1917年，挪威著名的劇作家易卜生因為魯迅的介紹而為中國人所知。他的《玩偶之家》以及該劇女主人公娜拉作為女性覺悟和解放的象征在中國家喻戶曉。魯迅曾寫過：娜拉出走以后怎么樣？ 　　如果說在家庭中，女性面臨著人的尊嚴和獨立的問題，那么走出家庭就意味著面臨社會急劇變化所帶來的更多、更尖銳的問題——家庭問題，性別問題，兒童問題，還有更重要的社會問題、全球化問題。這些問題并未在走出家庭后就能順理成章地得到解決，而是在每天每日的遭遇中，因此必須冷靜勇敢地面對它，思考它，處置它，從而找到女性解決社會問題的終極方案。 　　娜拉出走在某種意義上標志著后娜拉時代的開始。 　　后娜拉時代強調主動的主體。強調采取合作的、積極參與的策略，正視她們所看到的事實；同時以高度的情感來看待她們的地位，以理智來約束創造一個世界的需要，成為社會積極的建構者和創造者。 　　后娜拉時代意味著“去中心”的女性主體意識的強化。消除差異、消除分化。男性不再是中心，女性也不再是邊緣。在這種性別的消解和解構中，求得女性主動的自主。 　　后娜拉時代意味著不動聲色。“不動聲色“的本意是沉著、鎮定。在這里有兩重意思：一是女性在表達她對世界的思考時，不再用表面的眩目、大聲的吶喊、流淚的哭泣來吸引觀者的眼球，而是用女性獨有的內在的、冷靜的、思想的力量，此為不動聲；二是不再用裸露的身體和感官來表達一種私密的“小”，而是以沉靜的思想和智慧，介入公共生活的“大”，此為不動色。 　　挪威作為一個高度社會福利保障、高度完整、高度民主的國家，其社會環境、人文歷史傳統、經濟發展的狀態與中國完全不在一個層面。對挪威的女性來說，可能更多地要面對健全的社會體系下人的異化，精神的方向感的迷失，及來自精神方面的張力和壓迫感；而中國則處在社會轉型時期，處于貧富懸殊、城鄉分化的裂隙中，女性在被時代洪流的裹脅中充滿了焦慮、競爭感，此時她們不但要思考人的主體，還要面對殘酷的生存。但毋庸質疑的是，她們都身處于消費社會、傳媒時代以及全球化的情境下，面對著急劇變化的社會現實，面對急劇動蕩的文化語境，面對都市生存問題——孤獨、生存焦慮、人際關系淡漠、精神溝通困難等；面對環境問題——能源快速消耗、無法逆轉的污染：兒童問題——物質化、自我中心、信仰迷失、過早的成人化和人際的疏離；全球化問題——資本的強勢和文化的占領和認同，跨國公司與社會變革及西方模式與本土經驗。因此她們對社會現實與真實問題的關注，對于人的生存境遇和精神狀態的關注，有著不謀而合的內在的一致性。 　　本次展覽是中挪兩國女性當代藝術的第一次展示和交流。因此我們看到，她們面對的問題是共同的，也是有差異的。她們在藝術中呈現問題、解決問題的方法、策略、手段、地點與媒介也是有所不同的。此次展出的挪威、中國兩國十幾位藝術家的作品，其共同特征是從更廣泛的社會層面與現實發生關系，站在一個主體的立場對社會現實進行全面的感受、理性的分析和深刻的思考，以一種 積極參與的精神，非激進式的方式體現了藝術家們的主體覺悟，以個人化的生存感覺和社會化的感知方式和表達方式，體現了具公共性的自覺的態度和不妥協的立場。 　　本次展覽作品廣泛涉及了90年代以來的藝術議題，對后殖民、全球化、都市化、現代性、人性、消費文化作了進一步關注和拓展，強調直面社會現實并高度參與，挖掘作品深思熟慮后的內在力量。強調藝術家鮮明的主體意識、個人立場，張揚其個性。 作品類型涵括繪畫、雕塑、裝置、錄像、攝影等。 　　策展人/ 王寶菊 　　參展藝術家：中國/陳妍音 崔岫聞 董姝茜 胡柳 彭禹 秦鳳玲 孫芙蓉 　　挪威/NORWAY BODIL FURU GILLIAN CARSON INGHILD KARLSEN INGRID BOOK & CARINA HEDEN MARIANNE HEIER MARIANNE HESKE SIRI HERMANSEN 　　本次展覽由今日美術館主辦，挪威王國駐華大使館、挪威當代藝術辦公室協辦。 　　開幕式時間：2006年11月4日下午3點 　　展覽時間：2006年11月4日-12月3日 　　展覽地點：北京今日美術館(北京市朝陽區百子灣路32號) 　　Press Release 　　Post Nora Attitudes and Positions 　　In the early twentieth century, Ibsen’s plays were introduced into China by Luxun, which oriented Chinese modern theatre to critical realism. What’s more, the heroine Nora in A Doll House as a symbol of women’s awakening and emancipation was widely known in China. 　　“What would happen after Nora leaves her family?” asked Luxun. 　　In fact, women in the post-Nora age have to face more complicated and more acute problems. 　　In the family sphere, women must face the problem of human dignity and independence; but outside the family, they must confront more complicated and more acute problems such as family issues, gender issues, children issues, globalization issues and other important issues. These problems can not be naturally solved so women must think over them and deal with them in their daily life in order to find the final solution as there is absolutely no way to escape society. 　　An active subject is highly praised in the post-Nora age, which signifies a brand-new feature of women’s autonomous consciousness. 　　In the post-Nora age, the “decentered” women’s subjective consciousness is strengthened. 　　Self-possession marks the post-Nora age. 　　No doubt, women in Norway, Nora’s hometown and Ibsen’s birthplace, have confronted and experienced similar social reality to some extent. As a highly developed welfare, and economical state, Norway has comparatively different social environments, humane and historical traditions, and economically developing conditions from China. Therefore, Norwegian women might well confront human alienation, spiritual loss, tension and pressure under a complete social system, while situated in the social transition, and in a wide gap between the rich and the poor, city and country, Chinese women are destined to have anxiety and competitive sense in the powerful torrents of times, and they have not only to reflect human subject but to face the crucial issue of existence. Nevertheless, both of them live in the context of consuming society, media age, and globalization and are confronted with radically changed social reality, turbulent cultural context, urban exiting issues such as loneliness, anxiety about existence, indifferent interpersonal relationships, difficult spiritual communication, environmental problems such as rapidly exhausted resources, irreversible pollution, children problems such as materialization, self-centeredness, loss of belief, precocity and estrangement from others, and globalization issues such as capital power and cultural occupation and identification, transnational corporation and social transformation, Western model and native experience. In all, there just exists an essential coherence in their concern about social reality and truth about human living situation and spiritual condition. 　　They have common but distinct problems, and the methods, strategies, techniques, and media for presenting and solving problems in their art takes on somewhat different features. This time, the artworks on display created by over ten Norwegian and Chinese artists are common as such: They all more widely involve in social reality, extensively perceive, rationally analyze, and deeply reflect it in subject’s position, moderately represent artists’ subjective consciousness with positive and cooperative spirit, and effectively represent their open, autonomous attitudes and uncompromising stand in personalized feeling of life and socialized perceptions and expressions. 　　CURATOR/ WANG BAOJU 　　ARTISTS 　　CHINA/CHEN YANYIN CUI XIUWEN DONG SHUQIAN HU LIU PENG YU QIN FENGLING SUN FURONG 　　NORWAY/ BODIL FURU GILLIAN CARSON INGHILD Karlsen INGRID BOOK & CARINA HEDEN MARIANNE HEIER MARIANNE HESKE SIRI HERMANSEN 　　ORGANIZER/ BEIJING TODAY ART MUSEUM 　　SPONSOR/ ROYAL NORWEGIAN EMBASSY OFFICE FOR CONTEMPORARY ART NORWAY 　　OPENING/ NOV. 4,th ,2006 15:00 　　DURATION/ NOV. 4th ---DEC. 3RD , 2006 　　VENUE/ BEIJING TODAY ART MUSEUM(NO.32 BAIZIWAN ROAD, CHAOYANG DISTRICT, BEIJING 100022)