(左下抽屉 Bottom-Left Drawer)
Sayera Anwar, “Bachpan Ka Mela (Childhood Street Festival)” & “Karkhana (The Factory)” （童年节日 & 工厂）
2020, video, 03:25 2022, video, 02:15  

在影像“童年节日”中，Sayera80岁的奶奶讲述了她童年时与表兄弟姐妹在印度贾朗达尔（当时是巴勒斯坦人的家乡）参加节日庆典的故事。然而，由于印巴分治，奶奶被迫随家人作为穆斯林迁往巴基斯坦。自那以后，她再也没有回到过儿时的家。另一部视频作品《工厂》则展现了Sayera的母亲对巴基斯坦卡苏尔一个村庄的回忆。那里曾经有一座工厂，被广袤的果园环绕，属于一位著名的印度教商人。然而，工厂在老板被强行遣返回印度后被废弃，老板带走了机器的零件。Sayera的这两部视频作品都讲述了对故土遥远的记忆，并揭示了移民迁徙带来的深远影响。
In the “Bachpan Ka Mela (Childhood Festival),” the artist’s 80-year-old Nani (grandma) tells her story of visiting a festival as a child with her cousins in Jalandhar in India–their hometown at that time. However, Nani was forced to migrate to Pakistan with her family as Muslims because of the Partition. She has not visited her childhood home since then. The other video, “Karkhana (The Factory)”, presents Sayera’s mother’s memory of a village in Kasur, Pakistan. There used to be a factory surrounded by vast fruit fields owned by a prominent Hindu businessman. However, the factory was abandoned after the owner was forcibly returned to India and took parts of the machine with him. Both videos by Sayera narrate distant memories of the homeland and reveal the ongoing influence caused by migration.

(右上抽屉 Top-Right Drawer)
翁阿婷 Ating Weng, “Cathedrals”（教堂）
2023, paper, saddle-stitch book of 56 pages, 4x8 inches

翁阿婷的摄影集《大教堂》研究了她在布拉格、天津、印第安纳波利斯、阿川、德累斯顿、布拉迪斯拉发、维也纳、瓜纳华托等不同城市旅行期间所遇到的建筑。这些建筑被艺术家自动归类到云盘中名为“教堂”的相册里。这部作品以一种幽默的方式，对人们在跨区域旅行中可能遇到的空间进行了类型学研究。它也质疑了人类对外部景观的印象和分类的准确性。

Ating Weng’s photography book “Cathedrals” studies the architecture she encountered during her journey in different cities such as Prague, Tianjin, Indianapolis, Ngawa, Dresden, Bratislava, Vienna, Guanajuato, etc. The architectures were automatically categorized into an album called “cathedrals” in the artist’s cloud drive. The work is a humorous typological research of the spaces one may encounter during transregional movements. It also questions the accuracy of human impressions and categorizations of external sceneries.

(右中抽屉 Right-Middle Drawer)
Misha Poklad, “misprint” & “codec” （错印 & 编解码器）
from book series “APP: Analogue Processing Poetics”
2023, paper, accordion book, 5x5 inches each folded



Misha在中间的抽屉展出了两本折叠书，分别是《错印》（2023）和《编解码器》（2023）。这位艺术家对文化编码和数字化很感兴趣。每本书的一面都印有一系列虚构机器的蓝图。观众可以在书的背面看到解释其运作机制的流程图。米沙的作品是寓言，旨在提醒观众，标准化的程序可能会导致对人类活动的误解。

Misha Poklad presents two accordion books on the middle shelf, “misprints” (2023) and “codec” (2023). The artist is interested in cultural encoding and digitalization. There is a blueprint of a series of imaginary machines on one side of each book. Viewers can see a flow chart on the back side explaining the mechanism. Misha’s works are allegories that remind viewers of the potential misinterpretation of human activities through standardized procedures.

(右下抽屉 Bottom-Right Drawer)
Jonas Mueller-Ahlheim, “local painting” （本地绘画）
2023, house paint, monochrome painting in drawer, approximately 8.5x5 inches

Jonas的作品《本地绘画》（2023）展现了旅行者逃离现状的精神。当“手提箱”被带到一个新的地方时，Jonas的抽屉里就会被倒入一层新的颜料，有些颜料甚至会溢出抽屉滴落。乔纳斯想要打破“手提箱”本身的系统性，并鼓励人们参与到他的作品创作中来。当“手提箱”被移动到其他地方时，任何人都可以添加新的颜料层。这件作品是一幅单色画，它的颜色会随着“手提箱”的旅程而变化。

The work “local painting” (2023) by Jonas Mueller-Ahlheim demonstrates travelers’ spirits in escaping the status quo. When “Suitcase” travels to a new place, a new layer of paint will be poured into Jonas’s drawer, and some paint may overflow and drip out of the drawer. Jonas wants to break the system “Suitcase” itself and encourages co-authorship in his work. Anyone else can add other layers of paint when “Suitcase” is moved to other places. This work is a monochrome painting that changes its color along with the journey of “Suitcase.”