前言：为什么要当代艺术

孙振华

十多年前，深圳市酝酿建设当代艺术馆。当时有人提出：为什么要搞当代艺术呢？主管此事的副市长，是一位海归博士，她回应说：当代艺术是一种国际语言，如果深圳要建设一个国际化城市，就必须要有当代艺术，这样才能参与国际之间的交流和对话。这番话给我留下了深刻印象，她虽非文艺专业出身，但对当代艺术的理解却非常透彻。

当代艺术为什么是国际的？这是因为，当代艺术并不只是意味着一些作品以及创作了这些作品的艺术家；更重要的，当代艺术的背后是一个整体系统：除了价值系统，还有一套生产、流通、推广的技术系统。如果细说，它包括观念和语言系统、美术馆和展览系统、媒体推广和宣传系统、策划人和经纪人系统、博览会和画廊系统、拍卖和收藏系统等等。当代艺术的确立，意味着这套系统的相对完善。

所以，当代艺术是一种系统生产。在全球化背景下，各国当代艺术在技术层面上，基本都在按照这个系统运转。我们常说与国际接轨，指的就是进入这个系统，依循这套系统规则，在与国际的交流、互动中，取长补短，发展自己。

如果有人说，我不要当代艺术，就想坚持传统不行吗？那当然没问题。你完全可以沿袭古代文人的方式，不做展览，不进市场，不要文宣，聊以笔墨自娱，只是通过笔会、雅集呼朋唤友，相互观摩和交流，这是可以的呀！

这就和现在有些家长一样，由于学校教育存在问题，就让孩子回家，重回私塾制的道理相同。然而，教育和当代艺术一样，它也是系统性、国际化的。现代学校本身就是一套系统设置，它的招生、学制、课程设置、教学、考核等等，在国际上有着大致相同的标准和衡量尺度，它们相互之间是可以交流、互通的。私塾与这个系统相比，就显得格格不入。更何况，就算回到私塾，在今天也必须承认人类现有的知识体系，总不能另搞一套，重新回到鲁迅先生描写的“笑人齿缺曰狗窦大开”的知识状态中吧！

中国当代艺术在它几十年的发展中，虽然一直面临着种种问题，但是它对中国社会的发展和进步所起到的特殊作用，到目前还远远没有得到足够的重视。人们似乎更热心当代艺术的价格，而忽略了它的品质；更热衷于打听当代艺术家的八卦，而忽视了他们的内心。很难设想，在中国改革开放的历史进程中，如果没有当代艺术的介入，没有人们精神世界和审美世界的解放和改变，何以能发生如此的变化？

当代艺术很难直接干预现实，改变现实；但是，它总是能够从特殊的角度提出问题，制造话题；它有助于改变人们传统的思维习惯和看问题的方式；它让人们在看世界、看社会、看个人的时候，不断产生疑惑，不断探求答案，不断发现新的可能。而开放的心智，包容的态度，探索的精神正是一个时代和社会能够得到创新发展的心理基础。

园美术馆以“中国当代艺术研究”系列项目作为它的开馆展，充分体现了该馆的学术眼光和学术定位。首次参展的这些当代艺术家都是在中国艺术界具有很高知名度和影响力的佼佼者，可谓“人人握灵蛇之珠，家家抱荆山之玉”；他们不仅是中国当代艺术的亲历者和见证者；同时，他们每个人都是一个不断变化的个人故事，也是一个有独特价值的艺术史个案。他们或许并不缺展览，也不缺知名度；但是，从研究的角度而言，就像我们在今天如何看待中国当代艺术的价值一样，都还只是刚刚开始。

Preface: Why contemporary art

Sun Zhenhua

More than 10 years ago, Shenzhen considered building a contemporary art museum. At that time, some people asked: why do contemporary art? The vice mayor in charge, a doctor who has returned from overseas, responded that contemporary art is an international language. If Shenzhen wants to be an international city, it must have contemporary art so that it can participate in international exchanges and dialogues. These words left a deep impression on me. Although she did not major in literature and art, she had a very thorough understanding of contemporary art.

Why is contemporary art international? That's because contemporary art isn't just about the works and the artists who make them; More importantly, behind contemporary art is a whole system: in addition to the value system, there is also a technical system of production, circulation and promotion. If detailed, it includes concept and language system, art gallery and exhibition system, media promotion and publicity system, curator and broker system, exposition and gallery system, auction and collection system and so on. The establishment of contemporary art means the relative perfection of this system.

Therefore, contemporary art is a kind of systematic production. In the context of globalization, contemporary art in all countries is basically operating in accordance with this system at the technical level. We often say that to be in line with international standards means to enter this system, follow the rules of this system, learn from each other and develop themselves in the exchange and interaction with the international community.

If someone says, I don't want contemporary art, can't I just stick to tradition? That's no problem. You can follow the ancient way of literati, do not do exhibitions, do not enter the market, do not propaganda, chat with pen and ink to amuse yourself, just through pen meetings, elegant collection of friends, mutual observation and communication, this is ok!

It is the same reason that some parents now send their children home and go back to private schools because of problems in school education. However, education, like contemporary art, is systematic and international. The modern school itself is a set of system Settings, its enrollment, length of schooling, curriculum, teaching, assessment and so on, in the international has roughly the same standards and measures, they can communicate with each other, interworking. Compared with this system, private schools are out of place. What's more, even if we go back to private schools, we still have to recognize the existing knowledge system of human beings. We cannot create another one and return to the state of knowledge described by Lu Xun, "people laugh when their teeth are missing, and dogs' sinuses are wide open".

In its decades of development, Chinese contemporary art has been faced with various problems, but its special role in the development and progress of Chinese society has not received enough attention so far. People seem to be more interested in the price of contemporary art than in its quality; More interested in the gossip of contemporary artists, but ignore their heart. It is hard to imagine how such changes could have taken place in the historical process of China's reform and opening up without the intervention of contemporary art and the liberation and change of people's spiritual world and aesthetic world.

Contemporary art is difficult to directly intervene in the reality, change the reality; However, it is always able to raise questions and create topics from a special perspective; It helps to change people's traditional thinking habits and ways of looking at problems; It makes people constantly doubt, seek answers and discover new possibilities when they look at the world, society and individuals. An open mind, a tolerant attitude and a spirit of exploration are the psychological basis for the innovative development of an era and society.

The garden Art Museum takes "Chinese Contemporary Art Research" series as its opening exhibition, which fully embodies the museum's academic vision and orientation. These contemporary artists who participated in the exhibition for the first time are all outstanding artists with high visibility and influence in the Chinese art circle. It can be said that "everyone holds the pearl of the snake and every family holds the jade of jingshan". They are not only the witnesses and witnesses of Chinese contemporary art; At the same time, each of them is an ever-changing personal story and an art history case with unique value. They may have no shortage of exhibitions or publicity; But from a research point of view, like how we think about the value of Chinese contemporary art today, it's just beginning.

涉渡·坚守·见证·

冯博一

中国当代艺术变化到今天，一路起起伏伏，历经阻滞和坎坷，但仍随着社会的转型、时代的变迁而繁茂地生存着，并形成了当下难以确定的艺术生态。其中，既有新思潮的不断涌现，新的媒介方式利用；又有局势动荡，未来处于不确定的焦虑与担忧；还有近乎残酷的时间、代际的淘汰，许多曾经倍受关注的热度艺术家，现在已经消失殆尽……似乎我们难以怠慢、停歇，只能不断涉渡、坚守！

作为“中国当代艺术研究”系列项目——暨园美术馆的开馆展，邀请了十位资深、成熟、活跃的艺术家，以多媒介方式呈现了他们的代表作品。这十位艺术家，始终对当代文化的敏感所导致在创作意识和视觉语言的不断实验，显示了他们利用中国传统文化和社会现实资源的能量，并艺术地转化为个人创作，以及具有现实针对性地介入社会进程的多种实践的途径。尤其是他们智性的思维，独特的话语，都表现出不同阶段耐人寻味的特点，传达出创作主体对现实针对性的明确姿态和反省意识。从而确保了他们的创作，在整体上一以贯之地严谨、生动，留下了颇具经典意味的优秀之作。抑或也可以说，他们的艺术创作，见证了中国当代艺术步履维艰的发展历程。

不仅如此，他们能够给予时代的可贵东西是坚守。坚守着其中自我的叛逆、质疑，甚至自我放逐与格格不入的表现——那是一个艺术家才能够达到的一种极限。或许这也是他们不断寻求到了一种适宜于自我生存与创作的真实状态，显示了他们偏执于人与物与景观的不确定性所能达到的视觉穿透力，以及借助这样的艺术形式来探寻、实验着自身表达的能量。

坚持并不孤独，总有一些东西在里面，默默地抵达或抵抗。长久以来，这个抵达或抵抗不那么扬声高叫，不那么哗众，却仍然被听到、被关注。也许这是他们执拗的理由之一，又或许只是50、60年代出生的人，才能承受了这一份不独个人的困惑与纠结。他们在自觉地终结某种东西，潜在内心的隐秘只是开始，总有一个向着未必是桃源的世外，却有一个开放的空间。在个体与现实的内外，仍有理想可存放的地方，那就是承担社会责任的义务和作为一名艺术家的敏感与尖锐。

因此，他们的艺术创作既是在中国当代艺术生态中的格外景象，也是邀请他们策展的基本理由。尽管他们的艺术履迹或代表作品形态对许多艺术从业者、学生来说，有些耳熟能详，但将他们的代表性作品云集在温州园美术馆，或许还是第一次。从而为温州的观众提供一次难得的鉴赏机会。其中，不仅可以看到他们艺术创作的进与出，他们生存境遇的挣扎、忿懑、和无奈，知晓他们信念的次次冲撞、失意和与现实之间的张力关系，知道他们的大界限，还有知其可为，或知其不可为而为之的那种50、60年代人才有的行为准则。

Fording · Stick to · Witness

Feng Boyi

Chinese contemporary art has undergone ups and downs all the way to today, experiencing setbacks and frustrations, but it still flourishes with the transformation of society and the changes of The Times, and has formed an art ecology that is difficult to determine at present. Among them, there are both the emergence of new thoughts, the use of new media; Anxiety and worry that the situation is unstable and the future is uncertain; There is also the cruel elimination of time and generation. Many popular artists who once attracted much attention have disappeared now... It seems that we are difficult to neglect, stop, can only constantly wade, stick to!

As the opening exhibition of jiyuan Art Museum, a series project of "Chinese Contemporary Art Research", ten senior, mature and active artists are invited to present their representative works in a multi-media way. These ten artists, who are always sensitive to contemporary culture, constantly experiment in creative consciousness and visual language, showing the various practical ways in which they utilize the energy of traditional Chinese culture and social reality resources, artistically transform them into personal creation, and intervene in social process with realistic target. In particular, their intellectual thinking and unique discourse show the characteristics of different stages of thought-provoking, and convey the clear attitude and introspection consciousness of the creation subject to the reality. Thus ensuring that their creation, in the overall consistent rigorous, vivid, leaving a classic meaning of excellent work. Or it can be said that their artistic creation has witnessed the difficult development of Chinese contemporary art.

Not only that, what they can give The Times is the precious thing is perseverance. Sticking to the rebellious, questioning, and even self-exile and antipathy of the performance -- that is an artist can reach a limit. Perhaps it is also that they constantly seek a real state suitable for their own survival and creation, which shows the visual penetration that their paranoia can achieve through the uncertainty of people, objects and landscapes, as well as the energy to explore and experiment their own expression with the help of such art forms.

Persistence is not alone, there is always something inside, silently arriving or resisting. For a long time, this arrival or resistance has been less loud, less noisy, but still heard and noticed. Perhaps this is one of the reasons for their stubbornness, or perhaps only people born in the 50s and 60s can bear this not only personal confusion and entanglement. They are consciously ending something, the hidden heart is just the beginning, there is always a world towards not necessarily a peach garden, but there is an open space. Within and outside the individual and reality, there is still a place for ideals, which are the obligation of social responsibility and the sensitivity and acuteness of being an artist.

Therefore, their artistic creation is not only an exceptional scene in the ecology of Contemporary Chinese art, but also the basic reason for inviting them to curate the exhibition. Although their artistic tracks or representative works are familiar to many art practitioners and students, it is perhaps the first time that their representative works are gathered in Wenzhou Garden Art Museum. Thus provides a rare appreciation opportunity for the audience of Wenzhou. Among them, not only can see into and out of their art, their living circumstances of struggle, FenMen and helpless, every time a collision, frustrated, and know their faith in the tension relationship between reality and know their boundaries, and is known by its can provide, or to know its not as to the kind of talent in some 50 s and 60 s code of conduct.