HOW 我与博伊斯 | 周啸虎：循环互噬的信息圈
我与博伊斯 · 周啸虎
Me & Beuys · Zhou Xiaohu
展期：2019年12月12日- 2020年03月15日
艺术家：周啸虎
策展人：杜曦云
地址：昊美术馆（上海）二楼特别项目展厅
主办：昊美术馆
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昊美术馆荣幸地宣布，持续性项目“我与博伊斯”将于2019年12月12日于昊美术馆（上海）2层展厅开展，此项目每4个月邀请一位艺术家用作品的形式与馆藏的博伊斯展览进行对话，并在博依斯展区以“展中展”的形式展出。项目由策展人杜曦云主持。
“约瑟夫·博伊斯”展览现场照片，©️昊美术馆
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1986年1月23日，在纸媒时代频繁挑动热议的艺术家约瑟夫·博伊斯（Joseph Beuys）在德国阖然逝去。
当时的中国大陆，正值全民热切寻求文化启蒙的阶段。在美术界，“85新潮美术”方兴未艾，劳申伯格（Robert Rauschenberg）的展览两个月前刚刚在中国美术馆举办，前卫青年们被“现成品”可以成为艺术品这样的理念和范例所鼓舞。
约瑟夫·博伊斯 | Joseph Beuys
但那时，很少有人知道博伊斯，也不知道博伊斯倡导了一种摆脱艺术对视觉效果的依赖的可能性以及方法。从90年代初期开始，越来越多的中国艺术家开始了解博伊斯，将其接纳为当代艺术中的基石，并且自觉地以他所提倡的方式作为个人创作的出发点。
直接民主玫瑰 / Rose for Direct Democracy, 1972
7000棵橡树-城市造林取代城市管理，1982
博伊斯“人人都是艺术家”、“社会雕塑”等理念和很多突破常规的行动，在二战后百废待兴的欧洲，有非常积极的意义：激发每个人的激情和创造力，通过具体行动来改造社会。这些理念和行动，对中国艺术家也有相当大的鼓舞。
博伊斯的“以艺术的名义和方式直接介入社会”，很容易被中国艺术家理解和接受。尤其，博伊斯曾说：“艺术要生存下去，也只有向上和神和天使，向下和动物和土地连结为一体时，才可能有出路。”这种先知式的话语，放在环境危机、文明冲突、人工智能和生物科技加速发展的当代，更加意味深长、回响悠悠。
“约瑟夫·博伊斯”展览现场照片，©️昊美术馆
昊美术馆于2018年举办的大展“见者的书信：约瑟夫·博伊斯×白南准”，引发公众的热烈关注和讨论。其后，作为昊美术馆馆藏的数百件博伊斯作品（雕塑、绘画、装置、影像、文献等）经由展览“约瑟夫·博伊斯”长期供公众与学者观看和研究。
在此基础上，昊美术馆推出持续性项目“我与博伊斯”， 此项目每4个月邀请一位艺术家用作品的形式与馆藏的博伊斯作品进行对话，并在博依斯展区以“展中展”的形式展出。项目由策展人杜曦云主持，邀请在“介入社会”等方面有持续表达的艺术家，通过具体项目的实施过程，触摸和博伊斯的丰富关系，在求同存异中再次激活彼此的文化能量。
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“我与博伊斯”的首个展览将于2019年12月12日于昊美术馆（上海）2层展厅开展，邀请艺术家周啸虎和他的作品《侦探计划-追尾实训》与博伊斯展开对话。同时，该作品亦由艺术家捐赠作为昊美术馆的馆藏，在此，昊美术馆向周啸虎先生致以诚挚感谢。
关于艺术家
周啸虎
1960年生于中国常州
毕业于四川美术学院
现生活工作于上海
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周啸虎是中国视频动画的先锋人物，自1997年起，他开始用计算机进行艺术创作，并实验定格动画、视频装置等不同形式的创作。他的标志性风格是在影像和真实物体间创造出不同的图像层次, 反映了数字时代中，历史在其特定细节可能被放大、误读、篡改和遗漏的情况下是如何被记录的。周啸虎的创作自由跨越各种艺术媒介，涉及动画、录像、装置和综合行动项目等，近期又与中国民间提线木偶团体合作，以进一步推动综合艺术的“能量剧场”。
周啸虎作品2000年参展上海双年展，2001年参加柏林汉堡火车站美术馆 “中国录像艺术展”，2004年在美国纽约国际摄影中心参展“过去与未来之间”，动画录像《乌托邦机器》在纽约现代艺术馆展出并且被收藏，同年参展由哈罗德•泽曼策划的首届西班牙塞维利亚国际艺术双年展；2006年参加第5届亚太三年展；2007年作品在英国泰特利物浦美术馆、维也纳路德维希现代艺术馆、瑞士的伯尔尼美术馆展出；2008年作品展出于比利时皇家美术宫；2010年在韩国光州双年展推出作品《集训营》，同年在伦敦泰特现代美术馆实施教育行动项目《疯狂英语营》；2011年作品在伦敦巴比肯艺术中心和中国美术馆展出，同年作品入选昆士兰现代美术馆“21世纪：第一个十年中的艺术”展；2012年参加第四届广州三年展、新加坡美术馆最新亚洲当代艺术展；此外，周啸虎的作动画品还参影了第40届鹿特丹国际电影节和第56届洛加诺国际电影节，在第36届休斯敦国际电影节中获实验录像类金奖，2002年和2006年获中国当代艺术奖。2014年到2015年获德意志学术交流中心（DAAD）驻地艺术研究奖项。
信息互噬的逻辑
周啸虎在2008年8月实施的《侦探计划-追尾实训》，是一个预谋好的监控测试。在分别签订合同并付费后，来自10家私人侦探公司的10位调查人员，在雇主周啸虎设计的游戏规则中忙碌起来。每位调查人员认真的调查、跟踪雇主指定的人，却不知自己也正被调查、跟踪着。只有不断收到他们调查报告并在现场俯视着他们的雇主本人，知道这是个循环互噬的信息圈：每个人在窥探和采集着别人的信息，又被其他人窥探和采集着。
侦探计划-追尾实训，2008
《侦探计划-追尾实训》在人流密集的商厦和地铁站中实施。根据事先签订的合同，10位忙碌的调查人员们，依他们的调查能力获得相应的薪酬。艺术家周啸虎把完整的行动过程经过美学转化后，置入美术馆这个专供观看和反思的空间中，可以启动一系列的追问：个人信息在不公开的情况下，通过哪些渠道和方法可以得到？当事人发觉被私人侦探公司调查、跟踪时的反应会是什么？当事人的信息在不知情的情况下被公示出来时，引发的后果会是什么？己所不欲，勿施于人，当调查者同时也是被调查者时，当调查者发现自己也是被调查者时，当众人都知道自己既是调查者又是被调查者时，以上的这些问题又会发生哪些微妙的变化……
时过境迁，《侦探计划-追尾实训》实施时的技术已成往事，但它叩问的情境逻辑和所涉问题，在摄像头、人脸识别、大数据、5G、人工智能等已生成新的日常生活的当下，可能正逢其时。当然，也可能被新的生活经验平滑湮没……
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Me & Beuys · Zhou Xiaohu
Duration：2019/12/12 - 2020/03/15
Artist：Zhou Xiaohu
Curator : Du Xiyun
Venue：Special Project Space, F2, HOW Art Museum (Shanghai)
Host : HOW Art Museum
HOW Art Museum is honored to announce that the continuous project Me & Beuys will open on the 2nd-floor exhibition hall of the HOW Art Museum (Shanghai) on December 12th, 2019. This project will invite an artist every four months to engage in a dialogue with Beuys by exhibiting their art in the Beuys exhibition area forming an "exhibition within an exhibition". The project is presided over by the curator Du Xiyun.
Joseph Beuys Exhibition View
©️HOW Art Museum
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On January 23, 1986, Joseph Beuys, the artist who stirred up so much debate during the era of print media, passed in Germany.
At the same time, the China Mainland was undergoing a stage where all of her people were eagerly seeking cultural enlightenment. In the art world, the “New Wave Art movement of 85" was on the rise, and Robert Rauschenberg's exhibition at the National Art Museum of China had just opened two months before, and the avant-guard youth were greatly inspired by the works that they saw and with the concept that ready-mades could become art in their own right.
Joseph Beuys
But also at that time, not many people knew who Joseph Beuys was or about the possibility and methodology behind art breaking from its dependence on visual effects. Since the early 1990s, more and more Chinese artists have come to know and understand Beuys, accepting him as the cornerstone of contemporary art while consciously taking into account what he advocated as the starting point of his practice.
I Like America and America Likes Me，1974
How to Explain Pictures to a Dead Hare，1965
Beuys’s unconventional actions and ideas like “everyone is an artist” and “Social Sculpture” played a very positive and significant role in the devastated Post-WWII Europe: they inspired everyone's passion and creativity, transforming the society through concrete actions. It was these ideas and actions that had a huge impact on Chinese artists.
Beuys’s “using the name and method of art to engage with society directly” was quite easy for Chinese artists to understand and pick up. Especially when Beuys said “If I want to give a new anthropological position to the man, I must also give a new position to all that concerns him, link him downwards with animals, plants and nature, as well as upwards, with angels or spirits […]. In my actions, I have always exemplified art=man”. Such prophetic words are more meaningful in the contemporary era with its environmental crisis(s), clash(es) of civilizations, accelerated development in the fields of artificial intelligence and biotechnology.
Joseph Beuys Exhibition View
©️HOW Art Museum
The grand exhibition Lettres du Voyant: Joseph Beuys x Nam June Paik which took place in 2018 at HOW Art Museum, caught the attention of the public and led to widespread discussion. After the exhibition, hundreds of works by Joseph Beuys (sculptures, paintings, installations, images, documents, etc.) from the HOW Art Museum Collection were put on long-term display specifically for the public and scholars to observe and study.
It is on this basis that the HOW Art Museum presents the continuous project Me and Beuys. Every four months, the project invites an artist to engage in a dialogue with the collection of Beuys works in the form of an "exhibition within an exhibition" in the Beuys exhibition area. The project is presided over by the curator, Du Xiyun who invites artists who have taken part in sustained "social intervention" to touch on the rich relationship with Beuys through the process of realizing specific projects. The aim is to reactivate each other's cultural potential by seeking common ground while putting aside differences.
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The first exhibition of Me & Beuys will be held on the 2nd floor of the HOW Art Museum (Shanghai) on December 12th, 2019. The exhibition invites artist Zhou Xiaohu to engage in dialogue with Beuys with his work Detective Project-To Chase One's Tail Training. At the same time, this work was donated by the artist to the HOW Art Museum collection, for that, the Museum would like to hereby express its sincere gratitude to Mr. Zhou Xiaohu.
About Artist
Zhou Xiaohu
· Zhou Xiaohu (b. 1960, Changzhou) is a pioneer of video animation in China.
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Zhou began using computers as an artistic tool in 1998. As one of China’s most well-known most prolific contemporary artists, he specializes in inducing confusion and bafflement, making viewers question the evidence of their senses and their assumptions about the so-called ‘facts’. He has since experimented with stop-frame video animation, video installation and computer-gaming software, whereby the interlayering of images between moving pictures and real objects has become his signature style. Working across performance, photography, installation, sculpture, video, and animation, Zhou’s practice reflects the documentation of history in a digital age.
The work of Zhou Xiaohu has been exhibited at MoMA, New York, USA; Tate Liverpool; Kunst Museum Bern, Switzerland; and the International Center of Photography, New York, USA and the Museum Moderner Kunst Stiftung Ludwig, Wien, Austria. He has participated Shanghai Biennale; Seville International Art Biennale in 2004; Asia Pacific Triennial of Contemporary Art, Brisbane, Australia in 2006; The Real Thing, Tate Liverpool in 2007; Not Soul For Sale, Tate Modern Turbine Hall in 2010; and the 8th Gwangju Biennial, Gwangju Art Museum, Korea in 2010. Zhou Xiaohu was awarded the CCAA Award in 2002 and 2006; and won the gold award in the experimental video category in the 36th Houston international film festival; and 2014 has been awarded a DAAD Artists-in-Berlin Program.
The Logic of Data Cannibalism
The Detective Project-To Chase One's Tail Training, implemented by Zhou Xiaohu in August of 2008 is a premeditated monitoring test. After signing separate contracts and paying the required fees, 10 private investigators from 10 different private detective firms got busy playing the game designed by their employer, Zhou Xiaohu. Each of the investigators immediately began the serious investigative work by following the person appointed by his or her employer without ever knowing that he or she is being investigated and followed at the same time. Only their employer, who are in receiving a steady stream of reports and looking down on them from above, know that this is a loop of information that feeds on itself: everyone is snooping and collecting information about someone, yet everyone is also being snooped on and having their information collected.
Detective Project-To Chase One's Tail Training
2008
Detective Project-To Chase One's Tail Training was conducted in crowded shopping malls and subway stations. Ten busy investigators were paid according to their investigative abilities according to the contract they signed before the investigation. After aesthetic transformation, the artist Zhou Xiaohu posited the process of the entire operation into the museum, a space for viewing and reflection, which raises a series of questions: Which channels and methods can personal information be obtained without having been publicly disclosed? What is the client's reaction when he finds that he is being investigated and followed by another private detective company? What will happen when the information of the parties is published without their knowledge? "Do unto others as you would have them do unto you" When the investigator is also the respondent, and when the investigator finds they are also being investigated, and everyone becomes aware that they are both the investigator and the respondent, what subtle changes will happen to the questions asked?
As circumstances change with the passage of time, the technology implemented in Detective Project-To Chase One's Tail Training has already become outdated, but the basic logic of the situation and the issues addressed all relevant to contemporary life and continue to on in the form of video surveillance, facial recognition, big data, 5G, and artificial intelligence. Of course, it can also be that these prickly topics have been smoothed out by new life experiences...
* 非特别注明图片均来自网络
文 Text / 杜曦云 Du Xiyun
编辑 Edit / Calla
昊美术馆（上海）
HOW ART MUSEUM (SHANGHAI)
图片©昊美术馆
昊美术馆（上海）是具备当代艺术收藏、陈列、研究和教育功能的全新文化机构，坐落于上海浦东，共有三层展览和活动空间，总面积约7000平方米，于2017年9月正式对外开放。昊美术馆首创“夜间美术馆”的运营模式，常规对外开放时间为周二至周五下午1点至夜间10点，周末及节假日开放时间为上午10点至夜间10点。此举能让更多观众在工作之余前来美术馆观展，昊美术馆也举办“国际策展人驻留项目”、“户外电影节”、“雕塑公园”等国际交流项目和户外活动，以此建立全新的艺术综合体和浦东新地标。
昊美术馆（温州）
HOW ART MUSEUM (WENZHOU)
图片©昊美术馆
昊美术馆（温州）延续昊美术馆（上海）的“夜间美术馆”运营模式，是浙江省首家"夜间美术馆"，常规对外开放时间为下午1点到夜间10点，周末及节假日开放时间将向前延长为上午10点至夜间10点。昊美术馆（温州）将持续为公众呈现丰富的公共教育及户外艺术项目，引领融合艺术、设计、科技的全新生活方式。
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