来自区块链领域的创业者刘嘉颖，去年从中央美术学院毕业了。昔日的艺术“小白”，不折不扣的艺术圈新人，却在不经意间发现，自己站到了当代艺术的风口上。
Liu Jia-young, an entrepreneur from the block chain, graduated from the Central School of Fine Arts last year. The art of the past & ldquao; White & rdquao; and the undisguised newcomers in the art world, unwittingly discovering that they stand on the surface of contemporary art.
今年3月，佳士得与数码交易平台Makers Place合作，以近7000万美元的价格，拍卖了艺术家Beeple的数码作品《每一天：前5000天》。基于区块链技术和非同质化代币（NFT）的艺术品，一下子成为艺术圈关注的焦点。
In March of this year, Jiast, in collaboration with the digital trading platform Makers Place, auctioned the artist Beaple's digital work, Every Day: The First 5,000 Days. Art based on block chain technology and non-consistency tokens (NFTs) became the focus of attention in the art world.
3月，刘嘉颖参加了北京UCCA Lab举办的全球首个大型加密艺术群展，5月29日，她的个展”一个小目标”在北京嘉德艺术中心开幕，主办方称，这是“全球首个有关区块链艺术及加密艺术的主题个展”。
In March, Liu Jia Yung participated in the first major global exhibition of encrypt art organized by UCCA Lab, Beijing, on 29 May, her exhibition & rdquo; a small target & rdquo; the opening of the Beijing & & & & & & & & & & & & & & & & & & & & the opening of the Beijing & & & & & & & & art of block chains and encryption.
在央美，刘嘉颖的导师是艺术家邬建安。接受媒体采访时，邬建安说，“我的研究生刘嘉颖，创作出很棒的区块链作品，她教给我很多，告诉我区块链的运行逻辑，我就少走了很多弯路。”
In Yomi, Liu Ka-young's mentor is the artist Xiao Jianan. In an interview with the media, Jia-An said, & ldquao; my graduate student, Liu Jia-Yung, who created a wonderful block chain, taught me a lot, told me the logic of the block chain, and I took a lot less turns. & rdquao;
2019年，刘嘉颖使用非同质化代币（NFT）技术在Opensea中发起投票活动，2020年，她在Cryptovoxels区块链平台创立“赤金美术馆”。她的作品围绕加密货币、信用创造、交易等主题展开，同时也看重参与和交互。
In 2019, Liu Ka Yung launched a vote in Opensea using non-homogenous tokens (NFT) technology. In 2020, she created & ldquo; the Red Gold Gallery & rdquo; and her work revolved around the themes of encrypting money, credit creation, trading, etc., and valued participation and interaction.
”一个小目标”线下展览，乍一看与其他当代艺术展差别不大。它以油画、雕塑、动画、装置等形式呈现，但经过艺术家现场讲解，观者得以理解，与一般的线下展览不同，这场展览的所有作品，都是基于区块链社区创作、讨论和流通的，线下呈现只不过是它们的分身而已。
& rdquo; a small target & rdquo; an underline exhibition, which at first glance does not differ much from other contemporary art exhibitions. It is presented in the form of paintings, sculptures, animations, devices, etc., but through an artist's on-the-spot presentation, viewers understand that, unlike the under-line exhibition, all the works of the exhibit are based on the creation, discussion and circulation of the block chain community, and the under-line display is merely a part of them.
作品《无中生有》以影像与现场体验的形式展出，是刘嘉颖最早的一件区块链实验作品，运用以太坊区块链技术创作。艺术家通过改造ERC20合约，让超过五十万名区块链用户同时获得一种数字货币，该数字货币于十多天后在去中心化交易平台EtherDelta产生了首笔交易。
It was presented in the form of an image and field experience, and was Liu Jia-Ying’s first block chain experiment, using the technology of the Tetsu block chain. Artists, through the transformation of the ERC20 contract, gave more than half a million block chain users access to a digital currency that, more than a decade later, produced the first deal at the decentralised trading platform, Esther Delta.
刘嘉颖被讨论最多的的作品《红与蓝》，也以装置的形式出现在展览中。2019年9月，她通过以太坊发布100个由红到蓝的渐变色块，并进行了长达一年的拍卖竞价。艺术家并未预先告知色块的含义，而是在等待了一年之后，观察这些色块在拍卖中的价值分布。
Liu Ka Ying’s most discussed work, Red and Blue, also appeared in the exhibition in the form of a device. In September 2019, she published 100 red-to-blue chrome pieces in the Taiku and ran a year-long auction competition. Artists did not give advance notice of the meaning of the chrome, but, after a year’s wait, looked at the distribution of its value in the auction.
2020年，刘嘉颖创作了基于以太坊区块链技术的《掷地有声的钱》系列作品，系列中的每一件作品都与拍卖（交易）有关，如无人出价，则作品没有完成。这一系列中包括《零美元》，它看似一般的美元纸币，但同时也是一个区块链以太坊上的非同质化代币。艺术家将符号化的零美元概念与加密货币绑定，《零美元》在加密艺术品拍卖平台上获得了近3.6个以太币的出价。
In 2020, Liu Jia-Yung created a series of " Voice-over Money ", based on the technology of the Tai Tao block chain, each of which is related to auctions (transactions) and has not been completed if no bids are made. The series includes " Zero dollars ", which looks like a dollar coin, but is also a non-homogenous monet for a block chain. Artists bound the symbolic zero concept to an encrypted currency, where the " Zero dollar " received nearly 3.6 bids in too currency on an encrypted art auction platform.
《TopBidder》是一件以“拍卖机制”形式呈献的艺术品，允许以太坊用户以及现场观众实时参与竞价并进行虚拟互动。它是一个基于以太坊智能合约的激进拍卖协议，协议对ERC721代币标准进行改造，为NFT增加了强制转让所有权的机制。任何竞拍者只要出价高于上一位竞标者10%，即可自动获得该NFT拥有权。这使得任何非永久占有型加密资产（Radical NFT，简称rNFT）均具备天然的自动定价机制，提高rNFT资产的流动性，从而实现价值自主权。在这个拍卖平台上，艺术品的拍卖和收藏都被颠覆。
TopBidder is an art that is presented in the form of “ auction mechanism & & rdquo; allows real-time participation in biding and virtual interaction with users and viewers in the field. It is a radical auction agreement based on an thaya smart contract that transforms the ERC721 currency standard and adds a mechanism for compulsory transfer of ownership to NFT. Any bidder can automatically acquire ownership of the NFT as long as the bid is 10% higher than the previous bidder.
刘嘉颖认为，区块链艺术更加极致，“它依托的是比暴力和强权更加极致的一种信用背书”。当区块链艺术越来越接近形成闭环，拥有艺术家和作品，有美术馆，有拍卖平台，原有的艺术世界就已经被动摇、被改变。当然，此次展览中呈现的作品拍卖均使用加密货币进行，划定了与法定货币的界限。此中的法律问题，也是在中国观察区块链艺术的一个基本出发点。
Liu Ka Yung believes that the art of the block chain is more extreme, & & ldquo; it is based on a credit endorsement & & rdquo; it is more extreme than violence and power. When the art of the block chain is getting closer to forming a closed ring, with artists and works, art galleries, auction platforms, the original art world has been shaken and changed.
在“一个小目标”展览现场，第一财经专访了艺术家刘嘉颖。
In & ldquao; a small target & rdquao; at the exhibition site, the first financial director visited artist Liu Ka-young.
第一财经：你是区块链领域的创业者，现在又以艺术家的身份推出展览，如何看待自己的的身份？
First Economy: How do you look at your identity as an artist when you're an entrepreneur in the block chain?
刘嘉颖：刚进入央美读书的时候，我的状态是非常分裂的。做企业的时候，就是决策、找人、找钱、定战略，做艺术则是完全回归自我，从内心激发出对世界的看法。一开始我还在探索各种媒介，没找到能在艺术圈杀出来的路子，到研二的时候还非常迷茫，当时觉得自己可能做不了艺术家。
At the beginning, I was exploring all kinds of media, not finding a way out of the art world, and I was very confused at the time of my second study, when I felt that I might not be an artist.
后来我索性就把做艺术家这个事放下了，反而就轻松了，然后就开始从区块链——我最喜欢的领域——去反复尝试，去实验。在央美学到了一套做艺术的方法论，对于我来讲是非常宝贵的。
And then I put the artist thing down, and it was so easy, that I started to start from the block chain & mdash; — my favorite field & mdash; & mdash; to try again and again, to experiment. It was very valuable for me to learn a set of ways to do the art in Yomi.
去年毕业展之后，作品收到的反馈还是不错的，我才慢慢把艺术和公司这两样事情合并到一起，并轨了，把工作中的灵感或者见闻，通过技术的手段转化成艺术。
After the graduation show last year, the work received good feedback, and I slowly combined the arts with the company, and I went on the road to turn the work into art by technical means.
第一财经：是不是到了二者可以并轨的时候，你才意识到自己学艺术的真正目的？与你最初到央美时的想法是不是差别还蛮大的？
First Economy: Are you aware of what you really want to learn about art when they're on the same track? Isn't it a big difference from what you thought when you first came to the United States?
刘嘉颖：差别非常大。我最早在腾讯工作，本科三年级就出来工作，书没读够。那时候会和一位老师聊一些奇怪的想法，他建议我去考央美，去读最好玩的实验艺术专业。第一次与我在央美的导师邬建安老师见面时，我对艺术一无所知，结果他跟我聊了4个小时互联网，就觉得很有趣。
This is a big difference. I was the first to work in my third year, and I didn't read enough. At that time, I talked to a teacher about some strange ideas, and he suggested that I go to Kanmi to study some of the best experimental art. When I first met with my teacher in Yumami, I knew nothing about art, and it was interesting that he talked to me about the Internet for four hours.
第一财经：此次展览的策展人李振华说，你对区块链的研究跟其他的艺术家不在一个层次上？
刘嘉颖：使用区块链技术来做的加密艺术，我目前看到的有几种类型，最简单的就是NFT，有很多工具帮助你，一键就可以发一个图像，发一个币，这个就是最低门槛，是最简单也最容易传播的。我最早的作品《无中生有》，是用区块链的底层代码，把智能合约修改了，然后引发了一系列区块链世界的偶发事件。 : uses block chain technology for encryption. There are several types of encryption that I'm seeing, the simplest being NFT, and there are many tools to help you, so that one key can send an image, a currency, and that's the minimum threshold, and the easiest to disseminate. My earliest work, " No one is born ", is using the bottom code of the block chain to modify the smart contract, and then triggers a series of spin-off events in the block chain world. 我对区块链的理解不是来自书本，而是来自于实战，我们的团队有很多优秀的智能合约工程师、数值模型工程师、算法合约工程师，我是在工作的过程中产生灵感，然后创作。我的区块链作品用的技术，全部指向区块链技术的本质。 My understanding of block chains is not from books, but from battle. Our team has a lot of brilliant intellectual contract engineers, numerical model engineers, algorithm contract engineers, and I'm inspired in my work, and I'm creating it. The technology used in my block chain work is all about the essence of the block chain technology. 就是采用最核心的部分，而不是画一个图像来象征某些东西。我们真正地把它做出来。比如说《TopBidder》，我想解决NFT艺术作品的流动性问题，解决收藏的问题，解决艺术家每一轮售出作品都能拿到钱的问题，所以我们就真的做了一个拍卖平台。所以李振华老师说我是玩真的，他是这么形容的。 It's using the core part, not drawing an image, to symbolize something. We really do it. TopBidder, for example, I want to solve the problem of the flow of NFT art, the problem of the collection, the problem of the artist getting money for every round of work sold, so we really made an auction platform. So Mr. Li Jinhua says I'm serious, and that's what he says. 第一财经：对你这种“玩法”，外界是怎么看的？ 刘嘉颖：我采访过两位我的藏家，他们觉得从来没有发生过这样的事情，所以他们也非常兴奋。因为区块链在代码层面能够解决的问题，比普通的艺术媒介要深入很多，对社会的干预也可以做得很深入，这也是我觉得自己擅长的艺术创作的路径，而不是其他路径。 : I interviewed two of my Tibetans who felt that nothing like this had ever happened, so they were excited. Because the blocks chain can solve problems at the code level, much deeper than ordinary art media, and much deeper intervention in society, and that's the way I think I'm good at artistic creation, not the other way around. 央美给了我一个武器，这个武器怎么用需要你自己练。我有个老师就说，你肩膀上扛着冲锋枪，不需要像别的同学那样还去练飞刀。但当时我自己还不知道。在毕业创作的时候，可能也是由于疫情的原因，在高压下，我觉得算是找到了一个我比较擅长的路径。 Yomi gave me a weapon that you need to train yourself. I had a teacher who said that you had a submachine gun on your shoulder, and you didn't need to practice a flying knife like any other student. But I didn't know that at the time. At the time of graduation, it was probably also due to the epidemic, and under pressure, I found a path that I was better at. 第一财经：技术和平台的变化，对于艺术家群体来说是不是一个机会？还是说那些传统的艺术家的路会越走越窄，甚至会无路可走？ 刘嘉颖：我很难去谈其他的艺术家，我只能谈我自己。我认为区块链的技术确实跟传统的艺术是完全不在一个世界，不在一个讨论的语境中，它的手段、媒介、材料甚至是主题都不在一个语境。 It's hard for me to talk about other artists, and I can only talk about myself. I think that the technology of block chains is completely different from the traditional art from the world, not from the context of discussion, and that its tools, media, materials and even themes are not in the same context. 现在很多艺术家开始做各种区块链主题的作品，艺术家要找到自己真正热爱的东西。如果区块链不是他热爱的，他完全可以不做区块链。 Now many artists are starting to work on a variety of block chain themes, and artists are going to find what they really love. If the block chain is not his, he can totally leave the block chain. 第一财经：目前区块链艺术看起来是激进的，甚至反叛的。但其实你还是要借助现有的一些艺术资源、艺术产业结构去推进，这是一种合作还是一种妥协？ First Economy: The art of block chains now looks radical and even rebel. But in fact, you have to build on some of the existing artistic resources, the structure of the arts industry, whether it's a compromise or a compromise? 刘嘉颖：我们在创业的时候也会去考虑新开辟一个蓝海市场，而不是停留在原有的红海市场。区块链艺术我觉得是新开辟的一片蓝海，包括我的藏家，有很多都是第一次收藏艺术品，他们是工程师背景，有的是学密码学的，有的是学数学的，我觉得是新开辟了一个新的领域和市场。这是我觉得很有意思的，包括在收藏的时候，他们也是用以太币做收藏。 : when we start a business, we also think about opening a new blue sea market instead of remaining in the old Red Sea market. I think the block chain art is a new blue sea, including my collections, many of which are for the first time collections of art, they're engineers, they're cryptographers, they're mathematics, and I think they've opened a new field and market. That's interesting to me, including when they're collections, they're also used to collect too much money. 通过今天的展览把币圈和艺术圈融在一起，我觉得很有意思。 I find it interesting to combine the currency and the art circles through today's exhibition.
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