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CAC · 开幕回顾 | We=Link:辺

新时线媒体艺术中心群展"We=Link:Sideways 辺"于2020年11月21日线下线上同步开幕,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。
 

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 collectivesfrom 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.



请长按下方二维码选择“识别”进入

“We=Link:辺” 网络平行展

Please hold down to scan the following QR code

to visit the online version of We=Link: Sideways,


http://we-link.chronusartcenter.org






 开幕现场 

Opening Reception


2020.11.21

周六 Sat.






 策展人讲座 

Opening Talk


张尕

ZHANG Ga

新时线媒体艺术中心艺术指导

Artistic Director, Chronus Art Center



 

扫码/长按识别二维码观看讲座回播

Scan/hold down the QR code to watch the replay.




 《后会有期》现场表演 

Later Date performance (IRL)


劳伦·李·麦卡锡

Lauren Lee McCarthy





 部分展览作品 

Selected Exhibiting Works


Wolfgang Staehle

The Thing BBS, 1991

Digital and printed archives

沃夫冈·施泰勒

《The Thing公告板》,1991

数字与打印文献


Jonah Brucker-Cohen, Mike Bennett

BumpList: An Email Community for the Determined2003

mailing list, digital prints

乔纳·布鲁克尔-科恩,麦克·本尼特‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍‍

《踢出列表:一个探索者的邮件社区》,2003

邮件列表,数字打印


Maciej Wisniewski

netomat, 1999

network-based art project, meta-browser

马切尔·维希涅夫斯基

《netomat》,1999

网络艺术项目、元浏览器


Hervé Graumann, Matthieu Cherubini

Raoul Pictor Mega Painter, 2013

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

赫维·格劳曼,马修·凯鲁比尼

《大画家拉乌尔·比克特》,2013

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


ZHOU Pengan

Computer museum in the web, 2020

antique electronic devices collection

周蓬岸

《网页里的电脑博物馆》,2020

电子设备古董藏品,网站



Knowbotic Research

Minds of Concern, 2002

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

知识机器研究

《关注之心》,2002

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



Haroon Mirza

ToyBiterInappropriate Appropriation, 2019

LED video screen, processor, toy, purse

哈伦·米尔萨

《玩具》,《跟风狗》,《不适当的挪用》,2019

LED显示器,处理器,玩具,包




Paolo Cirio

Derivatives, 2019

Inkjet prints on canvas, website

保罗·奇里奥

《衍生品》,2019

画布喷墨打印,网站



UBERMORGEN

Breitbart Red,2020

webpage

明天

《布莱巴特红》,2020

网页




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

Miasma of the Rocks2020

Web page,screen, motherboard, rhodotorula, sensors, air pump, metal, acrylic, custom software, among others. 

陈朋朋、刘⾏、梁⾬荭、徐昊旻、赵华

《岩间瘴气》,2020

⽹⻚、显示器、主机、红酵⺟、传感器、气泵、⾦属、亚克⼒、定制软件等





Everest Pipkin

Default filename tv,2019

Software, screens 

Dimensions variable 

爱弗勒斯·皮普金

《默认文件名tv》,2019

软件,显示器

尺寸可变



Lauren Lee McCarthy and Kyle McDonald

pplkpr,2015

App

劳伦·李·麦卡锡,凯尔·麦克唐纳

《pplkpr》,2015

App






主办
线上联合呈现


合作

artport / The Whitney Museum of American Art


特别感谢







We=Link: 辺
新时线媒体艺术中心在线特展
2020年11月21日
访问http://we-link.chronusartcenter.org/进入展览

We=Link: Sideways
A Chronus Art Center Exhibition
November 21, 2020
Visit http://we-link.chronusartcenter.org/ to enter the online version.




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
访问http://we-link.chronusartcenter.org/进入展览

We=Link: Ten Easy Pieces
A Chronus Art Center Special Online Exhibition
March 30, 2020
Visit http://we-link.chronusartcenter.org/ to enter the exhibition.





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。


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. 


www.chronusartcenter.org


更多展览以及艺术家信息请持续关注新时线媒体艺术中心微信公众号动态.

媒体垂询:media@chronusartcenter.org



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