参展艺术家：曹晖, 桂杨帆, 李卓, 罗荃木, 漥田美树, 瞿广慈, 王孟飞, 尹朝辉, 尹朝阳, 尹朝宇, 张洹, 朱浩, 宗宁
Artists: Cao Hui, Gui Yangfan, Li Zhuo, Luo Quanmu, Kubota Miki, Qu Guangci, Wang Mengfei, Yin Zhaohui, Yin Zhaoyang, Yin Zhaoyu, Zhang Huan, Zhu Hao, Zong Ning

Opening

Opening up ourselves is to give ourselves a mirror, we reflect ourselves through seeing others.

The former Chairman of the U.S. Fed Alan Greenspan believes that the avalanche of the Soviet Union was because of the open policy of Mikhail Gorbachev, which allowed the people of Soviet Union experiencing freedom. The pursuit of free market, open international trade and global financial operation of China has facilitated the burgeoning of democracy in a freer Chinese society. Being influenced and influential, transformed and transformative at the same time, China has entered a new stage that relies more on international exchange and is anticipated to face and accept more changes as well as motivated to change.

The development of Chinese contemporary art, after impacted by so many tides after opening up, has gone far away from the aesthetics in the eighteenth century. What taken as deviant by philosopher Immanuel Kant has become the motifs of contemporary art: resentment, shame, terror and nuisance. In the beginning of the twentieth century, art debates have broken away from the competition of aesthetics but the battles over political standings. Taking up political views in their art became the way for artists to be independent to the society they disdained.

Today, as more and more art agents from Europe and America are joining the Chinese art market, contemporary Chinese art has much more exposure in the international arena. Artists, standing in the intersection of cultural conflicts and an overly heating market, are struggling between devoting more in their art or participating in the short-term speculation.

On the other hand, China's open policy in the 1990s has brought up many international events for Chinese artists who, boldly face the sea change, also demonstrate their influential power in the international art scene. How much nutrition they have absorbed through a more open society? Do we (they) understand ourselves (themselves) better because of it?

Aesthetics becomes a procedure of making choice in contemporary art, so does “opening up”. The much too fast growing due to open door policy has significantly shortened our time for contemplation, and we are still in need of the wisdom once the growth halts. Not everything for opening up is in favor of us; there are positive and negative sides, and nothing is guaranteed.

The exhibition “Opening” curated by the Aura Gallery in August aims to investigate the impacts over individuals in an opening up society and economy; furthermore, it probes the possibility of kicking off a new art form through the opening up China.

Opening 开 放

开放，是一面镜子，是在和外部接触后让我们得以看清自己。

格林斯潘（Alan Greenspan）认为，戈尔巴乔夫的开放是导致苏联灭亡的最可能原因，他让苏维埃人民接触了自由的价值。中国现阶段追求自由市场，开放国际贸易和金融作业，在成功地进入自由市场机制后，民主、自由和开放的相关性将无法被忽略。开放在经过参与和被参与、影响和被影响的相互作用下，让中国走进发展的新阶段，此阶段更依赖国际间交流合作，带来的刺激成为社会个人面对改变、接受改变、创造改变的动力。

从艺术的角度，经过思想的演进和开放，当代艺术早已远离18世纪的美学概念，当时康德所视为边缘的东西已成为当代艺术崭新美学的范畴－厌恶、屈辱、恐怖、恶心；20世纪初，艺术争论跳脱美学的斗争脉络，成为一种立场的攻击，把美的概念政治化的立场成为艺术家脱离他所轻蔑的社会的手段。

今日，北京各欧美艺术机构相继进驻，中国当代艺术在开放的新平台上获得看见与被看见的机会；艺术家站在选择的路口，面临文化的多元冲突和从未预见的市场的过速增长，艺术创作确实受到提升，但部份也成为短期的冒险行为。相对地，1990年代起，因中国逐步开放和艺术家涉外展览的增加，中国当代艺术凭着不回避的态度，对国际艺术创作和市场的核心产生影响。这些开放的历程带给中国艺术家多少养分？开放这一面镜子是否真的让我们（和他们）更了解自己（中国）？

美的经验对当代艺术是一种选择，开放也应是。快速的开放减少我们相应的思考，开放后可能发生的停顿考验我们判断的智慧－开放其实并没有站在我们这一边，它没有目的，它带来了正面和负面的效果，也不提供我们任何保证。

藉由亦安画廊8月的「OPENING 开放 - 夏季群展」，我们探讨开放呈现在个人、社会、经济的样貌和现状，并期待以开放建构出新的文化形式。
 
 
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