{"id":24233,"date":"2018-03-23T14:47:57","date_gmt":"2018-03-23T06:47:57","guid":{"rendered":"http:\/\/benayoun.com\/moben\/2018\/03\/23\/on-digital-mutations-in-the-landscape-of-chinese-contemporary-art\/"},"modified":"2018-10-12T18:13:34","modified_gmt":"2018-10-12T10:13:34","slug":"on-digital-mutations-in-the-landscape-of-chinese-contemporary-art","status":"publish","type":"post","link":"https:\/\/benayoun.com\/zh-hans\/2018\/03\/23\/on-digital-mutations-in-the-landscape-of-chinese-contemporary-art\/","title":{"rendered":"in the Landscape of Chinese Contemporary Art"},"content":{"rendered":"<div id=\"outer_page_1\" class=\"outer_page only_ie6_border \">\n<div id=\"page1\" class=\"newpage\">\n<div class=\"text_layer\">\n<div class=\"ie_fix\">\n<p><strong>\u00a0<span class=\"a\">On Digital Mutations in the Landscape of Chinese Contemporary Art<\/span><\/strong><\/p>\n<p><span class=\"a\">Maurice Benayoun,\u00a0<\/span>Professor, School of Creative Media, City University of Hong Kong.<\/p>\n<div class=\"ff3\">\n<div class=\"ff0\"><em><span class=\"a\">Chief curator statement for \u201cOn The Road: Young Media Artists in China\u201d exhibition,\u00a0<\/span><span class=\"a\">March 23, 2018<\/span><\/em><\/div>\n<\/div>\n<div><\/div>\n<div class=\"ff3\"><span class=\"a\">Initiated in 2014 by the Guan Shanyue Museum,\u00a0<\/span><span class=\"a\">Shenzhen, \u201cOn the Road,\u00a0<\/span><span class=\"a\">nomination exhibition\u201d is a unique<\/span><span class=\"a\">, annual project. First, a nomination committee is\u00a0<\/span><span class=\"a\">set up, with more than 15 curators, art critics,\u00a0and scholars &#8211; representing major\u00a0<\/span><span class=\"a\">institutions, art schools, museums, from all over China; each nominator then submits\u00a0<\/span><span class=\"a\">a selection of the seven most promising young Chinese artists (in his or her opinion),\u00a0<\/span><span class=\"a\">and each of these artists is invited to propose a series of artworks for the exhibition.\u00a0<\/span><span class=\"a\">This collective curatorial process results, every year, in the creation of an impressive\u00a0<\/span><span class=\"a\">\u201cnomination exhibition\u201d\u00a0<\/span><span class=\"a\">with more than 100 artists reflecting the state of the Young\u00a0<\/span><span class=\"a\">Chinese art scene, with a<span class=\"l6\">ll the works published in <span class=\"l7\">an ambitious catalog. However,\u00a0<\/span><\/span><\/span><span class=\"a\">only a smaller sample of these 100+ works can actually be exhibit<span class=\"l6\">ed. So, a final\u00a0<\/span><\/span><span class=\"a\">selection is made, by all the nominators, to select the best 15 -20 works which are\u00a0<\/span><span class=\"a\">then exhibited in the Gu<span class=\"l6\">an Shanyue Art Museum before touring to three or four\u00a0<\/span><\/span><span class=\"a\">major cities and venues across China.\u00a0<\/span><span class=\"a\">For the first time this year, the annual\u00a0<\/span><span class=\"a\"><em>On the <\/em>Road<\/span><span class=\"a\">\u00a0exhibition is dedicated to New\u00a0<\/span><span class=\"a\">Media Art. Under the title \u201cYoung Media Artists in China\u201d,\u00a0<\/span><span class=\"a\">more than 30 artists were\u00a0<\/span><span class=\"a\">selected by the nominating committee for the exhibition, who together provide a\u00a0<\/span><span class=\"a\">significant overview of the diversity of the media art scene of young contemporary\u00a0<\/span><span class=\"a\">Chinese artists. In November 2017,\u00a0<\/span><span class=\"a\">\u201cYoung Media Artists in China\u201d opened at the\u00a0<\/span><span class=\"a\">Guan Shanyue Art Museum, and in March 2018, it comes to City University of Hong Kong,\u00a0<\/span><span class=\"a\">the second city to exhibit the show, where it presents a slightly extended version,\u00a0<\/span><span class=\"a\">with about 50 art installations on display across three exhibition galleries. City<\/span><span class=\"a\">University of Hong Kong and the School of Creative Media are official partners of the\u00a0<\/span><span class=\"a\">show, contributing their expertise in the field of New Media Art in Asia.<\/span><\/div>\n<div><\/div>\n<div>\n<div id=\"outer_page_2\" class=\"outer_page only_ie6_border \">\n<div id=\"page2\" class=\"newpage\">\n<div class=\"text_layer\">\n<div class=\"ie_fix\">\n<div class=\"ff3\"><span class=\"a\">Appointed curator of the whole show, and of its Hong Kong avatar, I was again\u00a0<\/span><span class=\"a\">confronted with the very specific ecosystem of media art in China. As I had noticed in\u00a0<\/span><span class=\"a\">the past, it seems to me that one of the defining traits of Chinese media art shows is\u00a0<\/span><span class=\"a\">not the technology itself but rather the behaviour of the public. In 2005, when I had\u00a0<\/span><span class=\"a\">my first solo exhibitions in China, presenting large-scale, media art installations, I\u00a0<\/span><span class=\"a\">discovered for the first time the Chinese public and its reactions to the unknown. I\u00a0<\/span><span class=\"a\">was impressed by the quality of dialogue between art critics and artists, and by the\u00a0<\/span><span class=\"a\">openness of the public. Families came with babies and grandpas, they spent hours\u00a0<\/span><span class=\"a\">experiencing, sharing, and discussing the works. I was not used to this active and\u00a0<\/span><span class=\"a\">positive curiosity in Europe, where the contemporary art public comes full of\u00a0<\/span><span class=\"a\">certitudes and crystalized knowledge. This is one of the main reasons that I decided\u00a0<\/span><span class=\"a\">to do many other exhibitions in China and, eventually, to settle in Hong Kong.\u00a0<\/span><span class=\"a\">Since this time, the new media art scene has grown in size and quality in a country\u00a0<\/span><span class=\"a\">highly receptive to innovation, and also with a unique history of image-making,\u00a0<\/span><span class=\"a\">painting and calligraphy, where time and space, black and white, sound and silence\u00a0<\/span><span class=\"a\">are often used in a subtle dialogue made of contrast and complicity. Through their\u00a0<\/span><span class=\"a\">diversity and sensibility, Chinese young media artists are digging new paths that\u00a0<\/span><span class=\"a\">leave durable traces in the drowsy field of contemporary art.\u00a0<\/span><\/div>\n<div><\/div>\n<div class=\"ff3\"><strong><span class=\"a\">Medias (formerly known\u00a0<\/span><span class=\"a\">as \u201cnew\u201d<\/span><span class=\"a\">)\u00a0<\/span><\/strong><\/div>\n<div class=\"ff3\">\n<p><span class=\"a\">In Chinese culture, the speed of adoption of emerging media occurs at a very high\u00a0<\/span><span class=\"a\">pace. Refusing the Western Google, Apple, Facebook, Amazon (GAFA) model, China\u00a0<\/span><span class=\"a\">started weaving a very specific fabric of digital reality, often going beyond the<\/span><span class=\"a\">Western referent, with its cultural domination well contained behind the Great<\/span><span class=\"a\">Firewall of China. Contrary to their Western counterparts, the challenge that Chinese\u00a0<\/span><span class=\"a\">Media artists have been facing is not that of defining or redefining the medium.\u00a0<\/span><span class=\"a\">Rather it seems to be how to integrate the media\u00a0into their practice in a way that\u00a0<\/span><span class=\"a\">expresses its actuality, its c<span class=\"l6\">ontemporaneity. Their context is different from that of\u00a0<\/span><\/span><span class=\"a\">the early pioneers. Young media artists today were not born into a world reluctant\u00a0<\/span><span class=\"a\">to embrace technology. Even though some are not the so-called\u00a0<\/span><span class=\"a\"><span class=\"a\">\u201cdigital natives&#8221;,\u00a0<\/span><\/span><span class=\"a\">they all have been immersed in new media early enough to feel in their element\u00a0<\/span><span class=\"a\">when using and working with it<\/span>. It doesn\u2019t appear anymore as a\u00a0<span class=\"a\">cause to fight for,\u00a0<\/span><span class=\"a\">but as a natural ecosystem for art making. Artists feel free to use or avoid such\u00a0<\/span><span class=\"a\">elements as computers, video, mobile technology, electronics or natural elements,\u00a0<\/span><span class=\"a\">plants or data. They can choose to explore the memory of local or regional cultures\u00a0<\/span><span class=\"a\">or that of an ancient technology, redefining time and space out of mechanical\u00a0<\/span><span class=\"a\">curiosities, where for example the phases of the moon merge after improbable\u00a0<\/span><span class=\"a\">acrobatics of moving gears.<\/span><\/p>\n<p><strong><span class=\"a\">Post-Internet\/ App Art (between machinery and Machination)<\/span><\/strong><\/p>\n<div class=\"ff0\"><span class=\"a\">The expression \u201c<\/span><span class=\"a\">Post-Internet<\/span><span class=\"a\">\u201d\u00a0<\/span><span class=\"a\">was coined to describe a period of time after the\u00a0<\/span><span class=\"a\">adoption of the technology. The Post-<\/span><span class=\"a\">Internet generation doesn\u2019t try to understand\u00a0<\/span><span class=\"a\">or to change the Network, but to make the best use of its potential. We could also\u00a0<\/span><span class=\"a\">talk about \u201cA<\/span><span class=\"a\">pp-Art<\/span><span class=\"a\">\u201d to highl<\/span><span class=\"a\">ight the idea of exploiting off-the-shelf software,\u00a0<\/span><span class=\"a\">commonly called\u00a0<\/span><span class=\"a\">\u201capplication<\/span><span class=\"a\">s<\/span><span class=\"a\">\u201d<\/span><span class=\"a\">, and now applied to art<\/span><span class=\"a\">. The term \u201capplication\u201d\u00a0<\/span><span class=\"a\">should be discussed as well: is a painting an application of paint? Expressing the\u00a0<\/span><span class=\"a\">operability of the software, an application is for some artists the new modus operandi\u00a0<\/span><span class=\"a\">for activating their practice. Software, program, algorithm have become a set of\u00a0<\/span><span class=\"a\">automated tools, instruments played by the artist somewhere\u00a0<\/span><span class=\"a\">between \u201cgame\u201d and<\/span><span class=\"a\">\u201cfame\u201d, between \u201cmachinery\u201d (active complex of executable functions) and<\/span><span class=\"a\">\u201cMachination\u201d (playful int<\/span><span class=\"a\">erface for stealth data collection). At the end of the second\u00a0<\/span><span class=\"a\">decade of this century, the dark side of the ever-more-popular network sociality is\u00a0<\/span><span class=\"a\">establishing new ethical and aesthetical relations that, though often remaining\u00a0<\/span><span class=\"a\">unnoticed or unquestioned, apparently go far beyond original expectations.<\/span><span class=\"a\">Post-Nature<\/span><span class=\"a\">Chinese Contemporary art practice reflects upon major concerns of modern society.\u00a0<\/span><span class=\"a\">Transhumanism, robotics, Virtual and Augmented Realities, Artificial Intelligence,\u00a0<\/span><span class=\"a\">surveillance and identities, these are all considered to be key topics, already\u00a0<\/span><span class=\"a\">contaminating our present and designing our future. Art has become an anticipated\u00a0<\/span><span class=\"a\">future and we should take note of the signs present in many of these works.\u00a0<\/span><\/div>\n<div><\/div>\n<\/div>\n<div>\n<div class=\"ff3\"><strong><span class=\"a\">Social Issues<\/span><\/strong><\/div>\n<div><\/div>\n<div class=\"ff3\"><span class=\"a\">Each period of history has its own codes and rules. Self-control, to comply with\u00a0<\/span><span class=\"a\">existing regulations, may lead some artists to increase the metaphoric dimensions of\u00a0<\/span><span class=\"a\">their work, leaving the spectator to decide on its final interpretation. This gives the\u00a0<\/span><span class=\"a\">viewer the feeling that socio-political issues are barely present in most of the\u00a0<\/span><span class=\"a\">works<\/span><span class=\"a\">\u2026 while not totally absent.<\/span><\/div>\n<div class=\"ff3\"><span class=\"a\">There is a long tradition of delicately chiseled expression since, at least, the Tang and\u00a0<\/span><span class=\"a\">Song Dynasties. Political poets like Du Fu (<\/span><span class=\"a\">\u675c\u752b<\/span><span class=\"a\">), Qu Yuan (<\/span><span class=\"a\">\u5c48\u539f<\/span><span class=\"a\">) and Xin Qiji (<\/span><span class=\"a\">\u8f9b\u68c4\u75be<\/span>) in those periods, for instance, had to find the appropriate words in order to be heard<span class=\"a\"> in an acceptable way. Using sophisticated or basic technologies, contemporary\u00a0<\/span><span class=\"a\">artists have become the poets of their generation.<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div id=\"outer_page_3\" class=\"outer_page only_ie6_border \">\n<div id=\"page3\" class=\"newpage\">\n<div class=\"text_layer\">\n<div class=\"ie_fix\">\n<div class=\"ff3\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<!-- Begin Yuzo --><div class='yuzo_related_post style-1'  data-version='5.12.81'><!-- without result --><div class='yuzo_clearfixed yuzo__title yuzo__title'><h3>Related Works<\/h3><\/div>\n\t\t\t\t\t\t  <div class=\"relatedthumb \" style=\"width:135px;float:left;overflow:hidden;text-align:center;\">  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <a  href=\"https:\/\/benayoun.com\/zh-hans\/2006\/06\/06\/emotion-vending-machine-distributeur-automatique\/\"  >\n\t\t\t\t\t\t\t\t\t  <div class=\"yuzo-img-wrap \" style=\"width: 135px;height:100px;\">\n\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t<div class=\"yuzo-img\" style=\"background:url('https:\/\/benayoun.com\/wp-content\/uploads\/2017\/03\/vendingmachine2534xs-150x150.webp') 50% 50% no-repeat;width: 135px;height:100px;margin-bottom: 5px;background-size: cover; 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 border-radius: 5% \"><\/div>\n\t\t\t\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t\t   <span class=\"yuzo__text--title\" style=\"font-size:13px;\">Cosmopolis, Overwriting the City<\/span>\n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <\/a>\n\n\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t  <div class=\"relatedthumb \" style=\"width:135px;float:left;overflow:hidden;text-align:center;\">  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <a  href=\"https:\/\/benayoun.com\/zh-hans\/2001\/09\/01\/from-virtual-to-public-space-toward-an-impure-art\/\"  >\n\t\t\t\t\t\t\t\t\t  <div class=\"yuzo-img-wrap \" style=\"width: 135px;height:100px;\">\n\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t<div class=\"yuzo-img\" style=\"background:url('https:\/\/benayoun.com\/wp-content\/uploads\/2017\/01\/MB_LOGO_ICO.webp') 50% 50% no-repeat;width: 135px;height:100px;margin-bottom: 5px;background-size: cover;  border-radius: 5% \"><\/div>\n\t\t\t\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t\t   <span class=\"yuzo__text--title\" style=\"font-size:13px;\">From Virtual to Public Space<\/span>\n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <\/a>\n\n\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t  <div class=\"relatedthumb \" style=\"width:135px;float:left;overflow:hidden;text-align:center;\">  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <a  href=\"https:\/\/benayoun.com\/zh-hans\/1999\/11\/11\/lart-coupable-mais-toujours-libre\/\"  >\n\t\t\t\t\t\t\t\t\t  <div class=\"yuzo-img-wrap \" style=\"width: 135px;height:100px;\">\n\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t<div class=\"yuzo-img\" style=\"background:url('https:\/\/benayoun.com\/wp-content\/uploads\/2017\/01\/MB_LOGO_ICO.webp') 50% 50% no-repeat;width: 135px;height:100px;margin-bottom: 5px;background-size: cover;  border-radius: 5% \"><\/div>\n\t\t\t\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t\t   <span class=\"yuzo__text--title\" style=\"font-size:13px;\">L\u2019art coupable mais toujours libre<\/span>\n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <\/a>\n\n\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t  <div class=\"relatedthumb \" style=\"width:135px;float:left;overflow:hidden;text-align:center;\">  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <a  href=\"https:\/\/benayoun.com\/zh-hans\/2004\/04\/05\/tentative-de-definition-de-lart-numerique\/\"  >\n\t\t\t\t\t\t\t\t\t  <div class=\"yuzo-img-wrap \" style=\"width: 135px;height:100px;\">\n\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t<div class=\"yuzo-img\" style=\"background:url('https:\/\/benayoun.com\/wp-content\/uploads\/2017\/01\/MB_LOGO_ICO.webp') 50% 50% no-repeat;width: 135px;height:100px;margin-bottom: 5px;background-size: cover;  border-radius: 5% \"><\/div>\n\t\t\t\t\t\t\t\t\t  <\/div>\n\t\t\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t\t   <span class=\"yuzo__text--title\" style=\"font-size:13px;\">Tentative de d\u00e9finition de l\u2019art num\u00e9rique<\/span>\n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  \n\t\t\t\t\t\t\t  <\/a>\n\n\t\t\t\t\t\t  <\/div>\n<\/div> <style>\n\t\t\t\t\t\t\t\t.yuzo_related_post img{width:130px !important; height:120px !important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb{line-height:15px;background: !important;color:!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb:hover{background:#ffffff !important; -webkit-transition: background 0.2s linear; -moz-transition: background 0.2s linear; -o-transition: background 0.2s linear; transition: background 0.2s linear;;color:!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb a{color:!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb a:hover{ color:}!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb:hover a{ color:!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .yuzo_text {color:!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb:hover .yuzo_text {color:!important;}\n\t\t\t\t\t\t\t\t.yuzo_related_post .relatedthumb{  margin: 0px  0px  0px  0px;   padding: 5px  5px  5px  5px;  }\n\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/style> <script>\n\t\t\t\t\t\t  jQuery(document).ready(function( $ ){\n\t\t\t\t\t\t\t\/\/jQuery('.yuzo_related_post').equalizer({ overflow : 'relatedthumb' });\n\t\t\t\t\t\t\tjQuery('.yuzo_related_post .yuzo_wraps').equalizer({ columns : '> div' });\n\t\t\t\t\t\t   })\n\t\t\t\t\t\t  <\/script> <!-- End Yuzo :) -->","protected":false},"excerpt":{"rendered":"<p>\u00a0On Digital Mutations in the Landscape of Chinese Contemporary Art Maurice Benayoun,\u00a0Professor, School of Creative Media, City University of Hong Kong. Chief curator statement for \u201cOn The Road: Young Media Artists in China\u201d exhibition,\u00a0March 23, 2018 Initiated in 2014 by the Guan Shanyue Museum,\u00a0Shenzhen, \u201cOn&#8230;<\/p>\n","protected":false},"author":1,"featured_media":16133,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"quote","meta":{"footnotes":""},"categories":[553,188],"tags":[470,399,565],"class_list":["post-24233","post","type-post","status-publish","format-quote","has-post-thumbnail","hentry","category-exhibition-zh-hans","category-words-zh-hans","tag-curating-zh-hans","tag-interactive-installation-zh-hans","tag-reification-zh-hans","post_format-post-format-quote"],"_links":{"self":[{"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/posts\/24233","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/comments?post=24233"}],"version-history":[{"count":1,"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/posts\/24233\/revisions"}],"predecessor-version":[{"id":24235,"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/posts\/24233\/revisions\/24235"}],"wp:attachment":[{"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/media?parent=24233"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/categories?post=24233"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/benayoun.com\/zh-hans\/wp-json\/wp\/v2\/tags?post=24233"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}