NO APPLE NO SHOW 用户展
陈熹|Cheng Xi 苗颖|Miao Ying Roberto de la Torre (USA) 徐文恺|aaajiao 龚剑|Gong Jian 王欣|Wang Xin，王懿泉|Wang Yiquan
现场演出|Performence: 4.30|April 30th ,2015
王欣|Wang Xin - 17:30 pm
王懿泉|Wang Yiquan - 18:30 pm
3.23－5.10,2015
11:30－18:00 ,周一、周五 闭馆｜Monday \ Friday Closed
视界艺术中心
上海莫干山路50号3号楼210
V ART CENTER
No.210，Building 3
Moganshan RD,M50,Shanghai
4.30－5.21,2015
WE GALLERY
上海市杨浦区军工路1436号（上海五维艺术产业园区）29幢
Building29,No.1436 Jungong Road(Wuwei Creative art park),Yangpu District,Shanghai
策划|Curated by 巢佳幸|Chao Jiaxing
我们在这个时代常提及“用户体验”。它本来自计算机及其网络语境中，是人对产品、系统或者服务的“认知”。倘若我们去讨论那些视为“产品”的艺术生产，那么它涉及的因素归结为人对艺术生产环境的“主观享受”。 我们在此呈现的是一组这类“用户体验”的主体，对象是苹果、是静物、是绘画、是图像、是智能手机、是网络游戏、是发烧友的时间……
“用户展第一部分”首先实现在视界艺术中心space1, 当称为“Iphone垃圾”的网络浏览作品（苗颖｜Ying Miao）遇到服务器障碍时，它被迫作为DVD播放而转为静物；当抽象绘画被穿着成走秀服装时（陈熹|Cheng Xi-我的抽象画如衣服一样吸引人｜My Abstract Painting as attractive as her clothes），艺术家已经再考虑用户的习惯，观众中潜在收藏家成为艺术品的用户；而苹果被疯狂甩置的时刻（陈熹|Cheng Xi - 公主七日｜7P），我们又成为游戏设计中，外观和触感的用户；虽然Robeto de la Torre的灵感来自波兰的日常食物苹果和饥饿现实的悖论，而实际上，艺术家无意成为了传统静物图像的用户。
正是这样，现场行为演出成为滞留展览用户（观众）的转场工具。把观众带到宅男的世界，吹灭的是图像的背景，是导入iPhone图片的过程，是艺术家揉搓说唱，新闻，生活方式表象的过程。此刻表演者又是谁的用户（王懿泉|Wang Yiquan）？用玫红光谱的移动式房间“我们将改变艺术界” （王欣|Wang Xin），当作艺术家抑或策展人用户的画廊感觉好吗？而10个球体视频可能并非关乎制作媒介，仅仅是对“造型”命题欲望的用户尝试；来自淘宝的IPAD广告图，一本正经地被放大成抽象绘画（苗颖|Miao Ying－泰特抽象画），硬把展览的服务对象傍身为虚拟或现实环境的双重用户。对身边人事物情态的记录告诉他者：自己是时间的用户；而展览成为人群的用户（龚剑|Gong Jian）。而web浏览器的实践反复提醒我们，这是一组实际的艺术环境的“用户体验” ，不置可否！（徐文恺|aaajiao）。
We are often concerned about “Customer experience” in our time. It originally comes from the computer and internet contexts, referring to people’s “assessment” on the product, the system, or its customer service. If we were to discuss artistic production as the “product”, then we would be referring to elements of “subjective enjoyments” in the environment of artistic production. Hereby, we are presenting a series of subjects for “customer experience”, the object is the apple, the still object, the painting, the iconography, the smart phones, the internet games, the aficionados’ time…
“Customer Exhibition Part I” was first realized at the Visual Art Center Space 1, in which, the so-called, “Iphone trash” web-surfing artwork (Miao Ying) encountered server errors, it was forced to be converted into DVD format and played as still objects; where abstract painting was worn as fashion (Chen Xi/My Abstract Painting as attractive as her clothes), as the artist was already considering the customers’ habits, the potential collectors among the viewers became the users of the artwork; when the apple were thrown madly (Chen Xi/7P), we became the users of the surface and the player in designing a video game; even though Robeto de la Torre’s inspiration came from the paradox of the everyday food apple and the reality of starvation in Poland, in fact, the artist had no intension to become the user of traditional still object image.
In this case, the performance at the scene will become the transitioning tools for the customers (users) of the exhibition. The exhibition will bing the viewer to the world of the geeks, where the background of the image will be blown out, it is not only a process for the artist to import the iphone images, but also that in which the artist amalgamates rap, news and the manifestations of life styles. At that moment, whose customer is the performer (Wang Yiquan)? In the set up of a mobile rooms lit in pink, where “We will change the art world” (Wang Xin), how would the user of an art gallery feel for an artist or curator? And the ten spherical video might have little to do with the medium of production, but act as a desired “compositional” subject for the customer to experience; the IPAD ads image from Taobao, has been formally translated into large abstract paintings (Miao Ying/Tate Abstract Painting), forcefully transforming the objects of the exhibition as the user of a virtual and real environment. Telling others about people and circumstances of oneself: the self is the user of time; and the exhibition becomes the user of the viewers (Gong Jian). Moreover, using the search engine of the web repeatedly reminds us, this is an actual series of “customer experience” in an artistic environment, without commitment! (Xu Wenkai/aaajiao).
陈熹|Cheng Xi 苗颖|Miao Ying Roberto de la Torre (USA) 徐文恺|aaajiao 龚剑|Gong Jian 王欣|Wang Xin，王懿泉|Wang Yiquan
现场演出|Performence: 4.30|April 30th ,2015
王欣|Wang Xin - 17:30 pm
王懿泉|Wang Yiquan - 18:30 pm
3.23－5.10,2015
11:30－18:00 ,周一、周五 闭馆｜Monday \ Friday Closed
视界艺术中心
上海莫干山路50号3号楼210
V ART CENTER
No.210，Building 3
Moganshan RD,M50,Shanghai
4.30－5.21,2015
WE GALLERY
上海市杨浦区军工路1436号（上海五维艺术产业园区）29幢
Building29,No.1436 Jungong Road(Wuwei Creative art park),Yangpu District,Shanghai
策划|Curated by 巢佳幸|Chao Jiaxing
我们在这个时代常提及“用户体验”。它本来自计算机及其网络语境中，是人对产品、系统或者服务的“认知”。倘若我们去讨论那些视为“产品”的艺术生产，那么它涉及的因素归结为人对艺术生产环境的“主观享受”。 我们在此呈现的是一组这类“用户体验”的主体，对象是苹果、是静物、是绘画、是图像、是智能手机、是网络游戏、是发烧友的时间……
“用户展第一部分”首先实现在视界艺术中心space1, 当称为“Iphone垃圾”的网络浏览作品（苗颖｜Ying Miao）遇到服务器障碍时，它被迫作为DVD播放而转为静物；当抽象绘画被穿着成走秀服装时（陈熹|Cheng Xi-我的抽象画如衣服一样吸引人｜My Abstract Painting as attractive as her clothes），艺术家已经再考虑用户的习惯，观众中潜在收藏家成为艺术品的用户；而苹果被疯狂甩置的时刻（陈熹|Cheng Xi - 公主七日｜7P），我们又成为游戏设计中，外观和触感的用户；虽然Robeto de la Torre的灵感来自波兰的日常食物苹果和饥饿现实的悖论，而实际上，艺术家无意成为了传统静物图像的用户。
正是这样，现场行为演出成为滞留展览用户（观众）的转场工具。把观众带到宅男的世界，吹灭的是图像的背景，是导入iPhone图片的过程，是艺术家揉搓说唱，新闻，生活方式表象的过程。此刻表演者又是谁的用户（王懿泉|Wang Yiquan）？用玫红光谱的移动式房间“我们将改变艺术界” （王欣|Wang Xin），当作艺术家抑或策展人用户的画廊感觉好吗？而10个球体视频可能并非关乎制作媒介，仅仅是对“造型”命题欲望的用户尝试；来自淘宝的IPAD广告图，一本正经地被放大成抽象绘画（苗颖|Miao Ying－泰特抽象画），硬把展览的服务对象傍身为虚拟或现实环境的双重用户。对身边人事物情态的记录告诉他者：自己是时间的用户；而展览成为人群的用户（龚剑|Gong Jian）。而web浏览器的实践反复提醒我们，这是一组实际的艺术环境的“用户体验” ，不置可否！（徐文恺|aaajiao）。
We are often concerned about “Customer experience” in our time. It originally comes from the computer and internet contexts, referring to people’s “assessment” on the product, the system, or its customer service. If we were to discuss artistic production as the “product”, then we would be referring to elements of “subjective enjoyments” in the environment of artistic production. Hereby, we are presenting a series of subjects for “customer experience”, the object is the apple, the still object, the painting, the iconography, the smart phones, the internet games, the aficionados’ time…
“Customer Exhibition Part I” was first realized at the Visual Art Center Space 1, in which, the so-called, “Iphone trash” web-surfing artwork (Miao Ying) encountered server errors, it was forced to be converted into DVD format and played as still objects; where abstract painting was worn as fashion (Chen Xi/My Abstract Painting as attractive as her clothes), as the artist was already considering the customers’ habits, the potential collectors among the viewers became the users of the artwork; when the apple were thrown madly (Chen Xi/7P), we became the users of the surface and the player in designing a video game; even though Robeto de la Torre’s inspiration came from the paradox of the everyday food apple and the reality of starvation in Poland, in fact, the artist had no intension to become the user of traditional still object image.
In this case, the performance at the scene will become the transitioning tools for the customers (users) of the exhibition. The exhibition will bing the viewer to the world of the geeks, where the background of the image will be blown out, it is not only a process for the artist to import the iphone images, but also that in which the artist amalgamates rap, news and the manifestations of life styles. At that moment, whose customer is the performer (Wang Yiquan)? In the set up of a mobile rooms lit in pink, where “We will change the art world” (Wang Xin), how would the user of an art gallery feel for an artist or curator? And the ten spherical video might have little to do with the medium of production, but act as a desired “compositional” subject for the customer to experience; the IPAD ads image from Taobao, has been formally translated into large abstract paintings (Miao Ying/Tate Abstract Painting), forcefully transforming the objects of the exhibition as the user of a virtual and real environment. Telling others about people and circumstances of oneself: the self is the user of time; and the exhibition becomes the user of the viewers (Gong Jian). Moreover, using the search engine of the web repeatedly reminds us, this is an actual series of “customer experience” in an artistic environment, without commitment! (Xu Wenkai/aaajiao).
