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2015-1-28 15:16| 发布者: 墙报| 查看: 2853| 评论: 0|来自: 艺术时代



Marc Lee *1969* Switzerland creates network-oriented interactive projects since 1999.

Experimenting with information and communication technologies, his projects locate and critically discuss economic, political, cultural and creative "issue-clusters" that are essential for communication processes in digital networks.

Marc Lee has exhibited in major new media art exhibitions including: ZKM Karlsruhe, New Museum New York, Trans-mediale Berlin, Ars Electronica Linz, Contemporary Art Biennale Sevilla, Viper and Shift Basel, Read_Me Festival Moskau, CeC Dehli, ICC Tokyo, Media Art Biennale and MMCA Seoul



1. what do you think about internet art?

Internet art or net art cov-ers artistic practices which uses the Internet as its me-dium. Mainly web-based projects that are primarily experienced via a browser and not focused on a par-ticular location such as a museum or gallery. In order to see an original painting or installation, we have to travel to the specific location. Different than Internet art, which we experience the original work in a browser at home for example. That’s the great advantage. It's possible to exhibit and share artistic projects globally, location independent, as they are, by just sending the link of the project.

1.1 do you think that brow-ser and tool are shaping our behavior as well? as human design the tool and the tool some how control human.

Yes indeed, especially if we use them often. Let’s think about our 24-hour availabi-lity. So far we can avoid that in most cases. Probably in the future it will be difficult. As a simple example, in most Swiss train stations we must buy train tickets through a computer. About ten years ago the ticket machines substituted most ticket sellers. Therefore, buying a ticket, we must communicate with machines instead of with people.

2. your work is very much on the situation of sharing infor-mation and construction of art by other people, how do you see you self as an artist, and what’s the art fact in your work?

I often ask myself, are jour-nalists still necessary in the age of the Internet? The usual media technologies, which have journalists as gatekeepers, who decide what is or is not published, which is maybe not conformed anymore. With my work I attempt to bring another view to the mass media, a view which is not driven by economic reasons and money. A critical view to reflect the information society. A view to make people aware, of how easy it is to manipulate the "truth" for example.

2.1 the gatekeeper issue was a core issue after the 2nd world war, which keep people safe from an evil power, finally it turned into the evil power, we still have this kind of gatekeeper like the firewall and role in the society as well…to reveal this is something that people do not always give attention to, but people like to participate in events, what you see the difference online and offline?

Different than in face to face communication, online conver-sation is generally accumulated and archived by governments, corporations, and research institutes and then transformed into everlasting stories as well. Even though it remains to be seen what long-term implications and consequences this collecting and archiving may have, it is worth thinking about it already now.

In my latest online project Pic-me I’m addressing that. Pic-me.com shows on google earth, the positions where a user sends their post to Instagram. The user’s trail can also be traced and the addresses are shown and localized on the map. Many users are unaware of features such as geotagg-ing being activated by default on social media platforms. Much additional personal information is therefore reveal-ed unintentionally.

3. your work dogmeat.org has a funny aspect on human beha- viour and the culture differen-ce? can you explain more about it and what happened during the project?

The Fifa (International Foot-ball Federation) claimed the Korean government banned eating dog meat during the Football World Cup 2002 in Korea. Eating dogmeat is an old tradition in Korea and it was one a century ago in Europa as well. Within the dogmeat.org project we went offensive and opened fictitious facilities in front of the football stadiums to let people taste dogmeat. We made poster-and press campai-gns and opened a dogmeat butcher branch in Zurich, which is also the headquarters of Fifa. Within that, the press published stories about it and we were able to reach large audiences, who tested user reactions, addressed this postcolonial act of Fifa and maybe reduced prejudice.

3.1 what you see as humanity, people questioning on eat-ing dog meat because of the relation issue with dogs or something else, it’s getting stranger that people protect dogs but not other human beings, do you see this super-ficial behavior related to things people cannot achieve or just because people like dogs better than people? that also reflects on the issue of culture violence, which normally happens to the non-develop areas or the powerless countries, primitive or cannibalism is some how easily related with how we treat animals and others, do you see a quality in the other culture, what is meaning of tradition?

In general, humans protect humans more than animals. But if people are manipulated or controlled by governments, companies, adds and so on, it can turn. Most of the time it’s an economically driven process which leads to evil actions in many countries and cultures. As I mentioned, eating dog meat was a tradition in Europe and now it’s cruel. In this shift we can see that traditions are changing, like everything around us. We should not blind- ly follow our tradition and we should be very careful if we transfer them to different cultures.

4. block/classified information is in the name of children, national security and other reasons, what you see about the phenomenon in nowadays? Will all of humanity and beneficial attention kill the real meaning of the internet?

There is a saying that there is a shift from the Internet into countless Intranets. Personally I cannot feel that so far, but I guess it's true. This is very sad. The Internet with the open and interconnected structure brought so many social benefits like the open source initiative, free software movements and knowledge based websites like Wikipedia for example.

4.1 what do people get from the Internet, do people madethe babble for our time? as I understand, the internet is very much requires sharing and co-constructing by people, censorship is one major thing that because of people still have nostalgic way of dealing with the old time behavior and a way of using media, normally control related to the power source of the old system, when people are willing to give the power or people are not aware of the power, that power shall be kidnaped and controlled by the system, naturally we do not have better system, and people are still not ready, what do you think?

I think people always find possibilities to elude perfect control and censorship for two reasons: nobody likes to be controlled and censored. 

Secondly, people are very crea-tive. But this is much more difficult in the Internet age. It’s important that people are aware of these subjects, aware of what’s going on. If we know things are censored, censorship does not work anymore, and there will be ways to elude censorship.

5. What is the form of your art? part of the CITY project you have shown in ZKM, do you consider your work have to have a sculptural or installation view and why?

In many projects I'm using user-genera-ted content as a base. In traditional photogra-phy- and video art, it's an artist group or single artist who de-cides, what will be shown. Using user generated-content, people all over the world receive a voice and share their thoughts and stories. In that way we are able to reflect our life, hopes, wishes and espe-cially the culture of the young-er generation much better. I believe this can have a wider and substantial meaning then traditional art.

In addition to the user gene-rated content, some of my pro- jects have a sculptural an in-stallation view. Within that we can involve more senses like touch or smell and face to face communication. This is not possible in pure Internet art. Combining these two, it’s possible to make synesthetic experiences.

5.1 your work seldom involve handy or the upcoming pad or palm culture, do you think it because of the possibility of the tool is not ready yet, or because you still think the computer based environment shall be the core of your work?

In the beginning I was not a fan of handy apps, because usually we had to pay for services on the mobile devices which were free on the internet. But this changed a lot in the recent years. Most services which are on the Internet can now be used within the mobile browser. Using the internet, we always get the newest version automatically. Using Apps we have to constantly update it, to get the newest version.

Actually at the moment, I’m working together with the KIT | Institute for Technology Karl-sruhe, we transferring the existing project “10'000 moving cities”
http://youtu.be/KCoC5uAByH8 into a telepresence mobile application. It will be possible to experience this work interac-tive in 3D on a mobile device using a Durovis 3D glass. The aim is to walk virtually around the installation in 3D, having the possibility to choose a new city and seeing and hearing in real time content from that chosen city. This project is very exciting and the mobile devices are of great help.

E-Mail interview for a Chinese magazine Art Times:

Marc Lee











在2002年的日韩世界杯举行前,FIFA(国际足球联合会)发出正式的声明,要求韩国政府禁止在世界杯期间食用狗肉 。在韩国,食用狗肉是一项久远的传统,事实上,一个世纪以前的欧洲也是有食用狗肉情况的。在dogmeat.org《狗肉联盟》项目中,我们(译者注:指Marc Lee和合作者,韩国艺术家金素奇kim sukhee)一起开启了挑战这一声明的行动,我们做了一些假的狗肉装置,在足球场馆前邀请人品尝。我们做了一系列海报和媒体宣传,甚至在苏黎世——也就是国际足联总部所在地——“开设”了一家狗肉公司(事实上并不存在)。媒体迅速报道了这一故事,我们也获得了大量的观众,他们的反应检验了我们关于这个事件的一些观念:国际足联的这一行为是带有后殖民主义倾向的。这一项目也或多或少减少了一些文化偏见。

你如何看待这个项目折射的人性?人们会质疑食用狗肉,因为人与狗之间的关系或者其他的原因。但是这有时也变得奇怪,有些人们会去保护狗,对保护人却显得淡漠。你怎么看待这样的行为?是因为它关乎人类无法实现的一些东西,还是3.1 因为人单纯的爱狗多过爱人?这个项目也折射了一些关于文化暴力的问题,这些问题往往发生在相对欠发达的国家和地区,来自于关联原始的、甚至食肉的行为的、我们对待动物和其他个体的态度,你在其他的文化中是否看到一种品质?传统的意义究竟是什么?










事实上,我现在在和卡尔斯鲁厄理工学院(Institute for Technology Karlsruhe)合作一个项目,我们把已有的《10,000个移动城市》(10'000 Moving Cities)项目转换成一个基于遥操作的手机应用。这个应用使得人们可以在手机终端,配合Durovis 3D眼镜(译者注:由科技公司Shoogee开发的手机3D眼镜)来在3D环境下互动地体验这个作品,其目的是让人们能在3D环境下虚拟地行走于装置之间,允许用户选择不同城市,并实时听到和看见所选城市的内容。这个项目非常令人激动,而手机设备和应用也确实帮了大忙。


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