2007年6月25日——9月22日
June 25, 2007 to September 22, 2007
首展研讨会：6月25日下午2点
首展开幕酒会：6月25日下午4点（贺小强 阿里 胡艳乐队演出）
地点：西安市 纺织城 纺西路 238号 （原西北第一印染厂）
影骨
前几天跟一位著名策展人聊即将开幕的威尼斯双年展和卡塞尔文献展，得知日本的一些策展人要联合亚洲其他一些策展人一起组织一个“影子展览”，来对抗威尼斯和卡塞尔的“霸权”。我心里想，为什么我们成了“影子”？中国艺术家在威尼斯双年展的“中国馆”呈现的作品、中国艺术家在卡塞尔文献展上呈现的作品真的是“中国当代艺术”的“真身”吗？这些艺术“代表”的合法性是如何建立的？这几年，当代艺术霸权的话题一直被拿来进行讨论，少数国外收藏家和少数国际重要双年展的文化权力跟国家文化机关的权力，时而单独生效、时而相互配合，产生了一批中国当代艺术寡头。十位数的这些寡头们垄断了国际双年展、收藏家等重要的艺术资源。寡头艺术真的能够“代表”中国当代艺术吗？与此同时，类似于“影子展览”的想法与其说是在“对抗”，还不如说是在敲边鼓。那些真正保持跟自身环境的真诚关系的艺术家和艺术品，才是真正的中国当代艺术的代表。为什么我们不把威尼斯双年展和卡塞尔文献展上的“艺术家”和“作品”看成真正的“影子”呢？
这种“反认他乡是故乡”的颠倒逻辑主宰了我们的艺术生产和艺术批评很多年了。它的结果是，当代中国人根本看不懂“中国当代艺术”和“当代艺术批评文章”。关于消费影响生产、批评成为吹捧的论述实际上已经很多很多，不是一个多么高深的道理。但是为什么指鹿为马的时代仍然没有结束？
关于“影子展览”的讨论，让我联想到西安附近法门寺的“影骨”：在发现藏在法门寺地宫的佛指舍利之前，一共发现了3件仿制的“佛指”。这三件仿制品后来被称为“影骨”，赵朴初用“一月映三江”来描述仿制品和真正的佛指（灵骨）之间的关系。就此，我展开联想：中国艺术家、艺术品在世界三大展（卡塞尔文献展、威尼斯双年展和圣保罗双年展）上的表现实际上是“中国当代艺术”的三枚影骨；进而，中国艺术家、艺术品在亚洲的光州三年展、横滨三年展和台北双年展上的表现是“中国当代艺术”的第二个层次的“影骨”；进而，上海双年展、北京双年展和广州三年展在具备民意基础之前，仍然是中国当代艺术的第三个层次的“影骨”。
那么，“灵骨”在哪里？影骨已经提示了灵骨的形状、材质、大小等等信息，但是毕竟还不是真身。
“灵骨”在哪里？正是首届西安文献展的讨论目标。
Shadow relics
Several days ago when I talked about the forthcoming La Biennale di Venezia and Kassel Documenta with a curator, he told me that some Japanese curators would organize a “shadow exhibition” with other Asian colleagues to resist the “hegemony” of Venice Binary Exhibition and Kassel Document Exhibition. Why we became “shadows”? I said to myself. Could those Chinese artworks exhibited at Venice and Kassel truly represent “China’s contemporary art”? Are there any acceptable reasons for those artworks to acquire the high status?
The topic of “hegemony in contemporary arts” is a hot one in recent years.
Sometimes do it singly and sometimes cooperate with each other, both a small group of foreign collectors together with the cultural authorities in a few important international Binary exhibitions and the State’s cultural departments, urged the emerging of a few “oligarchs” of China’s contemporary art. It is them who monopolized the important art’s resources such as international binary exhibitions and collectors.
How could these “oligarchs in art” truly represent China’s contemporary art? At the same time, the ideas such as “shadow exhibitions” look like hollow propaganda more than the real resistance to the “hegemony” of Venice and Kassel exhibition.
Only those artists and artworks that keep a sincere close relationship to their soil could be said as the real representatives of China’s contemporary art. It is better to take the “artists” and “artworks” exhibited at Venice Binary
Exhibition and Kassel Document exhibition to be “shallows”.
Many people worship and have blind faith in foreign things; such a kind of reverse way of thinking has been dominating our art production and criticism for many years. The result of it is that many Chinese could hardly understand the “China’s contemporary art” and “contemporary arts’ critic articles”. We have seen the analysis about consummation’s effects on production and how critics become praise for so many times, and it is not so difficult to understand this point. But why is this era of taking rubbish to be cream still far from its end?
The discussion about “shadow exhibition” makes me think about the “Shadow relics” (that are the mimics of Sacred Buddhist Remains). Three shadow relics were found in the underground palace of Fa Men Temple (close to Xi’an City), and later they were called “Ying Gu (shadow relics)”. Zhao Puchu, a master of Buddhism used a metaphor “one moon shining over three rivers” to describe the relationship between real finger relics and its shadow relics. So I make my mental association that the performances of Chinese artists and artworks at the three major art exhibitions (Venice Binary Exhibition, Saint Polo Binary Exhibition and Kassel Document Exhibition) are actually three “Shadow relics” of China’s contemporary art. The same reason, their performances at Gwangju Triennial, Yokohama Triennial and Taipei Binary Exhibition are “shadow relics” of the second level; and Shanghai Binary, Beijing Binary and Guangzhou Binary Exhibition are “Shadow relics” of the third level before they get the people’s hearts. Where is the “real finger relics”? “Shadow relics” have already hinted the information as the form, material and size, but after all they could not replace the real one.Where is the “real finger relics”? This is the main goal for holding the First Xi’an Document Exhibition.
纺织-防止-仿制
纺织城艺术车间的成立，是我们讨论“影骨”和“灵骨”的一个契机。建国初期建设的纺织城；2007年艺术车间对纺织城进行的“再生”处理；西安文献展跟卡塞尔文献展以及威尼斯双年展同时进行……给我们讨论中国当代艺术“真身”提供了一些有意思的话题。
纺织：专业的枷锁
建国初期，中国的社会主义建设基本上参考了苏联模式。无论是工业化还是教育，常常是根据专业来进行规划和设计。大学教育不再采用“通才”模式，而是采用“专才”模式。西安的东郊被规划为纺织城。
今天，过于专业化的教育和工业布局的弊端已经不断暴露，大学的合并、重组、对“通才”的重提，正在对之前的“偏执”进行纠偏。大量的老工业基地的废弃、改革、工人下岗、再就业等等状况提示着我们后遗症仍然存在。
艺术，也正在经历着对艺术教育制度、艺术创作的理论和材料基础、展示空间等的重新定义。
实际上，面对纺织城所折射的“专业化”以及“苏联模式社会主义”的后遗症，跟我们面对美术学院的“专业化”困境是同在一条历史反思纬线上面的。诸如“国画的现代化”、“油画的本土化”都不过是这个专业化困境中的子话题：如果我们无法走出这个专业化的困境，如果我们无法勇敢地面对“纺织城”的后遗症，我们也就没有讨论“中国当代艺术”真身的基础。
防止：隔离和迷惑
纺织城艺术车间的艺术家们为了艺术区的安全操了不少心，从艺术区的封闭式设计、门卫制度到艺术区与艺术区之间、艺术区与纺织厂之间、艺术区于区政府之间等等的关系，都做了很多“隔离”设计的工作。在艺术家的内心里面，也做出了、或者清晰了、强化了一些隔离工作。就像9层宝函守护着舍利，艺术家在内心里也在守护着他们的艺术理想、原则和立场、品位和尊严。一方面要跟一些东西告别，另一方面要跟未来的诸多诱惑保持距离。“防止”话题也会组织参与西安文献展的艺术家、设计师、策展人、学者等通过讨论同时进行的威尼斯双年展和卡塞尔文献展的方式来讨论中国当代艺术的在“进取”和“保护”之间应有的态度。
影骨是对灵骨的保护，或者是通过迷惑来进行保护？这种联想方式有助于我们用一种相对简洁和具有象征意义的方式来厘清中国当代艺术跟西方文化、学术、艺术的关系；增加中国当代艺术的能见度；我们也会讨论文化遗产跟当代艺术的关系；甚至会在佛教影响中国和中国现代化进程之间进行对比。
仿制：弘扬或污染
这个话题希望把我们对与当代艺术的关怀延伸到对西安城市视觉生态的关怀上来。西安正在通过巨大的行政、财政以及文化资源让整个城市“再现盛唐雄风”。我们在一个巨大的唐景观公园大唐芙蓉园的高处可以看到，真古董（大雁塔）被规模宏大的假古董（唐风小区和唐风旅游建筑群等）包围着，显得孤立、无辜。政府斥巨资在建设一个唐人街化和迪斯尼化的长安，当纪念碑逻辑和主题公园逻辑同时成立的时候，李白和白居易同时也充当了米老鼠和唐老鸭的角色。假古董是在对真古董进行弘扬，还是进行污染？仿制的话题并不局限在对城市视觉的关注。纺织城艺术车间跟西方流行的工业区改造成的艺术区之间的关系、跟798的关系，也是我们需要反思的。历史上的纺织城对苏联模式的仿制的得失也是我们需要回顾的。
Textile—Prevention—Imitation
The establishment of the Textile City art workshop offers us a chance to discuss “Shadow relics” and “real finger relics”. The Textile City was built in the early years of New China, the “regeneration” of it was given by the art workshop in 2007; the co-conduction of Xi’an Document Exhibition, the Kassel Document Exhibition and the Venice Binary Exhibition have offered us some interesting topics to discuss about the “real meaning” of Chinese contemporary art.
Textile: Fetters of Specialty
In the early years of new China, the Chinese socialist construction has been conducted mainly according to the patterns adopted by Soviet Union. Both industrialization and education have been programmed and designed on the basis of specialty. College education has adopted the “professional talent” pattern to replace the former “generalist” one. The east suburb of Xi’an has been planned as the Textile City.
Nowadays, the disadvantages of the over-specialized education and the industry layout have been gradually exposed; the combination, reconstruction of college and the reaffirmation of “generalist” are rectifying the former deviations. All these things such as the discarding of abundant former industrial bases, the reformation, the laying off of workers and the unemployment remind us the existence of aftereffect.
The concept of art is also being redefined in terms of its educational system, the theoretical and material basis of its creation and its exhibiting space. In fact, the “specialization” reflected by the Textile City and the aftereffect of “Soviet Union socialist pattern” is similar to the “specialization” predicament of the Fine Arts College. “The modernization of traditional Chinese painting” and “the localization of oil painting” are no more than the sub-topics of the specialization’s predicament. We will be incapable of talking about the real meaning of “Chinese contemporary art” if we cannot get rid of the predicament of specialization and face the aftereffect of “the textile city” courageously.
Prevention: Segregation and Puzzling
The artists in the art workshop of the Textile City have done a lot for the safety of the art area. A lot of “segregation” works have been done in the sealing-off designing of the art areas, the doorkeeper system, the relationship between different art areas, the relationship between art areas and textile factories, and the relationship between art areas and borough governments. The artists have also clarified and strengthened some segregation work. Just as the eight-layer box that protects the real finger relics, artists also have their own art ideals, principles, standpoints, tastes and dignities deep in their hearts. While leaving something, they also need to guard against some future temptations.
The topic of “prevention” will also make the artists, designers, exhibition organizers and scholars participating in Xi’an Document Exhibition show their attitudes towards the Chinese contemporary art. It also offered an opportunity for discussion “moving forward” and “protection”. Is the protection of “Shadow relics” to “real finger relics” done by puzzling? This kind of association will help us clarify the relationship between the Chinese contemporary art and the western culture, science and art in a relatively simple and symbolic manner, and enhance the visibility of the Chinese contemporary art. We will also discuss the relationship between the cultural heritage and the contemporary art; make a comparison between the influence of Buddhism on China and the progression of Chinese modernization.
Imitation: Promotion or Demotion
The topic draws our concern on the visual view of Xi’an City, which can be seen as the extension of our concern on modern arts. Xi’an has put enormous political, financial, and cultural resources to relive its “spirit in thriving Tang Dynasty”. On the top of “Tang Paradise”, we can see that the genuine curio (Wild Goose Pagoda), surrounded by massive forged ones (the Tang-style tour compounds), appears solitude and lonely.
The government has granted a large sum of money to build a Chang’an City in the style of China Town and Disney Land. When the monument logic and theme park logic coexist; Mick Mouse and Duck Donald will replace the roles of Li Bai and Bai Juyi, two great poets in Tang Dynasty.
Would the forged curios shed light on the genuine ones or become the eyesores?
Imitation is not only found in the out looking of the city. The relationship between Textile City art workshop and the arts’ ghettos rebuilt from industrial areas (the deal is popular in the West) should also be reflected as well as the relationship between the rebuilt and 798. We have drawn lessons from the imitation of Russian style Textile City already.
展览—论坛—文献
每两个星期，由策展人邀请5—10位艺术家，根据每位艺术家的具体情况，理出一个话题。然后在纺织城艺术车间进行生长式、开放式、OPEN-ENDED的创作、讨论。成果同时在网络上发布。
9月22日开始整体呈现三个月的成果。然后离开纺织城，进行巡展……
Exhibition-Forum-Document
Every fortnight, the exhibition organizer will invite 5-10 artists to raise their topics for discussion. Then the generative and open-ended creation and discussion will be carried out in Textile City Art Workshop. Achievements of those Discussions will be shown online.
Achievements will be shown in the forth coming three months since September 22,
2007. After that, a tour exhibition in other places will be started.
首次展览：中国当代艺术的真身？
首次展览，我们计划进行框架式的讨论。
首先，我们邀请著名学者彭德和陈展辉（著名的建筑师事务所马达斯班的管理总监）来讨论“中国当代艺术的真身”问题。
彭德从西安当代艺术的处境与策略、纺织城艺术车间的环境以及风水、中国当代艺术的真身到“纺织”、“防止”和“仿制”，全面阐释了自己的观点。
马达斯班在蓝田正在进行为期至少10年的一个雄心勃勃的计划。他们带来最新锐的建筑思维以及这个思维背后的对社会、地理、传统等全面全球全局的观点，展开跟蓝田的对话，或者说再对话（蓝田是马达斯班的创始人马清运的家乡）。我们跟马达斯班的管理总监陈展辉从管理实践的层面来讨论这个带有理想主义色彩的计划。
我们也邀请了艺术家周啸虎在海牙实施的作品《新唐人街计划》参加展览。他在海牙以库哈斯的CCTV大楼建筑为蓝本，盖了一条“唐人街”。在越来越唐人街化的西安来展出和讨论周的这件作品，应该是我们讨论中国当代艺术真身的另外一个有趣的激发点。金江波参加过威尼斯双年展，而且还创作了一件叫《模糊威尼斯》的作品。在西安文献展上，我们希望通过他的这件作品，建立西安文献展和国际重要展览之间的话题关联，打通一些问题的关节点。
姚子的系列图片作品中，两位游戏中的少女出现在苍老的纺织城里。她们的表情使她们看起来象是幽灵，纺织城里每个角落都携带着的社会主义童年的记忆被她们的青春涟漪轻轻激荡、重新浮现。
一位向前走的老年保安，跟被“倒放”的一位在做翻滚动作的女孩，是姚子+乔军超的作品《向前-向后》重复出现的对比。正常播放和倒放、向前和向后的意象，是对纺织城艺术车间精神错乱似地介入纺织城历史逻辑的思考。
分水岭俱乐部在展览上发布他们未来三个月的一个集体计划。这个计划将会针对纺织城艺术车间创造一个虚拟的游戏空间。这个游戏可能会释放一些属于记忆国度的幽灵，来骚扰西安文献展；这个游戏也会故意在各种“边界”上面寻衅滋事；这个计划在物理空间的视觉呈现是零散的，但是在心理空间上又是具备清晰的企图心的；这个计划是开放的、新陈代谢的、半成品的。
这个计划目前使用三维效果图的方式来呈现，它假设纺织城艺术车间是一个装满妖魔鬼怪的地宫，在这个“地宫”里发生着许多故事。在文献展把西安当代艺术经典化的同时，这个三维效果图提示的另外一个时空里的“搅局”计划对西安甚至中国以及世界的当代艺术进行“妖魔化”。
分水岭俱乐部高季作品《遗物-疑物》，是用大量的纺织城图片拼贴而成的。其中的几张图片巧妙地编排成为共产主义意识形态的视觉提示。它提醒我们这片土地跟乌托邦理想曾经有过的联系。
分水岭俱乐部王基宇作品《和一只狗玩的七种方式-画一只狗的七种方式-和一只狗散步的七种方式-一只狗发生意外的七种方式》，利用数码、手绘、粘贴等方式，再现现实和篡改现实，大玩文字游戏和符号游戏，模糊虚拟和现实的界线。通过一只狗演变成为196张关于狗的故事的图片，在文献展里对“文献”本身进行视觉思辩。
由分水岭俱乐部王莹等构成的新闻组，在首展上面呈现了第一次文献展简报。他们从另外一种角度对文献展进行了阐释。
陈展辉访谈
彭德访谈
《模糊威尼斯》 金江波
《新唐人街计划》 周啸虎
《向前-向后》 姚子+乔军超
《春天》 姚子
分水岭俱乐部计划
The first exhibition: The Spirit of China’s Contemporary ArtsFirst, we’ll invite famous scholar Peng De and Chen Zhanhui (chieF manager of MADA SPAM, a world-renowned Architect Affair Institutes ) to discuss the issue of “The Real Spirit of China’s modern arts.”
We also invite artist Zhou Xiaohu to demonstrate his “New China Town Plan” produced in Hague. He designed the “China Town” following the model of the CCTV new building which designed by Rem Koolhass. It will spark our interests in talking about the real spirit of China’s modern arts.Jin Jiangbo has attended Venice Binary Exhibition, where he showed his work “Vague Venice”. We hope to link Xi’an Document Exhibition with some international exhibitions in order to get a clear view on some relevant issues.
Dong Jun and Yao Zi +Qiao Junchao are responsible for making Video and taking pictures for Textile City.
Interview with Chen Zhanhui
Interview with Peng De
Vague Venice by Jin Jiangbo
New China Town Plan by Zhou Xiaohu
Textile City: Dong Jun
Textile City: Yao Zi; Qiao Jun Chao
Watershed Club Plan
学生计划
本届文献展设置学生计划，美术学院以及其他院校的学生根据自身情况可以担当志愿者、记者、翻译等等工作，也可以提交方案、作品。学生计划的组织工作由分水岭俱乐部承担。
Students Plan
This Document exhibition includes students plan. For example, students in Xi’an Academy of Fine Arts; students coming from other colleges or universities can work as volunteer, journalist, translator and so on depends on their majors and interests. They can also hand in their proposals and works.
纺织城艺术车间A区：董健工作室、王风华工作室、贺军工作室、何军工作室、白夜工作室、贾明工作室、钟国昌工作室、程乾宁工作室、祁逸工作室……
Textile City Art Workshop A Zone: Dong Jian Studio; Wang Fenghua Studio; He Jun Studio; He Jun Studio; White Night Studio; Jia Ming Studio; Zhong Guochang Studio; Cheng Qianning Studio、Qi Yi Studio……
策展人：岳路平
策展助理：姚子 分水岭俱乐部
视觉：孟坤 王基宇 王莹 姜延
翻译：张素苓
网站：www.onwest.com
鸣谢：CFX（西安创意自由区） 绳空间 文波制作
Curator: Yue Luping
Assistant curator: Yao Zi; Watershed Club
Visual: Meng Kun ; Wang Jiyu ; Wang Ying; Jiang Yan
Translator: Zhang Suling
Web Cite: http: // www. Onwest.com
Thanks : CFX (Xi’an Creative Free Zone); Rode Space; Web Photoshop