作品介绍
感知增生—中法媒体艺术交流项目
AUGMENTED SENSES
A China-France Media Art Project
作品说明
参展艺术家/作品
Artist and Artwork
I. 展览部分Exhibition
黑色像素
Pixel Noir
安托尼•施密特
Antoine Schmitt(法)
录像装置| 计算机，黑色画布，软件
Video Installation| Computer, Black painting, software
尺寸可变
Variable Size
2010
黑色像素是一件室内装置作品：无数跃动的光像素点投射到挂有方形黑色画作的展厅墙上。像素点在墙面上构成不断变换的图形，在墙上四处游荡，唯独巧妙地避开墙上的黑色画作。艺术家以这幅作品纪念自己的第一幅成名作品——《白色像素》，同时，也是向大师马列维奇的《白底上的黑色方块》致敬。
Pixel Noir is an installation for galleries: a wall inhabited by a projected living shape made of light pixels, which endlessly bounces on a black square painting hung on the wall. The pixel-made body wanders freely everywhere on the wall, except on the black painting. This artwork is both a homage to my first notable artwork the White Pixel, and to Malevich’s Carre Noir sur Fond Blanc.
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锣
Gong
菲利斯•德丝蒂尼•德奥文
Felicie d’Estienne d’Orves(法)
录像装置,铝质装置| 立体声，29'50"，循环
Video projection, aluminium sculpture, and stereo channel. 29’50 loop
音乐：弗雷德里克•诺格瑞
Music : Frédéric Nogray
直径2.4m
2.4m diameter
2009
http://felicie.metaproject.net/fr/accueil/
装置主体是一件巨大的光之锣,由投影出的五彩同心圆和强烈的音浪组成。该装置因渐进绵长的波形而变得动感。有形和无形的组成部分间所产生的对比差异化合出一种催眠效果。同时，“锣”激发出一种神秘的力量，挑战着观众的感官体验。该装置将对于宇宙的自然亲近和受作品激发的情感巧妙地合二为一。
"The installation consists in a big gong of light, made of coloured concentric projections and intense sound vibration. The gong is moved by long and progressive waves. The hypnotic effect is born out of the difference between the visible and the invisible. The gong evokes a mysterious energy and troubles our physical perception. The installation brings together the intimate and the emotional."
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次品多利
The Botched Dollys
法兰斯•卡德
France Cadet(法)
4件互动机械装置| 树脂
4 interactive Robots, resin
32/35cm 长，32cm 高
32/35cm long, 32cm high
2011
这一系列机器人装置以著名的克隆羊“多利”来命名。经过编程，它的行为表现有如得了疯牛病(BSE)一般：抽搐，跌倒，像悲伤的小狗一样呜咽。同时，如同真的多利一样，它也受到提早衰老的折磨。真实的狗当然不会感染疯牛病。但艺术家将这些机械狗定位为嵌合体——一种转基因动物，一部分是狗，一部分是牛，另一部分则是羊。事实上，它取了狗的形体，但却被赋予了牛和羊的花纹。
这一系列的新装置着重关注“多利”这个物种。它从两个不同的角度来揭示克隆研究：
其一，通过成功克隆的狗牛羊合体机器人“多利”来展示克隆技术带来的进步发展。
其二，通过不同的“次品多利”展现克隆实验不为人知的一面，实验中的许多次品常常被遮蔽于实验室中。这些次品有些受到病变和生理畸形的折磨，有些则需要由假肢来支持。
One of these robots named “Dolly” after the famous cloned sheep was programmed to behave as if it had BSE (“mad cow disease”), twitching and collapsing while whining like a sad puppy. He was also suffering of premature aging like the real Dolly. Real dogs, of course, do not suffer from BSE, but this robotic dog was supposed to be a chimera – a transgenic animal, part dog, part cow and part sheep (its form was that of a dog, but it was painted to look like a cow and a sheep)
This new installation concentrates on this “Dolly” species. It is made of two parts and shows the two sides of cloning research:
- one visible aspect exposed as an improvement, a progress, showing the result, the successfully cloned “Dolly”, the working dog-cow-sheep robot.
- and another one as the hidden side of these experiments, revealing the
many botched clones concealed in the laboratories, with different
“Botched Dollys”, some showing various pathologies or malformations,
others needing prosthesis or plasters.
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狩猎战利标本——短尾大山猫
Hunting Trophy – Lynx Rufus
法兰丝•卡德
France Cadet(法)
机械互动装置| 木,树脂
Interactive robot, wood, resin
32cm x 24cm x 22cm
2008
“短尾大山猫标本”是一个机械的互动装置，来自于“狩猎战利标本”系列，其中较多使用猫科或鹿科的动物标本。在此作品中，大山猫经由红外线感应器观察观者的动向。当观者靠近时，机器人的视线会转向观者所在的方向，当观者靠近机器人时，机器人会突然咆哮。观者越靠近机器人，机器人的反应就越激进。如果观者快速经过狩猎标本的面前时，一连串抗争反应将会跟随着观者的步伐进行。
Lynx trophy is an interactive installation, from the series “Hunting trophies” involving a collection of 11 robotic trophies hung on the wall. They feature the most frequent species used in taxidermy, mainly felines and cervidae. An infrared sensor allows them to detect the presence but also the movements of visitors. When you approach, the robots turn their heads in your direction, their eyes light up, come too close and the robot suddenly growls. The closer you get, the more aggressive its behaviour becomes. If you walk fast facing the wall of trophies, a chain reaction will begin, such as a wave of protestation following your walk.
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亚空间.安娜
Subspace Ana MA v1 (WYSI*not*WYG project) 2010
非建筑
Anarchitecture (WYSI*not*WYG project)
奥利维尔•瑞兹
Olivier Ratsi(法)
摄影及动态影像装置
Photograph and moving image installation
音效创作：托马斯•凡奎
Sound creation : Thomas Vaquié
六张 60cm× 50cm 照片
6 Photographs 60x50 cm
http://www.wysi-not-wyg.com/installation-performance/subspace-ana/
2010
非建筑(WYSI*not*WYG企划)
“非建筑”和“亚空间.安娜”来自现实中具客观性摄影照片中的几个照片样本。作品理念为在一个城市景观的样品中(摄影)，打破固定组成元素后，经由运动分解过程拆解样本照片。这些作品重现城市景观的演化并鼓励观者通过这一视觉重塑和心理拼图与作品进行互动。这个项目希望通过将现实、时间、空间和物质考虑成不可触的信息向观者传达一个不同的角度和信息，展现由可触的现实产生的信息断层。换言之，探讨其重组被观察物所传达的信息和观察者所接收到的信息的能力。
通过这一方法，如果把摄影作为以图片形式进行的采样，信息断层的现象即表现于图片上，向信息接收者传达信息。这一重要的信息干扰是经过艺术家仔细设计的，以保证观者无法充分的解译作品所传达的信息，但与此同时，观者依旧可能依靠自己的生活经验重组这一图像。
“非建筑”和“亚空间•安娜”项目的关键理念是——解构空间、时间地标。城市景观图片的解构主要充当着一个情感触发点，相比探讨事物可以呈现的形态，它更注重于对图片参照物的发问。
“非建筑”及“亚空间.安娜”建议观者根据本身的灵敏度，遵循作品给的线索来剖析每个人对于不同城市景观的剖析。其目的不是要重现这个世界原本的样貌，而是提出一个新的角度来观察和考虑世界。
Anarchitecture (WYSI*not*WYG project)
Anarchitectures and Subspace Ana are image samples, drawn from our objective reality. The idea was to fragment an urban landscape from a sample (photography), breaking fixed elements up into several levels, while sticking to a faithful representation of the moving elements. These pieces reshape the evolution of urban landscape, and encourage the audience to interact with the artwork according to a visual reconstruction mental exercise. This project considers unbiased reality, time, space and matter as notions of intangible information sharing with the audience a different point of view, causing a fracture in what came from tangible reality. In other words, being able to modify the type of information received by the observer and transmitted by the observed object.
According to this approach, if taking photos is like taking a sample in the shape of a picture, the fracture effect will take place on this image, conveying the information to a receiver. A significant and disturbing fracture but well thought-of, so that the receivers cannot entirely decode the information, yet without denying them the possibility to reconstruct the image, through their own life experience.
The key concept to Anarchitecture and Subpsace Ana projects are the "deconstruction of space-and-time landmarks". The deconstruction or fragmentation of urban landscape images acts mainly as an emotion trigger, which does not aim at showing what things could be, but more at questioning their references.
Anarchitectures and Subspace Ana suggest leads for thought and allow the audience to experiment urban landscape according to their own sensitivity. The aim is not to re-present the world as it is, but rather to suggest a new angle for observation and consideration.
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与中国一起舞蹈
Dance with China
格雷戈里•夏通斯基
Grégory Chatonsky(法)
录像装置
Video Installation
编程/软件：瓦迪姆 伯纳德 & 格雷戈里 夏通斯基
Programmation / Software: Vadim Bernard & Grégory Chatonsky
2008
这件作品对应着中国股票交易市场的实时讯息。弗雷德•阿斯泰尔(著名舞者、流行音乐人)随着经济的节奏翩翩起舞：变化无常的市场中，买卖波动越是剧烈，他的舞步就越流畅。
The images are connected to the Chinese Stock Exchange in real time. Fred Astaire dances to the rhythm of the economy: the more volatile the tradings, the more fluid the movements.
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我只是不知道该怎么做
I Just don’t Know what to do with myself
格雷戈里•夏通斯基
Grégory Chatonsky(法)
互动装置，摄影，三维造型|投影，指纹生物传感器，计算机，软件
Interactive installation| Video projection, finger biometric sensor, computer, software
编程：斯蒂范尼•斯科拉
Programmation / Software: Stephane Sikora
尺寸可变
Variable Size
2007
“我只是不知道该怎么做”是一系列基于指纹扫描的装置。指纹是一种与生俱来的图形，每个人都拥有。而这件装置作品意在完全摒弃指纹作为一种身份识别的一般用途，取而代之的是创造一种不可预计的篡改。作品的交互性表现在：观众扫描下自己的指纹后，可以见证其随时间进行的演变的过程。指纹的图像在有限的屏幕范围内像一座海上冰山，逐渐漂移、破碎开去。压克力镭射雕刻术获得的指纹剪影图像被投射到墙面上，而在雕刻物表面几乎是不可察觉的 。
I Just Don’t Know What to Do with Myself is a series of devices on
fingerprints. The fingerprint is an image that each of us carries. This is all
about diverting its common use, the identification, and coming up with an
unpredictable transformation. An interactive installation enables the visitor to
scan his fingerprint and to see its image evolve in time. The fingerprints drift
and break like icebergs on an ocean limited by the screen.
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