| 百年印象攝影畫廊最新展覽
798 PHOTO GALLERY
“影像動力學”藝術展
策展人：王春辰
參展藝術家：馬修•巴尼（Matthew Barney）、托馬斯•羅斯（Thomas Rose）、喬爾•菲爾德曼（Joel Feldman）、阿倫•沃爾克 + 拉茲•巴菲爾德（Allan Walker + Raz Barfield）、王川、劉瑾
馬修•巴尼：《繪畫拘束13》，2006年（Matthew Barney: Drawing Restraint 13, 2006）
開幕時間：2008年8月30日下午三點
展期：2008年8月30日至2008年9月26日
電話：010-64381784/64375284
電郵: 798@798photogallery.cn
網址：www.798photogallery.cn
地址：北京朝陽區酒仙橋路4號798工廠內大山子藝術區百年印象攝影畫廊
Curator：Wang Chunchen
Artists: Matthew Barney、Thomas Rose、Joel Feldman、Allan Walker + Raz Barfield, Wang Chuan, Liu Jin
Opening time: Aug 30 - 3:00 pm, 2008
Exhibition time: Aug 30, 2008 - Sept 26，2008
Tel: 8610-64381784/64375284
E-mail:798@798photogallery.cn
Web：www.798photogallery.cn
Add: No.4, Jiu Xian Qiao Road, Chao Yang District, Beijing.
DIRECTION: 798 PHOTO GALLERY
影像動力學
文/王春辰
動力學作為現代物理學的一個分支學科，研究事物的運動規律和結構以及相互關係，也成為現代語言的一個隱喻用語，被廣泛地應用於不同門類的研究中。當我們用動力學來指向影像時，就賦予了影像一種內在的價值和它在當代藝術發展的地位與功能。
當代影像藝術包含了攝影、數位、視頻等，成為藝術家探索、觀察與研究世界的新的觀念手段，它展示了無限豐富的創造機會和可能性，幫助藝術家實現各種充滿智慧與想像力的藝術觀念。藝術發展到今天，其觀念已經發生了重大變化，已經超越了具象寫實、單純模倣世界的認識，藝術家開始更加自主、自決地創造圖像世界、改造圖像世界、重新認識圖像世界。這時候的影像藝術極大地改變了傳統的藝術形態和欣賞視角，這樣的藝術不僅僅是觀看，同時也是閱讀，既是觀眾自我經驗的投射，更是對自我經驗的挑戰和對抗。它不僅要求我們有強烈的視覺敏感性，對新的圖像具有接受能力，也要對新的圖像具有闡釋能力，同時也是將自己從傳統藝術的審美期待、現代主義的形式革命跨越到後現代主義的藝術多元與多樣並舉之中，成為一個具有多種圖像理解能力的讀者。圖像動力學即是構建這樣一種圖像閱讀新能力的視覺文化研究訴求。
本次展覽中的七位藝術家從不同方面例證了當代的圖像動力學的內在機制和闡釋視角。它或是綜合的圖像創造，如馬修•巴尼稱之為“總體藝術”，將多種視覺方式加以綜合應用，實現了當代藝術的綜合性運用，涉及到繪畫、雕塑、攝影、行為、電影與裝置。沃爾克與巴菲爾德利用各種圖像素材，通過電腦程式進行合成，創造了流動的超現實圖像世界。或是深入到影像背後的歷史與空間關係，如羅斯以建築的藍圖為基礎，重新思考了建築空間與現實空間的聯合。菲爾德曼則是切入日常視覺經驗中，將社會景觀與社會意義進行互證和對比，從而揭示了圖像閱讀的主觀性。王川是對圖像進行解構，研究數字化時代的圖像本質與圖像的生成機制，以期打開圖像創造的新方法。劉瑾作為觀念藝術家，始終強調圖像的觀念呈現，將圖像的視覺化與行為表現的藝術觀念結合起來，突出了觀念介入圖像的主動性。
這些藝術家在內涵上各具特色、充分展示了影像表達的多種能力和方法論取向，體現了圖像在當代社會語境中的創造能力和表意能力。因此，我們提倡“影像動力學”就是希望深入探索當代影像藝術的潛在創造能力和新的視覺理論問題。
（中央美術學院教師、美術批評家）
Image Dynamics
By Wang Chunchen
The science of dynamics, one of the branches of modern physics, studies the relationship between motion and the structure of matter. The term dynamics has also become a frequent metaphor applied to a wide range of subjects and fields of research. When we use this term to refer to images, we endow it with a kind of immanent value, giving it status and function within the development of contemporary art.
Contemporary photographic images produced within the scope of still-photography, digital works, or video function today as a conceptual means of exploring, observing and knowing the world. They open unlimited sources of creative possibilities and allow artists to realize their imaginative and often profound conceptions. Art, as it functions today, has changed dramatically. It has moved conceptually beyond figurative realism and simple mimetic representation of the world. As a result artists are becoming freer and more subjective in creating, changing and constructing their own images of reality. Photographic art has also undergone great changes, transforming how art in general is made and appreciated today. The new art is not simply for looking, but also for reading. It reflects the audience’s own experiences as well as challenges those experiences and creates confrontations. It requires us, as viewers, to have a flexible visual sensibility, to be able to accept new types of images, as well as shifts away from conventional aesthetic expectations and modernist forms towards postmodernist pluralism and heterogeneity. We must become readers to apprehend this diversifying image field. Image dynamics is a visual cultural study of how such new skills for reading photographic image are built.
The seven artists included in this exhibition exemplify the strategies and interpretative perspectives present in contemporary image dynamics. Their approach may refer to a comprehensive creation, such as the gesamtkunswerk art of Matthew Barney, who integrates various visual forms of contemporary art, including drawing, sculpture, photography, performance, film and installation. Allan Walker and Raz Barfield make use of computer programs to integrate various image elements in order to create a flowing, surreal image-world. Thomas Rose penetrates into the relationship between history and space by creating works based on architectural blueprints and rethinking the association of architectural space with real space. Joel Feldman verifies and contrasts social spectacles with social significance by interfering with daily visual experience, thus revealing the subjective dimension of image reading. Wang Chuan deconstructs images, looking for new methods of creating images, by studying the essence and the mechanism of image production and function in the age of digitalization. Liu Jin, a conceptual performance artist, always stresses the conceptual presentation of an image, combining the visual aspect of an image with performance in order to highlight the concept’s intervention into an image.
These artists have distinctive connotative inclinations and they represent a broad spectrum of approaches and methodological orientations that embody the creative and signifying abilities of the photographic image in our contemporary social context. The Image Dynamics exhibition aims to encourage further explorations of the potentialities inherent in the photographic medium and of the theoretical issues raised by the contemporary photographic images.
（Art Critic and Curator of China Central Academy of Fine Arts, Beijing） |
