文字资料/lECTURES
   

 

前言/Foreword

1900/01/01
 

中国的影像艺术始于八十年代末,其发展方兴未艾,逐渐与世界同步。二十一世纪以来,影像无所不在,它比以往任何时候都更加深刻地影响着人类的认知,并且成为许多艺术家所应用的主要媒介之一。

何香凝美术馆一直关注国内外当代艺术的生态和进程,注重中外当代艺术的交流和推介。本次展览,我们荣幸地与哈恩•内夫肯斯基金会合作,从哈恩•内夫肯斯先生的收藏中挑选了十二件影像作品呈现给公众。

本次展览的参展艺术家以各自独特的方式叙述自己的故事,将现实和虚幻、理性和感性混杂、交叠在一起,通过作品传递出他们对数码技术控制时代艺术与新媒体之间的关系认知、思考与实验。不仅如此,这十二位艺术家来自伊朗、瑞士、立陶宛、美国、韩国等地,他们有着不尽相同的文化背景和民族身份,以及不同时代的成长经验。由此,他们的作品为我们提供了一种全球性的文化视野,让我们了解这些艺术家如何利用影像艺术的视觉语言方式,表达对艺术的态度、立场和超验的诗意想象。

在此,我们谨向哈恩·内夫肯斯先生和他的基金会,以及策展人希尔德·提尔林克女士的支持表示由衷的谢意,并感谢鹿特丹博伊曼斯·范伯宁恩美术馆和荷兰驻广州总领事馆的鼎力相助!

                                                               何香凝美术馆


Chinese video art began in the late 1980s. It continues to develop, and is coming to match the rest of the world. In the 21st century, cinema has grown ubiquitous and has come to influence human cognition more profoundly than ever before. Today, it is the primary creative medium for many artists.

He Xiangning Art Museum has long focused on the environment for contemporary art in China and its progression, and worked to foster exchange and promotion of contemporary art between China and the rest of the world. It is our good fortune to work together with Han Nefkens and his foundation, presenting twelve video works from his collection.

The participating artists each offer a different narrative, but manage to do this in an unusual way, mixing real life and fiction, sense and sensibility. These works express the artists’ recognition, thinking and experimentation on the relationship between art and new media in an era of digital technology. Moreover, coming from different corners of the world including Iran, Switzerland, Lithuania, the US, etc., these artists have completely different backgrounds and origins, and belong to very different generations. Thus, their works provide a global cultural vision and allow us to clearly understand the ways in which they employ the visual language of video art to express their attitudes, views and transcendental poetic imaginations towards art.

Hereby we are eternally grateful to Han Nefkens, his foundation, and the curator Hilde Teerlinck, for their support and assistance. We also thank Museum Boijmans Van Beuningen, Rotterdam and the Netherlands Consulate-General in Guangzhou for their generous help.

                                                      He Xiangning Art Museum