展览名称：具身之镜-中国录像艺术中的行为与表演
展览时间：2020.5.22-8.30 周二-周六12：00-17：00
策展人：杨北辰
参展艺术家：曹斐、陈晓云、戴陈连、胡向前、蒋志、阚萱、厉槟源、李燎、李明、李然、林一林、马秋莎、佩恩恩、石青、唐狄鑫、陶辉、童文敏、汪建伟、徐震、鄢醒、姚清妹、章清、周滔、赵赵
展览空间设计：梁琛
展览地址：新世纪当代艺术基金会丨北京朝阳区798艺术区797东街A05
展览简介：
新世纪当代艺术基金会北京空间5月22日推出影像研究展第二期——“具身之镜：中国录像艺术中的行为与表演”，展览展出24位艺术家的影像作品，由杨北辰策划。
“反投影：早期中国录像艺术中的媒体雕塑”
文/杨北辰
表演的唯一生命就是在当下。其不能被保存、录制、纪录，或以其他方式参与到“再现的再现”的流通中：一旦这样做了，它就变成了表演以外的东西。到了表演试图进入再生产经济的程度，它就背叛与削弱了自身的本体承诺。
——佩吉·费伦
在费伦这样的表演原教旨主义者眼中，表演一旦沦为图像再生产的对象便会彻底堕落，这背后自然有第二次前卫艺术运动所宣扬的“去物质化”立场——认为媒体与资本主义同构——只不过这种意识形态在新的媒介现实面前多少显得不堪一击。自1960年代开始，表演便逐步与媒体艺术相结合，在现场经验与再生产、呈现与再现间摆荡，进而我们发觉，如今被称为经典的“行为艺术”，往往都以某种媒介化的形式得以留存。录像艺术无疑是其中极为重要的一环。录像化的表演或表演性的录像衍生出了多种复杂的形态，身体与技术的互动将两种不同的话语糅合在一起，有机与人工、即时与纪录、肉身与屏幕不可避免的发生着摩擦与交融。而这正成为了本次展览的出发点。
“具身之镜”试图探讨的即是在中国当代艺术的历史中，录像艺术与表演之间展开的密集交流。中国录像艺术的开端便与表演相关，在张培力1988年的作品《30x30》中，我们得以管窥摄影机在时间流逝中对于身体的客观观察，及其形成的极具冲击力的寓言式效果。在之后中国录像艺术的发展中，不断有艺术家采取策略化的方式，将录像与表演设置为互为延展的领域。整个展览被划分为五个主题：“自传”、“事件”、“舞者”、“演讲者”与“剧场”。每一个主题都涉及一条独立的线索，以梳理这个交叉地带中纷繁复杂的现象。
“具身之镜”指向了这样一个事实，即录像并没有为表演带来新的“舞台”，而是一个通往世界的“镜面”或“出口”；其作用亦并非仅仅在于解放身体，或令其摆脱社会与历史语境的规约，而是提供了新的战术装置或解码器：影像化的身体如同一个“不朽的”与“可传播”的化身，在这种情境中，媒介呈现为崭新的生命情景，而主体对于现实的回应已被转化为共通的媒介感知。
参展作品
自传
Autobiography
曹斐丨Cao Fei
《链》丨Chain Reaction
2000
录像，彩色，有声丨Video, Color, Sound
5' 25''
图片由艺术家和维他命艺术空间提供丨Images courtesy of the artist and Vitamin Creative Space
马秋莎丨Ma Qiusha
《爱情事件》丨An Incident of Love
2004
录像，彩色, 无声丨Video, Color, Silent
1' 12''
图片由艺术家和北京公社提供丨Images courtesy of the artist and Beijing Commune
李明丨Li Ming
《让光来证明我正在消逝》丨Prove that I am Elapsing with the Light
2007
录像，彩色，有声丨Video, Color, Sound
7' 21''
图片由艺术家提供丨Images courtesy of the artist
鄢醒丨Yan Xing
《艺术，太艺术的》丨Arty, Super-Arty
2013
录像，黑白、无声丨Video, Black&White, Silent
9' 16''
图片由艺术家提供丨Images courtesy of the artist
陶辉丨Tao Hui
《谈身体》丨Talk About Body
2013
录像，彩色，有声丨Video, Color, Sound
3' 45''
图片由艺术家提供丨Images courtesy of the artist
厉槟源丨Li Binyuan
《自由耕种》丨Freedom Farming
2014
录像，彩色，有声丨Video, Color, Sound
5' 02''
图片由艺术家提供丨Images courtesy of the artist
事件
Event
徐震丨Xu Zhen
《喊》丨Shouting
录像，彩色，有声丨Video, Color, Sound
4' 00''
图片致谢艺术家和没顶公司丨Images courtesy of the artist and MadeIn Company
阚萱丨Kan Xuan
《阚萱! 哎！》丨Kanxuan Ai!
1999
录像，彩色，有声 | Video, Color, Sound
1' 22''
图片由艺术家提供丨Images courtesy of the artist
唐狄鑫 丨 Tang Dixin
《芦苇》| Reed
2009
录像，彩色，有声 | Video, Color, Sound
10' 17''
图片由艺术家提供丨Images courtesy of the artist
李燎丨Li LIao
《一记武汉》丨A Slap in Wuhan
2010
录像，彩色，有声丨Video, Color, Sound
5 '09''
图片由艺术家提供丨Images courtesy of the artist
赵赵丨Zhao Zhao
《雨》丨Rain
2012
录像，彩色，有声丨Video, Color, Sound
15 '35''
图片由艺术家提供丨Images courtesy of the artist
佩恩恩 Payne Zhu
《每个人都是企业的同时也是产品》丨Each Is a Corporate and Each Is a Product
2015
录像，彩色，有声 | Video, Color, Sound
12' 17''
图片由艺术家提供丨Images courtesy of the artist
舞者
Dancer
蒋志丨Jiang Zhi
《飞吧，飞吧》丨Fly, Fly
1997
录像，黑白，有声丨Video, Black&White, Sound
5' 15''
图片由艺术家提供丨Images courtesy of the artist
章清丨Zhang Qing
《的士桑巴》丨Taxi Samba
2003南京 Nanjing
2005德国 Germany
录像，彩色，有声丨Video, Color, Sound
6' 00''
图片由艺术家提供丨Images courtesy of the artist
陈晓云丨Chen Xiaoyun
《拉》丨Drag
2006
录像，彩色，有声丨Video, Color, Sound
4' 11''
图片由艺术家和香格纳画廊提供丨Images courtesy of the artist and ShanghART Gallery
周滔丨Zhou Tao
《互助练习》丨Mutual Exercise
2009
录像，彩色，有声丨Video, Color, Sound
10' 54''
图片由艺术家和维他命艺术空间提供丨Images courtesy of the artist and Vitamin Creative Space
林一林丨Lin Yilin
《金色游记》丨Golden Journey
2011
录像，彩色，有声丨Video, Color, Sound
16' 40''
旧金山艺术学院和卡蒂斯特艺术基金会委约创作
图片由艺术家提供
Commissioned by San Francisco Art Institute and KADIST Art Foundation
Images courtesy of the artist
童文敏丨Tong Wenmin
《盘旋》丨Hover
2017
录像，彩色，有声丨Video, Color, Sound
6' 00''
图片由艺术家提供丨Images courtesy of the artist
演讲者
Speaker
胡向前丨Hu Xiangqian
《向前美术馆》丨Xiang Qian Museum
2010
录像，彩色，有声丨Video, Color, Sound
14' 31''
图片由艺术家提供丨Images courtesy of the artist
李然丨Li Ran
《圣维克多尔山》丨Mont Sainte-Victoire
2012
现场表演、幻灯片装置丨 Live performance & Video Installation
34' 36''
图片由艺术家提供丨Images courtesy of the artist
戴陈连丨Dai Chenlian
《如何成为一个艺术界装逼犯》丨How to Become A Zombie in the Art World
2012
录像，彩色，有声丨Video, Color, Sound
10' 07''
图片由艺术家提供丨Images courtesy of the artist
姚清妹丨Yao Qingmei
《三足鼎及其鼎纹研究：关于“镰锤”符号起源与发展的几种假设》丨 Sanzu Ding and its Patterns : Hypotheses on the origin of the hammer-sickle sign
2013年至今2013 – present
录像节选，彩色，有声 丨 Video, Color, Sound
15’ 00’’
图片由艺术家和魔金石空间提供丨Images courtesy of the artist and Magician Mpace Beijing
剧场
Theater
石青 丨Shi Qing
《厌食症》 丨Anorexic
2006
录像，彩色，有声丨Video, Color, Sound
18' 00''
图片由艺术家提供丨Images courtesy of the artist
汪建伟 丨Wang Jianwei
《三岔口》丨Dilemma - Three Way Fork in the Road
录像，彩色，有声丨Video, Color, Sound
2007
10' 00''
图片由艺术家提供丨Images courtesy of the artist
Embodied Mirror: Performances in Chinese Video Art
2020.5.22-8.30
OPENING: 5.22 15:00
CURATOR: Yang Beichen
ARTISTS: Cao Fei，Chen Xiaoyun，Dai Chenlian，Hu Xiangqian，Jiang Zhi，Kan Xuan，Li Binyuan，Li Liao，Li Ming，Li Ran，Lin Yilin，Ma Qiusha，Payne Zhu，Shi Qing，Tang Dixin，Tao Hui, Tong Wenmin，Wang Jianwei，Xu Zhen，Yan Xing，Yao Qingmei，Zhang Qing，Zhou Tao, Zhao Zhao
EXHIBITION DESIGN: Liang Chen
OPENING HOURS: Tue.-Sat. 12:00-17:00
ADD: No. A05, 797 East Road, 798 Art Zone, Chaoyang District, Beijing
Text/Yang Beichen
Performance's only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representations: once it does so, it becomes something other than performance. To the degree that performance attempts to enter the economy of reproduction, it betrays and lessens the promise of its own ontology.
—— Peggy Phelan
In the eyes of a performance fundamentalist like Phelan, once this medium degrades to the object of reproduction of images would be fully degenerate. Behind this, one would likely find its supporting position of "dematerialization," advocated by the second avant-garde art movement. Where the medium is isomorphic to capitalism – only that such ideology seems somewhat flimsy before the realities of a new medium. Since the 1960s, performance became integral to media art, in the swings of live experience and reproduction, presentation and representation, we come to realize that what was once referred to as the classic "performance art" often preserved in a mediated form. Video art is undoubtedly one of the critical loops. Recorded performance or performance videos derived into many complicated forms, the interactions between the body and technological media bring together two different types of discourse, where the organic and the artificial, the immediate and the documentary, the flesh and the screen generate unavoidable friction and integration. These are the points of departure for this exhibition.
What “Embodied Mirror" attempts to explore is the intimate exchange between video art and performance in the history of Chinese contemporary art. At its inception, video art in China was integral to performance art. With time passing through the camera lens, Zhang Peili’s 30 x 30 (1988) allowed the viewer to observe the body objectively, from which to arrive at the impact of its metaphorical effects. Thereon, in the development of video art in China, many artists have adopted strategic approaches to extend the mediums of video art and performance for one another. This exhibition presents five themes, "Autobiography," "Event," "Dancer," "Speaker," and "Theater." Each topic will address an independent clue in combing through the diverse and complex phenomenon of this overlapping domain.
“Embodied Mirror" points to the fact that video art does not necessarily provide the "stage" for performance, but a "mirror" or "exit" to access the world. It does not necessarily emancipate the body or to isolate it from the confines of social and historical discourses, but provides new strategic device or decoder. Where the body becomes the embodiment of "eternity" and "transmission" in the context of moving image, and the medium becomes a new scenario of life. At the same time, the subject's response to reality translates into a shared media sensibility.
关于新世纪当代艺术基金会
作为国内最早在民政局登记注册的当代艺术基金会之一，新世纪致力于通过与艺术家，收藏家及学者进行长期而深度的合作，以研究型展览、学术讲座、讨论会等形式，希望对中国当代艺术中鲜活而重要的现象及课题展开及时的呈现、梳理和讨论，支持中国艺术家创作，推动本土当代艺术收藏。
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