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------1500 cm 1500 Bei zhushi dezhushi Bei ( ) (1993), ) Assignment No. 1: was shot in four four in shot was Qingchu ( 1500 cm Watched Sleep Watched Zuoye yihao: Chongfu shuxie yiq that they found themselves in. themselves found they ­that ( showed two hands repeatedly play hands repeatedly showed two Clear Away Clear Away ), by Bill Viola, whose work represented the whose work represented by Bill Viola, , Yan Lei’s three video works were all com were video works Lei’s three , Yan Dissolve Huajie followed the artist as he bent his head in con artist as he bent followed the ( ) by Li Juchuan, and ) (1994). ) Buried Secrets Buried Dissolve Clear Away Assignment No. 1 Yu Jika tongju Jika Yu

( Beijing hongguo ( by Tong Biao, among others, revealed that this phenomenon was the result of a of result the was phenomenon this that revealed others, among Biao, Tong by Living with Jika with Living Lanting xu). This was a video recording of fifty overwritings of the famous text. A text. famous the of overwritings fifty of recording video a was This xu). Lanting

) After graduating from Zhejiang Academy of Fine Arts, Yan Lei came to Beijing, to Beijing, Lei came Yan Arts, of Fine Academy Zhejiang from graduating After The element of timely relevance has always been key to Qiu Zhijie’s approach. In always been key to Qiu Zhijie’s approach. has of timely relevance element The Western world, and became video art flourished in the As the 1990s progressed, If this interesting approach was found in the work of two artists alone, we might found in the work of two artists alone, was approach If this interesting up came it when awareness visual within area an colonized just had art Video Beijing Haw Beijing Haw where he produced the works the he produced where engaged in the medium by exploiting the circumstance circumstance the exploiting by medium the in engaged of continuous work, he completed the piece years 1992, after three Times a Thousand Preface” Pavilion Copying the “Orchid ian bian which was increasingly a sheet of paper, hand-held brush was delicately moved across ten disturbing strange, a engendered It up. built text the of layers multiple as blackened of his the images became a particular feature this, sensitivity towards sion. Following life experience evoked altering processes, video works: intense movement, dramatic in his works dem revealed interests etc. The object, the physicality of a recorded from less onstrated about concepts contemporary than Qiu about his awareness. broader often pivoted on concept and notable for their philo Zhijie’s installation works were his of diorama the reflect works the of aspects These inference. and inspiration sophical saw he time the By life. spiritual inspir Biennale and who would quickly became the main force U.S. at the 1995 Venice art. his of focus central the become had art video China, in art video driving and ing quite something was it However, medium. independent an as audiences by embraced of Chinese people. Although the circumstances beyond the imagination of ordinary By 1995, the difficult, an exhibition of video art seemed necessary. the moment were indicated the importance video albeit scattered, the country, around practice growing and cradle. cat’s of variations ing centration while plucking armpit hair with tweezers. act The act of human behavior. specific yet mundane each focusing on a segments, employed 1500 cm of rubber bands, which he washed, measured, forced into his simi a In handkerchiefs. with do magicians as again out back pulled then and mouth, lar style to Zhang Peili’s was There position. camera single a from focus fixed a with taken shots long of piled fact, truth with the aim of recording within these events because almost no narrative itself was demonstrated to have where the no mere obvious process. Conversely, record of an object is meaningless, action becomes “truth” on the screen. In this medium. compelling a is then shot close-up fixed-focus, single, the regard, them. between work at be to influence aesthetic or collaboration of kind some suppose approach. this exploring also were artists more and more that clear became soon it Yet, 1994, In shuiyan wider a take we if time, same the At inclination. personal other any of lack the problem: accessibility to editing the situation of that moment largely denied the artists ready view, origi the so borrowed, often were themselves Cameras equipment. postproduction and editing. of problems subsequent the avoiding at aimed was works these of concept nal tech of down paring repeated and deliberate the Unavoidably, move. smart a was This A work. simplified unbearably in resulted conditions difficult these under elements nical process with obsession an and simplification, extreme in interest an minimalism, of love this. for basis self-confident and profound seemingly a provided further against limitations within technology and material. More creative artists actively

. - - - - ). ] Zhejiang ] Water: The The Water: Cheku yishu Cheku Document on ). ( Zhang Peili re- Zhang Peili 1 ), and and ), Hangzhou’s biaozhun ban biaozhun Document on Hygiene, No. 3 Ertong leyuan Ertong Cihai (

Garage Art Exhibition Art Garage — Shui (

Blossoms in the Moon over Spring River Spring over Moon the in Blossoms ( , Children’s Playground Playground Children’s , Cihai Dictionary Cihai ) ]. This was the first showing of a video work produced by a by produced work video a of showing first the was This ].

Chun jiang hua yue ye yue hua jiang Chun was an installation consisting of six videotapes showing blood was an installation consisting of six videotapes showing blood Zuoye yihao Zuoye ( (Wei) zi 3 hao 3 zi (Wei) [ (1988), and the chicken-washing exercise in (1988), and the chicken-washing exercise showed a professional news broadcaster from CCTV (China Central Television), Television), Central (China CCTV from broadcaster news professional a showed Assignment No. 1 In 1991, Zhang Peili, one of the organizers of the of organizers the of one Peili, Zhang 1991, In These events were a springboard that was responsible for structuring the basic for structuring the basic that was responsible a springboard were events These In 1990, Professor Mijka of the Hamburg Institute of Art brought to China a num a China to brought Art of Institute Hamburg the of Mijka Professor 1990, In ) in a storage space in Hengshan Road, Shanghai, showed the work space in Hengshan Road, Shanghai, showed the work ) in a storage 30 × 30

created the same lighting, background, setup, and “face of the nation” as an actual setup, and “face of the nation” as an actual the same lighting, background, created lexi and neutral by a non-expressive but with the content replaced news broadcast, in the way that Zhang con. Mockery is the timed spirit of 1992, further demonstrated of synthesized the filmed sequence of washing the chicken to a soundtrack Peili entitled music ancient Standard Version Read from the from Read Version Standard glass of breaking the to tone in similar was It fingers. human from taken being samples in Water a dictionary. “water” from every explanation of the character reading Assignment No. 1 1 No. Assignment Hygiene, No. 3 No. Hygiene, and soap with chicken a washing repeatedly artist the showed It China. in artist Chinese in bricks red of rows several placed Peili Zhang space, exhibition the In basin. a in water to corresponded of the television monitor to evoke the sense of a meeting. This front devious yet it was more genre; become a recognized which had not yet Pop,” “Political video works in 1992: three produced Peili and ingenious in its use of language. Zhang by artists. It was never employed as an actively political medium as was the case with case the was as medium political actively an as employed never was It artists. by early video Western art. Unlike Street Group The Video in Germany in the 1960s, or social reform, in documenting news, recording not interested Chinese artists were Chinese artistsfighting took the museum video as system. a On the new contrary, value. aesthetic its on emphasis placing expression, individual of mode zhan in China. In a striking contrast, from representatives provincial television stations Hangzhou, in Hotel Huajiashan at meeting a holding simultaneously were China across not showed professionals industry The shown. also were videotapes the which during hour. one after abandoned was screening the and works, the in interest of bit least the art was immediately accepted and utilized development of video art in China. Video ber of videotapes that had been shown on German television to mark the nine- had been shown on German television ber of videotapes that hundredth anniversary celebrations of the city of Cologne. video The works were [ at students and staff teaching the to lectures two during shown the China National Academy of Fine Arts in Academy 1995). of Fine Arts (renamed art and video between made been had connection meaningful a time first the was This were compounded by the artists’ instinctive responses to the allure of commercial of commercial allure to the responses by the artists’ instinctive compounded were preferences individual this, Against theories. postmodern of popularity the and culture nor to, conjoined neither being way, fragmented a in up sprang China in art video for to be quite success proved On occasion, works the social environment. from, bereft recognize must one yet years, recent in flourished have to appear might art Video ful. Success is achieved only when work produced. deal of ersatz was a great that there reached. been has progress of level certain a and ripe, are conditions the THE RISE AND DEVELOPMENT OF VIDEO ART AND THE MATURITY OF OF MATURITY AND THE ART VIDEO OF DEVELOPMENT RISE AND THE (2002) ART NEW MEDIA Qiu Zhijie Meichun and By Wu both vestiges arising art carries enormous Chinese the board, say that, across can We These the 1990s. society through within concerns present from and indirectly directly

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- - - - - arose arose

Washroom Shut Up and Listen and Up Shut Image and Phenomena This tact This clearly runs through

). ), produced in 1996. in produced ), Aishe’er de shou ( carried a social metaphor. Song Dong placed two two placed Dong Song metaphor. social a carried

) ) in Beijing. work The shown took the form of projected Bu queqie de kuaigan de queqie Bu ( Hands of Escher Xiankai ( ) and Bishang zui, ting wo shuo wo ting zui, Bishang ( Uncovering Uncovering When Qiu Zhijie and Wu Meichun decided to take up this challenge, the biggest the challenge, this up take to decided Meichun Wu and Zhijie Qiu When After moving to Beijing in 1994, Qiu Zhijie spent much time thinking about his ear his about thinking time much spent Zhijie Qiu 1994, in Beijing to moving After and 1996, around China in nationwide emerged medium a as video Experimental We find a similar problem in the work of Beijing artist Song Dong, but his obses his but Dong, Song artist Beijing of work the in problem similar a find We a series of exhibi through gained recognition and Qian Weikang In 1994, Shi Yong efforts in the field of persistent the mid-1990s, Zhang Peili’s As we approached Uncertain Pleasure Uncertain Weishengjian from this situation. this from had absolutely no experience of fund- them was funding. They confronting problem yet raising, the through friendship and trust of their friends Lin Shiming and Hong committed to doing business in Shanghai, they found sponsorship Lumei, who were delicate. As an excellent artist, Zhang Peili frequently breaks ground with his instinc ground breaks frequently delicate. As an excellent artist, Zhang Peili a sensation of life of technique and motion, creating grasp tive sensitivity and accurate Peili Zhang by period this of work later representative A equipment. simplest the with is of conceptual works, focused only on pure lier work in Hangzhou, which was a series at culture, social about content of volume enormous the reduced He notions. academic to other small-minded approaches his work from the same time trying to differentiate in as sensitivities, physical certain emphasize to began video, so that his works ( work, video his in blankness avoid to pains takes often Qiu whereas works, Peili’s Zhang the gestures or impels the body to adopt to focus upon the body, and turns the process camera. the of front in perform characters the when plot dramatic more a suggesting on the odd occasion was included in exhibitions. It was evident that people more becoming were in Theinterested this exhibition field. sion with tiny details comes closer to being Zen. Song Dong held a solo exhibition titled straightforward This objects. various covering cloth a lifting of shots close-up or scenes installation The work. his for ground fertile a became methodology Me to of one of a close-up shot one playing footage face-to-face, each monitors television His one in English, one in Chinese. to be speaking to another, mouth that appeared concise. more was effect the but Fen Weng of that to similar was approach often juxtaposes an object installation works he Qian Weikang’s tions in Shanghai. In physiological the actual object as a simple portraying the screen, with the image of it on explorations make to inclined not was He phenomenon. physical even or phenomenon, of a humanist, was more with him, Shi Yong and politics. Compared culture, of society, and surface, smooth form, straightforward of kind same the exhibited work his although For imbued the work with metaphor. materials he chose often The processes. diverse mass media. the on his attitude toward film and sound based instance, he approached media. electronic with relationship independent an engendered This number of opportunities to He had gained an increasing paying off. video art were As compared with exhibit the internationally. instinctive spontaneity in his earlier from techniques researched of input greater the revealed now works his practice, in exhibiting his works used multiple screens regularly video art. Zhang Peili Western shots, fixed camera with the close-up as an installation in a gallery space. Compared his earlier works, he began to cre movements that characterize angles, and repeated and the monitors arranged If he merely the screens. visual impact across ate a direct then obviously effect, construct the desired electrical components of his installation to that thrill the and context historical with work the imbue to difficult more be would it to be more appeared generally of other objects. These the integration derives from - - - - Sky The Who Da wei Da wei . These . These Xianxiang, Xianxiang, ( in Beijing. The The Beijing. in

) Clear Away Jinru ( Gaibian dianshi pindao dianshi Gaibian ( produced his ingenious work ingenious his produced

Invasion Image and Phenomena was shown at a group exhibition in exhibition in was shown at a group

), soon after his return. For this, he dug a this, he dug a For soon after his return.

Nanren dui nüren shuo, nüren dui nanren dui nanren shuo, nüren dui nüren Nanren ], ( Lian 1 ( lived in New York for prior ten to years their lived in New York

were less about art than his were pl. 36 ) [ (1994). Liu Yi from Shenzhen showed her work Shenzhen from (1994). Liu Yi

) Face No. 1 No. Face No. 031007 and 2 ) in Beijing. It showed a number of the artist’s friends talking about ), executed by fixing a small camera to the edge of a flatbed bicycle’s bicycle’s flatbed a of edge the to camera small a fixing by executed ), ) in 1994, and has persistently pushed the subject to its limit, as dem as limit, its to subject the pushed persistently has and 1994, in ) was later exhibited in Hangzhou, the images were accompanied by a by a accompanied the images were exhibited in Hangzhou, was later 323 cm Bulukelin de tiankong ( ) in 1996. in ) Yongyuan ( Shei shi wo Forever in Guangzhou, has a unique approach to working with the video medium. With With medium. video the with working to approach unique a has Guangzhou, in A Talk Between a Man and a Woman A Talk in Haikou. This contained elements similar to a work of Chen Shaoxiong’s, Shaoxiong’s, Chen of a work to similar elements contained This Haikou. in

(

) In September 1995, Weng Fen and female artist Yan Yinhong held an exhibition held an exhibition Yinhong and female artist Yan Fen In September 1995, Weng Chen Shaoxiong, an active member of the Big-Tailed Elephant Chen Shaoxiong, group ( an active member of the Big-Tailed In September 1995, Yan Lei held a solo show titled show solo a held Lei Yan 1995, September In Wang Gongxin and Lin Tianmiao Wang In 1995, Li Yongbin finished his first video piece by projecting color slides of his his of slides color projecting by piece video first his finished Yongbin Li 1995, In )

Shili jiaozhengqi Shili bian gaibian xinniang de jueding Am I? problems which placed an overriding focus on linguistics within the work. The her, were that underlie the works by these artists indicate a similar crisis: that their authors significance. little of ideas simple terribly on focus to content ( for the exhibition in the work presented onstrated yingxiang titled shuo Changed Is Channel Television the When Mind Her Changes Bride editing. This is counterpoised by his awareness of the physicality of visual experience. visual of physicality the of awareness his by counterpoised is This editing. frequently to works, installation configured intricately create to him impels former The like forms for preference his follow to or rationale, of kind a create to elements use have originally might what translate successfully to him allows latter The games. word easy language and epistemological issues into a direct, uninteresting been relatively began work on the Sight Adjuster series actual physical experience. Chen Shaoxiong video works of an event that had on the process largely functioned as documentation, relaying place. taken already xiang by two tenden capacity for logistical organization, his work is characterized a strong lambent with combined images of contrapositions tight are installations video His cies. which showed the videotaped image of a blue sky over Brooklyn. A voiceover says: A voiceover says: a blue sky over Brooklyn. which showed the videotaped image of The accent. Beijing strong a in here!” see to nothing There’s at? looking you are “What the and West the about curiosity China’s illustrated work the of metaphor underlying near to that attitude. It appealed to the audience to draw inherent element of desire jolt. a with them repelled then and Li Yongbin Li evolved Yongbin his own rationale and would continue experiments with projections. work, installation video first his produced Gongxin Wang 1995. in Beijing to return of Brooklyn bottom, at the monitor television placed a home and courtyard their within well deceased mother onto buildings and trees immediately outside his apartment in the outside his apartment in the immediately buildings and trees deceased mother onto dis eventually and faded image the broke, dawn the As morning. the of hours early His second work, appeared. pro is face man’s old an of image videotaped a Here, year. following the Hangzhou coincide two superimposed faces sometimes of the artist. The jected onto the face shots, long of composed works video of realm the Within dislocate. sometimes and art was beginning to assume. At the end of 1994, Zhu Jia Zhu 1994, of end the At assume. to beginning was art Forever wheel as the image artist of of pedaled the the Beijing. through streets streets The ceaselessly spins and round with round the changing speed of the flatbed bicycle. When snoring. loud of soundtrack

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— 97 Zhongguo 97 Zhongguo ( if determined determined if 0431 Kuaijing: Zhong Zhong Kuaijing: ( — held in Amsterdam. Videos from International International from Videos exhibition in New York, and and exhibition in New York, in Changchun. And, in 1999, Chang

) Esperanto Esperanto ‘98 Worldwide Video Festival Video Worldwide 4 Demonstration of Video Art ’97 China Art Video of Demonstration and the in Kassel. In 1998, Qiu Zhijie participated in the Berlin the in participated Zhijie Qiu 1998, In Kassel. in ) in Macao. The core elements took their lead from their lead from elements took core ) in Macao. The ), an exhibition curated by Wu Meichun. In the catalogue catalogue Meichun. In the by Wu curated ), an exhibition in the Kwangju Biennale, curated by Nam June Paik. In 1999, In 1999, by Nam June Paik. in the Kwangju Biennale, curated Fast Shots: China, Hong Kong and Taiwan Video Art Video Taiwan and Kong Hong China, Shots: Fast Zhongguo luxiang yishuzhan

Documenta X Documenta — Infoart . Transmediale ‘98 Transmediale 0431 ( held at the Ludwig Museum in Cologne; Song Dong and Wang Jianwei both Jianwei both Song Dong and Wang held at the Ludwig Museum in Cologne; The results were displayed in were results The by challenged constantly are art video for standards that mentioned Meichun Wu Meanwhile, members of the international art world made frequent visits to situation current the bright, are art media new China’s of prospects the Although The activities of Chinese video artists had begun to attract the attention of inter of Chinese video artists had begun to attract activities The postproduction out carry to PC own their using effects richer achieve trend, a became this technology, video in change and of renovation the With so. do to systems. editing video non-linear and cameras digital domestic of use the with along guanmozhan luxiang yishu the uses question we face concerns real “The she wrote: Thoughts,” essay “Curator’s Although define. to early too is It is. art video what not put, be can art video which to by every not accepted place, they are for video art appear to be falling into standards intimate cheap, yet powerful it make medium the of characteristics inherent The one. imag the to sensitive be and truth the expose can It disseminate. and copy to easy yet to work select to not and everything show to attempt an is exhibition This ination. cour our indicates and selection its in inclusive broadly is It theme. specific a illustrate media.” of world the in exist to age curated a multitude of experiments. At the end of 1998, Huang Yan Art Video holding an exhibition of Chinese video art. The Museum of Modern Art in New York Museum of Modern Art in New York The holding an exhibition of Chinese video art. Zhijie, Qiu and Peili Zhang by works video collected each Forum Video Berlin the and in festivals of began to appear frequently and the works of China’s new media artists world. the over all art media new sev gave Germany, in Center Art Media New the of director Filindas, Rudolph China. new introducing lectures eral developments at the Goethe Institute in Beijing and Shanghai. Robert Karn, the poetic master of French video art, visited the China students. the on impression profound a left and twice, Arts Fine of Academy National York, New Art, of Modern the Museum video at film and of curator London, Barbara excellent had only not China that amazed was She 1997. of fall the in China to traveled was hers of essay An speed. rapid very a at information absorbed also but artists, video into Chinese, commenting that “the flourishing of China’s video art is later translated closed around was already since the circumference the starting point of a new circle West.” the in art media new Until 2000, not one of the art academies in China had established a has its problems. and although China’s television channels have advanced equip new media course, international of interest The programs. art experimental encourage not do they ment, insti the lack we but day, passing each with grows art media new Chinese in circles art funds gathering of problems The dialogue. a into enter to necessary structure tutional Tsong-zung curated curated Tsong-zung luxiang yishuzhan Gang Tai Phenomena and new media Jianwei works and by Mengbo Feng Wang national art In circles. 1997, in exhibited were video festival other various and Helsinki, Bonn, in festivals video important from invitations received participated in places. Chen Shaoping and Qiu Zhijie both Artists participated in attended the Zhu Jia and Li Yongbin in interest strong expressing worldwide were New media art festivals and institutions

------), by Focal Focal Such 3 Yishu yu yu Yishu ( and Baby Talk ) by Tong ) by Tong Forever Integrated Integrated Image and Image and Documents : What possi What : Shenfen yihao Shenfen ( Luoji: wuge luxiang wuge Luoji: ( ) by Qiu Zhijie, 8 yue 30 ri xiawu 8 yue 30 ( Uncertain Pleasure Pleasure Uncertain

by Qian Weikang, Weikang, Qian by

) 2 Myth Powder No. 1 No. Powder Myth Image and Phenomena and Image by Yang Zhenzhong, and by Yang

) Huxi huxi Huxi ( Art and Historical Consciousness Xianzai jinxing shi ) by Yan Lei. Representative of the second, second, the of Representative Lei. Yan by ) ( Yugang Breath ( / , which was held at the art gallery of the China , which was held at the art gallery of the China Logic: Five Video Installations Video Five Logic: ) and Breath Fish Tank The Afternoon of August 30th of August Afternoon The Juedui anquan Juedui showed a group of unforgettable video works and initiated showed a group ( ) by Geng Jianyi. Geng by ) Present Progress Present ), Qiu Zhijie’s Qiu ), Kan ( Image and Phenomena ) by Zhang Peili, ) by Zhang Peili, Luxiang yishu wenxian Look ( by Li Yongbin, by Li Yongbin, included nearly the entire roster within the field of video art at that that at art video of field the within roster entire the nearly included Absolutely Safe Safe Absolutely ), and so on. This indicated that Chinese video artists had not only become indicated that Chinese video artists had not only become ), and so on. This presented a compendium of important information about video art in China in art video about information important of compendium a presented Jiaoju , ( Face ) ) by Wang ) Gongxin, by Wang Wanzheng de shijie de Wanzheng ( Following Following Image and Phenomena and Image The works in the exhibition may be divided into two groups according to trends to trends according the exhibition may be divided into two groups works in The When everything was prepared, the group of artists participating in the group everything was prepared, When In a non-publicly distributed exhibition catalogue, exhibition curator Wu

Yingyu and individual methods to redraw the map of contemporary culture. Within China, China, Within culture. the map of contemporary and individual methods to redraw people from different backgrounds such as documentary filmmakers, writers, and and art, video into venture to began drama or music experimental in engaged those various new possibilities for the art form began to develop. equipment Equally, to able were artists and advance, technological each with affordable more became ple’s understanding and acceptance of video over the next few years. few next the over video of acceptance and understanding ple’s National Academy of Fine Arts in Hangzhou in 1996, many high-quality solo exhibi Gongxin’s Wang as such Beijing, in up sprang tions Dong’s Song zhuangzhi mature focal points within the artistic community but had also started to use more World produced, catalogues two The activities. exchange and research of series a of Art Video lishiyishi peo upon impact the demonstrated catalogues two the of popularity The abroad. and which pushed at the boundaries of the video’s image by adding rich layers and a finer a and layers rich adding by image video’s the of boundaries the at pushed which as such works were first the of Representative perception. Distance Zhu Jia, and Biao, installation works, were ( ther efforts. The exhibition itself and the response to it became a landmark in estab exhibition itself and the response ther efforts. The than the that is little more for creativity lishing a healthy system and environment curator. the of goal predetermined and itself, medium the to regard in introspective were that works the First, exhibited. scenes, Second, the intricately structured simple in structure. generally which were ng video in art. Neither ng video in art. Neither as the starting point for explori decided to take an exhibition reality.” to response a was itself exhibition an organizing of act the nor works the idealistic outlook that things with its excessive enthusiasm and zeal tended to spoil video of exploration the exhibition, the Following reality. the acknowledge to refused that difficulties and defects structural the Meanwhile nationwide. topic hot a became an impetus for fur for the exhibition provided exposed during the preparation were Meichun outlined her thinking on academicism in academicism on thinking her outlined Meichun of image the as exist art video Does art? contemporary to bring art video does bilities image? the of phenomenon the or phenomenon the Phenomena not sit could We stance in facing reality. active to take a more wished moment. “We and quantity of video works. We elevation in the quality general back and wait for a the event. Without their generous act, we would have had to wait a couple of years to years of couple a wait to had have would we act, generous their Without event. the Artists collabo it in April 1996. to realize able As it was, we were story. continue the the most into English, but translated catalogues that were two to produce rated academic an insert to and required the equipment procure to work was important exhibition. the into structure

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------), ) in ) in In the In the Pai du du Pai ); Song Song ); ) by Liu ) by Liu ( Uncertain Uncertain ). For Zhang Zhang ). For Youxiaoqi ( Sky of Brooklyn, of Sky , Jinshi Laizi shenti neibu shenti Laizi ( ( (Kejian bukejian de de bukejian (Kejian Hou ganxing Hou Nan yu yizhi yu Nan

( ; and Yang Fudong’s Fudong’s ; and Yang by Weng Fen, Fen, by Weng ( Look Baby Talk Baby Hit the Gambling Table Taking Food Food Taking ) in which the video projector projector video the which ) in Period Period of Validity Inside the Body the Inside

Butterfly (Die) Hard to Restrain to Hard From Post-sense Sensibility Post-sense in 2001. in Visible and Invisible Life Invisible and Visible ) in his solo show Narrative of Non-Linearity: Elevator (Fei xianxing (Fei Elevator Non-Linearity: of Narrative Shanghai de lian ( Zhao jingzi ) in the exhibition ( ) by Feng Xiaoying, and ) by Feng Non-Linear Narrative Non-Linear , was filled with milk, , a baby’s crib shaped like a shallow basin Face of Face Shanghai Shenjia nong ( Baby Talk ) shown in shown ) Zai tiyan zhong tiyan Zai ) ) is an angular for framework a room, constructed of welded iron. Three ( . In Looking in the Mirror , more than ten monitors broadcast different close-up shots of a hand scratch close-up different broadcast monitors than ten , more When talking about works that use video in a symbolic way, we may also mention also may we way, symbolic a in video use that works about talking When Xu Zhen is one of these artists. His video video His artists. these of one is Zhen Xu style, a number of other art or severe with works of an uninteresting Compared in Aspects of a similar artifice can be found The former is demonstrated by Wang Gongxin’s works Gongxin’s Wang by demonstrated is former The ) (1998), exhibited in Macao, and Macao, in exhibited (1998), ) Face Situation exhibition the in included were which Wei, Dong’s and center. the in whirlpool a forming pump, a of means by circulated constantly is which onto the surface of the milk, the images showing the A video sequence was projected viewpoint. baby’s the from shot baby, a teasing relatives older of expressions facial by Song Dong’s latter tendency can be illustrated The zhuo Dianti xushi: Zhenzhong’s Yang is dis stability of the picture the bottom of a water tank. The from upward projects caused by the amplification of low- torted by the effects on the water of vibrations scene. In Qiu which to view a street image is of a mask through pitched sound. The and sets up contrasting, yet mutually involved, semantics. In the piece Pleasure a powerful create the neat monitors images within fleshy The of the body. ing a part is a similar sensation in the new work tension. There used be can that amplification of powers with mirror” “electronic of sort a is video Peili, the to due that elements certain expose can It detail. minute in body the examine to Peili’s Zhang eye. naked the by out filtered usually are psyches fragile our of defenses of although the physical narcissism younger artists, several standpoint has influenced characteristics. countercultural and intimate more even work their gives people young right ones, a man and a On the left and screens. in 1999, comprises three produced simul they before manner, exploratory and curious a in bodies own their sniff woman emphasis and sniff each other’s bodies. Xu Zhen’s screen central taneously enter the minute of amplifying strategy Peili’s sense of smell makes Zhang on an exaggerated metaphori more much seem angst existential with them imbuing and motions bodily an Shanghai, in Xuan Kan and Zhenzhong Yang are artists influenced obviously The cal. Nauman. Bruce to back traced be may which influence realis These meanings. semantic create to images video realistic using on keen are ists and stage, with narratives like an opera rather a substitute reality, tic images create of this imaginary space. within the framework experiences being constructed directly Lei’s Lu and Shiqiang, Gao Shiming, Gao shenghuo of—a door, and out show footage of feet passing through—in separately monitors blowing in the wind, all of which move, hands turning a door handle, and the curtains a kind of abstract forms substitute reality to their original location. The only to return on their individual imaginations and experi and the audience needs to draw room, details. the in fill to ences Shen’s Hutong relation semantic a set, stage concrete a In installations. semantic were All Shanghai. meaning semantic a can only Not “props.” and images video between formed is ship can also be made use of to convey the visual images, but props from be produced ideas. artists’

------New New ), which ), which ) and the pos the and ) DV New Generation DV (Xin meiti yishu jie: Fei xianxing xushi (Xin meiti yishu jie: Fei

(DV video digital of popularity booming the Recognizing ). Zhang Peili is the most important representative of the first stage of Chinese video Chinese of stage first the of representative important most the is Peili Zhang Video art is a medium that takes a morbid delight in constructing its own history. history. own its constructing in delight morbid a takes that medium a is art Video In 2002, Phoenix Television launched a new program titled launched a new program In 2002, Phoenix Television In June 2001, the New Media Research Center was established with the support Center was established with the support the New Media Research In June 2001, At the beginning of 2001, one non-governmental new media center did appear in appear did center media new non-governmental one 2001, of beginning the At

DV xin shidai xin DV exaggerated and simplified. Then again, it is only simple attitudes that are able to gain gain to able are that attitudes simple only is it again, Then simplified. and exaggerated ignored. generally are insights sophisticated More understanding. and attention art. He has consistently used the body to master the medium of video installation. collage 3-D of sort a creates he images, different showing each screens, multiple Using ( college students with professional it provides sibilities of independent production, digital cameras and then televises the works they shoot each The day. Phoenix media. Chinese within precedent a setting trend, new a confirmed initiative Television immeasurable. is significance Its albeit too clear, were heroes In the early days, the artistic standpoints of its cultural via the Internet. The greatest, most positive success has been that achieved by most positive success has been that greatest, via the Internet. The Non-Linear Narrative Media Art Festival: organized courses training intensive the and 2001, September of end the at place took University Berlin of department art media new the from professors with association in 2002. March in organizing new media art festivals annually in China; and sending new media artworks artworks media new sending and China; in annually festivals art media new organizing artists, to available is databank prolific The activities. international various of part be to exhibi curating and research for opportunity the providing researchers, and students, is on new technological advances, to which end invitations will be focus tions. The com appliance electronic and computer from staff technical to extended periodically training regular new technologies, including panies for the purpose of introducing abroad and China from art media new in developments introduce also will It courses. of Xu Jiang, dean of the China National Academy of Fine Arts [in Hangzhou]. Its brief of Xu Jiang, dean of the China National and studios; it will launch new media art department research includes a theoretical symbiosis broad a building follows: as functions center the present, At 2003. in courses welcoming world; the around festivals video and institutes, media centers, media with investigation, and exhibition of new for the creation, abroad new media artists from about developments in new media art; lectures media artworks; conducting regular the Central Academy of Fine Arts together with the Chinese artists Zhang Peili, Wang Wang the Chinese artists Zhang Peili, Academy of Fine Arts together with the Central Gongxin, Bo and had Qiu a Zhijie. solo Wang multimedia show in here November Hong in Seminar Space Alternative International the in participated also Loft The 2001. organiza non-governmental a as invited was it 2002, March In December. that Kong Korea. in Biennale Kwangju the at art media new China’s exhibit to tion Beijing. The Loft New Media Art Space (LNMAS) is located in Sanlitun, adjoining the the adjoining Sanlitun, in located is (LNMAS) Space Art Media New Loft The Beijing. It design. and image cultural cutting-edge its for known is and Bar, and Restaurant Loft perfor of range a hosts which and meet, celebrities and relax people where space a is Gongxin and Lin was established by artists Wang space The mances and art events. exhi an hosted it 2001, September In Tianfang. Lin sister Lin’s by run is and Tianmiao, teaching at and the U.S. who were France media artists from bition of works by new and establishing venues and facilities are exacerbated by the fact that there are no sta no are there that fact the by exacerbated are facilities and venues establishing and deficiencies structural These festivals or exhibitions. organizing video ble institutions for is an urgent need new media art. There on the restrictions increased have further institutions, by non-governmental operated workshops new media not-for-profit collection, exchange, investigation, the and artists, experimental for support technical art. media new of popularization and

| 7 10 | ------were were aimed to aimed to Pushing Back Pushing Back strives to evoke a chance , a poetic couplet, and also works within art circles was works within art circles ), consists of two projections projections two of consists ), curated by Xu Jiang and Wu by Xu Jiang and Wu curated ) (1998), the videos show hands show videos the (1998), ) ), he projected the image of his the image of his ), he projected Non-Linear Narrative Objects in situ in dui lian dui Wu Fuzi ( ( Fengjing ( moved around the floor, participants were were participants floor, the around moved Objects Landscape invited viewers to stand in front of an image pro to stand in front invited viewers ). ). In the space of interior the work, the image of a Father and Son Father Pushing Back Pushing lianhuanhua Family Portrait Family tive multimedia and Internet works. New Media Art Festival: Non-Linear Narrative New Media Art Festival: At the end of the 1990s, as the IT industry further advanced, editing equipment for equipment editing advanced, further industry IT the as 1990s, the of end the At The In Song Dong’s 1998 work Song Dong’s Chinese of aesthetics spiritual special the experience to able directly most are We installations, Qiu’s of Another father onto his own face. Both related their life history to the camera. Visually, the the Visually, their life history to the camera. father onto his own face. Both related association an emotional and son created superimposition and similarity of father reincarnation. and transmigration between as regarded be longer no could Video available. widely more and cheaper became PCs more researched and aesthetic functions were sociological tool, and its cultural a mere of number increasing an but flourish, to continue art video did only Not thoroughly. ten works. The multimedia and Internet-based interactive artists started to explore sensuousness and the emphasis upon dency toward fact the Internationally, sound. with work to began artists as medium the in embodied vision, of field artists’ the expanded greatly exchange for opportunities more having of diver encouraged in the number and types of channels of circulation and an increase installa and shorts video of consist art” media “new of concepts most time, this At sity. inclusive than the original more of the wider practice, tions, which is a generalization people. of range broader a by recognized also is art media New art.” “video of term facing each other. One cuts swiftly between people against images the of different facing each other. in various loca shows the artist himself same landscape, while the opposite projection antithetical The rotating. constantly and slowly landscapes the world, the around tions Chinese a to similar is two the between relationship in the image of a out a typically Chinese wistfulness about life that is evoked draws snow. deep in left footprints delicate bird’s Meichun took place at the China National Academy of Fine Arts from September 25 to 25 September from Arts Fine of Academy National China the at place took Meichun forty works from than one hundred together more exhibition brought This 30, 2001. active new media artists from China and abroad, and included video installations, sound installations, short films, compilation digital images, conceptual photographs, and ­ interac picture-story book ( book picture-story Excerpts from ground. onto the was projected compass revolving As the a picture-in-picture. thus making compass, over the projected superimposed images from of smaller frame milk, they turned filled with Carrying trays to follow them. physically to rotate forced picture-in-picture the projected tried to “catch” images and fruitlessly with the moving video. the by controlled puppets become had They tray. their on group.” “family pretaped the with taken photograph their have and wall a onto jected pref a work, video his with life family of warmth the combine to intended Dong Song approaches. main his of one became subsequently that erence are efforts Qiu’s Fudong. Yang and Dong, Song Zhijie, Qiu of works the among people the subtle poetics of every of video art to capture using the language toward directed everyday- diverse from meditations on unconscious details day life, engaging in Zen-like Inenvironments. hislanguage installation periods of objects, with unequal striking matches to illuminate various repeatedly four videotapes were and the next. The darkness between the striking of one match home. family artist’s the in rooms different in filmed chance, where and death dark, and of light interchange by the aroused like quality fate. by decided are meetings

) - - ), Street Street ) (1996), ) (1996), ) under a ) under a ), of 2000, Latent Period in in Latent Period Yu she chuanqi she Yu Present Progress Present wenren ) has the picture ) has the picture ( Houfang Where Did You Sleep You Did Where ( Youxi ( Shili jiaozheng qi incorporated two floral ( Prophesying Prophesying Catalogue of ) comprises a street scene scene ) comprises a street The Old Cruller (Yigen youtiao (Yigen Cruller Old The Game Back Yard ) and Shi Qing’s ) and Shi Qing’s ), the lines of the artist’s own palm own palm artist’s lines of the ), the ) and ) Fengjing 2 Fengjing ( Sight Adjuster Present Present Progress ) (2000)—further explored the interactive interactive the explored (2000)—further ) ), produced by Cao Kai and Wang Fang from from Fang by Cao Kai and Wang ), produced ) superimposed over images from the film ) superimposed over images from Landscape 2 Quanjiafu ( Chengshi zhi guang zhi Chengshi The Strange Tale of the Emperor’s Snake Emperor’s the of Tale Strange The ( (2001), pushed the interactive aspect of video to its most aspect of video to its most (2001), pushed the interactive Tui bei tu Tui Shears, Shears (Jianzi, jianzi (Jianzi, Shears Shears, ( ), both of 2001. The interest of these kinds of pieces lies in their in lies pieces of kinds these of interest The 2001. of both ), City Light ). The synchronic relationship shared across the monitors led the led the the monitors across shared relationship synchronic ). The ) (1996), Chen Shaoxiong’s Family Portrait Family and Premonition (Jieju huo yugan (Jieju and Premonition

draws an analogy between rolling, crawling, capering human figures figures human capering crawling, rolling, between analogy an draws ), produced by Cao Fei in Guangzhou in 2000, and 2000, in Guangzhou in Fei Cao by produced ), Pushing Back Zuoye ni zai xiangchu anmian ( Outcome Malu tianshi ( Qiu Qiu Zhijie’s most exceptional work from last year, In the mid- to late 1990s some other works—such as Qiu Zhijie’s Zhijie’s Qiu as works—such other some 1990s late to mid- the In Chain (Lian Zhou Xiaohu’s installation Zhou Xiaohu’s installation Fudong’s Yang Chen Shaoxiong’s short film

Xianzai jinxing shi phetic text Angel own its forth carried also film the of plot the while meanings, semantic form to images offset by a two- timing of the film on each monitor was furthermore The narrative. together formed a sort of so that the images on the four screens second difference screen, then he would see the left side of his face in profile. Around the wreaths, many wreaths, the Around profile. in face his of side left the see would he then screen, first the was This bloom. into bursting flowers of images looped showed screens small China. in work installation video interactive tu) bei “Pushing Back” (Tui work was divided into two parts, an interior and exterior portion. The The extreme. the [seventh century] pro the exterior showed excerpts from around four monitors wreaths placed at a 90-degree angle to each other, with a monitor in the center of with a monitor in the center of angle to each other, placed at a 90-degree wreaths images of gathered relatives each Each prerecorded wreath. of the relayed screens passes camera The person. dying the of view of point the from shot deathbed, a round closely resembling the black-and-white shots slowly over the face of each relative, on appeared visage own his screen, this faced viewer the As deceased. the of portraits first the face to turned he If first. the to angles right at right, the on screen, second the meaning of images in the media age. Works of this kind especially tended toward the toward tended especially kind this of Works age. media the in images of meaning use of video to illusions express and able were to effectively develop a humorous, narrative. of style small-scale ( Dong’s Song and nature of video installations. Qiu Zhijie’s place the tastes and poetic preferences of classical Chinese scholars ( of classical Chinese scholars place the tastes and poetic preferences Zhi’s Jiang process. the in them transforming microscope, ideas. subjective and innocent of interlacing an reflect to logic curious a employed Last Night and implications the in change of pace controllable the explored both 2001, in Nanjing and wild beasts. wild and to similar and artist, the by invented snake-dance mysterious and strange a is 1998, of to appeal kind of emotional a by enhanced circus, an amateur of the performance widely. varied piece the to Reactions things. anecdotal weird, Summer (Xiaji qianfuqi (Xiaji Summer pretext. a be to appears reflections of theme the where form, of ingenuity on the of the lens, so that the doodling a piece of glass placed in front shot through film to be part of the scene. Zhao Liang’s glass appears Liu Wei’s open to misreading. blurry to clear in a process from transform gradually Restrain to Hard Zhijie’s Zhijie’s were enlarged and projected on the floor of the exhibition space, with monitors the on images The palmistry. of principles the to according positions various at placed dice, and compass, hands throwing revolving skating on a a figure included screens art by used often images symbolic highly of sort the landscape; a in figures distorted Xiaoyun’s ists, as in Chen

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, ed. Fashionable Fashionable 2000) O, Wo de tai O, Wo – ( 97 Zhongguo luxiang yishu [ Oh, My Sun ], 1997. ). In his persistently independent independent ). In his persistently . Zhang Hui’s Pingfeng ( in 2001, integrated live dramatic performances performances live dramatic integrated in 2001, Screens Screens Demonstration of Video Art ’97 China of Video Demonstration Central Academy of Fine Arts Central Reinterpretation: A Decade of Experimental Chinese Art (1990 Reinterpretation: ), and Song Dong participated in [choreographer] Wen Hui’s Hui’s Wen ), Dong participated in [choreographer] and Song He mingong yiqi wudao) ( Non-Linear Narrative ], exhibition catalogue, [

Xinchao xinwen ( New media artists working in China—this place of great energy and desire—have desire—have and energy great of place China—this in working artists media New Works by Zhang Peili, Wang Gongxin, and others are now becoming mainstream mainstream becoming now are others and Gongxin, Wang Peili, Zhang by Works When the millennium turned, the aesthetic possibilities of video art had already already had art video of possibilities aesthetic the turned, millennium the When halls in Beijing became are and performance many theaters Beginning last April, directed Zhijie Qiu festival, jazz a in part took Ershan Wu Additionally, ), shown in (Sea of Words) is the name of the best-known and most-complete Chinese dictionary. and most-complete is the name of the best-known (Sea of Words) —Excerpted from a text originally published as “Luxiangyishu de xingqi he fazhan yu xin meiti yishu de —Excerpted from the possibility of new media art engaging in cultural contemplation and critique, Qiu Qiu critique, and contemplation cultural in engaging art media new of possibility the media art with the the possibilities of combining new Zhijie and Song Dong explore refinement and rich experience of traditional Chinese fine arts. These are newly develop. to art media new for ways up opening all are they tendencies; emerging a continuous become deeply involved in pondering the ideas of maintaining already a Chinese language, and advancing dialogue with technological advances, exploring art. media new globalized a toward Notes Cihai guanmozhan in chengshu” and translated with prepared video works, and using minicameras attached to a marker used on-site video works, and using minicameras with prepared audience. the with relationship interactive an created notations, numerical record to quietly devel forms in media were that new creative All of these works demonstrated China. in oping and Shi Qing’s works show Shi Yong’s While video art and familiar to many people. Wu Hung (Guangzhou: Guangdong Museum of Art; Chicago: Art Media Resources, 2002), 52–60. Hung (Guangzhou: Guangdong Museum of Art; Chicago: Art Media Resources, Wu Smith. by Karen Translated been fully excavated and the revolutionary mission of video art was already accom art was already mission of video revolutionary excavated and the been fully will it Revolution,” “Digital-Video slogan stirring the and cameras DV Through plished. person’s tool for the average become a new writing on to the masses and be passed pos new of way the in little brought have techniques animation computer 3-D diary. for simulat turned into a method time they have been video, most of the sibilities to ing surrealism. Those who truly aspire to use digital forms to “do art” have been emerged have there art, media new Within movement. media peripheral a to pushed of hybridization possess the defining characteristic that trends very clear peripheral theater, art, performance in used increasingly been has video mediums: other with appear on the . . sites for performing arts. And, it doesn’t merely dance, music, etc. . This, of these mediums. very structure into the and enters stage, but also participates elements. hybridized essential these on take to art media new caused has turn, in into other art mediums. to carry out large-scale infiltrations nas for new media artists the play Jianwei produced Wang but and performance, stage, lighting, scenery, not only included the drama approach, not just as a video and performance within the performance space, incorporated backdrop. News Dance with Workers yang Wu Meichun, “Image and Phenomena,” in a privately published exhibition-related book. Meichun, “Image and Phenomena,” in a privately published exhibition-related Wu Ibid. in Thoughts,” Meichun, “Curator’s Wu

1. 2. 3. 4.

) - - - - - at The Play ; ani ), cre Gu Du Gu Du Loft Digital Loft Taking Tiger Tiger Taking Handbook Handbook of Yi kuai yinyuan kuai Yi , and Wang Bo’s Wang and , ( ), and Jiang Jianqiu’s ) ) (1999) and on the New Long March (Xin

A Silver Dollar Dollar Silver A Love Song 1980 (Lian you 1980) you (Lian 1980 Song Love colonial cultural exchange. The type of type The exchange. cultural colonial Jiushi Jiushi qishilu ( ; interactive games like Zhu Zhiqiang’s ; interactive Rock ‘n’ Roll ), in 1997. 1997. in ), 2000 Zhongguo wangluo yingxiang yishuzhan Image and Phenomena (Xianxiang, yingxiang) Phenomena (Xianxiang, Image and ) appears like a report of the findings of a com like a report ) appears ), curated by Qiu Zhijie, Wu Meichun, and Li Nezha Breaking through the Outpost (Nezha chuang the Outpost (Nezha chuang through Nezha Breaking ) (2000) were both based on games. Instead of play of Instead games. on based both were (2000) ) King of Kungfu (Gongfu zhi wang) zhi (Gongfu Kungfu of King Xifang and Qi Zhaohui’s Qi and ( , and Salvation Salvation Apocalypse Zhiqu wei hushan wei Zhiqu ( The West The City Three Love Songs (Dushi san lianqu City Three . Although Internet art is still in an utopian period of dynamic exhibition in 2000 ( Jiating zisha shouce zisha Jiating ( Guoguan Zhanjiang , ), Qi Zhaohui’s Computer network technology changes with each passing day. The 1999 edition 1999 edition The with each passing day. Computer network technology changes Qiu Zhijie’s video installations capture the poetry in the rituals of everyday life; everyday life; the poetry in the rituals of Qiu Zhijie’s video installations capture Shi Shi Qing’s works Shi Yong’s Internet works take the subject of controlling people as their theme. their theme. people as of controlling Internet works take the subject Shi Yong’s When talking about multimedia and Internet works, we may also mention the talking about multimedia and Internet works, we may also mention the When

Bandit’s Paradise (Qiangdao de tiantang) Bandit’s Paradise Qiu Bai With Me wo) (Wan have still we Yet, fad. media mass popular a become now has animation Flash change, nature. its grasped truly not of Flash 4 enhanced cartoon production and script editing, giving rise to a rapid new media art show in Hangzhou included The in Flash works in just a year. growth MTV-type works like Jiang Jianqiu’s yaogun) de lushang Changzheng mated shorts like Zhou Xiaohu’s guan his multimedia work the of understanding people’s Chinese the how illustrates It investigation. prehensive pro multimedia Interactive comic. and serious both self-contradictions, of full is West of complexity limitless the to Due feeling. of kind this re-create to way best the vided itself. concept the as form in labyrinthine as is work this subject, its ated in 1996, was a work based on photographs from a family album through the past the through album family a from photographs on based work a was 1996, in ated twenty years. It included images documenting the period, old records, copies of like a historical biography rather more discs, books, film clips, music and homemade artwork. an than Suicide Home art. into games making was he considered, initially some as form art lesser a with ing involvement used in his works does not provide a solution. Quite the contrary, part part the contrary, a solution. Quite provide involvement used in his works does not our powerlessness in the face of many playful and part technical jargon, it intensifies forms of art Mengbo Feng the control. created model first using games electronic of dose heavy a with game electronic the imbued that symbolism political a employing work, multimedia interactive of piece first the produced He affairs. current Strategy by Mountain Zhenhua took place at the LNMAS in Beijing, bringing together local works in digital bringing together local works in digital in Beijing, at the LNMAS Zhenhua took place CD-ROM, via works multimedia interactive included This years. recent from media games. computer excellent and newer even and works, Flash and is even of language itself, within the very structure acts from control type of This post­ of phase current the in conspicuous more China Internet Art curated by and Huang Hai Yan Bo in Changchun. This highlighted the agenda of significant that such an and its influence on Chinese art. It was Internet experience not did works the Yet Art Academy. Jilin by the hosted be could activity avant-garde the 2001, 1, March On show. the of theme and title the to conform entirely Art Festival (Cangku shuma yishujie investigate the various emerging possibilities of new technology when aligned with with when aligned of new technology possibilities various emerging the investigate the general meaning of concept. Furthermore, the direction of conventional approaches was explored, thus making room for artists to extend the new media. [ the video exhibition with Compared a great was Arts] in 1996, there Academy of Fine of the China National the art gallery involved. technology new more deal

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