Category: CURRENT EXHIBITION

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Mycelium and Dust: Dispersed Fiction

2024.03.15 –2024.05.19


ARTIST:
Martin Howse
VENUE:
Chronus Art Center
2nd Floor, Building 11, No.50 Mo Gan Shan Rd, Shanghai
SUPPORTED BY：
Abteilung Kultur und Bildung, Generalkonsulat der Bundesrepublik Deutschland Shanghai
Chronus Art Center is pleased to present Mycelium and Dust: Dispersed Fiction, the fourth installment of CAC Projects in collaboration with artist Martin Howse. The project will open on March 15, 2024 and remain on view through May 19, 2024.

Delving into the soil and volcanic craters, we glimpse across the ether from the micro-cosmos.

By observing similarities between the array of radio telescopes and the radiative ring growth of Amanita Muscaria, Howse initiated the project Radio Mycelium Array, attempting to establish a connection between wireless communication networks and mycelial networks, spanning spores and signals. Based on the explorations of predecessors in animal magnetism, remote bio-sensing, and interstellar communication interception, Howse explores how non-human entities play roles as detectors and spiritual guides, stimulating alternative dispersed imaginaries. In Radio Mycelium Array, Reishi acts as antennas for receiving cosmic signals and gathering radio waves from the same celestial body within the fairy rings, assembling a larger electromagnetic cosmic view. In this context, mycelium is not only a decomposer of pollutants and death but also entangled with interspecies symbiotic intelligence, serving as the soil's extended skin, conducting fluctuating radio signals, and mediatingthe metabolism of psychochemistry. The fungal installation Radio Mycelium Array slowly encode the geology, weaving not only the murmurs of roots but also the chants of photonic exchanges. Stars and spores combine in such imaginative ways, radiating a new magnetic field and recoding the psychogeophysics domain.
Martin Howse, Radio Mycelium Array,2017 ©the artist
The exhibition extends in two directions based on the Radio Mycelium Array. The piece VOIDT is a dual-channel video work of a performance underground, documenting Howse’s circular walks inside an open volcanic cave on Tenerife Island. When cosmic rays penetrate the atmosphere, they produce numerous subatomic particles, including muons. Muons are ubiquitous. They travel through bodies and objects at nearly the speed of light, providing a means of observation for understanding impalpablematerials and scale in scientific works. For example, measuring the rate of muon incidence within a small area helps to examining  the material properties and density of structures above or to the side of the detector, a method also known as muography (or μography). Using this method, the artist walks barefoot into the volcanic cave, writing with muons. When artist’s moving device detects cosmic rays, a small amount of volcanic sand settles down. The real-time evolution of the geological landscape is a slow and imperceptible process. With an inherent implication of "intermediary", muons linger in the abyss of the volcanic crater. As Timothy Morton discussed in Hyperobjects, this "interobjectivity”, serving as the “in-between”, is not in spacetime—it is space-time per se. Through the intermediary state provided by muons, people observe the deep-time structures in temporary signals and perceive void materials.
Martin Howse,VOIDT, 2022 ©the artist
In addition to the exhibition, CAC also attempts to explore the aesthetic significance of astral bodies through diverse public programs, calling for audiences to participate in physical experiments collectively, learning the scientific properties of metal accumulatingand refining process within the environment of human body and their associated implications in contemporary technological culture.

Howse's practices explore the impact of geological topology on individual psychology, consideringbody as the ultimate ecology of the apocalypse, becoming a part of soil and planets. In his works, fungi and geology are dynamic materials entangled with computer technology. Today, as minerals and geological time are incorporated into the vast contemporary infrastructure system, geological substrateand its inorganic components have already circulated into every living being. "bio-geo-symbio" is not a moral admonition of how human should coexist with nature, but as the normal withdrawals in an era of frequent emergencies, it becomes an increasingly revealing reality.

 

< About the Artist >

 

 

Martin Howse is occupied with an artistic investigation of the links between the earth (geophysical phenomena), software and the human psyche (psychogeophysics). Through the construction of experimental situations (within process-driven performance, laboratories, walks, and workshops), material art works and texts, Martin Howse explores the rich links between substance or materials and execution or protocol, excavating issues of visibility and of hiding within the world.
From 1998 to 2005 he was director of ap, a software performance group working with electronic waste, and pioneering an early approach to digital glitch. From 2007 to 2009 he hosted a regular workshop, micro-residency and salon series in Berlin. He has worked and collaborated on acclaimed projects and practices such as The Crystal World,Psychogeophysics, Earthboot, Sketches towards an Earth Computer and Dissolutions. For the last ten years he has initiated numerous open-laboratory style projects and performed, published, lectured and exhibited worldwide. He is equally the creator of the skin-driven audio divination noise module, The Dark Interpreter, and the ERD modular synthesizer series.
Supported by

                                                           
                                                           A Project of Bio-Geo-Symbio Series
                                                                                     Concept: ZHANG Ga
                                                                                     Curators: BI Xin, CAO Jiamin
                                                                                     Production: CAO Daxu
                                                                                     Graphic Design: PAGE OF

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We=Link: Ten Easy Pieces

A Chronus Art Center Special Online Exhibition

March 30, 2020

 

Artists:

Raphaël Bastide, Tega Brain & Sam Lavigne, JODI, LI Weiyi, Evan Roth, Slime Engine, Helmut Smits, XU Wenkai (aka aaajiao), Yangachi and YE Funa

 

Curated by

ZHANG Ga

 

Organized by

Chronus Art Center

 

Co-commissioned by

Chronus Art Center (Shanghai); Art Center Nabi (Seoul); and Rhizome of the New Museum (New York)

 

Co-hosting Institutions:

Chronus Art Center (Shanghai); Art Center Nabi (Seoul); Rhizome of the New Museum (New York); Arts at CERN (Geneva); e-flux (New York); HeK (House of Electronic Arts Basel); iMAL (Brussels); LABORATORIA Art & Science Foundation (Moscow); Leonardo/ISAST; MU Hybrid Art House (Eindhoven); SETI AIR/SETI Institute (Mountain View); V2_, Lab for the Unstable Media (Rotterdam).

 

 

Click Here to Enter the Exhibition:http://we-link.chronusartcenter.org/

 

This online exhibition will also be presented as a project of First Look: New Art Online, a New Museum online program and archived at https://www.leonardo.info/welink-ten-easy-pieces provided by Leonardo/The International Society for the Arts, Sciences and Technology (Leonardo/ISAST).

 

We=Link: Ten Easy Pieces features new commissions by the artists aaajiao, Tega Brain & Sam Lavigne, JODI, LI Weiyi, Slime Engine and YE Funa in conjunction with works by Evan Roth, Helmut Smits, Yangachi and Raphaël Bastide. The exhibition was made possible through the generous support of Art Center Nabi (Seoul); Rhizome of the New Museum (New York); and the concerted efforts by 12 institutions around the world.

Due to the COVID-19 coronavirus outbreak rapidly raging throughout the world, we are experiencing an unprecedented historical time, and social and economic routines have been interrupted, including cultural programming. More than ever, art remains an essential force to galvanize and rejuvenate. In lieu of a physical exhibition restrained by the lockdown, Chronus Art Center sent out an open call to the international media art community in early February to initiate a special online exhibition as a response to the current uncertainty and a time of anxiety. The proposal has since received committed responses from the international community.

Titled We=Link: Ten Easy Pieces, alluding to the American actor Jack Nicholson’s iconic movie Five Easy Pieces with a subtle twist on WeChat, the popular Chinese social media platform, the exhibition is presented online in collaboration with a network of other hosting institutions. The works included in this exhibition are network native, exploring the potential of mobile technologies, particularly with a creative and critical appropriation of various social media platforms.

The title We=Link: Ten Easy Pieces denotes a community of solidarity as a network of empowerment. The reference to Five Easy Pieces prompts an evocation of an implicit existential anxiety, a sense of estrangement and soul finding: Ten Uneasy Pieces indeed. On the other hand, the title “We=Link" elicits a silver lining—a streak of hope to carry on.

Rather than an explicit outcry against the current public health crisis, this online project addresses a general state of humanity that is under pressing peril of natural and social disruptions and precariousness, demonstratively manifested in the coronavirus outbreak, which is partially the cause of the magnitude of the virus itself and partially beholden to a failure of governance.

 

 

Co-commissioning Institutions

 

 

 

Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences.

www.chronusartcenter.org

 

Art Center Nabi is one of the premier media art centers in South Korea and a central institution in the international digital arts and culture scene, since its founding in 2000. Art Center Nabi aims to act as an intermediary that transforms the cultural desires into vital activities. Art Center Nabi’s mission centers around three main areas; being a ‘critique’ of contemporary technology; nurturing ‘creativity’, thus opening new possibilities of creative expressions; building 'community' where new ideas are shared and developed into new social movements. Art Center Nabi hopes to be a space, where artistic sensibilities combined with technological possibilities bring out the power of positive change in man as well as in society.

www.nabi.or.kr/en/

 

 

 

Rhizome champions born-digital art and culture through artist-centered programs that commission, present, and preserve art made with and through digital networks and tools. Online since 1996, the organization is an affiliate of the iconic New Museum in New York City.

www.rhizome.org

 

 

Co-hosting Institutions:

Arts at CERN (Geneva)  www.arts.cern

e-flux (New York)  www.e-flux.com

HeK (House of Electronic Arts Basel)  www.hek.ch

iMAL (Brussels)  www.imal.org

LABORATORIA Art & Science Foundation (Moscow) www.newlaboratoria.ru

Leonardo/ISAST  www.leonardo.info

MU Hybrid Art House (Eindhoven)  www.mu.nl

SETI AIR/SETI Institute (Mountain View) https://www.seti.org/artist-in-residence

V2_, Lab for the Unstable Media (Rotterdam) www.v2.nl

 

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[dis][locate]

A <CAC_Lab> Presentation

2017.9.16 – 2017.10.22

Artists
Andrej Boleslavský, Daniel Franke, GUO Cheng, Samuel Adam Swope and R&D projects directed by Fito Segrera

Chronus Art Center (CAC)
BLDG.18, No.50 Moganshan RD., Shanghai

Opening Reception
9.16 Saturday, 4 - 7 p.m. (Guided tour: 4.30 p.m.)

 

Chronus Art Center (CAC) is pleased to announce [dis][locate], an exhibition presented by <CAC_LAB>. Dislocation implies the disturbance of a conventional state, space, object or idea. A subject is dislocated when its medium or body is substituted for another object or pushed to its physical or psychological limits. An object is dislocated when its original shape or purpose is transmuted. Dislocation, as a phenomenological term, suggests confusion and disorientation, it exhorts a form of detachment and reattachment; it renders an unexpected movement of sensory data on the screen of consciousness.

[dis][locate] offers a re-evaluation of our basic understanding of the mind and perception. The featured works make available a series of encounters that challenge established norms about the nature of reality.

Andrej Boleslavský's Hide&Seek proposes an environment of mixed natures, a digital space where humans can hide their physical bodies from each other. Combining elements from gaming experiences and virtual reality, the project exerts a form of confusion over the user, a disrupting experience oscillating between the physical and the digital. GUO Cheng's Breathing Restraint highlights how the interaction between humans and technological objects or systems can be, at times, disturbing. GUO's work is constantly disarticulating the most basic biological function of a human body, breath. Based on the topology of networks and how packets of information get lost, the system limits the fluidity of the user's breathing recursively until he/she is unable to do so.

Hide & Seek, Andrej Boleslavský, 2017, VR/MR, 6m×6m×3m

Breathing Restraint, GUO Cheng, 2016, Mixed Media, 35x30x20cm

In a similar fashion, by drawing attention to objects rather than subjects, Samuel A. Swope's Ecotone launders out our conventional notions of what nature means today. Using aerial robotics, Swope dislocates the technology by hybridizing it with natural elements, giving birth to a new creature with an intelligence of its own. Daniel Franke's work, Abstract History Machine, draws unusual parallels between geological and historical time. The work re-maps geological processes into a machine which expresses the evolutionary aspects of technological devices while highlighting the nonlinearity of history itself.

Abstract History Machine (Research Version), Daniel Franke, 2016, Mixed Media, 5m×3m

Ecotone, Samuel Adam Swope, 2017, Dried wheat, fans, mist, light, plants, quadcopter electronics, speakers, projection backdrop, video, 2m x 4m x 3m

As candid examples of CAC's experimental program "Art&Techology@"(A&T@) and in resonance with [dis][locate], we find the documentation of Weight of Insomnia by LIU Xiaodong and Rêverie Reset by YAN Lei. The former is an investigation on telematics, robotics and computer vision-engendered painting, a piece which takes, in real-time, the human dynamics of one space and relocates it into another while changing and abstracting its original form. LIU Xiaodong not only disrupts the idea of space but he also questions the role of the artist in the act of creation. YAN Lei's project uses cutting edge artificial neural networks and image captioning systems and creates a large scale dynamic sculpture capable of dissolving images submitted in real-time by the audience, into concepts. Therein YAN Lei highlights the irrelevance of the image and the artificiality of representation.

A&T@ commission - LIU Xiaodong: Weight of Insomnia, LIU Xiaodong's manuscript

All of the artworks exhibited are the result of a practice-based research process. Most of the projects were realized as part of CAC's Research and Creation Fellowship program and a few others were executed entirely or partially at <CAC_LAB>, a space dedicated to the inquiries about art, design, science and technology and their impact on global contemporary culture and society. Through artistic practice, technological development and research methodology, <CAC_LAB> seeks to enable creative processes that result in works of art of high production and aesthetic value. <CAC_LAB> is a space of flux which encourages artistic practice as a generator of new knowledge, a territory where art and science and technology converge into an experimental field of interdisciplinary research; free from dominant cultural establishments, technological overload and economical biases.

 

More info about <CAC_LAB>:

lab.chronusartcenter.org

 

About "Art&Techology@"

"Art&Techology@"(A&T@) is a program initiated at Chronus Art Center and conceived by ZHANG Ga, which aims, through resuscitating the valuable legacy of experiments in art and technology from the mid-20th century, to come to terms with the challenges of a technologically constructed timespace. “A&T@” has successfully completed two commissions by Chinese artists LIU Xiaodong and YAN Lei respectively. The outcome of which is being exhibited in conjunction with other internationalartists at CAC, ZKM | Center for Art and Media, Nam June Paik Art Center and CAFA Art Museum.

As the second edition of a series of exhibitions under the auspices of the "A&T@", Datumsoria: The Return of the Real will be on view from September 9, 2017 till March 18, 2018 at ZKM | Center for Art and Media in Karlsruhe:

 

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Closed Circuit – Open Duration

Terike Haapoja

2017.06.03 – 2017.09.03 （Wednesday-Sunday）

Chronus Art Center

BLDG.18, No.50 Moganshan RD., Shanghai

Ticket：20 RMB （Free every Wednesday）

 

Curator's forword: For an Umwelt of the New Common

 

Chronus Art Center (CAC) is pleased to present Closed Circuit – Open Duration, an exhibition by the Finnish artist Terike Haapoja. Closed Circuit –Open Duration is a large-scale installation that consists of several overlapping works that can be exhibited in different combinations. The work uses soil, plants, light, sound, video and various scientific research media such as carbon and oxygen sensors for looking into different aspects of human-nature relationship. Together these works create a garden in which organic, digital, electronic, human, non-human processes overlap. The viewer becomes an inhabitant of the garden, as he or she wonders through different spaces and sceneries. Mortality, communication, otherness inside us as well as surrounding us become the themes of the exhibition.

 

Closed Circuit, Open Duration，exhibition view at the Venice Biennale 2013

Throughout the 20th century, our view of nature has always been fixed on the reductive materialism of dominant natural sciences. In this view nature, in essence, is something external to consciousness, something that can be reduced to mere matter, particles and electro-magnetic forces, while interiority and mind have been considered merely shadows of the real. Technologies pertaining to natural sciences, the media through which our knowledge of nature is produced, carries in itself these ideologies, based on calculations and modelling, these technologies can only access the materiality of the world, not its mind. Still, the same science has forced us to question the principles of this basis. As recent discoveries in the fields of animal studies, microbiology, ecology or multiple other fields of research show us, the world is more of a complex process in which body cannot be distinguished from mind, or human life from that of other species. Echoing the traditional wisdoms from around the world, this acknowledgement is perhaps a new possibility for the lived, bodily experience to re-claim its significance in understanding the world.

In the core of Closed Circuit – Open Duration is a concept of a world not structured by subjective human minds surrounded by unconscious objects, but of a world of relations and of meanings. In this view, “scientific” technologies are not somewhere outside this world but imbedded in it, the same way the technologies of trees or of other species are imbedded in our shared reality. They are interfaces through which we gain knowledge and interact with the world, but never simply boundaries between mind and matter. The installations investigate the ways by which we can perceive the world beyond our senses, and seek for possibilities for interaction between human and non-human world. The works use methods of environmental research to realize this interaction; different elements, such as the circulation of C02, sound waves or changes in light, merge into the same process with the movement of the viewer.

The single-channel video work Anatomy of Landscape shows a painting-like image made from live plants, while the technology necessary for preserving life inside the painting is visible from the other side of the painting. Community, a 5-channel video installation, shows the disappearance of the figures of different animals deceasing, as seen through the colorful images of an infrared camera. On the wall a quote from Marguerite Duras' essay Writing depicts the death of a fly, with sentences emerging and disappearing. Dialogue, an interactive installation in which the CO2 breathed out by the visitor activates the light system and small measuring chambers attached to the trees, presents an audible dialogue between human breathing and the plants’ photosynthesis process not only as a physical process but also as a form of communication. Inhale-Exhale, a durational sculpture for soil and CO2 breathes out carbon that is released from dead matter. Another single-channel video work Succession shows a recording of the growth of bacteria on a canvas that is pressed against the artist’s face, the portrait becomes visible as colonies of bacteria emerge.

An underlying theme of the exhibition is that of mortality: the emergence and disappearance of meanings, of minds, of interiority: of worlds. Our relationship with nature and with death grows from the same roots: from the foreign realm of a world beyond our own subjectivity. In that sense, death is nature, for us: they merge into each other as one force that threatens our existence. But neither nature or death are exterior to us: only when we understand nature as mere matter can we make such a divide. We live nature as we live death, in our bodies, on every breath. When working with scientific media, these tools that carry in themselves the traces of a reductionist mode of thinking, it is essential to not just repeat and thus amplify this tendency. Instead, the place of art is to build bridges between lived experience and systems of knowledge. It is not enough to show the workings of carbon in the ecosystem: we need to try to see what does CO2 mean to us, how does it work its way in our own inner reality, in the reality of love, bodily being, and our own mortality.

 

Anatomy of Landscape, Durational image, 2008/2013

Community, Video installation, 2007

Dialogue, Interactive installation, 2008/2013

Inhale – Exhale, Durational sculpture, 2008/2013

Succession, video installation, 2008

Writing, Video installation, 2008/2013

Closed Circuit – Open Duration is the title for a series of works that were first exhibited in a solo show in Helsinki in 2008, and have since been shown in different variations in Finland and internationally, most recently in the Nordic Pavilion at the Venice Biennale in 2013. The exhibition is built site specific into each location, thus this edition is a site-specific adaptation to resonate with Chronus Art Center's space.

*The making of the works included collaboration with environmental researchers, and professionals from the fields of biology, computer programming and technology. The works were realized together with a technical group.

Electronics and interface design: Grégoire Rousseau, Aleksi Pihkanen, Erkki Ujanen

Assistants: Lionel Clerc, Kristiina Ljokkoi

Animation: Henri Tani

Scientific advisors: Helsinki University / Eija Juurola, Timo Vesala, Toivo Pohja, Manu Tamminen

 

About the Artist

Terike Haapoja, photo by Liisa Jokinen

Terike Haapoja is a Finnish visual artist based in New York. Haapoja’s large scale installation work, writing and political projects investigate the mechanics of othering with a specific focus on issues arising from the anthropocentric world view of western modernism. Haapoja represented Finland in the 55 Venice Biennale with a solo show in the Nordic Pavilion (2013) and her work has been exhibited widely in solo and group shows around the world. Haapoja contributes to journals and publications internationally, and she is the co-editor of The Helsinki Effect – Public Alternatives for Culture Driven Development (ed. Terike Haapoja, Andrew Ross, Michael Sorkin, 2016), Altern Ecologies – Emergent Perspectives on the Ecological Threshold in the 55. Venice Biennale (Ed. Haapoja & Elfving 2015), History According to Cattle (History of Others, 2015), Field Notes – From Landscape to Laboratory (Ed. Beloff, Berger, Haapoja, 2011), among others. She is an experienced lecturer and has given invited presentations and keynotes in the programs of Creative Time Summit, Documenta, Venice Biennale, ZKM Karlsruhe, Elia Conference, ISCP, among many others.

www.terikehaapoja.net

 

< © All photos : Courtesy of the artist >

 

*This project is sponsored by Frame Contemporary Art Finland and Helsinki International Artist Programme (HIAP).

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threerooms0314-02

 

 

A Nomination Exhibition of Three Rooms

International Touring Exhibition of Young Media Artists

Opening reception: 17.03.2017

On view: 18.03.2017-12.05.2017 (Closed on Mondays and Tuesdays)

Venue: Chronus Art Center

Address：BLDG.18, NO.50 Moganshan Road, Shanghai, China

Chronus Art Center is pleased to present A Nomination Exhibition of Three Rooms

International Touring Exhibition of Young Media Artists.

 

Three Rooms aims to support younger generations of artists working in new media through exhibition-making, residencies, and other related projects or events. Based upon the new media art ecologies of China, Germany and Korea, Three Rooms promotes young artists’ experimentation and practice to gradually construct a systematic global archive for new media artists. Furthermore, in providing relevant research and a series of educational programs surrounding media art, the project is devoted to building a two-way communication mechanism between professionals and the public, in hopes of forging an organic and interconnected international community.

Nominated respectively by GENG Jianyi, LU Mingjun, SUN Dongdong and WANG Xin, this exhibition showcases works by ten young media artists, including DENG Yuejun, LU Yang, MIAO Ying, SHEN Xin, WANG Yuyang, WangNewOne, aaajiao, YANG Jian, ZHANG Lehua and ZHANG Wei. The works in the exhibition range from kinetic sculpture to performance based installation, video to net art, providing a glimpse of China’s present-day media art landscape. The exhibition is also accompanied by diverse forms of public programs to further respond as well as contribute to current discussions about contemporary media technologies and the new potentials of artmaking.

Three Rooms is an initiative co-organized by Chronus Art Center (China), ZKM | Center for Art and Media (Karlsruhe, Germany) and Nam June Paik Art Center(Korea).

 

 

<About the nominees>

Deng Yuejun

Born in 1986, Guangdong, China. He obtained his bachelor's degree from New Media Department at China Academy of Art, and his master's degree from School of Intermedia Art at China Academy of Art. His work covers a range of media including installation, Chinese ink painting animation and sound installation. DENG now lives and works in Hangzhou, China.http://yuedream.net

ZHANG Lehua

Born in 1985, Shanghai, China, currently lives and works in Shanghai, China and Spain. He graduated from the New Media Art Department of the China Academy of Art in 2008. ZHANG's work combines painting, video, and performance. He is adept at sensitively and deftly seizing on certain rudimentary glimpses of the overlooked in everyday life. This may give his work the impression of being casual and perfunctory, to the point where this even gives off a false impression of being flippant and frivolous. In fact these impressions are all ‘intended’ by the artist, and constitute part of the logic underlying his work.

ZHANG Wei

Animation artist, graduated from China Academy of Art in 2008. Since then he began to work on experimental animation while making use of various media and materials such as painting, photography and photo collage in combination with moving images. His current practice is focused on research and production of stop-motion animation and theatrical performance.

MIAO Ying

Born in Shanghai, currently lives and works in New York and Shanghai. She holds an MFA in Electronic Integrated Arts from the School of Art and Design at Alfred University and a BFA in New Media Arts from China Academy of Fine Arts. Her work highlights the attempts to discuss and explore existentially, the possibilities of the internet, the Chinese Internet (Great Fire Wall), along with the new modes of politics, aesthetics and contemporary consciousness created during the representation of reality through technology.http://www.thedeadpixelofmyeye.com

SHEN Xin

Born in 1990, Chengdu, lives and works in London. SHEN Xin’s practice engages with moving image and event. In her works the aspect of time, the time of making and watching, constructs opportunities to render present the unrepresentable, the indigestible and the irrelevant. These subjects are looked at through examining the techniques and effects of circulations in socio-political power structures. For SHEN, to dismantle the structures that dominate is to commit to the complexity of generating reflexiveness in the works, of how emotions, judgments and ethics circulate through individual and collective subjects.http://www.shenxin.info

aaajiao

aaajiao is the online handle of Xu Wenkai, a Shanghai-based new media artist, avid blogger and free thinker. In his most recent projects, the artist has adopted a more extended scope of practices, borrowing elements from architecture, electronic music, performance arts, product design, even medicine, to portray the young generation harnessing the power of cyber technology and the ever-present social media.http://eventstructure.com

WANG Yuyang

Born in 1979, studied at the China Central Academy of Drama and the Central Academy of Fine Arts. He has been teaching at the School of Experiment Art at the Central Academy of Fine Arts since 2008 and lives and works in Beijing. WANG Yuyang creates works using emerging media but does not deliberately emphasize the novelty of technology. He is more interested in the artistry brought about by“outdated” technology,“destructive” aesthetics and material waste. His work has employed all possible media. He often uses humour, fiction and spectacles to explore and reflect upon the relationship between the human body, experience and cognition. At the same time he also investigates the relationship between artificial reality, media technology and historical perception.http://www.wangyuyang.net

YANG Jian

Works mostly with video and installation. He received a BA (2004) and MA (2007) from the Art College of Xiamen University. He currently lives and works in Beijing and Nanjing, China.http://nationalsilly.weebly.com

LU Yang

Born and based in Shanghai, graduated from the China Academy of Art in 2010. Using a variety of media: video, installation, animation, and digital painting, game, the artist unflinchingly explores existential issues about the nature of life and where it resides. Armed with an overlaying mix of strategies taken from science, religion, psychology, neuroscience, medicine, games, pop culture and music, among others.

WangNewOne

Born online since 2014.http://wangnewone.tumblr.com/

 

 

<About the nominators>

GENG Jianyi

Born in 1962, Zhengzhou, Henan Province. Graduated from the Oil Painting Department of the Zhejiang Academy of Fine Arts (now China Academy of Art), GENG works and lives in Hangzhou. As one of the founding members of China’s earliest conceptual art group, “Pond Society”and through his art practice, GENG Jianyi continues to push the boundaries and development of Chinese contemporary art. In 2012, Geng Jianyi received the “Award of Excellence” of the China Contemporary Art Award.

LU Mingjun

Obtained his PhD in History from Sichuan University (2011). LU is currently Associate Professor of Art History at College of Art, Sichuan University. LU’s research interests include history of modern and contemporary Chinese art, and art historiography in Europe and America since the 1960s. His recent books include Writing and Narrating of Vision: The Vision of History and Theory (2013); Visual Cognition and Art History: Michel Foucault, Hubery Damisch, Jonathan Crary (2014); and On Meta-Painting: An Art Institution and Cognition of Universality (2015). He is also the Robert H. N. Ho Family Foundation Greater China Research Grant 2015 Grantee.

SUN Dongdong

Born in 1977, Nanjing, China, SUN Dongdong is a curator, critic, and freelance writer. He graduated in 2001 from the Nanjing University of the Arts with a degree in Fine Arts. In 2005, he received his MFA in Art History from the Nanjing University of the Arts. Since 2001, he has been involved in criticism and curation of Chinese contemporary art. In 2009, he began working at LEAP magazine as a senior editor, covering scholarship and exhibition reviews. In 2014, he was invited as one of seven members of the Pinchuk Art Foundation’s Future Generation Art Prize selection committee. SUN Dongdong currently lives and works in Beijing.

WANG Xin

Curator and researcher based in New York. Graduate from Columbia University’s MA program majored in Art History. She has worked as a special exhibition researcher at the Metropolitan Museum of Art on projects such as Ink Art: Past as Present in Contemporary China (2013). She was the associate curator for Asian Contemporary Art Week 2014 and the inaugural edition of its signature program FILED MEETING. As an independent curator, she has co-organized the panel “Magiciens de la Terre and China: Looking Back 25 Years” with Asia Art Archive at Columbia University, curated the New York solo debut of artist Lu Yang (2014), and presented a critically acclaimed series of exhibition “THE BANK SHOW: Vive le Capital” and “THE BANK SHOW: Hito Steyerl” (2015) in Shanghai. Her writing has frequently appeared on exhibition catalogues (including the 2015 Venice Biennale) and publications such as Artforum, Kaleidoscope, Art in America, Flash Art, the Metropolitan Museum’s blog, Hyperallergic, and Leap. She is currently building a discursive archive of Asian futurisms in contemporary art practice at http://afuturism.tumblr.com, and a PhD candidate in modern and contemporary art at NYU’s Institute of Fine Arts.

Media Contact: Info@chronusartcenter.org

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格式工厂LINKE-169

Chronus Art Center (CAC) is pleased to present Lens from E-world, an exhibition by the Chinese artist LIN Ke.

Lens from E-world is the sixth work of a series of parallel online projects under the theme of Folklore of the Cyber World organized by Chronus Art Center, the new media art partner institution of the Chinese Pavilion, la Biennale di Venezia 2015. Folklore of the Cyber World extends the Other Future envisioned by the Chinese Pavilion to cyberspace, revealing the vigor and brio of the younger generation of Chinese artists in their critical engagement with the pervasive media society and creative use of new technologies.LING Ke, a digital native who mesmerizes us with the mystics of a laptop ballad, rhyming with the clinching of hard drives and USB sticks and the chiming of keyboards, for him the folklore of the cyber world rehearses a joyful choir sung by a throng of things, human and nonhuman.

Lens from E-world

2015 | LIN Ke | Browser-based Webpage

2015.10.16-11.22

Enter online  version

On one planet in the universe that is N light-year way from the earth – one may calculate how many ten thousand years in terms of human history - a human being presses the button of a camera and take a photo of the earth. Click!

This is the lens from the cyber world.

This is an online project by Lin ke and Dai Meimei.

Lin Ke is a male visual artist, and Dai Meimei is a female programmer.This is a communication between the homo sapiens and the machine.

In this work, the artist Lin Ke is responsible for the idea and the visuals while the programmer Dai Meimei works with computer language. Their collaboration was a pleasant and profound exchange.

The visual artist think: we are the legendary artificial intelligence, and have been evolving profoundly. We are very old.

The programmer said: Oh wow, I don’t know, my language ability is declining and almost falls to zero.

About the artist

LIN Ke

Self-narration by the artist:

I graduated from the New Media Arts Department of the China Academy of Fine Arts, making video and image and other works without using (video) cameras. My studio is my computer. I use computer screen recording software to record computer operations and for rehearsals on the screen whereby video files are generated immediately following the termination of such behaviors, throughout which no nonlinear editing software is used.

I’m quite experienced in working with computer and its operating systems, and I can always find new possibilities - this becomes the main text of my creation. My friends thus comment that I have a robot soul. Once I finish the recording of an exploration of a new possibility, I retreat from the role as an operator of the behavior per se, becoming one of the viewers. Sliding the mouse on the screen is by no means a mechanical movement, but rather it stands for the extension of human hand and the movement of the mouse cursor embodies the rhythm of life.

The cyber world has its own principles. I use the functions of some daily software to build my games. I provide the rules of the games. The cyber world is a simulated world. I am like a window of the cyber world through which the virtual is simulated from the real and the real is restored from the virtual. Raining and downloading are very similar, and waiting for the glitch on the screen is the same as waiting for a lightening in the real world.  What distinguishes me from the web-based creative works as a website of a single form is that for me the Internet is a play yard and a text that provides me with more possibilities awaiting experiment.

“Folklore of the Cyber World” Series Artists & Exhibition Durations:

SHEN Xin: Rhythms of Work - Means Something to You2015.5.8-6.7

GUO Xi & ZHANG Jianling: The Grand Voyage2015.6.8-7.7

MIAO Ying: Holding A Kitchen Knife to Cut the Internet Cable2015.7.8-8.7

WANG Yuyang: Lettering - A work of The Dictionary Series2015.8.8-9.16

YE Funa: Nail to Go2015.9.17-10.16

LIN Ke: Lens from E-world2015.10.17-11.22