【CAC·展览】卡西·瑞斯（Casey Reas）：毒素检测

                
                
卡西·瑞斯（Casey Reas）：毒素检测
展期：2015.9.6-10.4
开幕：2015.9.5 5-7pm
地点：新时线媒体艺术中心
地址：上海市普陀区莫干山路50号18号楼。
“毒素检测”藉由一个扰乱、分裂和扭曲了既定图像及叙事的生成性动画，创造出异于常规的想像性空间。它以一种达达式的方法对原始素材进行处理，刻意扰乱本地广播信号的信息，并颠覆软件的精准与秩序。其结果使得程式化的逻辑呈现为一种几何点阵，生成一个平面的幻觉。
作品探究了哲学家维兰·傅拉瑟（Vilém Flusser）所论述的技术图像的领域，如基于文本的说明来“书写”图像的这一类以数据形式传输的视觉信息；其结构可与二十世纪早期由当时的媒体素材创作而来的拼贴画以及二十世纪中期的录像拼接相映照。
毒素检测
卡西·瑞斯｜2013｜双屏幕｜特定软件，两台电脑｜尺寸可变，独版｜1920 x 1080 像素/件
“毒素检测”是一个探究电视信号和熵行为的满墙面双屏视频投影。它通过天线将电视节目内容捕获后再将其经由定制软件进行处理。
作品标题来自作为原始素材的电视节目内容片段。
关于艺术家
卡西·瑞斯（Casey Reas）
1972年生于美国；现生活工作于加州洛杉矶。
卡西·瑞斯以编写软件来探索作为艺术的条件系统(conditional system)。通过定义自然生发的网络和分层说明(layered instruction)，他定义了一块独一无二的构建在具象艺术、观念艺术、实验动画和绘画之上的视觉体验的区域。动态和生成的软件一向是他创作的核心媒介，同时他也运用打印、物件、装置和表演等从他的视觉系统中物化而来的多变的媒介。
瑞斯的软件、打印作品及装置广泛见诸美国、欧洲、亚洲各博物馆和画廊举办的个展及群展。他的作品近期在旧金山现代艺术博物馆(San Francisco Museum of Modern Art)和芝加哥美术馆(Art Institute of
Chicago)展出，近期委托创作包括惠特尼美国艺术博物馆(Whitney Museum of American Art)和迈阿密新世界交响乐团(New World Symphony in Miami)。瑞斯作品由私人藏家和公共机构收藏，其中包括蓬皮杜艺术中心(Centre Georges Pompidou)、维多利亚和阿尔伯特博物馆(Victoria and Albert Museum)。
他是洛杉矶加利福尼亚大学的教授，分别取得麻省理工学院(MIT)媒体艺术和科学硕士学位及辛辛那提大学(University of Cincinnati)设计、建筑、艺术与城规学院的学士学位。2001年，瑞斯和本.弗莱(Ben Fry)一起创建了Processing。Processing是适用于视觉艺术领域的开源程序语言和环境。
近来，瑞斯与人合作撰写设计了书籍10 PRINT CHR$(205.5+RND(1)); : GOTO 10（麻省理工出版社，2013年）。瑞斯与弗莱出版了《Processing：给视觉设计师和艺术家们的编程手册》(Processing: A Programming Handbook for Visual Designers and Artists)。本书是在视觉媒体语境内对编程的全面介绍（麻省理工出版社，2007年）。瑞斯和钱德勒.威廉姆斯(Chandler McWilliams)、鲁斯特(Lust)合作出版了《设计、艺术与建筑中的形式+编码》(Form+Code in Design, Art, and Architecture)（普林斯顿建筑出版社，2010年）。该书是针对视觉艺术软件的历史、理论和实践而作的非技术性的介绍。瑞斯的《进程简编
2004-2010》(Process Compendium 2004—2010)记录了六年来瑞斯通过软件探索突现现象(the phenomena
 of emergence)的作品。
关于系列展
“毒素检测”是由新时线媒体艺术中心(CAC)主办的屏幕作品系列展的第五个展览。此次系列展由CAC学术指导张尕策划，通过7位国际艺术家各自为期一个月的投影作品系列个展，审视艺术家自创的动态声像生成系统、有违现有网络传输协议的实时图像、不拘于常规的动画手法以及对时髦的社会性题材的疏离。系列展所呈现的艺术家通常会使用不同于流行的录像语言的算法逻辑进行创作——录像艺术往往依赖影像软件所预设的效果和剪辑规则来创作内容和操控视觉——从而干扰、颠覆了内在于图像生产中制作叙事和构建意义的影像工具和手段的经济学与意识形态。在这一过程中，他们将见诸于1920年代瓦特·互特曼(Walter Ruttmann), 丹泽可·费托夫(Dziga Vertov) 的先锋实验，以及20世纪中叶以麦克·斯诺(Michael Snow), 沃舒卡夫妇(The Vasulkas)和白南准(Nam June Paik)等的经典作品为代表的媒体艺术的丰富传统延续于数字当代，他们发展出一种超越录像艺术既有形态的新的美学感知，打开了得以想象宇宙的宏大抑或日常的平实之个性化的感知空间的新的可能性。
系列展参展艺术家：
迈克尔·华金·格雷 (Michael Joaquin Grey)
沃夫冈·斯蒂勒(Wolfgang Staehle)
乔治·拉格迪(George Legrady)
马丽娜·朱可夫(Marina Zurkow)
卡西·瑞斯(Casey Reas)
吉姆·坎贝尔(Jim Campbell)
阿尔与阿尔(AL and AL)
Casey Reas: Tox Screen
On view: 2015.9.6-10.4
Opening reception: 2015.9.5, 5-7pm
Venue: Chronus Art Center
Address: BLDG.18, No.50 Moganshan RD., Shanghai
Chronus Art Center (CAC) is pleased to present Tox Screen, an exhibition by the American artist Casey Reas.
Tox Screen features a generative animation that scrambles, fractures and distorts the intended images and narratives, to craft alternate, imagined space. Taking a Dada approach to the raw materials, it intentionally disrupts the information of local broadcast signals and subverts software’s capacity for precision and order. As a result, the programmed logic is visible as a geometric lattice, building the illusion of a surface.
The work investigates the field of technical images, as theorized by philosopher Vilém Flusser, such as visual information transmitted as data, which relies on text-based instructions to “write” a picture; the construction is comparable to early twentieth century collages built from the media of that time, and mid-century video collage.
Tox Screen
Casey Reas | 2013 | diptych | custom software, two computers | dimensions variable, unique | each: 1920 x 1080 pixels
Tox Screen is a wall-sized diptych of video projections that explores the behavior of television signals and entropy. Television content was captured through an antenna then processed with custom software.
The work is named after a specific moment from the original television script.
About the Artist
Casey Reas
b.1972, United States
Lives and works in Los Angeles, CA
Casey Reas writes software to explore conditional systems as art. Through defining emergent networks and layered instructions, he has defined a unique area of visual experience that builds upon concrete art, conceptual art, experimental animation, and drawing. While dynamic,generative software remains his core medium, work in variable media including prints, objects,installations, and performances materialize from his visual systems.
Reas' software, prints, and installations have been featured widely in solo and group exhibitions at museums and galleries in the United States, Europe, and Asia. Recent venues include the San Francisco Museum of Modern Art and the Art Institute of Chicago, and recent commissions have been awarded by the Whitney Museum of American Art and the New World Symphony in Miami. Reas' work is in a range of private and public collections, including the Centre Georges Pompidou and the Victoria and Albert Museum.
He is a professor at the University of California, Los Angeles, and holds a masters degree from the Massachusetts Institute of Technology in Media Arts and Sciences as well as a bachelors degree from the School of Design, Architecture, Art, and Planning at the University of Cincinnati. With Ben Fry, Reas initiated Processing in 2001. Processing is an open source programming language and environment for the visual arts.
Reas recently co-wrote and designed the book 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 (MIT Press, 2013). Reas and Fry published Processing: A Programming Handbook for Visual Designers and Artists, a comprehensive introduction to programming within the context of visual media (MIT Press, 2007). With Chandler McWilliams and Lust, Reas published Form+Code in Design, Art, and Architecture (Princeton Architectural Press, 2010), a non-technical introduction to the history, theory, and practice of software in the visual arts. Reas' Process Compendium 2004—2010 documents six years of his work exploring the phenomena of emergence through software.
About the Series
Tox Screen is the fifth exhibition in a series of screen-based works organized by the Chronus Art Center. Conceived by ZHANG Ga, this exhibition series examines, through seven international artists’ projection works, each presented in a month-long solo exhibition, dynamically generated audiovisual systems that artists have custom-made, real-time transmitted images which demand protocols other than those readily available, idiosyncratic animation techniques for which given rules will be rewritten, and subject matters estranged from the populist safe haven. The artists presented in this series often exploit an algorithmic logic distinct from the predominant language that speaks the parlance of video art—software presets and editing routines for visual manipulation and content authoring—thereby disrupting and sabotaging the economy and the ideology of image production implicit in the very tools and means that produce narrative and construct meaning. In doing so, they have developed a new aesthetic sensibility beyond the received notion of video art as such, extending the rich tradition of media art seen in the pioneering experiments of Walter Ruttmann and Dziga Vertov of the 1920s; by the canonical works of Michael Snow, the Vasulkas and Nam June Paik, to name just a few, of the mid-century; to the digital contemporary, and opened new potentials for tending individuated perceptual spaces that can acculturate the spectacles of cosmic magnitude and the facticity of the everyday, imagined or otherwise.
Series Artists
Michael Joaquin Grey
Wolfgang Staehle
George Legrady
Marina Zurkow
Casey Reas
Jim Campbell
AL and AL