ten EASY PIECES
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We=Link: Ten Easy Pieces
A Chronus Art Center Special Online Exhibition
March 30, 2020

Artists: Raphaël Bastide, Tega Brain & Sam Lavigne, JODI, LI Weiyi, Evan Roth, Slime Engine, Helmut Smits, XU Wenkai (aka aaajiao), Yangachi and YE Funa

Curated by ZHANG Ga

Organized by Chronus Art Center

Co-commissioned by Chronus Art Center (Shanghai); Art Center Nabi (Seoul); and Rhizome of the New Museum (New York)

Co-hosting Institutions: Chronus Art Center (Shanghai); Art Center Nabi (Seoul); Rhizome of the New Museum (New York); Arts at CERN (Geneva); e-flux (New York); HeK (House of Electronic Arts Basel); iMAL (Brussels); LABORATORIA Art & Science Foundation (Moscow); Leonardo/ISAST; MU Hybrid Art House (Eindhoven); SETI AIR/SETI Institute (Mountain View); V2_Lab for the Unstable Media (Rotterdam).

This online exhibition is also presented as a project of First Look: New Art Online, a New Museum online program and archived at https://www.leonardo.info/welink-ten-easy-pieces provided by Leonardo/The International Society for the Arts, Sciences and Technology (Leonardo/ISAST)

“We=Link: Ten Easy Pieces,” features new commissions by the artists aaajiao, Tega Brain & Sam Lavigne, JODI, LI Weiyi, Slime Engine and YE Funa in conjunction with works by Evan Roth, Helmut Smits, Yangachi and Raphaël Bastide. The exhibition was made possible through the generous support of Art Center Nabi (Seoul); Rhizome of the New Museum (New York); and the concerted efforts by 12 institutions around the world.

Due to the COVID-19 coronavirus outbreak rapidly raging throughout the world, we are experiencing an unprecedented historical time, and social and economic routines have been interrupted, including cultural programming. More than ever, art remains an essential force to galvanize and rejuvenate. In lieu of a physical exhibition restrained by the lockdown, Chronus Art Center sent out an open call to the international media art community in early February to initiate a special online exhibition as a response to the current uncertainty and a time of anxiety. The proposal has since received committed responses from the international community.

Titled “We=Link: Ten Easy Pieces,” alluding to the American actor Jack Nicholson’s iconic movie Five Easy Pieces with a subtle twist on WeChat, the popular Chinese social media platform, the exhibition is being presented online in collaboration with a network of other hosting institutions. The works included in this exhibition are network native, exploring the potential of mobile technologies, particularly with a creative and critical appropriation of various social media platforms.

The title “We=Link: Ten Easy Pieces” denotes a community of solidarity as a network of empowerment. The reference to Five Easy Pieces prompts an evocation of an implicit existential anxiety, a sense of estrangement and soul finding: Ten Uneasy Pieces indeed. On the other hand, “We=Link" also elicits a silver lining - a streak of hope to carry on.

Rather than an explicit outcry against the current public health crisis, this online project addresses a general state of humanity that is under pressing peril of natural and social disruptions and precariousness, demonstratively manifested in the coronavirus outbreak, which is partially the cause of the magnitude of the virus itself and partially beholden to a failure of governance.


Co-commissioning Institutions



Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences.



Art Center Nabi is one of the premier media art centers in South Korea and a central institution in the international digital arts and culture scene, since its founding in 2000. Art Center Nabi aims to act as an intermediary that transforms the cultural desires into vital activities. Art Center Nabi’s mission centers around three main areas; being a ‘critique’ of contemporary technology; nurturing ‘creativity’, thus opening new possibilities of creative expressions; building 'community' where new ideas are shared and developed into new social movements. Art Center Nabi hopes to be a space, where artistic sensibilities combined with technological possibilities bring out the power of positive change in man as well as in society.



Rhizome champions born-digital art and culture through artist-centered programs that commission, present, and preserve art made with and through digital networks and tools. Online since 1996, the organization is an affiliate of the iconic New Museum in New York City.


Co-hosting Institutions:

Arts at CERN (Geneva)
e-flux (New York)
HeK (House of Electronic Arts Basel)
iMAL (Brussels)
LABORATORIA Art & Science Foundation (Moscow)
Leonardo/ISAST
MU Hybrid Art House (Eindhoven)
SETI AIR/SETI Institute (Mountain View)
V2_ Lab for the Unstable Media (Rotterdam)


Media Partner

MANA新媒体艺术平台
We=Link: 十个小品
新时线媒体艺术中心在线特展
2020年3月30日

艺术家:拉斐尔·巴斯迪德(Raphaël Bastide)、泰佳·布莱恩&山姆·拉文(Tega Brain & Sam Lavigne)、JODI、李维伊、埃文·罗斯(Evan Roth)、史莱姆引擎、赫尔穆特·史密斯(Helmut Smits)、徐文恺(aka aaajiao)、Yangachi、叶甫纳

策展人: 张尕

主办:新时线媒体艺术中心

联合委约:新时线媒体艺术中心、那比艺术中心(首尔)、新美术馆Rhizome(纽约)

联合主办机构:新时线媒体艺术中心(上海);那比艺术中心(首尔);新美术馆Rhizome(纽约);欧洲核子研究中心艺术项目(日内瓦);e-flux(纽约);巴塞尔电子艺术中心(巴塞尔);iMal互动媒体艺术实验室(布鲁塞尔);LABORATORIA 艺术与科学基金会(莫斯科);列奥纳多/国际艺术、科学与技术协会;MU混合艺术空间(埃因霍温);SETI AIR艺术家驻留项目/外星智能探索研究院 (加州山景城);V2_不稳定媒体研究所(鹿特丹)。

该展览同时作为新美术馆“初见:在线新艺术(First Look: New Art Online)”项目展出,并纳入列奥纳多/国际艺术、科学与技术协会文献库,详情请见:https://www.leonardo.info/welink-ten-easy-pieces

“We=Link: 十个小品(We=Link: Ten Easy Pieces)”呈现艺术家aaajiao、泰佳·布莱恩&山姆·拉文、JODI、李维伊、史莱姆引擎和叶甫纳的新委约创作,以及选自埃文·罗斯、赫尔穆特·史密斯、Yangachi与拉斐尔·巴斯迪德的网络作品。展览在那比艺术中心(首尔)、新美术馆Rhizome(纽约)的慷慨支持及全球十二个机构齐心协力的努力之下得以实现。展览于2020年3月30日由合作机构同步在线展出。

由于新冠状病毒COVID-19的爆发迅速肆虐全球,我们正经历着一个前所未有的历史时刻。社会与经济活动被迫停摆,其中亦包含文化项目,但艺术则比以往任何时候都更担负着振兴与复活的力量。鉴于实体展览受限,新时线媒体艺术中心于2月初向全球国际媒体艺术社区发出了公开号召,倡议发起一个线上特展以回应当前的焦虑与彷徨。这项提案得到了来自国际社区的坚定回应。

展览的定名“We=Link: 十个小品”暗喻了美国演员杰克·尼克尔森(Jack Nicholson)主演的经典电影“五个小品(Five Easy Pieces)”,并婉转曲译了主流社交媒体平台微信(WeChat)。展览中的作品皆为互联网原生形态,尤其针对多种社交媒体平台的创造性和批判性挪用,充分挖掘移动技术的潜力。

展览标题“We=Link: 十个小品” 意味着团结一致、作为互助力量的网络而维系起来的社群。标题对“五个小品”的引喻竦励了一种对隐含的存在焦虑、隔阂感及灵魂寻觅的召唤:实则为“十件不易之作(Ten Uneasy Pieces)”。但在另一方面, “We=Link”也提示了一线光明,一种对继续坚持的希望。

该展览与其说是对当前公共卫生危机的直白疾呼,毋宁更关注处于自然与社会动荡及危机中的人类之普遍状况,这在新冠状病毒的爆发中可见一斑 —— 其成因既是病毒自身的猖獗,也流于治理的疏漏。


联合委约机构:

新时线媒体艺术中心(CAC)成立于2013年,系国内首家致力于媒体艺术之展示、研究/创作及学术交流的非营利性艺术机构。通过展览、驻留、奖学金、讲座、工作坊及相关文献的梳理与出版,CAC为媒体艺术在全球语境中的论述、生产及传播开拓了一个多样化且富有活力的平台。CAC以批判地介入不断改变进而重塑当代经验的媒体技术来推动艺术创新及文化认知。

那比艺术中心成立自2000年,是韩国首要的媒体艺术中心之一,也是国际数字艺术和文化领域的中心机构。那比艺术中心旨在成为将文化愿景转化为重要活动的中间媒介,艺术中心的任务围绕三个主要领域展开:对当代技术的“批判”;培育“创造力”,从而开启创新表达的新可能;建立“社区”,使新的创意得以共享并发展为新社会运动。那比艺术中心希望成为一个结合艺术感性与技术潜力,从而带来人类和社会积极变革力量的空间。

Rhizome通过以艺术家为中心的项目——包括委约创作、展示和保存运用le数字网络和工具制作及探讨相关议题的艺术品,倡导原生数字艺术和文化。机构上线于1996年,是纽约标志性的新美术馆的分支机构。


联合主办机构:

巴塞尔电子艺术中心(巴塞尔)
欧洲核子研究中心艺术项目(日内瓦)
e-flux(纽约)
iMAL互动媒体艺术实验室(布鲁塞尔)
LABORATORIA 艺术与科学基金会(莫斯科)
列奥纳多/国际艺术、科学与技术协会
MU混合艺术空间(埃因霍温)
SETI AIR艺术家驻留项目/外星智能探索研究院(加州山景城)
V2_不稳定媒体研究所(鹿特丹)


特别媒体合作

MANA新媒体艺术平台

Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency-oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences.

新时线媒体艺术中心(CAC)成立于2013年,系国内首家致力于媒体艺术之展示、研究/创作及学术交流的非营利性艺术机构。通过展览、驻留、奖学金、讲座、工作坊及相关文献的梳理与出版,CAC为媒体艺术在全球语境中的论述、生产及传播开拓了一个多样化且富有活力的平台。CAC以批判地介入不断改变进而重塑当代经验的媒体技术来推动艺术创新及文化认知。

WELT

aaajiao
2020
Our Cyber-identity transcended self-identity, and we began to gain unlimited creative power. WELT, is a link, a Dapp, a truth.

This work is co-commissioned by Chronus Art Center (Shanghai), Art Center Nabi (Seoul) and Rhizome of the New Museum (New York).

Basic operation: hold the screen, enter edit mode, select color at the top left, select view current position at the top right, hold again to exit editing; any pixel selected on the screen for the first time as the current user's icon image, the rest of the selections become object .

This piece was done in collaboration with Xiaoguang LIU.

aaajiao(XU Wenkai)
Active online as a media artist, blogger, activist and programmer, aaajiao is the virtual persona of Shanghai- and Berlin- artist Xu Wenkai. Born in 1984—the title of George Orwell’s classic allegorical novel— and in one of China’s oldest cities, Xi’an, aaajiao’s art and works are marked by a strong dystopian awareness, literati spirits and sophistication. Many of aaajiao’s works speak to new thinkings, controversies and phenomenon around the Internet, with specific projects focusing on the processing of data, the blogsphere and China’s Great Fire Wall. aaajiao’s recent projects extend his practice to various disciplines (among them, architecture, topography, and design) to capture the pulse of the young generation consuming cyber technology and living in social media.
He was awarded the Art Sanya Awards in 2014 Jury Prize and was nominated for the first edition of OCAT-Pierre Huber Art Prize in 2014.
aaajiao lives and works in Shanghai and Berlin.

https://www.eventstructure.com
我们的赛博形象超越了我们自身的形象,我们开始获得无限的创造权限。WELT, 是一个link,一个Dapp,一个真相。

该作品由新时线媒体艺术中心(上海)、那比艺术中心(首尔)、新美术馆Rhizome(纽约)联合委约创作

基础操作:摁住屏幕,进入编辑模式,左上选择颜色,右上选择查看当前位置,再次摁住退出编辑;在屏幕第一次上选择出的任何像素作为当前用户的icon形象,其余选择都成为object.

作品是与刘晓光共同完成。

aaajiao(徐文恺)
aaajiao,是年轻艺术家徐文恺的化名,也是他虚构的网络分身。1984年(他的出生年份恰好是乔治·奥威尔经典预言式小说的名称),出生于中国最古老城市之一的西安,aaajiao的创作结合了浓重的反乌托邦意识、对文人精神的反思。他的很多作品都致力于探索新的科技和媒体影响之下的文化现象和政治策略,从社交媒体写作、数据处理,到网络和移动媒介下的新美学景观。作为今天全球新一代媒体艺术的代表人物,aaajiao将今天中国特殊的社交媒体文化、科技运用带入了国际艺术的话语和讨论。
aaajiao现生活、工作于上海、柏林两地。

https://www.eventstructure.com

evasive.tech禁避. 技术

拉斐尔·巴斯迪德(Raphaël Bastide)
2020
evasive.tech is an online artwork routine developed by Raphaël Bastide throughout the quarantine period (starting 17/03/2020, ending ?). Like his previous web-based project otherti.me, evasive.tech is a series of episodes, each being envisioned and coded on a daily basis. evasive.tech develops a narrative through composition and transcripts.

Raphaël Bastide
Raphaël Bastide creates works such as transitional musical instruments, fragile web pages, ambiguous computer programs, critical network architectures, revisable and version-controlled sculptures, and quarantine-driven coding performances. He lives in Paris where he teaches and bakes bread.

https://raphaelbastide.com
《禁避. 技术》是拉斐尔·巴斯迪德在隔离期间(2020/03/17 - ?)开发的一项日行线上艺术创作程序。该作品类似于他之前的网络项目《otherti.me》,由一系列片段组成,每一个片段都在每天的展望与编码中生成。这一项目通过写作和文字记录来发展叙事。

拉斐尔·巴斯迪德(Raphaël Bastide)
拉斐尔·巴斯迪德的创作包括了转化音频信号的乐器、碎片化网页、含混的计算机程序、批判性的网络架构、可修改与添加了版本控制(version control)的雕塑,以及在隔离居住的情形下所驱动编码表演。他居住于巴黎,担任教师并热爱烘培。

https://raphaelbastide.com

Get Well Soon!快点好起来!

泰佳·布莱恩&山姆·拉文(Tega Brain & Sam Lavigne)
2020
Get well soon! is a massive e-card comprised of over 200,000 unique messages of well wishes. The messages are sourced from comments of support on the popular crowd funding site gofundme.com, a self-described “leader in online medical fundraising”, which, due to lack of affordable healthcare in the United States is widely relied upon for funding vital medical procedures.The piece is accompanied by a short essay from writer Johanna Hedva (https://johannahedva.com/).

This work is co-commissioned by Chronus Art Center (Shanghai), Art Center Nabi (Seoul) and Rhizome of the New Museum (New York).

Tega Brain
Tega Brain is an Australian born artist and environmental engineer whose work examines how technology shapes ecological relations. She has created wireless networks that respond to natural phenomena, systems for obfuscating fitness data and an online smell based dating service. Her work has been shown in the Vienna Biennale for Change, the Guangzhou Triennial and in venues like the Haus der Kulturen der Welt in Berlin and the New Museum, NYC, among others.

http://www.tegabrain.com/

Sam Lavigne
Sam Lavigne is an artist and programmer whose work deals with data, surveillance, criminal justice, natural language processing, and automation. His work often takes the form of online interventions that surface the frequently opaque political and economic conditions that shape computational technologies. He has exhibited work at Lincoln Center, SFMOMA, Pioneer Works, DIS, Ars Electronica, the New Museum, the Smithsonian American Art Museum, and his work has been covered widely in the press.

https://lav.io/
《快点好起来!》是一张巨大的电子贺卡,包含了20万条祝福讯息。这些讯息来源于广受欢迎的众筹网站gofundme.com上的支持评论,该网站自称为“线上医疗筹款活动的领导者”,但由于美国缺乏能够承担的医疗保健,该网站广泛依赖于重要医疗程序的资金筹集。本作品另附一篇由乔安娜·海德(Johanna Hedva,https://johannahedva.com/)所著的短篇论文。

该作品由新时线媒体艺术中心(上海)、那比艺术中心(首尔)、新美术馆Rhizome(纽约)联合委约创作

泰佳·布莱恩(Tega Brain)
泰佳·布莱恩出生于澳大利亚,是一位艺术家和环境工程师。她的作品致力于研究技术如何塑造生态关系。她创建了响应自然现象的无线网络,模糊健身数据的系统以及基于在线气味的约会服务软件。她的作品曾展出于维也纳变革双年展、广州三年展,以及柏林世界文化宫和纽约新美术馆等地的展览。

http://www.tegabrain.com/

山姆·拉文(Sam Lavigne)
山姆·拉文是一位艺术家和程序员,其作品涉及数据、监控、刑事司法、自然语言处理和自动化。他的作品通常采取线上干预的形式,浮现出塑造着计算技术的不透明的政治和经济条件。他曾在林肯中心、旧金山现代艺术博物馆(SFMOMA)、先锋工厂、DIS,奥地利林茨电子艺术节,新博物馆,史密森尼美国艺术博物馆展出作品,他的作品在媒体上得到广泛报道。

https://lav.io/

ICTI.ME

JODI
2020
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This work is co-commissioned by Chronus Art Center (Shanghai), Art Center Nabi (Seoul) and Rhizome of the New Museum (New York).

Please note that this work contains rapid strobe effects.

JODI
Considered leading pioneers of net.art, Joan Heemskerk and Dirk Paesmans - the duo behind the artist collective JODI - has explored, created and de-constructed computer/video games, computer software, and the interfaces of web browsers with its commands, codes and errors. JODI disrupts and disassembles ubiquitous software, video games, and popular internet platforms such as Google Maps and Twitter, cultivating coding malfunctions and programming glitches. Concerned with exploring the chance, uncanny products of these system breakdowns, JODI suggest a new aesthetics for the digital age.

http://wwwwwwwww.jodi.org/
该作品由新时线媒体艺术中心(上海)、那比艺术中心(首尔)、新美术馆Rhizome(纽约)联合委约创作

请注意该作品网站内含频闪效果。

JODI
艺术组合JODI背后的成员是琼·海姆斯克(Joan Heemskerk)和德克·帕斯曼斯(Dirk Paesmans),他们被认为是net.art的先驱者。他们借由电脑/游戏、电脑软件以及网络浏览器界面的指令、代码和错误来对这些媒介进行探索、创作和重构。 JODI破坏并分解无处不在的软件、游戏以及流行的互联网平台(例如谷歌地图和推特),对其植入异常代码与编程故障。JODI着重探讨这些系统损坏所带来的机遇和奇特的产出,并唤起了一种数字时代的新美学。

http://wwwwwwwww.jodi.org/

The Ongoing Moment此刻

李维伊(LI Weiyi)
2020
Filters, a popular tool, have been dominating the current social media applications. Filters can create various digital effects by superimposing creative figures onto human faces via augmented reality. Along with text, emojis, and memes, filter users post their filtered-experiences as status, mood, comments or even micro-creations on social media platforms. Therefore, with its often funny and ephemeral contents, filters bring about strong visual impact, becoming an essential and widely spread social networking tool. Instagram Stories and WeChat Time Capsules enable users to express their “mood of the moment” by keeping a visual dairy. The posts/diaries will no longer be visible to the public after 24 hours. The Ongoing Moment invites users to answer the questions designed by the artist on an online test machine to collect “mood data”, which will then generate a customized “mood of the moment” filter, becoming the “mood mask” for the moment. These “mood of the moment” filters may make users feel both sensible and absurd, and just as all the online test tricks, the only way to get this particular filter is to share your result to one of your social media profiles.

This work is co-commissioned by Chronus Art Center (Shanghai), Art Center Nabi (Seoul) and Rhizome of the New Museum (New York).

LI Weiyi
LI Weiyi is an artist weiyi.li, designer weiyiandfriends.com, curator bigbadgallery.com, publisher re-publication.com and retailor currently-available.com who lives and works between these five URLs.
滤镜作为一种流行工具,被广泛地纳入现今的社交媒体使用场景。通过对头部进行附着性的改造,滤镜产生各类视觉效果,同时搭配以文字或表情作为状态、心情、评论甚至是微创作进行发布。因此,滤镜是视觉性强、传播广、具有瞬时的趣味及社交属性的工具。Instagram的stories与微信的时间胶囊都是用视觉日记的方式表达“这一刻的想法”,这些心情在24小时以后就不会被公众所见。在作品《此刻》中,使用者通过线上测试机回答艺术家设计的问题,测试机在掌握使用者的“心灵数据”后,将生成为用户量身定制的“这一刻的心情”滤镜,成为这一刻的“心情面具”(mask)。“这一刻的心情”滤镜让使用者觉得既合理又荒谬,并且,如同所有线上测试机的小伎俩,这个滤镜结果必须通过转发才能获取。

该作品由新时线媒体艺术中心(上海)、那比艺术中心(首尔)、新美术馆Rhizome(纽约)联合委约创作

李维伊

李维伊是一位艺术家(weiyi.li)、设计师(weiyiandfriends.com)、策展人(bigbadgallery.com)、出版人(re-publication.com)、杂货店主(currently-available.com),她同时生活和工作在以上五个网页链接里。

n22.230210e113.940187.hk

埃文·罗斯(Evan Roth)
2017
n22.230210e113.940187.hk is a network located video depicting a landscape in Hong Kong where internet submarine fiber optic cables meet the land. The piece is filmed with a camera modified to shoot in infrared, the frequency of the information traveling through fiber optic cables. The video is hosted from a server located in Hong Kong and the title functions both as an address within the network (IP) and on the globe (GPS). When the work is opened on a phone or laptop a physical connection is made between the viewer and the landscape depicted. n22.230210e113.940187.hk is part of Roth's Red Lines network, and is intended to be viewed in people’s homes or workplaces and lived with over an extended period of time.

Evan Roth
Evan Roth is a Berlin-based American artist who has developed a series of works based on communication networks, particularly underwater data transmission circuits. Starting from detailed research into the locations from where communication cables have connected the continents since the invention of the telegraph, Roth set out on a process to video map coastal areas involved in the history of these communications networks. Filming during the day with an infrared camera, the areas recorded are converted into pictorial landscapes or something approaching sanguine pencil drawings in an apparent contradiction of the technological component inherent to data transmission networks. The origin of Roth's work lies in the importance he gives to the material components of the Internet, pursuing the physicality of the network. This is the origin of his project to map the coastal areas from where underwater cables are launched, a project commissioned and produced by Artangel and supported by Creative Capital. Beginning as a research process, the project has two complementary aims: an internet component, which involves making the images captured by the artist available from an open access website; and an installation, in which the principal axis is the relationship between the infrastructure and the landscape.

The use of applications and the open source availability of images have constituted one of Evan Roths central concerns since the beginning of his artistic activity, in a political allegory of the network's potential field of freedom.

http://www.evan-roth.com/shows/
《n22.230210e113.940187.hk》是一个基于网络的影像,描绘了香港海底光缆与陆地相接的景观。作品由改装后可在红外线模式下进行拍摄的相机录制而成,信息的频率通过光缆传输。该影像由位于香港的服务器托管,标题即是作为网络(IP)内的地址,也是全球(GPS)的地址。在手机或笔记本电脑上打开作品时,观者与所描绘的景观之间建立起了物理连接。 《n22.230210e113.940187.hk》是罗斯《红线》网络的一部分,可供人们在家中或工作场所观看,并在此期间与之共同生活。

埃文·罗斯(Evan Roth)
埃文·罗斯是一位现居柏林的美国艺术家。他所创作的一系列作品基于通信网络,尤其是水下数据传输电路。罗斯的项目开始于他对电报发明以来通信电缆连接大陆的地点所进行的详细研究,以视频的方式绘制出这些在通信网络历史之中的沿海地区的地图。通过红外摄像机在日间的拍摄,其录制的区域被转换成图像景观或类似于赭石色铅笔素描的图像,与数据传输网络固有的技术组件形成一种强烈矛盾。罗斯作品的初衷是他对互联网物质构件的关注,追溯着网络的物质性。这也是他为铺设了海底电缆的沿海地区绘制地图项目的起源。该项目由Artangel公司委托制作,由Creative Capital提供支持。该项目从研究程序开始,有两项互补目标:一个互联网组件,包含了一个呈现艺术家所捕获图像的开放访问网站;一个装置,其主轴为基础设施和景观之间的关系。

自埃文·罗斯开始艺术创作以来,应用程序的使用和图像的开源可用性构成了他在关于网络潜在自由领域的政治寓言之中所聚焦的问题之一。

http://www.evan-roth.com/shows/

Headlines头条

史莱姆引擎(Slime Engine)
2020
Slime Engine re-constructs the traditional public media – newspaper – through a combination of the works by various artists in multiple displaying formats, intending to present a new mode of collaboration and creative production.

Ranging from featured stories, political news, weather forecasts to health & medical news, advertisements and cooking recipes, Headlines incorporates all kinds of columns of a newspaper in the real world. Furthermore, it constructs another kind of reality that is based on a completely fictional world view. The VR Panorama, danmaku (live comments), moving images, etc. on the website light up the newspaper, a historical communication medium, within a magic and cyber atmosphere and adapts the Headlines to be a propaganda tool in the current internet environment.

This work is co-commissioned by Chronus Art Center (Shanghai), Art Center Nabi (Seoul) and Rhizome of the New Museum (New York).

Slime Engine founded in 2017, operated and curated by LI Hanwei, LIU Shuzhen and FANG Yang. Slime Engine is dedicated to the development of unprecedented art creation, exhibition curating and experience. Through the communication and cooperation with artists, the use of virtual worlds that are not limited by time and space, presents profuse contemporary art form.

Slime Engine participated in the exhibitions “Coordinates: QiaoTou”, Biennales of Urbanism \ Architecture, Shenzhen, 2019; “The Process of Art: TOOLS AT WORK”, Power Station of Art, Shanghai, 2019; “Advent”, Qianshao Contemporary Art Center, Shanghai, 2019; “Copernicus”, E.M.Bannister Gallery of Rhode Island College, U.S, 2019; “Extreme Mix”, Guangzhou Airport Biennale, Guangzhou, 2019; “Infinite Games”, How Art Museum, Wenzhou, 2019; “Ocean”, Madein Gallery, Shanghai, 2019. Since 2017, Slime Engine has organized a series of online exhibitions, including “Territory”, 2020; “Slime Airlines”, 2019; “Ocean”, 2019; “Bysanz x 33EMYBW x FANG Yang Collaborated Project”, 2018; “LI Jingxiong & ChillChill Duo Exhibition”, 2018; “The Jurassic”, 2018; “Yourcrafe”, 2018; “JR’s Meditation Space”, 2018; “Nostromo Landing”, 2017; “Space Station”, 2017; “Baychimo”, 2017; “Nuclear Magnetic Resonance”, 2017。

www.slimeengine.com

Born in Jiangsu province in 1994, LI Hanwei graduated from Shanghai Institute of Visual Arts in 2018, and now lives and works in Shanghai. LI‘s creation is based on adapting metaphors in the format of commercial advertisements and films, through the research on communication approach, utilizing special effects in video to create kind of worldview in his fictional world in which Shanzhai and Sci-fi coexists to present the intersection of contemporary cultural morphology and identity.

LIU Shuzhen, born in Guangdong, Shenzhen in 1995, studies at Musashino Art University. His research is dedicated to the intersection area of psychology, future studies and game, reflecting on transformation of matters in a social context of near future and attempting to design and solve the problems that have yet to happen.

Shan Liang (DAN Liang), born in Nantong, Jiangsu province in 1997, now lives in Shanghai. She graduated from China Academy of Art with a bachelor’s degree, majoring Game Design Art. With the mediums of video and 3D sculpture, her works investigate the studies of Kawaii cult, appearing with the visual effects of gentleness and mystique through a combination of baby product and animal element in a simplified mode.

FANG Yang, born in Wuhan, Hubei province in 1996. He graduated from Shanghai Institute of Visual Art in 2018, now lives and works in Shanghai. He works with photography, video and CG animation to explore the relations among semiotic, popular culture and mysticism.
史莱姆引擎对大众传播的传统重要载体--报纸,进行改编,通过结合多名艺术家的创作与线上多种形式的展示方式,希望推出一种全新的合作与生产创作模式。

从特写报道、政治新闻、天气预告,到科普健康、广告甚至是美食烹饪,“头条”包含了现实 报纸中所有板块,却不止于此,由艺术家作品组成的另一种“现实”逐渐形成了一种完全架空 的世界观,网页中vr全景、弹幕系统、运动的图文等等,让报纸这种传统传播载体增添了魔法与赛博的气息,也使得“头条”成为适应当前网络环境的宣传工具。

该作品由新时线媒体艺术中心(上海)、那比艺术中心(首尔)、新美术馆Rhizome(纽约)联合委约创作

史莱姆引擎由李汉威、刘树臻、方阳共同创立于2017年。史莱姆引擎致力于开发前所未有的作品创作、展览策划和观展形式。通过与艺术家的交流与合作,利用不受时间和空间限制的虚拟世界,呈现出丰富的当代艺术形态。

史莱姆引擎也作为艺术团体参加了数场展览: “坐标桥头”深港城市建筑双城双年展,深圳,2019;“平行、似存在、拟完成,行进中的艺术工具”,上海当代艺术博物馆,上海,2019; “降临:发明风景,制作大地”,前哨当代艺术中心,上海,2019;“哥白尼”,E.M.Bannister画廊,罗德岛学院,美国; “极限混合”:2019广州空港双年展,2019;“无限游戏”,昊美术馆,温州,2019;”海洋“线下体验会,没顶画廊,2019。从2017年起,史莱姆引擎持续组织线上展览,先后策划了“版图”,2020;“史莱姆航班”,2019;“海洋”,2019;“Bysanz x 33EMYBW x 方阳三人联合项目”, 2018; “李竞雄 & ChillChill 双个展”, 2018; “超距感应”, 2018; “侏罗纪”, 2018; “洞”, 2018; “你的世界”, 2018; “James Turrell的冥想空间”, 2018; “诺史莫登陆”, 2017; “太空站”, 2017; “Baychimo号”, 2017; “核磁共振”, 2017。

www.slimeengine.com

李汉威,1994年生于江苏,2018年毕业于上海视觉艺术学院,现生活工作于上海。李汉威的创作善于使用商业广告与电影的形式进行隐喻,通过对于传播手段的研究,利用影像特效在架空的世界中建立一种世界观,使山寨与科幻并存,用以展现当今文化形态与身份的交叉点。

刘树臻,1995年出生于广东深圳,目前就读于武藏野美术大学。研究方向结合认知心理学,未来学,游戏等领域,思考近未来社会语境下事物意义的转变,尝试设计,解决还未发生的问题。

善良(单梁),1997年出生于江苏南通,现生活于上海。本科毕业于中国美术学院游戏艺术设计专业,2019年9月加入史莱姆引擎。她的作品以影像和3d雕塑为主,通常围绕着对可爱的研究,通过简化组合婴儿产品和动物元素,展现出乖巧又神秘的视觉效果。

方阳,1996年出生于湖北武汉,2018年毕业于上海视觉艺术学院。目前生活和工作于上海。 他的创作涉及摄影、影像和CG动画,探索符号、流行文化和神秘主义之间的关系。

Screen Time屏幕时间

赫尔穆特·史密斯(Helmut Smits)
2019
Screen Time is a community clock connecting strangers through their mobile backgrounds. Participants are invited to take part by making a screenshot of their mobile device lock screen and submitting it to the allocated time slot. The submitted images are then compiled and presented, each being displayed for the single minute at which they were taken. The outcome is a clock that each minute reveals a glimpse into someone else’s life.

To take part one has to follow these steps:
Take a screenshot of your mobile device lock screen displaying the current time.
Upload the screenshot to the allocated time slot of the minute it was taken on the website of Screen time: http://screentimeclock.net/

Commissioned by V2_, Lab for the Unstable Media
Design: Onno Blase
Software development: Jan Misker
Screen Time is supported by The Mondriaan Fund and CBK Rotterdam

Helmut Smits
Helmut Smits is a multidisciplinary visual artist based in Rotterdam, The Netherlands. Straightforward, critical and witty, Smits is a ceaseless producer of ideas that comment on society and situations in a frank and often humorous way.

http://helmutsmits.nl/
《屏幕时间》是一个社区时钟,通过每个人的手机背景将陌生人连接起来。参与者被邀截图他们移动设备的锁定屏幕,并将其提交至所设置的时间段内。在此之后,提交的图像被汇总并呈现,每个图像在拍摄的一分钟内显示。最终形成了一个时钟,每一分钟都可以窥见别人的生活。

参与步骤:
截图手机上显示当前时间的锁定屏幕
上传截图至《屏幕时间》网页上所设定的时间段

由V2_不稳定媒体研究所(V2_, Lab for the Unstable Media)委约创作
设计:奥诺·布雷斯(Onno Blase)
软件开发:简·米斯克(Jan Misker)
《屏幕时间》由蒙德里安基金会与鹿特丹视觉艺术中心(Centrum Beeldende Kunst Rotterdam)支持创作

赫尔穆特·史密斯(Helmut Smits)
赫尔穆特·史密斯是一位多学科视觉艺术家,工作生活于荷兰鹿特丹。史密斯直率,批判和机智的特质使他成为了一个不断以坦率且较为幽默的方式评论社会与情势的创意制造者。

http://helmutsmits.nl/

eGovernment.or.kr

Yangachi
2003 (remade in 2019 | 于2019年重置)
Jeremy Bentham proposed a circular jail panopticon in 1791, which was not accepted by the British government. However, many other governments of posterity found the concept of panopticon fascinating. Therefore, the disciplinary power of Panopticon was transformed into Panopticism, which is the basic principle of disciplinary society. Panopticon, which had been out of the public's attention since the 1960s, announced the commencement of the world of panopticons, comprised of numerous monitoring tools including ID cards, smart cards, CCTVs, candid cameras, Echelon, phone-tapping, electronic fingerprints, electronic health cards, real-name policy, and NEIS, under the pretext of electronic surveillance or information surveillance by governments around the world. Countless monitoring devices have crept into our daily life without our notice, and the problem is more serious as not many are conscious of it. Thus, after critically examining the mechanism of panopticon and panopticism in the form of art, (we/I) intend to seek an inverse surveillance system.

Yangachi
Yangachi introduces stories through books, videos and 3D screens and visualizes scenes in the stories utilizing various media subject matters. In 2002, he introduced his satirical work likening Korean sociopolitical scenery to the Internet home shopping using the Web in his first solo exhibition “Yangachi Guild.” In one of his exhibition titled “E-Government,” the artist showed the possibility of personal information, which is largely exposed in digital era, misused by government’s system of surveillance and control through reflecting the situation around the Internet at the time when government and capital began to come together in one union by making it seem like being imprisoned in Panopticon. Using the Web as a tool, this work criticizes the social atmosphere at the time dreaming to make Korea into a digital paradise. Later, the artist uses the structure of storytelling in the exhibition, “Middle Corea,” meaning a nation between South and North Korea. He seeks to overcome the limits of reality revealed in the Web itself through the imaginary tool created to destroy the system of nation, government and economy and furthermore develops the critical perspective on the interest in media, capital and class.

www.yangachi.org
杰里米·边沁(Jeremy Bentham)于1791年提出了一种圆形全景监狱,但并未被英国政府所采纳。然而,后世的许多其它政府发现了全景概念的迷人之处。因此,全景的规训力量被转化成为了全景主义(Panopticism),即是规训社会的基本原则。全景主义由此拉开了全景世界的帷幕。它由包括身份证、智能卡、闭路电视、快照、五眼系统(美国, 英国, 加拿大, 新西兰以及澳大利亚联合情报系统)、电话窃听、电子指纹、电子健康卡、实名制和韩国教育情报系统(National Education Information System)等多种工具组成。无数的窥视设备在我们不知情的情况下进入了我们的日常生活。因此,我/我们试图以艺术的形式探讨一种反向的全景主义。

Yangachi
Yangachi通过书籍、影像和3D屏幕呈现故事,并利用各种媒体题材视觉化故事中的场景。 2002年,他在首次个人展览《Yangachi 行业协会》中呈现了一件具有讽刺意味的作品,他利用网络将韩国的社会政治景象与网上家庭购物类比。在其一场名为《电子政府》的展览中,艺术家展示了个人信息的可能性,这种信息在数字时代大量曝光,为反映互联网的周边状况而被政府的监视和控制系统所滥用,与此同时,政府与资本开始团结起来,使一切看上去就像被囚禁于全景监狱内。该作品使用网络作为工具,批判了梦想将韩国变成数字天堂的社会氛围。之后,艺术家在展览《中间的 Corea》—— 意为处于南韩与北韩之间的国度—— 之中使用了故事叙述的结构。他通过创造对国家、政府和经济体系造成损坏的虚构工具,试图克服网络本身所揭示的现实局限性,并进一步针对媒体、资本和阶层的特别关注发展出批判性的观点。

www.yangachi.org

Dr.Corona Online柯大夫在线

叶甫纳(YE Funa)
2020
Dr.Corona Online is an interactive online-\work. Dr.Corona alludes to the term 'coronavirus'. However, Dr.Corona is not a virus, nor a real human being; it is an artificial-intelligence-doctor, answering and solving the problems that may have caused by the coronavirus. Its corpus comes from the headlines on the internet, the discussions and tweets on social media, as well as the widely spread motivational quotes, a.k.a. the 'chicken soup quotes'. Would like to be diagnosed by Dr.Corona? ‘Patients’ will receive a sort of a Prozac, in the way of compassionate drug use, which is not necessarily accurate to the patients' symptoms. By asking questions on the project page, users will get a prescription that generated by this AI doctor. Users may also want to share the prescription on their social media in order to get a second opinion, which is always crucial.

This work is co-commissioned by Chronus Art Center (Shanghai), Art Center Nabi (Seoul) and Rhizome of the New Museum (New York).

Programming: Vytas Jankauskas
Web design: Beio
Project Consultant: BI Xin
Programming Consultant: Claire Glanois

YE Funa
Born in Kunming, China in 1986. Funa Ye`s practice is mainly concerned with the relationship between the realities of every day life, the perceived connection between authority and many areas of social life such as different power structure, ethnic groups, and the fictional space of propaganda for the concept of ‘perfection’ in an ideological system, and utopian landscape. Therefore, the work is politically charged, subtly engaged in pastiche as a satirizing style of propaganda. The work of Funa is rich in reference, parody and irony of the uniformity cultures.

http://funaye.com/
《柯大夫在线》是一件网络互动作品。柯大夫的英文发音(Dr.Corona)与新型冠状病毒(coronavirus)读音相近,但它既不是病毒,也非真人,而是一位人工智能医生,为当下新型冠状病毒所造成的疑问和困惑排忧解难。它的语料来源于互联网上的新闻,社交媒体上的讨论和广为流传的网络“心灵鸡汤”。事实上,它未必能给提问患者的症候带来准确的解决方案,更多是作为“同情用药”的一副百忧解。在网站页面提问便可以获得柯大夫开具的“处方”,在听取柯大夫意见的同时,也可以把疑问和答案分享给朋友,获取至关重要的第二医疗建议(second opinion)。

该作品由新时线媒体艺术中心(上海)、那比艺术中心(首尔)、新美术馆Rhizome(纽约)联合委约创作

程序设计:维塔斯·扬卡乌什卡斯
网页设计:北鸥
项目顾问:毕昕
程序顾问:克莱尔·格拉诺瓦

叶甫纳
1986年生于云南昆明,现工作、生活于北京。叶甫纳的作品主要通过现实生活中用幽默和反讽的手法探讨权威结构和多元文化的关系。如大众媒体对少数民族等边缘人物的刻板印象、“完美”的审美观下虚构的风景。以引用,戏仿或反讽一些模式文化的方式,来分类和处理这种形态类似的典型图片,对他们的主旨进行分析和引伸。如借用老照片表述时代背景因素对个人身份的影响,通过研究杂志讨论大众媒体对边缘人物的刻板印象等。

http://funaye.com/