关于艺术和哲学和人类
帮人看了个翻译，虽然不认识这个艺术家，但是这几句话我真的挺赞同的。
at first, the project focused on atmosphere of art practices in this area, expecting to trigger some voice back. The team believes in everyone's potential, not for any unreasonable faith nor theoretical ratiocination. The nonsense of time is just the misunderstanding of experiences.
In consequence of the social context shifting, some remarkable pieces/practice in the early stage has descended to conservatism. As art are more based on vocational skills, artists deserted themselves from the reality of social value and self-consciousness, becoming practitioners assembling any other industries. Meanwhile, they focused on achieving the professional artistic skills. Art practice was no longer the scenario of proactivity, and the perception of the artists was being instrumentalized, becoming the exits for some sort of ideology.
We need to ensure oppositions to any differentiation in the practice of art and art history (or the practices of other artists). This difference can only be considered as the consequence of practice, not the purpose. Those two approaches are working for a pair of imaginary eyes. Satisfying the invisible “others”, while opacifing its own value. In a process like this, higher the commitment is, more fanatic a person could be. Moreover, things like this do not only occur in fanatic ideology, they are also spotted in everyday life, including art practice certainly. At the same time, the difference enters the consuming field, supporting the goods’ utility, while art practice becomes another differentiated form of labor. No profit from fame, then no persistence for artistry, which comes along with endless void, anxiety and feebleness, eroding themselves. The fading physical passion makes art creation burdensome. It is still the most important thing to express oneself. As the foundation of freedom, the experiences of the body are required to be symbolized. Artists should be capable of inventing languages, to express their own occasionality in a new and understandable language. The invention should not be based on the differentiation, but upon the respect of the present and personal occasionality, which is the foundation of equality among objects in the society,
However, it is not enough for the current context. We all understand that the relationship between each individual and the society is perpetually convertible, in unity rather than comparison. Each individual experience the same encountering in different forms. Art itself should not depart from other context, so the basic logic behind art practice is to examine the reflection of art in a comprehensive social context.
‘Every man is an artist’ and ‘social sculpture’ share a same concept, but appear in different expressions. Accordingly, artistic identity and knowledge should also be suspendedly doubted. Division of labor itself results from the order brought by mass production. Vigilance of self-consciousness are required to be involved in this process. Liberated from social stereotype, yet without falling into any rigid extreme, the productive practice and critical thinking could only develop in a condition that people are consciously freed from the social expectation.
Pearl River Delta is considered extremely special for its location. The Pearl River Delta was the first region entering marketization and start urbanize in a large scale. People here are benefited from the economic gains and also borne its toll. On the highway from Guangzhou to Shenzhen, there are stretching cities and factories along the road endlessly. The question here is: Are we able to aware that those are living individual in flesh, just like us, who are working days and nights in those factories like machines?
At that time, the Reform and Opening-Up Policy aroused from a national-wise dysphoria. ‘Time is money. Efficiency is life.’ was the most motivating slogan in Shenzhen. Now, it is almost cult. It’s not hard to understand the ignorance of individual, when the despairs of invisibleness are put in the context of the skyrocketed development of Pearl River Delta economically.
If the ethnic or national recognition is not based on freedom and equality of each individual, it is an avoidance of the core conflict. These conflicts are not only abstract or groundless term, they incarnate in tremblings who are patronized by the mainstream of society, workers who are injured during fulfilling their duty, patients who suffered from pneumoconiosis, children who are left unattended, tenants who were expelled due to housing demolition, female workers who are burnt to death in dorm room, executives who committed to suicide for depression, helpless vagrants who sleep under the viaduct bridge, villages that are segregated due to Leprosy, mentally disordered patients who are stuck in the asylums, dead bodies which are anonymous and unclaimed. Thirty years after the Reform and Opening-Up Policy, people’s sufferings here have stayed dormant too long, awaiting for a vent to erupt.
As a message vehicle, Pearl River Delta region has always been talked about, but never been closely examined. In other words, it exists only in text and rhetoric, not in daily life. It shuns the fact in Pearl River Delta and also literariness itself, when producing the symbol of delusion in the context of unity. In the recent 30 years, there have been countless fierce clashes between social incidents and virtual concepts. The group of artists, However, has almost been of complete absence for the last decade. Not any individual artist have directly gotten engaged on spot, nor have they tried to express in a perceptual level. While society has not become the studio for artists, but studio has become their society—a place where an ongoing “resident” could potentially develop a long-term practice and research.
