展览时间 Exhibition Period
2020.9.26-2021.1.17

展览地点 Address
尤伦斯当代艺术中心
UCCA Center for Contemporary Art
展览概述 INTRODUCTION
本次展览中的每一件作品均由计算机完成、合作或创造,尽管三者如今已相差无几。“非物质/再物质:计算机艺术简史”展览考察了自20世纪60年代至今,领先艺术家们利用计算机技术进行的艺术实践,呈现该领域的先驱和新生代艺术家是如何殊途同归地从“非物质”走向“再物质”。这一进程反映了他们对于我们正在经历的新人类文明“数字人”的看法。此次展览也旨在证明计算机是一种真实的、具有无限视觉可能性的艺术媒介,不能再片面地将其视为实验性的流派或短暂出现的艺术运动。在此前提下,展览致力于强调计算机艺术的一些特点:计算机艺术如何将艺术作品视作有着无限深度和广度的有机创造,又是如何将观众置于艺术体验的核心。最重要的是,计算机艺术让我们有机会看到在高度关联的世界中,艺术家如何面对和思考各种复杂的议题。
“非物质/再物质”展出来自15个国家的30余位艺术家的作品,呈现四代人以计算机技术探索视觉艺术的创造实践谱系。其中最年长的艺术家薇拉·莫尔纳1924年出生于布达佩斯,而最年轻的艺术家刘娃1994年出生于北京。从史前洞穴中的壁画到如今的摄影与录像艺术,亘古不变的事实是艺术家会利用一切现有技术拓宽艺术的可能性。而计算机创造潜力的独特性在于其技术的多重价值:编程不仅是一种技术,也是一种语言。艺术家将这种语言从交流功能中解放出来,使其转化为诗意的载体。在2020年网民规模达到近9亿的中国举办这场展览,可谓是一次意义非凡的宣言:在计算机领域,众多艺术家都投身于由人工智能研究推动的创造性进程中。也许正如本次参展艺术家陆扬所说的那样:“100年前人们用画刷创作,而如今我们有科学与技术。”

Every work in this show was made of, with, or by computers—a distinction that is, as viewers will see, increasingly tenuous. “Immaterial/Re-material” presents a survey of historical and current practices by leading artists who have employed computing technology since the mid-1960s. It shows how pioneers and emerging figures are moving in the same direction, from the immaterial to the re-material. This evolution reflects their visions of the homo digitalis: the new human civilization we are now experiencing. What’s more, this exhibition aims to demonstrate that the computer is a true medium of art, one of infinite visual potential—it is no longer tenable to see it as an experimental school or short-lived art movement. With this premise, the works on display here highlight some of the specificities of computing art: how it envisions artworks of unlimited depth and scope, works akin to organic creations, and how it places the viewer at the heart of the artistic experience. Most importantly, it gives us the opportunity to see how artists think through the complex issues of our hyperconnected world.
“Immaterial/Re-material” brings together some thirty artists from fifteen countries, representing four generations of creative practice—a genealogy of computing research in the visual arts. The eldest, Vera Molnar, was born in Budapest in 1924; the youngest, Liu Wa, was born in Beijing in 1994. It is an enduring truth that artists will use every available technique to expand the possibilities of art—from the caves of prehistory to photography and video art today. What is unique to the computer’s innovative potential is the particular multivalence of this technology: coding isn’t merely a technique, but also a language. These artists have liberated that language from its communicative functions to turn it into a poetic vehicle. To hold this exhibition in China in 2020, home to some 900 million Internet users, is a significant statement: here is a computational terrain where many artists are dedicated to the creative developments made possible by AI research. Perhaps the artist Lu Yang, whose work is featured here, put it best: “A hundred years ago, people used brushes to make art; today, we have science and technology.”
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本次展览由黑阳与秋韵联合策划。
exhibition is curated by Jerome Neutres, in collaboration with Ara Qiu.