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龙星如和周姜杉是一个基于北京的艺术组合,屏幕间创办人 screenroom.cn。他们的作品探讨实时系统中个人与社会集体的关系。他们的创作涉及计算机科学、视觉艺术和叙事, 使用现实世界所获取的数据创造多感官的反馈系统,邀请参与者对特定议题的讨论。

龙星如 2018年 获得现代汽车青年策展人奖 Blue Prize 持续创新奖;2017年担任中国当代艺术博览会CIGE 当代艺术计划的策展人;2017年龙星如编译《重思策展:新媒体后的艺术》并获第十一届 AAC 艺术中国年度艺术出版物提名。龙星如也是中央美术学院科技艺术方向研究员。周姜杉2018年担任NOVA交互新媒体艺术大奖复审评委。

2014年龙星如和周姜杉共同创作了中国当代艺术互动数据可视化作品 , WOW CCAA, 展出于上海当代艺术博物馆(PSA)《漫步中国当代艺术大奖 15 年》。2013 年,龙星如和周姜杉联合策划了中国首个数据艺术展览,《信息新浪潮——英国信息可视化艺术设计展》, 展出于中央美术学院美术馆。周姜杉和龙星如的作品在国际范围展出,其中包括英国维多利亚与艾尔伯特 (V&A) 博物馆,荷兰 V2 不稳定媒体机构,法国 LE CUBE,柏林 Momentum,香港艺术中心、北京 CAFA 美术馆。

龙 星如拥有英国皇家艺术学院的硕士学位。周 姜杉拥有英国中央圣马丁艺术与设计学院及伦敦大学金匠学院的硕士学位。

 

展览
未来演化 —— 我们的共享星球,现代汽车文化中心,北京,2018.11
数据·图像·异轨,GESSOISLAND艺术空间,沈阳,2018.10
永生市——常青藤计划2018,天津滨海艺术中心,2018.9
未来折叠,金鸡湖美术馆,苏州,2018.9
女神,杭州工艺美术馆,杭州,2018.9
TED三里屯 RE_ME,三里屯橙色大厅,北京,2018.4
未来的异想,南国设计中心,武汉,北京,2018.4
渲染的风景,现代汽车文化中心,2017.12
深圳城市建筑双年展,33 画廊,深圳,2017.12
.zip 未来的狂想,今日美术馆,北京,2017.7o
监控,CIGE艺术家项目,北京,2016.8
看的见风景的房间,妙有艺术,北京,2016.11
文化 R>evolution,香港艺术中心, 香港 2016.5
Prix Cube 数位艺术青年艺术家提名展 2016,Issy-les-Moulineaux,法国,2016.4
索尼探索者计划,上海民生美术馆,上海,2015.5
虚空,今格空间,北京,2015.4
想象不可想象之事,Momentum,柏林,2015.2
IFVA独立短片及影像媒体节 2015,香港艺术中心,香港,2015.2
未来展,CAFA美术馆,北京,2015.1
新媒体艺术年代学,四川美术学院,重庆,2014.11
夏令营,新时线媒体艺术中心,2014.11
WWWK 艺术节2014,V2 不稳定媒体艺术中心,鹿特丹,2014.9
大声展2014,三里屯橙色大厅,北京,2014.9
中国当代艺术大奖15年,上海当代艺术博物馆,上海,2014.4
此时此地,圣詹姆士教堂,伦敦,2013.9
创意运算博览会,金匠学院,伦敦大学,2013.6
国际新媒体艺术展,OCT-LOFT 艺术展台,深圳,2013.5
运算艺术,Waterman艺术中心,伦敦,2013.1
Crypta 无声的独白,The Crypt,伦敦, 2012.8
当下,中国年轻艺术家展,SW1 画廊,伦敦,2012.8
数字未来,V&A博物馆,伦敦, 2012.10
实验新思,Lethaby画廊,2011.10

 

演讲&工作坊
中韩当代艺术论坛,首尔,2018.11
边界与开拓,中间剧场 X 706 青年空间,北京,2018.10
人工智能、身份与未来艺术,歌德学院,北京,2018.10
ISEA 国际电子艺术研讨会 2016, 香港 2016.5
Draft,孟买,2015.6
艺术家日志计划,西湖苹果店,杭州,2015.9
开放硬件,同济大学,上海,2015.3
实践未知领域,四川美术学院,重庆,2014.10
融纳之媒,设计上海,2014.9
与新媒体说再见,中国美术学院,2014.8
数字人文艺术研究研讨会,格林威治大学,2014.8

 

奖项和提名
现代汽车BluePrize创新未来奖, 2018
AAC艺术中国年度艺术出版物提名,2017
Prix Cube 数位艺术青年艺术家提名,2016
IFVA独立短片及影像媒体节特别提名奖,2015
第一届IAAC国际艺术评论奖英文入围评论,2015

 

策展
Drive Range, PPPP, 北京, 2018
R=a(1-sinθ), 七木空间, 北京, 2018
信息中的鬼魂,PPPP, 北京, 2018
我在这里,摩登天空,北京,2018
面朝大海,多余美术馆,深圳, 2017
CIGE当代艺术计划,北京,2017
粉末时间,北京,上海,柏林,2017
身体,妙有艺术,北京,2017.3
黄河今流,云图画廊,纽约 | 单向空间,北京,2016.10
Stones Throw 20周年北京, 东区故事 D•Live,北京,2016.5
城市代码I,II,III,北京奥迪中心,2013,2014,2015
信息新浪潮,中央美术学院美术馆,2013.9

 

翻译与出版
重思策展,清华大学出版社,2016
信息可视化的艺术,机械工业出版社,2014

 

艺术驻地
夏令营,V2不稳定媒体艺术中心,鹿特丹,2014.9

 

The work of Iris & Cedar discuss the relationship between individual and group in a real-time social system context, making tangible the invisible forces between individuals under different sociological and psychological influences.

In 2018 Iris Long was awarded Hyundai Blue Prize 2018 Sustainability award. In 2017, Iris was curator of CIGE Project Asia, Iris’s translation, Rethinking Curating: Art after New Media, was nominated as 11th AAC publication award. Iris is also a researcher of art and technology at CAFA. In 2018 Cedar was jury of NOVA Interactive art award.

In 2014 hey co-created an archive data visualisation show about Chinese contemporary art, the CCAA WOW at Power Station of Art, Shanghai. In 2013 Iris & Cedar co-curated Information in Style: information visualisation in the UK, art and design exhibition at the CAFA Art Museum. Their works have exhibited internationally at venues including Victoria and Albert Museum in London, UK, Waterman Art Centre in London, UK, OCT-LOFT Art Terminal, Shenzhen, China, and Audi City Beijing, China.

Iris has a master degree from the Royal College of Art. Cedar has a MA degree from the Central Saint Martin Collage of Art and design, University of Arts London and a MFA from the Goldsmiths Collage, University of London.

EXHIBITION AND PRESENTATIONS
Future Humanity – Our Shared Planet, Hyundai Moto Studio, Beijing, November, 2018
DATA, IMAGE, DETOURNEMENT,Gessoisland/Artspace, Shenyang, October, 2018
IVY ART 2018, Tianjin Binhai Art Museum, September, 2018
Future of Today, Suzhou Jinji Lake Art Museum, September, 2018
Goddess, Hangzhou, Hangzhou Craft & Art Museum, September, 2018
Re-Me, TED Sanlitun, Beijing, April, 2018
Future of Today, Wuhan Design Centre, Wuhan, April, 2018
Rendered Landscape, Hyundai Cultural Center, 2017
Bi-City Biennale of Urbanism Architecture, 33 Gallery, Shenzhen, 2017
Future museum, Today Art Museum, Beijing, July, 2017
Surveillance, CIGE 2016, Beijing, Aug, 2016
a room with view, MOUart, Beijing, Nov, 2016
ISEA 2016, Cultural R>evolution,HongKong, May, 2016
Prix Cube 2016, Issy-les-Moulineaux, France, April, 2016
Sony Explorer Program, Mingsheng Art Museum,  Beijing, May, 2015
Void, Ginkgo Space, Beijing, April, 2015
Thinking about the Unthinkable, Momentum, Berlin, February, 2015
IFVA award 2015, HongKong Art Centre, HongKong, February, 2015
Future Show, Cafa Art Museum, Beijing, January, 2015
New Media Art Chronology, Chongqing, November, 2014
Summer Session, Chronus Art Centre, Shanghai, September, 2014
Festival WWWk 2014, V2 Institute for the Unstable Media, Rotterdam, September, 2014
Get it Louder 2014, Sanlitun Village, Beijing, September, 2014
CAA15 Years, Power Station of Art, Shanghai, April, 2014
NowHere, St James Church , London, September, 2013
Creative Computing Expo, Goldsmiths, University of London, London, June, 2013
International New Media Art Exhibition, OCT-LOFT Art Terminal, Shenzhen, May, 2013
Computational Studio Arts, Watermans Arts Centre, London, January, 2013
Crypta Silent Monologue, The Crypt, London, August, 2012
SHOWING, Chinese Young Artist, SW1 Gallery, London, August, 2012
Digital Futures, V&A Museum, London, October, 2012
Experiments in new thinking, Lethaby Gallery, October, 2011

TALK AND WORKSHOP
Draft, Mumbai, June, 2015
Arduino Day, Tongji University, Shanghai, March, 2015
Practices in Unknown Field, Sichuan Fine Art Institute, Chongqing, October, 2014
Design Shanghai, Shanghai Exhibition Center, September, 2014
Farewell New Media Art, China Academy of Art, Hangzhou, September, 2014
DRHA 2014, Greenwich University, London, August, 2014
Renmin University of China, Beijing, 2014
Sichuan Fine Art Institute, Chongqing, 2013

AWARD
AAC publication nomination, 2017
Prix Cube young artist shortlist, 2016
IFVA media art special mention, 2015
IAAC curatorial shortlist, 2015

CURATION
Drive Range, PPPP, Beijing, 2018
Surpassing r=a(1-sinθ), Sevenwood, Beijing, 2018
i AM HERE, Modern Skay Lab, Beijing, 2018
Facing the sea, EXTRATIME, Shenzhen, 2017
CIGE Project Asia, Beijing, 2017
Time Divisual, Beijing, Shanghai, Berlin, 2017
Body, MOUart, Beijing, Mar, 2017
Yellow River Runs forward, OWspace, Beijing, Oct, 2016
Audi City Code II, Audi City Beijing, Beijing, December, 2014
Audi City Code, Audi City Beijing, Beijing, December, 2013
Information in Style, CAFA Art Museum, Beijing, September, 2013

PUBLICATIONS & Translation
Rethinking Curation, Chinese Edition, Qinghua University Press, 2016
The Art of Data Visualization in the UK, China Machine Press, 2014

ARTIST IN RESIDENCY
Summer Session, V2 Institute for the Unstable Media, Rotterdam, September, 2014

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Distance Between You and Me

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《我和你的距离》可视化我与你的距离。作品精确地记录着我发给你的快递,从发出到接收之间所有细微的震动和声音,直到两个人之间的距离和其间发生的所有一切成为一个物件。作品包含一个可放置桌面、挂置墙面的led装置以及一个保存该装置所展示内容的录音笔。艺术家为这件作品的藏家提供三年三次从A到B之间的距离的录音可视化转译至led装置中。《我与你的距离》可能来自在同一城市但并不相见的,远隔重洋无法相见的,甚至是“距离”对你们来说是一种无法表达情感的人。你和接收者之间的距离从来不可见,直到这个作品出现。我希望我走向你的每一步都有意义。

Beyond Tags

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BEYOND TAGS在运行中书写自身,讲述数字暴涨现实中,“自我”的流逝、降解、重组与更迭。全球互联网在1分钟内传送的数据大约为64000Gb, 软件的场景分工也界定了我们的每日产生数据的分类、流向与结构我们“提交”和“上传”的内容,是对“自我”意识的线上策展,而这些界定我们是谁的数据单元,也可能是数字时空里的牢笼。数据库是否内嵌不成文的规则,这些规则是否会反过来驯化与改写我们自己?意识在数字空间里的流动是否真的更自由?作品模拟当代社交软件的交互方式与逻辑,人们可以通过扫描二维码参与讨论、提交与上传内容。 Details »

I went down yesterday …

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I went down yesterday to the Piraeus with Glaucon the son of Ariston by Plato. In The Republic, Book VII, Plato depicts a cave where people have been imprisoned from birth. These prisoners are chained so that their legs and necks are fixed, forcing them to gaze at the wall in front of them. The prisoners cannot see any of what is happening behind them, they are only able to see the shadows cast upon the cave wall in front of them. Socrates suggests that the shadows are reality for the prisoners because they have never seen anything else. Details »

a room with a view

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In the beginning of 2016, an exhibition at the Whitechapel Gallery in London used the term “electronic superhighway” to address artistic forms and languages in the media age. In a Guardian review, we are described as “roadkill” on this superhighway. The freedom of information has brought great convenience: mobile pay, location sharing and all-round social networking softwares have endowed us with legitimate avatars of ourselves in the digital world. However, in the same time, it also interrogates Details »

News Scope

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“News” takes online news feed and converts them into keywords based on a customised semantic analysis. The final result was an interactive experience, which participants signed to a piece of real time news from the web and they could comment or fake a story. By creating a mediated space, the piece encourages people to re-explore and re-sense the physical world as they find their way out in the virtual yet physical maze. The work was first showed at “Artist.log” event at Westlake, Apple Store.
Details »

Third Eye

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Third Eye is an interactive installation, isolating people’s visual perception from the physical world. The piece is a wearable device composed of two parts: a wifi lens camera, AR glasses, and a re-designed helmet. When put on, the device will offer the user a sequence of mediated perspectives, higher vision, mirrored vision, and upside down vision. The experience environment of Third Eye is composed of three parts: the device, a maze, and the user. Although the system is the same, identical results will occur depending on the Details »

Surveillance 2.0

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Surveillance II is a piece composed of an arabidopsis plant and a digital screen. On the space station, normal arabidopsis plants used to be exposed under different environmental conditions for scientific examination. In Surveillance II, an arabidopsis plant is positioned in a “space capsule”, the micro-environment data (wind, light, air pressure) is synced with that of the location where the news takes place. Meanwhile, as a response to these “news radiation”, the oxygen released by the plant is also tracked and displayed in real-time. Details »

Place Talk

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Place-Talk is about conversation and places, exploring how local people from one specific site respond to the curiosity of people from other places. The idea is to have a travelling box as a metaphor of a traveller who is tired of travel guides websites and apps, and who wants to understand the destination via conversations with locals.The box itself is also a physicalisation in response to virtual dialogues.
There is a screen on the box, displaying messages from people who submit messages on the project website. Details »

WOW! CCAA

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WOW! CCAA^1 is an archival visualisation collaboratively developed by Cedar Zhou and Iris Long. It explores how data visualisation fits into contemporary exhibition/museum knowledge transfer and aesthetic experience. WOW! CCAA is composed of two parts: a looping seven-minute sequence of programmed frameworks, and a visitor interaction mechanism called CCAA Now, projected onto a 35-metre-long corridor in Shanghai Power Station of Art. While the physical corridor links exhibition spaces, Details »

Information in Style

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“Information In Style: Information Visualization in the UK” was launched at CAFA Art Museum on September 20, 2013. The exhibition is supported by CAFA Art Museum, CAFA Design School, British Council and Beijing International Design Week. As part of the project, “Information In Style” symposium invited leading UK information designers and educators to deliver keynote speeches and to join panel discussion with Chinese professionals. Invited speakers include: CEO and curator of FutureEverything, Drew Hemment; Details »