第六届艺术与科学国际作品展：作品导览（六）
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第六届艺术与科学国际作品展于2024年1月14日开幕，以“平行时空——体验·包容·探索”为主题，汇聚了来自全球知名艺术家、科学家、工程师和设计师的近百件作品，以交互、光影、沉浸、绘画、装置等形式，展现艺术与科学交融的无限可能。
本次展览社会反响热烈，为了让更多观众有机会近距离领略艺术与科学的魅力，第六届艺术与科学国际作品展“平行时空——体验·包容·探索”将延期至3月31日闭幕。可通过识别文章末尾图片上的小程序码预约参观。
截至本期，第六届艺术与科学国际作品展的全部展出作品已发布完毕，感谢您的关注。
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注：作品顺序不分先后。
作品导览
《苍白之地》《黑山空谷》
崔彦伟
布面丙烯，100cm×200cm
“山”“石”在中国传统文化中有着多重含义和特殊意义，其博大之形、静穆之态是我们精神的寄托之地、安放之地，作品融合现代语言方式及中国传统绘画特点，以意象化的手法试图重述这个精神世界。
In the rich tapestry of ancient Chinese culture, "Mountains" and "stones" bear multitudes of meanings, their significance deeply interwoven into the very fabric of tradition. They feature all-inclusive, serene forms and serve as sanctuaries for the spirit, offering a peaceful refuge for the soul and a restorative space for the mind. This artistic creation seamlessly blends contemporary linguistic artistry, the characteristics of traditional Chinese painting, and the technique of imagery to recreate this spiritual world.
《Bio-Speakers（生命扬声器）》清水阳子
静态装置
这里播放的音乐由醋酸杆菌的DNA转换而成。醋酸杆菌是合成细菌纤维素的主要细菌，清水阳子将它的DNA转换为声音，合成音乐，并通过由细菌纤维素制成的音响播放。
The music available here is made from the DNA of bacillus aceticus. Bacillus aceticus is the main bacterium that syntheses bacterial cellulose. Yoko Shimizu converts its DNA into sound, synthesizes music and plays it through a sound system made of bacterial cellulose.
《平行时空——虚数·实数》刘光旺
综合材料
109.4cm×72.4cm×8.4cm（3幅）
我的创作以相对论为媒介，幻想粒子自旋把时空撕裂，从而打开了（虚数时空）阴，（实数时空）阳的通道，想象两个电子，一个自旋向上，一个自旋向下，撕裂两道口子，时空分裂四片，四片两两连接，形成平行宇宙时空图。
Mediated by relativity, my creation imagines the particles spin to tear space-time apart, thus opening the channels of Yin (imaginary space-time) and Yang (real space-time). Imagine two electrons, one spinning up and the other spinning down to tear two gashes, splitting the space-time into four pieces. They are connected in pairs to form a space-time map of parallel universes.
《The Sparrow Returns（麻雀归来）》
Anders Wolhar（安德斯·沃哈尔）
雕塑，83cm×55cm×40cm
上世纪末，在荷兰观察到麻雀的数量大幅减少。麻雀受到威胁了！混凝土丛林是由我们的技术进步创造的。我们的繁荣正在取代自然。麻雀的生活尽管微不足道，但他仍是价值巨大。在未来，生活的自然也将比进步的更强大技术，但两者很有可能合并。最初的迹象可以已经可以看到，人们已经日夜连接到数字网络。我们的第一次融合已经成为事实。麻雀应该承受更大的压力吗？在不久的将来，它将为了求生毫不犹豫地与科技共生。
At the end of last century, a sharp decrease in sparrow population was observed in the Netherlands. The sparrow was threatened! The concrete jungle was built by our technological advances. Our prosperity is replacing nature. The sparrow's life is trivial, but is still of great value. In the future, the nature of life will also be more powerful than the technology of progress, but the two are likely to merge. The first signs can already be seen that people are already connected to digital networks day and night. Our first fusion has become a reality. Should sparrows be put under more pressure? In the near future, they will not hesitate to co-exist with technology in order to survive.
《釉瓷百相》方雨轩、陈禹汀、陈婉莹
装置艺术
釉瓷百相是针对传统陶瓷手工艺的配釉流程进行的新型普惠流程设计。项目基于“Nerf”神经渲染技术构建数据集，实现以低成本的扫描获得高质量的瓷釉彩数据库。通过人工智能模型训练，串联高质量釉样数字预览与原始烧制数据，以开源的数据库与釉彩预览平台，优化传统设计流程。项目首创将神经渲染技术运用在传统陶瓷数字制造领域，通过数字化的高质量釉样预览分析系统，优化传统配釉流程，降低陶瓷创作与数字化的成本，重塑手工艺艺术创作中数字化系统的定位，为其他传统手工艺的人工智能赋能发展提供了方法参考。
Glazing is a new type of universal process design for glaze matching process of traditional ceramic handicraft. The project builds data sets based on "Nerf" neural rendering technology to achieve high-quality glaze database with low cost scanning. Through artificial intelligence model training, connecting high-quality glaze sample digital preview with original firing data, using open source database and glaze preview platform to optimize the traditional design process. The project is the first to apply neural rendering technology in the field of traditional ceramic digital manufacturing, optimize the traditional glaze matching process, reduce the cost of ceramic creation and digitization through a digital high-quality glaze sample preview analysis system, reshape the positioning of digital system in handicraft art creation, and provide a method reference for the development of artificial intelligence enabling for other traditional handicrafts.
《一》许毅博
动态雕塑
一生二，二生三，三生万物，作品的基础结构采用隶书中文字“一”来作为造型基础，通过一的阵列运动，体现变化的韵律，与造物的逻辑，同时呼应中国传统哲学中的一生万物，万物归一。
One is the child of the divine law. After one come two, after two come three, after three come all things. The basic structure of the work adopts the character "One" in official script as the modeling basis. The array movement of "One" embodies the rhythm of change and the logic of creation, while echoing the traditional Chinese philosophy of "One as All, All as One".
《Quantum Drawing（量子绘图）: Q (a,v,7,m,m2,d4a-21,7,16,13,31,55)》
《Quantum Drawing（量子绘图）: Q (a,v,2,m,d4b-21,7,14,11,41,5)》
David Young（大卫·杨）
视频
项目是对量子计算的探索，旨在美学层面发展量子物理学的直觉。作品基于IBM量子计算机生成的数据—观察量子纠缠比特值和消除相干噪声的结果。作者对数据进行了可视化解读，揭示量子计算的独特之处。
生动的绘图是探索群体的奇点。本质上讲，每张图都是一条线。但当被推进量子自我时，线随即演化成全部所能体现的变体。
This project is an exploration of quantum computing, an effort to develop an intuition of quantum physics through aesthetics. The works are based on data generated with IBM quantum computers – the results of examining the values of entangled quantum bits, and the noise that is generated during decoherence. I interpret and visualize this data in order to reveal the unique and unprecedented characteristics of quantum computing.
These animated drawings are explorations of the singular finding the multitude. Each is, at its most fundamental, a line. The line then evolves or devolves into all the all the variants that it can embody when pushed into its quantum self.
《月屏》刘铁军、龚雪鸥
家具设计，直径160cm
我们看到的月球永远是固定的一面朝向地球，人们好奇未知的另一面，好似平行时空。
通过数码横编针织挑孔工艺和数字金属加工工艺制作的月屏展现月球的两个面，柔软与刚硬，平行的两个世界既对立又统一，相互交融。
We always see the fixed side of the moon facing the earth, and are curious about the other side. They are like parallel universes.
The lunar screen made by digital horizontal knitting and digital metal working process shows the two sides of the moon, soft and hard. The two parallel worlds are opposite and unified, blending with each other.
《Vanitas (in a Petri dish) 虚空画（置于培养皿中）》
Suzanne Anker（苏珊·安克）
数字微喷，111.75cm×111.75cm 9幅
随着全新基因技术“剪切粘贴”法的发展，有机物与合成物产生交叉，生物学进入了黄金时代。在此之前，人类尚未通过物质组合的方式，在动物、植物和化学世界创造独特实体。在作品《虚空画（置于培养皿中）》中，作者从自然界挑选物品并经过精心排列，借鉴制造世界的形式，并将内容放置于培养皿中。培养皿是一个文化标识，不仅具有科学价值，还代表了隐藏事物的发现地。它概括了环境研究、政治行动和文化信仰，是一个重要隐喻。在培养皿里，作者充分借鉴17世纪荷兰静物画，将48张照片分布于两个网格中，力图展示物质的虚荣、生命的短暂以及死亡（自然死亡）的不可避免。在荷兰黄金时代，作为市场资本主义和殖民主义的产物，异域奢侈品进口大受追捧。
Vanitas作品突出了神圣与世俗之间的冲突。在创作中，荷兰画家选取了枯萎的花朵、骨头、腐烂物等元素，旨在提醒人们生命超越物质。今天，基因、细胞和器官等元素显示出更高的选择价值。在作品中，观察者需要面对的，是实验条件下对物质进行重新配置过程中所形成的互补关系及作用。
With new genetic technologies offering “cut and paste” methods intersecting the organic and synthetic, biology has achieved a golden age. Never before combinations of matter have been manipulated, creating unique entities in the animal, botanical and chemical worlds. In Vanitas(in a Petri dish), a careful arrangement of items removed from the natural world are combined with forms from the manufactured world and placed in Petri dishes. The Petri dish, a cultural icon, goes beyond its scientific value to represent a site for the emergence of what is hidden. It is a significant metaphor encapsulating environmental studies, political actions and cultural beliefs. In this installation forty-eight photographs are exhibited in two grids referencing seventeenth- century Dutch still-life painting, which focuses on the vanity of material things, the temporality of life and a reminder of the inevitability of death (nature mort). During the Dutch Golden Age, as a result of market capitalism and colonialism, exotic luxuries were imported and celebrated.
Vanitas paintings brought into sharp focus the conflict between the sacred and the profane. As a reminder that life goes beyond materialism, the Dutch painters included wilted flowers, bones, decaying matter et al. Today genes, cells and organs have comparable lucrative value. In my work the viewer is confronted with states of matter as interactions between their constituent clemental forms as they are reconfigured in laboratory settings.
《Carbon_Dating （碳年代测定）》
Keith Armstrong (Director)
基思·阿姆斯特朗（负责人）
Donna Davis（唐娜·戴维斯）、Andrea Higgins（安德里亚·希金斯）、Daniele Constance（丹妮尔·康斯坦斯）、Luke Lickfold（卢克·利克福德）
多媒体互动雕塑
碳年代测定项目是基于艺术科学的系列实验，旨在唤醒人们对植物的关注—这里是指澳大利亚濒危的天然草地。通过了解土著文化、科学、植物和艺术，碳年代测定项目提出议题：人类应该如何以更新、更平等、更生态的方式看待草地？
视频记录了2022年至2023年间，项目组在澳大利亚昆士兰州召集由科学家、艺术家、种植者和原住民组成的6个小分队—各小分队种植照料自己的原生草地。项目成员完成名为“交织”的作品，内容包括项目的实施和想法。作品包括雕塑、视听展示、草地反射片支架、游行海报及种子库，旨在融入参与者的日常生活，每天专人负责看管。
在项目实施期间，昆士兰州艺术家/护林（草）员一起为原生草地建立“照护社区”，这一做法一直持续到今天。随后，项目成员根据整个项目过程创作作品。
艺术家/照护团队
黛丽莎·沃克·恩加迪吉娜、杰森·墨菲、皮埃尔·韦勒、梅琳达·戴维斯、莎伦·科利、希拉里·库尔特、莉兹·卡佩林、梅丽莎·斯坦纳德、基拉吉·尼尔森、米娅·哈克、萨沙·帕莱特、比安卡·邦德、布赖恩·华纳叔叔、塔尼亚·莱姆巴赫及策展人贝丝·杰克逊和乔·安妮·德里森
The Carbon Dating project is a series of art-science-based experiments that aimed to generate interest in plants – in this case Australia’s endangered native grasses and grasslands. By drawing on Indigenous cultural, scientific, botanical, and artistic understandings the Carbon_Dating Project asked: how might we begin to see our grasses and grasslands in new, more equal, and ecological ways.
The video tracks how between 2022-3 the project assembled 6 teams of scientists, artists, growers and First Nations informants across Queensland, Australia – to each grow and care for their own plot of native grasses. They were each given an artwork called the ‘Interweaver’ to help focus their process and record their ideas. This artwork was a sculptural object, audio-visual display, a holder for grass reflection and provocation cards, and a seed store, and was designed to become a part of the participants’ daily lives and attended to once per day.
Over the project period those Queensland artist/grass carers then together built a ‘community of care’ for native grasses and grasslands which continues to this day. They were then commissioned to make artworks about their experiences.
Artist/Carer team
Delissa Walker Ngadijina, Jason Murphy, Pipier Weller, Merinda Davies, Sharron Colley, Hilary Coulter, Liz Capelin, Melissa Stannard, Kilagi Nielsen, Mia Hacker, Sasha Parlett, Bianca Bond, Uncle Brian Warner, Tania Leimbach, and curators Beth Jackson and Jo-Anne Driessens
《平行进化的花园》师丹青
数字影像
《平行进化的花园》虚构了一系列外星植物，形成一个时空交织的花园。在植物学家和天体物理学家支持下，每一株数字植物的形态都是根据可能的外星环境条件下，通过对生长参数的调整进行美学创作，并对每一株植物赋予性格气质，表达个体与环境共生的理念。
The Garden of Parallel Evolution is a fictional series of alien plants that form a garden of interlaced space and time. With the support of botanists and astrophysicists, the shape of each digital plant is created aesthetically by adjusting growth parameters according to possible alien environmental conditions, and each plant is endowed with character and temperament, expressing the concept of symbiosis between individuals and the environment.
《微生》邱宇
互动装置
植物生命与我们人类，包括其他生命共享这个地球环境，我们共同呼吸，相互依存。但我们生活中似乎很少近距离的了解植物生命的微观世界，当我们观察显微镜下的植物体时，就会发现它美丽且迷人的“生命宇宙”。
作品实时通过显微镜采集植物的叶片信息，并转化为不断变化的电子信号，通过算法合成不同频率和音色的声音，组成由植物显微信息“交响乐”，在装置中间如同花朵一样的喇叭矩阵播放出来。装置上方的显示屏可以观测到相应植物显微的影像和信号数据的变化。
Plants share this earth environment with us, including other life. We breathe together and depend on each other. But we rarely seem to know the microscopic world of plant life up close. When looking at plants under a microscope, we will find its beautiful and fascinating "life universe".
The work collects plant leaf information through a microscope in real time and converts it into ever-changing electronic signals. The sound of different frequencies and timbres is synthesized algorithmically to form a "symphony" of microscopic plant information, and then played out by a flower-like matrix of speakers in the middle of the device. From the display above the device, we can observe changes in the microscopic images and signal data of plants.
《萃聚》王晓昕
金属艺术，47cm×47cm×25cm
《易经》“萃卦”有云，泽上于地，萃。泽于地上，水聚不流，溪水在大地的承托之下汇聚成泽。在人类文明发展的漫漫长途中，人们由分散而至聚合，特别是在当前高度信息化、数字化的时代，人与人共同萃聚于空前密不可分的联系之下。本作以人的个体形象携手而成，既象征着人类彼此之间不断密切的深度联系，又象征着人类对于美好生活的共同愿景，形成了萃聚人力，汇聚人心的聚流之泽。同一片蓝天下，有着同一个梦想，为人类更美好的愿景紧密相联，萃聚起人类文明的无尽希望。作品通过3D打印技术制作整体模型，通过精密铸造的方式成型，最后结合电镀工艺装饰表面。
The Hexagram of Cui in I Ching reads, "Water pools at ground level. It's a symbol of the convergence." Water does not flow in marshes; streams converge under the support of the earth. In the long journey of human civilization, people live scattered but gradually habitat-based, especially in the current highly information and digital era. We are brought together in an unprecedented and inseparable connection. This work is composed of the individual images of people. It is a symbol of the deep connection between human beings and their shared vision for a better life, forming a gathering of manpower and common aspirations. Under the same blue sky, we have the same dream, are bound together for a better vision of humanity, and assemble the endless hope of human civilization. The whole model is made by 3D printing technology, molded by precision casting, and finally decorated with electroplating process.
《Intertidal Samples（潮间带样品）》
Entangled Others（“纠缠的他物”工作室）
喷绘、装置，100cm×100cm×3，电子屏×3
“我们所涉知识面之广远远超出了既有认知，即便是观察一滴水，都能从中发现生命群落的繁荣与关联。由于受到表面张力的限制，每滴水都是一个自给自足的世界。然而，在条件允许的情况下，即使是生态系统中最小元素也能与液体相溶，改变自身的生命构成。
此系列作品呈现出在同一潮间带采集的人工生命体样本，它们孤立着，被自然定义着，耐心等待融入更大事物的机会。经历了64号和32号作品的两次迭代更新，它们乘势而上，作者对显微镜下这些难以置信的生命多样性进行再创造，改变着我们与世俗环境的关系。”
“The extent of what we study is beyond our understanding, yet when we examine even a tiny drop of water, we uncover thriving communities of life and interconnections. It is easy to see each drop as a self-contained world, bounded by surface tension. However, given the opportunity, even the smallest of these ecosystems will blend with other bodies of liquid, altering the life forms and composition within.
This series represents a collection of samples taken from the same intertidal area of artificial life, seemingly isolated and defined, but patiently waiting for the chance to blend into something greater. Now spanning two iterations of 64 and 32 works, they form an on-going effort and finding ways of distilling and conveying the incredible diversity of life that the microscope made available to us, in turn changing our relationship to even the most mundane aspects of our environments.”
《Orbit Weaver（轨道编织者）》刘昕
视频
地球上的一切都被重力牢牢得牵制着。但在浩渺的宇宙空间里,广阔无垠的真空战胜了无处不在的万有引力,使我们摆脱了引力的束缚。失重状态下,世间万物是自治自由?还是无根无蒂,失去控制?
1965年六月,NASA宇航员Ed White迈出宇航舱,第一次实现了太空漫步。在浩瀚空间里,他只依靠一条系链和太空站连接,犹如婴儿沿着脐带和母亲相系。当来自地球的身体失去了过往的经验和控制能力,我们如何寻找星际间的身体,一个摆脱了重力牵制的身体?
受到蛛形生物三维运动机制的启发,轨道编织者借助她的OW-BODY手持设备在零重力空间中重获对自我的控制。像蜘蛛似的,她射出一根根丝线。当丝线前端吸附在目标坐标后,手中的线轴回绕,收回拉线同时把她拉向目标。
2017年11月,在抛物线飞机中,艺术家首次实现了此设备在零重力环境中的测试和表演。
Everything on the earth is tightly held by gravity. In the vastness of space, the vast expanse of vacuum overcomes the omnipresent gravity and frees us from its bondage. Are things autonomous and free or are they rootless and out of control in weightlessness?
In June 1965,NASA astronaut Ed White stepped out of his capsule and made the first spacewalk. In the vastness of space, he was connected to the space station by a single chain, like a baby is tied to its mother along the umbilical cord. When a body from the earth has lost its past experience and control, how do we find an interstellar body free of gravity?
Inspired by the mechanism of three-dimensional movement in arachnids, the orbit weaver regents control of herself in zero-gravity space with the help of her OW-BODY handheld device. Like a spider, she shoots out strands of silk. When the front end of the silk is attached to the target coordinates, the spool in her hand is wound back, retracting the pull wire and pulling her towards the target.
In November 2017, in a parabolic aircraft, artists achieved the first test and performance of this device in a zero-gravity environment.
图文来源/艺科中心
编辑/若涵