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第一个展览是《吴帆x李美京：记忆物语》当代纤维艺术展 ，她们以自然元素为媒介，艺术家的记忆与经历为灵感，使用纤维为材料，传达出艺术家对人类自然间的平衡、过去与未来的深刻理解。

The first exhibition is called "Fan Wu X Mi-Kyoung Lee: The Reflective Memories" contemporary fiber art exhibition. They use natural elements as the media, artists' memories and experiences as inspiration, and fibers as materials to convey artists' profound understanding of the balance between human nature, the past and the future.

学生感言

Student testimonial

对我来说，印象最深刻的是吴帆所呈现的作品《弃物系列 No.1》。以废弃的椅子为基底，在其表面用金属丝做植物、枝叶状缠绕，向上生长，象征着生生不息的希望。与椅子下的镜面、顶上的打光相呼应，反射出如潺潺流水般的光线，营造出美轮美奂的氛围。通过附着在椅子上的植物和代表人类文明发展的椅子，作者想传达的是人与自然之间和谐的关系，相互融合、相互制衡。

For me, the most impressive thing is Wu Fan's work "Abandoned Object Series No.1". Based on discarded chairs, plants are made of wire on the surface, and branches and leaves are wound upwards, symbolizing the hope of endless life. Echoing the mirror under the chair and the light on the top, it reflects the light like gurgling water, creating a beautiful atmosphere. Through the plants attached to the chair and the chair representing the development of human civilization, the author wants to convey the harmonious relationship between man and nature, integrating and balancing each other.

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观赏完吴帆与李美京的纤维装置展览后， 学生们又去参观了广州美术学院水彩研究生的师生展。艺术学院的师生展和典雅庄重的装置艺术展形成了鲜明的反差。鲜艳明亮的展览空间刺激着同学们的眼球。

The second art exhibition we visited was a teacher-student exhibition held by the Guangzhou Academy of Fine Arts. The exhibition  and the elegant and solemn installation art exhibition form a sharp contrast. The delightful exhibition attracted our attention.

学生感言

Student testimonial

这个展主要是由广美的学生作品组合而成的，场地主要使用的是较为冷的橙色，让人不免对此感到诡异和怪诞。除此之外，他们的作品也不想人们刻板印象里的单一绘画或者雕塑的手法表现，而是使用了亚克力柱和道路拐弯会出现的270度镜子等特殊媒介来做作品。

除此之外，在绘画内容上，也使用了和刻板印象中美院绘画内容截然不同的元素，比如图中穿西装的小狗，镜子中被放大的唇部刻画，两个人影纠缠在水池里。不仅是元素使用的大胆外，使用颜色的亮眼和夸张程度也是和现场橙色的灯光结合起来更让人感受到artist与传统艺术的不同的新颖。

This exhibition is mainly composed of the works of students from the Guangzhou Academy of Fine Arts, and the venue is mainly used in a cool orange, which makes people feel weird and grotesque. In addition, their works do not want to be a single painting or sculpture as stereotyped, but use special media such as acrylic columns and 270-degree mirrors that appear when the road bends.

In addition, in the content of the painting, elements that are completely different from the stereotypical painting content of the American Academy are also used, such as the puppy in the suit in the picture, the enlarged lips depicted in the mirror, and the two figures entangled in the pool. Not only the boldness of the use of elements, but also the brightness and exaggeration of the use of colors combined with the orange lighting on the scene make people feel the novelty of the artist's difference from traditional art.

短暂的午餐过后，同学们乘车前往海上艺术中心。伴随着午后海风，学生们回味着上午的艺术熏陶，在岸边卸下了烦恼。

After lunch, the students went to the SWCAC to enjoy the sea breeze and the relaxing moment.

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稍息过后，学生们又去观赏了《设计的价值在中国》这次展览的内容是关于来自英国V&A的250件，回溯了百年内的中国设计的发展，探讨着设计的意义为何物。

After a short pause, the students went to see "The Value of Design in China", an exhibition about 250 pieces from the British V&A, which traced the development of Chinese design in the past 100 years and explored the meaning of design.

学生感言

Student testimonial

这次展览的内容是关于来自英国V&A的250件，回溯了百年内的国际设计的发展。在进入展馆后，映入眼帘的便是荧光色的布局，让我眼前一亮。在观看的过程中，我深深的感受到设计的力量。

The exhibition is about 250 pieces from the UK V&A, tracing the development of international design over a century. After entering the exhibition hall, I was greeted by the fluorescent color layout, which made my eyes shine. In the process of watching, I deeply felt the power of design.

这是一件瓷器艺术，名为《花》，是在白瓷之都德化烧制而成，精美的此话被包裹收藏在圆柱形器皿中，是这件手工艺术品成为了一件极致优雅的艺术品。福建德化白瓷食欲宋元时期，是最早销售往欧洲的中国瓷，尤其是其优良的品质被大众誉为“中国白”。

This is a piece of porcelain art, called "Flower", which was fired in Dehua, the capital of white porcelain, and the exquisite words are wrapped and stored in cylindrical vessels, and it is this handmade work of art that becomes an extremely elegant work of art. Fujian Dehua white porcelain appetite Song and Yuan period, is the earliest Chinese porcelain sold to Europe, especially its excellent quality is known as "Chinese white" by the public.

Dorothy Zhang

我最喜欢的艺术品是《再生陶瓷》。这是一块用废料制成的瓷砖，可用于装修的建筑材料或艺术品。该作品的设计师将粉碎的瓷器放在一个模具里，浇筑熔融铝成型，形成纹理特殊的瓷砖。这件作品给我感触就是，可以将废弃的材料，废物利用，制作成一件艺术品，给那些本该扔掉的废料再生的机会。

My favorite artwork is Regenerated Ceramics. This is a tile made from waste materials that can be used for decoration of building materials or works of art. The designer of the work placed the crushed porcelain in a mold and poured molten aluminum to form tiles with special textures. I was struck by this work that discarded materials can be reused and made into a work of art, giving those waste that should have been thrown away the opportunity to recycle.

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最后，同学们在《穿越边界:日本建筑展》 领略了日系建筑背后的深思。

Finally, in "Crossing the Border: Japanese Architecture Exhibition", the students experienced the deep thinking behind Japanese architecture.

学生感言

Student testimonial

日本建筑师群展通过展厅布局呈现不同艺术家作品设计，沿用构思过程和模型的展览通过群像式对比，突出和映衬出展会中心思想，一种以穿越边界式的设计美学。

一大看点是本展的布局设计，利用整体波浪式分割透明布区分开不同设计师和不同的设计展示，大大减少突兀边界分割的原始划分方式带来的割裂感同时，柔和的线条和不规则划分增加了来访人逛展的实地体验感。

在展厅中也有机会看到了来自艺术家槇文彦对于我们所到访的海上世界艺术中心的创作手稿，构思细节以及模型。由这一例子来举证，艺术家本人更多以所处地基和周围建筑作为创作范本，更多的是用不突兀的融合性创作进行建筑构造。面向海边风景的长阶梯式设计让风景融合于建筑本身，交错式布局满足馆内不同展览的需要，但是也和其他所有艺术家构思相同，设计从不局限于单调的条框感，这些突破以及融合两种概念融为一体的设计形式值得学习和参考。

就像我们参观的真实感受一般，在馆内是交错式的沉浸体验，但是步出馆门海边的景色更像冲击灵魂性的视觉体验呈现。

The exhibition of Japanese architects presents the designs of different artists through the layout of the exhibition hall, and the exhibition that follows the conceptual process and model highlights and reflects the central idea of the exhibition through group portrait contrast, a design aesthetic that transcends boundaries.

A major attraction is the layout design of this exhibition, which uses the overall wavy split transparent cloth to distinguish different designers and different design displays, greatly reducing the sense of fragmentation brought by the original division of the abrupt boundary division, and at the same time, the soft lines and irregular divisions increase the sense of field experience of visitors visiting the exhibition.

In the exhibition hall, you will also have the opportunity to see the manuscripts, conceptual details and models from the artist Fumihiko Maki for the Sea World Art Center we visited. From this example, the artist himself uses the foundation and surrounding buildings as a model for his creation, and more often uses non-obtrusive fusion creations for architectural construction. The long staircase design facing the seaside landscape allows the landscape to blend into the building itself, and the staggered layout meets the needs of different exhibitions in the museum, but it is also the same as all other artists' ideas, the design is never limited to monotonous sense of frames, these breakthroughs and the fusion of the two concepts into one design form are worth learning and reference.

Just like the real feeling of our visit, it is a staggered immersion experience in the museum, but the view of the sea outside the museum is more like a visual experience that hits the soul.