“場”是一種特殊物質，任何物質的存在都有“場”伴生。在中國古代，道家認為“道生一，一生二，二生三，三生萬物。”萬物當然都有“場”，“場”是物質存在的一種基本形式。
人類社會無處不存在“場”。社會發(fā)展出的物質系統(tǒng)，如社會時空、意識形態(tài)、生活狀態(tài)都是時間上的連續(xù)與間斷的存在、運動。就存在差別、對立和斗爭的各階級、各地區(qū)、各個國家之間來說，時空是間斷的;就相互聯(lián)系交往、相互作用促進的整體運動網絡體系來說，它們就是連續(xù)的。就相互對立、相互斗爭的各不同社會形態(tài)來說，時空是間斷的;就歷史的繼承性、各社會形態(tài)相互聯(lián)系、相互作用形成統(tǒng)一的社會矛盾運動網絡來說又是連續(xù)的。一切連續(xù)時空都包含著間斷性，一切間斷時空都包含連續(xù)性;一切連續(xù)時空都可以轉化為間斷的，一切間斷時空都可轉化為連續(xù)的。連續(xù)與間斷的存在、運動是在場的發(fā)生。中國當代藝術興起之初就同時面臨著表層語言形態(tài)與內在精神體驗的雙重轉變。這當中的關系同樣是間斷與連續(xù)的。
“在場性” (Anwesenheit)是德語哲學中的一個重要概念，已逐漸為整個西方當代哲學所接受?？档抡J為“在場性”應該解釋為“物自體”;黑格爾認為“在場”指“絕對理念3”;在尼采思想中，指“權利意志4”;而在海德格爾哲學中，解釋為“在”、“存在”。“在場”(Anwesen)即顯現的存在，或存在意義的顯現5。更具體地說，“在場”就是直接呈現在面前的事物，就是“面向事物本身”，就是經驗的直接性、無遮蔽性和敞開性。而“澄明”是通往“在場性”的唯一可能之途，只有“澄明”才能使“在場性”本身的“在場”成為可能。怎樣才能達到“無遮蔽狀態(tài)”呢?只有通過去蔽、揭示和展現。因此，我們所強調的“在場”和“當代性”追求就是“去蔽”，就是在主動接觸和沖突中，通過無遮蔽的敞開，而達到自由的表達。
其實，當代藝術并不是一個孤立的現象，它作為當代人的一種精神創(chuàng)造，是對當代社會關系、人的生存狀態(tài)、意識形態(tài)的關注和集中體現。當代藝術抑或當代文化，從根本上是對這樣一些具有鮮活的生命內容以及社會物質的精神關照。此次展覽我們邀請了中國當代藝術界一些頗具代表性的藝術家，諸如尹朝陽、黃勇、陳彧君、馬軻、王頃、薛峰等等，他們的創(chuàng)作都是立足于當代中國的社會現實，同時，又創(chuàng)造性地融匯東、西方傳統(tǒng)的視覺資源，展現新時期中國藝術家內心精神體驗的轉化歷程。這無疑充分的再現了今天中國的文化變化、動向與沖突的復雜性，展示了中國當代藝術的核心追求。
“在場”特指當代藝術中的本體語言形態(tài)與內在精神體驗的“在場呈現”。“在場呈現”視“在場”為顯現的存在，或存在意義的顯現。直指事物本身強調的是經驗的直接性、無遮蔽性和敞開性。蘊涵了一個從動詞轉向名詞、連接藝術語言學和藝術社會學的象征;同時，也演繹具有“國際性”與“當代性”疊合的當代文化主題內涵。當代藝術本體語言形態(tài)與內在精神體驗是“在場”的唯一介入路徑，介入就是“去蔽”、“揭示”與“展現”。“在場呈現”的介入包括：對藝術家主體的介入，對當下社會現實的介入，對人類個體生存處境的介入。它是以個人精神體驗的變化為核心，只有通過介入，才能去除那些自稱正統(tǒng)本源的、抄襲模仿的簡單語言形式、片面意識形態(tài)、他者意見左右對藝術家心靈的遮蔽、對人類個體生存處境的遮蔽、對當下現實的“真實”與“真相”的遮蔽，從而使當代藝術直接進入事物內部，與世界的本源經驗接近，并通過本真藝術語言呈現出來。在此意義上可以確認：“在場”就是去蔽，就是敞亮，就是本真;“在場”的當代藝術就是無遮蔽的藝術，就是敞亮的藝術，就是本真的藝術。
我們希望“在場”當代藝術展的展出作品與展覽的整體空間，藝術家個體的表述與共同的主題之間互補輝映的藝術結構，打造全新的當代藝術語境。同時我們還希望觀眾們能夠通過參觀展覽，認識中國當代藝術的核心價值，并由此獲得了解和欣賞當代藝術的捷徑。
了了
中國當代繪畫提名展
Nomination Exhibition of Contemporary Painting in China
參展藝術家：
尹朝陽 Yin Chaoyang 馬軻 Ma Ke 魏言 Wei Yan 陳彧君 Chen Yujun 李青 Li Qing 薛峰 Xue Feng王頃 Wang Qing 黃勇 Huang Yong 趙崢嶸 Zhao Zhengrong 黃世常 Huang Shichang
策展人：了了
學術主持：杭春曉
Curator:Leo
Academic Director:Hang Chunxiao
預熱展
上海 海上山.隔山別館
開幕：2009年10月18日，下午4時至7時
上海市通北路888號 1層A1
電話：86-21-65472002
Preview show
The Hills Annex,Haishangshan,Shanghai
October 18,2009,4:00 - 7:00
A1,1F,No.888 TongBei Road,Shanghai,China
TEL:86-21-65472002
第一站
廣州 朱子畫廊藝術中心
2009年11月8日至11月30日
廣州市小洲藝術村瀛洲八街28巷
The first stop
Zhuzi Gallery, Guangzhou
November 8-30 2009
Lane 28, Yingzhou 8 Street, Xiaozhou Art Block, Guangzhou
第二站
北京
The second stop
Beijing
"Field" is a special material. The presence of all substance has a "field" associated. In ancient China, Taoists thought that "One is the child of the divine law, after one comes two, after comes three, after three comes all." Of course, everything has a "field"; "field" is a basic form of material existence.
Human society is brimming by "Field." The material system from social development, such as social time and space, ideology, daily life, are the time of the existence of continuous and intermittent action. In respect of the existence of differences, confrontation and struggle of all classes, regions, individual countries, the space-time is discontinuous; in respect of related communication, interaction of the network system, the space-time is continuous. On matters of mutual antagonism and mutual struggle among the various social forms, the space-time is discontinuous; on the history of inheritance, the social structures are interlinked and interact to form a unified network of social contradictions movement is continuous. All continuous space and time are included with intermittent, all interrupted the continuity of space and time is included. The existence of continuous and intermittent, the presence of movement is taking place. The existence of both continuity of intermittent is the action result of filed. The rise of Chinese contemporary art has been facing the dual transformation of the expression and inner spiritual experience at the very beginning, where intermittent and continuous still exists.
"In the field" (Anwesenheit) is an important concept in German philosophy. It has gradually been accepted by the entire Western contemporary philosophy. Kant thought that "In the field of” should be interpreted as a "oneself", Hegel’s idea for it is "absolute idea ", in Nietzsche's thought, it stands for "will-to-power". In Heidegger's philosophy system “in the field” can be interpreted as "in", "existence." "In the field" (Anwesen) shows the existence or the existence of the meaning. More specifically, the "presence" is directly presented in front of a thing that “for the thing itself” is the direct experience of nature with no shelter and open nature. The "clarity" is the gateway to ""In the field" " of the only possible path, only the "clarity" in order to make ""In the field" " of their own "presence" is possible. How can we achieve the state with no masking? It is only through to conceal, reveal and display. Therefore, we have emphasized that the "In the field" and "contemporary" of pursuit is "to shield" in active contact and conflict, through the open without shelter, to achieve freedom of expression.
In fact, contemporary art is not an isolated phenomenon. As the creation of a spirit of contemporary people, it is of contemporary social relations, human existence, ideological concerns and a concentrated expression. Contemporary art or contemporary culture is funded by the lives of some with fresh content and the spirit of social and material care. For this exhibition we have invited a number of Chinese contemporary arts which are fairly representative of the artists themselves, such as Yin Chaoyang, Huang Yong, Chen Yu-jun, Ma Ke, Wang Qing, Xue Feng, ect. Their works are based on contemporary China's social reality, meanwhile in a creative way to integrate Eastern and Western tradition of visual resources in the new period. Chinese artists reveal the transformation process of inner spiritual experience. This is undoubtedly fully reproduced the cultural changes in China today, and the trends and the complexity of the conflict, demonstrating the core of the pursuit of Chinese contemporary art.
"In the field" refers specifically to contemporary art in the form of expression and inner spiritual experience of "the presence of in the field." Directly at the thing itself to emphasize that the direct experience of nature, no shelter and open nature. It implies a shift from the verb noun to connect artistic symbol of linguistics and sociology of art; also perform with the "international" and "contemporary" of superimposed thematic content of contemporary culture. Ontology language of contemporary art form and the inner spiritual experience of "presence" the only path to intervention, is "to encapsulate", "reveal" and "display." "Show the presence of" intervention includes the involvement of the main artists on the contemporary social reality and the involvement of the individual to survive the situation of human intervention. It is based on changes in personal spiritual experience as the core, only through the intervention in order to remove the origin of those claiming to be orthodox, and copying a simple imitation of linguistic forms, one-sided ideology, and the opinion about those who sheltered the soul of the artist, the situation of the human individual survival of the shelter, the reality of the contemporary "real" and "truth" of the shelter, so that direct access to things in contemporary art within the origin of the experience and the world closer, and through authentic artistic language to present that vision. In this sense, we can confirm that: "presence" is to conceal, that is light and spacious, that is, the true; "presence" of contemporary art is the art of non-shielded, that is light and spacious and really art.
We hope that the "In the field" Contemporary Art Exhibition can showcase the artists’ individual expression and common themes in order to create a new context of contemporary art. We also hope that the audience will be able to capture the Chinese contemporary art's core values, and thus to obtain the shortcut to understand and appreciate the contemporary art.
LEO
【編輯：張瑜】
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