Mycelium and Dust: Dispersed Fiction
    2024.03.15 –2024.05.19
    Martin Howse
    Chronus Art Center
    2nd Floor, Building 11, No.50 Mo Gan Shan Rd, Shanghai
    Abteilung Kultur und Bildung, Generalkonsulat der Bundesrepublik Deutschland Shanghai
    Chronus Art Center is pleased to present Mycelium and Dust: Dispersed Fictionthe 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

    Co-presentation with We=Link, an online exhibition platform initiated by CAC, and Arebyte on Screen (AOS), a platform dedicated to artist videos, digital experiences and curatorial interventions and programming utilising web-based formats.



    Rebecca Allen, crosslucid, April Lin林森, Iris Xiaoyu Qu, Ruini Shi, Haomin Xu, Alice Yuan Zhang


    Rebecca Edwards

    BI Xin

    Co-produced & Co-presented by:

    arebyte Gallery

    Chronus Art Center

    Launch Event:

    2023.11.16 (Thursday) ,1 pm UK / 9 pm China

    With the support of Arts Council England

    Chronus Art Center (CAC) is pleased to announce the presentation of For Data You Are, And To Data You Shall Return, the fourth iteration of We=Link, in collaboration with arebyte Gallery. Featuring artists and artist collectives Rebecca Allen, crosslucid, April Lin林森, Iris Xiaoyu Qu, Ruini Shi, Haomin Xu, Alice Yuan Zhang, the exhibition will be officially launched on November 16th, 2023.

    For Data You Are, And To Data You Shall Return is an online exhibition of generative, video and gamified works exploring diverse perspectives surrounding digital death, renewal and reincarnation in the virtual domain. Surveying the nuance of long-standing and newer ruminations around the circularity of life and death, in technological, bodily, and spiritual contexts, the exhibition sees death as a narrative with which to discuss life. Death in the digital world is, in a particular dimension,  describable, observable, and even manufacturable, as well as manageable and repairable. Life in the digital world is, on the contrary, more mysterious. While we acknowledge its nature of growth and the possible need for disruption, articulating precise determinations regarding its substance and characteristics remains elusive.

    The online exhibition forms part of arebyte’s The Body, The Mind, The Soul programme and comprises works that span a range of digital media processes and outcomes; from hypnotic encounters with concealed code to custom playful gamifications, and planetary-scale simulations, the exhibition presents expanded video practices, role-playing narratives and reconnection with devices and their material origins, drawing links between communications across ethers and the encounters of rogue or unknown agents acting on behalf of their meatspace counterparts. Decay, sites of renewal, and rethinking our existence in the digital and environmental domain are foregrounded.

    Reflecting on the idea of there being a transitional presence imbued within digitised works, the boundary between online and offline is negated: instead, the exhibition speaks to the circularity of these two ways of being through mediation of the screen and argues that one does not supersede the other.

    The exhibition title is a subtle twist on the theological reference in the book of Genesis which infers non-immortality. This concept aligns with the Chinese Buddhist philosophy of “sheng-si-lun-hui,” which is tied to the idea of karma and its role as social currency in the afterlife. By imbuing the interface with a uniquely generative background - a mystical quality of exposing the underside of codified processes - and by referring to data as the dust you shall return to, the exhibition seeks to symbolise this continuous cycle of existence of all things. Although relics, ideas and bodies find renewed energy and purpose within these digital domains[1], the underlying systemic infrastructure (unless decentralised and autonomous) means that they are often fraught with barriers, boundaries and censorship, as well as capitalist ideologies.

    Throughout centuries and across various cultures, the cyclical nature of life can be linked to the process of data collection and transference. When entering the exhibition, users inherently contribute their data as they would on any site (including IP addresses, interaction patterns, and browser preferences), which is then subsequently utilised within the exhibition to evoke spectral traces of previous visitors as vibrant data visualisation. When the user leaves the site, they leave this data behind, which on other websites is often referred to as a passive digital footprint, where websites collect information about how many times users visit, their location, and their IP address. Additionally, other markers and traces are also left in the exhibition which become layered over time and are expressed through heatmaps, background code that becomes visible over time, and unique experiences of some works that rely on particular user data to function.In this manner, the website transforms into a commemorative space for past guests; each user can download their personalised data pathway at the end of their session as a reminder of their data usage. Taking into account the way data is mined, manipulated and spread without consent, the exhibition encourages contemplation of how the digital space can become a sanctuary for renewal, healing, and the rediscovery of lost or suppressed narratives via this same data.

    As long as we log in, load data, perform computations, and enter inputs, we are confronted with the effects of our complex, multifaceted, multi-platformed existence; the exhibition addresses this symbiotic relationship between user, data and browser suggesting a matrix of extrinsic conditions. For Data You Are And To Data You Shall Return visualises a ghost in the machinic interface, an active agent making transparent that which is often hidden, and made present by “layers” of the site eroding through the presence of human interaction and data left behind. A reminder of causality.

    Technological objects interplay with time; technologies discipline and alter the trajectory, perceptual space and the scale of temporality, yet are inevitably corrupted by it. In a long epitaph in The Dead Media Project, Bruce Sterling offers condolences to "the failures, collapses, and hideous mistakes of media"[1]. The birth of some technological applications is imbued with an inevitable being-towards-death - you always need to replace an old machine with a new one, as long as you are still using it. Is this death and rebirth circle of technological objects, in fact, a misunderstanding of the true nature, temporality and behaviour of technology led by commercial pressures and marketing intervention?

    Jussi Parikka and Garnet Hertz's Zombie Media theory continues further from Sterling’s ideas by claiming that “media do not die but persists as electronic waste, toxic residue, and its own sort of fossil layer of disused gadgets and electronics"[1]. The media of interest in this exhibition, the digital entities, are, as mentioned by these media theorists, dislocating and attaching themselves in bundles of yellow fibre-optic cables, underneath the geological strata, within the mountains, and under the oceans, participating in the life and decay cycle of transistors, dust, gravel, water droplets, and barnacles.

    Apart from the decomposition and metamorphosis of their material basis, digital entities also perform by being replaced, decrypted and obliterated through processes of time, changeable systems and planned obsolescence. Technologies extend humans' memories, however, they also become forgotten in the process of forgetting. Deleted photos, unattended games, abandoned blogs, and obsolescent software, the advanced development of digital entities made its ontological presence a flickering uncertainty. There always seems to be an iteration that makes the "death" in the digital world seem like an optimising “reborn”. Nonetheless, ancient codes have always been the underlying computer language's profound and immutable logic, becoming a hidden act of spelling, a psychic that manipulates hardware, a ghost that latches onto the material substrate.

    For Data You Are, And to Data You Shall Return is a decaying exhibition: the interface is gradually stripped down to its code, which may one day cease to function[2]; alternatively, and more likely, it will fade away in people's memories and become the fault of Epimetheus[3]. However, for it is data, and so to data it shall return, the exhibition will haunt in/on the cloud, waiting for an inadvertent click and resurrection.

    [1]Both new and old digital domains from the early Web to the expanded metaverse
    [2]Sterling, B. (1995) The DEAD MEDIA Project: A Modest Proposal and a Public Appeal. Available at: (Accessed: 20 September 2023).
    [3]Hertz, G. and Parikka, J. (2012) ‘Zombie Media: Circuit Bending Media Archaeology into an art method’, Leonardo, 45(5), pp. 424–430. doi:10.1162/leon_a_00438. 
    [4]due to server anomalies, hosting issues, or many other problems…
    [5]Drawing inspired from Bernard Stiegler's book Technics and Time,1: The Fault of Epimetheus (La technique et le temps, 1: La faute d'Épiméthée), this term references forgetting and explores the potential and origins of technological advancements driven by forgetfulness or errors.
    About arebyte Gallery >

    arebyte advances new experimentation in digital cultures.

    Meeting the growing demand for immersive experiences and digital content creation, arebyte pioneers new forms of engagement with creative technologies, to critically explore the impact of technology in contemporary society.

    From digital environments, online exhibitions to live performances, arebyte’s art programme spans VR, AR, motion capture, CGI, AI, blockchain technology, and draws 10,000 visitors per year to its gallery in East London, with a yearly online audience of 350,000 which is constantly growing.
    arebyte is committed to further support London’s creatives by providing affordable workspaces in the capital city. In partnership with private landlords and Councils, arebyte strives to preserve a vibrant community of 330 artists, makers and designers in East and South London., arebyte on screen)


    Gold and Mercury you can find it when you face the sun, close your eyes

    2023.12.09 - 2023.02.25

    Chronus Art Center

    knowbotiq(Yvonne Wilhelm, Christian Huebler)
    2023.12.09 (Saturday)
    16:00 - 19:00
    Chronus Art Center
    2nd Floor, Building 11, No.50 Mo Gan Shan Rd, Shanghai
    11 am – 6 pm (last entry 5:30 pm)
    Wednesdays – Sundays
    Free Admission



    Supported by Pro Helvetia Shanghai, the Swiss Arts Council





    Chronus Art Center (CAC) is pleased to present Gold and Mercury, you can find it when you face the sun, close your eyes, the third iteration of CAC’s 2023 program CAC Projects in collaboration with the artists knowbotiq (Yvonne Wilhelm, Christian Huebler). The project will open on December 9, 2023 and remain on view through February 25, 2024.

    The exhibition, Gold and Mercury, you can find it when you face the sun, close your eyes, unfolds as a poetic trilogy, commencing with an exploration of global gold refinery and trade, along with its emotive economies, molecular violence and metabolic transformations in Switzerland. The journey then traverses to Colombia, where the artists delve into the clandestine gold mining around the Atrato River in the Afro-Colombian Chocó region, examining the elemental dynamics, aesthetic conditions and translocal narratives of mercury while questioning the cold data cloud and the sanctimonious law framework built upon it. Subsequently, the adventure penetrates the plural understandings of extraction and the alchemy among silicon, sand and temporality, addressing attention on the colonial infrastructures, exploitative labour practices, and the non-human beings who absorb, digest and endure pollution and collateral damage with their life and love.

    The video installation, Swiss Psychotropic Gold, transports the viewer to the residue of gold's quasi-alchemical purification, unveiling the profound libidinous power and psychotropic energies within gold in juxtaposition with the violence and cruelty concealed beneath its radiant surface. The video assembles digital found footage in which gold is mined, refined and transformed into gold bars, derivative stock market products, nano-particles of high technologies, or wellness product. During the process of refining, gold emerges as a pharmakon, both poisoning for exploiting labour in mercury-poisoned mines and healing for stabilizing and tranquillizing the human mind. In this context, gold escapes its material shape, becoming a material-discursive metabolism that transforms, in a way that is neither neutral nor disinterested, and in the enactment of materialities, rhythms, and the meanings inherent in the media assemblage.


    knowbotiq, Swiss Psychotropic Gold, still image, 2016-2020 © artists


    As an extension of the critique of the European history of coloniality and linear desires for gold, the project Mercurybodies: Remote Sensations directs attention to the dynamic agency inherent in mercury. At its core, the project questions the methodology of utilizing remote sensing data and technologies to address intricate mental, social, and environmental events, highlighting that the scientific "solutions/conclusions" are often detached from empathy and an unawareness of the myriad factors at play. Mercury is portrayed as a substance capable of entering other compounds, integrating with them, or inciting conflicts. It is not only present in nature or pollutants but also weaves its way through the invisible translocal chains of international transactions, political contests, and economic figures. In the pursuit of critical cartography through remote sensing, Mercurybodies: Remote Sensations reflects on the aesthetic conditions in which a being-with, a holding of mutual responsibility in time and space, is possible1.



    knowbotiq, Mercurybodies: Remote Sensations - Mercurybody 4: Contamination of Female Body and Sexual Reproduction, still image, 2021-2023 © artists


    In Mercurybodies: Composting Slow Violence, the chemical violence of mercury persists, seeping into universal statistics, imaginations, and values alongside the "dispassionate" language of geology. Large-scale extractive machines stir up wild dust storms, fostering unequal wealth creation and the global circulation of polluting offsets. Disproportionate harm lingers in the rationalization and invisibility of eco-colonialism. Perhaps the recurrent line of 'becoming stone' in the video is both a lament and a call to action, underscoring that merely acknowledging the voice of the 'others' falls short of achieving genuine universality and reciprocity. It is the division between the living and the non-living that warrants requestioning, as well as its legitimacy as a foundational basis for difference, market governance, and sovereignty - living and non-living are already in a dynamic relationship of interdependence, transformation and symbiosis.

    knowbotiq, Mercurybodies: Composting Slow Violence, still image, 2021-2023 © artists


    The three projects featured in the exhibition not only challenge the transgressive values embedded in humanistic knowledge and examine the violent philanthropic affects, but also appeal for a transmuted and symbiotic decomposition to disintegrate the homogenized violence inherent in subjective affects and material potentials. The exhibition title draws inspiration from anthropologist Michael Taussig's fictional museum formed in poetic words. In his storytelling, Taussig emphasizes that the transgressive substances like gold transcend their mere mineral nature. They exude an essence more akin to that of people than things, embodying a spiritual quality that eludes categorization. This characteristic is what imparts upon them their strange beauty. In this way, the matters appear to articulate their own narratives yet carry the weight of human history, whilst all concealed within the guise of natural history.

    In this matter-confluenced exhibition space, we invite the viewers to delve into the complex micro-sensory surrounding gold and mercury, immersing themselves in the poetic language where matter and myth are constantly connected and interrupted. We encourage the viewers to enter the enumeration of molecular allegory, flowing into the interdependency with other entities, engaging in the exchange of translocal experiences, and participating in the alchemical transformation of the elements, self-organized practices and cares. Listen to the sound of matter, spiral into the vortex of time and space.


    1. knowbotiq, “Remote Sensation, A Critical Cartography of Remote Sensing” in Amazonia: Anthology as Cosmology, ed. Kateryna Botanova and Quinn Latimer (Switzerland and London: CULTURESCAPES and Sternberg Press, 2021), 289.




    About the Artists


    knowbotiq (Yvonne Wilhelm, Christian Huebler) have been experimenting with forms and medialities of knowledge, political representations and epistemic disobedience. In recent projects they are investigating and enacting inhuman geographies with the focus on algorithmic governmentalities, libidinous and affective economies and postcolonial violence. In various formats (performative settings, critical fabulations, inventions, encounters) knowbotiq explore molecular, psychotrope and derivative aesthetics.

    Former: knowbotic research/together with Alexander Tuchacek, has participated in Documenta fifteen, 49th Venice Biennale (Austrian Pavillon) , Art Encounter Biennal Timisoara, Moscow Biennale, Seoul Biennale, Hongkong Shenzen Biennale, Biennale Rotterdam and exhibited in New Museum New York, Witte de With Rotterdam, MOCA Taipeh, Kunsthalle St. Gallen, Kunstmuseum Stuttgart, Skuc Gallery Ljubljana, NAMOC Beijing, Aarhus Kunstmuseum, Museum of Contemporary Art Helsinki, Hamburger Kunstverein, Henie Onstad Kunstsenter Oslo, Museum Ludwig Köln and has received major awards including: the Pax Art Award Basel (2019), the Swiss Art Award (2012), the Claasen Prize for Media Art and Photography, Cologne; the international ZKM Media-art award; August Seeling-Award of Wilhelm Lehmbruck Museum.

    knowbotiq have a professorship at the University of the Arts Zurich.


    River Biographies
    2023.10.28 - 2023.11.26
    Chronus Art Center
    Lundahl & Seitl



    Chronus Art Center

    2nd Floor, Building 11, No.50 Mo Gan Shan Rd, Shanghai



    11 am – 6 pm (last entry 5:30 pm)

    Wednesdays – Sundays


    Free Admission




    Chronus Art Center (CAC) is pleased to present River Biographies by the Swedish artist duo Lundahl & Seitl as the concluding part of the second iteration of CAC Projects. River Biographies will open on October 28, 2023 and remain on view through November 26, 2023.

    The title of this project River Biographies refers to the story of a river's life from its source to its mouth. The artwork per se is also a dynamic process during which meaning emerges as each visitor becomes a node within an extensive web of relationships and influences in an evolving semiosis. A silent and sensory protest developed in the work is inspired by the grammar of the Potawatomi people, North American natives living in what is now northeastern Wiscosin, U.S. Their language emphasises on verbs, with the word 'river' in Potawatomi serving as a verb, signifying 'to be a river.’ Resisting the notion of autonomous artworks and of looking at environmental changes solely as external objects, River Biographies invite visitors to augment their own reality and evoke the lifeworld of a river within and between their bodies. 

    The exhibition at CAC consists of two layers. During its exhibition timeframe, River Biographies encompasses occasional participatory performances -  where visitors are invited to experience a Work in Progress of River Biographies sensory choreography. The second layer takes a more discursive approach in the form of an installation emphasizing the project's research.

    The Immersive layer emphasises how the project transmutes traditional boundaries between exhibition and artmaking where there is no absolute separation or classical objectivity regarding the experience within the exhibition. Based on two individuals' inter-intra action within and with a larger group, visitors are leading each other by the hand, they move together, but Sightless Goggless and different timelines of three-dimensional sound separate their experiences. Each visitor enacts a different part in the artwork's choreography: You are Water, I am Stone. They engage in the friction between the materials, between visual and auditory organs and nerves of the skin, and depend on each other's perspectives to form a coherent reality - blurring the boundaries between the material body, self and environment. Noticing the water and stone elements in their own body, encourages visitors to see the river ( their environment ) not as an object separate from themselves but as something intimately connected to their own existence.


    River Biographies, performance view, 2022 © Lundahl & Seitl


    Written in the language of embodiment, River Biographies reinterpret the medium of exhibitions as inter-subjective processes, Visitors augment their own reality to evoke the lifeworld of a river directly within and between their bodies inside the gallery. By following a choreographical score in wireless headphones, groups of up to a hundred participants conjure the elements of water and stone in their own bodies to form an imagined river between visual and auditory organs and nerves of the skin. This shift in perspective encourages visitors to see the river as not just an object separate from themselves but as something intimately connected to their own existence. It is a collective practice that fosters a sense of embodied kinship - not only with the river's ecology but also with inanimate entities often relegated to mere objects of exploitation. 

    In a kinship, not only with the river's ecology but also with inanimate entities such as Water and Stone that are often relegated to mere objects of exploitation, River Biographies incorporates a polyphony of different, more than human, perspectives within individual experiences. This is a process to expand Hanna Arendt's notion of “common sense.” Collectively, the group is becoming a river, and from that perspective, they extend into alliances with entities, such as microbes, machines, weather systems, and entire landscapes, down to elementary particles.


    Water studies around Tabergs An by the artists duo,2023 © Lundahl & Seitl


    In the exhibition, the real and the imagined negotiating between the visitors via a notion of virtual reality - not as a form of technology but Embodiment, as a medium, can access levels of reality where conventional strategies of understanding and rationalisation become insufficient. It moves the framing of technology within environmental aesthetics from a "data dump" mode of replication of numbers and statistics related to anthropogenic climate change to the concept of "geo-affect," coined by Jane Bennett, emphasizing the role of affective relationships with the environment and material world in shaping political and ethical commitments.

    River Biographies aim for a deep connection between the artwork, a local river, and a local community - continuously learning from all the rivers and human interpreters that flow through its body. Like the global water cycles, the work carries memories from previous rivers preserved in the artwork's choreography that are carried further and contaminated with the next commission. The exhibition at CAC survey the working process and research of River Biographies, a location-sensitive series of artworks made in co-production with festivals, biennales, art centres and museums situated by rivers and other water bodies around the Earth. 

    More information about the performance and its schedule will be released soon. Please stay in tune with our website and WeChat subscription account CAC新时线媒体艺术中心。


    River Biographies is commissioned and supported by Southbank Centre, London. The first location-sensitive adaptation of River Biographies is for River Thames, May 2025.



    About the Artists


    © Lundahl & Seitl. Photo: Thron Ullberg


    Lundahl & Seitl live and work in Stockholm. Their immersive solo projects reinterpret the medium of the exhibition as interpersonal processes via choreography, matter and time. Presented around the world, notably at Royal Academy of Art in 2014, Gropius-Bau in 2016, and Kunstmuseum Bonn in 2017. Group Exhibitions include the 8th Momentum Biennale of Nordic Contemporary Art 2015 (NO), An Imagined Museum at Centre Pompidou Metz 2016-2017 (FR), the 3rd Kochi Muziris Biennale 2016-2017 (IN), and a recent commission: Echoes of Alternative Histories at Staatsteater Kassel, which coincided with Documenta Fifteen. In the fall of 2022, the duo was visiting artists at the ACT Programme at MIT.

    The duo Lundahl & Seitl have developed a method and an art form comprising staging, choreographed movement, instructions, and immersive technologies, juxtaposed with material objects and the human ability to organize perception into a world. Notions of freedom, autonomy, and what is real, imagined, and perceived are negotiated in an investigation of virtual reality, not as a form of technology but as an ability or sensibility to a relationship with surroundings, with increased insight into how technology makes ‘us’ and lays the ground for the human umwelt – how it connects and disconnects us from each other and other life forms and processes.

    Their research is tacit, neuro-diverse, and heuristic. It relies on intuition in an iterative process of allowing concepts, theories and stories to meet the resistance of the physical world via sensory experience, direct observations and listening - often in collaborations with others, such as philosophers, anthropologists, writers, game-engine programmers, neurologists, politicians, curators, as well as the public. Projects are often perennial and develop into series that sometimes fork out into entirely new works. The practice encompasses curation, gallery exhibitions, site-sensitive solo projects, and collective performances in public spaces.





    There Is No Perfect Spell

    2023.9.14 – 2023.11.1

    Co-presentation with We=Link, an online exhibition platform initiated by CAC, and, a new digital exhibition and social space under the framework of Transformationsprojekt



    0xSalon, Cullen Miller & Gabriel Dunne, Ilja Karilampi, Lauren Huret and LI Hanwei



    BI Xin





    Chronus Art Center

    HeK (House of Electronic Arts)



    2023.9.14  Thursday

    18:00-19:00 Beijing Time

    12:00-13:00 in Basel



    With the support of Pro Helvetia Shanghai, Swiss Arts Council





    Chronus Art Center (CAC) is pleased to announce the presentation of There Is No Perfect Spell, the third iteration of We=Link, in collaboration with HeK and co-presented on Featuring artists and artist collectives 0xSalon, Cullen Miller & Gabriel Dunne, Ilja Karilampi, Lauren Huret and LI Hanwei, the exhibition will be on view on both We=Link and from September 14th, 2023 through November 1st, 2023.

    The alienated crypto culture features certain occult overtones. From blockchain Evangelists to DAO Summoners, from Oracles, which are hybrid smart contracts that bridge and interoperate on-chain codes and off-chain infrastructures, to Sybil Attacks, which aim to gain the majority influence in the network by simultaneously operating multi-falsified identities on single nodes, thus further undermining the authority or power in reputable systems; even Satoshi Nakamoto, who published Bitcoin: A Peer-to-Peer Electronic Cash System, is a mysterious being with an unknown identity. Tokens act as the social contract of spiritual identities in order to enforce native incentives and governance, while NFTs, as the new subzeitgeist totems, represent the spirit of crypto culture.

    At the technical level, crypto technologies also lurk in the shadows of dark associations. The Internet and cryptographic technologies have gradually evolved from weapons of war to computer science, but in practice, they maintain the appearance of a varied "dark" form - complex code and obscure technical logic sealed behind friendly interfaces for which their purpose remains ambiguous. Has the popularity of encryption brought a wider sense of transparency and security to society, or has it merely created a greater divide, more ubiquitous surveillance, and a new class of monopoly? "As we shall see, more tech breeds more encryption, and with it, Mehr Dunkelheit," as curator and art historian Nadim Samman states, the encrypted body is gloomy and treacherous, containing paradoxes, while preserving poetic aesthetic imaginary.

    There Is No Perfect Spell is an exhibition that explores occult knowledge, transmuted ideologies, and the subzeitgeist of blockchain-related creation, emerging one's self in the darkness, entangled with ancient languages, mythological figures, rituals, symbols, and pixels, becoming the meta-spirit indwell in the Ether. Peering into the tenet of distributed technologies, what shall you scry from such a transparent yet cloudy orbuculum? A dream? A hope? Or a forever externalizing indifferent entropy engine?Does it prophesy another enchanted revelry? Or a crypto winter all over again? Perhaps, there is no perfect spell. The problem created by blockchain, as dramatized by Bitcoin and as James Bridle mentioned, "is fundamentally inseparable from the political situation from which it emerged: the eternal battle between power structures and individual rights."3 How can we imagine a fairer society for the wider population when programming, re-inventing, hacking, and rebooting are the privileges of only a small group of individuals? Does shared faith matter when more power is returned to the individual? Can we tolerate the collapse of the planet's ecology for the sake of an immaculate Bit-lief? Nevertheless, does the necessity for ecological balance even matter for people who can resist the encroachment of totalitarian politics on individual power through crypto/distributed technology? Sacrifices accompany the creation of a spell. Perhaps more important than asking what we desire from technology is to challenge ourselves deep within our hearts - what we can, or we are willing to, and what we can afford to sacrifice.


    1. N. Samman, Poetics of Encrption, Art and the Technocene, Berlin: Hatje Cantz Verlag, 2023.

    2. W. Alsindi and D. Breitling, the expression is inspired by Wassim Alsindi's interview with Dustin Breitling, [online]. Available:

    3. J. Bridle, “Introduction,” in The White Paper, by S. Nakamoto, with a guide by J.K. Brekke, London, Ignota, 2019, p. xxii.






    HEK (House of Electronic Arts) in Basel is Switzerland's national competence centre for contemporary media art and digital cultures. Since 2011, the institution has been central to the creative and critical discourse on the aesthetic, socio-political and economic effects of media technologies. As a platform for contemporary art that explores and employs new technologies, HEK promotes aesthetic practices related to information technologies. This not only enables a better comprehension of the changing world we live in, but also serves to actively engage with these processes and confront pressing questions of 21st century culture, while actively contributing to their mediation. In addition to its event, exhibition and mediation activities, HEK is concerned with collection methodology and the preservation of digital art.



    Chronus Art Center (CAC) was established in 2013 and is China's first nonprofit art organization dedicated to the presentation, research/creation and scholarship of media art. With its exhibitions, residency-oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, CAC 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. CAC brings to the public awareness of the impending post-human reality and the resulting social and political implications by accentuating the dynamic synergy of art and science as a response to the challenges and opportunities that contemporary media society has given rise to.




    The Epoch of Rippling Hengduan Mountains: The Nameless Lands

    2023.9.17 – 2023.10.15

    Chronus Art Center

    2nd Floor, Building 11, No.50 Mo Gan Shan Rd, Shanghai



    CHEN Xiaoyi



    11 am – 6 pm (last entry 5:30 pm)

    Wednesdays – Sundays


    Free Admission



    Chronus Art Center (CAC) is pleased to present The Epoch of Rippling Hengduan Mountains: the Nameless Lands, the second iteration of CAC’s 2023 program CAC Projects in collaboration with the artist CHEN Xiaoyi. The project will open on September 17, 2023 and remain on view through October 15, 2023.
    The exhibition will present two artworks, When Tethys Sea Retreats Westward, Leaving The Reverberation and Hearbeats, revealing the temporalities and sensibilities mediated by the folded bodies of Hengduan Mountains. Lied in southwestern China, the mountain range with its complex geophysical processes and properties, sustains a diverse array of habitats, consequently fostering both biological and cultural diversity. It is also an important region for metal deposits in China, including the substantial reserves and production of coal and iron. If, as Jussi Parikka suggested, the excursion of the Situationists in the urban sphere in the mid-20th century can be seen as cartographies of late modern capitalism, what is CHEN Xiaoyi delineating with her walks in a hybrid ecological region that blends pristine forests, natural conservation zones, national parks, and the traces of industrial production by human?
    In When Tethys Sea Retreats Westward, Leaving The Reverberation, the grand landscape shots of the Hengduan Mountains are juxtaposed with images of nameless derelict mining sites on the mountains. The subtitle and a voice-over tell two stories. One is an ancient myth of the white conch, narrated slowly by an Ersu elder shedding light on the bond between rocks and the sea, as well as the ancient intelligence of perceiving nature. The other story is adapted from Heinrich von Ofterdingen, a novel by the German Romanticist writer Novalis in the late 18th century when the science of geology and the concept of geological time emerged, the truth was considered something attainable by looking backward and beneath rather than toward the sky, and darkness and underworld were deemed as alternative paths to the sublime. The intertwining of the two narratives and landscapes takes the viewers on a journey to sense the reverberation of a primeval moment.
    CHEN Xiaoyi, When Tethys Sea Retreats Westward, Leaving The Reverberation, 2022, still image © the aritst 
    Heartbeats in another corner of the space consists of a few stones scattered on the floor. They are the tailings, the waste part of an ore left over after the mineral extraction, collected by Chen from derelict mining sites on the Hengduan. A screen is placed on each stone, displaying images captured by the infrared cameras Chen positioned on the boundary between the mining sites and the reserved areas. The appearance of wandering animals, flying bugs, or some unknown movements on the screen reminds the viewers of a reality in the uneconomic land of “anthropogenic ruins” that lies beyond the human horizon.

    CHEN Xiaoyi, Heartbeats, 2021-2022  © the aritst


    Alongside the two works are the excerpts from a fictional short story titled Solemn Oath, written by the artist herself based on the series The Epoch of Rippling Hengduan Mountains, and a journal documenting the artist’s research trip for the project. By picking up the carved metal “stones” covered on the texts, viewers will explore the rippling part of the project through another trajectory that is non-linear and folded in dark.

    The Epoch of Rippling Hengduan Mountains: the Nameless Lands intends to provoke the imaginations concerning the layered temporalities of the nonorganic, the geological remnants of time. They are not only reverberations from the past but are also forming the future landscapes within the complex geophysical and media technological conditions.

    The second iteration of CAC Projects will be a two-part show comprising The Epoch of Rippling Hengduan Mountains: the Nameless Lands and the participatory project River Biographies by Swedish artist collective Lundahl & Seitl. The second part River Biographies will open subsequently on October 28, 2023. More information about River Biographies will be released soon.




    About the Artist



    CHEN Xiaoyi was born in Sichuan, China in 1992. She received an MA Photography from London College of Communication in 2014, currently lives and works in Chengdu. Her work based on photography but not confined to specific media, focusing on the subtle perceptions of human beings by producing images. And constantly challenge the established logic, perception and imagination to explore the existence itself. In the projects that have been progressing in recent years, she has focused on the Western China as a resource area in history, focusing on the mines and mining relics in the Hengduan Mountains region as cuts, and continuously salvaging those lost time, the mystery of nature and the land. From the mining industry in the past to the mountain habitat today, she worked on the relationship between the temporal and spatial stacking of mountains and the land, and tried to scan the western mountains in China through the broader narrative.



    Flux in Dust

    2023.06.20 – 08.20

    Chronus Art Center

    2nd Floor, Building 11, No.50 Mo Gan Shan Rd, Shanghai



    LONG Pan



    11 am – 6 pm (last entry 5:30 pm)

    Wednesdays – Sundays


    Free Admission



    Chronus Art Center (CAC) is pleased to present Flux in Dust, the first iteration of CAC’s 2023 new program CAC Projects in collaboration with the artist LONG Pan. The project opened on June 20, 2023 and will remain on view through August 20, 2023.
    Leaf and Fireworks are derived from a research trip conducted by the artist in Guiyu, Guangdong in 2021. As one of the largest e-waste dumps of the world, the small town has played a crucial role behind the scenes of today’s fast-forwarding planetary computational capacity in the past two decades. By exploring the sedimentary traces of metals in the region, LONG Pan initiated an artistic experiment.
    exhibition view © Chronus Art Center 
     exhibition view © Chronus Art Center
    Fireworks presents a splendid moment of copper, a base metal dispersed in the global material economy. After undergoing extraction and liquefaction, it circulates back to the earth through a traditional Chinese ritual Datiehua (打铁花). Among the exploding sparks, the show also unveils the process of LONG Pan’s alchemy in the opposite direction. She was intrigued by plants rich in heavy metal accumulations that grow in an opaque blank area in satellite imagery. The heavy metals in discarded electronics from all over the world permeate and condense within them. In Leaf, plant roots are uprooted from the soil, and the extracted metals are transmuted into the glaze on the surface of leaf-shaped ceramic pieces. Under a microscope, the metals are eventually visualized as glittering dust.

    Leaf, a ceramic leaf, LONG Pan, 2022 ©the artist, Chronus Art Center

    Leaf, archives ©the artist, Chronus Art Center

    Leaf, microscopic photography, LONG Pan, 2022 ©the artist, Chronus Art Center

    Fireworks, still image, LONG Pan, 2023 ©the artist, Chronus Art Center


    Metals in Leaf and Fireworks circulating among the technological, the earth, and the plants alongside the pulsation of organic matters reveal the fluctuating permeation between life and nonlife as well as the contemporary magic of alchemy: chemistry and geographically dispersed logistic infrastructures. The complex social, political, and conceptual disturbances spanning various systems and scales on the planet also manifest through camera lenses and microscopes.



    About the Artist



    LONG Pan is a social practice artist working in art, research, technology and community. She collaborates around issues of bioremediation and biopolitics using digital and biological material such as fungi, plants, pollutants, electronics, minerals, etc. She is interested in the human footprint in the environment, and the biological response to environmental change, especially in China's struggle between ecological embarrassment and technological exuberance. She is also focus on making invisible changes in the environment visible through biotechnologies such as "phytometallurgy" and "fungal degradation". Through interdisciplinary research, fieldwork, and visual art expression, she hopes to provide us with a fresh perspective to read the deeper and often overlooked relationship between human existence and the environment in contemporary industrial society. Exploring and presenting the 'secret correspondence' of the whole network of life in which human beings live. Her art mediums include but are not limited to bio-sculpture, ceramics, installation, video, photography, etc.



    To mark our tenth anniversary, the Chronus Art Center (CAC) is pleased to present in its new space an exhibition featuring archives and documentations that trace CAC’s decade-long trajectory of research and practice. The exhibition is on view from April 17 – May 28, 2023.



    In this overview CAC's past projects are highlighted on three chronological timelines - exhibitions, public programs, and CAC Lab, teasing out several clues that shape the research direction of the center. They address a wide range of media art themes and attest to ongoing cultural paradigm shifts. From machine dynamics to fluidity in moving images, from hybrid realities and embodied technologies to speculations on machinic ontology, from the materiality of bits and bytes and the new reality that is empowered by algorithmics to the agency and subjectivity which emerge from artificial intelligence, from visceral encounters with various life forms to the intellect and autonomy that are present in artificial and biological agents – concepts such as life, nature, reality, umwelt, time, and materiality, among others, are being questioned and deviating from their traditional semantics. Many of the projects developed by CAC point to an entangled worldview, consisting of connections and effects that intertwine with each other with agentialities beyond the dualism of technology and nature, the living and non-living, the subject and the object, and substance and the non-substantiated.


    Photography: ZHONG Han


    The following trajectories characterize CAC’s practices in the past ten years:



    # machines, robotics, machinic assemblages, humanoids, automation, system theory


    Media art is first of all an art based on technical devices and is inseparable from equipment and apparatuses. Machines are the medium of creation, as well as the devices for display and presentation. Machines are interdependent and coordinated organs; machines are not only simulated life and vitality, but furthermore bear with themselves distinctive existential logics, psychosomatic attributes and social relationships. As the fundamental feature of media art, this thread explores the themes of machine aesthetics, bodies and machines, systems thinking, cybernetics, algorithms, and machine autonomy in the context of machinic movement.



    moving images, VR/AR/XR, hybrid reality, immersion, embodiment, existential technologies


    As extensions of machine movement, moving media, cinematography, and moving images take an important step toward the simulation of real life. How does the growing integration between humans and machines manifest itself in art? How would virtual technologies alter the definition of reality, temporality and spatiality? The transmutation of bits and bytes into materiality becomes one of the fundamental investigations of new art forms in the field of mixed and mediated reality through physical computing and VR/AR/XR technologies. The second section presents the aesthetic objects of 'It from Bit,' which examines the ideas of simulation and representation through the hybridization of digital and physical forms. This thread also explores how experiential, non-liner narratives can be created with augmented and virtual technologies, and how our perceived reality is questioned when detached from its own materiality. At the same time ontological questions about the nature of reality and human perception are being scrutinized.



    # code, data,, internet, network theory, open source, blockchain


    The knowledge production behind making and understanding computer code and critical artistic practices run in parallel in this section. This thread explores how computer code changes the way we think, behave, and perceive reality, as well as how digital computation and networks penetrate deeply into human life, society, geopolitical patterns, financial systems, labour conditions, infrastructure, and the environment. By interrogating the front-and-end interfaces, and the diverse types of digital networking infrastructures underling them, the research and practices in the section unravel hidden dependencies of complex technological systems, reflecting on the formation and pioneering spirit of the early Internet culture, as well as the dark matter and noise that rampage in the digital world.



    # bioart, biopolitics, microbiopoliticss, biological process, kinship, bioengineering


    By presenting the artistic use of life science and biomedical technologies, the practices within this thread highlight philosophical and ethical considerations stemming from new technological approaches to life. This thread creates encounters between various life forms, dissecting phenomenology of the living and the growing into the precarious zones of the uncanny, the borderline between the animated and the subliminal.



    # algorithms, artificial intelligence, agentiality, emergence, symbiosis, biomedia


    How do imagination and sovereignty manifest the new reality constructed by the materiality of bits and bytes and the algorithmic power of the digital? How can one imagine an AI freed from an assumed intelligence based on a human measure, as well as seeing machine intelligence as an agentic entity of another order, capable of subjectivity other than that of humans? This thread explores intelligence, self-organization, autopoiesis, autonomy, and biophilic properties as expressed by inorganic matters, non-human entities, electronics, algorithms, codes, and biological agents. In this process, we will rethink the definition of intelligence, life, and existence, seeking the potentials of all beings co-mingling and co-existing in symbiosis, bearing witness to the emergence of each cohabitant's unique selfhood.



    # umwelt, energy, machinic ecology, anthropocene, more-than-human, climate engineering, cosmopolitics


    CAC's research and practices span the broad spectrum of New Materialism as seen in Thing Theory, Flat Ontology, and posthuman studies, among others, that link beings of many kinds, environments of many stratifications, landscapes and artefacts of many orders, in an ever more complex entanglement, at scales that range from the microbial through to the planetary, manifesting the various approaches to the understanding of multiple subjectivities in a posthuman context. How can the concept of materiality, temporality, embodiment, and nature be reilluminated and expanded? What is the response to the porosity, complexity, transversality, and aesthetics in a techno-logically engendered posthuman society deeply troubled by a condition of representational crisis and an environmental exigency? The projects presented in this thread dive into the question of how the posthuman can become the condition for art making that elicits a new paradigm shift of cultural imagination in the twenty-first century.



    On the occasion of its tenth anniversary, CAC invites visitors to partake in this retrospective, which also serves as a new start for CAC to continue its mission by implementing a multi-nodal, networked exhibition and research model.




    Entangled: bio/media

    2022.07.30 - 2023.02.06

    Chronus Art Center (CAC)

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



    CAO Shuyi, Mads Bering Christiansen & Jonas Jørgensen, Yunchul Kim, KU Kuang-Yi, LO Yu-Chun, and TIEN Zong-Yuan, Ani Liu, Iris Xiaoyu Qu, Anastasiia Raina & HUANG Danlei & Meredith Binnette & Georgina Nolan & HU Yimei, Casey Tang, WANG Yueyue, XU Haomin, XI Lei, and Yakushimaru Etsuko



    ZHANG Ga



    BI Xin, CAO Jiamin and ZHANG Ga






    11 am – 6 pm (last entry 5:30 pm)

    Wednesdays – Sundays

    Free Admission


    Chronus Art Center is pleased to announce the presentation of Entangled: bio/media, a new exhibition featuring ten groups of artists, including CAO Shuyi, Mads Bering Christiansen & Jonas Jørgensen, Yunchul Kim, KU Kuang-Yi, LO YU-Chun, and TIEN Zong-Yuan, Ani Liu, Iris Xiaoyu Qu, Anastasiia Raina & HUANG Danlei & Meredith Binnette & Georgina Nolan & HU Yimei, Casey Tang, WANG Yueyue, XU Haoming, XI Lei, and Etsuko Yakushimaru. Conceived by ZHANG Ga and co-curated by BI Xin, CAO Jiamin and ZHANG Ga.

    In the development of biotechnology and bioinformatics, the biological process is able to be read, measured, and researched in the formats of information, programs, and codes. Media theorist Eugene Thacker in his book Biomedia (2004) explicated this ongoing recontextualization of a life form that transitions from carbon-based to silicon-based material, as well as the converging of computer science, molecular biology, genetic codes, and computer codes. When a living entity can be interpreted as a medium, the biological process of corporealizing itself is “a process of mediation,” which resonates with Thacker’s principal concept in his media theory that regards mediation as a necessary process for the formation of mediums. From this point of view, a biological system does not function in a reductive manner that would resort to the mechanical Newtonian paradigm. Instead, it evolves in nebulas, myriad particles and related situations that require living organisms to “exist in time, be modulated according to different contexts and situations.”

    Entangled: bio/media further explores this condition by rethinking the notion of biomedia. Whereas all entities are in the constant process of grasping and adapting to an unpredictable entropic cosmos, the fluctuating, evolving, and compilable materiality of nature is also reflected in the organization and execution of information, programs, and codes. A unique perspective for the exploration of the biophilic properties of artificial intelligence, electronics, algorithms, and informatics is of great importance. The exhibition Entangled: bio/media is conceived as a contemplation and enactment of this perspective.

    The exhibition not only elevates and liberates bioart from an art discipline that works primarily with bacteria, genetic, or transgenic material via technological means, but also responds to urgent contemporary inquiries including transformative substrates and the definition of life, the shifting paradigms of the evolving natural process, the emerging agency mediated by both the biological and technological milieus, and the yearning for a symbiotic relationship between physical beings (so-called nature), technical beings (the artificial namesake), and psychic beings (living things), in order to rethink a Simondonian concept in a post-human world order.

    The participating artworks are unveiled progressively throughout the exhibition’s four chapters. The first chapter, Transcoding, explores the intelligence and rhythm of life embodied in inorganic matters (CAO Shuyi), the feedback loop between the plasticity of consciousness and technological iterations (Ani Liu), and the mobility, collaboration, and flow of energy across various species (Anastasiia Raina & HUANG Danlei & Meredith Binnette & Georgina Nolan & HU Yimei). This chapter not only explores whether emotion, perception, and subjectivity can be produced and shaped through codes, devices, and labs, but it also pictures the future bonds between human and non-human entities from the perspective of biocentric design, calling for an open intelligent machine ecology that incorporates reciprocal aesthetics and planetary thinking into Artificial Intelligence and Machine Learning.

    CAO Shuyi
    3-channel video installation


    3D printed resin sculptures


    Ani Liu
    A Search for Ghosts in the Meat Machine
    video installations


    Anastasiia Raina & HUANG Danlei & Meredith Binnette & Georgina Nolan & HU Yimei
    Microbial Cosmologies
    videos, app


    The participating artworks will be unveiled progressively throughout the exhibition’s four chapters. The second chapter "Evolution" assumes that living beings have the ability to act as mediums, and that mediums can take on the characteristics of living beings, how to distinguish between life and code, nature and the artificial, organisms and bits and bytes? Based on the concept of "post-humanity music", Yakushimaru Etsuko's project I'm Humanity considers DNA sequences as a medium for storing music. By converting musical information into the genetic codes of cyanobacteria, I'm Humanity enters a dynamic evolutionary process where not only the musical information is likely to be lost to mutations, but also its cultural message may be derived, altered, and even replaced.


    Yakushimaru Etsuko
    I'm Humanity
    genetic coded music, CD, music video


    KU Kuang-Yi, LO Yu-Chun, and TIEN Zong-Yuan's collaborative work Future Museum of Holy Pig further explores the evolution of biomedia within cultural dimensions. The artists posit a science-fiction scenario in which, after the year 2020, there will exist numerous parallel worlds that cultivate pigs by means of cutting-edge technology, with pigs being on the verge of extinction. Through exchanges of conflicting views, the demonstration of architectural engineering drawings, and their fanciful imagination, this conceptual museum delves into the dynamic relationship between folk customs, technology, and the natural environment.

    KU Kuang-Yi, LO Yu-Chun, TIEN Zong-Yuan
    Future Museum of Holy Pig
    4-channel video installation, printing documents, 3D architectural rendering


    In third chapter “Agentic Entity”, we will explore the vitality and autonomy presented by nature, inorganic matters, and artificial life as a means of further expanding our understanding of life. Yunchul Kim's Argos considers machines as a non-human agency. This piece is composed of 41 Geiger–Müller tubes, presented as a single living organism, a blinking light that detects particles of the universe. Argos is not a machine of ordinary kind but a dynamic architectural structure in constant interaction between cosmic radiation and vibrational impulses. If Kim's work explores the relationships between metaphor and materiality, then Mads Bering Christiansen and Joans Jorgensen's work rethinks the relationships between language and object. SONŌ explores the impact of language in the realm of human-robot interactions. Based on the artists' research, sound signals are a potentially more effective medium for conveying emotion than vision in social robotics. This work points to the question of “what is life”? What does language/sound mean to life?


    Mads Bering Christiansen, Jonas Jørgensen
    Soft robotics installation 


    Yunchul Kim
    Geiger Müller tube, glass, aluminium, microcontroller 


    Iris Xiaoyu Qu’s work, the distributed identity of an artificial landscape, constructs a series of artificial landscape and soundscapes to manifest the embodied experience of an AI system. By revealing the ubiquitous hardware infrastructures hidden beneath the light and smart shell of an AI system, Qu intends to re-trace its identity scattered on earth layer. The project hints at a posthuman turn in which nature and technology entangle with each other.


    Iris Xiaoyu Qu
    The distributed identity of an artificial landscape
    Video installation (color, multi-channel spatial audio, 10 min, loop)


    Chapter four "Symbiosis" provides further insight into the convergence and interdependence of organic and artificial life by developing an understanding and discussion of the complexity and recontextualization of the bio-mediated construction of multiple relationships from a systematic perspective.

    As a reconfiguration of Condensation Cube by Hans Haacke in 1963-1968, WANG Yueyue’s work Clouds congeal into raindrops falling into the sea reflects an interest in the generative process of autonomy in a technical object and its systematic operation within its fluctuating surroundings, which resonates to the Cybernetics movement in the realm of computation, social and political studies, art, and more in mid 20th Century. Wang rediscovers the interface between biology, ecology and technology by further complicating the interaction between the “cube” and the environment with data from a distant location in the future -- weather forecast data collected from a specific area of the ocean in the artist’s hometown of Qingdao. The fluxing relationship between the self of technology and ecology, one without nature in today, is presented to us in the “cube”.


    WANG Yueyue

    Clouds congeal into raindrops falling into the sea

    Custom electronics, water pump, atomization device, acrylic, stainless steel, pvc tubes, water



    XI Lei's research project Why Sangyuan Polder? centers around the following questions: what is the role of traditional water-related techniques and technologies today? Do they have the potential to lead us beyond the "land-centrism” that has underpinned the evolutionary process of modern technical objects? By focusing on the internal tensions existing between traditional and modern technological water infrastructures, this project extends the discourse of the anticipated symbiotic development powered by technology and integrated with nature in relation to social and economic values.


    XI Lei

    Why Sangyuan Polder?

    Single channel video with sound, found items (fish feed packages, fishing medicine cans and buckets), electronic candles



    Meanwhile, in Rootless Tree, XU Haomin takes another step further to question the conception of symbiosis, as it may be another utopia framed by human desire. The piece presents a bleak scenario with an uprooted tree, noises, and compressed chaotic images reflecting a dark ecology that urges us to rethink the conventional way of knowledge, as maintained by humanity. Are human beings really capable of grasping geological deep time and the accelerating development of technology? Does our manipulation in fact verge on failing? For co-existing, maybe the time has come to discuss a new way of knowing for the attunement within the self and the other, the norm and the abnormal, and human and non-human relationships.


    XU Haomin

    Rootless Tree

    3D printed model, paint, custom electric circuit, electronics, LED panels, web page, acrylic



    Thacker states in Biomedia that biology has become ever more biological through the mediation of technology. The corporealization of nature is strengthened across different substrates. Technology, on the other hand, emerges a kind of “self” transcendence beyond the dualism of nature and technology through the mediation of biology/nature, which learns to “exist in time” together with biological beings in this entangled world. Based on this vision of the “co-naturality” between the natural and technological milieu, the exhibition Entangled: bio / media narrates a parable of paradigm-shifting reality, seeking the potentials of all beings comingling and co-existing in symbiosis, thus to witness the emergence of an unique selfhood of each cohabitant.


    The participating artworks are unveiled progressively throughout the exhibition’s four chapters. From July to October, a new chapter was announced in each month. Entangled: bio/media as a 'living' entity, grows on its own at CAC.



    ©Chronus Art Center. Photo: ZHU Lei




    AI Delivered: Redemption

    2021.11.12 - 2022.02.27

    Chronus Art Center (CAC)

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


    ArtistsCesar & Lois, Ursula Damm, Interspecifics, Helena Nikonole, ZHENG Da



    Curated byZHANG Ga



    Exhibition Opening
    14:00 - 19:00

    A music performance by a man and an AI fridge
    an opening performance powered by CAC Lab
    an opening performance powered by CAC Lab




    11 am – 6 pm Wednesdays – Sundays

    Admission: ¥ 30 (Free admission on Wednesdays)

    *Free admission on the day of opening.



    Chronus Art Center is pleased to announce the new exhibition AI Delivered: Redemption, the second component of a two-part exhibition under the auspices of AI Delivered. Featuring artists and artist collectives Cesar & Lois, Ursula Damm, Interspecifics, Helena Nikonole, and ZHENG Da. The exhibition will be on view from Nov 12, 2021, through Feb 27, 2022.



    When answering the question “Can machines think?” the British mathematician and AI progenitor Alan Turing in his 1950 essay Computing Machinery and Intelligence proposed his infamous Imitation Game (aka The Turing Test) as a counterargument to his own self-imposed question, writing “The original question, ‘Can machines think?’ I believe to be too meaningless to deserve discussion.” Turing argued instead “that in about fifty years' time it will be possible, to program computers, with a storage capacity of about 109, to make them play the imitation game so well that an average interrogator will not have more than 70 percent chance of making the right identification after five minutes of questioning.”[1] American philosopher Daniel Dennett later speculated in his text Can Machines Think, “Turing was not coming to the view (although it is easy to think how one might think he is) that to think is just like to think like a human being … Men and women, and computers, may all have different ways of thinking. But surely, he thought, if one can think in one’s own peculiar style well enough to imitate a thinking man or woman, one can think well, indeed.”[2]


    As a sequel to the first part of the exhibition AI Delivered: The Abject, this new iteration accentuates on the redemption of AI with the alternative narrative of the Turing Test and its implication in perspective. It imagines an AI freed from an assumed intelligence based on a human measure as well as seeing machine intelligence as an agentic entity of another order, capable of a subjectivity other than that of humans. The exhibition illuminates how such an AI is envisioned by artists to explore a cosmopolitically conscious ecology and the posthuman prospects of symbiosis and of collective commons.


    Five works of different latitudes by the artist collective Interspecifics open the exhibition with an immersive vibrance that entangles human with nonhuman, algorithm with bacteria, and the cosmic with the homegrown.


    Codex Virtualis_Genesis, the first incarnation of the tetralogy Codex Virtualis marks the latest foray of the artist collective Interspecifics into yet another uncanny zone of speculation, which they had started in the multi-year investigation in the making of Speculative Communications, also presented here in its full arrangements. Poetic as well as painstakingly technical, this embryonic coming-forward is where biology meets neural networks and a hybrid form of life thus born through an aesthetic inquiry beyond the feeble mind. The ambitious project promises to deliver one of these organisms with resilience and vitality and “see it living virtually” in the final episode of Codex Virtualis_Life. Codex Virtualis is the outcome of the SETI x AI art residency, a partnership between the SETI Institute’s Artist-in-Residence (AIR) Program and ARS Electronica.


    Codex Virtualis_Genesis, Interspecifics, 2021 © the artists.


    Speculative Communications, Interspecifics, 2017-2020 © the artists. Photograph: Thomas Bruns.


    Three sound installations traverse the first gallery as a stereoscopic cacophony of otherworldliness yet in harmony by its own accord. In Terrestrial Ensemble, four sets of mallets striking four Teponaztles reverberate with information from the National Seismological System. Geological residues and seismic rhythmics inform Interspecific’s vision in the bricolage of technology of the past and dataset of the present. Aire v.3 and Recurrent Morphing Radio are evocative of sociopolitical dimensions, in which noise eventually takes over.


    Terrestrial Ensemble, Interspecifics, 2018 © the artists.


    Aire v.3, Interspecifics, 2020-2021 © the artists.


    Recurrent Morphing Radio, Interspecifics, 2020 © the artists.


    Micro-rythms, Interspecifics, 2016, exhibition view at MOMA Medellín © the artists.


    Artist duo Cesar & Lois sets forth to explore an artificial intelligence system that learns from nature’s different timescales. It is AI that will operate independently of anthropomorphic awkwardness. The kinetic installation Allochronic Cycles also “uses time forecasting to predict future atmospheric carbon levels.”


    Allochronic Cycles, Cesar&Lois, 2018, installation shot © the artists.


    In Bird Language, a neural network was fired to train the sounds of nightingales so that communication between non-human agents may be established. This cognitive extension beyond the chasm of species makes the promise for interspecies understanding, encouraging cooperation where multiple subjects co-exist and co-evolve.


    Bird Language, Helena Nikonole © the artists.


    In Ursula Damm’s installation Membrane, rather than forcing AI to emulate a “reality,” a dynamic of power equilibrium results in a highly abstracted visual game of you-in-me and I-in-you, human and AI thus are interlocked and co-effectively intriguing.


    Membrane, Ursula Damm, 2019, installation view at Entangled Realities © the artist. Photograph: Franz Wamhof


    ZHENG Da ventures to delegate his body to the fancy of the machine. The artist would strap himself routinely with various sensors to transmit bodily information and environment data surrounding him to Supervised Machine Learning process. The LOW·AI BOX is as much the artist’s body as an endless source of artistic imagination endorsed by AI.


    LOW-AI BOX, ZHENG Da, 2021, AI installation © the artist.


    The exhibition will be accompanied by a publication with an extended essay, invoking historical and current literatures on the critical reflections of AI, to expound on the curatorial conception and the included artworks.


    1., 5/3/2021



    Funded by the International Relief Fund for Organisations in Culture and Education 2021 
    of the German Federal Foreign Office, the Goethe-Institut and other partners.