X虛擬孵化器
xmuseum.org/xvirtual
2022.08.16全面上線
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藝術(shù)家：
金·勞頓
加布里埃爾·馬桑
孫羽茜
王長存
策展人：吳冬雪，強(qiáng)家棟
X虛擬是一個(gè)為藝術(shù)愛好者和創(chuàng)意實(shí)踐者提供3D聚會(huì)的線上平臺(tái)，由藝術(shù)家創(chuàng)作的多個(gè)虛擬世界的集合。作為X虛擬的首個(gè)項(xiàng)目，X虛擬孵化器提供第一人稱視角來探索新的數(shù)字藝術(shù)委任。該項(xiàng)目是項(xiàng)目團(tuán)隊(duì)對(duì)虛擬環(huán)境和線上展覽進(jìn)行的為期兩年研究的結(jié)果。項(xiàng)目匯集了四位工作于中國、英國和巴西的藝術(shù)家，在當(dāng)下正處于萌生階段的虛擬藝術(shù)網(wǎng)絡(luò)語境中，他們的實(shí)踐引發(fā)著新的方法論原型。
在全球范圍內(nèi)，對(duì)于智慧空間網(wǎng)來臨的暢想促使新的數(shù)字基礎(chǔ)設(shè)施得以開始部署。于此同時(shí)，藝術(shù)從業(yè)者則受到元宇宙最古老的先驅(qū)--大型多人在線游戲（MMOs）的啟發(fā)。隨著游戲引擎成為游戲行業(yè)之外的常用工具，從數(shù)字雕塑和視聽空間到表演和獨(dú)立游戲，更廣泛的藝術(shù)家群體開始使用游戲引擎創(chuàng)作各種作品。虛擬創(chuàng)作環(huán)境催生出了新的藝術(shù)生產(chǎn)協(xié)議，這些新的模式正在重新配置著現(xiàn)有的文化和技術(shù)的交涉界面，并且在早前由"物理-虛擬對(duì)立"而建構(gòu)出的擴(kuò)展領(lǐng)域中激起了新的分支。從建造一座矗立在沙漠中的怪誕考古廟宇，到一系列內(nèi)部關(guān)聯(lián)的、由暴力和自由為線索貫穿而成的虛擬世界，展覽中的藝術(shù)家們將虛構(gòu)的文明、移民歷史和洲際地緣政治編織成離經(jīng)荒誕的網(wǎng)絡(luò)現(xiàn)實(shí)，在藝術(shù)和技術(shù)之間鋪設(shè)幻想之地。
X虛擬孵化器項(xiàng)目通過委任藝術(shù)家在X虛擬的在線社區(qū)直接進(jìn)行創(chuàng)作，深入探討虛擬環(huán)境中的空間性及其相關(guān)的多重內(nèi)涵。從散落在一個(gè)冥想式的極簡空間周圍的算法音樂片段，到未來變異賽博格的虛構(gòu)管理機(jī)構(gòu)和AI聊天機(jī)器人，展覽中的藝術(shù)家們?cè)O(shè)想了新形式的空間視聽體驗(yàn)、數(shù)字物品殘影，以及由賽博格的加速發(fā)展而帶來的，具有意識(shí)的突變體等潛在倫理問題。X虛擬孵化器以跨學(xué)科的嘗試為基礎(chǔ)，通過文本、聲音、視頻、場(chǎng)景、AI聊天機(jī)器人和獨(dú)立游戲，顛覆并重新認(rèn)識(shí)數(shù)字藝術(shù)、虛擬空間和電子游戲之間錯(cuò)綜復(fù)雜的網(wǎng)絡(luò)。
該項(xiàng)目所對(duì)應(yīng)的實(shí)體展覽將于2022年9月起在北京X美術(shù)館呈現(xiàn)，展覽將帶來兩個(gè)沉浸式裝置。通過線下參與，藝術(shù)家和觀眾將激活并不事先存在于線上虛擬世界中的更多含義。該項(xiàng)目與Silicon Valet戰(zhàn)略合作。
X Virtual Incubator
xmuseum.org/xvirtual
Available Everywhere 2022.08.16
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Artists:
Kim Laughton
Gabriel Massan
CheeseTalk
ayrtbh
Co-curated by Poppy Dongxue Wu and Pete Jiadong Qiang
X Virtual Incubator is the inaugural project of X Virtual - an assemblage of virtual worlds that provide 3D meet-ups for art enthusiasts and creative intellectuals. The project provides first-person exploration of new digital art commissions and is a result of the project team’s 2-year research on virtual environments and online exhibitions. X Virtual Incubator brings together four artists working across China, the UK, and Brazil, whose practices spark new methodological archetypes for the impending network of virtual art.
The speculative future of The Spatial Web prompts the deployment of new digital infrastructure on a global scale whilst art practitioners enlightening by the oldest pioneer of the metaverse - massively multiplayer online games (MMOs). With the game engine becoming a prominent tool beyond the gaming industry, a broader group of artists started to create various works ranging from digital sculpture and audio-visual space to performance and indie games. This new protocol of art production in the virtual context has reconfigured the existing cultural and technological interface, spiking new branches in the expanded field previously framed by physical-virtual division. From the construction of an eerie archaeological temple standing in an untrodden desert to a series of intra-related virtual worlds conceptually threaded by violence and freedom, the artists in the show weave fictional civilisation, immigration histories and cross-continent geopolitics into uncanny cyberrealities, extending new territories between art and technology.
The project delves into spatiality and its multiple connotations in the virtual environment by commissioning artists to work primarily on X Virtual’s online community. From algorithmic music clips scattered around a meditative and boundless virtual space to AI chatbots in a fictional agency for hybrid cyborgs, the artists in the show envision new forms of audio-visual experience, after-image of the digital object, as well as potential sentient mutants brought by the accelerated development of cyborgs. X Virtual Incubator grounds interdisciplinary attempts that destabilise and re-envision the intricate web between digital art, virtual space and video game through text, sound, video, scene, AI chatbot and indie games.
A physical showcase of the project, including two immersive installations will be on view from September 2022 at X Museum in Beijing. With offline participation, new meanings that do not pre-exist in the online virtual worlds will be generated by artists and audiences. The project is in strategic partnership with Silicon Valet.
X虛擬孵化器《恐怖舞會(huì)》, 2022，（藝術(shù)家：加布里埃爾·馬桑）
加布里埃爾·馬桑
《恐怖舞會(huì)》, 2022
加布里埃爾·馬桑（生于1996年）是一位巴西數(shù)字藝術(shù)家，目前居住在柏林。馬桑通過廣泛的新技術(shù)來創(chuàng)造虛擬世界，包括3D雕塑、場(chǎng)景和聲音。他的作品以極繁化的、抽象的視覺表現(xiàn)為特征，是對(duì)恐怖主義和戰(zhàn)爭(zhēng)等不同社會(huì)問題的虛擬建構(gòu)。
《恐怖舞會(huì)》是一個(gè)新的系列作品，包含四個(gè)內(nèi)在關(guān)聯(lián)的虛擬世界，本作品由X虛擬孵化器委任創(chuàng)作。該作品源于藝術(shù)家的戰(zhàn)爭(zhēng)記憶，通過對(duì) "巴西放克（Baile Funk）"的抽象模擬，馬桑將暴力和自由作為概念線索，使之貫穿整個(gè)作品。由于這個(gè)屬于非裔離散群體的音樂起源于里約熱內(nèi)盧貧民區(qū)的工人階級(jí)，因此常常被當(dāng)局罪惡化?！犊植牢钑?huì)》將被壓制的聲音與諸如煙霧、火和居住地等視覺隱喻結(jié)合起來，渲染出一個(gè)介于安全與不安全、動(dòng)蕩與寧靜之間的虛構(gòu)環(huán)境。
Gabriel Massan
Ball of Terror, 2022
Gabriel Massan (b. 1996) is a Brazilian digital artist currently based in Berlin. Massan works across a wide variety of new technologies to create virtual worlds that encompass 3D sculpture, scene, and sound. Characterised by maximalist, abstract visual representations, Massan’s works are virtual constructions of diverse societal issues such as terrorism and war.
Ball of Terror is a new series of work containing four intra-related virtual worlds commissioned by X Virtual Incubator. Conceptually threaded by violence and freedom, the work stems from the artist’s war memories embodied by the abstract simulation of ‘Baile Funk’. This Afro-diasporic music is heavily criminalised due to its working class root in the favelas of Rio de Janeiro. Combining the suppressed voice with visual tropes such as smoke, fire, and habitation, Ball of Terror renders a fictional environment between security and insecurity, turbulence and tranquility.
X虛擬孵化器《板塊儀式》, 2022，（藝術(shù)家：金·勞頓）
金·勞頓
《板塊儀式》，2022
金·勞頓（生于1984年）是一位英國數(shù)字藝術(shù)家，目前居住在上海。勞頓探索后互聯(lián)網(wǎng)美學(xué)的邊緣，用計(jì)算機(jī)生成的、超現(xiàn)實(shí)的3D圖形聯(lián)接人類的感知和現(xiàn)實(shí)主義。勞頓的作品模糊了技術(shù)演示、音樂視頻、實(shí)驗(yàn)電影和病毒式內(nèi)容之間的界限--他常常利用先進(jìn)的成像技術(shù)來勾勒出具有虛無主義的反面烏托邦。
《板塊儀式》是一個(gè)新的作品，包括兩個(gè)相互連接的虛擬世界以及一個(gè)在X美術(shù)館的實(shí)體裝置。作品的主體是一座矗立在人跡罕至的沙漠中的神殿，這個(gè)神殿來自于未知的過去。藝術(shù)家通過一個(gè)可探索的開放式神殿和展廳環(huán)境中整齊排列的用于儀式的物品，將虛構(gòu)的文明和飽和的景觀編織成一個(gè)極具真實(shí)性的考古基地。藝術(shù)家試圖將《板塊儀式》構(gòu)建為一個(gè)"真實(shí)歷史遺址的復(fù)制品"，只能通過每個(gè)參與者的想象力來解讀。該作品由X虛擬孵化器委任創(chuàng)作。
Kim Laughton
Slab Ceremony, 2022
Kim Laughton (b. 1984) is a British digital artist currently based in Shanghai. Laughton explores the fringes of post-internet aesthetics, articulating human perception and realism with hyper-real computer-generated 3D graphics. Laughton's work blurs the boundaries between tech demo, music video, experimental film, and viral content - often exploiting cutting-edge imaging techniques to conjure feelings of nihilistic dystopia.
Slab Ceremony is a new body of work comprising two interconnected virtual worlds and a physical installation at X Museum. Central to the narration is a temple of unknown past standing in an untrodden desert. Through an explorable open temple and ceremonial objects neatly arranged in a gallery environment, the artist weaves fictional civilisation and saturated landscape into an archaeological verisimilitude. Slab Ceremony is structured with an attempt to represent a ‘reproduction of a real historic site’ that can only be puzzled by each participant’s imagination. The work is commissioned by X Virtual Incubator.
X虛擬孵化器《混種博格機(jī)構(gòu)》, 2022，（藝術(shù)家：孫羽茜）
孫羽茜
《混種博格機(jī)構(gòu)》，2022
孫羽茜（生于1997年）是一位中國藝術(shù)家和研究員，目前居住在倫敦。她的藝術(shù)實(shí)踐時(shí)常在聊天機(jī)器人和敘事之間發(fā)生，通過虛擬環(huán)境中的人工智能技術(shù)，帶來獨(dú)具幻想氣質(zhì)的網(wǎng)絡(luò)現(xiàn)實(shí)。受電子游戲中虛擬人物之間對(duì)話的啟發(fā)，她的作品中的聊天機(jī)器人往往被賦予了人格化的特征，引導(dǎo)敘述和好奇心，增強(qiáng)人與人工智能的互動(dòng)中的親密感。
《混種博格機(jī)構(gòu)》幻想了一個(gè)在2600年的虛擬世界，這里存在著生物技術(shù)所帶來的新的生命形式。該作品由X虛擬孵化器委任創(chuàng)作。"混種博格機(jī)構(gòu)"是一個(gè)存在于未來的管理局，管理具有生命形式的突變體，"混種博格（hyborg）"本身則是"混種（hybrid）"和"賽博格（cyborg）"兩個(gè)詞語在字面意義上的融合。三個(gè)形態(tài)與鹿相似的混種博格游蕩在一個(gè)神話般的森林里，周圍漂浮著一些虛擬物品。藝術(shù)家試圖通過三只聊天電子鹿，來觸發(fā)參與者和混種賽博格之間的交流，進(jìn)而對(duì)技術(shù)加速發(fā)展所帶來的潛在情境提出質(zhì)疑。
CheeseTalk
Hyborg Agency, 2022
CheeseTalk (b. 1997) is a Chinese artist and researcher currently based in London. Situating between chatbot and storytelling, her artistic practice is primarily centred around AI technology in the virtual environment that brings about fantastical cyber realities. Inspired by conversations between virtual characters in video games, chatbots in her work are often imbued with personifications that lead the narration and steer curiosity, fuelling intimacy in human-AI interaction.
Hyborg Agency is a virtual world that fantasises new biotech life form in 2600. The work is commissioned by X Virtual Incubator. ‘Hyborg Agency’ is a future bureau for intelligent mutants that manifest in life forms, itself a blend of ‘hybrid’ and ‘cyborg’ in the literal sense. In a mythical forest, three deer-like hyborgs are wandering, with few digital objects floating around. Through three deer chatbots, the artist attempts to facilitate communication between participants and hyborgs, as well as to contest potential scenarios brought by the accelerated development of technology.
X虛擬孵化器《精神與時(shí)間的房間》, 2022，（藝術(shù)家：王長存）
王長存
《精神與時(shí)間的房間》，2022
王長存（ayrtbh，生于1981年）精通數(shù)字，他的藝術(shù)實(shí)踐基于互聯(lián)網(wǎng)和算法等語言。他目前居住于杭州和上海。近二十年來，王長存的視覺和音樂藝術(shù)作品經(jīng)常援引具有虛擬性質(zhì)的時(shí)間和空間結(jié)構(gòu)，直接反映了人們?cè)诩榷臻g的運(yùn)動(dòng)困境。
《精神與時(shí)間的房間》是X虛擬孵化器委任制作的一個(gè)新的視聽虛擬空間。二十八個(gè)電子和算法聲音片段沿著五個(gè)環(huán)形標(biāo)記散布在一個(gè)由白色地面和藍(lán)色天空組成的冥想性虛擬空間中。在空間內(nèi)移動(dòng)時(shí)，可以感知到聲音強(qiáng)度的變化，一個(gè)聲音的增強(qiáng)和另一個(gè)聲音的減弱。在極簡的視覺表象下，參與者的聽覺系統(tǒng)成為一個(gè)獨(dú)特的虛擬聲音景觀的基本航標(biāo)，而這個(gè)聲音景觀則是由他們自己混合而成的。
ayrtbh
Hyperbolic Time Chamber, 2022
Wang Changcun (ayrtbh, b. 1981) is well versed in digital, internet-based and algorithmic languages. He is currently based in Hangzhou and Shanghai. For nearly two decades, his visual and musical artworks frequently reference temporal and spatial structures that are virtual in nature and directly reflect the conundrum of suspended motion and mobility in an intersubjective environment.
Hyperbolic Time Chamber is a new audio-visual virtual space commissioned by X Virtual Incubator. Twenty-eight electronic and algorithmic sound clips are scattered along five rings in a meditative virtual space composed of white ground and blue sky. Changes in sound intensity, enhancement in one sound and reduction in the other can be perceived when moving around the space. With minimal visual representations, participants’ auditory systems become the essential navigator for a unique virtual soundscape that is mixed and synthesised by themselves.
