独角兽 UNICORN(并行)(txt+pdf+epub+mobi电子书下载)

作者：后素

出版社：人民邮电出版社

格式: AZW3, DOCX, EPUB, MOBI, PDF, TXT

独角兽 UNICORN(并行)试读：

总序

不管哪朝哪代，“文化”总不是一个可以轻松对待的问题。传统的中国精英阶层喜欢用“史”记述和评判一个时代的文化状况；西方则“发明”出人类学的各种“科学办法”，介入各个领域展开对文化的观察和分析。无论哪种方式，对文化的呈现都不可能做到完美无缺，但是我们依然可以通过这些“碎片”完成“对他者的理解”，以达到“绕道来理解自我”（罗萨多尔）的目的。这也正是“并行”系列书的缘起。“并行”的关注对象是作为文化重要“生产者”的艺术。在面对这个话题时，我们注意到，除了专业的“艺术家”，还有一个群体也在从事着艺术创造类活动——民间的“艺人”或“匠人”。“匠人”们的艺术活动似乎更有群众基础，而“艺术家”们却占有更多的学术资源和话语权；前者的创作有更浓的实用气息，杂糅了生存所迫和日常需求，后者则更倾向于进行纯粹的对艺术本身的探索，虽然这常常伴随陷入“亚历山大主义”的危险。一个是“原始”的、民间的，一个是“现代”的、学院的，哪一个才是当下中国的主导文化呢？社会中其他方面，诸如政治、经济，又对这些艺术活动产生了怎样的影响？

在“并行”里，我们把民间艺术与艺术家的创作活动并置，因此系列书涵盖两大部分的内容：一部分是以对民间艺术大量的田野考察为基础的资料，有对“匠人”们深入访谈所得来的关于他们自己生存状态的口述集结，也有对民间艺术活动产物进行的图像和功能的探究，以此来呈现大众日常生活中构建发展起来的关于某个特定时代或某个区域的视觉特征和审美趣味；另一部分是用个案研究的方式，呈现艺术家完整的创作经历。我们希望通过对民间艺术活动和职业艺术家创作活动的并置、对照，能够找到关于上述问题的答案的线索。

在艺术领域进行艺术人类学研究的有很多，还建立了艺术人类学这一学科，其中的大量研究成果以及对于艺术人类学研究过程中可能出现的问题所做的反思更是难以超越。我们仅希望能在“并行”中对我们所关注的内容进行最大限度的客观记录和呈现，并以之作为未来对艺术与文化分析、讨论的基础。Foreword

This book presents a footprint of the research process of exhibitions at Unicorn Centre for Art (UCA) from 2015 to 2016.I would like to dedicate this article to ever yone who accompanied us during the growth process of UCA.Its existence relies on your support.

The year I graduated from École Nationale Supérieure des Beaux Arts de Lyon,was the sixth year I lived in France.My professor asked me:"Why did you come to France?" I said that my father had told me if I wanted to study art,I should come to France.Then he asked:"Do you still think so?" I shook my head and said:"It should be in the world."Then,I immigrated to North America.Four years later,in 2014,while I was working at an art institute in Canada,I had the idea of moving back to China.

In the summer of that year,I paid a visit to the artist and professor Qiu Zhijie.I got to know Prof.Qiu from the 2012 Shanghai Biennale.During the preparation period,the energetic artist enthusiastically described his Intercity Pavilions Project to us.He wanted to create a Biennale for China that was open to the world and self-generating.I was thrilled by his aspiration.Immediately I contacted the team of Biennale de Lyon for him,and coordinated the join of Düsseldorf Pavilion.One day,Prof.Qiu asked me at his studio in No.1 Art Base,"What do you want to do next?" I said that I wanted to be a curator,and open a door for young artists.I wanted to invite overseas artists to come here to do residency and see China today; and let Chinese artists interact with them and exchange the approaches of working and thinking.

Before long,I met the founder of UCA,Mr.Yang Ga.Our vision for UCA is an independent non-profit art space.Mr.Yang’s passion and insight of art made this possible – we both agreed that to create an independent art space we should concern less about material gain,but the sincere need from within-to bring the audience diverse contemporary art from the world,and to provide more exposure for young artists.This kind of goal and desire in passion is the root for the sustainability and long existence of an art space.Our art space communicates with the people within the social context,emphasizing on disseminating contemporary art and promoting its free and equal spirit.We strive to provide a platform for intellectual enquiries.

Next,Prof.Qiu Zhijie named this independent nonprofit space"Unicorn Centre for Art." One of Prof.Qiu Zhijie’s work is titled "The Unicorn and the Dragon," in which Prof.Qiu pointed out that unicorns are mystical animals with symbolic meaning.For me,the visual cognition of a unicorn came from the six tapestries named "The Lady and the Unicorn (La dame à la licorne)" from the Musée national du Moyen Âge in Paris.In the story depicted in the tapestries,the unicorn controls five senses:touch,taste,smell,hearing and sight.And the sixth tapestry was titled "À mon seul désir (my one/sole desire)," which depicted the mysterious sixth sense that brings people infinite fantasies.So,we hope that UCA can also bring infinite new possibilities.

Soon,we found a space for UCA in Caochangdi International Art Zone next to the Fifth Ring Road.In regard of the scale of the exhibition space and the length of the exhibition line,Unicorn should be the biggest independent nonprofit art institute in Beijing.

Now let's talk about "nonprofit space." In 1960s,a number of spaces that were deemed subversive in terms of their historical significance emerged in Europe and America.These spaces were called "alternative spaces." These spaces were usually connected with the concept of"experimental research." The most famous ones include "Signals,"established in London in 1964,and "Arts Labs," established in 1967,both were labeled as spaces for "creative research" or "art research."The concept of nonprofit organization was born after World War II.A Nonprofit organization has characteristics such as:its purpose is not profit making; it cannot distribute its surplus income.A nonprofit organization depends very much on self-organizing and voluntary services.Here,I want to express my gratitude to all the volunteers who have worked for UCA in the past two years:Han Lu,Luo Xiaopei,Zhou Mengfan,Chen Jiahao,and Quan Zijun.

Through the exhibitions of these two years,I,as the chief curator,understand "curating" as a work that focuses on synthesizing and mobilizing resources to generate an event with point of views.The major themes consist of sociological topics,reconstruction of art history,visual modeling,and the relationship between technology and anthropology.In the opening exhibition titled "Temporary Residence Permit," we invited a number of "Beijing drifter" artists.Their inquiry,"life in elsewhere," was manifested in their work,which tackled the social issue of "drifting." The exhibition "Temporary Residence Permit II" invited artists from different countries who were living in Beijing,to describe what they have seen about Chinese educational environment,cultural background,and humanistic care through their work.From another perspective,young artists,before their own system have been completely established,need to absorb nutrition from the society and different social groups,and only at this stage can the artists gather as"groups."

Exhibitions,works and audience,proactive or passive,will mingle with each other in the exhibition space.Together they breed,and create a unique presence.Artist Stan Wannte from the Netherlands,presented a complete biological chain using 20,000 crickets,plants and materials bought from flea markets in Europe-a wax human figure with a mechanic "hand" holding a camera recording the whole process of insects eating the "body." French artist Thierry Liegeois created a "scene" in UCA's main exhibition hall where the audience could participate.When the audience laboriously climbed up to the space,which he jokingly called "my temple," through the ramp way,will they be grasped with "wonder," "pleasant surprise," "thrill," or "horror?"Doesn’t our social environment challenge us like this over time one way or another? From the Manuel Castells perspective,the space is not a reaction of the society; it is the manifestation of the society.In another word,the space is not a copy of the society; the space is society.

For me,the work of curation not only has the characteristics of integration and coordination,but also carries personal perspectives,opinions and judgments.In the exhibition "Espaces métonymiques," I invited the artist Patrick Tosani,who had a significant influence on me during my student life,and his wife Claire Chevrier.Tosani is an important artist in the history of contemporary photography; he gave us a dynamic contemporary photography lesson through his work and workshop.In the exhibition Prism,I invited my professor Didier Mencoboni from ENBA-Bourges and my fellow student of the time,Dong Dawei,who co-presented a visual spectacle with light and shadow.

The exhibition space of artwork is actually a space for the congregation of all kinds of relationships.The exhibition "Télofossiles" was an important component of the 10th Croisements Festival.The presence of the French Foreign Minister Laurent Fabius,and the medal-conferring ceremony of Tie Ning,Chair of China Writers Association,were certainly memorable moments in UCA’s path of growth .

My special thanks go to Mr.Yang Ga,who unconditionally supported all the exhibitions in UCA in the past two years,and to Prof.Qiu Zhijie,who provided us generous scholarly support.Cheng ManmanNov.2016序

本书乃由独角兽非营利艺术空间2015—2016年展览研究过程而形成的工作印迹。

我希望关注过“独角兽”的朋友们乐意接受此文的献辞，它之所以得以存在，乃取决于你们的关注。

从里昂美院毕业那年是我在法国生活的第6个年头，导师问我：“为什么会来法国？”我说，爸爸告诉我学艺术要来法国。他说：“你现在还那么觉得吗？”我摇摇头，说：“应该在世界。”然后，我从欧洲移民去了北美。4年之后的2014年，我在加拿大的艺术中心工作，那一年，我想回国。

那年夏天，我去见了邱志杰老师。和邱老师的结缘源于2012年的上海双年展，展览筹备期间，这位充满活力的老师兴致勃勃地向我们叙述了他的城市馆计划，他要给中国创造出面向世界的、开放的、拥有自我造血功能的双年展，听得我热血沸腾。我义不容辞地为他联系了法国里昂双年展的团队，以及德国的杜塞尔多夫。那天，在邱志杰老师一号地的工作室，他问我：接下来，你想做什么？我说，想做策展人，想为年轻艺术家打开一扇窗，让国外的艺术家来我们这儿驻地，看当下的中国；让中国的艺术家和其互动，了解国外艺术家的工作思维方式。

不久，我见到了“独角兽”的创始人杨嘎先生。我们给这个空间的定位是“独立非营利空间”，这一切与创始人的情怀及成熟的心智有关。我们达成的共识是：做独立空间不要考虑太多功利性的问题，而是要有发自内心深处的需求——让观众可以看到来自世界的多元化的当代艺术，让更多的年轻艺术家可以被大众所看到——这种理想和需求，是一个空间能长久坚持下去的根本。我们的艺术空间一定要进入社会与大众沟通，将重点放在当代艺术的传播上，让更多的人理解当代艺术呈现出来的自由、平等精神，提供一个思辨的平台。

接下来，邱志杰老师给这个独立的非营利空间赐名“独角兽空间”。邱志杰老师有个作品叫《独角兽与龙》，在此作品中，邱老师也点出了独角兽是具有象征意义的神兽。于我，对于独角兽的视觉认知源于巴黎的克鲁尼中世纪博物馆（The Musée national du Moyen âge) 里名为《夫人独角兽》（La dameàla licorne) 的6幅挂毯。在挂毯故事中，独角兽掌管着5种感官：触觉、味觉、嗅觉、听觉和视觉。还有一幅题词为“为了我唯一的愿望”（mon seul désir) ，为传说中的第六感，这一点也带给人无限遐想。于是，我们期许着“独角兽”可以带来新的无限可能。

很快，我们在北京五环边上的草场地国际艺术区为“独角兽”安家了。依展厅的规模和展线长度而言，它应是目前北京最大的独立非营利当代艺术机构。

再来说说“非营利空间”。20世纪60年代欧美地区曾经涌现过这样一批具有颠覆意义的空间，当时称“替代空间”(alternative space)。这种空间通常与“实验研究”的理念相结合，最著名的如伦敦1964年建立的“信号区”(Signals)和1967年建立的“艺术实验室”(Arts Lab)，都标有“创新研究”或“艺术研究”的副名。“非营利组织”的概念产生于第二次世界大战之后。它区别于商业组织的基本特征体现在：不以营利为目的，不能进行利润分配，不得将组织资产转变为私人资产。非营利组织的学术标准为：正式化、私人化，独立于政府，自主管理和志愿服务。我们遵循着这样的规律。在此，谢谢这两年来为“独角兽”工作过的志愿者们：韩璐、罗小佩、周梦凡、陈家豪、全紫君。

在“独角兽”这两年的展览中，作为主要策展人，我所理解的“策展”这个动作本身，核心工作是综合调动不同资源来生成一个有观点依托的事件。大致的主题构成为：社会学话题、美术史重塑、视觉造型，以及现代科技与人类学的关系。在以“

暂住证

展览、作品、观众，无论其中一个主体主动还是被动，在展览空间中都会相互粘黏，共同发酵，产生出独有的现场感。来自荷兰的艺术家Stan Wannte用20 000只蟋蟀、植物和在欧洲旧货市场上淘来的物品，在空间中呈现了一个完整的生物链：用蜜蜡制成的人形拥有机械装置“手”，它执摄像头记录着昆虫蚕食“肉身”的全过程。来自法国的艺术家Thierry Liegeois在“独角兽”的主展厅建造了一个观众可以参与的“场景”,当观众通过其建造的坡道艰难地爬上他戏谑地称之为“我的寺庙”的空间时，迎面而来的将会是何样的“惊奇”“惊喜”“惊险”或是“惊吓”？而我们生存的社会空间不正是在岁月无形之中带给我们这样或是那样的挑战吗？社会学家曼努埃尔·卡斯特利斯（Manuel Castells）说过：“空间不是社会的反映，而是社会的表现，换言之，空间不是社会的拷贝，空间就是社会。”

对于我来说，策展的工作带有整合、协调的性质，同时也重视个人视角、观点和判断。展览“空间置换”，我邀请到了在学生时代受其影响的艺术家Patrick Tosani和他的夫人Claire Chevrier,这位在当代摄影史上写下重要一笔的艺术家用作品和讲座给我们上了一堂丰富的当代摄影课。“折光体”展览则邀请了我在法国布尔日国立高等美术学院（ENBA-Bourges)时的导师Didier Mencoboni和当时的同窗艺术家董大为联合呈现了一场用光影制造的视觉盛宴。

艺术作品的呈现空间实际上也是各种关系集合的场所。展览“

末世化石

谢谢这两年里无条件支持“独角兽”所有展览的杨嘎先生，以及提供学术支持的邱志杰老师。程漫漫2016年11月暂住证Temporary Residence Permit

Exhibition：2015.01.25-2015.03.16

Opening:2015.01.25 15:00

Curator:Cheng Manman

Artists:CHEN Chenchen,CHEN Mingqiang,FENG Lin,JIANG Peng,LEI Tong,LUO Wei,LI Wenlong,HE Qin,HAO Jingfang & WANG Lingjie,Audrey HU,HU Xiaoxiao,MA Yongfeng,Taoduhan,Irrelevant Commission Projet,Xionghuangshe,YANG Chen,JI Ye,TANG Yi

Chief Advisor:Qiu Zhijie

Producer:Yang Ga

展览时间:2015.01.25 — 2015.03.16

开幕时间:2015.01.25 15:00

策展人：程漫漫

艺术家:陈陈陈，陈明强，冯琳，姜鹏，雷童，罗苇，李文龙，何情，郝经芳&王令杰 ，胡嘉凝,胡筱潇，马永峰，陶都罕，无关小组，雄黄社，杨晨，纪晔,汤艺

总顾问：邱志杰

出品人：杨嘎" Temporary Residence Permit "——To walk along a roadCheng Manman

The first phrase people often remember while learning French is:"D’où venez-vous?" ("Where are you from?") "Where are you from"is often one of the first questions asked in our communication with others.To that I’d like to respond:"We each lives in a very small corner of the world with diligence."

"Drifting" seems like an idealistic word,but if so,what kind of ideals has this society provided? The society is pragmatic,and it seems that "a sense of belonging" is also an idealistic phrase.What defines success for a drifter? Is it defined in economic terms or spiritual ones? Drifting is the quintessential movement through space and time.

In "Proust and Signs",Gilles Deleuze describes the concept of space in terms of perspective; that is,traditional methods of perceiving space depend both on the physical position and motion of the one perceiving.On the other hand,the claim is also made that differences in motion are not the result from temporal or physical differences,but "virtual" ones.It’s important to note that "virtual"in this context does not mean the same thing as it does in the phrase "virtual reality." Rather,this philosophical idea of virtuality defines memory as "real without being actual,ideal without being abstract." Thus,"drifting" corresponds to ideality in reality.

Here are a group of young,drifting artists with an average age of thirty,who through their works,contemplate on the world in reality that they experienced,both ideal and realistic.Using the most ordinary materials and media,the artists touch on this very universal social question:Why do we wander? Why do we choose to live elsewhere? What kind of temptations do we get from the state of moving in time and space? Where else can we go if we leave here? This group of artists conveys to us myriad different perspectives and ways of thinking about the world,stemming from their varied backgrounds.Not only is this the first exhibition to be shown at the UCA,it's also the gathering of a group young artists seeking to express the idea of "drifting" collectively.Our hope is that the dia-logue on this theme will continue to develop and percolate.We propose that the present resonates with the past,therefore giving meaning to the future.“暂住证”——行走在路上程漫漫

学习法语时，最先记住的一句话是“D'où venez-vous?”（您来自哪里？）生活在别处，“哪里的？”常常成为我们和别人沟通的第一个问题。我想说：“我们只是用心生活在世界上一个小小的角落。”“漂泊”似乎是个理想主义的代名词，我们这个社会提供了一种什么样的理想主义？社会是个务实状态，归属感似乎同样是个理想主义的代名词。而漂泊者的成功又是一种什么样的成功呢？经济上或是精神上的？“漂泊”以时空中的运动者为载体。

而“时空”，吉尔·德勒兹在《普鲁斯特与符号》中认为“传统时空观”是立足于主体的位置、运动的。而时空，运动中在别处的差异，他则认为是“非时空性”的，差异是一种 “the virtual”（虚拟）的概念。“the virtual”在此不是“虚拟现实”的“虚拟”，而是非时空性的；文中对“过去”的定义是：“现实而非现时，理想而不抽象”（“real without being actual,ideal without being abstract”）。于是，漂泊则对应着现实理想。

在此，有这样一群平均年龄为30岁的漂泊着的年轻艺术家，他们用作品来思考自己所感悟到的真实世界、理想与现实。艺术家们运用最平实的媒材，提出“漂泊”这样一个能引起社会普遍共鸣的问题。为什么漂泊，为什么生活在别处？这种时空中的运动状态给了我们什么样的诱惑？或是离开这里，我们又可以去哪里？这群艺术家传递给我们在多元背景下新的思考方式。这不仅是独角兽空间的开幕展，也是众多年轻艺术家首次聚集，对“漂泊”的集体描述。希望这一命题可以在此持续发酵。我们说：现在的时刻和过去的时刻发生了共鸣，而下一刻也因此获得了意义。The Temporary Residence Permit Issued by HistoryQiu Zhijie

In the 2002 activity "Long March:A Walking Visual Presentation," I exhibited a series of photo copies of Zhang Xiaogang's certificates at Shanghe Chuangku Art Zone in Kunming.There were his student ID of Sichuan Fine Art Institute,employee's card,marriage certificate,Chinese identity card,passport,etc.In each of these identities,the face of a man appears to cooperate on and off with the control of the society upon his physical being.The last credential of theses certificates,is a temporary residence permit issued to this great artist by the Huajiadi police station.On this permit,a surprising label was printed:"Labor work or doing business." Today,after living in Beijing for twenty years,I myself also have a temporary residence permit,same as the ones my assistant Lao Wang and the gate keeper Lao Zhang have,labelled" Labor work or doing business."

Beijing is not always singing the song of welcoming,though we never think of ourselves as outsiders.

Despite the high rent rate and the sand storms,Beijing is fairly tolerant.Willingly or not,she shelters everything.Whether she is a performance arena or a colosseum,a maze or a monster,she is rough but promising of serendipity.The Hutongs and "erhuayin" within the Second Ring belong to the old Beijing of Lao She; between the Second and Third Ring,there are guards and residential compounds that are unfathomable for ordinary people,this is the new Beijing that belongs to Wang Shuo and Jiang Wen.Under the shadow of the skyscrapers along the Fourth Ring traveled by the busy white collars and college students lingering after graduation,who call themselves "Beijing Drifters." However,the name "Beijing Drifters," which is somewhat bitter-hearted and narcissistic due to the feeling of instability,does not seem to apply to the unkempt faces wandering around the rural urban fringe zones beside the Fifth Ring.Though both are "migrant populations," between"Beijing Drifters" and "Labor Workers," an invisible Fifth Ring is constructed by the difference in knowledge and qualifications,while in fact physically the two populations mingle.Likewise,outside the physical Fifth Ring,in the villa regions and the construction material market,the universities and the farmland-deprived rural villages,various food and accents all weaved together.

On this variegated jigsaw,a ghost,a ghost called the artist,is always wandering in Beijing.They are destined to cross the Ring Road borders and definitions,and haunt about the vast and smog from the Second Ring to the Sixth Ring,spreading like cancer cells.They are willful even when they are broke,sometimes hide in villages,sometimes drift in colleges.For their art works,they often need to ask for help from migrant workers; at the same time,they need to face the rich and foreigners.Over more than twenty years,they have changed the gaze of local police and elders from vigilance to understanding.This is not another "Bohemians in Paris" story; this is new history.In this history,matters and information are fusing together,but cities and villages,nations and internationals,individuals and masses,industries and classes,centers and fringes are all in temporary states.In such history,the standard of success and failure will break down,along with moral integrity.This Temporary Residence Permit,that lies in our pocket,or even grows in our heart,is issued by History.History,same as Beijing itself,is always in a hurry therefore roughly made,and it has a good appetite just like Beijing.

This new art space on the border of the Fifth Ring is named after"Unicorn," which is a legendary animal characterized by its sensitivity.UCA's use of the immetaphysical title "Temporary Residence Permit" to start her drift in Beijing represents an attitude:what her horn perceives is a jungle nurtured by chaos,will,change,tactic,trap,trouble,frustration,passion and illusion.Here losers are geniuses,opportunists are revolutionists,and mere temporary residence can climax.

When this history attempts to treat everyone as a migrant,any individual that does not regard him or herself as outsiders can be seen as a grain of sand.This grain of sand may be insignificant,but can also be stuck in the engine of the social machine.It is said that a great city should have the wisdom of shells:it will excrete organics to wrap the sand and transform it into a pearl.历史所颁发的暂住证邱志杰

在2002年“长征：一个行走中的视觉展示”活动中，我在昆明上河创库的一个展览中展出了张晓刚的一系列证件的扫描件：四川美院的学生证、工作证、结婚证、身份证、护照等等。在每一种身份中，一个男人的面貌若即若离地配合着社会对身体的管制。而这一系列证件的最后一本，是花家地派出所授予这位伟大画家的暂住证，上面赫然印着“务工经商”。时至今日，在北京居住了20年之后，我也一样拥有这样一本暂住证，和我的助手老王、大院的门卫老张一样，上面印的也是“务工经商”。

北京并不总是高唱着“欢迎你”之歌，虽然我们从来不拿自己当外人。

尽管有房租和沙尘暴，但北京还算宽厚，不管愿不愿意，它总是能藏污纳垢。不管是舞台还是斗兽场，是迷宫还是怪兽，它粗糙但许诺奇遇。二环里面有胡同和儿化音，那是属于老舍的老北京；二环和三环之间，有深不可测的门卫和大院，那是属于王朔和姜文的新北京。四环内外两侧的高楼阴影间疲于奔命的白领和赖着不走的大学生们自称“北漂”，但是“北漂”这个因不稳定感而略含心酸且顾影自怜的词，似乎并不覆盖混迹于五环边上城乡接合部的蓬头垢面的人们。虽然都是“外来人口”，但是在“北漂”和“务工人员”之间，由知识和文凭构建了一个潜在的五环，虽然在物理上他们其实也经常互相镶嵌，就像在物理的五环之外，别墅区和建材市场、失去耕地的村庄和大学、饮食和口音互相镶嵌。

在这个斑驳的拼图中，一个幽灵，一个叫作“艺术家”的幽灵，一直在北京游荡。他们注定要跨越环线和定义，出没于从二环到六环的广阔雾霾中，像癌细胞一样不断转移。他们在没钱的时候就已经任性，时而潜伏在村庄，时而混迹于大学，经常因作品而求助于务工人员，转身要面对富豪和老外。用二十几年的时间，他们把片儿警和大妈的眼神由警惕变成了宽容。这绝不是一个波希米亚人的巴黎故事的重新搬演，这是新的历史。在这个历史里，物质和信息正在融为一体，而城市和乡村、国家和国际、个人和群体、产业和阶级、中心和边缘都处在暂时状态。在这样的历史里面，成功和失败的统一标准将连同节操一起破碎。揣在我们口袋中，甚至长在我们心里的这本暂住证，是由历史所颁发的。历史和北京一样，总是匆忙而做工粗糙，并且也和北京一样有一个好胃口。

位于五环边上的这个新的空间叫“独角兽”，这是一种传说中以敏感为特质的动物。独角兽以“暂住证”这样一个形而下的题目开始自己的北漂，是一种态度：她用她的角所探知的是一片由混乱、意志、变化、投机、陷阱、折腾、郁闷、激情和幻觉所滋养的丛林；这里，暂住就能创造高潮。

当这个历史企图把每一个人都当作外来人口，每一个不把自己当外人看的个人都可能是一粒沙子。这粒沙子可以渺小，也可以卡在社会机器的轴承中。而一座伟大的都市，据说会拥有贝壳的智慧，会分泌出有机质，把沙子包裹成它的珍珠。

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