艺术家：苍鑫、黄渊青、李山、薛松、肖鲁（排名按拼音首字母）

艺术顾问：倪卫华

策展人：柳力

学术主持：魏静静

展览开幕：2018/12/29,16:00-19:00

展览持续：2018/12/29—2019/02/07

上海市杨浦区临青路188号C3.4F 半张图艺术馆

Artists: Cang Xin, Huang Yuanqing, Li Shan, Xue Song, Xiao Lu

Artistic Advisor: Ni Weihua

Curator: Liu Li

Academic Director: Wei Jingjing

Opening Ceremony: 29/12/2018 16:00-19:00

Exhibition Duration: 29/12/2018-07/02/2019

C3.4F,301 Zhoujiapai Road.Yangpu District,Shanghai

由杜尚引发的现成品的美学方程式向我们提供了一种对象：作为艺术创作的物质原材料，大多是一种原本并不被用于艺术而有着其它用途的产品。但是，也有一些原本就是生产来用于艺术目的产品。然而，无论是前者还是后者，它们同作为第一种对象，即物理对象，它们构成艺术作品的物理部分。

扬·凡·艾克于15世纪对蛋彩画技法的改良，唤起了艺术家对摹仿自然的普遍兴趣，同时也提供了一种对象：自然。与第一种对象不同，自然的具体形象是艺术家脑海中的一种依据，它并不构成艺术作品的物理部分。因而，如果将第一种对象理解为“艺术是对工具的形而上补充”，那么，第二种对象达成了“艺术是对自然的形而上补充”，这里的“自然”意义深广，泛指一种精神对象。

还有一种对象，它先行于前两种对象，并且是艺术家为何使用这种物理对象来连接那种精神对象的原因。这种对象使得所有带有艺术目的单个行为都隶属于一个整体中，使得剖离这种整体的对单个对象的观审陷入无意义的境地，尽管不排除在这其中的每个单体都存在巨大差异的情况。这就是第三种对象，它似是众有之本，却有着难以捉摸的虚无特性。

以上三种对象的共存关系决定了艺术创作的根源性结构。进行这种划分的目的并不是对西方艺术史的简明回顾，而是为了提供一个显微镜视角，可以清晰观测到以杜尚为主轴的西方艺术系统中所存在的长期被忽视的问题，即作为杜尚公式A2=A1+(a,b,c…)中的“对象”(A1)的复杂状况。对这种复杂状况的忽视首先是导致了那些仅依附于第一对象的“合理化创作”，再导致了后来空乏的“僵尸形式”，最后造成了观念艺术产业化的景观世界。

我们邀请了五位在创作路径上迥异却各自具有代表性的中国当代艺术家，就他们的作品来观察三种对象在其中的结构关系。展览以追本溯源的态度，呈现对艺术本质的思考。

The aesthetic formula caused by Marcel Duchamp provides us a kind of object: As the artistic material, most of them are not used by art but other purpose. However, some of them are produced for art. As the same material objects, they are the physical parts of art creation.

Jan Van Eyck improved the tempera painting skills in the 15th century, aroused the artist’s interests of imitating the nature, he provided an object simultaneously: The nature. The difference between the first object is that natural figurative image is a kind of gist of artists, it’s not the physical parts of art creation. However, if the understanding of the first object is  “art is the superorganic supplement of instrument ”, then the second object is “art is the superorganic supplement of nature ”. The nature means mental object.

There is another object which aheads of the others and it is the reason for artist to use this physical object to connect with the mental object. This object makes all single behaviors belong to the entirety which makes the concept of single object meaningless. This is the third object, it seems the basic source of everything, but it has the empty character.

The concomitant relationship of these three objects decides the primary structure of art creation. Dividing is not to briefly review the western art history but to provide a microscope perspective, we can easily find the ignoring questions for long-term which regard Duchamp as the principle in the western art system, the complexity of “object” (A1) in the Duchamp formula A2=A1+(a,b,c…). Ignorance of this complex situation leads to those “reasonable creation” attached to the first object and empty “zombie form” , even makes influences in the concepts art world.

We invite five Chinese widely from others but representative artists to observe the structure relationship of three objects. The exhibition bases on the attitude of tracing of its source, and revealing the thinking of artistic essence.