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李振华 X 徐文恺

2015-1-28 15:19| 发布者: 墙报| 查看: 15322| 评论: 0|来自: 艺术时代



Aaajiao (XU Wenkai) was born in 1984 in Xi'an, and later moved to Shang-hai, where he continues to live and work. Aaajiao is one of China's foremost media artists, bloggers and free culture developers. In 2003 he established the sound art website: cornersound.com, and in 2006 he founded the Chinese take on the blog We Make Money Not Art: We Need Money Not Art. He is devoted to Processing, an open source visual programming software, Dorkbot, a non-profit initiative for creative minds, and eventstructure, an interdisciplinary center for art, media technology and academic research based in Shanghai. In his works in general, Aaajiao focuses on the use of data and its various forms of display, and how meaning is understood through the process of transforming the movement from reality, to data, and back again. His most significant aesthetic contribution to new media in China is a social one, acting as a vector for the interpretation and communication of international and local trends in the usages of software in artistic practice.

aaajiao(徐文恺),1984年生于中国西安,后移居上海并工作、生活至今。徐文恺是国内前沿的媒体艺术家、博客写手,同时也是一位文化交流的积极推动者。2003年创建声音艺术网站cornersound.com。2006年,创办基于We Make Money
Not Art的中文新媒体信息平台We Need Money Not Art。致力于推广process-ing,一款开源的视觉程序软件。Dorkbot,一个非盈利的倡导创造的活动,以及eventstructure,一家基于上海的跨艺术、设计、学术以及新媒体技术领域的独立研究开发机构。他的作品通常专注于对数据的挖掘和使用,并试图以多种多样的形式将其表现,以此在数据与现实的“调制解调”之中完成对作品内涵的完整表达。他对中国新媒体艺术最重要的审美贡献在于他以自身的活跃姿态,在电脑软件的艺术应用方面,尽力扮演了国内外最新趋势的交流者与先行者角色。

(Great Fire Wall)
Li Zhenhua X Xu Wenkai
July 12, 2014

LZH: GFW is a very interesting piece of work. It is like the mystic, symbolic black monolith in A Space Odyssey. This “monolith” presents data from the GFW, a transformative process cannot easily be accomplished by eyes for the general audiences. Do you think this kind of embedded, metaphorical transformation is integrated, and expresses your view towards GFW precisely? Where does this piece’s artistic aspects lie in?

XWK: Data presented by the monolith has been encoded, whereas audiences cannot read directly. This is in fact what the GFW is doing-setting blocks for communication and disturbing comprehension. For me, this encoding method is extending the abstractness of GFW’s vision. GFWlist is one piece among the data measurement series (it was exhibited at aaajiao’s solo exhibition: cybernetics), the notion of which is about measuring the length of data and people can take with them in exported pieces. Here is where I think the project becomes arty.

LZH: Art is complete when people participate in it, I think this also explains the source of art works. Do the symbolic meanings of your work echo with the notion of audience participation?

XWK: The black stone (monolith) in this piece is a symbol of human civili-zation and wisdom: data printed from the laser printer inside of the monolith then expresses a sense of satire towards civilization and wisdom. This is a kind of obscure symbolism.

LZH: Media art to a larger extent exists and thrives in virtual environments, one example is the birth of the bitcoin. Also your piece, a box that opens and closes automatically, can be seen as your approach to “artistic creation” which pulls existing information from the internet directly and has it manifested artistically. Does the goal and process of this kind of “artistic creation” fulfill what you anticipated? What is the role of the artist in this context?

XWK: I use the notion of the internet as a way of categorising the abstract. Many works of this type seem more like critical nodes as my own thinking evolves, as opposed to final presentations.

LZH: It is very difficult to treat art today as “final presentations” or a “final statement”: after Du-champ, any type of art piece can also be the material for something else. Time-based art, or time-based presentations, are unavoidable topics in discussions today. Could you describe your notion of connecting your “mind nodes” on a time based context?

XWK: I see this as a conversation about validity, or about whether there is transient, or connective art pieces. When we research a dynamic subject, it is essential to have a continuous series of art pieces to elaborate on or reflect the thinking. Some pieces we discussed before are transient or connective in this sense. Different to these linking examples, are other works that can be seen as “statements”, providing categorising labels for your research subject.

GFWlist | aaajiao solo exhibition: cybernetics | size 76cm × 30cm × 280cm | materials Corian, thermal printer module, thermal paper | the prohibited list of websites from the Great Fire Wall information interactive installation | 2010
Measuring the length of the GFW in reality.

technical support : shen jiujiu | hardware : majian | sponsors: Ou Pont-The Mirocles of Science

LZH: Your recent work, “The Screen Generation”, and “Obj.12” are both screen based. You explained this before: “Create objects on the screen, en-joy objects.” The process of “creation” via displaying technologies can also be viewed as an electronic visual experiment which produces no two-dimensional remnants. Art here is more detached from the medium of video art. I think the situation is that more and more people are experimenting in this direction, trying to skip the jargon of fixed two-dimensional mediums and explore the possibilities of unstable mediums.

XWK: When the screen appears as “a medium”, the fact that its own infor-mation and characteristics already exist independently thus slips from our attention. The living nature of the screen has long exceeded the definition of “two-dimensional”, it is variable, it can grow. For me, I am not making use of
this “medium”, instead, I live in the living scenario or the ecology of the screen,
I even become part of the screen. This will give birth to more uncer-tainties.

lZH: The “living scenario” of information, or information ecology, as part of our life, has also been updating constantly. How do you treat the relationship between this “living nature” of information, and its connection to your own work?

XWK: We will eventually be merged into the information ecology, whist our natural attributes continue to exist. The way we communicate will change ul-timately, till the day when we become some communication nodes that have fresh, or natural attributes. That is the moment when our natural attributes do not count anymore as we only exist because we communicate. On that day, the definition of death will equate to “being offline”.

When we arrive at this kind of information ecology, creation will still exist as the most valuable part of “being”: it will override the content release process of existing structures. That being said, I could not imagine what ‘creation’ will be like in the future: it could be a sudden, drastic amplification of expe-rience, or something more untouchable.


李振华 X 徐文恺


徐文恺:石碑中出现的数据是被decode过一遍的,观众是无法阅读出实际信息的,这样做法等同于GFW本身的机制,干扰阻碍无法解读,对我来说这样的处理方式反而是GFW抽象视觉的扩展。GFWlist 是数据度量衡系列中的一件,是测量数据的长度,观众可以将输出的数据拿走带回。也是我认为艺术性存在之处。













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