| 百年印象摄影画廊最新展览
798 PHOTO GALLERY
“影像动力学”艺术展
策展人：王春辰
参展艺术家：马修•巴尼（Matthew Barney）、托马斯•罗斯（Thomas Rose）、乔尔•菲尔德曼（Joel Feldman）、阿伦•沃尔克 + 拉兹•巴菲尔德（Allan Walker + Raz Barfield）、王川、刘瑾
马修•巴尼：《绘画拘束13》，2006年（Matthew Barney: Drawing Restraint 13, 2006）
开幕时间：2008年8月30日下午三点
展期：2008年8月30日至2008年9月26日
电话：010-64381784/64375284
电邮: 798@798photogallery.cn
网址：www.798photogallery.cn
地址：北京朝阳区酒仙桥路4号798工厂内大山子艺术区百年印象摄影画廊
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
影像动力学
文/王春辰
动力学作为现代物理学的一个分支学科，研究事物的运动规律和结构以及相互关系，也成为现代语言的一个隐喻用语，被广泛地应用于不同门类的研究中。当我们用动力学来指向影像时，就赋予了影像一种内在的价值和它在当代艺术发展的地位与功能。
当代影像艺术包含了摄影、数码、视频等，成为艺术家探索、观察与研究世界的新的观念手段，它展示了无限丰富的创造机会和可能性，帮助艺术家实现各种充满智慧与想象力的艺术观念。艺术发展到今天，其观念已经发生了重大变化，已经超越了具象写实、单纯模仿世界的认识，艺术家开始更加自主、自决地创造图像世界、改造图像世界、重新认识图像世界。这时候的影像艺术极大地改变了传统的艺术形态和欣赏视角，这样的艺术不仅仅是观看，同时也是阅读，既是观众自我经验的投射，更是对自我经验的挑战和对抗。它不仅要求我们有强烈的视觉敏感性，对新的图像具有接受能力，也要对新的图像具有阐释能力，同时也是将自己从传统艺术的审美期待、现代主义的形式革命跨越到后现代主义的艺术多元与多样并举之中，成为一个具有多种图像理解能力的读者。图像动力学即是构建这样一种图像阅读新能力的视觉文化研究诉求。
本次展览中的七位艺术家从不同方面例证了当代的图像动力学的内在机制和阐释视角。它或是综合的图像创造，如马修•巴尼称之为“总体艺术”，将多种视觉方式加以综合应用，实现了当代艺术的综合性运用，涉及到绘画、雕塑、摄影、行为、电影与装置。沃尔克与巴菲尔德利用各种图像素材，通过计算机程序进行合成，创造了流动的超现实图像世界。或是深入到影像背后的历史与空间关系，如罗斯以建筑的蓝图为基础，重新思考了建筑空间与现实空间的联合。菲尔德曼则是切入日常视觉经验中，将社会景观与社会意义进行互证和对比，从而揭示了图像阅读的主观性。王川是对图像进行解构，研究数字化时代的图像本质与图像的生成机制，以期打开图像创造的新方法。刘瑾作为观念艺术家，始终强调图像的观念呈现，将图像的视觉化与行为表现的艺术观念结合起来，突出了观念介入图像的主动性。
这些艺术家在内涵上各具特色、充分展示了影像表达的多种能力和方法论取向，体现了图像在当代社会语境中的创造能力和表意能力。因此，我们提倡“影像动力学”就是希望深入探索当代影像艺术的潜在创造能力和新的视觉理论问题。
（中央美术学院教师、美术批评家）
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） |
