AIKE｜“本来无一”将于5月18日开幕

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：“繁衍生息：中国当代艺术中的复刻与倍增”，艺仓美术馆，上海，中国，2024；“致不灭的你”，今日美术馆，北京，中国，2023；“时间引力—— 2023成都双年展”，成都市美术馆，成都，中国，2023；“真实的拓扑：媒体艺术（深圳2023）”，深圳市当代艺术与城市规划馆，深圳，中国，2023；“流光”，四方当代美术馆，南京，中国，2023；“昊美术馆5周年馆藏展：你和我，保持凝视”，昊美术馆，上海，中国，2023；“第七届广州三年展-化作通变”，广东美术馆，广州，中国，2023；“道法柏林，而游于外”，KINDL，柏林，德国，2022；“Cloud Walkers”，Leeum Museum of Art，首尔，韩国，2022；“档案冲动：反叙事和反记忆的操练”，AIKE，上海，中国，2022；“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“炼丹与咒文”，SETAREH，柏林，德国，2024；“aaajiao：薄膜”，星美术馆，上海，中国，2023；“我死于互联网”，Wannsee Contemporary，柏林，德国；“我死于互联网”，铜仁路联华公寓，上海，中国，2021；“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。

2023年aaajiao的作品被法国蓬皮杜中心收藏。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 "Multiply: Power in Numbers in Contemporary Chinese Art", Modern Art Museum Shanghai, Shanghai, China, 2024; “To Your Eternity”, Today Art Museum, Beijing, China, 2023; “Topologies of The Real Techne (Shenzhen 2023)”, Shenzhen Museum of Contemporary Art and Urban Planning, Shenzhen, China, 2023; “Time Gravity - 2023 Chengdu Biennale”, Chengdu Art Museum, Chengdu, China, 2023; “HOW Art Museum 5th Anniversary Collection Exhibition: “Projection”, Sifang Art Museum, Nanjing, China, 2023; “You as Me, Hold the Gaze”, HOW Art Museum, Shanghai, China, 2023; “The 7th Guangzhou Triennial - symphony of all the changes”, Guangdong Museum of Art, Guangzhou, China, 2023; “Cloud Walkers”, Leeum Museum of Art, Seoul, Korea, 2022; “Forming Communities: Berliner”, KINDL, Berlin, Germany, 2022;  “The Archival Impulse: An Exercise in Counter-Narrative and Counter-Memory”, AIKE, Shanghai, China, 2022; “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 “A bit A prompt”, SETAREH, Berlin, Germany, 2024; “aaajiao: membrane”, Start Museum, Shanghai, China, 2023; “I was dead on the Internet”, Wannsee Contemporary, Berlin, Germany, 2022; “I was dead on the Internet”, Lianhua Apartment, Shanghai, China, 2021; “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. 

In 2023, aaajiao’s work was collected by the Pompidou Center in France.  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.

1956年生于广东，1962年移居香港。1980年于国立台湾师范大学毕业，并于1994年在英国伦敦大学金匠学院取得艺术硕士。1988年吕氏与画友创立香港现代水彩画协会并任首届会长，又于1998-2002年任香港视觉艺术协会会长。2001年，吕氏联同其学生于火炭工业区，举办了首次的工作室开放，揭开了火炭艺术工作室开放计划的序幕。吕氏于1985年至2010年期间任教于香港中文大学艺术系，主讲西方媒介创作课程，并为艺术硕士研究生指导老师。

二十多年以来，吕振光的抽象艺术探索始于对画面纯粹性的追求，他画中的线条，仿佛把现实中的景象瞬间压缩，直到显现事物的本质。吕氏通过个人的艺术创作来回归自然，从画面顶部流淌而下的垂直线条疏密有序地交错，并由颜料色彩之间皴染叠罩而形成其本人所说的“如山如水、如情如义那不变又美好的事物”。吕氏把自己的创作行为总结为“立、饮、行、耕”，绘画至于他来讲即是“耕作”，他试图通过这种周而复始地耕耘和习惯来忘却自身的存在而进入“无我”的状态。

他的近期个展包括”伏脉千里“，AIKE，上海，中国，2018；“吕振光：遥远的线”，塔石艺文馆，澳门，中国，2016；“句号后的逗号：吕振光一流画厂”，巴塞尔艺术展，香港，中国，2015；“吕振光：千山万水”，Chi艺术空间，香港，中国，2015；“吕振光－近期作品展”，AIKE，上海，中国，2015；“飘飘然：吕振光近作展“，奥沙Open，香港，中国，2012。曾参加过的群展包括“多重景观”，龙美术馆，上海，中国，2022；“无象之境”，泥轩，上海，中国，2020；“原素”，复星基金会ANNEX艺术空间，上海，中国，2018；“Next Destination HK”，苏富比艺术空间，香港，2016；“‘想像突围现实’－龙美术馆藏亚洲艺术作品展”，龙美术馆，上海，中国，2015；“Hong Kong Eye”，Saatchi Gallery，伦敦，英国，2012；“馀地－吕振光 李杰”，AIKE，上海，中国，2012；“吕振光－’有你·无我’”，奥沙官塘，香港，中国，2010；“承传与创造－水墨对水墨”，上海美术馆，上海，中国，2010。

Lui Chun Kwong was born in 1956, moved to Hong Kong in 1962. He graduated from National Taiwan Normal University in 1980 and received a MA degree from the Goldsmiths College of the University of London in 1994. Lui founded the Hong Kong Modern Art Society of Watercolour with his fellow artists in 1988, and chaired the Society for the first three years. He also served as Chairman of the Hong Kong Visual Art Society from 1988 to 2002. He jointly held its first open studio event with his students in October, 2001 at Fotanian Industrial Zone, which became a prelude to the Fotanian Open Studios series. Lui taught in the Department of Fine Arts, The Chinese University of Hong Kong from 1985 to 2010, teaching studio courses on Western media. He also supervised MFA Students.

In recent twenty years, Lui Chun Kwong’s abstract art exploration begins with the purist pursuit of the picture. Every line that he draws compresses the visual world that our eye captures with a single eye-blink by reducing it to the essential. Lui Chun Kwong returns to the nature through his personal artistic approach. The vertical lines dripping from the top of the linen are intensive and interlaced in certain orders, and by using the pigments, he makes wrinkles and rubs which form what he calls “witnesses to the eternity of nature laws such as the gravity of the earth, a kind of ‘constancy’ found in the nature of landscape and also in humanity.” Lui describes his painting workflow as “standing, drinking, walking, and ploughing.” The artistic work is akin to “farming” for him. He tends to set himself into the ‘selfless’ status through this kind of endless ploughing and habits to forget his own existence.

Lui's recent solo exhibitions include ’Forming Dusty Clues’, AIKE, Shanghai, China, 2018; ‘Lui Chun Kwong: The Distant Line’, Tap Seac Gallery, Macau, China, 2016; ‘Comma after Period: Lui Chun Kwong Yiliu Painting Factory’, Art Basel Hong Kong, Convention and Exhibition Centre, Hong Kong, 2015; ‘Lui Chun Kwong : Ten thousand Crags and Torrents’, Chi Art Space, Hong Kong, 2015; ‘Lui Chun Kwong Recent Works’, AIKE, Shanghai, China, 2015; ‘Lui Chun Kwong: Piao Piao Ran’, Osage Gallery, Hong Kong, 2012. Recent group exhibitions include ‘Multiple Sights’, Long Museum, Shanghai, China, 2022; ‘Non-objective Realm’, MUD Gallery, Shanghai, China, 2020; ‘Primitive Elments’, ANNEX Space, Fosun Foundation, Shanghai, China, 2018; ‘Next Destination HK’ Sotheby’s Gallery, Hong Kong, China, 2016; ‘Through to the Actural via the Imagination_Asian Art from Long Museum Colleciton’, Long Museum, Shanghai, China, 2015; ‘Hong Kong EYE’, Saatchi Gallery, London, UK, 2012; ‘Yu Di: Lui Chun Kwong Lee Kit’, AIKE Shanghai, China, 2012; ‘Lui Chun Kwong. You are Here. I Am Not. From Ho Siu Kee to Kong Chun Hei’, Osage Kwun Tong, Hong Kong, 2010, and ‘Legacy and Creations: Ink Art vs Ink Art’, Shanghai Art Museum, China, 2010.

1983年出生于湖南，2005年毕业于四川美术学院油画系。现工作和生活于上海。

万杨的艺术创作意图通过人与计算机、绘画与数字图像之间的交互合作关系拓展绘画的疆界。作为一个“方法先行”的艺术家，万杨持续探索新的制作工艺和流程，并通过方法反哺创作内容本身，以阶段性的系列形式呈现二维空间中物质的几何学描述及抽象的可能性。近年来，万杨发展的绘画系列包括“碳”系列（2008-2013），“云”系列（2013-2019），“金属”系列（2015-2018）和“颜色”系列（2019-  ）。

他的近期个展包括“从雨林到火星”，AIKE，上海，中国，2021；“钅”，AIKE，上海，中国，2016；“衍生物”，Connoiseur Art Gallery and Connoisseur Contemporary，香港，中国，2008。他曾参与的部分群展包括 “隐秘的花园”，白盒子艺术馆，北京，中国，2023；“多重景观-龙美术馆十周年特展”，龙美术馆，上海，中国，2022；“迎着阳光”，龙美术馆，上海，中国，2021；“金汤”，CHAO艺术中心，北京，中国，2020；“无象之境”，泥轩，上海，中国，2020；“无调之川”，AIKE，上海，中国，2019；“原素”，ANNEX艺术空间，复星基金会，上海，中国，2018；“旋梯”，AIKE，上海，中国，2018；“待定”，Jewelvary Art & Boutique，上海，中国，2015；“真相部II：再造界域”，博而励画廊，北京，中国，2014；“Sichuan Hot! 中国重庆新绘画展”，昆士兰艺术学院，格里菲斯大学，布里斯班，澳大利亚，2009；“口传于耳闻的四方”，第三届贵阳艺术双年展，贵阳，中国，2007；“未来考古学”，第二届中国艺术三年展，南京，中国，2005。

Wan Yang was born in 1983 in Hunan, China and graduated from Sichuan Fine Arts Institute. He currently lives and works in Shanghai, China.

Wan Yang’s artistic practices intend to expand the boundaries of painting through the interactive and collaborative relationship among computer, painting, and digital imagery. A “method-first” artist, Wan continues to explore new production processes and procedures, and through method feeds into the creative content itself, presenting the geometrical presentation of matter in two dimensions and discovering the possibilities of abstraction in a series of stages. The painting series developed by the artist in recent years include “Carbon” series (2008-2013), “Cloud” series (2013-2019), “Metal” series (2015-2018) and “Colour” series (2019-  ).

His recent solo exhibitions include “From Rainforest to Mars”, AIKE, Shanghai, China, 2021; “Metal-”, AIKE, Shanghai, China, 2016; “Derivative”, Connoiseur Art Gallery and Connoisseur Contemporary, Hong Kong, China, 2008. His group shows include “Hidden Garden”, Whitebox Art Center, Beijing, China, 2023; “Being in the World-Tenth anniversary exhibition of Long Museum”, Shanghai, China, 2022; “Embracing the Light”, LONG Museum, Shanghai, China, 2021; “Golden Flow”, CHAO Art Center, China, 2020; “Non-objective Realm”, MUD Gallery, Shanghai, China, 2020; “The Atonal River”, AIKE, Shanghai, China, 2019; “Primitive Elements”, ANNEX Space, Fosun Foundation, Shanghai, China, 2018; “Spiral Stairs”, AIKE, Shanghai, China, 2018; “To Be Confirmed”, Jewelvary Art & Boutique, Shanghai, China, 2015;  “Ministry of Truth II: The Factitious and Its Realm”, Boers-Li Gallery, Beijing, China, 2014; “Sichuan Hot! New Paintings from Chongqing City, China”, Queensland College of Art, Griffith University, Brisbane, Australia; “Word of Mouth from Four Corners”, The 3rd Guiyang Biennale Exhibition, Guiyang Art Museum, Guizhou, China, 2007; “Archaeology of the Future”, The 2nd Triennial of Chinese Art, Nanjing Museum, Nanjing, China, 2005.

1991年出生于上海，2016年硕士毕业于中国美术学院油画系，现生活工作于上海。

王一的创作围绕着对城市和自然环境的抽象化表达，探讨绘画的形式、材料和观念的转换。他试图通过用缓慢的个人手工劳作对峙快速生产消费的模式，以当代性的视觉感受回溯对于古典绘画艺术的敬意。王一的艺术创作是新一代中国抽象艺术家的典型之一，他们中的许多人选择了在创作中放弃任何对政治或社会的明显评论。在纯粹形式的探讨之外，王一则保留了部分根源于现实社会和自然的线索，他在作品中通过将单一的结构元素反复组合，讨论“一与全”的社会关系，同时指涉出网络环境中单元和集体、特性与统一间的相互消涨。

王一近期的个展包括“当明有暗当暗有明”，AIKE，上海，中国，2020；“一切现象都是几何的”，蜂巢当代艺术中心，深圳，中国，2018；“表里：克洛德·维尔拉&王一”，HdM画廊，北京，中国，2018；“一日光”，AIKE，上海，中国，2016；“王一”，HdM画廊，杭州，2014；“无物”，J：GALLERY，上海，中国，2012。

Wang Yi was born in 1991 in Shanghai, China, Wang Yi graduated from Oil Painting Department of China Academy of Art with an MFA. He currently lives and works in Shanghai.

Wang Yi's artistic creation focuses on the abstract expression of city and natural environment. His works discuss the transformation of painting’s form, material and concept. He tries to use the slow individual manual work to confront the mode of rapid production and consumption, and trace back his respect for the classical painting through the contemporary visual experience. Wang Yi’s artistic creation is typical of the new generation of Chinese abstract artists, many of whom choose to give up any obvious comments on politics or society in their artistic creations. Besides pure form of discussion, Wang Yi keeps some clues partially rooted in the real society and nature. By repeatedly combining simple structural elements in his works, Wang Yi discusses the social relationship between “individual and entirety”, and points out the mutual influences between  unit and collective, uniqueness and uniformity.

His recent solo exhibitions includes “Dark Light Bright Night”, AIKE, Shanghai, China, 2020; “Geometry Rules All Phenomena: Wang Yi”, Hive Centre for Contemporary Art, Shenzhen, China, 2018; “Inside and Outside: Claude Viallat & Wang Yi”, HdM Gallery, Beijing, China, 2018; “Yi Ri Guang”, AIKE, Shanghai, China, 2016; “Wang Yi”, HdM Gallery, Hangzhou, China, 2014; “Nothing”, J:Gallery, Shanghai, China, 2012.