展览预告|无名计划:低分辨率现实

营业时间 Opening Hours：

周二至周日 上午10:00 – 下午7:00

开幕时间 Opening: 

2026.06.13 16:00-18:00

展期 Duration: 

2026.06.13-2026.12.31

地址 Address：

上海市金山区亭卫公路8255号

8255 Tingwei Highway, Jinshan District, Shanghai

总监制Chief Producer：

王之秋

策展人Curator：

杨明月、庄泽曦

展览执行Exhibition Execution: 

陈诺、范懿、郭韵颀

展览协调Curatorial Coordinator：

丁明洋

艺术家Artists：

柏际中、陈博志、陈春艳、陈慧玲、陈留、丁进阳、Damien SERVANT、郭荣煊、黄奕菲、江心怡、李明倩、李念慈、李雨佳、刘春晓、刘轩源、潘逸萍、司嘉怡、司顺、汤清来、唐媛媛、田桢真、Vanessa Vanek、王世君、王弦、王旭、吴青城、仰超、姚旭、曾科华、张玲、赵明、郑淋双、郑郑、周海林、周人杰、宗顺

图像越丰裕，现实就越难分辨。平台算法每日推送数以亿计的人工智能生成式图像，以惊人速度流经屏幕，仅在网络每处神经末梢激起短暂的视觉反应，便消弭于更汹涌的信息洪流——"图像过剩"这一时代症候——已然成为当下艺术创作最难回避的现实背景。然而，生长于此背景下的青年艺术家已然寻获应对之道，而作为支援这批艺术家进行去中心化创作、展示的艺术平台，“无名计划”将与他们一道通过“展览+驻留+工厂协作”的复调工作模式向观众勾勒出即将涌现的青年艺术思潮，即一系列能在《低分辨率现实》中持续确认艺术实践合法性的创作方法与感知策略。

所谓“低分辨率”并非字面意义上的低质量图像，也非像素化视觉风格，而是艺术家面对当代现实被平台算法、人工智能与传播机制不断压缩、转码和重组之后的主动回应，即这批艺术家集体采取的一种创作策略：通过保留图像的模糊、断裂、偏移与误差，拒绝完整稳定的形象再现，拒绝明确的中心叙事，在认识论层面进行艺术抵抗——对抗那种将所有视觉经验编码为同质化、可量化价值的系统性力量及其附属的平庸图像。

在这里，艺术品不再只是悬挂在墙面上的自足对象，也不只是作品内部的语言形式系统；它始终处于人与人、物与物、机构与市场、展览与传播之间的传导关系中。所谓艺术的“及物性”，正意味着艺术以一种网络结构从一个位置通向另一个位置，从一个观看者传向另一个观看者，并在这种移动、连接和再语境化的过程中生成意义。网络与平台算法无法简单地取缔艺术，相反讲转变艺术的存在条件，使之成为节点、接口、媒介和关系的装置。而为应和参展艺术家创作中展现的“低分辨率”与“及物性”的共同特点，策展团队顺应旺无名（金山）空间作为旺旺集团工厂研发大楼的特殊空间属性，使用展陈道具将近200米长的柱廊式展厅构建为一条可步入的、物质性的网络瀑布流。观众在移动展墙、柱列、长距离动线与局部小空间之间穿行，使身体运动本身成为图像推送的介质，不断遭遇作品、跳转视角、短暂停留、重新选择，并以身体完成一次“刷屏”式的观看。

同样重要的，是由工厂工人共同完成的展陈装置与艺术家作品并置，使“低分辨率”概念获得另一层现实意义。工业生产追求标准、精确、复制和效率；艺术创作则常常依赖手工、误差、延迟和不可预测性。二者的并置正揭示了当代艺术现场自身的生产条件：艺术从未外在于工业系统、流通系统和平台系统，而是在其中寻找生长的缝隙，并重新发明感知条件。

本届展览《无名计划II：低分辨率现实》最终提出的，是一种关于当代现实如何被观看、压缩、流通和再生成的策展命题。当世界不断被转化为可推荐、可复制、可消费的图像片段，艺术的任务也许不是恢复一个完整而高清的现实，而是在低分辨率的残影、噪点和断裂中，重新识别那些仍未被系统完全驯化的经验。

【Foreword】

The more abundant images become, the harder reality is to discern.Every day, platform algorithms push hundreds of millions of AI-generated images across our screens. They circulate at astonishing speed, triggering brief visual reactions at the nerve endings of the network before dissolving into an even more turbulent flood of information. “Image overload,” as a defining symptom of our time, has become one of the most unavoidable conditions for artistic production today.

Yet young artists growing within this condition have already begun to find their own methods of response. As an artistic platform that supports decentralized modes of creation and presentation, the Nobody Project works with these artists through a polyphonic model of “exhibition + residency + factory collaboration,” outlining for the public an emerging tendency in young contemporary art: a series of creative methods and perceptual strategies through which artistic practice continues to affirm its validity within Low-Res Reality.

The notion of “low resolution” in this context does not refer literally to poor image, nor to a pixelated visual aesthetic. Rather, it describes a deliberate artistic response to a contemporary reality that is increasingly compressed, transcoded, and reorganized by platform algorithms, artificial intelligence, and accelerated systems of circulation. It can be understood as a shared strategy adopted by this generation of artists: by preserving ambiguity, fragmentation, displacement, and error within their images, they resist the production of complete and stable representations. They reject the authority of singular, centralized narratives and instead engage in a form of epistemological resistance—one that challenges the systemic forces that seek to encode all visual experience into standardized, quantifiable forms of value, along with the banalized image culture that such systems inevitably produce.

Here, the artwork is no longer merely a self-contained object hung on the wall, nor only an internal system of visual language. It is always situated within a field of transmission among people, objects, institutions, markets, exhibitions, and systems of circulation. The “transitivity” of art means precisely that art moves through a network structure from one position to another, from one viewer to another, generating meaning through movement, connection, and recontextualization. Networks and platform algorithms cannot simply abolish art; rather, they transform the conditions of its existence, turning it into a device of nodes, interfaces, media, and relations.

In response to the shared qualities of “low resolution” and “transitivity” present in the participating artists’ practices, the curatorial team works with the specific spatial condition of Nobody Gallery Jinshan, located within the R&D building of Want Want Group’s factory complex. Through exhibition structures and display devices, the nearly 200-meter-long colonnaded hall is transformed into a walkable, materialized network feed. As visitors move through movable walls, rows of columns, extended circulation routes, and partial interior spaces, bodily movement itself becomes the medium of image recommendation. They continuously encounter works, shift viewpoints, pause briefly, choose again, and complete a “scrolling” act of viewing through their own bodies.

Equally important is the juxtaposition of exhibition structures jointly produced by factory workers with the works of the artists, which gives the concept of “low resolution” another layer of material significance. Industrial production pursues standardization, precision, reproducibility, and efficiency, while artistic creation often depends on the handmade, error, delay, and unpredictability. Their juxtaposition reveals the production conditions of the contemporary art site itself: art has never existed outside industrial systems, circulation systems, or platform systems. Rather, it searches for spaces of growth within them and reinvents the conditions of perception.

Ultimately, Nobody Project II: Low-Res Reality proposes a curatorial inquiry into how contemporary reality is viewed, compressed, circulated, and regenerated. As the world is continuously transformed into image fragments that can be recommended, reproduced, and consumed, the task of art may not be to restore a complete and high-definition reality. Instead, it may be to rediscover, within low-resolution afterimages, noise, and rupture, those experiences that have not yet been fully domesticated by the system.

正在展出 Current Exhibition

关于旺无名画廊 Nobody Gallery

出身德国的阿什肯纳兹犹太裔哲学家、文化评论家和散文家瓦尔特•本雅明（Walter Benjamin, 1892—1940）他生前最后一部作品《历史哲学论纲》中提到：“纪念无名者比纪念知名者更困难。历史的构建是献给对无名者的记忆。“纪念无名者比纪念知名者更困难”提示我们，历史更多地由无名者的贡献构成，而非仅仅是那些备受瞩目的人物。无名者往往代表了一种不被轻易看到却至关重要的存在，他们的努力和创造可能未被历史铭记，都不可或缺。这种对无名者的关注与尊重，正是一种超越名气与标签的价值判断。纪念无名者比纪念知名者更困难，因为他们的价值往往被掩盖在历史的洪流中。然而，历史的构建，归根结底是献给无名者的记忆。在旺无名画廊，我们坚持“nobody is somebody”的信念。艺术的意义不该被名气定义，而是由作品本身去触动人心。我们致力于发现和支持那些“尚未被发现”的艺术家，用行动打破艺术生态中的壁垒，推动一个更包容、更多元的艺术世界。在这里，生活与艺术融为一体，我们相信每一位“nobody”都有成为“somebody”的可能性，因为艺术属于所有人。“nobody is somebody”的理念，是一种对艺术生态多样性和包容性的坚持。我们希望让更多有才华的艺术家被看到，从而推动艺术市场更健康、更开放的发展。同时，藏家也将在这个过程中，收获一段与多元艺术碰撞的丰富体验。我们希望通过画廊的平台，将那些可能尚未被发现但具有非凡潜力的艺术家介绍给社会和藏家。这不仅仅是在发掘“nobody”的艺术价值，更是推动艺术界向更多元、更开放的方向发展，让艺术的可能性超越名气本身。无论您是否是资深艺术家，作品本身永远是我们关注的重点，而不是背景或资历的堆砌。在旺无名画廊，艺术为所有人而生，我们相信生活即 艺术，艺术即生活。只要您的作品能触动人心，我们愿意倾注资源支持您。画廊长期招募艺术家，欢迎积极联系，加入我们。

The German-born Ashkenazi Jewish philosopher, cultural critic, and essayist Walter Benjamin (1892–1940) noted in his final work Theses on the Philosophy of History:" Commemorating the nameless is more difficult than commemorating the renowned. The construction of history is dedicated to the memory of the nameless." This statement reminds us that history is shaped more by the contributions of the unknown than by the celebrated figures alone. The nameless often embody an unseen yet vital presence—those whose efforts and creations, though unrecorded by history, are indispensable. To recognize and respect the nameless is to embrace a value system that transcends fame and labels. It is precisely because their significance is obscured by the tides of history that commemorating the nameless is so challenging. Yet the true construction of history ultimately honors their memory. At Nobody Gallery, we hold firmly to the belief that "nobody is somebody." The meaning of art should not be dictated by fame, but rather by its ability to resonate with the human heart. We are dedicated to discovering and supporting “yet-to-be-recognized” artists, breaking barriers within the art ecosystem, and fostering a more inclusive and diverse art world. Whether you are an established artist or a budding creator, if your work holds the power to move hearts, we are here to support you. At Nobody Gallery, we blur the lines between art and life, believing that every "nobody" carries the potential to become "somebody" for art belongs to everyone. Our philosophy of "nobody is somebody" represents a commitment to the diversity and inclusivity of the art world. We aim to give more talented artists the visibility they deserve, promoting a healthier and more open art market. In this process, collectors can enjoy the richness of engaging with diverse artistic expressions. Through our platform, we introduce society and collectors to extraordinary artists who may yet be undiscovered, driving the art world toward a more open and dynamic future—where the possibilities of art transcend fame itself. Regardless of background or accolades, we focus on the art itself. At Nobody Gallery, art is born for everyone, and life is art. If your work moves hearts, we will invest the resources to support you. We are continuously seeking passionate artists—join us in shaping a more inclusive and boundless art community.