1. Interpretation of the theme
The first decade (2000-2009) of this new century is hastening in its close. The Modernist movement initiated in 1980s has made numerous significant achievements in the new century after the political and cultural transition under the market economy of 1990s. How to evaluate the new art in this decade is quite an interesting issue. In view of this, we decide to plan and organize the exhibition titled ‘Reshaping History——Chinart from 2000 to 2009’, as well as a ‘Special Documenta’ and a ‘China Youth new art Invitational Exhibition’ with historical relationships with it.
Three decades have past by since the beginning of Chinese modern art symbolized by the first ‘Stars Art Exhibition’ held in 1979. Along with tireless creation of several generations of artists and the gradually set up artistic critical system, Chinese new art which is usually formulated, especially in the new century with the term ‘contemporary art’ (this term was used in artistic critique from 1992), has become a hot spot globally, and the marketization of art further confirmed and expanded the development of Chinese contemporary art as well as its social influential power. However, negative effect emerged together naturally. Now we could see that the decade from 2000 to 2009 not only received transformation from external circumstances and conditions, it is also reshaping its own history in establishing cultural subjective consciousness, fighting for legitimized identity and freedom of expression. In fact, Chinese new art and its history is experiencing constant ‘reshaping’, especially against the background of the global economic crises started from 2008, this ‘reshaping’ is taking place dramatically.
2. Why do we hold this exhibition?
By the end of 2006, one of the curators of this exhibition, Lv Peng finished writing the book titled ‘A HISTORY OF ART IN TWENTIETH-CENTURY CHINA’. To put and treat the history of modern art since 1979 and contemporary art since 1990s into the historical framework of the past 100 years is one of the most important tasks in writing this art history work touched upon more than 100 years. What the author tried to explain is: those new art which were not approved and accepted by official artistic institutions (during the last three decades, they were respectively expressed in terms like ‘Avant-guard’, ‘Vanguard’, ‘Modern’, ‘Underground’ and ‘Contemporary’ for different targets of different periods) have close relationship with the specific historical context in which they were created, they are the most representative art phenomena of our times, we should research into these problematic phenomena through writing, publishing and holding exhibitions.
As time passes by, the contemporary art phenomena of the first decade of 21st century has been put on the agenda as an issue. We must follow the pace of time closely and do timely selection, analysis, explanation and judgment on the phenomena passing away. There had never been a essentialist criteria in history, neither there had been any absolute truth buried in unconsciousness or collective unconsciousness in history for us to explore. History only exists in rational judgment and actual writings. Based on such a view, we decided to select and measure the numerous materials and organize a comprehensive exhibition. In another word, we hope to discuss with everyone about what new art and phenomena value records in the first decade of 21st century. In such a period chaotic yet full of possibilities, we hope to make observation and analysis on the artistic development of this decade from a macroscopic and positivist perspective, comb out a historical clue and consolidate as well as complete the historical judgment which has been opened by most critics through ‘sampling analysis’ of the artistic phenomena of the new century. Thus we could manifest and summarize the existing achievement of contemporary art and provide richer materials and wider space of discussion for the further more artists and art historians (including critics) . Moreover, we would provide a ‘historical document’ with reference value for the creation of artists and the direction of Chinese art in the coming future.
3. The Academic Goal of the Exhibition
There would be three perspectives of the academic goal of this exhibition. First, clarify the historical ‘legitimacy’ of new art in the new century through pictures and historical representation, against a succinct historical background with basic content and judgment. Second, give positioning analysis to those artists who have shown importance in the new art history, in order to make audiences understand the reason why the work of these artist might be part of the history. Third, try our best to make historical analysis and peruse the exhibited works of artists who have been ‘historical samples’.
Audiences would see the achievement of study from the three aspects written above at the opening of our exhibition.
4. Exhibition and Organization
Title of the exhibition:
RESHAPING HISTORY Chinart from 2000 to 2009
Curators: Lv Peng, Zhu Zhu, Gao Qianhui (TW)
Organizers:
Institutions of Chinart
Guangdong Museum of Art
Poly Art Museum
Today Art Museum
Arario Gallery
China Art Investment L.L.C. (HK)
My Humble House Art Gallery (TW)
Co-organizer:
99 Art Network
Pedagogical Activity Support:
Ullens Center for Contemporary Art
Duration:
National Convention Center 2010/5/4-5/21
Today Art Museum 2010/4/25-5/19
Arario Gallery 2010/4/25-6/12
Open:
National Convention Center 2010/5/4 14:30
Today Art Museum 2010/4/25 14:00
Arario Gallery 2010/4/25 16:00
Exhibition Organizing Committee:
Lv Peng Director of Institutions of Chinart
Shao Shan Vice-Director of Guangdong Museum of Art
Zhao Xu Executive Director of Beijing Poly International Auction Company
Zhang Zikang Director of Today Art Museum
Yin Zaijia Chief Inspector of Arario Beijing Art Space
Wang Dingqian Chairman of My Humble House Art Centre
Zhu Zhu Curator
Gao Qianhui Curator
Yang Kai CEO and Chief Editor of 99 Art Network
Chen Mo Critic, curator, Executive Chief Editor of “The Great Art” (da yishu) and Professor
Address: Room 201, D1, Fengde International Plaza, No.6, Hangkong Road, Wuhou District, Chengdu, Sichuan Province，China.
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Tian Meng (86-0-15608063745)
tianmeng3-811027@163.com
Exhibition Affairs/Academic editor
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qingweilan@126.com
Translator/Editor of English Versions
Mona (86-0-13882267463)
monamoon@live.cn
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5. Selection, Requirements of Artistic works and the Scale
A. Way of Selection
Since exhibition is part of the work of history study, we use ‘historical sample’ as our way to select works which could reserve space for academic consideration. We won’t decide a complete name list of artists before the exhibition; we prefer to choose artists and their works gradually based on observation of artistic phenomena. Such an operation mode contributes to a more prudent analysis of the art status and selection of artists to join the exhibition.
B. Requirements of works and Scale
a. In consideration that this exhibition is a study of art during the first decade of the new century, only works created after 2000 could be proper for this exhibition. There is no limitation on material and form: All works that could be exhibited in the venue including paintings, pictures, videos, installations and others could be proper.
b.In consideration of the exhibition condition and that the exhibition observes recent art, we would exhibit the latest works of artists in principle rather than borrowing works from institutions other than artists themselves.
c.The exhibition plan to invite artist who have made contributions in the three decades reform since 1979 to take part in, and each plane class artist should provide at least 4 pieces of work, while works of artists of other classes could be decided and adjusted according to specific circumstances.
d.Considering the scale of the exhibition and the organizing work, organizer would not provide any expenses related to the creation of works.
e.The exhibition would be separately held in venues including Guangdong Museum of Art, Poly Art Museum, Today Art Museum and Arario Beijing Art Space according to different themes and the design of the exhibition.
6. Reshaping History——Special Documenta
History never come into being and exist in isolation, there must be some logic relationship in any historical phenomena with the former history. Although ‘Reshaping History——Chinart from 2000 to 2009’ is a generalization and sample study of the art phenomena and issues during the first decade of the new century, but this study should be carried out in a historical context, therefore, artists with important positions in the art history from 1979 to 1999 should be involved in the exhibition. This is the foundation and logic of New art
7. Reshaping History——‘China Youth new art Invitational Exhibition’
Tremendous changes have taken place in all levels of Chinese society since 1979. Young artists always stand on the top of the waves of history in all the great changes of society and politics. However, we could never say that the art of young artists exceed their predecessors with some advanced quality. It’s much more proper to say that every generation of young artists constructed their own history with their own collective experiences and specific personal experiences. In this sense, although Chinese new art have close association with social, political and economic factors, this association is not simply historicism or social reflectionism. Therefore, ‘China Youth new art Invitational Exhibition’ should be included in the ‘Reshaping History——Chinart from 2000 to 2009’, in order that we could research and display the characteristics of Chinese Youth art today. Only Artists born after 1969 could take part in this part of exhibition.
8. Reshaping History——Young Critics Forum
A. Theme of the Forum: Reshaping History
At the beginning of 1990s, with the gradually mature system of Chinese market economy, contemporary artistic phenomena and post-modernist theory happening in the West was introduced to China. This became an important element in promoting the transition of Chinese new art, and it also extended the space and provided theoretical basis for Chinese contemporary art creation, critiques and study. However, ‘pluralism’ in post-modernist theory also misled many critique and study to break away from the basic stance and historical context of Chinese new art, which resulted in the vague and general problems in critique and study. Therefore, Chinese new art stance and writings of Chinese new art would naturally and necessarily become our issues we study today.
In view of this, the forum would be carried out around two main topics:
a. The stance of new art
b. The writing of new art history.
B. Time of Forum: (undetermined)
C. Venue of Forum: (undetermined)
9. Publications
Books planned to publish include:
Adventures during three decades: art and artist since 1979 (Chinese Version and English Version)
Reshaping History——Chinart from 2000 to 2009 (Chinese-English Version)
Temperament and Civilization——Reshaping History Chinart from 2000 to 2009 (water and ink Album)
Stance on Contemporary art history——“Reshaping History” Album of the Young Critics Forum (Chinese Version)
Reshaping History——A report on academic assessment of China Youth new art Invitational exhibition
Art Operation: the document of an exhibition
‘Reshaping History’ Exhibition organizing committee
2009/10/30 Friday
【编辑：张瑜】
