北京BS1當(dāng)代美術(shù)館2007年度藝術(shù)提名展
Beijing BS1 Contemporary Museum 2007 Nomination Exhibition

策劃:黃巖
Curator: Huang Yan

參展藝術(shù)家
Participating Artists

油畫：劉仁濤、何杰、黃世鵬、宿哲、時硯亮、高毅剛、鄒操、黑鬼、張鐵梅、成力、劉婷、盧成翔、毛艷陽、陶大珉、鄒朝陽、劉傳宏

攝影：蒼鑫、黃巖、高氏兄弟、楊志超、王國峰、桔多淇、陳光

雕塑裝置：韓文華、潘凱、宋建樹、徐洪波、張凱琴、趙楨、鄭天則、高巖松

Video：黃巖、B&T

水墨：張羽、張權(quán)、耿蘊、王雁玲、楊佳黎、周雋、吳昊、徐香林

Oil Painting: Liu Rentao, He Jie, Huang Shipeng, Su Zhe, Shi Yanliang, Gao Yigang, Zou Cao, Hei Gui, Zhang Tiemei, Cheng Li, Liu Ting, Lu Chengxiang, Mao Yanyang, Tao Damin, Zou Chaoyang, Liu Chuanhong

Photography: Cang Xin, Huang Yan, Gao Brothers, Yang Zhichao, Wang Guofeng, Ju Duoqi, Chen Guang

Sculpture and Installation: Han Wenhua, Pan Kai, Song Jianshu, Xu Hongbo, Zhang Kaiqin, Zhao Zhen, Zheng Tianze, Gao Yansong

Video: Huang Yan, B&T

Ink and Wash Painting: Zhang Yu, Zhang Quan, Geng Yun, Wang Yanling, Yang Jiali, Zhou Jun, Wu Hao, Xu Xianglin

展期：2007年8月31日—9月27日
Exhibition Time: From August 31 to September 27, 2007

地點：上海朱屺瞻藝術(shù)館（上海市歐陽路580號）
Address: Shanghai Zhu Qizhan Art Museum (No.580 Ouyang Road, Shanghai)

主辦單位：
Presented by:

北京BS1當(dāng)代美術(shù)館 北京皇城藝術(shù)館

上海多倫當(dāng)代藝術(shù)中心 北京國藝藝黃亞洲當(dāng)代藝術(shù)博物館 上海東廊藝術(shù)

北京瑪斯德比當(dāng)代藝術(shù)中心 北京亞洲藝術(shù)公社 Open實現(xiàn)藝術(shù)中心

Beijing BS1 Contemporary Museum, Beijing Art Museum of Imperial City, Shanghai Duolun COCA, Beijing Guo Yi Yi Huang Museum of Asia Contemporary Art, Shanghai Eastlink Gallery, Beijing Must Be Contemporary Art Center, Beijing Asia Art Community, Open Realization Art Center

展覽簡介：
前 言

黃巖

　　中國當(dāng)代藝術(shù)的 “圓明園模式”，它和“溫州模式”很相似，我稱之為一種自助藝術(shù)的模式，外省藝術(shù)家聚集圓明園的現(xiàn)象很象中國早期民營企業(yè)中的個體戶現(xiàn)象，因為扎堆，這就形成了規(guī)模效應(yīng)，在中國還沒有當(dāng)代意義上畫廊的時代，“圓明園現(xiàn)象”就是“溫州現(xiàn)象”的一個縮影，它一方面吸引了西方媒體的眼球，另一方面也打造了中國第一批本土的職業(yè)藝術(shù)家。可以說圓明園在中國藝術(shù)史上有兩個不同于西方的制造，一是：職業(yè)藝術(shù)家不是產(chǎn)生于畫廊，而是產(chǎn)生一種藝術(shù)聚居；二是：當(dāng)代藝術(shù)中心不是在城市中心，而是在城市的城鄉(xiāng)結(jié)合部，或者就是鄉(xiāng)村里面，這都是中國制造，后中國制造。總之中國當(dāng)代藝術(shù)在18年的時間里，在政府沒有買單的情況下，通過藝術(shù)家自助的“圓明園模式”，完成了這場藝術(shù)巨變。

　　由北京BS1當(dāng)代美術(shù)館、北京皇城藝術(shù)館、上海多倫當(dāng)代藝術(shù)中心、北京國藝藝黃亞洲當(dāng)代藝術(shù)博物館、上海東廊、北京瑪斯德比當(dāng)代藝術(shù)中心、北京亞洲藝術(shù)公社、聯(lián)合發(fā)起的“北京BS1當(dāng)代美術(shù)館2007年度藝術(shù)提名展”，是眾多美術(shù)館搭建一個藝術(shù)學(xué)術(shù)平臺，以 “圓明園模式”為學(xué)術(shù)課題，推舉那些本年度有創(chuàng)造力的藝術(shù)家。本年度提名的40位藝術(shù)家，他們在材料上跨油畫、水墨、雕塑、裝置、攝影、Video、行為等很多藝術(shù)領(lǐng)域，年齡也是老、中、青三代，可以說都是中國當(dāng)代藝術(shù)這幾年非常活躍且有代表性的藝術(shù)家，包括這兩年迅速崛起的獨生一代藝術(shù)家群落，這也是中國第一次幾家美術(shù)館和藝術(shù)中心聯(lián)手搭建美術(shù)學(xué)術(shù)建設(shè)的一次跨界的重要嘗試。

　　Preface

　　Huang Yan

　　“The Old Summer Palace” mode in Chinese contemporary art scene is similar to “Wenzhou Mode”. I’d call it Help-yourself Art Pattern. The phenomenon that artists from provinces gather in the Old Summer Palace appeared to be very much similar with private business ventures of early civilian-run enterprises in China. A large number of artists live in a compact community and draw much media interest from the west. It nurtured the first group of professional local artists in China. At a time when there is still no gallery in truly contemporary sense, the Old Summer Palace phenomenon has to be “Wenzhou Phenomenon” in miniature. “The Old Summer Palace” mode in art history differs from the west in that: first, professional artists didn’t grow out of galleries, but out of the artists’ compact living community; second, contemporary art center didn’t situate in the heart of city but in urban-rural fringe, or in villages. This is what I mean by Made-in-China, or Post-made-in-China. In general totally relying on the artists’ own resources Chinese contemporary art went through this turbulence without any financial support from the government within 18 years.

　　BEIJING BS1 CONTEMPORARY MUSEUM 2007 NOMINATION EXHIBITION is held in association with Beijing BS1 Contemporary Museum, Beijing Art Museum of Imperial City, Shanghai Duolun COCA, Beijing Guo Yi Yi Huang Asia Contemporary Art Museum, Shanghai Eastlink Gallery, Beijing Must Be Contemporary Art Center, and Beijing Asia Art Community. Based on the academic subject of “the Old Summer Palace” mode it aims to provide an academic and art platform for creative artists of the year. The exhibited art works by 40 artists nominated this year vary in materials and categories covering oil painting, ink and wash painting, sculpture, installation, photography, video, and happening. The artists selected featuring the old, mid-aged and young generations of three, including the art community “single child generation”, are very active and representative in recent years. This exhibition is also a tentative move in constructing academic scene of art by the combined efforts of several cross-regional museums.