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“荷兰视频艺术简史”展览

“荷兰视频艺术简史”展览的作品来自30位视频艺术家,他们大多数都有在近30年居住荷兰的文化背景。他们聚集了荷兰录像史上许多闪亮的瞬间。
在荷兰与欧洲,在一个“外国人”和文化多样性成为其文化以及政治焦点的年代,向30多年来为艺术界辛勤谋划和创造的艺术家们致谢是一项十分必要的文化任务。
没有这些在荷兰生活、工作着的拥有不同文化背景的艺术家们的贡献,荷兰视频艺术将无法被理解和诠释。最活跃的先行者们,最初用于展示录像作品的空间,还有荷兰艺术学院的第一批教师,他们都是拥有不同背景的艺术家。他们的工作大大丰富了30年来荷兰艺术的意义。在20世纪70年代、80年代和90年代,他们引入了全新的艺术观念,组织了一系列展览活动,制作电视节目,出版杂志,同时也把他们关于录像这个媒介的知识和探索经验传播给下一代。他们为荷兰艺术化的生活作出了巨大贡献,在新问题、意想不到的观念和非比寻常的探讨中,艺术作品逐步成熟。在扩充主体和内容的同时,他们为荷兰的艺术舞台注入了新的敏感性。 大门基金会(Gate Foundation)的这个项目涵盖了荷兰近三十年来的30个单频作品。此次展览与荷兰媒体学院合作,作品的筛选同时考虑到了在荷兰媒体学院展出的一部分艺术家作品,以便提供一幅荷兰艺术历史的综合性图景,并涉及到一些奠基性的瞬间。
该项目汇聚了很多荷兰视频艺术发展史上的里程碑式的人物:Marina Abramovic & Ulay、Miguel-ángel Cardenas、Ulises Carrión、Claudio Goulart & Flavio Pons、Raul Marroquin、Nan Hoover、David Garcia和Annie Wright、Elsa Stansfield & Madelon Hooykaas、Heiner Holtappels和Christina Linaris-Corridou,同时还有更多Babak Afrassiabi、Tiong Ang、Dan Oki、NasrinTabatabai及其他艺术家的近期作品。
此次展览在于体现这群艺术家多样性的艺术图景,他们通过一种没有边界的媒体,将荷兰视频艺术在30年中发展壮大,打破了任何边界的限制。它打开了多元文化间的宽阔纽带,也为"艺术的"对于"文化的"的审视提供了开放的讨论场所。本次展览意在建立一些新的参数,以帮助人们更好的理解这些作品及其产生的历史环境。同时,展览将一并展出三份制作于20世纪80年代的视听历史文件,以探讨关于生活居住在这个国家并拥有多元文化背景的艺术家们的问题。
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Shown at the Gate Foundation from 8 February til 8 March 2003.

A SHORT HISTORY OF DUTCH VIDEO ART is an exhibition of works by 30 video artists from a plurality of cultures and cultural backgrounds who have been working and living in The Netherlands in the last 30 years. They summarise some of the most remarkable moments in the history of Dutch video.
At a time when "foreigners" and cultural diversity have become the centre of cultural and political discussions in The Netherlands and Europe, it has become a fundamental cultural task to acknowledge the achievements and the contribution of these artists to the mapping and creation of an artistic field over 30 years.

The history of Dutch video art cannot be understood, nor explained, without the contribution of artists from a diversity of cultural backgrounds living and working in The Netherlands. The most active practitioners, the first spaces showing video work, and the first teachers in Dutch Academies of Fine Arts, were artists from a variety of backgrounds. Their contribution has enlarged and enriched the meaning of 30 years of Dutch art. During the 1970s, 1980s and 1990s, they introduced new artistic perspectives, organised exhibitions and artistic events, produced television programmes, published magazines, and passed on their knowledge and engagement with the medium of video to future generations. They contributed largely to artistic life in The Netherlands, producing works in which new questions and issues, unexpected perspectives and unusual discourses became established. In enlarging both the subject and the content, they brought new sensibilities to the Dutch artistic arena.

The Gate Foundation is presenting a programme of 30 single-channel works covering those three decades. The exhibition has been organised in cooperation with the Netherlands Media Institute. The selection of works has taken into account the works of some artists presented in the exhibition at the Netherlands Media Institute in order to offer a comprehensive panorama and to ensure coverage of fundamental moments in the history of Dutch art.

The programme includes numerous landmarks in the development of Dutch video art by Marina Abramovic and Ulay, Miguel-Angel Cardenas, Ulises Carrión, Claudio Goulart & Flavio Pons, Raul Marroquin, Nan Hoover, David Garcia and Annie Wright, Elsa Stansfield & Madelon Hooykaas, Heiner Holtappels and Christina Linaris-Corridou; as well as more recent works by Babak Afrassiabi, Tiong Ang, Dan Oki, Nasrin Tabatabai, and others.

The exhibition charts the diversity and variety of artists who have developed Dutch video art over 30 years without border constrictions, in a medium that has proved to have no boundaries. It opens up a wider connection with the transcultural, and provides an open field of discussion in which the 'artistic' interrogates the 'cultural'. The exhibition is intended to contribute to establishing new parameters that could help to produce a better understanding of the works and the historical field in which they were produced.

Together with the exhibition, three audio-visual historical documents made in the 1980s will be presented concerning the question of artists of diverse cultural backgrounds working and living in the country.

This exhibition is a contribution to Dertig jaar Nederlandse videokunst (Thirty Years of Dutch Video Art), the celebration of Dutch Video History initiated by the Netherlands Media Institute (Montevideo -Time Based Arts).
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Michelle
2009/01/27 01:49
About Nasrin Tabatabai and Babak Afrassiabi
艺术家简介:Nasrin Tabatabai 和Babak Afrassiabi

Nasrin Tabatabai and Babak Afrassiabi are Iranian artists currently based in Rotterdam, The Netherlands. Their work has been featured in solo and group exhibitions in Latin America, the United States and throughout Europe. In 2004, they initiated a long-term collaborative project called Pages. Their work with Pages includes architectural proposals, video documentation, and multi-disciplinary art projects and installations. They have also published six issues of the bilingual Farsi/English magazine Pages (www.pagesproject.net).
Nasrin Tabatabai和Babak Afrassiabi是目前基于荷兰鹿特丹的伊朗艺术家。他们的作品已收录在拉丁美洲、美国和整个欧洲的个展和群展中。2004年,他们发起了一项名为“页面”的长期合作项目。他们的作品包括建筑方案、视频档案及多学科的艺术项目和装置。他们还出版了六期波斯语/英语的双语杂志页面。

Through Pages, Tabatabai and Afrassiabi critically examine art, culture, urbanism and social issues. While maintaining a focus on the particularities of the Iranian context, they also examine possibilities for interaction and reflection between various local discourses. They continually search for conditions that may generate spaces of critique or instances of critical practice, and for ways to surpass predefined and geographically bound discourses of subjectivity, identity and locality.
在“页面”项目中,Tabatabai和Afrassiabi认真研究艺术、文化、都市化和社会问题。在持续关注伊朗背景特殊性的同时,他们还研究各地域论述之间互动与思考的可能。他们不断寻找能产生评论空间和评论实践范例的条件,并设法超越对主体、身份和地方性的预定义式论述和地域约束性论述。
Michelle
2009/01/27 01:48
Conversation with Pages
对话“页面”

Babak Afrassiabi and Nasrin Tabatabai/ Pages in conversation with Casco's director Emily Pethick. To be featured in the upcoming issue of Untitled magazine (http://www.untitledmag.co.uk/)
Casco(艺术设计及理论研究工作室,荷兰乌得勒支)的主任Emily Pethick与Babak Afrassiabi和Nasrin Tabatabai针对”页面”项目进行了一场对话。这段对话近期也将被刊登在无名杂志http://www.untitledmag.co.uk/
Michelle
2009/01/27 01:47
Conversation with Pages
对话“页面”

Babak Afrassiabi and Nasrin Tabatabai/ Pages in conversation with Casco's director Emily Pethick. To be featured in the upcoming issue of Untitled magazine (http://www.untitledmag.co.uk/)
Casco(艺术设计及理论研究工作室,荷兰乌得勒支)的主任Emily Pethick与Babak Afrassiabi和Nasrin Tabatabai针对”页面”项目进行了一场对话。这段对话近期也将被刊登在无名杂志(http://www.untitledmag.co.uk/)。
Michelle
2009/01/27 01:47
Emily Pethick: You are now working on the sixth issue of Pages, perhaps you can tell me a bit about the magazine and how it started?
你正在制作第六期“页面”杂志,能不能跟我谈谈这个杂志还有它是怎么建立的?
Michelle
2009/01/27 01:47
Conversation with Pages
对话“页面”

Babak Afrassiabi and Nasrin Tabatabai/ Pages in conversation with Casco's director Emily Pethick. To be featured in the upcoming issue of Untitled magazine (http://www.untitledmag.co.uk/)
Casco(艺术设计及理论研究工作室,荷兰乌得勒支)的主任Emily Pethick与Babak Afrassiabi和Nasrin Tabatabai针对”页面”项目进行了一场对话。这段对话近期也将被刊登在无名杂志(http://www.untitledmag.co.uk/)。

Emily Pethick: You are now working on the sixth issue of Pages, perhaps you can tell me a bit about the magazine and how it started?
你正在制作第六期“页面”杂志,能不能跟我谈谈这个杂志还有它是怎么建立的?
Michelle
2009/01/27 01:46
Pages: The very beginning of Pages was in 2003, a period of research, as well as friendships and acquaintances with various artists and cultural practitioners, as an attempt to understand the complexity of the conditions they work with in Iran, as far as it was possible. Later in 2004 we published the first issue of the magazine. However Pages was never only a magazine, it was and is a part of a larger project that seeks to create a flow of narratives and imaginations that are bound to specific conditions, both sociopolitical and cultural. We have to continuously revise and rethink
our position and approach.
“页面”的起源是在2003年,经过一段时间的研究,我与很多艺术家和文化工作者彼此认识并成为朋友,并有机会去了解他们在伊朗工作条件的复杂性。于是我们在2004年出版了第一期杂志。但“页面”从来都不只是一本杂志,它从以前到现在都是大型项目的一部分,这个项目旨在构建一个叙述和想象的思潮,而这些叙述和想象受制于社会政治和文化的特殊条件。我们必须不断地修改和重新思考我们的立场和做法。

Every issue of the magazine and the projects are another experiment in finding a conduit for that flow. One thing that we came to learn, is that there is no model or language for cultural practices that seek to address issues from a close range; especially for maintaining relevancy of time and place, both within the context that one works in and addresses, and outside of that.
每期杂志和项目都是为这个思潮寻找渠道的新实验。我们学习到一点,寻求在狭小范围内探讨问题的文化实践是无法用特定模式或语言做到的;尤其是为了保证研究对象在工作场所、居住地及其他环境里的时空相关性。

EP: Your activities often transcend the pages of the magazine, and have moved into other formats, such as installations, video essays, radio programmes and workshops. Your recent project ‘Sunset Cinema’ at Display in Prague marked the beginning of a series of projects that have looked at the geopolitical conditions that define a place, this specific place being the Iranian island of Kish, somewhere that you will continue to refer to in your upcoming project at Casco. Can you say something about the particular history of this island, and what drew you to it as a site?
你的作品往往超越了“页面”杂志的形式,而以装置、视频、电台节目和专题讨论会等其他格式呈现。你最近在布拉格展出的“日落影院”项目标志着一系列项目的启动,这些项目关注能定义某个地方的地缘政治条件,而这个地方就是伊朗基什岛,你也将继续在Casco即将开展的项目中涉及它。您能否谈谈这个岛特殊的历史,以及你为何把它当作一个重要课题?
Michelle
2009/01/27 01:46
P: The initial realisation of ‘Sunset Cinema’ took place a year before its revised version in Display, which adopted a different approach, and the work for Casco again has a different focus point when it comes to Kish. Kish is a small island in the Persian Gulf and has been functioning since before the 1979 Iranian revolution as a place for economic, architectural and touristic experiments by the state and private entrepreneurs. Politics of course played a role throughout this recent – and ongoing – history. In fact Kish could be seen as a back-lot for experimentats with modes of modernity and national and international identity. Often, to be able to address the subconscious of a centre, one has to search its peripheries. Kish offers us the possibility of a metonymical approach towards the mainland. Before the revolution – in 1978 to be exact – the island was partially developed into a private resort for the royal family and their international guests of honour. It was supposed to reflect the ‘success’ of the 10-year plan of modernisation reforms to the outside world. A year later of course the Islamic revolution confirmed its victory. Soon afterwards Kish was declared a free trade zone. This was a step towards opening up a far off island to foreign investors and tourists, mainly for economic reasons as a kind of a response to foreign embargos. Many hotels and shopping malls were built with a lot of imports from neighbouring Emirates. In the end, that little tolerated life style – with a leaning towards its western opposite – which was initially pursued to attract foreign tourists, became an attractive getaway for Iranians from the mainland. Kish in many ways has been an undecided piece of land, mirroring the (un-) desired changes on the mainland – either economic, cultural and political – in most peculiar ways.
在初步实现“日落影院”项目的一年后,我们开始研究基什,并采用了新的方法来展出,这使得我们在Casco的工作产生了新的焦点。基什是一个在波斯湾上的小岛,从1979年伊朗伊斯兰革命爆发之前,就已经作为经济、建筑和旅游的试验基地,由国家和私人企业家控制。政治当然在整个近期-以及正在进行的-历史里发挥了重要作用。事实上,基什可以被看作是现代模式、国家与国际认同的试验基地。通常在研究某个中心的潜意识时,人们必须先寻找它的边缘。基什为我们研究伊朗大陆提供了一种迂回的方式。在伊朗伊斯兰革命前—确切的说是1978年—基什岛已经局部发展为一个王室家族及其国际贵宾的旅游度假胜地。这是为了反映面向外部世界的现代化改革十年计划的“成功”。一年后,伊斯兰革命理所当然地取得了胜利。此后不久基什被宣布为自由贸易区。此举是向外国投资者和游客大力开放岛屿的第一步,主要是出于经济原因,也是作为对外国禁运的回应。接着又兴建了许多酒店和商场,而且从邻国阿联酋进口大量的商品。最后,由于当地那种接受度并不高的生活方式-与西方人的习惯恰好相反-最初是用来吸引外国游客的,后来使基什成为一个对伊朗内陆居民来说极具吸引力的港口。基什在许多方面一直是一块待定的土地,用最独特的方式-在经济、文化和政治各方面反映了伊朗内陆居民所(不)期望的变化。

EP: While you focus on the specific geo-political conditions of a place, simultaneously your title for the project at Casco -‘Undecided Utopias’ -suggests a more abstract relation to the notion of ‘place’. Can you talk a bit about your own approach to this site, and the particular focus of this part of the project?
你专注于研究某个地方特定的地缘政治条件的同时,为Casco的项目命名为“未知的乌托邦”,从而暗示着与“地方”这一概念更为抽象的关联。你能否谈谈你是如何得出这样的想法,以及项目中这部分的重点是什么?
Michelle
2009/01/27 01:45
Recently, a privately initiated project has involved up to twelve German architecture firms in a competition to design a huge international tourist and business resort. Whether it will ever be built is another issue completely. But the resulting designs are a mixture of 19th century European architecture – like the Cote d’Azure – and hyper postmodern buildings with orientalist detailing. Our approach to Kish in ‘Undecided Utopias’ is initially within the realm of design and display. The project tries to address design in its exploitation or misrecognition of localities. It is at this level that a place, when subjected to such design, is brought to a certain extra–territorial, or extra–geographic mode. But on the other hand, such excess provides the best ground for the coming together of various geographic and cultural points of views, enacted in design. In fact it is within this perversity of design that what are thought to be discords, come to outdo one anothers fantasies. In the end you cannot tell what is whose fantasy.
最近,一项私人项目已吸引了12个来自德国的建筑公司参赛,他们参与设计大型国际商旅度假中心。而它能否建成完全是另一个问题。由此而来的设计混合了19世纪欧洲建筑-正如蓝色海岸-和超后现代建筑与东方的细节设计。我们最初是在设计和展示领域进行基什的“未知的乌托邦”项目。该项目试图研究设计对地域性的探索和误读。正是在这个水平上,当某个地方被赋予了这种设计,也就被带入了一种超领土和超地理的模式。另一方面,这种超越使得各种地理和文化的观点被整合在设计中。事实上,正是在这种被视为不符常规的个性设计,成功实现了彼此的幻想。最终你无法分辨哪个是谁的幻想。

EP: These various contradictory elements are very apparent in your video, in which you interview some of the architects from the German firms that are planning the resort. In the piece one of them describes Kish as a place with no regulations, an open place for experiments. Another goes on to explain that this kind of openness would not be possible without a border or gate, thus it becomes apparent that this so-called freedom is highly regulated and controlled. In fact, their creation of a kind of international free zone creates a place that could be just about anywhere. Within cultural production there is a similar question about context as something that one either relates to or negates – i.e. notions of site-specificity or autonomy. How do you think about the question of context in this project in relation to the art context that you will present it in?
你的视频明显地集合了各种互相矛盾的元素,尤其是你对负责规划度假中心的德国建筑师的采访。其中一段有人介绍说基什是一个没有限制、开放的实验场所。另一个人接着解释说,这种开放是不可能没有边界或大门的,因此这种所谓的自由显然是在高度监管和控制之下的。事实上,他们创造了一种国际自由区,而它可以是任何地方。在文化产品的生产中也存在类似的问题,关于与背景关系的协调或否-即地域的特异性或独立性。你如何看待该项目自身的背景与你展出项目的艺术背景之间的关系?
Michelle
2009/01/27 01:44
P: The Pages projects that we have initiated since 2004 have all been focusing on circumstances specific to certain contexts, and moments in history. Notions of site specificity and autonomy do not really have the same oppositional relationship as in the past. Negation of a context can be a way of relating to it. In other words all artistic positions are context related one way or another, and it’s not about the degree of this relationship but the way and the form in which this relation is set about. Globalization has also brought with itself an awareness of contextual difference, which is read into objects and images presented to us, despite their initial intentions. The notion of a ‘free zone’ or ‘free trade zone’ is described in a specific way internationally; but in the case of Kish island, there are various, often contradictory, readings of it, depending on who and when. The word ‘free’ in the phrase sometimes suggests a kind of difference in what Kish has to offer in comparison to the mainland. This ambiguity is kept in the air for reasons of tourism and trade. There is an un-official tendency in Kish to set itself apart from the mainland, yet only on the surface.
我们自2004年启动的“页面”项目,一直都在关注与特定背景和历史时刻相关联的环境因素。地域特异性和独立性的观念并不像过去那样具有鲜明的对立关系。否定某个背景也可以是一种与它相关联的方式。换句话说,所有的艺术观点总是在某种方式上彼此相关联,重要的不是程度,而是这种关系建立在何种方式和形式之上。全球化也带来了一种对背景差异性的认知,它对我们所看到的对象和图像进行读解,无论其最初的意图是什么。国际上有“自由区”和“自由贸易区”的特定概念,但在基什岛的例子里,这种概念是很多元的,往往是相互矛盾的,对它的理解取决于谁在什么时候来读解它。有时在语句里“自由”这个词意味着与伊朗内陆相比基什能提供的一种差异性。这种模糊界限在发展旅游和贸易的借口之下得以维持。基什有一种非官方的脱离内陆的倾向,当然目前只是在表面上如此。

In the case of our practice, the specificity of a situation that is addressed functions both as a referent, a device, or dispositif to tackle more general concerns. Exploring concepts and notions through the traits of a particular situation opens up possibilities for their displacement and re-articulation, and other connections and participations. It is basically about offering a re-reading of concepts through real events and other histories. It is hard to say how exactly this relates to art. But we suppose what defines its relation to the art context is the spectators’ and the art institutions’ cultural, ideological and historical positioning towards what is at issue in a work.
在我们的实践中,某个地域的特殊性被当作一个参照、策略和机制,以解决更多的普遍问题。通过某个特殊地域来理解某个概念和观念,为将来对这些概念和观念进行置换和重读,以及其他的连接和参与提供了可能。基本上它是通过实际活动和其他历史来提供一种重读的概念。现在还很难说究竟如何这与艺术有多大关联。但我们认为,与艺术背景的关联性取决于,在某个作品的争议性方面,观众和艺术院校的文化定位、意识形态定位和历史定位。
Michelle
2009/01/21 15:49
Art Sheffield 08: Yes No Other Options
16 February - 30 March 2008
City-wide contemporary art event
谢菲尔德08艺术节:『是,非,其他可能的选择』(英国谢菲尔德当代艺术论坛)
2008年2月16日-3月30日
城市当代艺术节

Art Sheffield 08: Yes, No & Other Options took place from 16 February - 30 March 2008 in venues across the city including Bloc, End Gallery, Millennium Galleries, S1 Artspace, Site Gallery, Yorkshire ArtSpace, temporary venues and the public realm.

谢菲尔德08艺术节:『是,非,其他可能的选择』将从2008年2月16日-3月30日
在包括Bloc(英国音乐节),End画廊,千禧美术馆,S1艺术空间,约克郡艺术空间,临时场馆及公共区域展出。

Taking as its foundation a specially commissioned essay by art critic Jan Verwoert, this city-wide exhibition addressed the fact that in a post-industrial condition, one particularly pertinent to Sheffield, we have entered into a service culture where we no longer just work, we perform in a perpetual mode of ‘I Can’. (Even advertising tells us that ‘Life gets more exciting when you say yes’).

以特邀艺术评论家Jan Verwoert的文章为基础,这个城市展览旨在表明这样一个现实,在后工业条件下,与谢菲尔德特别相关的是,我们已经进入了服务文化,我们不再只是工作,我们执行一个叫做“我可以”的永久模式 。(甚至连广告都告诉我们,“当你说是的时候,生活变得更令人兴奋”)。

Verwoert asks, “What would it mean to put up resistance against a social order in which high performance and performance-related evaluation has become a growing demand, if not a norm? What would it mean to resist the need to perform?” He suggests that certain means of resisting are in themselves creative - that as well as embracing exuberant performativity, art has also used the ‘ I Can’t’, by creating moments where the flow of action is interrupted, established meanings are suspended and alternative ways to act become imaginable. He suggests that as well as yes and no, there may be other options.

Verwoert问道:“如果我们提出反抗社会秩序,而在这个秩序中高性能和业绩相关的评估已经成为一个日益增长的需求,假若没有这个规范了,那会意味着什么?抵制执行的需要意味着什么?”他认为,某些抵制手段本身就极具创意-这也包括丰富的表演性,艺术也通过制造某些行动潮流被中断的时刻来表现“我不能”,在这里传统的意义被搁置,而选择其它方法来行动成为可能。他暗示,就像存在是与非一样,这个世界有其他选择的可能。
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