红桥画廊成立
二年以来，从最初的“温暖”开幕展，到每年一次的“新界面
”联展；从优秀的中国艺术家展览，到国内外画廊艺博会中的争鸣；从传承中
国传统，到同步于西方观念；我们致力于，对中国当代艺术的探索和梳理，并力图呈
现一种文化发展的脉络。
众所周知，东西方文化的
交融，已走过很多年。而文革后三十年，是中国对西方艺术再认识的三十年。文化上
秉承五四余韵。是一个新的学习和消化的过程。但同时，也是一个新的再创造的过程
。中国的艺术家将在自身独特的文化背景下，开始新一轮的艺术尝试与实践。并且这
一实践的过程，将随着中国经济的发展，和国际地位的不断提高，势必成为全球关注
的焦点。此种趋势，从这两年中国当代艺术市场的状态，便可窥一斑。
但实际上，这还只是一种经济层面的现象。所谓经济基础
，决定上层建筑。这表象的背后，其实是一种文化的复苏。一种中国文化的新的复苏
，并且，承载着五千年悠久的传统沉淀。回顾历史，我们知晓，中国传统文化自清末
肇始，已沉默得太久。这是一个新的历史时期，也必然会呈现一种新的文化现象。根
植于东方传统，兼容并包。
在这东西方艺术交融的
过程中，一种新的东方文化的内涵正在形成。
这两
年，我们通过对自中国当代艺术诞生成长之际就以拿来主义之态度对西方现、当代艺
术消化、吸收并作出杰出贡献的艺术家，和于新世纪我们所进入的当代社会（与传统
社会相对）中成长起来的艺术新秀的具体的个案研究，可以越来越明显感觉到在这个
特定的、承前启后的历史时代，这种东方文化其复兴与发展的潜质。
这些个案中，前者包括刘炜、唐志冈、毛旭辉、曾梵志、
周春芽、叶永青等“老”艺术家，后者有娄申义、黄宇兴、王光乐、秦琦
、史新骥、林国成、舒扬、破水、许珂、尚一心、何伟、张晋熙等新一代艺术家。他
们的艺术气息正体现着这种变化。
并且，这种文化
复兴与发展之潜质，将发生在各个文化领域。这是一种必然，而不仅局限于艺术。只
是，我们通过对中国当代艺术的探索，深深地感觉到了这些迹象。并愿意为之努力。
虽然事情还没有完全发生。于是，让我们徜徉以待，在实践中证实。这或许就是智者
的选择，也是理想主义者与纯粹主义者的乐趣。诚邀同道与非同道共赏矣。
新春将近，红桥画廊新成立的H＆H space空间，将于年初
在淮海路上海红坊国际文化艺术社区隆重开业。新空间占地600多平米，建筑结构新
颖，艺术气息浓郁。在这个新的起点上，我们将继续以架上绘画和雕塑展览为主，同
时探索影像、装置、新媒体等艺术语言，通过对个案的具体研究发掘，展现新的艺术
价值，培养年轻一代的艺术家。
日常管理模式上，
我们也将一边借鉴和学习西方一流画廊的操作模式，一边结合中国国内自身的文化特
点，努力探寻出一套现阶段适合中国画廊的运营管理模式。
在未来的日子里，我们将秉承一贯的真诚严谨的学术态度
，本着对艺术本身的思考，在对中国当代艺术发展脉络进行历史梳理的同时，也将发
掘艺术家及其作品的艺术价值、做好学术推广当作自己的使命，以艺术的变迁感知文
化的发展，探索和研究中国当代艺术的发展方向，为促进中国当代艺术的成长和国际
化奉献一份绵薄之力。
Since its
establishment two years ago, the Red Bridge Gallery has been devoted to
exploring and sifting Chinese contemporary art and trying to show traces
of the cultural development: from the opening exhibition of Land of Warmth
to the annual group exhibition of The New Interface Art; from hosting
exhibitions for brilliant Chinese artists to making its presence at the
art expos home and abroad; and from carrying on the Chinese traditions to
keeping pace with the western concepts.
As is know to all, the
Eastern and the Western cultures have been interactive for ages. The three
decades after the Cultural Revolution (1956-1966) is a period when China
tried to reexamine and recognize the Western arts. Led by the spirits of
May 4th New Culture Movement, Chinese culture experienced a new process of
learning and assimilation, as well as of re-creation. Now, in the unique
Chinese cultural background, Chinese artists will start a new round of
attempts and practices, which will surely become the focus of attention
worldwide as China’s economy develops and the country’s
international standing gets increasingly high. The market of Chinese
contemporary art in the recent two years has already shown some hints of
the tendency.
This seems simply a phenomenon in the economic
realm. However, considering that the economic base determines the
superstructure, we may conceive from the phenomenon a cultural revival, a
new recovery of the Chinese culture with its five-thousand-year
traditions. In retrospect, we are fully aware that the Chinese culture has
long been in silence ever since the end of the Qing Dynasty. Yet in this
new historical period, a new cultural phenomenon is surely to happen in
China, taking root in the oriental traditions and enriching itself with
other cultures of the world.
In blending of the Eastern and the
Western arts, a new type of oriental culture is beginning to take
shape.
The past two years have seen our efforts in cases study
on the brilliant artists of the early generation as well as on the
outstanding young artists who rose in the contemporary age. In the spirit
of “taking in as many fine things as possible”, the early
generation introduced and assimilated the Western modern and contemporary
arts and made marvelous contributions to Chinese contemporary art from the
very beginning. The result of such case studies more and more obviously
indicates the potential for the oriental culture to revive and prosper in
this special historical era that serves as a link between the past and the
future.
Among the cases, the former refers to the
“old” artists, including Liu Wei, Tang Zhigang, Mao Xuhui,
Zeng Fanzhi, Zhou Chunya, Ye Yongqing, etc.; and the latter refers to
artists of the younger generation such as Lou Shenyi, Huang Yuxing, Wang
Guangle, Qin Qi, Shi Xinji, Lin Guocheng, Shu Yang, Po Shui, Xu Ke, Shang
Yixin, He Wei, Zhang Jinxi, etc. Their artistic perception and temperament
well implies the above-mentioned trend of changes.
Far more than
that, such potentials of cultural revival and prosperity will inevitably
take place in an all-around way rather than be confined to the field of
art. The efforts we have made in exploring Chinese contemporary art happen
to show such a tendency, though it has not come true yet. Let’s take
our time to prove it in practices and this should be a choice of the wise,
where lies joy and pleasure of idealists and purists. We now sincerely
invite kindred spirits and other friends to join us in witnessing the
significant process.
The Chinese Spring Festival is now around
the corner. H&H space, the new site of the Red Bridge Gallery will be
open in Shanghai Red-town International Culture&Art Center on Huaihai
Road at the beginning of the new year. It covers an area of over 600
square meters with constructions of novel style and rich artistic
atmosphere. With a new start, we will continue to focus on easel painting
and sculpture exhibitions and to probe into other art forms at the same
time, for instance, videos, installation, new media, etc., aiming to
nurture artists of the younger generation and present new values of art
through specific case studies.
When it comes to the mode of
routine management, we try to learn from the operation of top-class
western galleries on the one hand and adapt them to cater for the Chinese
cultural situations on the other hand, aiming to create an applicable
management mode for Chinese galleries.
In the days to come, we
will carry on our long-held attitude of sincerity and preciseness. With
the determination of pondering on the nature of art and with an aim to
trace the development of Chinese contemporary art, we also take it as our
mission to bring to light artists and their works, as well as to promote
the acedemic studies on art. With the awareness of changes in art and
developments in culture, we have been devoted to exploring the trend of
development in Chinese contemporary art and making our bit of contribution
to its development and internationalization.
