缀段耳语 Episodic Murmuring

缀段耳语 Episodic Murmuring


 

Episodic Murmuring is an interactive narrative work that spans images and text, encompassing elements of a game, image archive, and interactive novel. In Episodic Murmuring, images are not merely an aid to the narrative but serve as “fragments” with their own independent narrative logic. These images—sourced from strangers’ photo albums, family photos, or recreated “archival photographs”—are meticulously cataloged and organized, forming a seemingly rigorous archive.
On a fictional map, geographic spaces and personal memories intersect. Episodic Murmuring seeks to capture the ambiance of the Southwest region of China through images, archives, and nonlinear storytelling. By weaving together folk tales and reinterpretations of grand narratives, it constructs a personal place-based chronicle imbued with a deeply personal perspective.

《缀段耳语》是一个跨越图像与文字的互动叙事作品，包含：图像档案库、超文本游戏、互动小说、参与式拓片等。在缀段耳语中，图像不仅是叙事的辅助，更是带有独立叙述逻辑的“碎片”。那些源于陌生人的相册、自家影像或重制的“老照片”， 经过精细的编号和分类，形成一个看似严谨的档案库。

作品的文字部分融入了闲谈与传闻，包含暗恋、故土、飞行、藏匿和歌谣等元素，营造出如散步般的道听途说的氛围。在虚构的地图上，地理空间与个人记忆相互映射，《缀段耳语》旨在用图像、档案和非线性的叙述方式，捕捉西南地区的氛围，通过坊间传闻和对宏大叙事的解构与再诠释，构建出一个充满私人化色彩的地方志。

In the creation of Episodic Murmuring, Wang Yiwei explores the relationship between memory, narrative, and urban space through the processing of photographs and maps. Her photographic materials come from three main sources: historical photographs (such as photographic archives by Western explorers in Sichuan, like Andersson’s records), anonymous photographs obtained from auction websites (such as 7788.com), and family photographs (spanning both old and recent personal images). To unify the styles of these diverse sources, Wang starts by printing the photographs in color, then scans them at a specific resolution, and ultimately prints them in black and white. To evoke a blurred texture reminiscent of memory, she further dyes the photos using coffee or tea, carefully controlling the concentration and staining time to produce varied tones, and then meticulously adds color by hand using markers. She magnifies details to emphasize traces of ordinary people’s lives, while deliberately overlooking famous figures in historical archives, focusing instead on everyday and minute fragments of memory.
在《缀段耳语》的创作中，王一玮通过照片与地图的处理，探讨记忆、叙事与城市空间之间的关系。照片素材来源于三类：历史照片（如西方冒险家到四川的摄影档案，如安特生的记录）、从拍卖网站（如7788网）获得的匿名照片，以及家庭照片（包括新旧不同的私人影像）。为了统一这些不同来源的图像风格，王一玮以彩色打印照片为起点，再通过特定分辨率扫描，最终以黑白打印输出。为模糊呈现出记忆中的质感，她进一步将照片用咖啡或茶染色，控制浓度和染色时间以制造不同色调，然后手工用马克笔进行细致的上色。她放大细节以突出普通人生活的痕迹，同时有意忽略历史档案中那些著名人物的影像，转而关注日常与微小的记忆碎片。
A “psychological map” blending reality and fiction, which includes real locations but also incorporates subjective memory symbols, such as setting the “city center” as a kindergarten.
 
虚实交错的“心理地图”，其中虽然包含真实地点，但也融入了主观化的记忆符号，例如将“市中心”设定为幼儿园。

 

 

In Episodic Murmuring, text as part of the archive content differs from typical archival annotations. It does not simply supplement or explain the images but rather acts as an anchor for the imagery, carrying a prophetic narrative quality. Through this interplay, the combination of text and images forms a psychological image, allowing viewers to project their own past or future onto the work, or connect certain collective memories with the imagery. This interactivity enriches the layers of interpretation within the piece. The experience resembles flipping through a “book of answers,” with memories automatically linking to the images in the Episodic Murmuring archive. It also feels like a whisper, as if someone is softly conveying mysterious and prophetic words in your ear. 

 

在《缀段耳语》中，文字作为档案内容的一部分，与一般档案的文字注解有所不同。它并非简单地对图像本身进行补充或说明，而是成为图像的锚点，承载着一种预言性质的叙述。通过这种方式，文字和图像的结合形成了一种心理图像，观众得以将自身的过去或未来投射到作品之中，或者将个人的某些集体记忆与图像建立联系。这种互动性为作品提供了更多层次的解读。这种体验如同翻阅一本“答案之书”，记忆将与《缀段耳语》档案库中图像自动链接。也如耳语一般，有人在耳边悄悄地传递带有神秘和预言性质的语句。

 

 

 
  
 

 

 

The Wangjiang Dalou Jinhuicui Rubbing Project is a participatory art initiative led by artist Wang Yiwei in collaboration with the Friends of Nature Chengdu Group. It seeks to explore the relationship between individuals and the urban environment by documenting and reconstructing memories of everyday living spaces. Inspired by the well-known Chengdu landmark “Wangjiang Tower,” the artist modified the name by adding the word “Dalou” to transform this historic site into a representation of a common residential block, symbolizing places that, while unremarkable to outsiders, hold deep significance for those who lived there.

 

Participants etched images of places from their memories—now vanished or altered—onto a door panel, then recreated these memories through rubbings, weaving new narratives and memory connections. By harnessing the reproducibility of printmaking and the craft of rubbings, the workshop embedded individual memories into the texture of the cityscape. Each participant’s story and memory were recorded and presented using the form of Jinhuicui (an assemblage of layered fragments), becoming an unofficial local chronicle.

 

This process goes beyond being merely an educational activity or collective creation; it serves as an expression of “participatory art,” emphasizing the distinction between creative intent and the recording of the artistic process. In this way, the workshop focuses on past lived experiences, leaving room for reflection on the future. This sense of nostalgia is not merely a sentimental longing for what has been lost but also a confrontation with the fear of death and disappearance, encouraging participants to reshape their own networks of existence and memory within a constantly shifting society.

 

《望江大楼》锦灰堆拓片是一玮与自然之友成都小组共同发起的一个参与式艺术项目，旨在通过记录和重构普通生活空间中的记忆，探索个体与城市的关系。工作坊的灵感来自于成都著名景点“望江楼”，艺术家通过在名称中加入一个“大”字，将这一历史景点转变为普通居民的筒子楼，象征着那些虽无名却对生活在其中的人们极为重要的普通场所。参与者通过在一块门板上刻画自己记忆中消失或改变的地点，并用拓片的形式将其再现，创造出新的叙事与记忆连接。利用版画的复制性和拓片的工艺，工作坊将个体的记忆嵌入城市空间的纹理之中。每一位参与者的故事与记忆都被记录并通过锦灰堆的形式呈现，成为地方志的非官方版本。这一过程不仅仅是一个公共教育活动或集体创作，而是一种“参与式艺术”的表达，强调创作目的与过程记录的区别。通过这种方式，工作坊关注过去的生活经验，为未来留下思考的空间。这种怀旧不仅是对逝去事物的怀念，更是一种对死亡和消失的潜在恐惧与对抗，鼓励人们在不断变化的社会中重构属于自己的生存与记忆网络。

 

 

 

 

王一玮 Wang Yiwei

         

                    “版画 是处理历史语境下图像的方式”

 

Born in 1999 in Suining, Sichuan, Wang Yiwei is a visual researcher who graduated with a bachelor’s degree from the Picture Book Studio at the Central Academy of Fine Arts (CAFA) and later earned a master’s degree from CAFA’s Printmaking Department. Her work draws inspiration from urban spaces, local memories, and everyday experiences. Through diverse media such as games, printmaking, and rubbings, Wang explores the complex interplay between individuals and society.

 

She is also deeply engaged in participatory art practices. As one of her key methods, workshops extend her focus on memory, locality, and interpersonal connections. Wang’s workshop practices seek to break the linearity of historical narratives, reconnecting individual life paths with urban spaces to create dynamic, emotionally resonant networks of memory.

 

1999年生于四川遂宁，图像研究者，本科毕业于央美绘本工作室，硕士毕业于央美版画系。她的创作深受城市空间、地方记忆和日常经验的启发，通过游戏、版画、拓片等多样媒介，探索个体与社会之间的复杂关系。她同样关注艺术的参与性，工作坊作为一玮的实践之一，延续了她对记忆、地方性与人际关系的关注，她的工作坊实践试图打破历史叙事中的单一性，将个体的生活轨迹与城市空间重新连接，形成具有情感温度的动态记忆网络。

 

 

 

 

 

 

 

 

1.共摊同语 Same "Episodic Murmuring"

 

 

During the exhibition, we will host a long-term interactive activity inviting every visitor to create their own “Episodic Murmuring” based on the images and text from the Episodic Murmuring archive. This activity aims to extend the essence of artist Wang Yiwei’s work by allowing viewers to integrate their own memories, emotions, and imaginations with the archive’s presented images and texts, creating unique narratives and expressions.

 

We will provide writing materials for participants, encouraging everyone to freely create and engage in deeper interaction with the exhibition content.

 

在展览期间，我们将举办一个长期的互动活动，邀请每一位前来观展的观众根据《缀段耳语》的图像与文字档案库，书写出属于自己的“缀段耳语”。这一活动旨在延续艺术家王一玮作品的特性，通过结合档案库中所呈现的图像与文字，观众可以将自身的记忆、情感与想象融入其中，生成独特的叙事与表达。

 

我们将为参与者提供书写材料，鼓励大家自由创作，并在此过程中与展览内容进行深入的交流与互动。