Bjorn Sparrman
(AMERICAN，B.1989)
Images of City
Executed in 2017 marble，transducer，and glass cement 150×150×50cm
Provenance:
Yve Yang Gallery，New York

Bjørn Sparrman (b.1989，USA) lives and works in Cambridge，Massachusetts. He received his BFA from Calvin College in 2012 and his Masters of Science in Art，Culture and Technology from Massachusetts Institute of Technology in 2016. He is currently a research specialist at the Self- Assembly Lab at MIT. As recipient of the ArtPrize 2014 Pitchnight grant，he exhibited his large public work，The Grand River Checkpoint Project，during the citywide festival in Grand Rapids，Michigan.
Various and varied lattices in this work– Image of the City– are made of white marble. Platforms provide space for visitors to sit and inhabit these frameworks. Low frequency transducers animate these structures with inaudible vibrations derived from the noises of animals or conversations. These perfectly square，and regular objects vibrate as the city does，mimicking the rumble of cars，civic and industrial activity.
In his seminal text，The Image of the City，Kevin Lynch sets out to describe the process by which we understand the layout and interrelatedness of urban landscapes. He studies the “mental image of that city which is held by its citizens.” His techniques identify various structural topologies of the city (landmarks，paths，nodes，e.t.c.) that when experienced in sequence form a complete conceptual image of the environment. We are able to synthesize the experiences of various urban features into a singular image through the understanding of abstract geometric principles: euclidian space，parallelism，etcetera. Yet，Lynch describes how the limits of human perception interfere with these geometric principles. In the end，the images of the city arrive strange and misshapen.
These lattice structures together，like Lynch’s topologies，together create such an image. Their internal geometric sensibility are intangible，rendered in disparate physical goods: pipes，beams，planks. The vibrations of these grids recreate the city，the civic landscape，or a subtle fecundity. This project plays with the mechanisms by which we conceptualize and understand built spaces，as conceptual，sensorial，and emotional nodes. Lynch’s theory nods to the vulnerability of space in the hands of the human mind. This installation exploits these weaknesses of perception，and produce the misshapen images that Lynch observed.

来源：
Yve Yang画廊

Bjorn Sparrman1989年生于美国，现今工作居住于剑桥马萨诸塞州。他在2012年获得加尔文大学艺术学士学位，之后在2016年获得麻省理工SMATC硕士学位。现在他是麻省理工大学自动组装实验室的研究员。作为2014年ArtPrize Pitchnight奖金资助的获得者，在密歇根州Grand Rapids城市节日期间，Sparrman展出了他的大型公共作品，大河检查站项目。
在这件城市图像作品中，不同大小的格子结构由白色大理石搭建而成。方格组成的平台给观赏者提供了互动空间，观众可以坐在这些框架上感受作品。艺术家在装置上布置了低频传感器，在不同的方向观众可以感受到不同振幅的震动感。振幅的数据取自于城市不同角落里动物和人类的噪音或互动。这些完美的几何图形装置在艺术家的演绎创作下，纪录了车流，居民，以及工业活动，模仿了一个城市的震动脉搏。
在凯文·林奇的书，城市的意象中，他描述了城市功能布局和都市环境之间的内在关联。他提出了一种 “公民心中拥有的城市意象”的概念。运用此概念，他得以识别城市中的各种结构拓扑（城市坐标，道路，城市枢纽等等）。当系统性的研究这些城市结构，我们就会在脑中形成一个完整的城市意象：当理解抽象几何的概念（平面性，平行性等等），我们就可以整合不同的城市景象到一种科学意象。但是，林奇又提出了人类的感知力是会和几何定律相互干扰的，从而使得城市的意象变得奇怪且不成形。
这件作品中方架结构演绎了林奇的理论，展示了这样一种画面： 尽管运用各种真实物体搭建出了规整的几何空间，空间内在的不同感知却是无形的。这些格子内不同频率的桥面震动，重演了城市丰富的布景。这件作品展示了建筑空间中概念，感官，以及情绪间的关联。城市空间在人类的演绎下表现出了其易损性，这种不和谐的城市空间揭露出了人类薄弱的感知力。