从互动到微观社会学：
荷兰／中国媒体介入艺术的双重线索

策展人：Heiner Holtappels、李振华、颜晓东
参展艺术家：Arno Coenen、Edwin van der Heide、Erwin Olaf、Marina Abramovic、Marnix de Nijs、Peter Leeuwerink、Julika Rudelius、徐文恺、李璐璐、廖文峰、王鹿鸣+王振飞、郑云瀚
展览时间：2011年4月16日 – 2011年5月31日 
开幕时间：2011年4月16日下午5点 – 7点
展览地点：艺术ISSUE PROJECTS
特别活动：Edwin van der Heide: 激光声音现场艺术
活动时间：2011年4月23日晚8点
活动地点：艺术ISSUE PROJECTS院内
北京市朝阳区崔各庄乡北皋甲1号 100015
开放时间：上午11点 – 下午7点，周一休息
电话：86 10 6434 0266 
传真：86 10 6434 5366
E-mail：info@art-issue.com

此项目希望呈现一个地缘上更加庞大的荷兰媒体艺术现象，以及与之相关的全球媒体艺术图景，作为对应的中国部分，将探索来自日常的／微观的／身体的媒体介入问题。此展览除了展出的作品之外还有大量录像艺术文献的呈现，横跨60年代以来的荷兰和自1988年之后的中国，是从身体／录像／DIY／互动／声音／视觉等等方面的一次交汇。
荷兰自60年代开始将艺术家介入到公共传媒的行为看作媒体艺术的起点，之后相继有成立于1978年荷兰录像艺术中心（Montevideo）和成立于1981年的V2_不稳定媒体机构，从发起者到现在的执行者都是来自70年代重要的实验／身体表演艺术家。这也是为什么邀请Marina Abramovic的原因，因为她的工作可以最好的说明来自60年代荷兰的媒体艺术节点，当行为和录像发生关系的时候，录像是如何即作为记录媒介，又作为艺术本身被认识的。荷兰的这些重要艺术家分别在媒体艺术的不同领域有着特殊的贡献，而题目中的互动正是针对现在荷兰媒体艺术和全球媒体艺术的一个重点“互动性”而提出。如Marnix作品中对面部识别和面相研究的项目，大量的借鉴了当代文化中的潜在危机，所以它即互动也有着非常的针对社会现象的视角。强调参与一直是媒体艺术家区别于其他类型艺术家的一个重要的标志，但是这并非此展览项目的重点，这一项目旨在发现媒体艺术的历史，从一个年代学的视角看荷兰媒体艺术发展从观念／媒材到类型的关系。
中国媒体艺术始于1988，以张培力作品《30X30》为起点，这一起点与荷兰提出的艺术家介入公共媒介不同，很显然艺术家是在公共媒介相对成熟之后，理性的使用这一媒材作为美学的载体。这个角度并不来自媒介的特性和关注，而来自社会的普世作用，当然对这一媒材的理解和使用，在中国艺术家却与70年代欧洲乃至世界的讨论息息相关，那就是来自身体的实验和来自录像记录特性的录像作品问题。媒体艺术发展到今天，显然“不互动就死”（荷兰V2机构于2007年出版物的口号）是如此的主流和主动，而中国艺术家却于微观之中，有意的躲避着来自传统当代艺术的中国性（Chineseness）问题，同时回避来自新媒体领域的某种主流动向，新媒体在中国的教育始于2000年后，而大量从新媒体系毕业的学生却没有拘泥于这一媒介的限制，而是将其扩展到更加广大的社会实践之中。
两地艺术家的共同参与和介入，可以为这一不同地缘的发展找到更多的共性和不同，这一项目还希望可以在更加社会化的话题上有所推进，而不仅仅是新媒体这一被限定的讨论中。我们更希望看到的不仅仅是追问新媒体是什么？而是去追问新媒体是不是当代艺术？新媒体是不是今日社会的必然？新媒体是不是就在你身边？
新媒体并不是创造隔膜和精英文化，新媒体应该是大众生活的部分，是重新理解今日世界的媒介和沟通方式，新媒体在不同文化语境中和文化背景下，有着不同的视觉和美学发展，但是在这个不断融合的世界文化中，新媒体却最好的消除了文化背景和文化差异所带来的壁垒，从一开始新媒体就是跨越国界的，一直在让我们思考关于不同领域的知识如何被勾联，其乐趣在于对不同领域知识的发现。很多参展艺术家从视觉文化、从媒介、从公共传媒的方法、从行为学、从微观的生命中有所发现，在对此的不断探索中，他们无疑走在了前沿。

特别活动：Edwin van der Heide: 激光声音现场艺术
Edwin van der Heide，专长于声音、空间和互动领域的艺术家和研究者，他将音乐以及作曲语言扩展到空间、互动以及跨学科领域。他的作品包括装置、表演以及环境空间艺术，往往将观众置于其作品当中，激发他们对其作品的主动探索并与其产生互动与联结性。
Edwin van der Heide曾在世界各地的大量知名美术馆和艺术节上表演以及展出作品，比如比利时SMAK当代艺术馆、 奥地利林茨电子艺术节、荷兰电子艺术节、东京ICC互动艺术中心、中国美术馆、柏林国际媒体艺术节、巴塞罗那Sonar电音节、旧金山现代艺术馆等。。
From Interaction to Micro-Sociology: 
The Dual Thread of the Media Intervention into Art in Netherland and China

Curators: Heiner Holtappels, Li Zhenhua, Yan Xiaodong
Participating Artists: Arno Coenen, Edwin van der Heide, Erwin Olaf, Marina Abramovic, Marnix de Nijs, Peter Leeuwerink, Julika Rudelius, Aaajiao, Li Lulu, Liao Wenfeng, Wang Luming + Wang Zhenfei, Zheng Yunhan
Exhibition Period: Apr 16, 2011 – May 31, 2011
Opening Reception: 5pm - 7pm, Apr. 16, 2011
Venue: ART ISSUE PROJECTS
Special Event: Edwin van der Heide: Laser / Sound Performance
Time: Apr, 23, 2011, 8 pm onwards
Venue: The Yard of ART ISSUE PROJECTS
No.A1 Beigao, Cuigezhuang County, Chaoyang District, Beijing 100015
Opening Hours: 11 am – 7 pm, Closed on Monday
Tel: 86 10 6434 0266  
Fax: 86 10 6434 5366
E-mail: info@art-issue.com

This project is designed to present the Dutch media art phenomenon as geographically broader, as well as relevant to the global media art scene. Correspondingly, it also explores related daily/micro/body media interventions from the perspective of China. In addition to the artworks on display, the exhibition features a rich collection of video art documentary material from The Netherlands (from the 1960s to the present) and China (from 1988 to the present). It is a combination of a bodily, video, DIY, interactive, aural and visual experience.
Artists’ intervention into public media since 1960s should be viewed as the starting point of media art in the Netherlands. After that, several media institutes were then founded, such as the Netherlands Media Art Institute (Montevideo) in 1978 and V2 Institute for the Unstable Media in 1981. From the original founders to the current executives, all have been important experimental/body performance artists, which is why Marina Abramovic has been invited to this project. Her work is a perfect illustration of media art in the Netherlands in the 1960s, when video was not only treated as a recording media but also as art per se when performance interacts with video. The important Dutch artists have made remarkable contributions in various fields. The exhibition title specifically stresses an important factor of the Netherlands’ media art and global media arts: interaction. For instance, Marnix's work about face recognition and physiognomy research is inspired by potential risks in contemporary culture, therefore it is interactive and has a special perspective towards social phenomena. The emphasis on participation is always an important feature that differentiates media artists from other artists, however it is not the main focus of this exhibition project. The project’s aim is to present the history of media art and discuss the concepts, media and genres involved in the chronological development of media art in the Netherlands.
Chinese media art began in 1988, with Zhang Peili's work "30x30" as its starting point. While Dutch artists advocated that artists should intervene in public media from the beginning, the artists employed the media rationally as a carrier of their aesthetics. This perspective doesn't come from the characteristics and concerns of the media, but from the universal role of the community. Of course, Chinese artists' understanding and use of these media are closely related to the discussions in ‘70s Europe and the whole world, namely discussions about body-related experiments and video works inspired by the recording characteristics of video. Apparently, in today's new media art, "Interact or Die" (the slogan from a 2007 publication of the V2 Institute, the Netherlands) becomes rather mainstream and proactive. However, Chinese artists intentionally circumvent the issue of Chinese-ness from traditional contemporary art and evade the mainstream trends in the field of new media. New media education in China started from 2000, and so many graduates from new media departments don't rigidly adhere to specific mediums, but expand into broader social practices.
The participation and intervention of artists from the two countries will help to define the similarities and differences in the developments on both sides. The project also looks forward to proposing issues of a more social nature, rather than simply the pre-defined discussion topics of new media. The question that we address is not only: What is new media? But also, more importantly, the following: Does new media belong to contemporary art? Is new media an inevitable trend of our current society? Is new media all around us?
New media is not about generating estrangement or creating an elite culture, but to become a part of daily life. It serves as a media and a way of communication to reinterpret the world today. New media has different visual and aesthetic developments under various cultural contexts. However, in the increasingly integrated world culture, new media eliminates the boundaries caused by cultural backgrounds and cultural differences to the largest extent. From the very beginning, new media is transnational, evoking thought on how knowledge across disciplines can interact. The interest lies in discovering knowledge in different fields. Many exhibited artists learn from visual culture, media, public media system, behavioral science and micro lives. They are exploiting the frontiers of their worlds.

Special Event:
Edwin van der Heide: Laser / Sound Performance
Edwin van der Heide is an artist and researcher in the field of sound, space and interaction. He extends the terms composition and musical language into spatial, interactive and interdisciplinary directions. His work comprises installations, performances and environments. The audience is placed in the middle of the work and challenged to actively explore, interact and relate themselves to the work.
He has presented his work at renown museums and festivals as SMAK - Ghent, Ars Electronica Festival - Linz, Stedelijk Museum - Amsterdam, V2_'s DEAF - Rotterdam, ICC - Tokyo, NAMOC - Beijing, Transmediale - Berlin, SONAR - Barcelona, Taipei Fine Arts Museum, SFMOMA, FILE - Brazil and SONAMBIENTE - Berlin.