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 您现在的位置： 中国美术家 >> 言论“自由” >> 大胆言论 >> 名家茶座 >> 正文 |
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| Wonderful Life |
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| 点击进入展览 “异相景观”——五个艺术家个案分析
回到生活中去！ Wonderful Life 吴高钟 Wu, Gaozhong我出生在京杭大运河边上的一个普通工人家庭。父亲是一个善良而 耿直的连年获得机车车辆工厂“先进工作者”称号的工人，记忆中的他教育我最多的一句话是“听共产党的话”。母亲是一个总也闲不住的典型的勤劳而善良的南方妇女，在她45岁的时候生下了我。我有一个哥哥，一个姐姐，哥哥比我大22岁，姐姐比我大11岁。听我妈妈说中间还有几个孩子但是没有活下来。我一直想知道为什么？可是母亲从来不愿告诉我。听母亲说的最多的便是日本人对她的追赶，母亲落荒而逃，以至于落下了心脏病，至今86岁的母亲的心脏病仍然十分严重。由于是老来得子，我便受到了父母和哥姐的百般宠爱，甚至可以说是一种溺爱。由此养成了我任性而非常脆弱的性格。 My home town was about an hour drive from 听我母亲说在我二个月大的时候，脖子上长了一个肿瘤，把他们急坏了。由于瘤子是长在一个非常危险的部位，厂区的医院不敢做手术。我父母就把我抱到上海，找到一家大医院，做了切除手术。母亲告诉我：我足足哭了好几天，母亲都是抱着我睡觉的。母亲说：你逃过了一劫！ I had a terrible tumor in my neck when I was three years old, and my mother had to take me to one of the largest hospitals in 记忆中的我唯一一次挨打是在父亲的病床边。父亲因胃大出血而住院。那天，我在父亲的病床边打闹，突然，父亲挥拳从床的那一边打了过来，我惊呆了，愣了很长的时间，难以理解从来不打我的父亲为什么突然打我？ 童年的生活是在玩闹和梦中度过的。应该说，我的玩闹是放纵的，父母几乎管不了我。以至于在我筋疲力尽的时候，我会发一种叫作“风疹块”，即医学上称之为“寻麻疹”的皮肤病，非常的厉害，浑身上下到处都是，到后期，浑身上下像地图版块一样。每当这个时候，母亲就会找来一种草药给我洗澡，洗完澡就不让我再出门了，关在家里，因为寻麻诊不能吹风。大约要一星期到半个月才能好。我只能整天呆在家里，朝窗外张望，看路上的行人。每当这时，我会煞有介事地认为没病的人是多么的幸福！而奇怪的是，每当这时，我就会闻到一种特殊的气味，一种非常奇特的气味，平时是闻不到的，我那时称之为“空气的味道”，非常强烈的味道。 I was the center of love in my family. My childhood was full of fun except that periodically I would develop some sort of the skin allergy that took a week to half a month to recover. During these times, I was locked up in the house by my parents, and watching people in the street from the window hoping to get out. Another strange thing that would coincide with the skin allergy is that I could smell a strong scent that I could call “the smell of the air”. 记得有一次我的嫂子为了帮我，给我浑身上下涂满了清凉油（因为寻麻疹非常的痒，我会把皮肤都抓破，涂上清凉油可以止痒）。但是清凉油的气味太强烈了，让我喘不过气来，差点把我憋死过去。 童年的一个刻骨铭心的经历发生在5—6岁时候的某一天夜里，那时我六岁不到，还没有上学，和父母同睡在一张床上。到了夜里我突然醒来，睁开眼睛，啊------！我一声大叫，看到一个黑乎乎的人坐在我的床头看着自己，我用尽全身力气叫了出来。爸妈被我吵醒，随即打开灯，问我怎么了? 我告诉他们：我看到了一个人坐在我的床头看着我！父亲问我人在哪儿？我看一下四周，什么也没有。父亲说：家里怎么会有人呢？睡吧，你看错了。周围看不到有人，我只能睡下。父亲关灯我们继续睡觉。由于上次的惊吓，我已经不敢再看了，并且睡到了妈妈的里边，时间在慢慢地过去，我竭力地闭上自己的眼睛，不敢睁开。过了一段时间，我忍不住，又睁开眼睛看了过去，啊！……我快疯了！又有一个人扒在我的床边，头直直地看着我，非常近非常清楚，叫声，惨叫声，这是我唯一能做的。父亲再次开灯，我告诉他有一个人趴在我的床头，直盯着我看，我还做了一下他的动作，给我父亲看。这个人的形象和动作至今非常清晰。我爸说不可能，我这回坚决地说屋里有人，父亲没有办法，拿出了他的手电筒说：找！我们俩在屋里四处找，找遍了四周，没有！我说床底下，爸爸的手电筒照到了床底下，让我惊魂惊魄的一幕出现了，在床底下的一个纸箱子的立面上，我看到了一个人头形象，发着光，浮贴在纸箱子上。我用手指着那个人头对我父亲说：就是他! 父亲用手电筒照去：在哪？我指着纸箱上的他说：就是他！就是他！我父亲什么也看不到，尽管我再三地指着那个陌名者说，可我的父亲还是什么也看不到。我很绝望！父亲以大人的口气说：没有没有，什么也没有。把手电筒关了，让我继续睡觉。我说不睡了，有人，我不睡了。我的吵闹吵醒了隔壁房间的哥哥和嫂子，他们跑过来问怎么回事？我告诉他们我看到的这一切。他们都劝我说不可能的，要我睡觉。我不睡，坚决不睡！无奈之下，我哥哥说那到我们的房间去睡吧，把我抱到了他们的房间。放在他们的里边睡，我不能入睡，也不敢再睁开眼睛，很长很长的时间没睡着，就听到哥哥房间的大衣橱上掉下东西的声音。 The most memorable experience in my childhood took place when I was six years old when I was still sleeping in the same bed with my parents. I woke up in the middle of the night terrified with the illusion that some one is standing by the bed staring at me. My parent were woke up by my screaming and tried to calm me down. But I was so sacred that I insisted that there was someone in the house. My father had to check out the house with a flash light. When he took out a large box underneath the bed, I could not stop screaming because I saw the same face that was staring at me. My older brother and his wife were woke up by my screaming and they came over to take me to sleep with them. I was still terrified and lying on the bed with my eyes wide open in hallucination that stuff falling down from the shelves. 至今每当我从梦中惊醒的时候，总要看一下我的床边。有时不看，先一拳打过去，然后再开灯。 From then on, I develop a habit. Every time I woke up, I would look at my bedside, and sometimes, I would punch the air to make sure no one is standing by my bed. 从小时候开始，我的入睡都是比较困难的。到了中学，这种情况便加重了，一般要在床上躺1——2个小时后才能睡着。在这段我认为是“白日梦”的时间里，我闭上眼睛开始了我的精神漫游，或者叫神经的出走。这一过程几乎全部是可视性的、图像化的。那时还没有电视机，电影院的电影也很少，这也许是自己给自己讲故事和放电影？也许是自己和陌名世界的交流？也许是自己和陌名者的相遇？也许是自己和自己的一次次嬉闹？这个过程可以是故事的无逻辑发展，可以是无序的意识游荡；可以是幻觉的飘忽来回。在我的生活里，这是一个无法消除的现象。有时让我十分地懊恼，甚至羞愧。曾经努力地想改变这种状态，自己想了很多自己认为的办法，至今所有的努力全部无效。 I had insomnia when I was very young. The one or two hours before sleep is the time I would call “psychological drift” or “spiritual exile”. There were no TVs at the time and very few movie houses, but I could visualize everything in front of my eyes. It could be a story I was telling myself, an exchange with a stranger, or a game I played with myself. I would even feel ashamed of myself and tried to change the situation but until now, all my efforts proved to be futile. 有时认为1个小时后能入睡已经是比较幸运的了。最让我难受的是失眠。整夜的失眠让我非常痛苦。在工厂当工人的时候就开始了。到大学这种情况加重了，大学毕业后，愈来愈严重。我知道，这是因为自己的神经非常的脆弱，稍有刺激，就难以平静下来。在很长的时间里，每年要吃掉1瓶（100片）安眠药。至今为止，我的所有行李中唯一不能少的，就是“安定”——安眠药。我的所有创作都是以“安定”作为句号的，因为自己无法停止。 Some people think it’s lucky to fall in sleep within one hour. Unfortunately, I’m not the lucky one. It’s extremely painful to suffer from insomnia. I couldn’t sleep, even for the whole night. It began when I started to work and got worse later on. It became a more serious condition after I graduated from college. I understand it’s so hard for me to calm down 从童年开始，我的梦都是以黑夜为时间背景的。从小到现在，做得最多的梦就是逃跑，小时候是被陌名者追赶，后来被不知是什么原因什么东西追赶和各个我生活过的地方的人追赶，再后来变成了我先杀了人后被追赶。各种个样的杀法，杀了各种各样的人，有的认识，有的不认识。然后就被公安和警察追，我就拼命地逃，各种逃法，有时被抓住了又莫名其妙的逃了；有时明明死了还在逃。漫长的过程是在黑夜里逃跑，一会到了池塘边和马路上、一会到了楼顶和楼顶之间、一会又到了陌名的小村庄和山里、一会到了火车上、一会到了海上到了空中........就像一部无序的电影，没完没了的继续。我就不断的逃啊逃啊。 From the childhood, dark nights became the background of all my dreams. I always dream of escaping or being chased by some strangers or something for some reason. In my dream, it happened in where I lived before. And I were chased again after I killed someone. In my dream, I killed all different people in different ways. Some people I know, some people I don’t know. Then I tried to escape from police’s chasing. I were caught and ran away somehow, even if I were dead. Most of time, I was running away in the dark nights, I ran to some pond, some road, the top of some building, somewhere between the tops of buildings, some village, some hills, some train, ocean, or I was just in the air... everything seemed to happen in an endless film without any order. In this film, I was just running and running, non-stop. 太多的梦，几乎是无梦不成眠。每当朋友们告诉我说他做了个恶梦，我总会淡淡一笑。在我看来一切都是那么地平常，只有梦没有恶梦。我在梦里也长大了，直到今天。 Too many dreams. No dreams, no sleep. I always shrug when my friends told me they had some nightmare. It’s too normal for me. I grew up during my dreams till today. 我的小学也是在放纵中度过的。和几个调皮的孩子一起，干一些不务正业的事情。从四年级开始，我们就买烟抽，用父母给的零花钱，凑在一起。厂区里的小花园内的烈士纪念碑下便是我们的据点。在那里我们便开始筹划如何勾引我们班的班长，她坐在我的后面，每当她不经意触碰到我时，我都会有一种莫名的激动。现在看来当时的班长不怎么漂亮，但是那时象着了迷似的。小学里有一个“黄毛”老师，似乎很烦我。她说：吴高钟你上不了高中！后来想她的话还真的得到了验证。 I ignored all the disciplines and rules when I was in elementary school. I played around with some naughty boys. We never did anything serious. We spent our aloincs on cigarettes at my 4th grade. The cemetery behind the factory where my father used to work was the location we gather together to plan our conspiracy, including how to “seduce” the president of my class. She was a fine girl, sitting right behind me in our classroom. I was tremendously attracted by her. Even an unintentional touch from her would make me so excited. Although now I don’t think she was as pretty as I could see. There was a teacher with a nick name “yellow hair”. I never thought she ever liked me. I couldn’t believe what she said before became reality, “you’ll never be able to graduate from high school”. 中学的我们已经是一个小团伙了，打架称凶，唱“靡靡之音”。记得有一次一个同学请我打另一个同学，我就帮他揍了那个同学一顿。在一天回家的路上，要经过一座桥，是学校的必经之路，当时独自一人走上桥的时候，突然围过来三四个大人，把我打得满地滚。后来才知道是被我打的那个同学的三个哥哥。我们班的班主任姓田，田老师每星期要找我谈话，她说只要一星期不找我谈话，我就会惹麻烦。在中学初一的时期我开始画画，自己一个人，没有人知道。每天中午独自一人回到家吃完饭（我父母都上班，中午不回家，每天给我准备好了午饭），我便要画一张画，再去学校，在一个红色的日记本上画满了画。 My friends and I built a small notorious group of gangsters. One day, a friend asked me to beat a boy. And I did. As a result of revenge, I was beaten by that boy’s three brothers. I was a “trouble maker”. My teacher, Ms. Tian, could only “talk to me once a week”, as what she commented so that I wouldn’t make any more trouble. In 7th grade, I started to paint. I had to draw something everyday after lunch. No one noticed that because most of time during lunch break I was alone. That was my secret. Gradually, my notebooks was filled with my paintings and drawing. 1979年我带着这样的坏名声16岁未满进入了工厂工作。（当时父亲退休，我顶替父亲的工作，高中没有读完，拿了一个初中毕业证书）。我刚进工厂，厂里的团总支书记就找到了我，问我的头发为什么那么长？是男的还是女的？过后就把我列为全厂的重点帮教对象。记得当时几个师傅都不愿带我，后来一个老师傅姓葛，他收下了我，几年后他就退休了。一年后，在一次青年技术比赛中，我得了第一名，那了5元的奖金。我们的工段长对我很好，他给了我很大的帮助和鼓励。由此我的工作变得努力。我至今心里一直很感激他！ With a bad reputation, I started to work in 1979 in the factory where my father used to work (my father retired and I took his place. I didn’t finish high school and only got a graduate certificate from middle school). I was less than 16. As soon as started to work, the president of the Group of Communism Youth found me and asked me why I kept my hair so long that other people couldn’t tell whether I was a male or female. And I was at the top of the list of who needed some special help in the whole factory. A lot of old workers didn’t even want to teach me. But fortunately, an old guy, Mr. Ge accepted me. He retired a few years later. After one year, I won the first prize in a Young Technician Competition and I obtained 5 RMB as reward. My supervisor was very nice to me. I got a lot of courage and help from him. From then on, I became a hard worker. I appreciate his faith in me very much! 我社会上的几个兄弟也都被认为是“小痞子”。那时流行喇叭裤，录音机，下班回家，无所事事，就拿着录音机在街上闲逛。还经常打架。但是有一件事是我们经常做的，那便是画画。在一个朋友家的简易棚子里，在15W的灯炮下面几个人自己画画。大约有两三年时间是这样度过的。后来我们开始找老师，我找到了一位老师，他叫王泽兴，毕业于南京师范大学美术系。由此，我开始正式的学习绘画，结识了一些学画画的朋友，从他们的口中知道了考艺术学院的事。我就决定考大学。生活开始发生了很大的变化。除了上班，就是画画。并且开始了文化课的补习，去上了工厂组织的夜校。因为基础很差，补习几乎从零开始。通过几年的努力，1986年考上了南京艺术学院设计艺术系。离开了工作了七年半的工厂，开始了我的大学生活。 My fiends and I were considered as problem boy all the time. However, we did have some common hobby. Drawing was what we kept doing as a routine for two or three years. We enjoyed our own arts under my friend’s dark shelter. Later, we started to look for some professionals who could instruct us on the road of arts. My official learning began. And I got to know that I could pass the exam and study in the 因为考上了大学，我也由一个被认为的坏孩子变成一个好孩子。 Therefore, I turned myself into a “good boy”. 记得有一年放暑假回家，我突然有一种冲动，想到上中学的学校去看一看。学校离我家不远，我徒步来到学校门口，门卫一见是我就不让我进去，说放假没人，我说我就看一看我们上学的那个楼就走，他们坚决不让我进去，我也知道他们为什么不让我进去。他们是把我当成那些坏学生来看待的。能怨他们吗？我心里有一种说不出来的难受。我只能强行走了50米。就看到了我上中学的那个孤零零的教学楼，我的眼泪一下子流了出来。止不住地哗哗地流。我的一位老师走过来问我怎么啦？我告诉他：我只是想看一看我上学的地方，只看看就走。我始终认为自己没有改变，还是那个原来的我。唯独的自觉是发现自己的性格发生了变化：从大学开始，由一个特别能溶入集体的我变成了一个在喜欢独处的我，甚至与人交往开始感到困难。我开始陷入孤独。真的不知道自己为什么会成为这样。我清楚地知道这是一个问题，也努力地去改变自己，说服自己。但是很难有丝毫的改变。 I remembered one summer when I came back to my hometown from my university. I suddenly got some strong emotions and wanted to visit the middle school I had been in. The guards kept me at the gate and didn’t let me in no matter how much I told him I just liked to see the building I was in before. I knew why they didn’t let me in. They still considered me as a bad student. I had no reason to blame them. I moved forward by a few steps and finally saw that solitary building. I couldn’t help crying. A teacher came over and asked me why I was crying. I told him I just wanted to take a look at that old building and then leave right away... I never thought I changed. I was still. Meanwhile, I also realized I changed somehow. I became a man who could enjoy loneliness, even started to feel the obstacle when I tried to communicate with other people. I would never figure out when and why I changed in this way. But I did know it was a problem. I tried to change myself back. It was very difficult and almost impossible. 大三的时候，“六四事件”中，我感受到的是人性中真诚的善良和真实的残酷。1990年大学毕业后我被分到江苏徐州师范大学美术系工作。1992年和妻子张琪结婚，由此我开始了近八年的从家到画室的单线生活。并且喜欢上了这种独自一个人的工作方式。静静地坐着，静静地想，静静的工作。善良的妻子的支持常常给我精神的暂时安慰。我当时的画室是学校的一间简易棚，由于房子是斜的，我们称之为“斜棚”。这个空间是我和老马（另外一位老师）的临时的工作室。他很少来，所以大部分时间是我一个人。从早晨到傍晚，每天如此。1992年左右画画的人都下海经商了，很难找到一个还在做艺术梦的。每当我陷入极度孤独的时候，就给外地的还在画画的朋友打个电话。在我很疲劳的时候会站在工作室的窗口或走到门口去看草场上的运动的人们。 TianAnMen Event happened in my junior year of college. I was moved by people’s being sincere and courage, and also shocked by the cruelty of this real world. I was distributed to the Department of Arts of Xu’zhou Normal University in Jian’su after I graduated from college. I was fortunate to marry my wife, Zhang Qi. Then I started eight-year simple life between two points – home and office. I loved working alone and thinking alone. My wife’s huge support always brought me some peace. From morning to evening, I worked by myself. This simple life continued going. From 1992, a lot of artists gave up and started some business. I rarely could find anyone in a dream of arts. I sank into deep loneliness. The only comfort I could grab was from some friends who were still working on arts. Sometimes when I was tired, I just stood besides the window or the door and looked outside. 长期的独自工作，使我的精神状态出现了一些问题，渐渐我发现：我不仅仅在与人们交流上有障碍，而慢慢变成了一个生活的旁观者。面对人们，我处在一个观望的角度，难以真正溶入其中。最明显的是在广州美术学院油画系读研究生班的时候，同学们晚上和星期天都出去玩，我喜欢一个人在宿舍工作。突然有一天，我感到自己有一种异样的感觉。这个过程持续了三天。在这三天里我没有和任何人说一句话，整天有一种飘浮不定的感觉，明明就在我身边的同学似乎离我很远。应该说，我非常清醒，自己意识到这是一个问题。于是，我特意跑到大街上。广州的大街上车水马龙，一片繁忙，但是我感受到的是，它们仍然离我很远，似乎拉也拉不住，我努力地想靠近他们，可是我感到自己飘着离他们远去。那时，我是那么地无助，没有人来拉我一把，我和他们完全象是两个世界的。 Working lonely in a long time had me some mental issues. I became an outsider of everyone’s life. I hardly could merge myself into some relationship with other people. I remember I only liked to work in the dormitory while other students were having fun when I was a graduate student in the Department of Oil Painting at 我很绝望，感到很恐惧，由此我决定不再想，不再画画，不再做艺术家了，我要回到生活中去！！！ I was totally desperate. I was extremely frightened. I didn’t want to think or paint. I didn’t want to be an artist at all. I wanted to go back to the real life! 三天过去后，我又恢复了正常。我害怕那种状态，每当我有这种感觉时，我就放弃，放弃一切。但事实上，我放弃不了，艺术已经占有了我生活。我做艺术不是为了别的，只是为了生活。艺术改变了我，但我改变不了生活。 Three days later, I was back to normal. I was afraid of that situation. Every time when I had this feeling, the only thing I wanted to do was to give up, to give up on everything. But I actually couldn’t. My whole life is occupied by arts. I couldn’t give up my life. I was changed by arts, but I just couldn’t change my life. 八年的绘画生活很快就走到了尽头。这八年的生活可以说是在自我征战的过程中度过的。是在极度封闭中、在自我的妄想中度过的。1998年这种生活让我无法继续下去，我深知我已经走到了生活的边缘，再不停止我将彻底崩溃！于是我开始了拒绝，努力地放弃。在这个过程中我开始了一些新的计划。在一本本子上把我的各种想法记录下来。大约有二十个左右。 Eight-year drawing and painting ended very fast. I spent those eight years challenging myself. I immersed myself into some self-fantasy. I was totally isolated from anything, anyone else. I couldn’t take this life anymore. I was at the edge of my life. I would destroy myself if I didn’t stop it. I tried to refuse my old way of living and I made some new plans. I got about 20 different ones. 第一个想法和计划是在自己自然死亡和非自然死亡后，将自己一劈两半。一半做成盐水鸭，做成金华火腿。在展览的当天把他们切成小块，放在小盘子里，分发给观众吃掉。整个过程是由我的执行小组来完成的，这是我的第一个作品也是我的最后一个作品的计划。这是因为自己还活着至今计划没有实施。 The first plan is after my natural or unnatural death, I will be split into two halves. One half will become salty flavored duck, the other half will become ham. I’ll be cut into pieces. All the audience will get one piece of each flavor and taste them. The whole process will be operated by my executive group. It’ll be my first piece of arts and of course it’ll be the last one too. It cannot be executed because I’m still alive. 第一个实施的想法是行为作品《多情－练字》。我到学校医务室请医生帮我抽了自己一瓶血，装在瓶子里代替墨汁，临楷书字帖。这个过程持续了一段时间。在此过程中，自己感受的是血和生命是极其廉价的，规则和标准是如此的不可撼动。在我平淡的生活中激起了一种愤怒，一个标准的愤青情节。可以说我当时是非常封闭的，对当代艺术的发展了解非常少。1998年金锋要做一个“异质的书写方式”的展览来到徐州，我告诉了他我的想法，他邀请我参加了他的展览。这是我第一次参加实验艺术的活动。在展览活动中我实施了我的第二个行为作品是《有奖书写》。还是用自己的血进行创作。行为过程三天，我让观众做文字连环游戏，在一块白色的布上用我的血书写他们想写的内容。一天二天三天，白布上的血字反复的重叠，最后模糊一片，字已经看不出来，只留下一片血迹。 The first implementation would be my first series of works – Emotional/Handwriting. I went to university hospital and asked the nurse to draw a tube of y own blood. I used the blood as ink and practice writing. Over the course, I realize how light life is and how heavy traditions and rules are. It enraged me. I was relatively clodes from the outside world at that time, and I knew very little about the development of modern art. In 1998, Mr. Jin Feng was planning an exhibition with the topic, Alternative Writing. I told him my ideas and he invited me to exhibit my works. This is the frst time I participate in experimental art. During the exhibition, I asked the audience to join me in the experiment. Volunteers would use my blood to write whatever they thought about at the moment. At the end the exhibition, the piece of white cloth that was used for the wiring was a all red with my blood.
如果说第一个行为作品是有针对性的自虐性作品的话，那么第二个作品便是他虐性的。而我2000年的第三行为作品即开始不自觉地放弃了这种“虐性”开始转向生活化层面的作品。 My second series of work, in contrast with my first series of works that built on self-cruelty, tend to be cruel to other objects. In 2000, in my third series of behavioral art works, I abandoned the “cruelty” and address the subjects in life. 就是引起很大争议的行为作品《五月二十八日诞辰》，即生活和媒体所说的“牛肚子里钻出一裸男”。是在南京由顾振清策划的“人与动物”行为艺术展览上实施的。行为过程如下：从屠宰场租来一头刚被宰杀的大水牛（肚子被剖开，内脏已拿掉）。在牛腹内外撒上无数玫瑰花，赤身进入牛腹，由助手将牛腹用针线缝合，我在牛腹中静躺、转身、抚摸近十分钟（如果时间允许我将在牛腹中呆更长的时间），然后用力推开牛腹，去除逢线，奋力钻出，全身粘满牛血和玫瑰花花瓣，我站在牛体之上，手捧放置于牛腹中的玫瑰花撒向天空一遍又一遍。花瓣落下，我和牛尸被笼罩在玫瑰花之中。（由于钻出牛腹后被公园负责人强行干涉，作品的后半部受到影响）。我的作品被媒体和社会说成“暴力、血腥、色情”。引起各种社会大众、社会媒体和学术界广泛关注，展开了一场激烈的对“行为艺术”的批判和讨论，以及对前卫艺术的批评和大讨论。时间长达两年左右。 And then, there was the highly controversial behavioral works, Born on May 28th, or as Life and Media described as “a naked man out of cow”. This was carried out in 学校的领导找我谈话，要我以后再参加什么活动向他们请示批准。我的家庭也受到了不同程度的压力。 I was prohibited to attend any activity freely. I had to get the permission from the school first. My family received a lot of pressure too. 我一直很奇怪：一件普普通通的很生活化的作品为什么引来如此大的争议？我为什么会被指责为“暴力、血腥、色情”，我认为其中有很多问题值得探讨。第一条：“色情”是指向我的裸体。如果说我们面对我们自身的肉体时这个肉体被指定为色情，我不得不怀疑我们的文明的陌生，或者说对我自身肉体产生怀疑。第二条：“血腥”是指向我对牛的“伤害”，即“以艺术的名义”对动物的“暴力”。在这里我只要说明一点，即我用的牛是从屠宰场租来的，指责就不成立。如果说是我钻到牛肚子里构成对牛的伤害，或者是因为我钻出牛肚子后浑身沾满牛血，那么同样是可笑的。试问：牛的血为谁而流？第三条：至于说把我的作品指责为“暴力”，这个“暴力”是如何产生的是值得思考的。1、是对道德标准的虚伪性的“暴力”? 2、是对利欲化的审美趣味的“暴力”？ 3、是对某些人的既得利益构成“暴力”？4、是对社会日常化、不断扩展化的暴力的“暴力”？我不得而知。我呈现的只是一种现实，一种我和动物以及我们的生存状态和生存环境的现实。 I did not understand though. Why would an ordinary piece of work that is so close to our daily life instigate such controversy? Why was it described as “violent, bloody, and pornographic”? I was trying hard to lay out their theory. Number one, “Pornographic” refers to my naked body. However, if we would describe our own body as pornographic, then we need to question the value of civilization. Secondly, “bloody” is referring to the killing of a cow, in another word, animal cruelty. But if they knew that the cow was rented from a butcher’s house, they should have concluded otherwise. If someone says that I hurt the cow by going into its stomach and came out with blood all over myself, that is equally absurd – who did the cow bleed for anyway? As for the accusation of “being violent”, it is even more preposterous. But I think about it, there is more to it than just an accusation: 1. It’s violence against hypocrisy? 2. It’s violence against materialistic aesthetic taste? 3. It’s violence against some people’s interest? 4. It’s violence against the ever growing, ever more violent social conditions? 在这一年多的时间里，我更多地感到自己的无助和无奈。但是我坚信：我是对的！有一些观众和朋友们的关心让我感动。有的打电话、有的写信问候。在那段日子里，自己一个人呆在家里，很少出门。其实并不是因为这件事情，而是自己喜欢安静的生活！ During this year, I felt powerless and helpless. But I believe I’m accomplishing something. I was always moved by a lot of audience and friends’ regards. They brought their warm concern to me over the phone and mail. During this period of time, I seldom went out and mostly just enjoy the peace of my mind. 而就在这段时间里我开始了另外一件作品的创作。即霉烂作品。那是1999年我做泡酒系列作品时，有一次我在一个玻璃缸里放了几个西红柿，因为有事我外出大概一个月，当我回到工作室打开盖子的时候，我被眼前的景象惊呆了！浮在水面上的西红柿长出了长长的绒毛和各种色彩的霉花，在一股强烈的恶臭气味下的景象非常地梦幻和迷人！于是我就开始了霉烂系列的创作。从2000年下半年起直至2003年我一直在做有机物腐烂的系列作品。霉烂中的霉花和长长绒毛十分的梦幻和漂亮！ During this period of time, I started another series of works, mold series. In 1999, I was working on the liquor series, and happen to put a few tomatoes in the glass. I was out of town for about a month and when I came back, I was astounded by what I saw. The mold that grew out of the tomatoes was so stunningly beautiful and intriguing accompanied by a wave of terrible stink. From late 2000 till 2003, I had spent a lot of time on mold series, and I was fascinated by the beauty of the fluffy flowers of the mold! 我的“毛”的作品可能和这个背景有一定的关系。其实很早我对毛就有一种很特别的感觉，即一种力量或者是权力和暴力的象征。2003年有一种情节开始缠绕着我：我总想在自己的皮鞋上粘毛。于是我就找来猪毛，开始尝试着粘。先在自己的鞋子上粘，然后毯子、帽子以及楼梯上等等。后来发现粘在表面的毛时间长了很容易掉下来，我就用木头先把形象雕刻出来，然后用针先炸好小眼，再把毛粘胶植入进去。 My “hair” design is probably related to mold series. I actually always have some special feelings about animal’s hair. In my mind, it presents power and violence. In order to satisfy my obsessive complex, I started to attach the animal’s hair to my shoes, carpet, hat, and even stairs. And later I found out the hair was so easy to drop off if I just attached it to the surface of some objects. Then, I tried to carve the woods into some shapes, needled them, and glued the hair into those small holes. 自己手工粘的毛和动物的皮毛等有着很大的区别：皮毛的保护性能的柔性没有了，他一下变得肆无忌惮起来。他们变得很恶劣，很嚣张。有一种挠心的感觉但是非常的漂亮！非常的迷人！有时感觉他们在弹拨自己的神经。我被这种特殊的奇怪的感觉所的吸引。这种感觉让我想到我的童年和过去的经历，以及我所看到和想到的事情上面。于是我把这种感觉通过过去自己的物品和想象中的一定的形象把他呈现出来，这便是这次展览里大家所看到的。 There’s a huge difference between the artificial hair and the real animal’s hair: the real animal’s hair do not protect the animal any more, and they suddenly become unbridled. Their “freedom” always excites my strong feelings. They are elegant, they are attractive. A very special emotion is aroused by them. It brings me back to my childhood and old times. That’s the motive of presenting my thoughts and my life through some old figures and my imagination. 有时我觉得自己很像一个手工艺人，或者说更适合做一个手工艺人。我喜欢这样的工作方式，自己一个人静静想，静静地做一些事情。尽管有时是一些很小的事情，都会很开心。这样的生活让我感觉踏实。我喜欢两脚踩地的实在的生活。 Sometimes I think I’m more like a crafter, or I should say I’m more suitable to be a crafter. I love this working style, meditating alone, designing some crafts deliberately, and cheering on even a tiny sparkle. It’s my realistic, simple, and wonderful life. I enjoy it. 2005、6、28 |
| 言论录入：art 责任编辑：守望的距离 | |
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