Our Life--2008當(dāng)代藝術(shù)展

　　Our Life——2008 Contemporary Art Exhibition

　　策展人：吳文星

　　Curator: Wu Wenxing

　　藝術(shù)總監(jiān)：楊邦本

　　Director: Yang Bangben

　　學(xué)術(shù)主持：蔣正根

　　Art Director: Jiang Zhenggen

　　執(zhí)行：范文勇

　　Perform：Fan Wenyong

　　展覽助理：朱秀琴

　　Assistant: Zhu Xiuqin

　　展期：2008年11月8日至2008年12月8日

　　Duration: 8th Nov. 2008 —— 8th Dec. 2008

　　開幕式：2008年11月8日（星期六）下午：18：30

　　Opening: Saturday, 8th Nov, 6.30pm

　　地點(diǎn)：文定生活創(chuàng)意中心 上海文定路204號(hào)，Wen Ding Plaza。

　　Venue: No.204 Wen Ding Road, Wen Ding Plaza.

　　參展藝術(shù)家Artists (按字母順序)：仇德樹，陳心懋，丁乙，鄧國源，管策，何塞邦，洪磊，Julia Lohmann，金江波，蔣正根，Paul Devautour，浦捷，Rolf A. Kluenter，蘇新平，宋光智， Susanne Junker，譚根雄，唐添，王慶松，吳文星，顏磊

　　郵箱：wuwenxing2003@hotmail.com

　　城市.生活.藝術(shù)

　　蔣正根

　　“文定生活創(chuàng)意中心”原是一坐舊式工業(yè)廠房，在它改建的過程中，設(shè)計(jì)者保留了原有的建筑形態(tài)和文化生態(tài)，如同北京的“798”與上海的“莫干山50號(hào)”一樣，它們都有著那個(gè)年代曾有過的文化記憶。“莫干山50號(hào)”是上海目前最大的藝術(shù)創(chuàng)意園區(qū)，并成了上海城市的一個(gè)文化概念和文化符號(hào)。而“文定”的設(shè)計(jì)者有意將他們的新領(lǐng)地打造成上海又一個(gè)生活創(chuàng)意的新景區(qū)。

　　文化在當(dāng)代城市的發(fā)展中是一個(gè)要素，也是一種產(chǎn)業(yè)。文化在其產(chǎn)業(yè)化的過程中除了創(chuàng)意還有一個(gè)重要的資源，即由歷史形成的人文景象和人文符號(hào)。如同經(jīng)濟(jì)學(xué)家預(yù)測的那樣：文化與經(jīng)濟(jì)共存演進(jìn)將是未來經(jīng)濟(jì)增長的典型化趨勢。由于文化在城市化進(jìn)程中扮演的這種作用，所以讓藝術(shù)與生活的自然融和，彰顯城市文化性格將是我們一個(gè)時(shí)期內(nèi)的文化策略。于是，一個(gè)稱之謂Our Life的當(dāng)代藝術(shù)展，將在這種融洽之中拉開它的帷幕。

　　此次展覽在尊重藝術(shù)家本土意識(shí)和觀念的前提下，以城市、生活、藝術(shù)為主旨，強(qiáng)調(diào)藝術(shù)作品的時(shí)代性與當(dāng)下性以及藝術(shù)的個(gè)性與創(chuàng)造性；從而體現(xiàn)城市文化的性格，這就是此次展覽的目的和意義所在。為了適宜展覽的主旨和特性，參展的作品也以最具城市藝術(shù)特征的圖片、影象、裝置和當(dāng)代繪畫等為主。同時(shí)，此次展覽也是跨界文化的藝術(shù)交流。

　　談到當(dāng)代藝術(shù)，我們一般泛指它學(xué)術(shù)上的前衛(wèi)性和批判性外，在時(shí)間上主要指的就是發(fā)生在今天的藝術(shù)，在內(nèi)涵上指的是它具有的某種時(shí)代精神和時(shí)代語言特征。當(dāng)代藝術(shù)從本質(zhì)上講是城市文化的一種體現(xiàn)，因?yàn)楫?dāng)代藝術(shù)的生存與發(fā)展必須以城市為依托，城市是當(dāng)代藝術(shù)的基礎(chǔ)。我們回眸二十世紀(jì)現(xiàn)代藝術(shù)發(fā)展的過程就不難發(fā)現(xiàn)：城市與藝術(shù)的發(fā)展有著無法割舍的關(guān)聯(lián)，城市生活強(qiáng)調(diào)的視覺特性和感官意識(shí)為現(xiàn)代藝術(shù)的發(fā)展提供了某種可能性。現(xiàn)代藝術(shù)史上所謂的立體主義繪畫其實(shí)與城市的結(jié)構(gòu)有著天然關(guān)聯(lián)，未來主義藝術(shù)的產(chǎn)生與城市的運(yùn)動(dòng)和速度息息相關(guān)，而波普藝術(shù)的掀起顯然與城市的商業(yè)要素和我們所處的復(fù)制時(shí)代有關(guān)。城市不但為現(xiàn)代藝術(shù)的發(fā)展提供了某種形態(tài)結(jié)構(gòu)和形式語言，更重要的是它賦予了藝術(shù)家某種新的空間觀、價(jià)值觀和未來觀。可以這么說，當(dāng)代藝術(shù)的價(jià)值就在于它的這種當(dāng)代性，而對(duì)城市文化的探索與表達(dá)就構(gòu)成了當(dāng)代藝術(shù)的一個(gè)重要特征。

　　其二，城市作為一個(gè)文化的地理概念，其所謂的社會(huì)屬性是一個(gè)生物有機(jī)體的概念。如同生物有機(jī)體的生成和演化一樣，城市也伴隨著自身的繁衍、發(fā)展，以及在其歷史變遷中不斷積淀而生成為獨(dú)立的城市文化。而當(dāng)下席卷全球的城市化現(xiàn)象，已不是一個(gè)簡單城市區(qū)域擴(kuò)張和人們生活方式的急速改變。如同被命名為“快城快客”的上海第七屆雙年展那樣，一個(gè)“快”字反映的卻是一個(gè)城市在其現(xiàn)代化進(jìn)程中整體形態(tài)的急劇演變，以及它快速中的多變性和不確定性。然而，對(duì)城市形態(tài)及其趨向不確定性的探索正是當(dāng)代藝術(shù)所面臨的任務(wù)和職責(zé)；同樣，當(dāng)代藝術(shù)發(fā)展的不可知性，也是城市發(fā)展的復(fù)雜性在其文化形態(tài)上的自然反應(yīng)。藝術(shù)家置身于這個(gè)時(shí)代，其作品理應(yīng)反映和表現(xiàn)它。藝術(shù)只有不斷地在與城市的交流與碰撞中達(dá)到情感的共鳴與相互認(rèn)可，從而自身得到不斷地完善，這樣我們的城市文化才得以創(chuàng)新和發(fā)展。事實(shí)上在城市化的進(jìn)程中，藝術(shù)的興衰和藝術(shù)家的狀態(tài)總是與城市的發(fā)展息息相關(guān)的，上個(gè)世紀(jì)五、六十年代“紐約畫派”（也稱抽象表現(xiàn)主義）的興盛正是得益于歐洲大批藝術(shù)精英的遷入和美國城市文化的強(qiáng)盛。中國當(dāng)代藝術(shù)從地下與邊緣迅速成為今日的主流藝術(shù)，其中只用了十幾年的時(shí)間，這源自中國城市經(jīng)濟(jì)的迅速發(fā)達(dá)和城市資本的大量介入。所以，不管是早年的巴黎，還是以后的紐約，以及時(shí)至今日的“798”或“莫干山”莫不如此。這是因?yàn)槌鞘胁粌H是一種人文景觀，或某種文化與信息的中心，重要的是它體現(xiàn)了一種生命的存在與生存狀態(tài)。

　　其三，城市又是一個(gè)具有世界性概念的符號(hào)。當(dāng)代藝術(shù)之所以能跨地區(qū)、跨疆域和跨文化的交流，就得益于當(dāng)代城市文化的存在。此次展覽邀請(qǐng)的二十位中外藝術(shù)家來自不同的城市。這些有著不同文化背景的藝術(shù)家都是活躍在當(dāng)代藝術(shù)前沿，在學(xué)術(shù)上有著相當(dāng)建樹的優(yōu)秀藝術(shù)家，其中不乏參加過威尼斯雙年展，且享譽(yù)當(dāng)今國際畫壇的藝術(shù)家。雖然這些藝術(shù)家的藝術(shù)觀念有著各自的差異，個(gè)人的藝術(shù)語言也不盡相同，但他們卻相聚在一起。這其中有來自上海的仇德樹，陳心懋，丁乙，何賽邦，蔣正根，浦捷，譚根雄，吳文星和唐添；來自北京和天津的王慶松、顏磊、金江波和鄧國源；來自廣州、南京和常州的宋光智、管策和洪磊；以及來自德國和法國的尤莉亞.洛曼Julia Lohmann，柯羅夫，Rolf A. Kluenter，云筱蘇Susanne Junker和保羅.德沃圖Paul Devauou等藝術(shù)家。這些藝術(shù)家有常年蟄居在這個(gè)城市的，有曾經(jīng)生活在某個(gè)城市如今卻客居京城的，還有來自異國他鄉(xiāng)卻對(duì)這個(gè)城市充滿向往而行走在兩地的。他們平靜地生活在各自的城市，恪守著自己的創(chuàng)作原則；用他們純熟的語言進(jìn)行著當(dāng)代藝術(shù)的實(shí)踐和創(chuàng)造，用他們的作品訴說著生命與生存的關(guān)系。這些藝術(shù)家立足于對(duì)現(xiàn)代城市的探索和表達(dá)，并以他們的實(shí)踐給今日藝術(shù)的發(fā)展提供了一種多樣性的可能。他們的文化態(tài)度和追求也體現(xiàn)了在藝術(shù)全球化潮流下，城市藝術(shù)的多極形態(tài)和藝術(shù)家的藝術(shù)狀態(tài)。筆者以為，當(dāng)代藝術(shù)作為人類創(chuàng)造力的一種特殊形態(tài)，是其自身所包涵的城市文化特性讓不同種族和信仰的藝術(shù)家走到了一起，這也從某個(gè)側(cè)面反映了當(dāng)代城市文化所具有的包容性和寬泛性的特征。

　　二十一世紀(jì)的城市屬于文化的城市。城市文化既是城市的個(gè)性表達(dá)，也是城市集體意識(shí)在當(dāng)代語境中的抽象呈現(xiàn)。城市文化的核心內(nèi)力在它自身的進(jìn)程中，啟動(dòng)了人們內(nèi)在的文化需要，并引領(lǐng)著信息與資金、人才與資源、時(shí)尚與消費(fèi)的文化風(fēng)尚。然而，現(xiàn)實(shí)中的文化卻滲透在生活的各級(jí)形態(tài)之中，而且需要借助這種形態(tài)的呈現(xiàn)演繹成一種精神的載體；而由藝術(shù)構(gòu)成的文化生態(tài)就催生了城市文化符號(hào)的誕生，通過它我們就能感悟到遁隱在城市背后的歷史文脈，以及由此形成的城市性格；通過它我們還能從中觀照到自己。所以當(dāng)代藝術(shù)不應(yīng)該是簡單、晦澀的哲學(xué)概念的表達(dá)，而應(yīng)把對(duì)普遍人性的關(guān)注放在其表達(dá)的首位。因?yàn)椋粋€(gè)脫離了人文思想和人文情懷的藝術(shù)是沒有靈魂的藝術(shù)，同樣，這樣的城市也是沒有靈魂的城市。

　　城市是美好的，今天，城市似乎成了人們生活的一個(gè)方式和希望，也似乎成了生命的一種歸宿。

　　2008年10月于浦江東岸

　　City.Life.Art

　　Jiang zhenggen

　　The original structure of Wending Living Style Plaza is an old factory. In the process of rebuilding, the original frame has been left. Same as the “798”of Beijing and “No 50 of Moganshan”，they all have the culture memory in that times. The“No 50 of Moganshan” is the biggest art originality garden at present, and it also becomes a culture concept and symbol of shanghai. While the designer of Wending intentionally to build a new living style plaza in Shanghai.

　　Culture is an important factor as well as an industry during the development of contemporary city. In the process of industrialization, culture has an important resource besides creation, which is human landscape and symbol formed by history. As what economist predicted, culture and economic coexistence and development is a typification trend of future economic increase. Because of this function of culture in the process of civilization, our culture strategy in a period is to display city’s culture character. So a contemporary art named “our life” is going to open in the atmosphere of harmonization.

　　On the premise of respecting artist’s consciousness and concept, based on the city, life and art, emphasizing time and present character of work of art, and personality and creativity of art, the intention of this exhibit is to embody the character of city culture. In order to correspond to the lemma and characteristic of this exhibit, the main works on the exhibit are picture, video, installation and contemporary painting with the furthest city art character. Meanwhile, this exhibit is an across-culture art exchange.

　　Speaking of the contemporary art, which generally refers to avant-garde and critical academically, happening at present and containing modern spirit and language character. Contemporary art is essentially a sort of embodiment of city life. Its existence and development must rely on city, so city are the base of contemporary art. Looking back the process of modern art development in the past 100 years, we will easily find that the connection of cities and art development cannot be separated. The vision characteristic and sense consciousness emphasized by city life provide the possibility for development of modern life. The solidism painting of contemporary art history actually connected with city organization naturally. The generation of futurism art is closely linked the rate of city’s transformation, while the start of Bopu art is obviously related to the city’s business factors and our living copy times. City not only provide some configuration structure and format language for the contemporary art, the important is that it endow the artist with space, value and future view. It can be say that the value of contemporary art is because it happened today, while the exploring and expression of the city life formed an important character of contemporary art.

　　Second, as a concept of culture geographic, the community property of city is also a concept of organism. Just as the evolution of organism, city evolves into an independent city culture with its reproduction, development and accumulation during historical changes. Regional expansion of a city and rapidly life style changing is not a global city phenomenon.

　　As the theme of Shanghai 7th Biennial– fast city fast people, the word “fast” reflects city’s overall shape in rapid evolution during the process of modernization and its variability and uncertainty. However, the tasks and responsibilities contemporary arts facing right now are the exploration of city patterns and the tendency of uncertainty. Meanwhile, unsuspected development of contemporary arts is also a nature reaction in its culture pattern during the complicated city growth, which is reflected and displayed in modern artists’ works. With the continuing communication and exchange, arts would reach emotional resonance and mutual recognition so as to get self-development, thus city culture could grow and innovate. In fact, during the process of urbanization, the rise and fall of arts and the state of artists closely interrelated to city development. In 1950s and 1960s, the prosperous of New York School (also known as abstract expressionism) profits from the immigration of a large number of European elites and American urban cultural prosperity. It only cost more than a decade for Chinese contemporary arts to develop from edge and alien to mainstream arts, as numerous urban capital is involved. Therefore, no matter the early years in Paris or later years in New York, as well as today’s 789 and Moganshan, they all share the same concept. City is not only a human landscape or the center of culture and information but also reflects the existence of life and the state of living.

　　Third, city is also a symbol which carries the worldwide concept. Contemporary arts are able to communicate by crossing regions, territories and culture as the existence of contemporary cities. Twenty arties are invited to this exhibition are from different cities. They are all outstanding artists from varies culture backgrounds still actively play on contemporary arts stage and make considerable contribution on academic field. Some of the artists attended Venice Biennale and world-renowned in contemporary arts. These artists gather together in spite of varied art concept and language. Among them, Qiu deshu, Chen xinmeng, Ding yi, He saibang, Jiang zhenggen, Pu jian, Tang genxiong, Wu wenxing and Tang tian are from Shanghai; Song Xinping, Wang qinsong, Yan lei, Jing jingbo and Deng guoyuan are from Beijing and Tianjing; Song guangzhi, Guan ce and Hong lei are from Guangzhou, Nanjing and Changzhou as well as Julia Lohmannas, Rolf A. Kluenter, Susanne Junke and Paul Devauou are from Germany and France. Some of these artists lived in the city for years, and some who used to live in cities now live in Beijing once in a while, others who from abroad travel back and forth between Shanghai and Beijing as they are attracted to this city. They are living their life peacefully and following their art principle strictly. With sophisticated language and works, they are carrying on their practice and creative in contemporary arts and tell the relationship between life and severance. These artists base themselves on the exploration and expression of modern cities and provide varied possibility of contemporary arts development by their practice. Their culture attitude and pursuit reflect the multiple patterns of city arts and artists’ status under the trend of art globalization. In writer’s opinion, as contemporary art is a special pattern of human creativity, which include culture characteristic of cities gather artists from different race and belief together. At certain point, it also reflects the containment and broadness of modern city culture.

　　The city in 21st century is called culture city. City culture is not only the characteristic expression of city but also abstract presentation in context of group consciousness of city. The centre of city culture is in its process which rouses the culture desire inside of people and leads the culture trend of information and capital, talents and resource, fashion and consumption. However, culture in real life permeates in all levels of life; also, it needs the presentation of these levels to deduce a certain spiritual carrier. Culture ecology formed by arts procures the birth of culture symbol. We understand the culture context concealed behind history and characteristic of city and observe ourselves through culture ecology. Therefore, contemporary arts shouldn’t be simple and obscure philosophy expression, which should be the primacy in the expression of general human nature. Because arts separate from humanistic minds and feelings are arts without soul. Also, such city is city without soul.

　　City is wonderful. Nowadays, city seems has become a way of living and hopes, and also destination of life.

　　East of Huangpu River on Oct,2008