当代艺术，首先是一种艺术态度和文化立场。真实面对自己当下的生存体验和感觉，以及自己的生存环境，是当代艺术首要的态度。但生活在每一个当代的人，被各种文化观念和意识形态，乃至画种诸如油画味道之类的“行业标准”所包裹，所以，个人所体验到的生存感觉的真实性，须有心灵的自由和独立，才能超越各种外在的文化观念和意识形态的束缚，还给个人感觉一个鲜活的状态。
【访谈/推荐】栗宪庭：艺术家的可悲，莫过于太执着于做一个艺术家
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近几年，随着当代艺术成为一种时尚样式，“当代”这个词汇，也空前的泛滥，所有画种和艺术样式，都要在自己领地的前面冠以“当代”两个字，当代油画，当代中国画，当代工艺品等等。
In recent years, as contemporary art becomes style of a kind of vogue, "contemporary" this word, also unprecedented flood, all kinds of painting and artistic style, want to be in the front of his domain with "contemporary" two words, contemporary oil painting, contemporary Chinese painting, contemporary handicraft and so on.
其实，当代艺术，首先是一种艺术态度和文化立场。真实面对自己当下的生存体验和感觉，以及自己的生存环境，是当代艺术首要的态度。但生活在每一个当代的人，被各种文化观念和意识形态，乃至画种诸如油画味道之类的“行业标准”所包裹，所以，个人所体验到的生存感觉的真实性，须有心灵的自由和独立，才能超越各种外在的文化观念和意识形态的束缚，还给个人感觉一个鲜活的状态。
In fact, contemporary art is, above all, an artistic attitude and cultural standpoint. It is the primary attitude of contemporary art to face up to one's current living experience and feelings as well as one's own living environment. But life in each of the contemporary people, is a variety of cultural ideas and ideology, and even the picture such as oil painting taste "industry standard" package, so, the authenticity of individuals living feelings of experience, must have the freedom and independence of mind, to go beyond the constraints of various external cultural concept and ideology, and also the individual feels a living state.
其次，我们说他是艺术家，而不强调他是一个画家，一个雕塑家，一个摄影家，是强调看一件艺术作品，不把画种“行业标准”作为评判艺术的标准。如一张油画，他画得像不像传统油画，有没有传统油画味道，不再重要，造型准确与否，也不再重要。
Secondly, when we say that he is an artist, we do not emphasize that he is a painter, a sculptor, a photographer. We emphasize that we should look at a work of art and do not regard the "industrial standard" as the criterion for judging art. Like a painting, he painted like traditional oil painting, there is no traditional oil painting taste, no longer important, modeling accurate or not, no longer important.
要看的是，这张作品是不是提供给观众一种与当代人生存有关的新感觉。所以一些当代艺术家往往不局限某一种媒质，某一种画种，或者今天画油画，明天可能作行为。当然，因人而异，一个艺术家可能只善于使用一种媒材，但他的作品依然不是传统画种意义的摄影或者油画。
What is to be seen is whether the work provides the viewer with a new sense of relevance to contemporary survival. So some contemporary artists are often not limited to a certain medium, a certain kind of painting, or painting oil today, may act tomorrow. Of course, it varies from person to person. An artist may only be good at using one medium, but his works are still not traditional photography or oil painting.
其三，当代艺术在中国的发展已经近三十年了，但它始终在一个小圈子里发展，近年媒体多有报道，但多是负面报道，尤其网络上，大有把当代艺术妖魔化的倾向。
Third, the development of contemporary art in China has been nearly three decades, but it has always developed in a small circle. In recent years, there has been much media coverage, but most of it is negative. Especially on the Internet, there is a tendency to demonize contemporary art.
其中一个最典型的发问是，这也叫艺术? 其实你在发问时，你自己就有一个有关艺术的基本界定，这种界定来自以往的经验。我们有过什么经验?凡是今天活着的人，如果没有受过西方二十世纪现代艺术的教育(自我教育也是教育)，他的艺术知识乃至审美经验，大致来自五四以来的写实主义艺术观念，包括中国传统水墨画，也经历了写实主义的改造。
One of the most typical questions is, is this art? In fact, when you ask a question, you have a basic definition of art, which comes from past experience. What experience have we had? Without the education of the western modern art in the 20th century (self-education is also education), the person alive today, whose artistic knowledge and aesthetic experience are roughly derived from the realistic artistic concepts since the May 4th Movement, including traditional Chinese ink painting, has also experienced the transformation of realism.
对于所有没有现代主义知识背景的人，不管他是平民百姓，还是大学教授，所谓“艺术”的基本框架，来源于写实主义的知识框架。五四以来写实主义的主流艺术框架，来源于西方文艺复兴到十九世纪的古典艺术模式，由于西方艺术起源于模仿说，以及文艺复兴以后所追求的科学焦点透视和解剖学等原因，使写实主义一开始就有“生活本来样式”的最表面特征，所以，“画的是什么”，成为艺术的基本认知框架，“栩栩如生”也成为很高的标准。
For all people without a background of modernism, whether they are ordinary people or university professors, the basic framework of the so-called "art" comes from the knowledge framework of realism. Mainstream art framework of realism since the May 4th movement, from the Renaissance to the 19th century western classical art mode, because of the western art mimics said, and pursued after the Renaissance of science focus perspective and anatomy, the realism "life style" to begin with the surface characteristics, therefore, "what's in the picture", become the basic cognitive framework of art, "vivid" has become a very high standard.
把“画的是什么”“栩栩如生”当作衡量艺术的标准，是一种审美惰性。其实，写实主义并没有那么简单。你看出那幅作品画的是一片树林，不能叫看得懂写实主义绘画，用栩栩如生来判断那幅画有树林的画，也不是对那幅画的赞美。你得看出那幅“树林”背后作者的感觉，看得出他画树林时所运用的构图、色彩、笔触所传达的个人感觉，而且这种个人感觉与那个时代，与人的人生体验有哪种关联等等，才叫看得懂那幅画。
It is a kind of aesthetic inertia to take "what is painted" and "lifelike" as the standard to measure art. In fact, realism is not so simple. You can see that the painting is a wood, can not be called realistic painting, by the lifelike to judge that painting has a wood, is not a painting of praise. You have to see the feeling behind the "woods", the personal feeling conveyed by the composition, color and brush strokes he used in painting the woods, and how this personal feeling is related to the era and the human experience, etc., in order to understand the painting.
从这个角度说，现代艺术和当代艺术所追求的，有其共同之处。而整个二十世纪的西方艺术，就是为了更直接地表达个人感觉，抛弃了写实主义，作了各种各样的尝试，艺术的语言样式达到极大的拓展，产生了诸如装置、行为、电子媒体、声音艺术等五花八门的样式。
From this point of view, the pursuit of modern art and contemporary art have something in common. In the whole 20th century, western art, in order to express personal feelings more directly, abandoned realism and made a variety of attempts. The linguistic styles of art greatly expanded, giving rise to various styles such as installation, behavior, electronic media and sound art.
二十世纪初期，“这是艺术吗”的追问也曾经发生，但艺术史解决了这个问题，就是艺术的发展始终在提供新的感觉，创造新的媒介这个语境中发生发展的。你看一件作品，须把它放在一个一定的语境中，才能更好的理解它。这个语境是双重的，一方面是人的生存处境的变迁，在现代化的今天，我们的生存环境――包括吃喝拉撒睡的各个方面发生了激烈的变化，艺术家作为人类最敏感的人群，他们对今天生存环境变迁的体验，往往能体验到常人不能体验到的东西，所以艺术提供新的感觉很自然。另一方面艺术家为表达新的感觉，寻找新的语言模式，或者在已有的模式中作个人化的处理，也是自然的。所以你面对一件作品，你得知道它的前因后果。
It is the development of art in the context of providing new feelings and creating new media. If you look at a work, you must put it in a certain context to better understand it. The context is twofold, on the one hand, the change of people's survival situation, in today's modern, our living environment, including eat and drink pull scatter sleep intense changes have taken place in all aspects of the artist as a human's most sensitive crowd, their experiences of living environment change today, often can experience the average man can't experience, so art provide new feeling is very natural. On the other hand, it is natural for artists to express new feelings, seek for new language patterns, or make personal treatment in existing patterns. So when you look at a piece, you have to know the context.
即使你有二十世纪西方现代艺术历史的知识，你能不能不用经典大师的作品――依然是过去的经验来――看待今天的艺术，也是一个问题。我喜欢这样来理解“大浪淘沙”这个词，人们喜欢看到被大浪淘洗出的金子，我更看重大浪裹挟着沙子和金子的那种瞬间，如果没有大浪，没有大浪裹挟着大量的沙子，金子怎样能产生出来的?
Even if you have a knowledge of the history of western modern art in the 20th century, it is questionable whether you can look at art today without seeing the work of the classical masters, still from the past. People like to see the gold washed by the big wave. I pay more attention to the moment when the big wave brings the sand and the gold. If there is no big wave, how can the gold be produced if the big wave does not bring a lot of sand?
事实上还有一种危险，当大浪淘沙过后，金子被留在了历史中，所有的后人，就被这金子的历史所教育，形成一种看艺术的经验，开始以“看金子”一样的眼光，挑剔今天的艺术，事实上，今天的金子不但被裹挟在沙子里不容易被看见，金子也不是昨天的金子，所有今天发生的艺术，都不是以往经验所能把握的。所以，只看“金子”眼光的本身，就是今天所以形成阻碍艺术发展的社会保守力量的原因之一，我以为大浪淘沙的瞬间往往是一个新艺术将要产生的鲜活状态。
In fact there is a danger, when after the ebb tide, gold is left in the history, all of the future generations, is this gold history education, form a kind of art experience, start with "gold", selective art today, in fact, today's gold not only was enveloped in the sand is not easy to be seen, the gold is not the gold yesterday, all the art of what happened today, is not grasp of the conscious experience. Therefore, looking only at the "gold" vision itself is one of the reasons for the formation of the social conservative force that hinders the development of art today. I think the moment when the waves sweep sand is often a fresh state of art nouveau.
来源：一甸艺术
征稿 | 时代：当代艺术展（第2期）
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