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Légendes de gauche à droite :
1/ Joseph Beuys - 约瑟夫·博伊斯, Piano of Revolution, postcard, signed, 革命钢琴, 明信片, 彩色胶印, 签名, 14.8×10.5 cm, 1969 (1982).
2/ Joseph Beuys - 约瑟夫·博伊斯, White Rabbit, color silkscreen on filing card, stamped, edition: 90, signed and numbered, 大白兔奶糖, 纸上彩色丝印, 棕色卡片, 盖章, 版数: 90, 签名并编号, 21×29.5 cm, 1979.
3/ Joseph Beuys - 约瑟夫·博伊斯, The Pack, postcard, signed, 羊群, 明信片, 签名, 15×10.6 cm, 1969 (1972).
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présentation - 展览介绍 :
Foreword - Joseph Beuys and China
Wang Huangsheng - Director of CAFA Art Museum
Once Mr. Fan Di'an and I went to Dusseldorf for "Today's German Art"Exhibition in September 2006. In spare time, I visited Museum Schloss Moyland,where a large number of Joseph Beuys' early works are collected. In a very special way, Museum Schloss Moyland displayed Beuys'collections as if it was a warehouse show, to fully demonstrate every bits in his artistic career. Thousands of artworks, big or small, filled the exhibition hall, "glaring and shining in your eyes." Actually for an artist as Beuys, no matter being life, society, spirit or behavior, everything could be art, or the subject or target of art. Museum Schloss Moyland's way of exhibition perfectly demonstrated Beuys' art and thinking. Thanks to the researcher of Moyland Museum—Ms. Jiny Lan's introduction, we met the curator and discussed with him about the possibility of exhibiting Beuys'works in China. Later on, Museum Schloss Moyland sent three curators and principals in charge of collections to visit and investigate Guangdong Museum of Art, where I worked as the director at that time, and to further talk about specific details about the proposed exhibition. However, the Museum Schloss Moyland collections were not exhibited in China at last for several reasons. Since then on, Beuys' exhibition in China became an unfulfilled wish in Ms. Jiny Lan's and my mind, and it was so to Mr. Yu Xingze, who was studying and creating artworks in Dusseldorf at the time. Chinese art circles and academic field deserve the opportunity to understand Beuys in a close distance and complete manner.
In the winter of 2010, Mr. Yu Xingze, a professor from the School of Architecture of CAFA, invited Mr. Michael Berger, a German collector, to CAFA Art Museum. Mr. Berger highly appreciated CAFA Art Museum's space and exhibitions. And also, we learned that Mr. Berger's collections included Beuys' artworks as a main part, besides the important "Fluxus" artworks. Again, we re-picked the possibility of Beuys' exhibition in China up. Later in April 2011, Mr. Yu Xingze and I went to Wiesbaden, Germany to see Berger's collections, and finally decided to initiate, organize and plan for Beuys' exhibition in China.
After returned to Beijing, we invited Prof. LaoZhu and Yi Ying, Chinese experts in Beuys, to act as the main curators, together with Ms. Jiny Lan and Ms. Xu Juan, the Chinese scholars in Germany, to act as the co-curator and contact person. A graduate students' team led by Prof. LaoZhu from Peking University, a graduate students' team led by Prof. Yi Ying from CAFA and a CAFA Art Museum team led by Dr. Wang Chunchen also joined the project. They jointly carried out research and curating for the "Social Sculpture: Beuys in China" Exhibition.
The curating work experienced numerous difficulties, setbacks and unexpected surprises all the way. Beuys' fiery eyes and striding posture in his photographic work "We are the Revolution", together with his symbolic red "cross," have been supporting and encouraging us to fulfill the resolution: to carry out the first Beuys' exhibition in China, and to carry out the exhibition curated and researched by Chinese experts and scholars!
By luck or by chance, the participation of Shanghai How Art Museum facilitated Beuys' works being independently displayed in China and several hundreds of Beuys's works being collected by a Chinese art museum. Having invested in a large amount of money and labors, How Art Museum collected and combed through the hard-won collections and relevant information. Here we would express our sincere appreciation to How Art Museum and the founder-Mr. Zheng Hao for their efficient cooperation and contribution!
An exhibition for such an internationally significant contemporary artist as Beuys, which eventually opened to the public after painstaking researches and curation works independently carried out by Chinese scholars, curators and art museums, is of extraordinary academic meaning. It, to some extent, demonstrated Chinese art researchers' and cultural institutions' academic positions and understanding to Beuys. Since the cultural opening in late 1970s, especially the "1985' Art Movement," Beuys has been influencing contemporary Chinese art field, and has been widely discussed and quoted as a social spirit, a unique art behavior and form. Meanwhile, Beuys has been regarded as a "mysterious" figure like a "witch." With his irresistible appeal and momentum, he created many imagined unknown spaces for contemporary art history, and even for Chinese art field. The exhibition, entitled as "Social Sculpture: Beuys in China," based on Chinese artfield's and researchers' understanding to Beuys, aims at completely demonstrating their understanding, researches and achievements, and introducing the mysterious but influential master of contemporary western culture to Chinese audience in a detailed and accessible manner.
Interestingly, when we are organizing and presenting Joseph Beuys' exhibition, another internationally influential contemporary artist-Andy Warhol's solo exhibition will open in CAFA Art Museum. Fortunately, the two large-scale exhibitions of the two "most important and influential" contemporary artists in contemporary European and American cultures are synchronously held from September to November, 2013 in CAFA Art Museum, Beijing. Undoubtedly, it is significant as a valuable opportunity enabling Chinese art field and culture field to compare, understand, cognize and study on the composition and development of contemporary western art.
Here I would express my sincere appreciation to Mr. Michael Berger—our respectable German collector, Prof. LaoZhu and Yi Ying—our curators, Ms. Jiny Lan, Ms. Xu Juan and Mr. Yu Xingze—our co-curators and coordinators, PKU and CAFA graduate students' teams, Mr. Zhenghao and his How Art Museum, K11 Art Foundation and Goethe-Institut Beijing, together with CAFA Art Museum staff and volunteers who have participated in the preparation and research works for the exhibition.
At last but not least, I am looking forward to the enthusiastic social responses for the exhibition!
由于博伊斯展览计划的扩充，原定2012年11月份的“社会雕塑：博伊斯在中国”展的时间调整为2013年9月7日。这是博伊斯的个展第一次在中国举办，经历了近一年的漫长筹备过程，经历了好事多磨、一波三折，迎来最终的柳暗花明。展览将由中央美术学院主办，中央美术学院美术馆与昊美术馆承办，协办方有北京大学视觉与图像研究中心、K11艺术基金及北京德国文化中心•歌德学院（中国）；博伊斯的作品于2013年9月7日下午5时在中央美术学院美术馆二层A展厅及三层A展厅与公众见面。
在策划展览的过程中，我们邀请了中国研究博伊斯的专家学者朱青生教授和易英教授为主策展人，在德国的中国学者蓝镜女士和徐娟女士为联合策展及联络人，同时朱青生教授和易英教授又组织了北京大学和中央美院的研究生团队，王春辰副教授带领美术馆工作团队，从2012年初开始了题为“社会雕塑：博伊斯在中国”展览的全面工作。经过多次的研讨会、商议，又因为一些突发的状况，一度给展览进程带来困扰，以致展览的再度扩充和推迟。
特别还是值得一提的机缘是上海昊美术馆的加盟，使得博伊斯的作品不仅在中国能独立呈现展览，而且，博伊斯的数百件作品也成为了中国的美术馆的藏品。昊美术馆投入了大量的财力和人力，收藏并整理了这批来之不易的藏品及相关资料。在这里，我们要感谢上海昊美术馆及其创办人郑好先生的合作与努力。
博伊斯作为20世纪后半叶最重要的西方艺术家之一，在世界乃至中国有着非常持久的影响和艺术史价值，甚至可以说博伊斯是整个20世纪最为重要的艺术家之一也不为过，他超越了杜尚而成为二战之后艺术转型的关键人物和代表人物。博伊斯的出现和意义在于他出现在特殊的20世纪60年代这一个时代大环境里，它既承接二战的欧洲创伤，又下续冷战的社会风云，因此愈加显示出博伊斯对社会政治文化反思的立场和社会责任。
因此，博伊斯提出的艺术观念以及从事的艺术实践，都处处显示了时代的特征，以及欧洲社会政治文化的新方式。也正因为如此，博伊斯才显示了他在人类历史上作为伟大艺术家的地位和身份，也因此在国际上产生了广泛的影响，这种影响一直远播到中国，影响了中国的一大批当代艺术家。
但我们对博伊斯仍然留有很多并未清晰的地方。这就是，博伊斯何以出现、何以成为一个当代艺术史的公共话题和一个经典的艺术实践。特别是在21世纪，作为经典的博伊斯又重新进入人们观察的视野，对此的反思带来新的视角和观照，而对于发展中的中国当代艺术，我们如果不能在理解博伊斯的基础上超越博伊斯，则无法确证中国当代艺术的独立性和时代性，也无以显示中国当代艺术家观察、反映、思考当下世界的能动性和创造性。所以，本次由中国策展人与学者独立策划、组织并实施的“社会雕塑——博伊斯在中国”，即是本着中国的当代视角来认识、研究并解说博伊斯，也因此再思考我们的艺术史话语和我们的艺术实践。其意义将具有前瞻的超越性和中国当下的先锋性。历史是在关照中走向前方的，而中国的当代艺术只有展望了全球的文化视野，我们才会真正地创造与创新自己的艺术与文化。博伊斯将是这一抱负的起点。
另外，K11 Art Foundation（KAF）是香港慈善机构，作为此次展览的协办方，正出于对博伊斯观念以及项目价值的认同，希望切实有助于年轻艺术家解读艺术经典，藉此达成对本土年轻创作群体在优秀项目中的支持态度；在博伊斯展览的期间，我们将展开一系列的教育项目活动，KAF也会积极地参与其中。
同时，配合此次展览将举办系列学术讲座，围绕博伊斯的艺术、历史影响以及与中国艺术的关系和影响展开深入的研讨，使博伊斯的艺术和学术问题得到深入研究和探讨，促进中国当代对西方艺术的研究，确立博伊斯研究在中国的一个新的里程碑。
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