美国纽约现代美术馆（Museum of Modern Art) 展览的题目为”自动更新，”是国际五位艺术家的连展,主要讨论的是.com时代之后的新的艺术现象, 也讨论艺术家在”video艺术”时代之后, 如何对高科技的丰富材料的反应,调整和使用. 此展览是首次探索”新媒体”艺术家是怎样通过荒诞和幽默的手法对高科技的使用和展示.
作品的共同处在它们都被前十年的科技发展启发。装置利用电脑，LCD屏幕，DVD,电子录象，用者互动结构来表现艺术家的创新。展览包括五个作品，艺术家有：Cory Arcangel, Xu Bing, Rafael Lozano-Hemmer, Jennifer and Kevin McCoy.
徐冰的作品曾使用多种媒体评论人，文化和语言的密切关系。 这次展览徐冰的装置是地书（2007，在进行中）。装置和课堂相似，两个桌子在一堵墙的两边， 墙上有两种文字。两张桌子上有电脑。观众可以通过电脑用徐冰的标志语言来和墙另一边的人通话。 徐冰的句子是用简单的通用标志组成的。这些标志是无不所在的，它们传达信息，可是不用文字， 不受多语言限制，也不会出现翻译语言过程中的误解。“标志”这个词的意义曾经是一种和信仰有关的象征，不过今天的“标志”往往是品牌商标。地书体现了艺术家寻找普天同文的理想.
Tuesday, July 17, 2007
实习助理 Intern to Assistant
徐冰工作室(纽约)聘请实习助理一位。Xu Bing Studio currently has an opening for one intern. This internship will lead to a more permanent position in the fall.
基本要求：
个人：负责任，肯吃苦，好学，细心，有独立工作能力。有图片艺术类背景和广泛的国际文化艺术兴趣。
电脑：熟练的操作：Word, Illustrator, Photoshop, CMS systems, Dreamweaver.
对以下软件有基本了解：Indesign, Finalcut, Fireworks
语言：有良好的中英文表达能力。
Intern will be compensated for meals and transportation. Permanent paid position will start in the fall.
Contact/联系: jesse@xubing.com
基本要求：
个人：负责任，肯吃苦，好学，细心，有独立工作能力。有图片艺术类背景和广泛的国际文化艺术兴趣。
电脑：熟练的操作：Word, Illustrator, Photoshop, CMS systems, Dreamweaver.
对以下软件有基本了解：Indesign, Finalcut, Fireworks
语言：有良好的中英文表达能力。
Intern will be compensated for meals and transportation. Permanent paid position will start in the fall.
Contact/联系: jesse@xubing.com
Wednesday, June 27, 2007
Xu Bing's Babel by Leslie Von Holten
From http://www.lawrence.com/blogs/art/2007/apr/17/xubing/
Xu Bing's Babel
By Leslie vonHolten
Tuesday, April 17, 2007
No kidding: contemporary art is an opaque language. What a relief when, literally, the work is unreadable.
In the late 1980s, Xu Bing crafted, with amazing precision and scope, 4000 “Chinese” characters according to traditional printing methods. To the untrained eye, the character strokes are the graphic, lyrical style we associate with Chinese calligraphy. They are, however, illegible and meaningless. Xu invented, carved, and printed all 4000 characters himself.
“Book from the Sky to Book from the Ground: Xu Bing’s Book Work” is currently on view at the Spencer Museum of Art through April 29. The exhibit is in conjunction with the Lifetime Achievement Award granted to Xu as part of the Southern Graphics Council Conference recently held in Kansas City. Xu will lecture on his work Thursday, April 26 at 7 p.m. at the Spencer.
Xu, the son of a librarian, had an intimate relationship with words while growing up, a privilege not common during China’s Cultural Revolution. At the time, Mao’s government was wrestling with words: characters were simplified, discarded, revived, revised, then discarded again. People were not allowed to read what they wanted. This cultural affront, Xu has noted, combined with his voracious appetite for reading led to confusion over the meaning of language: “The more I read, the more muddled my thinking became, until I felt as if something had become lost to me.”
Xu’s ambitious printing of the semantically empty 4000 characters culminated in the installation “A Book from the Sky” (pictured above), which was first seen in Beijing in 1988. It created a sensation, but he lost favor with members of the Chinese Communist government, who criticized him as a “bourgeois liberal.” He emigrated to the United States in 1990. Samples of the printed scrolls, as well as the hand-carved, pear-wood type and traditional printing tools, are on display at the Spencer.
Acclimating to a new language inspired Xu’s “Introduction to Square-Word Calligraphy,” in which he devised a Roman alphabet and English words in the manner of Chinese calligraphy. By applying quick but careful study of these words, English-speaking viewers can easily make out the letters in each character word, demystifying the process of such a graphic writing system.
Bringing his art off the page, Xu expanded his “Square-Word Calligraphy” with his installation “Living Word 2.” In this, Xu beautifully rendered Oxford English Dictionary definitions and shaped them from Roman to Square-Word type styles, and eventually a graphic image of the form itself. In other words, one can see “bird” shape into a Chinese-appearing character and then transform again to a drawing of a bird taking flight. In the installation, the paper birds then broke free, ascending toward the ceiling.
Today, Xu is working on his “Book from the Ground,” what he says is a “novel written in a ‘language of icons.’” He uses pictographic forms found on airline safety cards to create a narrative that could possibly be readable to everyone on the planet, a language with a very small learning curve involved.
It’s interesting that Xu’s work is evolving from nonsense and tradition to new, readable, almost democratic forms. One may cringe to think that a universal language can burst forth from commercial icons, but perhaps this dynamic to the “Book from the Ground” will eventually attain a statement on capitalism’s vast sweep of the planet.
In 1999, Xu was awarded a MacArthur genius grant, for good reason: his prolific body of work reaches beyond his deconstruction and manipulation of writing systems. He has worked with glass, silkworms, Braille, stamps, installation, tutorials, computer programs, among other mediums. The Spencer sampling of artworks shows Xu’s adept hand and ability to stand firm in tradition while at the same time pioneering the art world forward in repeatedly progressive, contemporary, and accessible moves.
The Spencer curation and installation are an interesting turn: whereas Xu’s art may set the form upfront, asserting function as irrelevant, the Spencer show is a function-heavy tour of the artist’s illustrative career. The exhibit—crowded, hidden, and quiet, but also honest and educational—lacks the poetry of Xu’s installations and the magnitude of his mind-bending exercises. One could bemoan the tiny scale, but when it comes to art of this caliber, gratitude for its stay in Lawrence is more appropriate.
Xu Bing's Babel
By Leslie vonHolten
Tuesday, April 17, 2007
No kidding: contemporary art is an opaque language. What a relief when, literally, the work is unreadable.
In the late 1980s, Xu Bing crafted, with amazing precision and scope, 4000 “Chinese” characters according to traditional printing methods. To the untrained eye, the character strokes are the graphic, lyrical style we associate with Chinese calligraphy. They are, however, illegible and meaningless. Xu invented, carved, and printed all 4000 characters himself.
“Book from the Sky to Book from the Ground: Xu Bing’s Book Work” is currently on view at the Spencer Museum of Art through April 29. The exhibit is in conjunction with the Lifetime Achievement Award granted to Xu as part of the Southern Graphics Council Conference recently held in Kansas City. Xu will lecture on his work Thursday, April 26 at 7 p.m. at the Spencer.
Xu, the son of a librarian, had an intimate relationship with words while growing up, a privilege not common during China’s Cultural Revolution. At the time, Mao’s government was wrestling with words: characters were simplified, discarded, revived, revised, then discarded again. People were not allowed to read what they wanted. This cultural affront, Xu has noted, combined with his voracious appetite for reading led to confusion over the meaning of language: “The more I read, the more muddled my thinking became, until I felt as if something had become lost to me.”
Xu’s ambitious printing of the semantically empty 4000 characters culminated in the installation “A Book from the Sky” (pictured above), which was first seen in Beijing in 1988. It created a sensation, but he lost favor with members of the Chinese Communist government, who criticized him as a “bourgeois liberal.” He emigrated to the United States in 1990. Samples of the printed scrolls, as well as the hand-carved, pear-wood type and traditional printing tools, are on display at the Spencer.
Acclimating to a new language inspired Xu’s “Introduction to Square-Word Calligraphy,” in which he devised a Roman alphabet and English words in the manner of Chinese calligraphy. By applying quick but careful study of these words, English-speaking viewers can easily make out the letters in each character word, demystifying the process of such a graphic writing system.
Bringing his art off the page, Xu expanded his “Square-Word Calligraphy” with his installation “Living Word 2.” In this, Xu beautifully rendered Oxford English Dictionary definitions and shaped them from Roman to Square-Word type styles, and eventually a graphic image of the form itself. In other words, one can see “bird” shape into a Chinese-appearing character and then transform again to a drawing of a bird taking flight. In the installation, the paper birds then broke free, ascending toward the ceiling.
Today, Xu is working on his “Book from the Ground,” what he says is a “novel written in a ‘language of icons.’” He uses pictographic forms found on airline safety cards to create a narrative that could possibly be readable to everyone on the planet, a language with a very small learning curve involved.
It’s interesting that Xu’s work is evolving from nonsense and tradition to new, readable, almost democratic forms. One may cringe to think that a universal language can burst forth from commercial icons, but perhaps this dynamic to the “Book from the Ground” will eventually attain a statement on capitalism’s vast sweep of the planet.
In 1999, Xu was awarded a MacArthur genius grant, for good reason: his prolific body of work reaches beyond his deconstruction and manipulation of writing systems. He has worked with glass, silkworms, Braille, stamps, installation, tutorials, computer programs, among other mediums. The Spencer sampling of artworks shows Xu’s adept hand and ability to stand firm in tradition while at the same time pioneering the art world forward in repeatedly progressive, contemporary, and accessible moves.
The Spencer curation and installation are an interesting turn: whereas Xu’s art may set the form upfront, asserting function as irrelevant, the Spencer show is a function-heavy tour of the artist’s illustrative career. The exhibit—crowded, hidden, and quiet, but also honest and educational—lacks the poetry of Xu’s installations and the magnitude of his mind-bending exercises. One could bemoan the tiny scale, but when it comes to art of this caliber, gratitude for its stay in Lawrence is more appropriate.
Automatic Update Article 1
Please visite link below
http://www.artdaily.com/section/news/index.asp?int_sec=2&int_new=20694
http://www.artdaily.com/section/news/index.asp?int_sec=2&int_new=20694
In Beijing for the Olympics?
2008 CHINA INTERNATIONAL NEW MEDIA ARTS EXHIBITION
" During the 2008 Beijing Olympic Games, the National Art Museum of China will present “China International New Media Arts Exhibition 2008” in its current location at the center of Beijing. NAMOC is the only national art museum in China that is dedicated to research, presentation and promotion of modern and contemporary arts. “China International New Media Arts Exhibition 2008”, scheduled from June 20th to July 10th, will be one of the most important cultural events leading up to the Olympic Games in Beijing.
The exhibition will occupy approximately 4500 square meters (48000 square feet) of the museum gallery space and an additional outdoor area of ca. 3000 square meters (32000 square feet). The internationally recognized Dutch architecture firm NOX/Lars Spuybroek will architecturally transform the galleries in response to the nature of the works on display. A full-color catalogue will be co-published by NAMOC and the MIT Press to accompany the opening. An online forum dedicated to the discourse of the respective exhibition themes and beyond will be created prior to the opening of the event. A pre-Exhibition symposium will be held in New York City in collaboration with key international art and educational institutions. The forum and the subsequent symposia will be moderated by a group of distinguished scholars and media arts professionals. Selected discussion essays will be included in the catalogue. In addition, a number of special evening events during the opening days of the Exhibition are conceived to celebrate countries with significant contribution to the development of media art and culture.
China International New Media Arts Exhibition 2008 will showcase both established and emerging artists from around 27 countries, over 50 seminal and current media art works will be on view along with performances, workshops and symposia. The Exhibition is envisaged as a landmark art event in the history of contemporary Chinese cultural calendar with dedication to embrace the most innovative artistic production and theorization to date, aspiring to foster and advance new modes of thinking and novel ways of artistic engagement in an ever technologically immersed society and global cultural landscape."
- From the exhibition website.
Visit: http://www.cinmae.org
" During the 2008 Beijing Olympic Games, the National Art Museum of China will present “China International New Media Arts Exhibition 2008” in its current location at the center of Beijing. NAMOC is the only national art museum in China that is dedicated to research, presentation and promotion of modern and contemporary arts. “China International New Media Arts Exhibition 2008”, scheduled from June 20th to July 10th, will be one of the most important cultural events leading up to the Olympic Games in Beijing.
The exhibition will occupy approximately 4500 square meters (48000 square feet) of the museum gallery space and an additional outdoor area of ca. 3000 square meters (32000 square feet). The internationally recognized Dutch architecture firm NOX/Lars Spuybroek will architecturally transform the galleries in response to the nature of the works on display. A full-color catalogue will be co-published by NAMOC and the MIT Press to accompany the opening. An online forum dedicated to the discourse of the respective exhibition themes and beyond will be created prior to the opening of the event. A pre-Exhibition symposium will be held in New York City in collaboration with key international art and educational institutions. The forum and the subsequent symposia will be moderated by a group of distinguished scholars and media arts professionals. Selected discussion essays will be included in the catalogue. In addition, a number of special evening events during the opening days of the Exhibition are conceived to celebrate countries with significant contribution to the development of media art and culture.
China International New Media Arts Exhibition 2008 will showcase both established and emerging artists from around 27 countries, over 50 seminal and current media art works will be on view along with performances, workshops and symposia. The Exhibition is envisaged as a landmark art event in the history of contemporary Chinese cultural calendar with dedication to embrace the most innovative artistic production and theorization to date, aspiring to foster and advance new modes of thinking and novel ways of artistic engagement in an ever technologically immersed society and global cultural landscape."
- From the exhibition website.
Visit: http://www.cinmae.org
Tuesday, June 26, 2007
Metamorphosis in Tampere, Finland
The Tampere Art Museum is hosting a show of Xu Bing's works including "Book from the Ground" from June 15th to Sept. 30th.
http://www.tampere.fi/english/artmuseum/index.html
http://www.tampere.fi/english/artmuseum/index.html
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