“我喜欢中国。我一定要再回到中国。”——这是荷兰当代艺术家尤茜·更蓓妠(Jose Krijinen)在我应邀访欧期间曾多次说的一句话。当然,更蓓妠对中国艺术文化的热望,有其对自身乃至当下欧洲创作惯性的心理焦虑和逆反。因为就我切身感受讲,北从哥本哈根到柏林,南至佛罗伦萨和罗马,几乎整个欧陆的基本创作理念和学院体系,眼下似乎只有“观念”加“媒材”四个字。而在这四个字中,作为晚期现代主义即或后现代主义主要遗产的“观念”性,似乎更是主导欧陆艺术实践的一个教条化了的法则。因此,这对于身在海牙皇家美 “I love China and I must return to China.” - This is what the Dutch contemporary artist Jose Krijinen said many times during my invitation to visit Europe. Of course, Beibei’s desire for Chinese art and culture has its own psychological anxiety and rebellion against the inertia of creation in itself and even nowadays. Because to my personal experience, north from Copenhagen to Berlin, south to Florence and Rome, almost all of Europe’s basic creative ideas and academic system, now seems to only “concept ” plus “media ” four words. In these four words, the concept of “idea” as the main legacy of late modernism or postmodernism seems more of a doctrinal rule that dominates European artistic practice. So this is for Royal Beauty in The Hague