张培力作品《30x30》由泰特美术馆永久收藏
发起人:号外号外  回复数:0   浏览数:2336   最后更新:2017/02/04 20:46:43 by 号外号外
[楼主] 号外号外 2017-02-04 20:46:43

来源:博而励画廊



我们十分荣幸地宣布,泰特美术馆理事会经协商后决定向博而励画廊收藏张培力视频录像装置《30x30》,1988, 1/1 AP,该项收购将由亚太收藏委员会出资。

这件张培力的早期录像作品被许多人视为中国影像作品的开山之作,我们期待着这件作品在今后于泰特美术馆的展示,在更国际化的平台下传递价值。

We are delighted to report that the Board of Trustees of the Tate Gallery approved the acquisition of work 30x30, 1988, 1/1 AP, which has been purchased with funds provided by the Asia Pacific Acquisition Committee, through Boers-Li Gallery, Beijing.

This Key work of Zhang Peili was considered by many to be the first piece of video art produced in China. We are looking forward to including it in future displays at Tate sites.


作品介绍

张培力,30x30,1988,单视频录像(PAL 格式),有声,彩色,32分09秒

Zhang Peili, 30x30, 1988, single channel video (PAL), sound, color, 32'09''



张培力早期录象作品《30X30》获许多人视为中国首部影像作品。作品展示张培力将一块镜子砸碎,然后以胶水将碎片粘合,重新拼回原来的样子。此作品响应当时刚在市场经济下崛起的大众娱乐与家用电视。《30X30》通过沈闷画面,挑战大众传媒所宣扬的观看习惯, 并且嘲笑社会对于流行电视的反应。这件作品强调观众的被动性,同时也终结“85 新潮” 时期艺术家身上弥漫的自恋情结;同其他类似作品一样,作品的录制过程将近一百八十分钟, 一直拍摄录至录像带的终结,这种持续性是奠定后 - 工作室当代艺术的因素之一。

In the key work 30x30, considered by many to be the first piece of video art produced in China, the viewer witnesses the artist repeatedly if dispassionately smashing a mirror with dimensions of 30x30 cm into pieces and then repairing it by gluing the shards back together. Reacting to the increasing popularity of mass entertainment and home television, the work employs an aesthetics of boredom to challenge mass media viewing conventions and mock the social consequences of popular television. The work also reflects a backlash towards the narcissism and passive spectatorship of the era, opening up a possibility of critique that would be continued for at least a decade. As with several such earlier works, the process continues for approximately 180 minutes, precisely until the video tape in the camera runs out—this durational aspect is an important aspect of the definition of the action within post-studio contemporary art.

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