伊比利亚当代艺术中心将于2009年11月7日隆重推出艺术家孙建春个展——中国，2006。这是一个从海外回流的展览。08年5月，伊比利亚当代艺术中心在瓦伦西亚现代艺术博物馆（IVAM），策划了一个迄今为止在西班牙举办的规模最大的中国当代艺术展——“在瓦伦西亚55天”。孙建春的“中国，2006”，就是该次展览中体量最大也是最重要的作品之一。
2006年，孙建春每天都重复了一件同样的事，他从互联网上选取了一张当日的新闻图片并把它以绘画的方式记录下来，当这年结束的时候，他有了一件由365个画面和相关的文字叙述构成的完整的作品“中国，2006”。有了一个他私辑的一个公元2006年的中国的“图像编年史”。
今天，网络世界几乎成为了民间狂欢之地，其自由度、混乱感和丰富性令人错愕，这片无垠的虚拟空间可谓众声喧哗，很多信息出于民间的自发传递，真实而且迅速。从网络选择原始图片，无疑是在截取一个更近于原生态的“中国”形象，一种经由荧屏的框定后反而来得真确的年代现实。他的工作强度非常惊人，日复一日的信息遴选和架上再现需要强烈的热忱、意志与体力进行支撑，这场马拉松般的绘事在客观上受到了当时正进入巅峰期的当代艺术热潮的推动，同时，也具有一种自赎的行动性质，最终的实现意味了一个小小的奇迹。
2006年，在变化中的中国，是个“看上去很普通”的年份，艺术家选择了一种极为朴素的方式来表述这“普通的时间”。他说：“事实上，还原时间只是虚妄的念头，记录也许是保留时间的有效手段，‘每天一张’有着潜在的‘行为艺术’特征，——做一天和尚撞一天钟。这是个相对朴素的时间观，和相对朴素的修身方式，很像中国古代文人的‘日课’，对于逝去的每一天都有个具体的记载，对我个人而言，每天都给时间划了一个标记。
《中国，2006》可以视为新一代艺术家们对处于剧变中的中国所产生的集体焦虑的一种表达。这是介于“一个同时代的人所经历的图像的总和”和“一切都在细节中”之间的一次挑战，或者，一种跳跃，他的做法倾向于有关总和的描绘，但在事实上是提供了三百六十五个细节。如果不经由他的遴选与再现，其中很多生机勃勃的细节都会在不长的时间里复归于黑暗、寂灭，如同粉末，如同从未发生过。我们可以想象，随着时光的推移，孙建春的这组作品会逐渐演变为历史学的证据，其不定的意义有赖于未来的再解读。
Exhibition Information | For Immediate Release
Exhibition: China, 2006
Artist: Sun Jianchun
Curator: Xia Jifeng
Opening: 7 November 2009, 3pm
Dates: 7 - 27 November 2009
Venue: Iberia Center for Contemporary Art
E06, 798 Art Zone, no.4 Jiuxianqiao Road, Chaoyang District, Beijing
Art Director: Zuo Jing
Director: Xia Jifeng
Producer: Gao Ping
Organisers: International Art & Culture Foundation of Spain, Iberia Center for Contemporary Art
T: 86 10 5978 9530 / 5978 9030 info@iberiart.org
www.iberiart.org
Iberia Center for Contemporary Art is pleased to present the solo exhibition of Sun Jianchun “China, 2006” on 7th November 2009. In May 2008, at Instituto Valenciano de Arte Moderno (IVAM), Iberia Center for Contemporary Art organized the largest Chinese contemporary art exhibition ever held in Spain “55 Days in Valencia: Chinese Art Meeting”. Sun Jianchun’s China, 2006 was the largest and also one of the most important works on display in that exhibition.
In every single day of 2006, Sun Jianchun repeated the same task — he chose one news photo on that very day from the Internet and painted it. At the end of the year, he completed his work China, 2006, which consists of 365 paintings and related literary narrations. This forms a personal edition of “picture chronicle” of China in 2006.
Today, the Internet world has almost become a carnival place for civilians. Its liberty, confusion and abundance are stunning. This is a boundless virtual space full of confused noises. A lot of true information is spontaneously transmitted among civilians rapidly. When Sun Jianchun chose original pictures from the internet, he was undoubtedly truncating an image of “China” that was closer to primitive ecology, a more genuine fact of the era being framed by the screen. In fact, the intensity of his work is stunning enough. The selection from day to day and the reproduction the images on canvas required strong passion, will and strength as support. Objectively, this marathon-styled painting was promoted by the contemporary art wave which had just reached its peak at that time. Meanwhile, it had a meaning of self-salvation. The final realization was like a small miracle.
2006 is a seemingly ordinary year in changing China. The artist has chosen an extremely plain means to articulate this “ordinary period of time”. He observes that “In fact, trying to bring back time is just a fabricated idea. Recording might be an effective way of keeping time. ‘One painting everyday’ has a hidden character of ‘performance art’. Doing one’s job perfunctorily, this is a relatively plain understanding of time and a relatively plain way of cultivation. Just like the ‘daily class’ for ancient literati, there was a detailed record for each passing day. In my opinion, I make a mark for time everyday.”
China, 2006 can be regarded as a kind of expression of collective anxiety by artists of a new generation who are in an abruptly changing country. This is a challenge or a kind of jump between “the combinations of all the images that a contemporary of the same status experienced” and “everything is in detail”. His method is inclined to a description about aggregation. But in fact he offered 365 details. Without his selection and reproduction, in a short period of time, many of those lively details would go back to darkness and die there like ashes, as if they had never happened before. We can image, as time goes by, this group of Sun Jianchun’s work will gradually develop into a proof for history research. Its indefinite meaning is dependent on the future re-interpretation.
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