https://liuchang.work Liu Chang Thu, 02 May 2024 13:37:50 +0000 https://liuchang.work en https://liuchang.work/Artist-Statement Thu, 02 May 2024 13:37:50 +0000 Liu Chang https://liuchang.work/Artist-Statement Artist Statement万物有灵，皆可生长。 我相信物质世界与数字世界之间没有绝对的边界——它们彼此渗透，互相唤醒。我的创作，是在物理与数字的交界处，为物体赋予呼吸，为代码注入温度。当一片枯叶开始回应触觉，当一段算法生长出自然的肌理，当机械臂模仿水的韵律，当像素如叶片般剥落、再生——我便看见了这种“灵”的显现。 代码如诗行电路如根系手作如冥想写作如对话教学如演出 创作即唤醒。“Nothing Is Not Alive, Everything is Undead.” In my artmaking, I believe there is no absolute boundary between the physical and the digital—they permeate and awaken one another. My work dwells at the intersection of these worlds: giving breath to objects, infusing code with warmth. When a withered leaf begins to respond to touch, when an algorithm grows into the texture of nature, when a robotic arm mimics the rhythm of water, when pixels shed and regenerate like leaves—this is when I witness the spirit emerge. Code as poetry.&nbsp; Circuits as roots.&nbsp; Craftwork as meditation.&nbsp; Writing as conversation.&nbsp; Teaching as performance.&nbsp; To create is to awaken. https://liuchang.work/Stitched-Landscape Sat, 01 Jul 2023 09:19:51 +0000 Liu Chang https://liuchang.work/Stitched-Landscape Stitched Landscape缝合的风景 <img width="1500" height="844" width_o="1500" height_o="844" data-src="https://freight.cargo.site/t/original/i/4e11f5f81c98198b615274b63bbb78cac1f6f3b88ec2863ffde9e5dcc540b949/cover.jpeg" data-mid="189490938" border="0" src="https://freight.cargo.site/w/1000/i/4e11f5f81c98198b615274b63bbb78cac1f6f3b88ec2863ffde9e5dcc540b949/cover.jpeg" /> <img width="1500" height="844" width_o="1500" height_o="844" data-src="https://freight.cargo.site/t/original/i/4b228a89b87062a753429efbd47410e09a1d3757e53bf4956d279cce572381e5/rightwall.jpeg" data-mid="189490955" border="0" src="https://freight.cargo.site/w/1000/i/4b228a89b87062a753429efbd47410e09a1d3757e53bf4956d279cce572381e5/rightwall.jpeg" /> <img width="1500" height="952" width_o="1500" height_o="952" data-src="https://freight.cargo.site/t/original/i/aa39e5664a0a70c29a10b474514be40d6e0818a3747b138d0ae423757d086a38/circuit.jpeg" data-mid="189490969" border="0" src="https://freight.cargo.site/w/1000/i/aa39e5664a0a70c29a10b474514be40d6e0818a3747b138d0ae423757d086a38/circuit.jpeg" /> <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/549201d9bfb73f475eacb98c121562ccf0c47916e73e955c9f71e91371a1cb0d/full.jpeg" data-mid="189490989" border="0" src="https://freight.cargo.site/w/1000/i/549201d9bfb73f475eacb98c121562ccf0c47916e73e955c9f71e91371a1cb0d/full.jpeg" /> <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/5b961b63408bb68e3dca51bb6942e9569b1ee60037266c5587a0590f616eb2ee/touch01.jpeg" data-mid="189491018" border="0" src="https://freight.cargo.site/w/1000/i/5b961b63408bb68e3dca51bb6942e9569b1ee60037266c5587a0590f616eb2ee/touch01.jpeg" /> A4国际艺术家驻留项目展览 &nbsp; 刘唱：缝合的风景A4国际艺术家驻留项目展览，2020 项目背景 2020年夏，刘唱于成都麓湖A4美术馆驻留期间，创作了《缝合的风景》。这部作品源于艺术家对周身环境的长期思考——当一座人造新城从荒野中拔地而起，当“自然”被规划、被设计、被复制、被粘贴，我们该如何辨认其中的真实与虚幻？ 《风景生成器 | Landscape Generator》 电脑生成图片，墙纸，机器学习算法，自定义软件，尺寸可变，2020 步入展厅，目光所及之处，墙面被“自然及景观照片”覆盖——桥梁、建筑、花朵、草坪，一切熟悉而温驯。然而细看之下，这些风景并不存在。 它们是艺术家运用机器学习中的StyleGAN算法，基于真实的景观照片及大量麓湖园区植物图像生成出的“伪风景”。算法学习了自然的语法，却编织出从未有过的图景。这些不存在的风景也许就隐匿于我们身边而不被察觉，也许这正是我们正在制造的未来世界本身。 熟悉感与迥异感交织，营造出一种“诡异谷”般的惊悚。这是刘唱对快速城市化进程中“自然被侵占”的质疑，也是对人工智能时代“真实”何以定义的追问。 <img width="640" height="360" width_o="640" height_o="360" data-src="https://freight.cargo.site/t/original/i/32204aabeb611c867fd659d5ffeffdca143befcae83fb3e40d86843564eaead6/touch03.gif" data-mid="189491022" border="0" src="https://freight.cargo.site/w/640/i/32204aabeb611c867fd659d5ffeffdca143befcae83fb3e40d86843564eaead6/touch03.gif" /> 《声音肌理 | Texture of Sound》 交互装置，丝网印刷，电脑生成声音，自定义软件，导电颜料，手绘，尺寸可变，2020鸣谢：解忧堂丝网工作室，音乐人王庹 空间中，观者可以通过触摸墙面上珊瑚状的图形，触发一段声音。九段声音源自刘唱在麓湖地区的实地采样，又经算法改造——你听到的可能是鸟鸣，又像人语；像是城市底噪，又如同骇浪翻滚。这些声音如风景的肌理，杂糅于景观之中，游走于自然与人造之间的灰色地带。 而珊瑚状的图形本身，正来源于麓湖的形态——在驻留调研中，刘唱惊奇地发现，这片人造水系在地图上呈现出珊瑚般的枝状蔓延。它像自然湖泊一样连贯着整个园区，却又是从无到有、被设计出来的“第二自然”。 “20世纪末的机器已经使自然与人造之间的差异……以及适用于有机体和机器之间的许多其他区别都变得模糊。”——Donna Haraway，《赛博格宣言》，1985 刘唱的工作延续了她对“自然与算法”关系的长期探索。正如她2016年的百天项目《自然与算法》中，将谷歌地图的风景截图与算法生成的图像并置，既是对两种美学的致敬，也是对技术拟真能力的深层追问。在《缝合的风景》中，这种追问走向更复杂的维度——当人造物模仿自然，当算法生成风景，当声音在真实与合成之间游移，“自然”本身已成为一个需要重新协商的概念。 如策展人蔡丽媛所言，刘唱的工作“通过不断制造出的熟悉感与迥异感”，回应着城市化进程中“附近的消失”——那些被规划、被同质化的空间，正在重塑我们对时间、地点和情感的体验。 《缝合的风景》不是对现实的再现，也不是对虚拟的想象。它存在于两者之间的裂隙中——在那里，算法与像素生长出自然的肌理，人造水系在地图上如珊瑚蔓延，声音在鸟鸣与底噪之间游移。刘唱将这些裂隙“缝合”起来，不是为了弥合，而是为了让我们看见：真实，或许从来不止一种。 Catalog https://liuchang.work/Random-Walker Sat, 01 Jul 2023 09:19:51 +0000 Liu Chang https://liuchang.work/Random-Walker Random Walker随机漫步者 <img width="930" height="570" width_o="930" height_o="570" data-src="https://freight.cargo.site/t/original/i/001b6999b17688cfed8386cf44776da5b413b28731ee8a7d9b854e3c502748c1/video_installation_02.jpeg" data-mid="189491388" border="0" src="https://freight.cargo.site/w/930/i/001b6999b17688cfed8386cf44776da5b413b28731ee8a7d9b854e3c502748c1/video_installation_02.jpeg" /> 《随机漫步者-墨》 交互装置，定制软件（Processing），摄像头，屏幕 “闪烁的存在”系列，2020 当参与者走入空间，屏幕前的摄像头便开始捕捉她的身影。屏幕上，一幅抽象肖像正缓慢浮现——彩色笔触如水墨般流动、滴落、交织，仿佛从画布里自然生长出来。 这部作品由艺术家刘唱使用Processing编写，核心算法名为“随机漫步者”。它模拟画笔的轨迹，却又不受控于任何预设的路径——每一笔都是一次即兴的漫步，在数字画布上留下痕迹。 肖像画是绘画史中最为古老的体裁之一，长久以来，画家与被画者之间始终存在着一种单向的观看与被观看。而在《随机漫步者-墨》中，观众不再是静止的模特，而是与算法共同创作的合作者。你可以静静站立，看自己的轮廓逐渐浮现；也可以移动、转身、离开——每一个动作都在改变笔触的走向，每一次中断都在生成新的图像。 时间，是这件作品的另一重维度。当你离开，屏幕上留下的痕迹会慢慢模糊、消散，很快被下一位参与者替代。没有一张肖像被永久保存，每一次观看都是一次无法复制的发生。 这便是刘唱所说的“时间的纹理”——那些转瞬即逝的轮廓，那些未曾被记录的瞬间，被算法捕捉下来，又任由它们消散。她说： “时光流逝，不留痕迹。但艺术作品，让那些闪烁的存在被看见——即便只是刹那。” Random Walker – Dripping Interactive Installation, Custom Software (Processing), Camera, ScreenFlickering Existence Series, 2020 When a viewer enters the space, the camera begins to capture her presence in real time. On the screen, an abstract portrait slowly emerges—brushstrokes drip and flow like ink, as if growing organically from the canvas itself. The work is powered by custom software written in Processing by artist Liu Chang, driven by an algorithm called the Random Walker. It mimics the gesture of a painter’s brush, yet follows no predetermined path. Each stroke is an improvised walk across the digital surface—unpredictable, unrepeatable. Portraiture has long been a genre defined by the gaze: the painter looking, the sitter being looked at. In Random Walker – Dripping, that relationship shifts. The viewer is no longer a passive subject, but a co-creator. Stand still, and watch your likeness emerge. Move—walk away, turn around—and the strokes shift, the image transforms. Every action leaves its trace; every interruption gives birth to a new composition. Time is another medium at play. When the viewer departs, the portrait slowly dissolves—its marks blurring, fading, soon to be overwritten by the next presence. No image is saved. No moment repeats. This is what Liu Chang calls “the texture of time”—the fleeting contours of presence, caught and released by the machine. As she reflects: “Time passes and leaves no mark. But art allows the flickering of existence to be seen—even if only for an instant.” <img width="2500" height="3235" width_o="2500" height_o="3235" data-src="https://freight.cargo.site/t/original/i/759ec13a9719202194cb9d8447626baeba1c8b409d17189bebabb176532ef67f/Danara_a.jpeg" data-mid="189491425" border="0" src="https://freight.cargo.site/w/1000/i/759ec13a9719202194cb9d8447626baeba1c8b409d17189bebabb176532ef67f/Danara_a.jpeg" /> <img width="2500" height="3235" width_o="2500" height_o="3235" data-src="https://freight.cargo.site/t/original/i/d9f2b44a257613c1840e0d2b812abbc56e67d27708538ed994757938abf48e0e/Leslin_a01.jpeg" data-mid="189491436" border="0" src="https://freight.cargo.site/w/1000/i/d9f2b44a257613c1840e0d2b812abbc56e67d27708538ed994757938abf48e0e/Leslin_a01.jpeg" /> <img width="2500" height="3235" width_o="2500" height_o="3235" data-src="https://freight.cargo.site/t/original/i/32bed45ce65acc57b539367a4d7ecf3c8fad155aaac3f33372f332885129b8fe/Ella_a.jpeg" data-mid="189491427" border="0" src="https://freight.cargo.site/w/1000/i/32bed45ce65acc57b539367a4d7ecf3c8fad155aaac3f33372f332885129b8fe/Ella_a.jpeg" /> https://liuchang.work/AloneTogether Fri, 30 Jun 2023 09:19:25 +0000 Liu Chang https://liuchang.work/AloneTogether Alone, Together 如影随形 <img width="1500" height="1675" width_o="1500" height_o="1675" data-src="https://freight.cargo.site/t/original/i/672ac9d01c59914bc263ec7ae96c2fd7494c90e3510f6d168611e4d0b64f3964/IMG_9927.jpeg" data-mid="189491909" border="0" src="https://freight.cargo.site/w/1000/i/672ac9d01c59914bc263ec7ae96c2fd7494c90e3510f6d168611e4d0b64f3964/IMG_9927.jpeg" /> <img width="1500" height="1800" width_o="1500" height_o="1800" data-src="https://freight.cargo.site/t/original/i/71e5445da0fdd458065b5122636b8ff79f479606d2cf6836431c20a2cfdb2b92/IMG_9924.jpeg" data-mid="189491927" border="0" src="https://freight.cargo.site/w/1000/i/71e5445da0fdd458065b5122636b8ff79f479606d2cf6836431c20a2cfdb2b92/IMG_9924.jpeg" /><img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/27118ff0b0fdca0bbb3b33b0bf4daba22c3ad244fd8243472b41c94c6b6dab47/IMG_9931.jpeg" data-mid="189491952" border="0" src="https://freight.cargo.site/w/1000/i/27118ff0b0fdca0bbb3b33b0bf4daba22c3ad244fd8243472b41c94c6b6dab47/IMG_9931.jpeg" /> 《随机漫步者-如影随形》 交互影像装置，双屏，定制软件“闪烁的存在”系列，2018 空间中，两块屏幕背对而立。当观众站在其中一面屏幕前，另一面的影像便会逐渐浮现——那是另一侧观众的肖像，正被算法一笔一笔描绘出来。同样地，当那人望向屏幕，他也将看见你。 这是一场不期而遇的对视。你看见的，是正在看你的人。你们彼此陌生，却在这一刻被并置于同一个画布之上。这种意外的相遇，仿佛我们与陌生人的目光偶然交错的瞬间，也像是一个不经意的微笑，在人来人往中轻轻传递。 展览 2018年11月24日至2019年2月24日，作品于北京今日美术馆2号馆参展“LOVELOVELOVE爱的艺术：亲密”全球影像艺术大展。展览由云图映画策划、邹馨仪担任策展人，是当时国内首个聚焦“亲密关系”主题的大型影像艺术展。 展览汇集了世界当代艺术史上四位重要女性艺术家的珍贵影像——Marina Abramovic、Yoko Ono、Yayoi Kusama与Tracey Emin，这是她们的作品首次在中国同一展览中呈现。展览同时邀请多位中国艺术家共同探讨“爱”的当代样貌，刘唱便是其中之一。 《随机漫步者-相伴》被纳入展览的“未来剧场”单元。该单元旨在反思网络、科技、跨文化交流等现象对亲密关系的形塑作用——在科技飞速发展的当代，满足情感需求的方式不断升级，背后却是无法消解的阶级与性别差异，“爱”似乎正成为包裹商品的糖衣，牵引人们进入不可逆转的消费洪流。 完整参展艺术家名单： Marina Abramovic, Ulay, Yoko Ono, John Lennon, Yayoi Kusama, Tracey Emin, Cheng Ran, Guo Chuxi, Hou Zichao, Jiang Zhi, Liu Chang, Liu Shiyuan, Wong Ping, aaajiao 现场回响 在展览现场，艺术家Yu Hong与Jiang Jie曾在《随机漫步者-相伴》前驻足。当两名观众分别站在装置两侧，会从屏幕中看到对方的肖像——也许是携伴同游的好友，也许是展览上不期而遇的陌生人；当装置对面无人驻足时，便是空荡荡的屏幕，暗喻着爱中的飘忽不定与若即若离。 作品自述 在展览中，《随机漫步者-相伴》让观众在观看作品的同时，也与陌生的他人相遇。这种偶发的连接，恰如亲密关系中那些不确定的、闪烁的存在——你以为你看见的是对方，其实你也看见了自己。 展览：“LOVELOVELOVE爱的艺术：亲密”全球影像艺术大展地点：北京今日美术馆2号馆展期：2018.11.24 – 2019.2.24策展人：邹馨仪出品：云图映画 Random Walker – Alone Together Interactive Video Installation, Dual Screens, Custom SoftwareFlickering Existence Series, 2018 Two screens stand back-to-back at the center of the exhibition space. When a viewer stands before one screen, the image of the person on the opposite side gradually emerges—drawn stroke by stroke by an algorithm. And when that person looks into their screen, they will see you in return. This is an encounter without expectation. You see the one who is seeing you. Strangers to one another, yet momentarily brought together on the same canvas. The work mirrors those fleeting moments when our gaze accidentally meets a passerby—a simple, unspoken smile exchanged across the distance. Exhibition： From November 24, 2018, to February 24, 2019, the work was exhibited in the global video art exhibition "LOVELOVELOVE: Intimacy" at Today Art Museum No.2, Beijing. The exhibition was curated by Zou Xinyi and produced by YT Pictures, marking the first major exhibition in China focusing on the theme of "intimacy". The exhibition brought together珍贵影像 by four important女性 artists in contemporary art history—Marina Abramovic, Yoko Ono, Yayoi Kusama, and Tracey Emin—marking the first time their works were presented together in China. Alongside these international artists, the exhibition featured eight Chinese artists exploring contemporary expressions of love, with Liu Chang among them. Random Walker – Alone Together was included in the "Future Theater" section, which examined how the internet, technology, and cross-cultural exchange are reshaping intimacy—the evolving means of emotional connection in a technologically advanced era, and the underlying class and gender differences that remain unresolved. Complete Artist List: Marina Abramovic, Ulay, Yoko Ono, John Lennon, Yayoi Kusama, Tracey Emin, Cheng Ran, Guo Chuxi, Hou Zichao, Jiang Zhi, Liu Chang, Liu Shiyuan, Wong Ping, aaajiao On-Site Response At the exhibition, artists Yu Hong and Jiang Jie were seen pausing before Random Walker – Alone Together. When two viewers stood on opposite sides of the installation, each would see the other's portrait on screen—perhaps friends visiting together, or strangers encountering each other by chance. When no one stood on the opposite side, the screen remained empty—a quiet metaphor for the uncertainty and elusiveness of love. Artist Statement Within the exhibition, Random Walker – Alone Together invites viewers to encounter not only the work, but also one another. In these coincidental meetings, the work echoes the uncertain, flickering nature of connection itself—where to see the other is also, somehow, to see oneself. Exhibition: "LOVELOVELOVE: Intimacy" Global Video Art ExhibitionLocation: Today Art Museum No.2, BeijingDuration: 2018.11.24 – 2019.2.24Curator: Zou XinyiProducer: YT Pictures https://liuchang.work/The-Flow-of-Nature Thu, 10 Aug 2023 14:16:22 +0000 Liu Chang https://liuchang.work/The-Flow-of-Nature The Flow of Nature自然之流 <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/b94bc0759bd9c9d713a998b07836ae96583320370341a6abef2442f5cdbb6cbf/01-copy.png" data-mid="189492491" border="0" src="https://freight.cargo.site/w/1000/i/b94bc0759bd9c9d713a998b07836ae96583320370341a6abef2442f5cdbb6cbf/01-copy.png" /> <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/42d4672848acad30b4e68d2a51067f6db3eecced4bb2479a7891d2f1d7a49650/07-copy.png" data-mid="189492510" border="0" src="https://freight.cargo.site/w/1000/i/42d4672848acad30b4e68d2a51067f6db3eecced4bb2479a7891d2f1d7a49650/07-copy.png" /> <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/8ecb4192e9200c43b86366a2b2448ecd46e43ed82a3bb6639d9a6514290a3590/23-copy.png" data-mid="189492661" border="0" src="https://freight.cargo.site/w/1000/i/8ecb4192e9200c43b86366a2b2448ecd46e43ed82a3bb6639d9a6514290a3590/23-copy.png" /><img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/3ede224646b2c9a48d8efd9afa87c6b8d35cdbd9af726908c7abc723f5c21af7/08-copy.png" data-mid="189492521" border="0" src="https://freight.cargo.site/w/1000/i/3ede224646b2c9a48d8efd9afa87c6b8d35cdbd9af726908c7abc723f5c21af7/08-copy.png" /> 《自然之流》 电脑生成视觉，数字微喷，交互型电子织物，动画，数据可视化2017 《自然之流》是一个持续一年的创作项目，围绕东亚传统阴阳历中的二十四节气展开。创作期间，刘唱基于每个节气的气候特征、物候变化与文化意涵，生成了一系列视觉化表达。 艺术家使用Processing（一种开源编程工具）创作了24幅动态图案。每一幅都是一段循环动画，其运动逻辑源自相应节气的时间流转与自然现象——风的速度、雨的方向、光的强度，被转化为像素的呼吸与笔触的游走。 项目与成都的解忧堂丝网工作室合作完成。在这一合作中，刘唱探索了多种反应型材料的应用——将图案以感光、感温、感水的颜料丝网印刷于纸张与织物之上。这些材料会随环境条件变化而改变外观，恰如节气本身所描述的：时间流过，万物随之而动。 在数据可视化版本中，艺术家将历史气象数据导入视觉草图，以图像呈现全球气候在一年尺度上的变迁。二十四节气，原本是农耕文明对时间的观察与命名；而今天，它们也成为我们审视气候变化的另一重视角。 视频链接：春之节气：https://vimeo.com/768003306夏之节气：https://vimeo.com/768003411秋之节气：https://vimeo.com/768003222冬之节气：https://vimeo.com/768003506 The Flow of Nature Computer-Generated Visuals, Digital Prints, Responsive E-Textile, Animation, Data Visualization24 Solar Terms Project, 2017 The Flow of Nature is a year-long project centered on the twenty-four solar terms in the traditional East Asian lunisolar calendar. During the creative process, Liu Chang developed a series of visualizations based on each term’s climatic characteristics, agricultural transitions, and cultural contexts. Using Processing—an open-source programming tool—the artist generated 24 distinct dynamic patterns. Each is a looping animation whose movement is informed by the temporal and natural phenomena associated with its corresponding solar term—the velocity of wind, the direction of rain, the intensity of light—translated into pixel-level rhythms and gestural strokes. The project was developed in collaboration with Chengdu-based screenprint studio Happytown. In this partnership, Liu Chang explored the use of reactive materials—printing the patterns on paper and fabric with thermochromic, UV-sensitive, and hydro-reactive pigments. These materials transform in response to environmental conditions, mirroring what the solar terms themselves describe: as time flows, all things respond. In the data visualization iteration, the artist applied historical weather data to the visual sketches, rendering the annual flux of global climate into graphic form. The twenty-four solar terms—once an agrarian system for observing and naming time—now offer another lens through which to contemplate climate change. Video Links:Spring: https://vimeo.com/768003306Summer: https://vimeo.com/768003411Autumn: https://vimeo.com/768003222Winter: https://vimeo.com/768003506 https://liuchang.work/Nature-and-Algorithms Thu, 10 Aug 2023 14:19:30 +0000 Liu Chang https://liuchang.work/Nature-and-Algorithms Nature and Algorithms 自然与算法 <img width="2100" height="1500" width_o="2100" height_o="1500" data-src="https://freight.cargo.site/t/original/i/e7a396d61ec9957ee0f89ff7441976d50f1c63cba7bcaa065f0eef17d7b60c3f/Day018.jpeg" data-mid="189492920" border="0" src="https://freight.cargo.site/w/1000/i/e7a396d61ec9957ee0f89ff7441976d50f1c63cba7bcaa065f0eef17d7b60c3f/Day018.jpeg" /> <img width="2100" height="1500" width_o="2100" height_o="1500" data-src="https://freight.cargo.site/t/original/i/3e9d2cfcc2cb3d2533e7373897d940c8f9bf67fa2e7f219283b992dd67bad4e0/Day002.jpeg" data-mid="189492822" border="0" src="https://freight.cargo.site/w/1000/i/3e9d2cfcc2cb3d2533e7373897d940c8f9bf67fa2e7f219283b992dd67bad4e0/Day002.jpeg" /> <img width="2100" height="1500" width_o="2100" height_o="1500" data-src="https://freight.cargo.site/t/original/i/6e0fea61e26d0d8dbebfd0bb405040b2115a94cfadb978bc296884baf8acb265/Day030.jpeg" data-mid="189492922" border="0" src="https://freight.cargo.site/w/1000/i/6e0fea61e26d0d8dbebfd0bb405040b2115a94cfadb978bc296884baf8acb265/Day030.jpeg" /> <img width="2100" height="1500" width_o="2100" height_o="1500" data-src="https://freight.cargo.site/t/original/i/ddddbd07987e8cfb56e48c7d66c076cf8deb7bdc757d5b673f7def5131678cfa/Day021.jpeg" data-mid="189492921" border="0" src="https://freight.cargo.site/w/1000/i/ddddbd07987e8cfb56e48c7d66c076cf8deb7bdc757d5b673f7def5131678cfa/Day021.jpeg" /> <img width="2100" height="1500" width_o="2100" height_o="1500" data-src="https://freight.cargo.site/t/original/i/2676aebe0cfe3d788e889644cca8e9b26fc7cd48222405fbdedf5dfd1267e798/Day031.jpeg" data-mid="189492924" border="0" src="https://freight.cargo.site/w/1000/i/2676aebe0cfe3d788e889644cca8e9b26fc7cd48222405fbdedf5dfd1267e798/Day031.jpeg" /> <img width="2100" height="1500" width_o="2100" height_o="1500" data-src="https://freight.cargo.site/t/original/i/5036c3d563343a959453018551ad8b93322571b4937bf5f8e97dfe938dffcb49/DAY032.jpeg" data-mid="189492925" border="0" src="https://freight.cargo.site/w/1000/i/5036c3d563343a959453018551ad8b93322571b4937bf5f8e97dfe938dffcb49/DAY032.jpeg" /> <img width="2100" height="1500" width_o="2100" height_o="1500" data-src="https://freight.cargo.site/t/original/i/afa99d573306348bbf6acac86820ad824047198e3ff8bd432c2ce777023729b8/Day033.jpeg" data-mid="189492926" border="0" src="https://freight.cargo.site/w/1000/i/afa99d573306348bbf6acac86820ad824047198e3ff8bd432c2ce777023729b8/Day033.jpeg" /> <img width="2100" height="1500" width_o="2100" height_o="1500" data-src="https://freight.cargo.site/t/original/i/5aa601422a6995cf59c4c248621a83c28192b175b342c7880d7ef8b8ede5bd4f/Day006.jpeg" data-mid="189492863" border="0" src="https://freight.cargo.site/w/1000/i/5aa601422a6995cf59c4c248621a83c28192b175b342c7880d7ef8b8ede5bd4f/Day006.jpeg" /> <img width="2100" height="1500" width_o="2100" height_o="1500" data-src="https://freight.cargo.site/t/original/i/b175dd4c571e9f04856bdfca07f40f62397c39315606bbf1d40a3e456ec1c392/coverweb.jpeg" data-mid="189492812" border="0" src="https://freight.cargo.site/w/1000/i/b175dd4c571e9f04856bdfca07f40f62397c39315606bbf1d40a3e456ec1c392/coverweb.jpeg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/a13229dd7e3a129884b2e68f5b9b96df549f75869597fb8572d21c93c9f1fd92/8W0B0071.jpeg" data-mid="189492810" border="0" src="https://freight.cargo.site/w/1000/i/a13229dd7e3a129884b2e68f5b9b96df549f75869597fb8572d21c93c9f1fd92/8W0B0071.jpeg" /> 《自然与算法》 百日实践项目，电脑生成图像，收藏级数字微喷2016 在三个月的时间里，刘唱每天从谷歌地图上随机截取一处地理坐标，或下载一张风景照片。她观察图像的纹理——山脉的褶皱、河流的蜿蜒、树影的斑驳——在脑海中寻找与之呼应的算法逻辑，再用编程生成一幅与自然图像视觉美感相近的电脑图像。 自然生成的风景与算法生成的图像被并置在一起。它们来自不同的世界，却拥有相似的视觉韵律。 刘唱将这一百天的实践视为双重致敬：既是对自然之美的礼赞，也是对技术之美的凝视。但并置本身亦是一个提问——当算法可以模拟自然的肌理，当机器可以生成让我们驻足凝视的“风景”，自然与人工智能之间的关系，正在被重新定义。 百日的重复练习也延续了艺术家对时间的思考。日复一日的生成与记录，让人想到河原温的《今日》系列——通过对当下日期的客观书写，丈量自身的存在与时间的本质。在这里，每一天的风景与算法，都是时间留下的证物。 展览：“程式之美”，否画廊，纽约，2016.10.22 – 2016.12.18 艺评摘录：“《自然与算法》将一百张随机风景照片与其算法抽象并置，暗示着自然深处潜伏着一套深层的设计图式。”——林梓，Artforum，2016 阅读全文 艺术家自述：“程式是逻辑的，艺术是感性的。编程艺术将严格、冰冷和逻辑的过程，转化为非逻辑的、不可预测的、富有表现力的结果。我试图将两者结合在一起。”Nature and Algorithm 100-Day Project, Computer-Generated Images, Archival Digital Prints2016 For three months, Liu Chang randomly selected a geographic screenshot from Google Maps or downloaded a landscape photograph each day. She studied the textures—the folds of a mountain range, the meander of a river, the dappling of shadows—searching in her mind for an algorithmic logic that might echo what she saw. Then, through code, she generated an image whose visual language approximated the natural one. The landscapes born of nature and those born of algorithm are presented side by side. They emerge from different worlds, yet share a similar visual rhythm. Liu Chang regards this 100-day practice as a double homage: a reverence for the beauty of nature, and a contemplation of the beauty inherent in technology. But juxtaposition also poses a question. When algorithms can simulate the textures of the natural world, when machines can generate "landscapes" that hold our gaze—what, then, is the relationship between nature and artificial intelligence? The daily ritual of generation and recording also continues the artist's meditation on time. The repetition calls to mind On Kawara's Today series—a simple, daily rendering of a date as a way to measure one's existence against the essence of time. Here, each day's landscape and its algorithmic counterpart become artifacts of time passed. Exhibition: Code is Beautiful, Fou Gallery, New York, 2016.10.22 – 2016.12.18 Review Excerpt: "Nature and Algorithm pairs one hundred random landscape photos with their algorithmic abstractions, suggesting a deep design schematic afoot in nature." — Lin Zi, Artforum, 2016 ➡️Read Full Review Artist Statement: "Code is logical, art is emotional. Coding art takes strict, cold, logical processes and converts them into illogical, unpredictable, and expressive results. I want to bring the two together." https://liuchang.work/Flickering-Existence Fri, 30 Jun 2023 09:19:23 +0000 Liu Chang https://liuchang.work/Flickering-Existence FLICKERING EXISTENCE 闪烁的存在 <img width="2500" height="3235" width_o="2500" height_o="3235" data-src="https://freight.cargo.site/t/original/i/4c54f43f273e5d4f57802ee12352114c57ad19a922a443ce831b2bf484cc0841/Justin_a.jpeg" data-mid="189493357" border="0" src="https://freight.cargo.site/w/1000/i/4c54f43f273e5d4f57802ee12352114c57ad19a922a443ce831b2bf484cc0841/Justin_a.jpeg" /><img width="2500" height="3235" width_o="2500" height_o="3235" data-src="https://freight.cargo.site/t/original/i/e77fd0aae63ac36487dffa4762413e7eb27ca27b33f18fc8cf52e3cba61b4fde/Paula_a.jpeg" data-mid="189493339" border="0" src="https://freight.cargo.site/w/1000/i/e77fd0aae63ac36487dffa4762413e7eb27ca27b33f18fc8cf52e3cba61b4fde/Paula_a.jpeg" /> <img width="750" height="1231" width_o="750" height_o="1231" data-src="https://freight.cargo.site/t/original/i/5b52a6c1255d8d5321525d2080553780362590a799c1480bc56a60472d229939/RandomWalker-Dripping_LiuC_v.1.png" data-mid="189493341" border="0" src="https://freight.cargo.site/w/750/i/5b52a6c1255d8d5321525d2080553780362590a799c1480bc56a60472d229939/RandomWalker-Dripping_LiuC_v.1.png" /><img width="1000" height="1538" width_o="1000" height_o="1538" data-src="https://freight.cargo.site/t/original/i/1c46bf43b2102b1a82c8c931cc865c1a26976a9cf70250041cbdadd9a19edec1/nature06f-copy.jpeg" data-mid="189493382" border="0" src="https://freight.cargo.site/w/1000/i/1c46bf43b2102b1a82c8c931cc865c1a26976a9cf70250041cbdadd9a19edec1/nature06f-copy.jpeg" /><img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/c207d5c566ab7db6bc660ec4c92032a955dfce84963aa5a07cc536bafdab3857/image-asset-1.jpeg" data-mid="189493388" border="0" src="https://freight.cargo.site/w/1000/i/c207d5c566ab7db6bc660ec4c92032a955dfce84963aa5a07cc536bafdab3857/image-asset-1.jpeg" /> <img width="1500" height="1125" width_o="1500" height_o="1125" data-src="https://freight.cargo.site/t/original/i/91f8bc40540453f79e03ede89093bd4f77471b6515cb7775ad020ff95f46b617/FullSizeRender.jpeg" data-mid="189493379" border="0" src="https://freight.cargo.site/w/1000/i/91f8bc40540453f79e03ede89093bd4f77471b6515cb7775ad020ff95f46b617/FullSizeRender.jpeg" /> 《闪烁的存在》交互装置，算法肖像系列，艺术家书2016 《闪烁的存在》是一个试图在参与者与肖像生成引擎之间建立亲密关系的艺术项目。这是一场关于“看见”的实验——不是人被看见，而是机器如何看见人。 每一幅肖像均由摄像头捕捉，它扮演着“画家的眼睛”；算法则充当“画家的画笔”。两者协同工作，将人的形态逐渐演化为一幅抽象的图像。肖像的最终状态由艺术家设定，但生成的过程，却由每一次相遇重新书写。 这是对肖像画传统的重构。千百年来，画家与被画者之间始终存在着单向的凝视——模特静坐，画家执笔。而在《闪烁的存在》中，观众不再是静止的客体，而是与算法共同创作的合作者。你可以静静站立，看自己的轮廓缓慢浮现；也可以移动、转身、离开——每一个动作都在改变笔触的走向，每一次中断都在生成新的图像。 时间，是这件作品的第三位作者。当你离开，屏幕上留下的痕迹会慢慢模糊、消散，很快被下一位参与者替代。没有一张肖像被永久保存，每一次观看都是一次无法复制的发生。这便是刘唱所说的“时间的纹理”——那些转瞬即逝的轮廓，那些未曾被记录的瞬间，被算法捕捉下来，又任由它们消散。 《闪烁的存在》探讨的是具象与抽象之间的边界。它重新审视经典艺术的构图与审美方法，并将其转化为一种新的抽象语言。它提出的问题是：当机器开始学习“观看”，当算法开始参与“描绘”，我们所说的“作者”究竟是谁？ 该系列包含三件交互影像装置——《随机漫步者-墨》（2016）、《随机漫步者》（2016）、《野蛮生长》（2014），由这三件装置生成的肖像版画，以及一本限量20版的艺术家书《闪烁的存在》。 “程式是逻辑的，艺术是感性的。编程艺术将严格、冰冷和逻辑的过程，转化为非逻辑的、不可预测的、富有表现力的结果。我试图将两者结合在一起。”——刘唱 作品视频：https://vimeo.com/188906729 Flickering ExistenceInteractive Installations, Computational Portraiture Series, Artist Book2016 Flickering Existence is an artwork that seeks to create an intimate experience between participants and a portraiture engine that generates portraits. It is an experiment in vision—not in how we see, but in how machines learn to see us. Each portrait is captured by a camera that acts as the "painter's eyes." An algorithm serves as the "painter's brush." Together, they work to translate a human form into an evolving abstraction. The final state of each portrait is determined by the artist, but the process is rewritten with every encounter. This is a radical reimagining of the portrait tradition. For centuries, the relationship between painter and sitter has been one of单向凝视: the sitter remains still, the painter renders. In Flickering Existence, the viewer is no longer a passive subject, but a co-creator. Stand still, and watch your likeness emerge. Move, turn away, walk off—each gesture redirects the brushstrokes, each interruption births a new composition. Time becomes a third author. When the viewer departs, the portrait slowly dissolves—its marks blurring, fading, soon to be overwritten by the next presence. No image is saved. No moment repeats. This is what Liu Chang calls "the texture of time"—the fleeting contours of presence, captured by the machine and then released back into impermanence. Flickering Existence explores the boundary between representation and abstraction. It challenges the compositional and aesthetic methods of classical art, translating them into a new language of abstraction. It asks: when machines learn to see, when algorithms learn to depict—who, then, is the author? The series includes three interactive video installations—Random Walker - Dripping (2016), Random Walker (2016), and Wild Growth (2014)—along with portraiture prints generated from these installations, and a limited-edition artist book (20 copies) also titled Flickering Existence. "Code is logical, art is emotional. Coding art takes strict, cold, logical processes and converts them into illogical, unpredictable, and expressive results. I want to bring the two together."—Liu Chang Video: https://vimeo.com/188906729 https://liuchang.work/RiverBook Fri, 30 Jun 2023 09:19:24 +0000 Liu Chang https://liuchang.work/RiverBook River Book I, II河流之书&nbsp;&nbsp; 《河流之书 I, II》艺术家书，手绘，立体结构，两卷2018 是什么将我们连接？河流、桥梁、思想、情感、爱、家——是故事将我们连接。 很久以前，人类便选择逐水而居。世界人口的70%生活在沿海平原，全球最大的15座城市中，有11座坐落在海岸线或河流之畔。 水也切割出河道，划定边界，分割领土，重塑岛屿、城市、国家与大陆。河流从岩石中带走矿物，向海洋注入水流。这些河流如同身体的血管、树木的枝干、大地的脉络。 农业是第一个伟大的革命，它扭转了人类历史，孕育了城市与文明。全球化让人口的迁徙变得前所未有的容易，互联网让沟通无比便捷，城市化让城市在视觉与文化上日益趋同。我这一代人，大多迷恋着一种“游牧式”的生活——从一个街区到另一个街区，从河的这一岸到那一岸，从地球的这一半球到另一半球。我们该如何定义“家”？ “我远离故乡，却也远离此地。”我记得曾听过这样一句话。人漂泊、移动，如同水流，既是物理的迁徙，也是情感的流转。 《河流之书 I &amp; II》是对地理边界的一次考察，以两卷手绘的长条形书籍呈现。我的研究始于中国的黄河——我的故乡所在；也包括我曾生活过的其他河流——重庆、上海、纽约。最终呈现的，是交织着我个人历史的风景，那些被标记的、具有私人意义的坐标。 《河流之书 I &amp; II》绘制的是现实的地图，也是想象的地图。它无边无际，却又亲密无间。这是我的故事，但也许在我的故事里，你能认出你自己的。 出版：ITP/IMA Journal Issue 4, 2018阅读全文 River Book I, IIArtist Book, Hand-drawn, Pop-Up Structure, Two Volumes2018 What connects us? Rivers, bridges, minds, emotion, love, home—stories connect us. Humankind chose to live by the water a long time ago. 70% of the world's population lives on coastal plains; 11 of the 15 biggest cities stand on a coastline or river. Water also cuts channels, creates boundaries, divides territories—reshaping islands, cities, countries, continents. Rivers tear minerals from rock and add water to the oceans. These rivers are like the veins of a body, the branches of a tree, the vessels of the Earth. Agriculture was the first great revolution that turned our history on end and gave birth to cities and civilizations. Globalization made the migration of populations much easier. The internet makes communications much more convenient. Urbanization makes cities visually and culturally similar. Most people in my generation are drawn to the "nomadic" lifestyle—from neighborhood to neighborhood, from this side of a river to another, from this hemisphere of the earth to the other. How do we define home? "I am far from home, but I am also far from here." I remember hearing this once. People drift and move, just like water—physically and emotionally. River Book I &amp; II is a study of geographical boundaries presented as two bar-shaped hand-drawn books. My research starts with the Yellow River in China, where my hometown is located, and includes other rivers that I've lived alongside—in Chongqing, Shanghai, and New York. The result is a mix of my personal history with marked scenery and landmarks of personal significance. River Book I &amp; II maps territories of both reality and imagination. It is boundless, yet intimate. It is my story, but maybe in my story, you can recognize your own. Published in: ITP/IMA Journal Issue 4, 2018Read Full Article <img width="2000" height="605" width_o="2000" height_o="605" data-src="https://freight.cargo.site/t/original/i/9890334bc720b3216cba6b22eb5a1f1b245a728831a7f6fc82a0c04bfb91fe45/002.jpeg" data-mid="189493548" border="0" src="https://freight.cargo.site/w/1000/i/9890334bc720b3216cba6b22eb5a1f1b245a728831a7f6fc82a0c04bfb91fe45/002.jpeg" /> <img width="2000" height="605" width_o="2000" height_o="605" data-src="https://freight.cargo.site/t/original/i/95e1c20df34a7e1f0f1ad3fab85f97468405b8452f1592b48355cb2b5078e3b3/003.jpeg" data-mid="189493550" border="0" src="https://freight.cargo.site/w/1000/i/95e1c20df34a7e1f0f1ad3fab85f97468405b8452f1592b48355cb2b5078e3b3/003.jpeg" /> <img width="2000" height="605" width_o="2000" height_o="605" data-src="https://freight.cargo.site/t/original/i/683fd53e336771b3572078bc0d725d918cebd0aec13c9738117a3e2444eca1ac/005.jpeg" data-mid="189493552" border="0" src="https://freight.cargo.site/w/1000/i/683fd53e336771b3572078bc0d725d918cebd0aec13c9738117a3e2444eca1ac/005.jpeg" /> <img width="2000" height="605" width_o="2000" height_o="605" data-src="https://freight.cargo.site/t/original/i/e03519a0ec4046fe26e13b5f58f50b4c57f66b1e9fa4d0c4444c5764a9b6d75d/008.jpeg" data-mid="189493563" border="0" src="https://freight.cargo.site/w/1000/i/e03519a0ec4046fe26e13b5f58f50b4c57f66b1e9fa4d0c4444c5764a9b6d75d/008.jpeg" /> <img width="2000" height="605" width_o="2000" height_o="605" data-src="https://freight.cargo.site/t/original/i/1c1c7bcf51b0b22fe5b3d4aabfef159b6c7844df9c837683c3b06989da502d34/010.jpeg" data-mid="189493642" border="0" src="https://freight.cargo.site/w/1000/i/1c1c7bcf51b0b22fe5b3d4aabfef159b6c7844df9c837683c3b06989da502d34/010.jpeg" /> 部分内页，Selected Pages https://liuchang.work/GeoBook Fri, 30 Jun 2023 09:19:25 +0000 Liu Chang https://liuchang.work/GeoBook Geometry Books 几何之书 <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/a4e937436aadd7b072bc68a2d2ef8a8cc146e6c8af828af3d75b2f4b79762768/Copy-of-GeometryBook-2.jpeg" data-mid="189493800" border="0" src="https://freight.cargo.site/w/1000/i/a4e937436aadd7b072bc68a2d2ef8a8cc146e6c8af828af3d75b2f4b79762768/Copy-of-GeometryBook-2.jpeg" /> 《几何之书 I, II》 艺术家书，手绘，两卷2017 《几何之书 I, II》是对二维与三维世界关系的沉思。刘唱基于计算机生成图形的提取，以及对“不可能物体”的研究，绘制了这两卷手风琴装帧的书籍，以此向艺术家书领域的先驱索尔·勒维特与莉吉娅·帕佩致敬。 索尔·勒维特是观念艺术的奠基人之一，他将艺术家的书视为观念传播的重要媒介——1967年，他为《Aspen》杂志设计的《序列计划1号》，以20×20厘米的书页探索了序列几何组合的无限可能 。勒维特相信，书不是绘画的复制品，而是观察同一观念的镜像与不同视角 。 莉吉娅·帕佩作为巴西新具体主义运动的共同创始人，她的创作始终在几何抽象与感官体验之间寻找通道。从1950年代的木刻版画《Tecelares》（意为“编织”）到后来的《创造之书》，帕佩将几何形式转化为一种“磁化空间”——既精确，又充满生命气息 。 手风琴装帧为这本书提供了游戏般的结构——读者可以自由折叠、重组，让每一页的几何图案不断生成新的组合。书籍不再是固定的叙事，而成为一个可操作的装置，一个可以被触摸的几何游戏。 《几何之书 I》的内页如下所示。《几何之书 II》的内页如下所示。 Geometry Book I, II Artist Book, Hand-drawn, Two Volumes2017 Geometry Book I, II is a meditation on the relationship between the two-dimensional and three-dimensional worlds. Liu Chang drew these two accordion-folded books based on research into computer-generated graphics and impossible objects, paying homage to the pioneers of the artist's book form: Sol LeWitt and Lygia Pape. Sol LeWitt, a founding figure of Conceptual art, championed the artist's book as a vital medium for disseminating ideas. In 1967, he contributed Serial Project No. 1 to Aspen magazine—a 12-page, 20×20 cm book exploring the infinite permutations of serial geometric compositions . LeWitt believed that the book was not a mere copy of a painting, but "a mirror and a different point of view from where observing the same idea" . Lygia Pape, a co-founder of Brazil's Neo-Concrete movement, continually sought to bridge geometric abstraction with sensorial experience. From her 1950s woodcut series Tecelares (meaning "weavings") to her Book of Creation, Pape transformed geometric form into what she called "magnetized space"—precise, yet alive with breath . The accordion structure invites a playful interaction—readers can fold, unfold, and reconfigure the pages, allowing geometric patterns to generate endless new combinations. The book is no longer a fixed narrative, but a manipulable object, a geometric game to be touched. Geometry Book I is previewed below.Geometry Book II is previewed below. <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/f78bc44fc9d4873df92f8577887b673514e62ecb6379efab50d5bff6bf78cd29/_A1A8516.jpeg" data-mid="189493813" border="0" src="https://freight.cargo.site/w/1000/i/f78bc44fc9d4873df92f8577887b673514e62ecb6379efab50d5bff6bf78cd29/_A1A8516.jpeg" /> <img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/399ae887b277eed0a69da4addb33ca1ae8713eccd144ef1d676fea3e48e2c9f1/GeometryBook-02.jpeg" data-mid="189493819" border="0" src="https://freight.cargo.site/w/1000/i/399ae887b277eed0a69da4addb33ca1ae8713eccd144ef1d676fea3e48e2c9f1/GeometryBook-02.jpeg" /> &nbsp; https://liuchang.work/WIP-BOOK Fri, 30 Jun 2023 09:19:26 +0000 Liu Chang https://liuchang.work/WIP-BOOK WIP Book <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/2f849f2aebfd298e3f1a6227e9eb7bbd0e845942b6452a9b8b1cfab584de3fab/_A1A8125.jpeg" data-mid="189493912" border="0" src="https://freight.cargo.site/w/1000/i/2f849f2aebfd298e3f1a6227e9eb7bbd0e845942b6452a9b8b1cfab584de3fab/_A1A8125.jpeg" /> 《WIP: We Are in Progress》艺术家书2019 《WIP: We Are in Progress》是刘唱对人类历史与文明演进的一次视觉沉思。书名取自“工作在进行中”（Work in Progress）的缩写，亦暗喻着人类自身——我们始终处于未完成的状态。 作品的灵感源于《人类简史》中提到的两位埃塞俄比亚母亲——她们是线粒体夏娃与智人母亲的隐喻，象征着所有现代人类的共同祖先。刘唱将这一意象转化为一本可以触摸的“人类之书”，每一页都是对演化痕迹的摹写与致敬。 这本书也是对“进程”本身的提问：我们从哪里来？我们将去向何处？在技术与文明加速迭代的今天，“未完成”或许正是人类最本质的状态。 展览：该作品曾展出于否画廊（FOU Gallery），纽约 WIP: We Are in Progress Artist Book2019 WIP: We Are in Progress is Liu Chang's visual meditation on the evolution of human history and civilization. The title plays on the abbreviation "Work in Progress," while also suggesting that humanity itself—we—is always in a state of becoming. The work is inspired by the two Ethiopian mothers mentioned in Sapiens: A Brief History of Humankind—metaphors for Mitochondrial Eve and the mother of all Homo sapiens, symbolizing the common ancestors of all modern humans. Liu Chang transforms this concept into a tangible "book of humanity," with each page tracing and paying homage to the marks of evolution. The book also poses questions about "progress" itself: Where do we come from? Where are we going? In an era of accelerating technological and civilizational change, perhaps "unfinished" is the most essential condition of being human. Exhibition: This work has been exhibited at Fou Gallery, New York