黎薇宣称在她第一个个展开幕时，她和她的姐们们将集体以中性的服饰示人，以表示拒绝被归为任何一种性别和主义，当然尤其是“女性主义”。在她看来，很多女艺术家头戴“女性主义”的花冠出场，无异于夜总会小姐身穿工装，无非都是为了获取更多的出台费。尽管多少理解这种情绪，但我心里还是有种反对：“这太低估‘爷们’的眼光了。”没听说党内同志怎么讲，群众的眼睛一直是雪亮的。
说起来，她的同门师姐和好友向京同志也是个拒绝派，在她为《全裸》书中的讨论文章里，她拒绝承认自己是女性主义者，甚至拒绝其他人把她定义为做雕塑的，作为她最近的人，在我看来，女性这个性别以一个主题的形式从小到大都长期困扰了她们这类女性艺术家。甚至成为她们自责的一部分。从不接受到接受，是一个慢慢寻找自我和自我觉醒的过程。这有时她们会通过自身内在自我的寻找，有时通过他者的反射来观察自己，但主要的手段还是创作与创造。这同一被反复追问的主题，媒介恰恰是一个从小被拒绝了的女性性别。
不管男女，对艺术家而言，艺术是巫术与行为仪式的宗教，它的本质不在于揭密，除了背后的意图之外，它本身是否可转变成一种价值?
人们在看杜尚的小便池时是看不到时间的，仿佛它天生就是这样的，现成品的直白在于人们意识不到它的特性、意外或者其它什么复杂含意，因而变得单纯而直接，是杜尚的意图凸现了它的价值。很多现成品在排列、拼凑甚至打破后的重新组合之后依然还是表现出一种‘还是非常武断’，都是意图在背后作怪，仿佛是说;我就是这样的，我就是艺术。
黎薇也是这么说的：“我做的就是艺术不需要其它解释”，拒绝意图后艺术就似乎变得不那么合情合理了。但她坚称艺术家具有这种权利。我想她只是想说明她并不希罕借助通过什么“主义”来升级自己作品的神圣性。在她的作品里你可以看到时间的痕迹，大凡手工感很强的作品过程感就很强，线条有波动有意味的时间感，在过去可能被称之为“天籁”。主观但意外的描述，在当下被贬值为不当代的有特质的细节，并且你无法找到即便放在显微镜下批评家也很难找到的“主义”意图，也就是如同让有关部门无法获得一个叫做当代“观念” 的户口。
艺术观念随着艺术实物与艺术形式的变化而变化，人类在艺术实物与形式的变化中我们可以捕捉到观念的演变，继而可以看到艺术的背面有一个思想史的影子，但艺术家以我做的就是艺术的态度断然拒绝意图以及本可机敏投靠思想史的机会后，我们如何再界定本可简单定义“主义”的艺术来宣判它的价值呐?
在巧辩中你可以将这些脸上的血丝暗斑以及其它诸如此类的色素归纳于现实主义、存在主义、结构主义当然也可以是解构主义，这时一向正派的理论却变得很骑墙，时髦而姿态优美，但如果你拒绝了思想的诱惑就少了一次贴牌的机会，让人变得很不好辨认和无法定价。这真的令人左右为难，好在艺术还有一个稍低端一点的港湾可供思想难民们靠岸——艺术史也可以是风格史。
承认艺术是自语性的。我们可以民主和宽容的如同接受超女一样。如果你可以接受一种自发的，独特的，被艺术家的麦克放大了的，有着时间重彩重叠感的肖像，我也可以不与“主义”为敌，承认有“人文主义”这种东西，并从九十年代的思想杂物里捡出一顶“人文主义”的桂冠，授予您。
2009广慈
"ism" or “idea”
Guang Ci
Li Wei said that in the opening ceremony of her first exhibition, she and her sisters will be wearing the clothing neutral in order to express their refusal to be classified as any kind of sex and "isms", especially " Feminism. " In her view, a lot of female artists make-up as a "feminist" are no different with those of the night-club-hookers disguised as office lady, Their purpose is nothing more than to make more appearance fee.
Although I can understand that feeling, but to some extent, I am opposed to this view: "This badly underestimated the eye of men." There is an old saying inside the Communist Party is called, the masses have sharp eyes.
Her schoolmates, friends Xiang Jing also like to refuse. In an article in her book "naked", she refused to acknowledge being a feminist, or even the definition as a sculptor. As the person who is closest to her, in my point of view, since childhood and until now, a group of female artists has been confused by female gender identity, and even make them blame themselves for this. The process of acceptance is the process of finding themselves and self-awakening. Sometimes they will find it in their own, and sometimes through the reflection from others to observe their own, but still the main means is creation. The media of this repeated questioning subject from an early age precisely was female identity that has been rejected.
Whether he or she, in terms of artists, art is a kind of act of witchcraft and the religious ceremony, its nature does not lie in discovery, in addition to the intention behind the outside, can itself be transformed into a value?
People cannot see time in Duchamp’s spring, as if it is born. The reason that Readymade Art be so straightforward is that people will not realize its specialty、accidental or any other complicated implications in it, it is Duchamp’s intention that highlighted its value.
By putting together, breaking and even re-combination, many Readymade Art works are also 'very arbitrary', it is all because of the intention behind the scenes, it seems to suggest that: it is just what I am, I am art.
Subjective but accidental description, characteristically details that have been devalued in the present as not contemporary, and also "isms" intention that you cannot find even put under the microscope, the concerned departments cannot get an ID card called contemporary "concept".
Art concepts changed with the art and art form, we can capture the evolution of the concept, and then we can see the back of the arts there is a shadow of the history of ideas. but the artists flatly rejected the intentions and also the opportunity of rely on history of ideas, and claimed what he or she do is just art, then how we re-define the value of those art used to be simply defined as "isms"?
In the rhetorical you can classify those bloodshot, dark spots and other pigment on face into realism, existentialism, structuralism, and also deconstructionism of course, and then the theory has always been serious has become ambiguous, fashionable and a beautiful. While if you refuse the temptation of intention you will lose an opportunity to get a label, so that others cannot identify or pricing. It is a dilemma. After all, art has a Harbor for those refugees of thinking - art history can also be a Style History.
Art speaks to itself. We can recognize this as democratic and tolerant as we did to super-girls. If you can accept a spontaneous, unique, enlarged, colorful portrait, I can let the "isms" not be enemies, I will acknowledge the "humanism," and pick up” humanism “laurel crown from the nineties cluttered ideas for you.
【编辑：小红】
