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聚焦于“地方”与“边界”的展览《从安东到丹东：鸭绿江上的木筏、断桥与过客》由建筑师、艺术家梁琛策划，展出16位/组丹东籍和非丹东籍的不同视角的艺术家及小组的创作及项目。
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SURE Design承担了展览的整体平面视觉设计工作，并以设计师/艺术家身份创作了参展作品“欢迎来到安东”。
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安东（1965年后改称丹东）， 地处鸭绿江与黄海交汇处，辽东半岛的东南部，与朝鲜民主主义人民共和国的新义州隔江相望，是中国最大的边境城市。由于其特殊的地理位置，使之所受到的地缘政治影响也更为复杂。安东的政治、文化在近百年的近现代史中，强烈地受到周边国家和地区的影响，包括俄罗斯（前苏联）、朝鲜半岛、日本，同时也随着中国历史经历了清政府、 伪满洲国（日占）、中华民国、中国抗日战争、解放战争、新中国成立等一系列政治变迁， 丰富的历史文脉使得丹东不仅成为进入东北大地纵横交织的时空的切口，也成为了一个国际化的、多文化交流与冲突的边界要塞。
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展览作品所涉及和讨论的历史背景大致跨越20世纪早期至当代的丹东政治和历史，讨论角度囊括了历史、政治、经济、民宿、宗教、日常生活等诸多方面，因此我们将设计的主线聚焦在丹东这100多年的历史及政治的变迁之路上。
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丹东这100多年的历史中，先后经历了清政府、伪满洲国（日占）、中华民国、新中国四个政治时期，因此，我们首先将这四个时期的国旗作为色彩的来源，提炼出：清政府——黄黑红，伪满洲国（日占）——红白，中华民国——蓝白红，新中国——红黄，四个配色作为海报的主色彩基调，体现出不同政府的政治属性。其次，我们根据这四个政治时期政府所使用的文字，结合该时期影响丹东文化较深的其他国家文字线索作为字体设计的笔画基础，设计出了海报主题的文字：清政府——满文、俄文；伪满洲国（日占）——日文、韩文；中华民国——繁体中文，韩文；新中国——简体中文、韩文、俄文。每款海报从色彩（政治）和字体（文化）上都与所对应的政治时期密切相关，从而引发读者对于文化线索和历史变迁的联想。
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在展览现场中，我们以各个时期街道上最典型的商业字体运用场景——招牌（即旗帜）用各个“时期”的字体进行重新组合，形成融合了半个世纪文化、政治、政权和意识形态更迭所形成的小小缩影。同步我们以旗帜的方式设计了现场的托特袋，使空间语言和展览的文化背景有更好的融合。
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主持设计师：张烁
项目设计师：吴帆
设计师：吴帆、刘玉清、刘楚翘
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内容：展览整体设计，画册，环境图形
周期：2022年3月-2022年6月
客户：北京源厨文化有限公司
物料摄影：黎莱恩
空间摄影：孙海霆
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The exhibition "From Antung to Dandong: Rafts, Broken Bridges and Strangers on the Yalu River", focusing on "places" and "boundaries", was planned by architect and artist Liang Chen, and exhibited the works and projects of 16 Dandong and non Dandong artists and groups from different perspectives.
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SURE Design undertook the overall graphic visual design of the exhibition and created the exhibition work "Welcome to Antung" as a designer/artist.
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Antung (renamed Dandong after 1965), located at the junction of Yalu River and the Yellow Sea, in the southeast of Liaodong Peninsula, faces Xinyi Prefecture of the North Korea across the river, is the largest border city in China. Due to its unique geographical location, its geopolitical influence is also more complex. Antung's politics and culture have been strongly influenced by neighboring countries and regions in the recent Modern era, including Russia (the former Soviet Union), the Korean Peninsula, and Japan. At the same time, with the History of China, Antung has experienced a series of political changes, such as the Qing government, the puppet Manchukuo (Japanese occupation), the Republic of China, the Second Sino-Japanese War, the War of Liberation, and the founding of New China, The rich historical context has made Dandong not only a gateway into the intertwined time and space of Northeast China, but also an international, multicultural border fortress for communication and conflict.
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The historical background involved and discussed in the exhibition works roughly spans the politics and history of Dandong from the early 20th century to the contemporary era. The discussion perspective includes many aspects such as history, politics, economy, homestays, religion, daily life, etc. Therefore, we will focus on the main line of design on Dandong's over 100 years of history and political changes.
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Dandong has experienced four political periods in its more than 100 years of history, namely, the Qing government, the puppet Manchukuo (Japanese occupation), the Republic of China, and the New China. Therefore, we first took the national flags of these four periods as the source of color and extracted four color combinations: the Qing government - yellow black red, the puppet Manchukuo (Japanese occupation) - red and white, the Republic of China - blue white red, and the New China - red and yellow, Reflect the political attributes of different governments. Secondly, based on the characters used by the government in these four political periods, and combined with the character clues of other countries that had a deep influence on Dandong's culture in that period as the stroke basis of Type design, we designed the characters of the poster theme: the Qing government Manchu, Russian; Pseudo Manchukuo (Japanese occupation) - Japanese, Korean; Republic of China - Traditional Chinese, Korean; New China - Simplified Chinese, Korean, Russian. Each poster is closely related to the corresponding political period in terms of color (politics) and font (culture), thus triggering readers' associations with cultural clues and historical changes.
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At the exhibition site, we reorganized the most typical commercial font usage scenarios on the streets in different periods - signs (i.e. flags) using fonts from different "periods", forming a small microcosm that integrates half a century of cultural, political, political, and ideological changes. We designed the Tote bag on site in the form of a flag to better integrate the spatial language and cultural background of the exhibition.
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Principal Designer：Zhang Shuo
Project Designer：Wu Fan
Designer：Wu Fan、Liu Yuqing、Liu Chuqiao
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Content：Exhibition overall design, album, environmental graphics
Period：03.2022-06.2022
Customer：Beijing Yuanchu Culture Co., Ltd
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Material photography：Li Laien
Space photography：Sun Haiting
