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aaajiao、万杨参加巴黎蓬皮杜艺术中心群展“目：中国境象”

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“目：中国境象”

"目 China: A New Generation of Artists"

2024.10.09 - 2025.02.03

策展人 Curators

菲利普·贝蒂内利（Philippe Bettinelli）

费保罗（Paul Frèches）

顾悠悠

蓬皮杜艺术中心，巴黎

Centre Pompidou, Paris

AIKE欣然宣布，艺术家aaajiao与万杨作品参加巴黎蓬皮杜艺术中心举办的群展“目：中国境象”（目 China: A New Generation of Artists），并纳入永久馆藏。展览自2024年10月9日起对外开放，持续至2025年2月3日。此次展览由中法策展团队共同策划，聚焦于21位出生于1970年代末至1990年代初的中国艺术家。他们的创作深受改革开放时期的影响，反映了中国在对外开放、环境变化以及社会生活方式多重转变中的种种经历。

作为蓬皮杜艺术中心与上海西岸美术馆合作项目的延续，本次展览以“目”为主题，精选了涵盖影像、绘画、雕塑、装置、摄影和新媒体等多种艺术形式的作品，尤其是近年来，特别是在后疫情时期的创作。展览核心探讨了中国与世界之间的互动关系、全球化带来的挑战，以及如何应对环境问题。

aaajiao，《视窗碑林》，2016，金属结构和UV打印，整体尺寸可变

aaajiao, Windows Gravestone, 2016, metal structure with UV print, overall dimensions variable

aaajiao在此次展览中展出了其2016年创作的装置作品《视窗碑林》，是给视窗系统构建的墓碑。作品通过对Windows 1984年预发布版本至Windows 2000之间的用户界面(UI)进行收集与研究，将这些元素抽象呈现在一个金属结构立方体的正面。作品结合了碑林这一古老的传播媒介形式，构建了一种人工遗迹的存在形态，展示了在算力蓬勃发展的背景下，构成互联网视觉特征的图形符号失去价值后的状态。

艺术家指出：“我们对于数字的审美和兴趣与操作系统的用户界面密切相关。随着时间推移，我们逐渐遗忘这些经典界面，为其树立’碑’便赋予了它们一种仪式感。虽然我们迅速消费这些UI，但却被它们所训练，形成了如今的审美和行为模式。这种冲突正是我关注的核心。”

万杨，《勿忘我 2》，2023，布面油画，200 x 150 cm

Wan Yang, Forget Me Nots 2, oil on canvas, 200 x 150 cm

本次展览展示了万杨的三件绘画作品《BWV 565》、《峡谷》和《勿忘我 2》，以及一件装置作品《颜料盒》。其中，《勿忘我 2》为“颜色”系列的一部分，其标题源自于花语中的“勿忘草”。该作品以俯瞰视角呈现花海中模糊的波纹图案。“颜色”系列探索了艺术家使用自制3D打印颜料盒调制的颜色组合。万杨表示，颜色本身并没有体积或形状。因此，“颜色”系列超越了物质基础、场景或叙事，消除了深度错觉。

装置作品《颜料盒》则是将创作“颜色”系列时所使用的3D打印调色工具重新组合而成，形似微型纪念碑的建筑景观。其3D打印网格交错嵌套，赋予作品波浪式的厚度变化，为理解“颜色”系列的创作过程提供了线索。

此外，两件纸本作品《BWV 565》和《峡谷》则是万杨对纯色线条组合的探索，体现了丰富的纹理和色彩感知。《BWV 565》的标题取自巴赫一首管风琴托卡塔与赋格曲的编号，而《峡谷》则受到风蚀峡谷表面机理的启发。

万杨，《颜料盒》，2023，光敏树脂与油彩，31 x 24 x 24 cm

Wan Yang, Colour Box, oil painting on photosensitive resin, 31 x 24 x 24 cm

AIKE is pleased to announce that artworks by artists aaajiao and Wan Yang will be featured in the group exhibition "目 China: A New Generation of Artists" at the Centre Pompidou in Paris, and will be included in the permanent collection. The exhibition opens to the public on October 9, 2024, and will continue until February 3, 2025. Curated by a Sino-French team, the exhibition focuses on 21 Chinese artists born from the late 1970s to the early 1990s. Their works are deeply influenced by the reform and opening-up period, reflecting a variety of experiences during China's transitions in terms of openness, environmental changes, and social lifestyles.

As a continuation of the collaborative project between the Centre Pompidou and the West Bund Museum in Shanghai, this exhibition is centered of the character “目 (mù)". It features a carefully curated selection of works encompassing various artistic forms, including video, painting, sculpture, installation, photography, and new media, with a particular emphasis on creations from recent years, especially during the post-pandemic period. The core focus of the exhibition delves into the interactive relationship between China and the world, the challenges posed by globalization, and the strategies for addressing environmental issues.

aaajiao，《视窗碑林》，2016，金属结构和UV打印，整体尺寸可变；“目：中国境象”，展览现场，蓬皮杜艺术中心，巴黎，法国，2024

aaajiao, Windows Gravestone, 2016, metal structure with UV print, overall dimensions variable, "目 China: A New Generation of Artists", installation view, Centre Pompidou, Paris, France, 2024

In this exhibition, aaajiao presents his installation work Windows Gravestones (2016), which serves as a memorial to the Windows operating system. The piece collects and studies user interfaces (UI) from the pre-release version of Windows in 1984 up to Windows 2000, abstractly representing these elements on the front of a metallic cubic structure. By integrating the ancient medium of stelae, the work constructs a form of artificial relic that showcases the state of graphical symbols that once defined the visual characteristics of the internet but have lost their value in the context of rapidly advancing computational power.

The artist states: "Our aesthetic appreciation and interest in the digital realm are closely tied to the user interfaces of operating systems. Over time, we gradually forget these classic interfaces, and establishing a 'tombstone' for them endows them with a sense of ritual. While we rapidly consume these UIs, we are simultaneously trained by them, which has shaped our current aesthetic sensibilities and behavioral patterns. This conflict is at the core of my focus."

万杨，《BWV 565》，2019，纸本丙烯，56 x 76 cm

Wan Yang, BWV 565, 2019, arcylic on paper, 56 x 76 cm

This exhibition presents three paintings by Wan Yang: BWV 565 (2019), Canyon (2019), and Forget Me Nots 2 (2023), alongside an installation piece entitled Colour Box (2023). Forget Me Nots 2 is part of the "Color" series, with its title derived from the language of flowers, specifically the forget-me-not. This work depicts a blurred ripple pattern from an aerial perspective amidst a sea of flowers. The "Color" series investigates the combinations of colors formulated by the artist using a custom-made, 3D-printed paint box. Wan Yang asserts that color itself lacks volume or shape. Consequently, the "Color" series transcends material foundations, settings, or narratives, effectively eliminating the illusion of depth.

The installation work Colour Box is composed of reconfigured 3D-printed color mixing tools used during the creation of the "Color" series, resembling a miniature monumental architectural landscape. The interwoven and nested 3D-printed mesh provides the work with a wave-like variation in thickness, offering insights into the creative process of the "Color" series.

万杨，《峡谷》，2019，纸本丙烯，56 x 76 cm

Wan Yang, Canyon, 2019, arcylic on paper, 56 x 76 cm

The two paper-based works, BWV 565 and Canyon, represent Wan Yang’s exploration of the composition of monochromatic lines, embodying a rich texture and a nuanced perception of color. The title BWV 565 is derived from the catalog number of a toccata and fugue by Bach, while Canyon is inspired by the surface mechanisms of wind-eroded canyons.

关于艺术家

ABOUT THE ARTISTS

徐文恺 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：“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.

万杨 Wan Yang

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.