【CAC·項目】第三屆「國際網絡藝術大獎「(PNA)獲獎發布會

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2017年2月，由勞倫·康奈爾(Lauren Cornell)、艾瑞爾·迪安(Aria Dean)、克莉絲汀娜·保羅(Christiane Paul)和張尕組成的「國際網絡藝術大獎」（PNA）評委會經過全面考量，正式宣布將第三屆「國際網絡藝術大獎」授予三位藝術家：伊娃 & 弗蘭柯·馬茨（EVA AND FRANCO MATTES）、波佩緹·查瑞緹·赫特斯克（PORPENTINE CHARITY HEARTSCAPE）和博格斯·賽庫庫尼（BOGOSI SEKHUKHUNI）。

同時，第三屆"國際網絡藝術大獎"頒獎酒會將於二月十七日當地時間下午六點三十分在紐約新美術館（The New Museum）舉行。

 

評委陳述

過去三年，根莖（Rhizome｜紐約）與新時線媒體藝術中心（CAC｜上海）合作呈現「國際網絡藝術大獎」，以資獎勵致力於網絡創作，並代表著當代網絡藝術重要實踐方向的藝術家。該獎項於過去只授予兩名藝術家，但今年經過大量深思熟慮後，由張尕（CAC藝術指導／中央美術學院特聘教授）、勞倫·康奈爾（新美術館技術發起部副總監及策展人）、克莉絲汀娜·保羅（新學院大學媒體研究學院副教授、惠特尼美國藝術博物館的新媒體藝術兼職策展人）、艾瑞爾·迪安（根莖網絡藝術與數字文化部門助理策展人）組成的評委會共同評選出了三位獲獎者，每人各獲獎金5000美元。

 

經過對來自於豐富領域的、由大眾及受邀專家提名的大量候選人進行了仔細評審後，評委選出了兩名藝術家和一個藝術家雙人組，他們代表著網絡藝術領域中表達形式不盡相同而又相互交叉的關注點和方向。

CLOCKWISE FROM TOP:PORPENTINE CHARITY HEARTSCAPE, BOGOSI SEKHUKHUNI, AND EVA & FRANCO MATTES.

 

- 伊娃 & 弗蘭柯·馬茨，二人自20世紀90年代中期開始合作，其創作持續地對當代網絡化的處境進行回應和剖解，常以幽默而犀利的風格探討網絡生活的倫理與政治。

 

- 波佩緹·查瑞緹·赫特斯克承擔起網絡超文本敘事的責任——超文本敘事曾經是網絡文化生產最為普通的模式，在社交媒體新聞和無限滾動時代，超文本正在經歷一種新的復活。

 

- 博格斯·賽庫庫尼的創作散布在這些平臺間，以一個堅定的南非視角，吸取並運用它們的形式來創作有關族群離散、流行文化和屬靈的作品。

關於伊娃&弗蘭柯·馬茨（EVA AND FRANCO MATTES）

伊娃&弗蘭柯·馬茨（1976）是來自義大利的藝術家雙人組，目前工作於紐約。他們的創作媒介結合了網絡、視頻以及裝置。其作品探討了當人們在使用遠程交互時所產生的倫理及道德問題，尤其通過社交媒體，創造了現實與模擬難以區分的情境。他們所參加的重點群展包括芝加哥當代美術館（2018）、曼海姆當代攝影雙年展（2017）、聖埃蒂安國際設計雙年展（2017）、雪梨雙年展（2016）、倫敦白教堂藝術館（2016）、洛杉磯哈默博物館（2016）、明尼阿波利斯藝術學院（2013）、新墨西哥聖塔菲國際雙年展（2012）、聖丹斯電影節（2012）、紐約現代藝術博物館PS1（2009）、紐約行為藝術雙年展（Performa，2009/2007）、中國國家美術館（2008）、紐約新美術館（2005）以及歐洲宣言展（法蘭克福，2002）。在2001年的威尼斯雙年展中，他們是當時威尼斯雙年展歷史上最年輕的參展藝術家之一。其個展曾舉辦於紐約下東區Essex Flowers藝術空間、紐約Postmasters畫廊、倫敦Carroll/Fletcher畫廊、英國謝菲爾德Site當代藝術空間、太平洋西北藝術學院（波特蘭）及巴塞爾[plug.in]藝術機構。馬茨二人組的作品也被媒體頻繁報導，其中包括藝術論壇、Frieze雜誌、e-flux雜誌、紐約時報、華盛頓郵報以及衛報。2016年，他們獲得了創意資本獎（Creative Capital Award）。同時他們也兼任紐約視覺藝術學院美術學院研究生導師，以及視頻及相關媒體、數碼攝影學院研究生導師。

 

 

評選作品

《每人每日，不為誰人》 （BEFNOED）(2014-進行中)

 http://befnoed.tumblr.com/

作為一件系列委約作品，《每人每日，不為誰人》（BEFNOED）通過籤約眾包服務，以匿名網絡攝像的方式記錄了籤約者的表演；並投放到世界各地及社交網絡設限的區域。同時作為一件裝置作品，藝術家將播放作品的屏幕以尷尬的方式放置於畫廊空間內，如非常接近地面或傾斜於角落。為了觀看這些視頻，觀眾不得不作出扭曲的、表演性的姿態。

 《生活分享》（LIFE SHARING）（2000-2003）

http://0100101110101101.org/life-sharing/

這件作品中，藝術家將自己的私人電腦設置成完全訪問模式，即觀眾可通過藝術家網站看到他們電腦中的全部文檔、照片、郵件及銀行帳單。最終藝術家進一步擴大了這個項目——通過佩戴GPS跟蹤器，網站訪問者被允許隨時查看藝術家所在的位置。

 Exhibition view, Fotomuseum Winterthur, Switzerland

《無趣》（NO FUN）（2010）

http://0100101110101101.org/no-fun/

《無趣》（NO FUN）是一件線上表演影像作品。在這個作品中，藝術家通過網絡攝像頭模擬了一場自殺，並記錄了觀眾的反應，探討了隔離、欺騙以及距離如何在線上相遇中發生影響。

 

關于波佩緹·查瑞緹·赫特斯克（PORPENTINE CHARITY HEARTSCAPE）

波佩緹·查瑞緹·赫特斯克是一位作家、遊戲設計師以及死亡沼澤熟女。她的作品展示於音樂體驗計劃博物館（EMP Museum）、丹麥國家美術館、移動影像博物館（The Museum of the Moving Image）等。赫特斯克曾被報導於《紐約時報》，並被VICE及根莖（Rhizome）委託創作。她是2016年「創新資本新興領域」獎項（Creative Capital Emerging Fields）的獲得者及2016年聖丹斯學院新前沿敘事實驗室（New Frontier Story Lab）的研究員，同時還是2017年惠特尼雙年展的參展藝術家。

 

評選作品

《瘋癲流亡仙女》（PSYCHO NYMPH EXILE）（2016）  

http://slimedaughter.com/nymph/

由赫特斯克與Neotenomie及Sloane共同創作。DSTP是支持宇宙的色碼能量源，人們在垂死的平行維度中度假，國籍身份是他們靈魂召喚出的塔羅牌。使用者採用散布在各種媒介上的片段拼出這個世界，包括線上超文本作品，小冊子及表情（stickers）。

 

《咆哮狗》（HOWLING GODS）（2012）

http://aliendovecote.com/uploads/twine/howling%20dogs.html#2m

作為一款Twine遊戲（文本遊戲）及互動性故事，《咆哮狗》的主題涉及逃避主義、現實vs.虛擬及創傷。這款遊戲同時被設計成多元閱讀。

 《美麗蛙》（BEAUTIFUL FROG）（2015）

http://aliendovecote.com/uploads/twine/frog.html

赫特斯克將其描述為一個「青蛙模擬器」，即《美麗蛙》是一個建立在Twine平臺的僅限於文本的互動小說，允許玩家引導一隻青蛙度過其生命。每一回合標誌著青蛙的一年生命過去；黑色襯線體文字描述多樣的蛙式體驗及重大事件，同時綠色文字允許玩家在遊戲時做出基本決定如「跳」、「唱」或「吃」。

 

 

關於博格斯·賽庫庫尼（BOGOSI SEKHUKHUNI）

博格斯·賽庫庫尼是一位觀念藝術家與創意總監，出生於約翰尼斯堡。2013年，賽庫庫尼被南非《郵政衛報》（Mail & Guardian）選入「前200位南非青年」。他是古德曼畫廊（Goodman Gallery）2014年度「暫定名獎」（Working Title prize）的獲得者。賽庫庫尼曾在約翰尼斯堡大學學習視覺藝術，並與南非藝術家團隊CUSS一同工作。CUSS是一個主要從事數字藝術創作的先鋒藝術團隊。2014年，賽庫庫尼在開普敦的Whatiftheworld 畫廊舉辦了首次個展。他在南非及海外都參加過群展，同時也出席和參與海外座談會，如「89+座談會89+呈現：藝術與技術新經驗」（卡地亞基金會，巴黎）。

 

評選作品

《開放時間女巫大聚會》（OPEN TIME COVEN）（2015 – 進行中）

https://opentimecoven.com/

《開放時間女巫大聚會》是一個合作性質的「視覺文化銀行與研究團夥」（visual culture bank and research gang）項目，基於網頁的工作室實踐，探討非洲的宇宙論和神話。

《神經調節器.生命.001.NTU》(2015)

http://futurelabafrica.org/product/ntu/

賽庫庫尼是NTU團體成員。作為一個涉及建構網際網路精神未來的組織，NTU通過生產相關作品及裝置，尋求加強網際網路的用戶體驗。

 

《夢幻筆記》（DREAM DIARY）（2014）

https://vimeo.com/78346852

《夢幻筆記》系列是視頻作品，通過新媒體和網絡來架接人們對現實的感知中所存在的溝壑。

 

 

In February 2017, after extensive deliberation, the Prix Net Art jury—comprising Lauren Cornell, Aria Dean, Christiane Paul, and Zhang Ga—announced that the third annual Prix Net Art would be awarded to three artists: Eva & Franco Mattes, Porpentine Charity Heartscape, and Bogosi Sekhukhuni. 

Join Rhizome & Chronus Art Center to toast the winners of the 2016 Prix Net Art and celebrate the future of net art on February 17, 6.30PM at the New Museum. 

RSVP to [e-mail] 

 

JURY STATEMENT 

For the last three years, Rhizome and Chronus Art Center (Shanghai) have partnered to present the Prix Net Art, a cash prize that goes to artists who are committed to working online and represent important directions in contemporary net art practice. In the past, two artists have been awarded, but this year, after much deliberation, the jury—comprising Zhang Ga, Artistic Director of Chronus Art Center, Distinguished Professor at China Central Academy of Fine Arts; Lauren Cornell, Associate Director of Technology Initiatives and Curator at the New Museum; Christiane Paul, Associate Professor in the School of Media Studies at the New School and Adjunct Curator of New Media Arts at the Whitney Museum of American Art; and Aria Dean, assistant curator of net art and digital culture at Rhizome—elected to recognize three recipients, each of whom will receive $5,000.

 

After considering a rich field of candidates nominated by the general public and invited expert nominators, the jury selected two artists and an artist duo who represent differently formulated but intersecting concerns and directions in the field of net art.

- Eva and Franco Mattes, collaborators since the mid-1990s, have continually made work that responds to and dissects the contemporary networked condition, always approaching the ethics and politics of life online with a humorous edge.

 

- Porpentine Charity Heartscape takes up the mantle of online hypertext narrative—once the most common mode of online cultural production, hypertext is now experiencing a revival in the age of social media feeds and infinite scrolls.

 

- Bogosi Sekhukhuni, whose work is scattered across these platforms, draws on and manipulates their form to make work about diaspora, pop culture, and spirituality from a staunchly South African perspective.

 

ABOUT EVA AND FRANCO MATTES

EVA AND FRANCO MATTES (1976) are an artist duo originally from Italy, working in New York. Their medium is a combination of Internet, video and installation. Their work explores the ethical and moral issues arising when people interact remotely, especially through social media, creating situations where it is difficult to distinguish reality from a simulation. Group exhibition highlights include the Museum of Contemporary Art, Chicago (2018); Biennale für aktuelle Fotografie, Mannheim (2017); Biennale Internationale Design Saint- Etienne (2017); Biennale of Sydney (2016); Whitechapel Gallery, London (2016); Hammer Museum, Los Angeles (2016); Minneapolis Institute of Arts (2013); Site Santa Fe (2012); Sundance Film Festival (2012); MoMA PS1, New York (2009); Performa, New York (2009, 2007); National Art Museum of China, Beijing (2008); The New Museum, New York (2005) and Manifesta 4, Frankfurt (2002). In 2001 they were among the youngest artists ever included in the Venice Biennale. Solo exhibition venues include Essex Flowers, New York; Postmasters Gallery, New York; Carroll/Fletcher, London; Site, Sheffield; PNCA, Portland; Plugin, Basel. Mattes work is frequently in the media and has been written about in Artforum, Frieze Magazine, e-flux journal, The New York Times, Washington Post and The Guardian. In 2016, they were recipients of the Creative Capital Award. They are faculty members at the MFA Fine Arts Department and the MFA Photography, Video and Related Media Department of the School of Visual Arts, New York.

EXPLORE SELECTED WORKS: 

BEFNOED (2014- ongoing)
This work is a series of commissioned, anonymous webcam recordings of performances contracted via crowdsourcing services and dispersed to regional, obscure social media platforms around the world, as well as an installation in which monitors displaying the performances are placed awkwardly around the gallery (such as very close to the floor, or tilted against a corner), forcing visitors to assume contorted, performative positions in order to view the videos.

LIFE SHARING (2000-2003)
For Life Sharing, the artists made their private computers—including all files, from photos to emails to bank statements—fully accessible to the public via their website. Eventually they expanded the project further, wearing GPS trackers and allowing website visitors to see where they were located at all times.

NO FUN (2010)
No Fun is a video of an online performance in which the artists simulated a suicide via webcam and recorded viewers』 reactions, probing how isolation, artifice, and distance influence online encounters.

 

ABOUT PORPENTINE CHARITY HEARTSCAPE 

PORPENTINE CHARITY HEARTSCAPE is a writer, game designer, and dead swamp milf. She’s been displayed at EMP Museum, the National Gallery of Denmark, The Museum of the Moving Image, profiled by The New York Times, and commissioned by Vice and Rhizome. She is a 2016 Creative Capital Emerging Fields and 2016 Sundance Institute’s New Frontier Story Lab fellow and a 2017 Whitney Biennialist.

 

EXPLORE SELECTED WORKS: 

PSYCHO NYMPH EXILE (2016)
In this collaboration by Porpentine Charity Heartscape, Neotenomie, and Sloane, DSTP is a color-coded energy source that props up the universe; people vacation in dying parallel dimensions; and state IDs are tarot decks emanating from their psyches. The user pieces this world together with fragments that are distributed across various mediums, including an online hypertext work, a booklet, and stickers.

HOWLING DOGS (2012)
A Twine game and interactive story, howling dogs engages themes of escapism, reality vs. virtual reality, and trauma, while being designed for plural readings.

BEAUTIFUL FROG (2015)
Described by Heartscape as a 「frog simulator,」 Beautiful Frog is a text-only interactive fiction build on the Twine platform that allows players to guide a frog through its froggy life. Each turn marks the passage of a year in its life; black serifed text describes its various froggy experiences and milestones, while green text allows the player to make basic decisions like 「hop,」 「sing,」 or 「eat.」

 

ABOUT BOGOSI SEKHUKHUNI 

Bogosi Sekhukhuni is a conceptual artist and creative director born in Johannesburg. In 2013 Sekhukhuni was selected by the Mail & Guardian as one of the Top 200 Young South Africans. He is a recipient of the 2014 Goodman Gallery annual Working Title prize. Sekhukhuni studied Visual Arts at the University of Johannesburg and works with South African artist group CUSS; a pioneering artist group working primarily in digital art. In 2014, Sekhukhuni exhibited his first solo presentation at the Whatiftheworld Gallery, Cape Town. He has exhibited in group exhibitions in South Africa and abroad. He has presented at and participated In panel discussions abroad; including the 89Plus panel discussion 89plus Presents: Nouvelles Expériences en Art et Technologie at Foundation Cartier, Paris.

 

EXPLORE SELECTED WORKS: 

OPEN TIME COVEN (2015- ongoing) 

A collaborative 「visual culture bank and research gang,」 Open Time Coven explores African cosmologies and mythologies in a web-based studio practice.

NTU, NERVOUSCONDITIONER.LIFE.001.NTU (2015)

Sekhukhuni is part of the collective NTU, as 「an agency concerned with the spiritual futures of the internet,」 with has made works including installations that seek to enhance user experiences of the internet.

DREAM DIARY (2014)

Sekhukhuni’s Dream Diary series are videos that seek to bridge gaps in the perception of what reality is through new media and the internet.

 

新時線媒體藝術中心（CAC）成立於2013年，系國內首家致力於媒體藝術之展示、研究/創作及學術交流的非營利性藝術機構。通過展覽、駐留、獎學金、講座、工作坊及相關文獻的梳理與出版，CAC為媒體藝術在全球語境中的論述、生產及傳播開拓了一個多樣化且富有活力的平臺。CAC以批判地介入不斷改變進而重塑當代經驗的媒體技術來推動藝術創新及文化認知。

Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency-oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences. 

www.chronusartcenter.org