展览现场  Exhibition on view

且忆且行

天下・往来——当代水墨文献展（2001-2016）十周年

值 2016 年原红专厂当代艺术馆“天下・往来——当代水墨文献展（2001-2016）”（下称 “原展览”）举办十周年之际，受皮道坚先生与原展览团队委托，逵园艺术馆荣幸主办本次十周年纪念展“且忆且行”。与纪念展同步推进的还有原展览配套画册的海内外出版工作与系列专题学术活动策划，对十年前这场具有里程碑意义的当代水墨文献展做系统回顾与学术延展。原展览是继2001年广东美术馆“中国·水墨实验二十年”（由皮道坚与时任广东美术馆馆长王璜生共同策划）和2013年香港美术馆“原道——中国当代艺术的新概念”后对当代水墨艺术发展又一关键阶段的梳理和呈现。原展览定题为“天下・往来”，设置 “味象”“观道”“新世界”“体用”“通变” 五大单元，汇聚内地、港澳台及海外共 51 位艺术家，呈现绘画、影像、装置、行为艺术作品六十余件。现场同步展出 从2001年 至 2016年十五年间当代水墨发展的相关文献资料，并举办三场重磅学术对话，完整梳理水墨艺术阶段性演进脉络；原展览首创学术专有名词 InkArt，立足全球视野探讨水墨在古今、中西文化碰撞下的多元探索。本次十周年纪念展邀请原展览 51 位艺术家中的 36 位再度参展。本次参展艺术家人数众多，受展厅空间条件所限，每位艺术家均甄选小幅精品展出，以画会友，合力支持画册出版与系列学术活动落地，让当代水墨议题跨越时光再次深度对话。

展览现场  Exhibition on view

回望四十余年当代水墨发展历程，历经对全盘西化创作道路的反思，水墨创作重新回归本土文化 “原道”，以此为根基持续突破，不断探寻属于东方的 “另一种现代性”（another modernity） [1]。经过抽象水墨、实验水墨等一系列持续不断的理论研讨与创作实践，水墨艺术完成了一轮完整的现代化转换周期。水墨创作突破传统纸本卷轴的单一局限，逐步走向媒介、观念、形式全面开放的多元格局 [2]。贯穿这长期探索的理论内核，是皮道坚自1989年起相继提出的 “水墨性”“水墨方式” 与 “水墨精神”等概念[3]。“水墨性”根植于宣纸、笔墨等东方独有的媒介特质；“水墨方式”是以水墨媒介观照现实、沟通古今东西的创作路径；“水墨精神”则承载着澄怀观道、探寻本源的东方哲学内核。不同于西方抽象艺术对形式本体的纯粹追求，水墨与生俱来的精神抽象特质，无需照搬外来艺术范式，便能走出一条根植本土、兼容世界的现代艺术道路。

展览现场  Exhibition on view

作为原展览主办方、本次纪念展文献支持方，原红专厂当代艺术馆（RMCA）是广州工业遗址活化与民营当代艺术机构的标杆范例。场馆原址为 1956 年兴建的广州罐头厂，2009 年团队对废弃旧厂房进行活化改造，打造出两千余平方米的专业展览空间，让厚重的工业建筑底蕴与当代艺术创作相融共生。以红专厂当代艺术馆为代表的民营艺术机构，是中国当代艺术生态的重要组成部分。作为公立美术馆的有力补充，其在策展方向、学术研究层面具备更强的自主性。依托常态化展览、学术研究、公共教育、国际交流等长期运营工作，机构系统性收集并留存了大量珍贵一手艺术文献。2016 年倾力推出的“天下・往来 —— 当代水墨文献展（2001-2016）”，正是红专厂当代艺术馆深耕当代水墨领域、系统性构建专题学术文献的标志性实践。

展览现场  Exhibition on view

今年是“天下・往来 —— 当代水墨文献展（2001-2016）”举办十周年。在这一重要时刻，原展览配套画册将于 2026 年 12 月面向海内外出版，同期举办学术研讨活动。本次纪念展顺利开展，离不开各方鼎力支持。由衷感谢 36 位返场参展艺术家，作为国内当代水墨领域最具代表性的艺术家们，每位均精选了带有个人创作特色的小幅佳作，为观众呈现层次丰富、风格多元的审美体验；致谢原红专厂当代艺术馆团队提供存档文献，为本展上线作品档案、学术文稿、论坛实录提供重要支持；同时致谢各界藏家、机构、赞助方与媒体，长期助力当代水墨的展览、研究与传播。敬请关注纪念展后续画册出版、学术研讨等系列活动安排。

注 释

[1]见皮道坚为2013年在香港美术馆举办的展览“原道——中国当代艺术的新概念”撰写的展览序言《原道——中国当代艺术的内在历史感、现实性及方法论》，又见《2013中国美术批评家年度批评文集》，第318-319页。“‘原道’是一个从中华文化的立场出发，在当代艺术的创造领域，重新建构现代性的过程。此处之‘道’似乎更接近其最原始的含义……涵盖整个中华传统文化范畴，或者说是一个混合了儒、道、释的‘道’”。

[2]详见魏祥奇为2016年6月至9月在广州红专厂当代艺术馆举办的“天下・往来——当代水墨文献展 (2001-2016）”撰写的《“水墨经验”重设中国“当代艺术”的格局——2001年以来“实验水墨”艺术家的新变》一文，其中对自2001年以来“水墨”问题三个发展阶段进行了梳理。在胡斌为同一展览撰写的《从材料语言、文化身份到认知方式、问题场域？——讨论“新水墨”的视角》一文中，对“从‘中国画’到‘水墨画’及‘实验水墨’”的概念演变过程亦有详细梳理。

[3]关于“水墨性”“水墨方式”“水墨精神”三个概念的提出。“水墨性”是皮道坚最早于1989年在《美术》上提出“水墨性的新发挥”，后发表《水墨性话语与当下文化语境》，沈阳：《美苑》，1995年第1期；稍后，“水墨精神”出现于2000年皮道坚为香港“笔墨论辩——现代中国绘画国际研讨会”论文集撰写的《笔墨无止境——艺术史逻辑与笔墨问题》一文。“水墨方式”最后提出，均见于皮道坚《中国现代美术理论批评文丛·皮道坚卷》，北京：人民美术出版社，2011年。

[4]详细论述见李听尘《天下往来十五年 ——记“天下·往来——当代水墨文献展 (2001-2016)”》，南京：《画刊》，2016年第7期。

展览现场  Exhibition on view

Tracing Forward

The 10th Anniversary of Being and Inking: Documenting Contemporary InkArt

On the 10th anniversary of the 2016 Redtory Museum of Contemporary Art (RMCA) exhibition Being and Inking: Documenting Contemporary InkArt (2001–2016) (hereinafter the Original Exhibition), Kui Yuan Gallery is honored to present this 10th-anniversary edition, Tracing Forward. Running in parallel are the overseas and domestic publications of the Original Exhibition's catalogue and a series of themed academic programs later this year, offering a systematic retrospective and scholarly extension of that landmark documentary exhibition of contemporary ink a decade ago.Following the 2001 exhibition China: Twenty Years of Ink Experiment (co-curated by Pi Daojian and Wang Huangsheng, then Director of Guangdong Museum of Art), and the 2013 exhibition The Origin of Dao: New Dimensions in Chinese Contemporary Art (Hong Kong Museum of Art), the Original Exhibition further sorted and presented a key phase in the history of contemporary ink art. Titled Being and Inking, it was divided into five sections: Savoring Hsiang, Viewing Tao, New World, Essence & Application, and Circulation & Alternation. It brought together 51 Chinese and international artists and presented over 60 works of painting, video, installation, and performance.

In addition, archival materials documenting contemporary ink art from 2001 to 2016 were shown alongside three major academic panels. The exhibition pioneered the academic term "InkArt," exploring from a global perspective the diverse trajectories of ink among the complex cultural influences of ancient and modern, East and West. For this 10th-anniversary edition, 36 of the original 51 artists are invited to participate again. Given the large roster of artists and spatial constraints, each artist has selected small, exquisite works to share with the audience. The ink fellowship has gathered to support the publication of the catalogue and the following academic programs, fostering a renewed and in-depth dialogue on contemporary ink.

Looking back over more than forty years of contemporary ink's history, and reflecting on paths of total Westernization, ink art has returned to the "Origin of Dao" as its native root, from which it has continued to push boundaries and seek ways of "another modernity" of the East[1]. Ink art has completed a full cycle of modernization as theoretic frameworks were also developed to support movements such as abstract ink and experimental ink. Breaking free from the limitations of traditional paper scrolls, ink works have evolved into diverse media, concepts and forms[2].

The theoretical core running through this long exploration comprises concepts Pi Daojian has advanced since 1989: "ink characters," "ink methods," and "ink spirits." "Ink characters" are rooted in unique properties of Eastern media such as xuan paper and brush-and-ink; "ink methods" refers to the creative approaches of observing reality and bridging old and new, East and West; "ink spirits" carry the essence of Eastern philosophy which clarifies the mind to observe the Dao and seek origins[3]. Unlike Western abstraction's pure pursuit of form itself, ink's innate quality of spiritual abstraction allows it to forge a modern artistic path rooted in its own culture yet inclusive of global vision, without simply paraphrasing foreign approaches[4].

As organizer of the Original Exhibition and archival supporter of this commemorative edition, the Redtory Museum of Contemporary Art (RMCA) is an outstanding example of industrial heritage revitalization and a pioneer among private contemporary art institutions. Housed in the former Guangzhou Canned Food Factory (built in 1956), the site was transformed in 2009 into more than 2,000 square meters of professional exhibition space, where the weight of industrial architecture meets contemporary art. Private institutions like RMCA are vital to China's contemporary art ecosystem, exercising greater autonomy in curatorial vision and scholarship than public museums. A large number of valuable primary sources were collected and preserved through sustained exhibitions, research, public programs, and more. The 2016 landmark exhibition Being and Inking: Documenting Contemporary InkArt (2001–2016) marks RMCA's long term engagement with contemporary ink and dedication to building academic archives.