我天生就是一个好事之徒，唯恐天下不乱。毛主席讲“大乱才能大治”，讲得好！没有十年文革之乱也就不会有改革开放的彻底。
如果说49年的解放是穷苦人翻身做主人的人身解放，那么80年代的思想解放是整个国家不分阶层的精神自由。
1979年，我在沈阳的一个小工厂当工人，业余习画，经朋友介绍，一次进京看画展时结识了星星画会的成员之一曲磊磊，我看到了《今天》，看到了星星的闪亮。
尔后，1981年我考入了中央美院，那时候“生活在别处”，于是下江南，去西北，走过新疆、西藏。回到校园，讲座不断，大师们（当时确有众多真正的大师）经常出现在讲台之上，社会上也时常会惊现思想的黑马，西方思潮全面涌入，传统文化也在复归。老师同学打成一片，沉浸在哲学思辨的氛围之中，令人联想起雅典学派，百家争鸣。
很快，时代的激荡已经无法安放一张平静的书桌了。我先是在美院成立剧社，导演了一出荒诞版的《茶馆》，不久便串联八大艺术院校的同好组织了“中国大学生艺术团”。
由于自恋的缘故，我开始用摄影机记录身边的事情，但是很快便感觉到这个时代大艺术、大文化领域的震荡和变革才更值得去关注。
时值85新潮美术的巅峰时期，各地的艺术团伙纷纷揭竿而起，反叛早已僵化了的传统美协体制。一份中国美术报便可见天下英雄四起。当时的艺术青年个个长发飘逸，标榜新潮却又颇有文人扮武行的古意，他们不约而同地喜爱在露天的空间自由的表现自己。
在一位当时颇有影响力的青年导师的支持之下，我开始拍摄《大地震》，试图将这群急不可待要跨进下个世纪的混蛋们一网打尽。我策动组织了包扎长城，参与策划并记录了89现代艺术大展上的“七宗罪”。
遗憾的是，80年代戛然而止了。沉寂三年之后，我从藏区返回都市，开始重访80年代前卫艺术领域的重要当事人，但这时发现许多艺术家都已经远走他乡，历史进程以无法预料的力量改变着一切，一个资本统治的时代降临了。
93年中国艺术家集体亮相威尼斯双年展，标志着历史已然翻篇儿，80年代的梦想渐行渐远。多年在地下苦苦挣扎的前卫艺术逐渐创造了神话般的商业奇迹。但是，坚守精神一脉的艺术家仍然大有人在。他们面对国际化的误读，资本的操控依旧挣扎在精神和生存的底线。
呈上这部以个人视点出发记录的关于80年代中国前卫艺术精神的影像档案，虽然无法做到大而全，也不可能做到绝对客观，但有一点，我相信我所曾面对的一切都是值得珍视的。
太史公道听途说，无非是为了捍卫历史的记忆。本人三生有幸80年代恰好在场，既是参与者又是见证人，但更主要的是一位好事的倾听者。
倾听他们的诉说吧，有的是在现场的表述，有的是在距离现场较近的时空之中的回忆与思考。那是严肃的用心的真诚的声音，既非大师在讲坛上的宣讲，也不是明星面对媒体时尚化的粉饰。
向档案涉及到的所有艺术家致敬！
向那个理想的浪漫的自由的时代致敬！
温普林
2009.8.21于东台书院
翻译：唐宇萱
My 80’s
I’m always looking for a chance to stir up trouble, I’m a busybody inherently. Chairman Mao well said: “the great order comes from the chaos”. No 10 years’ Cultural Revolution, no reform and opening.
If we say that liberation of 1949’s, poor people become their own physical master, then the emancipating the mind of 1980’s, the whole country regardless of their class in the spirit of freedom.
In 1979, I was a worker in a small factory in Shenyang, amateur painting. Once, I went to Beijing to see the exhibition of paintings, and my friend
introduced a member of Star Painting, Qu Leilei. And I saw “Today”, I saw the sparkling of stars.
Later, I was admitted to the Central Academy of Fine Arts in 1981, which is life as traveling, so I’ve been to Jiangnan, northwest, Xinjiang and Tibet. Otherwise, there’re many seminars, masters (real masters) often appear on the podium above; the amazing thought be usually discussed, the western thought would be come over, traditional culture was also reversion. Teachers and students get along well. In the atmosphere of philosophical thought, associating the Athens School, voices can be heard.
Soon, the time of agitation can no longer be placed in a quiet desk. I first set up the Drama club in the Central Academy of Fine Arts, and directed a fantastic version of “Teahouse”, and organized the “Chinese College Students Art Group” with another 8 art schools.
Because of narcissism, I began to use my camera to record things around, but I quickly found that the great art of this era, the culture’s shock and change is more worthwhile to pay attention to.
When the peak period of 1985’s trendy art, local art groups, one after another rise in rebellion, overturn the already rigid structure of traditional fine art. One Chinese art report shows the world of hero everywhere. At that time everyone in the art of young people with long hair, advertise trendy but still have some “old”, they all like the freedom of open space to express themselves.
With an influential and young teacher’s support, I began filming the “big earthquake”, in attempt to catch those fellows, whom can’t wait for the next century. I organized to bandage the Great Wall, participate in the planning and recording the “seven” on 1989’s contemporary art exhibition.
Unfortunately, the 80s ended abruptly. After 3 years of silence, I returned from the Tibet, and began to re-visit the major parties of 80s’ avant-garde art. But I found that many artists have all left to other countries by that time, and historical processes to changes everything, a capital time is coming.
In 1993, Chinese artists show up collectively in La Biennale di Venezia. Marking the history is over, 80s’ dream never come back. Many years of struggling in the underground avant-garde art gradually created a fabulous business miracle. However, there’re artists still sticks by the original spirit. They faced the international mistaken, the capital control, still struggle for spirit and life.
Bring to the personal view’s video record on the 80s Chinese avant-garde, I believe it will be worth and treasure, even though it won’t be great, complete and absolutely objective.
It’s nothing more than to defend the historical memory. I was lucky in the 80s, so I was a participator and witness; most importantly I was an enthusiastic listener.
Listen to their words, some at the scene of presentation, some from the scene among the more recent memories and reflection. That is a serious and sincere voice, is neither the master’s speech on the podium, nor the fashion star over the media.
To pay tribute to all artists!
To pay tribute to that ideal romantic and freedom era!
Wen Pulin,
2009.8.21, Dongtai College
Translator：Tang Yuxuan
【编辑：海英】
