张增增 Zhang Zengzeng

我叫张增增。我毕业于中国重庆的四川美术学院雕塑系,一直尝试突破雕塑的概念,寻找新的艺术表达方式。

近年来尝试用肥皂泡这种材料在一堆砖头和铁铲上制作了一座中国的功勋碑——作品《瞬间的永恒》,同时我觉得这种材料本身的短暂性和虚无性,就像梦一样,所以我用它包裹穷人家的物品并制作他们梦想要拥有的东西,以此作品换得的钱去买个真实的送给他们,用这样的方式让他们梦想成真——作品《梦想成真系列》。

除此之外,当肥皂泡作品在空气里消失没有的时候,我在想那么空气还能怎么做呢?

我开始使用增强现实这这样的虚拟技术得一实现——手机已是我们今天观看世界的主要方式之一,于是做一件只能用手机观看的作品而肉眼却看不到。作品《无形之形》就是基于这样的想法和技术制作出来的。在空无一物的空间里,观众拿着手机对着那片空间,便会在手机屏幕里出现一个撑满空间的立体大铁球,观众举着手机改变自己的位置来观看大球的不同角度。(尺寸根据现场大小制定)

2014年12月在上海外滩的对面东方明珠塔旁边永久的树立了一个虚拟的直径为650米的大铁球,观众站在外滩,举着手机对着东方明珠塔就会看到他,放下手机他就不存在。这样的一个巨大的公共雕塑,市民是否想看到它,选择权就在市民自己手上。与传统相比,他在满足公共景观需求的同时,不会占有实际公共空间,更不会强迫你去观看它。——作品《无形之形——东方明珠》

《无形之形——港澳自由行》香港,澳门本是中国的一部分,但因历史种种问题离开祖国近百年,现虽已回归,但两岸的政治经济文化以及人们之间一直都难以融合产生并产生各种矛盾。在这其中两岸人民都能感受到有种无形的东西阻隔在中间。这些也许是经济的问题,人们价值观的迥异,甚至背后隐藏的政治目的,我想您也知道前段时间的香港民众围堵大陆游客,以及占领中环的大游行等等。因为这些看不到的原因与矛盾迫使我不得不把我的这件《无形之形》作品放置在曾经香港和大陆,以及香港和英国之间产生矛盾的地点。因为在那里聚集着无形的问题。

I graduated from the department of sculpture at Sichuan Fine Arts Institute. I have been working on the issue of how to deconstruct the concept of“sculpture”and searching for the new way for my artistic expressions for many years.

In recent works, I used soap bubble as an artistic medium to make many works, such as A Moment of Eternity, a work was made by soap bubble which was installed on a pile of bricks and a shovel. I turned these materials into an imagery monumental, as I think there are several similarities between human’s dream and the temporality and nihility of this material. In light of the property of this material, I made my second soap-bubble work Dreams Becoming True. In this work soap bubble was used to wrap different objects and furniture in order to make incomes. With this money, I can buy a new one thus give the new one to them.

In addition, I started to think what would happen if the bubble finally disappeared into the air? How can I make works with air? Thus, I used the technique – Agumented Reality. I chose the cellphone as my artistic medium, since it has been the one of the main ways for us to see the world. I intended to create a work that can only be viewed with the screen of our cellphones. Based on this idea, I made A Form without any Forms. Initially, this work was exhibited in a space where nothing was placed. Once the audiences held their cellphones toward this space, a huge iron sphere would emerge on the screen of their cellphones. Meanwhile, the shape could be changed if the audiences moved their positions.

This work was further explored by myself in December 2014. At the Rockbund of Shanghai city, I exhibited this virtual work. I installed this work at the opposite site of the Rockbund and invited the audiences to view this work which was 650 sphere diameters through their cellphone screens. Compared to the traditional public art, this work showed absense of publicness and, at the same time, it did not occupy the literal space. Also, it would not enable you to see by force.

 

 

Hong Kong and Macao are parts of China, but because of the historical problems,they had left the mainland for nearly a hundred years. Although both of them have returned to the mainland, the conflicts in terms of politics, economy, and culture still exist between both sides. In these conflicts people from both sides feel invisible barrier between them. These may be the issues of economic, people’s values, even the political purposes. As you know, in lasts few months, there were many political movements including the occupation of central parade in the Umbrella Protest. Since the invisible cause and contradiction forced me to put my “invisible” work in the place where once the conflict existed between Hongkong, the mainland, and the United Kingdom.

 

无形之形——港澳自由行 Hong Kong, Macao and free exercise of intangible work instructions

张增增 • Zhang Zengzeng

&

妙果数码 Shanghai miugo digital technology co. Ltd.

《无形之形——港澳自由行》

Hong Kong, Macao and free exercise of intangible work instructions

 

材质:增强现实项目

Material: AR Project

我把我的《无形之形》作品带到了香港和澳门。香港,澳门本是中国的一部分,但因历史种种问题离开祖国近百年,现虽已回归,但两岸的政治经济文化以及人们之间一直都难以融合产生并产生各种矛盾。在这其中两岸人民都能感受到有种无形的东西阻隔在中间。这些也许是经济的问题,人们价值观的迥异,甚至背后隐藏的政治目的,因为这些我看不到的原因与矛盾迫使我不得不把我的这件《无形之形》作品放置在曾经香港和大陆,以及香港和英国之间产生矛盾的地点。因为在那里聚集着无形的问题。

I took my Invisible Form to Hongkong and Macao in recent days. Hongkong and Macao are parts of China, but because of the historical problems,they had left the mainland for nearly a hundred years. Although both of them have returned to the mainland, the conflicts in terms of politics, economy, and culture still exist between both sides. In these conflicts people from both sides feel invisible barrier between them. These may be the issues of economic, people’s values, even the political purposes. Since the invisible cause and contradiction forced me to put my “invisible” work in the place where once the conflict existed between Hongkong, the mainland, and the United Kingdom.

汤南南 Tang Nannan

http://www.tangnannan.com/

Tang Nannan (B. 1969, Yunxiao, Fujian Province,China), 1988 Graduated from: Department of Fine arts, Jimei Normal Technical School, 1995 B.F.A. Graduated from Department of Fine arts, Xiamen University, 2004 M.F.A.Graduated from Department of Fine arts, Xiamen University, Currently Teaches in the Art College, Jimei University, China Academy of Art  PHD candidate. Solo and group exhibitions in China and internationally, work in tradition ink and water color on paper, as well as video and installation projects. Tang Nannan’s work have been shown in Shanghai Biennale (2012), 2nd China Art Triennial, Nanjing (2005), and New York as well.

福建云霄人,艺术家,教师。先后毕业于厦门大学艺术学院、中国美术学院跨媒体艺术学院,首批当代艺术实践类博士。现任教于中国美术学院、集美大学美术学院。 汤南南的创作涉及绘画、录像、摄影、装置、动画等多个领域,先后参加第九届上海双年展(2012,上海)、第一届南京三年展(2005,南京)、法国ALTKIRCH现代美术馆的中国当代影像展等展览(2003,巴黎)。并先后于纽约(2009)、北京(2008)举办个展。 汤南南以现代都市乡愁为重要主题,讨论时间与记忆、神话与诗歌、乡愁与生死等多个命题,试图以社会学文化研究为基础,尝试绘画、录像装置、多屏幕录像剧场等多种艺术方式的融通互鉴,努力探索基于自身生活经验并关切当代生活情境的艺术方式。

徐文恺 Aaajiao (Xu Wenkai)

http://eventstructure.com/

aaajiao是徐文恺的网络化名,aaajiao代表了他媒体艺术家、自媒体、网络活动家等诸多身份。aaajiao于1984年生于西安,就像这个年份——1984年也是奥威尔同名小说的标题——和地点所象征的巧合,他的作品充满了强烈的科技的想象以及文人情怀。不少aaajiao的作品都切中了今天互联网相关的新思维、议题以及现象,其中不少项目都探索了数据处理、自媒体领域以及信息过滤。aaajiao近期的创作中的跨领域协作(建筑、电子音乐、表演、产品设计、医学等)都无疑都聚焦于今天消费网络技术、生活于社交媒体中的青年一代。

aaajiao的作品频繁展出于国内外的诸多展览,其中包括《齐物等观——国际新媒体艺术三年展》,中国美术馆,北京(2014);《PANDAMONIUM 又一次发声 ——来自上海的媒体艺术》,Momentum,柏林(2014);《西岸建筑与当代艺术双年展》,上海(2013);《平行世界》,录映太奇,香港(2011);《转译媒体节》,柏林(2010),等等。2014年底,他不仅荣获第三届三亚艺术季暨华宇青年评审大奖,亦入围首届OCAT皮埃尔•于贝尔奖并在2015年获得第九届AAC年轻艺术家提名奖。

aaajiao, is the online handle of Xu Wenkai, a Shanghai-based new media artist, avid blogger and free thinker.

Born in 1984, aaajiao grew up in Xi’an, the ancient capital of Qin and Han Dynasty known for the Terracotta Army. The year of 1984, coinciding with George Orwell’s dystopian masterpiece, seems to explain the perfect alignment between the vivid SciTech-driven imagination and the sometimes-poetic sophistication, frequently seen as the main theme of aaajiao’s work. Many of aaajiao’s works tap into the most current trends of thoughts around the Internet sphere, with a focus on the emerging controversies and phenomenon related to data processing, blogsphere/wemedia and filtered information. In his most recent projects, the artist has adopted a more extended scope of practices, borrowing elements from architecture, electronic music, performance arts, product design, even medicine, to portray the young generation harnessing the power of cyber technology and the ever-present social media.

Being one of the most frequently exhibited Chinese new media artists, aaajiao has been featured in both international and domestic scenes. Highlights include: “Thingworld, International Triennial of New Media Art Beijing”, The National Art Museum of China, Beijing (2014); “Pandamounium”, Media Art from Shanghai, Momentum, Berlin (2014); The West Bund Architecture and Contemporary Art Biennale, Shanghai (2013); “One World” Exposition – Chinese Art in the Age of the New Media, Videotage, Hong Kong (2011); Transmediale, Berlin (2010), etc. aaajiao is a winner of the Jury Prize from Art Sanya Awards 2014, a nominee of OCAT – Pierre Huber Art Prize, and most recently, a nominee of the “Young Artist of the Year” of 9th “Award of Art China”.

引擎:一种由图像引发的艺术生产机制 Engine: The Image-triggered Mechanism of Artistic Production

引擎:一种由图像引发的艺术生产机制

Engine: The Image-triggered Mechanism of Artistic Production

策展人:海杰

Curator: Hai Jie

艺术家:蔡东东、陈红汗、高岩、任瀚、汤南南

Artists: Cai Dongdong, Chen Honghan, Gao Yan, Ren Han, Tang Nannan

越来越多的创作实践正在危及惯常意义上的图像的主体地位,而将它变成一个艺术家创作过程或一种新的艺术生产机制里的意义触发装置。艺术家,在此刻,调用各种媒介来与图像谈判,并进而像巫师一样对图像与其他媒介进行图像语言与跨界内容上的衔接和转换。

Creative practice is increasingly endangering the traditional subject status of the image, turning it into a detonator that triggers the meaning in artist’s creative process or a new mechanism for artistic production. Currently, artists employ various materials to negotiate with the image and proceed to, like a sorcerer, link and transform the pictorial language and trans-media content of images and other media.

图像的主体地位因此消失了。附着其上的被动观看行为也不得不成为一次次调整姿势的行动。图像具有了一个新的身份——“意义诱发者”,它的绝对权力被分解。

放置在具体的实践中,由直接拍摄变为图像“拓扑”装置,由图像与文字信息位置互换而生成新的语境,甚至图像被评论、被涂写,成为文本或素描,并延展到它本身不具备的社会学指向。

The subject status of the image is thus dissolved. The inherently passive act of image viewing thereby becomes a performance of constantly balanced posturing. The image possesses a new identity—“inciter of meaning”, its fundamental rights revoked. Set in the midst of a specific practice, it changes direct image capture into an implement of pictorial topology, a new context created from swapping image information with textual information. Image has even been critiqued, endlessly scribbled about, becoming something written or sketched, and extending into fields of sociology, a direction which originally the image doesn’t go.

QQ截图20150704114637蔡东东利用了摄影,他将自己拍摄的废片或者收购的照片进行阅读,将其进行“拓扑学”处理,重新激活其性能良好的部分,处理方案有如下:利用图像符号本身具有的属性进行语意的联想、符号的嫁接、直觉的诱导、视觉的捣乱、媒介的位移。最后形成图像装置。表现在材料上,他的尝试体现在对于照片做出划线、涂抹、编织、折叠、堆积、撕扯、扎孔、遮挡、描摹、打磨、拼贴、卷曲、灼烧、镂空、翻转等干预性动作。蔡东东拒绝接受图像自成一体的意义,他将这种干预行为进行到极致,使图片从它天生的平面优势和意义自恰中被唤醒。

Cai Dongdong works with photography. He begins by reading discarded negatives he shot himself and found photographs. By subjecting them to “topographical” treatment, he reactivates those positive parts of their inherent function. The methods of treatment include: utilizing the inherent attributes of pictorial symbolism to carryout semantic associations, symbolic grafting, intuitive guidance, visual disturbance, and displacement of medium. The ultimate result is image installation. Expressed in the materials, his attempts are realized by a variety of intervening actions such as drawing, painting, weaving, folding, stacking, tearing, poking, copying, abrading, collaging, crimping, burning, hollowing, and reversing images. Cai Dongdong refuses to accept the inherent meaning of an image and by taking these interventional actions to the extreme, he makes pictures awaken from their innate two-dimensional superiority to realize their true meaning.

陈红汗作品《克丽丝蒂娜》陈红汗作品《克丽丝蒂娜》选取了一个名叫克丽丝蒂娜的法国妓女的照片,他将这张照片镂空,抽离了图像本身所具有的色情表象,同时,他将克丽丝蒂娜在网站上招客的陈述文字和她的心得体会填充进被他镂空的图像轮廓之中。在这个作品里,我们看到了图像现成品、文字装置,在这些行为之外,我们看到的是一系列社会学的图景:交易(指向消费)、妓女(指向身份)、肉体经验(指向消费心理和身体)。

In Chen Honghan’s work Cristina, he takes a picture of a French prostitute named Cristina and hollows out the image, creating distance from its inherently sexual imagery. Simultaneously, he fills Cristina’s outline with textual statements sourced from internet recruits about her experiences. In this work, we see pictorial ready-mades and textual installation, but aside from this we see a series of sociological scenes: the transaction (alluding to consumerism), the prostitute (alluding to identity), and corporeal experience (alluding to consumer mentality and body).

005艺术家高岩通过对网络下载或者自己拍摄的照片进行命名,虚构作者、主题、创作方法、呈现方式和创作年代,并通过煞有介事的艺术评论来将图像转化为文本,从而来对当代艺术及其评论体系进行质疑。

Artist Gao Yan uses images that he downloaded from the internet or photographed himself and (re)names them, fabricating an author, title, production method, display method and year of production, even generating feigned art criticism to transform image into text and thereby call into question contemporary art and its system of critique.

dfa250232b4206150a87fd531d4bce17b7660a65b0b6-mjvQPP(雪山系列), 布上铅笔、乳胶漆, xcm, 2014任瀚将网络下载的雪山登山探险图像处理为黑白素描,这一动作解除了原来图像所具有的丰碑感。同时,在作品命名上,他沿用下载图像实施“另存为”这个动作时出现的乱码文件名作为作品的名称。

Ren Han downloads pictures of snowcapped peaks and adventure mountaineering from the internet and transforms them into black and white sketches. This single action removes the monumentality of the original image. Simultaneously, for the title of the piece, he maintains the random file name generated when using the “save as” function to download images online.

《铸浪为山》录像截屏汤南南的作品《铸浪为山》,用四千格高速电影摄像机拍摄自己制造的海浪,这一行为直接导致了所拍摄的海浪在图像、雕塑、录像等媒介上延展和模糊性,也从而促发了海浪与山脉的文化身份置换。

Tang Nannan’s video Faith Mountain uses 4000 high-speed filmed frames of waves he generated himself, which directly results in the extension and ambiguity of these waves captured in image, sculpture and video media. Additionally, it encourages transference of the cultural identity of waves and mountains.

海杰 Hai Jie

海杰,独立策展人、影像批评家、作家,南方报业集团《289艺术风尚》杂志主笔。2002年毕业于西北师大中文系,曾做过高校教师、电子杂志主编、航空杂志编辑部主任,艺术类杂志首席记者,担任全球最大影像生活门户网站色影无忌副总编,后辞职,专门从事独立策展和影像批评。
在《读书》、《新周刊》、《南方周末》、《中国摄影》、《周末画报》、《城市画报》《东方艺术-大家》、《中国摄影报》等杂志报刊发表摄影评论等文章逾百万字。

Hai Jie is an independent curator, photography critic, book author, and chief writer for Art289 magazine produced by Nanfang Media Group. Since he graduated from the Chinese Department of Northwest Normal University in 2002, he has been a college instructor, chief editor of two magazines, senior journalist of an art magazine, and vice chief editor of the biggest photography-lifestyle website – xitek.com (Seyingwuji). He now focuses on independent curating and photography critiquing.

 

一个世界正在建设中 A World is Under Construction (2013)

一个世界正在建设中 A World is Under Construction (2013)

互动装置 Interactive Installation

胡介鸣再次将月球指向一个和现实互动的纬度,从图像识别到乌托邦场域的转化,让作品看起来的荒诞和幽默,有着无比现实的忧伤,图像一闪即没的出现在月球的表面,试图看清一个图像或是否看见一个图像,都成为整个作品存在的悖论,是否还有人或是实践,从遥远处眺望,也不过都是像素般的数据尘埃。

胡介鸣长期以来在多媒体和实验艺术领域工作,此作品为一个独特的系列,2013版本更强调观众的互动和数据尘埃化之观念。

*此作品首次展出于上海K11 Chi Art Space,为《真实、美、自由和金钱》展览委托创作。

PEG


http://pegpegpegpeg.com/

一个通过艺术家和观念生长的项目,基于app系统的对艺术项目、样式和观念的日常拓展。Peg在已经存有的艺术作品中探寻根据时代、互动性和视觉的再创作,基于每位艺术家的研究和艺术实践,推导出艺术和新媒体的整合,并强调项目的易用、交互和传播。

PEG is a project developed through artists and concepts, as the daily expansion of art projects, styles and concepts based on APP system. PEG is pursing re-creation work based on contemporaneity, interactivity and vision among existing art works, and is promoting the integration of art & new media as well as emphasizing on usability, interactivity and diffusion according to the research & practice work made by all related artists.

Extended Photography 延展摄影

*

Extended Photography is an aesthetic extension of the technological foundations of photography and the appreciation of beauty triggered by this technology. This program involves online art, collaborative artistic practice, and creation which expands our understanding of reality wherein artists freely employ imagery to transverse the space between virtual and actual. Extended Photography is also the guise through which artists engage with reality, using art as the means to get involved in the world around them.
延展摄影是对摄影这一基于其技术,和技术所引发的审美和美学的延伸,这一项目涉及到网络艺术、交互艺术和延展现实类型之创作,艺术家从各个方面自由使用图像,并无界穿梭于现实或虚拟空间。延展摄影同样还是艺术家介入现实之姿态,通过艺术的形式介入到真实世界中。