在人工智能時代，數據成了記憶的載體，也為藝術創作注入新的力量。然而，人文記憶會否因科技的介入而消亡？在往事歷歷、前路茫茫之際，張瀚謙的媒體藝術冀望呈現一片記憶與想像流動的光景，陪你走過一程。

In the digital age, data has become the carrier of memory which also serves to inject new vigour into artistic creation. But will human memory fall into extinction due to interventions in
technology?

關於穿越《未境》，可以從老莊之說去了解宇宙的運行之道。「宇」是個空間概念，包含各個方向，如東南西北的各個地方；「宙」則指一切的具體時間，包括過去、現在和未來。「宇宙」就是時間和空間的統一，亦即時空；時空以多層複合的矩陣組成，而事件則以多向變量發生，時間的三態都具有共時性。在《墨潮》系列的作品中，突破傳統長卷山水畫畫對時空的廷伸和想像，體現禪宗「不即不離」的狀態，也是一種「了無」的頓悟：《墨潮 – 易象》以易學象數機率論和康威生命遊戲的規則，連繫高我湧現的水墨裝置，跟古代扶乩問事的機制類同 ；《墨潮－白駒》則表現二元概念、黑白明暗、生死迴轉的一齣人生影畫。

The journey through Futurescape can be understood from Laozi and Zhuangzi’s conception of the universe. The Chinese term for the universe, “yuzhou”, encompasses both space (which includes all directions and all places in the north, south, east and west) and time (comprising past, present and future). Therefore, the Chinese concept of universe is the unity of time and space, or space-time, which is composed of a multi-layer composite matrix where events occur in multi-directional variables and the three states of time are synchronic. The InkFlux series transcends the traditional concepts of time and space in long-scroll landscape paintings, reflecting the Zen Buddhist state of “neither arriving nor departing”. It also offers an insight about “nothingness”: InkFlux – ISUAL is based on The Book of Changes I-Ching fortune telling and the rules of Conway’s Game of Life, connecting higherself-actualizing ink painting installation with the ancient art of divination, while InkFlux Crack of Time expresses the idea of duality: black and white, light and dark, life and death, forming an ever-recurring moving picture of life.

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我們都視生死為一個循環的關係，因為自由意志是不滅的。所有意識會回歸至宇宙本源，即道家「一即一切，一切即一」的中心思想。「阿卡西記憶」的匯合點好比一個集體意識的圖書館，記載每趟人生之旅的經歷。把《燼忘錄》比喻為這個記憶的溶爐就最適合不過了，因為值得留下來的才會更新到這個圖書館內。

人類文明與石頭的關係從來都密不可分。考古學家發現的蘇美亞石板、遠古文明遺跡包括埃及和瑪雅的金字塔、土耳其的哥貝克力巨石陣、復活島的巨人石雕、以至近代科學家在月球取樣的創世石等，石頭的考古與人類起源的探索不曾間斷。沉積數以億年的岩石埋藏了的秘密，中國神話以盤古初開女媧煉石補青天等的故事，傳承下來。這些繪形繪聲的古典賞石文化，體現文人寄情山水「物我合一」的美學思想。《石頭紀》所承載的故事只是頑拙之石在紅塵孤旅的反思，或許都是必須經歷「忘物」與「喪我」的階段才能契入道妙的境界。

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The relationship between human civilisation and stones has always been inseparable. Archaeologists had discovered Sumerian stone slabs as well as the remains of ancient civilisations such as the pyramids of Egypt and Maya, the Gobekli Tepe in Turkey, giant stone statues on Easter Island. More recently, the Genesis Rock samples brought back from the moon further testify to this relationship. The link between the archaeology of stones and the exploration of human origins has been long standing. Secrets buried in rocks that have remained hidden for hundreds of millions of years, together with the Chinese myth of the god mother Nüwa using colourful stones to mend the sky are some of the myths that have been passed down to us through the generations. This lively and classical appreciation of stone is embodied by the aesthetical concept of unity between people and nature as espoused by literati.

A Chronicle of Stones is a tale of the lonely journey of a stone on this Earth, leading to therealisation that perhaps one should “get rid of attachments” and “forget the self” before
one can attain enlightenment.

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張瀚謙媒體藝術展——
未境之歷
MEDIA ARTS EXHIBITION NU H0NH1M(CHRIS CHEUNG) –
THE EPOCH OF FUTURESCAPE
Date:
2021.2.25 – 2021.3.20
Time:
09:00-20:30(Mon-Fri);
09:30-18:00(Sat)
Closed on Sundays and Public Holidays
Venue:
香港哥德學院
香港灣仔港灣道二號香港藝術中心十四樓
Goethe-Gallery & Black Box Studio, Goethe Institut Hong Kong
14/F, HK Arts Centre, 2, Harbour Road, Wanchai, Hong Kong​

圖片由藝術家提供​
Courtesy of the artist