蔡采贝：眼泪与观众
Cai Caibei：Tears and the audience
Date:
19 Mar. - 12 May. 2024
accessible between 12:00 - 19:00 （closed on Monday）
Address:
cuspdot, 79 Fengshan Rd, Hangzhou, China, 310000
Artists:
Cai Caibei 蔡采贝
Introduction:
"Tears and the audience " is an exhibition of Cai Caibei‘s recent works, running from 9 March to 12 May. The exhibition presents several series of works by the creator: Sliver Cave, Tears, the Audience, and The Performer.
Cai Caibei‘s works are mainly in the medium of animation, and she tries to develop other mediums such as text, sculpture, and sound on the basis of animation. Cai Caibei‘s works focus on the relationship between the viewer and the creator as well as the work, and the narrative threads are always private, based on the relationship between the viewer and the narrative, and the state between such private narrative images and poems is always hidden in the images, and she also emphasises on the textual and literary nature of the works.
In the Sliver Cave project, Cai Caibei compares the experience of viewing to cave exploration by dividing the film into different chapters. Throughout the film, the "cave" she narrates seems to be a wormhole linking the two dimensions, and the whole film is constantly discussing the relationship between the positive and negative, the viewing and the viewed, jumping around and emphasizing the relationship between the two contrasting groups. The whole space extends from the screen to the real cinema hall, through which the viewer enters an imaginary space. In the project Audience, she writes texts of the imagined audience, which are exhibited together with images of the audience's portraits, in the belief that as the audience looks at the image, the image also looks back at the audience. In the project Tears, she transforms the flat, everyday product of paper towels into a three-dimensional product, which is used to wipe up all kinds of traces: crumbs left behind, bodily secretions, snot, drool, menstrual blood, and tears shed at the cinema. In The Performer's project, she emphasises sound in everyday experience, giving the place of the creator to the viewer, and writing the viewer's experience of the exhibition as a whole, with the viewer being able to use their hands to make objects sound, trying to make any kind of sound they see, read, or experience in the exhibition.
Cai Caibei‘s work extends from the early exploration of the sense of touch in animation to the concept of the space of the "screen" we watch itself: rather than placing objects in the existing space of the frame, the dynamic object constructs the space within the frame. The exhibition space also tries to extend the spatial state of the animation presentation, trying to use the exhibition space to extend the space in the frame constructed by the creator, and to let the audience enter the physical and imaginary space constructed by the creator.
“眼泪与观众 Tears and the audience” 展览带来蔡采贝近期的创作，展期由3月9日至5月12日。主要呈现创作者的几个作品系列：银幕，眼泪，观众以及演奏者等项目。
蔡采贝的创作以动画媒介为主，尝试在动画的基础上衍生出对于文字，雕塑，和声音等其他媒介的尝试。蔡采贝的创作关注观众和创作者以及作品之间的关系，叙事线索也总是是一种私人的，立足于观看关系而产生的叙事，这样的私人叙事影像和诗歌之间状态总是在影像中若隐若现，她也强调作品的文本性和文学性。
在 银幕 Sliver Cave 的项目中，蔡采贝通过分不同的章节，把观看体验比喻成洞穴探索，在整个片子中，她讲述的“洞穴”似乎是链接两个空间的虫洞，整个片子不断的讨论：正面反面，观看和被观看，在两个对照组中不断的跳跃和强调。整个空间从银幕延伸到真实的影院大厅，观众通过银幕进入一个想象的空间。在 观众 Audience 的项目中，她书写了想象的观众的文本，配合观众肖像的图像一起展出，她认为在观众观看影像时，影像也在回看观众。在 眼泪Tears 的项目，她使平面的日常用品纸巾变成三维的产物，纸巾用来擦各种痕迹：⻝物留下的残渣、身体分泌物、鼻涕、口水、经血和看电影时候流下的眼泪。在 演奏者 The Performer 的项目中，她强调日常体验中的声音，把创作者的位置让出给观众，书写了观众在整个展览中的体验，观众可以用手使物件发声，尝试去发出在展览中观看，阅读，体验到的任何形式的声音。
蔡采贝的作品从早期的探讨动画中的触感延伸到探讨我们观看的“银幕”本身的这一空间的概念：不是将物放置在取景框这个现有的空间里，而是动态的物构建出了取景框内的空间。展览空间同时也尝试扩展动画呈现的空间状态，试图用展览空间来延伸创作者构建的取景框中的空间，以及让观众切实的进入创作者构建的实体和想象的空间。
银幕 Sliver Cave
14分24秒
14 min 24 sec
The movie screen is a flickering realm of ghosts, its vague and floating perception is shaped by specific surroundings. Every movie experience is like a cave exploration, with eyes following the flickering of a firelight. From left to right, top to bottom. On one hand, the space extends from the screen to the cinema hall; on the other hand, the audience enters an imaginary space through the screen. The screen in front becomes a wormhole linking these two spaces. However, the space in the screen is not always there, instead, the object constructs the space in the screen. As for me, this film is a modernist cave painting. Within, thousands of frames form its rock walls, each frame is the the mark of human traces. At the same time, these frames are also the negatives of the creator's hands, which will eventually overlap with images of prehistoric handprints.
电影银幕是一个闪烁的幽灵之地，其模糊、漂浮的感知是由特定的环境塑造的。每一次的电影体验如同洞穴探索，视线借着火光起伏。左至右，上至下。一方面，空间从银幕延伸到真实的影院大厅，另一方面，观众通过银幕进入一 个想象的空间。眼前的银幕成为了链接这两个空间的虫洞。然而不是将物放进现已有的空间里，相反，是物构建出了银幕里的空间。我尝试将影像作为现代主义洞穴绘画。在其中，上千张的帧组成了它的岩壁，每一帧都与作为人类痕迹标志的手印相遇。同时，这些帧也是创作者双手的底片，最终它们将会与史前手印的图像重叠在一起。
观众 Audience
尺寸:8 X10厘米/个
Size：8*10cm/each
材料:锌板,文字
Material: zinc plate, text
"The person you see does not exist because you see them; they exist because they are looking at you.”
When you are watching a film, the film is looking back at the audience. But rather than being like a mirror, it is more like an echo. There exists a delay and distortion between them, rather than an exact replication. Like the ancients who wore masks for rituals, they hid their faces to get closer to their prey. The audience sitting in the cinema is similar to the ancients, their faces and bodies are wrapped in darkness, and only the features lit up by the screen are visible. Please take your seats and freely continue the stories of these characters.
“你所看到的人，并不会因你看到而存在，他存在着，是因为他在看着你。”
当你在观看影像时，影像也在回看观众。但与其说像是用眼睛观看的镜子，不如说两者更像是听的到回音，它们之间存在着一种延时与变形，而不是一模一样的复刻。如同古时候石壁上戴着面具的人，他们把自己的面孔隐藏掉以更接近猎物。坐在影厅里的观众也同样，脸与身体的轮廓被黑暗包裹，仅仅露出被屏幕照亮的五官。欢迎对号入座并把这些⻆色的故事自由地续写下去。
眼泪 Tears
尺寸: 15厘米/个
Size：15cm/each
材料:锡片浮雕折叠物 tin embossing folds
Material: tin embossing folds
The tissue remains flat and quiet before being used. It is always used to wipe various marks: food residues, body secretions, snot, saliva, and menstrual blood. Once it comes into contact with the traces of daily life, it will turn into small sculptures with your physical imprint. The tears are not a water droplet shape. They are uniquely shaped creatures made of tissue, reflecting light from every angle.
纸巾在没有被使用前一直保持着平面的状态，安静的躺着或蜷曲着。它总是被 用来擦各种痕迹:⻝物留下的残渣、身体分泌物、鼻涕、口水、经血。一旦 它接触到了生活中的痕迹，你再随手一揉它就变立体了。它们是具有你身体印 记的小型雕塑。看电影时留下的眼泪不是水滴状的，它们是由纸巾构成形象各异的生物，并向各个⻆度折射出光芒。
演奏者 The Performer
尺寸: 尺寸可变
Size：variable size
材料:木板 骨头 五金件 拾音器 声卡
Material：wooden boards, bones, hardwares, pickups, sound card
合作者：Suru
Collaborator: Suru
I stood, swinging my arms,
Sniffing, and reading the exhibition sign.
I muttered, making some sounds,
With pauses or continuities.
One word is overlapped with another,
Which are stirred together, sounding blurry.
I squinted my eyes and focused,
Walking around and hiccuping.
Standing in front of a work just passed by,
I stared at it and whispered to my companions.
"How to describe the sound of bubbles disappearing in words?"
"Pada, Bobo and Pengpeng?"
"No, none of them sounds like it."
"The sound of bubbles cannot be described in words, because once being written down, it can appear and disappear repeatedly. But the sound of bubbles that I want to see only appears once, Pa."
The light went out.
I did not go onstage, nor did I leave.
我站着，摆动双臂。
抽了抽鼻子，阅读展签。
我嘟囔，发出声音。
停顿的、连续的声音。
一个词语黏连到另一个词语。
搅动在一起，模糊不清。
我眯起眼睛，对焦。
我逛了一圈，打嗝。
站在刚刚掠过的一个作品前。
我盯住它，与同行者小声交谈。
“怎么用文字描述气泡消失的声音？”
“啪嗒—啵啵—砰砰？”
“都不像。”
“气泡的声音不能被文字描述，只要它被写下就可以反复出现与消失。但我想看到的气泡声音仅会出现一次。啪………”
灯光灭了。
我没有登台，也没有退场。
About the artisrt：
Caibei Cai (b.1992 Shenzhen, China) received her MA from Jiangnan University in 2017 and Royal College of Art in 2018. She often places her work in a tactile dimension. She is good at capturing the illusion of the screen and the hidden body by drawing frame by frame. Her films always invite the audience to experience the conflicts within the body and the anxious environment outside the body. Her works have been selected by many international film festivals or animation festivals , such as Image Forum, Slamdance, POFF, Message to Man, Encounters, Animafest Zagreb, Ottawa Animation Festival, Anifilm, First International Film Festival, and Beijing International Short Film Festival, etc. She has also worked as a unit curator for Feinaki Beijing Animation Week and Dongbuzhou International Animation Week.
蔡采贝（1992出生于广东深圳）她分别从江南大学和英国皇家艺术学院获得硕士学位。她常常将她的作品放置在触感的维度，并擅长用逐帧绘制的工作方式去捕获屏幕上的幻像及隐匿的身体。她的片子总是在邀请观众⼀起去感知身体内部的冲突以及所处的不安环境。她的作品曾入围多个国际上重要的动画电影节，如日本Image Forum影像节、美国Slamdance电影节、塔林黑夜电影节、俄罗斯message to man电影节、英国邂逅电影节、萨格勒布动画节、渥太华动画节、捷克动画节、First青年电影展、北京国际短片联展等。同时，她也曾担任过费那奇北京动画周和东布洲国际动画周的单元策展人
Part of the art merchandises:
礼物（眼泪系列）蜡烛
Gift（Tears series）Candle：
小狗在你的身上打滚帆布袋
Puppy rolls on youtote bag：
真假钥匙 钥匙扣
Real and Fake Keys keychain：
金属凹印贴纸
Metal gravure sticker：
光栅卡片一组
Set of raster cards：
蚊子刺绣帽子
Mosquito Embroidered Hat：
礼物（眼泪系列）蜡烛
Gift（Tears series）Candle：
小狗在你的身上打滚帆布袋
Puppy rolls on youtote bag：
真假钥匙 钥匙扣
Real and Fake Keys keychain：
金属凹印贴纸
Metal gravure sticker：
光栅卡片一组
Set of raster cards：
蚊子刺绣帽子
Mosquito Embroidered Hat：
Exhibition Credits:
Curated by Ruijing Ge, Huang Maobing，Cai Caibei
Visual Design by ying
Special thanks：Herbr, clo, Zhou Yu, Jin Hui, Wenxin, newhifi, yuwei
Eexhibition View:
