B區(qū)藝術(shù)

學(xué)術(shù)主持：杜曦云 ACADEMIC HOST： DU XIYUN

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B區(qū)藝術(shù)

學(xué)術(shù)主持：杜曦云 ACADEMIC HOST： DU XIYUN

藝術(shù)是藝術(shù)之外。政治、經(jīng)濟、文化從來都是一個緊密結(jié)合、互相作用的整體，只有放到政治經(jīng)濟的結(jié)構(gòu)中去考量，才能看清文化的實質(zhì)。以1979年的“星星美展”為明顯標志，中國當(dāng)代藝術(shù)從出現(xiàn)的那一刻起，就和跌宕起伏的中國社會發(fā)展進程緊密關(guān)聯(lián)著。

和經(jīng)歷形式主義蓬勃發(fā)展后向生活徹底開放的西方現(xiàn)當(dāng)代藝術(shù)發(fā)展史不同，中國當(dāng)代藝術(shù)不可能從現(xiàn)代主義開始，以線性的方式有序推進。因為，“文化大革命”后的中國社會一旦面朝發(fā)達國家打開國門，本該依次吸收的當(dāng)代文明成果同時涌現(xiàn)在面前時，讓彼時彼地的歷史再次有序重復(fù)是不切實際的空想。面對身處社會現(xiàn)場的迫切需求，只能是具體問題具體應(yīng)對，根據(jù)具體的需求來借鑒、創(chuàng)造?；乜粗袊?dāng)代藝術(shù)的發(fā)展路徑，主要是圍繞個體和生存處境的關(guān)系展開的。當(dāng)然，在有感而發(fā)的表達過程中，必須解決藝術(shù)語言的有效性，由此推進了藝術(shù)語言的發(fā)展。

生存下來、獲得更大的快樂，是生命與生俱來的本能需求。對生命需求的滿足程度，成為個體衡量社會的根本標準。在多重力量的復(fù)雜作用下，三十幾年來不斷開放的中國社會，讓越來越多的可能性被開啟。開啟的過程中，無數(shù)個體對生存處境的認識和生命的需求，也在以各種方式旺盛生長著。由此，驅(qū)動的利益博弈讓社會的發(fā)展充滿不確定性，新的變化一刻不停地涌現(xiàn)著。

近年來，以經(jīng)濟增速放緩為最重要因素所導(dǎo)致的連鎖效應(yīng)深深影響著很多領(lǐng)域的變化。正在發(fā)生著的豐富現(xiàn)象，以它極大的混亂和復(fù)雜讓人難以把握。但對身臨其境的人來說，這些變化正體現(xiàn)在非常具體真切的日常生活中。從自身在利益格局中的境況出發(fā)，不同的人有著不同的反應(yīng)。那些通過繼續(xù)開放才能獲得更多利益的人，在反觀自身并環(huán)顧四周時，會敏感于生存處境的擠壓和社會的日漸固化。在帶著開放的慣性尋找突圍的可能性時，與真實處境相遇，產(chǎn)生著復(fù)雜的心理。

藝術(shù)家首先是人，誰也無法拔著自己的頭發(fā)讓沉重肉身離開地面。面對而不是回避事實，表達而不是粉飾真相，是當(dāng)代藝術(shù)的起點。這些正在進行著的新的變化，在一些敏感的藝術(shù)家身上也在積極反映著，并自然流露為藝術(shù)作品。近年來，涌現(xiàn)出不少藝術(shù)家，例如鄧大非（烏托邦小組）、戴建勇（Coca）、金陽平、堅果兄弟、九口走召、李博、劉偉偉、雙飛藝術(shù)中心、周軼倫等。這些藝術(shù)家承認自己是渺小個體，甚至自嘲自身的微弱；同時，他們并不放棄表達真相的權(quán)利，不放棄對新的可能性的積極尋找。他們正視自己的滯澀生存和尷尬處境，從問題出發(fā)來醞釀恰當(dāng)?shù)谋磉_方式，還時常故意用變本加厲的“惡趣味”來反諷，只為有效地突圍。成長于文化更加開放的時代，他們越來越熟悉國際范圍內(nèi)的當(dāng)代藝術(shù)狀況，也越來越能輕松把握多元的藝術(shù)表達方式，甚至在藝術(shù)和非藝術(shù)領(lǐng)域間自如穿梭。另一方面，從自身感受出發(fā)，中國本土的狀況和問題，一直是他們關(guān)注和表達的重心所在。

廢墟、底層、中產(chǎn)階級、民營企業(yè)家、雇員、自由職業(yè)者、女性……這些作品中所聚焦的問題，在這個特定時期，與很多人利益攸關(guān)。民間的、野生的、逼迫的、僭越的、不安的、焦慮的、躁動的、雜亂的、無所適從的、歇斯底里的、Bad、Bug、Bullshit、Breakout……這些詞匯和這些藝術(shù)家作品中的氣息有所對應(yīng)。這些作品的表達方式，和其他領(lǐng)域乃至日常生活中的新表達方式和語匯，在美學(xué)氣質(zhì)上時有相投。如果主流、強勢、正襟危坐者可用“A”來指代的話，他們則身處B區(qū)，以藝術(shù)的方式積極生產(chǎn)、推進著他們的文化話語，在此，統(tǒng)稱為“B區(qū)藝術(shù)”。

在一個裹足不前與蓄勢待發(fā)并存的張力關(guān)系中，在一個晦暗不清和心知肚明共生的微妙情境里，這樣的態(tài)度和表達，積極地參與其中，并再次重返中國當(dāng)代藝術(shù)的出發(fā)點。

2016年4月1日

Art is beyond art. Politics， economy and culture have always been a close integration with interaction， and we can only see the essence of culture by putting it into the political and economic structure. Clearly marked by "Stars Art Exhibition" in 1979， Chinese contemporary art has been closely related to the ups and downs of Chinese society' s development since its emergence.

Different from the development history of western modern and contemporary art which completely opens to life after experiencing the formalism booming，Chinese contemporary art by no means starts from modernism and develops in an orderly linear way. The reason lies in the fact that it is a fantasy for the history to repeat orderly when Chinese society opened the door to developed countries after the "Great Cultural Revolution" and the contemporary civilization achievements， which ought to be absorbed successively， emerged simultaneously in sight. Faced with the urgent need of society， it could only be dealt with caseby-case， borrowing and creating according to specific needs. Looking back at the development path of Chinese contemporary art， it is carried out mainly around the relationship between individuals and survival situations. Of course， in the process of expressing the emotions， the effectiveness of art language needs to be addressed， thus promoting the development of the art language.

It is the instinctive needs of life to survive and gain more happiness. Satisfaction degree of life' s needs becomes the fundamental criterion for individuals to measure a society. With the complex action of multiple forces， Chinese society，which has kept opening up in more than three decades， allows more and more possibilities. During this process， countless individuals' understanding of situation and needs of life are also growing vigorously in various ways. The benefit games driven by it make the society' s development full of uncertainties， and new changes incessantly springing up.

In recent years， a chain reaction caused by factors， among which the economic slowdown is the most important， has a profound influence on changes in many fields. The ongoing extensive phenomena， with their great confusion and complexity， are making it difficult to grasp. But for people who are personally on the scene， these changes are reflected in very specific real daily life. Depart from one' s position in the benefits pattern， different people have different reactions.Those who can get more benefits only by continued opening up will be sensitive to the squeezing survival situation and increasingly solidified society when self-reviewing and looking around. When they seek possibility to break through with the inertia of opening up， they have complex mentality when encountered with the real situation.

Artists are first of all human， and no one can lift his heavy body off the ground by pulling his own hairs. The starting point of contemporary art is to face the fact that rather than avoid it and to express the truth rather than varnish it. These ongoing new changes are also actively reflected in some sensitive artists and are naturally presented as art works. Recent years have witnessed the emergence of many artists such as Deng Dafei （Utopia Group）， Dai Jianyong （Coca）， Jin Yangping， Nuts Brothers， Jiukou Zouzhao， Li Bo， Liu Weiwei， Double Fly Art Center， Zhou Yilun， etc. These artists recognize that they are tiny individuals，and even mock their own weakness； in the meanwhile， they do not give up the right to express the truth， nor the active search for new possibilities. To achieve effective breakout， they face up to their sluggish survival and trying situation，brew proper expressions from problems， and often deliberately use further intensified "bad taste" for irony. Growing up in an era with more open culture，they are increasingly familiar with the situation of contemporary art in an international context， and also can grasp the diversity of artistic expression more easily， even can shuttle freely between art and non-art areas. On the other hand，the focus of their attention and expressions has always been China' s domestic situation and problems viewed from their own experiences.

Ruins， bottom， the middle class， private entrepreneurs， employees， freelancers，women...... The focused issues in these works are of vital importance to many people in this particular period. Folk， wild， impendent， assuming， uneasy，anxious， restless， messy， confused， hysterical， bad， bug， bullshit， breakout...... these words correspond with feelings in these artists' works. The expression of these works often aesthetically agrees with new expressions and vocabulary in other areas and even daily life. If we use "A" to refer to the mainstream， the strong and the serious， then these artists are in B zone. Their artistic ways to actively produce and promote their cultural discourse are here generally referred to as "B Zone Art".

In a tension relationship where hesitation to move forward coexists with readiness to act， and in a delicate situation where darkness and gloom coexist with clear awareness， such attitude and expression actively get involved and return to the starting point of Chinese contemporary art again.

Du Xiyun

April 1， 2016

圖1 鄧大非《黑暗烏托邦2——永遠不要表現(xiàn)出沮喪》截圖 錄像 2014年

作品說明：這是根據(jù)2014年初我寫的一首詩《黑暗烏托邦二》（原文：夜/黑暗/寒冷/這是2014年1月15日，五環(huán)外的北京/光照在黑暗里，黑暗卻不接受光/我很絕望/消滅了/孤獨的斯諾登/不能被看見/北京的五環(huán)外/沒有眼淚沒有同情沒有憐憫/永遠不要表現(xiàn)出沮喪/永遠不要表現(xiàn)出憎恨/看來我被無情的遺棄了/這不，周圍都是深淵啊！/硬要我詛咒你嗎？太陽，/你怎么把黑子拋給了我！/NO）做成的一件作品，把詩歌的每首句子在夜深人靜的時候，燃燒在北京的五環(huán)外的某些地點，十字街頭、村口、 堤壩、公路的盡頭、已經(jīng)被拆遷的廢墟、無人居住的小區(qū)……詩歌的內(nèi)容充滿了哀怨、沮喪和無能為力，被燃燒的區(qū)域是那些生存在北京五環(huán)外的外來務(wù)工人員，人稱“蟻民”的聚居區(qū)。白天這些地方嘈雜、混亂的人群、骯臟的飯館、劣質(zhì)的建筑、人們行色匆匆，也是犯罪率高發(fā)的地區(qū)，巨大的北京城在隆隆向四周外圍擴建小區(qū)的時候，這里是容易被人遺忘的角落，白天拉沙土與水泥的貨車大量地來來往往，因為一切都是處在一種臨時的、湊合的、隨時都準備拆除、移動的狀態(tài)中，這里是與和諧社會完全相矛盾的灰色地帶，我們冠其名曰反烏托邦地區(qū)?；鹑紵诉@些哀怨的詩句、略顯浪漫；火是一種轉(zhuǎn)換的能量，它燃燒了舊物質(zhì)，但詩句的形象和聲音隨著瞬間的燃燒升華出來被賦予了某種嚴肅和莊嚴。黑暗中火的文字不僅僅是一聲聲吶喊，它也是被巨大的城市所吞噬掉的無數(shù)個火花，曾經(jīng)讓我們想起偉人們的著作《星火燎原》。——鄧大非

Picture 1

Deng Dafei Dark Utopia 2 Screenshot and Video 2014

Introduction： This work was inspired by a poem I wrote in the beginning of 2014 - the Dark Utopia 2. （January 15th2014/Nigh， Dark and Cold/Wrapping the light， yet not accepting its presence/Here I am， outside the fifth ring of Beijing/Desperate， Eradicated/Thou cannot be seen， lonely Snowden/No tears， pity， nor sympathy/Frustration and resentment/Thou cannot express/Outside the fifth ring of Beijing/Here I am， abandoned relentlessly/Surrounded by abysses/Shall I curse the sun？/For casting its black spots on me/NO！）Those sentences went on flames in some corners outside the fifth ring of Beijing in the dead of night. They burned at crossroads， village entrances， dam， road ends， dismantled houses and deserted communities. The poem is full of moaning， frustration and helplessness. It refers to the living area of migrant workers outside the fifth ring of Beijing， a place where people haste around， flocking and living like ants and a place where crimes happen at a high frequency. At daytime it is thrusted with messy and noisy crowds， dirty restaurant and shoddy architectures. It easily falls into oblivion as Beijing， the giant metropolis is expanding all around. Vans carrying sands and cement come and go in great numbers as all things here are temporary and might be dismantled at any time. A Dark Utopia - this is how you address this grey area where everything seems to be at odds with the harmonious society.

Those sentences burns with a touch of romanticism. Fire is the energy of transformation. It incinerates the old matters and endow the poem with a sense of severity. The blazing words in darkness are not merely shouts， but rather， the enormous flames that were devoured by the formidable city， which reminds us of a great man's work - Single Sparks Setting the Prairie Ablaze（written by Deng Dafei）

圖2 金陽平《身份》 霓虹裝置 尺寸可變 2015年

Picture 2 JinYangping Identity Neon Light Installation Dimension Variable 2015

圖3 金陽平《被打者3》展覽現(xiàn)場 布面油畫 135cm×165cm 2015年

Picture 3 JinYangping The Attacked 3（Live Exhibition） Oil on Canvas 135cm×165cm 2015

圖4—7 戴建勇《“六環(huán)比五環(huán)多一環(huán)”#13——窺視西北門村》 藝術(shù)項目 2014—2015年

作品說明：“六環(huán)比五環(huán)多一環(huán)”是一個由二樓出版機構(gòu)主辦，針對北京5-6環(huán)間行政村進行的藝術(shù)家調(diào)查項目。其中朝陽區(qū)東壩鄉(xiāng)西北門村隸屬于朝陽區(qū)東北部的東壩鄉(xiāng)。東壩鄉(xiāng)東鄰樓梓莊鄉(xiāng)，南靠平房鄉(xiāng)，西接將臺鄉(xiāng)，北接金盞鄉(xiāng)，面積24.6平方公里。全鄉(xiāng)共有七棵樹、單店、西北門、東風(fēng)、后街、焦莊、東小井、駒子房、三岔河9個村委會轄25個自然村，常住人口2萬多人，流動人口5-6萬人。東壩鄉(xiāng)北部連為一片的西北門、東風(fēng)、后街三村，是東壩鄉(xiāng)人口最為稠密的地區(qū)。經(jīng)與項目組協(xié)商，戴建勇決定將這里作為駐地，用了十余天對村子進行了連續(xù)觀察，時間跨越了北方最為寒冷的2014年12月和2015年1月，主要進行了連續(xù)24小時地拍攝照片、錄像等，期間戴建勇就在村子里就餐、洗浴、理發(fā)……戴建勇，網(wǎng)名“麻痹哥”，出生于江西婺源。1999年畢業(yè)于上海大學(xué)美術(shù)學(xué)院?，F(xiàn)為新銳攝影師，主要生活、工作于上海?！坝跋裉珮O拳”是戴建勇持續(xù)已十年的影像計劃，自2006年開始，像打太極拳一樣堅持每天大量的拍攝，不管光影構(gòu)圖，以攝影形式詮釋著當(dāng)下的生活?！案Q視西北門村”是戴建勇繼紐約回國后進行的第一個拍攝項目，延續(xù)了紐約的拍攝風(fēng)格，主要是呈現(xiàn)外來人口的日常生活狀態(tài)，而村子的感覺和紐約形成了強烈的對比。

Pictures 4 - 7

Dai Jianyong The Sixth Ring - One More Ring than the Fifth： A Peep into the Xibeimen Village Art Project 2014 - 2015

Introduction： The work， hosted by Floor #2 Press， is an art investigation program into the administrative villages in the fifth to sixth ring of Beijing. The Xibeimen village belongs to the Dongba County loated in the northeastern part of Chaoyang District. The Dongba County is adjacent to Louzizhuang County in the east， Pingfang County in the south， Tai County in the west and Jinzhan County in the east. It has a total area of 24.6 km2. There are 9 village committees （Their names are Qikeshu， Shandian， Xibeimen， Dongfeng， Houjie， Jiaozhuang， Dongxiaojing， Juzifang and Sanchahe）within the county governing 25 natural villages. It has a resident population of 20 thousand and a mobile population of 50 to 60 thousand. The northern part of Dongba County， a single stretch of Xibeimen， Dongfeng and Houjie villages， is the most densly populated area. Dai Jianyong decided to carry out the art program there after negotiations with the program committee. He spent over 10 days observing the villages， from December 2014 to January 2015， the coldest period in the northern part of China. He has taken photos and videos continuously for 24 hours and spent his daily lives in the villages.

Dai Jianyong was born in Wuyuan， Jiangxi Province. His net name is Brother Paralysis. He graduated from college of fine arts of Shanghai University in 1999. This young photographer now works and lives in Shanghai. Dai's project Tai Chi Images has went on for 10 years. Starting from 2006， Dai created a lot of shootings every day that aims at interpreting the modern life. Those photos were shot regardless of light and shadow compositions. A Peep into the Xibeimen Village is the first shooting project after Dai's return from New York. It is consistent with the New York style of photography and mainly manifests the daily lives of the migrant workers. However， Shots and Cameras that features the image of villages from a strong contrast to New York.

圖8—10 劉偉偉《眾泰》 藝術(shù)項目 2015年

作品說明：“眾泰”是一個公司，也是出租車司機的一個自組織。西安有12000多輛出租車，3萬多名司機。2012年開始，出租車司機維權(quán)事件不斷發(fā)生，2015年初，西安95名出租車司機每人出資3萬元，人人都做股東，組建了這個公司。雖然幾經(jīng)周折，拿到了工商執(zhí)照，但到現(xiàn)在還沒有“上路權(quán)”，無法正式運轉(zhuǎn)。2015年，劉偉偉受西安美術(shù)館邀請從重慶來到西安參加“青年藝術(shù)家計劃”，沒幾天就注意到“西安的出租車維權(quán)轟轟烈烈”，很快，他就決定拍攝一部出租車司機維權(quán)的紀錄片。拍攝花了兩周的時間，劉偉偉帶著自己隨身的小DV，還有一部蘋果手機，到郊區(qū)的二手車市場，到司機們棲身的出租屋，到法院門口，跟拍司機們學(xué)習(xí)法律、依法維權(quán)的過程。目前，他們的維權(quán)方式之一，是持續(xù)向政府部門、銀行等寄送信息公開申請，目前已寄出1500多份。劉偉偉1988年出生于山東，畢業(yè)于四川美術(shù)學(xué)院，生活工作于重慶黃桷坪一帶，他那些根本不指望賣出去的作品多數(shù)是藝術(shù)行動。

8. 眾泰公司辦公的地方，劉偉偉拍攝《眾泰》紀錄片的工作照。

9. 紀錄片《眾泰》截圖。

10. 7月9日，紀錄片《眾泰》在西安美術(shù)館放映，出租車司機們在美術(shù)館觀影。這是他們的維權(quán)之旅，也是第一次到美術(shù)館的生活之旅。

Pictures 8 - 10

Liu Weiwei ZOTYE Art Project 2015

Introduction： ZOTYE is a company. It is a self-organized institutions of the taxi drivers. There are now over 12000 taxis and more than 30，000 taxi drivers in Xi'an， whose rights are often challenged. In the beginning of 2015， 95 Xi'an taxi drivers started ZOTYE， each of them contributing 30，000 RMB yuan and becoming the shareholders. Although these drivers acquired the business license through strenuous efforts， they are not yet allowed to go into operation. In 2015， Liu Weiwei， while in Chongqing， was invited by the Xi'an Art Museum to join the "Young Artists Program" in Xi'an. Several days after his arrival， Liu noticed the rigorous events of the taxi industry there. He immediately decided to shoot a documentary featuring the taxis driver's story of right protection， which took Liu two weeks of work. He went to the driver's rent place and the second-hand car market in the suburb areas with a walking DV and an iphone. He also went the court and recorded taxi drivers learning about law and protecting their own rights. One of their practices is to file applications to government agencies and banks， asking for information disclosure. A total 1500 pieces of applications were sent. Liu Weiwei was born in Shandong Province in 1988 and graduated from Sichuan College of Fine Art. He now works and lives in Huangjueping in Chongqing. He never thought of earning bills from his action arts.

8. Working Place of ZOTYE. Picture of Liu Weiwei Shooting the Documentary

9.Screenshot of the Documentary of ZOTYE

10. On July 9th， ZOTYE was shown in Xi'an Art Museum. The taxi drivers were watching the documentary in the museum. This is a part of their journey for right protection， and is also the first time they set foot on an art museum.

圖11—12 劉偉偉《射擊》 錄像 23分21秒 2014年

作品說明：錄像主要記錄了劉偉偉在廣州期間，找到一個冰箱廠的三個工人，在一段訪談結(jié)束后，邀請他們到郊區(qū)的打靶場練習(xí)射擊的事情。

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Liu Weiwei Shooting Video 23min. 21sec. 2014

Introduction： The major content of the video： Liu Weiwei interviewed three workers in a refrigerator manufacturing plant in Guangzhou and invited them to practice shooting in the suburb.

圖13 九口走召《洞穴壁畫》 空間裝置 2015年

作品說明：九口走召將完成一個沒有圖像的大作，一個類似于山洞的文字游戲，這個類似于小說的墻面涂鴉，如同九口的攝影作品，都會引導(dǎo)觀者進入其個人、私密的世界。九口的工作試圖打破自身創(chuàng)作上的慣性。他——一個小說家，一個敘事者。希望將一個個人的故事，轉(zhuǎn)化為空間的內(nèi)部，并包容觀者在其中。他更強調(diào)文本、文字和撰寫的動作，關(guān)于意義和認知上自然出現(xiàn)的障礙，也就構(gòu)成了閱讀者在現(xiàn)場遭遇的非文本，而是圖像。窗子上出現(xiàn)的俄文——詩，從窗子望出去的遠方?！钫袢A

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9 mouth Cave Paintings Space Installation 2015

Introduction： He will finish a masterpiece without images. A word game that is similar to caves. Like his photos works， this novel-like graffiti will lead the visitor into a personal and clandestine world. He tries to break away from the inertia during creations. In this work he became a novelist， or， a narrator who hopes to transform every individual story into the internal structure of spaces， which also includes the spectators. He pays much more attentions on words， texts and the movement of writing. The obstacle of meaning and recognition naturally constitute the non-text feature， which is images for the spectators on the spot. We see Russian on the window， these are poems， through which you can look into the distant places.（ written by Li Zhenhua ）

圖14—16 九口走召《Masturbation》系列 圖片 2014年

作品說明：女性一直是九口作品的主題和載體，他的照片既依附于她們，又凌駕于她們。這其中的關(guān)系近乎于最原始的崇拜和探索。《Masturbation》系列便是在這樣的探索中將女性的力量詮釋到極致。女性的自慰似乎不被看作男權(quán)社會中的典型案例。相對于被禁止，更多的是忽視。但無法忽視的一點是欲望，無論是誰都有享樂的責(zé)任。

九口走召，1988年生于中國荊州，現(xiàn)旅居北京。

把攝影作為自己的表達手段和藝術(shù)語言，用欲望作為動力記錄當(dāng)下女性自我意識的覺醒并與這個現(xiàn)實世界互動。除了攝影師亦有寫作者及模特等多重身份，跨界于多個領(lǐng)域。

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9 mouth series of Masturbation Pictures 2014

Introduction： Woman is the subject and carrier of Jiukou's works. His photos lives on women， yet it also overrides them. This subtle relation originates from the most primitive worship and explorations. The Masturbation Series unleash the power of women to the greatest extent during such explorations. Women's masturbation is not regarded as a typical case in the patriarchal society. It is more ignored than being prohibited. However， one thing that cannot be forgot is that everyone has the right to seek pleasures.

Jiukou-Zouzhao， or known as 9 mouth， is born in Jinzhou in 1988. He now lives in Beijing.

Jiukou treats photography as the means of expression and the artistic language. He records the awakening of women's self-conscious driven by lust and interacts with the real world. Jiukou is also known in many other fields apart from photography， writing and modeling.

鄧大非《轟隆隆刻》 廢墟雕刻、宣紙拓印 170cm×97cm 2015年

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