【展讯】 朱浚侨个展 —— 世界的倒悬：AI之颜 | 厦门
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艺术总监：滕青云
展期：2023年8月5日 - 2023年9月10日
开幕：2023年8月5日 15:00
随着引导词指令进入算法并置换局部图像，《未来，引导词主宰的世界》最终拼合成朱浚侨和算法共同理解的世界名作。这些略带神秘主义的引导词和算法随机作用，唤醒生成艺术的“灵光”闪现1。未来，类似的图像将涌入数据库，成为无法判别是否为原作的图像来源。
未来，引导词主宰的世界
Future, the Prompted World
本歌取引 - 沙
Melodies Borrowed from Yore - Sand
一百零一场冰冷的夜
101 Chat Nights of Frosty Solitude
地穴
Whispers in the Subterranean
注：
1 灵光：瓦尔特·本雅明在著作中提及艺术作品中“灵光”的概念，它是早期肖像中作品携带的灵晕，同时在机械复制时代艺术作品中消失。
2 弱影像：网络社会发展初期，由于技术和体制所限，数字影像通常以劣质的、不清晰的多媒体文件格式网络平台上免费传播。“弱影像”相对“强影像”被放置于边缘状态，但是弱影像在今天迎合了网络的快速传播和消费。
3 忒修斯之船：公元一世纪，普鲁塔克提出了一个悖论，忒修斯船上的木头逐渐替换，这艘船是否还是原来的那艘船。多用于当下技术是否替代人类的讨论。
关于艺术家
朱浚侨，1996年生于上海，视觉艺术家、摄影师和影像导演。2015-2019 年，他于加拿大温哥华艾米丽卡尔艺术与设计大学学习电影、综合媒体与视频艺术专业，现工作生活于上海和温哥华。他在实验电影、摄影、多媒体装置和人工智能生成等不同领域中不断探索，其形成了的艺术风格深受宗教、东西方当代文化和哲学的影响，并努力在其中建立起与现代社会共振的美学价值观。
朱浚侨的创作理念不仅聚焦于作品表面的“美学的壳”，更着重强调作品内涵的深度和价值“信息的核”。他认为，不论采用何种媒介，作品本身传达的信息核心才是其价值的源泉。这种观念使他更加坚定地相信创作应始终保持艺术家与观众之间的联系，同时在自我与社会之间寻找共鸣。
World Reversed: the Faces of A.I.
- Kelvin Zhu's Solo Exhibition
Curator: Xiao Ruiyun
Art Director: Teng Qingyun
Organiser: Three Shadows Xiamen Photography Art Centre
Duration: Aug 5, 2023 - Sep 10, 2023
Opening: Aug 5, 2023 15:00
Venue: 3rd Floor of Building 2, Xinglinwan Business Centre, Jimei District, Xiamen
In the age of AI digital images, artificial intelligence has made image production abandon "light painting" as the basis, and we are experiencing a visual upheaval dominated by prompts. "World Reversed: the Faces of AI" takes the AI-generated faces as the emotional initiation to examine digital-generated art and its related issues about subject-object relation, medium, and identity.
As the prompt commands, the algorithm, which modifies some parts of images, "Future, the Prompt World," is ultimately assembled into world masterpieces understood by Zhu and the algorithm. These slightly mystical prompts and the randomness of algorithm action awaken the "aura" of generative art.1 In the future, images like these will be flooded into databases and become the picture prompt that cannot be identified as originals or not.
"AI MY EYES: Interweaving Realms" is presented as a diptych. Firstly, it is in-game photography, and Zhu, as a player, photographer, and creator, captures the virtual landscape in the game "Ghost of Tsushima," constructing self-expression in the context of the game. Then, the work consists of generative images in the same context. Both form a coherent and intertextual linkage between the images, which resonates aesthetically, realizing the reproduction of one medium in the other. Similarly, the romantic fantasy of artificial intelligence, "Melodies Borrowed from Yore," adapts classical aesthetics and legends to depict a near-future apocalyptic landscape.
While the above works deploy AI to complete facsimiles of images, the later series further contemplates the relationship between AI and human beings. "FMAO: BIAS in AI" is a seemingly diverse series of portraits that actually explores the influences of popular aesthetics and bias in AI generation. Due to the complex "ghost mechanism" behind the algorithms, emotions or habits leave a digital footprint in every operation of algorithms, but the user subconsciously reproduces the group's visual biases regarding race, gender, and emotions.
"101 Chat Nights of Frosty Solitude" is a series of AI-generated short videos exploring the trend of high-desire, low-demand viewing in the era of extensive data analysis. The work validates that "poor images," which lack picture quality, are reproduced at an accelerating rate under the blessing of today's communication convenience.2 At the same time, viewers are addicted to this technology-manipulated content in an information cocoon constructed by recommender algorithms.
101 Chat Nights of Frosty Solitude
"Whispers in the Subterranean" is an allegory for the medium of images. AI-generated images are cast upon the present environment, and our perception is like in the cave described by Plato: the prisoner perceives the world as "shadows" in the cave. At the same time, the shadows projected onto the wall are in control of the caster. The work echoes the fundamental discussion in "Ship of Theseus" about the relationship between technology and human beings3 - to what extent will human beings have the power to dominate when AI technology, as a medium, floods and even manipulates our lives? Like the "World Reversed" depicting the dangers of uncertainty, this will be the paradox of humans' power relationship with AI.
地穴
Whispers in the Subterranean
Notes:
1 Aura: Walter Benjamin refers in his writings to the concept of the "aura" in a work of art, which is the aura carried by the work in the early portraits, and which disappeared from the work of art in the age of mechanical reproduction.
2 Weak Images: In the early days of the network society, due to technological and institutional constraints, digital images were usually distributed free of charge on network platforms in poor-quality, unclear multimedia file formats. "Poor Images were marginalized compared to Rich Images, but today Poor Images cater to the rapid distribution and consumption of the Internet.
3 Ship of Theseus: In the 1st century A.D., Plutarch posited a paradox in which the wood on Theseus's ship was gradually replaced, and whether the ship was still the same. Mostly used in the current discussion of whether technology is replacing humans.
Kelvin Zhu, born in 1996 in Shanghai, is a visual artist, photographer, and film director. He studied Film, Integrated Media and Video Arts Major at Emily Carr University of Art and Design in Vancouver, Canada from 2015 to 2019. Now he lives and works in Shanghai and Vancouver. He continually explores various realms such as experimental film, photography, multimedia installations, and artificial intelligence generation. His artistic style has been profoundly influenced by religious, contemporary cultural, and philosophical elements from both the East and West. He endeavors to establish an aesthetic value that resonates with modern society within these influences.
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