中國錄像藝術中的行爲與表演

摘要：ARTISTS: Cao Fei，Chen Xiaoyun，Dai Chenlian，Hu Xiangqian，Jiang Zhi，Kan Xuan，Li Binyuan，Li Liao，Li Ming，Li Ran，Lin Yilin，Ma Qiusha，Payne Zhu，Shi Qing，Tang Dixin，Tao Hui, Tong Wenmin，Wang Jianwei，Xu Zhen，Yan Xing，Yao Qingmei，Zhang Qing，Zhou Tao, Zhao Zhao。What “Embodied Mirror" attempts to explore is the intimate exchange between video art and performance in the history of Chinese contemporary art. At its inception, video art in China was integral to performance art. With time passing through the camera lens, Zhang Peili’s 30 x 30 (1988) allowed the viewer to observe the body objectively, from which to arrive at the impact of its metaphorical effects. Thereon, in the development of video art in China, many artists have adopted strategic approaches to extend the mediums of video art and performance for one another. This exhibition presents five themes, "Autobiography," "Event," "Dancer," "Speaker," and "Theater." Each topic will address an independent clue in combing through the diverse and complex phenomenon of this overlapping domain.。

展覽名稱：具身之鏡-中國錄像藝術中的行爲與表演

展覽時間：2020.5.22-8.30 週二-週六12：00-17：00

策展人：楊北辰

參展藝術家：曹斐、陳曉雲、戴陳連、胡向前、蔣志、闞萱、厲檳源、李燎、李明、李然、林一林、馬秋莎、佩恩恩、石青、唐狄鑫、陶輝、童文敏、汪建偉、徐震、鄢醒、姚清妹、章清、周滔、趙趙

展覽空間設計：梁琛

展覽地址：新世紀當代藝術基金會丨北京朝陽區798藝術區797東街A05

展覽簡介：

新世紀當代藝術基金會北京空間5月22日推出影像研究展第二期——“具身之鏡：中國錄像藝術中的行爲與表演”，展覽展出24位藝術家的影像作品，由楊北辰策劃。

“反投影：早期中國錄像藝術中的媒體雕塑”

文/楊北辰

表演的唯一生命就是在當下。其不能被保存、錄製、紀錄，或以其他方式參與到“再現的再現”的流通中：一旦這樣做了，它就變成了表演以外的東西。到了表演試圖進入再生產經濟的程度，它就背叛與削弱了自身的本體承諾。

——佩吉·費倫

在費倫這樣的表演原教旨主義者眼中，表演一旦淪爲圖像再生產的對象便會徹底墮落，這背後自然有第二次前衛藝術運動所宣揚的“去物質化”立場——認爲媒體與資本主義同構——只不過這種意識形態在新的媒介現實面前多少顯得不堪一擊。自1960年代開始，表演便逐步與媒體藝術相結合，在現場經驗與再生產、呈現與再現間擺盪，進而我們發覺，如今被稱爲經典的“行爲藝術”，往往都以某種媒介化的形式得以留存。錄像藝術無疑是其中極爲重要的一環。錄像化的表演或表演性的錄像衍生出了多種複雜的形態，身體與技術的互動將兩種不同的話語糅合在一起，有機與人工、即時與紀錄、肉身與屏幕不可避免的發生着摩擦與交融。而這正成爲了本次展覽的出發點。

“具身之鏡”試圖探討的即是在中國當代藝術的歷史中，錄像藝術與表演之間展開的密集交流。中國錄像藝術的開端便與表演相關，在張培力1988年的作品《30x30》中，我們得以管窺攝影機在時間流逝中對於身體的客觀觀察，及其形成的極具衝擊力的寓言式效果。在之後中國錄像藝術的發展中，不斷有藝術家採取策略化的方式，將錄像與表演設置爲互爲延展的領域。整個展覽被劃分爲五個主題：“自傳”、“事件”、“舞者”、“演講者”與“劇場”。每一個主題都涉及一條獨立的線索，以梳理這個交叉地帶中紛繁複雜的現象。

“具身之鏡”指向了這樣一個事實，即錄像並沒有爲表演帶來新的“舞臺”，而是一個通往世界的“鏡面”或“出口”；其作用亦並非僅僅在於解放身體，或令其擺脫社會與歷史語境的規約，而是提供了新的戰術裝置或解碼器：影像化的身體如同一個“不朽的”與“可傳播”的化身，在這種情境中，媒介呈現爲嶄新的生命情景，而主體對於現實的回應已被轉化爲共通的媒介感知。

參展作品

自傳

Autobiography

曹斐丨Cao Fei

《鏈》丨Chain Reaction

2000

錄像，彩色，有聲丨Video, Color, Sound

5' 25''

圖片由藝術家和維他命藝術空間提供丨Images courtesy of the artist and Vitamin Creative Space

馬秋莎丨Ma Qiusha

《愛情事件》丨An Incident of Love

2004

錄像，彩色, 無聲丨Video, Color, Silent

1' 12''

圖片由藝術家和北京公社提供丨Images courtesy of the artist and Beijing Commune

李明丨Li Ming

《讓光來證明我正在消逝》丨Prove that I am Elapsing with the Light

2007

錄像，彩色，有聲丨Video, Color, Sound

7' 21''

圖片由藝術家提供丨Images courtesy of the artist

鄢醒丨Yan Xing

《藝術，太藝術的》丨Arty, Super-Arty

2013

錄像，黑白、無聲丨Video, Black&White, Silent

9' 16''

圖片由藝術家提供丨Images courtesy of the artist

陶輝丨Tao Hui

《談身體》丨Talk About Body

2013

錄像，彩色，有聲丨Video, Color, Sound

3' 45''

圖片由藝術家提供丨Images courtesy of the artist

厲檳源丨Li Binyuan

《自由耕種》丨Freedom Farming

2014

錄像，彩色，有聲丨Video, Color, Sound

5' 02''

圖片由藝術家提供丨Images courtesy of the artist

事件

Event

徐震丨Xu Zhen

《喊》丨Shouting

錄像，彩色，有聲丨Video, Color, Sound

4' 00''

圖片致謝藝術家和沒頂公司丨Images courtesy of the artist and MadeIn Company

闞萱丨Kan Xuan

《闞萱! 哎！》丨Kanxuan Ai!

1999

錄像，彩色，有聲 | Video, Color, Sound

1' 22''

圖片由藝術家提供丨Images courtesy of the artist

唐狄鑫丨 Tang Dixin

《蘆葦》| Reed

2009

錄像，彩色，有聲 | Video, Color, Sound

10' 17''

圖片由藝術家提供丨Images courtesy of the artist

李燎丨Li LIao

《一記武漢》丨A Slap in Wuhan

2010

錄像，彩色，有聲丨Video, Color, Sound

5 '09''

圖片由藝術家提供丨Images courtesy of the artist

趙趙丨Zhao Zhao

《雨》丨Rain

2012

錄像，彩色，有聲丨Video, Color, Sound

15 '35''

圖片由藝術家提供丨Images courtesy of the artist

佩恩恩 Payne Zhu

《每個人都是企業的同時也是產品》丨Each Is a Corporate and Each Is a Product

2015

錄像，彩色，有聲 | Video, Color, Sound

12' 17''

圖片由藝術家提供丨Images courtesy of the artist

舞者

Dancer

蔣志丨Jiang Zhi

《飛吧，飛吧》丨Fly, Fly

1997

錄像，黑白，有聲丨Video, Black&White, Sound

5' 15''

圖片由藝術家提供丨Images courtesy of the artist

章清丨Zhang Qing

《的士桑巴》丨Taxi Samba

2003南京 Nanjing

2005德國 Germany

錄像，彩色，有聲丨Video, Color, Sound

6' 00''

圖片由藝術家提供丨Images courtesy of the artist

陳曉雲丨Chen Xiaoyun

《拉》丨Drag

2006

錄像，彩色，有聲丨Video, Color, Sound

4' 11''

圖片由藝術家和香格納畫廊提供丨Images courtesy of the artist and ShanghART Gallery

周滔丨Zhou Tao

《互助練習》丨Mutual Exercise

2009

錄像，彩色，有聲丨Video, Color, Sound

10' 54''

圖片由藝術家和維他命藝術空間提供丨Images courtesy of the artist and Vitamin Creative Space

林一林丨Lin Yilin

《金色遊記》丨Golden Journey

2011

錄像，彩色，有聲丨Video, Color, Sound

16' 40''

舊金山藝術學院和卡蒂斯特藝術基金會委約創作

圖片由藝術家提供

Commissioned by San Francisco Art Institute and KADIST Art Foundation

Images courtesy of the artist

童文敏丨Tong Wenmin

《盤旋》丨Hover

2017

錄像，彩色，有聲丨Video, Color, Sound

6' 00''

圖片由藝術家提供丨Images courtesy of the artist

演講者

Speaker

胡向前丨Hu Xiangqian

《向前美術館》丨Xiang Qian Museum

2010

錄像，彩色，有聲丨Video, Color, Sound

14' 31''

圖片由藝術家提供丨Images courtesy of the artist

李然丨Li Ran

《聖維克多爾山》丨Mont Sainte-Victoire

2012

現場表演、幻燈片裝置丨 Live performance & Video Installation

34' 36''

圖片由藝術家提供丨Images courtesy of the artist

戴陳連丨Dai Chenlian

《如何成爲一個藝術界裝逼犯》丨How to Become A Zombie in the Art World

2012

錄像，彩色，有聲丨Video, Color, Sound

10' 07''

圖片由藝術家提供丨Images courtesy of the artist

姚清妹丨Yao Qingmei

《三足鼎及其鼎紋研究：關於“鐮錘”符號起源與發展的幾種假設》丨 Sanzu Ding and its Patterns : Hypotheses on the origin of the hammer-sickle sign

2013年至今2013 – present

錄像節選，彩色，有聲丨 Video, Color, Sound

15’ 00’’

圖片由藝術家和魔金石空間提供丨Images courtesy of the artist and Magician Mpace Beijing

劇場

Theater

石青丨Shi Qing

《厭食症》丨Anorexic

2006

錄像，彩色，有聲丨Video, Color, Sound

18' 00''

圖片由藝術家提供丨Images courtesy of the artist

汪建偉丨Wang Jianwei

《三岔口》丨Dilemma - Three Way Fork in the Road

錄像，彩色，有聲丨Video, Color, Sound

2007

10' 00''

圖片由藝術家提供丨Images courtesy of the artist

Embodied Mirror: Performances in Chinese Video Art

2020.5.22-8.30

OPENING: 5.22 15:00

CURATOR: Yang Beichen

ARTISTS: Cao Fei，Chen Xiaoyun，Dai Chenlian，Hu Xiangqian，Jiang Zhi，Kan Xuan，Li Binyuan，Li Liao，Li Ming，Li Ran，Lin Yilin，Ma Qiusha，Payne Zhu，Shi Qing，Tang Dixin，Tao Hui, Tong Wenmin，Wang Jianwei，Xu Zhen，Yan Xing，Yao Qingmei，Zhang Qing，Zhou Tao, Zhao Zhao

EXHIBITION DESIGN: Liang Chen

OPENING HOURS: Tue.-Sat. 12:00-17:00

ADD: No. A05, 797 East Road, 798 Art Zone, Chaoyang District, Beijing

Text/Yang Beichen

Performance's only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representations: once it does so, it becomes something other than performance. To the degree that performance attempts to enter the economy of reproduction, it betrays and lessens the promise of its own ontology.

—— Peggy Phelan

In the eyes of a performance fundamentalist like Phelan, once this medium degrades to the object of reproduction of images would be fully degenerate. Behind this, one would likely find its supporting position of "dematerialization," advocated by the second avant-garde art movement. Where the medium is isomorphic to capitalism – only that such ideology seems somewhat flimsy before the realities of a new medium. Since the 1960s, performance became integral to media art, in the swings of live experience and reproduction, presentation and representation, we come to realize that what was once referred to as the classic "performance art" often preserved in a mediated form. Video art is undoubtedly one of the critical loops. Recorded performance or performance videos derived into many complicated forms, the interactions between the body and technological media bring together two different types of discourse, where the organic and the artificial, the immediate and the documentary, the flesh and the screen generate unavoidable friction and integration. These are the points of departure for this exhibition.

What “Embodied Mirror" attempts to explore is the intimate exchange between video art and performance in the history of Chinese contemporary art. At its inception, video art in China was integral to performance art. With time passing through the camera lens, Zhang Peili’s 30 x 30 (1988) allowed the viewer to observe the body objectively, from which to arrive at the impact of its metaphorical effects. Thereon, in the development of video art in China, many artists have adopted strategic approaches to extend the mediums of video art and performance for one another. This exhibition presents five themes, "Autobiography," "Event," "Dancer," "Speaker," and "Theater." Each topic will address an independent clue in combing through the diverse and complex phenomenon of this overlapping domain.

“Embodied Mirror" points to the fact that video art does not necessarily provide the "stage" for performance, but a "mirror" or "exit" to access the world. It does not necessarily emancipate the body or to isolate it from the confines of social and historical discourses, but provides new strategic device or decoder. Where the body becomes the embodiment of "eternity" and "transmission" in the context of moving image, and the medium becomes a new scenario of life. At the same time, the subject's response to reality translates into a shared media sensibility.