摘要：吴亦深，新媒体艺术家、策展人、上海泥轩画廊创始人，艺术创作和策展实践主要专注于程序艺术和算法生成艺术，他的程序作品曾参加《扩张的转折2》展览，此为中国早期收录生成艺术的国际艺术展览之一，之后他广泛活跃于计算机艺术和算法生成艺术的推广与实践中。作为书画世家吴大澂
人工智能时代：
参展艺术家
aaajiao、莫奔、汉斯·德林格尔、冯骏原、马修·普卢默-费尔南德斯、郭锐文、让·皮埃尔·赫伯特、江一帆、李丹、李启菁、李维伊、李一凡、卡西·瑞斯、罗曼·凡罗斯科、武子杨 & 蒙胜宇、奚雷 & 周乐、辛未、子杰、zzyw
策展人
吴建儒
空间设计
small production
VIP预览
（凭邀请函入场）
公众展期
2025年3月22日-6月22日
地点
广东时代美术馆
广州市白云大道黄边北路，广州地铁2号线黄边站C出口
开放时间
双展联票
30元整
（“人工智能时代”+“墙隙三闻”）
* “墙隙三闻”展期：3月29日-6月22日
购票链接
特别鸣谢
开幕活动
* 观众凭当前展览门票参与开幕系列活动；
坐席有限，先到先得
2025年3月22日 周六
策展人和艺术家导览
16:30-17:00
讲座及对谈
生成艺术的历史
嘉宾：吴亦深
吴亦深，新媒体艺术家、策展人、上海泥轩画廊创始人，艺术创作和策展实践主要专注于程序艺术和算法生成艺术，他的程序作品曾参加《扩张的转折2》展览，此为中国早期收录生成艺术的国际艺术展览之一，之后他广泛活跃于计算机艺术和算法生成艺术的推广与实践中。作为书画世家吴大澂、吴湖帆后裔，他注重于中国古代文化、20世纪全球现代艺术以及新兴技术媒介相关的课题探索，希望在古典文化和当下的媒介转换中，寻找更多的实践可能。
2025年3月30日 周日
表演性讲座
漫步科学岛：论中文文字处理机和写作、权力、资本及技术
艺术家：子杰
子杰 是一个漫画家和印刷工作者，长期关注城市化和空间、技术大和写作方面议题。“中文文字处理机：写作、权力、资本及技术”是其近期的研究，除了期间相关的翻译和出版实践，他还参与如计算机编委会艺术小组的工作，讨论了文本和织物纹理的关系。
展览汇聚全球19位/组国内外艺术家，通过绘图仪绘画、生成艺术、人工智能系统、影像、游戏、动画、机械臂互动装置等多元媒介，探索技术如何重构艺术创作逻辑，并在人机协作中催生新的观念表达。这场展览既是对历史的回应，亦是对未来的叩问——当算法渗透创作核心，观念艺术的将有何种发展路径。
生成式艺术与观念艺术虽同源于1960年代，却长期分属不同轨道。生成式艺术以计算机算法为工具，生成既相似又无限变化的视觉形式；观念艺术则强调“观念优先于物质”，挑战传统艺术的物质性与叙事性。如今，人工智能的普及模糊了这一界限。以自然语言为媒介的提示词（prompt）取代了复杂编程，成为创作的核心指令。潜在扩散模型（Latent Diffusion Model）通过降维技术简化图像生成流程，艺术家仅需输入文本描述，即可操控机器输出视觉内容。这种机器类“观念化”的输出模式，既延续了观念艺术先驱索尔·勒维特“观念是制造艺术的机器”的宣言，又将人机协作推向新维度，如算法的“幻觉”（因数据偏差产生的意外结果）产生、计算中的潜空间、大模型训练中被不断加深的偏见等这些问题在创作中该如何处理？
展览作品主要分三部分，首先将生成艺术和当代艺术中思考技术为主线的创作并峙，一方面生成艺术给我们提供了一个关于计算、递归和系统性设计的直观认识，另一方面，我们有必要重新认识这些算法家（the algorist）并不是简单的通过递归规则去生成相似而又不重复的线条，他们的美学不应该仅仅关于线面形式的美感，而是应该从深入技术本体去进行的跨领域文化实验这个角度去考虑。
展览的第二部分希望展示那些使用前沿技术去思考艺术为何的项目，在人工智能的语境之下挑战由计算带来的局限、噪音和幻觉，以及在递归过程中被加深的社会偏见。
展览的最后一部分则再次提出关于“作者”问题的思考，尽管这个问题在互联网-后网络艺术问题已经有过充分的讨论，但在人工智能时代，关于作品的创作、拥有将是一个全新的语境。该语境是结合了信息时代从web1.0、2.0至3.0的发展，关于艺术的所有权将会或者已经开始转变为与机器的共有权存在。算法可以分析、处理、识别这些图像，从而在某种程度上“拥有”了对这些图像的“知识”或“理解权”。这种“算法所有权”是一种隐喻，在数据驱动的时代，对所有权的定义不仅挑战了版权法所及的范围，也带来了对数字物本体论的新认识。
策展人简介：
吴建儒，是一名策展人、编辑和作者，目前在香港浸会大学视觉艺术学院任职研究员。2019-2022年间，她创办了广东时代美术馆媒介实验室并担任首席策展人，在机构批判的框架下发展数字媒体如何塑造新的社会关系与文化想象。
她曾经在不同艺术机构策划过展览，如广东时代美术馆，纽约ISCP，西安OCAT，上海亚洲当代艺术中心等等。她在2012年至2017年担任《艺术界》杂志资深编辑；编辑出版物包括纽约古根海姆展览《单手拍掌》同名出版物，成都·蓬皮杜展览《全球都市#1.5: 延展智慧》同名出版物。她也是Artfroum International, Art Review等不同国际媒体的长期撰稿人。她是2017年亚洲文化协会奖金获奖者，2020-2023年为Joan Mitchell基金会咨询委员会的成员。
让·皮埃尔·赫伯特，《灰色涌现VI》，1990，图片由艺术家和上海泥轩画廊惠允
卡西·瑞斯，《无题 5（不是现在。不，不。）》，2020，图片由艺术家惠允
李启菁，《却说给月亮》，2021，图片由艺术家惠允
aaajiao，《咒文工程》，2024，图片由艺术家和Mao 空间惠允
武子杨 & 蒙胜宇，《一个与三个物，和一次穷尽某个物的尝试》，2024，图片由艺术家惠允
江一帆，《星期天早上》，2021，图片由艺术家和Meliksetian | Briggs惠允
奚雷 & 周乐，《卡牌物料_循环农业》，2025，图片由艺术家惠允
zzyw，《众鸣山》，图片由艺术家惠允
李维伊，《三合一》，2024，图片由艺术家惠允
李丹，《戈壁幽灵学》，2025，图片由艺术家惠允
*英文请见下文
Please roll down for English version
AI
as Seen at the End of Ownership
Participating artists
aaajiao, Maurice Benayoun, Hans Dehlinger, Julian Junyuan Feng, Matthew Plummer-Fernández, Raven Kwok, Jean-Pierre Hébert, Yifan Jiang , Dan Li, Zoe Li, Weiyi Li, Li Yifan, Casey REAS, Roman Verostko, Ziyang Wu & Shengyu Meng , XI Lei & Aven Le Zhou, Wei Xin, Zijie, zzyw
Curated by
Jianru Wu
Vernissage
March 21, 2025（RSVP only）
Exhibition Dates
March 22 - June 22, 2025
Hours
Tuesday to Sunday, 10:30-18:30 (closed on Mondays except for public holidays)
Entrance Tickets for Two
RMB 30
("AI, as Seen at the End of Ownership" + "Echoes from the Gaps of Wall")
* "Echoes from the Gaps of Wall" Exhibition date: March 29 - June 22, 2025
Tickets
Special thanks to
Opening Event
March 22, 2025 Saturday
(This event is conducted in Chinese, and some English content will not be translated)
3pm-4pm
Guided tour by the curator and artists
Wu Yishen is a new media artist, curator, and founder of Mud Gallery in Shanghai. His artistic creation and curatorial practice is mainly focused on procedural and algorithmic art, and his procedural works have been exhibited in the exhibition ‘Expanded Turn 2’, which is one of the early international art exhibitions in China that included generative art. Since then, he has been widely active in the promotion and practice of computer art and algorithmic art.
As a descendant of Wu Dazhi and Wu Hufan, he focuses on the exploration of topics related to ancient Chinese culture, 20th century global modern art, and emerging technological media, hoping to find more practical possibilities in the transformation of classical culture and current media.
March 30, 2025 Sunday
3pm-4pm
Lecture Performance：
Wanderer on the science island: Project Chinese word processing, on writing, power, capital and technology
Artist: Zijie
Zijie is a comix maker and print worker with a longstanding interest in urbanisation and space, technology and writing. "Chinese word processors: writing, power, capital and technology" is his most recent research, in addition to his translation and publishing practice, he has also been involved in art group WBC (the Weave By Committee) which discusses the relationship between text and textile through machine.
The exhibition brings together 19 artists and groups from around the world, utilizing a diverse range of media including plotter drawing, generative art, AI system, video, game, animation, and robotic interactive installation. It explores how technology reshapes art traditions and fosters new conceptual expressions through human-machine collaboration. This exhibition is a response to the history of conceptual art and a question for the future: as algorithms infiltrate into art practices, what evolutionary paths will conceptual art follow?
Generative art and conceptual art share roots in the 1960s yet have long followed different paths. Generative art uses computer algorithms to produce visual forms that are both consistent and endlessly varied; conceptual art, by contrast, emphasizes putting ideas ahead of physical objects, challenging traditional art’s focus on materiality and narrative. Today, the widespread use of artificial intelligence has blurred this boundary. Text-based prompts have replaced complex programming as the core directive for creation. Latent Diffusion Models simplify image generation through dimensionality reduction, allowing artists to control visual output by simply entering text. This machine-like “conceptualized” output not only echoes the idea of conceptual art pioneer Sol LeWitt’ s idea that “The idea becomes a machine that makes the art,” but also raises practical questions regarding issues such as algorithmic “hallucinations” (unexpected results due to data bias), computational layers, and deepening biases in large-scale model training.
The exhibition is divided into three sections. The first section presents generative art alongside contemporary works that engage with technology. On one hand, generative art offers an intuitive understanding of computation, recursion, and systematic design; on the other, it invites us to reconsider that these “algorists” are not merely generating similar yet varied lines through repetitive rules, but are conducting cross-disciplinary cultural experiments that probe the essence of technology.
The second section uses cutting-edge technology to explore the purpose of art in an AI context, challenging the limitations, noise, and unexpected outcomes produced by computation as well as the social biases that may be reinforced through recursive processes.
The final section revisits the issue of “authorship.” Although this topic has been widely discussed in the context of internet and post-internet art, the era of artificial intelligence offers a completely new framework for understanding creation and ownership. Shaped by the evolution from Web 1.0 through 2.0 to 3.0, art ownership is beginning—or may have already shifted—toward a shared model with machines. Algorithms can analyze, process, and recognize images, thereby “possessing” a form of knowledge or understanding. This notion of “algorithmic ownership” is a metaphor that, in a data-driven age, challenges not only the boundaries of copyright law but also brings new insights into the nature of digital objects.
Curator Biography
Jianru Wu is a writer and curator, currently working as a researcher at the Academy of Visual Arts, Hong Kong Baptist University. Her research interests cover feminism, the philosophy of technology, nontraditional kinships, and creative institutional practice. In 2019, she founded the Media Lab of Times Museum, which was designed within the institutional critique framework to address the current ossification of art institutions. She served as the director of Media Lab until 2022.
Jianru Wu has extensive experience as a writer and editor. She has edited books and publications for artists and museums and was an editor for the “One Hand Clapping” exhibition publication at the Guggenheim Museum, New York, in 2017-2018. From 2012 to 2017, she worked as the senior editor of LEAP magazine. Her writings have been published in Artforum International, Ocula, Art Review, and others. Jianru Wu has received several fellowships, including the Asian Cultural Council fellowship in 2017 and the Jane Farver Arts Foundation curator fellowship at International Studio & Curatorial Program (New York) in 2019. She has been a member of the Joan Mitchell Foundation Advisory Board from 2020 to 2023.
来源：广东时代美术馆
