[English text below]
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。
Guangdong Times Museum, Times Rose Garden, Huang Bian Bei Lu, Bai Yun Da Dao, Guangzhou, China
29 July – 11 August, 2013
As the various flavours of institutional critique have now become “institutionalised” as part of the practice of contemporary artists, One Step Forward, Two Steps Back curated by Biljana Ciric at the Guangdong Times Museum in Guangzhou aims to reassess the origins, methodologies and effects of this practice.
It can be said that One Step Forward… builds on the work of the curatorial team within the Times Museum (and those of its invited curators) since its formal opening in 2009. They have approached their practice with a self-awareness that has consistently led to exhibitions, symposia, and publications that have productively investigated the ideas and roles of the institution as a structural body within the art system – in a way performing their own institutional critique through their daily work.
This exhibition deliberately moves the focus away from a canon of western artists associated with the development of institutional critique, onto artists and groups from other parts of the world who develop out of it and/or trace parallel trajectories to it.
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