文字资料/lECTURES
 

走来走去或空空荡荡的视界/A Shifting or Empty Field of Vision

时间:1900/01/01
作者:冯博一/Feng Boyi
 
 

艺术家对当代文化的敏感与思考,将导致创作观念、方法、媒介上的不断实验和探索,其中媒介的重要性是不言而喻的随着科学技术的发展,艺术总是伴随着媒介的更新而发生着新的演变。二十世纪六十年代中期,影像艺术首先在西方诞生和兴起,可以说最具代表性和说明性。虽然中国影像艺术开始于八十年代末,晚于西方近三十年,但其发展方兴未艾,并逐渐与世界同步。尤其是二十一世纪以来,影像几乎无所不在,它比以往任何时候都更加深刻和潜移默化地影响着人类认知。而影像艺术已成为一种以动态影像作为核心媒介的多种影像处理和装置环境综合使用的方式,并为当今许多艺术家所应用的主要媒介之一

哈恩•内夫肯斯先生荷兰著名收藏家、作家2000年开始建立他的收藏系列有选择地与美术馆其他艺术机构合作展出。目前共收藏有469件作品包括艺术摄影服装设计等。其中,录像、电影和数码影像作品约有35件。哈恩•内夫肯斯先生作为收藏他的收藏他本人一样,难以进行分类作为一位作家,影像艺术或许正契合了他对语言叙事的追求;而作为个人,他最大的愿望就是和来自不同文化背景的艺术和观众共同分享与交流。正如他在文章里所表述的——这些艺术家“不仅仅是通过影像艺术呈现现实,更是通过空白的间隙来塑造他们各自的世界,恰如诗人一。于是,我们这些观众,得以通过诗意的想象,寻求美好的世外桃园”。

2009年,以哈恩·内夫肯斯命名的基金会在西班牙的巴塞罗那创立,“通过艺术将人们连接起来”是其基本宗旨。同时,基金会以评选、颁奖奖学金、承担艺术家创作费用举办展览和多学科的艺术家驻地项目来实现这使命。目前,哈恩•内夫肯斯基金会已经建立了遍布全球的专家学者的沟通网络获得了许多奖项和学术活动的参提名者。这些项目则为些杰出的新生艺术家、设计师和写作者提供在国际性环境中发展的机会。尤其是选择一些来自世界各地,特别是非西方国家坚守创作的艺术家进行合作,支持那些尚未成名的青年艺术家创作,以使他们能够更多地发挥想象力和创作潜能。这次何香凝美术馆展出的中国艺术家周涛和韩国艺术家全昭侹两件影像作品,采取这样的评选方式,并纳入收藏系列的新作。由此构成了哈恩•内夫肯斯先生和他的基金会对艺术家创作、收藏、展示以及观众互动交流的运作机制。

何香凝美术馆一直关注于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。这次我们很荣幸地与哈恩•内夫肯斯先生及其基金会合作,主办了“走来走去的视界——哈恩•内夫肯斯影像收藏展览”。十二件来自于世界各地不同文化背景和身份艺术家影像作品,从各自相异的角度,以影像媒介直接或间接地表现了他们对数码技术控制时代,艺术与新媒体之间的认知、思考与实验,为我们中国的艺术界和广大观众提供了技术革命给艺术带来的新视域和新感受。这些作品既具有根植于所在地域的文化特殊性,又可以获得文化全球的视野,并相对清晰地观赏、了解这些艺术家如何利用影像艺术的媒介方式,表达他们对艺术的态度、立场和超验的诗意想象。从中不仅可以看到科技的进步和新兴艺术的崛起,也为传统美学、创作方式提示出了新的范畴和课题,为此,我们对哈恩·内夫肯斯先生和他的基金会,策展人希尔德·提尔林克女士,以及荷兰鹿特丹博伊曼斯·范伯宁恩美术馆、荷兰驻广州总领事馆的鼎力支持、协助表示由衷地感谢!

艺术有主流与边缘之分,其间不同文化圈的共生与对话需要多元的声音。对话的前提是差异,而差异必然要求对话各方自身的独立性,这个独立性的体现就是对艺术的态度和艺术创作的自主。因此,边缘不断地干预和挑战中心,这才不会使社会只有一种独白的声音,甚至作为复调的自身对话,在社会中才能构成众生的喧哗和艺术的多元表达,从而包容思想的共生与歧义,以及艺术系统内部的复杂运动。同时,艺术又具有虚置的本质,艺术更像是梦境,与现实隔着一层。而这种想象的虚构,使观者获得了一种非具体的关系。艺术正是通过艺术家、观者与作品中虚拟的人物、场域、景观发生关系,在“我”与“他”的关系中寻求到某种释放。因此,创作者能发挥自己的情感倾向与内心隐秘,无需在与他人的真实关系中掩饰自己。人们正是通过进入虚拟的影像世界而得以疏离现实世界的沉重,成为社会现实之外的一块飞地,一片人类可以栖息的乐园哈恩·内夫肯斯先生收藏的这些影像艺术作品,可以在他们诗意的栖居中乐此不疲一般。

 

The artist's sensitivity and pondering of contemporary culture will lead him to constant experimentation and exploration in his creative concepts, methods and mediums. Among these things, the importance of medium goes without saying. Artistic mediums have continuously evolved in step with advances in technology. Video art, first born in the West in the mid-1960s, stands as a very representative and demonstrative case. Chinese video art began in the late 1980s, some thirty years after its emergence in the West, but it continues to develop, and is coming to match the rest of the world. This has particularly been the case in the 21st century, where cinema has grown ubiquitous, and has come to influence human cognition in ways both more profound and subtle than ever before. Video art has evolved into a comprehensive artistic approach that incorporates multiple cinematic techniques and installation environments around a core of moving image, and is today the primary creative medium for many artists.

Han Nefkens is a famous Dutch art collector and writer. He began building his collection (H+F Colletion) in 2000, and has worked selectively with art museums and other institutions to exhibit his collection. The collection currently consists of 469 items, including art, photography and fashion design. This includes 35 works of film and video works. Like Mr. Nefkens himself, his collection does not easily fall into any categorization. Perhaps, as a writer, video art is in keeping with his own linguistic narrative pursuits. As an individual, his greatest desire is to share and exchange art from different cultural backgrounds with audiences. Just as he stated in his essay, “They evoke their world not only by showing things but also by leaving things out, just as poets do. That way, we, the viewers, have a chance to continue imagining that other world.”

The Han Nefkens Foundation was established in Barcelona, Spain, in 2009, with the mission of “connecting people through art.” The foundation carries out this mission by conferring awards and scholarships, providing production financing for artist works, holding exhibitions, and sponsoring multidisciplinary residency programs. The Han Nefkens foundation has established a worldwide network of experts and scholars who nominate candidates and participants for programs devised to provide international developmental opportunities to outstanding emerging artists, designers and writers. The foundation collaborates with artists around the world, particularly those from non-Western countries, and supports the work of young, undiscovered artists to help them unleash their imagination and creative potential. Here at He Xiangning Art Museum, the foundation is presenting new video works recently entered into the H+F Colletion by Chinese artist Zhou Tao and Korean artist Sojung Jun. These fit perfectly with the mechanisms for creative support, collection, exhibition and audience interaction pursued by Han Nefkens and his foundation.

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 my good fortune to work together with Han Nefkens and his foundation for In Search of Global Poetry: Videos from the Han Nefkens Collection. The exhibition presents twelve video works by artists of different cultural backgrounds and identities from around the world. These works directly and indirectly express the artists’ recognition, thinking and experimentation on the relationship between art and new media in an era of digital technology, and provide new vision and perceptions of the technological revolution for artists and audiences in China. The works in this exhibition are rooted in their specific regional cultures, while also providing a global cultural vision, allowing us to clearly appreciate and understand the ways in which these artists employ the visual language methods of video art to express their attitudes, views and transcendental poetic imaginations towards art. From this, not only can we see the progress of technology and the rise of new art, but we are also exposed to new realms and topics for traditional aesthetics and creative methods. For this, we are eternally grateful to Han Nefkens, his foundation, and curator Hilde Teerlinck, for their support and assistance.

In art, there is a mainstream, and there are margins. Within this, diverse voices are needed to facilitate coexistence and dialogue between different cultural spheres. Dialogue is predicated on difference, and difference inevitably demands the independence of each interlocutor, independence manifest through artistic attitudes and creative autonomy. Thus, as the margins constantly interject in and challenge the center, society becomes more than just a single voice, and comes to comprise diverse expressions, tolerating and embracing coexistence in difference, and complex movements within the system of art. Meanwhile, art is also virtual in essence. Art is more like a dream, one step removed from reality. This imaginary construct gives the viewer a non-concrete relationship. Art creates a relationship between artist, viewer and the virtual figures, fields or scenes in the artwork to seek out a form of release within the relationship between “self” and “other.” Thus, the artist is able to draw from his emotional leanings and inner secrets, with no need to conceal himself in these real relationships with others. Through the virtual world of cinema, people gain detachment from the heavy world of reality that makes for a realm outside of the social reality, a garden of refuge. This is much like works of the artists featured in this exhibition, where we find endless joy.