aaajiao星美术馆个展“艺术家谱系研究之十六 aaajiao：薄膜”
艺术家谱系研究之十六
aaajiao：薄膜
Genealogy Study of Artists No. 16
aaajiao: membrane
2023.08.27 - 11.15
星美术馆
上海市徐汇区瑞宁路111号
Start Museum
No. 111, Ruining Road, Xuhui District, Shanghai
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aaajiao在星美术馆呈现个展“艺术家谱系研究之十六 aaajiao：薄膜”，此次展览展出aaajiao的6件装置及2件影像作品。展览已于2023年8月27日开幕，将续至11月15日。
aaajiao是艺术家徐文恺的化名及其互联网分身。作为一名计算机专业出身的艺术家，他的作品关注新的技术及媒体环境下的文化政治现象：早期作品《长城长》、《邮件迷航》、《ddrk.me》等以一种物哀的情绪展现了技术优绩主义制造的互联网信息废墟；创作于2021年的《NTFs_aaajiao》则试图探索加密经济的交易规则如何重新形塑古老的艺术品流通模式。
“艺术家谱系研究之十六 aaajiao：薄膜”，展览现场，星美术馆，2023
"Genealogy Study of Artists No. 16 aaajiao: membrane", Installation View, Start Museum, 2023
相较于技术本身，aaajiao的创作则更关注于在愈发快速的技术更迭环境中，人的自我存在与情感联系。本次展览展出艺术家算法生成的影像新作《PROMPT咒语》，在人工智能情感充沛的唇齿之间，迫使观众重新思忖技术之于人的边界。
“艺术家谱系研究之十六 aaajiao：薄膜”，展览现场，星美术馆，2023
"Genealogy Study of Artists No. 16 aaajiao: membrane", Installation View, Start Museum, 2023
在近年实体边界高筑的现实语境下，aaajiao离开熟悉的文化环境离居德国，但始终以一种虚拟的形式保持“在线”。“薄膜”暗示的正是这种物理上的隔离与渗透关系，而艺术家自身跨越文化、社会乃至身份之间的经验，则为其作品增加了深深的异化感、流离感和跨文化冲突的复杂性。
摄影：JJYPHOTO
文本 ©艺术家与START星美术馆
“艺术家谱系研究之十六 aaajiao：薄膜”，展览现场，星美术馆，2023
"Genealogy Study of Artists No. 16 aaajiao: membrane", Installation View, Start Museum, 2023
aaajiao presents his solo exhibition "Genealogy Study of Artists No. 16 aaajiao: membrane" at the Start Museum. This exhibition features 6 installations and 2 video works of aaajiao. The exhibition opened on 27 August 2023 and will last until 15 November.
aaajiao is the pseudonym and internet counterpart of the artist Xu Wenkai. As an artist with a background in computer science, his works focus on new technologies, as well as the cultural and political phenomena under the media environment: his early works GFWIist, Email Trek, ddrk.me and others show the ruins of Internet information created by technological meritocracy with a kind of empathy toward things. NTFs_aaajiao created in 2021 attempts to explore how the trading rules of the ryptoeconomics can reshape the ancient art circulation model.
“艺术家谱系研究之十六 aaajiao：薄膜”，展览现场，星美术馆，2023
"Genealogy Study of Artists No. 16 aaajiao: membrane", Installation View, Start Museum, 2023
Compared with the technology itself, aaajiao's creation focuses more on human self-existence and emotional connection in an environment of increasingly rapid technological change. This exhibition will exhibit his new algorithm-generated video work Prompt, Between the emotional lips and teeth of an artificial intelligence, the audience is forced to rethink the boundaries between technology and human beings.
“艺术家谱系研究之十六 aaajiao：薄膜”，展览现场，星美术馆，2023
"Genealogy Study of Artists No. 16 aaajiao: membrane", Installation View, Start Museum, 2023
In the real context of high physical boundaries in recent years, aaajiao has left the familiar cultural environment and moved to Germany, but has always remained "online" in a virtual form. What the "membrane" implies is this physical relationship between isolation and penetration, and the artist's own experience of crossing cultures, societies, even identities, adding a deep sense of alienation, displacement, and cross-cultural conflict complexity to his works.
Photo by JJYPHOTO
Text ©Artist and START MUSEUM
参展作品
ARTWORKS
《咒文》，2023，视频，01'39"，尺寸可变
Prompt, 2023, Video, 01'39", Dimension variable
艺术家以生成AI构成了一段视频，视频中动画形象念出生成它的文本。标题“咒文”，即是中文互联网上对目前“生成式AI”中“文本-prompt”的昵称。在人工智能情感充沛的唇⻮之间，迫使观众重新思忖技术之于人的边界。
The artist generates a video by Generative AI. The animated character reads the keywords which creates it. The title “Prompt” is the nickname for the "keyword-prompt" in Generative AI on the Chinese Internet currently. Between the emotionally speaking of AI, the audience is forced to rethink the boundaries of technology in relation to people.
《ddrk.me》，2021，装置, 薄膜，保护膜上UV，尺寸可变
ddrk.me, 2021, Installation, thin film, protective film on UV, Dimensions variable
ddrk.me是一被译为“低端影视”的视频网站，是域外提供非正版高清视频的著名网站。其网站域名并不对应“低端影视”的汉字拼音，也不指涉网站受众，而是站⻓带有自嘲和戏谑的表达。在网站的关于⻚面，站⻓写道：“我们的目标是提供最便捷的，同时支持电脑和移动设备的超清画质在线观看影视剧体验。” 艺术家将域名的whois信息记录了下来，把这些信息打印在工业薄膜上，放进空间中。薄膜很容易产生静电，会黏在皮肤上，地上墙上，也会吸附灰尘。
ddrk.me is a website called Low-End Film and TV. It is not difficult to figure that "ddrk" is not the pinyin initials of "Low-End Film and TV", but of "Low-End Population". On the About page of the website, the webmaster writes that "Our goal is to provide the most convenient online viewing experience for both computers and mobile devices with ultra-clear picture quality. The domain name ddrk.me is self-deprecating and does not refer to you as a visitor to the site, so please do not take it personally." I habitually checked the domain name's whois information, recorded it, later printed it on industrial films, and included them in the space. These films easily generate static electricity, stick to the skin, the floor and walls, and absorb dust.
《NTFs_aaajiao》，2020-2021，加密, zip 文件
NTFs_aaajiao, 2020-2021, Crypto, zip file
《NTFs_aaajiao》是加密的。zip文件夹，包含四个镜像。免费下载，但被锁定和加密，只有通过NFT交易获得作品的收集者才会收到解锁文件夹内容的密码。此密码为aaajiao在Social Engineering数据中发现的常用密码，即已被公开破解的密码。文件图标本身已经过编辑，并叠加了艺术家的自画像。由于内容对公众不可⻅，ZIP文件夹在其查找器窗口容器中的图像是唯一可用的可视化表示形式。
NTFs_aaajiao is an encrypted. ZIP file folder that contains four images. Freely available to download but locked and encrypted, only the collector who acquire's the work through a NFT transaction will receive the password to unlock the folder's contents. This password is aaajiao's common password found in the Social Engineering data, i.e. the password that has been cracked publicly. The file icons themselves have been edited, with a superimposed self-portrait of the artist. With contents not visible to the public, the image of the ZIP folder in its finder window container is the only visual representation available.
《观察者》，2017-2018，单频彩色录像、网站，15'32，尺寸可变
bot, 2017-2018, Single channel video, color; Website, 15'32, Dimension variable
《观察者》(bot,)展示了一个数字化的过去与对应的当下互相交织的环境。在这片交汇处，本地与全球网络、社交媒体、园林结构、公园、以及最终出现的自然本身，都合并至一种数字化的超表象(hyper-representation)之中。
*作品与圈圈共同完成
bot, displays an environment deeply intertwined with by a digital past as well as its present counterpart. Reflecting on this intersection, local and global networks, social media, gardening structures, parks, and finally nature itself all become amalgamated into a digital hyper-representation.
*This piece was done in collaboration with Quanquan
《乱数假文》，2017，单频彩色录像、屏幕、线、网站，20'05"，尺寸可变
Lorem Ipsum, 2017, Single channel video, screen, cables, website, 20'05", Dimension variable
《乱数假文》提出了一个理想用户界面的原型，看似完美，兼容任何语言、任何网站或应用程序。
*作品与圈圈共同完成
Lorem Ipsum proposes a prototype of an ideal user interface, seemingly perfect, compatible with any language, website, or application.
*This piece was done in collaboration with Quanquan
《邮件迷航》，2016，视频装置, 网站，17寸LED 屏幕，耐力板UV 打印，尺寸可变
Email Trek, 2016, Video installation, website, 17' LED screen, PC sheet with UV print, Dimensions variable
《邮件迷航》描述了电子邮件系统，以及当电子邮件系统被抛弃或不复存在时，人与人之间的联系是如何消失的。这项工作就像一个预言。我们使用自动生成的电子邮件地址来查找有效的电子邮件。这就像“星际迷航”，在宇宙中寻找生命。对我们来说，一个有效的电子邮件地址就是生命的证据。
*作品与圈圈共同完成
Email Trek describes the email system and how connections between people are lost when an email system is abandoned or ceases to exist. This work is like a prophecy. We use an automatically generated email address to find valid emails. It's like a "Star Trek", searching out life in the universe. For us, a valid email address is evidence of life.
*This piece was done in collaboration with Quanquan
《枯山水》，2014，海绵，内嵌支撑金属条，尺寸可变
Karesansui, 2014,Sponges,metal insert, Dimension variable
“枯山水”原指由细沙碎石铺地，再加上一些叠放有致的石组所构成的缩微式园林景观，没有水景，其中的“水”通常由砂石表现，而“山”通常用石块表现，创造一种宁静，而此刻的宁静，蕴含一种“趋势”，即下一刻的运动，这种“势”，是力量：一种生⻓的力量, 也是运动中静止的瞬间，以静制动。艺术家将“禅化”的枯山水再度提炼抽象，用半椭圆黑色海绵块替代自然之景，呈现出更当代、更数字、更前卫之⻛景。
*作品与许聪共同完成
"karesansui", also known as Dry Landscape, creates a miniature stylised landscape through careful arrangements of rocks, moss, pruned trees and bushes. Usually, Kushansui uses sands to represent water in natural, and rocks for mountains. This special artificial landscape contains a "trend" of movement of next moment. This trend, in Zen culture, is a kind of power of growth—a static moment in instant motions. The artist abstracts this Zen garden style to those black, half-elliptic sponges, making the concept from the imitation of the nature into a more contemporary, more digital, and more vanguard view.
*This piece was done in collaboration with Xu Cong
《⻓城⻓》，2010，不锈钢，热敏打印机，热敏纸，网站列表，76 × 30 × 280 cm， 实际测量GFW的⻓度
GFWlist, 2010, Stainless steel, thermal printer, direct thermal paper, and the website list, 76 × 30 × 280 cm, Measuring the length of the GFW in reality
《⻓城⻓》在黑墙上安装了一台小型打印机。打印机不断地喷出代码，留下大量的纸张缠在一起。代码试图表达我们每日于互联网上活动产生的无限数据，激发观众思考数字生活中越来越多的错误信息、假新闻。
*作品与⻢健和沈赳赳共同完成
GFWList installed a small printer on the black wall. The printer constantly spews out code, leaving a massive tangle of paper in its wake. The code attempts to express the infinite data generated by our daily activities on the Internet, inspiring the audience to think about the increasing misinformation and fake news in digital life.
*This piece was done in collaboration with Ma Juan and Shen Jiujiu
关于艺术家
ABOUT THE ARTIST
1984年出生于西安。现生活工作于上海和柏林。
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的作品频繁展出于全球的美术馆和艺术机构，例如：“致不灭的你”，今日美术馆，北京，中国，2023；“时间引力—— 2023成都双年展”，成都市美术馆，成都，中国，2023；“真实的拓扑：媒体艺术（深圳2023）”，深圳市当代艺术与城市规划馆，深圳，中国，2023；“流光”，四方当代美术馆，南京，中国，2023；“昊美术馆5周年馆藏展：你和我，保持凝视”，昊美术馆，上海，中国，2023；“第七届广州三年展-化作通变”，广东美术馆，广州，中国，2023；“道法柏林，而游于外”，KINDL，柏林，德国，2022；“Cloud Walkers”，Leeum Museum of Art，首尔，韩国，2022；“档案冲动：反叙事和反记忆的操练”，AIKE，上海，中国，2022；“深渊模拟器”，里沃利城堡当代艺术博物馆，都灵，意大利，2020；“1989年到今天：网络时代的艺术”，波士顿当代艺术中心，波士顿，美国，2018；“非真实”，电子艺术之家，巴塞尔，瑞士，2017；“身体·媒体II”，上海当代艺术博物馆，上海，中国，2017；“带走我（我是你的）”，犹太人美术馆，纽约，美国，2016；“时间转向：当代亚洲的艺术与思辨”，斯班塞美术馆，堪萨斯，美国，2016；“波普之上”，余德耀美术馆，上海，中国，2016；“黑客空间”（由Hans Ulrich Obrist与Amira Gad策展），K11艺术基金会临时空间，香港，中国、chi K11美术馆，上海，中国，2016；“全方位：全控制和言论控制”，ZKM卡尔斯鲁厄艺术与媒体中心，卡尔斯鲁厄，德国，2015；“齐物等观——2014国际新媒体艺术三年展”，中国国家美术馆，北京，中国，2014。
他近期个展包括 “艺术家谱系研究之十六 aaajiao：薄膜”，星美术馆，上海，中国，2023；“深渊模拟器”，Tabula Rasa画廊，伦敦，英国，2021；“深渊模拟器”，里沃利城堡当代艺术博物馆，都灵，意大利，2020；“洞穴模拟器”，AIKE，上海，中国，2020；“a’a’a’jiao: 一个ID”，昊美术馆，上海，中国，2019；“观察者”，House of Egorn，柏林，德国，2018；“暴食”，千高原艺术空间，成都，中国，2018；“用户、爱、高频交易”，Leo Xu Projects，上海，中国，2017；“电子遗留物”，华人艺术中心，曼彻斯特，英国，2016；“电子遗留物”，OCAT，西安，中国，2016。aaajiao于2014年获得了第三届三亚艺术季暨华宇青年评审大奖，亦入围首届OCAT皮埃尔·于贝尔奖。
Born in 1984 in Xi’an. Currently lives and works in Shanghai and Berlin.
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.
aaajiao’s work has been featured in numerous exhibitions around the world, upcoming and recent shows include “To Your Eternity”, Today Art Museum, Beijing, China, 2023; “Topologies of The Real Techne (Shenzhen 2023)”, Shenzhen Museum of Contemporary Art and Urban Planning, Shenzhen, China, 2023; “Time Gravity - 2023 Chengdu Biennale”, Chengdu Art Museum, Chengdu, China, 2023; “HOW Art Museum 5th Anniversary Collection Exhibition: “Projection”, Sifang Art Museum, Nanjing, China, 2023; “You as Me, Hold the Gaze”, HOW Art Museum, Shanghai, China, 2023; “The 7th Guangzhou Triennial - symphony of all the changes”, Guangdong Museum of Art, Guangzhou, China, 2023; “Cloud Walkers”, Leeum Museum of Art, Seoul, Korea, 2022; “Forming Communities: Berliner”, KINDL, Berlin, Germany, 2022; “The Archival Impulse: An Exercise in Counter-Narrative and Counter-Memory”, AIKE, Shanghai, China, 2022; “Deep Simulator”, Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy, 2021; “Art in the Age of the Internet, 1989 to Today”, The Institute of Contemporary Art Boston, Boston, USA, 2018; “unREAL”, Haus der elektronischen Künste, Basel, Switzerland, 2017; “Shanghai Project Part II”, Shanghai, China, 2017; “Temporal Turn: Art and Speculation in Contemporary Asia”, Spencer Museum of Art, Kansas, USA, 2016; “Take Me (I’m Yours)” (curated by Hans Ulrich Obrist, Jens Hoffmann and Kelly Taxter), Jewish Museum, New York, USA, 2016; “Overpop”, Yuz Museum, Shanghai, China, 2016; “Hack Space” (curated by Hans Ulrich Obrist and Amira Gad), K11 Art Foundation Pop-up Space, Hong Kong and chi K11 art museum, Shanghai, China, 2016; “Globale: Global Control and Censorship”, ZKM | Centre for Art and Media, Karlsruhe, Germany, 2015; and “Thingworld International Triennial of New Media Art”, The National Art Museum of China, Beijing, China, 2014.
His recent solo exhibition includes “Genealogy Study of Artists No. 16 aaajiao: membrane”, Start Museum, Shanghai, China, 2023; “Deep Simulator”, Tabula Rasa Gallery, London, UK, 2021; “Deep Simulator”, Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy, 2020; “Cave Simulator”, AIKE, Shanghai, China, 2020; “a’a’a’jiao: an ID”, HOW Art Museum, Shanghai, China, 2019; “bot,” House of Egorn, Berlin, German, 2018; “Gluttony”, A Thousand Plateaus Art Space, Chengdu, China, 2018; “User, Love, High-frequency Trading”, Leo Xu Projects, Shanghai, China, 2017; “Remnants of an Electronic Past”, CFCCA, Manchester, UK, 2016; “Remnants of an Electronic Past”, OCAT, Xi’an, China, 2016. aaajiao 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.
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