录像艺术访谈计划VIDEO ART RESEARCH PROJECT
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[楼主] 录像艺术 2008-10-23 13:55:59
录像艺术访谈计划（初稿）

计划完成（2008——2010）


录象艺术在中国

研究目的：
1、及时记录和保留中国当代艺术中录象艺术的发展过程，搜集研究材料，保存艺术家的口述录象艺术发展的历史。
2、清理录象艺术家的个人创作的发展脉络，记录重要作品的社会背景，构思起因和完成过程，以及作品和作品之间的上下文关系，承接、延续、转折和断裂，以及背后的原因是什么。
3、通过个案研究，找到相同时间段的艺术家的相关联处，在大的时代背景下，录象艺术家如何通过媒介来表达相似的精神氛围。
4、个案研究同样会清理出每个人的风格和特点，以及不同的创作方法、针对问题设定、美学追求、与媒介结合的方式，并呈现出彼此之间的差异性。
5、搜集录象艺术家所参与的艺术运动和展览，对艺术家个人和艺术社会所发生的影响力。
6、关注东、西方之间的差异性，中国的录象艺术家是如何反思西方录象体系的，并如何做出判断和选择。

拟定问题（根据访谈对象做不同的修改）：
1、对录象媒介的理解，为什么使用录象媒介。
2、以前所吸收的养分来源和学习经历。
3、关于如何在媒介的角度上开展新的媒介语言实验，是否有了进一步的，有创造力的发展。设备是否具有其他的可能性？如何使用新技术？
4、在题材、内容和表达方式上如何符合当下时代的精神氛围，如何转化和处理这些素材？是否有新的或者个人化的趣味倾向在录象艺术中产生？
5、是否具有政治上的激进性？政治取向和所信奉的价值观是什么？试图通过作品表达什么？
6、什么样的手法更适合表达这些？录象艺术的形式和内容的关系。
7、结合具体作品，谈个人的艺术创作的过程，线索，突破，与自己所建立起来的创作规则等问题。
8、录象与叙事，录象与时间，录象与图象之间的关系，录象作品的完成结构的问题。
9、录象艺术与其他艺术媒介的关系，很多艺术家已经不仅仅是单一媒介的录象艺术家，而从事多种媒介的艺术创作，在这些实践中的互相联系与影响。
10、当录象艺术这种媒介的实验在世界范围内相对成型和完善时，对于中国当代录象艺术而言，又意味着什么。如何看待和处理东、西方之间的关系。

以下艺术家的名字如果是加粗蓝色则可点击

（一）、90年代，录象艺术在中国的发生阶段

一、对录象本体语言的关注，从最初的接触到探索媒介的可能性，牵引了中国录象艺术的整个线索。
张培力 1957（线索比较多）
王功新 1960（日常性）
汪建伟 1958（戏剧与文本）
李永斌 1963（比较抽象）

二、对于新媒介和互动装置的使用
周啸虎 1960（动画与雕塑）
胡介鸣 1957（互动装置）
施勇 1963（声音与表演）

三、倾向于不同的艺术门类与录象艺术的结合
徐坦 1957（录象与概念）
李巨川 1964（录象与建筑）
林一林 1964
颜磊 1965
陈绍雄 1962（录象与水墨）
宋东 1966（录象与行为）
朱加 1963


（二）、2000年之后，录象艺术在中国的发展阶段，录象艺术运动

一、录象艺术运动（呈前启后）
邱志杰 1969（与吴美纯策划的相关录象艺术的活动）

二、延续了传统的录象语言，注重剧情和画面的表现，在题材上隐寓、象征性为主的艺术家及主要作品
杨福东 1971
《竹林七贤》（5部）
石青 1969
《厌食症》
蒋志 1971
《食指》
陈晓云 1971
《关于莉莉花园的一切》
陆春生 1968
《化学史》

三、具有行为表演性质，更多的对个人内心和生活体验关注的录象艺术家及主要作品
徐震 1977（个人私密体验，表演性行为性录象艺术）
《彩虹》、《喊》、《十八天》
阚萱 1972（身体与日常生活）
《阚萱，哎》
梁玥 1979
宋涛 1979（表演性）
与鸟头的合作 《我美丽的张江》
张鼎 1980（对少数民族聚居区的宗教信仰，边缘人群等问题的关注，与社会的不协调的抗争的状态）
《工具》
杨振中 1968（以录象媒介方式的实验性为主，与日常生活的结合方式，网络艺术）
《看店》、《不许动》、《吞图》
邵一（宗教）

四、加入手绘动画、游戏等其他新媒介因素的艺术家及主要作品。
冯梦波 1966
曹斐 1978（与表演性相连）
《中国翠西》
唐茂宏 1975
《兰花指》
孙逊 1980
《魔术师》
邱黯雄 1972
《山海经》
曹恺 1969（游戏）
王篷（材料实验）
张辽源（行为记录）

录像艺术访谈计划执行小组负责人：付小东


本计划得到了王子基金会的大力支持我们在此表示诚挚的感谢！也感谢上海比翼艺术中心为此项目所做的努力！


CHINESE CONTEMPORARY VIDEO ART RESEARCH PROJECT (First Draft) 2008-2010


GENERAL INTRODUCTION

These last few years, China contemporary art initiated an increasing focus from the international art scene, and the Chinese art market reached unprecedented records. This phenomenon was furthermore intensified by the multiple biennales, art fairs and exhibitions held in China and abroad. However, although numbers of publications on this matter have been written, most of them mainly consist in a cataloguing of Chinese artists without real analysis. With the development of new technologies and its access facility, video art became more and more popular, and is one of the principal media used nowadays. We all heard about the successful works of Yang Fudong and other artists, but none thorough research has been made on the history of video art in China.

Therefore, Art-Ba-Ba is happy to present a study on Chinese video art that everyone will be able to read, comment and discuss about. Although this research will be as objective as possible, collected information will be - consciously or not - treated under a certain angle (like any other studies), if only because of the video artists’ selection. Through this online confrontation with other professionals from the art field (including artists, curators, critics, etc), this research will be continuously developed and cover various aspects of Chinese video art history.

This project is supported by the Prince Claus Fund through BizArt Art Center.



RESEARCH WORKING PROCESS
By Fu Xiaodong

1 – Interviews and collected information analysis (from 2008 to 2010)

1.1 – Study's outlines:

a. General features: outline video art development process, collect any related documents as well as artists’ own descriptions about video art history.
b. Background: video art history is closely related to artists’ social background. Video artists will be classified according to their artistic evolution and thoughts. Main works will be analyzed from their initiation to their production in relation to their social and historical context. Furthermore, links between the works, whether continuous, transitional or discontinuous will be studied.
c. Artists community: through this study, figure out relationships between the artists, their common points, their background and understand their choice for this medium.
d. Key artists: individual research to analyze each artist’s style and particularities, their different creating methods, their way of facing issues, their aesthetic requests, and their specific use this medium.
e. Exhibitions/Activities: research exhibitions and events featuring these video artists, analyze their influences on other artists and the art society.
f. West-East differences: focus on the differences between Eastern and Western world, how Chinese video artists reflected upon Western video art system, their judgment and choices.

1.2 - Relevant issues (to be modified according to the interviews)

a. Why using video?: the choice of video as a medium.
b. Source of the assimilated information and studies’ history.
c. Experiment new media language, is this a progress? Does it stimulate creation’s development? Are there other technical possibilities? How to use new technologies?
d. How technique, artworks’ topics and means of expression correspond to various periods’ thoughts, how to convert and handle these materials?
e. Are there any radical political views? What are the political orientations and beliefs values?
f. What are the best media to express these topics? Relation between video art’s form and content.
g. Gather artworks; analyze artists’ individual creating process, rules, lines, break-troughs and other issues.
h. Relation between video and narration, video and time, video and images, issues related to the structural completion of a video.
i
相关帖子
·王功新(Wang Gongxin)
·开放的日常经验——王功新访谈
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