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后中国制造
黄岩
中国对西方的影响在近代史上有两次高潮,一次是1800年前后，那时中国的哲学、老子的思想、孔子的思想、禅宗的思想开始陆续给介绍到欧洲，这直接的影响了欧洲的思想价值体系，从欧洲思想的启蒙运动到阿瑟•叔本华Arthur Schopenhauer，再到弗里德里希•威廉•尼采 Friedrich Wilhelm Nietzsche都间接的受到了东方哲学的影响，那时中国在西方思想家眼中是一片净土，中国被很多西方思想家描述为一只睡狮，可以说这时的中国在西方人眼中，思想和社会是分离的，思想直接影响了他们的文化和哲学，社会却是落后的，甚至是没落的，这和马可波罗到中国时的境况简直有天壤之别。
同样今天的中国在西方人的眼中也是思想和社会分离的，只不过今天是反过来的，今天西方人把中国描绘成一个制造业大国和巨人，而形容中国的文化艺术却是一个侏儒，在两百年的时间里，西方人一直在误读中国，不过这刚好说明中国发生了什么，西方人在社会学层面接受了中国做为一个经济巨人的崛起，但他们并不了解中国在30年的时间里从小农经济到后工业社会的转型，这从中国内部看很大一部分都源于中国自己创造的“自助经济”模式，就是“温州模式”。它的经济模型是保留传统手工业中的家庭制造,而将家庭作坊生产的产品换成一种产品，以县为单位，通过政府的公司化运作，形成托拉斯企业的生产格局，再以先进的信息传播和外销手段来完成一种中国式的后工厂制造工业，这既解决了传统务农人口的外流，又在原地完成了生活方式到消费方式的巨变。
艺术也一样，这就是“圆明园模式”，它和“温州模式”很相似，我称之为一种自助艺术的模式，外省艺术家聚集圆明园的现象很象中国早期民营企业中的个体户现象，因为扎堆，这就形成了规模效应，在中国还没有当代意义上画廊的时代，“圆明园现象”就是“温州现象”的一个缩影，它一方面吸引了西方媒体的眼球，另一方面也打造了中国第一批本土的职业艺术家。可以说圆明园在中国艺术史上有两个不同于西方的制造，一是：职业艺术家不是产生于画廊，而是产生一种艺术聚居；二是：当代艺术中心不是在城市中心，而是在城市的城乡结合部，或者就是乡村里面，这都是中国制造，后中国制造。
北京从1989年前后，艺术家进驻圆明园，到2007年成为亚洲的艺术中心。只用了18年的时间，完成这一系列艺术事件与艺术革命的经济模式就是“圆明园模式”。这期间经历了艺术东村、上苑艺术村、小堡艺术村、宋庄艺术区、费家村艺术村、索家村艺术村、798艺术区、环铁艺术区、草场地艺术区、长店艺术区、1号地艺术区等等。外省象重庆的坦克艺术区、上海的莫干山艺术区，成都、昆明、广州、济南都相应的有类似“圆明园模式”的艺术区，这就是一种“后中国制造模式”，一种“艺术根据地模式”，一种“自助艺术的模式”，一种“艺术家休养生息的模式”，一种中国“低成本制造艺术的模式”，总之中国当代艺术在18年的时间里，在政府没有买单的情况下，通过艺术家自助的“圆明园模式”，完成了这场艺术巨变。
由北京BS1当代美术馆、北京皇城艺术馆、上海多伦当代艺术中心、北京国艺艺黄亚洲当代艺术博物馆、上海东廊、北京玛斯德比当代艺术中心、北京亚洲艺术公社联合发起的“北京BS1当代美术馆2007年度艺术提名展”，是众多美术馆搭建的一个艺术、学术平台，以 “圆明园模式”为学术课题，推举那些本年度有创造力的艺术家。本年度提名的40位艺术家，他们在材料上跨油画、水墨、雕塑、装置、摄影、Video、行为等很多艺术领域，年龄也是老、中、青三代，可以说都是中国当代艺术这几年非常活跃且有代表性的艺术家，包括这两年迅速崛起的独生一代艺术家群落，这也是中国第一次几家美术馆联手搭建美术学术建设的一次跨界的重要尝试。
Post-made-in-China
Huang Yan
There are two upsurges of Chinese philosophy influence on the west in modern history. One is around 1800 when Lao-Tzu, Confucius and Zen started to be introduced to Europe and directly had influence on European value system. One way or another oriental philosophy left far-reaching impact on European philosophy, ranging from Enlightenment Movement to Arthur Schopenhauer and Friedrich Wilhelm Nietzsche. At that time in many occident thinkers’ description China was a pure land and a sleeping lion; in their vision Chinese philosophy was viewed separately from the society; the former directly influenced European culture and thoughts, while the latter was backward, downfallen and had a world of difference with the China in Marco Polo’s eyes.
The situation didn’t change a bit today only with reversed content that China is described as a manufacturing giant on one hand, and on the other a dwarf in culture and art. That China is being interpreted as such for two hundred years explains something is going on in this country. The west has acknowledged the rise of the nation as an economic giant but they know very little about Chinese socio-economic transformation from a country based on small-scale peasant economy to post-industrial society, to be precise, to “DIY Economic Mode” and “Wenzhou Mode”, which is home-based manufacturing pattern inherited from traditional handicraft industry. Utilizing governmental resources, those home-based workshops in each county become corporate trusts and develop into manufacturing industries with the help of advanced communication means and overseas sales strategies. This economic mode not only stopped the out-migration of farming population, but also fulfilled the transformation of consumption mode and way of living in those places.
Art is also the same. “The Old Summer Palace” mode is similar to “Wenzhou Mode”. I’d call it Help-yourself Art Pattern. The phenomenon that artists from provinces gather in the Old Summer Palace appeared to be very much similar with private business ventures of early civilian-run enterprises in China. A large number of artists live in a compact community and draw much media interest from the west. It nurtured the first group of professional local artists in China. At a time when there is still no gallery in truly contemporary sense, the Old Summer Palace phenomenon has to be “Wenzhou Phenomenon” in miniature. “The Old Summer Palace” mode in art history differs from the west in that: first, professional artists didn’t grow out of galleries, but out of the artists’ compact living community; second, contemporary art center didn’t situate in the heart of city but in urban-rural fringe, or in villages. This is what I mean by Made-in-China, or Post-made-in-China.
Artists entered the Old Summer Palace area around 1989. Thanks to “the Old Summer Palace” mode it only took Beijing 18 years to go through a series of art renovations and art events, and become art center of Asia in 2007. Many artist communities emerged in Beijing during this period, among them Beijing East Village, Shangyuan Artist Village, Xiaopu Artist Village, Songzhuang Artist Community, Feijiacun Artist Village, Suojiacun Artist Village, 798 Art District, Ring Subway Art District, Caochangdi Art District, Changdian Art District, A-Land Art Area, etc.. In provinces situated away from the capital, art communities similar to “the Old Summer Palace” mode can also be found in Chongqing Tank Loft Art Center and Shanghai Moganshan Art Area, and in other cities, Chengdu, Kunming, Guangzhou, Jinan, as well. I’d name it as “post-made-in-China” mode, “art base mode”, “help-yourself art mode”, “artist residence mode”, or “low-cost art mode”. In general totally relying on the artists’ own resources Chinese contemporary art went through this turbulence without any financial support from the government within 18 years.
BEIJING BS1 CONTEMPORARY MUSEUM 2007 NOMINATION EXHIBITION is held in association with Beijing BS1 Contemporary Museum, Beijing Art Museum of Imperial City, Shanghai Duolun COCA, Beijing Guo Yi Yi Huang Asia Contemporary Art Museum, Shanghai Eastlink Gallery, Beijing Must Be Contemporary Art Center, and Beijing Asia Art Community. Based on the academic subject of “the Old Summer Palace” mode it aims to provide an academic and art platform for creative artists of the year. The exhibited art works by 40 artists nominated this year vary in materials and categories covering oil painting, ink and wash painting, sculpture, installation, photography, video, and happening. The artists selected featuring the old, mid-aged and young generations of three, including the art community “single child generation”, are very active and representative in recent years. This exhibition is also a tentative move in constructing academic scene of art by the combined efforts of several cross-regional museums.
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