前言

　　广东美术馆非常荣幸呈现来自澳大利亚MAAP亚太媒体艺术由Kim Machan策展的“海陆空——重访录像艺术的空间性”。19世纪六十年代以来西方出现了影像创作，九十年代中国影像先驱艺术家张培力开始在艺术创作中使用影像这一形式，影像艺术在中西方几十年的发展中由仅仅强调写实性和固有上下文语境的叙事性，逐步转向对作品主体、即场空间和媒材之间多元关系的理解和思考。

　　这种对空间的重视重新发掘出我们视觉认知感受的解读能力，空间在这里是一种视觉感知上的关联，是有自身生命力的。潘诺夫斯基曾为“影像”这种新媒体下过这样的定义：空间的能动化和时间的空间化。作为以“感知”为机制的有机体，空间能不断地解构和重组作品主体，主体随着空间的改变相应地产生新的语言表达，因而需要我们特殊的关联式“观看方式”。金守子Kimsooja《包袱—尼日利亚阿尔法海滩》中颠倒的地平线, 克雷格•沃什Craig Walsh《站在石头上》中被调换的日出日落，都从不同的视角空间极大地扩展着我们的感知。除此之外，媒材也成为一个不可割舍的存在，多样的媒材承载了不同的语法结构，如德里克•克雷克勒Derek Kreckler在其作品《无题》中所采用的纸带和风扇，白浦Paul Bai《无题（风的魅力）》所选用的原木，都呈现出主体与空间的交流是断裂同时又是流畅的。

　　该展荟萃了来自澳大利亚，荷兰，意大利，葡萄牙，中国，印度和韩国18位杰出艺术家多重视野的影像作品，通过空间的划分重组，视角的多维度变化，影像和媒材的融合，“海陆空”突破了影像艺术的界限，在继首尔，上海，悉尼和布里斯班后，新启该展在广东美术馆这一新空间的广度和深度。

广东美术馆
2015年3月

Guangdong Museum of Art is honored to present LANDSEASKY: Revisiting Spatiality in Video Art curated by Kim Machan from MAAP Australia. In 1960s video creations emerged in the west while in 1990s Chinese pioneer video artist Zhang Peili adopted this form of creation. Over the decades the development of video art has gradually switched its emphasis from merely realism and narrativity with inherent contexts onto the understanding and reflection of the multi-dimensional relationships of subject, space and media.

The increasing attention placed on space rediscovers our reading abilities of visual cognition. Space, which has its vitality, turns to be an interconnection of visual perceptions. Panofsky has once defined video as "a spatialization of time and dynamization of space". As an organism based on the mechanism of perception, space can constantly deconstruct and restructure the subject that produces new forms of languages as well as expressions accordingly. Thus a distinct relational way of seeing is essential. Kimsooja's upside down horizon in Bottari–Alfa Beach,  Craig Walsh's exchanged sunrise and sunset in Standing Stone Site tremendously broaden our visual cognitions from different perspectives. Besides, media also becomes an indispensable entity conveying diverse grammatical structures, such as the paper strip screen and electric fan adopted in Derek Kreckler's Littoral, the timber employed in Paul Bai's Untitled (Wind Charm), both deliberately demonstrate that subject and space are parted in form while at the same time fluent in meaning.

This exhibition showcases multi-perspective video works of 18 outstanding artists from Australia, Netherlands, Italy, Portugal, China, India and Korea. By division and reorganization, multi-dimensional alterations and interfusion of video and media, LANDSEASKY breaks through the boundaries of video art. After touring in Seoul, Shanghai, Sydney and Brisbane, it is going to launch its new journey in GDMoA to extend its breadth and depth.

Guangdong Museum of Art
March 2015

　　荷兰艺术家Jan Dibbets 1968年的作品“透视矫正”改变了我们对摄影的这一媒介的认识。他的精明及观念式的手法也同时用于电影中以表达其解析式，简化并且规范性美学准则。在1970—1971年之间他制作了许多关于“地平线”的短片，并与2007年在其摄影系列“地与海平线”中继续其探索。作为一个起点，这些作品利用了一个有关风景的共识：一条横跨页面的直线来区分天与地或者海与天一并由此将这个画面陈述转化为对于空间效果和透视关系更为广泛的研究。在这个前提下，对地平线其公共性和简单性的探索，成为为“海陆空”展览的出发点。

　　通过对地平线多种升华似的理解，参展艺术家们创作了一些卓越的作品。有限的图像资料限制了视觉元素的同时也揭示了艺术家的手法。本展策展基点着重于艺术家对屏幕空间其物质和观念属性的分析。这个策展项目旨在对我们视频文化里所容易接受的幻觉元素进行挑战，使我们对录像这一媒介的关注更敏锐，以及在规定的策展界限内不可避免的来对比每个艺术家的表现方式。

　　在多数展出作品具有较强的物质和视觉冲击性的同时，本展扩展了对录像空间的探索并包括了一些其它的比较含蓄的方式，这样可以加强对于空间的讨论。如其中一些作品对历史与社会发展之间的关系更新了视角。

　　本展策展手法为以展示艺术家们对屏幕空间的分析来证明在录像艺术中对空间性的多种不同的理解。紧随着后现代主义学说的崩溃，通过将焦点集中于空间性这一概念，这个展览尝试着重新鉴定虚拟与具体，主体与客体，抽象与具象，甚至于更广泛地来说现代与后现代这些二元制之间的关系。

Jan Dibbets' Perspective Corrections dating from 1968 transformed the way we think about photography as an art medium. His calculative and conceptual approach was also realized in film to articulate his particular aesthetic canon that is analytic, disciplined and reductive. He produced many short films in the Horizon series from 1970 and 1971 and continued his investigations with further work in his 2007 photographic series Land And Sea Horizons. As a starting point, these works use a very common understanding of landscape – a straight line across a page to signify the change of land to sky or sea to sky – and go on to transform this representation into an extended investigation of spatial effects and perspectives. It is from this premise, an investigation into commonality and simplicity of the horizon motif, that is the launch point of the LANDSEASKY exhibition.

Artists have made some stunning video works that use the horizon line in sublime ways. The limitation of the image (the spatial representation) restricts the visual elements to reveal the artists' approach. The foundational curatorial concern looks toward the artists' analysis of screen space as an image with both sculptural and conceptual attributes. The curatorial project challenges the illusionist elements that we readily consume in screen culture and sharpens our focus on the medium of video by the selection, inevitably comparing and contrasting the strategies each artist articulates within the restriction of the curatorial boundaries.

The art works have a very strong physical and visual impact. However, the exhibition extends the investigation of video space to include other subtle approaches that will add and amplify the discussion of spatiality in video. For instance, some of the proposed works update the connection between history and society with a fresh perspective.

The curatorial approach is to bring to the foreground evidence of artists working with an analysis of screen space that demonstrates a variety of understandings of spatiality through the form of video art. In the wake of Postmodernism, by focusing on the notion of spatiality, this exhibition project aims to re-evaluate the relationship between the dichotomies such as virtual and actual, subject and object, abstract and real, and to a broader context, the modernity and post modernity.

策展人：金曼
Curator: Kim Machan