展览预告 Upcoming Exhibition｜即将到来的承诺
艺术家：
Panos Dimitropoulos
丁世伟 Ding Shiwei
赵邦 Zhao Bang
张永基 Zhang Yongji
丰丰 Feng Feng
王宇琛 melting Wang
孔令潼 Kong Lingtong
孙博轩 Bo Sun
即将到来的承诺
Upcoming Promises
开幕时间/Opening: 2022.07.30 15:00-19:00
展览时间/Exhibition Duration: 2022.07.30 - 2022.08.25
地点/Address: 北京市朝阳区798艺术区中二街 SIMULACRA
SIMULACRA, Zhonger Street,798 Art District,
Chaoyang,Beijing
狂躁又绚烂的社交媒体界面，令人沉迷其中的同时也使人感到沮丧。超扁平无边框屏幕、LED灯、 短视频、大数据算法、二极管、电镀芯片等媒介成为了新型的电子赎罪券，庇护人类免于存在主义式的虚无苦楚。在后疫情时代，逼仄的外部空间迫使人们开始加快向数字化生活逃逸的脚步，试图抓住技术主义投掷来的关于拯救的邀请函。
尼安德特人将捡拾的石块打磨成锋利的矛刺， 全新世(Holocene)的智人用化学的炼金术从石英这复杂而美丽的矿物质中得到二氧化硅，进而构建了当今的电子数码世界。这群直立行走的灵长类哺乳动物再次尝试从造物主手中抢夺进化的钥匙——就像所有故事的美好开头一样。但另一个略显惊悚的事实是，我们活在这样的时刻：谷歌地图与外卖配送平台使三维空间成为一张AutoCAD；当你拿起手机，算法会根据你的喜好自动分配合适的人与商品，当然还会记下你喜欢使用的语词；无处不在的监控摄像头与健康状态扫码已经成为客观，失去智能手机你将寸步难行。异化来得如此迅速猛烈，你甚至需要将你的身心全部供奉给这位数字神祇，以换取去往这美丽新世界的船票。
作为时代的观测者，艺术家们试图通过这混杂又变化莫测的数字媒介深入我们日常生活的缝隙中，去探索技术与真实的生命体验之间的辩证。这是关于怀旧的当代人类心理退化的神话，它暗示了虚无的历史螺旋中一个星状的凸起；内在于人类原始而癫狂的关于「进步」的意识形态――这架机器被制造得太过合理，以至于我们确信它会在预设的那一天突然解体。
回到第一次抬头仰望猎户座的那个为了觅食而艰难跋涉的原始人，他无法设想几万年后「星际迷航」中的箴言：我们是否走的太远，以至于忘了如何使用祖先留给我们的机器?但这并不重要，系统如此完美，以至于没有人需要成为更好的人。
The manic and gorgeous interface of social media is both addictive and frustrating. Mediums such as ultra-flat frameless screens, LED lights, short videos, big data algorithms, diodes, and electroplated chips have become a new kind of electronic indulgences, sheltering humanity from the suffering of Existentialist emptiness. In the post-epidemic era, the cramped external space forces people to start accelerating their escape to digital life, trying to grab the invitation about salvation thrown by technocracy.
Neanderthals polished scavenged stones into sharp spear spikes, and Holocene Homo sapiens used chemical alchemy to obtain silica from the complex and beautiful mineral of quartz to build today's electronic digital world. Just as all the beautiful beginning of the tales, this group of upright walking primate mammals is once again attempting to wrest the keys to evolution from the Creator. But another frightening fact is that we are living in a time when Google Maps and delivery platforms have made three-dimensional space an AutoCAD; when you pick up your phone, algorithms will automatically assign the right people and goods according to your preferences and, of course, take note of the words you like to use; ubiquitous surveillance cameras and health status scans have become objectives, and you will not be able to move an inch without your smartphone. Alienation is coming so fast and furious that you even need to dedicate your whole body and mind to this digital deity in exchange for a ticket to this beautiful new world.
As observers of the times, the artists try to delve into the cracks of our daily life through this mixed and unpredictable digital medium to explore the dialectic between technology and real life experience. It is a myth of nostalgic contemporary human psychological degradation that suggests a star-like bulge in the spiral of nothingness; embedded in the primitive and maniacal human ideology of 'progress' - a machine so well made that we are sure it will suddenly disintegrate on a predetermined day.
Back to the primitive man who first looked up at Orion and trudged for food, he could not envision the aphorism of Star Trek tens of thousands of years later: Have we come so far that we have forgotten how to use the machines our ancestors left us? But it doesn't matter; the system is so perfect that no one needs to be a better person.
Panos Dimitropoulos
Panos是一位生于希腊，在伦敦接受教育，现居上海的概念艺术家。他是符号学和文化洞察力方面的领先专家，并担任文化智能和预测方向的高级总监。
Panos作品的基本原理是运用符号学思维和分析来创作概念艺术。他的灵感和影响是马格里特，杜尚，贫穷艺术和YBAs。他通过发现的物体创作概念艺术，以超现实的元文本形式组成装置。这些物品从纯粹的商品地位升级，并从它们的原始环境中解放出来——但仍然具有社会文化联系——它们来自于事物的世界，以交流思想的世界。当他们无休止地为意义支配而奋斗时，他们彼此进入了一场意义游戏。他主要关注的是试图变得批判性的理论;物质层被视为次要的、轻量级的、不做作的或非物质化的。由此产生的装置作品构成了一种挑剔的、自我讽刺的、挑衅的、非美化的、带有一丝闹剧的概念艺术，对当代人类的状况提出了批评。唯物主义的神化以及当代艺术所进入的存在状态，为一种自持的概念艺术创造了环境，这种概念艺术将对象的整体视为一种语言;通过它们的组合(重复)使用，它还通过实际减少世界上的对象数量，创造了更深层次的可持续声明。语言是概念引擎的另一部分，它通过对短语、隐喻、双关语或词语联想的语言抽象来产生作品。有时它是创造的第一块石头，有时它补充工作，有时它帮助阅读，但大多数时候它赋予一个额外的定义旋转。
Panos is a Greek born, London educated and currently
Shanghai resident conceptual artist. He is a leading expert in semiotics and
cultural insight working as a senior di-rector of cultural intelligence and
foresight.
The basic principle underlying Panos’s work is the
application of semiotic thinking and analysis to create conceptual art. His
inspiration and influences have been Magritte, Duschamp, Arte Povera and the
YBAs. He creates conceptual art through found objects to compose installations
in the form of surrealistic meta-texts. These objects upgraded from a mere commodity
status and freed from their original context - but still empowered with their
socio-cultural associations - come from the world of things to communicate the
world of ideas. They enter into a signification play with each other as they
endlessly strive for meaning domination. His primary concern is the theoretical
at its attempt to become critical; the physical is treated as secondary,
lightweight, unpretentious or dematerialized. The resulting installations
compose a discerning, self-ironic, provocative, non beautified and with a dose
of slapstick, conceptual art that poses a critique on the condition of
contemporary humanity. The apotheosis of materialism as well as the state of
being that contemporary art has entered, have created the circumstances for a
self-sustained conceptual art that treats the totality of objects as a
language; through their combined (re)use it also creates a deeper sustainable
statement by actually reducing the number of objects in the world. Language is
another part of the conceptual engine that produces the work through linguistic
abstraction of phrases, metaphors, double meanings or word associations. Some
times it casts the first stone stone of creation, sometimes it complements the
work, sometimes it assists with its reading, but most of the times it gives it
an extra definitional spin.
丁世伟
Ding Shiwei
丁世伟 ,1989 生于中国黑⻰江，现工作和生活于中国杭州。
丁世伟的作品在基于屏幕经验下的影像装置、雕塑、图像、视频、互动装置等多种媒介形式中展开。他广泛地对意识形态话语，流行图像与哲学符号进行援引和挪用，通过媒体界面开启观者的感知通道，过滤并干预个体降维的用户经验，进而昭示了屏幕景观作为当代政治与信仰的反乌托邦式的自我实现预言。屏显作为处于物质世界与数字拟像的中介，不断在参与观者身体的重塑与规训。他的作品将观众已悄然异化的介面身体与观凝感官重新穿刺，在诙谐与痛感的矛盾知觉中不断缝合现实与虚拟的树形；最终以可爱化(kawaiification)作为尖牙模糊结构下的定言令式。
Ding Shiwei was born in 1989 in Heilongjiang, China, and currently lives and works in Hangzhou, China.
His works unfold in various mediums such as video installations, sculptures, images, videos, and interactive installations based on the experience of the screen. He invokes and appropriates a wide range of ideological discourses, popular images, and philosophical symbols, opening up the viewer's perceptual channels through the media interface, filtering and intervening with the individual's degraded user experience, thus revealing the screen landscape as an anti-utopian self-fulfilling prophecy of contemporary politics and beliefs. As a mediator between the material world and the digital simulacrum, the screen is constantly involved in reshaping and disciplining the viewer's body. His works re-pierce the viewer's silently alienated interface body and the observation senses, stitching together the real and virtual branching in a paradoxical perception of wit and pain, ultimately adopting kawaiification as the categorical imperative to obscure the fanged structure.
赵邦
Zhao Bang
赵邦，(b.1989，洛阳)，中国美术学院肄业，现工作生活于北京。赵邦的作品以幽默、可爱和具有启发性的方式重新构思与设想日常事物、艺术系统以及人们界面化的生活之间的关系。艺术家邀请观众使用新的意义和解释，来挑战人类的逻辑和常识。他的作品经常使用“低技术力”的诙谐语言作为理解的桥梁，提供一种可能被称为荒谬的内在逻辑体验。
Zhao Bang (b. 1989, Luoyang), a dropout from the China Academy of Art, now lives and works in Beijing. Zhao Bang's works reconceptualize and envision the relationship between everyday objects, art systems, and people's interfaced lives in a humorous, endearing, and inspiring way. The artist invites viewers to use new meanings and interpretations that challenge human logic and common sense. His work often uses "low-tech" tongue-in-cheek language to bridge comprehension, providing an experience of what might be regarded as absurd internal logic.
张永基
Zhang Yongji
张永基，个人创作以数字图像作为创作基础，涉及装置、影像等媒介，把数字图像生产的逻辑作为主要工作方法，对现实进行干预，从图像技术对现实的捕捉，到对图像的合成加工。试图从图像生产和图像接受的双重逻辑下创建一条鲜活的通道，探索现实与数字图像之间关于权利、意志、劳作、身份之间的关系。
Zhang Yongji, His personal creation is
based on digital images, involving installation, video and other media. He
takes the logic of digital image production as a core method to interfere the
reality. From the capture of reality by images, to the synthesis of images. He
tries to create a new path in terms of the possibility of image production and
image reception. Explore the relationship between the reality and digital
images about right, will, labor and identity.
丰丰
Feng Feng
丰丰，1993出生于湖南。日常生活实践，rhizomatic
af。2021硕士毕业于伦敦中央圣马丁当代摄影实践与哲学专业。曾发现两个C型挂钩面对面钉在一起会变成一个心形，曾发表多篇不够学术的艺术理论文章。
Fengfeng
was born in 1993 in Hunan. He focuses on the practice of everyday life and
rhizomatic af. He graduated from Central Saint Martins with a Master’s degree
in Contemporary Photography; Practices and Philosophies in 2021. He discovered
that two C-hooks pinning together make a heart shape. He published some art
theories that are not academic enough.
王宇琛
Wang Yuchen
王宇琛的创作形式包括绘画、设计、影像以及场域特定装置。艺术家首要关注作品场域的生成，因此他的展陈往往将具有内在关系的作品并置，并以集合的形式呈现。
meltingwang是王宇琛的网络化身，他在创作中同时观察网络时代生活的实质性以及线上与线下之间的虚空处，他的作品不仅仅是对上述现象颇具玩味的一剂映射，更像是一种具有抵抗性的反向作用力。
王宇琛于佛罗伦萨美术学院获艺术学士学位，后于米兰布雷拉美术学院学习并取得艺术硕士学位。现生活并工作于北京。
Wang Yuchen’s work encompasses painting, design, moving images,
and site-specific installation. With a primary focus on context-generating
practice, Wang’s exhibits are often delivered collectively by juxtaposing
interrelated pieces of work.
The artist
initiated a series of practices under the cyber avatar - meltingwang.
Registering both the substantiality of life in the age of the Internet and the
void between online and offline spaces, Wang’s works are not only doses of
playful reflections, but also counterforces of such status, including the
recurrent topics of regimen and evolution in his recent practice.
Wang received his BFA from the Florence Academy of Fine Arts and MFA from the Brera Academy of Fine Arts in Milan.Now he lives and works in Beijing.
孔令潼
Kong Lingtong
孔令潼
1995年生于黑龙江哈尔滨，本科于中央美术学院就读视觉传达专业，预备于加州艺术学院（Calarts）就读MFA Fine Art。
作品涉及游戏、绘画、影像等。多数时候在不同媒介场域间的交界处工作；关注不同系统之间的关系，及事物转变的瞬间。
Kong Lingtong, born in Harbin, Heilongjiang, BFA Visual Communication in Central Academy of Fine Arts, MFA Fine Art in California Institute of the Arts (2022 Fall).
Kong Lingtong’s works involves games, painting, video and so on. She mostly works at the edges where different fields meet, focusing on the relationship between different systems of representation, and the moments when things transform.
孙博轩
Bo Sun
孙博轩，是居住于伦敦的中国艺术家，2022年毕业于中央圣马丁学院纯艺3D系。
他的作品体现了在后人文学时期解剖学和工业制造的融合。他用铝、有机玻璃和金属零件装置等工业材料重建生物形态。通过融合不相容的材料，Bo 重新评估了骨骼结构和工业制造之间的传统结构。Bo的作品在于思考如何通过拟人化的手段将非生命体赋予一个假想的有机骨骼框架使人类思考人与动物和物品的潜在共情关系和人与人的非人化关系。
Boxuan Sun (Bo Sun) London based Chinese artist. Graduated from Central Saint Martin BA fine art in 2022.
Bo Sun's work bespeaks the convergence of anatomy and mechanics in the post-humanist era. He reconstructs biomorphic forms from industrial materials, such as aluminium, perspex and metal fixtures. Through a fusion of incompatible materials, Bo re-evaluates the conventional articulation between bone structures and fabricated objects, with an emphasis on insect exoskeletons and patterns within industrial design.r of an increasingly digitalised and globalised world.