High Life

HIGH LIFE 27 他在澳门的一次公开讲座中提 及此事：“这件事其实给了我很多 反思。由于美国在动物保护领域的 政治正确，限制了艺术家的表达自 由。其实在任何一个地方，都有当 地的政治正确来对你的作品进行限 制。但不管在哪里，都得懂得怎样 使用和转换这种限制而获得更大的 创造力。而怎样把限制性运用好， 这是艺术家的能力。” 这其实也代表着徐冰一贯的创 作态度，即他所在意的并非艺术本 身，而是如何把“社会现场”的能量 和“社会创意”的启示转化到艺术创 When he arrived in Macau recently, Xu, who was caught in the middle of the uproar, showed surprising calmtowards this incident, perhaps because it was not the first time his work had been received in this way. When Xu first exhibited his most renowned artwork, Book from the Sky , in 1988 in the National Art Museum of China, it provoked controversy both inside and outside China’s art world and was criticized by official Chinese 造当中来。紧紧抓住时代，发掘“社 会现场”的创造力，为徐冰在艺术 创造上提供了源源不绝的动力。 出生于1955年的徐冰现任中 央美术学院教授、博士生导师，目 前在北京及纽约两地工作和生活。 他的作品曾在纽约现代美术馆、大 都会博物馆、英国大英博物馆、法 国卢浮宫等多个世界知名艺术机构 展出，亦多次受邀出席威尼斯双年 展、悉尼双年展等国际展。 在徐冰三十多年的创作生涯中， “文字”是其诸多多元创作之中脉 络比较清晰的一个线索。文字既为 徐冰的创作提供了资源，又是他创 作的主题。 这次澳门展以“徐冰的文字” 为主题，展示了艺术家的重要创作 三十件套，以及艺术家在通向这些 成功作品的路上所做的相关实验、 勾画的草图，试图在主线和其他各 种线索的多维性基础上，为观众梳 理出一个脉络。当中部分展品此前 甚少展出。 此次展览不仅向观众展示一个艺 术家多年来的艺术创作成果，同时 立体呈现了徐冰艺术创造的逻辑思 维。多件徐冰具代表性的大型装置 media. However, it was this same work that quickly appeared in exhibitions overseas and allowed Xu Bing to rise in the international art world during the 1990s. Xu mentioned this in a public talk in Macau. “This fact actually made me rethink a lot,” he said. “Due to the political correctness of the United States in thefieldof animal protection, the freedomof expression of the artist has been limited. In fact, this could happen in any other place where local political correctness could limit your work. However, no matter where, one has to know how to use and convert this restriction to gain greater creativity and it is the artist’s ability to apply the restrictionwell.” This actually represents Xu’s consistent creative attitude in that what he is concerned about most is not the art itself, but how to transform the energy of the “social scene” and the enlightenment of “social creativity” into the creation of art.