The Temperament of Detail
　　細(xì)節(jié)的氣質(zhì)

　　Curated by Carol Yinghua Lu and Liu Ding
　　策展人：盧迎華、劉鼎

　　Artists: Hu Liu, Wang Luyan, Wang Wei, Wu Xiaojun
　　參展藝術(shù)家：胡柳，王魯炎，王衛(wèi)，吳小軍

　　Dates: December 3, 2007 – January 31, 2008
　　2007年12月3日 – 2008年1月31日

　　Organizer: The Red Mansion Foundation, London, UK
　　Venue: The Red Mansion Foundation, 46 Portland Place, London W1B 1NF
　　www.redmansion.co.uk

　　地點(diǎn)：英國(guó)倫敦紅樓基金會(huì)
　　The Temperament of Detail

　　繼今年九月份由嚴(yán)培明策劃的開(kāi)幕展成功舉辦之后，紅樓基金會(huì)邀請(qǐng)盧迎華和劉鼎在位于倫敦市中心的新空間策劃組織“細(xì)節(jié)的氣質(zhì)”，一個(gè)由四位中國(guó)藝術(shù)家參展的當(dāng)代藝術(shù)展。這個(gè)展覽試圖通過(guò)一個(gè)不同以往的全新視角呈現(xiàn)中國(guó)當(dāng)代藝術(shù)創(chuàng)作的另一面，既藝術(shù)家對(duì)藝術(shù)語(yǔ)言本質(zhì)的討論和實(shí)驗(yàn)，不同于以往西方觀眾經(jīng)常把中國(guó)當(dāng)代藝術(shù)理解為特有意識(shí)形態(tài)的體現(xiàn)，抑或?qū)ΜF(xiàn)存藝術(shù)體制的反抗的解讀 。

　　紅樓基金會(huì)是1999年成立的非盈利組織，旨在通過(guò)講座、展覽、紅樓藝術(shù)獎(jiǎng)及建立橋梁項(xiàng)目等藝術(shù)交換項(xiàng)目來(lái)促進(jìn)中英藝術(shù)交流。另外，紅樓基金會(huì)還協(xié)助策劃并資助了一系列有關(guān)中國(guó)當(dāng)代藝術(shù)的重要展覽，諸如在倫敦巴特西電站、奧斯陸和北京三地舉辦的《中國(guó)電站展》，在泰特利物浦舉辦的中國(guó)當(dāng)代藝術(shù)展《真事》，第52屆威尼斯雙年展的中國(guó)館展覽，以及第十屆伊斯坦布爾雙年展。

　　開(kāi)放時(shí)間：
　　請(qǐng)?zhí)崆邦A(yù)約：2007年十二月三日 – 2008年一月三十一日 紅樓基金會(huì)

　　地址：46 Portland Place
　　London W1B 1NF

　　電話：+44 (0) 207 323 3700
　　傳真：+44 (0) 207 323 0788

　　Carol Yinghua Lu & Liu Ding

　　The research we undertook to formulate this exhibition was an incredibly fascinating journey of discovery of artistic ambitions and an intriguing investigation into the formal and conceptual strength in art practice. This is part of an ongoing attempt to invigorate the discussion of the aesthetic and conceptual meanings of art. Such a discussion is particularly pertinent in China today considering the fact that the dominant art historic narratives and existing art systems tend to emphasize and recognize the more utilitarian assets of art practice, such as the social or political motivations, the shock value or commercial worth, and the anti-establishment or subversive nature of artworks. These concerns, although valid, tend to eclipse some of the more fundamental topics about art making and contribute little to the development of the language of art itself.

　　In exhibitions of Chinese contemporary art inside and outside of China, most works are overridden by too strong a desire to address a variety of social, political and personal matters, while these reflections appear to be too simple, direct and formulaic translations of the reality itself. These interpretations of the reality, often without detailed investigation and thoughtful analysis and regulated by the limited experiences of human beings, are inevitably paled in comparison with the absurdity and intensity of the reality itself. As a result, the necessity of their existence can only be validated by the context of art, while such isolation makes their arguments seem even more superficial and disengaged. More often than not, the aspirations for moral discussions and narratives in art also help disguise an artist’s weaknesses, and a lack of sensitivity towards the magical potential of art to transform something mundane, something common, something out of an everyday context into the realm of art.

　　In China, the decades from the 1940s to the end of the 1970s, a time when art was subordinated to political needs, shaped a deep-rooted functionalist approach to how art is produced and viewed, the residue of which can still be felt today. Art writers tend to focus on the interpretation, and sometimes over-interpretation of the ideological proposition of a work, while hardly attending to the artistic attributes and rhetoric of art. There is almost no critical engagement with the aesthetics and conceptuality of art. The full significance of the romantic, the sublime, the poetic, the emotional, and the ambient horizon in art is yet to be identified and acknowledged.

　　The battle to regain the autonomy of art started as early as October 1980, when French-trained painter Wu Guanzhong, published his article “on Abstract Beauty” in Art Monthly (Issue no 10, 1980), arguing that abstract beauty is the core of formal beauty and people instinctively love abstract and formal beauty. His view sparked the first nation-wide debate among art circles about abstract art and, more significantly about the formal element of art after the end of the Cultural Revolution. The 80s saw an unstoppable wave of earnest experiments with styles and practices derivative from Western modern art movements, usually out of their original contexts yet adapted and enriched by the local background of their adopted home turf and the knowledge and experience of Chinese artists. In parallel with depictions of their immediate reality, religious themes, and expressions of pent-up frustrations with the former decade of intellectual suppression, in the hope of searching for new spiritual outlets and releasing their emotive potential, a number of artists quietly embraced conceptual art to reflect critically on questions concerning individual experientialism to the formation of a new social system and social orders. This conceptual movement of a minority of Chinese artists however was and remains today marginalized and overshadowed by social and cynical realist paintings and political pop art supported and consumed by international cultural tourists and art speculators all through the 1990s till the present. Sporadic attempts at revitalizing the exploration of the inherent elements of art making throughout the 1990s, such as the post-sense sensibility group, all eventually became a formality over content, overrun by their rebellious passion and deprived of any of the original spirit that motivated them as they all evolved into collective movements.

　　The market boom and the immensity of resources that have become available in the art scene from the late 1990s to the present has curiously created an even larger bubble for art production. Some artists are concerned with filling up ever-expanding gallery spaces and meeting the orders of many collectors, allowing even lesser mental space to contemplate the primary concerns and mechanism of art.

　　It’s high time to give weight and consideration to the artist’s sensibility and subjectivity that grant the artwork a life of its own, in whatever form. It’s the aesthetic and conceptual ideas that compel an artist to work, provide a work its structure, and to a certain extent, bring it into existence. This is just the beginning.