academic research

Jump out of fixed frame and construct an open space of art museum  An Overview of the Second Day of the Art Museum Forum...

2018-11-06 1802 read

On November 3, the second day of “International Art Education Conference Art Museum Forum: Opportunities and Challenges of Art Museums in the Digital Age” was transferred to the conference hall of the Ovation Seven-Cultivation Hotel in Langfang. The discussion on that day started with “The Role of Art Museums in Making the Contemporary Art History” and “The Differences Between Public and University Art Museums in Art Education”.Session II: The Role of Art Museums in Making the Contemporary Art HistoryTime: 10:30-12:30, Saturday, November 3, 2018Venue: The Conference Hall of Ovation Seven-Cultivation Hotel in LangfangHost: Gao Gao, Assistant to Director, CAFA Art MuseumChairs of Forum: Zhang Zikang, Director of CAFA Art Museum                              Geoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of CambridgeGuests: John W. Smith, Adele Tan, Jiyoon Lee, Ji Shaofeng, Hang Jian, Li Xiaoshan, Wang Chunchen (list in the order of speech)1John W. Smith, Director of Museum of Rhode Island School of DesignJohn W. Smith, Director of Museum of Rhode Island School of Design, made a speech on “A Museum for Artists-Its Past and Future”. He combined with the background of Rhode Island School of Design and shared the experience of how the museum develops around teaching. Rhode Island was once the textile center and important jewelry industry with a long history in design. The 140-year-old Rhode Island School of Design still uses the ancient technique of copying as one of the means of art education, and the Museum of Rhode Island School of Design is the main site for students to copy famous paintings. The museum is closely related to the study and practice of students, as they are deeply involved in public education, exhibition curating and collection management.2Adele Tan, Senior Curator of National Gallery SingaporeAdele Tan, Senior Curator of National Gallery Singapore, spoke on “Making Space: the Digital World and the Art Museum”. Curator Chen is in charge of the museum’s collection and exhibition since the 1970s, as well as entrusted projects of contemporary works. She first talked about the development and reform of the National Gallery Singapore, including the influence of the two performance arts “32 Years: The Interrogation of a Mirror” and “Let’s Walk Together” on the museum and contemporary art in Singapore. Another major part of Curator Chen’s speech was the museum’s attempts based on the characteristics of the digital age, such as developing online exhibitions on mobile apps, exhibitions based on twitter, design exhibitions of pure electronic version that exists on the web, and digital interactive “social desktop” where exhibits can be viewed online. The National Gallery Singapore has tried to make use of digital technology to create many virtual exhibitions on the digital platform and made them become a beneficial supplement to the physical displays.3Jiyoon Lee, Former Managing Director at National Museum of Modern and Contemporary Art (MMCA), Korea; Director of SUUM Contemporary Art ProjectJiyoon Lee, Former Managing Director at MMCA, Korea and Director of SUUM Contemporary Art Project, gave a speech on “The Role of Curatorship in the Age of New Technology Art”. Based on her own experience in the construction and curation of the museum, Director Lee primarily introduced how to use new technology to intervene in this process. The MMCA, Korea has been trying to develop art based on new technologies. It receives the technical support from high-tech enterprises such as Hyundai Motor and Hyundai Engine – they incorporate technology into artistic creation and art exhibition to create more possibilities for the museum. At the same time, Director Lee also stressed to help the curators to obtain opportunities for multi-dimensional learning and practice, because curators are not only researchers but also project managers, creators and producers.4JI Shaofeng, Director of Hubei Museum of ArtJI Shaofeng, Director of Hubei Museum of Art, talked about “Collecting is Thinking: the Role of Art Museums in Contemporary Art History”.  Director Ji believes that collecting should be a forward-looking study and collection of works in line with and beyond the times, so as to preserve the most valuable thoughts through collecting. When these thoughts are implemented in art museums, they will play an active role in the development, construction and research of contemporary art history. In the study of modern art history, we should avoid the interference of power and the bondage of capital, construct the collection series of contemporary art history from the perspective of art history and promote the construction of contemporary art history with the collection.5 HANG Jian, Director-General of CAA Museum, China Academy of ArtHANG Jian, Director-General of CAA Museum, China Academy of Art, delivered a speech on “The History of Design and the Design Museum in China – A Process of Designing Democratic Value Discovery”. Director Hang first introduced the three parts constituting the art museum group of China Academy of Art: the Museum of Contemporary Art, China Design Museum and China Academy of Arts' Folk Art Museum. Among them, he highlighted the planning concept and the eye-catching exhibition of the China Design Museum that just opened on April 8 this year. Director Hang pointed out that the mission of the China Design Museum is to consider how to respond to the changes in society and science & technology. In today’s rapidly changing science and technology, compared with art museums, China Design Museum pays more attention to the relationship between technology and human life in the future development, as well as the impact of technology on human future.6Li Xiaoshan, Director of Art Museum of Nanjing University of the ArtLi Xiaoshan, Director of Art Museum of Nanjing University of the Art, spoke on the topic of “From the Art Museum of Nanjing University of the Art to See the Present Situation and Future of Efficient Art Museums in China”. After a brief introduction of the art museum, he put forward three problems: the boundary of the art museum, the standards and features of the art museum, and opportunities and challenges of art museums in the digital age, which are three topics that currently faced by many art museums and deserves pondering. Director Li believes that the discussion of the forum should not focus on the explanation of each museum but to go deep into the consideration of practical problems such as theoretical problem, conceptual problem, and standard features of managing art museums, and so on.7WANG Chunchen, Deputy Director of CAFA Art MuseumWANG Chunchen, Deputy Director of CAFA Art Museum, made a speech on the topic of “Art Museum and the Making of Art History”. Director Wang stated that art museums appeared with the birth of art history research and played a critical role in the making of art history. Art Museums should undertake the recording and studying of art history, rather than just turning museum space into places for public activities, even sites for recreation and capital consumption. At the end of his speech, Director Wang hopes that peers of art museums can clarify the responsibilities of the art museum and make today’s art museums regain their mission of constructing art history. When the speeches of the second session were finished, two chairs of forum discussed with speakers and on-site media on issues such as art museum and contemporary art, art museum’s role of making art history, the specialty of design and architecture museums, etc. For art museums and contemporary art, Geoffrey Ward pointed out that there is a paradox between art museums and contemporary art as some art museums become boxes for hanging paintings and this kind of simple arrangement is a common problem of modern art museums. Regarding the art museum and art history, Director Smith thinks that the more important work of curators is not to write the history of art but to build a narrative belonging to the institution itself. Successful curators can tell a grand story in low-cost and express the whole trend through a certain aspect. As for the particularity of design museums, Director Hang states that the mission of art exhibition is different from that of contemporary design exhibition. The former helps to observe objects in different chains of design history, technological and social development, while the latter points to the possibility of future life. In response to the media’s questions about the acceptance of architectural exhibitions, Director Lee said that the MMCA Korea has already paid attention to the importance of collecting architectural models and started planning the exhibition of architects. Last year, the Seoul Biennale of Architecture was held in Seoul, and more architectural exhibitions will be held in the art museum in the future. Director Hang said that when the China Design Museum just opened, it took one third of the exhibition space to make the first Asian architecture exhibition for Siza, and it tried to think about the development of Chinese architecture itself by sorting out the development history of important international architects along with the different possibilities of their works around the world.Session III: The Differences Between Public and University Art Museums in Art EducationTime: 14:00-18:00, Saturday, November 3, 2018Venue: The Conference Hall of Ovation Seven-Cultivation Hotel in LangfangHost: Wang Chunchen, Deputy Director of CAFA Art MuseumGuests: Uladzimir Prakaptso, Geoffrey Ward, Ernst Vegelin van Claerbergen, Caitlin Doherty, Zhou Xujun, Patricia Rodewald, Guillermo Solana, Cao Hong, Meng Xianwei, Han Haiyan (list in the order of speech)1Uladzimir Prakaptso, Chairman of Belarusian Art Society, Director of National Art Museum of the Republic of BelarusUladzimir Prakaptso, Chairman of Belarusian Art Society, Director of National Art Museum of the Republic of Belarus, started the forum with the topic of “Cultural Cooperation is an Integral Component of the Belarusian-Chinese Relations”. He briefly introduced the “The Belt and Road” cooperation between Belarus and China. Prakaptso believes Chinese art is very attractive to the National Art Museum of the Republic of Belarus and hopes to bring more works of Chinese artists into Belarus. He also mentioned that 2019 is the 80th anniversary of the establishment of the art museum, which he hopes to witness with the participating guests together.2Geoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of CambridgeGeoffrey Ward, Acting Director of Fitzwilliam Museum, Deputy Vice-Chancellor of University of Cambridge, spoke on “The Differences between Public and University Art Museums”. Director Ward first described the differences between Western and Chinese museums. He mentioned that, in the context of his work, in addition to a strong artistic background and successful management experience, museum directors are required to have the ability to raise funds, extensive contacts and business planning capability, as well as enough confidence to deal with the relationship between the 800-year-old university and the young art museum. He also stated in detail the difficulties faced in Britain, such as the increasing involvement of the government in the management but the reluctance to provide financial support, and the fact that charity is often an essential resource of funding for museums. Ward concluded that the function of a university museum is to stimulate students’ interest in art while serving as a link connecting different social groups.3Ernst Vegelin van Claerbergen, Director of the Courtauld GalleryErnst Vegelin van Claerbergen, Director of the Courtauld Gallery, made a speech on “The Public Value of the University Art Museum”. He believes that the university art museum should be a cutting-edge existence, and instead of letting people learn what they already know, it should expand the public’s knowledge in this field and promote the democratization of knowledge. University art museums and museums are supposed to be confident in dealing with factors from different aspects. At the same time, he also raised doubts about using the number of visitors as the standard to evaluate an art museum. He believes that organizing a well-received exhibition by such a criterion might deprive the audience of opportunities to learn about other art forms.4Caitlin Doherty, Executive Director of Museum of Contemporary Art Jacksonville, University of North FloridaCaitlin Doherty, Executive Director of Museum of Contemporary Art Jacksonville, University of North Florida, gave a speech on “MOCA Jacksonville: A Bridge Between Campus and Community”. Director Doherty believes that art and culture are a driving force, not a mere superstructure, that should undertake more responsibility for the community. By introducing different exhibition planning projects, she elaborated the museum’s attempt to change students’ lives through education projects and stressed that in this respect, the art museum plays an increasingly significant role and will help more community members to accept art education.5ZHOU Xujun, Director of Minsheng Art Museum BeijngZHOU Xujun, Director of Minsheng Art Museum Beijng, made a speech on “Public Art Museum and Art Education for the Public: the Case of Minsheng Art Museum”. Director Zhou believes that in the information age when visual images are easily accessible, art museums’ role of public education is changing and are endowed with the function of “knowledge production” and “social intercourse space”. As a model of private Chinese contemporary art museum, the three-year-old Minsheng Art Museum Beijing attaches great importance to public education, adhere to the idea of “equality and openness” and emphasize the connection with the urban public. From five keywords of “exhibition”, “children”, “cross-field”, “theory” and “public”, the museum designs and builds brand public education activities, making the art museum a cultural exchange platform for multiple services and constantly inject new cultural energy for the city.6Patricia Rodewald, Senior Advisor for Global Programs (China) of American Alliance of MuseumsPatricia Rodewald, Senior Advisor for Global Programs (China) of American Alliance of Museums, talked about “Artificial Intelligence and Interpretation: Engaging Audiences in New Ways”. Rodewald said that she and her team serve non-professionals and hope to encourage this kind of group to appreciate and explore artworks at close range. For that reason, they actively exploit different ways of interacting with the audience from traditional museums, such as developing some AI technologies to help the viewer conduct a direct dialogue with the collection, as it will be a very meaningful experience for the audience.7Guillermo Solana, Artistic Director of Museo Thyssen-BornemiszaGuillermo Solana, Artistic Director of Museo Thyssen-Bornemisza, gave a speech about “Artists’ Workshops as an Educational Tool: The Case of the Thyssen Museum, Madrid, Spain”. In his talk, he said that early European museums were important places for educating artists, but now, the relationship between art museums and contemporary artists becomes alienated. He has been considering the relationship between artists and art museums, and how to make the public re-recognize this relationship. Based on this thought, the art museum holds an in-depth exhibition of contemporary artists every year. Apart from guiding visitors to appreciate works, artists also invite them to participate in the exhibition so that visitors can understand the creation process of contemporary artists and the production process of works in the museum.8CAO Hong, Deputy Director of Arthur M. Sackler Museum of Art and Archeology at Peking UniversityCAO Hong, Deputy Director of Arthur M. Sackler Museum of Art and Archeology at Peking University, delivered a speech entitled “The Role of University Art Museum in the Higher Education of Arts: A Case of Arthur M. Sackler Museum at Peking University”. Director Cao introduced the museum’s three types of exhibitions: exhibitions showing the newest archaeological discoveries and scientific research results, art exhibitions emphasizing a dialogue between ancient and modern times, innovative exhibitions planned and made by students. These kinds of exhibitions aim to develop a relationship with the students using the collection and offer them maximum privileges to engage in the collection sorting and studying.9MENG Xianwei, Founder of "Qingdao Artists' Garden" Project, Director-general of Qingdao Museum of Contemporary ArtMENG Xianwei, Founder of "Qingdao Artists' Garden" Project, Director-general of Qingdao Museum of Contemporary Art, spoke on the topic of “Construction and Ecology Establishment of Qingdao Museum of Contemporary Art”. In his speech, Meng stated the design concept and plan of the art museum – an art museum that is closely related to art and life. As a cultural facility of the city, he expects the art museum can make contributions to nature and community, and thus integrate into the natural environment.10HAN Haiyan, Deputy Director of Langfang Gallery of CAFA Art MuseumHAN Haiyan, Deputy Director of Langfang Gallery of CAFA Art Museum, gave a speech on “Come-in Visitors, Go-out Art Museums - Unlimited Growing Public Education”. Director Han introduced the specific circumstance of the project of the “International Cultural Exchange Center of the Silk Road” in Langfang, followed by a series of art education projects launched to promote the connection between art and the public. She also analyzed the challenges the museum may face in its future operation.After the keynote speeches finished, two chairs of forum exchanged opinions with speakers and on-site guests on issues such as using the number of visitors as the standard to evaluate an art museum. James Bradburne said that with different aims and missions, art museums do need to have some conventional measuring factors as the standard of assessing an art museum but the number of visitors does not mean anything, and it probably makes more sense to give a more detailed analysis, like to analyze how many visitors are repeat visitors or first-time visitors and what is the proportion of young people or children. Director Doherty believes that exhibition space should be a place for experimentation so that the art museum should go back to explore more demands and possibilities of visitors beyond the statistical framework. Director Zhang Zikang stated that the quality and quantity of the audience should be taken into consideration to promote good exhibitions and valuable arts.At this point, the two-day “International Art Education Conference Art Museum Forum: Opportunities and Challenges for Art Museums in the Digital Age” ended completely. However, art museum practitioners will continue to question and think about issues of current value and future development of art museums as well as how should today’s art museums respond to the changes of the times. The answer is open and dynamic, which requires more diversified art museum practices to inspire new creativity and imagination space.

Be Open to New Ideas and Draw on the Strengths of Others | Analyze “Discipline with Master’s Dignity – Teaching & Research Exhibition of No.3 Studio of the Department of Oil Painting, CAFA”...

2018-11-06 1230 read

The series of teaching exhibitions of the studio of different departments are actually combing through the teaching history of CAFA. From art thought to teaching method and to work image, the exhibition “Discipline with Master’s Dignity” presses as close to the historical facts as possible and use historical materials to pursue its reasons and find the contradictions and conflicts behind. It clearly presents the carrying out of the No.3 Studio’s teaching over the time and the wide dimension of its creation from three units as its narrative structure: “national style, Chinese manner”, “construct Chinese school of oil painting” and “base on tradition and face the contemporary”.

What is the Future Direction of Art Museums in the Digital Age?  International Art Education Conference Art Museum Forum...

2018-11-04 1502 read

On the afternoon of November 2, 2018, the International Art Education Conference Art Museum Forum is held in the auditorium of CAFA Art Museum. As a sub-forum of this Education Conference, CAFA Art Museum takes “Opportunities and Challenges of Art museums in the Digital Age” …

Fan Di’an: Keep to Beginner’s Mind and Establish the Elevation of Time for “CAFA Style” Oil Painting...

2018-10-22 696 read

The development of oil painting in China has multiple “meanings”. As an art form from the West, the emergence, dissemination and popularization of oil painting in China have crossed the boundary of culture and become a cultural existence, acquiring social significance in a broad sense.

Zhang Zikang:Find New Meaning in Painting Written before the exhibitions of “The Return of Significance” and “Discipline with Master’s Dignity”...

2018-10-12 763 read

From the early 20th century, the first group of predecessors having studied in Europe and Japan returned to China to introduce Western oil painting. They planted upon the land of China with seeds of oil painting for participating in the course of modern art history. In 1956, CAFA officially established the Department of Oil Painting and took the lead to implement the mentor studio-based system. The established three studios led by Wu Zuoren, Luo Gongliu and Dong Xiwen and the graduate school led by Wang Shikuo became the earliest bases for teaching oil painting. Under the background of the New Tide Art Movement in 1985, the fourth studio was established by the dean of the Department of Oil Painting, Wen Lipeng, based on the ideal of the modernization of Chinese art, centered on modern art education ideas and safeguarded by the new teaching system. In 2016, in order to meet the needs of the disciplinary development again, the Department of Oil Painting set up the fifth studio, as a supplement for constructing the department with abstract art views.  From the previous four studios to the setting up of the fifth studio in recent years, the Department of Oil Painting was deeply involved in and explored issues from classic style to expressionism, color, and material, then to the modern and contemporary art. In order to adapt to changes in painting creation, teaching and aesthetics, the department constantly strives to unleash the power of oil painting and produce rich visual contents to reveal the creation value of arts through studies on painting language and concept from different perspectives.The Department of Oil Painting has cultivated a large number of outstanding students excelled at both morality and artistic skills, many of which became well-known artists or turned into the backbone force in the field of oil painting and art business across the country. It went through a glorious history as many famous oil painters of the department have created representative works during different historical periods that have the distinctive characteristic of the times and reflect the development course of social transformation as well as its cultural features. The Department of Oil Painting in CAFA represents the highest level of the studies and creation practices of Chinese oil painting, and continually renews the creation concept of oil painting in Chinese art circles, becoming a participant and creator in the process of contemporary art.With the continuous development of new media and various kinds of media arts, oil painting is facing the challenge of how to continue to develop, as the technique of photography, internet and new media keep creating new visual experience and changes the way of using painting to show the objective world and getting images. Just for this reason, the new generations of oil painters are also given opportunities to exploit the changes of oil painting in a new context.CAFA Art Museum is honored to present the works of 22 artists who are regarded as the most prominent oil painters in China and engaged in the studies and education of oil painting in the Department of Oil Painting, along with the research & teaching exhibition held for the time-honored No.3 studio of the department as well. These paintings cast light on the teaching practice of the Department of Oil Painting of CAFA on the way to pursue oil painting diligently for half of the century. They also demonstrated that oil painting – a medium with its own development history and logics – increasingly seek a dialogue with the times and promotes the self-updating of its painting language under the efforts of generations of creative practitioners.Today, painting is not exactly the painting in the traditional sense with its complex and pluralistic appearances. We can see that so many mature and creative artists from the Department of Oil Painting of CAFA undertake their own missions, learn from their predecessors, and draw on the classics and tradition to step into the future.   

A Summary of the Forum on “Revive the Splendid Landscape of China – Research Exhibition on the Movement of New Chinese Painting in the 1950s-60s”...

2018-10-09 1535 read

On September 8, a special forum was held in the gallery of the research exhibition of “The Land of Country Remade – New Chinese Painting Movement in the 1950s-60s”. This forum focuses on academic exchange and discussion within the same industry and is open to only a few professional media. It is the first time for CAFA Art Museum to direct this kind of symposium, by which curator Wang Chunchen hopes to make academic discussion “more relaxed, free or more real”, and also to dig deeper and find the blind spots in previous studies.

Zhang Zikang: From “Peeking” and “Watching” to Focus on “Private” and “Public”...

2018-10-08 943 read

As one of the brand exhibitions of CAFA Art Museum, “The Beijing Photo Biennial” has been held twice successfully with themes of “Aura and Post-Aura” and “Unfamiliar Asia”.……

Cultivator: Four Themes to Review Dai Ze’s Oil Paintings...

2018-10-06 964 read

The 97-year-old Dai Ze is a representative of the second generation of Chinese oil painters, who learned from Xu Beihong, one of the founders of modern Chinese art, and was taught by multiple distinguished artists and masters.

Beyond Entertainment, “Re-recognize Game”: Art Exploration and Function of Game in the Art Museum...

2018-09-17 847 read

“CAFA Art Museum hopes that through sorting out and presenting the cultural issues concerning game art in the exhibition, it can lead this emerging art form to draw more attention and discussion in the academic system of fine arts, and explore the deep influence brought by games nowadays on visual arts as well as other fields. At the same time, it expected that people who come to visit and experience the show could pay more attention to serious games that involved in domains such as education, medical treatment, social practice and future imagination. It also anticipated that the humanistic care and social philosophies reflected in the exhibition would evoke new thinkings and possibilities for the future of the game and human beings.”                               Zhang Zikang, Director of the CAFA Art Museum Games that sold more than one billion copies easily, such as “Minecraft”, “Monument Valley”, “Kingdom Come: Deliverance”, “Sky”, “Gorogoa”, “Human Resource Machine”, have taken up many people’s fragments of spare time with its powerful genes of addiction. It is said, for example, that one in seven people in China plays the hottest game “Arena of Valor”. Skipping from the  “trifles” of the real world to the “construction” of the game world, game designers transcode the deep logic of the world into game language, which covers many themes across multiple fields, including digital media, visual communication and philosophy. For this reason, more than ever, the reviewing of the game requires to be carried out from various areas. “Monument Valley” is a mobile puzzle game developed and published by USTWO Games in 2014. The player leads the princess Ida through mazes of optical illusions and fights crow people in the process while interacting with the environment to find hidden passages to the map’s exit. (Original text from Baidu Encyclopedia)From video game first appeared in the late 1960s until mobile terminal has popularized today, electronic games have achieved great success of high industrialization during dozens of years. Many large-scale games of various and complex types are exquisitely designed in the internal logic and spectacular visual effects. Instead of playing with simple logic that the avatar attributes become more powerful as the level goes up, players can gradually develop the main characters of their own features in the process of upgrading weapons and fighting enemies. With the further development of industrialization, a successful “game” is welcomed by fastidious players only when it excels in technology, design, concept and innovation, which therefore requires the involvement of first-class art and concept designers, software engineers and cutting-edge AI technology. “Minecraft” is a sandbox video game released in 2009 and it has no specific goals to accomplish. Players can freely move throughout a world to destroy or build items with a variety of different blocks, and it can be a wood house, a castle, and even a city. Through creating things, players can gain the experience of being the owner in their created world. (Original text from Baidu Encyclopedia)With the opening of “Play Beyond the Game: The First Grand Exhibition of Art and Serious Games” , CAFA Art Museum expressed its stance of accepting “game art” by displaying game works in the art museum, and it is undoubtedly an initiative practice of this kind. Using the means of game and the form of exhibition to show the charm of the “ninth art”, visitors are able to think of games and serious games again, to directly feel the interaction of game productions, to understand the design and creation process of each game, to see with their eyes a large number of creation manuscripts and video recordings provided by the game designers, and thus to collate and redefine the cultural gene of the game. Rules and system: awareness of gameIt is said that the oldest game in human history traces back to the Senet around 3200 BC. Senet was once a popular board game in Egypt, and its remains have been frequently found in tomb paintings and funerary objects. Despite a recreational game, Senet also had serious symbolic meaning. The Senet gameboard is a grid of 30 squares which called a house, and some squares are marked with hieroglyphs. The squares without hieroglyphs represent the houses of the god, and each player has to bear all pawns off the board. The whole process is conceived as a symbol of the journey to the afterlife and the game is the bridge to connect life and death, the spiritual meaning of which is also emphasized in “The Egyptian Book of the Dead”. “White Night” is an adventure puzzle game developed by Osome Studio and published in 2015. Its unique artistic style enables players to be intoxicated with the atmosphere of the black movie. (Original text from Baidu Encyclopedia)As a kind of carrier of rules, game shows its artistry in the system, story, shooting script, and even the ultimate worldview. Go, for example, is regarded as having the most elegant and beautiful rules so far, and its influence on the thinking of conflict, concentration, indirect management and direct control is never out of date.Until now, the form of the game has accelerated more than ever. For game players who born in the late 80s and early 90s, digital games started from homemade RPG (Role-playing game), while for people who born after 2000, the first impression of digital games is recreational games on mobile devices or 3A games playing in the platforms of console and PC. It might be considered as a process of new technology replacing the old one, a course of advanced game mechanics substituting that of the backward, and a kind of evolution of irreversible aesthetics. “Lumino City” is a puzzle game that the game scene is created with real model materials and the player has to manipulate a girl called Lumi to search for her grandad. Apart from the puzzle style, the biggest characteristic of this game depends on the handmade game environment that built on real miniature models.The evolution of technology has enabled digital games to exert influence on players in many aspects: from geographic design and physical engine to soundtracks and characters…it almost combines a variety of categories, such as dance, architecture, narrative, improvisational drama, music, painting and movie, which thus promoted the possession of a comprehensive art form within the nature of the game. For game designers, the most direct and concise core of creation is the study of game rules and the refinement of expression. “Kingdom Come: Deliverance” is an action role-playing video game developed by Warhorse Studio. It is set in the middle ages and features nonlinear quest lines and an open world environment which encourages immersive first-person combat, bringing an innovation revolution in many ways.The ultimate worldview of the game is also regarded as the typical element for its aesthetic grade. For example, the first “Metal Gear” game reveals a spirit of compassion and conveys the horror to the nuclear threat and the value of peace through vivid expression of movie that can be claimed as a game version of “Apocalypse Now”; “Metal Gear 2” explores the paradox between clone technology and self-recognition; and “Metal Gear 3” turns the hero character into an ordinary person… “Metal Gear” series let us witness how the real-life suffering and hardships are reflected in the games, and also amazed at the producer Hideo Kojima’s dual talent in the field of movie and game. In the forum of “CAFA Game Art Exhibition”, Yoji Shinkawa, the illustrator of “Metal Gear” series, had a wonderful conversation with Yoshitaka Amano, another famous Japanese game designer, as they are both God-like figures involved in the game production for their respective game types. Game as the carrier of digital media artThe game developers have made various novel attempts in the gameplay at the aesthetic level, as not only game rules and systems are of artistic, but the visual presentation and attribute of emphasizing interactive experience within games can be viewed as artistic elements as well. A majority of artworks can achieve the state of interaction, that is, an interaction between the creator and the audience, which is actually a one-way communication, while games integrate the form of digital media with players’ new requirements and as a result change the relationship of the receiver and the media – from passive acceptance to active control, and then to active participation. “DragonBox” is an educational game series featuring its unique gameplay. It has five "worlds" with twenty levels each, and beating each level allows the dragons that the player possesses to grow into a new, more advanced form.Some games imitate the relationship of cooperation or competition between people in reality. This kind of high imitation inevitably contains the divisions and conflicts between race, gender, region and class, and there is not any language communication (language in the narrow sense) with each other from a random summoning, but it guarantees a natural process in which people can establish a relationship of mutual trust from strangers.When we claim that the game is only a pure fiction, we don’t realize that the so-called “fiction”  possesses a kind of authenticity beyond reality, as said by French philosopher Jean Baudrillard. It is assumed that all great game designers holding dreams of reforming visual art, like all artists, movie directors, eminent writers and poets, dive into this brand-new industry and lift the media characteristic of the industry as a potential technology to the aesthetic level as much as possible.“Walden” is a video game developed by USC Game Innovation Lab. It translates the experience of Henry Thoreau’s stay at Walden Pond in 1845: surviving through self-sufficient living, enjoying solitude, seeking inspiration in nature, and living a deep life. (Original text from Baidu Encyclopedia)Game designers usually focus on creating games that its visual system can be readily accepted by those who had known nothing about digital games, either it is to put the most ancient game forms (such as Rock Scissors Paper, Rubik’s cube) into a new one, or to make efforts on the categorization of video games at the level of visual art, both of which requires their extraordinary imagination and humanistic care. Of course, it is just the integration of all these idealized visions with the latest technology of digital media that makes the unique visual innovation and experience possible.Nicky Case created a series of interactive web games that generate people’s discussion, such as “We Become What We Behold”, “Parable of the Polygons”, and he tells some profound truth of sociology through simple interactions within the game.Apart from its recreational function, the game as the carrier of digital media has been experimented by game developers in interdisciplinary fields, including art, physics, medical treatment and other social disciplines. For example, “Variant: Limits” – bringing the game into the teaching of college education, “R-mission” – helping children with cancer to fight against the disease by presenting the cancer treatment process, “Minecraft” – allowing players to learn history through famous historical scenes and Chinese classical architectures that restored in the game world, “DragonBox Numbers” – using the form of game to illustrate basic mathematics for learning, “Walden” – using the means of game to interpret the essence of the world literary classics. At the same time, expressing art concepts through the game is increasingly being used in the contemporary art field. “ARTé: Mecenas” is a simulation game. The player is set in the background of Italian Renaissance as a member of the Medici family to establish a personal business empire through investing in artists, churches and potential cities, and then push forward the historical process with the production of art masterpieces. It is regarded as a useful way to learn art history and art-related skills.A game with cultural “gene” does not mean it is entirely without “addiction”, as the game still need to be restricted to a system of rules and attract more exploration and discussion in public areas of society, such as in an art museum. From these perspectives, it is easy to see the significance of the exhibition “Play Beyond the Game” since it is held in the CAFA Art Museum that is affiliated to a distinguished university with deep cultivation. Through an authentic experience, visitors – the “participants of the game” who come to the exhibition can get a profound understanding of how the game enter the discourse system as an art form.Author: Wang Jing (General Editor, the official website of CAFA Art Museum)

Have We Never Been Modern? – Dialogue with Bruno Latour...

2017-05-13 2833 read

Latour has planned several exhibitions and he modestly called himself “an immature curator”, whose curatorial idea was mainly trying to combine his own research and the creation of artists with the aim of thought provoking.
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