【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。以下为合美术馆馆长黄立平为展览撰写前言：

费俊：从“局外”破局

以人工智能为标志的科技革命对于艺术发展的决定性影响所带来的集体文化焦虑使我们有理由怀疑——从艺术已有的认知范畴向外拓展边界的固有方法是否继续有效。如果艺术方法论的基本逻辑不能产生根本改变，便无法突破原有格局。

首先，费俊从视觉艺术体系的“局内”走向“局外”，坚定站在公共文化立场，从“武器批判”入手，试图打破由精英文化定义一切的格局。拿精英主义开刀——这或许正是马赛尔·杜尚、安迪·沃霍尔、约瑟夫·博伊斯等先行者昂首走入艺术史并长期占据核心地位的真正原因。

《有趣的世界》装置一  互动影像装置  尺寸可变 2019

在费俊看来，作为精英的艺术家不可能，也不应该始终成为话语权的掌控者；与其作为孤芳自赏的表达者，还不如作为激发大众创造力的方法提供者——这与互联网时代去中心化的价值潮流一脉相承。既然当代艺术的根本意义在于创造、创变和创生，那么，从“局外”获取创新破局的动力肯定是明智之举。大众主体、场域互联、人机共生——由此形成具有强烈时代精神的艺术生态机制，显现出一种构建新格局的无穷张力。

其次，费俊对于以人工智能的技术体系和发展趋势抱有极大热情并有着深刻理解；他十分看重科技与艺术思维互动所带来的认知革命。平心而论，近一百多年来，人类在艺术领域所取得的成就比起科技和商业领域创新的诸多革命性突破要逊色得多。或许，这正好说明了艺术创造思维模式单一的局限性。因此，科技思维对于艺术创新的“认知升维”意义非凡。费俊的“局外”视角也初步证明，吸纳雄浑科技力量的加持，艺术的表现力和震撼力有机会得以无限放大。

《姿态云_姿态墙》互动装置  尺寸可变  2013 与朱迪思·道尔合作作品

《姿态云_姿态墙》展览现场

人工智能是人类认知世界的全新手段和改变世界的全新方式。毫无疑问，随着人工智能突破了若干根本性技术瓶颈（如智能控制、情绪识别与图像理解、遗传编程等），必然紧张倒逼人类对自身遗传方式作出革命性改变，比如基因改良和人机融合技术的普遍应用等等。费俊的艺术“局外”角度和他以艺术的名义所构想的各种自然人与人工智能的结合方式为我们生动展示了艺术表达的多种“升维”可能；同时，也指引了一条将调动大众的文化主体意识与激励“普度众生”的精英情结有效统一的艺术路径。

马赛尔•杜尚曾经无可辩驳地断定，艺术只会在“观念”中存在。从此，“形式”变得不再具有价值意义。今天，我们有条件预测，在人机融合共存的时代，“观念”不再专属于“精英”，也不再被拿来当作艺术神坛上的“祭品”；而极有可能的是，成为无数普通生命的自然存在方式。这或许是未来艺术发展唯一激动人心的方向。之前，费俊并没有煞有介事地发布什么人机共生的艺术宣言，但他的每一件作品似乎都蕴含着一种舍我其谁的使命感。希望这个展览能够成为一种无字的宣言。

《飞鸟集》互动影像装置  1200x200cm 2019

《飞鸟集》展览现场

​Fei Jun: Breaking the game from the“outside”（On behalf of the preface）

Huang Liping

The collective cultural anxiety brought about by the decisive impact of the technological revolution marked by artificial intelligence on the development of art gives us reason to suspect whether the established methods of extending the boundaries of art’s existing cognitive categories continue to be valid. If the basic logic of artistic methodology cannot be radically changed, the original pattern cannot be broken through.

First of all, Fei Jun moves from the “inside” to the “outside” of the visual art system, standing firmly in the position of public culture and starting with “weapon criticism” (practice), trying to break the pattern defined by elite culture. This may be the real reason why pioneers like Marcel Duchamp, Andy Warhol and Joseph Beuys walked into art history and held a central place for so long.

In Fei Jun’s opinion, as an elite artist, neither can nor should always be the master of the voice. Instead of being an expression of narcissism, it is better to be a provider of methods to stimulate the creativity of the masses. This is in line with the value trend of decentralization in the Internet era. Since the fundamental significance of contemporary art lies in creation, change and innovation, it is certainly wise to obtain the power of innovation from the “outside”. Therefore, the mass subject, field interconnection and man-machine symbiosis form an artistic ecological mechanism with strong spirit of the times, showing an infinite tension to build a new pattern.

《时间没有开端，空间没有边界》3.0  动态灯光装置  尺寸可变  2021

与某集体 ART+TECH合作作品 In collaboration with MOUJITI ART+TECH

Secondly, Fei Jun has great enthusiasm and deep insight of the technical system and development trend of artificial intelligence. He attaches great importance to the cognitive revolution brought by the interaction of technology and artistic thinking. It is fair to say that

mankind’s achievements in the arts over the last 100 years have been overshadowed by the many revolutionary breakthroughs in technological and commercial innovation. Perhaps this just shows the limitations of a single mode of thinking in artistic creation. Therefore, scientific and technological thinking is of great significance to the “cognitive dimension” of artistic innovation. Fei Jun’s “outside” perspective also preliminarily proves that with the support of powerful science and technology, the expressive and striking power of art has the opportunity to be infinitely amplified.

Artificial intelligence is a new means of human cognition and a new way to change the world. There is no doubt that as artificial intelligence breaks through several fundamental technical bottlenecks - such as intelligent control, emotion recognition and image understanding, genetic programming, etc. - it will inevitably force us to make revolutionary changes in the way we inherited ourselves, such as genetic modification and the widespread application of human-machine fusion technology. Fei Jun’s “outside” perspective of art and the combination of natural person and artificial intelligence he conceived in the name of art vividly show us a variety of “dimension” possibilities of artistic expression. At the same time, it also guides an effective artistic path that will mobilize the public’s cultural subject consciousness and motivate the elite complex of encouraging “universal living beings”.

Marcel Duchamp once concluded irrefutably that art exists only in “concept”. From then on, “form” becomes meaningless. Today, we can predict that in the era of human-machine convergence and coexistence, “concept” is no longer exclusive to the "elite", nor will it be used as the “sacrifice” on the altar of art. It is quite possible that concept will become the natural way of being for countless ordinary lives. This may be the only exciting direction for the future of art. Previously, Fei Jun did not seriously issue any artistic declaration of man-machine symbiosis, but each of his works seems to contain a sense of mission to give me up and who it is doing it. I hope this exhibition will be a statement without words.

作者：黄立平