历史地看人民广场这片土地，在建立上海第三个跑马场之前，是一个村庄，是一片庄稼，是一池芦花荡，是一片诗意的江南景色。由于跑马场的建立和静安寺路的延伸，彻底改变了这块土地的容貌与功能。乡村的民居变成了摩天大厦，乡间的田埂变成马路，水稻变成了骏马，乡下人变成了城里人，这就是1886年以来人民广场的变迁缩影，也是上海这座城市多重记忆的写照。林铨居以《瞬间回忆：上海水稻田计划》的视角溯源了人民广场在“上海学”中的地貌更迭，以考古中的地层学方式来复原人民广场的原貌，以在上海美术馆东门前12个花坛中播种水稻来回应我们脚下已经失去的快稻快香。

Before becoming the third horseracing track in Shanghai, the site of The People’s Square used to be a small farming village with a pond and other poetic scenes typical of South China. After the building of the race course and the extension of the Jin’ansi Road, the outlook and function of this land was completely changed. Village houses gave way to skyscrapers; country roads turned into concrete roads; paddy fields were replaced by a race track; and peasants became urban residents. This summary of the post 1843 changes to the site of People’s Square reflect multi-layered memories of the city. From the perspective of Farming on Clear Days and Reading on Raining Days (a traditional Chinese idiom meaning taking every opportunity to constantly improve oneself), Lin Chuanchu’s work depicts the changes to the site of The People’s Square (a common subject in the “Study of Shanghai”), by reconstructing the historical appearance of the site using a stratigraphic approach frequently used in archeology. The artist then planted rice paddies in 12 parterres outside the east gate of Shanghai Art Museum, reminding us of the long-lost smell of fresh rice that once filled the air.

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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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井士剑的《移城》以一列老火车真实在场的形式，在“上海双年展站”演绎了一场昔日的“青春叙事，揭示了上个世纪六、七十年代那场举国上下的知识青年上山下乡运动，铸就了千万知青的青春之歌。将“出城”与“进城”作为一种历史现象的思考与判断，它提供给我们的不仅仅是一种迁移的表象，人作为快客的饱满激情是否包含另外一种意味？历史与现实的重叠意义在此置换成艺术。

Jing Shijian’s Express Train: Shanghai Biennale Station is made up of a real train on site at the Shanghai Biennale, which tells the “story of Chinese youth. This work is inspired by the national “Down to the Countryside Movement” in the 1960s and 1970s that forced young intellectuals (including middle school graduates) living in cities to move to the countryside, changing forever the lives of tens of thousands of youths. Their migration from and later back into cities became a historical phenomenon. The artist expresses his observations through this work, in which he captures not just migration, but also the passion of the young migrants as “transient guests” in the city which may carry a deeper meaning, turning history into art.

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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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在中国当代艺术领域中，刘野是一位童趣盎然的艺术家。他以率真的图像描绘着新中国的童话。《怀念》和《旅行者》描述刘野家里的一段故事：“家里有几只旧旅行箱，妈妈说是外婆外公留下的。外公年轻时经常到上海做生意，在上海认识了我外婆。外公常年两地奔波，一是为生意，二是为见他爱的人。有时外婆也来北平看外公。外婆年轻时漂亮又时髦，旅行箱里总是装满了漂亮的衣服和时髦的东西。我没有见过外公，他很年轻就去世了。外婆在我的记忆中也不清晰。有时我旅行到了上海，看到了那些旧旧的房子和街道，就突然想起了外公和外婆，他们正在林阴道上散步。”留声机般天真而古老的描述，带出一段泛黄的历史记忆，这就是刘野家里留下的“京沪快客”的足迹。

In modern Chinese art, Liu Ye is an artist known for his flamboyant youthfulness. He uses his bold images to paint a portrait of China’s new fairy tales. His Missing tells a story from his family life. “There were a few pieces of old luggage in our house, and my mother said they were left behind by my grandparents. My grandfather she said, did business in Shanghai when he was young, and he met my grandma on one of his business trips. My grandfather traveled back and forth between the two cities for two years, first because of his business, and second to see the love of his life. Sometimes my grandmother would travel to Beiping to see him. She was very beautiful and fashionable in her youth, and her luggage was always filled with pretty clothes and fashion accessories. I never met my grandfather, as he died at a very young age. My memories of my grandmother are not so clear either. Sometimes I travel to Shanghai, and see those old houses and streets, I suddenly think of my grandparents, and can practically envision them strolling down Shanghai’s boulevards.” This is the story of travel between Beijing and Shanghai that Liu Ye’s family left behind.

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