艺术家Dan Oki

[2009/02/19 05:04 | 分类: Dutch Media Search | by lizhenhua ]
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Dan Oki
http://www.croartgallery.com/biography.asp?id=89
Dan Oki (Slobodan Jokić, 1965, Zadar , Croatia) is Croatian/Dutch visual artist and a filmmaker. In his work he works with mediums of film and video, installation, computer art, web and performance.
Dan Oki(Slobodan Jokić,1965年,克罗地亚,扎达尔)是克罗地亚/荷兰的视觉艺术家和电影制片人。他的作品多以电影、视频、装置、计算机艺术、网络艺术和行为艺术为媒介。

His first exhibitions and experimental films were realized from 1986 till 1990 in Zagreb. From 1991 to 1993 he studies at the audiovisual department (prof. Frans Zwartjes) at De Vrije Academie in Den Haag. In 1996 he got the Master degree of autonomous arts at the advanced studies at the Hogeschool voor de Kunsten in Arnhem / the Netherlands. From 1997 till 1998 he attends postgraduate courses of film directing and screenplay writing at the Maurits Binger Film Institute in Amsterdam. From 1998 Dan Oki has been teaching video and computer art at the Academy of Fine Arts in Split and has been guest lecturer at various Institutes and Art Academies in Europe. His works have been shown in Europe, North and South America, and Asia. He lives in Amsterdam and Split.
从1986年到1990年,他在萨格勒布完成了第一轮的展览和实验性电影创作。从1991年到1993年,他在荷兰海牙De Vrije Academie的视听艺术学院(教授Frans Zwartjes)学习。1996年,他在荷兰阿纳姆the Hogeschool voor de Kunsten进修并取得了自主艺术创作的硕士学位。从1997年到1998年,他在荷兰阿姆斯特丹的影艺学院(the Maurits Binger Film Institute)参加研究生课程,学习电影导演和剧本写作。自1998年起,Dan Oki在南斯拉夫的斯普利特艺术学院教授视频艺术和电脑艺术,并担任了许多欧洲的机构和艺术院校的客座讲师。他的作品已在欧洲、北美、南美和亚洲展出过。他住在荷兰的阿姆斯特丹和南斯拉夫的斯普利特。

Chimaeric phantoms in Virtualitime
虚拟时空的荒诞幽灵

http://www.ekac.org/fablestext.html
The Croatian artist Dan Oki creates morphs by making use of contemporary technology, which paint a picture of what the fauna of the future might look like. From the darkness of the black computer screen Oki creates light and a new world. Everything God ever stood for, everything that was self-evident, seems to have shrunk to an empty shell. Or, as the art historian Jan Hoet poses: ' everything has to restart, everything needs to be brought up for discussion again. We are obliged to take our individual responsibility... That takes courage, definitely.' Right now it isn't God who decides what 'reality' is going to look like, but the artist. An artist who dares to engage God in battle.
克罗地亚艺术家Dan Oki利用现代技术创造动画形象,从而描绘未来族群的可能图景。Oki为黑漆漆的计算机屏幕创造了光和一个新世界。上帝所创造的一切,不言自明的一切,似乎已经缩小成一个空壳。或者,正如艺术史学家Jan Hoet所说:“一切都得重新开始,一切都需要再探讨。我们必须承担自身的责任...这绝对需要勇气。”现在,不是上帝决定“现实”会是什么样,而是艺术家。一个敢于挑战上帝的艺术家。

What do artists think about the creation of new life forms? Are these creation really so innovative, so different, and do they indeed represent a break with the past? No. Many computer images refer to an old image language. Just compare Dan Oki's morphs with creatures from mythology, the medieval bestiaries or the peculiar beings by Jeroen Bosch. Oki has clearly been inspired by an old image language. Suddenly the past and the present appear very close: century old images appear to be reborn in this computer age. But isn't the modeling of hybrids an attempt to face the terrifying, the terrible, or an attempt to maintain control of the increasingly speedy reality or to cope with black magic spells, evil forces or to negate gene technology? Which child did not fight the noisy dragon in its fantasy, the dragon turning out to be a mere storm afterwards, with its wooden sword or chased away the malicious shadow witch by flicking the light switch. However childish these fears may seem, time and again we conjure up stories - fables and phantasmagoria - in order to control our fears.
艺术家如何看待动画这种新形式的创造?难道这些创造真的与众不同,或者意味着与过去分道扬镳了吗?不是的。许多计算机图像只是在运用古老的图像语言。只要将Dan Oki的变形与神话中的生物做比较,你就能看到中世纪的动物寓言或希罗尼穆斯·波希(Jeroen Bosch)的独特创造。Dan Oki显然借鉴了古老的形象语言。突然间过去和现在似乎非常接近:世纪之久的图片似乎在计算机时代重生了。但这种杂合的模型难道不是企图面对可怕的,糟糕的事物,或企图控制高速运转的现实,或应付黑暗的魔法,邪恶势力或为了否定基因技术?有哪个孩子没有在梦中用木剑与恶龙争斗过呢,这只恶龙最后只不过是一场风暴,或用频繁按动电灯开关的方法来驱赶邪恶的女巫呢。这些恐惧似乎是孩子气的,但时间会让我们再次想起这些故事-寓言和幻影-为了减少我们的恐惧。

Phantasmagoria are not mere figments of our imagination, they also serve to shape the incomprehensible and the elusive and make it manageable. Phantasmagoria portray the unspeakable, they rise above the written language.
幻影不仅是我们想象中的虚构事物,它也有助于表现难以理解和难以实现的事物,并使之易于驾驭。幻影描绘无法形容的事物,它超越了语言文字。

Dan Oki's computer synthesis - his morphs - are not so much synonymous with opposing characteristics of 'good' and 'bad', they go much further. Oki's morphs incarnate qualities like ugly and beautiful together. With his animations, his narratives, Oki brings mythical beings to life and so awakens inconceivable powers, initially reserved for the Gods. His created beings fascinate and at the same time assume any form we wish to see. But above all Oki's images seem meant to make us conscious of possible evolutionary developments, like the photos by the Spanish artists Joan Fontcuberta and Pere Formiguera make us conscious of animals that supposedly existed once. Fontcuberta and Formiguera made a series of photos with reference to a fictive tale, in which biologist Peter Ameisenhaufen has the leading role. The fictitious descriptions by the German scientist and biologist Peter Ameisenhaufen and his assistant Hans von Kubert have led to reconstructions of 'existing' animal species. In the tale Peter Ameisenhaufen makes many journeys during which he discovers the strangest animals, of which he takes precise notes. On Easter Island for example he discovers the M. colubercauda, a being with the outward characteristics of a squirrel monkey, an owl and a unicorn (Equus unicornis). And what to think of the kind Centaurus neandertalensis. This animal was surprised in the act of gathering firewood. By adding the term neandertalensis the suggestion is made that this animal lags some evolutions behind the mythological centaur. The way in which the Spanish artists have transformed Ameisenhaufen's descriptions into photographic images yields a beautiful and humorous blend of naturalia and artificialia, a blend of biology and mythology. Through the addition of the fictive story of the biologist Ameisenhaufen you in the role of the spectator begin to doubt for a moment on whether it is reality or deception. This doubt is reinforced because of the fact that these are photographs.
Dan Oki的电脑合成-他的动画形象–并没有具备那种“好”与“坏”的对立性格,而是更加真实。Oki为他的动画形象赋予了丑陋和美丽并存的特征。在他的动画和叙述中,Dan Oki给生命蒙上了一层神秘的面纱,由此唤醒了不可思议的力量,而这种力量最初是属于神的。他所创作的形象总能吸引或者满足我们的期望。但最重要的是Oki的图像似乎能使我们意识到可能的变化发展,就如同西班牙艺术家Joan Fontcuberta 和Pere Formiguera的照片也能让我们意识到只生存一次的物种Fontcuberta和Formiguera根据一个虚构的故事,展出了一系列照片,故事中生物学家Peter Ameisenhaufen是主角。德国科学家、生物学家Peter Ameisenhaufen和他的助手Hans von Kubert的虚构描述,导致了对“现存”动物物种的重构。在故事中,Peter Ameisenhaufen在旅程中发现了许多奇异动物,对此他有精确的记录。例如在复活岛他发现了M. colubercauda,一种性格外向的松鼠、猴、猫头鹰和独角兽(Equus unicornis)。还有穴居人马。这种动物令人惊讶的行为是收集柴火。用穴居来形容它意味着,它没有在神话半人马之后发生进化。西班牙艺术家将Ameisenhaufen的描述转化成为摄影作品的方式,创造出自然和人造之间一种美丽而异想天开的融合,同时也是生物学和神话的完美结合。基于生物学家Ameisenhaufen的虚构性故事,观众开始怀疑这是现实还是欺骗。这种怀疑变得越来越强了,因为这些动物只是来自于照片。

Whilst the reconstructions by the Spanish artists refer to the past, Dan Oki's reconstructions refer to the future. Aided by computer manipulation Dan Oki generates hybrids, the way these could come into being in the course of the twenty-first century. One example of such a construction is the rhinoceros-eagle. This bird of prey has a head that is reminiscent of a rhinoceros head, only the horn is smaller and clearly streamlined. The horn appears a logical attribute to limit the air resistance, as a result of which the bird can move through the air space faster and with more agility. This also goes for its claws, that appear a blend of the claws of an eagle and a tiger. The claws enforce the fact that its prey has no chance to escape its forceful grip. Oki's rhinoceros-eagle seems to have grown along with the industrialized environment, an environment that is dominated by speed and in which only the strongest have a chance to survive. This thought of a possible evolution is intensified by Oki equipping his beings with a smooth and monochrome gray skin, as though suggesting a viable animal. A seemingly inescapable notion when comparing his morphs to Aibo, the Sonydog.
西班牙艺术家的重构反映过去,而Dan Oki的重构关乎未来。Dan Oki借助计算机进行合成,这些合成在二十一世纪期间得以实现。例如犀牛鹰。这只猛禽的头,能让人想起犀牛头,只是它的角比较小并呈现出流线型。这种角对于限制空气阻力来说是合乎逻辑的特征,因此它能在空气里飞得更快,更敏捷。它的爪子也是如此,从外观上看,似乎结合了老鹰和老虎的特征。爪子的特性更印证了,它的猎物没有机会逃过其强有力的捕捉这个事实。Oki的犀牛鹰似乎已经随着工业化的环境进化了,这种环境强调速度和强者生存。Oki给他的动画形象穿上了光滑而单调的灰色皮肤,从而在适应性生存的动物属性方面,更加印证了这种进化的思路。于是你似乎不可避免地会将他的动画形象与Sonydog的电子狗Aibo爱宝相提并论。

How is it possible that a potential evolutionary theory in the work of Joan Fontcuberta and Pere Formiguera, Jane Prophet, Dan Oki and Malou Elshout does make a credible impression and this is laughed at when viewing Thomas Gr(nfeld's work? This incredibility, as is the case in the work of Thomas Gr(nfeld, is, according to art historian Douglas Crimp, because the objects are already dead before they have been constructed. With this Crimp means that artists like Gr(nfeld do not add to a discussion: no relationship, no contact between the work and the spectator is created.
Joan Fontcuberta 和Pere Formiguera, Jane Prophet, Dan Oki 和 Malou Elshout的作品怎么会蕴藏着进化理论,并令观众留下可信的印象,而观众在看Thomas Gr(nfeld的作品时却大肆嘲笑呢?根据艺术历史学家Douglas Crimp,Thomas Gr(nfeld作品之所以会产生这种不可信的印象,是对象是在死亡之后才被重建的。Crimp的意思是像Gr(nfeld这样的艺术家没有制造讨论的机会,作品和观众之间没有关系,没有联系。

Objects, like those by Thomas Gr(nfeld, are nice hunting trophies or Wolpertinger souvenirs, nice for the hallstand at home or in the windowsill, and seem to elicit mere cries of oh goodness or funny, they do not incite the mind to any pondering. The main difference between Gr(nfeld and the other artists is that their artificial beings move along a borderline and through this stir up the spectator's emotions, even though the machine is at this moment the only means that brings beings to life.
Thomas Gr(nfeld的作品,可以是不错的奖杯或Wolpertinger纪念品,也可以挂在家里的帽架或者是窗台上,似乎也能引发惊叹和有趣的感觉,但它们不会引起任何思考。Gr(nfeld与其他艺术家之间的主要差别在于,其他艺术家的人工作品总是遵循着一条边界,并不断激发观众的情感,即使机器只在此刻将为生命添彩。

Interview:Video Vortex: Dan Oki, ‘Cinema as Research Database’
http://mastersofmedia.hum.uva.nl/2008/01/20/video-vortex-dan-oki-cinema-as-research-database/
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