《艺术为人民》——第一届中国社区艺术巡回展

展览名称：《艺术为人民》——第一届中国社区艺术巡回展

 策展人：江铭　　

助  理：鹭鸶　　

 参展艺术家：蔡小小、陈雷、常乐、沈岑、辰子、东方、郭春亭、郭培俊、黄文亚、简永、李放、李筱茜、刘宏、梁越、母军、茅以芸、沈敬东、孙犁、苏非舒、唐杰、王宝明、徐春丽、徐微强、羲然、杨坚、尹瑞林、张天、张静、张魏、张学海、张士群　　

 第一站　　

开幕时间：　2009年4月15日下午3点　　　

展览时间：　2009年4月15日　——　4月18日　　　

 开幕地点：北京观唐别墅区原售楼处展厅（北京市朝阳区观唐东路1号观唐） 请走东门！　　

 承办单位：北京盛唐世纪投资管理有限公司　　

 《艺术为人民》　　

——首届中国社区艺术巡回展　　

 策展人：江铭　　

 中国当代艺术经过短暂的20多年的大跃进式的历史发展，如今已经成为中国当代文化体系中一道独特的风景。这20多年的风雨历程映射了一个时代的转折与变迁。承载了无数中国新时代文化知识分子们的梦想与期望。然而，这20多年艺术历史的演变，中国的当代艺术，从边缘走向中心话语圈的过程，也是中国新艺术从边缘走向象牙塔的过程。国内外资本的介入，投机商人的炒做，批评家的猥琐导致了这一新艺术圈远离了中国本土大众，将一场深刻意义上的新时代的艺术文化演化为一个狭隘的小圈子文化。一个时代的文化代表者应该是时代选择的结果以及时代精神的代言者，而时代的选择与时代的精神既是一个时代占人口绝大多数普通的人民大众的精神面貌、生存感受。而如今所谓当代艺术圈越来越多的“成功者”其实质上只是获得一些组成“上流社会”的赞助人与艺术管理者们构成的小圈子的抬举，而与真实的时代艺术感受无关，更与中国本土民众的生存需要、审美需要、社会需要、精神需要无关。　　

 正是这样一种状态，使得今天遍地开花的艺术展览成为了圈子里面的闹剧，那一个又一个在798、宋庄、酒厂等艺术区、画廊开幕的展览从来都是一些熟悉的面孔，劳民伤财之后虽然好一翻热闹，却只是圈中的自我炒做、王婆卖瓜，离大众生活越来越远。中国民众对于今天当代艺术究竟是为什么而存在，越来越不理解。艺术究竟是为民众的还是为那些富豪显贵的？这的确是一个值得我们今天的文化知识分子重新思考与展开一场大讨论的问题。　　

 这次展览作为策展人，我选择了在北京地区一些较大规模的社区巡回展出，就是想通过这样一种新的展出方式，让当代前沿的艺术能够在最近的距离与我们的民众接触，让艺术回归大众。让最普通的民众都能够看到这些优秀的艺术原作，并通过人民大众来检验我们新的文化艺术是否能够在中国的老百姓中产生真实的共鸣。毛泽东文艺路线的方向是正确的，“无论高级的或初级的，我们的文学艺术都是为人民大众的”。古今中外，无论哪个国家的伟大艺术最终都要经过占人口90%以上的人民大众的熟知才能够千古流传。　　

 毛泽东在延安文艺座谈会上曾经指出：文艺工作者的立场问题，态度问题，工作对象问题，工作问题和学习问题。他强调了革命文艺的“立场问题。我们是站在无产阶级的和人民大众的立场。”以及革命文艺是为人民大众服务的问题，即为“最广大的人民，占全人口百分之九十以上的人民，是工人、农民、兵士和城市小资产阶级。”服务的问题。在毛泽东的时代，他提出这样的主张是基于当时的中国革命形势，其文艺路线的目的，是“使文艺很好地成为整个革命机器的一个组成部分，作为团结人民、教育人民、打击敌人、消灭敌人的有力的武器，帮助人民同心同德地和敌人作斗争。”在本质上是出于政治宣传的目的，而其选择的作为向广大人民群众传播的文艺作品是经过选择的，“首先是为工农兵的，为工农兵而创作，为工农兵所利用的。”在今天看来，毛泽东的文艺路线主张革命文艺是为着人民大众而不是为着剥削者压迫者的服务的立场是完全正确的。而当时之所以这种主张与立场最终使文艺成为了为政党服务的工具，在于当时的国家形势下，执政党的代表利益与最广大的人民群众的利益是一致的。　　

 今天我们重新强调文艺为最广大的人民群众服务，则有着特殊的意义，因为我们今天的所谓“当代艺术”，与毛泽东时代的革命文艺的创作立场与批判观念有着不同的内容。毛泽东的革命文艺是有选择的，是为执行毛泽东领导的新中国革命的政治目的而创作的。而今天的艺术，则是自80年代新启蒙运动之后，城市边缘职业艺术家反映时代变迁，恢复真实的现实主义立场，自主创作的作品。艺术家在创作初衷上是不一样的。它反映了中国社会一个新时代的特征。这种艺术的发展历史在时间上已经有了近30年，但是“当代艺术”的发展脉络却没有走“为广大人民群众”服务的路线，而成为一种越来越脱离群众，逐渐“洋八股”化的，让老百姓越来越觉得无法理解的，甚至是有点蒙人的怪异的文化。　　

 一个国家代表其时代特征的艺术作品，如果不能够在它的人民中产生强烈的共鸣，而只是在那些国际筵席上成为一道民俗“春卷”（栗宪庭语）。那么这样的艺术作品在历史上的意义是值得怀疑的。　　

 我策划这样的一个展览，目的是希望通过这样一种形式能够使得今天已经正在“洋八股”化的所谓当代艺术能够在人民大众中间得到真实的检验。让那些能够真实代表中国作风与中国气派的艺术作品能够在民众中得到更广阔的传播。同时也希望通过这样的展出丰富中国百姓的文化生活，使得更多的人能够理解今天的艺术，得到新的审美享受、获得熏陶。　　

Art for people　　

--First 　　China　　 community circuit exhibition　　

Curator: Jiang Ming　　

Chinese contemporary art has already became a unique scenery in the Chinese contemporary culture system after passes through short more than 20 years Great Leap Forward like historical development. This more than 20 years turbulence course reflected an age of transition and vicissitude, load  innumerable Chinese new time culture intellectuals dream and expectation. However, the more than 20 years evolution in artistic history, Chinese contemporary art is a process  moves from the edge towards the central words circle, as well as the process of Chinese new art moves from the edge towards the ivory tower.The domestic and foreign capital’s involvement, the speculative merchant’s speculation, the critic’s dreadful behavior, all these lead the new art circle far far away from Chinese native people, turn the profound significance new time artistic culture evolution into a narrow and small culture circle. A cultural spokesman at his time should be the the result of the time choice as well as the spokesman of the spirit at this time. While the time choice and the time spirit are the ordinary people’s mental outlook and the feeling of survival. While nowadays more and more successful people in so-called the contemporary art circle actually only attain small group's recognition constitutes of some patron in “Upper Class” and art manager, but has nothing to do with the need of real time art feeling, even the need of the Chinese native people’s survial, the esthetic, the social and the spirit.　　

It is precisely this kind of condition made the mushroom growth like art exhibitions turnen into farce inside the circle, that at one after another exhibitions displayed in 798 art zone, Songzhuang, Jiu Chang and so on, we can always see familiar faces. Although it’s very liveliness after waste people’s power and money, it’s only blowing his own horn in the circle, and it is more and more far away from the ordinary Chinese people are more and more don’t understand what on earth is contemporary art exist today. What on earth is contemporary art for the ordinary people or for the rich and high-ranking people? This is indeed a great question worth our culture intellectual to ponder today and launche a big discussion.　　

To be a curator of this exhibition, I chose some big scale community for display in Beijing, I plan to let the contemporary avant-garde art be able to contact our people in the nearest distance, let art return to people through this kind of new way, Let the ordinariest people can see these outstanding artistic original work, and through the people we can examine whether our new culture and art can have the real sympathetic chord among Chinese common people.The Mao Zedong’s literary and artistic direction is correct. “Regardless the high-level or primary, our literary arts all for the people”. From ancient time untill now, both in 　　China　　 and abroad, regardless of which country, great art can only be eternity spread through finally be familiared with above 90% population. Once Mao Zedong pointed out the question of literary and art worker's standpoint, attitute, work target, work and study. He emphasized “the question of standpoint” of the revolutionary literary arts at YanAn seminar on literature and art. We stand the point of proletariat and the people, and the question is that revolutionary literary art serves for the people, cause more than 90% population is the worker, the farmer, the soldier and the petty urban bourgeoisie. In Mao Zedong's time, he proposed such position was based on the Chinese revolution situation at that time, and the goal of literary artistic line is to made the literary arts became part of the entire revolutionary machine and powerful weapon to unite people,educate people, attack enemy, eliminate enemy and help the people to struggle to the enemy.　　

Essentially the goal is for political propaganda, but the literary art work which spread to the people has been selected. “First creates for the workers, peasants and soldiers, be used for the workers, peasants and soldiers.” To see it today that Mao Zedong's literary and artistic line advocate for the people, not serve for the  exploiter oppressor is entirely correct. At that time why literary arts finally became a tool serve for the political party is bcause in the national situation at that time the benefit which the party representate and the people representate are consistent.　　

It has a special significance today that when we emphasize the literary art serve for the most general people, bcause the so called  “contemporary art” today has different content with the generation of Mao Zedong in literary arts creation standpoint and the critique idea. Mao Zedong's revolutionary literary arts have been selected, it’s creat for the goal to carry out Mao Zedong’s political objective to lead new 　　China　　 revolution. While today’s art is independent creation since 80's new Enlightenment, the urban fringe professional artist reflected the time vicissitude, restores the real realism standpoint.　　

It’s different in the original creation intention. It has reflected a new time character in Chinese society. 　　

It has already been almost 30 years in this kind of artistic developing. But the development of “contemporary art” did not walked on the route of “serve for the people”, it  became a kind of trange culture which more and more separated from the people, gradually “foreign-style stereotyped”, lets the common people more and more can’t understand, even with a little deceive. If the art work which can represent a country with the character of the generation can’t have the intense sympathetic chord among people, then it only be a folk custom  “the spring roll” in the international banquets (Li Xianting say).Then such artistic work is dubious in history significance.　　

The goal I plan such an exhibition is to hope make the already “the foreign-style stereotyped” so-called contemporary art can obtain the real examination among the people through this form. Let these art work which represent the Chinese attitude and the Chinese style can be really able to be spread broader among people. Simultaneously I also hope through such display to enriche the Chinese common people's cultural life and enable more people to be able to understand today’s art, enjoys and influence on esthetic.