“China as a universe unto itself, forever evolving and changing into a new order.”

“中国是一个自成一体的小宇宙,永远处在向新秩序演进变化的状态中”

I felt very emotional after this exhibition at The Guggenheim Museum. It sums up a sense of oppression the artists felt from 1989 to 2008, as they were making these works. It bracketed by the end of the Cold War in 1989 and the Beijing Olympics in 2008, arguably the most transformative period of modern Chinese and recent world history.

看完古根海姆美术馆的展览,我感慨颇多。艺术家们在1989年到2008年间感受到的压抑情绪,也是这样的情感,催生了这些艺术品的诞生。展览以1989年的冷战和2008年的北京奥运会为划分点,无论对于当代中国的历史还是近期世界的历史,这一时期的变化都可能是最为巨大的。

The chronology covers two distinct periods:
The Political Repression after Tiananmen and The Economic Boom in the 2000s.

这段历史横跨两个特点鲜明的阶段:天安门事件后的政治压迫 和 21世纪起的经济腾飞

For Art and China, the year 1989 was both an end and a beginning. The June Fourth Tiananmen Incident signaled the end of a decade of relatively open political, intellectual, and artistic exploration. It also marked the start of reforms that would launch a new era of accelerated development, international connectedness, and individual possibility, albeit under authoritarian conditions.

无论对于艺术还是中国,1989年既是一个结束也是一个开端。六四天安门事件表明十年来,政治、知识和艺术探索相对开放的结束。也标志着一系列大刀阔斧改革的起始,尽管处在专制的大环境下,加速发展、日益密切的国际关系和个人可能性的多样化,依旧是这一新时期的特征。

The exhibition is on view from October 6, 2017 to January 7, 2018

这展期为2017年10月6日至2018年1月7日

It features nearly 150 significant works by 71 artists and groups active across China and worldwide whose critical provocations aim to forge reality free from ideology, to establish the individual apart from the collective, and to define contemporary Chinese experience in universal terms.

展览围绕着活跃于中国和世界各地的71位艺术家和艺术小组的近150件作品,他们的激进行为意在制造出脱离意识形态的现实,建立集体主义政权形态之外的个体,并且以普适的话语定义当代中国的沿革。

From left, Kan Xuan, Yu Hong, Sun Yuan, Peng Yu and Qiu Zhijie are in the Guggenheim exhibition “Art and China After 1989: Theater of the World.” The backdrop is Qiu Zhijie’s ink-on-paper “Map of Theater of the World,” commissioned for the show.

Artists were at once catalysts and skeptics of the massive changes unfolding around them. Using the critical stance and open-ended forms of international Conceptual art, they created performances, paintings, photography, installations, and video art, and initiated activist projects to engage directly with society.

艺术家总是带着质疑的眼光看待周遭发生的重大变化,以此触发他们的艺术灵感。站在批判的视角,运用国际观念艺术的开放形式,他们创造出各种表演、绘画、摄影、装置及影像艺术,并启发激进主义项目,与社会直接沟通。

Art and China after 1989 is organized into six thematic, chronological sections installed on the six ramps of the rotunda. The six sections of the exhibition are:

  • 1989: No U-Turn
  • New Measurement: Analyzing the Situation
  • 5 Hours: Capitalism, Urbanism, Realism
  • Uncertain Pleasure: Acts of Sensation
  • Otherwhere: Travels Through the In-Between
  • Whose Utopia: Activism and Alternatives circa 2008

“1989 后的艺术与中国”由六个主题组成,按时间顺序安装在圆形大厅的六个坡道上。展览的六个部分是:

  • 1989: 不许掉头
  • 新刻度:分析情况
  • 5 小时:资本主义,城市主义,现实主义
  • 不确切的快感:感性的行为
  • 其它地方:穿越中间地带
  • 谁的乌托邦:2008 年前后的行动和方案

Their emergence during the 1990s and early 2000s coincided with the moment the Western art world began to look beyond its traditional centers, as the phenomenon of global contemporary art started to take shape. Chinese artists were crucial agents in this evolution.

他们在20和21世纪初期的涌现,正好与西方艺术界开始把目光从传统中心移开的时机不谋而合,而全球当代艺术此时正逐渐成形。中国艺术家们在这场演进中,起到了不容小觑的作用。

As we grow up in this era, everything is evolving. Many people still want to get out of China to see the world, and move abroad.

就是在我们成长的这个时代,所有事物都在推演跃进。很多人依旧希望能走出中国去看看世界,移居海外。

With many immigration opportunities, we are able to live wherever we want. With the help from Visas Consulting Group, immigrating to the United States should not be a dream anymore.

随着移民机会的日益增多,我们如今可以居住到任何我们想去的地方。有汇加顾问集团帮您,移民美国不再空有一梦。

Author

Angela Bi is an international citizen who has lived both in Shanghai and Vancouver Canada. She’s worked in immigration for over a decade and has experienced first hand the joys of living overseas. Angela Bi 是生活在中国上海及加拿大温哥华两地的世界公民。她从事专业移民行业已有十余载,并掌握着旅居海外的一手乐活体验。

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