零零后当代艺术展\策展人寄语（前言）

Curator's foreword

 

   现在是2020年了，从第一回零零后当代艺术展到现在已经过去了整整一年，而在这一年间我对零零后有了新的认知。或许从前我们对“零零后”这个概念总是框定的太严格，一定要2000年到2010年出生的才叫零零后，过了2010之后的就叫10后。我以前搞不清10后和1910到1920期间的“10后”有什么区别，固执地认为10后一定是老的大多数都死去的老人，而且我觉得也许不止我一人有这样的误解。

   所以零零后到底是个什么概念？我在上次是这样说的：

   “零零后是许多大人眼中的尚未成熟心智的小孩，还是更多小孩子眼中假成熟的哥哥姐姐？抑或是更老一辈人眼里的星火，更可能是老师眼里的种种。”

   我并不想要推翻这些，但我总认为都太局限。我从阅读了第一本科幻小说开始就觉得世界一定没有大人说的那么简单，我期待着乞丐口中说出哲理，也试图弄清疯子嘴里嘟囔的到底是不是外星密码。我喜欢在疯狂之中寻找逻辑，钻进空荡荡的大脑留下新时代壁画等待后人发现。我试图想象我的朋友们，我的同龄（或不同龄）人们，究竟是喜欢被训斥、管教，还是喜欢纵情、自由？

   零零后也许和九零后完全不同，九零后也许也和八零后完全不同，而这些不同差在哪里？差在环境、思维，和逐渐狂轰乱炸的信息。从缓慢到极速，再到想要回到过去：有人居然发明出能拆卸电池的手机！…借这一点我就觉得零零后应该不再正常，不再清洗大脑了，离开消毒水和紫外线灯的世界，要义无反顾扎进疯狂之中，才能与爆炸式的信息相抗衡。

   而我自己，相比去年却是多了份迷惘。2019年我是这样说的：“我清楚地知道这次展览不是火星出现的瞬间，但是它仍然有存在的必要性，要让火种看见守望者的灯塔，聚集起来，每颗火苗都是独一无二的灵魂。”

   如今我无法确定自己的内心。“清楚地”这个形容词分量太重，就好像我是一个先决笃定的大预言家，预见了所有未来一样。现在的我反倒认为不圆满也是一种漂亮的收尾，一个作品一旦做到完美无瑕，毫无破绽，那一定会令人心慌，令人躲避不及。画作也应当有画出格的、最大胆的那一笔。所以零零后当代艺术展第二回，比第一回要更加像个探索者，像在大刘所说的“黑暗森林”中摸爬滚打，只要出声，管它被吸引来的是猎人还是同伴。

 

   所以，对作品没有严格局限，对思想没有严格框架，对年龄——只要是2000年之后出生的、属于新世纪的孩子，我们都迎接。无论是用音乐表达情绪，用绘画泄发思想，用视频留存幻想，用文字记录情景——都该被接受。从古至今对艺术的定义已经太多了，古典新古典、印象新印象后印象、巴洛克洛可可、超现实主义和抽象等等。虽然给它们命名分类会显得很专业，很酷，比如“后疫情时代大流派”听上去就很庞大，很具有时代性。但我却不想给“艺术”再加一根稻草，只是希望一切都正在发生，正在进行的，便是艺术。

 

“零零后”“当代”“艺术”展，且待新生。

 

It is the year 2020. It has been a whole year since the first exhibition of contemporary art exhibition for post-00s. In this year, I have gained a new understanding of post-00s. Maybe we used to be too strict about the concept of "post-00s". Only those born between 2000 and 2010 can be called post-00s, and those born after 2010 will be called post-10s. I used to be confused about the difference between the post-10 generation and the post-10 generation from 1910 to 1920, insisting that the post-10 generation must be old and mostly dead, and I think I'm probably not alone in this misunderstanding.

So what exactly is millennial? I said this last time:

"Are post-00s children who are not mature in the eyes of many adults, or are they fake mature brothers and sisters in the eyes of more children? Or maybe it's something in the eyes of an older generation, or maybe it's something in the eyes of a teacher."

I don't want to overturn it, but I always think it's too limited. From the moment I read the first science fiction novel, I felt that the world must not be as simple as adults said. I expected philosophy from beggars and tried to figure out whether what the madman muttered was an alien code. I like to search for logic in the madness, get into the empty brain and leave the fresco of the new era for future generations to discover. I try to imagine whether my friends, people my age (or not), like to be reprimanded and disciplined, or like to indulge and be free.

Post-00s may be completely different from post-90s, and post-90s may also be completely different from post-80s, and what are the differences? The difference is in the environment, the mind, and the information that gradually blasts through. From slow to fast to wanting to go back in time: someone has invented a phone that can remove batteries! ... By this I think after 00 should no longer normal, no longer clean the brain, leave the world of disinfectant and ultraviolet light, to go into the madness, to compete with the explosion of information.

And I myself, compared to last year is more confused. Here's what I said in 2019: "I am well aware that this exhibition is not a moment when Mars appears, but it is still necessary for the flame to see the beacon of the Watchman and gather together, each flame being a unique soul."Now I'm not sure what's inside me. The adjective "clearly" carries too much weight, as if I were a great prophet of certainty, foreseeing all the future.

Now I think that incomplete is also a beautiful ending, once a work is perfect, no flaw, it will be frustrating, people avoid. The painting should also have the most daring brushstroke. So the second exhibition of post-millennial contemporary art is more like an explorer than the first, like groping in what Da Liu calls "the dark forest", as long as the sound, regardless of whether it is attracted by hunters or companions.

Therefore, there is no strict limit to the works, no strict frame to the thoughts, as long as the age is born after 2000, belongs to the new century child, we will welcome. Whether you express your emotions in music, express your thoughts in paintings, capture your fantasies on video, or record a scene in writing -- it should be accepted. Since ancient times, there have been too many definitions of art, such as classical neoclassical, new impression, post-impression, Baroque Rococo, surrealism and abstraction. Although it would be very professional and cool to name them, for example, "Post-epidemic Genre" sounds huge and contemporary. But I don't want to put another straw in the "art", just hope that everything is happening, what is going on is art.

Exhibitions of "post-00s", "contemporary" and "art" are ready for renewal.

   ——零零后策展人 高山流水

2020年7月7日北京小汤山 

 

 

投稿需知： 

 

请完整填写和准备下列要求 而后发送到这个邮箱地址：

gsls1103@163.com

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gsls1103@163.com

作者基本信息（必填）：

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姓名：（此处填写你的真实姓名）

Name: (Here is your name.)

生日：（此处填写你的出生年月日）

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举例：

For example:

姓名：高山流水

Name: Mars

生日：2004.11.3

Birthday: Nov. 03 2004

地区：北京昌平

Location: Beijing Changping Xiaotangshan.

联系电话：xxxxxxxxxxx

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需要缴纳的文件（必交）：

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作者本人照片一张（约1MB）

Need a photo of the author himself(About one megabyte)

（此处广播作品要求：形式可以是绘画、装置、雕塑、行为、影像、音乐、文字、多媒体等。图片三张以内，每张在2MB上下；视频请压缩100MB左右；音频大小不超过60分钟;文字不超过两万字）

(The works can be in the form of painting, installation, sculpture, behavior, video, music, text, multimedia, etc.

 painting work No more than 3 pictures, each picture photo around 2MB; compress the video about 100MB; Audio size not exceeding 60 minutes; Words do not exceed 20,000 words)

作品名称：（此处填写作品名称）

Works name: (Here is the name of your works.)

作品简介：（此处填写作品阐述说明 其实不需要说的透彻 因为当代艺术的解读权是交给观看的人）

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作品名称：《装置日记20190412》

Works name: 《Dairy20190412》

作品简介：该作品完成于2019年4月12日，通过xx的形式和xx方式的结合体现了xx的思想。

Introduction: The works was completed on April 12, 2019, and used the xx idea was embodied by the combination of xx form and xx mode.

作品材料：树脂、电子垃圾等

Work material: Resin and electronic waste and so on.

作品体量：占地面积4m² 高度2m 不规则形状

Volume of works: Covers an area of 4m2 and a height of 2m, irregular shape.

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作品征集时间| Collection time：

2020年7月15日——2020年11月1日

请一定在征集时间内将投递作品和信息发送至邮箱。

Please submit the works and information to the mailbox within the time limit.

作品筛选时间|Works Screening time：

2020年10月15日——2020年11月2日

网络展出时间|Exhibition time：2020年11月3日

期待您的投稿。

Looking forward to your join.

特别鸣谢：

第一回顾问团(排名按字母顺序)

大鹏 郭桢 郭彦强 黄太格 华继明 梁克刚 刘瑾 刘冰 李耕 蓝京华 吕宗平 祁志龙 司建伟 吴以强 王勇 王轶琼 王中文 王慧斌 王昭旻 王克震 解耀杰 俞心樵 杨永鸿 赵斌 赵利民 张建华 张金起 张飚

第二回暂时不邀请顾问团，有不懂的地方继续向第一回顾问团请教。

 

策展人简介：

高山流水，出生于2004年11月。2019年5月独立策展《艺术·家》系列展览——《净·老门牌》、《叠·老旗袍》、《黑胶岁月》；2019年6月策展《零零后当代艺术展》——2019网络展；2019年10月策展《石大沟·打开》之《艺术·家》单元；2019年11月发起成立《矿脉艺术小组》，同期发起《垃圾人》系列作品；2020年1月发起“冠状形态”系列记录，创作小提琴曲《疒城》及影像；2020年7月策展《零零后当代艺术展》第二回2020网络展。