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➤ Camata, 2024, Robotics driven by machine learning, self-directed film, edited in real time by self-learning algorithms, sound, sensors, Winsing Arts Collection
Pierre Huyghe
「當開始一個項目時，我經常需要去創造一個世界。接著，我會進入這個世界，而我在其中的探索就是作品本身。」— 皮耶．雨格
"As I start a project, I always need to create a world. Then I want to enter this world and my walk through this world is the work." - Pierre Huyghe
➤ Camata III, 2024, Photograph, 77 x 109 x 3 cm, Winsing Arts Collection
➤ Camata, 2024_Stills
人類與非人類之間的互動在雨格的作品中扮演著重要角色，無論是動物、植物還是神經網路，這些元素都能學習、調整和進化。雨格表示：「通常我們會把展覽視為一個結束，是某種事物的結果。然而，展覽其實並不是一個過程的終點，而是一個不斷變化的儀式——它是通往其他地方的起點。」他認為藝術不是簡單的展示，而是一種不斷演變的過程體驗。在他的作品和展覽中，這不僅是藝術的展現，更是促進觀眾思考和參與的過程。
Interactions between humans and non-humans play a crucial role in Huyghe’s work. Whether animals, plants, or neural networks, these elements possess the ability to learn, adapt, and evolve. “Usually, we think of an exhibition as an endpoint, a resolution of something. The exhibition is not the end of a process but a continuously changing ritual—the starting point to an elsewhere,” said the artist. He sees art not as a static display but as an experience that continuously evolves. Art is more than a presentation in his practice and exhibitions. It gravitates toward a process that engages the audience, prompting them to ponder and actively participate.
➤ Camata, 2024_Installation Views
本次在文心接續威尼斯海關現代美術館展出作品《Camata》，此部錄像拍攝在智利阿塔卡馬沙漠中的一具骷髏，通過機器學習介入控制，即時自導並剪輯影像。另一件作品金黃色的面具《Idiom》，則透過感測器偵測人類無法察覺的特定特徵，並將這些信息轉化為特定的音素和句法，以創造屬於它自己的語言。展覽還回顧了早期作品《Crystal Cave》與《À Rebours》，在現實與超現實交織的洞穴、無生命的毛皮大衣與重生的形態中，反思人類和其他實體的傳統界限，以及真實與虛構在當代社會中的意義。
In the current exhibition at Winsing Art Place, following its showcase at the Punta della Dogana in Venice, Camata is a video piece capturing a skeleton in Chile’s Atacama Desert. Controlled in real-time by machine learning, the work autonomously directs and edits itself. Another piece, Idiom, features a golden mask that uses sensors to detect imperceptible human traits and further translates this data into specific phonemes and syntax to create its own unique language. The exhibition also revisits earlier works, Crystal Cave and Á Rebours, where a cave, lifeless fur coat, and forms of rebirth interweave between the real and surreal. Here, Huyghe explores conventional boundaries between humans and other entities. These intersections beckon reflections on the meaning of truth and fiction in contemporary society.
➤ Circadian Dilemma (El Día del Ojo), 2017, Aquarium, Astyanax Mexicanus (eyeless and with eyes), algae, cave scan cast in concrete, black switchable glass, geo-localized program, 137 x 123 x 164 cm, Winsing Arts Collection
➤ Crystal Cave (Sleeping), 2009, Photograph, 66.8 x 94.4 x 3.4 cm
雨格於1962年出生於法國巴黎，他的作品跨越多種媒介，包括電影、限地製作、雕塑和環境。他的作品被視為推想式的虛構故事，常常呈現為各種智慧形式之間的連續性，包括生物技術和有形的惰性物質，這些形式能夠學習、改變和進化。他在威尼斯海關現代美術館、倫敦蛇形藝廊、紐約大都會美術館、洛杉磯郡立美術館、巴黎龐畢度藝術中心和倫敦泰特美術館等國際藝術機構舉辦個展。雨格曾獲得多個獎項和榮譽，包括2002年和2017年的Hugo Boss獎和納什爾雕塑獎。
Born in 1962 in Paris, France, Pierre Huyghe creates art that spans diverse media, including film, site-specific works, sculpture, and situations. His works are conceived as speculative fiction and often present themselves as continuity between a wide range of intelligent forms, biological, technological, tangible inert matter that learn, modify and evolve. Huyghe has held solo exhibitions at major international art institutions, such as the Punta della Dogana in Venice, the Serpentine Gallery in London, the Metropolitan Museum of Art in New York, the Los Angeles County Museum of Art, the Centre Pompidou in Paris, and Tate Modern in London. He is the recipient of numerous awards and accolades, including the Hugo Boss Prize in 2002 and the Nasher Prize for sculptures in 2017.
