【OCAT上海馆 | 艺术家预告】东亚录像艺术始于全球化的前夜……

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张培力：关于东亚录像艺术展

这是一个关于东亚录像艺术的展览，呈现了金曼（Kim Machan）女士多年来的研究，这类研究主题时至今日在全球范围内似乎并不多见，金曼女士的研究为我们更好地了解东亚的录像艺术提供了机会。 

展览汇集了包括日本、韩国、中国大陆、中国台湾和香港地区艺术家从上世纪60年代到90年代末的录像作品。回顾这些艺术家的创作实践，我们可以看到两个共同点，一是这些艺术家的观念，似乎在不同程度上与更早时候出现的欧美新的艺术观念有着某种契合和认同；二是技术的输入或产生，这使得录像艺术的出现成为顺理成章的事情。有意思的是，人们普遍认为中国的录像艺术源自上世纪80年代末，因为那时候中国艺术界正处在85艺术运动的后期，电视机也已经进入家庭，同时，便携式摄像机开始进入中国。然而相比之下，照相机进入一些中国家庭的时间要早的多，为什么并没有在更早的时候出现摄影艺术呢？由此可见，摄像机固然重要，而更重要的是操控摄像机的人——人的意识。东亚录像艺术的缘起虽然不同程度地受到了西方现代艺术的影响，但不同于油画的进入（通过传教士传播），录像艺术在整个形成过程中表现出某种主动性和积极性，并非像油画传入那样是相对被动的。 

东亚录像艺术始于全球化的前夜，盛于网络技术迅速发展的新世纪，随着智能手机的普及，录像已经不再作为新媒体的主要标志，录像艺术的区域性也不再那么明显，正因如此，金曼的研究更显得宝贵和重要。 

张培力

OCAT上海馆 执行馆长

艺术家介绍

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。他们出生于1928至1965年之间，并共同活跃于全球化前夜——网络技术迅速发展的新世纪。在2020年末重新回望这一段发生在东亚的早期录像艺术实践，“当代”已然成史。

山口胜弘

1928-2018，日本，东京

山口胜弘1928年生于日本东京，自1974年以来创作了30多件大型录像装置作品。作为一位多产的艺术家和教育家，他在1951—1958年创立了开创性的艺术团体“实验工房”（Jikken Kobo-Experimental Workshop），从此开启了他的职业艺术生涯。山口胜弘在“艺术与技术”和“电子艺术”的领域进行实验，并于1971年创立了极具影响力的艺术家团体“视频广场”（Video Hiroba）。1977年，他在筑波大学成立了视觉艺术与混合媒体系（Sogô zôkei）。山口胜弘曾到欧洲和美国进行短期旅行，是小野洋子的同事，并与激浪派艺术运动有过接触。山口胜弘在1950年代创作的第一批雕塑作品，使用透明质感的玻璃材料，创造出呈现了运动的视觉效果的“玻璃橱窗”（Vitrine）系列，随后他也展开对动态影像和装置的实验。1972年，山口胜弘开始使用索尼Portapak摄影机，在公共场域和美术馆空间中进行互动式闭路电视的表演和装置实验。1975年，他凭借互动式闭路电视装置作品《宫娥》（Las Meninas，1974-75），荣获圣保罗双年展大奖。山口胜弘的作品在日本和国际上被广泛展出。

图：山口胜弘，2015

图片致谢Saitô Sadamu

白南准

1932-2006，韩国，首尔

白南准1932年生于韩国首尔，在首尔和香港度过了他的中学时代，在日本镰仓度过高中时光。他就读于东京大学美学专业，其毕业论文研究阿诺尔德·勋伯格（Arnold Schoenberg）。1956年，白南准移居德国，学习欧洲哲学和现代音乐，并积极展开了与当代前卫艺术家的合作。通过进行完全不同于当时的艺术规范和传统的激进现场表演，白南准塑造了其自身的艺术家身份。后来他又以新媒体为手段，走上一条新的艺术创作道路。他的媒体艺术成为其首次个展“对音乐的说明——电子电视”（Exposition of Music--Electronic Television）的核心，在其中，他将内部电路经过修改和操控的电视机作为艺术作品呈现出来。

白南准是一位极具开拓性的媒体艺术家，他以富有创造性和实验性的方式来处理各种技术。他认为艺术家背负着思考未来的使命，并通过艺术寻求更好的全球交流方式。他被誉为“同时是科学家、哲学家和工程师的新一代艺术家的先驱者之一”、“一个极其特殊的、具有真正的天才和远见卓识的未来学家”。今天，白南准仍然作为“最当代的艺术家”与我们同在。

图片致谢白南准

小野洋子

b. 1933，日本，东京

小野洋子1933年生于日本东京，是一位跨学科的艺术家，在其六十多年的职业生涯中，她作为视觉艺术家、诗人、歌手、作曲家和反战活动家，在艺术和许多领域做出了重要贡献。小野洋子于1953年随家人移居纽约，后来又在伦敦、纽约和东京生活，成为推动了激浪派和观念艺术的国际发展的关键人物。她早期的作品，例如《可以站上去的画》（Painting to Be Stepped On，1960-61），以对观众的口头或书面指示为基础。这种指令性的方法也可以在她的行为表演作品《切片》（Cut Piece，1964）中找到。她与已故丈夫、披头士乐队的传奇人物约翰·列侬（John Lennon）合作的《床上和平运动》（Bed-In，1969），履行了她对世界和平的承诺。小野洋子的作品在世界各地被广泛展出，其中包括：她在惠特尼美国艺术博物馆举办的首次回顾展（1989）；在纽约市日本协会美术馆举办的“Yes小野洋子”（Yes Yoko Ono，2000），该展在世界各地巡回展出；以及近期在纽约现代艺术博物馆举办的小野洋子的早期作品回顾展（2015）。小野洋子在2009年威尼斯双年展上荣获终生成就奖——金狮奖。

图片致谢Matthew Placek ©Yoko Ono

山本圭吾

b. 1936，日本，福井

山本圭吾是一位日本媒体艺术家，1936年生于日本福井，自1968年开始创作录像艺术。作为录像艺术家团体“视频广场”（Video Hiroba）的创始成员之一，山本圭吾对日本最早一批录像艺术实验做出了重大贡献。他是上世纪70年代“网络艺术”运动（network art）的领军人物之一，这一新的艺术形式通过将计算机、声音和电讯融合起来，带来了不同文化之间的相遇。基于在录像艺术方面的创作，山本圭吾于1985年创立了福井国际录像双年展，该展一直延续到1999年。山本圭吾的作品在许多重要的国际展览中展出；他作为一名教育工作者，培养了一批年轻的艺术家。自1988年起，他开始担任武藏野美术大学教授，并在2000年成为京都精华大学教授，兼任该校电影与媒体研究中心主任。2014年，日本媒体艺术节将终身成就奖授予山本圭吾，以表彰他对日本媒体艺术和教育的贡献。

图片致谢艺术家及日本文化厅媒体艺术祭档案库

金丘林

b. 1936，韩国，尚州

金丘林1936年生于韩国尚州，目前生活和工作于韩国首尔。作为韩国实验艺术的奠基人，他在韩国当代艺术史上占据了重要的位置。

金丘林的创作对现有的价值观和风俗习惯持反叛态度，他的实验性作品内容广泛，包括从绘画、版画、雕塑、装置、行为表演，到大地艺术、录像艺术和邮寄艺术。此外， 他还参与过实验戏剧、电影、音乐和舞蹈的创作。1969年，他创作了被认为是韩国第一件邮寄艺术作品的《大众传媒的遗物》（Relics of Mass Media），并制作了韩国实验电影领域的奠基之作《1/24秒的意义》（The Meaning of 1/24 Second）。他是韩国前卫艺术协会（AG）的创始成员之一，并通过该协会领导了强调观念和过程的前卫艺术实践。上世纪70年代，他成立了由各领域年轻艺术家和知识分子组成的前卫艺术团体“第四集团”（The Fourth Group），该组织旨在追求艺术、戏剧、电影、时尚和音乐相结合的跨媒介艺术。十年后，他启程前往日本，开始了印刷和录像艺术的实验，并在80年代前往美国追寻新的艺术实践方式。

饭村隆彦

1937，日本，东京

饭村隆彦1937年出生于日本东京，是一位先锋艺术家，其跨越50多年的创作生涯，涉及到电影、录像、装置、行为和数字技术领域等诸多领域的创作。饭村隆彦自1960年开始从事电影方面的工作，并在蓬勃发展的日本实验和独立电影界发挥了重要作用。1966年，他获得哈佛大学提供的奖学金，并移居美国，很快便投身到60年代中期纽约实验电影和艺术的群体中。他早期的录像作品被收录在纽约现代艺术博物馆和PS1馆（1975）、法国巴黎蓬皮杜艺术中心（1977）的展览中，以行为表演为基础的作品及互动装置曾在1979年惠特尼美国艺术博物馆的双人个展“新录像”（与久保田成子一起）中展出。

图片致谢Microscope画廊 ©2018 Microscope Gallery

久保田成子

1937-2015，日本，新泻

久保田成子1937年生于日本新泻县，她于1964年移居至纽约，并迅速成为上世纪60年代纽约激浪派的重要人物。她也是在1967年最早一批使用便携式录像机索尼Portpak进行创作的艺术家之一。久保田成子的创作深受马塞尔·杜尚（Marcel Duchamp）和约翰·凯奇（John Cage）的影响。她所创作的录像雕塑，多媒体装置和单通道影像作品都呈现出一种独特的感性。在久保田成子的创作生涯中，个人性和技术性之间寻得了一种抒情的结合，她通常会在自然、艺术和日常生活的图像中加入电子处理技术。久保田成子在九十年代曾受到过两次调研性的展览——分别是1991年在美国移动影像博物馆和1996年在惠特尼美术馆。

图：久保田成子在工作室 ©Tom Haar

图片致谢Tom Haar及久保田成子录像艺术基金会

朴铉基

1942-2000，日本，大阪

朴铉基1942年生于日本大阪，于1945年移居至韩国大邱，是韩国录像艺术的先驱之一，他利用录像这一当时罕见的媒介，发展出属于自己的艺术语汇。朴铉基对录像和技术的处理方式，正与上世纪70年代韩国艺术界——拒绝了西方现代主义对于艺术表现和干预的关注——对物体和材料性持续增长的兴趣相平行。通过将自然界中的现成品相并置，朴铉基将现实与虚构、自然与文化进行了对比。他使用石头、水等有机材料，将通常不被认为是艺术的物体进行重新排列和改造。他否定了录像的戏剧性和叙事性，而聚焦于对材料的沉思和感知。他对独立从事录像创作的执着，在当时成为一种革命性的努力，他对韩国录像艺术所作的贡献诚然是不可估量的。

金顺基

b. 1946，韩国，扶余

金顺基1946年生于韩国扶余，是一位多媒体艺术家，也是跨学科艺术的先驱之一。自1971年以来，她一直在法国生活和工作。在过去的50年里，她积极致力于教学、创作和发展自己的艺术事业。金顺基的创作具有复杂和多面性，既不能用单一的方式来定义，也不能用二元对立的方式来描述。她对东、西方哲学的有着浓烈的兴趣，并对各种艺术媒介展开实验，这使得她的作品呈现出情境性、体验性和偶然性。

金顺基的创作不拘泥于任何形式，而是在时代的前面发掘新的方法，在未知的领域开辟新的路径。她作为跨学科和流派的典范（涉及科技和艺术等）为公众所知，并持续在新的领域开拓创新。从对绘画的解构，到在公共场域呈现观众参与式的活动，再到对录像和多媒体的挑战，以及涉及东西方文化和哲学的比较研究，金顺基的艺术之旅始终引领时代。

王功新

b. 1960，中国，北京

王功新1960年生于北京，1978年考入首都师范大学美术学院，1982年毕业后留校任教。1987年作为访问学者赴美国纽约州立大学，进行硕士研究生学习。2002至2007年在中央美术学院担任客座教授。2013年获英国伦敦“奥利弗”戏剧金像奖最佳影像设计大奖提名。2014年获得纽约州立大学荣誉博士。现生活创作在北京与纽约。

王功新的作品曾在圣保罗双年展、台北双年展、上海双年展、日本越后妻有三年展、日本和多利美术馆、东京森美术馆、旧金山现代美术馆、纽约MoMA PS1、伦敦V&A美术馆、纽约皇后美术馆、德国ZKM媒体艺术中心、柏林世界文化宫、英国泰特利物普美术馆、澳洲NGV国家美术馆、古根海姆美术馆、柏林汉堡火车站国家美术馆、白立方画廊、日本福岗美术馆、伦敦ICA当代艺术中心、纽约布朗美术馆、上海当代美术馆、OCAT上海馆、尤伦斯艺术中心与中国美术馆等展览与美术馆展出。

鲍蔼伦

b. 1961，中国，香港

鲍蔼伦1961年生于香港。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1985年于香港理工大学获得放射诊断专业文凭，并于 2008 年于香港中文大学攻读视觉文化研究硕士文凭。随后于香港公立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及维基托邦文化祭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。鲍氏更于 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至 2019 年年底，以及西九龙文化区M+博物馆的购藏委员会成员至今。

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。

图片致谢艺术家及马凌画廊，摄影：Martin Cheung

陈劭雄

1962-2016，中国，汕头

陈劭雄1962年生于广东汕头，毕业于广州美术学院版画系。他是中国当代艺术史上最重要的艺术团体“大尾象”的成员之一。

陈劭雄的观念艺术运用了多种艺术媒介，包括摄影、录像、装置及水墨绘画，以此来研究中国日新月异的城市风景。通过想象的或是虚构的背景，艺术家记录了现实存在的城市的狂躁节奏和荒谬现实：家庭的生活片断、社会政治的敏感话题、来自娱乐业的传闻、夜生活，甚至非法性交易等事件都是艺术家所关注的题材。

陈劭雄先是使用传统的艺术媒介——水墨进行绘画，进而将它转化为影像这样的技术媒介。在当代生活中，我们每天都会面对越来越多特殊的问题，于是，这样的一个混合体：简单的风格加上如上的技巧，使作品变得重要。陈劭雄的作品通常审视的是他的家乡——中国南方迅猛的城市化进程与其不断变化的环境，人的状态，图像的统治力，全球化的美学，以及公共或集体记忆。

耿建翌

1962-2017，中国，郑州

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。

朱加

b. 1963，中国，北京

朱加1963年生于北京，1988年毕业于中央美术学院油画系第三工作室。现生活工作于英国伦敦。作为中国当代最早的一批录像艺术实验者之一，朱加一直在尝试以不同的方式记录常态的现象。他往往将镜头锁定于最为日常的人物和现象，又非常主动地呈现一种观看习惯之外的世界。如创作于1994年、曾多次参加国际展览的作品《永远》，他将摄影机绑在一辆三轮车的左轮边缘，随着轮子的滚动前行，拍摄下北京街头的日常生活，不同于一般影像，在一种使人晕眩的状态下， 以陌生的视角截取瞬息万变世界中的瞬间。

袁广鸣

b. 1965，中国，台北

袁广鸣1965年生于台湾台北，1997年毕业于德国卡斯鲁造型艺术学院，获得媒体艺术硕士学位。目前任教于国立台北艺术大学新媒体艺术学系教授，也是目前台湾活跃于国际媒体艺术界中知名的艺术家之一。

1984年袁广鸣开始从事录像艺术创作。他的作品以象征隐喻、结合科技媒材的手法，深刻传达出人们当下的生存状态，并且对人的感知及意识有着极具诗意的深入展现。1992年获得台北县美展首奖，2002年《城市失格》系列作品，更奠定了在台湾当代媒体艺术界中不可动摇的地位。

2007年开始以个人的“居家日常”及“废墟”开创出一种迷人的剧场式日常；2011年之后更以多元形式呈现以“时间与记忆”、“身体与感知”为主题的大型系列创作；2013年个展“不舒适的明日”由“家”的议题延伸至当今在全球化底下的在地生存处境的探问，思辨现代人的困顿与忧惧；2018年个展“明日乐园”中，直指未来的家已不再是稳固的概念，作品环绕着“战争的日常化”与“日常的战争”为主轴，呈现当代的生存状态及不安。

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ZHANG Peili：

About the Exhibition on East Asia Video Art

This exhibition on East Asia video art presents Ms. Kim Machan's research over the years on a subject that still seems uncommon today. Ms. Machan's study provides an opportunity better to understand video art in the East Asian context.

The exhibition brings together video works from the 1960s to the late 1990s by artists including those from Japan, Korea, the mainland of China, Taiwan, and Hong Kong. Looking back at the practices of these artists, we discover two common traits: first, the conceptions of these artists, which seem to fit and identify in varying degrees with an earlier generation of European and American artists; and second, the importation or production of technology, which made the emergence of video art a logical occurrence. Interestingly, it is a common misconception that video art in China originated in the late 1980s, as the Chinese art world was entering the late phase of the 85' art movement, while the television became a popular domestic appliance and portable video cameras became available in the country. In contrast, film cameras entered some Chinese homes much earlier, yet artistic photography had not emerged as a medium of expression? This phenomenon shows that while the availability of the camera may be critical, but more importantly is the consciousness of the person who controls it. Although the origins of video art in East Asia were influenced to varying degrees by modern art from the West, the emergence of video art practice exhibited the artists' initiative and proactive engagement, unlike the passive acceptance of oil painting (which was brought in by missionaries) to China a few centuries ago.  

East Asia video art launched on the eve of globalization and flourished in the new century with the rapid development of Internet technology. With the popularization of smartphones, video is now neither the primary format of new media nor does its practice present regional distinctions, which is why Kim's study is all the more valuable and vital.

ZHANG Peili

Executive Director, OCAT Shanghai

ABOUT ARTISTS

The exhibition assembles key protagonists that initiated experiments with the medium of video originating from Japan, South Korea and China. They were born from 1928 to 1965, and were active on the eve of globalization and flourished in the new century with the rapid development of Internet technology. When we head toward the end of 2020, looking back on the early video art practice in East Asia, "contemporary" is now history. 

Katsuhiro Yamaguchi

1928-2018, Tokyo, Japan

Born in Tokyo, Japan in 1928, Katsuhiro Yamaguchi created over 30 major video installations since 1974. A prolific artist and educator, he began his career establishing the pioneering art group Jikken Kôbô (Experimental Workshop) 1951-1958. Yamaguchi experimented in the field of ‘art and technology’ and ‘electronic arts’, and in 1971 founded the highly influential artist collective Video Hiroba. In 1977, he founded Sogô zôkei (Visual arts and mixed media) department in University of Tsukuba. He travelled to Europe and the United States for short tours, was a colleague of Yoko Ono and had contact with the fluxus art movement. His first sculptures in the 1950s, utilising transparent textured glass angled to provoke movement known as the ‘Vitrine’ series preceded his moving image experiments and installations. His interactive CCTV performances and installations experiments began in 1972 using the Sony Portapak in public places and galleries. In 1975 his work was awarded the leading prize at the San Paolo Biennale for his interactive CCTV video installation Las Meninas 1974-75. Katsuhiro Yamaguchi exhibited extensively throughout his career both nationally and internationally.

Image: Portrait of Katsuhiro Yamaguchi, 2015

Image courtesy of Saitô Sadamu

Nam June Paik

1932-2006, Seoul, South Korea

Born in Seoul, South Korea in 1932, Nam June Paik spent his middle school days in Seoul and Hong Kong, and his high-school days in Kamakura, Japan. He studied aesthetics in the University of Tokyo, with a graduation thesis on Arnold Schoenberg. Moving to Germany in 1956 and studying European philosophy and modern music, he came to work actively with contemporary avant-garde artists and began to carve out his artist-identity by doing radical performances which were completely different from artistic canons and conventions back then. Afterwards he pursued a novel path of art making by means of new media. His media art gained momentum by his first solo show Exposition of Music-Electronic Television in which he presented televisions with inner circuits modified and manipulated, as a work of art.

Paik is a pioneering media artist working with various technologies in creative and experimental ways. He saw the artist’s role as consisting in thinking about the future and sought for better ways of global communication through art. Regarded as “one of the forerunners of a new breed of artists who are scientists, philosophers and engineers at the same time” and as “a very special and genuine genius and futurologist with foresight” Paik still lives on with us right here as “the most contemporary artist” today.

Image courtesy of Nam June Paik

Yoko Ono

b. 1933, Tokyo, Japan

Born in Tokyo, Japan in 1933, Yoko Ono is a multidisciplinary artist making significant contributions over a sixty-year career as a visual artist, poet, singer, songwriter and peace activist.  She moved with her family to New York in 1953, later living in London, New York and Tokyo where she became a key figure in the international development of Fluxus and Conceptual art.  Her early works were based on verbal or written instructions to the audience, for example Painting to Be Stepped On (1960–61). Such instructional approach also could be found in her performance Cut Piece (1964).  In collaboration with her late husband, the Beatles legend John Lennon, Bed-In (1969) performed her commitment to world peace. Ono has exhibited widely across the world, including her first retrospective in Whitney Museum of American Art (1989), Yes Yoko Ono at the Japan Society Gallery in New York City (2000) which toured around the world, and a recent retrospective of her early art at the Museum of Modern Art in New York City (2015). She received a Golden Lion for Lifetime Achievement at the 2009 Venice Biennale.

Image courtesy of Matthew Placek ©Yoko Ono

Keigo Yamamoto

b. 1936, Fukui, Japan

Born in Fukui, Japan in 1936, Keigo Yamamoto is a Japanese media artist who started producing video art from 1968. As an original member of the video artists’ collective Video Hiroba, he made significant contributions to the first wave of experimentation with video in Japan. He was a key figure leading the ‘network art’ movement in the 1970s, a new art that brought about encounters between different cultures in the fusion of computers, sound and telecommunication. His work in video art led him to establish the Fukui International Video Biennale in 1985 that continued until 1999. Yamamoto regularly exhibited in many significant international exhibitions and as an educator has nurtured younger generations of artists. From 1988, he was a professor at Musashino Art University, and later became a professor and the director of the Film and Media Research Center, at Kyoto Seika University in 2000. In 2014 he was awarded the Japan Media Arts Festival Achievement Award for his lifetime contribution to media arts and education in Japan.

Image courtesy of the artist and Japan Media Arts Festival Archive

Kim Kulim

b. 1936, Sangju, South Korea

Born in Sangju, South Korea in 1936, Kim Kulim lives and works in Seoul. Kim holds a significant status in Korean contemporary art history as a founder of Korean experimental art. Retaining a rebellious attitude towards existing values and customs, Kim has produced a wide scope of experimental works ranging from paintings, prints, sculptures, installations and performances to land art, video art and mail art. He has also been involved in experimental plays, films, music and dance. In 1969, he released Relics of Mass Media, considered Korea's first mail art and also produced The Meaning of 1/24 Second, a seminal work in the history of Korean experimental film. Kim was a founding member of AG (Korean Avant-Garde Association), through which he led avant-garde artistic practices that emphasized concept and process. In the 1970s, he founded The Fourth Group, an avant-garde art group consisting of young artists and intellectuals in various fields, pursuing intermedia art combining art, theatre, film, fashion and music. Later in the decade, he set off to Japan to begin experimentation with print and video art, and in the 1980s, he traveled to the United States to seek new ways of artistic practice.

Takahiko Iimura

1937, Tokyo, Japan

Born in Tokyo, Japan in 1937, Takahiko Iimura is a pioneering artist known for his work with film, video, installation, performance, and digital technologies spanning more than 50 years. Iimura first began working with film in 1960 and was instrumental in the burgeoning Japanese experimental and independent film scene. Iimura moved to the US on a Fellowship from Harvard University in 1966 and soon immersed himself in the mid-60s New York experimental film and art community. Early videos were included in exhibitions at the Museum of Modern Art of New York and PS1 (1975), and Centre Georges Pompidou in Paris, France (1977), while other performance based works and interactive installations were featured in the 1979 two-person exhibition New Video (with Shigeko Kubota) at the Whitney Museum of American Art, New York.

Image courtesy of Microscope Gallery

©2018 Microscope Gallery

Shigeko Kubota

1937-2015, Niigata, Japan

Born in 1937 in Niigata, Japan, in 1964 Kubota moved to New York, and immediately became an active participant in the international Fluxus art movement in the 1960s. She was one of the first artists to adopt the portable video camera Sony Portapak in 1967. Kubota was strongly influenced by the art and theories of Marcel Duchamp and John Cage. She brought a singular sensibility to her extensive body of video sculptures, multi-media installations, and single-channel videos. Throughout her career, Kubota forged a lyrical union of the personal and the technological, often merging vibrant electronic processing techniques with images and objects of nature, art and everyday life. Kubota’s work received two major surveys in the ’90s--one at the American Museum of the Moving Image (1991), the other at the Whitney Museum of American Art (1996).

Image: Shigeko Kubota in her studio. ©Tom Haar, 1972. Image courtesy of Tom Haar and Shigeko Kubota Video Art Foundation

Park Hyunki

1942-2000, Osaka, Japan

Born in Osaka, Japan in 1942, Park Hyunki is widely known as a precursor to video art in Korea for developing his own artistic vocabulary with the use of then a rare medium. Park’s approach to video and technology resembles the thriving interests of objects and materiality in Korean art of the 70s, which rejected a Western Modernism that concentrated on artistic expression and intervention. By juxtaposing found objects from nature with contemporary technologies, Park contrasted reality to fiction and nature to culture. Featuring organic elements, such as stones and water, Park rearranged and modified objects which are not commonly considered to be art. Denying the theatrical and narrative quality of video, Park mainly concentrated on the contemplation of materials and perception. His persistent and solitary effort to engage in video was indeed a revolutionary one in his time and the contribution he has made to Korean video art is truly immeasurable.

Soungui Kim

b. 1946, Buyeo, South Korea

Born in Buyeo, South Korea in 1946, Soungui Kim is a multimedia artist, one of the pioneers in multidisciplinary art of the early 70s. She has been living and working in France since 1971, actively teaching, creating, and establishing her career for the last 50 years. Kim is an artist with complex aspects that cannot be defined in a single way nor in the dichotomy of situations. Her interest in Eastern and Western philosophies and the experimentation with various artistic medium led Kim to incorporate situational, experiential and accidental processes into her practice.

Artist Soungui Kim lives a life that is not confined to formalities, but pioneers new roads of art ahead of her times, creating new paths in untrodden land. Kim has constantly blazed trails in new territories and has been introduced to the public as a case of convergence between disciplines and genres including those involving science and technology, and the arts. From the deconstruction of painting, to spectator-participatory events in public places, challenges in video and multimedia, and comparative studies in culture and philosophy of East and West, Soungui Kim's artistic journey has always been one step ahead.

Wang Gongxin

b. 1960, Beijing, China

Born in Beijing in 1960, Wang Gongxin was admitted to the Capital Normal University academy of Fine Arts in 1978, and took the teaching post after graduation in 1982. In 1987, he went to State University of New York as a visiting scholar for master degree studying. He was a visiting tutor at Central Academy of Fine Arts between 2002 and 2007. In 2013, Wang was nominated for XL video Award of Best set design in 2013 “Olivier Award”. In 2014, he received Honorary Doctoral degree in SUNY (State University of New York). He lives and works in Beijing and New York.

Wang's has exhibited in the San Paulo Biennale, Brasil; Taipei Biennial; Shanghai Biennial; Echigo-Tsumari Art Triennial in Japan; Tokyo Watari Museum of Contemporary Art; Mori Art Museum in Japan, San Francisco Museum of Modern Art, MOMA PS1 in New York; Victoria and Albert Museum in UK; Queens Museum in New York; Museum for Contemporary Art ZKM in Germany; Haus der Kulturen der Welt in Berlin; Tate Liverpool in UK; National Gallery of Victoria in Australia; the Guggenheim Museum, New York; Hamburger Bahnhof - Museum für Gegenwart in Berlin; White Cube Hong Kong; Fukuoka art Museum in Japan; Institute of Contemporary Arts in London; The Bronx Museum of the Arts, New York; Power Station of Art in Shanghai; OCT Contemporary Art Terminal Shanghai; UCCA Center for Contemporary Art in Beijing and National Art Museum of China.

Ellen Pau

b. 1961, Hong Kong, China

Born in Hong Kong in 1961, Ellen Pau is a key figure in Hong Kong’s art scene. She 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 occupy. Born in Hong Kong and a graduate from Hong Kong Polytechnic University with a diploma in Diagnostic Radiography in 1985 and received an MA in Visual Culture Studies from the Chinese University of Hong Kong in 2008.  Pau has worked as a radiographer in the public hospital in Hong Kong 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, the Microwave International New Media Arts Festival and Wikitopia Mini Festival.  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 until end of 2019, and in the same year, she also served on the interim acquisition committee of M+ in West Kowloon Cultural District till present.

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.

Image courtesy of the artist and Edouard Malingue Gallery

Photo by Martin Cheung

Chen Shaoxiong

1962-2016, Shantou, China

Born in Shantou, Guangdong province in 1962, Chen Shaoxiong was educated in the printmaking department of the Guangzhou Fine Art Academy, is a founding member of the Big Tail Elephant Collective, one of the most important artistic collectives in Chinese contemporary art history.

The artist’s conceptual work employs a variety of media, including photography, video, installation and ink painting, to investigate the dynamics of China’s rapidly changing cityscapes. Often set against the background of an imaginative or imaginary skyline, the artist records the hectic pace and absurdity of everyday existence: fragments from family life, political issues, rumors from the entertainment industry, restaurants, nightlife, and prostitution.

Chen Shaoxiong begins with the directness of media such as traditional ink painting and transforms it into technical media such as video; it is a combination of this and the uncomplicated manner in which the everyday confront more extraordinary issues of modern life that gives the work added import. Thematically, his work often deals with the rapidly urbanizing and constantly changing environments of his home province in southern China, the nature of the crowd, the dominance of the image, the aesthetics of globalization, and public or collective memory.

Geng Jianyi

1962-2017, Zhengzhou, China

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.

Zhu Jia

b. 1963, Beijing, China

Born in Beijing in 1963, Zhu Jia graduated from China Central Academy of Fine Arts in 1988. He works and lives in London, U.K. As a pioneer of the practice of video art in China, Zhu Jia always tries to capture ordinary scenes through distinctive methods of practice. In his 1994 piece Forever, which has participated in several important exhibitions, Zhu attached a camera to the left wheel of a bicycle. The artist rode this bicycle over 10km around the city of Beijing, catching images of daily life through a truly unique perspective.

Yuan Goang-Ming

b. 1965, Taipei, China

Born in Taipei, Taiwan in 1965, Yuan Goang-Ming obtained a master’s degree in media art from the Academy of Design in Karlsruhe, Germany, and now teaches as a professor at the Department of New Media Art of Taipei National University of Arts. He is considered one of the most active and internationally acclaimed Taiwanese media artists.

Yuan began making video art in 1984. Combining symbolic metaphors with technological media, his work expresses the state of contemporary existence, and explores the human mind and consciousness with the use of poetic expressions. He was awarded First Prize for the Taipei County Arts Award, and his City Disqualified created in 2002 further solidified his unwavering position in the history of Taiwanese contemporary media art.

In 2007 Yuan began to use elements derived from “everyday domesticity” and “ruins” to develop fascinating “theatrical-everydayness” in his work. After 2011, he began exploring diverse formats, creating large-scale creations based on the themes of “time and memory” and “body and perception”. His 2014 solo exhibition, An Uncanny Tomorrow, extended from the subject of “home” and explored regional living conditions under the current phenomenon of globalization, with art used to reflect on modern people’s conundrums and worries. His solo exhibition, Tomorrowland, presented in 2018 showed the concept of “home” will no longer be a stable concept in the future. The presented artworks focused on the theme of “war in everyday”, or “everyday during war”, with the living conditions and the unrest in today’s world shown.

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重新聚焦媒介：东亚录像艺术的兴起

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