泵园社：《新生的透明人》是泵园社近期完成的一场废弃物再造艺术实验。事件的主角是我们日常生活中在服装店经常见到的工业产物模特，在经历市场之后被淘汰。面对眼前这具破损+缺失零部件的“工业废弃物”，在感慨当下实体店铺经营环境的同时，我也好奇除了被送往垃圾回收站，它或者它们，是否还有其他归宿？殊不知后来竟成了近期与我对话最为深刻的“人”。历数艺术史上，无论摄影还是装置作品，不乏以假人模特进行创作的艺术家。只是随着时代审美及市场需求变化，不同时期的假人造型呈现出强烈的时代特性，加上艺术家个人化的艺术表达，最终构筑出不同的艺术创作呈现。回到泵园社这次的表达路径：是以转场三幕剧的形式，通过对一件工业制品的修复、寻根、重组，分场景注入新的隐喻元素，呈递进关系逐步引导观众开放性思考的一场艺术实验。期间每一次新元素的注入，都在转变上一场的思考方向。从第一层很纯粹的完成对一件流水线产品的拼凑复原，到第二层开始介入空间，创作者、透明人以及场域感开始在松柏林里蔓延出戏剧性的对话场景，直至第三层“淡水”“海水”“鱼”几个元素进来，思考角度完全开放。所以创作者特别寄希望于每个人在看待这场作品时，可以将自身代入其中，与泵园社共同完成与透明人的对话思考内容。为了更好的达到这一设定，本文只做相关背景信息引导，不提供创作者本人主观对话与思考内容，以避免成为一篇唯一答案的作品解读。

Pumpark: The Newborn Transparent Persona is a recent art experiment conducted by Pumpark, focusing on the reformation of waste materials. The protagonist of this event is the industrial product model commonly seen in clothing stores, discarded after experiencing the market. Confronted with this damaged and missing-parts “industrial waste,” while reflecting on the current operating environment of physical stores, I also wonder if, besides being sent to the recycling bin, it or they have any other destiny? Little did I know that later it would become the most profound “person” I’ve interacted with recently. Throughout art history, whether in photography or installation works, there is no shortage of artists who use mannequin models for creation. Just as aesthetic trends and market demands evolve over time, mannequin designs from different eras exhibit distinct characteristics influenced by their respective zeitgeists. Coupled with the individualized artistic expressions of creators, these elements ultimately shape varied artistic presentations. Returning to Pumpark’s approach in this instance: it takes the form of a three-act transition, wherein a single industrial artifact undergoes repair, tracing its origins, and reassembly. Across different scenes, new metaphorical elements are injected, establishing a progressive relationship that guides viewers towards open-ended contemplation in this artistic experiment. With each new element introduced, the focus shifts, evolving from the initial straightforward reassembly of a mass-produced item to the intervention of space in the second act. The creators, the transparent persona, and the setting begin to intertwine, creating dramatic dialogues within the forest of pine and cypress. This continues until the entry of elements like “freshwater,” “seawater,” and “fish” in the third act, completely opening up the perspective. Thus, the creators particularly hope that each viewer, when engaging with this artwork, can immerse themselves and contribute to the dialogue and contemplation with the transparent persona, accompany Pumpark. To better facilitate this, this article merely provides background information without offering the subjective dialogues and thoughts of the creators, avoiding becoming an exclusive interpretation of the artwork.

01 透明人再生 Rebirth of the Transparent Persona

假人模特具备极强的再创作与表达潜力，人类对人体美学与精神世界的探索与生俱来。作为展示道具的假人经部件匹配再重组改造之后成为全新个体的整个过程，其实是一个不断思考当今社会工业产品弃物何去何从的实践样本。新个体依旧没有名字，没有标签，但其重构过程已然是一个关乎“弃物重生”的意义性事件。

Mannequin models inherently harbor immense potential for reinterpretation and expression, intertwined with humanity’s exploration of bodily aesthetics and the realm of the spirit. The complete process of transforming a mannequin from a display fixture into a wholly new entity through component matching and reconstruction is, in essence, a continual reflection on the fate of industrial waste in contemporary society. The new entity remains nameless, devoid of labels, yet its reconstruction embodies a significant event centered around the “resurgence of discarded materials.”

▽打胶实验、拼装改造 Gluing Experiment, Assembly Transformati

▽注水VS烟雾实验对比 Contrast between Water Infusion and Smoke Experimentation

▽注水效果细节 Water Infusion Detailing

▽空间匹配实验 Spatial Alignment Experiment

02 人与自然空间 Human-Nature Space Interactions

装置与空间的关系传达出的场所力一直是泵园社的关注重心，同一装置介入不同的空间类型会传递出完全不同气质的场所氛围与精神调性。经过几个场地的切换实验，最终决定把主实验场景放在上海奉贤湿地附近的一处松柏林，暗沉的光线与色调形成带有自然感的幽闭空间，与外星来客般的新生透明人碰撞，产生了带有科幻色彩的戏剧效果，也促使我与透明人可以在这类场景，展开更深层的对话交流。同样，关于对话主题与内容，观者可以自行代入：如果你是创作者本人，作为新生“透明人”认识的第一个地球人，你们会发生怎样的对话？如果你是透明人，你是否对眼前的黑衣人及所处的环境同样产生诸多疑问？

The interplay between installations and spaces has always been a focal point for Pumpark, as different environments imbue distinct atmospheres and spiritual nuances into the same installation. After experimenting with several locations, it was decided to place the primary experimental scene in a pine and cypress forest near the wetlands of Fengxian, Shanghai. The dim lighting and tones create a secluded space with a natural ambiance, where the collision between the alien-like newly created transparent persona and the surroundings generates a theatrical effect tinged with sci-fi elements. This setting also facilitates deeper dialogue and communication between myself and the transparent persona. Likewise, concerning the themes and content of the dialogue, viewers are encouraged to project themselves: If you were the creator, meeting the first Earthling as the newly created “transparent persona,” what conversation would ensue? If you were the transparent persona, would you harbor many questions about the black-clad individual and the environment surrounding you？

▽松柏林间的透明人 The invisible man in the pines

03 生活、生命、生态 Life, Existence, Ecology

最后一场透明人来到的是一处入海口，场景中存在三种水质：海水、淡水、纯净水，同时体内加入了活体鱼的元素。 在这一层设定里尤其没有固定答案，只有问题，所以第三场有更多思考题是交给观众的：如果“鱼”在这件作品里有所隐喻，你认为会是什么？ “人形”是鱼缸还是人类对自然生活乐趣获取的“意识”主体？ 人类，地球共生生物及相关生境，工业制品，在这一刻是否存在冲突性，谁具备主导意识，谁在被动驱使，生物自由性究竟被困于意识还是物理空间？

In the final scene, the transparent persona arrives at an estuary where three types of water coexist: seawater, freshwater, and purified water, with the addition of live fish elements within. Within this layer of setting, there are particularly no fixed answers, only questions. Therefore, the third scene leaves more contemplative questions to the audience: If the “fish” in this piece carries metaphorical significance, what do you believe it represents? Is the “humanoid” figure a fish tank or a “consciousness” entity representing human pursuit of natural living pleasures? At this moment, is there a conflict between humans, Earth’s symbiotic organisms, their habitats, and industrial products? Who possesses the dominant consciousness, and who is being passively driven? Is biological freedom confined by consciousness or physical space?

▽海岸边的透明人 The invisible man on the coast

以上这些问题的答案，或许都是实实在在发生在我们的生活里的。 每天都在上演，且我们早已习以为常。

The answers to these questions may indeed manifest tangibly in our lives, playing out daily and becoming all too familiar to us.

后记 Postscript

《新生的透明人》是泵园社pumpart板块依托现成品结合空间转场，以戏剧性舞台化的艺术表达方式，依次就人类、物品、空间、自然生命之间的关系展开讨论的一场艺术叙事。 整场实验周期断断续续三个礼拜，相比以往介入的设计类项目思考体系，从大尺度长周期落地拉回到小体量的自由创作，这场实践具有更强的观念表达特征，整个过程是在创作本身的愉悦以及对话内容的凝重中交替进行的。 创作的缘起是对假人模特背后每年约产生的3.5亿吨塑料废弃物，其中有22%被随意丢弃这一问题的关注，这类弃物除了被视为垃圾，是否有其他处理路径？ 才有了泵园社这次通过对弃物结合自然进行创作，以促进生态可持续以及社会关注层面的艺术表达。 或许正如德国艺术家约瑟夫·博伊斯所认为的一样：“艺术是人类最本真的方式，只要公众都发挥其本真参与进来，社会就会朝着更美好的方向发展”。

The Newborn Transparent Persona is an artistic narrative presented by the section of the Pumpark utilizing existing materials in conjunction with spatial transitions, and employing a theatrical and dramatic artistic expression to sequentially discuss the relationships between humanity, objects, space, and natural life. The entire experimental period spanned intermittently over three weeks. In contrast to previous design-oriented projects, this endeavor shifted from large-scale, long-term implementations to small-scale, free-form creativity. This practice embodies a stronger characteristic of conceptual expression, alternating between the enjoyment of creation itself and the seriousness of the dialogue content. The genesis of this creation stemmed from the concern over the approximately 3.5 billion tons of plastic waste generated annually by mannequins, with 22% being casually discarded. Aside from being perceived as mere refuse, are there alternative pathways for dealing with such waste? Thus, Pumpark embarked on this endeavor to integrate waste with nature for artistic expression, aiming to promote ecological sustainability and social awareness through art. Perhaps, as German artist Joseph Beuys believed, “Art is the most genuine way for humanity, as long as the public engages authentically, society will evolve towards a better direction.

材料：废弃树脂道具、水、金属构件、活体鱼类

艺术家：孙川

实验地点：上海

实验时间：2024年4月

策划、摄影：泵园社Pumpark

特别鸣谢：上海张唐景观Hapitor工厂

Materials: Discarded resin props, water, metal components, live fish

Artists: Chuan Sun

Experimental Site: Shanghai

Experimental Period: April，2024

Planning, Photography: Pumpark

Special Thanks: Hapitor Factory, Shanghai Z+T STUDIO

“ 一场废弃物再造的艺术实验。”