出于对身体、速度与绩效之间的内在张力的好奇,我在2024年12月进入温州的制鞋流水线工厂观察和体验高度机械化的重复劳动。这个项目关注工厂生产、城市变迁以及个体经验在其中的嵌入方式。我以收集、转译、再现等方法介入工厂的工作场域,从劳动动作、磨损痕迹到步行路径,试图追踪在工业体系中被忽视的身体痕迹和空间关系。最后,我用身体连接了工厂和美术馆空间,用步行串联起生产空间和文化场域的对话。
Out of a curiosity about the internal tension between the body, speed, and performance, I entered a shoe assembly line factory in Wenzhou in December 2024 to observe and experience the highly mechanized and repetitive labor. This project focuses on the ways in which factory production, urban transformation, and individual experience are interwoven. Through methods such as collecting, translating, and re-enacting, I intervened in the factory workspace—tracing overlooked bodily traces and spatial relationships within the industrial system, from labor gestures and signs of wear to walking paths. In the end, I used my body to connect the factory and the art museum, linking the space of production and the cultural field through the act of walking.
The exhibition view of The Currents We Carry
高效方法论 Value Added
温州 Wenzhou 2024
双通道视频 Dual-channel Video
8’37”
流水线拆解劳动动作的依据主要是基于效率最大化和标准化生产的需求。通过分析劳动者的基本动作,减少无效动作,提高效率,并优化工作流程。在这组关于工厂劳动的作品中,我从工人的身体出发,试图理解他们的身体如何被高效和程式化的法则训练进而做出适应和改变。《高校方法论》关注劳动的标准化和可学习性。我观察并拍摄工人的工作过程,并为每个细微动作配上指令声音。随后,我邀请形体模特重新学习这些动作,通过“指令一动作一回应”的形式,揭示劳动的“增值”过程,反思工业化生产中对动作标准化和理想化的追求,与真实生产空间中复杂且多样的身体实践之间的对照关系。对我来说,这个过程像是一种编程,身体被输入、执行、适应。
The disassembly of labor actions on the assembly line is primarily based on the demands of maximizing efficiency and standardizing production. By analyzing workers’ basic movements, ineffective actions are reduced, efficiency is improved, and workflow is optimized. In this series of works about factory labor, I begin with the worker’s body, attempting to understand how it is trained by the logic of efficiency and systematization—and how it adapts and transforms in response.
Value Added focuses on the standardization and learnability of labor. I observed and filmed the workers’ processes, pairing each subtle movement with a voice command. I then invited a movement model to re-learn these actions. Through a structure of “one command, one movement, one response,” the work reveals the process of labor “valorization” and reflects on the pursuit of standardization and idealized motion in industrial production, as contrasted with the complex and diverse bodily practices found in real working spaces.
For me, this process resembles a kind of programming—where the body is input, executed, and adapted.
消耗档案 Consumption Archive
温州 Wenzhou 2024
191双废旧手套 皮料架 Wasted Gloves,Shoes hanger
协调者:夏紫薇、代航 Contributors: Ziwei Xia, Dai Hang
协作者:191位工友 Collaborators: 191 workers
145 x 152 x 60 cm
《消耗档案》将劳动对身体的磨损和消耗转向对物件本身的关注——我收集工人们用旧和报废的手套,并统计它们的使用时间和工种。这些手套不仅是劳动的附属品,更是身体的延伸,与皮肤、肌肉、工具相互作用,最终成为一种无声的记录。作为连接身体与机器之间的中介装置,手套通过模仿人体形状辅助完成劳动动作,化身为身体介入生产的技术性“皮肤”。在工业生产中,手套的损耗速度和更替频率超乎想象——通常仅需三天,手套便会被完全磨破。
Consumption Archive shifts the focus from the bodily wear and tear caused by labor to the objects themselves—I collected worn-out and discarded gloves used by workers, recording their duration of use and corresponding job types. These gloves are not merely accessories to labor, but extensions of the body, interacting with skin, muscle, and tools, ultimately becoming silent records of work.
As mediating devices between the body and the machine, gloves assist in completing labor actions by mimicking the shape of the human hand, becoming a kind of technical “skin” that enables the body’s intervention in production. In industrial settings, the rate at which gloves are worn out and replaced is astonishing—often, a pair is completely torn through within just three days.
劳动改造 Reformation Through Labour
温州 Wenzhou 2024
数码微喷、缝纫针 Archival Inkjet Print, Sewing Machine Needle
32 x 24 cm x 8
《劳动改造》记录了鞋厂工人如何通过自发改造手套,使双手成为更高效的生产装置。缝纫工剪掉手套的拇指和食指,以提升灵活性;附底工用胶带缠绕手指,增强耐磨性并让手套更加贴合。通过这些细微的调整,工人将自身工具化以适应生产需求,同时,这些改造也通过劳动实践内化为身体的一部分。
Reformation Through Labour documents how factory workers spontaneously modify their gloves, transforming their hands into more efficient instruments of production. Sewing workers cut off the thumbs and index fingers of their gloves to improve dexterity, while sole-assemblers wrap their fingers with tape to increase durability and make the gloves fit more snugly.
Through these subtle adjustments, workers effectively instrumentalize their own bodies to meet production demands. At the same time, these modifications become internalized through the repetitive practice of labor, eventually merging with the body itself.
皮劳损耗 Wear and Tear
温州 Wenzhou 2024
艺术微喷、皮料架 Archival Inkjet Print, Leather hanger
协调者:夏紫薇、代航
协作者:谭金雄和他的抛光工友们、金师傅、吕平、高师傅、高师傅、林晓辉、王侏杰、闫之友、林小玲、崔建平、蔡小元、张炬、徐师傅、陈新建、李志杰、韩良广、陈和平、罗师傅、朱建国、卢女士
皮劳损耗2 Wear and Tear 2
温州 Wenzhou 2024
Uv打印、皮料、叠料架 UV printing, Leather, Material stacking rack
尺寸可变Dimension Variable
高频率的重复动作使磨损的过程本身成为对手套这一劳动材料的再创造。我通过收集到的手套,以压平和扫描的形式提炼这些手套在劳动积累中形成的强烈触觉感知,将其转化为平滑的图像表面。随后我将这些图像悬挂在本身生产过程中用于陈放物料的皮料架和叠料架上。
The high-frequency repetition of actions turns the process of wear itself into a re-creation of the glove as a material of labor. Using the collected gloves, I flattened and scanned them to extract the intense tactile perceptions formed through the accumulation of labor, transforming them into smooth, image-based surfaces.
These images were then displayed on leather racks and stacking frames—equipment originally used for storing materials during the production process.