大艺术史中的小艺术史

Manuscripts: A Microcosm of Art History


大艺术史中的小艺术史

  冀少峰


很荣幸可以来参加这个研讨会。我的发言题目是:“大艺术史中的小艺术史”,主要有以下几点:


1、艺术文化情怀

2、艺术与学术梳理

3、艺术与有意义的尝试

4、形态多样的思想性流动和流动思想的碰撞


“艺·凯旋”画廊是有文化情怀的,它2007年诞生,今年成立10周年。在跌跌撞撞、起起伏伏的艺术发展之中,作为一个商业艺术机构,“艺·凯旋”对当代艺术的研究越来越走向了一种学术化的倾向。现在有一个现象,就是商业机构开始向文化研究方面发展。


“艺·凯旋”对艺术史的梳理是从手稿入手的。明年是改革开放40周年,在这40年中,当代艺术史和改革开放40年来的发展有着密切关系。此次手稿展选择的艺术家都是进入艺术史的,由于是进入艺术史的艺术家,他们的手稿对我们来说也会更有研究意义。民间智慧对艺术史也是一个补充,这种补充也很符合空间的特征。


这次展览,也是一个有意义的尝试。我们以前都是关注比较宏大的历史,宏大的艺术史,现在有一个趋向,从合美术馆不断举办的手稿研究展开始逐渐进入到微观的艺术史。微观的艺术史可以丰富宏观的艺术史,同时,美术馆、艺术机构的收藏也会更加注重对精选作品的收藏。精选作品不是凭空产生的,在其背后就有很多手稿产生。


在西方举办的很多展览,多是围绕着一件作品和它相关的系列手稿展开的,围绕这件作品的系列手稿可能就构成了一个展览。展览中,作品的过程性就会展现出来,同时它的思想性、智慧性也会体现出来。对美术馆来讲,对于这类的手稿收藏是会加大力度的。然而美术馆往往注重艺术家单张作品的收藏,针对一个艺术家的跟踪收藏,其早期的、中期的,甚至他在未来的,包括他工作时间的一些细节方面的收藏是缺乏的。湖南博物馆就很有意思,他们对方力钧的收藏很值得研究,比如他用过的纸、颜料、用过的笔都会进行收藏。大多数美术馆现在收藏的是什么?还停留在拥有一个艺术家的作品的过程当中。对于拥有艺术家不同时段的有温度的收藏是缺乏的,例如用过的杯子、笔、画架等。所以,对于手稿的研究其实也会促使收藏有意义的转向,比如美术馆会扩大自己的跟踪对象,会去收藏对艺术家来说有温度的收藏,比如说他早期的毕业证、读书笔记、当时上学用的饭票、读过的书、大学考试英语等级证书等,这些和艺术是不可割裂的。


手稿是短暂的、片断的、印象的、偶然的、碎片化、瞬间的,同时还是一种思想、灵光的闪现。这是它的真实状态。艺术家的手稿当中有很多精彩的东西,当你把它放大的时候,这种精彩的东西就没有了。把不同类型的艺术家的东西放在一起的时候(10位艺术家),你也可以看到在这里面是有思想交流的。这种思想交流也隐喻了今天社会进步发展当中的一种思想变化及社会政治、文化、经济结构转型所带来的生活方式和艺术表达方式的变化。


再回到这些手稿,你可以清晰地看到,每位艺术家思考的方式,他思考演进的过程,包括对于未来发展的一种影响是有差异的。应该说,这些形态多样的手稿也是艺术家们下一步即将呈现的创作的一种凝聚。能达到自然而然真实呈现,能够把自己的思想真正表达出来,我觉得这种手稿即是值得研究的,也是更有意义的。




Manuscripts: A Microcosm of Art History


It is my great pleasure to attend this seminar. My speech is titled “A Micro-Art-History in Macro-Art-History”, in which I will elaborate on the following points:

1. Artistic and cultural sentiments;

2. Art and academic review;

3. Art and meaningful attempts;

4. Various forms of ideological flow and the collision of thoughts.

Triumph Gallery has very strong cultural sentiments. Founded in 2007, it celebrates its 10th anniversary this year. Amongst the ups and downs of art development, Triumph Gallery as a commercial art institute is becoming more academic in the study of contemporary art. It is not alone; there is a trend that commercial organizations begin to involve themselves in cultural studies.

Triumph Gallery begins its review of art history with the manuscript. Next year marks the 40th anniversary of the “Reform and Opening-up Policy” in China. During these 40 years, contemporary art history is closely related to the four-decade of development. The artists selected for this manuscript exhibition have already gone down in art history, and because of this, their manuscripts are more meaningful for our study. Folk wisdom is also supplementary to art history, which is very much in line with the characteristics of space.

This exhibition is also a meaningful attempt. We used to care more about the grand art history. With the string of research exhibitions of manuscripts at United Art Museum, we now have a tendency to be engaged with the micro-art-history, which can enrich the macro-art-history. At the same time, art galleries and institutions will pay more attention to the collection of selected works, which are not created out of thin air, but based on many manuscripts.

Many exhibitions in the West are organized with one work as the center, and the series of manuscripts associated with the work may constitute an exhibition. In the exhibition, the creating process of the work will be revealed, as well as its ideology and wisdom. For art museums, the collection of such manuscripts will be intensified. However, art museums tend to focus on the collection of individual works, but they are lacking in the collection of the minutiae in the artists’ creation process, including the early period, the mid-term, and even the future. In this aspect, Hunan Museum has set an example worth learning from. It has not only collected Fang Lijun’s finished works, but also the paper, paint and brushed that he used. In contrast, most other museums are still keen on owning an artist’s final works, and do not care much about collecting items that artists used in different periods of creation, such as their cups, brushes, easels and the like. Therefore, the study of manuscripts will prompt collectors to make a meaningful turn. For example, art museums will expand their collection to include items that are personally relevant to the artists, such as their diploma, study notes, meal tickets, books they read, English language certificate, etc.; these are inseparable from art.

Manuscripts are transient, segmented, fragmentary, accidental, instantaneous, and at the same time a flash of thought and inspiration. This is its true state. In the manuscript, there are many wonderful details, which will be gone once it’s enlarged. When the works of different types of artists (10 artists) are placed together, an exchange of ideas can be discerned, metaphorically reflecting the changes in thoughts in today’s social progress and the transformations in way of life and artistic expression brought about by the social, political, cultural and economic restructuring.

Back to these manuscripts, you can clearly trace the way of thinking of each artist, and how they differentiate in their influence on future development. These various forms of manuscripts are also an early manifestation of the artists’ upcoming works. They are able to give true expression to the artists’ thoughts. I think this kind of manuscripts are worth studying and are more meaningful.