OCAT Youth Project
Exhibition Hall A,OCAT Shenzhen
Wang Changcun: The Sensation of Logic
Curated by Lu Leiping
Zhu Changquan: History of An Action
Curated by Tao Hanchen
“Electronic Brain Art” is Wang Changcun’s self-definition of his own works. At first, the term “Electronic Brain” immediately reminds one of the images of an electronic chip implanted in the human brains of Japanese manga artist Shirow Masamune’s Ghost in the Shell. Wang Changcun’s “Electronic Brain Art” does not necessarily manifest in robotic forms. On the surface, his way of representation is no different from that of conventional art forms—two-dimensional digital images, electronic music, video, or a group of video installations. The “Electronic Brain” here is related to his creative method and thinking at the core. In other words, it exists in the internal logic of his practice.
Were the impetus to invent photography for the 19th Century French inventors Joseph Nicéphore Niépce, Louis-Jacques-Mandé Daguerre and British scientist William Henry Fox Talbot grounded in the interest of a device that can represent the wordily landscapes without using brush and paint, for computer engineering artists such as Wang Changcun, this device would be the computer. He uses programming software such as Python, Max and others to set the logic and pattern for generating his works, and processes the sound, image and other materials he collects, categorizes, collages and transforms through formulas and algorithms in order to construct an audio-visual space that integrates natural life with digital technology. The reason why it is named “Electronic Brain Art” instead of “programming art” is to emphasize on the limited proactivity and agency of an engineering artist’s writing of artistic programming. “Electronic Brain” generates a significant degree of impromptu and incidental artworks that offer pleasant surprises.
The Sensation of Logic, exhibited in a cloister-style space, presents more than a dozen works spanning from experimental music, sound installation, interactive video installation, and digital images Wang Changcun has produced since 2009. Being one of the Chinese pioneers in experimental music and computer-programmed digital composition, his installations and video works were once the games for the artist's own entertainment. Wang Changcun chose five publicly released albums of electronic music, and like the index of the exhibition, scattered them at different corners alluding to his other installations and videos. These works with seemingly disparate forms of representation are threaded together by an intriguing internal logic, and at the same time reveal his geeky sense of humor and lyricism. The title of the exhibition draws its inspiration from the French philosopher Gilles Deleuze’s book, Francis Bacon: The Logic of Sensation. Logic can be explained, while sensation may not be defined definitively. Therefore, The Sensation of Logic is open-ended.
History of an Action presents young media artist Zhu Changquan’s staged works, the essential components of the artist’s practice since 2014. This subject also resonates with his new works. Zhu Changquan adopts video art as his primary language of expression to engage in artistic activities that analyze everyday life. For Zhu’s first art museum solo exhibition travelling in OCAT Museums, instead of presenting an art historical summary of art practice, it aims to showcase the methodologies and approaches the artist has adopted in shaping the history of his artistic action that defines the artist’s practice over the last six years.
"All-factor Image Narrative” marks the central notion of Zhu Changquan's video works. Everyday customs conditions the general public to incline for certain kinds of visual phenomenon. However, the formation of an event does not necessarily follow a linear progression. Instead, what is often overlooked as useless that is concealed behind its own assumption plays a pivotal role in solving the problem. Zhu Changquan tries to free these “useless things” (all factors) from the myth of conventional experience, so they could be restored to serve the purposes of authentic narration.
Zhu Changquan’s initial exploration on the notion of “All-factor Narrative” can be found in Blow-up (2014) and Transplant (2015). These two works also marked the beginning of his independent artistic practice. Blow-up departs from the artist's deepest fear, for which Zhu sets a multi-dimensional narrative structure: fear dictates people's behavior, life, and personality. The fear can also be provoked and blown up at a point in time or by an incident and then brings one into a state of near madness. Transplant reshuffles and rebuilds the logic of language, adopting means similar to mathematical algorithms that deduce narration into an expression without representing any ideologies.
Since 2015, Zhu Changquan's furthered his practice in video art by expanding on multiple layers of experiments. He collected and produced a large quantity of fragmented video clips that are related to everyday life – for instance, Body without Organs (2015). Using collage, montage, and other narrative means, these raw footages have thereon appeared repeatedly in Zhu Changquan's works. Head without Brain (2016-2017) draws inspiration from two historical periods (700 years and 30 years) in the progress of Chinese history and addresses the relationship between the physical space that the body occupies and the virtual space information transmits. With the development of the Internet and media technology, the boundary of life expands from reality to virtual reality. Under the state of being mindless, the boundary between these two becomes increasingly ambiguous: as the virtual expands into the parameter of everyday reality, and becomes the tool to verify the truth, it would be closer to it than reality itself. Jump from the Past (2017) further enacts and iterates the aspect of memory from Head without Brain: memory is an enactment and imagination of images and texts. As information that exists eternally, it is grained inour bodies and then conveyed to the world through actions. His most recent video installation, History of an Action (2018) focuses on the issue of incident in addition to continuing to address the notions of memory, reality, virtual reality and etc. With Boundary Post – a conversation unit for time and space invented by the artist, many incidents are dismantled into countless authentic actions, and transformed into tangible still life. The three-dimensional abstract still life became the appearance of the incident closest to the truth.
It’s not difficult to discover that, every work in this exhibition is grounded by its internal and independent logic. However, when we undo the boundary of looking at these works, their embedded clues become visible – the overlapping moving images, whispering subtitles, and the color block montage challenging our common ways of viewing, contribute to the concise narrative structure and solid integrity, as well as the artist’s inquisitions along the progression of his practice. Therefore, the exhibition allows for a relatively open space and exhibition modes for various artistic mediums, in order to facilitate the viewer to visualize the artist’s history of action.
王 长存 (AYRTBH)
电子音乐人、声音艺术家、软件作者，现居上海与杭州。国内实验电子音乐及电脑编程作曲领域的最早探索者之一，以AYRTBH 为名创作跨越多个艺术领域的大量作品。曾在 Sub Rosa、Post-Concrete 等重要国际厂牌发表专辑，作品入选《拦愁山》、《平行宇宙》等专辑。近年着眼于网络艺术与电脑音乐，创作 iOS 软件及声音影像电脑软件装置。2017年于美国厂牌 Detroit Underground 发行IDM 专辑《MTK》。2018年，新专辑《Song of Anon》由北京独立厂牌大福唱片发行。
Wang Changcun (AYRTBH)
Sound Art, Electronic Music, Computer Music, Software and Internet Art Author
Currently based in Hangzhou and Shanghai, China, Wang Changcun (AYRTBH) is a soundartist, electronic musician and computer bug programmer. As one of the Chinese pioneersin experimental music and computer-programmed digital composition, Wang Changcun hascreated vast digital and cross-media artworks under the name of “AYRTBH”. Wang Changcungot his solo CD The Mountain Swallowing Sadness published by the Belgian label Sub Rosa,and Parallel Universe by the American label Post-Concrete. He recently focuses on the InternetArt and Computer Music, and starts to make the iOS software and computer-programmedimages. AYRTBH’s 2017 album MTK was released by American label Detroit Underground. In2018, Song of Anon, the latest album is released by Beijing’s independent label D-Force.
(b. 1989, Shandong Province, China) graduated from the ExperimentalImage Studio, School of Inter-media Art, at China Art Academy in 2014. Zhu Changquancurrently lives and works in Hangzhou and Shanghai.
Zhu Changquan engages in artistic activities through analyzing everyday life. He attempts toreveal the rule of daily life based on a variety of potential factors which influence human’s dailybehavior. He believes that the effectiveness of the image roots in its potential power rather thanits general meanings. The potential power enables the viewers to release their accumulatedexperience, and get involved in the giant social machinery more consciously. From ZhuChangquan’s perspective, the development of things never follows a single-linear narrative,thus "All-factor Narrative" marks the central notion of his video works. Zhu Changquan buildsa new narrative relation between intangible image and tangible daily objects by means ofdifferent languages, such as drama, animation, installation, painting, and etc.
陆蕾平，毕业于中国美术学院、东华大学，中国美术学院人文艺术学院博士。自 2000年起居住于上海，从事艺术评论与展览策划。曾任职于中国美术学院、上海比翼艺术中心、上海香格纳画廊、西泠拍卖有限公司。2004 年起任教于上海师范大学至今，副教授;上海小美术馆 SAM 空间合伙人。其最近策划的主要展览有:“城市的声影――转媒体艺术展暨德国奥伯豪森短片电影节 2017 中国”，武汉虹桥天地，2017;“声影·致敬贝多芬艺术展”，上海壹号美术馆，2017;“在场――青年艺术家邀请展”，中国美术学院，2018;“上海设计周紫色馆”，上海展览中心，2018。
工作和生活于上海。2012 年硕士毕业于中国美术学院当代艺术策划专业。2013 年至 2016 年，任职于 OCAT 上海馆展览部，参与策划馆内相关展览和活动。2017 年起，担任 OCAT上海馆执行总监。
graduated from China Academy of Art and Donghua University. She holds a PhDdegree from School of Arts and Humanities of China Academy of Art. Since 2000, she hasbeen living in Shanghai, dividing her time between art criticism and curating exhibitions. Overthe years, she worked in China Academy of Art, Shanghai BizART Art Center, ShanghARTGallery (Shanghai) and Xilingyinshe Auction House. She is associate professor of ShanghaiNormal University where she has been teaching from 2004. Also she is the co-founder ofShanghai Small Art Museum (SAM). Recently she has curated The Sound and Image of theCity - Transmedia Art Exhibition and International Short Film Festival Oberhausen 2017 China,Hongqiaotiandi, Wuhan, 2017; Sound and Shadow - An Art Exhibition Dedicated to Beethoven,Shanghai No.1 Art Museum, 2017; Presence: Young Artist Exhibition, China Academy of Art,2018; Purple Pavilion of Shanghai Design Week, Shanghai Exhibition Centre, 2018.
was born in Hangzhou in 1987, lives and works in Shanghai currently. He received his MA in contemporary art curatorial study at China Academy of Art, in 2012. From 2013 to2016 he worked at OCAT Shanghai exhibition department, organized and participated in curating exhibitions. From 2017, he works as the assistant director in OCAT Shanghai.
开放时间：10：00 - 17：30（逢周一闭馆）
Facebook：OCT Contemporary Art Terminal - OCAT Shenzhen