北京新时代画廊，将于2012年6月9—6月30日展出标题为“没关系”（Detached Involvement）的展览。此展览为新时代画廊支持青年艺术家自由创作的持续性项目的第一次展览。

新时代画廊于2011年决定设立一个支持青年艺术家自由创作的持续性项目。这一项目，由画廊提供一定资金，艺术家自己选择、自主创作，在没有干预的情形下，进行具有一定实验性和探索性的艺术研究，专为展览创作作品。首次邀请管勇、夏星、赵赵、徐舜四位艺术家一起做一个展览。四位艺术家以自发的状态，组成一个“临时小组”，经过数次反复讨论，艺术家达成共识显然是一个困难的事情。围绕“消费”展开作品创作，亦仅是大多数可以接受的起点，以绘画的方式呈现，也达成基本共识。通过四位艺术家的创作，我们也许会觉察到关于“消费”的不同面向。

我们今天的生活，充满着悖论和荒谬。正像陀思妥耶夫斯基（Dostoyevski, 1821-1881）曾在《卡拉马佐夫兄弟》（伊万与阿廖沙的对话）中说的：“人世间太需要荒谬了。这世界就是建立在荒谬之上的。不荒谬，这世界就什么事也做不成了。这点我们知道得太清楚了。”

在权力下，有一种“有形”（显性）\“无形”（隐性）的身体控制。人们按照权力规则和文化体系——意识形态——被迫进行着消费，我们皆被这一“游戏规则裹挟着”。虽然我们比任何时候都清醒，却无法逃离，也无力改变。当处于一种生的地狱中，心底的愤怒与无奈，也许只能释放为一种超然的参与。这种看似冰冷的淡漠中，却暗含着无声的反抗。也许，这正是展览标题“没关系”的意旨所在。“没关系”，在此既无褒义，也无贬义，它呈现着一种态度的表达：积极的参与，却又淡然地超脱。它说明着我们今天与这个社会的相处之道、存在之道。

这让我想起了歌德（Goethe, J.W.V., 1749-1832）的话“逃避这个世界，没有比艺术更可靠的途径；要想同世界结合，也没有比艺术更可靠的途径。”那些或美好或糟糕的日子，虽然流年似水，但总需要以“超然的艺术方式”物质化为精神的印迹。我们的文化，也许就是依着这些印迹，处在流动的状态中，不断地生成，演变……

夏芸
2012年5月12日于望京

From June 9, 2012 to June 30, 2012 Beijing New Age Gallery will hold an exhibition titled "Detached Involvement", the first exhibition born of the gallery's long-term program that aims to give more freedom to young artists in their art practice.  

Initiated in 2011, this program, financially supported by Beijing New Age Gallery, encourages the artists to carry out their artistic activities independently and to dedicate themselves to experimental and exploratory art practice that will finally meet the public in the form of exhibits. Guan Yong, Xia Xing, Zhao Zhao and Xu Shun made up the first group of artists included in this program. This "temporary group" came to agreement after lots of discussions, which obviously means great effort by each member. "Consumption" thus got accepted by the majority as the point of departure for paintings. The works by the four artists in this exhibition will probably shed some light on different aspects of "consumption".

Our life today is flooded with paradoxes and absurdities, as Dostoyevski reflected through the dialogue between Ivan and Alyosha in The Brothers Karamazov: the world needed absurdity desperately as it was based on absurdity, or we could achieve nothing, which we could not be more aware of.

The human body is subject to power either in a visible or invisible way. Forced to consume according to the rules of power and the system of culture, or the ideology, we are trapped in the rules of the game. Never are we so conscious as today, but there is no way to flee or change. In the hell where we live, we have no choice about our inmost anger and helplessness but to convert them into detached involvement. The seeming indifference, however, implies silent protests. It is probably the message the title "detached involvement" is expected to convey. As a title, "detached involvement" here has neither positive nor negative implication because it defines our attitude, i.e., to participate actively as a detached observer, which is the key to how we are related to the world and to our existence.  

It echos what Goethe (Goethe, J.W.V., 1749-1832) said, "There is no better deliverance from the world than through art; and a man can form no sure bond with it than through art." Those fleeting days in the past, good or bad, have to leave some traces in our mind in the material form thanks to "detached art". It might be these traces that guide our culture that keeps generating and transforming in fluidity...

Xia Yun
Wangjing  May 12, 2012