Preface: Why contemporary art
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.
Fording · Stick to · Witness
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.