“The Red and the Blue is a touchstone that attempts to reveal the logic behind NFT collection.”
“《红与蓝》正是一块试金石，将为我们揭示 NFT 背后的收藏逻辑。”
The generation of new money that rode the raise of Bitcoin is known as the “tech bourgeoisie”. The new rich with a strong economic base often require more complex spiritual products to meet their transcendent needs, and when luxury goods and luxury cars becomes the norm, art collecting naturally became a subject of interest.
乘着比特币东风起家的 new money 被称为「科技资产阶级」，经济基础雄厚的新富阶层往往需要更高层级的精神产品来满足超越性的需求，当奢侈品、豪车成为标配，艺术品收藏也就理所当然地成为新钱的标的。
One has to admit that when different shades of purple are overlaid across a screen, it emits a noble and auspicious sensation. Crypto artist Liu Jiaying (CryptoZR) extracts red and blue from the flags of China and the United States, and the gradient of colors in the middle is divided into a 100 parts, with the expression of values behind a minimalist form.
不得不承认，不同色度的紫色铺陈在屏幕上的时候，一种高贵而吉祥的氛围扑面而来。加密艺术家刘嘉颖（CryptoZR）从中美两国的国旗上提取红色和蓝色，中间渐变的色彩被分成 100 份，极简主义形式的背后是价值观的表达。
The medium that showcases encrypted art is the screen, and electronic images are the primary means of presentation. Computer painting, 3D modeling, algorithmic generation, real-time interaction…… Anything that can be displayed on the screen can be used as a form of presentation. Its core “encryption” feature indicates there to be creation of new rules. The aesthetic paradigm of classifying art in terms of shape, color, and subject matter formed half a century ago, and photography, video, and new media art have been well discussed in these dimensions. The French philosopher Nicolas Bourriaud’s 1998 publication Aesthetics of Relation opened up new dimensions for understanding and appreciating art.
加密艺术的载体是屏幕，电子图像是最主要的展示途径，电脑绘画、3D 建模、算法生成、实时互动……任何可以在屏幕上展示的都可以被用作呈现的形式。而它的核心「加密」特性，则意味着新规则的产生。以造型、色彩、主题的美学范式分类艺术早在半个世纪之前就已成型，摄影、影像、新媒体艺术已经在这些维度上进行了充分的讨论。法国哲学家尼古拉斯·伯瑞奥德（Nicolas Bourriaud） 1998 年出版的《关系美学》，为我们理解和欣赏艺术打开了新的维度。
Relational aesthetics: a set of artistic practices that take interpersonal relationships and social contexts as a starting point, rather than a separate personal space.
While the minimalist form of “Red and Blue” does not carry complex artistic labor (painting, or digital painting), Liu Jiaying integrates a year’s worth of “time” with the minimalist form to realise a relationalist aesthetic.
This work was created in 2019, when the trade friction between China and the United States made Liu Jiaying aware that the relationship between the two powers would become a competition between two distinct values and political positions. Red and Blue was created in October 2019, and she wanted to predict, and even reveal, the outcome of this competition through the bidding of “color blocks”. What is more unexpected is that the covid-19 epidemic in early 2020 pushed the world into a completely unpredictable future, and the significance of the work Red and Blue becomes self-explanatory.
这件作品创作于 2019 年，中美之间的贸易摩擦让刘嘉颖意识到两个大国关系将成为两种明确的价值观和政治立场进行博弈。《红与蓝》正是在 2019 年 10 月创作，她希望通过「色块」的竞价，来预测，甚至揭示这场博弈的高下。更令所有人意想不到的是，2020 年初的 covid-19 疫情将世界推向了完全不可预知的未来，《红与蓝》这件作品的意义也就不言而喻。
Within the framework of ‘relational aesthetics’, ‘art’ raises questions about the act of collecting. When a collector pays for a work, what is it that he or she is buying? Traditional art collecting has already revealed the answer to this question over its long history – it is not the paper on which a photograph is developed, nor is it the linen on which a painting is made – it is the creativity of the artist that the collector is buying, and thus What the collector buys is the artist’s creativity, thus gaining a spiritual identity by “owning” it. Red and Blue” is an expression of values, and Liu Jiaying opened the work to bidding on OpenSea without specifying her intentions, with the purer blocks of color at either end of the canvas being preferred, with blue currently commanding a higher price.
在「关系美学」的框架下，「艺术」对收藏提出了问题。当收藏者为作品付费，ta 购买的是什么？传统艺术品收藏已经在漫长的历史中为我们揭晓了答案——收藏一件摄影作品，为之付费的并非冲印的相纸，同样画作也不是承载绘画的亚麻布——收藏者购买的是艺术家的创造力，从而以「拥有」的身份来获得精神层面的认同。《红与蓝》是一种价值观的表达，刘嘉颖在并未阐明创作意图的情况下将作品在 OpenSea 上开放竞价，位于画布两端更纯粹的色块更受青睐，目前蓝色叫价更高。
As the “year” approaches, the question of whether or not cultural, technological, policy, and news from China and the United States can influence the bidding of a work is precisely the reality that the work will explore through the means of art. When a color carries a disposition, bidding will be mixed with values, political leanings, identity, nationalism, immediate feedback of emotions, and many other factors, but perhaps these factors will be completely meaningless in the face of NFT’s investment properties. The financial market assumes that every investor is rational, but it is precisely the soul that lies within the flesh that is swayed by emotional preferences, so “Red and Blue” is a touchstone that will reveal the logic behind the act of collecting NFTs.
「一年」的时间临近，中美两国文化、科技、政策、新闻消息是否能够影响作品的竞价正是作品要以艺术的手段来探索的现实。当颜色带有立场，竞价将混杂着价值观、政治倾向、身份认同、民族主义、情绪的即时反馈等等诸多因素，但是，也许这些因素将在 NFT 的投资属性面前完全失效。金融市场假设每一个投资者都是理性的，而恰恰寄托于肉身的灵魂正是受到情感偏好的左右，那么《红与蓝》也正是一块试金石，将为我们揭示 NFT 背后的收藏逻辑。
“China will win” or “I love America”, the collection as a position will be revealed between Red and Blue on October 18.
「中国必胜」，亦或「我爱美国」，收藏作为立场 10 月 18 日将在红与蓝之间揭晓。
文章来源：Jiaying Liu CryptoZR 2020-10-14 Posted in News