【OCAT上海馆 | 馆藏】2020年度作品收藏
2020年，OCAT上海馆荣幸将以下五件作品纳入馆藏：
· 安东尼·蒙塔达斯｜《媒体 生态学 广告》，1982
· 安东尼·蒙塔达斯｜《跨文化电视》，1987
· 朱昶全｜《移植》，2015
· 郑源｜《一段简短的历史：中国西北航空公司》，2018
· 张鼎｜《高速形式#5》，2019
Please scroll down for English
- 按作品创作年份排序 -
安东尼·蒙塔达斯
1982年，12分22秒，DVD NTSC制式，彩色，声音
图片致谢艺术家
《媒体 生态学 广告》是关于电视的录像，三个片段分别指向时间、叙事和信息三个概念。录像内的影像被简化成三个小片段，而每个片段的主角都是一个极简的画面，暗示了时间的不可阻挡、不可逆转。第一个片段是一根横在屏幕上的保险丝，它从左到右逐渐熔化；第二个片段是画面中央正在漏沙的沙漏；第三个是时快时慢滴着水的水龙头。每个画面都配有同步滚动的文字，例如：水龙头两边滚动的文字表明了蒙塔达斯对媒体风景中图像流动的潜规则的思考：后退——迷思——前进——梦——假造——市场——真实。
蒙塔达斯颠覆了商业广告的语言，机智地用视觉艺术批判了电视影像的生产和消费。这三个片段——熔化、计时、缓慢——是挑战电视广告特定形式元素（剪辑时间、视觉速度、文本和图像的关系、叙述和格式）的视觉评论。具体事件（熔化的保险丝、计时器、缓慢滴水的水龙头）在现实中展开，于不经意间与剪辑后电视节目的碎片化和速度形成对比，也凸显了主导电视媒体风景的意识形态的公式：“时间就是金钱”。
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安东尼·蒙塔达斯
1987年，37分，DVD NTSC制式，彩色，声音
图片致谢艺术家
《跨文化电视》录像收录了来自五大洲、不同国家的大量电视节目。因此，这部作品也可以说是蒙塔达斯对素材进行活用的范例。这些素材的汇集得益于艺术家和世界各地的英文媒体的通力合作：艺术家首先要求各地媒体录下并寄出当地的日常节目，比如新闻集锦、头条新闻、插播、频道标志性节目。通过为本录像收集片段的方法我们也可以看到，正式的形式和美学规则确实存在，内容规则亦然，它们都重复出现在这些片段中，它们是视听领域自上世纪80年代以来就已高度全球化的证明。
关于本作品，蒙塔达斯写道：“电视反映了全球的文化、政治和经济范畴。这是一段关于电视的录像带。它的内容很零碎，仅代表我个人视角，也只是探究电视的其中一种方法。它有关电视所做的美化和包装，也有关编辑。作品由一个独立的编辑链条完成：包括摄像师、驻地记者、卫星、录像剪辑师、主持人、播音员、录像的观众、录像带的剪辑师，还有作为观众的你。”
安东尼·蒙塔达斯1942年出生于西班牙巴塞罗那，现工作生活于纽约。蒙塔达斯是七十年代中期视频和装置艺术的先驱，并持续通过摄影、录像、装置、录音、城市干预等媒介进行创作。其作品对诸如“社会框架下的公共与私人空间的关系”和“信息调查渠道及其可能被应用于传播想法的方式”等社会政治与信息传播问题进行了探讨。他的作品被认为是录像文化在当代艺术语境中获得肯定和独立地位的重要推动因素之一。
近期（部分）个展：
“蒙塔达斯：看，见，感知”，Vanguard画廊，上海，2019
“艺术卡尔斯鲁厄”，国际当代艺术，斯图加特，德国，2018
“蒙塔达斯录像作品展”，OCAT上海馆，上海，2017
主要群展：
伊斯坦布尔双年展，土耳其，2011
“转译：花园”第51届威尼斯双年展西班牙馆，威尼斯，意大利，2005
光州双年展，韩国，2004
第10届卡塞尔文献展，卡塞尔，德国，1997
惠特尼美国艺术双年展，纽约，美国，1991
第6届卡塞尔文献展，卡塞尔，德国，1977
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朱昶全
2015年，高清情境影像，彩色，双声道，5分46秒
图片致谢艺术家
《移植》是艺术家朱昶全“全因素影像”系列的开端作品，以纯粹的影像、声音语⾔，暗示了一种与记忆⽆关，也不受任何事物的引导关系。消解语言在日常⽣活中的叙事功能，让语⾔从表达问题的功能⾥独⽴出来，只留“腔调”。作品《移植》中，语⾔的逻辑如同经过数学计算⼀样被反复打散和建⽴，推理出了⼀种不带任何问题的表达。
朱昶全1989年出生于山东，现生活工作于杭州和上海。2014年毕业于中国美术学院跨媒体艺术学院，朱昶全从分析人的日常生活来介入艺术活动。他想通过分析影响人的日常行为中种种潜在因素来揭示当下日常生活的规律。他认为影像的效力并非源于自身承载的意义，而是缘于它们的潜在力量，能够释放观者自身积累的经验，并能在这巨大的社会机器运作之中更加自觉。朱昶全认为事情的发展绝非单线性的“全因素叙事”是艺术家对影像创作的理解，把影像与空间中的日常物品通过戏剧、动画、装置、绘画等各种形态生成新的叙事关系。
近期（部分）个展：
“一个动作的历史”，OCAT上海馆，上海，2018
“有头无脑”，Vanguard画廊，上海，2016
近期（部分）群展：
“朱昶全×李明：狂草狂草”，浙江美术馆，杭州，2020
“绵延：变动的中国艺术”，北京民生现代美术馆，北京，2020
“音画障”，PPPP空间，北京， 2019
“2017年第五届华宇青年奖入围展：室内宇宙”，华宇艺术中心，三亚，2017
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郑源
2018年，单通道⾼清视频，彩⾊，有声，27分48秒
图片致谢艺术家
作品《⼀段简短的历史：中国西北航空公司》是艺术家郑源的代表作之一，追踪了原中国西北航空公司曾运营的每⼀架⻜机在公司被兼并之后的最终去向。民用客机作为商品的特殊性，制造序号的唯⼀性以及网络数据的健全，使得这些不断移动着的客机成为在全球贸易中可被追踪的档案。作为中国改⾰开放过程中“政企分开”的⼀次尝试，作品对中国西北航空公司的“破产清算”显示出曾作为整体的物质基础是如何在被新经济体制接管后逐渐分解的。
郑源1988年出于兰州，现⼯作⽣活于三河。2015年毕业于芝加哥艺术学院，获电影，录像及新媒体艺术硕⼠。郑源的⼯作关注身份和价值体系在不同政治、社会与历史境况中的关系。他的影像创作往往处于虚构与调查性的研究之间，经常伴随着对既得图像的挪⽤与转译获得叠压的语境与互⽂性。
近期（部分）个展：
“前进的，后退的”，没顶画廊，上海，2020
“悬⽽未决”，泰康空间，北京，2017
近期（部分）群展：
“2020年第八届华宇青年奖入围展：漫长的问候”，尤伦斯当代艺术中心，北京，2020
“⾃由联接——2020 OCAT x KADIST⻘年媒体艺术家展览”，OCAT上海馆，上海，2020
“光影如⽹”，上海chiK11美术馆，上海，2019
“新冶⾦者”，Julia Stoschek Collection，杜塞尔多夫，德国，2018
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张鼎
2019年，数字图形、艺术微喷、铝板装裱，150.4 (H) x 200.4 (W) x 5 (L) cm
图片致谢张鼎工作室
《高速形式#5》是2019年张鼎个展“高速形式”的重要代表性作品，提出了“灰犀牛”概念与日常驾驶实践的同质关系。因当代金融危机频发状况于2016年出现的“灰犀牛”概念意指：“高度可能发生、将带来巨大影响却往往被人忽视的威胁。”人们往往将此概念与“黑天鹅”或“房间中的大象”等概念在相类似语境中展开讨论。一种本雅明式的危机定义与此非常相似：危机并不是从天而降、让人猝不及防的，而就存在于每一日的积累当中。作品本身以一种克制的方式探索了身体、载具及速度的关系。画面上汽车上真实大小的骏马，这一图像将身体强硬地掷于载具之外，扭转了载具与身体的既定意义。
张鼎出生于1980年，生活工作于上海。张鼎是在国际当代艺术界最为活跃的中国艺术家之一。他常创作的大型机械装置作品具有强烈整体性：主题、形式元素与诸多作品部分的紧密联系让他的展览看起来不是众多互相独立作品的横向陈列，而是一件结构缜密、纵向构筑的巨大作品。他曾通过惊人的、有某种新粗暴主义意味的空间装置将美术馆空间转变为华丽而荒诞的囹圄；在互不相干、相距甚远的展览空间之间搭建观念性桥梁；邀请众多风格迥异的乐队、声音艺术家在舞台上同时进行演出，扭曲并压缩声音、影像、空间——在展览现场发生的，往往不是创作成果展示，而是艺术创作过程。
近期（部分）个展：
“张鼎：控制俱乐部”，张鼎个展，复兴艺术中心，上海，2020
“高速形式”，张鼎个展，OCAT 上海馆，上海，2019
“安全屋”，张鼎个展，掩体空间、怀俄明计划、金杜艺术中心，北京，2018
“风卷残云”，外滩美术馆，上海，2016
主要群展：
“OCAT-皮埃尔·于贝尔奖入围展”，OCAT上海馆，上海，2014
“第12届⾥昂双年展”，里昂，法国，2013
“透视180－未完成的国家”，中国新影像，休斯顿当代艺术博物馆，休斯顿，美国，2012
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OCAT Shanghai is pleased to include these five works in our collections in 2020:
· Antoni Muntadas｜Media Ecology Ads, 1982
· Antoni Muntadas｜Cross-Cultural Television, 1987
· Zhu Changquan | Transplant, 2015
· Zheng Yuan | A Brief History of China Northwest Airlines, 2018
· Zhang Ding | High-Speed Forms #5, 2019
- Order by the year of creation -
Antoni Muntadas
1982, 12’22”, DVD NTSC, Color, Sound
Image courtesy of the artist
Media Ecology Ads was a video about television that was divided up into three sections, which referred to the notions of time, narrativity and information. In the video, the image is reduced to three short segments, each based on a minimalistic image that suggests an unstoppable and irreversible movement in time. The first is a fuse that burns from left to right across the screen, the second a sand clock whose grains run down the center of the picture are, and the third a faucet spewing water at faster and slower speeds. Each of these images is accompanied by a synchronized flow of text. The faucet, for example, is flanked on their side by a flowing column of words which suggest Muntadas' idea of the hidden principles that govern the flow of images in the media landscape: Back–Myth–Forward–Dreams–Fake–Market–Real.
Muntadas subverts the language of commercial advertisements in his witty visual critique of the production and consumption of television images. The three segments — Fuse, Time and Slow Down — are visual commentaries that challenge specific formal elements of TV advertising: edited time, visual speed, the relation of text and image, narration and format. Physical events evolving in real time — a burning fuse, a timer, a slowly dripping faucet — unfold in leisurely contrast to the fragmentation and speed of edited TV time, which signifies the "time is money" equation that dominates the market ideology of television's media landscape.
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Antoni Muntadas
1987, 37’, DVD NTSC, Color, Sound
Image courtesy of the artist
The video Cross-Cultural Television collects a substantial quantity of television programs from different countries across the five continents. It is therefore a paradigmatic example of a Muntadas project made on the basis of appropriated material. The material was compiled thanks to the collaboration of the correspondents of multiple expatriate media around the world, to whom the artists wrote requesting the recording and the sending of generic programs, such as newsreels, headers, inter-spaces, the seal identity of the channels and more. The way in which the video collects these segments reveals the existence of formal and aesthetic patterns and also of content that is repeated in all of them, leaving evidence of how deeply globalized the audiovisual sector already was by the end of the 80s.
Regarding this work, Muntadas writes: "Television reflects the global cultural, political and economic spectrum. This is a videotape about Television. It is a fragmented, personal view. It is only one of many ways to explore television. This is a videotape about the cosmetics and packaging of television. It is about editing. It presents the work of an independent chain of editors: the cameraman, the correspondant, the satellite, the videotape editor, the broadcaster, the anchorman, the viewers who recorded this material, the editors of this videotape and you, the viewer."
Antoni Muntadas was born in 1942 in Barcelona, Spain, and currently works and lives in New York, US. Muntadas was an early pioneer of video and installation in the mid-seventies, and he is continuely working with photography, video, installation, audio recording, and urban intervention. Through his works he addresses social, political, and communication issues such as the relationship between public and private space within social frameworks and investigates channels of information and the ways they may be used to sensor or promulgate ideas. His work is considered to be one of the important drives for the recognition of video culture in the context of contemporary art.
Selected Recent Solo Exhibitions:
Muntadas: Look See Perceive, Vanguard Gallery, Shanghai, 2019
Art KARLSRUHE, Brigitte March International Contemporary Art, Stuttgart, 2018
Muntadas Videoworks, OCAT. Shanghai, 2017
Selected Group Exhibitions:
Istanbul Biennial, 2011
On Translation: I Giardini. Pabellón español/Spanish Pavilion, 51. Biennale Internazionale d’Arte, Venezia, Italy, 2005
Kwangju Biennial, 2004
The 10th Documenta Kassel, Kassel, Germany, 1997
The Whitney Biennial of American Art, New York, US, 1991
The 6th Documenta Kassel, Kassel, Germany, 1977
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Zhu Changquan
2015, HD Scene Image, color, dual channel sound, 5'46”
Image courtesy of the artist
Transplant is an initial artwork of Zhu Changquan’s “All-factor Narrative” Series, which implies a relationship neither pertains to memories, nor would be influenced by any other objects with an authentic image and sound language. To dissolve the narrative function of language from daily life, it gets released from its function of iterating an issue, then becomes nothing but “intonations”. In Tansplant, the logic of language has been reshuffled and rebuilt like algorithms that is deduced into an expression without representing any issues.
Zhu Changquan was born in 1989 in Shandong, China, and currently lives and works in Hangzhou and Shanghai. He was graduated from the Studio of Experimental Image Media within the School of Intermedia Art at China Academy of Art. Zhu Changquan engages in artistic activities through analyzing everyday life. He attempts to reveal the rule of daily life based on a variety of potential factors which influence human’s daily behavior. He believes that the effectiveness of the image roots in its potential power rather than its general meanings. The potential power enables the viewers to release their accumulated experience, and get involved in the giant social machinery more consciously. From Zhu Changquan’s perspective, the development of things never follows a single-linear narrative, thus “All-factor Narrative” marks the central notion of his video works. Zhu Changquan builds a new narrative relation between intangible image and tangible daily objects by means of different languages, such as drama, animation, installation, painting, and etc.
Selected Recent Solo Exhibitions:
History of an action, OCAT Shanghai, Shanghai, 2018
Head Without Brain, Vanguard Gallery, Shanghai, 2019
Selected Group Exhibitions:
Zhu Changquan × Li Ming: Wild Cursive, Zhejiang Art Museum, Hangzhou, 2020
Duration: Chinese Art in Transformation, Minsheng Art Museum, Beijing, 2020
Audiovisual Obstructions, PPPP Space, Beijing, 2019
The Fifth Huayu Youth Award Exhibition: Indoors Universe, Huayu Art Center, Sanya, 2017
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Zheng Yuan
2018, Single-channel HD video, color, sound, 27’48”
Image courtesy of the artist
A Brief History of China Northwest Airlines is a representative work of Zheng Yuan, which traces the follow-up stories of every aircraft after the airline’s bankruptcy. The particularity of commercial aircraft as a commodity, uniqueness of the Manufacturer Serial Number, and adequate data from well-established networks of international civil aviation organizations made images of sustainable online circulation, commercial aircraft in constant motion overhead into traceable archives in global trade. As an attempt to separate government functions from enterprise during the process of China's reform and opening up, the archaeological investigation of China Northwest Airlines suggests how the potential airspace had been controlled by the strength of policies as a whole, and how material basis and value had been segmented after a take-over by the New Economic System.
Zheng Yuan was born in 1988 in Lanzhou, China, and currently lives and works in Sanhe. He was graduated from the School of the Art Institute of Chicago in 2015 with a Master degree. Working primarily with time-based media, Zheng’s work often operates at the intersection of fiction, documents, and investigative studies. His media practice focuses on identity and evaluation and its relationship with history, social, and representation.
Selected Recent Solo Exhibitions:
Forward, Backward, MadeIn Gallery, Shanghai, 2020
Up in the Air, Taikang Space, Beijing, 2017
Selected Group Exhibitions:
The Eighth Huayu Youth Award Exhibition: A Long Hello, UCCA, Beijing, 2020
UN/ CONVENTIONAL — OCAT x KADIST Emerging Media Artist Exhibition 2020, OCAT Shanghai, Shanghai, 2020
The Mesh, Shanghai chiK11 Art Museum, Shanghai, 2019
New Metallurgists, Julia Stoschek Collection, Düsseldorf, Germany, 2018
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Zhang Ding
2019, Digital image, giclee print, aluminum plate, 150.4(H) × 200.4(W) × 5(L) cm
Image courtesy of Zhang Ding Studio
High-Speed Forms #5 is a representative important artwork in the “Zhang Ding: High-Speed Forms” exhibition in 2019, which speaks of the notion of grey rhino in relation to the everyday life. According to Michele Wucker, a grey rhino is “highly probable, high impact yet neglected threat.” Coined in 2016, after numerous global financial crisis, it is often used and discussed along with the notion of the black swan or the elephant in the room. It is close to a Benjaminian definition of crisis, as that which happens and accumulates on a daily basis, and therefore should not be a surprise. The artwork explores the relationship between the bodily, the mechanical and the speed. Be it the life-size horse on the car, the image forcefully purge the body out of the speeding vehicle and subverts the established meaning of vehicle in relation to the body.
Zhang Ding, born in 1980 in Gansu Province, based in Shanghai, is one of the most active and influential Chinese artists in the international art scene. His large-scale installations are often total in nature; the integrated and meticulously structured relationships between given motifs and formal elements bring various components together into an architectural totality. From a New Brutalist gesture that locks down a museum space, turning it into a prison; a conceptual and physical staircase between different project spaces in downtown Beijing; a series of gigs over a period of fortnight at the ICA London, inviting bands and musicians to improvise one next to another, compressing and distorting sounds, images and spaces, Zhang Ding presents and deals with live processes and experiences.
Selected Recent Exhibitions/Projects:
Zhang Ding: CONTROL CLUB, ZHANG Ding Solo Exhibition, Fosun Foundation, Shanghai (2020)
High-Speed Froms, ZHANG Ding Solo Exhibition, OCAT Shanghai, Shanghai (2019)
Safe House, ZHANG Ding Solo Exhibition, the Bunker, Wyoming Project and the KWM artcenter, Beijing (2018)
Devouring Time, RAM, Shanghai (2016)
Selected Group Exhibitions:
OCAT-Pierre Huber Prize Shortlist Exhibition, OCAT Shanghai, Shanghai, 2014
Meanwhile… Suddenly, and Then, the Biennale of Lyon, Lyon, France (2013)
Perspectives 180 - Unfinished Country: New Video from China, The Contemporary Art Museum in Houston, Houston, U.S.A. (2012)
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当前展览
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
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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
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征稿启事
扩频Amplifier：OCAT上海馆媒体艺术专号
投稿截止日期：2021年3月14日
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