“EVERYTHING MUST GO” Session II：Critical Forms
“清仓”系列论坛之二：批判形式
参与者Confirmed Guests:
卢迎华 Carol Yinghua Lu
林一林 Lin Yilin
刘鼎 Liu Ding
梁远苇 Liang Yuanwei
（更多嘉宾确认参与中Other guests to be confirmed. ）
主持人Moderator: 姚嘉善 Pauline Yao
This session will continue to address questions raised in the first discussion while looking more specifically towards critical art practices in China. Critical art practices are ways of working that, at the very least, disrupt the smoothness of commercial capitalism, bringing its repressive qualities and hegemonic structures to the forefront. These practices are fundamentally guided by a motivation to question and challenge the way the world is, how we perceive it, and how we act within it. It follows that such aspirations are not just critical but inherently politicized. A well-known pronouncement by Thomas Hirschhorn is “I do not make political art, I make art politically”. To what extent is current art production in China critically and/or politically minded?
本期论坛将延续第一次讨论所提出的话题，但对中国的批判性艺术实践给予特别关注。批判性艺术实践作为一种工作方式，至少能对商业资本主义的稳定性施加干扰，进而揭露其压制本性以及霸权体系。支配这些批评实践的根本动机来自对以下问题的追问和质询，即世界的本来样貌是怎样的？我们如何去感知它？我们又该如何在其中自处？由此得出的结论是，诸如此类的意愿不只是批判性的，而是内在地政治化了。托马斯•赫史霍恩(Thomas Hirschhorn)有句著名的宣言：“我不做政治艺术，我让艺术政治化”。中国当下的艺术生产在何种程度上是批判性的，和/或者政治自觉的呢？
Is there a place for critique and resistance inside the art world today? Can art play a critical role when advertising and promotion are everywhere and artists and cultural workers are part of the capitalist system?
今天的艺术世界中是否还留有批判和抵制的一席之地？当广告和商业推广无所不在，艺术家和文化工作者成为资本主义体制的一部分，艺术是否能担当重任？
Do critiques of the art system have currency outside the limited sphere of the art world?
在艺术世界的有限范围之外，针对艺术体制的批评话语是否具备时效性？
Introduction:
论坛介绍：
Is there an alternative value system for art in China?
中国艺术是否存在替代价值体系？
EVERYTHING MUST GO is an evolving series of conversations and workshops designed to confront key issues in contemporary art production and reception. Situated inside the exhibition “Glass Factory” at Iberia Center for Contemporary Art, EVERYTHING MUST GO attempts to bring together artists, curators, critics and writers in an informal platform that addresses the current commercially-saturated status of contemporary art and possible strategies for art production in the new financial era. Borrowing a familiar sales slogan from the marketplace, the title EVERYTHING MUST GO points to the energetic and frenzied spirit of consumerism while also hinting at darker connotations of urgency and finality. It is representative of a moment in capitalism in which stock is cleared in order to make room for something new.
“清仓”是专门针对当代艺术生产和接受中的关键问题而设计的递进式的谈话和工作坊系列项目。“清仓”是一个置入伊比利亚当代艺术中心“玻璃工厂”展览现场的开放论坛，尝试将艺术家、策展人、批评家、艺术写作者邀入一个非正式的对话平台，共同讨论今天已被商业精神全面渗透的当代艺术的现状，并寻求新金融时代艺术生产策略新的可能。借用一条熟悉的市场推销广告语，标题“清仓”将矛头指向消费主义狂热躁动的本质，同时也提示出这种迫切与终局背后的黑暗寓义，它代表着资本主义流通过程中的某个时刻——旧的商品被清空，新的商品即将到来。
EVERYTHING MUST GO is organized by Pauline J. Yao
“清仓”项目组织者是独立策展人姚嘉善。


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