当马克波罗描述他作为记忆探访者所经过的城市时,忽必烈汗未必全都相信,但是有一点可以肯定,那就是这位鞑靼君王听我们这位威尼斯青年的讲述,要比任何信使和考察者梳理的报告都更专心,更具好奇心。而这次的“八五·85”展,如果作为一份重新梳理20世纪当代中国艺术史的报告,你也未必全信,可是有一点同样可以肯定,这次的讲述要比任何一本已载入叙事宏流的当代艺术史书来的更具可能性,也更让人好奇。如果把整个展览看作为一件作品,那最受限定的是什么?我觉得是空间。可能一个展览在最终成型之前冒出过成千上万的主题、次主题、多主题。可在定下展出场地的刹那,展览的空间结构就已经冥冥中被敲定了,剩下的就是匹配,最恰当的主题与最恰当的展出方式去匹配早已有之的空间结构。对一个空间构想能力弱的人来讲,不得不说,进入展厅的瞬间好像就已跌入万丈以下的迷宫深渊。依稀能够辨别的是中间的大厅呈现展览主题“将可能性还给历史,献给中国美术学院八十五周年”。左 When Mark Polo described his city as a memory visitor, Kublai Khan may not have believed it, but one thing is certain: the Tatar kings listened to our Venetian youth more than any messenger And investigators combed the report are more focused, more curiosity. However, this “August 5, 85” exhibition may not be entirely credible if you are going to sort out the report on the art history of contemporary China in the 20th century. However, one thing is equally certain. This narrative is better than any one It is even more curiosity that the book of contemporary art, which has been included in the narrative grand flow, is more likely to come. If the entire exhibition as a piece of work, what is the most limited? I think it is space. Maybe an exhibition pops up with thousands of themes, subtopics, and multiple themes before the final shape. At the moment of setting the venue, the space structure of the exhibition has already been finalized. The rest is the matching, the most appropriate theme and the most appropriate display way to match the long-existing spatial structure. To a person with a low ability to conceive space, one has to say that the moment of entering the exhibition hall seems to have fallen into the maze of abyss. Faintly discernible is the theme of the exhibition hall in the middle of the hall, “the possibility is returned to history, dedicated to the China Academy of Art eighty-fifth anniversary.” left