让参与者经历一次心理上的逆向体验，将快乐与不安融合在一起，通过颠覆现实来揭示日常的不安感，体现出批判现实的寓意。
艺术家：格雷戈尔·施耐德(德国)
时间：2007年
地点：澳大利亚悉尼邦迪海滩
媒介：装置
委托人：澳大利亚卡尔多艺术项目
研究员:凯利·卡迈克尔
作品设置在澳大利亚悉尼最著名的旅游景点——邦迪海滩，每个四米见方的网状笼子与周边环境形成强烈反差，形成了令人不寒而栗的对应物。休闲的美丽海滩的一部分被转换成军事区域般的景象，破坏了海滩原本具有的娱乐休闲、公共开放的空间概念。作者擅长驾驭不同形态的空间表现力，他认识到建筑空间能够影响人的深层意识并产生异化感，作品以政治见解透彻著称。
这个装置利用人们对海滩的日常感知，让参与者在建筑空间中经历一次心理上的逆向体验。这些网状笼子里除了蓝色气垫、海滩遮阳伞之外，还有令人不安的黑色塑料垃圾袋。虽然这里的阳光依旧明媚，参与者透过网格和垫子能够听到海浪拍打沙滩的声音，但在貌似舒适的听觉里，却感到被这个网状结构束缚住，由此产生某种被囚禁的心理暗示。作品正是将快乐与不安融合在一起，通过颠覆现实来揭示在平凡时的不安感。
装置通过营造人为构筑空间与个人心理空间的冲突，不仅使置身其中的参观者游移于自由和被监控、隐私和曝光、内部和外部的错觉之间，而且从更深层次看，作品还意在影射当时澳大利亚的政治气氛，例如难民被拘留在国外的中转站、附近的克罗纳拉海滩上爆发的种族骚乱以及政府在移民问题上的僵化立场等，体现出强烈的批判现实的寓意。
21Beach cells
Artist：Gregor Schneider(Germany)
Date:：2007
Location： Bondi Beach of Sydney，Australia
Media/Type：Installation
Commissioner：Kaldor Art Projects, Australia
Researcher：Kelly Carmichael
This art installation was mounted at Bondi Beach, a major tourist destination in Sydney, Australia. Large mesh cages, each four meters square, were erected on the beach in striking contrast to their surrounding environment. The normal recreational appearance of the public beach was arrestingly interrupted by the impression of a military installation. Gregor Schneider is adept at manipulating the expressive quality of a space, and at using architectural elements in particular to elicit a more profound awareness of space, often creating a sense of alienation. His artworks are renowned for their strongly political views.
This installation plays on conventional assumptions about beaches, and through construction of space elicits a psychologically tense experience. The placement of blue air mattresses and beach umbrellas inside the mesh cages alongside several disconcerting black plastic rubbish bags contributes to this effect. Although the sun shines brightly and participants can hear the crashing surf on the beach, the audience still feels weighed down by the mesh structure which conveys the psychological suggestion of imprisonment. The artwork juxtaposes artifacts of happiness and anxiety, and in its subversive portrayal of reality exposes a persistent sense of unease.
This installation creates a tension between physical space and psychological space. Visitors wander at liberty and yet feel monitored; there is privacy yet exposure; there is both an internal illusion and an external one. On a deeper level, this artwork also makes allusions to the Australian political climate. The incidence of refugees detained at foreign ports, race riots erupting on the beaches of nearby Cronulla, and the government’s unabashadely tough stance on immigration and refugees, are all subjects of strong critical reflection.
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