　　天津美术网讯《喂》展中的大多数艺术家都是八十年代以来在南京和全国很活跃的艺术家。我感觉到他们在面对正在发生的新的国际国内形势时希望找到自己的创作方式。他们首先反思知识分子的责任，思考多年人文主义热情，思考面对新的民粹潮流冲击时自己的应对之道。他们也在尝试不同的语言手段，比如如何用虚拟的影像去抓住日常的瞬间错位，从而找到当代人的感觉和心灵归宿。他们也试图从媒介和物质中提取某种灵性，以抵制无处不在的物欲。如此不一而足，总之，在日益疲软的当代艺术创作状态中，南京的这些艺术家思考着可能突破的路径。

　　然而新的语言和方法论并非一蹴而就，这已经被历史证明。而新语言和新方法论必须建立在新的哲学观、世界观和思维方式的基础之上。没有这个基础只能任由焦虑和浮躁盛行。这个焦虑不仅仅是中国知识分子和艺术家的焦虑，乃是全球范围内精英知识分子的整体性焦虑。如果说，20世纪以来，知识分子曾经戴着两种光环一路风光走来，一个是抵制资本和市场的体制叛逆者的光环，另一个是提倡自由独立的个人价值的启蒙者光环。在冷战时期甚至全球化初期，这两种光环曾经成为对立的两大阵营中分别引导知识大众的灵魂和价值。

　　然而今天，这两顶知识分子的光环正在褪色。并不是说，这两种价值观有错，而是说新的世界结构引发的新的知识叙事让这些光环更多地停留在“政治正确”的层面上了，它无法象以往那样继续在人性实践的层面发光发热了。以往的知识分子光环建立在较单纯的人性主义和国际主义之上。然而，今天它面临着全球化三十年来出现的新冲击。地缘政治和资本垄断的争夺替代了冷战的意识形态对立，而世界范围的强人政治和民粹主义则趁机势起，并在似乎对立的两大国家阵营中同时出现。强势和实用主义的特朗普提出“美国优先”和“美国至上”广受美国基层民众欢迎。而希拉里仍然相信自己就是戴着那顶普世光环的救世主，她在为普天下的自由民主而代言。投票的前一天希拉里到宾州拉票，她执意在精英聚集的匹兹堡大学演讲，也不要去那些传统煤炭和钢铁基地，也就是普通劳动阶层聚集的铁锈区去走访。她不仅仅丢掉了宾州这个民主党的传统票仓，她的失败也让全国多少知识精英和大学学子痛哭流涕。

　　强人与大众联手跨过了知识精英的“政治正确”——那个曾经让他们失语的精英宏大叙事。于是，他们毫不犹豫地否定虚幻的光环，选择了自己的切身利益。而强人政治则把柴米油盐上升为国家利益。地缘政治时代的价值首选一变为“国家”，而非“主义”。无论1840至1989这一百五十年间的“国际主义”还是此后三十年的“全球主义”都暴露了人类其先天具有的“人类中心主义”的欲望。这个人类中心主义总是以各种崇高的集团性主义出现。这些“主义”不断引发战争和竞争，最终指向人类和地球的毁灭。

　　这是全球化资本、政治和军事重新整合三十年后所带来的新的知识叙事。这个叙事是政治的，也是经济的，也必然是文化的。很显然，这个新知识叙事对习惯于纸上谈兵的知识分子和艺术家的冲击最大，困惑和焦虑是必然的。而且，这个焦虑期可能不会很快过去。

　　所以，我们必须面对这个新的知识叙事求变，在艺术中创造新的世界故事和新的讲故事方式。然而这并非意味着要放弃以往光环的价值，而是需要调整那些实现价值观的实践方式。或许我们首先要忘掉曾经佩戴的光环，抛弃浪漫的自信。更现实地看清自己的能力和现实位置，只有这样才能找到新的故事和新方式。摆脱任何集团意义的“政治正确”。回到我，认识我，发现我。发现我的能力，我的心性，我的说话方式。铁肩担道义，但必须从自身打铁开始。真正的自信是定力，它应该是放松而非焦虑的。

　　感谢《喂！》展的艺术家朋友启发了我，给了我和大家交流的机会。南京是文人荟萃的传统重镇，也是当代艺术中心之一，她总是在孕育新故事和新气象。

　　Most of the artists in the “Hello” exhibition were artists active in Nanjing and throughout the country since the 1980s。 I feel that they hope to find their own creative methods in the face of the new international and domestic situations that are taking place。 They first reflect on the responsibilities of intellectuals， think about the enthusiasm of humanism for many years， and think about how to deal with new populist trends。 They are also trying different linguistic means， such as how to use virtual images to capture the daily momentary dislocations， thereby finding the feelings and spiritual destination of contemporary people。 They also try to extract some kind of spirituality from the media and material to resist the omnipresent material desire。 So， in short， in the increasingly fragile state of contemporary artistic creation， these artists in Nanjing pondered possible breakthroughs。

　　However， the new language and methodology are not one-off， and this has been proved by history。 New languages and new methodologies must be based on new philosophical perspectives， world views， and ways of thinking。 Without this foundation， only anxiety and impetuousness can be allowed to flourish。 This anxiety is not only the anxiety of Chinese intellectuals and artists， but also the global anxiety of elite intellectuals。 If we say that since the 20th century， intellectuals have been wearing two auras all the way to the scenery， one is the aura of institutional rebels who resist the capital and the market， and the other is the enlightener aura that advocates free and independent personal values。 In the Cold War period and even in the early days of globalization， these two haloes were once the soul and value of opposing masses in the two opposing camps。

　　Today， however， the halo of these two intellectuals is fading。 It does not mean that these two kinds of values are wrong， but that the new knowledge of the narrative of new world forms makes these auras more likely to stay on the “politically correct” side。 It cannot continue to practice in humanity as it has done in the past。 The level of light glows。 The previous intellectual halo was based on simpler humanism and internationalism。 However， today it faces the new impact of globalization over the past 30 years。 The struggle between geopolitics and capital monopoly replaced the ideological rivalry of the Cold War， while world-wide strongman politics and populism took advantage of the situation and emerged in the two opposing national camps that appeared to be in opposition。 Trump， a strong and pragmaticist， proposed that “U.S。 priorities” and “U.S。 supremacy” are widely welcomed by the U.S。 grass-roots people。 Hillary still believes that she is wearing the savior of the universal aura。 She is speaking for freedom and democracy in the world。 The day before the vote， Clinton canvassed in Pennsylvania。 She insisted on giving lectures at elite Pittsburgh universities and not visiting those traditional coal and steel bases， which are common areas where the working class gathers。 Not only did she lose the traditional ticket office of the Democratic Party of Pennsylvania， but her failure also made many intellectual elites and university students in the country cry。

　　Strongman and the public have joined forces to cross the “political correctness” of the intellectual elite - the grand narrative of the elite who used to make them lose their words。 As a result， they did not hesitate to negate the illusory aura and chose their own personal interests。 Strongman politics has raised daily oil and salt to the national interest。 The value of the geopolitical era became the “nation” rather than “ism。” Whether the “internationalism” of the period from 1840 to 1989， or the “globalism” of the next three decades， has exposed the human desire for anthropocentrism。 This anthropocentrism always appears with various lofty groupism。 These “isms” continue to trigger wars and competition， ultimately pointing to the destruction of humanity and the earth。

　　This is a new knowledge narrative that has been brought about thirty years after the reintegration of global capital， politics， and the military。 This narrative is political， economic， and cultural。 Obviously， this new knowledge narrative has the greatest impact on the intellectuals and artists accustomed to talking on paper。 Confusion and anxiety are inevitable。 Moreover， this anxiety period may not soon pass。

　　Therefore， we must face this new knowledge narrative change， create new world stories and new storytelling methods in art。 However， this does not mean that we must give up the value of the previous halo， but we need to adjust the practice of values。 Perhaps we must first forget the halo that we once wore and abandon our romantic confidence。 A more realistic look at one‘s own capabilities and realities is the only way to find new stories and new ways。 Get rid of any group meaning of “political correctness”。 Back to me， meet me and discover me。 Discover my abilities， my heart， my way of speaking。 Iron shoulders are morally important， but they must start with iron。 True self-confidence is determination。 It should be relaxation rather than anxiety。

　　Thanks “Hello！ ” The artist friends of the exhibition inspired me and gave me the opportunity to communicate with everyone。 Nanjing is a traditional center of literary talent and one of the centers of contemporary art。 She is always breeding new stories and new atmosphere。