Exhibition thesis

小 跃 进

第十届上海双年展 10TH SHANGHAI BIENNALE 2014.11.22 - 2015.03.31

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MANIFESTO

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小跃进是又一次跃进。 与1958年开始的共产主义大跃进和1969年的阿波罗登月跃进不同，小跃进是 细微的、密集的、自下而上的、基于无数个人意志力量的一次又一次（个体 ）集体行动。小跃进是三千臭皮匠顶过诸葛亮的直接实践，是1+1>2的反复 演算。小跃进是集群跃进，是集智跃进。 1990年代以来的全球化浪潮及互联网发展，为小跃进的开始提供了三个可能 的理论和实践基础：生产工具的全民共有，社交网络和移动互联网的逐步成 熟，以及全新的知识和经济生产模式。互联网设备和技术的更新和普及，使 得参与者从规模经济的流水线生产中获得解放；互联网开放共享和陌生信任 的共同协议，使得参与者在贡献个体劳动的同时充分享受集体劳动成果；互 联网渗透和网罗众包的平台特性，使得参与者跨越专业藩篱和身份限定。 小跃进展览批判性地回应了1990年代以来建筑和艺术领域广泛出现的技术革 命和“数字转向”：二者都不同程度地把基于计算机和互联网的社会实践引 向偏狭的工具化方向。经由艺术家、建筑师、设计家、工程师之手，小跃进 试图展现的是一种互联网超越任何形式工具论的可能性，一种混杂了政治经 济地理的新型思考和行动范式，一种潜在的尚不清晰的（无）意识形态。 小跃进小而不小。

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This leap is Another Leap.

Compared to “Great Leap Forward” implemented by the Communist Party of China in 1958, and “One small step for a man, one giant leap for mankind” by Neil Armstrong of Apollo 11 moon landing in 1969, Another Leap is a tiny, intensive, and bottom-up one. It is a series of collective actions based on individual will. It is a direct practice of “two heads are better than one”, an empirical iteration of “1+1>2”. It is a collective leap forwarded by many minds and many hands.

Globalization and Internetization since 1990s provide three theoretical and practical foundations for Another Leap: the popularization of digital devices, the explosion of social network and mobile Internet, and the new paradigm of economy and production. Sharing and crowdsourcing advocated by internet protocol make it possible to liberate oneself from mass production of economy of scale, to contribute individual effort while enjoy collective fruits, and to practice beyond the given identity and discipline.

Another Leap manifests itself as a critical response to the instrumental digitization emerged in architecture and art since 1990s, for it narrows our thinking and practicing to tamed instrumentalism. With participants including artist, architect, designer and engineer, Another Leap delivers a pragmatic implementation beyond any form of instrumentalism, an interdisciplinary thinking-doing across politics, economy and geography, and an unknown (de-) ideology that leads us forward.

Another Leap is not just another leap.

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展 览 论 述 T H E S I S

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I 小跃进是又一次跃进。 与1958年开始的共产主义大跃进和1969年的阿波罗登月跃进不同，小跃进是细微的、 密集的、自下而上的、基于无数个人意志力量的一次又一次（个体）集体行动。小跃 进是三千臭皮匠顶过诸葛亮的直接实践，是1+1>2的反复演算。小跃进是集群跃进， 也是集智跃进。 小跃进展览针对建筑、艺术和技术领域缺失的环节，以及机制催生的肿瘤。我们也试 图探讨全球化以及互联网的塑造力量，还有它未来可能冲刷出的地貌。我们在今天越 来越清晰地目睹新的艺术系统的诞生，一个幅员辽阔无限增殖的全球版图。置身其中 的是私人收藏家、明星艺术家、垄断画廊、著名拍卖行还有金融寡头，是停靠的私人 游艇、直升机和红酒派对。但从现代主义时期发展起来的艺术创造力和破坏力从未如 今天一样被资本规训和治理得服服帖帖。 作为一个具有五百年历史的学科，建筑学则从来没有像今天这样立场全无。如果说现 代主义还在试图调和艺术的乌托邦和资本主义的现实的话，计算机工具化式建筑学则 是在搅拌：艺术、技术、消费主义、城市化、乡绅化、表皮、图样、渐变、曲线、建 筑节能被搅拌得面目模糊后端上餐桌，盛它们的盘子只有一个：资本。建筑学现在已 经筋疲力尽。在这个建筑和建筑师都感到疲惫但又停不下来的时刻，一个耳光似的问 题总是摆在那儿：去蛋糕店做一个草莓镶边中间嵌有巧克力的蛋糕，去建筑竞赛做一 个抹角平滑表皮开孔渐变的建筑，到底哪个更难？ 1990年代以来的全球化浪潮和互联网发展，为小跃进的开始提供了三个可能的理论和 实践基础：生产工具的全民共有，社交网络和移动互联网的逐步成熟，以及全新的知 识和经济生产模式。互联网设备和技术的更新和普及，使得参与者从规模经济的流水 线生产中获得解放；互联网开放共享和陌生信任的共同协议，使得参与者在契约的保 护下贡献个体劳动的同时充分享受集体劳动成果；互联网渗透和网罗众包的平台特性 ，使得参与者跨越专业藩篱和身份限定。 我们不仅把小跃进视为一次展览，它更是一种持续纵深的实践方式。它基于互联网这 个载体，经由艺术家、建筑师、设计家、工程师之手，小跃进试图展现的是一种互联 网超越任何形式工具论的可能性，一种混杂了政治经济地理的新型思考和行动范式， 一种潜在的尚不清晰的（无）意识形态。它直接批判性地回应了1990年代以来建筑和 艺术领域广泛出现的技术革命和“数字转向”。

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II 从互联网角度出发，我们迫切需要对1990年代以来技术革命和“数码转向”的提法进 行重新思考。二者都不同程度地把基于计算机和互联网的社会实践引向偏狭的工具化 方向。在建筑方面，近二十年的数字化浪潮和自由成形并没有扭转建筑师不断丧失社 会能动性的现实。二十年的数字化研究和实践留给我们的是一个又一个行动立场前提 缺失的被消费和被遗忘的碎片。至今我们没法回答为什么建筑要仿生？为什么建筑要 算法生成？为什么建筑要变成一个号称流动但却又最终是凝固的疙瘩？计算机技术工 具化所带来的生产效率和发展中国家城市化所带来的实践红利让建筑师在图像生产和 物质空间的死海中又拼尽全力地游了一段时间，但正如库哈斯的游泳池寓言所呈现的 那样：游泳的人离划水前进的方向已经越来越远。 而在艺术领域，数字技术变成一种新的绘画工具，在网页这块布面上，绘制所谓的“ 计算机艺术”、“代码艺术”或“软件艺术”等糟糕形式，至今仍然卑微地在美术馆 、博物馆和收藏系统里寻找尚未确定的位置。事实上，把艺术放在工具主义的格子里 进行分类，这个工作在十年前就应该完成。从摄影媒介发明以来，经过一百多年的战 争，媒介的平等终于完成。接下来开始应是“媒介的融合和跨越”的工作。超越工具 论，是把互联网和技术文化引入更广义的社会实践首当其冲的一次迈进。 与不问立场不具社会行动力的计算机工具化不同，互联网及其生态系统的完善正在重 新制定游戏规则和重塑意识形态。作为一个整合了硬件、软件、操作系统和生态系统 的奠基性工程，互联网正在提供一份新的空间和物质策略。电子技术和互联网已不仅 仅再是生产工具，而是一份基于透明开放和陌生信任的协议：信息不对称被消除，资 源不均衡被优化，生产门槛被降低，规章手续被简化。在新的空间和物质协议下，每 个消费者也同时是生产者，传统的私有或公有的概念被提倡共同分享、共同生产、共 同消费的“共有”所挑战，这些新的生产关系和意识形态的转变需要建筑、艺术和技 术领域的每一个参与者做出回应。

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III 我们越来越难依赖归纳和综合来描述互联网时代的处境。它是一种碎片化和无限增殖的经验。这种 困难就像我们开始没法相信分析人士、思想家、记者和决策者把所有构成的复杂网络切成很细微的 薄片，然后各取所需透过显微镜发现单独的科学、经济和社会现象。小跃进需要的是一种（无）意 识形态，亦即悬置的、混杂性的、更注重行动力的意识预判。这需要我们用一份可以无限拉长的关 键词名单将由政治、经济、技术、地理带来的碎片化元素整合在一个整体性的文化景观中。 非主体 非主体概念近几年的崛起，意味着传统身份观念的模糊，主客体结构的松动，也意味着我们对改造 对象和周围环境的重新审视。那些我们通常施以主动权和控制权的对象将成为未来对等的参与者。 这是我们基因出于进化需求做出的增速改变，也是人造物而非自然物对人类塑造的一种反映。我们 施与客体以及客体施与我们的影响和作用力是同等深刻的，彼此的界限愈发模糊。晚近发展起来的 信息建模软件以及云计算方式，某种程度上是1970年代基于控制论的前瞻性建筑技术的回潮，它的 表征之一便是对于建筑师主体地位的质疑。同样，它也伴随着艺术圈对主体概念的新一轮关注，这 包括主体在当代不断偏移的地位及媒介技术的概念挑战。在21世纪的第一个十年，面向对象编程语 言（OOP）的流行，直接助推了一种基于对象的政治哲学的发展和成熟。这种政治哲学倡导剥离掉人 类附着在对象之上的感官和经验认知，重新将对象还原到含混、前现代性的状态中。它使得我们打 碎政治、科学、艺术和技术的中心地位，打碎专业边界藩篱，扩大参与范围进一步成为可能。 自我组织 自我组织是对资本游戏的即时反应，是现实主义的抵抗策略。全球化社会已经形成，新自由主义经 济畅通无阻，资本体系则更加严密。在资本的无孔不入下，城市化是资本扩张的框架，建筑是资本 流动的载体，建筑师则在为装点这些载体绞尽脑汁花样百出夜以继日。资本结构催生了新的生态， 但也释放出新的风险：作为行动的个体，抵抗力和社会能动性的丧失以及生命最终被资本猎取。自 我组织，作为一种组织策略，正在弥补传统政治组织在信息社会的衰落和碎片化造成的症候。当资 本和劳动力市场变得全球化和网络化时，以工人为联盟（以国家为载体）的政治组织却丧失了全球 化的基础。这为建立新的自我组织提供了历史契机。 自我组织倾向于达成基于理解和信任的共同基础，达成共同的行动力，最大化地形成共同体。互联 网的发展则为自我组织的建立提供了最具效能的物质基础：分散式的信息分布和网络关联，让自我 组织的触角渗透到最广域的范围；生产工具的全民共有共产，生产成本的降低，协同化的操作平台 ，为自我组织构筑了新的空间策略；规模经济向分享经济的转向，则释放了传统行业结构中被遗忘

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的生产力。自我组织，成为逃逸出资本网络的一种行动力，是把我们从生产链条末端解放出来的一种 可能性。 社会能动性 在全球化和资本运作时代，没有立场或者伪装立场是最好的立场。没有立场意味着完全成为服从游戏 规则的生产者，一个萨义德所说的社会的安全技术人员。伪装立场意味着我们还可以躲藏在理想主义 的陈词滥调后，幻想在新世界里策动一场旧式的无效的革命。建筑师、艺术家丧失的社会能动性只能 在社会转型时期释放的生产力中重新获得。这种社会能动性是在权力结构震荡和扭曲的褶子中发现的 漏洞，因此，它不是由对立、反抗和破坏而带来，它更像一次深思熟虑的漏洞攻击，它是谈判、掰腕 子和协议签订，它是结盟、适度妥协、退一步进三步，它是制定新的规则。 在新世界里，艺术品就是流通货币，艺术与资本具有同样的效能，这种效能来源于全球资本的流动中 ，艺术出乎意料获得的整合社会精英、复杂哲学、大众话语及其他文化混杂体的能力。在当代文化的 介入策略中，我们要做的是检索、重组、捕获、重申和记录，这种能动性的关键在于我们能否让艺术 冲破生产链条的最薄弱环节，而不是让它臣服在资本世界的裙子底下。对于正在和已经丧失社会能动 性的建筑师而言，如果还不把自己从生产链的末端解放出来，那么建筑学肯定撑不到2049年。 两种空间 1990年代关于物质空间会被虚拟空间驱逐的焦虑正在被无缝对接的“物联”所消除，实体空间和虚拟 空间在今天并行不悖。互联网式的“建筑”和“空间”，不论是Airbnb还是Zipcar，都代表着一种全 新的基于建筑和城市的空间和物质策略。我们不需要再质问实体空间还是否重要，而是应该问建筑师 的工作重心到底在哪里。 “实体/虚拟”空间施加给艺术世界的焦虑却在开始并与日俱增。我们面临的世界是一个互联网上传 图片增长率高达200%的世界，我们每天通过手机、电脑、iPad了解纽约、伦敦、柏林和北京发生的展 览。即便同处一个城市，我们也习惯了通过观看高清分辨率的图像发表自己的艺术见解。我们对当代 艺术的认知越来越依赖于图片，甚至也许我们会意识到，未来世界对一个美术馆展览的需求不及对图 片的需求更具现实性。当对于图片和文本的需求足够大和足够强烈时，艺术世界就变成一个互联网世 界，价值的传递和获取被不同的格式链接，经过压缩打包和输入输出，观众、空间、事件和意义被关 联起来。博物馆、美术馆和展示空间仅作为神圣空间而存在着，经过资本的反复去魅，它们仅会残留 赤裸裸充满腐臭的权力结构。一个不可否认的事实是，我们并没有足够认识到这两种空间的转换及其 后果。这种结局可以预料是灾难性的，它会在我们的自以为是、漠视和轻视中提前把当代艺术送进考 古博物馆。

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IV 小跃进不是一个展览。在展示空间里，小跃进是一系列事件的集合。它展示的更 多是一个无法实现的计划，一个尚未诞生从未成熟的构想，一件艺术作品的第五 版，一个公众可以参与的教育空间，一份面临重新激活的艺术文献，甚至是一个 永远无法最终完成的项目。它是时间流线上的酝酿、开始和中途，但我们唯一不 能把它称为已经完成的作品。因为它随时面临重新激活、讨论、中断和修正。 如果我们把展览看为某个终将进入收藏系统过程的前奏，那么小跃进不如说是把 一个工作车间原样搬到博物馆，只不过它的参与者早已把凌乱的工作桌面清理干 净。小跃进可以发生在任何地方，它是那些没有明确角色定位、能够在不同文化 类型中自由穿梭的人发起的一项计划。它反映了一个充满了杂合体的世界的经验 。这种尚不明晰的工作属性，使我们越来越倾向于在不同的学科阀域里寻找到最 大的共识基础，从而形成出乎意料、细微、密集的，也是充满令人敬畏的无数个 人意志的社会能动性。 小跃进小而不小。

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I This leap is Another Leap.

Compared to “Great Leap Forward” implemented by the Communist Party of China in 1958, and “One small step for a man, one giant leap for mankind” by Neil Armstrong of Apollo 11 moon landing in 1969, Another Leap is a tiny, intensive, and bottom-up leap. It is a series of collective actions based on individual will. It is a direct practice of “two heads are better than one”, an empirical iteration of “1+1>2”. It is a collective leap forwarded by many minds and many hands.

Another Leap aims at the lost part of architecture, art and technology and the problems generated by the system. We make attempts to explore the power of globalization and Internet, as well as the possible prospects shaped by this power. Today, the emergence of a new art system is clearly witnessed by us all; it’s a global blueprint with broad and infinite possibilities of proliferation. Those in it are private collectors, star artists, monopolistic galleries, famous auction houses and financial oligarchy; with stop-by private yachts, helicopters and wine parties. However in the meantime, the creativity and destructive force of art, which has been developed since the time of modernism, have never been so submissive to money and capital.

As a discipline of 500 years of history, architecture has never been so out of position. If saying that modernism is trying to balance between the Utopia of art and the reality of capitalism, then the architecture of computer instrumentalization is doing the work of mixing: art, technology, consumerism, urbanization, ruralization, crust, pattern, gradient, curve and building energy efficiency are mixed and shown to people. No more their original looks, only capital left. Architecture is now exhausted. At this moment when buildings and architects feel weary but unable to stop, a question invariably exists like a slapping on the face: Which is more difficult? To make a chocolate cake with strawberry fringe in a bakery or to build a smooth, parametrically varied building envelop in an architectural competition?

Globalization and Internalization since 1990s provide three theoretical and practical foundations for Another Leap: the popularization of digital devices, the explosion of social network and mobile Internet, and the new paradigm of economy and production. Sharing and crowdsourcing advocated by internet protocol make it possible to liberate oneself from mass production of economy of scale, to contribute individual effort while enjoy collective fruits, and to practice beyond the given identity and discipline.

Another Leap is not just an exhibition; more importantly, it’s a sustainable way of practice. With participants including artist, architect, designer and engineer, Another Leap delivers a pragmatic implementation beyond any form of instrumentalism, an interdisciplinary thinking-doing across politics, economy and geography, and an unknown (de-) ideology that leads us forward. It’s a direct and critical response to the technical revolution and instrumental digitization which have been emerged in architecture and art fields since the 1990s. Another Leap manifests itself as a critical response to the instrumental digitization emerged in architecture and art since 1990s.

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II From the perspective of Internet, it’s of great urgency that we rethink about the term technical revolution and “digital shift” since the 1990s, for it narrows our thinking and practicing to tame instrumentalism. In the field of architecture, the trend of computer-aided design and free form in the recent 20 years has not changed the reality that architects are losing social agency. Twenty years’ study and practice of digitalization left us fragments without grounds, consumed and forgotten. Even till today, there are still questions we are not able to answer: why should architecture be bionic? Why does architecture need algorithm to build? Why does architecture claim to be fluid but turn out to be fixed stuff? Why even modelling and rendering companies begin to design buildings? The efficient productivity results from the instrumentalization of computer technology and the profits brought by urbanization have made it possible for architects to survive longer in the dead sea of material space and image production; however, as what has been indicated in Koolhaas’ allergy of the swimming pool: swimming people are getting farther away from their original direction.

In the field of art, digital technology has become a new painting tool; on the paper of Internet, those terrible forms of “computer art”, “code art” and “software art” are still finding their uncertain positions in galleries, museums and collection system. Actually, the classification of art by instrumentalism should have been completed ten years ago. The equality among media has eventually completed since the invention of photography, after hundred years of war (Peter Weibel, Globalization and Contemporary Art, 2013); what follows should be the mixing and crossing of the media. After all, to go beyond instrumentalism is the big leap forward towards a further use of Internet and technical culture into social practice.

Different from computer instrumentalism which does not care about positions and social agency, Internet and its ecosystem are remaking the game rules and reshaping ideology. As a fundamental project which integrates hardware, software, operating system and ecosystem, the Internet is providing with a new proposal about space and material. Digital technology and Internet are no longer just tools for production, but a contract based on transparency, openness and trust: information asymmetry has been erased; unevenly distributed resources have been improved; production barrier has been lowered; regulations and procedures have been simplified. With these new contracts, every consumer becomes the producer themselves. Traditionally private or public concepts are suggested to be shared, coproduced and consumed; these changes in production relations and ideologies are calling for response of every participant from architecture, art and technology field.

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III It’s getting harder and harder to describe the Internet era using inductive and synthesis. It’s a kind of fragmented and infinitely proliferated experience. Such difficulties are the same as that we couldn’t believe in the first place that analysts, journalist, thinkers and deciders’ dividing complicated objects in parts and revealing scientific, economic and social phenomenon respectively (Bruno Latour). What Another Leap needs is a (de)ideology as well as suspending, mixed, and more action-focused anticipation. This requires us to integrate the political, economic, technical and geographical pieces into an overall cultural landscape, using a list with endless possible key words.

Non-Subject The emergence of the concept “non-subject” represents a blurred traditional identity, a loosened subject-object structure, as well as our rethinking of the surrounding objects and environment. Those objects we used to control will become equal participants in the future. This is the evolutionary speeding adaptation made by human genes (Marcus Pembrey); a reflection of man-made objects to human shaping (Mark Roeder). We receive the same influence and power from the objects as we exert on them; the line between we and them has blurred. The recently developed information modelling software and Cloud Computing are, to some extent, a reversion of the edging architectural technology based on cybernetics since the 1970s.

Similarly, it’s accompanied by the art circle’s new round of attention on mainstream concepts, including their deviation in modern times and the conceptual challenge from media technology. In the first ten years of the 21st century, the popularization of OOP directly results in the development of Object-based political philosophy. This kind of political philosophy advocates the elimination of people’s sensual and experimental perception of objects, returning them to their mixed and pre-modern state. This makes it possible for us to alter the central position of politics, science, art and technology, breaking to boundaries between fields and enlarging the scope of further participation.

Self-organization Self-organization is an instant response to capital operation and a practical strategy of protest. A globalized society has been established, new-liberalism is prevailing and capitalism has been more completed than ever. Under the intrusion of money and capital, urbanization has become its frame and architecture its carrier; architects, however, are working day and night to make decorations on it. The capital structure generates new forms while brings new risks as well: as individuals, the risk lies in losing resistance and

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social agency and lives’ final capturing by the capital (Franco Berardi). Self-organization, as an organizational strategy, is fixing the problems brought by traditional political groups in the declined and fragmented information society. As capital and labor market have become global and networked, political groups united by workers (and nation as their carriers) are losing their basis of globalization. This provides the opportunity for the establishment of new self-organizational groups.

Self-organization tends to achieve a common action and a common ground of understanding and trust, forming a community to the greatest extent. The development of Internet provides the most effective material foundation for self-organization: scattered information and Internet connection enable the scope of self-organization to reach its farthest end; commonly shared production tools, low production cost and cooperative operation platform establish a new space for self-organization; the shift from economy of scale to shared economy, however, releases the untapped productivity in traditional industry structure.

Self-organization has become a motivation of escaping from the net of capital, producing the possibility of releasing us from the end of production chain.

Agency In the age of globalization and capital operation, no position or a fake one is the best position. No position means to be completely obedient to game rules and becomes what Said says a worker of social security and technology. A fake position means that we can still hide in the cliché of idealism, imaging an old useless revolution in the new world. The social agency lost by architects and artists can only gain in the productivity released in society’s transformation period. This social agency is the flaw in power structure and therefore not brought by opposition, protest or rebellion but rather a prepared attack; an alliance, a negotiation and compromise; it’s setting the new rules.

In the new world, art is currency; it has the same power as capital. Such power is the extraordinary ability of integrating social elites, complex philosophy, mass discourse and other cultural mixtures in the capital flow around the world. In contemporary culture’s intervention strategy, what we need to do are retrieval, reframing, capturing, reiterating and documenting. The key to these is whether we can make art break the weakest link of production chain rather than make it yield to the capital world. For those architects who are losing or already lost social agency, if they cannot free themselves from the end of production chain, then it’s for sure that architecture cannot make it to the year 2049.

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Two Spaces The anxiety about the material world being expelled by virtual space in the 1990s is gradually removed by “the Internet of things”; nowadays entity and virtual space coexist with each other. No matter Airbnb or Zipcar, the Internet type of “architecture” and “space” represent a brand new spatial and material strategy based on architecture and city. There is no need to ask whether real space is important or not; instead, it’s what architects should focus on that matters.

The anxiety that “real/virtual” space exerts on the world of art is, however, increasing. What we are now facing is a world with 200% growth rate of image uploading; every day we see the exhibitions in New York, London, Berlin and Beijing through mobile phones, computer and iPad. Even within the same city, we’ve already get used to express our artistic opinions facing a HD picture. Our perception of modern art has been increasingly dependent on images; we may even realize that in the future, the needs for images are more realistic than the needs for a gallery. When the desire for image and text becomes strong enough, the world of art will turn into the world of Internet, where the spread and requirement of values are linked by different forms; through compression and packing, audience, space, events and their meanings are hence connected. Museums, galleries and exhibition spaces only exist as sacred places, remaining a smelly corruptive power system after the dischantment by capital. One undeniable fact is that we don’t fully realize the transformation of these two spaces and their consequences. It can be disastrous, even destroying modern art right before our ignorance and contempt.

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IV Another Leap is not an exhibition. In exhibition space, Another Leap is a collection of series events; it shows a plan unable to realize, an idea to be born and grow, a fifth edition of an artwork, an educational space open for public participation, an art document facing reactivation, and a project that can never be finished. It’s the preparation, beginning and middle way on a timeline, only that we cannot call it a finished work; because it’s open to reactivate, discuss, break off and revise.

If we regard an exhibition as a prelude of entering the collection system, then Another Leap can be seen as a workshop placed in a museum, only the participants have already cleaned up the desk. Another Leap can happen at any place; it’s a plan initiated by people who have no clear role-definition and being able to live in different types of cultures. It reflects the experience of a hybrid world. This unclear characteristic enables us to find the most common ground among different fields, accumulating surprising, trivial, intense but respectful social agency consisted of millions of individual will.

Another Leap is not just another leap.

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