【OCAT上海馆 | 展览预告】重新聚焦媒介：东亚录像艺术的兴起

重新聚焦媒介：东亚录像艺术的兴起

策展人：金曼（Kim Machan）

艺术家：山口胜弘、白南准、小野洋子、山本圭吾、金丘林、饭村隆彦、久保田成子、朴铉基、金顺基、王功新、鲍蔼伦、陈劭雄、耿建翌、朱加、袁广鸣

展期：2020年12月27日——2021年3月21日

地址：上海市静安区曲阜路9弄下沉庭院，负一层

展览主办：OCAT上海馆

展览协办：华侨城（上海）置地有限公司

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关于展览

OCAT上海馆将于2020年12月27日至2021年3月21日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）。此次展览将首次汇集来自日本、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。

自1965年可携式摄影机索尼Portapak在日本发明以来，各大洲的艺术家都获得了接触这一全球性媒介的机会，并为其发展做出了贡献。在过去的十年中，有关录像艺术历史的展览在亚洲各地举办。当这些材料逐渐积累到一定程度，特定国家录像艺术史的深度和细节逐而浮现；更值得赞赏的是，这些展览和相关的研究材料亦扩充了既有的全球录像艺术之历史，并对录像媒介的实验性实践和国际交流进行了学术性阐释，激起人们更彻底地反思录像艺术的解读方式。

本次展览将展现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？

从白南准（Nam June Paik）所牵涉的韩国、日本、欧洲和美国的全球艺术网络开始，东亚艺术家便开始利用这种文化非特定性的媒介，进入到新的交流点和同样复杂的跨区域、跨国界网络中。在二十多年的时间里，录像艺术将全球的艺术家勾连起来，特别是1968年以来的日本、1978年以来的韩国、1983年以来的台湾地区、1985年以来的香港地区和1988年以来的中国大陆。在很短的时间内，前所未有的录像艺术实验跨越了各大洲和文化领土，在工业化和发展中经济体中出现，使录像艺术成为第一个全球性的当代艺术媒介。

白南准，《电视佛》，1974（2002），“Nam June Paik TV Wave”展览现场，Nam June Paik Art Center，2020。图片由Nam June Paik Art Center提供，图片版权归Nam June Paik Estate所有。

*《电视佛》在展览“重新聚焦媒介：东亚录像艺术的兴起”中将与Nam June Paik Art Center合作，以直播的形式接入Nam June Paik Art Center当前展览 “Nam June Paik TV Wave”中作品《电视佛》的实时画面。

通过与韩国白南准艺术中心的合作，白南准最具代表性的录像装置作品《电视佛》[TV Buddha, 1974 (2020)]将在本次展览的入口大厅处现场直播。 这种投影方式在展览的语境下，颇具挑衅姿态地质疑了录像媒介的种种特性——在场性；对时间和空间的扭变；幻象、现实和真实体验之间的紧张关系，同时颠覆着这一媒介的观念策略，并连接起本地和全球期待的动态网络。尽管很少在日本以外展出，山口胜弘（Katsuhiro Yamaguchi）自1972年开始的闭路电视互动录像装置，足以证明了他对于新兴的国际当代艺术对话的积极贡献。本次展览中，《宫娥》（Las Meninas，1975）这件在1975年第13届圣保罗双年展上首次展出的作品，将为我们提供一次复杂的艺术实验体验。这件作品包含闭路电视、六台视频显示器、以及两幅迭戈·委拉斯开兹（Diego Velázquez）17世纪的同名绘画的全尺寸复制品，继而使米歇尔·福柯（Michel Foucault）在《事物的秩序》（The Order of Things，1966）中对这幅画作进行的分析成为现实。

山口胜弘，《宫娥》，1974-1975，闭路电视录像装置。图片由山口裕康提供。

*静帧画面为山口胜弘在作品前接受采访，出自1995年影片《山口胜弘的录像装置与录像雕塑的记录》。

展览中的其他艺术家，如小野洋子（Yoko Ono）在《天空电视》（Sky TV，1966-2020）中利用闭路电视将崇高的空间概念转化；朴铉基（Park Hyunki）将自然元素和最新的技术并置在录像装置《无题（电视石塔）》[Untitled（TV Stone Tower），1982]的两件重要作品中，提出了关于存在的哲学问题；王功新的闭路电视录像装置《有效的空间》（Effective Space, 1995-2020），通过颠覆和打乱雕塑空间，挑战了传统的透视和感知规则；金顺基（Kim Soungui）的作品利用录像设备的便携性、录制和重录功能，以唯有录像才能做到的方式，对线性时间进行了干扰和解构。之所以选择这些作品，是因为它们在后媒介的当代艺术实践背景下，对录像艺术独特的可能性及媒介特质进行了堪称典范的探索。金丘林（Kim Kulim）、饭村隆彦（Takahiko Iimura）和袁广鸣（Yuan Goang-Ming）等艺术家在解构了屏幕空间的同时，将物质载体的现实和录像媒介的幻象强行结合起来，以颠覆“再现”的确定性并强调当下。在大多数作品中，对材料和观念的雕塑性处理占据了主导地位，特别是山本圭吾（Keigo Yamamoto）、久保田成子（Shigeko Kubota）、陈劭雄、朱加、耿建翌和鲍蔼伦（Ellen Pau）的作品，对于观念性的屏幕和显示器空间给予了特殊关注。

朴铉基，《无题（电视石塔）》，1975，图片由Estate of Park Hyunki和现代画廊提供。

*展场画面摄于1979年，韩国大邱Lee Gallery展览现场。

王功新，《破的凳》（局部），1995-2020，图片由艺术家提供。

展览“重新聚焦媒介：东亚录像艺术的崛起”将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，对由录像艺术之特殊处境所激发的特殊媒介性展开了实验。

文 / 金曼

关于策展人

金曼是亚太媒体艺术（Media Art Asia Pacific）的创始人，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——“海陆空：重访录像艺术的空间性”；并曾策划包括张培力、王功新、席帕·古普塔、郑然斗、张怡和大卫·凯利等艺术家的个展。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，该出版物由澳大利亚国立大学出版社发行。金曼目前在澳大利亚昆士兰大学进行东亚录像艺术兴起方向的博士论文研究。

关于艺术家

特别鸣谢

亚太媒体艺术

昆士兰大学

韩国艺术经营支援中心

亚洲联网，墨尔本大学

澳大利亚艺术理事会，澳大利亚政府

白南准艺术中心

久保田成子录像艺术基金会

感谢以下机构对本次展览的支持

Microscope画廊

现代画廊

阿拉里奥画廊

马凌画廊

马刺画廊

香格纳画廊

耿画廊

·  ·  ·  ·  ·

Refocusing on the Medium: 

the Rise of East Asia Video Art

Curator: Kim Machan

Artists: Katsuhiro Yamaguchi, Nam June Paik, Yoko Ono, Keigo Yamamoto, Kim Kulim, Takahiko Iimura, Shigeko Kubota, Park Hyunki, Soungui Kim, Wang Gongxin, Ellen Pau, Chen Shaoxiong, Geng Jianyi, Zhu Jia, Yuan Goang-Ming

Duration: 27 December 2020 to 21 March 2021

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

Exhibition Organizer: OCAT Shanghai

Exhibition Co-organizer: OCT Land (Shanghai) Investment Ltd.

ABOUT THE EXHIBITION

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, on view from 27 December 2020 to 21 March 2021. 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.

Since the SONY Portapak portable video recorder was invented in Japan in 1965, artists on every continent gained access and have contributed to the development of this global medium.  Exhibitions exploring the histories of video art have featured across Asia in the past decade.  The cumulative results have enhanced detail and depth to specific national histories laudably expanding an existing world history of video art.  The exhibitions and accompanying research expose scholarly accounts of experimental practice and international exchange that provokes a more radical review of the way video art is considered.

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? 

Beginning with Nam June Paik’s entangled Korea, Japan, European and American global art networks, artists from East Asia took up the culturally non-specific medium to enter new points of exchange and equally complex trans-regional and transnational networks. In little more than twenty years the video medium was channelled by artists globally, specifically in Japan from 1968, Korea 1978, Taiwan 1983, Hong Kong 1985 and the mainland of China 1988.  Within a brief period first hand experimentation was occurring across the industrialised and developing economies straddling continents and cultures, situating video art as the first global contemporary art medium.

Nam June Paik, TV Buddha, 1974(2002), Installation view, Nam June Paik Art Center's current exhibition Nam June Paik TV Wave, 2020. Image courtesy of Nam June Paik Art Center ©Nam June Paik Estate.

*TV Buddha presented in Refocusing on the Medium: the Rise of East Asia Video Art is live broadcasted in cooperation with the Nam June Paik Art Center's current exhibition Nam June Paik TV Wave. 

In partnership with the Nam June Paik Art Center in Korea, a live stream broadcast of the iconic Nam June Paik video installation TV Buddha, (1974-2002) is projected in the entry foyer of the exhibition.  The projection is a provocation to question the video medium within the context of the exhibition – the liveness of the medium, the distortion of time and space, the tension between illusion, reality and authentic experience, the conceptual strategies that subvert the medium, and the dynamics connecting local and global aspirations.  Rarely seen outside of Japan, Katsuhiro Yamaguchi’s CCTV interactive video installations dating from 1972 evidence his active contribution to emerging international contemporary art dialogues.  In this exhibition Las Meninas (1974-75) that was presented at the 13th San Paolo Biennial in 1975, offers firsthand experience of the complex art experiment incorporating CCTV, six video monitors, and two full-size reproductions of the eponymous 17th century painting by Diego Velázquez making actual Michel Foucault’s analysis of the painting in his book The Order of Things (1966).  

Katsuhiro Yamaguchi, Las Meninas, 1974-1975, CCTV video installation. Image courtesy of Hiroyasu Yamaguchi. 

*Still from the 1995 compilation “The Document Video of Video Installation & Video Sculpture by Katsahiro Yamaguchi” shows the artist being interviewed.

Other artists in the exhibition, such as Yoko Ono employs CCTV to transpose sublime spatial concepts in Sky TV (1966-2020).  Park Hyunki works with elemental natural objects juxtaposed with what was the latest technologies to pose philosophical questions of existence through two major works including the video installation Untitled (TV Stone Tower), (1982).  The CCTV video installation by Wang Gongxin, Effective Space (1995-2020) inverts and dislocates sculptural space, challenging conventional rules of perspective and perception.  Works by Kim Soungui use the characteristics of portability and the record and record over functions to scramble and deconstruct linear time in ways only video can.  Art works have been selected because of the exemplary investigations into the unique possibilities, the medium specific qualities, of video in the context of a post medium contemporary art practice.  Artists such as Kim Kulim, Takahiko Iimura, and Yuan Goang-Ming deconstruct screen space while forcing the reality of material objects and the illusion of the video medium together to destabilise certainty of representation and emphasise the present moment. Sculptural approaches both material and conceptual are dominant in the majority of the works, with particular attention to conceptual screen and monitor space in works by Keigo Yamamoto, Shigeko Kubota, Chen Shaoxiong, Zhu Jia, Geng Jianyi and Ellen Pau.  

Park Hyunki, Untitled (TV Stone Tower), 1975. Image courtesy of Estate of Park Hyunki and Gallery Hyundai.

*Installation view from Lee Gallery, Daegu, 1979.

Wang Gongxin, The Broken Bench (detail), 1995-2020. Image courtesy of artist.

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 / Kim Machan

ABOUT THE CURATOR

Kim Machan is founding director of 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 is currently writing a PhD exploring the rise of East Asian video art at the University of Queensland.

ABOUT ARTISTS

Special thanks to

MAAP（Media Art Asia Pacific）

The University of Queensland

Korea Arts Management Service

Asialink, University of Melbourne, 

Australia Council for the Arts, Australian Government

Nam June Paik Art Centre

Shigeko Kubota Video Art Foundation

Thanks also go to

Microscope Gallery

Gallery Hyundai

Arario Gallery

Edouard Malingue Gallery

SPURS Gallery

ShanghART Gallery

Tina Keng Gallery

for their sincere support

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