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Marc Lafia 马克·拉菲亚 @Whitney Museum of American Art 惠特妮美国艺术馆展

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“可程序化的：艺术规则，编码和编舞” 1965-2018

Programmed: Rules, Codes, and Choreographies in Art, 1965–2018

展期/ Duration: Sep 28, 2018–Apr 14, 2019

组织人/ Organised by:

Christiane Paul, 克里斯蒂安娜·保罗 Adjunct Curator of Digital Art, 电子艺术助理策展人 and

Carol Mancusi-Ungaro 卡罗尔·曼崔斯乌佳罗, Melva Bucksbaum 梅尔瓦·布克思班姆 Associate Director for Conservation and Research 研究与对话副总监, with Clémence White, curatorial assistant 策展助理

BANK 荣幸宣布Marc Lafia 马克·拉菲亚将参展惠特妮美国艺术馆的新展，可程序化的：1965年至1818年的艺术规则，编码和编舞，该展览将于2018年9月28日开幕，展期至2019年4月14日。该展览建立了基于指令的艺术作品之间的联系，涵盖了五十多年的概念，视频和计算艺术。展览中的各个部分都是使用说明，规则和代码进行“编程”的，但它们也解决了编程在其创作中的使用问题。该展览将两个艺术探索联系在一起：第一部分将该计划作为指示，规则和算法进行审查，重点是概念艺术实践，并强调思想作为艺术背后的驱动力;第二条线使用指令和算法来操纵电视节目，其装置和信号或图像序列。

BANK is pleased to announce Marc Lafia's participation in Whitney Museum of American Art's "Programmed: Rules, Codes, and Choreographies in Art, 1965–2018". This exhibition will run from Sep 28, 2018–Apr 14, 2019 and establishes connections between works of art based on instructions, spanning over fifty years of conceptual, video, and computational art.The pieces in the exhibition are all “programmed” using instructions, sets of rules, and code, but they also address the use of programming in their creation. The exhibition links two strands of artistic exploration: the first examines the program as instructions, rules, and algorithms with a focus on conceptual art practices and their emphasis on ideas as the driving force behind the art; the second strand engages with the use of instructions and algorithms to manipulate the TV program, its apparatus, and signals or image sequences.

展览以惠特尼的系列作品为特色，回顾了计算艺术的前身，并展示了早期作品中所提出的思想是如何在当代艺术实践中演变而来的。在我们的世界越来越受自动化系统驱动的时代，程序化追踪艺术中的规则和指令如何响应并被技术所塑造，从而导致我们的图像文化发生深刻变化。

Featuring works drawn from the Whitney’s collection, Programmed looks back at predecessors of computational art and shows how the ideas addressed in those earlier works have evolved in contemporary artistic practices. At a time when our world is increasingly driven by automated systems, Programmed traces how rules and instructions in art have both responded to and been shaped by technologies, resulting in profound changes to our image culture.

展出作品 / EXHIBITING WORKS

在展览栏目信号序列，分辨率：编码的现实中，艺术家通过运用编程，以批判姿态强调、展现社会，文化或政治编码。其中 Marc Lafia 的工作则反映了当局遵循的规则及反抗。

In Signal, Sequence, Resolution:Realities Encoded part in the exhibition, artists use programming to adopt a critical stance by underscoring or exposing social, cultural, or political codes. Marc Lafia’s work reflects on the rules followed by authorities and their resistance.

The Battle of Algiers, 1965 ,Marc Lafia 马克·拉菲亚 @Whitney Museum of American Art 惠特妮美国艺术馆展,Lafia,马克·拉菲亚,美国艺术馆,电影,拉菲亚,编码,马克,阿尔及尔,战役,指令电影《阿尔及尔战役》1965

The Battle of Algiers, 1965

Marc Lafia 和 Fang-Yu Lin 的“阿尔及尔战役”重新组合了1965年意大利导演 Gillo Pontecorvo 的同名电影。最初的电影是阿尔及利亚民族主义斗争的重演，最终导致1962年从法国独立。民族主义者的成功归功于他们的组织：自组织细胞的金字塔结构。 Lafia 和 Lin 以一种基于细胞的结构“重新排列”了这部电影，其中法国权威和阿尔及利亚民族主义的细胞由电影中的剧照代表，并根据不同的规则集移动。当不同阵营的小区相交时，它们会根据系统规则触发显示每一方战术的视频单元（如电影中所示）。阿尔及尔战役实际上是程序化的，但它也涉及殖民主义，民族主义和抵抗的文化和政治纲领。

电影《阿尔及尔战役》1965 ,Marc Lafia 马克·拉菲亚 @Whitney Museum of American Art 惠特妮美国艺术馆展,Lafia,马克·拉菲亚,美国艺术馆,电影,拉菲亚,编码,马克,阿尔及尔,战役,指令

电影《阿尔及尔战役》1965

The Battle of Algiers, 1965

Marc Lafia and Fang-Yu Lin’s The Battle of Algiers recomposes scenes from the 1965 film of the same name by Italian director Gillo Pontecorvo. The original film is a reenactment of the Algerian nationalist struggle that ultimately led to independence from France in 1962. The nationalists’ success has been attributed to their organization: a pyramidal structure of self-organized cells. Lafia and Lin “rearranged” the film along a cellbased structure, in which French Authority and Algerian Nationalist cells are represented by stills from the film and move according to different rule sets. When cells of different camps intersect, they trigger video cells displaying each side’s tactics (as depicted in the film) according to the rules of the system. The Battle of Algiers is literally programmed, but it also engages with cultural and political programs of colonialism, nationalism, and resistance.

Marc Lafia(b. 1955) & Fang-Yu Lin (b. 1973), T

Marc Lafia(b. 1955) & Fang-Yu Lin (b. 1973), The Battle of Algiers, 2006 and 2018. Mac app. Co-commissioned by the Whitney Museum of American Art and Tate Online AP.2006.4

关于艺术家 / ABOUT THE ARTIST

马克·拉菲亚是一位美国艺术家和电影制作人，他的作品随着网络文化而出现，因为它改变了图像的本质和文化对象的流通。作为“后互联网时代”的早期创新者，他在强迫性的游戏，版画，电影和装置中经常使用它来进行精辟和幽默，以重新审视艺术及其作为欣喜若狂的神器的历史。他曾在沃克艺术中心，惠特尼美国艺术博物馆，泰特在线，ZKM，蓬皮杜艺术中心，文集电影档案馆，鹿特丹国际电影节，上海民生艺术博物馆，2014年深圳雕塑双年展等展出。今年秋天再次来到惠特尼。他曾在斯坦福大学，旧金山艺术学院，帕萨迪纳艺术中心设计学院，普瑞特学院和哥伦比亚大学任教。

Marc Lafia 马克·拉菲亚 @Whitney Museum of American Art 惠特妮美国艺术馆展,Lafia,马克·拉菲亚,美国艺术馆,电影,拉菲亚,编码,马克,阿尔及尔,战役,指令

Marc Lafia b.1965

Marc Lafia is an American artist and filmmaker whose work emerges with network culture as it changes the nature of the image and the circulation of cultural objects. An early innovator in the “post-internet,” he turned to it often incisively and humorously in his computational games, prints, films and installations to reexamine art and its history as an ecstatic artifact. He has been exhibited at the Walker Art Center, the Whitney Museum of American Art, the Tate Online, the ZKM, the Centre Pompidou, Anthology Film Archives, International Film Festival Rotterdam, The Minsheng Museum of Art in Shanghai, the Shenzhen Sculpture Biennale 2014 and this fall at the Whitney again. He has taught at Stanford University, the San Francisco Art Institute, Art Center College of Design in Pasadena, Pratt Institute and Columbia University.

最新出版作品 / RECENT BOOKS

在过去十年中，马克·拉菲亚同时作为一名艺术家和电影制作人都非常活跃。在他的两本书《图像照片》和《日常影像》中，他说明了他对于图像的看法和对电影介质的熟悉，对日常生活的熟悉，电影和摄影。在书中所有事物和个人都已经被记录和正在记录中。拉菲亚对网络体制中的生活，瞬时图像传递，表演社会中的生活进行了对自己的喜爱和自我叙述的描述，向我们展示了一种与图像和记录的新关系的社会结构。多年来，在好莱坞和硅谷，在新旧媒体的核心，他的网络艺术作品在20世纪90年代后期开始在博物馆界出现。他对出现，非线性和永久存档的兴趣，都是计算所特有的，现在转变为社交媒体产生的新的社会形象和人际关系。拉菲亚也许是我们的第一部电影，他的作品不仅考察了网络状况下的生活，还记录和叙述了我们如何生活，并在这样的条件下讲述我们自己的故事。

Everyday Cinema,Marc Lafia 马克·拉菲亚 @Whitney Museum of American Art 惠特妮美国艺术馆展,Lafia,马克·拉菲亚,美国艺术馆,电影,拉菲亚,编码,马克,阿尔及尔,战役,指令

Everyday Cinema

Over the last decade Marc Lafia has worked very much under the radar as an artist and filmmaker. In his two books, Image Photograph and Everyday Cinema, he gives account of his ideas of images and a cinema of intimacy, of the everyday, a cinema and photography wherein everything and everyone is already recorded and recording. Lafia’s accounting of life in the regime of the network, of instantaneous picture transmission, of a performative society putting on the spectacle of themselves to be liked and self-narrated, shows us a social fabric in a new relation to the image and recording. After years in Hollywood and Silicon Valley, in the heart of the old and new media, his works of net art began to emerge in the museum world in the late 1990s. His interest in emergence, the non-linear, and the perpetual archive, all unique to computation, now moves into the new social figuration and interpersonal relations resulting from social media. Lafia is perhaps our first cineaste whose work not only examines life in the condition of the network but records and narrates how we live and tell stories of our selves in a such a condition.

《日常影像》介绍了马克·拉菲亚的电影（八个功能和众多短片，计算性的和装置性的电影）。在他的许多电影中（包括爆炸俄狄浦斯;爱与艺术;形象的自白;日常生活的革命;天堂;嗨，你是如何游客）拉菲亚探究构建图像是什么，伪造系统表达，如何看待，和代表我们自己。他的作品被定义为一个电影的出现，一个事件的电影，其中无处不在的录音行为创造了新的东西。

Everyday Cinema presents the films (eight features and numerous shorts, computational, and installation films) of Marc Lafia. In his many films (including Exploding Oedipus; Love and Art; Confessions of an Image; Revolution of Everyday Life; Paradise; Hi, How Are You Guest 10497; and 27) Lafia probes what it is to construct an image, to forge systems of representation, to see and represent ourselves. His work has been defined as a cinema of emergence, a cinema of the event, in which the very act of ubiquitous recording creates something new.