金石的《1/2生活》以等比例缩小一倍的手法，复原了城市中流动人口的居住之所。他以简陋家具和日常用品的混杂来见证人口流动和都市花样年华的对比，让鲜艳的色彩来体现流动人对生活的热情和乐观，以空间的狭小和拥堵来说明他们生活的压力和无奈。这些临时居住的房间同时也是整个城市化进程中的另一面。

1/2 Life by Jin Shi reconstructs the average room of an urban migrant at a ratio of 50%. It shows a messy room with cheap furniture, reflecting the sharp contrast between the meager life of a migrant with the stereotypically colorful life of an urban resident. Bright colors in the room represent the passion and optimism of migrants, while the small and messy space symbolizes the pressure they face and their powerlessness . The temporary rooms in his works epitomize life in rapidly urbanizing spaces.

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周滔的作品《1,2,3,4》拍摄了人民广场四十余家店铺等单位的员工晨会，并将这些记录影像依据其口令节奏进行整体剪辑和编排。在现代企业管理最具效率模式的表象下，透露出的是人口的快速聚合与流动、社会结构的剧烈转型。来自市场和效益内核的刺激，集体方式的表象与动机也在随之演化。作品探讨一种群体集结所促成的视觉形态的“风格化”。影像中新移民响亮的口号，就是每天早晨快城快客拉响的汽笛声。

1,2,3,4 by Zhou Tao recorded morning staff meetings in over forty shops and companies in the area around the People’s Square. The video materials were edited based on the rhythms of the corporate songs (or chants) of these companies. Beneath the surface of efficiency-driven management strategies of modern companies, the video shows a rapid movement of population and drastic changes in the social structure. Aiming at larger market shares and higher profitability, these companies are witnessing constant changes in their collective outlook and motivations. This work which records regular morning gatherings, offers viewers ’stylized’ visual experiences. It is therefore, more than appropriate to compare the loud chanting and singing of new migrants in the video to the sound of the steam whistle of ‘translocalmotion’ each morning.

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岳敏君的《五彩龙腾》将神话传说中龙的形象向前追溯到神话诞生之前的阶段。文化从远古的文明迁移到了快速发展的城市，它支撑着我们努力发现和创造新的文化。作品采用了拟人化的手法，将人类的特点加给自然界，强化笑的意味，增添快乐。作品在空间中的摆设也是为了拉近龙和当代人的关系，使观众和作品双方都具有一种双向的感受，启发我们在城市日常生活中获得与自然界的视觉经验的方式。作品的表面运用汽车喷漆的方式上色，这种色彩处理方法具有现代工业的媒介特质，从一个侧面来看，是在反思、讽刺浪费能源的人类最终也会像恐龙消亡一样，失去今天的交通工具。岳敏君的《五彩龙腾》无疑将快城快客放置在一个让人们联想到远古迁移的背景之下，让人们对当今能源反思的同时，体验到人世间的沧桑巨变。

Colorful Running Dinosaurs by Yue Mingjun, presents to viewers the image of a “Chinese Dragon” older than even the age of mythology. Culture continues to develop from the time of ancient civilizations to the current era featuring its rapidly developing cities, which provide us with a solid foundation to discover and create new cultures. This work applies a personifying approach that adds a human element to the natural world. The effect of a “smile” is also highlighted, creating a strong sense of happiness. The installation of the work in the museum space narrows the distance between it and modern people. Viewers and the work are forced to be in proximity of each other so that viewers have to look at the work closely, inspiring us to find our own way of looking at the natural world in our daily urban life. The work was spray-painted, a method frequently used in modern industries, in particular the automotive industry. This is, in a way ironic given our excessive use of energy. If we don’t stop the trend, our most important means of transportation will also suffer the same fate as the dinosaurs and vanish from the surface of the planet. Reflecting dramatic changes over millions of years, the work stimulates the imagination of Translocalmotion on ancient times and encourages contemporary leaders to take second thoughts with respect to current energy policies.

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马堡中把《花开花落 2008.1-8》的视点放置于上海的现在进行时，让新移民、过客和快客组成一个共同的视觉图像，包括时尚、体育、经济、科技、政治、文学、娱乐等各色人物，以此编织成一个横跨上海历史、现实及未来的令人眼花缭乱的多维空间。为实现对移民城市未来的虚拟想象，作品使用建筑规划的模型来完成对现实存在的真实转换，将历史、现实及未来的内容融为一体，由此造成一个相互穿插的关系。作品中通过人物的对比，反映了时代的变迁，将社会的各类层面及经济的发展所带来的城市和城市人的新形象和新变化熔铸在一个平台之上，共同演出一场花开花落的情景剧。

Ma Baozhong’s focus in Blooming, Wilting is on contemporary Shanghai, and it brings together new immigrants, travelers and tourists in one visual image that consists of individuals from all walks of life: fashion, sports, economics, science and technology, politics, literature, and entertainment. With these he creates a new and multidimensional history of Shanghai, in addition to portraying the city’s present and future. In order to realize his imaginations of the future of this immigrant city, he uses city planning models to mold his illusions into the real world, fusing historical reality with glimpses of the future. The work uses comparisons between different people to reflect changes in the times, and the new images and changes in the city and in urban residents brought about by social change and economic development.

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从牛背山往回走，走到大洋河河口右岸有一座大孤山，山孤峙海滨，峭拨突兀，云山雾罩，河随岸曲，峰逼澜回。

入夜，独自拾级而上，一路依稀可见历代骚人墨客在摩崖上的各种题句。大部分年久失修，许多文字若隐若现， 也有被山里人重新写了句子镌刻的。一夜无眠入山意，山的西面看出去很宽广，见一石有清人诗云：“曲水带云归海去， 乱花随雨落岩来。”

今有纽约大都会博物一行来访上海双年展，Diane Schafer女士是研究宋代美术史的高手，久仰其名。不知为何她带了14位研究古代艺术的研究员都向往研究当代艺术了。想必是从宋画的山林中走出来散散步，呼吸新空气！

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王庆松是近十年来中国优秀的探索性艺术家之一，作品《行李》真实地反映了上海开埠以来各个历史时期市民和流动人口的行囊。这些行囊作为每一个快客的符号象征，构成了与快城历史变迁中的一个重要因素。这些来自不同时期，呈现出不同式样、不同重量和不同感情的行李形成了“快城快客”的历史记忆和文化符号。

Over the past 10 years, Wang Qingsong has earned a reputation as an outstanding experimental artist in China. His Luggage realistically reflects the history of luggage in Shanghai since the city opened its doors to the world. This luggage is used to symbolize travelers and taken collectively, his work represents the history of translocalmotion. Without any doubt, these pieces of luggage from different times, with their different styles, weights and sizes construct a historical record and cultural symbols of the travelers of the century.

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陈志光以不断迁徙中的动物 ——蚂蚁为元素，让一百六十只蚂蚁在上海美术馆的墙上向上攀登。这种百折不挠向上攀登的精神象征着移民不断进取的精神与特质。同时，五只色彩斑斓的巨型蚂蚁从美术馆北门引导观众走向花园，如同将新移民引入老移民的家园，蚂蚁已化为默默地在人民广场迁来移去的浮游生物。

Chen Zhiguang’s work focuses on ants, a constantly migrating species. He will release 160 ants on the east wall of the Shanghai Art Museum and let them climb up the wall freely, representing the relentless efforts and progressive spirit of migrants attempting to struggle to the higher rungs of the social ladder. Also as part of his work, five enormous colorful ant sculptures will be installed at the northern gate of the museum, guiding visitors into the garden. This represents a gesture of welcoming new migrants into the home of old migrants. In this work, ants turn into the symbol of lives migrating silently across the space of The People’s Square.

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