2011年7月16日至8月14日，民生现代美术馆举办《确切的快感——张培力回顾展》，将呈现张培力自1988年以来至今的22件优秀作品。

张培力（b.1957），浙江杭州人，1984年毕业于浙江美院油画系，2002年任教于中国美院，负责该校具体媒介工作室。作为“85”新潮美术运动的重要艺术家之一，张培力参与筹建了“85空间”和“池社”等团体，是“理性绘画”的倡导者。1988年，他创作了中国第一件录像艺术作品《30x30》，转而投入录像及相关摄影、装置艺术创作，作品被纽约现代艺术博物馆、蓬皮杜艺术中心等世界级艺术机构收藏。他的录像作品关注于展现人与世界关系的悖论，以隔离而中性的立场，自由和深刻地考虑人与世界的关系，创造出了一个大容量的、综合性的、强有力的艺术体系。同时，他潜心中国新媒体艺术教育，催生和推动了中国新媒体艺术的发展。

《确切的快感——张培力回顾展》是民生现代美术馆2011年推出的第二个录像艺术展。作为“中国录像艺术之父”，张培力的主要作品以录像及录像装置为主。展览收录了创作于1988年的《30x30》（中国第一件录像作品），1991年的《（卫）字3号》表现了“让人感觉到腻味、心烦的东西”的作品，以及90年代的《水—辞海标准版》、《不确定的快感》等充满达达主义的典型作品。2000年以后，张培力放弃了直接使用录像机来完成作品，而是直接剪辑文革时期的经典电影，如此次展览中的《台词》、《遗言》等作品，这些“现成品“改变了原有的叙事结构，制造了不同阅读的可能性。同时，展览也将呈现2008年前后的《阵风》、《物证》等伪造新闻事件现场的作品，彰显出张培力将工作的中心从艺术转移到“公共生活“乃至两者之间的灰色地带。

“Certain Pleasures: Zhang Peili Retrospective Exhibition”
Minsheng Art Museum
16 July - 14 August 2011

A retrospective exhibition of artist Zhang Peili, hailed as a key figure in the histories of Chinese video art, will be held at the Minsheng Art Museum from 16 July to 14 August 2011, gathering and exhibiting 23 works produced between 1988 and the present. Many of these projects are presented in a scholarly institutional context for the first time, offering a comprehensive background to the use of electronic media within contemporary art in China and providing an important window into a practice that has been enormously influential over younger generations of experimental artists.

As a central figure of the 85 New Wave movement, Zhang Peili played a role in the founding of collectives like the Pond Society and was one of the core advocates of the school known as “rational painting.” In 1988 he created what is commonly known as the first piece of video art created in China with 30x30, thus entering into a sustained investigation of video and related media including photography, installation, and electronic art. Typically adopting a minimal or reductive position that constructs an essential relationship between the aesthetics of video playback technology and the moving image itself, Zhang Peili’s video installations focus on questions of perceived reality, media convention, individual agency, and spatial structure.

This exhibition collects work from all of Zhang Peili’s major periods, beginning with the cool and contained painting of the mid-1980s and then moving into the aesthetics of boredom and control in his first video projects, including both 30x30 and Document on Hygiene No. 3 (1991), in which the artist calms and washes a chicken at the center of the frame. Classic works from the 1990s are well-represented, as with Uncertain Pleasure II (1996), in which a hand scratches every corner of a naked body depicted only in fragmentary close shots across 10 channels, and WATER- Standard Version from the Dictionary Ci Hai (1991), for which a television announcer reads a dictionary entry as if it were the evening news. And then there are the appropriation and remix works, as with Last Words (2003), for which Zhang Peili edits together found footage of Cultural Revolution-era propaganda films to create an uninterrupted stream of the dying words of martyrs. In a final section, Zhang Peili’s most recent works, both interactive closed-loop systems like Live Report-Evidence No. 1 (2009) and theatrical scenes like A Gust of Wind (2008), are shown alongside a new commission.

Born in Hangzhou in 1957, Zhang Peili was trained at the Zhejiang Academy of Fine Arts, graduating from the oil painting department in 1984 on the cusp of the aesthetic upheavals of that decade, and returned to the China Academy of Art as a professor in 2002, where he is currently responsible for the Embodied Media Studio of the School of Intermedia Art. His work has been collected by major global museums including the Museum of Modern Art and the Centre Pompidou.