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动为行——中国媒体艺术35年 Motion Is Action – 35 Years of Chinese Media Art 2023.09.22 – 2024.02.25
策展人 Curator 张尕 (Zhang Ga)
天目里美术馆 中国杭州市西湖区天目山路398号，天目里1号楼 BY ART MATTERS 1# OōEli, 398 Tianmushan Road, Xihu District, Hangzhou, China |
aaajiao、施政参加天目里美术馆展览“动为行——中国媒体艺术35年”。展览由张尕策划，首次以中国当代艺术史角度呈现的回顾性展览。藉由纵览媒体艺术在中国的发展和变化，探讨信息时代带来的媒介拓展在当代艺术演化过程中所起的重要作用，并就场景的再造，时空的改写，感知的错位，形式语言的锻造和社会文化的反思等一系列问题进行思考。
此次展览共汇集了72位/组不同代际艺术家的79件代表作品，囊括影像、装置、行为、交互、游戏、网络等作品形式，视角回溯至早期的录像艺术实践，亦延展到对人工智能、太空艺术等新兴媒材或艺术形态的前沿探索。这些作品按照时间顺序串联，以“运动”为关键词展现“作为行动的运动”、“作为互动的运动”和“作为能动的运动”三个章节。
aaajiao，《观察者》， “动为行——中国媒体艺术35年”，展览现场，天目里美术馆，摄影：姜六六
aaajiao, bot, “Motion Is Action – 35 Years of Chinese Media Art”, Installation view, BY ART MATTERS, Photo by Liuliu Jiang
展出的aaajiao作品《观察者》展示了一个数字化的过去与对应的当下互相交织的环境。在这片交汇处，本地与全球网络、社交媒体、园林结构、公园、以及最终出现的自然本身，都合并至一种数字化的超表象(hyper-representation)之中。
展出的施政作品《熔于时间#1》（由UCCA尤伦斯当代艺术中心委任），展现了一座冰山缓缓崩塌，最终落入海洋。受到一段记录格陵兰峡湾巨大冰山坍塌视频的启发，施政采用计算机生成图像技术，在这件影像作品中重现了冰山轰然消融的全过程。在艺术家看来，冰架坍塌的自然现象并非“自然”发生，而可以看作是气候变暖的趋势下人类时间、地质时间与技术时间的对抗。通过数字手段的操纵，自然可以被高度逼真地模拟、重演，这也隐喻着人类行为对自身生存环境的影响与改变，施政旨在对人类与其所处环境的关系提出质疑：自然原本安如磐石的结构是如何一步步走向变动愈加频繁和剧烈，逐渐失控的局面？
施政，《熔于时间#1》， “动为行——中国媒体艺术35年”，展览现场，天目里美术馆，摄影：姜六六
Shi Zheng, Melting in Time #1, “Motion Is Action – 35 Years of Chinese Media Art”, Installation view, BY ART MATTERS, Photo by Liuliu Jiang
展览的主题”动为行”，关注的是“运动即行动”的概念。作为运动中的艺术，媒体艺术借由技术营造多种运动形态以创造叙事、探索变化和转型的主题，同时挑战观众对现实的感知。通过不同形态的运动，艺术家以其独特的方式传达他们对时代的思考和回应。展览已于2023年9月22日开幕，将持续至2024年2月25日。
aaajiao and Shi Zheng participated in the BY ART MATTERS exhibition “Motion Is Action – 35 Years of Chinese Media Art”. The exhibition curated by Zhang Ga and marks the first retrospective presentation of Chinese contemporary art history from a Chinese perspective. By examining the development and transformations in Chinese media art, the exhibition aims to explore the significant role of media expansion in the evolution of contemporary art, brought about by the information age. Through this exploration, the exhibition examines a series of thought-provoking issues, including scene reconstruction, the manipulation of time and space, perceptual misalignment, the creation of new artistic languages, and reflections on social and cultural contexts.
This exhibition brings together 79 representative works by 72 artists and groups from different generations. The works encompass a variety of media, including video, installations, performance art, interactive pieces, games, and digital art. The exhibition not only reflects on the early practices of video art but also delves into the cutting-edge exploration of emerging media and art forms such as artificial intelligence and space art. The artworks are connected in chronological order and revolve around the thematic keyword of "motion." The exhibition is divided into three chapters: “Motion as Action”, “Motion as Interaction”, and “Motion as Agency”.
aaajiao，《观察者》，2017-2018，单频彩色录像、网站，15'32''，尺寸可变
aaajiao, bot, 2017-2018, Single channel video, color; Website, 15'32'', Dimension variable
aaajiao’s work bot, displays an environment deeply intertwined with by a digital past as well as its present counterpart. Reflecting on this intersection, local and global networks, social media, gardening structures, parks, and finally nature itself all become amalgamated into a digital hyper-representation.
Shi Zheng’s work Melting in Time #1 (Commissioned by UCCA) shows an iceberg slowly breaks apart, disappearing in the sea. Inspired by a video of the collapse of a massive iceberg in a Greenland fjord, Shi Zheng uses computer-generated image technology to reimagine the entire process in this video work. In the artist's view, the collapse of an ice shelf is not a natural event, but a confrontation between human time, geological time, and technological time against the backdrop of climate change. Through digital manipulation, nature can be simulated and reproduced hyperrealistically, which also is in itself a metaphor for how human behavior has impacted and transformed the environments in which we live. The artist questions the relationship between humans and their surroundings: how did the primordial, stable structures of nature move incrementally towards more frequent and violent changes? How did nature gradually become unmoored?
施政，《熔于时间#1》，2022，单频数字影像，08'00''
Shi Zheng, Melting in Time #1, 2022, Single-channel digital video, 08'00''
The theme of the exhibition “Motion as Action”, highlights the central idea of “movement as action.” Media art, characterised by its dynamic nature, utilises technology to generate various forms of motion, enabling the creation of narratives and exploration of evolving themes. Simultaneously, it challenges the audience's perception of reality. Artists, through diverse modes of movement, express their distinctive reflections and responses to the contemporary era.
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