过去一年，生活斗争重新显露出超越个人困境的面相，也让一贯喜欢自我怀疑的当代艺术界再度痛感到自身与今日之大众生活之间的距离。新年伊始，我们选择谈谈（艺术）教育，也谈对本土现实和世界的认知。
The past year has seen life struggles that transcend personal dilemmas. A renewed sense of the distance between the contemporary art world, which has always been in self-doubt, and today's public life. At the beginning of the New Year, we chose to talk about (art) education, and also the perception of local reality and the global world.
耿建翌，《第二状态》（局部），1987年
布面油画，130 cm x 196 cm
Geng Jianyi, The Second State, 1987
Oil on canvas, 130 cm x 196 cm
“我很欣赏吴山专说过的一句话：‘艺术不是我不做别的事情的理由’。”
“I have always been appreciating Wu Shanzhuan’s saying: ‘Art is not an excuse for not doing other things.’”
让我谈自己近三十年来的艺术和教育经历，其中肯定会有许多的矛盾、纠结和错乱。我是学艺术理论出身的，但从根本上说，我更是个创作型的人。读大学时我就开始做录像艺术，1996年参加了国内第一个录像艺术展“现象·影像”。但我个人做艺术家的时间很短，1999年参加完第一届“后感性”展览，我就下定决心不再做这一行了。一方面因为我所理解的“后感性”跟其他艺术家不太一样，我认为的“后感性”有很多历史和现实资源：庄子所说的奇人异行、魏晋名士的潇洒癫狂、禅师们的离奇乖张；李商隐的“锦瑟无端五十弦”中更有一种难以言说的东西，说不清道不明，所以才会“只是当时已惘然”。马里内蒂的荒诞、贝克特那种深入骨髓的孤绝和冷寂，甚至妥斯陀耶夫斯基、卡夫卡的许多作品都很“后感性”。耿建翌的《第二状态》如此，我们的日常生活中也是如此，比如各种真人秀中被公共媒体放大的那种“情感化”。但这些后感性状态的背后大都有生命政治的塑造，需要一种比现行的“当代艺术”更强大的心智力量才能够将其打开，其实这么多年我想做的，就是在追寻那种更加强大的心智力量。另一个原因是当时很年轻，眼里容不进沙子，参加几次展览后看到艺术界比较功利的一面，心生反感，觉得这不是自己要的东西，所以决定转向思想史研究，希望去做穷源竟流的工作。那阵子认真读了些书，是对我影响最大的一段阅读时光。
If I were to talk about my art and educational experiences over the past thirty years, there would certainly be many contradictions and confusions. I came from a background of art theory, but fundamentally I am more of a practitioner. I first started doing video art when I was still in university. In 1996, I took part in the first video art exhibition in China, Image And Phenomena. But I only had been an artist for a very breif time, and I made up my mind not to do it anymore after the first Post-Sense exhibition in 1999. One reason is that my understanding of “post-sense” is different from that of other artists—the 'post-sensibility' in my view has many historical and realistic resources: the strange and unusual behaviour of Zhuangzi’s depictions, the dazzling madness of the famous scholars of the Wei and Jin Dynasties, the bizarre perversions of the Zen masters; Li Shangyin's notion of “Fifty Jinse strings of no reason”(锦瑟无端五十弦) has something indescribable and indefinable in it, which is why “it was just a moment in passing”. Marinetti's absurdity, Beckett's marrow-deep isolation and coldness, and even much of Dostoevsky's and Kafka's works are all very “post-sense”. This is true of Geng Jianyi's The Second State, but it is also true of our everyday lives, such as the "emotionalism" that is amplified by the public media in various reality shows. But these post-sensual states are mostly shaped by the politics of life and require a more powerful mental force than the current "contemporary art" in order to be opened up. Another reason was that I was very young at the time, and I had low tolerance. After a few exhibitions, I saw the more personal-interest-oriented side of the art world and felt disgusted. This is not what I wanted. So I decided to turn to the study of the history of ideas, hoping to do the work of mapping out the historical sources. That period of serious reading was one of the most influential times for me.
到2002年，我发现除了学术研究之外，有另外一种工作方式能够实现自己在观念上、行动上的抱负，就是策展。我策划的第一个展览是“地之缘：当代艺术的迁徙与亚洲的地缘政治”。这个项目始于一个比较单纯的愿望，用当时的表达就是“探讨在亚洲主体性／现代性形成的过程中，何者被压抑、被日渐消磨以至于遗忘？”从2003年开始，接下来差不多十年时间我都是在做策展，其中包括2008年的广州三年展：“与后殖民说再见”和2010年上海双年展：“巡回排演”。就前者而言，我是希望批判当时国际文化政治领域风行的后殖民话语奇观及其诱发出来的多元文化主义治理术。至于目前在欧美兴起的社会运动，我没有太关注，不能判断是否具有真实的现实动力、社会基础和辩证力量，这个问题还是要做社会研究的人去回答。
In 2002, I realised that there was another way of working that could fulfil my conceptual and operational ambitions, apart from academic research: curating. The first exhibition I curated is Edges of the Earth: Migration of Contemporary Asian Art and regional Politics. The project began with a relatively simple intention, in an expression of the time, it is to "explore what has been suppressed, worn down to oblivion in the process of the formation of Asian subjectivity/modernity?" Since 2003, I had been curating for almost ten years, including The 3rd Guangzhou Triennial: Farewell to Post-Colonialism in 2008 and the 2010 Shanghai Biennale : Rehearsals. In the case of the former one, I wanted to critique the postcolonial discursive spectacle and the multiculturalist governance it induced that was then prevalent in the international cultural political world. As for the social movements currently emerging in Europe and the United States, I had not paid much attention and could not judge whether they have realistic impetus, social basis and dialectical force; this question still remains to be answered for those who are expertise in social research.
不过，我一直很怀疑当代艺术在现实政治场域中能起到什么作用。过去半个世纪，艺术被放到了它原本很不擅长的领域。大部分艺术家对今天这个多重媒介系统中的社会过程和政治过程缺乏认识，对社会政治运作机制的理解也往往比较简单，很少有人接受过这方面的系统训练，他们大都通过个人经验和媒体信息进行本能的理解和直接的判断，这是很不够的。其实，艺术家最重要的责任是通过他们对生活世界的敏感，通过他们的形式本能有所构造，实现对人的感受力和感性能力的开发。
However, I have always been very sceptical about what role contemporary art can play in the realpolitik arena. For the past half century, art has been put into areas where it was otherwise very poorly equipped. Most artists lack the awareness of the social and political processes in today's multi-media system, and tend to have a simplistic understanding of the mechanisms of socio-political functioning; few have received systematic training in this area, and most of them make instinctive understandings and direct judgments through personal experience and media messages, which is quite inadequate. In fact, the most important responsibility of the artist is to achieve the development of human sensibility and perceptual capacity through their sensitivity to the living world and through the construction of their creative instincts.
2010年第八届上海双年展“巡回排演”现场，图为艾萨克·朱利安（Issac Julien）的影像装置《万重浪》
Installation shot from 2010 Shanghai Biennale : Rehearsals, Issac Julien’s video installation Ten Thousand Waves
2010年上海双年展的内在动因是那段时间自己的一些困惑，在给参展艺术家的信中我写道：“艺术家的个体正变得越来越健康而空洞，我们莫名其妙地进入一种“后历史”状态。如何来清晰地描述这种状态？在现行的由国际话语、国际大展、世界博览会以及跨国资本所构成的无限—无缝链接的艺术系统中，如何摆脱艺术创造之僵局？”
The 2010 Shanghai Biennale was intrinsically motivated by some of my own confusion during that time. In a letter to the participating artists, I wrote: Individual artist are becoming more healthy and at same time more hollow, we are somehow entering a “post-historical” state. How can we clearly describe this state? How does one escape the impasse of artistic creation in the current infinite and seamless art system constructed by the international discourse, major international exhibitions, world fairs and transnational capital?”
当时我的思考还是积极的，希望邀请艺术家、策展人、批评家、收藏家、博物馆长以及形形色色的受众们一起来到双年展这个排练场中排演，从而重构艺术实验和艺术体制、个体创造和公共领域之间的关系。这需要艺术界的同仁们脱掉习以为常的角色扮演的戏服，从日益体制化甚至意识形态化的当代艺术之剧场中出走，以游击者的姿态进入到自发、自由的演习中，或以一种临时的集体性进入到共同的创造性情境里，激发出真正的“艺术时刻”。
At the time, I was still actively thinking about inviting artists, curators, critics, collectors, museum directors and audiences of all kinds to join the Biennale as a rehearsal space, thus reconstructing the relationship between artistic experimentation and artistic institutions, individual creation and the public sphere. This requires everyone in the art world to shed their customary costumes of role-playing, to leave the increasingly institutionalised and even ideological theatre of contemporary art, and to enter as partisans into spontaneous, free exercises, or to enter in a temporary collective into a common creative situation, inspiring a real “artistic moment”.
应该说，上海双年展最初的方案并没有实现，我本来想用苏联未来主义作家特列季亚科夫（Tretyakov）1924年创作的革命诗歌《怒吼吧，中国!》（Roar China）作为切入口来开启“排演”，那首诗于上世纪二三十年代在上海、莫斯科、纽约、马德里之间以戏剧、版画等不同媒介流转、连接，我希望以这段曲折往事重新检讨前卫与革命、革命与国际、国际与国族、国族与政治、政治与艺术之间的关系，并提出对20世纪世界艺术史叙述的反思，其中一个重要的问题就是：作为“革命艺术”的现代主义如何被转换成了所谓“自由艺术”？
It should be said that the original proposal for the Shanghai Biennale did not come to fruition. I had intended to use the Soviet Futurist writer Tretyakov's revolutionary poem from 1924, Roar China, as an entry point to Rehearsal. In the 1920s and 1930s, the poem was circulated in various media such as theatre and prints between Shanghai, Moscow, New York and Madrid. I wish to use this intriguing past to re-examine the relationships between avant-garde and revolution, revolution and international, international and national, national and political, politics and art, and to propose a reflection on the narrative of 20th century world art history. One important question is: how modernism as "revolutionary art" was transformed into so-called "liberal art".
大约十年前，我在柏林看了一个关于俄罗斯先锋派的展览“建造革命”（Building the Revolution）。我非常惊讶地发现，一些我们很熟悉的构成主义“绘画”其实并不叫《无题》，它们非但有标题，而且还有功能。现代艺术史叙述把构成主义、至上主义简化为抽象艺术的不同风格和样式，把罗莎·卢森堡纪念碑、第一苏维埃剧场设计这些工作“作品化”。原来的社会脉络被切断，意义和功能被抹去。这些“作品”被装上画框，作为欧洲抽象艺术的支流挂在博物馆的墙上，成为“自由艺术”的代表，谓之“无题”，其实是“被无题”。
About ten years ago, I saw an exhibition on the Russian avant-garde in Berlin, Building the Revolution. I was very surprised to discover that some of the very familiar Constructivist “paintings” are not actually untitled, but have titles that also function. Modern art history narratives have reduced Constructivism and Suprematism to the different styles and modalities of abstract art, The November Revolution Monument and the design of the First Soviet Theatre are seen as “art works”. The original social context was cut off with the meaning and function erased. These 'works' were framed and hung on museum walls as a tributary of European abstract art, becoming representatives of “untitled liberal art”. “Untitled” is in fact being deprive of the title.
这背后的结构是20世纪世界史中的冷战体制。因为这个体制，现代艺术教育起点上的“双生花”——包豪斯和呼捷玛斯（Vkhutemas，莫斯科高等艺术暨技术学院）具有了全然不同的命运。包豪斯被捧上神坛，呼捷玛斯却几乎被人遗忘。而包豪斯早期的社会主义倾向到了美国之后也被篡改为福特主义，逐渐走到了自己的反面。在冷战双方的意识形态操作中，这种革命的激进的形式主义、这种带着破坏精神的建构主义，蜕化成了一种个人主义的自由艺术。在这条自由主义的艺术道路上，唯一能做的，是“庆祝无意义”。然而我始终相信，那来自百年前的改变世界的能量，是世界史与艺术史中的一项未完成的事业。
The structure behind this is the Cold War system of the 20th century world history. Because of this, the Bauhaus and Vkhutemas (Moscow Higher Institute of Art and Technology), the twin flowers that were the starting point of modern art education, had very different fates. While the Bauhaus was highly reveled , Vkhutemas was almost forgotten. And the early socialist tendencies of the Bauhaus were falsified into Fordism when they arrived in the United States, gradually going to its opposite direction. In the ideological operations of the two sides of the Cold War, this revolutionary radical formalism, this constructivism with its spirit of destruction, metamorphosed into liberal art with a kind of individualism. On this liberal path of art, the only thing that can be done is to “celebrate the meaningless”. Yet I have always believed that the world-changing energy that came from a century ago is an unfinished mission in the history of the world and of art.
2010年前后，我甚至还希望破除国际当代艺术界最根本的一个理念，就是艺术家的那种表演性的个体性（performative personality），破除这种典型的新自由主义的道德祭品，同时对包括画廊、博览会、美术馆、双年展在内的整个全球化艺术体系进行内爆和重构。当然这只是当时的梦想，短期内不可能实现，也不可能依靠一次双年展就撼动当代艺术系统巨大的惯性，何况这种惯性背后还有一个庞大的利益共同体，他们共享同一种艺术观、价值观、历史观。而这“三观”，是整个现代时期殖民史、冷战史交织构造起来的一种意识形态和情意结。
Around 2010, I even hoped to break one of the most fundamental ideas in the international contemporary art world, the performative personality of the artists, this typical neo-liberal moral sacrifice, as well as to implode and reconstruct the entire global art system, including galleries, art fairs, museums and biennials. Of course, this was only a dream at the time and could not be realised in the short term. A single biennial could not shake the enormous inertia of the contemporary art system, not to mention the fact that there was a huge community of interests behind this inertia that shared the same view of art, values and history. This "world views" is an ideological and emotional knot constructed by the interweaving colonial and Cold War histories throughout the modern era.
“汉雅一百：偏好”展览现场，2014年
图为展览在香港汉雅轩画廊的展出单元“三个艺术世界”
Installation shot from Hanart 100: Idiosyncrasies, 2014
Illustrated here is from the Hanart TZ Gallery exhibition, Three Art World
沿着这种思路反思我们的艺术生态，会发现所谓“中国当代”是“三个艺术世界”（传统艺术世界、社会主义艺术世界和全球资本主义艺术世界）错综的历史建构。这三个艺术世界并非如线性历史般接踵而至，而是在事件之流中交相激荡，彼此消长。今天，所谓“中国当代”的艺术版图内部充满了隔膜与分断——书画界与“当代艺术圈”老死不相往来；美协画家、画院画家与“当代艺术家”们相忘于江湖；当代艺术圈认为自己不断受到挤压……即便如此，与被国际大展、博物馆和艺术市场构造出的“中国当代艺术”相比，当代中国的艺术生态依旧远为多元也远为复杂。而且不同于后殖民式的“杂糅”，中国艺术的多元是结构性的，依旧保持着内在的现实性与张力。因而我们要做的，就是以变动不居的方式来催动三个世界之间的折射、穿越、交叠与混响。
If we reflect on our art ecology along these lines, we will find that the so-called “Chinese contemporary” is an intricate historical construction of “three art worlds” (the traditional art world, the socialist art world and the global capitalist art world). These three art worlds do not follow each other in a linear history, but rather are intertwined in a stream of events. Today, the art landscape of so-called “Chinese contemporary” is fraught with divisions - the traditional painting and calligraphy world and the “contemporary art scene” are isolated from each other; the painters of the Art Association, the painting academies and “the contemporary art scene” sees to be ignorance of each other ...... The art ecology of contemporary China remains far more diverse and complex than the one constructed by international exhibitions, museums and the art market. Unlike post-colonial “hybridity”, the plurality of Chinese art is structural and inherently remains to be realistic and of tension. What we are trying to do, therefore, is to push the refraction, crossing, overlap and reverberation between the three worlds in a fluid way.
这些年来，我反复强调自己的几个观察：在21世纪的全球资本主义新境况中，全球资本对人之劳动价值的“剥削”，已经转化为生命政治对人之能动性的“剥夺”；新型的数码帝国主义不再需要“占有”，它只需要“支配”；当代生命政治的根本问题不再是“压迫”，而是“置换”。从压迫到置换，就是用假肢置换并废除你的器官——不是我们有所缺失才做了假肢，相反正是这预先生产的假肢把我们变成残废。我强烈地感觉到，不但社交网络、实时定位、人工智能这些新技术是我们的假肢，就连所谓当代艺术、创意产业、各种学科化知识甚至大学建制本身，都是我们当代人情感与智性、政治与伦理的假肢。
Over the years, I have repeatedly emphasized on several of my observations: in the new global capitalism in the 21st century, the “exploitation” of the value of human labour by global capital has been transformed into the “dispossession” of human agency by the politics of life; the new digital imperialism no longer requires “possession”, it only requires “domination”; the fundamental problem of contemporary politics of life is no longer “oppression”, but “replacement”. From oppression to replacement, that is, replacing and abolishing your organs with prosthetics, it is not that we have something missing that makes us prosthetic, rather it is this pre-production of prosthetics that turns us into cripples. I strongly feel that not only are new technologies such as social networks, real-time positioning and artificial intelligence become our prosthetic limbs. So-called contemporary art, creative industries, all kinds of disciplinary knowledge and even the university establishment itself, are the emotional, intellectual, political and ethical prosthetic limbs of our contemporary generation.
同时，我也不断感受到一种回返的历史感——今日的状态与《资本论》的时代高度相似。所以我个人认为，我们目前迫切需要在当下经验中重新启动一种政治经济学的研究，重新像青年马克思那样去描述当代人的现实处境，分析当代社会的内在机理与运行机制。而重新启动的政治经济学首先要面对“去殖民／去冷战／去帝国”的历史症结，这是一个复合性的任务。
At the same time, I constantly feel a sense of returning to the history - the state of affairs today is highly similar to the time of Das Kapital. That is why I personally believe that there is an urgent need for us to restart a kind of political economy research of the present experience, to re-describe the real situation of contemporary people and to analyze the inner mechanism and operation of contemporary society as young Marx did. The relaunched political economy has to confront, first of all, the historical problem of "decolonisation / de-cold war / de-imperialisation", which itself is a complex task.
这几年我比较多的精力放在学院里，关心的艺术也不是小圈子里的艺术，我关心的是对每个人来说艺术价值到底是什么：一个公务员每天加班后写两小时书法，写到深夜，写到忘情，是什么让他有这个动力？一个中学生用手机软件编一个小视频，通过这个视频开始映像自己的周边世界，开始讲述自己的故事和幻想，是什么在驱使着他？一个干体力活儿的人，本来半个小时就能干完的事，硬是花了两个小时，做到自己满意，这是为什么？
In the past few years, I have focused more on the academy, and the art I care about is not the art of a small circle. I care about what the value of art really is for each individual: What motivates a civil servant who writes calligraphy every day for two hours after working late into the night, until he forgets everything? What drives a secondary school student who uses mobile phone software to compile a small video through which he begins to mirror his surrounding world and begins to tell his own stories and fantasies? What drives a person who does two hours manual work that could have been done in half an hour just to fulfill his satisfaction?
我认为教育是真正改变社会的东西，是可以直指人心的东西。如果说现行的当代艺术只是面对了千分之一的人，那么我理解的艺术教育要面对千分之九百九十九的人。这里说的不只是所谓“美育”，况且我的兴趣不只是艺术教育，而是“通过艺术的教育”。我的博士生里有人研究陶行知，也有人研究梁漱溟，在这些人身上，都存在一种“超越的实践性”，而超越性和实践性的统一正是我所理解的“艺术”的根本。我也是最近这几年才越来越清晰地确认了这一点，所以我建议学策展的研究生们精读太史公的《史记》和亚里士多德的《尼各马可伦理学》。
I believe education really can change the society, it is something that can go straight to the heart. If contemporary art can only address one in a thousand people, then I in my understanding art education is to address the rest nine hundred and ninety-nine. I am not just talking about so-called “aesthetic education” here, and my interest is not just in art education, but in “education through art”. Some of my PhD students studied Tao Xingzhi and others studied Liang Shuming. In both of them, there was a “transcendental practicality”, and the unity of transcendentalism and practicality is the very essence of what I understand as “art”. It is only in the last few years that this has become increasingly clear to me, which is why I recommend postgraduate students of curatorial studies to read the Records of the Grand Historian by Sima Qian and Aristotle's The Nicomachean Ethics.
1985年，浙江美术学院（现中国美术学院）校内告示板上张贴着美国史学教授维罗斯柯的“现代艺术”系列讲座的海报
Posters for a series of lectures on Modern Art by American history professor Roman J.Verostko on a notice board at the Zhejiang Academy of Fine Arts (now the China Academy of Art),1985
谈到我们的时代，总体上我还是积极的——你怎么知道此刻世界上就没有一种改变历史、开启未来的力量呢？至关重要的事情可能正在地球某个角落孕育发生，只是我们不知道而已。在世界范围内，技术、知识、资本、权力等各种力量不断拉锯，在这种情况下，最重要的是把自身放到一个更宏大的历史框架里思考问题，这样也能让人不至于落入简单狭隘的话语场。2013年，我在为“八五·85”展览写的文章里讲过我所感知到的历史是什么。历史不是一条线，而是一片海。所谓“当代”就是海面，但海的表面并不作为一个实体存在，海面只是我们看上去的那层“表面”幻相，实则与大海同体无间。今天我们跟乔伊斯、马克思、荷马、司马迁、李白、荆浩同处一片历史的汪洋之中。所以今天我们依然在读他们，从这些有灵魂深度的个案中，去看他们是如何面对现实的困境，如何揭示世界的秘密，又如何将其转化出来。这里我们要思考的是，为什么跨越了这么多世代，他们还能让我们的心灵有所响应？
When it comes to our times, I'm generally positive - how do you know there isn't a force in the world at the moment that will change history and open up the future? Something vital may be brewing somewhere on the planet, but we just don't know it. In a world where the forces of technology, knowledge, capital and power are constantly pulling each other, it is most important to think of oneself within a larger historical framework, which also keeps one from falling into a simple and narrow discourse. In 2013, I wrote about what I perceive history to be in my essay for the exhibition Eightyfive-85. History is not a line, but a sea. The so-called “contemporary” is the surface of the sea, but the surface does not exist as an entity; it is only the illusion we see, but in fact it is not the same as the sea. Today we are in the same history ocean as Joyce, Marx, Homer, Sima Qian, Li Bai and Jing Hao. We are still reading them, looking at these cases of soulful depth, to see how they faced the dilemmas of reality, how they revealed the secrets of the world, and how they translated them. The question we have to ponder here is why, after so many generations, they can still make our hearts respond.
20世纪以来，西方艺术经历了从视觉到形式再到观念的范式转化。欧洲那些古老的学院，正在丧失她们与古典传统之间的联系，这古典传统不只是非凡的技艺，而且是形式的完满性，以及更重要的——精神的超越性。我相信历史上那些“无条件的伟大”依然存在。这个东西很直观，它直接打动你，不需要任何解释，不需要任何依凭，却能够震慑心神、鼓荡心胸。普桑说过一句话，艺术家是以研究沉默事物为志业的人。我偏执地认为，能够用几句话传达清楚的，就一定不是艺术。艺术必须具有一种莫名性，一种让语言失效、让话语归零的能力。对于真正的艺术，我们必须启动全部身心来“体－知”“感－受”。同样，只有真正伟大的艺术才能让我们以身相应、五感齐开。在这个意义上，艺术的创造需要的是身心发动，艺术的教育更需要情意直观。
Since the 20th century, Western art has undergone a paradigm shift from the visual to the formal to the conceptual. The old European academies are losing their connection to the classical tradition, which is not only about exquisite skill, but also about formal perfection and, more importantly, spiritual transcendence. I believe that the "unconditional greatness" of history still exists. It is something intuitive, something that moves you directly, without any explanation, without any basis, but shakes the mind and stirs the heart. Poussin said that an artist is someone who makes it his business to study the silent. I am paranoid that anything that can be conveyed clearly in a few words must not be art. Art must have an inexplicability, an ability to go beyond language, to abolish words. For true art, we must activate our whole body and mind to “know” and “feel”. Likewise, only truly great art allows us to respond to the body, to open all five senses. In this sense, the creation of art requires the activation of the body and mind, and the education of art requires the intuition of the emotions.
学院的责任是坚持这种无条件的伟大。但我们当代人如何面对那些无条件的伟大？不是单纯膜拜与模仿，更不是屈从于它。我们不但要“与古为徒”，更要“与古为新”，中国画讲“血战古人”就是这个道理。因为范宽向我们揭示出这个世界上有一种强大又庄严、神秘又永恒的力量，这种力量震慑人心，今天我们才要以自己的感受和方式，抵达同等的境界，甚至开出新的境界。
It is the responsibility of the College to uphold this unconditional greatness. But how do we contemporary people confront that unconditional greatness? Not simply by worshipping and imitating it, let alone by submitting to it. We must not only “live with the past”, but also “live with the past as the new”, and this is what Chinese painting means when it speaks of 'bloodshed against the ancients'. Fan Kuan reveals to us that there is a powerful yet solemn, mysterious yet eternal force in this world, a force that shakes the heart, it is today that we have to arrive at the same realm and even open up new realms in our own feelings and ways.
我不像侯瀚如那样觉得自己只是非常偶然地出生在了中国，我既然出生在中国，就很自然地会有一种国族情怀。这种国族情怀不能用民族国家那套话语去套。读一下黄道周的《洗心诗》，或者夏完淳的《狱中上母书》、林觉民《与妻书》，就会感知到中国读书人身上有一种东西是如此浓烈而深刻，正如李叔同所讲的“魂魄化成精卫鸟，血花溅作红心草”。而且，我真心认为中国古典文化中有非常多了不起的东西。中国的文化精神是自新的，苏东坡、黄公望这些人都是他们那个时代的伟大创新者。而这种创新与历史又是不可分割的，所以并不是创新链条上的一次性消耗品，中国人的创新是向前向后同时开放的。就像书法、中国画这些按照西方标准会被归为“博物馆艺术”的东西，在今天的中国仍然有巨大的社会影响力，要求我们去反复回应、回馈。认识到中国文化的这一面相，让它通达于每一个人，让大多数人能够从中得到启发，继而自我焕发，这是教育的一项重要任务。
Unlike Hou Hanru, who feels that he was born in China only very accidentally, I naturally feel a sense of nationalism since I was born in China. This kind of national sentiment cannot be reduced to the discourse of the nation-state. If you read Huang Daozhou's Poem for Cleansing the Heart(洗心诗), Xia Wanchun's Letter to Mother in Prison(狱中上母书) or Lin Juemin's Letter to My Wife与妻书, you will perceive that there is something so strong and profound in Chinese scholars, just as Li Shutong said, "The soul turns into a Jingwei bird, the blood splashes into red-hearted grass (魂魄化成精卫鸟，血花溅作红心草) ". Moreover, I genuinely believe that there is something very remarkable in classical Chinese culture. The cultural spirit is one of self-reinvention, and people like Su Dongpo and Huang Gongwang were great innovators of their time. And these innovation are inseparable from history, so it is not a one-off consumable in the chain of innovations. Chinese are open to innovation , forward and backward at the same time. Calligraphy and Chinese painting, which by Western standards would be classified as “museum art”, still have a huge social impact in China today. This requires us to respond and give back again and again. Recognising this aspect of Chinese culture and making it accessible to everyone, is an important task of education, so that the majority of people can be inspired by it and then renew themselves.
落实到中国美术学院，目前我要做的一件事是完善两个网络，一是乡土学院网络，二是国际研学网络。后者比较好理解，这里不说了。这些年，我们把最具美院特色的下乡“采风”传统，转换成为社会感知与乡土重建的行动。乡土学院网络就是在全国各地、在城乡村镇各层级设立乡土工作站。工作站除了作为本科生下乡采风的写生基地以外，还要让研究生们渗透下去，接触当代中国社会的真问题，深入生活进行“社会素描”。其中的关键是打通学科的知识和社会的知识、生活的知识，从社会感知中返照艺术与自我。这其中有些对当地老百姓产生了比较落地的贡献，与当代艺术圈的所谓“社会参与”全然不同。要想有贡献就必须直接面对当地的现实问题，比如到龙泉就要研究龙泉青瓷的当代生态，研究龙窑为什么在城市化进程中消失，今天如何恢复这座老城的魅力。到大凉山，就有人做彝族文字的研究，试着将其转换成新的设计元素，一方面编辑彝族文字的教程，另一方面形成地方品牌，让当地老百姓得到实在的好处。每个地方的资源不同，情况不同，问题也不同。这中间政府、企业、媒体都是合作对象和中介，关键是你能否对地方进行真正深入的理解，最后是不是可以真正抵达那些老百姓。
Putting this into the practice of China Academy of Art, one of the things I want to do at the moment is to improve two networks, one is the network of countryside education and the other is the network of international networks. The latter is easier to understand, so I won't elaborate on it here. Over the years, we have transformed the most characteristic tradition of the Academy of Fine Arts of going to the countryside to “gather materials(采风)” into an action of social perception and reconstruction of the countryside. The network of countryside education is the establishment of rural workstations throughout the country, at all levels of rural towns and villages. In addition to serving as a sketching base for the undergraduates to go to the countryside, the workstations also allow postgraduates to dive in and get in touch with the real problems of contemporary Chinese society, and to make in-depth "social sketches" of life. The key to this is to bridge the knowledge of the disciplines with the knowledge of society and life, and to reflect on art and the self in the light of social perception. Some of these have made a more grounded contribution to the local people, in contrast to the so-called “social engagement” of the contemporary art scene. To make a contribution you have to confront the local realities directly. For example, when you go to Longquan you have to study the contemporary ecology of Longquan celadon: why the kilns disappeared during the urbanisation process and how to restore the charm of this old town today. When we go to Daliang Mountain大凉山, there are people doing research on the Yi彝 script, trying to convert it into new design elements, editing tutorials on the Yi script on the one hand, and forming local brands on the other, so that the local people can really benefit. Every place has different resources, different situations and different problems. In the middle of this, the government, enterprises and the media are all partners and intermediaries. The key is whether you can have a really deep understanding of the local area and whether you can really reach those ordinary people in the end. Every place has different resources, situations and problems. In the middle of this, the government, enterprises and the media are all partners and intermediaries. The key is whether you can have a really deep understanding of the local area and reach those ordinary people in the end.
乡土学院这件事我梦想了十几年，这个梦想不是给中国美术学院的，而是给全中国的大学。我认为所有高校都应该建立起自己的乡土学院网络。这一方面是因为今天的大学教育存在许多问题，另一方面是因为随着全球化整合过程的加深，民间生活的景观化、民众文化的匮乏，已经逐渐瓦解了乡土社会的生活世界和精神品质。以乡土为学院，就是强调一个深度社会化的反向学习的维度：如何超出当代知识生产的全球性运作场域，从吾乡吾土、吾土吾民的真实生活出发，去建立一个自我教育、循环生产的系统；从乡土社会中去体验、去重新学习另一种言说与创造的方式，另一种对待事物的态度，另一种交往伦理，另一种对生活的理解。
I have been dreaming about this countryside education thing for over ten years, and this is not just for the China Academy of Art, but for all the universities in China. I think all universities should set up their own network of countryside education. This is partly because of the many problems with this university education today. Also,in the process of globalisation and integration, country life has increasingly become a landscaping that is lack of rural culture, and it has gradually dismantled the spiritual quality of the grassroot society. To use the countryside as a education apparatus is to emphasise a deeply socialised dimension of reverse learning: go beyond the global field of operation of contemporary knowledge production, based on the real life of our countryside and our people, to build a system of self-education and sustaining production; to experience and re-learn another way of speaking and creating, another attitude to things, another ethic of interaction, another understanding of life from the countryside society.
2020年，黄永砯逝世一周年纪念座谈会现场
中国美术学院帕加马素描教室
The symposium commemorating the first anniversary of Huang Yongping's passing in 2020
The Pergamum Drawing room at the China Academy of Art
艺术教育不只是教某种做艺术的技能，而在于培养学生的感受力和创造力。美术学院也不只是为艺术界输送人才。中国每年的美院毕业生很多，只有很小一部分人会成为职业艺术家，更多的人是去做别的事了，我觉得这是好事情。我很欣赏吴山专说过的一句话：“艺术不是我不做别的事情的理由”。你读了美院，毕业后去开公司、做教师、当公务员、拍电影或者练摊儿，干什么都可以，只要带着艺术给你的那种想象力、那种混不吝的态度、那种超越的实践性就行。许多人认为现在的美院学生不如以前，其实只要“95后”“00后”们能够跳脱应试教育的泥沼，他们的资讯和视野、他们动手的能力以及热情都远胜于当年的我们。在这个意义上，我对未来还是抱有希望的。我们在学院的工作有很多困难，但最重要的就是培育丰厚的学习土壤，使更多的人能够建立起自己的艺术生活，能够体验到那种有深度理解力和高度创造力的——你叫不叫它艺术都无所谓——让我们五感齐发、身心开启的东西。
Art education is not just about teaching certain skills of art making, but about developing students' sensibility and creativity. Art colleges are not just about churning out people for the art world either. There are many graduates from art schools in China every year but only a small percentage will become professional artists, more would go on to do other things, which I think is a good thing. I have always been appreciating Wu Shanzhuan’s saying: “Art is not an excuse for not doing other things.” When you graduate from an art college, you can start a company, become a teacher or a civil servant, make a film or even set up a street stall, as long as you bring with you the imagination, the muckraking attitude, the transcendent practicality that art gives you. Many people think that students today are not as good as the older generations, but in fact, as long as the post-95s and post-00s can break away from the traps of the exam-oriented education, their information networks, vision, ability to do things with hands and enthusiasm are far better than us back then. In this sense, I still have hope for the future. Our work at the Academy has many difficulties, but the most important one is to cultivate a rich soil of learning so that more people can build their own artistic practices and experience the kind of deep understanding and high creativity - it doesn't matter if you call it art or not - that opens up our bodies and minds. （高世名 Gao Shiming）（来源：中国美术学院国画与教学）
艺术家简介
高世名，策展人，教授、博士生导师，现任中国美术学院院长。其研究领域涵盖当代艺术与社会思想、策展实践、艺术教育，策划诸多大型展览和学术计划，包括“与后殖民说再见：第三届广州三年展”（2008）、“巡回排演：第八届上海双年展”（2010）、“山水宣言”（2016）、“民族翰骨：潘天寿诞辰120周年纪念大展”（2017）、“未来媒体艺术宣言展”（2017）等，并出版专著《一切致命的事物都难以言说》《行动的书：关于策展写作》等。
