致影像 | 第四场放映预告:曹澍《像掌纹一样藏起来》

第四期放映艺术家介绍

曹澍，现居杭州，任教于中国美术学院，其艺术实践聚焦记忆、梦境与技术媒介的交互关系。通过3D渲染动画、电子游戏装置、多屏影像及雕塑等多元媒介，他构建虚实交织的叙事迷宫，塑造数字化的"记忆考古现场"。近年创作延伸至社会主义科幻、加密技术与集体潜意识等议题，审视技术对人们精神世界的重塑。

曾获2022年OCAT x KADIST青年媒体艺术家奖、2021年上海影像博览会Exposure Award、2017年BISFF艺术探索奖等，入围意大利Ducato Prize 2025以及首届E.A.T.PRIZE 2024。近期作品在巴塞尔乡村州美术馆、澳门艺术博物馆、悉尼白兔美术馆、马德里Matadero当代艺术文化中心、香港M+博物馆、UCCA沙丘美术馆、上海当代艺术博物馆、亚洲协会香港中心、天目里美术馆、OCAT上海馆、中国国家博物馆、纽约Sleep Center等机构展出。

近年来他也曾作为瑞士巴塞尔Atelier Mondial（2017），日本横滨黄金町Bazaar（2019)，以及慕尼黑Muffatwerk（2023）的驻地艺术家，也曾于上海昊美术馆，浙江美术馆，想象力学实验室，慕尼黑 Muffatwerk，横滨黄金町等机构举办个展。除此之外，曹澍的作品也入围世界各地的影展主竞赛单元，包括莱比锡纪录片与动画电影节、昂西国际动画节、韩国DMZ纪录片节、墨西哥瓜纳华托实验电影节、米兰电影节、渥太华国际动画节、汉诺威国际短片节等。

作品评论见于纽约时报,South China Morning Post,艺术论坛，Ocula,歧路批评，MataEye，信瑞周报，Nowness，ArtBasel, Art-Ba-Ba, Asian Art Contemporary,英国文化协会，Fakewhale，CEF等。作品曾收藏于卡蒂斯特艺术基金会、悉尼白兔美术馆、上海昊美术馆、天目里美术馆、尧山艺术基金会、浙江美术馆等。

Cao Shu teaches at the China Academy of Art and currently lives in Hangzhou. His artistic practice focuses on the interaction between memory, dreams, and technological media. Through a variety of media such as 3D rendering animation, video game installations, multi-screen video, and sculpture. His work constructs intricate narrative labyrinths that blur reality and the virtual, creating digitally rendered "memory excavation sites." Recent explorations delve into themes of "socialist sci-fi," encryption technology, and the collective subconscious, critically examining technology's impact on the human psyche. 

His accolades include the OCAT x KADIST Young Media Artist Award (2022), Shanghai PRO Exposure Award (2021), BISFF Art Exploration Award (2017), and being shortlisted for the Italy Ducato Prize 2025 and E.A.T. Prize (2024). His work has been exhibited internationally at venues such as Kunsthaus Baselland, Macao Museum of Art, White Rabbit Gallery Sydney, Matadero Madrid, M+ Museum Hong Kong, UCCA Dune, Power Station of Art Shanghai, and Sleep Center New York. 

He has undertaken residencies at Atelier Mondial, Basel (2017), Koganecho Bazaar, Yokohama (2019), and Muffatwerk, Munich (2023). His films have been selected in official competition unit of festivals including DOK Leipzig, Annecy, DMZ Docs Korea, Milano, Ottawa, and Hannover. Reviews of his works have appeared in The New York Times, Art Forum, Ocula, Qilu Criticism, South China Morning Post, MataEye,Nowness, ArtBasel, Art-Ba-Ba, Asian Art Contemporary, British Council, Fakewhale, CEF, etc. 

His work is held in collections like the Kadist Art Foundation San Francisco, White Rabbit Gallery Sydney, HOW Art Museum Shanghai, BY ART MATTERS, Blue Mountain Art Foundation Vienna, and Zhejiang Art Museum.

第四期放映影像：曹澍 《像掌纹一样藏起来》

放映时间：2025年11月25日-2026年1月25日

地点：新绎美术馆西侧四楼·影像陈列馆

《像掌纹一样藏起来》

Contains it like lines of a hand

2023 Game engine moving image，self-made video game combined with performance

游戏引擎影像，自制电子游戏结合表演，33'41''

游戏引擎影像，关于母亲对姥姥的口述回忆，也可能是关于上世纪女性的一种情感传递的角度。故事串联起挖防空洞的经历、唐山地震后的防震棚生活、气功热时期的记忆、地脉与神怪叙事、被身体伤痛困扰的噩梦……以及父权结构在20世纪家庭内部的萦绕。钻防空洞的无数记忆细节构成了母亲童年的地下之网，也与之后姥姥的肠道病痛相连，建模世界的主线叙事的地图也是一个女性的身体内部结构。身体和地貌非常类似，它被累世的幽灵所塑造、雕刻。

The game image is based on the artist's mother's verbal account of his grandmother and, in some ways, showcases a perspective of emotional contagion exclusive to females in the last century. The game engine weaves together many fragments of the reality: life in an earthquake-resistant shelter after the 1976 Tangshan earthquake, memories during the "qigong fever" social phenomenon, myths of earth arteries, stories and narratives of deities and monsters, nightmares plagued by physical pains and wounds, and the haunting of patriarchy within a 20th-century family.

本文所有图片来源：艺术家

All images courtesy of the artist