艺术北京：影像北京主题展——“N/1 混合媒介”展
Photo Beijing Thematic Exhibition — “N/1 Mixed Media” Exhibition
主办：影像北京·当代艺术博览会
Sponsored by: Photo Beijing · Contemporary Art Fair
艺术总监：赵力
Art Director: Zhao Li
策展人：吴秋龑 李斌
Curators: Li Bin and Wu Qiuyan
论坛项目总监：滕宇宁
Project Director of the Forum: Teng Yuning
开幕地点：中国农业展览馆
Location: China Agricultural Hall
展览时间：2010年4月30号—5月2号
Date: 2010.4.29—5.2
“N/1混合媒介”：这个时代文化似乎进入到一种思辨与革新的交叉状态，信息体系同步着多种文明碎片，近百年来派生出的大电子范畴的技术介质导致艺术主体与其使用的媒介之间产生了观念级的变化，从媒介本身的传播学文化意义上分析，媒介的形式作为其内容指向的另一种媒介具有更开放的能动结构。如在电影诞生时的那种材料学式的技术将现实空间的视觉感受转化成文化通感的平行世界。这里提到的媒介是基于新科技层面的艺术，而这些在西方的历史进程中渐进产生的各新媒介艺术手段，在上世纪九十年代左右同步传入中国，各媒介缺失的客体价值语境，促使国内创作者的阶段性思维呈现出一种混合的态势，这种心境将群体潜意识中的圈子化文化的禁锢得以释放，融入更多民族与民主式的修辞。本次展览提到的媒介转换、混合呈现、N/1体验等媒介艺术思考正是在这种语境之下量化艺术的气质使之更具东方文脉形态。
媒介转换：这里提到的媒介转换更多传达的是一种媒介观念的思维状态，它将文化的混合标签优化而不是美化：不同材料媒介与创作者的使用选择之间，文化观念反思与新兴媒介置入时的形式互换之间，媒介本体探索与民族前卫定位之间。在这些“之间”之后是观念影像技术、新技术媒介创作、思维艺术的技术反思、东方影像思维语境、独立思维影像的学院性、实验媒体艺术与技术等时效问题。
混合呈现：混合意味着媒体艺术在现实空间的文化重构，但呈现不单一是形式的某种蜕变或者直觉传播，也许新媒体实验影像与现场、空间媒体艺术与现实、公共文化空间与实验体验、流媒体异术、类剧场实验空间、新媒体实验电影艺术、幻术现场文化、流意识快拍，个体空间摄影等思维空间正是这种状态的延续。
N/1体验：当代展览传统“观者”的视觉经验方式以一种缺失的意识游走于各种异术之间，他们的潜在渴望是感知文化，体验艺术。然而展览模式的固化色彩似乎在阻碍多种感知文化的通道，这里的N/1展现出体验的状态，最大程度的活化视觉之外的通感信息，让思维媒介正在融入形成“时空”与“体验”。
“N/1 Mixed Media”:The culture of the times seems to enter into a cross status of speculation and innovation, in which the information system synchronizes various civilizations fragments. The technological media of electronics category developed in around 100 years lead to the conceptual changes between the artistic subject and its applied media. According to the analysis on the media’s communicational cultural significance, as another medium for its content-orientation, the form of media possesses a more open dynamic structure. For example, when the movie was created, the technology of material science style transformed the visual experience of realistic space into a parallel world with cultural synaesthesia. The media mentioned here refer to the art based on new technology. The various new media art means gradually came into being during the history of the western world were introduced to China in 1990s. The situation that various media lack object value context, renders the periodic thoughts of the domestic originators present a mixed status. This mental state releases the prohibition of circle culture in the subconsciousness of the group and blends in more national and democratic expressions. The media art considerations mentioned in this exhibition, such as media conversion, mixed presentation and N/1 experience, are trying to quantize the essence of art in this context and make them look more suitable in the eastern context.
Media conversion: the media conversion mentioned here actually expresses a thinking status of media concept. It optimizes instead of beautifies the mixed labels of the culture: between different material media and the using choices of the originators, between the cultural concept reflection and the forms interchange at the time of the rising media imbedding, between media identities research and national advancement positioning. Behind these “between” are the prescription problems such as the concept photo technology, the creation of new technology media, the technological reflection of thinking art, the eastern photo thinking context, the academicism of the independent thinking photo and the experiment media art and technology.
Mixed presentation: mixing means the cultural reconstruction of media art in the realistic space. While presentation doesn’t only mean some transmutation or intuition transmission, maybe the thinking spaces, such as new media experiment photo and spot, spatial media art and reality, public cultural space and experiment experience, streaming media art, theatre-type experiment space, new media experiment film art, magic on-site culture, streaming consciousness snapshot and individual space photographing, are the extensions of this status.
N/1 experience: the traditional “watchers” of the contemporary exhibition acquire their visual experience in this way: they watch the works of various art forms unconsciously. Their potential aspirations are to perceive the culture and experience the art. However, the exhibition mode has its own solidification colors
撰文：吴秋龑 Written by: Wu Qiuyan
关于观看：由于摄影机、摄像机的普及将我们自觉或不自觉地带入了一个读图、观影时代。影像与多媒体的出现不仅仅打开了一扇门，为当代艺术赢得了更自由，更广阔的空间，更成为表现和记录艺术的最好文本，独立成为当代艺术极为重要的一环，成为一种结合了行为艺术、装置艺术一种观念性的综合视觉形态。
与影像艺术的发展相符相成的就是“观者”也逐渐进入这个与过去人文时代完全不同的由数理、胶片、电子像素构成的“新空间”，放弃了仅仅从影像作品的拍摄手法、切入角度和呈现方式这一局促空间徘徊,而以一种全新意义的“观看”来解读这种新艺术形态，这种“观看”不仅仅是对影像艺术所抓住的美好瞬间的欣赏，也是一种对其所映射出深层的内心映像的关怀。
“观看”希望观者能够从作品中发现“图像”之美与观念之“美”。因为无论艺术对现实、过去与当下有何种不同的理解，“美”才是艺术永远的主题。
About watching: due to the popularization of cameras and VCRs, we consciously or unconsciously enter into an age of watching photos and films. The emergence of photos and multimedia not only opens a door to win more free and broader space for contemporary art, but turns into the best text to express and record the art. Moreover, it independently plays an important role in contemporary art and becomes a conceptual comprehensive visual form combining action art and installation art.
The “watchers” who are closely related to the development of photo art gradually enter into the “new space” which is composed of mathematic theories, films and electronic pixels and is totally different from that of the past humanity times. They have abandoned the old ways of appreciating the photo works only from their photographing techniques, photographing angle and presentation ways and appreciate the new art form through the brand new “watching” approach. The “watching” not only makes the watchers appreciate the beautiful scene expressed by the photo works, but makes them care about the inner image reflected in the photo works.
The “watching” wishes that the watchers can discover the beauty of “picture” and the “beauty” of concept in the works. Since no matter how different the art interprets the reality, the past and the present, “beauty” is the eternal theme of the art.
撰文：李斌Written by: Li Bin
单元部分：
“凝式”Unit：隋建国、刘旭光、董文胜、蒋志、张锰
Condensing Form: Sui JianguoLiu XuguangDong WenshengJiang ZhiZhang Meng
“思维”Unit：缪晓春、张小涛、吴俊勇、卜桦、雷磊
Thought: Miao XiaochunZhang XiaotaoWu JunyongPo HuaLei Lei
“记忆”Unit：吴文光、汪东升、陈卓+黄可一、迟鹏、刘韧、金闪、邱炯炯
Memory: Wu wenguangWang DongshengChen Zhuo + Huang KeyiChi PengLiu RenJin shanQiu Jiongjiong
“观境”Unit：王庆松、吴晓武、洪磊、马良、於飞、刘刚、蔡鸿硕
Observation Context: Wang Qingsong Wu XiaowuHong Lei MaleonnYu FeiLiu GangCai Hongshuo
“思意”Unit：崔岫闻、林菁菁、史国威、陈维、老六、刘志一
Thinking Sense: Cui XiuwenLin JingjingShi GuoweiChen WeiLao LiuLiu Zhiyi
“野盒计划”Unit：大猫、谭奇、吴玮禾、盛洁、丁昕、李常青、吴秋龑、丰江舟、白崇民、薛挺、宋松、李增辉、商亮、刘诗园、李道士、李斌、凤妞儿、高媛、入江敬仁等
Wild Box Plan: Da MaoTan QiDing XinSheng JieLi ChangqingWu QiuyanFeng JiangzhouBai ChongminXue TingSong songLi ZenghuiShang LiangLiu ShiyuanLi DaoshiLi BinFeng NiuGao YuanIrie Keiji
展览空间：用多种媒介形式与不同的空间布局合成全新的“空间媒介”，给传统观者以“通感体验”
论坛项目主题：媒介现场的混合体验——现代艺术场馆的体验性媒介实验
Forum Theme: Media scene mixed experiment——Experiencing Media experiment of Modern art space
主办：艺术北京 北京大学视觉与图像研究中心
Orgnizers：Art Beijing Center for Visual Studies, Peking University
地点：中国农业展览馆VIP厅
Location: China Agricultural Hall VIP
时间：2010年4月30号—5月2号 下午3:30-4:30
Date: 2010.4.29—5.2 3:30-4:30
鸣谢：中国数字艺术协会 北京大学视觉与图像研究中心 艺术档案网 中国影像艺术年展项目组 译象ET-AC
