宣言

流浪汉：情境主义

股票经纪人：未来主义 工人：建筑 化工员：绝对主义，建构主义 葬礼演说家：达达主义 家庭主妇：波普艺术

朋克：神创论，条纹主义 聚会组织者：旋涡主义，蓝骑士派，抽象表现主义 编舞：激浪派，贫穷艺术（Mario Merz，感谢concis），行为艺术 人偶家：超现实主义，空间主义 新闻播报员与远程记者：概念艺术，极简风格 教师：道格玛95

若用电影的角度去思考，算不上一部出色的艺术作品，宣言也显得空洞无力，导演想表达的东西太大了，根本无法浓缩成一部电影，但是对于对艺术感兴趣的人，可以当成一部对了解艺术的入门教材之一，开头的宣言有股莫名激动，有种像在某种艺术社团里得气氛，“存在，在别处” （existence is in elsewhere)一下子触动灵魂深处。或许这是大部分艺术家的迷茫困惑的问题……

萨特（存在主义），昆德拉（生活在别处）

When there is a shortage of genuine urgency -- political or aesthetic or otherwise, an established artist makes art by finding an established actress to read out loud established art historical texts, and calls it manifesto.

It doesn't seem to be self conscious of the irony of its commercial gloss, bourgeois opulence, stylish artifice. Is there a manifesto that does not manifests anything new, raw, or real? Is there such a thing as a makeup manifesto?

Maybe there is, in the kind of art world establishment we have. Maybe there isn't, there are only make-up artists -- there is apparently an army of them here, who are the true artists of this artwork.

I used to think it is bad enough for us today to have only dead manifestos. When Julian Rosefeldt bring them back to life, I see zombies. Now I regret.

The ticket money I spent on this How Art Museum exhibition: what a regret also. How Art Museum, like many of those newly established contemporary art institutions in the past few years in this country, thinks that having a "creative" name makes it look more creative. It does, but this "creativity" has as little to do with contemporary art creation as Julian Rosefeldt's "Manifesto" has anything to do with manifesto.

This is the first exhibition (a manifesto exhibition) of How Art Museum, along with a design exhibition elegantly titled "The New Creative Future of Chinese Design," and a shop almost the size of a whole exhibition floor filled with arty merchandise, appropriately named "art derivatives", by Jeff Koons, Murakami Takashi, Xu Zhen, Xiang Jing & Qu Guangci, and their wannabes. Outside the shop is the namesake hotel filled with sculptures and paintings by even worse artists. The museum requires all visitors to exit the museum into hotel's third floor (then to its tasteless lobby), instead of the museum entrance, so that we have to endure this exhibition outside the exhibition.

Unlike Julian Rosefeldt, who does have his own merits in art, which I do not bother to mention here, this bright new How museum seems to be desperately assembling and manifesting everything that is wrong with the art world, and from its beginning we've learned that all it wants to do in the future is to assemble and manifest more. The only problem left for them is how.

这部电影本身就是一个绝妙的实验，大部分意义上它的画面和语言是可以独立观看的，也就意味着，他画面的设计感会更棒，他不需要去迎合故事的发展，因为它根本没有故事可言。比如电脑那段的俯拍，比如那个如当代艺术版的楼梯。很多时候画面其实是作为它里面语言的一个补充的。比如俯拍电脑的时候，它以完全俯视的视角去看待过往的艺术的，比如流浪汉走过工厂废墟，那可能就是他急待重建的艺术的象征，木偶对应的梦境。

它讲了各种流派的观点，但是实质上里面是有很多共同点的，比如瞬间，比如速度，比如对现有艺术的一种反抗，比如没有什么是原创的，比如艺术不是为了艺术而艺术。开篇极具冲击力的白字，与结尾非常混乱但其实是在说相同的话的内容，其实可能就是这些最共同的地方，也是最想表达的。

开篇是流浪汉，结尾亦是，他可以说是最宽穿始终的存在。看这种电影真的比听课还累，因为你必须追寻着他所说的每一句话，但往往是跟不上的。这个电影里还有些个挺荒谬的点，比如把这个宣言当成祷告，比如把宣言做出新闻节目的形式，这其实都是还蛮离谱的存在，而这种荒谬本身其实又是一种艺术。

2022-4-29看