展覽是為了一句話“繪畫是為了恨某種發(fā)光的東西”而作的。這句話是展覽的一部分，是想表達(dá)一種看待事物的態(tài)度。我假設(shè)藝術(shù)是被形容成具有某種意義的，小的，具體的，對(duì)個(gè)人而言有實(shí)際用處，對(duì)他人而言無用，或用處不大，或無法理解的存在形態(tài)。我認(rèn)為這是藝術(shù)應(yīng)有的位置，它存在著，又不能被期望太高，期望高它就模糊，應(yīng)該象“白菜”“騙子”等有具體的價(jià)值。當(dāng)代藝術(shù)的瓶頸在于大家的期望太高，“創(chuàng)造論”“進(jìn)步論”“顛覆”等腔調(diào)太高，這種情況也充斥在各個(gè)領(lǐng)域，創(chuàng)新才是正路。于是個(gè)性時(shí)常就變成了懶惰或隨便，我想走歪路，贊成“退步論”，做好難，做壞容易些，不能把藝術(shù)抬的太高，也不得不帶著它，就該平庸的進(jìn)行著。挑戰(zhàn)方法論的快感我們已經(jīng)嘗試過了，應(yīng)該回到現(xiàn)象本身來，先把“現(xiàn)象的后面”這個(gè)話題放放，藝術(shù)作為現(xiàn)象存在了，應(yīng)該讓現(xiàn)象自我發(fā)揮，人類的偉大發(fā)明是態(tài)度，在對(duì)藝術(shù)的態(tài)度里缺少具體的態(tài)度，比如“作用”“功能”等，在探討這些假設(shè)的時(shí)候不夠過癮。
Painting is an Aversion to All that Glitters
by Li Dafang
This exhibition is based on the following statement: “Painting is an Aversion to All that Glitters”, and so this sentence must also form a component of the exhibition. In fact, this remark demonstrates a type of attitude toward things. I presume that art is described as something meaningful, subtle and concrete. It has practical applications for an individual, but these applications might not be too similar for others, or art just inhabits an incomprehensible form of existence. These assumptions above represent the proposition for which I think art should stand. Art exists, but it needn’t be over-endowed with expectations, or it becomes blurred. Instead, it should be subject to the same concrete evaluations that people have for terms such as “cabbage” and “cheater”. The bottleneck in contemporary art inheres in the high expectations it arouses, as typified by some resounding expressions such as “Creation”, “Progressivism”, and “Subversion”—a trend that has saturated every field. No more: innovation is now the sole approach. Thus I often mix idle, casual qualities into my characters. I prefer to forge a devious path as I go alone along my way with my “Theory of Retrogression”. It’s hard to do this well, but I can easily do it badly. If I neither abandon art, nor uplift it too high, then I will have to bear my art along with mediocrity. We have already assayed the pleasures of methodological challenges, so it behooves us to return to the phenomenon itself. But before we discuss the background of this phenomenon, we should note that art has existed as a phenomenon, and we should now let it develop by itself. Humanity’s greatest invention is attitude, but we generally possess an inconcrete attitude towards art. As a result, when we discuss our assumptions about art, we use words like “roles” and “functions”, and there is often very little to satisfy our craving.
Translator: Ben Armour
【編輯：霍春?！?/span>
