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观念/协议/非物质

Concept/Contract/Non-material

观念(idea/concept),模仿阶段,神秘阶段,一直到古希腊时期的科学发展,观念自身也是一个具体的有形物,是人如何界定以及解释一个想法的答案。但观念因其发明,也因此引发了文字和人联想方式的互动,并构成他人理解,进而形成群体思维同步学习的进程。

 

协议(agreement/contract),贯穿人类文明,形成人和人、群体和群体间认知上的一致,进而构成社会结构,甚至可以在现代社会脱离人思维的广度、复杂和可见性,形成超越人的存在,伴随着超级计算和协议复杂性的加深,协议可以被看作是独立于人类之外的存在,并可能产生具体的人格或智性。

 

非物质(non-material/intangible),在当代艺术领域被讨论最多却无从确定的领域,也是文化领域中无法界定的如口语、习俗或任何与人相关的文化,都可以被统合在非物质文化遗产中。物质可以被看作是物理性的凭依,也可以被理解为连接着世界的桥梁。非物质和物质构成一个整体,如同推论人灵魂的存在和身体机能的关系。

 

观念、协议、非物质构成了这个展览切入的线索,如何理解一个观念的产生,身体的、大脑的?什么产生了一个观念?人和人之间是如何通过协约联系,进而构成当代社会的图景。非物质是这个展览最主要的部分,展览希望凭借着探索这些关键词发展成物质化的现场。而具体关键词之外,游戏、非金本位、区块链、艺术、虚拟社群都是物质和非物质的,即影响到具体社会运作,也构成在观念中的约定俗成,并有其想象力的空间。这些都是构成刘嘉颖创作的主体。并最终汇集成一个观念、协议和非物质的体验空间。

 

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.

游戏/区块链/加密货币

Game/Blockchain/cryptocurrency

游戏(Game),游戏是有目的、规则、挑战与互动。游戏可以被看作人类知识和社会运作的核心描述,设置规则,由权力结构从上至下或集体多数认同的方式,然后按照规则,并不断修订,然后构成约定俗成或法律。游戏并非娱乐,而是在具体构建上的模拟,并通过强调具体过程,让某些运作关系放大成为可被传递体验的感知物。

 

区块链(Blockchain),借助密码学和不可改特性构成的记录(Block),及其具体的连接方式。同样这些都基于如何设定规则,并应用其规则的方式和方法。区块链和很多算法、密码学已经创造的规则和复杂逻辑一样,被发明后,进而成为约定俗成的认知对象,并大量应用到现实中,其背后的运作逻辑和方法被淡化成为另外具体名称的指代。

 

加密货币(cryptocurrency),数字货币和虚拟货币借助密码学构成的概念,自比特币(bitcoin)开始,构成了去中心化的实体。这里依旧涉及到具体行驶规则权利的一方,以及竞争、交互的合理性现实。

 

游戏、区块链、加密货币,是刘嘉颖工作的核心理念,同样也是在发展进程中不断被推进的实在物。NFT或对金融价值的模拟、重构和挑衅,也都在这些观念和具体运作模式之下,构成感性体验的空间关系。而如何在区块链技术观念、金融法则、艺术性之间找到同一个视觉化的交点,是刘嘉颖工作的线索。而艺术观念具体的媒介,可能是代码、光、色彩、织物等,能被观看、感知,进而共情的社群互动空间。

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.

 

刘嘉颖,因其区块链领域的实践,最终凭借艺术性表述,形成一个有趣的整体。

 

Liu Jiaying, for her practice in the field of blockchain, ends up forming an interesting whole by virtue of her artistic expression.

这可被看作是达达主义运动以来,人造物(现成品)概念,向更广袤的科学、经济、社群活动基于规则、挑战、互动的结果。如杜尚的工作在挑战的艺术系统,审美和固有观念下的艺术可能是什么?刘嘉颖的工作是否也依旧在提示艺术和当代的运作,艺术还有可能是什么!如她在「多多益善」、「小目标」、「十万个广告牌」、「Topbidder」等作品,借助不同的区块链协约模式,构建的多人参与金融系统和虚拟货币的交互。观念从未如此介入深远的社会运作。如理解杜尚的创作,是如何改变人对审美和物质的理解,至今达达的兴起已过百年。刘嘉颖的创作则更加紧密的综合新兴媒体、艺术观念和社会运作于一身,直接作用于现在。

 

也因为金融活动和社群媒体介入的日常生活,艺术才能以更加非物质的特征活在人的脑中,以及具体的介入生活。

 

刘嘉颖为区块链理念,注入了人性吗?除了游戏感,参与的匿名大多数人群,还有对人心理的描画和挑衅,再次提示经济活动概念中的人,是如何被塑造的,并依循这一概念,计算着生活的方方面面。有效的、有价值的、可被转化的,一切都在按照这一逻辑被计算的价值观,是否也在她的艺术中被挑衅和颠覆了呢?当贪婪成为社会运作的动力,进而引入“国富论”或“演化生物学”理念下,人性的、心理的活动,也都在其作品的范围。艺术扩展也伴随着演化的人类对自我的理解,一起向前。艺术是心理学的吗?艺术会是人类纪这一地质学概念下的凭借物吗?刘嘉颖的作品也有其物质性的具体实践,从国画、油画、雕塑、虚拟现实、屏幕等具体媒介为观念找到可被沟通理解的凭借物,完成物质和人长久依存的关系。

 

我提过顺媒体、反媒体的概念,在刘嘉颖的创作和概念中,两者合而为一,对技术的实践运用、改变和反思构成了她艺术创作的原动力。而对艺术边界的探索,让她能颠覆顺应媒介技术的使用者困境。反观其整个项目在媒介上的尝试,是贴近生活的,贴近日常的物质。如刘嘉颖区块链系统中的具体合约应用,最终在空间中会和人相遇,观念——艺术——作品,可被还原的智性、情感,发现艺术美感的,是否也能在其中领悟看世界的另一维度?

 

展览名为“一个小目标”,旨在引用社会议题的作用,并暗合刘嘉颖的作品「小目标」。英文使用Cookie Cookie,一则借用互联网技术中一个定义系统,以及日常英文语境中微不足道的小饼干,有着双重语义。

 

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?

The exhibition is entitled "A Small Goal", which aims to invoke the role of social issues and alludes to Liu Jiaying's work "A Small Goal". The use of cookies in English, a system of definitions borrowed from internet technology, and the insignificant biscuit in the everyday English context, have a double semantic meaning.

 

 

策展人:李振华

2021年3月24日

Li Zhenhua

March 24th, 2021

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刘嘉颖 个展「一个小目标」

Liu Jiaying Solo Exhibition “Cookie Cookie”

 

记者会 讲稿

press conference speech

 

 

什么是NFT?

What is NFT?

 

我想这是大家最近最关心的问题,而问题真正的核心应该有两部分。

 

一个部分是艺术品拍卖和金融活动带来的事件性冲击,也就是在Beeple在2021年3月11日的拍卖,作为NFT事件性的历史节点。其拍卖的价格是惊人的。

另一部分是连带性的,理解NFT作为艺术的讨论,自然的指向了NFT是否是艺术?这是什么样的艺术?

 

艺术拍卖的机构佳士得(Christie’s)通过拍卖确认了NFT是艺术作品的现实,构成了这些认知上的困扰。

 

这一现象,直接连带性的拉动了之前的插画、数码艺术、AR/VR,以及基于互联网艺术的认知。这些都可能被误认为是NFT的艺术。而让人忽略了基于电、电视和计算机发明以来的新媒体艺术的历史。

 

甚至忽略了最基础的互联网底层构架协约的逻辑,当然这一逻辑的概念,在很多人的认知上,也根本是不存在的。如何理解互联网的虚拟存在与物理存在,除了协约关系,还有具体的网络搭建硬件的铺设,线路、路由器、交换机和服务器的物理空间需求等。

 

理解NFT基于以太坊技术的金融属性,其名称“非同质化代币”,也可以被理解为“唯一”代币。而理解代币和法币以美金为结算方法的行为,也许能更好的让人理解NFT的真身。

 

是艺术机制包容了NFT作为艺术品的特征,构成了新艺术的扩延吗?如何理解NFT作为文化、艺术发展上的历史线索呢?互联网的美学形态,一方面来自电脑软件的创新,一方面来自迷因(MEME)文化的特征。其艺术线索与网络艺术、后网络艺术构成迭代关系。互联网文化与技术演进和人群关系有着直接联系,艺术从挪用界面的关系,逐渐渗透到社群文化默认的现实。网络文化自然也催生出网络的一代人,有电脑文化背景下的,也有智能手机背景下的,这些人的年龄大概在1-60岁的范围。

 

而现在,世界上的很多人,依旧没能使用电脑、智能手机,或互联网。

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.

 

观念艺术的线索

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.

 

网络艺术,后网络艺术,区块链艺术,NFT的发展线索

Internet art, post-Internet art, blockchain art, NFT development trails

 

看似有联系的,有历史发展线索的,但也并非就是理所当然。

 

如互联网被发明以来的世界,就真的是技术民主化的时代吗?技术和更多人相连,导致了更多的理解,还是两极化(Polarization)的社会现实呢?

所以,在网络艺术、后网络艺术、区块链艺术和NFT的发展上,我们依旧要追问这些节点线索下,是否有其他认知的可能性。在不同媒介和技术发展的线索中,我们学习到了什么?理解了什么?乌托邦、异托邦的世界,哪一个更接近真实的世界呢?在最好的和最坏的想象之间,存在多少可能性呢?

 

谁发明了电脑、鼠标、互联网、blog和PDF?当然还有更多更细小的基于网络的程序,如今天的APP,也都协约构架下被发明和创造出来的人造物。在这里“物”早就已经延展到了非实体的逻辑、方法和概念,而其表象是一段代码或一个小图标。同样在迷因文化的传递上,更复杂的集成物,也可能成为一个直接被引用的现成品。基于程序构架的多种具体应用的延伸,是程序控制、物理性电脑等领域的探索。起于最早的电脑也还在发展中,更高效的运算,更复杂的处理系统。也在拉伸着所有基于之前概念逻辑下的认知。

 

当然这还应该包括人工智能发展的多个成就,高频交易、图像生成都可以被看作基于网络的另一种现实。而回到刘嘉颖作品中涉及到的,基于区块链技术迭代的技术手段和协约关系,其基于互联网文化特征的,去中心化的社群现实,及其交互,也已经枝繁叶茂。其作品和技术迭代共生的关系,恰是将已知技术的层层递进,作为现成品的观念之创作。而大人群的交互,是关于人与人的,也恰是关系美学之后,不可见的人类运作之延伸。

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.

 

技术论与日常生活的几个方面

Several aspects of the theory of technology and everyday life

 

能被说清楚的,要尽量说清楚。什么是技术主导下的生活和艺术之现实。技术优越权,可能可以帮助我们理解生活中的诸多细节。如健康码、乘车码的普及应用,有人问过这些便捷的应用背后有多少个人隐私丧失?同样,我们应该有类似的反思,生活中的我,是否是一个用户或数据贡献者?而这是不是我们存在的目的呢?我最近在重听“资本论”,也在刘嘉颖TopBidder引用的“激进市场”理论中找到了一些“资本论”的影子。

 

人如何理解存在的价值及其创造,如何理解人与人群的关系,人与物的关系,如何理解情感和感知,也都在更加技术化的社会现实中,应该被追问。

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.

再谈刘嘉颖的艺术创作

More on Liu Jiaying's Artistic Creations

 

如果刘嘉颖的创作,在网上的部分,也就是直接可被交互的部分,完全是可以脱离她而存在的,这也与资本论所讨论的资本概念,激进市场理论所讨论的拍卖有着异曲同工之妙。但我必须要承认,这是非人的部分,这是多人交互但却异常冰冷的部分。因为这部分的内驱力量所追寻的恰是有效、有利益的概念结果。当然,这部分交互的大多数参与者应该都是具体的人,都有人应该有的人类情感。而非人的,也是人性的。

 

我想刘嘉颖也是因为情感,才借用了传统艺术形式的多种表现,让人在空间中相遇。她在网络上的工作和线下的工作,是她艺术创作的一体两面。更观念的,更有人类情感的,也可能与加大感知者一起,完成一次线上和线下的旅程。

 

刘嘉颖的工作,应该让人充满疑问,但不应止步不前。其实其创作提供了技术和艺术接驳的新领域,不是更值得理论工作者去探索,艺术和公众发生了怎样的变化?艺术还有可能是什么?真实和虚拟边界,及其心理学扩展。这会引发新的哲学研究吗?一切存在的,也都应该是合理的,但去往合理的、正常的道路,需要很多人去试着分析、创造和想象。

 

试着理解人和现在的困境。

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.

 

策展人:李振华

2021年5月29日

LI Zhenhua

May 29th, 2021

3

刘嘉颖 个展「一个小目标」

Liu Jiaying Solo Exhibition “Cookie Cookie”

 

开幕致词

Opening Speech

 

首先祝贺刘嘉颖女士的展览成功。这是中国和世界,基于区块链和加密艺术领域的里程碑。

 

我相信技术演进和文化演进是人类活动的整体。这反映在我们生活的诸多方面,如我们在讨论航空航天发展的宏伟蓝图时,其实我们已经从仰望星空的冥想状态走向介入和交互。同时,这也带动着哲学思考、科幻作品、文化批判与反思的推进。而事实如何?这是人参与其中的幸运与勇气。

 

我曾经在2015年说过类似的话,关于“爱和勇气”,爱应该是刘嘉颖对美术的羁绊,应该是她对美的探寻。勇气,是她追问“这个世界会好吗?”的真实世界之行动,并成为这个世界的引领者。也许我们的日常依旧是那个山洞,那个没有火种的原始丛林。那么刘嘉颖就是盗火者,就是带领其他人走出山洞的探索者

 

我很幸运,终于又参与其中,作为一个观察者,一个文化批评的工作者,一个走向新世界的人。

 

观念、协议、非物质构成了这个展览切入的线索,如何理解一个观念的产生,身体的、存于思想中的?什么产生了观念?人和人之间是如何通过协约联系,进而构成当代社会的方方面面。非物质是这个展览最主要的部分,展览希望探索由这些关键词发展成物质化的现场及其社会基础。而具体关键词之外,游戏、非金本位、区块链、艺术、虚拟社群,也都在物质和非物质之间,即影响到具体社会运作,也构成在世俗观念中的约定俗成,并延伸其想象的空间。这些都是构成刘嘉颖创作的主体。并最终汇集成一个观念、协议和非物质的视觉体验空间。

 

这也是人与人工智能共构世界中,人的部分,而我们也恰在人与非人的世界交锋处。

 

游戏、区块链、加密货币,是刘嘉颖工作的核心,同样也是在发展进程中不断被推进的实在物。Blockchain、ETH、Smart Contract、FT、NFT或对金融价值的模拟、重构和挑衅,也都在刘嘉颖的观念和具体运作模式之内,构成感性体验的空间关系。而在区块链技术、观念、金融法则、艺术性之间找到同一个视觉化的交点,才是刘嘉颖工作的逻辑及其网状结构。而艺术观念具体的媒介,可能是代码、光、色彩、织物、金属等,能被观看、感知,进而共情的社群互动空间。

 

依旧是关于“共识”人群的,也就是人群意识的综合,人群的交互,依旧是关于人的,而不是非人的。

 

刘嘉颖,因其区块链领域的实践,最终凭借艺术表述,形成一个有趣的整体。

 

这可被看作是达达主义运动以来,人造物(现成品)概念,向更广袤的科学、经济、社群活动基于规则、挑战、互动的结果。如杜尚的工作,在挑战艺术系统,审美和固有观念下的艺术可能是什么?刘嘉颖的工作是否也依旧在提示艺术和当代的运作,艺术还有可能是什么!如她在「多多益善」、「小目标」、「十万个广告牌」、「Topbidder」等作品,借助不同的区块链协约模式,构建的多人参与金融系统和虚拟货币的交互。观念从未如此介入深远的社会运作。如理解杜尚的创作,是如何改变人对审美和物质的理解,至今达达的兴起已过百年。刘嘉颖的创作则更加紧密的综合新兴媒体、艺术观念和社会运作于一身,直接作用于现在。

 

也因为金融活动和社群媒体介入的日常生活,艺术才能以更加非物质的特征活在人的脑中,形成类似宗教的信仰,并具体的介入生活。

 

这也是对博伊斯“社会雕塑”概念和社群塑造的连接。

 

刘嘉颖为区块链理念,注入了人性吗?除了游戏感,参与的匿名大多数人群,还有对人心理的描画和挑衅,再次提示经济活动概念中的人,是如何被塑造的,并依循这一概念,计算着生活的方方面面。有效的、有价值的、可被转化的,一切都在按照这一逻辑被计算的价值观,是否也在她的艺术中被挑衅和颠覆了呢?当贪婪成为社会运作的动力,进而引入“国富论”、“演化生物学”或“激进市场”理念下,人性的、心理的活动、人和物质的价值评估及理解,也都在其作品的范围。艺术扩展也伴随着演化的人类对自我的理解,一起向前。

 

艺术是心理学吗?艺术会是人类纪这一地质学概念下的凭借物吗?刘嘉颖的作品也有其物质性的具体实践,从国画、油画、雕塑、虚拟现实、屏幕等具体媒介为观念找到可被沟通理解的凭借物,完成物质和人长久依存的关系。

 

历史也是现在,非物质文化基因不也在其创作中,成为了永恒吗?新与旧并非对立和替代的关系。理解新也才能更好的理解旧的价值和珍贵,在复原的物质和空间中。

 

我提过顺媒体、反媒体的概念,在刘嘉颖的创作和概念中,两者合而为一,对技术的实践运用、改变和反思构成了她艺术创作的原动力。而对艺术边界的探索,让她能颠覆顺应媒介技术的使用者困境。

 

反观其整个项目在媒介上的尝试,是贴近生活的,贴近日常的物质。如刘嘉颖区块链系统中的具体“合约”应用,最终在空间中会和人相遇,观念——艺术——作品,可被还原的智性、情感,发现艺术美感的,是否也能在其中领悟世界的另一维度?并让人的智性扩延,从而拓展“人”的意义呢?

 

展览名为“一个小目标”,旨在引用社会议题的作用,并暗合刘嘉颖的作品「小目标」。英文使用Cookie Cookie,一则,借用互联网技术中的一个定义系统,以及日常英文语境中微不足道的小饼干,有着双重语义。

 

这是一个尝试性的展览,一个自区块链被创造和应用以来,一个由艺术家刘嘉颖完成的里程碑。如我提到的外太空探索,及所有人类探索未来的行为,也依旧是关于勇气和爱。

 

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"?

The exhibition is entitled 'A Small Goal', which aims to invoke the role of social issues and alludes to Liu Jiaying's work 'A Small Goal'. The use of cookies in English, for one, borrows from a system of definitions in internet technology, and the insignificant biscuit in the everyday English context, which has a double semantic meaning.

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.

 

李振华

2021年5月29日

Li Zhenhua

May 29th, 2021

Exhibition info

展览信息

一个小目标

COOKIE COOKIE

艺术家 :CryptoZR (刘嘉颖)  

Artist: CryptoZR (Liu Jiaying)

 

策展人:李振华

Curator: Li Zhenhua

 

学术指导:邬建安

Academic Mentor: Wu Jian’an

 

展览出品人:张庆红

Exhibition Producer: Zhang Qinghong

展览设计:王振飞、王鹿鸣

​Exhibition Design: Wang Zhenfei, Wang Luming

 

视觉设计:苏航、郭凯⻰

Graphic Design:Su Hang, Guo Kailong

展览统筹:郭成

Exhibition Coordinator: Guo Cheng

 

开幕式:2021年5月29日,下午4点

Opening: 4pm, May 29, 2021

日期:2021年5月29日——6月13日

Date: May 29 - June 13, 2021

 

场地:嘉德艺术中心(王府井大街一号)

Venue: The Guardian Art Center, No.1 Wangfujing street

 

 

特别鸣谢:杨诘苍

Special thanks to Yang Jiechang

 

媒体公关:Sutton PR

Press & PR: Sutton PR

 

多媒体制作:河路文化

Multimedia Production by HELU Culture

展览制作:振世远景艺术展览(北京)有限公司

Exhibition Production by Grand Scope Art Exhibition Ltd. Co., Beijing特

主办单位

Main Organizer

 

Topbidder

联合主办

Co-Organizers

Nervos, Cobo, 麦子 Math, Cortex, Linkart, 链闻 Chain News, 巴比特,Whale, CoinMarketCap, BCA, WePiggy

协办单位

Supporters

Digital Renaissance, NFTchina, ArtGee, 分布共识 DCL, PARAMI, Crypto C, 新序策, 胖车库 Fat Garage, Xdefi,中文野生群

0.主办单位:Topbidder.png
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cobo.png
3.联合主办MATH.png
cortex.png
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8.联合主办WHALE.png
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wepiggy.png
协办方1.Digital Renaissance.png
协办方6.Crypto C.png
NFTchina.png
协办方7.新序策.png
协办方3.ArtGee.png
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DCl.png
xdefi.png
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