摘要
20世纪90年代后期,韩国用“新一代、新媒体、新感性”这些词来形容视频艺术,并以这些概念为核心进行研究。90年代初中期常用“技术”这一修饰语,后期则用“影像文化”来修饰。在90年代初中期的视频艺术场景中,视频雕塑/装置占据多数。将影像作为雕塑或装置的一部分是主流做法,也形成了“新技术与艺术的相遇”的主流思想。在90年代后期,影像被视为独立的媒体创作,而不是作为客体的一部分。90年代后半期的视频作品则被理解为“新一代影像文化”。
In the late 1990s,South Korea used the words“new generation,new media,new sensibility”to describe video art,and conducted research with these concepts as the core.Those modifiers were different in the early and mid-1990s,with“technology”often used in the early and middle stages,and“video culture”in the later stage.In the video art scene in the early and mid-1990s,video sculptures or installations accounted for the majority.Taking images as part of sculptures or installations was the mainstream practice,and also formed the mainstream idea of“the encountering of new technology and art”.On the contrary,in the late 1990s,there were creations that regarded images as independent media,rather than as part of the object.Video works in the second half of the 1990s were understood as“a new generation of video culture”.
出处
《上海视觉》
2021年第2期79-83,共5页
Shanghai Vision
