Art+Tech cross-border integration makes art space more innovative. Hyundai Motorstudio combines the concept of "Creative Energy", collides contemporary art with cutting-edge tech and explores more possibilities of cross-border integration.
The “Animal Farm Simulator” consists of four sections: the Workshop, the Lab, the Arena and the Co-op, simulating a future experimental field where all beings co-exist, presenting the thinking and exploration of future possibilities. In this mixed field full of infinite imagination, from the “IT” perspective, we produce, practice, co-create and speculate in the "New Animal Farm" and constantly exploring ways to share this beautiful planet with other lives.
This exhibition focuses on the temporal, social, and political order, the construction of consensus mechanisms, the circulation of energy and emotion, and the temporal slippages in technology time in search of the forks of time and the poetry of technology by constructing three parallel networks of time: Chimera Time, Energy Time, and Spime. Chimera Time (Algorithm-Time) explores the probabilistic nature of time through blockchain technology. Energy Time (Ecology-Time) critically discusses the conflicts and interdependencies between technological development and ecological balance. Spime (Social Connection-Time) merges time and space into one, inspecting the path of political, emotional, and community connections as well as the interpenetration of the digital and physical worlds.
This exhibition balcony is the most familiar space in our daily life. It is not only the connection between individuals and society, but also the synthesis of man and nature This exhibition is divided into four parts according to the interaction between science and technology and ecology: nutrition converter, material manufacturer, garden grower and those looking up at the stars. Through 13 groups of carefully crafted exhibits, the visitors are presented with the vision of "brave people" for the balcony. This is not a specific balcony, but an imaginary vision standing on the human "balcony". If this exhibition is a channel leading us from the current living environment to the future, can we imagine the society and the future ecology from a close relationship in life?
Hyundai Motor cooperated with the Vitra Design Museum presents innovative robotics tech- nology that drives humans into the future of infinite possibilities and offers Hyundai Motor’s direction of future mobility. Hyundai Motorstudio Beijing presents a variety of art and cultural programs that cross diverse fields to inspire new understanding on technology and a sustainable future. This show reflectively examines the robotic technology and how to face the com- plexity behind through a perspective of design, with a broad range of interdisciplinary exhibits. This exhibition compre- hensively surveys the core of robotics technology that constantly changes our daily lives and designs that influence the interface between humans and machines.
The exhibition covers two parts: online and entity exhibition space, which are constitute by the rules jointly established by curators and artists. Through the online interface, the audience can interact with the whole exhibition, rather than just individual works, and become the big Other in the game.
In the meanwhile, audiences in the entity exhibition space become NPCs (non-player character) in the online interface, which enables the audiences to experience their identities and perspectives are constantly switching between the virtual and the real world, as if we are dissociated from the reality, driving us constantly look for new coordinates from the "self" reference and calibration.
Therefore, here the audiences will experience a travel of time and space in embodiment. They will feel like be immersed in a dynamic and floating river of tai-chi, or the Diagram of the Supreme Ultimate, whole- hearted. During the trip, the audiences will go through three chapters of stories successively, they are Departure with a Dream, Place with a Monolith, Return with a Revelation.
I try to define this "Aerospace Art" through this exhibition, or journey I may call it. At the same time, I doubt its definition and categorization. Is aerospace resources necessary for the practice of Aerospace Art? Are we able to cast away resources in our trying to link with aerospace and universe, for the art of it takes the requirement of "embodiment" driven by common human genes, rather than science and technology, as its expressional target? This, indeed, echoes with the cosmological thoughts in Wei and Jin Dynasties expressed in the story of Raft in August.
<HYUNDAI x Rhizome of the New Museum: World on a Wire> transforms the gallery space into a hybrid-reality terrarium of vivid, artist-made synthetic life forms, exploring the possibilities and poetics of simulation as artistic practice. In a technological sense, simulations can be thought of as the modeling of dynamic processes. Often, simulations are used to present models of possible situations or outcomes that, in the words of designer Francis Tseng, are defined by "perceived rigor, correctness, and mathematical infallibility." In contrast, the works in "World on a Wire" blend rigor and correctness with imagination and experimentation to offer alternative models of the natural world. In Beijing, Seoul and Moscow, three exhibitions will be presented, bringing together artistic positions from China, Korea, Russia and the West and reflecting different cultural interpretations of the theme. <HYUNDAI x Rhizome of the New Museum: World on a Wire>can be seen in Beijing from 28 Jan, in Moscow from April and in Seoul from May.
The exhibition is designed as a dichotomous structure. Inspired by the typical "swipe right to like, swipe left to dislike" mechanism, it starts with a virtual online dating app that leads the audience to two different spaces. It is a metaphor for our manipulated emotions and speaks about romantic online relationships through an intertextual narrative. These romantic relationships have been perceived as "natural" interactions without being in the same physical space, groundless affection, and even remote performances of sexual desire. For millennials, the internet provides more freedom for expressing their instinctual egos while the physical world and people seem to be distant. It is a metaphor for our manipulated emotions and speaks about romantic online relationships through an intertextual narrative.
AI is a pun. It is the pronunciation of "love" in Chinese pinyin, and at the same time, stands for "Artificial Intelligence" in English. The two alphabets express the exhibition's focus, which is to present the love that this generation has acquired in the age of social networking. The exhibition discusses the emotional decisions under the influence of algorithms, love affairs in the online environment, and the physical intimacies in long-distance relationships (Eros); It also resonates the sympathies woven by big data, which gathers people with similar ideologies and excludes those who disagree (Philia).
<Play societies: wolves, lynx, and ants>is a narrative exhibition project with three allegories: "Steppenwolf on the Info Superhighway", "The Lynx Refuge Island" and "The Ants Arcade". Using these three animals as prototypes of human society in different stages of development in media technology, it reveals the contradiction between network society and individual situations. The exhibition would like to explore what is true "social intelligence" and whether there is a "pan-intelligence" that combines human intelligence, animal intelligence and artificial intelligence?
"Human (un)limited" deals with the limits that we encounter as individuals and as a society, the limits that we impose on ourselves, and the limits that we seek to push out and overcome. In Beijing, Seoul and Moscow, three exhibitions will be presented simultaneously, bringing together artistic positions from China, Korea, Russia and the West and reflecting different cultural interpretations of the theme. "Human (un)limited can be seen in Beijing from 19 November, in Seoul from 22 November and in Moscow from 27 November.
Artists and researchers involved in this exhibition blend perspectives of Sophia (bright, poetic, media imagination) and Alexa (dark, black box, technological criticism), they investigate how AI shuffles global technical politics, reconstruct the earth's geologies, the absurdity of quantifying human emotions, the dark, inhuman labor (in exhausting fashion) to train "human-like" algorithms, incentives to project the entire human spiritual architecture on one single technology form, and the fairy-tale building on AI conducted by mass media.
This exhibition is focused on the issues of today's rapid development of biotechnology and society. Can humans find a new way to coexist with nature? Should there be more discussion over ancient philo- sophical classics, such as Zhuangzi's On the Equality of Things or Spinoza's monistic view that humans are just a part of nature, as mentioned in Ethics? Perhaps this new way of coexisting will be based on the acceptance, where human beings rely on scientific power to create a new nature? Whatever the case, the boundary between human society and nature will eventually disappear, and the two com- bined will form a "quasi-nature" state of being.
The exhibition will show the areas of our life that will be most directly affected by technological challenges, and in turn, will prompt human beings to wrestle with what it means to be human and to endeavor to redefine traditional practices. The aim is to demonstrate which opportunities and risks are upshots of this and, above all, what position the human being assumes amidst it all. VR, AI, IoT, intelligent environments, things and machines, robotics and Big Data are just a few of the technolo- gies that this exhibition takes a critical approach towards and creates a productive mode of coming to terms with.
"Boat on Land" is a retrospect and exploration concerning the influence of social mobility on the artistic creation and cooperation. Making full use of the intertextuality formed by on- site relief feature, river, light and shadow, this exhibition attempts to integrate artistic performances and public events of different time and space into an organic whole, hoping to explore a more lively mechanism of artistic generation completely different from grand narration.
The exhibition through a survey of the most recent works from eight artists and three group projects that included the compilation of texts, archival structuring, on-site interactivity, physical literary and online resources, as well as a database and browsing platform, the exhibition encompasses a multitude of expressive forms and directions for potential practice responding to the theme of mobility from the logic of global capital within a specifically Chinese context.
More than just a journey from A to B, mobility defines our connections to work, leisure, goods, education, healthcare, and to each other. It is a universal need with profound impact on personal experience —from lifestyle and wellbeing to health, safety, and equity. Amid today's dramatic transportation revolution and related debates, we are aware of mobility's social, cultural, economic, political, and environmental entanglements. But how can we truly comprehend them?