19世纪的德国思想家马克思曾说：“人类科学将包含自然科学，同样，自然科学也将涉及人类科学。在不远的将来，这两种不同的科学将融为一体。”他对未来的预测已出现并贯穿于整个20世纪的时空。
在21世纪，马克思关于人与自然混合（横向交流）的科学理论已逐渐演变为一种新的统一。这种统一的情形和观念综合了所有不同领域的知识、文化、政治和社会经济学，它是结合了现有理论和事实的一种新现象或新态度，也是把现有的态度结合起来的理论和现实。在20世纪，马克思科学理论在唯物主义的框架内是实用且有价值的。而在21世纪的“信息时代” ，所有的人类实践和纷繁的现实相互交织在一起，这个统一的概念更成为当今人类新的指导体系.
社会生物学家爱德华 O. 威尔逊指出，二十一世纪的人类信仰已进入一个物质现实和网络现实统一认识的新范畴。在当今世界互联网的影响下，历史变迁、政治议题、文化经济和人文科学正在经由混杂的方式改变。在这个统一的新时代，图像和 现实越来越像鬼魂一样到处浮游。换句话说，今天的图像和现实像一个透明的“玻璃”一样在存在和虚无之间变得越来越脆弱。
在这统一的时代，武明中的新作品不断地质疑人的关系的脆弱性，这种情形贯穿于从20世纪到21世纪复杂的历史、政治、经济和文化的过渡时期。他以其独特的方式传达统一的观念，表现着像倒塌的墙壁般的人与人，物与物，空间与空间，时间与时间和情感与情感之间的关系。用他自己的视觉语言——“玻璃”意象去表达世界和真理的脆弱性（不仅是人与人之间的关系），武明中带领观众重新思考我们暧昧的、脆弱的、甚至破碎的人类经验。在他的作品中，政治人物、宗教圣像和情人好像是出现的不可触及的鬼魂。然而，这些浮游的鬼影不时地进出我们的身体，就像是武明中玻璃图像中的空气和葡萄酒。由此，我设想武明中是想通过他的象征性脆弱图像来表达荒谬的具体现实和关系。总之，他以本土和全球的视角来观察诡异、变化的社会经济和文化价值。在这一背景下，他的脆弱现实象征着当今充满了不确定性和不稳定性的虚假现实。
在武明中的一系列新作品中，如“朋友，小心轻放！”“心灵”“宗教圣像”“情人”和“相扑”等，让我体会到，他通过脆弱的“混合现实”方式对中国和世界的现实表达关切。这是对当今混杂与统一的现实的一种独特的艺术视角与思考。因此，我认为武明中的新作品是以他自己的创作方法来呈现21世纪的混杂与统一的宏大叙事。
此外，武明中以互联网为新媒介的实验作品《搜索历史》，其本身就是对统一的另一方式的认知。换言之，这一新作是世态画和互联网艺术流派中对混杂和统一的新视野。在不同流派共生的过程中，在统一的艺术大网里，不同流派借由新网络共同成长。
如今，武明中的新实验艺术正跨越到“混合现实”、“扩张现实”和“整合过程” 的新轨道。在他视野的新角度中，我看到了一位艺术家“平衡”思想的轨迹，以及对于不同时间、空间和历史的敏锐判断力。
Entering a Unique Hybridity and Consilience
-New dimension of Wu Mingzhong’s Art
Wonil Rhee /Curator of BSi Art Collection, Switzerland
In 19th century, German Thinker Karl Marx said “Human Science will involve Natural Science. Likewise, Natural Science will also face to Human Science. In nearest future, these two different sciences will merge into oneness.” His words became a futuristic forecasting value which emerged and penetrated throughout the entire time and space of 20th century universe.
Nowadays, in our contemporary era of 21st century, Marx’s science theory of Hybrid (or Cross-over exchange) between nature and human being has been evolved as a new status of “Consilience”.The status and concept of “Consilience” is about gathering all different streams of knowledges, cultural studies, politics, and socio-economics.This new notion of “Consilience” means a new phenomenon or attitude of linking existing theories and realities. Marx’s science theory was effective and valuable within the frame of “Materialism” which was the essence of 20th century. Whereas, in 21st century of “Information Era”, in which all of human practices and mixed realities started to mingle from one to the others, this notion of consilience became more a new navigation system for contemporary human kind.
As Scociobiologist Edward 0. Wilson pointed out, the faith of 21st century human kind entered a new horizon of “The Unity of Knowledge” in both physical reality and cyber reality. On the universal net work of today, transitional history, political issues, cultural economics and humanities is on the track of transforming through the passage of “Hybrid knowledges”. In this new era of “Consilience”, images and realities are becoming more and more like ghost-spirit which is floating in the middle of nowhere. In other words, today’s images and realities are becoming more vulnerable and fragile in between “existence” and “absence” like the nature of a transparent “Glass”.
In this Era of “Consilience”, Wu Minzhong’s new works are constantly questioning about the fragility of human relations, which is in the state of being complicated situation of history, politic, economic, and culture throughout the transition from 20th century to 21st century. His unique methodology of conveying the notion of “Consilience” reflects the collapsed firm walls of the relations between human to human, object to object, space to space, time to time, and emotion to emotion. By using his own visual language of “glass” imagery that symbolized the fragility of universe and truth (not only human relations), Wu Mingzhong guides the viewer to rethink our ambiguous, fragile, and even dismantled human experiences. His images of politicians, objects, religious icons and lovers are rather to be appeared as a shape of ghost, which is unable to retreat as it is untouchable. Rather, these floating ghost images come in and out over and over again into our body, just like the air and wine in Mingzhong’s own image of glass. At this point, I assume Wu Mingzhong may paradoxically dream about a more firm and concrete realities and relations by presenting his symbolic fragile images. After all, his painted imagery is representing the haunted, transferring relationship and socio-economic, cultural values in local and global perspective. Within this context, his ‘fragile reality’ is symbolizing the artificial reality of today, which is filled with uncertainty and unstableness.
In his new series of “Friends”, “Heart in a box”, “Religious Icons”, “Lovers”, and “Sumo Wrestlers”, I breathe the fragile “mixed reality zone” on the orbit of his thoughtful idea of Chinese local reality and global reality. It is a unique artistic observation and reflection on today’s Hybrid and Consilience realities.
Therefore, I manifest that Wu Mingzhong’s new works present the grand narrative of the Hybridity and Consilience in 21st century by his own creative methodology.
Moreover, his new trial of new medium of Internet art “Search for History” itself is another type of realization of his notion of “Consilience”. In other words, his new Internet piece of “Search for History” is a new type of horizontal hybrid and consilience among the genre of painting and Internet art. These “Horizontal Consilience” among different genres is a process of “mutual evolution” maintaining the nature of differences of genre. In this net of artistic consilience, new net-work in between two different genres proliferates together.
Now, his new experimental artistic trials are leaping onto a new track of “Mixed Reality Zone”, “Augmented Reality Zone”, and “Horizontal Consilience Process”. Standing on his new horizon of perspective, I see an artistic orbit of “Navier-Stokes Eqauation” by a thoughtful, penetrating sense of history and different time and space.
【编辑：大崔】
