纯 粹
文/ 舒阳
“纯粹”似乎是一个颇为可疑的词汇。作为概念，“纯粹”是非常清晰、不揉沙子的。可是一旦要将“纯粹”对应现实的实有，“纯粹”之物似乎从未显现过。或者我们将“纯粹”做相对而言的解法，那么“纯粹”就难以确立任何可限定的标准了。因此是否可以推断：任何以“纯粹”做标准来要求现实的事物的举动都是荒谬的呢？
我们当然不能将“纯粹”当作是一种励志的东西谈完了事，因为“纯粹”为我们提供了一种非常极端的思考维度。在词义的层面，“纯粹”似乎在要求一种极致。如果在现实的实有之中没有真正的“纯粹”存在，那么严格来说“纯粹”是否属于词不达意呢？言语遇到现实经常纷纷崩塌，尽管言语从未消失过。
中国三十年来当代艺术的发展，虽然不能简单线性地描述其发展方向，但至少现阶段有日益“纯粹”的倾向。这种“纯粹”指的是语言层面的，而不是指词义方面的。有些艺术家把内容空洞、无聊的作品当作“纯艺术”，就是以词义方面来描述“纯艺术”。
在本次“纯粹”当代艺术展中，展出了三位艺术家的作品。艺术家于伯公生年龄属“70后”，99年曾在栗宪庭先生策划的“艳俗艺术”展中，展出其丝绸制作的软雕塑。多年来，我不大关心于伯公作品的语义层面。我更感兴趣的是于伯公即便在其物品艺术作品中，也暗含着“事件”的因素。不论这些“事件”的内含多么不可琢磨或者模糊不清，其作品的“事件性”似乎牢不可破。这种对作品“事件性”的贯穿，变成了于伯公艺术创作的方法论，使他的作品具有了语言层面上的“纯艺术”的特征。
另两位参展艺术家沙伟臣和唐钰涵均生于“80后”，并出道于中国正宗的美术科班——中央美术学院。沙伟臣的作品《雪花点》更使用平面绘画和动态视频的多媒介手段，将“雪花点”母题的呈现引申到对不同艺术媒介的游戏转换上。在此意义上，《雪花点》更加容易作为“纯艺术”来加以解读，虽然《雪花点》对传媒工作的暗示和对我们电视视觉经验的依赖是可见的。
略去谈论唐钰涵的作品《冰冻》的“女性主义”特征（抛开她对女性性器的直接应用，作品更像是出自艺术家个体经历的陈述），将展台/模拟冷冻柜、肉体器官/易碎玻璃制品的词义重叠，使她的这件作品具有了现实/超现实的语义双重性或多重性。这种语义双重性或多重性，也可以用来解读唐钰涵的其他作品。那么是否可以将这种语义的双重或多重性，看作唐钰涵创作中可以被抽离传来的艺术方法论呢？
在此展示这三位来自不同年龄段和出处的艺术家的作品，无意将他们的工作指为未来艺术的代表。我的目的是通过这三位艺术家作品个人化的陈述，凸显今天中国当代艺术日趋注重方法论的倾向。这种对方法论的注重过去一直被作为“纯艺术”的成分来表述，这样容易将艺术创作笼统地和艺术的概念而不是艺术实践链接起来。我们暂且搁置“纯艺术”这样的表述方式（就像我们暂时抛开“纯粹”的词义极端性），将我们对新的艺术的关注融入对艺术实践方法论的探索上，这样的思维窄化有利于我们去深化中国当代艺术中那些被我们谈滥了但却缺乏实质探索的领域。这样的领域就是新艺术发生的资源，也包括如中国传统艺术、社会现实这样被谈论的老掉牙的命题。问题不在于谈不谈，而是如何谈，甚而是如何解决问题。在这一点上，艺术家与其他领域的社会工作者没有什么根本的不同。艺术家的工作不是妄言，而发现与创造的动力。如果有真正“纯粹”的艺术家，目前能够看到的也就是在这个方向上工作的艺术家们。

2010年6月19日，北京通州芳舒居

Pureness
Text / Shu Yang
"Pureness" seems like a rather dubious word. As a concept, "pureness" is very clear, does not contain any suspicious elements. However, "pureness" apparently never appears when you want to find it corresponding to its reality. Or if we define "pureness" in a relatively way, it would be difficult to establish any criteria for the limit. Thus may it be inferred that, any desire in real life with a standard by "pureness" is completely absurd?
Of course, we can not only regard "pureness" as a motivational thing for it provides us with a kind of very extreme thinking dimension. In the semantic level, the "pureness" seems to call for an extreme. If there is no real "pureness" exists at all, then strictly speaking, is "pureness" a word conveying inappropriate meaning? Despite the words never disappear, it is very common that words often lose their sound when encountering the very reality.
Although can not make a simple linear description of its development, at least there are some certain "pureness" tendencies in China's three decades history of contemporary art's development at this stage. This "pureness" only refers to its language level, not the semantic aspects. Some artists adore false, boring work as "pure art", as it happens to a description in its semantic aspects.

Three artists participated in this "Pureness" Art Exhibition. Artists Yu Bogong, belonged to "Late 1970s" by Age, had participated in "Gaudy Art Exhibition" with work Silk Soft-sculpture curated by Mr. Li Xianting in 1999. Over many years, I have not cared about his work in semantic level but have been more interested in those "incident" factors implied in his art works. However, the "events" in his work seem unbreakable whether these "events" can be withstood ponderation or not how obscure they are. This kind of "event" expression is becoming his methodology for art creation, so that "pure art" features in semantic level could be feeled in his works.

The other two artists, Sha Weichen and Tang Yuhan, all were born after 1980s and graduated the authentic Chinese Art School - Central Academy of Fine Arts. "Snow Point", Sha-Weichen's work, relys on using of a more dynamic plane-painting and multi-media video tools, which make the "snow point" presentation motif extended to the conversion game in different art forms. Although the "snow point" contained implied meaning for Media, and for us the visible dependence on television visual experience still exisited, in this sense, the "snow point" is more easily appreciated as "pure art".

Regardless of talking about feminism" features in the work "frozen" by Han Yutang (aside her direct application or adoption of the female sex-organs, the work itself is more like a personal statement from the artist's own experience). It makes this piece of work with a real/surreal meaning of, with the help of semantic overlap arrangement of exhibition booths/simulated freezer, body organs/easy-broken glass. Meanwhile, this duality or multiplicity meaning can also be used to interpret other works of Han Yutang. So I wonder whether such a semantic duality or multiplicity could be seen as Tang Yuhan’s art-creation methodology which could be abstracted?

In this show, all the works are from three artists in different age and provenance. Here it is not intended to refer to their works as representatives of the future arts, but my aim is to highlight the tendency of methodology - the increasing focus on contemporary Chinese art today - through these three artists’ personal statement. This methodology in the past has been expressed as "pure art", which easily linked artistic creation and the concept of art together in general terms, not the artistic practice. Aside the way of expression like "pure art" (as we put aside extreme meaning of "pure" temporarily), concentrate our concern into the exploration of new practical art methodology, so such a narrow-thinking is propitious to help us to deeply explore Chinese contemporary art which we are talking about, but has been lack of substance in the core. Under this circumstance, the new art, including traditional Chinese arts and old-fashioned proposition of social reality is taking place, and talking about. However, the problem is not these subjects are discussed or not, or how is discussed, but is resolved in what kind of manner. The artist's work is not windbaggary at all, but the discovery and creativity instead. If truly "pure artists" do exsit, those now we can see are all working towards this direction.
Shufangju, Tongzhou District, Beijing
June 19th, 2010

恭候

在莼萃空间看“纯粹展” 本刊讯：6月26日，由舒阳、赵子龙策划的三个新锐艺术家——于伯公、沙伟臣、唐钰涵参加的“纯粹——次声计划第一回展”在798创意广场的莼萃空间展出，展览作品如前言中提到的“纯粹”而内敛，在自我的思考与历练中，体现了一种生命本体能量的释放，也是完成了对当代艺术格局的一次刷新。
“纯粹——次声计划第一回展”是一个由20多位艺术家自发酝酿了近两年的艺术计划，“次声”一词源自物理学，与冲击波不同，属于另外一种力量的呈现形式 ， 而这群艺术家作品恰恰暗合了次声的低调、恒久、严谨的属性。他们是一群不易被流行力量所左右的人，他们坚守个人天性，寻求生存内心体验，其艺术思想是对现有当代艺术价值的正本清源。 据悉，“次声计划第二回展”还将在798艺术区莼萃空间展出，敬请关注。
流量

zhuang bi zhan

纯粹在哪呀？展览挺好的。