文/傅榆翔
中国在裂变和转型，资本的力量正在全球游荡并颠覆着世界的秩序，新的文化价值系统正在建立，而艺术却在这些变化中被重新定义和诠释。二战以后的工业社会和后工业社会的文化主角从时代舞台中心逐渐退去，在全球化的乌托邦呓语催眠下，以青春、肤浅、消费和转瞬即逝为特征的流行文化像罂粟花一样在满世界盛开。日本、香港、新加坡、韩国的新新人类的审美风潮一浪高过一浪。新世纪来临，不经意间， 中国人不单在这个风潮中而且在诸多领域都开始成为国际社会至关重要的角色。不言而喻，这得益于中国自身的崛起。
正是在这样的背景下，我们举办了《取向·呈现2009华龙当代艺术提名展》。
长期以来，重庆的架上油画在全国居于举足轻重的地位，特别是由坦克库引领出的艺术社区的逐渐形成，大量的年轻艺术家聚集在黄桷坪，形成了一个自由、庞大，同时又略显杂乱的场域。整合，重组这个充满巨大能量的群体，使其对我们精神现状产生开启性的辐射影响，已经成为一件意义非凡的工作。我们企图通过这次提名展的集中展示，让一部分青年艺术家的作品与艺术界、评论界、收藏界和广大受众能进行有效的互动和呼应，使社会对他们有更清楚的认知度、更深刻的关注度，让他们的工作态度及作品能得以广泛传播，并构筑起一个社会与艺术的链接通道，再度高唱生活与美学的颂歌。
在今天的历史的语境下，本次提名展所奉献的作品将再也看不到伤痕时代的愤怒与血腥，乡土艺术的疼痛与忧愁、政治波普的对抗与嘲笑、玩世现实的绝望与无赖、艳俗绘画的调侃与嬉戏，艺术家们提供的是一种实验、一种探索、一种技术、一种观念和一种新的美丽的视觉经验。因为他们迫使我们相信，艺术永远不可能放弃召唤和启迪人们审美情怀的功能，哪怕我们的世界遭遇到了最严重的“文化2012”。
《取向·呈现》提供了诸多视觉主题;消费一族、另类群落、家庭生活、贫富对比、世界主义、灵肉交融、白日梦想、宇宙进化……它们以个体和分散的方式被艺术翻译和书写出来，密集而不繁复，多样而不重叠，甚至不顾影自怜、不孤芳自赏、不作茧自缚，在阅读与观赏的流程中易于引起人的联想与观照，并再度促进我们审视生命的处境。这是一种当代设问与回答，是一次平和、纯粹与宁静的呈现。
也许，参展艺术家们正青春年少、意气风发，义无反顾，而在艺术更新、视野拓展、思维创意的节点上还尚未完全成熟，但他们竭力营造的有意味的形式，秉持的艺术真诚，坚持的文化理想在他们的作品中体现得淋漓至尽，从而张扬出了一种全新的文化态度和艺术方向。他们在那块千百年来艺术家们奋力挣扎其上的画布里，在这个人类意识环绕的文化空间中留下了朝圣者的足迹。
全球化时代给艺术创作带来超量的资源和信息，共享的文化机制令艺术创造更加多元和更具特色，在这种泛国际化的境遇中，那些饱含本土气质的艺术形态就更具有可识别性，也因此更具有全球性，无疑，就更有明确无误的价值取向。不同的艺术想象之所以能转变为不同的艺术品，这必然由艺术家的品格所决定。重庆艺术家从来就有敏锐的思维和独特的视角，他们总是通过自身的文化体验来表现世界，而这便是他们的品格呈现。
当代艺术通过重庆、特别是通过川美艺术家的优秀表现，其巨大的影响力已形成高扬的势头在四处蔓延。如何将当代概念通过更多的重庆艺术家群体介绍给全中国和全世界，这也是我们这个展览的一种最原初的诉求。重庆当代艺术家群体的潜质不容忽视，他们必定成为下一轮文化创意产业最好的升级平台。
在此，我代表所有参展艺术家向华龙网的朋友们致以最诚挚的谢意，没有他们对当代艺术的理解与支持，没有他们的独具慧眼，此次展览是绝对不可能变为现实的。文明需要推进，艺术需要扶持，华龙网全程赞助和主办本次展览是对本土文化最具体，最有力的推进。
别无他求，如果我们这次展览还能得到一部分，哪怕仅仅是一部分观众的认同与理解，这就是我们这次展览的最大成功，也是我们对华龙网的慷慨与大度的最优美的回报!
于重庆水晶郦城2009.11.21
Presenting the Multidimensional Cube of Art
China is disassembled and transformed, and the power of capital is roaming all over the world and subverting the order of it. A new system of cultural values is under construction, while with all these changes, art is being redefined and illustrated. Cultural heroes of the industrial society and post-industrial society after the World War II are gradually vanishing from the centre state of this era, and induced by the Utopian ravings of globalization, pop culture characterized by youth, shallowness, consumption and brevity is blooming universally like poppies. The X Generation’s fashion of aestheticism in Japan, Hong Kong, Singapore and Korea are flourishing. As the new century came, we Chinese people unconsciously have begun to take a internationally pivotal role in this fashion as well as many other fields, which, undoubtedly, results from her own development.
In such a context, we are holding this “Orientation·Presentation 2009 Hualong Contemporary Art Nomination Exhibition”.
For a long time, Chongqing’s art of oil painting has been occupying an important status in the whole country, especially during the progressive engendering of art communities led by Tank Loft, a great number of young artists assemble in Huangjueping and formed a free, enormous and appreciably disorderly district. Conforming and recomposing this powerful body and making it radiating influence our mental status developmentally, has become a significant pursuit. By way of the massively presenting of works in this Nomination Exhibition, we tend to develop efficient interactions and responses between parts of the artists’ works and the art circle, the circles of critics and of collectors, and also the audiences, create a clearer cognition of and a deeper attention on them from the society, spread their working attitudes as well as their works widely, construct an interlinking channel between society and art, and laud life and aestheticism again.
In the historical context nowadays, art works on show this time will not be featured by rage and bloodiness of the scar age, the pain and grief or hometown art, confrontation and mockery of popular art, desperation and hardness of cynicism, or the scoff and larkishness of raffish paintings; what the artists provide with will be an experiment, an exploration, a technology, a conception and a new beautiful visual enjoyment. For they impel us to believe that art will never give up the function of appealing for and edifying the beautiful sentiments of people, even when the world comes across the most severe “culture 2012”.
“Orientation·Presentation” provides with various visual themes: the consumption race, unconventional communities, domestic life, the poverty gap, cosmopolitanism, blending of flesh and soul, day dreams, evolution of the universe, etc. These elements are artistically translated and written out individually and dispersedly, centralized but not repeated, varied but not overlapped, even not lamenting themselves lonely or getting enmeshed in the web of their own spinning, which, in the process of reading and viewing, easily serves as a reminder of the conditions, advocating us to examine the conditions of our lives again. The exhibition itself can be seen as a kind of contemporary rhetoric question and answer, as well as a presentation of mildness, purity and tranquility.
Perhaps the artists attending this exhibition, although youthful, passionate and venturous, still have potential to improve in the respects of art breakthroughs, visual developments, thinking innovations and so forth; nevertheless, they spare no effort to build a meaningful form, and the sincerity in art they retain and the culture ideal they hold are incisively and vividly expressed in their works, so that an utterly new culture attitude and art direction is developed. On the canvas to which artists from beginning to end devote themselves, they have left the footprints of pilgrims in this culture space surrounded by human consciousness.
The epoch of globalization brings much more resource and information to art creation, and this communion makes the culture more multiple and unique. Under this circumstance of internationalization, those art forms with indigenous traits can be identified more easily, become more global, and beyond dispute, have a more explicit and flawless value orientation. Whether artistic imagination can turn into artwork is determined by the characters of the artists. Artists of Chongqing have always had a acute thinking and a special visual angle and presented the world through their own cultural experiences—this is rightly the representation of their characters and morals.
Contemporary art’s great influenced have been sweeping the planet quickly, thanks to the excellence of artists from Chongqing, especially from Sichuan Fine Arts Institute. How to introduce more artists of this kind to audiences home and abroad is the original desirability of this exhibition. The potential of the contemporary artists in Chongqing cannot be neglected and is the best base for the next round of upgrade in the industry of cultural originality.
On behalf of all the artists attending the exhibition, I have to deliver my most sincere acknowledgements to the crew of Hualong Net, without whose understanding, support and insight, this exhibition will never come into being. Culture needs to be promoted, and art needs to be supported, and Hualong Net’s whole-course sponsorship and hosting of this exhibition is just a specific satisfaction of such needs.
With no other requests, only if the exhibition can gain the identifying and understanding of a part of the audience, then it will our biggest success, and also the best reward to Hualong Net’s generosity and magnanimousness.
Fu Yuxiang
At Shuijingli City, Chongqing
Nov. 21st, 2009
【编辑：虹汐】
