装置艺术（Install atior Art）、行为艺术（Performarce Art）、影像艺术（Video Art）这些艺术概念取自西方。作为“新媒介”它们区别于传统意义上的绘画、雕塑及类似的艺术品类。从社会型态上看这类艺术的生成得益于十九世纪工业革命中的技术进步，由此，“未来主义”宣告“普遍动力论”并生成了“机器美学”。一战后期，基于对历史及艺术现实的反思和不满出现了“达达主义”（Dada1915年），其玩世不恭的态度旨在对所有建立的运动范式进行攻击。这些“消极、破坏的力量”随着战争的结束，对艺术愈加产生了深远的影响。法国艺术家杜尚是这个领域的集大成者，其最具争议和颠覆性的作品《泉》一个“现成品小便器”。他的型态和可复制性摧毁了艺术中的“优雅”和“创新”功能，因而开启了全新的“美学领域”。这种“辅助的现成品”也可理解为“装置艺术”的前身吧。
显然，与西方不同，中国现代艺术的萌芽肇始于80年代初，随着科学及人文思想的引进而展开的。85新潮运动即是一个实证。从早些北京的“星星画会”到后来的“厦门达达”、“北方群体”、“西南群体”及各省市的青年艺术社团此起彼伏、波澜壮阔。89中国现代艺术大展是这一运动的收尾之作。
喧闹之后，进入90年代艺术界有了“净化艺术语言”的声音，这样的背景中，“行为艺术”作为一种独立的艺术形式和较强的社会影响力出现在人们的视野。有北京的“东村”、山西的“乡村计划”、“兰州军团”、湖北的“新历史群体”、“SHS小组”、广州的“大尾象”及散居在河北、云南、成都等地的“行为艺术家”。毫无疑问，由于行为艺术“革命的彻底性”和“颠覆性”而不为业界和广众所接受，一直处于“地下”和“半地下”状态，并多以“事件”的性质在不同地方发生着。进入新千年，特别是前一个时期，行为艺术获得了较大规模集体亮相的展示“平台”和“现场”展示机会，引起“不小震动”，这种感召力壮大了队伍令人欣慰，另一方面，“行为艺术家”还要对自身提出更高的要求，防止体制化倾向，此外，一些作品未必都适合去现场表演。这些仍需要行为艺术家自我甄别，以保这一艺术形式“健康发展”。
装置艺术、影像艺术在中国的发展也是一波三折，总体状况与行为艺术相似，只是影像艺术的出现还要晚一些，是在90年代中期才露端倪。两种艺术形式在南方的广州、杭州和上海取得“合法身份”要早些，可谓成型于北、盛行于南。
伴随高科技国际化的进程和人本主义的复归。“新媒体”有着广阔的发展空间，并被越来越多的人接受。中国艺术家在国际艺术大展上的“新媒体”展示亦有不俗的表现，这种边缘中心化的迹象增强了中国艺术家的信心及与国际艺术家平等对话的话语机制，如中国的“双年展”、“三年展”等，“新媒体”占有主体的位置。
我赞同“后现代主义是现代主义的前置”的说法，这在中国当代艺术建设中有着特殊的意义。封建残存是“现代性”的大敌，它遮蔽了“后现代主义”的生成背景，因此，行为艺术作为现代主义进程的“身体坐标”呈现出肉身担当的最高智慧；而高科技新媒体则具有摧枯拉朽的强大功能，用“新媒体”的他山之“石”攻自身文化赘疣之“玉”。这是一种战略性思考，它给了我们重新梳理中国现代艺术的契机。
正是基于以上理念和认识，我们在“宋庄制造”中一方面展开内省和自我批判，另一方面，我们拿起“新媒体”这个“先进武器”，填充和开辟一个新的文化景观。居住在宋庄的艺术家早已储备了这样的能量并日趋成熟地展示着自己的风貌。而这次的推介仍是初步的，相信我们能做的更好。[JH:PAGE]
The background of the Installation Art, the Performance Art, and the Video Art
Shenyun
The artistic concepts of the Installation Art, the Performance Art and the Video Art take from the west. As "the new medium", they distinguish from the traditional painting, sculpture, and analogous artistic category. The technology advancement of 19th century's Industrial Revolution gave birth to this kind of art. Hence, "the futurism" announced "the universal power theory" and has produced "the machine esthetics". The later period of The Would War 1, based on the history and the artistic reality, Dadaism (1915 year) emerged. Its cynical manner is for the purpose to attack all categories established. These "negative, destructive forces" had even more profound influence to art. The French artist Duchamp was the synthesizer in this domain. His most disputed subversive work "Spring", a "Readymade" chamber pot, destroyed the function of artistic "grace", "innovation" by its reproducibility, opened a brand-new"esthetics domain". This kind "the assistance readymade" also may be regarded as the predecessor of "the Installation Art".
Different with the west, Chinese modern art sprouted out in the beginning of the 80's along with the introduction of the science and the humanities thoughts. The 85 New Tide movement was a real diagnosis. There emerged"the star drawing association", "the Xiamen Dada", "the North Colony", "the Southwest Colony", and another youth art masses from various provinces and cities. The 89 Chinese Modern Art Exhibition was the last one in this movement.
After the noise and excitement, 90's artistic circle had a sound "to purify the art language". In such background, "the performance art" appeared in people's field of vision taking an independent artistic form with a stronger social influence. There were "the east village" from Beijing, "the village plan" from Shanxi, "the Lanzhou regiment", "the new historical community" from Hubei, "the SHS group", 'the big tail elephant" from Guangzhou, and another performance artists scattered in Hebei, Yunnan, Chengdu etc. Undoubtedly, the performance art was not acceptable because of its "subversion" and "revolutionary thoroughness". It was continuously "underground" or "half underground", occurring by "the event" in the different place. Entered the new millennium, the performance art has obtained more cosmically the opportunities to show collectively. It aroused "a not slightly vibrated". It was gratifying that the inspirational force expanded the troop. On the other hand, the performance artists should propose a higher request to themselves, prevented the systemizing tendency.
The development of the installation art and the video art in China is unfavorable like the performance art. The video art appeared later. It revealed the clue just in the 90's intermediate stage.
Following the high tech internationalization and the humanism regression, "the new media" has a broad development space, accepted by more and more people. The Chinese new media artists behaved brilliantly in the international exhibitions. The evidence of edge-centerization heighthened the Chinese artist's confidence and built up the discourse system communicating with the international artist equally.
I approve the saying that "the postmodernism is the prestage of the modernism". It has the special significance in the Chinese contemporary artistic construction. The feudal remainder is the archenemy of "the modernity" which closed over the background of "the postmodernism". Therefore, as "the body coordinate" of the modernism advancement, the performance art present the highest wisdom by the body take-on. The high tech and new media has the formidable function crushing dry weeds and smashing rotten wood. So it is a strategic thinking that we use the new media to attacks the wart of its culture. It gave us a chance to recoordinate the Chinese modern art.
Based on the idea and the understanding above, we make the introspection and the self-criticism in "the Songzhuang manufacture", on the other hand we take up "the new media" as an "advanced weapon"to fill and opens a new cultural landscape. The artists living in Songzhuang have stored up the energy and become more and more mature in revealing their own style and features. I believe we will do the better.reconsidering of.
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