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EREWHON

此处,无处

Geng Dayou

耿大有

Exhibition Address: http://dayouerewhon.art/

Duration: 2022/4/17  ——  ?

<The Wall Street Journal China>  

《华尔街日报中文版》

"It is the first virtual solo exhibition of young artist Geng Dayou, who explores the technical boundaries of the Spatial-Web to construct a massive multiplayer online (MMO) theatrical environment for relational aesthetics, and it is also the closest contemporary art practice to the metaverse under the current technology." 


"是青年艺术家耿大有的首次虚拟个展,他通过对现有空间互联网的技术边界的探索,架构起一个允许多人在线的3D剧场式的关系美学,同时这也是在目前技术下,最接近元宇宙的一次当代艺术实践。"

WSJ China Artical Link: https://mp.weixin.qq.com/s/nWbCaSLP7w0HVnS8Fcb-UA

Artist-Curator, Producer: Geng Dayou

艺术家-策展人, 制作人:耿大有


Academic Support: Zhang Jiarong

学术支持:张嘉荣


Spatial-Web Architect: Vrch Studio | Xie Mingxuan

空间互联网建构:Vrch Studio | 谢明炫



Architecture Design: Zhai Yuan & Song Ruoming

建筑设计:翟原&宋若铭

Level Design: Jiang Tianbo

地编:姜天博


Technical Assistance: Ling Kexin

技术辅助:令可欣


Sound Design: Yuan Shaozhe

声音设计:袁绍哲


Acknowledgment: Bai Yu

鸣谢:白鱼

 

INTRO

Regarding the meaning of ‘contemporaneity’ in contemporary art, the French philosopher Gilles Deleuze pointed out in his philosophical writings 1968 and ’69 that pop art served the function of a kind of simulacrum (simulacre)—using excess images to dismantle and diminish the uniqueness of images. So-called simulacrum is not anything figurative or its replica but rather a ‘tact’ that distorts the relationship between these copies and their eidos. Representing the contemporary with the contemporary, then, is not anything concrete; it is the power to throw all reality into erewhon. Created by English novelist Samuel Butler in his novel ‘Erewhon’, this term inverts ‘now-here’ (here and now), aiming to highlight obscure singularities that are difficult to recognise in the now-here. Following this idea, if we want to find a way to dismantle reality, we should not reject but reverse it; thus, the contemporary does not deny reality but only leverages it.

As the name suggests, Geng Dayou’s solo exhibition Erewhon presents an upside-down reality. Taking on the history of art and philosophy, the mysticism of the East and the West and mythological metaphors, the artist executes an absurd, nihilistic treatment of digital materials as land art, space and architectural installations in a 250,000 square-metre virtual space of natural and art museum scenes. Geng acts as both curator and game designer, exploring the technical boundaries of the Spatial Web to construct a massive multiplayer online (MMO) theatrical environment for relational aesthetics in which the created simulacrum distorts the viewer’s perception of various clichés.

Deploying the digital-readymade, erewhon does not approach reality and the virtual as opposites; rather, it explores and plays with the boundary between them. In this virtual space of the near-infinite means of production, the artist applies creative restrictions according to the material properties in the real world and uses the inversions and limitations of this absurd creative idea to answer the question raised by the context of contemporaneity – that of how to create a new method to show this distorting reality, the erewhon.

对于何为当代艺术中的“当代性”,法国哲学家德勒兹在1968和1969年的哲学著作中都曾指出,波普艺术担当了一种拟像(simulacre)的功能——以过量的影像来瓦解影像的独一无二。所谓的拟像并非任何具象或其复制物,而是歪曲这些复制物和原型之间的“手法”。那么,“当代之为当代”并不是任何具体的东西,它正是把一切现实投入到“此处,无处“(erewhon)的力量。英国小说家塞缪尔·巴特勒(Samuel Bulter)在他的小说《埃瑞璜》(Erewhon)中把“now-here”(此时此地)颠倒为erewhon,其目的是为了彰显那些在“此时此地”中难以洞察的特异之物(singularities)。故此,假如人们要找到瓦解现实的“手法”,就并不该去排斥现实,而是颠倒现实,所以当代并不否定现实,当代只利用现实。


如其所名,本次艺术家耿大有的个展《此处,无处》中所呈现的是一个被颠倒的现实。他接由艺术史与哲学史、东西方神秘主义与神话隐喻,对数字材料进行荒诞的虚无主义处理,在二十五万平方米的虚拟场景中建构出大地艺术,空间与建筑装置, 并分别分布在自然场景与美术馆场景中。同时,艺术家也作为策展人与游戏设计者,通过探索现有空间互联网的技术边界,架构起一个允许多人在线的,剧场式的关系美学(relational aesthetic)发生地,这些观者将被所创作的拟像歪曲他们对事物各种陈词滥调的认知。

通过“数字现成物”,《此处,无处》无意把现实和虚拟(the virtual)对立起来,作品而是不断触碰现实和虚拟之间的界线。在对生产资料近乎无限的虚拟场景里,艺术家根据现实世界中的材料属性给予创作限制,利用这种荒诞的创作思路的倒置与限制,以回答“当代性”语境提出的问题——如何营造歪曲现实的,“此处,无处”的新手法?


Article: Zhang Jiarong

文:张嘉荣

Translation: Geng Dayou

翻译:耿大有

 

Technology

Spatial-Web technology: Support client-host and mobile terminal (mobile phone and tablet) browsing.

空间互联网技术:使用支持主机端与移动端(手机与平板)浏览。​

Land Art and Museum Art : Using customised web terminal technology to run 250,000 square meters of 3D realistic open world scenes, it is divided into two sections: Land Art section Museum Art section.

大地艺术与美术馆:使用定制Web端技术运行25万平米3D写实开放世界场景,分为大地艺术与美术馆两个板块。

MMO (Massive-Multiplayer-Online) technology: Supports multiplayer online viewing at the same time.

MMO游戏技术:支持多人同时在线观展。

Interaction-Rich: There are interactive functions between the artwork and the viewer, and between the viewer and the viewer.

富交互性:作品与观者之间,观者与观者之间具有交互功能。  

Multi-view perspective: first-person perspective, third-person perspective, God-perspective (top-down view).

多浏览视角:第一人称视角,第三人称视角 ,上帝视角(俯视视角)。

 

GENG DAYOU

​​耿大有

Artist-Curator, Producer

艺术家-策展人, 制作人

Geng Dayou (1998). Artist-curator, contemporary art writer, and co-founder of Vrch Studio, currently lives and works in Shanghai. He has a bachelor’s degree in psychology from King’s College London, with a focus on nostalgia and common good dilemma, and a master’s degree in contemporary art from Sotheby’s Institute of Art, majoring in contemporary art. His main research field are Theatre of Cruelty, curation, video-games and the philosophy of technology.

Dayou is deeply influenced by Eastern and Western philosophy, psychology and mysticism. His works involve mediums such as installation, performance, moving-image, print, theatre, video games etc. Regardless of the medium, his works can all be understood as a series of poetic and humorous theatrical performances, through the deconstruction and reconstruction of ready-made and natural materials, to reproduce the cruel and absurd tragedy of life from the abstract theatrical landscape. 

His solo exhibition "Eternal Recurrence" was held at 33ml Off-space (Shanghai), works have been exhibited in The Coningsby Gallery (London), CouttsArt Center (Shanghai), Powerlong Art Museum (Shanghai), Fibre (Shanghai), All Club (Shanghai), No Space (online), Three Shadows Photography Art Center (Beijing), Guardian Art Center (Beijing), etc.

耿大有生于1998年,当代艺术家-策展人与撰稿人,Vrch Studio联合创始人,现工作生活于上海。伦敦国王学院心理学学士,伦敦苏富比艺术学院当代艺术专业硕士,研究方向为残酷剧场与精神分析中的卑弃、虚拟策展中电子游戏的应用与技术哲学。


耿大有受东西方哲学、心理学与神秘学影响。媒介涉及装置、行为、移动影像、印刷物、剧场与电子游戏等。无论媒介,他的作品都可以被理解为一场场诗意而幽默的戏剧表演,通过解构与重构现成品与自然材料,从抽象的剧场景观中再现残酷荒诞的生命悲剧性,同时他以整体艺术与剧场为核心进行策展实践。


个展“永恒复返”展于33ml Off-space(上海)。作品曾参展于The Coningsby Gallery(伦敦)、库茨艺术中心(上海)、宝龙美术馆(上海)、Fibre艺术空间(上海)、All Club(上海)、三影堂摄影艺术中心(北京)、嘉德艺术中心(北京)等。

ZHANG JIARONG

张嘉荣

Academic Support

学术支持

Ph.D. in Philosophy, Tsinghua University, Master of Philosophy, Chinese University of Hong Kong, and Lecturer in Social Sciences at the Hong Kong Polytechnic University. The translator of Žižek's "Violence". Founder of the 01 philosophy channel of Hong Kong 01. His research interests are based on psychoanalysis, Lacan, Deleuze, and Marxismus.

清华大学哲学系博士,香港中文大学哲学硕士,曾任香港理工大学社会科学讲师。齐泽克《暴力》译者,香港01频道01哲学创始人,研究方向主要为精神分析、拉康、德勒兹、马克思主义等。

VRCH STUDIO

​谢明炫

Spatial-Web Architect

空间互联网建构

Vrch Studio is an interdisciplinary creative studio founded by a group of architects, artists, and game developers. Vrch Studio aims to build spatial experiences crossing the real and the virtual by using spatial-web and mixed-reality technologies. Studio members have worked on projects exhibited at the London Festival of Architecture, London Design Week, Jerusalem Design Week, Ginza Sony Park, China Academy of Art, etc.

Vrch Studio 由一群建筑师、艺术家及游戏开发者所创立的跨学科创意工作室。Vrch Studio 专注于空间互联网与混合现实技术,致力于探索跨越现实与虚拟的空间体验。工作室成员参与项目曾在伦敦建筑节、伦敦设计周、耶路撒冷设计周、银座索尼公园以及中国美术学院等展出。

 

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Accessible on both mobile and computer devices

 Mobile phone access is recommended

 手机端与电脑端均可访问, 推荐手机访问

If you can't access it through your phone, please update to the latest system

如手机无法访问,请更新至最新系统

Please turn on the volume

Landscape screens are recommended

请打开声音, 推荐横屏

ios system: Photos will be saved in the Files folder after one-click photography, not the photo app

ios系统一键摄影后照片将会保存在Files文件夹中, 不是照片应用

After browsing the Gallery section, please go to the end of the stairs and walk toward the Nature

美术馆部分浏览后, 请走向楼梯尽头, 走向自然

 
 

EXHIBITION ADDRESS