编者按：此次蓝顶美术馆馆际交流项目展：变，是成都蓝顶美术馆与新西兰怀卡托美术馆馆际交流项目的第二场。早在2016年9月，在新西兰汉密尔顿市怀卡托美术馆和怀卡托理工学院的支持下，16位新西兰艺术家来到成都，以“新西兰：生态&叙事的比较级”为名，在蓝顶美术馆展示他们的作品，得到了广大观展人群的好评。时隔两年，蓝顶美术馆策划组织了成都艺术家及其作品，前往新西兰互动。此次参展作品多以行为现场作品为主，也是蓝顶美术馆在2017年，参与澳大利亚阿德莱德艺术节的特邀展，“四川行为艺术展：瞬间之永恒”的延续。成都与汉密尔顿是友好城市。

展览前言：变

展览的视角立足于中国迅速之极的城市化背景之下，艺术家的个体感受与集体经验之间的疏离：慢与快的节奏变迁，乡村与城市景观的异化，日常与异常的差别体验，身体的自由与社会制度的规训，以及艺术家对此所反应出的态度的调侃与严肃。

参展艺术家及其作品有着睿智且活跃生态的气质：童文敏的作品《放风》四两拨千斤，在看似举重若轻的不经意间提醒我们，身体内在的某些无法忽视的柔软力量。王彦鑫的作品《历史的书写》则传达了肉身的刚性，以及明知不可为而为之的执拗性格。何利平的《MC.行为参考》系列，延续他一贯嘻哈、搞怪、街头和流行文化的元素。艺术家生产了这些RAP音乐，又将其投射在卡拉OK的歌单里头，让普通人也有机会将所谓的艺术演唱出来。周斌是一位定居成都的西安籍艺术家，《4000里》是他的心灵从成都到西安的还乡之旅，有着近30年行为艺术家的职业经历，也是一位优秀的行为艺术活动组织者。UP-ON(向上)国际现场艺术节，在成都已愈六届。普耘，邱文青是非常年轻的艺术家，多次参与了这个活动，他们的作品即敏感细腻，又直指中国的问题现场。张晋是一位毕业于纽约大学的化学博士，作品经常在科学与艺术之间自由切换，主动地混淆着理性与感性、规则与即兴之间的边界。

参展艺术家们的艺术语言和表达法平易近人，真情流露，对当下中国社会充满了人文关怀，这种关怀和情感的投注在某些层面是对人类共同经验（家族、身份变迁、还乡）的叩问。

但展览的叙事结构并非上文所列举的关键词给人的二元对立印象，因为这些词语无法涵盖今天的中国正在发生的变化，而某些迅速变化甚至会让我们这些生活在此地的人感到陌生。所以，展览只是对于近年来成都当代艺术生态现状的一个片段的研究报告，让我们看到这座深居中国内地的城市的艺术家如何生活、如何看待自身所无法回避的文化背景和传统力量、怎样思考艺术、怎样去面对自己的艺术创作。

今天的成都以及生活在此地艺术家们展示的便是他们的日常，也是今天中国的日常。我相信，展览在人文关怀层面具有普世的价值，这无关于东方或西方，国内与国外。所以，当我们驻足现场，参与其中，也将为成就瞬间成为永恒而做了一点小小的工作。

成都蓝顶美术馆策展人 丁奋起

2018年10月28日

ShiftingPermanence

The exhibitionis based on the urbanization background in today’s fast-developing China. It focuses on the distance between artist’s individual feeling and group experiences, the pace change betweenslowness and fastness, differentiation between suburban and urban landscape,difference between normal and abnormal experiences, the discipline of physicalfreedom and social regulation, as well as the criticism and seriousness inartists’ reactions.

The artists andtheir works in this exhibition are wise and lively. Let in Fresh Air byTong Wenmin tries to tell us in a subtle way that some soft power cannot beignored inside our bodies. Historic Writing by Wang Yanxin expresses,on the other hand, the strength of physical body and the stubborn personalitythat aims at goals too high to reach. MC. Behavior Reference series by He Lipingmaintains the essence of hip-pop, prank, street and pop culture. Artistsproduce these RAP songs which are then added in Karaoke list to be sung byordinary people. Zhou Bin from Xi’an is now living in Chengdu and his works 4000 Milesis a home returning in soul from Chengdu to Xi’an.UP-ON International On-site Festival has been held in Chengdu for six years.The activities held by him has been helpful for international artists to knowabout China, and to boost the artistic ecology in Chengdu, which, of course,also helped a lot of young artists. A display platform is provided for them toreceive attention, which boosts their confidence in art.  Pu Yun and Qiu Wenqing are young artists whoparticipated in Up-on several times. Their art pieces are sensitive anddetailed, pointing to the problem sites in China. Zhang Jin is a Ph.D. ofchemistry from NYU, whose works shift freely between science and art, mix senseand sensibility actively, as well as the boundary between rule andimprovisation.

The expressionand way of expression of these artists are quite affectionate and easy tounderstand, full of human care towards current Chinese society. Such care andaffection are in certain levels reflection of human common experiences (family,identity change and home returning).

The narrationof the exhibition is not so bi-polar as the key words suggest, because thesewords cannot cover the changes in today’s China. Some rapid changes can even make us local people feelestranged. Therefore, the exhibition is only a part of the research report onmodern art in Chengdu in recent years. It shows how the artists in China Inlandlive and how to consider the irrevocable cultural background and traditionalstrength, how to reflect on art and how to face one’sself art works.

Today’s Chengdu and the local artists are displayinga daily picture of their life, which is also a miniature of today’s China. I believe that the exhibition is universal in humanaffections. East or west, home or abroad, when we are present at the exhibitionand become part of it, we will contribute to the shifting permanence more orless.

Ding Fengqi, Exhibition Curator, Chengdu Blue Roof Museum

October 28, 2018

作者：成都蓝顶美术馆