景别：加里·希尔作品展
Gary Hill: Continuous Happening
主办单位：广州美术学院
承办单位：广州美术学院美术馆、广州美术学院国际合作与交流处
协办单位：广州艺术博物院（广州美术馆）、广州美术学院图书馆
展 期：2024年10月18日-12月8日（逢周一闭馆）
地 点：广州美术学院大学城美术馆一层
总顾问：范勃
总策划：蔡拥华
展览总监：陈晓阳、伍端
策 展 人：洪荣满
助理策展人：骆钰槟
学术支持：王璜生、费俊、胡斌
展览研究：沈森
展览统筹：李铁军
展览执行：何泉
视觉设计：史春生、陈伟浩、谢凯敏、黄靖雅、林子涵
空间设计：余胜钊
展览助理：程序、徐楷、吴碧琳、李慧钰
传播与教育：王秀媛、刘子瑗、余爽
行政管理：钟凌燕、王潇涵
特别鸣谢
借展机构：埃曼纽尔·霍夫曼基金会（瑞士）
设备支持：爱普生（中国）有限公司、广州市胜利电子有限公司
Host: Guangzhou Academy of Fine Arts (GAFA)
Organizers: Art Museum of GAFA, International Office of GAFA
Co-organizer: Guangzhou Museum of Art (GMA)，Library of GAFA
Duration: Oct.18 to Dec. 8, 2024（closed on Monday)
Venue: 1st Floor, Art Museum of GAFA
Chief Advisor: Fan Bo
Chief Curator: Cai Yonghua
Artistic Directors: Chen Xiaoyang, Wu Duan
Curator: Hong Rongman
Assistant Curator: Cora Luo Yubin
Academic Support: Wang Huangsheng, Fei Jun, Hu Bin
Exhibition Researcher: Shen Sen
Exhibition Coordinator: Li Tiejun
Exhibition Executive: He Quan
Visual Design: Shi Chunsheng, Chen Weihao, Xie Kaimin，Huang Jingya, Lin Zihan
Space Design: Yu Shengzhao
Exhibition Assistants: Cheng Xu, Xu Kai, Wu Bilin，Li Huiyu
Public Programme: Wang Xiuyuan, Liu Ziyuan, Yu Shuang
Administrative Support: Zhong Linyan, Wang Xiaohan
Special Thanks to
the Lender Emanuel Hoffmann Foundation
Equipment Support Epson (China), Guangzhou Shengli Electronics
加里·希尔（Gary Hill）是美国当代影像艺术的奠基者之一，其艺术创作始于上世纪六十年代，正值美国艺术界积极探索新媒介、反思材料与形式的时期。希尔一方面深受激浪派和极少主义作品的影响，意识到了艺术家拓宽创作媒介和表达方式的重要性，并开始运用综合材料创作实验艺术；另一方面，强调过程与实验的媒体技术也开始在他的艺术理 念中埋下了隐藏的伏线：1973 年，希尔的创作生涯迎来转折，他开始使用视频器械进行拍摄与录制，并于次年完成了首部视频装置作品，而视频监视器和多轨录音带、视频合成器、声音合成器等新兴媒体装置也逐步成为了他作品的重要组成部分。
在希尔的艺术演变过程中，他探索了“电子语言学”（Electronic Linguistics）的概念，并长期关注图像、声音和语言在电子媒体这一特定领域中的相互关系及作用机制，尤其强调它们对一种独特的、类似于语言表达的体验和意义传达方式的共同构建。不同于传统语言学在人类自然语言的结构、规则和运用方面的研究，电子语言学侧重于电子媒介中各种元素的组合和互动所产生的语言效果，这种“语言”超越了自然语言的文字和语音范畴，是一个通往存在与非存在的模糊地带、一条驶向某种精神体验的时空通道。希尔在1980 年谈到其作品正沿着“电子语言学”的道路迈入了另一阶段：“我的艺术已经从感知优先的成像逐渐转向更观念化的方法来开发构想，我的工作涉及图像文本语法，一种电子语言，利用对话来操纵概念空间，定位心理交叉点，文本在此形成并反馈到这些交叉点的成像中”。
这种强调内在视差的电子语言概念和工作方法将阈限、运动与时间一并纳入讨论，它指向的是能指与所指的复合运动，以及一个巨大的无始无终的网络，或者说是一个进行时网络中的多向协作，和在给定的媒介中作为无形的轴传递着的说话者——在运动着的语言结构中同时也是观察者的角色——的意识，而希尔的作品就像一场录像艺术的双缝实验，向观者敞开了一个多重的平行主体的世界。在其中，持续发生的复合运动是自为的过程，是分散的行动的“力”， 将被选择出来的“景别”视为事物的内容，这些“景别”不仅构成了作品的框架，也反映了观者与作品之间的互动，从而揭示了事物内在的复杂性和多样性。
于是，此次展览以“景别”为题，呼应希尔电子语言学结构的物质化，也联系了希尔所选“景别”的复杂集群，它并非意味着无数定格画面的叠加，而是在相互作用、彼此叠加的关系中发挥着张力，是多重与复数的形式集合。此次展览展出作品跨越了艺术家创作生涯的主要时期，反映了他艺术创作的关键观念与关键方法，并引出三条主要的伏线：其一，在语言学的入侵下，媒介空间因意义的流动性成为思维的活跃景观，从对非典型声音 的兴趣，到复杂的诗学、文本和行为表演，再到将口语和动作引入语言学研究，希尔的持续探讨表明他对语言、身体、意识和知觉复杂联系的深刻思考。其二，他的作品多次呈现了观看者和被观看者角色交错的悖论，作品中的反思性体验成为关键，通过语言的隐喻，希尔建立了观众与作品之间的精神联系，探讨了自我、机器、媒介和技术的多重互动。其三，希尔对新媒体与语言的思考既体现了上世纪 60 年代美国新前卫艺术的影响，也融入了他对艺术本质的持续探索。此次展览通过作品与文献的并置展示，激发出不同层面的共鸣，也为艺术学院对西方当代媒体艺术的认识与研究提供一个可以讨论的的样本。
策展人：洪荣满
展览研究：沈森
2024年10月1日于广州美术学院
Gary Hill is one of the foundational artists of contemporary video art in the United States. His creative journey began in the 1960s, a time when the American art world was actively exploring new media and rethinking materials and forms. On the one hand, influenced by both the Fluxus movement and minimalism, Hill recognized the importance of expanding the medium of creation and the means of expression, and started to experiment with a mixture of materials. On the other hand, media technology that emphasizes process and experimentation also began to embed in his artistic practices. 1973 is a milestone in his career, witnessing the commencement of him using video equipment for filming and recording. He subsequently completed his first video installation the following year. Emerging media, such as video monitors, multi-track audio tapes, video synthesizers, and sound synthesizers, has gradually become integral to his work.
As his art evolves, Hill explores the concept of ‘Electronic Linguistics’, and has been focusing on how image, sound, and language in electronic media interplay and interact with one another, with particular emphasis on how they co-develop a distinctive experience and meaning akin to language. In contrast to traditional linguistics, which examines the structure, rules and applications of organic human language, electronic linguistics investigates the linguistic effect as a result of the combination and interaction of various elements in electronic media. This kind of ‘language’ transcends the realm of written and spoken languages. It is an ambiguous area towards existence and non-existence, as well as a passage through time and space destined to a certain spiritual experience. In the 1980s, Hill described how his works were progressing into another stage inspired by ‘Electronic Linguistics’, saying ‘my art has steadily moved from a perceptual priority of imaging toward a more conceptual method for developing idea constructs. … The current work involves image-text syntax, a kind of electronic linguistic, utilizing the dialogue to manipulate a conceptual space that locates mental points of intersection, where text forms and feeds-back into the imaging of those intersects.’
This concept and approach of electronic language, which emphasizes inner parallax, incorporates threshold, movement and time into the discussion. It points to a composite movement of the signifier and the signified, as well as to a vast network with no beginning or end — an ongoing, multi-directional collaboration within the network. In this given medium, the speaker, acting as an invisible axis, transmits consciousness, simultaneously assuming the role of observer within the moving structure of language. Hill's work is like a double-slit experiment in video art, opening up to the viewer a world of multiple parallel subjects, a cosmic garden of divergent paths. Here, the continuous composite movement is a self-contained process, a ‘force’ of dispersed action, which perceives a selection of ‘continuous happening’ as the content of the thing.
Thus, the Chinese title of this exhibition, ‘Continuous Happening’, echoes the materialization of Hill's electronic linguistic structures, and also bridges with the complex clusters of his chosen ‘continuous happening’. This is not merely layering countless still images, but rather, exerts tension within the relationship of interacting and overlapping, representing a collection of multiple and plural forms. On display is a broad range of productions spanning key periods of Hill’s career, showcasing the key concepts and methods of his art creation in three ways: First, in face of the incursion of linguistics, media spaces become an energized landscape of thought thanks to the fluidity of meaning. Hill’s tireless investigations, from non-typical sounds, to complex poetics, texts and performances, and further to incorporating speech and gesture into linguistic studies, is a testament to his profound contemplation of the intricate connections between language, the body, consciousness, and perception. Second, his works often present a paradox of the interchanging roles of the viewer and the viewed, with reflective experiences taking the center stage. Through the metaphor of language, a mind-to-mind connection is established between the viewer and his artwork while he explores the interplay of self, machine, medium, and technology. Third, Hill's thoughts on new media and language highlight the influence of the New Avant-Garde movement in the US during the 1960s and embody his ongoing search for the essence of art. The juxtaposition of his works and writings in this exhibition aims to evoke resonance at different levels, and to provide a reference for art institutes to discuss, understand, and research Western contemporary media art.
Curator: Hong Rongman
Researcher: Shen Sen
October 1, 2024
Guangzhou Academy of Fine Arts
《观看者》/五频影像装置、彩色、无声/总投影尺寸：约长14米/9分39秒/1996
Viewer, Five-channel video installation;color; silent,Total projection size: Approximately 14 m, 9 min 39 sec, 1996
《空旷的天空中是否有钟声响起》/双频影像—声音装置、彩色、立体声/244×137cm（高×宽）/21分29秒/2005
Is A Bell Ringing in the Empty Sky, Two-channel video/sound installation; color; stereo sound, 244×137cm (H×W), 21 min 29 sec, 2005
《正弦波》/综合材料装置、彩色、单声道/投影图像：每个 91 x 163 厘米 整体屏幕：213 x 163 x 103 厘米/7分08秒/2011
Sine Wave, Mixed media installation;color; mono sound, Projected images: 91 x 163 cm each Overall screen: 213 x 163 x 103 cm, 7 min 08 sec, 2011
《悄悄话房间》/综合媒介、彩色、立体声/3分10秒/2017 / 2022
The Whisper Room, Mixed Media; color, stereo sound, 3 min 10 sec, 2017 / 2022
《隔离箱》/单频高清影像/声音装置/3分03秒/2010 - 11
Isolation Tank, Single-channel HD video/sound installation, 3 min 03 sec, 2010 - 11
加里·希尔（Gary Hill，1951 年生于加利福尼亚州圣莫尼卡）曾担任中央美术学院特聘教授，并分别于2005年和2011年获得波兰波兹南美术学院（2005年）和美国华盛顿州西雅图康沃尔艺术学院授予的荣誉博士学位。
自 20 世纪 70 年代初以来，加里·希尔一直从事雕塑、声音、视频、装置和表演等多种媒体的创作。他长期从事跨媒体工作，不断探索从语言的物理性、联觉和知觉难题到本体论空间和观众互动性等一系列问题。他的作品曾在世界各地的博物馆和机构展出，包括在巴黎卡地亚当代艺术基金会、旧金山现代艺术博物馆、巴黎蓬皮杜艺术中心、纽约古根海姆博物馆、巴塞尔当代艺术博物馆、巴塞罗那当代艺术博物馆和沃尔夫斯堡艺术博物馆等举办个展。受委托的项目包括为伦敦科学博物馆和华盛顿州西雅图的西雅图中央公共图书馆创作的作品，以及为意大利罗马竞技场和维纳斯神庙创作的装置和表演作品。希尔曾获得美国国家艺术基金会、洛克菲勒基金会和古根海姆基金会颁发的奖学金，并获得过众多奖项和荣誉，其中最著名的奖项有威尼斯双年展金狮奖雕塑奖（1995年）、麦克阿瑟奖（1998年）、库尔特·施维特斯奖（2000年）。
Gary Hill (b. 1951, Santa Monica, CA) has worked with a broad range of media – including sculpture, sound, video, installation and performance – since the early 1970s. His longtime work with intermedia continues to explore an array of issues ranging from the physicality of language, synesthesia, and perceptual conundrums to ontological space and viewer interactivity. Exhibitions of his work have been presented at museums and institutions worldwide, including solo exhibitions at the Fondation Cartier pour l’art contemporain, Paris; San Francisco Museum of Modern Art; Centre Georges Pompidou, Paris; Guggenheim Museum SoHo, New York; Museum für Gegenwartskunst, Basel; Museu d’Art Contemporani, Barcelona; and Kunstmuseum Wolfsburg, among others. Commissioned projects include works for the Science Museum in London and the Seattle Central Public Library in Seattle, Washington, and an installation and performance work for the Coliseum and Temple of Venus and Rome in Italy. Hill has received fellowships from the National Endowment for the Arts and the Rockefeller and Guggenheim Foundations and has been the recipient of numerous awards and honors, most notably the Leone d’Oro Prize for Sculpture at the Venice Biennale (1995), a John D. and Catherine T. MacArthur Foundation Fellowship Award (1998), the Kurt-Schwitters-Preis (2000), and honorary doctorates from The Academy of Fine Arts Poznan, Poland (2005) and Cornish College of the Arts, Seattle, WA (2011).
