Timelapse 延时

[2009/11/18 01:02 | 分类: info | by lizhenhua ]
The National Art Museum of China is pleased to announce the opening of the exhibition Timelapse curated by Zhang Ga. The first installment of this Chinese and Swiss media art exhibition will open on November 25, 2009, in Beijing and will travel to Biel, Switzerland, in March 2010.

In the summer of 2008, the National Art Museum of China (NAMOC) successfully staged Synthetic Times: Media Art China 2008, International New Media Art Exhibition. The exhibition showcased the latest trends in global media art development, establishing Beijing as a platform for international dialogue in the field of new media art and providing an opportunity for a Chinese audience to recognize and appreciate rich and multifaceted artistic visions of the twenty-first century. Timelapse is the result of NAMOC’s continued commitment to exhibit media art.

Time-lapse describes a cinematographic technique in which pictures are taken with long intervals between each frame. Time-lapse as a process of delaying or prolongation constructs an obviously accelerated artificial effect when synchronized at a twenty-four-frame-per-second playback speed, which typically creates the illusion of real-time movement in human visual perception. Time-lapse therefore manipulates an illusionary reality to achieve yet another level of syntheticity – a virtual reality as opposed to the “reality” arrived at by simulation.

Time represents itself by movement, which is the continuous covering of space. In space where movement unfolds, abound the actions and happenings of distinct progression, that of heterogeneity. In time-lapse, through the drastic slowing down of speed in space, in between the delays and elongation for the finale of speediness and continuity, elasticity metamorphoses into virtuality, transcending ordinary perception of the temporal and the spatial, creating memory in a succession of variations.

By metaphorically invoking photographic terminology in the spirit of Bergsonian / Deleuzian time-movement interpretation as inspiration, the exhibition Timelapse in which a dozen artists from both Switzerland and China will participate, attempts to examine the fundamental constituent of digital media: the concept of time and its embodiment in space, its evocation of passage and memory, its movement of differentiation and its state of representation in diverse formal grammars to reveal the social implications of the fast in the disguise of the slow, the multiplicity in temporality, and disparity in spatiality, both psychologically and geographically. The exhibition scrutinizes the nuances and ramifications of cultural being within the disparate frameworks of time in distance and space in locality, and the potential collapse of a time-space duality.

Participating artists:
Peter Aerschmann, Cao Fei, Chen Shaoxiong, Arthur Clay, Hervé Graumann,
Alexander Hahn, Hu Jieming, Jin Jiangbo, Timo Loosli, Qiu Zhijie, Valentina Vuksic, Zhang Peili, Daniel Werder

The exhibition is a project of NAMOC’s Media Art China 2009, co-organized by the National Art Museum of China and CentrePasquArt (Biel Contemporary Art Museum) in Switzerland, and in partnership with Pro Helvetia, the Swiss Arts Council, as part of the exchange and cooperation program "Swiss Chinese Cultural Explorations" , which aims to support a rapprochement between the two countries on a cultural level, placing importance on establishing long-term relationships between artists and institutions from Switzerland and China. The exhibition is also supported by Presence Switzerland and Swissnex Shanghai, Switzerlands’s Outpost for Science, Technology and Culture in China.

National Art Museum of China, Beijing, China
November 25, 2009 – December 19, 2009

CentrePasquArt, Biel, Switzerland
March 28, 2010 – May 30, 2010

Catalogue designed by: Project Projects, New York


展览时间: 2009.11.25 至 2009.12.20
主办单位: 中国美术馆、比尔当代艺术博物
展览场地: 19、20、21号展厅 



本次展览以柏格森 (Bergson) 以及德卢兹(Deleuze, 均为法国哲学家)有关时间-运动的解释为契机,含蓄地缓引“延时”这一摄影术语,在瑞士和中国两国艺术家的参与中,试图检验数字媒体的根本构成因数,及时间的概念以及其在空间中的体现,其对于过程和记忆的启示,其运动所产生的差异,以及其在运用形式语言时所呈现的不同表象,从而揭示被缓慢所遮掩的亟速之社会内蕴,其在时空中之心理与地理间的多样化和差异性,激起我们对于细察在不同的时空概念的框架下文化的构建,以及对于这种时空二元性之崩溃的可能性的欲念。
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