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1967年,索尼公司在纽约推出了Portapak可携式摄像机。这台轻便小巧、具有可回放功能的家用摄像机,将运动图像从“专业”领域中解救出来,介入到私人记忆的重塑中去。当时,60%的美国家庭拥有了电视,世界上第一架远程通讯卫星,将大规模反战游行、政治暗杀和社会运动的现场画面,传送到每一户美国人家的客厅。在那一台台闪烁着鲜亮画面的发声盒中,一个被商业广告催生的消费社会正在形成。二十年后,中国处在了一个相似的历史拐点上。上世纪80年代末,电视成为了普通人消磨时光的娱乐工具,当时的中国人,也同样经历着变革的呼声和视觉消费的感官冲击。录像艺术的出现令艺术家趋之若鹜,因为相比那些挂在美术馆白墙上的传统架上艺
In 1967, Sony introduced the Portapak camcorder in New York City. This lightweight, home-playable, playback-capable camcorder rescues moving images from the “professional” realm and intervenes in the remodeling of private memories. At that time, 60% of American families owned television, the world’s first long-distance communications satellite, sending live scenes of mass anti-war demonstrations, political assassinations and social movements to the living room of every American family. In that sound box with a flash of bright images, a consumer society spawned by commercials is taking shape. Twenty years later, China is at a similar turning point in history. In the late 1980s, television became an entertainment tool for ordinary people to spend their time. At the same time, Chinese people also experienced the voice of change and the sensory impact of visual consumption. The advent of video art has pushed the artists into the limelight as compared to the traditional rack-mounted arts hanging on the white walls of art galleries