成都现代艺术馆 Chengdu Contemporary Art Museum
重新启动：第三届成都双年展
Reboot: The Third Chengdu Biennial
双年展主席：邓 鸿
艺术总监：冯 斌
策展人：沈揆一（美国） Britta Erickson（林似竹 美国） 鲁 虹
Chairman of the Biennale: Deng Hong
Exhibition Director: Feng Bin
Curators: Kuiyi Shen Britta Erickson Lu Hong
展务总监：王驰
Exhibition Administrator: Wang Chi
助理：陈都、刘伟、刘涛、邓波、钟毅
Assistants: Chen Du Liu Wei Liu Tao Deng Bo Zhong Yi
主办：成都现代艺术馆
Organized by: Chengdu Contemporary Art Museum
展览时间：2007年9月14日—10月12日
Exhibition Dates: September 14-October 12, 2007
展览地点：成都世纪城新国际会展中心
Exhibition Venue: New International Convention Center of Chengdu
Century City
主题阐释：重新启动
随着中国社会经济的迅速崛起，中国的当代艺术也获得世界性的普遍关注。但中国艺术现状中的很大一部分却被有意无意的忽视。虽然这部分艺术和中国的传统文化无论在形式、主题还是媒材上都有着不可分割的联系，且实践者众多，但在当代艺术的研究中却没有受到应有的关注。随中国社会迅速的现代化转型，这些艺术实践无论是用“国画”还是“水墨”的概念都难以完全概括，其本身已成为中国当代文化建构的一个重要组成部分。它们既是中国文化身份的一种表征，又不是传统文化的简单延续，无论观念还是形态都在当代社会中得到拓展，和当代艺术的其他类别一样都体现了中国社会文化的当代性。
在全球化和中国国际影响力日益扩大的背景下，不论是传统意义上的国画还是近年涌现的前卫艺术都无法最准确、全面地呈现当代中国社会文化的发展面貌。本次双年展试图客观地展示中国当代艺术发展历程中的多元格局，重新定义中国当代艺术，探索突破困境和局限的多种可能性，启动中国当代艺术全面发展的新局面，展现中国文化的特殊性和世界性之间的相互融合和置换。
Curatorial Statement: Reboot
In recent years, as China has experienced a dramatic economic boom, the country’s contemporary art has become the object of widespread international interest. A significant segment of the Chinese art scene has, however, largely escaped notice. Although it is deeply rooted in traditional Chinese art in terms of form, theme, and materials, and although its practice enjoys unflagging popularity, it has not received the attention it deserves as an aspect of the study of contemporary art. Despite the rapid modernization of Chinese society, this segment of the arts remains difficult to summarize adequately—variously described using the concept of guohua (“national painting”) or shuimo hua (“ink painting”)—but it has already become an important part in the process of constructing contemporary Chinese culture. It is an expression of an aspect of Chinese culture, not to be simply confined within the bounds of traditional culture, but rather influenced both in concept and attitude by contemporary society. As with other forms of contemporary art, it too expresses the contemporary spirit of Chinese society and culture.
Against the background of globalization, and given China’s expanding influence in the world, neither Chinese painting in the traditional mode nor avant-garde artistic practice is adequate to represent the progress of contemporary Chinese culture. The Third Chengdu Biennial attempts to present objectively the multifaceted process of the development of Chinese contemporary art, to redefine the contemporaneity of this segment of the arts, and to explore the potential inherent in breaking boundaries, so as to increase people’s understanding of the interaction between Chinese culture’s unique aspects and internationalism.
自然
自然，我们在其中生存和活动，但自然自身也处于时空的转換之中。对自然的描绘和表现，不仅是创造一件可看或可读的物体，也是社会和主观认定形成的过程和参与创造历史文化的主动行为。它将文化和社会的建构自然化，同时通过对自然的表现阐释人为的关系。
Nature
The natural world, in which we exist and act, is itself constantly in temporal and spatial flux. Representation, in the face of nature, is not simply the creation of a visible, legible, object, but is also a process by which social and subjective identity are formed, and is a conscious act of participation in the creation of history and culture. Such images naturalize social and cultural constructions, and at the same time, may serve to interpret the relationships of the human realm.
社会
当下的水墨艺术己不再是躲在象牙塔尖上的精英们自我陶醉的棲居地，而与我们日常社会生活中的发生的点点滴滴密切相关。无论是周遭的生活和工作环境，日新的现代科技和信息，令人忧虑的社会问题，或是人类面临的共同挑战，都引发出不同的图式语境和表达方式。体现社会文化的当代性也无疑是水墨艺术家重要的关注点。
Society
Today’s ink art is no longer the ivory tower of the elite, but instead is closely related to the minutiae of our everyday life. Regardless of whether in the all-encompassing environments of life or work, constantly updated technology and information, social problems that cause anxiety, and the common challenges of human existence, all stimulate different modes of visual discourse and expressive language. Representing the contemporaneity of society and culture has, without doubt, become one of the major concerns of present-day ink artists.
人，精神
人, 无疑是最复杂, 最微妙, 最难以表达的对象。特别是在现代社会中, 日常生活沉浮的愉悦、失落和无奈, 消费文化衍生的刺激, 纷杂和浮躁, 往往使得最熟悉的形象变得陌生。
精神世界的遨游, 更是天马行空。 理性思索中的心象观照, 梦幻冥想中的时空错位, 潜意识思维体验中的飘逸神游, 给水墨的自由挥洒提供了无限的空间。
Humanity and Spirit
Human beings, no doubt, are the most complicated, subtle, and difficult subject to represent. Especially in depicting modern society, the happiness, disappointments, and frustrations of daily life, and the excitement, confusion, and restlessness of consumer culture often turn familiar images into the strange.
Wandering in the realm of the spirit is to enjoy infinite possibilities. The abstraction of the rational, the dream’s distortion of time and space, and the drifting spirit-wandering of the subconscious, all, collectively, create a boundless space for the free flow of ink.
