四方當代美術館榮幸宣布本館最新系列項目“懸梯計劃”即將于2022年7月22日開幕。作為“懸梯計劃”第一回，此次呈現由郭城、林科、施政三位藝術家的三場平行項目組成，展期為2022年7月22日至10月16日。

Sifang Art Museum is pleased to present the opening exhibition of a new project, Levitation, on July 22nd, 2022. The inaugural exhibition of this series comprises three paralleled projects by artists Guo Cheng, Lin Ke and Shi Zheng, and will be on view through October 16th, 2022.

四方當代美術館長期致力于推動中國當代藝術家的創(chuàng)造性實踐。針對中國年輕藝術家在初露鋒芒后的積累階段常缺乏相應支持的現狀，本館發(fā)起“懸梯計劃”為前沿領域內持續(xù)探索五年以上的中青年一代中國藝術家們鋪展階梯，希冀以美術館項目的形式幫助他們對自己近年的求索開展一次整體性呈現或挑戰(zhàn)性實驗，通往創(chuàng)作的下一階段。

Over a long period of time, Sifang Art Museum has been dedicated to becoming a catalyst for the creative practices by Chinese contemporary artists. In response to the inadequate support for Chinese young artists during their career building process after debut, the museum has launched Levitation project to nurture emerging and mid-career Chinese artists who have been exploring the frontiers of art for more than five years. This project aims to offer support, in the form of museum programs, to help them deliver a holistic presentation or a challenging experiment about recent practices, and thus to pave the way for the next phase of their artistic creation.

2022年夏季，“懸梯計劃”的第一回聚焦新興技術與自然環(huán)境、人類社會間越發(fā)糾纏的共生關系，首次把三層展廳分別提供給三位中國新媒體藝術家：郭城、林科、施政，以每人使用一層的形式同時呈現三場藝術項目。

In the summer of 2022, the first part of Levitation will focus on the increasingly entangled symbiosis between emerging technology and natural environment, as well as between human beings and the society. For the first time, the three floors of the museum space will be utilized by three representative Chinese artists who are original in the exploration of new media and contemporary technological thinking: Guo Cheng, Lin Ke and Shi Zheng, with each of them occupying an entire floor and presenting a total of three art projects simultaneously.

郭城（出生于1988年）經常使用幽默又冷峻的形式語言，將宏大議題與看似隨意的日常物品相連結，為想象和討論提供了批判性的視角。他曾獲得新世紀當代藝術基金會“藝術家創(chuàng)作及展覽資助計劃”（北京，2022）、奧地利電子藝術獎榮譽獎（林茨，2020）、數字地球學術獎金（海牙，2018-2019）、華宇青年獎評委會特別獎（三亞，2018）。一層展廳內，郭城將呈現他匯集著人與自然糾纏物證的項目“公園”。

Guo Cheng’s (b.1988) works often use humorous yet calm language to link grand issues with seemingly arbitrary objects and to provide critical perspectives for discussion. He obtained New Century Art Foundation “Art Production and Exhibition SupportProgram” (Beijing, 2022), Ars Electronica Honorary Mentions (Linz, 2020), the Digital Earth fellowship (The Hague, 2018-2019), the Special Jury Prize of Huayu Youth Award (Sanya, 2018). In the gallery on the first floor, Guo will present The Park, which records the entanglement between human beings and nature.

林科（出生于1984年）作為中國“網絡世代”的代表藝術家之一，將筆記本電腦作為工作室，通過實驗性的日常互聯網探索和軟件操作解放出數字界面獨有的詩意。他曾榮獲2014年OCAT-皮埃爾·于貝爾獎與2015年第九屆AAC藝術中國年度青年藝術家大獎。空中展廊內，林科將呈現他以“天空繪畫”系列作品和墻紙延展出的虛擬空間所營建的項目“西方美術館”。

As one of the representative artists from “Net Generation” in China, Lin Ke (b. 1984) employs his laptop as studio and liberates the unique poetry of digital interface through experimental Internet exploration and software manipulation. He won OCAT - Pierre Huber Art Prize in 2014 and the Chinese Youth Artist Award of the 9th AAC Art in 2015. Lin will bring up a Xifang Art Museum built up with his “sky paintings” and virtual space extended by wallpaper.

施政（出生于1990年）是跨越了視聽裝置、電??樂、現場演出等形式的綜合實踐者，他以模擬和“機器視覺”為出發(fā)點，通過擴充觀眾視聽通感體驗，體現對技術哲學、數字漫游和“潛在時間”的持續(xù)思考。他也是媒體藝術?組RMBit（?民?特）、視聽演出團體OSC（Open Super Control）的成員。施政將在負一層展廳與下沉階梯空間呈現他基于對計算機視覺、面部識別、模擬和人工智能持續(xù)關注的項目“慵懶的機器”。

Shi Zheng (b. 1990) practices comprehensively over the range of audio-visual installations, digital music and live performance. Starting from simulation and “machine vision”, he further embodies his reflection on the philosophy of technology, digital voyage and “latent time” by extending the audience’s visual and audio experience. He is also a member of artistic ground RMBit and performance group OSC (Open Super Control). Shi will show Slothful Machine based on his continuous attention on computer vision, facial recognition, simulation and artificial intelligence amidst the lower gallery and the stairs.

環(huán)抱于老山╱林場、佛手湖╱水庫與前衛(wèi)建筑組成的自然╱人工環(huán)境之中，分別以公園、美術館、片場為模型的三場項目仿佛恰好映照了美術館所處的三層空間：山脈、天空、湖水，又如同對一臺機器的三層解剖：硬件、界面、程序。

Surrounded by a natural/artificial environment constructed by remote mountains/forest farms, the Foshou Lake/reservoir and avant-garde architecture, these three projects, which are respectively modeled after the park, the art museum and the filming site, seem to reflect the three layers of the space where the museum is situated: the mountains, the sky and the lake. Meanwhile, this curatorial plan also resembles a multilayered dissection of a machine, cutting through the three levels of its hardware, interface and software.

本次展覽由四方當代美術館主辦，感謝藝術家、南京浦口文化旅游發(fā)展集團、四方文化集團及所有為展覽提供幫助與支持的伙伴。

Special thanks to the artists, Nanjing Pukou Culture & Tourism Development Group, Sifang Cultural Group, and all participating parties who have generously supported this exhibition.

關于藝術家
About Artists

郭城 Guo Cheng

1988年生于北京，現工作生活于上海。先后獲得上海同濟大學學士學位（2010）與英國皇家藝術學院碩士學位（2012）。

他的藝術實踐著眼于既有／新興科技對社會與文化方面的沖擊與影響，以及置身其中的個體與社會生活之間的關系。郭城的作品常以雕塑／裝置的形式呈現，他經常使用幽默又冷峻的形式語言，將宏大議題與看似隨意的物品相連結，為想象和討論提供了批判性的視角。

郭城近期的個展有：“近乎無意”，魔金石空間，北京（2020）；“地氣”，廣州畫廊，廣州（2019）。群展包括：“邊界行走指南”，魔金石空間，北京（2022）；“飛去來器——OCAT雙年展·2021”，OCAT深圳，深圳（2021）；“再紡東亞系列一：手中的羅盤”，六廠紡織文化藝術館，香港（2021）；“學人做夢的機器”，德國衛(wèi)生博物館，德累斯頓，德國（2021）；“祛魅、爆炸圖、滑翔機與飛機”，金鷹美術館，南京（2021）；“We=Link：辺”，新時線媒體藝術中心，上海（2020）；“終端>_How Do We Begin?”，X美術館，北京（2020）；“永恒網絡”，世界文化宮，柏林，德國（2020）；“平行，似存在，未完成：行進的藝術工具”，當代藝術博物館，上海（2019）；“真新鎮(zhèn)日志”，UCCA沙丘美術館，秦皇島（2019）；“機器人·間”，今日美術館，北京（2019）；“開放代碼.連結機器人”，新時線媒體藝術中心，上海（2019）；“追蹤末日松茸”，泰康空間，北京（2019）；“魔都的鼓動”，當代藝術博物館，日本熊本（2018）等。

郭城曾獲得新世紀當代藝術基金會“藝術家創(chuàng)作及展覽資助計劃”（中國北京，2022）；2020-2021保時捷“中國青年藝術家雙年評選”獎（中國上海，2021）；電子藝術獎榮譽獎（奧地利林茨，2020）；CAC:// DKU 2020秋季“研究與創(chuàng)作學術獎金”（中國上海，2020）；STARTS Prize提名獎（奧地利林茨，2020）；數字地球學術獎金（2018-2019）；華宇青年獎評委會特別獎（中國三亞，2018）；生物藝術獎（荷蘭海牙，2017）。

Guo Cheng (b. 1988) is an artist currently lives and works in Shanghai. He was graduated from MA Design Products at Royal College of Art (London, UK) and obtained his BE in Industrial Design at Tongji University (Shanghai, China). His practice mainly focuses on exploring the interrelation between mainstream/emerging technologies and individuals under the context of culture and social life. In recent years, his practice has dealt with themes such as the Anthropocene and Second Nature, digitalized interobjectivity, and infrastructures and ideologies behind. Guo Cheng’s works often use humorous yet calm plastic language, linking grand issues with seemingly arbitrary objects, and providing critical perspectives for discussion and imagination.

His recent solo exhibitions include: Almost Unmeant, Magician Space, Beijing, China (2020); Down to Earth, Canton Gallery, Guangzhou, China (2019). Major group exhibitions include: Order Copied: Changing the Reference Frame, Magician Space, Beijing, China(2022); BOOMERANG–OCAT Biennale 2021, OCAT Shenzhen, Shenzhen, China (2021); Spinning East Asia Series I: A Compass in Hand, Centre for Heritage, Arts and Textile, Hong Kong, China(2021); Machine Learning Human Dreams, Deutsches Hygiene-Museum, Dresden, Germany (2021); Disenchantment, Exploded View, Glider vs. Airplane, G Museum, Nanjing (2021); We=Link: Sideways, A Chronus Art Center (CAC), Shanghai (2020); How Do We Begin?, X Museum, Beijing, China (2020); The Eternal Network (exhibition of Transmediale 2020), HKW, Berlin, Germany (2020); The Process of Art: TOOLS AT WORK, Power Station of Art, Shanghai, China (2019); Notes from Pallet Town, UCCA Dune, Qinhuangdao, China (2019); Deja vu, Today Art Museum, Beijing, China (2019); Open Codes. Connected Bots, Chronus Art Center, Shanghai, China (2019); Free Panorama, Pingshan Culture Center, Shenzhen, China (2019); Tracing the Mushroom at the End of the World, Taikang Space, Beijing, China (2019); Shanghai Beat, Contemporary Art Museum, Kumamoto, Japan (2018); Machines Are Not Alone: A Mechanic Trilogy, Chronus Art Center, Shanghai (2018) etc..

He obtained New Century Art Foundation “Art Production and Exhibition Support Program” (Beijing, 2022); 2020-2021 Porsche “Young Chinese Artist of the Year” (Shanghai, 2021); Ars Electronica Honorary Mentions (Linz, 2020); CAC://DKU Research & Creation Fellowship (Shanghai, 2020); STARTS Prize Nomination (Linz, 2020); the Digital Earth fellowship (2018-2019); the Special Jury Prize of Huayu Youth Award (Sanya, 2018); the Bio-Art & Design Award, The Hague (2017).

林科 Lin Ke

1984年出生于中國浙江，2008年畢業(yè)于中國美術學院新媒體系?，F生活工作于上海、杭州。

從2010年開始，林科將自己變成自己的實驗對象，投身于計算機時代的行為藝術之中。林科將筆記本電腦作為其藝術工作室，從計算機軟件和互聯網中提取素材作為其藝術作品的素材與形式。日?；ヂ摼W的探索和對應用軟件的操作催生出他的藝術創(chuàng)作和自畫像。他使用屏幕截圖和屏幕錄制軟件記錄操作行為和概念圖像。他主要的作品形式為裝置、圖像、聲音、文字、視頻和電腦繪畫。

在他的作品中，林科以非常規(guī)的方式使用電腦軟件，在軟件原本設計的意圖之外尋找新的功能，從而使的語言從基本的交流功能中得以解放而獲得詩性。如果詩歌表達了語言的樂趣，那么林科的作品則呈現了軟件用戶圖像界面的愉悅。

林科的創(chuàng)作實踐為他贏得了2014年OCAT-皮埃爾·于貝爾獎與2015第九屆AAC藝術中國年度青年藝術家大獎。他的作品曾在OCAT當代藝術中心、ZKM媒體藝術中心、Folkwang博物館、東京都現代美術館、民生美術館、上海當代藝術博物館、何香凝美術館、克利夫蘭當代藝術博物館、曼切斯特華人當代藝術中心、伯明翰Ikon Gallery等藝術機構展出。他的作品亦被廣泛收藏，上海當代藝術博物館，澳大利亞白兔美術館洛杉磯當代藝術美術館，尤倫斯藝術基金會，KADIST，香港M+視覺文化博物館，北京新世紀基金會，浙江美術館及K11美術館館藏。

Born in Zhejiang, China in 1984; graduated from the New Media Art Department of The China Academy of Art in 2008. Currently lives in Shanghai and Hangzhou, China.

Since 2010, Lin Ke has turned his attention to the behavioral science of the computer age by making himself his own Guinea pig. Converting his laptop into a studio, Lin extracts material from computer software and the Internet as the fodder and form of his art. The mundane act of exploring the vicissitudes of the world wide web and various applications becomes the catalyst for art making and self-portraiture. He records operational behavior and conceptual images by using screenshots and screen recording software. His work takes the form of installation, image, sound, text, video and computer painting.

In his work, Lin Ke uses software to set its various functions free from their original purpose in the way that language is liberated from its communicative functions to become poetic. If poetry expresses the joy of language, Lin Ke’s work brings out the pleasure of the graphical user interface.

Lin Ke has gained major critical acclaim for his work by winning the OCAT - Pierre Huber Art Prize in 2014, and the Chinese Youth Artist Award of the 9th AAC Art 2015. His work has been shown at ZKM, Karlsruhe; Museum Folkwang, Essen; Museum of Contemporary Art Tokyo, Tokyo; Minsheng Art Museum, Shanghai, Museum of Contemporary Art Cleveland; Centre for Chinese Contemporary Art, Manchester, and Ikon Gallery, Birmingham. His work is featured in the collections of The Museum of Contemporary Art, Los Angeles; M+ Museum of Visual Culture, HK; K11 Art Foundation, HK; KADIST Foundation, Paris/San Francisco; New Century Art Foundation, Beijing; Power Station of Art, Shanghai; White Rabbit Museum, Sydney and among others.

施政 Shi Zheng

1990年出?，2014年畢業(yè)于中國美術學院跨媒體藝術學院，2019年獲得芝加哥藝術學院碩?學位。現?活、?作于上海。

施政的創(chuàng)作形式涉及視聽裝置、電??樂以及現場演出，開展?系列以模擬和“機器視覺”為出發(fā)點的藝術實踐，通過擴充觀眾視聽通感體驗，體現其對技術哲學、數字漫游和“潛在時間”的持續(xù)思考。施政在集中創(chuàng)作個?作品的同時，也和其領域內的優(yōu)秀藝術家進?合作。2013年他與能?、王志鵬、翁巍共同成?媒體藝術?組RMBit（???特），結合當下的社交媒體現象進?創(chuàng)作。他和能?也是Audio-Visual演出團體OSC（Open Super Control）的成員。其個?與合作作品也曾多次出現在國內外重要美術館、藝術機構、媒體藝術節(jié)中，包括上海油罐藝術中?、銀川當代美術館、中國聲?藝術?展、巴西國際電子語言藝術家、奧地利電?藝術節(jié)、倫敦當代藝術中?、都靈Castello di Rivara美術館、倫敦流明獎、上海???世紀??美術館、OCT當代藝術中?深圳館。

Shi Zheng (born in 1990) is an artist based in Shanghai. Shi’s artistic creations range from audio-visual installations, digital music and live performance, demonstrating the artist’s ongoing interest in simulation and “machine vision”. Shi further embodies his reflection on the philosophy of technology, digital voyage and “latent time” by extending the audience’s visual and audio experience.

Apart from individual creation, Shi Zheng also collaborates with other outstanding artists in various fields. In 2013, artistic ground RMBit was founded by Shi Zheng in conjunction with Nenghuo, Wang Zhipeng and Weng Wei with the focus on current context of social media. Both Shi and Nenghuo are the members of an audio-visual performance group OSC (Open Super Control). Shi Zheng’s individual and cooperated works have been presented in a wide range of museums, art institutions and media art festivals home and abroad, including TANK Shanghai, MOCA Yinchuan, Sound Art China, FILE Electronic Language International Festival, Ars Electronica, Institute of Contemporary Arts London, Castello di Rivara, The Lumen Prize, Shanghai 21st Century Minsheng Art Museum and OCT Contemporary Art Terminal Shenzhen.

Shi Zheng holds a B.A. from China Academy of Art and an MFA from the School of the Art Institute of Chicago.