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[ OCAT深圳馆 | 新展预告 ] 王长存：逻辑的感觉 / 朱昶全：一个动作的历史

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OCAT青年计划

OCAT Youth Project

2019.06.06 - 08.18

Exhibition Hall A,OCAT Shenzhen

< OCAT深圳馆 - 展厅A >

王长存：逻辑的感觉

Wang Changcun: The Sensation of Logic

策展人：陆蕾平

Curated by Lu Leiping

朱昶全：一个动作的历史

Zhu Changquan: History of An Action

策展人：陶寒辰

Curated by Tao Hanchen

“电子脑艺术”,是王长存对其作品的自我定义。乍听“电子脑”一词，不难联想到日本漫画家士郎正宗的科幻漫画《攻壳机动队》中，那些被植入芯片的人脑或义脑的画面。王长存的“电子脑艺术”，并非是以机器人形态出现的。从表面上看，其表现方式与常规的艺术形式并无二致：数字输出的二维图像、电子音乐、视频、或者一组影音装置……这里的“电子脑”，与其创作方式及精神内核有关，或者说是存在于其创作的内在逻辑之中。

如果说，200年前法国人尼埃普斯、达盖尔，英国人塔尔博特等科学家们发明摄影术，是出于对一种不用画笔和颜料就能自动再现世界景色“装置”的兴趣；而对王长存等从事计算机艺术的工程师们来说，这样的“装置”即电脑。他利用Python、Max等编程软件，制定出作品生成的逻辑规律，再通过公式与算法对声音、图像等素材进行采样、分化、拼贴与变化，从而构建出各种混淆自然生命与数码科技的声音与视觉空间。而之所以称其为“电子脑艺术”，而非“编程艺术”，则是为了更强调工程师艺术家所写艺术程序的有限自主性与能动性。“电子脑艺术”的呈现效果总是有太多的即兴与偶然性，这也是最为惊艳之处。

“逻辑的感觉”在一个回廊式的展厅空间里，集中展现了王长存从2009年至今的实验音乐、声音装置、互动影像装置、数码图像等十余件作品。作为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，其可视化的装置与影像类作品倒更像是艺术家自娱自乐的游戏。王长存精选了其公开发行专辑中的五张电子音乐专辑，如同展览的索引，散布在不同角落，引申出装置与影像。这些外在表现形式完全不同的作品之间存在着有趣的内在逻辑性，并产生出一种“极客”（geek）式的幽默感和诗意。展览的标题，受法国哲学家吉尔·德勒兹的著作《弗兰西斯·培根：感觉的逻辑》启发。逻辑可被言说，感觉却无法确切界定。最终，“逻辑的感觉”是开放式的。

陆蕾平

“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.

Lu Leiping

“一个动作的历史”，是青年媒体艺术家朱昶全的阶段性艺术工作的展示，呈现了他从2014年至今艺术创作的基本脉络，同时呼应其最新作品的主题。朱昶全以影像作为语言，从分析日常生活来介入艺术活动。作为朱昶全在美术馆的首次个展（OCAT馆群内巡展），这不是一次“艺术史”式的概括，而是对他成为独立艺术家六年以来“动作的历史”的方法论展现。

“全因素影像叙事”是朱昶全影像创作的核心概念。日常生活的惯性将大众引导至某种被普遍接受的结果或现象，但任何事件的过程都绝非单线性发展，隐藏在既定结论背后被忽视的“无用之物”也能成为解决问题的关键。朱昶全试图把这些“无用之物”（全因素）从陈旧的经验迷雾中解放出来，回归纯粹叙事的本身。

朱昶全对“全因素”概念最初的探索痕迹，可以在《放大》（2014）与《移植》（2015）中找寻到，这两件作品也是他独立创作的起点。《放大》从艺术家内心深层的恐惧出发，建立起一个多角度的叙事结构：恐惧支配着人的行为、生活和性格，会因某时间节点或事件被突然触发和放大，形成一种近似于“疯癫”的状态。《移植》通过数学公式般的计算，将语言逻辑反复打散后重新建立，推理出一种消解了叙事功能、不带任何意识形态的表达方式。

2015年后，朱昶全对于影像创作进行了更多层次的实验，搜集并制作了大量与日常生活相关的碎片化影像“小品”——如《没有器官的身体》（2015）。通过拼贴、嵌入、叙事剪辑等方法，这些影像素材反复出现在随后的作品中。《有头无脑》（2016-2017）以影响中国历史进程中的两段时间跨度（700年和30年）为引子，对寄放身体的现实空间和信息占据的虚拟空间的关系展开讨论。伴随互联网和媒体技术的发展，生活的边界从“现实”向“虚拟”扩张，人类被动处于“有头无脑”的混沌状态，并在界限日渐模糊的两者间完成了身份互换：当“虚拟”通过扩张现实生活的维度，成为证明“真实”的工具时，它将比“现实”更接近真实。《过去直奔而来》（2017）进一步对《有头无脑》中关于“记忆”的部分进行推演和阐释：“记忆”是对图像和文本的演绎和想象，如信息一般永久存在，刻录在身体里，以动作传达给外界。最新影像装置作品《一个动作的历史》（2018）除了延续前作对于记忆、现实、虚拟等概念的关注外，将问题焦点对准了“事件”。通过“界桩”——由艺术家创造出来的时空换算单位——诸多“事件”被拆解成无数纯粹的动作，动作再转化成可触摸的静物。这些立体而抽象的静物成为了“事件”最接近真实的表征。

不难发现，展览中的每一件作品都存在着独立的内在逻辑。但当我们打破这些作品的观看界限时，隐埋在里面的线索又是如此的清晰可见——重复叠加的影像片段、暗语般的字幕、突破观看习惯的圆形色块，无一不提示着作品之间严密的叙事结构和不可分割的整体性，以及艺术家创作过程中不断推进的问题意识。因此，展览保持了相对开放的空间和差异化的媒介展示方式，方便观众更视觉化地了解艺术家“动作的历史”。

陶寒辰

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.

Tao Hanchen

< 关于艺术家 >

About the Artist

王长存 (AYRTBH)

声音艺术、电子音乐、电脑音乐、软件与网络艺术作者

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。

朱昶全

1989年出生于山东。2014年毕业于中国美术学院跨媒体艺术学院，现生活工作于杭州和上海。朱昶全从分析人的日常生活来介入艺术活动。通过分析影响人日常行为的种种潜在因素，揭示出当下日常生活的规律。影像的效力并非源于自身承载的意义，而是缘于它们的潜在力量，释放观者自身积累的经验，并能在巨大的社会机器运作之中更加自觉。朱昶全认为，事情的发展绝非单线性的 ,“全因素影像叙事”是他对于影像创作理解而形成的核心观念。通过戏剧、动画、装置、绘画等各种形态的语言，朱昶全在影像与现实日常物品间创造了新的叙事关系。

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.

Zhu Changquan

(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.

< 关于策展人 >

About the Curator

陆蕾平

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。

陶寒辰

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。

Lu Leiping

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.

Tao Hanchen

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.

敬请期待