万林艺术博物 馆开馆展聚变:1930年代以来的中国现当代艺术的策展基础是泰康空间的理念(追溯与激励)和学术研究体系(把对当代艺术的观看和研究放置于 “1942年以来的历史跨度之中)。依托泰康人寿丰富的中国现当代艺术收藏,展览力图呈现百年来中国现当代艺术的媒介发展特征。聚变原指核聚变是指两个能量足够高但相互排斥的原子核相遇,在融合过程中产生质量亏损却释放出巨大的能量,发生核反应产生新的原子核。这种本属于自然科学界的最基础的物 质反应,也最好的体现了社会学科领域文化艺术的发展特征。中国现当代艺术发生、发展的两条线索(官方对艺术的期许与艺术家对艺术本体的探索)、两种基因 (中西文化)的相遇,时代的更迭变化与个体碰撞出无数的偶然与必然,促发了中国现当代艺术的聚变,有了今天的艺术景观。

从媒介的角度,我们将展览分 成油画、摄影和新媒介三个板块,希望简说每一个媒介进入中国的发展样貌,或提示追问面对这样的媒介,这些艺术家当年心中到底在想什么?尝试发现艺术家 关于本体、关于艺术语言自身,也即关于这种媒介本身的创作思考。我们希望通过几个十年的并置、几种媒介的并置,通过展示个体艺术家的尝试,使观者发现艺术家们超越时代束缚在想什么,以及被时代束缚在干什么的不同状态,体会和想象每个时代的艺术现场,窥见中国现当代艺术聚变过程的一个个结点。


The curating foundation of fusion: Chinese modern and Contemporary Art since 1930s comes from Taikang Space’s concept “Retrospection and Encouragement” and academic research system (Research contemporary art in the historical framework of “1942 and onward”). Relying on Taikang’s rich collection of Chinese modern and contemporary art, we are trying to show the medium development in the past 100 yeas. “Fusion” originally refers to “nuclear fusion”, referring to the meeting of two protons of equal energy, in the course of binding them causing damage on its quality thus releasing tremendous amount of energy that lead to a nuclear reaction producing the nuclei. “Fusion” is not only a reaction of matter that is fundamental to nature sciences, it is also the best representation of the features of arts and culture in social sciences. The encounter of Chinese modern and contemporary art’s two lines of thoughts (The official’s promise for the art’s and the artists’ exploration for the artistic practices) and two DNAs (Chinese culture and Western Culture), the transformation of eras and individual coincidences and happenings, ushered the fusion of contemporary Chinese art into today’s artistic phenomena.

We have divided the exhibition into three sections based on artistic medium, oil painting, photography and media, in hoping to briefly introduce the status of development of each medium, or to inquire, “Facing these media, what were the artists’ thoughts?”, or trying to discover the artists’ creative thoughts on ontology, on artistic languages, as well as the media of artistic production. We wish to show the viewers “what the artists were thinking” beyond the limitation of time, through their experiments, the juxtaposition of the decades and the various artistic media as well as the artists’ status, experience while they were confined by their time. Moreover, we would like to allow the viewers to imagine the artistic scenes of each period, inquire into points of transition from one period to the next.

Tang Xin