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Katja Novitskova: 洛基的城堡

Curator Victor Wang

8 September - 19 November, 2017
Cc Foundation & Art Centre, Shanghai

Installation View of Katja Novitskova: 洛基的城堡, 2017

Katja Novitskova: 洛基的城堡

Curated by Victor Wang
8 September - 19 November 2017
Venue: Cc Foundation & Art Centre
Room 101, Bldg 15, M50 Art Industrial Park, No.50 Moganshan Road, Putuo District, Shanghai, China

Cc Foundation & Art Centre is proud to present Katja Novitskova: 洛基的城堡 the first institutional solo exhibition in China by Estonian artist Katja Novitskova, curated by Victor Wang.

In 1119 AD, author Zhu Yu published his Pingzhou KeTan (‘Pingzhou Table Talks’), detailing accounts of the trade, customs, social exchanges and early maritime technology used in China during the Song Dynasty. Notably, Pingzhou KeTan is the earliest written account of the use of a mariner's magnetic-needle compass for navigation at sea.[1] Outlining different maritime technologies, Yu also highlighted the importance of determining one’s location when navigating oceanic space, describing technologies that used samples of mud from the ocean floor, using a series of cables and hooks: by the appearance and smell of the mud, mariners could determine their whereabouts. [[2]]

889 years later, companies no longer need human-occupied submersibles or vehicles connected by cables to surface ships in order to explore the ocean floor. With the development of robotic autonomous underwater vehicles, or AUVs, wide swathes of undersea territory can be surveyed, for days at a time, with enough decision-making capacity to avoid collisions with the ocean floor terrain. [[3]]

Centering the exhibition Katja Novitskova: 洛基的城堡 is Novitskova’s installation Loki’s Castle(2015), which visualises a new oceanic aesthetic and combining sound, moving image, sculpture and poetry to explore the deep-sea ecosystems on the ocean floor. First discovered in the late 1970s by scientists exploring a spreading oceanic ridge near the Galapagos Islands, these hydrothermal vents have created what some have described as an undersea gold rush for precious metals, genetic material, and fossil fuels, utilising data from the economic and scientific exploration of these deep-sea territories; these discoveries are fuelling robotic and scientific development and providing a new frontier for colonial industrial expansion. Novitskova creates an immersive environment that hypothesises ‘current ontologies’ such as the potential genetic linkages between planktonic microbial communities and the maritime technologies used to excavate these hydrothermal communities.

What surprised scientists when they discovered hydrothermal vents were the large numbers of biological communities that surrounded them, which had never been seen before. These microbes are the foundation for life in hydrothermal vent ecosystems. Uniquely, instead of using light energy to turn carbon dioxide into sugar, as plants do, these microbes harvest chemical energy from the minerals and chemical compounds that spew from the vents—a process known as chemosynthesis. [[4]] With a variety of potential industrial applications, from pharmaceutical to mining, these new polysaccharide-producing microorganisms are expected to be utilised in many of these applications in the near future, and represent a growing interest for many sectors of industry. With favourable metals like zinc and manganese, as well as rare earth materials such as cobalt, already being mined for to use in high-tech devices from cell phones to computers.

Oceanic connectivity and thinking has long been an important base of knowledge, and a touchstone for many civilizations and cultures globally. It has also served as an important indicator and space of examination for scientists trying to provide statistical data on climate change: recent statistics show that there is a greater than 95 per cent probability that the current warming trend is the result of human activity since the mid-20th century, and is proceeding at an unprecedented rate. [[5]] This evidence is often achieved through a complicated marriage of corporate and scientific technological advances that have enabled scientists to see the big picture, collecting many different types of information about our planet and its climate on a global scale. This body of data, amassed over many years, reveals the signals of a changing climate.

Within Novitskova’s installation industry and biology meet, mix and re-form anew, replicating the novel capabilities and chemical compositions within these microbiological communities that make them so commercially attractive, imagining the continuing diversity of expressions that these eco-systems may take in the near future. Novitskova, like other artists of her generation, visualises the new frontier and combining the many sub-currents that can be found intermingling under the high pressure, near-freezing temperatures and pitch-black darkness at the frontier of the deep ocean floor.

About Cc Foundation

Cc Foundation was founded and supported by David Chau. With offices in both Hong Kong and Shanghai, the foundation currently runs two gallery spaces in Shanghai: one at Songjiang District and the other at M50 Art Zone - which presented its inaugural exhibition in November 2016.

The foundation is committed to supporting and sponsoring young and emerging cultural and art practitioners and collectives, encouraging innovative ideas and practices, fostering and improving the environment for cultural and art practitioners and promoting the development of Chinese contemporary culture, arts and art education.

Exhibition Reviews

+ Vice China - The Creators Project

+ The Art Newspaper China
《Cc艺术打造全新海洋美学:带你去看“洛基的城堡”》, 2017.09.11

Chinese Version

Katja Novitskova:洛基的城堡



地点:Cc基金会 & 艺术中心


        由知名藏家周大为先生创办并支持的Cc基金会和Cc艺术中心,很荣幸地宣布将于2017年9月8日至11月19日举办由爱沙尼亚艺术家——卡特娅·诺维兹科娃(Katja Novitskova)在中国的首次机构级别个展《Katja Novitskova: 洛基的城堡》,并由王宗孚先生担任策展人。



        此次展览《Katja Novitskova: 洛基的城堡》呈现了诺维兹科娃的装置作品《洛基的城堡》(2015),它视像化了一种全新的海洋美学,并结合了声音、影像、雕塑和诗歌等多种形式,以此探索深海生态系统。20世纪70年代晚期,科学家们在研究加拉巴哥群岛附近大洋中脊的时候,首次发现了深海热泉(Hydrothermal Vents),这些深海热泉带来了新一轮的深海淘金热:利用来自深海领域的经济和科学研究数据,进行贵重金属、基因材料和化石燃料的采掘;这些发现推动了机器人和科学技术的发展,为殖民产业的扩张开辟了新的疆界。诺维兹科娃创作了一个沉浸式的环境,它为“当前本体论”提供了假设,例如,浮游微生物群落和用于挖掘海底热液生物群落的海洋技术之间潜在的演变关系。





        Cc 基金会成立于香港和上海,由周大为先生创办与支持。目前在上海拥有两个专业艺术空间,一处位于松江,另一处空间位于M50艺术园区,于2016年11月初正式开幕。

        Cc 基金会主要致力于积极促进中国当代文化艺术及教育事业的发展,长期赞助年轻的文化艺术工作者或团体,鼓励具有新观念的各种艺术形式,营造和改善有利于文化艺术工作者的环境氛围,以推动中国当代文化艺术事业的发展。

        Cc 基金会将以回顾与发掘具有历史意义的展览,促进全球化当代艺术发展以及支持年轻艺术家创作及展示,推广周大为先生的兴趣和爱好为发展目标,逐步打造拥有国际级收藏规模的全球性艺术基金会。

[1] 路甬祥,《走进殿堂的 中国古代科技史》(Berlin; Heidelberg: Springer, 2015),II, p. 288

[2] 李约瑟,《中国科技文明史》,第4卷《物理学与物理技术》(台北市敦煌书局,1986),p.279

[3] 《深海机器人之死》,刊载于《今日物理学》(2010.3.9)网页地址:登陆于2017.2.8)

[4] Lisa A. Levin等,《深海热泉与甲烷渗透:反思影响范围》,刊载于《海洋科学前沿》(2016.3.19)网页地址:登陆于2017.2.8

[5] 美国航空航天局,《全球气候变化:地球的生命体征》,网页地址:登陆于2017.6.10

[1] Yongxiang Lu, A History of Chinese Science and Technology, 3 vols. (Berlin; Heidelberg: Springer, 2015), II, p. 288.

[2] Joseph Needham, Science and Civilization in China, Vol. 4: Physics and Physical Technology (Taipei: Caves Books Ltd, 1986), p.279.

[3] ‘Death of a Deep-sea Robot’, Physics Today (9 March 2010), available at: Accessed Feb. 8 2017.

[4] Lisa A. Levin et al., ‘Hydrothermal Vents and Methane Seeps: Rethinking the Sphere of Influence’, Frontiers in Marine Science (19 May 2016), available at: Accessed Feb. 8 2017.

[5] NASA, ‘Evidence’, in: Global Climate Change: Vital Signs of the Planet, available at: June 10 2017.

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