{"id":3158,"date":"2019-03-08T15:44:00","date_gmt":"2019-03-08T15:44:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=3158"},"modified":"2022-12-06T15:56:27","modified_gmt":"2022-12-06T15:56:27","slug":"forget-the-future-the-6th-guangzhou-triennial","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/forget-the-future-the-6th-guangzhou-triennial\/","title":{"rendered":"Forget the Future: The 6th Guangzhou Triennial"},"content":{"rendered":"\n

by Marcus Yee (\u4f59\u6631\u6600)<\/strong><\/p>\n\n\n\n

\u201cAs We May Think: Feedforward\u201d<\/a>, The 6th Guangzhou Triennial 2018,<\/strong>
Guangdong Museum of Art<\/strong>
Dec 21,2018 \u2013 March 10, 2019<\/strong><\/p>\n\n\n\n

Curated by<\/strong> Angelique Spaninks, ZHANG Ga, Philipp Ziegler. Chief Director: Wang Shaoqiang<\/p>\n\n\n\n

The last two decades of precipitous change have provided much grist for recent exhibitions, artist talks, and essays. The pre-eminence of digital technologies in society, the unpredictable advances in biotechnology and Artificial Intelligence, and irreversible environmental degradation encapsulated under the banner of the Anthropocene all speak to a certain disquiet towards unproblematic notions of progress. The latest edition of the Guangzhou Triennial, \u201cAs We May Think: Feedforward\u201d is no different.<\/p>\n\n\n\n

A cursory scan through the Triennial revealed an emporium of automatons, beakers, screens, vitrines, chemicals, graphs, charts, digital prints, CGI renders, editing software screen-captures, drone footage, Internet-sourced montages, pixelated prints. While the co-curators aspired to dislodge science from hermetically sealed professionalization (with the polymathic ideal of the Renaissance as an aspiration), objects and images in the exhibition not only left disciplinary boundaries intact, they reinforced these boundaries through the exhibition\u2019s overdetermined technoscientistic<\/em> aesthetic.<\/p>\n\n\n\n

Much of the Triennial smacks of techno-optimism. \u201cAs We May Think\u201d, the first half of the Triennial\u2019s title, is taken from a 1945 essay by American engineer Vannevar Bush. Written after the explosion of scientific and technological development during World War II, Bush sermonizes about a rose-tinted future that \u201cScience\u201d will pave for humanity. Bush speculated on the \u201cMemex\u201d, an automaton that would organize the ocean of information into an algorithmically navigable series of punch cards. Since the Memex actualized into present-day search engine giants like Google, the Triennial\u2019s co-curators lapped on Bush\u2019s prescience. What was conspicuously undiscussed was Bush\u2019s nostalgia for military science as the coordinator of a WWII submarine radar research laboratory or his deep-seated American nationalism\u2014one example of the lack of historical and epistemological attentiveness symptomatic to the Triennial as a whole.<\/p>\n\n\n\n

The second part of the title, \u201cFeedforward\u201d, borrows from an essay by the literary scholar Mark Hansen, which concerns the computational world of machinic sensing where consciousness and perception have sunken to sub-conscious and sub-perceptual levels. Experience now takes a \u201cfeed-forward\u201d structure oriented towards the near future, no longer tied to the past (as comparedto the feedback loop) nor determined by deliberative consciousness. For Hansen, this human-technological reconfiguration is \u201ca veritable invigoration of the human\u201d, that is, what makes us extra<\/em>-human, rather than merely posthuman. However, appropriated by the Triennial, Hansen\u2019s theory of the \u201cfeedforward\u201d has less to do with the possibilities of social and ethical changes that technology could support, than cheerful, banal speculations on the ontological ripples that result from our nosedive into technological futures. In a technological future that mirrors the exploitation, oppression, and resentment of today, what difference would reflections over human ontologies make?<\/p>\n\n\n\n

To be fair, the curators do lay out their stance. In an interview with Angelique Spaninks, one of the three co-curators of the Triennial, she observed, \u201cYou can tell the catastrophic and the dark sides of the digital and bio-technologic and I think a lot of art focuses on this side of it, but there is also the other side. The side of hope.\u201d The issue at hand, is not the co-curator\u2019s opaque techno-optimism, but rather, the utopia\/dystopia binary. Instead of considering \u201cthe digital and bio-technologic\u201d as conditions of the past and present, the Triennial tends to project its discourse on techno-science into the distant, teleological future, hence privileging the task of speculation over critique.<\/p>\n\n\n\n

\"\"
Simon Denny, \u201cFounders Board Game Display Prototype (China Edition)\u201d, customized Settlers of Catan game piece<\/figcaption><\/figure>\n\n\n\n
\"\"
Femke Herregraven, \u201cSprawling Swamps \u00b7 Docking Station # 2\u2033, Installation, 2018<\/figcaption><\/figure>\n\n\n\n

<\/a><\/a>Case in point is the overwhelming selection of \u201cspeculative\u201d works. Works such as Simon Denny\u2019s\u00a0Founders Board Game Display Prototype (China Edition)\u00a0<\/em>or Femke Herregraven\u2019s\u00a0Sprawling Swamps\u2014Docking Station #2.\u00a0<\/em>The former is a display of fictional board-game where the entrepreneurial \u201cfounder\u201d evacuates damaged lands to found new colonies in New Zealand, the ocean, and finally, outer space, recalling the blurring between of entrepreneurship, financial technology, and geopolitics through game theory. On the other hand, the latter brings together vaporwave-like animated sequences and insipid swathes of vinyl stickers, making tangential parallels between natural landscapes and finance by imagining \u201cfictional infrastructures\u201d. Both works offer coy, defanged shades of corporate critique, reminiscent of a Reddit meme\u2014leaving audiences cold with the cynical aesthetics of\u00a0\u201ci guess we r all screwed lol\u201d<\/em>.<\/p>\n\n\n\n

Curiously, an aesthetics of innocence was paired with techno-science throughout the Triennial, as though to diffuse the technological cynicism of the \u201cspeculative\u201d. An unsettling naivety was found in Charlotte Jarvis\u2019s Music of Spheres, <\/em>where DNA-soap bubbles were encoded with musical recordings, or Shen Ruijun\u2019s animation-installation, Shoal<\/em>, featuring a miniaturised, prelapsarian garden, recalling a familiarly modern romanticism for an untainted Nature. Perhaps the most arbitrary of childlike invocation was Ief Spincemaille\u2019s reticulating 60-meter ROPE<\/em>, meant for audiences to play with. Left untouched at the OCT Boxes Museum, the work resembled an oversized pet python, abandoned after its skin was dyed blue out of a cruel whim. In a bid to render techno-science approachable through an aesthetics of innocence, such an aesthetics also highlights the ineffectuality of contemporary art in the forcefields of power. Instead of revealing \u201cart\u2019s distinctive power of theorizing powerlessness\u201d (in the words of Sianne Ngai, in The Cuteness of the Avant-Garde<\/em>), works in the Triennial sublimated feelings of powerlessness altogether, transmogrifying vulnerability into inanity.<\/p>\n\n\n\n

With its emphasis on the \u201cFeedforward\u201d motor of history, the Triennial invested mainly in a dubious \u201ccontemporary\u201d and \u201cfuture\u201d, jettisoning imports from world history. For the co-curators, science and technology occupied the empty, progressive time of modernity bereft of the past or the Occident\u2019s Other, where \u201ca new reality descends in which inherited wisdom no longer suffices.\u201d As one of the few historiographical works in the Triennial, ZKM | Hertz Lab\u2019s Genealogy of the Digital Code<\/em> makes disappointing oversights in its recapitulation of computing history. Genealogy<\/em> begins its timeline in 1820, when Charles Xavier patented the Arithmometer, \u201cthe first industrial calculator for the four main operations\u201d. Instead of retracing continuity, theGenealogy<\/em>, following the encomiastic tradition\u2014the Great Man Theory of History\u2014violently dismembered the history of computing by erasing the non-Western contributions to arithmetic, such as the Chinese abacus or the Indian-Arabic invention of positional numeration, or erasing the erasure of women\u2019s contributions to computing since the 18th century. The term \u201ccomputer\u201d, for instance, first referred to unpaid or low-wage workers, who were usually female, tasked to undertake long and tedious calculations.<\/p>\n\n\n\n

In the Triennial, it seemed easier to wax theoretical about human and non-human alliances, rather than articulating the political consequences of history upon gender and race in techno-science.<\/a><\/p>\n\n\n\n

\"\"
Charlotte Jarvis, \u201cMusic of Sphere\u201d, 2013-2015<\/span><\/figcaption><\/figure>\n\n\n\n
\"\"
Shen Ruijun, \u201cShoal\u201d, mixed media, 3\u2032, 27 cm \u00d7 37.3 cm \u00d7 30 cm, 2016<\/figcaption><\/figure>\n\n\n\n
\"\"
Zhang Yongji, \u201cThe Generation is Screaming\u201d, 5927 px \u00d7 1080 px, HD video, color, sound, 4\u201931\u201d, 2018<\/figcaption><\/figure>\n\n\n\n

<\/a><\/a>But there were important exceptions in the Triennial. Zhang Yongji\u2019s video installation,\u00a0The Generation Is Screaming<\/em>, was one of the few works that brought the context of China in discourse with the digital. Stringing together wildly popular viral dance videos into a montage,\u00a0The Generation Is Screaming<\/em>\u00a0doubles as a visual ethnography of internet participation and virtual pleasures, while alluding to the ambivalent political potential of such online communities.<\/p>\n\n\n\n

Harun Farocki\u2019s video series, Parallel I <\/em>and Parallel II<\/em>, examined the visualities of computer game imagery\u2014with one work from the series censored days leading up to the Triennial\u2019s opening. Tracing the history of animating nature in computer games, Parallel I <\/em>begins with the computer-generated winds that blow against treetops, moving poetically through modes of representation, and concludes by revealing the hidden labor behind these animations. In Parallel II<\/em>, audiences follow game avatars as they travel towards the limits of virtual worlds. Beyond the edges of these worlds, the avatars are walled off or entirely obliterated, turning on its head the opening question, \u201cdoes the world exist if I\u2019m not watching it?\u201d<\/p>\n\n\n\n

With works like those of Zhang and Farocki, the technological is not projected into a fantastical or unliveable future as an object of incessant speculation, but fully apprehended as a condition of the present, informed by the continuities of history. Unlike the overreaching universalization of the (post)human, such works are particular in their espousal of the human, social, and technological as always-already heterogenous, cross-pollinating formations, rather than monolithic entities which therefore could be overcome. This edition of the Guangzhou Triennial could be diagnosed a common case of far-sightedness, where the co-curators casted their sights at the hazy distance of the future and the West, while leaving what is nearby overlooked.<\/p>\n\n\n\n

References<\/strong><\/p>\n\n\n\n

Bush, Vannevar. \u201cAs We May Think.\u201d The Atlantic<\/em>, 1945.<\/p>\n\n\n\n

Chapman, Lara. \u201cUps and Downs of the Guangzhou Triennial with Angelique Spaninks.\u201d TLmagazine<\/em>, 24 Jan. 2019, tlmagazine.com\/guangzhou-triennial-as-we-may-think-feedforward-angelique-spaninks\/.<\/p>\n\n\n\n

Conner, Clifford D. A People\u2019s History of Science<\/em>. Nation Books, 2005.<\/p>\n\n\n\n

Spaninks, Angelique, Zhang Ga, Ziegler, Philipp. \u201cAs We May Think: Feedforward\u201d, The 6th<\/sup> Guangzhou Triennial<\/em>, ed. Wang Shaoqiang, 2018.<\/p>\n\n\n\n

Hansen, Mark B. N. Feed-Forward: on the Future of Twenty-First-Century Media<\/em>. University of Chicago Press, 2015.<\/p>\n\n\n\n

Meyer, Michal. \u201cThe Rise and Fall of Vannevar Bush.\u201d Science History Institute<\/em>, Science History Institute, 8 Aug. 2018, www.sciencehistory.org\/distillations\/magazine\/the-rise-and-fall-of-vannevar-bush.<\/p>\n\n\n\n

Ngai, Sianne. \u201cThe Cuteness of the Avant-Garde.\u201d\u00a0Critical Inquiry<\/em>, vol. 31, no. 4, 2005, p. 811.<\/p>\n\n\n\n

\"\"
Harun Farocki, \u201cParallel I\u201d, video, color, sound, 16\u2032 (loop), 2012<\/figcaption><\/figure>\n\n\n\n
\"\"
Yang Jian, \u201cForest of Sensors\u201d, installation, sensors, various materials, size variable, 2008, ongoing (Courtesy the artist)<\/figcaption><\/figure>\n\n\n\n
\"\"
Gilberto Esparza, \u201cAutophotosynthetic plants (Phytonucleum electricus cella)\u201d, polycarbonate, stainless steel, electronic circuits, wood, silicone, graphite, silica, sand, activated carbon and acrylic, 2 m \u00d7 5 m \u00d7 5 m, 2013\u20132014<\/figcaption><\/figure>\n\n\n\n
\"\"
Tega Brain, \u201cDeep Swamp\u201d, installation, variable size, 2018<\/figcaption><\/figure>\n\n\n\n
\"\"
Tabita Rezaire, \u201cLubricate Coil Engine\u201d, performance, 2017<\/figcaption><\/figure>\n\n\n\n
\"\"
Thomas Feuerstein, \u201cPROMETHEUS DELIVERED\u201d, biochemical installation, consisting of: marble, plastic, tubes, stainless steel tub, wood, scissor lift table, 260 cm \u00d7 145 cm \u00d7 80 cm, 2016\u20132018<\/figcaption><\/figure>\n\n\n\n
\"\"
Thomas Feuerstein, \u201cPROMETHEUS DELIVERED\u201d, biochemical installation, consisting of: marble, plastic, tubes, stainless steel tub, wood, scissor lift table, 260 cm \u00d7 145 cm \u00d7 80 cm, 2016\u20132018<\/figcaption><\/figure>\n\n\n\n
\"\"
Lynn Hershman Leeson, \u201cThe Infinity Engine\u201d, wallpaper, 2 lab doors, pedestals with perspexhoods, variable dimension, 2014<\/figcaption><\/figure>\n\n\n\n
\"\"
Wang Yuyang, \u201cDictionary\u2014Light\u201d, 3D model, transparent resin, 200 cm \u00d7 150 cm \u00d7 260 cm, 2015<\/figcaption><\/figure>\n\n\n\n
\"\"
Marie Caye & Arvid Jense, \u201cSAM2\u201d, steel, PET, electronics, scoby, 150 cm \u00d7 80 cm \u00d7 80 cm, 2017<\/figcaption><\/figure>\n\n\n\n
\"\"
Pierre Huyghe, \u201cA Way in Untilled\u201d, film, HD video, color, sound, 14\u2032, 2018<\/figcaption><\/figure>\n\n\n\n
\"\"
Thomas Bayrle, \u201cRosaire\u201d, 2 CV motor, cut off, sound installation, 117 cm \u00d7 65 cm \u00d7 50 cm, 2012<\/figcaption><\/figure>\n\n\n\n

<\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/a><\/p>\n\n\n\n

\"\"
Jon Kessler, \u201cThe World is Cuckoo (Clock)\u201d, mixed media with lights, motor, video cameras, monitors and Panerai watch, 162.56 cm \u00d7 337.82 cm \u00d7 271.78 cm, 2016<\/figcaption><\/figure>\n\n\n\n
\"\"
Deng Yuejun, \u201cO\u201d, granite, photovoltaic cells, custom chips, speakers, 120 mm \u00d7 120 mm \u00d7 50 mm each, set of 100, overall dimensions variable, 2016 (image \u00a9 Deng Yuejun Studio)<\/figcaption><\/figure>\n\n\n\n
\"\"
Arne Hendriks, \u201cThe Incredible Shrinking Man\u201d, site installation, variable dimension, 2010\u20132018<\/figcaption><\/figure>\n\n\n\n

<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

by Marcus Yee (\u4f59\u6631\u6600) \u201cAs We May Think: Fe … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":3219,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[1251,1252,1253,1254,1255,1256,1258,1259,1257,1260,1261,1262,1264,1263,1265,1266,1268,1267,1269,1270,361,1271,1272,1273,1275,1274,1276,1277,1278,1279,1280,1281,1282,1283,1284,1285],"yoast_head":"\nForget the Future: The 6th Guangzhou Triennial - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/\" \/>\n<meta property=\"og:locale\" content=\"zh_CN\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Forget the Future: The 6th Guangzhou Triennial - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"by Marcus Yee (\u4f59\u6631\u6600) \u201cAs We May Think: Fe … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2019-03-08T15:44:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-12-06T15:56:27+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/leogallery-shen-ruijun-shoal-2016.webp\" \/>\n\t<meta property=\"og:image:width\" content=\"2400\" \/>\n\t<meta property=\"og:image:height\" content=\"1600\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/webp\" \/>\n<meta name=\"author\" content=\"Lien\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u4f5c\u8005\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lien\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9884\u8ba1\u9605\u8bfb\u65f6\u95f4\" \/>\n\t<meta name=\"twitter:data2\" content=\"12\u5206\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/\"},\"author\":{\"name\":\"Lien\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\"},\"headline\":\"Forget the Future: The 6th Guangzhou Triennial\",\"datePublished\":\"2019-03-08T15:44:00+00:00\",\"dateModified\":\"2022-12-06T15:56:27+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/\"},\"wordCount\":1790,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"Angelique Spaninks\",\"anthroposcene\",\"Arne Hendriks\",\"As We May Think: Feedforward\",\"Charlotte Jarvis\",\"Deng Yuejun\",\"digital technologies\",\"Femke Herregraven\",\"Gilberto Esparza\",\"Guangdong Museum of Art\",\"Guangzhou Triennial\",\"Harun Farocki\",\"Hertz Lab\",\"Ief Spincemaille\",\"Jon Kessler\",\"Lynn Hershman Leeson\",\"Marcus Yee\",\"Marie Caye & Arvid Jense\",\"Mark Hansen\",\"Philipp Ziegler\",\"Pierre Huyghe\",\"Shen Ruijun\",\"Sianne Ngai\",\"Simon Denny\",\"Tabita Rezaire\",\"techno-optimism\",\"technoscience\",\"Tega Brain\",\"The 6th Guangzhou Triennial 2018\",\"Thomas Bayrle\",\"Thomas Feuerstein\",\"Vannevar Bush\",\"Wang Yuyang\",\"Yang Jian\",\"Zhang Ga\",\"Zhang Yongji\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-CN\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/\",\"url\":\"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/\",\"name\":\"Forget the Future: The 6th Guangzhou Triennial - \u71c3\u70b9 Ran Dian\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/#website\"},\"datePublished\":\"2019-03-08T15:44:00+00:00\",\"dateModified\":\"2022-12-06T15:56:27+00:00\",\"breadcrumb\":{\"@id\":\"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/#breadcrumb\"},\"inLanguage\":\"zh-CN\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"http:\/\/www.randian.art\/zh-hans\/%e9%a6%96%e9%a1%b5\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Forget the Future: The 6th Guangzhou Triennial\"}]},{\"@type\":\"WebSite\",\"@id\":\"http:\/\/www.randian.art\/#website\",\"url\":\"http:\/\/www.randian.art\/\",\"name\":\"\u71c3\u70b9 Ran Dian\",\"description\":\"art magazine\",\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"http:\/\/www.randian.art\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"zh-CN\"},{\"@type\":\"Organization\",\"@id\":\"http:\/\/www.randian.art\/#organization\",\"name\":\"\u71c3\u70b9 Ran Dian\",\"url\":\"http:\/\/www.randian.art\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"zh-CN\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/Ran-Dian-logo-randian.png\",\"contentUrl\":\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/Ran-Dian-logo-randian.png\",\"width\":761,\"height\":118,\"caption\":\"\u71c3\u70b9 Ran Dian\"},\"image\":{\"@id\":\"http:\/\/www.randian.art\/#\/schema\/logo\/image\/\"}},{\"@type\":\"Person\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb\",\"name\":\"Lien\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"zh-CN\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/image\/\",\"url\":\"http:\/\/0.gravatar.com\/avatar\/f5ab5bb6c17c650698ba234cd1af904a?s=96&d=mm&r=g\",\"contentUrl\":\"http:\/\/0.gravatar.com\/avatar\/f5ab5bb6c17c650698ba234cd1af904a?s=96&d=mm&r=g\",\"caption\":\"Lien\"},\"sameAs\":[\"http:\/\/www.randian.art\"],\"url\":\"http:\/\/www.randian.art\/zh-hans\/author\/lien\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Forget the Future: The 6th Guangzhou Triennial - \u71c3\u70b9 Ran Dian","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/","og_locale":"zh_CN","og_type":"article","og_title":"Forget the Future: The 6th Guangzhou Triennial - \u71c3\u70b9 Ran Dian","og_description":"by Marcus Yee (\u4f59\u6631\u6600) \u201cAs We May Think: Fe … Continue reading →","og_url":"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/","og_site_name":"\u71c3\u70b9 Ran Dian","article_published_time":"2019-03-08T15:44:00+00:00","article_modified_time":"2022-12-06T15:56:27+00:00","og_image":[{"width":2400,"height":1600,"url":"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/leogallery-shen-ruijun-shoal-2016.webp","type":"image\/webp"}],"author":"Lien","twitter_card":"summary_large_image","twitter_misc":{"\u4f5c\u8005":"Lien","\u9884\u8ba1\u9605\u8bfb\u65f6\u95f4":"12\u5206"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/#article","isPartOf":{"@id":"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/"},"author":{"name":"Lien","@id":"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb"},"headline":"Forget the Future: The 6th Guangzhou Triennial","datePublished":"2019-03-08T15:44:00+00:00","dateModified":"2022-12-06T15:56:27+00:00","mainEntityOfPage":{"@id":"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/"},"wordCount":1790,"commentCount":0,"publisher":{"@id":"http:\/\/www.randian.art\/#organization"},"keywords":["Angelique Spaninks","anthroposcene","Arne Hendriks","As We May Think: Feedforward","Charlotte Jarvis","Deng Yuejun","digital technologies","Femke Herregraven","Gilberto Esparza","Guangdong Museum of Art","Guangzhou Triennial","Harun Farocki","Hertz Lab","Ief Spincemaille","Jon Kessler","Lynn Hershman Leeson","Marcus Yee","Marie Caye & Arvid Jense","Mark Hansen","Philipp Ziegler","Pierre Huyghe","Shen Ruijun","Sianne Ngai","Simon Denny","Tabita Rezaire","techno-optimism","technoscience","Tega Brain","The 6th Guangzhou Triennial 2018","Thomas Bayrle","Thomas Feuerstein","Vannevar Bush","Wang Yuyang","Yang Jian","Zhang Ga","Zhang Yongji"],"articleSection":["Reviews"],"inLanguage":"zh-CN","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/#respond"]}]},{"@type":"WebPage","@id":"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/","url":"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/","name":"Forget the Future: The 6th Guangzhou Triennial - \u71c3\u70b9 Ran Dian","isPartOf":{"@id":"http:\/\/www.randian.art\/#website"},"datePublished":"2019-03-08T15:44:00+00:00","dateModified":"2022-12-06T15:56:27+00:00","breadcrumb":{"@id":"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/#breadcrumb"},"inLanguage":"zh-CN","potentialAction":[{"@type":"ReadAction","target":["http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/"]}]},{"@type":"BreadcrumbList","@id":"http:\/\/www.randian.art\/forget-the-future-the-6th-guangzhou-triennial\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"http:\/\/www.randian.art\/zh-hans\/%e9%a6%96%e9%a1%b5\/"},{"@type":"ListItem","position":2,"name":"Forget the Future: The 6th Guangzhou Triennial"}]},{"@type":"WebSite","@id":"http:\/\/www.randian.art\/#website","url":"http:\/\/www.randian.art\/","name":"\u71c3\u70b9 Ran Dian","description":"art magazine","publisher":{"@id":"http:\/\/www.randian.art\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"http:\/\/www.randian.art\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"zh-CN"},{"@type":"Organization","@id":"http:\/\/www.randian.art\/#organization","name":"\u71c3\u70b9 Ran Dian","url":"http:\/\/www.randian.art\/","logo":{"@type":"ImageObject","inLanguage":"zh-CN","@id":"http:\/\/www.randian.art\/#\/schema\/logo\/image\/","url":"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/Ran-Dian-logo-randian.png","contentUrl":"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/08\/Ran-Dian-logo-randian.png","width":761,"height":118,"caption":"\u71c3\u70b9 Ran Dian"},"image":{"@id":"http:\/\/www.randian.art\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"http:\/\/www.randian.art\/#\/schema\/person\/52a3fdee246825a3356b50e0c44bbeeb","name":"Lien","image":{"@type":"ImageObject","inLanguage":"zh-CN","@id":"http:\/\/www.randian.art\/#\/schema\/person\/image\/","url":"http:\/\/0.gravatar.com\/avatar\/f5ab5bb6c17c650698ba234cd1af904a?s=96&d=mm&r=g","contentUrl":"http:\/\/0.gravatar.com\/avatar\/f5ab5bb6c17c650698ba234cd1af904a?s=96&d=mm&r=g","caption":"Lien"},"sameAs":["http:\/\/www.randian.art"],"url":"http:\/\/www.randian.art\/zh-hans\/author\/lien\/"}]}},"_links":{"self":[{"href":"http:\/\/www.randian.art\/zh-hans\/wp-json\/wp\/v2\/posts\/3158"}],"collection":[{"href":"http:\/\/www.randian.art\/zh-hans\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.randian.art\/zh-hans\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.randian.art\/zh-hans\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"http:\/\/www.randian.art\/zh-hans\/wp-json\/wp\/v2\/comments?post=3158"}],"version-history":[{"count":1,"href":"http:\/\/www.randian.art\/zh-hans\/wp-json\/wp\/v2\/posts\/3158\/revisions"}],"predecessor-version":[{"id":3222,"href":"http:\/\/www.randian.art\/zh-hans\/wp-json\/wp\/v2\/posts\/3158\/revisions\/3222"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.randian.art\/zh-hans\/wp-json\/wp\/v2\/media\/3219"}],"wp:attachment":[{"href":"http:\/\/www.randian.art\/zh-hans\/wp-json\/wp\/v2\/media?parent=3158"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.randian.art\/zh-hans\/wp-json\/wp\/v2\/categories?post=3158"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.randian.art\/zh-hans\/wp-json\/wp\/v2\/tags?post=3158"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}