【导语】2021年10月28日，“伸长你的眼睛穿过我——费俊作品（2013—2021）”在武汉合美术馆开展，展览展出费俊近年代表性新媒体艺术作品11件\组。在展陈设置上，费俊将合美术馆展场幻化为一种“让渡空间”，每一位观众的感受，都是通过新媒体的媒介给予展开和实施、完成的。此次展览由合美术馆主办、中电光谷支持、某集体ART+TECH协办，冯博一担任策展人，合美术馆执行馆长鲁虹为展览学术主持，展览2021年10月28日下午在合美术馆正式对外开展，开幕式因疫情原因推迟举行。同时，费俊这次个展也是作为“@武汉·2021”的项目之一。以下为合美术馆执行馆长鲁虹为费俊展览所撰写的跋。

跋

在上个世纪60年代，当美国艺术家沃霍尔以设计师的身份介入艺术领域的时候，很少有人意识到他出现的重要性，以及他对未来艺术史走向所带来的巨大影响，而理论家阿瑟.C.丹托却敏锐的从他的相关作品中发现：即或将低俗的图像放大、重复、并置的做法；或赋入现成品以意义与价值的做法将导致传统艺术史的终结或新艺术史的出现。资料表明，阿瑟.C.丹托的相关理论不仅得到大量艺术实践的有力支持，也对世界当代艺术的走向起到了重要的推动作用！

《预见：有趣的世界》 互联网参与式艺术项目  2021

从这样的角度看，以设计师或教育家身份介入到新媒体艺术领域的费俊，在某种程度上与沃霍尔其实具有一定的相似性。作为一个自称为艺术界的“陌生人”，他在使用新的数码技术进行艺术创作时，常常是从社会现实问题出发，而不仅仅是通过回顾艺术史的传统方式进行创作。很明显，这与许多艺术家都是大不相同的。此外，他在积极面对若干社会问题时，总会力图提出某种可行的方案来加以解决。于是，这既使得他那些具有虚拟性质以及跨学科、互动特点的“另类”作品，无不与世界有着直接的关联，也以独有的方式回答了“前智能时代艺术究竟何为”的问题，因此很值得人们认真对待！

《睿·寻》 手机应用程序 尺寸可变  2019

《睿·寻》 展览现场

举例说吧，他在2019年威尼斯双年展上推出的互动装置作品《有趣的世界》装置一与《有趣的世界》装置二就是艺术家为了回应“愿你生活在有趣的时代”主题所作。前者拥有两种互动方式：其一是观众通过手机程序可参与“有趣的世界”的建造。在此过程中，观众一方面可按艺术家提供的300多种三维模型来建造自己认为“有趣的世界”，另一方面也可以与其他观众联合“建造”，甚至包括接纳恶意或善意的相互“改造”；其二是通过在现场的iPad和应用程序实现对于“有趣的世界”的实时影像漫游。非常有意思的是，此作品还充满了生长性和不确定性，这是由于不断有观众在参与，而艺术家与他的团队也会不断的对游戏进行更新。所以，在整个威尼斯双年展将近半年的展出时间里，作品会不断生长、不断迭代，例如在威尼斯下雨的时候，作品同时会出现下雨的景向。

《有趣的世界》装置二 互动影像装置  尺寸可变  2019

《有趣的世界》装置二是结合人工智能技术的交互式叙事装置，即在观众与作品互动时，装置中的网络摄像头会在识别不同观众的外貌、表情和衣着的色彩等特征的基础上，给每个人打上分类标签，然后，为每一位参与互动的观众生成一段独特的基于虚拟地球的叙事漫游。有一点特别值得人们注意，这二件作品本身并没有实体，只是存在于互联网空间中的一组数据。故在这一点上，它们和传统意义上存在于白盒子空间中的实体作品显得非常不一样。鉴于相关作品很多，在此就不一一例举了。

不可否认，因为知识结构的局限性，也因为当下的一些学者总是受制于传统的艺术标准，所以他们对如何利用新技术来进行艺术创作的看法是相当滞后的，结果也带来了整个解释系统的严重滞后与创作的严重滞后。如果我们要说艺术批评界已经出现“失语”的现象，也绝不为过！

因此，在这样的大背景下，如何面对艺术界之“陌生人”费俊的一系列新作，以及由此引发的不同于传统艺术创作的新走势，还是亟待探讨的问题，衷心希望借费俊个展的举办，能促进大家对相关问题的深入探讨。

是为跋。

鲁 虹

2021年10月18日于武汉合美术馆

Postscript

When American artist Warhol came into art field as a designer in the 1960s, few people realize the importance of his appearance and the enormous influence he had on the future direction of art history. However, the theorist Arthur C. Danto found keenly from his related work that magnifying, repeating and juxtaposed vulgar images or giving ready-made products meaning and value will lead to the end of traditional art history or the emergence of new art history. According to the materials, Arthur. C. Danto's relevant theories are not only strongly supported by a large number of art practices, but also play an important role in promoting the trend of contemporary art in the world!

《移植：有趣的世界》 iPad MR 应用程序  尺寸可变  2021

From this perspective, Fei Jun, who came into the field of new media art as a designer or educator, has certain similarities with Warhol to some extent. As a self-proclaimed “stranger” in the art world, he often creates artworks from the perspective of social realities when using new digital technologies, rather than just the traditional way of reviewing art history. Obviously, this is very different from many artists. In addition, when actively facing some social problems, he always tries to put forward some feasible solutions. Therefore, his “alternative” works with the characteristics of virtuality, interdisciplinarity and interaction are not only directly related to the world, but also answer the question of “what is art in the pre-intelligent age” in a unique way. Therefore, these works are worth taking seriously! For example, Artist Fei Jun created his interactive installations Interesting Worlds Installation 1 and Interesting Interesting Worlds Installation 2 at the 2019 Venice Biennale in response to the theme “May you live in interesting times”. Interesting Worlds Installation 1 has two ways of interaction: first, the audience can participate in the construction of an “interesting world” through a mobile application. In this process, the audience can either build their own “interesting world” base on more than 300 3D models provided by the artist, or collaborate with other audience members to “build”, even accepting mutual “transformation” of malice or goodwill. The second is real-time video roaming of the “interesting world” through on-site iPads and apps. Interestingly, the work is also full of growth and uncertainty, due to the constant participation of the audience and the constant updating of the game by the artist and his team. Therefore, during the exhibition period of the Venice Biennale for nearly half a year, the work can constantly grow and iterate. For example, when it rained in Venice, the works appeared the scene of rain at the same time. Slightly different from Interesting Worlds Installation 1, Interesting Worlds Installation 2 combines artificial intelligence technology of interactive narrative device, namely when the audience interacts with the work, webcams in the device tag each person based on features such as appearance, expression and color of clothing, and then generate a unique narrative tour based on virtual earth for each participant. It is particularly worth people's attention that these two works have no entity, but just a group of data existing in the internet space. So, in this sense, they are very different from the physical works that traditionally presented in“white cube” space. In view of many related works, I will not give an example here.

Undeniably, due to the limitations of knowledge structure and because some scholars are always constrained by traditional artistic standards, their views on how to use new technologies for artistic creation are quite backward, which also brings about the serious lag of the whole interpretation system and creation. If we say that art criticism has appeared “aphasia” phenomenon, it is not too much!

Therefore, in this context, how to treat a series of new works by Fei Jun, a “stranger” in the art world, and the new trend of artistic creation caused by them, which is different from traditional art creation, is still an urgent issue to be discussed. I sincerely hope that Fei Jun’s solo exhibition can promote the in-depth discussion of relevant issues.

So, I wrote this postscript.

Lu Hong

October 18, 2021, United Art Museum, Wuhan