中国水墨如不被终结，势必要在崭新的语境中强调在场的自主性，这并不是写几天毛笔字就能征服的，也不是将“美”的水墨表征程式化的从头画到尾，更不是每天画个和尚即为佛的表演。而在涉及到我们自身命运时，关注当代社会的内在演变，将个体经验适时地分享与利用。

　　If Chinese ink paintings were not to be ended up, it should be bound to emphasize the autonomy of presence in a brand new context. This is definitely not the case of being able to be conquered by writing a few days'calligraphy, not painting routinely the "beauty" of ink paintings' superficial characteristics from beginning to end, nor performing the drawing of a monk and regard it as the Buddha every day. When it comes to our own destiny, the Chinese ink paintings need to pay attention to the inherent evolution of contemporary society, share and utilize individual experiences in a timely manner.

　　Post-tradition and its Confession

　　Contemporary Ink Painting

　　Invitational Exhibition

　　OPEN 2018.02.03 16:00

　　主办：中华世纪坛 艺术馆 吾契国际文化

　　MAIN ORGANIZER

　　CHINA WORLD ART MUSEUM

　　WUCHIY INTERNATIONAL CULTURE

　　承办：贤空间

　　ORGANIZER | XIAN SPACE

　　策展人：翟耀南

　　CURATOR | Zhai Yaonan

　　开幕：OPEN 2018.02.03 16；00

　　展期：TIME 2018.02.03-03.04

　　展览地点 VENUE | XIAN SPACE

　　中华世纪坛艺术馆A段二层西方厅

　　THE TWO - STORY WESTERN HALL OF THE A SECTION OF

　　THE ZHONGHUA CENTURY TEMPLE ART MUSEUM

　　ARTISTS 参展艺术家

　　（按拼音顺序排列）

　　蔡海标 苍鑫 曹鑫 曾健勇 沈沁 陈子丰 党震 丁学 军丁阳 付振宝 高茜 高远 黄红涛 贾秋玉 梁缨 鹿野骋 彭博 石荣强 宋岫音 孙超 谭斐 王璜生 王牧羽 王启凡 王煜 魏青吉 谢正赛 颜开 姚浩 叶紫 岳小飞 张见 张洁 张利勇 张天幕 张萱子 赵丽娜 周名德 祝铮鸣

　　后传统的告白——当代水墨作品邀请展

　　时值习近平主席在日内瓦提出构建人类命运共同体理念一周年之际，达沃斯世界经济论坛将“在分化的世界中打造共同命运”定为2018年主题，与构建人类命运共同体的中国理念同频共振。做为一种文化理念的输出与被认可，这彰显了我国国际地位又一次提高。与此相适应，我们的文化视野不断拓展、文化自信不断增强，所有这些，为中华民族伟大复兴提供了前所未有的历史机遇。中华传统文化发展繁荣对于中华民族伟大复兴有着重要意义，也深刻阐明了中华传统文化发展繁荣的时代使命与责任担当，在全球化进程中不断步入了后传统文化时代。

　　我认为：后传统是承接中华优秀传统文脉的同时，以兼容并蓄的姿态拓殖当下生活，变革创新，不断满足新时代社会的需求。后传统文化时代应推动中华传统文化创造性转化、创新性发展，就是要实现中华传统文化与现代化的对接，实现中华传统文化对当代科学与艺术新成就的学习吸纳。它离不开中华传统文化与世界上其他文化的交流、交融甚至交锋。在后传统文化发展进程中，避免非理性的排外、自身全盘否定、对外来文化简单照搬，这也是后传统文化在当下纷繁复杂的世界环境中流砥柱的告白。

　　作为中华传统文化的一部分，中国水墨艺术走到今天，其意义远溢于艺术传承，更多的是做为文化的一部分，同样起到育化的作用。中国水墨作为绘画艺术的一种形式语言，同质于当代艺术的发展。阿瑟·丹托“艺术终结论”似乎也可以指向中国水墨的终结，当然前提是中国水墨固步自封的情况下。在后传统文化发展的背景下，中国水墨如不被终结，势必要在崭新的语境中强调在场的自主性，这并不是写几天毛笔字就能征服的，也不是将“美”的水墨表征程式化的从头画到尾，更不是每天画个和尚即为佛的表演。而在涉及到我们自身命运时，关注当代社会的内在演变，将个体经验适时地分享与利用。

　　中国当代水墨或者后传统水墨与传统水墨创作纬度不同的是，在继承传统水墨创作技法经验的同时，参与对既定的审美规则和趣味质疑与挑战，建构对当下历史文化的注解和成像。“小隐于野，大隐于市。”古有来之，大凡名留青史的艺术家皆在所处的时代勇于变革担当，承前启后，不断丰富美术史的造册。中国水墨的传承，并不是一味徒有其表的模仿，而更应该传接精髓，承担创新。此次展览以中国后传统水墨发展的问题为目的展开探讨。参展艺术家通过对日常生活的思考，诸如自然环境、社会人际关系等问题，尝试产生水墨图像的过程中，将传统笔墨经验与当代文化产生关联，试图寻找触及生活中的过程性、不确定性和偶发性，通过新的表现手法将现实背后的事物剥离与重新定义。这其中不乏日常中的琐碎，但艺术家能一直保持敏感的嗅觉以水墨创作的形式持续记录定格自身与社会的联系，在各自的绘画语言中，既保持了对传统的敬畏，又呈现出多元化的表达，对当下的社会问题进行了有效地梳理与转化。这也是水墨艺术作为中国文化的组成部分，历久弥新，持续在全球化世界舞台发声的担当。

　　后传统者，苟日新、日日新、又日新。

翟耀南

2018.1.28

　　Post-tradition and its Confession

　　Contemporary Ink Painting

　　Invitational Exhibition

　　It has been the first anniversary since President Xi Jinping put forward the idea of building a community of common destiny for mankind in Geneva. The World Economic Forum (WEF) in Davos set "making the common destiny in a differentiated world" as the theme for 2018, which accords with China's concept of building a community of shared future. Meanwhile, being exported and recognized as a cultural concept demonstrates that our country's international status has once again risen. In line with this, our cultural vision continues to expand and our cultural confidence continues to grow, all of which provide an unprecedented historic opportunity for the great rejuvenation of the Chinese nation. The prosperity and development of Chinese traditional culture is of great significance to the great revival of the Chinese nation. It also profoundly expounds on the mission and responsibility of the times for the development and prosperity of Chinese traditional culture that has stepped into the post-traditional cultural era in the process of globalization.

　　So far I know while the post-traditional culture is undertaking the excellent Chinese traditional culture, its attitude of inclusiveness promotes the current life, changes and innovates, and meets the increasing needs of society in the new era. That the post-traditional culture era ought to facilitate the creative transformation and innovative development of Chinese traditional culture is precisely to achieve the connection between Chinese traditional culture and modernization and at the same time to achieve the Chinese traditional culture's absorption of brand-new achievements in contemporary science and arts, which can not be separated from the exchange, blending or even confrontation of Chinese traditional culture with other cultures in the world. During the process of post-traditional cultural advancement, it is also its confession in the present complex world environment to avoid the irrational exclusion, totally repudiate itself and simply copy exotic cultures.

　　As part of the Chinese traditional culture, Chinese ink art has made it this far. Rather than being far beyond the art heritage, it also plays the role of educating serving as a part of culture. As a form language of the art of painting, Chinese ink art is homogeneous with the development of contemporary art. Arthur Danto's "The End of Art" also seems to point at the end of Chinese ink paintings, and of course provided that Chinese ink paintings is stuffy. Under the background of the development of post-traditional culture, if Chinese ink paintings were not to be ended up, it should be bound to emphasize the autonomy of presence in a brand new context. This is definitely not the case of being able to be conquered by writing a few days' calligraphy, not painting routinely the "beauty" of ink paintings' superficial characteristics from beginning to end, nor performing the drawing of a monk and regard it as the Buddha every day. When it comes to our own destiny, the Chinese ink paintings need to pay attention to the inherent evolution of contemporary society, share and utilize individual experiences in a timely manner.

　　The difference between Chinese contemporary ink paintings or post-traditional ink paintings and traditional ink paintings lies in that while inheriting the experience and techniques of traditional ink paintings, it involves in questioning and challenging the established aesthetic rules and interests as well as constructs the annotation and imaging of contemporary history and culture. "A good hermit can't be stunned by deafening noise of the mundane." The artists who have made history since ancient times, all have the courage to change the times they are in. They have inherited the past and set a new course for the future so as to enrich the book of art history. The inheritance of Chinese ink paintings is not simply a mere specious imitation, but ought to convey the essence and take on innovation. This exhibition explores the issues of the post-traditional ink paintings' development in China. Through the reflection on daily life, such as the natural environment and social interpersonal relations, the participating artists manage to produce ink images by linking the experience of traditional ink paintings to contemporary culture; try to search for the processness, uncertainty and coincidence touching upon life; and attempt at peeling and redefining the things behind the reality by way of new techniques of expression. There are many trivialities in daily life, but artists can always stay a sensitive sense of smell to keep recording the connection between the society and themselves in the form of ink paintings. In their respective language of paintings, they not only maintain their awe to the tradition and present diversified expressions, but also effectively analyze and transform current social problems, which is also an integral part of Chinese culture. The ink art is everlasting and continues to sound its voice in the globalized world.

　　The post-traditional artists ought to bear in mind that “Day by day make it new!”

Zhai Yaonan

January 28th, 2018