邓小平、撒切尔夫人、若望•保禄二世、霍梅尼、阿富汗圣斗士，他们打破甚至颠覆了各自原本的世界，释放出压抑已久的两大力量——市场和宗教，开始支配这个世界。
这是社会思想史的大逆转，推动全球三（四）十年的政治经济实验，也催生出21世纪的时代轴心！不论我们喜欢与否，不管我们蒙受其利还是其害，今天，我们仍活在1979年的阴影之下。 ——克里斯汀•卡里尔（Chriatian Caryl）
1979年9月27日，在中国美术馆馆外公园的围栏上，一个名为“星星美展”的现代艺术展高调亮相。两天后，展览就被取缔，并引发了一系列事件。“星星之火”可以燎原，它标志着从此中国迈入了一个新的艺术时代。
这一年，邓小平在中国文学艺术工作者第四次代表大会上发表祝辞；《读书》杂志创刊，李洪林的《读书无禁区》一文引起巨大反响；李泽厚《中国近代思想史论》出版；邓丽君音乐解禁；……这一年，“四月影会”成立，“无名画会”浮出水面，还有年初开启先声的“新春风景静物画展”，以及上海的“12人画展”；……这一年，吴冠中发表《论绘画的形式美》，得到了广泛的响应；袁运生为首都机场创作的壁画《泼水节，生命的赞歌》，由于大胆绘入沐浴的傣家女裸体而引发激烈的争论……
整个二十世纪，可能没有哪一年，像1979年这样，集中爆发如此多的文化艺术事件。这是一个重要的历史节点。也因此，“星星美展”常被视为中国当代艺术真正的滥觞。
值此“星星美展”四十周年之际，博而励画廊隆重推出由鲁明军策划的大展“没有航标的河流，1979”。展览的标题“没有航标的河流”源自1983年上映的由吴天明执导的同名电影，影片是根据叶蔚林发表在《小说月报》的中篇小说《在没有航标的河流上》（1981）改编的。相形之下，这部曾经引发争议的小说和电影似乎更能代表1979年前后这一特殊历史时期的气氛和情绪。当然，此次展览不仅是对一个时代的刻画，更希望由此重新唤起对于未来的想象。
冯国东、黄锐、郝敬班、何翔宇、李晓斌、ONS、蒲英玮、于吉、余友涵、张培力、赵刚等40余位/组艺术家应邀参加了展览，一百余件作品和相关文献共同构成了一部以“1979”作为引擎的话语装置。它立足于“1979”，但又不限于这一年的艺术、文化与社会变革，而是与“前1979”“后1979”之间潜伏的多维的连环碰撞（包括“邓丽君，‘泼水节’与‘公开的情书’”“可口可乐，什刹海与郊外湖畔”“‘论绘画的形式美’，‘让所有的可能都在内部以美好的形式解决’”等），共同构织一个朝向未来、但依然没有航标的艺术流体。The 1979 was the prelude to a new era.
Deng Xiaoping, Margaret Thatcher, John Paul II, Ruhollah Khomeini, the Mujahedeen, they broke or even subverted their original world, releasing the two long-repressed forces, market and religion, and began to dominate this world.
This is a significant reversal of the history of social thought, promoting political and economic experiments in the three (or four) years of the world, and also spawning the axis of the 21st century! Whether we like it or not, whether we suffer or harm, today we are still living in the shadow of 1979.
On September 27, 1979, on the fence of the park outside the National Art Museum of China, a modern art exhibition called "Star Art Exhibition" was unveiled. Two days later, the exhibition was banned. However, a single spark can start a prairie fire, and since then, China contemporary art has begun.
1979 marks the year of Deng Xiaoping's speech at the Fourth Congress of Chinese Writers and Artist, of the publication of Dushu magazine and of the Li Honglin's article Reading Books without Prohibited Areas that caused enormous repercussions. In 1979, Li Zehou's On the History of Modern Chinese Thought was published and received great review. Further, Teresa Teng's music was lifted the same year... Prior to cultural revolution, with continuing tension between mainland China and Taiwan, the queen of pop song Teresa Teng’s music was banned in China for many years. Next, Wu Guanzhong published his Formal Beauty of Painting which held wide response. In the same year, the April Photography Society, and an underground art groups known as the The No Name began to surface...
Throughout the twentieth century, there may never be a year like 1979 with so many cultural and artistic events. Needless to say, this is an essential historical moment. For this reason, the Star Art Exhibition is often regarded as the real beginning of Chinese contemporary art.
In the 40th anniversary of the Star Art Exhibition, Boers-Li Gallery grandly launches the exhibition River flowing without a Beacon, 1979, curated by Lu Mingjun. The exhibition is named with the same title of the movie River Without Buoys directed by Wu Tianming, which also was extremely controversial in 1979. This is not only a portrayal of an era, but a hope to reawaken the imagination for the future.
More than 50 artists including Feng Guodong, Huang Rui, Hao Jingban, He Xiangyu, Li Xiaobin, ONS, Pu Yingwei, Yu Ji, Yu Youhan, Zhang Peili, and Zhao Gang are invited to participate in this exhibition. More than 100 works and documentary has been selected to constitute together a discourse device with "1979" as the engine. Even if the exhibition is based on "1979", it is not limited to the artistic, cultural and social changes of that year, but rather a multi-dimensional chain impact between the "pre-1979" and "post-1979". The components together construct a future-oriented river of flowing art, even if without buoys.值此“星星美展”四十周年之际，博而励画廊隆重推出由鲁明军策划的大展“没有航标的河流，1979”。展览的标题“没有航标的河流”源自1983年上映的由吴天明执导的同名电影，影片是根据叶蔚林发表在《小说月报》的中篇小说《在没有航标的河流上》（1981）改编的。相形之下，这部曾经引发争议的小说和电影似乎更能代表1979年前后这一特殊历史时期的气氛和情绪。当然，此次展览不仅是对一个时代的刻画，更希望由此重新唤起对于未来的想象。
1979，这是一部新的史诗的序幕。
邓小平、撒切尔夫人、若望·保禄二世、霍梅尼、阿富汗圣斗士，他们打破甚至颠覆了各自原本的世界，释放出压抑已久的两大力量——市场和宗教，开始支配这个世界。
这是社会思想史的大逆转，推动全球三（四）十年的政治经济实验，也催生出21世纪的时代轴心！不论我们喜欢与否，不管我们蒙受其利还是其害，今天，我们仍活在1979年的阴影之下。
——克里斯汀·卡里尔
结局或结束
北岛
我，站在这里
代替另一个被杀害的人
为了每当太阳升起
让沉重的影子像道路
穿过整个国土
悲哀的雾
覆盖着补丁般错落的屋顶
在房子与房子之间
烟囱喷吐着灰烬般的人群
温暖从明亮的树梢吹散
逗留在贫困的烟头上
一只只疲倦的手中
升起低沉的乌云
以太阳的名义
黑暗在公开地掠夺
开幕现场
没有航标的河流，1979
策展人：鲁明军
艺术家：池小宁、冯国东、龚剑、郭海强、郭海燕、郭鸿蔚、郝敬班、何宝森、何翔宇、胡建平、胡杰、黄锐、康万华、李珊、李爽、李晓斌、李英杰、廖国核、林一林、马德升、马可鲁、ONS、欧劲、蒲英玮、邱黯雄、沙丽娜、施勇、施昀佑、唐平刚、铁鹰、王广义、王克平、王强、王思顺、韦海、温普林、吴冠中、薛峰、颜磊、严力、严瑞芳、于吉、于美好、余友涵、张培力、张伟、赵刚、赵亮、郑子燕、周迈由、朱加、庄辉
展期：2019年9月14日至10月20日
地址：博而励画廊 | 北京市朝阳区酒仙桥路二号院798艺术区D-06
River flowing without a Beacon, 1979
Curator: Lu Mingjun
Dates: 2019.9.14 - 10.20
Address: Boers-Li Gallery | D-06, 798 Art Zone, No.2 Jiuxianqiao Road, Chaoyang District, Beijing, China
Artists: Chi Xiaoning, Feng Guodong, Gong Jian, Guo Haiqiang, Guo Haiyan, Guo Hongwei, Hao Jingban, He Baosen, He Xiangyu, Hu Jianping, Hu Jie, Huang Rui, Kang Wanhua, Li Shan, Li Shuang, Li Xiaobin, Li Yingjie, Liao Guohe, Lin Yilin, Ma Desheng, Ma Kelu, ONS, Ou Jin, Pu Yingwei, Qiu Anxiong, Sha Lina, Shi Yong, Shih Yunyu, Tang Pinggang, Tie Ying, Wang Guangyi, Wang Keping, Wang Qiang, Wang Sishun, Wei Hai, Wen Pulin, Wu Guanzhong, Xue Feng, Yan Lei, Yan Li, Yim Sui-fong, Yu Ji, Yu Meihao, Yu Youhan, Zhang Peili, Zhang Wei, Zhao Gang, Zhao Liang, Zheng Ziyan, Zhou Maiyou, Zhu Jia, Zhuang Hui
BLG LAB是由博而励画廊与艺术家们共同发起，旨在突破常规展览空间的限制，结合Pop up store、休息区、展览、放映、座谈及现场表演等形式，为艺术家搭建一个更加开放的实验性平台。我们将持续发掘当代艺术领域新的可能性，就当代艺术与公众形成进一步的对话。
BLG LAB is an open collaborative platform for artistic research, experimentation and creation as well as talks, screenings, exhibitions, Pop up store and performances, taking contemporary themes and innovative artistic strategies out of the gallery and into an ongoing dialog with the public.