数字重量

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Echo Can Luo studied Multimedia Design at the China Academy of Art (CAA) from 2006 to 2010, receiving her bachelor’s degree in 2010. She obtained her master’s degree at the Kunsthochschule Kassel in 2018 and was a Meisterschülerin of Prof. Joel Baumann until July 2019.

She is currently a faculty member at the School of Experimental Art, Hubei Institute of Fine Arts, and visiting lecturer at the University of Applied Arts Vienna (Universität für angewandte Kunst Wien). She has previously taught new media at the Kunsthochschule Kassel and served as assistant professor of Netz at the Academy of Media Arts Cologne, where she was also a researcher at the Black Mirror Research Lab.

Echo Can Luo’s artistic practice is often built around intersectional narratives at the crossing of the virtual and the real. It engages with the methodological reconstruction of racial identity and gender equity in the digital world, and calls for a more radical reflection on the routine participation of digital technologies in today’s media-dominated culture. Working from algorithms including 3D modelling, 3D photogrammetry and face tracking, her projects observe the biased and differentiated algorithms that surface in the process of applying and testing software, as well as the discrimination and bias experienced by people from diverse backgrounds in real-life situations and data. 3D human–computer interaction, the study of AI’s digitalized bias, and the digital feminine are central concerns of her work.

Her interest lies consistently in examining the influence of new media on our critical consciousness, on our communication and on society at large. Drawing on her research and observations, her work shows how difficult it is, in the age of social media, to resist the power of images and not to succumb to the postulate of external ideals. Is digitalized software an “insurgent” against transparency and democratization? Tangibly or intangibly, current algorithms display a certain disregard for the human rights of marginalized groups. As a core member of the Kassel-based artist collective CURA HAN HATI and the Berlin digital-feminist collective dgtl fmnsm, and grounded in her background in new media, she collaborates across disciplines with physics, philosophy and sociology to explore equitable futurism and intersectionality: how, in an internet context of information overload, one might confront man-made bias within the supposedly neutral world of algorithmic data. Her work urges and inspires audiences to observe these findings critically.

Selected recent exhibitions include the United Art Museum, Wuhan (2025)、the 15th Havana Biennial (Cuba, 2024); the Frauenmuseum, Bonn (Germany, 2024); Kampnagel, Hamburg (Germany, 2023); the Mediations Biennale, Poznań (Poland, 2023); the Bundeskunsthalle Bonn (Germany, 2023); KAI10 – ARTHENA Foundation, Düsseldorf (2023); the OCT Box Art Museum, Shunde (2022); the HYBRID Biennale, Dresden (Germany, 2022); the Chengdu Biennale (2021); HAU Hebbel am Ufer, Berlin (Germany, 2021); the 37th Kassel Documentary Film & Video Festival (Germany, 2020); the Kasseler Kunstverein (Germany, 2020); Berlin Art Week (2020); the MdbK Leipzig (Germany, 2019); the documenta exhibition halls, Kassel (Germany, 2018); the 8. Salon, Hamburg (Germany, 2018); the CAA Art Museum (2017); and the Panke Gallery, Berlin (2017), among others. She received the Lessadorno Moreplay gold award in the new-media category (2017) and an honorary award at “Examen 2018” (Kunsthochschule Kassel in cooperation with the CWD progress foundation), among other nominations. She has been supported by the Artist Fund of North Rhine-Westphalia and the Artist Fund of Hesse, and undertook an artist residency at HAU, Berlin, in 2022.