When Hybridity Becomes the Presupposition of Genre: The Narrative Turn in the History of Film and Video Art
From its earliest inception, video art, which rose in the 1960s at the same time as conceptual art, quite quickly established medium specificity as its foundation, in order to resist the forces of television and film, consequently developing a distinctively anti-illusionist, anti-narrative aesthetic. This lecture examines the many convergence points between film and art since the 1960s in order to explore the concept of narrative in moving image art centered on site-specific experience. It will also consider, in the post-medium age, when the concept of balance between the real and the virtual has already been vastly altered by digital technology, how to develop a model for the re-emergence of a modernist aesthetic that leads to a discourse on moving image art that is diverse and different from the past. Based on such a historical appraisal, it will also examine how contemporary artists have gradually shifted away from the anti-narrative, anti-illusionist tradition toward a creative path that approaches narrative film yet differs from the history/tradition of narrative film. What this lecture will attempt to identify is how the kind of moving image that generates discourse through hybrid-genre narrative and strengthens the power of such discourse through fluid interchange inside and outside the frame may engender a direction of development in the history of Taiwanese film and art founded on local culture, public experience and collective memory, to achieve discourse through narrative and envelop critique within aesthetic forms.
Lecturer : Ling-ching Chiang︱Postdoctoral Researcher, Research Center for the Humanities and Social Sciences, National Chung Hsing University
Ling-Ching Chiang completed her Ph.D. degree at the Department of the History of Art and Film, University of Leicester (UK). Her research focuses on the interdisciplinary exchanges in history of cinema and contemporary art , particularly the aesthetic models unfolded by various genres of moving image art in the late twentieth century. She also pays extra attention to the development of moving image art and new media art in terms of museology. For her theoretical works, she has won S-An Cultural Foundation Aesthetic Essay Award (2011), Digital Art Criticism Award (2007, 2008, 2010, 2012), and the first prize of Arts Critic Forum, National Culture and Arts Foundation (2011), and she has also received grants from National Culture and Arts Foundation on fine arts survey and research (2012). She is currently the Postdoctoral Researcher of Research Center for the Humanities and Social Sciences at National Chung Hsing University. She has published her research articles and essays in both academic and general publications, such as Journal of Art Studies, Journal of Taipei Fine Arts Museum, and Art Critique of Taiwan.
Time : October 26, 2014, Sunday, 14: 30-17: 00
Venue : TFAM Auditorium (BF)
The lecture is conducted in Chinese.
About Lecture Series 2014 “(Art) After Conceptual Art”
Do you want to know the story of how a urinal became art? Did you know your home can become a museum? Everyone can be an artist – would you like to be one? These secrets are revealed in the lecture series “(Art) After Conceptual Art”...“(Art) After Conceptual Art” explores the major trends and forms of expression in avant-garde art since the 1960s. By examining the processes of specific contemporary art phenomena, the lecture series provides an organized introduction to the conceptual idioms arising from the recent rapid developments in contemporary art, serving as a reference for viewers to appreciate contemporary art.