"Beneath the Skin, Between the Machines" Series Panel
Investigating Sensoriums: Beyond Life/Machine Dichotomy
Organizers: HOW Art Museum, Pro Helvetia Shanghai, Swiss Arts Council
Time (CST) : 15:00 -16:30
Host: Iris Long
Guests: Zian Chen, Geocinema (Solveig Qu Suess, Asia Bazdyrieva), Marc R. Dusseiller
Language: Chinese, English (with Chinese translation)
Event on Zoom（500 audience limit）
*This event will also be broadcast LIVE via ZaiArt.
Scan the QR code bellow to enter.
Beyond Life/Machine Dichotomy
This round of discussion derived from the participating speakers’ responses toward to the title of the exhibition, Beneath the Skin, Between The Machines. What lies beneath the skin of the earth and between the machines may well be signals among sensors. Geocinema’s study on the One Belt One Road initiative and exploration of a “planetary” notion of cinema relate directly to the above concern. Marc R. Dusseiller as a transdisciplinary scholar draws our attention to the possible pathways that skin/machines may generate for understanding to go beyond life/machine dichotomy. Zian Chen’s recent research attempts to bring the mediatized explorations back to our real living conditions. He will resort to real news events as cases to show why these mediatized explorations are embodied experience.
This Saturday from 15:00-16:30, HOW Art Museum in collaboration with Pro Helvetia Shanghai, Swiss Arts Council, invite Zian Chen (writer and curator), Geocinema (art collective) and Marc R. Dusseiller (transdisciplinary scholar and artist) to have a panel discussion, probing into the topic of Beneath the Skin, Between The Machines from the perspectives of their own practice and experience. The panel will be moderated by curator and writer Iris Long.
*Due to pandemic restrictions, the panel will take place online. Video recording of the panel will be played on Platform of Future-Past (2022), an environmental installation conceived by fabric | ch, studio for architecture, interaction and research, for the exhibition.
Iris Long is a writer and independent curator with a research focus on how art responses to ubiquitous computing, big data and AI. Her recent work has been focused on the psycho-geography of technologies and China’s techno-infrastructures.
She was shortlisted by the first M21-IAAC Award (International Awards for Art Criticism). Her translation work, Rethinking Curating: Art after New Media, received nomination from AAC Art China awards in 2016. In 2018, she was the recipient of Hyundai Blue Prize for curators. She has curated exhibitions around art and technology, such as “Lying Sophia and Mocking Alexa”(sophialexa.com) and “Blue Cables in Venetian Watercourse”(PSA Emerging Curator’s Program). She is also the art jury of ISEA 2019, and art jury of SIGGRAPH ASIA 2020. In 2021, she initialized “Port”, a long-term research and curatorial project on the infrastructures of science and technology in China.
Iris’s research has been presented in “Art and Artificial Intelligence”(Open Conference, ZKM), “Art Machines: International Symposium on Computational Media Art (ISCMA)”(Hong Kong) and so on.
Zian Chen is a Shanghai-based writer and curator and co-editor of Heichi Magazine. He has recently edited Arrow Factory: The Last Five Years (2020), and Olympic Reveries (2021). His ongoing serial writing, Instant Retrospectives, was published by Heichi Magazine and LEAP.
Geocinema (Solveig Qu Suess, Asia Bazdyrieva) is a collective that explores the possibilities of a “planetary” notion of cinema. Their practice has been concerned with the understanding and sensing of the earth while being on the ground, enmeshed within vastly distributed processes of image and meaning making. Their work has been shown internationally, including the solo show Making of Earths (Kunsthall Trondheim, 2020), and group shows such as Critical Zones (ZKM Karlsruhe2020-21), and Re-thinking Collectivity (Guangzhou Image Triennale 2021). In 2020 they were nominated for the Schering Stiftung Award for Artistic Research, and for the Golden Key prize of Kassel Dokfest.
Dr. Marc R. Dusseiller is a transdisciplinary scholar, lecturer for micro- and nanotechnology, cultural facilitator and artist. He performs DIY (do-it-yourself) workshops in lo-fi electronics and synths, hardware hacking for citizen science and DIY microscopy. He also loves coconuts. He was co-organizing Dock18, Room for Mediacultures, diy* festival (Zürich, Switzerland), KIBLIX 2011 (Maribor, Slovenia), workshops for artists, schools and children as the former president (2008-12) of the Swiss Mechatronic Art Society, SGMK and co-founder of the new Hackerspace collective Bitwäscherei (2020) in Zürich. He has worked as guest faculty and mentor at various schools, Srishti Institute of Art, Design and Technology (IN), UCSB (USA) and in Switzerland, FHNW, HEAD, ETHZ. In collaboration with Kapelica Gallery, he has started the BioTehna Lab in Ljubljana (2012 - 2013), an open platform for interdisciplinary and artistic research on life sciences. Currently, he is developing means to perform bio- and nanotechnology research and dissemination, Hackteria | Open Source Biological Art, in a DIY / DIWO fashion in kitchens, ateliers and in the Majority World. He was the co-organizer of the different editions of HackteriaLab 2010 - 2020 Zürich, Romainmotier, Bangalore, Yogyakarta and Klöntal, Okinawa and collaborated on the organisation of the BioFabbing Convergence, 2017, in Geneva and the Gathering for Open Science Hardware, GOSH! 2016, Geneva & 2018, in Shenzhen.
Pro Helvetia Shanghai, Swiss Arts Council
Pro Helvetia is dedicated to the promotion of contemporary cultural works of national and international interest. It also fosters co-productions or exchanges between Swiss artists and artists from other countries, in particular from countries where Pro Helvetia has a regional office.
Pro Helvetia Shanghai is founded in 2010 and represents the Swiss Arts Council in China, Hong Kong and Macau. Its aim is to encourage dialogue between Swiss and Chinese cultural practitioners and institutions by supporting projects that enhance the exchange of knowledge and experience in the cultural field.
「fabric | ch，Platform of Future-Past」
fabric | ch, Platform of Future-Past, 2022,
Installation view at HOW Art Museum
supported by Pro Helvetia Shanghai, Swiss Arts Council
Platform of Future-Past (2022), specifically created by fabric | ch for the exhibition, attempts to answer the question of how to provide an occasion and space for non-centralised observation or participation in the exhibition, and the installation itself can be seen as an architectural proposal based on the vast amount of data generated in the environment.
This platform overlooking the exhibition hall connects the entrance and exit directly - meaning that the platform offers the possibility of traversing the space without actually entering it and becoming an observer. Platform of Future-Past is equipped in three zones with environmental monitoring devices. The sensors record as much data as possible over time, generated by the continuously changing conditions, presences and uses in the exhibition space. The data is then stored on Platform Future-Past's servers and replayed in a loop on its computers. It is a "recorded moment", "frozen" on the data servers, that could potentially replay itself forever or is waiting for someone to reactivate it. A "data center" on the deck, with its set of interfaces and visualizations screens, lets the visitors-observers follow the ongoing process of recording.
Combining experimentation, exhibition and production, fabric | ch formulates new architectural proposals and produces singular livable environments that bind localized and distributed landscapes, algorithmic behaviors, atmospheres and technologies.
Since the foundation of the studio, the architects and scientists of fabric | ch have investigated the field of contemporary space in its interaction with technologies. From network-based environments that blend physical and digital properties, to algorithmic recombinations of locations, temporalities and dimensions based on the objective sensing of their environmental data, it is the nature of our relationship to the environment and to contemporary space that is rephrased.
The work of fabric | ch therefore deals with issues related to the mediation of our relationship to place and distance, to automated climatic, informational and energy exchanges, post-mobility and globalization, embedded in a perspective of creolization, spatial interbreeding and sustainability.
Beneath the Skin,
Between the Machines
Duration：January. 15th- April. 24th, 2022
Artists: Forensic Architecture, Revital Cohen & Tuur Van Balen, Simon Denny, Fabric | ch, Harun Farocki, Geumhyung Jeong, Nicolás Lamas, Lynn Hershman Leeson, Lu Yang, Lam Pok Yin, David OReilly, Pakui Hardware, Jon Rafman, Hito Steyerl, Shi Zheng
Curatorial Assistants：Sun Mingdong、Li Xinyi
Venue：F1, HOW Art Museum (Shanghai), #2277 Zuchongzhi Rd., Pudong, Shanghai
Organizer：HOW Art Museum
Lead Sponsor：APENFT Foundation
HOW Art Museum is pleased to announce that the exhibition Beneath the Skin, Between the Machines will be on view from January 15th , 2022.
As an art institute located at Shanghai Zhangjiang Hi-Tech Industrial Development Zone, one of the most important hi-tech parks in China, HOW Art Museum hopes to respond to its environment through "Beneath the Skin, Between the Machines". Meanwhile, as a continuation of the 2019 exhibition "Serious Games", this exhibition will continue to explore how to create technical public spaces and the various ways of incorporating technical issues into public discourse, and will open up a series of dialogues and debates related to the exhibition. Series panel will take place on the "panel installation" - "Platform of Future-Past" (2022), specially created by fabric | ch for the exhibition, where the conversations and actions will be captured, observed and archived as they are activated in the exhibition hall.
Beneath the Skin, Between the Machines，2022
© HOW Art Mueseum
Fu Liaoliao is a curator based in Shanghai. Her curatorial research and practice include the critiques in the context of socio-economic system, live-based works and the function of public space and its borders. Her recent curatorial works include Noire Lumière (2020/2021), Interrupted Meals (2020), Serious Games (2019) and Precariats’ Meeting (2017). She also curated solo shows for artists such as Thomas Hirschhorn (2018), Ho Tzu Nyen (2018) and Li Binyuan (2019). She is nominated as the curator of the year by Art Award China (AAC) in 2019 and is currently the director of exhibition department of HOW Art Museum.
Event Curator / Mengyi
Text Sorting / Meng Yi、Marino、Christy
Editor / Jenny Zhang