“香皂剧”-云南八幕戏
策展人毛迪（以下简称小毛）和艺术主持毛旭辉（以下简称大毛）的对话：
小毛：毛叔好！您是怎么看待“香皂剧”-云南八幕戏这样带有时代消费感和个人叙事的策展方式的？
大毛：我们说的二手也好，山寨也好，肥皂剧也好，所有的现象说明了一点，今天是一个消费的时代，什么东西都被拿来消费，比如历史，文化等，都是以一种消费的方式呈现的，作品的表达是每个人的小剧场，但又有很多共通的精神品格和文化态度，没有宏大叙事之后，个人叙事是普遍性的。
小毛：您觉得象这样的展览带有地域性的特征吗？
大毛：今天的展览已经没有很明显的地域特征，当代艺术已经不需要用地域来划分，现在都是很个人的，又受整个大背景的影响，现在也不强调地区感觉，地域已经不是一个问题，也许也是一个问题，但作品已经很难看出地域的差别，总的来说是同步的。我所说的同步，就是现在年轻人绘画的方式，思考的方式，感觉的方式，都是和当下同步的，并没有违背大的文化趋向，我们找不到一个完全逆潮流而行的一个作品，我不认为这种现象不好，但是这是一个很趋同的世界。我们今天已经把地域消灭掉了，这个曾经是我们的理想，但是今天成了一种可能会让文化停顿的障碍，所以某一个历史时期要强调区域性，某一个历史时期又要把地域性消灭掉。在80年代的时候我们就想把这个区域性消灭掉，20年后的今天，这个区域性自然的消失掉了，其中有经济的发展，文化国际化的交流所带来的结果，但我还是相信这其中有80年代的艺术家和文化人所作出的努力，中国在发生这种变革以后，过去想要推翻的东西今天已经成为了现实，现在不要说云南，就算是在全世界范围内，要区分哪里的艺术家已经没有意义了，所以在这个意义上我说这是同步的。
小毛：您是怎样看每个人的参展作品的？
大毛：像李凡的作品就是从二站影视里面来的历史感，而不是从真实的历史里面来的，从传媒手段中获得了创作的依据；而和丽斌又强调了人与自然，有地区荒原的大气和人类的渺小，很有80年代的趣味追求和在里面，比较沉重和哀怨，这和他的年龄和人生经历也有关系；王继伟又是从中国传统文化的戏剧里面抽取了素材；肖旭琳和李瑞的作品要贴近生活一些，和自身的生活和思考更加紧密，也更符合个人的气质，貌似随意的东西却做到位了。肖旭琳的绘画有更多信息图象时代的感觉和年轻一代的个人气息；李瑞是我的学生，一直看着他走，我认为他表达的不仅只是这一代人的生存环境，他是一种心态，一种极富幻想性的思考，其中又夹杂着一些焦虑，有这个时代给人的轻飘飘没有着落的感受，可能是来自对生存或者对未来的迷失；张德华把欲望放在了盘子里，很契合当下社会精神空虚的欲望膨胀；尹雁华的作品，是非常标准的卡通插画，很具趣味性，做成动画会非常有意思。把一切都当成游戏，是这个时代有意思也是可怕的一点；蒋鑫的作品有一种政治性，这种政治可以和李凡的作品放在一起看，其实都是他们个人没有经历过的历史，接收了一种二手历史的信息而获得一种灵感，这种历史已经演变为当下青年的一种时尚，和真正历史意义上的革命，理想，左派都没有关系。像李凡的沙盘和剧场式的现场已经和真实的历史已经没有关系，这个可能也是今天新的一代人看待过去的一种方式，确实体现出这是一个信息时代的状态，有方便的一面也有很可笑的一面，从年轻人作品里面所看到的历史和真实的历史相差得太远了，变成了一个游戏而不是血淋淋赤裸裸的历史，然而这又恰恰是作品有意思的地方。
小毛：对于我们共同成长的一代年轻的艺术家，批评家和策展人一起做展览您是怎么看的？
大毛：当然是个好事情！对于推动当代艺术的发展，包括对自身的锻炼以及各个环节的合作都是有好处的。支持你们多做些有意思的展览。
Dialog of exhibition “Soap Opera”----- The Art Exhibition of Yunnan Eight-Screen Theater
Between: MAO Di , MAO Xuhui
Di: How do you look at the “Soap Opera”? How does the exhibition express both the concepts of consumerism and of personal narration?
Xuhui: what we are talking about is a kind of second hand, imitated soap opera. Everything just evidences one point ; today everything leads to consuming more. No matter the history, the culture, all at present drives you to consume more goods ! Art work is like a small theater which belongs to each artist individually, but there are many points in common like spirit and attitude: when historical description is gone away, only personal means prevail.
Di：Do you fell this kind exhibition contains some marks of a regional character ?
Xuhui: Today, exhibitions bear no obvious signs of any regional character. As such, Modern Art does not need to be parted by region. Everything is personal, but does include the influence of a broader background. We don’t especially point out any feeling of region, and art work itself also does not show that much difference of region. The modern young generation shares a similar way to paint and think. They share the same feelings, but nothing being against the main trends of culture. We cannot find any art work which could be completely against that trend. Keeping regional characteristics was our ideal, but today, it is hardly possible to object or to block the trend of new culture development. During the eighties we wanted to erase this regional difference. 20 years later, this regional difference naturally disappeared. Many reasons for that ; huge economic development, tremendous inflow of culture exchanges at international level, and also an outstanding hard work supplied by Chinese artists since then.
China has made huge changes, not only Yunnan artists ! So did also all artists worldwide, and you will agree anyway there is no point to differentiate where they come from.
Di: how do you look at artworks of this exhibition?
Xuhui: LI Fan’s work shows lot of attention about WWII’s history, but that’s in fact the kind of history which comes from war films or videos, it is not an expression of real history, his creation being based on wide media information.
HE Libin emphasis relations between human being and nature, he shows us how nature is a magnificent land and how human beings look like pretty small chicken shit inside of his paintings. There are also some reminders of the eighties, with sad sensations, which are probably very linked to his own life experience..
WANG Jiwei picks up elements from Chinese traditional culture and drama. Xiao Xulin and LI Rue are very much closer to real life as they pay more consideration to their own life and show us more of their proclivity to it. Xiao Xulin’s paintings contain a sense of the breath of the young generation ; they also contain new feelings related to the era of images in which we are now.
LI Rue is my pupil, I think what he wants to express is not only the living condition of this generation, but also his genuine own perception of the world in which we live. He express fantasy mixed with worries, it seems like the subjects’ lives have no weight. This feeling may come from a kind of loss : why do we exist ? what is future made of ?.
Zhang Dehua put his desires in plates, it is a metaphor about the minds of people that are barren from spiritually, and stung with desires. YIN Yanhua’s art, is as a form of iconography for cartoon books, very interesting. All things could be seen as a game, that makes this present time funny but also somehow awful !
JIANG Xin shows clear view of politics, so we can put him and LI Fan together, and it will bring forth one thing : whilst indeed both of them got no real experience of the history they represent in painting, they rely on second hand information they collected and get inspiration from it.
As I said earlier this is the kind of mode young people work with today ; nothing being linked with real meaning of revolution’s ideal. These different views bring to their art works something quite amusing, also something farcical. What they show is too far from any truth or reality, then any part of bloody scenes of history becomes a game, which make them different.
DI: same generation is together, working either as artist, art critic or curator, how do you feel about it?
Xuhui: This is great, absolutely a good thing. It gives an impetus to art development, does improve personal capacities. I do support it.
【编辑：霍春常】
