DreamWorlds presents unique perspectives from eight leading Australian artists on timeless themes of intimacy, isolation and the imaginary. Forged in a vast island continent embraced by sea, these dreamy realms will be on public display on the spectacular 27m outdoor media screen in Beijing's Sanlitun Village.

“梦幻岛” 由八位杰出的澳大利亚艺术家共同完成，展示了他们在亲密、孤独、虚幻等这些永恒主题上的独特视角。这一系列作品诞生在澳洲大陆－一个被海水温柔环抱的巨大岛屿，充满了梦幻色彩。你将会在北京三里屯Village高达27m的巨型露天屏幕上看到它们

Curator's Text

Dreaming, like art, is intrinsic to human nature, yet not always fully understood. Are dreams symbolic postcards from our own subconscious? Perhaps they are messages from those who have gone before us to the other side? Or maybe they are divinations of the future, relayed via the imaginary of the soul?

Living in the media-dense urban environments of our 21st century cities, is a little like a waking dream. We are continually immersed in constructed sequences of moving imagery and floating sound scapes.Our public spaces resonate with the shifting forms and sounds of dynamic media content emanating from intimate phone screens to large public electronic billboards.

Moving image is a particularly potent medium for bringing the stuff of our DreamWorlds into the tangible realm, and a screen of any size is a powerful artistic medium. The eight Australian Moving Image artworks in DreamWorlds radiate from the 27 meter Sanlitun Village Screen in Beijing - the perfect domain foraudiences to encounter artworks during their daily lives.

The DreamWorlds glimpsed at Sanlitun are of the South. Forged in the vastness of a remote land, on a continent surrounded by sea, the artworks reflecting the cultural and geographic environment from which they emerged. While locallygrounded these meditations and mediations deal in global dreams and themes - love and intimacy; intensity and isolation; creation and chaos, hope and aspiration.

Theunrelenting sun and rich red earth of the remote central Australian desert are crucial and potent elements in Indigenous filmmaker Warwick Thornton's three minute edition of Samson and Delilah. Thornton subtly relays the nuances of two teenagers falling in love without a word being spoken between them. The narrative swirls from fast forward to slow dancing, enfolding the viewer in its powerful re-telling of a universal tale of love in harsh environs.

Far from being a static screening event, all the DreamWorlds works appear on the Sanlitun screen in constantly reforming clusters. Like a dreaming mind different sequences of imagery and sound, are recombined to make sense out of a world of pure and intense sensation. Like browsing the web, or building neural pathways, the artworks in DreamWorlds form new associations each time they are viewed, heightening our sense of the dynamic mediascape in which we live.

As the works are created across a plurality of new media and the moving image practices, a cluster may seem steady and cohesive or abruptly shift visual pace, genre, saturation or composition The DreamWorlds spectrum ranges from animation, manipulated video art, generative software, virtual worlds contained within games engines and game modifications, to the splendor of cinema and dynamism of real-time choreography.

Dialogues shift and morph somewhere between the delicate, the rational and the seductive. Digital composer Peter Miller uses the screen as microscope - magnifying a mesmerizing liquid world of lively mathematically-spawned life forms. Much of what we see in Microspore has emerged spontaneously from the computer code,reminding us that dabbling in the realms of science can create new and unexpected realities.

The artifacts of our actions in the world are examined in Jess MacNeil's painterly abstraction, Aqueous Trace. Splashes and trails of absent swimmers and the swelling ocean pool at Bondi transform a simple sceneinto in a continually oscillating color field painting. The swimmers lie just beyond our perception, with shifting waters remaining the only constant.

Another reading arises when these works are juxtaposed with the frenetic, kaleidoscopic aesthetics of Knightshift, a magical video game animation by Anita Fontaine. Fontaine's chivalorous Knight seeks Utopia, but is stuck in a repetitive endless loop and sense of futility. Can we move forward or are we forever running on the spot, lulled into a sensation of success and progress by shifting surface patterns?

Meanwhile world builder Troy Innocent generates a surreal scape with his autograf generative software, which produces a graffiti language that looks familiar, but defies interpretation. Echoing the matrix-like ecology of indecipherable codes, signs and symbols that surround us daily, Innocent speaks to a growing public domain movement in art and a generation of art audiences whose canvas lies between and on the facades of our cityscapes.

Kate Richards literally adds another dimension to this expanding plurality of possibilities in Travels in Beautiful Desolation. Revelling in splendour of the inner and outer reaches of the Southern Heavens, Richards' reveals divinations emanating from otherwise invisible constellations, overlaying the southern sky with the familiar symbols of folk-science. But can we garner meaning from our cosmos, or are these ethereal eons unknowable except in our dreams?

DreamWorlds entices us into the aesthetic and kinetic world of Mortal Engine, an electronic dance work from Chunky Move. Gideon Obarzanek's choreography and Robin Fox's laser and video imagery come together via Frieder Weiss's interactive computer systems. Instruments, bodies and code respond to each other dynamically generating light, video, sound and movement.These constantly recombining elements create an immersive world that oscillates between the grotesque and the exquisite in the human condition.

We all dream of life in far away places, however in a networked world every link works both ways. Three sequences in DreamWorlds from Daniel Crooks speak specifically of this interconnection between people and place. The Deltiology sequences are digitally reconfigured scenes of daily life in Shanghai and Melbourne, ranging from kite flying to airport terminal queues, which morph into exquisite meditations on time and space - resonating both of China and of Australia.

Ultimately DreamWorlds addresses the over-arching concerns of humanity - that of connection, security, meaning and hope. As the numbers of large-scale exhibition platforms proliferate around our planet, the potential for art and commerce to sit side by side in public space is increasing. Artists can and will shape the urban commons of the 21st century, enriching our cultural futures.

The aesthetically daring and emotionally satisfying artworks in DreamWorlds display the potential of human aspiration. Interspersed throughout daily life, these moving Antipodean images enable us to momentarily slip into the realm of the imaginary, to become immersed in other worlds, to shift our state to day dreaming.

策展人的话

做梦如同艺术，是我们所固有的，却又是不能全然被理解的。梦境是潜意识传递给我们有象征意味的明信片么？或许它们是先我们而去的人留下的信息？又或者，它们是关于未来的预言，通过灵魂的想象来传达？

生活在当今媒体如此密集的大都市中，有点像一个醒来的梦。我们不断被各种移动影像和漂浮的声音淹没。我们生活的公共空间被各种变化的媒介内容填充着，从手机屏幕到大的电子版。

移动影像是一种有力的媒介，它们把梦境中的幻象带到现实中来。这次“梦幻岛”展出将八位澳大利亚艺术家的作品呈现在三里屯大屏幕上，是一种更为亲民的展览方式。这一系列作品诞生在澳洲大陆——一个被海水温柔环抱的巨大岛屿，展示了那里的文化和地理环境。虽然都是本土艺术家创作，但它们分享了永恒的世界主题——爱与亲密、聚众与隔离、建立与混乱、希冀与渴望。

在土著电影制作人Warwick Thornton三分钟版本的电影Samson and Delilah中，我们将看到澳洲中部沙漠地区的部落生活。不用一句对白，Thornton就将两个青年陷入爱河的微妙感情传递给观众。叙事节奏时紧时慢，向我们讲述了严峻环境下的浪漫爱情。

这并不是一次完全静态的展出，这些作品以不断变化的顺序被放映，每观看一次，便会带给观者新的感受和思考。更让我们意识到自己生活在动态的媒介世界中。

这些作品出自各种各样的媒介和移动影像实践，从动画、操作录像艺术、生成软件、现实世界与游戏的结合，到华丽的电影和充满活力的舞蹈。

话语可以是精巧的、理性的、具诱惑性的。数字作曲家Peter Miller将屏幕当做放大镜，展示了由数学计算得来的小生物组成的催眠的液态世界。我们在Microspore看到的东西大多由电脑密码自动生成，启示我们科学研究也许可以创造出让人意想不到的现实。

Jess MacNeil'的抽象艺术作品Aqueous Trace研究了运动的诗意性。她将邦迪海滩海水的涨落和游泳者在其中运动造成的喷溅和轨迹变成一幅动态的绘画作品。作品中看不到具体的人，只有不断运动的海水。

将此作品与Knightshift狂热多样的审美意味相比，会产生另一种解读方式。这部颇具魔力的视频游戏动画由Anita Fontaine创作——骑士意欲寻找乌托邦，却陷入永无止境的圆环和徒劳感中。我们能够不断前进么？还是被成功的表象麻痹，只在原地打转。

与此同时，Troy Innocent运用他的autograf生成软件创造了一片超现实风景，在其中他发明一种看似熟悉，却无法翻译的涂鸦语言，作为对我们身边出现的无法破译的密码、标示、象征符号组成的矩阵的回应。

在Travels in Beautiful Desolation中，Kate Richards为生活中不断增加的可能性增添了新的维度。在这部作品里，Richards向我们揭示了无形肉眼无法察觉的星座所发出的预言，它们覆盖了南方的天空。但我们是否能解读宇宙的含义，也许只有在梦中吧。

“梦幻岛”同时将我们带到由Chunky Move创作的Mortal Engine——电子舞蹈作品里。Gideon Obarzanek的编舞，Robin Fox的镭射和视频想象力，加上Frieder Weiss的互动计算机系统，让我们看到声、光、视频和运动互相呼应的动态艺术。这些不断重新组合的元素呈现了人体怪诞却优美的一面。

Daniel Crooks的 Deltiology讲述了人和环境的内在互动关系，他用数码技术将上海和墨尔本的日常生活景象重新配置，使它们演变成为关于时间和空间的精美沉思。

“梦幻岛”触及到范围极广的人类议题——沟通、安全感、含义和希望。由于大型展览平台的日益增加，在公共场合观赏艺术作品也越来越具可能性。艺术将会成为21世纪城市日常景观之一，丰富我们的文化生活。

“梦幻岛”的作品既具审美价值，又带给观众感情上的愉悦，它们向我们展示了人类的潜在渴望。让我们在短暂的瞬间跳出现实，做个美妙的白日梦。