当下,中国当代艺术在接受层面相较于世纪之交“中国热”时期持续走低,中国的艺术家们渴望却缺乏足够的来自外界的反馈与关注。与这种匮乏相对的是,中国艺术界无论是整体上属于“后殖民主题”的艺术家、艺术实践与批评文章,还是真正地对于后殖民理论资源进行使用的艺术家与策展人,其比例都远低于国际语境。这种困境并不是由新的社会历史现实衍生出的新问题,而是长久以来困扰着中国当代艺术的后殖民问题的“压抑者的复归”。本文以中国当代艺术“走出去”困境为出发点,在厘清萨义德东方学中的否定与肯定两种面向,以及多元文化主义对于东方学之审慎态度的跨越的基础上,借由对于2008年第三届广州三年展的回望,探讨“与后殖民说再见” 作为策展主题对于全球性“视角”的敏锐觉察与对于抽象概念的靠近以及这种表述中展现出的清晰的“中国立场”,并试图从中寻找解剖当下中国当代艺术困境的可能路径。

At present, the acceptance level of contemporary Chinese art continues to decline compared to the “China fever” period at the turn of the century. Chinese artists crave but lack sufficient feedback and attention from the outside world. In contrast to this scarcity, the proportion of artists in the Chinese art world who belong to the overall “postcolonial theme”, art practices and critical articles, as well as artists and curators who truly use postcolonial theoretical resources, is far lower than the international context. This predicament does not stem from new socio-historical conditions; rather, it represents the “return of the repressed”— the persistent, unresolved postcolonial dilemma that continues to haunt contemporary Chinese art. This article takes the dilemma of “going global” in contemporary Chinese art as the starting point. Based on clarifying the two aspects of negation and affirmation in Edward Said’s Orientalism, as well as the cautious attitude of multiculturalism towards Orientalism, and looking back at the third Guangzhou Triennale in 2008, it explores the keen awareness of “saying goodbye to postcolonialism” as the curatorial theme for the global “perspective” and the approach to abstract concepts, as well as the clear “Chinese position” displayed in this expression. It attempts to find a possible path to dissect the current predicament of contemporary Chinese art from this perspective.