1985
11 月 18 日:“勞生伯作品國際巡回展”(即羅伯特•勞申伯格)在中國美術館展出,作品為裝置、拼貼和版畫,除此之外勞申伯格還在北京 的民族文化宮進行了一場多媒體表演— 《塘鴨》:羅伯特•勞申伯格穿著旱冰鞋背著雨傘般的物體在舞臺上來回跑,舞臺上掛著銀幕,錄像 投射其上。勞申伯格可以說是中國八五美術運動得以迅速展開的催化劑,也是率先把多媒體表演帶到中國的國外藝術家。
On November 18, Rauschenberg’s International Traveling exhibition (Robert Rauschenberg) opened at the National Art Museum of China, presenting works in installation, collage and prints. Moreover, Rauschenberg’s multi-media performance was held at the Beijing Ethnic Cultural Centre, entitled Mandarin Duck, where the artist skated back and forth wearing rollerblades and umbrella-like objects on stage. A screen hung on the backdrop of the stage to show projections. Rauschenberg is known as a catalystical figure in the genesis of China’s 1985 art movement, who was also the first foreign artist to implant multi-media performance into China.
1988
張培力創(chuàng)作完成其第一件,也是中國內地第一件錄像作品《30×30》。
11 月 22 日:批評家高名潞在安徽黃山市屯溪的江心洲賓館策劃組織了“黃山會議”(原稱“88 中國現代藝術創(chuàng)作創(chuàng)造研討會”),史稱“黃山會議”。 與會人員有來自全國各地的百余名中青年美術家和理論家。張培力創(chuàng)作于 1988 年的作品《30×30》在此會議上內部放映。
Zhang Peili finished his first piece of video artwork 30×30 , this piece is also the first video artwork of China.
November 22, art critic Gao Minglu organized the “Huangshan Conference” (originally named “1988 Chinese Contemporary Art Creative Forum”) at the Jiangxinzhou hotel in Tunxi, Huangshan, Anhui province. The conference was attended by hundreds of young art critics and theorists nationwide. Zhang Peili’s 30 x 30 (1988) was shown internally, an artwork considered as the first video artwork in Chinese art history.
1989
2 月 4 日:“中國現代藝術大展”在中國美術館展出,期間被迫停展兩次。張培力的作品《30×30》在此展覽上首次公開亮相。
February 4, The China Avant-Garde Exhibition opened at the National Art Museum of China. The exhibition was banned twice by officials. Zhang Peili’s 30 x 30 exhibited for the first time in public on this exhibition.
1990
德國漢堡美術學院的密茨卡(MIJKA)教授帶著德國電視臺為科隆市九百周年慶典而組織的大型錄像藝術展映的 8 小時錄像帶來到中國,在 浙江美術學院(現中國美術學院)分兩次講座并向全校師生播映了這批錄像帶。這是中國與錄像藝術這個術語的第一次感性接觸。隨后,中國 藝術家們開始在面臨技術和物質條件的巨大限制的境況下進入到對創(chuàng)作媒體的更深刻的體驗之中。
顏磊在其杭州竹竿巷家中看到《(衛(wèi))字 3 號》(錄像)。隨后,顏磊、邱志杰、佟飆等同宿舍同學先后開始制作錄像。邱志杰開始創(chuàng)作《作 業(yè)一號:重復書寫一千遍蘭亭序》,并于次年以較隨意的紀錄方式拍攝。
年初,陳劭雄、林一林、梁鉅輝、徐坦成立“大尾象工作組”,他們均直接用都市的元素,如建筑工地、街道等等進行創(chuàng)作。“大尾象工作組”
通過行為、裝置、錄像來探索空間的概念。
Professor Mijka of Hamberg Art Academy brought to China over 8 hours of videotape of major video art exhibition programmed in honor of the 900 Years of the founding of Cologne, Germany for German Television. Two talks and screenings were given to the faculty and students at the former Zhejiang Art Academy (Now the China Academy of Fine Art). The term video art was introduced to China for the first time. Thereafter, Chinese artists began to deepen their experience with this medium in spite of their technical and material setbacks.
After Yan Lei watched Hygiene No.3 (video) at his home in ZhuGan Lane of Hangzhou city, he and some of his roommates such as Qiu Zhijie, Tong Biao began to create video artwork. Qiu Zhijie began to practice his Work No.1: One-thousand-time Copy of Lantingxu, and he made casual documentation of it.
At the beginning of the year, Chen Shaoxiong, Lin Yilin, Liang Juhui and Xu Tan found the “Big Elephant Tail Group”, who adopted the urbanenvironment such as construction sites, streets and etc to make artworks. The “Big Elephant Tail Group” explores on the concept of space through making works in performance, installation and video.
1991
11 月 22 日:策展人吳亮在上海教育會堂地下車庫策劃了“車庫 '91 展— 當下經驗的現實”,展出作品包括張培力的錄像作品《(衛(wèi)字)3 號》。 參展藝術家除張培力之外,還有宋海冬、孫良、胡建平、何旸、龔建慶、倪海峰、耿建翌。
吳文光的獨立紀錄片《流浪北京》參加日本“山形國際紀錄片電影節(jié)”,這是中國獨立電影人第一次參加國際電影節(jié)。
November 22, Wu Liang curated the ’91 Garage Show – Reality of Current Experience , at the Shanghai Educational Hall, the exhibition featured Zhang Peili’s video work, Hygiene No.3. Other participating artists were, Song Haidong, Sun Liang, Hu Jianping, He Yang, Gong Jianqing, Ni Haifeng, Geng Jianyi.
Wu Wenguang presented his independent documentary film Bumming in Beijing in Yamagata International Documentary Film festival (Japan), this is the first presentation of Chinese independent film maker in an international film show.
1992
6 月:第 9 屆卡塞爾文獻展外圍展“時代性歐洲外圍藝術展”在德國舉行。蔡國強、李山、呂勝中、倪海峰、孫良等參加,中國前衛(wèi)藝術作品 開始進入國際大展。
June, The 9th Kassel Documenta satellite exhibition European Era was held in Germany. Cai Guo-qiang, Li Shan, Lv Shengzhong, Ni Haifeng, Sun Liang were among its participating artists, Chinese avant-garde artworks began to enter international exhibitions.
1993
1 月 1 日:策展人栗憲庭、張頌仁策劃的“后八九中國新藝術”(POST 1989:NEW ART IN CHINA)分別在香港漢雅軒、香港市政廳舉辦, 此展覽隨后又在澳洲、美國巡回展出,時長達八九年之久。“后八九中國新藝術”是中國當代藝術整體性被國際了解的一個展覽,是 1989 年“中 國現代藝術大展”后影響較大的展覽。張培力的錄像作品《作業(yè)一號》也在此展覽展出。
張培力的錄像作品《(衛(wèi))字 3 號》及《水— 辭海標準版》參加了在德國柏林世界文化宮舉行的“中國前衛(wèi)藝術展”。
“張培力個展”在法國巴黎 Crousel-Robelen 畫廊、法國巴黎 Round Point 畫廊舉行,展出錄像作品包括《30×30》、《(衛(wèi))字 3 號》、《兒 童公園》等。
6 月 13 日:“第 45 屆國際威尼斯雙年展”在意大利威尼斯舉行。中國藝術家首次參加入圍威尼斯雙年展,廣泛受到關注。耿建翌、張培力、 方力鈞、喻紅參加“東方之路”展,王友身參加“開放展”。
邱志杰重新拍攝《作業(yè)一號:重復書寫一千遍蘭亭序》,采用俯拍機位,畫面為書寫的手,完成其第一件錄像作品。
邱志杰在杭州創(chuàng)作錄像雕塑《色情狂》,并幫助佟飆拍攝《被注視的睡眠》。
January 1, curator Li Xianting and Johnson Chang curated the Post- ‘89 New Art in China, was held at Hanart Gallery in Hong Kong, Hong Kong City Hall, thereafter the exhibition traveled to Australia and the U.S. for the next 8 to 9 years. Post-89 New Art in China was a critical exhibition marking the entrance of Chinese contemporary art as a collective onto the international stage. It was also the most significant exhibition since the 89 Avant-Garde exhibition. Zhang Peili’s Homework #1 was part of this exhibition.
Zhang Peili’s video work Hygiene No.3 and Watermark – Standard Version from Ci Hai Dictionary, were chosen to participate in the China Avant-Garde Exhibition at the World Cultural Palace in Berlin, Germany,
Zhang Peili’s solo exhibition was held at the Crousel-Robelen Gallery, and the Round Point Gallery in Paris, France. 30 x 30, Hygiene No.3, Children’s Park, were among the works shown at these exhibitions.
June 13, The 45th International Venice Biennale opened in Venice, Italy. It was the first time for Chinese artists to participate in the Venice Biennale. Geng Jianyi, Zhang Peili, Fang Lijun, Yu Hong participated in the exhibition, “Oriental Road”, and Wang Youshen showed his artwork in the Open Exhibition.
638 /639
Qiu Zhijie remade his video work Work No.1: One-thousand-time Copy of Lantingxu from a high angle view to document his hand movement during the writing, this is his first piece of video artwork.
Qiu Zhijie made the video installation Erotomania in Hangzhou, meanwhile he assisted Tong Biao filming the video work Gazed Slumber .
1994
4 月 10 日:宋冬在中央美術學院畫廊舉辦影像裝置+行為的個人展覽“又一堂課,你愿意跟我玩兒嗎?”,30 分鐘后被查封。
5 月 1 日:策展人王林策劃的“媒體的變革— 第三次中國藝術研究文獻展”在上海華東師大圖書館舉行,展出海內外近百位藝術家自 20 世 紀 90 年代以來創(chuàng)作的裝置與行為藝術的上千張圖片、幻燈片及 30 多盒錄像帶資料,并舉辦了以“轉型期的中國美術”為中心議題的討論會。 此文獻展對于非架上藝術家的意義重大。
7 月:由林仆和林松策劃的“翰墨新藝術方案大展”在北京王府井的紅霞公寓舉辦,來自北京、上海、廣州、湖北、甘肅、云南、河南、海南、寧 夏等 30 余位藝術家提交方案,共展出 70 余件方案作品及 12 件錄像作品,其中包括徐冰的錄像《文化動物》和呂勝中的錄像《靈魂之碑》等, 這是國內 首次藝術方案大展。
7 月 8 日:劉安平和王勁松合作的錄像作品《北京你早》在北京東四大華電影院錄像廳進行私人放映。期間發(fā)生趙少若、劉安平的行為《潑墨事件》。
9 月:由批評家高嶺主持的“當代藝術觀摩會”在北京當代美術館舉辦。播放了宋冬的錄像作品《容器》、王晉的錄像《1994 年4月9日•紅•北 京— 九龍》等。
10 月 1 日:藝術家朱金石私人公寓舉辦“后十一,當代藝術展”,參展藝術家王蓬、王勁松、尹秀珍、蒼鑫、朱金石,宋冬展出了影像裝置《日子》。
10 月 25 日:在首都師范大學美術館舉辦“94’中日韓國際現代藝術展”,這是 89 后在中國舉辦的第一個公開的國際當代藝術展,中國的參展 藝術家有王廣義、王魯炎、王有身、顧德新、魏光慶、李永斌,汪建偉、宋冬。展出了宋冬的影像裝置《滲透吸收》。
11 月:朱加播放錄像作品《永遠》。
陳劭雄利用自己的攝像機,創(chuàng)作了他第一件錄像裝置作品《蹺蹺板》。
April 10, Song Dong held his solo exhibition of video-installations and performance: One more lesson: Do You Want to Play with Me? The show was prohibited after 30 minutes of its opening.
May 1, curator Wang Lin presented Changes in Media – The Third Chinese Art Research Documenta at the library of Shanghai Huadong Normal University, exhibiting artworks of installations and photographs of performance, as well as, slides by over one hundred Chinese and international artists since the 1990s, over 30 videotape materials. For this event, a forum on the topic of Chinese Art in Transition was also held. This archival exhibition had a great impact on artists who were working with mediums other than painting.
July, Lin Pu and Lin Song curated Hanmo New Art Exhibition in Hong Xia Apartment of Beijing, more than 30 artists from Beijing, Shanghai, Guangzhou, Hubei, Gansu, Yunnan, Henan, Hainan and Ningxia raised their proposals. More than 70 pieces of artwork were presented in the form of proposal and other 12 pieces of video art were also presented in the show, including Xu Bing’s video work Cultural Animal and Lv Shengzhong’s video work Soul of the Monument . This is the first proposal exhibition in China.
July 8, Liu Anping and Wang Jinsong presented their collaborative video work Good Morning Beijing privately at the video hall of Beijing Dong Si Da Hua Cinema. At the meantime Liu Anping and Zhao Shaoruo did a performance called Throw Ink Event .
September, Art critic Gao Ling hosted Contemporary Art Observation exhibition at Beijing Contemporary Art Museum. Video artwork such as Song Dong’s Container and Wang Jin’s April 9, 1994 • Red • Beijing—Kowloon were presented in the show.
October 1, Post Oct 1 Contemporary Art Exhibition was held in the private apartment of artist Zhu Jinshi, artists Wang Peng, Wang Jinsong, Yin Xiuzhen, Cang Xin, Zhu Jinshi and Song Dong. Song Dong presented his video installation Days .
October 25, New Asian Art Show – China Korea Japan Exhibition was held at the Art Museum of Capital Normal University, Beijing. This is the first public international contemporary art exhibition in China since 1989, artists Wang GuangYi, Wang Luyan, Wang Youshen, Gu Dexin, Wei Guangqing, Li Yongbin, Wang Jianwei and Song Dong participated in the show. Song Dong Exhibited his video installation Infiltration .
November, Zhu Jia showed his video work Forever . Chen Shao Xiong used his video camera to build his first video art work Seesaw .
1995
“來自中心的國家— 1979 年以來的中國前衛(wèi)藝術展”在西班牙巴塞羅那圣莫尼卡藝術中心舉行。 5 月:由冷林策劃的顏磊個展“入侵”在北京兒童藝術劇院舉辦。展出了多件錄像作品。
6 月:王功新在北京報房胡同自己家中第二次“工作室開放”活動中,展出錄像裝置《布魯克林的天空》,隨后,林天苗展出錄像裝置作品《纏 的擴散》。
8 月:“新亞洲藝術展”在日本東京都文化交流中心舉辦,宋冬和汪建偉展出了影像裝置。
9 月:宋冬錄像作品《容器》、《墨》與汪建偉的錄像裝置《循環(huán)》參加了“首屆光州雙年展— 超越邊界(BEYONG THE BORDERS)”中的 由“錄 像藝術之父”白南準策劃的 “INFO ART”展。
9 月:邱志杰在威尼斯雙年展上看到代表美國館展出的比爾•維奧拉(Bill Viola)的錄像作品《埋葬秘密》,隨后,決定在國內推動錄像藝術, 并和吳美純一起譯出比爾•維奧拉畫冊中的文章發(fā)表在《江蘇畫刊》上。同時,邱志杰開始構思“現象 / 影像:中國錄像藝術展”,并尋找贊助, 廣泛接觸和鼓動藝術家。
10 月:由黃篤策劃的“張開嘴、閉上眼— 北京、柏林藝術交流展”在北京首都師范大學美術館舉辦。中國參展藝術家有張培力、耿建翌、王功新、 宋冬、尹秀珍、展望、王蓬和朱金石。其中柏林的藝術家古斯塔夫和宋冬展出了錄像裝置作品。
Des Pais del Centre, Avantguardes Artistiques Xineses , Santa Monica Art Centre, Barcelona, Spain
May, Leng Lin curated Yan Lei’s solo exhibition Invasion which was held in Beijing Children Theatre of Art, multiple pieces of video work were exhibited.
June, Wang Gongxin presented his video installation Sky of Brooklyn in the open studio project in his home of Beijing Bao Fang Hutong, later Lin Tianmiao presented her video installation The Proliferation of Thread Winding there.
August, New Asian Art Show was held in Japan Fundation Forum, Tokyo, Japan???. Song Dong and Wang Jianwei presented their video installation work.
Song Dong’s Container , Ink and Wang Jianwei’s Circulation were showed in the First Gwangju Biennale – Beyond Borders . They were involved in the project INFO ART curated by the “godfather of video art” Nam June Paik.
September, Qiu Zhijie encountered Bill Viola’s video art work Buried Secrets in 46th Venice Biennale. Soon he decided to promote video art in China. He then co-translated articles from Bill Viola’s catalog with Wu Meichun. These articles were published in Jiangsu Art Monthly. At the meantime Qiu Zhijie began to conceive “Phenomenon and Image: Chinese Video Art Exhibition” he started to run for support and get in touch with artists and did a lot of promotion work in artists.
October, Huang Du curated Open Your Mouth, Close Your Eyes – Beijing Berlin Art Communication. This exhibition was held at the Art Museum of Capital Normal University, Beijing. Artists Zhang Peili, Geng Jianyi, Wang Gongxin, Song Dong, Yin Xiuzhen, Zhan Wang, Wang Peng and Zhu Jinshi participated in the exhibition. German artist Gustav and Song Dong create a collaborative video installation piece.
1996
3 月:由朱其策劃的“以藝術的名義”當代藝術展在上海劉海粟美術館展出。耿建翌、宋冬、陳少平、金鋒等展出了錄像裝置作品。 6 月:由錢志堅策劃的宋冬錄像裝置個展“掀開”在首都師范大學美術館舉辦。
9 月 14 日:由邱志杰、吳美純策劃的“現象 / 影像:中國錄像藝術展”在杭州中國美術學院舉行。展覽展出了來自北京的陳少平、顏磊、朱加、 李永斌、王功新,杭州的楊振中、高世強、陸磊、高士明、耿建翌、張培力,上海的錢喂康,廣州的陳劭雄,福建的邱志杰等十五位藝術家的 十六件作品,基本以錄像裝置為主。這是中國國內第一個純粹以錄像藝術作品集中亮相的展覽,是錄像藝術在中國興起的第一次總結。策展人 編印了兩本重要刊物《錄像藝術文獻》(原文主要來自栗憲庭由美國帶回的文集和雜志)和《藝術與歷史意識》(佟飚擔任兩本刊物的美編), 為中國的觀眾深入了解錄像藝術提供了重要的線索。“現象 / 影像:中國錄像藝術展”為錄像藝術的再發(fā)展創(chuàng)造了理論條件,克服了畏難心緒, 也為之后的此類新媒體展覽活動在器材、設施、布展經驗等方面的問題解決提供了一些模式和經驗?！督K畫刊》介紹該展的文章作者“林仲璐” 為邱志杰筆名。
640 /641
“李永斌錄像作品展”在中央美術學院畫廊(現中央美術學院美術館)舉行。
12 月:宋冬、汪建偉的錄像裝置參加在韓國舉辦的“’96 水原國際交感藝術祭”。
March, Zhu Qi curated In the Name of Art Contemporary Art Exhibition in Shanghai Liu Haisu Art Museum. Video installation works from Geng Jianyi, Song Dong, Chen Shaoping and Jin Feng were presented.
June, Song Dong’s solo exhibition of video installation Uncovering curated by Qian Zhijian were held at the Art Museum of Capital Normal University, Beijing.
September 14, Qiu Zhijie, Wu Meichun curated Phenomenon / Image: Chinese Video Art Exhibition at the China Academy of Art in Hangzhou. The exhibition showed works by Beijing artists, Chen Shaoping, Yan Lei, Zhu Jia, Li Yongbin, Wang Gongxin; Hangzhou artists, Yang Zhenzhong, Gao Shiqiang, Lu Lei, Gao Shiming, Geng JIanyi, Zhang Peili; Shanghai artist, Qian Weikang; Guangzhou artist, Chen Shaoxiong, Fujian artist, Qiu Zhijie and others. Among the 16 pieces of artworks shown, most of the works were video installations. It was the first exhibition focusing on video art that summarizes and highlights the flourishing development of video art in China, ending the perception of video art being dispersed and underground. The curator edited two important publications, Archive on Video Art and Art and Historical Ideology, providing important threads for Chinese audience in the understanding of video art. Phenomenon / Image: Chinese Video Art Exhibition establishes the basic understanding for later development in Chinese video art to overcome fear of the unknown. Moreover, it provided an exhibition model and working experiences in presenting future new media exhibitions in terms of equipments, facilities and exhibition planning issues.
Li Yongbin Video Works, was shown at the art gallery of the Central Academy of Fine Art. December, Song Dong and Wang Jianwei presented their video installation work in '96 International Com-Art Show in Suwon: China, Korea and Japan .
1997
3 月:由宋冬和郭世銳策劃的非展覽空間和非展覽形式的實驗藝術活動“野生:1997 年驚蟄 始”在北京、上海、廣州、成都等地同時展開, 此活動持續(xù)一年。共 27 位藝術家在全國重要藝術生態(tài)區(qū)實施“野生”實驗藝術活動。其中王功新、朱青生、張新和王慧敏實施了非展覽形式 的錄像藝術。
5 月:宋冬錄像裝置藝術展“看”在北京當代美術館舉辦。
5 月:“另一次長征:90 年代中國觀念和裝置藝術”在荷蘭布列達(Breda)舉行,集中展示了 18 位中國前衛(wèi)藝術家的裝置、錄像、表演藝術作品等。 參展的藝術家包括張培力、汪建偉、陳劭雄、馮夢波等展出了多媒體錄像作品。
6 月 21 日:馮夢波的互動多媒體作品《私人照相簿》和 汪建偉的錄像作品《生產》參加主題為“文化的形象與形式表現”的第十屆卡塞爾文獻展。 7 月 1 日:導演牟森與宋冬和孫海英合作新媒體錄像實驗戲劇《傾述》在長安大劇院上演。 8 月:“神粉 1 號:王功新個展”在中央美術學院畫廊舉行。
8 月 28 日:邱志杰、吳美純策劃的“'97 錄像藝術觀摩展”在中央美術學院畫廊舉行,展出了來自全國各地三十幾位藝術家的最新作品,基本 以單頻錄像作品為主,包括張培力的《審視》、蔣志的《飛吧、飛吧》、邱志杰的《乒乓》、宋冬的《克隆》及《關注— 監(jiān)視》、朱加的《并 非兩個人的游戲》、李永斌的《臉》、陳劭雄的《風景》系列、李巨川的《與姬卡同居》等。
8 月 31 日:宋冬錄像裝置展“拍”在柏林藝術廢墟舉辦。
9 月:“邱志杰個展:5 個錄像裝置”在中央美術學院畫廊舉行,展出作品為《衛(wèi)生間》、《物》、《兇吉》、《進化的邏輯》、《埃舍爾的手》。 同月,邱志杰在德國新柏林藝術中心舉辦講座,放映國內錄像作品。
王功新、王晉、張培力、張大力在中央美術學院畫廊舉辦“W2—Z2:多媒體幻燈藝術展”。
策展人侯瀚如策劃“移動中的城市”(1997-2000) 展覽,旨在探討亞洲當代城市建設和藝術的互動及其在全球化過程中的發(fā)展。該展覽歷時三年, 先后巡回至世界 7 個國家:奧地利、法國、美國、丹麥、英國、泰國、芬蘭,引起了國際藝術和建筑界的高度重視。參展的影像藝術家包括張 培力、宋冬、汪建偉。
“中國攝影及錄像藝術”在美國紐約 Max Protech 畫廊(現更名為 Meulensteen 畫廊)舉行。參展的影像藝術家包括張培力、楊振中等。
策展人張頌仁策劃的“面孔與身體:90 年代的中國藝術”(Faces and Bodies of the Middle Kingdom: Chinese Art of the 90's)在捷克布 拉格魯道夫林美術館(Gallery Rudolfinum)舉行。此展覽討論了中國藝術家在多媒體領域上的廣泛實驗,開始理解什么是現代經驗,但同時 又在質疑這種經驗。參展的影像藝術家包括馮夢波、邱志杰等。
“邱志杰個展:5 個錄像裝置”在中央美術學院畫廊舉行。 建筑師張永和與宋冬合作錄像裝置作品《界限》參加奧地利格拉茲國際當代藝術節(jié)。 王功新的影像作品《面子》和汪建偉的紀錄片參加英國倫敦 ICA“北京— 倫敦”展。
March, Song Dong and Guo Shirui curated experimental art activity Wildlife: Starting from 1997 Jingzhe. It applied non-exhibition from at non- exhibition spaces carried out at the same time in Beijing, Shanghai, Guangzhou and Chengdu. This activity lasted for one year, 27 artists carried out “wildlife” experimental art in major art area nationwide. Wang Gongxin, Zhu Qingsheng, Zhang Xin and Wang Huimin made some non- exhibition style video art.
May, Song Dong held his solo exhibition of video installation art Look at Beijing Contemporary Art Museum.
May, Another Long March - Conceptual and Installation Art in China in the 1990s was held in Breda, The Netherlands. Presenting works in installation, video art and performance by 18 Chinese Avant-Garde artists, namely, Zhang Peili, Wang Jianwei, Chen Shaoxiong, Feng Mengbo and etc.
June 21, Chinese artist Feng Mengbo’s multimedia work Private Album and Wang Jiangwei’s video Production were selected for the 10th Kassel Documenta in Germany, under the exhibition theme, Cultural Forms and Formal
Expressions .
July 1, Mou Sen, Song Dong and Sun Haiying worked collaboratively on an experimental drama Talk combining with video and other new media technologies at Changan Theatre, Beijing.
August, Myth Powder No.1: Wang Gongxin Solo Exhibition , was held at the art gallery of the Central Academy of Fine Art.
August 28, Qiu Zhijie and Wu Meichun curated the ‘97 Video Art Exhibition at the art gallery of the Central Academy of Fine Art, showing new works by over thirty artists nationwide, the works consisted mostly of single channel videos, including, Zhang Peili’s Examine , Jiang Zhi’s Fly, Fly, Qiu Zhijie’s Ping Pong, Song Dong’s Clone and Focus-Surveillance, Zhu Jia’s Not a Game for Two, Li Yongbin’s Face, Chen Shaoxiong’s Landscape , Li Juchuan’s Shacking up with Kika and etc.
September, Qiu Zhijie’s Solo Exhibition: Five Video Installations , at the art gallery of the Central Academy of Fine Art.
Wang Gongxin, Wang Jin, Zhang Peili and Zhang Dali held the W2-Z2: New Media Projection Art Exhibition .
Hou Hanru curated City on the Move (1997-2000), aimed to discuss the interaction between the building of Asian contemporary cities and art practices in the process of globalization. An exhibition spun for three years, traveling to seven countries, namely, Austria, France, America, Denmark, U.K. Thailand, Finland. It was a highly regarded exhibition in both international art and architectural fields. Participating video artists included, Zhang Peili, Song Dong and Wang Jianwei.
Chinese Photography and Video Art was shown at Max Protech Gallery in New York (later renamed as, Meulensteen Gallery). Participating video artists included, Zhang Peili, Yang Zhenzhong and others.
Johnson Chang curated, Faces and Bodies of the Middle Kingdom: Chinese art of the 1990s at Gallery Rudolfinum in Prague, Czech Republic. With wide experiments in the multimedia, the exhibition showcased Chinese artist’s understanding of contemporary experience, while upholding skepticisms of this experience. Video artists participated in this exhibition include, Feng Mengbo, Qiu Zhijie and etc.
1998
1 月 2 日:策展人馮博一、蔡青策劃的“生存痕跡— '98 當代藝術內部觀摩展”在北京朝陽區(qū)姚家園村北的現代藝術工作室舉行。此展覽強 調以邊緣化立場進行本土性的就地創(chuàng)作和展示。展出的影像作品包括王功新的錄像裝置《牧羊》、邱志杰的錄像裝置《姚家園 1 號坑》和宋冬 的錄像裝置《漬酸菜》。
3 月:邱志杰帶著 1996 年的“現象/影像”及 1997 年的“'97 錄像藝術觀摩展”的中國錄像藝術的成果參加在德國柏林德維爾中心舉辦的“媒 體轉換:第十一屆柏林錄像節(jié)”(TRANSMEDIALE'98,11th Video Festival),并獲得了波恩錄像節(jié),赫爾辛基錄像節(jié)等重要節(jié)日的邀請。 邱志杰以播映或講座的形式向歐美系統(tǒng)介紹了中國錄像藝術的概況。這種組織工作于 2003 年后基本結束。
6 月:由黃篤策劃的“空間與視覺”在北京當代美術館舉行。宋冬、李彥修展出了錄像裝置。 9 月:宋冬 Video 環(huán)境裝置行為展— “辦公室中的臨時建筑” 在北京 TAO 畫廊舉辦。 11 月:由德國的施耐德策劃的“傳統(tǒng) 反思”當代藝術群展在北京的廢棄的的個大使館舉辦。展出的影像作品是宋冬的錄像投影裝置《砸鏡子》。
11 月 21 日:由冷林策劃的“是我:九十年代藝術的一個側面”展在北京太廟舉行,后被查封。展出的影像作品包括宋冬的錄像投影裝置《父 子太廟》、邱志杰的錄像裝置《兇吉》。
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12 月:周一斌、肖紅、張惠共同策劃的“反視,自身和環(huán)境”展在北京建設大學舉行,參展藝術家包括劉韡、張慧、烏爾善、彭禹、王衛(wèi)、孫 原、肖昱、劉瑾、周一斌、肖紅、王秋人,這是 90 年代末期的重要的由藝術家自己策劃的展覽之一,與邱志杰策劃的“后感性:異性與妄想” 及冷林策劃的“是我:九十年代藝術的一個側面”共同構成了 90 年代末北京的實驗性展覽。
批評家黃專主持“當代藝術與人文科學— 首屆何香凝美術館學術論壇”(中國深圳),首開跨學科、跨領域的學術爭鳴,人文學者、理論家、 批評家和策劃人都參與討論,成為 1990 年代中國藝術史上為數不多的幾個跨學科的學術活動之一。
由黃巖策劃的“0431— 中國錄像藝術展”在長春技術學院舉行。參展的藝術家包括宋冬、邱志杰、金鋒、黃巖等。
由冷林策劃的“是我:九十年代藝術的一個側面”展在北京太廟舉行,后被查封。展出的影像作品包括宋冬的《父子》(幻燈投影)、邱志杰的《兇 吉》(錄像裝置)。
邱志杰的《記憶的形式》與陳少平作品共同參加了在德國科隆路德維希博物館舉辦的“通過視頻:國際錄像藝術家”展(VIDEO FROM ARTIST LNTERNATIONAL)。
陳劭雄入選參加在荷蘭阿姆斯特丹舉行的“第 16 屆世界錄像藝術節(jié)”。
January 2, Feng Mengbo and Cai Qing curated Life Traces – ’98 Contemporary Art Internal Learning Exhibition was held at Contemporary Art Studio in Yaojiayuan, Chaoyang District, Beijing. This exhibition emphasized on local production and exhibition approaches from the peripheries. The works shown include, Wang Gongxin’s Herding Sheep (video), Qiu Zhijie’s Yao Jiayuan Ditch No.1 (video installation).
March, Qiu Zhijie brought the works of Phenomena / Image and 97 Video Art Learning Exhibition to Transmediale – 11th Video Festival , hosted by the Deville Center in Berlin, Germany, who was then invited by Bohn Video Art Festival and Helsinki Video Art Festival. Qiu Zhijie had screened and introduced the current status of Chinese video art to European and American audience.
June, Huang Du curated Space and Vision Exhibition at Beijing Contemporary Art Museum. Song Dong and Li Yanxiu presented their video installation work in the show.
September, Song Dong’s Video, Environment, Installation, Performance Exhibition – Temporary Office Construction was held in Beijing TAO gallery.
November, Germany curator Schneider curated Tradition Review contemporary art exhibition was held at a deserted
embassy in Beijing, Song Dong presented his video projecting installation Smashing Mirror Limit .
December, Zhou Yibin, Xiao Hong and Zhang Hui collaboratively curated the exhibition Retrospect, Self and Environment at the Beijing Architecture University, participated by Liu Wei, Zhang Hui, Wu’er Shan, Peng Yu, Wang Wei, Sun Yuan, Xiao Yu, Liu Jin, Zhou Yibin, Xiao Hong and Wang Qiuren. It was one of the key exhibitions at the end of the 1990s presented by the artists’ own initiatives. Similarly, Qiu Zhijie’s Post-Sense and Sensibility: Alien Body and Delusion and Leng Lin’s It’s Me: A Profile of Chinese Contemporary Art in the 1990s were key experimental exhibitions in the late 1990s in Beijing.
The Contemporary Art and Humanities – First Hexiangning Art Museum Academic Forum (Shenzhen, China) mediated by art critic Huang Zhuan was the first interdisciplinary academic congregation of scholars of humanities studies, theorists, critics and curators participated in the discussion. It was one of the few interdisciplinary academic events in Chinese cultural history of the 1990s.
Huang Yan curated 0431-Chinese Video Art Exhibition at the Technical School in Changchun.
It’s Me: A Profile of Chinese Contemporary Art in the 1990s, curated by Leng Lin was shown at Tai Temple, in Beijing. The exhibition was soon banned. The works shown include, Song dong’s Father and Son (slide projection), Qiu Zhijie’s Murder (video installation).
Qiu Zhijie and Chen Shaoping participated in the Video from Artist L’international at the Ludwig Museum in Cologne, Germany. Chen Shaoxiong was selected for the the 16th International Video Art Festival in Amsterdam, The Netherlands.
1999
1 月 8 日:邱志杰策劃的“后感性:異形與妄想”在北京芍藥居公寓地下室舉行。參展的藝術家包括琴嘎、王衛(wèi)、馮倩玨、孫原、蔣志、陳文波、 朱昱、楊福東、邱志杰、烏爾善、馮曉穎、鄭國谷、劉韡、陳羚羊、高世強、陸磊、高士明、楊勇、肖昱、張涵子。展出的影像作品包括楊福 東的《我并非強迫你》(錄像)、高世強、陸磊、高士明的《處所》(錄像裝置)、劉韡的《難以抑制》(錄像裝置)、翁奮的《無題— 蝶》(錄 像裝置)、馮曉穎的《在體驗中》(錄像)。同月,邱志杰個展“掛歷 1998”在中央美術學院畫廊舉行,展出作品包括《創(chuàng)世紀與劉先生的一 星期》(錄像裝置)。
3 月 6 日:“交流— 走向希望之路:首屆福岡亞洲當代藝術三年展”在日本福岡亞洲美術館開幕。此次展覽以使用高尖技術的影像作品、現代 多媒體作品為主。參展的中國藝術家包括張培力、林天苗、尹秀珍、陳少峰等。張培力和尹秀珍展出了錄像裝置作品。
3 月 19 日:策展人張頌仁策劃的“快鏡— 中國新錄像藝術”展在澳門當代美術館舉行,首次凝聚兩岸三地錄像藝術的資源。參展的藝術家包 括張培力、邱志杰、陳劭雄、高世強 / 高士明 / 陸磊、宋冬、王功新、汪建偉、顏磊、烏爾善、鮑藹倫、袁廣鳴、何兆基、廬燕珊、王俊杰。
5 月:由楊振中、徐震、飛蘋果策劃的“超市:當代藝術展”在上海廣場舉辦。楊福東、徐震等藝術家的錄像作品在其中展出。
9 月:邱志杰個展“內在元素”在溫哥華精藝軒舉行。展出作品為《旅行者》、《風景》、《元素》等錄像裝置。
邱志杰開始創(chuàng)作互動多媒體作品《西方》。
11 月:文慧和吳文光導演的多媒體舞蹈劇場《生育報告》參加“99 阿姆斯特丹藝術節(jié)”,宋冬和尹秀珍為戲劇創(chuàng)作了錄像和裝置。
12 月:成都“世紀之門”現代藝術展播放溫普林的紀錄片《中國行動》。這部片子整體地記錄了 20 世紀末中國行為藝術的整個走向和重要現場。
由香港浸會大學傳理學院電影電視系的“新影人”工作坊(TYD - The Young Director)與香港藝術中心合辦的”第四屆兩岸四地學生電影 錄像節(jié)”在香港藝術中心舉行。
由榮念曾組織的“錄像圈 1999”在香港科技大學舉行。 蔣志《食指》獲中國當代藝術獎。 汪建偉參加日本山形國際紀錄片電影節(jié)、英國倫敦 ICA“北京— 倫敦”等展覽。
January 8, the Post-Sense and Sensibility: Alien Body and Delusion curated by Qiu Zhijie, was held in a basement of an apartment in Shaoyaoju, Beijing. Participating artists include, Qin Ga, Wang Wei, Feng Jingzhuo, Sun Yuan, Jiang Zhi, Chen Wenbo, Zhu Yu, Yang Fudong, Qiu Zhijie, Wuer Shan, Feng Xiaoying, Zheng Guogu, Liu Wei, Chen Lingyang, Gao Shiqiang, Lu Lei, Gao Shiming, Yang Yong, Xiao Yu, Zhang Hanzi. Video works shown include, Yang Fudong’s I am not Forcing You (video), Gao Shiqiang, Lu Lei and Gao Shiming’s Place (video installation), Liu Wei’s Hard to Control (video installation), Weng Fen’s Untitled – Butterfly (video installation), Feng Xiaoying’s Experiencing (video).
March 6, Exchange – A Path towards Hope: The First Fukuoka Triennale of Contemporary Art opened at the Fukuoka Asian Art Museum in Japan. An exhibition featuring video and multimedia artworks using advanced technology invited Chinese artists, Zhang Peili, Lin Tianmiao, Yin Xiuzhen, Chen Shaofeng and etc to participate.
March 19, Fast Shutter – New Chinese Video Art, curated by Johnson Chang was held at the Modern Art Museum of Macau, an exhibition gathering artistic talents in the cross-straits region. Participating artists in this exhibition were Zhang Peili, Qiu Zhijie, Chen Shaoxiong, Gao Shiqiang, Gao Shiming, Lu Lei, Song Dong, Wang Gongxin, Wang Jiangwei, Yan Lei, Wuer Shan, Bao Gelun, Yuan Guangming, He Yaoji, Lu Yanshan, Wang Junjie.
May, Yang Zhenzhong, Xu Zhen and Fei Pingguo (Alexander Brandt) curated Art for Sale Supermarket: Contemporary Art Exhibition at Shanghai Plaza. Artists such as Xuzhen and Yang Fudong showed their work in the exhibition.
September, Qiu Zhijie’s solo exhibition Innate Forces was held at Art Beatus Gallery, Vancouver, Canada. Video installation: Tourists, Landscapes , Elements were presented in the show.
November, Wen Hui and Wu Wenguang directed multi-media dancing theatre: Report on Giving Birth, Song Dong and Yin Xiuzhen made the video and installation part for the program. This project became part of the '99 Amsterdam Art Festival.
December, Gate of the Century Contemporary Art Exhibition screened Wen Pulin’s documentary film, China in Action in Chengdu. This film comprehensively documented the general trend and critical events of 20th century Chinese performance art.
TYD – The Young Director workshop from the Hong Kong Qinhui University Chuanli Institute, Film and Television Department and the Hong Kong Art Center collaborated on hosting The Fourth Cross Strait Student Film and Video Festival at the Hong Kong Art Centre.
Jiang Zhi’s work, Index Finger received the Chinese Contemporary Art Award. Wang Jianwei participated in the Yamagata International Documentary Film Festival in Japan, Beijing-London at ICA in London, U.K and etc.
2000
1 月 8 日:“2000 年中國網路影像藝術展”在吉林藝術學院舉行。參展藝術家包括金鋒、黃巖、蒼鑫、管策、宋冬、黃少鵬、徐一暉、高氏兄弟、 溫普林、邱志杰等。這是中國第一個冠以“網絡”之名的前衛(wèi)藝術展,但真正成熟的互動性網絡藝術作品不多,展覽反映出人們對網路這一新 媒體開始抱有熱情。
香港舉辦“2000 微波錄影節(jié)”。 由榮念曾組織的“錄像圈 2000”在柏林世界文化宮舉行。
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7 月:宋冬錄像裝置個展“宋冬在倫敦”在倫敦 Tablet 美術館舉辦。 汪建偉的首部多媒體戲劇《屏風》在北京演出。 由馮博一和艾未未策劃的“不合作方式”展在上海蘇州河旁的倉庫和東廊畫廊舉行。 宋冬、曹斐、 陸春生等展出了錄像作品。 由顧振清策劃的“日常與日常”在上海原弓美術館開幕,宋冬實施錄像投影行為作品《撫摸眾人》。
2000 年底至 2001 年初,國內第一個新媒體藝術中心— 北京藏酷新媒體藝術中心成立,由王功新和林天苗主持。藏酷新媒體藝術中心是一個 致力于為新媒體藝術提供作品創(chuàng)作和發(fā)布、研討交流、資料查閱乃至作品典藏的空間。
11 月 2 日:由巫鴻策劃的“取消”展在美國芝加哥斯馬特美術館舉行。這是一個關于展覽的展覽,用吳文光的影像作品 《日記》 和宋冬的錄 像裝置《父子太廟》,重新呈現了冷林在 1998 年策劃的被取消展出資格的“是我:九十年代藝術的一個側面”展。
澳門舉辦“澳門新媒體錄影節(jié)”。
王功新、宋冬 、汪建偉參加在荷蘭阿姆斯特丹舉行的“第 18 屆世界錄像藝術節(jié)”。
由洛克菲勒文化基金和新加坡 THEATWORK 組織的“飛行雜技國際藝術工作坊”匯集亞洲當代文化藝術領域 70 多名精英對亞洲多元文化和 跨學科文化進行了廣泛研討,并進行跨界的實踐和交流。中國影像藝術家張培力、宋冬和烏爾善受邀參與了為期一個月的活動。并舉行三人的 錄像藝術聯展。
January 8, 2000 China Internet Video Art Exhibition was held at Jilin Art Academy. Participating artists included, Jin Feng, Huang Yan, Cang Xin, Guan Ce, Ning Dong, Huang Shaopeng, Xu Yihui, Gao Brothers, Wen Pulin, Qiu Zhijie and others. It was the first avant-garde art exhibition centered on “Internet” as its medium. Although artworks evolved around the internet with interactive features were few, the exhibition revealed a general fever for this new medium.
2000 Microwave Video Festival was held in Hong Kong.
Danny Yung organized Video Circle 2000 at HKW, Berlin.
July, Song Dong’s video installation solo show Song Dong in London was hosted at Tablet Museum in London.
Wang Jianwei presented his first multi-media drama Screen .
Feng Boyi and Ai Weiwei curated Uncooperative Approach (Fuck Off) in Shanghai at two venues: a warehouse near Suzhou River and Eastlink Gallery, Song Dong, Cao Fei, Lu Chunsheng presented their video art work.
In the Unusual and Usual exhibition curated by Gu Zhenqing at Shanghai Yuan Gong Modern Art museum, Song Dong presented his video projection performance work Caressing the Public .
At the end of 2000 to early 2001, the first new media art center was founded in China – Beijing Loft New Media Art Center was established. Hosted by Wang Gongxin and Lin Tianmiao, Loft New Media Art Center devoted to providing a platform for creativity, publication, discussions and exchange, research and artwork collection for new media art.
Wang Gongxin was selected for the 18th International Video Art Festival in Amsterdam, The Netherlands.
Rockfeller Fundation and Singapore THEATWORK organized the Flying Circus project. More than 70 elitists from culture and art domains participated in the project, they discussed issues brought by multiculturism and also tops related to cross-disciplinary culture. Cross-boundary practice and communication are also part of the project. Chinese video artists Zhang Peili, Song Dong and Wu Ershan were invited in this one- month-long project resulted in a trio exhibition.
2001
1 月:“中德藝術交流展”在德國達豪市政廳舉辦,呂勝中、姜杰、秦沖等參加。宋冬展出了在他創(chuàng)作的錄像裝置《噴水》。
2 月 27 日:由陳曉云、佟飚、沈立功策劃的“附體:影像藝術展”在杭州印象畫廊舉行,后巡展至上海、北京。參展的藝術家包括楊福東、楊振中、 邱志杰、蔣志、梁玥、胡介鳴、陸春生、徐震、佟飚、沈立功、席夫林(Jessie Shefrin)、約瑟夫•舍爾(Joseph Scheer)、皮爾•伯德(Peer Bode)等數十位中外藝術家。策劃人試圖在這些以攝影和錄像作品中體現出超越日常經驗和理性的深度體驗。
由曾力策劃的“首屆梁思成建筑設計雙年展”在中國美術館舉行。參加的影像藝術家有李巨川、宋冬等。
3 月 1 日:李振華、邱志杰、吳美純在北京藏酷新媒體藝術中心策劃舉辦藏酷數碼藝術節(jié)。參展藝術家包括石青、陳劭雄、邱志杰、蔣建秋、焦應奇、 周嘯虎、倪衛(wèi)華、施勇、富鈺等。
3 月 10 日:邱志杰策劃的“后感性:狂歡”在北京電影學院的一個攝影棚里舉行。參展藝術家包括烏爾善、邱志杰、張慧、劉韋華、王衛(wèi)、高氏兄弟、 劉韡、石青等。“后感性”是當年中國藝術中最激進的新思潮,它對中國的裝置藝術、行為藝術和表演藝術產生了一定影響。
3 月 23 日:由策展人顧振清策劃的“虛擬未來— 中國當代藝術展”在廣東美術館舉行。此次展覽是來自油畫、錄像、多媒體、網絡、裝飾等 藝術家通過對未來的構想而創(chuàng)作的作品。展出影像作品的有翁奮、宋冬等。
6 月:由邱志杰和宋冬策劃的匯集了眾多當代藝術家共同創(chuàng)作的集體新媒體事件作品《新潮新聞》在北京藏酷新媒體藝術中心實施展出。這件 作品把真實事件、戲劇、音樂、行為和錄像、實時攝錄系統(tǒng)等要素通過 VJ 切換組織在一起,在游戲中提供著玩火般痛切的實驗性快感。
由黃篤策劃的“再造形象和符號”北京寰宇經典藝術中心舉辦。 展出影像作品的有王國鋒、宋冬等。
8 月 6 日:策展人皇甫秉惠策劃的“‘復眼’中國錄像藝術”展在新加坡拉薩爾藝術學院盧明德藝術館舉行,參展的影像藝術家包括李永斌、汪建偉、 王功新、張培力、朱加;此展覽隨后在香港 1a 空間、深圳何香凝美術館、澳洲新南威爾斯大學 Ivan Dougherty 美術館、挪威、英國、瑞典、 丹麥等地巡回展出。
由文慧、吳文光、宋冬、尹秀珍共同創(chuàng)作的實驗舞蹈劇場《與民工一起舞蹈》北京遠洋藝術中心演出。
9 月:吳美純策劃的“2001 新媒體藝術節(jié):非線性敘事”在中國美術學院舉行;同月,民間電影組織實踐社舉辦的“首屆中國獨立映像節(jié)”在 北京電影學院舉行。
9 月 26 日:中華世紀壇世界藝術館落戶北京中華世紀壇,由世界藝術基本陳列廳、專題陳列廳和數字藝術館三部分組成。其中,數字藝術館 是利用數字技術手段對藝術品的相關資料信息進行全方位采集、存儲,并通過虛擬博物館、網絡傳播、現場播放、信息查詢等多種方式為民眾 提供服務。
“煲:中國當代藝術展”在挪威的 Kunstnernes Hus, Oslo, Norway 舉行。參加展出的影像藝術家有徐坦、宋冬、邱志杰、胡介鳴等。
10 月:任教于中央美術學院新媒體工作室的法國和美國藝術家與中國新媒體藝術家張培力、王功新、邱志杰的交流活動在藏酷新媒體藝術中心 舉辦,由范迪安主持。
由皇甫秉惠策劃的“射在臉上”在新加坡拉薩爾美術館舉行。展出了宋冬和林天苗的錄像裝置。
11 月:王波(皮三 ) 多媒體藝術個展在北京藏酷新媒體藝術中心舉行。
12 月 14 日:“首屆中國同性戀電影節(jié)”在北京大學圖書館南配樓和清華大學建筑館及“盒子”咖啡屋舉行。
中國影像藝術家張培力參加了在奧地利維也納藝術宮舉行的“電視— 視覺的夢幻”展。
范迪安和侯瀚如在德國柏林的漢堡火車站現代藝術館與德方共同策劃了“生活在此時”大型中國當代藝術展,這個展覽標志著當代藝術的多種 媒體創(chuàng)作的活躍。參展的中國影像藝術家包括王功新、宋冬、邱志杰等。
由唐昕策劃的“感受金錢”在北京泰康大廈頂層藝術空間舉辦。李頌華和宋冬展出了錄像投影裝置。
中國美術學院開設新媒體研究中心,中央美術學院設計系開設數碼藝術工作室。
January, China & Germanny Art Show was held in Dahau City Hall, Germany. Lv Shengzhong, Jiang Jie, Qin Chong participated in the show. Song Dong present his resident creation piece of video installation Spray Water .
February 27, Attachment: Video Art Exhibition curated by Chen Xiaoyun, Zhong Biao and Shen Ligong as shown at Impression Gallery in Hangzhou, which then travelled to Shanghai and Beijing. Artists participated in this exhibition were, Yang Fudong, Yang Zhenzhong, Qiu Zhijie, Jiang Zhi, Liang Yue, Hu Jieming, Lu Chunsheng, Xu Zhen, Zhong Biao, Shen Ligong, Jessie Shefrin, Joseph Scheer, Peer Bode and other Chinese and foreign artists. The curators aimed to present extraordinary experiences and depth of rational experience through photography and video that seemingly offer everyday approaches of representation in contemporary society.
March 1, Li Zhenhua, Qiu Zhijie and Wu Meichun curated the Loft Digital Art Festival at Beijing Loft New Media Art Center. Artists participated in this festival were, Shi Qing, Chen Shaoxiong, Qiu Zhijie, Jiang Jianqiu, Jiang Yingqi, Zhou Xiaohu, Ni Weihua, Shi Yong, Fu Yu and others.
March 10, Qiu Zhijie curated Post Sense and Sensibility: Revel in a filming studio at the Beijing Film Academy. Participating artists included, Wu’er Shan, Qiu Zhijie, Zhang Hui, Liu Weihua, Wang Wei, Gao Brothers, Liu Wei, Shi Qing. Post-Sense and Sensibility manifested the radical thoughts in contemporary Chinese art of its time that was influential in the
development of installation art and performance art in China. It was an exhibition that highlighted the sense of “in situ”, it provided a new perspective for people to understand the trend and phenomenon in contemporary art.
March 23, Virtual Future – Contemporary Chinese Art, curated by Gu Zhenqing was held at the Guangdong Art
Museum.Consisting of oil painting, video art, new media art, internet, decoration created for their imaginary future, an exhibition that provided great momentum for
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artists’ development and transition in their practices.
June, Qiu Zhijie and others implemented Fashionable News at Loft New Media Art Center, a work that incorporates true events, theatre, music, performance, video and live broadcast through VJ - offering a satisfactory experimental experience as if one is playing with fire. Fashionable News can be seen as a condensation of new media art inclined towards the peripheries.
August 6, Compound Eyes – Chinese Video Art curated by Huangfu Binghui at Erllu Gallery, LaSalle – SIA College of the Arts, Singapore, participating artists includef, Li Yongbin, Wang Gongxin, Zhang Peili and Zhu Jia. The exhibition then traveled to 1a Space in Hong Kong, Hexiangning Art Museum, Ivan Dougherty Art Museum in University of New South Wales, Norway, U.K., Sweden, Denmark and etc.
September, Wu Meichun curated Non-Linear Narrative: The 2001 New Media Art Festival; in the same month, a self initiated filmic experimental group hosted the First China Independent Film Screening Festival at the Beijing Film Academy.
September 26, Beijing World Art Museum was founded in the China Millennium Monument, consisting of exhibition hall for world art, thematic exhibition and digital art. Among them, digital art gallery adopted digital technology that collects and stores information on artworks, moreover, its virtual museum, internet, screening and information search to provide the audience with in-depth access.
October, Chinese new media artists Zhang Peili, Wang Gongxin, Qiu Zhijie were invited to Beijing New Media Art center to attend a communication activity held between them and some French and american artists who were teaching in the New Media Lab of Central Academy of Fine Art then, Fan Dian hosted the communication.
Song Dong and Lin Tianmiao presented their video art in the Shot in the Face exhibition curated by Huang Fu Binghui at Lasalle Gallery, Singapore.
December, Wang Bo (Pi San) multi-media art exhibition was shown at the Beijing Loft New Media Art Center.
December 14, The First China Gay and Lesbian Film Festival was at held at south building of Peking University Library, Architectural hall of Qinghua University and Box Cafe?.
Chinese Video Artist Zhang Peili participated in Television - Visual Illusions at the Kunst Hall Wien , Austria.
In collaboration with German counterparts, Fan Di’an curated Living in this Time –Contemporary Chinese Art at the Hamburg train station, at the Banhoff National Art Museum, this exhibition marked the creative rigor of multi-media in contemporary art. Participating Chinese artists include, Wang Gongxin, Song Dong, Qiu Zhijie and others.
Song Dong and Li Songhua presented their video projection installation work in the Feel the Money contemporary art exhibition curated by Tang Xin at Topfloor Art Space, Beijing.
China Academy of Art established new media research center, and the Central Academy of Fine Art Design Department founded the digital art studio.
2002
1 月 7 日:鳳凰衛(wèi)視啟播《中華青年影像大展:DV 新世代》欄目,掀起了一場全國性的“DV 熱”。
3 月,由侯瀚如策劃的“2002 光州雙年展”在韓國的光州舉辦。張培力和宋冬的錄像作品被邀參展。北京藏酷新媒體藝術中心在韓國光州雙年 展上以獨立單元參展,重點介紹了中國的新媒體藝術。
3 月 23 日:“第 25 屆圣保羅雙年展— 都市群像”展在巴西圣保羅舉行,展出的中國影像作品包括王功新的《紅門》(錄像裝置)、邱志杰的《西 方》(互動多媒體)、汪建偉的《經驗》(錄像裝置)。
6 月 8 日:馮夢波的《Q4U》(互動裝置)和楊福東的《陌生天堂》(錄像)參加在德國卡塞爾舉行的第十一屆卡塞爾文獻展。
6 月 28 日:長征空間發(fā)起的“長征— 一個行走中的視覺展示”大型藝術項目實施隊伍開赴長征始發(fā)地江西瑞金,長征計劃正式啟動。2002 年 6 月至 9 月,250 名國際和中國藝術家,重走長征路,重訪革命歷史圣地,在從瑞金到遵義,從麗江到草地,從甘肅到陜北的過程中出現了 幾百個室內或露天畫展、攝影展、雕塑展、永久性雕塑和裝置的創(chuàng)作、民間藝術的考察和整理、表演藝術的演出、電影的播映等種類豐富的藝 術實踐。
10 月 2 日:由高名潞策劃的“豐收”在北京農業(yè)展覽館舉行。參展藝術家有黃永砯、徐冰、顧德新、尹秀珍、李占洋和宋冬。宋冬展出了錄 像+行為作品《盆景》。
10 月:范迪安(總策劃)、皮力、馬剛策劃的“亞太多媒體藝術節(jié):北京潤化”在北京世紀壇舉行,本次展覽著重于融合媒體,包括互動多媒體、 CDR、網絡藝術、數碼錄像和錄像裝置等各種項目,第一次為中國觀眾和藝術界帶來了國際新媒體發(fā)展的新信息,尤其是 ZKM 的藝術家杰夫 里•肖(Jeffery Shaw)的《生活之網》(WEB OF LIFE),第一次介紹了互動技術在新媒體藝術中的重要位置。參展的中國影像藝術家包括朱加、
張培力、陳劭雄、王功新等。
宋冬的錄像裝置作品《水中撈月》和錄像行為《撫摸眾人》參加在比利時布魯日梅姆靈博物館舉辦的“什么?自由影像傳奇”展 Memling museum, Brugge 比利時。
11 月 18 日:批評家巫鴻主策劃的“首屆廣州當代藝術三年展— 重新解讀:中國實驗藝術三十年(1990-2000)”在廣東美術館展出。此 展覽專設了中國錄像藝術回顧專題,由邱志杰、吳美純策劃及組織,展出 50 件作品。同時,邱志杰為此展覽撰寫《錄像藝術的興起和發(fā)展: 1990-1996》、《新媒體藝術的成熟:1997-2001 》。
11 月 22 日:王功新和林天苗合作的大型影像裝置作品《在這里?或在那里?》和楊福東的影像作品《天上,天上,茉莉,茉莉》及楊振中的《我 吹!》參加了在上海美術館舉行的“第四屆上海雙年展:都市營造”。
11 月 29 日:馬力 (Bartomeu Mari)、王嘉驥策劃的“臺北雙年展:世界劇場”在臺北市立美術館展出,參展的中國大陸影像藝術家包括王功新、 宋冬、邵逸農與慕辰;中國臺灣則是陳界仁、袁廣鳴、高重黎、李子勛、王雅惠及侯聰慧等人。
12 月 14 日:“合成現實:中國當代錄像藝術邀請展”在北京遠洋藝術中心展出;參展的影像藝術家包括陳劭雄、耿建翌、李永斌、倪海峰、施勇、 王功新、汪建偉、朱加、張培力。
12 月 25 日:“后實驗•聚變— 第二屆長沙當代藝術展”在湖南長沙舉行,展出作品包括裝置、行為、錄像、攝影、繪畫等多種形式。
中國影像藝術家曹斐參加了在法國舉行的“Clermont-Ferrand 國際短片節(jié)”。
January 7, Phoenix TV began to broadcast the program, China Young Photographer Exhibition: DV New Generation , instigated a nationwide DV fever.
March, Beijing Loft New Media Art Center was featured in the Kwangju Biennale’s Pause Exhibitions , mainly devoted to introducing new media art in China.
March 23, The 25th Sao Paulo Biennale – Metropolitan Iconographies inaugurated in Sao Paolo, video artworks exhibited included, Wang Gongxin’s Red Gate (video installation), Qiu Zhijie’s The West (video), Wang Jianwei’s Experience (video installation).
June 8, Feng Mengbo’s Q4U (interactive installation) and Yang Fudong’s An Estranged Paradise (video) were selected for the 11th Kassel Documenta in Kassel, Germany.
June 28, Long March Space launched the art project of Long March – A Walking Visual Display implemented a team of artists departing for Ruijin, Jiangxi province at the original starting point of the Long March marking the official beginning of the Long March Project. On June 9, 2002, 250 international and Chinese artists alike re-marched the path of the Long March, revisiting revolutionary sites, starting from Ruijin to Zunyi, traveling from Lijiang to the grassland, from Gansu to Shaanbei. In this journey, hundreds of indoors and outdoors exhibitions of paintings, photography, sculptures, permanent sculptures, installations, folk art were realized, researched, performed; films screened, and other diverse artistic endeavors were realized.
October, Fan Di’an (chief curator), Pi Li and Ma Gang curated the Asia Pacific Multi-media Art Festival – Moist was held at the Beijing Millenium Monument. The exhibition integrated various projects including interactive media, CDR, internet art, digital video and video installations. The show premiered to the Chinese audience and the local art world the most recent development of international new media. Especially the work Web of Life, by Jeffery Shaw from ZKM provided an important point of reference for interactive technology in the representation of new media art. Chinese artists who participated in this exhibition were, Zhu Jia, Zhang Peili, Chen Shaoxiong, Wang Gongxin and others.
October 2, Gao Minglu curated Harvest art exhibition at National Agriculture Exhibition Center, Beijing, Huang Yongping, Xu Bing, Gu Dexin, Yin Xiuzhen, Li Zhanyang and Song Dong were invited. Song Dong presented his video + performance work “Bonsai”
November 18, art critic Wu Hung curated The First Guangzhou Triennale, Reinterpretation - Thirty years of Chinese Experimental Art at Guangzhou Art Museum. This exhibition featured a retrospective program on Chinese video art, curated by Qiu Zhijie and Wu Meichun.
November 22, Yang Fudong’s video work Flutte
