Ⅰ、“数字弥漫”—日本视觉音乐艺术家池田亮司（Ryoji Ikeda）中国首演： 日程： 2007年9月19日 开幕式Opening Evening （仅限VIP，不对外售票） 现场音乐会：C4I （45分钟）& datamatics[版本 1.0]（30分钟） 9月19日20 :00 现场表演开始。 第一个表演的作品是C4I ，表演时间 45 分钟。 第二个表演作品datamatics[版本1.0]，表演时间30分钟。 2007年9月20日至23日（公开售票） 全新多媒体作品《纽约时报》（The New York Times） 出品机构： 作为“艺术北京2007”当代艺术博览会的专题展之一，“数字弥漫”关注的是通过数字信息技术对现实世界进行改写与重塑的多媒体艺术创作，以及人们在这类艺术作品所营造出的真实与虚拟交替的艺术景观中的感观体验。此次展览以个展的形式邀请目前在多媒体创作领域备受国际关注的日本艺术家池田亮司。所展作品包括该艺术家最新系列作品datamatics中的两部现场音乐会表演C4I和datamatics[版本1.0]，以及艺术家2007年的最新录像装置《纽约时报》（The New York Times）。这些作品集合了动态影像和电子声音等多种新媒体创作手段，将数字信息作为创作主题和作品主体，借助数字信息技术以抽象的表现方式来对现实世界进行重新编译与理解。每件作品都试图探究人类对现实中无处不在但却无影无形的数字信息的感知潜能与认知极限。 作为日本电子音乐界和数码多媒体创作领域的领军人物之一，池田亮司由于在现场表现、声音装置和唱片发行等方面的出色表现和贡献被评论界视为当今最前卫和最具革新精神的艺术家之一。池田亮思的作品和表演在世界许多最重要的活动和机构中举行过。例如，法国蓬皮杜中心（2001、2004）和英国泰特现代美术馆涡旋厅（2006）。“艺术北京”作为亚洲最具潜力的当代艺术博览会之一，同时作为亚洲艺术资源的整合基地之一，今年将在其专题个展“数字弥漫”上首次大规模和全面、完整的呈现这位艺术家的多媒体艺术作品与现场音乐表演。同时，在博览会举办的四天时间里（9月20日至9月23日），艺术家最新的多媒体视听作品《纽约时报》（The New York Times）也会在“艺术北京2007”的“数字弥漫”专题展上首度公开亮相。该作品是一件视听多媒体装置。作品中所营造出的前所未有的视听震撼会让踏入展厅的观众完全忘我的沉浸在其中。 钱婧 英格兰艺术协会（Arts Council England）deciBel 实习策划制作人 艺术家简介： 池田亮司是日本电子音乐创作方面的领军人物。他通常从细微处入手研究超声波学，频率学和声音本身的基本特性。自1995年开始，池田亮司就积极尝试各种形式的创作，其中包括音乐会、装置、唱片、综合声音等。在其创作中，音乐、时间和空间被重新以数学方法塑造与表现。池田亮司将声音视为一种”感觉”而非物理现象来研究，试图展现这种感觉与人类感知之间的关系。 在视觉和音效创作的国际领域内，池田亮司是广受好评的、屈指可数的、优秀的艺术家之一。其作品datamatics(2006－现在)、C4I(2004-现在)和formula(2000-2006)均将电脑制作和数字技术运用到了极致。这些作品以独一无二的视角向人们展现了多媒体艺术在未来的发展环境和文化语境。池田亮司广受赞誉的装置作品有data.tron [prototype] (2007)、data.film nº1-a (2007)、data.spetra(2005)、spectra[for terminal 5,jfk](2004)、spectra II (2002)和db(2002)均是艺术家极简主义美学理念的延续和体现。datamatics是艺术家最近进行的一个长期性创作项目。在该项目中，艺术家运用了动态影像、雕塑、声音和新媒体等多种创作手段。数字信息成为了创作的主题和作品的主体，艺术家运用数字信息来探究对现实世界的各种抽象的表现方式。在作品中，我们所处的这个世界可以通过数字信息的方式进行编译、理解和掌控。 池田亮司由于在现场表演、声音装置和唱片发行等方面的出色表现和贡献而被评论界视为当今最前卫和最具革新精神的作曲艺术家之一。他的唱片集＋/-(Touch,1996)，0°C (Touch,1998)和matrix (Touch,2000)由于运用了正弦波、电子“短时脉冲波形干扰式”的声音和“白噪音”(white noise)等创新表现手段从而开启了电子音乐领域的一个全新的极简主义世界。在2005年，艺术家所发行的第七张专辑“dataplex”(raster-noton)广受好评，该作品是datamatics系列之一。 池田亮司的艺术探索形式是多种多样的，这体现在他和Carsten Nicolai的合作项目cyclo.同时还有他与两位舞蹈家William Forsythe和Frankfurt Ballett，艺术家Hiroshi Sugimoto，建筑师Toyo-ito以及艺术组合Dumb Type等其他艺术家的各种合作中。 出品机构简介： Forma Arts and Media Limited成立于2002年，是由Arts Council England资助的非盈利的艺术出品机构。该机构致力于高品质和跨学科的当代艺术领域，所组织的各种活动集合了音乐、视觉艺术、电影、新媒体、舞蹈、戏剧和现场表演等跨领域的多种艺术形式。在与当今许多优秀的艺术家保持紧密合作的同时，Forma还组织多种形式的巡展活动和出版具有突破性的新媒体项目的刊物，力图最大限度地将多种形式的艺术媒介予以完美的结合。 池田亮司由Forma Arts and Media Limited[www.forma.org.uk]全权代理 Ⅱ、“立体视镜”——国际影像艺术展 主办方 艺术北京2007 策展人: 孙宁 合作机构 站台中国、台湾新苑艺术中心、韩国现代画廊 参展艺术家： B.M.Kamath（印度） Bani Abidi（巴基斯坦） Araya Rasdjarmrearnsook（泰国） Julain Rosefeldt (德国) 陈界仁 (中国台湾) 陈永贤 (中国台湾) 王雅慧 (中国台湾) 林冠名 (中国台湾) 金闪 (中国大陆) 孙逊 (中国大陆) 梁伟 (中国大陆) 马永峰 (中国大陆) 周滔 (中国大陆) 艺术北京2007执行委员会与站台中国合作举办「立体视镜：国际影像艺术展」。参展艺术家将遍布于中国、亚洲以及欧美地区。 1、策展理念： “立体视镜”，顾名思义，是用一种超二维的视角来观察。在这里，尤指以非群体的个人化视点作为出发点，犹如人眼的观看，以细致并细节的推进，最终想要达成的，是每一个细节的立体感知，并非是全面整体的概括。由此允许观众能在自己的脑中构建主观认知的见地。此次展览，我们将这个视镜聚焦在亚洲这个特定区域。邀请来自欧亚不同国家的艺术家，以类比和对照的方式来呈现他们的作品，试图通过东西方艺术家对于“亚洲”特定区域和文化概念不同的理解和各自的表达，窥探其中所谓“东方精神”的国际共通性以及潜在文化语言之间的联系。每一件作品都是一个独立的点，作品和作品之间又有或相似、或对比的联系，相互对应，相互关联，从起点到达另外一点，可能又回到起点。这是一个细节上的立体视镜，虽然是“东方”文化，但地区及文化的差同性就像万花筒里的不同组合，从立体的角度来说，千变万化，各有不同。而最终想要建立的，是在一个点上的多重视角，从而提供一种横向视野和思考。 2、场景设置： 利用集装箱和篷布搭建，做出立体视镜的外形比喻，放置其中的作品由此可以和空间相关联，而观众也可以更直白的获得主题的寓意。 Ⅲ、VISIóN：A- 影像艺术巡回展 主办:艺术北京2007 北京塞万提斯学院 西班牙文化中心 策展人 Curator:Javier Duero 参展艺术家: Alexandra Navratil Arturo Fuentes Blanca Casas Sebastián Gordín Rui Cal?ada Bastos Anna Gonzalez Suero Alejandro Vidal Paulina León Vasco Araujo Andrés Michelena María Ca?as Xoán Anleo VISIóN：A 简介 90年代中期的技术革命从本质上改变了视觉艺术创作的面貌，它在制作和研究的手段方法上为艺术家们开启了一个民主化的进程，其结果便是当今涌现的一代为数众多的视觉艺术创造者，他们在艺术上多产并且成就显著，这都要归功于技术的无所不在。 艺术节的这一变化的显著特点，是作者创作概念的高度成熟，对创作技术的充分了解，对电子编辑工具更好的掌握以及对汇集所有因素的信息环境的准确理解，而作者则在创作试验的最后作为创作的唯一源泉，仅近年来艺术家利用形式、诗歌、哲学等因素，通过使用新的技术、叙述、美学、概念等等。总之，一切交流的技术，使自己的作品丰富起来。 当代的视觉艺术家们在电视、DVD机、有线频道提供的不同主题的平台，电子游戏以及互联网的影响下从事艺术创作，以上媒介为他们提供了日常视觉素材。他们将视觉艺术理解成具有创造交流信息，分析社会问题，对电视和商业电影倡导的统一化进行批判能力的工具。 由于日益丰富和复杂的表述结构的运用，作品的长度出现变短的趋势。这些表述结构某些内容开辟了空间，这些内容又通过将美学意义新颖图像混合再造，把技术与最前端的媒体结合起来，情节化的表述和对表面真实的空间的再造都可以解释为可信性，这种可信性赋予人们对日常事务的重复再造能力。 视觉艺术作品涉及的主题从对不同文化面貌席位表达到对当今社会最有担当和批评的观点。90年代避世的自我关注让步与探讨生存意义的概念主意，对生活的质疑被新一代视觉艺术家以一种惊人的平常态度来探讨。他们的大胆绝对不是形式主义，对破坏的偏执作为存在一种创作研究的手段而存在。 项目： VISIóN：A-是一整套西班牙拉美艺术家最新创作的视频作品，这些作品是为参加最近在巴塞罗那举行的LOOP国际视觉艺术节而挑选出来的，此集体展览项目将以巡回的形式，先后在塞万提斯学院北京、米兰、和卡萨布兰卡分院展出。 本项目实际是对所有在LOOP展出的内容的一次回顾，也是每年一次的通过视频方式对造成当代社会复杂现实的最新发生的社会及艺术事件进行历史回忆。 在选择参展艺术家时考虑到了多样性和根本性，以求确保内容的连贯。艺术家的身世和背景是一个重点，还要考虑到创作者的状态以及作品是否反映技术和表达的多样性，一次在参展者之间建立起相互关联。 以此方式最终呈现的便是一场经过当代社会不同文化现实的视觉旅程，其目的是为好奇的观察者们打开一扇通向多文化环境复杂且丰富内容的大门，展示作品而不用一个唯一的主题引导轴心来限制它们。 选中的大多数是跨门类艺术家，他们在视听交流中利用视频作为工具，即有单一的使用，又有把它和其他类艺术、媒介或物品融合起来创作出不同复杂程度的装置作品。 VISIóN：A- 主要由短篇幅的，具有适当叙述结构和结束运用的作品组成，因此可以在展厅中一大屏幕单频道投影方式进行观看。 Ⅳ、大众汽车“art car”车模展 艺术北京特别赞助商： 大众汽车将在全国应征的参赛作品中，经过多次比较和筛选出30余件最为优秀的作品参加“art car”车模展。 “艺术北京2007”也将全力配合大众汽车的理念，特别邀请专业空间设计师为大众汽车30余件艺术车车模设计精彩的展示，为参观者提供完美的视觉冲击，通过全方位、多角度的展示，体现大众艺术车的品牌优势和特点，使参观者对大众汽车有更加直观的感受和了解。
Ⅰ.Data Permeating —— Ryoji Ikeda China Premiere Audiovisual concert (live performance) + New work Schedule: 19th September, 2007 VIP Opening Evening Audiovisual concert (live performances): First: C4I (45 minutes) Second: datamatics [ver.1.0] (30 minutes) 20th to 23rd, September, 2007 New work exhibition: The New York Times Producer： As one of the special exhibitions in Art Beijing 2007 contemporary art fair, ‘Data Permeating’ forces on those new media works that re-write and re-figure our reality via digital information technology, as well as human being’s perception and recognition experience come from the atmosphere where the real and the virtual are confused and bewildered by such new media works. As a solo presentation of Japan’s artist Ryoji Ikeda’s works, ‘Data Permeating’ shows artist’s audiovisual concert -- C4Iand datamatics [ver.1.0], which belong to his latest body of work, datamatics series; and a new video installation ‘The New York Times’ produced in 2007. Those works unite moving image, electronic sound and other kinds of new media art technologies; use data as their theme and material to explore the ways in which abstracted views of reality – data – are used to encode and understand the world. Each work tries to explore the potential to perceive the data and touch the threshold of one’s perception and recognition of data. As Japan’s leading electronic composer and new media artist, Ryoji Ikeda has been hailed by critics as one of the most radical and innovative contemporary composers for his live performances, sound installations and album releases. Ikeda has exhibited and performed at many of the world's leading festivals and venues, such as Centre Pompidou (2001 and 2002) and Tate Modern Turbine Hall (2006).However, his works and performances have never been experienced in China on a full-scale. As one of the most potential Asian contemporary art fairs and one of the biggest Asian art resource integration bases, Art Beijing 2007 will firstly introduce this artist to China on a fully integrated and big scale --Ryoji Ikeda’s both new media work and audiovisual concert (live performance) will be presented in Art Beijing 2007’s special solo exhibition ‘Date Permeating’. By then, on Art Beijing 2007’s VIP preview opening night, there will be Ryoji’s audiovisual concert, including his two live performances - C4I (45 minutes) and datamatics[ver.1.0](30 minutes) which will touch the threshold of one’s perception and recognition. Meantime, Ryoji’s new work ‘The New York Times’ (2007) will firstly present in Art Beijing 2007 ‘Date Permeating’ from 20th to 23rd September. The work is an audiovisual installation, which will be heightening and intensifying the viewer’s perception and total immersion within the work by creating an unprecedented and unforgotten audiovisual experience. Qian Jing deciBel Trainee Producer, Arts Council England Artist Biography：Ryoji Ikeda Japan's leading electronic composer/artist, Ryoji Ikeda, focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. Since 1995, Ikeda has been intensely active through concerts, installations, and recordings, integrating sound, acoustics and sublime imagery. In the artist’s works, music, time and space are shaped by mathematical methods as Ikeda explores sound as sensation, pulling apart its physical properties to reveal its relationship with human perception. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. Using computer and digital technologies to the utmost limit, his audiovisual concerts datamatics (2006 – present), C4I (2004 – present) and formula (2000 – 2006) suggest a unique orientation for our future multimedia environment and culture. His acclaimed installations data.tron [prototype] (2007), data.film nº1-a (2007), data.spectra (2005), spectra [for terminal 5, jfk] (2004), spectra II (2002) and db (2002) continue to diffuse Ikeda’s aesthetic of ‘ultra minimalism’ to the art world. Ikeda’s latest body of work, datamatics, is a long-term programme of moving image, sculptural, sound and new media works that use data as their theme and material to explore the ways in which abstracted views of reality – data – are used to encode, understand and control the world. He has been hailed by critics as one of the most radical and innovative contemporary composers for his live performances, sound installations and album releases. His albums +/- (Touch, 1996), 0°C (Touch, 1998) and matrix (Touch, 2000) pioneered a new minimal world of electronic music, employing sine waves, electronic "glitch" sounds, and white noise. Ikeda released his critically acclaimed, seventh solo album entitled dataplex (raster-noton), as part of the datamatics series, in 2005. The versatile range of Ikeda's research is demonstrated by his collaborations with Carsten Nicolai on the project cyclo. and with choreographer William Forsythe/Frankfurt Ballett, artist Hiroshi Sugimoto, architect Toyo Ito and artist collective Dumb Type, among others. Ikeda has exhibited and performed at many of the world's leading festivals and venues, including the Australian Centre for the Moving Image, 2005 (Melbourne); Centre Pompidou 2004 and 2001, Musée d'Art Moderne de la Ville 1999, and La Villette 2002 (all Paris); Sónar 1999 and 2006 (Barcelona); Architectural Association 2002, Barbican 2006, Hayward Gallery 2000, Millennium Dome 2000, Queen Elizabeth Hall 2000, Tate Modern Turbine Hall 2006 (all London); Auditorium Parco della Musica 2003 (Rome); ICC 1999 and 2005, Tokyo International Forum 2006 (Tokyo); Göteborg Biennial 2003 (Göteborg); Le Fresnoy 2007 (Tourcoing). In 2001, Ikeda was awarded the Ars Electronica Golden Nica prize in the digital music category and he was short-listed for a World Technology Award in 2003. Ryoji Ikeda is represented worldwide by Forma Arts and Media Limited www.forma.org.uk About forma: Forma is one of Europe’s leading production agencies for high quality, interdisciplinary contemporary art. Collaborating with some of today’s most interesting artists, it produces tours and publishes groundbreaking new projects that seamlessly combine diverse media. Its programme pioneers new hybrid forms of music, visual art, film, new media, dance, theatre and live art. Forma’s international programme encompasses single concerts and large–scale tours for leading performing and visual arts venues and festivals; one–off exhibitions in established visual arts spaces; screenings at film and new media festivals; and major public realm projects that engage with particular places. Ⅱ、Three Dimensional Viewing Mirror – International Visual Art Festival Organizer: Art Beijing 2007 Curator:Sun Ning Co-Institutes:Platform China, Galerie Grand Siecle, Taiwan, Gallery HYUNDAI, Korea Artists: B.M.Kamath（India） Bani Abidi（Pakistan） Araya Rasdjarmrearnsook （Thailand） Julain Rosefeldt (Germany) Chen Chieh-jen(Taiwan China) Chen Yung Hsien(Taiwan China) Wang Ya hui(Taiwan China) Lin Guanming(Taiwan China) Jin Shan(China mainland) Sun Xun(China mainland) Liang Wei (China mainland) Ma Yongfeng(China mainland) Zhou Tao(China mainland) The Executive Council of ArtBeijing 2007 in collaboration with Platform China will hold “Three Dimensional Viewing Mirror – International Visual Art Festival”, with participating artists from China, Asia, America and Europe. 1. Project Concept “Three Dimensional Viewing Mirror”, literally, is to observe from more than two-dimensional perspectives. Here, it means individualized viewpoint that progressively observes in thorough and detailed fashion, just like we achieve with human eyes, to reach visual conclusion, which is not a three-dimensional understanding of any particular detail but rather a recapitulation of the whole object. Therefore, it allows the viewers to form subjectively an idea of what they perceive. In this exhibition, we will focus our eyeballs on Asia, this specific region. Artists from different countries in Europe and Asia are invited to present their works through analogy and comparison. In this way, they will attempt to tap into the universality of the “Eastern Spirits” and potential correlations between cultures and languages, through their own understanding and expressions of specific Asian regions and cultural concepts. Each piece of artwork is an independent point; different art works may share links through analogy or comparison. They may be compared, contrasted, linked together from one point to another and then perhaps back to where it started. This is a three-dimensional viewing mirror in action. Although this is Eastern culture, discrepancies between localities and cultures are like different combinations of a kaleidoscope. From the three-dimensional perspective, they are different in numerous ways. However, the ultimate goal is to provide a horizontal vision and thinking through looking at one point from different angles. 2. Exhibition Layout Using containers and tarpaulin, an outline resembling a three-dimensional viewing mirror will be created to correlate what is placed inside with space, while audience would be able to make sense of the meanings of the motif in a more direct fashion. Ⅲ、VISIóN：A-Video Art Itinerant Exhibition organizers: Art Beijing 2007 Instituto Cervantes Pekín Artists: Alexandra Navratil Arturo Fuentes Blanca Casas Sebastián Gordín Rui Cal?ada Bastos Anna Gonzalez Suero Alejandro Vidal Paulina León Vasco Araujo Andrés Michelena María Ca?as Xoán Anleo VISIóN：A Introduction： The technological revolution of the mid 90s brought about substantial changes in video creation and began a process ofdemocratising the access to means of production and investigation for artists. The result of this has been a surge of visual artists using this medium. The availability of facilities means that their work is publicly visible and prolific. Video art is moving into a new cycle characterised by the greater conceptual maturity of its artists, a closer knowledge of workingtechniques, better use of digital editing tools and a more precise understanding of the digital spaces where all of these elementsconverge. We are seeing the end of experimenting as the only creative resource. Today s video artists enrich their work with formal,poetic and philosophical elements using new technical, narrative, aesthetic and conceptual communicative resources. The current generation of video artists grew up with TV, DVD players, cable TV, video games and Internet as part of their daily visualexperience. They understand video art as a tool with a capacity for communicating messages, carrying out social analysis and criticising the uniformity of commercial TV in a context of passive viewing dominated by conventional imagery, stereotypes andvoyeurism. Works have become shorter as a consequence of the use of richer, more complex narrative structures. These have opened up toallow contents that mix technology with more risky media, forming new hybrids of images. Melodramatic narrative and the recreation of apparently real spaces can be explained by the credibility they allow characters inserted into these stereotyped reconstructions of everyday life. The themes it deals with run from trivial ideas about different aspects of culture, to more critical, committed views of contemporary society. The self-involved, dispersed 90s have gone, giving way to an existential conceptualism. Questions about life are dealt with by the new generation of video artists with a surprising normality. Their daring is not at all formalistic, though there is an obsession with deconstruction as a method for investigating. Project： VISIóN：A- displays a set of Spanish and Latin American video art of recent production. The works are selected from Loop, the International Videoart Festival, celebrated in Barcelona. The exhibition will travel to Cervantes Institute of Beijing, Milan, Lyon and Casablanca. The project is a revision of the contents displayed at LOOP, an annual historical memory about last social and artistic events that conform the complexity of contemporary society. This review presents an accurate contextualization of the moment. It shows its conceptual and aesthetics referring, a reflexion about theoretical thinking and an approach to new narratives structures, in order to draw up the creative new proposals for the future. This artist’s selection is created considering essentials facts to make a coherent discourse. The first centred in the artist origin andbackground, another determined by the status of the creator, and the third which reflects the diversity of technical and narrative of the works, establishing a representative relation among the participants. Therefore, we offer a visual route through the different cultural realities that exist in contemporary societies. We pretend to revealto the interested public, the rich and complex multicultural context by showing all the works without a connecting thread. Most of the selected artists are multidisciplinary and use the video as a tool for the audio-visual communication, in works for monochannel or combined with other disciplines, media installation or objects creating installations of different complexities. VISIóN：A- works are short duration and can be reproduced by a monochannel projection in a large format screen. Ⅳ、Volkswagen “Art Car” Model Exhibition Special Sponsor of ArtBeijing From participatory works from all over China, Volkswagen will compare them and choose over 30 most outstanding pieces for its Art Car Exhibition. ArtBeijing will, fully in line with Volkswagen ideology, specially invite professional space designers to present a fantastic exhibition of the 30 or so outstanding model pieces and give participants a perfect visual feast. Through multiple perspectives, multiple angles, the advantages and features of the Volkswagen car brands will be fully revealed, empowering audience to more intuitively understand and appreciate Volkswagen cars. |
