Ⅰ、“數(shù)字彌漫”—日本視覺(jué)音樂(lè)藝術(shù)家池田亮司（Ryoji Ikeda）中國(guó)首演：

日程：

2007年9月19日 開(kāi)幕式Opening Evening （僅限VIP，不對(duì)外售票）

現(xiàn)場(chǎng)音樂(lè)會(huì)：C4I （45分鐘）& datamatics[版本 1.0]（30分鐘）

9月19日20 :00 現(xiàn)場(chǎng)表演開(kāi)始。

第一個(gè)表演的作品是C4I ，表演時(shí)間 45 分鐘。

第二個(gè)表演作品datamatics[版本1.0]，表演時(shí)間30分鐘。

2007年9月20日至23日（公開(kāi)售票）

全新多媒體作品《紐約時(shí)報(bào)》（The New York Times）

出品機(jī)構(gòu)：

作為“藝術(shù)北京2007”當(dāng)代藝術(shù)博覽會(huì)的專(zhuān)題展之一，“數(shù)字彌漫”關(guān)注的是通過(guò)數(shù)字信息技術(shù)對(duì)現(xiàn)實(shí)世界進(jìn)行改寫(xiě)與重塑的多媒體藝術(shù)創(chuàng)作，以及人們?cè)谶@類(lèi)藝術(shù)作品所營(yíng)造出的真實(shí)與虛擬交替的藝術(shù)景觀中的感觀體驗(yàn)。此次展覽以個(gè)展的形式邀請(qǐng)目前在多媒體創(chuàng)作領(lǐng)域備受?chē)?guó)際關(guān)注的日本藝術(shù)家池田亮司。所展作品包括該藝術(shù)家最新系列作品datamatics中的兩部現(xiàn)場(chǎng)音樂(lè)會(huì)表演C4I和datamatics[版本1.0]，以及藝術(shù)家2007年的最新錄像裝置《紐約時(shí)報(bào)》（The New York Times）。這些作品集合了動(dòng)態(tài)影像和電子聲音等多種新媒體創(chuàng)作手段，將數(shù)字信息作為創(chuàng)作主題和作品主體，借助數(shù)字信息技術(shù)以抽象的表現(xiàn)方式來(lái)對(duì)現(xiàn)實(shí)世界進(jìn)行重新編譯與理解。每件作品都試圖探究人類(lèi)對(duì)現(xiàn)實(shí)中無(wú)處不在但卻無(wú)影無(wú)形的數(shù)字信息的感知潛能與認(rèn)知極限。

作為日本電子音樂(lè)界和數(shù)碼多媒體創(chuàng)作領(lǐng)域的領(lǐng)軍人物之一，池田亮司由于在現(xiàn)場(chǎng)表現(xiàn)、聲音裝置和唱片發(fā)行等方面的出色表現(xiàn)和貢獻(xiàn)被評(píng)論界視為當(dāng)今最前衛(wèi)和最具革新精神的藝術(shù)家之一。池田亮思的作品和表演在世界許多最重要的活動(dòng)和機(jī)構(gòu)中舉行過(guò)。例如，法國(guó)蓬皮杜中心（2001、2004）和英國(guó)泰特現(xiàn)代美術(shù)館渦旋廳（2006）。“藝術(shù)北京”作為亞洲最具潛力的當(dāng)代藝術(shù)博覽會(huì)之一，同時(shí)作為亞洲藝術(shù)資源的整合基地之一，今年將在其專(zhuān)題個(gè)展“數(shù)字彌漫”上首次大規(guī)模和全面、完整的呈現(xiàn)這位藝術(shù)家的多媒體藝術(shù)作品與現(xiàn)場(chǎng)音樂(lè)表演。同時(shí)，在博覽會(huì)舉辦的四天時(shí)間里（9月20日至9月23日），藝術(shù)家最新的多媒體視聽(tīng)作品《紐約時(shí)報(bào)》（The New York Times）也會(huì)在“藝術(shù)北京2007”的“數(shù)字彌漫”專(zhuān)題展上首度公開(kāi)亮相。該作品是一件視聽(tīng)多媒體裝置。作品中所營(yíng)造出的前所未有的視聽(tīng)震撼會(huì)讓踏入展廳的觀眾完全忘我的沉浸在其中。

錢(qián)婧

英格蘭藝術(shù)協(xié)會(huì)（Arts Council England）deciBel 實(shí)習(xí)策劃制作人

藝術(shù)家簡(jiǎn)介：

池田亮司是日本電子音樂(lè)創(chuàng)作方面的領(lǐng)軍人物。他通常從細(xì)微處入手研究超聲波學(xué)，頻率學(xué)和聲音本身的基本特性。自1995年開(kāi)始，池田亮司就積極嘗試各種形式的創(chuàng)作，其中包括音樂(lè)會(huì)、裝置、唱片、綜合聲音等。在其創(chuàng)作中，音樂(lè)、時(shí)間和空間被重新以數(shù)學(xué)方法塑造與表現(xiàn)。池田亮司將聲音視為一種”感覺(jué)”而非物理現(xiàn)象來(lái)研究，試圖展現(xiàn)這種感覺(jué)與人類(lèi)感知之間的關(guān)系。

在視覺(jué)和音效創(chuàng)作的國(guó)際領(lǐng)域內(nèi)，池田亮司是廣受好評(píng)的、屈指可數(shù)的、優(yōu)秀的藝術(shù)家之一。其作品datamatics(2006－現(xiàn)在)、C4I(2004-現(xiàn)在)和formula(2000-2006)均將電腦制作和數(shù)字技術(shù)運(yùn)用到了極致。這些作品以獨(dú)一無(wú)二的視角向人們展現(xiàn)了多媒體藝術(shù)在未來(lái)的發(fā)展環(huán)境和文化語(yǔ)境。池田亮司廣受贊譽(yù)的裝置作品有data.tron [prototype] (2007)、data.film no1-a (2007)、data.spetra(2005)、spectra[for terminal 5,jfk](2004)、spectra II (2002)和db(2002)均是藝術(shù)家極簡(jiǎn)主義美學(xué)理念的延續(xù)和體現(xiàn)。datamatics是藝術(shù)家最近進(jìn)行的一個(gè)長(zhǎng)期性創(chuàng)作項(xiàng)目。在該項(xiàng)目中，藝術(shù)家運(yùn)用了動(dòng)態(tài)影像、雕塑、聲音和新媒體等多種創(chuàng)作手段。數(shù)字信息成為了創(chuàng)作的主題和作品的主體，藝術(shù)家運(yùn)用數(shù)字信息來(lái)探究對(duì)現(xiàn)實(shí)世界的各種抽象的表現(xiàn)方式。在作品中，我們所處的這個(gè)世界可以通過(guò)數(shù)字信息的方式進(jìn)行編譯、理解和掌控。

池田亮司由于在現(xiàn)場(chǎng)表演、聲音裝置和唱片發(fā)行等方面的出色表現(xiàn)和貢獻(xiàn)而被評(píng)論界視為當(dāng)今最前衛(wèi)和最具革新精神的作曲藝術(shù)家之一。他的唱片集＋/-(Touch,1996)，0°C (Touch,1998)和matrix (Touch,2000)由于運(yùn)用了正弦波、電子“短時(shí)脈沖波形干擾式”的聲音和“白噪音”(white noise)等創(chuàng)新表現(xiàn)手段從而開(kāi)啟了電子音樂(lè)領(lǐng)域的一個(gè)全新的極簡(jiǎn)主義世界。在2005年，藝術(shù)家所發(fā)行的第七張專(zhuān)輯“dataplex”(raster-noton)廣受好評(píng)，該作品是datamatics系列之一。

池田亮司的藝術(shù)探索形式是多種多樣的，這體現(xiàn)在他和Carsten Nicolai的合作項(xiàng)目cyclo.同時(shí)還有他與兩位舞蹈家William Forsythe和Frankfurt Ballett，藝術(shù)家Hiroshi Sugimoto，建筑師Toyo-ito以及藝術(shù)組合Dumb Type等其他藝術(shù)家的各種合作中。

出品機(jī)構(gòu)簡(jiǎn)介：

Forma Arts and Media Limited成立于2002年，是由Arts Council England資助的非盈利的藝術(shù)出品機(jī)構(gòu)。該機(jī)構(gòu)致力于高品質(zhì)和跨學(xué)科的當(dāng)代藝術(shù)領(lǐng)域，所組織的各種活動(dòng)集合了音樂(lè)、視覺(jué)藝術(shù)、電影、新媒體、舞蹈、戲劇和現(xiàn)場(chǎng)表演等跨領(lǐng)域的多種藝術(shù)形式。在與當(dāng)今許多優(yōu)秀的藝術(shù)家保持緊密合作的同時(shí)，F(xiàn)orma還組織多種形式的巡展活動(dòng)和出版具有突破性的新媒體項(xiàng)目的刊物，力圖最大限度地將多種形式的藝術(shù)媒介予以完美的結(jié)合。

池田亮司由Forma Arts and Media Limited[www.forma.org.uk]全權(quán)代理

Ⅱ、“立體視鏡”——國(guó)際影像藝術(shù)展

主辦方 藝術(shù)北京2007

策展人: 孫寧

合作機(jī)構(gòu)

站臺(tái)中國(guó)、臺(tái)灣新苑藝術(shù)中心、韓國(guó)現(xiàn)代畫(huà)廊

參展藝術(shù)家：

B.M.Kamath（印度）

Bani Abidi（巴基斯坦）

Araya Rasdjarmrearnsook（泰國(guó)）

Julain Rosefeldt (德國(guó))

陳界仁 (中國(guó)臺(tái)灣) 陳永賢 (中國(guó)臺(tái)灣)

王雅慧 (中國(guó)臺(tái)灣) 林冠名 (中國(guó)臺(tái)灣)

金閃 (中國(guó)大陸) 孫遜 (中國(guó)大陸)

梁偉 (中國(guó)大陸) 馬永峰 (中國(guó)大陸)

周滔 (中國(guó)大陸)

藝術(shù)北京2007執(zhí)行委員會(huì)與站臺(tái)中國(guó)合作舉辦「立體視鏡：國(guó)際影像藝術(shù)展」。參展藝術(shù)家將遍布于中國(guó)、亞洲以及歐美地區(qū)。

1、策展理念：

“立體視鏡”，顧名思義，是用一種超二維的視角來(lái)觀察。在這里，尤指以非群體的個(gè)人化視點(diǎn)作為出發(fā)點(diǎn)，猶如人眼的觀看，以細(xì)致并細(xì)節(jié)的推進(jìn)，最終想要達(dá)成的，是每一個(gè)細(xì)節(jié)的立體感知，并非是全面整體的概括。由此允許觀眾能在自己的腦中構(gòu)建主觀認(rèn)知的見(jiàn)地。此次展覽，我們將這個(gè)視鏡聚焦在亞洲這個(gè)特定區(qū)域。邀請(qǐng)來(lái)自歐亞不同國(guó)家的藝術(shù)家，以類(lèi)比和對(duì)照的方式來(lái)呈現(xiàn)他們的作品，試圖通過(guò)東西方藝術(shù)家對(duì)于“亞洲”特定區(qū)域和文化概念不同的理解和各自的表達(dá)，窺探其中所謂“東方精神”的國(guó)際共通性以及潛在文化語(yǔ)言之間的聯(lián)系。每一件作品都是一個(gè)獨(dú)立的點(diǎn)，作品和作品之間又有或相似、或?qū)Ρ鹊穆?lián)系，相互對(duì)應(yīng)，相互關(guān)聯(lián)，從起點(diǎn)到達(dá)另外一點(diǎn)，可能又回到起點(diǎn)。這是一個(gè)細(xì)節(jié)上的立體視鏡，雖然是“東方”文化，但地區(qū)及文化的差同性就像萬(wàn)花筒里的不同組合，從立體的角度來(lái)說(shuō)，千變?nèi)f化，各有不同。而最終想要建立的，是在一個(gè)點(diǎn)上的多重視角，從而提供一種橫向視野和思考。

2、場(chǎng)景設(shè)置：

利用集裝箱和篷布搭建，做出立體視鏡的外形比喻，放置其中的作品由此可以和空間相關(guān)聯(lián)，而觀眾也可以更直白的獲得主題的寓意。

Ⅲ、VISIóN：A- 影像藝術(shù)巡回展

主辦:藝術(shù)北京2007 北京塞萬(wàn)提斯學(xué)院 西班牙文化中心

策展人 Curator:Javier Duero

參展藝術(shù)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

簡(jiǎn)介

90年代中期的技術(shù)革命從本質(zhì)上改變了視覺(jué)藝術(shù)創(chuàng)作的面貌，它在制作和研究的手段方法上為藝術(shù)家們開(kāi)啟了一個(gè)民主化的進(jìn)程，其結(jié)果便是當(dāng)今涌現(xiàn)的一代為數(shù)眾多的視覺(jué)藝術(shù)創(chuàng)造者，他們?cè)谒囆g(shù)上多產(chǎn)并且成就顯著，這都要?dú)w功于技術(shù)的無(wú)所不在。

藝術(shù)節(jié)的這一變化的顯著特點(diǎn)，是作者創(chuàng)作概念的高度成熟，對(duì)創(chuàng)作技術(shù)的充分了解，對(duì)電子編輯工具更好的掌握以及對(duì)匯集所有因素的信息環(huán)境的準(zhǔn)確理解，而作者則在創(chuàng)作試驗(yàn)的最后作為創(chuàng)作的唯一源泉，僅近年來(lái)藝術(shù)家利用形式、詩(shī)歌、哲學(xué)等因素，通過(guò)使用新的技術(shù)、敘述、美學(xué)、概念等等。總之，一切交流的技術(shù)，使自己的作品豐富起來(lái)。

當(dāng)代的視覺(jué)藝術(shù)家們?cè)陔娨暋VD機(jī)、有線頻道提供的不同主題的平臺(tái)，電子游戲以及互聯(lián)網(wǎng)的影響下從事藝術(shù)創(chuàng)作，以上媒介為他們提供了日常視覺(jué)素材。他們將視覺(jué)藝術(shù)理解成具有創(chuàng)造交流信息，分析社會(huì)問(wèn)題，對(duì)電視和商業(yè)電影倡導(dǎo)的統(tǒng)一化進(jìn)行批判能力的工具。

由于日益豐富和復(fù)雜的表述結(jié)構(gòu)的運(yùn)用，作品的長(zhǎng)度出現(xiàn)變短的趨勢(shì)。這些表述結(jié)構(gòu)某些內(nèi)容開(kāi)辟了空間，這些內(nèi)容又通過(guò)將美學(xué)意義新穎圖像混合再造，把技術(shù)與最前端的媒體結(jié)合起來(lái)，情節(jié)化的表述和對(duì)表面真實(shí)的空間的再造都可以解釋為可信性，這種可信性賦予人們對(duì)日常事務(wù)的重復(fù)再造能力。

視覺(jué)藝術(shù)作品涉及的主題從對(duì)不同文化面貌席位表達(dá)到對(duì)當(dāng)今社會(huì)最有擔(dān)當(dāng)和批評(píng)的觀點(diǎn)。90年代避世的自我關(guān)注讓步與探討生存意義的概念主意，對(duì)生活的質(zhì)疑被新一代視覺(jué)藝術(shù)家以一種驚人的平常態(tài)度來(lái)探討。他們的大膽絕對(duì)不是形式主義，對(duì)破壞的偏執(zhí)作為存在一種創(chuàng)作研究的手段而存在。

項(xiàng)目：

VISIóN：A-是一整套西班牙拉美藝術(shù)家最新創(chuàng)作的視頻作品，這些作品是為參加最近在巴塞羅那舉行的LOOP國(guó)際視覺(jué)藝術(shù)節(jié)而挑選出來(lái)的，此集體展覽項(xiàng)目將以巡回的形式，先后在塞萬(wàn)提斯學(xué)院北京、米蘭、和卡薩布蘭卡分院展出。

本項(xiàng)目實(shí)際是對(duì)所有在LOOP展出的內(nèi)容的一次回顧，也是每年一次的通過(guò)視頻方式對(duì)造成當(dāng)代社會(huì)復(fù)雜現(xiàn)實(shí)的最新發(fā)生的社會(huì)及藝術(shù)事件進(jìn)行歷史回憶。

在選擇參展藝術(shù)家時(shí)考慮到了多樣性和根本性，以求確保內(nèi)容的連貫。藝術(shù)家的身世和背景是一個(gè)重點(diǎn)，還要考慮到創(chuàng)作者的狀態(tài)以及作品是否反映技術(shù)和表達(dá)的多樣性，一次在參展者之間建立起相互關(guān)聯(lián)。

以此方式最終呈現(xiàn)的便是一場(chǎng)經(jīng)過(guò)當(dāng)代社會(huì)不同文化現(xiàn)實(shí)的視覺(jué)旅程，其目的是為好奇的觀察者們打開(kāi)一扇通向多文化環(huán)境復(fù)雜且豐富內(nèi)容的大門(mén)，展示作品而不用一個(gè)唯一的主題引導(dǎo)軸心來(lái)限制它們。

選中的大多數(shù)是跨門(mén)類(lèi)藝術(shù)家，他們?cè)谝暵?tīng)交流中利用視頻作為工具，即有單一的使用，又有把它和其他類(lèi)藝術(shù)、媒介或物品融合起來(lái)創(chuàng)作出不同復(fù)雜程度的裝置作品。

VISIóN：A- 主要由短篇幅的，具有適當(dāng)敘述結(jié)構(gòu)和結(jié)束運(yùn)用的作品組成，因此可以在展廳中一大屏幕單頻道投影方式進(jìn)行觀看。

Ⅳ、大眾汽車(chē)“art car”車(chē)模展

藝術(shù)北京特別贊助商：

大眾汽車(chē)將在全國(guó)應(yīng)征的參賽作品中，經(jīng)過(guò)多次比較和篩選出30余件最為優(yōu)秀的作品參加“art car”車(chē)模展。

“藝術(shù)北京2007”也將全力配合大眾汽車(chē)的理念，特別邀請(qǐng)專(zhuān)業(yè)空間設(shè)計(jì)師為大眾汽車(chē)30余件藝術(shù)車(chē)車(chē)模設(shè)計(jì)精彩的展示，為參觀者提供完美的視覺(jué)沖擊，通過(guò)全方位、多角度的展示，體現(xiàn)大眾藝術(shù)車(chē)的品牌優(yōu)勢(shì)和特點(diǎn)，使參觀者對(duì)大眾汽車(chē)有更加直觀的感受和了解。

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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); G?teborg Biennial 2003 (G?teborg); 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.