Paint Every Day. The message is clear and positive. With its cheerful colors, it’s like those punchlines that encourage working in a good mood.

Paint Every Day, is a painting I made in 2017 at my studio in the 20th arrondissement of Paris.

I once exhibited it as part of the corporate residencies organized by the Centre Pompidou. At that time, I was integrated into a team specializing in communication and crisis management.

In an office setting, the managerial tone of the text was immediately noticeable. For three months, I found myself “going to the office” every day, experiencing the “positive” side of this message as a form of compulsion.

The other ambiguous aspect of the message concerns working time. The “artist’s life” is a cliché perpetuated by songs and movies. In reality, I don’t paint every day, and not always in a good mood. The actual time I spend on a painting doesn’t determine its artistic value or price.

My activities are divided between the studio, teaching, and my personal life. These categories don’t exclude one another, and one could extrapolate that I paint every day.
On the scale of a building façade, the message ironically “competes” with advertising slogans, while aligning itself with the charming history of painted advertisements, a genre I’ve occasionally explored (such as for the Saint-Anne station in the Rennes metro, among others).

This proposition can be considered a self-portrait, inviting the viewer to reconsider their relationship to work and how they interpret messages in public spaces. It can also be taken at face value, for its colors and its pictorial energy. The presence of the word ‘paint’ on an Art Wall seemed quite fitting for the context and my practice.

The question of language as form, and form as language (visible/readable), has always interested me.

In fact, the starting points for my paintings are often a found pattern, which can be a word or a phrase. I’m also interested in how one can recreate/translate what has been seen, rewrite what has been read and/or heard.

I like the idea of a painting that speaks. To consider the painting as an exchange of information, a direct and simple exchange, using everyday, recognizable forms.

The paintings, therefore, raise questions; they are somewhat like spokespeople:
For instance, who is the painting addressing? Does the viewer also have something to say? Is someone listening? Who hears it? Who is speaking? I prefer to leave that open.

Camila Oliveira Fairclough is an artist and curator, born in 1979 in Rio de Janeiro, Brazil. She holds three nationalities: Brazilian, French, and British, she lives and works in Paris, France. She graduated from the Ecole Nationale Supérieure des Beaux-Arts de Paris in 2005.

“The Brazilian, Paris-based painter Camila OliveiraFairclough works with language and abstraction. Her wry and idiosyncratic painting draws from so-called hard-edge and geometric traditions and is as informed by popular culture as it is by classical graphic design. Fairclough paints by hand, applying her generally uninflected fields of color with pain-staking, but invariably imperfect human precision. This not only invests the work with an appreciable warmth, but also a sense of vulnerability and intimacy – two values not normally associated with the opacity of the painting traditions in which she awkwardly, but winsomely inserts herself. Language is used sparingly, but with great humor and tenderness, retaining the evocativeness of her wildly divergent sources. Her’s is a human painting; at once wonky and sharp, its urbane slinkiness and unsubtle penchant to celebrate color is anything but removed from the world. Rather it fully inhabits it.” – Language and abstraction, Chris Sharp

Paint Every Day, 这个信息清晰而积极。它所拥有的欢快颜色就像那些鼓励用好心情工作的妙语一样。

《Paint Every Day》是我2017年在巴黎 20 区工作室创作的一幅画作。

我曾将它作为蓬皮杜艺术中心组织的企业驻地活动的一部分进行展出。当时，我加入了一个专门从事传播和危机管理的团队。

在公司环境中，这段信息的管理基调立刻显现出来。三个月以来，我发现自己每天都要“去办公室”，作为一种强迫形式体验着这条信息的“积极”一面。

这个画作中文本信息的另一个模糊之处与工作时间有关。“艺术家的生活”是欧曲和电影中的陈词滥调。事实上，我并不是每天都画画，也不总是心情好。我花在绘画上的实际时间并不决定其艺术价值或价格。

我的活动可以分为工作室、教学和个人生活。这些类别并不相互排斥，某种意义上可以说我每天都在画画。

这一命题可被视为一幅自画像，邀请观众重新思考他们与工作的关系以及如何解读公共空间中的信息。也可以从其色彩和图像能量的角度来看待。艺术墙上出现的”paint(绘画)”一词似乎很符合我当时的语境和创作实践。

语言作为形式，形式作为语言(可见/可读)的问题一直让我很感兴趣。

事实上,我绘画开始的契机往往取决于发现的一个图案,也可能是一个词或一个短语。我也对如何再创/翻译所⻅内容,重写所读/所听的内容感兴趣。

我喜欢绘画会说话的想法。将绘画视为一种信息交换，一种直接而简单的交换，使用日常可识别的形式。因此，这些画作提出了问题; 它们有点像发言人:

例如，这幅画是在向谁讲话?观众也有话要说吗?有人在听吗?谁听到了?谁在说话?我倾向让这个问题保持开放性的答案。

Camila Oliveira Fairclough 是一位艺术家和策展人，1979 年出生于巴西里约热内卢。她拥有三个国籍：巴西、法国和英国，现居住和工作在法国巴黎。
她于 2005 年毕业于巴黎国立高等美术学院。

Chris Sharp在《语言与抽象》中如此评论:
“扎根在巴西、巴黎的画家 Camila Oliveira Fairclough 的作品以语言与抽象为特色。她的绘画风格诙谐、特立独行，汲取了所谓硬边和几何传统的灵感，同时受到流行文化和经典平面设计的影响。Fairclough 用手绘形式,不加任何修饰地涂抹色彩区域，尽管这有着人类不完美的精确度。这不仅为作品注入了可观的温馨，还带来了一种脆弱感和亲密感——这两种价值并不与她笨拙但迷人地融入其中的不透明绘画传统有关。她的语言用词不多，但确极富幽默与柔情，保留了其丰富多彩的创作源泉。她的画作是充满人性的；既古怪又犀利，其都市感的慵懒和对色彩毫不掩饰的喜爱绝不是与世隔绝的。相反，它完全融入了这个世界。”

Martin Poulain (b.1991) lives and works in Paris.
The artist questions the mechanisms by which images are seen, read and displayed, mechanismsthat have a direct impact on the meaning of the image itself.

In the night sky of Changsha, the stars respond to the white dots on a shark’s skin. lt’s a wakingdream created by the interplay of cigarette filters and a plastic figurine on the surface of a scannerwindow.

在长沙的夜空里，星星与鲨鱼皮肤的白点相呼应。这是一个香烟滤嘴和扫描仪表面塑雕混合产生的梦境。

Martin Poulain(出生于1991年)在巴黎生活和工作。
艺术家质疑图像被观看、阅读和展示的机制，这些机制对图像本身的意义有着直接影响。

The billboard is lit up at sunset time (Rotterdam UTC+2) every day.

For the seventh new moon, the Lunar Practices protocol is adapted to a location diferent from itsown site. During the exhibition, the billboard is activated at sunset time in Rotterdam, offsetting thebillboard’s light-up to six hours earlier before the sunset in Changsha. in its allusions to distanceand time through overlaying one timezone onto another, the night redraws the relations betweentwo places in the world. On the bilboard, Bernke Klein Zandvoort’s Dutch poem ‘nacht’ is inside itsEnglish translation ‘night’.

Reinier Vrancken lives and works in Rotterdam, the Netherlands. Through language as a sharedbody he explores how all things are part of other things. His installations, objects, interventions.artist books and poems propose to renegotiate the conceptual contours of the physical body. in2023, he was an artist-in-residence at WlELS, Brussels (BE). He has participated in exhibitions atP///AKT (Amsterdam, NL), Rib (Rotterdam, NL), SB34 (Brussels, BE), Art Rotterdam (Rotterdam.NL), Tique (Antwerp, BE), and Marres, House for Contemporary Culture (Maastricht, NL).

Bemke Klein Zandvoort lives and works in Amsterdam, the Netherlands. in her practice, shemoves between the fields of literature and visual art. All her work is connected by a curiosity aboutvisual perception and how we (get to) know the world through the lenses of words. She was anartist-in-residence at the Jan van Eyck Academie post-academic institute (NL). She is the author oiseveral poetry collections. Her last poetry collection, Veldwerk (Fieldwork, 2020), was nominatedfor De Grote Poézieprijs and she was a festival poet at Poetry International in 2021.

月球广告牌在每天日落时分(鹿特丹 UTC+2)亮起

在今年的第七个新月，月球广告牌被调整到一个与其身处位置不同的地点。展览期间，广告牌在鹿特丹的日落时分，即长沙日落时间的六小时前被点亮。通过将一个时区叠加到另一个时区，夜晚重新描绘了世界上两个地方之间的关系，暗示了距离和时间。在广告牌上，Bernke Klein Zandvoort 的荷兰诗歌”nacht”被翻译成英文”night”。

Reinier Vrancken 在荷兰鹿特丹生活和工作。他以语言作为共享主体，探索万物如何成为其他事物的一部分。他的装置、物品、干预行为、艺术家书籍和诗歌提出重新谈判物理身体的概念性轮廓。2023年，他成为布鲁塞尔 WIELS(比利时)的驻地艺术家。他参加过的展览有:PIIAKT(荷兰阿姆斯特丹)、Rib(荷兰鹿特丹)、SB34(荷兰布鲁塞尔)、鹿特丹艺术博览会(荷兰鹿特丹)、Tique(荷兰安特卫普)和 Marres 当代文化之家(荷兰马斯特里赫特)。

Berke Klein Zandvoort 在荷三阿姆斯特丹生活和工作。在她的创作实践中，她游走于文学和视觉艺术之间。她的所有作品都源于对视觉感知的好奇，以及我们如何通过文字镜头来认识世界。她曾是Jan van Eyck Academie post-academicinstitute(荷兰)的驻地艺术家。她著有多部诗集。她的上一部诗集《Veldwerk》(Fieldwork，2020年)获得了”De Grote Poeziepriis”奖提名，她还是2021年国际诗歌节诗人。

Released in 1931, “The Waves”, Virginia Woolf’s seventh novel, is considered one of her mostdaring and challenging. The book traces the lifetime of six friends through nine chapters, fromchildhood to old age, by making parallels to the changing position of the sun and the tides. “TheWaves” suggests that every human being is a distinct living unit while simultaneously being a partof every other unit of human life-that is, that we are part of one another. Reflecting Woolf’sconcern with capturing the poetic rhythm of life, the intricacies of the mind and the passage of time.the novel questions whether language is capable of embodying everything we want to say.

“The Waves (colors)” by Maxime Fauconnier is a 3-page typewritten work compilingchronologically the 675 colors mentioned in Virginia Woolf’s “The Waves”, divided in sectionscorresponding to the nine chapters of the novel, Functioning as an enigmatic formula, the workdreams up the colors shaping the events and relationships of a lifetime.

The billboard for the new Lunar Practices edition, featuring a close-up detail of the script’s secondchapter, will be on display from June 6th to July 4th, 2024.

《海浪》(“The Waves”)是弗吉尼亚·伍尔夫(Virginia Woolf )的第七部小说，于 1931 年出版,被认为是她最大胆、最具挑战性的作品之一。该书通过九个章节，以太阳和潮汐位置的变化为线索描写了六个朋友从童年到老年的一生。《海浪》认为每个人都是一个独特的生命单元，同时又是人类生命中其他每个单元的一部分，也就是说，我们是彼此的一部分。这部小说反映了伍尔夫对捕捉诗意的生活节奏、错综复杂的心灵和时间流逝的关注，质疑语言是否能够体现我们想要表达的一切。

Maxime Fauconnier的《The Waves (colors)》是一份3页的印刷作品，按时间顺序汇编了弗吉尼亚伍尔夫的《海浪》中提到的 675 种颜色，并按照小说的九个章节进行了划分。作为一个神秘的公式.该作品梦幻般地描绘了塑造一生的事件和关系的色彩。

Lunar Practices的广告牌上有文本第二章的特写细节，于2024年6月6日至7月4日展出。

Maxime Fauconnier(出生于 1989 年)是一位生活和工作在比利时布鲁塞尔的视觉艺术家，其创作涉及摄影、电影、文本、现成材料、装置和表演。他的作品探索了这些媒介的特性和相互联系，同时研究了记忆和亲子关系、缓慢和平凡，或我们集体想象中反复出现的主题等。

Olivier Bémer is a visual artist based in Paris. Through films, installations, objects and prints, hiswork explores our relationship to technology as a mean of representation, and depict anadulterated reality in which archetypes simulate but fail to represent. Function is then diverted fromform and machine from learning.

You wouldn’t believe, would you, you would, not, you would believe if, you wouldn’t believe what,or maybe, you believe, don’t you not ? Please do.

你会不会相信，你会不会，你会不会，你会不会相信如果，你会不会相信什么，或者也许，你相信，难道你不相信吗?请相信。

Olivier Bemer 是一位视觉艺术家，现居巴黎。通过电影、装置、物品和印刷品，他的作品探索了我们与技术之间的关系，将技术作为一种表现手段，并描绘了一种掺假的现实，在这种现实中原型可以模拟，但却无法表现。在这种情况下，功能脱离了形式，机器脱离了学习。

New Moon Song is a piano and flute nursery rhyme, accompanied by folktales and recordings. While returning home from the tides, the radio in the bus is playing classical music. It is also the last page of the story, with no fixed ending.

On April 20, starts at 18:30, sunset till dark. New Moon Song will be performed in the side yard of b09k.

A work of letting go of the sleep but sitting a bit longer.

Li seeks the nature of human emotions and bonding through a series of fleeting moments that gives rise to sublimities of the daily life. She experiences and feels those so-called magic moments in an ongoing recording practice as a response and dialogue of which primarily takes form in journaling and sound gathering.

《New Moon Song》是⼀⾸正在绘制的童谣，钢琴和⻓笛谱曲，伴随古典乐⼴播、传说和录⾳。从 潮汐地返回途中播放着。这也是故事的最后⼀⻚，没有固定的结尾。

4⽉20⽇，18点30分开始，⽇落⾄天⿊。《New Moon Song》将在b09k的侧院表演。

李通过记录的⽅式更加完整地感知及理解情感在空间⾥的形态、⼈们之间的流动、声⾳中的传递、 潜意识⾥的活动。记录形式包含⽂字、采集与制作声⾳。最近的作品以讲故事和⽤声⾳布置出的场 景来展现。观众在其中经历着那些瞬间也同时得到完全的放松。

李的写作和声⾳表演在不同的环境和情境中发⽣：《海豚宾馆》，Hotel Flipper（阿姆斯特丹）； 《乌⻳的梦》，San Serriffe（阿姆斯特丹）；puntWG（阿姆斯特丹）；《Radial Seedscape》 with Shock Forest Group，Van Abbemuseum（埃因霍温）；《魔法（⽐魔法更不真切）》， 2Walls（阿姆斯特丹）；《过渡的声⾳》，Framer Framed（阿姆斯特丹）；《⾖腐泥沼&キルトト ラップ》，LAB111（阿姆斯特丹）；《椅⼦的感受》，Kunstverein（阿姆斯特丹）；《Those who act as ghosts》，It’s a book 2022（莱⽐锡）；《Loud Cows》，ISO（阿姆斯特丹）； 《Listening Sessions》，HetHEM（赞丹）；《洞⽳窃听》，The Grey Space in the Middle（海 ⽛）；《你听到的是昨天的凯奇》，OUTLINE streams: in dubio（阿纳姆）等。以及她的个⼈项⽬ “⽔银露台”，持续在不同城市的等候室和听⾳室。

Inspired by Steinbeck’s novel “The Pearl”, this series of drawings explores the duality of fortune, embodied by a mysterious pearl. My pearl necklace borrows its enigmatic face from the Joker in the famous board game “Rummikub”. The series explores the whimsical dance of fortune and power.

Maud Gourdon is a visual artist, with a background in illustration, who mainly experiments with the way language and linguistic principles can be used to create visual and spatial narratives. These narratives are composed of publications, texts, drawings and sculptures that culminate in installations. Gourdon’s installations tend to be rooted in intimate stories and familiar objects, which she intertwines with language games and, above all, coincidences, such as a slip of the pen or tongue.

Gourdon obtained her first master’s degree in communication at La Hear (Strasbourg, FR) (2014) and her second master’s degree in visual arts at KASK (Ghent, BE) (2017). In recent yers, her work has been exhibited at Roger Raveel Museum (BE); S.M.A.K (Ghent, BE); CENTRALE for contemporary art (Brussels, BE); Beige (Brussels, BE); Rile* (Brussels, BE); M-Museum (Leuven, BE); Cas-co (Leuven, BE); BOEKS (Ghent, BE), Le Transpalette (Bourges, FR); Le 19; CRAC (Montbelliard, FR); Damien and the Love Guru (Brussels, BE) and Kiosk (Ghent, BE).

Gourdon is a current member of Level Five zvw (Brussels, BE), and a former resident of HISK (Ghent, BE) (2022-2023) and M-residency (M-Museum, Leuven).

受到斯坦⻉克的⼩说《珍珠》（”The Pearl”）的启发，这组绘画探索了神秘的珍珠所体现的财富的 双重性。作品My pearl necklace⾥的神秘⾯孔来⾃著名棋盘游戏 “Rummikub “（拉密牌）中的⼩ 丑。这⼀系列作品试图探索周旋在权⼒与财富之间的奇异之舞。

Maud Gourdon是⼀位具有插图背景的视觉艺术家，她主要尝试⽤语⾔和语⾔学原理来创造视觉和空 间叙事。这些叙事由出版物、⽂本、绘画和雕塑组成，最终形成装置作品。Gourdon 的装置作品往 往植根于亲切的故事和熟悉的物品，她将其与语⾔游戏，尤其是巧合（如笔误或⼝误）交织在⼀ 起。

Gourdon 在 La Hear（法国斯特拉斯堡）获得第⼀个传播学硕⼠学位（2014 年），在 KASK（⽐利 时根特）获得第⼆个视觉艺术硕⼠学位（2017 年）。近年来，她的作品曾在罗杰-拉威尔博物馆 （⽐利时）、S.M.A.K（根特，⽐利时）；当代艺术 CENTRALE（布鲁塞尔，⽐利时）；Beige（布 鲁塞尔，⽐利时）；Rile*（布鲁塞尔，⽐利时）；M-Museum（鲁汶，⽐利时）；Cas-co（鲁汶， ⽐利时）；BOEKS（根特，⽐利时）；Le Transpalette（布尔⽇，法国）；Le 19；CRAC（蒙⻉利 亚德，法国）；Damien and the Love Guru（布鲁塞尔，⽐利时）和 Kiosk（根特，⽐利时）。

Gourdon 是 Level Five zvw（布鲁塞尔，⽐利时）的现任成员，也曾是 HISK（根特，⽐利时） （2022-2023 年）和 M-residency（鲁汶 M-博物馆）的常驻成员。

About ten years ago, a heart somewhat elderly

and another heart which is also no longer young

Were left alone in the world

You know, it’s not an easy situation making an experimental research into the origins of life

So,They decided to create a new model home

You know like an interior process that you use for developing new patterns

But they were too tired to be concerned about perceptions

Divided between physical, mental and all that exists as long as one is alive

Too many possibilities and destinies

which is also not simple at all

After years of living with the notion of not dying

Louise Siffert ( lives and works in Paris) is a French performer and artist. The world of work, alienation, the search for well-being, the place of habits: Louise Siffert’s performances question and relate these current themes in theatrical and burlesque settings. Anchoring her work in scientific and sociological reflections, she creates characters with exacerbated personalities, overexploiting the codes of language and behavior that are attributed to them.

About ten years ago, a heart somewhat elderly

and another heart which is also no longer young

Were left alone in the world

You know, it’s not an easy situation making an experimental research into the origins of life

So,They decided to create a new model home

You know like an interior process that you use for developing new patterns

But they were too tired to be concerned about perceptions

Divided between physical, mental and all that exists as long as one is alive

Too many possibilities and destinies

which is also not simple at all

After years of living with the notion of not dying

Louise Siffert(⽣活和⼯作于巴黎）, 是⼀位法国表演艺术家。⼯作世界、疏离感、对幸福的追求、习以为常的位置：Louise Siffert的表演以戏剧和滑稽戏的形式对这些时下流⾏的主题提出质疑，并将其与这些主题联系起来。她的作品以科学和社会学反思为基础，塑造了⼀些个性张扬的⻆⾊，过度利⽤了他们的语⾔和⾏为规范。

*mundi, 2022

In a pop and conceptual appropriational gesture, Marc Buchy designed a complete typography extending the famous logo of the Éditions de Minuit, a seminal french publishing house. Each letter of the alphabet is emblazoned with a star, allowing Buchy to summon up two recurring elements in his work: language and stars.

While the billboard of B09K display a clear grid presenting every letters, the letters are also transformed into rubber stamps. Made available to the public inside the shop, everyone is free to use them on sheets of paper. The final images form compositions that are part night sky map, part lexicon.

Marc Buchy以⼀种流⾏和概念性的挪⽤姿态，设计了⼀套完整的字体，延伸了法国开创性出版社 Éditions de Minuit （午夜出版社）的著名标志。每个字⺟都印有⼀颗星星，这让Buchy在其作品中 唤起了两个反复出现的元素：语⾔和星星。

在 B09K 的⼴告牌上，每个字⺟都以清晰的⽹格呈现，⽽这些字⺟也变成了橡⽪印章。店内向公众 开放，每个⼈都可以在纸上⾃由的使⽤印章。最终形成的图像既是夜空地图，⼜是词典。

“Love Is Love Is Love” 2023

is a scan of a painting and a combination taken from two quotes out of the book “In Praise Of Love” by French philosopher Alain Badiou.

Niels Poiz (°1991) lives and works in Brussels, Belgium. His artistic practice takes the form of micro publishing, performances and installations. The use of language and modes of communication, writing as a medium and the appropriation of text are central to his artistic research. With fragments that the artist extracts from the archives of popular culture and the media – decontextualized words taken from pop songs,films,cyberculture and advertising discourse – Poiz expresses his own historyand that of others. Themes of coming-of-age, the exploration of communication strategies and sociology form the common thread running through his work.

“Love Is Love Is Love” 2023

这是⼀幅画的扫描件，取⾃法国哲学家Alain Badiou的《In Praise Of Love（爱的赞美）》⼀书中的 两句话。

Niels Poiz（1991 年出⽣），在⽐利时布鲁塞尔⽣活和⼯作。他的艺术实践形式包括微型出版、表 演和装置。语⾔的使⽤和交流模式、作为媒介的写作以及对⽂本的挪⽤是他艺术研究的核⼼。艺术 家从流⾏⽂化和媒体的档案中提取⽚段—从流⾏歌曲、电影、⽹络⽂化和⼴告话语中提取的去⽂本 化词语—Poiz ⽤这些⽚段表达了⾃⼰和他⼈的历史。成⻓的主题、传播策略的探索和社会学构成了 贯穿其作品的共同主线。

International Dark Sky Places, South Downs National Park, 2023

The South Downs National Park in England has been designated as an ‘International Dark Sky Place’ owing to its minimal light pollution. This photograph was took there during the day and developed at the exact same location after nightfall, without the use of a tent or changing bag, but by harnessing the distinctive nocturnal darkness to turn the world into a darkroom.

Lucas Leglise has been conducting research on the very substance of photographic images and their conditions of emergence. His various projects aim to give shape to that particular moment when photography reveals itself, especially in analog processes. In a constant back-and-forth between the world and its image, he is equally interested in what light impresses upon the film as well as the relationship photographs maintain with their referents.

国际黑暗天空之地，南唐斯国家公园，2023 年

英格兰南唐斯国家公园因其极少的光污染而被指定为 “国际黑暗天空之地”。这张照片是白天在那里拍摄的，夜幕降临后在同一地点冲洗，没有使用帐篷或暗袋，而是利用独特的夜间黑暗将世界变成了暗室。

Lucas Leglise一直在研究摄影图像的本质及其出现条件。他的各种项目旨在为摄影展现自身的那一特殊时刻赋予形态，尤其是在模拟过程中。他在世界和影像之间不断来回穿梭，对光线在胶片上留下的印象以及照片与其参照物之间的关系同样感兴趣。

“Living by the Sun, Dreaming with the Moon” is an ode to the daily transition from wakefulness to slumber, where day and night, sun and moon, and reality and dreams intersect.

Marjolein Guldentops is a multidisciplinary artist based in Brussels. Her practice delves into the interplay between language, place, and urban rhythms, incorporating graphic and typographic elements, spatial compositions, and song-like sequences. Through her work, she engages with a diverse range of linguistic systems, leveraging the ambiguity and conventionality of language to convey multiple layers of meaning and interpretation. Her work takes on various forms, spanning performance, drawing, publication, and installation.

“Living by the Sun, Dreaming with the Moon”是⼀⾸颂歌，歌颂了每天从清醒到沉睡的过渡，在这 ⾥，⽩天与⿊夜、太阳与⽉亮、现实与梦想交织在⼀起。

Marjolein Guldentops是⼀位多学科艺术家，常驻布鲁塞尔。她的作品深⼊探讨了语⾔、地点和城市 节奏之间的相互作⽤，融⼊了图形和排版元素、空间构图和歌曲般的序列。她的作品涉及多种语⾔ 系统，利⽤语⾔的模糊性和传统性传达多层次的含义和解释。她的作品形式多样，包括表演、绘 画、出版和装置。

In his latest work, Maxime Le Bon repeatedly draws and displays the face of a puppet, a folklore figure from Liège, Belgium. Like viral and recurring elements, the face is multiplied, diffracted as much in the exhibition space as in a book. The image could be seen as an internet meme: an element of language that is recognisable and transmitted by repetition from one individual to another.

Born in 1989 Maxime Le Bon works and lives in Bruxelles. http://maximelebon.com/

In banana boxes, Maxime Le Bon collects and keeps a jumble of documents. Most of them are printed, cut out from newspapers, magazines, old publications, erratas and other fragments of text. They are joined by his own drawings, done freehand, in quick strokes, or patiently produced during the long process of reproducing images whose scale has to be altered by manual enlargement. This motley collection of gleanings is then redistributed, and slipped into folder pockets where he keeps them. Unstable and constantly changing, this unlikely archive grows over the years. It sedimented layers of experience and formed a heterogeneous deposit from which all sorts of fragmentary narratives could emerge, accidental arrangements that could be reconfigured according to the needs of his practice.

在Maxime Le Bon的最新作品中，他反复描绘并展示了一个木偶的脸，这是比利时列日的一个民间传说人物。就像病毒和重复出现的元素一样，这张脸在展览空间里像在一本书里一样被倍增和衍射。该图像可被视为一种互联网迷因（meme）：一种可识别的语言元素，并通过重复从一个人穿鼻到另一个人。

Maxime Le Bon 出生于 1989 年，在布鲁塞尔工作和生活。 http://maximelebon.com/

Maxime Le Bon在香蕉箱里收集并保存着各种杂乱无章的文件。它们大多是印刷品，从报纸、杂志、旧出版物、勘误表和其他文字碎片上剪下来的。此外，还有他自己绘制的图画，这些图画有的是徒手绘制的，有的是快速绘制的，有的是在复制图像的漫长过程中耐心绘制的，这些图像的比例必须通过手动放大才能改变。然后，这些杂七杂八的收集物被重新分配，塞进他保存它们的文件袋中。这个不稳定且不断变化的档案多年来一直在增长。它沉淀了一层又一层的经验，形成了一个异质的沉淀物，各种零散的叙事可以从中产生，意外的安排可以根据他的实践需要重新配置。

The exhibition space offers a coffee in exchange for the contents of your pocket every day.

The forms of his work are extracted from their context in order to appropriate them and multiply them to obtain new rational forms. Goalec questions the relationship of the human body with the objects, spaces, daily rituals and tries to make visible what we have made invisible.

He has worked and exhibited with institutions and gallery spaces such as FRAC Bretagne (France), 10n (Belgium), Kanal Center Pompidou (Belgium), Kunsthal Charlottenborg (Copenhagen), La Traverse by Catherine Bastide (France), Levy Delval (Brussels), Salon Montrouge (France), 221A (Vancouver), Laureat for ArtNorac Price at Frac Bretagne and the Fédération Wallonie Bruxelles Art Brussels Price (Belgium) and he also participates to the residencies as Cité Internationale des Arts de Paris (France), Aldea (Bergen), CCA Andratx (Palma).

展览空间提供⼀杯咖啡来交换你⼝袋⾥的东⻄。

他作品的形式是从其语境中提取出来，以挪⽤和复制它们来获得⼀种新的合理关系的形式。Goalec 质疑⼈体与物体、空间和⽇常仪式之间的关系，并试图让我们看不⻅的东⻄变得可⻅。

他曾与 FRAC Bretagne（法国）、10n（⽐利时）、Kanal Center Pompidou（⽐利时）、Kunsthal Charlottenborg（哥本哈根）、La Traverse by Catherine Bastide（法国）、Levy Delval（布鲁塞 尔）、Salon Montrouge（法国）等机构和画廊合作并举办展览、他还参加了巴黎国际艺术中⼼（法 国）、Aldea（卑尔根）、CCA Andratx（帕尔⻢）等驻地项⽬。

Two skeletons recount the movements of the moon.

Etymologically, the English word calendar has its roots in ‘calling out’, as in, to call out the new moon. The images used here are loose derivations from early medieval woodcuts, where the skeleton was among the earliest recurring motifs; a kind of photo meme. In the West, the capacity to repeat one’s self precisely becomes immediately understood as unnatural, uncanny, undead.

Henry Andersen studied as a composer of experimental music in Perth and Berlin before moving to Brussels and retraining as a visual artist. He makes performances, sculpture, sound recordings and printed matter, sometimes alone and sometimes in collaboration with Bryana Fritz under the name Slow Reading Club.

两具骷髅讲述着⽉球的运动。

从词源学上讲，英⽂单词calendar的词根是 “召唤”，就如同召唤新⽉。这⾥使⽤的图像是从中世纪 早期的⽊刻中松散地衍⽣出来的，其中骷髅是最早重复出现的主题之⼀，是⼀种图像模因 （meme）。在⻄⽅，精确重复⾃我的能⼒是被⽴即理解为不⾃然、不可思议和不死的。

Henry Andersen曾在珀斯和柏林学习实验⾳乐作曲，后移居布鲁塞尔，并重新接受视觉艺术家培 训。他时⽽单独创作，时⽽与Bryana Fritz合作，以 “慢读俱乐部”（Slow Reading Club）为名，创 作表演、雕塑、录⾳和印刷品。

This project humorously juxtaposes the image of the moon, a symbol of celestial time, with the relentless concept of 24/7 time, unearthing the haunting disconnection and alienation that humorously arise from our consumerist lifestyle.

Elsa Werth is engaged in a multidimensional work : installation, sculpture, video, artist’s book and sound.

Through an economy of means she claims non-spectacular gestures as resistance tactics.

She diverts words, objects and gestures from their common use. Her approach counters commodity production and challenges normalized information.

Thus questioning the criteria for works of art to exist in an environment where representations are standardized.

这个项⽬幽默地将象征天体时间的⽉亮形象与⽆情的24/7时间概念并列，挖掘出萦绕在我们消费主 义⽣活⽅式中的断裂和疏离。

Elsa Werth从事⼀个多维度的⼯作：装置、雕塑、录像、艺术家书以及声⾳。

通过⼀种经济的⼿段，她声称⾮壮观的姿态是抵抗战术。

她将⽂字、物体和⼿势从它们的普通⽤途中转移出来。她的⽅法反抗商品⽣产，挑战规范化的信 息。

因此，她质疑艺术作品在⼀个标准的展示环境中存在的条件。

Moonlight is a naive and poetic representation of the Moon, in the form of a light bulb. Its size has been divided by 10 million to keep it within reach. It is visible throughout the day in its extinguished form and offers us its light at nightfall.

Mirat-Masson identifies itself as an author-publisher duo in which they mix their practices as screenprinters and graphic designers. They like what is plural and hybrid. Mirat-Masson is therefore an inclusive, proud and multi-tasking duo. They have gradually anchored their research in the relationship between language and identity (gender, class, sexual orientation) through their personal narratives.

Mirat-Masson is a faggot-dyke duo in which languages become predominant, malleable, fluid and political. Punctuations are absent, mediating, brilliant. The letters become statuesque, inclusive, elevated. Words are highlighted, excited, explicit, self-defining. The texts search for themselves, build themselves, shout, call out. The writing can be incorrect, carried away, modified, mutated.

⽉光是对⽉亮的天真和诗意的表现，以灯泡的形式。它的⼤⼩被划分为1000万，以保持它的可及 性。它以熄灭的形式全天可⻅，并在夜幕降临时为我们提供光明。

Mirat-Masson定义⾃⼰为⼀个作者和出版社的⼆⼈组，他们将⾃⼰作为丝⽹印刷者和平⾯设计师的 实践结合在⼀起。他们喜欢复数和混合的东⻄。因此，Mirat-Masson是⼀个包容的、⾃豪的和多任 务的⼆⼈组。他们通过个⼈的叙述，逐渐将他们的研究⽴⾜于语⾔和身份（性别、阶级、性取向） 之间的关系。

Mirat-Masson是⼀个faggot-dyke⼆⼈组，其中语⾔成为主导的、可塑的、流动的和政治的。标点 符号是缺席的，是调停的，是辉煌的。字⺟变得像雕像⼀样，具有包容性，被提升。词语被强调、 兴奋、明确、⾃我定义。这些⽂字寻找⾃⼰，建⽴⾃⼰，呼喊，呼唤。写作可以是不正确的，被带 ⾛的，修改的，变异的。

“Gwendal Coulon’s art work – as performance, painting, drawing, installation or video – is a step aside. His proposals are never think in cynical or deceptive way but attempt to reveal some things about nature and purpose of our contemporary art world.

Graduated from fine art school in Paris his work has been shown at La Station (Nice), Galerie Air de Paris (Paris), CAC Brétigny, le Crédac (Ivry-sur-Seine), Galerie Gaudel de Stampa (Paris), Frac Franche-Comté (Bezançon), MRAC (Sérignan)…”

“Gwendal Coulon的艺术作品—作为表演、绘画、素描、装置或视频—都是一步到位的。他的提案从未以玩世不恭或欺骗性的方式思考，而是试图揭示一些关于我们当代艺术世界的性质和目的的东西。

他毕业于巴黎的美术学院，他的作品已经在La Station（尼斯）、Galerie Air de Paris（巴黎）、CAC Brétigny、le Crédac（Ivry-sur-Seine）、Galerie Gaudel de Stampa（巴黎）、Frac Franche-Comté（Bezançon）、MRAC（Sérignan）展出…”

For 28 days between February and March 2023, the basal body temperatures of both myself and my wife were measured each morning by placing a basal body temperature thermometer in the mouth. The figures were recorded in two respective charts on a day-to-day basis and then the resultant graphs were superimposed with each other to see what shape would be generated between us — like a very specific lunar calendar so to say.

Yuki Okumura is an artist and translator originally from Japan and currently working mainly in the Central European Time zone. Many of his performative processes employ a set of self-imposed instructions leading to an unpredictable consequence that is beyond his control and knowledge, often in terms of his own body, life, and/or interpersonal relations toward a possible redefinition of individuality and collectivity.

在2023年2月至3月的28天里，每天早上将基础体温计放入口中，测量我和妻子的基础体温。这些数字每天都被记录在两个各自的图表中，然后将所得的图表相互叠加，看看我们之间会产生什么形状 — 可以说就像一个非常具体的月历。

奥村雄树是一位来自日本的艺术家和翻译，目前主要在欧洲中部时区工作。他的许多表演过程采用了一套自我设定的指令，导致了一个不可预知的后果，是超出了他的控制和知识范畴，通常是在他自己的身体、生活和/或人际关系方面，朝着可能重新定义个人和集体的方向。

Il est écrit « THE EXPENSE OF TIME » (« LA DÉPENSE DU TEMPS » en français).

La formulation sonne étrangement dans les deux langues. La syntaxe correcte serait « Le temps dépensé ». « Expense », comme « dépense », sont habituellement utilisés pour désigner de l’argent. « Expense » en anglais est également utilisé dans l’expression « At the expense of » = « au détriment de ».

La formulation, poétique, m’intéresse car j’ai le sentiment que le temps est devenu un luxe, un privilège auquel peu de gens ont accès. Le temps est devenu un outil du capitalisme, privilégiant la rentabilité, le but, l’efficacité, plutôt que le processus ou le lâché prise.

La phrase est écrite in situ, sur le mur. L’outil utilisé pour écrire ne recouvre pas le support mais le découvre. Le mur a été nettoyé. J’ai écrit par soustraction, en enlevant de la matière, comme une sorte d’ «  écriture par l’éblouissement ». Conjuguant le geste d’écrire à celui de nettoyer (et donc de “prendre soin”), la phrase n’existe qu’en tant que trace éphémère : elle disparaîtra avec le temps, en reproduisant le même effet que le temps produit sur notre propre mémoire.

它上面写着 “THE EXPENSE OF TIME”，在法语里是“la dépense de temps”（时间的花费）。

这一措辞在两种语言里听起来都很奇怪。正确的语法应该是 “Le temps dépensé”(花费的时间)。”Expense “和 “dépense “一样，通常用来指代金钱。英语中的 “Expense “也用于表达 “At the expense of”（以……为代价）。 

我感兴趣于这种诗意的表述，因为我觉得时间已经成为一种奢侈品，一种很少有人能够获得的特权。时间已经成为资本主义的一个工具，优先考虑盈利性、目的性、效率，而不是过程或是放手。

这句话是于原地写在墙上的。用来书写的工具并没有覆盖它的载体，而是揭开了它。墙已经被清理过了。我通过减法写作，去除材料，就像一种 “晕眩的写作”。结合书写和清理的手势（因此也是 “照顾 “的手势），这句话只作为一个短暂的痕迹存在：它将随着时间的推移而消失，再现时间对我们的记忆产生的相同的效果。

‘NO. THANK YOU’ is a response to Hans-Peten Feldmann’s piece “Thank You”. It is presented in the context of Octopus Notes*, in an art fair. The work presents an ambiguous gesture in the face of the art market.

*Octopus Notes is an annual journal that gathers critical essays, academic writing, interviews, archival documents and artist’s projects.

Sophie Nys lives and works in Brussels, Belgium She uses sculpture, photography, video, text and objects to examine precise philosophical, political, historical and artistic themes with a wry sense of humor. Often working from local stories or from the particularity of everyday objects, she addresses larger issues class and gender by asserting the social idiosyncrasy of common objects, products, materials and ideas.

“NO, THANK YOU”是对Hans-Peter Feldmann的作品 “Thank You”的一个回应。它是在Octopus Notes* 的背景之下，展示于一个艺术博览会上。该作品呈现出面对艺术市场时一个暧昧的姿态。

* Octopus Notes是一本年度期刊，收集评论文章、学术写作、访谈、档案文件以及艺术家项目。

Sophie Nys在生活和工作于比利时布鲁塞尔。她用雕塑、摄影、录像、文字和物体来研究精确的哲学、政治、历史和艺术主题，并带有一种狡猾的幽默感。她经常从当地的故事或日常物品的特殊性出发，通过宣称普通物品、产品、材料和想法的社会特异性来解决更大的阶级和性别问题。

Lacunae is silence waiting to become sound. A potential score to be read, viewed, or performed. The shapes that were invisible are now present. Which stem from the negative spaces of damaged papyrus.

Claudia de la Torre (1986) is a Mexican, Berlin-based artist who creates artworks situated at the intersection of printed media, conceptual publications, and installation. Using the basic concept of a book as her guide, de la Torre examines the structures and relationships of surface, form, and ideas. In 2011 de la Torre founded backbonebooks, an experimental publishing imprint that has published 80 artists’ books and editions and continues to produce work. De la Torre is also the director of the Artists’ Books Workshop in Berlin.

De la Torre holds a BA from the Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda” (2009). In 2010 she was the first Mexican artist to obtain the Frida Kahlo Scholarship for Women Artists granted by the DAAD, which allowed her to pursue an MA at the Academy of Fine Arts in Karlsruhe, Germany.

She is an active member of the Künstlerbund Baden-Württemberg and the ABC (Artists Books Cooperative). Through backbonebooks, she tables at numerous international art book fairs, and in 2018 she was the recipient of the Shannon Michael Cane Award for Printed Matter’s New York Art Book Fair.

《空⽩(Lacunae)》是⼀段等待成为声⾳的寂静。是⼀个潜在的乐谱，它可以被阅读、被观看，或者被表演。那些隐形的形状在当下显现出来，⽽这些形状源⾃于⼀张被损坏的莎草纸的负空间。

Claudia de la Torre（1986年）是⼀位墨⻄哥艺术家，常驻柏林，她创作的艺术作品位于印刷媒体、概念出版物和装置的交叉点上。以书的基本概念为指导，de la Torre研究了表⾯、形式和思想的结构和关系。2011年，de la Torre创⽴了backbonebooks，⼀个实验性的出版机构，已经出版了80本艺术家的书籍和版本，并继续⽣产作品。De la Torre也是柏林的艺术家书籍⼯作室的主理⼈。

她是Künstlerbund Baden-Württemberg艺术联盟和ABC（Artists Books Cooperative）的积极成员。通过backbonebooks，她在许多国际艺术书展上展出书籍，2018年她是Printed Matter纽约艺术书展Shannon Michael Cane奖的获得者。

她的作品被全球机构收藏，包括纽约现代艺术博物馆（纽约）、MACBA当代艺术博物馆（巴塞罗那）、Würzbug的MiK博物馆（德国）、Mumok（维也纳）、Bibliothèque d’art etd’archéologie（⽇内瓦）、洛杉矶当代艺术中⼼（美国）、Zentrum fürKünstlerpublikationen（不来梅）、芝加哥艺术学院的Joan Flasch艺术家书籍收藏（美国）等。De la Torre曾在Miriam画廊-纽约（美国），新秩序-博物馆im Kulturspeicher，维尔茨堡（德国），艺术家图书馆1989-2021-MACRO，罗⻢（意⼤利），Imprimé，Intimité，Colletion – Galerie UQO，魁北克（加州），Glissements progressifs du récit – La Filature Mulhouse（法国），New Deals Regionale 19等展出过。

她最近获得了德国Stiftung Kunstfonds的艺术创作奖学⾦（2022）和克罗地亚ABW Split的伊拉斯谟教学奖学⾦。

Concave is a bilingual poem made specifically for Lunar Practices. The piece is composed of two voices: a leading voice attempts to define distance as something that spreads, void of direction, with no up or down. A second voice recites the possibilities of what a hole could be. Through relation and proximity, both distance and hole entwine.

Maria Paris is an artist and writer based in Amsterdam. Her practice focuses on translation and poetics found in the everyday. She entangles concepts of nostalgia and humour whilst reflecting on the emotional nature of language. She is also the co-founder of attempt press, an independent publishing project.

《凹(Concave)》是为月球广告牌所做的一首双语诗。这首诗由两个部分组成：主诗用西班牙语写成，试图用一种辐散来定义“距离”，这里的距离没有方位，无上无下。副诗使用英语，讲述“洞”的种种可能。在勾连往复之间，洞和距离的意向缠绕交织。

Maria Paris是居住在阿姆斯特丹的艺术家和作家。她的实践侧重于日常生活中发现的翻译和诗学。她在反思语言的情感本质的同时，将怀旧和幽默的概念纠缠在一起。同时，她也是一个独立出版项目“attempt press”的联合创始人。

Trapped by the Duty to be Dutiful’ is an extension of the project ‘Wor(l)d FATIGUE’ (2022) in which Wim De Pauw and The Letter Escape Department try to imagine all the wor(l)ds being tired of standing up. They designed a logo or advertisement for the word ‘Leisure’, combining the Chinese‘Lying Flat’ or tangping (躺平) movement, that calls on young workers and professionals to opt out of the struggle for workplace success, and to reject the promise of consumer fulfilment.

Wim De Pauw is a visual artist living and working in Brussels (BE). He’s the founder of The Letter Space Department and co-founder of the nomadic artist run space ‘Lesage’.

“试图想象所有的文字都厌倦了站立。”

《被责任所困(Trapped by the Duty to be Dutiful)》是2022年《Wor(L)d Follow》项目的延伸，在 该项目中，艺术家Wim de Pauw和the letter space department 试图想象所有的文字都厌倦了站立。他们为“leisure”一词设计了一个标志，结合了中国的“躺平”运动，呼吁年轻工作者选择退出争取职场成功的斗争，拒绝实现自我实现的承诺。

Wim De Pauw是现生活和工作在布鲁塞尔一名视觉艺术家，他是The Letter Space Department的创始人，同时也是Lesage空间的共同创始人。