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顯示包含「media art」標籤的文章。顯示所有文章

星期四, 11月 13, 2008

Grow your own media lab (the graphic novel)


Text by James Wallbank
Pictures by Michael Tesh
Design by Scott Hawkins
Access Space, 2008
ISBN 978-0-95500-913-6
Access Space is an open access media lab based in Sheffield. Access Space encourages people to learn how to use hardware re-used from local companies and Free Software from the GNU project and others. This saves money and builds skills. Those skills can then be shared to build a self-reliant and sustainable community around the lab.

Since being founded in the year 2000 Access Space has thrived where many community and government schemes have failed. This has drawn attention from groups eager to understand and reproduce its success. This has led to the Arts-Council-funded study "Grow Your Own Media Lab", of which the final report is the graphic novel of the same name "Grow Your Own Media Lab (The Graphic Novel)" or GYOML for short.

GYOML is a 114-page A5 perfect-bound book. The cover is a vivid black and yellow composition. Part Principia Discordia, part Emigre, it will look equally at home in gallery bookshops and alternative press outlets. Curious browsers will be hard pressed to resist taking a look. Inside, the book is black & white throughout with an introductory text followed by alternating pages of titles and comic-book illustrations of case studies.

Most books that use a Creative Commons licence either don't specify the licence or use one of the more restrictive licences. You'd be surprised how many cheerleaders for Free Software and Free Culture have restrictive licences on their books. Kudos to Access Space for getting the licence right (the copyleft "Attribution-ShareAlike" licence) and making sure that it's explained clearly in the book's front matter. This ensures that GYOML continues the Access Space ethos of sharing cultural and technological wealth in a principled and practical way.

The comic-book illustrations by Michael Tesh are in fanzine style, a characterful and evocative aesthetic for a small press publication. I found myself smiling at the clear inner thoughts of some of the people Tesh depicts, and if you meet one of Access Space's personnel after seeing his depictions of them you'll feel you already know them. What makes Tesh's art the perfect illustration for the case studies is that he is an Access Space regular.

Rather than providing an instruction manual for using software, which the book's introduction rightly points out would quickly become outdated, GYOML presents a series of case studies of users of the lab and the situations that they encounter. The case studies include a shy teenager, a nervous work placement, a mature student and a refugee dissident, all people learning from and contributing to different aspects of the running of Access Space. This illustrates the value of Access Space's approach and explain how, and more importantly why, to recreate it.

Despite not being a software manual there is a surprising wealth of technical and administrative information delivered surprisingly painlessly mixed in with the case studies. Such as how and why to use computers that businesses will pay you to take away from them, how and why to use Free Software, and how and why to make a server to keep users' work safe if one of those reclaimed computers breaks down. The names of Free Software operating system and art software is mentioned, as is how to learn more about them, so it is easy to find out more. And I didn't know how to crimp an RJ-45 ethernet cable before reading GYOML. Now I do.

For all the talk of "grass roots activism" and "alternative governance" on mailing lists, in universities, and at conferences there is often a disconnect between the rhetoric of technological radicalism and actually doing anything in society. We can learn a lot from Access Space's determination to get their hands dirty and to use technology as a means to the end of empowering people. A few years ago I helped out at Remix Reading's open access lab, which was inspired to adopt Access Space's way of working, so I can say from personal experience that running a lab is a rewarding experience.

GYOML is an effective and persuasive exposition of the virtues of Access Space's way of doing things. It is inspirational, unpretentious and informative. We need more like Access Space, and GYOML shows us how to do it. Let a thousand media labs bloom.

星期四, 9月 04, 2008

media_city seoul 2008

The 5th Seoul International Media Art Biennale
September 12 - November 5, 2008

Theme : Turn and Widen
Opening Event: September 11, 2008
Venue: Seoul Museum of Art
Director: Ilho Park
Curators: Maarten Bertheux,
Andreas Broeckmann, Raúl Zamudio, Tohru Matsumoto

Seoul Museum of Art
30 Misulgwan-gil (37 Seosomun-dong)
Jung-gu, Seoul (100-813)

The 5th Seoul International Media Art Biennale (media_city seoul 2008) will be held in Seoul Museum of Art from September 12 to November 5, 2008. Seoul International Media Art Biennale has continued and prospered the event and its quality through the past four Biennale since 2000, being much recognized both domestically and internationally as a notable media art festival.

Especially, this 5th Biennale is significant in retracing prior exhibitions for the preparation of the next decade. Therefore it aims at asking fundamental and essential questions, such as “What is media art?” “What is the difference between traditional art and media art?” “What change in art has been caused from this?” and “What kind of effects will this bring?” and it will also attempt to find out the answers of these questions through the exhibition of various media artworks.

The theme of this Biennale is Turn and Widen and it consists of three categories; Section of Light, Section of Communication and Section of Time. The 5th Seoul International Media Art Biennale will be showing artworks by 70 teams from 26 countries. International Symposium, media_city seoul Archive and Matrix S will be held as related events of the Biennale.

星期五, 8月 08, 2008

Re:live : Call For Papers – Deadline 19th December 2008

Third International Conference on the Histories of Media Art, Science and Technology
Melbourne 26-29 November 2009

Third International Conference on the Histories of Media Art, Science and Technology.The next iteration of the Media Art History conference is Re:live which is to be held in Melbourne, Victoria in 2009. The event follows the success of the two previous Media Art History conferences, re:fresh (Banff 2005) and re:place (Berlin 2007). The conference series is an initiative of Leonardo/ISAST (International Society for Art, Science and Technology) whose International Advisory Committee will publicise the event and referee papers.
In developing the Re:live conference, we have established a national committee, to promote awareness and interest in the event across Australia. This committee is comprised of individuals who can drive forward these newer connections and reconnect with the ongoing themes established by the ‘re’ conferences. Australia provides an excellent geographic, geopolitical and geocultural space for hosting this conference. It connects regionally with both Asian and Pacific cultures and the ongoing exchange of media arts between, northern and southern hemispheres.
When I look into their web archive, I can see very good documentation of their conference and this one particularly catch my eye on archive.

Conference chairs: Dr Paul Thomas, Professor Sean Cubitt

星期四, 11月 15, 2007

From Spark to Pixel. Art + New Media



Venue: Martin-Gropius-Bau
28 October 2007 to 14 January 2008

While I am doing Re:Place, I found this exhibition very interesting, some really inspiring works presented. There will be very little chance that this kind of work will be presented in Hong Kong, because of the scale and our venue management over-consideration on safety too.

The “From Spark to Pixel” exhibition will present developments in contemporary art involving the large-scale use of digital and interactive media. The technical possibilities in this field have given this area of art a more international dimension than that of almost any other. Thus the exhibition will feature works both by renowned and as yet unknown artists and groups of artists from all over the world. Works by pioneers and works that are being shown in Europe or Germany for the first time or have been specially developed for the Martin-Gropius-Bau, will enable visitors to discover spectacular forms of artistic expression and radical changes in perception in the relation between the observer and the moving image. Immersive and interactive approaches feature frequently in the artists’ strategies.


Extended reading : WMMNA pt1WMMNA pt 2

星期六, 10月 20, 2007

A Breif History of Video & Media Art in China from 邱志杰Qiu Zhijie

中国录像艺术大事记
1989 张培力在中国现代艺术展上展出《30x30cm》
1990 ,汉堡美院的MIJKA教授带着8小时长的录像带国,在浙江美院分两次讲座
1991年,上海车库展,展出张培力《《卫字三号》》(洗鸡)作品
1995年,王功新在北京报房胡同家中展出录像装置《布鲁克林的天空》
1996年9月,现象与影像:中国录像艺术展,杭州,中国美术学院画廊,吴美纯策划
1997年9月,《1997中国录像艺术观摩》,中央美术学院画廊,吴美纯策划
1997年8月,《神粉1号:王功新个展》中央美术学院画廊
1997年9月,《邱志杰个展:5个录像装置》,中央美术学院画廊
1997年,《看》宋冬个展,北京中央美院附中当代美术馆
1997年9月,艺术家汪建伟和冯梦波的新媒体作品参加了第十届卡塞尔文献展
1998年3月,邱志杰携赵亮、乌尔善等人作品参加柏林录像节TVANSMEDIDE98
1998年,北京艺术家陈少平和邱志杰参加了科隆路德维希博物馆举办的《国际艺术家录像》
1998年,宋冬、汪建伟的作品参加了光州双年展白南准策划的《信息》特展
1998年底,长春技术学院由黄岩策划的《0431-中国录像艺术展》
1999年3月,在澳门当代艺术中心,由张颂仁策划的《快镜:中港台录像艺术展》首次凝聚两岸三地录像艺术资源
1999,朱加、李永斌的作品参加了在阿姆斯特丹举办的《世界录像节》
2000年9月,杨福东、徐震、杨振中在上海《有效期》展览
2001年初,北京藏酷新媒体艺术中心成立,主持人王功新、林天苗
2001年4月,李振华、邱志杰、吴美纯策划藏酷数码艺术节,北京藏酷新媒体艺术中心,
2001年9月,吴美纯在中国美术学院策划策划“非线性叙事”新媒体艺术节
2001年11月,王波的多媒体个展在北京藏酷新媒体艺术中心举办
2001年,中国美院开设新媒体研究中心,中央美院设计系开设数码艺术工作室
2001年,民间电影组织实践社举办了“首届中国独立映像节
2002年9月,杨福东电影《陌生天堂》参加了第十一届卡塞尔文献展
2002年,广东美术馆第一届广州三年展设中国录像艺术回顾专题,由邱志杰、吴美纯策划
2002年开始,凤凰卫视开设《DV新世代》栏目
2003年,中国美术学院成立新媒体系, 张培力任系主任
2003年9月, 张亚璇、曹恺等在南京策划“第一届中国独立影像年度展”。
2004年9月,第四届上海双年展“影像生存”
2004年11月,吴美纯在中国美术学院策划策划“迷宫”新媒体艺术节
2007年,姚斌在798艺术区开设专门的新媒体艺术空间--映艺术中心
2007年5月,李振华在北京阿拉里奥画廊策划《可持续幻想:中国新媒体艺术回顾》展览,同时在北京画廊博览会组织新媒体艺术论坛。
2007,中国美术学院新媒体系首届本科毕业生作品展

维他命空间要做德国录像艺术的回顾展,顺便也就要“趁这个契机,出版一个关于中国录像艺术的基本文献资料和展出一些中国录像艺术中的代表性的作品”,因此发来了调查的要求。晚上回想了一下,初步拉出一个单子。其实录像艺术的概念早就不合适了。给胡坊回信说:

胡昉 :
作品和大事记见附件。我记忆所及以及占有的资料多属早期,后期的因为自己兴趣的转移,不太关心了,资料就不全面了。
而且,我认为今天的局面很难用录像艺术这个名词来涵盖。
像我自己的工作,或者张慧、乌尔善这样的艺术家,已经由典型的录像艺术转移到多媒体现场表演,严格来说很难列入录像艺术,所以这一类的作品我都没有提到。
一些流式播放的动画,像老蒋和吴俊勇的Falsh,邱黯雄、孙逊等人的手绘动画,做得都很好,但是算成录像艺术也有点勉强。
98年以后的Dv运动中出现的很多纪录片和剧情片,是在盗版碟文化影响之下,手淫DV,意淫电影的结果,也和录像艺术有很大差别。但是独立影像节之类活动中,这类作品却经常是主要的内容。这也很让人为难。……

那个时候,大家都渴望有这么多电视机可用,但都弄不到,做方案的时候,手工剪贴照片意淫一下就很过瘾了。我还用黑卡纸、放大镜自己做过投影机呢!


作品
张培力《30x30cm》1989
张培力《洗鸡》1990
张培力《水-辞海标准版》1991`
张培力《儿童乐园》1993
颜 磊《1500厘米》1994
邱志杰《卫生间》1994
佟飚《触及》1994
朱加《永远》1995
李永斌《脸1》1996
王功新《玩蛋》 1997
陈文波《水份》1996
钱喂康《呼吸/呼吸》1996
陈劭雄《风景》1997
狗子,汤光明《鲁迅在北京》1997
赵亮《表情》1997
胡介鸣《心电图》1997
汪建伟《生产》1997
乌尔善《联接》1997
王劲松《我的一堂历史课》1997
王劲松,丰江舟《北京》2003
高世明,陆磊,高世强《被祖咒的个人主义者》1997
杨振中《梦游疗法》
陈劭雄《风景2》1998
宋冬《克隆》
邱志杰《乒乓》1997
乌尔善《环顾》1997
翁奋《身份,现在,过去,六个》1997
阚萱《哎, 阚萱!》(地铁)1998
赵亮《一次社会调查》1998
王功新《神粉一号》1998
张培力《审视》1998
翁奋《蝶》1999
刘韡《难于抑制》1999
王功新《我的太阳》2000
陈晓云《向夜晚延伸的若干个瞬间》12min 2003
蒋志《飞吧,飞吧》1997
高世明,陆磊,高世强《梦幻作为寓言》1997
邱志杰《物》-1997
崔岫闻《洗手间》1999?
王功新《膜拜》
杨福东《我并非强迫你》 1999
杨福东《后房,嘿,天亮了!》12min 2000
蒋志《食指》1998
宋冬《父子》1999
周少波《我的一天的几种状态》2000
杨振中《534颗米》2000
周啸虎《心欲之旅》2000
杨福东《城市之光》2000
佟飚《天使在那里》2001
石青《黄角坪》30min 2002
曹斐《戏》2001?
周弘湘《红旗飘》20min 2002
蒋志《片刻》2002
杨福东《竹林七贤》系列2003—
邱志杰《亚洲时间》系列2004-2006
张培力《冲锋》2004
张培力《遗言》2005
曹恺《南京长江大桥》2005
蒋志《香平丽》2005
高世强《室内剧》2005
陈晓云《丽丽皇后的花园》2005
陆春生《化学史》2006
高世强《革命》2007
The bold section is Qiu Zhijie explaining his personal and many others shift of practice/ interest of video art to multimedia or new media and therefore not included on the list.
I am wondering how can we interpret this history, and our history in Hong Kong, Taiwan.

星期三, 10月 17, 2007

buchsenhausen.air 2008/2009 International Fellowship Programme For Visual And Media Arts

Kunstlerhaus Buchsenhausen invites visual and media artists, art critics
and theorists to apply for a fellowship in the winter semester 2008/2009
or the summer semester 2009.

Details regarding the programme and the application procedure can be
found on the homepage http://buchsenhausen.at.

Closing date for submissions: October 19, 2007 (postmark).
Kunstlerhaus Buchsenhausen
Weiherburggasse 13/12
6020 Innsbruck, Austria

phone +43 512 278627
fax +43 512 278627-11

office@buchsenhausen.at
http://buchsenhausen.at

星期二, 9月 25, 2007

SCHOLARSHIPS IN THE FIELD OF MEDIA.ART.HISTORIES

The Department for Image Science is pleased to announce two scholarships

covering half-tuition for the course starting in Nov. 2007!

Goettweig Scholarship for MediaArtArchiving:
This scholarship supports artists and scientists, who are interested in
the field of media art history. Especially welcome are applicants, who want to deal with aesthetic and documentary aspects in relation with the phenomenon of interaction and its connection to media art and its history.

Closing date for submission: Oct 10th, 2007.

Rudolf Arnheim Scholarship:
The Department for Image Science considers this scholarship as possibility to deal as regards content with the scientific work of the recently deceased art historian and cognition psychologist Rudolf Arnheim and his meaning for Image Science.

Closing date for submission: Oct 10th, 2007.

Further Information:
http://www.donau-uni.ac.at/en/studium/medienkunstgeschichte/09158/index.php

www.virtualart.at
www.mediaarthistories.org

=> FIRST INTERNATIONAL MASTER OF MEDIA.ART.HISTORIES
(Low residency; English language)
The postgraduate program MediaArtHistories conveys the most important developments of contemporary art through a network of renowned international theorists, artists and curators like: Steve DIETZ, Erkki HUHTAMO, Lev MANOVICH, Christiane PAUL, Paul SERMON, Edward SHANKEN, Gerfried STOCKER, Jens HAUSER, Oliver GRAU and many others.

Artists and programmers give new insights into the latest and most controversial software, interface developments and their interdisciplinary and intercultural praxis. Keywords are: Strategies of Interaction & Interface Design, Social Software, Immersion & Emotion and Artistic Invention. Using online databases and other modern aids,knowledge of computer animation, net art, interactive, telematic and genetic art as well as the most recent reflections on nano art, CAVE installations, augmented reality and wearables are introduced.

Historical derivations that go far back into art and media history are tied in intriguing ways to digital art. Important approaches and methods from Image Science, Media Archaeology and the History of Science & Technology will be discussed.

=> DANUBE UNIVERSITY KREMS “ located in the UNESCO world heritage Wachau is the first public university in Europe which specializes in advanced continuing education offering low-residency degree programs for working professionals and lifelong learners.

With its new modular courses the DEPARTMENT FOR IMAGE SCIENCE at Danube University Krems offers an educational program unique in Europe. Without interrupting the career students have the opportunity to learn through direct, hands-on experience, social learning in small groups and contacts with labs and industry. They gain key qualifications for the contemporary art and media marketplace.

The Center in Monastery Göttweig, where most MediaArtHistories courses take place, is housed in a 14th century building, remodeled to fit the needs of modern research in singular surroundings. International experts analyze the image worlds of art, science, politics and economy and elucidate how they originated, became established and how they have stood the test of time. The innovative approach at the Department for Image Science is reinforced by praxis-oriented study.

Contact:
Sabine Lindner
Department for Image Science
Danube University Krems
Dr.-Karl-Dorrek-Str. 30, A-3500 Krems
Tel: +43(0)2732 893-2569
sabine.lindner@donau-uni.ac.at
www.donau-uni.ac.at/dis

星期六, 9月 22, 2007

Symposium –The Art of the True Illusion and The Cinematic Experience

What’s new this year is that we will be holding two conference days, with themes such as Immersion – The Art of the True Illusion and The Cinematic Experience, a conference organised in association with Interface (a new academic platform set up by KASK (Royal Academy for Fine Arts, Ghent), Ghent University, Free University of Brussels & Utrecht University), Sint-Lukas Brussels – Transmedia.

These conference days are aimed at everyone who wants to know more about the theory behind technology and cinema. Speakers from Belgium and other countries will familiarize you with these subjects.

Media art is the ultimate medium when it comes to immersing the spectator in a virtual world.
The viewer can fight this newly created reality, he can endure it or get carried away by it. Fact is that images, words or music rarely leave you unmoved and sometimes linger in your mind. This phenomenon, called immersion, will be the subject of lectures by a number of artists, art historians and philosophers.

With: Oliver Grau, Marnix De Nijs, Christa Sommerer & Laurent Mignonneau, Eva Seela, Kurt Vanhoutte, Philippe Bekaert, Christel Stalpaert en Chiel Kattenbelt.

星期三, 8月 29, 2007

the opening of the Chinese language Leonardo Abstracts Service (LABS) database

The Chinese language LABS, organized by Ken Fields at the China Electronic Music Center at China's Central Conservatory of Music, is for abstracts of
art/science/technology MA or PHD theses written in Chinese and can be found at: http://china-labs.daohaus.org

The Chinese-language peer review panel for 2006/2007 includes:

Ma Gang, Central Academy of Fine Art, BeijingZhang Peili, China Academy of Fine Art, Hangzhou
Zhang Xiaofu, Central Conservatory of Music, Beijing
Zhu Qingsheng, Peking University, Beijing
Lothar Spree, Tongji University, Shanghai
Kenneth Fields, Central Conservatory of Music, Beijing

Thesis Abstract submittal forms for Chinese language abstracts can be found at:

http://china-labs.daohaus.org


Leonardo Abstracts Service (LABS) Bi-annual submission deadlines (on-going) are: 30 June and 31 December

Leonardo Abstracts Service (LABS), consisting of the English-language database, Spanish-language database and Chinese-language database, is a comprehensive collection of Ph.D., Masters and MFA thesis abstracts on topics in the emerging intersection between art, science and technology. Individuals receiving advanced degrees in the arts (visual, sound, performance, text), computer sciences, the sciences and/or technology that in some way investigate philosophical, historical or critical applications of science or technology to the arts are invited to submit abstracts of their theses for consideration.

Further information on LABS can be found at:
http://www.leonardo.info/isast/journal/calls/labsprojectcall.html

星期一, 8月 20, 2007

MAAP Media Art Mentorship Program

MAAP - Multimedia Art Asia Pacific is calling for applications from young and emerging curators and artists working with a focus in media art projects that intersect or consider connections with the Asia Pacific regions to undertake a three-month mentorship.

The mentorship enables an emerging artist or curator to explore new creative directions, increase knowledge of networks, debates and to expand practical skills. Applicants are invited to select a mentor and develop a program of activity spanning a three-month period. The mentor may be accessed locally, nationally or internationally. In some cases MAAP can assist identifying suitable mentors.

Applicants must be Australian media art practitioners or curators who are 30 years or under. The mentorship will provide a fee for the mentee ($7,200 excl GST) and a fee for the mentor ($1,800 excl GST). The mentorship program should be completed by February 2008.

Other Australian Media Arts organsiations ANAT, d.lux and Experimenta are also offering mentorships: + ANAT will encompass distributed, portable, online, wearable, gaming, mobile and emerging platforms, contact Gavin Artz manager@anat.org.au + d.lux will hold their mentorship inside Second Life or a similar online virtual community, contact malcolm@dlux.org.au for more information + Experimenta's focus is on Site Related and/or Public Work, contact kentia@expeirmenta.org for more information.

MAAP APPLICATIONS CLOSE Friday 17 AUGUST 2007

For further information, guidelines and an applications form please contact:

Kim Machan, director kim@maap.org.au
MAAP-Multimedia Art Asia Pacific

This project has been assisted by the Australian Government’s Young and Emerging Artists Initiative through the Australia Council, its arts funding and advisory body.MAAP gratefully acknowledges the contract draft administration support offered by CraftSouth

星期一, 7月 23, 2007

Satellite Voyeurism livecast

You can tune in at http://giss.tv:8000/hmkv.ogg

Please use the VLC software in order to view the stream and enjoy!

The program will restart with Régine Debatty after the lunch break at 14:30.
http://www.hmkv.de/dyn/e_program_events/detail.php?nr=2344&rubric=events&


------


SATELLITE VOYEURISM
Workshop

Hartware MedienKunstVerein at PHOENIX Halle Dortmund,
July 20 - 22, 2007

Public Lectures: SATURDAY, July 21, 2007, 11:00 - 16:00 hrs
(4 / 2 Euro, incl. exhibition entrance, no advance booking required)

Conceived and organised by Francis Hunger (HMKV)


The workshop “Satellite Voyeurism" addresses questions of production and reception of satellite images.

In addition to public lectures by international media artists, committed scientists and commercial companies' representatives of the regions' geo-data industry, a two day workshop program with up to 12 participants takes place.

Within the hands-on part the participants learn how to use a simple antenna, computer, soundcard combination to retrieve satellite images of NOAA satellites, and share own ideas and projects with the other participants. Both lectures and workshop discuss the image quality of satellite images but of course the subject will also touch upon the field of locative media, as GPS, GIS.

Through the workshop the basis for a publication shall be created, which includes documentation about recent media art projects in the field of mapping, satellite images and satellite technology.

PROGRAM (public lectures, no booking required)

SATURDAY July 21, 2007, 11 am - 4 pm
Public lectures (partly in English / German)

11:00 am
FRANCIS HUNGER (HMKV, Dortmund)
“Introduction: A few comments on the success of Google Earth"

12:00 am
DANIEL SCHULZ (IAIS Fraunhofer Institut)
“Geomarketing"

Break 1:00-2:00 pm

2:30 pm
Régine Debatty (http://www.we-make-money-not-art.com, Berlin)
“Recent artists' project using satellite images and geo-data"

3:30 pm
Tristan Thielmann (Universität Siegen)
“Geomedialität: Neue A-Perspektiven auf den blauen Planeten."

Public program ends at 16:00.


About Hartware MedienKunstVerein, Dortmund

HMKV serves as a platform for the production, presentation, education on and contextualisation of contemporary and experimental media art. The activities of HMKV deal, in different formats, with the theme “Augmented Space": in exhibitions, workshops, performances, symposia, publications, Internet applications and in European research projects. The success of last year's “How I learned to love RFID" workshop at HMKV (conceived by Francis Hunger) and the emergence of popular
geographic mapping tools led to the development of the “Satellite Voyeurism" workshop in 2007, directed by Francis Hunger.

For more information on HMKV: http://www.hmkv.de/dyn/e_institution_mission/

星期三, 7月 04, 2007

当代艺术展“大声展”走上街头却遭观众蹂躏

The "Get it louder" show in Canton busy shopping mall was violently destroyed by visitors.
如果一面时钟上除了三根指针和刻度外,还写着“全国人民每8.3秒拉10吨屎”,你会想把这面钟挂在自己的餐厅吗?昨天,当代艺术展览“2007大声展”走出深闺,在广州闹市街头开展,挑战广州市民的欣赏极限。

在大型购物中心正佳广场,“大声展”的展位从一楼一直蔓延到五楼。记者看到,每一件展品前都围满了市民,和在专业艺术展馆不同,这里的展品大多允许拍照和触摸。中国艺术家吴岚和英国艺术家Andrew合作的《购物时间》吸引了很多观众,他们在十几面时钟上写上中国在不同领域的商品及资源消耗统计数字,比如“全国人民每11秒购买100部手机”、“全国人民每秒生2个孩子”以及“全国人民每 8.3秒拉10吨屎”。不少观众把每一面钟都拍了下来,市民陈先生说:“我拍了钟面的特写,用这个作手机桌面图挺酷的。”

在市民享受当代先锋艺术带来的启示同时,展览方却不得不面对在艺术馆里不会碰到的尴尬局面:艺术家冯果川的作品《厚空间孵化器》像一个圆形白色轻纱笼罩的大帐篷,里面充满了氦气和氢气球,在装置的门口,作品说明上清清楚楚写着:“这是一个适宜沉思、交谈、听音乐、喝咖啡及阅读的空间,为增加交往的机会制造了一个亲密的触觉的‘身体’空间。”但实际上,这里成了吵闹的儿童乐园,记者看到,里面最多时至少挤了10个以上的孩子和家长,孩子们在白色气球堆里又蹦又跳,高声尖叫,就像在玩“欢乐蹦床”。门口的工作人员则要不停地提醒玩累了出来的观众“请不要把气球带走”。

广州籍艺术家叶柏林和苗微微合作的雕塑“烟灰缸”也惨遭“毒手”,现场维持秩序的保安告诉记者:“作为道具粘在雕塑上的烟头总是被人拿走,我真不明白他们要烟头做什么,我刚说完不要拿,可一回头就没了。”

广州市少年宫以一比一比例仿制的“鹧鸪塘小学”危房教室则几乎成了市民逛街的休息室,教室里的所有桌椅都是从山区搬来的原物,桌椅原本都是破破烂烂摇摇晃晃,上面还贴着“危险勿坐”的标语,但教室里还是像上课一样坐满了人,有人甚至趴在课桌上睡了起来。记者看到,已经有三套桌椅被坐断了腿,撤出了展览。“大声展”至少还要在闹市展览两周,保安们不禁担心有些展品还能“撑”多久?

据了解,“2007大声展”由现代传播集团主办,英国领事馆等参与策展,今年已是第三届,在中国乃至国际当代艺术界具有重要影响,展览集合了来自全球十几个国家的艺术家作品,此次在正佳广场展出的作品多为中国留英艺术家所做。展览的主办方在闹市里开展,是希望能让当代艺术走进普通人群,让人们从陌生稀奇到有所感悟。