施政参加广东当代艺术中心展览“相思”
相思
Longing: Anthem of Digital Sadness
2023.05.21 - 07.21
策展人 Curator
缪子衿 (Miao Zijin)
广东当代艺术中心
广州市海珠区阅江西路370号广报中心北塔6楼
Guangdong Contemporary Art Center
6th Floor, North Tower of Guangzhou Media Centre
No.370 Yuejiang West Road, Haizhu District, Guangzhou
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施政参加广东当代艺术中心群展“相思”，展出作品《自由落体》和《悠然美梦》。展览由缪子衿策展，邀请了3位青年艺术家，作品涵盖虚拟现实、人工智能、数据可视化等多种呈现载体。展览已于2023年5月21日开幕，将持续至7月21日。
展览前言：
“我们和不可避免故障发生的程序、快速更新升级的产品共享着易受攻击甚至随时被淘汰的数字悲伤。无论悲伤的前提是何种形式的失去与无能为力，创作者在此提出各自延缓技术一键撤销人类特征的方案：为不构成威胁的图像手动添加归属感，置身人机交界处漫无目的地游荡与等待，独立创建数据集并实验现成软件的替代性工作方法。数字悲伤的颂歌是对难以简化却注定消失的小差错与真实感的致敬。”
施政，《自由落体》，2020，双频影像装置，尺寸可变，11’07’’循环
“相思”，展览现场，广东当代艺术中心，2023
在人脸识别技术应用于考勤、精准营销、罪犯追踪的当下，采集图像的机器让进入监控区域的公民无处藏身。在施政作品《自由落体》中，由计算机模拟而成的纯白面膜无限下坠，纵向连接的显示屏幕呈现了作品自上而下的观看视⻆。作品的另一层画面则由机器视觉识别系统构成，即对影像内容的监控与识别，系统根据面部 识别算法判断画面中坠落的面膜是否与人脸的特征吻合，蓝色显示框内，不断在“0–1”区间浮动的数值则 代表了被机器辨别出的 “人” 与 “真实人类” 的近似值。在当下被机器与算法观察、研究、分析的世界里， 视觉机器(vision machine)无处不在，而视觉图像也逐渐成为一种计算产物(computational product)，影响着人类的自然视觉以及人类理解世界的方式。人的自然视觉不得不被计算机视觉 (computer vision)混合、控制，算法程式化地将复杂的人脸信息转化为数据、过度简化了人类面部的多 样性，因此作品中坠落的“面膜”既是对面部处理、数字滤镜等产物的物理体现，也是数据洪流时代中“人”的缩影。
施政，《悠然美梦》，2023，灯箱，60 x 48 x 7.5 cm
“相思”，展览现场，广东当代艺术中心，2023
在屏幕背后的灯箱作品《悠然美梦》捕捉到面膜滑落圣母像的刹那，神秘的表情赋予这张静态人脸识别图像不确定的意味。
本文内容摘选自广东当代艺术中心公众号，图片由艺术家惠允
Shi Zheng participated in the group exhibition “Longing: Anthem of Digital Sadness” at the Guangdong Contemporary Art Center, exhibiting works Free Fall and Nice Dream. The exhibition is curated by Miao Zijin, and three young artists are invited. Their works cover various presentation carriers such as virtual reality, artificial intelligence, and data visualization. The exhibition opened on 21 May 2023 and will last until 21 July.
We share digital sadness with programs that go wrong inevitably and products to be updated constantly. To put it in another way, human beings are as vulnerable as digital things in a throwaway society. No matter what form of loss or powerlessness is the condition of sadness, creators propose several strategies to prevent human features from being undone: adding a sense of belonging manually to unthreatening images, wandering and waiting at the intersection of man and machine aimlessly, building up datasets independently while testing alternative uses of off-the-shelf software. The anthem of digital sadness is in praise of the glitches that could not be simplified and feelings that are doomed to corruption.
Shi Zheng, Free Fall, 2020, Dual-channel Video Installation, Dimensions variable, 11’07’’ loop
Currently, the technology of facial recognition is applied in the scenarios of tracking attendance, precision marketing, and identifying criminals. A 24/7 surveillance mechanism renders us no place to hide. In the work Free Fall of Shi Zheng, the vertically connected display panels have constituted a narrow perspective of the work in which pure white sheet masks simulated by computer keeps falling downward. Another layer in the work consists of a computer vision recognition system that surveils and detects the moving image. The facial recognition system identifies whether the image of each falling sheet mask matches the features of the human face. The floating values between 0 and 1 in the blue bounding box represent the approximation value of "human" identified by the machine compared to “real human.” In today’s world observed, studied, and analyzed by machines and algorithms, vision machines exist everywhere. Meanwhile, visual images are gradually becoming a computational product that has impacted the way we see and understand the world, and “meat vision” has to be mixed with and controlled by computer vision. The face detection algorithms programmatically translate complex human face information into numbers, which end up overly simplifying the diversity of what a face looks like. Thus, the falling “masks” in the work not only physically embodies products including facial processing and digital filter but also epitomize “human” in the era of data flood.
Shi Zheng, Nice Dream, 2023, Lightbox, 60 x 48 x 7.5cm
Nice Dream highlights the moment when a mask slips on the blessed face. The mysterious expression contributes latent significance to a static facial recognition image.
The content is excerpted from the Guangdong Contemporary Art Center's Official account, and the pictures are courtesy of the artist
关于艺术家
ABOUT THE ARTIST
施政，1990年出生于江苏，2014年毕业于中国美术学院跨媒体艺术学院，2019年获得芝加哥艺术学院硕士学位。现生活工作于上海和纽约。作为媒体艺术家，施政的创作形式涉及视听装置、电子音乐以及现场演出，开展一系列以模拟和“机器视觉”为出发点的艺术实践，通过扩充观众视听通感体验，体现其对技术哲学、数字漫游和“潜在时间”的持续思考。
施政在集中创作个人作品的同时，也和其领域内的优秀艺术家进行合作。2013年他与能火、王志鹏、翁巍共同成立媒体艺术小组RMBit（人民比特），结合当下的社交媒体现象进行创作。他和能火也是视听演出团体OSC（Open Super Control）的成员。
其个人与合作作品也曾多次出现在国内外重要的美术馆、艺术机构、媒体艺术节中，包括复星艺术中心、chi K11美术馆、四方当代美术馆、油罐艺术中心、银川当代美术馆、Sound Art China（中国声音艺术大展）、FILE Electronic Language International Festival、Ars Electronica（奥地利电子艺术节）、伦敦当代艺术中心、都灵Castello di Rivara美术馆、伦敦The Lumen Prize、上海二十一世纪民生美术馆、 OCT当代艺术中心深圳馆。
Shi Zheng was born in 1990 in Jiangsu, China and now lives and works in Shanghai and New York. He graduated from China Academy of Art in 2014 and acquired MFA from the School of the Art Institute of Chicago in 2019. As a media artist, Shi's artistic creations range from audio-visual installations, digital music and live performance, demonstrating the artist's ongoing interest in simulation and "machine vision". Shi further embodies his reflection on the philosophy of technology, digital voyage and "latent time" by extending the audience's visual and audio experience.
Apart from individual creation, Shi Zheng also collaborates with other outstanding artists in various fields. In 2013, artistic ground RMBit was founded by Shi Zheng in conjunction with Nenghuo, Wang Zhipeng and Weng Wei with the focus on current context of social media. Both Shi and Nenghuo are the members of an Audio-Visual performance group OSC (Open Super Control).
Shi Zheng’s individual and cooperated works have been presented in a wide range of museums, art institutions and media art festivals home and abroad, including FOSUN FOUNDATION, chi K11 Art Museum, Sifang Art Museum, TANK Shanghai, MOCA Yinchuan, Sound Art China, FILE Electronic Language International Festival, Ars Electronica, Institute of Contemporary Arts London, Castello di Rivara, The Lumen Prize, Shanghai 21st Century Minsheng Art Museum and OCT Contemporary Art Terminal Shenzhen.
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