Information Sculpture Superhighway presents works of artists achieved using a variety of forms. It is intended to show how the whole human society on the information superhighway is sculpturing its self-integrity. “Sculpture” here does not refer to a narrow definition of plastic art, but alludes to Joseph Beuys’ definition of “social sculpture”, in which everyone is considered to be an equally creative individual, and has the potential to reshape the future of society through art.
In this exhibition, the strength of the notion “the medium is the message” – as an echo from the last century – has gradually been consumed and turned into a disused formula. In fact, what we see here is: “the message is the medium”, and modifications in scales and models caused by digital media are relegated to the back. The information released by the medium becomes a real force that impacts social status. Information already is the final state of all media. However, with the loss of its physical characteristics, media of various kinds can no longer distinguish one from another. It is also the source of such disordered use of media among most of the exhibited works. This confusion is not only reflected in the form of chaotic combinations or random collages, but also in the destructive attitude towards the medium as an icon. Image resolution and dimensions are no longer primordial, similarly, beauty of forms and material stability in sculpture lost their importance; these aspects became insignificant compare to the information they intend to convey. During the process of creation, medium has been considerably mistreated, and information became the core of expression.
Information is a scourge rampaging on the highway. As all superhighways have a bottom speed, information also shapes its speed to a certain extent. Substance – two-dimensional surface – pixel – information – alternate with one another on the highway within the snap of a finger. The information generated by such high speed leads to a social symptom, a compulsive obsession with always being above the bottom speed. Not only does it pressure us in terms of speed, but also it permeates the whole society in the form and content. “Highway”, whose imagery in the first place evokes decentralization, confers information with the most powerful right of expression, within the illusion of rights to equality. In Information Sculpture Superhighway, artists – as human beings who possess the identities of evolution and innovative vitality – offer their own proposals to social sculpturing, within such symptomatic context.