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.

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传播到另一个人。

Maxime Le Bon 出生于 1989 年，在布鲁塞尔工作和生活。

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西。

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，并试图让我们看不见的东西变得可见。

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（帕尔马）等驻地项目。

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.

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）。在西方，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见，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西。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。