++Downloadable program notes++

Algorithmic Art: Shuffling Time & Space
Works on art and technology from Asian cities

In this interdisciplinary media art exhibition, Algorithmic Art: Shuffling Space and Time, twenty-three artists showcase how art and science are engaged in a rich and complex dialogue. The artworks in Algorithmic Art display diverse modes of deploying scientific thinking, from art machines created by eleven local artists drawing inspiration from stories in Chang Shi-kuo’s Chinese-language sci-fi classic Nebula Suite (1980) to Hui Wai-keung Adam’s application and projection of ancient Chinese cosmology onto a modern Hong Kong site; and from Hector Rodriguez’s motion analysis of King Hu’s films using Artificial Intelligence to Toshio Iwai’s pre-cinematic optical toy which marks a key early moment in Japanese media art. Knox + Watanabe (Australia, Japan) and Kim Yunchul (South Korea) thicken our trajectory with robotics and adoption of knowledge in physics respectively. Most of the works by local artists are world premiere, e.g. Kwan Ng, or they are the latest iteration of the artist’s work-in-progress, as in the case of Bryan Chung, Daniel Howe and Janice To. In order not to lose out Hong Kong’s initiation exposure to media art, we have included a mini commemoration site for the late China-born, US-based artist Tsai Wen-ying (1928-2013), to present glimpses of his solo show at City Hall’s Exhibition Gallery in 1979, plus a brief trajectory of his kinetic art creations we have managed to put together.

Algorithmic Art is conceived as a benchmark event that asserts new standards for media art exhibition by including artists whose understanding and mastery of technology is central to their creative process. The exhibition is an effort to move beyond the focus upon perceptual experience alone in most media art shows. Instead, we want to “open the black box” – to reveal what is not seen. The assumptions behind the exhibition are that what makes media art interesting is the process of mediation, that is, the machine processes that lie between the maker’s deliberation and what we perceive and experience; and that knowledge of these processes enhances our appreciation and understanding of machine-made art. In Algorithmic Art: Shuffling Space and Time, we aspire to bring machine work and computational thinking into the domain of common knowledge. Algorithmic Art is a parallel event to Art Machines: International Symposium on Computational Media Art, 4-7 January 2019, at the School of Creative Media. (Linda Lai)


演算藝術 》還留住了一個重要的「缺席」 – 蔡文穎 (1928-2013)。多方張羅,障礙重重,計劃中他的1969年的《方頂》無法帶來香港,最後我們決定把他1979年來港在大會堂高座舉行的個展 的片段重現,也對他的整體貢獻作基本的素描,讓1979這個有可能是香港最早的對媒體藝術的邂逅得以進入這次展覽的時間線。

演算藝術 》的展品致力於揭開媒體藝術一般隱藏的「黑盒」,打破藝術人文與科學的兩分隔離的慣性認知,讓科學於藝術的對話進入日常知識的領域,亦從歷史的「深層」時間線上追溯人類對宇宙以至生命的慾望,編寫科技考古故事。(黎肖嫻)

++Notes on content organization of the print-form proceedings++
The representation of all artists is divided into three parts: (1) Synopsis, Concept and Bio are provided by the respective artists subject to final copy-editing; (2) background, past works and processes are the editorial team’s journalistic work, i.e. extensive search based on found information on published on-line and print media; and (3) “Archaeology” — entirely the editorial and research team’s interpretation of the individual works based on derived keywords.


《演算藝術:劃破時空》“Algorithmic Art: Shuffling Space and Time”


Starting from state “0”, Algorithmic Art is going to present a series of 4 videos, materializing the algorithms of space and time, inviting the audience to discriminate the procedural relations between each iterations.



0 1.

從 「0」到「0 1」- 走過某種程序,在空間放下器物。器物誕生後,將離開創造者的身體,而依然承載器物本身程序和過程的歷史故事。

From the state “0” to “01” – in passing through a certain set of procedures and a process, we deposit objects in space. An object is born; it separates itself from the body of its creator, yet preserving the procedures leading to its birth, and the historical process it embodies.

0 1 / 4