摘要 所謂「七零八落」是近年來我對中國當代藝術中一些年輕藝術家創作狀態和傾向的總體印象或概括。僅從字面理解「七零八落」表示多而雜亂，具有不確定性。它多少是中國當下狀態的一種真實寫照。「七零八落」意味著以往在大歷史籠罩下的現代性焦慮已經幻化爲一種後現代的碎片式的情緒與趣味。我以爲在相對於以往來說這是一種具有多樣性和豐富性的碎片式狀態。一方面是在崇尚個性創造和形式實驗的前衛藝術領域已顯露出自身的蹤迹。另一方面也構成了他們藝術的特性，而這種特性是他們面對這個時代的認識取向，在不確定的流動中捕捉和固定那一個個片斷和瞬間。中國這個越來越多元的時代，不知所終地將把我們帶向何方的現代化過程，使一切都變化的急速而撲朔迷離。在藝術創作中，也是缺乏群體意識，更無趨之若鶩的思潮湧現。他們的作品所以難以界定，沒有極端，沒有具體表現什麽意義，只是一個沒著沒落的存在狀態。或部A他們這些年輕的藝術家所強調的只是在不確定中張望著不確定的環境，而並非如以往藝術那樣只重視「確定的意義」本身。 爲了梳理出一條基本的線索，儘管這樣的疏理在「七零八落」的碎片中十分困難，我仍在我所考察的有限資料中，依據或注重他們作品在消費文化時代中體現的新觀念、新趣味以及新方式。而這種「新」的界定，是根據上世紀80、90年代以來中國當代藝術的特徵來參照的。爲此，在「消費文化時代的藝術想像」的主題框架內，擬定了「也自我、玄幻的想像、新傷痕」三個單元主題。從而在對應的展示中抽離和梳理出一條承上與延下的脈絡線索。以此提示出在消費文化時代中國當代藝術的歷史、當下與未來的延承和演繹。從中看到的不僅是歷史、現狀，也是某種可能的未來。也正是這種現狀的表層後面隱藏著深層的原因，才使當下的原初狀態成爲一種真實自我的有意識體現。

Abstract What I call ‘fragmentation’ here summarizes my observation of contemporary art in China in recent years, especially with regard to the creative situations and tendencies of the younger-generation artists. The word ‘fragmentation’ signals ‘abundance’, ‘chaos’, and ‘uncertainty’. I use this word to portray the dissolution of modernity’s grand narrative and neurosis into a kind of fragmentary sentiments which is arguably postmodern in character – a new condition which, I emphasize, is rich in variety. Such ‘postmodern’ fragmentation can be seen expressed in contemporary art of China on a number of levels. On the one hand, it is inherently embedded in the avant-garde which has always been a staunch advocate of creativity and experimentation. On the other hand, it also characterizes the style and spirit of Chinese contemporary artists, which can be said to articulate the younger generation’s perception of and reaction to our time: that is, continual attempts to grasp and pin down each fragmentary moments amid fluidity and uncertainty. In a world of increasing diversity, China’s modernization seems endlessly developing in unknown directions. As a result, everything appears transient, fleeting and contingent. In the field of art practice, the main symptom of such aimlessness and fragmentation presents itself in the overall lack of collective consciousness and groundbreaking creative ideas. It is difficult to establish a clear identity for the works of Chinese contemporary artists, as these works tend to be devoid of extremism or concrete meanings. In other words, it can be suggested, the current state of Chinese contemporary art is situated in a state of limbo. Or perhaps, unlike their predecessors who have tended to place emphasis on ‘clear meanings’, the younger-generation artists are simply observing their environment in the climate of uncertainty. Despite tremendous difficulties, I will try to give a summary, based on the limited materials I have so far acquired, of my observation of the new concepts, methods and aesthetics manifested in the work of the younger-generation Chinese contemporary artists whose rise has coincided with, and has been influenced by, the consumer culture. My definition of the ‘new’ here refers to the situation dating from the 1980s onwards. Subtitled ‘Artistic Imagination in an Age of Consumer Culture’, this presentation encompasses three sections: ‘the questioned self (也自我)’, ‘illusionary imagination’, and ‘the new scar’. Along with the corresponding notes and illustrations, this account will hopefully present the historical trajectory of Chinese contemporary art in the era of consumer capitalism: its past, the present, and some foreseeable future. It is precisely the profound hidden implications underneath the façade that has transformed a primitive state into a self-conscious manifestation of the true self.