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AIKE｜展览“档案冲动：反叙事和反记忆的操练”将于9月2日开幕

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档案冲动：反叙事和反记忆的操练

The Archival Impulse:

An Exercise in Counter-Narrative and Counter-Memory

2022.09.03 - 10.15

艺术家 Artists

aaajiao，胡昀 (Hu Yun)，刘呗宁 (Liu Beining)，施政 (Shi Zheng)，徐立霜 (Lishuang Xu)，郑安东 (Andong Zheng)

策展人 Curator

叶荟蓉 (Huirong Ye)

开幕 Opening

2022.09.02 16:00 - 19:00

表演 Performance

徐立霜 (Lishuang Xu)

2022.09.02 18:00

AIKE，中国上海市徐汇区龙腾大道2555号6号楼

Bldg 6, 2555 Longteng Avenue, Xuhui District, Shanghai

*Scroll down for English

近旁的沙土中，有一张破碎的石脸

抿着嘴，蹙着眉，面孔依旧威严

想那雕刻者，必定深谙其人情感

那神态还留在石头上

——雪莱，《奥兹曼迪亚斯》（杨绛译）

浪漫派臆测人类具备一种与生俱来的对无限的企图，以致永远无法对有限的事物感到满足。自收集和整理行为的源头起，这一企图便萦绕不绝，直至被委以建立历史与文化记忆的重任。德里达（Jacques Derrida）将档案视作一个无法实现的意识形态目标，即收集基础真理和知识以追求正义。当内在的渴望敦促我们去铭记和收集时，另一股驱力推动我们通过沉默和遗忘来毁坏和删除档案（记忆）。这一相互交织的、激烈的对立中，充斥着带有目的性的遗漏和增补。

被纳入系统得以留存和呈现的，我们称之为文化档案库。与之相对的，那些非常规的、未被赋予价值的、不成功的、乏味的、未经言说的东西，我们称之为世俗空间。格洛伊斯（Boris Groys）指明了两者之间存在的某种有意识的策略，价值界限的转换使它们相互关联，各为补充。这的确是一场分秒必争的估价，由文化价值的裁决者和文化特权的使用者把持，无时无刻不在竞争着被保存、被收藏、被展示的资格。大到一场远征行动的宣传，小到一个快门——即一次对风景的攥取——档案的同步化和统一化就伴随着帝国殖民的扩张，意识形态的操纵，生产和分配方式的固化而得以实现了。

“档案冲动：反叙事和反记忆的操练”聚集了六位艺术家的近期实践，通过艺术干预，激活档案与身份、记忆和历史之间更为复杂的关联。此次展览既是将档案作为媒介和形式而展开的艺术实践的一次集中讨论，也意图为档案化（archivalization）背后游移的权力关系和文化价值提供新的阐释情境。以或大或小的方式，作品呈现出图标学、分类学、索引学、类型学或考古学的特质。它们或被挪用、提取、切割，或被陈列、叠加、编纂，将档案材料本身转译为一种审美原则，也将艺术模式转为历史化的构造：一方面，它指证了某些未被认定的劳动，另一方面，它也供述了迫于被忘却的记忆。

刘呗宁，《缝合，态势》，2022，骨，尺寸可变

Liu Beining, Stitching, Pointing, 2022, Bones, Dimensions variable

胡昀，《无题(棕榈 No. 6)》，2018，纸本铅笔，墨，110 × 150 × 6.5 cm

Hu Yun, Untitled (Palm No. 6), 2018, Pencil and ink on paper, 110 × 150 × 6.5 cm

《缝合、态势》包含一个鹿角和一个骨折过的剑齿虎的肋骨，刘呗宁的装置作品作为此次展览的引子，指涉的是档案作为记忆和创伤的延伸。胡昀的艺术实践通常根植于个体在历史长河中的自我定位，通过对历史史实和原始文献进行编纂和想象，介入到更为广大的殖民和跨文化语境之中。基于阿尔弗雷德·哈特（Alfred A. Hart）作为中央太平洋铁路官方摄影师期间拍摄的照片，郑安东探访了美国西部早期华人劳工留下的物理证据，在现场构建法证摄影的场景，以此对抗由历史照片建构的视角下叙事的局限性。徐立霜围绕艺术行业的非核心领域展开了当下的调研，通过“盒子”这一线索，将艺术创作和知识生产中我们视而不见的劳动串联在一起。

《雾晨》体现了由数字技术构成的新的传播系统中，档案是如何传输、保存和转化的。通过代码抓取和整理过去六年间《纽约时报》的首页后，施政训练神经网络对其进行“阅读”，无限生成接近现实却不可读的模糊图像。aaajiao的作品则展现了个体记忆、集体记忆和互联网记忆之间的困难关系。当我们的物理和虚拟身份都被挤压到无限狭小的当下，记述本身变得更任何时候更为重要。

档案所承载的隐喻和符号建构性地藏匿在它的背后，因此无法直接观照。为了进入这一幽暗不透明的深处，艺术家们试图在公共与私人、文献与评注、权力和从属关系之间找到切入点。许多尝试不完全都是顺滑的，而是拉扯的、身体力行的、甚至艰涩的，以此来回应展览试图抛出的问题——如何在宏大的话语里找到细若游丝的连结，在历史的先验中构建真实的不同位面，并站在规则的内部，使他者和域外显露出来。需要警惕的是，此次展览的作品也无法逃脱被甄选和揣测的命运，以由策展人认可的文化物的面貌临时性地聚集在一起。作为将它们串联在一起的线索，这些问题将于此地被短暂地讨论，激起一层微弱的涟漪后，消散于平静的水面。

郑安东，《自拍像(一个中国牛仔)》，2018，彩色喷墨打印照片，124.5 × 106.7 cm

Andong Zheng, Self-Portrait (A Chinese Cowboy), 2018, Archival inkjet print, 124.5 × 106.7 cm

徐立霜，《夹层》，2022，墙贴打印，灯管，390 x 190 x 280 cm

Lishuang Xu, Sandwiching, 2022, Printed wall stickers, fluorescent lamp, 390 x 190 x 280 cm

…Near them on the sand,

Half sunk, a shattered visage lies, whose frown

And wrinkled lip and sneer of cold command

Tell that its sculptor well those passions read

—Percy Shelley, Ozymandias

The Romantics conjecture that human beings possess an innate desire for infinity and therefore can never be satisfied with the finite. This desire was the beginning of collecting and sorting. Eventually this act built the archive which housed historical and cultural memory. Jaques Derrida mentions the opposing human desire: the drive which pushes us to destroy and corrupt the archive through silence and forgetting. This violent clash is replete with purposeful and accidental omissions and additions.

Boris Groys defines the cultural archive as those that have been incorporated into the system to be preserved and presented. In contrast, the unconventional, the unvalued, the unsuccessful, the annoying, the unspoken, he calls the profane realm. Strategically shifting the contents of the two is an act of valuation, only able to be performed by those in power. These arbiters of cultural value and users of cultural privilege act through production of narratives and alteration of memories. The contents, then constantly compete to be shifted; for the right to be retained, collected, and displayed. Propaganda from an expedition, a creation of a list, a simple shutter pressing—a possession of the landscape—synchronize and unify the archive, which enables the expansion of imperial colonization, the manipulation of ideology, and the solidification of modes of production and distribution.

“The Archival Impulse: An Exercise in Counter-Narrative and Counter-Memory” brings together the recent practices of six artists to activate the more complex connections between archives and identity, memory and history through artistic interventions. The exhibition is not only a focused discussion of artistic practices that use the archive as a medium and form, but also provides new interpretative contexts for the shifting power relations and cultural values behind archivalization. The works take on iconographic, taxonomic, indexical, typological, or archaeological qualities. They are either appropriated, extracted, and collaged, or showcased, superimposed, and compiled; translating the archival material into aesthetic principles and artistic patterns into historicized construction. Some testify to certain unidentified labor. Some confess to memories that are forced into oblivion.

施政，《雾晨》，2019，视频装置，10’00”循环

Shi Zheng, Forsty Morning, 2019, Video installation, 10'00" loop

aaajiao, 《博物考古》，2010，亚克力，电子秤，金属结构，140 × 240 × 35 cm

aaajiao, Blog Archaeology, Metal structure, acrylic, electronic weigher, 140 × 240 × 35 cm

A deer antler and a fractured rib of a saber-toothed tiger—Liu Beining's installation, Stitching, Pointing, introduces the exhibition. The work refers to the archive as an extension of memory and trauma. Hu Yun's artistic practice is often rooted in the self-positioning of an individual in the course of history, intervening in the broader colonial and cross-cultural context through the codification and re-imagination of historical facts and primary documents. Based on photographs taken by Alfred A. Hart, the official photographer of the Central Pacific Railroad, Andong Zheng searches for relics left by migrant workers in the American West. He identifies, remakes and documents the forensic scenes to counter the limited constructed narratives in the photographic archives. Lishuang Xu focuses on the marginalized workers of the art industry by linking invisible labor within art creation and knowledge production through the thread of “boxes.”

Multi-channel video installation Frosty Morning exemplifies how archives are transmitted, preserved, and transformed in new digital communication systems. After compiling every front page of The New York Times from the last 6 years, Shi Zheng trained an Artificial Neural Network to “read” it, generating blurred, illegible images that come infinitely close to reality. aaajiao’s work displays the difficult relationships between personal memories, collective memories, and online memories. In a time when our physical and virtual identities are squeezed into such small spaces, remembering itself becomes more important than ever.

The metaphors and symbols carried by the archive are constructively hidden behind it. Therefore they cannot be directly observed. In order to enter this dark and opaque depth, the artists try to find the gaps between public and private, documentation and commentary, and power and subordination. Many of the responses to the questions posed by the exhibition are not entirely smooth, but full of tension and sometimes physically demanding. How does one discover the thin connections within the canon? How does one construct different planes of the reality within the historical a priori? How does one stand inside the rules so that the others and the outsiders are revealed? One needs to be cautious with the fact that the works in the exhibition are inevitably selected and speculated. They are temporarily gathered together in the appearance of cultural objects as narrated by the curator. As the thread that ties them all together, these issues will be discussed here, briefly, and forgotten with time.

关于艺术家

ABOUT THE ARTISTS

aaajiao

1984年出生于西安。现生活工作于上海和柏林。

aaajiao，是年轻艺术家徐文恺的化名，也是他虚构的网络分身。1984年（他的出生年份恰好是乔治·奥威尔经典预言式小说的名称），出生于中国最古老城市之一的西安，aaajiao的创作结合了浓重的反乌托邦意识、对文人精神的反思。他的很多作品都致力于探索新的科技和媒体影响之下的文化现象和政治策略，从社交媒体写作、数据处理，到网络和移动媒介下的新美学景观。作为今天全球新一代媒体艺术的代表人物，aaajiao将今天中国特殊的社交媒体文化、科技运用带入了国际艺术的话语和讨论。

aaajiao的作品频繁展出于全球的美术馆和艺术机构，例如：“深渊模拟器”，里沃利城堡当代艺术博物馆，都灵，意大利，2020；“1989年到今天：网络时代的艺术”，波士顿当代艺术中心，波士顿，美国，2018；“非真实”，电子艺术之家，巴塞尔，瑞士，2017；“身体·媒体II”，上海当代艺术博物馆，上海，中国，2017；“带走我（我是你的）”，犹太人美术馆，纽约，美国，2016；“时间转向：当代亚洲的艺术与思辨”，斯班塞美术馆，堪萨斯，美国，2016；“波普之上”，余德耀美术馆，上海，中国，2016；“黑客空间”（由Hans Ulrich Obrist与Amira Gad策展），K11艺术基金会临时空间，香港，中国、chi K11美术馆，上海，中国，2016；“全方位：全控制和言论控制”，ZKM卡尔斯鲁厄艺术与媒体中心，卡尔斯鲁厄，德国，2015；“齐物等观——2014国际新媒体艺术三年展”，中国国家美术馆，北京，中国，2014。

他近期个展包括“深渊模拟器”，Tabula Rasa画廊，伦敦，英国，2021；“深渊模拟器”，里沃利城堡当代艺术博物馆，都灵，意大利，2020；“洞穴模拟器”，AIKE，上海，中国，2020；“a’a’a’jiao: 一个ID”，昊美术馆，上海，中国，2019；“观察者”，House of Egorn，柏林，德国，2018；“暴食”，千高原艺术空间，成都，中国，2018；“用户、爱、高频交易”，Leo Xu Projects，上海，中国，2017；“电子遗留物”，华人艺术中心，曼彻斯特，英国，2016；“电子遗留物”，OCAT，西安，中国，2016。aaajiao于2014年获得了第三届三亚艺术季暨华宇青年评审大奖，亦入围首届OCAT皮埃尔·于贝尔奖。

aaajiao was born in 1984 in Xi’an. Currently lives and works in Shanghai and Berlin.

Active online as a media artist, blogger, activist and programmer, aaajiao is the virtual persona of Shanghai- and Berlin- artist Xu Wenkai. Born in 1984—the title of George Orwell’s classic allegorical novel—and in one of China’s oldest cities, Xi’an, aaajiao’s art and works are marked by a strong dystopian awareness, literati spirits and sophistication. Many of aaajiao’s works speak to new thinkings, controversies and phenomenon around the Internet, with specific projects focusing on the processing of data, the blogsphere and China’s Great Fire Wall. aaajiao’s recent projects extend his practice to various disciplines (among them, architecture, topography, and design) to capture the pulse of the young generation consuming cyber technology and living in social media.

aaajiao’s work has been featured in numerous exhibitions around the world, upcoming and recent shows include “Deep Simulator”, Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy, 2021; “Art in the Age of the Internet, 1989 to Today”, The Institute of Contemporary Art Boston, Boston, USA, 2018; “unREAL”, Haus der elektronischen Künste, Basel, Switzerland, 2017; “Shanghai Project Part II”, Shanghai, China, 2017; “Temporal Turn: Art and Speculation in Contemporary Asia”, Spencer Museum of Art, Kansas, USA, 2016; “Take Me (I’m Yours)” (curated by Hans Ulrich Obrist, Jens Hoffmann and Kelly Taxter), Jewish Museum, New York, USA, 2016; “Overpop”, Yuz Museum, Shanghai, China, 2016; “Hack Space” (curated by Hans Ulrich Obrist and Amira Gad), K11 Art Foundation Pop-up Space, Hong Kong and chi K11 art museum, Shanghai, China, 2016; “Globale: Global Control and Censorship”, ZKM | Centre for Art and Media, Karlsruhe, Germany, 2015; and “Thingworld International Triennial of New Media Art”, The National Art Museum of China, Beijing, China, 2014.

His recent solo exhibition includes “Deep Simulator”, Tabula Rasa Gallery, London, UK, 2021; “Deep Simulator”, Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy, 2020; “Cave Simulator”, AIKE, Shanghai, China, 2020; “a’a’a’jiao: an ID”, HOW Art Museum, Shanghai, China, 2019; “bot,” House of Egorn, Berlin, German, 2018; “Gluttony”, A Thousand Plateaus Art Space, Chengdu, China, 2018; “User, Love, High-frequency Trading”, Leo Xu Projects, Shanghai, China, 2017; “Remnants of an Electronic Past”, CFCCA, Manchester, UK, 2016; “Remnants of an Electronic Past”, OCAT, Xi’an, China, 2016. aaajiao was awarded the Art Sanya Awards in 2014 Jury Prize and was nominated for the first edition of OCAT-Pierre Huber Art Prize in 2014.

胡昀 Hu Yun

1986年出生于上海，2008年毕业于中国美术学院。现生活工作于墨尔本和上海。

胡昀的作品包括绘画、水彩、行为、录像和装置。通过调动来自不同人和历史的经验，胡昀将各种以往生产过的材料重新纳入自己的日常工作中，因此，无法孤立地去看待他的每一件作品，每一个项目都享有共同的话题，都是有所预设、彼此关联的。

胡昀参加了第十届亚太当代艺术三年展（2021），第六届新加坡双年展（2019），第十一届光州双年展（2016），第四届广州三年展（2012）以及第七届深圳雕塑双年展（2012）；他的作品也曾在上海当代艺术博物馆，巴黎蓬皮杜艺术中心，广东时代美术馆及余德耀美术馆等机构展出。他的个展包括“微缩景观”，新加坡国立大学博物馆，新加坡，2019；“我们从未离开过”，西安OCAT，西安，中国，2017；“叙事病”，AIKE，上海，中国，2016；“轻拿轻放”，AIKE，上海，中国，2013；“我们的祖先”，歌德开放空间，上海，中国，2012；“自然的图像”，英国自然历史博物馆，伦敦，英国，2010。

Hu Yun was born in 1986 in Shanghai. He graduated from China Academy of Art in 2008 and currently lives and works in Melbourne and Shanghai.

Hu Yun’s works range from graphite and watercolors to performance, video, and installation. Interested in how an individual positions him or herself within the course of history, he constructs the links that probe the inseparable coexistence of past and present, individual and public. He is adept at mobilizing various personal and historical experiences, incorporating previously produced materials into his artworks; as a consequence, it is impossible to consider any of Hu’s works in isolation since they all share a common theme, an element of foreshadowing, and they are all conceptually interconnected.

Hu Yun has participated in the 6th Singapore Biennale (2019), the 11th Gwangju Biennale (2016), the 4th Guangzhou Triennial (2012) and the 7th Shenzhen Sculpture Biennale (2012). His works have also been exhibited at Power Station of Art, Shanghai; Centre Pompidou, Paris; Times Museum, Guangdong and Yuz Museum, Shanghai. His selected solo exhibitions include “Another Diorama”, NUS Museum, Singapore, 2019; “We’ve been here before”, OCAT, Xi’an, China, 2017; “Narration sickness”, AIKE, Shanghai, China, 2016; “Lift with Care”, AIKE, Shanghai, China, 2013; “Our Ancestors”, Goethe Institut, Shanghai, China, 2012; “Image of Nature”, Natural History Museum, London, UK, 2010.

刘呗宁 Liu Beining

生于1991年，刘呗宁先后毕业于中国美院油画系与纽约Pratt Institute纯艺术系研究生院，现于中国美院当代艺术与社会思想研究所攻读博士学位。除了持续的艺术创作，刘呗宁也自2010年起开始策展，并于2019年起在清影艺术空间展开一系列的展览策划工作。

此次展览延续了他2015年开始的关于夜间水面的创作方向，作为刘呗宁自2016年纽约个展“A Collection of Nothingness”之后，回到杭州的首次个展，全面展示他近年来关于物质和时间感的长久思考。他在作品中尝试剥除事物上暂时附着的时间属性，从而达到一种包含流动感的静穆之境。以绘画和写作为基础手法，刘呗宁借用⽔、⽯头、尘埃、星球、⻣骼、⼭水、手机屏幕、飞鸟与船只等等形象，他通过对现成影像和物品的编辑来组织空间装置，描摹寂静而丰硕图景。

Liu Beining was born in 1991. He is graduated from the China Academy of Art (CAA), Hangzhou and Pratt Institute’s Graduate School of Fine Art, New York, and is at present studying at Doctoral Level on the course of the CAA’s Institute of Contemporary Art and Social Thought. In addition to his ongoing artistic creation, Liu started curatorial practices since 2010 and has been working on a series of exhibitions at Inna Art Space since 2019.

Liu’s working process foregrounds materiality; “materials” in transition, each an “entity” within a process of subtle change, aiming to preserve the dual potentiality inherent in each one's attendant state. Forms including water, stone, dust, astral bodies, bones, landscapes, ruins, fragments and other images often appear in the artist’s work, combining to compose cohesive structures of mutual correspondence, taking this as a base from which to describe still and solemn, yet nevertheless richly abundant tableaux.

施政 Shi Zheng

1990年出生于江苏，2014年毕业于中国美术学院跨媒体艺术学院，2019年获得芝加哥艺术学院硕士学位。现生活工作于上海和纽约。作为媒体艺术家，施政的创作形式涉及视听装置、电子音乐以及现场演出，开展一系列以模拟和“机器视觉”为出发点的艺术实践，通过扩充观众视听通感体验，体现其对技术哲学、数字漫游和“潜在时间”的持续思考。

施政在集中创作个人作品的同时，也和其领域内的优秀艺术家进行合作。2013年他与能火、王志鹏、翁巍共同成立媒体艺术小组RMBit（人民比特），结合当下的社交媒体现象进行创作。他和能火也是视听演出团体OSC（Open Super Control）的成员。

其个人与合作作品也曾多次出现在国内外重要的美术馆、艺术机构、媒体艺术节中，包括油罐艺术中心、银川当代美术馆、Sound Art China（中国声音艺术大展）、FILE Electronic Language International Festival、Ars Electronica（奥地利电子艺术节）、伦敦当代艺术中心、都灵Castello di Rivara美术馆、伦敦The Lumen Prize、上海二十一世纪民生美术馆、 OCT当代艺术中心深圳馆。

Shi Zheng was born in 1990 in Jiangsu, China and now lives and works in Shanghai and New York. He graduated from China Academy of Art in 2014 and acquired MFA from the School of the Art Institute of Chicago in 2019. As a media artist, Shi's artistic creations range from audio-visual installations, digital music and live performance, demonstrating the artist's ongoing interest in simulation and "machine vision". Shi further embodies his reflection on the philosophy of technology, digital voyage and "latent time" by extending the audience's visual and audio experience.

Apart from individual creation, Shi Zheng also collaborates with other outstanding artists in various fields. In 2013, artistic ground RMBit was founded by Shi Zheng in conjunction with Nenghuo, Wang Zhipeng and Weng Wei with the focus on current context of social media. Both Shi and Nenghuo are the members of an Audio-Visual performance group OSC (Open Super Control).

Shi Zheng’s individual and cooperated works have been presented in a wide range of museums, art institutions and media art festivals home and abroad, including TANK Shanghai, MOCA Yinchuan, Sound Art China, FILE Electronic Language International Festival, Ars Electronica, Institute of Contemporary Arts London, Castello di Rivara, The Lumen Prize, Shanghai 21st Century Minsheng Art Museum and OCT Contemporary Art Terminal Shenzhen.

徐立霜 Lishuang Xu

湖南⻓沙人，毕业于伦敦艺术大学切尔⻄学院纯艺术专业，现居上海。

徐立霜的创作围绕日常行为和当代人造的建筑环境。不断向大城市迁居的背景，间接地促成了她对现代生活中异样性的⻓期关注。摄像机作为建构徐立霜作品的主要工具，步行作为去体验一个城市的节奏和空间的方式是她艺术实践的开端。艺术家通过身体对所处时空之介入，以影像、声音与个人行为的形式，探索个体感知与客观现实之间相互舞动的关系。

Born in Changsha, graduated from the University of the Arts London, based in Shanghai.

Xu's practice to date is centralised around mundane behaviour and the artificial contemporary environment. She is intrigued by the uncanny of modern life due to her experience of moving and living to the bigger Metropolis. Walking as a way to experience the rhythm and space of the city, and camera as a tool to construct my practice. Xu wants to explore the relationship between individual perception and objective reality in the form of video, sound and performance through the body’s intervention in time and space.

郑安东 Andong Zheng

1992年出生于安徽合肥。2016年毕业于同济大学车辆工程专业。2017年赴美，就读于罗德岛摄影学院摄影系MFA项目，并于2019年毕业。现工作生活于上海。

郑安东使用摄影为主要媒介，关注个人身份，快速变化的社会景观，以及全球化背景下的文化融合等议题。

Andong Zheng was born in Hefei, China in 1992. He graduated from Tongji University with a Bachelor of Engineering in 2016 and received his MFA from Rhode Island School of Design in 2019. Zheng now lives and works in Shanghai, China.

Working primarily with photography, Zheng’s work focuses on a range of issues examining the rapid shift of the social landscape, self-identity, and cultural integration in the context of globalization.