武子杨：云原生游牧

Wu Ziyang: Cloud-Native Nomad

展期：2023年07月28日-2023年08月30日

艺术家：武子杨

策展人：郑果

地址：昊美术馆三楼 展厅一

上海市浦东新区祖冲之路2277弄1号3楼

主办：昊美术馆

*Please scroll down for English version.

昊美术馆很荣幸地宣布，将于2023年07月28日起在昊美术馆三楼展厅一呈现艺术家武子杨个展“云原生游牧”。

展览“云原生游牧”以篇章式的结构探讨了科技时代背景下新的社会叙事。

云原生作为一个始于2010的概念与技术名词，其含义随着时间与运用不断拓宽、演化。但如果我们从更具文学意味的字面上去拆分与解读，云原生代表的意义就是云端与本地/本土人，即云端上的原生居民。云原生架构下的应用在任意云端都具有与生俱来的优势，可以无缝运行与链接。

“云原生游牧”共展出了艺术家武子杨不同时期的五个项目，包括《一个有科技的女人》、《美西去了哪里？》、《未来_预报》、《巴石河2030-6 Plus》和《事件模型》。这些作品探讨了算法控制与偏见、远程居家共同体、行星尺度计算与新地缘、云网络社会的演变、“AI考古”、和集体创世等主题，并通过本次展览将其中得复杂性与矛盾性呈现出来。

美国技术哲学家本杰明·H·布拉顿曾提出”堆栈”的概念，他将这种巨型结构分为六层：地球、云、城市、地址、界面、用户[1]。在以云平台建立的总体性全球治理背景之下，艺术家游牧于层级和云间。通过对大量外部与内部信息的收集、整理，以及对当下网络生态与社会事件的整合研究；以推想的方式从宏观与微观的层面，探索了当前技术在跨文化背景下对社会、生活以及事物间或显性或隐性地影响。

在其近期项目中，艺术家开始专注于搭建实时平台系统，用以对社会发展的不同可能性进行“递归模拟”。艺术家期望通过这种不断自我调用的、计算性的模拟方式，对现实世界产生积极的影响，并讨论一种由此展开的美学立场。展览期间，观众也可以通过互动的方式，现场改写艺术家的作品，从而以共创的方式参与构建各种预期的未来景观。

“云原生游牧”通过大量硬核技术的创作内容，显示了技术之于艺术家的重要性。其中包括通过python数据采集实现的个人化数据库构建、AI对话机器人的训练与生成；艺术家与人工智能3D模型生成工具“共创”的场景建模，与社交媒体用户触发的交互式网络环境；以及通过各类API接口和玩家决策共同实现的复杂结构下的计算模拟。

艺术家也通过使用与切换不同技术，分享了云原生架构下的游牧者在如同块茎、朝各个方向延伸的网络生态里寻找生存之地的状态[2]，也让人不禁反思，在迅速更迭的技术环境下我们自身的定位。

文｜郑果

1.杰明 · H · 布拉顿 (Benjamin H. Bratton) 《堆栈: 论软件和主权》(The Stack: On Software and Sovereignty)

2.吉尔 · 德勒兹 (Gilles Louis RénéDeleuze)《千高原》(A Thousand Plateaus)

部分展出作品

武子杨+马克·拉莫斯，《未来_预报》， 2022 – 至今，实时模拟+集体创世网络环境，由广东时代美术馆媒介实验室委任

武子杨，《巴石河2030 - 6 Plus》，2022，彩色数码有声影像，8分30秒，由UCCA尤伦斯当代艺术中心委任

武子杨+马克·拉莫斯，《事件模型 - #dump》，2023，实时模拟与⽹络环境，⽆限时⻓

武子杨，《美⻄去了哪⾥？》，2020，彩⾊数码有声视频，8分53秒

关于艺术家

武子杨

武子杨，生活工作于纽约和杭州，现任教于中国美术学院跨媒体艺术学院，美国阿尔弗雷德大学艺术设计学院客座教授，前纽约新当代艺术博物馆NEW INC孵化器项目成员。罗德岛设计学院艺术硕士，佛罗伦萨艺术学院艺术学士。他的视频，增强现实 (AR)，人工智能 (AI)模拟和互动视频装置等在国际不同的展览展出，包括费城当代艺术博物馆，纽约新美术馆与旗下根茎，沃克艺术中心，罗切斯特艺术中心，SXSW，迪拜艺术博览会，巴塞尔电子艺术中心，伦敦Annka Kultys画廊，柏林Eigenheim画廊，佛罗伦萨美第奇宫，米兰设计周，今日美术馆，UCCA尤伦斯当代艺术中心，长征空间，成都双年展，K11，松美术馆，明当代美术馆等。他的近期奖项和驻留包括阿尔弗雷德艺术学院The Randall Chair奖；广东时代美术馆媒介实验室”开物者”驻留；AACYF Top 30 under 30青年精英榜；纽约Residency Unlimited驻留；MacDowell 麦克道威尔基金；iea电子艺术学院驻留；罗伯特·劳申博格艺术基金会ROCI Road to Peace获选者等。

武子杨：云原生游牧

Wu Ziyang: Cloud-Native Nomad

Dates: 2023.7.28 – 2023.8.30

Artist: Wu Ziyang

Curator: Zheng Guo

Venue: HOW Art Museum 3F, space one, Lane 2277, Zuchongzhi Road Shanghai

Organizer: HOW Art Museum

HOW Art Museum is pleased to announce Cloud-Native Nomad, solo exhibition of artist Wu Ziyang, will be on view in space one on 3F of the museum from Jul 28, 2023.

Cloud-Native Nomad explores new social narratives in the context of the technological age in a chapter-based structure.

Cloud-native, a notion and technical term emerging in 2010, has constantly expanded its meaning and usage over time. However, if we split the term and interpret it from a more literary perspective, “cloud-native” could also be read as cloud and natives, in other words, natives living on cloud. Applications under the structure of cloud-native are endowed with inherent advantages on any cloud, enabling them to run and link seamlessly.

Cloud-Native Nomad features five projects by artist Wu Ziyang during different periods, including A Woman with the Technology, Where Did Macy Go?, Future_Forecast, Pasig River 2030 – 6 Plus and Event Modeling. Delving into topics such as algorithmic control and bias, remote home community, planetary scale computing and new geographical relationships, evolution of cloud network society, “AI archeology” and collective creation, these works present the intricacies and contradictoriness embedded within.

Benjamin H. Bratton, American philosopher of technology, once put forward the notion of “the stack”. He divides this colossal structure into six layers: Earth, Cloud, City, Address, Interface and User.[1] Under the backdrop of an overarching global governance built on cloud platform, the artist become a nomad between the layers and cloud. Through the collection and organization of huge amount of external and internal information as well as integrated research on the current network ecology and social events, he explores and tries to conject, from both the macro and micro perspectives, the explicit and implicit impacts of current technologies on the society, people’s life and the world in a cross-cultural context.

In Wu’s recent projects, he focuses on the establishment of real-time platform system for “recursive simulation” of the various possibilities of social developments. Through constantly self-retrieved and computational simulation, the artist intends to create some positive impact on the real world and probes into the aesthetic stance developed from within. During the exhibition, viewers may rewrite the artist’s works on site in an interactive manner, participating in the construction of anticipated future landscapes through co-creation.

Cloud-Native Nomadic demonstrates the importance of technologies for artists through a large amount of hardcore technological creations, including personalized database construction through python data collection, training and generation of AI chat bots, scene modeling “co-created” by the artist and generative AI tools for 3D models, interactive network environment triggered by social media users, and computational simulation under complex structure co-realized through various API interfaces and player decisions.

With using and combing different technologies, the artist also casts light on how nomads search for a land of survival in the rhizome-like network that extends to all directions under the structure of cloud-native.[2] It pushes people to reflect on our own position in this drastically changing technological environment.

Zheng Guo

1. Benjamin H. Bratton, The Stack: On Software and Sovereignty

2. Gilles Louis Réné Deleuze, A Thousand Plateaus

EXHIBITED WORKS

Wu Ziyang + Mark Ramos , Future_Forecast, 2022 – ongoing, Live Simulation + Collective World Building Online Environment, Commissioned by the Media Lab at Guangdong Times Museum

Wu Ziyang, Pasig River 2030 - 6 Plus, 2022, Digital Video, color, sound, 8’30”, Commissioned by UCCA Center for Contemporary Art

Wu Ziyang+Mark Ramos, Event Modeling – #dump, 2023, Live simulation and online environment, Infinite duration

Wu Ziyang, Where Did Macy Go?, 2020, Color Digital Video with Sound, 8’53”

ABOUT THE ARTIST

Ziyang Wu

Ziyang Wu is an artist based in New York and Hangzhou, currently teaching at the School of Intermedia Art at the China Academy of Art, visiting professor at School of Art and Design at Alfred University and is a former member of NEW INC at the New Museum. With an MFA from the Rhode Island School of Design, and a BFA from the Florence Academy of Fine Arts, his video, AR, AI simulation and interactive video installation have exhibited internationally, including Institute of Contemporary Art (ICA) Philadelphia, Rhizome at the New Museum, Walker Art Center, Rochester Art Center, SXSW, Art Dubai, Hek Basel, Annka Kultys Gallery in London, Eigenheim Gallery in Berlin, Medici Palace, Milan Design Week, Today Art Museum in Beijing, UCCA Center for Contemporary Art, Long March Space, Chengdu Biennale, Song Art Museum in Beijing and Ming Contemporary Art Museum in Shanghai. His recent fellowships and residencies include “The Randall Chair” award at Alfred University; “Kai Wu” Interdisciplinary Studio residency, Media Art Lab, Times Museum; AACYF Top 30 under 30; Residency Unlimited; MacDowell Fellowship; Artist-in-residence at Institute for Electronic Arts (IEA); Winner of The ROCI Road to Peace by Robert Rauschenberg Art Foundation.

本文来源：HOW昊美术馆 微信公众号HowArtMuseum

昊美术馆是具备当代艺术征集、收藏、陈列、研究和教育功能的全新文化机构。未来将主要关注亚洲当代艺术的发展，通过举办高质量的展览建立国际化的交流展示平台，促进东西方当代艺术的交流与合作。