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电场:超越超现实

2013-03-06 20:29:18 来源: 《艺术世界》 作者:洛尔·若穆耶(Laure Jaumouille) ︱译/刘焰

罗伯托·马塔,《致“马尔多罗”的画》(Roberto Matta, Original art for“Maldoror” )1938,墨水、水粉、碳粉,36.8×29.9cm

“马尔多罗”(Maldoror)在法文里是一个谐音词,实为“黎明之恶”(mal d' aurore)。在西方,黎明被看做生命之始,因此,“黎明之恶”也可被理解为“生命本原之恶”。此外,“马尔多罗”还能让人联想到“青春之苦”,抑或不知名的魔鬼。在《马尔多罗之歌》里,洛特雷阿蒙将主人公马尔多罗塑造为一个无所不作的恶魔。诗中,马尔多罗建了一个矿坑来养虱子,让具有非凡智慧的虱子向人类开战。当人类被虱子歼灭,马尔多罗将展开天使的翅膀,在空中观望。他践踏道德,滥杀无辜,并且攻击上帝。洛特雷阿蒙生前并没经历过战争,而他这部摧毁一切、骇人听闻的作品却在一战后被超现实主义者奉为福音书。文明遭遇重创,普遍的怀疑与虚无情绪使得超现实主义者们将欣赏魔鬼作为心理疗伤的途径。

智利人罗伯托·马塔(Roberto Matta )于 1935 年到达巴黎,37 年加入超现实阵营,38 年作了这幅《致“马尔多罗”的画》(Original art for“Maldoror”),也就在同一年,因为躲避战争,他逃到了纽约。在马塔这幅受马尔多罗启发而作的画中虽然充斥漩涡般凌乱扭曲的线条,透露“自动书写”的痕迹,但虱子、生殖器等富有超现实主义特色的形象依旧十分明显。当我们详细了解这幅画的知识背景后,用碳粉黑幕和紫色水粉笔触所营造出的梦幻神秘感也随之降低,这幅38年的作品也因此显得过于切题。与其他超现实主义者不同的是,马塔的虱子侵蚀人类后攻占的是太阳,指向的是宇宙。马塔的怀疑与想象从人类社会拓展到了超自然,他的宇宙也显得像现实一样让人不安、彷徨,泛出忧郁的涟漪。
 
生于乱世的马塔,交游广阔。早年作为建筑师的他曾亲??柯布西耶,遭遇阿尔托。而洛尔迦、达利、杜尚、布列东等史上留名的人物也都成为了他人生中的过客。他的创作从绘画、建筑、装置到社会行动无所不包,他对美国抽象表现主义产生了巨大影响,他是智利国宝级的艺术家。以他丰富充沛又难以归类的艺术创作来看,《致“马尔多罗”的画》不过是个平庸而不起眼的逗号。(文|索拉塔)

安德烈·拉佛瑞,《马塞尔•杜尚:生活插画》系列(André Raffay,Marcel Duchamp: La vie illustrée )1977,纸上水粉和蛋彩,15×12 英寸

画面绘绘制了 1966 年在纽约,杜尚在他的工作室中注视着他的最后作品《借鉴1° 瀑布 2° 煤气灯》,作品的隐秘直到他死后才会揭开。
安德烈•拉佛瑞构思和绘制了大量杜尚进行艺术创作或与其他艺术家活动的插画,如同一帧帧舞台化了的历史照片。他描绘
《借鉴1° 瀑布 2° 煤气灯》这一场面的绘画不止这一个版本。2006-2008 年,他绘制了一幅210 x 140 cm的布上彩色铅笔绘画,但在画面中杜尚本人尚未出现。

在彭图斯·于尔滕(Pontus Hulten)的要求下,安德烈·拉佛瑞(Andre Raffay)在 1976 年来到费城艺术博物馆,研究《借鉴1° 瀑布 2° 煤气灯》(Etant donnes 1° La chute d’eau 2° Le gaz d' eclairage ,1946-1966),这是马塞尔·杜尚(Marcel Duchamps)的遗作,至今没有任何印刷版本发行。费城艺术博物馆馆长安娜·达尔侬古(Anne d' Harnoncourt)为拉佛瑞提供现场查询《借鉴》“剪接手册”的便利。这次具有决定意义的经验促使安德烈·拉佛瑞展开调查活动,决心启动“重读”艺术史的计划。这幅“再次绘画”作品在马塞尔·杜尚的影响下诞生,拉佛瑞形容它“窃取”了现成品的图样。在继承创作手法的同时,拉佛瑞位移图样的场景,收集细节、资料并进行复制。一系列的场景设计让这件作品和“另一件”作品的比邻关系趋近饱和,让模特在“镜中”反观自身时的对话显得心有灵犀。1981 年,杰尼弗·古库柏(Jennifer Goughcooper)和雅克·高蒙(Jacques Caumont)在瑞士沃韦市(Vevey)发现杜尚《借鉴》中瀑布的地址,安德烈·拉佛瑞立即出发,去拍摄场景现场。1987 年,费城艺术博物馆出版《<借鉴>剪接手册》,再次激起拉佛瑞对这幅遗作的兴趣。1976 年的研究一直延伸至 2008 年,艺术家最终用彩色铅笔完成《借鉴》的最后一幅临摹作品,该作次年被法国国家现代艺术博物馆收藏。

安德烈·拉佛瑞,《马塞尔•杜尚:生活插画》系列(André Raffay,Marcel Duchamp: La vie illustrée )1977,纸上水粉和蛋彩,15×12 英寸

画面绘制了1936 年,杜尚正在美国纽黑文市修复他的绘画装置作品《大玻璃》(The Large Glass),1926 年这件作品在赴美展览运输过程中碎裂。

安德烈·拉佛瑞借平行位移和令人产生立体幻觉的设置,探寻“偷窥者 ”眼中图像的神秘性。那只逼真的手不带有任何明显的绘画风格,不具任何时效性,体现了艺术家对杜尚所赞许的“视觉精确”的认同。拉佛瑞的临摹兢兢业业,让我们去感受《借鉴》诡异的焦虑。视觉机器被视为“逼真作品最天才的完成者”,杜尚的遗作表现“孤独者”视线中的情色意味。拉佛瑞拍摄的《瀑布》被无数次复制,象征现成品造型固有的视觉麻木特性。它与《喷泉》(Fountain ,1917-1964)相互呼应,后者拒绝被发现,见证着对视觉愉悦的放弃。垂死的“新娘”的手中举着一盏孤独的煤气灯,照亮光洁的性器官:它即是晦暗的欲望的对象,又是偷窥者眼睛的象征。绘画的写实风格执着地再现每一个细节,强调将我们与《借鉴》中的两个洞穴分隔开的距离——卑微正是其意义所在。现成品运用视觉禁忌寻求可见度甚至被观看,经由《从处女到新娘》(Passage de la vierge ˆla mariee ),拉佛瑞的临摹和杜尚逼真的作品息息相关。

文/洛尔·若穆耶(Laure Jaumouille) ︱译/刘焰

艺术档案 > 大史记 > 艺术思潮 > 国外 > 林兹电子艺术节︱aaajiao作品《观察者》

林兹电子艺术节︱aaajiao作品《观察者》

2020-09-24 19:52:40.832 来源: GalerieLiusaWang 作者:LIUSA WANG


我们很高兴地宣布将在Ars Electronica 2020呈现aaajiao的作品《观察者》。

LIUSA WANG is delighted to announce that we will present aaajiao’s work, ‘bot.’, in Ars Electronica 2020.

欢迎点击二维码,在线观看展览

2.webp.jpg


640.gif

bot,/观察者

Single channel video, color; Website单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video /视频截图 )

©️ aaajiao

4.jpg

bot,观察者

Single channel video, color; Website单频彩色录像、网站

15'32

Dimension variable尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao


aaajiao,是年轻艺术家徐文恺的化名,也是他虚构的网络分身。1984年(他的出生年份恰好是乔治·奥威尔经典预言式小说的名称)出生于中国最古老城市之一的西安,aaajiao的创作结合了浓重的反乌托邦意识、对文人精神的反思,致力于探索新的科技和媒体影响之下的文化现象和政治策略,关注议题从社交媒体写作、数据处理,到网络和移动媒介下的新美学景观。

aaajiao, is the online handle of Xu Wenkai,  a Shanghai- and Berlin-based 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.


640 (1).gif

bot, 观察者

Single channel video, color; Website 单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao


2020年9月9日至13日,Ars Electronica 2020以“开普勒花园”为主题,希望以另一种视角审视世界,讨论当今世界因新型冠状病毒所引发的议题,关于病毒所造成的“不确定性”(UNCERTAINTY)以及其将会如何重塑“人类”(HUMANITY)社会的运作方式,此外,也将关注“自治”(AUTONOMY)和“民主“(DEMOCRACY)以及“科技“(TECHNOLOGY)和“环保“(ECOLOGY)两个充满争议的主题。

Ars Electronica 2020 will take place from September 9 to 13 – in Linz, of course, but not only there. It will also be in 120 “Kepler’s Gardens” around the globe. 

It is a journey mapping the “new” world and a journey through “Kepler’s Gardens”. In the course of this journey, the festival will discuss the important questions of our time, questions raised by the global corona crisis, and consider what we can and must do now. All the issues touched upon are marked by a general UNCERTAINTY and the question of how the crisis will shape and change us as individuals and as a society, us as HUMANITY. They will focus on two areas of tension in particular: AUTONOMY and DEMOCRACY as well as TECHNOLOGY and ECOLOGY.


6.webp.jpg

bot,/观察者

Single channel video, color; Website/单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao

在作品《观察者》中,aaaajiao撷取电玩游戏的美学风格(例如Mother3,Adventureland,Undertale和ROM),作品中的”玩家”在城市中四处游历,画面上同时呈现微信朋友圈的分享文字,旅程与手机程序画面相呼应,其中本地与全球网络、社交媒体、园林结构、公园、以及最终出现的自然景象,都合并至一种数字化的超表象(hyper-representation)之中。另一方面,aaajiao也透过该作品关注人们注意力碎片化的现象。科技的进步发展,让人们随时处于警备待机状态,不再能全神贯注于事物,信息的更新速度超前,对于信息的理解吸收程度也降低。

In the video ‘bot.’, the artist presents a portrait of memory built on a machine’s assumptions of how people would think a machine would interpret the mind. He borrows aesthetics from existing role-playing action games such as Mother3, Adventureland, Undertale, and ROM, to create awareness of one’s world in 2018—a perhaps slightly dystopian impression—and to introduce a conception of memory that sets itself apart from present understandings. Besides, he displays the wechat circle which could be a Chinese version of Instagram feeds. 

He also went on journeys across the city and displays an environment deeply intertwined with a digital past as well as its present counterpart. Local and global networks, social media, gardening structures, parks, and nature itself all become amalgamated into a digital hyper-representation.  On the other hand, the artist expresses his concerns on continuous partial attention with this work. By adopting an always-on, anywhere, anytime, any place behaviour, we exist in a state of excitement and alertness and we can no longer be concentrated fully on anything. Constant access to media has turned us into compulsive snackers and triggered a cycle of shorter attention bursts, shorter media portions, increased tempo, quicker payoff and algorithmic optimization. 

7.jpg

bot,/观察者

Single channel video, color; Website / 单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao

Bots意指”搜索引擎爬虫”,用来计算网站页面排名,aaajiao将这个基本功能与用户概念结合:“对我而言,我们在用同样的方式寻访我们的外置记忆,这个过程构成了一个多层面的“我”之间的关联。当我们以用户的身份自居,并用bot的方式构成自己后,就面临一个关于“真相”的困境。”

As Bots mean spiders or web crawlers are heavily used by search engines to figure out how high to display websites in search results, aaajiao links the basic function with users nowadays: “For me, we are searching and constructing our external memory in the same way and this process constitutes a multi-aspect of oneself. When we think of ourselves as users and form ourselves with bots, we will face a dilemma about truth.”  In this age of accelerated planetary computation, there is no doubt that we human struggle to “remember” and to “think in more memorable ways” as we become unable to rely solely on regions in our brains devoted to spatial memory.

 8.webp.jpg

bot,/观察者

Single channel video, color; Website/单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao

aaajiao同时关注当代人类的自我观察过程,希望透过该作品呈现当代人们如何用自我观察的方式,重新走访记忆系统:包括肉身容器中的记忆,和在社交媒体上的外置记忆。aaajiao认为,人类已经成为bot,不同的是我们拥有心智。

Yet aaajiao is not only concerned with what is happening to our cognitive abilities or our interacting biological neurons. Acutely aware that we have an entire superstructure of digital sources on the Internet and external devices to help us store our memories outside our brains, aaajiao declares, “now that we have become bots, we are just one with the mind of the hive.”


640.webp2.jpg

1600947153(1).jpg

LIUSA WANG

77 Rue des archives, 75003 Paris 

contact | 09 51 99 02 81

mail | office@galerieliusawang.com

website | www.galerieliusawang.com

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facebook | @galerieliusawangofficial

  

 

【声明】以上内容只代表原作者个人观点,不代表artda.cn艺术档案网的立场和价值判断。

> 未来媒体艺术 > 林兹电子艺术节︱aaajiao作品《观察者》

林兹电子艺术节︱aaajiao作品《观察者》

2020-09-24 19:52:40.832 来源: GalerieLiusaWang 作者:LIUSA WANG


我们很高兴地宣布将在Ars Electronica 2020呈现aaajiao的作品《观察者》。

LIUSA WANG is delighted to announce that we will present aaajiao’s work, ‘bot.’, in Ars Electronica 2020.

欢迎点击二维码,在线观看展览

2.webp.jpg


640.gif

bot,/观察者

Single channel video, color; Website单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video /视频截图 )

©️ aaajiao

4.jpg

bot,观察者

Single channel video, color; Website单频彩色录像、网站

15'32

Dimension variable尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao


aaajiao,是年轻艺术家徐文恺的化名,也是他虚构的网络分身。1984年(他的出生年份恰好是乔治·奥威尔经典预言式小说的名称)出生于中国最古老城市之一的西安,aaajiao的创作结合了浓重的反乌托邦意识、对文人精神的反思,致力于探索新的科技和媒体影响之下的文化现象和政治策略,关注议题从社交媒体写作、数据处理,到网络和移动媒介下的新美学景观。

aaajiao, is the online handle of Xu Wenkai,  a Shanghai- and Berlin-based 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.


640 (1).gif

bot, 观察者

Single channel video, color; Website 单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao


2020年9月9日至13日,Ars Electronica 2020以“开普勒花园”为主题,希望以另一种视角审视世界,讨论当今世界因新型冠状病毒所引发的议题,关于病毒所造成的“不确定性”(UNCERTAINTY)以及其将会如何重塑“人类”(HUMANITY)社会的运作方式,此外,也将关注“自治”(AUTONOMY)和“民主“(DEMOCRACY)以及“科技“(TECHNOLOGY)和“环保“(ECOLOGY)两个充满争议的主题。

Ars Electronica 2020 will take place from September 9 to 13 – in Linz, of course, but not only there. It will also be in 120 “Kepler’s Gardens” around the globe. 

It is a journey mapping the “new” world and a journey through “Kepler’s Gardens”. In the course of this journey, the festival will discuss the important questions of our time, questions raised by the global corona crisis, and consider what we can and must do now. All the issues touched upon are marked by a general UNCERTAINTY and the question of how the crisis will shape and change us as individuals and as a society, us as HUMANITY. They will focus on two areas of tension in particular: AUTONOMY and DEMOCRACY as well as TECHNOLOGY and ECOLOGY.


6.webp.jpg

bot,/观察者

Single channel video, color; Website/单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao

在作品《观察者》中,aaaajiao撷取电玩游戏的美学风格(例如Mother3,Adventureland,Undertale和ROM),作品中的”玩家”在城市中四处游历,画面上同时呈现微信朋友圈的分享文字,旅程与手机程序画面相呼应,其中本地与全球网络、社交媒体、园林结构、公园、以及最终出现的自然景象,都合并至一种数字化的超表象(hyper-representation)之中。另一方面,aaajiao也透过该作品关注人们注意力碎片化的现象。科技的进步发展,让人们随时处于警备待机状态,不再能全神贯注于事物,信息的更新速度超前,对于信息的理解吸收程度也降低。

In the video ‘bot.’, the artist presents a portrait of memory built on a machine’s assumptions of how people would think a machine would interpret the mind. He borrows aesthetics from existing role-playing action games such as Mother3, Adventureland, Undertale, and ROM, to create awareness of one’s world in 2018—a perhaps slightly dystopian impression—and to introduce a conception of memory that sets itself apart from present understandings. Besides, he displays the wechat circle which could be a Chinese version of Instagram feeds. 

He also went on journeys across the city and displays an environment deeply intertwined with a digital past as well as its present counterpart. Local and global networks, social media, gardening structures, parks, and nature itself all become amalgamated into a digital hyper-representation.  On the other hand, the artist expresses his concerns on continuous partial attention with this work. By adopting an always-on, anywhere, anytime, any place behaviour, we exist in a state of excitement and alertness and we can no longer be concentrated fully on anything. Constant access to media has turned us into compulsive snackers and triggered a cycle of shorter attention bursts, shorter media portions, increased tempo, quicker payoff and algorithmic optimization. 

7.jpg

bot,/观察者

Single channel video, color; Website / 单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao

Bots意指”搜索引擎爬虫”,用来计算网站页面排名,aaajiao将这个基本功能与用户概念结合:“对我而言,我们在用同样的方式寻访我们的外置记忆,这个过程构成了一个多层面的“我”之间的关联。当我们以用户的身份自居,并用bot的方式构成自己后,就面临一个关于“真相”的困境。”

As Bots mean spiders or web crawlers are heavily used by search engines to figure out how high to display websites in search results, aaajiao links the basic function with users nowadays: “For me, we are searching and constructing our external memory in the same way and this process constitutes a multi-aspect of oneself. When we think of ourselves as users and form ourselves with bots, we will face a dilemma about truth.”  In this age of accelerated planetary computation, there is no doubt that we human struggle to “remember” and to “think in more memorable ways” as we become unable to rely solely on regions in our brains devoted to spatial memory.

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bot,/观察者

Single channel video, color; Website/单频彩色录像、网站

15'32

Dimension variable/尺寸可变

( screenshot from the video/视频截图 )

©️ aaajiao

aaajiao同时关注当代人类的自我观察过程,希望透过该作品呈现当代人们如何用自我观察的方式,重新走访记忆系统:包括肉身容器中的记忆,和在社交媒体上的外置记忆。aaajiao认为,人类已经成为bot,不同的是我们拥有心智。

Yet aaajiao is not only concerned with what is happening to our cognitive abilities or our interacting biological neurons. Acutely aware that we have an entire superstructure of digital sources on the Internet and external devices to help us store our memories outside our brains, aaajiao declares, “now that we have become bots, we are just one with the mind of the hive.”


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