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We=Link: Sideways


A Chronus Art Center (CAC) exhibition
November 21, 2020 – May 23, 2021
Chronus Art Center, Shanghai, BLDG. 18, No. 50 Moganshan RD., Shanghai
Online presentation @ http://we-link.chronusartcenter.org (effective Nov 21, 2020)

Online co-presentation with CAFA Art Museum (Beijing), ZKM | Center for Art and Media Karlsruhe, House of Electronic Arts Basel (HeK), V2_ Lab for the Unstable Media (Rotterdam), Ars at CERN (Geneva), Elektra (Montreal), Leonardo/ISAST, Nam June Paik Art Center (Seoul), Copenhagen Contemporary (Copenhagen), Light Art Space (Berlin) and in collaboration with artport of The Whitney Museum of American Art (New York)


Special Thanks:
Pro Helvetia Shanghai, Swiss Art Council

Participating artists:

Mike Bennett, Wafaa Bilal, CHEN Pengpeng, Jonah Brucker-Cohen, Matthieu Cherubini, Paolo Cirio,  Leon Eckert, Ursula Endlicher, exonemo, Hervé Graumann, GUO Cheng, Vytas Jankauskas, Knowbotic Research, LAN, LIANG Yuhong, LIU Xing, Jonas Lund, Lauren Lee McCarthy, Kyle McDonald, Haroon Mirza, Everest Pipkin, Cornelia Sollfrank, Wolfgang Staehle, Ubermorgen, Maciej Wisniewski, XU Haomin, ZHAO Hua and ZHOU Peng’an


Curated by ZHANG Ga


Chronus Art Center is pleased to announce the presentation of a group exhibition titled We=Link: Sideways, featuring twenty-two works by twenty-eight artists and artist collectives, from the pioneers of net art to millennials. The works on display and online span three decades of net art practice, from arguably the first internet-era artwork of The Thing BBS in 1991 to the most current production continuing to evolve as the exhibition opens.

Often referred to as the last Avant-garde of the twentieth century, the phenomenon largely dubbed as net art appearing in the early ’90s with the advent of the internet enjoyed an unrestrained flourishing period of prolific experimental, creative and critical engagement with the nascent new-media-fueled economy and its cultural and social ramifications. By 1997 the institutional acknowledgement of the once peripheral and fringe art practice along with the commodification of the internet made net art seem, according to art historian Dieter Daniels, to have “reached a dead end or turning point.”

This exhibition takes the purported net art’s “dead end” as a new starting point to chart a discursive trajectory of the practices since then, in the many manifestations of network-based art. Instead of prescribing it a categorical definition, the exhibition attempts to uncover the variegated developments, diverse strategies, critical positions and aesthetic experiments after the crash of the dot.com bubble, amidst the prevalence of neoliberalism and cognitive capitalism, and the rise of populism and nationalism. Sideways reveals the continuum of the Avant-garde “nettitudes” inherent in the works of these artists.

The exhibition comprises the first artist-run Bulletin Board System that preceded the ensuing popularity of social networks and various expressions of artistic strategies and critical technologies aiming to disrupt a corporate monopoly of the network infrastructure and protocols, to expose the intrinsic logics of network security and surveillance in provocative stances as well as playful innuendos, and to intercept or re-appropriate commercial or institutional modus operandi. At the same time, the experimental nature of net art has continued to develop its varying aesthetic propositions along with the new possibilities and challenges of rapidly changing technologies.

Two works under the auspices of SUNRISE / SUNSET will take over the exhibition website and several partner institutions’ websites at the liminal moments of each day by direct intervention based on local time and environmental data, revealing the intrinsic logic of locality in globality, and the disruptiveness and transformative nature of the network. 

The exhibition also includes a rare collection of artifacts of early Chinese internet culture during its formative years of the late 1990s and early 2000s. The amateurish enthusiasm and self-propagated autonomy mark a striking similarity with the pioneering spirit of their predecessors.

In 1999 ZKM | Center for Art and Media Karlsruhe organized an exhibition titled net_condition, foreshadowing the advent of a new epoch that would be defined by the network. The net condition has been reaffirmed, by now, as a perpetual condition, and it is a posthuman condition with the net condition as its circulatory and respiratory prerequisites. In a world that is stricken by a rampant pandemic and virulent misinformation, bankrupted by corporate rapacity; a world of tumults and crises, accelerated by artificial intelligence in the feedforward anticipation of the Kurzweilian transhuman singularity; a world of hardened passion and redemption in every way reminiscent of the fertile ground in which the Avant-garde germinated and thrived, net art, the last Avant-garde of the twentieth century, may once again at this “turning point” take up that Quixotic spirit of intrepidity and strive on, once again from the periphery and the fringe – with a little mischief, a pinch of agitation, via action, through the beautiful, and by sideways, to remake history.

The exhibition will be accompanied by an extended essay to further contextualize the works and their implicit resonances with the historic tradition of net art and the Avant-garde at large.

A series of exhibition-related programs and performances will be organized during the six-month exhibition period.

We=Link: Sideways is the second edition of the We=Link program, a platform for presenting online art. It was initially conceived by Chronus Art Center in late February of 2020 as a response to the outbreak of the Covid-19 pandemic.

We=Link: Sideways is co-presented online with CAFA Art Museum (Beijing), ZKM | Center for Art and Media Karlsruhe, HeK (House of Electronic Arts Basel), V2_ Lab for the Unstable Media (Rotterdam), Ars at CERN (Geneva), Elektra (Montreal), Leonardo/ISAST, Nam June Paik Art Center (Seoul), Copenhagen Contemporary (Copenhagen), Light Art Space (Berlin) and in collaboration with artport of The Whitney Museum of American Art.

Organized by:

Online co-presentation with:

In collaboration with
artport / The Whitney Museum of American Art

Special Thanks:

We=Link:辺


新时线媒体艺术中心展览
2020.11.21 – 2021.05.23
新时线媒体艺术中心(上海市莫干山路50号18号楼)
线上展览 @ http://we-link.chronusartcenter.org

线上联合展览:中央美术学院美术馆(北京),ZKM艺术与媒体中心(卡尔斯鲁厄),HeK(巴塞尔电子艺术中心),V2_不稳定媒体(鹿特丹),欧洲核子研究中心艺术项目(日内瓦),Elektra国际电子艺术节(蒙特利尔),列奥纳多/国际艺术-科学与技术协会,白南准美术馆(首尔),哥本哈根当代艺术馆(哥本哈根),光艺术空间(柏林);合作:惠特尼美国艺术博物馆“艺术港(Artport)”项目 (纽约)


特别感谢:
瑞士文化基金会上海办公室

艺术家:

麦克·本尼特(Mike Bennett),瓦法·比拉尔(Wafaa Bilal),陈朋朋,乔纳·布鲁克尔-科恩(Jonah Brucker-Cohen),马修·凯鲁比尼(Matthieu Cherubini),保罗·奇里奥(Paolo Cirio),里昂·埃克特(Leon Eckert),乌苏拉·恩德利歇尔(Ursula Endlicher),exonemo,赫维·格劳曼(Hervé Graumann),郭城,维塔斯·扬卡乌什卡斯(Vytas Jankauskas),知识机器研究(Knowbotic Research),LAN,梁雨荭,刘行,雅努斯·隆德(Jonas Lund),劳伦·李·麦卡锡(Lauren Lee McCarthy),凯尔·麦克唐纳(Kyle McDonald),哈伦·米尔扎(Haroon Mirza),爱弗勒斯·皮普金(Everest Pipkin),科妮莉亚·索尔弗兰克(Cornelia Sollfrank),沃夫冈·施泰勒(Wolfgang Staehle),明天(Ubermorgen),马切尔·維希涅夫斯基(Maciej Wisniewski),徐昊旻,赵华,周蓬岸


策展人:张尕


新时线媒体艺术中心即将呈现群展"We=Link:辺",展出来自网络艺术先驱到千禧一代的28位艺术家和艺术家组合的22件作品。展览在现场与线上所呈现的作品跨越三十年网络艺术实践—— 从1991年The Thing BBS的首个互联网时代作品至展览开幕时仍在发展中的最新创作。

常被认为是二十世纪最后的前卫艺术,并被广泛称为网络艺术的现象伴随着互联网的崛起出现于90年代初期。网络艺术经历了一段深切融入以新媒体为动力的新经济及在其影响下的文化和社会的充溢着实验,创造和批评的时期。至1997年,曾经处于边缘的网络艺术实践获得了体制的认可,并伴随随着互联网的商业化运作,网络艺术,就如艺术史家迪特尔·丹尼尔(Dieter Daniels)所说的那样,似乎“面临着终结或处于一个转折点”。

本次展览以所谓的网络艺术之“终结”为新起点,在诸多基于网络的艺术表现形式中,勾勒出在此节点之后散发的实践轨迹。展览没有将网络艺术分类定义,而是发掘网络泡沫崩塌后, 在新自由主义和认知资本主义盛行,民粹主义和民族主义兴起之际的多变发展、多种策略、批判立场和美学实验。“辺”揭示了这些艺术家作品中所固有的前卫"网络姿态" (nettitudes) 的连续性。

展览包括最早由艺术家运营的BBS公告板系统-及随后流行的社交网络的前身,以及不同形态的艺术立场及创意技术。它们旨在打破企业对网络基础设施和规则的垄断,以应迎的姿态以及诙谐的指涉呈现出网络安全和全景社会的内在机制,干预或挪用商业或机构的行为模式。同时,随着飞速发展的技术所带来的新可能与挑战,网络艺术的实验性特质也不断发展出各种各样的美学主张。

在“日出/日落(Sunrise/Sunset)”框架下产生的两件作品将在每天的昼夜之交,以当地时区和环境数据直接干预并占领展览网页以及部分合作机构的网站,揭示网络之全球性中的本地性,及其所固有的僭越及变异性。

本次展览还将呈现中国早期互联网文化在上世纪90年代末至2000年初成形时期的珍贵藏品。这些作品中业余爱好者的热情和自传播的主动性与前人的先锋精神有着显著的传承之处。

1999年,卡尔斯鲁厄艺术与媒体中心|ZKM举办了名为“网络_状况(net_condition)”的展览, 预告了一个由网络定义的世纪的到来。如今,网络状况已然成为一种永久状况,这亦为一种后人类状况,网络状况则是其循环和呼吸的先决条件。在一个受困于大流行病毒和虚假信息肆虐的世界中,在一个因资本的贪婪行将破产的世界里;在一个充满动荡和危机,并在人工智能加速下的库兹韦利亚式超人奇点的前馈预测的世界中;在一个洋溢着激情和救赎,无处不使人回想起先锋派得以萌生的世界里,网络艺术,这个二十世纪最后的前卫艺术,也许将会在这个“转折点”上,再次怀揣唐吉诃德式的无畏,带着一点嬉戏,一点骚动,用行动,以美的名义、经由侧道,再一次从边缘出发去重塑历史。

展览将附有一篇延申文章,进一步将作品置于网络艺术,亦或先锋艺术的历史传统中予以解读。

一系列与展览相关的项目与表演将在展览六个月的展期内呈现。

“We=Link:辺”系线上艺术平台项目“We=Link”第二期。该项目由新时线媒体艺术中心于2020年2月发起,以此作为对疫情爆发所导致的文化项目停摆之回应。

“We=Link:辺”由中央美术学院美术馆(北京),卡尔斯鲁厄艺术与媒体中心|ZKM,HeK(巴塞尔电子艺术中心),V2_不稳定媒体(鹿特丹),欧洲核子研究中心艺术项目(日内瓦),Elektra国际电子艺术节(蒙特利尔),列奥纳多/国际艺术-科学与技术协会,白南准美术馆(首尔),哥本哈根当代艺术馆(哥本哈根),光艺术空间(柏林)联合线上呈现,并与惠特尼美国艺术博物馆“艺术港(Artport)”项目合作。


主办:

线上联合呈现:

合作
artport / The Whitney Museum of American Art

特别感谢:

We=Link: Sideways


A Chronus Art Center (CAC) exhibition
November 21, 2020 – May 23, 2021
Chronus Art Center, Shanghai, BLDG. 18, No. 50 Moganshan RD., Shanghai
Online presentation @ http://we-link.chronusartcenter.org (effective Nov 21, 2020)

Online co-presentation with CAFA Art Museum (Beijing), ZKM | Center for Art and Media Karlsruhe, House of Electronic Arts Basel (HeK), V2_ Lab for the Unstable Media (Rotterdam), Ars at CERN (Geneva), Elektra (Montreal), Leonardo/ISAST, Nam June Paik Art Center (Seoul), Copenhagen Contemporary (Copenhagen), Light Art Space (Berlin) and in collaboration with artport of The Whitney Museum of American Art (New York)


Special Thanks:
Pro Helvetia Shanghai, Swiss Art Council

Participating artists:

Mike Bennett, Wafaa Bilal, CHEN Pengpeng, Jonah Brucker-Cohen, Matthieu Cherubini, Paolo Cirio,  Leon Eckert, Ursula Endlicher, exonemo, Hervé Graumann, GUO Cheng, Vytas Jankauskas, Knowbotic Research, LAN, LIANG Yuhong, LIU Xing, Jonas Lund, Lauren Lee McCarthy, Kyle McDonald, Haroon Mirza, Everest Pipkin, Cornelia Sollfrank, Wolfgang Staehle, Ubermorgen, Maciej Wisniewski, XU Haomin, ZHAO Hua and ZHOU Peng’an


Curated by ZHANG Ga


Chronus Art Center is pleased to announce the presentation of a group exhibition titled We=Link: Sideways, featuring twenty-two works by twenty-eight artists and artist collectives, from the pioneers of net art to millennials. The works on display and online span three decades of net art practice, from arguably the first internet-era artwork of The Thing BBS in 1991 to the most current production continuing to evolve as the exhibition opens.

Often referred to as the last Avant-garde of the twentieth century, the phenomenon largely dubbed as net art appearing in the early ’90s with the advent of the internet enjoyed an unrestrained flourishing period of prolific experimental, creative and critical engagement with the nascent new-media-fueled economy and its cultural and social ramifications. By 1997 the institutional acknowledgement of the once peripheral and fringe art practice along with the commodification of the internet made net art seem, according to art historian Dieter Daniels, to have “reached a dead end or turning point.”

This exhibition takes the purported net art’s “dead end” as a new starting point to chart a discursive trajectory of the practices since then, in the many manifestations of network-based art. Instead of prescribing it a categorical definition, the exhibition attempts to uncover the variegated developments, diverse strategies, critical positions and aesthetic experiments after the crash of the dot.com bubble, amidst the prevalence of neoliberalism and cognitive capitalism, and the rise of populism and nationalism. Sideways reveals the continuum of the Avant-garde “nettitudes” inherent in the works of these artists.

The exhibition comprises the first artist-run Bulletin Board System that preceded the ensuing popularity of social networks and various expressions of artistic strategies and critical technologies aiming to disrupt a corporate monopoly of the network infrastructure and protocols, to expose the intrinsic logics of network security and surveillance in provocative stances as well as playful innuendos, and to intercept or re-appropriate commercial or institutional modus operandi. At the same time, the experimental nature of net art has continued to develop its varying aesthetic propositions along with the new possibilities and challenges of rapidly changing technologies.

Two works under the auspices of SUNRISE / SUNSET will take over the exhibition website and several partner institutions’ websites at the liminal moments of each day by direct intervention based on local time and environmental data, revealing the intrinsic logic of locality in globality, and the disruptiveness and transformative nature of the network. 

The exhibition also includes a rare collection of artifacts of early Chinese internet culture during its formative years of the late 1990s and early 2000s. The amateurish enthusiasm and self-propagated autonomy mark a striking similarity with the pioneering spirit of their predecessors.

In 1999 ZKM | Center for Art and Media Karlsruhe organized an exhibition titled net_condition, foreshadowing the advent of a new epoch that would be defined by the network. The net condition has been reaffirmed, by now, as a perpetual condition, and it is a posthuman condition with the net condition as its circulatory and respiratory prerequisites. In a world that is stricken by a rampant pandemic and virulent misinformation, bankrupted by corporate rapacity; a world of tumults and crises, accelerated by artificial intelligence in the feedforward anticipation of the Kurzweilian transhuman singularity; a world of hardened passion and redemption in every way reminiscent of the fertile ground in which the Avant-garde germinated and thrived, net art, the last Avant-garde of the twentieth century, may once again at this “turning point” take up that Quixotic spirit of intrepidity and strive on, once again from the periphery and the fringe – with a little mischief, a pinch of agitation, via action, through the beautiful, and by sideways, to remake history.

The exhibition will be accompanied by an extended essay to further contextualize the works and their implicit resonances with the historic tradition of net art and the Avant-garde at large.

A series of exhibition-related programs and performances will be organized during the six-month exhibition period.

We=Link: Sideways is the second edition of the We=Link program, a platform for presenting online art. It was initially conceived by Chronus Art Center in late February of 2020 as a response to the outbreak of the Covid-19 pandemic.

We=Link: Sideways is co-presented online with CAFA Art Museum (Beijing), ZKM | Center for Art and Media Karlsruhe, HeK (House of Electronic Arts Basel), V2_ Lab for the Unstable Media (Rotterdam), Ars at CERN (Geneva), Elektra (Montreal), Leonardo/ISAST, Nam June Paik Art Center (Seoul), Copenhagen Contemporary (Copenhagen), Light Art Space (Berlin) and in collaboration with artport of The Whitney Museum of American Art.

Organized by:

Online co-presentation with:

In collaboration with
artport / The Whitney Museum of American Art

Special Thanks:

We=Link:辺


新时线媒体艺术中心展览
2020.11.21 – 2021.05.23
新时线媒体艺术中心(上海市莫干山路50号18号楼)
线上展览 @ http://we-link.chronusartcenter.org

线上联合展览:中央美术学院美术馆(北京),ZKM艺术与媒体中心(卡尔斯鲁厄),HeK(巴塞尔电子艺术中心),V2_不稳定媒体(鹿特丹),欧洲核子研究中心艺术项目(日内瓦),Elektra国际电子艺术节(蒙特利尔),列奥纳多/国际艺术-科学与技术协会,白南准美术馆(首尔),哥本哈根当代艺术馆(哥本哈根),光艺术空间(柏林);合作:惠特尼美国艺术博物馆“艺术港(Artport)”项目 (纽约)


特别感谢:
瑞士文化基金会上海办公室

艺术家:

麦克·本尼特(Mike Bennett),瓦法·比拉尔(Wafaa Bilal),陈朋朋,乔纳·布鲁克尔-科恩(Jonah Brucker-Cohen),马修·凯鲁比尼(Matthieu Cherubini),保罗·奇里奥(Paolo Cirio),里昂·埃克特(Leon Eckert),乌苏拉·恩德利歇尔(Ursula Endlicher),exonemo,赫维·格劳曼(Hervé Graumann),郭城,维塔斯·扬卡乌什卡斯(Vytas Jankauskas),知识机器研究(Knowbotic Research),LAN,梁雨荭,刘行,雅努斯·隆德(Jonas Lund),劳伦·李·麦卡锡(Lauren Lee McCarthy),凯尔·麦克唐纳(Kyle McDonald),哈伦·米尔扎(Haroon Mirza),爱弗勒斯·皮普金(Everest Pipkin),科妮莉亚·索尔弗兰克(Cornelia Sollfrank),沃夫冈·施泰勒(Wolfgang Staehle),明天(Ubermorgen),马切尔·維希涅夫斯基(Maciej Wisniewski),徐昊旻,赵华,周蓬岸


策展人:张尕


新时线媒体艺术中心即将呈现群展"We=Link:辺",展出来自网络艺术先驱到千禧一代的28位艺术家和艺术家组合的22件作品。展览在现场与线上所呈现的作品跨越三十年网络艺术实践—— 从1991年The Thing BBS的首个互联网时代作品至展览开幕时仍在发展中的最新创作。

常被认为是二十世纪最后的前卫艺术,并被广泛称为网络艺术的现象伴随着互联网的崛起出现于90年代初期。网络艺术经历了一段深切融入以新媒体为动力的新经济及在其影响下的文化和社会的充溢着实验,创造和批评的时期。至1997年,曾经处于边缘的网络艺术实践获得了体制的认可,并伴随随着互联网的商业化运作,网络艺术,就如艺术史家迪特尔·丹尼尔(Dieter Daniels)所说的那样,似乎“面临着终结或处于一个转折点”。

本次展览以所谓的网络艺术之“终结”为新起点,在诸多基于网络的艺术表现形式中,勾勒出在此节点之后散发的实践轨迹。展览没有将网络艺术分类定义,而是发掘网络泡沫崩塌后, 在新自由主义和认知资本主义盛行,民粹主义和民族主义兴起之际的多变发展、多种策略、批判立场和美学实验。“辺”揭示了这些艺术家作品中所固有的前卫"网络姿态" (nettitudes) 的连续性。

展览包括最早由艺术家运营的BBS公告板系统-及随后流行的社交网络的前身,以及不同形态的艺术立场及创意技术。它们旨在打破企业对网络基础设施和规则的垄断,以应迎的姿态以及诙谐的指涉呈现出网络安全和全景社会的内在机制,干预或挪用商业或机构的行为模式。同时,随着飞速发展的技术所带来的新可能与挑战,网络艺术的实验性特质也不断发展出各种各样的美学主张。

在“日出/日落(Sunrise/Sunset)”框架下产生的两件作品将在每天的昼夜之交,以当地时区和环境数据直接干预并占领展览网页以及部分合作机构的网站,揭示网络之全球性中的本地性,及其所固有的僭越及变异性。

本次展览还将呈现中国早期互联网文化在上世纪90年代末至2000年初成形时期的珍贵藏品。这些作品中业余爱好者的热情和自传播的主动性与前人的先锋精神有着显著的传承之处。

1999年,卡尔斯鲁厄艺术与媒体中心|ZKM举办了名为“网络_状况(net_condition)”的展览, 预告了一个由网络定义的世纪的到来。如今,网络状况已然成为一种永久状况,这亦为一种后人类状况,网络状况则是其循环和呼吸的先决条件。在一个受困于大流行病毒和虚假信息肆虐的世界中,在一个因资本的贪婪行将破产的世界里;在一个充满动荡和危机,并在人工智能加速下的库兹韦利亚式超人奇点的前馈预测的世界中;在一个洋溢着激情和救赎,无处不使人回想起先锋派得以萌生的世界里,网络艺术,这个二十世纪最后的前卫艺术,也许将会在这个“转折点”上,再次怀揣唐吉诃德式的无畏,带着一点嬉戏,一点骚动,用行动,以美的名义、经由侧道,再一次从边缘出发去重塑历史。

展览将附有一篇延申文章,进一步将作品置于网络艺术,亦或先锋艺术的历史传统中予以解读。

一系列与展览相关的项目与表演将在展览六个月的展期内呈现。

“We=Link:辺”系线上艺术平台项目“We=Link”第二期。该项目由新时线媒体艺术中心于2020年2月发起,以此作为对疫情爆发所导致的文化项目停摆之回应。

“We=Link:辺”由中央美术学院美术馆(北京),卡尔斯鲁厄艺术与媒体中心|ZKM,HeK(巴塞尔电子艺术中心),V2_不稳定媒体(鹿特丹),欧洲核子研究中心艺术项目(日内瓦),Elektra国际电子艺术节(蒙特利尔),列奥纳多/国际艺术-科学与技术协会,白南准美术馆(首尔),哥本哈根当代艺术馆(哥本哈根),光艺术空间(柏林)联合线上呈现,并与惠特尼美国艺术博物馆“艺术港(Artport)”项目合作。


主办:

线上联合呈现:

合作
artport / The Whitney Museum of American Art

特别感谢:

SIDEWAYS
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Sideways

ZHANG Ga

History often began on the periphery and the fringe and ended up sucked in by a centripetal pull, becoming once again the story of the core. It seems the inevitable power of gravity.

When in the mid-1990s the Museum of Modern Art reluctantly set up its innocent looking website at the persuasion of Barbara London, MoMA’s evangelist of media art, and a number of other upward-looking curatorial staff[1], the Thing.net, which had recently moved to the still dilapidated West Chelsea neighborhood, had been already, along with its European sister nodes, operating on a different cultural front for some time and its Berlin-styled monochrome website with plenty of perl scripts under the belt, compared to MoMA’s rudimentary html pages, appeared sophisticated enough to rival the mammoth establishment, at least at face value and for the time being.

These days are long gone – today, the Thing is still frequented by its old-time confrère, while MoMA has moved on to command the attention of millions online with its immense collection digitized and through a sleek interface design and elaborate web technologies. The recent impeccable installation of Jodi’s My%Desktop (2002) has again proved MoMA’s indisputable licensing power of rectifying the fringe to the center and canonizing the once avant-garde, transforming and elevating the one-person (desktop) show to a collective immersion of visual ensemble.

Net.art, and netart or net art (a serendipitously adopted term with a mélange of connotations describing its hybrid contention by origin and heterogeneity by nature[2]), was also later realized by many to have been the last art movement of the 20th century, albeit without a collectively concerted manifesto.[3]

By 1997, a few short years after its emergence, net art seemed to have already “reached a dead end or a turning point.”[4] For according to Dieter Daniels, the three fundamental principles that had been pursued by the instigators of early net art, i.e.: “construction of an independent, partly self-designed technological infrastructure; formation of a self-organized community and the collective design and testing of a corresponding model of discourse; development of a form of art specific to the network, exploring the medium’s potential in an experimental, self-reflective way,”[5] had all but been sabotaged by precisely the opposite of what the pioneering visionaries had strived for: commodification of network and territorialization of the online milieu. The web had turned into a distributional and promotional channel propagated by art of all forms and kinds, not to mention that the internet had become the Internet and the economic engine of the next few decades, and more.[6]

A signifying indicator of such a demise evidently was also the eventual institutional admission of net art into the 1997 Documenta X while at the same time the miserable failure of the institution’s comprehension of the medium. The presentation was kept apart from the rest of the artworks in an isolated office-like blue-colored room, and the web works were installed on a local area network that would inevitably lead people browsing hypertext links to dead ends.[7]

But this presumable deadend also enabled the birth of, probably, one of the best known, or most infamous works of net art: Documenta Done. Upon hearing that Documenta organizers were to take down its official website and package it, along with online projects, and sell it as a CD Rom, Vuk Ćisic, the Slovenian net artist, cloned the entire website prior to it being taken offline and reposted on his own sever with a pseudo press release under the sensational headline “Eastern European Hacker Steals ‘Documenta’ Website.” He then redistributed the Documenta website for free and exhibited it on many occasions and configurations. Asked of his motivation, in lieu of various speculations by commentators that saw the stunt as a typical Dadaist prank or else as an institutional critique of its digital reincarnation, Ćisic replied, “So obviously we were looking for mischief, ways to subvert it.”[8]

This exhibition takes the purported net art’s “dead end” as a new starting point to chart a discursive trajectory of the practices since then, in the many manifestations of network-based art. Instead of prescribing it a categorical definition, the exhibition attempts to uncover the variegated developments, diverse strategies, critical positions and aesthetic experiments after the crash of the dot.com bubble, amidst the prevalence of neoliberalism and cognitive capitalism, and the rise of populism and nationalism. Sideways reveals the continuum of the Avant-garde “nettitudes” inherent in the works of these net artists.

It is within this tradition of mischief that net art marked a particular strand of genealogy with the historical avant-garde. Much like Documenta Done, in the guise of a Dadaist prank, launched a roundabout attack on the artworld’s powerful, subsequent works such as Bumplist (Jonah Brucker-Cohen, Mike Bennett, 2003) would devise a mechanism to boot out a subscriber as soon as another user signed up, in order to insinuate a playful take on law and order, or else as in those deceptive clones endlessly propagated in the work of TraceNoizer – Disinformation on Demand (Annina Rüst, Roman Abt, Fabian Thommen, Urs Hodel and Silvan Zurbruegg, 2001), in which users would let go viral a piece of false information so as to perform a counter-surveillance stunt. A more recent incarnation of such an impulse to do away with capitalist consumerism can be found in The Internet . Click (Jonas Lund, 2017). Harron Mirza’s triptych of live feeds of Instagram via VPN (Inappropriate Appropriation, Biter, Toy, 2019) alludes to a complex exchange of artefacts by which we have learned that knowledge sharing is never wishfully innocent, and the global network is always locally conditioned. The seemingly innocuous exercises of artists’ whims underlie a playfully recalcitrant instinct that shares its genes with the fanfares of Cabaret Voltaire[9] and the uncanny persona of Rrose Sèlavy.[10]

Sometimes a head-on clash could also be necessary in order to provoke more commotions and therefore sensations. When Knowbotic Research installed their New York debut of Minds of Concern at the New Museum in 2002, they would have been beholden to legal implications should they fulfill the work as conceived, and that could have led to potentially shutting down the exhibition and other unpleasant consequences. In this Art Hacking Show, the Knowbotic Research artists had planned to use Security Scanner to unveil the IP addresses of various grassroots organizations and media artists to bring to public attention the vulnerability and security loopholes in cyberspace among these ill-protected front-liners, thus to directly engage in legal practicalities which would have lasting impact in the political ecology of the internet. Such real-world intervention also finds its predecessors in the likes of Dada, Fluxus, Situationists, and even in the provocateurs of Conceptual Art. Hans Haacke, for example, who had repeatedly made his patron museums anxious and uneasy, if not more in recent records of performance art. In Domestic Tension (2007), Wafaa Bilal, the Iraqi-born artist, staged a situation in which highly divided American options on the controversial Iraq war were mirrored by those who were drawn by the temptation of “shooting an Iraqi” (the work’s online tagline) to virtually pull a trigger that via the internet would physically shoot from a robotically controlled gun a paintball at the artist, confined 24/7 in a gallery-transformed living space, and those who came to his defense. Through this unforgiving online exchange, the political complexities of the Iraq war were made open not only symbolically but also experientially, alongside it the mysterious gamification of killing was stripped bare.

Cultural spaces are also marketplaces, the dialectics of the cultural logic is that art teases the market (Banksy comes to mind, for example) and capital loves art. But as the world of wealth is owned by the one percent, so is the art market. Paolo Cirio determined that the astronomical auction prices should be redistributed via the supposedly democratic reshuffling of the internet. A derivative can be earned by buying a Jasper Johns at a fraction of the Sotheby’s auction price. The artist clearly was serious about the sale but not just striking a symbolic gesture. Real action vs. speculative auction.

In examining contemporary art from the 1970s onward, art historian Hal Foster contended that “The shift in conception — from reality as an effect of representation to the real as a thing of trauma — may be definitive in contemporary art.”[11] Today the traumatic and the abject prevail online as a parallel world of misery and wretchedness. With relentless rants and raves, bombastic swerves and vortex, Ubermorgan once again unapologetically forces upon us a squeamish reality as is rampant in the likes of the ultraright Breitbart publicity, where “transhumanists, fashionable fascists, anti-vaxxers, incels, and Silicon Valley supremacists” roam.  Breitbart Red’s stylized propaganda and sensational catchlines are reminiscent of the indelible memory of destruction.

Disruption comes in many styles and flavors. When Wolfgang Staehle set up The Thing BBS in a basement on White Street in Tribeca in 1991, he wasn’t thinking in such lofty terms as to overthrow something, but rather desired an act of enabling, the act of taking ownership of the network infrastructure, which, by bypassing the encroachment of a corporate network, the German artist saw as the foundation for the nascent potential of Social Sculpture in the digital era, thus seeded the first social media by the name of art. By the same token, People’s Computing, a rare collection of ZHOU Pengan, which is comprised of antiquated artifacts of the DIY group CFido, electronic dictionary, PDA, Flash animations and Opensource wireless firmware hacks, sheds light on the forgotten story of the early Chinese Internet culture during its formative years of the late 1990s and early 2000s. The amateurish enthusiasm and self-propagated autonomy mark a striking similarity with the pioneering spirit of their predecessors. Maciej Wisniewski (Netomat, 2002) set out to create a browser for he doubted Netscape’s or Internet Explorer’s navigational logic, which he thought could fixate a way of looking at the world and cast consumer behaviors in the interest of companies. In the case of Name.Space, artist Paul Garrin, once a student of Nam June Paik, reinvented himself as an entrepreneur so that he could negotiate with the executives at Network Solutions, which managed and controlled top domain names. Name.Space made headline news in the New York Times, The Economist, etc. The artist wanted to run domain names, too, for a romantically wished-for autonomy and for a new model of service as art – much like the Thing BBS's enactment of network as art. Both predated the soon-to-be buzzword of artworld of the 1990s: Relational Aesthetics proposed by the French curator Nicolas Bourriaud.

Disruption elicits invitations, too. Ursula Endlicher (Light and Dark Networks, 2011-2013) and the artist duo Exonemo (0 to 1 / 1 to 0, 2019), among others, were commissioned to sabotage the Whitney Museum of American Art by taking over whitney.org each day at the liminal moments of sunrise and sunset by the invited artist’s self-intuited references and preferences. The precious ten to thirty seconds mark the institution’s generous consent of the validity of net art, and an homage to the self-styled reverie of the avant-garde as Christiane Paul, curator of Whitney’s art port, the museum’s portal to the internet art, spoke about the program; “Using whitney.org as their habitat, Sunrise/Sunset projects disrupt, replace, or engage with the museum website as an information environment.”[12] Perhaps it is a euphemism for a new kind of Institutional Critique of the information age. Capital absorbs, culture assimilates, and art re-appropriates, much like gravitation pulls. 

When Radical Software Group released Canivore, an open source packet sniffing library, they offered their own line of flight about data types, operators, control structures and functions in a flare of manifesto, not unlike the romantic outcry of the world-change ethos of the Futurists, they called it Notes for a Liberated Computer Language.[13] Although Carnivore in the end was no more than a data visualization toolkit, its radicality lies in its intrinsic disobedience to the given norms, whether the clandestine appropriation of FBI surveillance software or the radicalization of programming language itself. It was only later revealed that the core members of the group, Eugene Thacker and Alex Galloway, were on their way to become radical theorists of media culture.

The hacker instinct has always been part of the genes of net art. It still thrives today after a short pause during a period some dubbed the post-internet, which more or less was a misnomer if not a misconception. In default filename tv (2019), Everest Pipkin exposed the backstage logic of YouTube videos. His mesmerizing installation of Lacework (2020) again is an ingenuous improvisation of one hacker’s persistence to turn vastly mundane datasets into a new expression of generative sublime. In We leak (2020), Leon Eckert and Vytas Jankauskas have extended the legacy of Carnivore to give a fresh 2020 update of the original, albeit quite idiosyncratically. The visual is now substituted by the audible to resonate with the surrounding sound of Alexas. “Every time a packet goes through its local network, the device will announce it being logged. If a plain-text packet gets intercepted, its content will be read aloud.”[14] If data visualization is a representation of probable messages, then We leak unforgivingly tells the uninterrupted truth. Noise removed, entropy defeated, and pure information attained.

Artists were sincerely excited and inspired when the arrival of the internet finally seemed capable of fulfilling the telematic embrace that had been dreamt about for decades. It was not only a way to communicate bi-directionally or through multi-nodal hyperlinks as promised in a decentralized network, but also through which a new form of autonomy implicit of a literal realization of the Beuysian “Everyone is an artist” could come true or that now, at last, everyone could indeed have his / her fifteen minutes of fame. Net Art Generator (Cornelia Sollfrank, 1999) was a classic of such aspirations. That tradition continued to update itself into mobile phones with the 2013 creation of Raoul Pictor Mega Painter (Hervé Graumann / Matthieu Cherubini, 2013). The App store tagline reads “With Raoul Pictor Mega Painter you can make art whenever you want and wherever you want.”

At a time when Instagram, YouTube, TikTok, Facebook and WeChat reign supreme, online social networks have grown ever more homogenized, it is cognition capitalism working at its best: consumption of freedom and democracy are among the most profitable under the scrutiny of corporate gazes. Guo Chen set out to dispute such premediated habitats of social media. In Wind Verification (2020) he transforms user uploaded video clips of the invisible force of wind into embodied sensory experience in the physical space of the gallery – a fan blows out the wind aligning with the directions of virtual wind in the video. It is an illuminating gesture of the unanimous many weaved into the potential of a storm in the making in a world in which the unreal is no less real than the real.

Lauran Lee McCarthy teamed with Kyle McDonald have distributed a product that “tracks, analyzes, and auto-manages your relationships.”[15] The app pplkpr (2015) conveniently automates one’s social life. Like many of her works, the overly optimistic anticipation of technologically optimized life is often infused with sarcasm and castigation about the very things it proselytizes. Likewise, in Later Date (2020) her seemingly melancholic sentimentalism was nevertheless evocative of wit and hope. It is the “zany, cute and interesting” as the aesthetic supplements (as opposed to the dire prescriptions of Hal Foster) for a critique of the new reality, as Sianne Ngai aptly articulated in her 2012 volume Our Aesthetic Categories.

When Heath Bunting interrupted the routines of the Kings Cross Station in London on August 4 1994 by inviting people, via email, to call in from all over the world, it seemed reminiscent of John Cage’s 1966 ambitious episode Variation VII, during which he had ten telephone lines set up in various locations in New York City and the incoming voices would be mixed and amplified with other mechanical (blender, juicer, fan), environmental (Geiger meter), and physiological (pulse generator)[16] sounds onside transmitted via sensors by the performers at the Armory for the legendary 9 Evenings of performance. Of course, Bunting's setup was not nearly as sophisticated as Cage’s and the purpose was also different. It foreshadowed that net art was from the beginning not just something that happened on a web browser, but a much more extended scope of operation even though in those days the net could mostly only be experienced through a browser window. Today, we ever more understand that the net is the membranes of a symbiosis which connects machines with blood vessels, in dialogue with elongated rivers and lands, intercepts wind and rain, permeates from the tangible to the invisible. The networks bricolage silicon with flesh, traverse the organic through to the inorganic, fusing humans and nonhuman, all reciprocal and comingling. A new generation of artists are particularly sensitive toward this precarious posthuman condition in which we live and by which they make art. An intricate installation triggered by online users that in turn feeds back to the browser behavior with the unflattering title Miasma of the Rocks (CHEN Pengfei, LIU Xing, LIANG Yuhong, XU Haomin and ZHAO Hua, 2020) is characteristic of such reciprocity of human-machine mutuality rippling through bodies and networks, akin to the posthuman explication in the words of Cary Wolfe:

It comes both before and after humanism: before in the sense that it names the embodiment and embeddedness of the human being in not just its biological but also its technological world, the prosthetic coevolution of the human animal with the technicity of tools and external archival mechanism…. [It] comes after in the sense that it names a historical moment in which the decentering of human by its imbrication in technical, medical, informatic, and economic networks is increasingly impossible to ignore.[17]

ZKM | Center for Art and Media Karlsruhe was prescient to organize a show in 1999 after “the dead end of net art,” titled netcondition before most art institutions had come to an awakening that a new epoch had descended and it would be defined by the network. The net condition has reaffirmed, by now, a perpetual condition, and it is a posthuman condition with the net condition as its circulatory and respiratory prerequisites. In a world that is stricken by a rampant pandemic and virulent misinformation, a world bankrupted by corporate rapacity, a world of tumults and crises, accelerated by glorious artificial intelligence in the feedforward anticipation of the Kurzweilian transhuman singularity; a world of hardened passion and redemption, a world in every way reminiscent of the fertile ground in which the Avant-garde germinated and thrived, net art, the last avant-garde of the 20th century, may once again at this “turning point” take up that Quixotic spirit of intrepidity and strive on, once again from the periphery and the fringe – with a little mischief, a pinch of agitation too, via action, through the beautiful, and by sideways, to remake history.



[1] Barbara London, Video Art the First Fifty Years (New York: Phaiden Press, 2020), p.184.

[2] Josephine Bosma, Netitudes: Lets Talk Net Art (Rotterdam: NAi Publications,2011), p.22 - 61.

[3] Dieter Daniels & Gunther Reisinger, “Reverse Engineering Modernism with the Last Avant-garde” in Net Pioneers 1.0, eds. Dieter Daniels & Gunther Reisinger (Rotterdam: NAi Publications,2009), p.15.

[4] Ibid., p.31.

[5] Ibid., p.27.

[6] Net Pioneers 1.0, p.31.

[7] https://rhizome.org/editorial/2017/mar/02/the-copy-and-the-paste/, accessed 10/18/2020

[8] https://rhizome.org/editorial/2017/mar/03/repo-man/. accessed 10/18/2020

[9] https://en.wikipedia.org/wiki/Cabaret_Voltaire_(Zurich), accessed 10/18/2020

[10] Marcel Duchamp’s female alter ego.

[11] Hal Foster, The Return of the Real (Cambridge: The MIT Press, 1996), p.146.

[12] https://whitney.org/artport/commissions/sunrise-sunset. accessed 10/18/2020

[13] http://r-s-g.org/LCL/

[14] From the work description

[15] https://lauren-mccarthy.com/pplkpr. accessed 10/18/2020

[16] http://www.medienkunstnetz.de/works/variations-vii/; https://johncage.org/pp/John-Cage-Work-Detail.cfm?work_ID=272. accessed 10/18/2020

[17] Cary Wolfe, What is Posthumanism (Minneapolis: University of Minnesota Press, 2010), p.XV.

We=Link项目
文  张尕
译  曹佳敏

历史往往起始于外围边缘,最后被向心力吸引,再次成为中心的故事。这似乎是一种引力的必然。

上世纪90年代中期,现代艺术博物馆(MoMA)在其媒体艺术倡导者芭芭拉· 伦敦(Barbara London)和其他一些有眼光的策展人说服下[1],勉强地建立了看来颇为幼稚的网站。 此时,刚搬入仍然破败的西切尔西街区的Thing net,已与其欧洲的姐妹节点一起,在不同的文化战线上运作了一段时间。Thing net网站的柏林单色页面风格以及大量的perl脚本,与MoMA简陋的html页面相比,显得成熟且专业,足以与庞大的机构相媲美,至少在那时从表面上看来是这样的。

这些日子已经过去很久了。今天,"The Thing"的同仁仍旧经常访问它,而MoMA则凭借其浩瀚藏品的数字化、时髦的界面设计和精致的网路技术,在线上获得了千百万人的关注。由艺术家组合Jodi创作的“我的%桌面”(My%Desktop,2002)近期在MoMA的完美展出,再次证明了它无可争议的赋予的权力,它将边缘重整为焦点,将曾经的前卫化为经典,将个人(桌面)的展览升华为视觉合奏的集体沉浸。

网络艺术 -- Net.art、netart或者net art -- 是一个被偶然采用的术语,混合了多种含义,描绘出在其起源上的各执一说,以及其天生的异质性[2]。后来,许多人意识到那是20世纪最后一场艺术运动,尽管它并没有一个集体式的联合宣言。[3]

1997年,也就是在网络艺术出现不久的几年之后,它似乎已“面临终结或转折点”[4]。据艺术史家迪特尔·丹尼尔(Dieter Daniels)所说,早期网络艺术发起者们所追求的三个基本原则为“建设一个独立的、部分自行设计的技术基础设施;形成一个自组织社区,集体设计和测试相应的论述模式;发展一种网络特有的艺术形式,以一种实验性的、自我反思式的方法去探索这个媒介的可能性" [5],但这一切恰恰被那些与他们的理想背道而驰的网络的商品化和网络环境的分裂所破坏了。网络亦已沦为各种形式的艺术传播和推广的渠道,更不用说互联网已经成为英特网(the Internet),是未来几十年(甚至更久)的经济引擎。[6]

1997年第十届卡塞尔文献展作为官方机构对网络艺术的接纳,同时亦是对网络媒介糟糕的误解也是网络艺术失败的一个显著标志。展览中的网络作品被隔离在一个类似办公室的蓝色房间里,并被安装在一个局域网上,这就不可避免地把浏览超文本链接的人们引向死胡同。[7]

但这种假定的“死亡”也催生出大概是网络艺术最出名的,或者说是最声明狼藉的作品之一:“文献展结束了(Documenta Done)”。 当听说卡塞尔文献展的组织方要把展览的官方网站关闭,并和线上项目一起打包成CD光盘出售时,斯洛文尼亚网络艺术家沃克· 科西克(Vuk Ćisic)乘着网站下线之前对它进行了完整的克隆,并转帖至艺术家自己的服务器上,配上一篇伪新闻稿, 耸人听闻地命名为《东欧黑客窃取'卡塞尔文献展'网站》。随后,他将文献展网站免费发放,并在许多场合以不同组合展出。鉴于有许多评论家揣测这是一出典型的达达主义恶作剧,不然就是“机构批判”的数字化身,当被问及他的动机时,科西克回答道:"所以很明显,我们只是在寻找使坏的机会,寻找颠覆它的方法。“ [8]

本次展览以所谓的网络艺术之“终结”为新起点,在诸多基于网络的艺术表现形式中,勾勒出在此节点之后散发的实践轨迹。展览并没有将网络艺术分类定义,而是发掘网络泡沫崩塌后, 在新自由主义和认知资本主义盛行,民粹主义和民族主义兴起之际的多变发展、多种策略、批判立场和美学实验。 “辺”揭示了这些网络艺术家作品中所固有的前卫"网络姿态"(nettitudes)的连续性。

正是在这种捣蛋的传统中,网络艺术与历史上的前卫艺术构成了一缕特殊的谱系链接。就像 "文献展结束了"一样,它以达达主义的恶作剧为幌子,对艺术界的权力发起迂回攻击。在此之后的作品如 "踢出列表(Bumplist)【乔纳·布鲁克尔-科恩(Jonah Brucker-Cohen),麦克·本尼特(Mike Bennett),2003-2020】设计了一种一旦有新用户注册,就会将原有订阅者剔除的机制,以此暗示对法律与秩序的嬉戏,或者像不停地生成具有迷惑性克隆的作品“TraceNoizer---假消息随时恭候 (TraceNoizer----Disinformation on Demand)”【LAN,2001】——用户将一条虚假信息像病毒那样散播出去,以此演绎出一个反监控的戏剧化的噱头。 试图去除资本消费主义的冲动也在作品“互联网.点击(The Internet. Click)”【雅努斯·隆德(Jonas Lund),2017】见其最近的化身。哈伦·米尔扎(Haroon Mirza)通过虚拟私人网络在三联屏幕上对Instagram内容进行直播【“不适当的挪用(Inappropriate Appropriation)”,“跟风狗(Biter)”,“玩具(Toy)”,2019】,影射了产品交易之复杂,使我们了解到知识共享从来都不如我们一厢情愿的那样单纯,全球网络也总是受制于此时此地。这些看似是艺术家们对奇思妙想无害的演练,却隐藏着一种有趣的、不循常规的天性,与伏尔泰小酒馆[9]的喧闹与罗斯·塞拉维[10]的怪诞形象有着共同的基因。

有时候正面冲突也是必要的,为了引起更多的骚动亦或轰动。2002年,知识机器研究(Knowbotic Research)在纽约新美术馆首次亮相作品“关注之心(Minds of Concern)”时,如果按照艺术家所设想的那样完整地呈现作品,他们可能会受律法牵连,甚至可能导致展览关闭和其他不愉快的后果。在那次“艺术黑客展(Art Hacking Show)”中,知识机器研究的艺术家们曾计划用安全扫描仪来显示各种草根组织和媒体艺术家的IP地址,让公众关注到这些不受保护的前沿创作者在网络空间中的脆弱性和面临的安全漏洞,从而直接参与对互联网政治生态产生持久影响的实际法律状况中。这种对真实世界的介入,早在达达、激浪派、情景主义,甚至是激进观念艺术中也能找到它的身影。比如汉斯·哈克曾多次让资助他的美术馆感到焦虑不安,在较为近期的行为艺术中也更不少见。出生于伊拉克的艺术家瓦法·比拉尔(Wafaa Bilal)为“紧张局势(Domestic Tension)”(2007)构建了这样一个情景:那些被作品线上部分的标签"射杀伊拉克人"所吸引,并在网络上扣下虚拟扳机的人们与艺术家的捍卫者间所映射出的美国社会在争议不断的伊拉克战争问题上的分裂。虚拟的射击会从机器控制的枪口中发出真实的彩弹,射向被24小时限制于一个生活空间(由画廊改造而成)中的艺术家。通过这种毫不掩饰的线上交流,伊拉克战争的政治复杂性不仅仅被象征性地刨开,更予人以切身的体验。同时,也将(现代战争)杀戮之游戏化的神秘暴露无遗。

文化空间也是商家市场,文化逻辑的辩证法是:艺术戏弄市场(比如班克斯),资本热爱艺术。但由于世界财富为那百分之一的人所有,艺术市场便也是如此。保罗·奇里奥(Paolo Cirio)认定,天价的拍卖应该通过互联网所谓的民主洗牌来重新分配。贾斯帕·约翰斯(Jasper Johns)的衍生(Derivatives)价格可以用在苏富比拍卖价的一个零头便可以获得。艺术家对此显然是认真的,不只是一个象征性的举措——真正的行动vs.投机性拍卖。

艺术史家哈尔·福斯特(Hal Foster)在研究20世纪70年代以来的当代艺术时写到 "从作为再现之效应的现实到作为创伤之物的真实,这一观念的变迁在当代艺术中具有决定性意义。”[11]  今天,创伤和绝望充斥网络,就像一个平行的悲惨世界。带着无情的喧嚣与狂欢,爆炸式的旋转的混晕,明天(Ubermorgan)毫不客气地再次强加给我们一种令人生厌的现实,如同极右翼《布莱巴特(Breitbart)》的新闻网一样的狂热,充斥着"超人类主义者、时髦的法西斯主义者、反疫苗者、非自愿独身者和硅谷至上主义者"的喧叫。“布莱巴特红(Breitbart Red)”风格化的宣传和煽情的口号让人回想起无法忘怀的毁灭的记忆。

干扰可以有很多种风格和特色。1991年,当沃夫冈·施泰勒(Wolfgang Staehle)在翠贝卡白街的一个地下室里设立“The Thing公告板”时,他并没有远大到想去推翻什么,而是渴望一种能动的力量 —— 绕过企业对网络的蚕食,获得网络基础设施的拥有权。这位德国艺术家认为这是数字时代下,社会雕塑的新生潜力的基础,从此便以艺术之名埋下了社交媒体的第一颗种子。无独有偶,周蓬岸珍贵的系列收藏《人民计算机》由古旧的惠多网(CFido)源代码DIY生成物、电子词典、掌上电脑、Flash动画和Opensource无线黑客固件所组成,讲述了中国早期互联网文化在上世纪90年代末至2000年初的成形时期中被遗忘的故事。这些作品中业余爱好者的热情和自传播的主动性与前人的先锋精神有着显著的传承之处。马切尔·維希涅夫斯基(Maciej Wisniewski)【Netomat,2002】之所以着手创建浏览器,是因为他对网景(Netscape)或Internet Explorer(IE)的导航逻辑持怀疑态度,他认为这这些浏览器会固化看待世界的方式,并以公司利益为导向塑造消费者的行为。在“域名.空间(Name.Space)”中,曾为白南准学生的艺术家保罗·盖灵(Paul Garrin)将自己改变为一名企业家,以便与管理和掌控顶级域名的Network Solutions公司高管进行谈判。“域名.空间“登上了《纽约时报》, 《经济学人》等期刊的头条。艺术家也希望为着一种浪漫的愿景以及其“服务作为艺术”的模式来经营域名管理,就如同“The Thing公告板”以“网络作为艺术”的实践那样。两者都是90年代流行于艺术界的热门词 —— 由法国策展人尼古拉·布里奥(Nicolas Bourriaud)所提出的 "关系美学"的前身。

破坏也会得到邀请。乌苏拉·恩德利歇尔(Ursula Endlicher)【晨与夜的网络(Light and Dark Networks),2011-2013】和艺术家二人组exonemo(0 到 1 / 1 到 0,2019)等人受惠特尼美国艺术博物馆之邀,在每天日出和日落的短暂时刻,以受邀艺术家自己的直觉为参考与喜好,占领甚至破坏惠特尼的官网whitney.org。这宝贵的十到三十秒标志着机构对网络艺术正当性的慷慨认同,也致敬于前卫艺术自成一派的天马行空,正如惠特尼“艺术港(artport)”(美术馆的网络艺术站)策展人克里斯蒂安·保罗(Christiane Paul)在谈到这个项目时所说的那样:“以whiteney.org为栖息地,‘日出/日落(Sunrise/Sunset)’中的项目旨在打乱、取代或干预美术馆网站的信息环境。"[12]也许这是信息时代下,一种新的、委婉的“机构批判”。资本吸噬,文化同化,艺术挪用,就如同重力牵引。

当激进软件小组(Radical Software Group)以宣言色彩发布了一个开源抓包软件库“食肉动物(Carnivore)”时,他们提供了自己开发的关于数据类型、运算符、控制结构和功能的“飞越之线”,这与未来主义者浪漫地呼唤着改变世界的理想似曾相识,他们称之为《被解放的计算机语言笔记(Notes for a Liberated Computer Language)》[13]。 虽然“食肉动物”最后不过是一个数据可视化工具包,但无论是对原美国联邦调查局监控软件的暗中挪用,还是对编程语言本身的激进改造,这些行动的激进性根植于艺术家对既定规范固有的不顺从。后来人们发现,该组织的核心成员尤金·萨克(Eugene Thacker)和亚历克斯·加洛韦(Alex Galloway)彼时正在成为媒体文化的激进理论家。

黑客的天性一直是网络艺术基因的一部分,在今天也仍然蓬勃发展,虽然在一度被称为“后互联网”的时期曾短暂地停顿过。后互联网这一称呼或多或少是一种误称,甚至是一个错误的概念。在“默认文件名tv(default filename tv)”(2019)中,爱弗勒斯·皮普金(Everest Pipkin)揭露了YouTube视频的后台逻辑。他引人入胜的装置作品“花边(Lacework)”(2020)是一位黑客坚持将庞大的枯燥数据转变为一种生成式崇高的新表达,是充满创意的即兴。在“一起泄露(We leak Too)”(2020)中,里昂·埃克特(Leon Eckert)和维塔斯·扬卡乌什卡斯(Vytas Jankauskas)延续了“食肉动物”的轶事,对原作进行了2020年的全新升级,尽管极具他们的个人特性。视觉现在被听觉取代,以此对环绕的Alexas的声音做出响应。"每当一个数据包经过其本地网络时,设备就会宣布它被记录了下来。如果一个纯文本数据包被截获,其内容将被大声朗读出来。" [14] 如果说数据可视化是潜藏信息的再现,那么“一起泄露“则毫不客气地直述未经过滤的真相。它去除了噪音,打败了熵,所获得的是纯粹的信息。

互联网的到来似乎终于能够实现几十年来所梦想的那种远程信息的拥抱,艺术家们由衷地感到兴奋与鼓舞。它不仅是去中心化网络所带来的一种双向或通过多节点超链接进行交流的方式,并且通过这种方式,博伊斯所说的“每个人都是艺术家”所蕴含的那种新形式的自主性得以真正的实现,或者说,现在每个人终于可以拥有他/她15分钟的出名时刻。“网络艺术发生器(net art generator)”【科妮莉亚·索尔弗兰克(Cornelia Sollfrank),1999】便是怀揣着这种愿景的经典之作,2013年由赫维·格劳曼(Hervé Graumann)与马修·凯鲁比尼(Matthieu Cherubini)所创作的“大画家拉乌尔·比克特(Raoul Pictor Mega Painter)”,则将这一传统更新到到手机上。其在APP商店的口号是:"有了‘大画家拉乌尔·比克特’,你可以随时随地进行艺术创作。"

在Instagram、YouTube、抖音、Facebook和微信统领一切的年代,线上社交网络日益变得同质化,也是认知资本主义发挥最佳的时代。在企业的审视下,消费自由和民主成为最有利可图的生意。 郭城针对社交媒体所栖息的大环境提出质询。 在“风的验证”(2020)中,他将用户上传视频中无形的风力化为展厅物理空间中的实体感官体验 —— 风扇吹出的风与视频影像中的风,方向统一。在这个现实不比虚拟更真的世界里,这是一个具有启发性的姿态,将芸芸大众编织进一场可能正在形成的风暴。

劳伦·李·麦卡锡(Lauren Lee McCarthy)与凯尔·麦克唐纳(Kyle McDonald)合作发布了一款具有"跟踪、分析和自动管理人际关系” [15]功能的产品。应用软件“pplkpr”(2015)能够轻易地将个人的社交生活自动化。就像她的许多作品那样,在过分乐观的期待——技术优化生活——之中往往注入了对其所宣扬之事物的讽刺和抨击。同样,在“后会有期(Later Date)”中,在她表面的忧虑和伤感下是一种机智和希冀,正是这种“古怪、可爱和有趣”(与哈尔·福斯特的严肃处方正相反),如倪茜安(Sianne Ngai)在其2012年出版的《我们的审美类别》一书中所言,是对新的现实批评的审美补充。

1994年8月4日,当希斯·邦廷(Heath Bunting)通过电子邮件邀请人们从世界各地打来电话,去阻断伦敦国王十字车站的日常运作时,似乎使人想到约翰·凯奇(John Cage)1966年野心心勃勃的 “第七变奏曲(Variation VII)”项目。表演期间,凯奇将十条电话线设置在纽约市的不同地点,传入的语音与军械库“九个夜晚(9 Evenings)”现场其它机械声响(搅拌机、榨汁机、风扇),环境声响(盖革计),以及通过传感器将表演者的生理声音(脉冲发生器)混合并放大播放[16]。当然,邦廷的设置远没有凯奇的复杂,目的也不同。它预示着网络艺术从一开始就不仅仅是发生在网络浏览器上的,而是涵盖一个更加宽广的操作范围,尽管在那个年代,网络体验大多仅限于浏览器窗。今天,我们越发理解到网络是一层共生之膜,它连接着机器与血管,与延伸的河流和土地对话,拦截着风雨,渗透入有形无形之物。网络将硅与肉结合,从有机物穿越到无机物,将人类与非人类融合,一切都在融汇共通中。新一代的艺术家对我们所处的不稳定的后人类状况尤为敏感,并以此进行艺术创作。由线上用户触发的复杂装置【有着一个不怎么优美的名称“岩间瘴气”(陈朋朋、刘⾏、梁⾬荭、徐昊旻、赵华,2020)】会反向影响浏览器的行为,这正是绵延于身体和网络中人机互为依存的特征,就像卡里·沃尔夫(Cary Wolfe)的后人类阐述所言:

它【后人类】既在人本主义之前,也在其之后:所谓之前,它指出了人不仅体现和嵌入在生物世界中,也在技术世界中,人作为动物与工具的技术性和外部档案机制进行着共同的假肢性进化.... 所谓之后,它命名了一个具有历史性的时刻,身在其中的人类因其与技术、医疗、信息和经济网络中的交叠,使得去人类中心化日渐无法忽视。[17]

1999年,卡尔斯鲁厄艺术与媒体中心|ZKM在“网络艺术的终结” 之后举办了一场具有前瞻性的,名为“网络_状况(net_condition)”的展览,而绝大部分艺术机构才刚醒悟到一个由网络定义的新时代已经到来。网络状况已然成为一种永久状况,这是一种后人类状况,网络状况则是其循环和呼吸的先决条件。在一个受困于大流行病毒和虚假信息肆虐的世界中,在一个因资本的贪婪行将破产的世界里;在一个充满动荡和危机,并在人工智能加速下的库兹韦利亚式超人奇点的前馈预测的世界中;在一个洋溢着激情和救赎,无处不使人回想起先锋派得以萌生的世界里,网络艺术,这个二十世纪最后的前卫艺术,也许将会在这个“转折点”上,再次怀揣唐吉诃德式的无畏,带着一点嬉戏,一点骚动,用行动,以美的名义、经由侧道,再一次从边缘出发去重塑历史。

 


[1] 芭芭拉· 伦敦,《影像艺术的前五十年》(纽约:Phaiden出版社,2020),p.184.

[2] 约瑟芬·博斯玛,《网络姿态:来谈谈网络艺术》(鹿特丹:NAi出版社,2011),p.22 - 61.

[3] 迪特尔·丹尼尔&冈瑟·瑞兴格,“转变工程现代主义的最终前卫艺术”,《网络前瞻者1.0》,编者 迪特尔·丹尼尔&冈瑟·瑞兴格(鹿特丹:NAi出版社,2009),p.15.

[4] 如前,p.31.

[5] 如前,p.27.

[6] 如前,p.31.

[7] https://rhizome.org/editorial/2017/mar/02/the-copy-and-the-paste/, accessed 10/18/2020

[8] https://rhizome.org/editorial/2017/mar/03/repo-man/. accessed 10/18/2020

[9] https://en.wikipedia.org/wiki/Cabaret_Voltaire_(Zurich), accessed 10/18/2020

[10] 马赛尔·杜尚的女性性向他我

[11] 哈尔·福斯特:《真实的回归》(Cambridge: The MIT Press,1996年版),第146页。

[12] https://whitney.org/artport/commissions/sunrise-sunset. 访问于10/18/2020

[13] http://r-s-g.org/LCL/

[14] 作品描述

[15] https://lauren-mccarthy.com/pplkpr. 访问于10/18/2020

[16] http://www.medienkunstnetz.de/works/variations-vii/; https://johncage.org/pp/John-Cage-Work-Detail.cfm?work_ID=272. 访问于10/18/2020

[17] 卡里·沃尔夫, 《什么是后人类主义》,(明尼阿波利斯: 明尼苏达大学出版社,2010), p.XV.


0 to 1 / 1 to 0 0 到1 / 1 到 0

BREITBART RED 布莱巴特红

BumpList: An Email Community for the Determined 踢出列表:一个探索者的邮件社区

Computer museum in the web 网页里的电脑博物馆

Default filename tv 默认文件名tv

Derivatives 衍生品

Domestic Tension 紧张局势

Lacework 花边

Later Date 后会有期

Light and Dark Networks 晨与夜的网络

Minds of Concern 关注之心

net.art generator 网络艺术发生器

netomat netomat

pplkpr pplkpr

Raoul Pictor Mega Painter 大画家拉乌尔·比克特

The Internet.click 互联网.点击

THE THING BBS The Thing公告板

Toy, Biter, Inappropriate Appropriation 玩具,跟风狗,不适当的挪用

TraceNoizer – Disinformation on Demand TraceNoizer---假消息随时恭候

We Leak Too 一起泄露

Wind Verification 风的验证

Miasma of the Rocks 岩间瘴⽓

Sideways - ZHANG Ga 辺 - 张尕

Screen Saver屏幕保护

Press Release展览介绍

0 to 1 / 1 to 0
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exonome


website
2019

In their project 0 to 1 / 1 to 0, the artist team exonemo uses the passage between night and day to explore the digital and natural environments we inhabit. Every day at sunrise and sunset, webpages viewed on we-link.chronusartcenter.org slowly recede into the browser window to reveal a laptop screen, and beyond that, the rising or setting sun over Manhattan. The webpage is still functional in its minimized state, but the doubling of the screen draws attention to the hardware through which users experience the website. In the natural world, the two- to three-minute change between night and day marks a powerful yet gradual transition that has no equivalent in the digital space, where the switch between the binary code of 0s and 1s is discontinuous. exonemo's project turns these daily moments into a transition between both the digital and natural environments, contrasting the interconnectedness of the digital and natural world with their fundamental differences.


Bio

The Japanese artist unit "exonemo" (by SEMBO Kensuke and AKAIWA Yae) was formed in 1996 on the Internet. Their experimental projects are typically humorous and innovative explorations of the paradoxes of digital and analog computer networked and actual environments in our lives. Their The Road Movie won the Golden Nica for Net Vision category at Prix Ars Electronica 2006. They have been organizing the IDPW gatherings and "Internet Yami-Ichi" since 2012. They live and work in New York since 2015.

0 到1 / 1 到 0

exonome


网站
2019

在艺术家团队exonemo的项目 《0 到1 / 1 到 0 》中,他们利用黑夜和白天的过渡途径来探索我们居住的数字和自然环境。每天在日出和日落时分,“We=Link Sideways辺”的浏览网页会缓慢地缩小至浏览器窗口中,显露出笔记本电脑的屏幕,而在屏幕之外,则是曼哈顿上空升起或落下的太阳。网页在最小化的状态下仍然可以使用,但屏幕的叠加让用户通过网站体验,从而注意到它的硬件。在自然界中,白天和黑夜之间两三分钟的变化意味着一个强大而渐进的过渡。不同的是,在数字空间中,0和1的二进制代码之间的切换是不连续的。exonemo的项目将这些日常时刻转变为数字和自然环境之间的过渡,将数字和自然世界的相互联系与它们的本质差异进行对比。


日本艺术家组合“exonemo”(由SEMBO Kensuke和AKAIWA Yae组成)于1996年成立于互联网。他们的实验项目通常以幽默和创新的方式探索了数字和模拟计算机网络化环境与实际环境之间的矛盾。他们的《道路电影》获得了2006年林茨电子艺术节的网络视觉类金尼卡奖。他们自2012年起,组织IDPW聚会以及"互联网黑市"。2015年,他们开始生活工于纽约。

©Courtesy the artist
BREITBART RED
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BREITBART RED

UBERMORGEN


webpage
2020

Imagine how new cultures from the dark side of the planet and the Internet’s underbelly form a hybrid QUERFRONT ™ and BREITBART RED is hitting this aesthetic sweet spot: NOKIA TO BUILD MOBILE NETWORK ON MOON.

This promise of ethnopluralism is an alternate reality made from transhumanists, fashionable fascists, anti-vaxxers, incels, and Silicon Valley supremacists. In rapid parallel networks, you fastly self-optimize, consume ASMR and build global community action via K-Pop. BREITBART RED is made to comfort and inspire you. Transforming Vaporwave into Fashwave. Dissolving you into Deep Relaxation and enabling you to zone out on Discord. The pandemic creates bizarre forms of global individualism and local loneliness:  MORE TRAVELLING IN 'THE BUBBLE.'

No brand is safe. Silicon Valley and Wall Street are in the business of saving the earth. The ironic and iconic occupation of everything while embracing brand enthusiasm (Superdry ™) leads to a neo-reactionary political style. Contradictions are the life-blood of this influencer-based activist community: CORONA-DENYING FITFLUENCER DIES OF COVID.

The Breitbart ‘Right Side’ platforms and landing systems’ seamless user experience carry friendly but toxic design: custom-made to redefine authoritarian minimalism and promote digital brutalism at the edge of the network: https://breitbart.red


Stefan Endres: Concept, Art-Direction, Design, Development; 

Zenker: Concept, Research, Design


Bio

UBERMORGEN is an artist duo founded in 1995 by autistic actionist lizvlx and pragmatic visionary Hans Bernhard; they are net.art pioneers and media hackers widely recognized for their high-risk research into data & matter and polarising social experiments. CNN called them 'Maverick Austrian Business People' during their Vote-Auction online project. They reached a global audience of 500 million while challenging the FBI, CIA, and NSA during the US presidential election. In 2005, they launched their acclaimed EKMRZ Trilogy, a series of conceptual hacks – Google Will Eat Itself, Amazon Noir, and The Sound of eBay. UBERMORGEN occupies 175 domains. Their exhibitions include New Museum, USA; Somerset House, London; Haifa Museum of Art, Israel/Palestine (2019); Wei-Ling Contemporary Malaysia; HKW, Germany; ZKM, Germany; National Art Gallery, Bulgaria (2017); ICA Miami, USA; Mahatma Gandhi Institute, Mauritius (2015); Serpentine Galleries, London, UK (2014); Kunsthal Aarhus, Denmark; Ars Electronica, Austria; MoMA Ljubljana, Slovenia; ArtScience Museum, Singapore (2013); 3331 Arts Chiyoda, Japan (2012); Centre Pompidou, France; Gwangju Design Biennale, Korea; WRO Media Art Biennale, Wroclaw, Poland (2011); Prague Biennale, Czech Republic (2009); Biennale of Sydney, Australia (2008); MOCA Taipei (2007); The Premises, Johannesburg, South Africa; ICC Tokyo, Japan (2005); SFMOMA, USA (2001).

https://ubermorgen.com

布莱巴特红

UBERMORGEN


网页
2020

想象来自地球黑暗面和互联网底层的新兴文化如何形成了一个混合型的“第三位置™”,而《布莱巴特红》正在关注一个具有美学意义的关键点:诺基亚将在月球上建立移动网络。

民族聚合主义的承诺是由超人类主义者、现行的法西斯主义者、反疫苗者、非自愿独身者和硅谷至上主义者构成的另一种现实。在急湍的平行网络中,你快速自我优化,消费ASMR,并通过K-Pop建立全球社区行动。《布莱巴特红》的建立旨在给予安慰和启发,将蒸汽波转化为法西波,你会溶入深层放松的状态,在Discord通讯软件上实现精神漫游。流行病毒创造出全球个人主义和本土孤独感的奇异形态,使我们更多的在 "泡泡 "中旅行。

没有品牌是安全的。硅谷和华尔街忙于拯救地球。拥抱品牌的热情(超级干燥™)讽刺地、标志性地占领了一切事物,从而导致了新反动主义政治风格。"矛盾"是这个以网红为基础的行动主义社区的根源:不愿承认新冠存在的健身博主死于新冠。

布莱巴特的“正义”平台和登陆系统的无缝用户体验承载着友好却毫无益处的设计:它是专为重新定义专制极简主义并促进网络边缘的数字残暴主义而量身定制 ——https://breitbart.red。


作品概念,艺术指导,设计,项目发展:斯特凡·恩德雷斯;

作品概念,研究,设计:森克尔


明天(UBERMORGEN)是一个艺术家二人组,由患有自闭症的行动主义者lizvlx和注重实践的梦想家汉斯·本哈德于1995年创立;他们是网络艺术先锋与媒体黑客,因其对数据与物质的高风险研究和两极化的社会实验而广为人知。美国有线电视新闻网在他们的“投票-拍卖”线上项目中称他们为“特立独行的奥地利商业人士”。他们在美国总统大选期间挑战美国联邦调查局、中央情报局和美国国家安全局,全球观众达到5亿人次。2005年,他们发布了广受赞誉的“EKMRZ三部曲”,即一系列概念性黑客行动--“谷歌将吞噬自己”、“亚马逊黑”和“eBay之声”。明天占有175个域名。他们的展览呈现于新博物馆,美国、萨默塞特宫,伦敦、海法艺术博物馆,以色列/巴勒斯坦(2019)、马来西亚威灵当代艺术博物馆、世界文化宫,德国、卡尔斯鲁厄媒体与艺术中心,德国、国家美术馆,保加利亚(2017)、迈阿密当代艺术中心,美国、圣雄甘地艺术中心,毛里求斯(2015)、蛇形画廊,英国伦敦(2014)、阿尔鲁斯艺术馆,丹麦、林茨电子艺术节,奥地利。 卢布尔雅那现代艺术博物馆,斯洛文尼亚、艺术科学博物馆,新加坡(2013)、千代田3331艺术展,日本(2012)、蓬皮杜中心,法国、光州设计双年展,韩国、WRO媒体艺术双年展,弗罗茨瓦夫,波兰(2011)。布拉格双年展,捷克(2009);悉尼双年展,澳大利亚(2008);台北当代艺术馆(2007);The Premises画廊,南非约翰内斯堡;东京交互通讯艺术中心,日本(2005);旧金山现代艺术博物馆,美国(2001)。

https://ubermorgen.com

©Courtesy the artist
BumpList: An Email Community for the Determined
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BumpList: An Email Community for the Determined

Jonah Brucker-Cohen, Mike Bennett


mailing list, digital prints
2003

BumpList is a mailing list aiming to re-examine the culture and rules of online email lists. BumpList only allows for a minimum amount of subscribers so that when a new person subscribes, the first person to subscribe is "bumped", or unsubscribed from the list. Once subscribed, you can only be unsubscribed if someone else subscribes and "bumps" you off. BumpList actively encourages people to participate in the list process by requiring them to subscribe repeatedly if they are bumped off. The focus of the project is to determine if by attaching simple rules to communication mediums, the method and manner of correspondences that occur as well as behaviors of connection will change over time. The project was launched as a gate page for the Whitney Museum of American Art’s “Artport” website and since then has been included in the permanent collection of the Whitney and has garnered several awards including an honorable mention in the Net Vision category of the 2004 Ars Electronica Festival and Transmediale Festival, and has been exhibited at the Institute of Contemporary Arts (ICA) in London, and others.


Bio

Jonah Brucker-Cohen

Jonah Brucker-Cohen, Ph.D., is an award winning researcher, artist, and writer. He is an Assistant Professor of Digital Media and Networked Culture at Lehman College / CUNY in the Bronx. He received his Ph.D. in the Disruptive Design Team of the Electronic and Electrical Engineering Department of Trinity College Dublin. His work and thesis entitled “Deconstructing Networks” includes over 100 creative projects that critically challenge and subvert accepted perceptions of network interaction and experience. His work has been exhibited and showcased at venues such as SFMOMA, Canadian Museum of Contemporary Art, MOMA, ICA London, Whitney Museum of American Art (Artport), Palais du Tokyo, Tate Modern, Ars Electronica, Transmediale, and more. His project, “Bumplist”, is included in the permanent collection of the Whitney Museum of American Art. His writing has appeared in publications such as WIRED, Make, Gizmodo, Neural and more. His Scrapyard Challenge workshops have been held in over 15 countries in Europe, South America, North America, Asia, and Australia since 2003.


Mike Bennett

Mike Bennett is a researcher, scientist and inventor. Over the decades he has focused on augmenting human abilities and senses, with thoughtfully designed technologies. He holds a PhD at the intersection of human perception and visual design, and was a researcher in Stanford University and MIT's Media Lab Europe. His work has been shown at festivals such as Ars Electronica, CHI, Transmediale, and institutions such as the Institute of Contemporary Art in London, the Whitney Museum of American Art's Artport, and San Francisco Museum of Modern Art.

踢出列表:一个探索者的邮件社区

乔纳·布鲁克尔-科恩,麦克·本尼特


邮件列表,数字打印
2003

《踢出列表》是一个邮件列表,旨在重新审视线上电子邮件列表的文化和规则。《踢出列表》设有有限的订阅者数量,所以当有新的人订阅时,列表上的第一位订阅者就会被 "踢出",或者说,被取消订阅。一旦订阅,只有在他人订阅后,将你"踢出"列表时,你才能被取消订阅。“踢出列表”积极鼓励人们加入到如果被踢出就反复订阅的过程中。项目重点探讨的问题是,通过沟通媒介上附加简单的规则,通信往来的方式以及连接的行为是否会随着时间的推移而改变。《踢出列表》作为惠特尼美国艺术博物馆 "artport "网站的门页首次发布,此后被惠特尼博物馆永久收藏,并获得多个奖项,包括2004年林茨电子艺术节和转译艺术节的网络视觉荣誉奖,并在伦敦当代艺术中心(ICA)等地展出。


乔纳·布鲁克尔-科恩博士是一位屡获殊荣的研究员、艺术家和作家。他是布朗克斯的雷曼学院/CUNY数字媒体和网络文化的助理教授。他在都柏林三一学院电子和电气工程系的颠覆性设计团队时,获得了博士学位。他的作品和论文名为“解构网络”,涵盖了100多个创意项目,这些项目批判性地挑战和颠覆了人们对网络互动和体验的认知。他的作品曾在SFMOMA、加拿大当代艺术博物馆、MOMA纽约现代艺术博物馆、伦敦ICA、惠特尼美国艺术博物馆(Artport)、东京宫、泰特现代美术馆、林茨电子艺术节、转译媒体艺术节等地展出和展示。他的项目《踢出列表》被惠特尼美国艺术博物馆永久收藏。他的作品曾出现在WIRED、Make、Gizmodo、Neural等刊物上。自2003年以来,他的Scrapyard Challenge工作坊已在欧洲、南美、北美、亚洲和澳大利亚的15个国家成功举办。

麦克·本尼特是一位研究人员、科学家以及发明家。几十年来,他一直专注于通过成熟的技术设计以增强人类的能力和感官。他拥有人类感知和视觉设计交叉领域的博士学位,并曾在斯坦福大学和麻省理工学院的欧洲媒体实验室担任研究员。他的作品曾展出于林茨媒体艺术节、CHI、转媒体艺术节等和伦敦当代艺术学院、惠特尼美国艺术博物馆(Artport)、旧金山现代艺术博物馆等机构展出。

©Courtesy the artist
Computer museum in the web
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Computer museum in the web

ZHOU Pengan


antique electronic devices collection
2020

Computer museum in the web is an online museum designed for Chinese readers. It based on modern web technologies, it provided browser-based emulators for variant classic computers with no configuration required. Users can play with many different historic computer operating environments and featured applications.

The Computer museum in the web project aims to introduce the classic home computers which was widely influenced digital culture but still not well known to Chinese community. For example, the Commodore 64 and ZX Spectrum. In another hand, this project is also trying to reproduce the valuable digital life experience, especially the "people's history" in China. For example the China FidoNet (CFido), which is a national wide BBS network, as well as the electronic dictionary community and PDA user groups which is the early adopter of mobile computing and the Flash animation hobbyists (Flasher) who use interactive web technology as a story narrative medium.

Computer museum in the web is not only focused on the technology specifications, but also aims to inspiring an understanding how digital technology and popular culture get connected. "People's computing" is an offline extension of the online museum. It reproduced technology factors between late 90s to early 2000s, like CFido and early mobile internet. It highlights the role of the "unsung heroes" in shaping today's digital culture and the Internet, and hope to bring a rethinking of the technology influenced fashions such as "Y2K aesthetic". 


Bio

ZHOU Pengan is a software developer as well as researcher and influencer of retro computing and related culture. When he was a student, he is an active member of Chinese PDA user group. He was relocated to Canada in 2009 then get in touch with demoscene and retro computing groups.

In 2016 he starts the “vintage computer room” writing project on Chinese Q&A social network Zhihu, which is the first Chinese column which focus on retro computing and related technology culture topics like demoscene, chip music, DIY and open source software and hardware.

In 2018 he builds the online computer museum “dnbwg.com”, which is the first Chinese website using web-based emulators to demonstrate how older computers systems working. Later this website also provides in-browser experience of early online system, for example CFido was the Chinese dial-up BBS network running in 1990s and InfoHighway is the very first ISP available to the public in China mainland.

网页里的电脑博物馆

周蓬岸


电子设备古董藏品,网站
2020

网页里的电脑博物馆是一个面向中文读者的线上博物馆。它使用了现代网页开发技术,读者们可以通过浏览器访问无需配置的旧型电脑模拟器,来体验历史上诸多不同电脑系统的操作环境和有代表性的应用软件。

网页里的电脑博物馆一方面希望向中国的观众们介绍哪些曾经对数字文化产生深刻影响,但并不为中国用户读者所熟知的电脑机型,如Commodore 64、ZX Spectrum等,另一方面也希望能够重现那些有价值的,特别是中国本土的数字生活“民间史”:如曾经广泛被使用的BBS网络中国惠多网(China FidoNet - CFido),启蒙了移动计算热潮的电子辞典和PDA社群、以及使用互联网技术作为叙事性媒介的闪客(Flash Animatior - Flasher)社群。

网页里的电脑博物馆不仅仅关注于技术特性,它更加希望能够启发人们对数字技术和大众文化之间联系的理解。“大众计算”是网页里的电脑博物馆的线下延申,它复原了1990年代末的惠多网到2000带年初的早期移动互联网等诸多的技术元素,在彰显了那些“无名英雄”们对塑造今日互联网所作的贡献的同时,也希望带给人们对Y2K等美学潮流的再思考。


周蓬岸是一位软件工程师,同时也是复古计算及相关文化的研究者和传播者。在他的学生时期,曾经是中文PDA用户社群的活跃成员。他在2009年移居加拿大后接触到演示场景和复古计算团体。

在2016年他在中文问答社交网络知乎上启动了名为“古董电脑室”的写作计划,这是第一个专注于复古计算及相关文化现象,如演示场景、芯片音乐、DIY和开源软硬件的中文专栏。

在2018年他搭建了线上电脑博物馆dnbwg.com,是第一个是用基于网页的模拟器展示老式电脑运作的中文网站。稍后这一网站也提供在浏览器中体验老式在线系统的服务,比如1990年代的中文拨号BBS网络CFido,以及中国大陆最早向公众开放的互联网接入商瀛海威时空。

©Courtesy the artist
Default filename tv
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Default filename tv

Everest Pipkin


Software, screens
Dimensions variable
2019

Default filename tv is a YouTube aggregator that serves only videos uploaded directly from the camera, without edits to the filename. With titles like 1453.MOV and DSC_9056, these small moments point back to an era of YouTube that was intimate, personal, and mundane. The majority are short, under a minute, and have view-counts in the dozens (if that). Default filename tv directly works against monetization trends by prioritizing fragments of these deeply human moments that are at turns boring, silly, sad, tender, beautiful, disgusting, or triumphant.


Bio

Everest Pipkin is a drawing and software artist from Central Texas, who produces intimate work with large data sets. Through the use of online archives, big data repositories, and other resources for digital information, they aim to reclaim the corporate internet as a space that can be gentle, ecological, and personal. They hold a BFA from University of Texas at Austin, a MFA from Carnegie Mellon University, and have shown nationally and internationally at The Design Museum of London, The Texas Biennial, The XXI Triennale of Milan, The Photographers Gallery of London, Minneapolis College of Art and Design, and others. They have completed residencies at Center for Land Use Interpretation, Signal Culture, The Media Archeology Lab, and PLAYA Summer Lake, and teach and speak regularly, including at Eyeo, School for Poetic Computation, The Victoria & Albert Museum, and Feral Vector.

默认文件名tv

爱弗勒斯·皮普金


软件,显示器
尺寸可变
2019

《默认文件名tv》是一个YouTube聚合器,只服务于直接从相机上传、文件名并未经由任何编辑的视频。这些时光片段以类似1453.MOV和DSC_9056这样的标题命名,指向一个亲密的、个人的、平凡的YouTube时代。绝大部分的视频较为短小,在一分钟以内,并有观看次数(如有)计数。《默认文件名tv》直接与盈利化的趋势背道而驰,聚焦这些深具人性的时刻,它们可以是无聊的、愚蠢的、悲伤的、温柔的、美丽的、令人厌恶的或者充满喜悦的。


爱弗勒斯·皮普金是一位来自德克萨斯州中部的绘画和软件艺术家,他用大型数据集制作精密的作品。通过使用在线档案馆、大数据库和其他数字信息资源,他的团队旨在将企业互联网重新打造成一个可以温柔、生态和人性化的空间。他们在克萨斯大学奥斯汀分校以艺术学士学位毕业后,在卡内基梅隆大学获得艺术硕士学位,作品曾在伦敦设计博物馆、德克萨斯双年展、米兰第二十一届三年展、伦敦摄影家画廊、明尼阿波利斯艺术与设计学院等国内外进行展出。他们曾在土地利用解释中心、信号文化(Signal Culture)、媒体考古实验室、PLAYA夏季湖畔等地完成驻留创作,并定期在Eyeo、诗意计算学院(School for Poetic Computation)、维多利亚与阿尔伯特博物馆、Feral Vector游戏节等进行教学和演讲。

©Courtesy the artist
Derivatives
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Derivatives

Paolo Cirio


Inkjet prints on canvas, website
2019

This series is composed of over a hundred thousand images and records of artworks appropriated from Sotheby's auctions to turn them into further financial derivatives. Cirio overlayed the auction prices over the images works and sells them as digital artworks on the website Art-Derivatives.com for a fraction of the value set at the auctions. A "future" financial derivative contract is integrated into the work and signed by the buyers and the artist Cirio at the time of sale. By betting against future prices of derivative works, everyday investors can ironically participate in the financialization of art. In doing so the project aims to subvert the art market with its own logic. As a form of institutional critique, Derivatives reflects on the speculative value of images in the representation of art as a financial instrument. The aesthetics of art is often judged by the inflated prices. As such, in this work, the images are seen through their financial qualities rather than their visual features and artistic merits. In addition, the project campaigns for enacting more transparency and fairness in the art market. In order to provoke regulation, Cirio has investigated secrecy and manipulation of art auctions with extensive research. This work seeks to tackle practices that generate inequality within the art world, as well as improper use of wealth and art itself.


Bio

Paolo Cirio works with legal, economic, and cultural systems of the information society. He investigates social fields impacted by the Internet, such as privacy, democracy, finance, and intellectual property. Cirio's art embodies the contradictions, conflicts, and potentials inherent to the social complexity of information society through a critical and proactive approach. For his art and activism, Cirio has often been subject to investigations, legal and personal threats. For instance, his artworks have unsettled institutions such as Facebook, Amazon, Google, VISA, Pearson, Cayman Islands, and NATO, among others.

Paolo Cirio has won a number of awards, including Golden Nica first prize at Ars Electronica in Linz, 2014; Transmediale second prize in Berlin, 2006; Eyebeam Fellowship, 2012; and NEA grant at ISCP in NYC, 2017; among others awards.

衍生品

保罗·奇里奥


画布喷墨打印,网站
2019

该系列作品由逾十万件从苏富比拍卖会上挪用的艺术品图片与记录所组成,并进一步将其转化为金融衍生品。奇里奥将拍卖价格叠加在图像作品上,将其作为数字艺术品出售于网站Art-Derivatives.com,价格仅为拍卖会上的一小部分。作品中加入了一份 "未来 "的金融衍生品合同,由买家和艺术家奇里奥在销售时签署。通过押注衍生作品的未来价格,日常投资者也讽刺性地参与了艺术的金融化过程,作品以此通过其本身的逻辑颠覆艺术市场。作为一种制度批判,《衍生品》思考图像作为艺术 —— 一种金融工具 —— 的表现形式时的投机价值。艺术的美学往往是由虚高的价格判定。因此,在这件作品中,图像的观看方式是通过其金融质量而非视觉特征和艺术价值。此外,项目倡导在艺术市场上实行更高的透明度与公平性。为了推进监管,奇里奥通过广泛的研究,调查了艺术拍卖中存在的秘密与操控。作品寻求解决现实艺术世界中所产生的不平等以及对财富和艺术本身的不当使用。


保罗·奇里奥致力于研究当今信息社会的法律、经济和文化体系等方面。他重在调研受互联网影响的社会领域,如隐私、民主、金融和知识产权。齐里奥的艺术通过一种批判性和前瞻性的方法,展现出了信息社会的复杂性及其固有的矛盾、冲突和潜力。由于他的艺术所带有的激进的行为主义色彩,奇里奥经常受到调查、法律审查甚至一些私人的警告威胁。他的作品不胜枚举,曾在 Facebook、亚马逊、谷歌、 VISA、培生、开曼群岛、北约等机构中展出。保罗 · 奇里奥获得了许多奖项,包括2014年在林茨电子艺术节获得的金妮卡一等奖、2006年在柏林获得的跨媒体二等奖、2012年获得的 Eyebeam 奖学金、2017年在纽约的国际教育协会获得的恩颐投资基金等。

©Courtesy the artist
Domestic Tension
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Domestic Tension

Wafaa Bilal


documentations of performance, screen
2007

Domestic Tension is a live-streaming performance conducted by Wafaa Bilal in 2007. The video documents Bilal’s confinement of himself in the gallery space during the course of the exhibition. Meanwhile, viewers had 24-hour virtual access to the space via the Internet. They had the ability to watch Bilal and interacted with him through a live web-cam and chat room. Shall they choose to do so, viewers also had the option to shoot Bilal with a paintball gun, transforming the virtual experience into a very physical one. Bilal’s self imposed confinement was designed to raise awareness about the life of the Iraqi people and the home confinement they face due to the both the violent and the virtual war they face on a daily basis. This sensational approach to the war is meant to engage people who may not be willing to engage in political dialogue through conventional means. Domestic Tension depicts the suffering of war not through human displays of dramatic emotion, but rather through engaging people in the sort of playful interactive video game with which they are familiar.


Bio

Iraqi-born artist Wafaa Bilal is known internationally for his on-line performative and interactive works provoking dialogue about international and interpersonal politics. Bilal’s work explores tensions between the cultural spaces he occupies —his home in the comfort zone of the U.S. and his consciousness in the conflict zone in Iraq. The Chicago Tribune called his 2007 installation Domestic Tension “one of the sharpest works of political art to be seen in a long time”—naming him 2008 Artist of the Year. That year, City Lights published Shoot an Iraqi: Art, Life and Resistance Under the Gun about Bilal’s life and Domestic Tension. Using his own body as a medium, Bilal continued to challenge the public’s comfort zone with projects like 3rdi and and Counting…. Bilal’s work, Canto III, was included as part of the Iranian pavilion at the 2015 Venice Biennale. Bilal’s current work 168:01 brings awareness to cultural destruction and promotes the collective healing process through education and audience participation. His work can be found in the permanent collections of the Los Angeles County Museum of Art, Los Angeles, CA; Museum of Contemporary Photography, Chicago, IL; MATHAF: Arab Museum of Modern Art, Doha, Qatar; amongst others. He holds a BFA from the University of New Mexico, an MFA from the School of the Art Institute of Chicago and was conferred an honorary PhD from DePauw University. Bilal is currently an Arts Professor at NYU’s Tisch School of the Arts.

紧张局势

瓦法·比拉尔


行为表演记录、屏幕
2007

《紧张局势》是瓦法·比拉尔在2007年进行的一场现场直播表演。这段影像记录了比拉尔在展览期间在画廊空间内的自我禁闭。同时,观众可以通过互联网24小时虚拟访问这个空间。他们可以观看比拉尔,并通过现场网络摄像头和聊天室与他互动。如果他们选择这样做,观众还可以选择用彩弹枪射击比拉尔,将虚拟体验转变为物理体验。比拉尔实施的自我禁闭旨在提高人们对伊拉克人民生活的关注,以及他们每天面临的暴力和虚拟战争所带来的家庭禁闭。通过这种强调感官的方式去了解战争,作品吸引了那些可能不愿意通过传统方式参与政治对话的人群。《紧张局势》不是通过人类对戏剧性情感的演绎来描绘战争的苦难,而是通过让人们参与到那种熟悉有趣的交互电子游戏中来理解这种凝重的情感。


出生于伊拉克的艺术家瓦法·比拉尔以其线上表演和交互作品而闻名于世,他的作品引发了关于国际和人际政治的对话。比拉尔的作品探索了他所处的文化空间—— 他在美国舒适区的家和他在伊拉克冲突区的意识——之间的紧张关系。《芝加哥论坛报》称其2007年的装置作品“紧张局势”为“长期以来最犀利的政治艺术作品之一”,并将其评为2008年年度艺术家。同年,城市之光出版了《射杀一个伊拉克人:枪下的艺术、生活和抵抗》,讲述了比拉尔的生活和国内紧张局势。比拉尔以自己的身体作为媒介,继续以“3rdi”与“计数…”等项目挑战公众的舒适区。比拉尔的作品“Canto III”被列为2015年威尼斯双年展伊朗馆的一部分。比拉尔的近期作品“168:01”让人们意识到文化破坏的问题,并通过教育和观众参与来促进集体治愈的过程。他的作品永久收藏于洛杉矶县立艺术博物馆(加利福尼亚)、当代摄影博物馆(伊利诺伊州,芝加哥)、阿拉伯现代艺术博物馆(MATHAF,多哈,卡塔尔)等。他获有新墨西哥大学的艺术学士学位、芝加哥艺术学院的艺术硕士学位,并被授予德保大学的荣誉博士学位。比拉尔目前是纽约大学Tisch艺术学院的艺术教授。

©Courtesy the artist
Lacework
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Lacework

Everest Pipkin


Video installation, projector
Dimensions variable
2020

Using algorithms that stretch time and add details to images, Lacework creates a series of hallucinatory slow-motion vignettes from the videos of everyday actions that form MIT’s Moments in Time Dataset. The Moments in Time Dataset was developed in 2018 to recognize and understand different actions in video by automated systems. It contains one million 3 second videos scraped websites like YouTube and Tumblr, each tagged with a single verb like asking, resting, snowing or praying.

Each of the 339 verb tags contains thousands of videos ranging from the very personal to the widely recognizable. For instance, the 'Drumming' tag includes a high school marching band, an excerpt of Animal from The Muppets, a performer in a subway station and a YouTube tutorial, among others. 'Flying' includes a view from the window of an airplane, a bee circling a flower, a satellite rotating above the earth, a flock of flamingos and a skydiver yelling something we cannot hear.

By manipulating the source videos of the dataset, Lacework presents a river of these moments, as captured in amber; flowing from one to another into a cascade of gradual, unfolding details. 

Lacework was originally commissioned by The Photographers’ Gallery, London.


Bio

Everest Pipkin is a drawing and software artist from Central Texas, who produces intimate work with large data sets. Through the use of online archives, big data repositories, and other resources for digital information, they aim to reclaim the corporate internet as a space that can be gentle, ecological, and personal. They hold a BFA from University of Texas at Austin, a MFA from Carnegie Mellon University, and have shown nationally and internationally at The Design Museum of London, The Texas Biennial, The XXI Triennale of Milan, The Photographers Gallery of London, Minneapolis College of Art and Design, and others. They have completed residencies at Center for Land Use Interpretation, Signal Culture, The Media Archeology Lab, and PLAYA Summer Lake, and teach and speak regularly, including at Eyeo, School for Poetic Computation, The Victoria & Albert Museum, and Feral Vector.

花边

爱弗勒斯·皮普金


影像装置,投影
尺寸可变
2020

拉伸时间,为图像添加细节——《花边》将这种算法运用至MIT的“时间片段数据集(Moments in Time Dataset)”项目中,记录了日常动作的片段,并创建了一系列迷幻的慢动作短片。“时间片段数据集” 开发于2018年,其自动系统用于识别与理解视频中的不同动作。它包含了100万个时长为3秒,散置于YouTube和Tumblr等网站上的视频,它们都带有一条动词标签,如询问、休息、下雪或祈祷。

339条动词标签中的每一条都包含了数千个视频,有的非常个人化,有的广为人知。例如, “打鼓”的标签下有一支高中行进乐队的画面、《布偶大电影》中角色Animal的片段节选、一位地铁站里的表演者以及一段YouTube教程等等。“飞行”则包括了飞机窗外的景象、一只蜜蜂在花朵上盘旋、一颗卫星在地球上空旋转、一群火烈鸟和一个跳伞运动员在大喊一些我们听不到的东西。

通过对数据集的源视频进行处理,《花边》呈现了一条以片段构成的河流,将它们凝固于一块琥珀之中;从一个瞬间流向另一个瞬间,形成一连串逐渐展开的细节。

《花边》由伦敦摄影家画廊委约创作。


爱弗勒斯·皮普金是一位来自德克萨斯州中部的绘画和软件艺术家,他用大型数据集制作精密的作品。通过使用在线档案馆、大数据库和其他数字信息资源,他的团队旨在将企业互联网重新打造成一个温柔、生态和人性化的空间。他们在克萨斯大学奥斯汀分校以艺术学士学位毕业后,在卡内基梅隆大学获得艺术硕士学位,作品曾在伦敦设计博物馆、德克萨斯双年展、米兰第二十一届三年展、伦敦摄影家画廊、明尼阿波利斯艺术与设计学院等国内外进行展出。他们曾在土地利用解释中心、信号文化(Signal Culture)、媒体考古实验室、PLAYA夏季湖畔等地完成驻留创作,并定期在Eyeo、诗意计算学院(School for Poetic Computation)、维多利亚与阿尔伯特博物馆、Feral Vector游戏节等进行教学和演讲。

©Courtesy the artist
Later Date
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Later Date

Lauren Lee McCarthy


Performance
2020

“I think one day we will be able to go outside again. Honestly, I am fantasizing about this day. Seeing you. Reaching out and touching. Breathing, talking, anything really. This is a performance in two parts. In the first, we will chat. We will imagine together our meeting. Where we’ll go, what we’ll say, what we’ll do. This future script will be saved. One day, when we are allowed again, you will receive an email with this script and a request to meet as planned. This will be part two of the performance.”


Bio

Lauren Lee McCarthy is an LA-based artist examining social relationships in the midst of surveillance, automation, and algorithmic living. She is the creator of p5.js, and Co-Director of the Processing Foundation. Lauren's work has been exhibited internationally, at places such as The Barbican Centre, Ars Electronica, Fotomuseum Winterthur, Haus der elektronischen Künste, SIGGRAPH, Onassis Cultural Center, IDFA DocLab, Science Gallery Dublin, Seoul Museum of Art. She has received numerous honors including a Creative Capital Award, Ars Electronica Golden Nica, Sundance Fellowship, Eyebeam Fellowship, and grants from the Knight Foundation, Mozilla Foundation, Google, and Rhizome. Lauren is an Associate Professor at UCLA Design Media Arts.

后会有期

劳伦·李·麦卡锡


表演
2020

“我想有一天,我们又可以出门了。说实话,我一直在幻想着这一天,可以见到你、伸出手、抚摸。呼吸,说话,任何事情。表演分为两个部分。第一部分中,我们会聊天,一起想象我们的会面,我们会去哪里,会说什么,会做什么。这个未来的剧本会被保存下来。有一天,当我们再次被允许的时候,你会收到一封电子邮件,里面有这个剧本和一个按计划见面的请求。而这将是演出的第二部分。”


劳伦·李·麦卡锡是一位生活工作于洛杉矶的艺术家,她研究监控、自动化与算法生活中的社会关系。她是p5.js的创造者,也是Processing基金会的联合主任。劳伦的作品曾展出于国际范围内,如巴比肯中心、林茨电子艺术节、温特图尔摄影博物馆、巴塞尔电子艺术中心、图形学及互交技术特殊爱好者集团、Onassis文化中心、阿姆斯特丹国际纪录片艺术节Doc实验室、都柏林科学馆、首尔艺术博物馆等。她曾获得众多荣誉,包括创意资本奖、林茨电子艺术节金尼卡奖、圣丹斯奖金、Eyebeam奖金,以及骑士基金会、Mozilla基金会、谷歌和Rhizome的资助。劳伦时任加州大学洛杉矶分校设计媒体艺术学院的副教授。

©Courtesy the artist
Light and Dark Networks
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Light and Dark Networks

Ursula Endlicher


Data performances on CAC official website
2020

Light and Dark Networks consists of two online “data performances” inspired by the structures of natural networks and affected by weather and environmental changes. Visitors encounter depictions of a spider’s web at daytime and a mushroom’s mycelium—a network of hidden branching filaments that absorb nutrients for the mushrooms to grow—at nighttime. Virtual creatures, a spider and mushrooms impersonated by the artist, are activated to perform different “data dances” according to the changes in their habitat, which is defined by current local weather and carbon dioxide (CO2) levels. The spider web is blown into different locations on the insitution’s website according to wind direction and speed, and the number of mosquitos buzzing around the web is determined by the levels of CO2 in the atmosphere. Stretched across the Museum’s website, the mycelium changes its size on the basis of temperature and grows more mushroom videos in response to humidity levels, while the size of mushroom caps and number of spores are driven by CO2 levels. Light and Dark Networks explores networks as living organisms—be they spider webs, mycelium, or the Internet—as they are constantly changed by different artificial or natural parameters. Taking a look at the networked nature of both data and the physical environment, as well as their deeper structures, the work playfully examines how our physical and virtual existence are embedded in networks.

Light and Dark Networks" was commissioned by The Whitney Museum of American Art in NYC in 2011 as part of the Internet art series "Sunrise/Sunset.” The work ran on the museum’s website from December 2011 – March 2013, using NYC based weather and CO2 data. For "We=Link: Sideways" at Chronus Art Center in Shanghai, China, and some of the co-presenting institutions of the online exhibit, "Light and Dark Networks" will use local weather data of each city and global CO2 data to create the work for each website.


Bio

Ursula Endlicher turns digital code into material form while, conversely, imposing a physical element onto virtual systems. A NYC-based Austrian (new) media artist who has worked since the early ‘90s with interactive media and the Internet, she is investigating and using the – often hidden – structural components, architectures and interfaces of the networked world as topic and creative engine for her own work.

She builds net art works as well as Internet-connected live performances – in either medium environmental or audience based real-time data determine layout and choreographies. In her multi-media installations, using ceramics, video, data, agricultural fields and food, she invites her audience to partake in the celebration of these re-coded systems through participatory events and dinners that offer “edible HTML.”

Among her most well-known net art works is html_butoh, a movement database for the HTML language, commissioned by Turbulence.org. Another net art work, Light and Dark Networks, commissioned by the Whitney Museum of American Art, populated the museum’s website with different “data performances” driven by changes in New York City’s weather and air quality. 

Her work has been exhibited among others at Eyebeam, New York; transmediale, Berlin; SIGGRAPH, Yokohama; Ujazdowski Castle Centre for Contemporary Art, Warsaw; and at The Thing BBS.

晨与夜的网络

乌苏拉·恩德利歇尔


数据表演
2020

《晨与夜的网络》由两个线上“数据表演”组成,其灵感来自于自然网络的结构,与天气和环境的变化有所呼应。浏访者在白天所见是描画出来的蜘蛛网,到了夜间则是蘑菇的菌丝 —— 一种由隐藏的、分散的丝状物所组成的网络,吸收着蘑菇生长所需的营养。艺术家扮演的虚拟生物 —— 一只蜘蛛和蘑菇,会由所在地当前的天气和二氧化碳(CO2)水平变化被激活,并相应跳出不同的 "数据舞"。蜘蛛网会根据风向和风速被吹到机构网站的不同位置,而围绕蜘蛛网嗡嗡作响的蚊子数量则由大气中的二氧化碳水平决定。绵延在艺术中心网展上的菌丝会根据温度的变化而改变大小,并随着湿度水平的变化而生长出更多的蘑菇视频,而蘑菇盖的大小和孢子的数量则由二氧化碳水平驱动。《晨与夜的网络》探讨网络作为鲜活的有机体—— 无论是蜘蛛网、菌丝,还是互联网 —— 会被各种人工或自然参数不断改变。作品以数据和物理环境的网络化本质以及它们的深层结构为视角,戏谑地探讨了我们的物理和虚拟存在如何嵌入网络。

《晨与夜的网络》于2011年由纽约惠特尼美国艺术博物馆委托创作,纳入其互联网艺术系列 “日出日落(Sunrise Sunset)”。该作品于2011年12月-2013年3月于博物馆网站展出,使用了纽约市本地的天气和二氧化碳数据。而在本次展览“We=Link: 辺"中,《晨与夜的网络》运用新时线媒体艺术中心(上海)及其线上展出的合作机构,包括V2(鹿特丹)、卡尔斯鲁厄媒体与艺术中心|ZKM(卡尔斯鲁厄)、巴塞尔电子艺术中心(HeK,House of Electronic Arts Basel)所在城市的天气和二氧化碳数据来创作每个站点的作品。


乌苏拉·恩德利歇尔将数字代码转化为物质形式,同时,将物理元素运用于虚拟系统。她是一位居住在纽约的奥地利(新)媒体艺术家,自90年代初开始从事交互媒体和互联网的工作,她正在研究和使用网络世界的结构组件(通常是隐性的)、架构和界面作为自己工作的主题和创意引擎。

她创建了网络艺术作品以及与互联网连接的现场表演—无论是媒介环境还是观众的实时数据都决定了作品的布局和编排。在她的多媒体装置中,有着陶瓷、视频、数据、农田和食物等的运用,她邀请观众加入沉浸式体验的活动,提供“可食用的HTML”晚餐,从而进入这些重新编码系统的庆典。

她最知名的网络艺术作品是受Turbulence.org委托创作的HTML语言运动数据库 《html_butoh》。另一件网络艺术作品 ,《晨与夜的网络》,受惠特尼美国艺术博物馆委托,在纽约市天气和空气质量变化的驱动下,用不同的 "数据表演 "填充博物馆的网站。

她的作品曾展出于Eyebeam艺术中心(纽约)、转译媒体艺术节(柏林)、计算机图形和交互技术特别兴趣小组(SIGGRAPH)、Ujazdowski Castle当代艺术中心(华沙)与THE THING电子公告板社区。

©Courtesy the artist
Minds of Concern
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Minds of Concern

Knowbotic Research


Server: apache, mysql, python script, python cgi scripts; Client: HTMIL, flash (gnash) plugin; unitedwehack.ath.cx
2002

Minds of Concern, a project originally conceived as an exhibition for the New Museum, New York, 2002, consisted of an installation and a Net-based work. Using the Web interface of the Public Domain Scanner, visitors to the exhibition could select from certain groups on the project Website, such as movements or NGOs like Oxfam, the Freedom from Debt Coalition and COSATU, or media activists and artists who express critical views of global activities of the Internet community. Using the Public Domain Scanner’s virtual slot machine, visitors could “win” an NGO or an artist, as a mind of concern, and then can initiate network scans that analyze the security systems of the target server. These scans detect risk factors that make the server vulnerable to hackers or that can be used to determine whether the site is secure. The results of the scans were displayed in the exhibition using a light matrix that extended through the space, providing a visual indication of a server’s strength or weakness. 

Today, the website Minds of Concern presents an archived version of the performance described above. The user can select an NGO to be scanned, but the website returns an archived scan done in 2002. The artists took this decision as they repeatedly encountered problems with networks that prevented port scanning as precursors to attacks. 

http://krcf.knowbotiq.net/MINDS_NEWYORK/1MoC0.htm gives an account of such an incident at the New Museum in 2002.

HeK Collection 


Bio

Knowbotic Research is a German-Swiss electronic art group, established in 1991. Its members are Yvonne Wilhelm, Christian Hübler and Alexander Tuchacek. They hold a professorship for Art and Media at the University of the Arts in Zurich. Yvonne Wilhelm (born 1962), Christian Huebler (born 1962), Alexander Tuchacek (born 1962) are based in Zurich Switzerland.

Knowbotic is a coinage that combined “knowledge” with “robot”, meaning intellectual agent on the Internet. Knowbotic has developed some projects themed on an information environment and a computer interface. Since 1998, it has become more flexible, and with these main three of them, different members from various fields such as art, science, and philosophy, have joined in each program.

关注之心

知识机器研究


服务器:apache, mysql, python脚本, python cgi脚本;客户端: HTMIL, flash插件(gnash); unitedwehack.ath.cx
2002

《关注之心》是一个最初为2002年纽约新美术馆展览而构思的项目,由装置和基于网络的作品组成。利用“公共领域扫描仪(Public Domain Scanner)”的网络界面,参观者可以从项目网站上选择某些团体,如Oxfam、免除债务联盟和COSATU等运动或非政府组织(NGO),或者是对互联网社区的全球活动表达批评意见的媒体活动家和艺术家。利用 "公共领域扫描仪"的虚拟老虎机,访问者可以“赢得”对一个非政府组织或艺术家的关注,然后启动网络扫描,分析目标服务器的安全系统。这些扫描可以检测出使服务器容易受到黑客攻击的风险因素,或者可以用来判断网站的安全性。

 如今,《关注之心》网站呈现了上述行为表演的文献。用户可以选择想要扫描的NGO,但网站会返回至2002年的扫描结果。艺术家之所以做此决定,是因为他们反复遇到将端口扫描作为攻击先兆并进行阻挠的网络问题。

http://krcf.knowbotiq.net/MINDS_NEWYORK/1MoC0.htm叙述了2002年在新美术馆发生的此类事件。

巴塞尔电子艺术中心藏品


知识机器研究是一个德国-瑞士电子艺术团体,成立于1991年,成员有伊冯·威廉、克里斯蒂安·许布勒和亚历山大·图恰切克。他们在苏黎世艺术大学担任艺术和媒体教授。

知识机器研究是一个结合了“知识”和“机器人”的创造物,意为互联网上的智能主体。他们开发了一些以信息环境和计算机界面为主题的项目。自1998年以来,它变得更加灵活,除了主要的三位成员外,每个项目中都有来自艺术、科学、哲学等各个领域的不同成员加入。

©Courtesy the artist
net.art generator
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net.art generator

Cornelia Sollfrank


Interactive, net-based installation, Internet server inside a box (nag_machine)
1999

The net.art generator is a computer program that collects and recombines material from the Internet to create a new image. The WWW-interface of the easy-to-use program requires the user to enter a title which then functions as the search term, and to enter an author’s name. The generated images are stored online in an archive from where recent results can be downloaded. 

Since 1997 five different versions of the net.art generator have been realized in collaboration with seven programers: nag_01 to nag_05. A predecessor of the net.art generator has been in use for the project Female Extension [https://anthology.rhizome.org/female-extension].

Although it would be possible to work on the task the net.art generator fulfills by using other programing languages, all the programers so far have chosen the scripting language PERL. One reason for this might be that it has been quite popular within the hacker scene. It isfree software and the Comprehensive Perl Archive Network (CPAN) contains a huge number of modules which can be used as basic elements for the net.art generator.

The PERL script itself is very stable and reliable, but its functionality highly depends on the connected search engines. This is where the fun – and the trouble – originates. In the course of its existence the different versions of the nag have used a number of available search engines, but it has become harder and harder over time to get free access to search engine results (via their APIs). This is also the reason why the current version of the net.art generator, nag_05, has been out of order for many months: Google, the connected search engine, has changed their terms of use in 2015 and terminated the free access to their search results. In the meantime, the artist and collaborators have restored nag_05 by using a free but very limited offer by Google (100 requests per day).



Over the two decades of its existence, the nag has not just generated endless new works but also a series of problems and discourses which is why it can also be considered as a “conceptual tool.”

Homepage: net.art-generator.com


Bio

Cornelia Sollfrank (PhD) is an artist, researcher and university lecturer, living in Berlin (Germany). Recurring subjects in her artistic and academic work in and about digital cultures are artistic infrastructures, new forms of (political) self-organization, authorship and intellectual property, techno-feminist practice and theory. As a pioneer of Internet art, Cornelia Sollfrank built up a reputation with two central projects: the net.art generator – a web-based art-producing ‘machine,’ and Female Extension – her famous hack of the first competition for Internet art. Her experiments with the basic principles of aesthetic modernism implied conflicts with its institutional and legal framework and led to her academic research. In her PhD “Performing the Paradoxes of Intellectual Property,” Cornelia investigated the increasingly conflicting relationship between art and copyright. This led to her current research project ‘Creating Commons,’ based at the University of the Arts in Zürich. Her most recent artistic work, the performance À la recherche de l’information perdue, is about gender stereotypes in the digital underground with the example of Wikileaks. The artistic research group #purplenoise, founded in 2018, investigates the potential of social media for political manipulation. Her latest book The beautiful warriors. Technofeminist Praxis in the 21st Century was published in October 2019 with minorcompositions/Autonomedia, New York.

网络艺术发生器

科妮莉亚·索尔弗兰克


网基交互装置,网络服务器,盒子(nag_machine)
1999

《网络艺术发生器》是一个计算机程序,从互联网上收集并重组素材,创建一个新的图像。这个简易程序的万维网(WWW)界面要求用户输入一个标题作为搜索词条,然后输入作者的名字。生成的图片被在线存储于一个档案中,用户还可以从中下载近期生成的其他图片。 

自1997年以来,艺术家与七位程序员的合作实现了五个不同版本的“网络艺术发生器”:从nag_01到nag_05。《网络艺术发生器》的前身已被用于另一项目“女性扩展”[https://anthology.rhizome.org/female-extension]。

多种编程语言都可用于完成《网络艺术发生器》的任务,但目前为止,所有程序员都选择了脚本语言PERL。其中一个原因可能是PERL在黑客界相当流行。它是一种免费软件,其Perl综合档案网(CPAN)包含了大量模块,可以作为“网络艺术发生器”的基本元素。

PERL脚本本身稳定可靠,但其功能高度依赖于连接的搜索引擎,这也是乐趣和麻烦的源头。自它存在以来,不同版本的nag使用了许多市面上可寻的搜索引擎,但随着时间推移,要想免费访问搜索引擎结果(通过它们的应用程序编程接口)变得越来越难。这也是为什么当前版本的《网络艺术发生器》nag_05已停用数月。nag_05所连接的搜索引擎谷歌于2015年修改了使用条款,终止了对其搜索结果的免费访问。与此同时,艺术家与其合作者通过使用谷歌提供的免费但非常有限的服务(每天100个请求),恢复了nag_05。


nag存在的二十年中,不仅产生了无尽的新作品,还有一系列问题与讨论。因此,它也可以被看作是一个 "概念工具"。 

主页:net.art-generator.com


科妮莉亚·索尔弗兰克(博士)是一位艺术家、研究员和大学讲师,居住在柏林(德国)。在数字文化的(相关)邻域里,她所做的艺术和学术工作反复出现的主题有:艺术基础设施、(政治)自组织的新形式、作者身份和知识产权、技术女性主义实践和理论。作为互联网艺术的先驱,科妮莉亚·索而弗兰克闻名于其两个核心项目:《网络艺术发生器》—— 一个基于网络的艺术生产“机器",和《女性延展》—— 一次著名的黑客行动。她对审美现代主义基本原则的实验,映射了其中制度和法律框架的冲突,并进一步促成了她的学术研究。在她的博士课题 "表演知识产权的悖论 “中,科妮莉亚调查了艺术和版权之间日益加剧的冲突,并引出了她目前在苏黎世艺术大学的研究项目"创造共有"。她最近的表演作品《寻找丢失的信息》以维基解密为例,讲述了数字背景下的性别刻板印象。她所主导参与的艺术研究小组#purplenoise成立于2018年,研究社交媒体对政治操纵的潜在影响。她的最新著作《美丽的战士—21世纪的技术女权主义实践》于2019年10月出版,由纽约minorcompositions/Autonomedia出版。

©Courtesy the artist
netomat
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netomat

Maciej Wisniewski


network-based art project, meta-browser
1999

netomat is a network-based art project created by Maciej Wisniewski as an open, free-form, and flexible alternative to traditional page-based HTML browsers and search engines. This unique, multimedia browser launched in 1999 at the Postmasters gallery in New York City and was downloaded by nearly a million people in more than 80 countries within the first year.

Unlike traditional web browsers, which retrieve only predefined web content and rely on the model of the page, netomat engages a different internet -- one that is alive and unpredictable. In response to words and phrases typed in by the viewer, netomat interacts with the internet to retrieve text, images and audio, which flows onto the screen. Using a custom markup language called ‘netomatic markup language’ or ‘NML’ created by Maciej and designed specifically to explore the unexplored internet, netomat reveals how the ever-expanding network interprets and reinterprets cultural concepts and themes.

netomat has been referred to by reviewers as a ‘meta-browser’, a ‘nonlinear browser’, and even poetry. Greg Meckbach, writing in Computing Canada, referred to netomat as a meta-browser because not only did it use NML to gather and present information from across the Web, but also because users could learn NML to effectively create their own custom versions of the browser. Calling netomat a nonlinear browser, Reena Jana of Wired Magazine said, “An analogy for the netomat experience might be grooving to a DJ's mix of scratches and sampled tracks, with the vast amounts of information on the Web serving as the source for mixing materials.” C.T. Funkhouser, in his book, New Directions in Digital Poetry, described netomat as an “…information stream culled from the Internet mix and merge to create poems that feature everchanging juxtapositions and intertextual relationships.”


Bio

Creator of netomat, Maciej Wisniewski is an internationally respected digital artist, programmer, and pioneer in network-based software art projects.

Focusing on the underlying social impact of technology and networks, Maciej has created many high-profile digital art projects such as netomat, Four Stories with a Twist, 3 Seconds in the Memory of the Internet, Instant Places, Streaming Conscience, Netomatheque, Turnstile, Scanlink, Jackpot, and Tele-Touch. These projects have been exhibited at museums and galleries worldwide including the Whitney Museum of Contemporary Art (NY), MASS MoCA (North Adams, MA), San Francisco Art Institute, Walker Arts Center (Minneapolis), New Media Center at the Institute of Contemporary Arts (London), Villette-Numerique (Paris), Kiasma Museum of Contemporary Art (Helsinki), Center for Art and Media - ZKM (Karlsruhe), and the ICC Museum of Contemporary Art (Tokyo).

Maciej launched netomat, Inc. in January 2001 with partners Tamas Banovich, curator and co-owner of Postmasters, Alan Gershenfeld, and Kris Ramanathan to realize the full vision of the netomat art project. netomat, Inc. was one of the very first ‘double-bottom line’ startups to raise venture funding from traditional venture capital investors, strategic corporate investors, and philanthropic foundations seeking social impact. Twenty years later, netomat, Inc. still operates with Maciej and Kris at its helm.

Most recently, Maciej has founded a new Virtual Reality software company called 99 Cent Opera, and plans to launch the company’s first VR game, Edelweiss.

netomat

马切尔·维希涅夫斯基


网络艺术项目、元浏览器
1999

《netomat》是一个由马切尔·维希涅夫斯基创作的网络艺术项目。有别于传统的基于页面的HTML浏览器和搜索引擎,它是一个开放、自由和灵活的选择。这个独特的多媒体浏览器发布于1999年纽约市Postmasters画廊,第一年就有80多个国家近百万人下载。

与传统的只检索预定义网络内容、并依赖于页面模型的网络浏览器不同,《netomat》链接起了一个不同的互联网,一个生动、不可预测的互联网。为回应浏览者输入的单词和短语,《netomat》与互联网互动,检索文本、图像和音频,这些内容会流入屏幕。运用由维希涅夫斯基创造的netomat式定制标记语言(NML, netomatic markup language)”,《netomat》揭示了一个探索未被开垦的网络如何诠释以及重新诠释文化概念和主题。

《netomat》被评论家称为“元浏览器”、“非线性浏览器”,甚至是诗歌。葛列格·梅克巴赫在线上杂志《加拿大计算机》谈及《netomat》时,将其称为一个元浏览器,因为它不仅使用NML来收集和展示来自整个网络的信息,用户还可以学习NML来有效地创建他们自己的定制版本浏览器。《连线》杂志(WIRED)的丽娜·亚纳(Reena Jana)称《netomat》是一个非线性浏览器,她说:"‘netomat’的模拟体验就像是在DJ打碟与采样混音中摇摆,网络上的大量信息是混音素材的来源。" C.T.丰克豪瑟在其《数字诗歌的新方向》一书中,将《netomat》描述为"……从互联网上提取的信息流混合相融,创造出以不断变化的并置和互文关系为特征的诗歌。"


马切尔·维希涅夫斯基是享誉国际的数字艺术家、程序员和网基软件艺术项目的先驱。

维希涅夫斯基关注技术和网络的潜在社会影响,创造出许多高知名度的数字艺术项目,如“netomat”、“四则故事与一个转折”、“互联网记忆中的三秒”、“即刻之地”、“良知直播”、“Netomat之廊”、“Turnstile”、“Scanlink”、“Jackpot”和“远程互触”。这些项目曾展出于世界各地的博物馆和画廊,包括惠特尼当代艺术博物馆(纽约)、马萨诸塞州当代艺术博物馆(马萨诸塞州北亚当斯)、旧金山艺术学院、沃克艺术中心(明尼阿波利斯)、当代艺术中心 新媒体中心(伦敦)、“数字维拉特”(巴黎)、Kiasma当代艺术博物馆(赫尔辛基)、卡尔斯鲁厄媒体与艺术中心|ZKM(卡尔斯鲁厄)和ICC当代艺术博物馆(东京)。

2001年1月,维希涅夫斯基与合作伙伴塔马什·班纳维奇、Postmasters策展人和共有人艾伦·格申菲尔德和克里斯·拉玛那森一起创办了netomat公司,以实现netomat艺术项目的全部愿景。netomat公司是第一批从传统风险资本投资者、战略企业投资者和寻求社会影响的慈善基金会来筹集风险资金的“双底线”初创企业。20年后,netomat公司仍然在維希涅夫斯基和拉玛那森的带领下持续运营。

维希涅夫斯基于近期成立了一家新的虚拟现实软件公司—— 99分歌剧,并计划推出公司的第一款VR游戏《Edelweiss》。

©Courtesy the artist
pplkpr
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pplkpr

Lauren Lee McCarthy and Kyle McDonald


App
2015

pplkpr is an app that tracks, analyzes, and auto-manages your relationships. Using a smartwatch, pplkpr monitors users’ physical and emotional response to the people around users, and uses machine learning to optimize users’ social life accordingly. Posing as a startup, pplkpr critiques the increasing prevalence of surveillance and ML for social automation.


Bio

Lauren Lee McCarthy is an LA-based artist examining social relationships in the midst of surveillance, automation, and algorithmic living. She is the creator of p5.js, and Co-Director of the Processing Foundation. Lauren's work has been exhibited internationally, at places such as The Barbican Centre, Ars Electronica, Fotomuseum Winterthur, Haus der elektronischen Künste, SIGGRAPH, Onassis Cultural Center, IDFA DocLab, Science Gallery Dublin, Seoul Museum of Art. She has received numerous honors including a Creative Capital Award, Ars Electronica Golden Nica, Sundance Fellowship, Eyebeam Fellowship, and grants from the Knight Foundation, Mozilla Foundation, Google, and Rhizome. Lauren is an Associate Professor at UCLA Design Media Arts.

Kyle McDonald is an artist working with code. He crafts interactive installations, sneaky interventions, playful websites, workshops, and toolkits for other artists working with code. Exploring possibilities of new technologies: to understand how they affect society, to misuse them, and build alternative futures; aiming to share a laugh, spark curiosity, create confusion, and share spaces with magical vibes. Working with machine learning, computer vision, social and surveillance tech spanning commercial and arts spaces. Previously adjunct professor at NYU's ITP, member of F.A.T. Lab, community manager for openFrameworks, and artist in residence at STUDIO for Creative Inquiry at CMU, and YCAM in Japan. Work commissioned and shown around the world, including: the V&A, NTT ICC, Ars Electronica, Sonar, Todays Art, and Eyebeam.

pplkpr

劳伦·李·麦卡锡,凯尔·麦克唐纳


App
2015

《pplkpr》是一款跟踪、分析和自动管理用户人际关系的应用。通过智能手表,《pplkpr》监测用户对周围人的身体和情绪反应,同时借由机器学习来对用户的社交生活进行相应的优化。《pplkpr》以一家创业公司的姿态,批判了自动化社交所带来的日益盛行的监控与机器学习。


劳伦·李·麦卡锡是一位生活工作于洛杉矶的艺术家,她研究监控、自动化与算法生活中的社会关系。她是p5.js的创造者,也是Processing基金会的联合主任。劳伦的作品曾展出于国际范围内,如巴比肯中心、林茨电子艺术节、温特图尔摄影博物馆、巴塞尔电子艺术中心、图形学及互交技术特殊爱好者集团、Onassis文化中心、阿姆斯特丹国际纪录片艺术节Doc实验室、都柏林科学馆、首尔艺术博物馆等。她曾获得众多荣誉,包括创意资本奖、林茨电子艺术节金尼卡奖、圣丹斯奖金、Eyebeam奖金,以及骑士基金会、Mozilla基金会、谷歌和Rhizome的资助。劳伦时任加州大学洛杉矶分校设计媒体艺术学院的副教授。

凯尔·麦克唐纳是一位运用代码创作的艺术家,他也为其他使用代码的艺术家制作互动装置、隐秘的干预行动、富有趣味的网站、工作坊和工具包。他探索新技术的可能性:了解它们如何影响社会、被误用滥用、或者被用于建立别样的未来;他希望分享笑声,激发好奇心,创造紊乱,并分享具有魔力氛围的空间。他在商业与艺术空间中的作品运用机器学习、计算机视觉、社交和监控技术。他曾任纽约大学交互通讯专业的兼职教授、自由艺术与技术实验室成员、openFrameworks社区经理,以及卡内基梅隆大学创意探索工作室和日本山口艺术与技术中心的驻留艺术家。他的(委约)创作展出于世界各地,包括:维多利亚和阿尔伯特博物馆、NTT 交互通讯艺术中心、林茨电子艺术节、声呐艺术节、Todays Art艺术节和Eyebeam艺术中心。

©Courtesy the artist
Raoul Pictor Mega Painter
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Raoul Pictor Mega Painter

Hervé Graumann, Matthieu Cherubini


App, 43.2 MB. iOs 8.0, for iPhone, iPad and iTouch
2013

On the occasion of the 20th anniversary of the ficticious painter Raoul Pictor, who was programmed with loving irony in 1993, Hervé Graumann and Matthieu Cherubini developed the free app Raoul Pictor Mega Painter (2013). Fresh paint drips from the RP icon of the app that exponentially multiplies the artistic possibilities with which it equips its protagonist and users.

The personal universe of the artist still immersed in the struggle of creation his works, has remained largely the same. His studio has become more spacious and natural daylight enters through a window. In place of a piano, he now has a bed below the window and also a Macintosh Colour Classic computer on a little table. An original work from 1993 hangs beside his door.

Users of the app can choose from over twelve different styles, which occasionally change, as a basis for the creation of artworks. Once a picture is finished, it can be wrapped and transferred to the user’s own private collection. Raoul Pictor’s personal archive, which he has expanded over the past decades, is also open to visitors.

The app’s AR camera function allows users to insert works from their own collection into any photograph on their iPhone or iPad, enabling their appearance in any imaginable setting or even the creation of virtual exhibitions. The digital collages can be shared on Raoul’s own Instagram account rpctrrr. The app also provides an interface for analogue image production. Users can commission the execution of Pictor’s works as oil paintings. Simply specify the size and the finished Pictor painting is sent to your home. The app gives its main protagonist additional narrative depth by evolving his story. At the same time, it turns users into co-authors and virtual curators of their protégé’s art, multiplying his creativity and spreading it out into the world.

HeK Collection 


Bio

Hervé Graumann (*1963), teaches at the Haute Ecole d'Art et de Design (HEAD) Geneva, Switzerland. His work has been characterized by a humor tinged with irony in which words and associations of ideas feed a catalogue of absurd propositions. Graumann’s exhibitions include Documenta X, 1997, Biennale de Lyon, 1995, Kunsthalle Bern, 1998, MAMCO Geneva, 2003.

Matthieu Cherubini (*1983) is a designer / technologist from Switzerland based in Beijing. He studied software engineering and media / interaction design at HEAD-Genèva. Cherubini’s exhibition include How much of this is fiction, 2017, House of Electronic Arts, Basel; Hello, Robot, 2017, Vitra Museum, Weil am Rhein; Adhocracy, 2015, Onassis Cultural Center, Athens.

大画家拉乌尔·比克特

赫维·格劳曼,马修·凯鲁比尼


App(43.2MB,适用于iPhone、iPad与iTouch的iOs 8.0系统)
2013

1993年,兼具可爱与讽刺性的虚构画家拉乌尔·比克特由编程创造而成。在其诞辰20周年之际,赫维·格劳曼与马修·凯鲁比尼开发了免费应用《大画家拉乌尔·比克特(2013)》。新鲜的颜料从拉乌尔·比克特应用程序的图标上滴落,加速增长了主人公和用户所具备的艺术可能性。

艺术家的个人宇宙仍然沉浸在创作的纠结中,这一点大致没有改变。他的工作室变得更加宽敞,自然的日光从窗户洒入。他在窗户下原来放着钢琴的位置放了一张床,还有一张小桌子,上面有一台麦金塔电脑(Macintosh Colour Classic),门旁挂着一幅1993年的原作。

用户可以从超过12种不同的风格中作选,这些风格作为艺术作品创作的基础,偶尔会发生变化。在完成一张图片后,应用可以将其包装并转移到用户的私人收藏中。拉乌尔·比克特在过去几十年中不断扩充的个人档案也将对展览观众开放。

应用的AR相机功能允许用户将自己的藏品插入至iPhone或iPad上的任何照片中,使其出现在任何可以想象得到的场景中,甚至可以创建虚拟展览。这些数字拼贴画会被分享到拉乌尔自己的Instagram账号(rpctrr)上。该应用还提供了一个模拟图像制作的界面,用户可以委托将比克特的作品制作成油画。只需指定尺寸,比克特的成品油画就会送到用户家中。这款应用通过演化主角的故事,赋予其额外的叙事深度。同时,它将用户变成其“门徒艺术”的共同作者和虚拟策展人,使亲传创造力得到加成,并传播到全世界。


赫维·格劳曼(*1963),任教于瑞士日内瓦高级艺术与设计学院(HEAD)。他的作品特点是带有着讽刺意味的幽默,其中的词语和观念的关联充满了一连串荒诞的命题。格劳曼参与的展览包括第十届卡塞尔文献展(1997)、里昂双年展(1995)、伯尔尼艺术馆(1998)、日内瓦当代艺术博物馆(2003)。

马修·凯鲁比尼(*1983)是一位来自瑞士的设计师/技术专家,现居北京。他曾在日内瓦艺术与设计大学(HEAD-Genèva)学习软件工程和媒体/交互设计。·凯鲁比尼参与的展览包括:“这有多少是虚构的”(2017),巴塞尔电子艺术中心;“你好,机器人”,(2017),Vitra博物馆,莱茵河畔魏尔;灵活组织机构,(2015),奥纳西斯文化中心,雅典。

©Courtesy the artist
The Internet.click
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The Internet.click

Jonas Lund


Web game
2017

The Internet.click is a browser-based game with a simple challenge — click the Internet companies before they reach the bottom to advance to the next level and avoid more ads.

It is the second game in the Internet Game series that started with The Internet.express by the artist. The story of the first game's creation goes like this:

“Last week my friend and curator Sakrowski passed by the studio and we started searching for domain names containing internet, all of our top picks were taken, such as internet.club, and internet.surf, and even theinternet.club, yet after a while we found theinternet.express. I registered it for $3,95 for the first year, next one will be significantly more expensive I’m sure. Browsing often feels like you're on a high speed express train, surrounded by companies that want to capture your clicks, show you ads and monetise your behaviour, so theinternet.express puts you to the test, can you avoid the big five, racing against you, or will you crash into them and be subjected to even more ads?”


Bio

Jonas Lund (1984, Sweden) creates paintings, sculpture, photography, websites and performances that critically reflect on contemporary networked systems and power structures of control. His artistic practice involves creating systems and setting up parameters that oftentimes require engagement from the viewer. This results in performative artworks where tasks are executed according to algorithms or a set of rules. Through his works, Lund investigates the latest issues generated by the increasing digitalisation of contemporary society like authorship, participation and distribution of agency. At the same time, he questions the mechanisms of the art world; he challenges the production process, authoritative power and art market practices.

Lund earned an MA at Piet Zwart Institute, Rotterdam (2013) and a BFA at Gerrit Rietveld Academy, Amsterdam (2009). He has had solo exhibitions at The Photographers’ Gallery (2019), Whitechapel Art Gallery, London (2016), Steve Turner, Los Angeles (2016, 2015, 2014), Växjö Konsthall Sweden (2016), Showroom MAMA, Rotterdam (2013), New Museum, New York (2012), and has had work included in numerous group exhibitions including Centre Pompidou, Paris, Schinkel Pavillon, Berlin, ZKM, Karlsruhe, Vienna Biennale 2019, Witte De With, Rotterdam, Kindl – Centre for Contemporary Art, Berlin, and the Stedelijk Museum, Amsterdam. His work has been written about in Artforum, Frieze, Kunstforum, The New Yorker, The Guardian, Metropolis M, Artslant, Rhizome, Huffington Post, Furtherfield, Wired and more.

互联网.点击

雅努斯·隆德


网页游戏
2017

《互联网.点击》是一款基于浏览器的游戏,它的挑战很简单 —— 在互联网公司的图标达底部之前点击它们以进入下一关,并且躲避开更多广告。

该作品是由艺术家创作的“互联网游戏”系列的第二款游戏,第一款为《互联网.快车》,其故事梗概是:

“上周,我的朋友兼策展人萨科夫斯基路过工作室,我们开始搜索包含互联网的域名,我们的所有首选都已被选走了,比如“internet.club”,还有“internet.surf”,甚至是“theinternet.club”,然而过了一会儿,我们发现了“theinterent.express”。我以一年3.95美元的费用注册了它,我敢肯定下一年的费用会大大增加。浏览网页的时候常常感觉自己是在一辆高速快车上,周围都是一些想抓住你的点击、给你看广告、把你的行为货币化的公司,所以《互联网.快车》将你置入这场考验中,你能避开与你竞赛的五大公司吗?还是会撞上他们,面对更多广告?”


雅努斯·隆德(1984年,瑞典)创作绘画、雕塑、摄影、网站和表演,批判性地反映了当代网络系统和权力结构的掌控。他的艺术实践涉及系统创建和需要观众参与的参数设置。这样的输出会体现在根据算法或一套规则来执行任务的表演作品中。通过他的作品,隆德探究当代社会日益数字化所产生的最新问题,如创作者身份、能动性的参与和分配。同时,他对艺术世界的机制提出质疑;他对生产过程、权威力量和艺术市场实践发起挑战。

隆德在鹿特丹Piet Zwart学院获得硕士学位(2013年),并在阿姆斯特丹Gerrit Rietveld学院获得学士学位(2009年)。他的个展曾举办于摄影家画廊(2019)、白教堂美术馆(伦敦,2016)、Steve Turner画廊(洛杉矶,2016、2015、2014)、Växjö Konsthall画廊(瑞典,2016)、媒体与动态艺术展厅(鹿特丹,2013)、新美术馆(纽约,2012)。他曾参与众多群展,包括蓬皮杜艺术中心(巴黎)、欣克尔馆(柏林)、卡尔斯鲁厄艺术与媒体中心 | ZKM、2019年维也纳双年展、Witte De With当代艺术中心(鹿特丹)、Kindl当代艺术中心(柏林)和阿姆斯特丹Stedelijk博物馆。他的作品被报道于《艺术论坛》、《Frieze》、《Kunstforum》、《纽约客》、《卫报》、《Metropolis M》、Artslant、Rhizome、《赫芬顿邮报》、Furtherfield、《Wired》等媒体。

©Courtesy the artist
Toy, Biter, Inappropriate Appropriation
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Haroon Mirza


Toy
LED video screen, processor, purse
200 x 112.5 cm
2019

Biter
LED video screen, processor, toy
200 x 112.5 cm
2019

Inappropriate Appropriation
LED video screen, processor, toy
200 x 112.5 cm
2019

Inappropriate Appropriation, Biter, and Toy, are a series of work by Haroon Mirza that show live feeds of instagram via proxy server, which is the only way to access the major non-Chinese websites. They are made from modular LED screens that have been altered to make compartments for toys found in China that represent the appropriation of cultural artefacts that have themselves been appropriated in one form or another. The Instagram feeds are posts of Virgil Abloh’s recent exhibit at Galeries Lafayette in Paris. The works examine the complexities between the sharing of knowledge and ideas under the ideological shadow of intellectual property.

Special thanks to Lisson Gallary.


Bio

Haroon Mirza (b. 1977, London) has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. An advocate of interference (in the sense of electro-acoustic or radio disruption), he creates situations that purposefully cross wires. He describes his role as a composer, manipulating electricity, a live, invisible and volatile phenomenon, to make it dance to a different tune and calling on instruments as varied as household electronics, vinyl and turntables, LEDs, furniture, video footage and existing artworks to behave differently. Processes are left exposed and sounds occupy space in an unruly way, testing codes of conduct and charging the atmosphere. Mirza asks us to reconsider the perceptual distinctions between noise, sound and music, and draws into question the categorisation of cultural forms. "All music is organised sound or organised noise," he says. "So as long as you’re organising acoustic material, it’s just the perception and the context that defines it as music or noise or sound or just a nuisance" (2013).

哈伦·米尔萨


玩具
LED显示器,处理器,包
200 x 112.5 cm
2019

跟风狗
LED显示器,处理器,玩具
200 x 112.5 cm
2019

不适当的挪用
LED显示屏,处理器,玩具
200 x 112.5 cm
2019

《不适当的挪用》、《跟风狗》和《玩具》是由哈伦·米尔萨创作的一系列作品,通过代理服务显示instagram的实时画面,这是访问大部分非中国网站的唯一途径。作品由模块化的LED显示屏改造而成,划分出的间隔内摆放着国内搜集到的玩具,代表了对文化制品的挪用,而它们本身也以这样或那样的形式被挪用。Instagram的内容是维吉尔·阿布罗近期在巴黎老佛爷百货的展览帖子。作品探讨了知识产权的意识形态阴影下,知识与创意共享之间的复杂性。

特别感谢Lisson Gallary。


哈伦·米尔萨(1977年,伦敦)以其装置作品赢得了国际赞誉,这些作品测试了声音、光波和电流之间的相互作用和摩擦。作为干扰(在电声或无线电干扰的语意中)的研究者,他创造出在某一目的的驱使下跨越电线的状况。他将自己的角色描述为一位作曲家,操纵电流这个鲜活的、看不见的、不稳定的现象,让它随着不同的旋律起舞,并致力于使用家用电器、黑胶唱片和转盘、LED、家具、视频录像和现有的艺术作品等不同的乐器做出不同的行为。电声被处理的过程被暴露出来,声音以一种不规则的方式占据空间,一面测试其引导的电码,一面给气氛充电。米尔萨要求我们重新考虑噪音、声音和音乐之间的感性区别,并对文化形式的分类提出质疑。”所有的音乐都是编排好的声音或编排好的噪音,"他说。"所以,只要你在组织声学素材,将其定义为音乐或噪音或声音或只是一种骚扰,就只是感知和语境的问题"(2013)。

© Haroon Mirza; Courtesy Sifang Art Museum
TraceNoizer – Disinformation on Demand
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TraceNoizer – Disinformation on Demand

LAN


Internet artwork, server based: Apache, Php, Perl, Mysql, puf, rainbow
2001

TraceNoizer is a website that allowed all registered users to conceal their own Internet identity by repeatedly cloning and faking websites containing their name. Bit by bit, the so called clones were captured by the major search engines, so that they became indistinguishable from the original websites. The clones were stored on free web page hosting platforms that no longer exist today. With the help of the Clone Control Center, users had the chance to review a list of the  clones and, where appropriate, remove them. 

TraceNoizer dates from 2001 and worked with the world wide web from back then. However, as the world wide web went through big changes since then, particularly transitioning from personal webpages to social media, the parsing and cloning of the websites does not work properly today. Instead, the user can access clones the artists made in 2002.  

Working under the label "LAN" (Local Area Network) at the New Media Department of Zurich's Art and Design University, Annina Rüst, Roman Abt, Fabian Thommen, Urs Hodel and Silvan Zurbruegg already realized in 2001 that the only way to truly erase something from the Internet was to overlay relevant facts with false ones. In his ars oblivionalis, Umberto Eco describes this phenomenon as the generation of an all-encompassing noise. 

Neither the human brain nor the WWW can forget on demand. Unlike human memory, however, certain data that has appeared online is virtually impossible to erase permanently. How to make such data disappear is one of the biggest current controversies related to digitalization and one that affects every single one of us. 

HeK Collection 


Bio

The people behind TraceNoizer are LAN, a group consisting of students, media workers, artists and designers working under this name in varying compositions, sharing skills and resources in our locally networked environment and beyond. LAN creates network-oriented interactive projects. They regard their open source/open content position as a small but effective stance against the cultural dominance of large IT-corporations.

TraceNoizer---假消息随时恭候

LAN


网络作品,服务器:Apache,、Php、Perl、Mysql、puf、rainbow
2001

《TraceNoizer》是一个网站,所有注册用户可以通过反复克隆生成含有他们名字的假网站来掩盖自己的互联网身份。克隆链接逐渐地被各大搜索引擎采集,变得与真实网站无法区分。这些克隆存储在今天已经不存在的免费网页托管平台上。在克隆控制中心的帮助下,用户有机会查看克隆网站的列表,并在适当的时候将其删除。

自2001年始,《TraceNoizer》便利用万维网运行。然而,由于万维网自此经历了很大变化,特别是从个人网页到社交媒体的过渡,网站现在的解析和克隆功能已不能正常工作。作为替代,用户可以访问艺术家在2002年制作的克隆网站。

在苏黎世艺术与设计大学新媒体系以 "LAN(局域网)"名义工作的安妮娜·鲁斯特、罗曼·阿布特、法比安·托曼、乌尔斯·霍德尔和斯云·祖布鲁格在2001年就已经意识到,真正从互联网上抹去某些东西的唯一方法就是用假信息来覆盖相关的事实。翁贝托·艾柯在其《忘却之艺术?忘却之!(Arts Oblivionalis? Forget It)》一书中把这种现象描述为一种包罗万象的噪音之生成。

无论是人脑还是万维网,都不能按需遗忘。然而,与人类记忆不同的是,网上出现某些数据不可能被永久删除。如何让这些数据消失,是当前与数字化相关的最大争议之一,这个问题也影响着我们每一个人。

巴塞尔电子艺术中心藏品


在TraceNoizer幕后之人是LAN,一个由学生、媒体工作者、艺术家和设计师组成的团体,他们在LAN的名义下,以不同的组合方式工作,在本土网络环境和其他地方分享技能和资源。LAN创建了面向网络的交互项目。他们将自己对开源/开放内容的立场看作是对大型IT公司文化统治的一个微小却有效的反抗。

©the artist, courtesy HeK
We Leak Too
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We Leak Too

Leon Eckert, Vytas Jankauskas


Software: Ettercap, JavaScript, Mycroft, PostgreSQL, Python, tcpflow, Ubuntu
Hardware: custom enclosure, lattePanda Alpha, remote server, various electronics
2020

Voluntarily or not, nearly all connected devices leak. In a data-hungry world, being able to monitor digital information in one way or another becomes a significant leverage in sectors ranging from surveillance to commerce. Smart TVs overhear conversations, vacuum cleaners map floor plans and upload them to corporate servers, voice assistants are built into routers, gaining access to our browsing patterns, and so on.

Mycroft serves as a regular voice-assistant by answering conventional voice commands like “Hey Mycroft, what’s the weather today?” or “Hey Computer, tell me about Chelsea Manning”. However, just like vacuum cleaners that might sneakily upload home floor plans for ambiguous further use, Mycroft monitors insecure (http) data on the local WiFi network and hijacks it to create its own online content. Every time an open data packet is captured, Computer will log it and put it online; in the case of text-based information being intercepted, excerpts of its content get spoken aloud.

Object design contribution by YAO Jiawen


Bio

Vytas Jankauskas is an artist, designer, and researcher interested in how emerging technologies inhabit and shape our domestic mundane. His practice encompasses the Internet of Things, data ownership, digital citizenship, social media and their influence on our everyday. He has recently joined CAC as the new Head of Research/Creation at CAC_LAB.

Leon Eckert is a German programmer, researcher and artist focusing on the critical discussion of technology and its impact on society. His work is inspired by the psychological, cultural and geopolitical processes at play in a time of large-scale data collection and analysis.

一起泄露

里昂·埃克特,维塔斯·扬卡乌什卡斯


软件:Ettercap,JavaScript,Mycroft,PostgreSQL,Python,tcpflow,Ubuntu
硬件:定制外壳、lattePanda Alpha、远程服务器、电子元件
2020

无论用户的意愿为何,几乎所有的联网设备都会泄露信息。在这个数据至上的世界里,能够监控数字信息的种种方式成为了从监控到商业领域的重要筹码。智能电视会监听对话、吸尘器会掌握平面图并上传至企业服务器、语音助手被内置到路由器中,获取我们的浏览模式,等等。

Mycroft是一种常见的语音助手,可以回答一般的语音命令,比如 "嘿,Mycroft,今天的天气怎么样?"或者 "嘿,Mycroft,告诉我关于切尔西·曼宁的信息"。然而,就像吸尘器可能会暗中上传家庭平面布局以供尚不明确的进一步使用,Mycroft会监控本地WiFi网络上不安全的(http)数据,并劫持这些数据来创建自己的线上内容。当Mycroft每次捕捉到一个开放的数据包,它都会记录下来,并将其放至网上;在文本信息被截取时,其部分内容会被大声讲出来。

装置设计:姚嘉文


维塔斯·扬卡乌什卡斯是一位艺术家、设计师和研究者,他的研究关注新兴科技如何渗透并塑造我们的日常生活。他的研究方向包括物联网、数据所有权、数字公民、社交媒体和它们对于日常生活的影响。他目前是CAC_实验室的研究/创意主管。

里昂·埃克特是一位德国程序员,研究院与艺术家,关注技术批判的讨论与社会影响。他的作品灵感来自于对大规模数据收集与分析时代产生作用的心理、文化、地理政治过程。

©Courtesy the artist
Wind Verification
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Wind Verification

GUO Cheng


aluminum tube, fabric, air pump, motor, custom software and screen
Dimension variables
2020-ongoing

Wind Verification is a research-creation project based on the anthropological field of social media networks in the context of mass surveillance, which attempts to reproduce the observable but invisible object - wind - in the videos uploaded by social network users in an indoor physical space. The entire installation consists of a flag, a fan set, a screen and a control system. The selected short videos with flags are fed to the installation, the control system of installation manipulates the flag swinging matches the video, in an attempt to recreate the state of the wind in the digital footage in the physical world. "Wind Verification" aims to show how the emergence and popularity of short video social platforms such as TikTok and Kwai has led to a subversive shift in the sense that the grassroots can directly participate in the struggle for power to discourse, and the possibilities of bottom-up data analysis and processing. It is also a metaphor for the current era: the digital reality is becoming true reality.

Computer Vision algorithm development: Weihao Qiu (Ph.D. Student UCSB)


Bio

 Guo Cheng was born in Beijing in 1988 and currently lives and works in Shanghai. He received his bachelor's degree from Tongji University (2010) and his master's degree from the Royal College of Art (2012). Guo Cheng chiefly presents his works as sculptures and installations. His practice mainly focuses on exploring the mutual impacts and influences between established/emerging technologies and individuals in the context of culture and social life. In recent years, his practice has dealt with themes such as the Anthropocene and Second Nature, digitalized interobjectivity, and infrastructures and ideologies behind. Guo Cheng's works often use humorous yet calm plastic language, linking grand issues with seemingly arbitrary objects, and providing critical perspectives for discussion and imagination.

His recent solo exhibitions include: “Almost Unmeant”, Magician Space, Beijing (2020), “Down to Earth", Canton Gallery, Guangzhou (2019). Group exhibitions include: “Terminal>_ How Do We Begin?”, X museum, Beijing (2020), ”The Eternal Network” (exhibition of Transmediale 2020), HKW, Berlin (2020), etc.

He obtained Ars Electronica Honorary Mentions, Linz (2020); CAC://DKU Research & Creation Fellowship, Shanghai (2020); STARTS Prize Nomination, Linz (2020); the Digital Earth fellowship (2018-2019); the Special Jury Prize of Huayu Youth Award, Sanya (2018); the Bio-Art & Design Award, The Hague (2017).

风的验证

郭城


铝管、布料、气泵、电机、定制软件、屏幕
尺寸可变

2020 (进行中)

《风的验证》是一个研究创作型项目,其立足于大规模监控背景之下的社交媒体网络人类学田野,尝试通过装置在室内空间重现社交网络用户上传视频中的可见的不可见之物--风。整个装置由旗子、风扇组、屏幕和控制系统构成。经过挑选的带有旗子的网络短视频被发送给装置,装置的控制系统实时调节风扇组以保证旗帜摆动状况与视频中相吻合,以尝试在物理世界复原数字影像中的风的状态。《风的验证》旨在展现当下抖音、快手等短视频社交平台的出现与普及使得社会产生了一种由下而上,草根阶级可以直接参与争夺信息话语权的颠覆性意义的改变,以及自下而上进行数据分析处理的所带来的可能性。同时也是当下时代的隐喻:虚拟的真实正在成为真正的真实。

计算机视觉算法:邱伟豪(Ph.D. Student UCSB)


郭城1988年生于北京,现工作生活于上海。先后获得上海同济大学学士学位(2010)与英国皇家艺术学院硕士学位(2012)。他的艺术实践着眼于既有/新兴科技对社会与文化方面的冲击与影响,以及置身其中的个体与社会生活之间的关系。郭城的的作品常以雕塑/装置的形式呈现,他经常使用幽默又冷峻的形式语言,将宏大议题与看似随意的物品相连结,为想象和讨论提供了批判性的视角。

郭城近期的个展有:“近乎无意”,魔金石空间,北京(2020);“地气”,广州画廊,广州(2019)。群展包括:“终端>_How Do We Begin?”, X美术馆,北京(2020);“永恒网络”,世界文化宫,柏林(2020)等

郭城曾获得奥地利电子艺术奖荣誉奖,林茨(2020)、STARTS奖提名,林茨(2020),CAC://DKU研究与创作学术奖金,上海(2020),数字地球学术奖金(2018-2019)、华宇青年奖评委会特别奖,三亚(2018)、生物艺术奖,海牙(2017)。

©Courtesy the artist
Miasma of the Rocks
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Miasma of the Rocks

CHEN Pengpeng, LIU Xing, LIANG Yuhong, XU Haomin, ZHAO Hua


Web page, screen, host, rhodotorula, sensors, air pump, metal, acrylic, among others.
2020

Miasma of the Rocks embodies the materiality of a server and the breathing of network traffic, ghosting and flickering on the edge of the increasingly rigid structure and imagination of the Internet. With a series of ambiguous, neglected elements (such as the heat of sever hosts, the pup-up ads, the human sense of smell, etc.), Miasma of the Rocks constructs an unique network and communication system in between the online and offline spaces, in an attempt to formalize differed experiences and conception via the presence of network infrastructures and the simulacra of the “cloud”.

The project website is presented as a torturing chatterer, consisting of sprouting and refreshing pop-up windows with crawled texts, images and external links in uncanny patterns. Users’ visits and activities are being recorded imperceptibly, of which the indirect effect on the maintenance system in the exhibition space keeps the rhodotorula alive and growing. Miasma of the Rocks detaches the service host of the website from an environment of constant temperature and humidity in order to employ the heat of its over-loading operation as the fundamental of the maintenance system for the rhodotorula. The contraption is built in resemblance to a “stone cloud”, squashing and emitting a mysterious miasma generated from the Internet.


Bio

CHEN Pengpeng, born in 1996, currently lives in Beijing. He graduated from the Central Academy of Fine Arts in 2019 and studies the master program of the Experimental Art at CAFA. He focuses on image rheology. His works spans from installation, video, performance to text.

LIU Xing, born in Hunan in 1998, graduated from the Central Academy of Fine Arts with a bachelor's degree in 2019. He studies for a Master's degree at the Central Academy of Fine Arts, currently living and working in Guangzhou. He is well versed in leatherwork as well as specializes in handbag design. He is the co-founder of the handbag brand PabePabe. His works shed light on taxidermy installation, Pearl River Delta laborers and the Africans in Guangdong, etc.

LIANG Yuhong was born in 1996 in Fujian Province, currently lives and works in Beijing. She holds a Bachelor's degree in stage design from the National Academy of Chinese Theatre Arts and a Master's degree in Experimental Art at the Central Academy of Fine Arts. Her works explore her personal perception and reshaping of reality and illusion through different media such as literature, spatial vision and interactive network, seeking for communication and expression among multi subjects. She now dedicates to the narrative language of games, game images and the research and creation themed on virtual time and space.

XU Haomin, born in 1995 in Beijing. He graduated from the School of Humanities at the Central Academy of Fine Arts in 2017 with a Bachelor's degree and has been studying at the School of Experimental Art of the Central Academy of Fine Arts since 2019. He lives and works in Beijing. His current research and work inquire about the materiality and agency of media and technology per se, as well as the media archaeology about China.

ZHAO Hua studies at the Central Academy of Fine Arts. He focuses on social issues, labor and work, through his creative work with social intervention, performance and video.

岩间瘴⽓

陈朋朋、刘⾏、梁⾬荭、徐昊旻、赵华


⽹⻚、显示器、主机、红酵⺟、传感器、气泵、⾦属、亚克⼒等
2020

“岩间瘴⽓”以服务器的物质实体和数据流量造成的“喘息”作为载体,寻找徘徊、闪现于⽇益结板的互联⽹结构与想象之外的幽灵,通过调动⼀系列模棱两可的、时常被忽视的元素(如:服务器主机的热量、⽹络弹窗⼴告、⼈体的嗅觉等),于线上、线下之间构造⼀套另类的⽹络及通讯系统,尝试在互联⽹基建的展像和“云端”的仿像当中形成不同的体验与思考截⾯,探讨其意义与感知的特殊交汇处。

作品的⽹⻚部分被塑造为⼀个“喋喋不休”的磨⼈形象,由爬⾍拼凑的⽂字、图像、外链⻚⾯共同组成的弹窗群不断以迥异的模式在其上喷涌、刷新。⽤户的访问、操作都会被不知觉地记录,并间接地影响到线下展厅中维持红酵⺟存活、⽣⻓的供养系统。“岩间瘴⽓”将运⾏⽹⻚的服务器主机从其原本恒温、恒湿的优良环境中剥离,⽽其负载产⽣的热量则被⽤作红酵⺟供养系统的基底。整个装置系统被塑造为⼀块“⽯云”的样貌,其中不时地挤压、喷射出源⾃互联⽹的诡秘瘴⽓。


陈朋朋,1996年出生于北京,现生活于北京。2019年毕业于中央美院实验艺术学院,现中央美院实验艺术学院硕士在读。关注图像流变。作品涉及装置、影像、行为与文本。

刘行,1998年生于湖南,2019年本科毕业于中央美术学院,现硕士在读于中央美术学院,目前生活、工作于广州。他熟识皮革工艺以及擅长手袋设计,是手袋品牌PabePabe的联合创办人。他既往的创作涉及标本装置、珠三角劳工、在粤非洲人等。

梁雨荭,1996年出生于福建,现工作、居住北京。中国戏曲学院戏剧影视舞台美术设计学士,中央美术学院实验艺术学院硕士在读。她的创作尝试使用文学、空间视觉及互联网交互等不同媒介探索自身对现实与虚幻的感知及重塑,寻求多重主体间的交流与表达。目前专注对游戏叙事语言、游戏影像及以虚拟时空观为主题的研究与创作。

徐昊旻,1995年生于北京。2017年本科毕业于中央美术学院人文学院,2019年至今就读于中央美术学院实验艺术学院,现工作、生活于北京。他目前的研究和创作主要涉及媒介、技术自身的物质性与能动性,以及关于中国的媒介考古。

赵华,就读于中央美术学院。关注社会事件、劳动与工作,作品以社会介入、行为、影像为主。

©Courtesy the artist