马利亚纳卡斯提罗德巴尔以纪实的方式考察人民广场。她的研究重点是历史地理档案，其中的分类再现系统一直以不同的方式记录上海都市景观在20世纪的变化历程。德巴尔以一些人民广场的历史地图为起点，创造了一种对未来的考古，她的叙述类似科幻小说，以当前对原材料的科技研究为基础（这种方法可以用列维斯特劳斯的熵类学一门致力于对分解过程进行研究的学科来理解），这样似乎引入了一种对历史性反向的认识。/p>Mapping The People’s Square is a process literally explored by Mariana Castillo Deball. Her research focuses primarily on the archive of historical geography, where classifying representation systems have always recorded in different ways how Shanghai’s urban landscape has become transformed in the 20th century.Departing from a number of historical topographic maps of The People’s Square, Deball developed an archeology of the future, a science fiction narrative based on a current technological method of source research (a methodology that can be understood in the light of Levi-Strauss’ entropology: a discipline dedicated to study the process of disintegration) and seemingly introducing a reversed awareness of historicity./p>

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张伟杰自 1990年代从事纪录片创作以来，一直以朴素的中国语言记录了十多年来中国人生活的变迁。《欢乐颂》记录了万众注目的中国春运，这是一场世界上规模最大的人口迁徙。每年春节，人潮就会在中国大地上奔涌四起，构成了一幅快城快客壮丽得刻骨铭心的画卷。两亿农民工扛起彩条“蛇皮袋”，揣着积攒一年的辛苦钱，争先恐后，像潮水一般涌向车站和码头，从他们打工的快城插上快客的翅膀，向各自的家乡飞奔。春运，是中国特殊阶段发生的特大事件，这一事件不但给世人提供了视觉冲击力，同时也给世人以思考的平台，从中透视出当代中国快城快客在社会学、人口学、经济学和城市学中相互的节点。

Zhang Weijie started his career as a documentary artist in the 1990s and has been recording changes in the lives of the Chinese people for over a decade from his humble and sincere perspective. His Ode to Joy records the annual peak ‘Spring Rush’ travel period in China, a large movement of people that attracts great attention across the world. During the Spring Festival every year, people across the nation would go back to their hometowns to celebrate this most important traditional holiday with their families, constituting a soul-touching picture of ‘Translocalmotion’ (kuaichengkuaike). Around 200 million home-bound migrant workers would swarm to train stations, bus stations and piers, carrying their color striped polypropylene woven bags and their hard earned money that they had saved throughout the year. They scurry furiously towards stations and ports, hoping to make the trip from their places of work (kuaicheng) to their hometowns as soon as humanly possible. The Spring Rush is a major event that is only possible in China at this special stage of its development. This event not only has a great visual impact, but also reflects the interaction between the sociological, demographic, economic and urban features of “Translocalmotion” (kuaichengkuaike) in contemporary China.

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朱加是中国录像艺术最早的探索者之一。他的艺术风格如同书法中的藏锋，内韧且郁沉，由此而形成了他作品内容中的一波三折、逐渐显现的方式，使表达的主旨力透纸背。《没有起飞》呈现了一架波音747客机在快城机场的跑道上永无止境向前滑行的姿态，无论是已登机的快客还是跑道外的看客都在等待着它向上跃飞的那一刻；当客机周而复始且永不疲倦地滑行时，快客们从常规性的等待起飞滑向心理上的模拟起飞。此刻，朱加从起飞的可能到没有起飞的过程来揭示一种隐喻：生活在快城中的快客们在快意识的跑道上都拥有一架或一群没有起飞的客机。Zhu Jia is a pioneering Chinese video artist. His artistic style is similar to cangfeng (a calligraphy technique that hides the tip of the brush) in traditional Chinese calligraphy. His works feature a touch of tenacity, melancholy and profoundness, creating multi-layer stories with twists and turns which reveal their message to viewers in a gradual and powerful manner. Never Take-off shows a Boeing 747 airliner gliding on an endless taxiway in the airport of the city in motion (kuaicheng). Travelers (kuaike) on the plane and spectators near the taxiway are all waiting for the moment when the plane takes off. As the plane begins its relentless glide down the eternal runway, the passengers shift from their normal mental state of thinking about the plane moving down the runway to begin mentally simulating the take off. Zhu Jia uses the moment as a metaphor to show the observer that all of these travelers face at one point or another in their lives one or more situations in which they are not able to take off, and in which they remain perpetually grounded.

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我去牛背山种了一棵香蕉树，香蕉一串又一串倒悬着，像一顶顶怪物戴的百折帽。我常常躺在香蕉树下讲经说法，渐渐地在眼前生长出一片小香蕉树苗，前来听经者可以一边听经一边吃香蕉。吃好香蕉画香蕉，画好香蕉写香蕉，写好香蕉品香蕉。

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杨少斌是中国当代艺术重要的艺术家之一，作品《X—后视盲区》历经四年走访了全国主要的煤炭生产基地，搜集大量煤炭生产移民的素材，旨在从中国当代艺术实践中重新审视现实主义观念，重新使用现实主义手法来反映煤矿移民的现实。作品意在反映工业大生产时代的迅猛发展与个人生存之间的矛盾，以及整体社会发展的集体宏大叙述与个体劳动发生的冲突和变迁关系。该片中的山西大同煤矿棚户拆迁片段采集于真实的矿工家庭迁移。这些矿工当初从农民转成工人，为安置他们建造了集体棚户，而现在由于采用先进的开采技术和设备，矿工大量下岗，他们将面临再次转变身份的困境。通过这一作品突出了中国社会转型期间煤矿移民的现实与境遇。

Yang Shaobin is one of the most important artists in the contemporary Chinese art world. His work, X-Blind Spot is the culmination of the four years that he spent visiting coal mines around the country, and collecting a large quantity of materials with respect to immigrants working in the mines. The purpose of his work is to reevaluate realist ideas through practical experience in contemporary Chinese art, and in doing so, reveal the reality of immigrants working in coal mines. His artwork also aims to illuminate the conflict between the rapid development of the industrial era and individual survival, the conflictual and changing relationship between society as a whole and individual laborers. In this movie, the demolition of squatter settlements around the Datong coal mine in Shanxi province is based on a real family s experience. These workers have changed from farmers to workers, and to accommodate them, the government provided them with temporary collective housing. But now with the development of high technology there is no need for so many workers, and they have lost their jobs, and face the need to change their identities once again, or even face another process of resettlement. This work describes the realities faced by coal workers during China’s transitional period.

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何汶玦的《看电影》系列，以它特有的艺术形式记录着上海社会的发展轨迹和生活变迁。通过上海电影发展史的视角来观察“客来文化”，电影在上海的发生与发展，其中包含并凸显了各个时期的上海移民故事的真实写照。这些移民的家庭和移民的个人影像，形成了一部上海移民影像史，使得上海电影史成为了上海移民史。何汶玦用绘画复制的上海电影史，就是他以影像视角对快城快客文化作出独特的阐释。

He Wenjue’s Watch a Movie series, records the development of Shanghai’s society and changes in local lifestyle through a unique artistic medium. He Wenjue shares with viewers her observation of Shanghai’s “guest culture” in this series which is produced from the perspective of the developmental history of Shanghai’s movie industry. Manifested in the evolution of Shanghai’s cinema are the stories of migrants to the city at different developmental stages. The images of these migrants and their families constitute a pictorial history of Shanghai. Through her works, the artist reproduces the history of the cinema, which is embedded in the history of migrants, presenting to viewers her own interpretation of “Translocalmotion.”

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2008年第七届上海双年展期间，上海美术馆教育部紧紧围绕“快城快客”的主题，设计了面向社会各界不同层面的主题教育活动。活动不仅使不同群体的参与者得以从各个角度了解和理解双年展的主题和理念，为参与者构建了一个走近双年展、亲近现代艺术的平台。这些活动也受到了广大观众的热烈欢迎，得到了来自社会各方面的大力支持。为了全面总结第七届上海双年展公共教育推广活动，并表彰在系列活动中的获奖观众和表现突出的单位集体，2008年11月28日下午，在上海美术馆四楼演讲厅隆重召开了“第七届上海双年展公共教育推广活动表彰会”。

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