在写下这篇文字的时候,正值微信圈刷屏大卫·霍克尼来华的展览与讲座。有人将之与1985年劳申伯格的北京个展联系在一起。从1985到2014,三十年间中国变化巨大,我设想如果能从社会背景、艺术体制、受众、媒体等方面去研究这两个展览,会不会是一个有意思的话题?显然像劳申伯格这样成为中国当代艺术史的一个“事件”的情况,如今已难得再现。在全球经济文化前所未有交互、既有文化艺术中心受到挑战的今天,中国年轻艺 At the time of writing, the exhibition and lectures by David Hockney toured the WeChat circle. Someone linked it with the 1985 solo exhibition in Rauschenberg. From 1985 to 2014, there have been tremendous changes in China in the past 30 years. Imagine if it would be interesting to study these two exhibitions from the social background, the artistic system, the audience, and the media? Obviously, Such an event in the history of contemporary Chinese art is now rare to reproduce. In the unprecedented global economic and cultural interaction, both the cultural and arts center is challenged today, the Chinese young art