为浦东美术馆二零二四年度大型展览“曹斐：潮汐宙合”所设计的展览视觉设计。曹斐被誉为国际上最受尊敬的中国当代艺术家之一，本次展览是她在上海的首个大型中期回顾展，该展览也是世界范围内举办的规模最大的曹斐个展之一。

本次展览完整梳理与展示了曹斐跨越近三十年的艺术实践，艺术家充分利用美术馆整个二层空间，以“非线性”式排布，用更富有弹性的视角勾勒出其艺术实践的深度轮廓。展览围绕“时间”“身体”与“技术”等系列主题展开，囊括了曹斐多个长期重要项目，具有代表性的系列包括“珠三角”时期的早期作品，以“人民城寨”为起点的“元宇宙”数字虚拟时空，以及研究性项目“红霞”等。此外，展览中有七件作品为全球首次展出，十三件/组作品为国内首次亮相。

曹斐的作品风格多元且涵盖广泛，此次的视觉设计很难使用某一张图作为其整个艺术生涯代表。因此，在设计过程中，我们从她作品的手稿中汲取灵感，并借鉴其后期作品中的技术手段（三维模型、元宇宙的呈现等），在三维环境中手绘了此次展览的海报。并在此基础上，为此次的视觉设计建立了一套“扭曲”的字体的系统，这一绘制方式也被应用于后期的展览导览系统，与展览的建筑空间设计相融合。我们希望通过这种看似“不完美”的视觉语言，回溯曹斐创作初期的状态，并营造一种亲密感。

The visual design of the exhibition designed for the 2014 large-scale exhibition "Cao Fei: Tides and Rates" in Pudong Art Museum. Cao Fei is regarded as one of the most respected Chinese contemporary artists in the world. This exhibition is her first large-scale mid-term retrospective exhibition in Shanghai, and it is also one of the largest solo exhibitions of Cao Fei in the world.

This exhibition completely combs and shows Cao Fei's artistic practice spanning nearly 30 years. The artist makes full use of the entire two-story space of the museum, arranged in a "non-linear" manner, and outlines the depth of his artistic practice from a more flexible perspective. outline. The exhibition revolves around a series of themes such as "time", "body" and "technology", including a number of long-term important projects of Cao Fei, including the early works of the "Pearl River Delta" period. "Yuan Universe" digital virtual time and space, and the research project "Hongxia" and so on. In addition, seven works in the exhibition are exhibited for the first time in the world, and 13 works/groups are the first time in China.

Cao Fei's works are diverse and cover a wide range of styles. It is difficult to use a certain picture as the representative of his entire artistic career in this visual design. Therefore, in the design process, we drew inspiration from the manuscripts of her works, and drew on the technical means in her later works (three-dimensional model, presentation of the meta-universe, etc.), and hand-painted the posters of this exhibition in a three-dimensional environment. On this basis, a set of "distorted" font system was established for the visual design of this time. This drawing method was also applied to the later exhibition guide system and integrated with the architectural space design of the exhibition. We hope that through this seemingly "imperfect" visual language, we can trace back to the early state of Cao Fei's creation and create a sense of intimacy.

我们的设计实践游走于当代艺术与广告宣传之间，正面临着一个棘手的问题：如何在推广和展示作品的同时，不违背其最初的意图。而在当下中国，这似乎已成为一种僵局。为尝试解决这一矛盾，我们在设计过程中仔细分析作品，保留必须的元素，摒弃不必展露的部分，并避免过度阐释。我们逆流而行，背离了所谓高效、快消的广告模式，而是将注意力集中在创作适度而持久的，甚至是具有收藏价值的设计上。为了达成这样的结果，与合作者的紧密合作是至关重要的。我们专注于书籍设计、展览设计、网站设计以及视觉识别系统设计，强调生产与制作。自从我们创立工作室以来，我们一直专注于文化领域，致力于探讨社会议题。在过去的几年里，我们积极与策展人、艺术家、写作者、文化机构工作者、学生、程序员、设计师等展开合作（详细名单请参阅英文文章），在实践中不断拓展设计的边界。

Our design practice is between contemporary art and advertising, and is facing a thorny problem: how to promote and display works without violating their original intention. In China today, this seems to be a stalemate. In an attempt to resolve this contradiction, we carefully analyze the work during the design process, retaining necessary elements, discarding parts that need not be revealed, and avoiding over-interpretation. We went against the current, deviating from the so-called efficient and fast-moving advertising model, but focusing on creating moderate and lasting designs, even with collectible value. In order to achieve such a result, close cooperation with collaborators is essential. We focus on book design, exhibition design, website design and visual identity system design, emphasizing production and production. Since we founded the studio, we have been focusing on the field of culture, dedicated to social issues. In the past few years, we have actively cooperated with curators, artists, writers, cultural institutions, students, programmers, designers, etc. (please refer to the English article for a detailed list) to continuously expand the boundaries of design in practice.

何翩翩与麦石跨学科设计工作室成立于二零一五年，位于长沙与蒙特利尔，在国内外积极实践自己的主张，专注于创作独特的设计作品。工作室关注在兴衰波动的经济浪潮之中的图像制造，并在限制与规则间游戏。工作室建立以来，主要工作于文化领域，从事书籍、展览、网站和视觉识别系统设计，强调生产与制作。何翩翩与麦石分别于二零一八年和二零一二年毕业于美国耶鲁大学，麦石目前担任湖南师范大学美术学院副教授。

He Pianpian and Maishi Interdisciplinary Design Studio was established in 2015, located in Changsha and Montreal, actively practicing their own ideas at home and abroad, focusing on creating unique design works. The studio focuses on image making in the midst of rising and falling economic waves, and plays between limits and rules. Since its establishment, the studio has mainly worked in the cultural field, engaged in the design of books, exhibitions, websites and visual identity systems, emphasizing production and production. He Pianpian and Maishi graduated from Yale University in 2018 and 2012 respectively. Maishi is currently an associate professor in the Academy of Fine Arts of Hunan Normal University.