时间：2015年4月23日下午
地点：中央美术学院美术馆报告厅
主办：中国中央美术学院、中国中央美术学院美术馆、美国密西根州立大学布鲁德美术馆、美国明尼苏达大学艺术系
经过近两个小时的调整与午休（实际上，午餐时的饭桌已然成为学者们激烈争论的另一个场所），研讨会在下午两点进入第三场讨论：丹托艺术哲学与批评对中国艺术的意义 。作为本次在北京举办的丹托国际研讨会的最后一场主题研讨，它的确定被赋予了更多的意义与责任。这也同时意味着，在这个开放性的学术场合，“中国艺术”将再次被作为一个对象来讨论，而这个场合的特殊性则决定了方式和角度都将与以往有所区别。
本场研讨会由中央美术学院人文学院宋晓霞教授主持，与会发言人包括中央美术学院雕塑系隋建国教授、纽约城市大学研究生中心哲学与比较文学系荣退教授玛丽·比特纳·怀斯曼（Mary Wiseman）、武汉纺织学院艺术与设计学院大卫·布鲁贝克（David Brubaker）教授以及阿瑟·丹托的小女儿金杰·丹托（Ginger Danto）女士。
主题发言
研讨会开场，宋晓霞教授即抛出了“我们在北京中央美术学院这样一个具体的地方讨论什么”的问题。答案是确定的，我们在讨论艺术史。然而，这个场所里有来自不同国家和不同身份立场的人，这决定了我们的“艺术史”是不一样的。阿瑟·丹托曾说，他面对的艺术问题首先来自纽约，在随后扩展到的一系列国家中，他提到俄罗斯和中国的特殊性。宋晓霞教授指出，我们今天借助阿瑟·丹托的哲学及其艺术批评来了解我们自己的艺术，将得到的启示一定是值得期待的。
就做你想做的：艺术家的工作与困惑——隋建国
作为一名艺术家，隋建国教授面对的是不同于批评家与哲学家的工作，但他无疑与批评家和哲学家面临着同样的困惑，在丹托的艺术哲学理论冲击到中国艺术时，作为最直接的关系者，他所要面临的焦虑和困惑可能要比哲学家与批评家更加直接。他说，二十世纪以来的中国，艺术成为社会动荡、文化传统断裂背景下，人们的焦虑、困惑、压抑、失衡等诸种心理和情感的外化、投射、发泄和暗示。
隋建国教授讲到他曾遭遇丹托时遇到的第一个困惑，即“中国的当代艺术还没开始就已经终结了”，这种困惑在他与回国朋友的交谈中被提出，中国当代艺术还在争取的“自由和民主”被认为“在西方已经发生了很多次”的巨大现实，对于全身心投入艺术创作的他而言，是十分残酷的。
但他最终找到了一个出口，这个出口被他叙述为“一个不是命令的命令”——就做你想做的去吧！他认为，当阿瑟·丹托说艺术终结的时候，引用了黑格尔的说法，其实就给了艺术家这样一个不是命令的命令。今天年轻人所面临的艺术可能也是一个终结的艺术，而他也同样会把这一句话告诉他的学生。
理解中国艺术的途径——玛丽·比特纳·怀斯曼（Mary Wiseman）
玛丽·怀斯曼教授实际上为我们提供了一种接近中国当代艺术的途径，这种途径或许是她个人的，但却不失为一种有效的方式。她在发言中首先引用了最初两届CCAA获奖者姚嘉善与王春辰分别在两部著作中关于中国当代艺术的论述。
随后，她提供了一些艺术展的现场图片，并且提出带着丹托对艺术的定义以及两位学者对中国当代艺术的理解去观看作品。这些作品包括徐冰的《何处惹尘埃》、艾未未的《勇闯夺命岛》、宋冬的《物尽其用》等。她希望借助于思考“这些展览品为何成为艺术史的典范”来通向对“只有摆脱了艺术史，才能成为典范”的结论。
在对这些作品的阐述上，可以看出她对战争、革命等因素的强调。她同时以毛泽东在延安文艺座谈会上的讲话以及邓小平提出“改革开放”等话语作为关注点，提出他们对于中国是否有效的问题，正如丹托与沃霍尔对于西方是有效的那样。
丹托对中国艺术的指引与挑战——大卫·布鲁贝克（David Brubaker）
大卫·布鲁贝克教授作为一个长于美国文化背景下的学者，始终保持了对于讨论中国问题的热情，他在发言中提供了对“阿瑟·丹托的艺术哲学对中国的艺术有什么意义”的认真思考。他指出，在这一问题上，阿瑟·丹托既为中国提供了指引，同时也提供了挑战和亟待解决的问题。
“我们来听听阿瑟·丹托带来的指引”，他认为，阿瑟·丹托赋予了哲学一种目的，即在不同的问题中如何应用哲学表达他们在现实生活中的想法。他认为哲学是一种逻辑，且这种逻辑最终仍要实现与实际生活的一致性；其次，阿瑟·丹托阐释了关于“艺术到底为何物”的看法。在“真实的物品”与成为“艺术”之间最需要满足的，就是哲学作为文本赋予真实物品以“关于某物”的知识或意义。在此当中，实际的生活虽没有发生变化，但却在更高层次上转变为了思想。在此意义上，阿瑟·丹托的理论对于中国艺术的意义正在于他可以帮助中国艺术家“开放问题”，使得日常生活向思想转变。布鲁贝克认为当下对于中国艺术家来说是至关重要的时刻，这是本次研讨会在北京召开的意义所在。
另外，他也指出了阿瑟·丹托所带来的挑战：它会敦促我们考察中国的当今艺术与实际生活之间的关系，即在于“替代”或是“相比”。这其中，存在传统的中国美学与实际生活的缔结关系，这是一种可见的表面，正如山水画中笼罩的空濛一般。
个人回忆，父亲与中国的连结——金杰·丹托（Ginger Danto）
在与会的嘉宾当中，金杰·丹托女士的身份很特殊。她并非研究丹托艺术哲学与批评的学者，但却最了解哲学家与批评家身份之外的家庭生活中的阿瑟·丹托。在发言中，她讲述了在父亲与女儿的关系中一些琐碎的日常，这些日常无疑对于补充我们头脑中关于丹托的完整形象提供了最可靠的参照。
丹托女士首先感谢帮助她一起完成了这次研讨会以及父亲习作展览的团队，这其中包括父亲旧日的亲密伙伴。她表示很高兴能够加入到讨论“丹托艺术哲学与批评对中国艺术的意义”这个主题中。对此，她以丹托与蒋彝先生（被誉为“中国文化的国际使者”）的往来为例讲述了父亲与中国哲学家、诗人之间的联系与互相影响。
在对丹托的父亲角色进行描述时，金杰·丹托女士谈到他在家庭生活与事业之间的区分。在父亲去世之后，她才开始真正了解他的艺术哲学与批评，接受他留下来的思想遗产。而父亲在世时，并不希望或要求家人涉入他的事业当中，在对做新闻记者的女儿的鼓励上，他很明确自己作为父亲的身份。
由于金杰·丹托女士个人回忆式的讲述，使得这场研讨会在学术讨论的严肃与智性之外，添加了更平常的人性的光芒。在这个意义上，丹托的形象，在北京，在这场由中央美术学院发起的国际研讨会上，获得了一次“艺术哲学的”以及“现实生活的”丰满。十分钟茶歇之后，讲座进入到对谈环节。
对谈环节
关键词：中国 禅宗 西方理论
对谈一开始，有一位观众提出了西方理论家与中国禅宗之间的联系问题。她认为西方理论家对于中国禅宗思想的借鉴是普遍性的，并且进一步认为丹托对艺术哲学的定义实际上就是中国传统美学里说的“意象”的概念。尽管这一问题的提出与思考方式是纯粹个人化的，但她的问题与学者的回应无疑有助于我们在问题之外进行更多的反思。
宋晓霞教授对此予以回应，她认为这位观众的提问实际上给我们提供了一个案例，即在跨文化的交往中，我们很容易以“我”、“这里”为中心来讨论问题。因此，当我们思考问题时，不妨先换一个角度，再转而回到自己的位置上来。
关键词：中国当代艺术 西方艺术机构
亚历山大（Alex Alberro）教授针对玛丽·怀斯曼（Mary Wisman）教授在主题发言中所展示的中国当代艺术而提出问题：许多中国艺术家离开了中国到纽约或巴黎进行创作，他们获得了某种程度上的成功，其作品成为中国当代艺术的代表在海外被认可和展示。那么，中国艺术家是否在西方获得成功，是得到世界认可的一个前提条件吗？他们似乎是在西方获得成功以后，再回到中国来。我疑问的是，这后面的动力是什么？
玛丽·怀斯曼回答了这个问题。她说，中国当代艺术的变化太激进了，改革开放以后的变化是天翻地覆的。改革开放以前，中国没有当代艺术馆，没有画廊，艺术家都在自己的住所或者公寓里面画画，画完自己去卖，没有机构没有受众。改变了这一状况的，是西方的艺术机构，瑞典的画廊曾最早收购中国艺术家的作品。六四以后，许多艺术家离开了中国并获得了成功。西方是欢迎中国当代艺术的，他们看到了中国艺术隐含的能量和创造力。她最后指出，造成中国当代艺术与西方之间密切关系的原因，是我们看到中国受众并没有准备欣赏中国当代艺术，而西方人首先认可了它们。当然，她也希望中国艺术界可以对她的这一观点予以评论。
关键词：中国水墨艺术 内在逻辑
现场观众提出另一个问题，这个问题是由于她去年在纽约大都会看到的关于水墨实验的展览而生发出来的。她提出，是否可以通过当代艺术对中国水墨的实验来讨论“中国的艺术终结”这一问题。在西方人看来，这种水墨艺术也早已与中国传统水墨完全脱离了。
“大都会的标准，实际上就是丹托的标准，你不这样认为吗？”隋建国教授指出了这个问题当中存在的矛盾，即大都会所策划的这次展览，必然是在丹托的“艺术哲学”语境之内的。所以用它来求证丹托的“艺术终结论”实际上是一个从内部自圆的方式，因此缺乏客观性。
针对“如何理解作品”这一问题，隋建国教授说，有怎样的思想就会怎样看世界，大家都在谈论中国艺术，但是中国艺术的内在逻辑究竟是什么？这个逻辑已经困扰我们很久。我们对西方批评家的说法不满意，但自己也回答不出来。艺术家甚至也常常感到，中国的逻辑不够用了而必须与世界走到一起。丹托是一个知道怎么从内部看作品的人，但这个能力并非所有的批评家都具备。
“我们在等待一个人，能够把我们的逻辑说出来。”
研讨会闭幕语
王春辰
非常感谢参加本次研讨会的各位专家以及嘉宾，我们来自美国、法国和中国，这是一次世界性的对话。也同时感谢在场的听众以及媒体朋友们。整整两天的研讨会进行下来，无论对于发言人还是在场听众来说，都是一种体力和脑力的消耗考验。但我们非常欣慰地感觉到了所有这个场合中的人对于研讨会的热情和诉求。在这种共同的诉求之下，我们走到了一起。这也是中央美院美术馆建立以来，最大规模的国际性研讨会，我们的讨论涉及了哲学、美学、批判、创作，它为我们提供了很多启示，而不是一个结论或答案。
我曾被英国一个教授询问，中国人学习西方，我们西方人应该学习中国艺术的什么？我没能一下子给出答案。我们有那种对生活充满张力的不可遏制的表现，中国当代艺术不是对西方模式的照搬，我们在创造，对此大家有目共睹。我们正在努力，今天的研讨会也是我们努力的一部分，我们不可能割裂世界、中国、古代、当代，我们在一个大的环境下借鉴式地成长。
在研讨会即将结束的此时，所有参会代表已经达成了一个共识。为了纪念阿瑟·丹托，更出于希望把阿瑟·丹托作为我们了解世界的一个精神性的目标象征的共同心愿，我们决定借此机会，正式宣布成立“阿瑟·丹托国际研究会”，那么，现在我们做的，就只是一个开始，未来我们将为此做出更多的努力。
再次感谢所有人。
与会学者、嘉宾合影
尹冉旭/文 整理
何一沙/编
全 晶/图
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I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
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This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
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During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
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I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
CAFA Art Museum Publication Authorization Agreement
I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
CAFA Art Museum Event Safety Disclaimer
Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
Article II
Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
Article III
Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.
Article IV
Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
Article V
During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
Article VI
Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
