Five Trillion Times 五万亿次

Art Museum of China Academy of Art, Hangzhou, CN

18.12.2018-3.1.2019

 

Panel Curator: Lisa Chang Lee

 

Artists:  

                      David Blandy

                      Jeroen van Dooren

                      Pauline Emond,

                      Nicolas K Feldmeyer

                      Rad Husak

                      Dick Jewell

                      Jukhee Kwon

                      Laura Kuch

                      Rachel Povey

                      Nicolas Rupcich

                      Jo Stockham

                      Bonnie Wong

 

 

策展文稿

雕刻和复制图像的人类行为可以回溯到3000BC苏美尔人在圆柱形石头上刻下图像和楔形文字,然后在柔软的粘土片上来回滚动,从而制作出凹凸的浮雕版。苏美尔人不但孕育了复制的概念,也奠定了后来印刷机的滚轮雏形。到后来闻名于世的最早可以确认年代的雕版版画,制作与868BC的佛教经典《金刚经》。图像性(illustrativity)与文本性(textuality),使版画区别于任何其他媒介承载着由复制动作而生的外延特质。制版和印刷的行为,象征着人类传承对世界的认知和沟通意识的渴望。而随着印刷媒介的发展,从粘土切片到现今电子时代智能便携电脑及英特网,科技发展不断更新着我们传播信息,认识世界的方式,与此同时也不断重构着人们眼中的外在世界。18世纪经验主义哲学家George Berkley在其《人类认知原理》(1710)中提出著名的“存在即是被感知”一说恰与佛教哲学中“相由心生”异曲同工,都指向世间万物/大或小的宇宙时刻因我们认知方式的改变而变化着。

新千年短短两个十年,电子技术已经让信息知识的非实体次元以几何倍数膨张扩张。2018年秋季电子巨头苹果公司发布的掌上电脑产品(iphone XsMax) 一块小小的A12芯片就可以完成每秒五万亿次运算,数字VR/AR技术也大踏步地走向便携终端,模糊着虚拟与现实的界限。知识和意识的传播随着电子信息时代的来临第一次从物质形态中解放出来,在电子光纤中肆意传递。1983年telecommunications 通过英特网实现。信息世界的平行宇宙开始形成(2003年由科学家Barret Lyon开展的Opte Project首次将英特网宽幅视觉化)人类学家Stephen Kern在其著作《爱的文化》中提到现代科技如何使人们对当下(the present moment)的意识从单线的独立事件变化为无数个相互连接的分离事件网,由此而生的当代共时关系(simultaneity)进而颠覆了传统社会人们对相遇,相爱方式等整个上层结构的重组。

此次展览《五万亿次》从三年展主题“后印刷时代”的概念延伸而来,进一步探寻和思考当代背景下变得更广义更宽泛和抽象的“印”——引申理解为“反射”和“传播”世界的手段以及从未如此多元和多维度的当代社会如何影响着个体以及群体意识。从大卫布兰迪《档案馆》用VR影像装置带我们重回数字信息时代之前的实体谷歌到影实验影像前辈迪克丘威尔的最新作品《Head2Head》用镜像的手法呈现跨越30年他同代人跨越人生的时间肖像,整个展览既而展示了一个不受传统意义版画局限的自由面貌,成为一个当代印本。

 

李昶

2018年9月

Context

The human behavior of engraving and copying images can be traced back to the 3000BCE Sumerian who engraved designs and cuneiform inscriptions on cylinder seals (usually made of stone), which, when rolled over soft clay tablets, left relief impressions. The Sumerians not only gave birth to the concept of reproduction, but also laid the prototype of the roller of the printing machine. Later, the earliest printed image with an authenticated date is a scroll of the Diamond Sutra (one of the discourses of the Buddha) printed by Wang Jie in 868 CE. Illustrativity and textuality distinguishes prints from any other medium that carries the extended nature of the duplication. The practice of plate making and printing symbolizes humanity's desire to pass on the cognition of the world and consciousness. With the development of printing media, from clay printing to computers and internet in today’s digital age, science and technology constantly updates the way we spread information and understand the world, on the other hand, reconstructing the world perceived in people's eyes. In words of 18th century empirical philosopher George Berkley “to be is to be perceived" in his book “An Essay toward New Theories of Vision" (1710), which in many ways coincides with the Buddhist phrase "perception turns with the soul”.

Only two decades in the new millennium, electronic technology has revolutionized the medium we use for communication, obtaining knowledge and transmission of idea. In the autumn of 2018, the electronic giant Apple released their latest handheld computer product (iphone XsMax) enabling 5 trillion operations per second with a small A12 chip. Digital VR/AR technology is also striding toward portable terminals, blurring the boundary between virtual reality and reality. The way in which knowledge and consciousness is liberated from the conventional physical mediums and is transmitted through millions of fiber bands. Meanwhile a parallel universe of the information world began to form just like the Opte Project, conducted by scientist Barrett Lyon in 2003, first visualized the Internet breadth. Anthropologist Stephen Kern mentioned in his book The Culture of Love how modern technology makes the sense of present moment changes from a single-line of independent events to an innumerable interconnected separation event network, resulting contemporary synchronicity and simultaneity subvert the entire superstructure of the our society.

Following the discussion above, ”Five Trillion Times" extends from the core concept "Post-Printing Era" of the triennial, further exploring and thinking about "print" that has become broader and broader in the contemporary context. Hence the art of “Print” in this panel is understood as the means of reflecting the world and how contemporary societies have influenced individual and group consciousness. From this point of view, the entire exhibition also presents a free face that is not limited by it’s traditional form.

 

Lisa Chang Lee

9.2018

Far & Few Between  隔岸

No Format Gallery, London, UK

3.3-13.3.2016

 

Artist-curator 

Lisa Chang Lee

 

Artists

                Haili Sun

                Yingsheng Yang,  

                Le Guo

                Jeremy Lee

                Lisa Chang Lee

                Tian Mu

                Yiman Lin

 

 

展览序言

《隔岸》是一个先有艺术家再来生成主题的展览,以目前生活和工作在伦敦的7位艺术家的视角,探索个体身份和界线之间的关系,艺术家,作品和阅读之间的关系。这里的界限即是政治的阈限也是地理的域线;即是种族,个人的界限也是心理和精神的域限。展览的目的不是声明态度而是倾向于提出一个或是多个疑问,对于历史,种族,个人存在与徙居之所的关系。旅英亚裔几代艺术家作为一个群体同时出现在展览空间,让时代的差异模糊了,换言之这种难得的打乱和融合让艺术作品作为“结果”和“窗口”贯穿起半个世纪的精神映像。

 

 

 

Preface

“Far and Few 【Between】” explores identity from the perspective of Chinese expats now living in the UK. Considering 

geographical, cultural and political boundaries, this exhibition examines the physical and psychological relationships between individuals, races, history and environments. The concept also implies a circular act of gaze occurring between artists, artworks and their audiences, where visualization, interpretation, and ambiguities are nourished. This exhibition examines the activity of observing; the projection of the self and consciousness; ones understanding of the outside world; and the seemingly definitive conclusions drawn from such acts of observing, projecting and understanding.

 

 

Repeat/Spiral  重复/衍生

An exhibiton hosted by China Academy of Fine Arts as part of Impact 9 International Printmaking Conference

Renke Gallery 9.2015  Hangzhou,Zhejiang Province, China

 

Artist-curator: Lisa Chang Lee

 

Artists:

                 Zhao Chen(China)

                 Jasmin Edelbrunner(Austria)

                 Pauline Emond(Belguim)

                 Chao Jiang(China)

                  Jiayu Liu(China)

                  Karina Mendreczky(Hungary)

                  Anastasia Mina(Cyprus)

                  Max Appel-Palma(Austria)

                  James Seow(United Kingdom)

                  Meiyi Wang(China)

                  Wan Zhang(China)

                  Vivien Zhang(China)

 

版画制作对材料和媒介的依赖决定使用这种媒介的艺术创作是一个不断制作,返工,再推进的过程。 每一次刮刻、对版、释压赋予每一张看似相同的作品独一无二的生命。 这种源于“印”的复制性,以及与后现代图像文化的关系,已逐渐超越了其作为媒介的物理功能,成为广泛被运用的形式语言,衍生出更深层次的社会人文意义。从手工制版到机械化印刷,从纸面到数字世界,延伸一步到不断重复出现的影音信息等等。正如英国作家Will Self,我们生活在一个“后图像时代”(post-image)21世纪的生活已经到达了一个视觉超载的极点,目之所及若非我们制造的图像, 就是图像被他人所造。娱乐节目、广告、路标,不胜枚举.他们嵌入我们的生活里,被不假思索的接受并 习以为常,成为一种文化符号。于是这种重复就不再是简单的周而复始,而成为一种螺旋衍生的蝴蝶效应。 同时当代艺术的着眼点又越来越不可回避的渗透进社会文化和经济的各个层面,艺术家们关注重复而平淡的“日常”, 又用多样的形式语言切入日常背后的更深的层面, 提出怀疑,问询或是追溯,甚至是挑衅。

此次展览希望提供一个开放的场,没有媒介的限制也不施予评断,更侧重的从国际和多元的视野呈现给观者一个当下的多重切面;同时作品与作品之间在这个场之中又产生有意思的呼应和新的关系。我希望在这种“呈现”中讨论并探索“重复”之于“衍生”的关系和中外艺术家们在知觉或无觉中对复制性 这个动作的运用与再创造。于是,展览本身也成为“衍生”过程的一个节点,在现象中延续下去。

 

20158

 李昶

 At the juncture of the 9th Impact International Symposium (2015), using traditional printmaking language as the basis, this exhibition seeks to explore the possibility for traditional prints to have a more profound and far-reaching impact on the art scene, against the backdrop of contemporary art development.

 

Printmaking’s reliance on material and medium means that the art form thus derived is a process of continuous making, reworking and progression. The engraving, etching and decompression methods employed in printmaking render similar-looking prints unique in their own ways. Print’s reproduction and its association with post-modern pictorial culture have gradually transcended its physical functions as a medium, and prints have become a widely used stylistic language, resulting in social and humanistic significance that is more wide-ranging.

 

From manual printmaking to mechanical printing, from the world of paper to the digital world, to an age in which video and audio signals keep bombarding us. As Will Self, the British author says, we live in a post image. In the 21st century, life is rife with visual excesses. Everywhere we look, we see images in abundance, either by our doing or by our contemporaries. Entertainment programs, advertisements, road signs, just to name a few, have invaded our life and been taken for granted as symbols of culture. As a result, such repetition is no longer a simple cycle but a spiral with the butterfly effect. At the same time, the focus of contemporary art has become inevitably and increasingly intertwined with every facets of social, cultural and economic fabric. Artists pay heed to the repetitive and plain banality of daily life, and question, enquire into or provoke interest in factors underlying such banality, with languages expressed in a myriad of forms. This exhibition hopes to provide an open and free space, without constraining and commenting on the art medium. Instead, it seeks to emphasize through international and diverse perspectives the multi-faceted contemporary life. The exhibition discusses and explores the interaction between repetition and spiral, as well as the utilization and re-creation of the repetitive process by Chinese and foreign artists in a conscious or unconscious manner.

 

Thus, the exhibition has become a node by which it turns into a spiral process. 

   

 

Lisa Chang Lee

8.2015

 

 

Online article about this exhibition: