诗意的幸存者
—— 一首人生和思想的小长诗
（杨 炼）
“幸存者是指那些有能力拒绝死亡的人”——26年前的1988年7月，北京诗人群中的“劲松三杰”芒克、唐晓渡和杨炼，发起成立“幸存者诗人俱乐部”，本意既是回顾，更是前瞻: 当代中文诗人，自文革中开始地下创作，经八十年代出版、出名、出国，思想、作品已见弱化，能否“拒绝死亡”而幸存? 幸存意味着什么样的人生?那时的提问，已隐含、指向了今天的审视和回答。
2015年12月14日，“诗意的幸存者——当代中国诗人视觉艺术展”在上海浦东中道艺术馆揭幕首发。
展览馆外貌
巡展艺术总监: 杨炼（诗人）
巡展总策展人: 高晖（作家）
巡展上海站策展人: 江旭（中道艺术馆馆长助理）
参展者，一言以蔽之: 文人老友，艺术新作。“幸存者诗人俱乐部”三位创始人系数到位:
《今天》杂志创始诗人、画家芒克和他的作品
资深诗人、诗歌批评家、书法家唐晓渡和他作品
《今天》杂志主要诗人之一、星星画会画家严力和画作《都市》
小说家、画家、杨炼之妻友友和作品现场
诗人、翻译家、摄影家李笠作品
诗人、画家、文物专家郭长虹
诗人、画家解危作品
巡展首发活动全场由杨炼主持，高晖、唐晓渡致欢迎辞，数十家媒体到场，对艺术家进行采访和专访。
随后活动，由诗作朗诵会、“诗意的幸存者”思想研讨会、公众提问和“当代中国诗歌档案馆”揭牌仪式组成。
诗人芒克在朗诵
诗人、作家、文学批评家唐晓渡在朗诵
诗人严力在朗诵
诗人李笠在朗诵
画家诗人解危在朗诵
诗人、画家郭长虹在朗诵
诗人韩小午朗诵
以著名美术批评家、策展人杨卫为首的众多艺评、诗评家参与研讨，将“诗人视觉艺术”定位为“有生命的艺术、有灵魂的艺术”——人与艺术的深刻相关，以此区别于为市场“生产”艺术的恶俗品味。
著名美术评论批评家杨卫在研讨会发言
诗意的幸存者研讨会场景
当代中国诗歌档案馆由当代诗创始者之一芒克揭牌。档案馆将专业收集、收藏、展示、研究当代中文诗档案——当代中文文学最有思想和活力的部分。此档案馆精神定位准确，将成为国内首个此类专业收藏、研究中心。
档案馆牌
巡展首发式后，老友新朋齐聚著名餐厅，以大坛老酒佐以豪兴佳肴，重显诗人本色。
酒宴照片
席间，来自大连的中国“最优雅政协文体委主席”（朋友们颁赠的称号）王家胜吹奏宋代尺八古曲；上海体育学院编舞老师土家族小弟彭涨的苗族、土家族无字民歌吟唱，把渗透文人灵魂的雅、野之趣推到极致。高晖赞曰:“一举打通了生死!” 此一通，能不大醉狂歌而归乎?
书法家、尺八演奏家王连胜
来自湘西的年轻土家族舞者、上海体育学院彭涨的古老无词吟唱
“诗意的幸存者——当代中国诗人视觉艺术巡展”，将秉持“有生命、有灵魂的艺术”之宗旨，在其后全国、乃至国际巡展中，继续深化此观念，筛选同行者，以诗意的主动，续写这首贯穿我们人生和思想的小长诗，不停提问，无尽创造。我们的目光，已经转向了2015年3月将于北京国家图书馆盛大开幕的巡展第二站!
次日，最后离开的一批“诗意的幸存者”，再次集合在展览场地，告别——更朝向小长诗的新一章开始!
附《诗意的幸存者》总序（中、英文版）
诗意的幸存者
杨炼
中国文人画，自元代始，其思想、美学特征，质言之，一曰民间性，汉族文人离弃对官方权力的依赖，由被迫而主动地深入民间生存处境，使艺术内涵愈加饱满。二曰文化性，汉文化的深厚资源，经由文人独立思考和重构，不仅没沦为粗疏，反而激发出超强能量，形成无数风骨、神采兼备的美学杰作。这民间、文化二元互补，彼此印证，转型至今，便是本人那句“独立思考为体，古今中外为用”。以此为根，我们的人生和创作，从未离开这个真传统、活传统。
上世纪八十年代初，华夏长梦初醒，“朦胧诗”并不朦胧，写诗爱诗若不知芒克、唐晓渡、严力诸君大名，简直不可思议。在京都，友友和我，出入诗人聚会，何止诗作青春四射？诗人和女友也个个英俊倜傥、美艳夺目。小字辈李笠本来就是帅哥，而那时尚未结识的郭长虹、解危，想来也均在他处驰骋。1988年“幸存者”诗人俱乐部，被同住北京劲松的芒克、晓渡和我们催生而出，一册油印诗刊、一百元外汇卷“巨款”赞助，掀起余震不断的社会海啸。那时我们谁能想到，二十六年后，会戴着另一圈迥然不同的画家光环，聚会到一起？二十六年啊，时间空间，如我们一样成了鬼魂，轮回在认不出的地方。中国，只剩几个老地名。“全球”，转眼扎进这土地每个角落。芒克诗题“今天是哪一天？”我出国前写过：“这儿是哪儿多远？”美貌不再，沧桑已至。我们自己就是历史。
但，多远？是否该改成：多近？潜入一行诗、一张画中的文人精神传统那么近！我们每个人的人生、历史、思想、艺术，本身就是一首小长诗。年轮兑换成了思想，而挑战威权话语的个性诗意不变。词语转型为笔墨、影像，而每一点、每条线、每一像素中蕴含的经典性，已如另一诗律，加入我们的艺术自律。一个姿态，与文化对决；而一种目标，却始终在创建文化。铆定的方向是：空话免谈，自我的深度必须印证于作品的深度。芒克的油画率性浓烈、晓渡的书札原生元气、严力的笔触优雅灵慧、友友的彩墨野艳奇崛、李笠的摄影自成玄学、长虹的心景嶙峋灵秀、解危的构图瑰异清冷。这里，万变不离其宗的，是每个艺术家创作中不断滋长的诗意。那原创的艺术属性，横溢的才华气质，永远比庞然大物的“过去”更大。民间性和文化性，铸成当代中国艺术的先天基因，由此幻化出我们种种艺术个性。为什么要否认？中国新视觉艺术，一定是还原了思想本义的新文人画：自觉承续、拓展那个贯穿千载的“雅艺术”精神传统——拒斥以任何方式流于空、俗、糙、贱，无论它们凭籍权力、市场的压力，或假借民众口味的名义。
正因为饱经沧桑，艺术才俊美永存。谁与心灵一并还乡、谁和历史一起成长，谁就是“幸存者”。我们生命的诗意，已将自己缔造成一个当代传统，并汇入了那个涵括一切时空的深邃无垠的传统中。
杨炼 2014.10.25，柏林
The Poetic Survivors
Chinese literati painting has, since the Yuan Dynasty,been defined by two characteristics of thought and aesthetics. The first is itsessence in unofficial culture, as Han literati cast off any reliance uponofficial power in their investment in the plight of folk existence; the secondis its essence in high culture, as the deep resources of Han culture were notonly attended to as the literati’s independence of thought reconstructed them, but on thecontrary stimulated a positive energy, forming countless masterpieces of vigorand countenance. This complementary duality of unofficial and high, with eachconfirming the other, has, mutatis mutandis, lasted to today, producing even myown motto, “to keepindependent thought as foundation, with ancient and modern, Chinese and foreignfor application.” Out of such deep roots, neither our selves nor ourcreations have ever left this true and live tradition.
In the early eighties, as China began to awake from itslong dream, “ObscurePoetry” was by nomeans obscure, and any writers and readers of poetry who did not know suchnames as Mang Ke, Tang Xiaodu, or Yan Li would be hard to imagine. As Yo Yo andI flittered in and between poetry groups in the capital, how could we notradiate with the youth of poetry? The poets and their girlfriends werebrilliant and bold, gorgeous and glamorous. Li Li, younger than we were, was acool character, and we knew that Guo Changhong and Xie Wei, though we had notyet met them, were sure to be gallivanting around somewhere. When the three ofus, along with Mang Ke and Tang Xiaodu—all residing in Jingsong in Beijing—founded theSurvivors poetry club, a social tsunami of aftershocks was set off by our onemimeographed poetry journal and “gargantuan” sponsorship in the sum of 100 yuan in Foreign ExchangeCertificates. Who would have thought that, twenty-six years later, we would allmeet again, wearing the halo of a different kind of artist? Twenty-six years!Time and space, like us, has become ghost-like, only to be reincarnated in anunfamiliar locale. All that’s left of that China is a few place names. “Globalization” has rolledthrough every corner of this land. In “Which Day is This Day?” written before I left China Mang Ke wrote, “Where ishere how far?” Beautyfades; mulberry fields become the sea. And we are history.
But, how far? Or should that be, how near? How near isthe spirit of the literati, lurking in a painting or a line of poetry? Thelife, history, thought, and art of each of us becomes a little long poem of itsown. Years are exchanged for thought, yet what does not change is poeticindividuality’s challengeto the discourse of authority. Words turn into brushstrokes and imagery, and inevery stroke, every line, and every pixel is contained something classic, likesome other poetic form, adding to our artistic discipline and our autonomy.Culture is a confrontation with the pose; the objective, then, is to createculture. The direction of the rivet is thus: no empty locutions; the depth of theself must mark the depth of the work. The frank thickness of Mang Ke’s oils, thevigor of Tang Xiaodu’s literary ecology, the elegant spiritedness of Yan Li’s brushwork,the unanticipated sensuousness of Yo Yo’s wild watercolors, Li Li’s photography turning itself into mysticism, GuoChanghong’sbreathtakingly jagged mindscapes, the composition of Xie Wei’sspectacular desolation… Here, where the variations do not depart from theirfundamental theme, is the endlessly growing poetry of each artist’s creation.The originality of art, the abundance of genius, will always be greater thanthe greatness of the “past.” High culture and unofficial culture fuse in the geneticsof contemporary Chinese art, from which is transmogrified each of our artisticpersonalities. Why deny it? China’s new visual art is a new literati painting, restoringour intellectual origins: consciously continuing and expanding the spiritualtradition of “elegance” thatpermeates the last thousand years—in rejection of the vapid, conventional, coarse, or baseof any kind, whether it depends on pressure from government or market, orexpropriates the name of popular taste.
Exactly because of the vicissitudes it has endured, thebeauty endemic to art will carry on. A Survivor is anyone who comes home withintelligence after growing up with history. The poetry of our lives has formeda contemporary tradition out of us, converging with that other boundless andprofound tradition in which all time and space are contained.
Yang Lian (signed)
25 October, 2014, Berlin
Translated by Lucas Klein
高晖后记：
来上海参加诗歌界老哥们的大聚会，美术界的哥们谁都没打招呼。哈哈，这是一次幸存者的聚会，他们依次是:与杨炼、严力、与久识但第一次谋面的诗人兼画家兼画廊主一枚;还有唐晓渡、友友、李笠、解危、高晖、郭长虹等等。这确实是一帮幸存者。
幸存的概念基于三：其一，疏离于意识形态之外；其二，不被商业机制所收购；其三，没有受传统思维惯性的束缚。
我以为，这个时代仍需要这样的精英！我也希望能为这样的精英传统的延续出马出力......力挺老哥们！