光对我们的身体做了什么？
散文短片《永不停歇的流光》试映会
本场试映会将放映瑞士艺术家Alan Bogana最新作品《永不停歇的流光》（片长：21分钟）。短片取景于香港、深圳、上海、苏黎世与波尔扎诺，综合应用了实景拍摄、动作捕捉以及CGI与AI动画技术。画面涵盖城市照明、美学灯光与激光针灸，共谱身体的孔隙性与光的感性动能。这是艺术家对光的长期专题研究创作的新篇章，策划人顾灵将在放映后与艺术家连线对谈，展开讨论其创作过程与思考。
Welcome to the preview of Restless Flows (21 minutes), an experimental video essay by Swiss artist Alan Bogana. Filmed across Hong Kong, Shenzhen, Shanghai, Bolzano, and Zürich, Restless Glows weaves live-action footage, CGI, motion capture, and AI-generated imagery, moving between laser acupuncture, consumer light technologies, and large-scale urban illuminations. It asks how luminous environments reshape perception and aspiration within technologized urban ecologies. The curator Ling Gu will host a live conversation with the artist to talk about the process and thoughts of the work.
活动地点 Venue
深圳市南山区华侨城创意文化园南区Loft53
E5栋西mindpark创意公园二楼
活动日期 Data
2026/4/18（周六 Saturday）
15:30-17:30
语言 Language
英文（设中文翻译）
English/Mandarin
活动流程 Schedule
15:30-16:00 影片放映 Screening
16:00-17:30 艺术家线上对谈及交流 Talk
嘉宾 Guest
Alan Bogana
主持人 Host
顾灵 Ling GU
报名链接
《永不停歇的流光》（Restless Glows）影像截帧
作品简介
Description of Restless Glows
光对人体做了什么？《永不停歇的流光》（Restless Glows）拍摄于香港、深圳、上海、波尔扎诺和苏黎世，这部散文短片追溯了光、人体与科技想象之间的纠葛。艺术家编织了实景拍摄、CGI、动作捕捉和 AI 生成图像，穿梭于激光针灸、消费级光技术和大型城市照明之间。数字分身与屏幕文本反思了透明感、身体孔隙性及光的感性动能。影片在纪录片式的叙述与思辨性的动画间摇摆，将当代照明体系视为活生生的机体：既是关怀的基础设施，也是控制的微妙装置。作品由此抛出一个关键问题：光照环境如何重塑技术化城市生态中的感知与渴望？（本片得到了Pro Helvetia，FCAC等机构的慷慨支持）
《永不停歇的流光》（Restless Glows）影像截帧
《永不停歇的流光》（Restless Glows）影像截帧
What does light do to a body? Filmed across Hong Kong, Shenzhen, Shanghai, Bolzano, and Zürich, Restless Glows is an experimental video essay tracing the entanglements of light, the human body, and technoscientific imaginaries. Weaving together live-action footage, CGI, motion capture, and AI-generated imagery, the work moves among laser acupuncture, consumer lighting technologies, and large-scale urban illumination. Digital avatars and on-screen text reflect on translucency, bodily porosity, and light's affective agency. Oscillating between documentary trace and speculative animation, the film approaches contemporary lighting regimes as living systems: simultaneously infrastructures of care and subtle apparatuses of control, asking how luminous environments reshape perception and aspiration within technologized urban ecologies. Special thanks to the support of Pro Helvetia, FCAC, and Mind the Gap Digital Arts Fund
《永不停歇的流光》（Restless Glows）影像截帧
《永不停歇的流光》（Restless Glows）影像截帧
与Alan Bogana的创作谈
Q&A with Alan Bogana
可否谈谈《永不停歇的流光》的创作背景与过程？
它是我对“光”的长期研究的一部分。我不仅将光视为一种媒介，更将其视为一种塑造感知、行为和想象的条件。在早期的作品中，我通过物理和雕塑过程接触光，例如感光材料、全息摄影和基于装置的系统。
本片的创作始于一个简单的问题：光对人体做了什么？从那时起，我开始探索各种基于光的实践，从激光针灸等治疗手段，到大规模城市照明系统和商业环境。它也汇聚了我对材料实验、科学参考以及感知与生态问题的整合思考。在某种意义上，这也是对我早期创作经常采用的散文影像这一形式的回归，只是如今它融入了多年来我在不同语境下处理光的经验。
它的构思始于 2020 年初，当时我原本计划在中国驻留三个月。但受疫情影响，这一计划未能实现，直到 2024 年，我终于来到了中国，展开了为期一个月的研究旅行。这使我能够在那些想象了多年的地点进行拍摄，同时也对意料之外的发现和邂逅保持开放态度。
在你对动作捕捉技术的运用中，身体仿佛成为了乐器。可否展开聊聊片中两段动作捕捉场景的摄制故事？
与我的田野调查并行，2024 年初，我在瑞士拍了两次动作捕捉，用于生成一系列动作词汇，随后被转化为贯穿影片的动画。
第一次拍摄在一家室内跳伞场馆进行，两名表演者根据我的指令执行动作。他们模拟了等离子体行为、波动或水滴等物理现象，以及行走等普通动作。室内跳伞提供了一种特殊的动作质感：它是壮观的、挑战重力的，在其与身体的关系上几乎是乌托邦式的。这是一种休闲技术，暂时地解放重量，其姿态介于体育表演与特殊视觉效果之间。
第二次拍摄的主角是一位资深的瑞士舞踏舞者。舞踏是一种源自日本的舞蹈形式，史称“暗黑舞踏”（Ankoku Butoh）。它提供了一种与室内跳伞截然不同的词汇：动作缓慢、内敛，其演变几乎难以察觉，聚焦于身体可见表面之下的流动。作为光的隐喻性对立面，它能营造特别的共鸣。
这两类动作维度——一类向外且壮观，另一类向内且微妙——构成了影片动画部分的动态基础 。动画并非是对实景素材的插图式说明，而是其延伸，将观者引向主观与思辨的层面。它们将光的种种现象拟人化，探索了去物质化或技术化身体的概念，并连接到“气”的隐喻。我相信，光与能量流经我们，从内部塑造我们。
你将中医与光技术、宇航和奥茨冰人奇妙地联系在一起，这种跨越文化与时间的知识观十分有趣。
没错，这也恰是本片的核心关注点之一：知识如何跨越文化、历史时期和学科流动？它在传递过程中产生了怎样的变化？例如，激光针灸代表了一个引人注目的交汇点：一种光的科技被应用到了一张拥有数千年历史的身体地图上。在这里，光子学与中医相遇，产生了一种完全不属于其中任何一个领域的新事物。
另一个类似的意外共鸣出现在奥茨（Ötzi）身上，这具在阿尔卑斯山发现的冰河时代木乃伊，其纹身的位置与经络系统相吻合。这并非确认的因果联系，而是一种可以被称为“思辨连续性”的关系。它暗示了关于身体及其内部流动的某些直觉，可能在遥远的时间和文化中早已出现。
这些元素——古代经络图、当代生物识别设备、激光疗法和同步 LED 基础设施——在影片中形成了一种时间蒙太奇，在过去、现在与思辨未来之间流体般地移动。
最后，请你分享一些你实地在中国开展研究旅行的感想，以及与大湾区相关的未来创作计划。
每座城市都很有个性，没有这次旅行，就不会有这部影片。
深圳的商业和技术环境特别吸引我，包括 LED 显示屏、零售空间和健康技术，在这些领域，光与欲望和注意力紧密相连。大型城市建筑体灯光秀营造出超现实且具游戏感的维度，将城市转化为一种动态的图像空间。
上海的迪士尼乐园与深圳的东部华侨城，揭示了迷人的文化交叉影响，特别是关于“明日世界”（Tomorrowland）等主题乐园式想象及其本土化阐释。
香港的起伏地貌则让我联想到中国传统山水画在城市环境中的转化。
在这样一个地缘政治日益碎片化的时代，这种直接的邂逅显得尤为珍贵。我非常开心认识了许多中国出色的创作者与学者。旅行中的谈话总是那么坦诚、好奇与富于另类视角。
所以我非常有兴趣继续在大湾区开展研究，特别是它快速演变的发光环境。目前，我正致力于开发《永不停歇的流光》的装置版本，正在尝试动画的空间化。同时，我还有一个新项目，关于微塑料污染，因为我一直关注光与物质之间的相互作用。在历史上，塑料曾被作为一种乌托邦式的承诺，如今它却引发了极大的生态焦虑，我将尝试捕捉这两者之间的张力。
On the context and process of Restless Glows
Restless Glows developed over several years as part of my broader research into light, not only as a medium, but as a condition that shapes perception, behavior, and imagination.
The project began from a simple question: what does light do to a body? From there, I began exploring different forms of light-based practices, ranging from therapeutic uses such as laser acupuncture to large-scale urban lighting systems and commercial environments.
The project initially began in early 2020, when I was supposed to undertake a three-month residency in China. Due to the pandemic, this was not possible, and the project had to adapt, eventually taking a different direction during an online residency in 2022.
In 2024, I was finally able to travel to China for a one-month research trip. This allowed me to film in locations I had imagined for years, while also remaining open to unexpected discoveries and encounters.
The Body as Instrument - Motion Capture Sessions
In parallel with the fieldwork, two motion-capture sessions were conducted in Switzerland in early 2024. These sessions were conceived as a way to generate movement vocabularies that could later be transformed into the animated sequences running throughout the film.
The first session took place at an indoor skydiving facility, where two performers executed movement routines based on my instructions. They mimicked physical phenomena such as plasma behavior, waves, or a drop of water, as well as more ordinary actions like walking. Indoor skydiving offers a specific quality of movement. It is spectacular, gravity-defying, and almost utopian in its relation to the body. It is a leisure technology that proposes a temporary liberation from weight, producing gestures that exist somewhere between athletic performance and visual effect.
The second session involved an experienced Swiss Butoh dancer. Butoh is a contemporary dance form of Japanese origin, historically known as Ankoku Butoh, or “the dance of darkness”. It offered a radically different vocabulary. The movements are slow, internal, and almost imperceptible in their evolution, concerned with what lies beneath the body's visible surface. As a metaphorical counterpoint to light, it was particularly resonant.
These two movement registers, one outward and spectacular, the other inward and subtle, became the dynamic foundation for the film’s animated sequences. The animations do not illustrate the live-action footage. Instead, they extend it, introducing subjective and speculative layers. They anthropomorphize light phenomena, explore the idea of a dematerialized or technological body, and open onto the metaphor of Qi. Light and energy flow through us, shaping us from within.
Traveling Knowledge, Across Cultures and Time
One of the central concerns of Restless Glows is how knowledge moves across cultures, historical periods, and disciplines, and what it becomes in transit.
This question emerged in unexpected ways during the research. Laser acupuncture, for example, represents a striking intersection. A technology of light is applied to a bodily map that is thousands of years old. Here, photonics meets traditional Chinese medicine, producing something that belongs fully to neither domain.
A similarly unexpected resonance appeared with the discovery that Ötzi, the Ice Age mummy found in the Alps, bears tattoos whose placement aligns with meridian systems. This is not a confirmed causal link, but rather what might be called a speculative continuity. It suggests that certain intuitions about the body and its internal flows may have emerged independently across distant times and cultures.
These elements, ancient meridian maps, contemporary biometric devices, laser therapies, and synchronized LED infrastructures, form a kind of temporal montage within the film, moving fluidly between past, present, and speculative futures.
Future plans related to the Greater Bay Area
I would be very interested in continuing research in the Greater Bay Area, particularly regarding its rapidly evolving luminous environments.
I am currently developing an installation format that expands on Restless Glows, with a particular focus on the spatialization of the animated sequences.
At the same time, I am beginning a new project focused on contamination by microplastics. This connects to my ongoing interest in the interaction between light and matter, as well as the tension between the utopian promises historically associated with plastic and the ecological anxieties it now embodies.
Alan Bogana（出生于1979年）是一位常驻日内瓦的瑞士艺术家。他的创作涵盖装置、雕塑、影像和全息，探索光作为物质和思辨媒介的特性。其作品曾在巴塞尔 HeK、麻省理工学院博物馆（MIT Museum）、UCCA 沙丘美术馆、哥本哈根当代艺术中心等地展出。他曾在欧洲核子研究中心（CERN）、洛桑联邦理工学院（EPFL）以及智利阿塔卡马沙漠天文台驻留创作，并获得瑞士文化基金会（Pro Helvetia）及日内瓦市、州的资助。
Alan Bogana (*1979) is a Swiss artist based in Geneva. His practice spans installation, sculpture, time-based media, and holography, investigating light as a material and speculative agent. His work has been presented internationally at HeK Basel, MIT Museum, UCCA Dune, Copenhagen Contemporary, and elsewhere. He has undertaken residencies at CERN, EPFL, and the Atacama Desert observatories in Chile, and has received support from Pro Helvetia and the City and Canton of Geneva.
顾灵是多年艺术牛马，曾任上海外滩美术馆营销发展总监、英国领事馆文化教育处中国数字艺术主管、设计互联品牌总监与创馆成员。她是2022-2023首届德英策展学者，并于近年从事独立策划与研究。她还是一位活跃的写作者、编辑和翻译，并与Val共同主持读书播客「一叶障目」与写作平台「拎得清」。近期她在高校开设艺术写作工作坊，并持续探索当代艺术的写作可能性。她创办的灵庐工作室致力于文化传播与诠释事业。
Ling Gu is a writer, translator, and editor who has regularly contributed to art publications both in China and internationally. She is dedicated to exploring the possibilities of writing about contemporary art. In addition to her writing, Gu is an independent curator and a De Ying Curatorial Fellow. With over fourteen years of experience in cultural and arts communication and management, she brings a wealth of knowledge and expertise to her work. In 2023, she founded Scintillating Art Studio, collaborating with various pioneering art installations and projects.
特别感谢
高航，方人，清子
本次活动鸣谢Loft 53提供场地合作
「灵庐」是顾灵与高航联合创办的文化传播事业，专注艺术策展、编辑策划、内容诠释、传播顾问、媒体公关等领域。已合作伙伴有：外滩美术馆，余德耀美术馆，敦煌当代美术馆，ARTRA自定艺，British Council，设计互联，SNAP艺术中心，DSa与墨斋INKstudio等。
MANA | 全球新媒体艺术平台，MANA是全球新媒体艺术行业媒体与资源对接平台，致力于建立艺术、设计与科技协同创新的生态系统。MANA持续聚焦追踪行业热点，旨在提升优秀原创、艺术科技跨界的影响力，为相关领域人士提供交流互励平台，为优秀创作者赋能，为企业及品牌整合对接优质的行业资源，推动行业发展。／ 官 方 网 站 ／www.manamana.net
