乡愁

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策展人：付晓东

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当新世纪的来临，时间把我们变得陌生，每个人都变成多元文化中的流亡者，“乡愁”更加使人怅惘，忽忽如所失。对中国儒教呼唤，是一个被假想和建构出来的故乡。传统文化更象是流亡者在无可奈何中，无家可归的回归感。中国正处于巨大流变的过程，从生产型社会像消费型社会转向，整个社会阶层的结构已经发生了深刻的变化。原有的工人、农民和知识分子发生了内部分化，越来越多的知识分子分化出来，形成了一个大规模的新的社会阶层。在上升过程的中经历着价值观的错位，生活方式的变迁，面临着一个巨大的可变的个人化的选择，是造就一场国际化的集体性失忆？还是直视中国真实？与曾经的历史相关的，是一种无意而为的“政治潜意识”。表现在：对高雅文化的拒绝；对精致细腻的否定；底层的审美记忆；对有限的文化、物质、生活产品和生活经历的熟悉等等。

“现实主义”，一个历史名词，当下不可能再度产生一个拥有共同“现实”的“主义”。任何总体的、政治化的、典型的、公共的现实性，往往具欺骗性。由于意识形态、人为扭曲、以讹传讹等因素，每个时代讲述的内容和回到现实的方法，从不一样。每个艺术家在意识形态的概念的缝隙里，分别建立了自己深入现实的秘密通道。世界也是复杂的、不确定的、不可捉摸的世界。这些现实是个人的、具体的、局部的现实。这些琐碎的个人化经验，将感知从俗套的惯性中解放出来，重新认识和解释这个世界。

不再是以往意义上的单纯的现实主义或文本游戏，利用种种物品和场景所能引发的现实性和深度的解释，而又绝不完全着力于此。这是一种多向度的行进，开启多个通道，让读者进入，不断生产出歧义。他们从现实和生活实践中，找到可写物，通过描绘和编排，释放出庸常物品的可能性。同时他们自身又是不可被同构和同一化理解的，他们建立了自身的生长逻辑。他们把视觉语言和艺术文本的游戏隐藏于其后，成为日常语言的游戏。虽然艺术言说的内容是对日常现实的拥抱，但其艺术的语言逻辑不是日常语言，是一种陌生化的反日常语言。他们抽离或调侃逻辑叙事，挑战艺术的边界，实验不同的媒材和尝试同一题材的多种表达方法。

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HOMESICKNESS

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Curator：FU XIAODONG

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Homesickness:
Along with the befalling of new century,time has turned us into exiles in multiculture.And we seem more melancholy and lost due to "homesickness".The call for Confucianism is nothing more than a fictitious and constructed homeland.Under the circumstances,the traditional culture can most likely feed the helpless and homeless exiles with a returning sense.China has been involved in the process of great transition from a productive society into a consumer one and therefore the structure of all social strata has undergone a deep-going transformation.Precisely speaking,the inner disintegration has taken place among the original workers,peasants and intellects and more and more independent intellects have composed a new large social class.In the rising process,we are experiencing the dislocation of values and the changes of lifestyle and up against an entirely apricious personalized choice.Shall we contribute to the international collective loss of memory or directly confront Chinese reality ? What is related to the past history is the unconsciously created "political subconsciousness". Its expressions are as follows:the refusal of refined culture,the negation of elegance,and the bottom aesthetic memory which refers to the individual intimate experiences of more than a decade's Chinese reality and the familiarity with limited culture, material and necessities of life.

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Reality:
As we today mention "realism", a dominant word in the past, we clearly imply that an "ism" of universal "reality" never exists any longer. Any total, political, typical, and republic reality is of fraudulent nature all the time. As a result of ideology, distortion, and misunderstanding, the narrative content and the way of returning to reality in different times are far from the same. In the chink of ideological conception, every artist separately establishes his own secret tunnel deep into reality. The world is complex, uncertain, and unpredictable while the reality is personal, concrete, and partial. Nevertheless, these fragmentary personal experiences can liberate our perception from the commonplace inertia and help us recognize and interpret the world from a new viewpoint.

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Memory and Fiction:
What they aim at is neither the former simple realism nor game of text. They produce reality and profound explanation by means of various objects and scenes but never stick to this way. This is a multidimensional march resulting in opening many a path both for the viewer to go and for the successive production of ambiguity. They seek the target for writing from reality and life practice and set the diverse possibilities of commonplace objects free by such approaches as depiction and composition. Meanwhile, they can never be integrated and assimilated since they have already established the growing logic of their own. They put both visual language and art text out of sight and turn them into a game of everyday language. Although the contents of their art expression always embrace daily reality, their art language or logic is in essence a defamiliarized anti-everyday one rather than an everyday one. In short, what they are doing now is to deconstruct or parody the logical narrative, to challenge the art territory, to experiment diverse media, and to attempt varied expressions of one subject matter.