Judu Lights ｜ One of the essence of contemporary art is its global nature

Author: Wuhong Art Historian, Art critic, curator, Academician of the School of American Art and Science

In the general order of (the key is the experiment), I proposed that "Chinese contemporary art faces a very big challenge in the past, or it may be the biggest challenge, that is, at the same time, it shows creativity and vitality in the local and global fields" " Essence This point, I believe that everyone can see it very clearly that since the 1980s and 1990s, China has been open to the world, inside and out, entering and leaving, and contemporary art appeared in this environment. In my perspective, a very essential point of contemporary art is its globality.

Can't foresee the future trend

In the past few hundred thousand years, Chinese art mainly focuses on a definition of local, nation, and state. Although it is also related to the outside world, the impact is not too great. Part of Chinese art is not created as a form of global art. So for a new group of contemporary artists forty years ago, a main task is how to global Chinese art.

Globalization is a very important purpose of the development of contemporary art in China since the 1980s and 1990s, and it is also a motivation. In other words, you have to create from the perspective of global art. The audience you conceive cannot just speak Chinese. It is related to the occurrence of art phenomena and cultural phenomena within China, but is related to the trend of global problems and artistic changes.

This concept still exists, and the contemporary artist who is doing well should think so. Your vision must see both around you and global or all human beings, so that your art will be more interesting, the audience will be more, and the works will be circulated wider and long -term.

However, the situation in the world is changing now. It is different from forty years ago. Where is the future trend, it is difficult to estimate. There will definitely be a lot of reality considerations in this Chinese contemporary artist. After all, everyone cannot foresee the future trend. This is reality.

The epidemic is an important reason, and of course there are many other factors. Like the flow of a large number of people, the flow of works, and the flow of exhibitions between the 10th year of the 1990s and the 10th year of the new century, they now stop. But this does not mean that Chinese contemporary art cannot be done. Instead, the artist needs to consider other directions. His sources of inspiration are no longer taken from Venice to Venice today, tomorrow to New York to watch, but through the Internet and some new media, He can still have an interaction with the world that is different from the past. He may also think more. For example, some things around him may also see some things thinner, thin can also be global or contemporary.

So I think that the form of China and the global connection will change in the future, and the way of interaction between Chinese contemporary art and global contemporary art will also change. I am very interested in this aspect: What kind of new form of contemporary art will this change lead? The artists are smart and loved, and they are creative. We cannot stipulate their creativity, saying that you should do this, or you have to do this, otherwise it is wrong. My responsibility is to follow the artist, not to point them out for them.

The development of history is like "tide"

From the end of the 1990s to the new century, the tendency of capitalization or commercialization of contemporary art in China was very clear. A large number of commercial galleries, auction markets, and art expo have appeared, which has played a great role. At the same time, the political environment is constantly changing and adjusting, and the context of contemporary art is indeed different.

Not only China, the whole world is the case. Global contemporary art is also facing a commercial situation. This is both a promotion and a threat. Of course, the artist is not a fairy, but also to eat and live. And art, as business since ancient times, is not a new phenomenon, or even a bad phenomenon.

Chinese contemporary art has undergone such changes, and of course it is not the same as the beginning. Arts and artists have entered the gallery, some of which are even world -class galleries, which itself shows the improvement of the status of the world of contemporary art in China. But at the same time, changes from the global economic state also have additional effects. For example, the contemporary art venue, which was originally supported by privately, may be reduced by the fund, and some were even canceled. It is strange to say, because when Chinese contemporary art began, there was this phenomenon: the private art museum supported and established by real estate or developers must be affected by economic operations. Some funds can be supported, but if the real estate market has changed, this part of the funds may be considered to cut off. For example, I have heard of a very important private art museum recently.

But I think so: Looking back, in the past history, including our recent decades of history, there have been repeated repeated (tidal changes). Therefore, I don't want to use a phenomenon instead of comprehensiveness. Now there are some signs, but the conclusion may be too early. I'm thinking, let's wait for another, take a look, and see if it will be a year or two to see if the Chinese contemporary art and global contemporary art will really happen. Major changes.

Biennale has become part of contemporary art activities

The art market is indeed mature. But does the maturity of the art market inevitably mean the decline of the influence of the art gallery and the biennial exhibition? In fact, there is no complete and completely connection between the latter two and the art market. It is not that as soon as the art market matures, the other two must be offset or declined. There is no such logic, because their performance is very different, and the audience is very different.

As a public space, the art museum is facing more vast public, and generally does not need to consider business issues. The art market is mainly targeted at money and can collect art (people). Therefore, how changes in the art market, regardless of rise or decline, should not have a direct impact on the art museum. The art museum has grown in China in recent years. Of course, it is dominated by historical art museums, but contemporary art museums have also expanded. Like the State or Urban Public Art Museum, many exhibitions on contemporary art are also run. Compared with the commercial art market, the art museum should be a more important system in society and the place where art and the public really meet. Therefore, my personal feeling is that the art museum should continue to develop, and now it is indeed continued.

The situation of the biennial exhibition is a bit different. From the 1990s to 2010, the biennial exhibition developed very quickly, becoming a worldwide urban behavior, and the public and globality were very strong.

But in recent years, the Biennale has indeed a little weak. It is not as loud, not as global as it was. But in fact, it is still operating, such as the Shanghai Biennale and the three -year exhibition of Guangzhou.

This is also a very interesting phenomenon. Friends who study contemporary art can also think about why the psychological response caused by the biennial exhibition in people's hearts is not as exciting as ten or twenty years ago? One possibility is that the popularity of contemporary art is now higher. In the past, contemporary art was quite fresh. People entering the art museum to watch contemporary art are often curious and doubtful, like watching flood beasts, even a bit of fear. Now, of course, doubt will still exist, but it is more accepted as a reality.

You can also see from various art colleges that it turned out to be the national oil version of the carving, but later the most important academy also appeared in new media or experimental art majors, which shows that contemporary art is constantly popular. At the same time, the exhibition, publication, and many other intermediate forms have also assumed the role of popularity. These reasons make the biennial exhibitions not as exciting and appeal as that year.

If you look at it like this, the biennial exhibition is not necessarily declining, but the way of influence is not the same as the past -it has become part of the wider contemporary art activities, so there is no such strong stimulus effect.

I think the best progress should be a whole or overall progress: the art market is also mature and progress; at the same time, the art museum is better and more interesting, attract and accept more people; It's also good.

(This article is Wu Hongkou, the editor of the side furnace editor Yang Meiju interview and sort out)

Source | Jingbao APP

Edit: Chen Jianguo

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