媒体艺术21系列线上讲座
本讲座系列为科技艺术研究院于2021年发起的项目“媒体艺术21：2000年以来全球媒体艺术实践与反思，及其教学探索”之组成部分。讲座依照项目目前的三个主题：“后人类”（Posthuman）、“生态”（Ecologies）、“共同体”（The Commons）分别展开。本讲座为“共同体”主题下的第一场线上讲座。
合作与区社 | COLLECTIVITY and COMMUNITY
讲者：鲁道夫·弗里林（Rudolf Frieling）
主持：张尕（ZHANG Ga）
日期：2022年1月11日 周二
时间：12:00 - 13:30（北京时间）
语言：英文（配中文现场翻译）
参与方式：MANA线上直播（海报与文中附二维码链接）
联合主办：中央美术学院科技艺术研究院、中央美术学院美术馆
专项支持：和艺术基金、新媒体艺术基金会
线上直播合作：MANA
关于讲座
媒体艺术是一门多重技能组合的艺术，无论是一个电影摄制团队还是制作复杂的视听装置，通常都需要团队合作。尽管艺术创作有其合作的必要，但艺术家作为“主导者”的做法依然很有市场。然而同样颇具活力的是进一步有意识地摒弃艺术家个人天才的对抗策略，其反对的是以艺术天才面貌出现的20世纪前卫艺术反资产阶级、反传统的模范角色。在破码行为都已成为行业资产的当下，媒体艺术并非是反传统的。激进性（radicality）通常与反传统的姿态有所关联，这因此是一个仅存在于修辞与态度中的可疑概念。当整个行业都建立在激进性上时——比如硅谷的“破坏性”（disruption）概念——艺术的价值及其相关性就不能从所谓的激进性中寻找，而需另寻他处。这里的“他处”（elsewhere）或许能在集体实践的形式中被发掘。本次讲座将着重介绍在这一语境下的若干典型案例。
关于讲者
鲁道夫·弗里林（Rudolf Frieling）是旧金山现代艺术博物馆（SFMOMA）的媒体艺术策展人，他在此联合策划了最近的回顾展“白南准”（Nam June Paik, 2019-2021年）、“苏珊娜·莱西：我们到了”（Suzanne Lacy: We Are Here, 2019年）、“布鲁斯·康纳：都是真的”（Bruce Conner: It's All True, 2016-2017年），以及关于围绕声音展开创作的当代艺术家研究性展览——“音轨”（Soundtracks, 2017年）。他策划的其他专题性展览囊括了广泛的艺术家群体，诸如：约翰·阿科姆弗拉（John Akomfrah）、大卫·克莱伯特（David Claerbout）、威廉姆·肯特里奇（William Kentridge）、琳恩·赫什曼-李森（Lynn Hershman-Leeson）、莎伦·洛克哈特（Sharon Lockhart）、理查·德莫斯（Richard Mosse）。他还策划了旧金山现代艺术博物馆颇具影响力的研究性展览“参与的艺术：1950年至今”（The Art of Participation: 1950 to Now, 2008-2009年）以及“舞台展现：艺术与媒体中的剧场性”（Stage Presence: Theatricality in Art and Media, 2012年）。弗里林曾于1994年至2006年担任德国卡尔斯鲁厄媒体艺术中心（ZKM）的策展人与研究员，他在此组织并联合策划了“媒体艺术网络”（Media Art Net，2004年/2005年）项目以及“40yearsvideoart.de：数字遗产——1963年至今的德国影像艺术”（40yearsvideoart.de: Digital Heritage – Video Art in Germany from 1963 until the present, 2006年）。弗里林也是旧金山加州艺术学院（California College of the Arts）的高级兼职教授。他在柏林自由大学（Free University Berlin）获得文学硕士学位，并在希尔德斯海姆大学（University of Hildesheim）获得哲学博士学位。
苏珊娜·蕾茜（Suzanne Lacy）：《方圆》（The Circle and the Square），2015-2017年，收藏于旧金山现代艺术博物馆和曼彻斯特惠特沃思艺术馆（Whitworth Gallery）。
坎迪斯·布莱兹（Candice Breitz）：《工人阶级英雄（约翰·列侬肖像）》（Working Class Hero [ A Portrait of John Lennon ]），2006年，收藏于旧金山现代艺术博物馆。
拉斐尔·洛扎诺-亨默（Rafael Lozano- Hemmer）：《巨大声响》（Voz Alta），2008年。
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关于项目
“媒体艺术21：2000年以来全球媒体艺术实践与反思，及其教学探索”是由中央美术学院科技艺术研究院发起的三年项目。
媒体艺术是全球当代艺术实践中不可或缺的组成部分。其以媒介的过去、现在和未来诠释世界之当下。伴随着媒体艺术实践及其在国际艺术展览中占比的日益增长，对其展开批判与学术性反思，同时将这一实践领域纳入到艺术教育的需求也在不断增加。艺术家、学者、策展人和学生能够获得原始资料并进行批判性思考，这对于研究和发展媒体艺术这样一个已经对当代艺术产生显著影响、塑造和促进作用的领域而言至关重要。“媒体艺术21——21世纪的媒体艺术”旨在以全球视野对2000年以来的媒体艺术进行概述来满足这一需求。
项目网址：http://mediaart21.org
Media Art 21 Online Lecture Series
This online lecture series is part of the Media Art 21: Practices, Reflections, and Pedagogies of Global Media Art Since 2000, a project initiated by the Institute of Sci-Tech Arts of the Central Academy of Fine Arts (CAFA) in 2021. The lectures are based on three current themes of the project: Posthuman, Ecologies, and the Commons. This is the first online lecture under the theme of the Commons.
COLLECTIVITY and COMMUNITY |
Speaker: Rudolf Frieling
Introduced by: ZHANG Ga
Date: 2022.1.11 Tuesday
Time: 12:00 - 13:30 (Beijing time)
Language: English (with Chinese translation)
Participation: Online Streaming by MANA (QR code attached on the poster and text)
Co-organized by: CAFA Institute of Sci-Tech Arts, CAFA Art Museum
Supported by: HE ART FUND, New Media Arts Foundation
Online Streaming Cooperation:MANA
About the Lecture
Media art is an art of multiple skill sets that often require collaboration whether it is a film crew or a complex audiovisual installation. Despite these collaborative necessities of production, the artist as "director" is still very much alive today. But so is the counterstrategy of going further to consciously refute the notion of the individual artistic genius masquerading in the anti-bourgeois and anti-establishment role models of the 20th century avant-garde. Media Art today is not anti-establishment when even hacking has been integrated into the portfolio of governments and corporations. Radicality, often associated with anti-establishment gestures, is thus a dubious concept that only survives in rhetorical gestures and attitudes. When an entire industry is based on radicality, here the notion of “disruption” in Silicon Valley, artistic value and relevance is elsewhere to be found, not in so-called radicality. This “elsewhere” is possibly found in forms of collective practice. The talk will highlight select protagonists in this context.
About the Speaker
Rudolf Frieling, Curator of Media Arts at the San Francisco Museum of Modern Art (SFMOMA) where he co-curated the recent retrospectives Nam June Paik (2019-2021), Suzanne Lacy: We Are Here (2019) and Bruce Conner: It's All True (2016-2017) as well as the survey on contemporary artists working with sound Soundtracks (2017). Other monographic exhibitions included among others artists such as John Akomfrah, David Claerbout, William Kentridge, Lynn Hershman Leeson, Sharon Lockhart, Richard Mosse. He curated SFMOMA’s influential survey exhibition The Art of Participation: 1950 to Now (2008-2009) and Stage Presence: Theatricality in Art and Media (2012). From 1994 to 2006, Frieling was a curator and researcher at ZKM Center for Art and Media, Karlsruhe, Germany, where he organized and co-curated the projects Media Art Net (2004/2005) and 40yearsvideoart.de: Digital Heritage – Video Art in Germany from 1963 until the present (2006). Frieling is also a Senior Adjunct Professor at the California College of the Arts in San Francisco. His education includes a M.A. from the Free University Berlin and a Ph.D. from the University of Hildesheim.
About the Project
The Media Art 21: Practices, Reflections, and Pedagogies of Global Media Art Since 2000 is a three-year project initiated by the Institute of Sci-Tech Arts of the Central Academy of Fine Arts (CAFA).
Media art is an essential part of global contemporary art practice. It addresses the world of the present through the media of the past, present, and future. With the increasing artistic production of media art and its growing presence in international art exhibitions comes a growing need for critical and scholarly reflection, as well as for the inclusion of this field of practice in art education. For artists, scholars, curators, and students, access to original materials in conjunction with critical reflection is of prime importance for the study and development of an artistic field that has remarkably influenced, shaped, and stimulated contemporary art. MA21 – Media Art in the 21st century – seeks to address this need through an overview of media art since 2000 from a global perspective.
Project website: http://mediaart21.org
