采访人：江铭
采访时间：2007年08月13日
采访地点：北京朝阳区798史晶工作室
Interviewer: Jiang Ming
Date: August 13, 2007
Location: Shi Jing’s Studio, 798 Art District, Chaoyang, Beijing
江铭（以下简称江）：你创作这些作品是出于一个什么样子的思路，在最早产生的时候是一个什么样子的动机？
Jiang Ming (referred to below as Jiang): What line of thought brought out these works you made? What was the motivation when they first appeared?
史晶（以下简称史）：当时是受到进步论的影响，就是想做出一种无法界定的东西。当时就不断地否定，几乎每个搞艺术的人都会碰到这种问题。 你需要不断地放弃某些东西，我用了减法。我把画面的色彩逐渐放弃，最后抽空，剩下了一种描绘运动， 。
Shi Jing (below as Shi): I was influenced by progressivism, and I wanted to make something that was indefinable. At the time I was endlessly denying, which is a problem most artists come across. You have to continually abandon certain things, and I was subtracting. I gradually discarded the colors in the images, and hollowed them out. What was left was a movement in sketch, and what emerged was a painting that appeared to have been dissected.
江：这些是在哪一年做出来的？
Jiang: What year did these come out?
史：得到这种结果的时候，是在1999年。在这之前，就像很多艺术家一样，接触很多门类，品种，也做过一些探索。在学习的过程当中，是很具体的，比如说立体主义，野兽派，抽象主义，但是当时我学的是舞台设计，空间、光学，创作一些假环境的东西。
Shi: I reached this result in 1999. Before this, I was like a lot of artists, coming in contact with all kinds of schools and types, and I did some exploration. In the learning process it was very specific, like cubism, fauvism, abstract, but what I was studying was stage design, space, lighting, things to create a fake environment with.
江：有没有直接触动你的一些东西，让你来做这些作品？
Jiang: Was there anything that touched you directly to have you make these works?
史： 之前我对画得厚重的东西比较喜欢，有表现主义的，比如说基弗尔那种厚重的绘画，还有对一些泥土的东西感兴趣。91年我曾经以一条农村土路的物质为材料还原它。后来就想把一些不该要的东西仍掉，你不该找一些修饰和装饰，往往最简单的那个就是你最需要的。 开始我是用玻璃胶在玻璃上画，就想画人生的一些印记，隐隐约约的一些记忆，一些体验，比如西客买走的那张就是画一些水印，然后是一些山，关注这些山是在关注我的老师， 我没有画最高峰，没有画世界屋脊，而是珠峰下面的那些山，它是人生的一种体验。有些高峰虽然没有珠穆峰高，但是就没有人登上去过，它有着另外的一种无法企及的高度。
Shi: Before that, I really liked heavy stuff with expressionism, like Kiefer’s heavy paintings. I was also interested in clay stuff. In 91 I restored it using the materials from a country dirt road. Then I started discarding some things I shouldn’t have had. You shouldn’t go looking for decorations and elaborations. The simplest stuff is always what you need the most. At first I was using glass glue on glass, like traces from a life, hidden traces, some experiences, for instance the painting that Sigg bought was just some watermarks, and then some mountains. Focusing on these mountains is focusing on my teacher; I didn’t paint a highest peak or the backbone of the world, but the mountains below Everest. This is a life experience. There are some mountains that, though not as high as Everest, have yet to be climbed by man. Those mountains have another kind of unsurpassable height.
江：在中国当代艺术有很多作品都是社会性的观念艺术，你为什么选择这种似乎与观念艺术无关的角度和思路？
In Chinese contemporary art, so many works are societal concept art. Why do you choose this path and perspective that seems to bear no relation to conceptual art?
史： 观念的东西是文化的产物，相比之下感性的东西与人更有直接的联系，笔触是感性的延伸和心灵统一。感性的东西它是很难以图片或者印刷的方式传输的。我曾坚持不做画册不发图片，实际上也是对图片与传媒的质疑。后来慢慢地给他们一些图片去发表，但是也很少。这次画册的制作是对印刷和传媒的可信度的质疑。 我在画一种尴尬。
Shi: Conceptual stuff is a product of culture. In comparison, perceptive stuff has a more direct link with people. The brush strokes are an extension of perception and the unity of the mind and spirit. Perceptive stuff is difficult to spread through pictures or print. For a time I persisted in not making catalogues and not sending out photos, which was basically suspicion towards photography and the media. Later I slowly gave them some images to present, but they were very few. The production of this catalogue is in suspicion of the believability of print and media. I paint a form of awkwardness.
江：为什么这么讲？
Jiang: Why do you say that?
史：它是现场和感性的，和空间时间有关系，但是这些画它不是装置，它也不完全是人们传统意义上的架上绘画，它在一个夹层里。这是这种画的意义，我们找到了观念的盲点 。制定一种让人的感觉释放的方式。
Shi: It is live and perceptive, and related to space. But these paintings are not installation pieces, nor are they completely canvas pieces in the traditional sense. They are in a layer in-between. This is the meaning of such paintings – we have found the blind-spot of concept. I have delineated a method that allows people to feel a release of perception.
江：你的作品虽然是从语言结构出发，但是你在作品内容的选择上也有你自己的思路，比如《伦勃朗》是欧洲艺术史上重要的画家，为什么这样选择？有特殊的想法吗？
Jiang: Though your works start out from language structure, you also have your own ideas in terms of choice of content. For instance, Rembrandt is an important painter in European art history. Why did you choose this? Did you have some special ideas?
史：画伦勃朗不是一个偶然。欧洲的古典艺术的审美是很有意思的，选择这个是对曾经爱好的一种弥补。选择伦勃朗还有另外一个含义，现在有一些学院老一辈的艺术家是有价值的，他们体验到的东西是珍贵的。但是面对人类精神不断扩张的现实，他们的价值还剩下多少。伦勃朗这种价值的代表。他当时是非常的新锐和前卫的。这种前卫精神在哪里？ 这种精神也很值得我们去研究。《伦勃朗》画的是它的残留物。
Shi: It wasn’t by chance that I painted Rembrandt. Classical European art has interesting aesthetics, and choosing this was homage to a previous hobby of mine. There’s another meaning in the choice of Rembrandt. There are now older artists at the academies who are of value, and what they’ve experienced is precious. But in the face of a reality where the human spirit is always expanding, how much more value will they be able to hold? Rembrandt represents this type of value. He was very cutting-edge and avant-garde at the time. Where is this avant-garde spirit? This spirit is worth our research. What I painted in Rembrandt is his remnants.
江：为什么选择欧洲，而不选择中国的艺术家呢？
Jiang: Why did you choose a European artist over a Chinese one?
史：我们是在面对世界。
Shi: We are facing the world.
江：你曾经提出了一个概念叫“视触觉”，你是怎么思考的？它的外延和内涵又怎么确定。
Jiang: You once brought up a concept called “visual sense of touch”. What are your thoughts on that? How do you determine its outer extensions and inner meanings?
史：“视触觉”不知道原来有没有这个词语，视觉里面有一种触摸性质的感觉。作为体验性的作品，“视触觉” 就自然来了，视觉的触摸感。比如《到达A点两种方式》，它是在描述一个瞬间情节。。。。。。欣赏一个漂亮身影的时候， 他会由她的手指到肩膀然后很本能的落到胸部，然后臀部，然后腿，然后在回到手指再回到自己的酒杯，这个过程可以在很短或很长的时间完成。我通过笔触描述他心理和脉搏的变化。慢慢跳动膨胀，然后慢慢消失。完全的触觉，形象成为一种借用。
Shi: I don’t know whether there was already a term such as “visual sense of touch”, but there is a feeling like touch within vision. As an experiential artwork, the “visual sense of touch” came naturally, a visual sense of touch. For instance, Two Ways to Reach Point A depicts an instantaneous plot… when appreciating a beautiful body profile, the man will go from her fingers to her shoulders and instinctually move to her chest, then her buttocks and on to her legs, then he will return to the fingers and back to his own beer glass. This process can be completed in a very short time or a very long time. Through br
采访时间：2007年08月13日
采访地点：北京朝阳区798史晶工作室
Interviewer: Jiang Ming
Date: August 13, 2007
Location: Shi Jing’s Studio, 798 Art District, Chaoyang, Beijing
江铭（以下简称江）：你创作这些作品是出于一个什么样子的思路，在最早产生的时候是一个什么样子的动机？
Jiang Ming (referred to below as Jiang): What line of thought brought out these works you made? What was the motivation when they first appeared?
史晶（以下简称史）：当时是受到进步论的影响，就是想做出一种无法界定的东西。当时就不断地否定，几乎每个搞艺术的人都会碰到这种问题。 你需要不断地放弃某些东西，我用了减法。我把画面的色彩逐渐放弃，最后抽空，剩下了一种描绘运动， 。
Shi Jing (below as Shi): I was influenced by progressivism, and I wanted to make something that was indefinable. At the time I was endlessly denying, which is a problem most artists come across. You have to continually abandon certain things, and I was subtracting. I gradually discarded the colors in the images, and hollowed them out. What was left was a movement in sketch, and what emerged was a painting that appeared to have been dissected.
江：这些是在哪一年做出来的？
Jiang: What year did these come out?
史：得到这种结果的时候，是在1999年。在这之前，就像很多艺术家一样，接触很多门类，品种，也做过一些探索。在学习的过程当中，是很具体的，比如说立体主义，野兽派，抽象主义，但是当时我学的是舞台设计，空间、光学，创作一些假环境的东西。
Shi: I reached this result in 1999. Before this, I was like a lot of artists, coming in contact with all kinds of schools and types, and I did some exploration. In the learning process it was very specific, like cubism, fauvism, abstract, but what I was studying was stage design, space, lighting, things to create a fake environment with.
江：有没有直接触动你的一些东西，让你来做这些作品？
Jiang: Was there anything that touched you directly to have you make these works?
史： 之前我对画得厚重的东西比较喜欢，有表现主义的，比如说基弗尔那种厚重的绘画，还有对一些泥土的东西感兴趣。91年我曾经以一条农村土路的物质为材料还原它。后来就想把一些不该要的东西仍掉，你不该找一些修饰和装饰，往往最简单的那个就是你最需要的。 开始我是用玻璃胶在玻璃上画，就想画人生的一些印记，隐隐约约的一些记忆，一些体验，比如西客买走的那张就是画一些水印，然后是一些山，关注这些山是在关注我的老师， 我没有画最高峰，没有画世界屋脊，而是珠峰下面的那些山，它是人生的一种体验。有些高峰虽然没有珠穆峰高，但是就没有人登上去过，它有着另外的一种无法企及的高度。
Shi: Before that, I really liked heavy stuff with expressionism, like Kiefer’s heavy paintings. I was also interested in clay stuff. In 91 I restored it using the materials from a country dirt road. Then I started discarding some things I shouldn’t have had. You shouldn’t go looking for decorations and elaborations. The simplest stuff is always what you need the most. At first I was using glass glue on glass, like traces from a life, hidden traces, some experiences, for instance the painting that Sigg bought was just some watermarks, and then some mountains. Focusing on these mountains is focusing on my teacher; I didn’t paint a highest peak or the backbone of the world, but the mountains below Everest. This is a life experience. There are some mountains that, though not as high as Everest, have yet to be climbed by man. Those mountains have another kind of unsurpassable height.
江：在中国当代艺术有很多作品都是社会性的观念艺术，你为什么选择这种似乎与观念艺术无关的角度和思路？
In Chinese contemporary art, so many works are societal concept art. Why do you choose this path and perspective that seems to bear no relation to conceptual art?
史： 观念的东西是文化的产物，相比之下感性的东西与人更有直接的联系，笔触是感性的延伸和心灵统一。感性的东西它是很难以图片或者印刷的方式传输的。我曾坚持不做画册不发图片，实际上也是对图片与传媒的质疑。后来慢慢地给他们一些图片去发表，但是也很少。这次画册的制作是对印刷和传媒的可信度的质疑。 我在画一种尴尬。
Shi: Conceptual stuff is a product of culture. In comparison, perceptive stuff has a more direct link with people. The brush strokes are an extension of perception and the unity of the mind and spirit. Perceptive stuff is difficult to spread through pictures or print. For a time I persisted in not making catalogues and not sending out photos, which was basically suspicion towards photography and the media. Later I slowly gave them some images to present, but they were very few. The production of this catalogue is in suspicion of the believability of print and media. I paint a form of awkwardness.
江：为什么这么讲？
Jiang: Why do you say that?
史：它是现场和感性的，和空间时间有关系，但是这些画它不是装置，它也不完全是人们传统意义上的架上绘画，它在一个夹层里。这是这种画的意义，我们找到了观念的盲点 。制定一种让人的感觉释放的方式。
Shi: It is live and perceptive, and related to space. But these paintings are not installation pieces, nor are they completely canvas pieces in the traditional sense. They are in a layer in-between. This is the meaning of such paintings – we have found the blind-spot of concept. I have delineated a method that allows people to feel a release of perception.
江：你的作品虽然是从语言结构出发，但是你在作品内容的选择上也有你自己的思路，比如《伦勃朗》是欧洲艺术史上重要的画家，为什么这样选择？有特殊的想法吗？
Jiang: Though your works start out from language structure, you also have your own ideas in terms of choice of content. For instance, Rembrandt is an important painter in European art history. Why did you choose this? Did you have some special ideas?
史：画伦勃朗不是一个偶然。欧洲的古典艺术的审美是很有意思的，选择这个是对曾经爱好的一种弥补。选择伦勃朗还有另外一个含义，现在有一些学院老一辈的艺术家是有价值的，他们体验到的东西是珍贵的。但是面对人类精神不断扩张的现实，他们的价值还剩下多少。伦勃朗这种价值的代表。他当时是非常的新锐和前卫的。这种前卫精神在哪里？ 这种精神也很值得我们去研究。《伦勃朗》画的是它的残留物。
Shi: It wasn’t by chance that I painted Rembrandt. Classical European art has interesting aesthetics, and choosing this was homage to a previous hobby of mine. There’s another meaning in the choice of Rembrandt. There are now older artists at the academies who are of value, and what they’ve experienced is precious. But in the face of a reality where the human spirit is always expanding, how much more value will they be able to hold? Rembrandt represents this type of value. He was very cutting-edge and avant-garde at the time. Where is this avant-garde spirit? This spirit is worth our research. What I painted in Rembrandt is his remnants.
江：为什么选择欧洲，而不选择中国的艺术家呢？
Jiang: Why did you choose a European artist over a Chinese one?
史：我们是在面对世界。
Shi: We are facing the world.
江：你曾经提出了一个概念叫“视触觉”，你是怎么思考的？它的外延和内涵又怎么确定。
Jiang: You once brought up a concept called “visual sense of touch”. What are your thoughts on that? How do you determine its outer extensions and inner meanings?
史：“视触觉”不知道原来有没有这个词语，视觉里面有一种触摸性质的感觉。作为体验性的作品，“视触觉” 就自然来了，视觉的触摸感。比如《到达A点两种方式》，它是在描述一个瞬间情节。。。。。。欣赏一个漂亮身影的时候， 他会由她的手指到肩膀然后很本能的落到胸部，然后臀部，然后腿，然后在回到手指再回到自己的酒杯，这个过程可以在很短或很长的时间完成。我通过笔触描述他心理和脉搏的变化。慢慢跳动膨胀，然后慢慢消失。完全的触觉，形象成为一种借用。
Shi: I don’t know whether there was already a term such as “visual sense of touch”, but there is a feeling like touch within vision. As an experiential artwork, the “visual sense of touch” came naturally, a visual sense of touch. For instance, Two Ways to Reach Point A depicts an instantaneous plot… when appreciating a beautiful body profile, the man will go from her fingers to her shoulders and instinctually move to her chest, then her buttocks and on to her legs, then he will return to the fingers and back to his own beer glass. This process can be completed in a very short time or a very long time. Through br
