Zheng Shi ｜施政

施政在集中创作个人作品的同时，也和其领域内的优秀艺术家进行合作。2013年他与能火、王志鹏、翁巍共同成立媒体艺术小组RMBit（人民比特），结合当下的社交媒体现象进行创作。他和能火也是Audio-Visual演出团体OSC(Open Super Control）的成员。其个人与合作作品也曾多次出现在国内外重要的美术馆、艺术机构、媒体艺术节中，包括Sound Art China（中国声音艺术大展）、Ars Electronica（奥地利电子艺术节）、Institute of Contemporary Arts（伦敦当代艺术中心）、都灵Castello di Rivara美术馆等。

Shi Zheng, born in 1990, graduated from the School of Intermedia Art at the China Academy of Art in 2014, and received his MFA from the School of the Art Institute of Chicago in 2019. He currently lives and works in Shanghai and New York.

While focusing on his individual artistic practice, Shi Zheng also collaborates with outstanding artists in his field. In 2013, he co-founded the media art collective RMBit with Neng Huo, Wang Zhipeng, and Weng Wei, creating works in response to contemporary social media phenomena. He and Neng Huo are also members of the audio-visual performance group OSC (Open Super Control).

His solo and collaborative works have been presented on numerous occasions at major museums, art institutions, and media art festivals in China and abroad, including Sound Art China, Ars Electronica in Austria, the Institute of Contemporary Arts in London, and Castello di Rivara in Turin.

施政的艺术作品关注的并不是图像和媒体的循环，而是关注它们是如何制作的。或，它们是如何故意误导大众的。就像是坠入一个虚拟又真实的空间，所看并非真实，每个人的心中都有自己的标准与定义，没有对错，一切全凭想象，比如这个沉浸式声音和影像装置空间《visioning/versioning I》。

艺术家虚构了一个不断下沉的海底景观，试图在缓慢的“垂直时间”中，通过颗粒化的声音与影像创造出一种纯粹的感知体验。人们身处其中，仿佛自身已沉入海底，随自由波浪起伏，感受点滴间的细微变化。

对于艺术家们来说，创意与概念是产出作品最关键的组成因素，当一位艺术家敢于颠覆想象表明自我立场与态度时，他就应该值得被铭记。艺术可以用各种形式呈现、譬如数字技术、影音、建筑或是视听色彩等等，但不变的是拥有一颗敢于躁动的心。

Shi Zheng’s artistic practice is concerned not so much with the circulation of images and media, but with how they are produced — or, perhaps, how they are deliberately used to mislead the public. It is like falling into a space that is at once virtual and real: what we see is not necessarily truth. Everyone carries their own standards and definitions; there is no absolute right or wrong, and everything is left to imagination. Such is the case with his immersive sound and moving-image installation, visioning/versioning I.

In this work, the artist constructs a fictional underwater landscape that continuously sinks. Within a slow sense of “vertical time,” he uses granular sound and imagery to create a pure perceptual experience. Viewers inside the space feel as though they have descended to the seabed, rising and falling with free-flowing waves, sensing subtle changes in every passing moment.

For artists, creativity and concept are among the most crucial elements in the making of a work. When an artist dares to overturn imagination and articulate a clear position and attitude, they deserve to be remembered. Art can take many forms — digital technology, moving image, architecture, audio-visual colour, and more — yet what remains constant is a restless heart willing to disturb and be disturbed.

“关于《Nimbus》这件作品的构思大概是从2015年初的平面作品《noplanet》开始的。但是，我发现充满着流动感的静止画面使我难以得到满足，于是我决定从中着手进行新的创作，这样就有《Nimbus》。”
——施政

“The idea for Nimbus probably began with my two-dimensional work noplanet in early 2015. However, I found that a still image filled with a sense of movement was no longer enough to satisfy me, so I decided to use it as a starting point for a new work. That is how Nimbus came into being.”

— Zheng Shi

声音影像的装置，是通过噪音算法生成的一系列数字图形，而《Nimbus》并不像施政之前的作品那样以至高的观点去创造虚拟空间的景象，而是通过屏幕空间内构建虚拟雨云状态，从而更加完美的捕捉气态漂浮物流动变化的细节。

屏幕灯光作为一种隐喻被投射到生成的图片配置上，长时间观看甚至是会让人们产生一种身临其境的恐惧感，但它们并不能定义为传统的“照片”，而是由计算机虚拟摄像机拍摄的视觉图像被转化为现实，而我们最终能够看到计算机与人眼共享的虚拟景观。

This audio-visual installation is composed of a series of digital forms generated through noise algorithms. Unlike Shi Zheng’s earlier works, Nimbus does not construct a virtual spatial scene from an elevated or all-encompassing perspective. Instead, it builds a state of virtual rain clouds within the screen space, more precisely capturing the subtle details in the movement and transformation of gaseous, floating matter.

The light of the screen is projected onto these generated image configurations as a kind of metaphor. Prolonged viewing can even evoke a sense of immersive fear. Yet these images cannot be defined as traditional “photographs.” Rather, they are visual images captured by a virtual camera within the computer and translated into reality—allowing us, in the end, to witness a virtual landscape shared by both the computer and the human eye.

这是一段狭长的三角形影像，如彗尾般从大地深处到来。影像以24个希腊字母的含义作为叙事结构，从一个非人视角，观察着一颗未知行星的运动。
地震、火山、海啸等自然灾害在这颗行星上就如同一个正在发生的动作，都会消失在时间尽头。观众将永远无法取得观看这段影像的正确视点，所有角度的观看都必将带有强烈的透视，从而取得一个无限的视角。

This is a long, narrow triangular moving image, arriving from the depths of the earth like the tail of a comet. Structured around the meanings of the 24 Greek letters, the work adopts a non-human perspective to observe the movement of an unknown planet.

On this planet, natural disasters such as earthquakes, volcanic eruptions, and tsunamis appear merely as actions in progress, all of which will eventually vanish at the end of time. The viewer can never obtain the “correct” vantage point from which to watch the work: every angle is inevitably marked by a strong sense of perspective, thereby opening onto an infinite point of view.

作品《Embers》是通过一个大规模的空间影像构造出写实的三维景观实景，也被称为“自定义世界”。这些场景制造，描绘了一个潜在崇高又危险的世界，一个似是而非的真实世界。

人们在观赏作品时，超越现实的景象同时会带来一种不可言喻的陌生感，让人在深层次的沉浸式体验中也能瞬间的转为冷静。

作品《visioning / versioning I》目前正在“海的轮廓”多媒体艺术展展出，也是施政专为展览倾情创作。除了这个沉浸式的视听艺术空间，还有更多来自国内外艺术家的多媒体艺术作品，如果你对新型艺术形式报以好奇，如果你对海洋世界有自己的理解，如果你对未来海洋发展与保护有些许想法或建议，我们期待你能来观展~

The work Embers constructs a realistic three-dimensional landscape through large-scale spatial imagery, forming what may also be described as a “custom world.” These manufactured scenes depict a world that is at once potentially sublime and dangerous — a reality that feels almost real, yet not quite.

As viewers encounter the work, its vision beyond reality brings with it an inexpressible sense of estrangement, allowing moments of sudden clarity and detachment even within a deeply immersive experience.

The work visioning / versioning I is currently on view in The Silhouette of the Sea, a multimedia art exhibition, and was specially created by Shi Zheng for this exhibition. Beyond this immersive audio-visual installation, the exhibition also features many other multimedia works by artists from China and abroad. If you are curious about emerging artistic forms, if you have your own understanding of the oceanic world, or if you have thoughts or suggestions regarding the future development and protection of the sea, we warmly look forward to welcoming you to the exhibition.