后中國制造

　　黃巖

　　中國對西方的影響在近代史上有兩次高潮,一次是1800年前后，那時中國的哲學(xué)、老子的思想、孔子的思想、禪宗的思想開始陸續(xù)給介紹到歐洲，這直接的影響了歐洲的思想價值體系，從歐洲思想的啟蒙運(yùn)動到阿瑟?叔本華Arthur Schopenhauer，再到弗里德里希?威廉?尼采 Friedrich Wilhelm Nietzsche都間接的受到了東方哲學(xué)的影響，那時中國在西方思想家眼中是一片凈土，中國被很多西方思想家描述為一只睡獅，可以說這時的中國在西方人眼中，思想和社會是分離的，思想直接影響了他們的文化和哲學(xué)，社會卻是落后的，甚至是沒落的，這和馬可波羅到中國時的境況簡直有天壤之別。

　　同樣今天的中國在西方人的眼中也是思想和社會分離的，只不過今天是反過來的，今天西方人把中國描繪成一個制造業(yè)大國和巨人，而形容中國的文化藝術(shù)卻是一個侏儒，在兩百年的時間里，西方人一直在誤讀中國，不過這剛好說明中國發(fā)生了什么，西方人在社會學(xué)層面接受了中國做為一個經(jīng)濟(jì)巨人的崛起，但他們并不了解中國在30年的時間里從小農(nóng)經(jīng)濟(jì)到后工業(yè)社會的轉(zhuǎn)型，這從中國內(nèi)部看很大一部分都源于中國自己創(chuàng)造的“自助經(jīng)濟(jì)”模式，就是“溫州模式”。它的經(jīng)濟(jì)模型是保留傳統(tǒng)手工業(yè)中的家庭制造,而將家庭作坊生產(chǎn)的產(chǎn)品換成一種產(chǎn)品，以縣為單位，通過政府的公司化運(yùn)作，形成托拉斯企業(yè)的生產(chǎn)格局，再以先進(jìn)的信息傳播和外銷手段來完成一種中國式的后工廠制造工業(yè)，這既解決了傳統(tǒng)務(wù)農(nóng)人口的外流，又在原地完成了生活方式到消費(fèi)方式的巨變。

　　藝術(shù)也一樣，這就是“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?yàn)樵?，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?？梢哉f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。

　　北京從1989年前后，藝術(shù)家進(jìn)駐圓明園，到2007年成為亞洲的藝術(shù)中心。只用了18年的時間，完成這一系列藝術(shù)事件與藝術(shù)革命的經(jīng)濟(jì)模式就是“圓明園模式”。這期間經(jīng)歷了藝術(shù)東村、上苑藝術(shù)村、小堡藝術(shù)村、宋莊藝術(shù)區(qū)、費(fèi)家村藝術(shù)村、索家村藝術(shù)村、798藝術(shù)區(qū)、環(huán)鐵藝術(shù)區(qū)、草場地藝術(shù)區(qū)、長店藝術(shù)區(qū)、1號地藝術(shù)區(qū)等等。外省象重慶的坦克藝術(shù)區(qū)、上海的莫干山藝術(shù)區(qū)，成都、昆明、廣州、濟(jì)南都相應(yīng)的有類似“圓明園模式”的藝術(shù)區(qū)，這就是一種“后中國制造模式”，一種“藝術(shù)根據(jù)地模式”，一種“自助藝術(shù)的模式”，一種“藝術(shù)家休養(yǎng)生息的模式”，一種中國“低成本制造藝術(shù)的模式”，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)館搭建的一個藝術(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?；钴S且有代表性的藝術(shù)家，包括這兩年迅速崛起的獨(dú)生一代藝術(shù)家群落，這也是中國第一次幾家美術(shù)館聯(lián)手搭建美術(shù)學(xué)術(shù)建設(shè)的一次跨界的重要嘗試。

　　Post-made-in-China

　　Huang Yan

　　There are two upsurges of Chinese philosophy influence on the west in modern history. One is around 1800 when Lao-Tzu, Confucius and Zen started to be introduced to Europe and directly had influence on European value system. One way or another oriental philosophy left far-reaching impact on European philosophy, ranging from Enlightenment Movement to Arthur Schopenhauer and Friedrich Wilhelm Nietzsche. At that time in many occident thinkers’ description China was a pure land and a sleeping lion; in their vision Chinese philosophy was viewed separately from the society; the former directly influenced European culture and thoughts, while the latter was backward, downfallen and had a world of difference with the China in Marco Polo’s eyes.

　　The situation didn’t change a bit today only with reversed content that China is described as a manufacturing giant on one hand, and on the other a dwarf in culture and art. That China is being interpreted as such for two hundred years explains something is going on in this country. The west has acknowledged the rise of the nation as an economic giant but they know very little about Chinese socio-economic transformation from a country based on small-scale peasant economy to post-industrial society, to be precise, to “DIY Economic Mode” and “Wenzhou Mode”, which is home-based manufacturing pattern inherited from traditional handicraft industry. Utilizing governmental resources, those home-based workshops in each county become corporate trusts and develop into manufacturing industries with the help of advanced communication means and overseas sales strategies. This economic mode not only stopped the out-migration of farming population, but also fulfilled the transformation of consumption mode and way of living in those places.

　　Art is also the same. “The Old Summer Palace” mode 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.

　　Artists entered the Old Summer Palace area around 1989. Thanks to “the Old Summer Palace” mode it only took Beijing 18 years to go through a series of art renovations and art events, and become art center of Asia in 2007. Many artist communities emerged in Beijing during this period, among them Beijing East Village, Shangyuan Artist Village, Xiaopu Artist Village, Songzhuang Artist Community, Feijiacun Artist Village, Suojiacun Artist Village, 798 Art District, Ring Subway Art District, Caochangdi Art District, Changdian Art District, A-Land Art Area, etc.. In provinces situated away from the capital, art communities similar to “the Old Summer Palace” mode can also be found in Chongqing Tank Loft Art Center and Shanghai Moganshan Art Area, and in other cities, Chengdu, Kunming, Guangzhou, Jinan, as well. I’d name it as “post-made-in-China” mode, “art base mode”, “help-yourself art mode”, “artist residence mode”, or “l(fā)ow-cost art mode”. 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.