開幕時間：2015年8月21日(週五) 17:00
展覽場館：上海當代藝術博物館7樓
展覽館址：上海市花園港路200號
Vernissage：17:00, 21th August, 2015
Venue：7F, Power Station of Art
Address：200, Huayuangang Rd. HuangpuDistrict, Shanghai,China
參展藝術家（以姓氏拼音為序）：
邊平山、陳光武、陳墻、程大鵬、丁乙、方少華、黃淵青、江大海、李舜、梁銓、劉夷、潘微祁海平、施慧、譚平、王懷慶、王璜生、王麗華王燮達、吳少英、薛松、楊國辛、楊牧石、楊述余友涵、張帆、張浩、周長江
開幕當日活動
Vernissage Program
14:30 - 15:00 媒體簽到 Press Registration 丨3F
15:00 - 15:40新聞發佈會 Press Conference丨3F
16:00 - 16:40 媒體導覽 Guided Tour 丨7F
17:00 - 18:00 開幕儀式 Vernissage 丨3F
上海當代藝術博物館向大家呈現自主策劃的展覽“時空書寫：抽象藝術在中國”，策展人為李旭。
此次展覽邀請了來自北京、上海、杭州、廣州、天津、重慶、深圳等地的28位中國大陸藝術家，參展作品66組，共計174件，涵蓋了水墨、油畫、雕塑、裝置、攝影和錄影等各類表現方式。
抽象，是中國當代藝術30餘年發展進程中的一個比較特殊的類型，因為遠離意識形態和商業炒作的熱點，一直處在邊緣而個人化的存在狀態中。抽象語言和觀念的品格與成熟度，是對藝術創作水準最直觀的檢驗，其回歸視覺本體的表達，是對形而上思考最純粹的學術體現。
當代中國抽象藝術的形態是相當多元的，除較為傳統的油畫、水墨等繪畫形態之外，雕塑、裝置、攝影和錄影創作一直在穩步前行。在視覺方面，中國抽象藝術與書法美學有著千絲萬縷的聯繫，在觀念方面，又與道家哲學和禪宗思想相互依存。
展覽的關注重點不是書法本身，而是中國本土抽象藝術的發展可能。展覽的主題旨在用當代藝術的視角重新解讀書寫與抽象藝術的關係，為民族審美體系的當代化建設搭建全新的交流、研討和生産平臺。
Abstract Art in China,a new exhibition curated by Li Xu from PSA. The exhibition brings together 66 projects, a total of 174 works, by 28 mainland Chinese artists from all over the country: Beijing, Shanghai, Hangzhou, Guangzhou, Tianjin, Chongqing, Shenzhen, etc. The works include watercolours, oil paintings, sculptures, installations, photography and videos.
Abstract art has occupied a special place over the three decades or more in which contemporary art has evolved in this country. It stands at a distance from the flashpoints of both ideology and commerce, and its marginal position means that abstraction has always been an individual project. The quality and maturity of the language and conceptions of abstraction are the most direct measure of creativity in art. Abstract art is a return to pure visual expression, and the purest discourse on metaphysical thought.
Contemporary abstract art in China is diverse, encompassing the traditional oil painting and watercolours, but also steady advances in sculpture, installation, photography and video. Visually, Chinese abstract art retains thick bonds with the aesthetics of calligraphy; conceptually it draws on Daoist and Zen Buddhist thought.
The focus of the exhibition is not on the calligraphy itself, but on possibilities for the progress of Chinese abstraction. The exhibition gives us the chance to revisit the relation between abstract art and calligraphy, from a contemporary perspective. It offers engagement, discussion and a basis for the future development of abstraction in our national artistic imagination.