鏈上駐村｜da0 進駐藝術家

## 鏈上駐村｜da0 進駐藝術家 ### KOH Kai Ting + AW Boon Xin > 1996 / 1995，馬來西亞 > 作品集： https://docs.google.com/presentation/d/110tNI8cz6J7EcEYw1I0XoiuT9oHhNbkKkLDpC1cOCFQ/edit?usp=sharing #### 簡介 Kai Ting (b. 1996, Malaysia) is an interdisciplinary artist. Her work provokes critical reflection and invites viewers to reimagine established paradigms, fostering dialogue and social transformation. Aw Boon Xin (b. 1995, Malaysia) graduated from Guizhou University in 2019 and has since been exploring the intersection of personal experience, identity, and narrative through his art. Boon Xin's work also delves into the complex relationship between the human spirit, religion, and politics. Through our practice of extended reality, performance, installation, moving images, printmaking, and painting, we look into the system of power by understanding and challenging the study of established knowledge. Our inquiry is to disrupt the Power/Knowledge by including the knowledge of the marginalised community and raise critical reflection on epistemological violence. Collaboration is at the heart of our practice, as I believe that working collectively allows for a richer exploration of complex themes and a more inclusive representation of voices. Throughout our artistic journey, we have been involved in several socially engaged art projects, such as the residency at Ghetto Playground in 2023 and the Bamboo Art Festival in Chengdu in 2019 . Additionally, we embarked on a year-long residency in Pulau Ketam, Malaysia, where we had the opportunity to immerse in the local community through the intimate connection of working together. Kai Ting（生於1996年，馬來西亞）是一位跨領域藝術家。她的作品引發批判性反思，並邀請觀眾重新想像既定範式，促進對話和社會轉型。歐文鑫（生於1995年，馬來西亞）於2019年畢業於貴州大學，自那時以來，他一直在通過藝術探索個人經驗、身份和敘事的交匯處。鑫的作品還深入探討了人類精神、宗教和政治之間複雜的關係。通過我們對擴展現實、表演、裝置藝術、移動影像、版畫和繪畫的實踐，我們研究權力體系，理解並挑戰既定知識的研究。我們的探究目標是打破權力/知識體系，包括被邊緣社區的知識，並對認識論暴力提出批判性反思。合作是我們實踐的核心，因為我相信集體合作能夠更豐富地探索複雜的主題，更全面地呈現不同聲音。在我們的藝術之旅中，我們參與了幾個社會參與型藝術項目，例如2023年在Ghetto Playground的駐地計劃以及2019年在成都舉辦的竹藝藝術節。此外，我們還在馬來西亞的Pulau Ketam進行了為期一年的駐地，有機會通過共同工作的親密聯繫，深入參與當地社區。 #### 申請本計畫的動機與期望 We explore and challenge power structures and organized knowledge systems using various mediums. My motivation for a crypto residency lies in disrupting Power/Knowledge by incorporating marginalized community knowledge and raising awareness about epistemological violence. Our current project is using Extended reality to enhance the storytelling of indigenous communities and nature in Southeast Asia and foster critical reflection on our relationship with otherness. Our goal is to engage communities authentically and explore the creative potential of blockchain technology in digital art. 我們使用各種媒體來探索和挑戰權力結構和有組織的知識體系。我對加密駐地的動機在於打破權力/知識體系，包括邊緣社區的知識，並提高對認識論暴力的警覺。我們目前的項目正在使用擴展現實來增強東南亞土著社區和大自然敘事，並促使我們與異質性的關係進行批判性反思。我們的目標是真實參與社區，並探索區塊鏈技術在數位藝術中的創意潛力。 --- ### Apoorva SINGH > 1996，印度（現居倫敦） > 作品集： > https://drive.google.com/file/d/1AlEXv5ZYxNraaxkvrNjwAO6WuUgnc1x6/view?usp=sharing #### 簡介 I am an Indian artist currently based in London, working between the cultural boundaries of two countries (India & U.K.) intricately linked by a colonial history and its contemporary connection. The artworks produced are subtle etchings and printworks made using automatic drawings. The influences are drawn from culture, time, space and memory. The works investigate vast landscapes of a distorted form of reality hidden in the intricate qualities of the line. Themes explored through the work are about the body and its gendered role within inherently patriarchal structures and the experience of navigating global cities such as London through the lens of a woman. The visual imagery of the artworks seem like brain mapping structures related to my personal influences. The artworks are realised using the dialectical tension of restrain and automatic freedom while making the marks. The visual language of the art showcases such perceptions of a world which seems to move along lines, inclusive of the lines of boundaries, right and wrong or contours of a figure. The statement by Francis Bacon best suits the quality of the works, I would like my pictures to look as if a human had passed between them, like a snail, leaving a trail of the human presence and memory trace of the past events as the snail leaves its slime. 我是一位印度藝術家，目前居住在倫敦，作品在兩個國家（印度和英國）的文化界限之間進行創作，這兩個國家由殖民歷史及其當代聯繫緊密相連。所製作的藝術品是使用自動繪畫製作的微妙蝕刻和印刷品。影響來自文化、時間、空間和記憶。作品探索了扭曲現實形態的廣闊景觀，隱藏在線條的細微品質中。透過作品探討的主題涉及身體及其在固有的父權結構中的性別角色，以及以女性視角在倫敦等全球城市中的經歷。藝術品的視覺意象似乎類似於與我的個人影響有關的腦圖結構。這些藝術品是在制作過程中使用克制和自動自由的辯證張力來實現的。藝術的視覺語言展示了這樣一個世界的感知，似乎沿著線條移動，包括界限、對錯或身體輪廓的線條。弗朗西斯·培根的這句話最適合描述這些作品的質量：“我希望我的圖畫看起來就像有人在它們之間走過，就像蝸牛一樣，留下了人類存在和過去事件的記憶痕跡，就像蝸牛留下它的黏液一樣。” #### 申請本計畫的動機與期望 The residency prompts me to think and explore the following idea: Why should art exist in DAO, rather than exclusively occupying physical spaces and organisational structures to exhibit and experience in global cities and countries? Is there a benefit for the artistic communities to exist in this digital realm and can it offer true expression of freedom, a core value of the art creation process? I am curious about the online and offline debate around virtual and real space. The time at the residency would explore an interdisciplinary research about the impact of digital techno-ecologies on the coproduction of decolonial feminist art. Rapid technological advancements have created a sense of integration with everyday lives. Do we control these technological environments? At the large scale the system runs itself, without primary regard for human concerns. It’s trying to survive; it’s doing whatever is in its own best interests (Haff and Hörl, 2016). Thus, the question remains of whether cyberspace can be appropriated when striving for gender justice, emancipation and social equality in the arts. Only a handful of private technological companies decide and regulate who can and cannot reach their audiences on the internet (Stacey and Murphy, 2021). Evaluating collaborative projects such as Microsoft’s Sol LeWitt app which digitally connects viewers to LeWitt’s art studio and works can offer insight into prevalent co-production practices in art. Referencing artists working in the context of decolonial feminism such as Luiza Prado, Tabita Rezaire would be essential to unpack the research project. ‘Some of us swear that aside from food, water and oxygen, we also could not live without the internet. We are all connected by the internet, like neurons in a giant brain’ (Waring, 2018). I, as an artist would welcome all participants to connect, share and discover the magic of a non stop community of art generation and reproduction with the blockchain digital ecosystems. I would like to explore the use of saree (Indian garment) and its cultural notions across the globe using online communities. A wide range of audiences coexist in the offline and online spaces. A lack of representation is observed in digital artists of colour and gender in the digital techno-ecological systems of arts and culture. Thus, this would invite the female embodiment of the global south. The idea of performing a saree, the female body wrapped in clothing structures infiltrated by patriarchal norms in different parts of the world. What does it represent online and offline for the female gaze and performance offline and online. I am keen to explore how do you explore anything on the internet— search engines/ or exploring social media/ blockchain? Is it independent of societal agency/ biases of the west/ east and gender/ identity politics. This idea is based on glitch feminism and its essence of exploring gender identities online. 這個居住計劃促使我思考和探索以下觀點：為什麼藝術應該存在於DAO（分散自治組織），而不僅僅佔據實體空間和組織結構，以在全球城市和國家展示和體驗？對藝術社群來說，在這個數位領域存在是否有益處，它能夠提供藝術創作過程的核心價值——自由的真正表達嗎？我對虛擬和現實空間之間的線上和線下辯論感到好奇。在居住期間，將探討有關數位技術生態對去殖民女性主義藝術的共同創作影響的跨學科研究。快速的技術進步已經創造出一種與日常生活融合的感覺。我們控制這些技術環境嗎？在大規模上，系統自己運行，不太關心人類的關切。它正在試圖生存；它正在為自己的最大利益而採取行動（Haff和Hörl，2016）。因此，問題仍然存在，即在追求性別正義、解放和藝術中的社會平等時，是否可以利用虛擬空間。只有少數私營技術公司決定和規管誰能夠在互聯網上觸及他們的觀眾，誰不能（Stacey和Murphy，2021）。評估像微軟的Sol LeWitt應用程式這樣的合作項目，它可以將觀眾與LeWitt的藝術工作室和作品在數位上連接起來，可以提供對藝術中普遍的共同創作實踐的見解。參考在去殖民女性主義背景下工作的藝術家，如Luiza Prado、Tabita Rezaire，對解開研究項目至關重要。“我們中有些人發誓，除了食物、水和氧氣，我們也無法沒有互聯網而生活。我們都被互聯網聯繫在一起，就像一個巨大大腦中的神經元”（Waring，2018）。作為一位藝術家，我歡迎所有參與者連接、分享並發現與區塊鏈數位生態系統中不斷生成和複製的藝術社區的魔力。我希望探索使用印度服飾——薩里（Saree）及其在全球範圍內的文化觀念，並借助線上社群。線上和線下空間存在各種不同的觀眾。在藝術和文化的數位技術生態系統中，觀察到了有色人種和性別的數位藝術家的缺乏代表性。因此，這將邀請全球南方的女性體現。在不同地方，女性身體包裹在被父權規範滲透的衣物結構中，這個概念在線上和線下代表了什麼，對女性凝視和線上和線下的表現而言又有什麼含義。我渴望探索在互聯網上如何探索任何事物——搜索引擎/或探索社交媒體/區塊鏈？它是否獨立於社會機構/西方/東方以及性別/身份政治的偏見。這個想法基於故障女性主義及其探索在線上性別身份的本質。