新北方藝術(shù)群體系列展之（一）
　　五音不全——當(dāng)代藝術(shù)作品展
　　策展人：白濤
　　學(xué)術(shù)主持：易英
　　參展藝術(shù)家：法明 虹舒 迪子 立龍 寶印
　　展覽時(shí)間：2008年8月16日——2008年8月31日
　　展覽地點(diǎn)：夸克藝術(shù)空間（北京大山子798藝術(shù)區(qū)2號(hào)路）
　　開(kāi)幕酒會(huì)：2008年8月16日下午3點(diǎn)
　　網(wǎng)址：www.quacart.com
　　郵箱：quacart@yahoo.com.cn

　　Exhibition of the new north artists No.1
　　《Five singers’ symphony》The exhibition contemporary artists’ artworks
　　Curator: Bai Tao
　　Academic support : Yi Ying
　　Artist: Fa Ming Hong Shu Di Zi Li Long Bao Yin
　　Duration : August 16, 2008 ~ August 31, 2008
　　Opening Reception : 3pm,8.16
　　Venue: Quac Art Space ,NO.2 Jiuxianqiao Road,798 Art Zone,Chaoyang District,Beijing.
　　Website : www.quacart.com
　　E-mail : quacart@yahoo.com.cn

　　五音不全

　　我們所處的時(shí)代是個(gè)極端物質(zhì)化的時(shí)代，每每回想逝去的那段傻X年代，感覺(jué)是蠻精神化的。我們也從小時(shí)候的“無(wú)產(chǎn)階級(jí)”長(zhǎng)成了現(xiàn)在的“小資產(chǎn)階級(jí)”，既然是“小資產(chǎn)階級(jí)”當(dāng)然喪失了年少時(shí)革命斗志，卻增長(zhǎng)了一些小資產(chǎn)者的感傷，我們也學(xué)會(huì)流淚了！學(xué)會(huì)懷舊了。現(xiàn)在的我們?nèi)缫蝗涸诤铀杏芜摹⒒艔埖男◆~(yú)，在追憶憂傷的情感漩渦中折騰著，雖然大家有些忙亂，方向卻沒(méi)有迷失，慢慢的靠近，靠近浩瀚的江海——靠近當(dāng)今的文化主流。

　　藝術(shù)家虹舒的作品以玩世的情態(tài)，簡(jiǎn)約的筆意調(diào)侃逝去那段花樣年華，以其獨(dú)特的視角，描繪了那段早已封存的記憶。

　　藝術(shù)家法明的作品以自身的情感經(jīng)歷為主題，表現(xiàn)主義的繪畫(huà)風(fēng)格，用有生命、靈動(dòng)的筆觸表現(xiàn)生命中的美麗與感傷。它是一位在心靈的荒原上游走的詩(shī)人。

　　藝術(shù)家張乙迪的作品是用幽默的手法，譏諷人們?cè)谟螒蛑械陌賾B(tài)，他是一位帶著微笑批判現(xiàn)實(shí)主義的藝術(shù)家。

　　藝術(shù)家賈立龍的作品以女性人體為主題，揭示人性潛在的本能意識(shí)與欲望，淋漓寫(xiě)意的手法具有中國(guó)式的韻味與意境。

　　藝術(shù)家寶印的作品以童年的經(jīng)歷為主題，揭示紅色年代群體無(wú)意識(shí)狀態(tài)下的靈魂，表現(xiàn)傻X年代的恐懼、無(wú)奈、自由漂泊的生命狀態(tài)。

　　審視當(dāng)今社會(huì)：人性的異化與現(xiàn)實(shí)的荒謬，導(dǎo)致了群體無(wú)意識(shí)的大眾式的荒謬，而藝術(shù)又是一個(gè)極其荒謬的游戲——一個(gè)荒謬的夢(mèng)的游戲。

　　五位藝術(shù)家也是卷入這場(chǎng)夢(mèng)想游戲的夢(mèng)中人。藝術(shù)家們有著不同的經(jīng)歷與思想，不同的情感與不同的情感表達(dá)形式，他們將內(nèi)心涌出的夢(mèng)想與感傷，以不同的主題融入了當(dāng)下文化的情結(jié)，成為當(dāng)代藝術(shù)參與者與實(shí)踐者。雖然他們生長(zhǎng)于那紅色的年代，卻坦然地接受著當(dāng)今文化的影響，藝術(shù)家們用不同的聲音傾訴著他們內(nèi)心的情結(jié)，這聲音似一首老歌，唱出那內(nèi)心深處的記憶！

　　易英
　　2008年8月于北京

　　Five singers’ symphony

　　We are experiencing an era of materialism. Every time when I think about those Cultural Revolution years, which I joke as “ fools’ celebration”, I feel that we were spirituality oriented in those days. And as time goes by, we all have grown from proletariats with fighting will into so-called petty bourgeois, who begin to be more sentimental and reminiscent. Nowadays, even though we are tangled in the sad recollection of the old days, just like nervous fish struggling in a river, we are still going towards the vast ocean — the mainstream of today’s culture.

　　Hong Shu’s works keep bantering those old beautiful days with her cynical attitude and brief style, showing us the covered memory with a unique perspective.

　　Fa Ming bases the theme of his works on his own emotional experiences. He depicts the beauty and sorrow of life with a vivid and expressional tone. He is a poet wandering on the waste land of his soul.

　　Zhang Yidi mixes humor into his drawings to taunt diversified people seduced by desire. He becomes an artist criticizing realism with a smile.

　　In Jia Lilong’s works, female body is the only star. It is presented by the way of traditional Chinese painting stroke, so-called “freehand brushwork”, to show the unique taste of Chinese. By those drawings, he uncovers the hidden instinct and desire of human beings.

　　Bao Yin targets his works at his children’s days to show the spirit under group-unconsciousness in those Cultural Revolution years, and demonstrates the fearful, helpless and aimless state during the whole “fool’s celebration”.

　　When we look at the contemporary society carefully, we can clearly see that the dissimilation in human nature and absurdity in reality lead to the mass irrationality featured by group-unconsciousness. Meanwhile, art is another irrational game, in which everybody dreams an incredible dream.

　　The five artists are among the dreamers who play the irrational game called “art”. Artists have their unique experiences and minds. By demonstrating different feelings in different ways, they release their dreams and sadness underneath. In the path of mixing various themes into the popular cultural complex, they become the members and pioneers of the art in our time. Although they underwent the Cultural Revolution, they can still accept the influence of the contemporary culture. They express their inner voice in different tones. The tones, just like a symphony, bring back the memory in the heart of hearts.

　　Yi Ying
　　August, 2008
　　Beijing