艺术不应成为罪名 还原历史真相
作者：吕小静
2026年8月30日，民主人士在圣何塞市政厅前举行“声援高兟，还原历史真相”活动并合影（照片由主办方提供）
【圣何塞报导】 2026年8月30日下午，由中国民主人权联盟、中国民主党圣何塞分部组织的“声援高兟，还原历史真相”活动在美国加州圣何塞市政厅广场举行。来自旧金山湾区的民主、人权人士及民众到场声援日前被判处三年有期徒刑的中国艺术家高兟，呼吁立即释放高兟，停止因艺术与思想表达进行打压，并保障艺术创作、言论表达以及公众反思历史的基本权利。
活动现场，“看清的人进了监狱，愚昧的人还在膜拜”“毛泽东遗臭万年”等大型展板格外醒目。“三年饥荒”“十年文革”等历史字样与高兟的艺术作品共同构成现场强烈的视觉冲击。
与会者表示，高兟案件所提出的问题已经超越一名艺术家的个人命运：当一件雕塑可以成为一个人失去自由的理由，当历史人物只能被歌颂而不能被批评，一个社会是否还有真正的艺术自由？人民又是否拥有重新审视历史、保存记忆和追问真相的权利？
高兟1956年出生于山东济南，与胞弟高强长期以“高氏兄弟”之名从事绘画、雕塑、装置、摄影及行为艺术创作。多年来，两人的作品不断触及中国政治、历史与社会议题，其中《枪决基督》《毛小姐系列》以及表现毛泽东下跪忏悔的作品尤其受到外界关注。
据活动组织方介绍，高兟2024年8月回国探亲期间，被河北三河警方从燕郊工作室带走。2026年3月30日，其案件在三河市法院闭门审理；同年8月25日，高兟被判处有期徒刑三年。
从一件艺术作品，到三年牢狱之灾，这一判决也成为当天集会不断被追问的焦点。
与会者认为，人们当然可以不喜欢高兟的作品，可以反驳他的观点，甚至可以公开批评他的艺术表达；然而，一个社会如果用刑罚回答艺术，用监狱回应批评，那么被禁锢的便不仅是一名艺术家，而是整个社会自由思考历史的空间。
中国民主人权联盟北加州主席李海风担任当天活动主持人。活动开始后，他向现场民众介绍此次集会的主题、高兟案件以及声援行动的主要诉求。
李海风表示，高兟今年8月25日被判处三年有期徒刑，其遭遇与包括“毛泽东下跪”在内的政治艺术创作有关。他认为，一个艺术家仅仅因为通过雕塑表达对历史人物和政治的看法，就要付出失去自由的代价，令人愤怒。
他强调，艺术不应该只有歌颂，历史也不应该只剩下一种被允许的声音。
李海风呼吁立即释放高兟，停止对艺术创作者的打压，让艺术家能够自由表达，同时要求解除对高兟家人的出境限制。
中国民主党旧金山党部副主席胡丕政表示，高兟案件所触及的早已不只是一件雕塑，而是一个社会究竟能否容纳不同的历史观点和政治表达。
他说，一件艺术作品可以令人喜欢，也可以令人反感；可以被赞美，也可以遭到批评。但是，一个艺术家不应该因为自己的作品和思想表达而失去自由。
“如果连历史人物都不能被评论，连艺术创作都要划定禁区，那么艺术还剩下什么？言论自由又在哪里？”
胡丕政表示，艺术的重要价值之一，就是允许人们反思历史、质疑权力、表达不同观点。他强调：“作品可以被封存，但思想不能被判刑；历史更不能靠监狱来改写。”
中国民主党旧金山党部秘书长郑云表示，当天人们为高兟发声，不仅是在声援一个人，更是在捍卫每个人了解历史、追问历史和表达思想的权利。
她认为，一个社会如何面对自己的历史，也决定着这个社会如何走向未来。当有人因为重新审视历史、表达不同观点而付出自由的代价，人们更应该追问：为什么真相会令人恐惧？为什么保存记忆、追问历史，会成为需要付出代价的事情？
郑云表示，真正经得起时间检验的历史，不应该害怕人民追问；一个真正有尊严的社会，也不应该害怕不同的声音。
她强调：“记住历史，不是为了延续仇恨，而是为了不让悲剧再次发生。”
中国民主党圣何塞支部主任罗凤文表示，高兟因为多年前的艺术创作以及对历史的反思与批判，如今付出三年自由的代价，这让人不得不追问：
“如果一个社会连历史都不能反思，连艺术都不能表达，连曾经发生过的苦难都不能讨论，那么我们又如何避免历史的悲剧再次发生？”
罗凤文表示，艺术的意义不仅在于审美，更在于记录时代、保存记忆和追问历史。当一个社会开始害怕艺术家的作品，真正受到限制的就不只是一尊雕塑，而是人们思考、表达以及了解历史真相的权利。
发言最后，她高呼：“释放高兟！捍卫艺术自由！还原历史真相！”
民主党党员何冬玲在发言中表示，当天人们来到这里，不仅是为了声援高兟，更是为了拒绝历史被遗忘和遮蔽。
她特别提到现场“看清的人进了监狱，愚昧的人还在膜拜”的展板，并谈及“三年饥荒”“十年文革”等历史创伤。
何冬玲认为，真正值得警惕的不只是历史曾经发生过的灾难，更是灾难之后对记忆的淡化、遮蔽甚至重新塑造。一个民族如果失去了反思苦难的能力，也就失去了避免悲剧重演的重要防线。
她表示，当高兟用艺术重新叩问历史时，艺术已经不只是一件作品，而成为保存记忆、唤醒思考的一种力量。
何冬玲激动地表示：“他们可以囚禁一个艺术家的身体，却囚禁不了人们对历史的追问；可以试图让一个声音消失，却无法让已经觉醒的思想重新沉睡。”
活动现场，民主党党员周小俊表示，高兟因艺术作品以及对历史和政治的思考被判处三年有期徒刑，这不仅是一名艺术家的遭遇，更触及每个人是否拥有自由表达和反思历史的权利。
周小俊指出，人们可以赞同一件作品，也可以批评甚至反对它，但不能因为艺术家表达了不同的政治观点，就把他送进监狱。历史人物应该接受后人的评价，大跃进、人民公社、文化大革命等历史，也应该允许公众研究、讨论和反思。
他现场追问：“一个社会究竟应该害怕暴力，还是害怕一尊雕塑？如果连一尊雕塑都容不下，那么真正脆弱的究竟是谁？”
周小俊最后呼吁立即释放高兟，并强调：“艺术不是犯罪，思想不是犯罪，批评历史人物更不应该成为犯罪！捍卫言论自由！捍卫艺术自由！”
活动期间，姚荣涛、刘静涛、杨宇新、盛虎等人也先后在现场发言，从历史反思、艺术自由、言论权利以及中国现实等不同角度表达对高兟的声援。
名发言者认为，高兟案件之所以值得持续关注，不只是因为一名艺术家被判处三年有期徒刑，更因为案件背后存在一个更深层的问题：当艺术触碰权力，当作品挑战被规定的历史叙事，一个社会究竟选择用公开讨论回应，还是用刑罚让不同声音消失？
随着一名又一名参与者走到麦克风前，高兟的名字在圣何塞市政厅广场被一次次喊出。
与会者表示，历史人物属于历史，也应该接受后人的评价。无论通过文字、绘画、雕塑还是其它艺术形式，人们都应该拥有讨论历史、批评历史人物以及表达不同观点的权利。
如果今天一尊雕塑可以成为一个人失去自由的理由，那么明天可能是一幅画、一篇文章、一本书，甚至只是一句话。
因此，他们认为，为高兟发声，不仅是在要求释放一名艺术家，更是在捍卫每个人保存记忆、独立思考和自由表达的空间。
活动最后，现场再次响起：
“释放高兟！”
“捍卫言论自由！”
“捍卫艺术自由！”
“还原历史真相！”
呼喊声回荡在圣何塞市政厅广场。 对于当天的参与者而言，高兟的一尊雕塑所引发的，已经不只是一场关于艺术的争论，而成为对历史、记忆、权力与自由的再次追问。
一个艺术家可以被关进高墙，但一件已经诞生的作品无法被判刑；一个人的声音可以暂时被压低，但一个民族对历史真相的追问不会因此停止。
艺术不应成为罪名，思想不应成为囚笼。只有敢于面对历史，才能避免历史的悲剧再次发生。
编辑：李晶 校对：周敏 翻译：沈美花
San Francisco Bay Area Residents Rally in Support of Gao Shen:
Art Should Not Be a Crime; Restore Historical Truth
Author: Lü Xiaojing
On August 30, 2026, pro-democracy figures held an event titled “Support Gao Shen, Restore Historical Truth” in front of San Jose City Hall and took a group photo (Photo provided by the organizers).
[San Jose Report] On the afternoon of August 30, 2026, an event titled “Support Gao Shen, Restore Historical Truth,” organized by the Chinese Democracy and Human Rights Alliance and the San Jose Branch of the Democratic Party of China, was held at the Plaza of San Jose City Hall in California, USA. Democracy and human rights activists, along with local residents from the San Francisco Bay Area, gathered to voice support for Chinese artist Gao Shen, who was recently sentenced to three years in prison. They called for the immediate release of Gao Shen, an end to the suppression of artistic and intellectual expression, and the protection of basic rights to artistic creation, speech, and public reflection on history.
At the rally, large display boards reading “Those who see clearly enter prison; those who remain ignorant continue to worship” and “Mao Zedong will stink for ten thousand years” were particularly striking. Words representing history, such as “Three Years of Famine” and “Ten Years of Cultural Revolution,” combined with Gao Shen’s artwork to create a powerful visual impact at the scene.
Participants stated that the issues raised by Gao Shen’s case transcend the personal fate of a single artist: When a sculpture can become the reason a person loses their freedom, and when historical figures can only be praised but never criticized, does a society still possess true artistic freedom? And do the people still hold the right to re-examine history, preserve memory, and pursue truth?
Gao Shen was born in Jinan, Shandong Province in 1956. For many years, he and his younger brother Gao Qiang have engaged in painting, sculpture, installation, photography, and performance art under the name “Gao Brothers.” Over the years, their works have continuously touched upon Chinese political, historical, and social topics. Among them, works such as Execution of Christ, The Miss Mao Series, and pieces depicting Mao Zedong kneeling in repentance have attracted particular attention from the outside world.
According to the event organizers, when Gao Shen returned to China in August 2024 to visit family, he was taken away from his Yanjiao studio by police from Sanhe, Hebei Province. On March 30, 2026, his case was tried behind closed doors at the Sanhe City Court; on August 25 of the same year, Gao Shen was sentenced to three years in prison.
From a single work of art to a three-year prison sentence, this verdict became the central focus repeatedly questioned during the rally.
Participants believed that people can certainly dislike Gao Shen’s works, refute his views, or even publicly criticize his artistic expressions; however, if a society responds to art with criminal punishment and answers criticism with prison, then what is imprisoned is not merely a single artist, but the space for the entire society to think freely about history.
Li Haifeng, Chairman of the Northern California branch of the Chinese Democracy and Human Rights Alliance, served as the host for the day’s event. After the event began, he introduced the theme of the rally, Gao Shen’s case, and the primary demands of the support action to the attendees present.
Li Haifeng stated that Gao Shen was sentenced to three years in prison on August 25 of this year, and that his ordeal is related to his political art creations, including the sculpture depicting “Mao Zedong Kneeling.” He expressed that it is infuriating for an artist to pay the price of losing their freedom simply for expressing views on historical figures and politics through sculpture.
He emphasized that art should not consist solely of praise, nor should history be reduced to only one permitted voice.
Li Haifeng called for the immediate release of Gao Shen, an end to the suppression of artistic creators, and the freedom for artists to express themselves, while demanding the removal of exit bans placed on Gao Shen’s family members.
Hu Pizheng, Vice Chairman of the San Francisco Branch of the Democratic Party of China, stated that what Gao Shen’s case touches upon has long gone beyond a single sculpture; it is about whether a society can ultimately accommodate different historical viewpoints and political expressions.
He said that a work of art can be liked or disliked; it can be praised or criticized. However, an artist should not lose their freedom because of their work and expression of thought.
“If even historical figures cannot be commented on, and even artistic creation must have forbidden zones demarcated, then what is left of art? And where is freedom of speech?”
Hu Pizheng expressed that one of the vital values of art is allowing people to reflect on history, question power, and express differing viewpoints. He emphasized: “Works can be sealed away, but thoughts cannot be sentenced; history, even less so, can never be rewritten by means of prisons.”
Zheng Yun, Secretary-General of the San Francisco Branch of the Democratic Party of China, stated that when people spoke out for Gao Shen that day, they were not only supporting an individual, but also defending everyone’s right to understand history, question history, and express their thoughts.
She expressed that how a society faces its own history determines how that society moves toward the future. When someone pays the price of their freedom for re-examining history and expressing dissenting views, people should ask all the more: Why is the truth feared? Why does preserving memory and questioning history become something that requires paying a price?
Zheng Yun stated that history that truly stands the test of time should not be afraid of being questioned by the people; a truly dignified society should likewise not be afraid of differing voices.
She emphasized: “Remembering history is not meant to perpetuate hatred, but to prevent tragedies from happening again.”
Luo Fengwen, Director of the San Jose Branch of the Democratic Party of China, stated that Gao Shen is now paying the price of three years of his freedom for artistic creations made years ago, as well as for his reflection and critique of history. This forces people to ask:
“If a society cannot even reflect on history, cannot even express itself through art, and cannot even discuss the suffering that once occurred, how can we prevent the tragedies of history from happening again?”
Luo Fengwen expressed that the significance of art lies not only in aesthetics, but even more in recording the era, preserving memory, and questioning history. When a society begins to fear an artist’s work, what is truly restricted is not merely a single sculpture, but the people’s right to think, express, and understand historical truth.
At the end of her speech, she chanted aloud: “Release Gao Shen! Defend artistic freedom! Restore historical truth!”
He Dongling, a member of the Democratic Party of China, stated in her speech that people gathered there that day not only to voice support for Gao Shen, but also to refuse the erasing and obscuring of history.
She made special mention of the display board at the scene reading “Those who see clearly enter prison; those who remain ignorant continue to worship,” and spoke of historical traumas such as the “Three Years of Famine” and the “Ten Years of Cultural Revolution.”
He Dongling expressed that what truly warrants vigilance is not only the disasters that occurred in history, but even more so the dilution, concealment, and even reshaping of memories following those disasters. If a nation loses its ability to reflect on suffering, it also loses a crucial line of defense in preventing tragedies from recurring.
She stated that when Gao Shen uses art to question history anew, art is no longer merely a single work, but becomes a force that preserves memory and awakens thought.
He Dongling stated with emotion: “They can imprison an artist’s body, but they cannot imprison people’s questioning of history; they can attempt to make one voice vanish, but they cannot force awakened thoughts back to sleep.”
At the event, Zhou Xiaojun, a member of the Democratic Party of China, stated that Gao Shen was sentenced to three years in prison due to his artwork as well as his reflection on history and politics. He noted that this is not merely the ordeal of an artist, but touches upon whether every individual possesses the right to freely express themselves and reflect on history.
Zhou Xiaojun pointed out that people can agree with a work, or they can criticize or even oppose it, but an artist cannot be sent to prison simply because they expressed a different political viewpoint. Historical figures should be open to evaluation by future generations, and history such as the Great Leap Forward, the People’s Communes, and the Cultural Revolution should also be open to public research, discussion, and reflection.
He asked at the scene: “Should a society ultimately fear violence, or fear a sculpture? If even a single sculpture cannot be tolerated, then who is truly fragile?”
Zhou Xiaojun concluded by calling for the immediate release of Gao Shen, emphasizing: “Art is not a crime, thought is not a crime, and criticizing historical figures should never become a crime! Defend freedom of speech! Defend artistic freedom!”
During the event, Yao Rongtao, Liu Jingtao, Yang Yuxin, Sheng Hu, and others also spoke at the scene one after another, expressing their support for Gao Shen from various perspectives, including historical reflection, artistic freedom, speech rights, and current realities in China.
Multiple speakers expressed that the reason Gao Shen’s case warrants sustained attention is not only because an artist was sentenced to three years in prison, but also because there is a deeper issue behind the case: When art touches power, and when works challenge the prescribed historical narrative, does a society choose to respond with open discussion, or use criminal punishment to make differing voices disappear?
As one participant after another stepped up to the microphone, Gao Shen’s name was called out time and again across the San Jose City Hall Plaza.
Participants expressed that historical figures belong to history and should be open to evaluation by future generations. Whether through text, painting, sculpture, or other art forms, people should possess the right to discuss history, criticize historical figures, and express dissenting views.
If a sculpture today can become the reason a person loses their freedom, then tomorrow it could be a painting, an article, a book, or even just a single sentence.
Therefore, they believed that speaking out for Gao Shen is not only demanding the release of an artist, but also defending the space for every individual to preserve memory, think independently, and express themselves freely.
At the conclusion of the event, the venue once again echoed with shouts of:
“Release Gao Shen!”
“Defend freedom of speech!”
“Defend artistic freedom!”
“Restore historical truth!”
The cries echoed across the San Jose City Hall Plaza. For that day’s participants, what a single sculpture by Gao Shen sparked was no longer merely a debate about art, but a renewed questioning of history, memory, power, and freedom.
An artist can be locked behind high walls, but a completed work of art cannot be sentenced; a person’s voice can be temporarily hushed, but a nation’s pursuit of historical truth will not stop because of it.
Art should not become a crime, and thought should not become a cage. Only by daring to face history can we prevent the tragedies of history from happening again.
Editor: Li Jing Proofreader: Zhou Min Translator: Shen Meihua
