‘眨眼间’— 赵与林
Blink is a project about the impending apocalypse of technological advancement meeting human evolution. 2025 is the year that major AI generative tools become accessible to the mass public. Videos and images of food around the world cover the walls. At first glance, they look hyper-real, even cliché, imperfect in the transitions. Stare at them long enough, and one would realize they are merely prompts into models that obtain information from large databases humans have accumulated since the printing press was invented 600 years ago. This is merely the first iteration for many enhancements to follow. In the wink of a few years, would we still be able to discern between what is real and what is AI-generated? Or perhaps even reject the reality we have around us, as not being enticing enough?
Posters placed on the walls are a collaboration with the artists’ two children who are ten and twelve years old. Their commentary and thought processes are unvarnished and scattered around the works. It is not to ascertain whether their opinions are correct. But they belong to a digital native generation that will have to live with this asymmetric balance of technology and humanity in their lifetime.
The crux of Chow and Lin’s practice lies in their methodology of statistical, mathematical and research techniques to address global issues since 2009. Through a research-based visual approach, Chow and Lin’s projects are driven by discursive backgrounds in economics, public policy and media, and these are further augmented by enduring exchanges with specialists in those fields. They are based in Beijing.
Stefen Chow (1980) was born in Malaysia and raised in Singapore. He was a mountaineer and was involved in ten Himalayan expeditions including summiting Mount Everest. His work has received awards from the World Press Photo, National Geographic and Tokyo Type Director’s Club. He holds a Bachelor of Engineering from the National University of Singapore.
Huiyi Lin (1980) was born in Singapore. She is trained in economics, has a background in economic policy formulation in Singapore and conducts research on food and agriculture. She holds a Bachelor of Social Sciences from the National University of Singapore, MBA from Tsinghua University – MIT Sloan School International MBA Program and Masters in Fine Arts from the Central Academy of Fine Arts (CAFA).
Selected Exhibitions
“Multiple Future: New visions of our life”，Ennova 艺术双年展，中国河北，2024-2025
“Of Mountains and Seas”，拉合尔双年展03，巴基斯坦拉合尔，2024
“Systems”，纽约现代艺术博物馆（MoMA），美国纽约，2023-2024
“We Honestly Don’t Know”，WMA展位，香港巴塞尔艺术展，中国，2024
“If I had a Hammer”，休斯顿Fotofest双年展，美国休斯顿，2022
“Photography-Who is It For”，朗斯克罗纳摄影节（Landskrona Foto Festival），瑞典朗斯克罗纳，2022
“Summer of Fireflies”，阿尔勒摄影节（Les Rencontres De La Photographie），法国阿尔勒，2021
“The Natural History of an Island”，三影堂摄影艺术中心，中国北京，2021
“Extraperlo 2021: Curating Curators”，马德里设计节，西班牙马德里，2021
“Margins: drawing pictures of home”，艺术与科学博物馆，新加坡，2021
“Equivalence – Cans”，第 75 届联合国亚洲及太平洋经济社会委员会会议，泰国曼谷，2019
“Homeless”，新加坡国立大学博物馆，新加坡，2018
“Post-conflict”，Getxophoto，西班牙赫塔，2018
“Poverty is the parent of revolution and crime”，Myanm/art 画廊，缅甸仰光，2017
“Your Selfie Stick (and You)”，连州国际摄影节，中国连州，2017
Publications
《贫困线》（The Poverty Line），英文，Lars Muller 出版社，2021
《贫困线》（Le Seuil de Pauvreté），法文，Actes Sud 出版社，2021
以上书籍被收藏于纽约现代艺术博物馆（MoMA）、蓬皮杜艺术中心图书馆（Bpi）以及新加坡国家美术馆图书馆
Prizes and Honours
-TED Fellows，2024
-IMPART 艺术奖，新加坡，2022
-Faling 突破奖--艺术中的科学，德国柏林，2020
-LUMA Foundation Arles Rencontres Book DummyAward，法国阿尔勒，2019
Permanent Collections
-纽约现代艺术博物馆(MOMA)，美国
-中央美术学院博物馆，北京，中国
-Vontobel 收藏，瑞士苏黎世
Lectures
-伦敦政治经济学院(LSE)，英国伦敦
-帕森斯设计学院，美国纽约
-巴黎政治学院(SciencesPo)，法国巴黎
-李光耀公共政策学院，新加坡
