来源：四方当代美术馆

↑由左及右：禤善勤《我在通州街公园》、梁慧圭《俗世日记与无常日子》、李竞雄《Egoby》、李姝睿《极光NO.2》、李竞雄《72击》、段建宇《美与美术馆》

↑梁慧圭《俗世日记与无常日子》，2013，半自动百叶窗，铝悬挂结构，粉末涂料，钢丝，500（H）*606(D)*426(W)cm

Haegue Yang, Journal of Mundane and Uncertain Days, 2013, Aluminum Venetian Blinds, Aluminum Hanging Structure, Powder Coating, Steel Wire, 500(H)*606(D)*426(W)cm

梁慧圭因通过日常的媒材来创作复杂微妙的装置而闻名。这些装置受到诗歌、政治及人类情感的启发。就这件重要的作品而言，她将五颜六色的百叶窗以不同的角度悬挂在天花板上，提供了一种富于表现力且诱人的抽象视觉语言，并带来一种直观的视觉体验。

Yang is known for the use of mundane objects and materials to create complex and nuanced installations that are informed by poetry, politics, and human emotions. In this signature work, Yang used colourful Venetian blinds hung from the ceiling in various angles to provide an eloquent and seductive language of visual abstraction combined with a direct sensory experience.

↑ 由左及右：梁慧圭《俗世日记与无常日子》、赵要《很有想法的绘画》、禤善勤《我在通州街公园》、李竞雄《Egoby》

↑李竞雄《72击》，2012，布面丙烯画，120*150cm

Li Jingxiong, The 72 Blows, 2012, Acrylic on Canvas,120*150cm

中国绘画史中的“笔法”，在这里被艺术家简化为数道由浓到淡的色块，色块的不断重复使其成功转变为抽象绘画。“72击”可能象征着绘画史上的一连串事件，也是一份言简意赅的中国美术史报告。

The “brushstrokes” that are so important in painting are simplified down to strips of monochromatic colour in varying shades. The repetition of that becomes a abstract painting.

↑赵要《很有想法的绘画》，2014，布上丙烯，180*180*8cm

Zhao Yao, A Painting of Thought, 2014, Acrylic on Canvas, 180*180*8cm

这是一个关于视觉构图的脑力游戏，这件多彩的作品由艺术家搜集来的玩具及布面组成，并经过持续不断的精细抛光，让观众重新思考关于绘画的基本概念。这给予了这幅作品一个物质性的光环，并以一个破坏性的理性逻辑去再艺术与艺术家之间形成一个新的平衡。

“A painting of thought” draws from visual composition of brain games. This colorful work has toy-like surface after thick accumulations of acrylic on fabric and persistent and delicate polishing, and engages the viewer to rethink underlying concepts for painting. The process gives the painting an aura of materiality, and utilizes a destructive rational logic to form a new balance in the relationship between art and artist.

↑李竞雄《Egoby》，2014-2015，塑料，蛇皮，尺寸可变

Li Jingxiong, Egoby, 2014-2015, Plastic, Snakeskin, Variable Dimensions

与男性生殖器的形状极为近似的蛇皮橄榄球，被艺术家随意的抛掷在展厅中。象征着诱惑与欲望的蛇眼下被杀死，剥皮，被物质化为男性荷尔蒙游戏，艺术家对于男性气概的反讽自此昭然若揭，同时，这也是对统治史的凶悍转化。

The artist casually disperses rugby balls on two white platforms. Made from snake skin, the rugby balls resemble men’s testicles. Here, snakes as symbols of seduction and greed are slaughtered, skinned and materialised into a game of hormone by men.

↑赵要《奇迹 - 美兰机场20130420》，2014，装置，羊毛，尼龙 200*650*2cm

Zhao Yao,Miracle - Meilan Airport 20130420, 2014, Installation, Wool, Nylon, 200*650*2cm

赵要新近创作的“奇迹”系列作品，从卫星地图的视角，观看并复制现代文明在地表上留下的绘图痕迹。这件作品中描绘的海口美兰机场因为其特有的地理环境及决策者的个人意志而拥有了唯一的纹理与质感，现代性之美在此被重新发现。此外作为可以踏足的对象，地毯与大地、土壤之间亦维系着紧密关联。

Zhao Yao’s new work “miracle” views modernity’s traces on the earth’s surface, similar to a painting. Because of its own geographical environment and decision-making process, Meilan airport in Haikou possesses a unique texture and pattern. Viewers are encouraged to appreciate the beauty of modernity, and both as something one can step upon, the relationship between carpet, ground, and soil.

↑李明《艺术家之歌》，2010,四通道数字录像，10´38 9´04  5´25 2´18  

Li Ming, The Song of Artist, 2012, 4 Screens, 10´38 9´04 5´25 2´18

在4段影像中，分别记录了无辜而悲惨的鸭子、奄奄一息的蝙蝠以及一群被诱导的小鸟。四段影像在此被以13台显示器联机播放，宛如一首合唱。

In four separate video channels, small animals such as birds, ducks, and bats are constantly abused or mocked. The four videos are now shown randomly in fourteen vintage monitors in a circular shape, acting like a singing chorus.

↑傅丹《我们人民-K10》，2011，铜， 200*357*83cm

Danh Vo, We the People - K10, 2011 Copper, 200*357*83cm

傅丹《我们人民-G6》，2011，铜，205*255*85cm

Danh Vo, We the People - G6, 2011, Copper, 205*255*85cm

傅丹按1:1的尺寸复制了象征美国民主精神的自由女神像，随后在中国南通的一个工厂将其拆解为200余块薄铜片。这些碎片散落在全球各个美术馆、藏家及艺术机构手中，成为了永远难以回复原状，却在人们的想象中持续被完形、流动着的纪念碑式的作品。

We the People (Detail) are parts of a full-scale replica of the Statue of Liberty. Constructed from thin copper plating and made to the exact specifications, the parts will never be assembled. The many fragments are shown as individual sculptures during exhibitions at different locations around the world.

↑张恩利《盒子》，2013，布上油画，300*169cm

Zhang Enli, The Box, 2013, Oil on Canvas, 300*169cm

张恩利善于从庸常之中发掘生活的本质。受到传统中国绘画的影响，他将油彩稀释到接近釉彩的程度，你会看见线稿从油画颜料中渗透出来。他的绘画对象尽管是一些日常生活中的寻常物，但却没有直接的参照，更多的得源于艺术家本人的内观。在这幅“盒子”中，艺术家以堆积、捆扎来表现出了寻常物的重量。

In his paintings, Zhang creates an index of commonplace objects related to humanity. Influenced by the loose washes of traditional Chinese brush painting, Zhang dilutes his paint until it is almost like a glaze, leaving pencil-drawn grids visible beneath the layers of paint. Zhang constantly reminds us that his paintings are artistic constructs, not direct replicas of any given object. In this work “the box”, he masterfully explores the weight distribution of a few stacked boxes.

↑刘瀚之《步行阅读留言机》，2011，混合媒介，7´8，器械部分 H113*42*43cm

Liu Han-Chih, Walking/Reading/Message Leaving Machine, 2011, Mixed Media,7´8, Machine size H113*42*43cm

刘瀚之制造的“类道具”装置，意图制造一种情境。通过推动独轮车带动文本，在这种几乎毫无必要的劳动中令阅读者几至厌倦。

Liu Han-Chih invents props-like machine that one has walk it to read the rolling message embedded inside. What the viewer reads is a message, which gaps between sentences gradually increase when moving further, making it repulsive.

↑唐狄鑫《大陆》，2014，布面油画，186*186cm

Tang Dixin, Mainland, 2014, Oil on Canvas, 186*186cm

唐狄鑫的绘画与表演，来源于一种源于平静的张力，并在孤独中透露出优雅。在他描绘的那些动物和人体中，传达了一种含糊其辞的超现实想象以及对现实的故意篡改。

Tang’s painting, along with his performances, all possess a certain tension stemming from calmness, as well as a certain gentleness born from loneliness. In the animals and body parts, vague surrealist imaginations and intentional manifestation of the reality behind them permeate.

↑ 由左及右：唐狄鑫《大陆》、陆扬《终极换能-人肉乐器》、仇晓飞《国营物》

↑仇晓飞《国营物》,2010，布面油画，300*380cm

Qiu Xiaofei, State-Operated Object, 2010, Oil on Canvas, 300*380cm

仇晓飞的画是对个人记忆与国家历史的表现，这件巨幅油画的场景来自艺术家幼年时的一张照片，它对现代中国家庭的生活场景进行了纪念碑式的表达。

Qiu Xiaofei is known to engage relationships between personal experience and history. Evoking a dreamlike state, “state owned object” is a monumental work that he has based on photos of his childhood.

↑陆扬《终极换能-人肉乐器》油画布数码微喷，152*240cm

Lu Yang, Ultimate Energy Conversion - Instruman, Inkjet Print on Canvas, 2010, 152*240cm

陆扬以创造幻想的死亡、性、无性繁殖、精神疾病及神经结构（正如这幅作品）闻名，作为混杂着泛灵科技与神秘主义的艺术家，陆扬关注的是人类在21世纪面临的根本问题。

Lu Yang is known for creating fantastical visions of death, sexuality, asexuality, mental illness, and neurological constructs (shown here) of both real lifeforms and deities. She asks the fundamental question of what it means to be human in the 21st century.

↑ 由左及右：刘瀚之《来不及》、刘小东《Inwang山》、王兴伟《四德公园球场》

↑傅丹 《约瑟夫卡里尔博士的档案1962-1973》，2010，24张一组，尺寸可变，影印版

Danh Vo, Archive of Dr. Joseph M. Carrier, 1962-1973, 2010, Set of 24, Various Size, Gravure

这组照片来自一位退伍的美军教官，记录了越战期间他记录的日常生活，并微妙的传达出对同性恋的关注。照片几经易主，现在为艺术家所有。它们就像是一份自传体的小说，填补了这名军官个人档案中的空白部分，讲述了一个关于身份、移民与遗失的故事。

The photographs were originally part of an extensive archive that Vo received from a retired US military consultant, Joseph M. Carrier, who was stationed in Vietnam during the war and recorded everyday life expressing the subtle homoerotic fascination of a white man in a strange country. Acting as a kind of surrogate autobiography Carrier’s photos come to fill out the gaps in Vo’s private documentation, and simply by virtue of their change in ownership the photographs themselves come to represent a more universal story of identity, immigration, and loss.

↑傅丹,2.2.1861,圣徒狄奥方·维纳徳临刑前写给父亲的最后一封信,由傅冯抄写，纸本墨水，29,6 *21 cm，作品日期将在傅冯去世后确定

Danh Vo, 2.2.1861,

Last Letter of Saint Theophane Venard to His Father Before He was Decapitated Copied by Phung Vo, Ink on Paper, 29,6 x21cm Title and edition number remains undefined untill the death of Phung Vo

每当有人收藏这件作品，艺术家便委托他的父亲傅冯手抄一封19世纪时由法国传教士狄奥方·维纳德所写的信件。这封信写于1861年2月2日，维纳德因异端罪名在越南被斩首的前几天。作为写给父亲的告别语，书信谦恭又感人的语调也是作品中的一条线索，它暗示传教士曾活跃的殖民扩张运动。尽管傅冯并不会说法语，他对这封用法语写成的信件进行了精心的重作。而后，采取平邮的方式寄给每一个获得这件作品的藏家并将地址记录在案。这一系列作品将持续至傅冯过世。

Each time the work is acquired, the artist commissions his father Phùng Vo to copy by hand a letter from 19th-century French missionary Théophane Vénard, which was written a few days before he was beheaded for heresy in Vietnam on February 2, 1861. Addressed to the missionary’s father as a farewell gesture, the letter’s humble and affecting tone is one strand in a work that also signals the colonial expansion to which Vénard can be seen to have been at the vanguard. After carefully re-creating the letter, which is in French, a language that he does not speak, Phùng Vo sends it via standard mail to the collector who has acquired the work and records the address for his own personal archive. This ongoing series will come to an end upon the dead of Phùng Vo.

↑ 奈良美智《 无题》、刘瀚之《来不及》

↑谢帆《望》2014，绢上油画，160*90 cm

Xie Fan, Look, 2014, Oil on Silk, 160*90cm

谢帆创造性的发明了一种在绢布上油画颜料的技法，这位老和尚如幽灵般的背影因为这一技法而显得扑朔迷离。

Xie Fan creatively uses oil paint on Chinese silk, and invents a novel effect of ghostly figure in an old monk’s back.

↑加布里埃尔.莱斯特《大爆炸》、埃里克·凡·李希奥特《无题》

↑周思维《洞穴之二》，2013-2014，布面油画，140*180cm

Zhou Siwei, Cave 02, 2013-2014, Oil on Canvas, 140*180cm

周思维使用稀释的油画颜料作画，并且从来不使用白色。因此，他的每一颜料层都是透明的，他通过不断的在原有颜料层上的堆叠，呈现出丰富的色彩组合，并保持了画面的中性色彩。观者可以在透明层里看到绘画的老版本，这种透明层的深度最终加强了画作的时间性因素。

Sources for Zhou Siwei’s paintings are usually preexisting compositions of colors and forms. The artists dilutes the colour with a lot of oil and never uses white in his paintings. As a result, his layers are transparent, on purpose. Each of his paintings takes on a colour scheme that is rich, but at the same time somewhat neutral. The colours are bright without being vibrant. One can see older versions of the painting through the transparent layers and also recognise each brushstroke. The brushstrokes give a certain rhythm to the paintings, while the depth of the transparent layers adds the element of time.

↑陈佩之《培乐多》，2013，电线，鞋，水泥，投影仪，数码影像（彩色，无声）410.2*152.4cm

Paul Chan, Play Doh, 2013 Cords, Shoes, Concrete, Video Projectors, Digital Video (Color, Silent), 161 1/2*60 inches (410.2*152.4cm)

“非投影”作品展现了与通电鞋子相连接的投影机。这些投影机的镜头摇晃闪动，却不投射任何可识别的影像。这些所谓的投影虽有内容在其中，却只是模糊的幻影。他用一种他称为“内部指向的，在读一本好（或坏）书时内心会产生的幽灵式的视觉映像”取代了观看动态画面的被动体验。这个看似荒诞的标题是对苏格拉底、柏拉图等古希腊哲学家名字的调侃，暗示了与洞穴寓言之间的联系。这个关于人类感知的寓言告诫我们要承认感官信息是一种错觉，而应致力于得出一种对现实更为准确的理解。

Nonprojections features video projectors that are linked to jury-rigged, power-conducting shoes. The projectors’ lenses flicker and strobe as if outputting videos without an corresponding surface for image. Holding their contents within, these would-be projections remain illegible phantoms, replacing a passive experience of moving images with one that Chan characterises as “inner-directed, like the ghostly visual impressions that one conjures up in one’s mind when reading a good (or bad) book.” The seemingly absurd title plays on the names of Greek philosophers including Socrates and Plato, suggesting a link to the allegory of the cave—a parable of human perception that exhorts us to acknowledge the illusion of sensory information and embrace a truer understanding of reality.

↑陈佩之，雷蒙·罗素《洛克斯·索罗斯》，2014，布面油画，纸上油画，纸板油画,176.5*120.7cm

Paul Chan, Locus Solus by Raymond Roussel, 2014, Oil on Fabric, Paperand Cardboard, 176.5*120.7cm

↑村上隆《银椭圆大佛》，2008，纯银+大理石底座，136.5*80.5*78cm

Takashi Murakami, Oval Buddha, 2008, Sterling Silver & Marble Base, 136.5 * 80.5 * 78 cm

这尊古怪的纯银雕塑反映了村上隆正在进化的身体、思想和精神，以及他对文化、国家、宗教及艺术现实的不断探索。雕塑中的形象一面融入了艺术家的肖像，另一面则是来自日本精怪故事中的神秘生物。村上隆是日本当代最重要的艺术家之一，他成功的消解了高雅艺术与通俗艺术之间的边界。

This quirky sterling silver sculpture from acclaimed Japanese artist Takashi Murakami “reflects the artist’s evolving body, mind and spirit and his continuing exploration of his cultural, national, religious, and artistic reality”. The figure bears the artist portrait on one side and a Japanese mythical creature on the other. Murakami is one of most important Japanese artist living today, and is known for blurring the line between high and low arts.

↑坎迪达·霍福尔《博洛尼亚大学图书馆》《博洛尼亚城市歌剧院》、村上隆《 银椭圆大佛》