1972 - 1982 年以北京为视角 的现代美术实践侧影 F i n e A r t P r a c t i c e s f r om 19 72 t o 19 82 in Profile - A Beijing Perspective 展 期： 2017.1.8-5.7 Exhibition Dates： 2017.1.8-5.7 目 录 沙龙沙龙： 1972-1982 年以北京为视角的现代美术实践侧影 刘 鼎、卢迎华 参展艺术家名单 1976 刘 鼎 “纪念张志新” 苏 伟 “你办事，我放心” 苏 伟 愁 绪 刘 鼎 周扬的三个问题与七篇文章 刘 鼎 重新容纳艺术的“空间” 苏 伟 短暂的合流 卢迎华 印象派与形式美 卢迎华 沙龙沙龙： 1972 - 1982 年以北京为视角的现代美术实践侧影 展 览 日 期 ：2017 年 1 月 8 日至 5 月 7 日 展 览 地 点 ：北京中间美术馆 主办方：北京中间美术馆 支 持 ：北京文化发展基金会、北京中间艺术基金会、北京市汉卓律师事务所 展览／册页 策展人：刘鼎、卢迎华 研究员：陈淑霞、宋科、苏伟、闫博 策展助理：杨天歌 展览设计：刘鼎 平面设计：微设计协作体（ TINYworkshop.cn） 编 辑：刘鼎、卢迎华 文 字：刘鼎、卢迎华、苏伟 翻 译：赖非、卢雯、王小泽、谢易仑 校 对：杨天歌 北京中间美术馆 理事会：黄晓华、张红星、郑慧红、马军、韩旭升、郑冬梅、周翊 监事会 ：杨晓梅、孟海东、李睦 团 队 ：马中祥、曹军、刘蕾、巩培宸、王书立、郑亚惠、郭菡君、马继良、 刘烨茜、张丙立、刘玉姗、张佳羽（实习生） 地 址 ：北京市海淀区杏石口路 50 号中间艺术区北京中间美术馆 100195 电 话：86-10-62730230 官 网：www.ioam.org.cn 邮 箱：[email protected] 特别感谢（排名按拼音顺序）： 所有参展艺术家，以及为此次展览提供慷慨支持的个人以及机构： 安粟、达雪芸、戴璞、冯兮、韩利华、韩雪野、郝敬班、黄冠余、贾鹏、贾伟、 Karen Smith、李辰、李大均、李垚辰、林松、刘蟾、卢征远、Michael Evans、沈朝慧、王璜生、 王鲁炎、王鲁湘、王绍强、王奕奕、吴洪亮、张蔷、赵友厚、朱琳、庄曉雷 光宇空间 吴大羽艺术基金会 大章建筑 请 柬 “沙龙沙龙：1972-1982 年以北京为视角的现代美术实践侧影”于一月七日 下午三时三十分在北京中间美术馆开幕。 敬 请 光 临 日 期：二零一七年一月八日至五月七日 时 间：周三至周日上午十时至下午六时 地 址：北京市海淀区杏石口路五十号中间艺术区 北京中间美术馆 电 话： 86-10-62730230 www.ioam.org.cn 沙龙沙龙： 1972-1982 年以北京为视角的现代美术实践侧影 策展人：刘 鼎、卢 迎 华 “沙龙沙龙：1972-1982 年以北京为视角的现代美术实践侧影”是“从艺术的问题到立场的问题： 社会主义现实主义的回响”系列研究的第三部分展览。该系列研究由艺术家刘鼎与批评家卢迎华共 同发起，通过持续进行的展览和写作来辨析与反思中国有关“当代艺术”的历史叙述与建构。 在“ 沙 龙 沙 龙 ”展 中 ，我 们 主 要 以 林 彪 事 件 发 生 后 的 1972 年为起点，截止至 1982 年中央批转《第 五次全国“两案”审理工作座谈会纪要》之间的十年作为研究与讨论的时间段和一个历史想象的空间。 我们不仅仅视这个时间段为一个政治历史意义上的过渡，也是将其作为一个相对整一的艺术时期来 对待。我们通过思考这个时期美术现象的具体相貌和多层次的实践，来考量在政治剧变时期艺术创 作者的心态和已有艺术历史叙述的尺度问题。 在展览中，我们以在北京发生的艺术现象作为主要视角，考察当时活跃在艺坛的老、中、青三 代艺术家的创作与实践。我们选取在 70 年代后期出现的几个艺术团体和少数个体美术家的实践进行 研究与呈现，分别是北京油画研究会、无名画会、星星画会、星期五沙龙、同代人画会与四月影会。 参与这些团体的艺术家和个体分别是在解放前受过训练的艺术家，在建国后、文革前受过专业美术 训练的艺术家，文革前后出现的业余画家，以及文革后期和文革结束后毕业并开始实践的年轻艺术 家和艺术青年。此次展览中呈现了部分相关艺术家创作于 1972 年至 1982 年前后的作品，同时以文 献勾勒出这些作品以及他们的艺术实践所产生的历史背景，借此来思考在文革中后期到改革开放前 这一时段中，创作者和创作如何尽可能地在严苛的政治环境下进行“内部放逐”，在艺术与政治的 紧张关系中摸索、界定、摆动或调整个人的立足点。其中，我们将着重讨论从民国时期留存下来的 现代主义经验在新中国的框架内与主流意识形态的矛盾、冲突、缠绕、和解与偏移。 将“ 中 国 当 代 艺 术 ”这 个 概 念 放 入 新 中 国 艺 术“ 67 年”的历史时段来加以研究是颇具现实意义的。 新中国以来的艺术实践至今已形成一种非常复杂的充满“内部矛盾”的结构。继续把中国当代艺术 的发端与建国以来的美术传统简单地表述为断裂，以及相对于文革结束以前的艺术而言将其表述为 处于“转折”时期的艺术显然都不足以解释过去三十年来的许多动作与取向。政治／艺术、正统／ 异端、压制／驯服、独立／依附等“二元”的叙述模式在特定的情境中虽然具有一定的历史合理性， 却远远不足以描述现实和历史现场中的多面、复杂和流动的状态。这种“二元对立”的结构形成一 种基本描述和意识，是一种“革命”叙事情节的惰性蔓延，把在时空中长久磨合的各种因素人为地 排除了。这种以“前卫”作为当代艺术的正当性基点的历史叙述作为艺术实践者们工作的动力的做 法早已显示出其局限性和狭隘性。 在研究中我们将考察文革后复出的艺术官员与受过专业训练的艺术家在体制中推动艺术转向的 各种动作，以及这些动作在社会中所引起的反响和呼应。同时呈现非体制内艺术实践者自下而上的 自主实践，使艺术成为体制内与体制外的力量的共同起点。我们尝试以“一体化”的视角来观看艺 术的基本格局、推动动力和演化过程。通过对偶然的、异质性的因素的重视和引入，来思考在“国 家变革”这个大的框架中艺术与政治互动的多重轨迹。 在这个展览中，我们借助“细节与资料”，通过具体案例的讨论将当代艺术中已被抽象的经验 重新语境化，凸现历史的现场感，呈现被概括、遗漏或遮蔽的情景，包括具体的思绪、情感和氛围 等因素。通过对于“逸出”公共历史叙述的，未被赋予“合法性”而被忽略、遮蔽的“异质”部分 的发掘，目的并不是为了建构相反、对立的历史，在大部分情况下，不过是为了呈现差异和复杂， 从而质疑主流叙述的构造方向，以求从原有的叙述中发现隐蔽的缝隙，作为思考的新起点。 在此展览筹备过程中，数位艺术家、策展人和艺术史家作为研究员参与到前期的研究之中，包括： 艺术家闫博、策展人苏伟、艺术史家陈淑霞和建筑史博士宋科。 Salon, Salon : Fine Art Practices from 1972 to 1982 in Profle - A Beijing Perspective Liu Ding & Carol Yinghua Lu Salon, Salon: Fine Art Practices from 1972 to 1982 in Profle - A Beijing Perspective is the third exhibition of "From the Issue of Art to the Issue of Position: Te Legacy of Socialist Realism in Chinese Contemporary Art", a research project initiated by artist Liu Ding and art critic Carol Yinghua Lu. Tis ongoing research examines the historical narratives and ideological construct of Chinese contemporary art in a timeframe of 67 years since 1949. Salon, Salon focuses on a ten-year period from the year of 1972 after Lin Biao's botched coup against Mao and airplane crash in 1971 to the year of 1982, marked by Te Summary of the Fifth National Trial Conference on the "Two Cases" approved and issued by the Central Government. We consider this decade not only as a critical transition in China's political history, but also as a relatively cohesive artistic period. By studying the detailed features and multi-layered fne art practices within this period, we reconsider the mentality and approaches of artists in a period of dramatic political changes and the issue of judgments in existing historical narratives of art. Tis exhibition inquires into the artistic practices of three generations of artists, mainly active in Beijing, within this ten-year period. Specifcally, we zoom in to study the Beijing Oil Painting Society , Men of the Same Generation (the Contemporaries Group), the No Name Group, the Stars, Friday Salon, April Photographers Society, and a small number of artists. Tese were artist initiatives and individual members emerging in the late 1970s, involving three generations of artists of varied educational backgrounds and statuses including: 1) Painters trained before the Liberation War (1945-1949); 2) Painters trained after the founding of People’s Republic of China (1949) and before the Cultural Revolution (1966-1976); 3) Amateurish painters appearing before and during the Cultural Revolution; 4) Young artists, writers and poets who graduated and became active in the late Cultural Revolution or after the end of Cultural Revolution. This exhibition includes artworks of some of the involved artists, made around the period from 1972 to 1982, as well as archival materials that outline the historical settings out of which their works and practice had emerged. It looks at the "internal exile" of artists and their practice under harsh political circumstances, from the late Cultural Revolution to the eve of the Reform and Open Door policy in China, considering how individual practitioners had explored, defined, oscillated or adjusted their personal standpoints confronted by the tension between art and politics. In particular, we will investigate the modernist experience inherited from the Republican Period of China, how it contradicted, collided, intertwined, reconciled with and strayed from the mainstream ideology within the structure of the People's Republic of China. To study the formation of "Chinese contemporary art" in the historical period of 67 years of a New China is to recognize the extremely complex artistic system full of "inner contradictions" that gradually took shape since 1949. Te current historical narrative of the origin of Chinese contemporary art stresses its rupture from the fne art tradition since 1949, and describes contemporary art as in a "transitional" state in terms of its relationship towards art before the end of the Cultural Revolution. Yet such a perception obviously fails to sufciently account for many actions and directions as witnessed in contemporary art of the past three decades. Although such dualistic narrative structures as politics vs. art, orthodoxy vs. heterodoxy, oppression vs. submission, independence vs. dependence might have a certain historical legitimacy in specifc contexts, they are far from being adequate when it comes to describing the versatility, complexity and fuidity of both the current and historical realities. Such a narrative structure based on dualist oppositions has formulated a basic description and consciousness. It is an inert extension of the "revolutionary" narrative plot, subjectively suspending the varied conficting elements in the space and time of history. Te narrative construct of contemporary art that bases its legitimacy on its "avant-garde" position has long revealed its limitations and narrow-mindedness in the process of providing stimulus to artistic practitioners. In this research, we delve into the actions taken by cultural bureaucrats and professionally trained artists to enact changes for art within the ofcial system, as well as the reactions and responses in the wider society ignited by such actions. We also look at bottom-up autonomous initiatives carried out by non-ofcial art practitioners. Art became a common starting point that both forces within and outside of the established ofcial structure engaged with. We seek to observe the basic structures, driving forces and processes of formation in art through an "integrative" perspective, whereby we introduce and underscore the accidental and heterogeneous elements in order to refect on the multiple tracks of interactions between art and politics within the broad framework of "national revolution." By engaging with "details and materials" and discussing specific case studies, this exhibition re- contextualizes the abstracted experience in contemporary art, foregrounds the lively presence of history, and activates the scenes and situations that have been generalized, omitted or concealed, including specifc thinking, emotion, and atmosphere. To excavate the "heterogeneous" parts that have "escaped" the public historical narrative and that have been neglected or concealed due to its "illegitimacy" is not to construct an opposite and antithetic history; rather, it is, as in most cases, to articulate diferences and complexity, and to question the direction of the discursive construct of the mainstream narrative. Ultimately, it is to locate the hidden cracks in the existing narrative, which can become new beginnings for refection. Tis exhibition is co-curated by Liu Ding and Carol Yinghua Lu. Artist Yan Bo, art critic and curator Su Wei, art historian Chen Shuxia and architecture historian Song Ke have contributed to this project as researchers. Translated from Chinese by Yang Tiange 参展艺术家 艺术家名字按字母排序 鲍 昆（ 1953 - ） 罗 尔 纯（ 1930 - 2015 ） 吴 梦（ 1980 - ） 薄 云（ 1948 - ） 马 德 升（ 1952 - ） 吴 作 人（ 1908 - 1997 ） 曾用名李永存 马 可 鲁（ 1954 - ） 严 力（ 1954 - ） 曹 达 立（ 1934 - ） 穆雷 . 勒纳（ 1927 - ） 颜 文 樑（ 1893 - 1988 ） 狄 源 沧（ 1926 - 2003 ） 庞 均（ 1936 - ） 闫 振 铎（ 1940 - ） 冯 国 东（ 1948 - 2005 ） 曾用名冯国栋