Taking An Unconventional Approach
Zhao Li

PIFO in Chinese refers to unconventional techniques in sword fighting.
And associated with the word are mostly that cunning and spry intelligence and insights beyond expectation.
The past saw the art world rushing to position themselves as the mainstream, including even the most marginal, and nothing better describes this than "better be the tail of a lion, than the head of a dog".
And that is the way of the Chinese.
Therefore, PIFO, the unconventional, is perhaps not a good word to many Chinese – nothing but the equivalent of taking the unorthodox route or the shortcut. Another phrase in ancient China, Zen of the Wild Fox, has almost the same derogatory meaning.
But Wang Xinyou certainly does not believe in that. A folk from Manchuria, he prefers the word and names his art space with it.
For him, the reason to do so is not simply for rhetoric novelty, nor a promotional pretension to attract eyeballs. Rather, it is because the word PIFO itself is so relevant to what he wants to do.
What Wang Xinyou wants to do is clearly and explicitly stated, that is to promote young artists and to promote the Young Art as he terms it.
In his judgment, the mainstream art circle of today has become mediocre in many aspects, and those so-called popular images are nothing more than unlimited reproductions and copies.
Thus, the new value could mostly easily be found in new artistic creations, and the new art creators would naturally be those with a young heart for art.
And the signification of PIFO therefore lies in encouraging originality and advocating the pursuit of the new and change through betrayal of the Conventional Approaches of today.
"To be together " is a vision of PIFO New Art Studios, which, in their own words, means "staying together and growing together".
In this age of "slogans flying everywhere" and "the words sounding better than singing", any brave talk may discolour very shortly.
However, on the stage of the PIFO Studios, Wang Xinyou did construct a platform for annual exhibitions such as A+A and Painting and Handwork, and for other series exhibitions for regional new art and experimental ink painting.
And A+A may best demonstrate PIFO's boldness and determination to take an unconventional approach.
In A+A 2006 are displayed the works of nine young artists, including Wu Didi, Xiao Jin, Ma Ke, Xi Danni, Wang Fei, Fang Tianyuan, Feng Shuo, Wu Haizhou and Lin Xiaochu.
A+A 2007 not only witnessed the rise of the number of participating artists to twenty – Xiong Yu, Wei Jia, Fan Mingzheng, Song Kun, Wei Yan, Ma Ke, Kang Haitao, Liu Zhiyi, Wu Di, Fang Tianyuan, Wu Jian'an, Wu Haizhou, Wu Didi, Xi Danni, Shao Kun, Zheng Li, Shen Hua, Lin Xiaochu, Tao Lei and Tony, but also the expansion of the territory of art production to involve oil painting, Chinese painting, mixed media, photography and video art. It also pioneered a mechanism of tour exhibition in art schools in Beijing, Chongqing and Chengdu.
A+A 2008, as we expect it, will lead this annual event to the third year with fifteen artists: Liu Zhiyi, Liu Wentao, Wu Di, Wei Jia, Zhou Wenzhong, Kang Haitao, Li Hongjun, Xiong Yu, Wang Guangle, Fan Mingzheng, Tan Jun, Wu Jian'an, Shao Kun, Wei Yan and Huang Yang.
As a matter of fact, A+A aims at realizing the vision of PIFO, hence it focuses more on new artists who stay away from popular images and repetitions, and who highlight originality, pursue the new and change and believe in artistic freedom and autonomy.
The participating artists of A+A are usually equated with audaciousness and courage, and they have become a pronoun for the Future and Development.
Even if one does not have access to the full picture of their art, their creations, both sensitive and touching, have impressed us deeply. And in the near future, these works may be recognised as the most important visual evidence to this age.
Academic training is undoubtedly a most important link in the growth of these young artists.
Yet, the wall of the academy could not restrain them from actively taking part in the high tides of contemporary art, nor could it restrict them from having their own judgment to the radically changing and conflicting society and culture.
They do not value the storming manner of stylistic advancement, nor the superficial formal revolution. They are no more content with hiding personal value behind an empty Ism or Slogan and showing only scornful smiles, nor with repeating the old masters or making a gesture of looking Forward or Backward.
They, taking the same initiative by coincidence, put the weight on the narrative of sheer personal experiences. They credit individuality, regard individual style as a different path distancing from that of others, and by and large see it as the ultimate principle in artistic creation.
In their works, individualistic look and formal language are no more tricky and hollow concept or guise, but real stylistic advancement.
As such, their creations probably will become the future icon of Chinese contemporary art, and probably will grow into the future trend of Chinese art.
In 2008, these artists seem to be undergoing some similar and noticeable changes, which, as time goes by, is gaining a stronger momentum.
Because, art is eventually becoming an idea relevant to their exploration, stance, life and position;
Because, through art they are intentionally constructing a new cultural intelligence of the 21st century.
Given more time, new cultural significances with higher values will one day be born from it.
More evidence from social public spaces are bearing witness that their creations have caught the attention of the public; that their creative ideas have also created connoisseurs of their own. And these public groups are taking shape because of the power emitted from their artistic idea.
I do not think that PIFO is deliberately taking a stance, nor do I think that the art world has become a realm dominated by Darwinism, even though most are inclined to believe that the Present is better than the Past, and the Future is inevitably a transcendence of the Present.
In fact, the effort of PIFO is more like an expectancy to Tomorrow rooted in Today. It makes everything look real, as if within easy touch.
And A+A and other exhibitions and events always promise a future we expect.
It may even achieve more than what we expect, so much more that we might be dazzled and have to endeavour to adapt to such inestimable changes.
 
势出偏锋
赵力

“偏锋”，出典于“剑走偏锋”。
与这个词联系在一起的，多是那种狡黯灵动的智慧、那种出人意外的胆识。
在过去，美术界往往争先恐后地以主流自居，即便已是边缘不堪，也要挤在主流之中，可谓“宁为牛后，不为鸡口”。
其实中国人就是如此。
因此，“偏锋”在很多人心目中也许并不是一个什么好的词汇，或许就等同于“捞偏门”、“走捷径”罢了，中国文言文中的“野狐禅”也大体就是这个意思。
王新友，肯定不信这个。来自东北的他，偏偏喜欢这个词汇，并用“偏锋”来命名自己的艺术空间。
在他看来，这样做的理由不是纯然为了语汇意义上的标新立异，也不是为了吸引眼球而达到宣传功效的扭捏作态，而是“偏锋”这个词汇与他要做的事情可谓是“贴切得紧”。
王新友想做的事情，其实非常的“旗帜鲜明”，就是要着力推动年轻艺术家，力推他所主张的“年轻艺术”。
因为在他眼中，当今的艺术界主流，许多方面业已庸庸碌碌，而那些所谓的流行图像，无异于无限重复的翻版制作。
因此，新的价值必然存在于新的艺术创造之中，新的艺术创造者也必定属于艺术心态年轻者。
而“偏锋”的意涵，即是通过对当下所谓“正锋”的背叛，去倡扬以原创为宗旨的求新求变。
“To be together”，是“偏锋新艺术空间”的一个理念，正如他们所言，这意味着“我们在一起共同成长！”
在当下这个“口号满天飞”的“说的比唱得好听”的时代里，任何的豪言壮语都可能会变得黯然失色。
然而，基于“偏锋”的平台，王新友确实是踏踏实实地搭建起了“A+A”、“图画手工”等年度展览平台，也推出有关地域新艺术、水墨新尝试等系列展示活动。
其中的“A+A”，或许最能体现“偏锋”势出偏锋的那种锐气与勇气。
2006“A+A”，展示了吴笛笛、肖进、马轲、席丹妮、王斐、方天园、冯硕、吴海洲、林笑初，9位年轻艺术家的作品。
而2007“A+A”，则不仅在参展人数上进行了“扩容”，增加到了20位参展画家——熊宇、韦嘉、范明正、宋琨、魏言、马轲、康海涛、刘志懿、吴笛、方天园、邬建安、吴海洲、吴笛笛、席丹妮、邵鲲、郑力、沈桦、林笑初、陶磊、Tony等，也在艺术创作的领域上“开疆辟土”——涉及油画、国画、综合材料以及摄影录像新媒体艺术等诸多的方面，更在展览机制上实现了在北京、重庆、成都三地美术院校巡展的先例。
期待中的2008“A+A”，将这个年度的展览机制延续到了第3个年头。展览将由15位年轻的艺术家参展，他们是刘志懿、刘文涛、吴笛、韦嘉、周文中、康海涛、李红军、熊宇、王光乐、范明正、谭军、邬建安、邵鲲、魏言、黄洋等。
事实上，“A+A”的宗旨就是对“偏锋”理念的有效落实，因此它更强调对新艺术家的推荐，远离流行图像，远离重复，重视原创，求新求变，信奉自由自律。
“A+A”的参展艺术家，往往与“无畏”与“有勇气”划上等号，同时他们也正在成为“未来”与“发展”的代名词。
即便我们无法完整掌握他们的艺术全貌，但是他们的创作既敏感又动人，给我们留下了深刻的印象，而在不久的将来，这些作品很可能会被公认为是这一时代最重要的视觉证据。
美术院校的正规训练无疑是这些青年艺术家成长中的重要一环。
然而学院的围墙，既无法羁绊他们对当代艺术澎湃潮动的积极参与，也无法束缚他们对社会文化激变冲突的自我评判。
他们，并不推崇那些疾风暴雨式的风格推进，或表面化的形式革命；不再满足于将个人的价值，隐藏在空泛的“主义”或“口号”下面的“丝丝冷笑”；不再满足于复述“先贤”，或表明“前进”的或“向后看”的姿态。
他们，不约而同地强调完全个人经验的叙述，张扬个性，视个人的风格为一种与他人相疏离的“另辟蹊径”，并将其最终转化为艺术创造的首要原则。
在他们的作品中，个性化的面貌与形式语言，不再是取巧而空洞的观念或故作姿态，而是具体落实的风格推进。
藉此，他们的创作，不仅有可能成为中国当代艺术的未来代表，也有可能成长为中国艺术的未来潮流。
在2008年，这些年轻的艺术家，似乎已经出现了某种不约而同而显而易见的转变，而随着时间的移转，这种转变越发地具有了力度。
因为，艺术渐渐成为了一种关乎他们的志向、姿态、生活与立场的观念；
因为，通过艺术，他们还在刻意营造一种关乎21世纪的新文化知性。
如果假以时日，总有一天会从中会生成出更具价值的新的文化意义。
来自社会公共空间的更多证据已经表明：他们的创作唤起了公众的注意；他们的创作观念也创造出了属于他们的欣赏群体。而这些公众群体，更因他们的艺术理念所产生的力量而不断集聚成形。
我不认为“偏锋”仅仅是在刻意取势，我也不认为艺术界已经成为了“达尔文主义”的天下。即便绝大多数的人们可以相信，“现在”胜过“过去”，而“未来”必然是对“现在”的超越。
事实是“偏锋”的努力，更像是立足于“今天”而对“明天”的某种期许，它让一切变得真实起来了，仿佛触手可及。
而“A+A”以及其它的展览活动，也总是在承诺着我们对未来的期许。
甚至，它所实现的还要比我们期许的更多，以至于让我们眼花缭乱，不得不竭力去适应这样无法估量的变化。