【OCAT上海馆 | 作品介绍】耿建翌，《视觉的方向》，1996

星标为《视觉的方向》（1996）在本次展览现场所处位置

The star refers to the location of Dimension of Vision(1996)  in this exhibition

三通道监视器装置《视觉的方向》（1996）曾于1996年在中国美术学院的“现象·影像：中国录像艺术展”中展出（该展览被普遍视为中国首个录像艺术的专题展览）。这件作品由单一重复画面所主导，屏幕中心是鸭子一只眼睛的特写。该单一画面依次移至每个屏幕中播放，与此同时其他两个监视器画面则转而呈现为黑屏状态。图像中唯一运动着的是昏昏欲睡的鸭子缓慢开合和不时抽搐的眼睑。在特写镜头的记录中，鸭子扩散的黑色瞳孔生成了新的黑色空间。得益于录像设备的便携和随身性，艺术家记录下这充满吸引力的画面。长时间凝视鸭子瞳孔中央的黑洞会产生出一种让人忧虑的紧张感，这种张力来源于对捕获动物，或是对伤残动物的辨认，承认到这双眼睛背后的存在着的意识性以及这一切背后压倒性的崇高感。正因为黑色在该作品中占据着主导性地位，监视器的反光玻璃表面可被视作一面镜子，观者从中可以看到自己和他人的映像。(文/金曼)

Dimension of Vision (1996), as a three-channel CRT monitor installation was exhibited in Phenomenon and Image, in Hangzhou in 1996 - considered to be the first video art exhibition organized in China. The work is dominated by a repeated singular image, the eye of a duck anchored in the center in the screen. The single spare image shifts sequentially to each screen while the other two monitors cut to show black void.  The only movement in the image is that of the drowsy eyelid lowering and jerking open.  The close-up video recording of the duck’s eye produces its own black void in the expanded pupil. The work exploits the portability and intimacy of the recording equipment allowing the artist to record the mesmerizing situation. The extended exposure to the central black void of the duck’s eye creates an apprehensive tension between recognizing a captured or disabled animal, the recognition of the eye as belonging to a consciousness being, and the sensation of an overwhelming sublime within the central black void of the duck’s eye. Because of the dominant black content within the work, the monitor’s reflective glass surface acts a mirror implicating the viewer through their own and others reflection. (Text / Kim Machan)

耿建翌1962年生于河南郑州，2017年去世。1985年毕业于浙江美术学院（即今中国美术学院）油画专业。

艺术家耿建翌的工作特征在于对各类表现形式进行毫不妥协的抵抗。作为被称作“八五新潮”的前卫艺术运动中颇有影响的一员，耿建翌从20世纪80年代中期在中国声名鹊起，从那时起，他就开始试图广泛运用各种技术来助长这种抵抗——包括各种形式的绘画性转译、着色、拓印、摄影、和影片式转换，化学变化和文本并置——这些显著的隔离效应使得达至确切意义的努力被不断削弱。

Born in Zhengzhou, Henan province in 1962, passed away in 2017, Geng Jianyi graduated from the Zhejiang Academy of Fine Arts (today: China Academy of Art, Hangzhou), Oil Painting Department.

The work of the artist Geng Jianyi is characterized by an uncompromising resistance to any categorical form of representation. Since the mid 1980s, when he first came to prominence within China as a seminal member of the ‘avant-garde’ movement known as the ’85 New Wave, Geng has sought to foment this resistance through the use of a wide range of techniques―including various forms of painterly transcription, staining, frottage, photographic and filmic transfer, chemical transformation and textual juxtaposition--whose conspicuously disjunctive effects constantly undermine any attempt to arrive at definitive meaning.

重新聚焦媒介：东亚录像艺术的兴起

展期：2020年12月27日-2021年3月21日

C空间计划 | 廖斐 | 这一切是随机发生的吗？

展期：2021年1月23日-3月28日