序 言

　　北京贵点艺术空间自成立以来，已经请著名批评家王明贤先生连续策划了两次名为“穿越历史”的当代艺术展，也产生了极好的影响。而这两个展览与深圳美术馆先前举办的“历史的图像”展，在学术上具有很大的相似性。具体言之，那就是强调对社会主义经验的再运用，并由此建立历史与现实的紧密联系。也正因如此，深圳美术馆与北京贵点艺术空间在一年前就商定，要联手举办“再历史——中国当代艺术展“，同时邀请湖北美术馆、石家庄当代艺术馆参与。后经多方努力，此展得以于今年6月和7月，分别在深圳美术馆与石家庄当代艺术馆成功举办。此次于北京贵点艺术空间展出的实际上是第三站，而且，10月还将在湖北美术馆展出。

　　为什么要推出这一展览，并做巡回展出呢?

　　我与策展人冀少峰、游江都认为，在全球化的背景下，中国当代艺术欲参与国际性对话，很重要的是要突出自身文化的特点与民族身份。而所谓社会主义经验无疑是我们的重要的文化资源。如果很好的加以把握与运用，既可以从一个角度突出中国当代艺术不同于西方当代艺术的特点，又可以从一个角度很好解决中国当代艺术过多借鉴西方当代艺术的问题，进而为国际当代艺术带来更新的活力。因为一个不容否认的事实是，中国当代艺术的观念资源也好，视觉资源也好，在很大程度上，乃是从西方当代艺术那里演绎而来;其二，关注中国自身的历史与现实，永远是中国当代艺术必须重视的头等大事。而且，在这样的过程中，艺术家们还可以从自身的感受与背景出发，提炼出具有艺术史意义的观念、图像与表现手法，以致形成个人化的艺术风貌。从展览来看，艺术家们相当成功的处理好了以上问题，值得同好学习，更值得学术界的深度关切。

　　塞尔维亚著名理论家艾尔雅维茨在他影响很大的著作《图像时代》中，曾经评价与分析了社会主义经验对当代艺术创作的重要性。为此，他不仅列举了前苏联、东德与南斯拉夫等国艺术家的例子，也列举了我国艺术家王广义的例子。在他的学术观点中，蕴含了这样一个深刻道理，即社会主义经验对于一些有相似经历国家的艺术家来说，肯定是宝贵的矿藏，应予好好地挖掘。我完全同意他的观点。在此，我还想补充的是：虽然已出现一大批优秀的相关作品，但如何深度发掘这一矿藏，还值得艺术家们好好研究，并投入更多的努力!

　　祝愿今后有更多、更好的类似作品与展览出现!

　　感谢所有参展艺术家的大力支持!

　　2012年7月30日于成都到深圳的飞机上

　　The preface

　　Description of “Re-History Chinese Contemporary Art Invitation Exhibition”

　　Lu Hong

　　Since its inception, Beijing’s G-Dot Art Space has already invited famous art critic Mr. Wang Mingxian to curate two Contemporary Art exhibitions titled ”Across History” which generated a momentous outcome. These two exhibitions have a great deal of similarity academically with the previous “Historical Images” exhibition held by the Shenzhen Art Museum. Specifically speaking, it emphasizes the re-use of socialist experience by establishing a close connection between history and reality.

　　Consequently last year, Shenzhen Art Museum and G-Dot Art Space agreed to put on “Re- History - Chinese Contemporary Art Invitation Exhibition” together in conjunction with Hubei Art Museum and Shi Jiazhuang Museum of Contemporary Art. After copious efforts, the exhibition was successfully held in June and July, respectively at Shenzhen Art Museum and Shi Jiazhuang Museum of Contemporary Art. G-Dot Art Space is the third stop of the exhibition followed by the forth and final at Hubei Art Museum in October.

　　Why present this particular exhibition and take it on tour?

　　Curators Ji Shaofeng, You Jiang and I all agree that with the current atmosphere of globalization, it is important for Chinese Contemporary Art to highlight the characteristics of our culture and national identity in order to become involved in the international dialogue.

　　The so-called socialist experience is undoubtedly an important cultural resource to us. If correctly seized and employed, it can show the distinctions between the characteristic of Chinese Contemporary Art and Western Contemporary Art as well as a solution for the heavy western influences found in Chinese Contemporary Art, thus bringing a surge of energy to the international contemporary art scene.

　　First of all, it is an undeniable fact that both the conceptual and visual resources of Chinese Contemporary Art, to a large extent, stems from an interpretation of Western Contemporary Art. Second of all, concern for China’s history and reality should be the top priority of Chinese Contemporary Art. Moreover, through this process, artists can also extract, from their own background and experiences, concepts, images and styles that are historically significant so as to develop an artistic style that is unique. From this exhibition, it is worth noting by peers and the academic community that the artists have more than successfully dealt with the above issues.

　　Ales Erjavec, famous Serbian theorist, have once evaluated and analyzed the importance of socialist experience to contemporary artistic creation in his highly influential book “Toward the Image”. Not only did he use artists from Soviet Union, East Germany and Yugoslavia as examples, but also mentioned Chinese artist Wang Guangyi to support his theory. From his academic standpoint, there contains a profound truth: for artists that have had a similar experience with the country, socialist experience becomes a valuable treasure that must be excavated.

　　I fully agree with him. Here, I would love to add that although there is already a large number of outstanding related works, in order to further explore this treasure mine, artists must invest more effort and continue to research.

　　I wish there are more and better similar works and exhibitions in the future!

　　Thanks for the support of all the participating artists!

　　This is the preface.

　　On the plane from Chengdu to Shenzhen, July 30, 2012