RTSM｜Tearing & Regenerating：陈琦 & Domenico BARRA

原创 CAFA ART INFO 中央美院艺讯网

Tearing & Regenerating| 撕裂·修复

Reflecting the Sharing Moment | Section Two

2020艺讯网线上展览

2020艺讯网英文版最新线上展览项目“Reflecting the Sharing Moment”（缩写为RTSM）正式开启，第二期“撕裂·修复”已上线！我们邀请了12位来自世界各地的艺术家，带来他们在2020的思考和创作。第三期将于11月末上线，敬请期待！

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RTSM｜2020线上展览合集

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Based on More Than The Immune Problem, the second section Tearing & Regenerating invites 12 artists from home and abroad. The online exhibition presents the life in the pandemic as the starting point, which continues to observe and explore the topic of how artistic expressions and thoughts act on the impacted society and individuals, thus seeking comfort, love, and regeneration. In addition, with a further attention on the virtual field and advanced science and technology, it broadens the horizon on the topic such as AI and existence, digital skills and expression of emotions, and so on.

In this section, we would like to introduce artists CHEN Qi and Domenico BARRA, as well as their artistic reflections to the year 2020.

CHEN Qi｜陈琦

"We are getting old during the changes, and we also get the feedback and sublimation of life during the process."

Chen Qi, Ph.D., Executive Deputy Dean of the Graduate School of CAFA, Professor and Doctoral Supervisor. Member of the National Art Professional Master Degree Education Steering Committee, Member of Exhibition Review Committee for the National Art Museum of China, Member of the Printmaking Arts Committee of the China Artists Association, Secretary-general of Printmaking Institute in China National Academy of Painting, and distinguished professor of Renmin University of China.

His works have successively won the Bronze Award and Excellence Award of the Seventh, Eighth and Ninth National Exhibition of Fine Arts China, the Gold Award of the 13th Printmaking Exhibition and the Excellent Works Award of the Fifth Beijing International Art Biennale China. His works has been collected by the National Art Museum of China, the CAFA Art Museum, Shanghai Art Museum, Guangdong Art Museum, Jiangsu Art Museum, Zhejiang Art Museum, Hubei Art Museum, Guan Shanyue Art Museum, Shenzhen Art Museum, Qingdao Art Museum, Sichuan Art Museum, Deji Art Museum, British Museum, UK,Victoria and Albert Museum, UK, Ashmolean Museum, Oxford, UK, Sotheby's Institute of Art, London, The New York Public Library, The Fukuoka Art Museum in Japan, the Museum of Young Art in Vienna, Austria, and the European Woodblock Print Foundation, etc.

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Heaven on Earth, Ink Painting, 2020

Heaven on Earth is my newly completed ink painting this year. I returned to Beijing from Nanjing on the third day of the Chinese New Year. Due to the pandemic, people seldom went out, stayed at home while paying attention to the pandemic situation and the daily death rate data. The reality of life and death that usually seems far away from us suddenly loomed before us, which enables a profound change in our ordinary lives. The distance between people has become alienated and unfamiliar, making me once again to think about the value and meaning of life. My thinking on this issue is concentrated in the work Heaven on Earth. This work depicts a scene from the Garden of Cultivation, a Ming Dynasty classical garden in Suzhou, where I have experienced the beauty of the garden and the natural state of people’s lives. They have left a deep impression on me.

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Heaven on Earth is not a landscape painting on garden themes. To be precise, the scenery of the Garden of Cultivation is not the object of my painting, but a “topic”. The visual image in the picture is not the main body and only works as the words and phrases in making sentences. My creation is not aimed at discovering and expressing beauty, nor is it a mirror image or criticism of the real world, but a metaphysical visual presentation.

Creation has become the norm in my life. Just like the tourists who visit the Garden of Cultivation every day during their holidays, although they go every day, it does not mean repetition. Nature changes all the time, we are getting old during the changes, and we also get the feedback and sublimation of life during the process.

—Cited from Notes of Heaven on Earth by Chen Qi

Working In Process

Domenico BARRA

"How can our experience with AI enhance meanings and aspects of our existence that we take for granted?"

Domenico Barra is an Italian artist and he works with new digital media. The critical, tactical and analytical approach to new technologies takes shape in an artistic production that exploits the error (glitch) both as a raw material and as a narrative key to research and suggests a dialogue on different themes related to new media in terms of temporality, opportunity, functionality, accessibility and also a focus on failure, network, intelligence, language, memory and identity. He also designs art covers for music projects and he loves to design graphics for t-shirts. His works have been published on various sites and magazines including The Creators Project, Motherboard, Bullet Magazine, Hyperallergic, etc. He took part in numerous curatorial projects and his works have been exhibited at the DAM Gallery in Berlin, at the Media Center in New York, at the Galerie Charlot in Paris, at the Digital Art Center in Taipei, online at World Intellectual Property Organization and the Wrong Biennale and in many other galleries and cultural art events. His works has also been part of academic talks and lectures in various international institutes and universities. He has participated in several editions of The Wrong (New Digital Art Biennale). He directed the organization of the first Glitch Art exhibition in Italy, Tactical Glitches, curated by artists Rosa Menkman and Nick Briz. In 2016 he was among the international artists invited by the School of Art Institute of Chicago (SAIC) for the 150th anniversary of the important and famous American institution where he gave a lecture and a public talk about piracy and pornography, the impact of the internet and digital media on the production, distribution and consumption of NSFW. He designs patterns for the Italian company PPPAttern and some of my digital works are part of the curatorial projects of the British Sedition Gallery and the Swiss Noow Gallery. Barra teaches glitch art and dirty new media at the Rome University of Fine Art (RUFA) and he gives lectures and presentations about glitch art and related topics at academies, schools and festivals. He is the creator of the White Page Gallery/s. White Page Gallery/s is a decentralized and distributed art network born in June 2019: it is an online network for artistic sharing composed of artists, curators, academies, festivals and cultural operators who host independently on their website and without the aim of profit from art projects made and curated by other people.

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Domenico BARRA‘s Page and Read the Whole Article

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Deus Ex Machina

Humanity is going through a struggle. The enemy this time is invisible. It has no religion, no race. It attacks all of us regardless of our political and cultural background, the rich and the poor. We are in the age of machines, human super power, but nature is putting us on alert. What seems the end might be a new awakening. A new life. A new nature. A new society. A new human.

How can our experience with AI enhance meanings and aspects of our existence that we take for granted? Deus Ex Machina takes out the dystopia from the narrative of the impact of AI in our society and proposes a counter-narrative where human life is enhanced by machines, human intelligence in symbiosis with artificial intelligence. Of course, we must be aware of the unexpected consequences, there will be glitches in this relationship, but this will not be limited but an opportunity for improvement. It's always a matter of choice. We must praise but also nurture the symbiosis in healthy ways, it will grow and we will benefit from it. Reach awareness through imagination, new visions, new intelligence, new skin, new nature, new humans, new life. Let yourself be inspired by Deus Ex Machina.

Deus Ex Machina

Deus Ex Machina is my second artwork created with an AI. This computer generated artwork was created by GANtools developed by Liz Everett. The machine worked on Ganbreeder image dataset to generate animation. The second layer of this work, the glitched face figure was the result of incorrect imagedata interpretation carried out by two software, XVI32 && XnView. I only selected, trained, assembled, edited and supervised the works made by machines. This is the shift in perspective. I didn't use the software to make this digitalart piece. This is a human and machine art collaboration.

Symbiosis—A good reason to work and cooperate with intelligent machines could be that of establishing connections, an intellectual approach, let's say on a philosophical ground, engaging in a symbiosis in a digital environment, enhancing our human nature, in close contact with machines through what we do. Nurture these "relationships" in a healthy way and let it grow. Other uses could just be toxic!

Image, Video and Text Courtesy of the Artists.

Edited by Sue and Emily/CAFA ART INFO

About the Exhibition

关于展览

Tearing & Regenerating

Reflecting the Sharing Moment | Section Two

2020艺讯网线上展览 | 第二回

Launch Date: 2020.10.30

Participating Artists

(in alphabetical order of surnames):

Domenico BARRA, CHEN Qi, CHEN Wenji, FENG Mengbo, Wendy LETVEN, LIANG Quan, LIU Jianhua, LIU Qinghe, MA Liuming, SHI Jinsong, TANG Hui, WU Jian'an

Curator: Emily ZHOU

Visual Design: Yizhi ZHANG

Organizer: CAFA ART INFO

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