机械复制时代的艺术共生
Art symbiosis in the age of mechanical reproduction
“图像的共生2016：浓园中国-新西兰当代艺术交流展” 前言
Preface to "Image and Imagination: Nongyuan China-New Zealand Contemporary Art Exchange Exhibition 2016"
彭 肜
Peng Rong
20世纪著名批评家瓦尔特•本雅明（Walter Benjamin, 1892-1940）在《机械复制时代的艺术作品》一书中曾经这样写道：“在漫长的历史进程中，人类的感知方式随人类的整个生活方式的变化而变化。人类感知的组织方式以及它赖以形成的媒介不仅取决于自然过程，也取决于历史境况。”2016年，“图像的共生2016：浓园中国-新西兰当代艺术交流展”正是在本雅明所说谓“机械复制时代”的背景前拉开了展厅的大门。
The famous critic Walter Benjamin of 20th century once wrote in the book Art in the Age of Mechanical Reproduction, “in the long course of history, human perception changes with human life. Human perception and its formation depends not only on nature, but also on the historical circumstances." It is in the so-called mechanical reproduction era stated by Walter Benjamin that Nongyuan China-New Zealand Contemporary Art Exchange Exhibition 2016 comes out.
作为一个系列展览，“图像的共生”从第一届（2012年，浓园天艺美术馆）到第二届（2014年，浓园天艺美术馆），再到第三届（2015，浓园国际艺术交流中心）已经连续成功地举办了3次。我在第一次展览中就将“图像的共生”界定为“艺术共生”，其内涵包含着多个层面与内涵。我们所希望呈现的是基于不同文明背景与生存体验的图像形态与艺术面貌，而我们所期待表征的是一个通过“文明差异”和“视觉对话”而达到“生命同在”的多元生态与和谐景观。
As a series of exhibitions, " Image and Imagination " has been a continuous success from the first session (2012, Nongyuan Tianyi Art Gallery) to the second (2014, Nongyuan Tianyi Art Gallery), and then to the third (2015, Nongyuan International Art Exchange Center). For the very first exhibition, I defined it "the art of symbiosis", it contains a number of levels and connotations. The image morphology and the appearance of art we want to show are based on different cultural backgrounds and living experiences, and we look forward to the harmonious landscape of ecological diversity which is formed of "cultural differences" and a "Visual Dialogue" .
从2012年本土艺术家10人展到2014年中法艺术家13人联展，再到2015年中外30余位艺术家齐聚浓园美术馆，“图像共生”展览及其所倡导的“艺术共生”理念不仅赢得了中国越来越多艺术家和艺术评论家的认可，而且还在不断持续地生长与延绵中吸引了世界各地艺术家的加盟与参与。
From the exhibition with 10 local artists in 2012 to 13 Chinese and French artists in 2014 and to more than 30 Chinese and foreign artists’ gathering in Nongyuan Art Museum in 2015, the philosophy of "co-occurrence" advocated in Image and Imagination has not only won the recognition of more and more Chinese artists and art critics, but also attracted artists from around the world to participate with its continues and sustained growth and stretches.
21世纪以来，随着全球化趋向与地球村概念的日益明晰，世界艺术越来越依赖于新的媒体形态与技术。正如本雅明所预感到那样，互联网、手机APP、即时通讯与移动终端极大地改变了我们的生活方式和感知方式，又一个全新的“机制复制时代”正重新型塑着我们感知的组织方式与意义的表征方式。基于跨文明艺术对话与新媒体形态表征，“图像的共生”系列展览继续将扩展海外艺术家的来源地和代表性作为我们的主要理念。
Since the beginning of twenty-first Century, with the globalization trend and the concept of the global village, art has become more and more dependent on new media and technology. As Benjamin once predicted, Internet, mobile phone apps, instant messaging and mobile terminals have greatly changed our way of life and perception, and a new "mechanical reproduction era" is reconstructing our perception and representation. Based on the cross-cultural dialogue with new media form of representation, "Image and Imagination" series of exhibitions will continue with our concept to expand the sources and representatives of overseas artists.
参与“图像共生2016”的艺术家相对于过去又发生了不少变化。来自中国的参展艺术家有大唐卓玛（唐平）、封明清、刘嘉伟、欧斌、王新箭、游晓林、庄子。来自新西兰的艺术家有：Myah Flynn（瑪雅•弗林）、Nicky Foreman（尼基•福尔曼）、Robin Ranga（罗宾•兰加）。与去年相比，“图像共生2016”不仅继续致力于呈现“艺术共生”通过“文化差异”的呈现和“视觉对话”的过程而抵达“生命共在”的境界，而且还试图在又一个“机制复制时代”用新的语言与形式来体现“艺术共生”的三大内涵。
The artists who participated in "Image and Imagination 2016" have changed a lot compared with the past. Artists from China include Datang Zhuoma (also known as Tang Ping), Feng Mingqing, Liu Jiawei, Ou Bin, Wang Xinjian, You Xiaolin, Chuang-tzu. New Zealand artists are Myah Flynn (Maya Frin), Nicky Foreman (Nicky Furman), Robin ranga (Robin - Langa). Compared with last year, "Image and Imagination 2016" not only continues to commit to presenting artistic symbiosis through the presentation of "cultural differences" and "Visual Dialogue" so as to arrive in the realm of "co-existence of life", but also reflects the connotation of "symbiosis" of art in a " mechanical reproduction era" with new languages and media.
“图像共生2016”由浓园国际艺术村浓厚的“沙龙精神”与“公共气质”延伸而来。到今天，这个以新媒体为标识的“机制复制时代2.0”时代，让我们借这个展览来回应这个时代从物质媒介到精神气质的变化，让我们再一次回溯至生命本身的“共生状态”与“共在境界”，让我们期待更多民族国家与文明体系的艺术家在“图像共生”展览的交流中与为大家呈现出新意迭出的“机制复制时代的艺术共生”图景。
"Image and Imagination 2016" grows from the strong "Sharon spirit" and "public temperament" within Nongyuan International Art Village. Today, in the so called mechanical reproduction era 2.0 identified with new media, let us respond to the changes from material medium to the spiritual temperament in this era through this exhibition, let us once again look back to life’s "symbiotic state" and "coexistence state", and let us look forward to the symbiosis picture in a mechanical reproduction era with artists in "co-occurrence" presenting new ideas one after another.
2016年5月于成都锦江河畔
By Jinjiang River in Chengdu in May 2016
彭肜博士，策展人、批评家，四川大学艺术学院教授、美术学与艺术学理论专业博士生导师
Dr. Peng Rong, curators, critics, Professor of Art College of Sichuan University, Doctor tutor in art and art theory.
