AI: Love and Artificial Intelligence | Hyundai Motorstudio Beijing

AI: Love and Artificial Intelligence

Exhibition Period

2020.09.30 – 2021.01.03

Opening

2020.09.30 16:00 – 19:00

Artists

!Mediengruppe Bitnik, aaajiao, Adam Harvey, Benjamin Berman & Miguel Perez, Chen Zhou, Frank Wang Yefeng, Johanna Bruckner, Jonas Lund, Liu Shiyuan, Stine Deja, Wang NewOne, He Rongkai (Project)

Exhibition Venue

Hyundai Motorstudio Beijing

E-1, 798 Art Zone, 4 Jiuxianqiao Rd, Chaoyang District, Beijing

Tuesday to Sunday 10:00-19:30


AI is a pun. It is the pronunciation of “love" in Chinese pinyin, and at the same time, stands for “Artificial Intelligence" in English. The two alphabets express the exhibition’s focus, which is to present the love that this generation has acquired in the age of social networking. The exhibition discusses the emotional decisions under the influence of algorithms, love affairs in the online environment, and the physical intimacies in long-distance relationships (Eros); It also resonates the sympathies woven by big data, which gathers people with similar ideologies and excludes those who disagree (Philia). Luc Ferry once said that “love never comes without hatred; they are probably two inseparable passions, if only because love leads us to hate those who hurt the people we love.”

The exhibition is designed as a dichotomous structure. Inspired by the typical “swipe right to like, swipe left to dislike" mechanism, it starts with a virtual online dating app that leads the audience to two different spaces. It is a metaphor for our manipulated emotions and speaks about romantic online relationships through an intertextual narrative. These romantic relationships have been perceived as “natural" interactions without being in the same physical space, groundless affection, and even remote performances of sexual desire. For millennials, the internet provides more freedom for expressing their instinctual egos while the physical world and people seem to be distant. These subtle emotions connect to our “inner-selves" are spread across the fiber optic network ubiquitously, raising the question that if our connection to the virtual domain means the detachment to the real world. Simultaneously, the layout of the exhibition is a spatial representation of our online behavior, meaning that every time one chooses to like or dislike, click or unclick, the algorithm generates the user’s data packet and direct the online route through the privacy permissions. We have literally no authentic choice among the numerous options. By “collaborative filtering” and “autocomplete” function (e.g. “Recommended for you" on Amazon, “Who to Follow" on Twitter, and “Topic you might like" on Quora), network science follows its default logic: “Birds of a feather flock together." It generates social bubbles, which leads to discourse polarization, the proliferation of identity politics, and deeper divisions of our cultural and political landscape.

Now connect to the Internet, type in “AI" and searched for “Love", I see people shouting, singing, mourning, feeling, fantasizing, and contemplating in struggles about gaining and losing love. It is the most distant course that comes nearest to thyself, and that training is the most intricate which leads to the utter simplicity of a tune.[1] With regard to Love and AI, we experience the featured artists’ tales through the spectrum of their works, and rethink the emotional and technological circumstances of our time.

[1]  Rabindranath Tagore, Gitanjali

About Curator

Jenny CHEN Jiaying, writer and curator. She is now having a PhD program of Western Philosophy at Eastern China Normal University. She holds a Bachelor of Arts from the Department of Art History of China Academy of Art and received her Master of Arts degree from Lancaster University in the UK. She has contributed to media such as Artforum (CN), Artshard and NOWNESS. Recent Projects include: “Copernicus”, E.M.Bannister Gallery of Rhode Island College, Providence, U.S.A (2019); “Li Hanwei: Liquid Health”, Goethe Space, Shanghai (2019); “First edition of the Shanghai Curators Lab”, Shanghai Academy of Fine Arts, Shanghai (2018). Jenny’s other academic activities include the First Annual Conference of Network Society “Forces of Reticulation” roundtable and Huayu Forum of Art, etc.


Her article “Post-Internet Art Inside and Outside the Chinternet” was included in the collection of essays Forces of Reticulation published by China Academy of Art Press. Co-writing and editing of Shanghai Contemporary Art Archival Project 1998-2010, was published by MOUSSE in 2017.

About Hyundai Blue Prize

The Hyundai Blue Prize prioritizes creativity and sustainability over experience level when evaluating applicants. Each year, emerging Chinese curators submit exhibition proposals based on a theme that reflects Hyundai’s long-term vision. Up to six shortlisted curators will be offered a ‘One-on-One Mentorship’ from junior and senior jury members, who help applicants to prepare their final proposals, make connections within the art world, and explore their full potential.

About Hyundai Motorstudio

Hyundai Motorstudios are brand experience spaces that reflect the company’s artistic spirit and experimental approach to art, design and technology. This is where “motor,” a word used in the automobile industry, and “studio,” a word used to describe a space for contemplation and creation, meet in a manner accessible to the public.


AI:爱与人工智能

展期

2020.09.30 – 2021.01.03

开幕

2020.09.30 16:00 – 19:00

艺术家

!比特族媒体小组、本杰明·伯曼 & 米格尔·佩雷斯、陈轴、刘诗园、乔纳斯·隆德、斯坦·戴亚、王新一、王业丰、徐文恺、亚当·哈维、约翰娜·布鲁克纳 、贺荣凯(项目)

地址

现代汽车文化中心

北京市朝阳区酒仙桥路4号798艺术区E-1号

周二 至 周日 10:00-19:30


AI作为一个双关,是汉语爱的拼音,也是人工智能的缩写。这两个字符表达了展览的目的,即呈现一代人在网络社交时代习得的爱。 它希望谈论“情爱”(Eros),讲述算法影响下的情感选择、网络环境中的暧昧关系与远距离恋爱的身体亲疏;也愿转译“友爱”(Philia),思考大数据编织的共情之爱,它让相似之人靠近彼此,也让不同意见者渐行渐远。吕克·费里曾说,“爱与恨这两种情感大概不可分离,难道不是因为爱,我们才会恨那些伤害我们所爱之人的人吗?”

此次展览被设计为二分的结构,由一个虚拟的网络交友程序开始,借用经典的“左滑不喜欢,右滑喜欢”将观众引导至不同的空间。它隐喻着我们被左右的情感,也通过互文的叙事言说着爱的线上关系。这样的关系曾被理解为不同处一室的“自然”交往、无根据的情感诉说,甚至是远程的欲望展演。对于千禧一代而言,我们通过网络可以更自由的表达并释放本我,物理世界与可触的人反倒显得不那么真实亲切。那些纤细的情感广布于光纤网络送达至各个彼处。但当我们连接虚拟世界的同时,是否也意味着和另一个世界的断连呢?展览的行走路线也是网络行为的一次空间呈现,它意味着每一次当你选择喜欢或不喜欢、点击或不点击时,算法都将通过隐私权限,生成用户的数据包,并以此支配你的网络路径。我们在众多选择中,实际上别无选择。通过协同过滤与联想查询功能(淘宝的猜你喜欢、微博的好友关注动态、知乎的推荐),网络科学践行着其默认的逻辑:物以类聚人以群分,喜欢意味着喜欢所喜欢。而这生成的人际泡沫,将导致言论的两极化、身份政治的激增,也引向更深的隔阂。

连接因特网输入“AI”搜索“爱”,我看到人们嘶吼、歌唱、悲鸣、感切,幻想着得到与失去爱,在这样的过程中苦苦思寻。“离你最近的地方,路途最远;最简单的曲调,需要最艰苦的练习。”[1]关于爱与AI,我们或许可以通过作品折射的光谱,领会各个艺术家的絮语,重思这个时代技术与情感的处境。

[1] 罗宾德拉纳特·泰戈尔,《吉檀迦利》

关于策展人

陈嘉莹,写作者,策展人,现为华东师范大学西方哲学博士生。曾为《艺术论坛》 (Artforum)、《艺术碎片》与 NOWNESS 等媒体撰稿。近期策划的展览和参与的活动包括: “哥白尼”,E.M.Bannister 画廊,罗德岛学院,普罗维登斯,美国 (2019);“液态健康“,上海歌德开放空间,上海(2019);“上海策展人实验室”项目,上海大学美术学院,上海(2018);”PSA青策计划2018“,上海当代艺术博物馆,上海(2018);“三亚华宇艺术论坛”,三亚,海南(2016-2017)等。其文章”亲特网内外的后网络艺术”收录于中国美术学院于2018年出版的论文集《网络化的力量》中。参与编写的 Shanghai Contemporary Art Archival Project 1998 – 2012 由 MOUSSE 于2017年出版并发行。

关于 Hyundai Blue Prize

Hyundai Blue Prize 在评估选手时,更加看重的是创新性和可持续性,而非着重于选手的以往经验。每年,中国的青年策展人将会根据能够反映出现代汽车集团长期愿景的主题,提出自己的策展提案。此后,选拔出6位决赛选手参与初评评委和专家评委的导师项目。他们将在评委们的帮助下准备自己的最终提案,建立自己与国际艺术界的关系网,在国际平台上探索无限可能。

关于现代汽车文化中心

Hyundai Motorstudio 馆群是特别的品牌体验空间。它旨在展示公司的艺术灵魂和其对艺术、设计及科技等多领域艺术实验的研究性尝试。在这里,大众可以了解和见证作为汽车行业词汇的“motor”,和用于深思和创作的空间 “studio”的结合。

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