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Einstein on the Beach—Chasing the Moon/沙滩上的爱因斯坦-追月
China Tracy

17/21

China Tracy

Einstein on the Beach—Chasing the Moon/沙滩上的爱因斯坦-追月
China Tracy
"Time doesn't pass in the same way for everyone". It's been a few years since I last entered the world of Second Life. While I've grown a fair amount of grey hair, and wrinkles and spots have crept up on my face, she's still youthful and beautiful as in 2006 when I first created her. Perhaps there has never been a real “deceleration of time” nor a “length contraction (or time dilation)”. China Tracy, once a romantic Cyber woman with a scepter in her hand, now resumes her role as a wanderer nearly a decade after the loss of her virtual kingdom - the RMB City. On the edge of an unknown land, she decides to fly to a moon that never falls, only to be stranded by an invisible wall on the border between the land and the sea. No matter how hard she struggles to break through the panoramic ceiling of this Truman’s world, she hovers, stalls and spins in a loop until she dies as the computer crashes. she can still be reborn the next time she enters the world, but it never changes the fact that she can never reach the moon. The relationship between China Tracy and me is ambivalent in which our identities and the real and the virtual are ambiguous. We can feel that our respective earths are moving. But the notions of past, present and future, here, elsewhere, nowhere, etc. all seem to end. Music: Ma Haiping “时间对于所有人来说并不是以同样的方式流逝”,距离我上次进入第二人生世界,已经好几年时间了,我长了许多白发、脸上攀爬上了皱纹和斑,可看到里面的中国·翠西依然青春靓丽和2006年第一次创建她时一样,或许从来就没有真正的“时间减速”也没有真正的“时长的收缩(或扩张)”。 中国·翠西曾经是一个手执权杖的浪漫主义赛博人,在她失去“人民城寨”虚拟王国近十年后的今天又重回流浪者的身份,在一个不知名的土地边缘,她决定飞往一轮永不落的月亮,却怎料被土地与海洋边界上一堵不可见的墙隔离开来,无论她如何奋力挣扎试图冲破这一楚门世界般封闭的全景天幕,她都只能循环盘旋、卡顿、打转,直到过渡消耗电脑内存而死亡(死机)。但她依然能在下一次进入世界时重获新生,却改变不了永远不能抵达月亮的这一事实。 我和中国·翠西两者之间的关系决定了所谓的身份之间、虚实之间的重叠、偏移甚至是“红移”,我们能感觉到各自的地球在移动,但过去、现在和将来,此地,别处,无处等概念都似乎已经结束了。 音乐:马海平
Created2021
Duration
Cao Fei (aka China Tracy, b. 1978) is one of the most innovative Chinese artists to have emerged on the international contemporary art scene. Mixing social commentary, popular aesthetics, references to Surrealism, and documentary conventions in her films and installations, her work reflects on the rapid and developmental changes that are occurring in Chinese society today. Cao’s work has been exhibited at a number of biennials and triennials, including the 15th and 17th Biennale of Sydney, the 2017 Istanbul Biennial, and the 50th, 52nd, and 56th Venice Biennales. Over the past five years, she has had solo shows at the UCCA Center for Contemporary Art, Beijing (2021), the MAXXI National Museum of 21st Century Arts, Rome (2021), the Centre Pompidou, Paris (2019), K21 Düsseldorf (2019), the Tai Kwun Contemporary, Hong Kong (2018), and  MoMA PS1, New York (2016). Exhibitions and screenings of her work have taken place at the Serpentine Galleries (2008, 2006) and Tate Modern, London (2014, 2013, and 2002); the Guggenheim Museum (2018, 2011) and the Museum of Modern Art, New York (2016, 2015); in Paris at the Fondation Louis Vuitton (2016), the Palais de Tokyo (2017, 2005) and the Centre Pompidou (2019, 2014, and 2003). In 2019, Cao participated in an AR art project initiated by APPLE and the New Museum, New York.  In 2017, Cao became the first Chinese artist to be commissioned by the BMW Art Car Project. She is the recipient of the 2016 Chinese Contemporary Art Award (CCAA) / Best Artist and the 2016 Piedra de Sal Award of the Cuenca Biennale. She has served on the juries for some of the most prestigious art awards, including the Hugo Boss Asia Art Prize (2019). The artist lives in Beijing.