“信息雕塑公路”是一个涵盖了数位艺术家不同形态作品的展览。它意在表现整个处在信息高速公路上的人类社会，是何以进行自我的整体性塑造的。“雕塑”在此并非指一种狭义的造型艺术，而是折回到博伊斯提出的“社会雕塑”语境，所有人都被认为是具有创造力产能的人，通过艺术得以重塑未来社会。
“媒介即讯息”作为上世纪的回响，在此展览中已经渐渐消耗原有的能量，成为被破除的公式。我们在此看到的是“讯息即媒介”，电子媒介所引发的尺度变化和模式变化在此都被退居后位，媒介所释放出的信息成为冲击社会现状的真正力量。信息已然是所有媒介的最终状态，而各个媒介也因为其物质属性的损耗不再区别于他者。这也是参展作品中媒介使用错乱的原因，这种错乱不单单体现为胡乱搭配或是随意拼贴的形式，更深层的是对媒介偶像破坏的姿态。图像不讲究精度与尺寸，雕塑不在乎形式美感和材料的稳固性；因为这些在它们意在传达的信息面前已经不再重要。媒介在创作中受到的粗暴对待，都促使信息成为了所有表达的核心主题。
这些信息，正是在公路上驰骋的洪水猛兽。就像所有高速公路都有最低时速一样，信息在一定程度上也塑造了它的速度。物质—平面—像素—信息——成为公路上掐指间的变化。这种高速生成的信息导致的是一种社会症候，不能低于最低时速产能的强迫症。它不仅在速度上压制着我们，更在其形式和内容上渗透着整个社会。而公路，这个本来意味着去中心化的意象，在平权的假象中带给信息最强大的话语权。“信息雕塑公路”中，艺术家作为拥有进化和革新力量身份的人，都为这种症候下的社会塑造提供了自己的方案。
Information Sculpture Superhighway presents works of artists achieved using a variety of forms. It is intended to show how the whole human society on the information superhighway is sculpturing its self-integrity. “Sculpture" here does not refer to a narrow definition of plastic art, but alludes to Joseph Beuys’ definition of “social sculpture", in which everyone is considered to be an equally creative individual, and has the potential to reshape the future of society through art.
In this exhibition, the strength of the notion “the medium is the message" – as an echo from the last century – has gradually been consumed and turned into a disused formula. In fact, what we see here is: “the message is the medium", and modifications in scales and models caused by digital media are relegated to the back. The information released by the medium becomes a real force that impacts social status. Information already is the final state of all media. However, with the loss of its physical characteristics, media of various kinds can no longer distinguish one from another. It is also the source of such disordered use of media among most of the exhibited works. This confusion is not only reflected in the form of chaotic combinations or random collages, but also in the destructive attitude towards the medium as an icon. Image resolution and dimensions are no longer primordial, similarly, beauty of forms and material stability in sculpture lost their importance; these aspects became insignificant compare to the information they intend to convey. During the process of creation, medium has been considerably mistreated, and information became the core of expression.
Information is a scourge rampaging on the highway. As all superhighways have a bottom speed, information also shapes its speed to a certain extent. Substance – two-dimensional surface – pixel – information – alternate with one another on the highway within the snap of a finger. The information generated by such high speed leads to a social symptom, a compulsive obsession with always being above the bottom speed. Not only does it pressure us in terms of speed, but also it permeates the whole society in the form and content. “Highway”, whose imagery in the first place evokes decentralization, confers information with the most powerful right of expression, within the illusion of rights to equality. In Information Sculpture Superhighway, artists – as human beings who possess the identities of evolution and innovative vitality – offer their own proposals to social sculpturing, within such symptomatic context.
Jenny CHEN 陳嘉瑩 