以下文章来源于中央美院艺讯网，作者CAFA ART INFO
在日前开幕于中央美术学院美术馆的“蓝图生产力——未来感在艺术中的表达”中，展览以关键词提出的方式聚焦艺术对人类文明建设的预见与想象，不同代际艺术家对未来图景的艺术生产方式与成果，以及艺术自身对未知边界和未来世界的感知反馈等议题[1]，尝试将“科技”与“未来感”等当下热议的话题置入艺术史研究与艺术创作表达的脉络之中来观察。
有别于以新兴技术手段与当代艺术间的对话为切入点的相关展览呈现，此次展览虽然着眼于艺术创作的未来叙事，但却以一种克制的方式首先进行了历史的引入，由此试图阐明，人类对太空与未来的想象，与自然、机器之间的对抗与博弈，从不只是发生于技术高度迭代的时代。
▲ “蓝图生产力——未来感在艺术中的表达”展览现场
过往的畅想：“创造地上的天堂”
“随着轰然的响声吐出一阵烟云，蟒山上发射的星际火箭凌空直上，烟云散了之后慢慢吐出多年后的十三陵水库，她已具备另一付（按：副）新的面貌。”[2]
1958年，耗时37天，田汉所著同名话剧《十三陵水库畅想曲》被改编为电影，原剧本仅一场的二十年后畅想场景在电影中被拉长至近三分之一的篇幅，承载了更为具象的想象空间。火星旅行、原子时代、警惕机器，“既不违反自然规律也不屈从它”……半个多世纪前，这些隐匿于台词及演绎片段间的未来畅想有的在今天已经实现，有的则仍然是当下热议的话题。
▲ 电影《十三陵水库畅想曲》（1958）节选，静帧截图
在“引序：从畅想开始”中，十三陵水库的修建与对其的文艺想象构成了某种历史的前因。由董希文、艾中信、周令钊等人绘制的十三陵水库规划图，王式阔的《十三陵水库工地3》油画以及金山执导的《十三陵水库畅想曲》的两组片段，共同回溯了这一具有时代烙印的“建设”工程从规划愿景、建设劳动现场以及建成之后对未来二十年的畅想的不同阶段。当规划图被作为某种对未来的蓝图与期许被置于水库建设工地的宣传栏中时，对于参与其中的劳动建设者而言，这种图景所勾勒的美好前景成为了一种莫大的鼓励与动力。对“建设”的热忱和对“新生活”的憧憬是20世纪50年代的中国不可回避的时代母题，其深植于每一个中国人的基因之中。“凭借人间的银河，来创造地上的天堂”[3]，在生存的需求与物质文明的追求过程中，诸多基础设施的建设成为了人们认识自然、征服自然与改造自然的重要途经。
▲ 周令钊、李可染、艾中信、董希文、宗其香《十三陵水库远景规划示意图》，收录入《十三陵水库》，十三陵水库修建总指挥部政治部编，北京出版社，1958年
▲ 王式廓， 《十三陵水库工地 3》，1958年，60cm×120cm，布面油彩，中央美术学院美术馆藏
引叙章节并未止步于这一大跃进时期代表性水利工程建设的艺术叙事，接续《十三陵水库畅想曲》中二十年后想象图景的，正是作为“现实”召开的1978年“全国科学大会”，此次会议之中提出的“科学技术是生产力”的著名论断让“科学的春天”就此到来。会议之前，艺术家许彦博接受了为大会设计一套邮票的任务，其初始方案的主体人物是一位跳跃于展开书本的健美少女，周身环绕着电子轨道，背景是广袤无垠的宇宙星河。在许彦博的回忆中，这份设计创作方案“在经过10年的文化禁锢之后的春天，它是第一棵破土而出的新芽”[4]。尽管出于种种考量，最终的邮票方案采用了更具图案性的另一版，但许彦博却将这颗“破土的新芽”从邮票设计稿进一步发展为了木刻版画，并最终在大会闭幕当日刊登于《光明日报》，引发群众热议。
▲ 许彦博，《生命奏鸣曲》，1980年，77cm×80cm，木版单色，中央美术学院美术馆藏
在展览现场出现的这幅《生命奏鸣曲》正是艺术家在两年以后，以《科学的春天》为蓝本进一步发展而成版画，画面主体依然是健美青春的少女，环绕的飘带之上以图示提示出人类文明的发展进程，而其身后的广袤宇宙之中，一艘飞行器漂浮于右上角，似乎在预示着人类技术与文明对地外世界的探索与征服。据策展人易玥与艺术家的对话称，自小热爱物理的许彦博对科技一直保持着热爱与关注，这艘飞行器的造型与构成也启发于其当时所读的科幻小说——那是一艘集人类生活空间，满足不同作物种植需求，吸收供给能量为一体，具有完整生态系统的飞行器。
技术、认知与艺术的合声
在此次展览构筑的叙事中，引叙章节一方面回溯了上个世纪以来艺术家借由创作畅想未来的丰富面貌，此种想象并不拘于彼时人们对科学的认知和技术发展的事实，也并不总是依赖于艺术家所处时代的既有图示；另一方面，借由“全国科学大会”与《生命奏鸣曲》的提示，展览正式步入“漫游深空”与“串联机器”两个章节。通过纳入中央美术学院美术馆的历年馆藏与邀请不同代际艺术家以艺术作品共同回应“未来感”的表达，展览进一步聚焦了在当代艺术的创作语境中，艺术家如何在二维平面与三维立体空间中想象未知的深空与不可及的视角，理解并利用机器进行共创，进而创造新的机器。
“漫游深空”所呈现的艺术家以不同的媒介与视野关怀人类步入宇宙的探索技术成果，其作品展现出了艺术家的思想表达与科技发展手段之间的协商与嵌合。在《中国天眼——贵州平塘射电望眼》中，于“天眼”工程的主体之外，艺术家亦对工程所处的自然环境予以刻画。由于该工程几乎未对该地区的自然环境进行人为改造，在星空的映照下，贵州喀斯特地貌独特的洼地、山体与群峰与置入其中的“天眼”工程形成了经年累月的原始自然景观与人类科技文明间跨越时空的对话。
▲ 周吉荣，《中国天眼——贵州平塘射电望眼》，2019年，80cm×100cm，丝网套色，中央美术学院美术馆藏
与《中国天眼》形成展示空间与观看视角上对应的，是张文超的《90分钟的宇宙观》。人类借“天眼”工程仰望星河，探索目力之所不能及的深远，而宇宙航天器的飞行轨迹则让俯瞰反观地球之上的文明印迹和发展脉络成为可能。正是基于其对航天器绕地球飞行一周的时间和轨迹展开联想，借“徐冰艺术卫星创作驻留项目”的契机，《90分钟的宇宙观》“以‘SCA-1号’卫星绕转地球一周的航迹为依据，收集星下点轨迹途经地域的与太空想象相关的文学、神话、历史、地理等文本和图像数据，创建数据集，并结合人工智能算法生成技术，形成了一部由卫星轨迹驱动的数据电影”。[5]在艺术家所收集的这两套数据集中，星下点轨迹的数据采集自现实，构成了作品的基础，其跨越了不同文明与民族的剖面，实现了一条横向的空间轴；而历史的纵轴则由不同地域的人们亘古以来对外太空文明的想象图景所构成，在人类文明的演进过程中，这些想象被转译为神话、图腾、诗歌、谚语等多种形式，而在这两者的相互交织与嵌合过程中，数据集的思维与方法成为了关键路径，其正是艺术家所称的“从数据地层中挖掘艺术线索”[6]的工作方法。
▲ 张文超，《90分钟的宇宙观》，2023年至今，90分钟循环，尺寸可变，展览现场
▲ 徐娜，《逐梦寰宇问苍天》，2023年，175cm×150cm，木刻，艺术家提供
▲ 托马斯·吴，《东方阿波罗7号》，2015年，192cm×110cm，UV打印、铝板、树脂玻璃、墨、拼贴、丝网印刷，中央美术学院美术馆藏
在“串联机器”的章节中，孟禄丁的“元速”系列提示出了这一章节的关键讨论，即艺术之感与机器之手二者间的辩证关系。艺术家借助机器的极高运转速度让作画的过程脱离了艺术家的意志与控制，机器的速度与力量在高速旋转的过程中获得了占据画面的主动权，在此，依据自然性的力量，机器充当了将艺术从艺术创作从艺术家手中还给艺术自身的中介。同样是在与机器和技术的协作之中反思技术伦理，青年艺术家李宇辰在作品中借助当下日新月异的生成类人工智能技术，当新技术将一个人类想象中的世界的物质构成与文明体系“生成”出来，那个经由人类意志构造出的文明被另一种语言和系统所编码，创作者与技术手段的身份位置在此微妙地发生了翻转，创作主体开始不自觉地好奇并尝试“破译”新的语言与符号。
▲ 孟禄丁，《元速》，2012年，145cm×145cm，布面丙烯，中央美术学院美术馆藏
▲ 李宇辰，《EPOCH 2.0 》，2024年，6’00’’ 数字影像，艺术家提供
来自未来的“遗迹”
自金郑晓的《场、物质波、量子鸟》铜版组画起，展览借三组作品将有关艺术家与机器及技术合作共创的讨论延展至艺术家创造新机器的可能性。借由视觉语言与艺术想象，金郑晓解构并重组了晦涩的理论物理概念：德布罗意波与鸟类运动踪迹相遭遇，自由驰骋于天际的鸟类被赋予瞬间移动的能力，行动自由的限度被无限延展，但看似彼此自由的行动却因本是一个整体而缠绕叠加，其终究受制于人眼不可洞见的客观物质规律之下。
▲ 金郑晓，《量子鸟-1》，2023年，40cm×60cm，铜版蚀刻，中央美术学院美术馆藏
而苏永健的《虫舱》与甘浩宇的《数沙者》，则先后不约而同地关注到了微小虫类的生存空间与活动方式。《数沙者》中，蚯蚓消化运动的“数沙”过程被仿生机器所模拟，卑微蠕虫吞吐排泄与松动土壤的运动是微弱的，但其在时间的累加之下却有着撼动人类建筑的巨大能量。排泄的土壤成为了烧制仿生腔体的源材料，而借用太阳能聚光技术进行陶瓷烧制让科技时代的人造产物，以一种原始的美学与运动形式回到了自然本身。
此次展览呈现的《虫舱》，因为机械设备部件的老化，已经不能再正常运行，但它却如来自未来的某种遗迹，昭示着一个生物之间彼此无序而必然的共存生态系统的停滞。在原始的设计中，巨大的虫舱腔体邀请观众步入，每个小舱中的昆虫生物的活跃度被物联网传感器所捕捉，从而连环触发形成无规律的“声音剧场”，人类精密的机器设计却无法控制与干预各种昆虫的运动与发声规律。
▲ 唐晖，《时空一击·续》，1995年，220cm×500cm，布面油彩 艺术家提供
纵观展览全景，除了借由关键词和章节构建的展览叙事之外，在作品与作品的空间对话中，一条隐形的脉络得以窥见，人类力量、自然力量以及人类之外的其他生态环节的力量，在展览现场形成了某种张力。序章中，十三陵水库的建设与文艺表达作为一个时代的代表，揭示着人类以自身行为介入自然，试图对抗自然力量，改造自然环境，从而获得自我生存的保障与提高。而随着技术的发展与认知的改变，艺术创作作为时代的先声，已经敏锐地开始从有意识的保护并尊重自然环境，到主动关怀人类世界之外的生态与动植物的视角与生活轨迹。这种从人类中心视野出发，到超越人类自身的视野转换，既仰赖于技术的进步带给人类触及更多视角的可能性，也来源于生态系统中其他环节的多元物种带来的警示。1945年，当世界上第一颗原子弹爆炸于广岛上空，那是人类摧毁性力量的具像化展示，也动摇了曾被视作无限光明的现代性前景，我们如何跳出“进步”的故事所构筑的单一未来轨迹，在一个不再稳定的世界中去维系生存？如罗清安的研究所示，微小脆弱如蘑菇，却总是如生命的奇迹一般率先出现于人类文明的各种废墟之上，蘑菇的真菌前身在地表之下展开网状结构，与植物根部和土壤结合，那是无论大小与强弱的生命回归本原的协作与生存方式，它亦启示着叙述文明生态的一种新的视角与方式，即发现并正视那些繁杂纠结、相互调和的开放的生活方式[7]。
参考资料：
[1]参考展览资料与笔者现场对策展人易玥的采访。
[2]田汉《十三陵水库畅想曲》剧本第十三场，1958年。
[3]同上，第十场，1958年。
[4]许彦博《从“全国科学大会”邮票到版画——科学之春》[J]，《中国集邮》，2000(10):4-5。
[5][6]张文超《数据集作为艺术方法——<90分钟的宇宙观>创作札记》，《信睿周报》，2024年第124期。
[7]参见罗清安著 张晓佳译《末日松茸：资本主义废墟上的生活可能》，上海：华东师范大学出版社，2020年。
文 | 周纬萌
展览信息：
“蓝图生产力——未来感在艺术中的表达”
文旅部“2024年全国美术馆青年策展人扶持计划”入选项目
展览时间：2024年7月19日至9月1日
展览地点：中央美术学院美术馆3层A展厅
主编 / 何一沙
责编 /杜隐珠
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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.
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.
