2009北京798藝術(shù)節(jié)?主題展

　　“再實(shí)驗(yàn)：智性與意志的重申”青年藝術(shù)家推薦展

　　“Re-experimentation: a reaffirmation of will and enlightenment”

　　Young Artists Promotional Exhibition

　　策展人：鮑棟、杜曦云、劉禮賓

　　藝術(shù)家：曹維平、陳友侗、陳偉、陳洲+張曉靜、大項(xiàng)目小組(張嘉平、陳明生)、戴耘、鄧猗夫、高峰、葛磊、關(guān)音夫、胡柳、姜鵬、金石、李隆、李青、李小松、李軼群、梁碩、林芳所、劉茜懿、劉文濤、柳迪、盧征遠(yuǎn)、馬秋莎、馬笑蕭、滿宇、沈怡、石玩玩、蘇文祥、覃鈺柯、王光樂(lè)、王思順、吳達(dá)新、鄔建安、夏航、許慧晶、葉楠、張遼源、趙要、趙趙、周欽珊、卓凡

　　時(shí)間：2009.9.19—10.25

　　地點(diǎn)：798創(chuàng)意廣場(chǎng)·金屬庫(kù)

　　Curators: Bao Dong, Du Xiyun, Liu Libin

　　Artist: Cai Weiping, Chen Youtong, Chen Wei, Chen Zhou+Zhang Xiaojing, Big Project Group (Zhang Jiaping, Chen Mingsheng), Dai Yun, Deng Yifu, Gao Feng, Ge Lei, Guan Yinfu, Hu Liu, Jiang Peng, Jin Shi, Li Long, Li Qing, Li Xiaosong, Li Yiqun, Liang Shuo, Lin Fangsuo, Liu Xiyi, Liu Wentao, Liu Di, Lu Yuanzheng, Ma Qiusha, Ma Xiaoxiao, Man Yu, Shen Yi, Shi Wanwan, Su Wenxiang, Qin Yuke, Wang Guangle, Wang Sishun, Wu Daxin, Wu Jian’an, Xia Hang, Xu Huijing, Ye Nan, Zhang Liaoyuan, Zhao Yao, Zhao Zhao, Zhou Qinshan, Zhuo Fan

　　Date: Sep.19 – Oct.25, 2009

　　Venue: 798 Originality Square·Metal Warehouse

　　青年展合作媒體/Young Artists Promotional Exhibition Cooperating Media:

　　主題闡述

　　About the Theme：

　　在中國(guó)當(dāng)代藝術(shù)中，“實(shí)驗(yàn)”這個(gè)概念實(shí)際上是對(duì)“前衛(wèi)”懷疑與修正，它懷疑前衛(wèi)藝術(shù)的歷史先知色彩，修正前衛(wèi)藝術(shù)的群體運(yùn)動(dòng)模式，因此“實(shí)驗(yàn)”所強(qiáng)調(diào)的是藝術(shù)史發(fā)展的不可預(yù)知性與藝術(shù)實(shí)踐的個(gè)體性。實(shí)驗(yàn)藝術(shù)現(xiàn)象是1990年代的中國(guó)當(dāng)代藝術(shù)中最重要的一個(gè)維度，廣泛而又相對(duì)稀少的實(shí)驗(yàn)藝術(shù)為中國(guó)當(dāng)代藝術(shù)帶來(lái)了自覺(jué)與自省意識(shí)，并且拓展了藝術(shù)實(shí)踐的縱深。

　　但“實(shí)驗(yàn)”這個(gè)維度并沒(méi)有在近年的市場(chǎng)熱潮中獲得關(guān)注，尤其是實(shí)驗(yàn)藝術(shù)所不可避免的非作品化等特點(diǎn)更是難以獲得市場(chǎng)的支持，當(dāng)市場(chǎng)最終形成了一種同一性話語(yǔ)之時(shí)，實(shí)驗(yàn)藝術(shù)所依賴的智性與意志等藝術(shù)家主體特質(zhì)也逐漸地失去了活力，以至于主體性自身也逐漸貧弱。

　　但“實(shí)驗(yàn)”并未消失，更年輕的藝術(shù)家中的一部分依然在自覺(jué)地在各種背景下嘗試著不同的藝術(shù)實(shí)驗(yàn)。在他們的作品中，雖然文化、社會(huì)批判性與相關(guān)的問(wèn)題背景依然在場(chǎng)，但他們更多地強(qiáng)化了藝術(shù)的自指性，這尤其表現(xiàn)在對(duì)智性與意志等主體性因素的強(qiáng)調(diào)上。而強(qiáng)調(diào)智性與意志的獨(dú)立價(jià)值，實(shí)際上就是在強(qiáng)調(diào)藝術(shù)家的主體意識(shí)，也即是在強(qiáng)調(diào)藝術(shù)本身的人本價(jià)值。

　　在這里，智性包含著智力、知識(shí)，以及前者對(duì)后者的轉(zhuǎn)換、審視能力;意志則是指控制與冒險(xiǎn)，尤其是藝術(shù)活動(dòng)的持存性。我們用智性與意志這一對(duì)概念來(lái)描述及判斷實(shí)驗(yàn)藝術(shù)的特點(diǎn)和價(jià)值。

　　因此，以智性與意志作為坐標(biāo)，以“再實(shí)驗(yàn)”作為歷史訴求，本次展覽關(guān)注的是青年一代藝術(shù)家最近的實(shí)驗(yàn)藝術(shù)實(shí)踐，希望通過(guò)此次展覽呈現(xiàn)一批有著實(shí)驗(yàn)精神和獨(dú)立意識(shí)的青年藝術(shù)家。我們相信，只有確立了智性與意志的價(jià)值，即個(gè)體的主體性的價(jià)值，中國(guó)當(dāng)代藝術(shù)的推進(jìn)與深化才能獲得一個(gè)牢靠的基礎(chǔ)。

　　In Chinese contemporary art, the concept of ‘experimental art’ is actually a skeptical revision of the concept of ‘avant-garde’. It is skeptical of the concept’s historical oracular tone, and revises its group movement model. Therefore, what ‘experimental’ emphasizes is the unpredictability of developments in art history, and the individuality of artistic practice. The phenomenon of experimental art was the most important dimension of Chinese contemporary art in the 1990’s. The widespread yet sparse experimental art practices of the time brought self-consciousness and a mentality of self-examination to Chinese contemporary art, and extended the field of artistic practice.

　　The ‘experimental’ dimension, however, has not received much attention in the recent art market boom. Certain aspects of experimental art, such as ‘anti-art’, have an especially hard time gaining support from the market. When the market forms a monolithic discourse, the artistic subjective qualities of will and enlightenment gradually lose vitality, to the point that subjectivity itself begins to falter.

　　But ‘experimentation’ has not disappeared at all. Among younger artists, there are still those who consciously try out artistic experiments in different backgrounds. In their works, though issues of cultural and social critique are still in the background, the emphasis is more on the self-referential aspect of art, which manifests especially in the emphasis on subjective elements such as will and enlightenment. The unique value of emphasizing enlightenment and will is that it is actually emphasizing the subjective consciousness of the artist, that is, the humanistic value of art.

　　Here, enlightenment includes wisdom and knowledge, as well as the former’s transformation of, and ability to examine, the latter. Will indicates control and danger, especially in the sustainability of artistic activity. We will use the concepts of enlightenment and will to describe and evaluate the characteristics and value of experimental art.

　　For this reason, with will and enlightenment as our coordinates, and re-experimentation as a historical pursuit, this exhibition focuses on recent experimental artistic practices by the young generation of artists. Through this exhibition, we hope to present a batch of young artists with the spirit of experimentation and independent will. We believe that only when the value of will and enlightenment is established, as well as the value of individual subjectivity, only then will there be a solid foundation for the promotion and deepening of Chinese contemporary art.

【編輯：張瑜】