Activities

We began WU—LIAO as a place for conversations with artists and cultural practitioners. The opening question is usually simple; the conversation gradually reveals what a medium, a profession or a way of living takes for granted.

我们发起“无不吴聊”，邀请艺术家与文化实践者进入对话。开场的问题通常很简单，随着谈话展开，媒介、职业与生活方式中那些习以为常的前提会逐渐显现。

For us, the work is not only the interview footage. It also lives in the relation among question, encounter, duration, montage, caption, circulation and later return. A short film can remain unfinished and continue through another person, text or project.

对我们而言，作品不只存在于访谈画面，也存在于提问、相遇、持续时间、剪辑、文案、传播与日后返回之间。一部短片可以保持未完成，并在另一个人、另一篇文章或另一个项目中继续。

We follow inherited rural architecture as it enters contemporary dwelling and hospitality. The series moves through houses, their inhabitants and the practical choices that shape what a place can become. Wu Qian is credited as Co-Executive Producer.

我们沿着传统乡村建筑进入当代居住与民宿业态的过程，进入房屋、居住者，以及一个地点能够变成什么的现实选择。吴倩担任联合总制片人。

The ‘old house’ is not treated as a stable heritage object. It is diachronic: memory, labour, tourism, design and local life occupy the same structure at different speeds. The future in the title therefore does not cancel the past; it asks which past can remain active under new economic and social uses.

“老房子”并非稳定的遗产物件，而是历时性的结构：记忆、劳动、旅游、设计与地方生活以不同速度共同占据它。标题中的“未来”并不取消过去，而是在追问：当新的经济与社会用途进入之后，哪些过去仍能保持活性？

This dossier gathers field encounters in which landscape, distance and local memory change the form of a conversation. A site is not used as picturesque scenery behind a finished argument; weather, access and the knowledge of people encountered there alter what can be asked and recorded.

该档案汇集一组田野相遇：景观、距离与地方记忆改变了对话的形式。现场不是完成论证之后的风景背景；天气、进入条件以及相遇者持有的知识，会重新改变什么能够被提问与记录。

Situated practice transfers authority away from the camera alone. The image becomes a negotiation among the person filming, the person speaking and the place that makes both positions possible. Weather, distance and local knowledge are not background; they redirect the encounter.

在地实践把权威从镜头一方移开。图像成为拍摄者、说话者与使双方位置得以成立的地点之间的协商。天气、距离与地方知识并非背景，它们会重新改变相遇。

These rooms bring paintings, installations, artists and viewers into temporary relation. We return to the photographs to understand how encounter, distance and spatial sequence can make an exhibition speak.

这些空间让绘画、装置、艺术家与观众形成临时关系。我们重新回到照片，理解相遇、距离与空间序列如何让一个展览开始说话。

An exhibition is understood as an assembly rather than a container. Meaning is produced by distance, adjacency, sightline, pause and social presence. Curatorial work therefore lies not only in selecting objects but in composing the conditions under which one thing can alter the reading of another.

展览被理解为一种组装，而非容器。意义由距离、邻接、视线、停顿与社会性在场共同生成。策展工作因此不仅是选择物件，也是在编排一种条件，使一件事物能够改变另一件事物的阅读。

These records place speech, making and collective attention in shared space. The workshop is approached neither as outreach decoration nor as proof of audience engagement, but as a temporary structure in which knowledge can move between people through voice, gesture and matter.

这些资料把言说、制作与集体注意置于共享空间。工作坊既不是装饰性的公共教育，也不是观众参与的证明，而是一种临时结构：知识通过声音、动作与材料在人与人之间移动。

Participation is meaningful only when it can affect the situation. The artistic question is therefore not how many people attended, but whether the frame allowed participants to alter the rhythm, material or direction of the event.

参与只有在能够改变现场时才具有意义。艺术问题因此不是有多少人到场，而是这一框架是否允许参与者改变事件的节奏、材料或方向。

We return to performance as an embodied prehistory of our later conversations and public programmes. Voice appears here not only as information but as breath, timing, exposure and relation to an audience.

我们把表演重新看作后来访谈与公共项目的一段身体前史。声音在这里不仅传递信息，也表现为呼吸、时值、暴露，以及与观众之间的关系。

A live voice cannot be edited before it reaches the room. Its vulnerability makes performance a useful prehistory for the interview method: both depend on attention to pacing, silence and the ethical risk of appearing before others.

现场声音无法在抵达空间之前被剪辑。正是这种脆弱性，使表演成为访谈方法的一段重要前史：二者都依赖对节奏、沉默，以及在他人面前显现所承担之伦理风险的注意。

We bring these rooms, plants, drawings, lights and red objects together as a material constellation. They do not need to collapse into one finished artwork; their recurrence lets one image ask something of another.

我们把这些空间、植物、绘画、光线与红色物件放在一起，形成一组材料星丛。它们不必被合并成一件完成作品；反复出现的关系，让一张图像能够向另一张图像发问。

Across the images, living matter and constructed display remain deliberately unstable. Plants are neither pure nature nor decorative props; they expose care, growth, containment and the way an exhibition attempts to organise life without fully controlling it.

在这些图像之间，生命材料与人工陈列保持着有意的不稳定。植物既不是纯粹自然，也不是装饰道具；它们暴露照料、生长、容纳，以及展览试图组织生命却无法完全控制生命的方式。

Our production work connects cameras, sound, schedules, access, people and sites. We do not treat this labour as invisible support: production decides whose voice can enter a project, for how long and under what conditions.

我们的制片工作连接镜头、声音、时间表、进入权限、人物与地点。我们不把这些劳动当作隐形支持：制片决定谁的声音能够进入项目、停留多久，以及以什么条件进入。

Every production decision changes the work. Microphone placement changes what can be heard; scheduling changes whose time is respected; a budget changes which distance can be crossed. Production is where an artistic proposition meets its material and ethical limits.

每个制片决定都会改变作品。麦克风的位置改变什么能够被听见；日程安排改变谁的时间受到尊重；预算改变哪些距离能够被跨越。制片是艺术命题与物质、伦理边界真正相遇的地方。