黑金 The Cool Miners
　　張建華個展 Solo Exhibition of Zhang jianhua
　　主辦：今日美術館
　　協辦：北京二十二院街藝術區
　　策展人：溫普林
　　音樂策劃：王凡
　　開幕時間：2008年6月28日15：00
　　展覽日期：2008年6月29日—7月12日
　　開放時間：周一至周日10：00—17：00
　　展覽地點：北京市朝陽區百子灣路32號蘋果社區二十二院街75號房間地下一層
　　聯系電話：8610—58760600—6035
　　網站：www.todayartmuseum.com
　　Organizer: todayartmuseum
　　Co-sponsor: 二十二院街藝術區
　　Curator:wen pulin
　　Music Curator: Wang fan
　　Opening:15:00,28th june,2008
　　Duration:29th june~~12th july,2008
　　Opening Time:10:00—17:00,Monday—Sunday
　　Address:Room75,B1,22international Art Plaza
　　No.32 Baiziwan Road,Chaoyang District,Beijing
　　Tel:8610-58760600-6035
　　Website: www.todayartmuseum.com
　　其他協辦：雁南藝術機構、墻美術館、莊塘村雕塑工作室
　　鳴謝：一號地國際藝術區、尚元素藝術空間、上海證大現代藝術館、中央美術學院雕塑系

張建華個人簡歷

　　黑金

　　溫普林

　　“黑金”是張建華一系列有關礦難作品的集成之作，他綜合了雕塑、裝置、行為甚至燈光音樂，為人們呈現了一處井下數百米的礦井現場。張建華的礦工是有力量的，他們沒有被過度的雕飾，也沒有進行風格化的處理，特別是一排齊齊整整躺倒在地的礦難尸體，更給人以強烈的感官刺激。張建華本人頭戴礦工帽，滿臉烏黑，平靜的躺在他的這些兄弟們中間。能稱之為兄弟，是因為他與他們曾同吃同住同歡樂，同在井下五百米深處的黑暗中一起挖掘黑金。

　　藝術家張建華關注這些礦工的目光是平視的，是悲憫的，沒有獵奇，也沒有刻意的煽情，然而這種直接呈現是最有力量的。在這個藝術過分強調制造的時代，藝術品更多地呈現出一種光鮮靚麗的外表，如此粗糙、笨拙、不唯美的形式反而使得張建華的作品引起了世人更多的關注。

　　黑金是山西的煤老板們對煤的尊稱，巨額的利潤使得煤炭的身價甚至超越了黃金，煤老板們可以像當年的人民公社購買拖拉機一樣成批量的團購悍馬。張建華塑造的就是為這些煤老板們在地下挖掘黑金的人。

　　馬克思在資本論中論述金錢本質的時候引用了莎士比亞戲劇中的一段臺詞，大意是說“黃色閃光的金子，你可以使黑的變成白的，丑的變成美的，雞皮鶴發的老婦變成妙齡少女……總之，金錢的每個毛孔都滴著鮮血”。然而，資產階級的經濟學家說金錢是沒有屬性的，也就是說金錢本身是沒有善惡的。在這個資本的時代，簡單地去批判金錢已經是沒有意義的了，藝術家也沒有力量去解決任何社會現實問題。張建華以自己的方式表達了對這個世界的悲憫之情，也讓讀到他的人們在日常的狀態下多了一份對于底層人文和生命的關注。

　　08年6月于東臺書院

　　Coal——the Black Gold

　　“Black Gold”is a collection of all the works of Zhang Jianhua. It comprises diverse forms of art like sculptures, installations, performances, even light and music which unfold before us a scene of coal mine shaft hundreds of meters down below the ground. Those miners are plain yet powerful, without any inappropriate polish or distinctive style but provide an intense sensory stimulus, especially the lines of corpses of those who were killed in mining disasters. Zhang, miner’s hat on head and face black, is lying among them with whom he has lived, shared time, and dug the “black gold” in the 500-meter-deep darkness together, just like brothers.

　　Without curiosity, superiority or any intentional sentiment, Zhang concerns himself in this certain group of people with sympathy, and this kind of direct expression is just the most impressive. In a time when people pay too much attention to the delicacy of artistic productions, the roughness and clumsiness of Zhang’s sculptures are, on the contrary, more eye-catching.

　　“Black Gold” is the respectful form of address for “coal” by the mine owners in Shanxi. Since the enormous profits have valued coal above even gold, they become rich enough to purchase batches of Hummers exactly like what The People’s Communes did to the tractors. But Zhang’s sculptures here are those miners who actually mine the “black gold” with their own hands for the owners.

　　In , Marx quoted a part of the lines from one of Shakespeare’s dramas which say: “Gold Oh, you are what magical. You can make old becoming few, ugly becoming is beautiful, black becoming is white, wrong becoming suits” and also, by himself, “Vicious blood trickles from every pore of money”. The economists, however, say that money has no attribute itself, or in other words, money belongs to neither evil nor good. It is meaningless to simply judge money in this capital-reigned era, and artists alone are powerless to change anything of the cruel reality. But Zhang Jianhua showed his sympathy for the world in his own way, and people who have ever come across his works would care a little more about those who live at the bottom of the society.

　　Wen pu lin