开幕时间：2015年8月14日(周五) 17:30
展览时间：2015年8月15日-2015年11月15日
展览场馆：上海当代艺术博物馆5楼
展览馆址：上海市花园港路200号
Vernissage：17:00, 7th August, 2015
Venue：5F, Power Station of Art
Address：200, Huayuangang Rd. HuangpuDistrict, Shanghai,China
各板块艺术家名单如下
1.和中国艺术传统相关的临摹现象：夏小万、邱志杰、姚瑞中、陈浚豪、彭薇、余旭鸿、杨泳梁、倪有鱼
2.和西方现当代艺术相关的挪用现象隋建国、李占洋、施勇、杨振中、李青、倪有鱼、胡庆泰、胡昀、王冠山
3.和当下社会现象相关的山寨现象陈幼坚、韩峰、周铁海、邱志杰、焦兴涛、李青、高岩、钟兆刚、叶甫纳
开幕当日活动 Vernissage Program
15:30 - 16:00 媒体签到 Press Registration 丨5F
16:00 - 16:30 媒体导览 Guided Tour 丨5F
16:45 - 17:15 新闻发布会 Press Conference丨3F
17:30 - 19:30 开幕仪式 Vernissage 丨5F
当下社会，山寨现象风生水起，抄袭事件层出不穷。回望中国当代艺术的起点，认为中国当代艺术以西方马首是瞻的指控不绝于耳。盘点中国古代艺术发展历程，一味摹仿前人、陈陈相因更是晚清以来文人画的常用标签。中国人果真如西方人所指责的是一贯不尊重版权和不懂创新的吗？中国当下的山寨现象、艺术创作中的抄袭和我们行之已久的临摹传统有关吗？西方人可以丝毫不差的“挪用”，为何中国人不能进行有所改变的“山寨”？复制和复制品的泛滥会影响艺术的创新发展吗？
基于以上想法，通过梳理中国当代艺术中和挪用相关的艺术创作现象，本次展览首次提出了“中国挪用艺术”的概念，对源自西方的“挪用艺术”理论进行了拓展和转换，将“挪用”与中国自古以来的艺术传统“临摹”和当下风生水起的“山寨”现象结合起来，打造了一个链接中西古今的“中国挪用艺术”概念。
中国挪用艺术至少包含三种现象：和中国艺术传统相关的临摹、和西方现当代艺术相关的挪用以及和当下社会现象相关的山寨。通过梳理中国当代艺术中和临摹、挪用、山寨相关的艺术创作现象，探讨重复和创新、原创的关系，艺术创作方式和新技术、新材料的关系，知识产权和知识共享、知识传承的关系，从中也可以看出中国挪用艺术和西方的不同之处。
“Copyleft”出自GNU通用公共许可协议（GNU General Public License，缩写：GNU GPL、GPL），这是一个被广泛使用的自由软件许可协议条款，给予了电脑程序自由软件的定义，并且使用“Copyleft”来确保程序的自由能被完善的保留。
此处借用“Copyleft”来表现中国挪用艺术中临摹、挪用、山寨三种现象的共通之处，意味着 “可以拷贝”（和copyright相左），以及“制造拷贝“（制造相似之物）。copy和copulation（交配）有着相同的拉丁文词根“copia”，意味着由此而来的繁衍创新，难怪矶崎新声称，拷贝的拷贝的拷贝就是创新。在数码复制时代，不只艺术家精于“挪用”，其实绝大多数人和“Copyleft”、“挪用”脱不了干系——对网络图文资料的复制黏贴使用，对盗版碟或仿制品的购买，对着手机私人定制的电影配音，在卡拉OK厅里对歌星或好或坏的模仿，各类模仿秀上选手始于模仿终于创新的表现……“个别的模仿是跟随，普遍的模仿孕育着创新。”新技术的发展和普及释放了广大民众的创造力，进一步打破了艺术和生活的界限，也许是时候用更中性甚至欣赏的眼光去打量“山寨”了。
In today’s society, the shanzhai phenomenon grows at an incredible pace, with instances of plagiarism occurring in endless succession.Looking back to the beginning of China’s contemporary art, one finds the lingering accusation that it followed the lead of Western countries. Yet, in the course of development for Chinese historical art, imitating the work of predecessors, and following a path of incremental change, was a regular practice especially dating back to the literati painting of the late Qing dynasty. Are the Chinese really, as Westerners have suggested, consistently failing to respect copyright, or lacking in an understanding of innovation? Is there a relationship between China’s current shanzhai phenomenon, appropriation in the artistic process, and our long-established linmo tradition of imitating earlier works? If Westerners can “appropriate” without adding even minor variation, why can’t the Chinese produce “shanzhai” versions with some form of alteration? Will the flood of duplications and replications affect the innovative development of art?
Through an overview of contemporary Chinese art and specifically art production related to copying, this exhibition proposes for the first time an evaluation of Chinese appropriation art that expands and transforms Western appropriation art theory.
Chinese appropriation art contains at least three forms: linmo that draws on China’s art tradition, appropriation related to Western contemporary art, and art production inspired by the current phenomenon of shanzhai. From a survey of art that uses these methods, the exhibition investigates the relationships between: replication, innovation, and originality; new technologies, new materials, and artistic creation; and intellectual property laws, knowledge sharing, and forwarding generational knowledge.
Copyleft is appropriated from the GNU General Public License, which is the most widely used free software licensing agreement. Here, Copyleft is used to represent three manifestations of copying (linmo, appropriation, and shanzhai) that occupy a common ground.
In this age of digital reproduction, indeed most people can’t escape the implications of Copyleft and appropriation: they are in the copying and pasting of found materials from the Internet, in pirated DVDs...."Individual copying is to follow; wide spread copying gives birth to innovation." The development and popularization of new technologies liberates the creativity of the general public, possibly it is time to use a more neutral or even appreciative gaze in sizing up "shanzhai."