【卷首語】

作為2017年最后一期新媒體專刊，本期雜志匯聚了年末的一些有趣的新媒體展覽。“‘光影秘境’國際新媒體藝術(shù)特展”“被動式？有關(guān)視覺的提問”等展覽，都從不同角度上體現(xiàn)了新媒體技術(shù)對于當(dāng)代藝術(shù)問題推演的重要促進(jìn)意義。

在《理論研究》中，本期夏可君先生的文章縱論東西方現(xiàn)代性的差異，縱橫開闔，氣象宏大。姚風(fēng)有關(guān)新媒體藝術(shù)中觀念與語言的探討，也頗具新意。祁震《早期西方影像藝術(shù)語言述略——兼談藝術(shù)家的影像記錄與表達(dá)》，王燕斐有關(guān)《20世紀(jì)90年代東京“藝術(shù)項目形式”的公共藝術(shù)》，都是頗有研究視角的作品。

本期的《熱點人物》，我們邀請到了尹秀珍女士，她近年的藝術(shù)創(chuàng)作是在最隱私、最縝密、最纖細(xì)與最公開、最粗糙、最粗暴的物料之間的固有沖突中所產(chǎn)生及形成的。她的作品或許存在一些爭議，但其擅長利用自己對日常事物的特殊洞察力和敏感性，把公眾吸引到作品中，并參與作品的完成，這樣的做法無疑對于當(dāng)代藝術(shù)具有某種表率作用。

天津美術(shù)學(xué)院學(xué)報執(zhí)行主編 邵亮

2017年12月

[ Editorial ]

As the last special issue of new media in 2017, this issue brings together some interesting new media exhibitions held at the end of the year.Infinite Dimensions in Digital Art and Beyond， and Passivity? —Questions about Vision，show the importance of new media technology in promoting contemporary art issues from different angles.

In Theoretical Research， Xia Kejun’s article gives a remarkable discussion of the differences in modernity between the East and the West.Yao Feng’s discussion on the concept and language of new media art is also full of new ideas.Qi Zhen’s “A Brief Introduction to the Language of Early Western Video Art—Also on Artists Image Record and Expression”， and Wang Yanfei’s “Public Art in ‘Tokyo Artpoint Project’ of the 1990s”， are both research papers from insightful perspectives.

In Hotspot Figures， we focus on Ms.Yin Xiuzhen， whose recent artworks resulted from inherent conflicts between the materials: the most private， dense， delicate against the most open， rough， and crude.There may be some controversy about her work， but she is good at using her special insight and sensitivity in observing everyday things，transport the audience into her work， and attract them to participate in it， which undoubtedly has a positive effect on contemporary art.

Shao Liang， executive chief editor of Journal of Tianjin Academy of Fine Arts

December 2017