【现场】-借中国当代艺术之名-香格纳淮海路空间
时差 Time Lag
展览名称：时差
艺术家： 六零：曹晖，郭晋，瞿广慈，苏新平，肖红，于凡，钟飙，赵能智
八零：陈虹竹，高海清，黄一山，刘宝亮，刘滨，刘敏，那危，伊慧，臧坤坤
展览策划：张莉娸，王一妃
主办单位：798林大艺术中心
展览地址：北京朝阳区酒仙桥路甲2号798艺术区B区797街706北三街西，林大艺术中心
展览时间：2009.9.19～2009.11.29
開幕酒會：2009.9.19 PM4:00~7:00
资讯电话：59789565/59789564
“时差”展览是由林大艺术中心策划的关于六零和八零艺术家的大型联展。展览围绕“时差”展开叙述，时间是沟通过去、现在与未来的桥梁，通过它，我们更能看到相隔近20年的艺术家，思想纬度与价值判断的延伸，同时，试图呈现六零和八零艺术家在视觉和想法上的强烈冲突，由此引发对两代人成长背景和精神状态的思考和追问。展览将展出六零后及八零后的艺术家作品。其共同特点是：其一每个艺术家的个人风格突出并且艺术表达源于当时真实的社会背景，其二艺术家之间的理念和视觉上相差迥异，不会拘泥于一种表现风格或流派，更加完整的表现出特定年代的艺术家的精神状态。本展览将于2009年9月19日持续到2009年11月29日。
生活在今天经济高速发展的社会，却没有一套与之相符的价值体系。为此，两代个体记忆不同的艺术家在作品中表达和关注的问题，也有着巨大的差异。第一，六零后的艺术表达以现实社会作为基础；而八零后的艺术家多架空现实之上，更加热衷于表达一种迷幻，梦境、魔幻的非现实场景。第二，六零后的艺术家比八零后的艺术家更加清楚自己要表达什么。两代阅历不同的艺术家，八零后有些迷惘，六零后则清晰。第三，六零后的艺术表达大多关注社会群体乃至人类精神的问题，艺术家大都以旁观者的角度来叙述，而八零后大多关注自己精神层面或生活状态，很少会去以整个社会问题或精神问题作为出发点创作。
六零艺术家赵能智的新作，人物的刻画延伸到身体，作品的矛盾冲突比先前的作品更具视觉冲击及震撼力。此时作品传达的，不仅仅是一种个人情绪的宣泄，而是在此基础之上艺术家对整个社会精神状态的解读。此外，六零后的艺术家，始终坚持着自己的理想，在作品中表达出了对一些社会现实的批判以及对美好精神世界的向往。肖红就曾经说过：“我很怀念过去人们团结，互爱互助的日子。”因此在其作品中人物的表情，总是脱离不了敦煌石窟、农耕文明以及文革这些关键词，但这些关键词的载体却是当代流行青年的脸，两眼空洞无神，表情呆滞。一方面表达了肖红对于中国传统文化的眷恋，也表达了对于目前社会精神贫瘠的一种批判。苏新平的《干杯系列》同样体现出了一种渴望大同世界的精神诉求，在作品《干杯系列》的背后，其实隐藏了一系列由于社会快速发展，而带来的一系列问题。苏新平曾说：“我希望通过艺术的方式提出问题并表达我的心情、所见所闻、所思所想，并希望以此形式参与到社会发展和城市化进程当中。”瞿广慈近期的作品虽然仍延续了“集体主义”系列微胖、愚钝的人物造型，但较之群像的暴力喧嚣多了一份宁静的揶揄。也许广慈已从对官僚体制的愤怒中超越出来，以一种更为客观的角度冷静地描述曾多次给他带来伤害的社会体制本身。钟飙在近期的作品中，开始思考一系列形与态的问题，并且以一种更加豁达的心态投入到创作中。钟飙认为：只有顺应永不停歇的必然趋势，艺术创作才会在每一个当下重生。新作大胆抛弃早期作品中写实为主打，主旋律改为抽象的笔触，干脆凝练，并且保留了一些草稿时的痕迹，试图再现创作的过程。他认为：“当艺术家创作完一件作品的时候，就意味这这件作品已经过时了。”钟飙艺术作品，始终在不断探索，不断的显形。因为作为一个善于思辨的艺术家，已经将“态”了然于心。于凡作为六十年代著名的艺术家，在雕塑语言的探索方面作出了卓越的贡献，朱其曾评论说：“于凡的语言实验在于一个形象的社会形式的改变，朝向另一个意义指向的特征修改，在本质上继承了中国传统的对形象进行的肖像‘再造’的方式，而不是走观念化的道路。”与于凡优雅，诗意般的作品截然不同的是曹晖的雕塑，他的作品使观者感到惊悚，将人体如实解剖，肉体的脂肪、经络毕现。曹晖此次的参展作品是他早期的作品，作品将便池和人体排泄器官结合，将欲望与排泄这两种概念混淆，从而引发人们的一系列思考。
反观八零艺术家的作品语境则截然不同。糖果般香甜易碎的幻境，虚无缥缈的渴望体现在陈虹竹的作品中，她把八零后女生的一种渴望和美丽憧憬夸大在作品上，所有的人物都出自自创的卡通形象，天真唯美。运用如此唯美的叙述方式反映了普遍存在的不切实际的希望以及对目前社会现状的一种反讽，希望越大失望越大，这种希望只能使精神备受折磨。第二种是黄一山作品中神经质的人物形象，对于地板神经质的描绘以及解剖、残肢表现的情有独钟，再现出了一系列低调、血腥、诡异的唯美场景，表现出了当代焦虑、无信仰带来的精神危机。同样的精神危机体现在那危的作品中，麻木冷漠却又背负着沉重的负担似乎是八零后每一个人的真实写照，人们的灵魂都成了社会和机器的附庸。“光头”以及“蓝色的横条纹”隐喻了神经质、抑郁、以及无身份人群生活在社会边缘的尴尬。而刘敏的作品则运用电脑科技虚拟出了极具绘画感的场景，场景中隐喻了青少年对于被世人沦为禁忌的性欲望的幻想及态度。刘敏从个人内心出发，在作品中体现了后青春期的压抑和叛逆，以及对于世俗观念的不屑和反击。第三种是伊慧作品中毫不掩饰的物质崇拜，这种崇拜赤裸裸的解释了整个社会“物质决定上层建筑”的真实追求，这种追求下的美丽图景是真实，飘渺，而又易碎的，这也恰恰预示了物质崇拜的最终结果。第四种是刘滨游戏人生的梦幻图景。刘滨作品总是像童话一样，完整的叙事，如同梦中荒诞的情景。借此刘滨缅怀过去风花雪月、幻得幻失的记忆。在作品中美好而残酷，又有点色情的人生游戏，隐喻了物欲横流社会中的每一个角落，揭示了现实中人们病态和虚幻的欲望。
然而，还有一部分八零后的艺术家，他们热衷于绘画形式语言的探索，在绘画语言，空间感，质感上的表现都做出了很大的突破。第一种是高海清作品中的不确定性。高海清作品的不确定体现在了他的绘画语言探索上，当问到是如何选择这种绘画语言时，海清说：“我不知道我最终要画出来的是什么样子，但我却清楚的知道我不想画什么。”正是这种不确定性，使他的绘画充满了变化和生机，有一股莫名的推动力去指引其创作。第二种是臧坤坤对于对空间延展性的探索。其所有系列的作品都无一例外的体现出了他对于空间感的把握，臧坤坤评价自己是一个理性、客观、公正的人。正因性格中的特质，给予了他绘画语言中一种非常理性的特点，冰冷的叙事，冰冷的表达问题，不掺杂个人的喜好，作品成为了一个冷静、公正的叙述者。第三种是刘宝亮雕塑中以假乱真的质感把握。人物的头发，睫毛，皮肤视觉触觉上都和真人十分相仿。刘宝亮开拓性的在国内首先运用了硅胶这种材料，在塑造的基础之上将毛发一根一根的植进去，才最终达到了这种以假乱真的效果。在外型逼真的情况下，刘宝亮再将细腻的人物性格赋予作品，表达了人物精神层面的细小波澜。如《24岁》，将女孩子由青春期转入成熟的羞怯、期待、矛盾表现的惟妙惟肖。
粗略了解两代人的生活背景和艺术创作后，我们可以看出：六零后和八零后艺术家这两代艺术家在价值观上的差异体现于作品上。同样面对近年的社会现状，作品中描述和关注的内容也大相径庭。但是两代艺术家其相似之处为，不断的坚持创作，以各具独特性的作品，述说着自己对于整个社会的发展和精神的认识。
时差--- 60’s+80’s，碰撞、理解、对话
“时差”展览是由林大艺术中心策划的关于六零和八零艺术家的大型联展。展览围绕“时差”展开叙述，时间是沟通过去、现在与未来的桥梁，通过它，我们更能看到相隔近20年的艺术家，思想纬度与价值判断的延伸，同时，试图呈现六零和八零艺术家在视觉和想法上的强烈冲突，由此引发对两代人成长背景和精神状态的思考和追问。
从文革到改革开放，从探索到经济飞速发展，六零和八零这两代人在精神诉求上产生了极大的差异。表现在艺术领域，这两代艺术家均做出了大胆的尝试和突破。六十年代艺术家在经历了长期艰难的探索后，又开始了漫长的颠覆传统观念及价值体系的过程。此时涌现出诸多我们熟悉的流派：新生代、玩世现实主义、青春残酷，政治波普等。六十年代艺术家在艺术探索阶段的生活是极其艰苦的。并且那个时期的艺术根本无法用来维持生存，直到二十世纪末，中国的当代艺术品才在艺术市场上获得了应有的位置。八十年代艺术家生活在物质丰富的年代，这时候的艺术已经在社会上获得了应有的重视和尊重。此时，比物质贫瘠还要可怕的精神问题是八零后艺术家无法回避的。因此，展览呈现出更加全面而不只是人们印象中“卡通一代”的八零后。
不同成长背景和阅历的人，同样面对着今天经济高速发展的社会，同样在寻求一套与之相符的价值体系。这两代个体记忆不同的艺术家在作品中表达和关注的问题，也有其不同的面向。第一，六零后的艺术表达以现实社会作为基础；而八零后的艺术家多架空现实之上，更加热衷于表达一种迷幻，梦境、魔幻的非现实场景。第二，六零后的艺术家比八零后的艺术家更加清楚自己要表达什么。两代阅历不同的艺术家，八零后显得很迷惘，六零后显得很清醒。第三，六零后的艺术表达大多关注社会群体乃至人类精神的问题，艺术家大都以旁观者的角度来叙述，而八零后大多只关注自己精神层面或生活状态，很少会去以整个社会问题或精神问题作为出发点创作。
不同生活背景的人受到了同样的文化冲击。六零后艺术家在物质与精神追求中开始摇摆不定的矛盾挣扎也体现在作品中，虽讽刺过分的物质追求带来的种种恶果，却又陷入了对精神追求的不确定意识中。六零后艺术家生在一个物质贫瘠的年代，但却对大同社会以及当时所勾画的未来蓝图满怀热忱。最早在北京东村、圆明园自发形成了艺术群落，那时的艺术家创作根本不会考虑是否能够迎合市场。苏新平曾说：“那时的创作都是做自己喜欢做的，从来都没有想过要卖画这件事情。”因此谋生也只能另辟蹊径，有的靠家庭资助，有的帮广告公司创作海报。每一个六零年出生的艺术家回忆起那段时期，总是苦涩中带着一种憧憬。物质上很贫瘠，在精神上却很富足，那是艺术家们的最开心的事情就是每天画画完之后大家吃点咸菜配点小酒，畅谈尼采、叔本华。偶尔有人登门造访，内心便获得极大的满足，对于每一个能欣赏自己作品的人都心怀感激。经过近十年来经济的迅猛发展，六零后的艺术家在中国乃至世界的地位迅猛提高，拍卖天价频频出现。在村里吃咸菜就小酒的有志青年突然变成了万众瞩目的明星，到工作室造访的人多到踏破门槛。这种骤变过后，艺术家工作室开始分散，大家见面的话题已不再是昔日理想。大家都很富裕，但是大家都很孤独。用美国哲学家罗蒂的话说：“在一个后哲学文化中，人们感到自己是孤独的，有限的，与某种超越的东西失去了任何联系。”（理查德.罗蒂《后哲学文化》，上海译文出版社1992年版，第21页）此外，还有一些六零后的艺术家，始终坚持着自己的理想，在作品中明确的表达出了对一些社会现实的批判以及对美好精神世界的向往。
八零后艺术家更多的聚焦在个性上，放弃现实中的形象以及惯用逻辑，对于精神意识的方向不明确，更多的有一种迷失、魔幻以及想象表现在作品中。八零后的艺术家生来便享受着优越的物质环境，其童年生活最幸福却又最受摧残。幸福体现在优越的物质生活上，同时，大都伴随着卡通片成长，还有风靡一时的游戏机，最后出现的电脑，这些使八零后的童年丰富多彩。然而，最受摧残体现在一轮又一轮的考试比拼上。刚上小学书包就开始沉重起来，中考高考一轮又一轮的轰炸就体会到残酷的竞争。因此八零后群体被社会舆论认为是“书包沉甸甸，脑袋轻飘飘”的一代。除此之外，孤独、空虚、迷惘也是八零后作为“独生一代”所独有的气质。其实不然，这些外表冷漠、穿着时尚的年轻人其实内心有着巨大的能量。孙晓枫认为，中国“80后”艺术目前遭遇的窘境，与当年王朔的痞子文学出道时被王蒙痛驳的情形十分雷同。“每一代艺术家都要在前人基础上刨坑，这代人必须经历更多的成长，随着他们阅历丰满、成为社会中坚的时候，必将会以自己特有的方式把这个坑重新填满。许多八零后艺术家，惯于将自己的精神状态赤裸裸展现，诚实且不带一丝矫揉造作。在创作的过程中，诚实面对自己的内心是十分痛苦的，那危、黄一山的作品集中体现了这种精神上的自我剖析。然而，还有一部分八零后的艺术家，他们热衷于绘画形式语言的探索，在空间感，质感的表现都做出了很大的突破。刘宝亮开拓性的运用硅胶作为雕塑素材和臧坤坤对于空间延展性的探索以及那危为了表现作品人物质感而运用自己调和的特殊油进行创作都体现了八零后艺术家对于绘画形式语言的探索。高海清则在作品中一直尝试绘画语言各种不同的可能性，他说：“我不知道我要表现什么，但是我却很清楚不想表现什么。”因此，他的作品充满了不确定性和生机。此外，还有一些唯美追求的八零后艺术家，如伊慧、陈虹竹和刘滨，结合当代语境，为这种虚幻的唯美赋予了某种强烈的批判意味。
粗略了解两代人的生活背景和艺术创作后，我们可以看出：六零后和八零后艺术家这两代艺术家在价值观上的差异体现于作品上。同样面对近年的社会现状，作品中描述和关注的内容也大相径庭。但是两代艺术家其相似之处为，不断的坚持创作，以各具独特性的作品，述说着自己对于整个社会的发展和精神的认识。
Time Lag --- 60’s+80’s, collision, comprehension, conversation
Time Lag is the group exhibition about artists of 60’s and 80’s, curated by Linda Gallery. Concentrated on “time lag”, the exhibition illustrates that time is the bridge connecting past, present and future. We can perceive the furtherance of thoughts and values in artists who are 20 years apart. At the same time, the exhibition presents the sharp conflict between artists of 60’s and 80’s in aspects of vision and thoughts, which results in the thinking and inquiry about the growing background and spiritual state between these two generations.
From Cultural Revolution to Reforms and Opening-up, exploration to the soaring economic development, there are huge differences between the two generations of 60’s and 80’s in aspect of their spiritual pursuit. Both of them have carried out daring attempts and breakthroughs in the art field. After going through all the arduous explorations over a long period of time, the artists of 60’s started their long journey of overthrowing the traditional thoughts and value systems. Many familiar schools emerged at that time, such as New Generation, Cynical Realism, Youth Cruelty, Political Pop. The life of 60’s artists in the phase of art exploration was extremely hard and they could hardly live on art at that time. Not until the end of 20th century, can China’s contemporary artworks gained a deserved position in the art market. The artists of 80’s live in an age of abundance and the art has obtained the corresponding attention and respect in the society. What is more frightful than material poverty is the spiritual problem which cannot be shunned by the artists of 80’s . Thus, the exhibition presents the all-around perspective about the generation of 80’s, not only the “cartoon generation” in people’s impression.
Faced with nowadays soaring economic advancement, people out of different growing background and experiences are seeking the value system which is consistent with the social development. Imprinted with different experiences, the artists of two generations display discrepancies in the issues that are conveyed and concerned in their artworks. First, the expression of art of 60’s is based on real world, while the art of 80’s is based on the unreal occasions. The latter is more zealous in expressing a psychedelic, magical dreamland. Second, the artists of 60’s is much clearer about what they want to express than those of 80’s. The two generations have different experiences and the 80’s seems more confused and lost, while the 60’s is much clear-headed. Third, the art in the 60’s mostly concerns about the social groups and spiritual problems, and the artists will act as on-lookers to narrate those issues. However, the artists of 80’s are more focused on their own spiritual or living status; rarely take the social or spiritual issues as their concerns.
People with different living background are under the same cultural impact. The artists in 60’s were swaying between the pursuit of material and spirit, and this conflicting struggle had been reflected in their works. Although they criticized the excessive pursuit of materials which would result in various consequences, they were trapped in uncertainty consciousness in their spiritual pursuit. Born in an age poor in materials, the artists of 60’s were enthusiastic about a society of great harmony and the blueprint outlined about future. The earliest art communities were voluntarily came into being in Beijing East Village and Yuanmingyuan Park, and artists didn’t consider whether their works might be popular in the market or not. Su Xinping once said, “The creation at that time was totally due to one’s affection, rather than thinking about selling them”. Thus, they needed to seek other ways to make a living, for example, some were supported by their families, and some made posters for advertising companies. Whenever they recall that period, every one of them will be full of bitter longings. Being poor in material but rich in spirit, the artists at that time would gather together to have some wine and salted vegetable and talk about Nietzsche and Schopenhauer after painting, which were the happiest moment in their daily lives. The occasional visitors would bring great satisfaction to them and they felt grateful for everyone who could appreciate their works. After decades of soaring development in economy, the status of artists in 60’s has been raised greatly, not only in China but also in the world arena. It can be frequently found that their artworks can be offered with extremely high prices at auction. The ambitious youngsters who were once drinking wine and eating slated vegetable in the village suddenly become the eye-catching celebrities; and there are more and more visitors in the studios. After these sudden changes, the workshops begin to disperse and people are not talking about the passed ideals. Though rich, people feel alone. Just as Rorty, American philosopher, said, “People feel alone, limited, and lose all the connections with transcendence in an era of post-philosophical culture”. (Richard Rorty: “Post-philosophical Culture”, Shanghai Translation Publishing House, 1992, P21) Besides, some artists of 60’s stick to their own ideals perseveringly and they clearly conveyed their criticism of society and the longings for favorable spiritual world.
The artists of 80’s are fixating more on peculiarity by abandoning the images in the real world and the usual logic. They are not clear about the direction of their spiritual consciousness, but display a certain kind of lost, magic and imagination in their works. Born in the superior material conditions, their childhood is the happiest one but also the most devastated one. As for the happiest one, they enjoy superiority in material life. Their childhood is colorful for they are accompanied by cartoons, video games, and computers. As for the most devastated one, they are involved in the cut-throat competition in various exams. Starting from elementary school, they experienced all kinds of fierce competitions like entrance examinations for high school and college. Thus, they are also being called by the mass media as a generation of heavy schoolbags and light minds. Moreover, as a member of generation of one child, they are also characterized with loneness, emptiness and confusion. However, this is not the case. Those indifferent young people in fashionable clothes actually bear great energy in their inner heart. Sun Xiaofeng holds that the dilemma encountered by the 80’s is quite the same as the situation when Wang Meng attacked Wang Shuo’s Riffraff Literature. The artists in every generation are obliged to dig holes on the bases of former artists. The artists of 80’s have to experience more growth. After they become experienced and the backbones of the society, they will refill the hole in their own way. Many of them are used to fully displaying their spiritual state without any pretentiousness or affectation. It is very torturous to face your heart honestly in the creation, and the works of Na Wei, Huang Yishan convey the self-analysis spiritually. However, some of the artists of 80’s are fascinating about the endeavor of the linguistic way of painting and they make great breakthroughs in the expression of space and quality. Liu Baoliang explanatorily uses silica gel as the sculpture material; Zang Kunkun explores the space extension; Na Wei utilizes the special blended oil so as to give prominence to the character, and they are the examples of the exploration in painting. Gao Haiqing makes attempts in all the possibilities of painting. He said, “I don’t know what I want to express, but I’m quite clear about what I don’t want to express.” So his works are full of uncertainty and vigor. Besides, some artists are pursuing for beauty or aestheticism, such as Yin Hui, Chen Hongzhu and Liu Bin. They combine this imaginary aestheticism with the current situation so as to bestow a strong sense of criticism into it.
After we have a rough understanding about the two generations’ living backgrounds and the creation of art, we can find out that the differences in their value systems are reflected in their artworks. Even faced with the same social issues nowadays, the two have the sharp contrast in their expressions and concerns. Still, they share some similarities. They perseveringly carry on their creation, and express their own understandings about the social development and spiritual issues through their unique and distinct artworks.
展览名称：时差
艺术家： 六零：曹晖，郭晋，瞿广慈，苏新平，肖红，于凡，钟飙，赵能智
八零：陈虹竹，高海清，黄一山，刘宝亮，刘滨，刘敏，那危，伊慧，臧坤坤
展览策划：张莉娸，王一妃
主办单位：798林大艺术中心
展览地址：北京朝阳区酒仙桥路甲2号798艺术区B区797街706北三街西，林大艺术中心
展览时间：2009.9.19～2009.11.29
開幕酒會：2009.9.19 PM4:00~7:00
资讯电话：59789565/59789564
“时差”展览是由林大艺术中心策划的关于六零和八零艺术家的大型联展。展览围绕“时差”展开叙述，时间是沟通过去、现在与未来的桥梁，通过它，我们更能看到相隔近20年的艺术家，思想纬度与价值判断的延伸，同时，试图呈现六零和八零艺术家在视觉和想法上的强烈冲突，由此引发对两代人成长背景和精神状态的思考和追问。展览将展出六零后及八零后的艺术家作品。其共同特点是：其一每个艺术家的个人风格突出并且艺术表达源于当时真实的社会背景，其二艺术家之间的理念和视觉上相差迥异，不会拘泥于一种表现风格或流派，更加完整的表现出特定年代的艺术家的精神状态。本展览将于2009年9月19日持续到2009年11月29日。
生活在今天经济高速发展的社会，却没有一套与之相符的价值体系。为此，两代个体记忆不同的艺术家在作品中表达和关注的问题，也有着巨大的差异。第一，六零后的艺术表达以现实社会作为基础；而八零后的艺术家多架空现实之上，更加热衷于表达一种迷幻，梦境、魔幻的非现实场景。第二，六零后的艺术家比八零后的艺术家更加清楚自己要表达什么。两代阅历不同的艺术家，八零后有些迷惘，六零后则清晰。第三，六零后的艺术表达大多关注社会群体乃至人类精神的问题，艺术家大都以旁观者的角度来叙述，而八零后大多关注自己精神层面或生活状态，很少会去以整个社会问题或精神问题作为出发点创作。
六零艺术家赵能智的新作，人物的刻画延伸到身体，作品的矛盾冲突比先前的作品更具视觉冲击及震撼力。此时作品传达的，不仅仅是一种个人情绪的宣泄，而是在此基础之上艺术家对整个社会精神状态的解读。此外，六零后的艺术家，始终坚持着自己的理想，在作品中表达出了对一些社会现实的批判以及对美好精神世界的向往。肖红就曾经说过：“我很怀念过去人们团结，互爱互助的日子。”因此在其作品中人物的表情，总是脱离不了敦煌石窟、农耕文明以及文革这些关键词，但这些关键词的载体却是当代流行青年的脸，两眼空洞无神，表情呆滞。一方面表达了肖红对于中国传统文化的眷恋，也表达了对于目前社会精神贫瘠的一种批判。苏新平的《干杯系列》同样体现出了一种渴望大同世界的精神诉求，在作品《干杯系列》的背后，其实隐藏了一系列由于社会快速发展，而带来的一系列问题。苏新平曾说：“我希望通过艺术的方式提出问题并表达我的心情、所见所闻、所思所想，并希望以此形式参与到社会发展和城市化进程当中。”瞿广慈近期的作品虽然仍延续了“集体主义”系列微胖、愚钝的人物造型，但较之群像的暴力喧嚣多了一份宁静的揶揄。也许广慈已从对官僚体制的愤怒中超越出来，以一种更为客观的角度冷静地描述曾多次给他带来伤害的社会体制本身。钟飙在近期的作品中，开始思考一系列形与态的问题，并且以一种更加豁达的心态投入到创作中。钟飙认为：只有顺应永不停歇的必然趋势，艺术创作才会在每一个当下重生。新作大胆抛弃早期作品中写实为主打，主旋律改为抽象的笔触，干脆凝练，并且保留了一些草稿时的痕迹，试图再现创作的过程。他认为：“当艺术家创作完一件作品的时候，就意味这这件作品已经过时了。”钟飙艺术作品，始终在不断探索，不断的显形。因为作为一个善于思辨的艺术家，已经将“态”了然于心。于凡作为六十年代著名的艺术家，在雕塑语言的探索方面作出了卓越的贡献，朱其曾评论说：“于凡的语言实验在于一个形象的社会形式的改变，朝向另一个意义指向的特征修改，在本质上继承了中国传统的对形象进行的肖像‘再造’的方式，而不是走观念化的道路。”与于凡优雅，诗意般的作品截然不同的是曹晖的雕塑，他的作品使观者感到惊悚，将人体如实解剖，肉体的脂肪、经络毕现。曹晖此次的参展作品是他早期的作品，作品将便池和人体排泄器官结合，将欲望与排泄这两种概念混淆，从而引发人们的一系列思考。
反观八零艺术家的作品语境则截然不同。糖果般香甜易碎的幻境，虚无缥缈的渴望体现在陈虹竹的作品中，她把八零后女生的一种渴望和美丽憧憬夸大在作品上，所有的人物都出自自创的卡通形象，天真唯美。运用如此唯美的叙述方式反映了普遍存在的不切实际的希望以及对目前社会现状的一种反讽，希望越大失望越大，这种希望只能使精神备受折磨。第二种是黄一山作品中神经质的人物形象，对于地板神经质的描绘以及解剖、残肢表现的情有独钟，再现出了一系列低调、血腥、诡异的唯美场景，表现出了当代焦虑、无信仰带来的精神危机。同样的精神危机体现在那危的作品中，麻木冷漠却又背负着沉重的负担似乎是八零后每一个人的真实写照，人们的灵魂都成了社会和机器的附庸。“光头”以及“蓝色的横条纹”隐喻了神经质、抑郁、以及无身份人群生活在社会边缘的尴尬。而刘敏的作品则运用电脑科技虚拟出了极具绘画感的场景，场景中隐喻了青少年对于被世人沦为禁忌的性欲望的幻想及态度。刘敏从个人内心出发，在作品中体现了后青春期的压抑和叛逆，以及对于世俗观念的不屑和反击。第三种是伊慧作品中毫不掩饰的物质崇拜，这种崇拜赤裸裸的解释了整个社会“物质决定上层建筑”的真实追求，这种追求下的美丽图景是真实，飘渺，而又易碎的，这也恰恰预示了物质崇拜的最终结果。第四种是刘滨游戏人生的梦幻图景。刘滨作品总是像童话一样，完整的叙事，如同梦中荒诞的情景。借此刘滨缅怀过去风花雪月、幻得幻失的记忆。在作品中美好而残酷，又有点色情的人生游戏，隐喻了物欲横流社会中的每一个角落，揭示了现实中人们病态和虚幻的欲望。
然而，还有一部分八零后的艺术家，他们热衷于绘画形式语言的探索，在绘画语言，空间感，质感上的表现都做出了很大的突破。第一种是高海清作品中的不确定性。高海清作品的不确定体现在了他的绘画语言探索上，当问到是如何选择这种绘画语言时，海清说：“我不知道我最终要画出来的是什么样子，但我却清楚的知道我不想画什么。”正是这种不确定性，使他的绘画充满了变化和生机，有一股莫名的推动力去指引其创作。第二种是臧坤坤对于对空间延展性的探索。其所有系列的作品都无一例外的体现出了他对于空间感的把握，臧坤坤评价自己是一个理性、客观、公正的人。正因性格中的特质，给予了他绘画语言中一种非常理性的特点，冰冷的叙事，冰冷的表达问题，不掺杂个人的喜好，作品成为了一个冷静、公正的叙述者。第三种是刘宝亮雕塑中以假乱真的质感把握。人物的头发，睫毛，皮肤视觉触觉上都和真人十分相仿。刘宝亮开拓性的在国内首先运用了硅胶这种材料，在塑造的基础之上将毛发一根一根的植进去，才最终达到了这种以假乱真的效果。在外型逼真的情况下，刘宝亮再将细腻的人物性格赋予作品，表达了人物精神层面的细小波澜。如《24岁》，将女孩子由青春期转入成熟的羞怯、期待、矛盾表现的惟妙惟肖。
粗略了解两代人的生活背景和艺术创作后，我们可以看出：六零后和八零后艺术家这两代艺术家在价值观上的差异体现于作品上。同样面对近年的社会现状，作品中描述和关注的内容也大相径庭。但是两代艺术家其相似之处为，不断的坚持创作，以各具独特性的作品，述说着自己对于整个社会的发展和精神的认识。
时差--- 60’s+80’s，碰撞、理解、对话
“时差”展览是由林大艺术中心策划的关于六零和八零艺术家的大型联展。展览围绕“时差”展开叙述，时间是沟通过去、现在与未来的桥梁，通过它，我们更能看到相隔近20年的艺术家，思想纬度与价值判断的延伸，同时，试图呈现六零和八零艺术家在视觉和想法上的强烈冲突，由此引发对两代人成长背景和精神状态的思考和追问。
从文革到改革开放，从探索到经济飞速发展，六零和八零这两代人在精神诉求上产生了极大的差异。表现在艺术领域，这两代艺术家均做出了大胆的尝试和突破。六十年代艺术家在经历了长期艰难的探索后，又开始了漫长的颠覆传统观念及价值体系的过程。此时涌现出诸多我们熟悉的流派：新生代、玩世现实主义、青春残酷，政治波普等。六十年代艺术家在艺术探索阶段的生活是极其艰苦的。并且那个时期的艺术根本无法用来维持生存，直到二十世纪末，中国的当代艺术品才在艺术市场上获得了应有的位置。八十年代艺术家生活在物质丰富的年代，这时候的艺术已经在社会上获得了应有的重视和尊重。此时，比物质贫瘠还要可怕的精神问题是八零后艺术家无法回避的。因此，展览呈现出更加全面而不只是人们印象中“卡通一代”的八零后。
不同成长背景和阅历的人，同样面对着今天经济高速发展的社会，同样在寻求一套与之相符的价值体系。这两代个体记忆不同的艺术家在作品中表达和关注的问题，也有其不同的面向。第一，六零后的艺术表达以现实社会作为基础；而八零后的艺术家多架空现实之上，更加热衷于表达一种迷幻，梦境、魔幻的非现实场景。第二，六零后的艺术家比八零后的艺术家更加清楚自己要表达什么。两代阅历不同的艺术家，八零后显得很迷惘，六零后显得很清醒。第三，六零后的艺术表达大多关注社会群体乃至人类精神的问题，艺术家大都以旁观者的角度来叙述，而八零后大多只关注自己精神层面或生活状态，很少会去以整个社会问题或精神问题作为出发点创作。
不同生活背景的人受到了同样的文化冲击。六零后艺术家在物质与精神追求中开始摇摆不定的矛盾挣扎也体现在作品中，虽讽刺过分的物质追求带来的种种恶果，却又陷入了对精神追求的不确定意识中。六零后艺术家生在一个物质贫瘠的年代，但却对大同社会以及当时所勾画的未来蓝图满怀热忱。最早在北京东村、圆明园自发形成了艺术群落，那时的艺术家创作根本不会考虑是否能够迎合市场。苏新平曾说：“那时的创作都是做自己喜欢做的，从来都没有想过要卖画这件事情。”因此谋生也只能另辟蹊径，有的靠家庭资助，有的帮广告公司创作海报。每一个六零年出生的艺术家回忆起那段时期，总是苦涩中带着一种憧憬。物质上很贫瘠，在精神上却很富足，那是艺术家们的最开心的事情就是每天画画完之后大家吃点咸菜配点小酒，畅谈尼采、叔本华。偶尔有人登门造访，内心便获得极大的满足，对于每一个能欣赏自己作品的人都心怀感激。经过近十年来经济的迅猛发展，六零后的艺术家在中国乃至世界的地位迅猛提高，拍卖天价频频出现。在村里吃咸菜就小酒的有志青年突然变成了万众瞩目的明星，到工作室造访的人多到踏破门槛。这种骤变过后，艺术家工作室开始分散，大家见面的话题已不再是昔日理想。大家都很富裕，但是大家都很孤独。用美国哲学家罗蒂的话说：“在一个后哲学文化中，人们感到自己是孤独的，有限的，与某种超越的东西失去了任何联系。”（理查德.罗蒂《后哲学文化》，上海译文出版社1992年版，第21页）此外，还有一些六零后的艺术家，始终坚持着自己的理想，在作品中明确的表达出了对一些社会现实的批判以及对美好精神世界的向往。
八零后艺术家更多的聚焦在个性上，放弃现实中的形象以及惯用逻辑，对于精神意识的方向不明确，更多的有一种迷失、魔幻以及想象表现在作品中。八零后的艺术家生来便享受着优越的物质环境，其童年生活最幸福却又最受摧残。幸福体现在优越的物质生活上，同时，大都伴随着卡通片成长，还有风靡一时的游戏机，最后出现的电脑，这些使八零后的童年丰富多彩。然而，最受摧残体现在一轮又一轮的考试比拼上。刚上小学书包就开始沉重起来，中考高考一轮又一轮的轰炸就体会到残酷的竞争。因此八零后群体被社会舆论认为是“书包沉甸甸，脑袋轻飘飘”的一代。除此之外，孤独、空虚、迷惘也是八零后作为“独生一代”所独有的气质。其实不然，这些外表冷漠、穿着时尚的年轻人其实内心有着巨大的能量。孙晓枫认为，中国“80后”艺术目前遭遇的窘境，与当年王朔的痞子文学出道时被王蒙痛驳的情形十分雷同。“每一代艺术家都要在前人基础上刨坑，这代人必须经历更多的成长，随着他们阅历丰满、成为社会中坚的时候，必将会以自己特有的方式把这个坑重新填满。许多八零后艺术家，惯于将自己的精神状态赤裸裸展现，诚实且不带一丝矫揉造作。在创作的过程中，诚实面对自己的内心是十分痛苦的，那危、黄一山的作品集中体现了这种精神上的自我剖析。然而，还有一部分八零后的艺术家，他们热衷于绘画形式语言的探索，在空间感，质感的表现都做出了很大的突破。刘宝亮开拓性的运用硅胶作为雕塑素材和臧坤坤对于空间延展性的探索以及那危为了表现作品人物质感而运用自己调和的特殊油进行创作都体现了八零后艺术家对于绘画形式语言的探索。高海清则在作品中一直尝试绘画语言各种不同的可能性，他说：“我不知道我要表现什么，但是我却很清楚不想表现什么。”因此，他的作品充满了不确定性和生机。此外，还有一些唯美追求的八零后艺术家，如伊慧、陈虹竹和刘滨，结合当代语境，为这种虚幻的唯美赋予了某种强烈的批判意味。
粗略了解两代人的生活背景和艺术创作后，我们可以看出：六零后和八零后艺术家这两代艺术家在价值观上的差异体现于作品上。同样面对近年的社会现状，作品中描述和关注的内容也大相径庭。但是两代艺术家其相似之处为，不断的坚持创作，以各具独特性的作品，述说着自己对于整个社会的发展和精神的认识。
Time Lag --- 60’s+80’s, collision, comprehension, conversation
Time Lag is the group exhibition about artists of 60’s and 80’s, curated by Linda Gallery. Concentrated on “time lag”, the exhibition illustrates that time is the bridge connecting past, present and future. We can perceive the furtherance of thoughts and values in artists who are 20 years apart. At the same time, the exhibition presents the sharp conflict between artists of 60’s and 80’s in aspects of vision and thoughts, which results in the thinking and inquiry about the growing background and spiritual state between these two generations.
From Cultural Revolution to Reforms and Opening-up, exploration to the soaring economic development, there are huge differences between the two generations of 60’s and 80’s in aspect of their spiritual pursuit. Both of them have carried out daring attempts and breakthroughs in the art field. After going through all the arduous explorations over a long period of time, the artists of 60’s started their long journey of overthrowing the traditional thoughts and value systems. Many familiar schools emerged at that time, such as New Generation, Cynical Realism, Youth Cruelty, Political Pop. The life of 60’s artists in the phase of art exploration was extremely hard and they could hardly live on art at that time. Not until the end of 20th century, can China’s contemporary artworks gained a deserved position in the art market. The artists of 80’s live in an age of abundance and the art has obtained the corresponding attention and respect in the society. What is more frightful than material poverty is the spiritual problem which cannot be shunned by the artists of 80’s . Thus, the exhibition presents the all-around perspective about the generation of 80’s, not only the “cartoon generation” in people’s impression.
Faced with nowadays soaring economic advancement, people out of different growing background and experiences are seeking the value system which is consistent with the social development. Imprinted with different experiences, the artists of two generations display discrepancies in the issues that are conveyed and concerned in their artworks. First, the expression of art of 60’s is based on real world, while the art of 80’s is based on the unreal occasions. The latter is more zealous in expressing a psychedelic, magical dreamland. Second, the artists of 60’s is much clearer about what they want to express than those of 80’s. The two generations have different experiences and the 80’s seems more confused and lost, while the 60’s is much clear-headed. Third, the art in the 60’s mostly concerns about the social groups and spiritual problems, and the artists will act as on-lookers to narrate those issues. However, the artists of 80’s are more focused on their own spiritual or living status; rarely take the social or spiritual issues as their concerns.
People with different living background are under the same cultural impact. The artists in 60’s were swaying between the pursuit of material and spirit, and this conflicting struggle had been reflected in their works. Although they criticized the excessive pursuit of materials which would result in various consequences, they were trapped in uncertainty consciousness in their spiritual pursuit. Born in an age poor in materials, the artists of 60’s were enthusiastic about a society of great harmony and the blueprint outlined about future. The earliest art communities were voluntarily came into being in Beijing East Village and Yuanmingyuan Park, and artists didn’t consider whether their works might be popular in the market or not. Su Xinping once said, “The creation at that time was totally due to one’s affection, rather than thinking about selling them”. Thus, they needed to seek other ways to make a living, for example, some were supported by their families, and some made posters for advertising companies. Whenever they recall that period, every one of them will be full of bitter longings. Being poor in material but rich in spirit, the artists at that time would gather together to have some wine and salted vegetable and talk about Nietzsche and Schopenhauer after painting, which were the happiest moment in their daily lives. The occasional visitors would bring great satisfaction to them and they felt grateful for everyone who could appreciate their works. After decades of soaring development in economy, the status of artists in 60’s has been raised greatly, not only in China but also in the world arena. It can be frequently found that their artworks can be offered with extremely high prices at auction. The ambitious youngsters who were once drinking wine and eating slated vegetable in the village suddenly become the eye-catching celebrities; and there are more and more visitors in the studios. After these sudden changes, the workshops begin to disperse and people are not talking about the passed ideals. Though rich, people feel alone. Just as Rorty, American philosopher, said, “People feel alone, limited, and lose all the connections with transcendence in an era of post-philosophical culture”. (Richard Rorty: “Post-philosophical Culture”, Shanghai Translation Publishing House, 1992, P21) Besides, some artists of 60’s stick to their own ideals perseveringly and they clearly conveyed their criticism of society and the longings for favorable spiritual world.
The artists of 80’s are fixating more on peculiarity by abandoning the images in the real world and the usual logic. They are not clear about the direction of their spiritual consciousness, but display a certain kind of lost, magic and imagination in their works. Born in the superior material conditions, their childhood is the happiest one but also the most devastated one. As for the happiest one, they enjoy superiority in material life. Their childhood is colorful for they are accompanied by cartoons, video games, and computers. As for the most devastated one, they are involved in the cut-throat competition in various exams. Starting from elementary school, they experienced all kinds of fierce competitions like entrance examinations for high school and college. Thus, they are also being called by the mass media as a generation of heavy schoolbags and light minds. Moreover, as a member of generation of one child, they are also characterized with loneness, emptiness and confusion. However, this is not the case. Those indifferent young people in fashionable clothes actually bear great energy in their inner heart. Sun Xiaofeng holds that the dilemma encountered by the 80’s is quite the same as the situation when Wang Meng attacked Wang Shuo’s Riffraff Literature. The artists in every generation are obliged to dig holes on the bases of former artists. The artists of 80’s have to experience more growth. After they become experienced and the backbones of the society, they will refill the hole in their own way. Many of them are used to fully displaying their spiritual state without any pretentiousness or affectation. It is very torturous to face your heart honestly in the creation, and the works of Na Wei, Huang Yishan convey the self-analysis spiritually. However, some of the artists of 80’s are fascinating about the endeavor of the linguistic way of painting and they make great breakthroughs in the expression of space and quality. Liu Baoliang explanatorily uses silica gel as the sculpture material; Zang Kunkun explores the space extension; Na Wei utilizes the special blended oil so as to give prominence to the character, and they are the examples of the exploration in painting. Gao Haiqing makes attempts in all the possibilities of painting. He said, “I don’t know what I want to express, but I’m quite clear about what I don’t want to express.” So his works are full of uncertainty and vigor. Besides, some artists are pursuing for beauty or aestheticism, such as Yin Hui, Chen Hongzhu and Liu Bin. They combine this imaginary aestheticism with the current situation so as to bestow a strong sense of criticism into it.
After we have a rough understanding about the two generations’ living backgrounds and the creation of art, we can find out that the differences in their value systems are reflected in their artworks. Even faced with the same social issues nowadays, the two have the sharp contrast in their expressions and concerns. Still, they share some similarities. They perseveringly carry on their creation, and express their own understandings about the social development and spiritual issues through their unique and distinct artworks.
