杨卫
2008年，华尔街雷曼兄弟公司的破产事件，导致了全球性的金融危机。这也给蒸蒸日上的中国当代艺术泼了一瓢冷水，意味着这个曾经依靠西方资本的扶植而蓬勃发展起来的艺术体制，失去了经济支持的外援。于是，中国当代艺术开始了内部的价值调整。正如某些批评家指出的那样，金融危机将中国当代艺术进行某种冷处理的过程，实际上是一种理性的过滤，它将带来价值标准的重新估量，为学术思想的深度介入提供契机。“领升•2009中国美术批评家提名展”，就是在这样一个历史的转折点上营运而生的，既是学术干预市场的一次努力，也是自主代替外援的一种尝试。它作为“首届领升艺术论坛”的一个现实成果，反映了一批中国的艺术批评家，尤其是青年一代艺术批评家对当代艺术的价值诉求，以及对中国当代艺术潮流走向的基本判断。
参加此次展览的艺术家，是基于首届“领升艺术论坛”的与会批评家，以提名的方式产生的，又经过了论坛学术委员的严格评议和遴选，应该说代表了目前中国当代艺术发展的整体水平。这种水平的体现不是唯我独尊，以单一的价值标准规范而成的，而是每位批评家从每位艺术家的个性与趣味出发，再结合时代精神提取的一种多元价值。我们从中能够大致看到三代中国当代艺术家的探索痕迹，既有表现主义的抒发，也有理性方式的观念介入，还有对流行语汇的借鉴与挪用……。但不管是艺术家们对何种方式的运用，却有一个基本的共识使大家凝聚在一起，那就是从自我的意识出发，为中国当代艺术填充自主的价值内容。我想，如果要挖掘“领升•2009中国美术批评家提名展”的意义，那么最核心的意义应该就在于此。
“领升•2009中国美术批评家提名展”的成功举办，首先得益于管郁达、赵野的精心策划，也得益于贾方舟、王林和邹跃进的鼎力支持，更得益于鲍栋、段君、杜曦云、何桂彦、刘礼宾、鲁明军、盛葳、郑娜等一大批青年批评家的积极配合。正是因为大家的精诚合作，重新续上“批评家提名展”的薪火，为学术介入艺术实践，并引领艺术市场创造了条件。我坚信，批评家们的思想输入，必然会为中国当代艺术提供更加肥沃的创作土壤，尤其是更年轻一代批评家的崛起，一种新的文化形象也必然会浮出历史的水面。而这，不仅是我和管郁达、赵野共同策划“领升艺术论坛”的思想初衷，也是我们一起来组织“领升•2009中国美术批评家提名展”的原始动机。
2009年10月10日于通州
Turn and Step in
Preface to “Lead Up” Exhibition of the Chinese Fine Arts Critics’ Nominations 2009
Yang Wei
The bankruptcy of Lehman Brothers Holdings in 2008 caused the financial crisis from Wall Street to the whole world. The rising glory of the Chinese contemporary art has also been affected when the system lost the Western capital support that we had used to rely on. Therefore, the Chinese contemporary art began the adjustment on its intrinsic values. Some critics have pointed out that it would be a rational procedure like cold treatment to reevaluate the standard of values and prepare for the more profound academic ideas. “Lead Up” Exhibition of the Chinese Fine Arts Critics’ Nominations 2009 was held as the times required at this turning point in the history. It not only means the academic system can step in the market mechanism, but also is a good try to stand for self-reliance instead of foreign assistance. Being the achievement of the First “Lead Up” Art Forum, it indicates the demand of the Chinese contemporary art by the Chinese art critics, especially the young generation, and their judgment on the tide.
The artists are nominated by the critics who participated in the First “Lead Up” Art Forum, and selected by the academic committee, which could be thought as the representative for the high-level of the Chinese contemporary art circles. Rather than an exclusive value standard, the critics have the plural values, referred to the individualities and tastes of different artists, as well as the spirit of the age, to make the judgment. From them, we can trace out the exploration made by the three generations of the Chinese contemporary artists such as expressionism, rational concept, popular language etc. No matter how artists use their means, it is a consensus by which they can gather together that is to start from the self conscious for the independent values of the Chinese contemporary art. To me, it should be the most significant part of this exhibition.
It is by the elaborate arrangement from Guan Yuda and Zhao Ye that the“Lead Up” Exhibition of the Chinese Fine Arts Critics’ Nominations 2009 can be held successfully. Also, the success has been guaranteed by the great support from Jia Fangzhou, Wang Lin, and Zou Yuejin, as well as the active cooperation by the young critics Bao Dong, Duan Jun, Du Xiyun, He Guiyan, Liu Libin, Lu Mingjun, Sheng Wei, and Zheng Na. Without the effective partnerships of every participant, the exhibition would not go forward and make it possible for the academics being involved with the art practice and to lead the market too. I believe the ideas from the critics will be the fertile soil for the creativity of the Chinese contemporary art. Moreover, the younger generation will bring out a new culture to the history, which is just the original intention of Guan Yuda, Zhao Ye and I for the “Lead Up” Art Forum and the Exhibition of the Critics’ Nominations.
Tongzhou, 2009.10.10
【编辑：郑红】
