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後中國製造
黃岩
中國對西方的影響在近代史上有兩次高潮,一次是1800年前後，那時中國的哲學、老子的思想、孔子的思想、禪宗的思想開始陸續給介紹到歐洲，這直接的影響了歐洲的思想價值體系，從歐洲思想的啟蒙運動到阿瑟•叔本華Arthur Schopenhauer，再到弗裏德里希•威廉•尼采 Friedrich Wilhelm Nietzsche都間接的受到了東方哲學的影響，那時中國在西方思想家眼中是一片凈土，中國被很多西方思想家描述為一隻睡獅，可以説這時的中國在西方人眼中，思想和社會是分離的，思想直接影響了他們的文化和哲學，社會卻是落後的，甚至是沒落的，這和馬可波羅到中國時的境況簡直有天壤之別。
同樣今天的中國在西方人的眼中也是思想和社會分離的，只不過今天是反過來的，今天西方人把中國描繪成一個製造業大國和巨人，而形容中國的文化藝術卻是一個侏儒，在兩百年的時間裏，西方人一直在誤讀中國，不過這剛好説明中國發生了什麼，西方人在社會學層面接受了中國做為一個經濟巨人的崛起，但他們並不了解中國在30年的時間裏從小農經濟到後工業社會的轉型，這從中國內部看很大一部分都源於中國自己創造的“自助經濟”模式，就是“溫州模式”。它的經濟模型是保留傳統手工業中的家庭製造,而將家庭作坊生産的産品換成一種産品，以縣為單位，通過政府的公司化運作，形成托拉斯企業的生産格局，再以先進的資訊傳播和外銷手段來完成一種中國式的後工廠製造工業，這既解決了傳統務農人口的外流，又在原地完成了生活方式到消費方式的巨變。
藝術也一樣，這就是“圓明園模式”，它和“溫州模式”很相似，我稱之為一種自助藝術的模式，外省藝術家聚集圓明園的現象很象中國早期民營企業中的個體戶現象，因為扎堆，這就形成了規模效應，在中國還沒有當代意義上畫廊的時代，“圓明園現象”就是“溫州現象”的一個縮影，它一方面吸引了西方媒體的眼球，另一方面也打造了中國第一批本土的職業藝術家。可以説圓明園在中國藝術史上有兩個不同於西方的製造，一是：職業藝術家不是産生於畫廊，而是産生一種藝術聚居；二是：當代藝術中心不是在城市中心，而是在城市的城鄉結合部，或者就是鄉村裏面，這都是中國製造，後中國製造。
北京從1989年前後，藝術家進駐圓明園，到2007年成為亞洲的藝術中心。只用了18年的時間，完成這一系列藝術事件與藝術革命的經濟模式就是“圓明園模式”。這期間經歷了藝術東村、上苑藝術村、小堡藝術村、宋莊藝術區、費家村藝術村、索家村藝術村、798藝術區、環鐵藝術區、草場地藝術區、長店藝術區、1號地藝術區等等。外省象重慶的坦克藝術區、上海的莫幹山藝術區，成都、昆明、廣州、濟南都相應的有類似“圓明園模式”的藝術區，這就是一種“後中國製造模式”，一種“藝術根據地模式”，一種“自助藝術的模式”，一種“藝術家休養生息的模式”，一種中國“低成本製造藝術的模式”，總之中國當代藝術在18年的時間裏，在政府沒有買單的情況下，通過藝術家自助的“圓明園模式”，完成了這場藝術巨變。
由北京BS1當代美術館、北京皇城藝術館、上海多倫當代藝術中心、北京國藝藝黃亞洲當代藝術博物館、上海東廊、北京瑪斯德比當代藝術中心、北京亞洲藝術公社聯合發起的“北京BS1當代美術館2007年度藝術提名展”，是眾多美術館搭建的一個藝術、學術平臺，以 “圓明園模式”為學術課題，推舉那些本年度有創造力的藝術家。本年度提名的40位藝術家，他們在材料上跨油畫、水墨、雕塑、裝置、攝影、Video、行為等很多藝術領域，年齡也是老、中、青三代，可以説都是中國當代藝術這幾年非常活躍且有代表性的藝術家，包括這兩年迅速崛起的獨生一代藝術家群落，這也是中國第一次幾家美術館聯手搭建美術學術建設的一次跨界的重要嘗試。
Post-made-in-China
Huang Yan
There are two upsurges of Chinese philosophy influence on the west in modern history. One is around 1800 when Lao-Tzu, Confucius and Zen started to be introduced to Europe and directly had influence on European value system. One way or another oriental philosophy left far-reaching impact on European philosophy, ranging from Enlightenment Movement to Arthur Schopenhauer and Friedrich Wilhelm Nietzsche. At that time in many occident thinkers’ description China was a pure land and a sleeping lion; in their vision Chinese philosophy was viewed separately from the society; the former directly influenced European culture and thoughts, while the latter was backward, downfallen and had a world of difference with the China in Marco Polo’s eyes.
The situation didn’t change a bit today only with reversed content that China is described as a manufacturing giant on one hand, and on the other a dwarf in culture and art. That China is being interpreted as such for two hundred years explains something is going on in this country. The west has acknowledged the rise of the nation as an economic giant but they know very little about Chinese socio-economic transformation from a country based on small-scale peasant economy to post-industrial society, to be precise, to “DIY Economic Mode” and “Wenzhou Mode”, which is home-based manufacturing pattern inherited from traditional handicraft industry. Utilizing governmental resources, those home-based workshops in each county become corporate trusts and develop into manufacturing industries with the help of advanced communication means and overseas sales strategies. This economic mode not only stopped the out-migration of farming population, but also fulfilled the transformation of consumption mode and way of living in those places.
Art is also the same. “The Old Summer Palace” mode is similar to “Wenzhou Mode”. I’d call it Help-yourself Art Pattern. The phenomenon that artists from provinces gather in the Old Summer Palace appeared to be very much similar with private business ventures of early civilian-run enterprises in China. A large number of artists live in a compact community and draw much media interest from the west. It nurtured the first group of professional local artists in China. At a time when there is still no gallery in truly contemporary sense, the Old Summer Palace phenomenon has to be “Wenzhou Phenomenon” in miniature. “The Old Summer Palace” mode in art history differs from the west in that: first, professional artists didn’t grow out of galleries, but out of the artists’ compact living community; second, contemporary art center didn’t situate in the heart of city but in urban-rural fringe, or in villages. This is what I mean by Made-in-China, or Post-made-in-China.
Artists entered the Old Summer Palace area around 1989. Thanks to “the Old Summer Palace” mode it only took Beijing 18 years to go through a series of art renovations and art events, and become art center of Asia in 2007. Many artist communities emerged in Beijing during this period, among them Beijing East Village, Shangyuan Artist Village, Xiaopu Artist Village, Songzhuang Artist Community, Feijiacun Artist Village, Suojiacun Artist Village, 798 Art District, Ring Subway Art District, Caochangdi Art District, Changdian Art District, A-Land Art Area, etc.. In provinces situated away from the capital, art communities similar to “the Old Summer Palace” mode can also be found in Chongqing Tank Loft Art Center and Shanghai Moganshan Art Area, and in other cities, Chengdu, Kunming, Guangzhou, Jinan, as well. I’d name it as “post-made-in-China” mode, “art base mode”, “help-yourself art mode”, “artist residence mode”, or “low-cost art mode”. In general totally relying on the artists’ own resources Chinese contemporary art went through this turbulence without any financial support from the government within 18 years.
BEIJING BS1 CONTEMPORARY MUSEUM 2007 NOMINATION EXHIBITION is held in association with Beijing BS1 Contemporary Museum, Beijing Art Museum of Imperial City, Shanghai Duolun COCA, Beijing Guo Yi Yi Huang Asia Contemporary Art Museum, Shanghai Eastlink Gallery, Beijing Must Be Contemporary Art Center, and Beijing Asia Art Community. Based on the academic subject of “the Old Summer Palace” mode it aims to provide an academic and art platform for creative artists of the year. The exhibited art works by 40 artists nominated this year vary in materials and categories covering oil painting, ink and wash painting, sculpture, installation, photography, video, and happening. The artists selected featuring the old, mid-aged and young generations of three, including the art community “single child generation”, are very active and representative in recent years. This exhibition is also a tentative move in constructing academic scene of art by the combined efforts of several cross-regional museums.
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