展览时间:2011年8月13号-30日
开幕酒会:2011年8月13号15:00
开放时间：周二至周日10:00-17:30
参展艺术家：何晋渭   王劲松  张濒  何剑  王南溟  黎明
主办：《库艺术》杂志
协办:现实当代艺术文献研究中心（简称：现实空间）  
电话：010-84599271    13621021182
邮箱：xskj68@126.com  
地址：北京市朝阳区酒仙桥路4号798艺术区时尚设计广场D座现实空间

Exhibition: August 13, 2011—August 30, 2011
Opening reception: August 13, 2011 15:00
Opening hours: Tuesday to Sunday 10:00-17:30
Organizer: KUART
Sponsor: ESSE SPACE
Artists: He Jinwei  Wang Jinsong  Zhang Bin  He Jian  Wang Nanming  Li Ming
Tel: 010-84599271    13621021182
E-mail: xskj68@126.com
Address: Floor 1, Building D, D-Park (inside 798), No.4 Jiu Xian Qiao Road, Chaoyang District, Beijing, China

此时此在
——当代艺术作品展

      “此时此在”作为一个展题得以延展开，进行社会学的探测，这无疑是建立在社会系统中所呈现的现象学表征。也许从形态的变化性来罗列社会的纷繁变化是十分困难的，正因如此，用“此时此在”作为一个动态的点来切入更易揭示社会变迁发展中的深度魅力。简言之，“此时此在”从直观上给我们彰显出一个时间与空间、个人与社会、历史与现实的交错关系，并提供了一个正在流变而现实存在的基础，演绎着社会场域的瞬间性。如果将笛卡尔“我思”、“我在”这种方法论的唯心主义纳入到社会内核中，进行重构，那将会使社会的整体性与个人的关系得以主观化。
然而“此时此在”并不是一个方法论的呈现，它是现象表征的具体反映。在浮光掠影中，我们感受到个人心灵对社会、历史、宗教、信仰和个体在变迁发展中所遭遇现代化进程中所带给每一个人“此时此在”的精神叩问。
      “此时此在”是一种“存在”现象，萨特在1946年发表的讲演稿中把“存在主义是一种人道主义”作为讲题，他论证了存在的社会属性意义，而暗合了此时此在是假定在“存在”后面的主观不存在，要感受此时此在的不存在性，将会由个人化的独立精神来触及社会的多样性，使我们从表象万千的事物中转向个人的精神症结，诸如“孤独”、“内疚”、“希望”、“迷惑”、“自恋”、“虚无”、“信仰”、“悲观”、“光荣”、“妄想”等之类的精神电路图列。说的更为直接一点，此时此在是“存在”的不可分性，是对现实主观化后的“情境”场域，反映着变化中的社会内核动力。
当然以哲学的关键词来概括界定“此时此在”的内核立论依据是十分困难的，正因为如此，我们只能在个体对历史的态度中返还到现实存在的多样性上来，并感知此时此在充满的现实叙事，和许许多多其他事物一样刺激并平缓地呈现出社会片段的精神触觉。从草根生活到庙堂之高，一直以来都是社会系统的两端，它所代表的社会标识都是最具有存在的特殊含义。作为中间未定的变化性，即“此时此在”不仅是一个时空概念，而且是一个社会作为终端未定预知下的事物所具有的魅力。当然，这并不是主观切断他们之间的关系，无论是草根，还是庙堂，都构成了社会主体此时此在的语意。当今时代，在全球一体化进程中，我们在共同分享文明成果的同时，精神的交织与困惑一直缠绕着日常生活，对于人们在这异化的现实中感触到冲突和诱惑，体现着令人不安而又荒诞存在的表象，此时个人语境在现实的飞翔中如同断翅的飞鸟，在此时此在中不间断的自我精神的自语，以白日梦的方式在编织着迷梦，“此时此在”它所产生的图像不断印证着转瞬即逝与我们精神世界的不断重叠。因而我们所触摸到的是浮光掠影的表象，在浮华中感受到沉重，在沉思中感受到名利与虚荣，在存在中我们体会到肉身的无力与快感……这就是“此时此在”的幻象。
        作为此次参展的艺术家，在他们的作品中所反映的正是个人与社会之间的深度关系，而不是对表象的样式描写。艺术家从幻象中抽离出独立精神的自我审视，是我们对“此时此在”、对社会责任精神的领悟。
        何晋渭以个人经验的现实表达出在当代变迁发展中的中国社会的众生希翼和人道关怀。这种责任感来自于艺术家对社会的良知，并感染着我们。
        王劲松以众生仰望、用疑问和困惑来形成一个悖论关系。
        张濒假以拆迁为题材反映出社会表象中的矛盾，艺术家个人以 “水泥般”化的个人语言重塑“半成品”式的此时此在的完成化状态，而直接地表达着更有力的残砖断瓦……
        王南溟用知识分子化的“字球”企图用个人方式来阐述历史文化的两难选择。
        何剑由早期图像化转化个人语境中的历史命题，在日常中表达着记忆与现实之间的时空交错，特别是近期作品指向更为精准，让我们不得不回首与向前审视自身的生存命运。
        艺术家黎明，以记录着社会基层生活中的偶然常态，在正常的大众美学摄影中以介入的艺术形态达成公共审美的惊诧反问。
        六位艺术家，都是以个人化的“此时此在”表达着对变迁社会与个人精神的诉求，从他们的作品中我们能感受到瞬间与永恒。
       “此时此在”并不是要揭示为永恒，而是在流动变迁中寻找对存在的存在性，揭示个人精神对社会的联动语意，以个体化经验参与对整体社会的存在的情境场域，从中挖掘出现实精神的意义，是此次展览的目的所在。

                                   现实当代艺术文献研究中心
                                          2011.8.5

The Moment - The Existence
—— Contemporary Art Exhibition

“The Moment - The Existence” shows as a subject to be stretched, and to be detected by sociology, which is based on the phenomenological characterization in the present social system. It is very difficult to list the numerous and complicated social changes from the variability of forms. Therefore it is easier to reveal the depth charm in the social change and development with a dynamic point “The Moment - The Existence”. In short, “The Moment - The Existence” presents us a relationship between time and space, individual and society, history and reality intuitively, and provides a flowing and real foundation, and interprets instantaneous social field. If we put this idealistic methodology —— “I think” “I am” into social kernel, and reconstruct, the integrity of the society and personal relationship will be more subjective.
However, “The Moment - The Existence” is not a presentation of a methodology. It is the specific reflection of phenomenon characterization. In our changing society, we feel the personal soul of the society, history, religion, belief and the development of the individual changes encountered in the process of modernization encountered in the process of modernization brought to everyone “The Moment - The Existence” spirit inquiry.
“The Moment - The Existence” is a kind of “existence” phenomenon. “Existentialism is humanism” was used as a topic in Sartre’s lecture grafts published in 1946. Sartre demonstrated the social significance of the existence. The moment is not exist subjectively behind the assumption of “existence”. If we want to feel the non-existence, the independent spirit of the individual must be used for social diversity. Then we can transfer from thousands of things to personal spiritual crux, such as “lonely”, “guilty”, “hope”, “confused”, “narcissistic” and “nothing”, “faith”, “pessimistic”, “ glorious “, “delusion”. In another word, “the moment I was here” is the inseparability of “existence”. It is "situation" field after subjective reality. It reflects the change of social kernel power.
Of course, it is very difficult to summarize and define “The Moment - The Existence” with philosophy keywords. Therefore, we can only return to a real diversity in our attitude towards history, and perceive the moment’s realistic narrative. All these things present the spirit touch of social fragments. From lower-class life to official career is always two sides of social system. These social identifications all have specific meanings of existence. As a kind of variability, “The Moment - The Existence” is not only a space-time concept, but also means social charms in unknown situation. Of course, it is not to cut off their relationship subjectively. Whether lower-class, or official career, they all constitute the social body’s semantic at this moment. Nowadays, in the process of global integration, when we share the achievements of civilization, the confusion of spirit is always surrounding our daily life. People in the alienation of reality feel conflict and temptation. Meanwhile, individuals like broken-winged birds in a real flight, then talk themselves constantly and make daydreams in this moment. Images in this moment confirm the overlap of the moment and our spiritual world. Therefore, what we touched is the appearance of world. We feel heavy in the flashy, feel vanity in the meditation, and feel weakness and pleasure of body in the existence. That is the illusion of “The Moment - The Existence”.
As artists in this exhibition, their artworks are just presenting depth relationship between individuals and society, but not style description for representation. Artists pull independent spirit and self-examination out from illusion. That is our understanding on “The Moment - The Existence” and social responsibility spirit.
He Jinwei expressed Chinese social humanitarian in contemporary change through his personal reality experience. This responsibility comes from the artist's social conscience, which is infecting us.
Wang Jinsong made paradox relationship by doubt and confusion.
Zhang Bin reflected social contradictions in appearance through the subject of demolition. He used personal language to remodel “semi-finished products” status, and expressed the more powerful broken tiles and bricks directly.
Wang Nanming attempted to use personal way to illustrate the dilemma of history and culture by his intellectual “word ball”.
He Jian transferred the historical proposition of individual context from early images. He expressed crisscross of time and space between memory and reality in daily life. Especially recent works had more accurate points. So we had to examine the fate of our own survival backward and forward.
Artist Li Ming, recorded the social life of the grassroots in the occasional normal in documentary approach. In normal public aesthetic photography, he used interventional art form to get a public aesthetic ask.
The six artists expressed the demand of individual spirit and changing society through their personal “The Moment - The Existence”. From their works we can feel moments and eternal.
“The Moment - The Existence” is not to reveal the eternal, but to find out the existence in flow and change, and to reveal the meaning of individual spirit on society. To participate in a whole society with individual experience, and to dig out the significance of realistic spirit, are the purposes of the exhibition. 
ESSE Contemporary Art Document Research Institute
August 5, 2011