【OCAT上海馆 | 新展介绍】佩恩恩 | 匹配池
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OCAT上海馆 | 第三期C空间计划
项目总策划：陶寒辰
佩恩恩｜匹配池
艺术家：佩恩恩
策展人：王姝曼
策展助理：陈子涵
展览时间：2022年2月26日—5月8日
展览地点：上海市静安区曲阜路9弄下沉庭院OCAT上海馆｜多功能空间
展览前言
OCAT上海馆将于2022年2月26日至5月8日荣幸呈现第3期C空间计划——“佩恩恩｜匹配池”。展览标题既为艺术家佩恩恩最新作品的命名，也以期成为观看者洄游于艺术家自2015年以来数个创作情境时的全新线索。此次展览将通过三组作品，从“竞技场”和“舞厅”这两处具象的创作情境来梳理进而重新解读匹配概念。
“匹配”一词来自于经济学分支中的匹配理论（Matching Theory）¹，其曾被广泛应用于不同类型的市场设计实践中，如劳动力市场及婚姻市场，以构造算法实现对等、稳定且有效的资源配置。但与此同时，在供给需求周期性波动的竞争市场中，以静态均衡为范式的匹配理论存在一定局限，比如对“同步博弈”这一变量的忽略。由此，承载流动性的“池”给予到“匹配”更具竞争性和具像化的平台环境，在此之中，存在着一种隐形的驱动力——既保持着水流流动以维持环境活性，又意欲搅动水流形成泛滥之势。
佩恩恩，作品线索（2015—）
展览“匹配池”将整个空间划为三处互通的“分池”，递回式地显现此驱动力的形态、规则和成因。在 赖克化妆间 中，非洲裔健美选手在封闭的透明空间中展示着自己健美的身体，膨胀的肌肉群和浸湿的汗液将“身体”描绘为意象化的容器——盛装着肌肉性能增强的补品和附着于“力比多生态”（libidinal ecology）² 的驱力，譬如对完美身体的塑造，对职业竞技的角逐及对经济系统的供养需求。由此，继续进入到封闭的黑盒空间中，新作《匹配池》意图还原出现实中昏暗难辨的舞厅现场 ³，其不仅维持着一种“是又不是，不是又是”的独特环境，亦可被视作有偿匹配平台（MATCHPOOL）的现实母体。匹配池 四周的墙面闪烁着灰白流体般的人影，呈现出“彼时彼刻”的模糊状态——既接近一种意外的数字生成，也形似本就定义混杂的舞厅实体。展览在此留下疑问：匹配池中是否存在明确的边界轮廓（规则），以及在看似对等的有偿匹配中导致失衡的扯力因何而聚，又以何分布？
佩恩恩，《赖克投资》静帧，2017年，单通道录像，4分5秒（彩色，有声），图片致谢艺术家及没顶画廊
展览深处藏匿着一间半弧形的发光体空间——这里既是体育竞赛中神秘的 俱乐部包间 ，也暗指影集El inocente里秩序颠混的伦理渊薮。展览之于身体的解读被进一步转化为对身份价值的指涉——非洲移民所扮演的球员和非裔足球明星在工业遗址的野地里进行着一场有关代言人的角逐。族裔与商业身份被共同杂糅于这场比赛中，记录着一轮竞技的身价估值，以及其如何在轮番进行的选秀、联赛、淘汰赛中被验证出同质化的价值。或可将结尾讽刺性的输赢设定视为艺术家对前数据算法时代中竞技体育选拔匹配机制的一次反叛，但又或者，反向的“凝视”已献计出新的匹配策略以供养着新一轮的信用透支。
佩恩恩，《匹配池》静帧，2021年，四通道录像，16分50秒（黑白，有声），图片致谢艺术家及没顶画廊
“匹配池”之中，舞步（比分）进退，舞伴（对手）轮换，灯光忽明忽暗。灯明时，看到什么；灯暗时，看向什么，许多事“当时浑不觉”⁵。
策展人 王姝曼
¹ 匹配理论框架的基础最早由美国经济学家阿尔文·罗思（Alvin E. Roth）与劳埃德·沙普利（Lloyd S. Shapley）于1962年提出。
² Bernard Stiegler, “Pharmacology of desire: Drive-based capitalism and libidinal dis-economy," New Formations, 2011, 72(72): 159.
³ 在外部的空间属性而言，舞厅是上世纪交谊舞厅所拆分出的社会附属空间，却不再具备跳舞和交谊的原生功能；从内部的经济学逻辑去分析，它成为了匹配策略失衡后力比多仍被强行转化为资本驱力过程的见证所。
⁴ MATCHPOOL（匹配池）是一个在以太坊和量子链双平台上运行的匹配型社交软件。和常见社交软件所不同的是，MATCHPOOL注重有偿匹配的概念，即在去中心化的配对协议基础上，将私密化的情感需求和加密性的代币经济体系联动。
⁵ 张爱玲在《忆胡适之》中以“许多事‘当时浑不觉’”谈及到小说《海上花列传》，以述其创作的未经修饰及真实，以及作者性的抽离。
关于艺术家
佩恩恩，毕业于上海对外经贸大学。
佩恩恩的实践深入不同权力控制机制之中，在全球竞争系统下流动化的金融、身体和图像之间展开工作，并成为其中的流放或者反叛者，以此来破坏或创造这些系统背后的冲突。
参展经历
赤屏，美凯龙艺术中心，线上数字影像委任系列
OPYUM 影像表演艺术节2020，巴黎，法国
紧急中的沉思，尤伦斯当代艺术中心，北京，中国
具身之镜，新世纪当代艺术基金会，北京，中国
严肃游戏，昊美术馆，上海，中国
撒谎的索菲亚和嘲讽的艾莉克莎，现代汽车文化中心，
北京，中国
时间开始了！乌镇当代艺术邀请展，乌镇，中国
全球都市 延展智慧, 蓬皮杜艺术中心，成都，中国
新冶金者，尤利娅斯托舍克基金会，杜塞尔多夫，德国
A Better Version of You，Sonje艺术中心，
首尔，韩国
建设中的中非，莱比锡当代艺术美术馆，莱比锡，德国
展览的噩梦(下), 上海当代艺术博物馆，上海，中国
OCAT Shanghai｜Term 3, C-PLAN
Project Director: Tao Hanchen
Payne Zhu | MATCHPOOL
Artist: Payne Zhu
Curator: Wang Shuman
Curatorial Assistant: Chen Zihan
Venue: Multifunction | -1F Sunken Garden, Lane 9, Qufu Road, Shanghai
Date: Feburary 26 – May 8, 2022
EXHIBITION FOREWORD
OCAT Shanghai is proud to present the term 3 of the C-Space Project, "Payne Zhu | MATCHPOOL," from February 26 to May 8, 2022. The exhibition title is both the Chinese young artist's latest work and a brand new clue that encapsulates the many creative scenarios that allow viewers and the creator to revisit since 2015. With three artworks, the exhibition will address and re-conceptualize the concept of matching in two specific contexts: the "arena" and the "dance hall."
The term "matching" comes from Matching Theory ¹, a branch of economics that has been widely used in designing different types of markets, such as labor markets and marriage markets, to construct algorithms for achieving a reciprocal, stable and efficient allocation of resources. At the same time, in competitive markets with cyclical fluctuations in supply and demand, the matching theory with a static equilibrium paradigm has some limitations, for instance, neglecting the variable of "simultaneous game." As a result, the "pool" of liquidity is given to a more competitive and specific platform environment for "matching," in which there is an invisible driving force — maintaining the flow of water to keep the active domain while at the same time, stirring up the water to create a flood.
Payne Zhu, clues embedded in creation since 2015
The exhibition "MATCHPOOL" divides the space into three interconnected "sub-pools," revealing its form, rules, and formation of its driving force progressively and recursively. In LIKE Dressing Room , African bodybuilders display their toned bodies in an enclosed, transparent space, where their beefy muscle soaked with sweat portrays the "body" as an imaginary container for muscle performance-enhancing supplements and drive for "libidinal ecology ²." The latter includes the need to sculpt the perfect body, compete in professional body-building, and feed the economic system's supply and demand. Continuing into the closed black cube space, the new work, MATCHPOOL intends to recreate the dim and indistinguishable scene of an actual ballroom ³, which not only maintains a unique environment of "ambivalence" but also can be considered as the mothership of the MATCHPOOL platform ⁴. The walls surrounding the MATCHPOOL shimmer with fluid grey and white figures, showing the ambiguous state of "there and then" — at once similar to spontaneous digital generation and resembling an inherently compounded notion of the dance arena. The exhibition leaves open the question of whether there is a precise contour (rule) of the matching pool and where the forces (power) that cause the imbalance in the seemingly reciprocal paid match are gathered and distributed.
Payne Zhu, still from LIKE INVESTMENT, 2017, single channel SD video, 4 min 5 sec (color, sound), image courtesy of the artist and MadeIn Gallery
Tucked away at the back of the exhibition space is a semi-curved luminous space — a mysterious Club VIP Room in a sporting competition and implies the ethical abyss of disorder in the film, El inocente. The conception of the body in this exhibition further transforms to referencing the value of identity — where the players played by African immigrants in China and Western soccer stars from Africa carry out a match about spokespersons in the wilderness of a defunct industrial site. Ethnicity and commercial identity commingle in this contest, recording the evaluation of competing identities and how the ways they are validated as homogenous in the successive rounds of selection, league games, and elimination. One could conceive the ironic win-lose outcome as the artist’s rejection of the competitive sports selection and matching mechanisms in the pre-data-algorithm era. Yet, perhaps the reverse "gaze" has been devised as a new matching strategy to feed into a new round of credit overdraft.
Payne Zhu, still from MATCHPOOL, 2021, four-channel video, 16 min 50 sec (B&W, sound), image courtesy of the artist and MadeIn Gallery
In "MATCHPOOL," the dance steps (scores) move forward and back, the partners (opponents) rotate, and the lights go on and off. When the lights are on, what do you see; when the lights are off, where do you look towards, many things are "unknowingly at the time." ⁵
Curator Wang Shuman
¹ The basis for the framework of Matching Theory was first proposed in 1962 by American economists Alvin E. Roth and Lloyd S. Shapley.
² Bernard Stiegler, "Pharmacology of desire: Drive-based capitalism and libidinal dis-economy," New Formations, 2011, 72(72): 159.
³ In terms of external spatial properties, the dance arena is a socially subordinate space split from the ballroom of the last century but no longer has the original function for social dancing and courtship. Unpacking it with the internal economic logic, it becomes a site to witness the process from a failed matching strategy where the imbalanced libido is forcibly transformed into capital drive.
⁴ MATCHPOOL is a matching-based social application running on dual platforms of Ether and Quantum Chain. Unlike conventional social apps, MATCHPOOL focuses on the concept of paid matching, i.e., linking personal emotional needs with a cryptocurrency economic system based on a decentralized matching protocol.
⁵ Eileen Chang referenced the novel The Sing-song Girls of Shanghai in her essay "Remembering Hu Shi" with the phrase, "Many things are unknowingly at the time" to iterate the unadorned and authentic nature of his writing, as well as the abstraction of his authorship.
ABOUT THE ARTIST
Payne Zhu, graduated from Shanghai University of International Business and Economics.
PNZ critically investigates the control systems that lead the rheology of finance, body, image, and becomes an exile or a rule-breaker, revealing or creating conflicts that are often hidden behind these systems.
Recent Exhibitions
Bare Screen, A Digital Video Commission Series by Macalline Art Center, Online
OPYUM Video Performance Festival 2020,
Paris, France
Meditations in an Emergency, UCCA Center for Contemporary Art, Beijing, China
Embodied Mirror, New Century Art Foundation,
Beijing, China
Serious Games, HOW Art Museum,
Shanghai, China
Lying Sophia & Mocking Alexa, Hyundai Motorstudio, Beijing, China
Now is the time, Wuzhen Contemporary Art,
Wuzhen, China
COSMOPOLIS #1.5:Enlarged Intelligence, Centre Pompidou, Chengdu, China
New Metallurgists, Julia Stoschek Collection, Dusseldorf, Germany
A Better Version of You, Art Sonje Center,
Seoul, Korea
Chinafrica.Under Construction, Museum of Contemporary Art Leipzig, Leipzig, Germany
The Nightmare of the Exhibition Part II, Power Station of Art, Shanghai, China
展览将于2月26日15:00正式对公众开放。
本次展览将严格落实疫情防控措施：
1) 入馆前观众需配合工作人员做好信息登记、体温检测，并出示健康码，显示为绿码方可进入展厅；
2) 看展过程中需全程佩戴口罩；
3) 排队时请保持1.5米以上安全距离；
4) 展厅设观众人数接待上限，当人员密度较大时，将根据具体情况采取控制入场速度等相关措施；
5) 有以下任一情况者谢绝入馆：健康码黄色或红色；14天内有中高风险地区旅居史；体温测量2次以上皆高于37.2摄氏度。
关于OCAT上海馆
参观时间 | Admission Hour
10:00-18:00 周二至周日（周一闭馆，节假日等特殊时期开放时间根据场馆公告而定）
最后入场时间：17:30
10:00-18:00 from Tuesday to Sunday (Closed Mondays except public holidays)
Last Entry 17:30
联系我们 | Contact us
Email: ocatshanghai@ocat.org.cn
Weibo: @OCAT上海馆
Instagram: @ocat__shanghai
Tel: 021-66085180, 021-66085119
地址 | Address:
上海市静安区曲阜路9弄下沉庭院，负一层（轨道交通8号线、12号线曲阜路站）
-1F Sunken Garden, Lane 9, Qufu Road, Shanghai (MTR Line 8 & 12 Qufu Road Station)