关于曹斐的《人民城寨》 
侯瀚如 巴黎 二零一一年二月二十七日 

在其创作时间长达 3 - 4 年的《人民城寨》,曹斐代表了一代人崭新有趣的感知方式, 即,一种全新的知识维度。这一代人成长在一个空前多变但充满创新的环境,一 个簇新的城市世界。这不但体现在拔然而起的高楼大厦,还呈现在不断涌现未来世界般的梦幻图像的现在,一个受数字科技推动和支配的日常生活 —— 这是一种全新形式的流行文化。这个现实和虚拟结合的年代不但为个人交换和分享信息提 供了一个崭新的视角,最终也将改变我们对艺术创作的看法。 
透过与“第二人生”1 打交道,曹斐彻底改变了一个艺术家扮演的角色。她不再是一 位单纯进行创作然后被消费的艺术家,她测试的是整体变化的极限。她成为了一 个促成变化的媒介。而她的作品则需要别人来进行定义 , 说明了现在的艺术作品 也成为了互联网文化的一部分。这完全改变了十八世纪以来对艺术的传统定义, 它不再是一个自在自为的完整体系。可能最能代表这种传统定义的是瑞士策展人赫拉德·泽曼 2(Harald Szeemann,1933 - 2005),特别是他关于个人神话的主张。 
“个人主义” 是西方社会最根本的概念:这一切都是源自于浪漫主义对自我的崇拜。 可是现在这一代人却认为这种个人特性不再属于个人,它不再是独立的主体。 
作为第二人生的一部分,《人民城寨》可以成为一个实体商业空间。譬如在第十 届伊斯坦布尔双年展上的首次展示,它就是以一个房地产中介的形式展出。它同 时包含了商业和知识上的交流。在虚拟世界中,《人民城寨》透过指定主要的城 市当权机构以及强调具有“中国特色”的城市形象,建立真实的社会关系和结构。 更重要的是,作品中不断“重塑”的过程使其他人也可以不断参与和创造。在《人 民城寨》,艺术是一个多维度的创作。它不是一个在封闭环境下进行的项目,它 代表了这个消费主义时代下的权利关系所主导的社会关系。 
注释:1、第二人生(Second Life,英文缩写为 SL)是一个基于因特网的虚拟世界,由三藩市林顿实验室(Linden Lab)开发拥有,于 2003 年 6 月 23 日正式上线。2、赫拉德·泽曼(Harald Szeemann,1933-2005),瑞士著名策展人、艺术家和艺术史家。 

Some Notes on Cao Fei’s RMB City
Hou Hanru Paris, February 27, 2011 

In her project RMB City, which has been unfolding for the last 3-4 years, Cao Fei represents the very interesting new sensibility -- or new intellectual dimension -- of a generation growing up in an unprecedentedly unstable but innovative environment; namely a new urban world. 
This not only appears in the booming skyscrapers, but also in the fantastic images of a future world looming over the present, propelled by digital technology and its prevalence over our everyday life -- a new form of popular culture. This, in an age in which the real and the virtual merge, opens up a new perspective for the invention of new forms of exchange and sharing among individuals and, eventually, on how we produce art work. 
By engaging with Second Life1, Cao Fei fundamentally transforms the role of the artist. She’s not somebody who simply produces something to be consumed, but she tests the possibilities of transformation as a whole. She is an agent for change. It’s down to other people to define her work. This shows that art today is also an implication of internet culture. It completely changes the traditional eighteenth century definition of art; it now no longer has a comprehensive, self-sufficient existence. Perhaps the ultimate person who embodied this old de nition was Harald Szeemann2 (1993-2005), when he talked about the mythology of the individual. 
Individualism is the fundamental notion of Western society: it is rooted in the worshipping of the romantic self. But somehow this generation now understands that this individuality is no longer individual; it’s not a separate subjectivity. 
As a part of Second Life, RMB City can function as a real commercial space. In exhibitions, such as its first presentation in the 10th Istanbul Biennial, it was displayed as a real estate agency. This simultaneously includes commercial and intellectual exchanges. In the virtual world, it produces real social relations and structures by designating a major and an actual municipal authority while emphasizing the “Chinese images” of the city. More importantly, it is its process of continuous “remaking” which allows for the constant inventions and participation of other people. Here, art is a multi-dimensional way of creation - it doesn’t only take place within one closed project. It embodies the actual social relationship which is dominated by the power relationship of our age of consumerism. 
Notes: 
1. Second Life is an online virtual world, developed and owned by the San Francisco-based rm Linden Lab and launched on June 23, 2003.2. Harald Szeemann (11 June 1933–18 February 2005) was a Swiss curator and artist and art historian. 
 

“人民城寨” 城市宣言

“人民城寨” 城市宣言