伦敦19世纪新古典主义教堂地下空间的新媒体数字艺术展览

 文化遗产+艺术+科技｜伦敦19世纪新古典主义教堂地下空间的新媒体数字艺术展览

展览体验始于圣潘克拉斯新教堂的地下空间入口

建成于1822年的圣潘克拉斯新教堂(St Pancras New Church)，是伦敦新古典主义建筑的重要范例，由建筑师William Inwood与Henry William Inwood设计。其形式借鉴古希腊建筑语言，呈现出秩序、对称与比例的理性美学。教堂主体之下的地下空间（crypt）在历史上与埋葬与纪念相关，营造出与地上空间截然不同的感知氛围。如今，这一层叠的空间结构为本次当代艺术实践提供了独特语境，使历史中关于结构与恒久性的观念，与数字媒介和感知经验所塑造的当代表达在此交汇。

Completed in 1822, St Pancras New Church is a striking example of neoclassical architecture in London, designed by William Inwood and Henry William Inwood. Drawing on ancient Greek forms, the building reflects an architectural language of order, symmetry, and proportion. Beneath the main structure lies the crypt—a space historically associated with burial and remembrance—where a different spatial atmosphere unfolds. Today, this layered environment offers a compelling setting in which historical notions of structure and permanence encounter contemporary practices shaped by digital media and perceptual experience.

本次展览《玛阿特的羽毛（The Feather of Ma’at）》依托教堂独特的洞穴式沉浸空间，引导观众进入一个介于历史文化与艺术科技之间的沉浸场域，在审美体验中反思数字技术如何参与现实经验的构建方式，并感知其背后所蕴含的深层历史文化逻辑。展览由策展人 Zinnia Wang 与 Melody Yu 共同策划，于2026年5月1日至5月5日呈现，为期一周。

The exhibition The Feather of Ma’at uses the church’s distinctive cave-like immersive space to guide visitors into an experiential field between historical culture and art and technology. It invites reflection on how digital technologies participate in the construction of lived experience, while opening up a deeper awareness of the historical and cultural logics embedded within it. Curated by Zinnia Wang and Melody Yu, the exhibition runs from 1 to 5 May 2026.

展览概念借鉴古埃及《亡灵书》中“称量心脏”的意象：玛阿特的羽毛与人的心脏被置于天平两端，以衡量生命是否与宇宙秩序保持一致。这一古老的衡量结构在本次展览中被进一步转译为当代语境中的技术隐喻：当“心脏”被软件与算法所替代，数字系统是否也正在参与对现实的组织与判断？

The exhibition draws on the ancient Egyptian image of the “Weighing of the Heart” from the Book of the Dead: the feather of Ma’at and the human heart are placed on opposite sides of a scale to measure whether a life remains in alignment with cosmic order. This ancient structure is reinterpreted here as a technological metaphor for the contemporary condition: when the “heart” is replaced by software and algorithms, do digital systems also begin to participate in the organisation and judgement of reality?

展览现场观众

展览汇聚来自伦敦与中国的五位新媒体艺术家——敖宇彤、邓卓茜、杜欣蔚、何聪进、Suhas Kambhampati（按英文名首字母排序），从各自的实践出发，探讨数字系统如何介入并塑造当代社会中的秩序结构。

Bringing together five new media artists from London and China—Ao Yutong, Deng Zhuoxi, Du Xinwei, He Congjin and Suhas Kambhampati (listed alphabetically)—the exhibition explores how digital systems intervene in and shape structures of order in contemporary society.

艺术家邓卓茜、杜欣蔚作品《鲸落花园（The Whale Fall Garden）》的全息投影

艺术家们从日常生活中反复出现的动作、循环与再生、光的反射与折射，以及能量在扩散与聚合之间的动态变化出发，通过人工智能、三维模拟软件与沉浸式媒介对这些过程进行重新想象。

The artists explore recurring gestures in everyday life, cycles of regeneration, the reflection and refraction of light, and the dynamic movement of energy between dispersion and aggregation. Through artificial intelligence, 3D simulation software, and immersive media, these processes are reimagined within the exhibition space.

艺术家Suhas Kambhampati沉浸式艺术作品《Floating in a Fleeting World of Images》现场展示

观众在缓慢行走与停留观看的过程中，不断与声音、投影、全息影像及动态光线发生感知互动，现场呈现出一种介于历史遗迹与数字环境之间的沉浸状态。许多观众在观看过程中自发放慢脚步，在空间中停留、交谈与反复观看作品细节，使整个展览现场形成了一种持续流动的感知氛围。

As visitors slowly walk and pause to observe, they continuously interact with sound, projections, holographic images, and dynamic light, creating an immersive experience that exists between historical relics and a digital environment. Many visitors spontaneously slow down, lingering, conversing, and repeatedly examining the details of the works, resulting in a continuously flowing sensory atmosphere throughout the exhibition.

Artist Talk: 艺术家敖宇彤现场讲解作品《滑梯（The Slide）》

观众们也围绕人工智能生成图像、网络视觉文化、身体感知与数字媒介等话题展开了广泛讨论。不同背景的艺术从业者、研究者与公众观众在现场分享各自对于“软件如何塑造感知经验”的理解，使展览不仅成为一次视觉体验，也成为一个关于当代技术文化的临时交流场域。Audiences also engaged in extensive discussions on topics such as AI-generated images, online visual culture, bodily perception, and digital media. Artists, researchers, and members of the public from diverse backgrounds shared their understanding of "how software shapes perceptual experience," making the exhibition not only a visual experience but also a temporary forum for exchanging ideas about contemporary technological culture.

舞蹈艺术家李依芸作品《规则 · 称量 · 我之身（Rule · Weighing · Soma）》与敖宇彤作品《滑梯（The Slide）》现场即兴共创作品影像静帧

围绕身体、秩序与技术系统之间关系的探讨，旅英舞蹈艺术家李依芸带来了舞蹈作品《规则 · 称量 · 我之身（Rule · Weighing · Soma）》。该作品回应了展览《玛阿特的羽毛（The Feather of Ma’at）》关于“衡量”“判断”与系统秩序的隐喻，将身体视为一个持续感知、协商并调适其与外部秩序关系的动态场域。

Exploring the relationship between the body, systems of order, and technological structures, UK-based dance artist Li Yiyun presented the dance performance Rule · Weighing · Soma. Responding to the metaphors of measurement, judgement, and systemic order proposed by the exhibition The Feather of Ma’at, the work approached the body as a dynamic site that continuously senses, negotiates, and adjusts its relationship with external structures of order.

在艺术家 Ao Yutong 作品《滑梯（The Slide）》所营造的空间中，以敲击栏杆的声音与楼梯旋转的节奏作为背景声场，李依芸在教堂地下空间展开了一次融合特定场域舞蹈（Site-specific Dance）的现场表演。身体的移动、停顿与空间关系的变化，与展览环境形成了强烈呼应，也引发了观众对于感知、控制与秩序结构的进一步思考。演出结束后，现场观众报以热烈掌声。

Within the underground church space, and accompanied by the soundscape of artist Ao Yutong’s work The Slide — composed of the rhythmic striking of railings and the spiralling cadence of stairway movement — Li Yiyun developed a live performance grounded in site-specific dance practice. The movements of the body, moments of stillness, and shifting spatial relationships formed a strong dialogue with the exhibition environment, further opening up reflections on perception, control, and structures of order. The performance concluded with warm applause from the audience.

艺术家何聪进的作品《形熵之舞（Dance of Form Entropy）》现场展示

展览吸引了来自英国、中国、美国、法国、波兰、荷兰、韩国等世界各地的观众前来参观，并获得了广泛好评。许多观众在现场留下了热情反馈，如 “Great show!”、“Thank you very much for the exhibition.” 等留言。展览现场的交流氛围轻松而开放，观众们围绕数字媒介、沉浸式感知与当代视觉文化展开了持续讨论，不同文化背景之间的观点也在这一地下空间中形成了有趣的交汇。

The exhibition attracted visitors from around the world, including the UK, China, the United States, France, Poland, the Netherlands, and Korea, and received widespread acclaim. Many visitors left positive feedback, such as "Great show!" and "Thank you very much for the exhibition." The atmosphere at the exhibition was relaxed and open, with visitors engaging in continuous discussions about digital media, immersive experiences, and contemporary visual culture. Viewpoints from different cultural backgrounds also converged interestingly in this underground space.

策展人：Melody YU(左)、Zinnia WANG(右)

在后数字时代的语境下，《玛阿特的羽毛》提出一个开放性问题：当软件逐渐成为一种无形却持续运作的力量，它是否正在成为人类理解宇宙秩序、寻求平衡与感知世界的一种新方式？

Situated within a post-digital context, The Feather of Ma’at poses an open question: as software increasingly operates as an invisible yet persistent force, might it be becoming a new way for humans to understand cosmos order, seek balance, and perceive the world?

展览信息