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AUJIK 奥吉卡 | 参加 2019 深港城市/建筑双年展 | 城市交互 | UABB | URBAN INTERACTION

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AUJIK 奥吉卡 


2019 深港城市/建筑双城双年展:城市交互
Bi-City Biennale of Urbanism/Architecture

URBAN INTERACTION

@深圳 Shen Zhen, China

展期/ Duation: 2019/12/22-2020/03/08

地点/ Venue: 深圳市当代艺术与城市规划馆 Shenzhen Museum of Contemporary Art and Urban Planning(MOCAUP)

总策展人/Curators: 卡洛·拉蒂、孟建民、法比奥·卡瓦卢齐 Carlo Ratti, Jianmin Meng, Fabio Cavallucci

学术策展/Academic Curator: 华南-都灵联合实验室 South China-Torino Lab


——


AUJIK 奥吉卡
Spatial Bodies: Shenzhen, Short Teaser Version
《空间体:深圳》预览版, 2019
Single-channel 4K video with sound 4K, 1'37'' 
单频道有声视频

BANK 荣幸宣布艺术家 AUJIK(奥吉卡)参与2019年深港城市/建筑双城建筑展,本届深双主题为“城市交互”,展览于2019年12月21日在主展场深圳福田高铁站和深圳市当代艺术与城市规划开幕。展览包括两个版块,即“城市之眼”和“城市升维”,分别从不同角度探讨城市空间与科技创新之间不断发展的关系。


BANK is very happy to announce that artist AUJIK participates in 2019 Bi-City Biennale of Urbanism/Architecture. The theme of 2019 UABB is Urban Interactions. It is currently showed at the Main Venues of Futian Railway Station and MOCAUP, from December 22 to March 8,2020. The exhibition consists of two sections, namely, “Eyes of the City” and “Ascend-ing City”, which will explore the evolving relationship between urban space and technological innovation from different perspectives. 


AUJIK 奥吉卡
Spatial Bodies: Shenzhen 《空间体:深圳》, 2019
Single-channel 4K video with sound 4K, 4'40'' 单频道有声视频


AUJIK 最新作品《空间体(深圳/香港)》参与“城市升维”板块。定居日本的 AUJIK 利用数码工具将城市再造,将深圳/香港这两座特大都市赋能成一个具有自我觉醒意识的计算机景观。他重新创建建筑域网,使其类似于电子元件和电路,如一个巨大的计算机主板一样相互连接。从现实意义来讲,这无疑便是深圳这座城市所代表的加速、技术、连接的世界顶尖都市的特征之一。


Commissioned by the UABB 2019, AUJIK's latest work Spatial Bodies: Shen Zhen & HongKong(2019) is exhibited in MOCAUP "Ascending City". AUJIK applies a conceptual approach to Shenzhen, re-creating the architectural domain to something that resembles electronic components and circuits which are interconnected like a huge computer motherboard. This could be perceived as a reflection of Shenzhen’s rapidly technological acceleration and status as one of the most cutting edge metropolis in the world.


空间体:深圳

Spatial Bodies: Shenzhen


艺术家对深圳的城市规划非常着迷,其独特之处不仅在于它的快速发展,而且与世界上大多数其他规模的城市相比,它的强建筑组织和规整的城市结构使其有别于其他大多数城市。大片郁郁葱葱的绿色区域,两侧巨大的钢铁和混凝土综合体,玻璃覆盖,将绿色植物反射到华丽的奇景之中。


AUJIK's fascination with Shenzhen’s unique urban planning origates from its rapid growth and its architecturally-organized/structured superiority than most other cities in that scale. It has large lush green areas flanked by humongous steel and concrete complex covered in glass that reflects the greenery in to a gorgeous palate.


AUJIK 奥吉卡
Spatial Bodies: Shenzhen 《空间体:深圳》, 2019
Single-channel 4K video with sound 4K, 4'40''单频道有声视频


艺术家试图在视觉上将这座城市表现为一个自觉的计算机景观,因为每座建筑都象征着一个部件,这些部件相互连接并相互关联,类似于计算机的构造方式。每座建筑都有其独特的属性和容量,当它们连接在一起时,就会创造出一台令人难以置信的综合机器。这种机器可能会在无休止的发展中重新生成和制造新的部件/建筑。


“城市升维” 板块展场位于深圳市当代艺术与城市规划馆,由孟建民及法比奥·卡瓦卢奇(Fabio Cavallucci) 团队策展。团队由知名建筑师、艺术家、电影人、作家、博物馆研究员等跨国、跨领域成员构成,以一种全新而深刻的方式切入对本届双年展方法论的探讨。


AUJIK 奥吉卡
Spatial Bodies: Shenzhen 《空间体:深圳》, 2019
Single-channel 4K video with sound 4K, 4'40'' 单频道有声视频


Artist express visually the city as a self-conscious computer landscape were each building symbolize a component that is attached and correlated to each other similar to how a computer is constructed. Each building having their particular attribute and capacity that creates a fabulous and comprehensive machinery when they are attached. This machinery could potentially re-generate and manufacture new components/buildings in an endless evolution. 



空间体:香港

Spatial Bodies: HK


AUJIK 奥吉卡
Spatial Bodies: HongKong 《空间体:香港》, 2019
Single-channel 4K video with sound 4K, 4'40'' 单频道有声视频


AUJIK 作品《空间体: 香港》的基本理念是解构城市景观,以实际的(真实)建筑为基础,然后通过使用计算机图形技术,将它们重塑为更抽象的建筑形式。香港拥有世界上数量最多的摩天大楼,其中大部分都是长方形的,类似于乐高积木等丛集式积木。它们散布在迷宫般的图案中,通常彼此非常接近,但通常不是完全相连的。从一个角度来看,它们看起来就像一片不断发展的野生森林,我喜欢将每一座建筑视为一棵独立的树,连接在一个巨大的网络中。因此,艺术家的意图即将它们视为树木,并将它们的结构扩展和操纵到更有机的形式,如植被。然后,建筑将在某种建筑超越中相互汇聚和相交。他们的原始风格将保持几乎完好无损-就质地和外观而言-但物理形式将受到周围环境的严重操纵和影响。这些建筑将违背重力和所有物理定律。混凝土、钢铁和玻璃将以树干、树枝和树叶的形式出现在一个巨大的生态系统中。


AUJIK 奥吉卡
Spatial Bodies: HongKong 《空间体:香港》, 2019
Single-channel 4K video with sound 4K, 4'40'' 单频道有声视频



* Scroll up for artist statement 

The basic idea for the Hong Kong video project is to deconstruct the cityscape and to use the actual (real) buildings as fundaments and then – by using computer graphics – reshape them into more abstract architectural forms. Hong Kong has the world’s largest numbers of skyscrapers and the majority of them have rectangular shapes that resemble cluster blocks such as Lego bricks. They are scattered in a maze-like pattern, and often very close to each other, but usually not entirely connected. From one perspective they appear as a wild grown forest in constant development and I like to contemplate each building as an individual tree, connected in a vast net work. My intention is therefore to regard them as trees and extend and manipulate their structures to more organic forms such as vegetation. The building will then converge and intersect with each other in some sort of architectural transcendence. Their original style will remain nearly intact – in terms of textures and exteriors - but the physical form will be heavily manipulated and affected by its surroundings. The buildings will defy gravity and all physical laws. Concrete, steel and glass will appear as trunks, branches and leaves in a giant eco system.



此次深港城市/建筑双年展“城市升维”版块展场位于深圳市当代艺术与城市规划馆,由孟建民及法比奥·卡瓦卢奇团队策展。“城市升维“版块由“未来市民”、“城市炼金师”、“科幻现实”三个子版块构成,分别对应城市使用者、城市创造者和远见的城市思想者的视角。“未来市民”从市民的角度来看城市,审视新兴科技和城市居民之间的关系,以及其在个体市民身份和自我认同方面所带来的巨大变化。“城市炼金师”采用建筑师、艺术家和城市规划者的视角,记录和反映城市的变革。“科幻现实”在有形与无形、现实与理想、存在与想象等维度之间搭起一座桥梁。


Along with the increasingly deepened global spatial connectivity and regional integration, Urban Interactions have become a universal topic of both philosophical significance and innovative value. Urban interactions involve interactions among cities, people and machines. In a sense, the city itself is a gigantic and sophisticated complex of “systematic interactions”. With increasingly emerged interactive technologies, we will definitely come across increasing “hyper cities”,“hyper species” and “hyper society” that are never heard before, from virtual space to daily life, from physical urban interface to organization of human society, and from global production-consumption system to mega urban agglomeration across region. Yet the constantly evolving new relations, such as city interactions, human-computer interactions, and community interactions are gradually shaping and forming a new domain that humans are about to face in the near future.



更多关于艺术家

More about the artist


AUJIK在 2001 年由瑞典艺术家Stefan Larsson始创。Larsson于默奥美术学院获得艺术硕士学位,近十年在日本京都周边生活。Larsson创作的主要内容为CG动画,但也涉及3D打印雕塑、装置、增强现实(AR)、虚拟现实(VR)、服装、绘画、摄影、文本、声音和音乐创作。

对AUJIK而言,自然可以被分为精炼和原始两大类别。这种分类方式体现了可视为世界混乱之源的某种冲突。而为了达到某种崇高的境界,AUJIK通过创造仪式来调合天然体与人造物这两个范畴。精炼式的自然由不断发展的科学技术组成,比如机器人技术、人工智能(AI)、生物控制、基因操控和肌体强化等。原始自然则包括了动物群、植物群、地球本身及其拥有的珍贵石料矿物和金属资源。通过融合生物生命系统和科学技术系统,AUJIK在数字时代下提出的万物有灵论提供了一种新的进化概念,和一种后人类时代的涅槃重生。

AUJIK 的多媒体作品曾多次在画廊、博物馆和艺术节上展出并获奖,近期包括 Prix Ars Electronic(奥地利电子动画艺术节,2019年),日本广岛当代艺术博物馆个展(广岛,2019),台北合成影像艺术节(台北,2019年), “建筑主义的遗产”(BANK画廊,上海,2018年) ,2012/2014/2018年滋贺双年展,2010/2015年日本新媒体艺术节,巴黎现代艺术博物馆,法兰克福美术馆,奥伯豪森电影节,芬兰图尔库美术馆(芬兰图尔库, 2018年),埃因霍温STRP双年展(荷兰Eindhoven, 2016)。


AUJIK was initiated in 2001 by Swedish artist Stefan Larsson. Larsson has an MFA from Umea art academy and been living in outside of Kyoto, Japan for the last 10 years. He mainly works with CG animation, but also 3D printed sculptures, installations, Augmented Reality, Virtual Reality, clothes, paintings, photos, text, sound and music. 

For AUJIK, nature is divided into Refined and Primitive nature. This separation presents a conflict that is the root of all chaos in the world, and in order to reach a sublime state, AUJIK generates rituals to harmonize the organic and synthetic realms. Refined nature consists of evolved technology such as robotics, artificial intelligence, cybernetics, DNA manipulations, and body enhancements. The Primitive includes fauna, flora, and the Earth itself with its precious stones, minerals, and metals. Through crossbreeds of biotic and technological systems, AUJIK’s animism for the Digital Age presents new possibilities for evolution and strives for Post-Human nirvana.

AUJIK’s multi-media works have been showcased and awarded in galleries, museums, and festivals worldwide including Prix Ars Electronic(Austria, 2019), Solo video exhibition at Hiroshima MOCA (Museum of Contemporary Art)(Hiroshima, 2019), Synthetic Mediart festival (Taipei, Taiwan,2019), The Legacy of Architectonic Futurism(BANK, Shanghai, 2018), Biwako Biennale (2012, 2014, 2018), Japan Media Arts Festival(2010,2015), 'Death is your Body' Frankfurter Kunstverein 2014, Co-workers, Museum of Modern Art, Paris 2016, Oberhausen film festival,Turku art museum (Finland,2018). 



过往作品 Past works 

《空间体:大阪》 Spatial Bodies: Osaka, 2018

04'06'' HD-Video 1080p, 16:9


🔗 AUJIK | “建筑性未来主义的遗产” @BANK


- 正在展出/ Current Show- 

陆扬 Lu Yang 《出道》Debut
陈天灼 Chen Tianzhuo 《后台男孩》Backstage Boys
2019.11.09-2020.01.12



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