“你@我吧”这句话已成为今天人与人交流的最佳方式之一。“@”是个丰富多元的符号，它穿越着不同的学科、领域、人群.....

当下，“@”已成为人们生活中不可切割的一部分。

“@”是人与人，人与事，物与物之间存在的客观关系。如何理性和健康的把握好这种关系，是体现“@”价值的关键所在。这也正是本次展览所提出的问题，展览分为四大版块。

一、对视觉与符号的反思。在便、捷、快的微时代中，如何以简单的视觉符号来体现人与人，人与事，物与物之间存在的客观关系。

二、对意识形态的反思。在关注与被关注中、在监督与被监督时、在@与被@间，如何客观认知个体意志与整体的意识形态。

三、对信息的判断与反思。如何从的海量信息里，判断和利用信息的价值与关联性。

四、对展览本身的反思。即将展览置于微博中讨论，有问必答，所有人都可以通过微博来质疑我们的展览，所有人都可以向艺术家提出疑问。

上述四点为此次展览“@me”的主旨所在，亦借此来探讨艺术与社交的关联性，欢迎大家来@。

龚阿杰

对视觉与符号的反思

符号本身由事物的客观呈现（能指）与主观所指两部分构成，前者是事物存在的本体意义，后者是事物本身与时间、空间、以及被授予的主观意念所存在的关系。二者之间的关联性在现实的物理空间中，所传达出的视觉感受往往是个体意志与事物能指的结合体。但在互联网的虚拟空间中，这种关系则被改变。在人人都是自媒体的微时代，每个视觉符号所呈现出来的面貌，受到事物本体和群体主观意念的影响。而且每个个体在被动接受到信息时，都会潜意识的根据群体的主观意识对符号本身进行重构。于此，人与人，人与事，物与物之间存在的客观关系在不断模糊，能指的范围也在不断扩大，事物本身也在不断的被刷新被定义。事物的本质在变化，事物所呈现的现象也在不断变化，无法通过现象来捕捉到事物的本质。如何通过纯粹的视觉符号来呈现事物的本质，同时又不受时空，和群体主观意识的改变是该展示版块所要探讨的问题。

Reflection about visual and signs

Sign-itself is comprised of objective presentation (signified) and subjective significant. The former is the essence of its existence; the later is the relations between itself and time, space, and the awarded subjective conceptions. The correlation between them in the physical space embodied the combination of subjective significant and objective signified from the visual aspect. But this correlation in the virtual space on the internet was changed. In this micro era, each individual is “we-media”, what does each sign present is influenced by the item-itself and the group subjective ideas. At the same time, each individual could be subconsciously reconstructing the sign-itself according to group’s subjective ideas when passively accept the information. Therefore, the relations existing objectively between people and people, people and objects, objects and objects will become more and more intangible. The signified scope is increasingly expanding. The item itself is being refreshed and redefined. The essence is changing while the presented phenomenon is changing. We can not judge the essence by phenomenon. How to use purely visual signs to embody its essence without time-space limitation and the group subjective ideas is the exploring issue in this part of exhibition.

对意识形态的反思

话语权和舆论权的失衡致使信息的扭曲、不对等、不透明。

传统的主流媒体长期在意识形态的紧箍咒下，已丧失了独立性和公正性。

如今，只要一部手机，一个微账号，随时随地的进行分享、交流、沟通，一个简单的“@”便可将无数的丑恶得以曝晒、让美好得以长存。世界越来越透明，这都在关注与被关注中、监督与被监督时、@与被@间。

The reflection of consciousness

The serious unbalance between discourses right and the right of public opinion caused the information misunderstood, inequivalent and intransparent. The traditional mainstream media has lost their independence and justness under the long-term conscious shackles.

But in this age, with only a mobile phone and a micro account, you can share, communicate at anytime and anywhere. One simple “@” can exposed countless scandals; while it’s also available to keep the beautiful moment forever. More and more transparence exists among concerning and being concerned, supervising and being supervised; @ing and being @ed.  

对信息的判断与反思

网民每天的常规上网活动都会产生大量的新数据和信息。据统计，平均每一秒都有200万用户在使用谷歌搜索，Facebook用户每天共享的东西超过40亿，Twitter每天处理的推特数量超过3.4亿。面对如此海量的信息数据，如何把控好自身与信息的关联性，是个体处理信息过剩的关键所在，同时也是信息价值所在。

在该展示版块中，选取了艺术家刘旭东和张震宇的作品进行呈现，两人在信息的搜集与处理中有异曲同工之处。前者通过与自身相关的事物和信息进行分解，将信息量化、数据化，在反复记录与刻度的过程中，最终形成个人对事物解读的尺度与标准。后者通过搜集不同城市的灰尘，进行反复打磨，最终形成镜面效果。在此过程中，艺术家以“尘埃落定”的方式来捕捉城市信息，每一次的打磨都是对这座城市的再解读，通过时间、信息、意念的反复叠加，从而构建出一张全新的城市表情。

The judgment and reflection about information

Netizens can bring large amount of data and information through their daily regular online activities. According to statistics, there are 2 million netizens per second using Google index. User can browse over 4 billion share-news every day. Twitter will handle over 340 million twitter data every day. How to balance the correlation between yourself and the information in such a flood of information data is quite critical for individual to handle over the surplus information, which is also the value of the information.

In this part of the exhibition, we picked up Liu Xudong and Zhang Zhenyu’s artworks, which presenting the similar effects with different approaches in collecting and handling information. The former decomposed, quantified and digitized the related items and information. After repeated record and scale, he finally formed his affairs-interpretation criteria. While by collecting different cities’ dust, the later ultimately reached the mirror effects through repeated polishing. In this process, the artist captured the city information through the form of “dusts settle down”. Each polishing is the reinterpretation of the city. Through the repeated overlaps of time, information and consciousness, he constructed a new urban expression.