第一單元：絕對原則(1983—1989)
Section One: Absolute Principles (1983 – 1989)
在“絕對原則”時(shí)期(1983—1989)，尋找中國文化的整體解答方案是藝術(shù)思考的中心課題，柏拉圖-黑格爾式的形而上學(xué)的宇宙論模式、尼采的超人哲學(xué)、盧梭的新權(quán)威主義的和雅斯貝爾斯、海德格爾的存在主義混合熔煉出了“北方寒帶文明”這種浪漫主義的文化 方案，而中世紀(jì)教堂的造型理念、籍里柯的“形而上繪畫”和蒙德里安的“新造型主義”則孕育出了“理性繪畫”這種抽象冷峻的視覺匹配形式(《無窮之路》、《絕對原則》 、《涉向彼岸》)，由于這一繪畫理論正好契合了80年代啟蒙主義的時(shí)代需求，它成為 ’85新潮美術(shù)運(yùn)動的主流性繪畫思潮，按藝術(shù)家自己的說法，“理性繪畫”完成了中國繪畫由“情態(tài)寫作”向“意態(tài)寫作”的轉(zhuǎn)向。
In the “absolute principles” period (1983 – 1989), the search for a universal key to Chinese culture serves as the central topic of artistic thinking. The Platonic/Hegelian metaphysical model, Nietzsche’s superman philosophy, Rousseau’s revision of political authority and the existentialism of Jaspers and Heidegger came together to form the romanticist cultural manifesto known as the “Northern Frigid Zone Civilization”(Beifang Handai Wenming); the plastic concepts of medieval churches, the “metaphysical painting” of Géricault, and Mondrian’s “neo-plasticism” gave birth to the abstract and cold visual forms of “rational painting” seen in works such as Endless Road, Absolute Principles and Wading Towards the Opposite Shore. Since this theory of painting fits the criteria of the 1980s enlightenment, it became a mainstream school of thought during the ’85 New Wave movement. According to the artist, “rational painting” completed the shift in Chinese painting from “mood composition” to “manner composition”.
第二單元：走出崇高(1990—2004)
Section Two: Out of the Sublime (1990-2004)
從1990年開始將近十四年的“走出崇高”時(shí)期(1990—2004)是舒群“理性主義”藝術(shù)履歷的反題階段，他自己稱為“神圣的下降”。隨著90年代中國現(xiàn)代藝術(shù)運(yùn)動的退潮和傳統(tǒng)人文主義在新的文化場景中(主要是后現(xiàn)代解構(gòu)思潮和消費(fèi)主義的文化現(xiàn)實(shí))遭遇的困境，促使舒群進(jìn)入到他的“理性主義”的修正階段，對邏輯實(shí)證主義、語言分析哲學(xué)和批判理性主義甚至解構(gòu)主義的閱讀，使他的思想履歷發(fā)生了重大變化，分析哲學(xué)和科學(xué)哲學(xué)對傳統(tǒng)人文主義批判的理論意義和政治意義促使他開始關(guān)注話語與話語情境的現(xiàn)實(shí)聯(lián)系，按他自己的說法：他已由一個(gè)存在主義者轉(zhuǎn)變?yōu)橐粋€(gè)實(shí)證主義者進(jìn)而轉(zhuǎn)變成為一個(gè)結(jié)構(gòu)主義者。這種思想轉(zhuǎn)變體現(xiàn)在藝術(shù)上出現(xiàn)了分析性甚至波普主義的語言圖式(《絕對原則消解》、《同一性語態(tài)——宗教話語秩序》、《同一性語態(tài)——一種后先鋒主義》、《四項(xiàng)基本運(yùn)算》、《文化POP崔健》、《世界美術(shù)全集》)，這些作品意味著“由《絕對原則》這種意識形態(tài)修飾向《同一性語態(tài)》這種零度修飾的轉(zhuǎn)移”，但所有變化并沒有改變他的“理性主義”的理想色彩和宏觀思維模式，“絕對原則”這一思想正題階段就在1994年“向崇高致敬”這種表演性的宣示中落幕，他稱這一時(shí)期是由“意態(tài)寫作”向“語態(tài)寫作”、文化批判向語言批判的轉(zhuǎn)向時(shí)期。
The roughly decade-long “out of the sublime” period (1990-2004) marked the antithetical phase in Shu Qun’s “rationalist” art career. He calls it the “fall of the sacred”. The retreat of the Chinese modern art movement in the 1990s and the conundrum faced by classical humanism in the new cultural setting (mainly the postmodern deconstruction trend and consumer culture) sent Shu Qun into a phase of revision on his “rationalism”. Readings into logical positivism linguistic analytical philosophy, critical rationalism and even deconstructionism led to massive changes in his thinking. The theoretical and political significance of criticisms of traditional humanism by analytical philosophy and the philosophy of science led him to focus on the connections between discourse and discursive circumstances. In his words, he moved from being an existentialist to being a positivist and then a structuralist. This change in thinking was embodied in his art through the emergence of analytical, even pop linguistic composition. Works such as The Dispersal of Absolute Principals, Voices of Identity – Order of Religious Discourse, Voices of Identity – Post-Vanguard Doctrine, Four Basic Operations, Cultural Pop Cui Jian and World Art Anthology implied “a shift from the ideologically embellished Absolute Principles to the wholly unembellished Voices of Identity”, but all of these changes did not change his “rationalist” leanings or macroscopic mode of thinking; the main phase of his “absolute principles” thinking came to a close with the demonstrative performance of “a tribute to the sublime” in 1994. He calls this period one of transition from “mood composition” to “vocal composition”, a shift from cultural criticism to linguistic criticism.
相關(guān)鏈接：
OCAT2009年第一個(gè)大型個(gè)展“圖像的辯證法：舒群的藝術(shù)
OCAT2009年第一個(gè)大型個(gè)展“圖像的辯證法：舒群的藝術(shù)”開幕現(xiàn)場
從單純形而上學(xué)的思維路徑上的這種出走，不僅源于對政治波普和玩世思潮這類“膚淺的認(rèn)識論無政府主義”的深深失望，更源于對“理性主義”這種古典人文主義理想立場的自省和反思，在對法蘭克福新馬克思主義的批判理論實(shí)踐、?？略捳Z理論和德里達(dá)解構(gòu)主義的研究中，宏觀性、整體性的古典理想主義暴露出意識形態(tài)上極權(quán)主義的思想本質(zhì)，他的藝術(shù)也因這種理論思維的變化而進(jìn)入到個(gè)人理想主義的微觀生活實(shí)踐，這成為他走出“理性主義”這種抽象思維的一次精神逾越和解放，在將近八年時(shí)間里他甚至放棄了繪畫，從事經(jīng)營、設(shè)計(jì)和參與民間美術(shù)館的建設(shè)，理論閱讀也由哲學(xué)擴(kuò)展到管理學(xué)和設(shè)計(jì)史，直到2002年，“回歸原初經(jīng)驗(yàn)的沖動”和對知識考古學(xué)的興趣才使他重新創(chuàng)作了《單色工農(nóng)兵》和《紅色毛澤東》這類具有表現(xiàn)主義風(fēng)格的作品，而正是這一反題過程使舒群的藝術(shù)思考完成了由本體論、認(rèn)識論向語言學(xué)的轉(zhuǎn)移。
This departure from pure metaphysical modes of thinking was not solely due to the artist’s profound disappointment with the “superficial epistemological anarchism” of political pop and cynical realism. In fact, it was more the result of introspection and rethinking of the classical humanist standpoints of “rationalism”. Research into the neo-Marxist critical theory of the Frankfurt School, Foucault’s discourse theory and Derrida’s deconstructionism had revealed the ideological totalitarian nature of universal, unitary classical idealism, and because of these changes in thinking in theory, his art entered into the microscopic living practice of individual idealism, something that became a spiritual transcendence and liberation in his move from the abstract ideas of “rationalism”. In the nearly eight years that followed, he even gave up on painting, taking part instead in the design and operation of private museums. His theoretical reading also expanded from philosophy into management and design history. This lasted until 2002, when the “impulse to return to original experience” and an interest in the archaeology of thought led him to create somewhat expressionist works such as Monotone Workers Peasants and Soldiers, and Red Mao Zedong, and it was this antithetical process that completed the shift in Shu Qun’s artistic thinking from ontology and epistemology to linguistics.
第三單元：象征秩序(2005—2009 )
Section Three: The Symbolic Order
2005年以后對以“符號秩序”為特征的消費(fèi)文化現(xiàn)實(shí)的思考使舒群的藝術(shù)獲得了一個(gè)返歸形而上之途的理由，也使他的藝術(shù)進(jìn)入到“象征秩序”時(shí)期(2005—2009)，重新思考“理性主義”的現(xiàn)實(shí)批判價(jià)值。這一階段的作品《象征的秩序》從圖式上看是對“絕對原則”時(shí)期的復(fù)制，但所針對的問題卻由構(gòu)筑抽象的文化模式轉(zhuǎn)移到具體的“社會批判”，它正好構(gòu)成了舒群“理性繪畫”的一個(gè)合適的合題：重新思考中國現(xiàn)代化的歷史遭遇，以及面對這種遭遇時(shí)所必需的理性對策，當(dāng)然，和第一階段一樣，在“象征秩序”中舒群藝術(shù)所營造的問題邏輯仍然具有明顯的“圖像烏托邦”的特征。
Beginning in 2005, thoughts about consumer culture marked by the “symbolic order” gave Shu Qun’s art a reason to return to the metaphysical path, and brought his art into the “symbolic order” period (2005 – 2009), where he engaged in a rethinking of the value of “rationalism”in forming a critique of reality. Works from this period, such as The Symbolic Order, were in terms of image form, a replication of the “absolute principles” period, but the issue it was directed at changed from the construction of an abstract cultural model to specific “social criticism”, which made for a suitable synthesis of Shu Qun’s “rational painting”: a rethinking of the historical pitfalls of Chinese modernization and the rational countermeasures required in facing these pitfalls. Of course, just as in the first phase, the logic created in Shu Qun’s art during the “symbolic order” period was clearly marked by characteristics of “image utopianism”.
“圖像的辯證法：舒群的藝術(shù)”展以“絕對原則”、“走出崇高”和“象征秩序”三個(gè)單元全面展示舒群藝術(shù)的歷史脈絡(luò)和思想邏輯，展覽將展出舒群在這三個(gè)階段中近五十幅代表性作品，它既是對舒群藝術(shù)的一次個(gè)案研究,也是對中國上世紀(jì)80年代以來當(dāng)代藝術(shù)思想歷程的一種學(xué)術(shù)整理。
The exhibition “Image Dialectic: The Art of Shu Qun” is comprised of three sections, “Absolute Principles”, “Out of the Sublime” and “The Symbolic Order”, which will give a comprehensive presentation of the historical path and rationale of Shu Qun’s art. The exhibition will include nearly 50 representative works from Shu Qun’s three phases. This is both a case study on Shu Qun’s art and an academic revision of the history of contemporary art thinking in China since the 1980s.
相關(guān)鏈接：
OCAT2009年第一個(gè)大型個(gè)展“圖像的辯證法：舒群的藝術(shù)
圖像的辯證法：舒群的藝術(shù)
OCAT2009年第一個(gè)大型個(gè)展“圖像的辯證法：舒群的藝術(shù)”開幕現(xiàn)場
【編輯：張瑜】
