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
Website: www.artchannelgallery.com.cn






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

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 seriously 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



关于白崇民与他的行为艺术
文/ 王易罡

我见到白崇民的时候他还是一个意气的年青人，学习和创作之间都透着一种对艺术真理的渴望与执著，纯朴与善良成为了他性格中可贵的优秀品质。崇民有着良好的绘画素养，早期用德国式比较理性的绘画思维，从物体的结构到色彩的分析与表现，再到后印象主义及至现代抽象表现主义，都进行了广泛的研究，这些几乎经历了现代艺术发展的各个阶段。而在他与我交往的过程中，我常常提醒他；“一个真正的艺术家往往要注意的是‘过程’本身，而不是它的结果”。我自己本身是一个成就感非常差的人，但我往往能从一件作品中或是一件事物的发生、发展的过程中，体验到生命及创作的意义。每当这个过程结束之后，我就会极度的沮丧与无奈。在崇民学习抽象绘画的时候，我就试图把对“过程”即创造性活动的本身告诉他，而他对于“过程”即创造及绘画本质有了非常好的理解。这体现在崇民早期的抽象作品中，生命内在冲动释放成为了他早期创作的原始始发动力，在冲动释放内在身体自由的同时，他渐渐地形成了一种自我发现、自我判断、自我否定的能力，具备了一种带有实验性的、有效的视觉观看方式及把握能力。当时我觉得他将会成为优秀的艺术家。

90年代初，我劝他去北京发展，走自己的路，像一个艺术家一样的去生活。其实这也是我至今仍要努力去做的事。今天写给崇民，也是作为我们终生的共勉。95年他去了北京，在圆明园生活创作。对于一个艺术青年，生活与创作是何等的艰难，这点不仅是对他，几乎对所有当时在圆明园生活的艺术家，恐怕都是一样的。尽管有着生活上的拮据、政治上的打压，但是在精神上他们都是自由与无虑的，他们似脱缰的野马，尽情表达自己的思想，做着自己想做的事，也为与体制之间和意识形态上所制造出的小小摩擦而沾沾窃喜，从而提示了社会对他们的关注，也不断地提醒着人们，社会上还有这样的一群人做着这样的事，过着这样的一种生活。

当时，中国社会早已被纳入到全球一体化的进程之中，而且中国是积极自愿地被影响，被改造。但在这个进程中，我们逐渐地从经济实用型转变成为消费型社会，经济基础及深层次思想的转变，彻底地改变了我们的价值观。由于消费的引领和“他者”的眼光，我们的文化艺术观念不断地被颠覆。而这时的崇民，却没有简单地顺着“他者”的眼光行走，而是在一种“他者”的眼光中，找到一种折衷的方式来对应，即一种中国东方原有文本性的文字、图像与中国特有的材料，加以“拼贴组合”，从而强调了地域文化在全球一体化中的作用与意义。在那个年代中，由于一部分艺术家已经被按着西方策展人的判断优劣开始参加各类大型国际展事，而在这种展事中似乎已感觉到了我们的艺术家在“他者”眼光中的“身份问题”。用栗宪庭先生的话说：我们只不过是西方大餐中的“中国春卷”。那么之后就有相当一部分艺术家在运用中国文化符号与材料，这其中包括电影、文学、音乐及美术。这些作品大都采用了片断及文本式的组合，借此强调中国身份，它是在努力寻找重复组合与文化杂交中所形成的特殊应对方式。这种方式在今天看来仍然有着积极的建设性意义，这虽然也是一种消极无奈之举，但至少是提出了区域文化在全球化中的意义与问题，同时把这个区域的文化以一种共识折衷的方式作为了前提，增进了区域文化的流通性。

圆明园在今天已成为过去，但它的作用与意义无疑是重要的，它事实上已经成为“他者”文化的聚集播散地，极大地影响了中国当代艺术的发展，同时对中国固有的传统体制式艺术及表达方式给予致命的打击，从这里散播的民主自由、人权等深层次的资产阶级价值观，影响深远。而崇民也在这种环境中生活了一段时间，但骨子里对绘画与视觉的现代构成方式在中国文化如何转换为当代艺术上，素有情怀，并做出大量的工作。但他始终还是希望找到一种更深一层次的人与艺术的关系、艺术与生活上的自然关联性，并试图把这种关联转化成为一种行为过程，从而抵消在后现代的消费文化中，对人类自身的道德伦理与精神文化的侵蚀。

很早的时候我们也曾经共同讨论艺术的目的，我们也常常说起海德格尔、叔本华对人生及艺术的理解，我们差不多都认为：人生的目的是为了解放自己，放弃人性中的执著，归回自然。艺术是为了让人类能更好的体验生命的生存状态。特别是对中国传统的老子、庄子的认识似乎比西方的晚辈哲人更接近人性本质。无为、纯朴、真诚地生活，合一自然等同于桑林之舞。无论从事哪种形式的艺术，或是做什么样的工作，生活艺术化，艺术生活化也许会是一个比较好的解决人类自身问题的良药。

2002年以后，陆陆续续地看到一些崇民的行为作品。我能理解行为艺术是从法国艺术家伊夫•克莱因开始，它的发展至今已有七八十年的历史了，而且随着社会文化、经济政治的不断地变换，表达与体验着不同的感受。我是始终认为，行为本身是一种物化精神的体验，它可以是每一个艺术家对社会、自然、及周遭生活的反应，即通过身体行为的过程，体验艺术家本人对社会及生存的认知与感悟，从而真切地感受到人世间的冷暖，或是用瞬间的行为方式去抚慰我们那躁动的灵魂。行为的目的是一种泛艺术化、并极具备普世性的，是对西方文化机制的反叛与颠覆，它在西方文化的语系中是具有革命性意义的。而对行为本身的判断，现场直接性与过程中的观看是非常重要的，否则我们仅从几张图片来解释行为艺术本身，恐怕是片面的。生活行为本身被放置在了不同的空间与场景中，艺术家与观众共同体验一种曾经有过而未曾真切体验过的情感，由于空间场景的转换让我们的精神能脱离原有的现实而净化我们的心灵，得以升华与忘我，这可能应是行为艺术本身应该去思考的东西。在中国做行为艺术的艺术家也有很多，有的时候我是无法理解，特别是对于血腥与暴力的行为作品，我并不是很喜欢，但有一部分艺术家的作品我还是比较推崇的。张洹的作品让人有强制性的痛苦感，那是一种悲苦的体验，让人们看了不舒服，有着舍我其谁，我不入地狱谁入地狱之感。而马六明的作品是错位的、身份性的质疑，美丽的谎言往往是对传统社会机制的一种挑战，同时唤起人们对自身性别及心理异样的思考。而在崇民的作品《泸沽湖》中，他怀抱婴孩，在从此岸到彼岸的过程中暗示了人的生与死，是有着很强的情节性与叙事性。2005年的作品《贩卖保先道德经》，事实上延续了他90年代文本系列的思路，不同的是换以行为方式，把文本、历史与消费、政治冲突与地缘经济、强弱不同利益群体之间的问题凸现在我们面前，体现出他用身体行为本身，对今天后现代文化问题及自身与社会问题的思考，也不断地提示着我们，在消费社会里自身文化与全球一体化中的问题。其中《挤香》是我比较喜欢的一件作品。因为它让我想起共同拥有过的情感，视觉、心理、身体一种综合性的经验。在不断的重复性的运动行为中，把我的心灵和身体的能量释放出来，体验相亲相近的快感。崇民是把传统的娱乐行为提升到人性本善的层面上来，由来自不同国度的年青人通过《挤香》的行为体验到了，在一种快乐的行为方式中放弃欲望的尘念，痛并快乐之中揭示人们的生存现状与今天的社会问题。

崇民不善言谈，甚至还有些木讷。但有时在酒精的作用之下也会偶尔滔滔不绝。这么多年艰难的历程，他依然能按照自己的方向走，努力的思考并不断地尝试各种表达方式，力图使自己的作品趋于准确。我不能用成熟与否来评价崇民的艺术，因为成熟就意味着死亡及艺术生命的终结，所以我期待着崇民不断地走下去，多做出“不成熟”的作品，这样才能说明你的艺术是永远常青的。在此，我衷心的祝贺崇民展览成功。

王易罡2009年冬于沈阳下深工业园





Bai Chongmin and His Performance Art
Many years ago, when I met Bai Chongmin for the first time, he was an enthusiastic young man who showed great interest and persistence in seeking the truth about art. Born with a personality characterized by simplicity and honesty, Chongmin acquired a solid foundation in oil painting. He started his artistic pursuit with the rational German painting style, from analyzing the structure of an object to color expression, later post impressionism and modern abstract expressionism. He has almost touched every major step in the contemporary development of art. I used to remind him that a real artist should focus on the ‘process’ instead of the ‘end result’. I personally do not have many accomplishments, but I can often sense and feel the true purpose of life and creation from working on a piece of art or through the process of an experience. Once the process of creating artwork or the experience is over, I feel a great sense of loss. I tried to tell Chongmin that the ‘process’ was what creation really was about. When he was studying abstract painting, he understood this point very well. This understanding has appeared in his early abstract works. The release of his internal impulse became the source of his creation. In the mean time, he gradually developed the ability of self discovery, self criticism and self denial. Later, this formed into an effective ability of perceiving and grasping the big picture. I had a feeling that Chongmin will become an excellent artist.
In the early 90s, I advised him to go to Beijing to seek his own path and live like a real artist. This is where I should focus my efforts on even today. This is a life reminder for both of us. He went to Beijing in 1995, lived and worked in Yuan Mingyuan artist village. Life was tough not only for him - a young artist, but everyone there. Despite poor financial conditions and the political suppression from the authorities, they were free and had mentally no worries. They were like runaway horses, expressing their minds freely, doing what they want to do and even cheering in secret for the frictions they created between ideology and the system. In this way of expression, it prompted the community to divert their attention to the truth, that there is still such a group of people, doing such a thing, and living such a life in our community.
China has been involved in the globalization a long time ago. China is taking an active stand to be influenced and changed in this process. During this process, our society has changed from an economic and practical one into a consumption-oriented one. The change happened in the economic fundamentals and in people’s mentality. It also extended into people’s value systems. Under the impact of consumption and the ‘outsider’s view’, our cultural and artistic concepts have been overturned. But Chongmin，instead of following the ‘outsider’s view, managed to find a compromised path. That is to combine Chinese characters and images with Chinese materials to stress the meaning and impact of regional culture in the globalization.
In the 90s, some of the Chinese artists started to participate in international art exhibitions which were run under western curators’ standards. In such exhibitions, artists realized there was an issue of identity in the ‘outsider’s view. In Li Xianting’s words: “we are nothing but ‘Chinese spring rolls’ in the western cuisine”. There were quite a number of artists who were experimenting with Chinese cultural symbols and materials, combining them either with fragments or in a textual way to emphasize their Chinese identity. This is an unique solution formed out of duplication and cultural hybridization. Although it was a compromise, it was still a valid solution and was constructive as it underscored the impact of regional culture in the globalization and on the other hand brought an international flavor to the regional culture.
Yuan mingyuan artist village is now history, but its impact is significant. It acted as the distribution center of western culture, which greatly influenced Chinese contemporary artistic development and struck a deathblow to the traditional government-run type of artistic expression. The values of democracy and human rights will have a long lasting effect. Chongmin lived in such an environment for a while. He put in great efforts transferring Chinese culture into contemporary art. He is still trying and hoping to find a deeper correlation between human values and art, art and life, and thus put this correlation into practice to resist the corrosion from the consumption culture.
In the old days, we talked about the purpose of art, we also talked about Heidegger and Schopenhauer’s views on life and art. We all agree: we live to liberalize ourselves, to eliminate the possessiveness and back to Nature tendencies. Art is facilitating to better experience living our lives. Laozi and Zhuangzi’s philosophy seems to be closer to human nature: inaction, live simply and honestly. No matter what art or what type of work one involves in, living artistically and bringing art into life might be a better way to solve the problems of mankind.
I have seen some of Chongmin’s performance art since 2002. I understand that performance art has a history of 70-80 years after the French artist Yves Klein first started it. With continuous changes in society, culture, economy and politics, the works present different feelings. It has been an opinion that performance art itself is an experience of materialized spirit. It may be the response of an artist to the society, the nature and the surrounding environment. That is to say, the artist learns the society and life from the bodily behaviors, thus to have a profound knowledge of the hardship and pleasure as a human, or comfort the uneasy soul with momentary performances. Performance art, aiming at revolting against and overthrowing western cultural mechanism, is pan-artistically and of universal value. It plays a revolutionary role in the western language family. For performance art itself, field immediacy and observation in the process are of vital importance, or it may be unilateral to judge performance art just by several pictures. Life performance is placed at different spaces and scenes. Artists and the spectators experience an emotion that has never been experienced. Change of spatial scene separates our spirits from the reality and sublimates and purifies our spirits, which may be what is to be considered for performance art. What sometimes puzzles me is that China has a lot of performance artists. I dislike sanguinary and violent performance artworks in particular. And there are some artworks highly praised by me. Artworks of Zhang Huan present compelling distress which discomforts me. The artworks seem to tell us that if someone has to take the tough stuff, let me do it. However, artworks of Ma Liuming are of poor alignment and express doubt about identity. Beautiful lies usually convey challenge to traditional social mechanism and awaken speculation of sexual differentiation and mental difference. In the artwork of Chongmin entitled “Lugu Lake”, he entertains a baby, implying life and death in the process from this realm to the other one. The artwork has significant plots and has strong narrative features. The artwork created in 2005 entitled “Peddle Dao De Jin” by Laozi inherits the train of thoughts in the texts in the 1990s. The artwork presents text, history and consumption as well as the issues in political conflicts, geopolitical economy and different interest groups before us, reflecting from the bodily performance his deep thoughts about post-modern culture and himself and social problems, calling our attention to cultures in a consumptive society and in the process of globalization. The artwork entitled “Hustling” is one of the artworks in which I take delight. It reminds me of a complex emotional, visional, mental and bodily experience. In the continuously repeated movements, spiritual and bodily energy are excited, and I feel a clear delight. Raising traditional amusement to the level at which a man is born with a kind nature, Chongmin allows youth from different countries to learn that erotic feelings are abandoned in such pleasant performance. He unveils a state of subsistence of the people and social problems in a bitter but pleasant way.
Chongmin is antisocial and even slow of speech. He sometimes dashes along when he is in wine. He walks his own way and makes efforts to create various modes of expression to make the artworks more accurate despite years of hardship. I’m reluctant to appraise artworks of Chongmin solely by maturation or juvenility, as maturation means death and end of art life. I wish Chongmin would continue to do what he is doing now and create more immature artworks, which may indicate that his artworks are evergreen. I’d like to deliver my congratulations beforehand.

Wang Yigang
Xiashen Industrial Park Shenyang
In Winter，2009




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艺术通道全体同仁诚挚欢迎各位新老朋友！

在如今这种境况下，白还在坚持着，不容易啊！

一群神经病！

操。这也行，牛×！

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。