玩笑与身份 Joke and identity

本系列作品“玩笑与身份”以人类学家布鲁诺拉图尔的著作《面对盖娅》为文本背景，探讨了关于环境保护和可持续发展性的问题，以及修正式新自由主义意识形态下对于元宇宙概念的怀疑和批判。

Based on anthropologist Brunora Tour's book Facing Gaia, this work explores the issues of environmental protection and sustainability, as well as the doubts and criticisms of the concept of the meta-universe under the neo-liberal ideology.

被放置的是作为物的显示器，还是作为图像的龙血树?亦或是龙血树也能被作为物对待;推车让数码图像与物之间的关系含糊不清。

Is it placed as a display of objects, or as an image of the dragon's blood tree? Or the dracakes could be treated as objects to make the relationship between the digital image and the object ambiguous.

在构思作品“玩笑”时间点恰好是圣诞假期结束之际，我恰好看到许多圣诞树被扔上了大街，或许在它们被放置在垃圾桶边的那一刻，它们就只能被称作为“铁杉树”而不再是“圣诞树”了,这种行为宣告了假期的终结。

当然如今的圣诞节早已不再是属于基督教的传统，更像是一种对抗工作的闲暇，是人们逃离资本主义管控的一种方式，但是这背后依然是一种新自由主义的逻辑--人们通过获得短暂的休闲以保证圣诞假期后更高的工作效率，对于工作的不满在新的一年中也会烟消云散。

At the time of the "joke", I happened to see many Christmas trees being thrown into the street, perhaps the moment they were placed in the trash can, they could only be called "hemlock trees" and no longer "Christmas trees", which declared the end of the holiday.

Of course, Christmas today is no longer a Christian tradition, but more like a kind of leisure against work, a way for people to scape the control of capitalism, but there is still a neoliberal logic behind this - people get a short leisure to ensure higher work efficiency after the Christmas holiday, and the dissatisfaction with work will disappear in the New Year.

尽管关于气候与环境的作品看起来并不严肃，但这并不意味着我的思考不严肃。我最近对元字宙话题产生了关注，因为它实在被过多地谈及。当然我对此深表怀疑，因为我认为这依然是资本主义对于生产力过剩而发明的新空间而已。作为噱头，它只是互联网在新时代的一种表现形式，它拥有更高的技术支持，充满了消费主义的陷阱，但它依旧是互联网，和二三十年前没有本质的区别。作为一名养植物的爱好者，我突然想到了十几年前流行的植物培养网页游戏，如果有一天大地之母盖娅真的无法再给我们提供种植的环境了，或许我会成为第一批在所谓元字宙养植物的人，当然我知道这在虚拟世界里必须要充值才能做到。
有一天我养了两年多的龙血树突然开始掉落叶片，并在很短时间内完全死亡，这让我有了这次作品的灵感,当然这个作品本身就是个玩笑，各位观众务必不要太严肃，因为严肃地思考玩笑，实在是太不严肃了

Even though my work on climate and the environment may not seem serious, that doesn't mean my thinking isn't serious. I have recently become interested in the topic of the meta-universe because it is talked about so much. Of course, I doubt this very much, because I think this is still a new space invented by capitalism for excess productivity. As a gimmick, it is just a manifestation of the Internet in a new era, with higher technology support and full of pitfalls of consumerism, but it is still the Internet, and it is not fundamentally different from 20 or 30 years ago.
As a fan of plant cultivation, I suddenly thought of the popular plant cultivation web game more than ten years ago, if one day the earth mother Gaia really can not provide us with a planting nvironment, perhaps I will become the first group of people in the so-called meta-universe to raise plants, of
course, I know that this in the virtual world must be recharge to do.One day the dragon's blood tree I had been raising for more than two years suddenly began to lose its leaves and completely died in a short time, which gave me the inspiration for this work. Of course, this work itself is a joke, everyone in the audience must not be too serious, because seriously thinking about jokes, it is too serious.

203 是我在成都话剧院老家的门牌号，这里实在有我太多的记忆。我见证了中国话剧由兴到衰的过程，目睹了当年那些意气风发的剧场艺术家从衰老到死亡，去年自己的父亲和奶奶也相继离世，好像这段历史突然就中断了。单元楼越来越旧，人越来越少，死气沉沉的。还记得当年院子里全是人，有学高音的，有写生的，有学琴的，俨然一个艺术乌托邦.话剧院的衰落背后是中国特色社会主义引导的二十年的时代变迁:国家的企业改制，市场经济，房地产的崛起，新自由主义无疑扮演了时代的巨变的“功臣”。203 这个作品是表达我的怀旧，简单来说就是霉菌慢慢腐蚀墙壁，新刷的墙面慢慢脱落露出过去壁纸，我在这老房子里经历了数次这个过程，这是我对历史一种辩证式的理解。

203 is the house number of my old home in Chengdu Drama Troupe, which has too many memories for me. I witnessed the rise and fall of Chinese drama, the aging and death of those spirited theatre artists, and the death of my own father and grandmother last year, as if this history had suddenly been interrupted. The flat building is getting older and older, with fewer and fewer people, and it's dead. I remember when the courtyard was full of people, some learnt to be sopranos, some ketched, some learnt to play the piano, just like an artistic utopia. Behind the decline of the theatre is a twenty-year period of change guided by socialism with Chinese characteristics: the restructuring of the state's enterprises, the market economy, the rise of real estate, and neoliberalism undoubtedly played a role in the dramatic changes of the times. 203This work is an expression of nostalgia for me, which is, in simple terms, the slow corrosion of the walls by mildew and the slow peeling off of the wallpaper to reveal the past. I have experienced this process