aaajiao参加余德耀美术馆群展“跨界：可能与回响”

跨界：可能与回响

Bordercrossing: Possibilities and Interactions

2023.09.03 - 10.08

学术顾问 Academic Adviser

巫鸿 (Wu Hung) 

余德耀美术馆

上海市青浦区蟠鼎路123弄8号

Yuz Museum

No.8, Lane 123, Panding Road, Qingpu District, Shanghai

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aaajiao参加余德耀美术馆与福布斯中国呈现的首个项目合作群展“跨界：可能与回响”，展出作品《深渊模拟器》、《a, aa, aaa, aaaa, aaaaa》与《不规则》。本次展览着意体现美术馆“未来之史成于今日”的思想，同时深化“流动的美术馆”这一概念，借由实验性的跨界合作，展现艺术领域自内向外的探查以及非艺术行业由外向内的审视。

三十组出生于80-90年代的参展艺术家将在展厅内通过现实与拟象的跨界完成对社会景观与个体内部的“冶园”，展现出全球化巨影下青年群体的整体创作面貌。作品显示了在主题、媒材及受众等多个向度上的扩张，以人类“共同性”为主的“去中心化”创作趋势，以及“当下”在往昔与未来之间的位移。观看者将针对自然、废墟、人造物及数字化等命题展开直接的、个性化的“田野调查”，由此见证人类是如何借由艺术创作在现代丛林之中迈步的。

“跨界：可能与回响”，展览现场，余德耀美术馆，上海，2023，摄影：Alessandro Wang

“Bordercrossing: Possibilities and Interactions”, Installation View, Yuz Museum, Shanghai, 2023, Photo by Alessandro Wang

aaajiao作品《深渊模拟器》呈现了一个虚实交汇的空间：由一组全新的多媒体装置勾勒出的环境，其中包括一台游戏机、一个元游戏以及一组落地的超现实部件——近似树枝的形态由程序编译完成。艺术家聚焦于“玩家”本身，一个充满各种可能的身份，既能被解释为互联网发展的成果，也可以是虚拟空间、数字化技术的产物。这一“玩家”是aaajiao从过往展览中的“用户”形象转变而来的。《深渊模拟器》的概念指向了近似洞穴的空间——即早期人类的居所，可以遮风避雨——以此探索了个体是如何通过对其他“玩家”的见证来理解自身的存在的。观众将在等待自己成为“玩家”的过程中目睹别的“玩家”开始游戏，旁观另一个“他/她自己”，从而揭示在新的技术、互联网及数据循环构建的世界内，所谓“真实”的矛盾性。 

《深渊模拟器》，2020，游戏，尺寸可变，作品与Ag, 许聪 , nara, Oxi pëng和WLL共同完成

Deep Simulator, 2020, Game, Dimensions variable, In collaboration with Ag, Xu Cong, nara, Oxi pëng and WLL 

《a, aa, aaa, aaaa, aaaaa》，2020，3D打印, SLA UV树脂, PLA聚乳酸, TPU热塑性聚 氨酯 , 磁铁，尺寸可变，作品与WLL共同完成

a, aa, aaa, aaaa, aaaaa, 2020, 3D printing, SLA UV resin, PLA polylactide, TPU thermoplastic polyurethane, magnet, Dimensions variable, Dimensions variable, In collaboration with WLL

展出的另一件aaajiao作品基于金属液体的3D模型演算，《不规则》通过冷峻的黑色、难以名状的形态、海绵材料与皮质外衣挑战了观众的常识性认识。这一物体并不在人们熟悉的知识结构中，介于真实与虚构之间，静谧地散落在展厅内，宣告其存在。一切事物并非是非此即彼的，虚拟与现实或可被同时感知。

《不规则》，2015，海绵，尺寸可变 (72 × 66.5 × 67.7 cm / 个)，作品与许聪共同完成

Anomaly, 2015,  Sponges, Dimensions variable (72 × 66.5 × 67.7 cm / each) , In collaboration with Xu Cong 

“跨界：可能与回响”，展览现场，余德耀美术馆，上海，2023，摄影：Alessandro Wang

“Bordercrossing: Possibilities and Interactions”, Installation View, Yuz Museum, Shanghai, 2023, Photo by Alessandro Wang

在技术奇点与日逼近的今天，生命体与非生命体的博弈已悄然渗入生活的各个角落：思想被不断显化为流动的数据与瞬时的图像，身体则在屏幕与窗口的切换间被激活。当今社会唯一确凿的是其正从“确定”驰向“可能”。而在这些“可能”之中，我们得以借由技术获得雅努斯的双目，在瞭望未来的同时面朝历史。此次展览也正是余德耀美术馆对于上述趋势的一个观察与回应。展览已于2023年9月3日开幕，将持续至10月8日。

文本与图片由余德耀美术馆惠允

aaajiao participated “Bordercrossing: Possibilities and Interactions” by the Yuz Museum in association with Forbes China and exhibited the works Deep Simulator, a, aa, aaa, aaaa, aaaaa, Anomaly. This group exhibition seeks to examine the idea of Yuz Museum that “as we write today's history, we are writing tomorrow's” , as well as to investigate its concept of “Yuz Flow”. With such experimental collaboration, Yuz intends to present the outward exploration by the art world and the examination of the art world by others. 

Thirty groups of artists born between the 1980s and 1990s will present their process of crossing the boundary between reality and imagination, garden-crafting the current social landscapes and the inner world of the modern individuals. This exhibition offers a panorama of expressions by the younger generation in the context of globalization. The artworks manifest an expansion across multiple dimensions such as themes, mediums, audiences; the trend of decentralized creation that focuses on human “commonality” and how contemporaneity shifts between the past and the future. Viewers will launch their personalized “fieldwork” involving notions of nature, ruins, artifacts, and digitization, and observe how human beings navigate the modern jungle through the means of art.

“跨界：可能与回响”，展览现场，余德耀美术馆，上海，2023，摄影：Alessandro Wang

“Bordercrossing: Possibilities and Interactions”, Installation View, Yuz Museum, Shanghai, 2023, Photo by Alessandro Wang

aaajiao's work Deep Simulator presents a space at once both real and virtual: a new multimedia installation composed of an environment - a room set up with a gaming station, a metagame and surreal elements on the floor evocative of tree branches designed by a digital algorithm. The artist focuses his attention on the "player", a figure with numerous possibilities whose role each individual could claim as a result of the advent of the Internet, virtual dimensions and data technology. The player is the effect of a transformation process carried out by the artist over the years passing through the figure of the user presented on the artist's previous exhibition. Deep Simulator, symbolically referencing the space of the cave-the earliest human habitation, shelter from the wind and rain - explores how individuals, upon seeing the player, understand the truth of their existence. The spectator's ability to see the player playing while awaiting his or her own turn, observing an "other" him-or herself, underlines the controversial notion of real in the world of new technologies, the Internet and the circulation of digital data. 

“跨界：可能与回响”，展览现场，余德耀美术馆，上海，2023，摄影：Alessandro Wang

“Bordercrossing: Possibilities and Interactions”, Installation View, Yuz Museum, Shanghai, 2023, Photo by Alessandro Wang

Another aaajiao's work based on 3D modeling of liquid metal, Anomaly challenges conventional notions with its pitch-black color, indescribable forms, sponges and leather-like outer layer. These objects are beyond our normal perception. Silently scattered within the gallery, they sprawl between the virtual and real, declaring their existence and the notion that nothing is strictly binary - the virtual and physical worlds can be perceived at the same time. 

“跨界：可能与回响”，展览现场，余德耀美术馆，上海，2023，摄影：Alessandro Wang

“Bordercrossing: Possibilities and Interactions”, Installation View, Yuz Museum, Shanghai, 2023, Photo by Alessandro Wang

With the technological singularity looming, the wrestling between living and non-living things has quietly diffused in our lives. Thoughts are constantly materialized into flowing data and instant images. Bodies are activated between tabs and windows. The only certainty of today is that we are moving from “certainties” to “possibilities”. Among these “possibilities”, we transcend the physical body through technology and gain the dual vision of Janus, looking both forwards and backwards. Observations and responses to such trends are expressed in the aforementioned group exhibition at Yuz. The exhibition opened on 03 September and will last until 08 October 2023.

Courtesy of Yuz Museum

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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