April 6th, 2017


By:Samantha Kuok Leese  Source: Artforum.cn     Date: 6/4/2017



G/F, Costco Tower, 33 Wing Lok Street, Sheung Wan
March 21–April 30

劳拉·欧文斯,《无题》,2015,亚麻布上油彩和丝网印刷,69 x 60″.

我们在讨论后英特网艺术的时候我们指的到底是什么对于策展人克劳斯·比森巴赫(Klaus Biesenbach)和彼得·埃里(Peter Eleey)来说这在部分意义上是个地理问题此次展览上他们挑选了来自中国和西方艺术家的十八件作品探讨地域差异和多样性如何受到数码时代的影响同时又反过来影响当代艺术实践

本次展览代表K11艺术基金会和MoMA PS1之间长期研究合作关系里的第一步尝试不少作品——从王欣的虚拟现实装置这个画廊》(2014-)到奥利弗·佩恩(Oliver Payne)经典的视错觉壁画无题入口绘画)》(2017)——似乎都在数码和模拟领域的中间点上寻找形式与主题在亚历山德拉·多曼诺维克(Aleksandra Domanović)的影片《From Yu to Me》(2013-14),域名.yu变成了实实在在的遗迹它属于一个已经消失的国家南斯拉夫也是多曼诺维克出生的地方艺术家提醒我们在一个民族主义紧缩时代普世化系统的脆弱性劳拉·欧文斯(Laura Owens)2015年未命名的一件丝网印刷作品以二十世纪早期的一幅卡通画为材料画中主人公是现代无线电和无线通信技术奠基人尼古拉·特斯拉内容则是在讽刺这位发明家关于全球无线系统”(World Wireless System)的预想在故意碎片化且经过像素分割的图像之上欧文斯以厚重有质感的笔触涂上了颜料最后在曹斐(《人民城市的诞生》,2009)和桑德拉·派瑞(Sondra Perry)(《Graft and Ash for a Three Monitor Workstation》,2016)的一对超现实录像作品里两位艺术家分别用自己的数字化身考察了紧迫的现实整个展览上这种聪明的配对都质疑了万维网是否真的是一个在领土和其他方面均不受限制的乌托邦世界


What do we mean when we talk about post-internet art? For curators Klaus Biesenbach and Peter Eleey, it is in part a question of geography. For this exhibition, they have selected eighteen works by Chinese and Western artists that explore how regional diversities and differences are informed by our digital age and consequently affect contemporary art practices. It represents the first sortie of an ongoing research partnership between the K11 Art Foundation and MoMA PS1. Many of the works, which range from Wang Xin’s virtual-reality installation The Gallery, 2014–, to Oliver Payne’s classical trompe l’oeil mural Untitled (Portal Painting), 2017, seem to find form and subject in between the digital and analog realms. In Aleksandra Domanović’s film From Yu to Me, 2013–14, the .yu domain becomes a tangible relic of the vanished country, Yugoslavia, where the artist was born. She reminds us of the fragility of universalizing systems in a period of nationalist retrenchment. An untitled 2015 silk-screen print by Laura Owens was created with an early twentieth-century cartoon of Nikola Tesla that lampooned the inventor’s prophetic World Wireless System. Over the purposely fragmented and pixelated image, Owen applied paint in thick, textural strokes. Finally, in a pair of surreal video pieces by Cao Fei (The Birth of RMB City, 2009) and Sondra Perry (Graft and Ash for a Three Monitor Workstation, 2016), each artist’s virtual avatar navigates urgent realities. Such clever juxtapositions throughout the show challenge the notion of the World Wide Web as a utopian space unencumbered by boundaries, territorial or otherwise.