藝術家陸明龍（Lawrence Lek）的沉浸式電玩遊戲表演模糊了現實與虛構的界限，邀請觀眾進入一個精心構建的數碼領域，其中自動駕駛汽車開始思考其自身的存在。這位藝術家正在探索人工智能和社會變革時代的技術進步神話。

今年大館「藝術家之夜」（Artists' Night）的重磅嘉賓其中之一為藝術家陸明龍。「藝術家之夜」由大館策劃，巴塞爾藝術展香港展會全力支持，將於3月28日（星期五）晚上7時至11時舉行，由亞洲地區的新晉實驗音樂人和視覺藝術家為觀眾呈獻現場表演、裝置藝術和音樂演出。

活動將在這座已轉型為香港頂尖藝術中心的19世紀監獄中展開。觀眾將在洗衣場石階、F倉展室、賽馬會藝方及監獄操場等場所，與各種現場表演和裝置藝術不期而遇。

在洗衣場石階，觀眾將欣賞到陸明龍近年來持續創作的SimBeijing（新北京）近未來智慧城市三部曲——《黑雲》（2021）、《NOX》（2023）及《空白騎士》（2024）——所建構的中華未來主義宇宙。結合廢土美學和極富表現力的電子配樂，表演旨在重新審視人工智能對身分認同、情感、軀體、個人能動性的影響。

監獄操場將展出艾莉斯亞．夸德（Alicja Kwade）的全新公共藝術委約作品《等候亭》（Waiting Pavilions）。這六座透明玻璃磚結構酷似監獄牢房，以透明磚牆暗喻現代生活中的無形束縛，讓觀眾重新想像當代語境下的等候經驗。這些玻璃亭不僅與場域的歷史背景相互呼應，周圍的多張白色椅子則各自承托著一塊大石，驅使觀眾思考外在環境與我們內心世界的連結，藉此揭示現實如何往往超越最初的表象。

同時，F倉展室將舉辦一系列前沿藝術家的實驗性表演，探索科技、聲音與視覺體驗的交融。在一眾表演者中，創意工作室affect lab將呈現《滲入元宇宙》（Bleeding into the Metaverse）——這是一場互動式元宇宙體驗。每位參與者將被分配到由多媒體藝術家Sputniko!設計的數碼分身，而這些數碼分身還會出現在螢幕上與他們即時共舞。

「我們的元宇宙派對既是一次實驗，也是參與者學習如何構建和使用數碼形象的機會。」affect lab解釋道，「同時，它也是我們探索混合性，理解哪些因素能夠促成有趣、互動和真正連接的活動的契機。」

此外，F倉展室也將特別呈現33EMYBW的表演。她是知名廠牌SVBKVLT的實驗電子音樂人，該廠牌起源於上海，如今以曼徹斯特為據點。33EMYBW以概念性電子音樂聞名，她的作品常常探索有機生命與合成生命之間的關係。她2019年的專輯《Arthropods》以無脊椎動物為靈感，深入探討萬物有靈論及靈魂的本質。33EMYBW曾在柏林世界文化宮（Haus der Kulturen der Welt）等地點演出，並參與了重要音樂節SXSW和CTM。她的表演將是當晚的一大亮點。

「藝術家之夜」是大館藝術週的組成部分，期間還包括延長開放時間、為特邀嘉賓舉辦國際早午餐和特別展覽導賞。除表演外，觀眾還可以探索藝術家胡曉媛、艾莉斯亞．夸德（Alicja Kwade）、梅芙．布倫南（Maeve Brennan）的精彩個展。

隨著香港藝術界的不斷發展和對實驗性藝術創作的支持，大館的「藝術家之夜」已成為展示亞洲創新藝術家突破數碼藝術、聲音和表演邊界的重要平台。

The artist considers the world as a type of readymade that is his to mine, his work becoming part of the landscape and phenomenon it simulates, destined for the same final fate. ‘With this act, we reach the shores of anthropocentric representational systems, the very edges of “art” its ultimate ending. In this context of thinking at and about the limits of art, I have long seen Duchamp as embodying the last frontier – the frontier that removed all frontiers – where “art” and “language” coincide. Duchamp represents, for me, the radical idea of a map on the same scale as the territory itself.’

If the idea of our pending extinction sounds doom-laden, Claude Adjil, curator-at-large for the Aspen Art Museum, who co-curated the presentation in Le Brassus and will curate the show in Aspen, disagrees. ‘I do find the speculative element of his work both frightening and foreboding, but as someone who subscribes to this idea of nonlinear thinking, I find it a useful kind of methodology and a tool to move between things, and to not get trapped in a sense of stasis.’

Villar Rojas notes that should the ‘last’ artwork out-survive Homo sapiens, it has the potential to be regarded as the first artwork of whatever civilization comes next. ‘It’s no longer the last gesture of a species, but the first. What could that first artwork be? And, more deeply and more complicated still: What ignited in us the desire to make symbols, to perform rituals, to create what we now call “art”?’

Teichmann adds, ‘The fact that this could be a collaborative process, a shared past, is very hopeful, because whatever remains of us might likewise be the spark for something else elsewhere. It challenges the vision we have of ourselves.’

When the new commission moves to Aspen next year it will be joined by further works built onsite by Villar Rojas’s studio, a roving team, most of long standing, with whom the artist travels everywhere in ‘parasitic harmony,’ Adjil says, ‘one that lands on the host body of the museum with cells that will aggregate and grow.’ The curator continues that, while the forthcoming exhibition is not about the US, the context of North American mythology and its relationship to ‘the West,’ a land that must be tamed, is unavoidable for a show situated in rural Colorado. ‘The American West has this epic narrative in regard to the land, and Adrián’s use of location is similarly a fictionalized encounter. We have such a fractionalized understanding of time. When we remember something in the long past, we think it’s apolitical, that nature and land are neutral. Adrián is someone who teaches us to be distrustful or at least interrogate that.’

Villar Rojas concurs: ‘Prehistory itself is a very recent concept, barely 250 years old. Not so long ago, from a Western epistemic perspective, all of life on this planet and the planet itself were believed to be around 2,000 years old. Then it became 7,000, then 70,000, then millions, and eventually hundreds of millions. All of this happened within less than two centuries, alongside the rise of modern science in Europe’s dominant economies. It’s worth trying to reconnect with the existential shock this must have caused.’

Villar Rojas says that leaves space for an even more radical understanding of time and how that might provide lessons for our present. ‘It’s a story about how we write our pasts, about who gets to narrate the beginning of meaning, and about how those narratives still shape our hierarchies, our exclusions, our violence.’

Co-commissioned by the Aspen Art Museum and Audemars Piguet Contemporary, Untitled (From the Series The Language of the Enemy) is Adrián Villar Rojas’s first work in bronze. Premiering in Switzerland this month, before traveling to Aspen in 2026, the project explores deep time, evolution, and the origins of symbolic creation. By fusing prehistoric and human forms, Villar Rojas invites us to question where meaning begins and how art might endure beyond our species, transforming today’s creations into the first relics of whatever comes next.

About the curators
Audrey Teichmann is a curator at Audemars Piguet Contemporary, where she commissions and produces ambitious artworks by leading contemporary artists worldwide, supporting the program’s mission to foster creativity and dialogue across disciplines. Her curatorial practice explores the intersections of art, science, and speculative futures, fostering projects that push material and conceptual boundaries.

Claude Adjil is a curator-at-large at the Aspen Art Museum, where she develops exhibitions and research-driven projects that engage with contemporary art’s social, political, and ecological dimensions. Her work often centers on artists who challenge linear histories and reimagine humanity’s relationship with time, technology, and the environment.