[attachment=89529] [attachment=89509] 展览资料
名称：“燃点”
艺术家：刘卓泉 ，练东亚
开幕时间：2008年4月12日下午3点
展览时间：2008年4月12日——6月 12日
城市：北京
地点：魔金石空间
名称：“燃点”
艺术家：刘卓泉 ，练东亚
开幕时间：2008年4月12日下午3点
展览时间：2008年4月12日——6月 12日
城市：北京
地点：魔金石空间
展览现场图片
在环铁工作室的一次谈话对话人：刘卓泉 练东亚 （以下简称：老刘、小练）
时间：2008年3月29日
A Talk in Huantie Studio
老刘：你什么时候来北京的。
Lao Liu: When did you come to Beijing?
小练：2006年来的。
Xiao Lian: In 2006.
老刘：在来之前你做什么工作。
Lao Liu: What did you do before that?
小练；在老家的一家影楼打工。
Xiao Lian: I had a temporary job in a commercial photographic studio in my hometown.
老刘：呵，那个时候做了些什么东西。
Liao Liu；（smiling）What pictures did you take at that time?
小练：做了一组有关“阳台”的摄影作品。
Xiao Lian: A series of works named after “Balcony”.
老刘：是什么意思？
Lao Liu: What does that mean?
小练：那会儿在影楼打工，是我最无聊的一段时间。每天除了上班就是睡觉。好在我比较喜欢种种花什么的。于是，我就以阳台上的盆景作为前景，然后又捏了一些自杀的小面人搁在里面。我喜欢盆景与阳台后面景色的那种不确定的关系。
Xiao Lian: Those days were very boring to me. Except sleeping and working, I did nothing every day. Fortunately, I found myself interested in cultivating flowers. Then, I regarded the bonsai on the balcony as the prospect and put some dough figurines of self-murderer. I liked the uncertain relation between the bonsai and the scenery behind the balcony.
老刘：你的“阳台”让我想起希区克科的电影《后窗》，那部片子里面也有关于凶杀的东西，你是否受他的影响。
Your " balcony " reminds me of Hitchcock’s film, " Rear Windows ". That film is also about murder. Are you influenced by him to some degree?
小练：我没有看过他的电影。我只是觉得我那个时候非常郁闷，我每天的重复生活就象是一种自杀的状态。不满你说，有一段时间，我还认真的研究过自杀问题和死的方式。
Xiao Lian: I hadn’t watched that film. I just felt very gloomy at that time. The state of my life was repetitive which was similar with suicide to me. To be honest, I once studied suicide and the way of death seriously.
老刘：有那么严重吗？
Lao Liu: So serious?
小练：你知道我是个很自闭的人，平时也很少和人打交道，对社会我一直有恐惧感。
Xiao Lian: You know I am a self-imprisoned person. I seldom communicate with people and have a sense of fright to the society.
老刘：为什么？
Lao Liu: Why?
小练：不知道，反正我和社会有种格格不入的感觉。
Xiao Lian: I don’t know. Anyway, I have an antipathetic feeling to the society.
老刘：每个人都必须活在社会人群中，你这样的感觉是否有你自身的原因，有逃避现实的嫌疑。
Lao Liu: Everybody must live in the social group. You are suspected to escape the reality. Have you tried to find reasons from yourself?
小练：不清楚，我实际上就想一个人呆着。也许是我没法从社会里看到什么好的东西或者希望什么的。
Xiao Lian: I don’t know. In fact, I like to stay alone. Maybe I am unable to see anything fine and hopeful in the society.
老刘：在北京你靠什么生活
Lao Liu: How do you make a living in Beijing?
小练：一开始帮朋友做做事情，现在能卖点作品勉强养活自己了。
Xiao Lian: At first I do something for my friends. Now by selling my works.
老刘：你在北京呆着是否比以前接触社会的机会多了。
Lao Liu: Do you have more chances to contact the society after you came to Beijing?
小练：有些小的改变，但是性格上还是喜欢一个人呆着。
Xiao Lian: Small changes happened, but I also like staying alone.
老刘：来北京后你觉得自己在艺术上有没有变化。
Lao Liu: Are there some changes in your art works?
小练：有，看待事情的方式有变化，以前做东西比较个人，小情趣多一点，现在我开始尝试表现一些社会性的东西。比如，城市的无节制的拆建和膨胀。还有就是看见那么多外地民工，每天象蚂蚁一样在为这个城市劳作，而他们的生活又跟这个城市毫无关联。
Xiao Lian: Yes. The ways of treating things are changing. In the past, I did things in an individual and emotional way. Now I begin to display some social things. For example, the immoderate rebuilding and expanding in the city. Besides, I am interested in migrant workers’ life. They work for the city every day like ants, but their life has nothing to do with this city.
老刘：对，在北京其实我们也和他们的境遇一样。
Lao Liu: Right. In fact, we are similar with them to some degree.
小练：你和社会接触的多一些，你的作品好象始终有社会问题在里头。
Xiao Lian: You have more contact with the society and there seems to be a social concern in your works all the time.
老刘：是，这可能和我的个人经历有关系。大学毕业后，我就去了西藏工作，1986年又回到武汉，之后又去了广州，2001年来的北京。你知道，我每到一个地方都要重新建立社会关系。相对你来说，我对中国社会体制的东西感触深一些。
Lao Liu: Maybe that has something to do with my personnel experience. After graduating, I went to Tibet and worked there. And in 1986 I came back to Wuhan and then worked in Guangzhou. In 2001, I began to live in Bejing. Just as you Know, I like to rebuild the social relationship whenever I came to a new place. Compared with you, I have a deep feeling about the Chinese social system.
小练：2005年你还在电视台工作，后来为什么不干了。
Xiao Lian: Why did you quit the job in TV station in 2005?
老刘：在体制里做事挺累的，最重要的是你不能按照自己的想法去做事情。因为，一个片子里能说什么和不能说什么早就被制度化了。个人的观念和情感总是被奴役的。
Lao Liu: It is very tired to work for a social system and the most important thing is you can’t do things freely. Because what you can speak is institutionalized. Personal idea and emotion are always enslaved.
小练：这就是你开始做艺术的原因吧。
Xiao Lian: Is this the reason why you began to do art.
老刘：对，开始我并没有想到一定要做艺术，我只是太厌恶体制和权利的东西。当然，艺术是比较好的生活方式。当代艺术里面有某种破坏性的力量，它能使我获得作为人“存在”的快感和表达的自由。
Lao Liu: Right. I was not determined to do art at the beginning. I just detest the system and right. Certainly, art is a better life style. There is a certain destructive strength in contemporary art, which can make me get an “existing” pleasure and a freedom of expression.
小练：你说的体制在艺术界也存在，比如；画廊体制。
Xiao Lian: But there is also a system in the field of art, for example, the gallery system.
老刘：是的。不管什么制度，最终还是个人如何选择的问题。无论做艺术还是生活，我的底线是不接受任何权利对生命的奴役。
Lao Liu: Yes. No matter what system it is, finally it is a personal choice. No matter art or life, my bottom line is not to accept the enslavement from any right.
小练：挺好。我想每个人都希望这样活着。可是现实的残酷总是很压人，有时不得不作出让步。
Xiao Lian: Well. I think everybody hopes to live like this. But the realistic cruelty always presses people very much, and people have to make concessions.
老刘：对于我来说，现实从来就没有真正好过，就象政治从来就是尔虞我诈，历史永远是一堆废话一样。但是，我还是相信人身上所具有的精神力量。每个人来到这个世界上都是独一无二的。
Lao Liu: To me, reality is not good all the time. Similarly, politics is always full of deceiving and history is a pile of nonsense. However, I believe people have a spiritual strength. Everybody who came to this world is unique.
小练：最近你的作品好象在表现一些城市的问题，并且用煤做了北京几个有名的建筑。你是怎么想的？
Xiao Lian: Your recent works seem to display some problems of the city. You made some famous odd building in Beijing with coal. How did you think?
老刘：我一直对中国的建筑很感兴趣，因为，建筑有很强时代性，尤其是国家极的建筑物，都具有意识形态和某种权利的象征。我小时侯就深受这种影响，比如；雄伟的天安门，伟大的庄严的人民大会堂等等。
Lao Liu: I have been very interested in Chinese buildings all the time. I can find very strong Zeitgeist in them, especially land-mark buildings, which are symbols of a certain ideology and right. I had a deep feeling about them even when I was a child, for example, the Gate of Heavenly Peace, the Great Hall of the People, etc..
小练：对，现在看来是有些被愚弄的感觉。
Xiao Lian: Yes, but now it seems to beome a feeling of deceiving.
老刘：你知道，在北京新近落成的国家剧院、鸟巢、水立方、央视新楼，都是令人无法回避的大型建筑物。在我看来这是典型的西方自由主义经济和中国集权政治的产品。这两种势力的相遇能量太大，一时还无法判断。我用煤做这几个建筑物，主要想确定这种现实的状态。
Lao Liu: Everybody know
时间：2008年3月29日
A Talk in Huantie Studio
老刘：你什么时候来北京的。
Lao Liu: When did you come to Beijing?
小练：2006年来的。
Xiao Lian: In 2006.
老刘：在来之前你做什么工作。
Lao Liu: What did you do before that?
小练；在老家的一家影楼打工。
Xiao Lian: I had a temporary job in a commercial photographic studio in my hometown.
老刘：呵，那个时候做了些什么东西。
Liao Liu；（smiling）What pictures did you take at that time?
小练：做了一组有关“阳台”的摄影作品。
Xiao Lian: A series of works named after “Balcony”.
老刘：是什么意思？
Lao Liu: What does that mean?
小练：那会儿在影楼打工，是我最无聊的一段时间。每天除了上班就是睡觉。好在我比较喜欢种种花什么的。于是，我就以阳台上的盆景作为前景，然后又捏了一些自杀的小面人搁在里面。我喜欢盆景与阳台后面景色的那种不确定的关系。
Xiao Lian: Those days were very boring to me. Except sleeping and working, I did nothing every day. Fortunately, I found myself interested in cultivating flowers. Then, I regarded the bonsai on the balcony as the prospect and put some dough figurines of self-murderer. I liked the uncertain relation between the bonsai and the scenery behind the balcony.
老刘：你的“阳台”让我想起希区克科的电影《后窗》，那部片子里面也有关于凶杀的东西，你是否受他的影响。
Your " balcony " reminds me of Hitchcock’s film, " Rear Windows ". That film is also about murder. Are you influenced by him to some degree?
小练：我没有看过他的电影。我只是觉得我那个时候非常郁闷，我每天的重复生活就象是一种自杀的状态。不满你说，有一段时间，我还认真的研究过自杀问题和死的方式。
Xiao Lian: I hadn’t watched that film. I just felt very gloomy at that time. The state of my life was repetitive which was similar with suicide to me. To be honest, I once studied suicide and the way of death seriously.
老刘：有那么严重吗？
Lao Liu: So serious?
小练：你知道我是个很自闭的人，平时也很少和人打交道，对社会我一直有恐惧感。
Xiao Lian: You know I am a self-imprisoned person. I seldom communicate with people and have a sense of fright to the society.
老刘：为什么？
Lao Liu: Why?
小练：不知道，反正我和社会有种格格不入的感觉。
Xiao Lian: I don’t know. Anyway, I have an antipathetic feeling to the society.
老刘：每个人都必须活在社会人群中，你这样的感觉是否有你自身的原因，有逃避现实的嫌疑。
Lao Liu: Everybody must live in the social group. You are suspected to escape the reality. Have you tried to find reasons from yourself?
小练：不清楚，我实际上就想一个人呆着。也许是我没法从社会里看到什么好的东西或者希望什么的。
Xiao Lian: I don’t know. In fact, I like to stay alone. Maybe I am unable to see anything fine and hopeful in the society.
老刘：在北京你靠什么生活
Lao Liu: How do you make a living in Beijing?
小练：一开始帮朋友做做事情，现在能卖点作品勉强养活自己了。
Xiao Lian: At first I do something for my friends. Now by selling my works.
老刘：你在北京呆着是否比以前接触社会的机会多了。
Lao Liu: Do you have more chances to contact the society after you came to Beijing?
小练：有些小的改变，但是性格上还是喜欢一个人呆着。
Xiao Lian: Small changes happened, but I also like staying alone.
老刘：来北京后你觉得自己在艺术上有没有变化。
Lao Liu: Are there some changes in your art works?
小练：有，看待事情的方式有变化，以前做东西比较个人，小情趣多一点，现在我开始尝试表现一些社会性的东西。比如，城市的无节制的拆建和膨胀。还有就是看见那么多外地民工，每天象蚂蚁一样在为这个城市劳作，而他们的生活又跟这个城市毫无关联。
Xiao Lian: Yes. The ways of treating things are changing. In the past, I did things in an individual and emotional way. Now I begin to display some social things. For example, the immoderate rebuilding and expanding in the city. Besides, I am interested in migrant workers’ life. They work for the city every day like ants, but their life has nothing to do with this city.
老刘：对，在北京其实我们也和他们的境遇一样。
Lao Liu: Right. In fact, we are similar with them to some degree.
小练：你和社会接触的多一些，你的作品好象始终有社会问题在里头。
Xiao Lian: You have more contact with the society and there seems to be a social concern in your works all the time.
老刘：是，这可能和我的个人经历有关系。大学毕业后，我就去了西藏工作，1986年又回到武汉，之后又去了广州，2001年来的北京。你知道，我每到一个地方都要重新建立社会关系。相对你来说，我对中国社会体制的东西感触深一些。
Lao Liu: Maybe that has something to do with my personnel experience. After graduating, I went to Tibet and worked there. And in 1986 I came back to Wuhan and then worked in Guangzhou. In 2001, I began to live in Bejing. Just as you Know, I like to rebuild the social relationship whenever I came to a new place. Compared with you, I have a deep feeling about the Chinese social system.
小练：2005年你还在电视台工作，后来为什么不干了。
Xiao Lian: Why did you quit the job in TV station in 2005?
老刘：在体制里做事挺累的，最重要的是你不能按照自己的想法去做事情。因为，一个片子里能说什么和不能说什么早就被制度化了。个人的观念和情感总是被奴役的。
Lao Liu: It is very tired to work for a social system and the most important thing is you can’t do things freely. Because what you can speak is institutionalized. Personal idea and emotion are always enslaved.
小练：这就是你开始做艺术的原因吧。
Xiao Lian: Is this the reason why you began to do art.
老刘：对，开始我并没有想到一定要做艺术，我只是太厌恶体制和权利的东西。当然，艺术是比较好的生活方式。当代艺术里面有某种破坏性的力量，它能使我获得作为人“存在”的快感和表达的自由。
Lao Liu: Right. I was not determined to do art at the beginning. I just detest the system and right. Certainly, art is a better life style. There is a certain destructive strength in contemporary art, which can make me get an “existing” pleasure and a freedom of expression.
小练：你说的体制在艺术界也存在，比如；画廊体制。
Xiao Lian: But there is also a system in the field of art, for example, the gallery system.
老刘：是的。不管什么制度，最终还是个人如何选择的问题。无论做艺术还是生活，我的底线是不接受任何权利对生命的奴役。
Lao Liu: Yes. No matter what system it is, finally it is a personal choice. No matter art or life, my bottom line is not to accept the enslavement from any right.
小练：挺好。我想每个人都希望这样活着。可是现实的残酷总是很压人，有时不得不作出让步。
Xiao Lian: Well. I think everybody hopes to live like this. But the realistic cruelty always presses people very much, and people have to make concessions.
老刘：对于我来说，现实从来就没有真正好过，就象政治从来就是尔虞我诈，历史永远是一堆废话一样。但是，我还是相信人身上所具有的精神力量。每个人来到这个世界上都是独一无二的。
Lao Liu: To me, reality is not good all the time. Similarly, politics is always full of deceiving and history is a pile of nonsense. However, I believe people have a spiritual strength. Everybody who came to this world is unique.
小练：最近你的作品好象在表现一些城市的问题，并且用煤做了北京几个有名的建筑。你是怎么想的？
Xiao Lian: Your recent works seem to display some problems of the city. You made some famous odd building in Beijing with coal. How did you think?
老刘：我一直对中国的建筑很感兴趣，因为，建筑有很强时代性，尤其是国家极的建筑物，都具有意识形态和某种权利的象征。我小时侯就深受这种影响，比如；雄伟的天安门，伟大的庄严的人民大会堂等等。
Lao Liu: I have been very interested in Chinese buildings all the time. I can find very strong Zeitgeist in them, especially land-mark buildings, which are symbols of a certain ideology and right. I had a deep feeling about them even when I was a child, for example, the Gate of Heavenly Peace, the Great Hall of the People, etc..
小练：对，现在看来是有些被愚弄的感觉。
Xiao Lian: Yes, but now it seems to beome a feeling of deceiving.
老刘：你知道，在北京新近落成的国家剧院、鸟巢、水立方、央视新楼，都是令人无法回避的大型建筑物。在我看来这是典型的西方自由主义经济和中国集权政治的产品。这两种势力的相遇能量太大，一时还无法判断。我用煤做这几个建筑物，主要想确定这种现实的状态。
Lao Liu: Everybody know
木有多大意思哦~~
[s:327] 居然没人顶！！！！！
这是在什么地方的展览呢?
[s:322]
798的展览，顶
