上海态度

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一起谈话，各自思考
Talk together, think by oneself

听过一个艺术讲座，主讲人是年轻的法国摄影家。黑暗的演讲厅里，他和观众一起安静地欣赏自己的作品，背景音乐则是单纯的打击乐。轮到提问时间，一位上海知名的同道中人问了这么一个问题（也许也是问他自己）：这些作品的内容（劳教所）和传播（包括目的）是大众化、社会化的，但是艺术创作又是极具个人色彩的，创作者本人是如何看待这两者之间的矛盾的。回答的大致意思如下：我做我的，你们看你们的。

Once I attended an art lecture of a young French photographer. In the dark lecture hall, he, together with the audiences, quietly watched his work with the background of simply percussion music. In the question section, a famous photographer in Shanghai asked a question (maybe also to himself): the content (labor camps) and aims of the works targeted the mass and the society, while the artistic creation was very personal. How should the creator handle this antinomy? The general idea of the answer was as follows: I did what I should, and you watched yourself.

可能有人会觉得这是典型的艺术家式的回答——够酷，却高高在上不负社会责任。我倒是觉得这个艺术家很诚恳，至少他由衷在意观众的个体感受，听到别人对作品配乐的称道会很开心。问题的本质是，应该从什么角度去追问某些内在本质。至少我在讲座现场的时候，只是看和听了，没有想到硬是要归纳出可以推而广之的解读方式。文化是艺术的底子，同时也是陷阱和障碍。也许，能主观地、独立地、不带学术界定地欣赏艺术作品——或者说，借助作品和艺术家“神交”，获得些珍贵的情绪化的体验，才不啻为一种莫大的幸福。

Some may think that this is a typical answer of artists—super cool, high above the mass and irresponsible for society. On the contrary, I consider this artist to be very honest, for at lease he sincerely cared about the individual feelings of audiences, and felt very happy when somebody praised about the music. The nature of this issue is, from which angle we shall question about certain inner quality. I only watched and listened during the lecture, without forcing to conclude a kind of interpretation which would be generally useful. Culture is a base of art, but also a trap and a blockage at the same time. Maybe, to appreciate art subjectively, independently and without academic borders, that is, to achieve valuable emotional experience via the psychological crossover with the work and artist, is the only way considered to be great happiness.

中国当代艺术在全球化的浪潮和个体文化的诉求之间暗自较劲。一边是强大的商业喉舌、有着无数的眼前机会，一边是个人的自觉、漫漫道路。这些种种并不矛盾地共存，且在上海这个中国最为都市化的地界里更是俯首可得的。然而，上海另有着一种“小我自在”。就像舞台上的演员，同演一出戏，却可以神游于外，笃悠悠地演绎自己心里的剧本和角色。看着不够抱团、不够热闹，却为别人和自己都让出一方天地。没有坚硬粗砺的外壳，却于柔韧的内在下有着一份心知肚明，是进可攻退可守的方寸。于是，艺术创作的形式多元化、观看的感触变得流动，最终在低吟浅唱中汇合。

Chinese contemporary art is struggling under the table between the trends of globalization and the call of individualization culture. There’re powerful commercial mouthpieces and infinite present chances at one hand, and self awareness, together with a long journey, at the other. These phenomenon exist without contradiction, and they’re seen everywhere in Shanghai, the most urbanized city in China. Though, Shanghai possesses another kind of small thing-in-itself. Like the actors on stage who are acting in the same play, but interpreting the script and character of their individual hearts, aloof and with ease. They’re seemly not united and excited enough, but everyone spare a space for himself and the others. Without an appearance tough and solid, they possess self-awareness under inner flexibility. This is a double-edged sword for both attack and defense. Thus, the form of artistic creation become diversified, the experience of viewing fluid, and in between they converge as a whole.

收藏物件、观影赏乐、买书藏画、寻访美食、玩虫养鱼、伺弄花草，都可以幻化成为自我生活的部分。古人有云“玩物丧志”，但这未尝不创造了某种精神或生活的状态。没有永远的正业，更不要说每个人永远都在变化中行走。来源、种类、形式、材料、职业和创作媒介，甚至是划地为界的“学术”，都不应该成为创作的藩篱。我们从艳繁俗世中沉淀出至少让自己满意的单纯方式，化解那些规则，寻求变数和可能，把坚定的理想隐藏在更多的选择之下。

Collecting, viewing, appreciating, purchasing, petting and gardening can all be counted as part of individual life. It goes without saying that excessive attention to plaything saps the will. But in another sense, this attention can create a certain mental or living stage. No profession lasts forever, not to mention that everybody walks in forever changes. Sources, forms, materials, professions, media, and even the so-call academics with borders, should not be the hedges of creation. Out of the bustle hustle, we should settle down with a simple way at least self-satisfied, to break the rules, seek for variations and possibilities, and under these multiple choices, hide the ideal firm and steady.

通往窄门的路隐蔽黑暗而曲折，需要加倍的淡定清醒和坚忍。这是最终引向艺术永生的门。“你们要进窄门。因为引到灭亡，那门是宽的，路是大的，进去的人也多；引到永生，那门是窄的，路是小的，找着的人也少。”

The journey to the narrow gate is dominated with darkness, ups and downs, twists and turns, which call for double self-awareness, clear consciousness, persistence and perseverance. This is the gate that leads to artistic life. “Enter through the narrow gate. For wide is the gate and broad is the road that leads to destruction, and many enter through it. But small is the gate and narrow the road that leads to life, and only a few find it.”

不如相忘于江湖罢。
Let’s be mindless of each other in nature, just like the fish in the rivers and lakes.


李凝
2008年1月于上海
Li Ning
Jan, 2008, Shanghai

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