“北方”是谈到段正渠时最具标签式的界定，他持续地在这一主题上进行不同向度的深化和拓展。南方，北方，不同的地理感知联动的是迥然相异的文化体感。从上世纪80年代所谓“萨特与邓丽君”交叠弥漫的氛围到千帆过尽、全球化的激荡已成日常的今天，我们基于珠三角的地理和人文环境重思“北方”，具有怎样值得深思的意涵？

另外，学院与当代艺术的关系曾被简单化地理解为对立关系，但若历史地看，学院内部和外部如何纠合孕育出当代艺术的实验却是耐人寻味的话题。在当下，80、90年代美术学院与中国现当代艺术的关系被重新讨论。作为身处学院机制当中的段正渠，每一阶段都面临着社会思潮、官方主流机制等几重情境下的个体选择，他不断尝试又反复强调内心的“踏实”，他的看似最为质朴的创作和教学路径该如何被真实地审视？

基于以上的问题，我们邀请相关领域的艺术家、学者一道与段正渠进行交流与对话，并希望以此延展开来，与美院师生以及关心此话题的观众们产生共鸣。

"North" is the most labeling definition when it comes to Duan Zhengqu, and he continues to deepen and expand on this theme in different directions.The different geographical perception of the south and the north is linked to the very different cultural perception. From the so-called "Sartre and Teresa Teng" overlap diffuse atmosphere in the 1980s to the end of thousand sails, the agitation of globalization has become a daily today, what are the implications of our reconsideration of the "North" based on the geographical and cultural environment of the Pearl River Delta?

In addition, the relationship between the academy and contemporary art has been simplistically understood as an antagonistic relationship, but from a historical perspective, how the academy's internal and external integration gave birth to the experiment of contemporary art is an intriguing topic. At present, the relationship between the academy of fine arts and Chinese modern and contemporary art in the 1980s and 1990s is being re-discussed. As Duan Zhengqu living in the academy mechanism, he is faced with individual choices at every stage under several situations such as social trends of thought and official mainstream mechanism, he keeps trying and repeatedly emphasizing his inner "sureness", how should his seemingly simple creation and teaching path be truly examined?

Based on the above issues, we invite artists and scholars in related fields to communicate and dialogue with Duan Zhengqu, and hope to extend this to resonate with the teachers, students of the academy of fine arts and audiences who care about this topic.