https://yan-z.com yan-z.com Tue, 06 Jan 2026 17:01:12 +0000 https://yan-z.com en https://yan-z.com/Info-Instagram-links Thu, 23 May 2019 02:50:20 +0000 yan-z.com https://yan-z.com/Info-Instagram-links https://www.instagram.com/syandz_/<img width="1700" height="1700" width_o="1700" height_o="1700" data-src="https://freight.cargo.site/t/original/i/d37ea37836a09415f0f1ec7b360d1b3a412df1fda0b15791f0229b32669af251/instagram-logo.png" data-mid="146023509" border="0" data-scale="6" src="https://freight.cargo.site/w/1000/i/d37ea37836a09415f0f1ec7b360d1b3a412df1fda0b15791f0229b32669af251/instagram-logo.png" />&nbsp;&nbsp; Instagram https://yan-z.com/Home Thu, 23 May 2019 03:23:04 +0000 yan-z.com https://yan-z.com/Home https://yan-z.com/Information Thu, 23 May 2019 03:23:04 +0000 yan-z.com https://yan-z.com/Information CV: 2026-Spring Contact: yzhou1129@gmail.com 周岩，生于北京，本科毕业于中央美术学院设计学院，研究生就读于芝加哥艺术学院，获艺术硕士。 周岩的创作来自于对个体与群体在共生状况下所形成的一系列适配痕迹的观察。如创新者如何调整技术以适应特定社会的经济条件与资源基础，而社会系统为配合精英决策层的技术创新而不断优化自身资源分配时，个体生命在系统振荡下的应对方式。并通过影像、装置、电子游戏及艺术家书等多元媒介，将这一系列长期的研究内容予以视觉和体验层面的投射。他参加的展览包括: 个人项目 “九霄云外”（SPURS Gallery，北京，2024）、 “欹梅”（十点睡觉艺术空间，北京，2022）、“微暗的火”（SPURS Gallery，北京，2020）、 “竞技场”（掩体空间，北京，2019） 部分群展 “城市流体”，2024武汉双年展，武汉美术馆，武汉（2024）、“动为行——中国媒体艺术35年”，（天目里美术馆，2023）、“艺术的语言，艺术家的游戏”，（OCAT深圳馆，深圳，2022）、“伦敦弗里兹”，（伦敦，2021）、“梦饮酒者”（实验影像中心，2020）、“终端&gt;_How Do We Begin?”（X 美术馆，北京，2020）、“时间的狂喜:重塑认知的媒介”（何香凝美术馆，深圳， 2017）、第30届斯图加特冬季电影节多媒体单元（斯图加特，2017）、“E.M.B.C.L”（Flux Factory，纽约，2017） 部分放映 “第29届芝加哥地下电影节”（The Logan Theatre，芝加哥，2022）、“Shards from the mirror of history”（Gene Siskel电影中心，芝加哥，2019）、“旧写真” （第65届奥伯豪森电影节，奥伯豪森，2019）、“第14届希腊数字艺术节”（雅典音乐厅，雅典，2018） 驻留与获奖2026 艺术家驻留项目，Muffatwerk，慕尼黑，德国、 2023年周岩获得“燃冉”青年艺术奖锐意探索奖、2020年入围第14届AAC艺术中国年度影响力青年艺术家、周岩的艺术家书收藏于芝加哥Joan Flash Artist Book Collection Zhou Yan (b. Beijing) received his BFA in Visual Communication from the School of Design, Central Academy of Fine Arts, and his MFA from the School of the Art Institute of Chicago. Zhou’s practice is driven by an investigation into the various adaptation traces left by the coexistence of individuals and populations. This includes examining how innovators adjust their technologies to suit a society’s specific economic conditions and resource base, and how individual lives navigate the resulting systemic oscillations as societal systems continuously optimize resource allocation in service of elite tech-innovations. Through a diverse range of mediums including video, installation, video games, and artist books, Zhou projects this ongoing body of research into visual and experiential forms. His exhibitions include: Solo exhibitions His solo exhibitions include Cloud 9 at SPURS Gallery, Beijing (2024); Pale Fire at SPURS Gallery, Beijing (2020); Arriving the Fold (an online exhibition) at Centre for Experimental Film (2020); and No Quarters at The Bunker Space, Beijing (2019). Group exhibitionsHis group exhibitions include Inside the Frame: Twenty Years in Focus at SPURS Gallery, Beijing, China (2024); Urban Fluidity at Wuhan Biennale 2024, Wuhan Art Museum, Wuhan, China (2024); The Armory Show, New York, USA (2024); Motion Is Action - 35 Years of Chinese Media Art at BY ART MATTERS, Hangzhou, China (2023); Art’s Language, Artists’ Game at OCAT Shenzhen, Shenzhen, China (2022); Frieze London, London, United Kingdom; Wake up Crying at Centre for Experimental Film (2020); The Ecstasy of Time: Reframing the Medium of Knowing at He Xiangning Art Museum, Shenzhen, China (2017); The Stuttgart Filmwinter Expanded Media, Stuttgart, Germany (2017); and E.M.B.C.L at Flux Factory, New York, USA (2017). Screenings His screenings include The 29th Chicago Underground Film Festival, Chicago, USA (2022); Old Images at the 65th International Film Festival Oberhausen, Oberhausen, Germany (2019); Shards from the mirror of history, Chicago, USA (2019); and the 14th Athens Digital Arts Festival, Athens, Greece (2018). Residencies &amp; AwardsHis residencies and awards include 2026 Artist-in-Residence at Muffatwerk, Munich, Germany; the 2023 RanRan Young Artist Prize (“The Exploration Award”); and a nomination for the 2020 AAC Young Artist of the Year Award. Additionally, four of his artist books are collected by the Joan Flasch Artists' Book Collection, Chicago, USA. https://yan-z.com/Project-Nav Thu, 23 May 2019 03:23:05 +0000 yan-z.com https://yan-z.com/Project-Nav Index &nbsp; &nbsp; Next ︎ https://yan-z.com/Interface-Adventure Wed, 12 Jun 2024 12:45:08 +0000 yan-z.com https://yan-z.com/Interface-Adventure 界面冒险 2026单频高清影像，彩色，有声，22分30秒 Interface Adventure2026Single-channel HD video, color, sound, 22 min. 30 sec 《界面冒险》（Interface Adventure）是一部影像作品，其灵感源自冒险游戏的游戏机制以及艺术家周岩的日常跑步实践。在这件作品中，观众跟随一名慢跑者的视角，在北京西南二环路一座桥下发现了一个通往另一个世界的入口，由此开启了一场探索城市隐藏肌理的旅程。 这条水道原本是一条护城河，如今它不仅承担着城市基础设施的功能，更是某个隐秘的系统界面。随着叙事层层展开，那些习以为常的景象逐渐显露出新的意涵。 主角邂逅了“改命者”——这是一群生活在社会边缘的城市劳动者，他们在被遗忘的河流残骸中搜寻线索，试图改写自己的命运。主角被他们的挣扎所打动，从一个纯粹的旁观者转变为敏锐的探索者，决心帮助他们找回失落的遗物。 这场城市奥德赛，也由此从一次普通的漫步，演变成一场深刻的感知觉醒。 Interface Adventure is a moving image work inspired by the mechanics of adventure games and the artist Zhou Yan’s daily jogging practice. In this video, the viewer follows a jogger who discovers a portal to another world beneath a bridge along Beijing’s southwestern Second Ring Road, embarking on a journey to explore the city’s hidden layers. Originally a moat, the watercourse now serves not only as urban infrastructure but also as the interface of a veiled system. As the narrative unfolds, familiar sights gradually disclose new significance. The protagonist encounters the “Fate-Changers”: urban workers living at the social periphery, scouring the forgotten remnants of the river for clues to rewrite their destinies. Struck by their struggle, the protagonist shifts from a mere bystander into a keen explorer, determined to help them recover lost relics. This urban odyssey evolves from an ordinary stroll into a profound reawakening of perception. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/786d65ca6bfc0e7c49a9540f563c352431fb2a69687f9ca4211336c0a25a7be4/2.png" data-mid="242512875" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/786d65ca6bfc0e7c49a9540f563c352431fb2a69687f9ca4211336c0a25a7be4/2.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/81fc81073cd446f9853685b65540049eb30f7001252b6d4b5a1f61c03c538d1c/6.png" data-mid="242512879" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/81fc81073cd446f9853685b65540049eb30f7001252b6d4b5a1f61c03c538d1c/6.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/54ce227755f2d06e66e71377af09b78168278b7f5d9b611f05dea187654d05ec/7.png" data-mid="242512880" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/54ce227755f2d06e66e71377af09b78168278b7f5d9b611f05dea187654d05ec/7.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/0e397cb31a9f6164a07827ab621e727ff4e40bbb2d8f2e3b0d6c8fdea42fc669/11.png" data-mid="242512884" border="0" data-scale="59" src="https://freight.cargo.site/w/1000/i/0e397cb31a9f6164a07827ab621e727ff4e40bbb2d8f2e3b0d6c8fdea42fc669/11.png" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; https://yan-z.com/Shortcut-1 Tue, 06 Jan 2026 17:01:12 +0000 yan-z.com https://yan-z.com/Shortcut-1 <img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/0af8db5341357c98f97353641f7440f7a8749738d129d12e26a492a220bf4ffa/s33.jpg" data-mid="242512714" border="0" src="https://freight.cargo.site/w/1000/i/0af8db5341357c98f97353641f7440f7a8749738d129d12e26a492a220bf4ffa/s33.jpg" /> <img width="5464" height="8192" width_o="5464" height_o="8192" data-src="https://freight.cargo.site/t/original/i/2d5e9e6e6d3d3825b968b1c055a877fd276883c6a57461ead2e2de7cccda68d2/0Z4A7888.jpg" data-mid="242512711" border="0" src="https://freight.cargo.site/w/1000/i/2d5e9e6e6d3d3825b968b1c055a877fd276883c6a57461ead2e2de7cccda68d2/0Z4A7888.jpg" /> 《捷径1》，树脂，漆，钢钉，9 × 20 × 18厘米，2024 Shortcut 1, resin, paint, steel nail, 9 × 20 × 18 cm, 2024 <img width="5464" height="8192" width_o="5464" height_o="8192" data-src="https://freight.cargo.site/t/original/i/0a75031e94c9ea270e8aa01cfb6ea18d709a8550c230e6bb569adbced06a0ece/0Z4A7889.jpg" data-mid="242512713" border="0" src="https://freight.cargo.site/w/1000/i/0a75031e94c9ea270e8aa01cfb6ea18d709a8550c230e6bb569adbced06a0ece/0Z4A7889.jpg" /> 《捷径2》，树脂，漆，钢钉，5 × 13 × 19厘米，2024 Shortcut 2, resin, paint, steel nail, 5 × 13 × 19 cm, 2024 <img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/9123e9b634e0bc4146ac1b9ad3b5f1066b31402557aea4049b78116aee516a5b/0Z4A7890.JPG" data-mid="242512715" border="0" src="https://freight.cargo.site/w/1000/i/9123e9b634e0bc4146ac1b9ad3b5f1066b31402557aea4049b78116aee516a5b/0Z4A7890.JPG" /> 《捷径3》，树脂，铝合金，漆，钢丝，23 × 120 × 120厘米，2024 Shortcut 3, resin, aluminum, paint, steel wire, 23 × 120 × 120 cm, 2024 雕塑《捷径》来自艺术家疫情期间的一次占卜体验，占卜师建议艺术家选择攀岩而不是跑步作为健身运动，并寄予攀岩来持续锻炼其在选择判断上的果决力。雕塑分为三个部分，从下至上分布，攀爬岩点被精简为两个，终点被悬置于空中。这一套减法的处理方式，来自于对攀岩运动中快速决定特点的再次认定——攀岩者不断对前方路径进行着选择，并在极短时间内对可行性与自身体力情况进行衡量计算。快速抵达，高效完成，不断设立新的目标，荒谬的是，这种种感悟均受一次缘木求鱼的占卜所赐。 The sculpture "Shortcut" comes from a divination experience during the pandemic. The fortune teller suggested that the artist should do more bouldering instead of running attach great importance in bouldering to improve his decisiveness. The works comes in three parts, distributed across the space, climbing holds are simplified to two, and the finishing hold hangs in air. The simplification of climbing holds is a self-fulling prophecy because rock climbers are constantly choosing the path ahead and weighing the feasibility against their own physical condition in a very short period. The Artist finally stops procrastinating and start to complete tasks efficiently. Absurdly, this made progress is given by a divination. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; https://yan-z.com/Endless-Waiting Fri, 14 Jun 2024 13:08:21 +0000 yan-z.com https://yan-z.com/Endless-Waiting <img width="8180" height="5456" width_o="8180" height_o="5456" data-src="https://freight.cargo.site/t/original/i/83d6b507a2b9fb74872537f89d635290c831279e4bbb70d852753d0583750ace/WechatIMG1432.jpg" data-mid="212912237" border="0" src="https://freight.cargo.site/w/1000/i/83d6b507a2b9fb74872537f89d635290c831279e4bbb70d852753d0583750ace/WechatIMG1432.jpg" />《无尽的等待》，树脂，铝合金，漆，6 ×182 × 54厘米，2024 Endless Waiting, resin, aluminum, paint, 6 ×182 × 54 cm, 2024雕塑《无尽的等待》根据古希腊神话人物阿里阿德涅等待忒修斯的故事改编，并与后疫情时代中都市打工族向往户外的愿景相结合，阿里阿德涅在纳克索斯岛的无尽等待，与通过等待重获自由但又不得不为了生存而继续打工的上班族，只能通过云外出排解等待之苦相吻合。它们都带着某种自欺欺人式的自我消解。 The sculpture "Endless Waiting" is adapted from the story of Ariadne, a character in ancient Greek mythology, waiting for Theseus, and is integrate with the vision of white-collar worker yearning for the outdoors after COVID-19. Ariadne's endless waiting on the island of Naxos coincides with the fact that office workers who regain their freedom through endless waiting but must continue to stay in to work to survive and can only relieve the pain of waiting through vlogs. It’s a self-deceptional self-dissolution. <img width="8188" height="5461" width_o="8188" height_o="5461" data-src="https://freight.cargo.site/t/original/i/10a2b6eca01d865c9db5933681aa0520c92b1fe7d8c6f4d75eae21272f7b9935/0Z4A7875-HDR.jpg" data-mid="212912167" border="0" src="https://freight.cargo.site/w/1000/i/10a2b6eca01d865c9db5933681aa0520c92b1fe7d8c6f4d75eae21272f7b9935/0Z4A7875-HDR.jpg" /> <img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/d03c5cc8696ca477b5d61a1c9c4babadf0e670a8670e031f54c4e76c95178ad9/0Z4A7873.jpg" data-mid="213040658" border="0" src="https://freight.cargo.site/w/1000/i/d03c5cc8696ca477b5d61a1c9c4babadf0e670a8670e031f54c4e76c95178ad9/0Z4A7873.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; https://yan-z.com/Trophy Mon, 03 Jun 2024 14:48:48 +0000 yan-z.com https://yan-z.com/Trophy <img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/9de614e029876d36fa24fae0f09bbd454ca3f9b491c9061553846308b872196f/0Z4A7856-copy-2.jpg" data-mid="212229034" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/9de614e029876d36fa24fae0f09bbd454ca3f9b491c9061553846308b872196f/0Z4A7856-copy-2.jpg" /> 《奖杯》，GIF动画，亚克力，液晶屏幕，21 × 30 厘米 ×3，2024 Trophy, GIF animation, acrylic, LCD screen, 21 × 30 cm ×3, 2024 <img width="5367" height="7931" width_o="5367" height_o="7931" data-src="https://freight.cargo.site/t/original/i/7561dd8c2e24efd7a77c2025e94e7d1c55bd70cb3a4d564f53559e0f3cc76b6c/0Z4A7844-copy-2.jpg" data-mid="212229271" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/7561dd8c2e24efd7a77c2025e94e7d1c55bd70cb3a4d564f53559e0f3cc76b6c/0Z4A7844-copy-2.jpg" /> <img width="5464" height="8192" width_o="5464" height_o="8192" data-src="https://freight.cargo.site/t/original/i/e1d07a131a0632e81e4ecb930eac98384837115aed5b5e319245b1eaf65bf710/0Z4A7848-copy.jpg" data-mid="212229284" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/e1d07a131a0632e81e4ecb930eac98384837115aed5b5e319245b1eaf65bf710/0Z4A7848-copy.jpg" /> <img width="5464" height="8192" width_o="5464" height_o="8192" data-src="https://freight.cargo.site/t/original/i/7016c5e988c380e990b34bd747427cb363adb377a9d74547fc0b0fa871306075/0Z4A7844.jpg" data-mid="212778244" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/7016c5e988c380e990b34bd747427cb363adb377a9d74547fc0b0fa871306075/0Z4A7844.jpg" /> GIF动画装置《奖杯》来自于艺术家对国家指令系统运行方式的观察。从黑帮电影中提取视觉元素，运用蒙太奇的处理方式，以卡牌收藏架的形式呈现。三件不同内容的装置，利用GIF动画一闪而过的特点，共同描绘着结果至上所带来的过程空缺现象，以及指令与结果的迅速达成背后对过程残留物的抹杀瞬间。&nbsp; 这悲剧动作的残留使姿势和行动在最为细薄的范围内合为一体。 The GIF animation installation "Trophy" comes from my observation of the operation of the national Incident Command System​(ICS). Visuals elements are extracted from gangster movies, edited in montage-séquence, presented in a collectible card style, exploiting the flash attributes of GIF images, together portrays the supremacy of result-oriented public policies that it seems once the command is delivered, the mission is completed. &nbsp; The residue of a tragic movement which succeeds in identifying gesture with action within the slenderest volume. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; https://yan-z.com/Blind-Field Fri, 31 May 2024 15:53:04 +0000 yan-z.com https://yan-z.com/Blind-Field 《盲区》，互动影像装置，实时，2022—2024 Blind Field, interactive video installation, real time, 2022–2024 实时互动影像装置《盲区》来自于艺术家在疫情期间，因为一次户外运动受伤所致的核磁共振检查经历。在被迫躺平的20分钟时间里，对有限的视线范围内的物体进行重复的观察，与此同时，依据知识经验所带来的价值衡量标准(就像罗兰 · 巴特在《明室》中对每张照片的评论一样)对目光所及之物进行持续的评论与再定义，并最终引申为对自身处境的不安与反思。 观众可以通过对交互装置发出指令去影响视频的播放状态，图像在模糊（观众看到的默认状态）和清晰（罗兰·巴特对观众看到的图像进行的评论部分）的状态下不断展开。当踩下被放置在地面的医疗器械控制踏板时，默认状态下模糊的图像会变得清晰，并与代表权威的罗兰 · 巴特的评论更自然的衔接（罗兰 · 巴特评论的部分默认为清晰影像并且不可被交互影响），而这“人为”的清晰状态持续的长短，取决于这一“被强迫”的动作能否一直忍耐下去。 The real-time interactive video "Blind Field" is inspired by Yan’s 20-minute inspection in an MRI scanner, which is caused due to an outdoor sports incident during the pandemic. During the 20-minute Inspection, he is forced to recurrently observed the objects within his limited sight. Meanwhile, he relentlessly comments and redefines the objects within his sight based on his value system​(Just like Roland Barthes commented on each photo in his book “Camera Lucida“) that brought by knowledge and experience, which eventually results to an anxiety attack and a self-reflection. The viewer is allowed to step on the interactive unit which disrupts the video display. Through the interchange of hazy(The image viewer saw)and clear images(Roland Barthes commented on the images viewer saw). When stepping on the medical device control pedal placed on the ground, the blurry image in the default state will become clear and connect more naturally with the authoritative Roland Barthes' comments (the part of Roland Barthes' comments defaults to a clear image and cannot be disturbed by interaction), and the duration of this "artificial" clear state depends on whether this "forced" action can be endured for a long time. <img width="8192" height="5464" width_o="8192" height_o="5464" data-src="https://freight.cargo.site/t/original/i/7272fe42a4c277b56e56373089b9c25b153866bb6e76884d83aeb018d95df1cb/0Z4A7878.jpg" data-mid="212086323" border="0" src="https://freight.cargo.site/w/1000/i/7272fe42a4c277b56e56373089b9c25b153866bb6e76884d83aeb018d95df1cb/0Z4A7878.jpg" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; https://yan-z.com/Trap Thu, 30 May 2024 08:04:52 +0000 yan-z.com https://yan-z.com/Trap 《圈套》，单频高清影像，彩色，立体声，8分钟，2024 Trap, single-channel HD video, color, stereo, 8′, 2024 在录像《圈套》中，过去几年中被记录的各种素材汇集在一起，它们包括旅行记录，宅在家中弹琴的片段，行车记录仪中的影像等等。而字幕中谈论的内容来自于作者在这些碎片化记录过程中（放空的生活）引发的莫名不安，这些多数时间与画面内容并不匹配的文字内容更像是一个求救信号，一次把希望寄托于知识储备与逻辑梳理的自我欺骗。 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; In the video "Trap", various materials recorded in the past few years are gathered together, including travel records, clips of playing guitar at home, footage from the driving recorder, and so on. The content discussed in the subtitles comes from the author's inexplicable unease caused by the fragmented recording process (the empty life in the epidemic lockdown), and these mostly mismatched textual content are more like a distress signal, a self deception that places hope on knowledge reserves and logical organization. <img width="3010" height="1586" width_o="3010" height_o="1586" data-src="https://freight.cargo.site/t/original/i/37083839df8e9858cc87642c0ddefc5eec51cf9001744158ca8970a49b5af282/Screen-Shot-2024-05-30-at-16.15.12.png" data-mid="211991413" border="0" src="https://freight.cargo.site/w/1000/i/37083839df8e9858cc87642c0ddefc5eec51cf9001744158ca8970a49b5af282/Screen-Shot-2024-05-30-at-16.15.12.png" /> <img width="3012" height="1588" width_o="3012" height_o="1588" data-src="https://freight.cargo.site/t/original/i/eda09753a8477c68f0aef5e0fb22f6bf7a567bce8d5a945cd3678be995198291/Screen-Shot-2024-05-30-at-16.14.png" data-mid="211991431" border="0" src="https://freight.cargo.site/w/1000/i/eda09753a8477c68f0aef5e0fb22f6bf7a567bce8d5a945cd3678be995198291/Screen-Shot-2024-05-30-at-16.14.png" /> <img width="3012" height="1588" width_o="3012" height_o="1588" data-src="https://freight.cargo.site/t/original/i/499d2cf4a617654fe48cccf54167349d42394ce77a98ed759330f5c999ec605b/Screen-Shot-2024-05-30-at-16.14.27.png" data-mid="211991434" border="0" src="https://freight.cargo.site/w/1000/i/499d2cf4a617654fe48cccf54167349d42394ce77a98ed759330f5c999ec605b/Screen-Shot-2024-05-30-at-16.14.27.png" /> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;