内容提要
“停”与“流”的诗意：张江实践
我们正在经历一个社会快速发展的年代，每个社会成员都在竭尽所能地劳作，从不同的角度为整个社会创造着价值。张江，是一片汇集了中国和国际众多高科技产业精英的热土，世界第一条磁悬浮商业运营线路从这里穿越，毋庸质疑地成为中国社会发展的最佳象征。
2007年，是张江园区开发建设的15周年，在公共形态的当代艺术不断融入其科技新城生态建设的过程中，这个上海高科技的中心正不断显示出与众不同的文化生机。继2006年的“城市进行式”之后，大型公共艺术项目“现场张江”也进入了发展的第二个年头，本届主题“诗意的停·流”汇聚了国内外众多艺术家们的精心创作，将把新的惊喜带给张江。
“诗意的停·流”意在反映张江丰富而蓬勃的业态，也旨在强调个人与社会的和谐关系，提示人们在高效工作的同时不忘关注自己的栖身环境。我注意到，艺术家们的实验中，大多数作品的关注点放在为当地人制造各种休闲机遇的可能性上，让人们在高速流动中有停留歇息的机会，进而于短暂的停留中体味生命的内涵，获得体味的诗意。
一个高科技园区为什么需要艺术？需要什么样的艺术？对于国际艺术界来说，这样的公共艺术创作也是全新的课题，通过2006、2007两届“现场张江”的实践，策划团队和艺术家们从各自不同的角度找到了阶段性的答案。张江是一个快速嬗变的环境，是一个从农村向城市过渡的开发区，新城市的建设需要新文化的支撑，而新文化的表述更需要新艺术的形式作为载体。“诗意的停·流”探讨了个人在环境中的价值和意义，体现出人本的观念，而这正是建设和谐社会的重要方面。
本届公共艺术项目更重视作品的永久性、实用性和国际性，在首届“现场张江”的基础上迈出了更为坚实的一步。永久性的材料，可以使作品长久地存在下去，无论对于创作者、公众还是投资方，这都是最负责任的；实用性的功能，可以让作品与公众发生互动，让那些与作品不期而遇的人们在感悟中获得启示和美感；国际性的创作，不仅可以引进外部的资源与活力，更是这个公共艺术项目获得进一步关注和更大对话平台的保障。我认为，这三个重点不仅应该是本届的特色，更应该是“现场张江”未来的发展方向。亭子、座椅、公厕、公交站、人行道和儿童滑梯都是生活中常见的公共设施，艺术家们对生活的直接介入使这些设施的日常面貌产生了很大改观。实用性的作品，对任何一个创作者来说都是艰巨的挑战，在本届“现场张江”的收尾阶段，我看到了令人欣喜的成果。
感谢浦东新区、张江园区政府和企业对公共艺术项目的一贯支持，“现场张江”在不断延续的过程中正打造着一张充满未来感的“张江艺术地图”。可以相信，在2010年上海世博会召开之际，这张艺术地图所显示出的动人魅力将获得更广泛的认可。
Poetic Staying and Moving: Practice of Zhangjiang
We are now experiencing an age of high-speed rotation, and everyone is trying his/her best to work, therefore creating values for the whole society from different perspectives. In Zhangjiang, a hot land gathering the elites of high technology from various places at home and abroad, the first magnetically levitated train for commercial operation throughout the world passes through the land, which undoubtedly becomes the best symbol of high-speed development.
In 2007, the 15th year of the construction and development of Zhangjiang district, during the process of continually incorporating the contemporary art of public form into the ecological construction of its new technological city, the center of Shanghai high technology is constantly showing its unique vitality. Following the event of “City’s Progressive Tense” in 2006, the large-scale public art project “Living Zhangjiang” has also entered the second year of development. Assembling a great many artists’ elaborate works from China and other countries, this year’s theme “Poetic Staying and Moving” is to bring a new surprise to Zhangjiang.
As Zhangjiang is a district of high technologies and creative industries, the population working here flows in the way of pendulum’s swinging, thus the hustle in the daytime and the stillness in the nighttime form a sharp contrast. The population of the local inhabitants is relatively small, and the layout of streets is more suitable for the vehicle’s driving instead of the pedestrian’s wandering. Hence, the curator of this year’s “Living Zhangjiang” names the theme “Poetic Staying and Moving”, intending to accentuate the harmony between the individual and the society and to pay attention to our surroundings while working highly efficiently at the same time. I’ve noticed that, among the artists’ experiments, most of the works focus on producing various possibilities of rest and recreation at leisure for the local inhabitants to have the opportunities in high-speed flowing, further contemplating the connotation of life in the short rest to obtain the momentary poetic flavor.
Why does a hi-tech district need art? What kind of art does it need? For the international art circles, such creation of public art is also a brand new task. Through the practice of the events of “Living Zhangjiang” in 2006 and 2007, the curating team and the artists have found the answers for the present phase from their different perspectives. As a rapidly changing environment, Zhangjiang is a development zone turning from villages to a city. The construction of a new city needs the support of new culture, and the expression of new culture needs the form of new art as the carrier even more. “Poetic Staying and Moving” emphasizes the individual value and significance in the surroundings to embody the human-oriented concept, which is just an important aspect during the course of constructing a harmonious society.
The important point of this year’s public art project is to be permanent, practical and international, making a solid progress on the foundation of the first year’s “Living Zhangjiang”. The permanent materials could maintain the works forever, which is most responsible for the creators, the public and the investors; the practical functions enable the works to interact with the public, so that the people unexpectedly encountering the works could obtain enlightenment and aesthetic feeling during the special course; the international creation not only introduces the external resources and vitality, but also guarantees the public art project would gain further attention and a larger platform of conversation. I assume, these three points are this year’s characteristics, also the future developing direction of “Living Zhangjiang”. Pavilions, chairs, toilets, bus stations, sidewalks and children’s slides are all common public facilities in daily life, however, the artists’ direct intervention into life greatly changes the ordinary appearances of these facilities. For any creator, a practicable work is a difficult challenge. In the ending phase of this year’s “Living Zhangjiang”, I have seen some pleasant achievements.
With the persistent support of Pudong New Area, Zhangjiang Township Government and the enterprises for the public art project, “Living Zhangjiang” is creating “a map of art in Zhangjiang” full of future feelings. I believe, when the Shanghai World Expo opens in 2010, the fascination of this art map would be more comprehensively acknowledged.
Fan Di' an
Director of the National Art Museum of China
Chairman of the Art Committee of "Living Zhangjiang 2007" （文章来源：《诗意的停·流2007现场张江》）
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