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≡ 鲍蔼伦 | 群展“重新聚焦媒介:东亚录像艺术的兴起” | OCAT上海馆

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≡ 鲍蔼伦 | 群展“重新聚焦媒介:东亚录像艺术的兴起” | OCAT上海馆 上海馆 媒介 东亚 录像 艺术 鲍蔼伦 群展 图片 OCAT CurrentExhibition群展 崇真艺客



≡ 鲍蔼伦 | 群展“重新聚焦媒介:东亚录像艺术的兴起” | OCAT上海馆 上海馆 媒介 东亚 录像 艺术 鲍蔼伦 群展 图片 OCAT CurrentExhibition群展 崇真艺客

图片由OCAT上海馆提供

Image courtesy of OCAT Shanghai



正在展出 Current Exhibition

群展 Group Exhibition 

“重新聚焦媒介:东亚录像艺术的兴起” 

"Refocusing on the Medium: 

the Rise of East Asia Video Art"

鲍蔼伦 Ellen Pau

展期 Duration: 2020.12.27-2021.3.21

地址 Address: OCAT上海馆 

上海市静安区曲阜路9弄下沉庭院,负一层 

OCAT Shanghai

-1F Sunken Garden, Lane 9, Qufu Road, Jing'an District, Shanghai




(Scroll down for English version)


≡ 鲍蔼伦 | 群展“重新聚焦媒介:东亚录像艺术的兴起” | OCAT上海馆 上海馆 媒介 东亚 录像 艺术 鲍蔼伦 群展 图片 OCAT CurrentExhibition群展 崇真艺客

展览现场 Installation view

图片由OCAT上海馆提供

Image courtesy of OCAT Shanghai


OCAT上海馆荣幸呈现研究型展览“重新聚焦媒介:东亚录像艺术的兴起”(Refocusing on the Medium: The Rise of East Asia Video Art)。此次展览首次汇集来自日本、韩国和中国,开创了录像艺术实验之先河的重量级艺术家,旨在重新审视艺术家在东亚录像艺术兴起之时对于这一媒介的处理方式,并以期为跨国性当代艺术媒介的录像艺术在全球范围内的历史梳理做出贡献。


≡ 鲍蔼伦 | 群展“重新聚焦媒介:东亚录像艺术的兴起” | OCAT上海馆 上海馆 媒介 东亚 录像 艺术 鲍蔼伦 群展 图片 OCAT CurrentExhibition群展 崇真艺客

≡ 鲍蔼伦 Ellen Pau

循环影 Recycling Cinema, 2000

展览现场 Installation view

图片由OCAT上海馆提供

Image courtesy of OCAT Shanghai


本次展览展现了东亚录像艺术是如何在后媒介的当代艺术实践之背景下,成为一种以录像艺术之媒介特殊性为条件的全球混合艺术形式。作为一种特征鲜明的新技术和实验性艺术媒介,录像艺术的到来没有文化传统的先行铺路,也没有重要的艺术惯例或历史前提——但它却成为了一种全新的全球性当代艺术工具。


这种媒介观使我们有理由来重新调整思路,重新评估东亚艺术家对这段仍有争议的历史的贡献。东亚艺术家是如何举起录像设备、并对这一新兴的全球媒介展开实验的?这是否会改变我们看待录像艺术史的方式?


展览“重新聚焦媒介:东亚录像艺术的崛起”从早期东亚艺术家的部分作品中重新审视录像艺术的兴起,这些作品在后媒介的当代艺术实践语境下,对植根于特殊环境中,具有独特媒介性的录像艺术展开了实验。


——文字来源于OCAT上海馆


≡ 鲍蔼伦 | 群展“重新聚焦媒介:东亚录像艺术的兴起” | OCAT上海馆 上海馆 媒介 东亚 录像 艺术 鲍蔼伦 群展 图片 OCAT CurrentExhibition群展 崇真艺客

≡ 鲍蔼伦 Ellen Pau

行动剧场Operation Theatre, 1995 - 1996

录像装置 Video Installation

7 min 24 sec

展览现场 Installation view

图片由OCAT上海馆提供

Image courtesy of OCAT Shanghai

监控镜头影着医院的公众长廊,医院不同部门比如手术室、病床、候诊室的实时录影构成一场喧闹的表演。


A surveillance camera is set over the corridor in a hospital.  The surgery rooms, wards, and waiting rooms of various departments, join in a real-time performance of its own.



≡ 鲍蔼伦 | 群展“重新聚焦媒介:东亚录像艺术的兴起” | OCAT上海馆 上海馆 媒介 东亚 录像 艺术 鲍蔼伦 群展 图片 OCAT CurrentExhibition群展 崇真艺客

≡ 鲍蔼伦 Ellen Pau

循环影Recycling Cinema, 2000

录像装置 Video Installation

8 min 37 sec

展览现场 Installation view

图片由OCAT上海馆提供

Image courtesy of OCAT Shanghai


在跟随镜头望望望的同时,来打破惯常观望/观赏的方式。

A haunting allegory of reality, metaphysics and cinema, the work transcends the sociological, theoretical or formal conventions of cinematic practice with specific challenges to the uni-directional participation of viewing and linearity. The work plays with the constructions of narrative and the act of viewing.


OCAT Shanghai is pleased to present Refocusing on the Medium: The Rise of East Asia Video Art, the first exhibition to assemble key protagonists that initiated experiments with the medium of video originating from Japan, Korea and China. The exhibition proposes a re-examination of the artists approach to the video medium rising from East Asia and contributes to the global history of video art as a transnational contemporary art medium.


This exhibition shows how the rise of East Asia video art developed as a hybrid global art form characterized by conditions of video art’s medium specificity in a context of post medium contemporary art practice. As a new technology and experimental artistic medium with distinct characteristics, video art arrived with no cultural traditions, no significant conventions or history – a new global contemporary art tool. 


This view of the medium gives reason for a recalibration of thinking and reassessment of the contribution that artists from East Asia have made to this still contested history. How did artists in East Asia take up the apparatus of video and experiment with this new global medium and can this change the way we might approach the history of video art? 


Refocusing on the Medium: The Rise of East Asia Video Art reconsiders the rise of the video art in a selection of early East Asia artists’ works experimenting with the unique medium specific conditions of video art in the context of their post medium contemporary art practice.


- Text from OCAT Shanghai



艺术家简介 About the artist


作为香港艺术界的翘楚,鲍蔼伦通过创作让观者意识到个人的物理存在以至其存在意义,就在当下、这里及我们每个人所占据的空间以外。鲍氏出生于中国香港,1982年于香港理工大学获得放射诊断专业文凭,随后进入玛丽医院担任放射科专业医护人员。同时,出于对专业工作以外的录像、新媒体艺术,甚至音乐、诗歌、舞台等艺术形式的强烈兴趣,她开始涉猎艺术创作。在此之外,鲍蔼伦亦参与成立包括录映太奇、微波国际新媒体艺术节在内的多个重要文化机构,致力于香港艺术及文化上的推广、策展、教育工作。


作为香港最早活跃于实验录像创作的艺术家之一,她于1984年制作了第一部超8格式的录像作品《手套》。她的早期作品最初在本地的小型放映会与观众见面,自1987年起步上国际舞台。在创作了一批单频道录像作品后,九十年代初起,鲍蔼伦尝试在录像创作中融入雕塑、声音等元素。鲍蔼伦的作品始终紧贴时代技术发展,以探索视觉艺术语言的可能性。而她对香港政治环境、社会民生、以及城市人类生活变迁的关注,则是贯穿这逾三十年创作生涯的另一重要主题。


在专业工作与艺术创作之外,鲍蔼伦亦致力参与香港艺术及文化的推广、策展、教育工作。1986年,她与黄志辉、冯美华、毛文羽合力创办录映太奇——香港最早的录像媒体艺术家组织及媒体艺术文献库。1996年,她创办微波国际新媒体艺术节,以展览、讲座、工作坊等多样形式为香港观众一年一度带来丰富的艺术体验。鲍蔼伦更于2014年同时开始担任香港艺术发展局电影及媒体艺术组主席,以及西九龙文化区M+博物馆的购藏委员会成员。


归根而言,鲍蔼伦是香港艺术界的开创性人物。她编织了一种既引人入胜又突破技术界限的艺术实践,并时刻保持对社会的反思。此外,在她的日常职业的医疗行为以及发起、领导文化活动的工作而言,她都为社会做出了重要贡献。由此,鲍氏通过多种途径和渠道,促使人们探索自我,以及我们所处的不断更生发展的时代。


鲍蔼伦的作品曾参加多个国际重要艺术展和电影节,包括香港国际电影节(1990、1993、1997、2000)、第八届国际女性影展(西班牙,1992)、哥本哈根文化基金会“货轮展” (丹麦,1996)、亚太区当代艺术三年展(里斯本,1996)、约翰尼斯堡双年展(1997)、光州双年展(2002)、利物浦双年展(2003)、悉尼国际电影节(2004)等。2001年,她最重要的录像装置作品之一《循环影院》首展于第四十九届威尼斯双年展香港馆。


≡ 鲍蔼伦 | 群展“重新聚焦媒介:东亚录像艺术的兴起” | OCAT上海馆 上海馆 媒介 东亚 录像 艺术 鲍蔼伦 群展 图片 OCAT CurrentExhibition群展 崇真艺客

图片由艺术家和马凌画廊提供

Image courtesy of the Artist

and Edouard Malingue Gallery

摄影:张震扬 Photo: Martin Cheung


A key figure in Hong Kong’s art scene, Ellen Pau (b. 1961, Hong Kong) raises our awareness of our own physical presence and ignites a contemplation of what it means to be, to exist, here, now, and beyond that, the space each of us occupies. Born in Hong Kong and a graduate from Hong Kong Polytechnic University with a diploma in Diagnostic Radiography in 1982, Pau has worked as a radiographer in Queen Mary Hospital ever since. Pau was plunged into the Hong Kong art scene by her intense interest in video art, new media art, as well as other art forms such as music, poems and performances. Beyond artistic creation, Pau has also been a leader in the promotion, curation and education of art and culture in Hong Kong through founding several important initiatives such as Videotage and the Microwave International New Media Arts Festival.


As one of the earliest pioneering video artists in Hong Kong, Pau produced her first super-8 film Glove in 1984. Her early works first appeared in local screening clubs and then resurfaced on the international arena starting in 1987. After creating a series of single channel video works, Pau then traversed to incorporate sculptural elements and ambient sounds into her video installations during the early 1990s. Pau’s body of work has been a journey into the exploration of possibilities in visual art languages by always sticking closely to the current technological developments at the time. In tandem, a running theme and important motif throughout Pau’s thirty years of practice is her concern with Hong Kong’s political climate, social livelihood and the changes of urban lives.

Besides her profession and artistic practice, Pau has been a key character in the promotion, curation and education of art and culture in Hong Kong. In 1986, she co-founded Videotage, Hong Kong’s oldest video artist collective and earliest archive for media art, with Wong Chi-fai, May Fung and Comyn Mo. In 1996, she founded Microwave International New Media Arts Festival, an annual event that consists of exhibitions, conferences, seminars, and workshops, bringing art experiences to thousands of Hong Kong audiences. In 2014, Pau was appointed by the Hong Kong Arts Development Council as a representative of the Art Form Group in Film and Media Arts, and in the same year, she also served on the interim acquisition committee of M+ in West Kowloon Cultural District.

Ultimately, Pau is a seminal figure in the Hong Kong art scene, weaving a practice that engages as well as pushes the boundaries of technology, while reflecting on society. Moreover, Pau has been a key contributor to society, through her medical activity as well as initiation and leading of cultural activities. As such, through multiple avenues and outlets, Pau prompts an exploration of the self and the times we are living in, ever shifting and evolving. 

Pau's works have been extensively exhibited worldwide in film festivals and art exhibitions, including Hong Kong International Film Festival (1990, 1993, 1997 & 2000), 8th International Film Festival for Women (Spain, 1992), Copenhagen Cultural Capital Foundation, Container 96 (Denmark, 1996), Asia Pacific Triennial of Contemporary Art (Lisbon, 1996), Johannesburg Biennale (1997), Gwangju Biennial (2002), Liverpool Biennial (2003), Sydney International Film Festival (2004), among others. In 2001, Recycling Cinema, as one of her most significant video installations, was first presented at Hong Kong Pavilion in the 49th Venice Biennale.




≡ 鲍蔼伦 | 群展“重新聚焦媒介:东亚录像艺术的兴起” | OCAT上海馆 上海馆 媒介 东亚 录像 艺术 鲍蔼伦 群展 图片 OCAT CurrentExhibition群展 崇真艺客

≡ 鲍蔼伦 | 群展“重新聚焦媒介:东亚录像艺术的兴起” | OCAT上海馆 上海馆 媒介 东亚 录像 艺术 鲍蔼伦 群展 图片 OCAT CurrentExhibition群展 崇真艺客

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