2023年3月14日下午，“元境无际——加密艺术国际学术研讨会”在中央美术学院美术馆报告厅举行。此次研讨会由“加密艺术：一种新的可能性”外方策展人张远（Maya Zhang）博士与理查德·韦恩（Richard Wearn）教授主持，其他参会者包括意大利代米克艺术博物馆（米兰）创始人、馆长皮尔·吉利奥·兰萨（Pier Giulio Lanza）、此次展览的参展艺术家凯文·阿博什（Kevin Abosch）、安德烈·博纳托（Andrea Bonaceto）、吉塞佩·洛·斯奇亚沃（Giuseppe Lo Schiavo）、隋建国教授，以及中央美术学院设计学院“艺术与科技”方向的费俊教授和中央美术学院美术馆副馆长王春辰教授。论坛中韦恩教授与张远博士提出了精彩的问题，其他与会嘉宾针对这些问题做出了解答。
研讨会现场
第一个讨论主题是加密艺术的创造潜力。韦恩教授首先解释了加密艺术的概念。加密艺术实际上是一种新的技术，它具有单一性和复杂性，能够为作品提供一个更好的平台。它以一种分散式的方式，让数字作品能够以一种数据文件的形式存在，并且可以得到更好的传播。而区块链能够给我们提供一种数据源，或者说元数据一样的平台，在这个平台里面大家能够进行创作、沟通和交流。区块链能够同时保持艺术作品的同时性、任意性以及单一性，从而能够在区块链平台上传播。
主持人张远博士发言
对此，张远博士给艺术家凯文·阿博什的问题是如何定义加密艺术，以及如何在区块链中实现艺术实践方面的创新。凯文·阿博什回答道，区块链中有一个不可交换的Token（通证），所以我们在艺术领域也把它叫做加密艺术，但它并不像实体的货币一样可以流通，并且具有同质性，可以交换。加密艺术是非常独特的，很小范围内有权限的人才能进行交流沟通。换句话说，它是一个逻辑节点，这个单一的逻辑节点上我们可以围绕它构建一个结构，在这个结构上可以拓展出一个社区、一个单一的作品，或者说多个作品的组合。
主持人理查德·韦恩教授发言
理查德·韦恩教授也提出了两个问题，一是艺术家如何利用加密艺术使自己的创作提升一个层次，二是何为加密艺术中的节点。对此，阿博什认为，我们现在生活在一个技术随时会出现的时代，总是会遇到新技术，当一个新技术出现的时候，艺术家需要思考新技术怎么帮助自己进行艺术创作。对于阿博什来说，加密货币实际就像一个操场或者玩具世界，这里如同一个游乐场，基于其分散式的环境，艺术家可以在上面任意创作，一方面它可以作为非常好的平台，人们可以把自己的虚拟资产或者部分虚拟资产放在其中，另一方面区块链本身的功能可以帮助艺术家更好地创作。除了可以帮助艺术家找到创意灵感以及创作来源之外，它也是一个非常好的工具，能够帮助艺术家接触到更广泛的人群或受众。加密艺术与过往艺术是不一样的，传统艺术的收藏以及创作的流程非常单一，比如一个艺术品被创作出来后，可能有人想要，购买之后挂在墙上或放在自己的房间里，这样的流程是非常容易预测的，也不会改变，但是随着加密艺术的出现，整个流程有了更多探索的可能性。例如作品随着时间可以进行不断的变化，整个产品链中的关系、收藏的关系也会发生一些变化。另外，我们在这个节点上甚至可以构建一个组织，例如十个人可以访问这个节点，就这个节点的相关问题投票，决定有关的政策等等，这是具有非凡意义的，也许有一天可以改变我们现在在政策决定的过程中的一些治理模式。事实上，无论是数字艺术、区块链艺术还是加密艺术，都是在艺术发展过程的不同历史阶段中出现的术语，无论用什么词，最重要的还是艺术本身，加密技术不过是艺术创作过程中的一个媒介，辅助我们真正的艺术创作。
研讨会现场
张远博士给艺术家安德烈·博纳托的问题是增强现实（AR）、虚拟现实（VR）以及机器人技术如何增强观众和参与者的体验，以及艺术家如何把握和利用这些技术拓展艺术的表达。理查德·韦恩教授的问题则是技术如何在创作过程中给予艺术家帮助。安德烈·博纳托回答道，技术与艺术完全可以结合，他将技术作为一种工具和载体，帮助艺术家传达想表达的信息，AR和VR可以通过艺术作品展现生活的不同层面和角度。加密货币对于艺术家与市场的关系也发挥了积极的作用，也可以带来更多的收藏者。区块链对于作品销售有着十分积极的作用，但这个过程并不是一蹴而就的，而是需要一步一步来实现，在最初存在一些投机行为也是可以理解的。但最终真正的艺术作品还是需要展览，或者通过技术提升策展或参观的体验。另外，加密艺术以去中心化的方式去掉了资本的守门人，可以使艺术家将作品更好地推给相关的受众。
费俊教授发言
韦恩教授给费俊教授的问题是加密艺术的任意性和复杂性如何改变我们确定文化价值意义的方式。费俊教授提出，区块链艺术能够改变人类的重要可能在于，它在社会和认知的底层逻辑上改变了我们的信任机制，这种去中心化的技术给我们带来了一种新的共识。以往我们需要一个权威机构为我们的某种关系来进行验证，但是今天可以通过无数个去中心化的节点而形成一个共识。而这个共识最大的好处在于我们的价值不需要一个权威的认证来确认，而是只要是拥有共同兴趣点的某种共识它可能就存在价值。这也是区块链最核心的价值。所以这种信任机制的改变在文化上带来的最大影响是它可以让更加多元的文化得以确认，同时得以拥有价值。尤其是从WEB1.0到WEB3.0的演变中，越来越多的用户成为了内容的创作者，即参与式文化成为了今天文化生产最有活力的一个驱动力。所以在这样的语境下加密艺术不仅仅是对艺术家专业的艺术生产提供了一个工具、一个平台，放大了艺术家的价值，它对于公共文化的多样性提供了一个底层支撑。
研讨会现场
接下来，韦恩教授提出了AI技术是否能够取代人、以及人对于AI技术的恐惧等问题。艺术家吉塞佩·洛·斯奇亚沃提到自己在创作中也会运用相关的工具或技术，以及数据库和新的设备，从而以多种不同的形式输出自己的作品。他也谈到AI能否取代人类艺术家的问题。他认为，AI能够拓展人们的体验和感知，从AI应用的角度上来说，核心还是人的设计，AI不过是一个工具，能够拓展我们的设计，扩张我们的本性。从后人类的角度来看AI，它能够解放人；从生理的角度或者生物学的角度上，人们通过技术或者AI拓展我们的人性，就像鸟有自己的鸟巢，AI就是那个鸟巢，它能够成为我们的一部分，但是我们自己不会被取代。
隋建国教授发言
韦恩教授给隋建国教授的问题是3D扫描和打印技术等数字技术如何与人进行更好地互动，以及加密艺术对3D艺术创作的影响。隋建国教授从自己的艺术实践出发，讲述了自己对于加密艺术的感受。隋建国的作品最初用手抓泥或者石膏完成，再扫描变成一个数字串存入云盘，要展览时把它下载、打印并放大，以便于共同的交流。这是一个私人的行动公共化的过程。他提到，在用手在抓石膏和泥的时候，材料并不受自己的控制，这个抓本身似乎也是一种算法，是造物主的算法。而我们人类则创作了另外一种数字的算法。隋建国认为，在云盘里面的才是自己的作品，最初的小的泥块和打印出来的东西只是原型和数字串的变现，数字串我们看不见，它可能是一个永恒的信息，我们眼前所有的东西都会消失、丢失或损坏，但那个数字串不会坏，这时我们才意识到我们有了两个世界，即现实世界和云盘中的世界。隋建国也提到了自己作为纺织厂公认的经历，在他看来，他在工厂里完成了现代启蒙，所以有一种天生的对技术的敏感。一个工人如果喜欢自己的工作，就会把工作与生命结合起来。他做艺术也是这样，一旦遇到一个新的技术，就会看它是否适合自己，或者自己能不能适合它。产业必定与技术和科学相关，因此隋建国不拒绝任何新技术，如果遇到了就会抓住它、与它玩。
皮尔·吉利奥·兰萨馆长发言
理查德·韦恩教授给皮尔·吉利奥·兰萨馆长的问题是博物馆的体验如何在数据库这种虚拟的展览中得以实现。皮尔·吉利奥·兰萨馆长首先提到了实体博物馆与数字博物馆的差异。实体博物馆存在很多问题，比如展览过程中如何安置展厅、移动物品，在作品尺寸和规模较大时，决定将它放在墙上还是其他地方是非常困难的。但是这对于数字展览来说非常容易，数字是非常好的工具，可以帮助我们更好地展示现有的一些博物馆的藏品。
加密货币或者加密技术在最初并不为传统的收藏者所了解，这也是为什么最初加密艺术的买方都是对加密货币比较了解的用户。但是显然加密货币对艺术作品的销售起到了很大的促进作用，过去几年中，随着加密技术的发展，加密艺术作品的销售在整个艺术作品的销售中占比非常高，这对于艺术创作来说的确是一件好事。艺术形式在快速发展，收藏者对技术的了解也会逐渐成熟，所以兰萨馆长相信，在未来加密艺术对所有老牌收藏者来说不是新技术时，它将也会拥有更多收藏者。
作为传统艺术机构，我们应该看到博物馆的作用就是过去、今天和未来，其展览要涉及这三个不同的元素。博物馆是展现当代艺术以及传统艺术的场所所在，而WEB3.0或者加密货币实际能够在一个特定的时代成为作品的展示工具，让我们能够在现在的数字时代进行作品的展现。
王春辰教授发言
最后，韦恩教授给王春辰副馆长的问题是区块链技术对于实体博物馆的展览有何帮助。对此，王春辰教授认为，在数字化时代，无论是博物馆自身还是从国家层面来说，都要求要把美术馆的所有藏品数字化，数字化更便于我们检索、研究、调用和整理。很多传统博物馆藏品巨大，很多作品常年不为人所知，也无法面向公众展出。数字化带来一种方便，它可以使得我们根据需要随时调用数字化的展品，快速、快捷地运用包括加密技术在内的各种数字技术，遍布世界地、系统地展示我们的藏品。中央美院之所以要举办加密艺术展，也在尝试探讨美术馆数字化藏品研究和展示的一种新方式。过去三年由于疫情，中央美院不能做实地的毕业展，便用数字虚拟展厅植入学生们的作品，但也存在一些问题，例如体验感和现场感不够强。数字虚拟展厅如何更好地与观众互动，使观众参与感或体验感更好，也是需要探讨的问题。随着区块链等技术的发展，这些问题可能就会慢慢解决。另一方面，央美美术馆也开创了“虚拟策展”项目，其好处就是充分利用虚拟世界的加密技术和任何数字化技术进行独立的策划，在虚拟空间中展示、观看、体验展览。实体和虚拟会形成未来两种展览模式和两种体验，也是两种认知，在这一点上数字技术的未来潜力或者说可能性是非常多的。
加密艺术虽然是一个分布式扩散在网络世界里的载体或存在方式，但还是可以被机构收藏，虽然它去中心化，但很多人可以拥有它。王春辰教授在最后提出，央美美术馆是一间走在时代教育创新前列的学术权威机构，应该抓住艺术最新发展的每一个前沿的状态，CAFA美术馆直至目前为止尚未收藏有一件加密艺术作品，这种状况需要改变，因为美术馆都要承载一种面向未来的这种责任，在收藏新艺术中考虑包括加密艺术，这也是我们为什么把这个展览引到央美来的原因之一。张远博士就这个话题加入了讨论，她认为王春辰教授提出的问题相当挑战和开放，也具有前瞻性，张远博士表示：此次展览的参展艺术家都是当今在加密艺术领域中的知名艺术家，她会将王春辰教授的期许转达给艺术家。王春辰教授最后总结，美术馆需要改变以往的收藏思路，将目光投向最有学术、最有前沿、最有历史、最有未来的作品。当然，未来以什么样的形式、方式进行加密艺术的收藏，有待更多更深入的探讨和寻找有效的途径。
文/宗钰淇
图/贺伊飞
展览信息
加密艺术：一种新的可能性
Crypto Art：A New Possibility
主办：中央美术学院美术馆 意大利代米克艺术博物馆（米兰）
Organizers: CAFA Art Museum & Dynamic Art Museum (Milan)
艺术总监：邱志杰
学术顾问：皮尔·吉利奥·兰萨 费俊 凯文·阿博什
展览总监：张子康 韩文超 颜羚贻
展览统筹：高高
中方策展人：王春辰
意方策展人：理查德·韦恩 张远
展览地点：中央美术学院美术馆二层A展厅
Exhibition Venue：2A Gallery, CAFA Art Museum
展览时间：2023年3月14日-3月24日
Exhibition Duration: March 14 – March 24, 2023
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CAFA Art Museum Publication Authorization Agreement
I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
CAFA Art Museum Event Safety Disclaimer
Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
Article II
Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
Article III
Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.
Article IV
Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
Article V
During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
Article VI
Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
CAFA Art Museum Publication Authorization Agreement
I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
CAFA Art Museum Event Safety Disclaimer
Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
Article II
Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
Article III
Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.
Article IV
Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
Article V
During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
Article VI
Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
