曹澍个展：余辉和特雷门琴
Cao Shu: Afterglow and Theremin
展期：2024年11月4日-2025年2月16日
开幕：2024年11月4日
艺术家：曹澍
策展人：郑果
展览助理：王俞莛
地址：昊美术馆（上海）三楼，展厅一
上海市浦东新区祖冲之路2277弄1号
主办：HOW昊美术馆
*Please scroll down for English version.
昊美术馆很荣幸地宣布，将于2024年11月04日在昊美术馆三楼展厅一推出曹澍个展「余辉和特雷门琴」。下面让我们通过策展人郑果的前言文字，走进本次展览。
余辉和特雷门琴
“宇宙微波背景辐射是来自137亿年前宇宙诞生时所产生的光线，是宇宙大爆炸的余辉，至今仍分布在我们周围。”
马库斯·尚恩：《创世余辉：破译来自时间起点的信息》，2010
余辉
当我们站在通往过去的记忆之门，将会发现那里不是一条由线性时间搭建的阶梯，而是一片忽明忽暗的星河。闪烁的星体是没有线索的指引，越深入越失去对过往彼岸的实感。艺术家曹澍为观者按下了记忆之门的旋钮，基于历史事件、个体记忆、文学虚构，深度探讨了记忆、计算机图形技术及数字化社会之间交织的复杂关系。
起点，可能是一座被废弃的糖厂（“妖糖”，2023） 。一架巡逻了千百亿次的人工智能无人机，如同拉普拉斯妖[1]般，在糖厂上空徒劳地控制着农作物的生长节律。糖厂的百年历史，如同沿着糖轨无意识前行的蚁群般缓缓展开，并在数字模拟动画和实景交错的闪回中，抚平了虚构和现实的裂缝。
《妖糖》（视频截帧），2023，3D渲染活动影像装置，3通道，4K，15'10''，图片致谢艺术家
起点，也可能是一个被时间模糊了姓名的人（“公园一角 序”，2018）。顺着日记本中扁平的文字，几乎被遗忘的事件逐渐立体并对当下的时空产生诠释。穿越如同冬狩[2]般萧肃的画面，片中的无名氏依然是一块无法被完整拼凑的记忆碎片。就好比糖厂里那只脱轨的蚂蚁，在与无人机擦肩而过的同时，悄然逆转了看似确信无疑的未来。
“有了地形记忆，人们就可以谈论视觉的年代，甚至谈论另一代人的视觉遗传。”[3] 记忆无法遗传，但却拥有可塑造的特质。不同时空的记忆瞬间被相机记录下来，再被置于3D建模的荒漠星球，等待游戏玩家的召唤（“散步模拟”，2021）。曹澍试图在作品中用地理去理解历史，用空间去理解时间。当记忆产生分支，过去便不再只有唯一的答案。
《散步模拟》，2021，电子游戏和影像装置现场，4K 屏，树莓派，电容屏，金属支架，手柄，计算机，图片致谢艺术家
特雷门琴
穿过记忆之门，来到梦境的分岔路口。一边是一片深蓝，一边是无尽的长廊。错误的记忆（memory bug）是蓝色的。它如同宇宙深处的黑洞，将一串由失败代码生成的数字生命围困在无法触碰，且随时可以被切断信号的蓝屏中（“窗外的鬼怪”，2019）。于此同时，永生不死的摄影师K被困在长崎核爆前的一瞬间，无数肢体倒错的人类诞生于AI扩散模型的潜意识，和K一同徘徊在无尽的长廊中（“扩散”，2024）。被技术制造、控制的生命挣扎着脱离了原本生存的界面，成为与技术缠绕的幽魂。
物理学家雷奥·特雷门在1919年发明了特雷门琴。因其诡异迷幻的声音与隔空演奏的方式，特雷门琴也被称为幽灵乐器。基于某种逻辑，人们往往会将新媒介与幽灵之间挂钩。正如和降乩摄影相关的历史事件中，人们试图通过底片召唤灵魂；或是AI扩散模型生成大量怪异图像之后，流传着算法背后寄宿着某种生命意识的都市传说一样。
《窗外的鬼怪》 （视频截帧），2019，文本，装置，3通道3D数字，模拟动画，6m×5m×3.2m，图片致谢艺术家
在记忆与梦境的层层激荡下，一个家族的叙事在边疆展开。法国哲学家雅克·德里达在《马克思的幽灵》中说到“一种幽灵的不对称性干扰了所有的镜像。它消解共时化，它令我们想起时间的错位。我们将此称之为面甲效果：我们看不见是谁在注视我们。”在作品“双鱼”(2024)里，太阳让地平线波动，无数镜面与我互相凝望，而镜中之人折射出的，是幽深历史中被封存的集体潜意识。
艺术家曹澍的作品构建了超越真实的虚拟幻象，以回旋的方式将时空折叠再展开。碎片化的历史记忆产生环状余波，如同特雷门琴的演奏般不可预测的偶发旋律，震荡于极远或极近的不同时空；也似宇宙大爆炸遗留的漫长余辉，通过层层作用力，影响着未来与过去的某个瞬间。
策展人：郑果
[1] 拉普拉斯妖：法国数学家皮埃尔-西蒙·拉普拉斯于1814年提出的假想生物，该生物若知晓宇宙中每个原子的确切位置和动量，则能运用牛顿定律展现宇宙事件的整个过程，包括过去和未来。
[2] “冬狩”：16世纪尼德兰画家彼得·勃鲁盖尔（约1525-1569）于1565年开始创作的《四季》组画之一，该作品通过代表性的农业活动和气候特征展现了四季的演变。
[3] 保罗·维利里奥：《视觉机器》，印第安纳大学出版社，1994年。
关于艺术家
Cao Shu Solo Exhibition:
Afterglow and Theremin
Duration: 2024.11.04-2025.02.16
Opening Ceremony: 2024.11.04
Artist: Cao Shu
Curator: Zheng Guo
Exhibition assistance: Wang Yuting
Venue: HOW Art Museum 3F, Space one, Lane 2277, Zuchongzhi Road Shanghai
Organizer: HOW Art Museum
HOW Art Museum is pleased to announce that the solo exhibition Afterglow and Theremin of artist Cao Shu, will be on view from November 04, 2024. Let's get into this exhibition through the curator's preface.
Afterglow and Theremin
The cosmic microwave background is the oldest ‘fossil’ in creation. It has come to us directly from the Big Bang. It has been travelling across space for 13.7 billion years, and is still with us today.
Marcus Chown, The Afterglow of Creation: Decoding Messages from the Dawn of Time(2010)
Afterglow
When we stand at the gate of memory, we will find out that there is not a ladder of linear time, but a river of shimmering stars. They are our guides without clues, the deeper we go, the more we lose the sense of reality of the other side. Cao Shu pushes the knob of the gate of memory for us. Based on historical events, individual memories, and literary fictions, his works explore in depth the complex relationship between memory, computer graphic technology and digital society.
The starting point, perhaps, is an abandoned sugar factory (Phantom Sugar, 2023). A drone operated by A.I has patrolled the factory endless times, like a Démon de LaplaceI which in a futile effort tries to control the rhythm of the growth of the crops in the sugar factory. The factory's century long history unfolds slowly like a colony of ants marching mindlessly along the sugar track. The rift between fiction and reality is smoothed out by flashbacks of digital simulation animation and real-life scenes.
The starting point may also be a person whose name has been blurred by time (Corner of the Park | Prologue, 2018). Following the plain words in the diary, the oblivion events gradually become three-dimensional presenting in time and space. Wandering through a scene akin to Bruegel's painting Hunters in the SnowII, the anonymous figure in the film remains to be a losing part of the puzzle. Just like the derailed ants in the sugar factory that indeed quietly reverse the seemingly certain future as they passed by the drones.
"In topographical memory, people can discuss the age of vision, and even talk about the visual inheritance of another generation."III Memories cannot be inherited, but they can be molded. In Roam Simulator, 2021, memories of different spatiotemporal moments are recorded by the camera and then placed on the 3D modeled desert planet, waiting for the players. Cao Shu tries to use geography in his works to understand history and space thus to understand time. When memories grow in branches, the answers to the past are plural.
The One Who Lived Yesterday (frame capture), 2019, 3D Rendered Moving Image, 5'26'', Courtesy of the artist
Theremin
Through the gate of memory, we enter the dreams from forked roads. On one side, there is a place of deep blue, on the other side, an endless corridor. Memory Bug is blue. Like a black hole in the deep universe, it encloses a string of digital beings generated by a failed code and entrapped in an untouchable blue screen, and it can be cut off from the signal at any time (Monster Outside the Windows, 2019). Meanwhile, the immortal photographer K is trapped at the moment before the Nagasaki nuclear explosion. Countless human beings with inverted limbs, born from the subconsciousness of the AI diffusion model, are wandering in the corridors with K (Diffusion, 2024). The creatures created and controlled by the technology struggle to break away from the interface of their original existence, turning into ghosts of technology.
In 1919, physicist Leon Theremin invented Theremin. It is also known as a ghost instrument because of its eerie psychedelic sound and the way it can be played from a distance. Based on the same logic, people tend to make the link between new media and ghosts. Just as in the history of photography, where people tried to summon spirits through negatives; Or after the AI diffusion model generates a large number of weird images, the spread of the urban legend about some kind of life consciousness living behind the algorithm.
A family narrative with layers of memories and dreams emerge to the surface. The French philosopher Jacques Derrida says in Specters of Marx that "a spectral asymmetry interrupts here all specularity. It de-synchronizes, it recalls us to anachrony. We will call this the visor effect: we do not see who looks at us." In the work Pisces(2024), the sun makes the horizon fluctuate. Our images are reflected in countless mirrors. They form the collective subconsciousness that once were sealed in the deep history.
Corner of the Park Prologue (frame capture), 2018, 4 Screens, 3D Rendered Moving Image Installation, Variable size, Courtesy of the artist
Cao Shu's works construct virtual illusions that transcend reality, folding and unfolding time and space in a cyclical manner. Fragmented historical memories generate a circular ripple, like the unpredictable melody from a theremin, which vibrates in different spaces and times, far and near. It also reminds us the long afterglow left behind the Big Bang, which influences the future and the past through the force of its many layers.
Curator: Zheng Guo
I. Démon de Laplace was a hypothetical creature proposed by the French mathematician Laplace, P.-S. (1814). This creature, if it knew the exact position and momentum of every atom in the universe, could use Newton's laws to predict the entire course of cosmic events, including the past and future.
II. The Hunters in the Snow, is one of the paintings in Bruegel the Elder, P.'s (circa 1525-1569) The Seasons series, begun in 1565. This work depicts the evolution of the seasons through representative agricultural activities and climatic features.
III. Virilio, P. (1994). The Vision Machine. Indiana University Press.
About the artist
曹澍个展「余辉和特雷门琴」
新展早鸟通道即日开启
🔛
一张票即可
优享HOW昊美术馆
3F全部展览
***
早鸟通道截止时间：2024年11月3日
