DE SARTHE
Hong Kong, China
In the Flow of Becoming - An Awakening Art Log from a Fictional AI Artist
2022
The exhibition features a new body of interactive, multimedia, and sculptural artworks that simulate creations conceived by a fictional artificial intelligent (AI) artist. During the exhibition, performers will complete a series of creative tasks under the instruction and guidance of the AI artist, including dictating, engraving, and cutting. Integrating machine-fabricated objects with NFTs (Non-fungible tokens) as well as the human hand, the artworks collectively form a surreal and immersive experience that explores the creative capacity of technology and the role of human consciousness in the process of artmaking. A spiritual analysis of the advancing intervention of technology in art, the exhibition questions the fundamental meaning and criteria of art and being an artist.
該展覽展示了一系列新的互動、多媒體和雕塑藝術品，這些藝術品模擬了虛構的人工智能 (AI) 藝術家的創作。 展覽期間，表演者將在人工智能藝術家的指導和指導下完成一系列創作任務，包括聽寫、雕刻、切割等。 將機器製造的物品與 NFT（非同質代幣）以及人的手相結合，這些藝術品共同形成了一種超現實的沉浸式體驗，探索了技術的創造能力和人類意識在藝術創作過程中的作用。 本次展覽是對技術對藝術的推進乾預的精神分析，質疑藝術和作為藝術家的基本意義和標準。
chi K11 Art Space
Hong Kong, China
Maybe It's Time To Refresh the Art World A Little Bit
2019
Comprising tens of thousands of pink balls, Unknown Artist Agency (2017 - ongoing) highlights a poignant issue within the art world—an abundance of creativity and the lack of a system to properly represent and support it. By offering a set of choices for visitors to choose from—including the name of the exhibition, the style of the artwork displayed, the type of artwork displayed, as well as accompanying audio effects—Wang Xin questions the role of curators, artists, and visitors in producing artwork and exhibitions.
In contrast to these hyper-cynical yet playful works, Wang’s Boost Your Art Energy: 8-Minute Guided Session (2019) is a spiritual, mystic, and immersive virtual-reality artwork that aims to recharge one’s “art energy.” It is made in collaboration with LumiereVR, a Silicon Valley-, Canada- and China-based VR company. The moment users put on the VR headset, they are thrust into a dream-like state freed from conventional space, time, and reality. Within the artwork, users are given a choice to activate one of four guided sessions, each with a profoundly different approach to revitalization. The exercise itself encourages contemplation, although, much like the methods of ancient divination, the path one chooses might be predetermined or random.
「Unknown Artist Agency」（2017- ）由數以萬計的粉球組成，突出了藝術界的一個尖銳問題——豐富的創造力以及缺乏適當代表和支持它的系統。通過為參觀者提供一系列選擇——包括展覽的名稱、展示的藝術品風格、展示的藝術品類型以及隨附的音頻效果——王欣對策展人、藝術家和參觀者的角色提出了質疑在製作藝術品和展覽。
與這些極度憤世嫉俗但又玩味十足的作品相比，王欣的《提升你的藝術能量：8 分鐘指導課程》（2019 年）是一件精神、神秘和身臨其境的虛擬現實藝術作品，旨在為一個人的「藝術能量」充電。它是與總部位於矽谷、加拿大和中國的 VR 公司 LumiereVR 合作製作的。用戶戴上 VR 頭顯的那一刻，就被推入了一種脫離傳統空間、時間和現實的夢幻狀態。在藝術作品中，用戶可以選擇激活四個引導會話中的一個，每個會話都採用截然不同的振興方法。練習本身鼓勵沉思，儘管很像古代占卜的方法，一個人選擇的路徑可能是預先確定的或隨機的。
與這些極度憤世嫉俗但又玩味十足的作品相比，王欣的《提升你的藝術能量：8 分鐘指導課程》（2019 年）是一件精神、神秘和身臨其境的虛擬現實藝術作品，旨在為一個人的「藝術能量」充電。它是與總部位於矽谷、加拿大和中國的 VR 公司 LumiereVR 合作製作的。用戶戴上 VR 頭顯的那一刻，就被推入了一種脫離傳統空間、時間和現實的夢幻狀態。在藝術作品中，用戶可以選擇激活四個引導會話中的一個，每個會話都採用截然不同的振興方法。練習本身鼓勵沉思，儘管很像古代占卜的方法，一個人選擇的路徑可能是預先確定的或隨機的。
K11 Art Village ; chi K11 space
Wuhan ; Shenyang, China
Unknown Artists Agency
2018
Unknown Artists Agency is comprised of multiple interactive, site-specific installations in which Wang Xin challenges the status of the artist as well as the art world’s current ecosystem. In particular, Wang’s most ambitious installation encourages participation as soon as audiences walk in. Upon entering, visitors are asked to purchase a ticket imprinted with a QR code at reception. The symbolic act of purchasing a ticket is part of Wang’s ongoing “No Starving Artists: Entrance” project, in which she reaffirms the significance of artists’ work, as their labor is often undervalued. Headsets are available for viewers’ use in intervals along the walkway, where various fictional characters can be heard introducing the exhibition and its works. Following along the path, viewers can eventually reach the “island” of shining pink lights surrounded by 45,000 pink balls. A large billboard stands in the center of the island, and a transmission device to the virtual world can be found among the sea of balls separating the “island” and the “mainland,” sending viewers to the VR world created by Wang. This fantasy world serves as dissemination of information about the artist and her work of the past, present, and future!
Wang Xin’s most recent work Art Can Save The World – The Tower of Art Energy (2018) is part of Unknown Artists Agency: Wang Xin Solo Exhibition. This installation is alongside other works that make up a lively yet serious scene of art ecology. It is comprised of three parts: 1) the thematic tower, 2) an LCD screen playing various clips of world crises (natural disasters, pollution, war) in shades of pink, and 3) an “energy ball collection and conversion system” (interactive). When art ecology and social ecology are juxtaposed, will art have the ability to save the world?
「Unknown Artists Agency」由多個互動的、特定地點的裝置組成，王欣在其中挑戰藝術家的地位以及藝術界當前的生態系統。特別是藝術家最雄心勃勃的裝置，鼓勵觀眾一走進就參與進來。進入後，參觀者被要求在接待處購買一張印有二維碼的門票。購買門票的象徵性行為是王正在進行的“沒有挨餓的藝術家：入口”項目的一部分，在該項目中，她重申了藝術家作品的重要性，因為他們的勞動往往被低估。人行道上每隔一段時間會提供耳機供觀眾使用，在那裡可以聽到各種虛構人物介紹展覽及其作品。沿著小路，觀眾最終可以到達被 45,000 個粉紅色球包圍的閃閃發光的粉紅色燈光“島”。一個巨大的廣告牌矗立在島的中央，在分隔“島”和“大陸”的球海中可以找到通往虛擬世界的傳輸裝置，將觀眾帶入汪洋創造的VR世界。這個幻想世界可以傳播有關藝術家及其過去、現在和未來作品的信息！
王欣最近的作品《藝術可以拯救世界——藝術能量之塔》（2018）是無名藝術家機構：王欣個展的一部分。這個裝置與其他作品一起構成了一個生動而嚴肅的藝術生態場景。它由三個部分組成：1）主題塔，2）一個液晶屏幕，播放各種世界危機（自然災害，污染，戰爭）的粉紅色陰影，3）一個“能量球收集和轉換系統”（交互的）。當藝術生態與社會生態並列，藝術是否有能力拯救世界？
王欣最近的作品《藝術可以拯救世界——藝術能量之塔》（2018）是無名藝術家機構：王欣個展的一部分。這個裝置與其他作品一起構成了一個生動而嚴肅的藝術生態場景。它由三個部分組成：1）主題塔，2）一個液晶屏幕，播放各種世界危機（自然災害，污染，戰爭）的粉紅色陰影，3）一個“能量球收集和轉換系統”（交互的）。當藝術生態與社會生態並列，藝術是否有能力拯救世界？
DE SARTHE
Hong Kong, China
The Must-See Art Show Where You Can Find 10,000 Artists
2017
The Must-See Art Show Where You Can Find 10,000 Artists is comprised of multiple interactive, site-specific installations in which Wang Xin challenges the status of the artist as well as the art world’s current ecosystem. In particular, Wang’s most ambitious installation encourages participation as soon as audiences walk into the gallery. Upon entering, visitors are asked to purchase a ticket imprinted with a QR code at reception. The symbolic act of purchasing a ticket is part of Wang’s ongoing “No Starving Artists” project, in which she reaffirms the significance of artists’ work, as their labor is often undervalued. Subsequently, viewers scan their tickets at a turnstile to enter the installation. Once inside audiences follow a carpeted path lined with headsets that leads to a ball pit filled with more than 10,000 rose pink balls, a VR environment, an artist agency office, and a large advertising board.
As the exhibition title suggests, 10,000 unknown artists’ contact information are stored in the balls. The purchased ticket entitles audiences to take (and keep) one of the rose pink balls, open it, and unravel an unknown artist’s information. In the middle of the ball pit lies a virtual experience, A Virtual Land Where Stored an Artist’s Past, Present and Future Artworks and Related Information, where ticket holders can view all of Wang Xin’s past artwork strown and in decay across a deserted landscape. Adjacent to the pool of pink balls is an office stationed in a corner. This is the Unknown Artists Agency where agents continue to search for more unknown artists. Once more information on unknown artists has been gathered, the new pink balls are carried over to a playful miniature slide that is used to transport the balls from the agency office to the ball pit. The slide emerges from a large LED board advertising the “Unknown Artists Agency.”
「10,000 位藝術家必看的藝術展」由多個互動的、特定地點的裝置組成，王欣在其中挑戰藝術家的地位以及藝術界當前的生態系統。特別是，王欣最雄心勃勃的裝置鼓勵觀眾一走進畫廊就參與進來。進入後，遊客被要求在接待處購買印有二維碼的門票。購買門票的象徵性行為是王正在進行的《沒有挨餓的藝術家》項目的一部分，在該項目中，她重申了藝術家作品的重要性，因為他們的勞動往往被低估。隨後，觀眾在旋轉柵門處掃描門票進入裝置。進入後，觀眾沿著一條鋪著地毯的小路，兩旁是耳機，通往一個裝滿 10,000 多個玫瑰粉色球的球坑、一個 VR 環境、一個藝術家代理辦公室和一個大型廣告牌。
正如展覽標題所暗示的那樣，球中存儲了10,000名未知藝術家的聯繫信息。購買的門票使觀眾有權拿走（並保留）其中一個粉紅色的球，打開它並解開未知藝術家的信息。球坑的中央是一個虛擬體驗，一個存儲藝術家過去、現在和未來藝術作品及相關信息的虛擬土地，持票人可以在這裡看到王欣過去的所有藝術作品在荒涼的景觀中散落和腐爛。與粉紅色的球池相鄰的是一個辦公室，位於角落。這是未知藝術家機構，代理商會繼續尋找更多未知藝術家。一旦收集到更多關於未知藝術家的信息，新的粉紅色球就會被帶到一個有趣的微型滑梯上，該滑梯用於將球從代理辦公室運送到球坑。幻燈片從一個大型 LED 板上出現，廣告“無名藝術家機構”。
DE SARTHE
Beijing, China
Every Artist Should Have A Solo Show
2016
Every Artist Should Have A Solo Show is a solo exhibition by artist Wang Xin. It seems an unusual title an artist can always use a solo show. However, it is not surprising that Wang Xin, who claims herself to be a serious art-world player as well as a serious art-world observer would come out with such a title. All of her work in this show can be grouped into her "Rose-Color" series, which is all about the art world and art system. Galleries, artists, art agents, artworks, and so on have become her subject in her "Rose-Color" series' of artworks. This short exhibition introduction you are reading now probably as well. Who do you think it is written by? Curator? Gallery? Or the artist?
「每個藝術家都應該有一個個展」是藝術家王欣的個展。 這似乎是一個不尋常的標題，一個藝術家總是可以使用一個個展。 不過，自稱是認真的藝術界玩家，同時也是認真的藝術界觀察者的王欣，拿了這樣一個頭銜，也就不足為奇了。 她在這個節目中的所有作品都可以歸入她的《玫瑰色》系列，這些都是關於藝術世界和藝術體系的。 畫廊、藝術家、藝術經紀人、藝術品等已成為她《玫瑰色》系列作品的主題。 您現在正在閱讀的這個簡短的展覽介紹可能也是如此。 你覺得是誰寫的？ 館長？ 畫廊？ 還是藝術家？
MoCA Pavilion
Shanghai, China
8 HZ Hypnosis Lab
2015
Mustard Seed Space
Shanghai, China
Memento Mori
2015
Literally, the installation of Wang Xin is about death and the experience of death. Her work invites the audience to join in the performance according to her own procedure, who would be able to experience the state of “death” and one’s own mentality when the “soul” leaves the corpse. Wang Xin hopes to converse the subject of death and rebirth in the audience interaction. Different from the death experience in the death house, the project is designated by the artist to represent a unique death and rebirth experience weaving the utility of various media. In the plan, the artist would transform Mustard Seed Space to death -experience resembled “service-room”.
The project has made full use of the interior structure of Mustard Seed Space. The three cabinets in the space have been transformed into one registration room, one changing room, and a death-experiencing room. The white cubic boxes in the registration room are prepared to collect small objects offered by the participants to exchange for this experience, which would then be reserved as part of the exhibition. The staff with tailor-made badges to this exhibition would assist the participants to complete the whole procedure. The entrance of the third cabinet would be half enclosed to yield a slot for one person to physically go through. After the participant has changed to the costume and read prepared documents, the staff would pull out the bed fixed to the trail behind the curtain in the third cabinet, then invite him/her to lie down and replace the bed before closing the cabinet. At that moment, the video and audio would be intrigued to guide the death experience. The camera in the third cabinet would film the whole process of ” MEMENTO MORI”.
王欣的這個作品與死亡以及死亡的體驗有關,通過邀請觀眾按照一定的規則進入作品裝置空間，在影像及聲音的引導下來體驗“死亡”的狀態以及“靈魂”在死亡之後脫離軀體的感覺。王欣希望通過這種讓觀眾切身的體驗來探討死亡與重生的主題。不同於死亡館的死亡體驗,在這個藝術項目中藝術家以自己的想像通過各種媒介的使用創造了一個對死亡和重生的 獨特的體驗。在這個方案裡,藝術家將把芥菜籽空間改造成一個類似死亡體驗的“服務區”。
該項目充分利用芥菜籽空間的內部結構, 空間的三個小隔間分別改造為:登記室,更衣室和死亡體驗室。在登記室中的白色擱板上放置白色的方盒子, 所有參與者需要登記並需要給予一個 對自己心靈有意義的任何小的物品來換取體驗。參與者所提交的小的物品將被保存在白盒子裡作為這個作品的一部分。在登記室會有穿著工作服掛著特別設計的工作牌的工作人員將協助參與者完成整個過程。在第三個隔間的開口處將被封上,只留下一個可供一個 人穿過的間隙，有軌道伸出, 參與者將由此進入。當參與者在更衣室更換服裝並閱讀相關介紹後, 工作人員將裝置的床體部分從門簾後面拉出讓參與者躺入,工作人員將床體推入門簾後, 艙 體關上, 裝置將啟動。當觀眾躺在艙體內, 引導死亡體驗的影像和聲音會開始。在這個艙體房間內的攝像頭將錄製整個《我們是將要死去的》死亡體驗過程。
C-Space
Beijing, China
The Gallery
2014
The Gallery is a multi-media, experimental project initiated in 2014 by Wang Xin. It presents an alternative framework to the art world and it is not a “gallery” in the formal or traditional sense. As an alternative exhibition space, The Gallery provides a platform that allows anyone who is interested in participating to exhibit his or her artwork. In The Gallery “artists” are not screened based on factors such as their professional background, market value, or recommendations from art world insiders. To a certain extent, the installation acts as a mediator, a vehicle for which anyone can be a part of the gallery system in the art world.
The Gallery is not a site-specific artwork. Its placement is variable, including art galleries, museums, art fairs and other social venues. Wherever and whenever it is presented the artwork develops an immediate, contingent relationship with the exhibiting space and audiences in a specific given time. The participants include artists, curators, volunteers and the audience (online or physically attending the exhibition), all of whom become apart of the artwork and are involved in making the resultant ”happening.”
By providing an exhibition site with basic equipment, individual artists and/or artist groups are invited to take up The Gallery’s space and conduct immediate DIY art projects in a specific and limited period of time—which usually is no more than five hours long. The making of each exhibition, including its set-up, display, PR operation and dismantling, will be open for audiences to view.
Antenna Space
Shanghai, China
Let's Play in The Name of Art
2013
Let’s Play In The Name Of Art recreates a playground-like environment. Wang Xin placed thousands of small pink balls in a cordoned off area. On the gallery wall, an LCD television plays an animation with poetic subtitles. Concurrently, the slogan “LET’S PLAY IN THE NAME OF ART” is hung on top of the booth in large pink LED characters. A box with miscellaneous items such as masks and fun objects are included for audiences to play with. This work invites the audience to be a part of the art, and to explore their playful side.
《Let's Play In The Name Of Art》 再現了一個遊樂場般的環境。 王欣將數千個粉紅色的小球放在了一個封閉的區域。 在畫廊的牆上，一台液晶電視播放著帶有詩意字幕的動畫。 與此同時，「讓我們以藝術的名義玩耍」的標語用粉紅色 LED 大字懸掛在展位頂部。 包括一個盒子，裡面裝著面具和有趣的物品等雜項，供觀眾玩耍。 這件作品邀請觀眾成為藝術的一部分，並探索他們俏皮的一面。