挤香- 白崇民个展
JI XIANG
Bai Chongmin - Photos & Performance
OPENING：on Sunday, 15:00–18:00, December 6th, 2009
开幕酒会：2009年12月6日，下午3时至6时
DURATION：December 6th, 2009 – January 31st, 2010
展览日期：2009年12月6日至2010年1月31日
OPEN：Tuesday - Thursday, 13: 00 - 18: 00 / Friday – Sunday, 11: 00 - 19: 00
开放时间：星期二至星期四, 13: 00 - 18: 00 / 星期五至星期日, 11: 00 - 19: 00
Art Channel 艺术通道
Cao Chang Di No. 255, Chaoyang District, Beijing 100015, China
北京市朝阳区草场地255号
Tel: 86-10-64335080
E-mail: artchannelbj@sina.com
Webpage: www.artchannelgallery.com.cn
Bai Chongmin's Body Manner
Text / Shu Yang
What I've known about Bai Chongmin's earliest performance is "Lugu Lake", which was cooperated with Wu Weihe in year of 2002.
It performed in "Long March" projects on Feminine topics. It could be easily concluded from " Lugu Lake": the cloth dolls and clothes styles were all making an analogy to "Body Bundling and Packaging" approach, which had been appeared more frequently in performance art in 1980s. " Lugu Lake" took the context of regional tradition: the funeral ceremony of Mosuo matriarchal society in Li Jiang, Yunnan province.
Bai Chongmin's 2005 performance, "The Selling of Tao Te Ching", was an invited work in Performance Project of Da Shan Zi Art Festival and carried out in 798 Art Compound. Wearing a straw-hat, dressing up a low-necked-no-sleeve jacket with a Chinese character “Fan”on the back, Bai Chongmin was peddling while pushing a tri-cycle carrying pottery bricks carving with the text from Lao Zi's Tao Te Ching. The Communist Party of China called on all its members to keep the advanced characteristics, and its leader had ever brought forward a principle of "Ruling the country with virtue". Bai Chongmin carried his ideas into execution in a way of selling kind of daily needed products along the streets. Unfortunately, Bai's performance was half-way stopped by those security guards lacking of "political consciousness" in 798. However, regardless of the content of this work, only its expression way has not be accepted by managers in charge of 798 Art District. It was so clear that the nerves of the lowest level of social administrative management were deeply touched by Bai Chongmin’s realistic way of diverting to a hawker. Obviously, the spiritual product for the mainstream only works in its proprietary sales channels, and can not be performed by the general public as a career. In China today, with contemporary art gradually generalization, performance art in social environment regardless of its concept, is still the most sensitive way to touch and reflect the reality.
Another performance work of Bai Chongmin, "Dark Clouds", created in year of 2006 took part in the 4th 798 Da Dao Art Festival. The creative motivation of "Dark Clouds" was from Bai Chongmin's own life experiences. His house, locating in rural area, was badly surrounded by the pollution coming from the neighborhood factories. It has seriousy affected the daily life of the local people, but the complaints were ended in vain many times. Thus, using a great many of black balloons to form pieces of floating dark clouds, he regarded them as a symbol objects to match the environmental pollution. Under the dripping ink from the "clouds", he dodged helplessly, not only expressing the situation in embarrassment, but also crying for the worsening environmental problems in today. In work of "Dark Clouds", Bai Chongmin designed himself as an image of victim.
This is a typical expression with artistic appeal in performance art. Meanwhile, this way was also reflected in his work "Big Rats", created by following the title and subject of an ancient poem and participated in Performance Art Camp - "Joint in June", in 2007. "Big Rats" Poem, from "Poem in Wei County" in the "Book of Songs", is a masterpiece in ancient China. By using the symbol of its poetic image of "Big Rats", Bai Chongmin was mudded in whole body, carrying a sack-made Big Rat over 80 kilos on the shoulder, running in circles on the same spot until getting reversed on the ground. Taking himself in an awful jam as an excuse, Bai Chongmin straightforwardly criticized the phenomenon of serious corruption in today's Chinese society.
"Ji Xiang" was performed in "Open"– Performance Art Festival in 2009. Bai invited 8 artists to participate this performance. With totally naked and poured ink, Bai Chongmin squeezed with other male and female naked artists with different nationalities. In this very crowding process, the ink in Bai Chongmin' body was pushed and passed onto the other participants' body. In those mass-nudity performance art of the past three decades in China, comparing with "The Anonymous Mountain Raised by 1 Meter" (1995) and "@ 41" (2005) , we can see those two works basically executed according to the implementation in advance or performed by following the scheme. The participants hold the same concept, the implementation process was easily to be controlled, and the sites of the performance were in the field without audience. While "Ji Xiang" was performed with fixed rules, all the participants were collected on site as voluntaries (including artist, staff, visitor and audience), the venue was a public exhibition space (798 Art Zone) where the audience gathered, and the participants could impromptu performed. In this work, we can see the participates were released joyfully by the intensive movement with their free bodies. For the performance artists, a free body represents the basic attitude of using body as an artistic medium. And employing their body freely has been making the performance art becoming a political manifestation both to the social and art taboos. Therefore, "Ji Xiang" reflects the value of artistic creation of performance art in an appropriate way.
In the past three decades, Chinese contemporary art has a prevalent tradition of implanting social issues into the art works, which should be considered as an academic tradition of Chinese intellectuals. After the influence of the economy crisis to the art market, the relationship between Chinese art and the reality in today's China might be re-examined. There is no doubt Bai Chongmin's performance offers a new aspect for this
re-examination. Performance art is not only as a mode of experimental art, but also as a realistic carrier inspiring the spirit of freedom, conveys an artistic temperament of "brave to be the first".
November 26th, 2009 in Beijing
白崇民的身体方式
文/ 舒阳
我所知白崇民最早的行为艺术作品，是2002年“长征”系列活动中参加关于女性话题单元与吴玮禾所合作的《泸沽湖》。白崇民的行为作品《泸
沽湖》从使用的布制人偶道具到其服饰，都有些类似于1980年代中国行为艺术作品中大量出现的“包裹捆扎身体”的方式。点燃人偶的火焰，也
使我想起“厦门达达”对自己作品的焚烧。虽然《泸沽湖》有很强烈的地域文脉（泸沽湖摩梭人母系氏族社会的葬礼）作为其仪式化象征意味和
生活感怀的表述依据，但缺乏对艺术表达方式本身的指向性。
白崇民2005年的行为作品《贩卖保先道德经》是“大山子艺术节”行为艺术项目中的邀请作品，在798艺术区内实施。白崇民头戴草帽，身穿写有
“贩”字的坎肩，在798厂区里推着一辆载有陶砖的三轮车边走边吆喝贩卖“保先道德经”，陶砖上刻有老子的《道德经》文。中国共产党要求其
自身“保持先进性”，而其前党魁也曾宣传“以德治国”。白崇民以个体游街贩卖的方式提供主流社会时需的产品，不幸在实施中途被缺乏“政治
觉悟”的798艺术区的保安人员制止。权且不论这件作品的内容，仅其方式就无法被798的艺术管理者所容忍。白崇民以现实小贩方式的挪用，触动
了最基层社会管理者的行政神经。显然主流精神产品的贩卖，有其专有的销售渠道，并不能为普通公众所操持为业。行为艺术作品在社会环境
中的实施不论其观念如何，在当代艺术逐渐泛化的中国今天仍然是触碰现实最敏感的艺术方式。
白崇民另一件创作于2006年的行为艺术作品《乌云》，参加了在798艺术区举办的“第四届大道现场艺术节”。《乌云》的创作动机，来自白崇民
的亲身生活经历。他在乡村的住宅被隔壁乡镇工厂的污染气体侵袭，严重影响了他的日常生活而投诉无效。由此白崇民用一大片悬浮的黑色气
球形成的乌云，作为环境污染的象征匹配物。他在乌云滴落下的墨汁中无助地躲闪，来表现自己处境的尴尬，也为今天日益恶化的环境问题呐
喊。白崇民在《乌云》中自我设计的受害者形象，也是行为艺术具有艺术感染力的典型的表达方式。这种方式，也体现在白崇民参加2007年“六
月联合”行为艺术营活动以古诗《硕鼠》为题创作行为艺术作品。在《诗经》的《魏风》中有《硕鼠》诗篇，为中国古代名作。“硕鼠，刺重敛
也。国人刺其君重敛，蚕食于民。不修其政，贪而畏人，若大鼠也”（《毛诗序》）。朱熹在《诗集传》中对《硕鼠》一诗评价：“民困于贪残
之政，故托言大鼠害己而去之也。” 借用《硕鼠》一诗的形象象征，白崇民浑身泥泞，肩负以麻袋制成的160斤重的大硕鼠，原地转圈奔跑直至
颠倒。白崇民以一己之身的受困，对中国社会严重的贪腐现象进行了明确直白的质疑。
白崇民2009年参加“打开艺术节”的作品《挤香》，是一个多人参与实施的作品。白崇民裸身浇墨汁，与受邀的8位裸体中外男女按规则拥挤。
在拥挤的过程中，白崇民身上的墨汁也挤到了其他参与者身上。在中国行为艺术三十年来的群体性裸体行为作品中，以《为无名山增高 一米》
(1995年)和《@41》（2005年）对比《挤香》，可以看到前两件作品的实施基本上依照事先计划实施，参与者也都是同道，实施过程容易控制，
场地都处在几乎没有现场观众的野外。而《挤香》只设计游戏规则，参与者都是在活动现场征集的自愿参与者（包括艺术家、现场工作人员和
参观活动的观众），场地是观众云集公共展览空间（798艺术区内），参与者在作品实施过程中可以即兴发挥。在这件作品中，可以看到参与者
在剧烈身体活动中尽情释放了身体自由的快乐。而自由的身体，代表了行为艺术家对身体作为艺术媒介的基本态度。对身体自由的运用，成为
行为艺术对社会与艺术禁忌的政治宣言。因此，《挤香》比较恰当地体现了身体行为艺术的创作价值。
中国当代艺术在过去的三十年中，一直盛行将社会问题纳入作品的传统。应该说，这也是中国知识分子的学术传统。在经过艺术市场洗礼后的
中国当代艺术，也许会重新审视今天中国艺术与现实的关系。毫无疑问，白崇民的行为艺术作品为这种审视提供了新的佐证。行为艺术不但作
为具有艺术实验性的艺术方式，更是作为具有现实感召力的自由精神载体传递其“勇为天下先”的艺术气质。
2009年11月26日于北京
ART CHANNEL 艺术通道
Cao Chang Di No. 255, Chaoyang District, Beijing 100015, China
北京市朝阳区草场地255号
Tel：(86-10) 6433-5080
Fax:(86-10)6433-5060
E-mail: artchannelbj@sina.com
www.artchannelgallery.com.cn
JI XIANG
Bai Chongmin - Photos & Performance
OPENING：on Sunday, 15:00–18:00, December 6th, 2009
开幕酒会：2009年12月6日，下午3时至6时
DURATION：December 6th, 2009 – January 31st, 2010
展览日期：2009年12月6日至2010年1月31日
OPEN：Tuesday - Thursday, 13: 00 - 18: 00 / Friday – Sunday, 11: 00 - 19: 00
开放时间：星期二至星期四, 13: 00 - 18: 00 / 星期五至星期日, 11: 00 - 19: 00
Art Channel 艺术通道
Cao Chang Di No. 255, Chaoyang District, Beijing 100015, China
北京市朝阳区草场地255号
Tel: 86-10-64335080
E-mail: artchannelbj@sina.com
Webpage: www.artchannelgallery.com.cn
Bai Chongmin's Body Manner
Text / Shu Yang
What I've known about Bai Chongmin's earliest performance is "Lugu Lake", which was cooperated with Wu Weihe in year of 2002.
It performed in "Long March" projects on Feminine topics. It could be easily concluded from " Lugu Lake": the cloth dolls and clothes styles were all making an analogy to "Body Bundling and Packaging" approach, which had been appeared more frequently in performance art in 1980s. " Lugu Lake" took the context of regional tradition: the funeral ceremony of Mosuo matriarchal society in Li Jiang, Yunnan province.
Bai Chongmin's 2005 performance, "The Selling of Tao Te Ching", was an invited work in Performance Project of Da Shan Zi Art Festival and carried out in 798 Art Compound. Wearing a straw-hat, dressing up a low-necked-no-sleeve jacket with a Chinese character “Fan”on the back, Bai Chongmin was peddling while pushing a tri-cycle carrying pottery bricks carving with the text from Lao Zi's Tao Te Ching. The Communist Party of China called on all its members to keep the advanced characteristics, and its leader had ever brought forward a principle of "Ruling the country with virtue". Bai Chongmin carried his ideas into execution in a way of selling kind of daily needed products along the streets. Unfortunately, Bai's performance was half-way stopped by those security guards lacking of "political consciousness" in 798. However, regardless of the content of this work, only its expression way has not be accepted by managers in charge of 798 Art District. It was so clear that the nerves of the lowest level of social administrative management were deeply touched by Bai Chongmin’s realistic way of diverting to a hawker. Obviously, the spiritual product for the mainstream only works in its proprietary sales channels, and can not be performed by the general public as a career. In China today, with contemporary art gradually generalization, performance art in social environment regardless of its concept, is still the most sensitive way to touch and reflect the reality.
Another performance work of Bai Chongmin, "Dark Clouds", created in year of 2006 took part in the 4th 798 Da Dao Art Festival. The creative motivation of "Dark Clouds" was from Bai Chongmin's own life experiences. His house, locating in rural area, was badly surrounded by the pollution coming from the neighborhood factories. It has seriousy affected the daily life of the local people, but the complaints were ended in vain many times. Thus, using a great many of black balloons to form pieces of floating dark clouds, he regarded them as a symbol objects to match the environmental pollution. Under the dripping ink from the "clouds", he dodged helplessly, not only expressing the situation in embarrassment, but also crying for the worsening environmental problems in today. In work of "Dark Clouds", Bai Chongmin designed himself as an image of victim.
This is a typical expression with artistic appeal in performance art. Meanwhile, this way was also reflected in his work "Big Rats", created by following the title and subject of an ancient poem and participated in Performance Art Camp - "Joint in June", in 2007. "Big Rats" Poem, from "Poem in Wei County" in the "Book of Songs", is a masterpiece in ancient China. By using the symbol of its poetic image of "Big Rats", Bai Chongmin was mudded in whole body, carrying a sack-made Big Rat over 80 kilos on the shoulder, running in circles on the same spot until getting reversed on the ground. Taking himself in an awful jam as an excuse, Bai Chongmin straightforwardly criticized the phenomenon of serious corruption in today's Chinese society.
"Ji Xiang" was performed in "Open"– Performance Art Festival in 2009. Bai invited 8 artists to participate this performance. With totally naked and poured ink, Bai Chongmin squeezed with other male and female naked artists with different nationalities. In this very crowding process, the ink in Bai Chongmin' body was pushed and passed onto the other participants' body. In those mass-nudity performance art of the past three decades in China, comparing with "The Anonymous Mountain Raised by 1 Meter" (1995) and "@ 41" (2005) , we can see those two works basically executed according to the implementation in advance or performed by following the scheme. The participants hold the same concept, the implementation process was easily to be controlled, and the sites of the performance were in the field without audience. While "Ji Xiang" was performed with fixed rules, all the participants were collected on site as voluntaries (including artist, staff, visitor and audience), the venue was a public exhibition space (798 Art Zone) where the audience gathered, and the participants could impromptu performed. In this work, we can see the participates were released joyfully by the intensive movement with their free bodies. For the performance artists, a free body represents the basic attitude of using body as an artistic medium. And employing their body freely has been making the performance art becoming a political manifestation both to the social and art taboos. Therefore, "Ji Xiang" reflects the value of artistic creation of performance art in an appropriate way.
In the past three decades, Chinese contemporary art has a prevalent tradition of implanting social issues into the art works, which should be considered as an academic tradition of Chinese intellectuals. After the influence of the economy crisis to the art market, the relationship between Chinese art and the reality in today's China might be re-examined. There is no doubt Bai Chongmin's performance offers a new aspect for this
re-examination. Performance art is not only as a mode of experimental art, but also as a realistic carrier inspiring the spirit of freedom, conveys an artistic temperament of "brave to be the first".
November 26th, 2009 in Beijing
白崇民的身体方式
文/ 舒阳
我所知白崇民最早的行为艺术作品，是2002年“长征”系列活动中参加关于女性话题单元与吴玮禾所合作的《泸沽湖》。白崇民的行为作品《泸
沽湖》从使用的布制人偶道具到其服饰，都有些类似于1980年代中国行为艺术作品中大量出现的“包裹捆扎身体”的方式。点燃人偶的火焰，也
使我想起“厦门达达”对自己作品的焚烧。虽然《泸沽湖》有很强烈的地域文脉（泸沽湖摩梭人母系氏族社会的葬礼）作为其仪式化象征意味和
生活感怀的表述依据，但缺乏对艺术表达方式本身的指向性。
白崇民2005年的行为作品《贩卖保先道德经》是“大山子艺术节”行为艺术项目中的邀请作品，在798艺术区内实施。白崇民头戴草帽，身穿写有
“贩”字的坎肩，在798厂区里推着一辆载有陶砖的三轮车边走边吆喝贩卖“保先道德经”，陶砖上刻有老子的《道德经》文。中国共产党要求其
自身“保持先进性”，而其前党魁也曾宣传“以德治国”。白崇民以个体游街贩卖的方式提供主流社会时需的产品，不幸在实施中途被缺乏“政治
觉悟”的798艺术区的保安人员制止。权且不论这件作品的内容，仅其方式就无法被798的艺术管理者所容忍。白崇民以现实小贩方式的挪用，触动
了最基层社会管理者的行政神经。显然主流精神产品的贩卖，有其专有的销售渠道，并不能为普通公众所操持为业。行为艺术作品在社会环境
中的实施不论其观念如何，在当代艺术逐渐泛化的中国今天仍然是触碰现实最敏感的艺术方式。
白崇民另一件创作于2006年的行为艺术作品《乌云》，参加了在798艺术区举办的“第四届大道现场艺术节”。《乌云》的创作动机，来自白崇民
的亲身生活经历。他在乡村的住宅被隔壁乡镇工厂的污染气体侵袭，严重影响了他的日常生活而投诉无效。由此白崇民用一大片悬浮的黑色气
球形成的乌云，作为环境污染的象征匹配物。他在乌云滴落下的墨汁中无助地躲闪，来表现自己处境的尴尬，也为今天日益恶化的环境问题呐
喊。白崇民在《乌云》中自我设计的受害者形象，也是行为艺术具有艺术感染力的典型的表达方式。这种方式，也体现在白崇民参加2007年“六
月联合”行为艺术营活动以古诗《硕鼠》为题创作行为艺术作品。在《诗经》的《魏风》中有《硕鼠》诗篇，为中国古代名作。“硕鼠，刺重敛
也。国人刺其君重敛，蚕食于民。不修其政，贪而畏人，若大鼠也”（《毛诗序》）。朱熹在《诗集传》中对《硕鼠》一诗评价：“民困于贪残
之政，故托言大鼠害己而去之也。” 借用《硕鼠》一诗的形象象征，白崇民浑身泥泞，肩负以麻袋制成的160斤重的大硕鼠，原地转圈奔跑直至
颠倒。白崇民以一己之身的受困，对中国社会严重的贪腐现象进行了明确直白的质疑。
白崇民2009年参加“打开艺术节”的作品《挤香》，是一个多人参与实施的作品。白崇民裸身浇墨汁，与受邀的8位裸体中外男女按规则拥挤。
在拥挤的过程中，白崇民身上的墨汁也挤到了其他参与者身上。在中国行为艺术三十年来的群体性裸体行为作品中，以《为无名山增高 一米》
(1995年)和《@41》（2005年）对比《挤香》，可以看到前两件作品的实施基本上依照事先计划实施，参与者也都是同道，实施过程容易控制，
场地都处在几乎没有现场观众的野外。而《挤香》只设计游戏规则，参与者都是在活动现场征集的自愿参与者（包括艺术家、现场工作人员和
参观活动的观众），场地是观众云集公共展览空间（798艺术区内），参与者在作品实施过程中可以即兴发挥。在这件作品中，可以看到参与者
在剧烈身体活动中尽情释放了身体自由的快乐。而自由的身体，代表了行为艺术家对身体作为艺术媒介的基本态度。对身体自由的运用，成为
行为艺术对社会与艺术禁忌的政治宣言。因此，《挤香》比较恰当地体现了身体行为艺术的创作价值。
中国当代艺术在过去的三十年中，一直盛行将社会问题纳入作品的传统。应该说，这也是中国知识分子的学术传统。在经过艺术市场洗礼后的
中国当代艺术，也许会重新审视今天中国艺术与现实的关系。毫无疑问，白崇民的行为艺术作品为这种审视提供了新的佐证。行为艺术不但作
为具有艺术实验性的艺术方式，更是作为具有现实感召力的自由精神载体传递其“勇为天下先”的艺术气质。
2009年11月26日于北京
ART CHANNEL 艺术通道
Cao Chang Di No. 255, Chaoyang District, Beijing 100015, China
北京市朝阳区草场地255号
Tel：(86-10) 6433-5080
Fax:(86-10)6433-5060
E-mail: artchannelbj@sina.com
www.artchannelgallery.com.cn
Art Channel 艺术通道
Cao Chang Di No. 255, Chaoyang District, Beijing 100015, China
北京市朝阳区草场地255号
Tel: 86-10-64335080
E-mail: artchannelbj@sina.com
Webpage: www.artchannelgallery.com.cn
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