展览 Exhibition | 丁世伟：信仰得来速 Ding Shiwei: Faith on Tap

丁世伟

信仰得来速

Ding Shiwei

Faith on Tap

展览时间：2021年11月6日至12月18日

开幕时间：2021年11月6日，星期六，下午6至8时

Duration:  November 6 –December 18, 2021

Opening:  Saturday, November 6, 6–8 PM

上海市黄浦区四川中路660号5楼

5F, No. 660, M. Sichuan Rd., Huangpu Dist., Shanghai 

关于展览

About the Exhibition

Gallery Vacancy荣幸地宣布丁世伟于画廊的首次个展“信仰得来速”，展期由2021年11月6日延续至12月18日。“信仰得来速”呈现了一系列新的装置作品，借由得来速（Drive-Through）的单向通道来引喻信息时代对人类生活带来的不可逆转的改变；一条条预先谱写的路径，以不同的形式和面貌隐匿于人类与电子媒介互动的日常生活中，展览旨在挖掘表象之下的系统性结构及其或暴力或未可知的意涵。对碎片化的现实进行挪用与重塑，艺术家饱含诗意且预言式的创作为我们在科技文化中的处境提供另一种解读方式。

屏幕信仰，2020

录像，2.39寸四显屏，显示器驱动模块，微型计算机，亚克力，电源

38 x 17 x 7.5 公分（15 x 6 3/4 x 3 英寸） 

Screen Belief, 2020

video, 2.39 inch quad screens, screen drive module, mini computer, acrylic, customized power

38 x 17 x 7.5 cm (15 x 6 3/4 x 3 in)

“信仰得来速”以《屏幕信仰》（2020）这件影像装置为入口：散发警惕信号的红色射线不断流窜于四个微型屏幕之中，与其负空间形成的十字架一同，宣布屏幕在人类精神生活中占据的主导地位。在指涉彻底被改变的精神生活同时，屏幕也成为了映照那耳喀索斯（Narcissus）倒影的水面，持续地将个性化的信息填满凝视屏幕的用户。在《左右蒙太奇》（2021）中，嵌入在透明亚克力板上的双瞳镜邀请观者向前窥探：左右镜头分别对应两组同时播放的影像，艺术家有意地将被观看的客体设定为无数组错配合成的双目，似乎在暗示观看的内容是人的镜像，而实质上却是一连串映射观者欲望的编码数据碎片。依靠双眼视觉的成像机制，大脑试图对连续播放的分裂的图像内容做出判断。观看过程中孰者为重的权衡标准，便在不断输出的循环图像碎片当中，自证自辩成为非真实的现实集锦。屏幕极简整洁的外观与其难探边界的端口性质形成强烈对比：人们在屏幕中注入的时间和注意力都转化为被监视的数据，意味着失去对它的认知和掌控；屏幕已然超越了工具属性，成为了尼采式深渊的当代化身。深渊的主体性在《荧幕旗帜 No.1》（2021）进一步显现，作品采用柔性屏幕将内容和形式之间的界限模糊，在响应麦克卢汉的“媒介即信息”的同时，探讨了行动的降维式意味。屏幕弯曲的特性使其得以沿用旗帜的形式，拂摆于一阵无形的风中；此外，屏幕的旗帜形式跟其中播放的动画内容一致，一面由眼睛表情符号构成的蓝底旗帜。动画中的蓝色旗帜放映在电子蓝屏之上并非巧合：屏幕与旗帜，这两个充满象征意义的符号，以互文来强调屏幕这一民主化的工具所包含的政治性。

左右蒙太奇，2021

录像，0.5寸双瞳微型显示屏，显示器驱动模块，微型计算机，亚克力，电源

12 x 11 x 8 公分（4 3/4 x 4 3/8 x 3 1/8 英寸）

Left-Right Montage, 2021

video, 0.5 inch binocular mini screen, screen drive module, mini computer, acrylic, customized power 

12 x 11 x 8 cm (4 3/4 x 4 3/8 x 3 1/8 in)

“信仰得来速”以算法时代的生命经验为素材，往往通过诙谐戏谑的方式提点人与电子媒介的惯性互动中难以觉察的权力结构。在丁世伟的作品中，未来的走向无可避免地陷入一个困境之中，虚实莫辨的复合体持续地向感知和认知发起挑战。同时，隐写于展览中的预言回应了麦克卢汉对电子媒介作为人类集体意识的延伸的关切，并且注入了一层卢德主义色彩。

荧幕旗帜 No.1，2021

录像，7.8寸曲面屏，显示器驱动模块，微型计算机，微型风扇，亚克力，电源

25 x 16 x 6 公分（9 7/8 x 6 1/4 x 2 3/8 英寸） 

Screen Flag No.1, 2021

video, 7.8 inch flexible display, screen drive module, mini computer, mini fan, acrylic, customized power

25 x 16 x 6 cm (9 7/8 x 6 1/4 x 2 3/8 in)

Gallery Vacancy is pleased to announce Ding Shiwei’s first solo exhibition at the gallery, Faith on Tap, on view from November 6 to December 18, 2021. Presenting a new body of installation work, Faith on Tap expands on the artist’s prolonged engagement with the medium of the screen to illuminate the exacerbating integration of electronic media into contemporary lives and its indelible effect, which exerts a kind of satiating violence that comes hard to discern. Through his appropriation and reconstruction of the fragmented reality, Ding’s endeavor proposes a poetic yet prophetically apocalyptic alternative to interpret the technoculture where we inhabit. 

The exhibition begins its narrative via the video installation piece, Screen Belief (2020): alerting red light emanating from the four screens, along with the structural negative space to form a cross shape, claims a subject position to command spirituality. While the screen serves as a metaphor for the fundamentally altered spiritual life, it simultaneously functions as Narcissus’s water reflection, catering an excessive amount of personalized information to the gazing users. In Left-Right Montage (2021), the unassuming peepholes protruding from transparent acrylic invite viewers to inspect its content: two separate sets of videos playing concurrently create a montage effect to the eye. Intentionally, the videos introduce myriad mismatches of eyes, while the act of looking plausibly suggests a mirrored image of homo sapiens yet essentially the fragmented reflection of human desire. The pristine and minimal appearance of the screen often assumes a deceptive outlook: our prolonged gaze and attention are capitalized as surveillance data; the more we dedicate our time and attention to it, the more we lose the grip of its scope, transforming into a contemporary embodiment of the Nietzsche abyss. The subject position of the screen is further elucidated in Screen Flag No.1 (2021), where Ding’s experiment with the flexible display obscures the distinction between form and content, echoing McLuhan’s acclaimed “the medium is the message” and examining dimension-reduced activism. In this work, the malleable screen emulates the form and structure of a flag, relentlessly swaying in a gust of invisible wind; moreover, it conforms precisely to its content: an animated video of an emoji eye blue flag. It is not coincidental that the flag assumes the same color as the blue screen. The flag and the screen in tandem constitute powerful symbolism that nevertheless reiterates the political aspect of this democratizing tool. 

Faith on Tap extrapolates materials from our lived experiences in the age of the algorithm, through a playful approach to ruminate the power relations hidden beneath the numbing interaction between human beings and digital media. In Ding’s work, the future inevitably falls into a predicament, where the reconciliation between reality and virtuality is deemed as strenuous. Concertedly, it responds to McLuhan’s concerns over the extension of the collective human consciousness mediated by the screen and nonetheless taints a layer of Luddist sentiments over the artist’s implied prophecy. 

关于艺术家

About the Artist

丁世伟（b.1989）硕士毕业于中国美术学院跨媒体艺术学院，现工作生活于杭州。从历史、哲学和现成物中撷取符号和象征，丁世伟通过影像和装置构建饶富趣味与诗意的屏幕奇观，提示了数字媒体对物质世界再现与干预。他的作品企图用诙谐的方式对悖论进行援疑和拆解，丰富新媒体视觉文化中的集体经历，并以数据碎片填充个体经验的方式重新界定身体与媒介在真实与虚拟世界中的主从关系。以媒体介面（media interface）作为信息的窗口，他的作品在延伸同时却切断了身体与空间的真实联系；屏幕捕捉的是超越时间和空间的永恒状态，亦在这样的流动当中昭示了真实世界在媒介再现下的断裂与无力。观众通过屏幕与多媒体作品进行互动，使个体的情绪与意志得到一种符合当代生活、政治、美学魅惑的呈现，在无限循环延伸的影像蒙太奇中获得了救赎与实现。

个展包括：随机预言，想象力学实验室，杭州，2020；元，单行道画廊，北京，2019；破晓，北京现在画廊，北京，2016；陨歌，乌特勒支中心美术馆，乌特勒支，2016；西风凛，Mao Space，上海，2015。部分群展包括：K11基金会，上海，2020；银川当代美术馆，银川，2019；中国美术学院，杭州，2018；昂西城堡博物馆，昂西，2017；Castello Di Rivara当代美术馆，都灵，2016；中央美术学院美术馆，北京，2015。他曾于2015获得法国克莱蒙费朗Prix Videoformes特别奖，并在2014年获美国华盛顿华语电影节银奖。他的短片作品在众多国际电影节展出，曾入围法国昂西国际动画节、荷兰国际动画节、鹿特丹国际电影节、坦佩雷电影节等。

Ding Shiwei (b.1989) holds an MFA degree from the School of Intermedia Art at the China Academy of Art and now lives and works in Hangzhou, China. Extrapolating signs and symbols from history, philosophy, the Internet, and found objects, Ding constructs an enticing and poetic spectacle through videos and installations to foreground the digital representation and intervention of the material world. His works undertake a witty manner to examine and dissect multitudinal paradoxes, enriching the collective experience under a new media visual culture, meanwhile, redefining the principal-subordinate positions between body and media in the midst of virtuality and reality by permeating individual experience with fragments of data. Treating the media interface as a window towards information, his works extend as well as disrupt the physical connection between body and space; the LCD screen further captures an eternal state beyond time and space, unveiling the sense of displacement and powerlessness throughout the circulation of information. As the viewer interacts with the multimedia works through digital screens, individual emotion and ideas are scrupulously embodied in a series of contemporary, political, and aesthetic enchantment, attaining redemption and materialization in the infinite fluxes of video montage. 

His solo exhibitions include: Enter The Void, Imagokinetics Lab, Hangzhou, 2020; What We Talk About When We Talk About Sea Horizon & Moon, One Way Art Gallery, Beijing, 2019; Daybreak, Beijing Art Now Gallery, Beijing, 2016; Meteor Sonata, Centraal Museum, Utrecht, 2016; and Disparate Illusion, Mao Space, Shanghai, 2015. Selected group exhibitions include: K11 Art Foundation, Shanghai, 2020; MOCA Yinchuan, Yinchuan, 2019; China Academy of Art, Hangzhou, 2018; Musée-Château, Annecy, 2017; Castello Di Rivara Center for Contemporary Art, Turin, 2016; CAFA Art Museum, Beijing, 2015. Ding was the recipient of a special award for the Prix Videoformes in Clermont-Ferrand, France in 2015 and a silver medalist of the Chinese Film Festival in Washington D.C., US in 2014. His animated short films had screenings at various international film festivals, including Festival International du Film d’Animation d’Annecy, Holland International Animation Film Festival, International Film Festival Rotterdam, and Tampere Film Festival. 

更多关于艺术家

More about the Artist

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Visiting Notice: Please make an appointment one day ahead via telephone [phone]). 

V  A  C  A  N  C  Y

周二–周六

Tuesday to Saturday | 10:00–18:00

200002 上海市黄浦区四川中路660号5楼

5F, No. 660, M. Sichuan Rd., Shanghai 200002
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www.galleryvacancy.com