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李蔼德
作为文章的前言，我想说明一下，虽然我在中国当代艺术界积累了一些经验，但为这次展览做的前期准备是我第一次与中国学院系统进行的持续接触。这篇文章则是我对这一体验的初步回应。
今年新视觉展的参展作品选自中国八大美院绘画系的学士、硕士生毕业展。毋庸置疑，我对这些作品充满期待，毕竟它们的作者理论上将构成中国艺术界的未来。可惜的是，满足这一期待的作品虽未匿迹（其中一些将出现在新视觉展上），却也寥寥无几。宏观看来，各大毕业展中的作品在艺术实践上都稍显保守，我猜测这种保守主义与推进学生艺术创作的美术院校不无关系。其中，具有批判性的艺术实践是最为关键的缺失，在我看来这却正是艺术院校应当展示出的成果。
Shenzhen OCT Contemporary Art Terminal (OCAT), Building F2, Enping Road, OCT, Nanshan District, Shenzhen
21 May – 21 July, 2013
How far do we pursue the artists’ conceptions in their work, following the lead they provide, making an assumption that the work wishes to communicate with its audience? If the work proves too difficult to relate to, or reticent in its engagement with the audience, where do we draw the line past which we are unwilling to go in our investigation of the work?
At OCAT in Shenzhen, Wu Shanzhuan and Inga Svala Thorsdottir present two rooms holding large-scale, but simple in form, installations. These are accompanied by a series of 9 drawings on A4 sheets of gridded paper showing the progressive development of the forms used in the installations. These works follow on from previous presentations of the artists’ personal theory of forms, in this case focusing on a composite form which they call “Little Fat Flesh,” which is a combination of multiple arcs of circles, forming a unique shape, somewhere between a circle and a square.