L 李振华

光影映像

Image Film

第二届香港巴塞尔艺术展即将于2014年5月15日至5月18日在香港会议展览中心举行。来自39个国家及地区、245间顶级艺廊将参与到这一盛会,除了延续上一届的主展区“画廊荟萃”,呈献亚洲重要艺术家策展及主题鲜明展览的“亚洲视野”、为新晋艺廊提供展览平台的“艺术探新”,及展示全球知名艺术家的大型雕塑装置艺术的“艺聚空间”外。大会更与香港艺术中心合作,首次推出“光映现场”(Film)专区,并请来李振华担任策展人。

The 2nd Session Art Basel Hong Kong will be held in Hong Kong Convention and Exhibition Centre (HKCEC) from May 15th to May 18th, 2014. 245 top grade art galleries from 39 countries and regions will participate in the grand meeting, except for the “Gallery Assembly” in the main zone that continues last session, “Asian Vision” that presents the significant artists’ plans and clear theme in Asia, “Art Explore” that provided exhibition platform for the Xinjin Gallery, and the “Art Collects Space” of large-scale sculpture art from global famous artists, the convention further cooperates with Hong Kong Arts Center, firstly promotes “Film” zone, and invite Mr. Li Zhenhua to undertake as the curator.

李振华身兼策展人、多媒体艺术家及制作人三职,同时也是北京艺术实验室(Beijing Art Lab)创办人兼总监,1996年开始从事艺术工作,涉及展览策划、艺术创作和项目管理领域,作为国内第一批职业策展人,致力于当代新媒体艺术的多元呈现,现担任瑞士保罗克利美术馆夏日学院推荐人(2010年至今),瑞士Prix Pictet摄影节推荐人(2010年至今),2014年将担任英国巴比肯中心(Barbican Centre)国际展览《数字革命》(digital revolution)的顾问和推荐人。

Mr. Li Zhenhua bears the curator, multimedia artist and producer at the same time, and the founder and chief director of Beijing Art Lab, since 1996, he commenced to the work of art, involving the fields of exhibition planning, artistic creation and project management, as the domestic first batch of professional curator, he is devoting to the multielement presentation of modern new media arts, currently, he holds the post of the referrer of Summer School of Zentrum Paul Klee (from 2010 to now), and the referrer of Switzerland Prix Pictet Photography Festival (from 2010 to now), and will be the consultant and referrer of International Exhibition Digital Revolution of Egnland Barbican Centre in 2014.

“光映现场”作为本届香港巴塞尔艺术展的新增单元,无疑是最引人注目的部分之一,所有在“光映现场”展出的作品都来自今年入选的画廊。将连续三晚,每晚放映2至3小时的实验影像作品。在主办方一月底宣布今年参展画廊名单后,其新增部分“光映现场”的申请亦同时截止。在北京举办的巴塞尔香港艺术展媒体发布会上,李振华作为“光映现场”单元的负责人透露已经收到了140个申请,反应热烈。

The “Film” is the new increase unit in this session of Art Basel Hong Kong, undoubtedly, it is one of the most noticeable parts, all the works that exhibited in the “Film” is came from the selected gallery. It will show 2 to 3 hours’ experimental image works in the continuous three nights. After the sponsor declares the participants list of gallery this year in January, and the new increase part “Film” application will be terminated at the same time. In the media conference of Art Basel Hong Kong that held in Beijing, Li Zhenhua, as the principal of the unit of “Film”, has received 140 applications with fervent reactions. 

Fospel: “光映现场”是香港巴塞尔艺术展今年新增的单元,香港在影像艺术上的作为有目共睹,这样的增设是不是也是对香港本土影像的一种致敬?这个单元在之后还会不会得到延续?

Fospel: The “Film” is the new increase unit in the session of Art Basel Hong Kong this year, as we witnessed, such an increase is a kind of respect on the Hong Kong Local image in the image art, isn’t it? Will this unit continue in the future?

李振华:当然是,尤其其中涉及到的香港艺术家,以及一系列和文化迁徙有关的话题,对香港的致敬不但停留在影像工作上的上下文关系,同样针对中国传统遗留、新社会秩序、经济和科技发展所构成的张力的一种回应。整个单元饿策展也是有着这样的一种愿望,在一个全球共有的知识系统和现实中,找到能被解读的线索,静静的反思。整个项目当然会延续下去,这个项目的开设是从一个很小的范围开始,逐步的拓展,希望能构成与商业展会不同的风格和气质,并能够联动当地的文化机构,活跃当地的文化。

Li Zhenhua: Of course, especially the involved artists of Hong Kong, and a series of topics that related to culture migration, the respect on Hong Kong not only rests on the context of image work, but also aims at a sort of response to the tension that constituted by the Chinese traditional legacy, new social order, economy and scientific and technical development. The whole unit’s planning is of such a wish, in the globally common knowledge system and reality; we can seek for the understandable clue and reflection silently. The whole item will continue certainly, the establishment of such a project is begun from a small scope, and the gradual development, we look forward to shaping the style and temperament that differed from the commercial exhibition, and link with the local cultural institutes to activate the local culture finally.

Fospel: 这次对于放映作品的选择,有没有具体的考量标准?

Fospel: The selection of this film works whether has specific measuring standards or not?

李振华:当然有,这与我在这个领域的工作现实有关,当然我也在试图尽量多的避免经验主义的东西,试图客观的看待这个项目,将观众的视角和可被理解的知识作为出发点。这样项目就指向了一个易于接受,并保持独特姿态的情况。艺术除了深度还有趣味,还有对媒介的贡献,还有一点小小的无聊和抵抗。而针对每个艺术家,唯一的标准就是时长,因为每个个体都是非常独特的,而时间却对每个人都公平。

Li Zhenhua: Yes of course. It has some relationship with my work condition in this field, and certainly I am trying more things to avoid the empiricism, and attempt to look upon this item objectively, start from audiences’ angle of view and understandable knowledge. So the item points to an acceptable and unique status. Apart from depth and funs, art has contribution to the medium, but a little bit boring and resistance. However, as for each artist, the only criterion is duration, because each individual is very particular, but time is fair to everyone. 

Fospel: 能否介绍下“光映现场”的呈现方式以及你是以什么样的触觉和眼光来达到这次策展的目的?

Fospel: Could you please introduce the modes of presentation of “Film”, and what kinds of tactus and vision to express the purpose of planning? 

李振华:我将展出的内容划分为六个大的类别,主要是因为这更易于解读和理解,如动画类别中所包含的toposcope描线动画,手绘逐格动画,以及三维动画等等,所组成的一个系列,从技术和样式到艺术思潮,这是我在工作中的一个方法。我试图避免从过于宏大的文化观念出发策展的方式,更希望我的工作通过具体方法得到推进,并在类型化和技术的层面提供一个线索,再于文化的倾向和思想的深度,推演一个线索,而这样的方法所构成的交叉,是我喜欢的。所谓的易于理解也指向那些可以被认知和理解的基础知识,并在这之外提供一种个人的经验。

Li Zhenhua: The exhibited contents will be divided as 6 categories, mainly because it will be easier to read and understand, such as the toposcope line tracing painting contain in the category, the freehand sketching is painting step by step and the three-dimensional animation and so on, all the series constituted here is one method in my work from the skill, style to artistic ideological trend. I try to keep away from the over-grand cultural concept, and promote via the specific method from my job, and supply a clue in the layer of categorization and skill, and then research on the cultural trend, so as to deduce a thread, herein the cross formed by this method is my favorite. The so-called feasible understanding is the basic knowledge that can be perceived and understood, besides, which is my individual experience otherwise. 

Fospel: “光映现场”是否会侧重于作品与观众之间的互动性?

Fospel: The “Film” whether emphasizes on the interactivity between works and audiences or not?

李振华:我们的项目没有互动这一环节,也许之后会有。整个项目是对电影的致敬,是对录像艺术的致敬,是对艺术家行动的致敬,是对动画的致敬,是对美的致敬。这完全不同于新媒体介入的姿态,整个项目提供的还是观赏的经验。

Li Zhenhua: There is no interactivity in our items, may be yes in the future. The entire item is a salute to movie, and a salute to video art, and a salute to artists’ actions, and a salute to animation and a salute to beauty, which totally differ from the gesture of new media intervention, and the whole item is to supply enjoyable experience. 

Fospel:在公共区域播放实验影像作品,会不会形成回馈断链?如果影像作品的时长过于冗长,有许多观众并不能完整地看完作品,那么观众的体验情绪也是缺失的,你怎样看待这种现象?

Fospel: Play experimental image works in the public area whether shapes feedback chain scission or not? If the time of image works is too long, lots of audiences cannot see the works completely, so the experience and emotion of audiences may be a deficiency, how do you consider such a phenomenon? 

李振华:这也正是我特别想避免的,因为展览的具体地点在香港艺术中心,而不是博览会,其中人的流动不会像录像艺术的观摩,更像是影院的方式,可能现场会比想像的更值得期待。

Li Zhenhua: That is what I would like to avoid especially, due to the specific location of exhibition is Hong Kong Arts Centre, but not Exhibition, the flow of people will not the viewing and emulating like video art, but more the method of cinema, maybe the site more deserves us to expect than that in the imagination. 

Fospel: 你怎样解读新媒体艺术的推进与新媒体技术的发展之间的关系?有许多人认为新媒体艺术就是将平面艺术通过影像技术媒体化,那么你认为从技术手段中表现艺术审美的方式,会不会因为强调对技术的关注而削弱了作品本身的审美趣味?

Fospel: How will you unscramble the relationship between the promotion of new media art and the development of new media technology? Many people deem that the new media art is to mediumize the graphic arts via image technology, so from the technical means, the method of artistic aesthetics presentation, will it weaken the aesthetic funs of works itself due to the focus on the technology?

李振华:新媒体真的是一个非常复杂的话题,是指向未来的知识的综合体,并有着前瞻的实践精神。新媒体于我的理解,是包含着:生物艺术、机器人艺术、社群艺术等等领域的,并不简单的就是基于屏幕和时间的艺术,而这个概念的由来主要还是针对绘画、雕塑与空间的关系。具体的审美趣味,因为不是立体化和涉及到空间的作品,其趣味更加偏向于电影的观赏和群体观影的体验。技术永远与审美并存,技术和审美也都相互改善。

Li Zhenhua: The new media actually an extremely complicated topic, which is a complex to point to the future knowledge and is of the perspective practice spirit. As my understanding, the new media contains lots of fields in biology art, robot art, social art and so on, which is not simply based upon the art of screen and time, however, the origin of this concept mainly is to aim at the relationship among painting, sculpture and space. Because the specific aesthetic taste is not a three-dimensional works or involved with space, the taste is partial to the enjoying of movie and the experience of group watching. The technology always coexists with aesthetic appreciation, and the technology and aesthetic appreciation shall be perfected mutually. 

Fospel: 有过许多国内国际的策展经历,这次香港巴塞尔艺术展与之前相比,有什么不同?

Fospel: You have many exhibition planning experience at home and abroad, compared with the previous ones, what is the difference in this Art Basel Hong Kong?

李振华:这是我经验中没有的部分,我对体制和艺术的运作机制感兴趣,具体的不同不在于展出,而在于其内部的运作模式,我还在学习之中。

Li Zhenhua: It is out of my experiences, I am interest in the operation mechanism of system and art, and the specific difference is not in exhibition, but the internal operation mode, and I am studying herein.