新展预告丨缪晓春个展“再存为：算法雕塑”

缪晓春

再存为：算法雕塑

Miao Xiaochun

Save As Again: Algorithmic Sculpture

策展人｜Curator

艺术家｜Artist

缪晓春

展期｜Duration

2026.2.06—2026.5.10

主办单位｜Organized by

联合主办｜Co-organized by

太原市杏花岭区府东街95号山西省当代美术馆2-3层

何为“再存为：算法雕塑”

在当代艺术领域，缪晓春的“算法雕塑”实践，为传统与未来、虚拟与现实的交汇提供了新的视角。算法在此并非仅是辅助工具，而是作为创作主体，拥有类似创作者的“创造力”。艺术家首先在数字空间中利用算法驱动模型进行无数次的“生长”与“尝试”，通过筛选、引导和决策，将符合预期的虚拟形态“另存为”物理实体。这一过程实现了从数字信息到物理形态的物质化转译，使转瞬即逝的数字信息获得了永恒的物理形态。他的实践探索了数字复制时代艺术原作概念的新内涵——算法的独特性、艺术家在参数设定和结果筛选中的主观能动性，以及最终物质化呈现的不可复制性，共同构成了其作品的“原作”属性。

2005年之后，缪晓春开始用数字技术进行艺术创作，每天工作结束时必须将数字文件存储（Save)下来，以免文件被清零。数字文件一般为静态图片或动态影像，静态图片可以打印出来，动态视频则用屏幕或投影方式播映。这类作品有《虚拟最后审判》（2005－2006)《H2O》（2007）《坐天观井》（2008）《从头再来》（2008-2010）《灰飞烟灭》（2009-2010）《无始无终》（2011-2012）《无中生有》（2011-2012）等。

在用数字软件创作作品几年后，缪晓春开始用数字技术手段去尝试把数字图像转化为一幅实体的绘画。他在电脑里画，之后打印到宣纸或画布上（2007-2009）。再后来，探索在画布上直接画，他使用矢量线用刻字机把图像刻到刻字纸上，再转贴到画布上，再用笔描绘出来，撕开一部分画一部分。这些图像无论是矢量线、还是色彩通道、抑或是晶格线，都需要电脑用软件按设定的参数计算才能获得，它们构成这种绘画的基石和出发点，都是算法的结果。

2015年，王春辰在北京白盒子艺术馆策划了“另存为：缪晓春个展”，集中展出这批绘画作品，并命名之为“算法绘画”。用“另存为（Save as)”这个概念是因为数字文件进行多次处理，总会与前面的文件不同，必须“存储”为另一个文件来进一步探索，形成新的艺术形式，也是数字技术的特质之一。

这次在山西当代美术馆举办的缪晓春个展以“再存为：算法雕塑（Save again as:Algorithmic Sculpture）”为题，是以近年来的算法雕塑为主，这些电脑中看得见但摸不着的图像用三维打印出来，成为一个实体，本质上是“又一个另存为（Save again as)”。

缪晓春的“再存为：算法雕塑”，深刻反映了数字技术对艺术创作思维和方法论的重塑。它不仅拓展了雕塑艺术的边界，将数学的逻辑之美、计算机的运算之力融入艺术表达，更引导我们思考在技术日益渗透生活的今天，人类创造力与人工智能、机器逻辑之间的复杂关系。通过这种独特的艺术语言，缪晓春为我们呈现了一个既熟悉又陌生的视觉世界，邀请我们重新审视传统、技术与艺术的未来走向。

What is "Save Again As: Algorithmic Sculpture"

In the field of contemporary art, Miao Xiaochun's practice of "algorithmic sculpture" provides a new perspective on the intersection of tradition and the future, virtuality and reality. Here, algorithms are not merely auxiliary tools but act as creative subjects with "creativity" similar to that of creators. The artist first uses algorithms to drive models for countless "growth" and "attempts" in digital space. Through screening, guidance, and decision-making, he "saves as" the desired virtual forms into physical entities. This process realizes the material translation from digital information to physical forms, endowing ephemeral digital information with an eternal physical existence. His practice explores the new connotation of the concept of the original work of art in the era of digital reproduction—the uniqueness of algorithms, the artist's subjective initiative in parameter setting and result selection, and the irreproducibility of the final materialized presentation together constitute the "original" attribute of his works.

Miao Xiaochun began creating art using digital technology after 2005. At the end of each workday, he had to save his digital files to avoid losing data. These digital files were generally static images or dynamic videos; static images could be printed, while dynamic videos were displayed on screens or via projections. Such works include The Last Judgment in Cyberspace (2005-2006), H2O (2007), Microcosm(2008), Restart (2008-2010), Disillusion (2009-2010), Limitless(2011-2012), Out of Nothing(2011-2012).

After several years of creating with digital software, Miao Xiaochun began experimenting with digital technology to transform digital images into physical paintings. He drew on the computer and then printed the images onto rice paper or canvas (2007-2009). Later, he explored painting directly on canvas: using vector lines, he cut images onto vinyl with a plotter, transferred them to the canvas, and then painted over them, peeling off parts of the vinyl as he worked. Whether these images consist of vector lines, color channels, or lattice lines, they all need to be calculated by computer software according to set parameters. They form the cornerstone and starting point of this type of painting, and are all results of algorithms. In 2015, Wang Chunchen curated "Save As: Miao Xiaochun Solo Exhibition" at the WhiteBox Art Center in Beijing, showcasing this series of paintings and naming them "algorithmic paintings." The concept of "Save As" was used because digital files undergo multiple processes and always differ from previous versions. They must be "saved as" another file for further exploration, forming a new artistic form—one of the characteristics of digital technology.

This solo exhibition of Miao Xiaochun at the Shanxi Contemporary Art Museum , titled "Save Again As: Algorithmic Sculpture," focuses on his recent algorithmic sculptures. These visible yet intangible images in the computer are transformed into physical entities through 3D printing, essentially representing "another Save As"—hence "Save Again As." 

Miao Xiaochun's "Save Again As: Algorithmic Sculpture" profoundly reflects the reshaping of artistic creation thinking and methodology by digital technology. It not only expands the boundaries of sculptural art by integrating the beauty of mathematical logic and the computing power of computers into artistic expression but also invites us to reflect on the complex relationship between human creativity, artificial intelligence, and machine logic in an era where technology is increasingly permeating daily life. Through this unique artistic language, Miao Xiaochun presents us with a visual world that is both familiar and unfamiliar, encouraging us to re-examine the future direction of tradition, technology, and art.

策展人介绍

王春辰，著名策展人、批评家，中央美术学院教授、博士生导师；中央美院美术馆当代艺术批评与策展研究中心主任；中国美术家协会策展委员会委员，从事现代美术史及当代艺术理论与批评研究。2025年开办“春辰当代艺术研究中心”。

2012年美国密歇根州立大学布罗德美术馆特约策展人；2013年第55届威尼斯国际艺术双年展中国馆策展人；英国学刊Journal of Contemporary Chinese Art（《当代中国艺术杂志》）副主编(2014-2019)及德国斯普林格出版社《中国当代艺术丛书》主编；2015年英国泰特美术馆访问研究员。澳大利亚新南威尔士大学客座教授；西安美院博士生导师；四川美院、天津美院、首师大特聘教授。

出版《1940年以来的艺术》《艺术的终结之后》《美的滥用》《1985年以来的当代艺术理论》《艺术史的语言》《艺术简史》《艺术史》（玛丽莲，2023，中信出版社）、《1945年以来的当代艺术指南》（2023，湖北美术出版社）等译著；2009年获得“中国当代艺术批评奖（CCAA）”并出版《艺术介入社会》。2013年出版《艺术的民主》《图像的政治》《艺术是一个问题》批评文集。

Professor Wang Chunchen is a famous curator and critic. He is a doctoral supervisor at the Central Academy of Fine Arts in Beijing, China, also director of The Research Center of Contemporary Art Criticism & Curating of CAFAM; member of the Curatorial Committee of China Artists Association. He founded “Chunchen Contemporary Art Research Center” in 2025.

In 2012, he was an adjunct curator at the Broad Museum of Art, Michigan State University, USA. In 2013, he was appointed as the Curator of the Chinese Pavilion at the 55th edition of the Venice Biennale. Wang is also a Deputy Principal Editor of the UK-based Journal of Contemporary Chinese Art and Editor-in-Chief of The Chinese Contemporary Art Series published by Springer-Verlag, Germany. Wang has been invited to travel all over the world to participate in symposia and forums and to give lectures. In 2015, he was invited by Tate Research Center: Asia to be a Visiting Fellow.Visiting Professor of University of New South Wales. Also specially-appointed professor by Sichuan Academy of Fine Arts, Tianjin Academy of Fine Arts, Xi’an Academy of Fine Arts, and Beijing Normal University.

Wang Chunchen has also greatly influenced Chinese contemporary art criticism with his translations of over ten books of art history and theory, such asAfter the Endof Art (Arthur C. Danto), The Abuse of Beauty (Arthur C. Danto), Art Since 1940 (Jonathan Fineberg), The Language of Art History, Theory in Contemporary Art Since 1985, etc. In 2009, he was honored with the coveted Chinese Contemporary Art Awards – Critic Award, one of many awards he has received for his input in art criticism. This particular award led to the writing and publication of Wang’s book Art Intervenes in Society—A New Artistic Relationship. In 2013, Wang published his two volumes of essays, The Democracy of Art and The Politics of Images.

艺术家介绍

缪晓春，1964年生于中国无锡，生活和工作于北京和柏林,北京中央美术学院教授。作品曾参加首届新绎双年展（2024）成都双年展（2023），第55届威尼斯双年展-中国馆（2013），第7届亚太三年展（2012），首届基辅双年展（2012），第4届广州三年展（2012）， 釜山双年展（2008），首尔媒体双年展（2006），上海双年展（2002）以及纽约-芝加哥-伦敦-柏林等地美术馆“过去和未来之间”巡展（2004-2006）等。主要公共收藏包括纽约现代艺术博物馆，大都会博物馆，波士顿美术馆，芝加哥斯玛特博物馆，洛杉矶亚太艺术博物馆，维也纳路德维希现代艺术博物馆，法国当代艺术基金会，新加坡美术馆，上海美术馆，广东美术馆，香港M+博物馆，伊斯坦布尔博卢森当代博物馆，美国布罗德博物馆，瑞士希克收藏，慕尼黑格茨收藏，伦敦扎布鲁多维奇收藏，巴黎DSL收藏等。

Miao Xiaochun

Born in Wuxi, China in 1964, lives and works in Beijing and Berlin. Professor of Beijing Central Academy of Fine Arts Beijing China. 

Selected Exhibitions: 

Ennova Art Biennale vol. 01, Langfang, China,2024

Chengdu Biennale, Chengdu Art Museum,China,2023

the 55th Venice Biennale,Chinese Pavilion, Venice, 2013

the 7th Asia-Pacific Triennial of Contemporary Art,Gallery of Modern Art, Brisbane, 2012

the 1st Kiev International Biennial of Contemporary Art,Kiev, 2012

the 4th Guangzhou Triennial,Guangdong Museum of Art, Guangzhou, 2012

Busan Biennale,Busan MoMA, 2008

the Seoul Media Art Biennale,Seoul, 2006

Shanghai Biennale,Shanghai Art Museum, Shanghai, 2002

Between Past and Future ,ICP and Asia Society, NY; Smart Museum of Art and Museum of Contemporary Art, Chicago; V & A, London; Haus der Kulturen der Welt, Berlin, 2004-2006

Publik Collections：

The MoMA New York; The Metropolitan Museum of Art, New York; The Museum of Fine Arts, Boston; The Smart Museum of Art, Chicago; Pacific Asia Museum, Pasadena; Museum Moderner Kunst Stiftung Ludwig, Vienna; Fondation Nationale d’Art Contemporain (FNAC), Paris; Singapore Art Museum; Shanghai Art Museum; M+ Museum HK, Borusan Contemporary, Istanbul; Broad Art Museum, East Lansing, MI.; Sigg Collection, Lucerne; Goetz Collection, Munich; Zabludowicz Collection, London; DSL Collection, Paris.

山西省当代美术馆