创造历史对中国20世纪80年代现代艺术的精神祭奠-当代

创造历史对中国20世纪80年代现代艺术的精神祭奠-当代 创造历史:对中国20世纪80年代现代艺术的精神祭奠 黄 专 不是什么时代都能进入历史，只有那些真正改变了我们的生活价值的时代才能进入历史;不是任何人都能进入历史，只有那些真正具有创造能力的人才能进入历史。 上世纪80年代是中国现代史上最具变革意义的时代，也是一个真正意义上的创造性时代。政治上的思想解放运动、文化上的人文主义启蒙思潮，为中国真正进入现代国家奠定了深刻的精神基础，而80年代在艺术领域发生的现代主义运动，不仅是这场变革在视觉领域的反应，也是它的现实内容之一。80年代现代艺术运动以星星画会、无名画会和各地的油画研究会为开端，尤以星星画会从思想、文学、艺术和政治等综合领域开启了中国的现代艺术运动的基本方向。作为80年代中国现代艺术主体，85新潮艺术运动以艺术群体、艺术传媒、艺术展览等综合性社会活动方式，上演了一场文化、思想史的宏大正剧，并以89现代艺术大展作为谢幕。80年代中国现代艺术不仅是20世纪初西学东渐文化运动在新的历史条件下的延续，也是90年代迄今在中国发生的当代艺术的先声，它的精神价值和文化意义也 远远超越了艺术史的范围。 星星画会作为中国现代艺术的开端从政治性批判意识(如王克平的《偶像》、《万万岁》，毛粟子的《十年动乱》)、启蒙性精神追求(马德升的《息》、《六平方米》，黄锐的《新生》)和形式性艺术探索(黄锐的《琴声诉》、《四合院》)三方面为中国文化的现代性历程拉开了序幕，而同期发生的伤痕美术虽然承袭了写实主义的技法传统，但也以反省(如高小华的《为什么》，陈宜明、刘宇廉、李斌的《枫》，王川的《再见吧～小路》，王亥的《春》、程丛林的《1968年x月x日雪》)、觉悟(如程丛林的《1978年夏夜—身旁我感到民族在渴望》，何多苓、艾轩的《第三代人》、何多苓的《春风已经苏醒》)和人道主义(如罗中立的《父亲》、陈丹青的《西藏组画》)三个主题改变着中国现实主义的歌德传统。同期发生的关于“形式美”、“抽象美”与“现实主义”之争，“自我现”与艺术本质之争则是这种现代性发生过程的理论反应。 80年代中期全国范围的85新潮美术运动既是上述两种文化启蒙思潮的自然延续和深入，也具有与其不同的精神内核和社会形态，这场运动几乎完全以西方各种现代主义理论与 实践为思想准备和视觉参照，以地区性、民间性艺术群体为社会组织方式，在中国广大地区全方位、前所未有地发动了一场现代主义的艺术运动。具有一定组织规模、理论主张和延续性的艺术群体有1984年7月成立的“北方艺术群体”(主要成员王广义、舒群、任戬、刘彦)、1985年在徐州成立的“新野性画派”(主要成员傅泽南、樊波、朱小钢)、1986年5月在杭州成立的“池社”(主要成员张培力、耿建翌、宋陵)、1986年6月在南京成立的“红色•旅”(主要成员丁方、杨志麟、沈勤、柴小刚、徐累)、1986年9月在厦门成立的“厦门达达”(主要成员黄永砅、蔡立雄、刘一菱、林春、焦耀明)、1986年9月在广州成立的“南方艺术沙龙”(主要成员王度、戴剑峰、林一林、梁矩辉、陈邵雄)、1986年12月在武汉成立的“部落•部落”(主要成员李邦耀、曹丹、方少华、魏光庆)，以及1986年的西南艺术研究群体(主要成员毛旭辉、潘德海、张晓刚、叶永青)。展览是群体活动的主要社会方式，这一时期重要展览包括:“厦门5人展”(1983年)、“上海首届青年美展”(1983年)、“新具象画展”(1985年)、“江苏青年艺术周•大型现代艺术展”(1985年)、“85‘新空间展”(1985年)、“11月画展”(1985年)、“徐州现代艺术展”(1986年)、“南方艺术家沙龙第一回实验展”(1986年)、“太原现代艺术展”(1986年)、“观念21艺术展现”(1986年)、 “湖南青年美术家集群展”(1986年)、“厦门达达展”(1986年)、“湖北青年美术节”(1986年)。1986年召开的“珠海会议”和1988年召开的“黄山会议”也是这场运动的组织和理论形式之一。各地自发产生的各种主张各异的现代主义艺术群体和大型展览以及会议构成了85新潮美术运动的基本社会活动方式，它本身就深刻地动摇和改变着中国文化专制和经济下的传统艺术生态。 85新潮美术运动同时也是一场理论运动，甚至可以说正是作为一场理论运动它才有可能获得如此广泛而深入的历史影响力，这场现代意义的启蒙思潮直接承袭了五四运动来对西方各种哲学、艺术到文化思想全面接受的立场，向中国文化中各种极权体制和观念发起挑战，从黑格尔的“时代精神”到叔本华、尼采的绝对意志，从柏格森的非理性直觉到萨特的存在主义，从抽象派到野兽派，从达达派到波普主义，几乎所有近现代的西方艺术和哲学流派都可以在这里获得共鸣，而同期在中国学术界流行的“文化热”、“美学热”也都可以在这场运动中寻找到恰当的视觉回应。北方艺术群体提倡的“寒带文化”、“理性绘画”，厦门达达崇尚的反审美、反文化立场，西南艺术群体对神秘主义、直觉主义的追求，池社作品中的存在主义倾向共同构成了一幅离奇的理论图景。同期发生的有关“中国画”前途的论战，关于“纯化语言”与“大灵魂”之争以及“清理人文热情”等口号的提出使这场理论运动具有 了更多本土问题的色彩。值得一提的是几乎与这场理论运动同时，范景中和他的学术伙伴们开始了一场延续自今的西方艺术史、学术史和思想观念史的引进工程，它以对温克尔曼、沃尔夫林、贡布里希的西方艺术史研究成就以及波普尔批判理性主义的科学哲学的翻译和评价，提倡一种尊重历史价值和开放思维的文化观念。虽然这项工程与85现代运动没有直接的理论联系，它对现代主义中的“进步”观念和非理性倾向的深刻批判甚至使它一直作为这场运动的反题而存在，但从更宽阔的历史维度观察，它却为这场改变中国人价值生活和思想观念的运动提供着更为深刻和持久的理论资源。 作为一场社会运动，85新潮美术运动的另一个社会学特征就是同期大量社会传媒成为这场运动的新闻传播手段和思想交流阵地，北京的《中国美术报》、南京的《江苏画刊》、武汉的《美术思潮》被合称为中国现代美术的“两刊一报”，而一段时期内北京的《美术》、《北京青年报》、湖南的《画家》、广州的《画廊》一定程度上也承载了现代艺术的功能。与这场运动的需要相适应在80年代也产生了一批优秀的理论家、批评家和社会活动家，如高名潞、栗宪庭、刘骁纯、水天中、郎绍君、周彦、唐庆年、孔长安、张啬、郑胜天、王小箭、王明贤、易英、范迪安、殷双喜、费大为、朱青生、高岭、彭德、皮道坚、严善錞、祝斌、杨小彦、邵宏、洪再新、陈孝信、李小山、顾丞峰、王林、吕澎和鲁虹等，他们为这场具有理想主义色彩的运动提供了多维的理论智慧和开阔的批评视野，他们中的大多数迄今仍活跃在中国当代艺术的舞台。 80年代中国现代艺术运动以89现代艺术大展这种戏剧性方式谢幕是合适的，它不仅呈现了中国现代艺术中纷繁的艺术流派，也呈现了80年代激情与混乱、理想与燥动同时并存的文化现实，它标志着中国现代艺术启蒙性的集体主义时代的结束。 20年前的这场艺术运动已无可置疑地成为中国现代文化史的一部分，但对它的检讨和研究还迟迟没有开始，无论作为一种历史教训还是作为一笔精神遗产它都会有形无形地影响我们的艺术和生活，我们有权力和义务把对它的纪念和反思作为我们继续创造的一种历史资源。 “创造历史:中国20世纪80年代现代艺术纪念展”是对这场艺术运动的一种精神祭奠和情境还原，它收集80年代珍贵的艺术品原件和部分艺术创作文献，展现了从星星画会到85新潮美术运动、89现代艺术大展的基本历史线索。展览包括了王克平、黄锐、王川、王 亥、王广义、张晓刚、张培力、徐冰、黄永砯、谷文达、吴山专、顾德新、王鲁炎、毛旭辉、 丁方、舒群、王友身、李邦耀和温普林等艺术家的20多件艺术作品。展品包括星星画会的 珍贵展品、伤痕绘画的代表作、85新潮美术运动时期各地艺术群体中有代表意义的作品， 如:中国第一部录像艺术作品张培力的《30×30》;王广义在北方极地和后古典时期的代表 作，以及第一次公开展出的《毛泽东AO》的底稿和89中国现代艺术大展的珍贵图片。展品 来自各位艺术家和管呓、张颂仁、邱梅枝、尤伦斯基金会等重要的艺术收藏家和艺术机构。 这使它成为中国第一次全方位的20世纪80年代现代艺术的展示和纪念活动。 感谢为展览提供作品的艺术家、收藏家和艺术机构，感谢为展览提供资金赞助的深圳华 侨城地产，而这个展览作为长期资助中国当代艺术的这个中国企业20周年庆典活动的有机 部分显得尤为自然和合理。 Creating History: on the Sacrifice of the Spirit of Modern Art in 1980’s China Huang Zhuan Not every era can find its way into history, while only those eras that have really changed our life value can. Not everyone can find his way into history, while only those talents who really have creative power can. 1980s is an era of the strongest reformative significance in the modern history of China and also a creative era in a true sense. The thought emancipation movement in the political realm and the humanistic enlightenment thought in the cultural realm laid a deep spiritual foundation whereupon China truly became a modern country. During the period, the modernistic movement that occurred in the artistic field is not only a reaction of the reform in visual field, but also part of its practical content. In 1980s, the modern art movement was triggered by Star Group, Anonymous Painting Group and the oil painting research groups in all places. Star Group, in particular, set the basic orientation of the Chinese modern art movement in the comprehensive fields of ideology, literature, art and politics. As the mainstay of Chinese modern art in 1980s, the '85 Movement staged a grand drama of cultural and ideological history through a combination of social events, including art groups, art media and art exhibitions, with China/Avant-Garde in 1989 as conclusion. The Chinese modern art in 1980s is not only the continuation of the cultural movement featuring than eastward spreading of Western knowledge in early 20 century under new historical conditions, but also the herald of the modern art that appeared in China in 1990s and lasted until now. Its spiritual value and cultural significance extend far beyond the limits of art history. As the inception of Chinese modern art, Star Group preluded the modern journey of Chinese culture in three aspects: awareness for political criticism (Idol and A Long Long Life by Wang Keping; A Decade of Turmoil by Mao Lizi), pursuit of enlightening spirit (Rest and Six Square Meters by Ma Desheng; New Life by Huang Rui) and explorations for formal art (Word of Tweedle and Courtyard House by Huang Rui;). The Scar Painting that turned up in the same period took over the technique legacy of realism, but also changed the eulogistic tradition of Chinese realism with three themes: self-reflection (e.g. Why by Gao Xiaohua; Maple by Chen Yiming,Liu Yulian and Libin; Farewell,My Road by Wang Chuan; Spring by Wang Hai; A Snowy Day in 1968 by Cheng Conglin), realization (Summer Night in 1978-I felt the thirst of the nation beside me by rdCheng Conglin; People of 3 Generation by He Duolin and Ai Xuan; Spring Breeze Awoke by He Duolin ) and humanism (Father by Luo Zhongli; Group Paintings of Tibet by Chen Danqing). The debates in the period about “formal beauty” and “abstract beauty” versus “realism” and about “self-expression” versus “nature of art” were the theoretical reaction in the process of such modernity. The '85 Movement that swept the whole nation in mid 1980s is a natural continuation and infiltration of the above two cultural enlightenment trends of thought, but with an entirely different spiritual core and social form. This movement used almost exclusively Western modernist theories and practices as ideological preparations and visual reference. Through the social organization form of local folk art groups, it launched an unprecedented modernist art movement in an all-round manner throughout the vast regions of China. The art groups of a certain organization scale, with theoretical views and a continuity include the “North Art Group” set up in July 1984 (major members: Wang Guangyi, Shu Qun, Ren Ji, Liu Yan); “New Wilding Painting School” set up in Xuzhou in 1985 (major members: Fu Zenan, Fan Bo, Ma Xiaoxing, Zhu Xiaogang); “Pool Society” set up in Hangzhou in May 1986 (major members: Zhang Peili, Geng Jianyi, Song Ling); “ Red Brigade” set up in Nanjing in June 1986 (major members: Ding Fang, Yang Zhilin, Shen Qin, Cao Xiaodong, Chai Xiaogang, Xu Lei, Xu Yihui, Guan Ce, Yang Yingsheng); “Xiamen Dada Group” set up in Xiamen in September, 1986 (major members: Huang yongping, Cai Lixiong, Liu Yiling, Lin Chun, Jiao Yaoming); “Southern Art Saloon” set up in Guangzhou in September 1986 (major members: Wang Du, Dai Jianfeng, Li Yilin, Liang Juhui, Chen Shoxiong); “Tribe- Tribe” set up in Wuhan in December 1986 (major members: Li Bangyao, Cao Dan, Fang Shaohua, Wei Guangqing); and the “Art Group f Southwest China” set up in 1988 (major members: Mao Xuhui, Pan Dehai, He Duoling, Zhang Xiaogang, Ye Yongqing, Ben Heng, Tang Wen, Gu Xiong). Exhibition is a primary social form of group activities. The important exhibitions during the period include: “ Five-Person Exhibition of Modern Artists” (1983) , “First Shanghai Art Exhibition of Youths” (1983) , “New Concept Painting Exhibition” (1985) , “Jiangsu Youngsters? Art Week?Large-scale Modern Art Exhibition” (1985), “New Space ?85 ” (1985), “ November Exhibition” (1985), “Xuzhou Modern Art Exhibition” (1986), “the First Experimental Exhibition of Southern Artists Salon” (1986), “Taiyuan Modern Art Exhibition” (1986), “Concept 21 Art Exhibition” (1986), “Hunan Group Exhibition of Young Artists” (1986), “Xiamen Dada Exhibition” (1986) and “Hubei Youngsters? Art Festival”(1986). The modernist art groups and large exhibitions holding various views that mushroomed in various places constituted the basic form of social activities for the '85 Movement, which strongly rocked and changed the traditional artistic shape under the cultural autocracy and planned economy of China. At the same time, the '85 Movement is also a theoretical movement. We can even say that, just because it is a theoretical movement, it could have acquired such an extensive and deep-going historical influence. This enlightenment trend of thought in a modern sense directly took over the stand of fully accepting Western philosophies, arts, cultures and thoughts that had been around thsince the “May 4 Movement to challenge the totalitarian systems and ideas in Chinese culture. Nearly all modern and contemporary Western artistic and philosophic schools can find echoes here, from the “spirit of times” of Hegel to the absolute will of Schopenhauer and Nietzsche; from the irrational tuition of Bergson to the existentialism of Sartre; from abstract to fauvism; and from Dadaism to Popism. Furthermore, the “cultural heat” and “aesthetic craze” prevalent in Chinese academia during the period can also find appropriate visual response in this movement. The “cold belt culture” and “rational painting” advocated by the North Art Group, the anti-aesthetic and anti-cultural position held in esteem by Xiamen Dada, the pursuit of mysticism and intuitionism by the Art Group of Southwest China and the existentialism tendency found in the works of the Pond Society jointly made up a bizarre theoretical picture. The controversy about the future of “Chinese paintings”, the debate over “purified language” versus “macro soul” and the presentation of the slogan “liquidating humanistic enthusiasm” enabled this theoretical movement to be more tinted with local issues. What deserves a mention is that, nearly simultaneously with this theoretical movement, Fan Jingzhong and his academic peers began a project of introducing Western art history, academic history and ideological concept history, which is still ongoing now. Through the translation and evaluation of the achievements made by Winckelmann, Wolfflin and Gombrich in their researches on Western art history and the scientific philosophy of Popper that criticizes rationalism, it advocates a cultural concept that respects historical value and open thinking. Although it has no direct theoretical links to the 1985 modernist movement, the project has been existing as an antithesis of the movement because of its scathing criticism of the “progressive” ideas and irrational tendency in modernism. However, from the perspective of broader historical dimensions, it provided more profound and lasting theoretical resources for the movement that had changed the value life and ideological concepts of Chinese. As a social event, the '85 Movement has another sociological feature, which is that a large number of social media became news spreading means and thought exchange position of the movement. Beijing?s Fine Arts in China, Nanjing?s Jiangsu Pictorial and Wuhan?s Art Trends are collectively referred to as the “two magazines and one newspaper” of modern fine arts of China. For a period of time, the Fine Arts and Beijing Youth Daily in Beijing, Painters in Hunan and Gallery in Guangzhou also played a role in publicizing modern art. Catering for the need of the movement, a number of outstanding theorists, critics and social activities came into being in 1980s, e.g. Gao Minglu, Li Xianting, Liu Xiaochun, Shui Zhongtian, Lang Shaojun, Zhou Yan, Tang Qingnian, Kong Chang?an, Zhang Qiang, Zheng Shengtian, Wang Xiaojian, Wang Mingxian, Yi Ying, Fan Di?an, Yin Shuangxi, Fei Dawei, Zhu Qingsheng, Gao Cen, Peng De, Pi Daojian, Yan Shanzhun, Zhu Bin, Yang Xiaoyan, Shao Hong, Hong Zaixin, Chen Xiaoxin, Li Xiaoshan and Gu Chengfeng,Wang Lin,Lu Peng and Lu Hong. They provided multidimensional theoretical wisdom and a panoramic view of criticism for this movement of idealistic tinges. Most of them are still active on the stage of Chinese modern art today. It is appropriate that the Chinese modern art movement in 1980s ended in a dramatic way via China/Avant-Garde in 1989, which presented not only the diversified art schools in the Chinese modern art, but also the cultural reality of 1980s that featured a coexistence of passion and confusion, ideals and restlessness. It marks the end of the enlightening collectivist times of Chinese modern art. This art movement of 20 years ago has unquestionably become a part of the modern culture history of China. But, the review and study of it have yet to start. Whether as a historical lesson or as a spiritual heritage, it will tangibly and intangibly influence our art and life. We have the right and obligations to regard the commemoration and reflection of it as a historical resource for our continued creation. “Create History: Commemorative Exhibition of Chinese Modern Art in 1980s” is a spiritual thanksgiving sacrifice for and situational reproduction of this art movement. It collected the precious original artworks and some artistic creation literature of 1980s to display the basic historical thread from Star Group to the '85 Movement and then to the 1989 Modern Art Exhibition. The exhibition includes over 20 artworks of such artists as Wang Keping, Huang Rui, Wang Chuan, Wang Hai, Wang Guangyi, Zhang Xiaogang, Zhang Peili, Xu Bing, Huang Yongping, Wenda Gu, Wu Shanzhuan, Gu Dexin, Wang Luyan, Mao Xuhui, Ding Fang, Shu Qun, Wang Youshen, Li Bangyao and Wen Pulin. Also among the exhibits are the rare works of the Star Group, representative works of Scar Painting and the representative works of various local art groups during the „85 Movement, e.g. 30×30 of Zhang Peili, the first video artwork of China; representative works of Wang Guangyi in the Arctic Pole and the late classical period; the manuscript of Mao Zedong AC, which was exhibited publicly for the first time; and a large number of rare pictures of the China/Avant-Garde in 1989. These exhibits are by the courtesy of the artists and important artwork collectors like Guan Yi, Chang Tsong-zung， Qiu Meizhi and Ullens Foundation and turn the exhibition into the first all-round demonstration and memorial activity of the modern art in 1980s. Our gratitude goes to the artists and collectors who have provided their works and to OCT Real Estate that has financed the event. This exhibition looks especially natural and rational as an thorganic part of the activity in celebration of the 20 anniversary of this Chinese enterprise, which has provided long-term financial support for Chinese modern art.