“玩”监控:当代艺术协作式影像实践中的“监控个人主义”--以《蜻蜓之眼》为个案

“Play” Surveillance: “Surveillant Individualism” in the Collaborative Film Practices of Contemporary Art: Taking “Dragonfly Eyes” as a Case

当监控视频技术与日常生活的关系日益紧密,当代艺术能否超越全景敞视主义的批判视角,发掘监控视频和个人之间的积极关联?国际知名当代艺术家徐冰从互联网获取近万小时公开的监控视频素材,剪辑制作成81分钟的剧情长片《蜻蜓之眼》。通过对这部作品的讨论和阐释,本研究认为《蜻蜓之眼》这一当代艺术作品以艺术家和公众共同参与的协作式影像实践,凸显了"监控个人主义"的意义:个体有可能以主动"玩"监控的方式实践虽然有限,但在新技术时代的日常生活层面具有积极意义的社会参与。

As the technology of surveillance video becomes more closely related to everyday life, can contemporary art explore the positive connection between surveillance video and individuals, beyond the critical perspective of panopticism? XU Bing, an internationally renowned contemporary artist, collected nearly 10,000 hours of surveillance video clips online,created and edited them into an 81-minute feature film "Dragonfly Eyes". Through the discussion and interpretation of this art work, the research believes that the contemporary art work highlights the significance of "surveillant individualism" in the collaborative film practices which the artists and the public participated together: the individual may practice limited but positive social participation via "playing" surveillance in the everyday life of the new technology era.