东西方十字路口上的中国艺术展—感受纽约“过去和将来之间：中国新摄影，新录像艺术展” （节选）
作者：于渺
文章首次刊载于《艺术世界》2004年7月刊
相关展览：《过去和未来之间：中国新影像展》，纽约国际摄影艺术中心（ICP）， 纽约，美国，2004
展览中受到艺术评论家普遍赞扬的是杨勇的作品。这个南方“反都市文化”的年轻人绝对是大器。他的《隧道里的幻想》，《欲望酒店》，《城市之光》等十几副作品贴在两面高墙相交的拐角。深圳的夜，一个个年轻的身体在只有功能，没有意义的城市空间里游动或闲滞。无聊和虚无的表面的背后，一股来自人性内部的感性力量在悄然弥散。
站在这些作品前和《美国艺术》的主编韦恩先生聊天，他说他从中读到的是城市人在失去空间方向感和精神领地后的内心伤害。这让他想起三十年代资本家对纽约大幅改造时，也有一批美国艺术家以类似的作品来回映。其实，很多西方人愿意拿他们自己的历史作为参照系。虽然中国的作品新鲜好看，但好象还得从西方的历史经历中找到对应后，才能被理解和接受。但是，不管怎么样，只要能够在东西方之间比较起来的作品，从某种程度上，就是跨越了文化边界的作品，就是带有人类普遍性的作品，也就是有灵魂个性的作品。我为这样的影像叫好。
Chinese Art Exhibition Standing at the Crossroads of East and West—Impression on “Between Past and Future: New Photography and Video from China” (excerpt)
Author: Yu Miao
Source: Art World, July 2004
Related Exhibition: "Between Past and Future—New Photography and Video From China", International Center of Photography (ICP), New York, USA, 2004
The works praised by most of the art criticizers present on the exhibition are by Yang Yong. This young man, known for his “anti-city culture” in south China, is apparently an excellent artist. His “Fantasies in a tunnel”, “Lust Hotel”, and “City Light”, etc., totally more than ten pieces of works, are put up on two big crossing walls in the corner. Night of Shenzhen, numerous young bodies are wandering in the urban areas where everything is just functioning but making no sense. Behind the boredom and void outside, a kind of emotional power which comes from the inside of human beings is quietly spreading out.
Talking with Mr. Wiern, the chief editor of American Art, while standing before these photographs, says he could see from the works a kind of hurt on the city residents who lose their spatial orientations and spirit territories. This reminds him of New York in the years of 1930s when the city was being under reconstruction as urged by the capitalists at that time. At that circumstances a lot of American artists expressed their feelings with art works in the styles similar to the ones exhibited here. In fact, many westerners tend to take their own country’s histories as references in the effort to understand foreign cultures. Although Chinese arts look fine and distinct, westerners understand and accept them only after they find something corresponding to the arts in the history of their nations. However, arts, whatever styles they might be, so long as they arouse comparisons between eastern and western cultures, could be thought as works of crossing cultures, reflecting human universality, and with soul individuality. I highly applaud for these art works.
