艺术家张宇飞以{伤痛}为主题，带领大众一起使用穿刺和缝纫的工作方法对限量版fakefaces娃娃进行{破坏}，并在过程中完成对娃娃的固定，形塑。与此同时他将自己过往作品《悲情鸡2》裁成126块作为娃娃的商品标签，供参与者随机挑选。
这是山中天美术馆联合艺术家张宇飞一同开发的特别艺术项目{一百五十厘米 X 一百一十厘米}。项目以《悲情鸡2》的画面尺幅命名。其中X不是乘号，而是字母X，代表事物的未知，项目参与者的未知。
我们以项目主题{伤痛}及张宇飞过往作品为起点，进行周边开发。周边包括：耳环，胸针与新年日历。
我们希望大众使用周边的动作与制作fakefaces娃娃的工作方法有一些微妙的关系。在我们的观念里，戴上耳环的瞬间意味着对皮肤的穿透；胸针依附于时装而存在，既与之共生也带来对宿主的破坏性；撕掉日历中已经经历的日子，是与时间相关的仪式，造成的结果则是对日历的慢慢销毁。这些大概率不会成为周边使用者热爱关注的部分，但他们真实地隐蔽在周边的初始观念里，我们觉得这是产品志趣的一个小部分。
周边的视觉元素取材于艺术家张宇飞的过往作品。在大多数以艺术家作品为原点的周边开发中，作品及作品表露的观念处于绝对主体的位置，不容一丝破坏。反映到结果中就是艺术家作品与周边的关系更像是一张贴图。
在这次合作中，我们尝试了一种平行的叙事状态。设计师与艺术家跳出默认的创作关系，在彼此的维度中各为主导。
艺术家通过大方出让自己作品的不可侵犯性，让设计师获得了更高的发挥空间。同时也意味着设计师对作品的再创作从此不受艺术家控制。最终的结果可能是视觉手法与观念传达上，与艺术家的本心有所背离。
这是另一种层面的对作品的{破坏}，对艺术家来说可能也是一种切合主题的{伤痛}。
Under the topic of “hurtfulness”, Artist Zhang Yufei brings the audience to “sabotage” the limited edition of Fakeface doll through the process of sewing and pircing. Base on “hurtfulness” and Yufei’s pass work, we choose to elaborate the merchandise in the form of calendar, brooches and earrings. We hope that the action of using these objects could somehow reflect the process of creating the Fakeface doll. In our eyes, the action of wearing earrings means the sabotage of the skin; brooches live on and decorate garments, yet inevitably damage the fabric; the calendar one tears is a ceremony for a day that had past. These points might not be the part of the merch that the audience would draw eyes for, but they inherited in the product itself.
Most of art merchandise development are strictly based on the narrative of the artist and art work. However in this collaboration, as designers, we tried to develop a parallel narrative and let the artist and designers step out from the default mode of creating and take lead in each of their own field. The artist gives designers more space to recreate by sharing the narrative of the art work, which means the recreation of the art work are not longer limited by the artist’s narrative. The outcome of this process may lead to a different place than where the artist and art work originated from. But that is also anther level of sabotage of the art work, and an on-point “hurtfulness” for the artist.
