LIU CHUANG

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Opening Reception: Friday, September 6, 18:00 - 20:00
CONVERSATION: Liu Chuang with Yang Beichen Moderator: Defne Ayas
Sunday September 8, 15:00
Sıraselviler Caddesi. No:83, Kat -1, Cihangir, İstanbul
Under construction site of Pilot Galeri, enter through the passage

Exhibition runs: September 6 - October 5, 2019
Open: Wednesday - Saturday 12:00 - 18:00

Click here for press images

Protocinema presents Liu Chuang’s new three-channel video installation Bitcoin Mining and Field Recordings of Ethnic Minorities(2018). Researched with Yang Beichen, curator/researcher, this work connects hydraulic projects and Bitcoin mines in southwest China, a chain of exchange between energy and information. This video installation draws lines between evolutions in sound, music and the trajectory of cinema, inside technologies’ effect on societies worldwide and throughout history.

Today, bitcoin mines that take up about 70 percent of the world's computing power are distributed in Southern Asia, overlapping with the Zomia regions, abundant in hydropower. The ethnic minorities in this video installation refer specifically to this region. As the geopolitical role of China, as well as technology itself, is in the midst of rapid change, the sensitivity of this work is emphasized. This work weaves into one narrative seemingly unrelated subjects: bitcoin mining and field recordings of ethnic minorities. The origins of these two infrastructures are intimately interwoven with the history of nation states: one is a technology of culture, using modern recording and photographic technologies, as well as museums and the archive to construct knowledge systems of modern nations; the other is a virtual currency technology existing on the internet, one that attempts to find a way out of centralized national currency systems—it shares certain similarities with the gift economy of ethnic minorities.

Bitcoin Mining and Field Recordings of Ethnic Minoritiesnot only scans concentrated areas of bitcoin mines with drones as a part of its field study, it also cites early archival footage, along with two renowned 1970’s science-fiction films—Spielberg's Close Encounters of the Third Kind, as well as Tarkovsky's Solaris. The three-channel video analyzes the sources of the sounds and images of alien characters in the films, concluding that they are in fact taken from the audio and visual archives that early anthropologists accumulated of different ethnic minorities during their field research. As the material memory of the earth, the energy residing at the geological surface is abstracted into a virtual currency that escapes the nation. Both participate in the construction of the larger other external to the earth.

Bitcoin Mining and Field Recordings of Ethnic Minorities, 2018, was commissioned for Cosmopolis #1.5 : Enlarged Intelligence with the support of the Mao Jihong Arts Foundation. Following the exhibition at Protocinema in September the work will travel to Ural Biennale, Taichung Asian Biennale, and Cosmopolis#2, Pompidou, in 2019 and Dhaka Art Summit, 2020, courtesy Antenna Space, Shanghai; Protocinema, Istanbul, New York.

Liu Chuang lives and works in Shanghai. Solo exhibitions include: Antenna Space co Qiao Space (2019); Mother’s Tankstation, London (2018); Magician Space, Beijing (2015); K11 Wuhan, Wuhan (2015); Taikang Art Space, Beijing (2014); Kunsthall Stavanger, Stavanger (2014); Salon 94 Freemans, New York (2014); Leo Xu Projects, Shanghai (2012). Major group exhibitions include: Cosmopolis #2, Centre Pompidou, Paris(2019); 5th Ural Industrial Biennial Of Contemporary Art, Ekaterinburg, Russia(2019); Cosmopolis #1.5: Enlarged Intelligence, Centre Pompidou & Mao Jihong Arts Foundation, Chengdu, China(2018); Long March Project:Building Code Violations 3 - Special Economic Zone, Guangdong Times Museum, Guangzhou, China(2018); Foundation Louis Vuitton, Paris (2016); Para Site, Hong Kong (2016); Haus der Kulturen der Welt, Berlin (2016); 10th Shanghai Biennale curated by Anselm Franke, Shanghai (2014); 10th Gwangju Biennale, Gwangju (2014); Tampa Museum of Art, Tampa (2014); Rubell Family Collection, Miami (2013); UCCA, Beijing (2013); Whitechapel Gallery, London (2012); Minsheng Museum, Shanghai (2011); China Power Station, Pinacoteca Agnelli, Turin (2010); New Museum of Contemporary Art, New York (2009); and Astrup Fearnley Museum of Modern Art, Oslo (2007). Liu Chuang is represented by Antenna Space, Shanghai.

Protocinema commissions and presents Site-Aware Art around the world. We produce context-specific projects of the highest artistic quality that are accessible to everyone. Protocinema evokes empathy towards understanding of difference, across regions though exhibitions, public programing and mentorship. Founded by Mari Spirito in 2011, Protocinema is a non-profit 501(c)3, free of 'brick and mortar', sites vary to respond both to global concerns and changing conditions on the ground.

刘窗：比特币矿和少数民族田野录音
开幕:9月6日，星期五，18:00 - 20:00
对谈: 刘窗与杨北辰，9月8日，星期日，15:00
展览时间:2019年9月6日至10月31日
Protocinema，伊斯坦布尔

Protocinema将展示刘窗最新的三通道视频装置《比特币矿和少数民族田野录音》(2018)。艺术家与策展人/研究员杨北辰共同完成调研，借这件作品将中国西南地区的水利工程和比特币矿连接起来，形成了一条能源和信息之间的交流链。并综合地对声音的进化、音律和电影的线性轨道发展、以及科技内部作用于全世界社会甚至整个人类史的成果进行了关联。

如今，占据全球约70%计算能力的比特币矿分布在南亚，与水力资源丰富的赞米亚地区重叠。视频装置中的少数民族即特指该地区。由于中国的地缘政治角色，以及技术本身都正处于快速的变化中，作品的敏感性在这里得到了强调。《比特币矿和少数民族田野录音》从这些早期信息网络的基础建设的蛛丝马迹出发，将两种看似无关的事物放在一起论述：比特币矿和少数民族田野录音。这两者的基础设施的根源和现代国家的历史都有着千丝万缕的关系，一个是文化的技术，借助现代的录音和影像技术，博物馆和档案馆构建了现代国家的知识体系，一个是基于互联网的虚拟货币技术，试图从中心化的国家货币体系中逃逸——这和少数民族的礼物经济有相似的特点。

《比特币矿和少数民族田野录音》不仅用无人机在比特币矿的密集区进行田野式的扫描，还引用了一些早期的摄影档案，以及两部有名的科幻电影，斯皮尔伯格的《第三类接触》以及同样拍摄于20世纪70年代的塔可夫斯基导演的《索拉里斯星》。这部三屏动态影像分析了其中的一些外星人角色的声音和图像的来源，其实都取材于作为人类记忆的早期人类学田野中收集的不同种族的声音和图像的档案，而作为地质表层的能源作为物质层面的地球记忆，也正在被抽象为一种试图逃逸国家的虚拟货币，而这两者都在共同参与对地球之外的大他者的建构。

《比特币矿和少数民族田野录音》，受“全球都市”国际艺术双年展委任制作，由毛继鸿艺术基金会支持。9月份在Protocinema伊斯坦布尔展览之后，将于2019年巡展乌拉尔双年展、台中亚洲双年展和蓬皮杜“全球都市#2”，以及2020年达卡艺术峰会，所有图片由艺术家，天线空间及Protocinema惠允。

刘窗目前居住和工作在上海。主要展览经历包括: 天线空间与乔空间联合个展，上海（2019）；Mother’S Tankstation个展，伦敦（2018）；魔金石空间个展，北京（2015）；武汉K11(2015); 泰康空间，北京（2014）；Kunsthall Stavanger 画廊,斯塔万格（2014）; Salon94 画廊Freemans 空间,纽约(2014)。主要群展: Cosmopolis #2，蓬皮杜艺术中心，巴黎（2019）; 第五届乌拉尔工业双年展，叶卡捷琳堡，俄罗斯(2019)；“全球都市”国际艺术双年展，蓬皮杜艺术中心&毛继鸿艺术基金会，成都(2018) ; 长征计划：违章建筑3 - 特区，广东时代美术馆，广州(2018) ; 路易威登基金会，巴黎(2016); Para Site, 香港(2016); 社会工厂——第10 届上海双年展,上海(2014);烧毁房子——第10 届光州双年展, 光州(2014);坦帕美术馆,坦帕(2014);卢贝尔家族收藏,迈阿密(2013);尤伦斯当代艺术中心,北京(2013);白教堂画廊,伦敦(2012);民生现代美术馆,上海(2011);阿涅利美术馆,都灵(2010);新当代艺术博物馆,纽约(2009);阿斯楚普•费恩利现代艺术馆,奥斯陆(2007)。

Protocinema在全球各地委任制作并展示具有在地感知性的艺术。 我们制作最高艺术品质且符合在地特征的项目。 通过展览，公共计划和指导项目，以唤起对跨地区理解差异的同理心。Protocinema由Mari Spirito于2011年创立，是一个非营利性的501（c）3，没有“实体”，各地的场地不同，以回应全球关注及不断变化的实际情况。

欲了解更多信息，请联系Mari Spirito，mari @ protocinema.org +1917 660 7332 +90541468 02 14，或Ela Perşembe，电子邮件：ela@protocinema.org +90 531 923 3778

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