Reassembling 100 Blackbox uses 100 black boxes as a metaphor for reconstructing key 100 works in art history with elements of digital art, deep learning, and algorithms, etc. The project will be renewed at a rate of about 10 black boxes a year for 10 years. Reassembling 100 Blackbox is based on the artist’s reflection on the complex proposition between analog and digital art, which began to emerge in the project’s predecessor, Reassembling Painting – Black Box, which has been shown in many major exhibitions and institutions.
Reassembling Painting – Black Box
4k, 2-channel, color, sound, 00:04:14, 2019
This project is the result of cross-disciplinary research by artists in the fields of painting and technology. This work uses 3D scenes generated by CG to construct a virtual ruin scene. The artist deconstructs many painting-related elements and presents them in a dramatic way.
The artist places the painting in the post-human context, combined with the visual technology system of the post-human society, the painting elements are reshaped, the painting object is reconstructed into a digital visual element at this time, and the entire visual system is constructed in virtual In the 3D world. The intervention of the painting context makes the work not only confined to virtual vision. Different images in the video broaden the extended meaning of the picture. The work also refers to the authority of art, the global impact of the Internet, image archiving, and mysticism in technology.
The structure of the video represents the artist’s Image Field concept to create an open image viewing field in the image. The image and image form an organic connection, and the historical material in the painting context is placed in the strong tension between virtual and reality. Based on this concept, the artist created a dual-screen version for this project. Multiple screens don’t just mean more pixels. It’s an expendable field. In order to hold more images, it can even become endless.
Exhibition and award:
The 13th National Art Exhibition, Experimental Art Exhibition Area, Langfang/Beijing, China (2019)
Short List, Future Artist, InArt x Today Art Museum, Beijing, China (2019)
Ars Electronica 2020, Linz, Austria and Online (2020)
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The Garden of Earthly Delights – Bird, Human and Geology
4K video, color, sound, 00:01:36, 2021
In the triptych “The Garden of Earthly Delights”, Hieronymus Bosch depicts the Garden of Eden, Earth and Hell in an apocalyptic-like manner, in which the relationship between birds, beasts and humans is in chaos and danger. The artist attempts to borrow the context of the painting “The Garden of Earthly Delights” and uses generative adversarial networks in artificial intelligence to create a digital sci-fi version. In an algorithmic black box, the painting is translated into a digital virtual space in which birds (canaries and other birds), humans (code-covered human beings), and geology (the terrain extracted from Paradise on Earth) are rendered as virtual forms.The canary represents a warning of risk and chaos, the code man represents the subjectivity of code in blockchain and artificial intelligence, and the three different types of geology represent the huge amount of electricity that the blockchain relies on coming from nature, land and mineral deposits, and metaphorically the potential ecological risks. In addition, the Genesis scenario depicted on the outside of the triptych is mentioned to be replaced with the blockchain creation board.
Exhibition and award:
Short List, Upapāduka BCA& Kusama Network Global Digital Art Competition (2021)
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