零点时分 —— 2010当代艺术展
THE POINT OF ZERO——2010 Contemporary Exhibition

主办：上海多伦现代美术馆 

　　　浙江翰正投资有限公司

Organizer: SH DUOLUN MUSEUM OF MODERN ART

Zhe Jiang Han Zheng Investment CO LTD

艺术总监: 李楠

Director: Li Nan

学术主持: 梁克刚

Academic: Liang Kegang

策展人: 吴文星

Curator: Wu Wenxing

开幕时间: 2010年3月26日 星期五 下午三点

Opening: Fri. 26th Mar. 2010, 3:00pm

展期: 2010年3月20日至2010年4月6日

Duration: 20th Mar. —— 6th Apr. 2010

地点: 上海多伦现代美术馆  上海市多伦路27号

Address: SH DUOLUN MUSEUM OF MODERN ART

No.27 Duolun Rd.

参展艺术家 artists：

Chris Gill  Christophe Demaitre  董重  顾振华  黄庆  计文于和朱卫兵  蒋正根  金阳平  康剑飞  李山和张平杰  李小镜  罗辑  孟禄丁  宋光智  童雁汝南  王家增  吴文星  于辛泽

邮箱：wuwenxing2003@hotmail.com

散席之后

梁克刚   2010年3月15日于北京

2008年可以说是当代中国一个非常重要的节点之年，在这一年中国举办了标志性的“奥林匹克运动会”。这很像日本1964年的东京奥运会以及1988年的韩国汉城奥运会，都是一种国家形象广告，中国历经30年的改革开放和市场经济，国力增长也达到前所未有的巅峰状态，而恰恰也是在这一年，无论欧美大国还是亚洲近邻都开始警惕中国的迅速崛起，同时国际上也出现了在政治、经济和文化上对于中国的集体遏制态势。

中国当代艺术自1979年的“星星美展”开始，也经历了三十年的曲折历程，从1991年“后89”在海外首次亮相直至2008年奥运会以前一直是国际艺术界关注的“话题之王”以及艺术市场追逐的“概念板块”。俗话说“天下没有不散的筵席”，08年之前的中国当代艺术就像一场散不了的宴席，是一种混合着传统文化幽灵、意识形态遗迹、后殖民趣味和市场投机的集体狂欢，波普化的毛泽东、文革、红卫兵等“中国符号”成了大多数中国艺术家在国际展事中扬名立万的集体策略，共同的趣味与图像风格成为在艺术市场上明显的识别标志，这点很像是小时候“打群架”，其根源无外乎个体还不够强大。

而这场看似不散的宴席也终于在奥运之后以及随之而来的席卷全球的经济危机到来之时嘎然而止，其实早在2007年某些经验老到的欧美藏家就已经在最高点抛售手中的中国当代艺术作品了。相当于英国当代艺术核反应堆的泰特美术馆就曾在2007年初举办过没有一位大家熟知的明星大腕的中国当代艺术展，明确地提出了“中国疲劳症”。英国艺术大鳄萨奇也赶上了末班车，在2008年将才收罗几年的中国藏品整场抛售套现一个多亿。就连信誓旦旦在中国建美术馆的比利时大收藏家尤伦斯也在半遮半掩地陆续出售手中的藏品。这说明中国当代艺术作为近20年来在国际艺术市场异军突起的一匹被热钱追逐的黑马已经开始失宠了。

中国当代艺术终于开始真正回归到“个人时代”了，在最火的那些年里，一些长期独立保持个人风格的艺术家们常常被市场推到了一边，没有人关心那些真正来源于艺术家内心的感受和自身的经验，大家都去追捧那些一眼就能辨识出来的“中国当代艺术”，而三十年的风光却并没有在欧美国家级的美术馆中留存几件像样的终极收藏也就说明了那种虚假繁荣的水份和浮夸。我们造就了很多拍场的明星和排行榜的大腕，却没有涌现出真正为世界当代文化与视觉艺术贡献独特经验与价值的真正艺术家。

令人欣慰地是在这样一个展览中，我们没有在看到那被滥用的中国符号和过度阐释的传统文化，看到的是艺术家们丰富而彼此有别的内心世界，可以触摸到那些浸润着艺术家情感的画面肌理和安于日常劳作的诚实笔触，正所谓“君子和而不同”，艺术终究应该是个人化的，艺术所要证明的也恰恰应该是每个生命个体的价值。

零点总是一个关于时间的隐喻，它既是结束又可以是开始，当一场集体狂欢的盛宴终于结束的时候，那种回归个体的离散不能不说是一种更为良性的开端，我们必须向近二三十年来始终坚持个人探索不随波逐流的艺术家们致敬，因为抗拒乔装打扮成先进生产力推手的资本势力远比抗拒傲慢的意识形态权力更为艰难，中国当代艺术板块的消解就是一种正常的回归，于艺术是好事情，于艺术家个人也是好事情，我们也由衷地期待着中国艺术界真正出现一些真实而强大的个人，那才能真正对人类的文化和世界的艺术产生价值深远的贡献。

When the Banquet Ends

The year 2008 is considered a crucial turning point in contemporary Chinese history, with the hosting of the Beijing Olympics. The event was a kind of grand advertisement for China’s image, similar to the Tokyo Olympics in Japan in 1964, and the Seoul Olympics in 1988. Since the games China’s ‘country power’ has hit a high peak, following 30 years of reform, opening up and market economics, and it was this year, no matter whether the Euro-American powers or Asian neighbors, began to be alert on the issue of ‘the rise of China.’ There is a collective containment to restrain China’s development politically, economically and culturally in the international arena.

China contemporary art has experienced a zigzag track, started from the “Stars Show” in 1979. Since the “Post 89” generation debuted, firstly in 1991 overseas, til the 2008 Olympic Games, Chinese art has always been a “Topic Focused” genre drawing significant attention from international art circles, and has become a “Concept Plate” chased by the art market. But there is a Chinese saying: “There is no never-ending feast”. Chinese contemporary art appeared a never-ending feast before 2008. The brand “Chinese Art ” had similar stylistic forms which could be easily recognized by the art market. And via combinations of traditional ‘cultural ghosts,’ ideological relics, post-colonial issues and a carnival of market speculation which popularized imagery of Chairman Mao Zedong, the Cultural Revolution, the Red Guards and so on has become a collective strategy for many Chinese artists with the ambition to be world-renowned. This phenomenon is very similar to a childhood gang fight. While the very roots of this issue lies in the fact that every individual is not as strong as the collective.

The seeming never-ending feast eventually ended all of sudden following the Olympic Games and the arrival of the global financial crisis. As matter of fact, early in 2007 some experienced euro-American collectors had already dumped Chinese contemporary art works at their highest price. The Tate Gallery, known as ‘Britain’s contemporary art nuclear reactor site’ had already held a Chinese contemporary art exhibition with unpopular stars, and clearly pointed out “China Fatigue“ was setting in. A famous British collector, Charles Saatchi caught the last bus; he dumped and cashed in all his Chinese collection for over one hundred million in 2008. It was the same with the Belgium collector, Guy Ullens, whose ambition to establish a not-for-profit art gallery in China is now half-disguisedly selling the collection in succession. All this implies that China’s contemporary art, as a kind of money–chasing black horse in the international art market for almost 20years has begun to run out of favors.

China’s contemporary art has eventually returned to a real “Individual Era”, during those booming years, some independent artist who kept their individual style were cornered to the other side of the market. No one really cares about the inner feelings and personal experiences from the depth of an artist’s heart; and everyone was pursuing and chasing the “China contemporary art” bandwagon which can be obviously recognized with hindsight; while finally, there is little real collection being kept in euro-American state galleries during those 30 years. This demonstrates the fake flourishing and exaggeration of the period. We built a lot of stars and big powers in the pop rankings, but still no real artist has been found who contributed to the world’s contemporary culture and visual art scene.

To our gratification, it rarely can be found in our exhibition that the abuse of Chinese symbols and signs, and the over-expounded traditional culture; what can be discovered is the Artist’s inner world, rich and different from each other. The artist’s feelings emerged in lines and textures; and the satisfaction of the daily working life, all these can be touched in honest style of drawing. As the saying goes “Gentlemen Vary”, art should finally be individualized. Art is to prove the value of every individual living life.

Zero is a metaphor about time; it is not only an ending but also a beginning. When a carnival feast ends, the scattering and returning to the individual is undoubtedly to be regarded as a benign start. We shall pay tribute and salute to those artists who stick to and keep on the individual discovery and never ever drifting with the streams, because it is much harder to refuse the capital power under the disguise of an advanced productivity than to refuse the arrogantly ideological power. This dispels of China contemporary art plate, as a normal return, is a good thing no matter for the art or for individual artist. We are in the sincere anticipation to a real strong individual artist in the Chinese art circle who will make the far-reaching and valuable contributions to the human culture and world art at large.

Mr. Liang, Kegang

March 15^th, 2010

Beijing