专访|胡向东:不间断的艺术实践才能打破边界

2019年03月05日 23:06 新浪收藏
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  专访|胡向东:不间断的艺术实践才能打破边界

  Interview | Hu Xiangdong: Only uninterrupted artistic practice can break the boundary。

  艺术家胡向东的新工作室坐落在宋庄人气最旺的小堡村,独门独院的二层白色盒子小洋楼是由胡向东亲自设计,走进超大的创作空间,首先映入眼帘的是胡向东2018年创作的新作品。

  The artist Hu Xiangdong‘s new studio is located at the most popular village in Songzhuang, Xiaobao Village。 The two-storey white western-style building is self-designed by Hu Xiangdong。 Entering the large creative space, the first thing that comes into view is Hu Xiangdong’s new work in 2018。

胡向东工作室胡向东工作室

  《大西红柿》 油彩   200x120cm   2016

  “LargeTomato”, oil paint 200×120cm 2016

  《我也要打一针》 油彩  200x120cm  2018

  “I want a shot too” oil paint, 200×120cm 2018

  画面中如糖果般艳丽的色彩,体积超大的蔬菜瓜果,如早期年画般的人物形象和浮夸的面部表情,都让作品弥漫着一种荒诞的味道和浓郁的讽刺意味。

  The colorful colors like candy in the picture, the oversized vegetables and fruits, and the characters like those in the New Year paintings and the exaggerated facial expressions in his early works make the work filled with an absurd style and a strong irony。

  《你能给我想要的生活吗?》油彩  200x120cm  2018

  “Can you give me the kind of life I want?” oil paint 200×120cm 2018

  众所周知,胡向东是国内“艳俗艺术”的代表人物,他对社会变迁和生存问题一直有着敏锐的思考,他希望艺术不仅仅是自我表现,还应该跟这个社会联系。他的早期装置作品《理想种植》中“白菜”就是“艳俗艺术”的重要成果之一,留给了世人深刻的印象。胡向东多年来一直不间断的进行艺术的实践,不断寻找能够准确表达自我观念的媒材,他对新技术材料很感兴趣,作品形式有架上、雕塑、装置等等,在过去的几年中,胡向东的艺术实践一直受到艺术界的重视。最近,作为油画家出身的胡向东有着浓重的油画情结,新的艺术探索又重新回归架上。

  As is known, Hu Xiangdong is a representative of the domestic “Gaudy Art”。 He always has a keen thinking about social changes and human existence。 He hopes that art can not only achieve self-expression, but also be connected with this society。 In his early installation work “Ideal Planting”, the “cabbage” is one of the important achievements of “Gaudy Art”, which left a deep impression on the public。 Hu Xiangdong has been making artistic practice for many years and constantly searching for media that can accurately express his own ideas。 He is very interested in new technology materials, and has work forms such as shelves, sculptures, installations, etc。。 His 。 artistic practice has always been valued by the art circle in the past few years。 Recently, Hu Xiangdong, who has been an oil painter, has a strong complex of oil painting, and a new artistic exploration has returned to the shelf。

  《土豆高尔夫》 油彩  200x120cm  2016

  “Potato Golf” oil paint  200×120cm 2016

  《这个怎么吃?》 油彩  200x120cm  2018

  “How do I eat this?” oil paint 200×120cm 2018

  《肥水不流外人田》 油彩  200x120cm  2018

  “Rich water should not be let out of one’s own fields” oil paint, 200×120cm 2018

  艺术家胡向东接受新浪当代和雕塑频道记者郑晓曦的采访:

  Artist Hu Xiangdong accepted an interview with Zheng Xiaotong, the reporter of Sina Contemporary and Sculpture Channel:

  新浪当代:您是国内艳俗艺术的代表人物,然后您一直不断的尝试可以表达您创作的各种观念的媒材,您的作品有架上、有雕塑、有装置等等,您最近有哪些新的艺术项目呢?

  Sina Contemporary: You are a representative of the domestic Kitsch Art。 Then, you have kept on trying different media which can express your various concepts。 Your works include those presented on shelves, sculptures, installations。 Do you have any new art projects recently?

  胡向东:我是1995年开始做关于艳俗为主题的作品,第一个展览叫“艳妆生活”是1996年,当时的圆明园艺术家几个朋友在一起讨论了一个主题叫庸俗艺术,后来改为艳俗艺术。正式定位是1999年,在天津泰达艺术博物馆。当时我们选择艳俗这个主题,考虑到在一个特点的社会背景下,改革开放以后,人对物质需求的快速发展,对精神层面的追求,对审美意识上的追求的增多,像审美趣味的这种东西,我们艳俗艺术家觉得很有意思。把握这样的题材,做了一系列作品。主要是针对社会的大众审美的趣味,针对这种比较俗的趣味进行模仿和讽刺。这种类型的作品一开始是以架上为主,后来随着作品的深入,架上表达觉得还不够,所以我开始考虑材料。我是学油画专业出身,作为油画这种材料、技术,是比较熟悉的,所以通常来说我当时就是用自己比较熟悉的手段、材料去做作品。后来觉得不够,有些题材是架上绘画比较局限的,就存在一个转换的问题。开始尝试新的表现形式,新的材料,但是这种新的材料和新的表现形式毕竟是一个新的尝试,对于过去熟悉的技术必须敢于摒弃,在题材上把那种不容易进入画面的东西进入画面。也就是说俗的东西,把这种不入流的这种,比如说白菜、萝卜,把它放大。从题材上做了一个扩展,从艺术上脱离精英,直面大众。作品不是按照自己熟悉的方法去制作,是按照我要表达的观念,是适合什么什么材料、什么手段,这个就不是传统意义上的绘画了,这就是现在所说的观念绘画。

  Hu Xiangdong: I started creating kitsch works in 1995。 My first exhibition was called “Kitsch Life。” It was organized in 1996。 At that time, several “Old Summer Palace” artists discussed together and came up with a theme called “Vulgar Art。” Later, it was changed to “Kitsch Life。” Its formal positioning was in 1999 at the Tianjin Taida Art Museum。 We chose the theme “Kitsch,” considering the social background at that time。 After China’s adoption of the reform and opening-up policy, Chinese had a higher pursuit of material and spiritual enjoyment。 Their aesthetic taste was also upgraded。 We Kitsch artists all thought it was very interesting。 Based on the theme, a series of works was created by us。 In response to the public aesthetic taste, we imitated and satirized about the vulgar taste。 Most of these works were presented on shelves in the very beginning。 Later, with deepening of our art creations, we found artworks on shelves alone were inadequate。 Therefore, I started to think about new materials。 I have the oil painting learning background, so I am very familiar with materials and techniques of oil painting。 At that time, I was accustomed to using methods and materials which I was familiar with to create artworks。 Later, I found this was inadequate。 Some themes might be limited after putting on paintings。 Then, we had to make conversions。 In the very beginning, we tried new expression forms and new materials, but these new materials and expression forms were after all new tries。 I must abandon techniques which I was familiar with in the past, and introduce things that were seldom found in paintings。 The “things” here actually refer to vulgar things, which are out of the mainstream。 For example, I introduced carrots and Chinese cabbages to my paintings, and enlarged them。 After this expansion of themes, our art was deviated from the confinement to elites to be accessible to the public。 I created these works not according to methods familiar to me, but according to concepts I attempted to express。 Such paintings are not paintings in the traditional sense。 They are the so-called conceptual paintings。

  “ 艳俗艺术”浮出水面后,引起了各种反向和争议,它的影响力一直到今天,它属于90年代当代艺术重要现象。

  After the emergence of “Kitsch Art,” there have been many opponents and controversies。 However, its influence has been lasted to this date, though it was an important phenomenon of contemporary art in the 1990s。

  当然绘画仍然是我钟爱的表达方式,回到绘画已不是过去的架上了,它是和其它材料一样的载体,它要表达的想法最重要,技术服从于内容,不炫耀技术,所以这也是有些保守的观众对当代艺术的架上绘画有所误解的原因,他们想看到的是深入的、厚重的、有机理的,或者是栩栩如生的,当代艺术的魅力不在这里,它是直击心灵的,它有独特的个体语言,是先锋的。

  Painting is beyond doubt still my favorite way of expression。 It is no longer the one on the shelf, but carrier as other materials。 The idea presented by it is the most important and the technology is subject to content instead of showing off technology。 As a result, this leads to some misunderstandings of some conservative audience on easel painting of contemporary art。 They prefer deep, heavy, mechanistic, or lifelike art。 However, the charm of contemporary art not lies here。 Instead, it touches heart directly。 It has a pioneering and unique individual language。

  我最近在做蔬菜水果放大,那么表面上看是对蔬菜水果转基因的态度,实际它的这种大,更多的是人的欲望的反映。体现这个社会环境的发展,人在追求这种大、多、快、满这种态度,我选择这个东西作为绘画,就是针对这个问题作出我的反映。

  Recently, I’ve been engaged in augmentation of fruits and vegetables, which appears to be the attitude of people on genetically modified fruits and vegetables。 But in fact, this kind of bigness is more of a reflection of human desires, which reflect the altitude that people are pursuing this kind of largeness, large amount, fastness and fullness in the development of this social environment。 I chose this thing as the object of painting, which is my reflection on this issue。

  一个农民希望果树或者是地里长出一个超大的瓜果,它反映了急功近利一夜致富的心态,通过地里长出一个东西,解决一切问题的这种想法。但是这种转基因也罢,或者是用什么手段造成了这个果蔬的巨大对人的危害有多大,艺术家给不了准确答案,但有一个基本常识,不可违背自然生长规律,你如果用催化剂也好,农药也好,或者是用什么化学手段也好,对人的健康一定是有危害的。今天这个社会发展速度如此之快,这种快节奏的发展也是不正常的,我想用我的绘画表达我的态度,我现在正在做这个内容。

  A peasant’s desireto grow a super large fruit on a fruit tree or in the field reflects the mentality of seeking quick success and instant benefits, which is a thought to solve all problems through growing things in the field。 However, the artists cannot give accurate answer for this kind of genetic modification, or the way that causes the hugeness of fruit as well as the harm on human body。 There is a basic common sense that the law of natural growth cannot be violated。 Your usage of catalyst, pesticide or chemical means must be harmful to people‘s health。 Today, the fast-paced development of society is also not normal。 I tend to express my attitude with my paintings。 I am on this now。

  新浪当代:您现在这个工作室是新的吗?那您搬离的初衷是什么呢?或者说您的新工作室对您的艺术创作会有哪些影响?

  Sina Contemporary: Is your studio a new one now? What was your original intention to relocate? or what effect does your new studio have on your artistic creation?

  胡向东:搬工作室并不是主动的,我在北京已经感受到这种痛,我觉得这也是大家的痛。因为社会发展太快,它就带来不安定。一直在搬家,今天这个地方被拆了,明天那个地方被征用了,这种痛可能不仅仅是中国艺术家,我觉得世界上很多艺术群落也好,艺术环境也好,都会被商业的过度发展受到影响。艺术家无形当中帮了开发商的忙,一个城市的发展,艺术家无意当中做了启动的作用。

  Hu Xiangdong: We didn’t take the initiative to relocate our studio。 The pain felt by me in Beijing, I think, is everyone’s pain。 The fast development of society brings instability, namely constant relocation。 Today, this place has been demolished; tomorrow, the other place is requisitioned。 This pain may plague more than just Chinese artists。 In my opinion, many art communities in the world and the artistic environment are affected by the excessive development of commerce。 The artists help the developers unconsciously and play the launching role by accident for the city’s development。

  艺术家偏好成本低的废弃工厂、农舍、改造一下,只要环境比较安静,可以创作就行了,但一旦艺术家聚集以后,带来的会是餐饮业、娱乐业、各种服务行业,还有绘画材料、包装、运输等一系列服务配套。随着看艺术家工作室的人增多,无形当中还会带来旅游业,三四年就把这个地方炒热了,几年后这块地已经不是那么安静了,从一个偏僻的环境变成了比较繁杂的地段了。那么这个时候土地就已经有利用价值了,政府也好,开发商也好,就会利用这个地方进行商业开发,这个时候艺术家就得搬家了,又要去开发新的地段了,每一次搬工作室,实际上是消耗精力非常大的,还有装修什么的,包括还有很多纠纷。

  Artists prefer the renovation of low-cost abandoned factories and farmhouses。 They only need quiet environment for art creation。 Once the artists gather, they will bring about catering, entertainment, various service industries, and painting materials, packaging, transportation and other services。 As the number of people watching the artist‘s studio increases, this will bring tourism。 In three or four years, the place will bepopular。 After a few years, the land is no longer quiet, turning from a remote environment to a bustling environment。 At this time, the land already has the value of use。 The government or the developer will use this place for commercial development。 At this time, the artist has to move and develop new lots。 For every relocation, the energy consumption is intensive, which includes decoration and many disputes。

  一个新的工作室入住以后,会有一段时间适应过程,对一个艺术工作室的掌控,是需要一个磨合的,慢慢的会适合你,安静下来去做作品。当然了好的工作室会让你愿意呆在里面时间更长,出更多的作品。

  After a new studio is settled, there will be an adaptation time。 The control of an art studio requires a break-in, and will slowly suit you to quiet down to work。 Of course, a good studio will make your stay longer with more works produced。

  新浪当代:您的艺术创作生涯中一直在不断尝试着各种新的艺术实践,那么当下中国当代艺术蓬勃发展,那您如何看待中国当代艺术的这个发展,以及在这个发展的过程中艺术家应该如何去思考?

  Sina Contemporary: During your artistic creation career, you have been constantly experimenting with new art practices。 Now that contemporary Chinese art is booming, how do you view this development of Chinese contemporary art and how should artist think in the process of development?

  胡向东:中国当代艺术起步晚时间短,80年代中期开始计算吧。

  Hu Xiangdong: Chinese contemporary art started late and the time was short。 It began in the mid-1980s。

  新浪当代:85思潮?

  Sina Contemporary:     85 trend of thoughts?

  胡向东:对,我们从今天看80年代的八五思潮,更多的是现代艺术的尝试,还说不上当代艺术。是改革开放刚刚开门,大家都是学苏联的现实主义写实起步的,我们的创作方式更多的是下乡体验生活、写生、拍照,短时间的去接触一个少数民族,一个生活方式,回来基本就创作了,理解程度肯定是肤浅的,当时院校都是这样学习的,现在也是。

  Hu Xiangdong: Yes, looking at the 85 trend of thoughts in the 1980s from today, it’s more of an attempt at modern art and not contemporary art。 It is just the beginning of reform and opening up。 Everyone is learning the realism paint of the Soviet Union。 Our creative methods are more about going to the countryside to experience life, sketch, take pictures and go to contact a minority, a way of life and then come back to create.The degree of understanding is definitely superficial。 At that time, schools offered courses like that and it’s still the same today。

  80年代国门开了以后,突然一下接触到西方的现代艺术,特别吃惊,也特别兴奋,当然只是从印刷品上学习西方艺术,印刷品的质量也很差,对着模糊的印刷品临摹,也有很多误解,80年代基本上是模仿阶段,就是说中国艺术家学习西方的一个模仿阶段,包括最近出的这个问题,临摹的问题。

  After the opening up in the 1980s, we were exposed to the modern art of the West all of a sudden。 I was particularly surprised and excited。 Of course, I only learned Western art from prints which were of poor quality。 There are also many misunderstandings about the ambiguous prints。 The 1980s was basically an imitation stage, that is to say, Chinese artists learned from the West, including the recent issue, the problem of facsimile。

  新浪当代:抄袭?

  Sina Contemporary: Plagiarism?

  胡向东:抄袭是对原创的知识产权不尊重,当然不对。

  可当时中国很闭塞,跟西方是没有交流的,学习新的艺术形式基本就是抄印刷品,作为一种学习方式是无可厚非的,但不应该流入市场。当时的学院教育停留在印象派之前,印象派之后基本就没有接触了。当时看到一些个别翻译的书籍,他们把马蒂斯翻译成马踢死,说明情绪里是反感的不接受的。

  Hu Xiangdong: Plagiarism as disrespect of original intellectual property rights is not right。

  Back then, China was closed and had zero communication with the West。 The way of learning a new art form is basically copying printed materials。 As a way of learning, it can be unblamable。 But the works shouldn’t flow into the market。 The college education back then stayed just before the Impressionists。 At that time, I saw some  translated books。 They translated Matisse into Matisi, indicating the resentful and unacceptable emotions。

  80年代对西方艺术的学习过程中,很多艺术家开始寻找自己本土语言,中后期产生了很多优秀的作品及人物。对于中国现代艺术、当代艺术的发展,是一个非常重要的历史时期,它奠定了今天中国艺术走向世界的基础。到90年代这种盲目模仿的现象已经逐渐减少,开始有自己的思考,开始关注自身的问题,对传统的思考,对文革的反思,对生存现状的关注。中国艺术家开始有了自己的原创,才有今天艺术走向世界。我们今天会看到世界各地的博物馆、展览都有中国艺术家的身影,这是90年代艺术家们对中国当代艺术做的巨大成就。

  During the study of Western art in the 1980s, many artists began to search for their own local languages and many excellent works and characters were produced in the middle and late period。 It is a very important historical period for the development of Chinese modern art and contemporary art as it laid the foundation for the Chinese art to go global today。 By the 1990s, this phenomenon of blind imitation had gradually diminished。 The artists’ own thoughts took shape。 The artists began to have their own reflection, focused on their own problems, thought about tradition, reflected on the Cultural Revolution and paid attention to the status quo of existence。 Chinese artists began to have their own originality for its art going to the world today。 Today we will see Chinese artists in museums and exhibitions around the world。 This is a great achievement for Chinese contemporary art in the 1990s。

  中国当代艺术80年代、90年代然后到今天,中国艺术家开始在世界舞台亮相,2000年以后中国艺术家少部分人开始进入艺术市场。艺术市场对中国当代艺术的推动起了巨大的作用,开始有一些东南亚的艺术收藏家,艺术经纪人,看到了中国当代艺术的这个经济价值,开始介入,开始把中国当代艺术全面介绍个西方市场。随着中国当代艺术进入市场以后,中国艺术家有了市场,有了平台。

  Chinese artists for contemporary art began to appear on the world stage from the 1980s and 1990s to today。 After 2000, a small number of Chinese artists began to enter the art market。 The art market has played a huge role in promoting Chinese contemporary art。 Some art collectors and art dealers in Southeast Asia began to see the economic value of Chinese contemporary art and began to intervene and began to introduce Chinese contemporary art to the Western market。 With the entry of Chinese contemporary art into the market, Chinese artists have a market and a platform。

  2008年之前的那三年,基本上已经成为了一个世界中国艺术热,中国艺术家的作品一度受到热烈的追捧,是出人意料的。

  给中国艺术的繁荣和发展当然带来了巨大的可能性,但是也存在一些问题。

  The three years before 2008 basically formed a world Chinese art fever。 The works of Chinese artists were once enthusiastically sought after, which was unexpected。

  随着西方资本的进入,东南亚、中国本土的艺术商人的钱也进来了,形成了艺术品买卖热潮,就是快,要求艺术家的作品要快要多,艺术作品的创作实际上是一个漫长的过程,是一个有感而发的过程,酝酿时间会很长,快画、快买、快卖,真正的艺术收藏家并不多见,大多数是从房地产或别的企业而转向艺术品买卖的商人,并不了解艺术商业规律。今天看来那段时间作品粗糙、重复自己比较严重,商业可以推动艺术发展,但忽冷忽热的投机商业对艺术的有序发展是不利的。

  It brought possibility for the prosperity and development of Chinese art, but there are also some problems。

  The entry of Western capital brought the money of art dealers from Southeast Asia and China, forming a boom in art sales, which is fast。 It requires artists to have more and quickly-done works。 However, the creation of works of art is actually a long process。 It is a process of sensation and it will take a long time to brew。 It’s rare for real art collectors to do fast-painting, fast-sales。 Instead, they are businessmen who turn from real estate or other businesses to art sales without basic knowledge of the laws of art business。 Today, it seems that the works are rough and repeated, and the business can promote the development of art。 However, the speculative business by fits and starts is unfavorable to the orderly development of art。

  从2008年以后随着世界对中国当代艺术的热情在减弱,中国艺术家也会回归理性,更多的时间去思考,更深入的、更充分的去创作作品。尽管这个时代的前进步伐已经慢不下来了,但是作为艺术家还是应该有节奏的去把握自己的创作,不要受这个过度的快节奏影响。

  Following 2008, with the weakening of world‘s enthusiasm for Chinese contemporary art, Chinese artists returned to rationality, spent more time thinking and created works in a more deeply and adequately way。 Although the era advances still fast, an artist should still have a rhythm in creation, instead of being affected by this excessive fast pace。

  新浪当代:您的很多作品都是根植于当下,与社会环境、生存环境都有这密切的联系,包括您早期的艳俗作品都有一些反讽的意味在里面,当下很多青年艺术家的作品受到这种国外的影响,他的作品不再与自身的社会环境有关联了,您如何看待这个问题?

  Sina Contemporary: Many of your works are based on current issues with a close connection with the social environment and living environment, which include your early Kitsch works with some irony in it。 Many young artists’ works are now under this foreign influence。 Their works are no longer related to their own social environment。 How do you view this issue?

  胡向东:每一个时代都有每一个时代的特征,每一个时代都有每一个时代的问题,我们上一辈艺术家生存在最封闭最压抑的年代,一不小心就可能被打成反革命、四类分子、特务之类的敌人,但仍然有一些热爱艺术的人,在偷偷进行艺术探索,在饱受折磨中仍然给我们留下了珍贵的艺术财富,令人敬佩之至。

  Hu Xiangdong: Every era has the characteristics of its own。 Every era has problems of its own。 Our older generation of artists survived in the most closed and oppressive era and they may be labeled as enemies such as counter-revolutionary people, four-types, and secret agents, but there were still some people who loved art, secretly carried out artistic exploration and still left us with precious artistic wealth in the torture, which is admirable。

  我们这一代人面对的是文革后的反思,残酷的社会变革带来的社会问题,上山下乡回城补习功课考大学,下岗自谋职业,下海经商、出国深造  、计划生育、退休再就业、计划经济转向市场经济。在希望和失望中挣扎,但不会得抑郁症,烦个不停。而今天的年轻人在做艺术创作的时候,我觉得压力空前巨大,今天的社会环境空前复杂,贪腐、潜规则横行,金钱至上的快节奏社会环境为了生存哪有时间容你思考,人际关系赤裸裸的金钱关系,为了生存你争我夺穷尽手段,处处是陷阱处处是危机,贫富差距之大,一个年轻艺术家要面对高昂的房租和生活成本,我记得我们年轻的时候,受到过出版部门的支持与免费刊登,有一种被认同的幸福感,有时还能有几十块稿费,请朋友吃饭很是自豪,现在所有部门都是自负盈亏,所有部门都在张着血盆大口等你进来,参加展览谈何容易,过去策展人的工作就是看艺术家工作室,现在策展人在电脑旁看资料都看不过来,文化、教育、医疗、都产业化了,都市场化了。今天年轻人面临的困难前所未有,所以我更敬佩在这么浮躁、这么繁杂的环境里能面对内心,面对自我进行思考,进行创作,我觉得很是令人敬佩。

  我们网络发达了,我们交通也方便了,我们看了很多,包括各种博览会,博览会和博物馆的展览是不一样的,又和当代艺术主题展是不一样的。博览会主要是以商业为目的,博物馆主要展示经典艺术,而当代艺术展是最鲜活的,所以年轻人不要过多受博览会的影响。我觉得年轻艺术家还是要关注自己的生活,关注自己的感受。

  Our generation is faced with the reflection after the Cultural Revolution, the social problems brought about by the cruel social changes, for example, going to the countryside and going back to the city to study and get admitted to university, searching for jobs after laying off, running business, going abroad for further study, family planning, retirement and reemployment, the planned economy to the market economy。 Struggling with hope and disappointment, they would be free from getting depression and getting anxious。 When today’s young people are doing artistic creation, I can sense the unprecedented pressure。 The social environment is unprecedentedly complex, the corruption and the unspoken rules are rampant。 In the fast-paced social environment of money supremacy, there is no time for you to think。 Interpersonal relationship is naked money relationship。 To survive, you fight hard and face risks and traps everywhere。 The huge gap between the rich and the poor puts a young artist in the face of high rent and cost of living。 As far as I can remember, when we were young, we were supported by the publishing department and enjoyed free publication。 There was a sense of happiness to be recognized and sometimes there were payments of a few dozen yuan。 Treating your friends a meal can be a proud thing to do。 Now all departments are responsible for their own profits and losses。 All departments are waiting for you to come in。 It is no longer a  easy thing to participate in an exhibition。 In the past, the curator would go to the artist‘s studio。 Now the curator is stuffed with the information at the computer, and the culture, education, medical care, and industrialization are all marketized。 The difficulties faced by young people today are unprecedented, so I admire those who can face their heart in such an impetuous and complicated environment。 I think it is admirable to think about oneself and to create。

  Now we enjoy developed network and convenient transportation。 We have seen a lot of exhibitions, including fairs of various kinds。 Fairs are different from exhibition of museums and the theme show of contemporary art exhibitions。 The fair is mainly for business purposes。 The museum mainly displays classic art, while the contemporary art exhibition is the most lively, so young people should not be too influenced by the fair。 I think young artists still have to pay attention to their own lives and pay attention to their feelings。

  新浪当代:可以看到您对青年一辈的鼓励与支持,那么您对青年艺术家有哪些期许呢?

  Sina Contemporary: I can see your encouragement and support for the younger generation。 What are your expectations for young artists?

  胡向东:我只要有机会有可能我会推荐一下年轻人的作品,对年轻人的期许,这个问题确实很沉重的。因为今天这个社会环境要做一个独立的人是非常难的,如果不从众生活会很艰难 ,如果从众就会迷失自我。年轻人在今天这个社会环境里面临这非常严酷的抉择,所以说长辈们会善意的规劝年轻人,不要太有个性,要以生存为先导,要适应这个社会,可这个社会充满了不诚实,充满了欺骗,他怎么面对这个社会?尤其是作为艺术家,没有一个真诚的态度你怎么做艺术?艺术问题首要问题是态度问题,无论是谁都应该有个真诚的态度,这个社会才会慢慢变好,如果我们没有能力改变,但我们可以做好自己,如果每一个人都诚实守信,做好每个诚实的个体,绝不随波逐流,绝不同流合污。

  I would jump at any chance to recommend the works of young people。 The expectations of young people are really heavy issue as in today‘s social environment, it’s difficult to be an independent person。 Failure to live with the public makes life hard。 Following the crowd makes people at lost。 Young people face this very harsh choice in today’s social environment, so the elders will kindly persuade young people not to be too individualistic, to be survival-oriented, to adapt to this society。 However, this society is full of dishonesty, full of deception。 How does he face this society? Especially as an artist, it’s impossible to do art creation without sincere altitude。 The primary problem of art is the attitude。 Everyone should have a sincere attitude, so that this society will gradually become better。 If we do not have the ability to change, we can be a better self by being honest and trustworthy, never going with the flow, never associating with an evil person。

  艺术的未来当然属于年轻人,他们更有知识、更有眼界、更先进,我相信这一切都会改变,期许年轻人无论在任何环境压力中,仍然作为一个有理想的人,面对丑陋依然向往美好。艺术是痛苦之花,一定要相信美好的未来,祝福他们愿他们尽快有一个良好的生活环境,清洁的艺术环境。  

  The future of art belongs to young people。 They are more knowledgeable, more visionary and more advanced。 I believe that all this will change。 I expect that young people keep their ideal in any environmental pressure。 They still aspire to beauty in the face of ugliness。 Art is a flower of pain。 We must believe in a bright future and wish them all a good living environment and a clean artistic environment as soon as possible。

  胡向东

  1961年出生于江苏

  1988年毕业于南京艺术学院美术系油画专业

  现生活工作于北京,职业画家

  个展

  2007   “隔膜” 园画廊  韩国首尔

  2006   “隔膜” 北京空间画廊  798艺术区  北京

  群展

  2019  德国北部艺术节  卡而舒特艺术区 德国

  2018  艺术山西“多元。共生”当代艺术展  山西

  “搜神记”当代艺术展  山海美术馆 北京

  2017  “第三种美学” 劳特斯辰美术馆开馆展  798艺术区  北京

  2016  海纳百川壁立千仞,宋庄东区艺术中心,北京

  宋庄空降南京   百家湖美术馆   南京

  “生命之疼未必发生”尤伦思当代艺术中心  798艺术区 北京

  2015  榜样中国—首届大师名家邀请展  宋庄当代艺术文献馆 北京

  第九届宋庄艺术节主题展《万神——中国当代艺术的圣家族》

  宋庄当代艺术文献馆 北京

  2014  “溶”当代艺术群展  斗角美术馆  北京

  2013   隔膜与蓝色液体  望野博物馆  深圳

  “苏区”经验——江苏在京当代艺术家联展  北京

  2012   闳约深美  南京艺术学院百年校庆作品展 中国美术馆

  困顿与延伸——从南京出发 三川当代美术馆   南京

  南京当代艺术年度展“艺术叛徒”美术大展 南京尚东艺术中心

  2011  我信——在宋庄的中国当代艺术 宋庄美术馆  北京

  2010   南京当代艺术年展  南京尚东当代艺术中心  南京

  2008  “北上” 798艺术区  北京

  2007   首届今日文献展  今日美术馆  北京

  “十年一觉”当代艺术展  和静园艺术馆   北京

  “共震”运动视界艺术展 上海当代艺术馆  上海

  “金光大道”当代艺术展   先声画廊    798艺术区  北京

  “无忌当代”艺术展  圣东方画廊   上海

  2006 “转动的夏季表现”  schocni画廊  香港

  “混搭状态当代艺术作品展”   798艺术区  北京

  2005 “临界0工厂艺术展”   798艺术区  北京

  “国际百位艺术家邀请展”那波里  意大利

  2004  “城市与身体当代艺术展”  正对面画廊  北京

  “中国画廊推介即国际画廊邀请展”  北京

  2003  “向前走中国当代艺术展”  NUS博物馆 新加坡

  “九十九幅小画展”  东京画廊  北京    798艺术区

  “今日中国美术展览”  中华世纪坛艺术馆   北京

  2002   广州当代艺术三年展“重新解读:中国实验艺术十年  

  (1990——2000)”  广东美术馆

  “中国当代艺术巡回展”杜伊斯堡   德国(2002-2004)

  罗马当代艺术博物馆 意大利  路德维希当代艺术博物馆

  匈牙利   布达佩斯    彼得哥熙市政厅画廊   波兰   

  马略卡群岛La Llonja  西班牙  

  “一半现代中国当代艺术展” 现代画廊 新加坡

  “建筑实验人,伦理,空间” 文化实验室   天津

  2001  “各自表达”  艺术加油站   北京

  “火红,红火中国当代艺术特展”   红门画廊   北京

  “十字路口” 成都现代艺术馆  四川

  2000  “后物质:当代中国艺术家解读日常生活展”  北京

  “中国当代艺术文献馆”  福冈美术馆   日本

  1999  “中国性格思想食品” 爱恩霍温   荷兰

  跨世纪彩虹——艳俗艺术  天津

  “九九开启通道东宇美术馆首届收藏展”  沈阳

  “酚苯乙烯”  塑料艺术展   北京

  “当代中国艺术展”   苏黎士  瑞士

  1998  “两性平台”  泰达艺术博物馆  天津

  1996  “艳妆生活专题展”   北京

  “现实:今天明天中国当代艺术展”  北京

  1986  “华东六省一市青年美术作品巡回展”

  1985  “江苏青年艺术周现代艺术展”   江苏美术馆   南京

  Hu Xiangdong

  In 1961, born in Jiangsu

  In 1988, graduated from the Oil Painting Major of Fine Arts Department of Nanjing Art College

  Currently live and work in Beijing as a professional painter

  Solo exhibition

  2007 “Membrane” Garden Gallery, Seoul, South Korea

  2006 “Membrane” Gallery Beijing Space 798 Art District Beijing

  Group exhibitions

  2019 Nord Art  Karlsruhe Art District Germany

  2018 Art Shanxi “Diversity。 Symbiosis” Contemporary Art Exhibition Shanxi

  “In Search of the Supernatural” Contemporary Art Exhibition Mountains and Seas Art Museum Beijing

  2017 “The Third Aesthetics” Laotesichen Art Gallery Opening Exhibition 798 Art District Beijing

  2016 All Rivers Run into Sea, A Cliff Rises A Thousand Feet Sheer, Songzhuang East District Art Center, Beijing

  Songzhuang Falls in Nanjing Baijiahu Art Museum Nanjing

  “Living and Dying in Pain: It Doesn’t Have to Happen” Ullens Center for Contemporary Art 798 Art District Beijing

  2015 Model China - the First Master and Famous Artist Invitation Exhibition Songzhuang Contemporary Art Literature Museum Beijing

  The 9th Songzhuang Art Festival Theme Exhibition “Pantheon - From Yuanmingyuan to Songzhuang”

  Songzhuang Contemporary Art Literature Museum Beijing

  2014 “Solution” Contemporary Art Group Exhibition Doujia Art Museum Beijing

  2013 “Membrane and Blue Liquid” Wangye Museum Shenzhen

  “Soviet Area” Experience - Jiangsu Contemporary Artists Exhibition in Beijing

  2012 Hongyueshenmei Nanjing Art Institute Centennial Celebration Exhibition China National Art Museum

  Difficulties and Extensions - Starting from Nanjing Sanchuan Contemporary Art Museum Nanjing

  Nanjing Contemporary Art Annual Exhibition “Art Traitor” Art Exhibition Nanjing Shangdong Art Center

  2011 “I Believe—Chinese Contemporary Art in Songzhuang” Songzhuang Art Gallery, Beijing

  2010 Nanjing Contemporary Art Exhibition Nanjing Shangdong Contemporary Art Center Nanjing

  2008 “Northward” 798 Art District Beijing

  2007 First Today Document Exhibition Today Art Museum Beijing

  “Dream of a Decade” Contemporary Art Exhibition and Jingyuan Art Museum Beijing

  “Joint Vibration” Movement Sight Art Exhibition Shanghai Contemporary Art Gallery

  “Golden Avenue” Contemporary Art Exhibition Xiansheng Gallery 798 Art District Beijing

  “Fearless Contemporary” Art Exhibition, St。 Oriental Gallery, Shanghai

  2006 “Rotating Summer” Schocni Gallery, Hong Kong

  “Mixed State Contemporary Art Exhibition” 798 Art District Beijing

  2005 “Critical 0 Factory Art Exhibition” 798 Art District Beijing

  “International 100 Artists Invitational Exhibition” Napoli, Italy

  2004 “City and Body Contemporary Art Exhibition” Zhengduimian Gallery Beijing

  “Chinese Gallery Promotion& International Gallery Invitational Exhibition”, Beijing

  2003  “Walking Forward” Chinese Contemporary Art Exhibition” NUS Museum, Singapore

  “Ninety-nine Small Painting Exhibitions” Tokyo Gallery Beijing 798 Art District

  “China Today Art Exhibition” The China Millennium Monument Art Museum Beijing

  2002 “Guangzhou Triennial Reinterpretation: A Decade of Experimental Chinese Art (1990-2000)” Guangdong Art Museum, Guangzhou

  “China Contemporary Art Tour Exhibition” Duisburg Germany (2002-2004)

  Rome Museum of Contemporary Art, Italy Ludwig Museum of Contemporary Art

  Hungary Budapest Bydgoszcz City Hall Gallery Poland

  Mallorca, La Llonja, Spain

  “Half Modern Chinese Contemporary Art Exhibition” Modern Gallery Singapore

  “Building Experimenter, Ethics, Space” Cultural Laboratory Tianjin

  2001 “Respective Expressions” Art Gas Station Beijing

  “Fire Red, Red Fire Chinese Contemporary Art Exhibition” Red Gate Gallery Beijing

  “Crossroads” Chengdu Modern Art Museum Sichuan

  2000 “Post Substance: Daily Life Interpretation Exhibition of Contemporary Chinese Artists” Beijing

  “Documentary Exhibition of Contemporary Art” Fukuka Art Museum, Japan

  1999 “Chinese Characters: Food for Thought” De Wette Dame, Eindhoven, The Netherlands

  Cross-century Rainbow - Kitsch Art Tianjin

  “99 Open Channel Dongyu Art Museum‘s First Collection Exhibition” Shenyang

  “Phenol Styrene” Plastic Art Exhibition Beijing

  “Contemporary Chinese Art Exhibition” Zurich Switzerland

  1998 “Bisexual Platform” Art Exhibition, Taida Art Museum, Tianjin

  1996“Gaudy Life” Exhibition Beijing

  “Reality: Today and Tomorrow China Contemporary Art Exhibition” Beijing

  1986 “Exhibition Tour of Youth Art Works in Six Provinces and One City in East China”

  1985 “Jiangsu Youth Art Week Modern Art Exhibition” Jiangsu Art Museum Nanjing    

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