Refocusing on the Medium: The Rise of East Asia Video Art - OCAT SHANGHAI 2021

封面图片：山口胜弘，《宫娥》，1974-1975，闭路电视录像装置。静帧画面为山口胜弘在作品前接受采访，出自 1995 年影片《山口胜弘的录像装置与录像雕塑的记录》；图片由山口裕康提供。 Cover Image: Katsuhiro Yamaguchi, Las Meninas (1974-1975), CCTV video installation. Still from the 1995 compilation The Document Video of Video Installation & Video Sculpture by Katsuhiro Yamaguchi shows the artist being interviewed.

Image courtesy of Mr. Hiroyasu Yamaguchi

重新聚焦媒介：东亚录像艺术的兴起 REFOCUSING ON THE MEDIUM THE RISE OF EAST ASIA VIDEO ART

OCAT 上海馆 编

Edited by OCAT Shanghai

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前言

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策展人文

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展览作品

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ARTWORKS

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艺术家简介

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ARTIST BIOGRAPHIES

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公共教育活动

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PUBLIC PROGRAM

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致谢

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ACKNOWLEDGEMENTS

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FOREWORD CURATOR'S ESSAY

前言 FOREWORD

这是一个关于东亚录像艺术的展览，呈现了金曼女士多年来的研究，这类研究主题时至今日在 全球范围内似乎并不多见，金曼女士的研究为我们更好地了解东亚的录像艺术提供了机会。

展 览 汇 集 了 包 括 日 本、 韩 国、 中 国 大 陆、 中 国 台 湾 和 香 港 地 区 艺 术 家 从 上 世 纪 60 年 代 到 90 年代末的录像作品。回顾这些艺术家的创作实践，我们可以看到两个共同点：一是这些艺术家 的观念，似乎在不同程度上与更早时候出现的欧美新的艺术观念有着某种契合和认同；二是技

术的输入或产生，这使得录像艺术的出现成为顺理成章的事情。有意思的是，人们普遍认为中 国的录像艺术源自上世纪 80 年代末，因为那时候中国艺术界正处在“85 艺术运动”的后期，

电视机也已经进入家庭，同时，便携式摄像机开始进入中国。然而相比之下，照相机进入一些 中国家庭的时间要早得多，为什么并没有在更早的时候出现摄影艺术呢？由此可见，摄像机固

This exhibition on East Asia video art presents Ms. Kim Machan's research over the years on a subject that still seems uncommon today. Ms. Machan's study provides an opportunity for us to better understand video art in the East Asian context.

The exhibition brings together video works from the 1960s to the late 1990s by artists including those from Japan, Korea, China (including Chinese mainland, Taiwan, and Hong Kong). Looking back at the practices of these artists, we discover two common traits. First, the conceptions of these artists seem to fit and identify in varying degrees with an earlier generation of European and American artists. Second, the importation/production of technology made the emergence of video art a logical occurrence. Interestingly, it is common knowledge that video art in China originated in the late 1980s, just as the Chinese art world was entering the late phase of the ’85 New Wave. It was also the time when television became a popular domestic appliance and portable video cameras became available

然重要，而更重要的是操控摄像机的人——人的意识。东亚录像艺术的缘起虽然不同程度地受

in the country. Yet film cameras entered some Chinese homes much earlier. Then why hadn't artistic

程中表现出某种主动性和积极性，并非像油画传入那样是相对被动的。

Although the origins of video art in East Asia were more or less influenced by modern art from the

到了西方现代艺术的影响，但不同于油画的进入（通过传教士传播），录像艺术在整个形成过

photography emerge as a medium of expression? This phenomenon shows that while the availability of the camera may be critical, the consciousness of the person who controls it was more important.

West, the emergence of video art practice exemplified the artists' initiative and proactive engagement,

东亚录像艺术始于全球化的前夜，盛于网络技术迅速发展的新世纪。随着智能手机的普及，录 像已经不再作为新媒体的主要标志，录像艺术的区域性也不再那么明显。正因如此，金曼的研 究更显得宝贵和重要。

unlike the passive acceptance of oil painting (which was brought in by missionaries) to China a few centuries ago.

East Asia video art was launched on the eve of globalization and flourished in the new century of rapid Internet technology development. With the popularization of smartphones, video is now neither the primary format of new media nor does its practice present regional distinctions. This is why Kim's study is all the more valuable and vital.

张培力

OCAT 上海馆执行馆长

ZHANG Peili Executive Director of OCAT Shanghai

前言

FOREWORD

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“重新聚焦媒介：东亚录像艺术的兴起” 展览现场，图片由 OCAT 上海馆提供。 Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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山口胜弘

1928—2018

白南准

1932—2006

小野洋子

1933—

山本圭吾

1936—

金丘林

1936—

饭村隆彦

1937—

久保田成子

1937—2015

朴铉基

1942—2000

金顺基

1946—

王功新

1960—

鲍蔼伦

1961—

陈劭雄

1962—2016

耿建翌

1962—2017

朱加

1963—

袁广鸣

1965—

策展人文

左页：陈劭雄，《视力矫正器 3》 （局部），1996，双通道录像装置。 “重新 聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Left page: Chen Shaoxiong, Sight Adjuster 3 (detail), 1996. Dual-channel video installation. Installation view of Refocusing on the Medium: the

Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

重新聚焦媒介

金曼

“重新聚焦媒介：东亚录像艺术的兴起”可说是我对录像艺术史和录像媒介特点的个人长期研 究 的 一 次 阶 段 性 成 果 展 示。1980 年 代 中 期， 我 有 幸 拜 访 了 白 南 准（1932-2006）、 久 保 田 成

子（1937-2015）、 维 托· 阿 肯 锡（1940-2017） 等 录 像 艺 术 先 驱， 深 入 体 会 这 些 艺 术 家 运 用

的富有创造性的艺术手法。他们对于录像媒介特性的概念化和雕塑化的处理手法给我留下深刻 的印象。在他们的作品中，录像的语境超脱于屏幕以外，其所呈现的不再只是被观看的世界，

年开始录像创作。1983 年，郭挹芬（1951–）成为中国台湾地区首位探索录像艺术的艺术家。 在中国香港，鲍蔼伦（1961–）等人从 1980 年代中期开始运用录像。而在中国大陆，张培力 （1957–）于 1988 年开始把录像当作艺术来进行创作。

而是一个活跃的三维立体参与空间，其中既有对思维的延展，也有身体的参与。以往，录像艺

东亚录像艺术之历史

条件的方式其实远不止这一种，而这正是本次展览的核心所在。

过 去 十 年， 探 索 东 亚 录 像 艺 术 历 史 的 展 览 以 各 国 历 史 为 线 索 提 供 了 深 入 而 详 实 的 细 节， 极 大

经过多年跨国研发，1965 年，索尼公司在日本推出便携式摄影机 Portapak。此后，全球各地

图 像 设 备”（ 国 立 现 代 美 术 馆， 果 川 市， 韩 国，2019）、“ 不 只 是 历 史 文 件： 港 台 录 像 对 话

术多被看作北美和欧洲的发明，主流话语也均建立在这一视角上。但是，研究录像媒介历史和

的艺术家都开始使用这一媒介，用各自不同的方式为其美学发展做出贡献。

“重新聚焦媒介：东亚录像艺术的兴起”首次汇集了来自日本、韩国和中国开创录像艺术实验

之先河的重量级艺术家。通过 15 位艺术家的 25 件录像艺术装置作品，展览试图提出新的视角 和观点，而非仅按时间顺序呈现针对某一特定区域的研究成果。

地 丰 富 了 现 有 的 世 界 录 像 艺 术 史。 重 要 展 览 包 括“1970 至 1990 年 代 韩 国 录 像 艺 术： 时 间

1980-1990 年 代”（ 台 北 当 代 艺 术 馆， 台 北， 中 国，2019）、“ 启 视 录： 台 湾 录 像 艺 术 创 世

纪 1983-1999”（ 关 渡 美 术 馆， 台 北， 中 国，2015）、“ 中 国 影 像 艺 术 1988-2011”（ 民

生 现 代 美 术 馆， 上 海， 中 国，2011）、 巡 展“ 至 关 重 要 的 信 号： 早 期 日 本 录 像 艺 术”（ 电 子 艺 术 联 盟，2010） 等。 这 些 展 览 不 仅 更 深 入 地 呈 现 了 早 期 的 录 像 艺 术 实 践， 而 且 充 分 体 现

了 东 亚 艺 术 家 积 极 地 在 区 域 内 和 国 际 范 围 游 历、 展 示 并 与 其 他 艺 术 家 互 动。 跟 西 方 艺 术 家 一 样，他们各处游历并受到不同的影响。 2 这些对东亚早期录像艺术实践和国际交流的研究与展

通过“重新聚焦媒介”，参展作品共同构成了带领观众了解东亚艺术家原创性贡献的引子。展

示 促 使 人 们 从 新 的 角 度 回 顾 录 像 艺 术 史。 在 上 述 展 览 的 研 究 基 础 上， 本 次 展 览 所 选 择 的 作 品

出的探索和贡献。对今天的观众来说，在电影特性和叙事功能之外，他们希望对录像媒介展开

practice）语境下的录像媒介特性。

览以录像艺术美学语言为比较策略，思考录像艺术的全球属性以及艺术家对这一媒介所各自做 新的解读，更多地去探索具备现场性和空间性等雕塑特征的录像艺术作品。

聚 焦 于 艺 术 批 评 家、 理 论 家 罗 莎 琳· 克 劳 斯（1941-） 提 出 的“ 后 媒 介 实 践”（post-medium

作为一门新的技术手段，录像没有既定的文化传统、惯例和历史，也不受特定国家的主导，是

后媒介实践语境中的录像媒介

贝尔廷认为，新媒介不仅消除了中心与外围的地理差距，还消解了两者间的文化差距。 1 东亚

展览标题开宗明义，表达了应该对录像艺术的媒介特点投注更多关注。在反思当代艺术对媒介

于同一起点的复杂的跨区域和跨国网络中。东亚录像艺术的兴起之所以引人注目，是因为全球

践扩展，来指涉超越极度现代主义（high modernism）范畴的艺术。3 克劳斯更青睐采用录像、

一种特别的艺术形式。因此，汉斯·贝尔廷曾说，录像所体现的全球性是绘画或雕塑所不能比拟的。 艺术家纷纷开始运用这一不具备文化专属性的媒介，以此为全新的交流支点，加入到大家都处 艺术家都在运用同一种技术概念进行表达和实验，而这一技术概念在不同文化环境和地域中都 几乎没有先例可循。

在较短的时间内，各个大洲和不同文化背景下的工业化经济体和发展中经济体都出现了录像艺

术实验，这让录像艺术几乎成为了第一个全球化的当代艺术媒介。不同的政治环境导致各个国 家和地区接触到录像设备的时间不同，因此，录像艺术在东亚各国的兴起从时间上说是参差不 齐的。然而，一旦艺术家接触到这一媒介，他们便各自开展起激进的实验，为这门新美学的发

的 理 解 时， 克 劳 斯 用“ 后 媒 介” 和“ 后 媒 介 实 践” 形 容 1960 年 代 至 1970 年 代 出 现 的 艺 术 实

摄 影、 装 置 等 非 传 统 媒 介 来 创 作 的 艺 术 家， 围 绕 当 代 艺 术 创 作 手 法 展 开 对 话， 通 过 对 媒 介 的 探 讨 来 完 成 对 作 品 细 致 深 入 的 审 视。 一 方 面， 克 劳 斯 被 誉 为 出 离 极 度 现 代 主 义 的 坚 定 领 袖， 体 现 媒 介 特 性 的 终 结 和 媒 介 重 要 性 的 式 微 —— 但 另 一 方 面， 她 重 新 调 整 并 拓 展 了 对 艺 术 媒 介 的解读。4 全球艺术家在电视和录像领域最初的各种实验，均体现出对媒介的广泛研究和批评。

与西方当代艺术家类似，山口胜弘、朴铉基、白南准、金顺基、久保田成子等参展艺术家均积极 拓展艺术边界，致力于挑战现代主义的各种惯例并解构极度现代主义各项原则。

展做出贡献。生于韩国、求学于日本并定居欧美的白南准被认为是最早使用录像设备的实践者 之 一。1965 年， 他 在 纽 约 开 始 使 用 Portapak 进 行 创 作。 山 口 胜 弘（1928–2018） 和 其 他 一 些 日 本 艺 术 家 从 1968 年 开 始 使 用 录 像 设 备， 而 韩 国 艺 术 家 朴 铉 基（1942–2000） 则 于 1974

2 在研究中我发现，亚洲录像艺术历史的书写往往通过艺术家的游历和具体的国际经历来推动影响，而西方录像艺术史一般不会 如此。 3 参见罗莎琳·克劳斯著，《北海之旅：后媒介状态时代的艺术》（伦敦：泰晤士 & 赫德逊出版社，2000）。

1 汉斯·贝尔廷、安德烈亚·布登希格、埃马诺伊尔·艾拉乌桥著，《全球艺术世界：观众、市场和博物馆》（奥斯特菲尔登，德国： Hatje Cantz 出版社，2009），第 59 页。

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4 艺术手法逐渐与另一位著名美国艺评家克莱门特·格林伯格（1909-1994）所倡导的严格形式主义的极度现代主义渐行渐远。 格林伯格提出的“媒介特性”概念被视为“过时”的艺术批评手法，无法适应行为艺术、大地艺术、装置艺术、观念艺术和混 合的艺术形式。

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录像媒介之条件

重新聚焦媒介之展陈设计

索尼公司发明的 Portapak 便携式摄影机被电视台和记者广泛采用，丰富了新闻报导的可能性，

在展陈设计上，此档在 OCAT 上海馆举办的“重新聚焦媒介”展览希望体现与现有展厅空间开

推动了电影的发展与革新。而对艺术家来说，录像提供了一个开放的实验性平台，艺术家凭借各

同作品之间。唯一的例外是展览的第一部分，通过在逼仄空间内有意识地控制观者的活动，以

并推动了社区有线电视、公民媒体、行动主义、纪录片和短片的发展。便携录像设备的上述应用

放性动线的有机结合。在淡化线性观展动线的同时，增加观展角度，让观者更轻松地游走于不

自在雕塑、绘画、概念艺术、建筑、音乐、行为、电影、电视等领域的积累转而在这一平台上展

达到让观者放慢脚步、调整并增强感官体验的目的。展览标题邀请观者“重新聚焦媒介”，抛

开探索。录像艺术在艺术史上拥有特殊地位很大程度上是因为它不受任何传统或惯例的束缚。

开预设和原有的观看习惯，用全新的眼光去审视录像艺术媒介。

虽然技术发展日新月异，但一些基本原则始终未变，在思考电子化录制的运动影像作品时依然适

展陈设计通过疏朗而简约的空间布置实现了对录像媒介呈现的优化。影院“黑匣子”空间的缺

脱了电影制片耗时甚久、单次录制成本高昂等限制。便携式摄影机不仅能够录制，而且还能即时

参观下一件作品，凸显了空间的“现场感”，而非影院式的虚幻空间。 8 灯光主要来自作品本

用。只需要一个人就可以独立操作录像设备。录制、倒带、即时回放、重录等功能让录像媒介摆

席乃刻意为之，开放式的展厅为观众探索和驻足提供了空间，多元的视线选择让观者无须急于

播放闭路电视内容。录像既能够在电视、有线网络上播放，也能够直接在阴极射线管显示器上播

身发出的光，即来自显示器或投影仪的光，仅辅以少量射灯。放置阴极射线管显示器的白色展

放。这样一来，艺术家从电影院的黑匣子环境中解放出来，开启了新的语境和雕塑可能性。

台为统一式样，只是高度各有不同。展示区域基本不设座椅，仅有的几处座位乃是作品的一部分， 充分体现了装置每一处细节的整体性和重要性。除了一处例外，所有展品均以美术馆标准白墙 为背景。序厅和入口处第一面展墙则涂成深蓝色。一来，蓝色是显示器和投影仪不工作时的默

国际化的视野与愿景

认显示色；二来，蓝色亦是山口胜弘的闭路电视录像装置《宫娥》（1974-1975）资料图像中的

主体色。序厅和入口区域也与之后开放式的平面空间形成反差，营造更小的空间来引导观众在

另一个需要着重强调的重要因素是艺术家的国际意图。本次展览的参展艺术家都表现出希望作

展 览 入 口 空 间 的 行 进 和 观 看。 以 白 南 准 的《电视佛》[1974（2002）] 为 开 篇， 首 先 出 现 的 4 件

品在国际艺术语境下被国际观众所看到的愿望。白南准在欧洲和纽约广为人知，而其他东亚艺

作品通过闭路电视系统的实时录像反馈强化了“现场感”和对虚幻及现实空间的对比感知。

术家也拥有国际野心。山口胜弘 1961 年前往欧洲，希望寻求包豪斯运动的亲身体验；后又前往

纽约，在那里见到了小野洋子，并参观了里奥·卡斯特利画廊。 5 饭村隆彦（1937-）于 1960 年

代中期首度前往纽约，在那里展示了他的实验电影，并遇到了约翰·凯奇等重要艺术人物。朴铉 基在完成视觉艺术的学习后，选择攻读建筑学，受到后现代主义建筑师汉斯·霍莱茵“移动办公 室”（1969）构思的启发，与韩国传统知识相结合，以“发展一门全球性的当代艺术语言”。 6 1983 年，中国台湾艺术家郭挹芬前往日本拓展自己的录像实践；而 1984 年开始从事录像艺术

工作的袁广鸣（1965-）自 1992 年便开始在国际上参展。中国大陆艺术家张培力于 1987 年首 度参加国际展览；次年，王功新（1960-）移居美国纽约后作品亦开始在国际舞台上亮相。 7 所

有参展艺术家都有意识地参与到国际艺术对话中去，希望在本土之外被看到和听到。

展览所呈现的这些早期案例体现了东亚艺术家对录像媒介独特性的探索，通过各自拓展性的当

OCAT 上海馆直播投影现场图。画 面会被回传至位于韩国的白南准艺 术中心，让那里的观众也能够看到 在上海的“重新聚焦媒介：东亚录 像艺术的兴起”展览现场。图片由 OCAT 上海馆提供。 Installation view of the live broadcast projection in OCAT Shanghai. This view was then broadcast back to Nam June Paik Art Center in Korea where viewers there could see their broadcast being shown in Refocusing on the Medium: the Rise of East Asia Video , in Shanghai. Image courtesy of OCAT Shanghai.

代艺术实践对录像媒介进行整合和阐述。利用 1966 至 2000 年间的一系列代表作品，展览揭 示了日本、韩国、中国大陆、中国香港、中国台湾这些国家和地区对录像媒介的理解、对新技 术的运用，并通过各自的艺术实践进一步充实录像艺术的全球化美学语境。

5 克里斯多夫·查尔斯，《山口胜弘：日本录像艺术的诞生（1971-1974）》，OLATS, Leonardo online, 2002. http://archive.olats.org /pionniers/pp/yamaguchi/yamaguchi.php 6 金仁惠等，《曼陀罗：朴铉基回顾展（1942-2000）》（韩国国立现代美术馆，2015），第 11 页。

7 张培力参加了群展“敞开的大门之外”（亚太博物馆，帕萨迪纳，美国）。王功新参加了“科特兰学院毕业展”（科特兰学院 美术馆，纽约，美国，1988）和“来自中国的艺术” （The Exhibition Place，纽约 SOHO，美国，1991）。

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8 亨利特·胡迪什，《超越投影：录像雕塑 1974-1995》，（马萨诸塞州剑桥市：麻省理工学院 LIST 视觉艺术中心，2018）， 30, 31, 37, 38。胡迪什提到，显示器在展厅中所创造的雕塑空间以及在现场实际空间里的观看体验，与影院的暗空间形成反差。

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OCAT 上海馆直播投影现场图。画面会被回传至位于韩国的白南准艺术中心，让那里的观众也能够看到在 OCAT 上海馆举办的 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Installation view of the live broadcast projection in OCAT Shanghai. This view was then broadcast back to Nam June Paik Art Center in Korea where viewers there could see their broadcast being shown in Refocusing on the Medium: the Rise of East Asia Video , in Shanghai. Image courtesy of OCAT Shanghai.

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白南准 白南准，《电视佛》，1974（2002）， 闭路电视录像装置，石灰岩佛像、阴极 射线管显示器、监控摄像头。“白南 准——录像波”展览现场，白南准艺术 中心，2020.5.12-2021.3.7。 画面以直播形式传送至 OCAT 上海馆。 图片由白南准艺术中心（韩国龙仁市） 和白南准遗产管理委员会（美国纽约） 提供。

展览开场便通过视角的转换促使观众开启围绕录像媒介的思考。与韩国白南准艺术中心合作，

Nam June Paik, TV Buddha , 1974 (2002) CCTV video installation, limestone Buddha statue, CRT monitor, video camera. Installation view of the exhibition Nam June Paik TV Wave , Nam June Paik Art Center, 2020.5.12-2021.3.7.

Live feed transmission to OCAT Shanghai.

Image courtesy of Nam June Paik Art Center (Yongin, Korea) and Nam June Paik Estate (New York, USA).

作品的观众。这种颇为复杂的循环式投影体验通过投影和再投影将艺术家的录像雕塑以一种超

白南准最具代表性的录像装置作品《电视佛》以直播的方式投影在入口大厅。白南准曾多次以 这件作品为母本进行再创作，不过在这场展览中，我们所呈现的并非作品本身，而是作品在“白 南准——录像波”（2020.5.12—2021.3.7）韩国展览现场的实时直播画面。 9

同时，投影画面通过设在 OCAT 上海馆入口大厅的摄影机回传给正在韩国白南准艺术中心观看 越纪录性的方式与上海展厅现场连接起来。这是在展览语境下向录像媒介发出的直白而颇具挑

衅意味的质问：媒介的现场性；对时间与空间的扭变；显示器屏幕与投影空间的巨大差异；幻象、 现实与“真实”体验之间的紧张关系；真实的时间与录像中记录的时间；颠覆媒介的观念策略； 以及连接本土与全球期待的动态网络等。展览开篇便让观众直面白南准对媒介的反思，通过《电 视佛》所体现的“现场静止感”促使人们围绕重新聚焦和重新思考录像媒介的方式提出问题。

山口胜弘 看过白南准的经典作品再现，之后在展厅里出现的是山口胜弘的闭路电视装置《宫娥》。疏朗 的场地布置让观者能够信步于 6 台显示器其间，他们会发现在某些位置自己的身影也会被捕捉

并融入作品中。同样以闭路电视为媒介，白南准《电视佛》中散发的沉思、静谧与冥想气息在《宫

娥》装置中变成了更活泼而广泛的互动性。山口胜弘对录像媒介的运用让观者的积极参与成为

作品不可分割的一部分，这与在白南准的作品中，观众只能旁观韩国远程闭路电视系统直播的 体验完全不同。

在《宫娥》中，录像媒介对时间的扭变与归并至少明显体现在 3 组时间中。首先是作品包含迭戈·委 拉斯开兹（1599-1660）创作的油画《宫娥》（1656）的复制品——这其中已经包含了原画的

创作时间和复制品的印制时间。第二组时间是 1975 年拍摄的录像中呈现的原画作特写镜头的

时间，分别呈现在 4 台显示器上。第三组时间则是通过现场闭路电视捕捉到观众在画作前的身 影，实时呈现在另外 2 台显示器上。闭路电视影像将包括观众在内的所有这些元素合成，使过 去和现在的时间交织折叠在一起。

显然，山口胜弘希望通过录像和闭路电视技术的“现场性”开启与观众交流的新方式，将观众 的存在“融入”媒介创作的过程。作品首次展出时，我们不难想象当时的观众对于自己形象出

现在艺术作品中会是何等着迷。即使在今天依然如此，此次展览上，OCAT 上海馆的工作人员

9 2021 年 3 月 8 日至 21 日，在白南准艺术中心的支持下，OCAT 上海馆播放了直播录像的回放。从先期现场直播到后期录播的 投影方式，赋予了白南准作品更多复杂性和多元性。

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山口胜弘，《宫娥》，1974-1975，闭路电视录像装置。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Katsuhiro Yamaguchi, Las Meninas , 1974–1975 CCTV video installation. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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注意到，许多观众都会与作品中的自己合影“自拍” 10 。山口胜弘充分理解图像的传送是“此

时的”、“现场的”，由此，他设计了这样一个当下时刻，旨在对《宫娥》及委拉斯开兹提出

的新表现、以及画面所承载的虚实景象、历史背景和米歇尔·福柯对画作进行的分析评论展开 反思。

通过录像，山口胜弘介入到对传统视线问题的探讨中，这也是围绕《宫娥》原作讨论最多的话题

之一。作品使用了 6 台显示器，通过录像媒介开辟了解读绘画的新方式，把观众的形象加入到作

品中，形成对画作的解构与重构。4 台显示器播放着画作特写镜头，各个人物形象和画面细节被 分离出来。另外两台显示器分置于全尺寸《宫娥》彩色复制品的两边，同步播放闭路电视所拍摄

到的影像。闭路电视监控摄像头位于全尺寸《宫娥》黑白复制品内。黑白复制品悬挂于彩色复制

品对面的墙上，形成某种建构出来的映像。画面中国王和王后的肖像被裁切，成为闭路电视摄影 机的位置——由此，王权（同时也是绘画原作的委约人）所代表的监控和权力被技术所取代。

参观完这件作品，观众不禁会思考，录像媒介作品其完整性的时效十分短暂。由观众参与到装置

中所激活的闭路电视录像媒介之“现场性”，在观众离场后归于停顿。观众可以回望装置，4 台 显示器里委拉斯开兹画作中的人物以特写的方式继续轮番出现，凝望的视线与观众豁然相交。

回望空无一人的展区，观众开始反思录像媒介静态与动态的张力。宛若无人区的展区只有一台 闭路电视摄影机一动不动地记录着空间，由此获得的“画面”与白南准《电视佛》所散发的静 止气息不谋而合。

王功新作品的第一部分同样也利用闭路电视，当观众走过转角的砖墙，他们的身影会被摄影机 捕捉下来，其用途则会在后续展厅中呈现。

山口胜弘，《宫娥》( 局部 )，1974-1975，闭路电视录像装置。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Katsuhiro Yamaguchi, Las Meninas (detail), 1974–1975 CCTV video installation.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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10 OCAT 上海馆该展览项目工作微信群提到，饭村隆彦和王功新的闭路电视装置也吸引了类似的互动行为（2021 年 2 月）。

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王功新，《两平方有效空间》，1995-2020，闭路电视录像装置，投影仪、监控摄像头，实时画面（彩色，无声）。外墙现场图。 走廊尽头处的微光来自小野洋子的作品《天空电视》，1966-2020。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Wang Gongxin, Two Square Metre Space , 1995–2020. CCTV video installation, projector, video camera, live feed transmission, colour, silent. Outside view.

The small glowing light seen at the end of this corridor is Yoko Ono, SKY TV , 1966–2020.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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小野洋子

王功新

当观众走过展厅转角，他们的视线会自然地被走廊尽头的微光所吸引。这微光来自地上的一台

走过小野洋子的《天空电视》，长廊出现了一个 180 度转角，观众的视线与前方墙面最深处一

除此之外，这片区域没有任何其他的视觉或物理的存在。极简的环境设计促使观众更好地静下

砌墙角事实上是这件作品的第一部分。外围的两平方米砖墙经过闭路电视摄影头拍摄，被同步

小型显示器，也是空荡荡的狭窄走廊里唯一的光源。要继续观展，观众必须走向那台显示器，

心来体验作品。这一展陈布置是经过与艺术家的协商而做的特别设计。位于走廊尽头的显示器 里播放着小野洋子的《天空电视》（1966-2020）：画面来自于架设在美术馆屋顶的摄影头实

时拍摄到的天空。在这条幽暗走廊所形成的某种过渡空间中，人们会在第一眼就把视线锁定在 显示器上，从而放慢前行的脚步，更多地通过感官去体验。

概念看似简单，但作品在 1966 年首次展出时引发了极大的关注。闭路电视作为一种监控技术

和电视作为一种大众信息和娱乐传播器，在艺术家的作品中出人意料地遭遇“劫持”，从而实

现了对媒介的颠覆。通过对录像空间潜能的洞察，艺术家巧妙地深化了对录像媒介特性的探索， 以极简主义的姿态对内容进行提炼，将崇高的空间进行概念转化。摄影机能够截取空间——在 小野洋子的作品中，它所截取的是一片天空——并将之转化为另一个空间。当不可能变成可能 之时，在地下展厅无法看到天空的局限性强化并提升了媒介的重要性。

小野洋子，《天空电视》，1966-2020，闭路电视装置，阴极射线管显示器、户外监控摄像头，实时画面，彩色，无声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Yoko Ono, SKY TV , 1966–2020. CCTV video installation, CRT monitor, outdoor video camera, live feed transmission, colour, silent.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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面高达 2 米的投影不期而遇。位于山口胜弘与小野洋子作品动线之间、观众早前看到的那面砖 投影到内部的墙角空间上。

外围墙面图像以投影的方式被挤入内角空间，探索闭路电视录像媒介的雕塑性。在支持现场再 现的同时又能够产生空间错置，这是录像媒介独有的特性之一，艺术家在其实践中对这一特征 进行了不断挖掘。闭路电视录像信号传送出外围砖砌墙角和过往路人画面，秘密的获取和公开 的展示让作品内容和创作过程之间形成割裂感，从而造成对空间的解构和混淆。先是作为参与 者走过外墙，后又成为某种程度上的窥视者，从内部观看在闭路电视镜头前走过的他者，这种 延时性将人们的注意力集中到真实和虚拟的空间体验上。录像媒介所蕴含的独特可能性让外墙

得以进入内部空间，激活了某种原本不可能存在的真实与虚拟空间的混合，而这正是通过闭路 电视监控技术才得以实现。而从视觉上来讲，砖墙又与下一件采用天然石块堆叠的装置作品形 成了某种呼应。

王功新，《两平方有效空间》，1995-2020，闭路电视录像装置，投影仪、摄影机，现场直播，彩色，无声，内墙现场图。“重新聚焦媒介： 东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Wang Gongxin, Two Square Metre Space , 1995–2020. CCTV video installation, projector, video camera. Live feed transmission, colour, silent. Inside view. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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朴铉基 韩国艺术家朴铉基的两件作品尝试以录像画面和显示器为雕塑形态，取代石头这一最为基本的

元素。朴铉基在自己搭建的石堆和石头装置中放上电视显示器，播放着插入石堆中的一块岩石 录像画面。人们普遍期待录像记录运动和叙事并呈现时间的流逝。而朴铉基则反其道而行之，

围绕录像画面所呈现的静止性展开实验，强化电子形态的石块以及其中所蕴含的时间感。将录

像记录的时间和“自然”时间并置于装置中，观众眼前原始状态下的石头继续以线性时间存续， 而录像则将石块抽离到运动影像 - 静态影像循环式的时间真空中。艺术家规避了录像影像时限 性的干扰，探究关于自然和技术的哲学命题：关于现实和幻象的永恒问题。对于朴铉基来说，

录像技术是自然的对立面；因而，用静止 - 运动循环影像来取代天然石块体现了一种哲学思考， 促使观众去思考石块的两种现实。 11

观众在石堆间走动亦是与媒介调和的过程，他们充分意识到石块的重量感以及将每一块石头移

动到位的劳动量，“抬”和“放”所需的努力已然显现。显示器固然也有重量，但录像所呈现

的是空灵的电子信号，除了显示器本身以外没有任何实际重量。朴铉基分享过他对真实的思考。 石头是真实的石头，而显示器上持续输出的石头信号强化了天然石头的表征。他表示，在观看 这件作品的时候，我们会去思考这是否也是真实的石头。 12

自史前时代以来，全球各地不同的文化中都出现过石堆的形式。艺术家在后媒介实践语境中选择

这一媒介，将石头媒介与史前石堆传统通过（当时）最先进的视觉媒介——录像相结合。在品读 作品的过程中，当我们把注意力投向石头和录像的媒介特性，我们会发现这其中蕴含着深邃的人

性思考和洞察。举例来说，作为一种人性的基本表达，史前石堆遗迹在世界各地均能看到；而录 像技术则是一种有望连接当代全球文化和艺术世界的媒介。朴铉基向人们展示了一个隐喻式的开

始即结束的时刻。在朴铉基的《无题（电视 & 石头）》之后出现的是韩国艺术家金丘林的录像装置。

金丘林 金 丘 林 对 录 像 的 初 探 旨 在 揭 示 光 与 时 间 所 蕴 含 的 真 实 与 虚 拟 的 媒 介 特 性。 录 像 装 置《 灯 泡》 （1975）将一盏灯泡悬挂在一台播放着同款灯泡一亮一灭画面的显示器旁边。真实的灯泡与录

像中的灯泡以 10 秒钟为间隔交替点亮。从左（真实的）到右（虚拟的）交替亮起的灯泡让人 们从光的亮灭开始思考光与时间的问题。内容简单而直观，灯泡直接发出的电光和录像中发出 的媒介光源直接形成对比。作品所呈现的谜题指向两种光的异同、并向它们各自所蕴含的时间 概念发出质疑：即真实的时间和录像记录的时间，由灯泡产生的光和由显示器产生的光。一亮

一灭的灯光标志着时间随着两种光源有节奏地切换而流逝。观众不禁自问，他们所看到的究竟

11 金仁惠、Kim Jeong-bae，《曼陀罗：朴铉基回顾展（1942-2000）》展览画册，（韩国国立现代美术馆，2015），第 12 页。 12 金仁惠，《曼陀罗：朴铉基回顾展（1942-2000）》，2015，第 13 页。

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朴铉基，《无题（电视石塔）》，1979-1982，录像装置，阴极射线管显示器、石头，35’17”，彩色、无声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Park Hyunki, Untitled (TV Stone Tower) , 1979–1982. Video installation, CRT monitor, stones. 35’17”, colour, silent. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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金丘林，《灯泡》，1975，灯泡、单通道录像装置。“重新聚焦媒介：东亚 录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Kim Kulim, Light Bulb , 1975. Light bulb, single-channel video installation.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art .

Image courtesy of OCAT Shanghai.

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是静态的录像装置，还是一件具有时间性的作品？在我们对光的直观体验中，时间从我们面前 的空间里流逝；而录像记录的时间则来自别处。

作品引发对录像记录的时间的思考，并再现了录像中的灯泡，进而唤起人们对于光的本质和光

的速度等哲学和经验主义问题的追问。从显示器传输到观众眼中的光存在于当下；而与此相矛 盾的是，这光又是对早前灯光的记录，是在另一个时间中的记录。

金丘林对电子光和时间的诗意解构需要观众投入经验、努力和时间去深入体会。艺术家对不同 媒介间非传统关联性的实验体现了他对录像艺术全球化美学语言的重要贡献。

久保田成子 下一件作品是久保田成子的《杜尚式：自行车轮（一）》（1983-1990），以马塞尔·杜尚第一

件被公认为现成品艺术的《自行车轮》（1913）为创作原点，并将之与录像媒介相结合。静止 的凳子上放着一个自行车轮子，久保田成子在其中引入机械运动，并将一台小型显示器连接到自 行车车轮辐条上，播放录像画面。这个无法在电影里实现的结构，让播放着自然及合成色彩的风

景和单色块画面的 3 英寸显示器旋转起来。这些图像相互推拉角力，推动观众去思索雕塑的意义， 是作为对一段叙事旅程的表达；还是当显示器呈现一片紫色的单色区域时，作为一种立足于此时 此地的雕塑式客体。时间在雕塑内部摇摆不定，这一方面令人联想到剪辑的录像景观中所捕捉的 合成时间，另一方面又强调了物体在当下的直观性显示器。作为一种冥想符号，在机械驱动下旋

转的自行车轮成为一种令人安心的连续动作，幽默而不失严肃，颇具禅宗意味。不紧不慢之间， 显示器的环形轨道不断行进，为了让眼睛更好地适应，录像画面在可能的情况下会旋转和倒置—— 尽管不太自然。观众不可避免地放弃将注意力集中在旋转的屏幕上，转而让眼睛从微观的屏幕切

换到宏观的雕塑全景。正如艺术家曾说：“录像是有机的，而电影不是。” 13 利用录像机的录制、 即时回放、剪辑等功能及其对时间的扭变和便携性等特点，久保田成子赋予录像媒介对话与响应 的可能性。

朱加 朱加在录像装置《永远》（1995）中对自行车轮的运用则与久保田成子截然不同。拍摄时使用

的三轮车放置在投影前，人们可以看到固定在左侧后轮上的摄影机，它记录下 1994 年北京的

大街小巷。朱加所采用的实验方式只有通过摄影机才能实现，在后媒介实践语境中凸显录像艺 久保田成子，《杜尚式：自行车轮（一）》，1983-1990，单通道录像雕塑，3 英寸液晶显示器、自行车轮、木凳，27’17”， 彩色、无声，58 ( 高 ) x 25 ( 宽 ) x 15 ( 深 ) 英寸。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Shigeko Kubota, Duchampiana: Bicycle Wheel One , 1983–1990. Single-channel video sculpture, three-inch liquid crystal monitor, bicycle wheel, wooden stool, 27’17”, colour, silent. 58 (h) x 25 (w) x 15 (d) inches.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

术的媒介特性。这些早期作品极大地探索了摄影机的非传统运用。

此外，在《刻意的重复》（1997）中，艺术家探索了显示器的雕塑性。在这件作品中，摄影机 13 《久保田成子：一段采访》（录像），1983，影像艺术银行， http://www.vdb.org/titles/shigeko-kubota-interview （2019.11.17 检索）。

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“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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放置在冰箱里持续拍摄。当冰箱门关上，画面中空间的扭变十分显著又让人费解。当冰箱内灯

光熄灭，录制依然在一片漆黑中继续，显示器屏幕展示了内部漆黑的三维空间。但与此同时， 我们知道黑色显示器是平的，由于我们的形象反射在显示器的玻璃屏幕上，这与我们以为会看 到的冰箱内部漆黑空间形成明显矛盾。而三维和二维感知都被高度压缩，互相竞争主导地位，

既导致对现实感知的偏差，又在原本不起眼的日常行为中制造幻觉。只有在对材料和录像媒介 有充分认识和思考的前提下，才能获得这样的作品体验。若非如此，作品则会流于平庸且毫无 价值；只有通过对媒介的深入解读，作品才能显出独到的深刻性。

朱 加 的 首 部 录 像 作 品《 大 衣 柜 》（ 1 9 9 2 ）将 镜 头 对 准 了 一 个 普 通 衣 柜 内 部 私 密 的 封 闭 空 间 。 作为艺术家手臂和眼睛的延伸，摄影机在悬挂着的衬衫和夹克之间推进，每件衣服都被用

力推开，然后摄影机退回再进入，重复这一动作。摄影机的内置麦克风与衣物产生摩擦，

当衬衫或夹克刮擦到麦克风时，会产生一种低沉的闷声；此外，摄像头和麦克风也会收录 到衣架刮擦金属挂衣杆的嘎吱声。重复的动作会激起焦虑，让观看和聆听的过程都变得很 不舒服。

朱 加 通 过 摄 影 机 和 显 示 器 对 空 间 进 行 不 同 寻 常 的 探 索。 作 品 用 摄 影 机 进 行 实 验， 构 建 出 只 有 录像摄影机（而非电影摄影机）才能实现的画面，从而凸显录像艺术的媒介特性。

继续往展厅深处走去，观众会看到朱加的最后一件参展作品《与环境有关》（1997），旁边是

袁广鸣的录像装置。这两件作品中都出现了金鱼的形象，展示出不同艺术家对录像媒介处理手 法的差异，强调后媒介艺术实践中媒介专注力的重要性。在两位艺术家的作品中，投影介面——

朱加，《刻意的重复》，1997，单通道 录像（阴极射线管显示器）， 15’00”，彩色、无声。“重新聚焦媒介： 东亚录像艺术的兴起”展览现场，图片 由 OCAT 上海馆提供。 Zhu Jia, Repeat on Purpose , 1997. Single channel video, CRT Monitor, 15’00", colour, silent. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

朱加，《大衣柜》，1992，单通道录像（阴极射线管显示器）， 7’30”，彩色、同期声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Zhu Jia, Armoire , 1992. Single-channel video, CRT Monitor, 7’30”, colour, actual sound. Installation view of Refocusing on The Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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一为地面、一为瓷盘——都作为媒介的一部分与投影进行有机结合。在《与环境有关》中，朱 加向观众呈现了一条在裸露的地板上不断扑腾的金鱼，录像画面循环往复，营造出一种让人不 适的观看体验。根据克劳斯对后媒介实践的理解，投影所占据的空间与整个空间息息相关，而 非仅仅对投影区域产生影响。

袁广鸣 左页 : 袁广鸣，《盘中鱼》，1992， 单通道录像装置，投影仪、42 厘米 直径白色圆盘，14’15”。“重新 聚焦媒介：东亚录像艺术的兴起” 展览现场，图片由 OCAT 上海馆提供。 Left page: Yuan Goang-Ming, Fish on Dish , 1992. Single-channel video installation, projector, 42cm-diameter white plate, 14’15”. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

袁 广 鸣 的《 盘 中 鱼》（1992） 对 主 题 和 投 影 介 面 的 处 理 手 法 则 与 朱 加 不 同。 得 益 于 早 期 对 录

像媒介的研究和在录像装置、录像雕塑中对独特拍摄机位的实验，在这件作品中，一条悠哉的 金鱼被投影到一个朴素无华的白色瓷盘中。

小小的投影画面不仅限定观众必须向下俯看，而且伸手便可进入投影去“捉”这条金鱼。《盘

中鱼》形式和内容上的简约让观众更能感受到自己身体位置的变化。白色瓷碗放在地板上，成

为一面三维屏幕。瓷盘能够更为清晰地衬托出悠游于其中的金鱼投影，显然是经过深思熟虑而 选择的雕塑形式。观看过程中，观众需要走近瓷盘，低头垂目，凝视悠游的金鱼。金鱼与瓷盘

的关系构成虚与实的对比，这恰恰是录像媒介的一项核心特征。活灵活现的金鱼投影在圆盘的 一方小天地自在悠游，以虚带实，将投影带入到真实的现场空间。投影虚像与瓷盘实物之间微 妙的矛盾感凸显了幻象与现实之间的碰撞与交融。

王功新 旁边展出的是王功新的另一件作品《破的凳》（1995-2020），对幻象和现实的概念发出质疑。 这件录像雕塑将手工制作的中国传统家具与没有特定文化归属性的技术相结合。录像将后工业

技术以直白的方式与前工业技术进行嫁接。木材及其所象征的手工艺历史、与显示器及其所播 放的录像画面将媒介特性融入后媒介实践中。显示器被嵌入之前和之后，在时间所带来的矛盾 感下——板凳在两种不同的媒介和同一物体所蕴含的不同历史时间线索中“复活”。这些时间

线索包括：当木材还是一棵树木的时候，当长凳还是手工制作的时候，当它是一件常用家什的 时候，当它作为家具的功能性被抽离的时候，当它被一锯为二的时候，当录像在记录的时候，

当长凳被拼接在一起且有一根手指在不断描摹着板凳断裂处缝隙的时候，以及当它作为一件艺 术品在展览中出现的当下。

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王功新，《破的凳》，1995-2020，录像装置，木质长凳、电视屏，1’00”，黑白，无声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

王功新，《破的凳》（局部），1995-2020。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

Wang Gongxin, The Broken Bench , 1995–2020. Video installation, wooden bench, TV monitor, 1’00”, black and white, silent.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

Wang Gongxin, The Broken Bench (detail), 1995–2020.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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山本圭吾 继续往前，观众看到的是山本圭吾（1936-）的作品，通过对实物的参照记忆来探索显示器的

更多可能性。山本圭吾在作品《手 No.2》（1976）和《脚 No.3》（1977）中，通过录像和

闭路电视显示器的即时回放功能，探讨了显示器的物理性和身体的关系。作品记录了孤立的身 体部位（手和脚）与作为录像画面框架的显示器之间的互动。手和显示器的第一次互动被拍摄 下来，在显示器上播放，然后再次录下手和显示器中播放影像之间的互动。在《手 No.2》中，

我们看到同一只手被记录和再记录，使得手和手臂出现在相互分隔、又相互关联的表现场域。 同样的原理也被运用在《脚 No.3》中，显示器中表现的是显示器中所表现的显示器中的内容。

层层叠加的影像将显示器里的身体延伸到展台上的显示器之外的界域。参观过程中，观众可以 触碰显示器，与作品实现直接连接，成为作品的一部分；正是因为这种可能性，显示器和它所

占据的空间才成为了“现场”。《手 No.2》和《脚 No.3》左右并置于两个完全相同的展台上， 让观众直观地感受到显示器与录制内容的整体性和同等重要性。山本圭吾开展的艺术实验体现 了上世纪 60 至 70 年代的观念艺术思潮，即艺术品应体现虚实兼存。

饭村隆彦 下 一 个 进 入 观 众 眼 帘 的， 是 饭 村 隆 彦 的 作 品《 这 就 是 拍 摄 了 这 些 的 摄 影 机》（1980）。 饭 村

隆彦这件现场录像装置所散发的共生二元性与山本圭吾作品中两个相同的展台和显示器所体现

的二元性形成某种呼应。传统而言，便携式摄影机是用来记录和创作录像的；而在这件作品中， 摄影机不再是隐居幕后的工具，而成为一种显性的、不可或缺的元素，凸显闭路电视装置所蕴

饭村隆彦，《这就是拍摄了这些的摄影 机》，1980，闭路电视录像装置（2 台 相同的摄影机、2 台相同的阴极射线管 显示器、2 台相同的三脚架）、乙烯基 刻字、实时画面，彩色、无声。“重新 聚焦媒介：东亚录像艺术的兴起”展览 现场，图片由 OCAT 上海馆提供。 Takahiko Iimura, This is a Camera Which Shoots This , 1980. CCTV video installation (two identical video cameras, two identical CRT monitors, two identical tripods); vinyl lettering; Live feed transmission, colour, silent. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

（左）：山本圭吾，《手 No.2》，1976，单通道录像（阴极射线管显示器），8’21”，黑白、无声。 （右）：《脚 No.3》，1977，单通道录像（阴极射线管显示器），6’33”，黑白、无声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 (L) Keigo Yamamoto, Hand No.2 , 1976. Single-channel video (CRT monitor) 8’21”, black and white, silent.

(R) Foot No.3, 1977. Single-channel video (CRT monitor) 6’33”, black and white, silent.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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饭村隆彦，《这就是拍摄了这些的摄影 机》（局部），1980。“重新聚焦媒介： 东亚录像艺术的兴起”展览现场，图片 由 OCAT 上海馆提供。 Takahiko Iimura, This is a Camera Which Shoots This (detail), 1980. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art. Image courtesy of OCAT Shanghai.

含的媒介特性。作品强调了摄影机功能与显示器功能之间的联动和相互性。通过对闭路电视即 时回放功能的灵活、甚至夸张的运用，装置捕捉到的是对当下这个瞬间的极致再现，从而向人

们对直播和录像的既定认知发起挑战。圆形光圈和刻字暗合镜头和镜头中的图像，打造出一片 和谐的视觉空白，映照着处于媒介中的媒介。通过录像设备和文字从视觉上对媒介进行解构， 作品围绕着真实、录像画面和电子化的非自然三种状态展开思辨。

饭 村 隆 彦 的 另 一 件 作 品《 电 视 对 电 视》（1983） 再 次 重 申 了 上 述 二 元 性。 两 台 一 模 一 样 的 电

视机面对面紧贴在一起，分别播放上海两个本地免费电视频道的实时节目，形成某种亲密的互 动。这件直播式的雕塑作品在媒介语境下将电视机直接作为现成品加以利用。两台显示器面对

着面，紧紧地贴近彼此，仿佛在进行某种电子化的亲密交流，将单向的播放内容转化为衷肠互诉。 而在无法接入电视信号的情况下，艺术家则会用电视静态“白噪音”作为替代方案。 14

饭村隆彦在开展录像装置创作之前长期从事电影创作，从方法论的角度关注媒介美学。 15 作为

一名对日本地下电影和实验电影做出过杰出贡献的艺术家，饭村隆彦将类似的后结构主义方法

论运用于自己的录像作品，致力于通过语言学和现象学来凸显录像媒介的特点。16《电视对电视》

体现了艺术家对媒介的标志性分析手法：撷取不相关联的内容，解构并重组成新的主题，通过 媒介独特的美学表现力彰显哲学洞察。 饭村隆彦，《电视对电视》，1983，共用天线电视录像装置（2 台相同的阴极射线管显示器面对面放置），实时画面，彩色、同期声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Takahiko Iimura, TV for TV , 1983. CATV video installation (two identical CRT monitors face to face) Live feed transmission, colour, actual sound.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

13 《久保田成子：一段采访》（录像），1983，影像艺术银行， http://www.vdb.org/titles/shigeko-kubota-interview （2019.11.17 检索）。 14 饭村隆彦装置说明，由纽约 Microscope 画廊提供，2020 年 11 月 19 日。 15 阪本裕文对饭村隆彦的采访，出自《早期日本录像艺术家的重要特征》，2010。 16 弗雷德·安德森，《饭村隆彦：录像与符号学》， 2004，https://portal.research.lu.se/ws/files/6192022/1055630.pdf（登录于 2019 年 4 月 19 日）。

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（左）金顺基，《瓦卡雷斯池塘》，1985；（右）金顺基，《银河之音》，1988。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 (L) Soungui Kim, Etang de Vaccarèes , 1985. (R) Soungui Kim, Voie-voix Lactee (Milky Way Voice) , 1988.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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金顺基，《银河之音》，1988，单通道录像，录像静帧，图片由艺术家提供。 Soungui Kim, Voie-voix Lactee (Milky Way Voice) , 1988. Single-channel video. Video still. Image courtesy of the artist.

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金顺基 后 方 展 厅 呈 现 的 是 金 顺 基 的 两 件 投 影 作 品。 在《 银 河 之 音》（1988） 中， 金 顺 基 利 用 录 像 媒

介呈现了一出关于时间和空间的实验。在往返巴黎与首尔的航班上，艺术家用摄影机录下了天 空、云朵、机舱内部和出发与到达区的各种画面。利用即时回放和重录等只有录像才能实现的

功能，金顺基赋予作品某种出人意表的偶然性和趣味性。摄影机内嵌的时间和日期印证了艺术 家在机器上的剪辑过程。在往返的航班上，她不断重复地进行着录制、倒带、重录、快进等操

作。与成本高昂的胶片媒介不同，录像让艺术家能够实现倒带重录。毫无章法的剪辑手段让人

无法区分往返旅程。艺术家从道教、佛教和西方哲学中汲取灵感，营造冥想式氛围以提出自己 的哲学思考。17 例如，在什么时间或空间节点上，一架从法国起飞的航班会变成一架韩国航班？

或相反，什么时候从 韩 国 出 发 的 航 班 变 成 了 法 国 航 班？ 法 国 后 结 构 主 义 哲 学 家 让 - 吕 克· 南 希

（1940-2021）曾撰文探讨金顺基的作品和方法论，强调她对“手头之物”细致而深入的探索， 认为她的艺术手法是一种体验、一种过程。 18

而站在金顺基的另一件作品《瓦卡雷斯池塘》（1985）面前，观众再次直观体会到艺术家对录

像媒介过程性和合一性的运用。这部录像采用一镜到底的手法实时拍摄，且未经任何剪辑。创

作过程中，艺术家将摄影机的拍摄与自己的呼吸建立起直接联系，可谓一出真正的“录像行为”。 如果我们仔细观看作品，会发现镜头光圈随着艺术家的呼吸节奏反复打开和关闭，形成了画面 与艺术家自我存在的真正“合一”。 19 根据艺术家最初的设想，“集音罩” （audio shower）20

固定在观看双通道录像投影的最佳距离，在投影和观众的目光之间建立稳定的联系。离开这件 装置，观众将会看到这片展厅尽头处的另外两件作品。

17 18 19 20

李秀贞，《金顺基：懒惰的云》展览画册，尹范模（韩国国立现代美术馆，2019），第 21 页。 让 - 吕克·南希，《金顺基：专论 II》 (Les Herbins, France: Sock-Jon, Les Herbins Editions, 1997)， 第 78–85 页。 李秀贞，《金顺基：懒惰的云》，第 66 页。 天花板上放置了一个定向扬声器，将音频直接传送到下方限定区域。

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金顺基，《瓦卡雷斯池塘》，1985，双通道录像。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Soungui Kim, Etang de Vaccarèes , 1985, dual-channel video.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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鲍蔼伦 鲍蔼伦的参展作品围绕日常经验展开，例如，在医院或桥上走动的人。作品的实现得益于艺术

家对录像的不断探索，让她能够触及、记录、思考、解构并还原这些日常情境。《行动剧场》 （1995-1996） 和《 循 环 影 院》（2000） 这 两 部 作 品 都 聚 焦 于 主 流 文 化 观 念， 分 别 以 剧 场 和 电影院命名，但随即颠覆了人们对传统剧场和影院的期待。

在《行动剧场》中，艺术家将闭路电视摄影机所拍摄到的人们在医院走廊中活动的画面作为原

始素材。黑白监控视频画面如今在全球各地的公共楼宇中都司空见惯，如同一双眼睛观察着无 剧本的公众互动，客观地记录下一成不变的环境中的所有变化。从作品标题可以看出，画面中

的病人、医生、护士、清洁工像“演员”一样穿行于不变的“舞台”；而且，观众或许已经料到，

他们并没有意识到、或者完全忽视镜头的存在。长时间的闭路电视摄制只有通过录像才能实现。 通过剪辑技术，画面中的人物呈现半透明的状态，他们行走的路径纵横交错，时而彼此重叠。

播放作品的显示器不论尺寸还是位置都与设置在展墙高处的监视器并无二致。鲍蔼伦对闭路电

视监视画面进行了深入挖掘，利用其叙事和主观细节的缺失抽空建筑中蕴含的一切戏剧性，让 这些透明的身影体现出某种思辨性。

鲍蔼伦的作品充满诗意的矛盾感，以把人性抽离出来的方式打造了一方观察人性之所。《循环

影院》利用摄影机的平移运镜，拍摄驶过某座香港大桥的车辆，有时镜头也会追随从另一侧进 入画面的车辆跟拍。其他画面则采用定点拍摄，记录了双向的车流。作品呈现了一系列二元概 念——大桥这一侧和那一侧、从左至右和从右至左的运动、进入画面和离开画面的车辆、拍摄

得模糊和清晰的车辆、白天和黑夜。与《行动剧场》一样，《循环影院》摒弃了说教式的叙事

和主观细节，拍摄大桥上川流不息的车辆只是作为穿梭往来的证据。匿名的司机，难辨的车辆， 未知的旅途，作为目击者的观众体验到一种永恒的短暂。桥梁的作用是把两个地方连接起来。 作品最初创作于 1999 年，经过重新剪辑以录像的形式循环播放，如今进一步发展为在投影幕 布前增加了两张扶手椅。作品为观众提供了（双重）选择权：观看时，观众既可以站着也可以

坐下。扶手椅激活了投影外的空间，让观众成为参与者、亲历者；而且，当扶手椅被人“占领” 的时候，观众也可以成为那些观看者的观察者。

鲍蔼伦，《行动剧场》（局部），1995-1996 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Ellen Pau, Operation Theatre (detail), 1995-1996.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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鲍蔼伦，《循环影院（Viewing Room）》，2000，单通道录像，投影仪、两把皮椅，8’37”，彩色、有声。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Ellen Pau, Recycling Cinema (Viewing Room) , 2000. Single-channel video, projector, two leather chairs. 8’37”, colour, sound. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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耿建翌 耿建翌的三通道阴极射线管显示器装置《视觉的方向》（1996）曾参加过中国第一场录像艺术 展览“现象·影像：中国录像艺术展” （杭州，1996）。作品由单一重复的画面所主导，屏幕中心 是一只鸭子眼睛的特写。这个画面依次在三个屏幕中出现，当一个屏幕亮起时，其他两台显示器

则呈现黑屏状态。画面中唯一的动态元素便是那只渐渐无神的鸭子眼睛，眼皮屡屡缓缓下垂又猛

地撑开，扩散的瞳孔形成了另一片黑色的虚空。长时间凝视鸭子瞳孔中央的黑洞会让人心生惶恐， 人们发现它受伤被抓，这眼睛是其意识的存在。当观众体察到装置作品中的媒介特性细节，他们

会意识到阴极射线管显示器上所呈现的不单单是一只鸭子眼睛。显示器的材质是光滑的玻璃，如

此一来，当屏幕呈现黑色时，就仿佛一面反光的镜子。跟黑色的屏幕一样，鸭子眼睛中的黑色部 分也像一面镜子，映射出观众自身的形象，让这映像也变成了作品的一部分。

耿建翌的录像装置体现了深邃的空间意识，与画面内容共同激活了显示器之外的空间，是后媒 介实践的典范。

陈劭雄 在《视力矫正器 3》（1996）中，陈劭雄组装了一台双筒式视力装置，与两台阴极射线管显示

器相连，从而对屏幕空间和感知展开探索。这台自制的简易视力装置要求观众以特定的坐姿来 观看其中的内容。陈劭雄曾写过使用这台机器的观看体验，强调对左右显示器上播放的内容进 行调和的现象：

《视力矫正器 3》是由两个视觉通道将观看者的双眼分开引向两个观看对象（电视），

这两个屏幕图像的内容既相关又相悖，它们有时出于“连接”状态，有时又“断开”了 彼此的关联，甚至出现相互矛盾的并置。 21

陈劭雄对通过录像媒介观看所获得的认知展开实验。艺术家打造了一种同时观看两种图像流的 方式，两眼各看一边。然而，他所打造的并非某种立体影像，让左右眼能够协同工作，共同创

造出令人信服的幻象。恰恰相反，陈劭雄所打造的录像与此背道而驰。自 1990 年代早期以来， 陈劭雄便从传统中国水墨画转向当代艺术实践，通过录像媒介来探索并拓展雕塑、摄影、水墨 画等概念。他是中国最早开始思考观众与作品互动关系的艺术家之一。 22

本次展览的最后一件作品把直播电视融入雕塑性装置中。陈劭雄的装置《改变电视频道便改变 新娘的决定》（1994）通过一件悬挂在金属框架内的西式婚纱及框架顶部的电视机完成了对“新

娘”身体的建构。作品中的电视机自然而然地被认为象征着新娘的头部。电视里播放的实时节 耿建翌，《视觉的方向》，1996，三通道录像装置，阴极射线管显示器，30’00”，彩色、有声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Geng Jianyi, Dimension of Vision , 1996. Three-channel video installation, CRT monitors, 30’00”, colour, sound.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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21 何炬星等编，《中国影像艺术 1988-2011》展览画册（上海民生现代美术馆，2012），第 233 页。 22 郭晓彦，《如何自我构建：中国影像艺术的一些基本事实及叙述》，载《中国影像艺术 1988-2011》，编辑：何炬星等， 展览画册（上海民生现代美术馆，2012），第 59 页。

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陈劭雄，《视力矫正器 3》，1996，双通道录像装置（阴极射线管显示器、纸、金属、塑胶），7’50”， 彩色、有声。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Chen Shaoxiong, Sight Adjuster 3 , 1996. Dual-channel video installation (CRT monitors, paper, metal and plastic), 7’50”, colour, sound. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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陈劭雄，《改变电视频道便改变新娘的决定》，1994，装置，婚纱、带画框及文字的玻璃、随机播放节目的电视。“重新聚焦媒介：东亚录像 艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Chen Shaoxiong, Change the TV Channel, Change the Bride’s Decision , 1994. Installation, wedding dress, framed glass with lettering, television with random programs. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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目激发了电视画面与具有象征意味的新娘形象之间的动态交互。除了节目中涉及的社会政治内

参考书目

思考。作品将电视作为雕塑元素，充分利用了它不受地缘限制、能够源源不断传递实时视频媒

裴明智、Yi Won-Kon、Min Hijung、林山、赵善玲、刘振相，《韩国影像艺术 7090：时间图像装置》，展览画册， 编辑：尹范模；首尔：国立现代美术馆，2019。

容以及新娘形象所蕴含的象征隐喻，艺术家对录像媒介的处理方式也是对不断变化中的当下的

体信息的特点。这种“现场性”构成了这件创作于 1994 年的拾得物装置的核心，不仅让观众 直面彼时与“此时”的时间冲突，也呼应了本次展览的语境。

在展览尾声处，陈劭雄的这件作品为观众提供了一个驻足停顿的契机，让观众得以回想并体味 整场展览所展现的重要美学思考。聚焦媒介特点之核心，我们看到的不仅是东亚视角下录像艺 术全球美学的基础，而且还得以从一个全新的、没有特定文化属性的，或者说全球化的视角来 看待并思考艺术。

整个展览随处可见对屏幕外雕塑空间的激活，观众在装置间的走动和观看位置的变换影响着他

们的体验和与作品的互动关系。此外，不少参展作品都通过录像画面和实物的并置凸显虚实间 的矛盾张力，通过录像语言探讨东西方哲学中永恒的议题。同样值得注意的是，艺术家对录像

所体现的多元时间线索的探索。在他们的作品中，时间的存在能够通过不同的维度和层面来体 验。现场的、录像中记录的、实际的和预期中的多元时间线索交织在一起，展现出不同的时间

线索如何在录像媒介中达成微妙的平衡与共存状态，超越单一时间的当下维度，也让我们所身

汉斯·贝尔廷、安德烈亚·布登希格、埃马诺伊尔·艾拉乌桥，《全球艺术世界：观众、市场和博物馆》，国际文化 研究中心、卡尔斯鲁厄艺术与美体中心编；奥斯特菲尔登：Hatje Cantz 出版社，2009。

欧莉安娜·卡基奥内，《相关节奏：全球化艺术语境中的张培力和当代中国录像艺术》，刊载于《中国当代艺术》 第 5 卷第 1 期（2018.3.1）：第 21-39 页。 克里斯多夫·查尔斯，《山口胜弘：日本录像艺术的诞生（1971-1974）》，刊载于《Leonardo On-line》/ OLATS（艺 术与科技观察），2002， http://archive.olats.org/pionniers/pp/yamaguchi/yamaguchi.php。

查尔斯·格林、安东尼·加德纳，《双年展、三年展和文献展：创造当代艺术的展览》，伦敦：威利·布莱克威尔， 2016。 克莱门特·格林伯格，《现代主义绘画》，选自《论坛系列》（华盛顿特区：美国之声），1960。 何炬星等，《中国影像艺术 1988-2011》，展览画册；上海：民生现代美术馆，2012。

亨利埃特·胡迪希，《投影之前与之外：录像雕塑笔记，1974-1995》，展览画册；剑桥：麻省理工学院 LIST 视觉 艺术中心，2018。 金仁惠、Kim Jeong-bae，《曼陀罗：朴铉基回顾展（1942-2000）》，展览画册，Fedora 出版社编；首尔：国立 现代美术馆，2015。

处的物理空间变得多元和复杂。最后，电子录像信号、广播电视信号和闭路电视传输所展现的

罗莎琳·克劳斯，《北海之旅：后媒介状态时代的艺术》，伦敦：泰晤士 & 赫德逊出版社， 2000.

所有参展艺术家都通过各自富有实验精神的大胆实践对录像展开研究，这一点与全球其他艺术

五十殿利治，《山口胜弘早期艺术生涯：历史视角下的展示柜系列》，刊载于《亚太波普文化期刊 3》第 1 期， 2018. https://doi.org/10.5325/jasiapacipopcult.3.1.0090.

录像媒介“现场性”也无处不在。

家别无二致。这些富有创造力的艺术实验鼓励大家在电影性和叙事传统之外对录像媒介进行新

的解读，并探索录像现场性中蕴含的雕塑性和独特的空间性，这也正是奠定这一全新的艺术媒 介、甚至可以说是第一个全球化当代艺术媒介之基础的重要特性。

久保田成子，《久保田成子：一段采访》，选自《录像数据银行：媒体艺术家系列采访》；Kanopy 电子录像， 1982。

孙松荣、王柏伟，《启视录：台湾录像艺术创世纪 1983-1999》展览画册，编辑：曲德益；台北：关渡美术馆，台 北艺术大学，2015。 金顺基，《艺术，或聆听沉默》，Slought 基金会、善宰艺术中心、韩国法国文化协会；DVD PAL 格式，2014。 金顺基，《懒惰的云》，展览画册，编辑：尹范模；首尔：国立现代美术馆，2019。

山口胜弘、松本俊夫、安藤康平、饭村隆彦、山本圭吾、出光真子、川中伸启等，《至关重要的信号：早期日本录 像艺术》，展览画册；纽约：电子艺术联盟，2010。

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“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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The order of the artists' family name (in bold) follows the convention the artist has used predominantly in their career. Some place the family name first, while others use the Western convention placing the family name second. 艺术家姓名中的姓氏（粗体）先后位置遵照其职业生涯中的使用习惯，部分艺术家是姓氏在 前、名字在后，另一部分则是按照西方惯例将姓氏置后。

Katsuhiro Yamaguchi

1928-2018

Nam June Paik

1932-2006

Yoko Ono

b. 1933

Keigo Yamamoto

b. 1936

Kim Kulim

b. 1936

Takahiko Iimura

b. 1937

Shigeko Kubota

1937-2015

Park Hyunki

1942-2000

Soungui Kim

b. 1946

Wang Gongxin

b. 1960

Ellen Pau

b. 1961

Chen Shaoxiong

1962-2016

Geng Jianyi

1962-2017

Zhu Jia

b. 1963

Yuan Goang-Ming

b. 1965

Curator's Essay

Left page: Katsuhiro Yamaguchi, Las Meninas (detail), 1974–1975, CCTV video installation. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 左页：山口胜弘，《宫娥》（局部），1974-1975，闭 路电视录像装置。“重新聚焦媒介：东亚录像艺术的 兴起”展览现场，图片由 OCAT 上海馆提供。

REFOCUSING ON THE MEDIUM

Kim Machan 72

Refocusing on the Medium: the Rise of East Asia Video Art is the outcome of a longstanding personal

he was in New York. Katsuhiro Yamaguchi (1928–2018) and other artists in Japan gained access from

inquiry into the history of video art and the unique characteristics of the medium. I was fortunate

1968, while Park Hyunki (1942–2000) started using video in Korea in 1974. Kuo I-Fen (1951–) was one

enough to meet some of the great pioneers in this field, such as Nam June Paik (1932–2006), Shigeko

of the first artists credited in Taiwan, China with the exploration of video art in 1983. In Hong Kong,

Kubota (1937–2015), and Vito Acconci (1940–2017) in the mid-1980s, experiencing theirs and others’

Ellen Pau (1961–) and others began using video from the mid-1980s and on Chinese mainland, Zhang

inventive approaches. I was profoundly impressed by the artists’ conceptual and sculptural tactics to the

Peili (1957–) began using video in 1988.

idiosyncratic conditions of the medium because they changed the context beyond the screen, tilting from a world to observe to an active three-dimensional participatory space that stretched the mind and implicated the body. Video art is predominantly attributed as a North American and European

Histories

invention, and the mainstream discourse is built from that perspective. However, there are other ways of thinking about the history and conditions of the video medium—and these are at the very heart of

Several exhibitions exploring East Asian histories of video art have been held in the past decade,

this exhibition.

providing enhanced detail and depth to specific national histories, and laudably expanding an existing

Since the transnationally developed and Japanese-invented Sony Portapak portable video recorder was

Apparatus Video Art , Museum of Modern and Contemporary Art, Gwacheon, Korea, in 2019; (Not)

produced in Japan in 1965, artists on every continent have gained access and have contributed to its

Just a Historical Document: Hong Kong-Taiwan Video Art 1980-1990s , MOCA Taipei, Taipei, China, in

world history of video art. Significant exhibitions include Korean Video from 1970s to 1990s Time Image

2019; REWIND_Video Art in Taiwan 1983-1999 , Kuandu Museum of Fine Arts, Taipei, China, in 2015;

aesthetic development.

Moving Image in China: 1988-2011 , Minsheng Art Museum, Shanghai, China, in 2011; and Vital Signs: Refocusing on the Medium: the Rise of East Asia Video Art is the first exhibition to assemble works

Early Japanese Video Art , a touring exhibition, Electronic Arts Intermix, in 2010. These exhibitions not

by key artists originating from Japan, Korea and China (including the mainland of China, Hong Kong

only uncovered a new depth of knowledge of early video art practice but also affirmed that artists

and Taiwan), who initiated experiments with the medium of video. Presenting twenty-five video art

from East Asia were actively travelling, exhibiting, interacting with other artists both regionally and

installations by fifteen artists, the exhibition cannot claim to be a chronological regional survey; rather,

internationally, just as artists from the West were also travelling and being influenced by others.2 These

it sets out with a very specific agenda and specific provocations.

accounts of early video art practice in the region and international exchange provoke a more radical review of the way video art history can be considered. With these exhibitions in mind, the selection

By ‘refocusing on the medium’, the exhibition is led by the artworks to investigate the original

of works in this exhibition targets experiments with the unique characteristics of video medium in the

contributions arising from East Asia. It pivots and sharpens attention toward the aesthetic language of

context of post-medium practice, a term coined by art critic and theorist Rosalind Krauss (1941–).

video art as a comparative strategy to consider the global nature of video art and the contribution of those artists working with the medium. For audiences today, there is an added intention to reinvigorate the reading of the video medium beyond the cinematic and narrative concerns by concentrating on

The Medium of Video in the Context of Post-Medium Practice

artworks that explore the sculptural immediacy of video’s liveness and its idiosyncratic spatiality.

As the title of this exhibition suggests, the medium dimension of video art deserves more attention.

As a form of new technology, video had no established cultural traditions, recognised conventions,

When ruminating on the understanding of the medium in contemporary art, Krauss addressed the

established history, or specific national claim in relation to video as an art practice, making it an

expansion of art practice emerging in the 1960s and 1970s with her terms ‘post-medium’ and ‘post-

exceptional art form. Because of this, Hans Belting suggests it was global in a way that painting or

medium practice’ to accommodate art that exceeded the conventions of high modernism.3 Favouring

sculpture had never been, contending that it removed not only geographical, but also cultural distance

artists committed to non-traditional mediums such as video, photography and installation, Krauss

between the centre and the periphery.1 Artists from East Asia soon took up the culturally non-specific

opened a dialogue around contemporary approaches to art making, but consistently and meticulously

medium to enter new points of exchange and equally complex trans-regional and transnational

examined the artworks through a discussion of the medium. Krauss, on the one hand, is credited

networks. What makes the rise of video art from East Asia so compelling is that artists globally were

as being a decisive leader in the escape from high modernism, commonly associated with the end

responding and experimenting with the same technological concepts with little or no precedent in

of medium specificity and the diminishing importance of the medium, but on the other hand, she

different cultural settings and geographies.

recalibrated and expanded the interpretation of what an artistic medium can be.4 The first experiments in television and video by artists across the globe were characterised by a wide-ranging investigation

Within a relatively brief period, experimentation was occurring across industrialised and developing

and critique of the medium. Similar to contemporary Western artists, Katsuhiro Yamaguchi, Park

economies, straddling continents and cultures, situating video art as arguably the first global

Hyunki, and indeed Nam June Paik, Soungui Kim (1942–), Shigeko Kubota and others in this exhibition,

contemporary art medium. The rise of video art in East Asia is chronologically uneven because of various

were pushing artistic boundaries and were cognisant of challenging conventions in modernism and the

political situations and circumstances that staggered the availability of essential technical equipment.

subsequent de-construction of the high modernist principles.

However, when artists did gain access, they took hold of the technology to make their own radical experiments and contributed to the developing new aesthetic. Korean-born, Japanese-educated and Euro-America-based Nam June Paik is noted as one of the first artists to use the Portapak in 1965 when

2 In my research, histories of Asian video art generally cite travel itineraries and specific international encounters by artists as inferring influence; in contrast, Western video art histories generally do not.

3 See Rosalind Krauss, A Voyage on the North Sea: Art in the Age of the Post-Medium Condition (London: Thames & Hudson, 2000).

1 Hans Belting, Andrea Buddensieg, and Emanoel Araújo, The Global Art World: Audiences, Markets, and Museums (Ostfildern, Germany: Hatje Cantz, 2009), 59.

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4 Approaches to art shifted away from strict formalist high modernism championed by another influential American art critic Clement Greenberg (1909–1994). Greenberg’s term ‘medium specificity’ came to be seen as an out-dated approach to art criticism, unable to accommodate new spatial art practices such as performance art, land art, installation art, conceptual art and hybrid art practices.

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Conditions of the Video Medium

contemporary art practice. Through select examples from 1966 to 2000, the exhibition establishes how artists in Japan, Korea, China apprehended the video medium, applied the new technology, and

The Sony Portapak portable video recorder was taken up by television stations and journalists, as it

contributed to a hybrid global aesthetic of video art through their art practice.

extended news reporting possibilities, community cable television and citizen journalism, activism, documentaries, short film, etc. These uses of the portable video recorder called on the traditions and conventions of film and cinema to emulate or innovate. However, for artists, video was an open and

Exhibition Design to Refocus on the Medium

experimental platform to be explored from each individual’s art context, drawing from any discipline including sculpture, painting, conceptual art, architecture, music, performance, film or television. Video

The exhibition design of Refocusing on the Medium at OCAT Shanghai works with the open spatial

art has a special status in art history because clearly no one tradition or convention is dominant in its

flows of the existing galleries. This approach enables increased vantage points and easy orientation to

development.

move between artworks while defusing the idea of linear progression. The only exception to this rule is in the first section of the exhibition, where a deliberate control of the viewers’ movement through more

Even though the technology rapidly advanced, some basic principles prevail and are still relevant when

confined spaces is designed to slow the viewer down, and to adjust and heighten their senses. The

thinking about artworks that use electronically recorded moving images. The equipment could be

exhibition title asks for the viewer to refocus on the medium, to leave behind assumptions and viewing

operated by just one person. The audio-visual functions of record, rewind, instant playback, and the

habits, and to look afresh at the medium of video art.

ability to record over previous material untethered the medium from the slow delays of film laboratory processing and expensive single recording restrictions. The portable video recorder not only recorded,

The exhibition design optimises the consideration of the video medium through a decompressed and

but could also display live feed CCTV behaviours. The video could be broadcast through television or

spare spatial setting. ‘Black box’ cinema style spaces are intentionally absent; instead, open-plan gallery

cable networks or played directly on CRT monitors. This freed the artists’ use from black box cinema

spaces offer scope to explore and pause, assisted by a variety of sightlines to quell any urgency to

environments and opened new sculptural possibilities and contexts.

hurry to the next work and to emphasise the ‘live’ and actual space rather than an illusionistic space of cinema.8 Lighting principally relies on illumination generated by the artworks themselves, from the monitors or projectors, with select spot lighting. White standard exhibition plinths to support CRT

The International Impulse

monitors are uniformly made with only height differences. There is no seating except when it forms part of the artwork, consistent with the approach that every detail of the installation is significant and

Another important element to emphasise concerns the artists’ international intentions. The artists in

materially read. The artworks are sited against standard gallery flat white walls, with one exception:

this exhibition intended their work to be seen in an international art context and by an international

the foyer area and first entry walls are painted an intense blue, a nod to the blue of video’s RGB, the

audience. Nam June Paik’s history in Europe and New York is well known, but other artists from East

default colour of monitors and projectors at rest, while also being the dominant colour in the archival

Asia also engaged with international ambitions. Yamaguchi Katsuhiro travelled in 1961 to Europe in

documentation of Katsuhiro Yamaguchi’s CCTV video installation Las Meninas (1974–75). The foyer

search of first-hand experience of Bauhaus activities and on to New York, where he met Yoko Ono

and first entry area also contrast with the open plan, creating smaller spaces to choreograph the

and visited the Leo Castelli Gallery.5 Takahiko Iimura (1937–) first travelled to New York in the mid-

viewers’ movement and spectatorship through the first section of the exhibition. The initial four works

1960s, where he showed his experimental films and met key art figures such as John Cage. After

emphasise a heightened sense of ‘liveness’ and awareness of illusionary and actual space through the

studying visual art, Park Hyunki studied architecture where he was inspired by postmodernist architect

use of CCTV live camera feeds, beginning with Nam June Paik’s TV Buddha , 1974 (2002).

Hans Hollein’s ‘Mobile Office’ (1969) while reconciling his Korean traditional knowledge to purposely ’develop a universal contemporary art language’.6 Artists in Taiwan, China such as Kuo I-Fen travelled to Japan to extend her video practice in 1983, while Yuan Goang Ming (1965–), who was working in video from 1984, was exhibiting internationally from 1992. China-based artist Zhang Peili first exhibited internationally in 1987, and Wang Gongxin (1960–) in 1988 after relocating to New York.7 For all artists in this exhibition, there was a conscious desire to contribute to an international art dialogue and to be seen and heard outside of their locality.

These early examples featured in this exhibition reveal artists from East Asia investigating the unique characteristics of the video medium, integrating and articulating the medium of video in their expanded

5 Christophe Charles, Yamaguchi Katsuhiro: The Birth of Video Art in Japan (1971-74) , OLATS, Leonardo online, 2002. http://archive.olats.org/pionniers/pp/yamaguchi/yamaguchi.php.

6 Kim Inhye et al., Mandala: A Retrospective of Park Hyunki (1942-2000) (Seoul, Korea: Museum of Modern and Contemporary Art Seoul, 2015), 11.

7 Zhang Peili was included in the group exhibition Beyond the Open Door , Pacific Asia Museum, Pasadena USA. Wang Gongxin showed in Graduate Show, Cortland College Gallery, New York USA in 1988 and in 1991 The Art from China , The Exhibition Place, SOHO, New York, USA.

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8 Henriette Huldish, Beyond Projection: Video Sculpture 1974-95 (Cambridge, Massachusetts: MIT List Gallery, 2018), 30, 31, 37, 38.

Huldish refers to sculptural space that the monitor takes in the galleries and the experience of reading the work in the live and actual space, in contrast to the dark space of the cinema.

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Installation view of the live broadcast projection in OCAT Shanghai. This view was then broadcast back to Nam June Paik Art Center in Korea where viewers there could see their broadcast being shown in Refocusing on the Medium: the Rise of East Asia Video , in Shanghai. Image courtesy of OCAT Shanghai.

OCAT 上海馆直播投影现场图。画面会被回传至位于韩国的白南准艺术中心，让那里的观众也能够看到在 上海的“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Nam June Paik The entry to the exhibition is designed to encourage a shift in perception and to open questions about the video medium. In partnership with the Nam June Paik Art Center in South Korea, a livestream broadcast of the iconic Nam June Paik video installation TV Buddha is projected at the gateway to the exhibition. Paik famously remade versions of this work many times; however, in this instance, the manifestation of the artwork is indeed not the artwork itself but a projection that reveals the artwork in real time, installed in Korea at the exhibition Nam June Paik TV Wave from 12 May 2020 to 7 March 2021. 9 The projection is then re-broadcast from the OCAT Shanghai camera positioned in the entry foyer back to audiences looking at the artwork in the Nam June Paik Art Center, Korea. This complicated looped experience of Paik’s video sculpture, projection and re-projection connects the video installation to Shanghai with more than a documentary intention. It is a direct provocation to question the video medium within the context of the exhibition: the liveness of the medium, the distortion of time and space, the considerable difference between monitor screen space and projection, the tension between illusion, reality and ‘authentic’ experience, real and recorded time, the conceptual strategies that subvert the medium, and the dynamics connecting local and global aspirations. This first encounter connects Paik’s reflection on the medium, and the ‘live stillness’ of TV Buddha offers a proposition, an attitude toward the video medium that raises questions to model ways we might refocus and reconsider it.

Katsuhiro Yamaguchi Leaving the re-presentation of the iconic Nam June Paik work and crossing into the exhibition galleries, the viewer encounters Katsuhiro Yamaguchi’s CCTV installation Las Meninas . Ample space is offered to the viewer to wander around the six monitors, allowing them to discover certain positions where their image is captured and incorporated into the artwork. The observance of contemplation, stillness and mediative reflection activated by the CCTV in Paik’s TV Buddha changes to be a broader and playful interaction with the medium in the Las Meninas installation. Rather than being a spectator in the Paik live stream and remote CCTV situation in Korea, Yamaguchi’s use of the medium relies on the active participation intrinsic to the work.

The video medium’s distortion and conflation of time is apparent in the combination of, at least, three instances of time. The first is the inclusion of the reproduction of the painting Las Meninas (1656), by Diego Velázquez (1599–1660); the replica print is already a conflation of the date the original painting is attributed and the subsequent date the reproduction was printed. The second time instance is present in the video recordings showing close-up sequences of the painting made in 1975, presented on four monitors in the installation. The third instance is made through the live CCTV element that captures the viewer’s image in front of the painting and displays it on two monitors within the installation. The CCTV image synthesises all of the elements of the installation, including the viewer, thereby collapsing past and present.

Yamaguchi’s explicit intention for this work was to open up new ways to communicate with the viewer through the ‘liveness’ of video CCTV technology and the artwork by incorporating their presence into

9 From 8 to 21 March 2021, a recording of the broadcast was projected at OCAT Shanghai with the support of the Nam June Paik Center, agreeing the complication of a live and the later recorded projection added further complexity to the presentation of Nam June Paik’s work.

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Nam June Paik, TV Buddha. 1974 (2002). CCTV video installation, limestone Buddha statue, CRT monitor, video camera.

Installation view of the exhibition Nam June Paik TV Wave , Nam June Paik Art Center, 2020.5.12-2021.3.7.

Live feed transmission to OCAT Shanghai. Courtesy of Nam June Paik Art Center (Yongin, Korea) and Nam June Paik Estate (New York, USA). 白南准，《电视佛》，1974（2002），闭路电视录像装置，石灰岩佛像、阴极射线管显示器、监控摄像头。 “白南准——录像波”展览现场，白南准艺术中心，2020.5.12-2021.3.7。 画面以直播形式传送至 OCAT 上海馆。图片由白南准艺术中心（韩国龙仁市）和白南准遗产管理委员会（美国纽约）提供。

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Katsuhiro Yamaguchi, Las Meninas , 1974–1975, CCTV video installation. Installation detail of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 山口胜弘，《宫娥》，1974-1975，闭路电视录像装置。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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the mediated process. It is not difficult to imagine viewers’ fascination with their own portrait being adopted into the artwork when it was first presented. Little has changed today, with OCAT staff noting the popularity of viewers ‘taking selfies’ to capture their own image in the artwork’s monitors during its most recent incarnation.10 Yamaguchi understood the broadcast of an image was ‘now’ ‘live’, a contemporaneous moment he designed to reflect on Las Meninas and Velazquez’s insight into new representation that exposed the traditional illusion of representation in painting with all of the history and commentary that painting has attracted, including Michel Foucault’s writings on this particular work.

Through utilising video, Yamaguchi intervenes in the traditional sightlines that are one of the most discussed elements of this painting. The artworks’ use of six video monitors incorporates new ways to consider the painting through the medium of video in a deconstruction and reconstruction of the painting, with the notable addition of the viewer’s own portrait. Four monitors display a close-up examination of the painting, isolating individual portraits and details within the composition. Two other monitors are positioned either side of the full-size colour reproduction of Las Meninas , broadcasting the same CCTV image feed. The CCTV camera is literally lodged inside the full-size black-and-white reproduction of Las Meninas that is positioned as a constructed reflection on the opposing wall. The king and queen’s portrait is physically cut out to become the CCTV’s camera position, thereby replacing the surveillance and power held by the authority and commissioners of the painting with technology.

Exiting the work triggers in the viewer another perplexing thought about the transitory completion of the artwork through the medium of video. The emphatic ‘liveness’ of the CCTV video medium activated by the viewer’s occupation within the installation shifts to a pause at the exit threshold. The viewer can glance back into the installation to observe the exaggerated gazes of the Velázquez multiple portraits that continue in a close-up edited examination of the full-size facsimile painting across four of the monitors.

Staring back into the unpopulated room, viewers may reflect on the static versus live potential of the video medium. A room devoid of people with a live CCTV camera seemingly frozen trained on a portion of the room and ‘painting’ as an experience close to the stillness that Paik enacts in TV Buddha .

The first part of an artwork by Wang Gongxin that also uses CCTV captures the viewers’ image as they move past the bricked wall corner, the remainder of which is revealed further within the exhibition.

Wang Gongxin, Two Square Metre Space , 1995–2020. CCTV video installation, projector, video camera, live feed transmission, colour, silent. Outside view.

The small glowing light seen at the end of this corridor is Yoko Ono, SKY TV , 1966–2020.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

10 OCAT Shanghai group WeChat correspondence comments on similar interactions with works by Takahiko Iimura and Wang Gongxin’s CCTV artworks, February 2021.

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王功新，《两平方有效空间》，1995-2020，闭路电视录像装置，投影仪、监控摄像头，实时画面（彩色，无声），外墙现场图。 走廊尽头处的微光来自小野洋子的作品《天空电视》，1966-2020。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Yoko Ono As the viewer turns the corner of the exhibition, their eyes naturally go towards the end of the corridor, where a small monitor on the floor is the only feature and source of lighting in the otherwise empty and relatively narrow passageway. To gain further access into the exhibition, the viewer is compelled to walk toward the monitor with all other visual and physical alternatives removed. The reductive setting encourages the meditative intention of the work and was designed in consultation with the artist.

A monitor at the end of the passageway holds Yoko Ono’s SKY TV (1966–2020), a continuous live CCTV feed from a camera positioned on the roof of the exhibition building pointed towards a view of open sky. From the first glimpse, it might be expected that the viewer’s eyes lock onto the monitor in the transition along this dimly lit corridor, thereby slowing the speed of walking and heightening the senses.

This seemingly simple concept belies the accomplishment of the artwork when it was first conceived in 1966. The artist subverts the medium, hijacking the idea of CCTV as a form of surveillance technology, and television as a conveyor of mass information or entertainment. Exploitation of the medium-specific qualities of video is leveraged through the artist’s insight of video’s spatial potential, essentialising content into a minimalist gesture in order to manifest the sublime. The video camera can isolate one space—in this case, a section of sky—and transfer that space into another space. This restriction of not being able to see the sky in the subterranean galleries heightens and elevates the significance when the impossible is made possible.

Wang Gongxin Moving past Ono’s SKY TV , the viewer takes a 180 degree turn where their sightline meets a twometre-high projection into the furthermost corner point of the wall ahead. The outside bricked corner wall at the transition point between Yamaguchi’s and Ono’s works passed earlier in the exhibition is, in fact, the first component of this work. The two-square-metre space of the outside bricked corner is captured by live CCTV and projected instantaneously on the inside of the corner wall space.

The external wall visual perspective is forced into the internal wall visual perspective in an exploration of the sculptural potential of the CCTV video medium. The video medium’s capacity to dislocate space while supporting a live re-presentation is a specific quality the artist has investigated within his practice.

The CCTV video signal relays the external brick wall corner and anyone passing by, with the secretive capture and subsequent reveal creating a gap between the creation of content and completion of the artwork, deconstructing and dislocating space. This interruption, the delay between passing the outside wall as a participant and later being inside watching others passing the CCTV camera as a voyeur brings attention to actual and virtual spatial experiences. Through the unique possibilities offered by the video medium, the representation of the exterior brick wall within the internal space activates an impossible hybrid real and virtual spatial proposition intriguingly enabled through CCTV surveillance technology.

The stacked brick wall visually connects to the following adjacent sculptural installations through the use of natural stones.

Yoko Ono, SKY TV , 1966–2020. CCTV video installation, CRT monitor, outdoor video camera, live feed transmission, colour, silent.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 小野洋子，《天空电视》，1966-2020，闭路电视装置，阴极射线管显示器、户外监控摄像头，实时画面，彩色，无声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Wang Gongxin, Two Square Metre Space , 1995–2020. CCTV video installation, projector, video camera. Live feed transmission, colour, silent. Inside view.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 王功新，《两平方有效空间》，1995-2020，闭路电视录像装置，投影仪、摄影机，现场直播，彩色，无声。内墙现场图。“重新聚焦媒介：东亚录像 艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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(L) Park Hyunki, Untitled (TV Stone Tower) , 1979-1982; (R) Park Hyunki, Untitled (TV & Stone) , 1984. Video installation, CRT monitor, stones. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 左：朴铉基，《无题（电视石塔）》，1979-1982；右：朴铉基，《无题 ( 电视 & 石头 )》，1984。均为录像装置，阴极射线管显示器、石头。“重新聚焦媒介： 东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Park Hyunki Two works by Korean artist Park Hyunki experiment with the video image and volume of the monitor as a sculptural form to replace the most elemental medium of stone. Park’s constructed stone cairns and stone installations introduce television monitors with a video recording of a rock inserted into the stone stacks. Denying the expected video recording function of time passing showing movement or narrative, Park experiments with the possibilities of the stillness of the video image to sharpen focus and to accentuate the representation of the stone in electronic form and the moment it exists within.

The concepts of recorded time and ‘natural’ time are pitted within the installation, with the original stones before viewers continuing through linear time. In contrast, the video recording extracts the stone in a looped moving-still-image time vacuum. The artist avoids the distraction of transient video imagery to probe philosophical propositions about nature and technology evoking the eternal question about reality and illusion. For the artist, video technology is the antithesis of nature and so the replacement of the natural stone with the still-moving-video image is a point of philosophical contemplation, forcing the viewer to consider the two realities of stone. 11 Walking around the stones, attuned to the medium, the viewer is aware of the weight of the stones and of the labour required to move each one into place; the effort needed to lift and position them is clear. The monitor also has a weight, but the video representation is the ethereal electronic signal that has no actual weight apart from the carriage of the monitor. Park Hyunki has described the reflection of what is real—the stone is real stone—but the constant signal of the stone on the monitor accentuates the representation of the natural stone and so, when viewing the work, he says, we are brought to ponder if it is indeed a real stone also. 12 Stone cairns are traditionally human-scale piles or mounds of stone and they have been built since prehistoric times across the world for many different cultural purposes. The artist’s choice of medium in the context of a post-medium practice sees the medium of stone and the prehistoric tradition of stone cairns brought together with (at that time) the most advanced technological visual medium: video.

Reading the artwork with attention to the medium-specific qualities of both stone and video calls to notice profound concepts of humanity. For instance, the prehistoric global impulse to pile stones was a fundamental expression of humanity; in the case of video technology, it is an aspirational medium that connects our contemporary global cultures and art worlds. Park demonstrates the metaphorical beginning and end in one moment. Behind Hyunki’s Untitled (TV & Stone) is the following video installation by Korean artist Kim Kulim.

11 Kim Inhye; Kim Jeong-bae. Mandala: A Retrospective of Park Hyunki (1942-2000) , ex. cat. (Seoul, Korea: National Museum of Modern and Contemporary Art, Korea, 2015), 12.

12 Kim Inhye. Mandala: A Retrospective of Park Hyunki . 2015,13.

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(Up) Park Hyunki, Untitled (TV Stone Tower) (detail), 1979-1982; (Down) Park Hyunki, Untitled (TV & Stone) (detail), 1984. Video installation, CRT monitor, stones. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 上：朴铉基，《无题（电视石塔）》（局部），1979-1982；下：朴铉基，《无题 ( 电视 & 石头）》（局部），1984。均为录像装置，阴极 射线管显示器、石头。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Kim Kulim Kim Kulim’s first investigations into video were directed toward exposing the real and the virtual medium-specific qualities of light and time. The video installation Light Bulb (1975) pairs a suspended single light bulb with a monitor displaying a video recording of the same light bulb turning on and off.

The two light bulbs, the real and the recording, alternate on and off in a ten-second cycle, presenting one light bulb illuminated at a time. The movement of the alternating light bulb from left (actual) to right (virtual) directs the opportunity to contemplate light and time through simply adding and subtracting light. The simplicity of the content, the first-hand electric light of the bulb and the mediated light of the video recording, forces a direct comparison. This work poses a conundrum in questioning the difference or equivalence of the two examples of light and the time in which it exists: real time and recorded time, light generated by a light bulb and light generated by a monitor. Viewers wonder if they are looking at a still video installation or a time-based work, because the light signalling on and off marks time passing with the rhythmic switch between light sources. Time is passing in their apparent experience of the light in the immediate space in front of the artwork and yet the recorded time comes from somewhere else.

Philosophical and empirical questions about the nature of light, including the speed of light, are summoned by this work, as it offers contemplation of recorded time and the re-presentation of the light bulb that was recorded. The light transferred to the viewer’s eye from the monitor is transmitted in the live moment, while existing with the contradiction that the light is a recording of an older light, recorded in another time.

Kim’s poetic deconstruction of electronic light and time invites and requires the viewers’ phenomenal experience, effort and indeed time to fully consider the work. The artist’s experimentation with unconventional relationships between different mediums is a significant contribution to the global aesthetic language of video art.

Kim Kulim, Light Bulb , 1975. Light bulb, single channel video installation. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 金丘林，《灯泡》，1975，灯泡、单通道录像装置。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Shigeko Kubota, Duchampiana: Bicycle Wheel One , 1983–1990. Single-channel video sculpture, three-inch liquid crystal monitor, bicycle wheel, wooden stool, 27’17”, colour, silent. 58 (h) x 25 (w) x 15 (d) inches.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 久保田成子，《杜尚式：自行车轮（一）》，1983-1990，单通道录像雕塑，3 英寸液晶显示器、自行车轮、木凳，27’17”， 彩色、无声，58 ( 高 ) x 25 ( 宽 ) x 15 ( 深 ) 英寸。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Shigeko Kubota The following work in the exhibition, Shigeko Kubota’s Duchampiani: Bicycle Wheel, One (1983–1990), takes Marcel Duchamp’s first recognised readymade, Bicycle Wheel (1913), as an artistic proposition that is extended through the medium of video. Kubota introduces mechanised movement to her bicycle wheel on a motionless stool, adding recorded moving imagery within a small monitor attached to the spokes of the spinning wheel. This configuration, impossible to achieve in film, spirally rotates the three-inch monitor filled with natural and synthetically coloured landscape and monochromes.

The video imagery pushes and pulls the viewer between considering the sculpture as an expression of a narrative journey or, as the monitor displays a monochrome field of purple, a sculptural object grounded in the present moment and place. In addition, the expression of time oscillates within the sculpture, on the one hand evoking synthetic time captured in the edited video landscape while on the other hand highlighting the immediacy of the object in the present moment. As a meditative icon, the mechanically driven turning bicycle wheel is a reassuring motion of continuity, holding both the humour and reverence that Zen Buddhism allows to coexist. Neither fast nor slow, the monitor’s circular track proceeds, turning the video image around and upside down where it is possible, though unnatural, for the eye to follow. Remaining focused on the moving screen inevitably waivers, freeing the eye to switch from the micro screen to a macro holistic view of the sculpture. The artist said that ’video is organic and film is not’, 13 implying the relationship with the video medium through specific unique qualities such as recording processes, instant playback, editing possibilities, distortion of time, and portability, made the relationship with the video medium one that was responsive and in dialogue.

Zhu Jia The bicycle wheel is used in a very different way in Zhu Jia’s video installation Forever (1994). The original trolley bike positioned near the projection shows the camera mounted on the rear left-hand wheel that uniquely captured the streets of Beijing in 1994. By experimenting in ways only possible with a video camera, Zhu Jia demonstrates the medium-specific characteristics of video art in the context of his post-medium practice. Early works such as this pushed unconventional uses of the video camera, while works such as Repeat on Purpose (1997) also consider the sculptural relationship of the display monitor.

For this work, the video camera was placed inside a refrigerator to continuously record. Perplexing spatial twists in this work are apparent when the refrigerator door is closed. When the internal light of the refrigerator is extinguished, the recording continues documenting the blackness and consequently, the monitor displaying the video image represents the internal three-dimensional blackened space.

At the same time, we know the black monitor is flat because our image is actually reflected in the monitor’s glass screen, and is a blatant contradiction to the idea we are seeing the internal black space of the refrigerator. Simultaneously, three-dimensional and two-dimensional perceptions are condensed and compete for dominance, causing a glitch in the perception of reality and illusion in an otherwise unremarkable everyday action. This experience within the work is only reached when the materials and the medium of video are fully absorbed and considered. Without doing so, the work is quite banal and of no value; with the deeper reading of the medium, the work is uniquely profound.

Shigeko Kubota, Duchampiana: Bicycle Wheel One , 1983–1990. Single-channel video sculpture, three-inch liquid crystal monitor, bicycle wheel, wooden stool, 27’17”, colour, silent. 58 (h) x 25 (w) x 15 (d) inches.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 久保田成子，《杜尚式：自行车轮（一）》，1983-1990，单通道录像雕塑，3 英寸液晶显示器、自行车轮、木凳，27’17”， 彩色、无声，58 ( 高 ) x 25 ( 宽 ) x 15 ( 深 ) 英寸。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 13 Shigeko Kubota: An Interview [Video file], 1983, Video Data Bank, accessed November 17, 2019, http://www.vdb.org/titles/shigeko-kubota-interview.

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Zhu Jia, Forever , 1994. Single-channel video installation, projector, tricycle, original video camera. 27’16”, colour, silent.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

Zhu Jia, Repeat on Purpose , 1997. Single-channel video, CRT Monitor, 15’00”, colour, silent. Video still.

Image courtesy of the artist and ShanghART Gallery.

朱加，《永远》，1994，单通道录像装置，投影仪、三轮车、原始录像机，27’16”，彩色、无声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

朱加，《刻意的重复》，1997，单通道录像（阴极射线管显示器），15’00”，彩色、无声，录像静帧。 图片由艺术家和香格纳画廊提供。

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Zhu Jia’s first video work Armoire (1992) investigates the very private and contained space of a modest wardrobe. The camera, as an extension of the artist’s arm and eyes, is thrust between the shirts and jackets that are each supported by a wire clothes hanger, with each forcefully pushed aside before moving to the next, withdrawing and then repeating the action. The video camera’s inbuilt microphone rubs against the clothing, creating a low muffled effect as the shirts and coats brush against it, while at other times the position of the camera and microphone picks up the scraping, screeching sound of the coat hanger on the metal clothes bar. The repetitive action stirs a sense of anxiety and is uncomfortable to watch and hear.

Zhu Jia explores unusual spatial orientations with camera and the monitor. The artworks experiment with the video camera, constructing propositions only possible with a video camera (not film camera), extol the medium-specific characteristic of video art Moving further into the exhibition, the viewer sees the last work by Zhu Jia, Related to Environment (1997), which is positioned next to a video installation by Yuan Goang-Ming. Both works feature a single goldfish and are in proximity to contrast these artists’ approach to the medium and to emphasise the importance of precise attention to the medium in a post-medium art practice. In both artists’ works, the projection surface—in one, the floor, and the other, the porcelain bowl—is used as a defining medium to combine with the projection. In Related to Environment , Zhu Jia creates an uncomfortable proposition through the looping capability of video, offering a projection of a goldfish flapping perpetually on a bare floor. In Krauss’s understanding of post medium practice, the space the projection occupies is related to the entire room, not just the projection area.

Yuan Goang-Ming In contrast, Yuan Goang-Ming’s Fish on Dish (1992) takes a different approach to the subject and projection surface. Informed by his early investigations into the video medium where he experimented with unique video camera recording positions, video installation, and video sculptures, in this work, the swimming goldfish is projected into a simple porcelain dish.

The small contained image is positioned for the viewer to gaze down upon it, making it possible to reach into the projection and ‘capture’ the fish with an outstretched palm. The position of the viewer’s body is emphasised because of the reductive approach to form and content in Fish in a Dish. A simple white porcelain dish is placed onto the floor as the three-dimensional screen surface. The bowl articulates the projection of a fish swimming within it and clearly is a considered sculptural form. To see the work, the viewer is drawn to stand close to the porcelain dish with head bowed, eyes lowered, to gaze at the moving goldfish. The relationship between the goldfish and the dish is problematic as a proposition of illusion and reality, a key condition of the video medium. The dish animated by the illusion of the correctly proportioned fish swimming within the confines of the actual porcelain bowl brings the projection into the present space. A delicate tension exists between the transient projection and the concrete porcelain bowl, emphasising the tentative meeting of illusion and reality.

(Top) Zhu Jia, Related to Environment , 1997. Single-channel video.

(Bottom) Yuan Goang-Ming, Fish on Dish , 1992. Single-channel video installation, projector, 42cm-diameter white plate, 14’15”.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. ( 上 ) 朱加，《与环境有关》，1997，单通道录像。 ( 下 ) 袁广鸣，《盘中鱼》，1992，单通道录像装置，投影仪、42cm 直径白色圆盘，14’15”。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片均由 OCAT 上海馆提供。

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Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Wang Gongxin, The Broken Bench , 1995–2020. Video installation, wooden bench, TV monitor, 1’00”, black and white, silent.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 王功新，《破的凳》，1995-2020，录像装置，木质长凳、电视屏，1’00”，黑白，无声，“重新聚焦媒介：东亚录像艺术的兴起” 展览现场，图片由 OCAT 上海馆提供。

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Wang Gongxin Another work positioned nearby tests the concepts of illusion and reality. Wang Gongxin’s The Broken

Bench (1995–2020) is a video sculpture that marries traditional Chinese hand-crafted furniture with the culturally non-specific technology of video, starkly transplanting post-industrial into pre-industrial technology. The medium of timber, the history embedded in the crafting of that medium, the monitor, and the video image playing on it all combine medium-specific qualities in the context of a postmedium practice. Pitting contradictory time instances, before and after the monitor was embedded, the bench is resurrected in two distinct mediums and several evident histories of an object in time. These include the time when the timber was a tree; the time when the bench was originally crafted; the time when the bench was useful as a household item; the time when it was extracted from its functionality as furniture; the time when it was sawn in half; the time recorded in the video, when the bench was pushed together and a finger was recorded tracing the cut line; and the present time as an art object here in this exhibition.

Keigo Yamamoto Moving across the floor, the viewer encounters works by Keigo Yamamoto (1936–) that explore the monitor in another instance of the referential memory of an actual object. In his works Hand No. 2 (1976) and Foot No. 3 (1977), Yamamoto contemplated the physicality of the monitor and the relationship to the body through the immediate playback capability of video and CCTV monitor. The works record interaction between the isolated body part—the hand or foot—with the monitor as the framing device of the video. The first interaction between hand and monitor is recorded, then played on the monitor and recorded again with a response to the earlier recording played back on the same monitor. What we see in Hand No. 2 is the same hand recorded and re-recorded, locating the hand and forearm in separate but connected realms of representation. The same principle is explored in Foot No. 3 : a representation of a representation of a monitor within a representation of a monitor within a monitor.

Layers of representation extend the body from the inner image of the monitor to the outer limits of the existing monitor on the plinth before us. When viewing this work in the exhibition, it is possible to physically touch the monitor and in turn directly connect to become part of the artwork, and it is with this possibility that the monitor and the space it occupies are ‘live’. Hand No. 2 and Foot No. 3 are paired on identical plinths next to each other, drawing attention to the monitors’ consistent presence and equal importance to the recorded content. The visual experiments reflect the considerations of the 1960s and 1970s’ conceptual art movement, where both the illusion and physical construction of the artwork coexist.

Wang Gongxin, The Broken Bench , 1995–2020. Video installation.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 王功新，《破的凳》，1995-2020，录像装置。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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(L) Keigo Yamamoto, Hand No.2 , 1976. Single-channel video (CRT monitor), 8’21”, black and white, silent.

(R) Foot No.3, 1977. Single-channel video (CRT monitor), 6’33”, black and white, silent.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. （左）：山本圭吾，《手 No.2》，1976，单通道录像（阴极射线管显示器），8’21”，黑白、无声。 （右）：《脚 No.3》，1977，单通道录像（阴极射线管显示器），6’33”，黑白、无声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Keigo Yamamoto, Foot No.3 , 1977. Video still. Image courtesy of the artist and LIMA.

Keigo Yamamoto, Hand No.2 , 1976. Video still. Image courtesy of the artist.

山本圭吾，《脚 No.3》，1977，录像静帧。图片由艺术家和阿姆斯特丹 LIMA 提供。

山本圭吾，《手 No.2》，1976，录像静帧。图片由艺术家提供。

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Takahiko Iimura, This is a Camera Which Shoots This , 1980. CCTV video installation (two identical video cameras, two identical CRT monitors, two identical tripods); vinyl lettering; Live feed transmission, colour, silent. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 饭村隆彦，《这就是拍摄了这些的摄影机》，1980，闭路电视录像装置（2 台相同的摄影机、2 台相同的阴极射线管显示器、 2 台相同的三脚架）、乙烯基刻字、实时画面，彩色、无声。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Takahiko Iimura As viewers follow the next sightline, the exhibition leads them to Takahiko Iimura’s work This is a

Camera Which Shoots This (1980). The dualism created by the two plinths and identical monitors seen in Yamamoto’s presentation is echoed in the symbiotic dualism of Iimura’s live video installation.

Conventionally, the portable video camera records and creates video but in this work, it is not an invisible tool but an obvious and intrinsic one, foregrounding the medium-specific qualities within the CCTV installation. The work construes an emphasised interdependence between the function of the camera and the function of the monitor. Through activating and exaggerating the CCTV immediate playback function, the installation is caught in an extreme representation of the live moment while testing our belief and understanding of what might be live or recorded video. The circular referencing of the camera and image of the camera and image creates a harmonic visual void, perpetually reverberating the medium trapped within the medium. Visually deconstructing the medium through the video apparatus and written language, the work pivots concepts of the real, the recorded image and the electronic unnatural.

Situated close by, Iimura’s TV for TV (1983) reiterates this dualism. The installation uses the live transmission of two local Shanghai free-to-air broadcast television channels in an intimate interaction between two identical televisions broadcasting two different channels. The live broadcast sculpture uses the television as a readymade object within the immediate context of the broadcast medium. The monitors are pushed tightly, screen to screen, as if engaging in some kind of electronic intimacy, each broadcasting a different local station in a one-way barrage of content. When a signal is not accessible, the artist also endorses the TV static ‘white noise’ as an alternative.14 Iimura worked extensively with film before he investigated the formal structure of video, using a methodological focus into the aesthetics of the medium.15 As an artist who contributed to the underground Japanese cinema and experimental film scene, he applied a similar post-structuralist methodology to his video work that focused on linguistics and phenomenology to expose the unique characteristics of the video medium.16 TV for TV is typical of Iimura’s analysis of the medium where he extracts extraneous content and deconstructs and reassembles new propositions to gain philosophical insight through unique aesthetic consequences of the medium.

Soungui Kim The next section of the exhibition holds two projection works by Soungui Kim. In Voie-voix Lactee (Milky

Way Voice) (1988), Kim plays with concepts of time and space through the medium of video. Equipped with a video camera on flights between Paris and Seoul, the artist recorded typical views of sky, clouds, internal inflight activities, and arrival and departure transit spaces. The unexpected twist in the work comes from Kim’s practice of chance and playfulness applied to the instant playback and re-record capability only possible in video. The camera embedded time and date stamp affirms the in-video camera editing process where the artist recorded, rewound, recorded over, fast forwarded, and so on, repeating the editing processes during the flight and return flight. Unlike the more expensive film medium, with video, the artist is able to record over existing footage. The jumbled in-camera edits render the ‘to and from’ flights as indistinguishable. Kim raises philosophical questions through meditative propositions, Takahiko Iimura, TV for TV , 1983. CATV video installation (two identical CRT monitors face to face) Live feed transmission, colour, actual sound. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

14 Takahiko Iimura installation manual supplied by Microscope Gallery New York, 19 November 2020.

15 Interview with Takahiko Iimura by Hirofumi Sakamoto in catalogue Vital Signs Early Japanese Video Art , 2010.

16 Fred Andersson, Takahiko Iimura: Video and Semiology , 2004, accessed 19 April 2019. https://portal.research.lu.se/ws/ files/6192022/1055630.pdf

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饭村隆彦，《电视对电视》，1983，共用天线电视录像装置（2 台相同的阴极射线管显示器面对面放置），实时画面，彩色、同期声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Soungui Kim, Voie-voix Lactee (Milky Way Voice) , 1988. Single-channel video. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 金顺基，《银河之音》，1988，单通道录像。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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drawing from Taoism, Buddhism and Western philosophies.17 For example, at what point in time or space might a flight from France become a Korean flight? Conversely, when does a flight from Korea become French? French post-structuralist philosopher Jean-Luc Nancy (1940–2021) writes about Kim’s work and methodology, affirming her experience of ‘the thing at hand’ that she enters and explores fully across from edge to edge, recognising her approach to art as an experience, a process.18 Standing directly in front of Kim’s work Etang de Vaccarèes (Pond of Vaccarèes) (1985) reveals the artist’s process and connected approach to the video medium. The video is recorded in one take without editing as an authentic ‘video performance’ because it is created through the direct connection with the video camera and the artist’s breath in real time. Careful viewing shows that as the artist takes deep breaths in and out, she synchronises the camera’s behaviour, opening and closing the aperture according to her breathing rhythm, thereby unifying the creation of the image with the artist’s own existence.19 From the artist’s original point of view, the audio shower 20 is fixed at the optimum viewing distance to experience the dual-channel video projection that also anchors a steady connection between the projections and each eye of the viewer. Turning away from this installation, one sees two works that occupy the other end of this section of the exhibition.

Ellen Pau The works by Ellen Pau in this exhibition contemplate everyday concrete experiences such as people moving through a hospital or people travelling across a bridge. This is achieved through the exploration of video that enabled the artist to access, record, consider, deconstruct and reinstate these everyday situations. Drawing attention to mainstream cultural concepts in the titles Operation Theatre (19951996) and Recycling Cinema (2000), the two works immediately subvert expectations of theatrical and cinematic conventions.

In Operation Theatre , the source material is a single-perspective CCTV footage capturing people moving through a busy hospital corridor. The black-and-white video monitoring, now culturally commonplace in public buildings globally, observes unscripted public interactions, objectively recording change in an unchanging setting. Taking the cue from the work’s title, the flow of patients, family members, doctors, nurses, and cleaners work as ‘actors’ transiting through the consistent viewing ‘stage’ and, as we might expect, they are unaware or ignore the camera. The prolonged CCTV recording is only possible in video. Through editing techniques, the figures are semi-opaque, their paths criss-crossing, sometimes overlapping. The size and placement of the monitor playing the work is not dissimilar to surveillance monitors that are routinely lodged high on institutional walls. Pau taps into the banality of CCTV surveillance, using the absence of narrative and subjective details to vacuum any drama from the prevailing architecture while the transparent figures remain speculative.

Pau’s poetic works are constructed to create a place to observe humanness, paradoxically by extracting it. Recycling Cinema uses horizontal camera pans to track vehicles crossing a Hong Kong bridge, sometimes following vehicles across the frame. Other sequences use a fixed camera position, recording vehicles streaming in both directions. The work proposes a series of binary concepts—two sides of the bridge, movement from left to right and right to left, vehicles transiting in and out of the frame, vehicles blurred and sharply focused, day and night. Recycling Cinema , like Operation Theatre , side-lines didactic Soungui Kim, Etang de Vaccarèes , 1985. Dual-channel video.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 金顺基，《瓦卡雷斯池塘》，1985，双通道录像。“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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17 18 19 20

Soojung Yi, Soungui Kim: Lazy Clouds , ex. cat., ed. Bummo Youn (Souel, Korea: National Museum of Modern and Contemporary Art, 2019), 21.

Jean-Luc Nancy, Soungui Kim, Monographie II (Les Herbins, France: Sock-Jon, Les Herbins Editions, 1997), 78–85.

Soojung Yi, Soungui Kim: Lazy Clouds , 66.

A directional speaker positioned on the ceiling delivering audio to a limited area directly underneath.

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Ellen Pau, (L) Operation Theatre , 1995-1996. (R) Recycling Cinema (Viewing Room) , 2000. Single-channel video, projector, two leather chairs. 8'37", colour, sound.

Installation view of Refocusing on the medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 鲍蔼伦， （左）《行动剧场》，1995-1996；（右）《循环影院（Viewing Room）》，2000，单通道录像，投影仪、两把皮椅，8’37”，彩色、有声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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narrative and subjective details, recording vehicles that traverse the bridge to bring only the evidence of transit. Witnessing anonymous drivers in unidentified vehicles making unaccountable journeys leaves the viewer to experience a perpetual transience. A bridge is a place in between two places. Originally made in 1999, re-edited as a video loop, and now expanded to include two armchairs in front of the projection, the work offers the viewer a (binary) choice to either stand or sit while watching it. The armchairs activate the space outside of the projection, so the viewer is now a participant, a committed witness, or possibly watching the watchers when the armchairs are occupied.

Geng Jianyi Geng Jianyi’s three-channel CRT monitor installation Dimension of Vision (1996) was originally exhibited in what is considered to be the first video art exhibition organised in China, Phenomenon and Image , Hangzhou (1996). Dominated by a repeated singular image anchored in the centre of the screen, the work shows a duck’s eye sequentially on each screen while the other two monitors cut to show black void. Movement within the image is limited to the drowsy eyelid lowering and jerking open, resulting in another noticeable black void within the expanded pupil of the duck’s eye. Extended exposure to the central black void of the eye creates an apprehensive tension between recognising a captured or disabled animal, and the eye as belonging to a consciousness being. When the viewer is attuned to the medium-specific details within the installation, the CRT monitor does not simply show the recorded footage of the duck’s eye. The viewer will be aware that the CRT monitor screen is made of smooth

Geng Jianyi, Dimension of Vision , 1996. Three-channel video installation, CRT monitors, 30’00”, colour, sound.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

Geng Jianyi, Dimension of Vision , 1996. Video still. Image courtesy of ShangART Gallery.

耿建翌，《视觉的方向》，1996，三通道录像装置，阴极射线管显示器，30’00”，彩色、有声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

耿建翌，《视觉的方向》，1996，录像静帧，图片由香格纳画廊提供。

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glass. This surface is highly reflective, and when black is dominant, the surface is a mirror. Like the black of the empty void screen, the black of the duck’s eye acts as a mirror, implicating the viewer in their own reflection as part of the artwork.

Geng’s video installations were constructed with well-considered spatial awareness, activating the space outside of the monitor as much as the recorded content. He was well known for his enigmatic propositions explored through his post-medium practice.

Chen Shaoxiong In Sight Adjuster 3 (1996), Chen Shaoxiong explores screen space and perception through his assembled binocular apparatus attached to two CRT monitors. The sculptural ‘viewing machine’ has a makeshift do-it-yourself presence and form that requires the viewer to be seated in a particular way.

Chen writes about the experience of viewing content, emphasising the phenomenon of reconciling the content played on the left and the right monitor:

Sight Adjuster 3 is composed of two visual channels which separate and lead spectators’ eyes to two viewing objects (televisions). The content of the two screen’s images are both relevant and inconsistent. They are sometimes in a ‘connected’ state, and sometimes in an unconnected state, even in contradictory juxtaposition. 21 Chen was experimenting with the cognitive function of seeing through the medium of video. The artist constructed a way to view two image streams, one for each separate eye; but rather than consistently building a stereoscopic video where the left and the right work in harmony to build a convincing illusion, the imagery is jostled with and against that very idea. From the early 1990s, Chen’s skills in traditional Chinese ink painting were expanded into contemporary practice, engaging with concepts of sculpture, photography, ink painting while using video as a unifying medium. He was one of the earliest artists to in China to consider the relationship and interaction between the audience and the artwork. 22 The final work in the exhibition incorporates live television into a sculptural installation. Chen’s

Change the Channel, Change the Bride’s Decision (1994) incorporates a Western styled wedding dress suspended within a metal framework topped with a CRT television. The television is consequently interpreted as the head of the bridal dress body. The real time content of any broadcast television programming ignites a dynamic interaction between the TV content and the symbolic persona of the bride. Putting aside the social and political content that streams through the real-time official broadcasts and the highly symbolic metaphor of the bride, the artist’s approach to the medium of video has constructed an ever-changing-real-time proposal to consider. The work harnesses the medium of television as a sculptural component with the specific quality of being able to constantly deliver the present-day video media information of any geographic location. This ‘liveness’, which is anchored in the 1994 assemblage of found objects, not only confronts us with conflicting time instances of then and ‘now’, but also adopts culturally specific content from the exhibition context.

At the exit point of the exhibition, Chen Shaoxiong’s final work offers a place to pause and reflect on the key aesthetic concerns across the exhibition. By focusing on the centrality of the medium’s unique characteristics we see not only the foundations of the hybrid global aesthetic of video art from an East Chen Shaoxiong, Sight Adjuster 3 , 1996. Dual-channel video installation (CRT monitors, paper, metal and plastic), 7’50”, colour, sound.

Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 陈劭雄，《视力矫正器 3》，1996，双通道录像装置（阴极射线管显示器、纸、金属、塑胶），7’50”，彩色、有声。 “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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21 He Juxing et al., Moving Image in China, 1988-2011 , ex. cat. (Shanghai, China: Minsheng Art Museum, 2012), 233.

22 Guo Xiaoyan, "How to Self-Construct: The Primary Facts and Narration about Moving Image in China," in Moving Image in China: 1988-2011, ed. He Juxing et al, ex. cat. (Shanghai, China: Minsheng Art Museum, 2012), 59.

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Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. “重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Asia perspective, but also see the art through a fresh culturally-nonspecific, and therefore global, lens.

The activation of sculptural space beyond the screen is seen across exhibition, effecting the viewers experience and relationship with the artwork through their movement and position in the installations.

Furthermore, numerous artworks accentuated the tension between illusion and reality by juxtaposing video imagery with actual objects posing Eastern and Western philosophical conundrums. Equally important were the investigations in video’s temporal possibilities where the existence of time could be experienced in multiple ways. Live, recorded, actual, anticipated and hybrid times were variously explored, thereby demonstrating how time through the medium of video, may coexist in equilibrium, transgress local time, and complicate physical space. And finally, the ultimate ‘liveness’ of the video medium embodied in the electronic video signal, the broadcast television signal, and CCTV transmission, was omnipresent.

All artists in this exhibition investigated video with their own bold and experimental attitudes toward the interrogation of the medium, just as other artists did across the world. These seminal experiments invigorate the reading of the video medium beyond cinematic and narrative traditions to delve into the sculptural immediacy of video’s liveness and its idiosyncratic spatiality contributing to the foundations of not only a new artistic medium, but arguably the first global contemporary art medium.

Chen Shaoxiong, Change the TV Channel, Change the Bride’s Decision , 1994. Installation, wedding dress, framed glass with lettering, television with random programs. Installation view of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai. 陈劭雄，《改变电视频道便改变新娘的决定》，1994，装置，婚纱、带画框及文字的玻璃、随机播放节目的电视。“重新聚焦媒介：东亚录像 艺术的兴起”展览现场，图片由 OCAT 上海馆提供。

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Bibliography Bae, Myungji, Yi Won-Kon, Min Hijung, Shan Lim, Cho Seon-ryeong, and Yoo Jinsang. Korean Video from 1970s to 1990s Time Image Apparatus Video Art . Edited by Yoon Bummo. Korea: Museum of Modern and Contemporary Art, 2019. Exhibition Catalogue.

Belting, Hans, Andrea Buddensieg, and Emanoel Araújo. The Global Art World: Audiences, Markets, and Museums . Edited by Kulturwissenschaften Internationales Forschungszentrum and Karlsruhe Zentrum für Kunst und Medientechnologie. Ostfildern: Hatje Cantz, 2009.

Cacchione, Orianna. “Related Rhythms: Situating Zhang Peili and Contemporary Chinese Video Art in the Globalizing Art World.” Journal of Contemporary Chinese Art 5 , no. 1 (1 March 2018): 21–39.

Charles, Christophe. Yamaguchi Katsuhiro: The Birth of Video Art in Japan (1971-1974) . Leonardo On-line, OLATS, 2002, http://archive.olats.org/pionniers/pp/yamaguchi/yamaguchi.php Green, Charles, and Anthony Gardner. Biennials, Triennials, and Documenta: The Exhibitions That Created Contemporary Art .

London: Wiley Blackwell, 2016.

金曼

| 策展人

Kim Machan | Curator

Greenberg, Clement. Modernist Painting. Forum Lectures (Washington, D. C.: Voice of America),1960.

He, Juxing et al. Moving Image in China, 1988-2011 . Shanghai, China: Minsheng Art Museum, 2012. Exhibition Catalogue.

Huldisch, Henriette. Before and Besides Projection: Notes on Video Sculpture, 1974 –1995 . Cambridge: MIT List Gallery, 2018.

Exhibition Catalogue.

Kang, David. East Asia before the West : Five Centuries of Trade and Tribute . New York: Columbia University Press, 2010.

25–26.

Kim, Inhye; Kim, Jeong-bae. Mandala: A Retrospective of Park Hyunki (1942-2000) . Edited by Fedora Press. Seoul, Korea: Museum of Modern and Contemporary Art, Korea, 2015. Exhibition Catalogue.

Krauss, Rosalind E. A Voyage on the North Sea: Art in the Age of the Post-Medium Condition . London: Thames & Hudson, 2000.

Kubota, Shigeko. Shigeko Kubota: An Interview, Part of the Series: Video Data Bank On Art & Artists: Media. Kanopy, 1982.

Video.

Omuka, Toshiharu. “The Early Career of Yamaguchi Katsuhiro: Vitrine Series in Historical Perspective.” Journal of Asia-Pacific Pop Culture 3 , no. 1, 2018. https://doi.org/10.5325/jasiapacipopcult.3.1.0090.

Sing, Song-Yong; Wang, Po Wei. Rewind_Video Art in Taiwan 1983-1999 . Edited by Tehi CHU ( 曲德益 ). Taipei: Kuandu Museum of Fine Arts, Taipei National University of the Arts, 2015. Exhibition Catalogue.

Kim, Soungui. Art, or Listen to the Silence . Slought, with Art Sonje Center and Institut Français de Corée du Sud, 2014. (DVD PAL format) Kim, Soungui. Lazy Clouds . Edited by Bummo Youn. Korea: National Museum of Modern and Contemporary Art, 2019.

Exhibition Catalogue.

Yamaguchi, Katsuhiro, Toshio Matsumoto, Kohei Ando, Takahiko Imura, Keigo Yamamoto, Mako Idemitsu, Nobuhiro Kawanaka, et al. Vital Signs: Early Japanese Video Art. New York: Electronic Arts Intermix, 2010. Exhibition Catalogue

金曼是非营利艺术组织“亚太媒体艺术” （MAAP）（www. maap.org.au）的创始人，自 1998 年起在澳大利亚及亚洲 地区开展一系列策展项目。此前，她以独立策展人和制作人 的身份于 1990 年代中期发起过多个项目，其中包括由 70 位

当代艺术家参与的“艺术狂潮：电视艺术作品” （1996-2000）， 分为四个系列在澳大利亚 ABC 电视台播送。她曾与澳大利亚

和亚太地区的博物馆、画廊、当代艺术空间、高校和非传统 艺术展示机构进行综合项目交流。2002 年，金曼联合策划的

展览“MAAP 在北京：潮湿”在中华世纪坛艺术馆（北京）举办。 她还曾作为合作机构和咨询委员会的一员，为中国美术馆（北

京）举办的两档展览“合成时代：媒体中国 2008”和“等物

Kim Machan is founding director of the not for profit arts organisation MAAP-Media Art Asia Pacific (www.maap. org.au) and has developed curatorial projects in Australia and the Asia regions through this organisation since 1998.

Previously she worked as an independent curator and producer initiating several projects in the mid 1990s including Art Rage:

Art Works for Television involving 70 contemporary artists over four series broadcast on the ABC (1996-2000). She has negotiated complex projects working with museums, galleries, contemporary art spaces, universities and non-traditional art settings in Australia and the Asia Pacific regions. In 2002, she co-curated MAAP in Beijing: MOIST , at the China Millennium Monument Art Museum, Beijing. She contributed curatorial support to both Synthetic Times: Media Art China 2008 and

齐观：2014 国际新媒体艺术三年展”提供策展支持。其他策

Thingworld: International Triennial of New Media Art , 2014 at

中国国家图书馆（北京）、中国美术馆（北京）、杭州图书馆、

Institution, and on the Advisory Boards. Other curatorial projects

展项目包括公共图书馆巡展“光之光”，巡展地有上海图书馆、 昆士兰州立图书馆。2014-2015 年，金曼策划并推进展览“海

陆空：重访录像艺术的空间性”，参展艺术家包括简·戴比斯、 金守子、黑莫·佐伯尼格、芭芭拉·坎贝尔、杨振中，并巡展 至善宰艺术中心和首尔的一些画廊、OCAT 上海馆、广东美

术馆（广州）、国立艺术学院画廊（悉尼）、格里菲斯大学

the National Art Museum of China, Beijing as a Collaborating include the public library site specific touring project Light from

Light touring to the Shanghai Library, the National Library of China and the National Art Museum of China in Beijing, Hangzhou Public Library, and the State Library of Queensland.

She also curated and produced LANDSEASKY: Revisiting

Spatiality in Video Art with artists including Jan Dibbets, Kim

艺术博物馆（布里斯班）。她也曾策划多个艺术家个展，如

Sooja, Heimo Zobernig, Barbara Campbell, Yang Zhenzhong,

奥利维尔·克里斯彻联合策划了展览“张培力：从绘画到录像”，

Shanghai; Guangdong Museum of Art, Guangzhou; National

2013 年王功新、席帕·古普塔、郑然斗个展。2016 年，她与 同时作为撰稿人参与了展览同名出版物的出版（澳大利亚国 立大学出版社，2019）。

that toured to Art Sonje Center and galleries in Seoul; OCAT Art School Gallery Sydney; and Griffith University Art Museum, Brisbane through 2014-2015. Machan has curated numerous solo exhibitions including Wang Gongxin, Shilpa Gupta, and Yeondoo Jung in 2013. In 2016 she co-curated Zhang Peili:

From Painting to Video with Olivier Krischer and is a contributor to the exhibition’s publication of the same name, published by the Australian National University Press in 2019.

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“重新聚焦媒介：东亚录像艺术的兴起”展览现场，图片由 OCAT 上海馆提供。 Installation View of Refocusing on the Medium: the Rise of East Asia Video Art . Image courtesy of OCAT Shanghai.

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展览作品

136

ARTWORKS

展览作品 山口胜弘

山本圭吾

久保田成子

王功新

2018 年卒于日本东京

现工作和生活于日本京都、福井

2015 年卒于美国纽约

现工作和生活于中国北京和美国纽约

1928 年生于日本东京

1936 年生于日本福井

《宫娥》1974-1975

《手 No.2》1976

闭路电视录像装置（6 台阴极射线管显示器、6 个底座、1 个监控摄像头、

单通道录像（阴极射线管显示器）

3 个媒体播放器、2 幅迭戈·委拉斯开兹油画平面复制品）

8 分 21 秒（黑白，无声，4∶5），循环播放

实时画面（彩色，无声）

作品致谢艺术家

录像文件：30 分 24 秒（彩色，无声），循环播放

《脚 No.3》1977

彩色油画布喷墨打印：270（高）× 234（宽）厘米 黑白纸本喷墨打印：270（高）× 234（宽）厘米

1937 年生于日本新泻

1960 年生于中国北京

《杜尚式：自行车轮（一）》1983-1990

《破的凳》1995-2020

单通道录像雕塑（3 英寸液晶显示器、自行车轮、木凳）

单通道录像装置（木凳、电视屏）

录像文件：27 分 17 秒（彩色，无声），循环播放

1 分钟（黑白，无声），循环播放

雕塑：58（高）×25（宽）×15 （深）英寸

作品致谢艺术家

作品致谢久保田成子录像艺术基金会（美国纽约）

《两平方有效空间》1995-2020

闭路电视录像装置（投影仪、监控摄像头）

单通道录像（阴极射线管显示器）

作品致谢山口胜弘遗产管理委员会及山口裕康先生

6 分 33 秒（黑白，无声，4∶5），循环播放 作品致谢艺术家及 LIMA（荷兰阿姆斯特丹）

实时画面（彩色，无声）

朴铉基

作品致谢艺术家

1942 年生于日本大阪 2000 年卒于韩国大邱

白南准

金丘林

1932 年生于韩国首尔

2006 年卒于美国迈阿密

1936 年生于韩国尚州

现工作和生活于韩国首尔

《电视佛》1974 (2002)

《灯泡》1975

闭路电视录像装置（石佛像、监控摄像头、阴极射线管显示器）

作品在韩国白南准艺术中心展览“白南准——录像波”的实时传送画

单通道录像装置（阴极射线管显示器、播放器、灯泡、计时器）

面（彩色，无声）。该作品与白南准艺术中心合作完成，直播画面于

38 秒（彩色，无声），循环播放

展览期间传送并 1∶1 投影。

作品致谢艺术家

作品致谢白南准遗产管理委员会（美国纽约）及白南准艺术中心（韩 国龙仁）

饭村隆彦

1937 年生于日本东京

小野洋子

现工作和生活于日本福井

1933 年生于日本东京

《这就是拍摄了这些的摄影机》1980

现工作和生活于美国纽约、英国伦敦

闭路电视录像装置（2 台完全一致的摄像机、2 台完全一致的阴极射线

《天空电视》1966-2020

管显示器、2 台完全一致的三脚架）；乙烯基刻字 实时画面（彩色，无声）

闭路电视录像装置（户外摄像头、阴极射线管显示器）

作品致谢艺术家及 Microscope 画廊（美国纽约）

实时画面（彩色，无声） 作品致谢艺术家

《电视对电视》1983

共用天线电视录像装置（2 台完全相同、对立呈现的阴极射线管显示器） 实时画面（彩色，有声）

作品致谢艺术家及 Microscope 画廊（美国纽约）

138

鲍蔼伦

《无题（电视石塔）》1979-1982

单通道录像装置（阴极射线管显示器、石头若干）

1961 年生于中国香港

35 分 17 秒（彩色，无声），循环播放

现工作和生活于中国香港

作品致谢朴铉基遗产管理委员会及现代画廊（韩国首尔）

《循环影院（Viewing Room）》2000

《无题（电视 & 石头）》1984

单通道录像装置（投影仪、2 把皮质手扶坐椅）

8 分 37 秒（彩色，有声，1280 × 720），循环播放

单通道录像装置（阴极射线管显示器、石头若干）

作品致谢艺术家及马凌画廊（中国上海）

56 分 23 秒（彩色，无声），循环播放

作品致谢朴铉基遗产管理委员会及现代画廊（韩国首尔）

《行动剧场》1995-1996 单通道录像（液晶电视机）

7 分 24 秒（黑白，有声，1280 × 720），循环播放

金顺基

作品致谢艺术家及马凌画廊（中国上海）

1946 年生于韩国扶余

现工作和生活于法国巴黎

陈劭雄

《银河之音》1988

单通道录像（投影仪）

1962 年生于中国汕头

60 分钟（彩色，有声），循环播放

2016 年卒于中国北京

作品致谢艺术家及阿拉里奥画廊（中国上海、韩国首尔和天安）

《视力矫正器 3》1996

《瓦卡雷斯池塘》1985

双通道录像装置（2 台阴级射线管显示器、纸、金属及塑胶） 7 分 50 秒（彩色，有声，720 × 576），循环播放

双通道录像（投影仪）

作品致谢艺术家女儿及马刺画廊（中国北京）

6 分 19 秒（彩色，有声），循环播放

作品致谢艺术家及阿拉里奥画廊（中国上海、韩国首尔和天安）

139

袁广鸣

《改变电视频道便改变新娘的决定》1994

共用天线电视录像装置（阴极射线管显示器、新娘婚纱、带画框及文

1965 年生于中国台湾

字的玻璃）

ARTWORKS

现工作和生活于中国台湾

实时画面（彩色，有声）

《盘中鱼》1992

作品致谢艺术家女儿及马刺画廊（中国北京）

单通道录像装置（投影仪、白色瓷盘）

14 分 15 秒（彩色，无声，1920 × 1080），循环播放 作品致谢艺术家及 TKG+ 画廊（中国台北）

耿建翌

Katsuhiro Yamaguchi

Keigo Yamamoto

Shigeko Kubota

Born 1928 Tokyo, Japan Died 2018 Tokyo, Japan

Born 1936 Fukui, Japan Lives and works in Kyoto and Fukui, Japan

Born 1937 Niigata, Japan Died 2015 New York, USA

Hand No.2

Duchampiana: Bicycle Wheel One

1976

1983-1990 Single-channel video sculpture (three-inch liquid crystal monitor, bicycle wheel, wooden stool) Video file: 27’ 17” (color, silent), looping Sculpture: 58 (h) × 25 (w) × 15 (d) in Courtesy of Shigeko Kubota Video Art Foundation (New York, USA)

Las Meninas 1974-1975 CCTV video installation (6 CRT monitors, 6 plinths, 1 video camera, 3 media players, 2 print reproductions of painting by Diego Velazquez) Live feed transmission (color, silent) 30’ 24” (color, silent), looping Color inkjet print on canvas: 270 (h) X 234 (w) cm Black and white inkjet print on paper: 270 (h) X 234 (w) cm Courtesy of Katsuhiro Yamaguchi Estate and Mr. Hiroyasu Yamaguchi

1962 年生于中国郑州 2017 年卒于中国杭州

《视觉的方向》1996

三通道录像（3 台阴极射线管显示器，3 个底座） 30 分钟（彩色，有声，720 × 526），循环播放 作品致谢何炬星先生及星美术馆（中国上海）

Single-channel video (CRT monitor) 8’ 21” (black and white, silent, 4:5), looping Courtesy of the artist

Foot No.3 1977 Single-channel video (CRT monitor) 6’ 33” (black and white, silent, 4:5), looping Courtesy of the artist and LIMA (Amsterdam, Netherlands)

Park Hyunki

朱加

Born 1942 Osaka, Japan Died 2000 Daegu, South Korea

1963 年生于中国北京

现工作和生活于中国北京、英国伦敦

Nam June Paik Born 1932 Seoul, South Korea Died 2006 Miami, USA

《大衣柜》1992

单通道录像（阴极射线管显示器）

7 分 30 秒（彩色，同期声，720 × 576），循环播放

TV Buddha

作品致谢艺术家及香格纳画廊（中国上海）

1974 (2002) CCTV video installation (limestone Buddha statue, video camera, CRT monitor) Live feed transmission (color, silent) of the work on display at the Nam June Paik TV WAVE exhibition at Nam June Paik Art Center, Korea. In partnership with the Nam June Paik Art Center, a live broadcast is streamed during opening hours. Projection scale 1:1.

Courtesy of Nam June Paik Estate (New York, USA) and Nam June Paik Art Center (Yongin, Korea)

《与环境有关》1997 单通道录像（投影仪）

19 分 15 秒（彩色，同期声，768 × 576），循环播放 作品致谢艺术家及香格纳画廊（中国上海）

《刻意的重复》1997

单通道录像（阴极射线管显示器）

15 分钟（彩色，无声，768 × 576），循环播放 作品致谢艺术家及香格纳画廊（中国上海）

Kim Kulim Born 1936 Sangju, South Korea Lives and works in Seoul, South Korea

Untitled (TV Stone Tower) 1979-1982 Single-channel video installation (CRT monitor, stones)

Light Bulb 1975 Single-channel video installation (CRT monitor, media player, light bulb, timer) 38” (color, silent), looping Courtesy of the artist

35’ 17” (color, silent), looping Courtesy of Estate of Park Hyunki and Gallery Hyundai (Seoul, South Korea)

Untitled (TV & Stone) 1984 Single-channel video installation (CRT monitor, stones)

Takahiko Iimura

56’ 23” (color, silent), looping

Born 1937 Tokyo, Japan Lives and works in Fukui, Japan

Hyundai (Seoul, South Korea)

Courtesy of Estate of Park Hyunki and Gallery

This is a Camera Which Shoots This

《永远》1994

Yoko Ono

单通道录像装置（投影仪、录像机装置、三轮车）

Born 1933 Tokyo, Japan Lives and works in New York, USA, and London, UK

27 分 16 秒（彩色，无声，768 × 576），循环播放 作品致谢艺术家及香格纳画廊（中国上海）

SKY TV 1966-2020 CCTV video installation (outdoor video camera, CRT monitor) Live feed transmission (color, silent) Courtesy of the artist

140

1980 CCTV video installation (2 identical video cameras, 2 identical CRT monitors, 2 identical tripods); vinyl lettering Live feed transmission (color, silent) Courtesy of the artist and Microscope Gallery (New York, USA)

Soungui Kim Born 1946 Buyeo, South Korea Lives and works in Paris, France

Voie-Voix Lactée 1988

TV for TV

Single-channel video (projector)

1983 CATV video installation (2 identical CRT monitors face to face) Live feed transmission (color, sound) Courtesy of the artist and Microscope Gallery (New York, USA)

60’ 00” (color, sound), looping

141

Courtesy of the artist and Arario Gallery (Shanghai, Seoul, Cheonan)

Etang de Vaccarèes (Pond of

Chen Shaoxiong

Related to Environment

Vaccarèes)

Born 1962 Shantou, China

1985

Died 2016 Beijing, China

1997 Single-channel video (projector) 19’ 15” (color, actual sound, 768 × 576), looping Courtesy of the artist and ShanghART Gallery (Shanghai)

Dual-channel video (projector) 6’ 19” (color, sound), looping

Sight Adjuster 3

Courtesy of the artist and Arario Gallery

1996

(Shanghai, Seoul, Cheonan)

Dual-channel video installation (2 CRT monitors, paper, metal and plastic) 7’ 50” (color, sound, 720 × 576), looping Courtesy of the artist’s daughter and SPURS

Wang Gongxin Born 1960 Beijing, China Lives and works in Beijing, China, and New York, USA

Gallery (Beijing)

Change the TV Channel, Change the

Repeat on Purpose 1997 Single-channel video (CRT monitor) 15’ 00” (color, silent, 768 × 576), looping Courtesy of the artist and ShanghART Gallery (Shanghai)

Bride’s Decision 1994

Forever

The Broken Bench

CATV video installation (CRT monitor, wedding

1995-2020 Single-channel video installation (wooden bench, TV screen) 1’ 00” (black and white, silent), looping Courtesy of the artist

dress, framed glass with lettering)

1994 Single-channel video installation (projector, video camera sets, tricycle) 27’ 16” (color, silent, 768 × 576), looping Courtesy of the artist and ShanghART Gallery (Shanghai)

Live feed transmission (color, sound) Courtesy of the artist’s daughter and SPURS Gallery (Beijing)

Geng Jianyi Two Square Meter Space 1995-2020 CCTV video installation (projector, video camera) Live feed transmission (color, silent) Courtesy of the artist

Born 1962 Zhengzhou, China Died 2017 Hangzhou, China

1996 Three-channel video (3 CRT monitors, 3 plinths) 30’ 00” (color, sound, 720 × 526), looping Courtesy of Mr. He Juxing and Start Museum (Shanghai)

Ellen Pau Born 1961 Hong Kong, China Lives and works in Hong Kong, China

Zhu Jia Recycling Cinema (Viewing Room) 2000 Single-channel video installation (projector, 2

艺术家简介 ARTIST BIOGRAPHIES

Yuan Goang-Ming Dimension of Vision

Born 1965 Taipei, Taiwan Lives and works in Taipei, Taiwan

Fish on Dish 1992 Single-channel video installation (projector, white ceramic plate) 14’ 15” (color, silent, 1920 × 1080), looping Courtesy of the artist and TKG+ Gallery (Taipei, China)

Born 1963 Beijing, China Lives and works in Beijing, China, and London, UK

leather armchairs) 8’ 37” (color, sound, 1280 × 720), looping

Armoire

Courtesy of the artist and Edouard Malingue

1992 Single-channel video (CRT monitor) 7’ 30” (color, actual sound, 720 × 576), looping Courtesy of the artist and ShanghART Gallery (Shanghai)

Gallery (Shanghai)

Operation Theatre 1995-1996 Single-channel video (liquid crystal television) 7’ 24” (black and white, sound, 1280 × 720), looping Courtesy of the artist and Edouard Malingue Gallery (Shanghai)

142

143

山口胜弘

Katsuhiro Yamaguchi

山口胜弘 1928 年生于日本东京，自 1974 年以来创作了 30

Born in Tokyo, Japan in 1928, Katsuhiro Yamaguchi created

1928-2018，日本，东京

1928-2018, Tokyo, Japan

多件大型录像装置作品。作为一位多产的艺术家和教育家，

over 30 major video installations since 1974. A prolific artist

（Jikken Kôbô [Experimental Workshop]）， 从 此 开 启 了

art group Jikken Kôbô (Experimental Workshop) 1951-1958.

他 在 1951-1958 年 创 立 了 开 创 性 的 艺 术 团 体“ 实 验 工 房”

and educator, he began his career establishing the pioneering Yamaguchi experimented in the field of ‘art and technology’

他的职业艺术生涯。山口胜弘在“艺术与技术”和“电子艺

and ‘electronic arts’, and in 1971 founded the highly influential

术”领域进行实验，并于 1971 年创立了极具影响力的艺术

artist collective Video Hiroba. In 1977, he founded Sogô zôkei

家团体“视频广场”（Video Hiroba）。1977 年，他在筑波

(Visual arts and mixed media) department in University of

and mixed media]）。山口胜弘曾到欧洲和美国进行短期旅

tours, was a colleague of Yoko Ono and had contact with the

大学成立了视觉艺术与混合媒体系（Sogô zôkei [Visual arts

Tsukuba. He travelled to Europe and the United States for short Fluxus art movement. His first sculptures in the 1950s, utilising

行，是小野洋子的同事，并与激浪派艺术运动有过接触。他

transparent textured glass angled to provoke movement known

在 1950 年代创作的第一批雕塑作品使用透明质感的玻璃材

as the ‘Vitrine’ series preceded his moving image experiments

料，创造出呈现运动视觉效果的“玻璃橱窗”（Vitrine）系

and installations. His interactive CCTV performances and

胜弘开始使用索尼 Portapak 摄影机，在公共场域和美术馆

Portapak in public places and galleries. In 1975 his work was

列，随后他也展开对动态影像和装置的实验。1972 年，山口

installations experiments began in 1972 using the Sony awarded the leading prize at the San Paolo Biennale for his

空间中进行互动式闭路电视表演和装置实验。1975 年，他凭

interactive CCTV video installation Las Meninas 1974-1975.

借互动式闭路电视装置作品《宫娥》（Las Meninas ，1974-

Katsuhiro Yamaguchi exhibited extensively throughout his

1975）荣获圣保罗双年展大奖。山口胜弘的作品在日本和国

career both nationally and internationally.

际上广泛展出。

白南准

Nam June Paik

白南准 1932 年生于韩国首尔，在首尔和香港度过了他的中学

Born in Seoul, South Korea in 1932, Nam June Paik spent his

1932-2006，韩国，首尔

1932-2006, Seoul, South Korea

时代，在日本镰仓度过高中时光。他就读于东京大学美学专业，

middle school days in Seoul and Hong Kong, and his high-

1956 年，白南准移居德国，学习欧洲哲学和现代音乐，并积

the University of Tokyo, with a graduation thesis on Arnold

毕 业 论 文 研 究 阿 诺 尔 德· 勋 伯 格（Arnold Schoenberg）。

school days in Kamakura, Japan. He studied aesthetics in Schoenberg. Moving to Germany in 1956 and studying

极展开了与当代前卫艺术家的合作。通过进行完全不同于当

European philosophy and modern music, he came to work

时的艺术规范和传统的激进现场表演，白南准塑造了其艺术

actively with contemporary avant-garde artists and began to

家身份。后来他又以新媒体为手段，走上一条新的艺术创作

carve out his artist-identity by doing radical performances which

子电视” （Exposition of Music - Electronic Television）的核心，

back then. Afterwards he pursued a novel path of art making

道路。他的媒体艺术成为其首次个展“对音乐的说明——电

were completely different from artistic canons and conventions by means of new media. His media art gained momentum by

在展览中，他将内部电路经过修改和操控的电视机作为艺术

his first solo show Exposition of Music-Electronic Television

作品呈现出来。

in which he presented televisions with inner circuits modified and manipulated, as a work of art.

白南准是一位极具开拓性的媒体艺术家，他以富有创造性和

Paik is a pioneering media artist working with various

实验性的方式来处理各种技术。他认为艺术家背负着思考未

technologies in creative and experimental ways. He saw the

来的使命，并通过艺术寻求更好的全球交流方式。他被誉为“同

artist’s role as consisting in thinking about the future and

时是科学家、哲学家和工程师的新一代艺术家的先驱之一”、

sought for better ways of global communication through art.

“一个极其特殊的、具有真正的天才和远见卓识的未来学家”。

Regarded as ‘one of the forerunners of a new breed of artists

今天，白南准仍然作为“最当代的艺术家”与我们同在。

who are scientists, philosophers and engineers at the same time’ and as ‘a very special and genuine genius and futurologist with foresight’ Paik still lives on with us right here as ‘the most contemporary artist’ today.

图：山口胜弘，2015 图片致谢 Saitô Sadamu

Image: Portrait of Katsuhiro Yamaguchi, 2015 Image courtesy of Saitô Sadamu

144

图片致谢白南准

Image courtesy of Nam June Paik

145

小野洋子

Yoko Ono

小野洋子 1933 年生于日本东京，是一位跨学科的艺术家。

Born in Tokyo, Japan in 1933, Yoko Ono is a multidisciplinary

生于 1933，日本，东京

b. 1933, Tokyo, Japan

在其 60 多年的职业生涯中，她作为视觉艺术家、诗人、歌手、

artist making significant contributions over a sixty-year career

小野洋子于 1953 年随家人移居纽约，后来又在伦敦、纽约

She moved with her family to New York in 1953, later living in

作曲家和反战活动家，在艺术和许多领域做出了重要贡献。

as a visual artist, poet, singer, songwriter and peace activist.

London, New York and Tokyo where she became a key figure

和东京生活，成为推动激浪派和观念艺术的国际发展的关键

in the international development of Fluxus and Conceptual art.

人物。她早期的作品，例如《可以站上去的画》（Painting

Her early works were based on verbal or written instructions to

to Be Stepped On ，1960-1961），以对观众的口头或书面指

the audience, for example Painting to Be Stepped On (1960-

示为基础。这种指令性的方法也可以在她的行为表演作品《切

61). Such instructional approach also could be found in her performance Cut Piece (1964). In collaboration with her late

片》（Cut Piece ，1964） 中 找 到。 她 与 已 故 丈 夫、 披 头 士

husband, the Beatles legend John Lennon, Bed-In (1969)

乐队的传奇人物约翰·列侬（John Lennon）合作的《床上

performed her commitment to world peace. Ono has exhibited

和平运动》（Bed-In ，1969）履行了她对世界和平的承诺。

widely across the world, including her first retrospective in

小野洋子的作品在世界各地被广泛展出，其中包括：在惠特

Whitney Museum of American Art (1989), Yes Yoko Ono at

尼美国艺术博物馆举办的首次回顾展（1989）；在纽约市日

the Japan Society Gallery in New York City (2000) which toured around the world, and a recent retrospective of her early art

本协会美术馆举办的世界巡展“Yes 小野洋子”（Yes Yoko

at the Museum of Modern Art in New York City (2015). She

Ono ，2000）；以及在纽约现代艺术博物馆举办的小野洋子

received a Golden Lion for Lifetime Achievement at the 2009

早期作品回顾展（2015）。小野洋子在 2009 年威尼斯双年

山本圭吾

Keigo Yamamoto

山本圭吾是一位日本媒体艺术家，1936 年生于日本福井，

Born in Fukui, Japan in 1936, Keigo Yamamoto is a Japanese

生于 1936，日本，福井

b. 1936, Fukui, Japan

自 1968 年开始创作录像艺术。作为录像艺术家团体“视频

media artist who started producing video art from 1968.

实验做出了重大贡献。他是 1970 年代“网络艺术” （Network

Hiroba, he made significant contributions to the first wave

广场”的创始成员之一，山本圭吾对日本最早一批录像艺术

As an original member of the video artists’ collective Video of experimentation with video in Japan. He was a key figure

Art）运动的领军人物之一，这一新的艺术形式将计算机、

leading the ‘network art’ movement in the 1970s, a new art

声音和电讯融合起来，带来了不同文化之间的相遇。基于在

that brought about encounters between different cultures in

录像艺术方面的创作，山本圭吾于 1985 年创立了福井国际

the fusion of computers, sound and telecommunication. His

许多重要的国际展览中展出；他作为一名教育工作者，培养

Video Biennale in 1985 that continued until 1999. Yamamoto

录像双年展，该展一直延续到 1999 年。山本圭吾的作品在

work in video art led him to establish the Fukui International regularly exhibited in many significant international exhibitions

了一批年轻的艺术家。自 1988 年起，他开始担任武藏野美

and as an educator has nurtured younger generations of artists.

术大学教授，并在 2000 年成为京都精华大学教授，兼任该

From 1988, he was a professor at Musashino Art University, and

校电影与媒体研究中心主任。2014 年，日本媒体艺术节将

later became a professor and the director of the Film and Media

的贡献。

was awarded the Japan Media Arts Festival Achievement Award

终身成就奖授予山本圭吾，以表彰他对日本媒体艺术和教育

Research Center, at Kyoto Seika University in 2000. In 2014 he for his lifetime contribution to media arts and education in Japan.

Venice Biennale.

展上荣获终生成就奖——金狮奖。

图片由 Matthew Placek 拍摄，由小野洋子提供

Photo by Matthew Placek ©Yoko Ono

146

图片由艺术家及日本文化厅媒体艺术祭档案库提供

©Keigo Yamamoto and Japan Media Arts Festival Archive

147

金丘林

Kim Kulim

金丘林 1936 年生于韩国尚州，目前生活和工作于韩国首尔。

Born in Sangju, South Korea in 1936, Kim Kulim lives and works

生于 1936，韩国，尚州

b. 1936, Sangju, South Korea

作为韩国实验艺术的奠基人，他在韩国当代艺术史上占据了

in Seoul. Kim holds a significant status in Korean contemporary

重要的位置。

art history as a founder of Korean experimental art. Retaining a rebellious attitude towards existing values and customs, Kim has produced a wide scope of experimental works ranging from

金丘林的创作对现有的价值观和风俗习惯持反叛态度，他的

paintings, prints, sculptures, installations and performances to

实验性作品类型广泛，从绘画、版画、雕塑、装置、行为表

land art, video art and mail art. He has also been involved in

演，到大地艺术、录像艺术和邮寄艺术。此外，他还参与过

experimental plays, films, music and dance. In 1969, he released

Relics of Mass Media , considered Korea's first mail art and also

实验戏剧、电影、音乐和舞蹈的创作。1969 年，他创作了被

produced The Meaning of 1/24 Second , a seminal work in

认为是韩国第一件邮寄艺术作品的《大众传媒的遗物》 （Relics

the history of Korean experimental film. Kim was a founding

of Mass Media ），并制作了韩国实验电影领域的奠基之作

member of AG (Korean Avant-Garde Association), through

《1/24 秒 的 意 义 》（The Meaning of 1/24 Second ）。 他

which he led avant-garde artistic practices that emphasized

是韩国前卫艺术协会（Korean Avant-Garde Association）

concept and process. In the 1970s, he founded The Fourth

卫艺术实践。1970 年代，他成立了由各领域年轻艺术家和

intellectuals in various fields, pursuing intermedia art combining

的创始成员之一，并通过该协会领导了强调观念和过程的前

饭村隆彦

Takahiko Iimura

饭村隆彦 1937 年出生于日本东京，是一位先锋艺术家，其

Born in Tokyo, Japan in 1937, Takahiko Iimura is a pioneering

生于 1937，日本，东京

b. 1937, Tokyo, Japan

跨越 50 多年的创作生涯，涉及电影、录像、装置、行为和数

artist known for his work with film, video, installation,

事电影方面的工作，并在蓬勃发展的日本实验和独立电影界

years. Iimura first began working with film in 1960 and was

字技术领域等诸多领域的创作。饭村隆彦自 1960 年开始从

performance, and digital technologies spanning more than 50 instrumental in the burgeoning Japanese experimental and

发挥了重要作用。1966 年，他获得哈佛大学提供的奖学金并

independent film scene. Iimura moved to the US on a Fellowship

移居美国，很快便投身到 1960 年代中期纽约实验电影和艺

from Harvard University in 1966 and soon immersed himself in

术的群体中。他早期的录像作品被收录在纽约现代艺术博物

the mid-60s New York experimental film and art community.

展览中，以行为表演为基础的作品及互动装置曾在 1979 年

Modern Art of New York and PS1 (1975), and Centre Georges

馆和 PS1 馆（1975）、法国巴黎的蓬皮杜艺术中心（1977）

Early videos were included in exhibitions at the Museum of Pompidou in Paris, France (1977), while other performance

惠特尼美国艺术博物馆的双个展“新录像”（与久保田成子

based works and interactive installations were featured in the

一起）中展出。

1979 two-person exhibition New Video (with Shigeko Kubota) at the Whitney Museum of American Art, New York.

Group, an avant-garde art group consisting of young artists and art, theatre, film, fashion and music. Later in the decade, he set

知 识 分 子 组 成 的 前 卫 艺 术 团 体“ 第 四 集 团”（The Fourth

off to Japan to begin experimentation with print and video art,

Group），该组织旨在追求艺术、戏剧、电影、时尚和音乐

and in the 1980s, he traveled to the United States to seek new

相结合的跨媒介艺术。10 年后，他启程前往日本，开始了印

ways of artistic practice.

刷和录像艺术的实验，并在 1980 年代前往美国追寻新的艺 术实践方式。

图片致谢 Microscope 画廊 ©2018 Microscope Gallery

148

Image courtesy of Microscope Gallery ©2018 Microscope Gallery

149

久保田成子

Shigeko Kubota

久保田成子 1937 年生于日本新泻县，她于 1964 年移居至纽

Born in 1937 in Niigata, Japan, Kubota moved to New York

1937-2015，日本，新泻

1937-2015, Niigata, Japan

约，并迅速成为 1960 年代纽约激浪派的重要人物。她也是

in 1964, and immediately became an active participant in the

作的艺术家之一。久保田成子的创作深受马塞尔·杜尚（Marcel

of the first artists to adopt the portable video camera Sony

在 1967 年最早一批使用便携式录像机索尼 Portpak 进行创

international Fluxus art movement in the 1960s. She was one Portapak in 1967. Kubota was strongly influenced by the art

Duchamp）和约翰·凯奇（John Cage）的影响。她所创作

and theories of Marcel Duchamp and John Cage. She brought

的录像雕塑，多媒体装置和单通道影像作品都呈现出一种独

a singular sensibility to her extensive body of video sculptures,

特的感性。在久保田成子的创作生涯中，个人性和技术性之

multi-media installations, and single-channel videos. Throughout

活的图像中加入电子处理技术。久保田成子在 1990 年代有

the technological, often merging vibrant electronic processing

间寻得了一种抒情的结合，她通常会在自然、艺术和日常生

her career, Kubota forged a lyrical union of the personal and techniques with images and objects of nature, art and everyday

过两次调研性的展览，分别是 1991 年在美国移动影像博物

life. Kubota’s work received two major surveys in the ’90s—

馆和 1996 年在惠特尼美术馆。

one at the American Museum of the Moving Image (1991), the other at the Whitney Museum of American Art (1996).

朴铉基

Park Hyunki

朴铉基 1942 年生于日本大阪，1945 年移居至韩国大邱，是

Born in Osaka, Japan in 1942, Park Hyunki is widely known as

1942-2000，日本，大阪

1942-2000, Osaka, Japan

韩国录像艺术的先驱之一。他利用录像这一当时罕见的媒介，

a precursor to video art in Korea for developing his own artistic

式与 1970 年代韩国艺术界对物体和材料性持续增长的兴趣

to video and technology resembles the thriving interests of

发展出属于自己的艺术语汇。朴铉基对录像和技术的处理方

vocabulary with the use of then a rare medium. Park’s approach objects and materiality in Korean art of the ’70s, which rejected

相平行，这一时期的韩国艺术界拒绝了西方现代主义对于艺

a Western Modernism that concentrated on artistic expression

术表现和干预的关注。通过将自然界中的现成品相并置，朴

and intervention. By juxtaposing found objects from nature with

铉基将现实与虚构、自然与文化进行了对比。他使用石头、

contemporary technologies, Park contrasted reality to fiction

和改造。他否定了录像的戏剧性和叙事性，而聚焦于对材料

stones and water, Park rearranged and modified objects which

水等有机材料，将通常不被认为是艺术的物体进行重新排列

and nature to culture. Featuring organic elements, such as are not commonly considered to be art. Denying the theatrical

的沉思和感知。他对独立从事录像创作的执着，在当时成为

and narrative quality of video, Park mainly concentrated on the

一种革命性的努力。诚然，他对韩国录像艺术所作的贡献是

contemplation of materials and perception. His persistent and

不可估量的。

solitary effort to engage in video was indeed a revolutionary one in his time and the contribution he has made to Korean video art is truly immeasurable.

图：久保田成子在工作室 ©Tom Haar，1972 图片由 Tom Haar 拍摄，由久保田成子录像艺术基金会提供

Image: Shigeko Kubota in her studio Photo by Tom Haar ©Shigeko Kubota Video Art Foundation

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151

金顺基

Soungui Kim

金顺基 1946 年生于韩国扶余，是一位多媒体艺术家，也是

Born in Buyeo, South Korea in 1946, Soungui Kim is a

生于 1946，韩国，扶余

b. 1946, Buyeo, South Korea

跨学科艺术的先驱之一。自 1971 年以来，她一直在法国生

multimedia artist, one of the pioneers in multidisciplinary art of

展自己的艺术事业。金顺基的创作具有复杂和多面性，既不

1971, actively teaching, creating, and establishing her career

活和工作。在过去的 50 年里，她积极致力于教学、创作和发

the early ’70s. She has been living and working in France since for the last 50 years. Kim is an artist with complex aspects

能用单一的方式来定义，也不能用二元对立的方式来描述。

that cannot be defined in a single way nor in the dichotomy

她对东西方哲学有着浓烈的兴趣，并对各种艺术媒介展开实

of situations. Her interest in Eastern and Western philosophies

验，这使得她的作品呈现出情境性、体验性和偶然性。

and the experimentation with various artistic medium led Kim

金顺基的创作不拘泥于任何形式，而是在时代的前面发掘新

into her practice.

to incorporate situational, experiential and accidental processes

的方法，在未知的领域开辟新的路径。她作为跨学科和流派

Artist Soungui Kim lives a life that is not confined to formalities,

的典范（涉及科技和艺术等）为公众所知，并持续在新的领

but pioneers new roads of art ahead of her times, creating

域开拓创新。从对绘画的解构，到在公共场域呈现观众参与

new paths in untrodden land. Kim has constantly blazed trails

化和哲学的比较研究，金顺基的艺术之旅始终引领时代。

case of convergence between disciplines and genres including

式的活动，再到对录像和多媒体的挑战，以及涉及东西方文

in new territories and has been introduced to the public as a those involving science and technology, and the arts. From the deconstruction of painting, to spectator-participatory events in public places, challenges in video and multimedia, and comparative studies in culture and philosophy of East and West,

王功新

Wang Gongxin

王功新 1960 年生于北京，1978 年考入首都师范大学美术学

Born in Beijing in 1960, Wang Gongxin was admitted to the

生于 1960，中国，北京

b. 1960, Beijing, China

院，1982 年毕业后留校任教。1987 年作为访问学者赴美国

Capital Normal University Academy of Fine Arts in 1978, and

央美术学院担任客座教授。2013 年获英国伦敦“奥利弗”戏

went to State University of New York as a visiting scholar for

纽约州立大学，进行硕士研究生学习。2002 至 2007 年在中

took the teaching post after graduation in 1982. In 1987, he master degree studying. He was a visiting tutor at Central

剧金像奖最佳影像设计大奖提名。2014 年获得纽约州立大学

Academy of Fine Arts between 2002 and 2007. In 2013, Wang

荣誉博士。现生活工作于北京和纽约。

was nominated for XL video Award of Best Set Design in 2013 ‘Olivier Award’. In 2014, he received Honorary Doctoral degree

王功新的作品曾在圣保罗双年展、台北双年展、上海双年展、

in SUNY (State University of New York). He lives and works in Beijing and New York.

日本越后妻有三年展、日本和多利美术馆、东京森美术馆、 旧金山现代美术馆、纽约纽约现代艺术博物馆和 PS1 馆、英

Wang's artwork has been exhibited in the San Paulo Biennale,

国维多利亚与艾尔伯特美术馆、纽约皇后美术馆、德国 ZKM

Brasil; Taipei Biennial; Shanghai Biennial; Echigo-Tsumari Art

媒体艺术中心、柏林世界文化宫、英国泰特利物普美术馆、

Triennial in Japan; Tokyo Watari Museum of Contemporary Art;

火车站国家美术馆、香港白立方画廊、日本福冈美术馆、伦

Art, MOMA PS1 in New York; Victoria and Albert Museum in

澳洲维多利亚州立美术馆、纽约古根海姆美术馆、柏林汉堡

Mori Art Museum in Japan, San Francisco Museum of Modern UK; Queens Museum in New York; Museum for Contemporary

敦 ICA 当代艺术中心、纽约布朗美术馆、上海当代艺术博物馆、

Art ZKM in Germany; Haus der Kulturen der Welt in Berlin;

OCAT 上海馆、尤伦斯艺术中心与中国美术馆等处展出。

Tate Liverpool in UK; National Gallery of Victoria in Australia; the Guggenheim Museum, New York; Hamburger Bahnhof

Soungui Kim's artistic journey has always been one step ahead.

- Museum für Gegenwart in Berlin; White Cube Hong Kong; Fukuoka art Museum in Japan; Institute of Contemporary Arts in London; The Bronx Museum of the Arts, New York; Power Station of Art in Shanghai; OCAT Shanghai; UCCA Center for Contemporary Art in Beijing and National Art Museum of China.

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153

鲍蔼伦

Ellen Pau

鲍蔼伦 1961 年生于中国香港。作为香港艺术界的翘楚，鲍

Born in Hong Kong in 1961, Ellen Pau is a key figure in Hong

生于 1961，中国，香港

b. 1961, Hong Kong, China

蔼伦通过创作让观者意识到个人的物理存在以至其存在意义，

Kong’s art scene. She raises our awareness of our own physical

1985 年获得香港理工大学放射诊断专业文凭，并于 2008 年

to exist, here, now, and beyond that, the space each of us

就在当下、这里及我们每个人所占据的空间以外。鲍蔼伦于

presence and ignites a contemplation of what it means to be, occupy. Born in Hong Kong and a graduate from Hong Kong

获得香港中文大学视觉文化研究硕士文凭。随后于香港公立

Polytechnic University with a diploma in Diagnostic Radiography

医院担任放射科专业医护人员。同时，出于对专业工作以外

in 1985 and received an MA in Visual Culture Studies from

的录像、新媒体艺术，甚至音乐、诗歌、舞台等艺术形式的

the Chinese University of Hong Kong in 2008. Pau has worked

成立包括录映太奇、微波国际新媒体艺术节及维基托邦文化

since. Pau was plunged into the Hong Kong art scene by her

强烈兴趣，她开始涉猎艺术创作。在此之外，鲍蔼伦亦参与

as a radiographer in the public hospital in Hong Kong ever intense interest in video art, new media art, as well as other art

祭在内的多个重要文化机构，致力于香港艺术及文化上的推

forms such as music, poems and performances. Beyond artistic

广、策展、教育工作。鲍氏更于 2014 年同时开始担任香港

creation, Pau has also been a leader in the promotion, curation

艺术发展局电影及媒体艺术组主席至 2019 年年底，以及西

and education of art and culture in Hong Kong through

九龙文化区 M+ 博物馆的购藏委员会成员至今。

founding several important initiatives such as Videotage, the Microwave International New Media Arts Festival and Wikitopia Mini Festival. In 2014, Pau was appointed by the Hong Kong

鲍蔼伦是香港艺术界的开创性人物。她编织了一种既引人入

Arts Development Council as a representative of the Art Form

胜又突破技术界限的艺术实践，并时刻保持对社会的反思。

Group in Film and Media Arts until end of 2019, and in the

此外，在她的日常职业的医疗行为以及发起、领导文化活动

same year, she also served on the interim acquisition committee

的工作而言，她都为社会做出了重要贡献。由此，鲍氏通过

陈劭雄

Chen Shaoxiong

陈劭雄 1962 年生于广东汕头，毕业于广州美术学院版画系。

Born in Shantou, Guangdong province in 1962, Chen

1962-2016，中国，汕头

1962-2016, Shantou, China

他是中国当代艺术史上最重要的艺术团体“大尾象”的成员

Shaoxiong was educated in the printmaking department of the

之一。

Guangzhou Fine Art Academy, is a founding member of the Big Tail Elephant Collective, one of the most important artistic collectives in Chinese contemporary art history.

陈劭雄的观念艺术运用了多种艺术媒介，包括摄影、录像、

装置及水墨绘画，以此来研究中国日新月异的城市风景。通

The artist’s conceptual work employs a variety of media,

过想象的或是虚构的背景，艺术家记录了现实存在的城市的

including photography, video, installation and ink painting,

狂躁节奏和荒谬现实。

to investigate the dynamics of China’s rapidly changing cityscapes. Often set against the background of an imaginative or imaginary skyline, the artist records the hectic pace and

陈劭雄先是使用传统的艺术媒介——水墨进行绘画，进而将

absurdity of everyday existence.

它转化为影像这样的技术媒介。在当代生活中，我们每天都 会面对越来越多特殊的问题，于是，这样的一个混合体：简

Chen Shaoxiong begins with the directness of media such as

通常审视的是他的家乡——中国南方迅猛的城市化进程与其

such as video; it is a combination of this and the uncomplicated

单的风格加上如上的技巧，使作品变得重要。陈劭雄的作品

traditional ink painting and transforms it into technical media manner in which the everyday confront more extraordinary

不断变化的环境，人的状态，图像的统治力，全球化的美学，

issues of modern life that gives the work added import.

以及公共或集体记忆。

Thematically, his work often deals with the rapidly urbanizing and constantly changing environments of his home province in

of M+ in West Kowloon Cultural District till present.

southern China, the nature of the crowd, the dominance of the image, the aesthetics of globalization, and public or collective

多种途径和渠道，促使人们探索自我，以及我们所处的不断

Pau is a seminal figure in the Hong Kong art scene, weaving

变化发展的时代。

memory.

a practice that engages as well as pushes the boundaries of technology, while reflecting on society. Moreover, Pau has been a key contributor to society, through her medical activity as well as initiation and leading of cultural activities. As such, through multiple avenues and outlets, Pau prompts an exploration of the self and the times we are living in, ever shifting and evolving.

图片由 Martin Cheung 拍摄，由艺术家及马凌画廊提供

Photo by Martin Cheung ©Ellen Pau and Edouard Malingue Gallery

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155

耿建翌

Geng Jianyi

耿建翌 1962 年生于河南郑州，2017 年去世。1985 年毕业

Born in Zhengzhou, Henan province in 1962, passed away

1962-2017，中国，郑州

1962-2017, Zhengzhou, China

于浙江美术学院（即今中国美术学院）油画专业。

in 2017, Geng Jianyi graduated from the Department of Oil

艺术家耿建翌的工作特征在于对各类表现形式进行毫不妥协

Academy of Art, Hangzhou).

Painting in Zhejiang Academy of Fine Arts (today named as China

的抵抗。作为被称作“八五新潮”的前卫艺术运动中颇有影

The work of the artist Geng Jianyi is characterized by an

响的一员，耿建翌从 1980 年代中期在中国声名鹊起。从那

uncompromising resistance to any categorical form of

时起，他就开始试图广泛运用各种技术来助长这种抵抗——

representation. Since the mid 1980s, when he first came to

转换，化学变化和文本并置——这些显著的隔离效应使得达

garde’ movement known as the ‘85 New Wave’, Geng has

包括各种形式的绘画性转译、着色、拓印、摄影、和影片式

prominence within China as a seminal member of the ‘avantsought to foment this resistance through the use of a wide range

至确切意义的努力被不断削弱。

of techniques - including various forms of painterly transcription, staining, frottage, photographic and filmic transfer, chemical

耿建翌的作品曾在中国和国际上的 140 多个展览中展出，主

transformation and textual juxtaposition -whose conspicuously

要有“中国现代艺术展”，中国美术馆，北京（1989）；“中

disjunctive effects constantly undermine any attempt to arrive at definitive meaning.

国 前 卫 艺 术 展”， 柏 林 世 界 文 化 宫， 鹿 特 丹 美 术 馆， 牛 津

现代艺术博物馆（1993）；第 45 届威尼斯国际艺术双年展

To date, Geng’s work has been exhibited in over 140 exhibitions

（1993）；“移动中的城市”系列展览（1、2、3、4&5），

in China and abroad, mainly including the China/Avant-garde Art

维也纳、波尔多、纽约、哥本哈根和伦敦（1997—1999）；

Exhibition, National Art Museum of China, 1989; China Avantgarde touring exhibition to venues including Haus der Kulturen

“1950—1980 年代全球观念主义艺术展”，皇后区艺术博物馆，

der Welt in Berlin, the Kunsthall Rotterdam, Museum of Modern

纽约（1999）；首届广州三年展“重新解读：中国实验艺术

Art, Oxford in 1993; Cardinal Points of the Arts , the 45th Venice

十年（1990—2000）”，广东美术馆（2002）；“真实的东西，

Biennale, 1993; the Cities on the Move exhibition series (1, 2, 3,

来自中国的当代艺术”，泰特美术馆，利物浦（2007）；“中

朱加

Zhu Jia

朱加 1963 年生于北京，1988 年毕业于中央美术学院油画

Born in Beijing in 1963, Zhu Jia graduated from China Central

生于 1963，中国，北京

b. 1963, Beijing, China

系第三工作室。现生活工作于北京和伦敦。作为中国当代

Academy of Fine Arts in 1988 and now lives and works in

创作。朱加探索录像媒介的方式是，把它作为一种用非常

developing his first works in Beijing in 1991. Zhu Jia explored

最早的一批录像艺术实验者之一，他从 1991 年在北京开始

Beijing and London. He is a pioneer of video art in China the medium of video using it as a tool to consider familiar

态的方法来思考常态的内外空间的工具。他早期的作品处

interior and exterior spaces in unfamiliar ways. His early works

理诸如大衣柜、冰箱和小房间等私密的家庭空间。他以超

engaged with intimate interior domestic spaces such as the

常规的方式观看日常事物，例如将摄像机固定在三轮车条

inside of a wardrobe, a refrigerator, and small rooms. He sees

录像成为他扩展实践的一部分，将空间方法使用到投影和

camera to a tricycle wheel and riding through the streets of

幅上并在北京街头骑行。艺术家最初接受的是油画训练，

the ordinary in extraordinary ways, for example, attaching a Beijing. Originally trained in oil painting, video became part

装置中。朱加参加的中国和国际展览包括：1989 年之后的

of the artist’s expanded practice that has employed spatial

艺术与中国：世界剧场，古根海姆博物馆，美国纽约（2017）

approaches to projection and installation. Zhu Jia has been

和西班牙毕尔巴鄂（2018）；海陆空：重访录像艺术的空

included in exhibitions in China and internationally including

Art and China after 1989: Theater of the World , Solomon R.

间 性，OCAT 上 海 馆， 中 国（2014）； 上 海 双 年 展， 上 海

Guggenheim Museum, New York in 2017 and Bilbao, Spain

美术馆，中国（2008）；威尼斯国际艺术双年展，意大利

in 2018; LANDSEASKY: revisiting spatiality in video art , OCAT

（2003）和中国怎么样？（Alors la Chine?），蓬皮杜艺

Shanghai, 2014; Shanghai Biennale, Shanghai Art Museum,

术中心，法国巴黎（2003）；节奏，现代艺术博物馆，美

2008; the Venice Biennale, Italy, and Alors la Chine? , Centre

国纽约（2002）；悉尼双年展，澳大利亚（1998）；以及

Pompidou, Paris, France in 2003; Tempo , The Museum of

本哈根和伦敦（1997—1999）。

Australia, 1998; and the Cities on the Move series of five unique

“ 移 动 中 的 城 市” 系 列 展 览， 维 也 纳、 波 尔 多、 纽 约、 哥

Modern Art (MOMA), New York, 2002; the Biennale of Sydney, exhibitions in 1997 and 1999 that were situated in museums in Vienna, Bordeaux, New York, Copenhagen and London.

4&5) in museums in Vienna, Bordeaux, New York, Copenhagen

国影像艺术 1988—2011”，上海民生现代美术馆（2011）；

Origin, 1950s-1980s , Queens Museum of Art, New York, 1999;

中国（2016）；第 57 届威尼斯国际艺术双年展（2017）以

2000) , the First Guangzhou Trienniale, Guangdong Museum of

剧场”，纽约（2017—2018）。

China , Tate, Liverpool, 2007; Moving Image in China: 1988-2011 ,

and London, 1997-1999; Global Conceptualism: Points of

光州双年展，韩国（2014）；“投影顽固”，OCAT 上海馆，

Reinterpretation: A Decade of Experimental Chinese Art (1990-

及古根海姆博物馆的展览“1989 年之后的艺术与中国：世界

Art, Guangzhou, 2002; The Real Thing, Contemporary Art from Minsheng Art Museum, Shanghai, 2011; Gwangju Biennale, Gwangju, Korea, 2014; Stubborn Image , OCAT Shanghai, 2016;

Viva Arte Viva , the 57th Venice Biennale 2017; and the Solomon R. Guggenheim’s survey Art and China After 1989: Theater of the

World , 2017-2018.

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157

袁广鸣

Yuan Goang-Ming

袁广鸣 1965 年生于中国台湾台北，1997 年毕业于德国卡斯

Born in Taipei, Taiwan in 1965, Yuan Goang-Ming obtained

生于 1965，中国，台北

b. 1965, Taipei, China

鲁造型艺术学院，获得媒体艺术硕士学位。目前为台北艺术

a master’s degree in media art from the Academy of Design

体艺术界中知名的艺术家之一。

Department of New Media Art of Taipei National University of

大学新媒体艺术学系教授，也是目前中国台湾活跃于国际媒

in Karlsruhe, Germany, and now teaches as a professor at the Arts. He is considered one of the most active and internationally acclaimed Taiwanese media artists.

袁广鸣自 1984 年起从事录像艺术创作。他的作品以象征隐 喻、结合科技媒材的手法，深刻传达出人们当下的生存状态，

Yuan began making video art in 1984. Combining symbolic

年获得台北县美展首奖；创作于 2002 年的《城市失格》系

state of contemporary existence, and explores the human

2007 年开始以个人的“居家日常”及“废墟”开创出一种迷

unwavering position in the history of Taiwanese contemporary

并且对人的感知及意识有着极具诗意的深入展现。他于 1992

metaphors with technological media, his work expresses the mind and consciousness with the use of poetic expressions.

列作品，更奠定了在台湾当代媒体艺术界不可动摇的地位。

He was awarded First Prize for the Taipei County Arts Award, and his City Disqualified created in 2002 further solidified his

人的剧场式日常；2011 年之后更以多元形式呈现以“时间与

media art.

记忆”、“身体与感知”为主题的大型系列创作；2014 年个

In 2007 Yuan began to use elements derived from ‘everyday

象下的在地生存处境的探问，用艺术思辨现代人的困顿与忧

everydayness’ in his work. After 2011, he began exploring

展“不舒适的明日”由“家”的议题延伸至对当今全球化现

domesticity’ and ‘ruins’ to develop fascinating ‘theatrical-

惧；2018 年个展“明日乐园”中，直指未来的家已不再是稳

diverse formats, creating large-scale creations based on the

固的概念，作品环绕着“战争的日常化”与“日常的战争”

themes of ‘time and memory’ and ‘body and perception’. His 2014 solo exhibition, An Uncanny Tomorrow , extended from

为主轴，呈现当代的生存环境及不安状态。

the subject of ‘home’ and explored regional living conditions under the current phenomenon of globalization, with art used to reflect on modern people’s conundrums and worries. His solo exhibition, Tomorrowland, presented in 2018 showed the concept of ‘home’ will no longer be a stable concept in the future. The presented artworks focused on the theme of ‘war in everyday’, or ‘everyday during war’, with the living conditions and the unrest in today’s world shown.

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“重新聚焦媒介：东亚录像艺术的兴起”开幕论坛现场，2020.12.27，图片由 OCAT 上海馆提供。

Opening Forum of Refocusing on the Medium: the Rise of East Asia Video Art . 2020.12.27, Image courtesy of OCAT Shanghai.

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在 展 览 期 间，OCAT 上 海 馆 非 常 荣 幸 地 邀 请 到 世 界 各 地 的 重 要 学 者 、 知 名 策 展 人 和 艺 术 家 加

入公共教育活动。他们就各自的专业研究领域贡献出真知灼见、毫无保留地分享多年从业经 验、深入浅出地讲述艺术史中的重要问题，东亚录像艺术的历史在众人的口述中显露出隐秘 的角落，并构成串联关系，提示着录像艺术的全球性。它们彼此形成遥相呼应的时刻，着实 令人激动。

活 动 大 多 在 线 上 进 行， 多 平 台、 跨 时 区， 筹 备 过 程 颇 具 挑 战。 但 团 队 协 作 解 决 技 术 问 题， 分

散 在 各 地 的 嘉 宾 和 观 众 克 服 时 差 ， 结 果 尚 为 圆 满 。 同 声 传 译 和 双 语 频 道 的 直 播， 使 得 千 余 人

共 同 感 知 了 这 些 无 法 复 制 的 历 史 时 刻 。 远 在 澳 洲 的 策 展 人 几 乎 全 程 参 与 了 这 些 对 谈， 嘉 宾 们 还 在 活 动 结 束 后 不 厌 其 烦 地 校 对 讲 稿 ， 在 此 向 他 们 表 示 真 挚 的 谢 意。 这 些 讲 座 及 对 谈 文 字 实 录 已 发 布 至 O CAT 上 海 馆 官 方 微 信 公 众 号 及 网 站 （www.ocat.org.cn）， 纸 质 版 将 于 2022 年 成册。

公共教育活动

During the exhibition, OCAT Shanghai was pleased to invite key scholars, well-known curators, and artists from different parts of the world to participate in the public programs. Based on their respective

PUBLIC PROGRAM

research fields, they have generously contributed personal insights, shared years of professional experience, and profoundly explained the critical issues in art history in simple terms. The details hidden in East Asia video art histories were revealed in the guests’ oral narratives that at times overlapped and interconnected. The moments when the histories echoed distantly was indeed a thrill and reminder of the global nature of video art.

Most of the events were held online, on multiple platforms, across different time zones that made preparation for the presentations very challenging. The dedicated public education team worked together to anticipate and solve the emerging technical problems to deliver simultaneous interpretation and bilingual live streams. The public programs enabled a few thousand of people to experience these historical presentations — moments that cannot be replicated. The presenters and audiences scattered around the globe were able to overcome the time differences and technical challenges to achieve in nearly all instances a highly satisfying result. The curator from far away in Australia participated in almost all these conversations, and the guests helped to carefully proofread the transcripts afterwards.

Hereby, we would like to express our sincere gratitude to the authors of these valuable presentations.

Transcripts of the lectures and conversations above are available on OCAT Shanghai Wechat official account (ocatshanghai) and official website (www.ocat.org.cn). The texts are estimated to be published in 2022.

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公共教育活动

PUBLIC PROGRAM

1. 开幕论坛

5. 空间中的屏幕（语境中的录像艺术）

时间：2020 年 12 月 27 日 14:30-16:00

时间：2021 年 3 月 12 日 19:00-20:30

线上嘉宾：金曼（策展人）、朱加（艺术家）

主讲：金曼（策展人）

线下嘉宾：张培力（OCAT 上海馆执行馆长）、王功新（艺术家）、

语言：英文讲座，中文同传

董冰峰（中国美术学院跨媒体艺术学院研究员）

平台：微博直播（英文），bilibili 直播（中文）

主持：陶寒辰（OCAT 上海馆执行总监）

语言：中文（英文部分由策展助理陈淑霞口译）

1) Opening Forum

5) The Screen in Space (Video Art in Context)

Time: 27 December 2020, 14:30-16:00

Time: 12 March 2021, 19:00-20:30

Online Guests: Kim Machan (Curator), Zhu Jia (Artist)

Lecturer: Kim Machan (Curator)

Onsite Guests: Zhang Peili (Executive Director of OCAT Shanghai),

Language: Conversation in English with Chinese simultaneous

Wang Gongxin (Artist), Dong Bingfeng (Researcher of School of

interpretation

Intermedia Art, China Academy of Art)

Live: Weibo (English), bilibili (Chinese)

Moderator: Tao Hanchen (Assistant Director of OCAT Shanghai) Language: Chinese (English section interpreted into Chinese by

地点：OCAT 上海馆公教空间，ZOOM 连线，同时在 bilibili 直播

6. 录像作为物质的复古未来主义潜力：递归的、有机的和充 满活力的媒介

2. 当代台湾录像艺术的前世今生：历史，美学，科技

时间：2021 年 3 月 13 日 15:00-16:30

主讲：长谷川祐子（东京都现代美术馆艺术总监，东京艺术

时间：2021 年 1 月 24 日 14:00-16:00

大学教授）

主讲：孙松荣（台北艺术大学教授）

主持：金曼（策展人）

主持：董冰峰（中国美院跨媒体艺术学院研究员）

语言：英文讲座，中文同传

语言：中文

平台：微博直播（英文），bilibili 直播（中文）

平台：bilibili 直播

7. 症候、语言与当代性：中国影像艺术中的“强迫性重复”

3. 录像 / 艺术，第一个五十年：芭芭拉·伦敦与金曼对谈

及其语言拓展

时间：2021 年 1 月 30 日 9:00-10:30

时间：2021 年 3 月 21 日 15:00-17:00

主持：金曼（策展人）

语言：中文

主讲：芭芭拉·伦敦（艺术史学者，前 MoMA 策展人）

主讲：李笑男（艺术史博士，中国人民大学艺术学院副教授）

语言：英文讲座，中文同传

地点：OCAT 上海馆公教空间

平台：微博直播（英文），bilibili 直播（中文）

Curatorial Assistant Shuxia Chen)

6) The Retrofuturistic Potential in Video as Material: the

Venue: Public Program Space at OCAT Shanghai, spot connection

Recursive, Organic and Vibrant Media

via Zoom being livestreamed at bilibili Time: 13 March 2021, 15:00-16:30 Lecturer: Yuko Hasegawa (Artistic Director of the Museum of 2) The Past and Present of Contemporary Video Art in

Contemporary Art, Professor of Tokyo University of the Arts)

Taiwan: History, Aesthetics and Technology

Host: Kim Machan (Curator) Language: Conversation in English with Chinese simultaneous

Time: 24 January 2021, 14:00-16:00

interpretation

Lecturer: Song-Yong Sing (Professor of Taipei National University

Live: Weibo (English), bilibili (Chinese)

of the Arts) Host: Dong Bingfeng (Researcher of School of Intermedia Art, China Academy of Art)

7) Symptom, Language and Contemporariness: The

Language: Chinese

“Compulsive Repetition” and Language Extension of

Live: bilibili

Chinese Video Art Time: 21 March 2021, 15:00-17:00

3) Video/Art: The First Fifty Years—Barbara London in

Lecturer: Li Xiaonan (Doctor of Art History, Associate Professor

Conversation with Kim Machan

of Renmin University of China) Language: Chinese Venue: Public Program Space, OCAT Shanghai

Time: 30 January 2021, 9:00-10:30 Lecturer: Barbara London (Art Historian, Former Curator of MoMA) Host: Kim Machan (Curator) Language: Conversation in English with Chinese simultaneous interpretation

4. 空间到空间：白南准的全球性媒介

Live: Weibo (English), bilibili (Chinese)

时间：2021 年 3 月 7 日 13:00-14:30

4) Space to Space: Nam June Paik’s Global Media

主持：金曼（策展人）

Time: 7 March 2021, 13:00-14:30

平台：微博直播（英文），bilibili 直播（中文）

Host: Kim Machan (Curator)

主讲：金成恩（白南准艺术中心总监） 语言：英文讲座，中文同传

Lecturer: Seong Eun Kim (Director of Nam June Paik Art Center) Language: Conversation in English with Chinese simultaneous interpretation Live: Weibo (English), bilibili (Chinese)

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“重新聚焦媒介：东亚录像艺术的兴起”开幕论坛现场，2020.12.27，图片由 OCAT 上海馆提供。

Opening Forum of Refocusing on the Medium: the Rise of East Asia Video Art . 2020.12.27, Image courtesy of OCAT Shanghai.

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致谢

ACKNOWLEDGEMENTS

每个国际性展览都有其特别的故事、境遇和挑战，但对每个在 2020 年这个非凡的年份里实现展

Every international exhibition has special stories, circumstances and challenges, but for every curator

人员一直以来给予的支持和努力付出，也感谢众多分享自己知识和才能的优秀个人为这个项目做

a most extraordinary year. I am extremely grateful for the ongoing support, strength and resilience of

览的策展人来说，无疑是一个意义重大且令人难忘的成就。我非常感谢杰出的艺术家、专业工作 出的贡献。

realising an exhibition in 2020, this was a truly significant and memorable accomplishment in what was the outstanding team of artists, professional staff and many outstanding individuals that shared their knowledge and abilities to contribute to this project.

衷心感谢 OCAT 上海馆及其优秀的团队。与这样一个敬业的团队合作是一种由衷的快乐。感谢执

Sincere thanks to OCAT Shanghai and its outstanding team. It was a sincere pleasure to work with

营孙媛，以及实习生俞斌、周国萍、杜悦。

and Wang Shuman, Qian Anli in exhibition department, Wu Yaqiong, Shi Yaxian in media & education

感谢陈淑霞通过澳大利亚艺术理事会赞助的亚太媒体艺术—OCAT 上海馆职业发展项目为展览提

Thank you Shuxia Chen for her valuable assistance and contribution to the exhibition through the

行馆长张培力、执行总监陶寒辰，展览部王姝曼、钱安利，公教媒体部吴雅琼、石雅娴，行政运

such a dedicated group. Thank you to Executive Director Zhang Peili, Assistant Director Tao Hanchen, department, administrative operator Sun Yuan, and interns Yu Bin, Zhou Guoping, Du Yue.

供的宝贵帮助和贡献。

感谢支持本次展览的机构和个人：澳大利亚亚太媒体艺术，主席赞恩·特罗、德克·耶茨、保罗·奥

凯恩、克里斯托弗·米金；白南准艺术中心，总监金成恩、首席策展人李采映、策展人金宣怜；

MAAP-OCAT Shanghai professional placement supported by the Australia Council for the Arts.

Thanks to the supporting organisations and relevant staff: MAAP Media Art Asia Pacific Chair Zane Trow, Dirk Yates, Paul O’Kane, Christopher Meakin / The Nam June Paik Art Center, Director Seong Eun Kim, Chief Curator Chaeyoung Lee, and Curator Sun Young Kim / The Shigeko Kubota Video Art

久保田成子录像艺术基金会，莉亚·罗宾逊、里德·巴拉德和诺曼·巴拉德；昆士兰大学，莎莉·巴

Foundation, Lia Robinson, Reid Ballard and Norman Ballard / The University of Queensland, Sally Butler,

洲联网及墨尔本大学，皮帕·迪克森；澳大利亚艺术理事会；以及支持各位参展艺术家的画廊：

and the University of Melbourne, Pippa Dickson / The Australia Council for the Arts / and thanks to the

特勒、保罗·马加诺利、阿米莉亚·巴里金和安德里亚·布贝尼克；韩国艺术经营支援中心；亚

Microscope 画廊，艾利·博吉尔和安德里亚·蒙蒂；阿拉里奥画廊，姜昭汀；现代画廊，李仁学； 马凌画廊；马刺画廊；香格纳画廊；耿画廊；也感谢松井由佳协助与山本圭吾沟通以及何炬星 先生借展艺术家耿建翌的作品。

我还要向几位杰出学者和策展人表示诚挚的谢意，感谢芭芭拉·伦敦、孙松荣、董冰峰、金成恩、 长谷川祐子、李笑男在展览公共教育项目中慷慨分享各自的见解和研究。特别感谢克里斯托弗·查

尔斯分享他对山口胜弘作品的深入研究和深厚学识；衷心感谢五十殿利治教授慷慨友好的帮助， 并感谢策展人大杉浩司、西泽晴美、李秀贞、金仁惠、裴明智、Young Ah Rue、姜苦乐、李雨洁 和奥利维尔·克里斯彻。

Paolo Magagnoli, Amelia Barikin and Andrea Bubenik / The Korean Arts Management Services / Asialink galleries supporting their artists Microscope Gallery, Elle Burchill and Andrea Monti / Arario Gallery, Sojung Kang / Gallery Hyundai, Pat Lee / Edouard Malingue Gallery / SPURS Gallery / ShanghART Gallery / Tina Keng Gallery / Yuka Matsui for her communications supporting Keigo Yamamoto and to Mr He Juxing for lending us the work of Geng Jianyi.

I would also like to extend my sincere gratitude to the remarkable academics and curators that generously shared their knowledge and research in the exhibition public program Barbara London, Song Sing-Yong, Dong Bingfeng, Seong Eun Kim, Yuko Hasegawa, and Li Xiaonan. Special thanks to Christophe Charles who shared his deep research and knowledge of Katsuhiro Yamaguchi’s work; my sincere gratitude to Professor Omuka Toshiharu for his kind and generous assistance and to the curators Ohsugi Hiroshi, Harumi Nashizawa, Yi Soojung, Kim Inhye, Bae Myungji, Young Ah Rue, John Clark, Yu-Chieh Li, and Olivier Krischer.

策展人 金曼

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Curator Kim Machan

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“重新聚焦媒介：东亚录像艺术的兴起”展览画册 Catalogue of the exhibition Refocusing on the Medium: the Rise of East Asia Video Art 2020.12.27-2021.03.21

地址：上海市静安区曲阜路 9 弄下沉庭院，负一层

Address: -1F Sunken Garden, Lane 9, Qu fu Road, Shanghai

OCAT 上海馆 编

Edited by OCAT Shanghai

执行主编：陶寒辰、吴雅琼

Executive Editor: Tao Hanchen, Wu Yaqiong

主编：金曼、张培力

编辑：王姝曼、石雅娴、陈子涵 校对：王婧怡、王佳怡 翻译：邬晨云、贺潇 摄影：崔鋆俊

平面设计：大云

Chief Editor: Kim Machan, Zhang Peili

Editor: Wang Shuman, Shi Yaxian, Chen Zihan Proofreader: Wang Jingyi, Wang Jiayi Translator: Wu Chenyun, Fiona He Photographer: Cui Junjun Graphic Design: Du Yun

展览团队

Exhibition Team

OCAT 上海馆

OCAT Shanghai

学术总监：张培力

Academic Director: Zhang Peili

展览总监：袁静平 执行总监：陶寒辰

展览部：王姝曼、钱安利

公教媒体部：吴雅琼、石雅娴 行政运营部：孙媛

实习生：俞斌、周国萍、杜悦

Exhibition Director: Yuan Jingping Executive Director: Tao Hanchen

Exhibition Department: Wang Shuman, Qian Anli

Media & Education Department: Wu Yaqiong, Shi Yaxian Administrative Operator: Sun Yuan

Intern: Yu Bin, Zhou Guoping, Du Yue

亚太媒体艺术

MAAP-Media Art Asia Pacific

策展助理：陈淑霞

Curatorial Assistant: Shuxia Chen

策展人：金曼

Curator: Kim Machan

展览主办 Organizer

展览协办 Co-Organizer

特别支持 Support

文字版权归作者（标注）所有，图片及本画册版权所有归 OCAT 上海馆，2021。本画册仅供内部存档和学术研究使用。

Copyright of text belongs to the author(s) that is noted. Copyright of images and the catalogue is reserved by OCAT Shanghai, 2021.

This catalogue is for internal archival and academic research purposes only.