箭厂胡同38号(国子监街内)
北京 100007 中国
38 Jianchang Hutong
(off Guozijian Jie)
Beijing, 100007 China

《我就喜欢圆的》
《干，活》系列之一
李占 / 社会敏感性研究所

箭厂空间荣幸地推出李占与社会敏感性研究所的合作项目《我就喜欢圆的》。李占使用从工作场所和个人生活中收集来的材料在箭厂空间内部完成了这个貌似“五月花柱”般的装置作品——空中五彩缤纷的毛线洒落在地面精心摆放的纸筒上，双色橡皮泥球散布在仔细切片的蔬菜之间，各类“不合格”的五金零件在屋顶及墙面上星宿般的延伸。作品所使用的材料一部分是李占在生产线上积攒下的，另一些则与她有着强烈的情感牵连。在社会敏感性研究所李山和赵天汲的协助下，李占的《我就喜欢圆的》通过带有私密性的圆形物件传递了个人的怀恋之情，作品以安静而持续的汇集方式于不知不觉中记录了时间的流转。

2011年李山在生产电动阀门执行器的北京伯纳德控制设备有限公司成立了一个艺术家驻留计划——社会敏感性研发部。该部门通过艺术家与伯纳德公司员工间的互动实现了众多特定场域的艺术项目。而近期社会敏感性研究所在与赵天汲的合作下开始鼓励员工进行自主的艺术创作。《我就喜欢圆的》是《干，活》系列的第一个项目，由此把一些员工所萌生的想法从工厂车间带入胡同环境，试图模糊生产和生活、员工和艺术家、创作者和观众之间的边界。《干，活》系列项目试图激发创造性活动中“转化”的潜能，并探讨作者身份含义的替代性可能。同时这个项目的开展也标志着社会敏感性研发部向社会敏感性研究所的演进，期冀通过这条新的路径进一步发展艺术创作中合作的可能。

李占（1986年生于北京）已在伯纳德公司的生产线上工作了八年，她目前的主要工作是电路板组装以及新员工的培训。

*有关伯纳德社会敏感性研究所的更多信息 http://www.socialsensibility.org/

I Like Round Things
Work, Live Series, Project #1
Li Zhan / Social Sensibility Research Institute

2016.02.01-03.01

Arrow Factory is pleased to present I Like Round Things, a project by Li Zhan developed in collaboration with the Social Sensibility Research Institute. I Like Round Things is a maypole-like arrangement of materials culled from Li Zhan’s work place and private life. The installation sees cascading balls of multi-colored yarn unraveling into strategically arranged cardboard tubing. Two-toned balls of modeling clay are strewn amongst carefully sliced vegetables and Li’s personal assortment of “non-conforming” workplace components trace a constellation on an adjacent wall. All of the objects were either amassed piecemeal at Li’s assembly line job or trigger strong emotional associations. Working in conjunction with Alessandro Rolandi and Zhao Tianji of the Social Sensibility Institute, Li’s I Like Round Things channels personal nostalgia into an intimate compiling of elliptical objects, a quiet trickling act of compilation that unwittingly charts the passage of time.

Since 2011 Alessandro Rolandi has facilitated the Social Sensibility Research and Development Department, an artist-in-residency program embedded at Bernard Controls, manufacturer of electric actuators for valve automation. The department has realized numerous site-specific projects through interactions between artists and Bernard Control’s staff members. Now, working with Tianji Zhao, the program is evolving towards empowering the company’s employees to make original creations. I Like Round Things is the first project in the Work, Live Series that will bring nascent ideas from the factory floor out into the hutong context, with the intent of blurring the divisions between work and private life, artist and worker, audience and creator. The Work, Live Series is an exploration into the transformative potential of creative processes and inquiry into alternative meanings of authorship. This project also marks the evolution from the Social Sensibility R&D Department at Bernard Controls, still active, to a new entity called Social Sensibility Research Institute with the aim to develop further possibilities and collaborations for this newly open path.

Li Zhan (b. 1986, Beijing) is in her eighth year working on the assembly line at Bernard Controls. Her job consists of joining components into electronic circuits and training new employees to do the same.

*Learn more about the Social Sensibility Research Institute at Bernard Controls at http://www.socialsensibility.org/

On Social Sensibility Research and Development and Work/Live
An Introduction by Alessandro Rolandi and Zhao Tianji

Social Sensibility Research and Development (SSR&D) is a department created for artist Alessandro Rolandi in Bernard Controls, a French company producing actuators for nuclear valves, with its Beijing branch located in a factory near the south 5th ring.

What is the Social Sensibility? After five years working on it, with it and for it, I still don’t know. This term was chosen together with the CEO of Bernard Controls Guillaume Bernard in 2011. We continue to resist specific models and definitions, hoping it will exist as a form of its own in order to stay active and alive.

Art is not the purpose, but a side effect that can influence the sensibility of those who are exposed to it. Social Sensibility attempts to extend this side effect to a broader audience, and to transform the relationship between art and people in creating an active and shared space. This is done by inviting artists to interact with people in working environments on a long-term base and in an informal way. By bringing art practice in direct contact with daily and working life, the aim is to inspire an audience of art users, instead of art viewers, whereas artists are challenged through this firsthand participatory experience. Economically speaking, Social Sensibility proposes the emergence of a parallel model to the existing one, in which artists would be supported financially not for the production of objects, but for their involvement with experimental and daring ideas, in the reality of society and working environments.

Social Sensibility engages with two socially driven forces: a transformative one and one that belongs to the realm of vigilance. The first one employs creativity, communication, critical thinking and art as a vehicle to give birth to a new organic social dynamic. The second one resists alienation, short-circuits hardwired behavior, and supports diversity, mutual respect and collective interaction as premises to awaken the social imagination for a foreseeable change.

The key moment is this physical encounter between artists and people, in which the rules of engagement are invented and negotiated all the time. In a tangible and relational space, this small and humble moment is very fragile but extremely precious, and it possesses unlimited potentialities. From this undisclosed territory of becoming, an intuition emerges and gradually takes the form of a quest into the nature of free will.

社会敏感性研发部是为艺术家李山在伯纳德设备控制有限公司所成立的一个部门，这家专事生产电动阀门执行器的法国公司位于北京南五环外的一座工厂内。

什么是社会敏感性?  经过五年的工作，我仍然无法确定。这个词汇是在2011年和伯纳德的总裁伯涛一起选定的。我们不断抵制着特定的模式和定义，希望它能建立起一种独立的存在方式并持续保持活力。

艺术不是目的，而是可影响人们敏感性的一个副作用。社会敏感性试图把这个副作用延伸给更广泛的观众。通过邀请艺术家在工作环境中与人们进行长期的非正式互动来转变艺术与人的关系，并尝试创建一个活跃和共享的空间。艺术实践在此直接地接触日常工作和生活，旨在激发艺术的观看者成为实践者，反之艺术家也将被这第一手的参与性体验所挑战。从经济上讲，社会敏感性提出了与现有条件平行的模式。它不针对艺术品的生产，而是支持艺术家在社会现实和工作环境中去实验、去尝试大胆的想法。

社会敏感性涉及到两股社会性力量：转变性的和警惕性的。第一股力量使用创造性、沟通力、批判性思维和艺术来生成新的动态的有机社会。第二股力量为抗拒异化，使僵化的概念短路，支持多样性、相互尊重、集体互动——并在这些前提下为可预知的改变去唤醒社会的想象力。