化 物——祝延存作品展
Spiritual Transformation
按出场顺序依次为：化物策展人/美学博士 杨震先生、中国艺术研究院副院长/教授/艺术家 谭平先生、中央美术学院油画系第五工作室教授/艺术家 孟禄丁先生、中央戏剧学院教师/艺术家 张慧先生、艺术家 张方白、艺术家 宋永红、艺术家兼策展人 秦思源、策展人 何畏


“化物”前言
Preface for “Spiritual Transformation”
杨震
By Yang Zhen
中国当代艺术往何处去：在资本与权力两种异化力量的裹挟下，艺术是否还能找到自己的方向？在“作者已死”、“艺术终结”的后艺术、后历史语境中，艺术家如何还能保证存在的必要性和艺术的独创性？中国当代艺术家群体在过度开采传统文化符号和近现代商业、政治符号之后，如何继续施展自己的“中国性”与“当代性”，以及建基于此的“国际性”？
祝延存以其多年沉默而执着的努力，回应上述三种挑战，走出了属于自己的答案：

Where would Chinese contemporary art go: could art still find its own direction under the coercion of two alienating strength of capital and power? In the post-art and post-historical contexts of “the death of author” and “the end of art”, how could artists still guarantee the necessity of their existence and the originality of their art? After the group of contemporary Chinese artists have conducted excessive exploitation of traditional cultural symbols and modern commercial and political signs, how could they continue to exert their own “Chinese nature” and “contemporary features” as well as the “international character” based on the above two? With his many years of silent and persistent efforts, Zhu Yancun has responded to the above three challenges, and made progress with his own answer:

一、从人文关怀到生命关怀
祝延存的天然材料绘画之魅力，并不在于材料本身，而在于他从来不是为材料而材料，不是拿着材料去找主题，而是本着自己一贯的哲学家气质、艺术家敏感、持久的生命关怀，自然而然找到了量身定做的语言，也就赋予了这种语言以强大的生命力。

I. From Humanism to Life Concerns
The enchantment of Zhu Yancun’s painting with natural materials, does not lie in the material itself, but with the reason that he never creates for the material’s sake, as he did not seek them with materials, instead he naturally finds the language tailored for himself with his consistent temperament of philosopher, sensitivity of artist and continuous humanism, thus he creates this kind of language with a strong vitality.

二、从旁观到在场
祝延存的作品有一种不露声色的“当代性”，关键就在于它们的时间性特征：形式不再永恒，色彩允许发酵，它们是一个过程的折叠，也是一段变化的持续敞开；它们不是完成时，而是进行时；从场内走向了场外，沟通艺术与非艺术，让更多事物拥有了艺术性，也让艺术恢复了更多原始生命力，因此，它们是介入而非分离的艺术，是参与而非旁观的艺术，这种参与不是摇旗呐喊，而是内在精神的吸纳与渗透，是作为生命之花的艺术与整个生活的土壤之间能量交换、物理循环的一次深刻展示。
II. From Bystander to Presence
There is a kind of undemonstrative “contemporary feature” in Zhu Yancun’s work, the key lies in their temporal feature: forms are no longer eternal, and colors are allowed to ferment, they belong to a folding process, and meanwhile they are open to a changing continuation; they are not the perfect tense, but the continuous tense; from intra-field to outer-field, communicating between art and non-art, thus endowing more things with artistic nature while restoring more original vitality to art, so that they are the arts of intervention rather than those of separation. They are arts o