胡金黎

We haven't focused on the surrounding existing space as well as our public art like today, Public art as the artistic creation, more or less keeping relatively independent spirit character, can't be completely controlled by controlling economic force in city organism.But because it belongs to urban public cause, it has to receive such demands as function, thought, etc of governmental departments, investors and public volition. Therefore, artists engaged in public art creation adjust the relations of the two to a great extent.

China's social realistic features and trend of public traditional aesthetics have determined the special actuality of public art. The development state of China's contemporary public art has declared its outer and inner parts lack of a public existing space.

What kinds of creation attitudes, works will be supplied by artists to improve the qualities of urban lives? Paris model, New York model or natural model is infeasible.

Those great sculpture and decorations transplanted from Europe and Africa will necessarily not stand time experience. Nationalization structure and re-constructed auspicious dragons and lucky creatures don't belong to us, including many big or small seasonable and occasional environmental art engineering, which also faces embarrassedplace. We shouldn't be crazy about foreign things, or can't need "fully Chinese" things, what we need is a spirit ,a spirit of mastering city history and cultural lifeline.

How to use this spirit to adjust government, community, residents, parties, developers and investors together and to create a happy natural organic order of public life are vital.

我们从没有像今天这样关注周围的生存空间，从没有像今天这样关注我们的公共艺术。公共艺术作为艺术性的创造物，或多或少地保持着相对独立的精神品质，不会完全地受城市肌体中支配性的经济力量所支配。但是，由于它是属于城市公共事业的一部分，它又不得不接受政府部门、投资者、公众意志提出诸如功能性、思想性等要求。所以，从事公共艺术创作的艺术家很大程度上是在协调两者之间的关系。

中国的社会现实特点与公众传统审美趋向决定了公共艺术的特殊现状。中国当代公共艺术的发展现状表明，在它的内部和外部都一直缺乏一种公共性生存空间。这表现在：首先，由于历史的原因，中国传统的公共意义的雕塑基本功能是纪念和宣教，雕塑总是作为统治思想的权利象征而存在，这种社会训导者的身份和居高临下的姿态很难与公众建立真正意义上的对话关系，所以，除了占有公共空间这一特征外，传统公共雕塑并不具备当代意义上的公共性。其次，伴随市场经济在中国的兴起，产生了一种新的主宰公共艺术的主体，即所谓“甲方集团”，他们通过市场经济和商品交换方式强制性地将个人好恶纳入公共空间，在缺乏公共决策和监督机制的状况下，公共艺术开始沦为一部分人聚敛社会财富者的私有品，一切以其好恶为转移。媚俗和屈尊也很难使雕塑产生真正意义上的“公共性”。最后，中国当代雕塑一直很少考虑自己在公共领域中的位置和功能，考虑建构公共性空间对自身发展的积极影响，一方面固然是受制于经济体制和行政体制的结果，另一方面则主要是由于自身公共意识的缺乏。……