The Chinese government supports Electronic Arts

http://www.shanghaieye.net/english/?p=2062

The Chinese government supports Electronic Arts

A Shanghai Eye exclusive:

Lisa Zhou, General Manager of Shanghai E Arts Festival, and a project
manager for Shanghai Cultural Development Foundation, talked about
the coming developments for the arts in China's commercial capital,
Shanghai, over this year and into 2010 as the city makes preparations
for the World Expo. E Arts is held in the Autumn in Shanghai, and has
had two editions to date. In the last two editions, hundreds of
artists from around the globe participated, in an innovative
programme held across the city in parks, shopping malls and other
public spaces. Visitors annually number in the hundreds of thousands.
A Chinese citizen, Lisa Zhou graduated with a masters degree from
Coventry University in Fine Arts.

Q: Could you give some background to the Shanghai Cultural
Development Foundation, E Arts and the Chinese government's backing
of these initiatives?

LZ: The Publicity Department of Shanghai (Propaganda Bureau) is our
biggest boss, to enhance cultural responsibility and echo cultural
developments in Beijing. Shanghai is a melting pot, with the
development of technology there is a good matchmaking role with
Shanghai, the city has a large population, with a good education, and
the city has many good public spaces. The Cultural Foundation, Pudong
area, all contributed funds (to the E Arts festival 2008). The
Cultural Foundation has a 20 year history, and funds hundreds of
projects a year. Over the last 5-6 years this has developed in all
kinds of directions, and have funded everything from Operas to fine
arts events. The Cultural Foundation has 2 seasons per year to
recruit proposals. Annually the Foundation has a RMB 150 million
budget (USD $25 million). The Foundation also now also assists on
setting up commercial events, such as the recent productions of the
Lion King and Mama Mia. It is very effective. This is a part of very
smart cultural policy by the government, it is a good mechanism that
is allowing new events to create a new face for Shanghai City.

Q: What are your long term plans for the E Arts festival in Shanghai?
And what other events or festivals have inspired you, or could you
draw comparisons with?

LZ: In the first year (2007) Shanghai E Arts Festival was held in 5
districts, the second year (2008) in 3 districts. This year (2009) we
will focus on one area around the Oriental Pearl Tower and the Bund.
In 2007 we estimated around 340,000 visitors, we are still
calculating for 2008. In 2009, we expect large numbers, the Oriental
Pearl Tower alone receives 3.6 million visitors a year, from all
walks of life, foreign and domestic. For 2010 we will enter into
discussions with the World Expo organizers. The World Expo expects
around 700,000 visitors a day for 6 months. Also, there will be about
20,000 events during this period. Who can curate all this? E Arts
role is under discussion, we are interested in the 'Young Expo' which
will be in the most technologically advanced part of the site. We may
even change the date for E Arts in 2010.
After 2010 we plan to have a quieter, more research based educational
event on 'odd' years, such as 2011, and then have major shows on
'even' years, such as 2012. In 2008, for E Arts, our budget was RMB
12 million (USD 2 million). This did not include site fees, and other
costs, such as building the 110 room dormitory plus the exhibition
and art center for artists in residence, which was funded by a
district government initiative. For 2009 so far we have only raised
about a third of this amount, due to government pressures following
the economic crisis, their funds must be more dedicated to
construction projects. But we have heard some museums have cut their
budgets, or even cancelled events, so after Chinese New Year we will
be approaching other sponsors, consulates, and people like airlines
for instance, to help cover the costs of flying in invited foreign
artists for instance.
As to our model for E Arts, we are very much inspired by the Austrian
event, Art Electronic held in Linz, Austria. We're not just curating
work, we are also the workers, dealing with every detail, from
talking to officials, artists, media…there are very different rules
for electronic art when compared to contemporary or traditional art.
It is difficult to make all contemporary art world circles accept new
media art. We decided on the older term Electronic Art, rather than
cyber art, new media art, etc, because we felt all these latest
developments were contained in the Electronic art category. As in
Linz, who have a very good system in place, we wish to develop
mechanisms like their futurelab and museum, and a better
communication system. Partly there is also a lack of (electronic)
artists in China, recently many universities have set up new media
departments, but their focus is computer games and animation. Firstly
we need a more open attitude, and Shanghai is a very open city. We
have had positive and negative feedback, so we need to communicate
better, ourselves and the artists, and build an academic system. We
keep our information transparent and we need to be brave to do new
things for a new future.
New technology arts also have use in applications, we want to use of
artists works to make prototypes for some kind of services that can
be used in the city.
In 2009 we will invite a host of foreign artists, including a large
Belgian new media artist contingent who will hold a show in Shanghai
talking about virtual reality. The show will create another, more
poetic reality, against the more obvious uses of visual reality for
entertainment. Local artists such as Aaajiao, Gu Chen and Feng Menbo
will also contribute, works such as large outdoor installations. The
work will range from entertaining to serious, even discussing
electronic art's heritage from the 1900s. Last year Zhang Peili's
students at the Central Academy of Fine Arts also showed their works
in a large scale setting. We hope they learned a lot from that
experience. We need to practice, and team work is key. In 2009 the
effect will be bigger but cost less, we are saving every penny, and
are exploring ways for new media artists to survive.

Video documentation- eArts

Chris Gill review of eArts Festival in Creative Review

Sprawling over a city of 20 millions Shanghai E Arts Festival took art
to the masses in a brave experiment with new technologies and new
environments, with 150 international and local artists showing works.
Cleverly picking the Autumn, the best season to be in Shanghai, with
little rain, snow or tropical heat, the organizers took the arts
outside, into the parks, rivers, squares and shopping centers.

With their team like structures, new media artists in some ways are
reminiscent of traveling bands of DJs, visiting various remote and
interesting places on a shoe string, having various rock and roll
experiences en route and in situ.

The opening ceremony was a huge ceremony held on a temporary wharf
built jutting into a river in Pudong New District, with massive
screens featuring artists works. At the same time central Xujiahui,
one of the city's top shopping areas, saw its neon signage taken over
by artworks, akin to Time Square being given over to artists for a few
evenings.

Highlights of what I saw were Christian Marclay's screenplay,
performed in the open air venue at Xuhui Park. The screenplay was
interpreted by three different sets of sound artists, Elliot Sharp,
Top Floor Circus and Ben Houge. Of the three, local punk band Top
Floor Circus stood out with their fascinating interpretation of
Marclay's visuals in a series of Chinese songs, riffs and sound bites,
with the bands entertaining performance proving a real crowd pleaser.

Shanghai E Arts Festival has become a phenomena in itself, with its
multidisciplinary multi platform, multi venue showing of local and
international artworks, here in the world's largest communist
entreport. Predominantly funded and supported under the auspices of
the Propaganda Bureau of Shanghai Communist Party Central Committee,
it is interesting how the approach differs from Beijing's more
dogmatic, nationalist stance when organizing similar large events.

Historically Shanghai is a more international city, and the common
citizenry are more tolerant and open minded towards and interested in
arts and culture projects. In practice Shanghai tends to be the
country's window on the world, while Beijing deals with China's
domestic, internal issues. So large crowds of workers, families and
your usual crowd of everyday people attended external performances en
masse, tolerantly sitting through hours of electronic beeps, squeals,
extended feedback and eyeball blistering visuals. Missing was any
spirit of the nascent nationalism that tends to prevail in Beijing.
During the Olympics Shanghai was instructed to keep a low profile, but
now that the games are over the city has the green light to extol its
virtues.

Highlighting Shanghai's move towards the avant guarde, the sad,
extremely dark, performance by Aaajiao was attended by a crowd of
several hundred people who live in the nearby community, including
migrant workers, grannies, casual park visitors, and others. When the
two dancers simulated a fight the crowd got excited, some even
reenacting the fight scene. Visually the experience seemed more about
watching the crowds reaction to the fight than watching the work
itself, which was spooky. The work seemed to be a Chinese remake of
the Japanese film 'the ring' or perhaps Macbeth, with the female
protagonists torturing each other to a spacey electronic backdrop
accompanied by beeps and groans from the sound artists.

The previous well received edition of E Arts was in several well
established local art museums and venues, but this year organizers
tasked themselves to break the mold even further, taking exhibitions
and performances out amongst the people, with 3 centers in outdoor
spaces, choosing Shanghai's districts of Xuhui, Yangpu and Pudong (for
Londoners think Oxford Circus Battersea and Canary Wharf). Static
venues, such as the Museum of Science and Technology, were also used.

In the Science Museum the installations were all extremely strong work
by a mixed group of local and international artists. The 3D work by
Jean Michel Bruyer "La Dispersion du fils" and the 3D work
"Place-Hampi" by a group of foreign artists led by Jeffrey Shaw,
proved most successful, with the prefect mix of interactivity and art
that Shanghai crowds love. And one local journalist who spent half an
hour with the installations by Ulf Langheinrich told me she felt she
was having hallucinations afterwards.

In some ways this is seen as a dry run for the Shanghai World Expo in
2010, on which the Shanghai government will spend billions of dollars
on, and hopes to create quite a splash internationally. The World Expo
will last six months, with thousands of events planned. "The World
Expo will be the economic and cultural version of the Olympics," one
government official told me. For E Arts the artists were housed in
part in purpose built complexes, think Olympic villages for artists,
one dorm had its own beer hall that was built in only a week. For some
of the more remote events students were bused in by the government to
help create a crowd.
So within these interesting and unique parameters new media artists
did their thing, but due to the sprawling nature of the events with
dozens of events daily at widely diverse locations it was impossible
to attend them all, or even a small part of them.
Preparation and communication seemed key in what works proved
successful, while others seemed swamped or overcome by the scale,
technical issues and cultural misunderstandings.
The majority of the foreign artists appeared old hands, familiar with
the technical issues facing new media, and were able to smoothly deal
with issues such as lack of equipment, or sub standard equipment, they
tuned their work to meet the specific locations, and seamlessly
provided functioning versions to the large crowds. Many of the younger
artists' work appeared weaker, struggling to cope with the scale of
the performances, probably what had seemed cool in their bedrooms or
studios didn't translate immediately to stadium scale, and they lacked
the technical support so vital in new media work. Hopefully the
experience this year will help them for future works, especially the
knowledge gained by cooperating with the more seasoned operators who
flew in from Europe, Japan and the US.

It being E Arts, many of the performances and works have now become
circulated online – a good starting point is www.shearts.org and
Chinese critic Brian Lin's site http://ian-music.blogbus.com/ which
has links to many performance videos.

Boobs and more

The e-ARTS festival was an interesting sight to see. It allowed me to see that great difference between what was traditional and what is the potential new style of art for the future. Using technology and creating art is...different. I did not quite understand the art but it was definitely different. The first piece I saw was Q2008. I actually did not get it until the end, until Kevin and Griffen explained what actually went on, such as the fact that the DJ affected the art by clicking as the music progressed. I also was a participant where 40 people went up and clicked a button. I had no idea what the button was for until the end where the DJ showed 40 clips of Q2008. Apparently, we really did have an affect on the art but this piece did not entirely resonate with me. The whole time I was watching the effects, I continuously wondered what was going on, what the button was for, and what the naked girl was doing. I think what I left with was most important though. At the end of the piece, Defnye explained how she was shocked how the piece should have been censored because of the girl's nipples. I won't lie. I was thinking that while watching; how are they not censoring the naked girl. I mean, her nipples were quite distinct. It was just surprising to see how Defnye was just as surprised. It just goes to show how censorship is a constant restraint for China art, and how, perhaps, it is relaxing a bit. I really how no idea all the struggles artists go through and how problematic it is for commercialization; artist's art vs. artist's need to make money and sell to what the public wants. After the midterm project, I really did learn alot about art in China, how difficult and controversial it is. It is not only about making art. There are so many factors behind it all that affects it. I really did not understand the art I saw at E-arts, whether it be on the screen in the park or on the screen on the malls. But it is interesting to see that process of showing art here in China, how at any moment, the piece you have been working on can be censored. Going to the e-ARTS made it easier for me to understand and compare what I saw at all the other exhibits I visited like the Biennial and M50.

eArts: turning over a new leaf?

I went to the eArts festival in Xujiahui on a cool October evening. As I briskly strolled through the park, the lights beckoned me forward. I saw a large screen with brightly displayed colors and a DJ parked on the side of the stage. The white seats immediately surrounding the area were quickly getting filled and the eArts worker turned my classmates and I away due to our lack of VIP tickets. Luckily, Prof was there and she led us in as the show was about to begin.

The screen itself looked like something out of a video game, so the idea of audience interaction was not far from my head and was only confirmed as workers gave out slips of papers with numbers on them. The show began with a vibrant multitude of colors splashing across the screen. A notably silver colored nude young woman floated around the 3 screens, iphone in hand. Roses and tubes spewed out onto the screens as well as seemingly arbitrary online emoticons and swirls. The numbers started being called as one by one each person presses a button which in turn takes a screenshot of the three screens. In the end, all 40 pictures are combined, creating a piece of work in which the audience played a key role-- they became the artist!

This audience involvement was something that I had never experienced before, and one that I learned is growing in Shanghai today. When we visited M50 Prof. pointed out a screen on a brick wall that displayed a slide show of photographs that the public turned in themselves. While the government were pondering over whether to show this artwork or not, in the end they decided to let it go. This is a major step in freeing up censorship in the sense that the public was allowed to showcase their own pieces of art! I believe that the increase in public interaction and decrease in censorship have a distinct correlation. As involvement is increasing, the public has found a new outlet for their opinions, feelings, and emotions through artwork. Government has aided in that by allowing these manifestations to occur with little or no censorship. It gives me the feeling, and burst of confidence, that even a person with close to none creativity bone in her body can be a contribute to a piece of art. It is a two pronged situation in that it also in essence spreads art out to the public, which is something that the government is aiming to do. Thus, they are pushing art out to the masses through allowing public involvement by which they must decrease censorship to some lesser degree. Oh what an interesting web this creates...

E-arts Festival FInal Cut section

Make sure to see two evenings at Final Cut at E-arts festival 2008. in Xuhui Also try to see as much as you can in other parts of the city such as Pudong!




Shanghai, Xujiahui Public Area (includes LED screens + Greenland for performances)

Arthub, a non profit art organization that promotes contemporary art creation in China and rest of Asia, is delighted to present Final Cut-Processing New Media in Public Space - a five-day programme of live performances, site-specific installations and video screenings in Xuhui District, a flourishing and bustling area of Shanghai. Presented as part of the Shanghai E-arts Festival 2008 with a special focus on the livability of urban space, public sphere, and its transformation through new media, Final Cut has been developed in co-operation with visual artists, musicians, DJs, architects, programmers, dancers, and designers. Featured artists and presenters include Christian Marclay, Elliott Sharp, Wu Na, Bruce Gremo, Wang Li Chuan, 王力川, Ben Houge, Yan Jun 颜峻, Top Floor Circus顶楼马, Aaajiao, Nunu, Ling Xi, B6, Alizia Borsari, Dead J+Chen Xiongwei, Feng Mengbo, Wang Yuyang, Zhou Xiaohu, Michael Bell Smith, Shih Chieh Huang, Terra Bajraghosa, Takeshi Murata, and Eric Siu. On view will also be Hipic.org and 40+4. See map below below for locations. Final Cut is organized by Davide Quadrio and Defne Ayas.

FINAL CUT PROGRAM:

October 18-22- on-going:

// Installations by Wang Yuyang and Zhou Xiaohu.



// Videos by Michael Bell Smith, Shih Chieh Huang, Terra Bajraghosa, Takeshi Murata, and Eric Siu. Plus 40+4 and Hipic.org.



// STAGE PROGRAM (at Hengshan Lu and Wanping Lu- click on the map below):

• October 18, 7.30 pm 40+4, screening


• October 19, 7.30 pm Patience for the Man by Aajiao with Nunu, Ling Xi, B6 and Alizia Borsari, live performance


• October 20, 7.30 pm Dead J+Chen Xiongwei, live performance


• October 21, 7.30 pm Q2008 by Feng Mengbo, live interactive performance


• October 22, 7.30 pm Screen Play by Marclay, live performance

^October 18, 7.30pm, Screening of 40+4



Davide Quadrio embarked on an interview project with artists from all streams of art-making, the avant-garde, the traditional, official or academic scene, presenting a cross section of the art scene in Shanghai. Together with Lothar Spree, Zhu Xiaowen, and Xu Jie – the last of whom in the role of professional interviewer – 40+4 probed the relationship between the artists, their work, and the evolution of contemporary art in Shanghai over the last two decades. The presentation of this project for eArt represents an open dialogue of the artistic community to the city, a vis a vis discourse that will bring reflections, happiness and frustration, critical analyses of the cultural development of the city in the last 15 years or so.

^October 19, 7.30pm, Patience for the Man 忍而为人-a work in progress by Aaajiao with Nunu, Ling Xi, B6 and Alizia Borsari

忍而为人 “Patience for the Man” is born, following a number of workshops to explore the possibility of an open creative interdisciplinary production, where the single “actors” could, through the work in progress, know each other and generate new artistic content, meaning and directions. Select visual artists were asked to go beyond their medium and to experience new techniques of expressions more affiliated to what has been defined as “sensorial theatre”. The result is a multi-media presentation, a live performance within a musicscape. Both B6 and Aaajiao perform live together with the dancers on a stage created by the architect duo Wang Zhenfei and Wang Luming- a presentation that still advocates a possible declination of a work in progress, a temporary result that will be further developed in future presentations.

^October 20, 7.30pm, Dead DJ+Chen Xiongwei- live performance



Exploring once again the DJ status as a performance “in travesty”, Deadj presents his music on a multi-layered video screening created by Chen Xiongwei, combining sounds and images both performed live. The minimalist music created by Deadj will be accompanied by Chen’s digitalized and psychedelic images of public spaces in Shanghai.

^October 21, 7.30pm, Q2008 by Feng Mengbo - live performance



Beijing-based new media pioneer Feng Mengbo offers audiences a participatory journey in Q2008, through virtual imagery, metaphorically linking game surfing, and painting-making process. The work allows viewers (public audience, artist, player, curator) to assume several of these roles during the course of his presentation, which implies a reconfiguration of the audiences into a cinematic experience as well as into a process of art-making. The time-based nature of his game software shifts itself out of its usual context, and as it comes off of the screen, allows the game character to interact dynamically without a proscribed outcome.


^October 22, 7.30 pm, Screenplay by Christian Marclay- live performance with musicians Elliott Sharp, Wu Na, Bruce Gremo, Wang Li Chuan, 王力川, Ben Houge, Yan Jun 颜峻 and Top Floor Circus顶楼马)



Screenplay is a video score in which found film footage is combined with computer animation to create a visual projection to be interpreted by musicians. Using video projection to convey instructions to musicians, he composed a silent collage of found film footage partially layered with computer graphics to provide a framework in which live music can develop. Screen Play will be interpreted by three different ensembles comprised of Chinese and international musicians. Marclay’s long-time collaborator Elliott Sharp will join him from the avant-garde experimental music scene in New York City, to play with the award-winning guqin player Wu Na, and Chinese opera percussionist Wang Li Chuan 王力川, both from Beijing. Shanghai-based composer and videogame audio guru Ben Houge will explore the various layers of information present in the video, together with Yan Jun 颜峻, a found-sound spinner and master of ambient soundscapes, and Bruce Gremo, a veteran improviser performing on his custom-made electronic flute controller, the Cilia. The opening act will be performed by Top Floor Circus顶楼的马戏团, a Shanghai-based folk-cum-art-cum-punk band.




November:

http://www.fringeshanghai.com/index.htm

PERFORMA PRESENTS CHRISTIAN MARCLAY’S SCREEN PLAY SHANGHAI ON OCTOBER 22 AND BEIJING ON OCTOBER 24

PERFORMA PRESENTS CHRISTIAN MARCLAY'S SCREEN PLAY SHANGHAI ON OCTOBER 22 AND BEIJING ON OCTOBER 24

Wednesday, October 22, 2008, 7.30 pm, at Xujiahui Park (Metro Line 1)

Performers: Elliott Sharp, Wu Na, Wang Li Chuan, Ben Houge, Yan Jun, Bruce Gremo and Top Floor Circus

Presented as part of the Shanghai E-arts Festival 2008- Final Cut

Curated by Defne Ayas and Davide Quadrio

Shanghai E-Arts Festival Dates: October 18-22, 2008

With generous support from Pro Helvetia and Arthub

www.shearts.org

www.arthub.org.cn

Screen Play is a video score by artist Christian Marclay in which found film footage is combined with computer animation to create a visual projection interpreted by live musicians. As Marclay says, "Moving images and graphics give musicians visual cues suggesting emotion, energy, rhythm, pitch, volume, and duration. I believe in the power of images to evoke sound." Screen Play was first presented in New York in 2005 as part of Performa 05, the city's first biennial of new visual art performance. Since then, it has traveled, as part of Performa's international touring program, to Paris, Berlin, Portugal, Denmark, and Mexico City, among other locations.

For its Shanghai premiere, which will also mark the first-ever Performa event in China, Screen Play will be interpreted by three different ensembles comprised of Chinese and international musicians. Elliott Sharp, Marclay's long-time collaborator and fellow member of the New York avant-garde music scene, will join him to play with award-winning guqin player Wu Na and Chinese opera percussionist Wang Li Chuan, both from Beijing. Shanghai-based composer and videogame audio guru Ben Houge will next perform his own interpretation of the score, exploring the various layers of digital information present in the video together with Yan Jun, a found-sound spinner and master of ambient soundscapes, and Bruce Gremo, a veteran improviser performing on his custom-made electronic flute controller, the Cilia. The opening act will be performed by Top Floor Circus, a Shanghai-based folk-cum-art-cum-punk band, which plans to explore the emotional subtexts of the score by sampling from their repertory.

"Having combined excerpts from Hollywood films to cacophonous effect in previous work, Mr. Marclay leapt back in film history, making a demonically spliced silent movie whose visually noisy pulsing black and white sequences were complicated by computer animations of bright, jumpy abstract dots, stripes and shapes reminiscent work by John Baldessari… It was an extraordinary evening of looking and listening." --Roberta Smith on Screen Play, The New York Times, 2005

ABOUT THE ARTIST

As an artist and avant-garde musician, Christian Marclay has continuously explored the process of seeing and hearing music across a wide range of disciplines, including performance, visual art, and music. Since 1979 he has pioneered the use of records and turntables to create an "experimental theater of found sound," collaborating with artists including Sonic Youth, John Zorn, and Otimo Yoshihide. Over the last 20 years, Marclay has also created a variety of mixed media sculptures, often incorporating familiar objects such as stereo speakers, telephone receivers, and magnetic tape. He has had solo exhibitions at the Tate Modern, London (2004), the Museum of Modern Art, San Francisco (2001), and the Whitney Museum of American Art, New York (2001), and has been included in many group exhibitions around the world.

ABOUT PERFORMA

Performa, a non-profit multidisciplinary arts organization established in 2004, is dedicated to exploring the critical role of live performance in the history of twentieth century art and to encouraging new directions in performance for the twenty-first century. Performa launched New York's first performance biennial, Performa 05, in 2005, to tremendous critical and popular acclaim. In 2007, the second biennial, Performa 07, was an even greater success than the first. The next biennial, Performa 09, will take place in New York from November 1-22, 2009, featuring the work of over 100 artists at more than 80 venues across the city.

ABOUT SHANGHAI EARTS FESTIVAL 2008

Launching on 18th October 2008 with a five-day programme of events, performances and installations across the city, the Shanghai eArts Festival will bring together some of the most exciting digital arts talent from China and around the world. Dubbed 'Urbanised Landscape', the Festival promises to build on the tremendous successes of the inaugural 2007 event, and will once again be shaped by a young creative team from Shanghai as well as leading international new media arts organisations. The Festival is set to include exhibitions of specially commissioned work in the city's museums and galleries, as well as electronic music and live performances.  

To see this email on the web, go to http://performa-arts.org/evites/ScreenPlayChina.html

Opening schedule for Synthetic times-mEDIA ART CHINA 2008

6月2日—6月4日
展厅搭建
June 2 –June 4,
Gallery Construction

6月5日—6月9日
展览布展
June 5 – June 9
Installation

6月8日
June 8
晚6点30pm, 见面欢迎会
6:30pm, Meet the friends - Welcome Cocktail Reception
地 点： 王府井大饭店
Venue: Wangfujing Grand Hotel

6月9日
June 9
下午3点，新闻会／媒体预展
3pm Press Conference / Media Preview
地 点： 中国美术馆
Venue： NAMOC

下午5点，展览开幕及酒会
5pm Synthetic Times Official Opening / Cocktail
Reception
地 点： 中国美术馆
Venue： NAMOC

晚上7点， 开幕式：Ars 动漫艺术节， 奥地利林茨电
子艺术中心 (Ars Electronica Linz)，
国际新人录像观摹展，欧洲媒体艺术节（European
Media Art Festival）

7pm Opening: Animation Festival, Ars Electronica Linz;
Internatioanl Emerging
Video Art, European Media Art Festival
地 点： 北京皇城艺术馆
Venue： Beijing Art Museum of Imperial City

晚上8点，中国美术馆开幕晚宴（仅凭请柬）
8:00pm Opening Dinner (By NAMOC Invitation Only)

地 点： 娃哈哈大酒店一层
Venue： Ground floor at Wahaha Restaurant (near NAMOC)

6月10日
June 10
下午5点—8点，游离的边界 展览开幕式暨"阿拉里奥
之夜" （仅凭请柬）
5 -8pm Opening: Between the Light and the Dark and
"Arario Evening" Event (By Arario Invitation Only)

地 点： 酒厂艺术区阿拉里奥画廊
Venue： Arario Gallery

6月11日
June 11
下午5：30－9：30pm"瑞士之夜"－瑞士文化基金会专
场（仅凭请柬）
5:30 -9:30Pm Swiss Evening (By Prohelvetia Invitation Only)
地 点： 中国美术馆
Venue： Namoc

公共教育项目

EDUCational programs

地 点：中国美术馆
时 间：6月10日
VENUE: THE NATIONAL ART MUSEUM OF CHINA
Time: June 10 th

1. 圆桌讨论：未来的现在或现在的未来
时 间：上午10：00—11：30
地 点：中国美术馆7层学术报告厅
主持人：张尕，本展览策展人/艺术总监

Round Table Discussion: The Future of the Present or the Present of
the Future
Time: 10am – 11:30am
Venue: 7th floor, Academic hall at NAMOC
Moderated by Zhang Ga, Artistic Director / Curator, Synthetic Times

Fan Di'an (Director, NAMOC, China)/ 范迪安，中国美术馆馆长
Li Lei (Director of Shanghai Art Museum)/李磊，上海美术馆馆长
Wang Huangsheng (Director of Guangdong Art Museum)/王璜生，广东
美术馆馆长
Xu Jiang (President of China Academy of fine arts)/ 许江，中国
美术学院院长
Xu Bing (Vice President / Artist, Central Academy of Fine Arts,
China)/徐冰，中央美术学院副院长/艺术家
Zhang Qing (Deputy Director of Shanghai Art Museum)/张晴，上海
美术馆副馆长
Zhang Peili (Director of New Media Arts Department at China Academy
of fine arts)/张培力，中国美术学院新媒体艺术系主任
Wu Meichun (Associate professor, Research Department of China Academy
of fine arts)/吴美纯，中国美术学院研究部副教授
Shen Qibin (Director of Shanghai ZendaiMoMA)/沈其斌，上海证大
美术馆馆长
Marianne Burki (Director of Visual Art Department of Swiss Arts
Council Pro Helvetia)/瑞士文化基金会视觉艺术部主管
Alex Adriaansens (Director, V2, The Netherlands)/V2，荷兰多媒体
协会主任
Christine Schoepf (Co-Artistic Director, Ars Electronica Linz) /奥
地利林茨电子艺术中心艺术总监
Kelli Dipple (New Media Art Curator, Tate, UK)/英国泰特美术馆
新媒体艺术策展人
Barbara London (Media Curator, MoMA, US)/纽约现代艺术博物馆
媒体艺术策展人
Alfred Rotert (Director, EMAF, Germany)/德国欧洲媒体艺术节
主任
Mike Stubbs (Director, FACT, UK)/ 英国艺术与创新技术基金
会主任
Kim Machan (Director, MAAP, Australia)/澳大利亚亚太多媒体主任
Lars Spuybroek (Principle, NOX / Lars Spuybroek, The Netherlands)/
荷兰建筑公司主建筑师

2. 艺术家会谈
时 间：下午1：30—2：30
艺术家：Stelarc、Anthony McCall、蔡文颍，各20分钟

Artist talk (NAMOC)
Time: 1:30pm -2:30pm
Stelarc, 20 minutes
Anthony McCall, 20 minutes
Tsai Wenyin, 20 minutes

3. 艺术家讲座
时 间：下午3：00—4：30
艺术家：缪晓春、Yves Netzhamme、Lars Spuybroek各20分钟

Artist talk (NAMOC)
Time: 3pm – 4:30pmpm
Miao Xiaochun, 20 minutes
Yves Netzhammer, 20 minutes
Lars Spuybroek, 20 minutes

地 点：中央美术学院设计学院报告厅
时 间：6月10日
主持人：马刚，中央美术学院设计学院 副院长

Venue: Lecture Hall Of School Of Design, Central Academy Of
Fine Arts
Time: June 10th
Moderated by Prof. Ma Gang, Vice Dean, School of Design, Central
Academy of Fine Arts

1. 新媒体艺术的活力，第一部分
上海电子艺术节的特别项目
时 间：上午10：00—11：30

The Vitality of New Media Art - Part I
- A special program organized by Shanghai eArt Festival
Time: 10:00am -11:30am

2. 艺术家演示
时 间：下午1：30—3：00
艺术家：etoy、Knowbotic Research、Edwin van der Heide各20分钟

Artist Talk
etoy, 20 minutes
Knowbotic Research, 20 minutes
World Theater, 20 minutes
Edwin van der Heide, 20 minutes

Time: 1:30 -3:00pm

3. 艺术家演示
时 间：下午3：30—5：00
艺术家：David Rokeby、Paula Geatano、吴珏辉、Marnix de
Niijs各20分钟

Artist Talk
David Rokeby, 20 minutes
Paula Geatano, 20 minutes
Wu Juehui, 20 minutes
Marnix de Niijs, 20 minutes

Time: 3:30pm -5pm

地 点：清华大学美术学院学术报告厅
时 间：6月10日
主持人：鲁晓波，清华大学艺术与科学研究中心 副
所长

Venue: Lecturre Hall, Academy Of Arts And Design, Tsinghua University
Time: June 10th
Moderated by Prof. Lu Xiaobo, Deputy Director, Art and Science
Research Center Tsinghua University

1. 艺术家演示
时 间：上午10：00—11：30
艺术家：Exonemo、Christopher Hildebrand、Sissel Tolaas、AL +
AL各20分钟

Artist Talk
Exonemo, 20 minutes
Christopher Hildebrand, 20 minutes
Sissel Tolaas, 20 minutes
AL + AL , 20 minutes

Time: 10am – 11:30am

2. 艺术家演示
时 间：下午1：30—3：00
艺术家：Chico MacMurtrie、Marek Walczak、Luc Courchesne、Keith
Armstrong各20分钟

Artist Talk
Chico MacMurtrie, 20 minutes
Marek Walczak, 20 minutes
Luc Courchesne, 20 minutes
Keith Armstrong, 20 minutes

Time; 1:30pm – 3:00pm

3. 新媒体艺术的活力，第二部分
上海电子艺术节的特别项目
时 间：下午3：30——5：00

The Vitality of New Media Art - Part II
- A special program organized by Shanghai eArt Festival
Time: 3:30pm – 5pm

工 作 坊

Workshops

工作坊1：
纽约帕森斯学院在中央美术学院（DIY—无线）
地点：中央美术学院媒体工作室
时间：6月8日

Workshop 1
Parsons at CAFA (DIY – Wireless)
Venue: New media art studio at Central Academy of Fine Arts
Time: June 8

工作坊2：
Etoy在清华大学美术学院
地点：清华大学美术学院学术报告厅
时间：6月15日

Workshop 2
etoy at Tsinghua University
Venue: Academic hall at Academy of Art and Design, Tsinghua University
Time: June 15

讲 座

Lectures

1. 主讲：Oliver Grau
地点：清华大学美术学院
时间：6月11日下午3pm

Oliver Grau
Venue: Tsinghua University
Time: 11TH June, 6:30pm

2. 主讲：Erkki Huhtamo
地点：中央美术学院设计学院报告厅
时间：6月11日下午 3PM (待确认)

Erkki Huhtamo
Venue: Lecture hall of School of Design at Central Academy of Fine Arts
Time: 11TH June, 3pm(TBC)

奥地利林茨电子艺术中心

和BASIS WIEN联合项目

地 点：北京皇城艺术馆
时 间：2008年6月10日—11日
主持人：李振华, 本次展览制作总监
A JOINT EVENT OF ARS ELECTRONICA LINZ AND BASIS WIEN
Venue: Beijing Art Museum of the Imperial City (BAMOIC)

Time: June 10 and 11, 2008
Moderated by Mr. Li Zhenhua, Project manager / Producer, Synthetic
Times-Media Art China 2008

第一部分：
时间：6月10日下午2：00—6：00
艺术实践在过去30年里不断改变：许多艺术家已不再
独立创作，艺术家特别是媒体艺术家与技术人员、程
序员、科学家和理论家一起创作，出现了诸多灵感激
发的合作。在艺术和艺术市场已经走向全球化的今
天，西方艺术界和中国艺术界如何应对在文化全球化
时代中的新环境？应对东西方艺术创作、策展、文件
和档案保存时应采用什么样的新策略? 这些是奥地利
林茨电子艺术中心和BASIS WIEN希望与艺术家、策展人
和艺术档案研究者在6月10日和11日的两个小组讨论中
讨论的议题。

PART I
June 10, 2 – 6 pm
Artistic practices have changed within the last 30 years: Many
artists are not working alone anymore, the artist and specially the
media artist is working together with technicians, programmers,
scientists, theoreticians, more and more inspiring collaboratives are
being founded. Art - and the art market - have gone global. How do
Western and Chinese players in the art field deal with these new
conditions of production in the era of cultural globalization? Which
new strategies does this imply for the production, curation and
documentation & archiving of art in East and West?
These are the questions Ars Electronica Linz and basis wien want to
discuss with artists, curators and archivists in two panels on June
10 + 11, 2008.

1，如何教授新媒体课程？
Marie Luise Angerer (DE, teacher, curator)/德国，教授、策展人
冯梦波， 中国， 艺术家

How To Teach New Media Art

Marie Luise Angerer (DE, teacher, curator)
Feng Mengbo (CN, artist)

2，如何创作新媒体艺术
龚彦，中国，策展人、艺术家
Kurt Hentschläger (AT, artist) ， 奥地利，艺术家
冯梦波， 中国，艺术家

How To Make New Media Art
Gong Yan (CN, curator, artist)
Kurt Hentschläger (AT, artist)
Feng Mengbo (CN, artist)

3， 如何选择新媒体艺术
Christine Schoepf (AT, co-founder & artistic director of Ars
Electronica)奥地利，奥地利林茨电子艺术中心创建人，
艺术总监
李振华，中国，艺术家、策展人
Katja Kwastek (AT, Ludwig Boltzmann Institute Media.Art.Research,
researcher) 奥地利，媒体艺术研究中心，研究员

How To Select New Media Art
Christine Schoepf (AT, co-founder & artistic director of Ars
Electronica)
Li Zhenhua (CN, artist, curator)
Katja Kwastek (AT, Ludwig Boltzmann Institute Media.Art.Research,
researcher)

第二部分：
时间：6月11日下午2：00—6：00

为什么记录和存档艺术？艺术存档和记录会创建"明
天的艺术史"？他们在帮艺术家曝光更多？电子存档
的持久性如何？在全球语境中，不同文化环境的新的
艺术创作条件下，艺术存档和记录有什么不同？谁在
记录和存档艺术？公众社团？机构？或者艺术家本人
应该自己存档？谁来决定记录和存档什么？

如何记录和存档新媒体艺术？
With Katja Kwastek (AT, Ludwig Boltzmann Institute Media.Art.Research
Linz) 奥地利，奥地利林茨媒体艺术研究
李媚，中国，中央美术学院
李振华，中国，艺术家、策展人
Barbara London ， 美国，纽约现代艺术美术馆，策展人
Lioba Reddeker ，奥地利， basis wien
Angelica D. Schmitt ，德国，新媒体理论家
Christine Schoepf，奥地利，奥地利林茨电子艺术中心创
建人，艺术总监
Marianne Burki ，/瑞士文化基金会视觉艺术部主管
张兰生，中国/澳大利亚，皇家墨尔本理工大学兼职
教授

PART II
June 11, 2 – 6 pm
Why to archive and document art? Do archives and documentations
create the »art history of tomorrow«? Do they give more visibility
to artists? What about the sustainability of (digital) archives?
What does »archiving & documenting« of art mean in different
cultural traditions, in the global context and under new production
conditions?
Who is archiving & documenting? The community? Or institutions? Or
should the artist practice self-archiving? Who decides about what
should be archived?

How To Document & Archive (New Media) Art
With Katja Kwastek (AT, Ludwig Boltzmann Institute Media.Art.Research
Linz)
Li Mei (CN, Chinese National Academy of Arts)
Li Zhenhua (CN, artist, curator)
Barbara London (US; MOMA New York)
Lioba Reddeker (AT, basis wien)
Angelica D. Schmitt ( DE, media theorist )
Christine Schoepf (AT, co-founder & artistic director of Ars
Electronica)
Marianne Burki, Director of Visual Art Department of Swiss Arts
Council Pro Helvetia
Zhang Lansheng (CN / AU, RMIT University)