VIDEOART originated from the early "guerrilla video" and anti-commercial art television. The history of using video as an artistic expression medium can be traced back to 1965. NamJune Paik, an artist, exhibited his modified TV set in the gallery, which is also the earliest video device. As a media magician, video art plays a very important cultural role. It is good at the edge of several obviously different and often overlapping communication systems, such as personal expression, art world, independent film, television and academic research. It boldly expresses its unique views on social and cultural issues, and finally encourages the audience to participate in this creative media form as an artistic practice.
1965 to the present: the evolution of video art in the past 50 years
1965, the artist NamJune Paik got the newly released Japanese camcorder, so he went to the streets of new york and aimed the camera at the European Pope who was visiting new york and walking along Park Avenue. In the evening, NamJune Paik took the video to the coffee shop where artists often meet in new york, which was regarded by some later scholars as the first video art work in the art history. On the afternoon of July 2nd, 20 16, "Time Test: International Exhibition on Research and Observation of Video Art" opened in the Art Museum of Central Academy of Fine Arts. Focusing on the development of video art, the exhibition presents the development of video art for 50 years with two exhibitions at home and abroad and 60 redundant art video works ... "The reason why the exhibition emphasizes' image' rather than' image' is mainly to describe and study the academic significance of the occurrence and development of this media art," said Wang, director of the Art Museum of the Central Academy of Fine Arts. Caitlin Dougherty, the curator, put forward the thought that the exhibition hopes to arouse: "Today, all of us are surrounded by all kinds of moving images, so I think we should stop and re-examine the art form of images. Looking back at the history and development of video art, we can filter out some noisy voices around us and better explore how artists can talk to the world through images. "
Appreciation of video art works
Video Artist-NamJune Paik (Father of Video Art)
NamJune Paik (1932-2006) is an internationally renowned video artist, a world-class master, the father of video art, a master of modern art, a master of surfing and a multimedia artist. NamJune Paik, a Korean-American artist who is the "father of video art", was originally a musician and composer. Many people may be surprised by this. NamJune Paik (1932-2006) is an internationally renowned video artist, a world-class master, the father of video art, a master of modern art, a master of surfing and a multimedia artist.
Appreciation of NamJune Paik's Works
In Cage (1996)' s Cage, we can see NamJune Paik's unique humor. NamJune Paik thinks that John Cage is the most important teacher in his life. He got creative inspiration from John Cage, and rebelled against the order of the sound of music and the sound of non-music, because in his consciousness, the two have the same status. In NamJune Paik's works, this open concept extends to the field of sound, that is, to the relationship between human and machine, body and sound, or art and daily life. In this field, NamJune Paik wrote his new music ontology.
In NamJune Paik's performance music Simplicity (196 1), the music score is written in words, and the instructions include: throwing soybeans at the audience, entering a pool full of water, etc. These instructions are as simple as the title of the work. At that time, the concept art of avant-garde writers in new york began to emerge gradually. Because the written music score is composed of pure words, the performer's interpretation is influenced by the physical environment and psychological state. The written music score will change according to the displacement and reaction of the player's body and object space. In this sense, NamJune Paik's performance music can be said to be an aesthetic experiment of human senses and ideology.
In Chan Yi Huan Tou (1962), NamJune Paik kneels on the ground and draws on a piece of paper with his head dipped in black ink. He waved his head as a brush, and the German audience at the scene held their breath and looked at this absurd move. In their view, NamJune Paik's performance is equivalent to oriental calligraphy. This performance is based on the performance score of Lamont Young, a composer of Surfing School at that time. The instruction on lamont Young's score is: Draw a straight line. NamJune Paik's performance music is intertwined with the ideas of music and painting.
In this exhibition, the piano was damaged again. It is no longer a classical instrument in the hands of a pianist, but sound and light. NamJune Paik pastes various daily necessities on the piano and connects electronic devices on the piano keyboard. When visitors touched the new piano, the hammer began to move, the radio turned on and the lights in the room flashed. In human history, the piano is one of the media to control auditory pleasure, and the direct operation of the audience makes the piano an accidental impromptu topic. NamJune Paik created a new existence through visual appearance and electronic connection. He named this work "Comprehensive Piano".
This work, titled Listening to Music with Your Mouth (1963), also appeared on the album cover of NamJune Paik's exhibition held by Vienna Museum of Modern Art in 2009. The person who showed the work was NamJune Paik, an old phonograph with an LP record player. As the title shows, NamJune Paik wants to make a sound with his mouth. He bit the plastic bottle into his mouth, and when one end of it is connected to the record, it will make a sound. The relationship between human body and machine has been shown in a very concrete way. The human body has the function of inputting sound and data, and people and machines can naturally merge.
This work, titled Listening to Music with Your Mouth (1963), also appeared on the album cover of NamJune Paik's exhibition held by Vienna Museum of Modern Art in 2009. The person who showed the work was NamJune Paik, an old phonograph with an LP record player. As the title shows, NamJune Paik wants to make a sound with his mouth. He bit the plastic bottle into his mouth, and when one end of it is connected to the record, it will make a sound. The relationship between human body and machine has been shown in a very concrete way. The human body has the function of inputting sound and data, and people and machines can naturally merge.
NamJune Paik's Character Evaluation
Speaking of NamJune Paik, everyone in the contemporary art world knows that he is an exemplary surfing artist. In 2006, he died at his residence in Miami. But his art is familiar to the world. In many fields, such as video art, performance art and sculpture, this is the first time that his works can be exhibited in China.
The influence of NamJune Paik's works on later generations
As far as artistic influence is concerned, NamJune Paik's artistic popularity is comparable to that of Rauschenberg who was exhibited in China. However, in the field of combining art and technology, NamJune Paik's artistic contribution is far greater than Rauschenberg's. Although Rauschenberg also strongly advocated the cooperation between artists and scientists in 1960s, and established national networks such as "Art and Technology Association", in this respect, Rauschenberg was more like a social activist, while NamJune Paik provided successful experience in unifying new technologies and new artistic concepts with a large number of works.