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无论是艺术、科学还是宗教，历史上一般将偶然视为敌人，因为在技艺、天赋和运算的面前，以及对于上帝和命运来说，偶然是不存在的。直到二十世纪，杜尚第一个以偶发性进行创作，海森堡发布了量子物理理论的启发性理论——不确定原理，上帝已死的时代，偶然的价值才越来越多地受到艺术家和科学家的重视。
此次展览是巴黎地区的第三届数码艺术双年展（Némo），作品整体以装置和影像为主，不一定以偶然为题，而是操纵算法巧合，让观者体验。比如被算法干扰的圣经文本，机器人根据环境数据进行绘画，让观众戴上VR进入另一个人的身体，如同濒死体验的灯光装置（如图）等等，请尽情去发现吧！
The international Biennial of digital arts of Île-de-France, heir of the Némo festival, will return to its nerve centre of the CENTQUATRE for its second edition (December 2017 – March 2018) on the occasion of its big thematic and transversal exhibition: Les Faits du hasard.
Like for the two previous exhibitions, the artistic direction is co-signed by Gilles Alvarez, director of the Biennial and the event coordination of Arcadi, and José-Manuel Gonçalvès, director of the CENTQUATRE. A token of continuity for a programme that will once again inscribe itself in the large artistic mechanism of chance, the accidental and serendipity that was opened two years ago by the exhibition Prosopopées : quand les objets prennent vie. “Before, chance in art was error”, declared Gilles Alvarez. “But ever since Marcel Duchamp and quantum mechanics, there is an intentional chance, a tool that is asking to be organised by an artistic gesture.”
In this new exploration of the relationship between Man and machine, where the technological process collides with an often capricious artistic equation, several installations will testify of the convoluted creative steps, going through a multiplicity of supports, such as Quentin Euverte’s Buzz Aldrin Syndrom, in which analog material, digital data, chemical processes and live cinema screenings participate in an unpredictable result, with the appearance of an exquisite corpse game. For José-Manuel Gonçalvès, the idea is to “build a contemporary art exhibition that draws from all forms of aesthetics, in digital technology, in the theatre of objects, and that plays with the variety of chance to show that the result of an artwork isn’t always replicable”. You can therefore expect surprises when you will project yourself into the body of another, using a headset (the body sway experience of The Machine to Be Another of the BeAnotherLab collective) or when you will observe the pixelated choreographies of augmented snails by Cyril Leclerc and Elizabeth Saint-Jalmes (Le Pixel lent).
The exhibition Les Faits du hasard will not however be settled as much in technological absurdity as Prosopopées. It will look for a more poetic and contemplative reading of our technological society through a digital filter. “Chance is the contrary of what we believe digital art is, as we think it brings us to total control, to perfection”, José-Manuel Gonçalvès sums up. “But maybe the greatest perfection is actually the things that are not completely perfect?”. Human, did you say human?