Mommy基金会出版物：
CV’s
为什么是 CV’s?
近几年来，中国的年轻艺术家群体在上海、北京、广州、杭州等城市一直进行着自发组织展览等各种集体活动。 这些艺术家在一个很特殊的环境下开展、进行着他们的行动：全球当代艺术范围内的“中国热”已慢慢冷却，同时本土的系统还远远没有打好最基本的基础。这样的生存环境与之前几代艺术家有着很大的不同。“地下艺术”对于这群艺术家来说只是个模糊而遥远的定位，“地下”的经验已经没有了。就目前来说，他们同样不属于当代艺术的商业炒作系统，他们跟商业的关系看来还非常遥远。他们大部分的展览和活动都发生在一些与艺术无关的空间，极少会选择一些非盈利的艺术空间；他们的作品也大多很难被收藏；这些艺术家中的大部分还是没有工作和明确的社会身份的一群年轻人。他们身上所承担的压力不同于上一代艺术家。他们不一定要去站在社会的对立面，而更像是一种漂浮于社会上的状态：偶尔会引起小的波澜，但这些小小的浪花往往还只能停留在自身的艺术群体里边。
他们不想变成英雄。
很多人在把这一些年轻人与前辈艺术家比较时指责他们没有文化、不了解历史、对艺术不认真。这其中也许有些是有依据的，但是就他们所长成的这个社会而言，是他们所受到的教育和他们得到的信息把这一代人年轻人放在了这样一个僵局中。
如果你近而了解他们，便会明白他们在行动。 但是他们的行动更多的是对自身世界的反射和自我的形成。他们常常用无厘头的方式来描述并把自己放在一种看来似乎相互没有关系的荒唐的境遇。 这样的行动往往带来一种无法判断的后果，又或许根本没有结果产生。他们把自己定位于较弱势的角色，而同时又在不断地制造小的波浪——没有直接的反抗，但是这些行动处于一种恶作剧、反抗和玩笑之间的特殊状态。这样的行动其实也传递出一丝无助，一种无身份的状态，他们期望去表达而这些表达与前辈艺术家截然不同，但是还没有找到合适的途径，依旧是无奈的自娱自乐。
Mommy基金会的首个出版项目邀请了这些艺术家参与，用仅有的5个页面来展现他们的生活、想法、思考过程、生活和艺术的关系、日常消遣、平时的随笔等等各种他们想要展现的内容。希望本次出版物变成一个了解这些年轻艺术家平时生活状态和艺术工作的媒介。出版物的出发点并不只是做一个在书里发生的展览，而是期望展现艺术家在作品和展览背后的工作与思考方式的延伸。
书中的艺术家是经由几位艺术家推荐的，他们从自己生活的圈子中邀请了这些艺术家来参与，在此非常感谢高铭研、唐狄鑫、胡向前和赵赵的帮助。
本人仅代表Mommy基金会对于Timezone 8 、封面设计鸟头及所有参与的艺术家表示衷心的感谢。
比利安娜
Mommy基金会
Mommy Cv’s project
Why CV’s?
In the last few years there is group of young artists that have started exhibiting in different cities in China—mostly inShanghai, Beijing, Guang Zhou and Hang Zhou. This generation of young artists started to become a part of the artscene during a time when international interest in Chinese art has begun to wane, through a general loss of interestand the lack of local infrastructure.
This situation is very different from the generation of artists that came before. This group of artists is very difficultto situate as being active in a kind of underground, because there is nothing like the underground that largelycharacterized the art scene of the 80s. They don’t belong to the commercial sector, or at most they have very weakrelationship with the commercial side of contemporary art production.They show their works in the few non-profit spaces that exist in China, and the work is usually difficult to collect andhard to preserve. Most of them are at an age of maturity, when they should become more self-sufficient, but most ofthem jobless. They don’t share the burden of the generations of artists that came before them. Their work doesn’t necessarily act in opposition to the country system, but their presence in society is like many different streams flowing together, occasionally raising very small waves whose influence doesn’t go much beyond the art circles.They don’t want to become heroes.
Many would define this generation in comparison with earlier ones, as not being intellectual enough or as an irresponsible group of kids that don’t take art seriously. On the one hand, maybe this is true. But on the other hand, the whole of society in which this generation has grown up, the education they were provided and information they have consumed, has put them in such a position. If you try and understand them better, if you move closer into their circle, you will see that they are actually acting.These acts are always in reference to the acts of earlier generations, and very much oriented towards self-reflection and their own existential state, rather than as aimed towards the outer world. These kind of actions are usually defined in Chinese as 无厘头—as certain absurd, humorous or paradoxical situations that are usually unrelated or seem to be unrelated. These kinds of actions bring forth unexpected results, or else no results are expected at all.
These artists are a weak force that are constantly making small waves, not particularly brave, and without much of the open protest that came before them. But it seems that each small action could be taken as an investigation of the space between protest and prank. At the same time, these actions convey a sense of helplessness or the useless position or non-position of artists within the current Chinese society, a place where the younger generation of artists is developing their own needs that differ from those of earlier generations, but yet do not have the channels to express themselves other than these certain 无奈 WHATEVER states of playing with one’s self. Artists presented in this book of CV’s is the first publication of the Mommy Foundation, which invited artists to present their lives, thoughts, ideas, writing samples, proposals, and so on. Each artist is given a few pages in order to provide a possible vehicle of expression to people so that they might better understand what these artists think and where their ideas come from; all in all, this book tries to create a link between art and everyday life. The artists presented in the book are artists invited by another group of artists: such as Gao Mingyan, Hu Xiangqian, Tang Dixin and Zhao Zhao. The four of them have helped me to compile the book, invite the different artists, collect materials, and so without them this project would have been very different. The idea was to present
the publication not as an exhibition in book form, but rather as a stream of thoughts that are usually hidden behind
the work and exhibition processes. I would also like to thank all of the participating artists for their collaboration,
Timezone8 for publishing the book, and the Birdhead collective for designing the cover.
Biljana Ciric
Mommy Foundation
关于限量版CV’s：
每位艺术家将为该出版项目制作一件签名作品，该作品可夹入这本CV’s出版物中，该本CV’s即作为限量版出售.
CV’s将于2010年1月22日在香港发布
About limited editions of Cv's:
for the Cv;s project each artist produced limited edition work that will be available with the magazine.
MOMMY Magazine CV’s first launch will be in Hong Kong January 22nd in Osage.
参加的艺术家/Artists
卢佳炜/Lu Jiawei
高铭研/Gao Mingyan
胡向前/Hu Xiangqian
胡筱潇/Hu Xiaoxiao
胡昀/Hu Yun
廖斐/Liao Fei
李牧/Li Mu
李明/Li Ming
刘茵/Liu Yin
陆扬/Lu Yang
陆平原/Lu Pingyuan
苏畅/Su Chang
双飞/Shuang Fei
唐狄鑫/Tang Dixin
王思顺/Wang Sishun
张芳/Zhang Fang
张帆/Zhang Fan
张乐华/Zhang Lehua
赵要/Zhao Yao
赵赵/Zhao Zhao
以下是部分艺术家作品:The following is parts of artists projects：
双飞艺术中心
卢佳炜
高铭研
陆扬
赵要
张帆
刘茵
CV’s
为什么是 CV’s?
近几年来，中国的年轻艺术家群体在上海、北京、广州、杭州等城市一直进行着自发组织展览等各种集体活动。 这些艺术家在一个很特殊的环境下开展、进行着他们的行动：全球当代艺术范围内的“中国热”已慢慢冷却，同时本土的系统还远远没有打好最基本的基础。这样的生存环境与之前几代艺术家有着很大的不同。“地下艺术”对于这群艺术家来说只是个模糊而遥远的定位，“地下”的经验已经没有了。就目前来说，他们同样不属于当代艺术的商业炒作系统，他们跟商业的关系看来还非常遥远。他们大部分的展览和活动都发生在一些与艺术无关的空间，极少会选择一些非盈利的艺术空间；他们的作品也大多很难被收藏；这些艺术家中的大部分还是没有工作和明确的社会身份的一群年轻人。他们身上所承担的压力不同于上一代艺术家。他们不一定要去站在社会的对立面，而更像是一种漂浮于社会上的状态：偶尔会引起小的波澜，但这些小小的浪花往往还只能停留在自身的艺术群体里边。
他们不想变成英雄。
很多人在把这一些年轻人与前辈艺术家比较时指责他们没有文化、不了解历史、对艺术不认真。这其中也许有些是有依据的，但是就他们所长成的这个社会而言，是他们所受到的教育和他们得到的信息把这一代人年轻人放在了这样一个僵局中。
如果你近而了解他们，便会明白他们在行动。 但是他们的行动更多的是对自身世界的反射和自我的形成。他们常常用无厘头的方式来描述并把自己放在一种看来似乎相互没有关系的荒唐的境遇。 这样的行动往往带来一种无法判断的后果，又或许根本没有结果产生。他们把自己定位于较弱势的角色，而同时又在不断地制造小的波浪——没有直接的反抗，但是这些行动处于一种恶作剧、反抗和玩笑之间的特殊状态。这样的行动其实也传递出一丝无助，一种无身份的状态，他们期望去表达而这些表达与前辈艺术家截然不同，但是还没有找到合适的途径，依旧是无奈的自娱自乐。
Mommy基金会的首个出版项目邀请了这些艺术家参与，用仅有的5个页面来展现他们的生活、想法、思考过程、生活和艺术的关系、日常消遣、平时的随笔等等各种他们想要展现的内容。希望本次出版物变成一个了解这些年轻艺术家平时生活状态和艺术工作的媒介。出版物的出发点并不只是做一个在书里发生的展览，而是期望展现艺术家在作品和展览背后的工作与思考方式的延伸。
书中的艺术家是经由几位艺术家推荐的，他们从自己生活的圈子中邀请了这些艺术家来参与，在此非常感谢高铭研、唐狄鑫、胡向前和赵赵的帮助。
本人仅代表Mommy基金会对于Timezone 8 、封面设计鸟头及所有参与的艺术家表示衷心的感谢。
比利安娜
Mommy基金会
Mommy Cv’s project
Why CV’s?
In the last few years there is group of young artists that have started exhibiting in different cities in China—mostly inShanghai, Beijing, Guang Zhou and Hang Zhou. This generation of young artists started to become a part of the artscene during a time when international interest in Chinese art has begun to wane, through a general loss of interestand the lack of local infrastructure.
This situation is very different from the generation of artists that came before. This group of artists is very difficultto situate as being active in a kind of underground, because there is nothing like the underground that largelycharacterized the art scene of the 80s. They don’t belong to the commercial sector, or at most they have very weakrelationship with the commercial side of contemporary art production.They show their works in the few non-profit spaces that exist in China, and the work is usually difficult to collect andhard to preserve. Most of them are at an age of maturity, when they should become more self-sufficient, but most ofthem jobless. They don’t share the burden of the generations of artists that came before them. Their work doesn’t necessarily act in opposition to the country system, but their presence in society is like many different streams flowing together, occasionally raising very small waves whose influence doesn’t go much beyond the art circles.They don’t want to become heroes.
Many would define this generation in comparison with earlier ones, as not being intellectual enough or as an irresponsible group of kids that don’t take art seriously. On the one hand, maybe this is true. But on the other hand, the whole of society in which this generation has grown up, the education they were provided and information they have consumed, has put them in such a position. If you try and understand them better, if you move closer into their circle, you will see that they are actually acting.These acts are always in reference to the acts of earlier generations, and very much oriented towards self-reflection and their own existential state, rather than as aimed towards the outer world. These kind of actions are usually defined in Chinese as 无厘头—as certain absurd, humorous or paradoxical situations that are usually unrelated or seem to be unrelated. These kinds of actions bring forth unexpected results, or else no results are expected at all.
These artists are a weak force that are constantly making small waves, not particularly brave, and without much of the open protest that came before them. But it seems that each small action could be taken as an investigation of the space between protest and prank. At the same time, these actions convey a sense of helplessness or the useless position or non-position of artists within the current Chinese society, a place where the younger generation of artists is developing their own needs that differ from those of earlier generations, but yet do not have the channels to express themselves other than these certain 无奈 WHATEVER states of playing with one’s self. Artists presented in this book of CV’s is the first publication of the Mommy Foundation, which invited artists to present their lives, thoughts, ideas, writing samples, proposals, and so on. Each artist is given a few pages in order to provide a possible vehicle of expression to people so that they might better understand what these artists think and where their ideas come from; all in all, this book tries to create a link between art and everyday life. The artists presented in the book are artists invited by another group of artists: such as Gao Mingyan, Hu Xiangqian, Tang Dixin and Zhao Zhao. The four of them have helped me to compile the book, invite the different artists, collect materials, and so without them this project would have been very different. The idea was to present
the publication not as an exhibition in book form, but rather as a stream of thoughts that are usually hidden behind
the work and exhibition processes. I would also like to thank all of the participating artists for their collaboration,
Timezone8 for publishing the book, and the Birdhead collective for designing the cover.
Biljana Ciric
Mommy Foundation
关于限量版CV’s：
每位艺术家将为该出版项目制作一件签名作品，该作品可夹入这本CV’s出版物中，该本CV’s即作为限量版出售.
CV’s将于2010年1月22日在香港发布
About limited editions of Cv's:
for the Cv;s project each artist produced limited edition work that will be available with the magazine.
MOMMY Magazine CV’s first launch will be in Hong Kong January 22nd in Osage.
参加的艺术家/Artists
卢佳炜/Lu Jiawei
高铭研/Gao Mingyan
胡向前/Hu Xiangqian
胡筱潇/Hu Xiaoxiao
胡昀/Hu Yun
廖斐/Liao Fei
李牧/Li Mu
李明/Li Ming
刘茵/Liu Yin
陆扬/Lu Yang
陆平原/Lu Pingyuan
苏畅/Su Chang
双飞/Shuang Fei
唐狄鑫/Tang Dixin
王思顺/Wang Sishun
张芳/Zhang Fang
张帆/Zhang Fan
张乐华/Zhang Lehua
赵要/Zhao Yao
赵赵/Zhao Zhao
以下是部分艺术家作品:The following is parts of artists projects：
双飞艺术中心
卢佳炜
高铭研
陆扬
赵要
张帆
刘茵
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