深圳国际水墨双年展或许是最早按照传统的画种划分而设立的双年展,至今已经是第八届。因为是以水墨为双年展的核心,其影响力基本一直局限在水墨或者中国画界内部。其中唯一的例外是2006年由德国汉学家杨天娜策划的第五届,当时的展览主题是“水墨·生活·趣味”。在那届双年展中,策展人开始将画种的概念转化为文化媒介的概念,从而将当时时珠江三角洲活跃的艺术家如阳江组、储云、蒋志等囊括进来。这个尝试曾经成为当时的亮点而被广泛谈论。但这个值得探讨的问题,并没有在后来两届双年展中延续下去。如果我们稍微了解这个背景,就会发现本次颇具野心的第八届水墨双年展其实有意无意之间在回应这几年之前开始的话题。两位策展人陈君、付晓东 Shenzhen International Ink Biennale may be the earliest in accordance with the traditional painting division and set up the Biennale, has been the Eighth. Because ink and wash are the core of the biennale, its influence has basically been confined to the ink painting or the interior of Chinese painting circles. The only exception was the fifth in 2006, planned by German sinologist Yang Tian-na. The theme of the exhibition was “Ink, Life and Interest”. In that Biennale, curators began to translate the notion of painting into the concept of cultural media, thereby encompassing the then active artists in the Pearl River Delta such as Yangjiang Formation, Chu Yun and Jiang Zhi. This attempt was once a bright spot and was widely discussed. However, this issue worth exploring did not continue in the two biennials that followed. If we have a little understanding of this background, we will find that the ambitious eighth Ink Biennale in fact inadvertently started in response to a few years ago. Two curators Chen Jun, Fu Xiaodong