藝術(shù)家譜系科研之十六 

aaajiao：薄膜

Genealogy Study of Artists No. 16 

aaajiao: membrane

2023.08.27 - 11.15

星美術(shù)館

上海市徐匯區(qū)瑞寧路111號(hào)

 Start Museum

No. 111, Ruining Road, Xuhui District, Shanghai

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aaajiao在星美術(shù)館呈現(xiàn)個(gè)展“藝術(shù)家譜系科研之十六 aaajiao：薄膜”，此次展覽展出aaajiao的6件安裝及2件影像作品。展覽已于2023年8月27日開幕，將續(xù)至11月15日。

aaajiao是藝術(shù)家徐文愷的化名及其互聯(lián)網(wǎng)分身。做為一名計(jì)算機(jī)專業(yè)出身的藝術(shù)家，他的作品關(guān)注新的技術(shù)及媒介環(huán)境下的文化政治現(xiàn)象：初期作品《長(zhǎng)城長(zhǎng)》、《郵件迷航》、《ddrk.me》等以一種物哀的心情展現(xiàn)了技術(shù)優(yōu)績(jī)主義制造的互聯(lián)網(wǎng)信息廢墟；創(chuàng)作于2021年的《NTFs_aaajiao》則試圖探索加密經(jīng)濟(jì)的交易規(guī)則怎樣重新形塑古老的藝術(shù)品流通模式。

“藝術(shù)家譜系科研之十六 aaajiao：薄膜”，展覽現(xiàn)場(chǎng)，星美術(shù)館，2023

"Genealogy Study of Artists No. 16 aaajiao: membrane", Installation View, Start Museum, 2023

相較于技術(shù)本身，aaajiao的創(chuàng)作則更關(guān)注于在愈發(fā)快速的技術(shù)更迭環(huán)境中，人的自我存在與情感聯(lián)系。這次展覽展出藝術(shù)家算法生成的影像新作《PROMPT咒語》，在人工智能情感充沛的唇齒之間，迫使觀眾重新思忖技術(shù)之于人的邊界。

“藝術(shù)家譜系科研之十六 aaajiao：薄膜”，展覽現(xiàn)場(chǎng)，星美術(shù)館，2023

"Genealogy Study of Artists No. 16 aaajiao: membrane", Installation View, Start Museum, 2023

在近年實(shí)體邊界高筑的現(xiàn)實(shí)語境下，aaajiao離開熟練的文化環(huán)境離居德國(guó)，但始終以一種虛擬的形式保持“在線”?！氨∧ぁ卑凳镜恼沁@種理學(xué)上的隔離與滲透關(guān)系，而藝術(shù)家自己跨越文化、社會(huì)乃至身份之間的經(jīng)驗(yàn)，則為其作品增多了深深的異化感、流離感和跨文化沖突的繁雜性。

攝影：JJYPHOTO

文本 ?藝術(shù)家與START星美術(shù)館

“藝術(shù)家譜系科研之十六 aaajiao：薄膜”，展覽現(xiàn)場(chǎng)，星美術(shù)館，2023

"Genealogy Study of Artists No. 16 aaajiao: membrane", Installation View, Start Museum, 2023

aaajiao presents his solo exhibition "Genealogy Study of Artists No. 16 aaajiao: membrane" at the Start Museum. This exhibition features 6 installations and 2 video works of aaajiao. The exhibition opened on 27 August 2023 and will last until 15 November.

aaajiao is the pseudonym and internet counterpart of the artist Xu Wenkai. As an artist with a bac公斤round in computer science, his works focus on new technologies, as well as the cultural and political phenomena under the media environment: his early works GFWIist, Email Trek, ddrk.me and others show the ruins of Internet information created by technological meritocracy with a kind of empathy toward things. NTFs_aaajiao created in 2021 attempts to explore how the trading rules of the ryptoeconomics can reshape the ancient art circulation model.

“藝術(shù)家譜系科研之十六 aaajiao：薄膜”，展覽現(xiàn)場(chǎng)，星美術(shù)館，2023

"Genealogy Study of Artists No. 16 aaajiao: membrane", Installation View, Start Museum, 2023

Compared with the technology itself, aaajiaos creation focuses more on human self-existence and emotional connection in an environment of increasingly rapid technological change. This exhibition will exhibit hisnew algorithm-generated video work Prompt, Between the emotional lips and teeth of an artificial intelligence, the audience is forced to rethink the boundaries between technology and human beings.

“藝術(shù)家譜系科研之十六 aaajiao：薄膜”，展覽現(xiàn)場(chǎng)，星美術(shù)館，2023

"Genealogy Study of Artists No. 16 aaajiao: membrane", Installation View, Start Museum, 2023

In the real context of high physical boundaries in recent years, aaajiao has left the familiar cultural environment and moved to Germany, but has always remained "online" in a virtual form. What the "membrane" implies is this physical relationship between isolation and penetration, and the artists own experience of crossing cultures, societies, even identities, adding a deep sense of alienation, displacement, and cross-cultural conflict complexity to his works.

Photo by JJYPHOTO

Text ?Artist and START MUSEUM

參展作品

ARTWORKS

《咒文》，2023，視頻，0139"，尺寸可變

Prompt, 2023, Video, 0139", Dimension variable

藝術(shù)家以生成AI構(gòu)成為了一段視頻，視頻中動(dòng)畫形象念出生成它的文本。標(biāo)題“咒文”，即是中文互聯(lián)網(wǎng)上對(duì)日前“生成式AI”中“文本-prompt”的昵叫作。在人工智能情感充沛的唇?之間，迫使觀眾重新思忖技術(shù)之于人的邊界。

The artist generates a video by Generative AI. The animated character reads the keywords which creates it. The title “Prompt” is the nickname for the "keyword-prompt" in Generative AI on the Chinese Internet currently. Between the emotionally speaking of AI, the audience is forced to rethink the boundaries of technology in relation to people.

《ddrk.me》，2021，安裝, 薄膜，守護(hù)膜上UV，尺寸可變

ddrk.me, 2021, Installation, thin film, protective film on UV, Dimensions variable

ddrk.me是一被譯為“低端影視”的視頻網(wǎng)站，是域外供給非正版高清視頻的著名網(wǎng)站。其網(wǎng)站域名并不對(duì)應(yīng)“低端影視”的漢字拼音，亦不指涉網(wǎng)站受眾，而是站?帶有自嘲和戲謔的表達(dá)。在網(wǎng)站的關(guān)于?面，站?寫道：“咱們的目的是供給最方便的，同期支持電腦和移動(dòng)設(shè)備的超清畫質(zhì)在線觀看影視劇體驗(yàn)。” 藝術(shù)家將域名的whois信息記錄了下來，把這些信息打印在工業(yè)薄膜上，放進(jìn)空間中。薄膜很容易產(chǎn)生靜電，會(huì)黏在皮膚上，地上墻上，亦會(huì)吸附灰塵。

ddrk.me is a website called Low-End Film and TV. It is not difficult to figure that "ddrk" is not the pinyin initials of "Low-End Film and TV", but of "Low-End Population". On the About page of the website, the webmaster writes that "Our goal is to provide the most convenient online viewing experience for both computers and mobile devices with ultra-clear picture quality. The domain name ddrk.me is self-deprecating and does not refer to you as a visitor to the site, so please do not take it personally." I habitually checked the domain names whois information, recorded it, later printed it on industrial films, and included them in the space. These films easily generate static electricity, stick to the skin, the floor and walls, and absorb dust.

《NTFs_aaajiao》，2020-2021，加密, zip 文件

NTFs_aaajiao, 2020-2021, Crypto, zip file

《NTFs_aaajiao》是加密的。zip文件夾，包括四個(gè)鏡像。免費(fèi)下載，但被鎖定和加密，僅有經(jīng)過NFT交易得到作品的收集者才會(huì)收到解鎖文件夾內(nèi)容的秘碼。此秘碼為aaajiao在Social Engineering數(shù)據(jù)中發(fā)掘的常用秘碼，即已被公開破解的秘碼。文件圖標(biāo)本身已然過編輯，并疊加了藝術(shù)家的自畫像。因?yàn)?/span>內(nèi)容對(duì)公眾不可?，ZIP文件夾在其查詢器窗口容器中的圖像是獨(dú)一可用的可視化暗示形式。

NTFs_aaajiao is an encrypted. ZIP file folder that contains four images. Freely available to download but locked and encrypted, only the collector who acquires the work through a NFT transaction will receive the password to unlock the folders contents. This password is aaajiaos common password found in the Social Engineering data, i.e. the password that has been cracked publicly. The file icons themselves have been edited, with a superimposed self-portrait of the artist. With contents not visible to the public, the image of the ZIP folder in its finder window container is the only visual representation available.

《觀察者》，2017-2018，單頻彩色錄像、網(wǎng)站，1532，尺寸可變

bot, 2017-2018, Single channel video, color; Website, 1532, Dimension variable

《觀察者》(bot,)展示了一個(gè)數(shù)字化的過去與對(duì)應(yīng)的當(dāng)下互相交織的環(huán)境。在這片交匯處，本地與全世界網(wǎng)絡(luò)、社交媒介、園林結(jié)構(gòu)、公園、以及最后顯現(xiàn)的自然本身，都合并至一種數(shù)字化的超表象(hyper-representation)之中。

*作品與圈圈一起完成

bot, displays an environment deeply intertwined with by a digital past as well as its present counterpart. Reflecting on this intersection, local and global networks, social media, gardening structures, parks, and finally nature itself all become amalgamated into a digital hyper-representation.

*This piece was done in collaboration with Quanquan

《亂數(shù)假文》，2017，單頻彩色錄像、屏幕、線、網(wǎng)站，2005"，尺寸可變

Lorem Ipsum, 2017, Single channel video, screen, cables, website, 2005", Dimension variable

《亂數(shù)假文》提出了一個(gè)理想用戶界面的原型，看似完美，兼容任何語言、任何網(wǎng)站或應(yīng)用程序。

*作品與圈圈一起完成

Lorem Ipsum proposes a prototype of an ideal user interface, seemingly perfect, compatible with any language, website, or application.

*This piece was done in collaboration with Quanquan

《郵件迷航》，2016，視頻安裝, 網(wǎng)站，17寸LED 屏幕，耐力板UV 打印，尺寸可變

Email Trek, 2016, Video installation, website, 17 LED screen, PC sheet with UV print, Dimensions variable

《郵件迷航》描述了電子郵件系統(tǒng)，以及當(dāng)電子郵件系統(tǒng)被拋棄或不復(fù)存在時(shí)，人與人之間的聯(lián)系是怎樣消失的。這項(xiàng)工作就像一個(gè)預(yù)言。咱們運(yùn)用自動(dòng)生成的電子郵件位置來查詢有效的電子郵件。這就像“星際迷航”，在宇宙中尋找生命。對(duì)咱們來講，一個(gè)有效的電子郵件位置便是生命的證據(jù)。

*作品與圈圈一起完成

Email Trek describes the email system and how connections between people are lost when an email system is abandoned or ceases to exist. This work is like a prophecy. We use an automatically generated email address to find valid emails. Its like a "Star Trek", searching out life in the universe. For us, a valid email address is evidence of life.

*This piece was done in collaboration with Quanquan

《枯山水》，2014，海綿，內(nèi)嵌支撐金屬條，尺寸可變

Karesansui, 2014,Sponges,metal insert, Dimension variable

“枯山水”原指由細(xì)沙碎石鋪地，再加上有些疊放有致的石組所構(gòu)成的縮微式園林景觀，無水景，其中的“水”一般由砂石表現(xiàn)，而“山”一般用石塊表現(xiàn)，創(chuàng)造一種清閑，而此刻的清閑，包含一種“趨勢(shì)”，即下一刻的運(yùn)動(dòng)，這種“勢(shì)”，是力量：一種生?的力量, 亦是運(yùn)動(dòng)中靜止的瞬間，以靜制動(dòng)。藝術(shù)家將“禪化”的枯山水再度提煉抽象，用半橢圓黑色海綿塊替代自然之景，呈現(xiàn)出更當(dāng)代、更數(shù)字、更前衛(wèi)之?景。

*作品與許聰一起完成

"karesansui", also known as Dry Landscape, creates a miniature stylised landscape through careful arrangements of rocks, moss, pruned trees and bushes. Usually, Kushansui uses sands to represent water in natural, and rocks for mountains. This special artificial landscape contains a "trend" of movement of next moment. This trend, in Zen culture, is a kind of power of growth—a static moment in instant motions. The artist abstracts this Zen garden style to those black, half-elliptic sponges, making the concept from the imitation of the nature into a more contemporary, more digital, and more vanguard view.

*This piece was done in collaboration with Xu Cong

《?城?》，2010，不銹鋼，熱敏打印機(jī)，熱敏紙，網(wǎng)站列表，76 × 30 × 280 cm， 實(shí)質(zhì)測(cè)繪GFW的?度

GFWlist, 2010, Stainless steel, thermal printer, direct thermal paper, and the website list, 76 × 30 × 280 cm, Measuring the length of the GFW in reality

《?城?》在黑墻上安裝了一臺(tái)小型打印機(jī)。打印機(jī)持續(xù)地噴出代碼，留下海量的紙張纏在一塊。代碼試圖表達(dá)咱們每日于互聯(lián)網(wǎng)上活動(dòng)產(chǎn)生的無限數(shù)據(jù)，激發(fā)觀眾思考數(shù)字生活中越來越多的錯(cuò)誤信息、假資訊。

*作品與?健和沈赳赳一起完成

GFWList installed a small printer on the black wall. The printer constantly spews out code, leaving a massive tangle of paper in its wake. The code attempts to express the infinite data generated by our daily activities on the Internet, inspiring the audience to think about the increasing misinformation and fake news in digital life.

*This piece was done in collaboration with Ma Juan and Shen Jiujiu

關(guān)于藝術(shù)家

ABOUT THE ARTIST

1984年出生于西安。現(xiàn)生活工作于上海和柏林。

aaajiao，是青年藝術(shù)家徐文愷的化名，亦是他虛構(gòu)的網(wǎng)絡(luò)分身。1984年（他的出生年份恰好是喬治·奧威爾經(jīng)典預(yù)言式小說的名叫作），出生于中國(guó)最古老城市之一的西安，aaajiao的創(chuàng)作結(jié)合了濃重的反烏托邦認(rèn)識(shí)、對(duì)文人精神的反思。他的非常多作品都致力于探索新的科技和媒介影響之下的文化現(xiàn)象和政治策略，從社交媒介寫作、數(shù)據(jù)處理，到網(wǎng)絡(luò)和移動(dòng)媒介下的新美學(xué)景觀。做為今天全世界新一代媒介藝術(shù)的表率名人，aaajiao將今天中國(guó)特殊的社交媒介文化、科技運(yùn)用帶入了國(guó)際藝術(shù)的話語和討論。

aaajiao的作品頻繁展出于全世界的美術(shù)館和藝術(shù)公司，例如：“致不滅的你”，今日美術(shù)館，北京，中國(guó)，2023；“時(shí)間引力—— 2023成都雙年展”，成都市美術(shù)館，成都，中國(guó)，2023；“真實(shí)的拓?fù)洌?span style="color: green;">媒介藝術(shù)（深圳2023）”，深圳市當(dāng)代藝術(shù)與城市規(guī)劃館，深圳，中國(guó)，2023；“流光”，四方當(dāng)代美術(shù)館，南京，中國(guó)，2023；“昊美術(shù)館5周年館藏展：你和我，保持凝視”，昊美術(shù)館，上海，中國(guó)，2023；“第七屆廣州三年展-化作通變”，廣東美術(shù)館，廣州，中國(guó)，2023；“道法柏林，而游于外”，KINDL，柏林，德國(guó)，2022；“Cloud Walkers”，Leeum Museum of Art，首爾，韓國(guó)，2022；“檔案沖動(dòng)：反敘事和反記憶的操練”，AIKE，上海，中國(guó)，2022；“深淵模擬器”，里沃利城堡當(dāng)代藝術(shù)博物館，都靈，意大利，2020；“1989年到今天：網(wǎng)絡(luò)時(shí)代的藝術(shù)”，波士頓當(dāng)代藝術(shù)中心，波士頓，美國(guó)，2018；“非真實(shí)”，電子藝術(shù)之家，巴塞爾，瑞士，2017；“身體·媒介II”，上海當(dāng)代藝術(shù)博物館，上海，中國(guó)，2017；“帶走我（我是你的）”，猶太人美術(shù)館，紐約，美國(guó)，2016；“時(shí)間轉(zhuǎn)向：當(dāng)代亞洲的藝術(shù)與思辨”，斯班塞美術(shù)館，堪薩斯，美國(guó)，2016；“波普之上”，余德耀美術(shù)館，上海，中國(guó)，2016；“黑客空間”（由Hans Ulrich Obrist與Amira Gad策展），K11藝術(shù)基金會(huì)臨時(shí)空間，香港，中國(guó)、chi K11美術(shù)館，上海，中國(guó)，2016；“全方位：全掌控和言論掌控”，ZKM卡爾斯魯厄藝術(shù)與媒介中心，卡爾斯魯厄，德國(guó)，2015；“齊物等觀——2014國(guó)際新媒介藝術(shù)三年展”，中國(guó)國(guó)家美術(shù)館，北京，中國(guó)，2014。

他近期個(gè)展包含 “藝術(shù)家譜系科研之十六 aaajiao：薄膜”，星美術(shù)館，上海，中國(guó)，2023；“深淵模擬器”，Tabula Rasa畫廊，倫敦，英國(guó)，2021；“深淵模擬器”，里沃利城堡當(dāng)代藝術(shù)博物館，都靈，意大利，2020；“洞穴模擬器”，AIKE，上海，中國(guó)，2020；“a’a’a’jiao: 一個(gè)ID”，昊美術(shù)館，上海，中國(guó)，2019；“觀察者”，House of Egorn，柏林，德國(guó)，2018；“暴食”，千高原藝術(shù)空間，成都，中國(guó)，2018；“用戶、愛、高頻交易”，Leo Xu Projects，上海，中國(guó)，2017；“電子遺留物”，華人藝術(shù)中心，曼徹斯特，英國(guó)，2016；“電子遺留物”，OCAT，西安，中國(guó)，2016。aaajiao于2014年得到了第三屆三亞藝術(shù)季暨華宇青年評(píng)審大獎(jiǎng)，也入圍首屆OCAT皮埃爾·于貝爾獎(jiǎng)。

Born in 1984 in Xi’an. Currently lives and works in Shanghai and Berlin.

Active online as a media artist, blogger, activist and programmer, aaajiao is the virtual persona of Shanghai- and Berlin- artist Xu Wenkai. Born in 1984—the title of George Orwell’s classic allegorical novel—and in one of China’s oldest cities, Xi’an, aaajiao’s art and works are marked by a strong dystopian awareness, literati spirits and sophistication. Many of aaajiao’s works speak to new thinkings, controversies and phenomenon around the Internet, with specific projects focusing on the processing of data, the blogsphere and China’s Great Fire Wall. aaajiao’s recent projects extend his practice to various disciplines (among them, architecture, topography, and design) to capture the pulse of the young generation consuming cyber technology and living in social media.

aaajiao’s work has been featured in numerous exhibitions around the world, upcoming and recent shows include “To Your Eternity”, Today Art Museum, Beijing, China, 2023; “Topologies of The Real Techne (Shenzhen 2023)”, Shenzhen Museum of Contemporary Art and Urban Planning, Shenzhen, China, 2023; “Time Gravity - 2023 Chengdu Biennale”, Chengdu Art Museum, Chengdu, China, 2023; “HOW Art Museum 5th Anniversary Collection Exhibition: “Projection”, Sifang Art Museum, Nanjing, China, 2023; “You as Me, Hold the Gaze”, HOW Art Museum, Shanghai, China, 2023; “The 7th Guangzhou Triennial - symphony of all the changes”, Guangdong Museum of Art, Guangzhou, China, 2023; “Cloud Walkers”, Leeum Museum of Art, Seoul, Korea, 2022; “Forming Communities: Berliner”, KINDL, Berlin, Germany, 2022;  “The Archival Impulse: An Exercise in Counter-Narrative and Counter-Memory”, AIKE, Shanghai, China, 2022; “Deep Simulator”, Castello di Rivoli Museo dArte Contemporanea, Turin, Italy, 2021; “Art in the Age of the Internet, 1989 to Today”, The Institute of Contemporary Art Boston, Boston, USA, 2018; “unREAL”, Haus der elektronischen Künste, Basel, Switzerland, 2017; “Shanghai Project Part II”, Shanghai, China, 2017; “Temporal Turn: Art and Speculation in Contemporary Asia”, Spencer Museum of Art, Kansas, USA, 2016; “Take Me (I’m Yours)” (curated by Hans Ulrich Obrist, Jens Hoffmann and Kelly Taxter), Jewish Museum, New York, USA, 2016; “Overpop”, Yuz Museum, Shanghai, China, 2016; “Hack Space” (curated by Hans Ulrich Obrist and Amira Gad), K11 Art Foundation Pop-up Space, Hong Kong and chi K11 art museum, Shanghai, China, 2016; “Globale: Global Control and Censorship”, ZKM | Centre for Art and Media, Karlsruhe, Germany, 2015; and “Thingworld International Triennial of New Media Art”, The National Art Museum of China, Beijing, China, 2014.

His recent solo exhibition includes “Genealogy Study of Artists No. 16 aaajiao: membrane”, Start Museum, Shanghai, China, 2023; “Deep Simulator”, Tabula Rasa Gallery, London, UK, 2021; “Deep Simulator”, Castello di Rivoli Museo dArte Contemporanea, Turin, Italy, 2020; “Cave Simulator”, AIKE, Shanghai, China, 2020; “a’a’a’jiao: an ID”, HOW Art Museum, Shanghai, China, 2019; “bot,” House of Egorn, Berlin, German, 2018; “Gluttony”, A Thousand Plateaus Art Space, Chengdu, China, 2018; “User, Love, High-frequency Trading”, Leo Xu Projects, Shanghai, China, 2017; “Remnants of an Electronic Past”, CFCCA, Manchester, UK, 2016; “Remnants of an Electronic Past”, OCAT, Xi’an, China, 2016. aaajiao was awarded the Art Sanya Awards in 2014 Jury Prize and was nominated for the first edition of OCAT-Pierre Huber Art Prize in 2014.

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