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临时代码-曾浩个展即将开幕

2025-01-06 17:12:23雅昌发布

临时代码-曾浩个展

Temporary Code

Zeng Hao's Solo Exhibition

出品人：王海英

Producer: Wang Haiying

学术主持：张海涛

Academic Host: Zhang Haitao

策展人：李裕君

Curator: Li Yujun

开幕Opening：2025.01.10 4pm.

展期Duration：2025.01.10-02.09

主办：第零空间、丛来艺术

Hosts: 798 Zero Space, To The Art

协办：罡美术馆（成都）、素色堂文化（成都）

Co-organizers: Gang Art Museum (Chengdu), Susetang Culture (Chengdu)

地址：北京市朝阳区酒仙桥路2号798艺术区红石广场B01

Location :B01,798 Art Zone,No.2 Jiuxianqiao Road ，Chaoyang District,Beijing

临时代码：曾浩“未来世”作品的哲思与艺术新境解读

文/李裕君

20世纪初，“未来主义”诞生，以科技、速度与力量为美，打破传统艺术束缚，以全新视角构建了艺术与时代的关系。在元宇宙、AR智能蓬勃发展的当下，“未来主义”被赋予了新的内涵，虚拟与现实的交融以及AI强大的创造力，极大地拓展了艺术创作的边界，促使艺术家在新的语境中积极探索自我表达与未来展望。

在AR智能时代，科技对艺术的全方位影响在曾浩的作品中得到了充分体现。他巧妙地将科技元素融入创作，以独特的“未来世”绘画语言吸引了众多目光，其作品宛如一座横跨现实与未来、连接人性与科技的桥梁。“代码”作为现代计算机的基本算法和构成逻辑，决定着AR科技的多种形态，犹如艺术家手中的颜料作为一种“色彩代码”建构着一个个的缤纷世界。代码是锚，是根基，它们构成了艺术家曾浩近期创作的基本要素。通过数码符号、机器人、几何图形和“泡影”元素等独特的图像代码，曾浩在画面中构建起了一个充满未来感与哲学思辨的艺术世界，深刻揭示了科技对艺术的深远影响，以及人性与科技之间的复杂关系。在其《幻像与虚构》、《幻像之相》等系列作品中，人性与科技的关系成为核心主题。他既展现了科技发展为人类文明带来的新奇体验和无限可能，又对科技可能对人性产生的威胁进行了批判与反思，如作品中人物形象的异化和精神世界的空虚，警示着人类在科技统治下可能面临的自我迷失。

科技不仅为曾浩提供了新的创作工具和表现手法，更重要的是拓展了艺术的边界。借助数字技术，他创造出以往难以企及的视觉效果，将虚拟元素融入现实空间，使观众获得沉浸式的艺术体验。这种艺术与科技的融合打破了传统艺术的时空限制，开启了新的审美维度。然而，科技发展带来的人性与科技关系的深刻问题在曾浩的作品中也有所体现。一方面，科技进步为人类带来了巨大的便利和可能性，其作品中的未来世界充满了新奇与活力；另一方面，科技的过度发展也可能导致人性的异化，画中一些人物形象呈现出冷漠、机械的特质，暗示着在科技统治下人类可能失去情感、个性和自由，这与马克思的异化理论相呼应，即科技本应是人类实现自我的工具，却可能反过来成为统治人类的力量。

具体而言，在曾浩的作品中，数码图像是理解其艺术观念的关键。在“未来世”系列的《幻像与虚构》作品中，数字图形、矩阵和光带象征着科技与未来，寓意着新的力量对传统的冲击与重塑，使画面呈现出似真似幻的场景。他将熟悉的现实场景与奇异的虚拟元素并置，模糊了真实与想象的边界，如同博尔赫斯笔下的迷宫，引领观众进入一个充满不确定性的未来世界。这种图像构建挑战了传统的现实认知，呼应了后现代主义哲学对单一、确定性现实的批判，暗示了未来世界的多元性与可塑性。同时，机器人、机械手、科技代码与几何元素在曾浩的作品中频繁出现，成为解读其作品的关键。代码作为数字时代的语言，象征着科技的力量与秩序，它们以各种形式融入画面，或构成空间的结构，或成为生物的脉络，仿佛在诉说着科技对世界的重塑。从哲学层面看，科技代码的存在引发了对“本质”的思考，如同柏拉图的理念论，代码如同隐藏在现象背后的理念，决定着事物的形态与发展，暗示着在未来世界，科技将成为塑造一切的底层逻辑，深刻影响人类的生活、思想乃至存在方式。

在“泡影”系列的《幻像之相》作品中，曾浩同样展现出独特的图像语言。画面中，人物的身体逐渐被“泡影”吞噬、虚化，融入由科技代码和流光组成的背景中，部分人物面部表情模糊或眼神空洞，仿佛陷入对未知的沉思。几何图形在此处不再仅仅是科技的象征，更像是一种无形的力量，侵蚀和改变着人类的存在形态，这让人联想到柏拉图的洞穴隐喻，即人类如同被囚禁在洞穴中的囚徒，只能看到事物的影子而非本质。在这幅作品中，现实世界的人物形象在虚拟代码的影响下变得虚幻，暗示着在未来科技的影响下，人类对自身的认知和存在方式可能发生根本性的改变。而在《异型》系列综合装置作品中，曾浩运用木板、亚克力、喷绘等材质和创作手法，为观众带来更为直观的视觉与触觉体验。这些作品形态各异，有的如扭曲的生物，有的似破碎的机械，木板的质朴、亚克力的透明与喷绘的绚丽色彩相互碰撞，营造出一种既陌生又熟悉的氛围，表达了人类在科技浪潮中寻求平衡与融合的努力。

总体而言，曾浩的作品以独特的图像、材质和表现手法，深入探讨了未来世界的种种可能性以及人性与科技的复杂关系。从宏观的哲学视角审视，曾浩的作品引发了对人类未来命运的深刻思考。在科技飞速发展的当下，我们正处于一个关键的十字路口，面临着诸多的选择和可能性。他的“未来世”“泡影”系列作品和《异型》系列综合装置，不仅是卓越的艺术创作成果，更是对时代精神的深刻反思以及对人类未来命运的严肃思考。这些作品提醒我们，未来并非既定不变，而是充满变数和挑战。在追求科技进步的同时，必须时刻警惕科技对人性的侵蚀，努力在科技与人性之间寻求平衡，以创造一个更加美好的未来。

2025年1月1日于北京

Temporary Code: Interpretating the Philosophical Thoughts and Artistic New Horizons of Zeng Hao's "Future World"

By Li Yujun

In the early 20th century, "Futurism" emerged, celebrating technology, speed, and power as beauty, breaking free from the constraints of traditional art and constructing a new relationship between art and the times from a fresh perspective. In the current era of thriving metaverse and AR intelligence, "Futurism" has been endowed with new connotations. The blend of virtuality and reality, coupled with the formidable creativity of AI, has significantly expanded the boundaries of artistic creation, prompting artists to actively explore self-expression and future visions within this new context.

In the era of AR intelligence, the comprehensive impact of technology on art is fully embodied in the works of Zeng Hao. He ingeniously incorporates technological elements into his creations, attracting numerous gazes with a unique "Future World" painting language. His works serve as a bridge spanning reality and the future, connecting humanity and technology. "Code," as the basic algorithm and logical structure of modern computers, determines the various forms of AR technology, much like how artists use paint as a "color code" to construct a colorful world. Codes are the anchor and foundation, constituting the fundamental elements of Zeng Hao's recent creations. Using unique image codes such as digital symbols, robots, geometric shapes, and "bubble" elements, Zeng Hao constructs an artistically futuristic and philosophically speculative world in his paintings, profoundly revealing the far-reaching impact of technology on art and the complex relationship between humanity and technology. In his series such as "Illusions and Fiction" and "Faces of Illusion," the relationship between humanity and technology becomes the central theme. He not only showcases the novel experiences and infinite possibilities that technological development brings to human civilization but also critically reflects on the potential threats technology poses to humanity, such as the alienation of character images and the emptiness of the spiritual world in his works, serving as a warning against potential self-loss under technological dominion.

Technology has not only provided Zeng Hao with new creative tools and expression techniques, but more importantly, it has expanded the boundaries of art. Leveraging digital technology, he creates visual effects that were previously unattainable, integrating virtual elements into real space to offer viewers an immersive artistic experience. This fusion of art and technology breaks the temporal and spatial constraints of traditional art, opening up new aesthetic dimensions. However, the profound issues arising from the relationship between humanity and technology due to technological advancements are also reflected in Zeng Hao's works. On the one hand, technological progress has brought tremendous convenience and possibilities to humanity, with the future worlds in his works brimming with novelty and vitality. On the other hand, excessive technological development may lead to the alienation of humanity, as some character images in his paintings exhibit indifferent and mechanical traits, hinting at the potential loss of emotions, individuality, and freedom under technological dominion. This resonates with Marx's theory of alienation, where technology, intended as a tool for humans to realize themselves, may instead become a force that governs humanity.

Specifically, in Zeng Hao's works, digital imagery serves as the key to understanding his artistic concepts. In the "Future World" series titled "Illusions and Fiction," digital graphics, matrices, and light bands symbolize technology and the future, implying the impact and reshaping of new forces on tradition, presenting scenes that are both realistic and illusory. He juxtaposes familiar real-world scenes with exotic virtual elements, blurring the boundary between reality and imagination, much like the labyrinth described by Borges, leading viewers into a future world filled with uncertainty. This imagery construction challenges traditional perceptions of reality, echoing the criticism of a singular, deterministic reality in postmodernist philosophy, and suggesting the multiplicity and plasticity of the future world. Meanwhile, robots, mechanical arms, technological codes, and geometric elements frequently appear in Zeng Hao's works, serving as keys to interpreting his creations. Codes, as the language of the digital age, symbolize the power and order of technology. They integrate into the paintings in various forms, either constituting the structure of space or becoming the veins of creatures, as if narrating the reshaping of the world by technology. From a philosophical perspective, the existence of technological codes triggers reflections on "essence," akin to Plato's theory of ideas. Codes resemble the ideas hidden behind phenomena, determining the form and development of things, hinting that in the future world, technology will become the underlying logic shaping everything, profoundly influencing human life, thought, and even existence.

In the "Faces of Illusion" work from the "Bubbles" series, Zeng Hao similarly showcases a unique graphic language. In the painting, the bodies of the figures are gradually consumed and blurred by "bubbles," merging into a background composed of technological codes and streaming light. Some figures have blurred facial expressions or empty gazes, as if lost in contemplation of the unknown. Here, geometric shapes are no longer merely symbols of technology; they resemble an invisible force eroding and altering the form of human existence, evoking Plato's cave metaphor, where humans, like prisoners confined in a cave, can only see the shadows of things rather than their essence. In this work, the real-world figures become illusory under the influence of virtual codes, hinting at potential fundamental changes in human self-awareness and existence due to future technology. Meanwhile, in the "Alien Forms" series of mixed-media installations, Zeng Hao utilizes materials and techniques such as wood, acrylic, and spray painting to provide viewers with more intuitive visual and tactile experiences. These works come in various shapes, some resembling twisted creatures, others like shattered machinery. The simplicity of wood, transparency of acrylic, and vibrant colors of spray painting collide, creating an atmosphere that is both strange and familiar, expressing humanity's endeavor to seek balance and integration amidst the wave of technology.

Overall, Zeng Hao's works, through their unique imagery, materials, and expressive techniques, delve deeply into the various possibilities of the future world and the complex relationship between humanity and technology. From a macro philosophical perspective, Zeng Hao's works provoke profound reflections on the future destiny of humanity. In the current era of rapid technological development, we stand at a crucial juncture, facing numerous choices and possibilities. His "Future World," "Bubbles" series, and "Alien Forms" mixed-media installations are not only outstanding artistic achievements but also profound reflections on the spirit of the times and serious contemplations on the future fate of humanity. These works remind us that the future is not set in stone but filled with variables and challenges. While pursuing technological progress, we must always be vigilant against its erosion of humanity and strive to find a balance between technology and humanity to create a better future.

January 1, 2025, in Beijing

出品人

王海英

第零空间创始人、798大库艺术总经理

文韵时光咖啡厅创始人、海河美术馆创始人

中国现当代艺术档案馆副馆长

于1996年入驻798，是最早入驻798的艺术工作者之一

学术主持

张海涛

策展人、艺术评论家、艺术档案网主编，鲁迅美术学院特聘教授（硕导）、中央美术学院城院研究生部客聘导师、北京服装学院客座教授（硕导）、湖北美院高级讲学专家，数字艺术与区块链实验室研究员，北京实验与科技艺委会委员，曾任宋庄美术馆执行馆长、元典美术馆副馆长，2007年创办艺术档案网，2012年出版《未来艺术档案》，已策划“机器人艺术时代”“未来艺术学”“我的元宇宙”等百余场学术展览。

策展人

李裕君

独立策展人，艺术评论写作者。2005年毕业于西北民族大学美术学院艺术设计专业，2018-2019年进修于中央美术学院美术批评专题高级研修班；2022年入选国家艺术基金“新时期中国当代美术评论人才培养”计划；2024年入选国家艺术基金“策展理论研究人才培训”项目。自2006年起主要从事当代艺术策展、评论、艺术机构运营及媒体策划等相关工作，担任海河美术馆执行馆长，798第零空间主理人，鲁迅美术学院实验艺术系外聘导师，中国当代美术评论与策展青年联盟委员，中国文化促进会国潮艺术专业委员会专家顾问。

艺术家