2010年5月，中国台湾参与二百九十多位两岸艺术家所聚的“改造历史”一展，应是一项留与未来历史的评看的展事。艺术是否可以跳脱政治意识的框架，让艺术回归艺术，也将在此活动后彰显虚实。
“改造历史 2000—2009年中国新艺术”，原是由青城山·中国当代美术馆群策划而起，试图呈现进入21世纪，2000年至2009年这十年间，中国大陆艺术家之活动面貌。“改造历史”之展题，并非是预设性的史观建立，而是提出当代中国艺术的全面风貌，让新生代艺术家与其生活世界，获得进入世代艺坛的平台。它所衔接出的艺术演变，是后设性的、回顾性的，以2000年至2009年已发生中，仍进行中的艺术新貌为主要整合对象。
中国台湾馆之介入，始于2009年10月中旬。寒舍艺术中心主动以民间单位，非盈利参与的认知下，希望台湾新艺术能参与此次华人当代艺术大展。是故获得善意的共识：台湾馆将以完整区块的方式呈现、台湾当代艺术30年介绍也将以完整专书方式呈现、台湾参展艺术家以1970年以后出生的新生代艺术家为主，其主题订为“平凡的奇观”。这些开放、尊重、不涉商业的前提，是个人参与台湾馆之因。
主办单位原拟包括大陆以外的其它华人社会，但因时间和人力有限，中国台湾成为唯一以地名而出现的展区。另外，由于大陆艺术家阵容极庞大，台湾馆遂在2010年3月，因应补增了1950年至1960年出生的艺术家之21世纪作品，以作为前提与转折。展出作品的选件，除了代表性的艺术家之外，在作品讯息无法全面搜集，以及艺术家也有其个人因素考虑下，28位参展者提出近百件单元作品，有来自艺术家新作、私人典藏与艺廊借展。基本上，此展乃以民间力量积极参与，打破中国台湾官方位阶意识，以及政治意识下的戒惧，完成台湾馆在北京的展览工作。它资源有限，但力求以“美术馆”式的空间呈现。
基于两岸文化有共承处，也有历史分离经验，中国台湾参与此展的实质意义是，它在艺术论述发展和视觉演变上，能完整地获得最多中文人口的阅读和理解。在这样的大展下，它被并置地看到，可对话可比较，也让一群年轻创作者因北京的国际性，而被国际艺界一次性地阅读。中国台湾艺术作品在北京展出，起于善意与单纯，艺术可否能改造历史意识?历史意识是可否会改造艺术?且让我们留予另一个10年的时间来回答。
策展人：高千慧
Preface to
A Spectacle of The Ordinary
May 2010, Taiwan will be participating in the 'Reshaping History' exhibition where more than 290 artists from both sides of the strait will converge. This should become a reference for future history, and whether art can escape from the framework of political consciousness and stay pure, will also be revealed after this event.
'Reshaping History Chinart from 2000 to 2009' was originally initiated by artists from the Institutions of Chinart in Chengdu. It tried to describe the activities of artists from China during the frst decade of the new 21st between 2000 and 2009.The exhibition title of 'Reshaping History' is not a default establishment of historical viewpoint, but a platform for the young generation of artists and the world they live in to enter the global art arena by showcasing the contemporary Chinese art in its totality. The art evolution it connects to is a retrospective one, with the ongoing new look in art that began between 2000 and 2009 as its main object of integration.
As to the participation of the Taiwan Pavilion, it began in mid-October of 2009.Under the knowledge of non-proft participation of private organizations, My Humble House Art Gallery invited Taiwan's new artists to take part in this exhibition of Chinese contemporary art. For this reason, a positive consensus was reached: the Taiwan Pavilion will be themed 'A Spectacle of the Ordinary' and presented as a stand-alone block that showcases the works of new generation artists born after 1970, and the presentation of 30 years of contemporary art in Taiwan will be shown in a complete and dedicated book. Such an open, respectful, and non-commercial premise is the reason for my personal participation in the Taiwan Pavilion.
Organizers originally planned to include other Chinese communities outside Mainland China. But due to limited time and manpower, Taiwan became the only exhibitor to participate by place name. In addition, because of the extremely large artist line-up from the Mainland, works completed in the 21st century by artists born between 1950 and 1960 were included in the Taiwan Pavilion in March 2010 as precondition and transition for the exhibition. In the selection of work, due to incomplete information gathered on works as well as consideration of artists’ personal factors, in addition to representative artists, close to 100 pieces of work from 28 participating artists were chosen. Some were new pieces from the artists, while others came from private collections and art galleries. Basically, this exhibition is completed through active participation of private capacities and breaks the rank consciousness of the Taiwan government and the fear under political ideology. Although the resources are limited, the exhibition strives to showcase the pieces in an 'art museum' type of space.
With cross-strait cultural similarity and experience of historical separation, the true signifcance of Taiwan's participation in this exhibition lies in allowing the largest Chinese population to thoroughly read and understand its development in art discourse and visual evolution. In an exhibition of such a scale, not only will Taiwan be put under a spot light with others for dialogue and comparison, it is also an opportunity to showcase this young group of artists to the international arts community due to Beijing’s status as an international city. The intention of the Taiwan Pavilion in Beijing is a good and pure one. Can art transform historical consciousness, or can art be transformed by historical consciousness? Let us stay around for another ten years for the answer.
Curator: Kao Chienhui
【编辑：张瑜】
