© X Museum 2020

第一届X美术馆三年展 X Museum Triennial 1st Edition
终端 >_How Do We Begin?
策展人:吴冬雪 Curated by Poppy Dongxue Wu
2020/05/30-2020/09/13

 

展览现场 Installation Views
简介 About
艺术家 Artists

 

×

 

前言 FOREWORD

X 美术馆三年展是一个持续性的探索项目,试图通过视觉艺术和参与了人文进程发展的其它领域来共同探讨千禧时代思潮。三年展关注新兴青年艺术家,将以三年为期对中国当代艺术及其发展进行节律性回顾。

X Museum Triennial is an ongoing investigation into the millennial zeitgeist through visual arts and many other disciplines that take part in sociocultural evolutions. It is a three-year rhythmic review of Chinese contemporary art and its development with a focus on emerging artists.

距今100年前,世界上第一个商业广播电台KDKA在1920年初冬开始了第一次美国总统大选的广播。实时媒体与政治事件的结合所引起的巨大冲击标志着大众传媒新时代的开始。

Precisely 100 years ago, the world’s first commercial radio station KDKA launched its inaugural broadcasting of the American presidential election in the early winter of 1920. The huge hit of live media combined with the political event marked the beginning of a new era of mass media.

此后,实时媒体及其即时性大大提高了信息共享的效率,并进一步加快了全球化的进程。这种即时的特质与亚里士多德对友谊和“共感(con-senting‘synaisthanomenoi, 共同感知’)”的阐述相呼应,他说:“一个人同时需要‘共感’其朋友的存在,即共同生活、分享类似的想法和行为会促发此种‘共感’的产生。”我们或许可以通过亚里士多德关于共同感知的思想本质来思考当下社会的信息共享:区别于数字时代之前的单向信息输出,当今的社交媒体平台提供了更多的实时交流和沉浸式交互体验,我们的共同感知和共时存在性也被前所未有的放大。从XR(扩展现实)、AI(人工智能)到最近开始广泛应用的5G技术,我们栖息的场域在不断被扩展,也不断挑战着我们感知事物、感受共存的方式。

Live media and live-ness have thereafter dramatically improved the efficiency of information sharing and further accelerated the process of globalization. Such qualities of live-ness echoed Aristotle’s elaboration on friendship and ‘consenting’ [synaisthanomenoi, sensing together], in which he said, “One must therefore also ‘con-sent’ that his friend exists, and this happens by living together and by sharing acts and thoughts in common [koinōnein ].” We might take Aristotle’s essence of sensing together into today’s spectrum of information sharing: unlike pre-digital age, current platforms of social media provide real-time communication and immersive experience for interactivity than merely producing content, our concurrent perceptions have therefore been increased than ever before. The expanded field that we inhabit, from XR (extended reality), AI (artificial intelligence) to recent implemented 5G data networks technology, consistently challenge the way we perceive things, sensing and living together.

电子屏幕和VR眼镜将信息时代的产物展现在我们眼前:DRM免费的视听产品、可以装进口袋的电子图书馆,人们可以通过沉浸式线上展览浏览名作和珍馐文物,各式各样的数码产品作为社会赋能者为徜徉在电子世界的人们导航……尽管如此,非物质的丰富和过剩的信息反而导致了物质匮乏,现在人们所寻求的可能不仅仅是一条完美的分割线,更是在自我和冗余的信息之间找到理想的距离。

The information age unfolds the world in front of us through screens and VR headset, audio-visual goes DRM-free, library is in the pocket, you can easily immerse yourself amongst master paintings and ancient artifacts through online exhibitions, gadgets as social enabler navigate us... Nevertheless, immaterial abundance and information excess, on the contrary, contributed to material insufficiency, it is rather a quest now for a perfect line to draw, and an ideal distance to create between ourselves and redundancy of information.

当代艺术远离时间、流派、纪律的界限和二度诠释的束缚,通过这样的距离来对我们的时代进行精确的解读。乔治·阿甘本(Giorgio Agamben)将这一距离理解为能够感知“黑暗”并看到其“朦胧”。在神经生理学中,黑暗是由“脱细胞”激活产生的特殊视觉效果,因此,黑暗不是空洞或看不见,而是由我们自己视网膜的特定细胞激活所引起的视觉感受。当代艺术家们是用一只眼睛来观察并感知世界的人,他们保持与光明和黑暗的距离,将知识和经验转化为有形或无形的表达。

Contemporary art distance itself away from the confinements of time, genres, disciplinary boundaries, and representations; which is essentially an attempt to receive a precise reading of our time through this distance. Giorgio Agamben understands this distance as being able to perceive the “darkness” and see its “obscurity”. The darkness, in neurophysiology, is a particular vision produced by the activation of “off-cells”, therefore it is not emptiness or non-vision, but the vision that is caused by the activation of our own retinas. Contemporary artists are the ones who see and sense the world with one eye closed, perceive both the light and the darkness in a distance, as well as transferring knowledge and experience into material or intangible statements.

对于千禧一代的艺术家们来说,自从他们对世界产生好奇伊始就被无处不在的即时媒体所环绕,他们目睹了互联网技术的发展,借用科技之手来创作或审视如同他们的第二天性。当今时代人与技术的交融带来了很多便利以及惊喜时刻,但随之而来的也有恐惧和担忧。艺术家意将两者放置在天平的两端,借用作品来反映此种左右摇摆的状态,而非得出一个特定的结论。

The millennial artists are surrounded by live media ever since they started to develop the curiosity of the world, witnessing the evolution of the internet. It is rather a second nature for them to work and examine through the lens of technology. Convergence in the modern age of humans and technology has created moments of amusement and convenience, along with fears and concerns at the same time. Artists place both outcomes on two poles of a scale; their works are reflections of the status of swinging left and right, without reaching a result.

 

关于展览 ABOUT THE EXHIBITION

“How Do We Begin? “从我们栖于的当代生活出发,庆祝数字时代所蕴育出的知识与信息的开放性与便利性,以及新媒体和尖端技术所带来的全新感官体验和惊喜时刻。同时,正视毒性信息的入侵对我们现实关系和社会结构所造成的干预和扰乱。对个人而言,我们与家庭、群体和自我建立关系的方式一直如同亚里士多德所说的“共感(con-senting‘ synaisthanomenoi,共同感知’)”。“共感”认可处于相同变化状态的重要性,进而指向集体记忆的建设和思维的趋同。

“How Do We Begin?” embraces the age that we inhabit, celebrates the accessibility of knowledge and information embodied by the digital age, experiences, and excitements brought by new media and edge-cutting technology. At the same time, it acknowledges the invasion of toxic information that shaping physical relationships and interrupting social structures. For individuals, the way we build connections with families, groups and ourselves have always been what Aristotle called “con-senting [synaisthanomenoi, sensing together]”. “Con-senting” recognizes the significance of being in the same flux, construction of collective memories and divergent states of mind.

在以共享共生为明显特征的表象下,当代艺术跨越了学科的局限和知识的界限。此次展览将展览空间视为合作与生产的场所,期望激发和促进学术思想力之间的信息知识互换。

Characterized by sharing and mutuality, contemporary art went beyond the confinement of disciplinary boundaries and knowledge. “How Do We Begin?” sees its exhibition spaces as sites of collaboration and production, is aiming to stimulate information and knowledge exchange between intellectual individuals.

恰逢第一个实时大众媒体(商业广播电台)KDKA 诞生一百周年之际, “How Do We Begin?”邀请在艺术和人文科学发展进程中活跃着的当代艺术家以及其他学科的从业者们,对信息时代的多方面社会现象进行反馈与回应,并尝试通过感知、共享和共存来探究其意义。当今时代最前沿的技术和设备如同人体感觉器官的延伸,在放大我们感知能力和情感的同时,也将我们在这个非物质的世界中逐渐同步化,消除了地理上的界限。艺术家们将以当代社会诸多现象学事件作为出发点,借由多种艺术媒介和设计手法来思考当下并描绘未来。

Coincides with the century anniversary of the born of the first real-time mass media (KDKA), “How Do We Begin?” invites contemporary artists as well as practitioners from other disciplines that take part in the progression of arts and humanity to reflect on the multifaceted phenomena of the Information Age, and imagines the significance by sensing, sharing and living together. Newest technologies and gadgets are extensions of human sensory organs, they enlarge our perceptions and emotions, at the same time synchronize us in the global world of immateriality, geographic boundaries are eliminated. Artists take phenomenological events from contemporary society as the starting point, to further contemplate now and speculate hereafter through multiple forms of visual arts and design.

“How Do We Begin?”试图提炼处于持续演变中的千禧时代思潮, 并且积极邀请、鼓励观众和艺术从业者们参与其中,共同探索并构建我们与时代的交互关系。

Attempting to refine the evolving zeitgeist of the millennial, “How Do We Begin?” actively invites and encourages audience and art practitioners to participate in and contribute to the discussion of millennial zeitgeist.

 

1. 科技与媒介 Media and Technology

2020年标志着“Web 4.0”的开始,在这个全新的网络时代中,每个沟通和互动的层面上都将植入智能虚拟助手,它们会通过模仿人类的思维方式而逐渐进化演变。在这样的语境下,大数据和个人信息将成为一座连结虚拟与现实的桥梁,进而,公共和私人之间的界限也将受到混淆。

2020 marks the beginning of “web 4.0” in which intelligent virtual assistant will be implemented on every level of communication and interaction, and evolving through imitating human being; big data and personal information will become the bridge that links the virtual to the reality and blurs the boundaries between public and private.

马歇尔·麦克卢汉(Marshall McLuhan)于1964年提出过一个现今时代仍颇具前瞻性的论点:信使(courier)—即承载信息的媒介本身改变了人类对世界的感知,这与内容无关,媒介决定了意识。而雷蒙德·威廉姆斯(Raymond Williams)则提出了相反的观点,他驳斥了麦克卢汉关于技术本身可以决定人类感知和社会变革的想法,认为社会生活和技术发展密不可分,内容将由媒介形式塑造。

Marshall McLuhan pointed out in 1964, still avant-garde: the courier, that is, media itself that carries the information change human perception of the world irrespective of the content, and media determine consciousness. Counterpoint made clear by Raymond Williams, who refuses McLuhan’s idea of the technology itself can determine human perception and social change, he sees social life and technology as inseparable things and thinks contents will be shaped by media forms.

相应地,本节中的艺术家将从两个角度探讨这个主题:一方面关注于媒介本身,关注人类如何与技术和设备建立联系;另一方面则关注新媒体所带来的内容生产,从社交媒体如何扰乱真实的人际互动到自我审查“制度”的建立。

Corresponsively, artists in this section approach the topic from two viewpoints: one focuses on the medium itself, interests in how, humans are building connections with technology and devices; the other stems from the content that new media produce, from the way social media disrupt real human interaction to the construction of self-censorship.

 

2. 社会观察者 Social Reflector

作为具有反精英主义精神的存在,流行文化在现象社会学中是无处不在且占有主导地位的。在波普艺术开始盛行的时代,艺术家们通过引用流行文化来创造煽动性的时刻和事件,进而对大众与资产阶级之间的二元对立关系进行批判。

当代艺术家从流行文化的意象和物件中获取参考和灵感,从而对当下社会环境中普遍存在的日常细节进行批判。这个由数字电路所控制的世界在催生了文化模因和网络语言的同时加速了这些信息的传播。具有网络意识,或许是与社交媒体对美学、文化和社会的强烈侵入性和解的最佳方式。

Contemporary artists take references from popular images and objects to make critiques on the quotidian details that widely exist among people in the current social landscape. The world governed by digital circuit contributes to the production and dissemination of memes and Internet languages. To be internet-aware is probably the best way to reconcile with social network's irruptive effects on aesthetics, culture, and society.

光纤连接着每个个体,是现代生活的必需品和补给品。我们已经难以想象生活在一个没有互联网的世界中,从某种角度来讲,我们甚至无法回到70年代以前。互联网的出现导致了人们对真理以及客观评判标准的丧失,人工智能深度学习(DeepMind)及其他尖端技术加剧了这个后真理时代中事实与另类事实之间迂回摇摆的现象。对于现代大都市的公民来说,暂时性地重返非数字科技世界反而被打造成冥想甚至自我净化的体验,那么现在将通过何种形式,我们能得以摆脱数字媒体的假肢,与精神灵性和肉体本身重新建立联系。

Optical fibre connects individuals, is both necessities and supplements of modern life. It is even difficult for us to imagine living in a world without the Internet, in a way, we cannot go back to pre-1970s. Internet proliferates the lost of shared objective standards for truth, DeepMind, and other technologies that contribute to circuitous slippage between facts and alt-facts in this post-truth era. For citizens of the modern metropolis, temporarily returning to a digital-free world has been advertised as meditations or even detox, what now, in any form, we can get rid of digital media prosthetics and reconnect with both spirituality of mind and physicality of body.

 

3. 作为叙事者的艺术家和建筑师 Artists and Architects as Narrator

历史从不是单一的叙事,城市景观、建筑痕迹、建筑楼宇以及它们所特有的材质不带有偏见与预断地向大众讲述着一个地方的过去与现在。建筑师—物理上的叙事者们,早已偏离了在线性基柱上堆砌生活单元的工作方式,转向探索当代城市中技术发展如何与叙事性相交织的一系列命题、以及形态和物质性如何抵抗和干预虚拟化,并与其共存。

History is never a singular narrative; cityscape, architectural vestiges, buildings, and its texture inform us the past and present of a place without bias or prejudice. The physical narrator architect, have long been deviated from the orbit of stacking living units, interested in how storytelling interweave with technological developments in contemporary cities, and how forms and physicality can resist, intervene, or co-exist with virtualized beings.

“定制”将不再是一种相对私人的高端营销手法,算法和机械自动化正在逐渐取代陈旧的建筑定制,建筑师们将以何种方式和地位存在于这个被算法和人工智能统治的世界中?或许我们可以从1923年柯布西耶(Le Corbusier)所提出的“居住的机器(machines for living)”中汲取灵感,在柯布西耶的语境中,“机器”被解读为‘装置(dispositif)’即可以在社会主体内部建立关系、 机制和知识结构的系统。 艺术家和建筑师是自我实现预言的装置(dispositif)的生产者,他们捕捉、定向和阐释生命、信念和话语。 通过这种方式,艺术家和建筑师们极力保持着与反乌托邦之间的距离的同时,激发着我们对于周围建筑环境的思考。

“Customization” will no longer being used as a private, high-end marketing gimmick, algorithms and automation is replacing the old-fashioned architectural tailoring, where do architects find themselves in the world governed by algorithms and artificial intelligence? We might take inspiration from Le Corbusier’s 1923 “machines for  living”, as something “dispositif (apparatus)”, that is, system of relations, mechanisms and knowledge structures that can be established within the social body. Artists and architects are producers of self-fulfilling dispositif (apparatus), they capture, orient, and intercept opinions, beliefs, and discourses of living beings. In this way, artists and architects provoke contemplation of the built environment around us without falling into the category of dystopia.

 

展览现场 Installation Views

https://xmuseum.org/portal/files/gimgs/th-29_3367.jpg
https://xmuseum.org/portal/files/gimgs/th-29_3325.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3232.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3241.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3290-HDR.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3187.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3217.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3444-HDR.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3457.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3465.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3100.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3119.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3844.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3391.jpg
https://xmuseum.org/portal/files/gimgs/th-29_1V6A3300.jpg