从电影看-当代艺术的电影痕迹与自我建构

2010-04-10 18:00 - 2010-06-10 17:30

从电影看-当代艺术的电影痕迹与自我建构

展览时间:2010年4月22日-6月10日
展览场馆:深圳OCT当代艺术中心 

展览开幕时间:2010年4月10日 周六 18:00
展览主题论坛:2010年4月11日 周日
免费入场

从电影看-当代艺术的电影痕迹与自我建构

“从电影看:当代艺术的电影痕迹与自我建构”展以“欲望路径(叙事)”、“机器/机制”、“语言景观(实验)”和“投射立场(文化)”四个单元从各个角度展示当代艺术的电影痕迹和思想逻辑,展览将展出中国大陆和台湾艺术家近五十多部影像作品,它既是对当代艺术的一次影像角度探讨,也是对中国当代电影的一次艺术反观。

电影作为技术发明的产物,从诞生起就被赋予人类的本体论沉思。电影的生产性就其历史发展事实而言,矛盾地既标志出可共享的知觉,同时形成受限的观看。相对地,对于电影的思考也就出现许多切割分明的批判,面对着其提示出的优势媒体性,一方面,对于生产的批判成为人文科学关于电影视觉影像的论述主轴,另一方面,对于文化的观察与视觉艺术的发展,电影逐渐成为不可或缺的参照。

展览期间还将开展以“电影经验的入伫”为题的论坛以及部分作品的展映,借此进一步深化关于当代艺术与电影关系的内涵。


展览前言   
“从电影看:当代艺术的电影痕迹与自我建构”是国内首次以“电影”为概念研究与梳理华人当代影像艺术历史、美学及创作观念的一个项目。此项目是由研究与翻译、写作、展览呈现与展间论坛几个主体部分组成,董冰峰、杜庆春和朱朱负责组织和策划内地及海外部分,黄建宏负责研究和整理台湾部分,香港和澳门地区由于研究和资料上的缺失,未在此次项目研究范围内。

“从电影看:当代艺术的电影痕迹与自我建构”项目中的“电影”,着重在“叙事”、“机器/机制”、“实验”和“文化”四大区块的研究,展览单元命题重叠为“欲望路径”、“机器/机制”、“语言景观”和“投射立场”四个部分。展览分为内地及海外艺术家的作品展示现场与台湾的“展间论坛”两大部分组成;“展间论坛”是以“论坛”的方式作为“艺术行动”的一种企图,也规避了常规影像艺术展览中展示与播映的形态,更挑起了“影像”的双重社会意义:一方面影像创作与文化批判之间的真实部署;一方面则是以论坛将影像的思考转化为社群沟通连结的现场。

当代影像艺术(主要指运动影像)在内地的历史,如从1988年艺术家张培力在“黄山会议”上发表《30X30》开始计算的话,迄今22年,而台湾地区的创作历史也许从1979年诗人、艺术家席慕容举办“镭射绘画展”开始,迄今31年;更大规模、概念更为完整的创作实践与展示区段的起点则同样均为1990年代。

1990年代以来,在内地及台湾,艺术家开始普遍使用录像、纪录片、电影及网络工具为媒介进行创作,并不断发展出一套与视觉呈现、展览模式相关联的美学经验。尤其突出的议题是“电影”,作为一种高度政治化了的工具,所创造和被阐述的一套权力话语机制,是如何随着经济高速发展、政治开放的变化而渗透在当代艺术的场域中不断延展其生命力及表现维度,如台湾1980年代的“新电影”如何与1990年代后的“后电影”(电影与当代艺术的相遇)或“再电影化”等命题所产生的关系为例;因为电影与影像艺术的“结盟”,开启了一个自由、自觉与极具启蒙色彩的全新意识,不再拘泥于其固有的经济与政治所宰制下的艺术与美学领域,而与更广泛的社会现实、文化、网络科技、身体政治等议题紧密相接,广泛探及跨学科与知识整合的艺术的实践的基础。
   
由此,“从电影看:当代艺术的电影痕迹与自我建构”发起、组织和研究策划的特点在于,经由“电影”这一视角重新廓划华人当代影像艺术创作的特定历史及美学经验,探询影像艺术的本位,以及思虑从西方影像艺术的历史与机制所占垄断、主导的地位中“突围”,并开发出新的可能性。

从电影看-当代艺术的电影痕迹与自我建构


展览结构:
第一单元:欲望路径(叙事)
第二单元:机器/机制
第三单元:语言景观(实验)
第四单元:投射立场(文化)

第一单元:欲望路径   
电影构成了一种自身欲望投射的路径,而电影的构成原则和语言体系都规训着欲望实现的方式,甚至拍摄电影的方式和拍摄电影的权力都成为一种自我欲望的想象性实现过程。这种实现过程复杂和多元,但是电影基本是“梦”,电影成为主体主观呈现自我感知和情感的宣泄渠道。在“欲望路径”单元,这些作品都在界定自我、世界、历史、现实诸种命题中包含此种命题,其表达无论诗意、幻想、疯狂,作品都构成主体的实现的一种路径。

参展艺术家:曹斐 冯梦波 蒋志 李永斌 陆春生 那颖禹 邱黯雄 王波 杨福东 杨俊  

第二单元:机器/机制   
电影是机械复制时代的产物。对于电影媒介的工具性思考迅速转入“语言”自觉的思考,“纯电影”以及独特的“电影性”的提出促使了电影机器的修辞功能扩张,也迅疾在语言的意识形态性前提下,导入了对电影语言的规训机制的反思。电影影像制造的幻觉运动在传播中掩盖了其作为“基本意识形态”为基础的社会性(化)生产过程,艺术家介入电影影像及使用电影制作的生产过程,直接或间接的剥离了作为观看者“过度全神贯注”对影像的依赖与制度化的驯服感。

参展艺术家:陈劭雄 崔岫闻 李小松 史文华 孙逊  

第三单元:语言景观   
在当代影像艺术创作中,有一系列作品扎根在电影语言的最本质层面,并且以一种极为根源和原始的方式构建自己的思考,作品的形式的极简化倾向植根在对电影语言景观的自觉思考上。即使在中国电影创作领域,关于电影自身的思考都相当稀缺,或者正是如此,这种思考才会出现在彻底拒绝了工业性生产的当代艺术领域。这种本体思考,并不是将作品彻底沦为形式主义的追求,而恰恰可以将对于现实的思考同样纳入一种本质层面,即使所有努力都是个体性的。

参展艺术家:李巨川 叶凌翰 周泓湘 朱加

第四单元:投射立场
1990年代后期以来,艺术家影像作品展示的形态与空间处理越来越庞杂与巨大,摆脱了单纯电视机盒的禁锢和感性分享经验的局促,而置换为电影观赏的美术馆展厅经验与美学尺度。电影(影片)材料的使用与放映空间的重新设置,都使得影像艺术从自身的“电影”开始明确思考“电影性”的观念建立。在此过程中,艺术家的影像生产的主题观念、视听关系的组合及展呈形态都表现出一种超“电影”的“影像的政治”或主动延展批判思维的策略行为。

参展艺术家:曹恺 高世强 汪建伟 张培力 赵亮 周啸虎


参展艺术家及策展人简介
策展人:董冰峰 杜庆春 黄建宏(台湾部分) 朱朱

董冰峰(《艺术与投资》&《当代艺术与投资》执行主编,《今日先锋》编委,策展人,现居北京;2005年至2008年先后就职于广东美术馆策展研究部和尤伦斯当代艺术中心展览部。)
杜庆春(北京电影学院电影文学系教授;1993年于安徽大学历史系获历史学学士;1997年于北京电影学院文学系电影美学专业毕业,获艺术学硕士学位;1997年开始在北京电影学院文学系任教至今。)
黄建宏(巴黎第八大学哲学系博士,策展人,现为台南艺术大学造型艺术研究所助理教授;译著有德勒兹《时间影像》《运动影像》(远流版)等。)
朱 朱(著名诗人、艺术策展人、艺术评论家,出生于1969年9月,现居中国南京;策划“自转”、“原点:星星画会”和“个案:艺术批评中的艺术家”等重要展览。)

参展艺术家:(排名按照英文字母顺序)
曹斐、曹恺、陈界仁、崔广宇、崔岫闻、陈劭雄、冯梦波、复兴汉工作室、高世强、蒋志、李巨川、李小松、李永斌、林冠名、林仁达、陆春生、那颖禹、邱黯雄、史文华、苏育贤、孙逊、王波、王俊杰、王雅慧、许家维、杨福东、杨俊、叶凌翰、余政达、袁广鸣、汪建伟、曾御钦、张立人、张培力、赵中慧、周泓湘、周啸虎、周育正、朱加

特别计划:赵亮

展览主题论坛嘉宾:(排名不分先后,策展人主持,参展艺术家列席)
戴锦华、徐峰、高士明、吴美纯、邱志杰、张尕、左靖、李振华、胡昉、秦思源、孙松荣、邱志勇、林宏璋、龚卓军 

主办:何香凝美术馆OCT当代艺术中心

------------------------------------------------------------------------------------------------------------
Looking through Film: Traces of Cinema and Self-Constructs in Contemporary Art
 
Organizer: OCT Contemporary Art Terminal Of He Xiangning Art Museum
Curator: Dong Bingfeng, Du Qingchun, Huang Jianhong, Zhu Zhu
Location: Enping Street, Overseas Chinese Town, Nanshan District, Shenzhen   


Foreword
“Looking through Film: Traces of Cinema and Self-Constructs in Contemporary Art” is the first project in the country to research and compile Chinese video art history, aesthetics and creative concepts revolving around the idea of “cinema”. This project consists of research, translation, essays, exhibitions and forums. Dong Bingfeng, Du Qingchun and Zhu Zhu are in charge of organization and planning for the Mainland China and overseas categories, while Huang Jianhong is in charge of researching and organizing information about Taiwan. Due to a lack of research materials, Hong Kong and Macao are not included in the scope of this research project.
 
The “cinema” aspect of “Looking through Film: Traces of Cinema and Self-Constructs in Contemporary Art” focuses on research into the four major fields of “narrative”, “machine/mechanism”, “experimental” and “culture”. The segments of the exhibition are titled “Trajectories of Desire”, “Machines/Mechanisms”, “Linguistic Landscapes” and “Projecting Viewpoints”. The exhibition consists of presentations of artworks by artists in China and overseas, as well as the Taiwan “inter-exhibition forums”. These “inter-exhibition forums” are an attempt at “artistic action” through forum methods, and avoid the typical presentation and screening format of so many film art exhibitions, while also provoking the dual social significances of “film”: the first is the relationship between the creation of film and cultural critique in reality, and the second is the use of forums to transform ideas in film into the scene for communication and connection between social groups.

The history of contemporary film art in Mainland China stretches back 22 years if we mark its beginning with Zhang Peili’s presentation of his work 30x30 at the 1988 Huangshan Conference. Taiwan’s history of film art can perhaps be traced back 31 years to the “Laser Painting Exhibition” held by poet and artist Hsi Muren in 1979. For both places, the rise of creative practices on a larger scale and with more complete concepts as well as the rise of exhibition areas began in the 1990s.

Artists in Mainland China and Taiwan have been using video, documentary film, cinema and internet tools in their creations on a wide scale since the 1990s, and they have developed many aesthetic experiences regarding visual presentation and exhibition methods. An especially prescient topic is the question of how to continually expand the vitality and expressive dimensions of the authoritative discourse mechanism of the highly politicized tool that is “cinema” in the midst of rapid economic development and changes in political openness. Looking at Taiwan’s “new cinema” of the 1980s, and the “post cinema” (the encounter between cinema and contemporary art) and “re-cinematization” of the late 1990s as examples, we can see that the “alliance” between cinema and video art brought about a free, self-aware and highly enlightened mentality that was no longer stuck in the static fields of art and aesthetics so dominated by economics and politics but became connected to the wider realms of social reality, culture, internet technology and the politics of the body, engaging in broad explorations of the multidisciplinary and integrative foundations of artistic practice.

From this perspective, the importance of the initiation, organization and research planning for “Looking through Film: Traces of Cinema and Self-Constructs in Contemporary Art” is that it retraces the special history and aesthetic experience of Chinese contemporary film art creation through the lens of “cinema”, seeks out the position of film art and considers how to “break out” from the control and domination of western film art history and mechanisms in order to develop new possibilities.

 

Segment I: Trajectories of Desire
Cinema forms a path for the projection of desire, and the structural principles and linguistic system of cinema all work to bring discipline to the methods of realizing desires; even filmmaking methods and authority are imaginative processes of realizing the self’s desires. This realization process is complex and diverse, but films are basically dreams – they have become a path for the release and presentation of subjective perceptions and emotions. The films in the “Trajectories of Desire” segment are defining the self, the world, history, reality and other related fields, and whether their expressions are poetic, fantastical or crazy, they all come together to construct a path for realizing the subjective.

Cao Fei, Feng Mengbo, Jiang Zhi, Li Yongbin, Lu Chunsheng, Na Yingyu, Qiu Anxiong, Wang Bo, Yang Fudong, Yang Jun

Segment II: Machines/Mechanisms
Cinema is a product of the era of mechanized reproduction. Considerations of the utilitarian aspect of the film medium quickly turn to considerations of awareness of “language”. The proposition of the idea of “pure cinema” and unique “cinematic-ness”, while catalyzing the expansion of the mechanical rhetoric capabilities of cinema, also swiftly led to a rethinking of the linguistic disciplinary mechanisms of film within linguistic ideology. The fantasies created by film and video move about within dissemination, covering their socializing production process founded on “fundamental ideology”. By entering into cinema and using the production processes of filmmaking, artists have directly and indirectly broken out of dependence on cinema and the sense of systematizing domestication brought about by the viewer’s “excessive absorption”.

Chen Shaohong, Cui Xiuwen, Li Xiaosong, Shi Wenhua, Sun Xun

Segment III: Linguistic Landscapes
Among contemporary film art creations, there are a host of artworks that are rooted in the most basic level of film language, using an extremely archetypal method to establish its own ideas. The trend towards minimalism in these works is rooted in the self-conscious consideration of the linguistic landscape of cinema. In the field of Chinese cinema creation, even though there is a lack of thought regarding cinema itself, or perhaps exactly because of that lack, these ideas emerged in the field of contemporary art, which is decidedly against industrial production. This noumenal consideration does not reduce the artworks to a mere pursuit of formalism; instead, it can also fold thoughts about reality into the essential level, even though all efforts are individual.

Li Juchuan, Ye Linghan, Zhou Hongxiang, Zhu Jia

Segment IV: Projecting Viewpoints
Since the late 1990s, the execution of form and space presented in video artworks has grown increasingly vast and complex, breaking the constraints of the television box and emotional sharing experiences, becoming transplanted into the experience and aesthetic dimensions of film appreciation in museum exhibition halls. The use of cinema material and the rearrangement of screening space equipment have pushed film art to move from its own “sense of cinema” to clear consideration of the conceptual establishment of “cinematic aspects”. In this process, artists have begun to present a “politics of film” that transcends cinema in their subjective concepts of film production, arrangement of the relationship between the audio and visual, and presentation forms, or a proactive extension of strategic actions in critical thought.

Cao Kai, Gao Shiqiang, Wang Jianwei, Zhang Peili, Zhao Liang, Zhou Xiaohu

----------------------------------------------------------------------------------
场馆地址:深圳市南山区华侨城创意文化园OCT当代艺术中心
场馆电话:0755-26911976(传真/0755-26915102)
场馆邮箱:ocat_2010@yahoo.com.cn

人物
地点
位置指引

Javascript is required to view this map.

北京文艺生活  上海文艺生活  广州文艺生活 台北文艺生活  香港文艺生活  澳門文艺生活 深圳文艺生活  杭州文艺生活  成都文艺生活 西安文艺生活  重庆文艺生活  南京文艺生活
 

卖萌

 

萌店

 

漫展

 
 
Online NBA
 
 

Tiffany Diamond Promise

 
好戏网 MASK9