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《话语与运动:20世纪80年代美术史的两个关键词》Discourse and Movement—Two Keywords of the History of Art in the 80s

Beijing Inside-Out Art Museum

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2006年夏,高名潞先生展开“无名画会”的专题研究和展览策划项目,王志亮作为助理参与其中。2007年夏,王志亮又作为学术编辑之一,参与到高名潞先生主持的《中国当代美术史:1985-1986》的编辑再版工作中。能够直接参与这类当代艺术档案的收集和整理工作,才使作者尝试建构一段历史叙事成为可能。另外,2007年11月尤伦斯当代艺术中心举办“’85新潮:中国第一次当代艺术运动”展览,并随即出版《’85新潮档案》丛书,以及随着纪念’85新潮20周年、30周年,一系列口述史不断出现等等事件都成为该本著作的写作背景。可以说,新世纪前十年公开出版的相关’85新潮美术文献,成为这本著作得以完成的基础。

这本著作主要采用后结构主义符号学艺术史理论,讨论八十年代美术发展中的“话语”与“运动”的关系,尤其旨在讲述“理性话语”在美术领域的兴起和发展过程,以及这股话语又是如何与整个’85美术运动的发展缠绕前行。八十年代美术话语的分类和传播方式也是这本著作研究的重点。这个时间段的会议和报刊杂志构成整个美术发展的公共空间,在一定程度上决定了该时期美术发展的整体走向。在这样的公共空间中,各种话语呈现整一性关系,传统、现代和前卫话语互相影响,构成八十年代美术整一性话语的基本轮廓。其中,跨越现代主义和前卫艺术的“理性话语”在1985年之后成为这个时代美术发展的主流话语之一。

除本书呈现的具体结观点外,作为当代艺术史的旁观者,如何处理亲历者的口述史、原始档案和历史叙事之间的关系?这可能是今天更值得讨论的问题。借《话语与运动:20世纪80年代美术史的两个关键词》出版之机,我们请到《美术》杂志副主编盛葳,中间美术馆馆长卢迎华,本书作者王志亮,一起谈一谈有关现当代艺术档案和历史叙事的那些事。


In the summer of 2006, Gao Minglu initiated the monographical study and exhibition project  of “The No Name Painting Association.” Wang Zhiliang, at the time, worked as an assistant and partook in these projects. In the summer of 2007, Wang Zhiliang then worked again as a scholarly editor, participating in the reediting and reprinting of Chinese Contemporary Art: 1985-1986 led by Mr. Gao Minglu. Only by having participated in the collecting and sorting of the archives of contemporary art directly,  the author was allowed to attempt a construction of a historical narrative as such. Besides, the writing of this book was also contextualized by the exhibition, “ ’85 New Wave: the Birth of Chinese Contemporary Art” by the Ullens Center for Contemporary Art, the following publishing of “’85 New Wave-Archive” book series, as well as the incidents of 20th, 30th anniversary of ’85 New Wave, and the  series of oral histories that emerged through out the time. One could say that the ’85 New Wave related writings that were publicly published in the first 10 years of the new millennium construe the foundation for the completion of this book.


This book adopts a post-structural theory of semiotic art history, and discusses the relationship between “discourse” and “movement” in the 80s’ developments of art, especially in narrating the rise and development of “rational discourse,” and how this discourse became intertwined with the entire development of ’85 art movement. The classification and propagation of the 80s art discourses was another weighing point in this piece of literature. The public space constructed by meetings and printings which composed the development of art at this particular time were in a large sense decisive for the general orientation of art developments. In public spaces as such, different discourses presents a sense of uniformity, where the traditional, the modern and the avant-garde are mutually influential, in which construed the basic profile of the uniform discourse of art of the 80s. Among that, “rational discourse,” which span over modernism and the avant-garde, became one of the mainstreaming discourses of that period of art development after 1985.


Besides the specific point of views presented by this book, how do we, as witnesses of contemporary art history, deal with the relationship between oral histories presented by those who have lived through this history, the original archives and the historical narratives? This may be a more relevant question to be discussed as for today. With the publishing of Discourse and Movement—Two Keywords of the History of Art in the 80s, we have invited the associate editor of Arts, Sheng Wei, the curator of Inside-Out Art Museum, Lu Yinghua, and the author of book, Dr. Wang Zhiliang, to talk about contemporary art archives and historical narratives.