前言：為什么要當(dāng)代藝術(shù)

孫振華

十多年前，深圳市醞釀建設(shè)當(dāng)代藝術(shù)館。當(dāng)時(shí)有人提出：為什么要搞當(dāng)代藝術(shù)呢？主管此事的副市長(zhǎng)，是一位海歸博士，她回應(yīng)說(shuō)：當(dāng)代藝術(shù)是一種國(guó)際語(yǔ)言，如果深圳要建設(shè)一個(gè)國(guó)際化城市，就必須要有當(dāng)代藝術(shù)，這樣才能參與國(guó)際之間的交流和對(duì)話。這番話給我留下了深刻印象，她雖非文藝專業(yè)出身，但對(duì)當(dāng)代藝術(shù)的理解卻非常透徹。

當(dāng)代藝術(shù)為什么是國(guó)際的？這是因?yàn)椋?dāng)代藝術(shù)并不只是意味著一些作品以及創(chuàng)作了這些作品的藝術(shù)家；更重要的，當(dāng)代藝術(shù)的背后是一個(gè)整體系統(tǒng)：除了價(jià)值系統(tǒng)，還有一套生產(chǎn)、流通、推廣的技術(shù)系統(tǒng)。如果細(xì)說(shuō)，它包括觀念和語(yǔ)言系統(tǒng)、美術(shù)館和展覽系統(tǒng)、媒體推廣和宣傳系統(tǒng)、策劃人和經(jīng)紀(jì)人系統(tǒng)、博覽會(huì)和畫廊系統(tǒng)、拍賣和收藏系統(tǒng)等等。當(dāng)代藝術(shù)的確立，意味著這套系統(tǒng)的相對(duì)完善。

所以，當(dāng)代藝術(shù)是一種系統(tǒng)生產(chǎn)。在全球化背景下，各國(guó)當(dāng)代藝術(shù)在技術(shù)層面上，基本都在按照這個(gè)系統(tǒng)運(yùn)轉(zhuǎn)。我們常說(shuō)與國(guó)際接軌，指的就是進(jìn)入這個(gè)系統(tǒng)，依循這套系統(tǒng)規(guī)則，在與國(guó)際的交流、互動(dòng)中，取長(zhǎng)補(bǔ)短，發(fā)展自己。

如果有人說(shuō)，我不要當(dāng)代藝術(shù)，就想堅(jiān)持傳統(tǒng)不行嗎？那當(dāng)然沒(méi)問(wèn)題。你完全可以沿襲古代文人的方式，不做展覽，不進(jìn)市場(chǎng)，不要文宣，聊以筆墨自?shī)?，只是通過(guò)筆會(huì)、雅集呼朋喚友，相互觀摩和交流，這是可以的呀！

這就和現(xiàn)在有些家長(zhǎng)一樣，由于學(xué)校教育存在問(wèn)題，就讓孩子回家，重回私塾制的道理相同。然而，教育和當(dāng)代藝術(shù)一樣，它也是系統(tǒng)性、國(guó)際化的?，F(xiàn)代學(xué)校本身就是一套系統(tǒng)設(shè)置，它的招生、學(xué)制、課程設(shè)置、教學(xué)、考核等等，在國(guó)際上有著大致相同的標(biāo)準(zhǔn)和衡量尺度，它們相互之間是可以交流、互通的。私塾與這個(gè)系統(tǒng)相比，就顯得格格不入。更何況，就算回到私塾，在今天也必須承認(rèn)人類現(xiàn)有的知識(shí)體系，總不能另搞一套，重新回到魯迅先生描寫的“笑人齒缺曰狗竇大開(kāi)”的知識(shí)狀態(tài)中吧！

中國(guó)當(dāng)代藝術(shù)在它幾十年的發(fā)展中，雖然一直面臨著種種問(wèn)題，但是它對(duì)中國(guó)社會(huì)的發(fā)展和進(jìn)步所起到的特殊作用，到目前還遠(yuǎn)遠(yuǎn)沒(méi)有得到足夠的重視。人們似乎更熱心當(dāng)代藝術(shù)的價(jià)格，而忽略了它的品質(zhì)；更熱衷于打聽(tīng)當(dāng)代藝術(shù)家的八卦，而忽視了他們的內(nèi)心。很難設(shè)想，在中國(guó)改革開(kāi)放的歷史進(jìn)程中，如果沒(méi)有當(dāng)代藝術(shù)的介入，沒(méi)有人們精神世界和審美世界的解放和改變，何以能發(fā)生如此的變化？

當(dāng)代藝術(shù)很難直接干預(yù)現(xiàn)實(shí)，改變現(xiàn)實(shí)；但是，它總是能夠從特殊的角度提出問(wèn)題，制造話題；它有助于改變?nèi)藗儌鹘y(tǒng)的思維習(xí)慣和看問(wèn)題的方式；它讓人們?cè)诳词澜?、看社?huì)、看個(gè)人的時(shí)候，不斷產(chǎn)生疑惑，不斷探求答案，不斷發(fā)現(xiàn)新的可能。而開(kāi)放的心智，包容的態(tài)度，探索的精神正是一個(gè)時(shí)代和社會(huì)能夠得到創(chuàng)新發(fā)展的心理基礎(chǔ)。

園美術(shù)館以“中國(guó)當(dāng)代藝術(shù)研究”系列項(xiàng)目作為它的開(kāi)館展，充分體現(xiàn)了該館的學(xué)術(shù)眼光和學(xué)術(shù)定位。首次參展的這些當(dāng)代藝術(shù)家都是在中國(guó)藝術(shù)界具有很高知名度和影響力的佼佼者，可謂“人人握靈蛇之珠，家家抱荊山之玉”；他們不僅是中國(guó)當(dāng)代藝術(shù)的親歷者和見(jiàn)證者；同時(shí)，他們每個(gè)人都是一個(gè)不斷變化的個(gè)人故事，也是一個(gè)有獨(dú)特價(jià)值的藝術(shù)史個(gè)案。他們或許并不缺展覽，也不缺知名度；但是，從研究的角度而言，就像我們?cè)诮裉烊绾慰创袊?guó)當(dāng)代藝術(shù)的價(jià)值一樣，都還只是剛剛開(kāi)始。

Preface: Why contemporary art

Sun Zhenhua

More than 10 years ago, Shenzhen considered building a contemporary art museum. At that time, some people asked: why do contemporary art? The vice mayor in charge, a doctor who has returned from overseas, responded that contemporary art is an international language. If Shenzhen wants to be an international city, it must have contemporary art so that it can participate in international exchanges and dialogues. These words left a deep impression on me. Although she did not major in literature and art, she had a very thorough understanding of contemporary art.

Why is contemporary art international? That's because contemporary art isn't just about the works and the artists who make them; More importantly, behind contemporary art is a whole system: in addition to the value system, there is also a technical system of production, circulation and promotion. If detailed, it includes concept and language system, art gallery and exhibition system, media promotion and publicity system, curator and broker system, exposition and gallery system, auction and collection system and so on. The establishment of contemporary art means the relative perfection of this system.

Therefore, contemporary art is a kind of systematic production. In the context of globalization, contemporary art in all countries is basically operating in accordance with this system at the technical level. We often say that to be in line with international standards means to enter this system, follow the rules of this system, learn from each other and develop themselves in the exchange and interaction with the international community.

If someone says, I don't want contemporary art, can't I just stick to tradition? That's no problem. You can follow the ancient way of literati, do not do exhibitions, do not enter the market, do not propaganda, chat with pen and ink to amuse yourself, just through pen meetings, elegant collection of friends, mutual observation and communication, this is ok!

It is the same reason that some parents now send their children home and go back to private schools because of problems in school education. However, education, like contemporary art, is systematic and international. The modern school itself is a set of system Settings, its enrollment, length of schooling, curriculum, teaching, assessment and so on, in the international has roughly the same standards and measures, they can communicate with each other, interworking. Compared with this system, private schools are out of place. What's more, even if we go back to private schools, we still have to recognize the existing knowledge system of human beings. We cannot create another one and return to the state of knowledge described by Lu Xun, "people laugh when their teeth are missing, and dogs' sinuses are wide open".

In its decades of development, Chinese contemporary art has been faced with various problems, but its special role in the development and progress of Chinese society has not received enough attention so far. People seem to be more interested in the price of contemporary art than in its quality; More interested in the gossip of contemporary artists, but ignore their heart. It is hard to imagine how such changes could have taken place in the historical process of China's reform and opening up without the intervention of contemporary art and the liberation and change of people's spiritual world and aesthetic world.

Contemporary art is difficult to directly intervene in the reality, change the reality; However, it is always able to raise questions and create topics from a special perspective; It helps to change people's traditional thinking habits and ways of looking at problems; It makes people constantly doubt, seek answers and discover new possibilities when they look at the world, society and individuals. An open mind, a tolerant attitude and a spirit of exploration are the psychological basis for the innovative development of an era and society.

The garden Art Museum takes "Chinese Contemporary Art Research" series as its opening exhibition, which fully embodies the museum's academic vision and orientation. These contemporary artists who participated in the exhibition for the first time are all outstanding artists with high visibility and influence in the Chinese art circle. It can be said that "everyone holds the pearl of the snake and every family holds the jade of jingshan". They are not only the witnesses and witnesses of Chinese contemporary art; At the same time, each of them is an ever-changing personal story and an art history case with unique value. They may have no shortage of exhibitions or publicity; But from a research point of view, like how we think about the value of Chinese contemporary art today, it's just beginning.

涉渡·堅(jiān)守·見(jiàn)證·

馮博一

中國(guó)當(dāng)代藝術(shù)變化到今天，一路起起伏伏，歷經(jīng)阻滯和坎坷，但仍隨著社會(huì)的轉(zhuǎn)型、時(shí)代的變遷而繁茂地生存著，并形成了當(dāng)下難以確定的藝術(shù)生態(tài)。其中，既有新思潮的不斷涌現(xiàn)，新的媒介方式利用；又有局勢(shì)動(dòng)蕩，未來(lái)處于不確定的焦慮與擔(dān)憂；還有近乎殘酷的時(shí)間、代際的淘汰，許多曾經(jīng)倍受關(guān)注的熱度藝術(shù)家，現(xiàn)在已經(jīng)消失殆盡……似乎我們難以怠慢、停歇，只能不斷涉渡、堅(jiān)守！

作為“中國(guó)當(dāng)代藝術(shù)研究”系列項(xiàng)目——暨園美術(shù)館的開(kāi)館展，邀請(qǐng)了十位資深、成熟、活躍的藝術(shù)家，以多媒介方式呈現(xiàn)了他們的代表作品。這十位藝術(shù)家，始終對(duì)當(dāng)代文化的敏感所導(dǎo)致在創(chuàng)作意識(shí)和視覺(jué)語(yǔ)言的不斷實(shí)驗(yàn)，顯示了他們利用中國(guó)傳統(tǒng)文化和社會(huì)現(xiàn)實(shí)資源的能量，并藝術(shù)地轉(zhuǎn)化為個(gè)人創(chuàng)作，以及具有現(xiàn)實(shí)針對(duì)性地介入社會(huì)進(jìn)程的多種實(shí)踐的途徑。尤其是他們智性的思維，獨(dú)特的話語(yǔ)，都表現(xiàn)出不同階段耐人尋味的特點(diǎn)，傳達(dá)出創(chuàng)作主體對(duì)現(xiàn)實(shí)針對(duì)性的明確姿態(tài)和反省意識(shí)。從而確保了他們的創(chuàng)作，在整體上一以貫之地嚴(yán)謹(jǐn)、生動(dòng)，留下了頗具經(jīng)典意味的優(yōu)秀之作。抑或也可以說(shuō)，他們的藝術(shù)創(chuàng)作，見(jiàn)證了中國(guó)當(dāng)代藝術(shù)步履維艱的發(fā)展歷程。

不僅如此，他們能夠給予時(shí)代的可貴東西是堅(jiān)守。堅(jiān)守著其中自我的叛逆、質(zhì)疑，甚至自我放逐與格格不入的表現(xiàn)——那是一個(gè)藝術(shù)家才能夠達(dá)到的一種極限?；蛟S這也是他們不斷尋求到了一種適宜于自我生存與創(chuàng)作的真實(shí)狀態(tài)，顯示了他們偏執(zhí)于人與物與景觀的不確定性所能達(dá)到的視覺(jué)穿透力，以及借助這樣的藝術(shù)形式來(lái)探尋、實(shí)驗(yàn)著自身表達(dá)的能量。

堅(jiān)持并不孤獨(dú)，總有一些東西在里面，默默地抵達(dá)或抵抗。長(zhǎng)久以來(lái)，這個(gè)抵達(dá)或抵抗不那么揚(yáng)聲高叫，不那么嘩眾，卻仍然被聽(tīng)到、被關(guān)注。也許這是他們執(zhí)拗的理由之一，又或許只是50、60年代出生的人，才能承受了這一份不獨(dú)個(gè)人的困惑與糾結(jié)。他們?cè)谧杂X(jué)地終結(jié)某種東西，潛在內(nèi)心的隱秘只是開(kāi)始，總有一個(gè)向著未必是桃源的世外，卻有一個(gè)開(kāi)放的空間。在個(gè)體與現(xiàn)實(shí)的內(nèi)外，仍有理想可存放的地方，那就是承擔(dān)社會(huì)責(zé)任的義務(wù)和作為一名藝術(shù)家的敏感與尖銳。

因此，他們的藝術(shù)創(chuàng)作既是在中國(guó)當(dāng)代藝術(shù)生態(tài)中的格外景象，也是邀請(qǐng)他們策展的基本理由。盡管他們的藝術(shù)履跡或代表作品形態(tài)對(duì)許多藝術(shù)從業(yè)者、學(xué)生來(lái)說(shuō)，有些耳熟能詳，但將他們的代表性作品云集在溫州園美術(shù)館，或許還是第一次。從而為溫州的觀眾提供一次難得的鑒賞機(jī)會(huì)。其中，不僅可以看到他們藝術(shù)創(chuàng)作的進(jìn)與出，他們生存境遇的掙扎、忿懣、和無(wú)奈，知曉他們信念的次次沖撞、失意和與現(xiàn)實(shí)之間的張力關(guān)系，知道他們的大界限，還有知其可為，或知其不可為而為之的那種50、60年代人才有的行為準(zhǔn)則。

Fording · Stick to · Witness

Feng Boyi

Chinese contemporary art has undergone ups and downs all the way to today, experiencing setbacks and frustrations, but it still flourishes with the transformation of society and the changes of The Times, and has formed an art ecology that is difficult to determine at present. Among them, there are both the emergence of new thoughts, the use of new media; Anxiety and worry that the situation is unstable and the future is uncertain; There is also the cruel elimination of time and generation. Many popular artists who once attracted much attention have disappeared now... It seems that we are difficult to neglect, stop, can only constantly wade, stick to!

As the opening exhibition of jiyuan Art Museum, a series project of "Chinese Contemporary Art Research", ten senior, mature and active artists are invited to present their representative works in a multi-media way. These ten artists, who are always sensitive to contemporary culture, constantly experiment in creative consciousness and visual language, showing the various practical ways in which they utilize the energy of traditional Chinese culture and social reality resources, artistically transform them into personal creation, and intervene in social process with realistic target. In particular, their intellectual thinking and unique discourse show the characteristics of different stages of thought-provoking, and convey the clear attitude and introspection consciousness of the creation subject to the reality. Thus ensuring that their creation, in the overall consistent rigorous, vivid, leaving a classic meaning of excellent work. Or it can be said that their artistic creation has witnessed the difficult development of Chinese contemporary art.

Not only that, what they can give The Times is the precious thing is perseverance. Sticking to the rebellious, questioning, and even self-exile and antipathy of the performance -- that is an artist can reach a limit. Perhaps it is also that they constantly seek a real state suitable for their own survival and creation, which shows the visual penetration that their paranoia can achieve through the uncertainty of people, objects and landscapes, as well as the energy to explore and experiment their own expression with the help of such art forms.

Persistence is not alone, there is always something inside, silently arriving or resisting. For a long time, this arrival or resistance has been less loud, less noisy, but still heard and noticed. Perhaps this is one of the reasons for their stubbornness, or perhaps only people born in the 50s and 60s can bear this not only personal confusion and entanglement. They are consciously ending something, the hidden heart is just the beginning, there is always a world towards not necessarily a peach garden, but there is an open space. Within and outside the individual and reality, there is still a place for ideals, which are the obligation of social responsibility and the sensitivity and acuteness of being an artist.

Therefore, their artistic creation is not only an exceptional scene in the ecology of Contemporary Chinese art, but also the basic reason for inviting them to curate the exhibition. Although their artistic tracks or representative works are familiar to many art practitioners and students, it is perhaps the first time that their representative works are gathered in Wenzhou Garden Art Museum. Thus provides a rare appreciation opportunity for the audience of Wenzhou. Among them, not only can see into and out of their art, their living circumstances of struggle, FenMen and helpless, every time a collision, frustrated, and know their faith in the tension relationship between reality and know their boundaries, and is known by its can provide, or to know its not as to the kind of talent in some 50 s and 60 s code of conduct.