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【OCAT上海馆 | 扩频】金曼:重新聚焦媒介

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临时闭馆期间,OCAT上海馆将在微信公众号阅读单元持续推送《扩频Amplifier⸺OCAT上海馆媒体艺术专号》第一期稿件,敬请关注。

During the temporary closure of OCAT Shanghai venue, we will continue to release the excerpts of Amplifier — Media Art Issue by OCAT Shanghai (Vol. 1) in the "Reading Unit" (“阅读单元”) of this WeChat official account. Please stay tuned. 


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《扩频》稿件节选

Amplifier Excerpts


【OCAT上海馆 | 扩频】金曼:重新聚焦媒介 OCAT 上海馆 媒介 金曼 期间 微信公众号 单元 扩频Amplifier OCAT上海馆媒体艺术专号 稿件 崇真艺客

* 本文系作者为展览“重新聚焦媒介:东亚录像艺术的兴起”(OCAT上海馆,2020.12.27—2021.3.21)同名画册(即将出版)所撰写的策展长文节选。

目前“重新聚焦媒介:东亚录像艺术的兴起”巡展至北京民生现代美术馆(2022.3.5—2022.5.8),点击此处了解详情🔗


* This is an excerpt of the curator's essay for Refocusing on the Medium: The Rise of East Asia Video Art (OCAT Shanghai, 2020.12.27 – 2021.3.21). Full version is included in the exhibition catalogue which is to be published soon.

Refocusing on the Medium: The Rise of East Asia Video Art is currently on tour to Beijing Minsheng Art Museum (2022.3.5–2022.5.8). Click here for more information. 🔗 



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展览“重新聚焦媒介:东亚录像艺术的兴起”可说是我对录像艺术史和录像媒介特点的个人长期研究的一次阶段性成果展示。1980年代中期,我有幸拜访了白南准(1932―2006)、久保田成子(1937―2015)、维托·阿肯锡(Vito Acconci, 1940―2017)等录像艺术先驱,深入体会这些艺术家运用的富有创造性的艺术手法。他们对于录像媒介特性的概念化和雕塑化的处理手法给我留下深刻的印象。在他们的作品中,录像的语境超脱于屏幕以外,其所呈现的不再只是被观看的世界,而是一个活跃的三维立体参与空间,其中既有对思维的延展,也有身体的参与。以往,录像艺术多被看作北美和欧洲的发明,主流话语也均建立在这一视角上。但是,研究录像媒介历史和条件的方式其实远不止这一种,而这正是本次展览的核心所在。

The exhibition Refocusing on the Medium: The Rise of East Asia Video Art is the outcome of a longstanding personal inquiry into the history of video art and the unique characteristics of the medium. I was fortunate enough to meet some of the great pioneers in this field, such as Nam June Paik (1932–2006), Shigeko Kubota (1937–2015), and Vito Acconci (1940–2017) in the mid-1980s, experiencing theirs and others' inventive approaches. I was profoundly impressed by the artists' conceptual and sculptural tactics to the idiosyncratic conditions of the medium because they changed the context beyond the screen, tilting from a world to observe to an active three-dimensional participatory space that stretched the mind and implicated the body. Video art is predominantly attributed as a North American and European invention, and the mainstream discourse is built from that perspective. However, there are other ways of thinking about the history and conditions of the video medium—and these are at the very heart of this exhibition. 


作为一门新的技术手段,录像没有既定的文化传统或艺术惯例,没有历史包袱,也不受特定国家的主导,是一种特别的艺术形式。因此,汉斯·贝尔廷(Hans Belting)曾说,录像所体现的全球性是绘画或雕塑所不能比拟的。贝尔廷认为,新媒介不仅消除了中心与外围的地理差距,还消解了两者间的文化差距。

As a form of new technology, video had no established cultural traditions, recognised conventions, established history, or specific national claim in relation to video as an art practice, making it an exceptional art form. Because of this, Hans Belting suggests it was global in a way that painting or sculpture had never been, contending that it removed not only geographical, but also cultural distance between the centre and the periphery. 


所有参展艺术家都通过各自富有实验精神的大胆实践对录像展开研究,这一点与全球其他艺术家别无二致。这些富有创造力的艺术实验鼓励大家在电影性和叙事传统之外对录像媒介进行新的解读,并探索录像现场性中蕴含的雕塑性和独特的空间性,这也正是奠定这一全新的艺术媒介、甚至可以说是第一个全球化当代艺术媒介之基础的重要特性。

All artists in this exhibition investigated video with their own bold and experimental attitudes toward the interrogation of the medium, just as other artists did across the world. These seminal experiments invigorate the reading of the video medium beyond cinematic and narrative traditions to delve into the sculptural immediacy of video's liveness and its idiosyncratic spatiality contributing to the foundations of not only a new artistic medium, but arguably the first global contemporary art medium.


…… 



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关于作者

About the Author

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金曼(Kim Machan),“ 亚太媒体艺术”(MAAP - Media Art Asia Pacific)创始人,曾在澳大利亚及亚洲地区开展一系列策展项目,其中包括在2014-15年于上海、广州、首尔、布里斯班和悉尼多地巡回性展览,如“海陆空:重访录像艺术的空间性”;以及张培力、王功新、席帕·古普塔(Shilpa Gupta)、郑然斗、张怡和大卫·凯利(David Kelley)等艺术家的个展。2016年,她联合策划了展览“张培力:从绘画到录像”,同时作为撰稿人参与了展览同名出版物的出版,该出版物2019年由澳大利亚国立大学出版社发行。金曼近期已提交在澳大利亚昆士兰大学的东亚录像艺术兴起方向博士论文。2020.12.27—2021.3.21,她策划的展览“重新聚焦媒介 :东亚录像艺术的兴起”在OCAT上海馆呈现。

Kim Machan is founding director of MAAP (Media Art Asia Pacific) developing curatorial projects in Australia and the Asia regions through this organization since 1998. In 2014-15 LANDSEASKY: Revisiting Spatiality in Video Art toured major museums and galleries in Shanghai, Guangzhou in China; Seoul, South Korea, Brisbane and Sydney. Machan has curated solo exhibitions of major artists including Zhang Peili, Wang Gongxin, Shilpa Gupta, Yeondoo Jung, Patty Chang and David Kelley. In 2016 she co-curated Zhang Peili: From Painting to Video and is a contributor to the exhibition's publication of the same name, published by the Australian National University Press in 2019. She recently submitted her PhD exploring the rise of East Asia video art at the University of Queensland. The exhibition Refocusing on the Medium: The Rise of East Asia Video Art at OCAT Shanghai from 2020.12.27 to 2021.3.21 is her latest curatorial project.



【OCAT上海馆 | 扩频】金曼:重新聚焦媒介 OCAT 上海馆 媒介 金曼 期间 微信公众号 单元 扩频Amplifier OCAT上海馆媒体艺术专号 稿件 崇真艺客

关于扩频

About Amplifier

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《扩频Amplifier⸺OCAT上海馆媒体艺术专号》每期以专题形式聚焦媒体艺术的某一特定问题领域,为媒体艺术及相关领域的研究者提供发言、讨论、推进思考的“论坛”,也为广大公众深入了解并参与媒体艺术实践提供尽可能多样的视角与工具。

Amplifier – Media Art Issue by OCAT Shanghai probes into one particular subject in the field of media art in each edition, intending to carve out a "forum" for practitioners and researchers within the fields of media art and related disciplines to make their voices heard, exchange viewpoints and further their thinking. In the meantime, it also intends to offer alternative perspectives and tools for the public to get to know and involved in media art.



第一期目录

Vol.1 Contents

【OCAT上海馆 | 扩频】金曼:重新聚焦媒介 OCAT 上海馆 媒介 金曼 期间 微信公众号 单元 扩频Amplifier OCAT上海馆媒体艺术专号 稿件 崇真艺客
【OCAT上海馆 | 扩频】金曼:重新聚焦媒介 OCAT 上海馆 媒介 金曼 期间 微信公众号 单元 扩频Amplifier OCAT上海馆媒体艺术专号 稿件 崇真艺客
【OCAT上海馆 | 扩频】金曼:重新聚焦媒介 OCAT 上海馆 媒介 金曼 期间 微信公众号 单元 扩频Amplifier OCAT上海馆媒体艺术专号 稿件 崇真艺客


点击“阅读原文”,获取《扩频》第一期PDF

Click "Read More" for for Amplifier Vol.1 (PDF)

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