A Long Look at New Media Art — Classic Works that Touched My Heart / 新媒體藝術持續觀察 — 讓我心動的經典作品

Yang Fudong 楊福東 , My Heart Was Touched Last Year 去年曾經讓我心動 , 2008. Single channel video, 3’30”.
Hu Jieming, A World is Under Construction, 2013. Interactive installation
Ellen Pau 鮑藹倫, Recycling Cinema 循環影院, 1999 。Single channel video 單屏錄像/12’00”
Lu Yang 陸揚, Guo Haoyun郭浩贇, Wrathful King Kong Core 忿怒金剛核 , 2013。AR installation 延展現實裝置。
Zhenchen Liu 劉真辰, Kaleidoscope萬花筒, 2013. 4-channel video installation 4屏影像裝置 / 13’00” .
Tao Hui 陶輝, 7 Materials, 2015. Color, single channel HD video 11’48”.
Yu Ji 于吉, Heat Up 0.2°C (Video of Performance), 2011. Video of Performance. 60’00”.
DIS, Image Life (Bina48), 2015.
TOP
3421
30
0
 
16
Mar
16
Mar
K11 HONG HONG'S SILICON VALLEY OF CULTURE

I’ve been going through some old photographs recently, and I came across photos from the 2013 Shanghai K11 exhibition Truth, Beauty, Freedom and Money—Art After Social Media Era. It really was an unforgettable exhibition.

最近整理一些舊照片,看到2013年在上海K11《真實、美、自由和金錢——社群媒體興起後的藝術》展覽的照片,真是一場令人難忘的展覽。

 

The exhibition included a work by Yang Fudong, My Heart Was Touched Last Year, which did touch my heart. The image appears, for all intents and purposes, to be a static portrait of a woman, but upon closer inspection, you can see her blinking and shedding tears, moving almost imperceptibly. It is at once surprising and touching. Yang Fudong, who worked for a time as a graduate advisor at the China Academy of Art, is one artist I quite like and respect. From the Estranged Paradise and Seven Intellectuals of the Bamboo Grove series, to the New Women series, he approaches social issues in a poetic, classical way. Another work of his, Blue Kylin, documents the artist filming blasting and sculpting at a stone quarry in Shandong Province. The powerful visual experience elicits thinking about sustainable development.

展覽當中有一件楊福東的作品《去年曾經讓我心動》,當年就曾經讓我心動。畫面乍看過去是靜止不動的女性肖像,仔細看,會發現她會眨眼和流淚,似動非動,既令人驚喜又令人感動。曾在中國美術學院擔任導師的楊福東,是我尊敬喜愛的一位藝術家,從《陌生天堂》、《竹林七賢》系列到最近的《新女性》系列,用詩意與古典氣質去應對社會現實課題。他的另一件作品《青 • 麒麟》記錄了藝術家在山東省拍攝到的開山炸石、工人加工石雕的情景,震撼的視覺效果刺激觀眾聯想到可持續發展的課題。

 

Yang Fudong 楊福東 , My Heart Was Touched Last Year 去年曾經讓我心動 , 2008. Single channel video, 3’30”.

 

Actually, I have always had my eye on the field of new media art. It goes back to Zhang Peili’s 1988 work 30×30, seen as the first Chinese contemporary video artwork, to Image and Phenomena: Chinese Video Art, curated by Qiu Zhijie and Wu Meichun in 1996 at the China Academy of Art. Nowadays, the public is no stranger to “new media art.” In those days, it was quite rare to see artists going beyond new media in their artistic creations, and due to technical limitations, it was impossible to do certain things that are now exceedingly easy in postproduction.

說起來,新媒體藝術,一直是我關注的領域。從張培力於1988年創作被視為中國當代藝術的第一件影像作品《30X30》開始,到1996年,邱志傑、吳美純在中國美術學院,策劃了被認為是中國第一個彙集與探討錄像藝術的展覽《現像/影像:中國錄像藝術展》。現在,觀眾對於「新媒體」已不再感到陌生。想當年,選擇運用新媒體藝術以外的方式創作,應該是特立獨行的做法,也由於技術有限,無法隨意進行現在看來十分簡單的後期處理。

 

China has developed at a blinding pace over the past decade, and the changing times are something that artists focus on. Hu Jieming is another pioneer of new media art. He has always been focused on the theme of the old being changed for the new. His work featured in this exhibition, A World is Under Construction, is an interactive installation. An image of the viewer flashes on the surface of the “moon” for a fleeting, moving moment. Just like the artwork’s title suggests, the construction taking place in the era of big data contains reforms, as well as stubborn holdouts and doubts.

過去十年,中國的發展一日千里,時代發展進程就是這一班藝術家所關注的。另一位新媒體藝術家胡介鳴,同樣是新媒體藝術的先驅之一,他一直以來最關注的題材之一便是新舊交替更迭。他在展覽中的那件作品《一個世界正在建設中》是一件互動裝置,來自觀眾的圖像一閃即沒的出現在熒幕上月球的表面,有些感傷。如同作品名一樣,大數據時代裡的建設,有革新,也有固執與遲疑。

 

Hu Jieming, A World is Under Construction, 2013. Interactive installation
Hu Jieming, A World is Under Construction, 2013. Interactive installation

 

When the older generation of artists began using new media methods in their art back then, it was considered quite a departure, but for the artists born in the 1970s and 80s, the art industry ecosystem is more open and accepting. The art academies have established related curricula, “legitimizing” such creations.

雖然當年前輩藝術家們運用新媒體藝術方式創作被視為特立獨行,但對於1970與1980年代出生的藝術家來說,行業生態就比較寬容了,專業院校裡開闢出相關專業,讓創作「名正言順」起來。

 

Along the way, some artists have found the field and artistic languages that suit them best, and grown into internationally-renowned young artists. At the same time, over the past decade or so, the number of individuals and institutions who, like myself, follow new media art, has grown. Artists in Hong Kong established Videotage back in 1986, focused on new media creative practices, which has become an important exchange platform for new media artists. Video Bureau, first established in 2012 with spaces in Guangzhou and Beijing, is a non-profit organization engaging in professional research of the field. I only realized a few years ago that Lu Yang and Lin Ke had studied under Zhang Peili. Graduates of the China Academy of Art, they are now driving forces in the new generation of Chinese video art. The exhibition Truth, Beauty, Freedom and Money—Art After Social Media Era, held at Shanghai K11 in 2013, featured their artworks as well.

當中,一些藝術家也找到了自己擅長的領域與藝術語言,成為蜚聲國際的青年當代藝術家。同時,在過去的十幾年時間裡,和我一樣關注與支持新媒體藝術的個人、機構也逐漸增多。香港早在1986年就有藝術家創辦Videotage,以新媒體藝術創作實踐為核心,成為香港新媒體藝術家的重要交流平台。成立於2012年,在廣州和北京各有空間的錄像局,也是專門針對該領域進行研究的非牟利機構。前幾年我才知道,原來陸洋、林科等人都是張培力的學生,畢業於中國美院的他們已然成為了新生代中國影像藝術的堅實力量。

 

Ellen Pau 鮑藹倫, Recycling Cinema 循環影院, 1999 。Single channel video 單屏錄像/12’00”

 

From their character designs and drawings to their derivations and “cos-play” forms and aesthetics, Lu Yang’s works are right up the alley for fans of anime, comics and video games, but on closer inspection, we find that from the beginning, she has been focused on expressing her viewpoints on such issues as biology and the environment.

陸揚的作品風貌從人物設定、原畫 、衍生品內容以及角色扮演等形式和美學特徵,很容易被ACG文化受眾所接受,再仔細看,她在創作初期就開始圍繞生物與環境等課題,表述自己的立場。

 

Lu Yang 陸揚, Guo Haoyun郭浩贇, Wrathful King Kong Core 忿怒金剛核 , 2013。AR installation 延展現實裝置。

 

Cheng Ran is another artist I have been watching for a long time. He infuses his works with elements of performance art and musical performances, and has experimented with using highly recognizable professional actors in his works. His increasingly powerful body of work touches on the cultural environments in different fields, discussing their developmental challenges and space for development, with his influence extending far beyond the early definition of “video art.”

程然也是我一直關注的藝術家,他將來自行為藝術和音樂表演的元素融入自己的作品,也嘗試啟用大眾識別度極高的專業演員參演作品。逐漸湧現的力作觸碰到不同領域的文化生態、討論其發展困境與不同方向的發展空間,影響邊界早已突破了早先的「錄像藝術」。

 

Hu Jieming 胡介鳴, A World is Under Construction 一個世界正在建設中, 2013. Interactive installation 互動裝置.
Zhenchen Liu 劉真辰, Kaleidoscope萬花筒, 2013. 4-channel video installation 4屏影像裝置 / 13’00” .

 

The most important thing for art to move forward is that we must not be conservative, stubborn or isolated. So what are the latest trends in new media art, both today and for the decade to come? Young Chinese contemporary artists today are fortunate. Even if you didn’t major in new media art as a student, you can still start working with it quite easily. On the other hand, these artists face a “brutal” new environment. The form has become so reasonable and legitimate that you don’t have to carry the banner for new media art anymore, which actually forms something of a challenge for new media artists.

推動藝術創作,最重要是不可以墨守成規、故步自封。現在,乃至未來十年,新媒體藝術的走勢又是如何?年輕的中國當代藝術家們是幸運的,就算你不是新媒體藝術專業的學生,同樣可以順利進行相關創作;相應的,他們面臨的也是最「殘酷」的新生態,因為形制的合理性,你已經不需要再扛旗證明你是新媒體藝術家,這變相對這些新媒體藝術家又是一個挑戰。

 

We should be thankful for the artists who have made bold experiments in “multidisciplinary” creation for giving us an opportunity to see something wonderful and different. For example, Tao Hui, who originally studied oil painting, has gained broad recognition for his new media works. One that leaves a deep impression is the video installation 7 Materials, which consists of seven separate videos playing randomly, but with a sound threading throughout to provide the viewer with a unique, complete version, thus successfully challenging the traditional language of synchronized sight and sound. Through substantive action, he has shown that the exploration of the setting of individual existence within China’s urbanization process, whether discussing regional anxieties or questions of identity, does not have to be done in bitter, mournful tones. This year, he was a finalist for the Hugo Boss Emerging Asia Artist Award.

感謝這些「跨專業」藝術家的勇敢嘗試,讓我們有機會在近些年看到不同的精彩。比如從油畫系畢業的陶輝,近年來的新媒體作品已經獲得不少業界認可。比較特別留下印像的是影像裝置《七段素材》(2015)由隨機播放七段獨立影片組成,但通過聲音的線索讓觀眾在觀影體驗中獲得獨有的完整版本,成功挑戰傳統的音畫同步線性敘事語言。他以用實際行動證明,探討中國城市化進程發展中的個體生存現場,無論是地域焦慮或者身份認同問題,不一定非得用苦澀哀愁的筆調,今年,他就入圍了HUGO BOSS 亞洲新銳藝術家大獎。

 

Tao Hui 陶輝, 7 Materials, 2015. Color, single channel HD video 11'48".
Tao Hui 陶輝, 7 Materials, 2015. Color, single channel HD video 11’48”.

 

Another finalist was Yu Ji, who originally studied sculpture. Most people are familiar with her sculpture works, which have a strong, powerful side, as well as a poetic fluency. In recent years, she has also made quite a few video works connected to the body and space. We would do well to pay attention. From the selection of these two artists as finalists for one of the art world’s biggest prizes, we can see that the world is shifting towards new media art.

同樣入圍獎項的另一位藝術家,又比如從雕塑系畢業的于吉,被人們熟悉的是她的雕塑作品,有剛強的一面、也有詩性的把握。但近年來她積攢了不少與身體、空間關聯的影像作品,值得繼續關注。從兩名藝術家都入圍這個藝術界的大獎項,我們可以見到世界正向新媒體藝術靠攏。

 

Yu Ji, Heat Up 0.2°C (Video of Performance) 2011 Video of Performance 60'00"
Yu Ji 于吉, Heat Up 0.2°C (Video of Performance), 2011. Video of Performance. 60’00”.

 

I remember last winter at the Shanghai K11 exhibition .com/.cn, artist collective DIS brought the AI robot Bina48, which was based on inventor and Terasem Executive Director Martine Rothblatt’s wife Bina Rothblatt. This couple believes in “crossing” as a way of life, and they follow four basic truths: life has meaning, death is a choice, god is technology, and love is a basic necessity. This, and another work, which makes creations based on DNA retrieved from cigarette butts discarded by passersby, elicited quite a bit of discussion, because these new media works extend out into such fields as bioscience and artificial intelligence, and discuss new questions, as well as bring the new issues that emerge from the development of new media art itself to the fore, such as the ethics of artistic creation and the adequacy of the law.

記得去年冬天在上海K11的《.com/.cn》展覽當中,有DIS帶來的人工智能機械人《Bina48》, 參考發明家和Terasm行政總監Martine Rothblatt的妻子Bina Rothblatt的記憶和外貌制作而成。這對夫婦信奉「跨」作為一種理念,並以四大真理為基礎——生命具有意義、死亡是可以選擇的、上帝就是科技、愛是基本所需;另一件提取路人留下的煙頭上的DNA信息進行後續創作的作品,也引發了不少討論,因為這些新媒體作品輻射到生物科學、人工智能等領域,討論了新問題,也讓事關新媒體藝術發展本身的新問題浮現了出來,例如創作中的倫理道德守則與相關法律法規的完善。

 

DIS, Image Life (Bina48) 2015
DIS, Image Life (Bina48), 2015.

 

Observing new media artists from different periods, we find that no matter how the form or status of new media art changes, the works are always inextricably linked to the human condition. How will new media art develop in the future? Let us watch and see together.

從不同時代新媒體藝術家的觀察中,我們可以發現,無論新媒體藝術的形式、地位怎樣變,作品而言跟人類的處境緊扣。接下來,新媒體藝術還會怎樣發展下去呢?我們一起拭目以待吧。

 

 


 

Adrian Cheng is the art pioneer who founded the K11 Art Foundation (“KAF”), a non-profit art foundation in China to incubate young contemporary artists and curators to promote public art education. By providing young emerging artists with a local, regional and international platform to gain greater public awareness, Adrian is the new generation to represent the contemporary Chinese art scene.

Adrian is ranked among the ArtReview Power 100 list in both 2014 and 2015, and also ARTnews’ Top 200 collectors in 2015, as one of the contemporary art world’s most powerful figures. He is also a Board Member of the West Kowloon Cultural District Authority and member of the Interim Acquisition and M+ Museum Committee, a Board Member of the Public Art Fund of New York and MoMA PS1, Trustee of Royal Academy of Arts, Board Director of the National Museum of China Foundation, Director of CAFAM Funds of the Central Academy of Fine Arts, Visiting Committee of the Department of Asian Art at The Metropolitan Museum of Art, Member of International Circle of Centre Pompidou, Member of TATE’s International Council and Board Member of Asia Art Archive.

To follow Adrian Cheng on Social Media :
IG: @ac_kaf
WeChat : adrian_artdiary
Facebook Page: @K11 Art Foundation

 

 
Leave a Comment

Leave a Reply