参展艺术家：唐志冈、李季、孙国娟、武俊、段玉海、曾晓峰、栾小杰、甫立亚、罗旭、
朱发东、何云昌等
纵观中国当代艺术发展史，活跃在当代艺术尖塔上的艺术家都是经历了80年代、90年代的美术革命一代。在那个时代，云南、四川、贵州、广州都不约而同的兴起各类的现代艺术思潮运动。云南作为当时西南地区最为活跃的当代艺术活动地之一，也是全国最为活跃的当代艺术活动地之一，是中国当代艺术发展的最主要的脉络之一，更是当今中国当代艺术圈中不可忽视的重要力量，这从云南的画家的唐志冈、李季、曾晓峰，到行为艺术家何云昌、朱发东，以及雕塑家刘建华、罗旭，女性艺术家甫立亚、孙国娟等中国著名艺术家身上可见，例如，朱发东《寻人启事》作品，已经被译成世界十几种主要文字在各国流传，甚至一些中学美术教案也有关于朱发东的论述。由此，90年代是云南在中国当代艺术史中，产生有影响力的艺术家最多的一个时代，但相关于这个年代的文献记录，在中国当代艺术史中并没有完整的呈现，甚至是有所疏漏。
在此，于2011年7月9日晚八点，昆明DUFFY•雪茄画廊主办“90年代云南当代艺术作品展”，将在昆明市文林街19号开幕，展期一个月到8月10日结束，展出这批代表艺术家们的相关作品，同时出版《90年代云南当代艺术》把这批90年代中国有代表性的艺术家，作为见证云南当代艺术发展过程，和解读中国当代艺术发展的重要依据进行整理。展示云南90年代的当代艺术，在中国当代艺术发展中的地位。开幕酒会届时，所有艺术家都将到场，以及中国当代艺术圈的重要学者、商界精英、政府要员、媒体记者等各界人士的光临，使本次活动成为推动云南当代艺术发展的又一次顶峰。
同时，本次展览昆明DUFFY•雪茄画廊编辑出版的《90年代云南当代艺术》不仅仅为国内外研究云南当代艺术，特别是中国当代艺术发展的脉络，提供了重要的、核心的文献资料，更通过本书，使年轻的当代艺术群体得到鼓励和提示。书中通过全盘多角度的理论性分析，用艺术家个人艺术历程的发展，呈现90年代云南当代艺术发展的风貌。还结合国内外当代艺术界众多重要的艺术批评家、艺术史论家对各艺术家的相关研究成果，全方位的呈现90年代云南当代艺术史的面貌，是云南即今为止，研究云南当代艺术发展史中，最全面的一份当代艺术史论书籍。
由此，昆明DUFFY•雪茄画廊主办此次展览以及对于此书的编辑出版，不是单纯的对90年代的云南当代艺术做一次梳理与再现。而是，回顾这个重要时期艺术发展的同时，用发生在他们的真实事件，他们的付出，体现出云南当代艺术群体对整个中国当代艺术发展所起到的推动作用，也用他们身上故事中的那些艰辛、饱满与幸福，引导和启迪后人。当然，立足当代艺术，关注当代艺术发展动向，推动当代艺术的发展，也是昆明DUFFY•雪茄画廊一直以来的学术定位，昆明DUFFY•雪茄画廊也希望能够为推动云南的当代艺术发展做一些真正有意义的事情。
昆明DUFFY•雪茄画廊
序——王杰夫
本次《90年代云南当代艺术》一书和90年代云南当代艺术家的联展，通过所有工作人员与艺术家的配合，最终呈现在大家的面前。以书写艺术史的方式，将90年代的云南当代艺术发展情况进行了梳理，有人说，这样的工作不是画廊做的，是美术馆做的。但是我觉得，能力不分界限，我们能做我们就做了。通过这个展览和这些文献面世，把代表公平、客观、公正面貌的云南90年代当代艺术呈现出来，用最真实的、全面的资料，反应出那个时代，云南当代艺术家坚守艺术理想的尴尬、艰难与美好。本书和展览，不仅仅为研究云南当代艺术发展的提供一份重要的文献资料，更希望通过这样的方式，使年轻的云南当代艺术群体得到鼓励和提示。艺术家的成功很不容易，因为这样的坚持与获得的幸福，是必须的面对孤独、冷漠和被遗忘的考验。
这几年来，我不是在路上，就是在云上，整个人身心疲惫，我也想安静的坐着喝几杯茶，或者在市场买几个小菜再走。走过很多的城市，发觉在云端和踩土地都是一样的，如果一个人缺乏关怀，真实与感动，那走到哪里，做什么事情，哪怕再单纯，他也是冷漠的。看过太多城市脸孔，看到的不削一顾和飘过的流光丽影不过是行尸走肉，人又何谈价值的存在，可人就是因为什么都不再谈、不顾、不管，才活的累了，觉得什么都没有。
我一直关注并致力于当代艺术的投资，不仅仅是因为艺术产业在国内是新型文化消费品，所强调的感受自我的价值理念，以及建立健康的生活态度和生活方式，是当下追求急速发展人最缺乏的，更是因为内心苍白的人群早已塞满了城市，让这个时代看上去缺乏执着，缺乏理想，缺乏信任、缺乏娱乐精神，然而开心、幸福、美好并不是谁的特属，也不是谁的专利。文化方式决定了生活方式，如果缺乏文化，就会缺乏生活。此外，当代艺术带给我一种幸福的感觉，它让我开心，让我想好好生活。我非常希望我身边的人，能通过当代艺术将自己变得更加幸福，更加有品位。
作为一个土生土长的云南企业家，出出进进云南这么多年，看来看去，再看云南当代艺术，让人澎湃也让人无奈，云南的当代艺术资源藏龙卧虎那么多人，可是云南懂得欣赏当代艺术的人却寥寥无几。很多做当代艺术的不得不走出去，很多优秀的艺术作品是其他地方产生了它自己的艺术价值。由此，从昆明Duffy雪茄·画廊成立以来，通过我能做的事情，支持云南当代艺术家创作，支持当代艺术理论的研究，包括这次云南当代艺术史的修补和展览的举办。我希望通过这样的方式，使云南当代艺术的发展在今天能够有所突破。这条路是漫长的，可我无怨付出，因为我是一个云南人。
Foreword——Wang Jiefu
This book, 1990s Yunnanese Contemporary Art, and this joint exhibition of the same name, are the result of the dedicated efforts of our employees and artists. Some people say that it is the job of the museums, not the galleries, to comb through written historical accounts and create a comprehensive view of contemporary art’s development in Yunnan through the 1990s. But I feel that abilities are not subject to the same boundaries, and if we can do it, then we should. Through this exhibition and these documents, our aim is to present the contemporary art of 1990s Yunnan in a fair and subjective manner, using the most authentic and comprehensive information to reflect that era, and the awkwardness, difficulties and beauty of these contemporary artists’ pursuit of artistic ideals. This book and exhibition not only provide important documentation for the research of Yunnanese contemporary art’s development; but hopefully also provide inspiration and encouragement to a new generation of young Yunnanese contemporary artists. Success for any artist is difficult to attain, because to persist and eventually succeed requires facing the prospect of solitude, desolation and being forgotten.
In the past few years, when I haven’t been on the road, I’ve been above the clouds. My mind and body are exhausted. I would love to sit down and enjoy a few cups of tea, or buy a few vegetables at the market and head home. I’ve been to many cities, and I’ve discovered that whether you are in the clouds or on the ground, it is always the same – if you lack concern and emotion, no matter where you go or what you do, and no matter how pure your motives, you will find only desolation. I’ve seen the faces of too many cities, and so many are full of uncaring, unseeing empty shells of people, who never think to talk about values. When people do not discuss values, do not care about anything, that’s when life grows tiring and empty.
I’ve always kept a close eye on contemporary art investment, not only because the art industry is the nation’s newest form of cultural consumption; the values concepts and the attitudes and lifestyles it promotes are what people in our rapidly developing economy lack the most. Today’s cities are full of empty souls; this era is lacking in dedication, ideals, trust and a spirit of enjoyment, but no one has domain over happiness and beauty. Cultural methods determine ways of life. If we lack culture, then we lack life. Also, contemporary art brings be a sense of joy, of happiness, making my life that much better. I hope that the people around me can also share in that joy.
As a businessperson born and raised in Yunnan, and having come and gone for so many years, when I look back on Yunnanese contemporary art, it leaves me both excited and dejected. There are so many great figures in Yunnanese contemporary art, but so few people here who can truly appreciate it. Many contemporary artists have no choice but to leave, and many great contemporary artworks only realized their true artistic value in other locales. For this reason, since the inception of Duffy Gallery, I have done whatever I can to support the creations and artistic research of Yunnanese contemporary artists, including this addendum to the history of Yunnanese contemporary art and the holding of this exhibition. I hope that through this method we can see further breakthroughs today in Yunnan’s contemporary art development. This is a long path, but I am willing to face the challenge, because I am Yunnanes
云南红喇叭文化传播有限公司成立于2009年初。其中，昆明DUFFY·雪茄画廊是该文化传播有限公司的直属文化传播机构。昆明DUFFY·雪茄画廊是云南目前为止，经营当代艺术作品最为专业的机构，主要从事举办当代艺术展览、艺术品经营、收藏等项目。云南红喇叭文化传播有限公司启用规范的多模式运营，关注中国当代艺术发展趋势和各流派中的关键人物。同时，更加注重发掘较有潜力的当代年轻艺术家。从成立以来，短短两年时间，激活了云南当代艺术在本土乃至在全国的发展，为云南特别是中国的当代艺术发展提供广阔艺术作品交流的平台。期间，多次与中国著名批评家，以及十多位国内顶级当代艺术家合作举办展览。2010年邀请近50位宋庄新锐艺术家到云南与本地青年艺术家交流互动，成为云南近几年来最为重要、盛大、权威的当代艺术大事件，以及“玲珑塔”大型宋庄艺术生态记录片在北京的首映，云南红喇叭文化传播有限公司积极参与、并推动着中国当代艺术的前进与发展。从成立至今，已举办“十三不靠”展览、“激素”七人作品展、“色相”影像邀请展、“回首百年中国云南昆明——老照片珍品收藏展”、“玲珑塔”宋庄+云南青年艺术家作品联展等展览，用开放的视野，立足云南本土，放眼国际化舞台，为广大艺术家、藏家和艺术爱好者提供高质量的服务和高品味的艺术作品盛宴。
Yunnan Red Horn Cultural Promotions Company was established in early 2009. Duffy Gallery is its direct subsidiary. Duffy Gallery is the most professional contemporary art organization in Yunnan Province; its operations focus on holding contemporary art exhibitions and the sale and collection of artworks. Red Horn utilizes diverse systems to follow the trends in Chinese contemporary art and the key figures from each aspect of its development. Meanwhile it also strives to discover and develop talented young contemporary artists. In the mere two years since its inception, it has stimulated the development of Yunnanese contemporary art at home and across the nation, providing a broad platform for the exchange of Chinese, especially Yunnanese, contemporary artworks. It has also worked with many top critics and artists to hold exhibitions. In 2010, it invited nearly 50 cutting-edge artists from Songzhuang to engage young Yunnanese artists in artistic exchange, creating the largest, most influential contemporary art event to take place in Yunnan in recent years, along with the Beijing premier of Linglong Pagoda, a documentary film about the artistic environment of Songzhuang Village. Red Horn’s participation has helped promote the development of Chinese contemporary art. Since its inception, the company has organized many exhibitions, including Thirteen Wonders; Hormones: 7 Artist Exhibition; Colors: Photography Invitational; Looking Back Over a Century in Kunming: Old Yunnan Photographs Exhibition; Linglong Pagoda: Songzhuang + Young Yunnan Contemporary Artists Joint Exhibition; and Yunnanese Contemporary Artists of the 90s; among many others. With a broad vision set in Yunnan but focused on the world stage, we provide artists, collectors and art lovers with high quality service and a feast of outstanding art.
