魏光庆是中国当代艺术发展历程中一位具有代表性且具备独特文化品性的艺术家。他有着多数60一代艺术家的集体记忆：经历过'85思潮的洗礼，走过碰撞与交流激烈的90年代，面向新世纪以来的多元与观念交融;更有着辨识性极强的视觉图式和一以贯之的脉络：从早期对西方现代艺术的借鉴，到确立以《红墙》系列为代表的“文化波普”，再到转换形态的装置作品，他的视觉表达不仅折射出社会政治、经济、文化结构的转型所带来的思想理念和生活方式的变化，更以自我敏感的生存体验及历史化的个人书写，把个体命运和激变的社会现实一步步植入到视觉叙事中。可以说，魏光庆从实践者的角度，批判性地关注当代社会资本、权力、消费、欲望、道德传统的缺失、传统文化的重建和再利用等文化命题;同时，他以参与者的身份，见证着中国当代艺术的起伏变化和潮起潮落。

　　在我看来，坚持、突破、坚守，是释读魏光庆的关键词。坚持不变的是艺术的本真和视觉知识分子的担当，不断突破的是观念与自我，勇于坚守的是艺术实践和艺术教育的阵地。本次展览主题为“正负零”，展出作品的创作时间跨度三十年，涵盖装置新作与不同时期的重要作品。“正负零”本为建筑术语，指主体工程的一个基准面，通常以正负零为界，其下为建筑物的基础。以此作为主题，既为呈现脉络，试图从近几年的新作出发，阐释其创作的上下文关系;又是关联未来——由此为起点，继续生发与前行。

　　“重在当代”是湖北美术馆办馆宗旨之一，举办“魏光庆：正负零”展览，一方面是对重要艺术家的个案梳理，另一方面，是以个体为切入点，持续关注当代艺术的发展，深入展开对当代艺术的研究。希冀本次展览在呈现艺术家创作轨迹、文化观念的同时，亦能展示出其间所串联的中国当代艺术的文本。

　　谨祝展览圆满成功。

傅中望

湖北美术馆 馆长

2015年11月

　　As a representative artist with unique cultural sentiment during the development of Chinese contemporary art, Wei Guangqing cherished the collective memory of most 60 generation. He experienced 85' New Wave, witnessed the fierce collision and exchanges in 1990s and now meets diversity and convergence of concepts in the new century. Moreover, he is characterized by discernible visual schema and consistent delineation. Namely, from his early reference to western modern art to establishment of “Cultural Pop” represented by Red Wall series works and later to transformed device works, his visual expression reflects the changes in ideology, faith and lifestyle triggered by transformation politics, economy and cultural structures. Furthermore, he integrates individual fate and volatile reality in society into his visual narration through personal sensitivity of survival experience and historicized writing. Thus Wei Guangqing can be said to critically review, from a practitioner’s perspective, capital, power, consumption, greed, lack of morality and reconstruction and recycling of traditional culture in contemporary society. And meanwhile, from the participant perspective, he witnessed ups and downs of Chinese contemporary art.

　　As far as I am concerned, key words to interpret Wei Guangqing are perseverance, breakthrough and steadfastness. His perseverance in truth of art to shoulder a visual talent’s mission, his unceasing breakthrough in concept and himself and his steadfastness in the field of artistic practice and education are impressive. The creation time of works displayed in this exhibition lasts three decades, encompassing new device works and vital works through time. The title of the exhibition is “Plus or Minus Zero”, which is supposed to be an architecture term, referring to a standard of major projects divided by plus-minus zero with base of buildings beneath. This title not only embodies the vein and expounds the context of its creation from the perspective of recent works, but also stretches to the future, continuing the development and keeping forward from this starting point.

　　It’s one of the purposes that Hubei Museum of Art follows to “focus on contemporary”. This exhibition, “Wei Guangqing: Plus or Minus Zero”, is a case study of an important artist and on the other hand it keeps on paying attention to development of contemporary art from individuals and carry out in-depth researches on contemporary art. I sincerely hope this exhibition will present the trace and cultural ideas of artists as well as the text of Chinese contemporary art that runs through.

　　I wish the exhibition a complete success.

　　Fu Zhongwang

　　Director of Hubei Museum of Art

　　November, 2015

作者：魏光庆