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The Model of the WorldInternational Exhibition Zhangzhou China

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Zhangzhou Museum of Artunder construction 

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Short Bio

个人简介

皮尔·博德是一位拥有国际展览作品的新媒体艺术家。他是阿尔弗雷德大学艺术与设计学院电子艺术研究所 (NYSCC) 的教授、联合创始人及联席主任。作为一个新的媒体艺术从业者和教育工作者，博德利用历史的和新兴的新媒体技术进行反射性研究，在研究中探索和推动他们的历史、技术以及符号条件。博德的作品已在世界各地展出和收藏，包括惠特尼双年展、现代艺术博物馆以及由克里斯·希尔策划的视频数据银行关于新世纪第一个十年内美国视频艺术选集。皮尔·博德在许多的电子工具建设项目上同视频系统设计师大卫·琼斯和艺术家拉尔夫·霍金合作。博德是卡里尔乐队的成员之一，乐队成员还包括安德鲁·多伊奇、史蒂芬·维特罗和蕾贝卡·帕洛夫。

Peer Bode is an internationally exhibiting new media artist. He is Professor of Video Arts, co-founder and co-director of the Institute for Electronic Arts (IEA), School of Art and Design, NYSCC at Alfred University. As a new media arts practitioner and educator Bode harnesses historical and emerging new media technologies in a reflexive investigation that explores and pushes their historical, technical, and semiotic conditions. Bode’s work has been shown and collected worldwide, including the Whitney Biennial, the Museum of Modern Art and the Video Data Bank’s video anthology A Survey of American Video Art - The First Decade, curated by Chris Hill. Peer Bode has collaborated on numerous electronic tool building projects with video systems designer David Jones and artist Ralph Hocking. Bode is a member of the Carrier Band with Andrew Deutsch, Steven Vitiello and Rebekkah.

Peer Bode

《孔雀蓝》是一部实时的，以摄像机为基础的作品，一碗蓝色浆果被吃掉⋯⋯。二十世纪, 派克-亚伯将彩色视频转换为21世纪的实时3D 数字空间中的一种连续的电子移动图像铭文。这种数字视频是一个视频、电子、数字图像表演映射空间和时间的集合。这些录像是在新媒体材料、感知和认知方面引以为豪的实验品。这种形式的艺术是一个暂存的文档，并行于我们的肉体从而引发身体的自我反思和相互交叉⋯⋯这种艺术十分有趣，是一些值得我们深思的东西。这是什么意思?我的建议是专注。它在做什么？

“Peacock Blue”, Real time, camera based, a bowl of blue berries being eaten… 20th Century, Paik-Abe colorizer blue video transformed into 21st Century real time 3d digital space, endless electronic moving Image inscriptions. This digital video is a collection of video, electronic, digital image performance events mapping spaces and time moments. These recordings are proudly experiments in new media materials, perception and cognition. Art in this form is a temporal document, running in parallel with our meat sparking bodies, self-reflexive and intersecting… It is Interesting, something to think about, something to be about. What does it mean? I suggest, instead, focus on, what does it do?

Peacock Blue2016Digital VideoVariable

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Short Bio

个人简介

生于1971年罗伯特·布瑞克是一名混合媒体艺术家，他的作品主要集中于绘画和剪纸拼贴画。他的作品曾在国内和国际上许多机构中展出，包括丹佛当代艺术博物馆、纽约瑙曼弗朗西斯米美术馆、纽约P.S.1当代艺术中心、中国国家艺术博物馆。他在2003和2004年获得了美国罗马学院访问艺术家奖学金。他最近的个人展《逐龙》在迈克尔·沃伦当代被出版艺术有限公司评选为2016在丹佛的十大展览之一。

布瑞克的作品被永久收藏于布法罗奥尔布赖特诺克斯画廊、意大利都灵拉瓦扎咖啡馆、纽约长老会医院、中国国家艺术博物馆、克利夫兰进步保险、伦敦大英图书馆、纽约公共图书馆以及许多私人建立的收藏馆。

Born 1971Robert Brinker is a mixed media artist whose primary focus is painting and cut paper collage. He has exhibited nationally and internationally at institutions including the Museum of Contemporary Art, Denver; Francis M. Naumann Fine Art, New York City; P.S.1 Contemporary Art Center, New York; and the National Art Museum of China, Beijing. In 2003 and 2004 he was awarded a Visiting Artist Fellowship at the American Academy of Rome. His recent solo exhibition, Chasing Dragons, at Michael Warren Contemporary was selected by the publication art ltd. as one of the top ten exhibits in Denver for 2016.

Brinker’s works can be found in the permanent collections of the Albright Knox Gallery, Buffalo; Lavazza Coffee, Turin, Italy; New York Presbyterian Hospital, New York; National Art Museum of China, Beijing; Progressive Insurance, Cleveland; The British Library, London; The New York Public Library, New York;and in numerous established private collections.

Robert Brinker

这些全新的、大尺寸的龙是利用中国农民画作为背景，同时也结合了中国传统剪纸龙的图像。所有这些从西安当地市场购买的农民画都是用油墨在高质量的纸张上进行扫描、放大和印制的。然后，在这张新打印的纸的背面投射并手绘出一条龙，并用剪刀手动剪出作品。

我的兴趣点在于结合不同的技术、图像及抽象，如何将扫描仪、打印机及投影机的技术形式与传统的、具有历史的艺术创作方式相结合，尤其是古老的剪纸艺术形式。

These new large-scale dragons are made by using Chinese farmer paintings as the background illustration combined with images of traditional Chinese paper cut dragons. The farmer paintings, all purchased from local markets in Xi’an, have been scanned, enlarged and printed on high quality paper using Archival inks. A dragon is then projected and hand-drawn with pencil on the backside of the new print. It is then cut by hand using an X-acto knife.

I am interested in the dialogue that occurs by combining different techniques, imagery and abstraction and how technology in the form of scanners, printers and projectors can be paired with traditional, historic ways of creating art, specifically the ancient art form of cut paper.

Koi Dragon2017Cut Paper, Archival Inkjet Print86x99 cm

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Short Bio

个人简介

伯恩斯和马丁都是在阿尔弗雷德大学艺术与设计学院获得的美术学士学位，他们之间的协作始于在校时一个视频项目。1993年伯恩斯获得了旧金山艺术学院的录像及表演艺术硕士学位。2000年，马丁获得了加州大学圣地亚哥分校媒体与雕塑艺术硕士学位。他们的视频、设备、艺术研讨会和策展基于他们对推理小说的研究，诸如重新想象的教育实践、恰当的电视题材、超自然现象、超人类的爱情故事等。他们一起参加了Eyebeam and Signal Culture的驻地演出。他们的视频在太平洋电影资料馆、极光电影秀、Video Dumbo、芝加哥地下电影节、班迪艺术空间、欧洲媒体艺术节、克劳斯沃克画廊等上映。马丁是加州大学戴维斯分校艺术工作室的副教授。伯恩斯是纽约理工学院北京校区传媒艺术系的副教授。

Burns and Martin began their collaborations in the video program at the School of Art and Design at Alfred University, where they both received their BFAs. Burns received his MFA in video and performance from the San Francisco Art Institute in 1993. Martin received an MFA in media and sculpture from The University of California, San Diego in 2000. They have based their video, installations, workshop performances and curations on their research into speculative fictions including re-imagined educational practices, appropriated television genres, paranormal phenomenon and trans-human love stories. They have jointly participated in residencies at Eyebeam and Signal Culture. Their videos have screened at Pacific Film Archive, Aurora Picture Show, Video_Dumbo, Chicago Underground Film Festival, Art Space Bandee, European Media Arts Festival, and Krowswork Gallery. Martin is an Associate Professor of art Studio at UC Davis California. Burns is an Associate Professor of Communication Arts at NYIT’s Beijing campus.

Torsten Zenas Burns & Darrin Martin

《方舟3: 穿越》是一个正在进行的冒险性的视频项目。标题的第一部分取自于1976年的一部叫做《方舟II》的名不见经传的电视连续剧，剧中一群年轻的科学家在一只说话的黑猩猩的陪同下试图给一个被污染和废弃的末日后世界带来新的希望。在作品《方舟3: 穿越》中，我们的角色被基因改造，改造之后他们能够与动物和昆虫世界进行交流，这些生物宇航员挖掘周围的环境寻找有关于他们祖先线索，试图进入他们可能的模拟未来。穿越之后，他们改变通往失落之地的通道，并将中国长城和墨西哥特奥蒂瓦坎金字塔作为共享仪式的目的地。作品中不是由异位宇宙的生物而是由为自己生存而战的游客通过展示自拍照片的形式呈现。

ARK 3: Crossover, is an on going speculative video project. The first part of the title takes its name from an obscure television series named Ark II from 1976 where a group of young scientists accompanied by a talking chimpanzee attempt to bring new hope to a post-apocalyptic world that has been ravaged by pollution and waste. In ARK 3: Crossover, our characters are genetically modified to be in communion with the animal and insect worlds, these bio-nauts mine the environment around them looking for clues to their ancestral past as a way to enter into their possible simulated futures. While crossing over they change the channel to the Land of the Lost and engage the Great Wall of China and Mexico’s Teotihuacán Pyramids as destinations of ritual to be shared, not by beings of a dystopic universe but by tourists vying for their own survival through manifested selfie pics.

ARK 3: Crossover2017Multichannel looping Video / variable displays / media players? still thinking about this

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Short Bio

Xiaowen Chen is an artist and curator living and working in New York and Beijing. He bas been visiting professor at a number of universities including the Central Academy of Fine Arts, Cornell University, Rhode Island School of Design, Tianjing Academy of Fine Arts and Lu Xun Academy of Fine Arts. He is a full professor of print and digital media at the School of Art and Design at Alfred University.

In recent five years, his work has been featured in China and in the US at many large-scale solo exhibitions, including Today Art Museum ( Beijing), He Xiangning Art Museum (Shenzhen), Albright-Knox Art Gallery (Buffalo) and Syracuse University Art Galleries, and at many theme exhibitions including the Biennale of digital printmaking at Brooklyn Museum of Art (NY), “the art on the paper” at Santa Barbara Art Museum (CA), the Albright-Knox Art Gallery Biennale (Buffalo), and the Chengdu Biennale (Chengdu, China), etc.

Chen planned and organized numerous exhibitions, including “the Ten Years Retrospective of American Academy of Electronic Arts” at Dashanzi Art District (Beijing, China), “The Faculty exhibition of Cornell University” at Tsinghua University (Beijing, China), “American Contemporary Art Printmaking Exhibition” at National Art Museum of China (Beijing) in 2010, “the art on the paper in America” at He Xiangning Art Museum (Shenzhen) in 2010, and “Tradition and Reinvention - the Characters in Contemporary Chinese Art” at Art Museum at University of Wisconsin, which co-planed with Xu Bing and curator of the Art Museum at University of Wisconsin. He is now planning to create “The Retrospective of American Contemporary Video Art” at He Xiangning Art Museum (Shenzhen) this year.

陈小文是一名活跃于中国北京和美国纽约的艺术家以及策展人。他曾在数所大学担任访问教授，包括中央美术学院，美国康奈尔大学，美国罗德岛设计学院，天津美术学院和鲁迅美术学院。他是阿尔弗莱德大学艺术设计学院版画和数字媒体系的全职教授。

近五年在中美两国重要美术馆举办多次大型个人展览和参加主题展。曾在北京今日美术馆，深圳何香凝美术馆，美国阿波尔.纳克思美术馆（Buffalo, 水牛城），美国萨罗克思大学（Syracuse Universi-ty）当代美术馆举办过个人展览。参加过的主题展有纽约布尔克林美术馆举办的“数码版画”双年展（Brooklyn, NY），圣。芭波罗美术馆举办的“纸上的艺术”（Santa Barbara Art Museum, 加洲）， 美国阿波尔 . 纳克思美术馆双年展（Buffalo,水牛城），成都双年展（成都，中国），等。

策划了在798艺术区举办的“美国电子艺术研究院十年回顾展”（组织，策展人），清华美院举办的“康乃尔大学教员作品展”（组织，策展人）， 2010年在中国美术馆举办的“美国当代版画展”（策展人），2010年在何香凝美术馆举办的“纸道－来自美国的纸上的艺术”（策展人），2015年在美国威斯康逊大学美术馆举办的“传统与再创－中国当代艺术中的人物”（与徐冰和威斯康逊大学美术馆馆长共同策划），以及计划2017年在何香凝美术馆举办的“美国当代视频艺术回顾展”（策展人）。

Xiaowen Chen

Shanghai Girl and Titanic 2010Iris Print 85 x 115 cm

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由于条件可以改变信息的含义，艺术家的作品则是用来提升创意技巧从而改变条件，使我们所传递的信息的每一个字显得真实可信。

创作《甜言蜜语》的想法源自于印在情人节糖果上的文字。

Since the condition can change the meaning of the message, the work of artist is to develop creative skills to change the condition so to give color to every word with which we make the message.

The idea of making of the “sweet talk” comes from reading of the text printed on the Valentine’s Day candy.

Sweet Talk2010Interactive Motion ImageDimensions variable

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Short Bio

个人简介

安格鲁·多伊奇是一名声音艺术家，同时也是阿尔弗雷德大学艺术与设计学院的教授。他于1990年在阿尔弗雷德大学视频艺术与版画专业获得艺术学士学位，于1994年获得伦斯勒理工学院集成电子艺术专业艺术硕士学位。多伊奇的视频作品Eye Piece合并了手工渲染的16毫米电影组件，这一作品分别在第九届双年动态影像届、法国影像中心、日内瓦当代圣热尔韦参展。他的另一视频作品Winter Wind也在现代艺术展览博物馆音乐篇展出。他跟包括井上徹、保莉内·奥利华斯、安·汉密尔顿、约瑟夫·内什瓦塔尔以及史蒂芬·维迪耶罗在内的诸多艺术家合作国。他跟约翰·凯奇和于瓦尔·米克修夫的合作作品Empty Words 4被收入约翰·凯奇信托的公司档案。

Andrew Deutsch is a sonic artist and professor at the School of Art & design at Alfred University. He received his BFA in Video Art and Printmaking from Alfred University in 1990. He obtained his MFA in Integrated Electronic Art from Rensselaer Polytechnic Institute in 1994. Deutsch’s video projects, Eye Piece, which incorporates hand rendered 16 mm film components, was exhibited at the 9th Biennial of the Moving Image, Center pour L’image, Contemporaine Saint-Gervais, Geneva, and his video piece Winter Wind was featured in the Museum of Modern Art exhibition Looking at Music. [1] He has collaborated with various artists, including Tetsu Inoue, Pauline Oliveros, Ann Hamilton, Joseph Nechvatal, and Stephen Vitiello. His collaborative piece Empty Words 4 with John Cage and Yvar Mikshoff has been accepted into the limited archives of the John Cage Trust.

Andrew Deutsch

《Object as Energy Point》是始于1995年的一个不断发展和壮大的片断。这一作品开始于一尺寸为12x6英寸木盒的日常物品，这些物品是与鲁道夫·斯坦纳和激浪艺术的概念息息相关的。现如今《Ob-ject as Energy Point》是十分庞大的，它充满了我的地下室、工作室以及办公室。最近，我又加入了了手工扬声器、振动传感器以及许多其他用以作为扬声器隐喻的物品。此外，该作品还吸收了随手可得或废弃的表示 “klangfarben”（声音质量）的彩色陶瓷元素。这些五颜六色的元素的设置可以被理解为一种视觉“klangfarbenmelodie”（色调、颜色、旋律）。作品中能听到的所有声音都是采用演奏声音或数字噪声的样本组成的。这种声音组合被称作”法依萨的谐和统一”，这些声音组合也会在60秒和120秒之间的间隔内产生变化。

Object as Energy Point is an evolving and growing piece which started in 1995. This work began with a 12 x 6 inch wooden box of everyday objects related to concepts of Rudolf Steiner and Fluxus. Object as Energy Point is now massive, it fills my basement, studio and office. Most recently I have incorporated handmade loudspeakers, vibrational transducers, and many other objects that act as metaphors for loudspeakers. In addition, the work also incorporates found or discarded colorful ceramic elements signifying ”klangfarben” (sound quality) The arrangement of these colorful elements can be understood as a visual “klangfarbenmelodie” (tone color melody). All of the sounds heard in the work were composed using samples of performed sounds or digital noises. The composition is called “Exit Texture for Faizal” and changes at intervals between 60 seconds and 120 seconds.

Object as Energy Point “Version Four”1995-2017Speakers, ceramics, found objects, wooden boxes, wire, amplifier, media playervariable

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Short Bio

个人简介

生于1986年在投身于她的艺术生涯之前，杰西卡曾在户外行业做过导游、教练和滑雪运动员。她与大自然的深厚联系以及对其保护的承诺是她作品的主要焦点和灵感。她将风景视作是她作品的合作伙伴，也是她作品的主题。vv

B.1986In her previous life before committing herself to being an artist, Jessica worked in the outdoor industry as a river guide, coach, and sponsored skier. Her deep connection to the natural world, and a commitment to preserving it are the main focus, and inspiration for her work. She sees the landscape as her collaborator, and partner in her work, as well as the subject.

Jessica Earle

约翰·缪尔说过：”每个人都需要美丽和面包，玩耍和祈祷的地方，在这些地方自然能够治愈身体和灵魂并给予其力量。”

这件作品被设计成一个房间，这个房间具有治愈能力。它是一个能将其他一切事物的碎屑冲洗掉的地方， 仅留存于当下。这个空间发出声音，声音越响亮，则一部有个正在游泳的人的视频就变得更明显。这个人不停地踩着水，移动得越快，房间就越响亮。从一个安静的场所转变成一个充满声响的房间，技术和身体之间也达到了一种共生的体验。在没有人群独自一人的情况下，这个房间从大教堂变成了一座小教堂，编程了一个用来冥想和呼吸的空间。

“Everybody needs beauty as well as bread, places to play in and pray in, where nature may heal and give strength to body and soul.” John Muir.

This piece is designed as a room that heals you. It’s someplace to rinse off the detritus of everything else and just exist in, suspended in the present. The space reacts to sound, the louder it is the more a video with a swimming figure becomes visible. The figure is infinitely treading water and moves quicker the louder the room is. A packed room with the sound playing transforms from a quiet sanctuary to a symbiotic experience between the technology and bodies. Alone, without a crowd, the room transforms from a cathedral back to a chapel meant for contemplation and room to breathe.

Everybody Needs2017Mylar, 5 channel video installation, laptop, midi keyboard.Variable

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Short Bio

Alicia Eggert是一位跨领域的艺术家，她的作品探索着语言、图像和时间之间的关系，且常以动态的形式呈现作品移动、变化、退化、甚至死亡的过程。她曾在美国及全球多国的展馆展出 (例如北京的CAFA博物馆以及米兰三年展中心) ，在Typoholic: Material Types in Design 和Elements and Principles of 4D Art & Design等出版物中作为重点呈现。Alicia 于美国纽约阿尔弗雷德大学获得雕塑/维度研究的学士学位，并且是TED2013的会员。2010年至2014年，Alicia 在美国缅因州的鲍登学院担任艺术副教授。目前她与丈夫Mike Fleming以及小儿子Zephyr居住在丹顿，并在美国北德克萨斯大学担任艺术副教授。

Alicia Eggert is an interdisciplinary artist whose work focuses on the relationship between language, image and time. Her artwork often moves, changes, deteriorates, and in some cases, even dies. It has been exhibited nationally and internationally, at venues such as the CAFA Art Museum in Beijing and the Triennale Design Museum in Milan. It has been featured in publications such as Typoholic: Material Types in Design and Elements and Principles of 4D Art & Design. Alicia is a TED2013 Fellow and has an MFA in Sculpture/Dimensional Studies from Alfred University. She was an Assistant Professor of Art at Bowdoin College in Maine from 2010-2014, and is now an Assistant Professor of Studio Art at the University of North Texas in Denton. She lives in Denton with her husband, Mike Fleming, and their son, Zephyr.

Alicia Eggert

“On A Clear Day You Can See Forever”是一件短期（2016年７月１日至７月１８日）置于Dudley Island上的公共雕塑，由高１５尺，宽５０尺，厚８尺的钢架构成。钢架支撑着高８尺的胶合板字体“Forever” (永远)。观赏者可以从美国最北的缅因州小镇Lubec看到这个被置于岛上的作品。

启发我做出这件作品的是缅因州Downeast海岸的浓雾。“Forever” （永远）随着天气状况时隐时现，在晴天清晰可见，而在雾天中则隐去不见。 “On A Clear Day You Can See Forever” 的影像是实时录制的，捕捉了雕塑在雾中时隐时现的过程。

此项目得到了Dudley Island所有者Devon Kelley-Yurdin、 T.J. Goetting 以及潮汐艺术学院博物馆的支持。北德克萨斯大学为项目提供了创作资金。

“On A Clear Day You Can See Forever” was a public sculpture that was temporarily installed on Dudley Island in Maine from July 1 - July 18, 2016. The sculpture consisted of a steel scaffolding structure that was 15 feet tall, 50 feet wide, and 8 feet deep, which supported 8-foot tall painted plywood letters that spelled the word FOREVER. It was visible from Lubec, Maine, which is the most easternmost town in the contiguous United States.

“On A Clear Day You Can See Forever” was a public sculpture that was temporarily installed on Dudley Island in Maine from July 1 - July 18, 2016. The sculpture consisted of a steel scaffolding structure that was 15 feet tall, 50 feet wide, and 8 feet deep, which supported 8-foot tall painted plywood letters that spelled the word FOREVER. It was visible from Lubec, Maine, which is the most easternmost town in the contiguous United States.

This project was made with support from Devon Kelley-Yurdin, T.J. Goetting (the owner of Dudley Island), and the Tides Institute and Museum of Art. Funding was provided by a grant from the University of North Texas.

On A Clear Day You Can See Forever2016 video, projector, speakers, benches, painted plywood letters 20 minute video, looped installation dimensions variableEdition of 6

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Short BioAnn Hamilton is a visual artist internationally recognized for the sensory surrounds of her large-scale multi-media installations. Using time as process and material, her methods of making serve as an invocation of place, of collective voice, of communities past and of labor present. Noted for a dense accumulation of materials, her ephemeral environments create immersive experiences that poetically respond to the architectural presence and social history of their sites. Whether inhabiting a building four stories high or confined to the surface of a thimble, the genesis of Hamilton’s art extends outwards from the primary projections of the hand and mouth. Her attention to the uttering of a sound or the shaping of a word with the hand places language and text at the tactile and metaphoric center of her installations. To enter their liminality is to be drawn equally into the sensory and linguistic capacities of comprehension that construct our faculties of memory, reason and imagination.

Born in Lima, Ohio, in 1956, Ann Hamilton received a BFA in textile design from the University of Kansas in 1979 and an MFA in sculpture from the Yale School of Art in 1985. From 1985 to 1991, she taught on the faculty of the University of California at Santa Barbara. Hamilton has served on the faculty of The Ohio State University since 2001, where she is a Distinguished University Professor in the Department of Art.

Among her many honors, Hamilton has been the recipient of the National Medal of the Arts, Heinz Award, MacArthur Fellowship, United States Artists Fellowship, NEA Visual Arts Fellowship, Louis Comfort Tiffany Foundation Award, Skowhegan Medal for Sculpture, and the Guggenheim Memorial Fellowship

Ann Hamilton

个人简介

安·哈密尔顿是一个视觉艺术家，她因为她的大型多媒体装置作品的感官环绕被国际认可。她利用时间作为过程和材料，她的创作方法是对地方、共同声音、社区过去和劳动现状的一种呼唤。通过密集的材料积累，她短暂的环境创造了沉浸式的体验，诗意地回应建筑的存在和它们所在地的社会历史。无论是栖居在四层楼高的建筑之内还是囿于一个顶针的表面，汉密尔顿艺术的起源都从手和口的主要投影向外延伸。她的注意力放在了发出的声音声或一个手写单词的形成，将语言和文字置于她装置作品的触觉中心和隐喻中心。要进入他们的意识，就必须被同等地吸引到理解的感官和语言能力中，它们构建了我们的记忆、理性和想象力。

安·汉密尔顿1956年出生于俄亥俄州利马市，于1979年获得堪萨斯大学纺织设计专业的美术学士学位，并于1985年获得耶鲁艺术学院雕塑艺术专业的硕士学位。1985至1991年间，她在圣巴巴拉的加州大学任教。2001年起，汉密尔顿在俄亥俄州立大学任教，是该校艺术系的一位杰出教授。

汉密尔顿曾获得过许多荣誉，她曾获得过国家艺术奖、亨氏奖、麦克阿瑟奖、美国艺术家奖学金、国家视觉艺术奖、路易斯·舒蒂·蒂芙尼基金会奖、斯科希甘雕塑奖章以及古根海姆纪念奖。

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这些图片是通过一台微型手持监控摄像机移动拍摄斯德哥尔摩国家文物博物馆内的小型中世纪群雕的面部制作而成的。这12张图片来自174张数字版画，伴随这作品《弗拉》的问世，这些版画也构成了艺术书籍。

这些图片是在1999年威尼斯装置艺术作品双年展上诞生的。这些图片是与摄影师亚伦·伊格尔一起在费城的织物工作室和博物馆创作而成的，这张图片反映的是多层玻璃上的艺术家的作品，这些玻璃被堆叠在一起，在威尼斯的美国馆的整个幕墙上建造了一堵墙。这个系列记录了在五分钟的时间间隔内在新发现的亭子天窗中看到的天气变化。

These images mark the occasion of the 1999 Venice Biennale installation, myein. Working with photographer Aaron Igler from The Fabric Workshop and Museum, Philadelphia, the image is a reflection of the artist in the multiple layers glass that were stacked in preparation for the construction of a gridded wall across the entire facade of the United States Pavilion in Venice. Recorded at five minute intervals, the series documented the shifting weather seen through the newly uncovered pavilion skylights.

Reflection2000Suite of 12 Iris prints on Arches watercolor paper24 x 24 inches, Paper size: 47 x 34 inches

To make these images, a tiny surveillance camera attached to the hand moved across the faces of small painted medieval altarpiece sculptures at Stockholm’s Museum of National Antiquities (where the 2004 piece, aloud, was performed). These 12 images were editioned from (aloud), the 174 digital prints that constituted the score and artist book which accompanied the project phora.

Phora Series2005Materials Iris Print on Somerset Satin 33 ¾ × 46 ¼ inches / 85.7 × 117.5 cm (image and paper), 36 × 48 ½ inches / 91.4 × 123.2 cm (framed)

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Short Bio

个人简介

菲尔·黑斯廷斯是一名艺术家及电影制片人，他的作品植根于对时常对立的科学和精神的界限及转化过程的探索这一题材。逆境、超越和重生的概念是浸淫于其作品的主题。他的工作集中于动画，实验电影模式和叙事电影模式，他的作品也在国际电影节、画廊和展览馆放映。他关于螳螂性食同类及繁殖过程的视频档案也在国家地理电视频道、加拿大广播公司和《新科学家》杂志等平台上映。他是2012纽约艺术电影及视频会员基金会成员，也是第十八届悉尼双年展受邀艺术家，他的电影《坚定》于该届双年展上在新南威尔士美术馆放映。

Phil Hastings is an artist and filmmaker whose work is rooted in the often-opposing subjects of the sciences and the spiritual with explorations tied to liminality and the transformation process. Concepts of adversity, transcendence, and rebirth are themes that infuse his work. He works in animation, experimental and narrative cinematic modes and has screened in festivals, galleries and museums internationally. His video documentation of the sexual cannibalism and reproduction practices of praying mantis has been licensed for shows on National Geographic television and the Canadian Broadcast Corporation and New Scientist magazine. He is a 2012 New York Foundation for the Arts Film/Video Fellow and was an invited artist in the 18th Biennale of Sydney where his film Steadfast was screened at the Art Gallery of New South Wales.

Phil Hastings

《形态学》系列作品是在世纪之交科学研究及历史上收集和命名未知事物的行为的启发下创作而成的，创作目的是为了更好地理解我们在宇宙中的意义。《Salacia vitreapirata》是系列作品中的一部分，当镜头近视失真造成场景丧失时，这一作品引出了靠近一种事物或者想法之间的矛盾，这样能够更好地理解这一事物或想法。虽然命名一些东西有助于定义它，但是仅仅基于名字去了解一项事物是十分局限，甚至危险的。因为它太容易被我们由于接受知识而产生的傲慢所误导。此外，该作品是通过解构原始源视频、利用自定义效果和动画重构这些后期过程创建完成的。本系列中图像始于纽约州伊利湖的原始视频，灵感则来源于基因改造和生物科学。

The Morphology Series is inspired by turn-of-the-century scientific investigations and references the historical act of collecting and naming the unknown to better understand our significance in the universe. The series of which Salacia vitreapirata is a part, draws on the contradiction between moving closer to a thing or idea to better understand it, while losing a greater context due to the myopic distortion of the lens. Naming something helps define it, but the comprehension of that thing based on the name alone can be limited and even dangerous. It is too easy to be led astray by the arrogance of perceived knowledge. The work is created through a postproduction process of deconstructing original source video and reconstructing it using custom effects and animation. The imagery in this series draws inspiration from genetic modification and biological sciences and started as raw video of Lake Erie in New York State.

Salacia vitreapirata2017UHD videoVariable dimensions, 6’40” loop

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Short Bio

个人简介

加里·希尔（生于1951年）是一位生活和工作于华盛顿州西雅图市的美国艺术家。他经常被视为是视频艺术的开创艺术家之一，实际上，他在二十世纪六十年代末就开始创作金属雕塑作品，七八十年代，他创作了一些基于单通道的作品以及一些以视频和声音为基础的装置艺术作品。目前，他被人广为所知的是他在国际上展览的装置艺术和表演艺术作品，同时关注创新性的语言与技术，利用各式各样的媒介继续创作。他的长期作品是借助媒介来探索一系列的问题，从语言的物质性、通感和知觉难题到本体空间和观众互动。他获得过许多奖项，他具有影响力的作品也在世界上最主要的当代美术馆展出。加里·希尔主要的兴趣点在于视频的抽象形式，他认为在所有可能的级别上解构视频是至关重要的，这样能够清晰而具体地在媒体上表述出电子语言。希尔特别强调声像关系。

Gary Hill (born 1951) is an American artist who lives and works in Seattle, Washington. Often viewed as one of the foundational artists in video art, based on the single-channel work and video- and sound-based installations of the 1970s and 1980s, he in fact began working in metal sculpture in the late 1960s. Today he is best known for internationally exhibited installations and performance art, concerned as much with innovative language as with technology, and for continuing work in a broad range of media. His longtime work with intermedia explores an array of issues ranging from the physicality of language, synesthesia and perceptual conundrums to ontological space and viewer interactivity. The recipient of many awards, his influential work has been exhibited in most major contemporary art museums worldwide. Gary Hill is primarily interested in abstract forms of video and believes it fundamental to deconstruct video on all possible levels in order to articulate an electronic language specific to the medium. Hill particularly stresses image-sound-relationships.

Gary Hill

作品《According》记录了位于马赛中心的贝桑斯的一个很小的阿尔及利亚社区，这部作品通过将“时间聚焦”于发生在社区街道上的日常琐事，构造出了一个生活写照的空间。这部作品包括五个与声音不同步的视频投影，每个视频投影均采用不同长度的黑白无声的视频片段进行编辑，创作出了一个脉动的、有节奏的系列声像。在每个视频序列中都有特定的人去捕捉相机的注意力。随着照相机在它的主体上慢慢地放大时，图像会被越来越长的黑色片段打断，场景的速度实质上减慢了以至于它们几乎能够能原原本本地把所见事物记录下来。当摄像机拉出时，图像返回到原来的时间基。作品的标题是指这个可伸缩的、“折叠式”的时间结构，因为它被应用到一个移动的或是情景化的图像之上。

Recorded in the small Algerian neighborhood of Belsunce situated in the heart of Marseille, Accordions (The Belsunce Recordings, July 2001) constructs a space of living portraiture by “focusing time” on the everyday goings-on of the neighborhood streets. The work consists of five non-synchronized video projections with sound, each edited with segments of black/silence of varying lengths, to create a pulsating, rhythmic series of images and sounds. In the course of each video sequence, particular people catch the camera’s attention; as the camera zooms in slowly on its subject, the imagery is interrupted by longer and longer segments of black, in essence slowing the scenes down so that they almost reach the photographic. As the camera pulls back out, the image is returned to its original time base. The title refers to this telescoping, “accordion”-like construction of time as it is applied to a moving/contextualized image.

Accordions (The Belsunce Recordings, July 2001)2001-2002Five video projectors, five speakers, five media players and five video/sound files (each file: color; mono sound)Dimensions variable; projections approx. 9 h. x 12 w. ft. (2.7 x 3.7 m.) eachEdition of two and one artist’s proof

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Short Bio

Pamela Joseph

Dragon’s Gorge2011Oil and Acrylic on Linen45 x 60 in

个人简介

帕米拉·约瑟夫是一位多媒体艺术家，曾参加过国内外各种展出，包括巴黎、巴塞罗那、北京等。2001年，她的作品被科罗拉多艺术理事会评价为“完美，强大和前卫”，并授予她视觉艺术奖学金。随后的2003年和2004年，约瑟夫又被选为罗马美国学院的访问艺术家。

她的重要作品包括她的互动多媒体装置作品《荒谬的表演》，该作品已经在全国十多个博物馆和画廊巡回展出。2015年4月，有关该展览的短片获奖电影也在在阿斯彭短片电影节首映。https://www.you-tube.com/watch?v=9OAA15Fx46Q

DoppelHaus出版社将于2017年8月发行一本她的关于审查系列的书籍，书名为《艺术家、审查者和裸体：一个优良美德和据为己有的故事》。

Pamela Joseph is a multi-media artist who has exhibited nationally and internationally, in locations such as Paris, Barcelona, and Beijing. Her work has been described as “well-executed, powerful and edgy” by the Colorado Council on the Arts, who awarded her a Visual Arts Fellowship in 2001. Joseph was subsequently selected as a Visiting Artist at the American Academy in Rome 2003 and 2004.Highlights on her work include her interactive multi-media installation The Sideshow of the Absurd, which has traveled to over ten museums and galleries around the country. A short award winning film about the exhibition premiered April 2015 at the Aspen Shortsfest.https://www.youtube.com/watch?v=9OAA15Fx46QDoppelHouse Press is publishing a book on her Censored Series called The Artist, The Censor and The Nude, A Tale of Morality and Appropriation in August 2017.

这个系列绘画《金星凌日》将艺术历史参考与通俗文化并列了起来。这些画作关注的是社会对环境、动物权利、妇女权力、战争和骚乱的漠视，所有作品都带有一种幽默感。在我的作品中，一个反复出现的潜台词是幕后的暴力和我们生活中的命运和机会元素。在《龙之谷》中的许多元素，例如拖拉机上的女人，不断变化的天空和龙，都是在2007年中国之行中我们所发现的图像。《金星凌日》是发生在2012年春季的一次天文事件。只有金星在太阳前面形成一个黑点时，这种罕见的现象才会发生。当这种现场生时，女性与男性的关系将变得更加平衡，女性强有力的一面随之出现，这有助于恢复我们这个世界的和谐。

The paintings from this series, The Venus Transit, juxtapose art historical references with popular culture. The paintings are concerned with societies’ disregard for the environment, animal rights, the power of women, and the conflicts in our society, approached with a sense of humor. A recurring subtext in my work is the violence behind facades and the element of fate and chance in our lives. Many of the elements in Dragon’s Gorge such as the woman on the tractor, the dynamic sky and the dragons, were images I discovered when we visited China in 2007. Venus Transit was an astronomical occurrence that happened in the spring of 2012. This rare phenomenon transpires when Venus goes in front of the sun and creates a black dot. When this happens, the female- male relationship will become more balanced and a strong feminine side will emerge that will help restore harmony in our world.

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Short Bio

草间弥生出生于1929年的日本松本市，在上世纪50年代末搬到纽约之前，曾短暂研究过京都的绘画。自从1952年她在日本本土首次举办个人展览以来，这位艺术家的作品在个人和团体展中都得到了广泛的收录。1960年代中期，她通过举办开创性的、有影响力的活动和展览，在纽约确立了自己作为一名重要的先锋派艺术家的地位。1989年，她的作品在一些国际性展馆进行了个人展览，这些展馆包括纽约国际当代艺术中心和英国牛津现代艺术博物馆， 这之后，她的作品便在1980年代末获得了广泛的认可。1993年，她代表日本参加了第45届威尼斯双年展，获得了许多好评。

草间弥生的作品已经超越了20世纪下半叶最重要的两种艺术运动：波普艺术和极简艺术。她非凡而极具影响力的作品跨越绘画、表演、房间大小的展示、户外雕塑装置作品、文学作品、电影、时装、设计以及现有的建筑结构的改造，所有这些作品都对微观和宏观的宇宙有所暗示。

之前巡回展出的地方主要包括洛杉矶艺术博物馆、纽约现代艺术博物馆(1998年)、法国第戎联合会(2000年)、东京国家现代艺术博物馆(2004年)、鹿特丹博艾曼斯·范·伯宁恩博物馆 (2008)。她的作品成为了最近一项规模宏大、反响良好的回顾展的主要作品，在2011到2012年间，她的作品分别在马德里索菲亚王后艺术中心、巴黎的蓬皮杜中心、伦敦的泰特现代美术馆、纽约的惠特尼美国艺术博物馆巡回展出。

Autumn Waves SurgeEnamel and ink on paperboard 27 x 24 cm (10 5⁄8 x 9 1⁄2 inches) Signed and dated upper right, Yayoi Kusama 1978 Signed, titled in Japanese and dated on the reverse

Born in 1929 in Matsumoto, Japan, Kusama briefly studied painting in Kyoto before moving to New York City in the late 1950s. Since her first solo show in her native Japan in 1952, the artist’s work has been featured widely in both solo and group presentations. In the mid-1960s, she established herself in New York as an important avant-garde artist by staging groundbreaking and influential happenings, events, and exhibitions. Her work gained widespread recognition in the late 1980s after a number of international solo exhibitions, including shows at the Center for International Contemporary Arts, New York and the Museum of Modern Art, Oxford, England, both taking place in 1989. She represented Japan in 1993 at the 45th Venice Biennale to much critical acclaim.

Yayoi Kusama’s work has transcended two of the most important art movements of the second half of the twentieth century: Pop art and Minimalism. Her extraordinary and highly influential career spans paintings, performances, room-size presentations, outdoor sculptural installations, literary works, films, fashion, design, and interventions within existing architectural structures, which allude at once to microscopic and macroscopic universes.

Previous major touring surveys include those organized by the Los Angeles County Museum of Art and The Museum of Modern Art, New York (1998); Le Consortium, Dijon, France (2000); National Museum of Modern Art, Tokyo (2004); and the Museum Boijmans Van Beuningen, Rotterdam (2008). Her work was recently the subject of a large-scale and well-received retrospective, which traveled from 2011 to 2012 to the Museo Nacional Centro de Arte Reina Sofía, Madrid; Centre Georges Pompidou, Paris; Tate Modern, London; and the Whitney Museum of American Art, New York.

Yayoi Kusama

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Short Bio

个人简介

出生1991梁奥迪2016年毕业于Alfred University电子综合艺术专业，获得纯艺术硕士学位。他的多媒体作品包括视频，视频装置，投影拼贴，艺术家书籍设计与装帧，电子和传统版画。一组名叫“Boxes”的激光雕刻数字版画在第一届国际版画联盟展览，展览地北京。他也曾参与在美国波特兰的Alfred校友展，在清华大学的Alfred师生展。他近期的作品主要集中表现在黑暗中光和影的关系，呈现出城市和农村的完美建筑构造，运用的是照片曝光版凹版印刷。

B.1991Aodi Liang got his MFA degree in 2016 in IEA program, School of Art and Design, Alfred University, New York. His multimedia works includes videos, video installations, projection mapping, artist books design and binding, digital/traditional printmaking. A series of his digital prints with laser engraving “Boxes” were accepted and shown in the 1st International Printmaking Alliance Invitational Exhibition in China. He also participated in Alfred Alumni Show in Portland, OR, and the Student and Faculty Print Show in Tsinghua University in Beijing China in 2016. His recent works are focusing on the relationship between light and shadow in the dark, revealing the perfect structures of the cities or countryside using photo polymer intaglios technics.

Aodi Liang

系列版画“Dark Version”是梁奥迪的近期作品。一系列五张版画主要着重表现黑暗中光和影子的关系，呈现城市和农村建筑的完美形态。他在曝光版凹版印刷技术中研究印刷高对比度黑和白的质量。

Series of Intaglios “Dark Version” is the most recent work from Aodi Liang. 5 prints in a series focus on the relationship between light and shadow in the dark, revealing the perfect structures of the cities or countryside. He experienced on the quality of the polymer plates in printing high contrast blacks and whites.

Victoria Peak HK (dark)2016polymer plate intaglio22x30” (56.25*77cm)

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Short Bio

个人简介

光和色是陆夫特沃克作品的基本元素。由于光是视觉的重要元素，所以他们的兴趣在于追寻光的力量以及探索光与色感知的动态关系。他们运用各种不同的方法，如投影视频，投射阴影，创造个性雕塑把光融入到每一个作品之中去探索它的转瞬即逝及变化无常的特质。陆夫特沃克已经积累了大量有关于与著名建筑师的标志性建筑交互的作品，这些建筑师包括伦佐·皮亚诺、弗兰克·劳埃德·赖特及密斯·凡·德罗。在每一个作品中，他们利用周围的环境来解释和扩展现场的环境。

Light and color are primary elements in work by Luftwerk. Their interest lies in the power of light as a crucial element to sight, exploring its dynamic relationship with the perception of color. Using various modalities—projecting videos, casting shadows, creating custom sculpture—they integrate light into every project to explore its ephemeral and shifting nature. Luftwerk has amassed a significant portfolio of work interacting with iconic architecture by architects including Renzo Piano, Frank Lloyd Wright, and Mies van der Rohe. In each project, they draw from the surrounding environment to interpret and expand on the context of the site.

Luftwerk

一个大尺寸的、数字化和重新想象的具有529彩绘方形面板的色轮—类似于颜色的像素—覆盖整个墙壁。一旦采用动画的、彩色的灯光照明，颜色的感知就会在超过3174种红黄蓝色调之间转变。照明与动画, 有色光, 接收的颜色转移超过3174色调的红色, 黄色和蓝色。颜色的变化和混合为颜色的感知创造了无限的可能性。

A large-scale, digitized and re-imagined color wheel with 529 painted square panels—similar to pixels of colors—covering an entire wall. Once illuminated with animated, colored light, the reception of the colors shift in more than 3,174 tones of red, yellow, and blue. The varying and mixing of colors created nearly endless possibilities for color perception.

Spectrum2013Mixed media, 529 painted canvas squares with two channel video projection580cm x 580cm

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Short Bio

个人简介

塞恩·伦德是纽约布鲁克林区的一名艺术家。他的作品借鉴了他在美国西部生活的经验，目的是强调与建筑环境相关的正常的和可能的看法。有时，不切实际的作品触及到人类关系中反复出现的主题：景观、空间和时间。他从蒙大拿州博兹曼市的蒙大拿州立大学获得美术学士，辅修艺术史专业。他是佛蒙特州艺术工作室中心、日本丝岛库那工作室、宾夕法尼亚州勒曼信托艺术家协会、阿尔弗雷德大学电子艺术学院、加州瓦尔达艺术家驻地以及爱尔兰巴利沃恩布伦艺术学院的常驻艺术家。2011年，他成为北达科他州艺术专业发展委员会的成员，他的作品也先后在美国、爱尔兰、英国、德国以及日本参加展出。

Thane Lund is an artist based in Brooklyn, NY. His work draws on his experience living in the American west and aims to accentuate perceptions of normalcy and possibility in relation to the built-environment. The sometimes quixotic work touches on recurring themes of human relations to landscape, space, and time. He received a BFA from Montana State University in Bozeman, MT with a minor in Art History. He has been a resident artist at the Vermont Studio Center, Studio Kura in Itoshima Japan, the Lerman Trust Artist Retreat in Pennsylvania, the Institute for Electronic Arts at Alfred University, the Varda Artists Residency in California, and at the Burren College of Art in Ballyvaughan, Ireland. He is a recipient of a North Dakota Council on the Arts Professional Development Grant in 2011 and has exhibited across the United States as well as in Ireland, the UK, Germany, and Japan.

Thane Lund

作品《纳迪尔》利用材料和视频投影的组合，构造了一个视觉阵列，这个阵列能够生成一个具有惊人深度的表面。类似地形式首先在计算机中被绘制为3D 模型，然后再转换成数百个在框架中重新组装的横截面。为了精确地保持原始形式的形状和轮廓，切片采用激光切割的方式。就像自然界中各种各样的地层一样，大量的作品线联结成一个结构，这一结构暗示出在地表和视野下翻腾的时时存在的力量。根据观众所处的位置，作品的维度会产生波动，静态的纸面会给出运动的错觉，这是因为它们是由上面的视频投射动画而产生的。

Utilizing a combination of materials and video projection, Nadir constructs a visual array that yields a surface with surprising depth. The terrain-like form is first drawn as a 3D model in the computer and then translated into hundreds of cross-sections that are reassembled in the frame. The slices are laser-cut to preserve with precision the shape and contour of the original form. Much like the myriad layers of geologic strata found in nature, the many lines of the work coalesce into one structure that alludes to the ever-present forces that are churning below the surface and beyond view. Depending on the viewers’ vantage point, the dimensionality of the piece fluctuates and the static rows of paper give the illusion of motion as they are animated by the video projection from above.

Nadir2017Yupo Paper, Museum Board, Aluminum Tray, Digital Video Projection64cm x 64cm x 3cm

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Short Bio

个人简介

史蒂芬妮·麦克马洪在纽约的阿尔弗雷德生活和工作。她曾参加过波士顿T+H画廊、纽约视野、纽约罗切斯特纪念美术馆、肖托夸学院、纽约绘画中心、马萨诸塞州北亚当斯重力美术馆。麦克马洪是纪念艺术画廊优秀奖获得者，这是一个由纽约艺术基金会和康斯坦茨索顿斯托尔基金会为个人艺术家设置的奖项。她是巴黎国际艺术学院的一名常驻艺术家。她的作品已经被多家机构审阅及出版，包括《波士顿环球报》、《超敏感》、《新美国绘画博客》、《新美国绘画杂志》、《艺术谎言》以及《Cantanker杂志》。麦克马洪曾在肯特州立大学、霍巴特和威廉·史密斯学院、北伊利诺伊大学、詹姆斯敦社区学院和中国沈阳的鲁迅美术学院等众多大学讲学和展出。麦克马洪在阿尔弗雷德大学艺术与设计学院取得美术学士学位，在德克萨斯大学奥斯汀分校油画专业取得美术硕士学位。目前，她是阿尔弗雷德大学艺术与设计学院绘画与制图专业的一名副教授。

Stephanie McMahon lives and works in Alfred, NY. She has exhibited at T + H Gallery (Boston), SCOPE New York, Memorial Art Gallery (Rochester, NY), Chautauqua Institution, The Painting Center (New York, NY) and Gravity Gallery (North Adams, MA). McMahon is recipient of the Memorial Art Gallery Award of Excellence, a project grant from the New York Foundation for the Arts and a Constance Saltonstall Foundation for the Arts Individual Artist Grant. She was an artist in residence at Cité Internationale des Arts, Paris. Her work has been reviewed and published in the Boston Globe, Hyperallergic, New American Paintings Blog, New American Paintings Magazine, Art Lies and Cantanker Magazine. McMahon has lectured and exhibited at numerous universities including Kent State University, Hobart and William Smith Colleges, Northern Illinois University, Jamestown Community College and Lu Xun Academy of Fine Arts in Shenyang, China. McMahon holds a BFA from the School of Art and Design at Alfred University and MFA in Painting from The University of Texas at Austin. She is currently an Associate Professor of Painting and Drawing at the School of Art and Design at Alfred University.

Stephanie McManhon

我的绘画作品提取和提炼出我对特定环境的观察和感知，同时呈现出视觉体验和抽象的可能性。在参照形式、颜色和元素形状之间来回穿梭时，我允许直觉和相互矛盾的反应在故意和偶然间波动。最初的探索可以随着绘画的发展而突然改变，挑战人们的时间感和决心。这种结果既是有形的又是转瞬即逝的，因为意想不到的和不稳定的关系会出现在薄薄的、半透明的层之间。手势笔触赋予其物质性，同时也可以在平滑的表面上滑动，图地关系是不断振荡、合并。流体标记通常被包含在一个形状中，或被一个与手势形成对比的尖锐边缘所阻，同时显现出时间的稍纵即逝及可测可量。独特的姿态被压缩成简短的形状或彩色的区域。我的过程既是精心设计的和不受限制的，为视觉探索创造了一个活跃的空间，它在重建以往经验的同时与当前时刻相连接。

My paintings extract and distill my observations and perceptions of a particular environment while presenting the possibilities of visual experience and abstraction. Weaving in and out of referential forms, colors and elemental shapes, I allow for intuitive and contradictory responses that fluctuate between deliberate and incidental. Initial explorations can shift abruptly as the painting develops, challenging one’s sense of time and resolve. The result is both tangible and fleeting as unexpected and precarious relationships emerge between thin, translucent layers. Gestural brushstrokes impart physicality yet glide weightlessly over smooth surfaces as figure ground relationships oscillate and conflate. Fluid marks are often contained within a shape or stopped by a sharp edge in contrast to the gesture, revealing both transitory and measured time. Individual actions are condensed into abbreviated shapes and color fields. My process is both calculated and open, creating an active space for visual exploration that connects to the present moment while reconstructing a past experience.

Spritz2016oil on panel59” x 47”

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Short Bio

个人简介

伊恩·麦克马洪在阿尔弗雷德大学纽约州立陶艺学院陶瓷艺术专业取得美术学士学位，在弗吉尼亚联邦大学的雕塑和扩展媒体专业取得了美术硕士学位。他的作品已经在国内外各大场馆展出，包括仙鹤艺术馆（费城）、景德镇陶瓷学院（中国景德镇）、太平洋西北艺术学院（波特兰）、Pierogi Boiler Room（纽约）、美术画廊（华盛顿）以及须雅摩艺术空间（西雅图）等。麦克马洪在2009至2013年间获得了雅各布·贾维茨奖学金。他还在雕塑空间和比米斯当代艺术中心获得了最高的礼遇及常驻待遇。

Ian McMahon received a BFA in Ceramics from the New York State College of Ceramics (Alfred University) and a MFA in Sculpture and Extended Media from Virginia Commonwealth University. His work has been shown both nationally and internationally including: Crane Arts (Philadelphia,), Jingdezhen Ceramic Institute (Jingdezhen, China), The Pacific North West College of Art (Portland), Pierogi Boiler Room (New York), G-Fine Arts (Washington) and Suyama Space (Seattle), among several others. McMahon was awarded the Jacob K. Javits Fellowship from 2009-2013. He has been awarded top grants and residences at Sculpture Space and Bemis Center For Contemporary Arts.

Ian McManhon

麦克马洪从2004年开始创作场域特定的艺术作品。2006年，他同合作伙伴成功地在一个学校的院子中创作了一部大尺寸的未烧制的生粘土的悬吊艺术作品。他过去的作品常常被转换到其他的空间。2012年，他在前卫理公会教堂创作了《双壳》，在这个空间内用石膏、钢铁和木材建造一个16×9×6 英尺的建筑–类似于两个鼓鼓的枕头，最后他有毁坏了这部作品。麦克马洪说:”从现在开始，我将更多地创作一些瞬时作品而不是永久作品。”后来，他由创作了作品《喀斯喀特》（2014），这部作品中，他将西雅图须雅摩艺术空间转变成一个临时的舞台，用两张20英尺高的窗帘填充整个空间，这两张窗帘是用一种可拆卸的橡胶薄模子制作而成，模子表面铺有2000磅的石膏。《喀斯喀特》在创作后又被毁坏。就像《双壳》和《短暂的事件》（2013）一样，一幅更小的版本的窗帘被建造在是比米斯当代艺术的中心——《喀斯喀特》最终在短暂的几秒钟内就消失了——装置作品就变成了一堆倒塌在地板上的石膏：这种摧毁的表达方式跟创建作品一样重要。

McMahon has been creating site-specific work since 2004. In 2006 he and co-collaborators successfully overtook a courtyard of a school with a large-scale suspension of unfired raw clay. His past work has often transformed alternative spaces. In 2012, he created Double Hull at a former Methodist church, engulfing the space with a 16-by-9-by-6-foot construction made of plaster, steel and wood – it resembled two bulging pillows, and in the end he shattered the work. McMahon says: “From this point on, I began addressing my work more as moments in time rather than a sculpture.” Continuing on with Cascade (2014), he converted Suyama Space in Seattle into a momentary stage, filling the space with two twenty-foot high curtains made with a removable mold of rubber sheeting layered with 2,000 pounds of sprayed plaster. Cascade was as much about construction as it was destruction. Like Double Hull and Momentary Event (2013) - a smaller version of the curtain constructed at the Bemis Center for the Contemporary Arts – Cascade came down within fleeting seconds in the end - the artist leaving the installation as a pile of plaster crumbled upon the floor: a performative gesture as important as the construction.

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个人简介

1969年蕾贝卡·帕洛夫出生于美国，她拥有音乐和录影方面的剧院背景和艺术实践，她是卡里尔乐队的成员之一。她的作品参与过许多国际展览和电影节，展览包括纽约电影档案选集、波士顿马萨诸塞州美术馆，电影节包括西班牙马德里现代数位科技影音艺术节、法国马塞影像反自然节、冰岛雷克雅未克驯鹿艺术节以及瑞士洛桑国际电影节。她的声音艺术已在伦敦英国 SoundFjord 画廊, 美国伊利诺伊芝加哥半径-实验电台以及瑞士苏黎世数字艺术周上播放。帕洛夫是一位媒体艺术作家，同时也是一位历史电子艺术的研究者，她对哈拉尔德·博得（生于1909年）的作品进行了特别研究(http://econtact.ca/13_4/)。她也是库茨敦大学的一位教授, 她在该校进行基于时间的、实验性的媒体艺术项目。

Rebekkah Palov b. USA 1969, has a background in cinema with art practice in music and video, she is a member of “Carrier Band” (IEA Records). Her work has been exhibited internationally including exhibition at Anthology Film Archives NYC, Mass MoCA Boston, at films festivals including MADATAC Madrid, Spain. IMAGES CONTRE NATURE, Marseille France,700IS Reindeerland Festival, Reykjavik, Iceland and Oblo Film Festival Lausanne Switzerland. her sound art has been played at SoundFjord Gallery London UK, Radius - Experimental Radio Chicago, IL. and Digital Art Weeks Zurich Switzerland. Palov is a media arts writer and researcher on the history electronic arts, in particular the work of Harald Bode b.1909 (http://econtact.ca/13_4/). She is also a Professor at Kutztown University where she runs the Time-Based / Experimental Media art program.

Rebekkah Palov

《干旱之后的悬浮景观：摄影机视角》是一部情景式的视频作品。在每一情景中，在轨道上有旋转的形式，但没有任何明显的引力质量。从改变错误的观点来看，这种在锁定时间内漂浮的质量是梦幻的。在滚动和偏航的形式中不断经历一种渴求，这是为了直接体验，并希望诱使身体与形体相结合。有时，在一场争勇斗狠的抵抗之中，被故事所安排或限制，文字则出现于荧屏上的。这是一段文字而你也有读完它的必要，而这段文字也通过提醒你其中有秘密来吸引你。

Suspension Landscape After the Drought: Camera Views is an episodic video piece. In each episode there are rotating forms in orbit but without any apparent gravitational mass. This quality of floating in locked-time with false changing perspective is dream like. A kind of yearning is experienced in the roll and yaw of the forms, this is intended to be directly experienced and hopefully entice the body to move in tandem with the forms. On occasion, in a pugnacious resistance to being assigned or confined by narrative, text appears on the screen, it is text and you are obligated to read it, the text draws you back in by reminding you there are always secrets.

Suspension Landscape After the Drought: Camera Views2017HD video Stereovariable

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Short Bio

阿尔弗雷德大学电子艺术学院副主任

1958年出生于德国海德堡

约瑟夫·舍尔是一名富布莱特学者，平面媒体教授，纽约阿尔弗雷德大学电子艺术学院副主任、创始人。他目前的作品横跨平面媒体、视频及基于网页的作品。这些作品运用一定技术通过解释性的收集和视觉性的记录来重新审视自然。他的作品被许多国际机构所收藏。去年夏天，他的作品被大量选入中国首届版画艺术节展览、中国观澜版画博物馆、流行艺术画廊、澳大利亚布里斯班格里菲斯大学昆士兰艺术学院。其他的一些近期作品也在中国烟台艺术博物馆、中国国家博物馆、波士顿画廊。另一个远赴瑞典四大博物馆参展的近期作品是由100张大幅面的照片组成。

Born Heidelberg Germany, 1958

Joseph Scheer is a Fulbright Scholar, Professor of Print Media, and Co-Director/Founder of the Institute for Electronic Arts at the School of Art and Design, Alfred University, New York. His current works, which span print media, video, and web based projects, use technology to re-examine nature through interpretive collecting and visual recording. His work is in numerous international collections. This past summer a large selection of his work were featured in: China’s First Printmaking Festival and Exhibition, Guanlan Museum of Printmaking, Guanlan, China and the POP Gallery, Queensland College of Art, Griffith University, Brisbane, Australia. Other recent exhibitions have taken place at The Yantai Museum of Art, Yantai, China the National Museum of China, Beijing, and T+H gallery Boston, MA. A recent show that traveled to four major museums in Sweden was comprised of 100 large format prints.

Joseph Scheer

在过去十年中，印刷品和录像作品的主体被统称为”成像生物多样性”。它是关于目睹的事物，这些事物以一种特别强烈的方式生活在我们星球上。这是通过使用极端的分辨率，扩展的焦点和通过扫描和高清视频放大物，是我的工作过程中的关键技术因素。由于版画或平面媒体的背景，手工制作的纸制品是首选的图像生成载体。从过去到现在，当时的技术一直是印刷技术的主要驱动力。相对于过去现如今有更多技术可供艺术家使用。

这些图像对科学界产生了极大的兴趣，因此我的工作不可避免地会涉及生物本身的科学：分类学、地理地理学、生态学甚至是植物学等知识。我得到越来越多的启发，看到我所做的事情的更大意义：探索科学和艺术相交的地方，以及社会方面的认识和品味将如何影响我们在这个世界上选择保护或保护的东西。我的作品弥合了美学与技术之间的鸿沟—艺术的公共奇观和更深奥的科学研究世界的鸿沟。

The body of work consisting of prints and video produced over the past decade is collectively called “Imaging Biodiversity”. It is about seeing the things that live on our planet in a particular intense way. This happens by using extreme resolution, extended focus and enlargements through scanning and HD Video that are the critical technical elements of my working process. Coming from a printmaking/print-media background, handmade papers are the preferred carriers of the images produced. Technology of the time has always been the main driver of printing techniques from the past to the present and today there are more available to the artist then ever before.

The images have generated great interest in the scientific community and so it was inevitable that my work would involve the science of the creatures themselves: taxonomy, biogeography, ecology and even such knowledge as botany. More and more, I have been inspired to see larger meanings for what I do: explorations of places where science and art intersect and how the social aspects of awareness and appreciation affect what we choose to preserve or protect in this world. My work bridges the gap between aesthetics and technology—between the public spectacle of art and the more esoteric world of scientific research.

Actias rhodopneuma male and female2017Archival Print on Watercolor Paper155 X 110 each

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Short Bio

个人简介

埃米尔·舒尔特是一位德国视听艺术家。他出生在德绍， 1960年代末师从于迪特尔·罗特、约瑟夫·博伊斯以及格哈德·里希特。与此同时, 他遇到了拉尔夫·许特尔和弗洛里安·施耐德，这两位是知名的德国克拉夫特维克电子音乐集团的创始人。他加入了乐队，起先是一名音乐创作人，之后成为一名专辑艺术设计的长期合作者兼做歌词及其他视觉组件创作者。舒尔特的作品参与过各种国际展出。2014年, 他是阿尔弗雷德大学艺术与设计学院的兰德尔国际主席。在一个项目中，他的学生把查尔斯·伯奇菲尔德的作品翻译成彩色的玻璃画、音乐以及3D 动画。http://www.emilschult.de/home.html and http://www.emilschult.eu/.

Emil Schult is a visual and audio artist based in Germany. Born in Dessau, he studied in the late 1960s with Dieter Rot, Joseph Beuys, and Gerhard Richter. At the same time he met Ralf Hütter and Florian Schneider, founders of the influential German electronic music group Kraftwerk. He became involved with the band, first as a musician and then as a longtime collaborator designing album art and other visual components in addition to contributing lyrics. Schult’s work has been exhibited internationally. As of 2014, he is the Randall International Chair at Alfred University’s School of Art and Design. In one project, his students translated the work of Charles Burchfield into stained glass paintings, music, and 3D animations.http://www.emilschult.de/home.html and http://www.emilschult.eu/.

Emil Schult

《未回答的问题–向查尔斯·艾维斯致敬》是一部伴有视频投射的现场声音表演作品。在这个作品中，埃米尔·舒尔特重新解读了美国先锋作曲家查尔斯·艾维斯最重要的作品之一《未回答的问题》。《未回答的问题》是一首原始的极简音调的诗，用小号独奏的方式制造出一种失去亲人般的悬浮声音氛围。艾维斯的孤独呼喊被舒尔特重新解读成为一个现代令人困扰的问题形式：“我还活着么？”“我活在过去么？”“我能去将来吗？” 舒尔特的电子声音作品被置于一个合成的、 未来的计算机图像之中。在作品呈现出来之后，舒尔特和IEA的成员一起表演了一个现场声音的即兴创作，延续了这部作品的情感。表演中运用了由哈拉尔德·博德发明的电子设备，拉尔德·博德是一名德国早期电子乐器的发明者。

The Unanswered Question – Tribute to Charles Ives is a live sound performance with accompanying video projection. In this work Emil Schult re-interprets one of pioneering American composer Charles Ives most important works The Unanswered Question. The Unanswered Question is a proto-minimalist tone poem, a suspended atmosphere of sound with a solo trumpet calling out in a bereft manner. Ives’ lonely calling is re-interpreted by Schult in a haunting contemporary form asking the questions “Am I alive?” “Was I in the past?”, “Will I be in the future?” Schults electronic sounds are placed in relation to synthetic, futuristic, cybornetic computer generated images. After the presentation of the work, members of the IEA along with Schult perform a live sonic improvisation continuing the feeling of the piece. This performance includes electronics, invented by Harald Bode, inventor of some the earliest electronic instruments used in Germany.

The Unanswered Questions - Tribute to Charles Ives2015HD VideoVariable

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World Map Chip 2016Reversed glass painting80 x 80 CM

我所有的绘画作品都属于反玻璃画，这是一种古老的中国发明。这种绘画方式可以最大程度地接近材料、形状和使用颜色和金属的精度。

恢复贸易的传统和文化交流，毫无戒心地、完全地同每个人分享地球的财富和我们的文化财富是我作品的愿景。作品围绕着凸显那些可能使人类文明中出现巨大飞跃的结构。技术发展的顶峰都是基于集成系统的力量，如将全自动系统同对所有生物的深刻尊重这样的超人类愿望相结合。这些结构将被理解，艺术音乐的黄金时代和全球范围内的理解也将随之而至，引导人类进入具有高道德标准的广阔环境。

All of my paintings are in the technique of reverse glass painting, which is an old Chinese invention. This way of painting allows maximum closeness to material, form and precision using colors and metals.

Reviving the old traditions of trade and cultural exchange, unarmed, in total piece, sharing the wealth of the planet and our cultural richness with everyone, is the desire of my work.The work centers around visualizing those structures that make a quantum leap in human civilization possible. The culmination in technological development e.g. autonomous systems interacting with trans human desire along with deep respect to all living matter, are based on the power of integrated systems. These structures are about to be understood and a golden age of art music and understanding on a global scale will follow, leading mankind into a cosmic context with high ethical standards.

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琪琪·史密斯（美国人，1954年生于德国纽伦堡）从1980年代就因为她在人类状况和自然世界方面的多领域实践为人所知。她运用各种各样的材料使她的作品不断地扩展、演化，这些作品包括雕塑、版画、照片、绘画及纺织品。史密斯曾是许多国际个人展的主角，举办过超过25场个人展览。她是美国艺术与文学学院以及美国艺术与科学学院的成员，也是好几个奖项的获得者， 包括由希拉里·克林顿授予的2012年度国家艺术奖章、2010年度帕切斯学院艺术系尼尔森·洛克菲勒奖、2009年度爱德华·麦克道威尔奖章以及2000年度斯考希根雕塑奖章等。2006年，史密斯被《时代杂志》评选为“时代100人：塑造我们世界的人”之一。同时，她也是纽约大学和哥伦比亚学院的一名兼职教授。

Kiki Smith (American, b. 1954, Nuremberg, Germany) has been known since the 1980s for her multidisciplinary practice relating to the human condition and the natural world. She uses a broad variety of materials to continuously expand and evolve a body of work that includes sculpture, printmaking, photography, drawing and textile.Smith has been the subject of numerous one-person exhibitions worldwide including over 25 solo museum exhibitions. She is a member of the American Academy of Arts and Letters and the American Academy of Arts and Sciences and is the recipient of several awards including the 2012 National Medal of Arts, conferred by Hillary Clinton; the 2010 Nelson A. Rockefeller Award, Purchase College School of the Arts; the 2009 Edward MacDowell Medal, and the Skowhegan Medal for Sculpture in 2000, among others. In 2006, Smith was recognized by TIME Magazine as one of the “TIME 100: The People Who Shape Our World.” She is an adjunct professor at NYU and Columbia University.

Kiki Smith

琪琪·史密斯是当今艺术界最广为人知的人物之一，也是她这一代最多产的艺术家之一。1970年代末表演艺术时代的到来的日子，史密斯跟她同时代的艺术家，如芭芭拉·克鲁格、卡拉·沃克和辛迪·谢尔曼，组成了第二波女权主义艺术终结者，并找到了探索女性社会、文化和政治角色的新途径。史密斯着迷于具象艺术，以她内心的、常常令人不安的艺术作品而闻名于世，这些作品细致地描写了人体的艺术，把焦点集中在神话、民间传说以及天主教教育背景中的女性的主题。她独特的视野、丰富的经验和多产的作品，包括书籍、绘画、雕塑、版画以及与其他艺术家的合作的作品，使成为当代女性艺术最重要的声音之一。

Kiki Smith is one of the most widely recognized people in the art world today, and one of the most prolific artists of her generation. Coming of age during the waning days of performance art in the late 1970s, Smith and others of her era, such as Barbara Kruger, Kara Walker, and Cindy Sherman, comprised the end of the second wave of Feminist art and found new ways to explore the social, cultural, and political roles of women. Smith was fascinated by figurative art and became known for her visceral, often disturbing artworks that depict the human body in detail, focusing on themes of women from mythology and folklore, or that reference her Catholic upbringing. Her unique vision, breadth of experience, and prolific output, which includes books, painting, sculpture, prints, and collaborations with other artists, cements her position as one of our most important voices of contemporary Feminist art.

Heads in Water2000Edition: 9 / 13Edition of 13 + 4 APetching15 in. x 12 in.

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埃里克·沙奥萨是一名视频与新媒体艺术家，他创造和探索媒体的仪式空间。他为视听性能、单通道视频和装置作品开发了混合模拟和数字工具。他的作品在国内和国际的各大场馆都有展出，如纽约艺术与设计博物馆、纽约雪城伊弗森美术馆、北京艺术数据实验室。他的作品已在希腊雅典数字艺术节、意大利亚历山大Cronosfera 艺术节 和塞尔维亚贝尔格莱德盖尔雅12新媒体中心等地放映。2016年，埃里克·沙奥萨荣获评审国际艺术大赛 艺术 奖，取得了阿尔弗雷德大学电子集成艺术专业的艺术硕士学位。目前他是南本德印第安纳大学新媒体专业的副教授。

Eric Souther is a video and new media artist who creates and explores the ritualistic spaces of media. He develops hybrid analog and digital tools for audio-visual performance, single channel video, and installations. His work has been featured nationally and internationally at venues such as the Museum of Art and Design, NYC, Everson Museum of Art, Syracuse, NY and the ART DATA LAB, Beijing. His work has been screened in The Athens Digital Arts Festival, Athens, Greece, Cronosfera Festival, Alessandria, Italy, and the Galerija 12 New Media Hub, Belgrade, Serbia. In 2016, Eric won the Juried Award for Time-Based at the international art competition ArtPrize. He received his M.F.A. in Electronic Integrated Arts from Alfred University and is currently an Associate Professor of New Media at Indiana University South Bend.

Eric Souther

佛像是由1000个自己的视频组成。他在网上凝视着他的西方存在，他在众生中寻找自己。在某一时刻的一个视频是从视频集中精心挑选出而投射到佛像上的。这个视频定义了佛陀吗？还是佛陀失去了其多重的意义？在永恒的智慧和现代科技所消耗的圣像的无常之间的冲突不断攀升。

The Buddha is comprised and confronted with one thousand videos of himself. He gazes knowingly upon his western existence online, and he searches for himself among the masses. One video at a time is selected from the collection and is projected upon the Buddha figure. Does the video define Buddha? Or is Buddha lost to the multiplicities of meaning? A conflict arises between timeless wisdom and the impermanence of an icon consumed by modern technology.

Projecting Buddha2013Multimedia Installation30 min loop, 2 synchronous 1920 x 1080 HD signals

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菲利普·大卫·斯特恩斯1982年生于美国，2005年获得了丹佛市科罗拉多大学音乐工业研究：录音专业理学学士学位，2007年获得了加州艺术学院音乐创作与综合媒体专业的美术硕士学位。他的工作集中在利用电子技术和电子媒体来探索在复杂和相互关联的社会中调动的思想和材料之间的动态关系。解构、重构和扩展是他创作的主要手段和主要技术，他的作品涉及视听表演、电子雕塑、声光装置艺术、数字纺织品以及其他的数字和实物的奇异作品。http://phillipstearns.com

Phillip David Stearns (USA, 1982) holds a MFA from Cal Arts in Music Composition and Integrated Media (2007) and a BS from University of Colorado @ Denver in Music Industry Studies: Sound Recording (2005). His work is centered on the use of electronic technologies and electronic media to explore dynamic relationships between ideas and material as mobilized within complex and interconnected societies. Deconstruction, reconfiguration, and extension are key methodologies and techniques employed in the production of works that range from audio visual performances, electronic sculptures, light and sound installation, digital textiles, and other oddities both digital and material.http://phillipstearns.com

Phillip Stearns

“景观的概念是十分浪漫的；其中之一也许暗示了它已经灭绝的可能性, 至少目前我们无法通过对媒体技术的学习来接近这个单词的原义。”

视频是通过“扫描”大自然中地球极地的日落和冰川的图像制作而成的，使用的工具是定制的软件，运用的技术是用数字成像设备来模仿记录、捕获或“吸收”世界的过程。作为一种技术神话的“环境之外的镜头”的重建，这种解构的行为被呈现出来在一个设备的最小的景观之中被设置出来。

作品向观众展示的是遗忘的基础设施、经验的毁灭和真实的丧失：当我们挣扎着去把握海市蜃楼时，我们无法看到它从我们眼前消失。

“The notion of a landscape is highly romanticized; one which perhaps hints at the possibility of its having already gone extinct, at least in so far as we have–through conditioning of our media technologies–no way of accessing those experiences which informed the word’s original meaning.”

Video is produced by “scanning” found images of sunsets and glaciers from the Earth’s polar regions using custom software, using a technique that mimics the processes used by digital imaging devices to record, capture, or “take in” the world. This act of deconstruction is presented as a reconstruction of a techno-mythological “environment beyond the lens” set amongst a minimal landscape of devices.

What is presented to the viewer is the infrastructure of forgetting, the destruction of experience and a loss of the real: what we cannot see as it vanishes from before our eyes as we struggle to grasp a mirage.

A Consequence of Infinitely Recursive Vision Technologies2014Video Projection, Stereo Sound, Neon TubesScalable 3m tall x 3m wide x 5m deep (depending on projector throw)

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个人简介1940年，斯坦娜生于冰岛雷克雅未克。小时候，她便开始学习小提琴和音乐理论，并于1959年获得了捷克斯洛伐克文化部的奖学金，考入布拉格的国家音乐学院。

1965年，移居美国之后，她在纽约成为了一位自由音乐人。她于1969年开始从事视频相关的工作, 从那时起，她的各种录像带和装置艺术就已经在美国、欧洲及亚洲展出。虽然她主要致力于创作录像带和装置艺术，但她最近也参与一些在公共场所的互动性表演，在大型视频投影机上播放由小提琴数字改编的移动视频图像。

1971年，她在纽约的电子媒体剧场与其他人共同创办了一个名为“厨房”的工作室。斯坦娜曾经是美国国家电视实验中心、旧金山公共广播电台及纽约 WNET/Thirteen的常驻艺术家。1988年, 美日友好委员会授予她“东京常驻艺术家”称号。她曾获得过纽约州艺术委员会、国家艺术基金会、公共广播公司、古根海姆基金会、洛克菲勒基金会、美国电影学院和新墨西哥州艺术部的资助。

Steina was born in Reykjavik, Iceland, in 1940. She studied violin and music theory, and in 1959 received a scholarship from the Czechoslovak Ministry of Culture to attend the State Music Conservatory in Prague.

After moving to the United States in 1965 she worked in New York City as a freelance musician. She began working with video in 1969, and since then her various tapes and installations have been exhibited in USA, Europe and Asia. Although her main thrust is in creating Video Tapes and Installations she has recently become involved in interactive performance in public places, playing a digitally adapted violin to move video images displayed on large video projectors.

In 1971 she co-founded The Kitchen, an Electronic Media Theater in New York. Steina has been an artist-in-residence at the National Center for Experiments in Television, at KQED in San Francisco, and at WNET/Thirteen in New York. In 1988 she was an artist-in-residence in Tokyo on a U.S./Japan Friendship Committee grant. She has received funding from the New York State Council on the Arts, the National Endowment for the Arts, the Corporation for Public Broadcasting, the Guggenheim Foundation, the Rockefeller Foundation, the American Film Institute and the New Mexico Arts Division.

Steina

《李莉斯》(采用模拟处理) 展示了在自然背景下画家多丽丝·克洛斯说话和转变时的移动面孔。她的声音经过声码器的处理, 使她说的话不再被理解。同时, 采用亮度器在轻微延迟的情况下将她脸上的深色部分删除、逆转、重新插入，使部分不完全匹配。这个延迟的图像是最初是以一个半分钟长的片段为背景的，在该片段中树在焦点内外随风而弯，这一背景便在真实和延迟的时间里被来回操纵。图像到实物的可视化转换也反映在音频水平上，展示出这种图像合成的变容阶段。在《李莉斯》中，斯坦娜展示出变容的过程而不是结果，因为实时地持续改变图像域会表现出一种从时间到空间组织的类似于数字清晰度平滑转换。对多丽丝·克洛斯脸部的改变和操作将画家纳入传统绘画对象：也就是自然景观中的塑像。对视觉媒体的讽刺评论中，画家被描绘成淹没在自然和技术的十字路口。视觉意象灵活的品质强调了空间维度，因此，如实物的图像就会被呈现的媒体所取代。其结果是 “人类形象与景观的近乎雕塑化的融合”。

Lilith (with analog processing) shows the mobile face of painter Doris Cross, talking and shifting in a natural background. Her voice has been processed through a Vocoder, so that her words are no longer understandable. Concurrently, with a luminance keyer, darker parts of her face are removed, reversed, and reinserted in slight delay, so that the parts do not exactly match. This delayed image is set against the background of an initially half-minute-long segment of in-and-out-of-focus trees bending in the wind, which are manipulated back-and-forth in real and slowed-down time. The visible transformation of image into object is reflected on the audio level as well, demonstrating the phases of the kind of transfiguration that result in an image synthesis. Steina, in Lilith, presents the process rather than the results of transfiguration, because the constantly changing image fields perform, in real time, a smooth shifting from temporal to spatial organization - similar to digital articulation. The alterations and manipulations of the face of Doris Cross subsume the painter into a traditional object of painting: that is, a portrait in a natural landscape. In an ironic comment on visual media, the painter is portrayed at the crossroads of a submerged natural and technological landscape. The flexible quality of the visual imagery emphasizes the spatial dimension, so that the image-as-object is overtaken by the medium of presentation. The result is an “almost sculptural fusion of human figure and landscape.” (S.V.)

Lilith1987Processed Video 9:12 min

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伍迪·瓦苏尔卡生于捷克共和国波诺市，他在布拉格学习电影。在1965年同他的妻子斯坦娜搬到美国去之前，他只做了几部纪录片。之后, 他担任了一些电影项目的编辑，并尝试了电子声音和电子闪光灯艺术。1969年，怀着对电影的不满意，他开始使用视频。

同斯坦娜一起，他努力探索电子声像的本质, 并执导了纽约先锋派的几部纪录片，更具体地说，是在当时制作了一些戏剧、舞蹈和音乐。1974年，瓦苏尔卡搬到了布法罗，在纽约州立大学的媒体研究中心任教。在独立工作的这段时间， 伍迪开始对拉特/艾特若扫描处理器调制视频信号的方式感兴趣；1976年，他和杰弗里·希尔创作了作品《Digital Image Articulator》。1980年，他离开了他的教职， 并继续致力于他所谓的 “一个新的认识论空间”的研究之中。

Born in Brno, Czech Republic, Woody Vasulka studied film in Prague. He made several documentaries before relocating to the United States in 1965 with his wife Steina. He then worked as editor on a number of film projects, and experimented with electronic sound and strobe light. In 1969, dissatisfied with film, he started using video.

With Steina, he worked to explore the nature of electronic image and sound, and directed several documentaries on the New York City avant-garde, and more specifically the theatre, dance and music produced at that time. In 1974, the Vasulkas moved to Buffalo where they taught at the Center for Media Studies at the State University of New York (SUNY). Working independently during that period, Woody became interested in the way the Rutt/Etra Scan Processor could modulate a video signal; in 1976, he and Jeffrey Schier created the Digital Image Articulator. In 1980, he left his teaching post and continued research into what he called “a new epistemological space.”

Woody Vasulka

瓦苏尔卡将他的电子成像代码运用于其叙事作品《委员会》之中，为了预想一个史诗般的电子歌剧，他发展出一种隐喻的图像语言。本文以小提琴家尼可洛·帕格尼尼 (由视频艺术家欧内斯特· 古赛拉饰演) 和作曲家赫克托·柏辽兹 (作曲家/表演者罗伯特·阿什利) 之间的关系为基础，直面浪漫主义、历史和艺术创作的神话。瓦苏尔卡建造一个梦幻般的视频剧场，上演了一个转变的故事，一种精心制作的形象和抽象的混合，其中成像技术作为表达的视觉语言。特定的视频效果被赋予解释的意义；再构造的图像在改编的图像中激增，推动着故事发展。《委员会》是一部通过电子图像语言表述叙事策略的关键作品。

Applying his electronic imaging codes to narrative in The Commission, Vasulka develops a metaphorical image language to envision an epic electronic opera. The text, which is based on the relationship of violinist Niccolo Paganini (played by video artist Ernest Gusella) and composer Hector Berlioz (composer/performer Robert Ashley), confronts myths of Romanticism, history and art-making. Constructing a fantastic video theater, Vasulka stages a narrative of transformation, an intricately crafted blend of figuration and abstraction, in which imaging techniques serve as expressive visual syntax. Specific video effects are assigned interpretive meaning; reframed images proliferate within images in re-compositions that propel the narrative progression. The Commission is a pivotal work in the articulation of narrative strategies through an electronic image language.

The Commission1983Video Projection44:55 min

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Short BioMatthew Underwood has exhibited his work internationally, including the College of Fine Arts Shanghai University, ZKM, and the European Media Art Festival in Germany. More recently he has shown extensively with RK Projects in Providence. He has had various residencies at Signal Culture, The Experimental Television Center, and the Institute for Electronic Arts. He has just completed the first year of his Electronic Integrated Arts MFA in Alfred, New York. He is thrilled to be studying in Western New York, with its rich history of experimental film, video, and new media arts.

Matthew Underwood

I am interested in pushing technologies to their limits, locating the thresholds of failure and reimagining new uses for them with their unintended artifacts. I turned inward after the antagonistic atmosphere of a possible Trump Presidency. This is a personal work dealing with depression. After googling a drug that I am currently prescribed, the search engine provided an endless list of unintended side effects. I mined this text as a raw material; following after Vito Acconci “Language to Cover a Page”, and Kenneth Goldsmith “Uncreative Writing: Language in the Digital Age”. I also came across an oddly captivating YouTube video of a ‘doctor’ telling of the dangers of the drug. My psychiatrist failed to warn me of any of these dangers. “Venlafaxine” is an investigation into the apparatus of video projection that reveals an unstable and fragile subject. The electronic image is decoded into its component parts; red, green, and blue. The images of the three projectors are re-encoded into one. Viewers are invited to interact with the image by interrupting the beams of light by walking throughout the space.

Venlafaxine2017Video installationSize variable

个人简介

马修·安德伍德的作品参加过国际上的许多展出，其中包括上海大学美术学院、德国艺术与媒体中心以及德国的欧洲媒体艺术节。最近他的RK项目在普罗维登斯各地展出。他在信号文化，实验电视中心和电子艺术学院都有各种常驻居留权。他刚刚在纽约阿尔弗雷德完成了他作为电子综合艺术总监的第一年。他很高兴能够在纽约西部学习，因为此地拥有丰富的实验电影，视频和新媒体艺术的历史。

我对将技术推向极限，找出失败的原因，并用不到的工艺重新设计出它们的新用途十分感兴趣。在特朗普选为总统的反对气氛之后，我转变了方向。这是一部应对抑郁症的个人作品。在搜索我目前所服用的处方药之后，搜索引擎提供给我一份了很长的副作用列表。我把这份文本作为原料；继承了维托·阿肯锡的“覆盖一页的语言”和肯尼思·戈德史密斯的“非创造性写作:数字时代的语言”。我也无意中发现了一个奇怪的视频，视频中一个“医生”在讲诉毒品的危险。“文拉法辛”是一项对视频投影仪器的调查，揭示出不稳定和脆弱的主题。电子图像被解码成其组成部分：红、绿、蓝三色。三个投影机的图像被重新编码为一个。观众也被邀请与图像进行互动，互动的方式是通过在整个空间中行走从而打断光束。

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