【OCAT上海馆 | 展览预告】共同的____ ｜2022 OCAT × KADIST青年媒体艺术家项目展览单元
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共同的______
2022年OCAT × KADIST
青年媒体艺术家项目展览单元
艺术家：曹澍、郭城、胡伟、李明、刘昕、刘雨佳、彭祖强、沈莘
策展人：陶寒辰、王姝曼、陈子涵
展览时间：2022年8月27日——10月23日
展览地点：上海市静安区曲阜路9弄下沉庭院，负一层
展览主办：OCAT上海馆
展览协办：华侨城（上海）置地有限公司
项目伙伴：卡蒂斯特（KADIST）
OCAT上海馆将于2022年8月27日至10月23日荣幸推出2022年OCAT × KADIST青年媒体艺术家年度项目展览单元——“共同的____”。本次展览是OCAT上海馆自2013年发起项目以来的第八次呈现，同时亦是和KADIST的二度合作。经八十位业内资深提名人的推荐和确认，🔗八位活跃于当代艺术领域的青年艺术家入围本次项目的展览单元。
关于展览
今天，我们正经历着——被人工智能、算法系统、区块链技术等技术围建的新媒介时代，这也是一个承载着个性化偏好，推行分布式模块，并以共同发展为未来愿景的时代。若从语言学的角度理解，新媒介时代的到来，正在为以形式改造意义的“神话”[1]系统提供更多的新载体，但事物之“自然”也随之被进一步消解及覆盖。[2]始于对这一现象背后新常态的共通感受，展览结合艺术家形态多元的作品创作，通过三个篇章引出“共同”（solidarity）这一概念，去探讨不同向度中的文化符号是否因媒介发展而产生认知危机。
全面动员的星球
《抽象神谕生成器》，郭城，2020年，多媒材装置，210 × 210 × 14 厘米，图片由艺术家与魔金石空间（北京）提供
《黑色海洋》，刘雨佳，2016年，单通道高清录像，38分35秒（彩色，有声），图片由艺术家和当代唐人艺术中心（北京、香港、曼谷和首尔）提供
《白石》，刘昕，2021年，数字视频，21分57秒（彩色，有声），图片由艺术家工作室提供
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不可否认，相对于具象物质的共同属性，抽象的共同显然更具诱惑——它不受限于条件或地域，甚至可以被运用在任何维度，诸如对地表之上的物质，以及地底之中的能量进行全面动员的行星维度。[3]展览于此开篇：包裹着行星的大气粒子在计算机模拟的“虚拟神谕”下敲击着人类器具；代理人类进行远征任务的太空机械向下而坠；⼯业城市中被勘探的地球能源被向上运送。这些具象情境暗示着我们：行星维度下的“共同”不仅在于证实不同物种和物质的抽象性共生，更多应关乎认知自身在此共生系统中的位置。在人类学家布鲁诺·拉图尔（Bruno Latour）看来，人类之所以对其自身以外的自然物产生共生意愿，是由于已不再存在一个仅作为标准、陪衬、储备、资源、公共垃圾场且服务于政治之自然。[4]“共同”的概念由此被重新召唤、定义并自洽出新的形态结构逻辑，以再划定星球危机下各自的利益与责任。
被指引的群体
《为公共集会(邂逅)的提案》，胡伟，2019年，档案、照片、喷泉装置，尺寸可变，图片由艺术家提供
《青园》，彭祖强，2022年，单通道高清录像（16mm 和超 8 胶片转录），8分05秒（彩色与黑白，有声），图片由艺术家及天线空间（上海）提供
《无限和无限加一》，曹澍，2020年，影像装置，13分12秒（彩色，有声），图片由艺术家和想象力学实验室提供
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从拉图尔的观点来看——具体的社会形态催生出抽象的共同。但是否也同时存在着反向的逻辑，即抽象的共同启动了具体的社会形态？沿此疑问，展览第二章节从行星尺度拉回到人类社会领地，在具体的历史、族群、基建及生存空间再度展开对“共同”的辨识：一次主观或偶发的交汇映射在集体记忆中，暗示着个体与公共空间之间的联系。当我们试图去拆解这些复合图像时，或许会发现真实存在的或是一种“群体性指引”（collective instruction）。[5]因指引而显形的“共同”在具体的物理空间，如异质的边疆风景、重饰的电台遗址、有限的居住单元、废弃的海景招待所中得以一一具化。不止于此，物理空间已非现今人类社会的全貌，自宇航员第一次环绕地球航行的那一刻起，人类社会便转向为一个“巨型空间站”，社会的各项功能都纷纷脱离原位而进入同一轨道。[6]信息技术物是为轨道中的一种不可见之“显影剂”，通过卫星天网系统、互联网边界和大数据应用等一系列信息治理技术在云端显现出新的共同秩序，并带来新的经验——因没有实际的锚地和比照而始终难以着陆。
之间的身体
《脱离》，刘昕，2020年，双通道录像，10分46秒（彩色，有声），图片由艺术家工作室提供
《夜莺的挑衅》静帧，沈莘，2017年，双通道录像装置，64分35秒（彩色，有声），图片由艺术家提供
《瞥漏》，彭祖强，2022年，单通道高清录像（16mm和超8胶片转录），12分15秒（黑白，有声），图片由艺术家及天线空间（上海）提供
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星球和人类社会领地之间的公地，将我们的注意力引向处于其间的身体，它的形态、感知、历史与主体构成。如果将“共同”理解为一种外化形式，那么“之间”更趋向于“共同”的内在结构，其既连接着相邻的元素，亦对固有的二元关系提出有意识的怀疑。借由学者伊芙·赛菊寇（Eve Sedgwick）的概述来说，“之间”（beside）包含着——渴望、识别、代理、排斥、并进、偏向、模仿等多向关系。[7]围绕着生殖与精神、情感与心智、地缘与经济，屏幕中的身体意图还原出“之间”的复杂关系——与数字分身的共处、与情感对象的共诉、与相似经历者的共情。在此过程中，矛盾同时显现：数字分身是被孕育的新生命还是被复刻的机械品？亲密关系如何同时容纳信任与逾越？相似经历能否达成共情的有效性？这些矛盾再次指出反思“共同”的必要，并将其重构为一种包容且多变的临时呈现，而非一个仅仅作为“我与他者”[8]的笼统概念。
今天，我们在试图理解——共同被抽象化这一现象或是为一种权宜之计。相较于直接性否定，质疑抽象化的具体成因，并保留持续追问的空地显得更为迫切。
参考文献：
[1] 此处的“神话”一词基于罗兰·巴特的神话学理论。
[2] Paul de Man, “Roland Barthes and the Limits of Structuralism,” Yale French Studies 77 (1990): 182-183.
[3] 许煜, “形塑一种行星思惟,” 张至维 译, E-flux Journal #114 (December 2020), https://www.e-flux.com/journal/114/383940/n-a/.
[4] Bruno Latour, Politics of Nature——How to Bring Sciences into Democracy, trans. Catherine Porter (Cambridge: Harvard University Press: 2004), 58.
[5] 苏珊·桑塔格，《关于他人的痛苦》，黄灿然 译，（上海：上海译文出版社，2018），第75-76页。
[6] 让·鲍德里亚，《恶的透明性：关于诸多极端现象的随笔》，王晴 译，（西安：西北大学出版社，2019），第36页。
[7] Eve Sedgwick, Touching Feeling: Affect, Pedagogy, Performativity, (Durham & London: Duke University Press, 2003), 8.
[8] Chandra Talpade Mohanty, Feminism without Borders: Decolonizing Theory, Practicing Solidarity, (Durham & London: Duke University Press, 2003), 7.
OCAT上海馆是中国第一家专注于媒体艺术与建筑设计的专业非营利艺术机构，位于上海市静安区苏河湾，由艺术家张培力先生担任执行馆长。OCAT上海馆通过展览、学术研究、国际交流、公共教育、出版、收藏等项目，致力成为具有前瞻性和社会触觉的，活跃、互动、开放的艺术机构。
作为OCAT馆群的首家深圳区外分馆，OCAT上海馆于2012年9月29日正式成立，开馆至今已举办一系列有影响力的学术性展览。2019年10月，OCAT上海馆搬迁至上海市静安区曲阜路9弄下沉庭院（负一层），并于同月携新馆首展正式对公众开放。
作为非营利当代艺术机构，卡蒂斯特相信艺术家通过创作为社会进步作出重要的贡献，他/她们的工作通常强调了我们时代的关键议题。我们致力于展示所收藏艺术家的作品，鼓励参与社会议题的讨论并确认当代艺术在社会语境中的相关性。卡蒂斯特位于巴黎和旧金山的艺术中心主要举办展览和当地和在线的活动，并组织驻留项目。在一个由国际顾问所组成的网络的支持下，卡蒂斯特尤其发展与顶尖美术馆的合作，促进跨文化的联结并创造针对当代艺术和思想的充满活力的对话。kadist.org
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In Solidarity with____
2022 OCAT × KADIST
Emerging Media Artist Program Exhibition
Artists: Cao Shu, Guo Cheng, Hu Wei, Li Ming, Liu Xin, Liu Yujia, Peng Zuqiang, Shen Xin
Curators: Tao Hanchen, Wang Shuman, Chen Zihan
Exhibition Period: August 27 - October 23, 2022
Venue：-1F Sunken Garden, Qufu Road, Jing'an District, Shanghai
Exhibition Organizer: OCAT Shanghai
Exhibition Co-Organizer: OCT Land (Shanghai) Investment Ltd.
Program Partner: KADIST
OCAT Shanghai is pleased to announce the group exhibition "In Solidarity with____", the first chapter of the OCAT × KADIST Emerging Media Artist Program 2022. This exhibition marks the eighth edition of OCAT Shanghai’s annual Emerging Media Artist Program, a project that launched in 2013, and its second collaboration with KADIST to support artists from China working in media art. 🔗The eight exhibited artists were selected from nominations by eighty contemporary art professionals for their demonstration of creativity, and command for the language of media art across multiple dimensions of practice. During the exhibition, an international jury will award one of the artists with a short, fully-funded research residency at KADIST San Francisco in 2023.
ABOUT THE EXHIBITION
We live in a new media era constructed by artificial intelligence, algorithmic systems, blockchains and other technologies—one that promises to provide personalized experiences, promote distributed network, and envision the future of communities. In reality, however, the proliferation of digital communication on and through a limited set of mainstream platforms has led to convergent discourses in the public sphere. A distributed concept of decision-making is limited by divergent interests without regulation, and the specific meanings of "solidarity" have degenerated into ambiguous forms due to overuse and over-consumption. From a linguistic perspective, new media provides extra vehicles for the "mythological" system that transforms meaning into form to further dismantle the understanding of reality as "natural" when it is instead socially constructed.[1] Starting from this new normal, the exhibition posits three chapters that introduce the notion of "solidarity" from various dimensions, revealing how the excessive meaning given to the term "solidarity" conceals a cognitive crisis.
A Total Mobilized Planet
Abstract Oracle Generator, Guo Cheng, 2020, multi-media installation, 210 × 210 × 14 cm, image courtesy of the artist and Magician Space (Beijing)
Black Ocean, Liu Yujia, 2016, Single Channel HD Video, 38'35" (Color, sound), image courtesy of the artist and Tang Contemporary Art（Beijing, Hongkong, Bangkok, Seoul）
The White Stone, Xin Liu, 2021, Digital video, 21'57" (color, sound), image courtesy of artist studio
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Undeniably, the notion of solidarity feels more appealing in abstract than in concrete terms—solidarity unbound by any sort of conditions or territories and applicable in all dimensions, such as planetary dimensions mobilized by all forms of matter, energy, and planetary life (human and non-human).[2] The exhibition begins here, with atmospheric particles that encase planets striking human apparatuses under a computer-simulated "virtual oracle". Spaceships carrying human expeditions plummet downward, and energy resources extracted from the earth are transported upward to industrial cities. These concrete situations suggest that "solidarity" is confirmed by the existence of an abstract symbiosis among different species and substances, as well as one's perceived place in this symbiotic system. As philosopher Bruno Latour reminds us, "Not everything is political, perhaps, but politics gathers everything together."[3] In his view, humans are willing to live in a symbiotic relationship with natural objects outside of themselves because they have realized that nature serves only as a standard, a foil, a reserve, a resource, and a public dumping ground, in service to a politic that no longer exists.[4] The notion of "solidarity" is thus recalled, described, and self-referenced as a new political logic in order to redefine our respective interests and responsibilities under the planetary crisis.
The Instructed Collective
Treasure Hunt, Liu Yujia, 2020-2021, Single-channel 4K video, 53'14" (color, sound), courtesy of the artist and Tang Contemporary Art (Beijing, Hongkong, Bangkok, Seoul)
The Cyan Garden, Peng Zuqiang, 2022, Single-channel HD video (16mm and Super 8mm film transferred), 8'05" (color and B&W, sound), images courtesy of the artist and Antenna Space (Shanghai)
Infinity and Infinity Plus One, Cao Shu, 2020, Installation, 3D rendering image combined with shooting image, 13'12" (color, sound), image courtesy of the artist and Imagokinetics Lab
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In Latour's view, concrete politics engenders abstract solidarity. However, does the reverse logic also stand? In other words, does abstract solidarity initiate specific forms of politics? Following this line of questioning, the exhibition moves from a planetary scale back to the territory of human societies, speculating on the meaning or forms of "solidarity" within concrete histories, communities, infrastructure, and living spaces. It reimagines "solidarity" as an occasional, organized gathering embedded in people's collective memory, more specifically in the connection between individuals, the public space, and communal life. When we try to unpack these composite images, we may realize what exists is not a collective memory of a moment but rather what critic and political activist Susan Sontag calls a "collective instruction".[5] Shared historical moments act as symbols to legitimize actions and instruct future generations. These symbols materialize "solidarity" in specific physical spaces, such as a heterogeneous frontier landscape, a redecorated radio station, a restricted housing unit, and an abandoned guest house with an ocean view. Moreover, physical space no longer represents the entirety of human society today but rather the interests of a few. It has been transformed into a "giant space station" since the moment the first astronauts began circling Earth, removing all social functions from their original position and putting them into the same orbit.[6] Information technology is an invisible "developer" in this orbit, producing a new common order in the cloud through a series of information governance technologies such as Skynet satellite systems, Internet security gateways, and big data tracking applications. These new experiences are still being introduced—with no actual anchor or reference, the "space station" hasn’t been able to land.
"Beside" The Bodies
Still Life Mask series, Guo Cheng, 2017, Full color sandstone (3D Printed), 19×26×24cm; 26×20×24.5cm; 16×27×24.5cm, Image courtesy of the artist and Magician Space (Beijing)
Provocation of the Nightingale, Shen Xin, 2017, two-channel video installation, 64'35" (color, sound), Installation view, "BALTIC Artists' Award", BALTIC Centre for Contemporary, Gateshead, 2017. Photo: John McKenzie. Copyright BALTIC
Sight Leak, Peng Zuqiang, 2022, Single-channel HD video (16mm and Super 8mm film transferred), 12'15" (b&w, sound), Images courtesy of the artist and Antenna Space (Shanghai)
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This emergent common space "beside" the planet and collective field recalls the body in between—its form, perception, history, and subjective composition in a perpetual state of becoming. If "solidarity" is understood as a form of externalization, "beside" might be understood as more of an internal structure of "solidarity" that connects adjacent elements and complicates assumptions of inherent duality. As outlined by queer theorist Eve Sedgwick, "beside" comprises a wide range of relations including desiring, identifying, representing, repelling, paralleling, differentiating, rivaling, learning, twisting, and mimicking.[7] Revolving around performances of reproduction and spirituality, emotion and intellect, geography and economy, the bodies on screen aim to restore the complexities of coexisting "beside"—in relationship to a digital doppelganger, in communion with an erotic object, and showing empathy for those who share similar experiences. In this process, contradictions emerge simultaneously. Is the digital doppelganger a new life to be bred or a mechanical object to be reproduced? How can intimacy accommodate both trust and transgression? When empathy is shown for a similar experience, is it an effective demonstration? These contradictions point again to the necessity for reflecting on "solidarity" to reconstruct it into an inclusive, variable, current form, versus a general conception of "us vs. them."[8]
Today, in this moment, we are trying to understand the phenomenon of abstract solidarity as an act of political expediency. We feel that it is more urgent to inquire together into the specific causes of its abstraction and preserve an exclave for further questioning than continue denying that it exists.
Bibliography:
[1] Paul de Man, "Roland Barthes and the Limits of Structuralism," Yale French Studies 77 (1990): 182-183.
[2] Yuk Hui, "For a Planetary Thinking," E-flux Journal #114, December 2020, https://www.e-flux.com/journal/114/383940/n-a/.
[3] Bruno Latour, Politics of Nature -- How to Bring Sciences into Democracy, trans. Catherine Porter (Cambridge, MA: Harvard University Press: 2004), 53.
[4] ibid, 58.
[5] Susan Sontag, Regarding the Pain of Others, trans. Huang Canran (Shanghai: Shanghai Translations Publisher, 2018), 75-76.
[6] Jean Baudrillard, Transparency of Evil: Essays on Extreme Phenomena, trans. Wang Qing (Northwestern University Press: 2019), 36.
[7] Eve Sedgwick, Touching Feeling: Affect, Pedagogy, Performativity, (Duke University Press, 2003), 8.
[8] Chandra Talpade Mohanty, Feminism without Borders: Decolonizing Theory, Practicing Solidarity, (Durham & London: Duke University Press, 2003), 7.
OCAT Shanghai is the first professional art institution focused on media art and architectural design in China. Located in the Suhe Creek area of Jing’an district, OCAT Shanghai aims to serve as a forward-looking, influential, socially-aware and interactive art institution through exhibitions, research, communication, public education, publications, and collections. Artist Zhang Peili is the current executive director of OCAT Shanghai.
OCAT Shanghai is the first branch of OCAT Museums to open outside Shenzhen. Inaugurated on September 29, 2012, it has since organized a series of influential academic exhibitions. The museum officially moved to its new location in October 2019 (-1F Sunken Garden, Qufu Road, Jing’an District), and has been open to the public with its inaugural exhibition in the same month.
KADIST is a non-profit contemporary art organization that believes artists make an important contribution to a progressive society through their artwork, which often addresses key issues of our time. Dedicated to exhibiting the work of artists represented in its collection, KADIST encourages this engagement and affirms contemporary art’s relevance within social discourse. Its local hubs in Paris and San Francisco organize exhibitions, physical and online programs, and host residencies. Supported by a global network of advisors, KADIST develops collaborations internationally including with leading museums, facilitating new connections across cultures and vibrant conversations about contemporary art and ideas. kadist.org
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