“繁衍生息：中国当代艺术中的复刻与倍增”
"Multiply: Power in Numbers in Contemporary Chinese Art"
2024.03.23 - 05.26
策展人 Curator
芭芭拉·波洛克
Barbara Pollack
艺术家 Artists
丁乙 (Ding Yi）、鸟头 (Bird Head）、刘月（Liu Yue）、邬建安（Wu Jianan）、马秋莎 (Ma Qiusha)、谢墨凛 (Xie Binglin)、薛若哲 (Xue Ruozhe)、徐冠宇 (Xu Guanyu)、武子杨 (Wu Ziyang)、aaajiao、王庆松 (Wang Qingsong)
艺仓美术馆
Modern Art Museum Shanghai
上海浦东新区滨江大道4777号
4777 Bingjiang Aveneue, Pudong New Area, Shanghai
“繁衍生息：中国当代艺术中的复刻与倍增”，展览现场，艺仓美术馆，2024
"Multiply: Power in Numbers in Contemporary Chinese Art", Installation view, Modern Art Museum Shanghai, 2024
aaajiao参加艺仓美术馆“繁衍生息：中国当代艺术中的复刻与倍增”。本次展览呈现的艺术家不仅将复刻倍增作为快速翻制作品并加以传播的工具，更将其视为创作主旨。有些艺术家探索着倍增中蕴含的幽默与讽刺力量，另一些则将复刻视为赋权工具，并深入研究。游走在翻模、版印以及剪纸等传统创作和人工智能、虚拟现实等最新技术之间，这些创作挖掘出内在的自恋与自我膨胀情结，映照出社交媒体时代下被大众传媒稀释的自我。彼此交错呼应间，共同挑战当下复杂矛盾的视觉边界。
aaajiao participated in the exhibition "Multiply: Power in Numbers in Contemporary Chinese Art" of Modern Art Museum Shanghai. In this exhibition, we will examine a group of artists for whom multiplication and repetition are the very points of their artworks, rather than merely a tool for easy replication and widespread distribution. Chinese artists today recognize the irony and humor that multiplication offers; others openly investigate replication as a tool of empowerment. Dwelling between classical techniques, such as molds, printmaking and paper cutting, and latest technology, including artificial intelligence and virtual reality, the works explore the inherent narcissism and self-aggrandizement, underscore the dilution of self in the age of social media. All together, they challenge the boundary of today’s visual landscape of complicity and paradox.
《icon011》， 丝网印刷，雪弗板，金属框，水性漆，80 × 74 cm，2020-2021
icon011，screen printing, chevron board, metal frame, acrylic paint, 80 × 74 cm, 2020-2021
《1.1 预言，失效算法，萨满，阴谋》，2021，LCD 显示器，压克力组件 16 x 24 x 3.8 cm
Prophecy, nullification algorithm, shaman, conspiracy，video installation, 2021, LCD screen, acrylic fittings 16 x 24 x 3.8 cm
《1.2 织物，计算风，强迫症，搜寻,视频装置》，2021，LCD 显示器，压克力组件 16 x 24 x 3.8 cm
Fabric, computational wind, OCD, search, video installation, 2021, LCD screen, acrylic fittings 16 x 24 x 3.8 cm
《1.3 自由意志，开放麦，墙，告解》，2021，LCD 显示器，压克力组件
16 x 24 x 3.8 cm
Free will, open mic, GFW, confessions，video installation, 2021, LCD screen, acrylic fittings, 16 x 24 x 3.8 cm
《1.4 共识，地缘政治，链，电池》，2021，LCD 显示器，压克力组件 16 x 24 x 3.8 cm
Consensus, geopolitics, chain, battery，video installation, 2021, LCD screen, acrylic fittings, 16 x 24 x 3.8 cm
aaajiao本次参展的作品有《icon011》，《1.1 预言，失效算法，萨满，阴谋》， 《1.2 织物，计算风，强迫症，搜寻》，《 1.3 自由意志，开放麦，墙，告解》，《1.4 共识，地缘政治，链，电池》。“Icon”系列是对User描摹，用手机app Pixelable 像发社交媒体动态一样，手指和智能设备的摩擦，碎片状的注意力相互敲击，听到回声，留在屏幕上。aaajiao的创作结合了浓重的反乌托邦意识、对文人精神的反思。他的很多作品都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，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。作为今天全球新一代媒体艺术的代表人物，aaajiao将今天中国特殊的社交媒体文化、科技运用带入了国际艺术的话语和讨论。
aaajiao's works in the exhibition include icon011, Prophecy, nullification algorithm, shaman, conspiracy, Fabric, computational wind, OCD, search, Free will, open mic, GFW, confessions, Consensus, geopolitics, chain, battery. The artworks of aaajiaoThe “icon” series portrays the User using the mobile app Pixelable to send social media updates. Among the friction of fingers and smart devices, fragmented attention taps against each other, hearing echoes that remain on the screen. aaajiao’s art and works are marked by a strong dystopian awareness, literati spirits and sophistication. Many of aaajiao’s works speak to new thinkings, controversies and phenomenon around the Internet, with specific projects focusing on the processing of data, the blogsphere and China’s Great Fire Wall. aaajiao’s recent projects extend his practice to various disciplines (among them, architecture, topography, and design) to capture the pulse of the young generation consuming cyber technology and living in social media.
“繁衍生息：中国当代艺术中的复刻与倍增”，展览现场，艺仓美术馆，2024
"Multiply: Power in Numbers in Contemporary Chinese Art", Installation view, Modern Art Museum Shanghai, 2024
关于艺术家
ABOUT THE ARTIST
aaajiao1984年出生于西安。现生活工作于上海和柏林。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的作品频繁展出于全球的美术馆和艺术机构，例如：“繁衍生息：中国当代艺术中的复刻与倍增”，艺仓美术馆，上海，中国，2024；“致不灭的你”，今日美术馆，北京，中国，2023；“时间引力—— 2023成都双年展”，成都市美术馆，成都，中国，2023；“真实的拓扑：媒体艺术（深圳2023）”，深圳市当代艺术与城市规划馆，深圳，中国，2023；“流光”，四方当代美术馆，南京，中国，2023；“昊美术馆5周年馆藏展：你和我，保持凝视”，昊美术馆，上海，中国，2023；“第七届广州三年展-化作通变”，广东美术馆，广州，中国，2023；“道法柏林，而游于外”，KINDL，柏林，德国，2022；“Cloud Walkers”，Leeum Museum of Art，首尔，韩国，2022；“档案冲动：反叙事和反记忆的操练”，AIKE，上海，中国，2022；“深渊模拟器”，里沃利城堡当代艺术博物馆，都灵，意大利，2020；“1989年到今天：网络时代的艺术”，波士顿当代艺术中心，波士顿，美国，2018；“非真实”，电子艺术之家，巴塞尔，瑞士，2017；“身体·媒体II”，上海当代艺术博物馆，上海，中国，2017；“带走我（我是你的）”，犹太人美术馆，纽约，美国，2016；“时间转向：当代亚洲的艺术与思辨”，斯班塞美术馆，堪萨斯，美国，2016；“波普之上”，余德耀美术馆，上海，中国，2016；“黑客空间”（由Hans Ulrich Obrist与Amira Gad策展），K11艺术基金会临时空间，香港，中国、chi K11美术馆，上海，中国，2016；“全方位：全控制和言论控制”，ZKM卡尔斯鲁厄艺术与媒体中心，卡尔斯鲁厄，德国，2015；“齐物等观——2014国际新媒体艺术三年展”，中国国家美术馆，北京，中国，2014。
他近期个展包括“炼丹与咒文”，SETAREH，柏林，德国，2024；“aaajiao：薄膜”，星美术馆，上海，中国，2023；“我死于互联网”，Wannsee Contemporary，柏林，德国；“我死于互联网”，铜仁路联华公寓，上海，中国，2021；“深渊模拟器”，Tabula Rasa画廊，伦敦，英国，2021；“深渊模拟器”，里沃利城堡当代艺术博物馆，都灵，意大利，2020；“洞穴模拟器”，AIKE，上海，中国，2020；“a’a’a’jiao: 一个ID”，昊美术馆，上海，中国，2019；“观察者”，House of Egorn，柏林，德国，2018；“暴食”，千高原艺术空间，成都，中国，2018；“用户、爱、高频交易”，Leo Xu Projects，上海，中国，2017；“电子遗留物”，华人艺术中心，曼彻斯特，英国，2016；“电子遗留物”，OCAT，西安，中国，2016。
aaajiao born in 1984 in Xi’an. Currently lives and works in Shanghai and Berlin. Active online as a media artist, blogger, activist and programmer, aaajiao is the virtual persona of Shanghai- and Berlin- artist Xu Wenkai. Born in 1984—the title of George Orwell’s classic allegorical novel—and in one of China’s oldest cities, Xi’an.
aaajiao’s work has been featured in numerous exhibitions around the world, upcoming and recent shows include "Multiply: Power in Numbers in Contemporary Chinese Art", Modern Art Museum Shanghai, Shanghai, China, 2024; “To Your Eternity”, Today Art Museum, Beijing, China, 2023; “Topologies of The Real Techne (Shenzhen 2023)”, Shenzhen Museum of Contemporary Art and Urban Planning, Shenzhen, China, 2023; “Time Gravity - 2023 Chengdu Biennale”, Chengdu Art Museum, Chengdu, China, 2023; “HOW Art Museum 5th Anniversary Collection Exhibition: “Projection”, Sifang Art Museum, Nanjing, China, 2023; “You as Me, Hold the Gaze”, HOW Art Museum, Shanghai, China, 2023; “The 7th Guangzhou Triennial - symphony of all the changes”, Guangdong Museum of Art, Guangzhou, China, 2023; “Cloud Walkers”, Leeum Museum of Art, Seoul, Korea, 2022; “Forming Communities: Berliner”, KINDL, Berlin, Germany, 2022; “The Archival Impulse: An Exercise in Counter-Narrative and Counter-Memory”, AIKE, Shanghai, China, 2022; “Deep Simulator”, Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy, 2021; “Art in the Age of the Internet, 1989 to Today”, The Institute of Contemporary Art Boston, Boston, USA, 2018; “unREAL”, Haus der elektronischen Künste, Basel, Switzerland, 2017; “Shanghai Project Part II”, Shanghai, China, 2017; “Temporal Turn: Art and Speculation in Contemporary Asia”, Spencer Museum of Art, Kansas, USA, 2016; “Take Me (I’m Yours)” (curated by Hans Ulrich Obrist, Jens Hoffmann and Kelly Taxter), Jewish Museum, New York, USA, 2016; “Overpop”, Yuz Museum, Shanghai, China, 2016; “Hack Space” (curated by Hans Ulrich Obrist and Amira Gad), K11 Art Foundation Pop-up Space, Hong Kong and chi K11 art museum, Shanghai, China, 2016; “Globale: Global Control and Censorship”, ZKM | Centre for Art and Media, Karlsruhe, Germany, 2015; and “Thingworld International Triennial of New Media Art”, The National Art Museum of China, Beijing, China, 2014.
His recent solo exhibition includes “A bit A prompt”, SETAREH, Berlin, Germany, 2024; “aaajiao: membrane”, Start Museum, Shanghai, China, 2023; “I was dead on the Internet”, Wannsee Contemporary, Berlin, Germany, 2022; “I was dead on the Internet”, Lianhua Apartment, Shanghai, China, 2021; “Deep Simulator”, Tabula Rasa Gallery, London, UK, 2021; “Deep Simulator”, Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy, 2020; “Cave Simulator”, AIKE, Shanghai, China, 2020; “a’a’a’jiao: an ID”, HOW Art Museum, Shanghai, China, 2019; “bot,” House of Egorn, Berlin, German, 2018; “Gluttony”, A Thousand Plateaus Art Space, Chengdu, China, 2018; “User, Love, High-frequency Trading”, Leo Xu Projects, Shanghai, China, 2017; “Remnants of an Electronic Past”, CFCCA, Manchester, UK, 2016; “Remnants of an Electronic Past”, OCAT, Xi’an, China, 2016.
