展览名称
技术-想象-杂技演员
策展人
丁力、得译工作室、李汉威
艺术家
Grégory Chatonsky, Serge Comte, AIix Désaubliaux, 方阳, 李汉威, 林科, Marie Michalikova, 武雨墨, 张辽源
展期
202410.31-2024.11.8（10:30-18:00）
地点
上海市浦东新区滨江大道4777号 艺仓美术馆 水岸廊桥艺库 1-2
Exhibition
QUELQUESACROBATES DU
TECHNO-IMAGINAIRE
Curators
DING Li、DeYi Studio、LI Hanwei
Artists
Grégory Chatonsky, Serge Comte, AIix Désaubliaux, FANG Yang, LI Hanwei, LIN Ke, Marie Michalikova, WU Yumo, and ZHANG Liaoyuan
Duration
October 31- November 8, 2024 (10:30 AM - 6:00 PM)
Location
Art Warehouse1-2，MODERN ART Museum，N0.4777 Binjiang Avenue, Pudong New Area, Shanghai
艺仓美术馆将于2024年10月31日至11月8日期间，隆重推出展览：《技术-想象-杂技演员》，此次展览是上海视觉艺术学院摄影专业为纪念与法国学校交流10周年暨中法建交60年而举办的。
此次展览将在水岸廊桥艺库1-2的空间内展出九位中国与外国艺术家的作品，包括：Grégory Chatonsky, Serge Comte, AIix Désaubliaux, 方阳, 李汉威, 林科, Marie Michalikova, 武雨墨, 张辽源。
MODERN ART Museum is delighted to launch the "Technology·Imagination·Acrobatics"（QUELQUESACROBATES DU TECHNO-IMAGINAIRE） exhibition from October 31 to November 8, 2024.
The exhibition is hosted by the Photography Department of Shanghai Institute of Visual Arts to commemorate the 10th anniversary of the exchange program between the department and French institutions and the 60th anniversary of the establishment of diplomatic relations between China and France.
The exhibition will be held at the MODERN ART Museum and will exhibit works by 9 Chinese and foreign artists including Grégory Chatonsky, Serge Comte, AIix Désaubliaux, FANG Yang, LI Hanwei, LIN Ke, Marie Michalikova, WU Yumo, and ZHANG Liaoyuan.
展览主题
Exhibition Concept
“这些在图片泛滥的时代持续‘内观’，并坚定地置身事外的‘杂技演员’，不愧为真正意义上的艺术家: 他们技巧娴熟，机智地绕过了从机器中喷涌而出的、令人震惊的图像洪流。”
——维莱姆-弗鲁瑟《媒体的文明》
《技术-想象-杂技演员》探寻了那些不断突破摄影界限的艺术家，展出的艺术家包括：Grégory Chatonsky, Serge Comte, AIix Désaubliaux, 方阳, 李汉威, 林科, Marie Michalikova, 武雨墨, 张辽源。 这些艺术家通过与相机以外的机器配合完成摄影创作。
早在第一代人工智能出现之前，哲学家和媒体理论家维莱姆-弗鲁瑟(Vilém Flusser)就已经考虑过艺术家在面对图像机器时所扮演的角色。在他看来，探索设备的可能性以寻找新的图像不过是常规性的工作，负责确保机器正常运行，而把这项工作交给机器人也同样容易，只要花点时间，机器人甚至可以更好地穷尽设备的所有虚拟性。人工智能就是最好的证明。我们可能不知道如何识别 “内观的图像"，但让我们关注这些“杂技演员” 的表演，让我们欣赏这些艺术家作品的千变万化。
In an era overflowing with images, these "acrobats," who persist in their "introspection" and resolutely maintain their distance, are true artists in every sense of the word. They are highly skilled, cleverly evading the overwhelming flood of images that machines produce with stunning speed.
—Vilém Flusser, Civilization of Media
Technology-Imagination-Acrobats（QUELQUESACROBATES DU TECHNO-IMAGINAIRE）explores artists who continually push the boundaries of photography, featuring creators such as Grégory Chatonsky, Serge Comte, AIix Désaubliaux, FANG Yang, LI Hanwei, LIN Ke, Marie Michalikova, WU Yumo, and ZHANG Liaoyuan. These artists engage in photographic creation through collaboration with machines beyond the traditional camera.
Long before the advent of artificial intelligence, philosopher and media theorist Vilém Flusser had already considered the role of artists in the age of image machines. In his view, exploring the possibilities of devices to create new images was a routine task, merely ensuring the machine’s proper functioning—something that could easily be entrusted to robots.
Given enough time, robots might even be better at exhausting the virtual potential of these devices. Artificial intelligence is now the perfect testament to this idea. While we may not fully understand how to recognize "introspective images," we can focus on the "acrobats" and appreciate the endless variations in their artistic expressions.
关于艺术家
About The Artists
Grégory Chatonsky
Grégory Chatonsky，1971出生于法国巴黎，毕业于索邦先贤祠-索邦大学视觉艺术和哲学系，于1999年开始在ENSBA和ENST完成硕士学位，因其博士论文《流动美学（数字化后）》获得魁北克大学蒙特利尔分校博士学位，现生活和工作在巴黎和蒙特利尔。
格雷戈里·查顿斯基是一位法裔加拿大艺术家。自1996年以来，他一直在创造介于物质和数字之间的物体，作品涉及互动装置、网络设备、照片和雕塑。他探索了技术和情感之间的关系，创造了新的小说形式，主要与后互联网有关。自20世纪90年代中期以来，他一直致力于网络，特别是其情感，导致他质疑互联网上出现的身份和新叙事。从2001年起，他开始了一系列关于错位的作品，将废墟和灭绝作为一种人工和自然现象。多年来，他一直致力于研究机器几乎自动产生类似人类生产的结果的能力。这些问题已经变得趋同，这要归功于人工想象力，它使用网络上积累的数据作为学习材料，以产生相似性。在人类物种灭绝的背景下，互联网似乎试图创造一个纪念碑，在我们消失后继续存在。
Grégory Chatonsky, born in 1971 in Paris, France, graduated from the Department of Visual Arts and Philosophy at Panthéon-Sorbonne University. In 1999, he completed his master's degrees at ENSBA and ENST, and he later received his PhD from the Université du Québec à Montréal, with his dissertation Fluid Aesthetics (Post-Digitization). He currently lives and works between Paris and Montreal.
Grégory Chatonsky is a French-Canadian artist. Since 1996, he has been creating objects that navigate between the physical and digital realms, including interactive installations, networked devices, photographs, and sculptures. His work explores the relationship between technology and emotion, creating new forms of storytelling primarily associated with the post-Internet era.
Since the mid-1990s, he has been engaging with the internet, especially its emotional dimension, which has led him to question the identities and new narratives emerging online. Beginning in 2001, Chatonsky embarked on a series of works on dislocation, examining ruins and extinction as both artificial and natural phenomena. Over the years, he has focused on the capacity of machines to produce results almost indistinguishable from human creations, examining the convergence of these themes through artificial imagination.
This imagination draws on vast data accumulated online as learning material, generating a sense of resemblance. In the context of potential human extinction, the internet appears to function as a kind of monument, something that could endure and continue to “remember” us after we disappear.
Serge Comte
Serge Comte（b.1966)出生于法国的La Tronche，现居冰岛的雷克雅未克。毕业于法国格勒诺布尔美术学校。Serge COMTE的创作主要受到20世纪80年代世界文化的影响。20世纪80年代是文化动荡的时期，其特点是全球资本主义的发展、大众媒体的广泛传播、财富的重大差距，以及以电子流行音乐和嘻哈为代表的独特音乐和时尚感，艺术家深受这种文化氛围的影响。作为政治上的重要十年，以非洲饥荒和冷战结束为标志，以 1989 年柏林墙倒塌为标志。新几何主义和图像一代与在德国、法国和意大利广为人知的新表现主义一起，成为这十年中突出的艺术运动。
Serge Comte (b. 1966) was born in La Tronche, France, and currently resides in Reykjavik, Iceland. He graduated from the École des Beaux-Arts de Grenoble. Comte’s work is heavily influenced by the cultural dynamics of the 1980s, a decade marked by global shifts.
This period was defined by the rise of global capitalism, the proliferation of mass media, significant wealth disparities, and the emergence of unique musical and fashion sensibilities, represented by genres like electronic pop and hip-hop. This cultural atmosphere deeply impacted the artist's work.
The 1980s were also politically significant, marked by events like the famine in Africa, the end of the Cold War, and the fall of the Berlin Wall in 1989. Prominent art movements of the decade included Neo-Geo (New Geometric Art) and the Pictures Generation, which flourished alongside Neo-Expressionism, widely recognized in Germany, France, and Italy.
Alix Désaubliaux
Alix Désaubliaux，1993出生于法国，目前生活和工作在法国雷恩。她的实践围绕着电子游戏的主题展开，从3D打印的陶瓷和水晶到多媒体装置、电影、视频动画和游戏，法国艺术家阿利克斯•德绍布利奥（Alix Désaubliaux）用艺术和科学的迷人交叉进行了实验。自二零二一年一月起一直是Vivarium工作坊的活跃成员。除了她的艺术实践，她还通过与集体3G的在线接触探索表演和实验形式，其中包括安妮·亚伯拉罕Annie Abrahams，帕斯卡尔·巴雷特Pascale Barret和爱丽丝·勒奈Alice Lenary。她还参与了研究小组WMAN，该小组由六位从事视频游戏工作的艺术家和策展人组成。Désaubliaux在几所艺术学校任教，包括ENSAD Nancy，ESACM克莱蒙-费兰德，ENSBA里昂，ESAM Caen，ESBAN Nabrymes，在那里她组织讲习班，干预，会议和研讨会。
Alix Désaubliaux, born in 1993 in France, currently lives and works in Rennes, France. Her practice centers around the theme of video games, using a captivating intersection of art and science to experiment with 3D-printed ceramics and crystals, multimedia installations, films, video animations, and games.
Since January 2021, she has been an active member of the Vivarium workshop. Beyond her artistic practice, Désaubliaux explores performance and experimental forms through online interactions with the collective 3G, which includes Annie Abrahams, Pascale Barret, and Alice Lenary. She is also involved with the research group WMAN, consisting of six artists and curators who work within the realm of video games.
Désaubliaux teaches at various art schools, including ENSAD Nancy, ESACM Clermont-Ferrand, ENSBA Lyon, ESAM Caen, and ESBAN Nîmes, where she organizes workshops, interventions, conferences, and seminars.
Fang Yang 方阳
方阳（b.1996），出生于湖北武汉，2018年毕业于上海视觉艺术学院，现生活和工作于上海。他的创作实践运用CG影像、装置、雕塑等多种媒介，深入探索工人文化、青年文化与社会阶层之间复杂而交织的关系，同时审视由社会分层引发的心理动态的多重范畴，试图通过艺术实践构筑一个挑战既定秩序的审美场域。
方阳还与艺术家李汉威、刘树臻共同运营线上策划平台“史莱姆引擎”，参与构思并制作了平台上的展览。
FANG Yang (b. 1996), born in Wuhan, Hubei, graduated from the Shanghai Institute of Visual Arts in 2018 and currently lives and works in Shanghai. His artistic practice employs various media, including CG imagery, installation, and sculpture, to delve into the complex and intertwined relationships between worker culture, youth culture, and social class. Fang Yang also examines the psychological dynamics arising from social stratification, aiming to create an aesthetic space through his work that challenges established orders.
Additionally, FANG Yang co-runs the online curatorial platform "Slime Engine" with artists Li Hanwei and Liu Shuzhen, where he contributes to the conceptualization and production of exhibitions featured on the platform.
Li Hanwei 李汉威
李汉威，1994年生于江苏徐州，2018年毕业于上海视觉艺术学院，现工作生活于北京和上海。李汉威视技术为一种新的创作媒介，追求展现和评估其如何介入甚至主导我们的感知、交流和身份构建，从而引发对于技术实用主义社会中个体自主性和文化多样性的深刻反思。
Li Hanwei, born in 1994 in Xuzhou, Jiangsu, graduated from the Shanghai Institute of Visual Arts in 2018 and currently lives and works between Beijing and Shanghai.
Li regards technology as a new creative medium, aiming to showcase and evaluate how it intervenes in and even governs our perception, communication, and identity formation. His work prompts a deep reflection on individual autonomy and cultural diversity within a technocratic society driven by utilitarianism.
Lin Ke 林科
林科，1984年生于浙江温州，2008毕业于中国美术学院新媒体系，现生活工作于上海。
从2010年开始, 林科将自己变成自己的实验对象，投身于计算机时代的行为艺术之中。林科将笔记本电脑作为其艺术工作室，从计算机软件和互联网中提取素材作为其艺术作品的素材与形式。日常互联网的探索和对应用软件的操作催生出他的艺术创作和自画像。他使用屏幕截图和屏幕录制软件记录操作行为和概念图像。他主要的作品形式为装置、图像、声音、文字、视频和电脑绘画。
在他的作品中，林科以非常规的方式使用电脑软件，在软件原本设计的意图之外寻找新的功能，从而使的语言从基本的交流功能中得以解放而获得诗性。如果诗歌表达了语言的乐趣，那么林科的作品则呈现了软件用户图像界面的愉悦。
LIN Ke, born in 1984 in Wenzhou, Zhejiang, graduated from the New Media Department of the China Academy of Art in 2008 and currently lives and works in Shanghai.
Since 2010, Lin Ke has used himself as an experimental subject, engaging in performance art specific to the digital age. Treating his laptop as his art studio, he draws materials and formats from computer software and the internet.
His daily explorations online and interactions with various applications inspire his artwork and self-portraiture. Using screenshot and screen-recording software, he documents his actions and conceptual imagery. His primary media include installations, images, sound, text, video, and digital painting.
In his work, LIN Ke creatively repurposes computer software, seeking functions beyond its original design. This approach liberates language from its conventional communicative role, bringing out a poetic quality. If poetry expresses the joy of language, LIN Ke’s work reveals the pleasure of interacting with software’s visual interfaces.
Marie Michalikova
Marie Michalikova，毕业于南西国立高等艺术与设计学院，是一位多学科艺术家，主要从事图像领域的工作。她使用摄影、摄影测量和视频来创造视觉叙事。她的作品的特点是对现实的物质性和虚拟的空灵性之间相互作用的反思，经常与她的图像保持一种忧郁的关系创建。2023年，她创作了毕业作品BACKUP系列，这个是她的装置作品，也是她的第一本摄影作品集。
Marie Michalikova, a graduate of the École Nationale Supérieure d'Art et de Design in Nancy, is a multidisciplinary artist primarily working in the field of imagery. She employs photography, photogrammetry, and video to create visual narratives.
Her work reflects on the interplay between the materiality of reality and the ethereal nature of the virtual, often establishing a melancholic relationship with her images. In 2023, she created the BACKUP series as her graduation project, an installation work that also became her first photography book.
Wu Yumo 武⾬墨
武⾬墨（b.1995，内蒙古）是⼀名专注摄影的艺术家。2021年于罗德岛设计学院（Rhode Island School of Design）取得摄影学⼠学位，获得杰出荣誉及T.C.Colley奖⾦，2023年于瑞⼠洛桑艺术⼤学（ECAL）取得摄影硕⼠学位，获得杰出荣誉及Prix La Fonciere奖项。现⽣活和⼯作于柏林与北京。
她的作品重新检视摄影本体，通过对其中元素的调整、⼲扰、突破，展开对摄影中既定概念的不同想象。她提出以精确性的模糊切⼊摄影体系，邀请观者回归单纯的观看状态。
Wu Yumo (b. 1995, Inner Mongolia) is a photography-focused artist. She received her Bachelor of Fine Arts in Photography with distinction and the T.C. Colley Award from the Rhode Island School of Design in 2021, and in 2023, she completed her Master’s in Photography with honors and the Prix La Foncière award from ECAL in Lausanne, Switzerland. She currently lives and works in Berlin and Beijing.
Her work reexamines the essence of photography, challenging established concepts by adjusting, disrupting, and transcending its elements. She introduces the notion of precision in ambiguity within the photographic framework, inviting viewers to return to a state of pure observation.
Zhang Liaoyuan 张辽源
张辽源，1980年生，现工作生活于杭州，1999-2006年就读于中国美术学院版画系和新媒体系，2004年赴法国尼斯美术学院学习交流，毕业后任教于新媒体系和跨媒体学院至今。“能看的方式和所见的形式”是他关注的两个问题，并使用相关的媒介展开他的创作，涉及影像、装置、摄影、绘画、新媒体等多种媒介。作品曾在杭州天目里美术馆、上海民生现代美术馆、上海当代艺术馆、上海比翼艺术中心、北京箭厂空间、想象力学实验室、中央美术学院美术馆、广东美术馆、北京尤伦斯艺术中心、上海西岸艺术中心、法国Le Fresnoy 国立当代艺术工作室、OCAT美术馆（深圳/上海）、东京都写真美术馆、澳大利亚白兔美术馆等机构中展出。
ZHANG Liaoyuan, born in 1980, currently lives and works in Hangzhou. From 1999 to 2006, he studied in the Printmaking and New Media departments at the China Academy of Art and spent a year as an exchange student at the École Nationale Supérieure d'Art in Nice, France, in 2004. After graduating, he began teaching in the New Media and Intermedia Arts departments, where he continues to work today.
ZHANG’s work centers on two main questions: "ways of seeing" and "the forms of the visible." He explores these concepts through a variety of media, including video, installation, photography, painting, and new media.
His work has been exhibited at venues such as Tmall Art Museum in Hangzhou, Minsheng Art Museum in Shanghai, MOCA Shanghai, BizArt Center in Shanghai, Arrow Factory in Beijing, Imagination Mechanics Lab, Central Academy of Fine Arts Museum, Guangdong Museum of Art, UCCA in Beijing, West Bund Art Center in Shanghai, Le Fresnoy – National Studio for Contemporary Arts in France, OCAT Museums (Shenzhen and Shanghai), the Tokyo Photographic Art Museum, and the White Rabbit Gallery in Australia.
艺仓水岸·地图指引
MAM River Bank ·Map Introduction
