2026 June Artists in Residence
Residency Works Open Day
June 27 (Saturday) 16:00, 2026
我们习惯于将身体、身份与现实理解为相对稳定的存在。然而，在技术不断渗透日常经验的当下，这些边界正在变得松动。身体被复制、重构和延展，身份在现实与虚拟之间游移，而曾经属于未来的想象，也逐渐成为现实的一部分。在《非稳定形态》中，两位驻地艺术家从不同方向触及这种持续变化的状态。Sammy Does通过机械结构与有机材料的结合，创造出一种介于生物与机器之间的存在。作品脱离了明确的身体形象，却保留着某种生命性的痕迹，在不断起伏的运动中呈现出一种难以被定义的状态。与此同时，Tobias Jacobsen从复古科幻动画与数字文化中汲取灵感，关注技术环境下不断变形的身份经验。熟悉的形象在他的作品中被重组、模糊和分裂，成为现实与幻想交叠的投影。两位艺术家的作品都指向一种无法被固定的状态：身体不再是封闭的边界，身份也不再拥有单一而确定的轮廓。它们处于持续生成、转化与漂移之中。“非稳定形态”并非指向混乱或失序，而是对当代经验的一种观察。当技术成为感知世界的重要媒介，当虚拟与现实不断相互渗透，我们所面对的或许不是一个等待到来的未来，而是一个正在形成中的当下。在这些作品所构建的空间里，稳定的定义被暂时搁置，取而代之的是关于存在、感知与自我认知的一种开放提问。We often understand the body, identity, and reality as relatively stable forms. Yet in a time when technology continues to permeate everyday experience, these boundaries are becoming increasingly fluid. Bodies are replicated, reconstructed, and extended; identities drift between the physical and the virtual; and visions once imagined as belonging to the future have gradually entered the present.In Unstable Forms, two resident artists approach this condition of transformation from different perspectives. Through the combination of mechanical structures and organic materials, Sammy Does creates a presence that exists between the biological and the technological. Detached from a recognizable human form, the work retains traces of vitality, revealing a state of being that remains undefined and continuously evolving through movement. Meanwhile, Tobias Jacobsen draws from retro science-fiction anime and digital culture, exploring how identities are reshaped within technologically mediated environments. Familiar forms are fragmented, blurred, and reconfigured, becoming reflections of the relationship between imagined futures and lived realities.Both artists engage with forms that resist permanence: the body is no longer a closed boundary, and identity no longer exists as a singular and fixed definition. Instead, they remain in a constant process of becoming, transformation, and displacement.Unstable Forms does not suggest disorder, but rather a way of observing contemporary experience. As technology becomes an increasingly significant medium through which we perceive and understand the world, and as the boundaries between the virtual and the real continue to overlap, the future is no longer something distant—it is already unfolding in the present. Within the space created by these works, stable definitions are temporarily suspended, opening possibilities for new reflections on existence, perception, and the evolving nature of the self.
Sammy Does
Aluminium, fabric, fiberfill, servo motors, and microcontroller《Abyssal》是一尊悬浮的动能雕塑，以十台电机组成的机械脊柱为核心，产生持续不断的流动波纹。这个生物的外皮由从我本人真人大小的娃娃复制品中提取的纤维填充物制成，并紧紧缠绕在黑色网布之中。最终呈现的是半机械、半有机的形态：一条蛇形的躯体，没有明确的头部或方向，唯有在运动中才显得鲜活。
Abyssal is a suspended kinetic sculpture built around a robotic spine of ten motors, producing a continuous traveling wave. The skin of the creature is made from fiberfill pulled from a life-size doll replica of myself, wrapped tightly in black mesh. The result is something half mechanical, half organic: a serpentine form without a clear head or direction, only alive in its movement.
Tobias Jacobsen
BUTTERFLY DREAM
布面油画 Oil on linen
50x70cm
2026
COSMIC EGG
布面油画 Oil on linen
50x70cm
2026
这些作品源于艺术家在数字高度发达的世界中探索，被复古科幻动漫所吸引，追寻其中的精神、模糊的形态以及破碎的身份。而贯穿这一切的核心问题在于：我们是否已经生活在末世之中？
These works emerge from navigating a digitally advanced world as an artist, drawn to retro sci-fi anime, its spirits, its blurred bodies, and fractured identities. The question underneath it all: are we already living in the dystopia?
![［超］灾变论 [Hyper-]Catastrophe Theory 舜 Shun](https://www.acentricspace.com/wp-content/uploads/2020/10/wxsync-2024-04-17e42ddfe2087d093ffcdad3f414da34-440x625.jpeg)
