说明 About
本届双年展主题为「陆上潮汐」，取意西域自古以来作为陆上文明与海洋般流动的文化浪潮相互激荡之地：绿洲、商路、语言、信仰在此长期交汇、冲刷、沉积，形成了独特而多层的文化地貌。主视觉的设计目标，是让这种「陆地的恒常」与「潮汐的流动」在版面中并置、对话。
新疆位于欧亚大陆腹地，是地球上距离海洋最远的地方。「陆上潮汐」这一主题本身包含一种不可能：没有海的土地上的潮汐。视觉形象从这一悖论出发，以海浪的形态书写大陆的地貌，让潮汐成为一种隐喻。它指的是人群、物产、文化与时间在大陆上的往复流动，而非水的运动。
标题采用中英双语逐行交替的居中堆叠，中文为粗宋，英文为衬线体，二者在字重与字宽上形成节奏差。长短不一的行宽使标题整体呈现阶梯状轮廓，接近山体或等高线的剖面。标题组以错位方式重复出现，形成一进一退的节律，即潮汐的涨与落。单元标题置于主标题之上，表示各单元是主题之中的一层潮水。
主视觉取自俯瞰视角的海浪影像。经过色彩置换，浪线被横向切分为若干色带，依次对应雪线、绿洲、戈壁、湖泊等地貌层级。海的形态保持不变，色彩将其转译为土地。图像因此在两种读法之间摆荡：远看是地层与地景，近看是浪花与泡沫。这种摆荡即是「陆上潮汐」的视觉定义。
文字并非漂浮于图像之上。在主视觉中，第二组标题逐渐虚化，沉入浪沫之中，仿佛被潮水漫过。文字的显与隐由此成为时间的刻度：信息在涨潮时浮现，在退潮时消隐。
主形象以粉红、翠绿、白、青为基调，温润而明亮，回避对西域题材惯常的土黄与沙色想象。三个单元各自衍生独立色调：「流动绿洲」偏绿与青，「中亚转场」偏紫与品红，「智造向新」另立色系。同一浪形在不同色彩下反复出现，如同同一片潮水在不同季节与光线中的涨落，系统统一而单元可辨。
系统覆盖主形象、单元海报、户外巨幅及衍生物料。在美术馆立面的巨幅应用中，横向展开的浪带与建筑的柱廊及石材横向肌理相互呼应，使建筑本身成为潮水拍击的岸。
新疆位于欧亚大陆腹地，是地球上距离海洋最远的地方。「陆上潮汐」这一主题本身包含一种不可能：没有海的土地上的潮汐。视觉形象从这一悖论出发，以海浪的形态书写大陆的地貌，让潮汐成为一种隐喻。它指的是人群、物产、文化与时间在大陆上的往复流动，而非水的运动。
标题采用中英双语逐行交替的居中堆叠，中文为粗宋，英文为衬线体，二者在字重与字宽上形成节奏差。长短不一的行宽使标题整体呈现阶梯状轮廓，接近山体或等高线的剖面。标题组以错位方式重复出现，形成一进一退的节律，即潮汐的涨与落。单元标题置于主标题之上，表示各单元是主题之中的一层潮水。
主视觉取自俯瞰视角的海浪影像。经过色彩置换，浪线被横向切分为若干色带，依次对应雪线、绿洲、戈壁、湖泊等地貌层级。海的形态保持不变，色彩将其转译为土地。图像因此在两种读法之间摆荡：远看是地层与地景，近看是浪花与泡沫。这种摆荡即是「陆上潮汐」的视觉定义。
文字并非漂浮于图像之上。在主视觉中，第二组标题逐渐虚化，沉入浪沫之中，仿佛被潮水漫过。文字的显与隐由此成为时间的刻度：信息在涨潮时浮现，在退潮时消隐。
主形象以粉红、翠绿、白、青为基调，温润而明亮，回避对西域题材惯常的土黄与沙色想象。三个单元各自衍生独立色调：「流动绿洲」偏绿与青，「中亚转场」偏紫与品红，「智造向新」另立色系。同一浪形在不同色彩下反复出现，如同同一片潮水在不同季节与光线中的涨落，系统统一而单元可辨。
系统覆盖主形象、单元海报、户外巨幅及衍生物料。在美术馆立面的巨幅应用中，横向展开的浪带与建筑的柱廊及石材横向肌理相互呼应，使建筑本身成为潮水拍击的岸。
The theme of this biennale is Land Tide. It draws on the Western Regions as a place where, since antiquity, land-based civilisations and cultural currents as fluid as the sea have stirred against one another: oases, trade routes, languages and faiths have long met, scoured and settled here, forming a distinctive, many-layered cultural landscape. The aim of the identity is to set the constancy of land and the movement of tides side by side, in dialogue on the page.
Xinjiang lies at the heart of the Eurasian continent, the place on Earth farthest from any ocean. The theme itself contains an impossibility: tides on a land without sea. The identity starts from this paradox, writing the continent’s terrain in the form of ocean waves and making the tide a metaphor, not for the movement of water but for the back-and-forth flow of people, goods, cultures and time across the continent.
The title is a centred stack alternating Chinese and English line by line: a heavy Song for Chinese and a serif for English, their differences in weight and width setting up a rhythm. Lines of varying length give the title a stepped silhouette, close to the profile of a mountain or a contour section. The title block repeats in offset positions, advancing and retreating like the rise and fall of the tide. Section titles sit above the main title, each section a single layer of water within the theme.
The key visual is an aerial image of ocean waves. Through colour substitution the wave lines are cut horizontally into bands that correspond in turn to snowline, oasis, Gobi and lake. The form of the sea stays the same while colour translates it into land, so the image swings between two readings: from afar, strata and landscape; up close, surf and foam. That oscillation is the visual definition of Land Tide.
The text does not float above the image. In the key visual the second title block gradually blurs and sinks into the foam, as if the tide has washed over it. The appearing and disappearing of type becomes a measure of time: information surfaces at high tide and fades as it ebbs.
The main image is built on pink, emerald, white and cyan, warm and bright, avoiding the ochre and sand usually imagined for the Western Regions. Each of the three sections develops its own palette: Flowing Oasis leans green and cyan, Central Asian Transitions leans violet and magenta, and Intelligent Making Anew takes a separate scheme. The same wave form recurs in different colours, like one body of water rising and falling through different seasons and light, so the system stays unified while each section remains distinct.
The system covers the key visual, section posters, large outdoor banners and derivative materials. On the museum facade, the horizontally unfolding bands of waves echo the colonnade and the horizontal grain of the stone, turning the building itself into the shore the tide breaks against.
Xinjiang lies at the heart of the Eurasian continent, the place on Earth farthest from any ocean. The theme itself contains an impossibility: tides on a land without sea. The identity starts from this paradox, writing the continent’s terrain in the form of ocean waves and making the tide a metaphor, not for the movement of water but for the back-and-forth flow of people, goods, cultures and time across the continent.
The title is a centred stack alternating Chinese and English line by line: a heavy Song for Chinese and a serif for English, their differences in weight and width setting up a rhythm. Lines of varying length give the title a stepped silhouette, close to the profile of a mountain or a contour section. The title block repeats in offset positions, advancing and retreating like the rise and fall of the tide. Section titles sit above the main title, each section a single layer of water within the theme.
The key visual is an aerial image of ocean waves. Through colour substitution the wave lines are cut horizontally into bands that correspond in turn to snowline, oasis, Gobi and lake. The form of the sea stays the same while colour translates it into land, so the image swings between two readings: from afar, strata and landscape; up close, surf and foam. That oscillation is the visual definition of Land Tide.
The text does not float above the image. In the key visual the second title block gradually blurs and sinks into the foam, as if the tide has washed over it. The appearing and disappearing of type becomes a measure of time: information surfaces at high tide and fades as it ebbs.
The main image is built on pink, emerald, white and cyan, warm and bright, avoiding the ochre and sand usually imagined for the Western Regions. Each of the three sections develops its own palette: Flowing Oasis leans green and cyan, Central Asian Transitions leans violet and magenta, and Intelligent Making Anew takes a separate scheme. The same wave form recurs in different colours, like one body of water rising and falling through different seasons and light, so the system stays unified while each section remains distinct.
The system covers the key visual, section posters, large outdoor banners and derivative materials. On the museum facade, the horizontally unfolding bands of waves echo the colonnade and the horizontal grain of the stone, turning the building itself into the shore the tide breaks against.
信息 Details
主办：第五届中国·新疆国际艺术双年展，新疆美术馆
年份：2026
范围：主形象、单元海报、户外巨幅及衍生物料
年份：2026
范围：主形象、单元海报、户外巨幅及衍生物料
Host: 5th China·Xinjiang International Art Biennale, Xinjiang Art Museum
Year: 2026
Scope: Key visual, section posters, outdoor banners and derivative materials
Year: 2026
Scope: Key visual, section posters, outdoor banners and derivative materials
相关项目 Related
