新 展 预 告 

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开幕： 2019年3月23日（星期六）

展期： 2019年3月23日- 2019年6月2日

主办： 昊美术馆

支持： 意大利驻沪总领事馆文化处、爱彼、库卡、Niio、百乐达斯城

策展人： 崔斗银

联合策展人： 马珏

地址： 昊美术馆（上海）一楼：1/2/3/4展厅（上海市浦东新区祖冲之路2277弄1号）

昊美术馆（上海）荣幸地宣布，将于2019年3月23日至2019年6月2日举办常驻伦敦的意大利艺术家夸尤拉（Quayola）的大型个展“非对称考古学：凝视机器”（Quayola: Asymmetric Archaeology - Gazing Machines）。

雕塑工厂，2019，机器人数控装置、库卡KR60-3，机器尺寸：250 x 250 x 100 cm、围笼尺寸：360 x 600 x 600 cm，图片致谢艺术家

Sculpture Factory, 2019, robotic CNC installation, Kuka KR60-3, robot size: 250 x 250 x 100 cm, cage size: 360 x 600 x 600 cm. Photos courtesy of the artist

“非对称考古学：凝视机器”对过去进行了重新想象，并通过机器的视角再次发现自然。这种对过去的重游，完全排除了人类的主观视角，透过客观的机器之眼审视过去、现在和未来的关系，展现非对称之美。在夸尤拉的作品中，希腊化时期的雕塑、古代大师绘画和巴洛克式建筑等古典艺术形式偏离了原有的图像语义，再生成为数字抽象作品。此外，为人熟知的自然视觉修辞在艺术家的作品中被转化为由机器创造的全新数字景观。

地层#1，2014，高清视频，天顶投影、双声道，760 x 430 cm，图片致谢艺术家

Strata#1, 2014, HD video, ceiling projection, 2-ch sound, 760 x 430 cm. Photo courtesy of the artist

这次展览是艺术家在中国的首次大型个展，展览由八部分组成，涵盖11组多种类型的作品，包括数码版画、影像、雕塑和机器人装置。本次对夸尤拉重要作品的呈现不仅限于昊美术馆的内部空间，其影像作品还延伸到了户外媒体立面。

图像志#20：根据鲁本斯《猎虎》，2014，系列喷墨打印（6张），180 × 120 cm /每张，图片致谢艺术家

Iconographies #20: Tiger Hunt after Rubens, 2014, series of inkjet prints (6x), 180 × 120 cm /each. Photo courtesy of the artist

夸由拉的重要艺术项目《地层》、《图像志》《雕塑工厂》和《拉奥孔》均通过复杂的计算机算法分析古典绘画、雕塑和建筑，它们切断了当下与过去的宗教及神话场景的关联，重建当代抽象作品。举例而言，《雕塑工厂》的灵感来自米开朗基罗的“未完成”这一技术概念。此次展出的《雕塑工厂#2》将大型机器人现场表演引入公众视野，展现了17世纪乔凡尼·洛伦佐·贝尼尼的巴洛克杰作《普鲁托和普洛舍宾娜》（又名《被劫持的普洛舍宾娜》）的无限变化可能。与机器人装置一同展出的《拉奥孔》，创作灵感源于被广泛研习的希腊著名雕塑《拉奥孔与儿子们》，夸尤拉的作品正是对原作进行复杂的数字模拟和虚拟／实体模型技术实验的成果。

夏日花园，2016，系列高清视频，7频投影、7声道，600 x 337 cm /每屏，图片致谢艺术家

Jardins d’Été, 2016, series of HD videos, 7-ch projection, 7-ch sound, 600 x 337 cm /each. Photos courtesy of the artist

《遗存》、《漫步》和《夏日花园》是夸尤拉正在持续创作的项目。这些项目重新审视为人熟知的自然视觉语言及风景画传统构图。通过复杂的数字渲染，全新的数字景观托生于由高精度激光扫描仪和相机捕获的高分辨率的实际自然景观。重塑的视觉素养为每件作品提供了多样化的图式：《遗存》观察了19世纪后期的露天画派；《漫步》通过对无人机的使用，探索了自动驾驶和机器视觉的崭新美学；《夏日花园》和《伪装》则唤起了克劳德·莫奈的法国印象派意象。最终，这些作品成为混合的景观——既不真实也非虚拟，而是超越了具象和抽象的界限。

我们眼中的平淡无奇，借由机器的特殊机制和艺术家的复杂算法脱离了原初的语境，成为我们所凝视的全新对象。

遗存，2018，系列喷墨多联画屏，360 × 140 cm /每屏，图片致谢艺术家及Paradise City Art Space

Remains, 2018, series of inkjet polyptych prints, 360 × 140 cm /each. Photo courtesy of the artist and Paradise City Art Space

本次展览得到了意大利驻沪总领事馆文化处、爱彼、库卡、Niio和百乐达斯城的支持。

 HOW FORTHCOMING 

 Opening   2019/03/23

 Duration   2019/03/23-2019/06/02
 Organizer  HOW Art Museum
 Support  Italian Cultural Institute in Shanghai, Audemars Piguet, Kuka, Niio, Paradise City
 Curator  DooEun CHOI
 Co-Curator  Ma Jue

 Venue  Gallery 1/2/3/4, F1, HOW Art Museum (Shanghai)

HOW Art Museum (Shanghai) is pleased to announce that it will host a large-scale solo exhibition of the London-based Italian artist Quayola, titled Quayola: Asymmetric Archaeology - Gazing Machines from March 23, 2019 until June 2, 2019.

地层#4，2011，双联屏，双高清视频、双频投影双声道，174 x 300 cm /每屏，图片致谢艺术家

Strata #4, 2011, diptych, 2x HD video, 2-ch projection, 2-ch sound, 174 x 300 cm /each. Photos courtesy of the artist

Quayola: Asymmetric Archaeology Gazing Machines reimagines the past and rediscovers nature through the perspectives of machine. The past is revisited in relationship with present and future - exploring asymmetry that completely excludes humans’ subjective views and leaves machine processed objective ideas. Through these processes, classical art forms such as Hellenistic sculptures, old master paintings, and Baroque architecture are detached from iconographical semantics of the past to be regenerated into digital abstract works. In addition, familiar visual tropes of nature are transformed into a new artificial landscape engendered by machinery.

In the artist’s first large-scale solo exhibition in China, the exhibition consists of eight sections with multi-genre artworks, including over 50 pieces of digital print, video, sculpture, and robotic installation. The breadth of the exhibit presents major works of Quayola not only inside the HOW Art Museum, but also extends into the media facades.

拉奥孔，2016，雕塑，粉状白色大理石，230 x 123 x 130 cm，图片致谢艺术家

Laocoön, 2016, sculpture, pulverised white marble, 230 x 123 x 130 cm. Photo courtesy of the artist

Strata, Iconographies, Sculpture Factory #2 and Laocoön are projects that analyze classical paintings, sculptures, and architecture through complicated computer algorithms, recreating contemporary abstract works by severing religious and mythical scenes of the past. Sculpture Factory, in specific, is inspired by the ‘non-finito’ technique of Michelangelo. The Sculpture Factory #2 introduces a new performance of a large robot, that sculpts infinite variations of Pluto and Proserpina, a Baroque masterpiece of Giovanni Lorenzo Bernini in the 17th century. Along the robotic installation, Quayola’s Laocoön inspired by most studied ancient Greek masterpiece Laocoön and His Sons is the result of complex digital simulations and experiments with virtual/physical prototyping technologies.

伪装，2018，系列高清视频，双LED 外墙屏幕，902 × 806 cm /每屏，图片致谢艺术家

Camouflage, 2018, series of HD videos, 2x LED video-wall, 902 × 806 cm /each. Photos courtesy of the artist

Remains, Promenade, Jardins d’Été and Camouflage are his ongoing projects that reexamine familiar visual languages of nature and traditional compositions of landscape paintings. Through complicated digital rendering, new digital landscapes emerge from actual natural landscapes that are captured in high resolution by high-precision laser scanners and cameras. Diverse motifs come into play for each work by recreating a new visual literacy; Remains observes the En plein air in the late 19th century; Promenade explores new aesthetics of autonomous vehicles and machine vision by using a drone; and Jardins d’Été and Camouflage evoke imagery from the French impressionism of Claude Monet. Ultimately, the works become hybrid landscapes – neither real nor virtual– transcending the boundaries of the figurative and abstract domains.

Our banalities are freely detached from their original contexts to become new objects of contemplation through the peculiar mechanism of machinery and the complex algorithms of Quayola.

The exhibition has received support from Italian Cultural Institute in Shanghai, Audemars Piguet, Kuka, Niio and Paradise City.

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