Ma Qiusha, From No.4 Pingyuanli to No.4 Tianqiaobeili, single channel video, 7’54”, 2007

Ma Qiusha’s From No.4 Pingyuanli to No.4 Tianqiaobeili and Tao Hui’s The Dusk of Teheran are both performances captured by a single camera lens, and both of which have strung together the stories of a lifetime through a single-channel video. Among the younger generation of contemporary Chinese artists, video art has become the mainstream, but those who have adopted this medium to manifest their personal perspectives are still few. “Art for the sake of life” is another classic expression for this kind of personal expression, not only is it part of the modern Chinese art, but also a core component in ancient art and literature, that the concerns of life of an individual as an “analogy” for society and history, this is how new artistic medium or genre grow their roots in existing Chinese experiences.

RELATED

Chen Shaoxiong, Seesaw

让呼吸的起伏来影响拍摄使其影像上下晃动:一个是空荡荡的海景;另一个是作品所在地周围的各种景物,这两个视频搁于跷跷板的两端。中间的视频是用相反的方式屏住呼吸的拍摄,一支日光灯写着“SEE”,随着“砰”的一声而消失,接着又一支日光灯亮了伴着“SAW”字样,继而又是一声“砰”而消失……跷跷板前面悬着一杆气枪。

Please scan the QR code to follow us on WeChat :新世纪当代艺术基金会