媒介融合与跨文化协商——中国当代影像艺术初期本土化的两个面向

Synthesis of Mediums and Trans-cultural Negotiation:Two Orientations of Contemporary Chinese Video Art's Initial Localization

上世纪80年代末90年代初,录像作为一门新媒介在中国的出现让少数中国艺术家看到了实施新艺术实验的可能。脱离了西方录像艺术的原生语境,并承继了现代艺术运动的前卫性,录像艺术在中国的文化土壤中开始了本土化进程。在这其中有两个较为突出的面向,一是将绘画、电影等媒介的观念和美学特点与录像创作进行跨媒介融合;二是以录像显示器与空间的组合装置形式进行文化层面的跨文化协商。这两个面向以中国的现代性问题为基准,从作者自身的创作理念及作品的内在逻辑结构出发,对中国当时的社会文化环境及当代艺术发展现状作出了个性化回应与阐释,同时勾勒出中国当代影像艺术的初期发展面貌。

In the late 1980s and early 1990s, the emergence of video as a new medium in China allowed a small num- ber of Chinese artists to see the possibility of implementing a new form of art experiment. Detached from the context of the Western video art, and inherited the avant-garde of the modern art movement in the 1980s, Chinese video art began the lo- calization process within its own cultural context, in which there are two distinct orientations ： First, the synthesis of video and other media such as painting and film with their concepts and aesthetic characteristics, and second, the engagement of the trans-cuhural negotiation through video installations in the form of the combination of display screens and space. These two orientations, based on the modernity issue of China, start from the artists own creative ideas and the internal logical structures of their works. They also provide a unique and personalized response and explanation for both social and cultural environments and for the developments in contemporary art in China. In addition, they shed light on the initial development stage of Chinese video art.