4th REEL CHlNA Docum
He An
FRAGILE WARMTH
F: FU XIAODONG
H: HE AN
F: When did you begin to do neon light works? And why are you so interested in nameplates?
H: Since 2000 when I was participating in the HeXiangning Sculpture exhibition in Shenzhen, I made a light - box, “Miss you, please contact me”, then attached my mobile phone number on it. This was a big light–box of 12 meters long, erected on the Shennan Boulevard. I received daily nearly 200 telephone calls. This work lasted more than one month, and my phone jammed up completely because of so many incoming calls.
F: The Light-box or nameplate is a form of advertisement; it is an important road sign, as important as the buildings in a city. How did you come to get a building off its original function and turn it into art? How do you establish its aim?
H: In fact it is not me who altered the function of the light-box, it actually existed quite a long before. I would love to make those words on colorful light-boxes shining at night; as to their original significance, I don't care. Sometimes when I got drunk at night, an stumbling on the road home, seeing the light of the light-boxes, I actually felt warm.
F: Would you please give us a description of your works in Zhangjiang, and the process you used to make the piece.
H: “I hate ownership and being owned”, - form the English patient; "An instant of my purity is worth a lifetime of your lies” - form Natural Born Killer; these are two lines for actors. And I removed the outer contours of their Chinese-character subtitles and formed a spasm line. I made the negative moulds of these characters sparkling with that of the city. And people say that resembled the Laden noodle restaurant. Actually I only took some parts of these negative Chinese-character moulds and parts of the outer contour and connected them in a line.
At that time, I was driven by my emotions. I felt I could not overcome these urban emotions. I thought I was associating with nature, and later I found I was wrong, I was much too fond of those lights. Though they were all in man-made, and the words themselves were not important, it is enough when I knew them, and this is what a nonlinear reading looks alike. What you say in a city in your living place is actually not that important; what are important are the words that the light emits onto you.
F: Did you associate your inner mind’s affection with a sign from the city and let it be shared by others?
H: I did not think about whether it was being shared. I did'nt even know what to share. Maybe I am selfish, not taking consideration of others.
F: Another reality of a city may be the advertisement itself, it seemed that you have used the form of advertisement in your works for many times, is this one of your language style?
H: I used it unconsciously, because it’s hard for me to think of other ways, and this is my weakness.
F: Advertisements might be a man-made illusion, and perhaps you try to let it approach to be a reality in your thought.
H: It may be so. It is too profound, I have never thought of it. As for my feeling, it seemed like I had suddenly caught something in the water... yes, that’s the feeling.
F: Could you tell us something about your works in this exhibition, and the form of the nameplates?
H: I went to Shanghai and signed an agreement with company that constructed light-boxes. I asked them to help me collect some deserted characters on the light-boxes for one year. And at the same time I asked some of my friends in Wuhan to steal some character styles which were very difficult to find in Shanghai. The only condition was that there be no new manufacturing allowed. Then I assembled the collected characters into the ones I expected, and many of them did not exist, and I made them by assembling a total of 77 characters, both small and large. In fact in the beginning I wanted to adopt a sentence that a girl said to me, and then I thought it was too personal. And in order to consider others, I personally selected the present words.
F: Why did you select these 77 characters? And by such a complicated method.
H: They were all fragments. They seem to stand between sense and non-sense, it all depends on the way you read, and it could all stand for many definitions. In fact there is the only sentence written for me, which was written by my master: “Yoshioka Miho’s birthday is only one day different from mine”. And then after that, my master added that her sign is the Monkey, which is a good match with me. Yoshioka Miho is a Japanese AV, I like her very much. Others were out of my control. I only felt weird by combining these characters stolen from all these different places, after thinking my own thoughts, but the words were still quite familiar. To me, what I wanted is for the characters to be assembled. I am a person without thought, and being lazy is my first choice. I didn’t care about how I specifically get these characters; it was alright if they came from the city.
F: How do you understand cities? It seemed that your understanding has already been mixed up with these characters.
H: I was born in a city, and in the future I might die in a city. All my emotion expression comes from the frequent language of the city. I could only feel those emotions to achieve my thought.
F: “Do you think that you can help her, Brother?” what does “her” mean?
H: This is a message from my mobile phone, and everybody has received it. I felt very sad when I received it. Virginity can also be expressed like that, and the virginity here appears to be very fragile and warm.
F: Is it the junk messages from mobile phones? Can they also be an object in your lyrics?
H: You think it’s a junk message? But I think it is a good message. I thought if I stumbled one winter night in the street, and received a message like this; it would let me feel warm whether or not it's the truth. I think it is much warmer than those love messages, though I would never return the calls. Perhaps this is the city I understand.
F: How do you comprehend the relationship between reality and fiction?
H: I recently read Wang Shuo's interview and his friends' discussion about him. They say that Wang has run out of his life, and is unable to write works like his previous ones. Must we experience life before writing? I am suspicious of that. What kind of life should you have for it constituted a source of writing? What life did Kafka have? What life did Kawabata Yasunari have? Relying on one’s life for the support of writing is temporary, one must rely on fiction. Only the full rich details of fiction are your source of writing, combined with your sensibility and sharp observations. Fiction is a quasi- reality founded upon reality, it is a very beautiful thing, and its opposite side is our way of being and is full of absurdities and the roughness of reality.
FRAGILE WARMTH
F: FU XIAODONG
H: HE AN
F: When did you begin to do neon light works? And why are you so interested in nameplates?
H: Since 2000 when I was participating in the HeXiangning Sculpture exhibition in Shenzhen, I made a light - box, “Miss you, please contact me”, then attached my mobile phone number on it. This was a big light–box of 12 meters long, erected on the Shennan Boulevard. I received daily nearly 200 telephone calls. This work lasted more than one month, and my phone jammed up completely because of so many incoming calls.
F: The Light-box or nameplate is a form of advertisement; it is an important road sign, as important as the buildings in a city. How did you come to get a building off its original function and turn it into art? How do you establish its aim?
H: In fact it is not me who altered the function of the light-box, it actually existed quite a long before. I would love to make those words on colorful light-boxes shining at night; as to their original significance, I don't care. Sometimes when I got drunk at night, an stumbling on the road home, seeing the light of the light-boxes, I actually felt warm.
F: Would you please give us a description of your works in Zhangjiang, and the process you used to make the piece.
H: “I hate ownership and being owned”, - form the English patient; "An instant of my purity is worth a lifetime of your lies” - form Natural Born Killer; these are two lines for actors. And I removed the outer contours of their Chinese-character subtitles and formed a spasm line. I made the negative moulds of these characters sparkling with that of the city. And people say that resembled the Laden noodle restaurant. Actually I only took some parts of these negative Chinese-character moulds and parts of the outer contour and connected them in a line.
At that time, I was driven by my emotions. I felt I could not overcome these urban emotions. I thought I was associating with nature, and later I found I was wrong, I was much too fond of those lights. Though they were all in man-made, and the words themselves were not important, it is enough when I knew them, and this is what a nonlinear reading looks alike. What you say in a city in your living place is actually not that important; what are important are the words that the light emits onto you.
F: Did you associate your inner mind’s affection with a sign from the city and let it be shared by others?
H: I did not think about whether it was being shared. I did'nt even know what to share. Maybe I am selfish, not taking consideration of others.
F: Another reality of a city may be the advertisement itself, it seemed that you have used the form of advertisement in your works for many times, is this one of your language style?
H: I used it unconsciously, because it’s hard for me to think of other ways, and this is my weakness.
F: Advertisements might be a man-made illusion, and perhaps you try to let it approach to be a reality in your thought.
H: It may be so. It is too profound, I have never thought of it. As for my feeling, it seemed like I had suddenly caught something in the water... yes, that’s the feeling.
F: Could you tell us something about your works in this exhibition, and the form of the nameplates?
H: I went to Shanghai and signed an agreement with company that constructed light-boxes. I asked them to help me collect some deserted characters on the light-boxes for one year. And at the same time I asked some of my friends in Wuhan to steal some character styles which were very difficult to find in Shanghai. The only condition was that there be no new manufacturing allowed. Then I assembled the collected characters into the ones I expected, and many of them did not exist, and I made them by assembling a total of 77 characters, both small and large. In fact in the beginning I wanted to adopt a sentence that a girl said to me, and then I thought it was too personal. And in order to consider others, I personally selected the present words.
F: Why did you select these 77 characters? And by such a complicated method.
H: They were all fragments. They seem to stand between sense and non-sense, it all depends on the way you read, and it could all stand for many definitions. In fact there is the only sentence written for me, which was written by my master: “Yoshioka Miho’s birthday is only one day different from mine”. And then after that, my master added that her sign is the Monkey, which is a good match with me. Yoshioka Miho is a Japanese AV, I like her very much. Others were out of my control. I only felt weird by combining these characters stolen from all these different places, after thinking my own thoughts, but the words were still quite familiar. To me, what I wanted is for the characters to be assembled. I am a person without thought, and being lazy is my first choice. I didn’t care about how I specifically get these characters; it was alright if they came from the city.
F: How do you understand cities? It seemed that your understanding has already been mixed up with these characters.
H: I was born in a city, and in the future I might die in a city. All my emotion expression comes from the frequent language of the city. I could only feel those emotions to achieve my thought.
F: “Do you think that you can help her, Brother?” what does “her” mean?
H: This is a message from my mobile phone, and everybody has received it. I felt very sad when I received it. Virginity can also be expressed like that, and the virginity here appears to be very fragile and warm.
F: Is it the junk messages from mobile phones? Can they also be an object in your lyrics?
H: You think it’s a junk message? But I think it is a good message. I thought if I stumbled one winter night in the street, and received a message like this; it would let me feel warm whether or not it's the truth. I think it is much warmer than those love messages, though I would never return the calls. Perhaps this is the city I understand.
F: How do you comprehend the relationship between reality and fiction?
H: I recently read Wang Shuo's interview and his friends' discussion about him. They say that Wang has run out of his life, and is unable to write works like his previous ones. Must we experience life before writing? I am suspicious of that. What kind of life should you have for it constituted a source of writing? What life did Kafka have? What life did Kawabata Yasunari have? Relying on one’s life for the support of writing is temporary, one must rely on fiction. Only the full rich details of fiction are your source of writing, combined with your sensibility and sharp observations. Fiction is a quasi- reality founded upon reality, it is a very beautiful thing, and its opposite side is our way of being and is full of absurdities and the roughness of reality.
I hate ownership and being owned-- form the English patient
An instant of my purity is worth a lifetime of your lies--form Natural Borm Killer
Picking up the lines of movies and songs in my visual and auditory experiences to compose a light box, but only a profile can be seen. The negative part of them combines with the outer horizon of city architectures(and the uter horizon is also the negative part of architectures).That's the way I try to introduce reading activities into the outer horizon of city architectures.So as to shine these lines and also make them the symbols of city's language and expression.
An instant of my purity is worth a lifetime of your lies--form Natural Borm Killer
Picking up the lines of movies and songs in my visual and auditory experiences to compose a light box, but only a profile can be seen. The negative part of them combines with the outer horizon of city architectures(and the uter horizon is also the negative part of architectures).That's the way I try to introduce reading activities into the outer horizon of city architectures.So as to shine these lines and also make them the symbols of city's language and expression.
“Miss you, please contact me”
2000
Light box
The artist’s mobile phone number was showed on the light box.
Here are the phone numbers in these two days. The later numbers were lost. My mobile phone was service-out after a month. It costs more than 6000 yuan by now.
1:20 020003917691
2:506 6646988
9:25 13620216081
10:08 13509616913
10:23 13828792322
11:44 0755 6971319
12:40 13612979234
14:23 0755 8998576
15:08 0755 2369618
0755 5846632 周奉明
13066954160宋先生
0755 8998576
0755 2369618
0755 78208573
07556852497郭
0755 7885322
13008880373
0755 3210881
13902908775
13066911778
13016639234
13026674323
13026674323
13022413711
13006624056
13802209977金
(6971072-1)
13006624056梁
0154 20000000
020 003419527
13006624056
020006500394
0755 7885322
07557885122张
13600445941刘
130054471779
0543 8212883刘 (山东)
13802661899徐
13902431547徐
13066906158
13801820764
13801820764
13801820764
13613059299
13613059299
13902315518
?扬
13600427678李少红
13922803940于小姐
13902435863
0755 3330987
13922803940
13708199093
13823276541
13028853370
13501580972
13613073171
1392370820
13026622003
13823374185庞若梅
0755 281996林
13006679931张
13005447179
13802703746
0755灯结彩3402977(同志)
020 86381124莫
020 87350063张曀(13022051886)
13503011242魏
13660140220于新 (海尔集团)
13610055710鸥阳
020 5564234
020 83504374张红
020 82314425侯文丽 文红
02095908呼811314
13502978858孙丽...
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