在学界，对于几类影像经常没有严格区分，录像、实验电影、独立动画、新媒体艺术等都被囊括到笼统的影像名目之下。比如在2011年民生现代美术馆的“中国影像艺术20年展”中，展览方就试图以影像（英文则译为Moving Image）指对过去20年中国当代艺术中出现的所有动态影像。研究者董冰峰曾就此提出商榷意见，他引用德勒兹的观点认为，电影应该置于一个时间关系当中去理解而不是只看到影片本身。他觉得“Moving Image”这个词似乎对应的是电影诞生之初的画面运动与组织的关系，而中国当代艺术家之所以喜用“活动影像”的概念是因为，他们大都以绘画与雕塑背景介入电影，缺乏电影本身的训练，故而首要关注的问题还是画面。（董冰峰：《1980年代以来中国艺术家的电影影像》）在2015年湖北美术馆的“再影像：光的实验场”中，策展人将传统的摄影、纪录片、独立影像以及基于计算机技术而发展起来的新媒体呈现、甚至以声光电为媒介的融合性装置都纳入了展览中。有的学者注意到展览题目的英文翻译使用的是“Beyond Image”，似乎带有超越既有的影像认识，呈现另一种影像状态的意思。这正是源于对目前越来越综合和错综复杂的影像艺术的真实认知。
“JE est un autre” rooted in the discussion about the relationship between “the self” and "the other" in the western modern and contemporary philosophy, thoughts and literature. We use it as the theme of this video and image festival is to explore the extended multiple significances in a context of globalization.
I. The Origin of the Theme
In fact, from June 1st to June 2nd in this year, we cooperated with Université Paris 8 to hold the first symposium of “JE est un autre” series forum. The theme of this symoisium elaborated and revealed: "'JE est un autre' is quoted from a letter of the French symbolism poet Jean Nicolas Arthur Rimbaud in 1871-"Lettre à Paul Demeny", in this letter he wrote 'Car Je est un autre'. In this Promethean sentence, Rimbaud predicted the mission of poets and artists in the future is: to open themselves to the unknown fields, and they will obtain all kinds of creation forms from the prescient practices. From the beginning of the surrealism, this thought has had a profound effect on the 20th century’s art. All the poetry anthologies of Rimbaud, and his vagabond life, are constantly resonating with many contemporary art works: 'id', 'me', 'self' and 'diversity'." The first symposium’s subtitle is "Images de soi, images de I’autre dans I’art contemporain", it assembled many French and Chinese scholars and artists for special speeches and dialogues, it tried to explore the construction modes of "the other" and " the self" in contemporary art, as well as the identity issues of artists and their differences among the various visual fields.
Our general topic of this video and image festival is “JE est un autre”, we want to highly combine the discussions and the exhibition scenes. Because the video and image festival has foreign documentary photography, famous photojournalism works and the video screening, as well as the colony formation of domestic active experimental photographic artists’ solo exhibitions, and the explorations based on the local interactions of emerging groups and the parts of public images that produced links. As for the medium of photography and video itself, it has become the intermediate medium between the self and the so-called reality, the self often requires this kind of mirroring projection to form the confirmation. While in the "universal images" video that collected from different geographical regions, local and global, east and west, this place and elsewhere and such factors often as the highly intertwined "diversity" factors, the relationship between them have become the syncretic status that you are in my mind and I am in your mind, they constructing each other and continuous dissolving the inherent identity construction. The more interesting thing is, it is difficult to divide some sections of the video and image festival into absolutely east and west, domestic and overseas, they are in the undefinable "intermediate zone". These "in-between" status include the external regional relations, media relations, the relationship between virtual and reality, and also include the double identities of the self and the other within one’s own, dream and truth, life and death, and the congruent reaction of visual seeing with physiological and psychological activity. We hope the coincident mode of the exhibitions and the symposium’s topic will make the discussion of this theme broader and deeper, and obtain continuous academic effect.
II. Comprehensive Experiments
In this video and image festival, some of our units are already not the so-called existing disciplinary norms of photography and video, but the comprehensive experiments that have subverted the subsector between the media and the so-called ontological problem.
In academic circles, it doesn’t have strictly distinction for several types of videos, tape video, experimental film, independent animation and new media art are belonging to the general name of video. For example, in 2011, in “Moving Image in China: 1988-2011” of Shanghai Minsheng Art Museum, the organizer tried to use moving image to refer to all the dynamic images in Chinese contemporary art during the past 20 years. Dong Bingfen the researcher gave his opinions about it, he quoted Gilles Deleuze's viewpoint that a film should be placed in a time relationship to understand and we shouldn’t only to see the film itself. He thought the word "Moving Image” were corresponding the relationship between image movement and the organization at the beginning of the birth of film, the reason that Chinese contemporary artists are pleased with the concept of "Moving Image" is most of them were in the background of painting and sculpture when they get involved with film, they were short of the training of film, therefore the top issue they concerned about is still images. (Dong Bingfeng: “Film Images of Chinese Artists since the 1980s”) In 2015, in "Beyond Image: Laboratory of Light" of Hubei Art Museum, the curators included the traditional photography, the documentary films, the independent videos and images, the developing new media presentation based on computer technology, even the syncretic installations with sound and light medium to the exhibition. Some scholars noticed the English translation of the exhibition topics was "Beyond Image", it seemed to have the meaning of beyond the existing understanding of video and image and present another status of video and image. This is from the real cognition of the increasingly comprehensive and complex video and image art at present.
I am not to deny the distinctions of the concepts of multiple videos and images, however, the reality we are facing is the increasingly intersectional and blurred state of these kinds of videos and images. Li Zhenhua who focuses on video art curation has talked about the relevancies and the distinctions of video and film, action art record, performance, animation, short film, documentary film and new media art in “About Video Art: The Origin, Classification of Video Art, the Characteristics Decided by Display”, from which we can see the characteristics of the fusion of video art and these kinds of expressions.
In addition to the self-contained crossovers of different types of video and image art, in the field of contemporary art, there is also a prominent phenomenon that the boundaries of disciplines and characters has become increasingly blurred. Some contemporary art practices have not only broken the boundaries of inherent medium such as painting, video, installation, and action art, and even the boundaries of art and other disciplines (such as sociology, anthropology, etc.), artist, researcher and curator have also been overcome. As Boris Groys said, contemporary art is a kind of exhibition practice, artist and curator are becoming increasingly difficult to define, "there is no longer essential difference between creative art and display art".
One thing also has to be mentioned is the change of emerging field of network and virtual art. Now the network has become an important base and platform of artistic creation, the art that produced by the base of the network and computer are becoming an increasingly important phenomenon. In this context of be called "post-network", the network is not just as a spread tool, which itself constitutes the reality around us. Therefore, the creations of some current emerging young artists have turned the daily computer network’s entertainment and work into the art practice, the boundaries between reality and virtual, private space and public space have also been broken. This is the phenomenon we need to see when we talk about a new stage of video and image art.
III. Visual Puncture
The video in the endless preservation and vanishing, is not cold pictures one after another, it also brings sharp physiological reaction. I want to use a medical term "puncture" to express the media, social and cultural implications of " needle, extract, laboratory test". First of all, we emphasize the directness and the penetrating power on media of photography and video, it is like the extension of the user’s organ, could directly observe the material objects, even makes us forget the intervening medium transfer. In our times, of course, any image reflects disaster, pain, violence could become the visual landscape for appreciation, it could also be seen as the behavior to offend the viewers then be avoided studiously, how to make the audiences deeply understand and charge these kinds of tragedies in the world. This reminds me of Harun Faroki the artist who constructs the link between the visual and physiological pricking by using the action of scald himself with a cigarette to contrast the efficacy of the petrol bomb’s ambustion in “Inextinguishable Fire”.
The second refers to the intervention to the society, some photography and videos not only present some aspects of the society, their sampling has produced the chain chemical effect, and have become the important strength that cut into the social reality and life. For example, in the exhibition units of “Art Institutions in the Pearl River Delta”, we selected a variety of collective art combinations rooted in the Pearl River Delta, they are addressing the different issues and organization structures, and the way they interact with society are not the same too. In the specific process of practice, they produce a complete harmonious combination with this region, and present a certain regional character, they are not strong, but like capillaries they paly an unexpected role in this field. Of course, not to mention the social and political effects caused by those documentary images facing to touch people’s sensitive nerves.
Generally, many conflicting factors are accumulating in Shenzhen, the emerging city of openness and diversification, itself entanglements with a variety of identity anxiety. Our video and image festival wants to become a connection point of a variety of internal and external experiences, not only reviews its area from the world picture, also observes its complexity and variety of possibilities from the inside, and makes the audiences to gain the new experiences from many aspects such as social culture and the body perception.
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