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I would like to discuss my works into two perspective, the first one is the form perspective. Every time when I see the exhibitions or artworks, my first impression is the media and the form of the works. My first impression will decide that if I want to explore more in the works and the exhibitions or not. In my process of finishing the work, the first step is the concept and the idea, and then the second one is to think about the form. In some cases, the form will be the first step in my works. Due to this, to research the theories of different art forms is necessary for me. The second part is the content perspective, it is more difficult to define but I think to research more related theories can make the works go further and deeper. Although I divide my research into two perspectives, they are still inseparable and will interact with each other. The following text is my brief notes and the source for the preliminary research.

From the form perspective

-Media art

http://www.medienkunstnetz.de/

perceptopn/perforance/Social Technologies/Virtual Narrations/Immersion and Interaction

 

Even technology is wrong to regard tools for their own sake:these latter only exist in relation to the mixtures which they make possible and which make them possible.

A society is defined by its alloys and not by its tools. (Gilles Deleuze)

 

The installation - that arrangement of unconnected things in space - is a commonplace in contemporary art. It encourages relations: relations between the artistic act and the space in which it is presented, between the artist and those involved in the exhibition, between the visual arts and stagecraft, between the exhibition and the way it is received, between art and life. In this sense the installation is invariably situated more or less in the experimental arena, encompassing experiment and performance, whether it has to do with technology, institutions or relations with the public. Grappling with the real and the present-day, it forms a critical space of definition, re-definition, and de-definition, all operational modes in our world as it stands, whether it involves its economy, its media coverage, or its forms of communication, its perceptible and aesthetic models, and its history. It involves all these parameters in complex artistic devices which seem more like living bodies than inert objects incorporated within a definitive form.

 

As a open work, if ever there were, the installation create a tension between hybrid materials and heterogeneous spaces on the one hand, and procedures of perception of thought on the other, borrowed from fields as varied as the cognitive sciences, genetics, the physical, social and political sciences,  and art and its various histories. It is a reflection of contemporary experience, which explains the interest it arouses both among artists and among actor-spectators. Its moving and variable forms, which are both adaptable and deterritorialized, echo our present-day life-style, split between ever more invasive technological habits, which tend to strip their objects of their reality, and the real and perceptible world in which our bodies try to exist. Caught in exponential speeds, but speeds nevertheless with variable geometry (south and north, centre and periphery, do not move at the same pace), we use installations to test the relativity of these speeds, which in turn authorizes us further to imagine acceptable representations of our own time-frames, over and above models dictated by a globalized economy. (New Media Collection 1965-2005 Centre Pompidou)

 

-video art

If modernist theory found itself defeated by such heterogeneity - which prevented it from conceptualizing video as a medium - modernist, structuralist film was routed by video's instant success as a practice. For, even if video had a distinct technical support - its own apparatus, so to speak - it occupied a kind of discursive chaos, a heterogeneity of activities that could not be theorized as coherent or conceived of as having something like an essence or unifying core. (Rosalind E. Krauss. " A Voyage on the North Sea: Art in the Age of the Post-Medium Condition, London: Thames & Hudson.2000, p.31.)

 

Video invariably proposes an experience in the present, and the installation updates the presence by means of its performatory nature.

 

By seeking a place in the art arena, video has questioned habits and posited as an artistic problem the relation between outside and in, public and private, light and dark, individual and group, restriction and freedom, attenuation and consumption.

 

The spectator’s physical and mental displacement is also brought on by a typical form of video installation: the broadcasting of looped image must comply with the length of the exhibition, and must thus be repeated indefinitely—, the loop has effects on perception and the representations constructed by the spectator. The loop creates a temporal hiatus in the sense that it breaks the arrow of time and its inexorable advance by reiterating the same movement and the same period of time is equal from a technical viewpoint, it is not perceived in the same manner. Each return permits an advance of consciousness, either because this latter tries to verify a hunch or a sensation by involving the immediate memory, or because its hypnotic effect plunges the spectator into a melancholy from of introspection-the loop as a figure of the Eternal  Return—, or because by proposing a fixed point like a temporal sculpture, a sort of temporal environment, it frees up the spectator’s mobility; he can thus revolve around this time and perceive it as a basic datum of his representation. Some artists make the most of this visual and auditive ritornello with the aim of exhausting the form and doing completely away with biological time (destabilizing projects per se): Ugo Rondinone, Aernout Mik, Pierrick Sorin, all creat on the basis of the repetition of a vacant mental space suitable for the projection of forms of unconsciousness which are altogether hard to describe. The frequentation of these devises leaves behind in the mind traces of encounters with a stranger, at once ourselves and another, at once near and far; these traces disorient still further our most conventional expectations.

 

For it is indeed the spectator’s expectations which are jostled in all these forms of reversal and disorientation: the spectator expects a spectacle and it is an event that is proposed to him, a temporal event in which he pays an essential role because he is at once the subject and object of it to varying degrees. This off-centering also affects expectations in relation to the medium, its history and its praxis: the video installation absorbs the time-frame of the photo, the film, and television, not forgetting painting and theatre, by getting them to play—the way we say that there is some play between two mechanical pieces—on the limits of their specific qualities. Against all things normative and against any attempt at classification, these disorientation proposals offer a chance for individuals so wishing to undergo the experiment and the experience, and withstand the conventions which govern the imaginary and consciousness for the purposes of economic control. The undertaking is a risky one, but certainly related to the generalized disorientation which hallmarks our day and age. Nor do contemporary fiction and narratives sidestep the ordeal of a disorientation which considerably modifies their forms: the linear model of the projected film narrative has been challenged by artists since the 1990s.(New Media Collection 1965-2005 Centre Pompidou)

 

Reference:

Rosalind E. Krauss, A Voyage on the North Sea: Art in the Age of the Post-Medium Condition

Jacques Rancière, The Future of the Image Verso

Marita Sturken, Lisa Cartwright, Practices of Looking: An Introduction to Visual Culture

Henri Bergson, Matter and Memory

New Media Collection 1965-2005 Centre Pompidou

-performance art/participatory art

We know it to be virtual, a telematic construction, yet we live its reality. This is so because we see that, everywhere and at all times, reality has always been constructed and mediated by the ultimate technology – human language – in all its varied philosophical, cultural and technological configurations. Interactive telecommunications – telematic technology – is language before it is anything else. It speaks us – that is, gives us new language – and in doing so at our human best, it speaks a language of cooperation, creativity and transformation. It is the technology not of monologue but of conversation. It feeds fecund open-endedness rather than an aesthetics of closure and completion. Interactive telecommunications is a technology that empowers the individual to connect with others. (Roy Ascott)

Reference:

Claire Bishop, ARTIFICIAL HELLS: Participatory Art and the Politics of Spectatorship

Roy Ascott, Editorial, Connectivity: Art and Interactive Telecommunications, Special Issue of Leonardo 24, No.2, 116(1991).

From the content perspective

In short, in the most interminable of dialectics, the sheltered being gives perceptible limits to his shelter. He experiences the house in its reality and in its virtuality, by means of thought and dreams. It is no longer in its positive aspects that the house is really "lived," nor is it only in the passing hour that we recognize its benefits. An entire past comes to dwell in a new house. The old saying: "We bring our lares with us" has many variations. And the daydream deepens to the point where an immemorial domain opens up for the dreamer of a home beyond man's earliest memory. The house, like fire and water, will permit me, later in this work, to recall flashes of daydreams that illuminate the synthesis of immemorial and recollected. In this remote region, memory and imagination remain associated, each one working for their mutual deepening. In the order of values, they both constitute a community of memory and image.

 

Thus the house is not experienced from day to day only, on the thread of a narrative, or in the telling of our own story. Through dreams, the various dwelling-places in our lives co-penetrate and retain the treasures of former days. And after we are in the new house, when memories of other places we have lived in come back to us, we travel to the land of Motionless Childhood, motionless the way all Immemorial things are. We live fixations, fixations of happiness. We comfort ourselves by reliving memories of protection. Something closed must retain our memories, while leaving them their original value as images. Memories of the outside world will never have the same tonality as those of home and, by recalling these memories, we add to our store of dreams; we are never real historians, but always near poets, and our emotion is perhaps nothing but an expression of a poetry that was lost. Thus, by approaching the house images with care not to break up the solidarity of memory and imagination, we may hope to make others feel all the psychological elasticity of an image that moves us at an unimaginable depth. Through poems, perhaps more than through recollections, we touch the ultimate poetic depth of the space of the house.

Reference:

Gaston Bachelard, The Poetics of Space

Gong Jow Jiun, Dispositif of Body: Merleau-Ponty at the Limits of Phenomenology

Maurice Merleau Ponty, Eye and Mind