2010年第8期《画廊》杂志新鲜出炉！
在当代艺术的进程中，由版画转向油画、装置等其他艺术媒介的艺术家表现突出。多样的当代艺术表现手法与版画的核心概念之间是否有关联？版画本期《画廊》专题“牒叛——版画的当代性延伸”，带您进入当代版画家的内心世界！本期的封面人物、版画出身的苏新平是当代转向的成功个案。“时尚先锋”提倡以“反设计”对抗工业社会中的过度生产和消费！“海外特稿”聚焦2010巴塞尔艺博会和蓬皮杜梅兹中心新馆。“市场观察”新开重头栏目香港艺术机构访谈计划2010！
更多惊喜，请留意本期《画廊》杂志！

以下是部分精彩摘要

★ 时尚先锋 PLAY IN THE VAN
反设计——对过度生产和无节制消费的不合作方式
Anti Design: Uncooperative Way to Overproduction & Spending Spree
从没有哪个时代像今天一样，“消费”几乎成为了幸福生活的核心动力。我们就像是身处于一个巨大的狂欢节之中。而支撑这个“无节制消费”狂欢节的正是那频率越来越快的大规模工业化过度生产。设计，作为一个行业，扮演了一个化妆师的角色；它尽可能地去打扮这个现场，让每一个节目都爆发出焰火，使这场狂欢持续而且频密地泛起一个又一个的高潮。就在这一个接一个的频密而疲惫的高潮中，设计作为一种职业走向了成熟。最终，在今天成为了工业化过度生产和推动“无节制消费”的资本主义合谋者。
No other era could be so driven by consumption to reach a sense of joy than the present. We are indeed in a giant Carnival festival, keeping a spending spree habit under this overproduction era. Overproduction is the sequela of the mass machinery producing in Industry Revolution that could not be cured. Design, on the other way, plays as a dresser. It tries its best to decorate the scene, illuming each show of the Carnival. Design helps to keep the culmination of this Carnival. And such culmination in return pushes the dresser to mature hood. Ultimately, design becomes a co-operator of this spending spree.

★ 封面人物 COVER PERSON
寻找适合自己的当代表达——苏新平访谈
Find A Contemporary Expression to Suit Me: Interview with Su Xin-Ping
在当代艺术圈，苏新平的成功个案具有特别的启发意义。与众多学版画出身，然后转向用影像、装置、行为等媒介进行创作的艺术家不同，苏新平始终对绘画情有独钟。从版画转向油画，苏新平孜孜以求的是精神的自由表达；绘画的本质特点——直接性和流动性——则成为苏新平展开艺术实验的基本动能，也是他面对纷繁复杂的社会变迁不断寻找自我语言表达方式的唯一选择。
One of China’s leading painters, Beijing-based artist Su Xinping has made his name first as a printmaker, then as a painter. His recurring motif of men toasting each other possesses an allegorical gravity that speaks to the condition of China, its vast changes and equally vast hierarchies of power. As a social custom, the toast signifies fellowship and good will, but when the ritual occurs in landscapes that are blasted and generally post-nuclear, it becomes clear that Su is not only describing a custom but also allegorizing the circumstances of China.

★ 本期策划 ISSUE SCHEMES
牒叛——版画的当代性延伸
Printmaking Rebel - Extension of Contemporary Prints
而今，随着越来越多的媒介涌现，艺术门类的界限正在一点一点的消融，而站在当代艺术边缘线上的版画，是否还有坚持的必要？当版画家依然在寻找版画自身的出路时，人们看到一种有趣的现象——由版画转向油画、装置等其他艺术媒介而又相当出色的艺术家却不乏其人，这当中有曾经在版画界大有建树的徐冰、苏新平、唐承华等，也有直接使用综合媒材的洪浩、邱志杰、黄洋、孙逊等。在艺术不受单一趣味限制的今天，艺术家回头审视当代艺术创作时，是否找到与版画的核心概念之间的一些关系，而这是否会成为其艺术语言得以延展的依据？“牒”指古代书写用的木片或竹片，含有文书之意，“牒叛”一词则寓意逐渐滑向当代艺术边缘的版画，正远离传统的文本，延伸到当代艺术领域，而这种转向是背叛，抑或是出路？这将是本专题要深入探讨的问题。
Printmaking is once prosperous. Compared to other art forms, the demand on the material of printmaking is rather loose, and it is easy in replication and communication. Such advantages have pinned printmaking in a leading position till last century. However, as more and more art forms develop with the science and technology, printmaking now lingers around the edge. Lack of critics as well as academic, the limited techniques, and the traditional concept among the printmakers… all these have strand the development of printmaking. As a result, the market of printmaking shrinks.

★市场观察 MARKET REVIEW
香港艺术机构访谈计划2010
Hong Kong Art Organization Plan 2010
自上个世纪90年代初开始，香港画廊与内地的当代艺术发展就始终保持着一种微妙的互动关系。回顾这段历史我们会发现，香港的画廊在90年代中国当代艺术于国内从艺术运动退潮、转为暗自发展，而在国际上引起关注、声名鹊起的那个特定历史结点上发挥了至关紧要的作用。而今天，更多的内地青年艺术家则继续通过香港画廊较为完善的运行机制和广阔的海外脉络登上舞台、走向国际。以致我们可以说，香港画廊始终以自己的力量辅助着中国当代艺术的发展。过去20年里，它们在一个看似边缘的地带默默扮演了向海外推广中国当代艺术的中心角色。
Since 1990s, some Hong Kong galleries have built up a subtle connection with the development of mainland contemporary art. By looking back to this period of history we may rediscover the significance of Hong Kong galleries in boosting the Chinese contemporary art market internationally. Today, still many young mainland artists launch the international stage through Hong Kong galleries owe to their thorough and wholesome systems. Actually, Hong Kong galleries kept playing a leading role in promoting Chinese contemporary art into the world market in the past 20 years. And Schoeni Gallery is one of these galleries.