经典是否可以成为当代?
夸尤拉个展,2019 ,图片?昊美术馆
文章由夸由拉个展 | 非对称考古学:凝视机器
联合策展人马珏撰写
“经典是否可以成为当代?”这一问题在对夸尤拉的艺术实践讨论中被不断提及。在长于意大利罗马的夸尤拉眼中,我们视作西方艺术经典的名作只是他记忆中街头巷尾随处可见的稀松平常。而巧妙地运用算法将闻名遐迩的经典作品抽象化,以全新的面貌呈现,正是夸尤拉参与历史,并将其视为新美学和新思想起点的艺术表达。
艺术家夸尤拉站在作品《拉奥孔》前, 图片?昊美术馆
夸尤拉对经典作品的研究、解构和重写,并非刻意抽离图像中由史诗、神话和宗教精心虚构的故事和固有语境,而是试图通过机器视觉窥探被历史尘埃所掩盖的形式、物质和创作的本质。《地层》和《图像志》系列均是他为串联古今审美流变及再建关联所做的尝试。
《地层#1》,2008, 图片?昊美术馆
左:《地层#4》,2011,图片?昊美术馆
右:《地层#4》的重构对象之一:法国里尔美术宫馆藏的鲁本斯标志性的祭坛画,图片来自网络
展览现场《图像志》,2019, 图片?昊美术馆
《图像志#20》,2014,根据鲁本斯《猎虎》系列喷墨打印,180 × 120 cm /每张,图片致谢艺术家
在占据本次展览核心的作品《雕塑工厂》中,人类的创造力和进化的计算机以新美学作为连结“过去和当下”、“数字与经典”的纽带,达成了某种看似可靠却又脆弱的平衡。夸尤拉与技术团队合作设计的算法建立的坐标,操纵机械之手鸣响着在塑料泡沫中寻找材料本身潜藏的“天赐之作”的影子——在以数字逻辑雕刻出《普鲁托和普洛舍宾娜》不完整形象的各种变体之际,将米开朗基罗“未完成”这一概念的探索引向无限可能的更深处。此刻,原作独一无二的大师贝尼尼之手在不知疲倦的智能面前忽而略显失色。这正是隐匿于雕塑材料之下的那份脆弱——当直面游刃有余的、进击的科技时,一度自认为在智识上统御万方的人类不免生出对未来的自身是否会日渐无足轻重的忧虑。
《雕塑工厂》,2019 ,图片?昊美术馆
《普洛舍宾娜》,2018-2019 ,图片?昊美术馆
在对经典作品的探索之外,本次展览还呈现了夸尤拉将传统自然视觉修辞转化为数字景观的成果。数字感极强的“点云模式”森林在视频作品《漫步》中的直接出现,提醒着观众数据和算法对人类感官体验和风景画历史传统的侵入和超越。而在《夏日花园》和《伪装》之中,计算机视觉和印象派审美则展现出一种巧妙的暗合。夸尤拉将超高清摄像机记录的景物影像,还原于当下印象,使之蜕变。由技术设备捕捉的超越人类感知的细枝末节,呈现出动态的真相刹那,如同印象派作品用颜料解码、刻画与自然风景乍然相遇、人智尚未介入解释此景为何的模糊一刻。
《遗存》,2018,系列喷墨多联画屏,图片致谢艺术家
《伪装》,2018,系列高清视频,双LED 外墙屏幕,902 × 806 cm /每屏,图片致谢艺术家
《莫奈花园》,2016,系列高清视频,7频投影、7声道,600 x 337 cm /每屏,图片致谢艺术家
徜徉于数字技术打造的“印象派花园”,我们得以再度回归熟悉的审美领域,对科技的设防亦在算法对人类智识的迎合中悄然卸下,转而进入新一轮的沉思。
夸尤拉个展作品合集
Can classics become contemporary?
“非对称考古学:凝视机器”展览现场
"Can classics become contemporary?" This issue has been addressed throughout the discussion of Quayola's artistic practice. In the eyes of Quayola, who grew up in Rome, the masterpieces we regard as classics of Western Art are just common occurrences in the streets and alleys of his memory. Through his ingenious use of algorithms to represent abstractions of famous classics, Quayola takes part in history, illuminating the starting point of a new aesthetics and mode of expression.
The examination, deconstruction and reformation of classics by Quayola is not to deliberately remove the established contexts and stories from epic, mythological, and religious images. Instead it is an attempt from the mechanic vision to explore the forms, matters, and creations that are obscured by the dust of history. The Strata and Iconographies series are his attempts to trace the transformation of ancient and contemporary aesthetics and reconstruct their association.
In the work Sculpture Factory which occupies the core of this exhibition, human creativity and the evolution of computers have struck a seemingly reliable but fragile balance with new aesthetics as a link between “the past and the present" and “the digital and the classic". Quayola cooperates with the technical team in designing algorithms and establishing coordinates, operating the buzzing industrial robot arm in search for traces of the “Gift of God” that lie hidden within the polystyrene foam. Quayola uses digital logic to engrave the various parts of the incomplete image of Pluto and Proserpina and explores Michelangelo's concept "non-finito" further into an abyss of infinite possibilities. It’s at this exact moment when Bernini’s skillful hands are suddenly eclipsed by that of artificial intelligence, an existence which requires no break. This is the vulnerability that lies beneath the sculptural material-apprehension that, in the face of the technological advances that have been made, the human race, once so intellectually dominant, will become increasingly irrelevant in its own future.
In addition to exploring the classics, the exhibition presents the results of Quayola’s translation of established visual rhetoric of nature into a hybrid digital landscape. The direct emergence of the digital “point cloud model” forest in the video work Promenade reminds viewers of the intrusion and transcendence of data and algorithms on the human sensory experience and the historical tradition of landscape painting. In Jardins d’été and Camouflage, computer vision and impressionist aesthetics strike a subtle chord. Quayola restores the image of the scene recorded by the ultra-high definition camera to the current impression and degenerates it. Details captured by the technical apparatus, which go beyond human perception, present a moment of dynamic truth, like a blurry moment in which an impressionist decodes and depicts a landscape with paint and the human mind has not yet stepped in to explain it.
Wandering through the "impressionist garden" created by digital technology, we are able to return to the familiar aesthetic field. Our fortification on technology is also quietly removed in the adaptation of algorithms to human intelligence, conversely initiating a new round of contemplation.
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