广东当代艺术中心｜「相思」5月21日周日开幕
相思Longing:
Anthem of Digital Sadness
2023.05.21-2023.07.21
开幕时间:
2023.05.21 15:30
Opening Hours:
艺术家：施 政 王 芮 王梓全
Artists：SHI Zheng WANG Rui WANG Ziquan
策展人：缪子衿
Curator：MIAO Zijin
主办机构：广东当代艺术中心
Organizer：Guangdong Contemporary Art Centre
展览地址：广州市海珠区阅江西路370号广报中心北塔6层
Location：6th Floor,North Tower of Guangzhou Media Centre No.370 Yuejiang West Road,Haizhu District,Guangzhou
前 言
Foreword
如果我们的日常工作是与数据交往，在虚拟环境里逐渐走失的个体仍然渴望与现实世界保持联系。散落在普兰色地毯上的[15-25]组树叶-心形制品《河童》（2023），是王芮创造的一系列连接网络空间和物理空间、意识和身体的端口。不同于她运用软件创作的数码绘画，艺术家将近期的实践聚焦在感知那些嵌入物质的真相。由铅笔绘制叶脉、沿边缘线裁剪卡纸形成的树叶，停靠在现实的附近，如枯黄的落叶般脆弱。心形面孔被锡的质地一次次温柔而诚恳地包裹，记录艺术家亲手塑造的行为与情绪。
王芮《河童》叶，铜，锡，尺寸可变，2023
WANG Rui,Kappa,Leaf,copper,tin,Dimensions variable,2023
王梓全的《空间中交错的线，是虚拟人的航标》（2023）可以视作基于时间线装配的浮雕。三维建模软件提供的精准的动画模型，被艺术家分解、扭转、压缩、重组为打乱秩序的雕像；前置的亚克力控制面板刻有骨骼绑定的信息，显示围绕坐标轴来回运动的虚构人物在某个完美瞬间获得的快照。《荔枝公园》（2020）借用公共场所的娱乐设施，把暗中恋爱的男女培养成能够抵御高速旋转的超人。实际上，这部CG影像的要素并非角色或情节，而是艺术家在操作软件的过程中为工具特有的美学所编写的剧本。
王梓全《荔枝公园》，单频影像，有声，5'27"，2020
WANG Ziquan,LycheePark,Moving Image,5'27"，2020
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。施政的影像《自由落体》（2020）搭建了一个鉴定计算机模拟的面膜与人脸之间相似性的虚拟场景，并将判断结果呈现为[0-1]范围内浮动的数值。艺术家训练的算法看上去荒诞且严肃。当面膜坠落的动态变得刁钻古怪，识别框随之消失，仿佛扮鬼脸可以逃脱系统的控制。屏幕背后的灯箱《悠然美梦》（2023）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。
施政《悠然美梦》，灯箱，60x48x7.5cm，2023
SHI Zheng,Nice Dream,Lightbox,60x48x7.5cm，2023
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。
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If we are dating data daily, someone who gradually gets lost in a virtual environment has always been longing for a chance to contact the real world. WANG Rui creates Kappa (2023), consisting of [15-25] sets of leaf-heart objects that fall here and there on the Prussian blue carpet, which presents a series of protocols that connect cyberspace with the physical space, mind, and body. Unlike her digital drawings on a computer, the artist’s recent practice focuses on the truth perceived and embedded in materials. Leaves drawn by pencil situate in a reality, where paper cut-outs look as fragile as withered leaves. Heart-shaped faces are softly and sincerely wrapped in the texture of tin, which records the artist’s acts and emotions meticulously.
WANG Ziquan’s Control Interface (2023) could be regarded as time-based reliefs or disordered statutes. Pre-existing 3D models animated with precision are decomposed, distorted, compressed, and ultimately rebuilt by the artist. Information about skeleton and rigging is visible from acrylic panels, which function as snapshots of fictional figures moving back and forth on the x/y/z axis. Each figure is captured at a perfect point. Lychee Park (2020) borrows amusement facilities from a public space, and trains men and women involved in love affairs as supermen and superwomen who can resist spinning. Actually, the essential factor of this CG video is neither the character nor the plot, but an aesthetic script compiled by the artist in the process of operating the software.
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. SHI Zheng’s Free Fall (2020) sets up a scene where the similarity between a computer-simulated mask and a human face is judged. Such a result is floating between 0 and 1. The algorithm trained by the artist is uncanny but serious. When the falling masks become strange in shape, identification boxes disappear accordingly. It seems that making faces at the facial recognition system could escape from its control. Nice Dream (2023) highlights the moment when a mask slips on the blessed face. The mysterious expression contributes latent significance to a static facial recognition image.
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.
关于艺术家
About Artist
施政，1990年出⽣，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。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。
近期个展包括：
“沙盒”， AIKE， 上海，2021；
“余烬” ，候⻦空间 ，柏林，2019；
“雾晨”， Oil 艺术空间 ，宁波，2019；
“漫游-往复” ，AIKE， 上海，2018
王芮，1989年出生于四川，成长于四川。2012年在四川美术学院完成本科学业。随后前往北京。在北京生活工作6年，于2018年搬到上海。现长期沉迷于网络，在网络世界里四处游荡。是虚拟世界的“流浪者”“自然主义者”和“隐身客”。网络ID：“闲人”“人精”。近期工作方向：通过铅笔以绘画的方法来感受实在“物质”作为媒介和坐标，连接意识与身体。
近期个展包括：
“银灰色的死”，BANK画廊，上海，2022；
“美好而变得模糊”，BANK画廊，上海，2018
王梓全，1993年出⽣于辽宁沈阳，2017年毕业于中央美术学院雕塑系，2019年硕⼠毕业于英国皇家艺术学院，现⽣活⼯作于杭州与上海之间。王梓全的创作来⾃于对互联⺴及虚拟世界独特的观察和理解，探索虚拟和现实的阈值，并⽤三维软件模仿真实世界中的荒谬。他通过叙事性的计算机影像，在虚拟和真实空间进⾏复制和粘贴。
近期个展包括：
“空⽓动物”，没顶画廊，上海，中国，2022；
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SHI Zheng (born in 1990) is an artist based in Shanghai. 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 reflflection on the philosophy of technology, digital voyage and "latent time" by extending the audience's visual and audio experience.
Solo exhibitions:
"SANDBOX" ,AIKE, Shanghai, 2021;
"Embers ",Migrant Bird Space, Berlin, 2019；
"Frosty Morning" ,Oil Art Space, Ningbo, 2019；
"Wander-Circle" ,AIKE, Shanghai, 2018
WANG Rui (born in Sichuan 1989) graduated from the Sichuan Academy of Fine Arts and now lives and works in Shanghai. She currently explores the body and consciousness through pencil drawings and handmade objects.
Solo Exhibitions:
"Silver Grey Death",BANK, Shanghai,2022
"Fuzzeautiful",BANK, Shanghai,2018
WANG Ziquan, born in Shenyang, Liaoning in 1993, currently lives and works between Hangzhou and Shanghai. He graduated from the Central Academy of Fine Arts with a B.A. degree in sculpture in 2017 and from the Royal College of Art with an M.A. degree in 2019. Wang’s practice is rooted in his unique observation and understanding of the Internet and the virtual world, exploring the threshold values between virtuality and reality, and using 3D software to imitate the absurdity in the physical world. By using narrative computer images, he copies and pastes between virtual and real spaces.
Solo Exhibitions：
"Creatures of the Air",MadeIn Gallery, Shanghai, 2022
关于策展人
About Curator
缪子衿，独立策展人。先后毕业于伦敦艺术大学传媒学院、伦敦大学金史密斯学院策展专业。曾任职于《艺术界 LEAP》杂志、泰康空间。她期待在场域特定的策展实践中持续测试权力关系的边界，特别是治理的技术与展示的政治。
她近期实现的策展项目包括：“近未来—完美搭档”（2022，悦来美术馆，重庆）；“情感自治区：当加密遇见红白喜事”（2022，Gallery Func，上海）；“空气动物”（2022，没顶画廊，上海）；“随意进出”（2021，星空间，北京）；“飞去来器—第九届OCAT双年展 [注意：演出继续! ]”（2021，OCAT，深圳）；“集美 · 阿尔勒发现奖 [法证表演：陶辉 / 流动介质 & 钟云舒 / 隔墙有耳]”(2021，三影堂，厦门）；“登录舒适区?”（2018，泰康空间）；“共享叙事”（2018，共 4 个章节，香格纳S空间，北京）；“保罗 · 麦卡锡的客厅”(2018，木木美术馆，北京）；“全球定位”（2017，乔空间 & 油罐艺术中心项目空间，上海）。
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MIAO Zijin is an independent curator. She received her BA Creative Advertising Strategy from London College of Communication, University of the Arts London, and later received her MFA Curating from Goldsmiths, University of London. MIAO Zijin worked at LEAP magazine as an editor in 2017. From 2019 to 2021, she worked at Taikang Space.She treats curatorial practice as a site-specific testing ground which deals with power relations, especially the technology of governance and the politics of display.
Her recent curatorial projects include: "Perfect Partner in the Near Future" (2022, Yuelai Art Museum, Chongqing); "Emotional Autonomous Region: When Crypto sets Funeral & Wedding"(2022, Gallery Func, Shanghai); "Creatures of the Air"(2022, MadeIn Gallery, Shanghai); "Admission Free" (2021, Star Gallery, Beijing); "Boomerang [Attention! The Show Goes On]" (2021, 9th OCAT Biennale, Shenzhen); "JIMEI ARLES Discovery Award [A Forensic Play: Act I Tao Hui / A Never Ending Search for Connectivity & Act II Tant Zhong / At the Threshold of Visibility]" (2021, Three Shadows, Xiamen); "The Comfort Zone at A Distance"(2018, Taikang Space, Beijing); "Shared Narrative(s)" (2018, realized in four chapters, ShanghART S-Space, , Beijing); "Paul McCarthy's Lounge"(2018, M WOODS, , Beijing); "I Do (Not) Want To Be Part Of Your Celebration" (2017, Qiao Space & TANK Project Space, Shanghai).