The idea/concept, the stage of imitation, the stage of mystery, up to the development of science in the ancient Greek period, the idea itself is also a concrete tangible object, the answer to how one defines as well as interprets an idea. But the idea, by virtue of its invention, also consequently triggers the interaction of words and the way people associate them and constitutes a process of simultaneous learning for others to understand, and thus for the group mind.
Agreements (contracts), throughout human civilization, form cognitive coherence between people and people, groups and groups, and thus social structures, and can even, in modern society, be divorced from the breadth, complexity, and visibility of human thought to form beings that transcend people, and with the deepening complexity of supercomputing and agreements, agreements can be seen as existing independently of humans and may give rise to specific personalities or intelligence.
Non-material (intangible), the most discussed but undefined field in contemporary art, and the undefined field of culture, such as spoken language, customs, or any culture related to human beings, can be united in the intangible cultural heritage. Materiality can be seen as a physical attachment or understood as a bridge that connects the world. The immaterial and the material form a whole, just as the relationship between the existence of the human soul and the bodily functions is inferred.
The idea, the protocol, the immaterial form the thread that cuts through this exhibition; how is the production of an idea understood, of the body, of the brain? What gives rise to an idea? How people are connected to each other through a concordance, which in turn forms the picture of contemporary society. The immaterial is the most significant part of this exhibition, and the exhibition hopes to develop into a materialized site by virtue of exploring these keywords. Beyond the specific keywords, games, the non-gold standard, blockchain, art, and virtual communities are all material and immaterial, i.e. they affect the functioning of specific societies and also constitute conventions in ideas and have their own imaginative space. These are the subjects that form the subject of Liu Jiaying's creations. And ultimately come together into a space of conceptual, protocol, and immaterial experiences.
Games (Game), games are purposeful, rule-based, challenging, and interactive. Games can be seen as a central description of human knowledge and social functioning, setting rules, agreed upon by power structures from the top down or collective majority, then following the rules and continually revising them, which then constitute conventions or laws. Games are not entertainment, but simulations on concrete constructs and by emphasizing concrete processes, allow certain operational relationships to be amplified into perceptual objects that can be transmitted for the experience.
Blockchain, with its cryptography and immutability, constitutes a record (Block) and its specific connections. Again these are based on how rules are set and the way and manner in which they are applied. The blockchain, like many algorithms and cryptography already created rules and complex logic, was invented and then became an object of conventional knowledge and was applied in large numbers to reality, the logic and methods behind its operation being diluted into a reference to another specific name.
Cryptocurrency, the concept of digital and virtual money constituted with the help of cryptography, constitutes a decentralized entity since bitcoin (bitcoin). Here it is still about the party that is specifically driving the rights of the rules and the rational reality of competition and interaction.
Games, blockchain, and cryptocurrencies, the core concepts of Liu Jiaying's work, are likewise tangible objects that are constantly being advanced in the development process. NFT, or the simulation, reconstruction, and provocation of financial values are also under these concepts and specific modes of operation, constituting the spatial relations of perceptual experience. And how to find the same visualized intersection between blockchain technology concept, financial law and artistry is the clue of Liu Jiaying's work. The specific medium of the artistic concept may be code, light, color, fabric, etc., which can be viewed, perceived, and then empathized with as a space of community interaction.
Liu Jiaying, for her practice in the field of blockchain, ends up forming an interesting whole by virtue of her artistic expression.
This can be seen as a result of the rule-based, challenging, interaction of the concept of the man-made (ready-made) object, to the wider scientific, economic, and communal activities since the Dadaist movement. Duchamp's work is challenging the art system, aesthetics, and inherent notions of what art might be? Does Liu Jiaying's work also continue to suggest the workings of art and the contemporary, what else art might be! For example, in her works such as 'Greed is Good', 'Small Goal', '100,000 Billboards' and 'Topbidder', she draws on different blockchain modes of concordance, constructed by multiple participants in the financial system and the interaction of virtual currencies. Never before have ideas been so involved in the workings of far-reaching societies. Understanding how Duchamp's creations, for example, changed one's understanding of aesthetics and materiality is now over a century since the rise of Dada. Liu Jiaying's work is a much tighter synthesis of emerging media, artistic ideas, and social operations, directly acting in the present.
It is also because of the involvement of financial activities and social media in everyday life that art is able to live in the minds of people with a more immaterial character and intervene in life in a concrete way.
Does Liu Jiaying inject humanity into the blockchain idea, for example? In addition to the sense of play, the anonymous majority of the population involved, there is the portrayal and provocation of the human psyche, again suggesting how people, in the concept of economic activity, are shaped and, following this concept, calculate all aspects of life. Are the values of what is valid, valuable, transformable, everything is calculated according to this logic, also provoked and subverted in her art? When greed becomes the driving force behind the workings of society, and thus introduces the idea of the 'wealth of nations' or 'evolutionary biology, human, psychological activity is also within the scope of her work. The expansion of art has accompanied the evolutionary human understanding of the self. Is art psychological? Could art be a virtue under the geological concept of the Anthropocene? Liu Jiaying's works also have their concrete practice of materiality, from Chinese painting, oil painting, sculpture, virtual reality, screen, and other concrete media to find a communicative and comprehensible reference for the concept, completing the long-lasting relationship between materiality and human dependence.
I have mentioned the concepts of pro-media and anti-media, and in Liu Jiaying's creations and concepts, the two merge into one, with the practical use of technology, change, and reflection forming the driving force behind her artistic creations. And the exploration of the boundaries of art allows her to subvert the plight of users who conform to the technology of the medium. On the contrary, her entire project's experimentation with the medium is close to life, close to the everyday matter. For example, the specific contract application in Liu Jiaying's blockchain system will eventually meet with people in space, conception - art - work, reducible intellect, emotion, and the discovery of the beauty of art, can we also understand another dimension of seeing the world in it?
March 24th, 2021
Liu Jiaying Solo Exhibition “Cookie Cookie”
press conference speech
What is NFT?
I think this is the question that has been on everyone's mind lately, and there should be two parts to the question that is really at the heart of it.
One part is the eventful impact of art auctions and financial activity, namely in Beeple's sale on 11 March 2021, as the eventful historical point of the NFT. The price of its auction was staggering.
The other part is linked, understanding the discussion of the NFT as art, which naturally points to the question of whether the NFT is art? What kind of art is it?
The fact that Christie's, the institution of art auctions, has confirmed the reality of the NFT as a work of art through its auctions constitutes these cognitive obsessions.
This phenomenon, by direct correlation, has pulled in previous perceptions of illustration, digital art, AR/VR, and internet-based art. These can all be mistaken for NFT art. And one ignores the history of new media-based art since the invention of electricity, television, and computers.
Or even ignore the logic of the underlying Internet construct concordance at its most basic level, and certainly, the concept of this logic is, to many people's perception, simply non-existent. How to understand the virtual and physical existence of the Internet, in addition to the concordance relationship, there is also the laying down of specific network building hardware, the physical space requirements of lines, routers, switches, and servers, etc.
Understanding NFT is based on the financial properties of Ethernet technology, its name "non-homogenous tokens", which can also be understood as "unique" tokens. And understanding the behavior of tokens and fiat currencies that are settled in US dollars may give a better understanding of the true nature of NFT.
Is it the artistic mechanism that embraces the characteristics of NFT as art and constitutes an extension of New Art? How can NFT be understood as a historical thread in the development of culture and art? The aesthetic form of the Internet derives from the innovations of computer software on the one hand, and from the characteristics of MEME culture on the other. Its artistic threads form an iterative relationship with network art and post-network art. Internet culture is directly linked to technological evolution and crowd relations, with art gradually penetrating from the relationship of appropriated interfaces to the default reality of community culture. Internet culture has naturally given rise to an online generation, both in the context of computer culture and in the context of smartphones, and these people are in the approximate age range of 1-60 years old.
And now, many people in the world still do not have access to computers, smartphones, or the internet.
Threads of Conceptual Art
观念艺术，前有达达主义，有「当态度成为形式」（When Attitudes Become Form），现成品和观念，及其外延的概念，在艺术的框架中，正在成为内化的关键词。观念（Concept）之后出现的“关系美学”（Relational Aesthetics）或长期交融的“关联性艺术”（Contexualized Art），也许才是刘嘉颖工作的合理联系。因为达达主义或观念艺术并没能摆脱被观看和非介入的审美关系，无论是杜尚的“小便池”（泉）还是「当态度成为形式」中的大部分作品，还在探索的是人如何观看与界定艺术品，只有Walter de Maria的作品创造了一种介入和被介入的关系是关于人和人之间的。同样，Nicolas Bourriaud也在其关系美学的概念中讨论到，人与神、人与物、人与人的关系。如何理解当代观念艺术的演进，也才能理解刘嘉颖工作中涉及到的人群交互，以及其非物质性的特征。而在关系美学之后出现的“稍纵即逝的艺术”（Ephemeral Art ）又回到了物质性的探索。在这个层面刘嘉颖的作品又有着更古典联系，在物质性和媒介上的探索，回到传统的绘画、雕塑、装置、影像、VR都可以被理解为艺术历史的排演。其非物质性和非图像的推进，最终借助传统艺术的媒介回到真实世界的空间中。
Conceptual art, preceded by Dadaism and When Attitudes Become Form, is becoming an internalized keyword in the framework of art, with the concepts of the ready-made and the conceptual, and their extensions. The emergence of Relational Aesthetics, or Contextualized Art, after Concept, is perhaps the logical link to Liu's work. Liu Jiaying's work is the logical connection. Because Dadaist or Conceptual art has not escaped the aesthetic relationship between the viewed and the uninvolved, whether it be Duchamp's Urinal (Fountain) or most of the works in When Attitude Becomes Form, which still explores how people see and define artworks, only Walter de Maria's work creates a The relationship between the intervening and the intervened is about the person and the human being. Similarly, Nicolas Bourriaud discusses, in his concept of relational aesthetics, the relationship between man and God, man and object, and man and man. How the evolution of contemporary conceptual art can be understood is also how the interaction of people involved in Liu Jiaying's work, and its immateriality, can be understood. The emergence of 'Ephemeral Art' in the wake of relational aesthetics returns to the exploration of materiality. At this level Liu Jiaying's work has a more classical connection to the exploration of materiality and media, going back to traditional painting, sculpture, installation, video, and VR which can all be understood as rehearsals of art history. Its immateriality and non-image advances, ultimately returning to the space of the real world through the medium of traditional art.
Internet art, post-Internet art, blockchain art, NFT development trails
What appears to be connected and to have a historical development thread is not taken for granted.
Has the world since the invention of the Internet, for example, really been a time of technological democratization? Is technology connected to more people, leading to greater understanding, or is it a polarised social reality?
So, in the development of network art, post-network art, blockchain art, and NFT, we continue to ask whether there are other cognitive possibilities under these nodal clues. What have we learned from the different threads of media and technological development? What has been understood? Which is closer to the real world, the utopian, the heterotopia world? How many possibilities exist between the best and the worst imaginable?
Who invented the computer, the mouse, the internet, the blog, and the PDF, and of course the more minute web-based programs, such as today's apps, which were invented and created as man-made objects under the framework of the concordance? Here "things" have long extended to non-physical logics, methods, and concepts, which take on the appearance of a piece of code or a small icon. In the same way that the more complex integration of objects in the transmission of the culture of fetishism can become a ready-made product that is directly referenced. An extension of the many specific applications based on programmatic constructs is the exploration of areas such as program control and physical computers. Computers, which began in the earliest days, are also still evolving, with more efficient computing and more complex processing systems. It is also stretching all perceptions based on the logic of previous concepts.
Of course, this should also include multiple achievements in the development of artificial intelligence, high-frequency trading, image generation can all be seen as an alternative reality based on the web. Returning to the technical means and contractual relationships involved in Liu Jiaying's work, based on the blockchain technology iteration, the decentralized community reality based on the cultural characteristics of the internet, and its interactions, has also flourished. The symbiotic relationship between the work and the technological iteration is precisely the creation of a conceptualization of the layers of known technology as a ready-made product. The interaction of large groups of people is about human beings and is an extension of the invisible human operations after the aesthetics of relationships.
Several aspects of the theory of technology and everyday life
What can be made clear, be made as clear as possible. What is the reality of life and art under the dominance of technology? Technological superiority may help us to understand the many details of our lives. For example, with the popular use of health codes and ride codes, some have asked how much personal privacy has been lost behind these convenient applications. Similarly, we should have a similar reflection on whether I, in life, am a user or data contributor? And is this the purpose of our existence? I've been re-listening to Capitalism recently, and I've found some of it in the "Radical Markets" theory cited by Liu's TopBidder.
How one understands the value of existence and its creation, how one understands the relationship between people and people, between people and things, how one understands emotions and perceptions, should also be asked in a more technological social reality.
More on Liu Jiaying's Artistic Creations
If Liu Jiaying's creations, the online part, the part that is directly interactable, could exist entirely apart from her, it would also be similar to the concept of capital discussed in capital theory, and the auction discussed in radical market theory. But I have to admit that this is the impersonal part, this is the part that is multiply interacted with but exceptionally cold. This is because the amount of internal drive in this part seeks precisely valid, profitable conceptual outcomes. Of course, most of the participants in this part of the interaction are supposed to be concrete human beings, with the human emotions that people are supposed to have. And non-human, and human.
I think it is also because of emotion that Liu Jiaying borrows from the many expressions of traditional art forms that allow people to meet in space. Her work on the internet and offline are two sides of the same coin of her artistic creation. The more conceptual, the more human-emotional, may also join with the increased perceiver to complete a journey both online and offline.
Liu's work should fill one with questions, but it should not stop there. In fact, its creation offers a new area where technology and art meet, is it not more worthwhile for theorists to explore, how has art and the public changed? What else is possible with art? The border between the real and the virtual, and its psychological expansion. Will this lead to new philosophical research? Everything that exists, and should be reasonable, but the path to what is reasonable and normal requires many people to try to analyze, create and imagine.
Try to understand people and the present dilemma.
May 29th, 2021
Liu Jiaying Solo Exhibition “Cookie Cookie”
First of all, congratulations to Ms. Liu Jiaying on the success of her exhibition. This is a milestone for China and the world, based on the blockchain and crypto art field.
I believe that technological evolution and cultural evolution are human activities as a whole. This is reflected in many aspects of our lives, such as when we discuss the grand blueprint of aerospace development, we have actually moved from a meditative state of looking up at the stars to intervention and interaction. At the same time, this has led to an advance in philosophical thinking, science fiction works, cultural criticism, and reflection. And what is the truth? It's the luck and courage of the people involved.
I said something similar in 2015, about 'love and courage', that love should be Liu Jiaying's bond to fine art, should be her search for beauty. Courage is her asking "Is the world going to be okay?" and to be a leader in this world. Perhaps our everyday life is still the cave, the primitive jungle without fire. Then Liu Jiaying is the fire thief, the explorer who leads others out of the cave.
I am fortunate to finally be involved again, as an observer, a worker in cultural criticism, a person moving towards a new world.
Concepts, protocols, and the immaterial form the thread that cuts through this exhibition. How do you understand the production of an idea, bodily and stored in the mind? What gives rise to an idea? How do people connect with each other through a concordance, which in turn constitutes all aspects of contemporary society? The immaterial is the most significant part of this exhibition, which hopes to explore the development of materialized sites and their social foundations from these keywords. Beyond the specific keywords, games, the non-gold standard, blockchain, art, and virtual communities also lie between the material and the immaterial, i.e. affecting the functioning of concrete society, but also constituting conventions in secular perceptions and extending their imaginative space. These are the subjects that constitute Liu Jiaying's creations. And ultimately converge into a space of conception, agreement, and immaterial visual experience.
This is also the human part of the co-constructed world of human and artificial intelligence, and we are precisely where the human and non-human worlds meet.
Blockchain, ETH, Smart Contract, FT, NFT or simulations, reconfigurations, and provocations of financial values are also within Liu Jiaying's conceptions and specific modes of operation, constituting a spatial relationship of perceptual experience. And it is the logic of Liu Jiaying's work and its meshwork that finds the same visualized intersection between blockchain technology, ideas, financial laws, and artistry. The specific medium of the artistic concept may be code, light, color, fabric, metal, etc., which can be viewed, perceived, and then empathized within the space of community interaction.
It is still about the 'consensus' of the crowd, that is, the synthesis of crowd consciousness, the interaction of the crowd, and it is still about the human, not the non-human.
Liu Jiaying, with his practice in the field of blockchain, ultimately forms an interesting whole by virtue of his artistic expression.
This can be seen as a result of the concept of the man-made (ready-made) object, since the Dadaist movement, to the broader scientific, economic, and community activities based on rules, challenges, and interactions. As in the case of Duchamp's work, in challenging the art system, aesthetics, and preconceived notions of what art might be? Does Liu Jiaying's work also continue to suggest the workings of art and the contemporary, what else art might be! For example, in her works such as 'Greed is Good', 'Small Goal', '100,000 Billboards' and 'Topbidder', she draws on different blockchain modes of concordance, constructed by multiple participants in the financial system and the interaction of virtual currencies. Never before have ideas been so involved in the workings of far-reaching societies. Understanding how Duchamp's creations, for example, changed one's understanding of aesthetics and materiality is now over a century since the rise of Dada. Liu Jiaying's work is a much tighter synthesis of emerging media, artistic ideas, and social operations, directly acting in the present.
It is also because of the involvement of financial activities and social media in everyday life that art is able to live in the minds of people with a more immaterial character, forming religious-like beliefs and intervening in life in a concrete way.
This is also a connection to Beuys' concept of "social sculpture" and the shaping of communities.
Does Liu Jiaying inject humanity into the blockchain concept? In addition to the sense of play, the anonymity of the majority of the people involved, there is also a portrayal and provocation of the human psyche, again suggesting how people are shaped by the concept of economic activity and calculate all aspects of life according to this concept. Are the values of what is valid, valuable, transformable, everything is calculated according to this logic, also provoked and subverted in her art? When greed becomes the driving force behind the workings of society, and thus introduces the idea of the 'Wealth of Nations', 'Evolutionary Biology' or 'Radical Markets', human nature, psychological activity, human and material values, are also assessed and understood in their own right. The assessment and understanding of human and material values are also within the scope of his work. The expansion of art has also moved forward along with the evolutionary human understanding of the self.
Is art psychology? Can art be a virtue under the geological concept of the Anthropocene? Liu Jiaying's works also have their concrete practice of materiality, from Chinese painting, oil painting, sculpture, virtual reality, screen, and other concrete media to find a communicative and understandable reliance for the concept, completing the relationship between material and human longevity.
History is also the present. Isn't the immaterial cultural gene also in its creation, becoming eternal? The new and the old are not opposites or substitutes. Understanding the new also leads to a better understanding of the value and preciousness of the old, in recovered matter and space.
I have mentioned the concepts of pro-media and anti-media, and in Liu Jiaying's creations and concepts, the two merge into one, with the practical use of technology, change, and reflection forming the driving force behind her artistic creations. And the exploration of the boundaries of art allows her to subvert the plight of users who conform to the technology of the medium.
On the contrary, her entire project's experimentation with the medium is close to life, close to the everyday matter. For example, the specific 'contract' application in Liu Jiaying's blockchain system will eventually meet with people in space, the idea - art - work, the reducible intellect, the emotion, the discovery of art Is it possible to perceive another dimension of the world in the beauty of it? Can we also understand another dimension of the world and expand the human intellect, thus expanding the meaning of "human"?
This is a tentative exhibition, a milestone accomplished by the artist Liu Jiaying since the blockchain was created and applied. The exploration of outer space, as I mentioned, and all human acts of exploring the future also remain about courage and love.
May 29th, 2021
艺术家 ：CryptoZR （刘嘉颖）
Artist: CryptoZR (Liu Jiaying)
Curator: Li Zhenhua
Academic Mentor: Wu Jian’an
Exhibition Producer: Zhang Qinghong
Exhibition Design: Wang Zhenfei, Wang Luming
Graphic Design：Su Hang, Guo Kailong
Exhibition Coordinator: Guo Cheng
Opening: 4pm, May 29, 2021
Date: May 29 - June 13, 2021
Venue: The Guardian Art Center, No.1 Wangfujing street
Special thanks to Yang Jiechang
Press & PR: Sutton PR
Multimedia Production by HELU Culture
Exhibition Production by Grand Scope Art Exhibition Ltd. Co., Beijing特
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