Category: PRESS

    On July 22, Chronus Art Center (CAC) organized the public workshop "Field Remediations: Carbon initiated by Karolina Sobeck, one of the participating artists of CAC summer exhibition Machines Are Not Alone. The five invited guests in the workshop shared some of their research and practices in the fields of photosynthesis, carbon dioxide capture, geological utilization and storage technologies and carbon market. They also joined the hands-on experiments devised by the artists and unfolded a multi-aspect discussion based on a series of issues surrounding the carbon cycle.

     

    Public Talks 

    Photosynthesis: C3 and C4

    Guest: ZHU XingGuang, Institute of Plant Physiology & Ecology, Shanghai Institutes for Biological Sciences, Chinese Academy of Sciences.

     

    CO2 Capture, Geological Utilization and Storage Technologies

    Guest: WEI Ning, Institute of Rock and Soil Mechanics, Chinese Academy of Sciences.

     

    Carbon Market in China

    Guest: QIN Siyan, Pony Testing Internation Group.

     

    Deep Swamp

    Guest: Tega Brain, artist.

     

    ▼ Artist Karolina Sobecka introduces the topic and background of the workshop.

     

    ▼Experiment & Discussion: Drawing Carbon Cycle

     

    ▼Experiment & Discussion: Closing the Carbon Cycle

     

     

    Special thanks to Pro Helvetia Shanghai and the strategic support from Swissnex China

    Chronus Art Center (CAC) is pleased to announce that the fifth Research/Creation Fellowship (USD$10,000) has been awarded to Mileece for her project proposal Bio-Semiotics AI. After the selection from a competitive pool of international applicants, Mileece begins her residency program from July 31. During the 3-month program, she will work closely with CAC to realize her project Bio-Semiotics AI.

    Jury Statement 

    Chronus Art Center's fellowship program aims to support and advance research-based artistic practice, with a particular emphasis on artists who employ scientific methodologies and technological developments in the conception and production of their work. The selection was based on the strength of the proposed project and evidence of the candidate’s past accomplishments that demonstrate the potential to advance technical and artistic investigation related to CAC's research/creation lines of inquiry.

    Mileece proposes to think about machines as a function of nature rather than frame them as strictly human-related and artificially-created objects. Bio-Semiotics AI conceptually blurs the ever thinner distinction between the natural and the artificial by bridging, through technological layers, certain aspects of the biosphere with intelligent, artificial agents.

    In addition to the strong conceptual quality and artistic potential that Mileece’s proposal demonstrates, the project also catalyzes the development of a sonic and visual bio-semiotic generator, a tool for exploring new possibilities of harnessing biological intelligence in order to expand AI systems. In addition, the project will experiment with custom pattern-recognition systems, an audio synthesis engine to generate lingual-based sonification and an existing laser-based sonoluminescent transducer.

    Mileece: Tahitia Hicks, 2010  © Courtesy the artist

     

    About the Work 

    Bio-Semiotics AI by Mileece

    Inevitably, artificial intelligence will eventually form its own identity. How that identity forms, however, will likely be determined to a significant degree by how we design its preliminary frame of reference. In essence, we are designing AI in our image. It is for this reason that we must examine what that image is and consider how its trajectory might diverge from what we need and desire for ourselves and our environment, if we hope to anticipate accordant AI.

    Our common and most basic human nature is Biophilic. The original definition of ‘biophilic’ by Edward Wilson is “humans’ innate urge to affiliate with other forms of life.” Although it may be true that the human relationship to AI is an urge to affiliate, with regards to other forms of organic life, it is more accurate to define it as ‘an innate need to integrate.’

    This is plainly illustrated by considering our collective need to breathe. As consumers of oxygen, our integration with plants and photosynthesising bacteria that produce all our planetary oxygen isn’t just an urge, but a common, irrefutable, irrevocable need, as it is for billions of other living creatures on Earth. We are in constant exchange with the biosphere as we breathe in and out, which we do as a function of life.

    In this regard, we can and should look towards ourselves as being a form of nature, a nature able to make decisions, and a nature with agency upon its nature. “Machine” can thereby be considered a function of nature whereby our decisions to amplify our agency and drive the creation of technology, which is in turn subject to natural laws.

    This project is about creating an alternative position to this viewpoint which although arguably crucial, is rarely engaged: that of the natural intelligence of the biosphere applied directly to AI. It seeks to engage the possibility of harnessing biological intelligence to iterate learning frameworks for AI with the least amount of human intervention, and thus introduce the biosphere’s integration with technology as a basis for expanding intelligence systems.

    The result at month three will be a generative light and sound experience with occasional congruencies iterating as cross-modal, word-like bursts. Actual systems will be created and integrated in place, replicable and expandable by nature. The work will continue to self-orient towards greater expression and viability over time, with plenty of room for further contributions, refinement, collaboration and expansion

    Mileece: Tahitia Hicks, 2010  © Courtesy the artist

     

    About the Artist 

    Mileece is a sonic artist, composer, interactive ecology designer and clean-energy ambassador. She has helped pioneer the modern evolution of plant biofeedback, presenting PiP, her custom coded synths and hardware for plant bio-data sonification at an array of prestigious museums (MoMA, NYC), festivals (BHIF Festival, Bhutan), and venues (Kew Gardens, London). Her work in immersive installations, sonic design and composition, interactive sculptures, as well as original products, materials and instruments, are central to a series of highly lauded projects, including the Miracle Gro “Grow Something Greater” campaign, and her “Sonic Garden” installation for Sonos Studios.

    As a composer and recording artist, her debut work Formations was critically acclaimed internationally, and heralded by the BBC as an “outstanding release, real musical science.” Her message of 'promoting ecology through technology and the arts’ guides her roles as Creative and Technical Director to several institutional collaborators and brands.

    Currently, she is developing zero energy, network-based urban wilderness sanctuaries inside technologically augmented biodomes to help balance our modern lives with the needs and benefits of the biosphere.

    Chronus Art Center (CAC) in collaboration with ZKM | Center for Art and Media Karlsruhe and Nam June Paik Art Center co-present an international group exhibition series Datumsoria. The exhibition was inaugurated at CAC from September 17 to December 30, 2016, traveled to ZKM | Center for Art and Media Karlsruhe subsequently between September 9, 2017 and March 18, 2018 and is currently on view at Nam June Paik Art Center, exhibiting artworks by LIU Xiaodong, Carsten Nicolai and Nam June Paik.

    Meanwhile, “Three Rooms,” a project initiated by CAC, ZKM and Nam June Paik Art Center, supporting and promoting international exchange of emerging media artists, is now open at Nam June Paik Art Center, featuring three artists: YANG Jian (China), Verena Fridrich (Germany), and Kim Heecheon (Korea) who were selected by the three institutions. The Chinese selection was made through the exhibition A Nomination Exhibition of Three Rooms: International Touring Exhibition of Young Media Artists in 2017 at CAC.

    Datumsoria and Three Rooms opened on July 12 and will remain on view  through September 16 at Nam June Paik Art Center.

     

     <The opening of Datumsoria & Three Rooms>

    ▲ LIU Xiaodong: Weight of Insomnia, commissioned by "Art&Tech@". Courtesy of Nam June Paik Art Center.

    ▲ LIU Xiaodong presenting his work. Courtesy of Nam June Paik Art Cente

    ▲Verena Friedrich: The Long Now. Courtesy of Nam June Paik Art Center

    ▲ YANG Jian: Forest of Sensors. Installation performance. Courtesy of Nam June Paik Art Center

     

     Past Exhibition 

    Datumsoria @CAC

    Datumsoria @ZKM 

    A Nomination Exhibition of Three Rooms: International Touring Exhibition of Young Media Artists @CAC

     

    Co-presented by 

     

     

     

    Project: ALIA: ZǓ TÀI, a co-commission by CAC and CTM and co-funded by Goethe-Institut's International Co-Production Fund.

    Artists: Marco Donnarumma (DE), Nunu Kong (CN)

    Keywords: experimental dance/theater, interactive sound, robotic prosthesis, physicality, hybridity

    Call type: Performer (salary-based)

    Application Deadline: June 3rd, 2018

     

    <WHAT WE LOOK FOR>

    We are looking for one performer to join Donnarumma and Kong, so as to form a team of 3 performers. Dancers and performers working in the field of experimental dance, experimental theater, improvisation, butoh, as well as physical theater are all welcome to apply. We are searching for someone who is accustomed to push the limits of the body, both physically and conceptually; someone who is accustomed to hybrid forms of performing art and who is interested in developing an in depth understanding of technology through corporeal experimentation. Given the concept at the core of the project, we are looking for a performer with a particular body presence. We are therefore interested in performers with any body size, shape, color or gender identification.

    Selected applicant will be expected to join rehearsals, premieres and tour(see production details below). Salary includes fee for rehearsals and performances. Costs of travel, accommodation and per diem in Berlin will also be provided.

     

    <PRODUCTION DETAILS>

    Duration: 
    The production will begin in June 2018 and end in December 2018.

    Where & When: 
    First production phase between June and July in Shanghai. The performer selected through this open call will join rehearsal by June 18th.

    Second production phase between October and November in Berlin (flight to Berlin, accommodation and per diem in Berlin will be covered by our co-production fund).

    Premieres: 
    The piece will be premiered in Berlin in the end of November, and in Shanghai in the beginning of December, venues are being confirmed.

    Tour: 
    The piece will tour throughout 2019 in Asia and Europe. Dates and venues will be announced.

     

    <ABOUT THE PROJECT>

    Taking its title from the Latin “alia” - the other – and the Chinese “zǔ tài” - configuration, “Alia: Zǔ tài” will be an experimental dance/theater and interactive music performance.

    Three dancers wear three artificially intelligent robots on their bodies. The robots are like prostheses, but behave according to their own agencies. The dancers and the machines thus engage in a re-discovery of the self and the other, transporting the audience in a sensual, stirring and poetic choreography of movement, sound and light.

    Produced in Germany and China, the piece will explore new identities emerging from the increasing use of artificial intelligence and robotics in both countries. How do those technologies influence the way we understand, categorise and discriminate human bodies across cultures? What differs in German and Chinese culture? What kind of body is “normal”, why and where?

     

    <ARTISTS BIOGRAPHIES>

     


    Marco Donnarumma's performance work inhabits an uncommon aesthetic space between contemporary performance and media art. He distinguishes himself by his use of emerging technology to deliver performances that are at once intimate and powerful, oneiric and uncompromising, sensual and confrontational. He is renown for the unsettling intensity of his shows, as well as for his physical use of sound. Writing regularly on body, music, technology and performance studies, he is published by MIT Press, Oxford University Press, Routledge and Springer. Donnarumma began his career in 2004, and since then his performances toured over 60 countries worldwide collecting several prizes across the years, most notably Prix Ars Electronica Award of Distinction in Sound Art (AT, 2017), 1st prize Cynetart Award for Computer Based Art (DE, 2014) and Guthman New Musical Instrument Competition (US, 2012). Donnarumma is currently Research Fellow at the Berlin University of the Arts (DE) in partnership with the Neurorobotics Research Laboratory at Beuth Hochschule.

    http://marcodonnarumma.com

     

    Nunu Kong began her choreographic career in Shanghai in 2005. She has the established her own independent dance project “BrandNuDance”, which has become one of China’s most innovative experimental performing arts exchange platforms. Promoting experimental dance as a new and vital medium in contemporary art, she has produced numerous international dance productions, commissions, workshops, lectures and presents Chinese independent performing artist’s work beyond the underground. Through her work, Kong develops a characteristic form of expression, playing with time and space in poetic and illusionary dimensions at both visual and dramaturgy levels, with a particular sense of humor instinctively blended into her choreography. She is the recipient of several international awards, including  Dutch Doen Foundation “Young Choreographer Project” (NL, 2007),  Theatrical Talent Shanghai Cultural Development Foundation (CN, 2008), two Gluck Art Foundation Grants (2011 and 2012, US) and the Asian Cultural Council Fellowship (2015-2016).

    http://nunu.we23.org

     

    <APPLICATION GUIDELINES>

     

    ELIGIBILITY

    -    Only applicants living and working in Shanghai can apply

    -    Applicants should be able to use English as working language

     

    HOW TO APPLY

    Please download ⇒the application form and submit it with necessary attachments via email to: nikitalin@chronusartcenter.org.

    Please use “Your Name + Apply for Performer_ALIA” as your E-mail subject line.

    All applications must be received electronically by 23:59 (Beijing Time), Sunday, June 3rd, 2018.

    Applicants will be informed about their application status by June 13th, 2018. Selected applicants will be invited to an audition in Shanghai with Donnarumma, Kong and our producers (dates to be confirmed).

    Please send further inquires to nikitalin@chronusartcenter.org with “Inquiry + Apply for Performer_ALIA” as your Email subject line.

    Chronus Art Center (CAC)

    2018 Research and Creation Fellowship

    Call for Proposals

     

    Title: i-Learn: The algorithmic delusion

    Call Type: Fellowship (US$10,000)

    Application Deadline Extended: All applications must be submitted electronically by 23:59 (Beijing Time), Tuesday, May 15th , 2018 via http://fellowship.chronusartcenter.org

    Notification of Selection: Applicants will be informed about their application status by mid June 2018.

    Fellowship Starts: Summer 2018 (start dates negotiable with reason).

     

    < OVERVIEW >

    This year Chronus Art Center (CAC) opens its Lab for the second 3-month research and creation fellowship. This program is designed to host one international artist and researcher of extraordinary talents in the area of new media art in order to conduct research and creation at Chronus Art Center (CAC), Shanghai. The 2018 Research and Creation Fellowship aims to foster global exchange while advancing the discourse and practice of new media art, and contribute to CAC's research and educational mission as well as the institution's future collection.

     

    < i-Learn: The algorithmic delusion >

    On the age of artificial intelligence (AI), the more complex mental layers rendered over the raw perception of the world are no longer exclusive human abilities. As AI emerges with its learning procedures it evermore displays human-like characteristics of a sort of cognition such as: the interpretation of reality, natural language processing, understanding of the visual landscape, among others.

    Our common understanding of technological developments is that it mirrors natural evolution and therefore AI is the pinnacle of human creativity. Nonetheless, on their current capacity these AIs present all sort of errors and limitations. On one hand, we can easily argue that these are the result of an early state of development or limited hardware, but another possibility could be that these constraints are just a simple reflection of our own limited understanding of reality. In other words, we create and train these autonomous and intelligent systems to see and understand the world as we humans do and reject all of their glitches as mere technical malfunctioning, while another possibility could be that the errors themselves are part of the human-like acquired features of these machines, hence rendering existence in more dubious ways. This presents a fundamental problem if we consider the role these systems currently play in our lives, financial system, health industry, war, online-dating, social networking and autonomous vehicles among many other functions and applications.

    i-Learn: The algorithmic delusion is a research and creation opportunity for artists working in and thinking of various fields of artificial intelligence such as: machine vision, natural language processing, cognitive computing, swarm intelligence, robotics, and any other forms of intelligent technological systems.

     

    < ELIGIBILITY >

    • This fellowship is open to international artists and researchers of all nationalities.
    • Applicants should be able to use English as working language.
    • Applicants must not be currently enrolled in degree-granting academic programs, with the exception of PHD candidates who are aiming to develop technical work within the scope of the fellowship.
    • Applicants are expected to show demonstrable success in previous development of related projects at this scale.
    • Individuals and collectives are eligible to apply. In either case, please detail in your application how technical and creative responsibilities will be met.

    The selected Fellow will be expected to work at CAC's laboratory with the research and creation team on a range of activities including active contribution to the larger CAC community, collaborative partnership with other fellows, leading research initiatives, educational programs and public engagement, and developing current or future research areas for the organization. Projects, including prototypes, documentation, and work-in-progress, will be presented to the public at Chronus Art Center.

     

    ABOUT <CAC_LAB>

    <CAC_LAB> is a space dedicated to the inquiry of present-day matters regarding art, design, science, technology and their impact on global contemporary culture and society. Through artistic practice, technological tools and research methodology, we enable creative processes that result in works of art of high production and academic value. <CAC_LAB> is a space of flux which encourages artistic practice as a generator of new knowledge, a territory where art and science converge into a contemporary and experimental field of academic research; free from mainstream cultural thought, technological stress and economical diversions.

    More info at: http://lab.chronusartcenter.org

    CAC: http://www.chronusartcenter.org/en/

    Previous fellows: http://lab.chronusartcenter.org/fellowship/?lang=en

     

    < FELLOWSHIP SUPPORT >

    This Fellowship is a chance for international artists and researchers to engage and learn from the art, technological and entrepreneurial communities of Shanghai. The selected Fellow will be offered a total amount of USD$10,000 for a 3 month deep-immersion period; including artist fees, living expenses, and materials. In addition, our lab facilities and tools are available for the fellow's needs. These include but are not limited to: OPTITRACK motion capture system, Laser-cutter, 3D printer, band-saw, sander-belt, press drills, all sorts of hand tools, a variety of electronic components, Arduino, raspberryPis, an oculus rift DK2 headset, Surface Mount Infrared soldering station, soldering irons and other prototyping tools.

    For international Fellows, CAC is happy to provide necessary paperwork and advice to help expedite the process of securing his/her visa, travel and accommodation in Shanghai. All the expenses will be covered within the amount of the fellowship.

    During the 3-month program, CAC will work closely with the selected Fellow to see his/her project realized and offer program support in developing work for performances, events, seminars, exhibitions, or other public and educational programming during the term of the Fellowship. CAC will also facilitate joint presentations alongside community partners, host conversations with the artists and display works in progress; revealing the creative process as it happens.

     

    < APPLICATION GUIDELINE >

    Please fill out the online application form and submit it with the necessary attachments via http://fellowship.chronusartcenter.org. No email submissions will be taken into account.

     

    < EVALUATION CRITERIA >

    Applications will be reviewed and the final decision, including interviews, will be made by CAC's International Advisory Board comprised of leading scholars, artists and museum professionals. Acceptance is based on quality and visionary potential, and most importantly, the potential of the project proposal to contribute to CAC_LAB's broader research scope.

    Applicants are also expected to show demonstrable success in previous development of related work at this scale. Successful applicants will outline clear goals, milestones and time-lines.

    Please send further inquires to fellowship@chronusartcenter.org

    ‘OPEN’ ZHI ART MUSEUM 2018 
    2018.4.26 – 2018. 8.12

    ZHI ART MUSEUM
    NO.1, Jun Shan Road, Xinjin County, Chengdu, Sichuan

    Artists
    Michael Joaquin Grey, Chico MacMurtrie, Lawrence Malstaf, Mariko Mori, Carsten Nicolai, Marnix De Nijs, WANG Gongxin, WANG Yuyang, ZHANG Peili

    Curator
    ZHANG Ga

    Co-presented by
    ZHI ART MUSEUM
    Chronus Art Center (CAC)

    Opening reception: 25 April 2018
    On view: 26 April - 12 August, 2018
    Hours: 10:00 - 17:00, Wednesday – Sunday

    Chronus Art Center (CAC) is pleased to announce the exhibition Open, celebrating the long-awaited official inauguration of the ZHI ART MUSEUM which marks a new cultural signpost in southwest China. Curated by ZHANG Ga and co-presented by ZHI ART MUSEUM and CAC, the exhibition will open on April 25, 2018 and remain on view through August 12, 2018.

    Located about 40 km from the capital city of Sichuan province in the Xing Jin region, ZHI museum is designed by the renowned Japanese architect Kango Kuma. The museum employs brick tiles, a traditional local material, as the building motif to seamlessly blend modernist austerity with the undulating mountains and rivers of the surrounding area which are reminiscent of Chinese classic landscape paintings in the literati tradition. Resonating with the museum’s architecture and illuminating ZHI’s mission statement, the exhibition Open brings to the public a highly idiosyncratic body of work by nine international artists that accentuate open as a form of initiation, a movement in which a new start gathers force and an unfolding which unleashes the force of potentiality. It evokes opening as an event that gets off the ground the pioneering undertaking ZHI museum aspires to accomplish.

    The monumental installation Pneuma Fountain in front of the museum is Chico MacMurtrie/Amorphic Robot Works’ most recent inflatable robotic sculpture, which manifestly captures and anticipates the unfolding theme of open as a contemplative experience of movement, air, light and architecture.

    Pneuma Fountain, Chico MacMurtrie/Amorphic Robot Works,inflatable robotic sculpture, variable size, 2017

    Entering the museum’s main gallery on the lower level, one is first encountered by ZHANG Peili’s enigmatic work titled A Standard, Uplifting, and Distinctive Circle along with Its Sound System. Participation in ZHANG’s Duchampian installation is delegated to an automata operated though software manipulation. An ambiguity is thus insinuated to invite open-ended construction of meaning and signification. Marnix De Nijs’ Rectilinear Displacement plunges us into a visceral journey of reflection in movement: immersion by its physicality and light in its optical materiality. Winding down to the unnoticeably infinitesimal, Michael Joaquin Grey’ s Between Simonetta updates Botticelli’s famous profile of the woman gradually. Motion and chance assume the ultimate impetus of openness.

    A Standard, Uplifting, and Distinctive Circle Along with its Sound System, ZHANG Peili, radios, motor, motor controller, microphone, power amplifier, horn speakers, variable size, 2015.
    Chronus Art Center / ZHI ART MUSEUM would like to thank Ms. Li Lin for her support in realizing ZHANG Peili's work in this exhibition. (新时线媒体艺术中心/知美术馆感谢李琳女士对本次展览张培力项目的支持)
    Rectilinear Displacement, Marnix de Nijs, mechanical linear-motion installation, immersive projection, spherical screen, width 120cm, length 30m, 2014.
    Between Simonetta, Michael Joaquin Grey, generative portrait, 68 x 89 cm, 2011.

    To open is also to make ready for adventure, to lose orientation in order to obtain cognition of a different dimension. COMPASS 02005 by Lawrence Malstaf is precisely such an uncanny apparatus that exercises its own machine logic on the participant. Perhaps here a power play is at work to tease out the conundrum of the human-machine interaction that questions the popular assumption and begs for an ethical reappraisal.

    Compass 02005, Lawrence Malstaf, wearable tactile installation, magnetic field, variable size, 2005.

    Ascending to the upper level of the museum is a brightened gallery space that is home to four works that resonate with each other and blend into the outdoor scenery visible through the openness of the large glass walls. In WANG Gongxing’s Unseatable, stillness gives substance of mobility, radiance and liquid enact a form of opening, a way of extension. Carsten Nicolai with his reflektor distortion seems to alert us that in the beauty of algorithmic logic is an open terrain in which uncertainty and chance speak the essence of the technological real.  In sharp contrast with Nicolai’s installation, Mariko Mori’s meditative bed of rocks in various sizes and shapes evokes an imaginary river bank which, in its crude innocence, speaks back to the contemporary pandemonium and anxiety to open up a new prospect of the world to comprehend. WANG Yuyang’s Platos Cubes further pronounces the open as an unfolding, an perpetual iteration, a never ending transformation and a spirit that embraces the unknown, the unpredictable, and the potential as the essence of ZHI, that is, to know.

    Unseatable, Wang Gongxin, chairs(4 chairs, 48 x 49 x 83 cm/each chair), metal container, light bulb, motor, milk with water and ink with water,1995. Edition of 3 © WANG Gongxin. Photo © Maxim HU. Courtesy of Private collection and Frank F. Yang Art and Education Foundation.
    reflektor distortion, Carsten Nicolai, neon lights, water, steel, sound, diameter 200 cm, height 26 cm, 2016.
    Flat Stone, Mariko Mori, ceramic stones and acrylic vase,Stones: 487.5 x 214.6 x 8.8 cm, Vase: 38.1 x 27.9 x 43.2 cm. Courtesy: Artist, SCAI THE BATHOUSE, Tokyo and Sean Kelly, New York, 2006.
    Untitled–Plato’s Cube, WANG Yuyang, aluminium alloy, PC material, electronics, nylon, LED, 400x400x400cm, 2017.

     

    About ZHI ART MUSEUM

    Located at the foot of Chengdu’s Taoism Laojun Mountain in Southwest China, ZHI ART MUSEUM’s serene architecture brings to life the beauty and tranquility of Zen. An iconic work by renowned Japanese master architect, Kengo Kuma, the museum embodies the Eastern philosophy of “Learning from Nature.” With the use of water as key feature, and the exploration of natural materials throughout, the architecture organically integrates its surrounding elements harmoniously. The tranquil flow and soft movements surrounding the entirety of the museum allow for contemplation and evoke notions of eternity through its unity with nature.

    ZHI ART MUSEUM focuses to explore global contemporary art and its qualities as a force of universality, in the context of the future, present and past of Eastern aesthetics. The meaning of ZHI is to be an open concept, always striving to move from the world of the known to the unknown, and from the finite to the infinite. Within these parameters ZHI ART MUSEUM’s aim is to explore the integration of human inspiration and technology within the multiple facets of art, while also building a groundbreaking in-depth contemporary art collection and an unparalleled exhibition program, that together will foster a vital contribution to the integrity and creativity of art and art history of the 21st century.

    The museum’s core concept is based on the three principles of: Universality, Insight, and Innovation.

     

    www.zhiartmuseum.com

     

    About CAC

    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.

     

     

    Press Enquiries
    Rulan Sun sunrl@cnfantasia.com

     

    Special Thanks

    Chronus Art Center (CAC)

    2018 Research and Creation Fellowship

    Call for Proposals

     

    Title: i-Learn: The algorithmic delusion

    Call Type: Fellowship (US$10,000)

    Application Deadline: All applications must be submitted electronically by 23:59 (Beijing Time), Tuesday, May 15th , 2018 via http://fellowship.chronusartcenter.org

    Notification of Selection: Applicants will be informed about their application status by mid June 2018.

    Fellowship Starts: Summer 2018 (start dates negotiable with reason).

     

    < OVERVIEW >

    This year Chronus Art Center (CAC) opens its Lab for the second 3-month research and creation fellowship. This program is designed to host one international artist and researcher of extraordinary talents in the area of new media art in order to conduct research and creation at Chronus Art Center (CAC), Shanghai. The 2018 Research and Creation Fellowship aims to foster global exchange while advancing the discourse and practice of new media art, and contribute to CAC's research and educational mission as well as the institution's future collection.

     

    < i-Learn: The algorithmic delusion >

    On the age of artificial intelligence (AI), the more complex mental layers rendered over the raw perception of the world are no longer exclusive human abilities. As AI emerges with its learning procedures it evermore displays human-like characteristics of a sort of cognition such as: the interpretation of reality, natural language processing, understanding of the visual landscape, among others.

    Our common understanding of technological developments is that it mirrors natural evolution and therefore AI is the pinnacle of human creativity. Nonetheless, on their current capacity these AIs present all sort of errors and limitations. On one hand, we can easily argue that these are the result of an early state of development or limited hardware, but another possibility could be that these constraints are just a simple reflection of our own limited understanding of reality. In other words, we create and train these autonomous and intelligent systems to see and understand the world as we humans do and reject all of their glitches as mere technical malfunctioning, while another possibility could be that the errors themselves are part of the human-like acquired features of these machines, hence rendering existence in more dubious ways. This presents a fundamental problem if we consider the role these systems currently play in our lives, financial system, health industry, war, online-dating, social networking and autonomous vehicles among many other functions and applications.

    i-Learn: The algorithmic delusion is a research and creation opportunity for artists working in and thinking of various fields of artificial intelligence such as: machine vision, natural language processing, cognitive computing, swarm intelligence, robotics, and any other forms of intelligent technological systems.

     

    < ELIGIBILITY >

    • This fellowship is open to international artists and researchers of all nationalities.
    • Applicants should be able to use English as working language.
    • Applicants must not be currently enrolled in degree-granting academic programs, with the exception of PHD candidates who are aiming to develop technical work within the scope of the fellowship.
    • Applicants are expected to show demonstrable success in previous development of related projects at this scale.
    • Individuals and collectives are eligible to apply. In either case, please detail in your application how technical and creative responsibilities will be met.

    The selected Fellow will be expected to work at CAC's laboratory with the research and creation team on a range of activities including active contribution to the larger CAC community, collaborative partnership with other fellows, leading research initiatives, educational programs and public engagement, and developing current or future research areas for the organization. Projects, including prototypes, documentation, and work-in-progress, will be presented to the public at Chronus Art Center.

     

    ABOUT <CAC_LAB>

    <CAC_LAB> is a space dedicated to the inquiry of present-day matters regarding art, design, science, technology and their impact on global contemporary culture and society. Through artistic practice, technological tools and research methodology, we enable creative processes that result in works of art of high production and academic value. <CAC_LAB> is a space of flux which encourages artistic practice as a generator of new knowledge, a territory where art and science converge into a contemporary and experimental field of academic research; free from mainstream cultural thought, technological stress and economical diversions.

    More info at: http://lab.chronusartcenter.org

    CAC: http://www.chronusartcenter.org/en/

    Previous fellows: http://lab.chronusartcenter.org/fellowship/?lang=en

     

    < FELLOWSHIP SUPPORT >

    This Fellowship is a chance for international artists and researchers to engage and learn from the art, technological and entrepreneurial communities of Shanghai. The selected Fellow will be offered a total amount of USD$10,000 for a 3 month deep-immersion period; including artist fees, living expenses, and materials. In addition, our lab facilities and tools are available for the fellow's needs. These include but are not limited to: OPTITRACK motion capture system, Laser-cutter, 3D printer, band-saw, sander-belt, press drills, all sorts of hand tools, a variety of electronic components, Arduino, raspberryPis, an oculus rift DK2 headset, Surface Mount Infrared soldering station, soldering irons and other prototyping tools.

    For international Fellows, CAC is happy to provide necessary paperwork and advice to help expedite the process of securing his/her visa, travel and accommodation in Shanghai. All the expenses will be covered within the amount of the fellowship.

    During the 3-month program, CAC will work closely with the selected Fellow to see his/her project realized and offer program support in developing work for performances, events, seminars, exhibitions, or other public and educational programming during the term of the Fellowship. CAC will also facilitate joint presentations alongside community partners, host conversations with the artists and display works in progress; revealing the creative process as it happens.

     

    < APPLICATION GUIDELINE >

    Please fill out the online application form and submit it with the necessary attachments via http://fellowship.chronusartcenter.org. No email submissions will be taken into account.

     

    < EVALUATION CRITERIA >

    Applications will be reviewed and the final decision, including interviews, will be made by CAC's International Advisory Board comprised of leading scholars, artists and museum professionals. Acceptance is based on quality and visionary potential, and most importantly, the potential of the project proposal to contribute to CAC_LAB's broader research scope.

    Applicants are also expected to show demonstrable success in previous development of related work at this scale. Successful applicants will outline clear goals, milestones and time-lines.

    Please send further inquires to fellowship@chronusartcenter.org

    Jim Campbell & ZHANG Peili: The Flickering Uncertain is Chronus Art Center's 2018 inaugural exhibition, presenting works by two pioneers of media art. The two artists employ “low resolution” both as a visual device and as a perceptual agent, rendering an embodied looking / seeing, seeking to grasp the technological and psychological intricacies of reality.

     

    Opening Reception

    2018.03.17

    Sat.

     

     

    Artist and Curator Talk

    < ZHANG Ga & ZHANG Peili>

     

     

    Exhibiting Works

     

    Jim Campbell
    Home Movies 1040-3, 2011
    Video installation: custom electronics, 1,040 LEDs
    144 x 96 x 3-1/4 inches

     

    Jim Campbell
    Scattered 12x (Women’s March on Washington), 2017
    Custom electronics, 432 LEDs, treated plexiglas
    47 x 64 x 3 inches
    Edition of three

     

    Jim Campbell
    Exploded Flat II, 2017
    Custom electronics, 73 LEDs, aluminum
    48 x 72 inches
    Edition of five

     

    Jim Campbell
    Light Topography (Jane’s Pool), 2014
    Custom electronics, 1,380 LEDs
    32 x 48 x 8-1/2 inches
    Edition of three

     

    Jim Campbell
    Exploded View (Commuters), 2011
    Custom electronics, 1,152 LEDs, wire, steel
    72 x 46 x 38 inches

     

    Zhang Peili
    Collision of Harmonies, 2014
    Sound installation: Track, speakers, computer, fluorescent light tubes

     

     

     

    Chronus Art Center (CAC) and CTM Festival are pleased to announce ALIA: ZǓ TÀI, a performance project for human dancers and AI prostheses ideated by Marco Donnarumma (Berlin) in collaboration with Nunu Kong (Shanghai). Thanks to the support of 2017-2018 Goethe-Institut's International Coproduction Fund, the project will be co-produced across China and Germany by CAC (Shanghai) and CTM Festival (Berlin). The piece will premiere in winter 2018 and then tour worldwide.

    Taking its title from the Latin “alia” – the other – and the Chinese “zǔ tài” – configuration, ALIA: ZǓ TÀI is a dance and interactive music performance that aims to explore new hybrid identities emerging from the increasing use of artificial intelligence and robotics.

    More and more, artificially intelligent (AI) algorithms and robots regulate human behavior, human bodies and their relations, both at a social and personal level. Far from being passive commodities, “intelligent” software, body sensors, and robots drastically affect the physiological, experiential, psychological, and cultural basis of human life. How can these technologies influence the way we understand, categorize, and discriminate human consciousness and human bodies?

     

    Marco Donnarumma: AI Esthetics & Prothetics Workshops. Courtesy of the artist.

     

    Three dancers wear three intelligent robots on their bodies. The robots are like prostheses, but behave according to their own agencies. The dancers and the machines thus engage in a re-discovery of the self and the other, transporting the audience into a thought-provoking, stirring, and poetic choreography of movement, sound, and light.

     

    Marco Donnarumma: Amygdala, 2017-present. Photo by Margherita Pevere. Courtesy of the artist.

     

    The realisation of ALIA: ZǓ TÀI will be supported by an interdisciplinary team including: AI scientists Prof. Manfred Hild (DE) and Dr. Baptiste Caramiaux (FR), interactive music composer Prof. Alberto de Campo (DE), and designer Ana Rajcevic (UK/DE).

    ALIA: ZǓ TÀI is additionally supported by Graduiertenschule, UdK Berlin (DE), Neurorobotics Research Laboratory (DE), Baltan Laboratories (NL), Center for Contemporary Art “Laznia” (PL), and Resonans Festival (DK).

     

    About the Co-production Partners

     

     

    Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research, creation, and scholarship of media art. Through exhibitions, residency-oriented fellowships, lecture, and workshop programs, and through its archiving and publishing initiatives, CAC creates a multifaceted and vibrant platform for 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.

     

     

    CTM Festival (Berlin, DE) is one of the world’s leading international festivals dedicated to contemporary electronic and experimental music. Founded in 1999 and running in close synergy with transmediale – festival for digital art & culture, CTM covers a wide range of sonic and music practices, and interdisciplinary projects that combine music, performance, and visual arts with digital culture, critical theory, and new technologies.

    http://www.ctm-festival.de

     

     

    Marco Donnarumma (Berlin, DE) is a unique presence across contemporary performance and media art, distinguished by his use of emerging technology to deliver performances that are at once intimate and powerful, oneiric and uncompromising, sensual and confrontational. Working with biotechnology, body sensing, as well as artificial intelligence and neurorobotics, Donnarumma expresses the chimeric nature of the body with a new and unsettling intensity. He is renown for his focus on sound, whose physicality and depth he exploits to create experiences of instability, awe, shock, and entrainment.

    http://marcodonnarumma.com

     

     

    Nunu Kong (Shanghai, CN) 

    Working as an choreographer, performing artist and an independent producer, Nunu Kong develops through her work an characteristic expression playing with time and space in poetic and illusionary dimensions in both visual and dramaturgic levels with a particular sense of humor instinctively blended into her choreography. Her recent projects including Trumpet Upside Down Dancing in Air - a series of endurance performance actions where she tests her body limitations and reassess the physics of sound by attempting to play a trumpet while suspending herself upside-down from significant height.

    http://nunu.we23.org

     

    About the Goethe-Institut’s International Coproduction Fund

     

     

    International co-productions epitomize a form of artistic collaboration involving partnership and dialogue. Aiming to encourage new collaborative working processes and innovative productions involving international cultural exchange, the Goethe-Institut set up a new co-production fund in the summer of 2016 to promote new working networks and approaches within a global context, and to explore new forms of intercultural collaboration.

    https://www.goethe.de/en/uun/auf/mus/ikf.html

    Link to ALIA: ZǓ TÀI on the Goethe-Institut’s website:

    https://www.goethe.de/en/uun/auf/mus/ikf/ali.html