车艺文（1998年出生于浙江杭州）是一位跨学科体验设计师。她本科毕业于中国美术学院数字媒体设计专业，目前在维也纳应用艺术大学攻读跨学科策略硕士学位。

在设计实验中，她擅长通过低技术与轻量级交互手段，敏锐地洞察并重塑日常生活中的互动关系。她热衷于打破事物固有的运行逻辑，创造出具有反常识与诗意的体验。通过这些幽默且引人深思的日常干预，车艺文展现了她以小见大的核心创作哲学——从最细微、最不起眼的交互切片中，剥离出关于人与物理世界关系的宏大叙事。

在专业实践领域，她曾供职于上海西岸美术馆，从事公共教育项目的策划与运营。此外，她还与国内外多家画廊、美术馆及独立艺术家保持着紧密合作，在艺术市场运营、展览设计及跨媒介项目落地方面积累了丰富的行业经验。

Che Yiwen (b.1998, Hangzhou, China) is an interdisciplinary experience designer. She holds a Bachelor’s degree in Digital Media Design from the China Academy of Art and is currently pursuing a Master’s degree in Cross-Disciplinary Strategies at the University of Applied Arts Vienna.

In her design experiments, Yiwen utilizes low-tech and accessible interactive technologies to glean profound insights into everyday interactions. She excels at subverting the inherent logic of ordinary objects to create surprising, counter-intuitive experiences. Through these subtle, whimsical, yet thought-provoking interventions, Yiwen demonstrates her unique ability to see the macro through the micro—using small-scale, playful disruptions of the mundane to provoke broader reflections on our relationship with the physical world.

Professionally, Yiwen has worked at the West Bund Museum in Shanghai, where she focused on the curation and operation of public education programs. Furthermore, she has collaborated with various domestic and international galleries, museums, and artists, acquiring extensive industry experience in art market operations, marketing, and exhibition design.

This collection of Interactive Installations comprises three subjects that step out of the passive role of being mere “objects.” They refuse to simply absorb a passing glance or wait to be looked at; instead, they actively extend an invitation for you to engage. Here, a hand reaches out to connect, the plant breaks its silence to speak with those who touch it, and time itself adjusts its pace to the physical weight you apply.

Hope is no longer a state of waiting (intransitive); it is a necessary, directional intervention (transitive) seeking connection. Technology acts not as ornament, but as the “syntax” bridging subject and object, inviting a dialogue and enabling the material world to reach out and answer you back.

这组作品包含三个截然不同的主体。在这个空间里，它们走出了作为纯粹“宾语”的被动角色。它们拒绝仅仅承接人们的注视或一瞥；相反，它们主动向你发出了交互的邀请。在这里，一只隐藏的手会主动伸出与你击掌，植物会打破沉默与触碰它的人对话，而时间本身也会根据你施加的重压来调整它的步调。

希望不再是一种等待（不及物），而是一场必须发生的、渴望建立连接的干预（及物）。在此语境下，技术并非装饰，而是连接主体与客体的“句法”，它促成了一场对话，并让物质世界能够主动伸出手，给予你回应。

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Technical Support 技术支持
Niklas Burger

Framed objects are conventionally passive subjects of our gaze. Like a clock on the wall, they establish an absolute boundary that refuses interaction.

This piece breaks that equilibrium. As you reach out your hand, a distance sensor at the bottom of the frame detects your approach. In response, the hand sculpture inside begins to move outward at an incredibly slow pace, attempting to meet you for a "high-five."

This slow, deliberate approach is the material world answering back. It subverts the norm that framed objects are strictly for looking, translating "hope" into a necessary, directional, and transitive intervention. You extended your hand, and the world is slowly coming to meet you.

画框中的事物向来是被“凝视”的客体，与墙上的时钟一样，它们建立了一道拒绝互动的绝对边界。 但这件作品打破了这种平衡。当你向它伸出手，画框底部的距离传感器在感知到你的靠近后，相框内的手部雕塑便会开始极其缓慢地向外移动，试图迎向你完成一次“击掌”。 这极其缓慢的靠近，是物质世界给予你的郑重回应。它颠覆了“画框仅供观看”的常态，将抽象的“希望”具象化为一次跨越边界、具有指向性的及物干预。你伸出了手，而世界正缓慢地向你走来。

Time is traditionally objective, but here, it yields to human weight. As you press the sensor, the clock accelerates—the heavier the pressure, the more frantic the flow. Upon release, the pace returns to normal, yet the "overdrawn" moments never return. The LCD screen quietly records this continuously altered time. Throughout the day, as visitors apply their collective pressure, the clock drifts further away from reality. Ultimately, the displaced digits on the screen are no longer mere markers; they are a collective trace squeezed out by physical weight—a visible scar of human will upon the laws of nature.

时间向来客观，但在这件作品中，它屈从于人类的重压。 当你按压传感器，时钟的流速便会随之加快——施加的物理重量越大，时间流逝得越狂热。松开手，时钟会恢复原本的步调，但被“透支”的光阴已无法倒流。 LCD屏幕安静地记录着这个不断被干预的“当前时间”。在展出的一天里，随着不同观众的触碰与施压，作品时间会与真实世界拉开越来越大的时差。最终，屏幕上那个错位的数字不再是简单的刻度，而是所有人用物理重量共同挤压出的“集体痕迹”，是人类意志在客观法则上留下的真实划痕。

Frames of Time captures suspended moments across timezones through layered transparent sheets. Each layer holds erased chat screenshots—only timestamps and “read” symbols remain. When you approach, gentle lights awaken these fragments, casting dancing shadows of vanished conversations. In this glow, a distant friend’s “Good morning” meets the sleepless night. Though words disappear, each illuminated read becomes a silent hand reaching across oceans. Your presence gathers these digital embraces, making absences resonate with the quiet comfort of knowing others are awake in the world’s scattered night.

Confusion we suspended, that they might seed through time: a read symbol pulsing in predark stillness, moonlit “typing…” ellipses, dream-softened replies, all unfurling now in this half-light, tendrils of care stretching from the erased spaces to brush your cheek with borrowed warmth.

《时间之帧》通过层叠的透明介质，捕捉了跨越时区、悬而未决的瞬间。每一层都承载了被抹去的对话——仅剩下了时间戳与“已读”标记。当你靠近，柔光唤醒了这些碎片，让消逝对话的残影翩跹起舞。在这光晕里，远方友人的“早安”邂逅了此地的彻夜未眠。尽管言语消散，每一个亮起的“已读”都化作一只跨越重洋的无声执手。你的存在汇聚了这些数字拥抱，令“缺席”在宁静的慰藉中回响——让你感受到，在这世界散落的深夜里，有人正与你一同清醒。

那些被我们悬置的迷惘，在时间的缝隙里生根发芽：黎明前寂静中律动的“已读”符号，月色下闪烁的“正在输入……”，还有如梦似幻的轻柔回响，此刻皆在微光中徐徐舒展。关怀的纤须从被抹除的空间向外延展，带着借来的温存，轻拂你的脸颊。

➥ Click to watch the demo video

Doppelgänger Mirror is an interactive kinetic installation that investigates the act of looking through a mirror that appears to look back. Drawing from folklore and psychoanalysis, the work evokes the notion of the doppelgänger—an invisible, often ominous double—to question how we observe and construct ourselves in contemporary digital times. Interaction begins simply: the viewer’s face is tracked and mirrored. But over time, the mirror develops an unpredictable rhythm, occasionally disrupting the synchronicity between gesture and response. In this shift, Doppelgänger Mirror transforms from a passive surface into an autonomous performer.

The work centers around a motorized mirror embedded in a transparent mechanical frame. Through face tracking and real-time servo control, the mirror responds to the viewer’s head movements—tilting, rotating, and shifting in depth—as if it possessed its own instinct to observe. Rather than reflecting a static image, the mirror acts as a living presence, mimicking or deflecting gestures in ways that are at times playful, at times unsettling.

By blurring the line between viewing and being viewed, reflection and reaction, Doppelgänger Mirror invites a reconsideration of the familiar gesture of looking into a mirror. It explores how subtle shifts in material, timing, and responsiveness can transform a common interface into a site of ambiguity, estrangement, and quiet confrontation.

作品的互动始于镜像反射：观众的面部被追踪复现。但镜子逐渐生成不可预测的律动，打破动作与反馈的同步性，使《二重身镜》从被动介质蜕变为自主主体。

《二重身镜》的核心是嵌于透明机械框架的电机驱动镜面。通过实时面部追踪与伺服控制，镜体随观者头部倾斜、旋转、进退，宛如觉醒的观察者。它拒斥静态倒影，以模仿或偏离的姿态构筑机械生命性，在戏谑与不安间挑战人类权威。

当观看与被观看的边界瓦解，作品迫使观者重审“照镜”这一仪式。通过材质异变与响应延迟，日常界面转化为自我对峙的场域——在这里，人与技术互为“二重身”，在无声角力中暴露数字时代的存在性焦虑。

During my tenure, I managed the Chinese social media marketing and public relations for Mazzoleni, a prestigious post-war Italian art gallery with spaces in London and Torino. My responsibilities encompassed content strategy, localized copywriting, and visual layout design for platforms including WeChat Official Account and Xiaohongshu (RED). Working closely with the curatorial and sales teams, I translated the gallery's narrative, exhibition updates, and art fair participations (e.g., Art Basel) for the Chinese-speaking audience, significantly enhancing brand awareness and engagement within the Asian art market.

在此期间，我主要负责战后意大利当代艺术画廊 Mazzoleni（伦敦与都灵）的中文社交媒体运营与公共关系策划。主要工作包括微信公众号与小红书的内容矩阵搭建、本土化文案撰写及视觉排版设计。我与画廊的策展及销售团队紧密合作，将画廊的品牌叙事、展览动态及艺术博览会（如巴塞尔艺术展）等核心信息精准传达给中文受众，有效提升了画廊在亚洲艺术圈的品牌知名度与受众互动率。

On the occasion of the 4th World AI Conference 2021, West Bund Museum, as one of the core venues of the Museum Mile, launched a public program—AI, Pan-Technology & Art. The program aims to showcase the crossover between art and technology in a multi-dimensional manner through the perspective of new media art, with a series of 12 events, including screenings, audio-visual performances, workshops, talks, along with School of Design & Innovation, China Academy of Art and Chronus Art Center, bring together distinguished scholars, curators and artists to discussion, inviting the public to dialogue and experience the new sensations about artificial intelligence and art.

西岸美术馆作为西岸“美术馆大道”的核心场馆之一，在2021年第四届世界人工智能大会举办之际，演绎AI与ART交织的精彩篇章，推出双A系列活动“AI、泛技术与艺术”，以新媒体艺术为切入点，开展12场形式多样的活动，包含跨媒介影像、现场展演、工作坊与系列讲座等，多角度展示艺术与科技的跨界与交融，并与中国美术学院创新设计学院、CAC新时线媒体艺术中心联合知名学者、策展人、艺术家发起探讨，邀请公众一同与科技对话、与艺术同舞，感受人工智能与艺术双向赋能的全新体验。