《美术思潮》答客问
“THE TREND OF ART THOUGHT” Responds to Questions from Readers
问：在对理论产生逆反心理的当代，《美术思潮》想在美术界争得一席之地，切合实际吗？
答：一种社会性的逆反心理的产生，矛头所向并不是理论本身而是某种流行的理论。这套理论一部分是十九世纪以前俄国、西欧理论界的舶来品，一部分是五十年代以前本国理论家著述的沿袭，一度富有活力的理论一旦被凝固成教条，就日益显得漏洞百出、荒谬可笑，在流行理论与美术实践相互脱离、相互冲突、相互否定的今天，《美术思潮》以推倒现存的教条和建立新的理论为已任，它必将受到美术界的关注、同情和支持。
问：《美术思潮》是区域性刊物还是非区域性刊物，抑或二者兼顾？
答：区域性是六十年代以前中国文艺刊物的特征，它的优势随着信息时代的到来开始丧失。以地区命名并延续下来的大部分文艺刊物正面临着倒闭的危机，这类刊物自觉不自觉地流露出自我封闭的情绪，与当代开放型的社会意识格格不入，有鉴于此，《美术思潮》将力求办成跨地区的刊物，其措施是向各省市聘请特约编辑轮流执编，每年以编辑部的名义召开全国性的理论会，本省理论文章的录用比例逐步加以压缩等等。
问：你们想通过移植欧、美、日、苏的理论寻找出路吗？
答：艺术原理和艺术现象不同，它常常是超越国界的。《美术思潮》将尽可能吸收一切可资借鉴的国外美术理论，当然，本刊绝不会满足于单纯的引进而要立足于建树，中国美术界在理论上的突破比欧、美、日本有着潜在的基础。后者的美术理论研究格局是以自我或集团为中心的，它缺乏现代社会应有的普遍性；而中国美术研究的组织形式很容易打破单位和地区的界限，通过多种联络方式，集中全国美术理论界的骨干力量进行研讨，从而有利于新的理论思维的传播与反馈，因此，在本世纪末和下世纪初，中国美术界的理论水平可以在世界范围内跃居领先地位。《美术思潮》将不遗余力地给这一代美术理论家提供阵地并从他们身上寻找出路。
问：《美术思潮》的宗旨是什么？
答：本刊宗旨在创刊号的发刊词上已有所表露。本刊编委会痛切地感到，多年来，极左思潮强加于理论界的灾难是深重的中国第一、二代理论工作者纷纷钻进故纸堆的现象，并不都源于他们的初衷，这种变态的现实使理论与实践的联结处于虚弱不堪的境地，也是美术界对理论产生逆反心理的原因之一。本刊将为改变这一变态的现实付出自己的努力。
美术理论同美术创作、美术欣赏一样，均属创造性的活动。创作和欣赏的多样化决定了美术理论的多元化，当代社会不能容忍理论园地由某家某派为数不多的理论家去管制，当代美术理论应当成为美术界全体人员的共同事业。理论将走入大众，大众将共建理论。《美术思潮》意在推动这一良性循环。
《美术思潮》将在青年人中，特别是在美术院校的学生中去寻找读者和撰稿人。《美术思潮》认定当代青年是现在和将来中国美术的中坚，并优先发表他们的文章。
《美术思潮》将大力提倡良好学风。众所周知，理论界的探讨和争鸣历来缺乏正常空气，用非学术的力量来战胜对手已经成为现代中国理论界的积习，从五十年代到晚近的理论探讨和争鸣，总是以种种行政方式的干预而告夭折，从而给学术本身以及所谓的“胜者”和“负者”造成三重悲剧，结束这种不正常的状况是我们这一代人的使命。
问：请介绍《美术思潮》的主要栏目及其特点。
答：《美术思潮》的主要栏目有理论探讨、争鸣、有争议的作者作品评介，美术未来谈等，凡言之成理，有启发性的文章，本刊择优录用，对具有片面性的文章不作求全之责，对争鸣问题不作形式主义的结论，不纳入预先划定的轨道。
本刊将组织力量开辟“近期美术新论博览”这一常设性栏目，让没有大量阅读时间或刊物来源不足的读者能从中把握近期中外美术理论的主要轮廓。事实上，全国每月公开和内部发表的数百万字的美术论文，我们用快速阅读法终其时日也无法全部过目，我们手边的大量书刊置之案头无暇一顾。“博览群书”在当代社会常常流于空谈。这两大栏目有理由争取大量读者。
问：一本没有画页的理论刊物将会失去众多读者，对此你们有何想法？
答：我们并不想把《美术思潮》办成一个枯燥的刊物，但是，本刊编辑思想在创业阶段必将受到编辑力量不足，印刷条件低劣的限制。因此，《美术思潮》存在一个发展变化的过程，目前，本刊将不以印刷的豪华修饰自己的形象，而是力图以文章的力量取胜，使之成为我国开拓型的美术案、美术院校学生、美术工作者和爱好者的知心朋友，成为他们自己的刊物，毫无疑问，一旦条件成熟，本刊将大幅度地改变自己的外形式．这一设想将于1986年起开始实行。
问：据说你们把文章的篇幅统统控制在五千字以内，理由何在？
答：请问，在通常的情况下，你有耐心看长文章吗？当代不是需要长篇大论的时代，聪明的读者一般不会轻易地为大块文章付出时间和精力，当代是一个建立理论基地的时代，是提出问题的时代，营造理论大厦的任何努力都将是短命的、徒劳的。因此，对于读者，本刊不愿把长文章强行塞给他们；对于作者，我们愿意在这里指出，五千字阐述任何一个观点都不是不可能的。
本刊认为，当代理论的表述不需要中世纪烦琐哲学式的论证，不需要经纬学家们面面俱到的考订和引伸，它或许需要类似禅宗的顿悟式的暗示，不厌其烦地数说是对读者理解能力、联想能力、补充和再造能力的蔑视。目前，“综述体”、“文摘体”深入人心的原因值得重视和研究。
当代理论的表述应该寻找新的方式，应具有信息时代的特征，迪斯科舞王们在国际大赛中的表演时限只有一分钟，他们大都成功地用特定的舞蹈语言表达出各自的意念并能给人留下深刻印象，理论的表述可以而且应该追求类似的效果。
Q: Is “THE TREND OF ART THOUGHT” realistic in seeking a place in the art world today, given the contemporary aversion to theoretical ideas?
A: The emergence of a social aversion is not directed at theory itself but rather at certain prevailing theories. Some of these theories are borrowed from pre-19th-century Russian and Western European theoretical circles, while others are inherited from domestic theorists before the 1950s. Once these once-vibrant theories solidify into dogma, they become increasingly flawed and absurd. In the current context, where popular theories and art practices diverge, conflict, and negate each other, “THE TREND OF ART THOUGHT” takes on the mission of overturning existing dogmas and establishing new theories. It is bound to attract attention, sympathy, and support from the art community.
Q: Is “THE TREND OF ART THOUGHT” a regional or non-regional publication, or a combination of both?
A: Regionalism was a characteristic of Chinese literary and artistic publications before the 1960s, but with the advent of the information age, its advantage has begun to diminish. Many regional literary and artistic publications bearing the names of specific provinces or cities are facing the risk of closure. These publications, consciously or unconsciously, exhibit a self-isolating sentiment, which is incompatible with the open-mindedness of contemporary society. In light of this, “THE TREND OF ART THOUGHT” seeks to become a cross-regional publication. It plans to achieve this by hiring special editors from various provinces and cities on a rotational basis and by organizing national theoretical conferences annually in the name of the editorial team. The proportion of articles from the local province will gradually be reduced.
Q: Are you trying to find a way out by transplanting theories from Europe, America, Japan, and the Soviet Union?
A: Art principles and phenomena often transcend national borders. “THE TREND OF ART THOUGHT” will strive to absorb all relevant foreign art theories for reference. However, the publication will not be satisfied with mere imports; it aims to build upon these theories and believes that Chinese art has the potential to surpass European, American, and Japanese art in terms of theoretical breakthroughs. The research pattern of art theory in the latter countries tends to be centered around self or specific groups, lacking the universality required in modern society. In contrast, Chinese art research has the potential to break the barriers of units and regions. By fostering various forms of communication and bringing together the backbone of the national art theoretical community, it can facilitate the dissemination and feedback of new theoretical thinking. Therefore, by the end of this century and the beginning of the next, China’s art theory can take a leading position globally. “THE TREND OF ART THOUGHT” will spare no effort in providing a platform for this generation of art theorists and seeking a way forward through their contributions.
Q: What is the purpose of “THE TREND OF ART THOUGHT”?
A: The purpose of the publication has been revealed in the inaugural issue. The editorial committee deeply laments the severe catastrophe caused by the imposition of extreme leftist trends on the theoretical realm for many years, leading numerous first and second-generation Chinese theorists to delve into the realm of old papers. This phenomenon is not entirely a result of their original intentions. This distorted reality weakens the connection between theory and practice, contributing to the art world’s aversion to theoretical ideas. “THE TREND OF ART THOUGHT” will make efforts to change this abnormal reality.
Art theory, like art creation and appreciation, is a creative activity. The diversity of creation and appreciation determines the diversity of art theory. Contemporary society cannot tolerate a theoretical realm dominated by a few theorists from a specific faction or school. Contemporary art theory should be a collective endeavor of all individuals in the art world. Theory should be accessible to the masses, and the masses should participate in building theory. “THE TREND OF ART THOUGHT” aims to promote this positive cycle.
“THE TREND OF ART THOUGHT” seeks its readers and contributors among young people, especially students in art academies. The publication recognizes that contemporary youth are the backbone of China’s present and future art, and their articles will be given priority.
“THE TREND OF ART THOUGHT” will advocate a good academic atmosphere. It is widely known that the theoretical field lacks a healthy environment for discussions and debates. Resorting to non-academic means to defeat opponents has become a common practice in China’s modern theoretical realm. The interference of administrative measures has repeatedly led to the untimely demise of theoretical debates since the 1950s. This has resulted in a triple tragedy for academia, as well as for so-called “winners” and “losers.” Ending this abnormal situation is the mission of our generation.
Q: Please introduce the main sections and characteristics of “THE TREND OF ART THOUGHT”.
A: The main sections of “THE TREND OF ART THOUGHT” include theoretical explorations, debates, critiques of controversial authors’ works, discussions on the future of art, etc. Articles that are well-reasoned and thought-provoking will be selectively accepted. There will be no demand for completeness in articles, and no formalistic conclusions will be drawn regarding the debates.
The publication will also establish a permanent section called “Recent Trends in Art Discussions” to provide readers who lack extensive reading time or access to multiple publications with an overview of recent Chinese and foreign art theories. With millions of words of art essays being publicly and internally published across the country every month, it is practically impossible to read them all, even using rapid reading methods, while a multitude of books and journals lying on the table leaves no time for “comprehensive reading.” The idea of “reading extensively” is often impractical in contemporary society. Both of these sections have the potential to attract a large number of readers.
Q: “THE TREND OF ART THOUGHT” lacks art pages; wouldn’t this lead to the loss of many readers? What are your thoughts on this?
A: We do not intend for “THE TREND OF ART THOUGHT” to be a dull publication. However, during the startup phase, the editorial team’s ideas will inevitably be limited by the lack of editorial resources and poor printing conditions. Therefore, “THE TREND OF ART THOUGHT” will undergo a process of development and change. Currently, the publication will not emphasize extravagant printing but rather prioritize the strength of the articles. The goal is to become a trusted friend and a personal publication for the explorers, students, practitioners, and enthusiasts of art in China. Undoubtedly, once the conditions are ripe, the publication will significantly change its appearance. This plan is set to be implemented starting in 1986.
Q: It is said that you aim to keep the length of articles within 5,000 words. What is the reason behind this?
A: In general, do you have the patience to read long articles? Contemporary times do not necessarily call for lengthy dissertations. Intelligent readers are unlikely to invest their time and energy into extensive pieces lightly. The contemporary era is one of establishing theoretical foundations and posing questions. Any effort to construct a theoretical edifice will be short-lived and futile. Hence, “THE TREND OF ART THOUGHT” does not wish to force long articles upon its readers. It is worth pointing out that it is not impossible to present a viewpoint in 5,000 words.
“THE TREND OF ART THOUGHT” believes that contemporary theoretical discourse does not require the laborious philosophical-style argumentation of the Middle Ages or the comprehensive annotations and extensions provided by historians. It may require an approach akin to the sudden enlightenment of Zen Buddhism, eschewing repetitive enumeration as a contempt for readers’ comprehension, associations, supplementation, and reconstruction abilities. Currently, the reasons behind the popularity of the “synoptic” and “abstract” styles of expression in theoretical discourse deserve attention and research.
Contemporary theoretical expression should seek new ways and possess the characteristics of information age. The performances of disco dance champions in international competitions, with a time limit of only one minute, often leave a deep impression. They successfully convey their ideas through a specific dance language. Similarly, theoretical expression should pursue a similar effect.
arthing@126.com
本篇文章来源于 ARThing艺术活
