Writing
Contact
Writing
Contact
Date: 2022
Medium: Two-channel digital video
Size: 32: 9, 3840×1080dpi
Duration: 10’12” (ENG\CHN subtitle)
Artist Zhongyao Wang collaborated with artificial intelligence to create the “AI Alien Project.” The artist utilized language AIs, including GPT-3 and ChatGPT, as well as image-generating AIs, to extract textual and visual content describing extraterrestrial beings. These conceptual beings have become tools for exploring fragments of different words, images, genders, and emotions, rather than mere imaginary products of hegemonic collective consciousness imposed on us through western science fiction movies. The artwork weaves a narrative that is both expansive and introspective, ranging from the macroscopic to the microscopic, from the past to the future, from the molecular to the interstellar, creating a nonlinear, allegorical tapestry. This resonates with the writing style of Italo Calvino’s “Cosmicomics.” The work redefines the aesthetics and perspectives on alien life forms, delving into deeper philosophical questions about their gender, communication, and the essence of existence. In the creative process, the role of AI has forecasted a vision of the future, revealing the challenges to the traditional “anthropocentric” perspective in outer space, and prompting us to contemplate our position both within and beyond the visible universe.
创作时间：2022
形式：双频道数字影像
尺寸：32: 9,3840×1080dpi
时长：10分12秒（中英字幕）
艺术家王钟垚与人工智能合作创作了AI Alien Project。艺术家利用了包括GPT-3和ChatGPT在内的语言AI以及图像生成AI，提取描述地外存在（being）的文本和视觉内容，这些概念性存在成为了探寻不同词语、图像、性别和情感的碎片的工具，而非一种被输入的西方科幻电影中霸权式集体意识的想象产品。该影像编织了一个既广阔又内省的叙事，从宏观到微观，从过去到未来，从分子到星际，创造了一幅非线性的、寓言式的织锦，这与伊塔洛·卡尔维诺的《宇宙奇趣全集》的书写风格相呼应。作品重构了外星生命形式的美学和观看维度，探讨了它们对性别、交流以及存在本质的更深层哲学问题。AI在创作过程中扮演的角色预测了一个未来景象，揭示了“人类中心主义”的传统视角在太空中受到的挑战，促使我们思考自己在可见宇宙内外的位置。
Date: 2021
Medium: Installation
Materials: Air molds, blowers, lighting, nylon threads
Size: 2.3×1.34×2.9m
This work was commissioned by Beijing PLATESPACE, an independent art space.
Unlike art museums, independent art spaces in China are often funded by individuals and frequently face practical issues such as funding shortages and unstable venues. Therefore, how to make the best use of the unique and challenging PLATESPACE became the primary consideration when creating this artwork.
When an object within the space becomes the focus, the space becomes the subject of service. People tend to concentrate on the occupied area of the space, as if the quality of its service is closely related to the filled area. The artwork "8.84m³" attempts to draw attention to the special significance beyond the vacant area, reversing the roles of subject and object, reflecting respect for this space by maximizing every cubic centimeter.
From 3.08 square meters to 8.84 cubic meters, the meaning of the container is reshaped through the squeezing and folding of the space. For the work "8.84m³" in PLATESPACE, it is not just an exhibition environment, but more of a living space. The artwork is like a living organism, occupying a corner of Beijing's precious land, connected to the city through delicate threads, and thus elevating the space and the artwork to a relatively fair balance.
创作时间：2021
形式：装置
媒材：气模、鼓风机、照明、尼龙线
尺寸：2.3×1.34×2.9米
该作品由北京盘子独立艺术空间委托创作。
中国的独立艺术空间与美术馆不同，往往由个人出资维持，且时常面临着资金短缺、场地不稳定等现实问题，所以如何最大程度利用好PLATESPACE这个难得、不易的空间，是艺术家创作这件作品时考虑的首要问题。当置于空间内的物体是主体时，空间是为其提供服务的对象，人们将注意力集中于空间的占地面积上，仿佛其服务质量与留白面积息息相关。而作品“8.84m³”企图让人们注意到留白面积之外的特殊分量，将主客体换位，对此空间的尊重体现在极限利用每一立方厘米之中。
从3.08㎡到8.84m³，空间在肠道的挤压、折叠中再塑容器的意义。PLATESPACE对于“8.84m³”这件作品来讲，不仅仅是一个展示环境，更多的是一个居住空间。作品像是一种生命体，用身体撑满了北京寸土寸金的一隅，在气若游丝的联系之间，找到与城市相连的通道，以这种方式将空间与作品提升到了相对公允的平衡位置上。
Date: 2021
Medium: NFT, digital looping video
This animation transformed the exhibition "8.84m³" into an NFT.
The intestines depicted in the animation serve as the production model for the installation work in the exhibition. Through this process, the physical exhibition is transformed into an NFT with its native digital nature. In the digital realm, the artwork gains unrestricted vitality, pulsating rhythmically like a heart. It becomes a true organism.
NFT link: https://opensea.io/collection/884cubicmeter
8.84m³：有机体
创作时间：2021
形式：NFT，数字循环影像
此动画作品将线下展览“8.84m³”铸成NFT。 动画中的肠道，即为展览中装置作品的生产模型，落地展览通过这种方式以原生数字性质被NFT化。作品在数字世界有了无需约束的生命力，像心脏一样有节奏的跳动着，它成为了一个真正的有机体。
NFT合集地址： https://opensea.io/collection/884cubicmeter
Date: 2021
Medium: Single channel digital video
Size: 16: 9, 2560×1440dpi
Duration: 5’38” (ENG\CHN subtitle)
"N" is both "No name" and "Number 1 to infinity." It represents the anonymity and vastness of the female collective, while also signifying each individual woman. The artist materializes Titian's Venus and creates discordant windows on her perfect body, intending to disrupt the optimal visual experience of the male gaze. Within the windows are self-portraits of female artists from different eras, appearing within the "Venus architecture" painted by male artists. This analogy seems to suggest that female artists are indeed trying to create within a world dominated by men.
From these six self-portraits, one can infer the external evaluations and self-criticisms that these artists faced in different eras, as well as their compromises and gender-based challenges in their creative endeavors. The artist creates a voyeuristic perspective in the work, leading people to peer at the self-portraits within each window. The female figures gradually become transparent and disappear as they are observed, symbolizing a kind of deprivation, suggesting that society might have entered an era of "male voyeurism," distinct from the "male gaze."
By concealing themselves behind the voyeuristic perspective, the artist establishes a constant presence without appearing in the picture. This artwork also becomes a self-portrait of the artist, engaging in a dialogue with self-portraits of female predecessors. It serves as both a question posed by the artist, as a fellow female creator, and an expression of deep respect for these female creators.
创作时间：2021
形式：单频道数字影像
尺寸：16: 9, 2560×1440dpi
时长：5分38秒（中英字幕）
N既是No name，又是Number1至无穷，它代表女性的无名与庞大的群体，又指代每一位女性。艺术家将提香笔下的维纳斯建筑物化，并在维纳斯完美的胴体上开了不协调的窗，意图搅乱人们对于男性凝视产物的最佳视觉体验。窗内是不同时代的女性艺术家自画像，它们出现在男性艺术家绘成的“维纳斯建筑物”里，就像是在类比女性艺术家的确是在一个由男性主导的世界中试图创作一样。
人们似乎可以从这六幅自画像中，得知其在不同的时代受到的他人评价与自我批判，并感受其在创作中的性别妥协与性别攻击。艺术家在作品中创造了一个偷窥的视角，引领人们去窥视每个窗子里的女性自画像，女性形象随着窥视会逐渐变透明后消失，因为窥视即是一种剥夺，艺术家借此提出人们可能已经进入到一个与“男性凝视”不同的“男性窥视”的时代。
通过躲在偷窥视角背后，艺术家创造了一种无需出现在画面中却时刻在场的身份证明，此件作品亦成为了艺术家的自画像，在自画像中与女前辈们的自画像对话，既是艺术家作为同样身为女性创作者的一次发问，也表达了艺术家对于女性创作者们最崇高的敬意。
Date: 2020
Medium: Single channel digital video
Size: 16: 9, 1920×1080dpi
Duration: 5’39” (ENG\CHN subtitle)
The artist reconstructed the animals, living above sea level with human beings, and their biological chains to express the relationships between the unnatural states of exploiting and being exploited as well as those of protecting and being protected existing in today's society. By designing an abnormal phenomenon, the viewer may notice that the seemingly normal around them may not be so normal after all, but people are accustomed to it. These dislocations in our daily behaviors temporarily free us from our habitual consciousness, allowing us to gain fresh perspectives.
Animals are naturally more liberated than humans as they live without restraint, and in a sense, they also lead far regulated, by nature, lives than humans. The skinless Sika deer suggests that exploitation prevents one from becoming complete, and animals as "food" on the dishes in our refrigerators indicate the break of the food chain, cannibalism, and the inequality between people in the face of limited resources. Tigers voluntarily tame themselves because they want to live with cows. As a result, the tiger skin eventually assimilates into a cowhide, in turn signifying our own dependency that links one another, forming a relationship of slavery. From the divine perspective, the artist created these alienated animals, observing their hunting and consuming, to reflect on how their lives correlate to the constraints and unspoken rules between human beings.
创作时间：2020
形式：单频道数字影像
尺寸：16: 9, 1920×1080dpi
时长：5分39秒（中英字幕）
艺术家重构了与人类共同生存在海平面之上的动物与其生物链，以来表达在当今社会中存在的不自然的剥削与被剥削、保护与被保护的关系。通过建造一种“不正常”的现象，使人们注意到身边的“正常”现象也许并不正常，只是人们习以为常了。日常行为的一些错位使我们暂且从常规中摆脱出来，引起意识的变化从而获得鲜活的观点。
动物比人类更加释放天性，因为它们不受约束的释放，从某种意义上讲，它们也比人类活得更有一套规矩。皮不遮骨的梅花鹿意味着剥削让一个完整的人没办法成为完整的人了；动物作为“食物”，不停地在冰箱中的碟子上更换着，由正常的食物链转为自相残食，意味着面对有限资源时人与人之间的不平等；老虎因为想和奶牛生活在一起而自愿被驯服，最后被同化为虎身牛皮的模样，意味着人们相互之间产生依赖，并且相互间的需求将他们联系起来，奴役的关系便形成了……艺术家以一种上帝视角创造了这些被异化的动物，观看他们的捕猎与进食，反思的却是人与人相处间的约束与潜规则。
Date: 2019
Medium: Single channel digital video
Size: 16: 9, 1920×1080dpi
Duration: 5’54” (ENG\CHN subtitle)
“The Memory Labyrinth” is about the fusion of reality and fantasy that we experience as human beings by endowing reality with imagination and discovering hidden truths within fantasies. The short film is composed of four parts: workplace and pressure; examination room Peach Blossom Spring; network and privacy; Fear, security and cities.
The animation also presents the juxtaposition of memory and fantasy images occurring in real life: melted workplace employees, crawling spider clocks, running babies in queues, spontaneously sprawling eyeballs, floating ancient Chinese structures in the air. These elements replace the real fictional illusions, reconstructed from the complex and trivial psychological pressures in real life.
创作时间：2019
形式：单频道数字影像
尺寸：16: 9, 1920×1080dpi
时长：5分54秒（中英字幕）
《记忆迷宫》探讨的是关于当代人类身处的现实与幻想的融会关系，即赋予真实以幻想，并从幻想中找到隐藏的真实。短片由四部分构成：职场与压力；考场桃花源；网络与隐私；恐惧、安全与城市。
动画内容同时呈现了现实生活中的精神记忆与幻境意象并置的场景，融化的职场员工、爬动着的蜘蛛钟表、队列奔跑着的婴儿、肆意窥探着的眼球、悬浮在空中的中国古建筑……这些取代了真实的虚构幻境，均是对现实处境中复杂琐碎的心理压力的重新构建。
Date: 2022
Material: Poetry, photography, AI-generated Images
Size: Variable
Artist Zhongyao Wang uses artificial intelligence tools to repeatedly overlay and generate new images on photographs taken by photographer Zhang Beichen on the shores of the Yellow Sea in China. The silver spherical architectural structure in the photo gradually transforms into ice cores containing methane gas locked in glaciers, as well as spherical objects like green algae releasing oxygen through photosynthesis beneath the sea surface. A poem describing climate change is hidden in the image like a tide, and as the words flow, the original real scenes in the photo are replaced by a pervasive poetic landscape. Scenes related to bubbles imply the various consequences of climate change. As the latter part of the poem suggests, when we look at this dim blue planet—Earth—from the universe, will it also be the illusion of a fragile bubble? The poem is immersed in images reconstructed by artificial intelligence, calling on us to cherish our only and vulnerable home.
创作时间：2022
媒材：诗歌，摄影，AI生成图像
尺寸：可变
艺术家王钟垚使用人工智能工具，在摄影师张北辰拍摄于中国黄海边的照片上反复叠加、生成新的图像。照片中的银色球形建筑物，逐渐变成了冰川中封存着甲烷气体的冰芯，以及海面下光合作用释放氧气的绿藻等球状物体。一首描写气候变化的诗歌，像潮水一样藏匿在图像中，随着文字的流转，原本存在于照片中的真实景象被一种弥漫的诗意景色所取代，而一幕幕与气泡相关的画面，则暗示着气候变化带来的各种后果。如诗歌后半段所言，当我们从宇宙遥望这颗暗淡蓝点——地球时，它也会是脆弱泡沫的幻影吗？诗歌浸入被人工智能重构的画面，呼吁我们珍惜唯一的、脆弱的家园。
shimmers beneath the fragile clouds.
In elusive waves it floats,
where twilight bounds with the lucid gleam of dawn.
These mellow shiny bubbles
awaken your distant memories.
On the other edge of the ocean,
where bubbles were trapped in the glacier,
your keen ears captured some subtle sounds:
bursting bubbles
deep cold murmurs
and long exhales
purr~~~~~~
The glum melting sighs.
Are we sinking
or is the horizon expanding upwards?
On the swell of the incoming tides,
we bob gently downside up.
Our watery eyes are greeted by salt water.
Inadvertently nothing can escape the rippling sea.
Bubbling
Prochlorococcus,
non-verbal photosynthetic organism,
flows in fluorescence
like translucent emerald.
Inhale
Exhale
Bubbles rising from the ocean
paved the way for creatures
to crawl from water to the land.
A mirage of vulnerable bubbles.
Will it be the destiny of our home,
when we recall it from the outer space?
A pale blue dot
gradually blurred in the distance.
Thousands of clear light bulbs
pulse with increasing heat.
Accumulated deferrals
echo the sleeping moon,
till the light breaks.
Writing: Zhongyao Wang
Translating: Qianxun Chen
Date: 2021
Medium: NFT, Digital images
Size: Variable
Many digital artists who are not accepted by the mainstream art scene can enter the art market through NFTs at a low cost. Individuals such as crypto investors, different from traditional collectors, can bypass the opaque traditional art market and directly collect artworks on the decentralized blockchain. Artists view NFTs as tickets, taking advantage of the relatively unfixed nature of the crypto art community. Holding these tickets allows them to enter the scene, providing a distinct mode of artistic intervention apart from galleries, auction houses, and museums. This series comprises a hundred virtual tickets, which have been gradually sold at minimum prices on various NFT trading platforms.
This work also has a practical function, serving to unlock and view other hidden works by the artist in online exhibitions.
NFT collection link: https://opensea.io/collection/welcome-to-the-art-world
创作时间：2021
形式：NFT，数字图像
尺寸：可变
许多不被主流艺术圈接纳的数字艺术家，只需付出低廉的代价，便可依靠NFT进入艺术市场。加密圈投资者等与传统藏家画像不同的人，可以跳过并不透明的传统艺术市场，在去中心化的区块链直接收藏作品。艺术家认为NFT是一张门票，趁着加密艺术圈子并未固化，持票入场占领先机，为人们提供了一种不同于画廊、拍卖行、美术馆的艺术介入方式。
此系列作品共包含一百张虚拟门票，已陆续于各个NFT交易平台以最低价出售。 此件作品还具有实用性的作用，可用于解锁、观看艺术家在线上展览中的其他隐藏作品。
NFT合集地址：https://opensea.io/collection/welcome-to-the-art-world