未来演化——我们的共享星球

主办单位：现代汽车、中央美术学院视觉艺术高精尖创新中心、奥地利电子艺术节

展览时间：2018.11.8-2019.2.28

展览地点：现代汽车文化中心（北京市朝阳区酒仙桥路4号798艺术区E-1号）

门票价格：免费

展览介绍：

系列展览《未来演化 —— 我们的共享星球》是由现代汽车（Hyundai Motor Company）、中央美术学院视觉艺术高精尖创新中心（CAFA Visual Art Innovation Institute）、奥地利电子艺术节（Ars Electronica）首次联合推出的展览项目。该展览聚焦技术进步的社会和文化维度，将同时呈现来自9个国家的17件艺术作品。

展览作品：

《WAVES》 2015迈莫•艾克腾 屏幕录像 像素3840 x 640，9分钟

Memo Akten video on screen 3840 x 640 px, 9 min

基于有关海洋和海浪的既有艺术研究和科学研究，作品《WAVES》（浪）对复杂的海洋模拟进行数据描写，以抽象的视觉和声音形式进行提炼和再构。这一持续进行的系列探讨的是海洋的无限能量与不可思议的脆弱性之间的冲突和微妙的平衡。海洋，强大而又细腻，平静而又可怕，优雅而又暴力，是恐惧、危险和死亡的象征，同时也代表了希望、自由和生命。

该作品2015年版本的制作正好是在2015年11月发生的巴黎恐怖袭击事件余波未尽之时。随之而来的是，舆论上和政治上都十分渴望轰炸叙利亚以进行报复，而这样势必会再次引发对方的反击，加剧暴力的恶性循环。

Inspired by the well-established history of both artistic and scientific study on oceans and oceanic waves, WAVES is a data dramatization of complex ocean simulations, distilled and re-imagined in the form of abstract visuals and sounds. An ongoing series of studies that investigate the tension and delicate balance between the immense power and incredible fragility of the oceans; simultaneously mighty yet delicate; calming yet terrifying; graceful yet violent; a symbol of fear, danger and death as well as hope, freedom and life.

The 2015 edition was made during the aftermath of the tragic November 2015 Paris killings, and the consequent public and political thirst to bomb Syria in retaliation, which in turn would inevitably trigger an opposing retaliation, and fuel the vicious back-and-forth cycle of violence.

《光环》 2015 王郁洋 影像装置，电机、监视器、电脑、不锈钢轨道 400 x 400 x 60 cm

Aura 2015 Wang Yuyang Video installation / Television, Surveillance Equipment, Computer, Stainless Steel Track 400 x 400 x 60 cm

在圆形轨道上吊装着一台监视器，监视器中播放着一段弧形发光的灯管。屏幕内的弧形光管始终与圆形轨道保持一致，无论监视器的运动快慢如何，屏幕如何旋转。最终，这台监视器在电脑随机的控制中完成了圆形的自转运动与公转运动，虽然期待伴随着偶然，但是屏幕内的弧形发光灯管终将完成一个完美的圆形光环。

* 英文译为Aura，请参照瓦尔特•本亚明《机器复制时代的艺术》艺术对Aura的解释。

Hang a monitor on a circular track; the monitor will transmit feed of an arc of light. The arc of light on the screen and that of the circular track are from beginning to end identical, no matter how quickly the camera is moving, the screen will spin and adapt to it. In the end, the monitor will complete a completely circular movement under the control of the computer and although everything depends on chance and probability, there will ultimately appear a perfectly shaped circle of light on the screen.

* The title of the piece is Aura, from Walter Benjamin's ideas on the concept of aura in art as discussed in The Work of Art in the Age of Mechanical Reproduction.

《Nonfacial Mirror》 2013 申承帛 金容勳 多媒体 尺寸可变

Shinseungback Kimyonghun Multi-media Dimensional size

镜子在艺术史和文化史上有着重要的意义，作为一种具有魔力的象征对象，它是一个有着数百年历史的传统。在一些古代文化中，它被视为灵魂的形象，在欧洲中世纪的艺术中，它代表着贞洁、无常、淫欲和洁癖。在巴洛克时期，它又一次成为了虚空的象征——人类所有愿望转瞬即逝。

镜子会避开脸部。只有当脸部不出现的时候，他/她才能照镜子。

在镜子前，历史、现在和未来交织在一起，通过反思揭示存在的新视角。自20世纪60年代以来，在美学领域，镜子不仅是一种可以被加工的材料，而且还是一种对造物世界进行解释的媒介。艺术使用重新定义时间和空间的范式，从世界的尘埃中掀起一个新的时代。

The mirror has a great significance in the history of art and culture, but also a centuries-old tradition as a magical-symbolic object. In some ancient cultures it was regarded as an image of the soul, in the art of the European Middle Ages it stood for chastity, transience, sensuality as well as cleaning addiction, in the Baroque age it was again a symbol of vanitas – the transience of all human aspirations.

The Nonfacial Mirror avoids faces. One can look at his/her face in the mirror only when it is a nonface.

In front of the mirror, history, present and future gather to reveal new perspectives on being through reflection. In aesthetics since the 1960s, the mirror has not only been a material that can be processed, but also a medium of demiurgical interpretation of the world. Art uses the paradigm that redefines time and space to stir up a new epoch from the dust of the world.