What is the visual art in the western modern art trend of thought?

The fifth lecture, "Lu Hong talks about China's avant-garde art", focuses on the sudden emergence of contemporary sculpture in China. Lu Hong, a researcher at Shenzhen Art Museum and a famous art critic, continues to explain the emergence and development of China's video art in this issue.

Lecture hall article

Image art generally refers to all high-tech arts, including conceptual photography, image art, computer digital art and FLASH.

From the perspective of time, we have every reason to believe that the appearance of China's video art has been influenced by western video art: first, since the 1990s, video art has gradually replaced installation art and performance art, and has become the mainstream in many important exhibitions in the west; Secondly, a great deal of image art in China can be found in western picture books. Perhaps, this should be regarded as a necessary stage, or the price that imitation must pay. However, this fact is supported by the fact that since the mid-1980s, various new media and their public images have entered China society on a large scale. This objective realistic environment makes sensitive artists not only have a brand-new life and artistic feeling about reality, but also consciously and unconsciously start to use new media and related skills such as digital cameras, computers, televisions, electronic displays and projectors to create art.

Although China's video art appeared very late, it developed rapidly and soon occupied an extremely important position. One of the important reasons is that artists consciously use real life experience and visual experience. On the surface, what China's image art has accomplished compared with the traditional easel art is only the transformation of media and image production mode, that is, from "manual image" to "electronic image", but more importantly, it has successfully completed a major change in creative methodology. In fact, the latter has a far-reaching influence on the development of contemporary easel art in China, which can also be found in some contemporary easel art works in China. As we all know, in the traditional classic easel art, its significance lies in specific stories and events. In order to introduce stories and events to the audience accurately and vividly, many painters have always adopted the methodology of "reflection", that is, drawing pictures close to the real scene in a very "realistic" way. On the other hand, video art is different. Its significance lies in the creator's arbitrary use and combination of various concepts and symbols under the premise of virtuality. It can be said that video artists adopt the methodology of "constructivism". Its basic starting point is to try to cut into specific cultural issues from the perspectives of culturology and sociology, so as to promote the healthy development of contemporary culture in China. Of course, for China's image art, how to further highlight China's identity on the basis of fully studying new media, that is, to use China's images and China's methods wisely to reveal the concept of the work, is still an urgent problem to be solved. This is becoming more and more prominent in the process of participating in international dialogue.

Courseware for this lecture

And panda rice picture 1999.

Since May 1999, Zhao Bandi's series "Zhao Bandi and Panda Mi" has been supported by Beijing Metro Advertising Company and posted in the entrances and exits, carriages, passages, posters and platform light boxes of various subway stations. As the only public service advertisement juxtaposed with commercial advertisements at that time, Zhao Bandi's works not only involved practical problems that people were concerned about, but also effectively eliminated the closed tendency of the meaning of his works with humorous narrative images.

And panda rice make the topic of public welfare deeply rooted in people's hearts, which is considered as a remarkable symbol of China contemporary artists' active participation in society.

Zhao Bandi,/kloc-0 was born in Beijing in 1965, and/kloc-0 graduated from the Oil Painting Department of the Central Academy of Fine Arts in 1988. Now he is a professional artist, living and working in Beijing. The representative works are Zhao Bandi and Panda Mi.

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The Rise of Video Art

The first comprehensive and emotional contact of contemporary artists in China with video art was in 1990. This year, Professor Mijka from Hamburg College brought some videos to play in China Academy of Fine Arts, which deeply influenced some artists. However, due to the differences in cultural background, some artists in China regarded video as a new artistic means to express their personal experience from the very beginning, which is different from some artists in the West who used video with a political radicalism. In 1990s, Zhang Peili, Zhang Peili, Zhang Peili, Zhang Peili, Zhang Peili, Zhang Peili, Zhang Peili, Zhang Peili, Zhang Peili, Zhang Peili, Zhang Peili, Zhang Peili, Lin and others made outstanding achievements in the field of video art.

By 1996, there have been many art experiments with images as the media all over the country, and the "phenomenon image" art exhibition was produced under such circumstances. The curators are Qiu Zhijie and Wu Meichun, and the works in the exhibition can be divided into two categories. One is the reflection on the media itself, which is often simple and clear in structure; The other is a scene with complex structure, with video images as tools, rich layers of works and many emotional factors. Since then, some solo exhibitions composed entirely of video art have appeared in various places, and some people's works have frequently appeared in foreign exhibitions, which indicates that China's video art has finally matured.

Computer digital art, network art

Art and flash art

At the end of 1990s, with the rapid development of IT industry, editing equipment on personal computers became more and more popular. Therefore, the image is no longer just regarded as a tool of sociology, but as a relatively independent art media. This has led many artists to explore interactive multimedia and network works.

In addition, since 1999 officially launched Flash version 4, that is to say, with the rapid development of computer image technology, its animation production and script editing have been greatly strengthened. So in just one year, the Flash team has developed rapidly. According to the works that appeared at that time, there were MTV type (Rock on the New Long March by Jiang), animation type (Love in the City by Qi), interactive game type (play with me), ... In short, computer digital art, network art and Flash art were deeply loved by young artists because of their greater flexibility and development space.

Young Platonic Toy Photography Wu Xiaojun 1998

The author often fabricates some history by fabricating facts, so he adopts the method of matching scenes with clay sculptures. Its scenes are all adaptations of old movie images. In this work, the author created two clay figurines with comic characteristics, and they seemed to be in a state of asking for directions. Obviously, the author emphasized the expression of ideas rather than documentary in the process of photography.

Wu Xiaojun's Masterpiece: A Doll Walking Secretly (New Video Device).

Shout video Xu Zhen 1999

Xu Zhen's behavior is extremely simple, and you can see the bait thrown casually to get the image. He screamed loudly in different public places, and when the crowd turned back in surprise, he picked up the recording button. At the expense of brazen ugliness, the artist finally captured the moment of collective unconsciousness and fragility.

Xu Zhen, 1977, from Shanghai. 1996 graduated from Shanghai Academy of Fine Arts. Now living in Shanghai.