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一九八九后的艺术与中国
世界剧场
艺术作品
Art and China after 1989
Theater of the World
Art Works
One could almost say that the 20th century was summed up a little early, in 1989, even as history since has proceeded apace.”
— Wang Hui, Historian
Art and China after 1989 presents work by 71 key artists and groups active across China and worldwide whose critical provocations aim to forge reality free from ideology, to establish the individual apart from the collective, and to define contemporary Chinese experience in universal terms. Bracketed by the end of the Cold War in 1989 and the Beijing Olympics in 2008, it surveys the culture of artistic experimentation during a time characterized by the onset of globalization and the rise of a newly powerful China on the world stage. The exhibition’s subtitle, Theater of the World, comes from an installation by the Xiamen-born, Paris-based artist Huang Yong Ping: a cage-like structure housing live reptiles and insects that coexist in a natural cycle of life, an apt spectacle of globalization’s symbiosis and raw contest.

For art and China, the year 1989 was both an end and a beginning. The June Fourth Tiananmen Incident signaled the end of a decade of relatively open political, intellectual, and artistic exploration. It also marked the start of reforms that would launch a new era of accelerated development, international connectedness, and individual possibility, albeit under authoritarian conditions. Artists were at once catalysts and skeptics of the massive changes unfolding around them. Using the critical stance and open-ended forms of international Conceptual art, they created performances, paintings, photography, installations, and video art, and initiated activist projects to engage directly with society. Their emergence during the 1990s and early 2000s coincided with the moment the Western art world began to look beyond its traditional centers, as the phenomenon of global contemporary art started to take shape. Chinese artists were crucial agents in this evolution.

Art and China after 1989 is organized in six chronological, thematic sections throughout the rotunda and on Tower Levels 5 and 7. For all the diversity the exhibition encompasses, the artists here have all sought to think beyond China’s political fray and simple East-West dogmas. This freedom of a “third space” has allowed for a vital distance, and a particular insight, as they contend with the legacies of Chinese history, international modernism, and global neoliberalism of the 1990s. Their rambunctious creativity can expand our ever-widening view of contemporary art and inspire new thinking at a moment when the questions they have faced—of identity, equality, ideology, and control—have pressing relevance.

This exhibition is organized by Alexandra Munroe, Samsung Senior Curator, Asian Art, and Senior Advisor, Global Arts, Solomon R. Guggenheim Museum; with guest cocurators Philip Tinari, Director, Ullens Center for Contemporary Art, Beijing; and Hou Hanru, Artistic Director, MAXXI, National Museum of 21st Century Arts, Rome.

Curatorial assistance is provided by Kyung An, Assistant Curator, Asian Art, and Xiaorui Zhu-Nowell, Research Associate and Curatorial Assistant, Asian Art, Solomon R. Guggenheim Museum.

The archive section was developed in collaboration with Asia Art Archive, Hong Kong.
San Francisco, California — Beginning with the student movement held at Tiananmen Square in 1989 and the grand Olympic Games in 2008, "Arts and China after 1989: World Theater" explores Chinese contemporary art in this historical period. . It examines some of the bold movements that anticipate, document, and provoke widespread social change and make China the center of global topics. The exhibition has been exhibited at the Solomon R. Guggenheim Museum in New York and the Guggenheim Museum in Bilbao. The exhibition was first exhibited on the West Coast. The exhibition examined the status of Chinese artists as important observers and promoters of China's rise in the world by focusing on the concepts and behavioral practices of two generations of artists and social and political commentary.       

“Art and China after 1989” brings together a vibrant group of two generations of artists who are active in the transition of Chinese history and Chinese art. Since we held the turning exhibition “Inside Out” in 1999 Since the beginning of the transformation, the exhibition has refreshed the audience's perception, highlighting the importance of continuing to challenge our assumptions about Chinese art traditions and the globalization of these traditions and even China as a whole.” Elise S. Haas Painting and Sculpture senior curator Gary Garrels said.       

The Art and China after 1989: World Theatre will feature more than 60 works by leading artists and art groups living in China and abroad at the beginning of the globalization process, covering more than 100 photographs, movies, videos and paintings. Sculptures, ink paintings, performances and installations, and participatory social projects. These works are from private and public collections around the world and are featured in six contemporary art galleries on the seventh floor of SFMOMA. Visitors can enter the "Arts and China after 1989: World Theater" from Evelyn and Walter Haas, Jr. Atrium after entering the museum's third street entrance. There, the first thing that caught your eye was an 85-foot long dragon sculpture "Hurrying Childbirth" (2000) suspended from the ceiling. The artist Chen Yu used bicycle inner tubes, bicycle parts and toy cars. The creation of materials that are available. In the works, Panlong emerged from the belly of many cars, which symbolized the great change of China from a bicycle kingdom to a highly industrialized country.       

The exhibition is divided into six main themes in chronological order, including:       

• 1989: No U-Turn (1989: no U-turn) – The first part of the theme focuses on the “Chinese Modern Art Exhibition” held at the National Art Museum in Beijing in 1989. The exhibition showcases a series of works that are not easy to understand, including performances, installations and ink abstracts, aiming to point out the new direction of Chinese contemporary art. In addition, this section includes works reflecting the Tiananmen protest movement and the June 4th incident, which occurred several months after the exhibition, which led to the abrupt end of liberal reforms since the 1980s.       

• New Measurement: Analyzing the Situation – In the aftermath of the 1989 event, the artist experienced a crisis of trust in authority systems, bureaucracy, artistic language and ideology, turning their eyes to conceptual art Practice shows the consolidation process of structural authoritarianism.       

• 5 Hours: Capitalism, Urbanism, Realism (5 hours: capitalism, urbanization, realism) – economic liberation, urbanization and globalization that began in the 1990s brought about all-round change, and China also moved from socialism to In this context, realism has begun to recover, and artists have created works that show the original state of daily life in China.       

• Uncertain Pleasure: Acts of Sensation – The artist's vision is relaxed beyond China and begins to participate in international biennales through tourism and publications, reconnecting with contemporary trends. This section focuses on the development of lasting performing arts and video art as an important tool to explore the tension between individualism and collectivism in the mid to late 1990s.       

• Otherwhere:Travels Through the In-Between – This section explores the parallel history of Chinese artists living overseas from the 1990s to the beginning of the 21st century, during which time they mastered Living in a “super-experience” between multiple cultures and worldviews, Chinese domestic artists have begun to criticize their participation in a new global art world.       

• Whose Utopia: Activism and Alternatives circa 2008 (Who's Utopia: About Activism and Alternatives in 2008) – The success of Beijing's Olympic bid in 2001 has raised questions about the catastrophic events of the 2008 Sichuan earthquake and the global financial crisis. It has spawned a concerted social action in the form of many years of Utopian thematic projects. The Internet has spurred artists, collectors, activists, critics and curators to advocate that art go out of museums and galleries, enter the society, and restore its revolutionary purpose of changing society.       

The famous work of the exhibition — Huang Yongzhen's two-part installations, World Theatre (1993) and Bridge (1995), opened the seventh floor of the museum. This two-part sculptural device metaphorically accelerates the globalization and explores the duality of social unrest and peaceful coexistence by keeping insects and reptiles in a cage-like prison. The Ring Prison is an architectural structure created in the 18th century to monitor prisoners in all directions. The "World Theater" and "Bridge" installations at SFMOMA will replicate the form of the Guggenheim Museum in New York. At the time, due to the strong demands of the protesters, there were no live insects or reptiles in the cage. An artist statement was issued. Two historical video works in the exhibition - Xu Bing's "Cultural Animals" (1994) and Sun Yuan, Peng Yu's "Dog Close" (2003) will also be presented in a deactivated state, and will be exhibited in New York. The same is true, and the artist’s statement is attached to show the commemoration of the work. These artists' statements have now become the history of the exhibition and part of these three works, which illustrate the causes and consequences of these works of art being criticized and protested before they were truly exhibited in New York.       

SFMOMA has a long history of exhibiting for important contemporary Chinese artists. As early as 1999, the museum held "Inside Out: Chinese Art", which was the first exhibition in the United States dedicated to artists from mainland China, Taiwan and Hong Kong since 1986 and overseas Chinese artists. In addition, it also launched "Half-Life of a Dream: Contemporary Chinese Art from the Logan Collection" (Half a Dream: Logan Contemporary Chinese Art Collection Exhibition, 2008) and "Photography Now: China, Japan, Korea" (China) , Japan, Korea Contemporary Photography, 2009).
"二十世纪似乎提前在一九八九年那一年终结了,但历史依旧延续。"
— 汪晖, 历史学家
1989年后的艺术和中国展示了71位​​在中国和世界各地活跃的主要艺术家和团体的作品,他们的批判性挑衅旨在从意识形态中建立现实,建立个体与集体之外,并以普遍的方式界定当代中国的经验。在1989年冷战结束和2008年北京奥运会的基础上,它调查了艺术实验的文化,其特点是全球化的开始和世界舞台上新兴强大的中国的崛起。该展览的副标题是世界剧院,来自厦门出生的巴黎艺术家黄永平的装置:一个笼状结构,容纳活的爬行动物和昆虫,它们在自然的生命周期中共存,这是一个很好的景象。全球化的共生和原始竞争。

对于艺术和中国而言,1989年既是结束也是开始。六四天安门事件标志着十年相对开放的政治,知识和艺术探索的结束。它也标志着改革的开始,这将带来加速发展,国际联系和个人可能性的新时代,尽管在专制条件下。艺术家立刻就是围绕他们展开的巨大变化的催化剂和怀疑论者。他们利用批判性的立场和开放式的国际概念艺术形式,创作了表演,绘画,摄影,装置和录像艺术,并发起了与社会直接接触的激进项目。它们在20世纪90年代和21世纪初的出现恰逢西方艺术界开始超越其传统中心的那一刻,因为全球当代艺术现象开始形成。中国艺术家是这种演变的重要推动者。

1989年之后的艺术和中国分为六个时间顺序,主题部分,整个圆形大厅和塔楼5和7层。由于展览所涵盖的各种多样性,这里的艺术家都试图超越中国的政治斗争和简单的东西方教条。 。这种“第三空间”的自由在与中国历史,国际现代主义和20世纪90年代的全球新自由主义的遗产抗衡时,已经形成了至关重要的距离和特殊的洞察力。他们肆无忌惮的创造力可以扩展我们不断扩大的当代艺术观,并在他们所面临的问题 - 身份,平等,意识形态和控制 - 具有紧迫的相关性时激发新的思维。

本次展览由Alexandra Munroe,三星高级策展人,亚洲艺术和全球艺术高级顾问,Solomon R. Guggenheim博物馆组织;与客座检查员Philip Tinari,北京尤伦斯当代艺术中心主任;和侯瀚如,罗马国家21世纪艺术博物馆MAXXI艺术总监。

策展协助由Kyung An,亚洲艺术助理策展人,Xiaorui Zhu-Nowell,研究助理和策展助理,亚洲艺术,Solomon R. Guggenheim博物馆提供。

档案部分是与香港亚洲艺术档案馆合作开发的。
加利福尼亚州旧金山 — 以 1989 年在天安门广场上举行的学生运动为起点和 2008 年宏伟壮观的北京奥 运会为终点,《1989年后的艺术与中国:世界剧场》全面探寻了这一历史时期中国当代艺术。它审视了一 些大胆的运动,这些运动预示、记录并激起了广泛的社会变革,也使中国成为全球话题的中心。该展览已 经在纽约的所罗门·R·古根海姆美术馆和毕尔巴鄂古根海姆美术馆展出过。该展在西海岸首次展出,展览 通过聚焦两代艺术家的观念和行为实践以及社会和政治评论,考察了中国艺术家作为中国在世界崛起的重 要观察者和推动者的地位。

“《1989 年后的艺术与中国》汇集了由两代艺术家共同组成的一个充满活力的集体,他们活跃在中国历史 和中国艺术的转型时期。自从我们在 1999 年举办转折性展览《Inside Out》(蜕变突破)以来,此次展览 刷新了观众的认知,突出了继续挑战我们对中国艺术传统假设的重要性以及这些传统乃至整个中国对世界 产生的全球化影响。” Elise S. Haas 绘画和雕塑高级策展人加里·加雷斯 (Gary Garrels) 表示。

《1989 年后的艺术与中国:世界剧场》将展出超过 60 位在全球化进程开始时居住在中国国内及海外的重 要艺术家和艺术团体的作品,涵盖 100 多件摄影、电影、录像、油画、雕塑、水墨画、表演和装置艺术作 品以及参与性社会项目。这些作品来自世界各地的私人和公共收藏,分六个专题在 SFMOMA 七楼的当代 艺术馆内展出。 参观者从博物馆的第三街入口处进入后,可从 Evelyn and Walter Haas, Jr.中庭开始观赏《1989 年后的艺 术与中国:世界剧场》。在那里,首先映入眼帘的是从天花板上悬吊的一件 85 英尺长的盘龙雕塑《仓促 的分娩》(2000 年),由艺术家陈箴采用包括自行车内胎、自行车零件和玩具车在内的俯拾可得的材料创 作。作品中的盘龙从肚子内涌现出许多小汽车,暗喻了中国从自行车王国转变为高度工业化国家的巨大变 迁。

该展览按时间顺序分为六大主题部分,包括:

• 1989: No U-Turn(1989:不许掉头)— 第一个主题部分聚焦 1989 年在北京的中国美术馆举行 的《中国现代艺术大展》。大展展示了一系列不易令人理解的作品,包括行为表演、装置艺术和水 墨抽象作品,旨在指出中国当代艺术的新方向。此外,该部分还包括反映天安门抗议运动和六四事 件的作品,这一事件发生在展览举办数月之后,致使 20 世纪 80 年代以来自由派改革戛然而止。

• New Measurement:Analyzing the Situation(新刻度:分析现状)— 在 1989 年事件的余波中, 艺 术家经历了一场对权威体系、官僚机构、艺术语言和意识形态的信任危机, 他们将视线转向观念 艺术实践,展现结构性威权主义的巩固过程。

• 5 Hours:Capitalism, Urbanism, Realism(5 小时:资本主义、城市化、现实主义)— 20 世纪 90 年 代开始的经济解放、城市化和全球化带来全方位的变革,中国也从社会主义向自由市场资本主义转 变并逐渐成为“世界工厂”,在此背景下,现实主义开始复苏,艺术家创作呈现中国日常生活原状 的作品。

• Uncertain Pleasure:Acts of Sensation(不确切的欢愉)— 艺术家的视野放宽到中国以外,开始通过 旅游和出版物参与国际双年展活动,重新与当代潮流接轨。此部分聚焦持久的表演艺术和影像艺术 的发展作为重要工具,探索 20 世纪 90 年代中后期个人主义和集体主义之间的紧张关系。

• Otherwhere:Travels Through the In-Between(其他地方:游走于中间地带)— 此部分探讨了 20 世 纪 90 年代到 21 世纪初的生活在海外的中国艺术家的平行历史,在此期间,他们掌握了生活在多 种文化和世界观之间的“超经验” ,中国国内的艺术家则开始批评自己在一个崭新的全球艺术世 界中的参与。

• Whose Utopia:Activism and Alternatives circa 2008(谁的乌托邦:大约 2008 年的激进主义和替代 品)— 2001 年北京申奥成功曾引来一片质疑,叠加 2008 年四川大地震和全球金融危机的灾难性 事件,催生了以多年乌托邦主题项目为形式的齐心协力的社会行动。互联网促成了艺术家、收藏 家、活动家、批评家和策展人主张让艺术走出博物馆和画廊,走进社会当中,恢复其改变社会的革 命宗旨。

展览的挂名作品 — 黄永砯的两部分装置《世界剧场》(1993 年)和 《桥》(1995 年)开启了博物馆第 七层观展之旅。这个两部分组成的雕塑装置隐喻全球化的加速,通过将昆虫和爬行动物关在一个类似笼子 的环形监狱里探讨了社会动荡与和平共处的二元性。环形监狱是 18 世纪为了全方位监视囚犯而打造的一 种建筑结构。SFMOMA 展出的《世界剧场》和《桥》装置将复制 纽约古根海姆美术馆改动的形式,当时 因抗议者的强烈要求,笼子内并没有放入活的昆虫和爬行动物,而是附上了一份艺术家声明。展览中的两 件历史性录像作品 — 徐冰的《文化动物》(1994 年)和孙原、彭禹的《犬勿近》(2003 年) 也将以停 用的状态呈现,和在纽约展览时一样,并随附艺术家声明以示对作品的纪念。这些艺术家表态如今已成为 该展览的历史以及这三件作品的一部分,其中说明了这些艺术作品在纽约真正展出之前就遭到批评和抗议 的前因后果。

SFMOMA 拥有为重要当代华人艺术家举办展览的悠久历史。博物馆早在 1999 年就举办了《Inside Out:Chinese Art》(蜕变突破:华人艺术),这也是美国首个专注于 1986 年以来中国大陆、台湾和香港艺 术家以及海外华裔艺术家的作品展。此外它还推出了《Half-Life of a Dream:Contemporary Chinese Art from the Logan Collection》(半生一梦:洛根当代中国艺术收藏展,2008 年)以及 《Photography Now:China, Japan, Korea》(中国、日本、韩国当代摄影,2009 年)。