开幕式时间：2008年09月04日 下午3：00
展览日期：2008年09月05日——2008年09月21日
展览地点：今日美术馆2号馆 2 层
策展人：黄燎原
忻海洲是一个记录者，不仅是记录时代变化中的人，更是在记录急剧发展的社会给人自身造成的种种影响。一直处于作品中心的人物正经历着青春的激情和痛苦，暗示了与这个国家几近相同的遭遇——这种心理分析式的绘画语言贯穿忻海洲作品的始终。对摄影和录像等现代观看方式的不断吸收，则显示了忻海洲作为一个具有现代主义绘画情结的实验者令人钦佩的敏感。他将不断绵延的个人叙事整合起来，构成了一个具有普遍性的青春整体叙事，就此而言，作为敏感的青春叙事者，忻海洲坚持了他早期的基本信念，他的艺术是60年代出生的艺术家中具有标志性的形象文献。他的作品在标题上就直通通地强化点题，并且原封不动地揭示一些臆想，揭示一些粗话、秽语、猥词在臆想里的转化，比如《去死！》和《挨球！》，又比如《尖叫》、《哪儿来的鎯头？》；它们点明那奇特的认定（《白.闷棍》），它们简洁地提出问题（《哪（儿）的事啊？》）；它们甚至在《世界尽头》上表现年轻人那些显而易见的、极为错综复杂的感情。在忻海洲具有独一无二意义的绘画艺术里，青年人的命运经过艺术加工而得到了提升。从许多方面看都是这样。
Xin Haizhou is a recorder. He does not just record the people in the changing times, but also the various impacts on those people from the fast-developed society. All the characters in Xin’s art works had been experiencing the passion and the pain in their youth, which implies mostly the same experience of the country----this psychological analyzing painting language has been through all of Xin’s paintings. Absorbing successfully from the modern art of photographs and videos shows that Xin Haizhou has the admirable sensitivity as a modernism experimental painter. He will continue to reorganize his personal narrative to formulate a comprehensive narrative on youth. As a sensitive narrator, Xin Haizhou keeps his initial beliefs. His art is the figurative documentation of artists from the 1960s. His new pictures come straight to the point. Their titles are drastic invocations and the paintings portray impassively the apparent conversion of some of the ominous four-letter-words such as “Fuck” and “Shit”, as well as “Shouting”, “Where does the hammer come from?”, the strange observation “Staggering blow with a cudgel” and the terse question “What’s Happening?”, or even the obviously very ambivalent feelings of young people at an “End of the World”. In Xin Hai Zhou’s singularly impressive pictures the youth’s fate is in good hands artistically - in many respects.
【编辑：霍春常】
