1985
11 月 18 日:“劳生伯作品国际巡回展”(即罗伯特•劳申伯格)在中国美术馆展出,作品为装置、拼贴和版画,除此之外劳申伯格还在北京 的民族文化宫进行了一场多媒体表演— 《塘鸭》:罗伯特•劳申伯格穿着旱冰鞋背着雨伞般的物体在舞台上来回跑,舞台上挂着银幕,录像 投射其上。劳申伯格可以说是中国八五美术运动得以迅速展开的催化剂,也是率先把多媒体表演带到中国的国外艺术家。
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
张培力创作完成其第一件,也是中国内地第一件录像作品《30×30》。
11 月 22 日:批评家高名潞在安徽黄山市屯溪的江心洲宾馆策划组织了“黄山会议”(原称“88 中国现代艺术创作创造研讨会”),史称“黄山会议”。 与会人员有来自全国各地的百余名中青年美术家和理论家。张培力创作于 1988 年的作品《30×30》在此会议上内部放映。
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:“中国现代艺术大展”在中国美术馆展出,期间被迫停展两次。张培力的作品《30×30》在此展览上首次公开亮相。
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
德国汉堡美术学院的密茨卡(MIJKA)教授带着德国电视台为科隆市九百周年庆典而组织的大型录像艺术展映的 8 小时录像带来到中国,在 浙江美术学院(现中国美术学院)分两次讲座并向全校师生播映了这批录像带。这是中国与录像艺术这个术语的第一次感性接触。随后,中国 艺术家们开始在面临技术和物质条件的巨大限制的境况下进入到对创作媒体的更深刻的体验之中。
颜磊在其杭州竹竿巷家中看到《(卫)字 3 号》(录像)。随后,颜磊、邱志杰、佟飙等同宿舍同学先后开始制作录像。邱志杰开始创作《作 业一号:重复书写一千遍兰亭序》,并于次年以较随意的纪录方式拍摄。
年初,陈劭雄、林一林、梁钜辉、徐坦成立“大尾象工作组”,他们均直接用都市的元素,如建筑工地、街道等等进行创作。“大尾象工作组”
通过行为、装置、录像来探索空间的概念。
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:策展人吴亮在上海教育会堂地下车库策划了“车库 '91 展— 当下经验的现实”,展出作品包括张培力的录像作品《(卫字)3 号》。 参展艺术家除张培力之外,还有宋海冬、孙良、胡建平、何旸、龚建庆、倪海峰、耿建翌。
吴文光的独立纪录片《流浪北京》参加日本“山形国际纪录片电影节”,这是中国独立电影人第一次参加国际电影节。
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 届卡塞尔文献展外围展“时代性欧洲外围艺术展”在德国举行。蔡国强、李山、吕胜中、倪海峰、孙良等参加,中国前卫艺术作品 开始进入国际大展。
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:策展人栗宪庭、张颂仁策划的“后八九中国新艺术”(POST 1989:NEW ART IN CHINA)分别在香港汉雅轩、香港市政厅举办, 此展览随后又在澳洲、美国巡回展出,时长达八九年之久。“后八九中国新艺术”是中国当代艺术整体性被国际了解的一个展览,是 1989 年“中 国现代艺术大展”后影响较大的展览。张培力的录像作品《作业一号》也在此展览展出。
张培力的录像作品《(卫)字 3 号》及《水— 辞海标准版》参加了在德国柏林世界文化宫举行的“中国前卫艺术展”。
“张培力个展”在法国巴黎 Crousel-Robelen 画廊、法国巴黎 Round Point 画廊举行,展出录像作品包括《30×30》、《(卫)字 3 号》、《儿 童公园》等。
6 月 13 日:“第 45 届国际威尼斯双年展”在意大利威尼斯举行。中国艺术家首次参加入围威尼斯双年展,广泛受到关注。耿建翌、张培力、 方力钧、喻红参加“东方之路”展,王友身参加“开放展”。
邱志杰重新拍摄《作业一号:重复书写一千遍兰亭序》,采用俯拍机位,画面为书写的手,完成其第一件录像作品。
邱志杰在杭州创作录像雕塑《色情狂》,并帮助佟飙拍摄《被注视的睡眠》。
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:宋冬在中央美术学院画廊举办影像装置+行为的个人展览“又一堂课,你愿意跟我玩儿吗?”,30 分钟后被查封。
5 月 1 日:策展人王林策划的“媒体的变革— 第三次中国艺术研究文献展”在上海华东师大图书馆举行,展出海内外近百位艺术家自 20 世 纪 90 年代以来创作的装置与行为艺术的上千张图片、幻灯片及 30 多盒录像带资料,并举办了以“转型期的中国美术”为中心议题的讨论会。 此文献展对于非架上艺术家的意义重大。
7 月:由林仆和林松策划的“翰墨新艺术方案大展”在北京王府井的红霞公寓举办,来自北京、上海、广州、湖北、甘肃、云南、河南、海南、宁 夏等 30 余位艺术家提交方案,共展出 70 余件方案作品及 12 件录像作品,其中包括徐冰的录像《文化动物》和吕胜中的录像《灵魂之碑》等, 这是国内 首次艺术方案大展。
7 月 8 日:刘安平和王劲松合作的录像作品《北京你早》在北京东四大华电影院录像厅进行私人放映。期间发生赵少若、刘安平的行为《泼墨事件》。
9 月:由批评家高岭主持的“当代艺术观摩会”在北京当代美术馆举办。播放了宋冬的录像作品《容器》、王晋的录像《1994 年4月9日•红•北 京— 九龙》等。
10 月 1 日:艺术家朱金石私人公寓举办“后十一,当代艺术展”,参展艺术家王蓬、王劲松、尹秀珍、苍鑫、朱金石,宋冬展出了影像装置《日子》。
10 月 25 日:在首都师范大学美术馆举办“94’中日韩国际现代艺术展”,这是 89 后在中国举办的第一个公开的国际当代艺术展,中国的参展 艺术家有王广义、王鲁炎、王有身、顾德新、魏光庆、李永斌,汪建伟、宋冬。展出了宋冬的影像装置《渗透吸收》。
11 月:朱加播放录像作品《永远》。
陈劭雄利用自己的摄像机,创作了他第一件录像装置作品《跷跷板》。
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
“来自中心的国家— 1979 年以来的中国前卫艺术展”在西班牙巴塞罗那圣莫尼卡艺术中心举行。 5 月:由冷林策划的颜磊个展“入侵”在北京儿童艺术剧院举办。展出了多件录像作品。
6 月:王功新在北京报房胡同自己家中第二次“工作室开放”活动中,展出录像装置《布鲁克林的天空》,随后,林天苗展出录像装置作品《缠 的扩散》。
8 月:“新亚洲艺术展”在日本东京都文化交流中心举办,宋冬和汪建伟展出了影像装置。
9 月:宋冬录像作品《容器》、《墨》与汪建伟的录像装置《循环》参加了“首届光州双年展— 超越边界(BEYONG THE BORDERS)”中的 由“录 像艺术之父”白南准策划的 “INFO ART”展。
9 月:邱志杰在威尼斯双年展上看到代表美国馆展出的比尔•维奥拉(Bill Viola)的录像作品《埋葬秘密》,随后,决定在国内推动录像艺术, 并和吴美纯一起译出比尔•维奥拉画册中的文章发表在《江苏画刊》上。同时,邱志杰开始构思“现象 / 影像:中国录像艺术展”,并寻找赞助, 广泛接触和鼓动艺术家。
10 月:由黄笃策划的“张开嘴、闭上眼— 北京、柏林艺术交流展”在北京首都师范大学美术馆举办。中国参展艺术家有张培力、耿建翌、王功新、 宋冬、尹秀珍、展望、王蓬和朱金石。其中柏林的艺术家古斯塔夫和宋冬展出了录像装置作品。
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:由朱其策划的“以艺术的名义”当代艺术展在上海刘海粟美术馆展出。耿建翌、宋冬、陈少平、金锋等展出了录像装置作品。 6 月:由钱志坚策划的宋冬录像装置个展“掀开”在首都师范大学美术馆举办。
9 月 14 日:由邱志杰、吴美纯策划的“现象 / 影像:中国录像艺术展”在杭州中国美术学院举行。展览展出了来自北京的陈少平、颜磊、朱加、 李永斌、王功新,杭州的杨振中、高世强、陆磊、高士明、耿建翌、张培力,上海的钱喂康,广州的陈劭雄,福建的邱志杰等十五位艺术家的 十六件作品,基本以录像装置为主。这是中国国内第一个纯粹以录像艺术作品集中亮相的展览,是录像艺术在中国兴起的第一次总结。策展人 编印了两本重要刊物《录像艺术文献》(原文主要来自栗宪庭由美国带回的文集和杂志)和《艺术与历史意识》(佟飚担任两本刊物的美编), 为中国的观众深入了解录像艺术提供了重要的线索。“现象 / 影像:中国录像艺术展”为录像艺术的再发展创造了理论条件,克服了畏难心绪, 也为之后的此类新媒体展览活动在器材、设施、布展经验等方面的问题解决提供了一些模式和经验。《江苏画刊》介绍该展的文章作者“林仲璐” 为邱志杰笔名。
640 /641
“李永斌录像作品展”在中央美术学院画廊(现中央美术学院美术馆)举行。
12 月:宋冬、汪建伟的录像装置参加在韩国举办的“’96 水原国际交感艺术祭”。
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:由宋冬和郭世锐策划的非展览空间和非展览形式的实验艺术活动“野生:1997 年惊蛰 始”在北京、上海、广州、成都等地同时展开, 此活动持续一年。共 27 位艺术家在全国重要艺术生态区实施“野生”实验艺术活动。其中王功新、朱青生、张新和王慧敏实施了非展览形式 的录像艺术。
5 月:宋冬录像装置艺术展“看”在北京当代美术馆举办。
5 月:“另一次长征:90 年代中国观念和装置艺术”在荷兰布列达(Breda)举行,集中展示了 18 位中国前卫艺术家的装置、录像、表演艺术作品等。 参展的艺术家包括张培力、汪建伟、陈劭雄、冯梦波等展出了多媒体录像作品。
6 月 21 日:冯梦波的互动多媒体作品《私人照相簿》和 汪建伟的录像作品《生产》参加主题为“文化的形象与形式表现”的第十届卡塞尔文献展。 7 月 1 日:导演牟森与宋冬和孙海英合作新媒体录像实验戏剧《倾述》在长安大剧院上演。 8 月:“神粉 1 号:王功新个展”在中央美术学院画廊举行。
8 月 28 日:邱志杰、吴美纯策划的“'97 录像艺术观摩展”在中央美术学院画廊举行,展出了来自全国各地三十几位艺术家的最新作品,基本 以单频录像作品为主,包括张培力的《审视》、蒋志的《飞吧、飞吧》、邱志杰的《乒乓》、宋冬的《克隆》及《关注— 监视》、朱加的《并 非两个人的游戏》、李永斌的《脸》、陈劭雄的《风景》系列、李巨川的《与姬卡同居》等。
8 月 31 日:宋冬录像装置展“拍”在柏林艺术废墟举办。
9 月:“邱志杰个展:5 个录像装置”在中央美术学院画廊举行,展出作品为《卫生间》、《物》、《凶吉》、《进化的逻辑》、《埃舍尔的手》。 同月,邱志杰在德国新柏林艺术中心举办讲座,放映国内录像作品。
王功新、王晋、张培力、张大力在中央美术学院画廊举办“W2—Z2:多媒体幻灯艺术展”。
策展人侯瀚如策划“移动中的城市”(1997-2000) 展览,旨在探讨亚洲当代城市建设和艺术的互动及其在全球化过程中的发展。该展览历时三年, 先后巡回至世界 7 个国家:奥地利、法国、美国、丹麦、英国、泰国、芬兰,引起了国际艺术和建筑界的高度重视。参展的影像艺术家包括张 培力、宋冬、汪建伟。
“中国摄影及录像艺术”在美国纽约 Max Protech 画廊(现更名为 Meulensteen 画廊)举行。参展的影像艺术家包括张培力、杨振中等。
策展人张颂仁策划的“面孔与身体:90 年代的中国艺术”(Faces and Bodies of the Middle Kingdom: Chinese Art of the 90's)在捷克布 拉格鲁道夫林美术馆(Gallery Rudolfinum)举行。此展览讨论了中国艺术家在多媒体领域上的广泛实验,开始理解什么是现代经验,但同时 又在质疑这种经验。参展的影像艺术家包括冯梦波、邱志杰等。
“邱志杰个展:5 个录像装置”在中央美术学院画廊举行。 建筑师张永和与宋冬合作录像装置作品《界限》参加奥地利格拉兹国际当代艺术节。 王功新的影像作品《面子》和汪建伟的纪录片参加英国伦敦 ICA“北京— 伦敦”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:策展人冯博一、蔡青策划的“生存痕迹— '98 当代艺术内部观摩展”在北京朝阳区姚家园村北的现代艺术工作室举行。此展览强 调以边缘化立场进行本土性的就地创作和展示。展出的影像作品包括王功新的录像装置《牧羊》、邱志杰的录像装置《姚家园 1 号坑》和宋冬 的录像装置《渍酸菜》。
3 月:邱志杰带着 1996 年的“现象/影像”及 1997 年的“'97 录像艺术观摩展”的中国录像艺术的成果参加在德国柏林德维尔中心举办的“媒 体转换:第十一届柏林录像节”(TRANSMEDIALE'98,11th Video Festival),并获得了波恩录像节,赫尔辛基录像节等重要节日的邀请。 邱志杰以播映或讲座的形式向欧美系统介绍了中国录像艺术的概况。这种组织工作于 2003 年后基本结束。
6 月:由黄笃策划的“空间与视觉”在北京当代美术馆举行。宋冬、李彦修展出了录像装置。 9 月:宋冬 Video 环境装置行为展— “办公室中的临时建筑” 在北京 TAO 画廊举办。 11 月:由德国的施耐德策划的“传统 反思”当代艺术群展在北京的废弃的的个大使馆举办。展出的影像作品是宋冬的录像投影装置《砸镜子》。
11 月 21 日:由冷林策划的“是我:九十年代艺术的一个侧面”展在北京太庙举行,后被查封。展出的影像作品包括宋冬的录像投影装置《父 子太庙》、邱志杰的录像装置《凶吉》。
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12 月:周一斌、肖红、张惠共同策划的“反视,自身和环境”展在北京建设大学举行,参展艺术家包括刘韡、张慧、乌尔善、彭禹、王卫、孙 原、肖昱、刘瑾、周一斌、肖红、王秋人,这是 90 年代末期的重要的由艺术家自己策划的展览之一,与邱志杰策划的“后感性:异性与妄想” 及冷林策划的“是我:九十年代艺术的一个侧面”共同构成了 90 年代末北京的实验性展览。
批评家黄专主持“当代艺术与人文科学— 首届何香凝美术馆学术论坛”(中国深圳),首开跨学科、跨领域的学术争鸣,人文学者、理论家、 批评家和策划人都参与讨论,成为 1990 年代中国艺术史上为数不多的几个跨学科的学术活动之一。
由黄岩策划的“0431— 中国录像艺术展”在长春技术学院举行。参展的艺术家包括宋冬、邱志杰、金锋、黄岩等。
由冷林策划的“是我:九十年代艺术的一个侧面”展在北京太庙举行,后被查封。展出的影像作品包括宋冬的《父子》(幻灯投影)、邱志杰的《凶 吉》(录像装置)。
邱志杰的《记忆的形式》与陈少平作品共同参加了在德国科隆路德维希博物馆举办的“通过视频:国际录像艺术家”展(VIDEO FROM ARTIST LNTERNATIONAL)。
陈劭雄入选参加在荷兰阿姆斯特丹举行的“第 16 届世界录像艺术节”。
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:邱志杰策划的“后感性:异形与妄想”在北京芍药居公寓地下室举行。参展的艺术家包括琴嘎、王卫、冯倩珏、孙原、蒋志、陈文波、 朱昱、杨福东、邱志杰、乌尔善、冯晓颖、郑国谷、刘韡、陈羚羊、高世强、陆磊、高士明、杨勇、肖昱、张涵子。展出的影像作品包括杨福 东的《我并非强迫你》(录像)、高世强、陆磊、高士明的《处所》(录像装置)、刘韡的《难以抑制》(录像装置)、翁奋的《无题— 蝶》(录 像装置)、冯晓颖的《在体验中》(录像)。同月,邱志杰个展“挂历 1998”在中央美术学院画廊举行,展出作品包括《创世纪与刘先生的一 星期》(录像装置)。
3 月 6 日:“交流— 走向希望之路:首届福冈亚洲当代艺术三年展”在日本福冈亚洲美术馆开幕。此次展览以使用高尖技术的影像作品、现代 多媒体作品为主。参展的中国艺术家包括张培力、林天苗、尹秀珍、陈少峰等。张培力和尹秀珍展出了录像装置作品。
3 月 19 日:策展人张颂仁策划的“快镜— 中国新录像艺术”展在澳门当代美术馆举行,首次凝聚两岸三地录像艺术的资源。参展的艺术家包 括张培力、邱志杰、陈劭雄、高世强 / 高士明 / 陆磊、宋冬、王功新、汪建伟、颜磊、乌尔善、鲍蔼伦、袁广鸣、何兆基、庐燕珊、王俊杰。
5 月:由杨振中、徐震、飞苹果策划的“超市:当代艺术展”在上海广场举办。杨福东、徐震等艺术家的录像作品在其中展出。
9 月:邱志杰个展“内在元素”在温哥华精艺轩举行。展出作品为《旅行者》、《风景》、《元素》等录像装置。
邱志杰开始创作互动多媒体作品《西方》。
11 月:文慧和吴文光导演的多媒体舞蹈剧场《生育报告》参加“99 阿姆斯特丹艺术节”,宋冬和尹秀珍为戏剧创作了录像和装置。
12 月:成都“世纪之门”现代艺术展播放温普林的纪录片《中国行动》。这部片子整体地记录了 20 世纪末中国行为艺术的整个走向和重要现场。
由香港浸会大学传理学院电影电视系的“新影人”工作坊(TYD - The Young Director)与香港艺术中心合办的”第四届两岸四地学生电影 录像节”在香港艺术中心举行。
由荣念曾组织的“录像圈 1999”在香港科技大学举行。 蒋志《食指》获中国当代艺术奖。 汪建伟参加日本山形国际纪录片电影节、英国伦敦 ICA“北京— 伦敦”等展览。
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 年中国网路影像艺术展”在吉林艺术学院举行。参展艺术家包括金锋、黄岩、苍鑫、管策、宋冬、黄少鹏、徐一晖、高氏兄弟、 温普林、邱志杰等。这是中国第一个冠以“网络”之名的前卫艺术展,但真正成熟的互动性网络艺术作品不多,展览反映出人们对网路这一新 媒体开始抱有热情。
香港举办“2000 微波录影节”。 由荣念曾组织的“录像圈 2000”在柏林世界文化宫举行。
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7 月:宋冬录像装置个展“宋冬在伦敦”在伦敦 Tablet 美术馆举办。 汪建伟的首部多媒体戏剧《屏风》在北京演出。 由冯博一和艾未未策划的“不合作方式”展在上海苏州河旁的仓库和东廊画廊举行。 宋冬、曹斐、 陆春生等展出了录像作品。 由顾振清策划的“日常与日常”在上海原弓美术馆开幕,宋冬实施录像投影行为作品《抚摸众人》。
2000 年底至 2001 年初,国内第一个新媒体艺术中心— 北京藏酷新媒体艺术中心成立,由王功新和林天苗主持。藏酷新媒体艺术中心是一个 致力于为新媒体艺术提供作品创作和发布、研讨交流、资料查阅乃至作品典藏的空间。
11 月 2 日:由巫鸿策划的“取消”展在美国芝加哥斯马特美术馆举行。这是一个关于展览的展览,用吴文光的影像作品 《日记》 和宋冬的录 像装置《父子太庙》,重新呈现了冷林在 1998 年策划的被取消展出资格的“是我:九十年代艺术的一个侧面”展。
澳门举办“澳门新媒体录影节”。
王功新、宋冬 、汪建伟参加在荷兰阿姆斯特丹举行的“第 18 届世界录像艺术节”。
由洛克菲勒文化基金和新加坡 THEATWORK 组织的“飞行杂技国际艺术工作坊”汇集亚洲当代文化艺术领域 70 多名精英对亚洲多元文化和 跨学科文化进行了广泛研讨,并进行跨界的实践和交流。中国影像艺术家张培力、宋冬和乌尔善受邀参与了为期一个月的活动。并举行三人的 录像艺术联展。
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:“中德艺术交流展”在德国达豪市政厅举办,吕胜中、姜杰、秦冲等参加。宋冬展出了在他创作的录像装置《喷水》。
2 月 27 日:由陈晓云、佟飚、沈立功策划的“附体:影像艺术展”在杭州印象画廊举行,后巡展至上海、北京。参展的艺术家包括杨福东、杨振中、 邱志杰、蒋志、梁玥、胡介鸣、陆春生、徐震、佟飚、沈立功、席夫林(Jessie Shefrin)、约瑟夫•舍尔(Joseph Scheer)、皮尔•伯德(Peer Bode)等数十位中外艺术家。策划人试图在这些以摄影和录像作品中体现出超越日常经验和理性的深度体验。
由曾力策划的“首届梁思成建筑设计双年展”在中国美术馆举行。参加的影像艺术家有李巨川、宋冬等。
3 月 1 日:李振华、邱志杰、吴美纯在北京藏酷新媒体艺术中心策划举办藏酷数码艺术节。参展艺术家包括石青、陈劭雄、邱志杰、蒋建秋、焦应奇、 周啸虎、倪卫华、施勇、富钰等。
3 月 10 日:邱志杰策划的“后感性:狂欢”在北京电影学院的一个摄影棚里举行。参展艺术家包括乌尔善、邱志杰、张慧、刘韦华、王卫、高氏兄弟、 刘韡、石青等。“后感性”是当年中国艺术中最激进的新思潮,它对中国的装置艺术、行为艺术和表演艺术产生了一定影响。
3 月 23 日:由策展人顾振清策划的“虚拟未来— 中国当代艺术展”在广东美术馆举行。此次展览是来自油画、录像、多媒体、网络、装饰等 艺术家通过对未来的构想而创作的作品。展出影像作品的有翁奋、宋冬等。
6 月:由邱志杰和宋冬策划的汇集了众多当代艺术家共同创作的集体新媒体事件作品《新潮新闻》在北京藏酷新媒体艺术中心实施展出。这件 作品把真实事件、戏剧、音乐、行为和录像、实时摄录系统等要素通过 VJ 切换组织在一起,在游戏中提供着玩火般痛切的实验性快感。
由黄笃策划的“再造形象和符号”北京寰宇经典艺术中心举办。 展出影像作品的有王国锋、宋冬等。
8 月 6 日:策展人皇甫秉惠策划的“‘复眼’中国录像艺术”展在新加坡拉萨尔艺术学院卢明德艺术馆举行,参展的影像艺术家包括李永斌、汪建伟、 王功新、张培力、朱加;此展览随后在香港 1a 空间、深圳何香凝美术馆、澳洲新南威尔斯大学 Ivan Dougherty 美术馆、挪威、英国、瑞典、 丹麦等地巡回展出。
由文慧、吴文光、宋冬、尹秀珍共同创作的实验舞蹈剧场《与民工一起舞蹈》北京远洋艺术中心演出。
9 月:吴美纯策划的“2001 新媒体艺术节:非线性叙事”在中国美术学院举行;同月,民间电影组织实践社举办的“首届中国独立映像节”在 北京电影学院举行。
9 月 26 日:中华世纪坛世界艺术馆落户北京中华世纪坛,由世界艺术基本陈列厅、专题陈列厅和数字艺术馆三部分组成。其中,数字艺术馆 是利用数字技术手段对艺术品的相关资料信息进行全方位采集、存储,并通过虚拟博物馆、网络传播、现场播放、信息查询等多种方式为民众 提供服务。
“煲:中国当代艺术展”在挪威的 Kunstnernes Hus, Oslo, Norway 举行。参加展出的影像艺术家有徐坦、宋冬、邱志杰、胡介鸣等。
10 月:任教于中央美术学院新媒体工作室的法国和美国艺术家与中国新媒体艺术家张培力、王功新、邱志杰的交流活动在藏酷新媒体艺术中心 举办,由范迪安主持。
由皇甫秉惠策划的“射在脸上”在新加坡拉萨尔美术馆举行。展出了宋冬和林天苗的录像装置。
11 月:王波(皮三 ) 多媒体艺术个展在北京藏酷新媒体艺术中心举行。
12 月 14 日:“首届中国同性恋电影节”在北京大学图书馆南配楼和清华大学建筑馆及“盒子”咖啡屋举行。
中国影像艺术家张培力参加了在奥地利维也纳艺术宫举行的“电视— 视觉的梦幻”展。
范迪安和侯瀚如在德国柏林的汉堡火车站现代艺术馆与德方共同策划了“生活在此时”大型中国当代艺术展,这个展览标志着当代艺术的多种 媒体创作的活跃。参展的中国影像艺术家包括王功新、宋冬、邱志杰等。
由唐昕策划的“感受金钱”在北京泰康大厦顶层艺术空间举办。李颂华和宋冬展出了录像投影装置。
中国美术学院开设新媒体研究中心,中央美术学院设计系开设数码艺术工作室。
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 Café.
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:凤凰卫视启播《中华青年影像大展:DV 新世代》栏目,掀起了一场全国性的“DV 热”。
3 月,由侯瀚如策划的“2002 光州双年展”在韩国的光州举办。张培力和宋冬的录像作品被邀参展。北京藏酷新媒体艺术中心在韩国光州双年 展上以独立单元参展,重点介绍了中国的新媒体艺术。
3 月 23 日:“第 25 届圣保罗双年展— 都市群像”展在巴西圣保罗举行,展出的中国影像作品包括王功新的《红门》(录像装置)、邱志杰的《西 方》(互动多媒体)、汪建伟的《经验》(录像装置)。
6 月 8 日:冯梦波的《Q4U》(互动装置)和杨福东的《陌生天堂》(录像)参加在德国卡塞尔举行的第十一届卡塞尔文献展。
6 月 28 日:长征空间发起的“长征— 一个行走中的视觉展示”大型艺术项目实施队伍开赴长征始发地江西瑞金,长征计划正式启动。2002 年 6 月至 9 月,250 名国际和中国艺术家,重走长征路,重访革命历史圣地,在从瑞金到遵义,从丽江到草地,从甘肃到陕北的过程中出现了 几百个室内或露天画展、摄影展、雕塑展、永久性雕塑和装置的创作、民间艺术的考察和整理、表演艺术的演出、电影的播映等种类丰富的艺 术实践。
10 月 2 日:由高名潞策划的“丰收”在北京农业展览馆举行。参展艺术家有黄永砯、徐冰、顾德新、尹秀珍、李占洋和宋冬。宋冬展出了录 像+行为作品《盆景》。
10 月:范迪安(总策划)、皮力、马刚策划的“亚太多媒体艺术节:北京润化”在北京世纪坛举行,本次展览着重于融合媒体,包括互动多媒体、 CDR、网络艺术、数码录像和录像装置等各种项目,第一次为中国观众和艺术界带来了国际新媒体发展的新信息,尤其是 ZKM 的艺术家杰夫 里•肖(Jeffery Shaw)的《生活之网》(WEB OF LIFE),第一次介绍了互动技术在新媒体艺术中的重要位置。参展的中国影像艺术家包括朱加、
张培力、陈劭雄、王功新等。
宋冬的录像装置作品《水中捞月》和录像行为《抚摸众人》参加在比利时布鲁日梅姆灵博物馆举办的“什么?自由影像传奇”展 Memling museum, Brugge 比利时。
11 月 18 日:批评家巫鸿主策划的“首届广州当代艺术三年展— 重新解读:中国实验艺术三十年(1990-2000)”在广东美术馆展出。此 展览专设了中国录像艺术回顾专题,由邱志杰、吴美纯策划及组织,展出 50 件作品。同时,邱志杰为此展览撰写《录像艺术的兴起和发展: 1990-1996》、《新媒体艺术的成熟:1997-2001 》。
11 月 22 日:王功新和林天苗合作的大型影像装置作品《在这里?或在那里?》和杨福东的影像作品《天上,天上,茉莉,茉莉》及杨振中的《我 吹!》参加了在上海美术馆举行的“第四届上海双年展:都市营造”。
11 月 29 日:马力 (Bartomeu Mari)、王嘉骥策划的“台北双年展:世界剧场”在台北市立美术馆展出,参展的中国大陆影像艺术家包括王功新、 宋冬、邵逸农与慕辰;中国台湾则是陈界仁、袁广鸣、高重黎、李子勋、王雅惠及侯聪慧等人。
12 月 14 日:“合成现实:中国当代录像艺术邀请展”在北京远洋艺术中心展出;参展的影像艺术家包括陈劭雄、耿建翌、李永斌、倪海峰、施勇、 王功新、汪建伟、朱加、张培力。
12 月 25 日:“后实验•聚变— 第二届长沙当代艺术展”在湖南长沙举行,展出作品包括装置、行为、录像、摄影、绘画等多种形式。
中国影像艺术家曹斐参加了在法国举行的“Clermont-Ferrand 国际短片节”。
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
