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【空间站】技术与艺术 | 前现代与后现代的主体生态

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技术与艺术 | 前现代与后现代的主体生态

Techne and Art: Ecologies of Pre- and Post-modern Subjectivities

开幕 | Opening : 2019.7.6 4:00 PM

日期 | Time：2019.7.6 - 8.4

策展人 | Curator：由宓/You Mi

艺术家 | Artists : 骇人听闻 Hyperbation、John Monteith、Kujiraplanet、Anvar Musrepov、Sina Seifee 、Zamani （收藏/Collection）、凌海鹏/Ling Haipeng、徐丝易/Edie si yi xu、杨鑫/Yang Xin、郑毅强/Zheng Yiqiang

地点 | Venue ：空间站北京市朝阳区酒仙桥路4号798艺术区中一街 | Space Station, NO.4 Jiuxianqiao Rd, 798 Art District, Beijing

开幕工作坊 | 超体：在混合超链接贝都因营地

Workshop-Hyperbody: Hyper Bedouin Tent Remix

7月6日（周六）Saturday 11:00 - 16:00

邀请对虚拟空间感兴趣的玩家，来玩游戏！

体验致幻空间！内有妖蛾子饮料和衍生卡片!

Players who interested in virtual space come and join us! Play games and experience trippy reality!

Wizardly drinks and tokens are available!

NPC（Non-Player Character）：

强家栋 Pete Jiadong Qiang

骇人听闻！Hyperbation！是一系列介于虚拟空间和物理空间之间的“多重现实”建筑实验项目。由英国建筑联盟学院校友强家栋和英国格林尼治大学校友谢明炫发起。项目在于运用从人类最自然和传统的留下记号的方式，如绘画，到多重自由的创造和建立的新媒介方式，重新定义“超游戏化”、“超链接化”和“超本土化”。用一种新型艺术建筑的思维重塑图像空间。在打破传统物理空间与虚拟空间的边界的行为中体验并沉浸在极繁主义的致幻世界。

Hyperbation is a series of multi-reality architectural experiments located between physical and virtual space. It is formed by Pete Jiadong Qiang and Mingxuan Xie as an art duo. The project aims to redefine "hypergamification", "hyperlinking" and "hyperlocalization" by using techniques from the most natural and traditional ways of marking, such as painting, and untrammeled new media ways of creation and establishment. Recreate pictorial space with new architectural onto-epistemology. Experience and immerse in the trippy reality of Maximalism from the behavior of breaking the boundary between traditional physical space and virtual space.

技术与艺术：前现代与后现代的主体生态

文：由宓

在古希腊文化中，艺术、工艺和其他实用的知识系统被归类为技术，而科学知识，如语法、几何、天文学属于认识论。亚里士多德做了这样的区分。在1652年去世后出版的《论绘画》(Trattato della pittura)著作中，列奥纳多·达·芬奇(Leonardo da Vinci)把艺术定义为科学，因此使艺术脱离了技术，脱离了被认为是下俗、卑贱工技或是后来的机械式技艺。有人声称绘画是由心理活动驱动的，与几何和数学有关，这支撑了这种理论。如果说随着现代艺术的出现，艺术从科学的、具象的转向解剖其自身的具象性，那么它是通过逐渐强调创造性的物质、身体性和突现性来实现的。然而，在中东和东方传统中，技术、艺术和科学的纠缠是长期存在的。

Zamani 收藏 / 19世纪晚期的皇家德黑兰

Zamani Collection / Late 19th century Royal Tehran

作品由 Matin Zamani 个人提供

展览汇集了波斯的现代和当代地毯，伊朗、中亚和中国的当代艺术作品，引发了关于形式、思维结构、身体感知和情感能力的对话。这些作品不受任何身份主义制度的限制，揭示了前现代或后现代主体的生态。

Zamani收藏的史诗在游牧民族的具象地毯中被捕获，在它们传播的过程中综合了新的想象力，与Anvar Musrespov的作品碰撞出新的火花。抽象图案亦可被颠倒过来，融合丰富的符码体系和生命结构，这在抽象地毯，郑毅强，凌海鹏和John Monteith的作品中得到体现。徐丝易及杨鑫作品使身体脱颖而出，身体成为制造和被制造的媒介和内容。

骇人听闻 / 超体：再混合超链接贝都因营地

Hyperbation / HyperBody: Hyper Bedouin Tent Remix

Hyberbation虚拟现实作品中的虚拟佛教洞穴通过将其与当代偶像编码并将其插入当代体验经历中来重新构想神圣。由Kujiraplanet设计的基于计算机的魔方游戏在二维和三维空间中展开，唤起地毯制作过程中空间的不断变换和重新定位。最后，Sina Seifee的装置作品受到中东学者JasonBahbak Mohaghegh的作品《叛乱分子，诗人，神秘主义者，宗派主义者的作品：东方后现代主义的四个面具》的启发，从而推想研究了后现代中东地区出现的主体性模式。它在（中）东方后现代主义中出现的非对话，非叙事和流放空间的知识和幻想间游移。

Techne and Art: Ecologies of Pre- and

Post-modern Subjectivities

Curated by You Mi

In ancient Greek culture, art,craftsmanship and other practical forms of knowledge were categorized as techne, whereas scientific knowledgesuch as grammar, geometry, astronomy belonged to episteme. Aristotle made suchdifferentiation. In Trattato dellapittura published posthumously in 1652, Leonardo da Vinci took as task todefine art as science, and so departed from craftmanship, which was regarded asartes vulgares et sordidae, or later the artes mechanicae. This undertaking wassupported by claims that painting was driven by mental activities andassociated with geometry and mathematics. If with the advent of modern art, artmoved away from being scientific and representational so to anatomize its ownrepresentationality, it has done so by gradually emphasizing the material, theembodied and the emergent aspects of creativity. However, in the Middle-Easternand Eastern traditions, the entanglement of techne, art and science sustainsover time.

郑毅强 / 子线和脑线2 / 布面油画 / 180 x 240 cm / 2017

Zheng Yiqiang / Subline and Brain Line 2 /Oil on canvas

180 x 240cm / 2017

The show rounds up modern and contemporarycarpets from Persia and works of contemporary art from Iran, Central Asia andChina, eliciting dialogues on form, structures of thinking, bodily perceptionand affective capacity. Not reducible to any identitarian regimes, the worksreveal pre-modern or postmodern ecologies of subjectivity.

Epics, captured in the pictorial carpets ofthe Zamani Collection, synthesize new imaginations as they and are passed on, creatingnew encounters with, for example, the works of Anvar Musrespov. Abstractpatterns are reversed to incorporate the richness of signs, omens andstructures of life, in the case of the abstract carpets and works of ZhengYiqiang, Ling Haipeng and John Monteith. The act of making brings the body tothe fore, as the body becomes the medium and content of making and being made, capturedin the work of Xu Siyi and Yang Xin.

The virtual Buddhist cave in the Virtual Realitywork by Hyperbation reimagines the sacred by encoding it with contemporary signsand inserting it into contemporary embodied experiences. And the computer-basedRubik’s cube game designed by kujiraplanet rolls out in two dimensional andthree dimensional spaces, evoking the constant shifting and recentering in theprocess of carpet-making. Finally, the installation of Sina Seifee investigatesand speculates on the modes of subjectivity emergent within the postmodernMiddle-East, inspired by Middle-Eastern scholar Jason Bahbak Mohaghegh’s work "Insurgent,Poet, Mystic, Sectarian: The Four Masks of an Eastern Postmodernism". Itzooms in and out of knowledge and speculation about nondialogue, nonnarrative,and radical exile spaces that have emerged in (Middle-)Eastern postmodernism.

策展人 | 由宓

现在科隆媒体艺术学院任助理教授。她的学术研究方向包括媒介与艺术理论，欧亚历史文化之交通，以及东西方哲学传统中的内在性哲学。她策划并参与的艺术及研究项目包括深圳香港建筑与城市双年展（2007），伊斯坦布尔设计双年展（2012），里斯本三年展，雅典双年展（2013），荷兰V2的不稳定媒体（2015），SAVVY Contemporary（2016）等。她的长期策展与研究课题以丝绸之路作为一种deep-time, deep-space，去中心化以及游牧精神的象征。在此框架下她策划了韩国光州亚洲文化文化中心剧场开幕季的一系列表演项目，以及蒙古乌兰巴托首届媒体艺术节（2016）。自2018年起，她与BinnaChoi（Casco，荷兰）共同策划UnmappingEurasia，一个致力于联通欧亚历史与哲学的长期策展和研究的平台。

她在国际上很多机构做过学术讲座，包括柏林世界文化宫、纽约Vera List Center forArts and Politics、阿姆斯特丹皇家艺术学院、迪拜全球艺术论坛，并在荷兰艺术学院和柏林艺术大学授课。她的文章见于国际学术期刊如Performance Research, PARSE, MaHKU: Journal of Fine ArtResearch,Southeast of Now 等。

由宓是亚历山大·冯·洪堡基金会（德国），Academy of Arts of the World （德国），保罗·克里中心（瑞士）及Independent Curators International（纽约）的研究学者，同时是Arthub（上海）的总监以及北京激发研究所的顾问。

Curator | You Mi

You Mi is a Beijing-born curator, researcher, and academic staff at Academy of Media Arts Cologne. She has worked as curator of artistic research projects that were shown in Shenzhen/Hong Kong Bi-City Biennial of Architecture and Urbanism (2007), Istanbul Design Biennale (2012), Lisbon Triennale and Athens Biennale (2013), v2_lab for the unstable media (2015), SAVVY Contemporary (2016), among others. Her research and curatorial project takes the Silk Road as a figuration for deep-time, deep-space, de-centralized and nomadic imageries. Under this rubric she has curated a series of performative programs at Asian Culture Center Theater in Gwangju, South Korea and the inaugural Ulaanbaatar International Media Art Festival, Mongolia (2016). With Binna Choi, she is co-initiator of a long-term research/curation project Unmapping Eurasia (2018-).

She has lectured internationally, including at Haus der Kulturen der Welt (Berlin), Vera List Center for Arts and Politics (New York), Rijksakademie (Amsterdam), Global Art Forum (Dubai), and has taught at Dutch Art Institute, Berlin University of the Arts, among others. Her academic interests are in performance philosophy, science and technology studies, and philosophy of immanence in Eastern and Western traditions. Her writings appear in Performance Research, PARSE, MaHKU: Journal of Fine Art Research, Yishu, LEAP, Southeast of Now, among others.

She is fellow of Alexander von Humboldt Foundation (Germany), Zentrum Paul Klee (Switzerland) and Independent Curators International (USA) member of Academy of Arts of the World (Germany) and serves as director of Arthub (Shanghai) advisor to The Institute for Provocation (Beijing).