《黑白现实主义文献展第二回》

请柬：策展人与参展艺术家共同邀请朋友们参加展览活动！　　

展览名称：《黑白现实主义文献展第二回》（图片联接）　　

策展人：江铭　　

参展艺术家：（按项目及拼音字母排序，不分先后）　　

1、架上作品：陈晓东、陈亚峰、顾亮、郎小杞、李清、母军、莫鸿勋、唐建英、饶松青、乌日金、杨坚、殷阳、张学海、张建俊、　　

2、装置：郭工、李枪、吴以强、张跃辉 　　

3、影像：李杰、王浪 　　

4、图片：陈家刚、唐浩武、何崇岳、张巍、　　

5、雕塑：张建华　　

主办：北京当代艺术馆　　

鸣谢：上海日播实业有限公司　　

开幕时间：2011年5月15日下午三点　　

展览时间：2011年5月15日——6月15日　　

展览地点：北京当代艺术馆（北京通州区宋庄艺术区）　　

http://blog.artintern.net/blogs/index/wangbaoming　　

Email：[email protected]　　

评论：　　

黑白现实主义文献展第二回展览说明

江铭/文

我自2006年以来连续做了《黑白新趋向》、《黑白立场》、《黑白现实主义文献展》、《转折点——新现实表现绘画展》、《中国病人展》这一系列有关“黑白现实主义”思潮的展览，这次再一次整合这个思潮。目的只有一个，我所指向的那个当下核心文化针对点的转移。 　　

参展的这些艺术家，它们使用了不同的引线试图引爆这个文化的针对点。这些艺术家所使用的引线都有一个共同的趋向，抛弃了原来的绚烂、夸张、符号化的色彩、形式，和此前的所谓什么玩世、艳俗、政治波普、后波普、抽象表现那些样式彻底决裂，走向一种严肃、深刻、表现的趋向。这个趋向刚好能够与我们现阶段社会的矛盾问题形成对应的关系。正是这样的一种相匹配的对接，使得这些艺术家及其作品针对当下核心的文化问题提出某种思考。这也是我之所以选择这个倾向艺术家的作品整合做这个展览的原因。也许我们很多人认为这里面一些艺术家的作品从审美的角度或者从语言的角度讲不能够符合我们的所谓趣味要求。但是我想告诉大家，趣味是什么呢？趣味从来都是想获得权力的人为了排斥异己所极力维护的等级标准。所有的美丑高低都是人为的相对的标准，人们总是喜欢把相对性当作绝对性去维护，从而被成见所束缚。在杜尚之后，如果我们再试图用美与丑来看待作品是及其幼稚的，我们只需要思考呈现在你面前的这件作品究竟为我们指出了什么就足够了。　　

关于现阶段文化艺术核心问题的转移，我在前几次的展览说明中都有所阐述。除了现实的社会问题，文化的审美趣味在不同的历史时期都会随着时代的转化而不断变化。中国社会当下的现实与问题的形成从一个宏观的视野上讲，建立在三大背景之下：一、中国传统文化的背景（以儒、释、道为基础与传统的文化）；二、1949年新中国成立之后逐渐成熟与完善的毛泽东时代的文化传统（在文艺上表现为毛泽东文艺路线）；三、邓小平改革开放的市场经济传统（中西融合经济形态以及中国特色的体制）。这三大文化传统相互碰撞、融合、妥协、演进，最终形成当下多元系统的社会与文化。　　

所以目前中国现实与问题以及文化的形态，无一不与这三大传统形成互动的关系。　　

至于艺术史的演化与发展，若不从这三大文化传统做探索与研究，就无从得出清晰准确的判断。看似混乱无序的艺术现象，其实立足于一个宏观的文化背景中，我们看到都没有逃出这三大文化传统的借鉴与拓展。艺术家的作品与研究的思路也都没有跳出这三大文化传统的范畴。而跳出此范畴的研究与实验，则又远离了我们的时代感受，失去了作为当下艺术史研究的现实意义。　　

我选择的这些参展艺术家，在微观的艺术史判断中，由不同的学者阐述，也许可以归纳到不同的概念中。但是从宏观的背景中去判断，则都有一个明确的趋向。这些问题我曾经在以前的展览说明中都作过阐述，在此不再赘述。在我的一系列展览中，他们则都是属于我所提出的现阶段的艺术史概念——黑白现实主义的范畴里面。　　

鉴于当下的复杂形势，本次展览，仅以此短文作以说明。　　

作品解读：　　

陈晓东的作品通过氤氲的画面表达了国家的精神实在似乎正在衰亡，但尚未完全消失的状况。

陈亚峰的作品在看似安静神秘的夜色中寓意着隐藏在我们周遭的无法预测的恐怖与危险。

顾亮的作品通过现代文明的过度发展造成的信息与现实灾难的场景化描述，表达出艺术家对现实的质疑态度。

郎小杞的那些具有场景的作品是对报纸新闻的重新叙述，从而达成对于现实系统的多重反思与质疑。

母军的作品将不同场景中最普通的中国农民的生存状态并置在一起，揭示了新的历史时期中国农民被迫被改造的命运。

莫鸿勋的作品通过对汶川地震这样天灾的写实性描述，质疑了天灾背后的人祸根源。

唐建英的作品通过那种令人窒息的场景的描述，象征性地揭示了当代人陷入精神分裂状况的生活。

饶松青的作品制造了一种即现实又诡异的画面，在看似唯美主义的背后是普遍的假象与危机。

乌日金的作品具有某种寓言性的指向，他通过狼——人视角的置换与镜像，寓言性地表达了我们这个时代疯癫的、野蛮的、毁灭性的发展模式与状态。

杨坚的这组作品通过那些具有某种精神病气质的面孔的描绘，传达出我们这个时代文化中困扰着大多数正常人的心理问题。

殷阳的作品是人类欲望的盛筵遗存，展现了人对金钱的索取的疯狂程度，同时也是历史对人类物欲横流所结恶果的控诉。

李清的作品描述了一个日益疯狂、嗜血、冷酷、无情的精神病状态的世界，这样的世界又如此的真实，触手可及。

张学海的作品预言了现实已经进入了一个异常焦虑、恐慌、冰冷、癫狂的时代。这是人类自身建设性毁灭的现实图景。

张建俊的作品是对于中国社会日益腐败状况的隐寓性阐述，盛（剩）宴能维持多久？

郭工的作品是对人类伟大成就的嘲讽，在能量与力量的背后却可能是导致人类文明归零或逆转的邪恶意志。

李枪的作品是对媒体、新闻、强权那种极端暴力的歇斯底里的愤怒与反抗，

吴以强的作品是对当代媒体、信息的虚伪、强奸以及他本质上的无效性的艺术性消解。

张跃辉的十字架装置是对于现实意识形态的极简解读，黑与白的并置、正与反的共存都意味着一种我们不必明说的预言。

李杰的影像动画表现了长期焦虑、期待无望状态的普通人，所必然走向自伤与自我毁灭的解脱情结。

王浪的作品通过网络图片激起观者独特而强烈的视觉感受，将观念与思考、现实与虚幻、人性的恶与丑都融入在一种循环往复的视觉好奇之中。

陈家刚的作品嘲讽了当代权贵奢华、低级、委靡、无耻的生活方式，从而深刻揭示了中国社会贫富畸形分化的现实图景。

唐浩武的作品通过图片的重叠制造了诡异、恐怖的生活场景，在图象的后面我们看到的是无助的瘫痪的社会结构，以及我们无法预知的危险性。

何崇岳的作品是对中国特殊国策——计划生育政策实施与执行30多年来所造成的社会结构失衡、道德沦丧、人权侵害、家庭解体、老龄化社会等一系列问题的质问性暴光。

张巍的作品告诉我们，我们每个人可能最终都是时代舞台上粉墨登场的“临时演员”，聚光灯下短暂的灿烂与辉煌可能不过是昙花一现的黄粱美梦。

张建华的作品通过现实中的矿工残酷生存状态的写实主义塑造，在视觉上重新让我们读出了那句著名的诗句：兴百姓苦，亡百姓苦！

                                                      2011年4月13日　　

Poster:

Name: Literature Exhibition of Black and White Realism II

Curator: Jiang Ming

Artists (Ranked in no particular order, other than types & alphabetic order): 　　

1.       Easel Paintings: G-Gu Liang; L-Lang Xiaoqi; M-Mu Jun, Mo Hongxun; T-Tang Jianying; R-Rao Songqing; W-Wu Rijin; Y-Yin Yang; Z-Zhang Xuehai, Zhang Jianjun　　

2.       Equipments: G-Guo Gong; L-Li Qiang; W-Wu Yiqiang; Z-Zhang Yuehui　　

3.       Images: L-Li Jie; W-Wang Lang　　

4.       Pictures: C-Chen Jiagang; T-Tang Haowu; H-He Chongyue; Z-Zhang Wei

5.       Statues: Z-Zhang Jianhua

Host: Museum of Contemporary Art Beijing 　　

Opening: 3:00 pm, May 15, 2011　　

Exhibition Date: May 15 to June　　

 15, 2011　　

Venue: Museum of Contemporary Art Beijing　　

Comments:

Explanation to Literature Exhibition of Black and White Realism II

Written by Jiang Ming

Brief introduction to this exhibition: Since 2006, I have made series of exhibitions relating to “black and white realism” trend, which are Black and Write • New Trend, Black and White·Position, Literature Exhibition of Black and White Realism, Turning Point -- New Realism Performance Art Exhibition, and Chinese Patients Exhibition. This time, I integrate this trend again. I just have on purpose – the transfer of the contraposing point of core culture at present.　　

Those participating artists have tried to detonate the cultural contraposing point by using different fuses. All these fuses have a common trend -- abandoned the original gorgeous, exaggeration, symbolic colors and forms, broke thoroughly with those previous so-called cynical realism, vulgar art, political pop, post-pop, abstract expression forms, and turned to a serious, deep and performance tendency. This tendency is just corresponding with our current social problem. Yet such a compatible joint makes these artists and their works can put forward some thought of the core cultural problem at present. That is the reason why I choose artists who have this tendency to present this exhibition. Many people maybe think artists’ works here could not meet our so-called taste requirement form the perspective of aesthete or language. But I want to tell everyone that what is a taste? The taste is always the rating standard guarded by people who want to gain the power from the dissident. All the beautiful, ugly, tall, short are just artificial relative standards. People always mistake relativity for absoluteness to maintain, thus bounded by prejudice. After Duchamp, it is naïve if we attempt to treat the works as beauty and ugliness again. We only need to think about the work before you has pointed out what exactly.　　

I have explained the transfer of core issues of the current culture and art in my previous exhibitions. Besides the realistic social problems, the cultural aesthetic taste is changing along with the transfer of eras in different historical period. From a macroscopic perspective, the formation of reality and problems of current Chinese society are based on three backgrounds: First, traditional Chinese culture background (based on Confucianism, Buddhism and Taoism); Second, the era of Mao's cultural tradition which gradually matured and completed after new China was founded in 1949 (with the expression of Mao Zedong’s line in literature and art); Three, the market economy tradition which established by Deng Xiaoping’ Reform and Open Policy (fusion of Chinese and western traditions and system with Chinese characteristics). These three cultural traditions collide, mix, compromise, evolve, and finally form the polybasic society and culture at present.

As a result, the current reality, problems and cultural forms in China all interact with the three traditions.

As for the evolution and development of art history, there will not be a clear and accurate judgment unless exploring and studying on the three cultural traditions. These seemingly chaotic art phenomena are actually based on a macroscopic cultural background and none of them are out of scope of using and expanding the three cultural traditions. Artists’ works and research ideas are not jumping out of the three cultural traditions as well. And those researches and experiments which have jumped out of this scope are far from the feelings of our era and lost the realistic significance for art history study.

These artists I chosen scholars, perhaps can be concluded to different concepts of microcosmic judgments according to different scholars. They all have one clear tendency in the macroscopic background. These issues I had explained in previous exhibitions, thus, it’s unnecessary to give more details. In a series of exhibitions I made, they all belong to the art history concept at this stage I presented – black and white realism.

Works Analysis 　　

Chen Xiaodong’s work expresses such a situation that the spirit of the country seems to be declining but not entirely disappeared through a hazily picture.　　

Chen Yafeng’s work shows a seemingly quiet and mysterious night view which aims to point out those unpredictable terror and danger around us.　　

Gu Liang’s work, which describes the scene of informational and realistic disaster created by excessive development of modern civilization, expresses the artist’s questioning attitude towards the reality.

Lang Xiaoqi’s works which have scenes are restatements of news in the newspapers, so as to express a multi-reflection and question of the reality.

Mu Jun’s work puts different scenes of the most ordinary Chinese peasants’ living conditions together to reveal the fact that Chinese peasants are forced to be transformed their fates in the new historical period.

Rao Songqing’s works create a kind of realistic and eerie images which seem to be so aesthetic but turn out to be widespread illusions and crises.

Wu Rijin’s work has some kind of allegorical points. He allegorically expresses this insane, savage and devastating development mode and state of our times through exchanging the perspective between wolves and people.

Li Qing’s work describes an increasingly crazy, bloodthirsty, cold and ruthless psychotic world which is so real within easy reach.

Zhang Xuehai’s work predicts that the reality has entered into an era of abnormal anxiety, panic, cold, madness which is a realistic picture of human beings’ constructive destruction.

Zhang Jianjun’s work is a metaphoric interpretation to the growing corruption situation of Chinese society: how long can these feasts (remains) lasting?

Guo Gong’s work is the taunt of human’s great achievement: behind the energy and power could be the evil will which may be led to end or reverse human civilization.

Li Qiang’s work is the hysterical anger and rebellion to the extreme violence of media, press and power.

Wu Yiqiang’s work artistically dissipates the contemporary media, information falseness and other essentially invalidities.

Zhang Yuehui’s cross device is a brief interpretation of realistic ideology. Those juxtaposed black and white as well as coexisted positive and negative in his work are all imply a prophecy which we don’t need to tell.

Li Jie’s video animation represents these ordinary people who are in a long-term anxious and hopeless condition have such a complex that they are destined to self-injury and self-destruction so as to get liberation

Wang Lang’s work tries to arouse a unique and strong visual experience of the audience through network pictures. He mixes concept and thinking, reality and illusion, evil and ugly of human beings all together in such a recycling visual curiosity.

Chen Jiagang’s work pokes fun at the luxurious, low-level, listless and shameless life style of contemporary powers and profoundly reveals realistic picture of this freaky polarization between the rich and the poor in China.

Tang Haowu’s work creates a weird and eerie life scene through overlapping the images. Behind these images, we can see the helpless and paralyzed social structure and unpredictable risk.

He Chongyue’s work exposes a series of problems caused by more than 30 years implementation and execution the special Chinese policy – family planning policy, like social structure imbalance, moral decay, human rights violation, family disintegration, social aging, etc..

ZhangWei’s work tells us that every one of us may ultimately turn out to be a “provisional actor” of the era and that short glory and splendor under the spotlight is just a fool’s paradise.

Zhang Jianhua’s work shows the realistic cruel living status of miners and from which we see the famous lines: prosperity, people suffering; downfall, people suffering!

April 13, 2011