展期 Period：
2024.5.26—2024.6.24
艺术家 Artist：
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新闻稿 Press Release：
弥金画廊即将推出艺术家黄佩姗（Huang Peishan）个展“再制的现场”。展期自2024年5月26日至6月24日。
长久以来，图像作为证据的合法性对摄影而言似乎永恒成立，然而，即使在完全记录客观事实的创作模式之中，也暗藏一种可导向误导性结果的事实，即工具是诚实的，但人不是。随着人工智能生产力进入新纪元，生成结果的无穷尽、纯粹人造性以及工具本身的强不确定性如塞壬之歌，引诱艺术家进行探索，时代语境的更新亦使在过去长久存在的一切普遍定义与观念的坚实权威动摇。
黄佩姗对“人造”概念有强烈兴趣，自2023年春季起开始将AI纳入创作工具范畴。本次展出的最新系列作品中，艺术家从过往熟悉的创作媒介传统摄影、雕塑等出发，结合PS、AI等媒介，对日常生活场景中提取的素材和灵感进行“再造”，多次反复、调试以迫近特定“现场”的预设，实现了对于想象空间的摄影，并以装置形式再呈现“再制现场”。该系列创作可视作目的兼为“试探不同媒介间协同创作的可能性及边界”与“搭建基于艺术家个人喜好的可供情感寄托的虚拟空间”的实验，延续了黄佩姗过往关于模仿、模拟、造物欲望的讨论以及诗学审美偏好的呈现，并借助“人造”题材的特殊语境对“图像作为证据”的合法性提出质疑：艺术家力图创造“看似正确”却藏有破绽的图像，将其定义为对于想象空间的摄影，图像看似成为情景想象切实存在的证据，破绽同时成为了图像内空间及景观通过数字编辑模拟才得以达成“仿真”的证据。
Gene Gallery is pleased to present Huang Peishan's solo exhibition “Remade Scenes”, from 26 May 2024 to 24 June 2024.
The legitimacy of the image as evidence has long seemed eternal for photography, yet even within a mode of creation that is a complete record of objective facts, there is a hidden truth that can lead to misleading results: though the tools are honest, those who use them are not. As the productivity of Artificial Intelligence enters a new era, the endlessness and the pure artificiality of results, as well as the strong uncertainty of the tools themselves, are like the Song of Sirens, luring artists into exploration. At the same time, renewed context of the times shakes the solid authority of all the universal definitions and perceptions that have existed for so long in the past.
Strongly interested in the notion of "artificiality", Huang Peishan has been incorporating AI into her creative tools since spring 2023. In the latest series of her works on display, the artist starts from the familiar mediums of traditional photography and sculpture, and combines them with PS and AI to "re-create" materials and inspirations extracted from daily life scenes. By repeating and debugging several times to approach a specific "scene" preset, the artist realizes the photography of imaginary space, and re-presents the "reproduced scene" in the form of an installation. This series of works can be seen as an experiment that aims to both "exploring the possibilities and boundaries of co-creation between different media" and "building a virtual space for emotional support based on the artist's personal preferences”. It continues Huang Peishan's previous discussions on imitation, simulation, the desire to make things, and poetic aesthetic preferences, and questions the legitimacy of "image as evidence" in the specific context of "man-made" subjects: the artist seeks to create "seemingly correct" but flawed images, which are defined as photography of imagined space, which the image appears to be evidence of the actual existence of the imagined situation, while the flaws become evidence that the space and landscape within the image have been digitally edited and simulated to achieve "simulation".
