As you enter into the exhibition ‘Putting Out the Fire with Gasoline’ by Per Hüttner, you are blinded by a video projector which supposedly shows an image of a police station. But you will never be able to see the image, because it is projected into thin air. When you proceed to go into the dark space, you see that the projector is standing on a mirror, so that the physical body of the projector is doubled and the light from its interior reflected on the surrounding walls.

当你进入到皮尔·赫特纳关于“用汽油灭火”的一系列作品时，你会被投影机所投射出来的光线挡住，你永远都不可能看到那些投射向空气中的关于警察局的影像。当你继续走到黑暗处时，你会看到这台投影机是放置在一面镜子上，它使投影机变成双重的，并将光反射到周围的墙上。

Both inside and outside the gallery, you can see that the artist has created new ways for light to enter the darkened space but cutting rectangular holes in the dry wallswalls of the gallery. He has then proceeded to block out the light using bright lamps. But with the presence of glass between inner and outer space the light seeps into the space and the lamps shine out of the space. The heat of the lamps have made the glass explode, leaving the splintered pieces on the floor.

在工作室的里面和外面，你可以看到赫特纳在工作室干燥的墙上挖出矩形的洞让光线进入到黑暗的空间。然后他用眩目的灯光来挡住光线，光线渗入到空间里，同时灯光又投射到空间外。但是内外光线之中有层玻璃相隔 ，灯光的高温已经使玻璃爆裂了，一些碎片散落在地上。

The artist has also blocke

As you enter into the exhibition ‘Putting Out the Fire with Gasoline’ by Per Hüttner, you are blinded by a video projector which supposedly shows an image of a police station. But you will never be able to see the image, because it is projected into thin air. When you proceed to go into the dark space, you see that the projector is standing on a mirror, so that the physical body of the projector is doubled and the light from its interior reflected on the surrounding walls.

当你进入到皮尔·赫特纳关于“用汽油灭火”的一系列作品时，你会被投影机所投射出来的光线挡住，你永远都不可能看到那些投射向空气中的关于警察局的影像。当你继续走到黑暗处时，你会看到这台投影机是放置在一面镜子上，它使投影机变成双重的，并将光反射到周围的墙上。

Both inside and outside the gallery, you can see that the artist has created new ways for light to enter the darkened space but cutting rectangular holes in the dry wallswalls of the gallery. He has then proceeded to block out the light using bright lamps. But with the presence of glass between inner and outer space the light seeps into the space and the lamps shine out of the space. The heat of the lamps have made the glass explode, leaving the splintered pieces on the floor.

在工作室的里面和外面，你可以看到赫特纳在工作室干燥的墙上挖出矩形的洞让光线进入到黑暗的空间。然后他用眩目的灯光来挡住光线，光线渗入到空间里，同时灯光又投射到空间外。但是内外光线之中有层玻璃相隔 ，灯光的高温已经使玻璃爆裂了，一些碎片散落在地上。

The artist has also blocked out the light from the gallery’s existing windows using a specially created tempera, mixing egg yoke with pig’s blood and used motor oil. Next to the large glass walls, stand porcelain containers with four legs and a hole at the bottom. These are well-known to all Chinese. They can be found in virtually every washroom and toilet in the country and are used to clean mops.

赫特纳使用一种由蛋黄、动物血液以及废弃的机油混和而成的蛋彩涂料涂抹在工作室的玻璃幕墙上以挡住光线。在玻璃幕墙旁，直立着底部有四条腿和一个洞的瓷器。这种被用来清洁拖把的瓷器在中国很普通, 在很多洗手间都能找到。

On the airy roof-garden of the gallery, Huttner has placed another projector on a sheet of glass. It projects the image of the sky in three Chinese provinces onto the Wuhan sky.

在工作室的露天平台上，赫特纳在一块玻璃上放置了另外的一台投影机，他把在中国的三个省份中拍摄的天空影像投射到武汉的天空中。

d out the light from the gallery’s existing windows using a specially created tempera, mixing egg yoke with pig’s blood and used motor oil. Next to the large glass walls, stand porcelain containers with four legs and a hole at the bottom. These are well-known to all Chinese. They can be found in virtually every washroom and toilet in the country and are used to clean mops.

赫特纳使用一种由蛋黄、动物血液以及废弃的机油混和而成的蛋彩涂料涂抹在工作室的玻璃幕墙上以挡住光线。在玻璃幕墙旁，直立着底部有四条腿和一个洞的瓷器。这种被用来清洁拖把的瓷器在中国很普通, 在很多洗手间都能找到。

On the airy roof-garden of the gallery, Huttner has placed another projector on a sheet of glass. It projects the image of the sky in three Chinese provinces onto the Wuhan sky.

在工作室的露天平台上，赫特纳在一块玻璃上放置了另外的一台投影机，他把在中国的三个省份中拍摄的天空影像投射到武汉的天空中。