对我的艺术之旅解读得过于简单就很容易使读者误解我的实际目标。我的作品从绘画、摄影、视频装置、计算机图形动画，到VR装置、人工智能、交互展览、增强现实、城市媒体装置、脑电图、人机互动3D打印装置，此外，作品的规模上也有了明显进展，从第一幅画到香港最高的建筑——香港环球贸易广场的70000平米的外墙。我们还可以根据类型将这些艺术实践分为观念艺术、实验性摄影、交互装置、3d计算机动画(Quarxs, 1991-1993，首次在电视上播放的3d CG动画)、洲际通讯艺术(《大西洋底隧道》)、组织展览设计、参与艺术、城市媒体艺术、和脑神经设计。

 有些人可能注意到，这种对我艺术之旅的线性理解很受非科技媒介，诸如表演、气味、印刷、书写、未完成项目上的文字等的干扰。最终，总会有一些人体会到在媒介之后的真正主题——在人工制品的背后至关重要的是什么？

 艺术的动机（Pièces à Convictions，1985），时空坍塌后科学的真相（Quarxs, 1989-1993），艺术家造物主和形而上学在艺术品空间中的再现（《大问题：上帝是扁平的吗？》，1994），大众传媒中诱惑性的淫秽行为（《魔鬼是弯曲的吗？》，1995），作为远程沟通障碍的文化（《大西洋底隧道》，1995），冲突地区的记忆悖论（《世界之表象：战地狩猎图》，1998），互动展览设计中的组织地位（《导航室》，1997），网络化孤独（《越界聊天》，1999），分享艺术的视网膜维度（《艺术迥向》，2000）， ‘我在看你’，成为独裁者（《小心》，2004），城市语境下的凝视体验（《世界之城》，2005），人口因素和金融股票（《情绪力学》，2005-2012），艺术目的意义超越物质，当代艺术中二者有无共同点（《白色空间》，2011） ，公共纪念物的象征价值(War-Peace, Arc de Triomphe, Paris 2008-…)，城市中个体的位置（《蠕虫》，2008），掌控城市景观的艺术家——从装饰品到临界融合（《开阔天空计划》，2014-2016），高尚与物化的知识经济（《头脑工厂》，2016），人类抽象思维的实际形态（《脑云》，2017）等。

 我常说，交互艺术是提问的最好方式， 但是不会带来明确答案，艺术的目的是在于质询世界，而技术则是催化剂。经过认真且批判性处理，技术确实发挥了重要作用。”

“In terms of experimental art practice, drawing a map of the journey is not an easy undertaking. We need to step back and see the global picture. Now close to 40 years of practice, I understand that the multi-layered map of media art experiments takes more than a GPS to find ones way.

A simplistic reading of my artistic journey could easily mislead the reader on my actual goals. One could recall that I started with painting, photography, video installations, computer graphics animation, Internet based art, VR installations, Artificial intelligence, Interactive exhibitions, Augmented Reality, urban screens, urban media installation, ElectroEncephalography, 3D printing Brain computer interaction…

Going further, one could observe a possible progression in scale, from my first paintings to the 70,000 sqm of the ICC Tower media façade, the highest tower in Hong Kong…

We could also list these practices in terms of genre, conceptual art, experimental photography, interactive installations, 3d CG animation (Quarxs, 1991-1993) the first HD 3DCG animation series on TV), intercontinental telematic art (The Tunnel under the Atlantic…), organic exhibition design, participative art, urban media art, neuro design…

Some could notice that this apparently linear understanding of my journey through art is seriously disturbed by the use of overtly non-technological media: performance, perfume, printing, curatorship, writing on undone projects… 

Eventually, some others could pay attention to the real topics behind the media. What is at stake behind the artefact?

The motivation in art (Pièces à Convictions, 85), the time space collapse, the truth in science (Quarxs, 89-93), the artist demiurge and the metaphysics in the representation of space in art (is God Flat? Saint Denis, 94), the obscene practice of seduction in mass media (Is the Devil Curved?, Monte Carlo, 95), culture as an obstacle in remote communication (Tunnel under he Atlantic, 95), the paradoxes of memory in conflict zones (World Skin, a Photo Safari in the Land of War, Linz, 97), the organic status of interactive exhibition design (The Navigation Room, Paris, 1997), networked loneliness (Crossing Talks, Communication rafting, Tokyo, 1999), sharing the retinal dimension of art (Art Impact, Paris, 2000), being Big Brother, I’m watching you (Watch Out, Seoul, 2002, the experience of the gaze in the urban context (Cosmopolis, Rewriting the City, Shanghai, Chongqing, Chengdu, Beijing, 2005), human factor vs financial stock (Mechanics of Emotions, 2005-2012), the meaning of artistic intentions beyond the artefact (The Dump, 2008), is there something in common between all contemporary artworks? (White Cube, l’essence de l’art contemporain, 2011), the symbolic value of public monuments (War-Peace, Arc de Triomphe, Paris 2008-…), the place of the individual in the city (NeORIZON, Shanghai, 2008), the artist taking over the urban landscape, from cosmetics to critical fusion (Open Sky Project, Hong Kong, 2014-2016), knowledge economy between sublimation and reification (Brain Factory, 2016-…), the actual shape of human abstractions (Brain Cloud, HK, 2017)…

 I use to say that interactive art could become the best medium to ask questions, and we know that art is definitely not there to bring definitive answers. The purpose of art as a way to interrogate the world may be the question. In this journey, technology plays the role of the catalyst, even though, carefully and critically handled, it  certainly does it well.”

主讲人简介：

莫奔（Maurice Benayoun），法国先驱新媒体艺术家、理论家、策展人。其艺术作品采用视频、浸入式虚拟现实、无线技术、表演、大型城市艺术装置和互动装置等多种媒体形式，荣获多项国际大奖，曾在巴黎蓬皮杜中心和香港等地展出。