Artforum March issue: Reinvention of Music Video

[ 2009-03-02 14:05:22 | 作者Author: caofei ]
: | |

We wanted our MTV, but we got much more: The music video seems to have recently disappeared from television—only to pervade our entire media environment with its accelerated clip and audiovisual onslaught. As what was once an interval, a promotional spot, returns to supplant other modes of perceiving (the long form, the single screen, the analog), we would do well to consider the format’s transformation and resurgence. Artforum asked a range of contributors to reflect on their engagement with music video, from its sprawling contemporary manifestations to its unlikely historical fonts. Directors MICHEL GONDRY and E*ROCK, and artists RODNEY GRAHAM, MICHAEL BELL-SMITH, STEINA, and CAO FEI each take up the features, dead ends, and possibilities of the genre, while curator BARBARA LONDON traces the rise of the music video and its surprising convergence with video art, minimal music, and pop marketing. Barbara London, Rodney Graham, Michael Bell-Smith, Cao Fei, and E*Rock’s contributions all appear online. For Michel Gondry’s and Steina’s thoughts, pick up the March issue of Artforum.

"Now that the music video has in many ways become the signature form of all media - migrating away from MTV toward YouTube and scaled down to iPhones - it is worth considering the genre's relationship to experimental, interdisciplinary activities of the 1960s and 70s,"

—— Barbara London (Curator, Department of Film and Video, MoMA, USA)

Cao Fei:

IN THE LATE 1980s, before music videos could be seen on Chinese television, I would often watch VHS tapes of old music videos that my older sister and her classmates passed around. By the early ’90s, pop culture from Hong Kong, Taiwan, and the West was gradually infiltrating southern China, and since I grew up in the first mainland city to open up to the world—the incredibly inclusive southern provincial capital of Guangzhou—I spent my entire adolescence captive to music-video culture, as well as to Hollywood movies, Western television programs, and so on. These media were an explosive cultural stimulus for my generation in China. I fell in love with MTV for a time, imitating the dances and fashions I saw in the videos. I would listen to pop music on my Walkman on the way to and from school, and the fruits of my diligent study were obvious every time I hit the dance floor. I even danced in some local television advertisements. Quite naturally, this period came to influence the narrative techniques and emotional tenor of my later artistic practice, specifically in the way I incorporate commercial advertising’s rapid editing, music videos’ handling of sound and image, and, of course, montage. My work also shares with music-video culture a fascination with movement, color, and light, an emphasis on the psychological impact of the visual, and the stratagem of using as a main narrative element rhythmic and lyrical elements that emerge from beyond the images—all of which enables me to capture something of the bewildering hybridity of postmodern Chinese society. Mine is the culture of an almost theatrically materialistic era, drunk on and dazed by its possessions, divorced from the political ideology of the previous generation. Amid the revelry of ubiquitous appropriation and adaptation, and against a backdrop of headily interacting and ever-changing media, I take these pop-cultural forms as a bridge and not simply a reference.

—— Cao Fei is an artist based in Beijing, China. Translated from Chinese by Philip Tinari.

More info please visit:

Artforum invited Cao Fei to select several videos to accompany the reproduction of her article online. Below are some of her choices:

Pink Floyd - The wall

Sinead O'connor - Nothing Compares

Black or White- Michael jackson

kriss kross-jump jump

Cao Fei's video works links:

Hip Hop

Whose Utopia

i.Mirror: Part1-Part3

RMB City: a second life city planing
[最后修改由 caofei, 于 2009-03-20 23:45:49]