Decmber 31st is a monday, What a shame there is no exhibition !
十二月三十一日星期一，没有展览多可惜！
Decmber 31st is a monday, What a shame there is no exhibition !
2018.12.31-2019.1.10
策展人: 高宇、付帅、李泊岩
艺术家: anusman、ト云军、蔡雅玲、崔博、戴建勇、董师、高露迪、高索都、高岩、葛辉、葛雅静、何利平、何情、胡佳艺、胡庆雁、胡为一、鱼与渔无意识小组、黄山、黄焱琳、贾淳、李燎、梁曼勇、龙星如、卢冬晴、洛鹏、罗苇、马力蛟、马良、马玉江、毛韬、牛文博、秦铃森、仇佳、任波、任瀚、石青、寿盛楠、司马源、孙存明、孙亚飞、童垚、王轩鹤、王智一、杨欣嘉、杨健、杨义飞、姚清妹、耶苏、袁越、张佳星、张嗣、张悦群、张云峰+张田宇、张永基、张钊瀛、郑敏、周姜彬、宗宁
CURATORS: Gao Yu， Fu Shuai， Li Boyan
ARTISTS: anusman， Bu Yunjun ，Cai Yaling， Cui Bo， Dai Jianyong， Dong Shi， Gao Ludi， Gao Suodu， Gao Yan， Ge Hui， Ge Yajing， He Liping， He Qing， Hu Jiayi， Hu Qingyan， Hu Weiyi， Fish（ing）Unconscious Cooperation（FUC）， Huang Shan， Huang Yanlin， Jia Chun， Li Liao， Liang Manyong， Long Xingru， Lu Dongqing， Luo Peng， Luo Wei， Ma Lijiao， Ma Liang， Ma Yujiang， Mao Tao， Niu Wenbo， Qin Lingsen， Qiu Jia， Ren Bo， Ren Han， Shi Qing， Shou Shengnan， Sima Yuan， Sun Cunming， Sun Yafei， Tong Yao， Wang Xuanhe， Wang Zhiyi， Yang Xinjia， Yang Jian， Yang Yifei， Yao Qingmei， Ye Su， Yuan Yue， Zhang Jiaxing， Zhang Si， Zhang Yuequn， Zhang Yunfeng＋Zhang Tianyu， Zhang Yongji， Zhang Zhaoying， Zheng Min， Zhou Jiangbin， Zong Ning
风水宝地空间,天津市宝坻区京津新城辛庄子村北街6号
Auspicious Baodi Space, No.6 Xing Zhuang Zi Village, Jingjin New City, BaodiDistrict, Tianjin,China
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001 从《1844年经济学哲学手稿》到《剩余价值理论》，马克思近乎完备地探讨了艺术生产的一般规律和历史、资本之间的关系。对生产理论的接受，使得艺术愈发趋向于通过人类学、政治经济学等视角进行切入社会现实。艺术生产的效率和效益，与大众劳动是否增长有着密切的关系。因此，我们长时间里接受的“认真”的态度，在经济起伏的年代，会被某种打破常规的态度所颠覆和取代。让艺术家应付一个作品和让艺术家认真对待一个作品，两种看似对立的态度都体现了特定的创作思路、态度乃至于观念。“应付”作为一种更加开放和自由的态度，有可能打破艺术家惯常的思维路径，取消作品的结构闭合以及观念闭合，也就有可能在作品中泄露更多意想不到的秘密和意义。故而，应付的态度看似内涵着一种“反艺术创作”的目的性，其最终的指向却是一种“消极的创造力”。
002 现代生活的革命和裂变，要求我们在时间进程的坐标系上，制定不同的刻度以方便我们感知、理解特定的时间结构，并以此为依据进行各种生产和生活的实践。当我们被迫以某种仪式性的划分方式来明确漫长时间的阶段性时，我们事实上是在时间本质那荒芜的、动荡的和不可控的“实在”洪流中，努力树立一个个意义的木桩，以铭刻我们某种“有意义”的存在，从而逃离来现实生活那虚无和空洞的焦虑。一年的最后一天、一年的第一天和其他的日子一样，本质上并无区别。一个日期在被确定的那一刻起，就成为无需也无从解释的超级能指。至于艺术界，每一年的最后一天，画廊、美术馆和诸多艺术机构，都会发送一些迎接新年的宣传，这事实上是一个无关艺术的动作。某种“可惜”的感觉，在最后一天和失落和新年的喜悦中快速转换。
003 当今的艺术环境，并不能用一种标准或特质进行表述概括，商品化这一趋势在今天似乎也不是那么准确了。或许，“模糊”才是一个恰如其分的概念，模糊可能就是这个环境未来的常态。这个时代的作品兼具某种精致模仿或粗糙对抗的特质。艺术实践作为人们口中的趋向于自律的存在，事实上在今天日益滑入非自律的深渊。这个时代没有什么真正自律的行为与实践。我们都生活在“第二自然”里，在这个世界中最自律和自足的东西叫做资本。在当下艺术环境中，为了艺术的持续生产，并将其意义铭刻于历史坐标中，某种共有的行为习惯将“认真地应付”抬举为一条当代铁规。应付，恐怕也是对当下艺术环境的一种解读。艺术的困境更多地表现为，面对现实生活中某种不堪的境况，却无力反抗甚至无力反应的妥协。这种无力感，是难以应付的。
004 《十二月三十一日星期一，没有展览多可惜！》或许会呈现某些相似情况，比如：临时的、随机的、非物化的……普遍的现象和问题需要一定体量的样本才能说明问题。本次展览能够将面对问题的或趋同、或冲突的态度和立场压缩在同一时空，他们在相互的关系中自然呈现左右和沉浮，从而将问题本身雕刻成为一个多面体，这就向我们呈现出探讨问题的不同切面和角度。从方案阶段之后的艺术创作，是一个将意义及观念逐渐锁定和固定的阶段。尽可能去除这一最有活力和活性的阶段之外的形式和仪式约束，努力为观念保鲜。如同菜品在出锅之后，摆盘上桌之前的那段充满期待的真空，是意义和期待爆发的阶段——小聪明算不算艺术？点子算不算艺术？一个简单的回应算不算艺术？艺术还有什么不能表达的吗？意义和观念的生产和呈现逻辑既存在于理性中，也存在与非理性中，既存在于所谓的认真严肃中，也存在于嬉笑怒骂中。探讨的重点在于应付作为一种观念，而不单单是对应付的惯常价值判断。一句话：没有应付的艺术，只有看待和阐释艺术时，应付的眼光和头脑。
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001 From Economic and Philosophic Manuscripts of 1844 to Theories of Surplus Value, Marx discussed the relationship between the general law and history, together with capital, in art production. With the acceptance of production theory, it makes art tend to approach life from the perspectives of anthropology, political economy, etc. Productivity and efficiency of art production is closely associated with the growth of public labour. As a result, the seriousness, having been accepted for long, is being undermined and replaced by some non-conventional attitude in the era of economical ups and downs. To deal with work and to treat work seriously, these two seemingly contradicting attitudes reflect certain creative thinking, attitude and even concept. To-deal-with, as a more open and freer attitude, has the potential to break through conventional thinking path commonly used by artists, abolishing the closed structure and concept, and make possible the revealing of unexpected secrets and significance in work. Although the attitude to-deal-with seem to harbour an anti-art making intention, ultimately it points to a kind of passive creativity.
002 The revolution and fission of contemporary life requires us to mark differently the coordinate system of time, in order to perceive and understand the structure of time and carry out various production and life practice accordingly. When we are forced to mark the passage of time in a ceremonial way, what we are doing actually is to erect stakes of meaning – one after another, in the torrent of time, which is arid, turbulent and uncontrollable – as a means to escape from the emptiness and anxiety in real life. The last or the first day of a year is the same as any other day. There is no fundamental difference among them. A date becomes a super signifier, which is unexplainable, yet does not need to be explainable. In the world of art, in the last day of every year, galleries, art museums and other art organizations would send out their propaganda for the coming year, which is in fact an unrelated activity to art. Some sense of melancholy would transfer quickly from the blues of the last day into the joy of the new year.
003 Currently art environment cannot be summarized under a criteria or by one character, neither can commodification describe it accurately. It is possible that ambiguity is an apt concept. Ambiguous might be the normality in this environment in the future. Artwork in this era has features of certain exquisite imitation or resistance against crudeness. Artistic practice, regarded as autonomy by the public, is slipping into non-autonomous abyss. Real autonomous behaviour and practice does not exist in this world in this era. All of us live in the second nature. In this world, the most autonomous and self-sufficient thing is called capital. Under the current circumstance, to continue with art production and mark its significance in the coordinate of history, to-deal-with-seriously has been raised to the status of an iron rule by particular shared habit. To-deal-with is probably an interpretation of contemporary art environment. Art’s predicament is manifested as compromise resulted from the incapability to resist, or even to react. This sense of incapability is hard to deal with.
004 Decmber 31st is a monday, What a shame there is no exhibition! might present something similar, for example: impromptu, random, non-material … pervasive phenomena and problems need samples of certain size to make sense. This exhibition compress convergent and contradictory attitudes and standpoints, as responses to problems, in the same time and space. They swing and vicissitude in the manifestation of their relationship. Therefore the problem itself becomes a polyhedron, with different tangents and perspectives from which we can approach the problem. The artistic creation after the planning stage is a phase to lockdown and immobilize meanings and concepts. It is the purpose to remove as much as possible the constraints of ritual and ceremony on this most energetic and lively phase and to keep the concept fresh. Similar to the vacuum period, filled with expectation, while a dish is done and waiting to be put in a plate and presented on a table, it is the stage where meaning and expectation is exploding. Do petty tricks count as art? Are ideas regarded as art? Is a simple response deemed art? Is there anything that art cannot express? The production and manifestation logic of meaning and concept resides in both rationality and irrationality, in both seriousness and frivolousness. The focus of the discussion is that to-deal-with should be considered as a concept, instead of a value judgement. To sum up in one sentence: there is no art made by to-deal-with, but tastes and brain that deal with art in viewing and interpreting.
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