动态 | 郑源、沈莘、苗颖五月新展及活动

5月，没顶画廊合作艺术家郑源作品参加德国 “奥伯豪森国际短片电影节” ；沈莘最新表演作品在阿姆斯特丹参加群展 “LANDSCAPE WITH BEAR” ；苗颖的作品在马耳他参加群展 “NON-ALIGNED NETWORKS” ，在德国参加群展 “ARTISTIC INTELLIGENCE”，在美国参加群展 “THE ART HAPPENS HERE: NET ART'S ARCHIVAL POETICS” 。

“奥伯豪森国际短片电影节”，奥伯豪森，德国 

奥伯豪森国际短片电影节创立于1954年，是国际上最大的国际短片电影节之一。奥伯豪森展映的影片在形式和类型上的多样性绝无仅有。同时，奥伯豪森也以其开放、实验与艺术精神著称。

Each year the world's longest standing international short film competition received around 5,000 entries from about 90 countries - short films as well as videos, which have been admitted to the competition on an equal footing with films since 1993. Since 2009 all entries to the competition must be german premieres. 

郑源《梦中的投递》2018，9'23''，单通道4k高清视频，(4096?×?1728)，宽高比2.35:1，彩色，有声

Zheng Yuan, Dream Delivery, 2018, 9'23'', Single-Channel 4K Video (4096?×?1728), 2.35:1, Color, Sound

一位已疲乏到极点的外卖小哥瘫倒在城市中街边的公园长椅上，熟睡了。而在被长镜头所虚构出的梦境中，这些个体的劳动者被聚集在荒漠中的一处山寨主题公园里: 奔波的外卖骑士在这里化作成为静止的“塑像”，形成了与他们日夜疲于追求速度与效率的反差。这些原本离散的当代劳动者的集体出场，指向了中国经济奇迹的反?：在技术与资本共谋下而愈发同质化的城市生活，及其所造成的新型劳动与社会剥削——永远不能减速的移动和永远无法停止的劳动。在Jonathan Crary的《24/7》中，睡眠在当代资本主义社会中被形容成成一种稀缺的资源，而作为全球资本主义前线的中国，睡眠成为了这些“移动者”所无法承受的风险。在超现实却又极端写实的梦境中，艺术家试图去记录下这自身所处时代的倦怠与焦虑——在现实中一直移动着的人，在梦里应该一动不动，在现实中从未被记住的脸，在梦中应该被给予特写。

An exhausted deliveryman lies on a park bench, deeply asleep. In a dream constructed by a long shot, he finds himself in a Shanzhai theme park with his fellows, who all become still “statues”. As opposed to their everyday exhaustion in the pursuit of speed and efficiency, the presence of these contemporary labors shows the opposed side to China’s delirious economic progress: a further homogeneous urban life and sophisticated social exploitation, a constant motion and labor generated by a huge amount of capital and technology. A man continuously moving in reality remains motionless in his dream. The close-ups of his face temporarily conceal the fact that this nameless man is hardly remembered in reality.

正在展出：

“LANDSCAPTE WITH BEAR”，阿姆斯特丹，荷兰 

展览研究了De Appel的藏品（非预期的），这些累积的物件包括 - 艺术品、道具、剩余物和不明物品 - 它们存在于机构广博的档案里。在De Appel的展览上，单一连续的排列模糊了收藏品和陈列展示之间的界线。从收集实践是知识生产制度的一部分这一命题出发，该项目提出这样一个问题：从零散、不确定和不稳定中可以生什么样的知识？

The exhibition investigates what has come to be known as De Appel’s Collection (Unintended), an accumulation of objects – artworks, props, leftovers, and unidentified materials – that lies within the institution’s extensive Archive. In the exhibition on view at De Appel, a single continuous topography blurs the line between the collection pieces and display. Building from the proposition that practices of collecting are part of regimes of knowledge production, this project asks, what kinds of knowledge can emerge from the fragmentary, the uncertain and the unstable?

沈莘《合成类型》事件、表演，阿姆斯特丹市立博物馆

Shen Xin, Synthetic Types, Event, performance, Stedelijk Museum 

2019.05.26

艺术家沈莘通过语言的人工存在来创造抽象的包容性和异质性。展览项目的专业人士涉及了当代艺术，策展，艺术史，建筑，设计和考古等不同领域，沈莘在该项目的合作框架下，创作出一项新的表演作品。“合成类型”（Synthetic Types）将在De Appel的档案馆进行，并将在阿姆斯特丹市立博物馆的礼堂进行直播。作品质疑了途径和纳入是如何通过机构的收藏协议被创建和限制的。两位表演者使用日语、韩语和俄语，通过与听不见和看不见的对象交谈与非预期的藏品进行互动，探索关于对象和身份的知识是如何产生的。

Artist Shen Xin works through the artificial presence of language to create abstractions of inclusivity and foreignness. Arising from the collaborative framework of this project, which involves professionals from fields spanning contemporary art, curating, art history, architecture, design and archaeology, Shen Xin has developed a new performance work. Synthetic Types will take place at De Appel’s Archive, and will be streamed live into the Auditorium of the Stedelijk Museum. This work questions how access and inclusion are created or restricted through the institutional protocols of collecting. Using Japanese, Korean and Russian language, two performers interact with the unintended collection through conversations with subjects who are inaudible and out of sight, to explore how knowledge around objects and identities is produced.

即将展出：

“NON-ALIGNED NETWORKS”，瓦莱塔，马耳他 

展览探讨了互联网作为政治空间的复杂性以及在线管理信息的动态性。考虑到信息技术有助于推进我们今天面临的一些重大挑战 - 如言论自由的恶化导致民主基础的削弱; 公众的分离促进了民粹主义运动和威权主义; 以及大规模的资产证券化 - 这些都迫切需要创造新的切入点和路径。

This exhibition explores the complexities of the Internet as a political space and the dynamics of governing information online. Considering that information technologies have become instrumental in advancing some of the greatest challenges we are facing today - the deterioration of freedom of expression leading to the weakening of democratic foundations; the dissociation of publics furthering populist movements and authoritarianism; as well as large scale securitisation – there is an urgent need to create new points of entry and accessibility.

苗颖《Chinternet Plus》2017，高清录像 02’25”、高清录像 10’49”、墙纸

Miao Ying, Chinternet Plus, 2017, HD video 02’25”, HD Video 10’49”, Wallpaper

苗颖在2016年的项目Chinternet Plus是她所描述的“假冒意识形态”的正式亮相，这是对互联网+最初战略的拙劣模仿。这项工作本质上是如何给一个空洞的想法打上烙印的指南，它表明，在政治方针传播这一方面，媒体可以很容易地成为信息传播的主流。

Miao’s project Chinternet Plus (2016) is what she describes as the official unveiling of a “counterfeit ideology,” a parodic take on the original strategy of Internet Plus. The work is essentially a guide for how to brand an insubstantial idea, suggesting that, in the case of political branding in particular, media can easily stand in for the message.

正在展出：

“ARTISTIC INTELLIGENCE”，汉诺威，德国 

展览“艺术智能”（Artistic Intelligence）探讨了艺术家在艺术实践中利用人工智能的最新技术可能性。虽然人工神经网络和能够实现“机器学习”的算法早已在工业和商业中建立起来，并主导着日常生活，但这些技术的相关优势和便利性却被审查和监管形式所抵消。

Kunstverein Hannover’s exhibition “Artistic Intelligence” explores the extent to which artists make use of the latest technical possibilities of artificial intelligence in their artistic practice. While artificial neural networks and the algorithmic processes that enable “machine learning” have long been established in industry and business, dominating everyday human life, the associated advantages and conveniences of these technologies are counterbalanced by forms of censorship and surveillance.

苗颖《景观.gif》2013 gif装置

Miao Ying, Landscape.gif, 2013, Gif installation

两张传统的中式竹?躺椅背靠背摆放在展厅?，椅?上?各有?条毛毯。在这两个躺椅上是各种不同尺寸的淘宝销量第一的床上平板智能电脑懒?支架，支架上架的是由“真假”ipad组成的智能平板，有ipad, Tpad, 也有山寨ipad。在赞椅上面还有?个粉?的鸡?形状的有花边的抱枕，赞椅的前?有?块?前毯。在椅?的周围还布满了揉成废纸的打有金色“赞”字的“赞” 纸，与缠绕的平板充电延长线?起凌乱的堆积在一起。

The work Landscape.gif situates two Chinese bamboo reclining chairs configured back to back. Various sized touchpad devices are mounted to the chairs. The devices are mixed in a collection of various touch pads, including iPads and Chinese iPad style tablets, like “T-Pads”. In front if the Zan chair there is a welcome mat with “Soon to have Apple”, written on it, which references Chinese New Year posters with slogans such as, “Soon to be rich” written on them.

正在展出：

“THE ART HAPPENS HERE: NET ART'S ARCHIVAL POETICS”，纽约，美国 

“艺术在这里发生：网络艺术的档案诗学” 将展出网络艺术进程中的十六件作品，展示形式多样 ，包括 - 网站，软件，雕塑，图形，书籍和商品 - 互联网在这个展览空间被视为社会进程，基础设施和生活体验。

“The Art Happens Here: Net Art’s Archival Poetics” features sixteen works from throughout net art history, showcasing a wide range of forms - websites, software, sculpture, graphics, books, and merchandise - while offering a space for considering the internet as social process, material infrastructure, and lived experience.

苗颖《盲点》2007 艺术家书，摄影：Alex Lau 

Miao Ying, Blind Spot-words censored by google.cn, artist book, 2007, photo by Alex Lau

苗颖花了三个月，将一本中文字典里的字词逐一输入谷歌中国网站，并标记下那些被屏蔽的字词，从而做成一本敏感词典，这本耗费大量劳力的实体书题为《 盲点 》。

Miao Ying's Blind Spot (2007) is an 1869-page Mandarin dictionary that has been manually annotated to indicate 2,000 search terms that were censored in China at the time. To make the list, Miao took on the labor-intensive task of searching every word on google.cn. If the search results returned with “According to local laws, some search results are not showing,” in the bottom of the page, Miao would erase the word with white tape. Blind Spot (2007) is a meditation on the conditions of the Chinese internet, particularly on the experience of the country's heavy censorship. The work also comments on the human labor required for those who maintain the apparatus of regulatory state control, and of those subject to it.

没顶画廊成立于2014年，由以生产艺术创造力为核心、致力于探索当代文化无限可能的没顶公司创办。没顶画廊以推广高质量的当代艺术家和活动为己任，推动当代文化的发展与交流。

没顶画廊合作艺术家包括：陈冷、陈文波、陈英、丁力、艾略特 ? 多德（Elliot Dodd）、冯梦波、龚剑、何岸、李汉威、刘成瑞、刘娃、陆博宇、陆平原、苗颖、莫少龙、佩恩恩、商亮、沈莘、UMA、王思顺、王新一、夏云飞、徐大卫、徐震?、杨深、张联、郑源、朱昱。

MadeIn Gallery was founded in 2014, by MadeIn Company, a contemporary art creation company, focused on the production of creativity and devoted to the research of contemporary culture’s infinite possibilities. The gallery is dedicated to the promotion of talented international artists, holding high quality art events and exhibitions, with an accent on contemporary culture development and communication.

The gallery is in collaboration with the following artists: Chen Leng, Chen Wenbo, Chen Ying, Ding Li, Elliot Dodd, Feng Mengbo, Gong Jian, He An, Li Hanwei, Liu Chengrui, Liu Wa, Lu Boyu, Lu Pingyuan, Miao Ying, Mo Shaolong, Payne Zhu, Shang Liang, Shen Xin, UMA, Wang Sishun, Wang Newone, Xia Yunfei, Xu Dawei, XU ZHEN?, Yang Shen, Zhang Lian, Zheng Yuan, Zhu Yu.

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