艺术档案 > 影像档案 > [南京]EXiN2012亚洲实验电影与录像艺术论坛

[南京]EXiN2012亚洲实验电影与录像艺术论坛

2012-11-04 17:58 来源: artda.cn 艺术档案 作者:artda


 

EXIN2012亚洲实验电影与录像艺术论坛
(2012·南京)

基本信息

论坛主题:新亚洲,新城市,新影像
时间:2012年11月16日—22日(共七天)
地点:南京大学新闻传播学院(论坛会场、放映场)
      南视觉美术馆(工作基地)
      辟邪工作室(策划基地)

论坛日程

11月16日
09:00—18:00  全天会议报到
15:00—15:30  新闻发布会
19:00—21:30  EXiN开幕式

11月17日
10:30—21:30  作品展映
13:30—16:00  亚洲论坛1
16:00—16:30  茶休
16:30—19:00  亚洲论坛2

11月18日
10:30—21:30  作品展映

11月19日
10:30—21:30  作品展映
13:30—16:00  中国论坛1
16:00—16:30  茶休
16:30—19:00  中国论坛2

11月20日
08:30—12:00  嘉宾退房离宁
10:30—21:30  作品展映(一直到22日)

论坛学术背景阐释

作为一种来自西方的电影艺术形态,实验电影在亚洲各国的状况一直鲜为人知。在亚洲,当寻找实验电影的参照系时,人们会不自觉地把目光投向西方,而忽略同处远东的亚洲其他各国的生态(历史与现实的两个层面)。从而造成这样一种态势:眺望的视线焦点远远落在另一个半球,而视野的近景范围内,反而因焦点不实而模糊一片。

事实上,实验电影在被导入亚洲各国的过程中,因其各自不同的政治、经济、文化背景,曾经面临过各自不同的境遇,呈现着迥异的生态。若将这些情境作为一种文化景观并置,相互参照和比较,也许可以产生更为广阔的蝴蝶效应。

改变这一状况的机缘出现在2009年秋,亚洲各主要国家的实验媒体领域的策展人第一次聚集于韩国首尔论坛(EXiS),从而开启了亚洲实验电影的第一眸。之后,2010年秋在台北举办了EXiT亚洲论坛,2011年在澳门举办了EXiM亚洲论坛。如今,在2012年,亚洲论坛将在中国南京继续举办。

“EXiN2012亚洲实验电影与录像艺术论坛”的内容,分为三个部份,分别为:论坛主体、作品观摩放映、图录和论文集出版。其中论坛主体,将邀请亚洲第的一流专家、学者、制片人、导演和相关知名人士进行学术发言和研讨。同时也会邀请德国、奥地利、瑞士等欧洲国家的电影专业人士参加论坛的各项活动,邀请其他国家和地区的艺术家和批评家到会作专题演讲。

同时论坛将举办最新制作实验电影专场展映活动。

论坛组织机构

主办:南视觉美术馆
协办:南京大学新闻传播学院+南京艺术学院传媒学院
策划:辟邪工作室(南京)
承办:CIFF中国独立影像年度展(南京)组委会
赞助:画天独立电影基金+南画廊
合作机构:首尔EXIS电影节
          东京录像艺术中心
          台北“运动-影像”协会
          德国奥伯豪森电影节
合作院校:北京电影学院新媒体动画学院
          中央美术学院实验电影系
          中国美术学院跨媒体学院
          上海复旦视觉艺术学院
          南京大学戏剧影视研究所
          香港城市大学媒体实验中心

EXIN组织委员会:曹恺、陈赟、吕效平、张海涛、张献民、杨城、周凯
陈赟(南京视觉美术馆执行馆长)
杨城(天画画天(北京)文化传媒有限公司总经理)
张献民(北京电影学院教授)
吕效平(南京大学文学院戏剧影视系教授)
周凯(南京大学新闻传播学院广电与新媒体系主任,副教授)
曹恺(独立策展人,当代艺术家)
张海涛(独立策展人,艺术档案网主编)

策展人:张海涛、沈朝方、王泊乔
秘书长:钱婷婷
艺术主持:曹恺
艺术顾问:张培力、胡介鸣

论坛概况

发言总人数约为20人;另有海外嘉宾、专家、学者、作者、研究生约40人左右;参加论坛的媒体自由参加,约20人左右;另有旁听席位50个以内,由主办单位安排,照顾南京各媒体、高校和学术机构代表;总座位数为150以内。每个发言人介绍基本状况和基本信息,为时20分钟,可现场使用PPT或其它演示。每45分钟为一个发言单元,留有15分钟由其他发言人或在场列席者提问。

论坛发言嘉宾

张培力(当代艺术家,国美跨媒体学院教授)
管怀宾(当代艺术家,国美跨媒体学院副院长、教授)
刘旭光(实验动画导演,北京电影学院新媒体动画学院院长、教授)
胡介鸣(新媒体艺术家,上海复旦视觉艺术学院副院长)
张小涛(实验动画导演,川美新媒体系系主任)
欧宁(深港建筑双年展总策展人,《天南》文学杂志主编)
李振华(旅欧国际新媒体策展人)
邱黯雄(当代艺术家,实验动画导演)
周啸虎(当代艺术家,实验动画导演)
杨北辰(电影学者,artfrum编辑)
张海涛(独立策展人,艺术档案网主编)
沈朝方(独立策展人,川美新媒体系讲师)
邓大非(独立策展人)
吴俊辉(台湾实验电影教父,实验电影学者)
文晶莹(实验电影人,香港城市大学创意媒体学院助理教授)
颜晓东(香港录影太奇负责人、策展人)
李少庄(实验电影人,澳门理工学院副教授)
Sow-Yee Au(实验电影人,马来西亚新纪元学院助理教授)
Hangjun LEE李幸俊(实验电影人,韩国首尔EXiS电影节主席)
太田曜(实验电影人,日本资深艺术批评家)
Lukas Birk(奥地利独立影像策展人)
周飞(德国奥伯豪森国际短片电影节选片人)

出版

《EXiN2012亚洲实验电影与录像艺术论坛•图录》
《EXiN2012亚洲实验电影与录像艺术论坛•文集》
论坛图录和文集,将由本次活动的策划人、批评家、导演进行撰稿,将收集相关的文献资料(作品、历史概述、观念等的介绍)。分两册一套出版。
图录画册(大度16开、160P、胶版纸)
论坛文集(大度32开、250P、胶版纸)
海报(对开、全彩、铜版纸)
请柬(正度长32开、全彩、铜版纸) 
 

中国大陆板块(7单元)

从纪录到观念:实验短片(策展人:沈朝方)
当代艺术思维中的新电影:实验短片(策展人:沈朝方)
数字渲染与重建:实验动画短片(策展人:王泊乔)
记忆物象:实验短片(策展人:张海涛)
生命寓言:实验短片(策展人:张海涛)
日常异常:实验短片(策展人:张海涛)
暧昧空间:实验剧情长片(策展人:张海涛)
 

亚洲城市板块(8单元)

搭五點十分到夢鄉:台灣再生電影(台北策展人:吴俊辉)
二手料、原创片:香港实验短片(香港策展人:文晶莹)
澳门实验录像作品(澳门策展人:李少庄)
日本实验电影(东京策展人:太田曜)
韩国数字实验短片(首尔策展人:李幸俊)
蓝水:来自新加坡的实验影像(新加坡策展人:陈美添)
流放地图:马来西亚当代实验电影与录像(吉隆坡策展人:区琇诒)
泰实验(曼谷策展人:戈雷乌-乔芬撒松)
 

亚洲艺术家专题(6单元)

杨福东专题(上海+杭州)
邱黯雄专题(上海)
沈朝方专题(北京+重庆)
太田曜专题(东京)
李幸俊专题(首尔)
吴俊辉专题(台北)
 

国际节目(3单元)

“奥伯豪森”欧洲实验电影专题
“时代精神”德国实验电影专题
奥地利实验电影大师迪特马尔•布雷姆专题
 

特别节目(1单元)

演讲:现场与影像(策展人:乌托邦小组)

 

“EXiN2012亚洲实验电影与录像艺术论坛”中国大陆主体板块

 

中国大陆板块之一(4单元)

策展人:张海涛
“记忆物象”单元艺术家:刘畅、李山、袁智超、郭维+赵伯祚+郝树人、孙磊、孙楠、王琳慧、宋松、汪东升
“生命寓言”单元艺术家:方昊、许成、包建、易连、钰柯、孙祎童、黄思颖、邓尚、赵域
“日常异常”单元艺术家:杨正帆、杨迪、李隆、许慧晶、王展、王旭龙+谢筱禹、贺东昕、陈镪、周飞、张敏捷、徐雄
“暧昧空间”单元艺术家:史广智、史杰鹏+黄香+徐若涛、丛峰、武权、徐若涛+薛利、乌青
 

中国大陆板块之二(2单元)

策展人:沈朝方
“从纪录到观念”单元艺术家:张培力、张洹、汪建伟、刘旭光、管怀宾、李一凡、肖雄、吴达新、裴丽、王思顺 、贾
宇明、叶甫纳  、张次禹、刘波+李郁 、欧阳溪云
 “当代艺术思维中的新电影“单元艺术家:杨福东、曹斐、高世强、 周依、 陆扬、 陈轴、 化鹏、宋梅、王鲁、刘晓宇
、孟祥龙 、刘丹姝、 张景涵、 袁辉 、寇路阳、刘毅。

中国大陆板块之三(1单元)

策展人:王泊乔
《屏幕美学》单元艺术家:缪晓春、张小涛、刘茜懿 、卜桦、刘健 、孙逊、王海洋、叶凌翰、赵晔+黄洋、周啸虎 、王维思 、田晓磊 、王茜濡    
 

联系方式:
电话及联系人:025-83223399-806 钱婷婷
组委会:
chinaff@vip.163.com
地址:南京市鼓楼区中山北路30号城市名人酒店43层
邮编:210009
 

 

前 言 

 

张海涛

我们在北京听说过南京影展的很多信息,很荣幸今年曹恺邀请我策划国内实验影像板块,对南京的影展更加深入地了解了它自己的生存模式和特点。

第一、南京影展能够长期持续稳定发展是主办方努力探索、定位和经营的结果。南京影展选择的地理位置不是中国的政治中心和商业中心城市,似乎是它的弱势,而到目前看来反而显现出它的优越性,这样就会给南京影展创造了一个意识形态和商业困惑抗干扰的环境。南京影展的品牌和品质的定位较高,中国独立影像年度展(CIFF)品牌的高定位给了主办方以信心和压力;南京试图把独立的影展教育公共化也是国内具有唯一性的特点,影展把作品的独立性和推广的公共性看得同样重要。

第二、南京影展强调展览单元的主题性和类型:即近几年影像的发展现象梳理、推新计划和影展的档案特征。影像档案是一种以影像艺术为研究对象,借以历史系谱、理论系谱、艺术系谱发现、梳理、比较和分析影像发展的脉络。南京影展是以系谱影像为方式的策展,将影像艺术放在一个框架系统里,建立清晰的艺术类型,避免拼盘、乱炖。这次影展在国内实验单元分类上我想打破以前以媒介表达方式、年代和地域、影像机构分类的常规思路,这些类型都会失去作品本体的现象价值,我想以作品的感受表达趋向为主题性统计,探讨近几年出现艺术家在关注些什么,什么关注的最多,如何把关注的东西转换为鲜活、敏锐的生存感受。历史上意识形态和市场对于题材传达的敏感性(特指“色情、暴力、政治”的关注点),一直是有所关注和控制,而这次影展我策划的实验影像尽可能的多元化梳理,避免讨论话题单一性,我把实验影像作品类型分为了四个主题单元:即“记忆物象、生命寓言和日常异常”。“记忆物象”单元是关注历史记忆的当代性情感传达,“生命寓言”单元是对普世、永恒、经典和终极人类价值的再思考,“日常异常”则是对当下现实生存环境和感受的异样或批判性表达,而“暧昧时空”则是从影像表达语言与内容上探讨现实的不确定的生存状态。这四个主题也涵盖了过去、现在、暧昧时空和经典价值的当代性转化和判断,据统计也是影像艺术家最关注的几个话题。

第三、南京影展独立的结构特征。以策展人的策展思路和生态建构为主体的2012亚洲实验电影与录像论坛 (EXIN)和以导演作品创作交流为主体的第九届中国独立影像年度展(CIFF)形成补充关系。两个活动将艺术家与策展人重心得到了很好的互动,创建了策展人和导演交流的两个平台。以前的很多影展把主办方和电影节的总监长期做为策展人的机制,会把影展做的越来越单一,现在是资源整合的年代。未来的展览没有一个展览会以一个人为中心,而都将会是团队群力群策的发展。这次国内实验影像我也邀请了两位策展人与我一起策划,三位策展人侧重的方向不同,更加综合地给观者一个立体的研究面貌。王泊乔策划的单元突出数字化给我们带来的虚拟的真实感;另一位策展人沈朝方则从媒介语言、观念探寻角度梳理实验影像的介质脉络和美学价值;而我策划的四个单元艺术家作品以感受表达趋向为主题,分析近些年影像艺术家在关注些什么,关注的话题形成什么样特征和现象。从影像媒介表达方式发展脉络和趋向来看,沈朝方探讨的“从记录——观念——当代艺术思维的新电影”是2000年前后的转向之一,我觉得另一个转向即从实拍影像转向泊乔策划数字虚拟化趋向。而我关注的影像艺术表达内容与话题趋向,将与这两个转向一起探讨中国目前判断实验影像价值的支点。另外我侧重的新人推介和朝方的文献梳理也形成了互补。

第四、南京影展对实验影展推广的普及性和互动性意义很大。在不少的影展上我们发现对这类实验影像作品的误解和争议最大。很多人反映实验影像是装神弄鬼的炫技,观众看不懂。我个人觉得是因为实验影像的语言寻求创造的可能性,是不以常人惯性的观看方式为意志的,它不是以我们适应的线性讲述隐藏的感受,多以直接借助符号或信息直接表达新感受。它包容和跨界的特征不是二元论表达,时常在一部片子中以多焦点的隐形脉络贯穿,最终整体传达思想和情感。因此实验影像的表达方式和观看方式与大众产生了距离感。但我相信这种距离感会随着观看次数和专业引导逐步改变,逐渐被大家接受。另外观众对实验影像的误解是不关心现实,这是最大的误读。实验影像关注点很多元化,它可以转换历史也可以触及当下,还可以虚设未来,甚至可以表达普世的生命寓言,它不受现实题材的限制,机动性很强,但都以当下现实做为依托。它不像纪录片多数片子只能最大化直击现实。实验影像在国内依然是小众化媒体,所以我觉得南京影展在公共电影院和学校放映会逐步改变实验影像被误读的现象。

第五、我们这次影展开始重视实验电影和当代艺术中的录像艺术。近几年南京影展由亚洲实验电影与录像论坛 (EXIN) 、中国独立影像年度展(CIFF)两部分组成。而EXIN是以国际实验电影与录像艺术为主体交流的论坛,也就是说南京每年在做两个影展,实验影像占了每年活动的一半的比重,这是南京近两年大胆的尝试。虽然国内电影院校发展的历史较长,但对于实验电影的发展一直不理想。电影院校基本是纪录和剧情教育的模式。而近些年反而美术院校和民间当代艺术家在发展实验电影和录像艺术,在寻找实验电影和录像艺术的交叉点,而这也是国内目前几个重要的独立影展新的变化,而南京影展是率先把实验影像独立强化的影展。对于这样的整合我个人的理解是电影节以一种包容的心态积聚力量,同时加强实验影像单元的质量与规模。前些次影展对实验影像的不重视,一直造成影展整体观念偏于沉重,在影片的题材上也有过多重复,在每次影展中重复表现一种针对性感受的作品过多,好像有种惯性思维觉得独立影展必须表现某种特定的选题才具有独立性,这样缺少了很多鲜活而多元的时代气息。其实剧情、纪录和实验影像在影像的表达和呈现方式上各有自己的特点,各自有自己的优势也有各自的不足之处,三个表达样式实际上是互补和相辅的关系。

如果说剧情、纪录和实验是影像艺术的三驾马车,剧情片可以通过导演的主观性、叙事性、典型性故事的转承起伏让观众扣人心弦,立体、综合体验作品剧情线性发展;纪录片则以选题、真实性、冲击力勾起我们的情感和人文关怀;而实验影像在语言实验和内容实验中,更多给我们鲜活的感觉:时代感、未来感和活力。剧情、纪录、实验影像三者虽然有各自特点,然而艺术表达的本质和功能性依然是一致的,即给以我们生存的启示、担当起现实社会的责任、传送永恒的价值情感,因此我们不应该对任何一种表达方式有所成见,而且近些年剧情、实验、纪录也相互融合发展,出现了很多实验剧情和实验纪录,让剧情、实验和纪录影像并驾齐驱,从艺术整体的生态学视角来审视每一种表达媒介和方式存在的意义。

第六、这次影展在片源上把实验电影与当代录像艺术进行了融合。作为两种表达方式它们有点微妙的区别:实验电影和录像艺术并不能完全等同,实验电影源自电影艺术史,并在西方20世纪60年代达到了它的一个高峰,而录像艺术则发端于西方20世纪60年代,后现代艺术中诸多艺术形态之一;实验电影主要使用胶片,并在影院和学院展映,而录像艺术则主要使用视频,少量使用胶片,它们的作品则在画廊和美术馆展示;实验电影具有一个线性的演示过程,其实验是向影像画面内部深入的,而录像艺术的展示多是非线性的向空间和环境拓展。以上看出它们在观看和展示方式、媒介语言方式、影像脉络、与其他领域的融合程度有所不同;然而对于实验、创新、时代感和当代性的敏锐把握上依然是一致的,这次影展加大了当代艺术领域影像艺术的参与性。很多导演也是艺术家身份,如张培力、邱志杰、杨福东、汪建伟、高世强、缪晓春、卜桦、邱黯雄、周啸虎、孙逊、吴俊勇等人,他们也是当代艺术领域活跃的艺术家;同时我们也为了挖掘新人,给青年艺术家更多的展示空间,也有很多年轻的艺术家参与其中,如赵域、王展、杨迪、陈镪、钰柯等人。

结语:
独立DV影像在国内作为又新又老的媒介,伴随媒介语言和感受还有很大的发掘潜力,对于中国独立影像仍有很远的路须走,中国实际情况告诉我们其发展很艰难。在正常意义上影像是工业生产,因此它很容易被商业、体制所控制,社会真实的一面很难被体现,也很难按照自己的意图拍片,长期搅扰在这样控制和被控制的冲突之中,独立品格更加难能可贵。近些年,独立电影的展播开始整合成一种初具持续性和组织化、规模化的平台,像北京、南京、重庆等城市都有了自己的独立影像展,各有自己的唯一性生存模式和展览特点,只有各个影展的多元特色,才能使越来越多的人关注中国独立电影,中国独立影展正在逐渐摆脱边缘身份,这也是独立影展艰难行进中让人欣慰的事情。
 
2012-7-26于宋庄

 

CIFF’s constant exploration of its own pattern of existence and characteristics
——Notes of planning and exhibition of China’s experimental films section, EXiN2012

 By Zhang Haitao

We have heard much about China Independent Film Festival (CIFF in short) and feel extremely honored to be invited by Cao Kai to design plans for the section of domestic experimental films, providing an opportunity for us to deepen our understanding of CIFF’s pattern of existence and characteristics in Nanjing.
First of all, that CIFF is able to secure a secular, sustainable and stable development owe largely to its organizers’ hardworking exploration, orientation adjustment and wise management. Geographic location of CIFF is neither the political or commercial center of China, which, at first glance, seems to be a disadvantage. However, this demonstrates the film festival’s superiority to the contrary: an environment of ideology-proof and commercial disturbance-resistant for development. Brand positioning of CIFF is comparatively high, bringing to organizers both confidence and pressure; Nanjing’s aspiration to make independent film festival education public and popularized is unique and only domestically. Independence of works of films and their public popularization are attached equal importance. Since a few years ago, organizers have successfully secured independent films show in university campuses , and they plan to move the show onto screens of cinemas, which is unimaginable for local film festivals elsewhere. That CIFF, with independence of films as its foundation, tries to guide film shows onto the path of publicity and popularization is of vital importance to the cause of independent films. Therefore, CIFF’s existence and development with wisdom is essential considering that domestic similar film festivals suffer constantly from being coerced to shut down.

Secondly, CIFF places emphasis on the themes and genres of exhibition units: to sort out and summarize phenomena of films’ development in recent years, to update plans and characteristics of films’ archives. To be specific, archives of films select film art as target of study and intend to discover, sort out, compare and analyze pattern of films’ development via genealogy of history, theories and arts. CIFF takes the form of genealogy of films, places art of films within the framework of system, and establishes distinct genres, thus avoiding discretional piecing together and a state of hodgepodge.
During this round of film festival, I intend to break through the conventional idea of categorizing films according to medium of expression, time and place, and organization producing works of films. Given that all these categorizations mentioned above will lead to loss of entity value of a piece of work, I would like to assign orientation and tendency of films’ artistic expression as thematic design and to explore what artists have been paying attention to in recent years, what is most frequently observed, and how to convert those that observed into fresh, keen survival experience.
Historically, ideology and market have always shown concerns about and exercised control over sensitivity conveyed by different themes (point of interest of salacity, violence, and politics in particular). However, in this round of film festival I try as possible as I can to sort out experimental works in a diverse way in order to avoid monotony of topics to be discussed and I divide them into three thematic units: memory of images, fable of life, and routine abnormality. Memory of images focuses on modern emotional expression of historical memory; fable of life
conducts rethinking of universal, eternal, classical and ultimate values; routine abnormality provides heterogeneous and critical expression of contemporary real living environment. These three themes cover modern transformations and judgments of past, contemporary and classical values, and are also issues film artist are most concerned with according to investigations.

Thirdly, CIFF possesses independent structural characteristics. There is a complementary relationship between Asia Experimental Film and Video Forum(EXIN) with designs and ecological construction of exhibition planners as main body and the ninth China Independent Film Festival (CIFF) with communication between directors with their works as main body. These tow events facilitate effective interactions between artists and exhibition planners and create tow platforms for communications among directors and exhibition planners respectively. Past film exhibitions’ mechanism of assigning organizers and film festival’s superintendent general as long term exhibition planners will render film exhibitions more and more monotonous and homogenous. In an era of source consolidation, no film exhibitions in the future are to be centered on certain individual, but instead, all will be attributed to cooperation and efforts of the whole team. For this round of domestic experimental film exhibition, I also invite another two planners to work with me. With the three of us having different focuses of perspective, we are going to present to audience a panoramic outlook of study more comprehensively. Unit planned by Wang Boqiao projects virtual sense of reality brought to us by digitalization; Shen Chaofang tries to sort out medium and aesthetic value of independent films from the perspective of language of media and exploration of ideas; and the unit of artists’ works under my charge selects orientation and tendency of expression of personal feelings and experiences as the controlling theme to analyze issues observed by film artists over these years, and the features as well as phenomena formed by these issues.

Fourthly, CIFF is of great importance to the popularized and interactive promotion of experimental film exhibitions. In many a film exhibition, we find that there is significant amount of misconception and controversy surrounding experimental films of this sort and that many audience delegate them as mystifying sporting of shooting and narrating skills beyond their understanding. Personally, I think this is largely due to the fact that language of experimental films explores the possibility of creativity and does not conform to conventional viewing patterns to which ordinary people are accustomed. Instead of narrating hidden feelings in our familiar linear pattern, it tries to express brand new feelings via direct employment of symbols or information. The feature of inclusiveness and cross-section is by no means dichotomist expression. More often than not, we can perceive an invisible thread through a film with multi-focuses, finally conveying thoughts and emotions as a whole. As a result, the pattern of expression and viewing for experimental films holds a distance and discrepancy with the public, which, I believe, will gradually change and be eventually accepted with the increasing viewing and professional guidance. Besides, that conventional bias that experimental films are detached from and show nor concern over reality is probably the biggest misconception. Experimental films’ focal points are very diverse: they are capable of converting history, touching current society, hypothesizing future, and even expressing universal fable of life, while not suffering from constraints of real life subject materials. In spite of superb mobility, independent films are all based on current reality. Unlike documentaries most of which are only capable of directly witness reality maximally, experimental films are still niche media of narrow communication. Therefore, i believe personally that efforts of exhibition and show by CIFF in public cinemas and campuses will gradually change current situation where experimental films are being misunderstood.
Fifthly, this round of film exhibition begins to attach importance to experimental films and contemporary videoing art in film festivals. This year Nanjing is going to hold Asia Experimental Film and Video Forum(EXIN) and the ninth China Independent Film Festival(CIFF). The former is a forum providing a platform for communications of international experimental films and videoing art. Therefore, Nanjing is responsible for two film festivals this year and experimental films account for more than a half of the whole works, which is a bold attempt by Nanjing. Although domestic movie academies have a long history of development, experimental films suffer from a less satisfactory growth because of those academies’ focus on education of documentary and plot. In recent years, it is art schools and contemporary folk artists who are developing the art of experimental films and videoing, in search of their intersection point. This is a new change embodied by several important domestic film festivals and CIFF takes the lead to independently strengthen experimental films. I personally interpret this consolidation as the efforts of film festivals to accumulate strength with more inclusiveness and to improve the quality and scale of experimental films’ unit. Previous film festivals showed ignorance of experimental, which is why ideas were too heavy on the whole and themes were overlapping. In every film exhibition there was a redundancy of works repeatedly expressing a certain feeling, and this reveals an inertia of thinking that independent film festivals cannot acquire their independence without demonstrating certain given subjects. As a result, a lack of vigor and diversity of spirit of the times ensues. As a matter of fact, feature films, documentaries and experimental films have their own characteristics respectively in terms of expressing and representing pattern. Despite weakness and strength of each, the three genres are essentially complementary.
Feature films, documentaries and experimental films are three fundamental pillars of film art. Feature films can grip the hearts of audience and present to them a linear development of plot comprehensively via subjectivity, narrative, and ups and downs within a typical story by the director; documentaries tries to arouse our emotion and humanitarian sentiment with its theme, authenticity and strong visual impact; experimental films, in experimenting with language and content, bring us more fresh experience: the sense of contemporaneity, future and vigor. These three genres, albeit each possessing unique characteristics, share the same substance and functionality of artistic expressions: to enlighten our survival, to shoulder responsibility for real life society, and to convey eternal values and emotions. Hence, we should never harbor prejudice toward any patterns of expression. In recent years, feature films, documentaries, and experimental films have developed while integrating with each other, producing many experimental feature films and experimental documentaries. That the three genres advancing shoulder to shoulder make it possible for us to scrutinize every form of expressive medium and existing pattern from the perspective of ecology of art as a whole.
Sixthly, film exhibition this time tries to integrate experimental films and contemporary videoing from the stage of origin. These two patterns of expression have some subtle difference and they can no be treated as the same: the former originate from history of the art of films and reached its zenith in Western world in the 1960s; while the latter, videoing art, came in to being in the 1060s and then became one of the many forms of contemporary art. Independent films mostly use cinefilms and are mainly showed in cinemas and academies, while videoing art mostly uses video and are exhibited in galleries and art museums; the former has a linear representation process and conduct experiments from images deep into the inside, while the latter represents mostly nonlinear expansion into tome and space. Based on the above comparisons, we can perceive the differences between experimental films and videoing art in pattern of viewing and representation, language of media, thread of a film, and degrees of integration in other fields. However, they coordinated with each other perfectly in terms of their grasp of experiment, innovation, sense of contemporaneity. This round of film festival in Nanjing increases participation of film art in the field of contemporary art. Besides, many directors are at the same time artists active in contemporary art such as Miu Xiaochun, Bu Hua, Qiu Anxiong, Xhou Xiaohu, Wu Junyong, Xu Ruotao etc. meanwhile, in order to discover emerging directors, we provide them with more space for presentation. Many young, promising artists participated in the exhibition such as Zhao Yu, Wang Zhan, Chen Qiang, and Yu Ke etc.

Conclusion:
Independent films, as both an old and new medium, have great potential for development in terms of medium’s language and experience expression. Real situations in China tell us that independent films are developing arduously and still have a long way to go. In normal sense, films are a industrial production, which is why they are easily commercialized and fall into the control of institutions. The real side of society is hard to present, and shooting a film according one’s own intention is all the more difficult. Perennially mired in the struggle of control and being controlled, independence is enormously precious.
In recent years, independent films exhibitions and festivals has begun to integrate into platform with preliminary sustainability, organization and considerable scale. Cities like Beijing, Nanjing, and Chongqing have already possessed their own independent films festivals, each possessing unique pattern of existence and characteristics of exhibition. Only with diversity of each film festival will more and more people pay close attention to independent films. China’s independent films is now gradually ridging themselves of marginal status, which is quite a pleasure amid arduous progress of independent films.

Written in Song Zhuang, 2012-10-13

 

“EXiN2012亚洲实验电影与录像艺术论坛”中国大陆板块之一

策展人:张海涛

 

“记忆物象”
——影像记忆的当代性情感转换

“记忆物象”单元艺术家及作品:
刘畅《你看见冬天》
李山(意大利籍) 《动不动》
袁智超《海报狂想曲》
郭维+赵伯祚+郝树人 《胡子》
孙磊《嬉•戏》
孙楠《考试协奏曲》
王琳慧《游园惊梦》
宋松《彼岸》
汪东升《2008年里的一些时间》
 

文/张海涛

南京影展强调展览单元的主题性和类型:既近几年影像的发展现象梳理、推新计划和影展的档案特征。影像档案是一种以影像艺术为研究对象,借以历史系谱、理论系谱、艺术系谱发现、梳理、比较和分析影像发展的脉络。南京影展是以系谱影像为方式的策展,将影像艺术放在一个框架系统里,建立清晰的艺术类型,避免拼盘、乱炖。这次影展在国内实验单元分类上我想打破以前以媒介表达方式、年代和地域、影像机构分类的常规思路,这些类型会失去部分作品本体的现象价值,我想以作品的感受表达趋向为主题性统计,探讨近几年出现艺术家在关注些什么,什么关注的最多,如何把关注的东西转换为鲜活、敏锐的生存感受。历史上意识形态和市场对于题材传达的敏感性(特指“色情、暴力、政治”的关注点),一直是有所关注和控制,而这次影展我策划的实验影像尽可能的多元化梳理,避免讨论话题单一性,我把实验影像作品类型分为了四个主题单元:即“记忆物象、生命寓言和日常异常”。“记忆物象”单元是关注历史记忆的当代性情感传达,“生命寓言”单元是对普世、永恒、经典和终极人类价值的再思考,“日常异常”则是对当下现实生存环境和感受的异样或批判性表达,而“暧昧时空”则是从影像表达语言与内容上探讨现实的不确定的生存状态。这四个主题也涵盖了过去、现在、暧昧时空和经典价值的当代性转化和判断,据统计也是影像艺术家最关注的几个话题。
 “记忆物象”:时间、情感、自然规律、时空感、静止、消逝、感伤、记忆、叙事、历史感
纠错、激活、转换当代性

如果说时间是纪录微观和宏观的情感本源,我们书写当代影像艺术之时,这个年代的艺术家必定会回忆他们走过的年代,这些年代记忆中传达给我们的生存感受,即带有一个时代的特征。我们时常认为当下人是没有记忆能力的一代,这也是我们对他们的误读。对历史要时常回忆,才能正确审视和激励当下和未来良性的发展。生存环境带给我们的不论是快乐和苦涩的经历终极都会消逝,记忆物象的时空感带给我们的感伤是很多艺术家表达情感的一个愿望。这次展览作品中题材如记忆的环境、阴影与情感、历史原像以当代语言来进行的转换,也给记忆带来了个性新鲜的感觉。记忆中有美好的事物也有伤感的事物,作为当下人需要用作品改变记忆的阴影,积极面对美好的现实和未来。李山作品《动不动》将导演库布里克的电影《2001太空漫游》揭示未来文明及人类发展史的原像信息用影像技术语言进行快速前进和后退,这种语言自身的力量又带给我们一种记忆的流失感和新感受。王琳慧《游园惊梦》、袁智超《海报狂想曲》运用对原像消逝重构的语言,激活转换经典传统作品图像,表达了对记忆中的经典爱情和生活的美好追求和愿望。孙楠《考试协奏曲》表现了学生时代的我们对考试留下的阴影,反映了教育体制和社会环境带给我们的生存压力,记忆中学生考试综合症病发的真实状态。刘畅《你看见冬天》表达了作者对虚幻的物象探寻,通过作品描述了自我内心的分离、失落和欲望。郭维+赵伯祚+郝树人作品《胡子》以纸偶定格的独特动画语言,选取了历史中重要人物不同风格的胡子以黑色幽默的方式讲述了胡子的“发展史”和不同的时代特征。孙磊《嬉•戏》一直在关注记忆中的游戏特征,但作品时常表达了时光的消逝感、迷幻感与自己生活记忆中的时代特征。汪东升《2008年里的一些时间》导演了时间静止的记忆画面,时光停止暗喻了我们需要的情感和生存状态,有些记忆也是对现实中异常现象的讽刺和批判。宋松作品《彼岸》通过对一些有意识安排的场景移动拍摄、合成,再加上音效处理使熟悉的世界呈现出记忆的消逝感和陌生感。同时场景的转换与对照也体会到佛家倡导的人生感悟。

2012年9月25日于宋庄 

Objects in Memory
Contemporary empathetic translation of visual memory
Written by Haitao Zhang; Translated by Ivy Tao

The Nanjing Film Exhibition puts emphasis on the theme and category of each exhibited unit, i.e. a recount based on the recent history of film development, innovation and documentable features. Film documentation is a system targeting at the art of films and order, analyze and compare them based on the historical, theoretical and artistic lineages. The Nanjing Film Exhibition employs the lineages of films. By placing the art of films into context, it builds a lucid system of categorization and successfully avoids a disorderly cocktail of different genres. Therefore, I reckon that the Exhibition is groundbreaking in the field of experimental categorization in China, distinct from the traditional media sorting methods based on forms, times and geography, which tend to lose some of the focuses and values central to the artwork. In this article, I will attempt to offer a thematic review of the “feels” of the artwork, and discuss what the artists are paying attention mostly, and how they converted these subjects into lively and perceptive living feelings. Historically, mainstream ideology and market always tend to limit the sensitive issues transmitted by the materials (specifically, sex, violence and politics). Therefore, in this Exhibition, in order to promote the diversity of categorization and prevent any monotonous discussion topic, I categorize the experimental film works into four units: Objects in Memory, Morals from Life, Abnormalities of Commonplace and Ambiguity through Time-Space. Objects in Memory focuses the modern transmission of historical matters; Morals from Life is the continuing distillation of thoughts on universality, eternity and classics; Abnormalities of Commonplace consists of the unusual interpretation and criticism of realities; Last but not the least, Ambiguity through Time-Space explores the uncertainties in physical existences in the language and content. These four units cover the past, the presence, spatial-temporal uncertainties and modern evolution and evaluation of classical values – several topics most followed by film artists according to the statistics.

Objects in Memory
Key words: time, emotion, physics of nature, space-time, stillness, dissolution, sentimentalism, reminiscence, narrative, confusion of events, activation, modern evolution.
If we say that time is the source of records for micro- and macro- emotions, then when we look at the film arts during a certain period, the artists from this period are likely to draw from the time they lived through. The feelings brought about by these descriptions of time and memory, will carry the features of that period. It is frequent but a huge misunderstanding that some of us think that the contemporary artists are a generation without memory. We ought to look back to history time to time, in order to properly assess the presence and the future. Whatever the living environment brings us, happiness or bitterness, is fleeting, after all. Therefore it is the artists’ anticipation that their expressions will bring back the feelings caused by the memories. In the Exhibition, the different forms of expression, such as the remembrance of the environment, shadows of emotions and original historical objects, are translated into modern languages, and are eye-opening and inspiring. The beautiful and the sad are of coexistence in memory, so it is the job of the contemporaries to alter the shadows of memory and take a positive attitude toward the future. For instance, Stillness by Li Shan transforms the famous 2001: A Space Odyssey by fast-forwarding and backwarding the storyline. The expression itself brings about the brand new realization of the loss of reminiscence. Dream in the Garden by Wang Linhui and In Poster by Yuan Zhichao employ the reconstruction of faded images, rejuvenate the traditional, and echo the longing for an old-school relationship and life, only existing in the memory now. The Concerto by Sun Nan brings us back to the school days where exam overload leaves negative mental impacts, reflecting the pressures from the education system and a competitive society. Liu Chang depicted his own exploration of illusive objects through the work Winter, showing his inner split of personality, feeling of alienation and lusts. Beard by Guo Wei, Zhao Bozuo and Hao Shuren focuses on the development of moustache and its characteristics at different stages by employing paper dolls in unique animation that represent important characters with moustache throughout the history, in the style of dark humor. Having Fun by Sun Lei assigns the games in his memory  the feelings of loss of time, disillusions and the characteristics unique to each time period. Sometime in 2008 by Wang Dongsheng catches the still images from memory that transmitted the emotions and lives we are in need of, some of which also mocking the absurd events happening in the present. Faramita by Song Song intentionally rearranges and combines the objects from different settings, and with special sound effects, distance the familiar world from the memory and enlightens the audience on the Buddhist ideology.
Written on September 25, 2012 in Song Zhuang

 

“生命寓言” 
——普世、永恒、经典和终极生命价值的影像再思考
 

“生命寓言”单元艺术家及作品
方昊《回》
许成《鸡先生》
包建(包观陆)《寻找黑巫师》
易连《暖流》
钰柯《翠罗弥诺浮彼亚 Ⅰ》
孙祎童 《1/4》  
黄思颖《融贯的平面.千座高原》
邓尚《时间是众生普度的僧侣》
赵域《从大爆炸那刻起我们从未停止过远离》
 

文/张海涛

“生命寓言”:超现实、潜意识、梦幻、怪诞、形而上、静止、寓言、道理、不相干、永恒、经典转换、终极生命价值、陌生感

艺术的当代性除了表达当下人的生存感受,还会把当下的生存感受与永恒的寓言嫁接,给我们以新的启示。在表现这些寓言时多采用超现实的手法,让陌生的“世界”产生强烈的象征,这样画面不相干事物混杂的潜意识,作品产生的梦幻、怪诞、静止、神秘感来给我们述说生存的道理,也是将永恒哲理的当代化转换。很多影像艺术家喜欢这样的神秘语言,内心崇尚神经质而又有深度感,然而在不少的影展上我们发现对这类实验影像作品的误解和争议最大。很多人反映实验影像是装神弄鬼的炫技,观众看不懂。我个人觉得是因为实验影像的语言寻求创造的可能性,是不以常人惯性的观看方式为意志的,它不是以我们适应的线性讲述隐藏的感受,多以直接借助符号或信息直接表达新感受。它包容和跨界的特征不是二元论表达,时常在一部片子中以多焦点的隐形脉络贯穿,最终整体传达思想和情感。因此实验影像的表达方式和观看方式与大众产生了距离感。但我相信这种距离感会随着观看次数和专业解读逐步改变,逐渐被大家接受。易连作品《暖流》以造景的观念表现了生命在危机的环境中的迷失感、游离感。许成作品《鸡先生》以定机位、纯化的动画语言表现了一个深刻的寓言,这个寓言故事引申到现实成为失败教育、思想封闭案例的悲剧启示。

我们时常因为蜡烛点燃和熄灭、生老病死、花开花谢而发出感伤,然而我们无法寻找到这种自然现象存在的真实原由,也无法阻止这种无形力量的存在,人类为了私欲向改造世界,而带来了物态的生存危机,因此自然物态规律不会因人的外在意志而转移,人们最终选择了心灵的回归,以追求精神上永恒,对物态感伤化解为积极的体悟和平静心态才是我们最需要的。未来的世界除了人造的世界就是自然朴素的环境,未来的人类具有强烈愿望融合永恒的自然,与当下人造危机世界的形成补充关系,平衡未来精神和心理的需求。孙祎童《1/4》作品以自然、物与人的关系表现朴素的生命禅意和感悟。黄思颖《融贯的平面.千座高原》将自然的无机物态通过互动技术让其鲜活起来,随着音乐的节奏赋予美与生命的活力。方昊作品《回》以简洁、朴素、生动的动画语言表达了生命起源和文化本源的意义,然而人类欲望是引发了生态危机的根源,最终生命又轮回到本源的思想。赵域作品《从大爆炸那刻起我们从未停止过远离》表达物理自然的状态与生命的关系是赵域一直关注的话题:面对陌生的未知世界,作者形而上的探寻生命的意义。

当下的人群不断趋向热情与个性,逐渐想脱离传统集体意识形态的束缚,它们我行我素、率性的内心像脱缰的野马。愿望追求自我价值的最大化和生命体悟;他们更加真实,在不断与理性碰撞中生存,最终寻求精神和心理的平衡。个人欲望体现于各个方面,艺术也不例外,自我激情的表达与开放的时代背景是分不开的。钰柯作品《翠罗弥诺浮彼亚 Ⅰ》作品造景的戏剧化,个性与共性、感性与理性的交织寓言,表现自我生理和心理的审视、纠结和压抑。包建的作品《寻找黑巫师》也是在探寻生命的意义,这是艺术家个人的体悟,也是普世价值的寓言:人生像个梦境和舞台,命运承受各种诱惑和压力,生命个体又如此的卑微。邓尚《时间是众生普度的僧侣》以舞台与数字合成的荒诞寓言画面表现时间与生命、未来日常的关系和自我价值观。 

2012年9月26日于宋庄 

Morals from Life
Rethinking universality, eternity and classics using films

Key words: Superrealism, subconsciousness, fairytale, fantasy, metaphysics, stillness, metaphor, reasons, disengagement, eternity, transformation of classics, ultimate value of existence, otherworldliness
The modernity of arts, apart from expressing the feelings of existence at the present, also combine these feelings with the everlasting fables for enlightenment. The modernization of the philosophy in many fables is also about symbolizing the strange worlds with superrealistic expressions, and embodying the arts with fairytales, fantasies, quiescence and mysteries to evoke the subconsciousness. Although this strategy is preferred by many film artists who value sensitivity and depth of an artwork, we discovered through a number of film exhibitions that it has the greatest potential to cause misinterpretations and controversies. Many audiences point out that these experimental films are merely pretentious tricks and are not accessible to them. Personally, I attribute the inaccessibility to the nature of the experimental methods – they assist in the seeking of multiple possibilities of creation and the artists do not subject these methods to the criteria of whether they comply with the ordinary ways of watching a film. These methods are not linear; instead, they directly rely on symbols and information to construct new feelings. The span of its characters is not black-and-white; the inner values are often underlying currents that would only reveal the key ideas if viewed as a whole. Hence the experimental films distant themselves with the audience. However, I believe that the distant can be decreased as the audience dives deeper into the field and acquires professional interpretations. As two examples, Warm Current by Yi Lian expressed the loss and disassociation of creatures in the face of crisis through the creation of environments; Mr. Cock by Xu Cheng employs a fixed angle to capture a deep fable in an animation, referring to the tragic failures of failed educations and headstrong thinking in the reality.
Humans become emotional at the kindling and extinguishing of candles, the life cycles that go from birth to death and the blooming and withering of beautiful flowers. So far neither can we find the reasons for these natural cycles, nor stopping the invisible power from working. Humans brought crisis onto themselves when they try to remake the world out of their own interests. Realizing that the internal rhythm of the nature does not alter according to human wills, humans finally choose the peace in mind to pursue the spiritual eternity. What we most need is to convert the sadness of incapability to positive comprehension of nature. The two components of the world in future are the manmade environment and the nature left to its own state. The humans in the future will have strong wills to become one with the nature, wishing to complement the manmade environment with the former to balance the spiritual needs. 1/4 by Sun Yitong pictures the relationship between the environment, the humans and everything else to be a simple Zen of life. Plan de Consistence Mille Plateaux by Huang Siying gives life to the lifeless objects in nature using interactive technology, and makes the objects exude beauty and energy with the beats of music. Hui by Fang Hao uses a pithy and lively style of animation to trace back to the source of life and culture, indicating that the wants from humans are the cause of ecological crisis and the life needs to eventually return to its source. Zhaoyu, putting his attention on the relationship between the physical nature and life into the work From the Big Bang That Moment We Never Stop Leaving Far Away, metaphysically explores the meaning of life facing an unknown world.
Nowadays the society has the tendency to be passionate, expressive of personalities and free itself from the traditional ideology of collective uniformity. Our hearts hence become like unreined horses that seek for the maximization of self-value and the understanding of life. We become more real, seeking the mental and spiritual balance among the conflicts with our objective reasoning. Personal want exists everywhere including the arts, and the personal expression of passions is closely associated with the backdrop of an open-minded society. The dramatization and the intertwined fables of personality versus  group and subjectivity versus objectivity in Philomirrophobia I by Yu Ke reflects a physiological and mental self-assessment, frustration and suppression. Time is the monks who can purdue beings by Deng Shang tells a fantastic story combining the stage and the digitals to explore the relationships of time against life and future against routine, as well as one’s system of values.
Written on September 26, 2012 in Song Zhuang

 

“日常异常”
——影像中现实生存感受的异样和批判性表达
 

“日常异常”单元艺术家及作品:
杨正帆 《我穿越时空为了再次遇见你》
杨迪《饥饿症》
李隆《暗疾》
许慧晶《幸福生活得开始》
王展《city-introduction》
王旭龙+谢筱禹《小本本大战记》
贺东昕《NO.2012》
陈镪《悬城》
徐雄《梦之梦》
周飞《陌生的家》
张敏捷《短语为生》
  

文/张海涛

南京影展对实验影展推广的普及性和互动性意义很大。很多观众对实验影像的误解是不关心现实,这是最大的误读。实验影像关注点很多元化,它可以转换历史也可以触及当下,还可以虚设未来,甚至可以表达普世的生命寓言,它不受现实题材的限制,机动性很强,但都以当下现实做为依托。它不像纪录片多数片子只能最大化直击现实。实验影像在国内依然是小众化媒体,所以我觉得南京影展在公共电影院和学校放映会逐步改变实验影像被误读的现象。

“日常异常”:平淡生活、个人化、物欲、不正常、悖论、都市化、休闲、消费、伦理、时空、道德、介入现实、良知、责任、情感、时代感
日常生活与当下人群联系最紧密,我们的日常生活越来越个性化,成长于改革开放后的生存环境,物质生活越来越丰富,在追求和满足不断变化的物质生活的同时,欲望越来越强烈。日常生活也会出现异常,出现很多新的社会现象:如、数字情感泛滥、新的伦理、丁克家庭、月光族、娱乐一代、人工社会、一夜情等等,心理上也会出现各种异常。杨迪作品《饥饿症》表现了当代人对数字信息的依赖、焦虑和饥饿的生存状态。徐雄《梦之梦》对于日常自我的潜意识分离、三个梦境自我的矛盾和绝望压抑其实都是来自现实的心理写照。王旭龙、谢筱禹《小本本大战记》运用现实与动画虚拟结合的独特游戏语言,表现了虚拟与现实间命运的偶然性寓言,使整个作品带有很强的时代感,也反映了青年一代的娱乐消费、放纵的价值观和情感心理。
日常异常强调艺术家以社会学者的身份介入现实,并以艺术媒介和语言(图片、录像、绘画、装置)得以呈现,以真实、真诚的良知为改变社会生存环境作出一份努力,由外及里的为艺术提供参考的文化背景。这样的作品避免了当代艺术作品中普遍存在的概念空洞的点子化特点和与现实脱节的现象。都说当下的一代人是缺少责任与良知的一代,我们也想试图了解影像艺术家对现实介入的意义。杨正帆《我穿越时空为了再次遇见你》作品中电影时态研究和时空交错,来表现日常都市的冰冷,作品也表达了这样环境下人与人情感交往的愿望。陈镪《悬城》把日常的现实空间给虚拟成了异常生存环境,这样异样的凄美和悬浮感也表现了当下人不确定的生存状态。王展《city-introduction》作品表现了当代人心理压抑的欲望和精神的虚无、生理狂欢的生存状态和感受。李隆《暗疾》以医院治疗的描述来隐喻现代都市、生态和人的心灵危机。许慧晶《幸福生活得开始》以夸张异常的行为方式描述了作者渴望自由和摆脱束缚的生命状态。张敏捷《短语为生》以实验记录的方式直击底层人物的日常生存的艰辛,令人感触。贺东昕《NO.2012》作品梦境中的世界只剩下了人造和毁灭的世界,科技与经济的发展是一把双刃剑,给人类以利益满足的同时也在毁灭了人类。周飞作品《陌生的家》反映了现代人心理上幻想和现实之间的矛盾、选择的不确定、个体与社会的隔膜感受以及人生的漂泊感。

2012年9月27日于宋庄 

Abnormalities of Common Place
Unusual interpretation and criticism of realities in films

The Exhibition has significant impacts on the popularization of experimental films and the interactions with the public. Some people may have the previous assumption on experimental films that they are disconnected from the realities – this is a big misunderstanding. The focuses of experimental films are very diverse: they have the ability to translate history, touch on the present, imagine the future and even act as carriers for universal morals for life. They are not limited by the materials, thus obtaining great flexibility, but they are all dependent on the current realities, though they are not as direct as many documentaries. Experimental films are still considered a fringed media. Therefore, in my opinion, showing the Exhibition in public theaters and schools will gradually ameliorate the current misunderstandings surrounding experimental films.
Keywords: bland daily life, individualization, materialism, abnormality, paradox, urbanization, leisure, consumerism, ethics, time-space, morals, interference with reality, good sense, responsibility, emotions, contemporary
People are most closely connected with daily life. After the economic reform, our daily life has become more individualized, materialistic and full of wants as the chase for ever-changing materialistic life continues. Many abnormal phenomenons have sprung out from the daily life, such as online dating, new ethics, the Dinks, the spendthrifts, the generation of entertaining, manmade society, one-night stand, along with the abnormal mentalities. Offline by Yang Di has the theme on the dependence, frustration and thirst for digital information. Dream in Dream by Xu Xiong magnifies the daily mental activities in the descriptions on the separation of subconsciousness, three contradicting dreams and the suppressed desperation. The Wars of Little Note by Wang Xulong and Xie Xiaoyu uses a unique gaming language that combines the reality and the simulated animation to tell an accidental fable created at the clash between the imagined and the real destiny, giving the work a strong contempory sense and reflecting the youngsters’ loose morals on spending and relationships.
Abnormalities of Commonplace emphasizes an artist’s second identity as a sociologist to enter the reality, interpret it using artistic media and languages (photos, videos, pictures, installations), make an effort to better the social environment with his/her good senses, and provide a referenced cultural background for the art. This kind of arts is able to avoid the flaws of empty concepts and disconnection with the reality, common in the contemporary arts. Despite the rumor that this generation lacks the sense of responsibility and doing good, we want to try to understand the participation of artists in the society. I Travel Through Time to Meet You Again by Yang Zhengfan is a mixture of different time and spaces experimenting with tenses, expressing the coldness of a city and the yearning to reach out among the people living in this environment. Concrete Heaven by Chen Qiang turns the daily reality and space into a peculiar living environment, whose exceptional beauty combined with sadness and suspense reflects the uncertainty of humans’ living conditions in the reality. City-Introduction by Wang Zhan mirrors the suppressed lusts, spiritual nonentity and the tendency toward physical carnivals in the current generation. Warning by Li Long uses hospitalization as a metaphor to the mental crisis of metropolitan cities, ecology and people. The Beginning of Beautiful Life by Xu Huijing exaggerates the abnormalities in behaviors to emphasize the artist’s longing for freedom.
Written on September 27, 2012 in Song Zhuang


        
“暧昧空间”
——实验剧情的不确定性表达
 

“暧昧空间”单元艺术家:
史广智 《隐身人巴特尔比到灯塔去》 
史杰鹏+黄香+徐若涛 《玉门》 
丛峰《地层1:来客》
武权《感情动物》 
徐若涛+薛利 《折线》
乌青《爬山小说》
 

文/张海涛

不确定性表达主要代表中心消失和本体论消失的结果,是艺术家有意识的表达这种不确定状态的结果,其为当代现实社会的重要特征之一。这一范畴具有多重衍生性含义,诸如:模糊性、间断性、若近若离、散漫性、多元性等等。表征“暧昧”的艺术的作品本身传统意义上的主题性被消解,而是提供更多的视觉上的不确定和新观念的可能性,时常在一部片子中以多焦点的隐形脉络贯穿,最终整体传达思想和情感。同一件作品呈现出语言与语言、内容与内容,甚至语言与内容不一致、暧昧交错。

这种“灰色交错”(两种相悖状态之外的第三种状态)的艺术作品时常同时呈现出两种相悖的感觉:微弱(隐晦)的爱与恨的交织、紧张与暧昧的情绪纠缠,将给艺术带来一个新的课题:即多义性并存。打破了传统艺术须内容意义单一的传统审美原则。在游戏规则上则打破中心论,以更深广的气度去宽容不一致的标准,倡导一种异质标准。史广智《隐身人巴特尔比到灯塔去》把大量的现实和历史信息符号非线性加以时空变异,呈现了一个多元混杂的的世界。

表征不确定的艺术多义性的背后艺术家却目的明确,作品本身并可能引申出:混沌、隐悔、杂交等现实状态,因此暧昧既可以是一种表达方式,同时也可以是一种新时代的感受,生活在其中的人最后很可能会被严重涂上冷漠、空虚的世纪病症。史杰鹏/黄香/徐若涛《玉门》拍摄了因为生存环境问题而成了空城的玉门,作品中记忆、幻想与现实的不确定行为表演都给我们带来了暧昧的时空交错,但最终作者依然表达了感伤、凄凉的陌生感受。

暧昧关系的存在在我们这个似乎和平的年代表现的尤为突出,不象列强直接以武力的姿态向他国掠夺的殖民时期爱憎分明,即使“坏”也坏得直接;而我们这个全球一体化及后殖民的时代,国际关系和人际关系却表现出伪善而似乎平静,很多关系表现出政治诗意化。中国当代文化也走入了不能拒绝,又不能完全接受的两难困境,时常表现出转化中的困惑和不确定。生物工程及尖端科技的迅猛发展:如克隆、变性、转基因、机器智能化的研制,给整个人类带来了新的伦理、道德的冲击。人的文化身份、性别身份更加模糊、不确定,人与机器的界线也将日益复杂而暧昧,而全球一体化的到来,各行各业(包括艺术各门类之间)的界线的撕裂,融合;更是给我们带来选择的摇摆和彷惶的感觉。新世纪私欲横流、崇高消解,使得各种人际关系乃至亲情关系都在不确定和怀疑之中,人必空虚失落。

如果说剧情、纪录和实验是影像艺术的三驾马车,剧情片可以通过导演的主观性、叙事性、典型性故事的转承起伏让观众扣人心弦,立体、综合体验作品剧情线性发展;纪录片则以选题、真实性、冲击力勾起我们的情感和人文关怀;而实验影像在语言实验和内容实验中,更多给我们鲜活的感觉:时代感、未来感和活力。剧情、纪录、实验影像三者虽然有各自特点,然而艺术表达的本质和功能性依然是一致的,即给以我们生存的启示、担当起现实社会的责任、传送永恒的价值情感,因此我们不应该对任何一种表达方式有所成见,而且近些年剧情、实验、纪录也相互融合发展,出现了很多实验剧情和实验纪录,让剧情、实验和纪录影像并驾齐驱,从艺术整体的生态学视角来审视每一种表达媒介和方式存在的意义。

这次在选影片的过程中,也不乏实验剧情和实验纪录片,这个类型的影片主要在实验剧情长篇单元里有所体现。实验纪录和实验剧情即倾向于将叙事中融入朴实的观念,使其实验化、当代化,其避开了传统叙事那种“死板”的记叙方式,又避开了狭义的观念艺术的概念化、缺少情感、细节与感性的特征,给观者以新的视角认知现实。这类影片在语言朴素的基础上强化了影像结构和场景内容的异化特征,这也是未来的一个方向。乌青《爬山小说》除了把实验与剧情进行了整合,还将剧情与小说柔和,片中始终笼罩着与现实的间离感,虽然整体叙事但有些细节描写很不确定,把美好的愿望、幻想与孤独、沮丧、无聊处理的很矛盾、荒谬、迷惑。伍权的作品《感情动物》与丛峰《地层1:来客》、徐若涛和薛利的《拆线》在故事讲述中加入了实验性元素如非线、漠然和戏剧性而使剧情暧昧交错,从而寓言化和观念化。         

2012年9月28日于宋庄

 Ambiguity through Time-Space
The uncertain expressions in experimental films

The uncertainty in expressions represents the disappearance of core and subjects; it is a result of artists trying explicitly to express this uncertain state. Uncertainty is a key characteristic in the modern society. This area has multiple and extended definitions, such as: vagueness, discontinuity, tentativeness, discursiveness, diversity, etc. The artworks that are “ambiguous” do not have firm themes in the traditional sense; instead, they provide more visual uncertainties and possibilities of forming new concepts. The inner values are often underlying currents that would only reveal the key ideas if viewed as a whole. In the same piece, there will be inconsistencies among wordings, contents, or both.
This kind of artwork with “intervening shades of grey” (the third state apart from two paradoxical states) often passes on two types of paradoxical feelings: the intertwining of hidden love and hate, the war between nervousness and ambiguity. This brings a new topic onto the table for arts, i.e. the coexistence of multiple meanings. The coexistence breaks the conventional aesthetic theory that arts must be consistent in meanings and contents. It also breaks the monopolization of arts and tolerates different standards with a more welcoming gesture, advocating for individual and unique standards. Invisible Bart Erby goes to lighthouse by Shi Guangzhi nonlinearly transforms large amounts of present and historical information and symbols in time and space, rendering a dazzlingly diverse world.
Behind the coexistence of multiple meanings without a certain face value, an artist may be very clear about the work – the work itself is targeted at reflecting chaos, ambiguity and mixing. Thus ambiguity can be an expression as well as a new feeling, and people living in it may eventually become cold and shallow. Yumen by J.P.Sniadecki, Huang Xiang and Xu Ruotao is centered around the Yumen city emptied by problems surrounding the living environment. The memories, imaginations and the realities acted out in the film all bring us the ambiguity through time-space, but in the end the artists successfully express the aloof feeling of sorrows and loneliness.
The presence of ambiguity appears to be especially prominent in the age of seemingly peaceful age. Unlike the colonial past where foreign countries forcefully invaded and brewed the direct hateful sentiments among the colonialized, in the post-colonial age where globalization takes place, international relations and personal interactions seem to be peaceful and hypocritical, some even poetic. The Chinese modern culture hence unavoidably enters the dilemma of neither refusal nor acceptance. Advances in Biological Engineering and other cutting-edge technologies such as cloning, transgenderization, genetic modification and artificial intelligence bring the mankind clashes of new morals and ethics. Cultural and gender identities become vague and uncertain; the boundary between humans and machines becomes complicated and ambiguous. And with the coming of globalization, the trend of interdisciplines leaves people vacillate and uncertain. The overwhelming materialistic wants and the missing of high morals have put any type of relationship at doubt, hence the people at loss.
Drama, documentary and experimental are the three fundamentals of film arts. Drama can draw audience’s attention through its subjective storytelling; documentary can resonate with our care for the humanity with its choice of topic, truthfulness and impacts; experimental films bring us eye-opening sensations and futuristic energy by playing with the contents and languages. Each of the three has its own characteristics, but the nature and the function of the art is the same: film arts enlighten, highlight responsibilities and carry eternal values and emotions. Therefore, it is wrong to have presumptions for any type of expression. In the recent years, the three genres have fused with one another and produced many experimental drama and documentaries, putting the three genres on equal footing and letting the audience examine each genre from the standpoint of artistic ecosystem. In the process of choosing the candidates for the Exhibition, many experimental drama and documentaries have stood out, generally presented in the section of long experimental drama.  These two types tend to fuse storytelling into a simple context to make the arts experimental and contemporary, preventing the traditional rigid narrative and the narrow-minded conceptualization, allowing the audience to take on their own angles on viewing the reality. The types of experimental films pave a new road for the future in terms of emphasizing the diversification of structures of scenes on the basis of terse language. Climbing Fiction by Wu Qing not only organically combines experimentation with plots, but also softens the story. The film, from the start to the end, is always accompanied by the aloofness from reality. Though it is still a narration film, but the film gives uncertainties to details, masking the fantasies, loneliness and disappointments with contradictions, absurdity and confusion. Sentimental Animal by Wu Quan, Stratum 1: The Visitor by Cong Feng and Broken Line by Wu Quan all add the element of experimentation into the storytelling, such as nonlinearity, objectivity and dramatic effects to make the stories ambiguous and complex, hence allegorizing and consolidating the themes.
Written on September 28, 2012 in Song Zhuang

张海涛策划单元部分艺术家作品

李山作品《动不动》18'35''

影片是以英国导演斯坦利•库布里克的电影《2001太空漫游》为素材,电影被拆分后,再重新架构,画面拍摄和音乐分别独立创作。短片中的电影画面在反复的快进或快退,音乐也随之快退或快进。导演希望这部从原有的电影中解构的短片角度犀利,但又不失其语言自身的力量,至少它是那个原片中对未来人类文明世界的最后通牒。

The film is based on 2001 Space Odyssey of Stanley Kubrick.
It is filmed by a mini DV though a TV screen on which the DVD of the movie was playing. The screen is speeding up forward and backward while the sound is running the opposite.
The director wanted this deconstruction of Kubrick's Odyssey to be brutal but not to lose the power of its own language, a lost language that, if failed to be a promise can at least, be that final warning about the future of our civilization.

《饥饿症》 15’30” 
编剧&导演 杨迪    
联合出品:杨迪、代萌、贺黎

有天你走在路上,发现自己左手边的口袋里手机震的难受,拿出来却又什么都没发生。又或者你洗澡的时候听到电话铃在想,慌忙出来又面对着什么都没有发生的手机。那你就要小心了,因为明天你可能和他变得一样。

《Offline》 15’30”  Writer & Director:Yang Di
Co-Presented by:Yang Di, Dai Meng, He Li

One day you’re walking down the street. Suddenly, there's something vibrating in your pocket. But when you check your phone, it turns out no call, no new message.
Another day you’re taking shower. When you hurry outside after an unexpected ringing, only to find your phone like nothing happened.
So you have my warning: be cautious of becoming the next him, tomorrow.

易连作品《暖流》
单频录像 彩色/黑白混合有声 8分47秒 2012 HD

夜晚,一片散发着热气的水域中,飘着些不知名的果子。不知要去何处的野狗在水中的灌木丛中乱窜,散放的椅子和杂乱的树枝上立着东张西望的公鸡,它的目光落在一些在水中倒立或被裹住的静止的躯体上,而野狗最后停在了一个躯体的旁边喘息,尔后又离开不知去向了。

WARM CURRENT
single channel video,colour&black and white,sound,8min 47sec,2012,HD
Night.Unknown fruits are floating on the water, excluding hot air. A finding wild dog is scurrying in the wet bushes.A cock, dissipated into the surrondings, is standing on the chair and messy branches and peering around.Its eyes rest on a stationary body in the water upside down or wrapped around, while the wild dog stopps next to a body and breaths,finally disappears.

钰柯作品PHILOMIRROPHOBIA(翡羅彌諾浮彼亞)
= PHILO(对…爱)+  MIRROR(镜子)+  PHOBIA(对…恐惧)

《翡羅彌諾浮彼亞》是‘PHILOMIRROPHOBIA’的音译。‘PHILOMIRROPHOBIA’是钰柯造的一个并不存在于英文字典的词,是一个只存在于钰柯世界的,由语言系统编织而成的符号。

电影情节的中心指向“我”的(被)凝视,这构成了钰柯作品在晦明不定的想象界认同(否定)“我”的自恋性母体。电影把对支离破碎的身体奇观的窥视,投射在同彼者粘着的纵深幻觉里;用谜图式的象征叙事,将隐秘的因果关系编码成一个徘徊于己像和彼像之间的合法机制。并联手‘PHILO+PHOBIA’所形成的自恋悖论,以此谋杀镜子施与“我”的魔咒。进而在电影里重构了一种按照被压抑的,欲望着他者的欲望,来剪裁的空无真实——不可能的存在之真。

PHILOMIRROPHOBIA = PHILO +  MIRROR +  PHOBIA
‘PHILOMIRROPHOBIA’ is a concept that emerges in Yuke's world, owing to the asymmetry in the morphology of philo- and phobic inclinations: both the prefix and the suffix are allowed to cluster around my selfless companions--mirrors.

The film's plot points back at the gaze which I feel is night and day intently fixed on "me". This is nothing else than pure Gerichtet-sein: this attention, which becomes the matrix of my creations, eventually defines me as its focus: the objective correlate of a gaze.

Under the crude light of relentless observation, the gaudy spectacle of my bedraggled body coalesces with the outreaching hallucinations and illuminations in which I am steeped. Could this be the rightful mechanism to achieve the unity of body and soul? Or is this just another riddle, accelerating the destructive back-and-forth mirror dance of appearances and substances?
Philo-, -phobia: a cruel paradox of the Narcissus is that murdering the mirror, even as it would liberate the Self from the stifling confrontation with It-self, would entails a curse to the Self, as its captured image is smattered to shards.

The next logical step is for the film to reconstruct a reality that cannot come to being; to project, into a newly opened space, an inhibited identity built on the desire of otherness.

赵域作品《从大爆炸那刻起我们从未停止过远离》27分钟

在虚构的封闭的空间中,在各自内在的世界里,影像中的人物被疏离感所紧紧包裹。既无法回到自身,更无法逃离向未知衰退的命运。两个穿梭其中的宇航员,似乎在回应在这个无法逃避的物理世界所展现的巨大而空洞的力量,正裹挟主宰着一切向着无限空旷的边缘四散滑落。就像从大爆炸那一刻开始,已经无法回头。        

 

 

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