{{sindex}}/{{bigImglist.length}}

派对预告｜我是谁：艺术实践者的简介

{{newsData.publisher_name}} {{newsData.update_time}} 浏览：{{newsData.view_count}}

来源 | {{newsData.source}} 作者 | {{newsData.author}}

我是谁：艺术实践者的简介

Who Am I：Bios of Art Practitioners

2025年10月，我受蒋竹韵老师的邀请到中国美术学院，给自由艺术工作室的2022级大四学生上课。在第一堂课上，我让学生分享他们对艺术世界的困惑。

班长老叶说，他厌倦了看展，现在感受不到艺术的价值是什么。

猫好说，自己要“深呼吸，才能面对巨大的艺术世界”，不知道“艺术世界是属于人的东西，还是一个独立运转的系统”。她顿了顿，很小声地讲，“难道艺术是属于我的吗？”

林猷顺很困惑，“做艺术需要读多少书？”

这些问题让我感动——他们太诚恳了，也在用年轻的生命真真切切地遭遇着艺术世界。他们大四了，明年就要办毕业展。我设计了几堂课，专讲艺术家要写的文字——创作自述（artist statement）、作品简介（work description）与自我介绍（bio）。这次派对“我是谁：艺术实践者的简介”正来自这次课程。借此之机，我和他们也向更多艺术实践者发出邀请，虽然不是所有人都可以到达214教室，但他们的简介可以。

简介的英文是“bio”（biography），翻译过来其实更接近“传记”。它常常是几个词，几句话或几个段落的文字，跟在展览信息或者文章后面——在艺术行业工作，你逃不开要提交或者索要bio。往好了说，艺术世界是一个个流动之中、起落聚散的事件，没有稳定体制、固定同事，但却有许多真诚交谈：对“我是谁”的精确描述，能带来更微妙灵动的连接。而更残酷地讲，艺术家、评论人、策展人是今日零工经济中的最佳受雇者，我们在在加速的系统流转中获取更多背书，渐渐习得用标准方式描述自我——与什么机构合作过，获得了哪些奖项，探索何种议题——以便被更多的平台与机会挑选。对当代艺术实践者来说，“认识你自己”这一古希腊的神谕，变成了“描述你自己”的宿命。

如今，艺术家自述和简介，几乎是艺术学院中的必修课——前几天一位策展人跟我讲，现在年轻艺术家常常很会写自我介绍，但却名不副实、创作不行。对于艺术家、创作者来说，简介一般包括两部分：对自己创作的描述，以及自己的行业经历。第三人称的简介，因此常常包括对第一人称的创作自述（artist statement）的转写。2013年，美国艺术评论网站Hyperallergic上曾有过一回合的讨论。艺术家Iris Jaffe在《反艺术家自述之述》中说，“作为一名艺术家，写自述几乎总是别扭和痛苦的；而作为一名观众，读自述同样痛苦且毫无信息量”。而Robin Grearson后来反驳道，我们需要文字来提供理解作品的语境，只是不需要陈词滥调和艺术黑话。

我理解Jaffe所说的那种“别扭”和“痛苦”：谁会阅读我的介绍，他们会因为我没提及自己的机构合作就看低我吗？我也理解Grearson，不能因为写的差劲就一棍子打死嘛。几年前，常羽辰所写的“如纺织般写作，如翻译般绘画”曾被嘲讽为“当代艺术体”，但我却很喜欢她对不同事物之间互文的精确捕捉。在我看来，艺术实践者的简介，最重要的部分便是对自己创造什么、如何创造的描述——当然，你和我也有不说的自由。不说，好过说假话。

在课上，我和同学们一个字一个字地修改他们的自我介绍，常常会回到他们自己的创作，回到他们对艺术的认识，回到他们为何在许多困惑之中，仍然在创造着、探究着什么。他们的热情和真诚让我相信，艺术世界里的文字仍可以是真实可感的。

此次派对由我提议，感谢自由艺术工作室的2022级同学愿意与我一起开始这场游戏。猫好（aka. 沈姝彤、林慧宁）、沈同舟、郭敏啸与我共同组织，同学们可以自由邀请更多艺术实践者加入。感谢许多艺术实践者的支持，与我们分享了自己的简介。这次派对不设“艺术家名单”，也邀请大家在10月28日开幕现场及接下来的一周里，加入派对现场，写下、重写自己的简介。或许，如何书写自我、如何回答“我是谁”能连接不同艺术实践者，将确凿的描述微微松动，让一行行文字化作分享困惑、一起玩耍的契机。

聂小依

2025年10月26日

In October 2025, I was invited by mentor Jiang Zhuyun to teach the fourth-year students of the Class of 2022 at the Free Art Studio of the China Academy of Art. During the first session, I asked the students to share their perplexities about the art world.

Lao Ye expressed weariness with exhibitions, feeling unable to perceive art's value anymore.

Mao Hao remarked she needed to ‘take deep breaths to confront the vast art world,’ unsure whether ‘art belongs to people or operates as an independent system.’ She paused, then whispered, ‘Does art even belong to me?’

Lin Youshun pondered, ‘How many books does one need to read to make art?’

These questions moved me—their sincerity was palpable, and they were genuinely grappling with the art world through their youthful lives. As these fourth-year students preparing for next year's graduation exhibition, I designed several sessions dedicated to artists' written materials: artist statements, work descriptions, and biographies. This party ‘Who Am I: Profiles of Art Practitioners,’ emerged directly from those lessons. Through thisgathering, we also extended an invitation to more art practitioners to share their own bios.

The English term ‘bio’ (short for biography) translates more accurately as ‘biography.’ It's often a few words, sentences, or paragraphs appended to exhibitions' press releases, or articles—working in the art world, you inevitably have to submit or request a bio. At its best, the art world is a series of fluid, transient events—devoid of stable institutions or permanent colleagues, yet rich with sincere dialogue. A precise articulation of ‘Who am I?’ can forge more nuanced, dynamic connections. More starkly, artists, critics, and curators are today's prime candidates in the gig economy. Navigating an accelerating system, we accumulate endorsements and gradually master standardised self-presentation—outlining institutional collaborations, accolades received, and thematic explorations—to be selected by more platforms and opportunities. For contemporary art practitioners, the ancient Greek oracle ‘Know thyself’ has morphed into the fate of ‘Describe thyself.’

Today, artist statements and biographies are virtually compulsory courses in art academies. Recently, a curator remarked to me that young artists are often adept at crafting self-introductions, yet their work fails to live up to the hype. For artists and creators, biographies typically comprise two parts: descriptions of their work and their professional background. Third-person bios thus frequently transcribe first-person artist statements. In 2013, the American art criticism website Hyperallergic hosted a round of discussions on this topic. In her piece 'The Anti-Artist-Statement Statement', Iris Jaffe loathes, ‘As an artist, they are almost always awkward and painful to write, and as a viewer they are similarly painful and uninformative to read.’ Robin Grearson later countered that while we need text to provide context for understanding works, we needn't resort to clichés and art jargon.

I understand the ‘awkwardness’ and ‘pain’ Jaffe describes: who will read my introduction? Might they dismiss me for failing to mention institutional collaborations? I also understand Grearson—writing shouldn't be dismissed outright. Several years ago, Chang Yuchen's phrase ‘writing as weaving, drawing like translatiion’ was derided as ‘contemporary artese,’ yet I cherished her precise capture of intertextuality between disparate things. To me, the most vital part of an artist's statement lies in describing what they create and how—though naturally, you and I retain the freedom to withhold. Better to remain silent than speak untruths.

In class, my students and I meticulously revise their biographies word by word, often circling back to their own creations, their understanding of art, and why they persist in creating and exploring amidst so much uncertainty. Their passion and sincerity convince me that words within the art world can still be genuinely palpable.

This party originated from my proposal, and I thank the Class of 2022 at Free Art Studio for joining me in embarking on this endeavour. Co-organised by Maohao (aka. Shen Shutong, Lin Huining), Shen Tongzhou, Guo Minxiao and myself, students are free to invite further art practitioners to join. We extend our gratitude to the many practitioners who supported us by sharing their bios. This exhibition features no formal “artist list”; all are invited to add or rewrite their profiles at the opening on 28th October and in the following week. Perhaps, the act of writing about oneself and answering the question ‘Who am I?’ can connect practitioners across different artistic disciplines. It gently loosens the grip of definitive descriptions, allowing lines of text to become opportunities for sharing perplexities and having fun.

Nie Xiaoyi

26 October 2025

简介来自……

Bio from……

常羽辰、陈艺琛、陈迅超、陈哲仁、晨初、葛宇路、郭敏啸、怪悟（孙瑞恒）、Ikram Abduweli、江汶函、蒋竹韵、Jimu、洪跃纯、黄嘉熙、黄锦铭、况铭威、Kerry Yang、廖国核、李波、李育婵、李镇、梁效铭、林慧寧、刘承臻、刘丽娟、卢洙贤 Suhyun Roh、蔚男子、马欣仪、那荣锟、匿名、聂小依、胖丁、钱昱达、邱俊磊、盛天一、沈晓楠、沈同舟、双飞、田進、唐潮、万文慧、王晨语、王李彧、王家明、王一格 Moiji、吴帅、向阳（小炀）、Qisen、徐强、姚清妹、叶锦程、游伊一、袁浚琪、徐红梅、榨菜工厂、张北辰、张文心、张馨元、章毅佳、赵伊人、找网通、张远、周雷、周玟慧、曾筱悦 Melon、钟正、张宏……（简历名单随派对进行持续增加中……）

Chang Yuchen, Chen Yichen, Chen Xunchao, Chen Zheren, Chenchu, Ge Yulu, Guo Minxiao, Guaiwu (Sun Ruiheng), Ikram Abduweli, Jiang Wenhan, Jiang Zhuyun, Jimu, Hong Yuechun，Huang Jiaxi，Huang Jinming, Kuang Mingwei, Kerry Yang, Liao Guohuo, Li Bo, Li Yuchan, Li Zhen, Liang Xiaoming, Lin Huining, Liu Chengzhen, Liu Lijuan, Suhyun Roh, Wei Nanzi, Ma Xinyi, Na Rongkun, Anonymous, Nie Xiaoyi, Pang Ding, Qian Yuda, Qiu Junlei, Sheng Tianyi, Shen Xiaonan, Shen Tongzhou, Shuangfei, Tian Jin，Tang Chao, Wan Wenhui, Wang Chenyu, Wang Liyu, Wang Jiaming, Wang Yige Moiji, Wu Shuai, Xiangyang (Xiao Yang), Qisen, Xu Qiang, Yao Qingmei, Ye Jincheng, You Yiyi, Yuan Junqi, Xu Hongmei, Pickle Factory, Zhang Beicheng、Zhang Wenxin, Zhang Xinyuan, Zhang Yijia, Zhao Yiren, Zhao Wangtong, Zhang Yuan, Zhou Lei, Zhou Wenhui, Zen Xiaoyue Melon，Zhong Zheng，张宏... (CV list continuously updated throughout the event...)

开幕

2025.10.28 下午6:00

Opening

28 Oct. 2025 6:00 PM

欢迎自带酒水和乐器 / DJ：沈同舟

Bring your own drinks and musical instruments

/ DJ: Shen Tongzhou

派对时间

2025.10.28—2025.11.3

Duration

28 Oct. 2025 – 3 Nov. 2025

派对地址