庭院空间，JINGxHutong Museum · Courtyard Space\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007024.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼井JING 胡同美术馆 · 咖啡空间，JINGxHutong Museum · Café Space\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007025.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Therefore, Yingbi(screen wall) does not attempt to establish a simple contrast between “tradition” and “the contemporary” . Rather, it places the two within the same spatial mechanism. Tradition does not serve as a source of formulation reference, but becomes a method for thinking about how space can be organized. Contemporary material goes beyond an industrial product, turns into a medium capable of participating again in the production of space. Here, the Five Directional Colors are neither nostalgic decoration nor academic citation; they become a strategy through which color returns to bodily perception and spatial experience. When the work enters the public open space in hutong, it is not limited a neutral white cube, but is adapted into an urban fabric that is constantly being renewed. Yingbi(screen wall) becomes an experiment in the generation of public space. It does not appear as a finished and fixed form, but continues to change through light, time, and the movement of people passing by. The viewer’s movement becomes part of the work itself. Looking is no longer the confirmation of an object, but a continuous reorganization of spatial relations.\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼影壁与老胡同的自然景观相辅相成，Yingbi within the Hutong Landscape\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007026.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼外国游客与影壁合影，International Visitors with Yingbi\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007027.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼观众凑近观察影壁，Visitors Observing Yingbi Up Close\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007028.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼观众观察影壁近景，Visitors Observing Yingbi Close View\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007029.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼观众研究影壁固定方式，Visitors Examining the Installation Method\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007030.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007031.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">其实这种重组从作品搭建之初便已开始：由于每个水瓶均需手动拧上墙，艺术家邀请每一个路过的人，无论是游客还是胡同居民，亲手参与“拧瓶子”的安装过程。每一次旋转，既是在调整色彩密度，也是在把个人的力度、节奏与观看角度写入墙面之中。由此，《影壁》不再只是被安置在社区中的一件完成品，而是在生成过程中呈现了公共空间被共同改善、共同使用的可能：路人的手势成为作品的一部分，社区的边界也在参与中被重新感知。\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼实验过程：上色，Experiment Process: Coloring\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007032.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007033.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007034.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007035.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007036.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007037.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">In fact, this process of reorganization began during the installation itself. Since each bottle had to be manually screwed onto the wall, the artist invited passersby, whether visitors or hutong residents, to participate in the process of “assembling the bottles” by hand. Each rotation adjusted the position of color, while also inscribing an individual’s strength, rhythm, and viewing angle into the wall. As a result, Yingbi(screen wall) is more than simply a completed object placed within a community. During its making, it reveals the possibility of public space being collectively improved and collectively used. The gestures of passersby become part of the artwork, while the boundary of the community is newly perceived through participation.\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼艺术家朱小地向嘉宾介绍影壁，Artist Xiaodi Zhu Introducing Yingbi to Guests\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007038.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼艺术家朱小地与嘉宾共同观察影壁，Artist Xiaodi Zhu and Guests Observing Yingbi\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007039.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼艺术家朱小地上前检查瓶子，Artist Xiaodi Zhu Checking the Bottles\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007040.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">如此可触碰、可介入的过程，进一步拉近了人与艺术之间的距离，消解了传统展览中艺术与公众之间的间隔。艺术不再被放置在日常生活之外，而是在街道、社区与人的身体动作之间发生；《影壁》因此从一面装置墙，转化为一场关于公共参与和社区更新的空间事件。从这一意义上说，《影壁》所讨论的并非“墙”，而是“界面如何成为经验”；并非“材料如何被使用”，而是“物如何进入观看结构”。《影壁》在胡同美术馆的实践，恰好提供了这样一种可能：艺术不必把日常生活隔绝在外，而可以成为社区、街巷与城市记忆之间重新建立联系的一种方式。\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">This tactile and participatory process further narrows the distance between people and art, dissolving the separation between artwork and public often found in conventional exhibition settings. Art is brought back into the rhythms of everyday life. Instead, it takes place between the street, the community, and bodily action. In this way, Yingbi(screen wall) transforms from an installation wall into a spatial event about public participation and community renewal. In this sense, what Yingbi(screen wall) discusses is not simply “the wall” , but how an interface becomes an experience. It is not merely about how materials are used, but how objects enter a structure of viewing. The practice of Yingbi(screen wall) at JINGxHutong Museum offers one possible answer: art does not have to separate itself from everyday life. It can become a way of rebuilding connections among community, street, and urban memory.\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">▼艺术家朱小地、贾靖、王成普与胡同美术馆馆长娄西、策展人棉布、王星予合影，\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Xiaodi Zhu, Jia Jing, Wang Chengpu, Lou Xi, Mianbu and Wang Xingyu\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">\u003Cimg src=\"https://www.iecwww.com/uploads/images/20260915007/20260915007041.jpg\" />\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">创作团队：朱小地、黎玥含、朱亦萱、王兴华、赵广华\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #333333; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif;\">特别鸣谢：潘少东、胡芳、邱泽湖、孙江平、卢振新、石林、李春峰、棉布、娄西\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Creative Team: Xiaodi ZHU, Yuehan LI, Yixuan ZHU, Xinghua WANG, Guanghua ZHAO\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Special Thanks: Shaodong PAN, Fang HU, Zehu QIU, Jiangping SUN, Zhenxin LU, Lin SHI, Chunfeng LI, Mianbu, Lou XI\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Project name：Screen wall\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Design：ZXD Architects\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Website：https://www.zxdarchitects.com/zh\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Contact e-mail：zxdarchitects@zxdarchitects.com\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Design year & Completion Year：From July to August, 2026\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Leader designer & Team：ZXD Architects\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Project location：Beijing, JINGxArt museum\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Gross Built Area (square meters)：15.84㎡\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\">\u003Cspan style=\"color: #999999; font-family: 'Microsoft YaHei', 'Helvetica Neue', 'PingFang SC', sans-serif; font-size: 14px;\">Brands / Products used in the project：Recycled plastic bottles, colored liquid, LED lights\u003C/span>\u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 2;\"> \u003C/p>\n\u003Cp style=\"text-align: justify; line-height: 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environment construction），简称IEC。IEC国际环境建设是环境建设互联网门户网站，集设计、勘察、咨询、施工、材料、设备于一体，致力于让企业、团队、人才共享共赢，共同发展的环境建设专业互联网平台。IEC国际环境建设平台为环境建设行业各专业领域的企业、团队、人才，量身打造专业专属互联网模板，在平台上实现信息互联互通，实时更新，是资源共享、专业互补、高效便捷的合作平台，也是环境建设行业全产业链互联网大数据平台。主要核心服务有：项目案例、设计专辑、品牌机构、企业资质、项目导航、项目获奖、求职招聘、设备建材、高新科创、邀约合作等十大版块。","周一到周五09:00-18:00","IEC官方客服","https://www.iecwww.com/uploads/20210727/c549a9e212ab5c7a84f1d069b91f5544.png","京B2-20222776","https://dxzhgl.miit.gov.cn/dxxzsp/xkz/xkzgl/resource/qiyechaxunX.jsp?num=%25E5%258C%2597%25E4%25BA%25AC%25E5%258D%258E%25E5%259F%258E%25E8%25BF%259C%25E5%25A4%25A7%25E5%259B%25BD%25E9%2599%2585%25E5%259F%258E%25E5%25B8%2582%25E8%25A7%2584%25E5%2588%2592%25E4%25BA%25A7%25E4%25B8%259A%25E5%258F%2591%25E5%25B1%2595%25E8%2582%25A1%25E4%25BB%25BD%25E6%259C%2589%25E9%2599%2590%25E5%2585%25AC%25E5%258F%25B8&type=xuke","/www/wwwroot/main.iecwww.com/public","5","\u003Cp>　　人员专辑服务标准\u003C/p>\r\n\u003Cp>　　1.人员专辑入驻成功后可查阅 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IEC国际环境建设网内全部付费资源信息，包括但不限于：查询业务新商机(项目导航)、资质企业名录(企业资质)、上下游企业名录(品牌机构)、人才简历库等；\u003C/p>\r\n\u003Cp>　　2. 设备建材入驻成功后享有专属后台1个；\u003C/p>\r\n\u003Cp>　　3. 设备建材入驻会员可在专属后台自行编辑发布：企业简介信息；上传商品、商品图文详解、商品管理分类等。\u003C/p>\r\n\u003Cp>　　4. 设备建材入驻会员可在专属后台查看用户评论信息；\u003C/p>\r\n\u003Cp>　　5. 在网站“设备建材”版块中将会展示您所上传的店铺信息、联系方式与建材商品等信息；\u003C/p>\r\n\u003Cp>　　6. 入驻会员享受网站客服一对一服务，可辅助入驻会员查找或推荐资源。\u003C/p>","\u003Cp>　　特价建材服务标准\u003C/p>\r\n\u003Cp>　　1.特价建材入驻时需要缴纳9000元保证金，IEC平台依据销售产品类型收取平台使用费。入驻成功后可查阅 IEC国际环境建设网内全部付费资源信息，包括但不限于：查询业务新商机(项目导航)、资质企业名录(企业资质)、上下游企业名录(品牌机构)、人才简历库等；\u003C/p>\r\n\u003Cp>　　2. 特价建材入驻成功后享有专属后台1个；\u003C/p>\r\n\u003Cp>　　3. 特价建材入驻会员可在专属后台无限发布特价建材商品内容；\u003C/p>\r\n\u003Cp>　　4. 特价建材入驻会员可在专属后台查看交易记录、用户评论信息、订单信息、申请开票信息等；\u003C/p>\r\n\u003Cp>　　5. 在网站“特价建材”版块中将会展示您所上传的店铺信息、联系方式与建材商品等信息；\u003C/p>\r\n\u003Cp>　　6. 您所发布的建材商品，用户可进行购买、评论；\u003C/p>\r\n\u003Cp>　　7. 入驻会员享受网站客服一对一服务，可辅助入驻会员查找或推荐资源。\u003C/p>","\u003Cp>　　◎ 注册 | 登录 | 认证\u003C/p>\r\n\u003Cp>　　个人、团队或者企业，均可以申请\\n需要线下签署战略合伙人协议，缴纳年费，年费分为3年度与终身制两种模式。\u003C/p>\r\n\u003Cp>　　战略合伙人认证成功后，可使用邀请好友功能进行市场推广。\u003C/p>\r\n\u003Cp>　　◎ 推广 | 邀请\\n战略合伙人日常可使用IEC国际环境建设网-公众号/服务号，进入个人中心-邀请好友功能进行市场推广。可通过邀请好友-邀请链接页面中的1.复制邀请链接；2.小程序邀请；3.下载邀请图片至手机相册的推广方式，进行邀请用户成为IEC平台用户，会员或“新战略合伙人”缴费成功后战略合伙人取得相应推广权益。在邀请好友-邀请记录页面中查询推广或邀请用户的记录以及开通记录。缴费成功的用户可在邀请好友-我的好友页面中查询具体详情。\u003C/p>\r\n\u003Cp>　　◎ 权益结构\u003C/p>\r\n\u003Cp>　　①VIP会员推广权益\u003C/p>\r\n\u003Cp>　　战略合伙人可对IEC平台VIP会员服务进行用户推广，用户缴费成功后可获得推广权益，VIP会员续费不断缴，战略合伙人持续获得推广权益。\u003C/p>\r\n\u003Cp>　　②入驻会员推广权益\u003C/p>\r\n\u003Cp>　　战略合伙人可对IEC平台入驻会员（其中包含设计师、品牌机构、设备建材三类）服务进行用户推广，用户缴费成功后可获得推广权益，入驻会员续费不断缴，战略合伙人持续获得推广权益。\u003C/p>\r\n\u003Cp>　　③“新战略合伙人”推荐权益\u003C/p>\r\n\u003Cp>　　战略合伙人可以推荐“新战略合伙人”，成功推荐“新战略合伙人”，可以获得推荐权益。“新战略合伙人”认证年费续费不断缴，战略合伙人持续获得推荐权益。\u003C/p>\r\n\u003Cp>　　④VIP会员团队权益\u003C/p>\r\n\u003Cp>　　战略合伙人推荐成功的“新战略合伙人”，也可对IEC平台VIP会员服务进行用户推广，用户缴费成功后战略合伙人可获得团队权益，“新战略合伙人”推广成功的VIP会员续费不断缴，战略合伙人持续获得团队权益。\u003C/p>\r\n\u003Cp>　　⑤入驻会员团队权益\u003C/p>\r\n\u003Cp>　　战略合伙人推荐成功的“新战略合伙人”，也可对IEC平台入驻会员（其中包含设计师、品牌机构、设备建材三类）服务进行用户推广，用户缴费成功后战略合伙人可获得团队权益，“新战略合伙人”推广成功的入驻会员续费不断缴，战略合伙人持续获得团队权益。\u003C/p>","/uploads/image/20250103/2025010317255427658JRQn0yZGN8TDz.docx","/uploads/image/20220303/2022030311191746407hwGlJUJxwOSNB.png","1. 入驻年卡：入驻年卡分为实体卡与电子卡两种类型；\r\n2. 购买渠道：可通过联系IEC平台官方客服购买；也可联系推荐注册账号的战略合伙人购买，均享受限时购买优惠；\r\n3. 年卡绑定：如您购买实体年卡，在使用前需要在“个人中心-入驻会员-入驻年卡-入驻年卡绑定”功能中先进行绑定年卡，输入卡号与兑换码即可立即绑定；如您购买电子年卡，IEC平台会直接将电子卡号与兑换码发送至您年卡账户内无需二次绑定；\r\n4. 年卡抵扣：在使用时：您在“个人中心-入驻会员-人员专辑入驻或品牌机构入驻或设备建材入驻”填写申请表单，可以选择年卡抵扣支付方式进行抵扣年费；\r\n5. 年卡时效：本入驻年卡无开通有效期；用户进行年卡抵扣支付后，入驻使用权益有效期为1年，到期无续费自动失效；\r\n6. 年卡转发：持有入驻年卡用户可通过手机号或分享链接方式赠予他人使用，转发后您不在享有此卡使用权；\r\n7. 注意事项：此卡请用户自行妥善保管，如遗失IEC平台概不负责","审核步骤:\r\n\r\n1.工作人员在看到您提交审核的第一时间与您取得联系\r\n2.审核的所有流程都将在线下进行\r\n3.工作人员会对您所提交的办公地址进行实地考察\r\n4.审核信息通过后，平台会对您的团队进行岗前培训，以便让您的团队以最快的速度开展后续工作\r\n5.所有审核流程通过后，您将正式成为我们的代理商","/uploads/image/20250331/202503310948530496PSzcS6M9GVGvHc.png","1. VIP年卡：VIP年卡分为实体卡与电子卡两种类型；\r\n2. 购买渠道：可通过联系IEC平台官方客服购买；也可联系推荐注册账号的战略合伙人购买，均享受限时购买优惠；\r\n3. 年卡绑定：如您购买实体年卡，在使用前需要在“个人中心-VIP年卡-VIP年卡绑定”功能中先进行绑定年卡，输入卡号与兑换码即可立即绑定；如您购买电子年卡，IEC平台会直接将电子卡号与兑换码发送至您年卡账户内无需二次绑定；\r\n4. 年卡抵扣：在使用时：您在“个人中心-VIP会员开通，选择一年会员缴费”，您可以选择年卡抵扣支付方式进行抵扣年费（月度、季度、半年度不适用）；\r\n5. 年卡时效：本VIP年卡无开通有效期；用户进行年卡抵扣支付后，VIP使用权益有效期为1年，到期无续费自动失效；\r\n6. 年卡转发：持有VIP年卡用户可通过手机号或分享链接方式赠予他人使用，转发后您不在享有此卡使用权；\r\n7. 注意事项：此卡请用户自行妥善保管，如遗失IEC平台概不负责"]