“角落”其實是一個文化地理的概念，主要指遠離文化、經濟中心的那些偏僻、落后的地方和社區(qū)。上個世紀二十年代巴黎的蒙巴那斯、1936年紐約的格林尼治村，還有今天昆明的創(chuàng)庫、成都的藍頂、重慶的坦克庫、北京大山子的798等等，都是這些宏大城市的“角落”，是曾經被權利、政治、文化和金錢“遺忘”的地方。
但是，時過境遷——“雕欄玉砌應猶在，只是朱顏改”。往日的文化、經濟“角落” 在經過一番包裝、改造后，已經閃亮登場，儼然變成了這些城市最時尚、亮麗的景點，也是藝術家富集的“賣場”。798原是北京西郊一個破敗的工業(yè)區(qū)，工廠倒閉、工人下崗，但隨著畫廊、出版商、藝術家工作室、表演中心、設計公司、展室、音樂酒吧、餐廳的入駐和聚集，近年來逐漸發(fā)展成為北京最具國際都市文化色彩的先鋒藝術社區(qū)。
貴陽雖然是貴州省的省會和中心城市，但也只是中國遼闊版圖上的一個“角落”。與鄰近的昆明、成都、重慶等城市不同，貴陽的藝術家們很難形成一個固定的藝術家社區(qū)。他們好像更喜歡散兵游勇式的、打一槍換一個地方的“游擊戰(zhàn)”方式。正是在這個意義上，我把貴陽當代藝術的交流形式稱之為一個流動的場域，這是一種真正保留了“野生”的口傳耳聞方式的藝術空間，這個空間不是物理意義上的，更多地與精神、氣質、思想、生活方式和想象力有關。
“角落”是去中心的，或者說“角落”根本就不屑與“中心”一爭高下。也許正是因為這種自在自為的“野生”狀態(tài)，這些“野生”的藝術社區(qū)就像“濕地”一樣，維系著藝術“江湖”的生態(tài)平衡，成為推動中國當代藝術自我生長的一股鮮活的動力。
貴陽的“城市零件”是最近才成立的一個新興的藝術社區(qū)，也可能是我見過的中國最小的也是最有活力的藝術家社區(qū)，聚集了貴州許多新銳和富于創(chuàng)造精神的青年藝術家?！俺鞘辛慵蔽挥谫F陽市區(qū)相寶山腳下，據說是風水很好的一個地方。貴陽城四面環(huán)山，中有南明河流經，山水靈秀。古人說“仁者樂山，智者樂水”。所以貴陽的藝術家們可以說是仁智兼?zhèn)?，踩著了山野的“地氣”。我一直以為，中國當代藝術的發(fā)展，必須與本地的文化經驗和當下肉身經驗結合才能生根，根深才能葉茂，葉茂才能長成參天巨椽，所以“角落”里這些自我生長的樹苗不容小看。
正如亞里斯多德所說，人們?yōu)榱嘶钪鴣淼匠鞘?，為了活得更好而居留于城市。而一個美好的城市，是一個保留著文化多樣性的城市，是一個聚集了許多“角落”城市。這些“角落”是城市文化的細胞，也是當代藝術生長的“濕地”和藝術家理想棲居的“飛地”。
管郁達
“Corner” is a concept of cultural Geography in fact, which implies the areas and districts far away from the cultural and economical center. Montparnasse in Paris in 1920s, Greenwich in New York in 1936, and Chuang Warehouse in Kunming, Landing in Chengdu, Tank Warehouse in Chongqing, 798 Art Area in Beijing nowadays are all the so-called “Corners” in large cities. They have ever been forgotten by power, politics, culture and money.
But, time passes and the situation has changed. Cultural and economic corners of yesterday have new looks now after packaging and alteration. And they are now the most shining spots and their “stores” in the cities.798 Art Area was a bankrupt industrial zone. Later then there are gradually more and more galleries, workshops, performance centers, design companies, exhibition halls, music bars and restaurants here. 798 Art Area has already become a pioneer artistic zone most characterized with international urban cultures in Beijing.
Although Guiyang is the capital and central city of Guizhou Province, it is a “Corner” of large China. It is difficult for artists in Guiyang to form a fixed artistic area compared with Kunming, Chengdu and Chongqing. “Bush fighting” is their favorite way. And just because of this, exchanging form of Guiyang Contemporary Art is considered as a moving territory, which is an artistic space really preserving the “wildness” of words and hearings. This is a space related to not physics but spirit, thinking, living style, and imaginary.
“Corner” is far away from the center, or in other words “corner” scorns to compare with the “center”. Maybe it is just because of the “wildness”, the “wild” art areas keep the balance of art circle just like “everglade” and become a fresh drive to promote the growth of China Contemporary Art.
Guiyang Parts of City is a newly artistic area set up recently. It is maybe the smallest but the most active one in my mind gathering most creative new generation in Guizhou. “Parts of City” locates at the foot of Xiangbao Mountain. Around Guiyang are mountains, and a river runs through it. It is said “the humanity love mountain, while the wise love water”. Artists in Guiyang own the above two. In my opinion, the development of China Contemporary Art must combine with native culture and current experience to root deeply. Only because of the deep root, it can be thick with leaves. And finally, it could grow up to a towering tree. So the saplings growing in the corners have great power.
“People come to cities for life, and live there for a better one.” by Aristotle. A nice city is the one with variety of cultures and corners. And these corners are cells of urban culture, the “everglade” of contemporary art and the “enciave” of artists’ dream as well.
