《貘》
秦念&惠文
張益寧
貘者
▲ 《 I 睡眠 》
▲《 II 發想 》
《貘》這個系列的基礎圖像均由AI圖像生成工具Midjourney生成，這是一次我們用本體(AI)生成喻體的嘗試。在這個版本裏，由二十個具有夢境特征與隱喻意味的小章節構成。在《貘》這個系列的制作過程中，我們開始時是以一種前反思式的狀態，用投喂、指令等方式在Midjourney累計生成了數萬張圖像。
▲ 《 III 劇場 》
▲《 IV 造月 》
▲ 《 V 時間 》
▲ 《 VI 影子 》
▲《 VII 惠文 》
▲ 《 VIII 小偷》
▲ 《 IX 祭壇 》
我們在遭遇，以及參與運用AI這個“他者”的過程中，寄以《貘》這個系列的産出，試圖來重新審視、探討關于主體性、在地性、創造力、副本、擬像、符號、邊界、後殖民主義等一系列概念的新老問題。
但首先我們希望《貘》是屬于詩歌的、直覺的，一個無國界的重奏。
當然，還有關于黑色的美學。
▲《 X 迷因 》
1826年，尼埃普斯使用了镀锡铜板运用曝光和化学处理，光线在暴露后固定在板上，形成了这张历史上第一张被成功保存下来的照片，创造了人类历史上第一张被成功保存的照片，即《窗外的景色》。这一创举标志着摄影术的诞生，为人类视觉记录开辟了全新的领域。
随着科学技术的发展，在这个影像泛滥的时代，影像逐渐成为了我们视觉生活中密不可分一部分的同时，不再珍贵的的图像逐渐淡失掉了影像实体意义的那一部分，影像的普及反而束缚了我们的想象力。
“影像的最终结果不是虚假，而是超真实，一个比真实更真实的世界。”
"The ultimate result of images is not the false, but the hyperreal, a world more real than real."
让·鲍德里亚在《拟像与仿真》中探讨了影像的超现实性，认为影像的最终结果并非简单的虚假，而是一种超越现实的超真实状态，一种比真实更真实的存在形式。
在《貘》系列作品里，秦念和惠文以东方传说中神秘的异兽貘为灵感，运用AI图像生成工具Midjourney，试图在梦境与现实之间重新解构和重现。这二十个小章节如同梦境中的碎片，经过胶片相机的捕捉和暗房的处理，赋予了图像传统摄影的质感和深度，同时也模糊了观众对其真实性的辨别，使它们在新的现实与虚幻的交汇点上得以重生。在影像背后，图像被呈现在二十本随机打开的页面上，以装置的形式映入眼帘，就像借博尔赫斯之手翻开那本象征无限和变化的沙之书，不可预知的书来映射不可复制的图像、梦境、也是现实; 我们在为视觉图像所迷惑的同时，是否早已陷入了技术和未来这一座巨大的迷宫之中?
这种创作的交织和重生，将我们引向一个深沉的思考：当影像不再是单纯的表面记录，不再是作为现实的证据，而是一种跨越现实和虚构之间的桥梁，那我们所居之所是梦幻还是真实?
《貘》其实无需过多的文本解释，它们本身就是意象和感觉的直接表达。正如黑色并非真正的颜色，而是光的缺失和吸收的结果。貘象征着梦境的吞噬和再生，同时也象征着我们在真实和虚拟之间游走的状态，进入一个似真似幻的新世界，一场沉入黑色梦境的旅程。
——曹祎&张益宁
藝術家介绍
Artist Introduction
秦念&惠文
現生活工作于東京、深圳，組建了“December 32”雙人藝術組合。“December 32”是一年的年末與另一年年初間的縫隙，我們把一些遺落的光景安置在這一天裏。我們的創作方法結合攝影、繪畫與數字影像等，意圖連結傳統媒介與新技術、傳統精神與新概念，以基于圖像的方式，來捕捉那些日常生活中潛藏的非日常感知。
工作生活於成都
“Mo”
Artist
▲ Sopor
▲ Contemplating Vastness
▲ The theatre
▲ Creating the Moon
▲ TimePassage
▲The Shadows
▲ Huiwen
▲ The Theif
▲ Altar
▲Meme
In 1826, Niepce used a tin-plated copper plate, applying exposure and chemical treatment to fix light on the plate after exposure. This formed the first photo in history that was successfully preserved, namely "The View from the Window." This creation marked the birth of photography and opened up a new field for human visual records. With the development of science and technology, in this era of image proliferation, images have gradually become an inseparable part of our visual life. At the same time, images, no longer scarce, have somewhat lost their physical significance. The popularity of images, instead, binds our imagination.
“The ultimate result of images is not false but hyper-real, a world more real than real.” Jean Baudrillard explores the hyperreality of images in "Mimesis and Simulacrum," arguing that the end result of images is not simply false but a state of hyperreality that transcends reality—a form of existence that is more real than the real itself.
In the Tapir series, Qin Nian and Huiwen take the tapir, a mysterious beast from oriental legends, as their inspiration. They use Midjourney, an AI image generation tool, in an attempt to deconstruct and recreate the relationship between dream and reality. These twenty small chapters are like fragments of a dream, captured by a film camera and processed in the darkroom, giving the images the texture and depth of traditional photography. At the same time, they blur the viewer's discernment of their authenticity, allowing them to be reborn at a new intersection of reality and illusion. The images are presented on twenty randomly opened pages, mirrored in the form of an installation, like using Borges's hand to open the book of sand—a symbol of infinity and change, the unpredictable book that maps the irreducible images, dreams, and also reality. While we are mesmerized by these visual images, have we long been trapped in the huge labyrinth of technology and the future?
This intertwining and rebirth of creation lead us to deep reflection: When images are no longer mere surface records, no longer serve as evidence of reality, but rather as a bridge between reality and fiction, is the place we live in a dream or reality? Tapir does not require much textual explanation, as they are direct expressions of imagery and feeling. Just as black is not a true color, it is the result of the absence and absorption of light. Tapir symbolizes the swallowing and regeneration of dreams, but also our state of wandering between the real and the virtual, entering a new world that seems both real and illusory—a journey of sinking into a black dream.
—— caoyi&yining
Artist Introduction
Now living and working in Tokyo and Shenzhen, he set up the "December 32" duo art group. "December 32" is the gap between the end of one year and the beginning of another year, we put some of the forgotten scenes in this day. Combining photography, painting and digital image，we aim at connecting traditional media with new technologies, traditional spirits and new concepts, and capturing the non-everyday perceptions hidden behind daily life in an image-based way.
Working and living in Chengdu.
