【拾萬空间】蒋竹韵: 云下日志 | Jiang Zhuyun: Sublog

Sat, 31 Aug 2019 16:00:00 GMT ~ Sat, 12 Oct 2019 18:00:00 GMT
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【拾萬空间】蒋竹韵: 云下日志 | Jiang Zhuyun: Sublog

1. 云下日志_展览海报.jpg


艺术家:    蒋竹韵

展览时间:2019831- 1012

开幕时间:2019831日 周六 下午4
地址:       北京市朝阳区798艺术区798西街02
电话:       010-57623059 
邮箱:       hunsand@hunsand.com

网站:       www.hunsand.com



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蒋竹韵:云下日志 

展览现场



拾萬空间将于2019年8月31日开启蒋竹韵的第四次个人项目:云下日志 。


此次展览将呈现蒋竹韵近来对于数字技术时代中个体生存状态可能的进一步思考。展览作品分别对于手机这个“外置器官”般存在的技术物进行不同方向的内外探讨,《2014.12.29 - 2019.8.30》以当下知识分享型 Talk 的舞台模式,幽默地回应 iPhone 手机应用 Health 在五年之中所记录的个人私密数据。《+86 18657167587》则通过割除这个“外置器官”的实验,开启一段冒险,以一种“负向”的手段,传达艺术家在当下对于人机关系的态度和疑问。如他个人所说:


遍布过时的日志,日记似乎正在消亡。云下世界,欢愉的人们,生成着关于个体的样本,一种纯粹的、离散的、可被传输的数据。在厌恶小区的刷脸门襟的同时,也暧昧与成为外置器官的手机,今天的爱恨情仇,并不来自简单的替换的关系,又或不好的用户体验,我试图想象存在一种交换(yì),且将一直存在下去,也许这会变得复杂而有趣。




蒋竹韵(出生于 1984 年),以问题机制为导向,涉猎媒体艺术的多个领域,装置、绘画、行为、观念、声音艺术、田野录音以及Audio Visual现场等。近期个人项目及个展包括:“如果,结尾在开始之前”,博而励画廊,北京(2018);“系统生存”,西岸艺术与设计博览会,上海(2017);“风中絮语”,拾萬空间,北京(2016)等。此外,他的作品曾在诸多重要群展中展出,其中包括:中国风景: 2019泰康收藏精品展 (2019); 8102-和现实有关 ,上海OCAT(2018);“诚如所思:加速的未来—广州三年展” ,OCT 盒子美术馆分展场(2018)等。




On August 31, 2019, Hunsand Space will launch Jiang Zhuyun's fourth individual project: Sublog.


The exhibition will present Jiang Zhuyun's recent further thoughts on the possible state of individual existence in the digital age. The works in exhibition will respectively carry out discussion inside and outside in different directions on the mobile phone, a product under technology existing like an “external organ”. From December 29, 2014 to August 30, 2019, humorously responds to the personal private data recorded by the iPhone app Health in five years with the current knowledage-sharing stage mode of Talk. +86 18657167587 conveys the artist's attitude and doubt on man-machine relationship at present by "negative" means, through the opening of the adventure and the experiment of cutting off this "external organ". Just as he says:


Filled with outdated logs, the diary seems to be dying. The happy people in the cloud world generate samples about individuals, which are kinds of pure, discrete and transportable data. At the same time of disgust with the area of entrance guard by face swiping, they are also dubious and take the mobile phone as an external organ. Today's love-hate relationship doesn't come from a simple relationship of replacement or a bad user experience. I'm trying to imagine that there's some kind of interchange (transaction), and it's always going to continue. Maybe it's going to get complicated but interesting.




Jiang Zhuyun (born in 1984) is a problem-oriented artist who covers many fields of media art, including installation, painting, performance, conceptual art, acoustic arts, phonography and audio visual. Recent exhibitions include IF THE END PRECEDES THE BEGINNING (2018), Boers-Li Gallery, Beijing; Survival in System Project (2017), West Bund, Shanghai; I Talk to the Wind (2016), Hunsand Space, Beijing, etc. In addition, his works have been exhibited in many important group exhibitions, including: "China Land Scape" Selection from the TAIKANG Collection (2019), 798 A07, Beijing; 8102 On Reality (2018), OCAT, Shanghai; AS WE MAY THINK: Feedforward (2018), Boxes Art Museum, Guangzhou, etc.




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2014.12.29 - 2019.8.31

电脑 / 显示器 / 耳机 / 踏板开关
Processing / Minim / Arduino Leonardo

computer/ displayer /earphone / pedal switch


艺术家通过第三方软件Access,调用了自己iPhone手机应用Health中五年以来的计步数据;通过程序设计,用这5年的数据调制蚊虫掠过耳边的声音。


Through the third-party software Access,the artist invoked the step counting data over the past five years of hisiPhone APP Health. He used the data over the five years to modulate the soundsof mosquitoes passing by. 



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+86 18657167587

手机 / 接触式放大器 / 电脑 / 功放

cell phone / contact speaker / computer / amplifier

艺术家的手机在展期内置于空间,用弹簧和绳索悬置,当有来电和提示时,其振动将被放大(艺术家将其设置为一段摩斯码)。艺术家委托画廊在展期内将其手机以作品形式保管。
 

The artist's cell phone is placed in thespace during the exhibition, suspended with springs and ropes. Its vibrationwill be amplified when there is a call or reminder (the artist will set it as aMorse code). The artist authorizes the gallery to keep his cell phone in theform of works during the exhibition.




我特别开心看到蒋竹韵的第四次个展:云下日志。作为一个观众,亦是在慢慢消化一些艺术家过往的作品。


蒋竹韵第一次项目展“Pass Word”是讲述信息是如何被关联和传输;

第二次个展“风中絮语”是讲述关于信息是如何被感知记录的;
第三次个展“如果,结尾在开始之前”讲述的是信息的生成过程和其导致的结果之间的先验关系;这次展览已经凸显出艺术家作品中对“信息”认识的悲剧底色。
 
那么本次展览“云下日志”更加追问这个谜底,如果把“人”假设成为一个数字信息体,“人”是如何被证明曾经存在过?“人”又是如何被体现出来的?
 
本次展览的两组作品,从不同的角度来讨论作为“信息体”的“人”是如何生活在平行世界中。如果我们相信“平行世界”的存在,那么“工具”是让这个平行世界越发完善起来前提,在这个平行世界中,先进的工具能逐一记录下来每一个“信息体”,较之现实世界中人的“消失”,在这个平行世界中,作为“信息体”的人它可以一直存在。而有趣的是,我们当下的生活是这两个世界中的“人”在不断地相互交缠,相互影响、相互塑造,同时作为现实世界中的“人”又会觉得这很穿越,很分裂,是另一个程序在跑我自己的人生。蒋竹韵通过两件作品将这两个世界的缠绕提示出来,他同时期待这两个世界可以进行某种交换(yi),这个“交换(yi)”会非常复杂且有趣。
 
 文 / 焦雪雁



I am particularly happy to see JiangZhuyun's fourth solo exhibition: Sublog. As an audience, It is a review ofsome artists' past works.


Jiang Zhuyun's first projectexhibition Pass Word was about how information was correlated andtransmitted.
 
The second solo exhibition I TALK TOTHE WIND was about how information was perceived and recorded.
 
The third solo exhibition IF THE ENDPRECEDES THE BEGINNING was about the transcendental relationship between theinformation generation process and the results it led to. This exhibition hadhighlighted the tragic background of the understanding on"information" in artists' works.

Therefore, the exhibition Sublog willfurther ask questions about the mystery. If the "person" is assumedto be a body of digital information, then how can the "person" beproved to have ever existed? And how is "human" embodied?

The two groups of works in this exhibitiondiscuss on how "human beings" live in the parallel world as"information bodies" from different perspectives. If we believe inthe existence of "parallel world", tools are the prerequisite forperfecting the parallel world. In this parallel world, advanced tools canrecord each "body of information" one by one. Compared with the"disappearance" of people in the real world, in this parallel world,people can always exist as the "information body". And interestingly,in our current life, people in these two worlds are constantly intertwined,influencing and shaping each other. At the same time, as the "people"in the real world, they may feel that this is very time-travel and divisive,just like another program running through their own lives. Jiang Zhuyun showsthe entanglement of these two worlds through his works. He also expects thatthese two worlds can carry out some kind of exchange (transaction), which willbe very complicated but interesting.
 
 

T / Jiao Xueyan




拾萬空间于2014年成立于草场地艺术区211号院,并在2018年迁至798艺术区。拾萬空间对常规意义的方盒子展览保持警惕,意欲从当代艺术语言中的语法和语意结构出发并将之延展到更广泛的领域;希望通过持续的展览和项目,激发出当下文化中被忽视的部分,将当代艺术思想的价值生发到你我的身边。


Hunsand Space is founded at No. 211 Caochangdi Art District in2014 and relocated to 798 Art District in 2018. Remaining vigilant about the conventional ways of presenting art exhibitions in the white cube, Hunsand Space aims to take the semantics and syntax from the language of contemporary art as a point of departure and to extend them into broader fields. Through its vigorous exhibitions and projects, Hunsand Space hopes to activate the overlooked aspects in contemporary culture and to bring the value of contemporary art into our lives.


拾萬空间 | Hunsand Space

北京市朝阳区七九八艺术区七九八西街02号

D-02, 798 West Street, 798 Art District, Chaoyang District, Beijing

微信 | WeChat: hunsandspace

T:010-57623059

E:hunsand@hunsand.com

W: www.hunsand.com



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拾萬空间 I Hunsand Space

拾萬空间 I Hunsand Space

拾萬空间于2014年成立于草场地艺术区211号院,并在2018年迁至798艺术区。拾萬空间对常规意义的方盒子展览保持警惕,意欲从当代艺术语言中的语法和语意结构出发并将之延展到更广泛的领域;希望通过持续的展览和项目,激发出当下文化中被忽视的部分,将当代艺术思想的价值生发到你我的身边。 Hunsand Space is founded at No. 211 Caochangdi Art District in 2014 and relocated to 798 Art District in 2018. Remaining vigilant about the conventional ways of presenting art exhibitions in the white cube, Hunsand Space aims to take the semantics and syntax from the language of contemporary art as a point of departure and to extend them into broader fields. Through its vigorous exhibitions and projects, Hunsand Space hopes to activate the overlooked aspects in contemporary culture and to bring the value of contemporary art into our lives.

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