内容提要
序一
继去年成功推出首届“海派文化艺术节•上海戏曲季”之後，第二届“海派文化艺术节•上海视觉艺术展”又将在暑期的台北如期开幕。
上海—台北，940公里，88分钟的飞行距离。隔岸相照，惊奇地发现，上海与台北，有着相似的都市节奏和生活气息。此次，我们在台北市立美术馆敬献上的“相约台北——上海油画雕塑作品展”，将通过艺术的形式表现当代上海独特的景象和人文情感。台湾同胞或许在视觉的表象之外，能够找到相同的人生感悟与心灵触动。
上海作为中国近代史上最早开埠的港口之一，不仅诞生了中国历史上的第一个美术学校、第一次人体写生、第一个现代美术社团和第一次全国美术展览会，而且它也是西方油画和现代雕塑进入中国学院教育最早的城市。因此，上海被誉为中国现代美术的策源地。
从现代美术教育体系的确立，到艺术家自我主体意识的开始觉醒，再到与中国传统文化艺术之间的较量与博弈，这一切从文化意义上不难看出，起源于西方的现代艺术，早在上个世纪的上半叶，已经以完整的文化形态引进和渗透于中国人的文化生活之中。
此次展览汇集了活跃在上海乃至国际当代艺术舞台上的20癓位上海艺术家，基本代表了上海主流美术的创作面貌。尽管他们使用的艺术语言不同，选择的媒材手段相异，表达的思维观念和艺术思想也千差万别，但这些恰恰代表了当代海派艺术多元、开放、包容的风格特色。作为海派艺术的继承者，这些作品凸显了海派艺术的脉络和发展，也从不同角度，充分展示出当代海派艺术的学术水准和创作实力。展览立足于从当代文化情境来思考海派来思考海派艺术在当代的发展，注重当代海派艺术的内在“文化逻辑”。
上海的艺术是有传统的，也是有根基的。城市的文化资源是靠一点点积累，是靠不同时代的艺术家通过一系列的艺术事件、一系列的文化概念，一系列的作品和文献累积起来。此次，我们组织策划的这个立足于架上艺术和纯艺术的展览，必将成为研究透析当代上海美术发展历史的一份重要财富。
我们相信，随着两岸之间文化交流的日趋频繁和深入，我们共同所拥有的文化资源和艺术智慧将会越来越丰厚，越来越广博。
最後，预祝展览圆满成功！
上海市文化广播影视管理局局长 胡劲军
Foreword 1
Following the 1st “Shanghai Cultural Arts Festival – Shanghai Drama Season” successfully launched last year, the 2nd “Shanghai Cultural Arts Festival – Shanghai Visual Arts Exhibition” will open in Taipei this summer as scheduled.
It takes 88 minutes to fly between Shanghai and Taipei 940 kilometers from each other. By comparing both sides of the Straits, we are surprised to find that Shanghai and Taipei have similar urban rhythms and living atmospheres. This time, “Meet Taipei - Shanghai Oil Painting & Sculpture Exhibition” presented by us in the Taipei Fine Arts Museum will display Shanghai's peculiar scenes and cultural feelings in the form of arts. Taiwan compatriots perhaps can find the same insights on life and the same spiritual impacts beyond visual representations.
Shanghai as one of the first Chinese ports in the modern history is not only the birthplace of the first art school, the first human body sketch, the first modern art society and the first national art exhibition in China's history, but also the city where Western oil painting and modern sculpture entered China's school education for the first time. Therefore, Shanghai is called the cradle of China's modern fine arts.
From the establishment of the modern art education system to artists' first wakening of ego consciousness and to competition and gaming with Chinese traditional cultural arts, it is not hard to see that at the level of cultural meanings, modern arts originated from Western countries had been introduced in complete cultural forms and penetrated into the Chinese people's cultural life in the first half of last century.
This exhibition gathering more than 20 Shanghai artists active on Shanghai's modern art stage and even the international art stage basically represents Shanghai's mainstream creations of fine arts. Although they use different artistic languages, select different media, materials and means, and express ideas and artistic thoughts that differ in thousands of ways, these just represent the diverse, open and tolerant styles and characteristics of modern Shanghai arts. As inheritors of Shanghai arts, these works highlight the veins and development of Shanghai arts, and fully showcase the academic level and creative strength of modern Shanghai arts from different perspectives. Based on modern cultural situations to reflect on the development of Shanghai arts in the modern times, the exhibition focuses on the internal “cultural logic” of modern Shanghai arts.
Shanghai's arts have traditions and foundations. The city's cultural resources have been accumulated bit by bit by artists of different times through a series of art events, a series of cultural concepts, and a series of works and literature. This exhibition organized and planned by us on the basis of easel art and pure art will certainly become an important treasure for studying and thoroughly analyzing the development history of Shanghai's modern fine arts.
We believe that with the increasingly frequent and in-depth cultural exchanges between both sides of the Straits, the cultural resources and artistic wisdom jointly possessed by us will be more and more abundant and extensive.
At last, I wish the exhibition a complete success!
Hu Jinjun
Director of Shanghai Municipal Administration of Culture, Radio, Film & TV
序二
上海与台北之间，只有一个半小时的距离，然而一直以来，却显得很远很远。
值此“海派文化艺术节”之际，由上海油画雕塑院主办的“相约台北——上海油画雕塑作品展”第一次飞过了曾经很远很远其实是很近很近的这湾浅浅的海峡，来到台北，期待着同行同胞的回应。
作为一种舶来样式，油画和雕塑在中国大陆登陆后的百余年历史进程中，经历了冲撞、变异、融合、生长的不同发展时期。它们的兴衰不仅成为了中国近现代文明史的一个佐证，也为我们提供了一种发现明天、创造未来的思想载体和精神动力。
当海内外同胞对“海派”艺术的文化记忆普遍停留在19世纪下半叶或上世纪30-40年代的时候，历史已经跨入了21世纪。此次展览带来的作品全部出自上海艺术家之手，而其中绝大部分又是上海油画雕塑院的画师。他们的作品彰显了当代都市文化的特征，充盈着精神自由、意趣独立和开放多元的文化张力。这种张力成为了海派艺术的独特面貌——不以某种固定的风格或语言形成模式，而是散落在每个个体的差异之中。
如果说第一代油画家和雕塑家以他们贯通中西的特殊文化经历，开创了海派艺术开放之中的本土性，那么，在20世纪80年代之后开始形成的当代海派艺术，则在守望前辈艺术家审美意趣和自由精神的同时，追求着当代人文观念和现代视觉经验的整合与转换，夹杂着更多的时代气息。与第一代不同是，当代海派艺术家面前呈现的已不只是民族文化的审美心理与价值判断，更多的是在全球化语境下关于本土性与个人经验的探讨。
上海与台北有着千丝万缕的联系，始于1956年的“东方画会”与上海更早的“决澜社”就是一脉相承的。“东方画会”的创办者都是仰慕李仲生先生的学生，而李仲生先生则是“决澜社”的成员。
今天，中国的当代艺术已成为全球艺术版图中不可或缺的组成部分，我们有理由相信，两岸艺术家的并肩携手，一定会为国际艺坛开辟出更为美好的文化生态。
祝展览圆满成功！
上海油画雕塑院院长 李向阳
Foreword 2
Shanghai and Taipei are only one and a half hours from each other, but they always seem very far apart.
On the occasion of the “Shanghai Cultural Arts Festival” , “Meet Taipei - Shanghai Oil Painting & Sculpture Exhibition” hosted by the Shanghai Oil Painting & Sculpture Institute has flown across the shallow straits that used to be very far but is actually very near and come to Taipei in expectation of response from colleagues and compatriots.
As foreign forms, oil painting and sculpture underwent different periods of development such as clash, variation, integration and growth in the history of more than 100 years after they landed on mainland China. Their rise and fall have not only become evidence of the history of China's modern civilization, but also provided us with a thought carrier and a spiritual motivation to discover tomorrow and create the future.
When the cultural memories of compatriots both at home and abroad about “Shanghai” arts are generally from the second half of the 19th century or the 1930s and 1940s, history has entered the 21st century. All works brought to this exhibition were created by Shanghai artists, and most of them are painters at the Shanghai Oil Painting & Sculpture Institute. Their works demonstrate the characteristics of the modern urban culture, full of cultural tension – spiritual freedom, independent interest, openness and diversity. Such tension has become a unique feature of Shanghai arts – scattering in each individual difference instead of forming a model with a fixed style or language.
If the first generation of oil painters and sculptors created indigenous Shanghai arts in opening up with their special experiences of both the Chinese culture and Western culture, then modern Shanghai arts that began to take shape after the 1980s pursue the integration and conversion of modern cultural ideas and modern visual experiences while keeping watch on elder artists' aesthetic interest and spiritual freedom, and are more imbued with the spirit of the times. Different from the first generation, modern Shanghai artists are faced with not just the aesthetic psychology and value judgment of national culture, but more discussions about indigenousness and personal experience under the context of globalization.
There are countless ties between Shanghai and Taipei. The “Ton Fon Art Group” founded in 1956 and Shanghai's earlier “Storm Art Society” can be traced to the same origin. The founders of the “Ton Fon Art Group” were all students who admired Mr. Li Chun-shan, and Mr. Li Chun-shan was a member of the “Storm Art Society”.
Today, China's modern arts have become indispensable components of the global art map. We have reasons to believe that artists on both sides of the Straits will certainly create a better cultural environment for international art circles through collaboration.
I wish the exhibition a complete success!
Li Xiangyang
President of Shanghai Oil Painting & Sculpture Institute
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