文/ Yudelsy Fundora Martínez
世界上众多的画廊和艺术机构，像巴西圣保罗美术馆、西班牙的瓦伦西亚现代艺术机构，近年来越来越多的把注意力集中到了中国当代艺术方面。21世纪初，中国当代艺术议题的专业性、准确性已经为中国当代艺术赢得了世界重量级展览的敬意。
在即将到来的三、四月份，第十届哈瓦那双年展将为大批典型的亚洲杰出艺术家作品提供完美的展示机会，并以兹纪念中国与古巴两国之间百年来的友好关系。
生于20世纪六，七十年代的青年艺术家的作品证实了不断变化与发展的现实，同时反映了在不摒弃他们背景与文化遗产前提下对西方惯例的加速挪用。这些作品将在双年展上呈现给观众。
通过这样一场具有多样审美与多方支持的独具特色的展览，参加双年展的公众将有机会对中国当代艺术进行公正的评价。
亚洲国家出现在本届双年展的有群展“中国当代艺术回顾”，以及两位特邀艺术家刘小东和陈晓云的个展。
首次登陆古巴岛的群展项目，最初是为2007年柏林亚太周的展览设想的，它带来六位中国艺术家陈波、仇晓飞、王承云、王庆松、熊宇和周文中的联展。
按照柏林展览的策展人Tereza de Arruda为哈瓦那双年展的图录中对作品的阐述，这六位艺术家虽都有自己独立的创作风格，但他们都代表了中国的当代性。
生于1973年的陈波将重点放在了日常生活上，他用很长的富有表现力的笔触描绘出平凡人物身上的美。更年轻的艺术家仇晓飞也选择了表现平凡场景和人物。他保留了童年时期大量的生活场景和记忆，来揭示当下政治性与社会性兼具的行为方式。除了绘画，仇晓飞还有装置作品。
王承云的绘画建立在城市的快速发展和社会逻辑之间的对话。一些年轻人的堕落是他一再重复的最重要主题。
王庆松用摄影作为反思中国和世界的媒介。艺术家创造的戏谑场景很多时候是对现实的扭曲。
Tereza de Arruda说，熊宇则处在一个异想的世界中，他的人物性别不明，与文本情境毫无关系地存在着。周文中远离了以社会现实主义为原则的学院式培训，用异象和超现实主义场景来表现中国历史。刘小东毕业于中央美术学院油画系，作为玩世现实主义的代表，他在双年展中将有一个个展。其作品曾经在美国、法国等许多国家展出过。
另一位受邀艺术家陈晓云，是中国当代影像艺术的代表。其作品曾在意、美、法、德展出。此次由美国策展人Julia Herzberg将他带到了双年展。
Hezberg还推荐了韩国艺术家和策展人Yong Soon Min，他在双年展上有个录像作品展。丰富的中国元素是此次双年展的一大亮点。这些作品来自于社会主义、同时又是世界上社会、政治、经济领域最强大的国家之一中国，普遍证明了本次双年展议题“全球化时代的整合与抵制”的紧迫和可信。中国当代艺术在哈瓦那双年展的出现，是林飞龙艺术中心陈列二十多年的作品的注释，该中心从1986年的第二届开始就是哈瓦那双年展的组织者，它将双年展的范围扩大到了中东和亚洲地区，为常被西方世界建立的标准孤立和排除在外的所谓外围文化而奋斗。
Chinese Art from Today Grants Contemporariness to the Tenth Havana Biennial
By Yudelsy Fundora Martínez
Numerous galleries and institutions devoted to the fine arts in the world, such as the Sao Paulo Museum of Art, Brazil, and the Modern Art Institute of Valencia, Spain, have granted attention in recent times to the art produced in China these days. Since the opening of the 21 st century, the quality and validity of its proposals have earned Chinese art a place of respect in the most important exhibition halls at global level.
During the upcoming months of March and April, the Tenth Havana Biennial will be the ideal pretext to present in Cuba a large number of the most representative aesthetics of the fine arts production of the Asian giant and thus nourish the centenary relations that exist between both nations.
Pieces by young artists born in the decades of 1960 and 1970 that give testimony of a reality in constant change and development and at the same time reflect an accelerated appropriation of western practices without renouncing to the commitment with their context and cultural legacy will be exhibited to the Cuban public.
The public attending the Biennial will enjoy the opportunity to valuate fairly today's Chinese art through an exhibition characterized by the uniqueness of the various aesthetics and supports.
The Asian nation will be represented by the group project “China : contemporary art review” and two solo shows of guest artists Liu Xiaodong and Chen Xiaoyun.
The joint project, that will have its premiere in the Island, was initially conceived for the Asian Pacific Weeks Festival, Berlin, 2007, and brings to Cuba a group exhibition of six Chinese artists: Chen Bo, Qiu Xiaofei, Wang Chengyun, Wang Qinsong, Xiong Yu and Zhou Wenzhong.
These creators, who work independently, are representative of the Chinese contemporariness, according to Tereza de Arruda, curator of the Berlin exhibition, whose words for the Cuban version of the project appear in the catalogue to the Tenth Havana Biennial.
Born in 1973, Chen Bo pays tribute to daily life, to the beauty of the common characters that appear coherently in a painting characterized by long and expressive brush strokes.
Qiu Xiaofei, still younger, also chooses to present the apparently ordinary. He rescues scenes from his childhood in a country with socialist precepts in force, to explain the present crossbreeding of political-social action. In addition to painting, Xiaofei creates installations.
Wang Chengyun's painting establishes a dialogue between the accelerated urban evolution and its social consequences. Prostitution among the youth is one of his most recurrent themes.
Wang Qinsong uses photography as support to reflect on China and the world. The artist presents sceneries that recreate the images and in many cases distort reality.
According to de Arruda, Xiong Yu explores a fantastic figure, an androgynous creature indifferent to the context that surrounds it.
Zhou Wenzhong's painting moves away from the Chinese academic school of painting marked by social realism to represent his country's history through fantastic beings and surrealist scenes.
Liu Xiaodong, a bachelor in oil painting at the Central Institute of Fine Arts in Beijing and one of the exponents of the so-called cynical realism will be present at the Biennial with a solo show. This artist has exhibited his works in the United States and France .
The other creator invited to participate is Chen Xiaoyun, one of the representatives of China's most contemporary video art. His works have been exhibited in Italy, the United States, France and Germany. It was U.S. curator Julia Herzberg who proposed his attendance to the Biennial.
Hezberg also proposed Korean artist and curator Yong Soon Min, who will show a video projection at the Cuban event.
The ample Chinese representation foreseen for this Biennial edition is an essential element of this event. The fine arts produced in a socialist country that is also one of the greatest world powers in the social, political and economic spheres, widely confirm the urgency and truthfulness of the central theme proposed by the Biennial this year: “Integration and resistance in the global era”. The Chinese presence in Havana is a testimony of the work displayed for more than two decades by Wifredo Lam Center, organizer of the this event that since its second edition in 1986 extended its scope to Africa, the Middle East and Asia in defense of the so-called peripheral cultures, many times segregated and apart from the standards set by the western world.
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