BCA MUSEUM

Parcel content

• Polytext: BCA
• Polytext: BCA
• Sign: 共有秩序
• Sign: 共有秩序
• Sign: 共有秩序
• NFT:
• NFT:
• Richtext: 作品简介： “颤抖”是有表情的，可能是因为兴奋，可能是因为激动， 也有可能是因为冷，在我绘画里静止的玩具是冷漠的， 寂静的，而GIF里无止尽单一的抖动赋予了这个原本无情的 图像以情绪、生命和无限的可能。 作者简介： 孙一钿1991年出生于中国浙江，于2018年毕业于中央美术学院油画系。 她的作品曾在纽约大都会馆、澳门艺术博物馆、LionPalias、罗中立美 术馆、天普大学博物馆和北京中央美术学院博物馆等机构展出。 2019年入选福布斯30岁以下亚洲杰出青年。其作品涉及绘画、装置、 行为和时装跨界，以其鲜明多彩的风格和独特的动画片式表现手法 而闻名，目前工作和生活于北京。
• Richtext: About Yitian Sun Sun Yitian(b.1991) born in Zhejing province. She received her post-graduate degree in painting from CAFA in 2018. Her works have been exhibited internationally at such venues as The Metropolitan Pavilion, the Macau Museum of Art, the Lion Palias, Luo Zhongli Art Museum, Temple University Museum and the CAFA Museum. Yitian has been selected as a Forbes under 30 outstanding Youth in Asia in 2019. Her practice spans across painting, installation, performance and fashion. She is known for a bright and colorful style that has a distinctive cartoonish quality and different presenting styles, she’s currently works and lives in Beijing.
• Richtext: # Celyn Bricker About This Work: ‘After the Rain’ is a AI generated journey through an rainforest as imagined by a machine. Both the sound and images are AI generated. This work is part of a series exploring our relationship to nature through technology, given that nature is something we increasingly encounter only through technology. Given the rate of technological fragments that remain. At the same time, if we consider humans part of nature, then the machines we built are an extension of that nature. In that reading, After the Rain is nature imagining itself.
• Richtext: # Mario Klingemann Memories of Passersby I “路人I的回忆”是一台自动机器，它使用神经网络 系统生成永无止境、永不重复的、不曾存在的人 的艺术肖像。这件作品是人工智能艺术领域令人 振奋的一步，是人工智能领域的开创性作品.它是代码和 系统本身，而不是在两个屏幕上不断演变的输出—— 它代表着艺术市场历史上一个重要的里程碑。 ____________________________________ Memories of Passersby I is an automatic machine and generates portraits in real-time using neural networks. This work is the code and system itself, rather than its continually evolving output on two screens - representing an important historical and conceptual landmark in the history of the art market.
• Richtext: # 刘芳 维度空间——褶皱 纬度空间－皱褶》2021年的短片，表达了对于人、自然、宇宙、时间， 共生共灭的哲学思考，提炼其塑造和被塑造的自然法则。一千双眼睛， 有一千个不同的大千世界。美国物理学家休·埃弗里特(Hugh Everett)在20世纪50年代后期首先提出“平行宇宙”理论， 多个空间和时间的交叉。”
• Richtext: # Tiger Cai WONDERLAND, AND THE FUNNY FELLOWS Wonderland, and the funny fellows is an ongoing body of artworks which I started at late 2020, during the global pandemic. The origin of these cartoonish or even childish images actually came from a comedy animated short I made in August 2020. In the animation, The Last Known Interstellar Phone Tag in the Milky Way Galaxy, I depict a lovely alien planet and a bunch of funny and joyful aliens living on it. But later in the story, those aliens, unfortunately, destroyed themselves, just like many have worried the same thing could happen to mankind. Later, I decided to expand the idea into a larger body of artworks, including paintings and digital drawings, or more short animations. The essential idea of Wonderland, and the funny fellows, is about facing gigantic catastrophic events. Those funny aliens and their beautiful habitat serve as a metaphor, about a vivid, noisy, highly animated world suddenly falls into a crisis that could lead to the end of everything. In reality, despite how different we are from each other, and how ambitious we are, we could, and we are facing the collapse of the world we’ve been known for so long, as well as our normality. So, in another word, these images are essentially about anxiety. These images you see here, are digital portraits of individual aliens in the narrative I mentioned above. They originally served as concept arts for my larger on-canvas paintings. I designed and studied possible alien figures and reactions through these drawings. Later I transform them into individual artworks, and now they are the supplements of the large picture I try to construct in the whole series. Artwork details: Format: Digital drawing Size: changeable Year: 2020-2021
• Richtext: # Kusama No.01
• Richtext: # Kusama No.05
• Richtext: # 《神秘地球和年轻人》 The Mysterious Earth and Young People 神秘地球和年轻人》是王维思2011年起开始创作，经过多年的艺术 实践，近几年她不断修改和调整这件作品，她说“不同于当时学院的 标准，我没有做任何明确的叙事结构和信息传达，只是无序地把我 对世界的一些记忆片段组装起来，表达出来。”这是一部手绘逐帧率、 电脑制作合成的二维动画短片。作品中用了很个人化、碎片化、 形式化的语言，受刘慈欣《三体》的影响，作品带有一些科幻色彩， 表现一种赛博朋克式的平民生活。
• Richtext: # 邬建安《拳击的人》 Wu Jian’an: Boxing Men 《拳击的人》是邬建安创作的一系列新作品的一部分。 它创作于2020年，是艺术家的第一幅完全数字化的艺术品。 尽管该系列的主题是新的，但与艺术家以前的许多系列一样， 每个作品都是通过使用许多小的重叠元素来创建较大的 图像而创建的。当仔细观察艺术品时，很明显，各个元素实际 上是动物、神话生物、面孔和人物的镂空。邬建安首先在 他2007年的装置作品《七层壳》中创建了这些角色，然后将 它们排列在丝绸上创作了大量艺术品。大多数角色的灵感 来自远古神话-有些是基于希腊花瓶画或古代罗马雕塑而来的， 而另一些则是受中国汉代石刻的启发。
• Richtext: # 陈麒机-矩阵 此为《矩阵》系列，主要通过对屏显图案调性参数的调整， 将原始正常观感的图片经过随机指数次幂的放大之后得到 的呈像素噪点质感的画面。原始图像为一幅人物照片，作者 取了自己眼睛图像部分进行处理。原始“图像”本身呈现在电脑 屏幕上前仅是一组代码矩阵，当代码矩阵按照视觉接收逻辑在 观看者脑内合理构成时，“图像的意义”可以被观看者 从“代码矩阵”中主动识别，继而产生或“哦，这是一个风景”， 或“这是某艺术家的作品”，或“这是某明星”， “矩阵”这个系列的创作尝试的动机是： 当对图像进行了有意识的失真处理之后，是否可以触碰到视觉 的格式塔反应机制对影像符号识别的极限？抑或说是符号世界 之外的认知是什么？是否能够通过“电脑”这一以逻辑为根本 的工具帮助我们抵达？
• Richtext: # 刘嘉颖 - 红与蓝 艺术家通过以太坊发布100个由红到蓝的渐变色块， 并进行长达一年的竞价拍卖。藏家可以拍下自己 喜欢的色块，艺术家事先并没有告知每个色块的 含义，而是选择等待一年后，观察这些色块呈现 出的价值分布。在2020年10月18日，晚上10点， 红与蓝结束了长达一年的竞拍，藏家GeoffreyX 在最后几分钟时，同时收藏了代表中美两国意识 形态的红色和蓝色加密色块，并表示，“我希望 技术的进步和艺术的嬗变，可以再一次帮助人类 社会重新凝聚。”