應天齊個展:第十三屆威尼斯建築雙年展 Ying Tianqi Solo Exhibition_13th Venice International Architecture Biennale by Asia Art Center

Organizers 主辦單位

全球藝術事務基金會

全球藝術中心基金會

Acknowledgements 鳴謝

王櫻倫 Wang Ying Lun 史金生夫婦 Mr & Mrs Shih Chin Shen 呂宗耀夫婦 Mr & Mrs Lu Tsung Yao 林壯遠夫婦 Mr & Mrs Lin Chuang Yuan 邰中和 Kenneth Tai 陳元健 Chen Yuan-Chien 陳文蓉 Chen Wen Jung 張雅清 Yachin Lucy Chang 葉君豪 Chun Hao Yeh 臧小涵藝見空間 Ms Lea Zhang, One Art Club

CONTENTS

應天齊 2011-2013 威尼斯雙年展參展紀實 AN INTRODUCTION TO THE YING TIANQI EXHIBITIONS AT THE 2011-2013 VENICE INTERNATIONAL BIENNALE 14

2011-2013 年連續三次參展概述

關於應天齊和威尼斯雙年展 / 李宜霖 A General Introduction to the Successive Participations at the Venice Biennale from 2011 to 2013

About Ying Tianqi and Venice / Alan Lee 21

第五十四屆威尼斯藝術雙年展平行展

《碎裂的文化 = 今天的人 ?》 Collateral Event at the 54th Venice International Art Biennale

CRACKED CULTURE? -THE QUEST FOR IDENTITY IN CONTEMPORARY CHINESE ART

第十三屆威尼斯建築雙年展平行展

應天齊《世紀遺痕與未來空間》個展 Collateral Event at the 13th Venice International Architecture Biennale

TRACES OF CENTURIES AND FUTURE STEPS BY YING TIANQI

序應天齊《世紀遺痕與未來空間》

廢墟上的追問與尋覓 / 王林 Preface to the Ying Tianqi Contemporary Art Exhibition

Geosemiotic Inquiry Exploring Amidst the Labyrinthine Ruins / Wang Lin

應天齊 X 全球藝術事務基金會

應天齊：我們從哪裡來 ? 我們又將往何處去 ? Ying Tianqi X Global Art Affairs Foundation

Ying Tianqi: "From Whence We Came, Who We Are, and Where We Are Going?"

王林 X 庫藝術

策展人王林：歷史情結是人類擺脫不開的宿命 Wang Lin X Ku Art

Curator Wang Lin: Historical Connections Are Unavoidable Aspects of Human History 80

記憶與傷害—從藝術家應天齊看中國傳統建築 / 格羅莉亞．瓦麗絲 Memory and Hurts: Discussing Traditional Chinese Architecture From the Perspective of Ying Tianqi / Gloria Vallese

砸碎黑色的孤獨—關於應天齊 / 王林

Breaking Loneliness in Black: About Ying Tianqi / Wang Lin 102 「世紀遺痕與未來空間」國際研討會 Ying Tianqi Speech At The International Symposium of "Traces of Centuries and Future Steps" 108 「主義」之後的廢墟—讀應天齊的《廢墟之殤》/ 彭鋒 Post "-Ism" Debris: Commentary on Ying Tianqi's Mourning Over The Ruins / Peng Feng 126 古城日記 DIARY OF THE ANCIENT CITY 134 媒體相關報導 MEDIA COVERAGE 150 《世紀遺痕》，用淚水和血做的作品 / 賈方舟 "Traces of Centuries" Are Works that Express Tears And Blood / Jia Fangzhou

155

世紀遺痕材料油畫 TRACES OF CENTURIES OIL PAINTINGS

190

應天齊作品分析

鄉關日暮夢裡情懷 / 易鷹 An analysis of the works of Ying Tianqi

Missing The Heartland Of Our Dreams / Yi Ying

243

創作脈絡與年表 CHRONOLOGY

249 應天齊的創作是一部中國三十年的美術史 / 范迪安 I Began Taking My Own Path in the Late 1950s / Fan Di'an 254 走出世俗的紛擾 / 徐冰 Abandoning Worldly Troubles / Xu Bing

262

索引 INDEX

應天齊 2011-2013 威尼斯雙年展參展紀實 AN INTRODUCTION TO THE YING TIANQI EXHIBITIONS AT THE VENICE INTERNATIONAL BIENNALE 2011-2013

參展海報 Exhibition Banners

第 13 屆威尼斯建築雙年展 The 13th Venice International Architecture Biennale

第 55 屆威尼斯藝術雙年展 The 55th Venice International Art Biennale

第 54 屆威尼斯藝術雙年展 The 54th Venice International Art Biennale

2011-2013 年連續三次參展概述

關於應天齊和威尼斯雙年展

威尼斯雙年展（La Biennale di Venezia）是國際藝術界唯一橫跨三個世紀的雙年展，與德國卡塞爾文獻展（Kassel Documenta）、巴西聖保羅雙年展（The Bienal Internacional de Sao Paulo）並稱為世界三大視覺藝術展。威尼斯雙年展共涵括視覺藝術、建築、音樂、舞蹈、戲劇和電影六大領域，其中藝術雙年展逢奇數年舉辦，而建築雙年展則於偶數年舉辦。威尼斯雙年展的重要性在三大展覽中居首，享有「雙年展之母」的美譽。威尼斯雙年展分為三個主要部分 : 主題展、國家館及平行展。主題展由每屆總策展人策劃特定主題，國家館由每個國家選派策展人來推出能與雙年展當屆主題大體符合和呼應的方案，而平行展則是面向全球優秀藝術家或建築師《世紀遺痕與未來空間》展覽總策劃 / 李宜霖

以特定的主題概念來申請的專案。平行展作為雙年展中的一個正式單元，每屆的展覽項目申請都競爭得非常激烈，這主要是由於受到威尼斯為數不多的場地空間限制，其次是要有傑出的非營利機構來推薦、具有國際視野的獨立策展人策劃，當然最重要的還是要有獨創性和學術性的展覽方案才有機會入選。繼 2011 參加第 54 屆威尼斯藝術雙年展平行展《碎裂的文化 = 今天的人 ?》（Cracked Culture? The Quest for Identity in Contemporary Chinese Art）後，於 2012 年全球矚目的「第 13 屆威尼斯建築雙年展」中，應天齊做為一位長期關注中國建築文化及廢墟文化的中國當代藝術家，用其獨特的藝術語言及創作理念，以主題《世紀遺痕與未來空間》（Traces of Centuries and Future Steps），從眾多提案中獲得雙年展組委會的認同和批准，得以舉辦展覽。這也是應天齊繼 2011 年參加藝術雙年展後，成為首位以藝術家身分受邀參加威尼斯建築雙年展舉辦藝術個展的中國藝術家，同時也是中國首位連續參加威尼斯藝術雙年展及建築雙年展的藝術家。此次《世紀遺痕與未來空間》應天齊當代藝術展由中國著名批評家、策展人王林、荷蘭著名獨立策展人卡琳 • 德容 (Karlyn De Jongh) 及莎拉．戈爾德 (Sarah Gold) 共同策劃，由全球藝術事務基金會 (Global Art Affairs Foundation) 與亞洲藝術中心共同主辦，展覽地點位於威尼斯大運河畔的重要建築－本博宮殿 (Palazzo Bembo)。本博宮殿於 15 世紀由威尼斯本博貴族創建，文藝復興三傑之一的拉斐爾及西方油畫之父提香也都曾受邀至此創作，是一個十分具有歷史意義及藝術氛圍的建築。《世紀遺痕與未來空間》除展示應天齊著名的綜合材料繪畫作品外，還包括大型裝置、影像、版畫等不同媒材及形式的精采創作，充分地顯示了藝術家對藝術、建築與社會的深入研究，也真實深刻地揭示了中國現代化進程所帶來的問題，引發觀者諸多的感懷與反思。另外，展覽期間同時舉辦應天齊和多國建築師對話的學術研討會，更是引起了學界廣泛的討論與關注。 2012 年底，威尼斯建築雙年展《世紀遺痕與未來空間》應天齊個展已成功落幕，2013 年將再次受邀參加威尼斯藝術雙年展平行展《文化．精神．生成》（Culture．Mind．Becoming），毫無疑問應天齊用他藝術家的身份不斷對文明、社會提出問題並介入生活。從他身上，我們看見了一位值得尊敬的藝術家所擁有的良知與責任感。應天齊在威尼斯發出了中國藝術家聲音，意蘊深遠，回味悠長。然而，應天齊的創作道路在繼續向前，我們相信威尼斯雙年展是他藝術生涯中的一個里程碑，但絕不是唯一的，接下他又將帶來怎樣震撼，值得我們期待！

A General Introduction to the Successive Participations at the Venice Biennale from 2011 to 2013

About Ying Tianqi and Venice

Alan Lee

Curatorial Planner-in-Chief, "Traces of Centuries and Future Steps"

La Biennale di Venezia is one of the triumvirate of the most important global visual art biennale exhibitions, along with Germany's Kassel Documenta and The Bienal Internacional de Sao Paulo. The Venice Biennale features the visual arts, architecture, music, dance, theater and film, among which the art biennale is held in odd-numbered years, and the architecture biennale conducted in even years. The Venice Biennale rightly reins as the most important among the triumvirate, and is often referred to as the Mother of the Biennales. The Venice Biennale has three chief components: the Central Pavilions, National Pavilions, and Collateral Events. The Central Pavilions are curated by the Chief Curator, while National Pavilions are designed by each National Curator to be conducive to concomitant display with the overall theme, and the Collateral Events reach out to present outstanding artists and architects who have applied to display projects on particular themes. The Collateral Events are an integral part of the Biennale, and the competition to be selected for this honor is very fierce, since an invitation to participate is needed to secure the exhibit space which is very hard to find during the Biennale, and also because support from excellent non-profit organization is required to participate, along with an internationally renowned Curator, and most importantly, a creative and scholastically unique exhibition proposal. Followed by the Collateral Event "Cracked Culture? the Quest for Identity in Contemporary Chinese Art" at the 54th International Art Exhibition at the Venice Biennale, and in 2012 during the 13th Venice International Architecture Biennale which met with much global attention, Ying Tianqi displayed his long concern for Chinese architecture and cultural ruins as a contemporary Chinese artist, whose unique artistic language and creative principles informed the theme of "Traces of Centuries and Future Steps", which was selected from among numerous applicants for the honor of participation by the Biennale Organizing Commission. This also follows on Ying Tianqi's successful participation in the 2011 Venice International Art Biennale, becoming the first Chinese artist to have been invited to participate in the Venice Biennales, and also the first Chinese artist to consecutively be invited to participate in the Art and Architecture Biennales.

This exhibition of "Traces of Centuries and Future Steps" presenting contemporary Chinese artist Ying Tianqi's works were curated by leading Chinese art critic Wang Lin, along with the distinguished Netherlands Curators Karlyn De Jongh and Sarah Gold, with support from Global Art Affairs and Asia Art Center, located in the Palazzo Bembo, an impressive edifice along the Grand Canal in Venice. Palazzo Bembo was built in the 15th century by the aristocratic Bembo family, and during the Renaissance, one of three heroes of the arts, Raphael and the father of Western painting, Titian, all accepted invitations to work on this remarkable palace, creating a building of historical significance and profound artistic atmosphere. "Traces of Centuries and Future Steps" not only displays Ying Tianqi's famous mixed media paintings, but also includes large installations, multimedia, and blockprinting creations, which ably and amply express his artistic and techniques to arts, architecture and profound concern for society and persistent social questions, revealing much about China's modernization processes and attendant issues, giving much pause for thought among viewers. Additionally, a moderated dialogue was held during the exhibition with the participation of Ying Tianqi and a number of international architects, yielding a lively discussion and much attention. The 2012 Venice Biennale's "Traces of Centuries and Future Steps" exhibition of contemporary Chinese artist Ying Tianqi has been successful; in 2013, the accomplished artist was again invited to participate in the 55th Venice International Art Biennale at the Venice Biennale "Cultureďź&#x17D;Mindďź&#x17D;Becoming", just how prodigious Tianqi is in continually dedicating his identity as a leading artist to continuously engage and challenge Chinese civilization and society with questions which profoundly affect the lives of the public. From his example, we can see an artist worthy of commendation as a voice of conscience and social responsibility. Ying Tianqi's cogent voice at the Venice Biennale eloquently expressed the Chinese artist's desires with implications that are far-reaching, and will leave their imprints long after. Ying Tianqi's artistic and creative endeavor continues, and we believe the Venice exhibition will be an important milestone in his artistic life, but definitely not the only one, so we look forward to the highly provocative aspirations and inspirations his new creations will stimulate within us all.

第五十四屆威尼斯藝術雙年展平行展

《碎裂的文化 = 今天的人 ?》 CRACKED CULTURE? -THE QUEST FOR IDENTITY IN CONTEMPORARY CHINESE ART Collateral Event at the 54th Venice International Art Biennale

展期 Duration 2011 / 6 / 3 - 9 / 10

地點 Venue 威尼斯藝術學校 Liceo Artistico Statale di Venezia, Italy

策展人 Curators 王林 ( 中國 ) Wang Lin (China) 格羅莉亞•瓦麗絲 ( 義大利 ) Gloria Vallese (Italy)

主辦單位 Organizer 中國廣東美術館 Guangdong Museum of Art, China

第 54 屆威尼斯雙年展參展作品

木雕之一 Woodcarving No.1 123×180cm 2006 綜合媒材 Mixed media on wooden plate

第 54 屆威尼斯雙年展參展作品

失憶 Amnesia 122×130cm 2007 綜合媒材 Mixed media on wooden plate

第 54 屆威尼斯雙年展參展作品

遺痕．滄桑 Traces-Vicissitudes 2011 錄像裝置 Video Installation 展覽於威尼斯藝術學校 Exhibited at Liceo Artistico Statale di Venezia

第十三屆威尼斯建築雙年展平行展

應天齊《世紀遺痕與未來空間》個展 TRACES OF CENTURIES AND FUTURE STEPS BY YING TIANQI

Collateral Event at the 13th Venice International Architecture Biennale

展期 Duration 2012 / 8 / 29 - 11 / 25

地點 Venue 義大利威尼斯本博宮殿 Palazzo Bembo, Venice, Italy

策展人 Curators 王林 ( 中國 ) Wang Lin (China) 卡琳．德容 ( 荷蘭 / 義大利 ) Karlyn De Jongh (The Netherlands/Italy) 莎拉．戈爾德 ( 荷蘭 / 義大利 ) Sarah Gold (The Netherlands/Italy)

主辦單位 Organizers 全球藝術事務基金會 Global Art Affairs Foundation 全球藝術中心基金會 Global Art Center Foundation 亞洲藝術中心 Asia Art Center

第 13 屆威尼斯建築展官方畫冊 The Official Catalogue of the 13th Venice International Architecture Biennale

中英版導覽手冊 Brochure

《世紀遺痕與未來空間》畫冊 Catalogue of the Collateral Event "Traces of Centuries and Future Steps"

策展人 / Curators

王林 Wang Lin 藝術批評家、策展人，四川美術學院教授，西安美術學院博士生導師，中國文化部國家當代藝術研究中心專家。有《美術形態學》、《美術批評方法論》、《當代中國的美術形態》、《從中國經驗開始》、《王林論中國當代藝術》、《王林論中國當代藝術家》、《繪畫與觀念》、《王林論繪畫》等多種專著及編著出版。曾在海內外發表美術評論及理論研究文章 800 多篇。曾策劃《首屆上海雙年展》、香港《後先鋒中國當代藝術展》、北京宋莊藝術節、北京 798 藝術節、東京《伊斯特中國當代藝術作品展》、重慶《首屆青年美術雙年展》、2011 年《第 54 屆威尼斯藝術雙年展平行展》、2012 年《第十三屆威尼斯建築雙年展平行展》等數十個展覽。 Wang Lin, Chinese renowned art critic and curator. He is currently a professor at the Sichuan Fine Art Institute, a guest professor at the Xi'an Fine Art Institute, and chief expert of National Contemporary Art Research Center of Ministry of Culture of the People's Republic of China. His publications include: Art Morphology, Art Criticism Methodology, State of Contemporary Chinese Art, Starting From the Chinese Experience, Wang Lin on Contemporary Art, Wang Lin on Contemporary Artists, Paintings and Ideas, Wang Lin Talks about Paintings, and etc. He also published about 800 research papers on art criticism and theory. He curated "The 1st Shanghai Biennale", "Post Avant-Garde Chinese Contemporary Art Exhibition, Hong Kong", "Beijing Songzhuang Art Festival", "Tokyo Est-Ouest Chinese Contemporary Art Exhibition", "Beijing 798 Art Festival", "The 1st Chongqing Biennale of Young Artists", "Collateral Event of 54th Venice Biennale" in 2011, and "Collateral Event of the 13th Venice International Architecture Biennale" in 2012, and numerous other international exhibitions.

卡琳•德容 Karlyn De Jongh 卡琳 • 德容 (b. 1980) ，生於荷蘭，現為駐義大利威尼斯的著名獨立策展人、作家，本身也是一名藝術家。2007 年起，她開始與「獨立架構」國際藝術計畫合作，籌辦學術研討會及展覽並出版藝術書籍，主題緊扣「時間 • 空間 • 存在」，繼而於 2011 威尼斯雙年展策展，其他策展項目已遍及許多歐洲國家及美國。她在阿姆斯特丹與鹿特丹主修藝術，並於人文學科排名頂尖的荷蘭萊頓大學取得哲學碩士學位，以及美國聖巴巴拉獲藝術史與理論哲學碩士學位。 Karlyn De Jongh (b. 1980) is a Dutch independent curator, author and artist based in Venice, Italy. Since 2007, she has been working with the international art project PERSONAL STRUCTURES for which she organizes symposia and exhibitions and publishes books, around the concepts of "Time, Space, and Existence". De Jongh then curated the art project for the 2011 Venice Biennale as well as organizing exhibitions in the USA and several European countries. She studied Fine Arts in Amsterdam and Rotterdam, Netherland, and received her M.A. in Philosophy and M.Phil. in Art History and Theory at Leiden University, Netherlands and Santa Barbara, USA.

莎拉•戈爾德 Sarah Gold 莎拉 • 戈爾德 (b. 1978) ，荷蘭著名獨立策展人與作家。2005 年起，她與「獨立架構」國際藝術計畫合作，籌辦學術研討會及展覽並出版藝術書籍，繼而於 2011 威尼斯雙年展策展。除深耕歐洲的德語國家，她的策展項目也遍及北美、日本，近年開拓至東方藝術家之國際策展。戈爾德於德國海德堡求學，並於荷蘭萊頓大學取得藝術歷史碩士學位。 Sarah Gold (b. 1978) from the Netherlands is an independent curator and author. Since 2007, she has been working with the international art project PERSONAL STRUCTURES for which she organizes symposia and exhibitions and publishes books. Gold curated the art project for the 2011 Venice Biennale. Besides being actively involved in German projects, her curatorial projects also include North America and Japan, and even Eastern art in recent years. She received her college education in Heidelberg, Germany, and received her M.A. degree in Art History from the Leiden University, Netherlands.

上圖為展覽地點威尼斯本博宮殿一側，里奧多橋夜景。 (Above) Night scene of Rialto Bridge in Venice, locating adjacent to the exhibition venue "Palazzo Bembo". ( 右頁 ) 左圖是義大利威尼斯地圖，右圖中黃色所標示之處即為展覽地點本博宮殿所在位置。 ( Right ) Map of Venice, Italy. (Right) The yellow part marks the location of the venue "Palazzo Bembo".

展覽地點 / Venue

本博宮殿簡介 Palazzo Bembo Riva del Carbon, 4793-4785 ︱ 30124-Venice, Italy 歷史悠久的十五世紀本博宮殿，座落在威尼斯主要幹道大運河上，鄰近世界知名的里奧多橋，為雙年展中參觀人次最多的場地之一。這座宮殿原本為威尼斯上層社會本博貴族而建，此處也是威尼斯重要學者與紅衣主教—皮耶特羅．本博 (Pietro Bembo, 1470-1547) 的出生地，他在義大利語言的發展史上非常具有影響力。雖然本博宮殿經過多次改建，外觀仍維持著舊有風格與結構。15-16 世紀文藝復興三傑之一的拉菲爾及西方油畫之父提香都曾受邀至此地創作。 Palazzo Bembo is located on the San Marco side of the Grand Canal, a few steps away from the Rialto bridge. It was built in the 15th century by the noble family of Bembo who lived in Venice at least since the 7th century. Palazzo Bembo is also the birthplace of Pietro Bembo (1470-1547), a Venetian scholar and cardinal. He was an influential figure in the development of the Italian language. Although Palazzo Bembo was remodeled several times over the centuries, externally it still maintains the original structure. The Palazzo is considered an example of the Venetian-Byzantine or Gothic style building; Raphael, one of the Three Great Masters of High Renaissance, and Titian, the father of oil painting, both had been invited to display their works there.

本博宮殿 6 號展廳 / Hall 6, Palazzo Bembo

廢墟之殤 / MOURNING OVER THE RUINS 錄像裝置 Video installation 2012

根據本博宮殿現場製作的模型及展覽方案 A Scale Model of Palazzo Bembo and Exhibition Project 1

囚 / Imprisoned

磚魂 / Brick Soul

王者 / The King

黑室之二 / Black Room No. 2

無極 / Infinity

廢墟之殤 / Mourning Over the Ruins

砸碎黑色• 零點行為 / Zero O'Clock Work: Breaking the Black

自訴 / Self-Articulation Room

佈展 / Installation

作品運達威尼斯運河港口 Arrival of the Artworks in Venice

第 13 屆威尼斯建築雙年展參展作品

世紀遺痕 Traces of Centuries 167×244cm 2011 綜合媒材 Mixed media on wooden plate

本博宮殿 8 號展廳 / Hall 8, Palazzo Bembo

自訴 / SELF-ARTICULATION ROOM 2012 裝置 Installation

屏風前的展示臺上是應天齊 2006 年遞交給中國蕪湖市政府、並經蕪湖人大審議通過的《蕪湖古城改造定位策略》方案書。當時應天齊是該市政府聘請的蕪湖古城改造的總策劃和總顧問，為了保護古城街道與建築遺存，他曾花費大量時間和精力擬定方案書。屏風後播放的是應天齊不斷在口述的影像：「我於 2006 年被我的家鄉中國安徽蕪湖市人民政府聘任為蕪湖古城拆遷改造的總策劃和總顧問，但我親眼所見卻是我從小生活過的古城在推土機碾壓中轟然消失，同時消失的還有我的童年記憶和人生的許多故事。我希望古城能保護下來的改造方案，在審議通過後被擱置一邊。七年過去了，拆遷後的現場仍然是一片廢墟，再也無人問津。」 On the table before the screen is the original "Wuhu Old Town Conservation, Restoration, and Reestablishment Strategy Proposal" presented by Ying Tianqi in 2006 to China's Wuhu municipal government and approved by the local populace. At the time Ying Tianqi was the Senior Consultant and Planner retained by the Wuhu municipality for the Wuhu Old Town Rehabilitation Effort, so to conserve the city's ancient byways and architectural relic treasures, he invested tremendous energies in preparing this Proposal. Behind the screen the broadcast repeats Ying Tianqi explaining in his own words: "In 2006, I was appointed as the Wuhu Old Town Rehabilitation Effort Senior Consultant and Planner for the municipal government in my hometown of Wuhu, in Anhui, China, and yet all I witnessed was the utter demolition of the old town I had been raised in from youth as it disappeared amidst the bulldozer razing, while also witnessing the disappearance of the geography and biography of my childhood memories and its splendid stories. I had envisaged preserving the Old Town during the rehabilitation and redevelopment process, but after review of my proposal the plans were shelved. Now seven years later, the site remains an utter ruins after the demolition, abandoned by humanity as if nobody cares."

中英版導覽手冊 Brochure

序應天齊《世紀遺痕與未來空間》

廢墟上的追問與尋覓

世紀之交中國經濟的持續增長，帶來了城市化進程的急速發展，中國大陸一時間成為全世界最大的拆遷現場和建築工地。建築在中國特殊的政治語境中，不僅是建築，更是權力、利益、文化、思想和空間博弈的場所，因為強拆屢屢發生的居民抗議甚至自焚事件，即可為例。在政府與房地產市場公開合作和商人與官員錢權背後交易的雙重操作之中，城市歷史傳統與文化格局為急功近利的政績追求所摧毀。中華大地不僅因為數不清的高樓大廈需要修建而成為拆遷的廢墟，而且因為原有城市環境、建築形態及生活習俗的破壞而成為文化的廢墟。熟知的城市很快變得陌生，昔日家園一下不知去向，只有揮之不去、難以忘卻的歷史記憶還保留在文人的呼籲、市民的惋惜和藝術家的作品裡。直面這樣的文化廢墟和廢墟文化，應天齊作為一位一直和建築發生關係的畫家、藝術家，其作品更真實也更深刻

王林 Wang Lin

地揭示了中國當代文化所面臨的困境。無論是《西遞村》版畫還是《世紀遺痕》油畫，無論是蕪湖古城改造方案還是原住民生活錄影，還有不少行為藝術作品，他都在提醒人們：我們是誰 ? 我們從哪裡來 ? 我們現在身居何處 ? 我們的回憶、渴望和期待何在 ? 此次出展 2012 年威尼斯建築雙年展的一系列作品，藝術家作出了自己的回答。應天齊根據展覽現場，佈置了數件裝置、影像作品，也展出了一批材料油畫。其裝置作品或用方塊化集成方式，以象徵千篇一律的中國城市建設；或用誇張手法放大現成品，以強化對歷史文化的殘存記憶，或對環境現場進行異化處理，以揭示專制文化政治的真實。其影像作品則不僅記錄了創作過程，以打破藝術結果的沉默，讓觀眾從「藝術是什麼」介入到「藝術做什麼」的體會，而且以不動聲色的案例紀實敘事方式，讓異地異國的觀眾感受日常生活和普通人自身的人文生態和存在價值，在歷史與現實的對比中反省中國的現代化進程。作者在繪畫作品中所表現出來的悲愴、祭奠與緬懷心情，同樣籠罩在其他作品中。中國正在不可避免、不可逆轉的走向現代化，但在此一過程中，中國人和中國文化何以能夠「在否定中保持住自己」（黑格爾語），這是一個嚴重的問題。而問題意識乃是藝術家切入當代的關鍵，也是與他人交流的基礎。正是以這樣的想法來到威尼斯，應天齊不會辜負前來參觀的每一個人。

2012 年 4 月 6 日中國重慶黃桷坪桃花山側

Preface to the Ying Tianqi Contemporary Art Exhibition

Geosemiotic Inquiry Exploring Amidst the Labyrinthine Ruins

Wang Lin

As the Chinese economy has continued its unprecedented streak of impressive growth through the start of this new century, bringing with it accelerated urbanization, China has become the world's largest scene of site demolition and redevelopment. Architecture has long been a critical mediator in the geosemiotics of Chinese governance, affecting not only the design of structures, but as evincing the evolving conceptions of rights, interests, culture, perspective, and space in the grand social lottery, and naturally, there have been no shortages of examples throughout history of popular resistance to such changes in the physical and cultural geography wrought by exercise of eminent domain, with instances of self-immolation, for example. As the public authorities work to cooperate with private sector real estate developers, and as rumors abound of businessmen and officials engaging in behind the scenes public integrity violations arising from their duplicitous commingling of public authority and private capital, the traditional urban landscape heritage and wellsprings of cultural continuity are critically imperiled by the concomitant pressures of governance efficacy measured by the metrics of development. The Chinese landscape has been inextricably altered through the amputation of untold numbers of skyscraper projects built atop the ruins of a long history destroyed so the new buildings could arise, but as a result of the original urban dynamics, these modern buildings reflect a contorted alienation of customary lifestyles and culture left in the ruins. That long familiar urban culture has become alien, and the neighborhoods of our youths have disappeared to whereabouts unknown, lingering about, as the irrepressible memories remain but remnants of consciousness among the cognoscenti, reduced to fragmentary representation in the citizen's nostalgic reminiscence and in the creative works of artists. As we confront the face of this vast cultural wasteland and wasted culture, Ying Tianqi has been a faithful fighter along the way deploying prodigious talents as a painter and artist, to engage architecture intimately, through works which exquisitely capture the perplexing pangs of this pervasive growth and change in contemporary Chinese culture. Whether in the oil painting works, Xi Di Village, or Traces of Centuries, or the redevelopment of the old city of Wuhu, or capturing the daily lives of the original inhabitants, or in performance arts displays, his innovation challenges us to consider: Who are we? Where have we come from? Where are we now? and Where are our memories, desires and aspirations leading us? In this special exhibition from the 2012 Venice International Architecture Biennale, the artist provides an inspired vision in answer to these questions. Ying Tianqi designed the numerous installations for the space of this exhibition to conform to the Biennale requirements, including audiovisual presentations, and a series of mixed media oil paintings. Among the installations or geometrical presentations, one senses the characteristic rhythm of Chinese urban development; or through a kaleidoscopic magnification to enlarge the works, as a means of highlighting recollection of the fading memories of historical culture, or through alienation of the routine order of the installation site, to evoke a profound awareness of the rigidity of existing authoritarian cultural politics. The audiovisual works do not only faithfully preserve the trajectory of the creative processes, providing narration for

the otherwise silenced voice of the inspired artistic spirit, but also permit viewers to engage in progressing from an inquiry into "what is art" to an understanding of "what do the arts do", through the solicitude of the quiet documentary narrative, as an alien land in an alien nation permits the viewers to encounter the daily living of the common man and their cultural existence and ineffable value, amidst the historical continuity and fragmented reality, revealing the complex dialogue and dialectics affecting the process of Chinese modernization. The artist's paintings capture a moving sense of surrender, homage, and reminiscence, which thoroughly invade all of the other works also. China is steadfastly and unswervingly committed to an unavoidable path to modernization, but in this process, the Chinese peoples and their cultures must not forget Hegel's challenge to recall that "It is a matter of perfect indifference where a thing originated; the only question is: "Is it true in and for itself?", as a critical mandate indeed. And it is through awareness of this profound question that the artist encounters the modernity predicament, searching for the elusive common ground of interconnection amidst the labyrinthian evolution affecting us all. It is precisely in this spirit that the exhibition appears at Venice, and these inspired works of Ying Tianqi will no doubt impress this upon every visitor to encounter them, and encounter him.

April 6, 2012 Atop the face of Mount Taohua, Huangjueping, Chongqing, China

第 55 屆威尼斯藝術雙年展參展作品

涅槃 Nirvana 122×188cm 2011 綜合媒材 Mixed media on wooden plate

本博宮殿 1 號展廳 / Hall 1, Palazzo Bembo

囚 / Imprisoned 794×270×416 cm 2012 裝置 : 蕪湖古城拆遷現場廢棄物、殘磚、鐵籠、電視 Installation: Wuhu Old Town demolition desposal, debris, metal cages, and TV

2000-2001 世紀之交，《砸碎黑色．零點行為》 2000-2001 Zero O'clock Work: Breaking the Black

應天齊 X 全球藝術事務基金會

應天齊：我們從哪裡來 ? 我們又將往何處去 ? 採訪時間 / 2012 年 7 月 13 日受訪者 / 應天齊訪問者 / 薇拉芮雅．愛可法麗 ( Valeria Iacovelli )

Valeria Iacovelli 薇拉芮雅．愛可法麗 ( 以下簡稱 V)：你的作品連續兩年在充滿歷史文化遺跡的威尼斯雙年展展出，你認為我們應該如何處理文化遺產，

薇拉芮雅．愛可法麗 Valeria Iacovelli

我們從文化遺產中學到什麼 ?

應天齊 ( 以下簡稱應 )：非常榮幸能連續參加兩次威尼斯雙年展，在充滿歷史文化遺跡的威尼斯漫步，會感覺到歷史離我們非常遙遠又非常的近。歷史文化遺產是人類的共同的財富，這樣的財富並非完全是物質的，更多是精神的，是通過物質而感知的精神力量。如果印象派畫家高更關於「我們從哪裡來，我們是誰，我們往哪裡去」的哲學命題在今天還顯得珍貴的話，應當是我們今天對待文化遺產的態度和我們學習的方法。

V：你的作品往往再現了「舊建築的牆」──這也是威尼斯的典型景觀。你為什麼覺得這些舊建築很有意思呢 ?

應：如果我們覺得需要去觸摸歷史的話無非從兩個途徑，一個是書本、一個是實物。雖然同樣是歷史文物，但存在於博物館櫥櫃裡的實物和存在於社會現實生活裡的實物有很大的不同，前者是死的文物，後者是活著的實物，於是我選擇了古代建築，人們還在使用著的古代建築包含著更多的人文資訊，也包含著情感。我從整棟的建築開始我的探索（如早期的【西遞村系列】版畫），到建築的局部構件（如《徽州之夢》），直到現在將目

光聚焦於建築物的殘存局部牆壁（如《世紀遺痕》）。是一種從宏觀到微

水、電腦、電視，讓我們不願意再回到地面，我們完全忘了我們的原來，

觀的觀察過程和認識過程，結果我的思維顯得更加寬廣了。

也不知道應當走向何處！我們囚禁了自身以及我們的精神家園。

V：這次展覽名稱叫《世紀遺痕》。這個標題吸引我們去理解時間的流逝，

V：你曾說，1985 年聽了勞森伯格的演講後，他就對你有重大的影響。他對

並點出一個事實──人們無法直接觀察時間，只有一些徵象能告訴我們，例

你的創作有什麼樣的影響呢 ? 是否還有其他藝術家或特殊事件影響你 ?

如，當我們年紀漸長，我們可以觀察這些徵兆，而同樣地在建築上也有例子，像許多建築都毀壞了，只剩下某幾棟大樓或歷史遺跡還留存著。西方人認為時間是一條直線。但還是有其他的可能性，例如有人覺得時間線是圓環狀的。在你的存在經驗中，或對單一個人的存在經驗中，你如何理解時間 ?

應：上世紀 1985 年勞森伯格到中國舉辦展覽，那時，中國的藝術界並不知道什麼是當代藝術。勞氏的展覽和演講影響了中國一代熱愛藝術的青年，他對我的影響主要在於使我明白了藝術本身的任務是什麼，藝術的可能性在哪兒。奧地利的心理學家佛洛依德的學說也曾影響我對創造力的重

應：時間既是直線的，也是圓環狀的，當我們局部地看某一段時間，也許

新認識，之後還有西班牙的塔皮埃斯，德國的基弗爾，他們的思想和藝術

它是直線的，但從更廣闊的時間概念來看，它可能是圓環狀的周而復始的，

都曾影響著我。

每一段時間的結束即意味著新的一段時間的開始。此次我帶到威尼斯來的展覽，在空間佈局上也試圖體現對時間的認識，從第一展室《囚》的裝置到第五展室空無一物的《無極》體現時間在迴圈著運動著。《世紀遺痕》包含了空間、時間的緯度和物質的緯度。

V：你認為「全球化」對中國社會而言，有什麼影響 ? 你會不會覺得全球化對理論概念，以及對空間的實際運用上，已經發生影響了 ? 這是否也對你的創作有所衝擊 ?

應：「全球化」對曾經封閉的中國而言，曾經產生了巨大的影響，這種影響從人文哲學層面直接滲透到中國人的日常生活之中，也影響了我的創作。上世紀八十年代中期，我還完全沉浸在地域化的人文思考中，只是通過中國一個古老的村落「西遞村」去想中國自己的事，當我發現這樣局限的思考並無濟於事，我竟然得了抑鬱症。而今天的《世紀遺痕》的思考是一個超出中國地域的思考，其中包含了對人類未來命運的思考。

V：「機會」這個概念，在你的創作中是否扮演了什麼角色 ? 我又想到了勞森伯格，或那些鐵籠子。你常用的材質或意外碰撞到的元素，如何走進你的作品中 ?

應：這一點我很難說清，「機會」應當是一種靈感的爆發，但我會遵循視覺藝術應通過視覺傳達觀念這一基本法則。當靈感降臨，材質或意外碰撞到的元素會自己走進你的作品。

V：你的作品經常用黑色。例如【西遞村系列】的版畫，之後這版畫的表面，演變成一些實際能觸及的形式，例如你砸碎玻璃，變成《砸碎黑色》行為藝術的一部份，而這個展覽有一個黑色的房間。你和黑色的關係，好像隨著時間而有所進展，「黑色」對你的意義是什麼 ?

應：黑色是中國很重要的顏色，在中國的哲學裡認為其中有「道」，「道」卻是無法言說的，包含了一切所有，充滿著神秘的非物質的精神思想。黑

V：本次展覽的其中一件作品是巨大的金屬籠子，幾乎就像小型監獄一樣。

色元素在我的視覺運用中更多的是一種空間的概念，在平面的版畫裡或者

這些籠子是針對什麼而設計 ? 你是否覺得，我們建築出來的空間形狀，和個

油畫裡並不是一塊顏色的陪襯，應當包含更多的意義，我以為在「神秘」

人的自由，是有關係的 ?

和「空間」之中會呈現出無限的可能，因而我對黑色的探究和推進會不斷向前發展。

應：是的，我針對中國城市化建設千篇一律的現代化高樓設計了這個巨大的金屬籠子。確實如監獄一般，囚禁的意義是對我們自身現實的反映，我們不斷興建的現代化的高樓大廈難道沒有囚禁我們自身嗎 ? ！人類從遠古開始的居住方式首先是穴居（在山洞裡住），之後結茅曠野，再之後選擇用石頭把自己圍起來，比如建造房舍、城廓，甚至將一個國家用石頭把自己圍起來（中國的長城）。人類也從赤身裸露進化到穿衣，甚至穿上鋼鐵

V：我看了《砸碎黑色》的記錄照片，讓我想到義大利藝術家米開朗基羅皮絲托列托，他在 2009 年威尼斯雙年展中，公開砸碎了許多鏡子。後來他自我評論道，這樣的行為有著創造新世界的涵義，藉此邀請觀者展開新的反思。那麼你是怎麼看你的砸碎行為呢 ? 你認為砸碎是一種創造，還是破壞 ?

的衣服以防範他人進攻。我們今天居住在現代化的樓房裡，我們的屋頂是

應：我並不知曉義大利藝術家米開朗基羅皮絲托列托在 2009 年的這件作

和上一層的居住者共用，牆壁是和另一戶共用，地面和樓下的居住者共用，

品。我是在 11 年前即 2000 年—2001 年世紀末零點完成《砸碎黑色》這

對面居住的人我們可能完全不認識，從不交往，現代化的通訊、煤氣、熱

一行為作品。我以為這既是一種破壞又是一種創造，當世紀末零點鐘聲敲

應天齊與策展人之一卡琳．德容 Ying Tianqi and curator Karlyn De Jongh

響之際，我用木槌砸碎的並非是玻璃，砸碎的是黑色，而這一特定的黑色

在已經被聯合國定為世界文化遺產，「節孝祠」是一個廟宇，這個廟宇是

包含了上個世紀中國或者包含著世界在內的很多無法言說而又應當掙脫的

用來專門供奉那些中國古代的貞女們的，將來在展出時會將這塊磚的原件

沉重和羈絆，在此刻得以粉碎，而裂開之後又預示著無限的可能！因此有

同時陳列，可以讓觀眾看得更加清楚。

媒體在現場採訪我，我由衷地迸發出一句：「過去的一百年在我的槌子下過去了，我願降臨的一百年無限光明！」

V：廢墟經過了時間的浮沉，而留存下來的，但也有可能消失。你在展覽中呈現了《磚魂》，將一大片的牆壁以這個方式再現。你為什麼認為需要將一片真正的牆帶進展覽呢 ?

應：那不是一大片牆壁，而是一塊有著三百多年歷史的古建築殘磚，原磚尺寸只有 13.5×4.2×14cm，我複製放大之後變成為 310×96×322cm，為了複製這塊殘磚，我在中國安徽古城拆遷現場的廢墟之上，收集了許多經歷了幾百年歷史，包含著普通人生活記憶的磚塊，然後用機器把它們碾成粉末，混合到材料中，做成這塊巨大的殘磚。把原來的小磚變大，是一種視覺上的考慮，它會給人更大的震撼，另外，在展出現場將有 DV 播放收集磚塊製作磚塊的全過程。

V：有關《磚魂》－我不懂磚魂上的刻字。請跟我們解釋那是什麼意思、為什麼用那些字做成作品 ? 這件作品的質地很有趣，非常大，逼使觀者要退後

關於訪問者

一步才能看到全貌。針對這件作品，有沒有最好的觀看方式呢 ?

薇拉芮雅• 愛可法麗 (Valeria Iacovelli) 從義大利米蘭的博科尼大學畢業後，移居倫敦 5 年，獲倫敦大學學院哲學碩士，於倫敦藝術圈與藝術家、畫廊等機構一起工作。隨後愛可法麗回到威尼斯繼續當代藝術的策展工作，自 2011 年起於全球藝術事務基金會擔任助理策展人。

應：中國古代建造房屋大部分使用磚和木材，在建造完成時會在某幾塊磚上留下這棟建築的名稱，目前這塊磚上留下了「西遞節孝祠」五個字，可以證明這塊磚原來的出處。「西遞」是中國安徽南部一個村落的名字，現

Ying Tianqi X Global Art Affairs Foundation

Ying Tianqi: "From Whence We Came, Who We Are, and Where We Are Going?" Date: July 13, 2012 Interviewee: Ying Tianqi Interviewer: Valeria Iacovelli

Valeria Iacovelli (V): For the second year in a row your works are exhibited in Venice, a place full of history and cultural heritage. How do you think man should deal with his cultural heritage, what are the things he learn from it?

Ying Tianqi (Y): It is a tremendous privilege and honor to be able to participate in the Venice Biennale two years in a row, to stroll along the ancient historic byways and traverse the cultured canals of Venice imbibing the rich heritage, where one feels the history is so distant and yet so near. Historical cultural properties are the common wealth of humanity, and this form of prosperity is not merely a material one, but profoundly spiritual also, as we experience and engage the spiritual energy through interaction with the material world. If the impressionist Paul Gauguin's aesthetic philosophy of pursuing "from whence we came, who we are, and where we are going" remains as precious and treasured as ever in this day, then we must maintain this steadfast spirit today when we approach our global cultural heritage and multicultural learning and reflection. V: Your work often represents the walls of old buildings â&#x20AC;&#x201C; also a typical sight in Venice. Why do you find these old structures interesting?

Y: If we insist on connecting and touching our histories, then there are two primary paths of such engagement, through books, or by involvement with the material world. Although both may be rightly deemed to be historical relics, holdings in museum collections pristinely displayed in cases, and the material world existing among us in our everyday lives, remain quite distinct, with the former being conceived of us as largely inanimate relics, while the latter remain a living materiality, so it is that I have selected ancient architecture, the traditional architecture still lived in by families today and alive in communities to convey the profound humanist message, and relay their deeply emotive sense.

V: Your exhibition is called Traces of Centuries. This title draws attention to the passing of time and to the fact that time cannot be observed directly, but only through signs. For example, we can observe these signs on ourselves as we get older, but also on architecture, with some buildings and monuments that survive while others are destroyed. In the West, time is predominantly thought of as a straight line. But other readings are possible as well, for instance the idea that time is circular. How do you understand time in relation to your own existence and in general to the existence of single individuals?

Y: The flow of time seems so forthright like a straight line, and yet so rhythmically circuitous, so when we look at a period of time in close perspective it seems to form a line, and yet when we back up and envision the passage of time in a broader historical perspective, we can see circular ripples echoing back and forth across the lake of time, with the death of each ripple leading to rebirth of a new link in the chain. In this exhibition in Venice I have brought a spatial installation evoking an engagement with the flow of time, from the installation, Imprisoned, in the first exhibition area, to the fifth area with its empty Infinity, expressing the reverberating transcourse of time. Traces of Centuries evokes the latitudinal involvement of space-time, as well as of materiality. V: What do you think of the effects of globalization on Chinese society? Do you think globalization has had an effect on the theoretical notion and on the practical use of space? Is this something that has had an impact on your work?

Y: Globalization has meant precipitous and momentous evolutions for the once encapsulated China, with far reaching influences, which pervasively affect us as sponges from our human philosophical levels to the daily lives of ordinary everyday Chinese, and my artistic creation is not free from such processes either.

My work has evolved from the entire edifice I began to explore through my early Xidi Village Series printmaking, to the structural motifs in Dreams in Huizhou, until my recent focus on architectural ruins through wall remnants in Traces of Centuries.

From the latter part of the 80s in the previous century, when I had not yet completely immersed in my appreciation for local humanist considerations, having only considered one ancient village in China, the Xidi Village, as evoking our Chinese story, while evolving from such a hopelessly myopic vision, I had unbelievably become genuinely depressed.

The cognitive evolution of my artistic inspiration has progressed from macro to micro observations, as less has become profoundly more, and my thinking has thus expanded.

But today with my Traces of Centuries my thoughts have emerged a post-Chinese mode of thinking beyond our local bounds, to consider the entire destiny of all humanity together.

V: One of your pieces consists of a large-scale structure made of metal cages, almost like tiny prisons. Who are these cages for? Do you feel that there is a relationship between the way we give shape to our built space and individual freedom?

Y: That's correct, I was focused on contemporary Chinese urban redevelopment and its persistently uniform expression through the modern skyrise buildings, when I envisioned and created this massive metal cage. It is indeed reminiscent of a prison, for imprisonment signifies our sense of reflection on our lives and our reality today, surely you agree that our incessant penchant for modern high-rise skyscrapers has imprisoned our bodies, don't you think? The evolution of human settlement in terms of our residential styles has progressed from the ancient cave inhabitation mode (such as living in mountain caves), to the pastoral tents of the plains, to enclosing and encapsulating our bounds with solid, sturdy stones, from which we built homes and cobblestone walkways, until entire peoples deployed stones to completely encapsulate themselves with the Great Wall of China. Humanity also evolved from complete unabashed nudity to wearing clothes, and this too progressed to wearing cloth of steel designed to protect us against invasion from others. Today we reside in modern apartment buildings, with a ceiling that is shared as the floor for our neighbors above, and with walls shared with our adjacent neighbors, and with a floor shared with our neighbor below's ceiling, and we may have never even met our neighbor across the hall, never interacted with them, whilst our modern communications, natural gas, hot water, computers, and TV ensure that we are unwilling to return to the surface of the soil, having utterly abandoned and forgotten from whence we came, and where we ought to be going! We have imprisoned ourselves and the homelands of our spirit. V: You once stated that Rauschenberg had a great influence on you, after you attended one of his lectures in 1985. What was the impact he had on your work? Are there other artists or special events that influenced you?

Y: During the previous century in 1985, Robert Rauschenberg held a series of exhibitions throughout China, and at that time, the Chinese artistic world had no sense of the contemporary arts. His exhibition and lectures sparked and influenced the budding youth of China

with an inspired love for the arts, instilling in me personally a deep appreciation for the important mission of art itself, and for the direction of the artistic possibility. The theories of the Austrian psychologist Freud had also influenced a new recognition of my creative endeavors, after which the thought and art of Spain's TĂ pies, and Germany's Kiefer have influenced me as well. V: Does the notion of "chance" play any role in your work? Again, I am thinking of Rauschenberg, or Cage, and of their ability to bring found materials or accidental elements into their works.

Y: This is perhaps somewhat more oblique to explain, Opportunity, refers to the instantaneous combustion of the spirit to inspiration, and yet I work to deploy the visual arts to transmit concepts visually as my primary mode of expression. When inspiration erupts, the material or incidental involvement of the elements of the work typically find their own serendipitous paths into your work. V: Black is often present in your works: for instance, as printed surfaces in your Xidi Village Series; later it takes the form of something more physical and tangible, i.e. a glass surface that you smash as part of the performance piece Breaking the Black. In this exhibition we an entirely black room.Your relation to black seems to have evolved over the years. What does "black" mean for you?

Y: Noir is a profoundly authentic Chinese color, as it evokes the ancient traditional philosophic penchant for The Way (the Tao), and this ethereal Way cannot be expressed in words alone, for it embraces everything, expressing an ineffable nonmaterial spiritual cognition. The noir elements of my visual experimentation are used to evoke the bounds of space, whether in my two dimensional planar printmaking or painting the noir is not merely a foil to the colors, but embraces much greater signification, as I endeavor to express the ethereal infinite possibilities amidst the "mystery" and "space", such that my exploration of blackness continually redeploys to new experimentation and evolution. V: As as I saw the images of your performance Breaking the Black, I was reminded of the performance given by Michelangelo Pistoletto during the 2009 Venice Biennale, in which he publicly smashed a series of mirrors. His act, as his later commented, had the meaning of creating new worlds by inviting the viewers to new reflections. How do you see your act of

breaking? Do you think of it this breaking as an act of creation or as an act of destruction?

Y: Unfortunately I am not familiar with the 2009 work of the Italian artist, Michelangelo Pistoletto. My performance art work, Breaking the Black, was completed 11 years ago between 2000 and 2001 at the start of the new century. I envision this to be both an act of destruction as well as one of creation, as the century waves goodbye to the previous millennium and welcomes the new; so I shattered not the glass, but "noir", with the midnight noir shards, to embody a sense of that blackness so expressive of the last century in China as well as for the entire world, which words cannot adequately convey to explain but from which whose fetters we must not fear liberation, so they were intentionally reduced to shards, which in their multivaried mosaic reveal the limitless potential for our reconstruction and renaissance amidst the ruins around us!

About the Interviewer

Valeria Iacovelli is the Associate Curator of Global Art Affairs since 2011. She first studied in Bocconi University (Milan, Italy) and then moved to London, where she lived for 5 years. While in London she gained a Master's Degree in Philosophy from the University College of London and then worked as an independent professional with artists, galleries and institutions on the London art scene. Later Iacovelli moved back to Venice, continuing her work and research in contemporary art and curation.

So when the media enquired of me at the time, I burst out with quite profound inspiration replying: "In the past century what my hammer has ruined, in the new century my hands will reshape with limitless hope!" ( 右頁 Right )

V: The ruin is something that survived time, but also something that always runs the risk of disappearing. In this exhibition you present a piece called Brick Soul which represents a giant piece of wall. Why did you feel the need to bring a physical wall inside an exhibition?

本博宮殿 2 號展廳 / Hall 2, Palazzo Bembo

Y: That is not a massive wall, but a relic of a wall from an old temple building in an ancient village with three hundred years history, which originally measured 13.5×4.2×14cm, so after replication and magnification I transformed it into a massive 310×96×322cm, and to replicate this brick, I personally went to the demolition site in the ancient city in China's Anhui Province, amidst the ruins, to collect these fragments of our centuries of history, which recall the lives of ordinary residents, then used equipment and machinery to pulverize the relics into powder, integrating the historic into the media, resulting in this massive brick relic.

Installation: FRP, old brick powder, and steel racks

So the original brick has been enlarged, as a visual affect, giving the viewer a profound sense of amazement, while the installation also displays a DV broadcast relating the entire making process and the evolution of this work V: About Brick Soul: -- Brick Soul has an inscription, but I can't understand it. Could you tell me what it means and why it is there? -- The piece has an interesting texture but also a monumental size, that forces the viewer to step back to take it all in. What is the best way to experience your piece?

Y: Ancient Chinese architecture predominantly relied on brick and wood construction, and upon completion of a project several bricks would be embossed with the name of the building, so this brick bears the inscription for the "Xidi Shrine of Virtue and Piety", explaining the original location of this brick. Xidi is a village in southern Anhui Province in China, which has been designated by the United Nations as a world cultural heritage site, and the Shrine of Virtue and Piety was a temple, which was used to honor the virtuous daughters of ancient China for their traditional virtues of chastity, so in future displays this original brick will also be exhibited together, affording guests a greater appreciation for all of the historical significance.

磚魂 / Brick Soul 310×96×322cm

2012

裝置 : 玻璃鋼、古建築磚粉、鋼架

右圖巨型古磚裝置是 1990 年代初，中國安徽省西遞村履福堂胡福基老先生贈送給藝術家應天齊的古建殘磚。磚側有「西遞節孝祠」五字，是中國古代為甘心守寡和孝敬公婆的婦女專門修建的建築用磚。發現於應天齊創作之地中國安徽西遞村，其建築已毀，這是唯一僅存的殘磚。二十多年過去了，斯人已逝，殘磚猶存。應天齊親自複製放大，以誌祭奠。（原磚 13.5×4.2×14cm，複製放大後

古建殘磚原件 The original historic remnant

310×96×322cm）

The prototype of the massive artwork on the right was generously bestowed by Hu Fugi, heir of Xidi Hu clan from Lu Futang, a scholarly Xidi mansion built during the reign of Emperor Kangxi (17th-18th century A.D.) in Anhui Province, as a gift of historic remnants to artist Ying Tianqi in the early 90s. The brick is emblazoned with the traditional Mandarin Han characters for "Xidi Shrine of Virtue and Piety", a brick used in ancient China to honor widows who chose not to remarry and particularly well respected daughters-in-law honoring their contributions to the family. While that bestowal took place more than two decades ago, and the gracious benefactor has now passed away, the remnant remains. Artist Ying Tianqi has personally reproduced this ancient memory in a massive expression through this piece, evincing a profound cultural respect for forebears. (The original historic remnant measured 13.5×4.2×14cm, while the reproduction is enlarged to 310×96×322cm)

壓磚：應天齊將廢墟中撿來的具有數百年歷史的殘磚運到深圳，在深圳華僑城工業園區，用工業軋路機將其壓成磚粉 R a z i n g t h e b r i c k r e l i c s : Y i n g T i a n qi transported the historic relics and remnants, which he collected from ruins, to Shenzehn Industrial Zone, and restored them to dust using industrial pavement rolling machines.

塑磚：應天齊將碾碎的磚粉混合到泥土裡，根據一塊刻有「西遞節孝祠」文字的古磚原件放大複製成巨型殘磚。 Shaping and forming: Ying Tianqi admixed the dust with clay soils to reproduce the original brick which was emblazoned with the traditional Mandarin Han characters for "Xidi Shrine of Virtue and Piety", in a massive expression.

斯

人

已

逝

，

殘

磚

猶

存

。

磚魂 / Brick Soul 2012 錄像 Video

應天齊從中國安徽蕪湖古城拆遷現場，搜尋了大量的古建殘磚。他將這些具有數百年以上歷史的、包含著普通人生活記憶的、被廢棄的殘磚，用現代工業的軋路機碾成粉末，混合到泥土裡，複製成一塊巨大的殘磚。

Ying Tianqi searched among the ruins at the site of the demolition of the ancient city of Wuhu in China's Anhui Province, securing a large quantity of historic relics and remnants. He has revitalized these pieces of our history reflecting centuries of continuity and civilization, including the fragmentary memories of ordinary lifestyles, amidst the abandoned remnants, and deployed modern industrial pavement rolling machines to restore them to the dust from which they arose, admixing with clay soils, to produce this massive unitary brick remnant. The original remnant was moulded with the inscription, "Xidi Shrine of Virtue and Piety", a brick used in ancient China to honor widows who chose not to remarry and particularly well respected daughters-in-law honoring their contributions to the family. The remnant was recovered from abandonment and destruction in the site of many of Ying Tianqi's creative works in China's Anhui Province in Xidi Village, where the original structure had already been demolished, and the solitary surviving remnant was this single brick relic. 71

王林 X 庫藝術

策展人王林：歷史情結是人類擺脫不開的宿命

庫藝術 33 期採訪時間 / 2013 年 1 月 25 日下午 5 點，王林在四川接受電話訪問受訪者 / 王林採訪者 / 代冀龍

庫藝術 ( 以下簡稱 KU)：作為應天齊參加威尼斯建築雙年展的策展人，同時也是他的老同學，您如何看待應天齊的藝術創作 ? 他又為何成為第一位被邀請參加建築雙年展的華人藝術家 ?

王林 ( 以下簡稱 W)：應天齊的藝術創作經歷了三個階段：第一階段創作「西遞村版畫」，在全國引起了很大反響。版畫在中國是官方藝術的核心力量，代表著官方意識形態。應天齊敢於以一種與眾不同甚至是突如其來的形式，將濃重的黑色塊與寫實風格並置，創造了非常有力的視覺呈現方式，這在當時是很突出、很有挑戰性的。如果他停留於此，不會有後來的突破。應天齊有焦慮症，內心始終處在社會環境、歷史文化以及個人經歷三個方面的擠壓之中，他不甘心在某種樣式裡了此終身。所以在第二階段要走出西遞村、走出黑色，開始了一系列包括行為、裝置，甚至是古城改造規劃的創作活動，這讓很多藝術界的朋友難以理解。其實這些活動體現出應天齊對於中國傳統建築文化的深深眷戀：面對建築遺存的破壞，他感到非常焦慮，甚至耐不住性子要去做些超出一個藝術家能力的事情，比如去做保護蕪湖古城的總顧問。他想把自己的願望，變成一種行動，不光是藝術行動，而且是社會行動。所以在這一

階段，我們很難用純粹藝術的觀點去看他，而更多應該從社會學的角度去

合作，把展覽方式確定下來，並開始分別策劃。中國方面，負責應天齊一

看。但那段時間應天齊與社會的接觸和碰撞，對後來的藝術創作產生了很

層樓空間，而荷蘭方面則負責建築師那一層，這樣，在本博宮殿展廳就成

大的影響。

了對比性的展覽關係。

第三階段他又完全回歸藝術，創作了【世紀遺痕】等材料作品，然後再把

這樣做，體現出藝術面對建築、建築面對藝術時，藝術家與建築師之間不

它們擴展為裝置、影像等等。這次在威尼斯建築雙年展，他的這組作品佔

同視角的反應和回應。研討會上，邀請了中國館策展人方振寧，以及各國

用了本博宮殿一層樓的空間，並與樓上 60 多位來自世界各國的建築師作

策展人、建築師等一起討論建築和藝術的關係，以及今天中國建築及其環

品形成了強烈對比，收到了很好的效果。

境對中國人生活、中國歷史所帶來的影響。

通過梳理我們可以發現，應天齊的藝術創作一直都跟建築發生關係，這也是建築雙年展邀請他參加的重要原因。他們很看重應天齊這樣一種跨界、跨領域的創作，認為他作品表現出的非常獨特、厚重的力量。

KU：應天齊個展劃分為七個空間，共十三件作品，能不能談談策展的整體思路 ?

W：現在一個藝術家展示作品，要考慮兩方面問題：一個是展覽思路，另一個就是展示環境。到威尼斯本博宮考查後，考慮較多的是怎麼根據這 7

KU：這次展覽以應天齊個展與建築師群展相對比的展覽方式，為何會有這樣的安排呢 ?

個房間，將應天齊的創作呈現為具有整體性的作品。根據建築空間模型，我們做了認真的討論，如遊人的進入、展覽的節奏等

W：2011 年威尼斯雙年展，應天齊參加了我策劃的「碎裂的文化 = 今天的

等。也就是如何將作品根據展示空間及展覽構思，組織成為新的展示方式

人 ?」平行展，荷蘭全球藝術事務基金會在展覽上看中了應天齊的作品，

與體驗過程。比方說那件放大數十倍的西遞節孝祠磚，就考慮到要讓本博

希望他能夠參加建築雙年展。之後，便與位在臺灣和中國的亞洲藝術中心

宮建築與中國建築符號形成對比，同時，也要讓參觀者感受到中國古建築

的宏偉及其文化內涵。讓觀眾能夠通過作品，多方面體會建築和藝術的關係、藝術家對於建築的感受和思考，以及建築文化與藝術作品的連接點怎樣激發了一個藝術家的創作活力。

KU：個展名為《世紀遺痕與未來空間》，以一座古城拆毀作為背景，體現了在城市化進程中似乎是不可避免的破壞性，您認為應天齊對這種歷史遺痕關注的意義是什麼 ?

W：儘管城市化不可避免，但對建築歷史的破壞卻並非完全不可能。對歷史遺存毫無障礙的破壞，是急功近利經濟文化政策導致的結果。我們對於歷史文化遺產的保護做得太差，這一點有目共睹。

KU：作為策展人，您認為展覽現場的效果與您的預期是否一致 ?

W：整體上還是很不錯的。客觀地說，展示空間還有些局促，如果有更大空間的話，某些部分還可以做得更加壯觀。作品與本博宮古建築環境產生對比，帶來了一些意想不到的效果。在當年拉菲爾畫畫的地方，展示當代藝術作品，空間與作品之間有一種奇妙的溝通感。

KU：應天齊從版畫出發，一直到今天側重於現成品裝置等更具直接表達力的藝術形式，您如何看待他的轉型 ?

W：對於應天齊的轉變，我覺得其連續性可能比差異性還重要。一方面，他的創作一直跟建築有關，從版畫到綜合材料，再到影像與裝置，其題材

應天齊對此感受尤為深刻，他的老家安徽是中國傳統民居最發達、形態最

內容都與建築有很大的關係。另一方面，其作品深沉、厚重，與他的心理

豐富的地區。徽派建築在歷史上所達到的高度以及它現在所面臨的全面破

狀態、生活經歷有很大關係。我們這代人都經歷過沉重甚至是苦難的歷史，

壞，給應天齊造成了非常大的衝擊。所以他非常關注國內外的歷史遺存，

儘管應天齊沒有直接去表現這些東西，但這些經歷鑄就了他的創作思維和

在作品中表現出惋惜、憤慨、焦慮和無奈等等情緒。一方面因為他是一位

創作方式。藝術樣式固然重要，但一位藝術家如何以一種具有獨特性的方

能夠沉澱的藝術家，另一方面也是由於他有更多設身處地的感受。

式去呈現問題和揭示問題，並使問題在作品中成為感受並直接呈現於現

歷史情結是人類擺脫不開的宿命，即使是最反傳統的未來派，其創作也能

場，這才是藝術創作最動人心魄的地方。

找到曆史的淵源。應天齊的作品，正是因為有深重的歷史意識、歷史情結，才能比很多同類作品顯得更厚重更沉穩更有份量。

( 右頁 Right ) 碧綠 Dark Green 122×122cm 2012 綜合媒材 Mixed media on wooden plate

Wang Lin X Ku Art

Curator Wang Lin: Historical Connections Are Unavoidable Aspects of Human History KU Art, Volume 33 Date: January 25, 2013 17:00 Wang Lin in Sichuan through Tele-conversation Interviewee: Wang Lin Interviewer: Dai Jilong

Ku Art (KU): As the Curator for the Ying Tianqi Exhibition at the Venice Biennale, and as his longtime classmate, how do you feel about the creative accomplishment of Ying Tianqi's works? How is it that he became the first Chinese artist invited to display at the Venice Biennale?

Wang Lin (W): Ying Tianqi's creative repertoire has emerged through three progressive phases: initially he created the Xidi Village Blockprint Series, leading to accolades throughout China. Block printing lies at the core of official artwork in China, evincing a strong sense of an official imprimatur. Ying Tianqi was able to express himself in an uncommon and quite remarkably new manner, using heavy black cubes and a realist style together, to create a stunning visual realization, which was a breakthrough at the time, and quite an act of challenging the status quo. If he remained at that pinnacle however, his future breakthroughs would not have been achieved. Ying Tianqi suffers from an empathic sense of anxiety, he is an intimate with his social environment, history and culture, all affecting stressors on his personal development, so he does not want to be confined to a limited expression of his talents. In his second phase then he needed to leave the Xidi Village, emerging out of the black, and begin a series of creative activities including behavioral art, installations, and planning for conservation of ancient city relics, all of which seemed quite difficult to explain to his friends in the artistic world. But in reality the entirety of these efforts reflected Ying Tianqi's profound intimacy with traditional Chinese architectural culture: facing the devastation of architectural heritage, he was very concerned, and could not but help to deploy all of his artistic resources, even serving as senior conservation consultant to the Wuhu Ancient City Project. He desired to share his hopes, to enliven a movement, not only an artistic movement, but a profound social movement. For this phase then, we cannot consider his achievements merely in the artistic context, but rather as embedded

within the greater social perspective. But this period of Ying Tianqi's intense collision and concourse with society, helped to deeply direct the momentum and acceleration of his recent artistic creativity. In the third phase of his development, returning to his artistic roots, he created the Traces of Centuries series of media works, expanding their presence to installations, and multimedia expressions. At this year's Venice Biennale, his works filled the first floor of the Palazzo Bembo, and formed an excellent contrast with the architectural works on the floor above from more than 60 of the world's leading architects, generating a fantastic display. Filtering through his repertoire, we can see that Ying Tianqi's works have always shared intimacy with architectural creation, which is precisely the reason why he was invited to exhibit at the prestigious Biennale. They recognize that Ying Tianqi reflects an interdisciplinary, interconnected creativity, and that his works are extremely unique, evoking a profound imprint on the soul. KU: This Biennale featured an individual display of the works of Ying Tianqi in conjunction with a cohort of numerous global architects, presenting an interesting contrast, why do you think this approach was selected for the Exhibition?

W : At the 2011 Venice Biennale, Ying Tianqi participated in planning with my curation of a parallel exhibition entitled "Cracked Culture? -The Quest for Identity in Contemporary Chinese Art?" which caught the attention of the Netherlands Global Art Affairs Foundation for Ying Tianqi's works, and they expressed a desire that he participate in the Biennale. Later, in collaboration with Asia Art Center, in both Taiwan and China, we were able to determine the exhibition approach, and started planning. As for the Chinese side, responsibility lied for the Ying Tianqi floor, while the Dutch side was responsible for the other global architects floor, and thus, the Palazzo Bembo Exhibition displayed a remarkable contrast of individual and group creative expressions. So it is, that the exhibition revealed the architectural dimension of the arts, and the artistic dimension of architecture, as artists interchanged with architects, and we explored the reaction and response of designers from their differing perspectives as artist or architect. During the conference, we invited the Curator of the China

Pavilion Fang Zhenning, along with all the global exhibit Curators, and architects, to a robust discussion about the interface of architecture and the arts, along with their relation to contemporary Chinese architecture and living environments, and their vast impacts on the emerging new Chinese history. KU: Ying Tianqi's solo exhibition was presented in seven spaces, with thirteen works, can you explain the curatorial thought processes behind this presentation?

W : Currently, exhibitions require consideration of two dimensions: one is the curatorial design, and the other one is the exhibition space. After visiting the Palazzo Bembo in Venice, we emphasized use of the seven suites, and how to arrange Ying Tianqi's works in an integrated sense. Then we developed an architectural space model, from which we engaged in serious design discussions, reflecting the actual exhibit needs for ingress and egress, the tone and pace of the flow through the works, etc. Thus we were attempting to optimize the fit between the works and the exhibit space within the context of the exhibition theme, to form a new curatorial accomplishment and a new exhibit experience. For example, with the ten times enlarged Xidi Village heritage brick display, we took into consideration how to account for the Palazzo Bembo style with the traditional Chinese architectural grandeur of the work and its mother culture. Allowing visitors to walk through the work, allowed for a multidimensional experience of the architecture and art as infused, expressing the artist's sense of the architectural experience and cognition, forming a connection between architectural culture and artistic works which can further stimulate new artistic achievements in creative endeavor. KU: The solo exhibition was themed "Traces of Centuries & Future Steps", displayed around the destruction of an ancient village as the backdrop, to experience modernity as inevitably bringing about the destruction of our cultural heritage, do you think that articulates the urgency of the vision of Ying Tianqi to these historical heritage sites for their preservation?

W : Even though urban development and modernism are inevitable in China, we should recognize that it is not necessary that architectural history must all be

destroyed in the process. Utter destruction of historical sites reflects an overreaction to achieving immediate economic and cultural development. Our protection of these cultural and historic sites has been far too little, far too late, as we all can see now.

KU: Ying Tianqi began with block printing, and has continued to largely rely on artistic efforts focusing on concrete expressions such as through installations as reflecting his artistic voice, how do you feel about his artistic

Ying Tianqi especially appreciates these contrasts, as his home province of Anhui enjoys the richest heritage of traditional Chinese homes in the greatest variety. The rich historic accomplishment of the Anhui school of Chinese architecture and the utter destruction they face in the name of modernism, have given Ying Tianqi a tremendous challenge. So he is naturally deeply concerned with domestic and international heritage site preservation, and strives to evoke this sense through his works, along with righteous indignation, deep anxiety, and a sense of helplessness. On the one hand he is an artist able to absorb the environment into his creative soul, and yet on the other hand he also feels constrained by the practical realities.

W : As for Ying Tianqi's evolution as an artist, I think that his continuity may be more substantial than any discontinuity. On the one hand, his creative expressions have always borne some connection with architecture, from blockprinting to mixed media works, through multimedia and installations, through themes which all bear close ties to architecture. On the other hand, the depth and breadth of his works reflect his heartfelt intensity and his life experiences. In this generation we have all lived through profound depths or even miseries, so even if Ying Tianqi did not personally express these aspects, we nevertheless can see how they have affected his creative processes and artistic techniques. But while artistic method is important, the real challenge lies in how the artist achieves an expression of their heart's purest depth through a unique method expressing the issues and their imprints of their concern, and which are felt when enjoying their works directly on site on display.

Historical connections are unavoidable aspects of human history, even among those futurists who oppose tradition de rigueur, one can still note the historical traces leading to their evolution. Ying Tianqi's works, precisely because of their deep historical imprints, and historical connections, are all the more able to express a wider, deeper, stronger relevance than expressions by other artists. KU: As the curator, do you feel the exhibition results met your expectations?

W : Overall the results were very impressive. Subjectively speaking, the artistic display space was slightly limiting, and if we had a greater area for display we could have achieved even more impressive results. The exhibition fit well with the Palazzo Bembo, yielding some unexpectedly satisfying results. In the place where Rafael personally painted frescoes, to display contemporary works, provided a unique sense of historical communication through the ages between the space and the works.

transformation over time?

囚 / Imprisoned 794 x 270 x 416 cm, 2012 裝置 : 蕪湖古城拆遷現場廢棄物、殘磚、鐵籠、電視 Installation: Wuhu Old Town demolition desposal, debris, metal cages, and TV

針對中國城市化建設千篇一律的現代化高樓，應天齊設計了這個巨大的金屬籠子。確實如監獄一般，囚禁的意義是對我們自身現實的反映，藝術家質問：我們不斷興建的現代化的高樓大廈，難道沒有囚禁我們自身嗎 ? 人類從遠古開始，首先是穴居，之後結茅曠野，用石頭把自己圍起來。我們囚禁了自身以及我們的精神家園。鐵籠內部放置 5 台電視，電視中播放的是應天齊記錄的 2007 年蕪湖古城拆遷之前普通人的日常生活。

To reflect the banal skyscrapers as by-products of urban development in contemporary China, Ying Tianqi envisioned and created this massive metal cage. It is indeed reminiscent of a prison, for "imprisonment" signifies our reflection on our daily lives and reality. The artist questions: Has our incessant penchant for modern high-rise skyscrapers imprisoned ourselves? The evolution of human settlement has progressed from the ancient cave inhabitation to the pastoral tents of the plains, to enclosing and encapsulating our bounds with solid, sturdy stones. We have imprisoned ourselves and the homelands of our spirit. In this metal cage there are five televisions, playing repeatedly the ordinary life of Wuhu Old Town inhabitants. The video clips were recorded by Ying Tianqi in 2007, before the place was demolished.

記憶與傷害— 從藝術家應天齊看中國傳統建築

2000 年零點，深圳大學校門口 500 個學生一齊倒計時，等待新年的到來。此時深圳大學教授、著名藝術家應天齊把幾塊塗黑的玻璃用巨大的錘子逐一砸碎—砸碎黑色的行為象徵著藝術家要突破中國缺乏公開性的願望。然後，應天齊用裂紋的樣式刻出了放射形的大型黑色版畫。深刻的回憶和精神的創傷，留在了藝術作品裡，也留在了觀眾心裡。遺棄不掉的悲悼、損失感或者是那些失去記憶的懷古之情—他的作品彌漫著這些意義。格羅莉亞．瓦麗絲 Gloria Vallese 義大利威尼斯藝術學院當代藝術史教授

生於 1949 年安徽省蕪湖市的應天齊，曾進入中央美術學院版畫系學習。版畫是中國重要的繪畫技術，革命時期也曾被作為教育文盲農民的工具。應天齊的藝術力圖深入探索並表達傷痕與記憶。他的藝術作品自優美的【西遞系列】到近些年大膽的藝術活動，而他最近的抽象油畫則使用越來越厚重的材料。西方文化裡保留建築記憶是一種基本的價值訴求，但中國老百姓的民間文化則不然。從革命拒絕農村傳統到文革徹底刪除舊時文化，歷史遺跡變成一片空白。威尼斯建築雙年展本博宮殿裡的展覽展出了應天齊近些年來的作品，像《廢墟之殤》，在碎玻璃螢幕上投影中國蕪湖古城拆遷後的景像，意圖提醒老百姓在不知不覺中返回自己的記憶。

竹簾 Bamboo Curtain 122×244cm 2007 綜合媒材 Mixed media on wooden plate

在錄影作品《自訴》中，藝術家動情、痛苦地描述了 2006 年作者自己的蕪湖古城拆遷改造方案通過蕪湖市人民政府批准卻被擱置一邊的經歷，而古城早已被拆得一片狼藉。放有裝置作品《囚》的展館，很多鋼網組成了巨大的囚籠，裡面裝滿的全是古城拆遷的棄物—鏡子、櫃子、地毯、小機器、室內外各種用品—任意放置的黑白電視機螢幕上，放映的是拆遷前胡同居民的日常生活，向所有人訴說著事件目擊者親見的事實。第二個展館《磚魂》，包括一塊大型磚頭、一塊小型的磚頭及錄影。小的為原型，十分珍貴並特別古老，磚頭上面刻著「西遞節孝祠」五個繁體字。這是西遞村居民贈給藝術家的禮物，來自西遞村的一座古樓，該建築現在已經毀掉。藝術家用現代工業技術把微小的磚頭複製成一塊巨型磚頭。這樣磚頭原件上的漢字顯得非常醒目，極具衝擊力。大磚頭旁邊裝置的影像描繪了複製磚頭的過程。許多好奇的觀眾用異樣的眼光看著推土機把殘磚碾成粉末，看著藝術家用碾壓的粉末複製這塊「目擊的雕塑」。藝術家的用心體現在仿製磚頭所刻文字的含蓄意義裡。三幅單色油畫—《無極》白色，《王者》紅色，《厚黑》黑色—是藝術家以綜合材料創作的代表性作品。這三件精美的綜合材料抽象作品，讓我想起建築、建築結構、建築材料和建築的意義。面對著《厚黑》—像是由災難碳化所成的結果—「黑室」裝置就出現在我們眼前。「黑室」所象徵的是黑幕操縱的場所。在中國的古老藝術中，文字及形象的關係非常接近，形象只是表示從形象到抽象之間的過程。應天齊近幾年創作的繪畫如牆，藝術家的牆壁具有說話的能力。斑駁的表面如奔湧的浪濤，在道義價值和記憶需求的推動下，其作品的歷史性正在於當代與古代的相互激發與相互融合。

關於作者格羅莉亞．瓦麗絲居住於義大利威尼斯，是藝術學院當代藝術史教授。同時她也為米蘭《當代》及《藝術》雜誌撰稿。格羅麗亞與王林共同為54 屆威尼斯藝術雙年展平行展項目《碎裂的文化＝今天的人 ?》策展，此即應天齊首次於威尼斯雙年展之展出。

第 55 屆威尼斯藝術雙年展參展作品

1. 清 2.濁 3.守 4.空 3

Clear Opaque Guard Empty

244×80cm 2013 綜合媒材 Mixed media on wooden plate

Memory and Hurts: Discussing Traditional Chinese Architecture From the Perspective of Ying Tianqi Gloria Vallese

Professor, History of Contemporary Art, Academy of Fine Arts, Venice, Italy

In 2000, at the dawn of the new millenia, 500 students stood outside the main gate at the Shenzhen University campus for the midnight countdown to welcome in the new year. Just at that time, Shenzhen University Professor, and renowned artist, Ying Tianqi, was breaking several large black-painted glass panes with a hammer into shards, in an act of behavioral art expressing the artist's desire to break through the confining space of China's lack of transparency and openness. In this way, Ying Tianqi created a shard pattern which served to evoke a massive reflective black block print design. The profound memories and spiritual hurts of the past, deeply imprint artistic works, and remain in the hearts of their viewers. Those pangs which cannot be easily abandoned, the sense of loss or the lossed memories of our sentimental past, his work are full of these emotions. Born in Anhui Province's Wuhu City in 1949, Ying Tianqi studied block printing in the Central Academy of the Fine Arts. Block printing is an important Chinese art form, serving as a form of popular education during periods of revolution to help enlighten the illiterate peasants. Ying Tianqi's repertoire intends to deeply penetrate and express hurts and memories. His works include the beautiful Xidi Series to more recent vanguard artistic endeavors, while most recently his abstract oil painting relies on more heavy materials. In western culture, conservation and preservation of architectural memories is one of the basic values of respect for one's heritage, but among the Chinese public this cultural value is not so deeply entrenched. From the revolutionary demands to abandon traditional culture in modern China, to the "Great Proletarian Cultural Revolution" attempt to eliminate all traces of traditional Chinese culture and historical heritage, the historical landscape largely lies in ruins.

In the second display area, the work Brick Soul was displayed, with a massive brick, a small brick, and multimedia presentation. The small brick was original size, as a rare remnant of Wuhu's traditional architectural past, and engraved with the five Chinese words for "Xidi Shrine of Virtue and Piety." This brick was a gift from one of the Xidi residents to the artist, from a heritage building in Xidi Village, which has now been utterly decimated. The artist used modern industrial arts methods to reproduce the small brick on a massive scale in one large brick. In this way, the traditional Chinese characters on the original small brick appear much more visible, heightening the impact. The multimedia installation next to the large brick explained the copying process. Many curious visitors were in awe at the sight of the bulldozer crushing debris into powder, and the artist transforming the crushed powder into this copy brick as they were "Witnessing Sculpture". The artist's care in the endeavor was seen in the overtones of his effort to reproduce the traditional characters by engraving. Three unicolor oil paintings, Infinity (white), The King (red), and Thick Black (black), served to create the artist's representative work in mixed media creations. These three mixed media abstract works, remind me of architecture, architectural structure, building materials and the significance of architecture. As I encounter Thick Black, I am reminded of a scene manipulated behind the black screen. In traditional Chinese arts, characters and imagery often blend and meld intimately, with style emerging from traversing the path of image to abstraction. Ying Tianqi's works in recent years include drawings like walls, and the artist's walls are able to speak. The print patterns look like surging waves, and reflect the demands for their values and memories, in works whose historicity commits to expressing the mutual stimulation and blending of contemporary with the historical.

The Venice Biennale Exhibition at the Palazzo Bembo featured Ying Tianqi's repertoire of works from recent years, with Mourning Over the Ruins, composed of shards of glass as a screen reflecting images of the destruction of China's Wuhu traditional township after its urban renewal, in an attempt to try to ignite sparks among the public to recall their personal memories amidst the mindless movement of modernism. In his multimedia work, Self-Articulation, the artistic spirit moves the heart, as he painfully expresses his feelings on site in 2006 at the destruction of the Wuhu traditional village as the Heritage Preservation Plan was adopted and approved by the Wuhu municipal authorities, but then abandoned from actual implementation for more than a year, by which time the traditional township had been utterly destroyed. In the display area for the installation Imprisoned , there were many steel wires meshed to form a prison cage, with objects evincing the memory of traditional Wuhu- mirrors, chests, carpets, small equipment, and all manner of indoor and outdoor objects, randomly appearing on the black and white television screen, revealing the lifestyle of Wuhu residents before the urban renewal destroyed all their traditional city, making witnesses of all who personally see the images.

About the Author

Glo r ia Va l le s e i s P rofe s s o r of Hi s t o r y of Contemporary Art at the Academy of Fine Arts in Venice, Italy, where she lives and works. She is also a contributor of CONTEMPORARY and of ARTE magazine in Milan. She co-curated with Wang Lin "Cracked Culture? The Quest for Identity in Contemporary Chinese Art" at the Collateral Event of the 54th Venice International Art Biennale, in which Ying Tianqi did his first presentation at the Venice Biennale.

本博宮殿 4 號展廳 / Hall 4, Palazzo Bembo

黑室之二 / BLACK ROOM NO. 2 2012 裝置 : 傢俱、實物用品 Installation: Furniture, ready-made objects

黑色是應天齊藝術創作的重要元素，在此他將黑色的繪畫性開始轉向空間性和象徵性。全世界都有閉門會議，中國更有「厚黑」之學，專指暗中控制與暗箱操作，這裡是一種影射。 Noir is a critical element in Ying Tianqi's creative palette, the midnight strokes evolve from illustrations to emerging spatial and symbolic expressions. Throughout the world it is common to hear of "back door meetings", and in China there is an entire Thick Black Theory referring to shadow controllers and black box operations, so here we see a shadow cast behind the scenes.

(下頁 p.88 ) 第 13 屆威尼斯建築雙年展參展作品

厚黑 Thick Black 167×244cm 2010 綜合媒材 Mixed media on wooden plate

砸碎黑色的孤獨— 關於應天齊

王林

版畫以黑白為正宗，但敢於大面積運用，用黑色整塊印在畫上的人，恐怕只有應天齊一個。他的【西遞村系列】很有名，海內外讚譽頗多。黑色在他的畫中或許真的是無所不容：夜空、土地、山牆、門洞，或者是神秘、宿命、苦育與沉重，甚至還有抽象性、硬邊藝術以及極簡主義因素。黑色是一種誘惑，誘惑藝術家在各種人的各種言說中自足。因此，對應天齊而言，它並不是打開的窗戶，可以飛身而去，在自由的空間翱翔。相反，它越來越像一扇關閉的門洞，把藝術家阻隔在許多可能性之外。—畢竟，應天齊已畫了多年的西遞村，在自我營造的黑色環境中，他深感孤獨。與黑色相伴，你不能拒絕它又不能親近它，一如我們在黑夜之中。「黑夜給了我黑色的眼睛，我用它尋找光明。」—北島如是說，像箴言又像囈語。應天齊畫中的黑色塊只是個人心理象徵嗎 ? 並不，即便他因此得過抑鬱症。起碼還有另一個人「喜歡那一塊黑色的空間處理」，想把它們變成戲劇，變成表演。於是，有了黃梅戲《徽州女人》，有了應天齊和著名演員韓再芬之間的合作。應天齊所為，並不只是個人需求，也不僅僅是為了西遞村或徽州，它以一種喃喃獨語的方式，訴說著中國的孤獨。我的一個朋友曾這樣寫道：「瑪律克斯 ( 馬奎斯 ) 說出了美洲的孤獨，全世界都聽見了他的聲音，而中國的孤獨，誰來訴說 ?」中國是一個熱愛黑色的民族。黑者，玄也，有道存焉。應天齊在創作中對思想的尋找，有如北島的詩歌中嚮往星空。1998 年辭舊迎新的時候，應天齊把自己關在家中，在一塊玻璃上塗上黑色，然後砸碎，複印出第一張破碎的黑色「版畫」。對他而言，裂縫是一絲亮光，一種解脫。1999 年在「中華世紀壇」新年鐘聲敲響的時候，應天齊又在自己的居所裡面對電視螢幕，敲碎了另一塊塗上黑色的玻璃。他開始為自己的作品設置一個政治歷史文化背景，改變那種自言自語的狀態。2000 年在將進入新世紀的時候，應天齊把砸玻璃的行為搬到了公共場所，在眾人的呼聲中，應天齊掄起大槌，一口氣砸碎了 11 塊黑色玻璃。至此為止，應天齊歷時三年，完成了他挑戰黑色的行為藝術。作品看似即興，卻有著和先前創作的深刻聯繫；看似痛快，卻充滿濃重沉鬱的悲劇氣氛。記得也是在深圳這座城市，藝術家王川曾做過一件如祭壇般莊嚴的觀念作品《墨 • 點》。巨大的黑色圓點如日蝕的太陽，呼喚著人類的良知和道義。正好是十年之後，應天齊繼之而起，以砸碎黑色的藝術行為來表達一種精神—除舊佈新，驅暗求明，在否定中保持住自己。作為一個藝術家，於世紀之交的那一刻，你還能做什麼 ? 在機會主義者看來，人文熱情不過是一團終將成為灰燼的火焰。但對真正的藝術家而言，每一天升起的太陽都是新的，因為只要它在燃燒，它就與生命同在。藝術在現實的生命體驗中高揚精神的價值，新世紀的中國藝術到了應該談論衝動與熱情的時候。

2001 年 1 月 20 日於四川美術學院桃花山

砸碎黑色 / Breaking the Black

2001 年 1 月 1 日零點，應天齊在深圳大學正門外空地，採

2012 錄像 Video

取行為藝術的方式，用自製的木槌砸碎 11 塊 2×1.5 米圖有黑色的玻璃。並當場將一塊裂片拓印在宣紙上，所有參與者均在這塊拓片上簽名、留言，參與者約五百人。

At zero o'clock on January 1st, 2001, Ying Tianqi smashed 11 pieces of 2×1.5m glass which were painted black in front of Shenzhen University. The artist then made watercolor prints with one of the fragments by rubbing it on Xuan paper. Over 500 onlookers were there and left signatures and messages on that print.

Breaking Loneliness in Black: About Ying Tianqi

Wang Lin

Speaking of block prints, nobody will deny the dominating position of black and white ones. Nevertheless, I'm afraid only Ying Tianqi dares to use black in large areas and large blocks. His Xidi Village Series is very famous; people are profuse in their praise in China and beyond. It seems that almost nothing cannot be conveyed in the blacks of his works: night sky, earth, gable, gateway, or mystery, fatalism, pain and even such elements as abstractness, hard edge art, etc. Black is a kind of temptation that tempts the artist to be satisfied with himself in various comments by various people. To Ying Tianqi, therefore, black is not an opened window through which he can fly out into the free space. Rather, it is like a closed gateway that separates him from many possibilities. After all, Ying Tianqi has painted Xidi Village for many years and found himself quite lonely in the black environment he himself created. In the company of black, just as when we are in dark night, you can neither reject it nor approach it. "The dark night gives me black eyes, with which, however, I look for brightness." is a motto or a crazy talk by the poet Bei Dao. Are the black blocks in Ying Tianqi's prints just individual psychological symbols? The answer is no even if he once got depression because of this. At least there is another person who "likes the spatial treatment of black in blocks" and feels like transforming them into drama, into performance. As a result, there are the Huangmei opera Huizhou Women and the cooperation between Ying Tianqi and the renowned actress Han Zaifen. What Ying Tianqi did is not for his individual needs or for the sake of Xidi Village or Huizhou, but rather a kind of murmur of China's loneliness in his unique way. A friend of mine has ever written, "Marquez spoke out the loneliness of America that was heard by the world. But who will do the loneliness of China"?

The Chinese is a people who loves the color black. Black is subtlety where, according to Chinese, ideological doctrines exist. The seeking of ideology in creation is to Ying Tianqi just as the yearning for starlit sky in poetry is to Bei Dao. On the new year's eve of 1999, a time to say goodbye to the old and hello to the new, Ying Tianqi shut himself up at home, blackened a glass, broke it, and then made a copy of the first broken black "print". To him, the crack is a ray of light, a sort of relief. In the end of 1999 when the New Year's bell rang, at the "Chinese Century Temple" in Beijing, Ying Tianqi moved his glass-breaking act to the public place, where with a heavy hammer he broke 11 pieces of black glass at one go in the cheers of many people. So far, Ying Tianqi takes three years to finish his blackchallenging conceptual art. Some work seems spontaneous but has deep connections with the previous ones, looking unrestrained but filled with solemn tragic atmosphere. I remember it was also in the city of Shenzhen that the artist Wang Chuan set up a conceptual work "Ink Dot" installation that was as solemn as an altar. The huge black dot was just like the eclipsed sun, appealing to man for his morality and justice. Exactly 10 years later, Ying Tianqi follows up with his conceptual art of smashing black to express a kind of spirit, to eliminate the old and establish the new, to remove the dark and seek the bright, and to hold to himself in the negation. As an artist, at the moment of cross-century, what else can he do? For a real artist, everyday the sun rising in the east means a new day because his heart is with it as long as it is burning. Art fully develops its sublime value in the real life experience. And it is time to talk about ardor and passion concerning Chinese art in the new century.

January 20, 2001 Mt. Taohua, Sichuan Fine Art Institute

第 13 屆威尼斯建築雙年展參展作品

碎裂的黑色之三 Broken Black No.3

碎裂的黑色之六 Broken Black No.6

90×111cm 2000 水印版畫 Watercolor print

144×284cm 2000 水印版畫 Watercolor print

第 13 屆威尼斯建築雙年展參展作品

碎裂的黑色之二 Broken Black No.2 88×113cm 2000 水印版畫 Watercolor print

第 13 屆威尼斯建築雙年展參展作品

碎裂的黑色之四 Broken Black No.4 95×132cm 2001 水印版畫 Watercolor print

第 13 屆威尼斯建築雙年展參展作品

碎裂的黑色之一 Broken Black No.1 113×88cm 2000 水印版畫 Watercolor print

( 右頁 Right ) 第 13 屆威尼斯建築雙年展參展作品

碎裂的黑色之五 Broken Black No.5 116×92cm 2001 水印版畫 Watercolor print

本博宮殿 3 號展廳 / Hall 3, Palazzo Bembo

王者 / The King 2012 裝置 Installation

「紅色」是中國歷史上官方或民間常用的專色，包含著政權、政治、皇權、喜慶等含義。藝術家刻意使用紅色作畫，畫中的紅色與中國北京故宮紅牆的紅色完全相同。畫作的結構取自古埃及金字塔基石的局部造型，以此反思政治強權主宰的人類歷史。2010 年的平面作品《王者》始於此一概念，後於 2012 年延伸出裝置藝術，應天齊佈置了一個以紅色為主調的房間《王者》，於威尼斯建築雙年展展出。 Crimson is a common brick color in Chinese history whether for officialdom or the citizenry, and it evokes broad strokes of signification for power, politics, royalty and marital unions. Here the artist has purposefully selected a deep crimson for the painting, deploying the exact color used in the red walls of the Imperial Palace of the Ming and Qing Dynasties. The painting relies on a structure reminiscent of the contours of the Egyptian pyramids, to express a critical appreciation of the role of authoritarianism in human history. The painting The King of 2010 was inspired by such concept; then in 2012, the artist extended the idea and created an installation artwork The King - a decorated red room to be exhibited at the Venice Biennale.

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「世紀遺痕與未來空間」國際研討會

主辦單位：全球藝術事務基金會時間：2012.8.28 16:00~18:00 地點：本博宮殿主持人：雷內．李特米爾 ( 全球藝術事務基金會主席 )

出席者：應天齊 ( 藝術家 ) 王林 ( 策展人 )

陳慧君 ( 新加坡獨立策展人 ) 劉克峰 ( 台灣館策展人 )

卡琳．德容 ( 策展人 ) 薇拉芮雅．愛可法麗 ( 批評家 )

方振寧 ( 中國館策展人 ) 格羅莉亞．瓦莉絲 ( 義大利威尼斯藝術學院教授 )

莎拉．戈爾德 ( 策展人 )

薩碧娜．亞迪索尼 ( 波隆那大學教授 )

李宜勳 ( 亞洲藝術中心 )

馬可．貝沙諾 ( 磯崎新事務所建築師 )

研討會現場 Brochure

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我想以中國的問題看世界，以世界的問題看中國，以建築來看藝術，以藝術來看建築，以歷史遺存看現代，以現代看歷史遺存，在探究和發現中產生觀念，並提出問題。中國在最短的時間內全力發展經濟，以最快的速度成為世界第二大經濟體，前進的速度令世界矚目。但是，走得太快會產生問題，會魯莽和粗糙，會磕磕碰碰，甚至有可能摔倒，如同一個人在行走時走得太快會產生問題是一樣的。中國作為數千年的文明古國，在高速發展經濟和城市化的進程中，已很難在城市遺存中保存歷史的記憶，中國城市中的歷史遺存由於上世紀 60 年代文化革命的破壞和今天經濟的迅猛發展已變得千瘡百孔，城市人口的迅速增長形成大規模的城市建設，城市建築風貌被高樓林立的城市面孔所取代並被不斷地重複，以成為一種現實而令人惋惜。當今中國已找不到一處如巴黎、威尼斯、羅馬這樣保存完好富有完整建築記憶的城鎮，中國的歷史、文化和遺存在這裡中斷，這種破壞已經超過中國上世紀六十年代文化大革命對歷史和文化的摧殘和殘踏。當然，世界也存在同樣的問題，義大利龐貝角鬥士屋在保護不力中的倒塌，埃及開羅博物館的珍貴文物在政治動亂中的毀壞，還有許多這樣的事在世界各地發生，包括天災人禍對人類歷史文明的摧毀……但面對這樣的境遇，中國的問題是最嚴重的！人類除了面對生態環境的破壞，也同樣面對人類文明和歷史遺存的損失。藝術家也許思考更多的是歷史和文明，固然，自然生態的改變已經危及人類的生存，當然這是第一位的，但是經過科學家的治理也可能得到改變，比如，德國的萊茵河在二戰之後由於發展經濟，沿岸工廠污水的注入使一條清澈的萊茵河變成了臭水溝，但經過科學家的治理，萊茵河已重新變得美麗而清澈。但歷史文物、建築遺存無節制地、無保護地摧毀，將無法恢復，因為她們其中飽含的數千年的資訊是無法用科學的手段進行複製的。歷史文明和遺存作為時代社會發展中物質和精神的共同基礎，是必須面對和需要重視的！

應天齊 2012 年 8 月 28 日於威尼斯

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Ying Tianqi Speech At The International Symposium of "Traces of Centuries and Future Steps"

Organizer: Global Arts Affairs Foundation Date: August 28, 2012 16:00~18:00 Venue: Palazzo Bembo Moderator: Rene Rietmeyer (Chair, Global Art Affairs Foundation) Attendees: Ying Tianqi (Artist) Wang Lin (Curator) Sarah Gold (Curator) Steven Lee (Asia Art Center) Tan Hwee Koon (Independant Curator, Singapore) Ke-Fung Liou (Curator, Taiwan Pavilion) Fang Zhenning (Curator, China Pavilion) Gloria Vallese (Professor, Academy of Fine Arts) Sabrina Ardizzoni (Professor, University of Bologna) Marco Bersano (Architect, Isozaki, Aoki & Associates)

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I want to look at the world through the lens of China's issues, and apply the world's lens to examine China, using architecture to explore the arts, and the arts to engage architecture, with historical heritage to interpret modernity, and modernity to embrace historical heritage, realizing new ideals in the process of exploration and discovery, while eliciting new questions to consider. In recent years China has developed the economy with very rapid momentum, and is on a path of acceleration to emerge as the world's second largest economy, in a pace which has caught the world's attention. But, this excessively rapid development has brought with it problems, here reckless and there rough, sometimes stumbling, much as one walking at a brisk pace too fast for their own good. China is an ancient nation with thousands of years of historic civilization, and during the accelerated process of economic development and urbanization, the preservation of historical memories has become all the more difficult amidst the urban environment, and China's cities historical heritage is now largely decimated as a result of destruction during the 1960s Cultural Revolution and the fast pace of today's progress, along with the rapid growth of the urban population and tremendous urban development, with urban architecture and the forest of skyrises serving to continually remake and replace the urban landscape, as a seemingly inescapable and lamentable fact.

Artists perhaps spend more time considering history and civilization, though admittedly the changes in the natural ecology have already begun to threaten the existence of humanity, which must take first place, but scientists may be able to exercise control to reverse the trends, for example in Germany, the Rhone River after the Second World War developed into a dirty cesspool as a result of economic development and industrial factories along the river dumping their waste wantonly changing the originally pristine waters, but through scientific efforts, the Rhone has been restored to a beautiful river with clear waters. But historical heritage and architecture have been destroyed wantonly, without any conservation, in utter destruction, with no hope for restoration, since the messages of the millennia of ages which they had reflected cannot be replicated or restored by scientists. May historical civilization and heritage serve as the common material and spiritual foundations for development in this generation, as values which we must engage and respect!

Ying Tianqi August 28, 2012 at Palazzo Bembo, Venice

In today's China, it is already impossible to find any example of a Paris, Venice, or Rome, which have well-preserved traditional architectural heritage, as China's history, culture and heritage have been cut off, and this sort of cultural discontinuity and destruction has already surpassed that of the shameful destruction of history and cultural remnants conducted during the Great Proletarian Cultural Revolution of the 1960s. Of course, similar problems exist elsewhere in the world, as even insufficient conservation in Italy led to the Pompeii Gladiators Homes collapsing, or the destruction of the Cairo Museum collections in Egypt during political unrest, along with many similar stories around the globe, or natural or manmade disasters destruction of our history or cultureâ&#x20AC;Ś but when we face these challenges, China's issues pose the greatest ones! Mankind not only faces destruction of the ecological environment, but also the loss of our civilization and historical heritage. 105

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「主義」之後的廢墟— 讀應天齊的《廢墟之殤》

廢墟作為審美物件和藝術題材，在不同的歷史階段和文化傳統中都有出現。中國古代文人墨客喜歡荒寒之境、殘破之美。以悲壯求琴，以荒寒索畫，以惆悵入詩詞歌賦，通常被認為是中國文藝的一大特色。歐洲藝術以廢墟為題材的也不少見。從浪漫主義到批判現實主義再到現代主義和新表現主義，廢墟就像揮之不去的幽靈一樣不斷出現。應天齊近來的創作也以廢墟為主題。他去年受邀參加第 13 屆威尼斯建築雙年展，題為《世紀遺彭鋒第 54 屆威尼斯雙年展中國館策展人北京大學藝術學系主任國際美學協會總代表

痕與未來空間》的個展引起了國際社會的強烈震撼。丹托 (Arthur Danto) 曾經斷言，由於藝術中的所有可能都業已窮盡，今天的藝術不可能再給人以震撼的效果。然而，應天齊的藝術的確讓人震撼。儘管廢墟題材已經被歷史上的藝術家反覆使用，但是當它再次出現在應天齊的作品中時仍然觸動我們的神經，其中的原因是什麼呢 ? 首先，讓我們做一點簡單的歷史追溯。隨著浪漫主義取代古典主義，崇高取代了優美。與小巧、光滑、明亮的優美不同，崇高具有巨大、強力和晦暗的特徵。與優美激發愉快和愜意的情感不同，崇高激發的情感是驚愕和恐懼。從 18 世紀開始到 19 世紀中期，歐洲浪漫主義文藝蔚為大觀。人們通過表現廢墟的文藝作品，來釋放自己的激情，同時表達對具有超強力量的自然和神靈的敬畏，表達對人類自身創造的偉大歷史的敬畏。德國畫家哈克特（J.P. Hackert）的《歌德參觀羅馬鬥獸場》（Goethe Visiting the Colosseum in Rome, 1786）就展示了廢墟的崇高。然而，到了 19 世紀中期，

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浪漫主義開始衰落，取而代之的是批判現實主義。不過，廢墟主題並沒有

時，他要表達的究竟是什麼 ? 在反覆研究應天齊的作品和作品方案之後，

隨浪漫主義的衰落而消失，相反，它在批判現實主義中變得更加強烈和突

我發現用上面概述的任何一種「主義」來解讀它們都有困難。應天齊的藝

出。英國作家狄更斯（Charles Dickens）給我們描述了一個如同工業廢墟一

術不屬於浪漫主義，但有浪漫情懷；不屬於批評現實主義，但有批判精神；

般的倫敦。隨著霧霾大範圍侵蝕中國，我們彷彿穿越了時空，進入狄更斯

不屬於現代主義，但有現代樣式；不屬於表現主義，但有激情的表現。正

筆下的倫敦，對廢墟之城感同身受。在狄更斯筆下，我們看不到對自然、

是在這種意義上，我說應天齊的藝術是一種「主義」之後的藝術。擺脫了

神靈和歷史的崇敬，看到的是對資本主義和工業社會的控訴，對勞動人民

各種「主義」的條條框框之後，應天齊的藝術能夠更好地切中現實本身。

的同情。19 世紀後期出現了現代主義，它在 20 世紀初席捲歐洲。我們在

與威尼斯建築雙年展上展出的《世紀遺痕與未來空間》一樣，應天齊這次

現代主義的代表詩人艾略特（T.S. Eliot）那裡再一次看到了廢墟。在他的

展出的《廢墟之殤》也是以安徽蕪湖舊城改造事件為題材。應天齊曾經親

著名詩篇《荒原》中，我們看到的與其說是地貌上的荒漠，不如說是精神

自參與到蕪湖的舊城改造項目之中，但是面對一地雞毛的現實，藝術家的

上的廢墟。在艾略特的詩歌中，我們既看不到浪漫主義畫家的崇敬，也看

理想註定無法實現。具有悠久文化積澱的蕪湖古城，如今成了無法收拾的

不到現實主義作家的控訴，我們看到的是不動聲色的冷漠和荒誕。在 20

爛攤子。蕪湖古城廢墟，與今天中國大地上的其他廢墟一樣，都既不是由

世紀 80 年代興起的德國新表現主義中，我們再一次看到了廢墟的主題。

戰爭造成的，也不是由自然災害造成的，而是由無知和腐敗的行政管理造

第二次世界大戰造成的物理上和精神上的創傷，成了戰後德國人揮之不去

成的。沒有戰爭，但創傷有甚於戰爭；沒有災害，但災難甚於災害。在中

的夢魘。德國新表現主義藝術家在表現廢墟題材的時候，體現的情感十分

國經濟和平崛起的同時，中國文化和生態環境也在和平趴下。這種和平時

複雜。戰爭留下的創傷是如此巨大，以至於人們都忘記了疼痛，有的只是

代的戰敗，對於像應天齊這樣有自覺文化意識的藝術家來說，不啻生命中

不知所措的驚愕。

不可承受之輕。

如果說浪漫主義藝術中的廢墟表達的是敬畏，批判現實主義藝術中的廢墟

應天齊近來的創作，主要基於這種以經濟的名義進行的文化獵殺。他的大

表達的是控訴，現代主義藝術中的廢墟表達的是冷漠，新表現主義藝術中

型觀念雕塑《磚魂》就是一件紀念牌式的作品。《磚魂》用從拆遷工地撿

的廢墟表達的是驚愕，那麼當應天齊再一次以廢墟為題材創作他的作品

來的舊磚再生而成，可以視為對拆散的文化的祭奠。《磚魂》在形式上與

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舊磚一樣，在成分上也與舊磚相同，但是卻經歷了劫後餘生的歷程。這件作品一方面希望留住積澱在舊磚中的文化，另一方面又展示了摧毀舊磚的力量。這種相互矛盾的情緒，形成了作品的張力。當新造的舊磚以巨大的體量呈現的時候，它給觀眾造成的震撼就不僅是視覺上的，更重要的是精神上的。大型裝置《囚》從另一個角度展示了中國高速發展的現代化進程中的文化之殤。在金屬框架分隔的幾何空間中，安置了日常生活的各種器具。作品的題目已經表明，裝置的寓意是機械區分的現代文明，對有機整體的生態文明的分割和囚禁。但是，在應天齊的這件作品中，我們既看不到批判現實主義的控訴，也看不到浪漫主義的感傷，我們看到的是未經任何「主義」遮蔽的事實本身。應天齊的藝術喚起我們對發生在身邊的城市化運動進行反思，進而對發生在中國的整個現代化進程進行反思，他只是盡可能地報導事實，表達作為當事人所具有的真實情感，而不是急於給出答案。應天齊給我們構造了一個事實情景，將評說的權力交給了觀眾。不管我們從中看到的是浪漫主義、批判現實主義、現代主義、表現主義還是其他什麼主義，都不是藝術家在作品中預設的，而是我們自己在頭腦中預設的先入之見。最後，讓我們回到丹托的預言：後歷史階段的藝術，因為各種可能性業已窮盡而不再有令人震撼的效果。然而，應天齊的藝術卻讓我們震撼，其中的原因不在於貼有各種「主義」標籤的藝術，而在於發生在身邊的不相信「主義」的事實。

2013 年 3 月 25 日於北京大學蔚秀園

關於作者彭鋒，1965 年生，現任北京大學藝術學院教授、藝術學系主任，北京大學美學與美育研究中心副主任，國際美學協會執行委員，策展人。主要研究領域為：藝術哲學、藝術批評、美學原理、中國古典美學、西方當代美學、中西比較美學。

( 右頁 Right ) 黑室之一 Black Room No.1 2011 裝置 : 木板、傢俱、實物用品 Installation: Wooden plate, furnitures, ready-made objects 1980 年代前後，應天齊青少年時期曾在蕪湖古城擁有一間畫室，古城拆遷後已成為一處殘屋，應天齊將它複製並全部塗成黑色，呈現為一間晦暗的畫室，紀念他曾經在此地作畫。圖為中國美術館之展出現場。 During Ying Tianqi's youth around 1980, he had a studio in Wuhu Old Town, which later became a deserted house after the town was demolished. The artist restored the space and painted it all black to ref lect a gloomy studio in memory of his past creative activities. The photo on the right is the onsite exhibition scene at National Art Museum of China.

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第 54 屆威尼斯雙年展參展作品

龐貝之二 Pompeii No.2 140×170cm 2012 綜合媒材 Mixed media on wooden plate

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Post "-Ism" Debris: Commentary on Ying Tianqi's Mourning Over The Ruins

Peng Feng

Curator, Chinese Pavilion for the 54th Venice Biennale 2011 Chair, Art Theory and Criticism Department at Peking University Delegate-At-Large, International Association for Aesthetics (IAA)

Debris has sometimes served as a theme for aesthetic objects or art, in various historical contexts and cultural traditions. Ancient Chinese literati deeply appreciated the barren realm or the beauty of a sharded reality. Chinese literature and the arts are also characteristically replete with tragedy underlying musical melodies, the desert barrenness as landscape, or melancholy as a poetic theme. European arts also have their plethora of works built around the theme of debris. From romanticism to critical realism, modernism and neo-expressionism, the lingering specter of debris has served as an inspirational source of inquiry and innovation. In recent years Ying Tianqi's creations have explored debris as their theme. Last year he accepted the invitation of the 13th Venice Biennale, for an individual exhibit entitled "Traces of Centuries and Future Steps" which sparked tremendous global appreciation. Arthur Danto previously remarked that because the arts have already exhausted their possible themes, today's art can no longer give the public amazement. But the work of Ying Tianqi truly delivers amazes. Even though debris has been thoroughly worked through as a theme of art work down through the ages, its reappearance in Ying Tianqi's works serves to restimulate our nerves, but we must ask why this is so? First off, let us simply consider historicity. As romanticism replaced classicism, the sublimely majestic replaced the exquisite. Unlike the perfectly petite, smooth or bright qualities of the exquisite classical, the sublime is characteristically majestic in grandeur, strong and gloomy. Unlike the classical with its stimulation of pleasant and comfortable emotions, the majestic evokes consternation and fear. From the start of the 18th century to the middle 19th century, European romanticism explored the splendidly grand view. The public felt that art works expressing debris, were able to release one's intense enthusiasm, while also achieving supernatural awe, revealing the awe with which humanity had come to view the human potential in history. The German artist J.P. Hackert's Goethe Visiting the Colosseum in Rome, 1786 displayed just such a majestic sense of debris. But at the middle of the 19th century, romanticism began to give way to critical realism. However, even as romanticism faded, debris did not disappear as a theme, quite the opposite, as critical realism expressed debris as an even more strongly present theme. The British author Charles Dickens provided the world with a description of a London mired with industrial debris. As a great haze descended on and enveloped China, we seemed to time travel, entering into the London of Dicken's pen, feeling transported amidst his city of debris. Through his pen, we felt the absence of nature, or awe for the gods and history, instead we only see complaints against the capitalist's industrial society, and empathy for the plight of laboring masses. In the latter half of the 19th century arose modern, which spread across Europe in the early twentieth century. In the representative modernist poet T.S. Eliot's works at the time we once again hear the voice of debris emerge. In his poem "The Waste Land" we sense his description of the waste land quite literally, but more importantly his description of the debris of spiritual despair. In Eliot's poems, we no longer see the majestic sense of the romantics, nor the complaints of the modernists, instead we find his imperturbable indifference and absurdity. In the twentieth century during the 1980s there arose in Germany neo-expressionism, where we once again find debris as an important theme. The Second World War elicited both physical and spiritual losses, the nightmares of which postwar Germans could not escape. Germany's neo-expressionist artists selected the theme of debris, to perfectly capture the complexity of their feelings and circumstances. The postwar era left them with massive wounds, such that the public had forgotten its pain, as if overwhelmed with consternation.

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If romanticism finds in the debris of ruins an expression of awe, and critical realist art finds in the ruins an expression of complaint, while in the ruins of the modernist art expresses indifference, and in the ruins of the new expressionism art is the expression of consternation and dismay, then for Ying Tianqi when again his work returns to the theme of debris and ruins, what is it that he wants to express? After comprehensively studying the entire repertoire of Ying Tianqi's works and their underlying premises, I have found that none of the aforementioned -isms can explain this body of work. Ying Tianqi's work does not belong to romanticism, though replete with romantic sentiments; nor does it belong to critical realism, though full of critique of society; nor to modernism, though expressed with modernity; nor expressionist, even though rich with expression. This is precisely why I argue that Ying Tianqi's works are a form of art-"ism". Having escaped from the various confines of the precise boundaries and borders of all the –isms, Ying Tianqi's art is all the more able to perfectly capture and hit reality right on target. Much like the exhibit of "Traces of Centuries And Future Steps" at the Venice Biennale, this exhibit of Mourning Over the Ruins also focuses on the theme of the ruins of the ancient city of Wuhu in Anhui Province. Ying Tianqi had previously tried to work for the conservation of the Wuhu Old Town remnants, but because of the onslaught of the pressures of reality, the artistic ideal was unable to be realized. Thus it was that an old town with a rich continuous history and remarkable cultural contributions has become irretrievably lost ruins and debris. The debris of the ruins of the Old Town of Wuhu, have become analogous to the ruins across today's China, which have not been left as the imprints of a war, nor resultant from natural disasters, but rather are the remnants of an ignorant and corrupt bureaucracy. There was no war, but the results are reminiscent of wars; nor natural disasters, but with losses exceeding natural disasters. As the Chinese economy is rising, Chinese culture and the ecological environment have been surrendered along the way. This kind of wartime loss during peacetime, represents for a self-conscious artist such as Ying Tianqi, an unbearable circumstance in his life. In Ying Tianqi's recent works, he explores this theme of the hunting and destruction of culture in the name of economic development. His massive conceptual sculpture Brick Soul is a memorial stone work. Brick Soul uses the old brick remnants retrieved from the demolition sites, as a memorial offering to the culture which has been so utterly and irreplaceably displaced. Brick Soul is physically shaped like the old bricks, and shares the same material content as the old bricks, but represents the results of the process of demolition and recapturing debris. This work expresses the hope of preserving at least some of this old culture hidden in the bricks, but also to express the capacity of the old bricks to speak loudly after their destruction. These kind of contorted emotions, serve to give the work is power and evocative tensile strength. When the newborn bricks composed of the old bricks are bonded together in a grand expression, they provide the public with an amazement which is not merely visual, but profoundly spiritual as well. The large installation work Imprisoned represents a perspective on China's accelerated development and the cultural damages from the process of such rapid modernization. In the geometrical spaces segregated by metal frames, the work features arrangements of all kinds of appliances for daily living. The work's title explains, that the installation is a metaphor for the mechanical expression of modern civilization, which entraps and segregates the organic ecological civilization in its invincible grasp. But, in Ying Tianqi's work, we no longer sense the complaining spirit of critical realism, nor the emotive sense of romanticism, instead we see the pure reality itself without the guise of any "-ism" whatsoever.

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Ying Tianqi's works challenge us to answer the call of facing the urbanization surrounding us critically, evaluating the pace and direction of the entire process of modernization affecting China around us, as if the artist has become a reporter conveying the simple facts, expressing his own understanding of the truth on the ground, rather than stating any proposed immediate solutions. Ying Tianqi has provided with an emotional reality, empowering the public with the right to criticize. So whether we view his work through the lens of romanticism, critical realism, modernism, neo-expressionism or any other –ism, none can represent some secret attempt by the author at embedding within the work, but rather reflect our own preconceptions. Finally, we should again recall Danto's remarks: post-modern arts can no longer give the public amazement because the arts have already exhausted their possible themes. But, Ying Tianqi's art indeed provides amazement, precisely because it does not fit into any particular arts –ism, but rather speaks to us from a reality which does not require belief in any –ism at all.

March 25, 2013 at Weixiuyuan Park, Peking University campus

About the Author

Peng Feng, born in 1965, is currently Chair of the Department of Art Theory and Criticism at Peking University. He is also the Vice Dean in the Department of Aesthetics and Educational Research Center of Paking Univeristy, DelegateAt-Large of the International Association for Aesthetics (IAA), and a reputable curator. He specializes in Art Philosophy, Art Criticism, Principles of Aesthetics, Chinese Classical Aesthetics, Western Contemporary Aesthetics, and Sino-western Comparative Aesthetics.

蕪湖古城保護恢復建設定位策略 ( 2007 年 6 月遞交 ) Wuhu Old Town Conservation, Restoration, and Re-establishment Strategy Proposal (submitted in June, 2007) 應天齊於 2006-2008 受聘為中國安徽蕪湖市人民政府古城改造總策劃總顧問，圖為工作期間遞交給市政府的古城改造策劃案，官方審批通過了此方案，但至今未能實施。(下圖為方案之節選 ) From 2006 to 2008, Ying Tiangi was appointed the Senior Consultant and Planner for the Wuhu Old Town Rehabilitation Effort. Below is the original Wuhu Old Town Conservation, Restoration, and Reestablishment Strategy Proposal presented by Ying Tianqi to China's Wuhu municipal government and approved by the local populace, yet no implementation was made until today. (Selected proposal as below).

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本博宮殿 6 號展廳 / Hall 6, Palazzo Bembo

廢墟之殤 / MOURNING OVER THE RUINS 2006 - 2012 錄像 Video

2006 年，應天齊擔任中國安徽蕪湖古城改造顧問期間，定點拍攝了推土機即將進入古城，進行大規模拆遷之前的普通人的日常生活場景。他未曾想到，曾經注滿深情的故鄉古城會在瞬間消失，藝術家震驚於在推土機的碾壓下，轟然逝去的如此鮮活的底層人的生活、個人的童年記憶，以及無法複製的，承載著數百年甚至千年時間的歷史文化時空氣息。從那一年起至今，七年過去了，應天齊每年都會返回故鄉，徘徊於廢墟之上，徜徉於滿目瘡痍。2012 年他重新舉起錄影機記錄了歷經七年無人問津的古城廢墟，在兩個時間段的時空穿越之中製作了錄像作品，並將作品命名為《廢墟之殤》。 In 2006, while Ying Tianqi was the Wuhu Old Town Rehabilitation Effort Senior Consultant and Planner, he documented the life and daily activities of ordinary inhabitants before the old town was demolished. He never imaged that such beautiful place would confront an utter demolition as it disappeared amidst the bulldozer razing, and gone with it, the disappearance of the geography and biography of his childhood memories and its splendid stories, which cannot be reproduced. 7 years have passed, Ying Tianqi still visits that place every year to mourn over the lost times. In 2012, he again filmed the site which has been deserted and neglected for 7 years. Juxtaposing two different sceneries, the artwork is entitled Mourning Over the Ruins. 118

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本博宮殿 6 號展廳 / Hall 6, Palazzo Bembo

廢墟之殤 / MOURNING OVER THE RUINS 2006 - 2012 錄像 Video

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無歌 The Unsung 173×244cm 2010 綜合媒材 Mixed media on wooden plate

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本博宮殿 5 號展廳 / Hall 5, Palazzo Bembo

無極 / INFINITY 2012 裝置 : 綜合材料、地毯 Installation: Mixed media, carpet

無極是一個中國哲學概念，「無」相對於「有」，「有」相對於「無」。中國哲學家老子說的「無」被藝術家演繹為一個白色的空無一物的房間，從空無一物的房間到塞滿物品的生活空間，然後又在政治、金錢、權利、戰爭、自然災害的面前重歸空無一物。以此對應著第一展廳中，作品名為《囚》的鐵籠。 Infinity refers to a traditional Chinese metaphysical and philosophical concept, of the empty grounded in a dialectic with the full, and the full reflecting its opposing emptiness. For the Chinese philosopher Laozi, such Infinity, may be expressed through the artistic signification of a solitary white room utterly empty of cluttered contents, and as the clutter free comfort emerges into a cluttered chaos of lived space, one sees a metaphor for the re-emergence of nothing out of something, as the pendulum swings to reclaim an infinite emptiness through politics, capital, power, warfare, or natural disasters. This work thus exudes a dialectic interaction with the metal cage Imprisoned in the hall 1.

無極 Infinity 167×244cm 2010 綜合媒材 Mixed media on wooden plate

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古城日記 DIARY OF THE ANCIENT CITY 二零零七年四月 - 十二月應天齊擔任蕪湖古城策劃顧問工作期間的日記 April - December, 2007 Ying Tianqi's Diary as the Wuhu Old Town Rehabilitation Effort Senior Consultant and Planner

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五月二十八日

上午，與詹書記辦公室促膝而談古城方略，頗多收益。中午與樹隆市長商討具體設施計畫，更多感慨。真乃大工程、大難題、大手筆也。五月二十九日

簽約蕪湖鏡湖區委政府辦公室，應聘為蕪湖市政府古城改造專家顧問、策劃，簽畢，盧倉報區長笑曰，此為古城辦第一份簽署合同。

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古城日記 DIARY OF THE OLD CITY

四月十三日 April 13th

今天，和晚報楊慧落實了閱讀城市專欄介紹蕪湖一事，晚楊黎光從北京打四月十一日 April 11th

今天和蕪湖城建檔案館黃飛館長通了電話，就古城畫冊「遺痕滄桑」出版問題交流了意見。午後又和宣傳部宋建平副部長，言及本人欲親自參予圖片拍攝工作，之後驅車至深圳大學畫室做綜合油畫至深夜而歸。 Today I spoke with the Wuhu Municipal Development Archives Director Huang Fei to share about the publication of a compilation of art works on the Ancient city entitled Traces-Vicissitudes. In the afternoon, I met with Song Jianping of the Promotion Commission, discussing personal participation in the photographic process, then took a vehicle back to the Shenzhen University campus art studio to paint mixed media oil paintings until late night before returning home. 四月十二日 April 12th

來電話告知，人民文學出版社約請本人為其小說插圖，諸多工作集結，又要忙了。 Today, I met with Evening News' Yang Hui who fulfilled her promise to run coverage with a feature on Wuhu, and in the evening Yang Liguang called from Beijing to tell me, the People's Literature Publishing House invited me to provide illustrations for their novels, and with all the work to do, its going to be a busy time. 四月十四日 April 14th

香港梁志天先生由電腦郵箱發來此次古城所拍照片，至感，真好朋友也。 Liang Zhitian in Hong Kong e-mailed me the Wuhu Old Town photos, and I was moved. This showed his true friendship.

晨起接蕪湖宣傳部靳偉副部長電話，有關鳳凰衛視縱橫中國欄目策劃事宜，談畢，閱古城照片，參照由義大利購回之藝術攝影畫冊，靈感湧動，

四月十八日 April 18th

已無法擺脫蕪湖古城四字。晚上和深圳晚報商談專版介紹古城改造新聞，

蕪湖市委宣傳部寄來光碟二本，關於縱橫中國欄目的宣傳資料，商報的古

楊慧告知，欲做三個版推介，大喜過望。

城問答於今日脫稿。

In the morning, I took a call from Jin Wei, the Deputy Director of Promotion for Wuhu, regarding the Phoenix TV Network plan for an episode in their series Across China, discussing photos of the Old City, with reference to an art series from Italy, which stimulated a lot of creative energy, and anchored my thoughts on the Wuhu Old City. In the evening I met with the Shenzhen Evening Newspaper to discuss preservation efforts in Wuhu, and Yang Hui advised me that they would provide three pages of coverage, so I was overjoyed.

Wuhu Communist Party Committee Promotion Commission sent two CDs, with promotional content for the Across China program, and the Commercial Daily questions about the Wuhu Old City and unscripted draft answers. 四月十九日 April 19th

與胡野秋於燉品湯館飲十五年陳釀，談蕪湖古城鳳凰衛視節目策劃。 I enjoyed 15-year-old wine with Hu Qiuye at the Dunpin Broth Restaurant, and discussed the Phoenix TV special coverage for Wuhu Old City. 四月三十日 April 30th

由北京參加畫展開幕後返深，見深圳晚報已刊登蕪湖古城專刊，三個整版的宣傳在深產生一定反響。 I participated in the opening of an exhibition in Beijing and then flew back to Shenzhen, seeing that the Shenzhen Evening Newspaper had already run its feature coverage on the Wuhu Old City, with three full pages delivering a powerful message in Shenzhen. 130

五月三日 May 3rd

五月二十八日 May 28th

晨起，蕪湖李金華部長來電話敦促方案修改進度，我以為尚有總體定位模

上午，與詹書記辦公室促膝而談古城方略，頗多收益。中午與樹隆市長商

糊不清，李部長囑可直接與主要領導溝通，五月底將再返蕪。

討具體設施計畫，更多感慨。真乃大工程、大難題、大手筆也。

In the morning, Wuhu Promotion Director Li Jinhua called to enquire on progress for editorial changes. I felt that the entire effort lacked clear direction, so Director Li encouraged me to directly contact any officials as required, and to return to Wuhu at the end of May.

In the morning, I met with Secretary Zhan at the office to discuss strategies for the Old City, gaining much in the process. In the afternoon I met with Mayor Shu Long to discuss specific design plans, with more emotional gains. Such a grand project presents many challenges, and such a large land area involved.

五月四日 May 4th

今日，將深圳晚報寄蕪湖諸領導，意在引起包裝宣傳方面的重視，這是一個酒香也怕巷子深的時代。 Today, I sent the Shenzhen Evening news coverage copies to municipal leaders in Wuhu, hoping to stir their excitement for the feature, as this is an era when even the fragrant wine is afraid of the alley and getting lost amidst the hustle and bustle.

五月二十九日 May 29th

簽約蕪湖鏡湖區委政府辦公室，應聘為蕪湖市政府古城改造專家顧問、策劃，簽畢，盧倉報區長笑曰，此為古城辦第一份簽署合同。 I signed an agreement with the Wuhu Jinghu (Lakeview) District Municipal Offices, accepting service as the Wuhu Municipal Old City Preservation Consultant, having planned, and now signed the agreement with District Commissioner Cangbao Lu, in the first agreement signed by the Old City Office.

五月二十六日 May 26th

由深返蕪，經寧祿口機場，會鳳凰衛視胡野秋、龔漪小姐，深夜驅車二小

五月三十日 May 30th

時抵蕪，打開車窗撲面是裹著青草和長江水腥味的新鮮空氣，啊，又回故

再度深入古城調查遺存。

鄉了。

Again I engaged in in-depth onsite investigation of Old City remnants.

I returned to Wuhu from Shenzhen, passing through the Lukou Airport, meeting with Phoenix TV's Hu Qiuye, and Ms. Gong Yi, taking a late night drive of two hours to Wuhu, where I opened the windows to the fresh air of the green fields and the Yangtze River, ah, to be home again in the country.

六月八日 June 8th

今天 DOMAS 雜誌由北京來深圳，在深圳大學科技樓報告廳 , 舉辦以蕪湖古城為話題的名為保護再生的學術對話，我與建築學者馮原，美國建築設

五月二十七日 May 27th

計師蘇娜作對話，報告廳內座無虛席，鏡湖區委書記韓衛民亦列席。

看廣濟寺、憶童年、嘆徽州遺韻，品茶陸和村茶館，觀古跡遺址，漫步古

Today the DOMAS magazine arrived to Shenzhen from Beijing, and we met at the Shenzhen University High-Technology Building, to discuss the Wuhu Old City as an academic topic for urban renewal and preservation, where I spoke with architect Feng Yuan, and the American architect Suna, to a capacity audience, and with Jinghu District Secretary General Han Weimin present as well.

城街巷。至晚而返，市委詹書記宴請。 I visited Guangqi Temple, recalling my youth, regretting the loss of Weizhou, enjoying tea at the Luhe Village Tea Shop, taking in the sites of the old ruins, passing slowly through the old byways and streets of the Old City. Returning at night to a banquet with Secretary General Zhan of the Wuhu City Secretariat.

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六月十三日 June 13th

七月七日 July 7th

攜古城策劃案，再赴蕪湖作嘉賓，出席鳳凰衛視節目縱橫中國拍攝。

這是一個充滿愛情的日子，是中國的情人節。但又是一個充滿仇恨的日子，

To promote the Old City strategic plan, I again visited Wuhu as a distinguished guest with VIP treatment, and participated in filming of the Phoenix TV special for their Across China series.

因為是盧溝橋事變。愛與恨僅一步之遙。今天播出了蕪湖篇的下篇，我在

六月十七日 June 17th

節目錄製畢，於鏡湖區委討論本人所作之策劃案，頗多讚譽，余心始安。 The episode filming completed, and I met with Jinghu District Secretary to discuss the strategic plan, earning support therefor, and giving me much confidence. 六月十九日 June 19th

偕西安美院版畫系學生經金陵至廣陵，面見規劃設計院院長，討論古城保護方略，頗多收益。 I took Xi'an Fine Arts Institute Blockprinting Students through Jinlu and Guanglu to meet with the Dean of the Design College, to discuss strategies for preserving the Old City, again gaining much in the process. 六月二十日 June 20th

考察揚州古城，雨巷之中才知已是江南梅雨之季矣，江南多雨雨濕江南，久違了。 Visiting Yangzhou's Old City, amidst the rainy alleys I learned it was already the rainy season in the Jiangnan region famed for these rains which give it a wet, humid climate. A long missing town.

電視中竟然談到了文化革命中對人生愛的感悟，此時此刻是巧合亦或天意，奇哉。 This is a day filled with love, traditional Chinese Valentine's Day. But also a day filled with hatred, as it is the day in history when the Lugouqiao Incident occurred. But love and hate have always been twins. Today they broadcast the next episode in the series on Wuhu, and I spoke at the studio on the topic of the Cultural Revolution's impact on love in our lives, at just the right moment, as if all by providence. 七月十七日 July 17th

又回蕪湖，攜古城補充意見稿面見宣傳部李金華部長、規劃局杜德龍先生，已出三稿矣。 Again going back home in Wuhu, I promoted the Old City with additional comments in a meeting with Promotion Director Li Jinhua and City Planning Director Du Delong on the third edition of my plan. 七月二十二日 July 22nd

與區政府盧區長面晤，談古城保護具體措施。 I met with District Commissioner Lu to discuss the specific measures for preservation of the Old City. 七月二十三日 July 23rd

七月一日 July 1st

偕妻女三人行，自滬起經姑蘇、廣陵、潤洲，金陵一路行來，旅行兼考查，

香港回歸十周年，今天鳳凰衛視播出了忙了近二個月的專題，縱橫中國蕪

大暑，不亦熱乎。

湖篇，反映甚佳，這是一個電視的時代。

Travelling with my wife and daughter, our threesome left from Shanghai to Suzhou, Guangling, Wenzhou, and Jinling, touring while also undertaking serious study, under a strong sun, in very hot weather indeed.

The tenth anniversary of the restoration of Hong Kong to Chinese sovereignty, today Phoenix TV network broadcast their special episode which had been completed over two intense months, in their Across China series feature on Wuhu, with excellent results, in this era of television.

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八月八日 Auygust 8th

十二月二十三日 August 23rd

DOMAS 雜誌刊出蕪湖古城對話。

近日不慎腰疾，頗不能立久，又不聞蕪湖方面消息，不覺歲末已至，神系

DOMAS magazine published their edition on a dialogue with Wuhu Old City.

故鄉。

八月十五日 August 15th

My back accidentally got contorted recently, and I cannot stand very long, but I await news from Wuhu, feeling my age coming upon me, my thoughts are for my hometown.

和黃梅戲五朵金花之袁玫、吳瓊、吳亞玲、楊俊，在蕪湖鏡湖之畔參與蕪湖傾國傾城節目，該節目為央視主辦之大型推介節目，面對觀眾背依鏡湖，吟誦北宋林和靖詩句，快哉。 I showed up in a major CCTV show "Wondrous Beauty" with the "five treasures" of the Huangmei Opera, Yuan Mei, Wu Qiong, Wu Yaling, and Yang Jun, at the Jing Lake shore in Wuhu. We were by the lake, facing the audience while reciting the poems of the Beisong(Northern Sung) poet Lin Hejing. How beautiful!

十二月三十一日 August 31st

2007 年過去了，明天新的一年來了，祈福！ Year 2007 had ended. Tomorrow will be turning into a new year. May it be blessed!

八月十六日 August 16th

晨起，與李部長何主任驅車赴揚州鎮江考察古城改造，頗多辛勞，晚宿杭州西子湖畔。 In the morning, I met with Director Li and Director He to visit the Old City conservation efforts in Yangzhou, gaining much, and staying the night at the Xizi Lake in Hangzhou. 十二月十六日 August 16th

晨起，接蕪湖何向陽主任電話，陳市長、李部長一行到深圳，約中午晤面，驅車前往，李部告知，古城方案人大已通過不日啟動，屈指四個月已過去。 In the morning, I took a call from Wuhu Director He Xiangyang, Mayor Chen, and Director Li, who had all come to Shenzhen together, arranging to meet at lunch, then leaving to head their way, and Director Li apprised me that the Old City Special Project had been approved to soon start by the National People's Congress, four months having already passed.

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媒體相關報導 MEDIA COVERAGE

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應天齊作品威尼斯引熱議

第十三屆威尼斯建築雙年展於 8 月 27 日 - 8 月 29 日在義大利威尼斯拉開

思妙想和其中傾注的強烈個性、情感以及作品形成的視覺衝擊。義大利《宣

帷幕，以共同基礎為主題的國家館、主題展和平行展分別在不同的展區、

言》報在文化欄目重點發表了批評家王林的文章，題目為〈應天齊進入當

不同的時間舉辦了開幕儀式，寧靜的威尼斯頓時變得喧鬧而熱烈，來自世

代文化廢墟的禁區〉。

界各地的參觀者、參展者往來於各展區，就當今世界過去、現在、未來在建築領域所面臨的問題各抒己見，為發展中的共同基礎引發熱烈的討論。

義大利著名漢學家波隆那大學教授鮑夏藍 (Claudia Pozzana) 在觀看作品後認為在中國當代藝術中能夠具有如此個性和本土化的作品極為罕見，她認

來自中國的藝術家應天齊以《世紀遺痕與未來空間》為主題以中國安徽蕪

為應天齊利用拆遷地的舊磚碾成粉末所製作的《磚魂》是非常傑出的。和

湖古城變遷為載體的個展，和全球精英建築師組成的對比展引起強烈關

徐冰創作的《鳳凰》有異曲同工之妙，但前者更具悲愴和震撼！

注。該展由荷蘭全球事務基金會主辦、亞洲藝術中心協辦，在大運河畔威尼斯的著名建築本博宮殿舉辦，巨幅廣告上鮮明的主題在里奧多橋邊顯得分外突出，吸引了眾多的觀眾，連續兩天的開幕式從下午六點持續至當晚十二點，參觀者人數超過兩千人次，各國建築師以及慕名前來的各國觀眾

義大利建築師維多里 (Arturo Vettori) 先生認為應天齊在八個展室所敘述的故事深深地打動了他，他認為應天齊在作品中所提出的問題，不僅僅是中國的問題，也是世界的問題。

對應天齊利用本土資源，針對中國當下問題，創作的當代藝術作品《囚》、

中國國家館策展人方振寧多次來到展覽現場，並參加了以應天齊作品為主

《磚魂》以及材料油畫《世紀遺痕》等產生濃烈的興趣，驚歎於作品的奇

題召開的國際學術研討會，他認為：應天齊的作品尖銳而強烈地揭示了中

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國在高速發展經濟的同時所面臨的對遺存保護不力的嚴重問題，並表示了極大的憤慨 ! 8 月 28 日下午四點，由荷蘭全球事務基金會召開的「世紀遺痕與未來空間國際學術研討會」，在本博宮殿應天齊展廳內舉辦，別具創意的討論會現場就設在應天齊巨大的裝置作品《囚》的前面。參加研討會的各國學者、策展人、藝術家和建築師紛紛就應天齊作品所引發的中國問題展開熱烈的討論，議題涉及：在全球化的進程中中國建築的未來 ? 中國已成為世界最大的拆遷現場和建築工地，也成為國際建築師的競爭場所，中國會面臨怎樣的問題等等。會議由荷蘭全球藝術事務基金會主辦，由基金會主席雷內 (Rene Rietmeyer) 先生親自主持並邀請藝術家應天齊率先發言。中方策展人批評家王林在發言中指出：「建築不是獨立存在的，是和人發生關聯的，建築師在考慮經濟利益的同時，應注入人文關懷，否則將成為文化的破壞者。」雷內先生在發言中指出：「城市和人的關係綿延不斷，龐貝廢墟的重要是給人類帶來的文化記憶。」眾多建築界的學者紛紛認為：「應天齊的作品驗證了很多問題，拆遷問題並不僅僅是中國問題，也涉及到世界各國在發展經濟的同時如何保護文化遺存。」雷內先生在會議總結中指出：「經濟發展作為一個怪物已經從鐵籠中出來，是把它關進去還是駕馭，是前進還是停止是人類需要思考和面對的。」研討會持續了兩個小時，窗外運河畔的燈火已然點亮，具有數千年歷史並保護完好的美麗的威尼斯水城，彷彿對人類面臨的問題做出了最好的回答。

2012 年 8 月 29 日於威尼斯

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Ying Tianqi's Exhibition Sparks Global Appreciation at the Venice Biennale

The 13th Venice International Architecture Biennale held its opening ceremony from August 27th to 29th in Venice, Italy. Three event categories: Central Pavilions with this year's theme "Common Ground", National Pavilions, and Collateral Events, each raised the curtain at different times in the city. Quiescent Venice suddenly was filled with enthusiastic visitors from all over the world, traversing among different exhibitions. As the leading international art event, every passionate attendee is eager to find out the latest architectural topics and participate in lively discussions. One of the highlights of the Biennale is "Traces of Centuries and Future Steps" exhibition, which consists of Chinese renowned contemporary artist Ying Tianqi's solo exhibition on his work series inspired by the demolition of Wuhu Old Town in Anhui Province, and other elite architects from other countries. This exhibition is organized by Global Art Affairs Foundation of the Netherlands, and co-organized by Asia Art Center, taking place at the prestigious Palazzo Bembo in Venice, which located right next to the Grand Canal. The eye-catching banner looks exceptionally prominent, attracting a large number of viewers. More than 2000 visitors attended the opening ceremony which lasted for 2 days from 6pm to 12am. Architects from all over the world were intrigued and impressed by the phenomenal emotional and visual impact manifested in Ying Tianqi's contemporary art works such as Imprisoned, Brick Soul, and mixed media oil painting Traces of Centuries. The Italian newspaper "il manifesto" also notably published Chinese art critic, Wang Lin's article "Ying Tianqi Enters the Forbidden Zone of Contemporary Cultural Ruins (L'irruzione di Ying Tianqi nella zona rossa della contemporaneit?)" in the first place. Claudia Pozzana, a distinguished scholar of Sinology at the University of Bologna in Italy, stated that it is rare to find Chinese contemporary art works that acquire such unique character while being closely related to the local context. She especially appreciates the work Brick Soul, which is made of architectural ruins; and bearing resemblances with Xu Bing's Phoenix, Brick Soul seems to capture a moving sense of surrender, homage, and reminiscence, therefore more astonishing to look at. Italian architect Mr. Arturo Vettori also said he was deeply inspired by the story told in Self-Articulation Room. He believes that the question Ying Tianqi poses is the predicament of the world, not just China alone. 142

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Curator of the Chinese Pavilion, Fang Zhenning, also visited the exhibition and joined the international symposium. He believes Ying Tianqi's art works reveal a serious and ongoing dilemma of China's inability to preserve and protect historical relics under an accelerated economic development nowadays, and further expressed his indignation in this matter. On August 28th at 4pm, "Traces of Centuries and Future Steps International Symposium" was hosted by Global Art Affairs Foundation at Ying Tianqi's exhibition site inside the Palazzo Bembo, with large installation art Imprisoned right next to the attendees. International scholars, curators, artists, and architects began their intellectual discussion around the artist's works, developing topics include: what will be the future of Chinese architecture in the inevitable globalization process? What are the problems China faces today as it becomes the world's largest scene of site demolition, redevelopment, and competing ground for architects? The symposium was hosted by Rene Rietmeyer, director of Global Art Affairs Foundation. Wang Lin, Chinese art critic and curator stated: "Buildings do not exist independently, but are closely related to the people and their everyday lives. While the architect evaluates the economic benefits of our contemporary constructions, they should also consider the humanitarian impact and consequences of any redevelopment, or they could have easily vandalized a much cherished culture." Rene added: "The relationship between the city and its people is inseparable; for instance, the importance of Pompeii ruins is to provide a precious and significant insight into human cultural development history." Many scholars from the field of architecture expressed: "Ying Tianqi's works bring out many issues, urbanization and demolition are not just an issue in China, but it quests for how to preserve our world heritage while striving for economic growth. Rene concluded at the symposium: "Economic development is like a monster out of the cage, it is left for us to think about whether to halt or move on as our future steps." The symposium successfully came to an end after 2 hours of inspirational discussion. The riverside was slowly illuminated, revealing Venice, a well-preserved romantic City of Water, as the best answer to our vexations.

August 29, 2012 Venice 144

應天齊在北京 798 亞洲藝術中心接受採訪 Ying Tianqi interviewed at Asia Art Center in Beijing 798 Art District

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義大利美術專刊 Finnegans 2012 年第 22 期專版推薦 Featured article on Italian art magazine Finnegans 2012 No.22

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《世紀遺痕》，用淚水和血做的作品

賈方舟 Jia Fangzhou

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應天齊這個展覽在北京展的時候，恰好我沒有趕得上，但是對應天齊的藝

中國自 90 年代以來成為一個大工地，這個大工地在不斷的建、不斷的破

術一直比較關注，曾經參加過他的《徽州女人》，那個戲劇的活動，去看

壞。就像有一個外國人很感慨的說，你們中國就叫「拆哪」（China），

了那個戲。我們現在回顧從 80 年代以來的藝術家，有的一開始進入在新

你們在不斷的拆，不斷的破壞，我想應天齊的主題正好是我們中國今天的

潮狀態中成長起來的，還有一些當時跟整個全國的，通過官方展覽這樣演

主題。在這樣一個大的主題當中，他充分的表達了他作為一個個體，對我

變過來的。像應天齊這樣的藝術家最初也是在比較官方正規的道路上一步

們文化的遺失表達內心的千古遺恨，在這一點是非常感人的，而且不僅體

一步走出來的，包括 70 年代畫的一些畫，按照為工農兵服務，為無產階

現在畫面上，而且體現到他的裝置，像我們一走上臺階看到的裝置，以及

級政治服務，一步一步看過來確實步伐很大。

進入展廳看到的影像，那些影像是投放在被拆掉的建築物上。

看應天齊這個藝術家事實上從最初的起步，到現在的步伐特別大，尤其到

應天齊在藝術上的表達可以說是比較完整的體現了，對主題完整的體現，

了深圳以後做的一些作品，他曾經有過一段西遞村，成名以後要告別西遞，

通過不同的方面，不僅僅是平面上。所以從這個意義上來講，我覺得應天

砸碎黑色，這兩個是在已經建立了基本繪畫面貌以後，重新尋找自己的經

齊是一個很優秀的當代藝術家，我就想這些，謝謝。

過，這個階段是最重要的部分。雖然這個階段有一些紛雜，面貌不是那麼清晰，但是至少說明一個藝術家他在不斷的超越自己，不斷的否定自己，經歷這個過程之後又回到平面來，我們就看到《世紀遺痕》的作品，叫做

賈方舟

《世紀遺痕》，實際上叫做「世紀遺恨」，事實上可以反應出很多中國人

2011 年 12 月 15 日

的一種無奈。我們走到任何一個城市，我們看不到歷史。

上海美術館

我從小在包頭長大的，我回到從小的地方現在全部沒有了。所以我深切的感覺到文革是一次非常大的破壞，在文化上。那麼，新時代大規模的建築、建設是又一次對文化的破壞，我們到過歐洲，可以看到不管是他們的大城市，他們的中小城市，你都可以看到外觀保持的非常完美，你在那個城市可以看到一個國家、一個民族、一個地區或者一個城市的歷史和原貌，內部不管你如何的現代化，但是在城市的外觀，一個建築的外觀任何人是沒有權利動的，國家和政府也不會輕易的破壞，我覺得這就是一種文化。城市的文化是以它的建築為主的，我覺得《世紀遺痕》這個作品是他帶著淚水和血做的作品，這個作品不僅有平面的，有影像、有裝置，我們從作品當中可以看得到藝術家那種對我們眼前現實的無奈，以及那種無奈的恨，希望保留的東西完全沒有保留下來，完全被清除掉了，被毀掉了。

關於發言人賈方舟，1940 年生於山西省，1964 年畢業於內蒙古師範大學美術系，先後在展覽館、報社、群眾藝術館工作多年。1995 年後以批評家和策展人身份主要活動於北京。

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"Traces of Centuries" Are Works that Express Tears And Blood

Jia Fangzhou

Most regrettably I was personally unable to make it to Beijing this time for Ying Tianqi's latest exhibition, but I have long been a deep admirer of his work, having participated in his Huizhou Women, and the attendant promotions of that opera, the performance of which I deeply enjoyed. As we recall the leading artists arising since the 1980s, some were immediately at the center of the new arts movement from which they developed, while others found growth in their artistic careers through success recognized in nationwide official art exhibitions. Ying Tianqi was one of those who was indeed rightly recognized in numerous official exhibitions, and some of his works even from the 1970s reflected the official demand that art serve the worker, farmer and soldier classes, or that art politically work to serve the proletariat. Step by step his work evolved at a rapid pace outstepping the official limits while emerging as a vanguard. If you observe the practical development of this artist Ying Tianqi's work from its beginnings, the traverse of his creative swath has been rapid and grand, especially after he arrived in Shenzhen, evoking his time in Xidi village, or bidding farewell with regrets to the Xidi Village and Breaking the Black, after becoming well-renowned, as these two series fully exhibit his emergence as a painter, re-exploring his roots, in what is his most important period of growth. While its true that this period was not perfect, with a lack of complete clarity in the appearances, but at least they show the artist continually sought to expand on his progress, while also continuously rejecting his status quo, then returning to his two dimensional works, where we witness his Traces of Centuries series, which though called Traces of Centuries actually refers to "Remnants of Rejection across the Centuries" reflecting the helplessness that many Chinese feel today. When we visit any city today, we no longer can see any historicity at all. I grew up in rural Baotou, but when I return there today I cannot find any remnants from my youth. It is thus that I realize the catastrophic devastation that the Cultural Revolution has imprinted across China, especially the cultural catastrophe it wrecked. Hence, in this new era of grandiose architecture, development is yet another form of cultural destruction. In contrast, when we visit Europe, there are grand cities, small towns and villages of historical architecture that evoke the entire country's long history, preserved by proud people. Regardless of how modern its working aspects may be, the city's appearance or the architectural structure's appearance remains outside the limits of anyone's authority to destroy, as neither nation or government is deemed to possess an unlimited authority to demolish, this to me bespeaks of a real culture. Cities cultures are largely expressed through their architecture, so I feel that Traces of Centuries are works that express these tears and blood, not only in a two-dimensional sense, but with multimedia, and installations, affording us to see from the works just how the artist views our present realities

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with an utter helplessness, a helpless sense of desperation and rejection, even hatred, at the fact that what he aspired to preserve has not been even slightly preserved, but completely erased, utterly demolished. Since the 1990s China has emerged as a massive industrial site, and this industrial site has undergone constant rebuilding, constant demolition. Some foreigners even joke how our country has become as fragile as the porcelain called "China" which is easily broken and sharded, demolished and destroyed in the name of redevelopment, this is why I believe the themes explored by Ying Tianqi concisely reflect the theme of today's China. In just such a theme, he has completely managed to express his personal individuality as a totality, and how our cultural losses express the heartfelt loss of our millennia of culture, which is a profoundly moving statement, not only finding expression in the paintings, but all the more so with his installations, as we walk across the stage to view the installation, and enter the exhibition multimedia room to see the images, those images reflecting the architecture which has been permanently stolen from us, utterly destroyed. Ying Tianqi's works express completely manage to realize, the full deepness of their theme, expressed through diverse perspectives, not only in the two dimensional sense. From this significance one can state how I feel that Ying Tianqi is an exemplary, outstanding contemporary artist, that is the sum of my thoughts today. Thank you.

Jia Fangzhou December 15, 2011 at Shanghai Art Museum About the Speaker

Jia Fangzhou was born in Shanxi province in 1940. He graduated from the Department of Art of Inner Mongolia Teachers College Fine Arts in 1964, and had been working at museums, press office, and galleries for many years. He spends most of his time in Beijing after 1995, and is currently an art critic and curator.

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世紀遺痕材料油畫 TRACES OF CENTURIES OIL PAINTINGS

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應天齊的藝術探索始於上世紀 80 年代，他在西遞的建築中發現了形式之美。80 年代正是前衛藝術風起雲湧之時，西方現代藝術成為很多人追隨的目標，這種追隨總是有著很大的盲目性，儘管精神可佳，卻喪失原創和傳統斷裂。其實這正是應天齊思考的問題，與其說他發現西遞，不如說他發現了現代。傳統是多樣的，為了實現現代藝術的中國方式，大量的傳統符號（或中國

應天齊作品分析

元素），如水墨、書法、戲曲等，被納入現代藝術的樣式，但大多流於形

鄉關日暮夢裡情懷

式的淺薄。傳統的意義並不在於現代對傳統的重複，而在現代的缺失要求對傳統的重新發現。作為現代藝術，應天齊的起步並不是很張揚，從一開始，人們還很難認識其作品的現代性的意義。他的早期作品，如《西遞村系列》和《徽州之夢系列》，現代性似乎被深深地隱藏，人們看到的是現實主義與版畫語言的強化，現代主義藝術的基礎——幾何形的平面構成隱藏在這種「版性」之中。從表面上看，應天齊並不是追求現代性，水印木刻本來就盛行於江南一帶，傳統與地域性的媒材本身就具有文化的規定，用這種媒材再現的徽州民居似乎是傳統的一種延續，藝術家不過是採用了新奇的觀察角度。在上世紀 80 年代西方化的語境中，這種表達似乎不受前衛藝術的關注，即使像徐冰、呂勝中那樣非常的中國元素，也完全是在西方當代藝術的樣式中。實際上，應天齊的表現並不傳統，他不是直接採用現代的形式，如抽象化或表現性的處理，而且強調了人的因素，人在畫

易鷹 Yi Ying 中央美術學院藝術批評與理論研究中心主任

面上隱性地存在，人的凝視，人的觀察，也暗示著人的記憶。人的在場是應天齊作品的重要因素。這種性質貫穿他的整個創作，傳統與現代也是結合在這種個人的因素中。從形式上看，這種個人性體現為視角的與心理的兩個層面。在《徽州之夢十》（2000）中，畫面的主體是黑色與白色，景物只占很小的部分，白色的部分如同天空把房屋壓縮在地平線上，黑色則如同窗格和牆面，觀眾透過窗戶看到遠處的景色。這是一種觀察角度的變換，熟悉的景物在變換的視角下變得陌生和疏遠。窗格與牆面是隱性的抽象構成，與再現的房屋形成強烈的對比。這是現代藝術形式的運用，也反映了他對現代藝術的追求。但對他來說，形式只是表現的手段，不是目的。觀眾彷彿是透過窗戶看到外面的景色，觀眾的位置實際上是被畫家規定的，也就是畫家自己的位置，是他自己從這個位置來觀看和凝視。主體的在場暗示了作品的主題，物件是正在消逝的客體，它不僅是歷史的痕跡也是記憶的碎片，它的美不在自身的形態，而在主體的感知。它的消失不僅抹去了一段歷史，也抹去我們生命的來源。我們不是從應天齊的作品中認知徽派建築的形式或形式之美，而是感受滄桑和悲涼，那被重新發現的和正在消逝的，正是我們生命的一部分。這種通過形式體現的精神與心理的隱喻在他的早期作品就有了伏筆，如《西遞村系列》，大面積的黑色佔據畫面的大部分空間，房屋被擠到畫面的一角，或顯現在黑色方塊的夾縫中。黑色雖然是版畫的主要語言，但在這兒不是作為單純的版畫效果，同樣有心理的隱喻，尤其在《西遞村系列之古巷》（1991）中，大面積的黑色不

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只是起到襯托形象的作用，而是有效的空間實體，它像個人的記憶或集體

灰色，兩個色塊都是硬邊的切割，色塊裡面是用塑型膠和石膏製作的滄桑

無意識，歷史的陳跡從記憶的空間浮現出來。實際上，這也是應天齊作品

的牆面，其中一塊還有從斑駁的牆面中露出的木皮。審美發生了轉換，歷

的隱藏的主題，夢回西遞，是對歷史的沉思，也是個人生命的記憶。

史在這兒被精緻地切割，抽象不是意味著審美與構成，而是現代、工業、

無法排遣的相思成為應天齊的一個矛盾，也有力地支撐其藝術的發展。一方面是對歷史、生命的不斷回首，一方面又是對新藝術的不懈追求，這種關係構成其藝術的主要特色。尤其值得一提的是他在抽象藝術上的實驗，就是他的《砸碎黑色》。儘管這個作品可以視為行為和裝置，但其觀念還是來自他的版畫，來自那些抽象的元素。抽象藝術介於他的版畫與裝置之

甚至西方，對我們的傳統與文化的切割和侵犯。但是這一切都是在審美中完成，傳統與現代在表面上是無縫對接，而實質上是歷史進程的無奈。在作品的上方有兩塊黑色，似乎是構成的需要，但它使我們想到他的版畫，那種在場的暗示，即使他對歷史，對傳統，對生養他的土地有最深沉的愛，但文明的進程不可避免地將那種留戀深深地掩埋。

間，在時間與觀念上都是一個過渡。通過對其版畫作品的分析，可以看出

在應天齊的作品中，老牆是反覆出現的一個主題，在《失憶》（2007）中，

其抽象的意義。在其版畫作品中，已經隱含抽象的因素，黑色的塊面不僅

一塊牆面懸置在黑色的空間，當它被黑色吞噬的時候，也是記憶的最後消

指示著實體（窗格、牆面），也暗示著心理，是凝視，是記憶。它與形象

失。在《木雕之二》（2008）中，一塊木雕鑲嵌在老牆和黑色的背景中，

構成直接的對比，卻比形象有更大的力量。應天齊的抽象作品就是把版畫

老牆似乎正在上升，最終掩蓋的不只有木雕，還有黑色的記憶本身。像這

中的黑色抽象出來，在黑色的形式後面是個人經驗的敘事。在應天齊看來，

樣的作品，很難閱讀出直接的象徵性，而且他也不追求明確的象徵，他追

歷史的消逝不是一個自然的過程，而是人為的破壞，不僅是在時間中遺忘，

求材料的表現力。不管是挪用還是模擬，這些材料都是來自家鄉的老屋。

還有現代文明對歷史的蓄意割裂。因此他那些黑色的碎片有雙重的含義，

他相信，在這些行將消失和遺忘的東西裡面有一種真正的力量，召喚歷史，

一個是被割裂和被泯滅的歷史，一個是歷史被泯滅在現代的形式中，因為

召喚生命。它既在現代中消逝，又被現代所照亮。當我們迷失在現代的時

抽象藝術本身就是一種現代表現。應天齊的藝術並不好理解，表面上看很

候，總是會問精神家園在哪兒，應天齊的作品是不是作出了回答，因為傳

簡單，其實隱藏著複雜的語言符碼，如同他的黑色抽象，任何一個黑色的

統與現代在他那兒結合得如此緊密，又如此充滿張力。

碎片都不是指示形式的行為，其意義包含在其前在的藝術中，不過，當他採取這種行為的時候，可能他自己都沒有意識到前在的藝術對其行為的規

關於作者

定，和觀眾一樣，他可能也沉浸在新穎的形式和大膽的實驗上。

易鷹，1953 年生於中國湖南長沙，1985 年畢業於中央美術學院美術史系研究生班，留校任教。擅長西方美術史、美術批評、油畫。

應天齊的創作總是在單純中蘊含著複雜，他的裝置作品就是如此。由於是一種平面的關係，這類作品一般被稱為綜合材料，但從另一個角度來說，也可以稱為平面裝置。之所以強調裝置，就在於裝置與現成品的關係。在某種意義上說，應天齊的綜合材料都是模擬的現成品。不同的是，他的現成品是模擬的替代，挪用了現成品的概念，材料與現成品相輔相成，既有材料的表現力，也有現成品前在和挪用的意義。從理論上說，裝置並不類同於繪畫或雕塑的形式，因為它重在觀念的表達。對於應天齊來說，他的觀念還是隱藏在形式下面，他的裝置首先還是視覺關係的表達，但不是一般的形式意義，而是由文化賦予的意義。材料的運用，使他直面歷史，因為材料本身隱含歷史的資訊。經過他的重新編碼，生發新的意義。以作品《裂開的牆》（2007）為例。從大的形制上，我們感覺到他的歷史的雙重影響，即繪畫與抽象。不過，繪畫的形象被材料（現成品）所取代，而抽象則轉換為純粹的視覺關係。應天齊在形式的把握上有先天的優勢，空間關係的佈置，黑白灰的處理，使得他的抽象首先以強烈的審美效果吸引人。形式的力量已使他的作品趨於完整，實際上，其意義遠非如此，抽象的構成不只是形式的審美，而是歷史與文化的衝突。這種巨大的張力正是

文明之一 Civilization No.1

通過材料與形式的衝突而形成的。作品的主體是垂直的黑灰色和水準的褐

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An analysis of the works of Ying Tianqi

Missing The Heartland of Our Dreams

Yi Ying

Director, Art Criticism and Theoretical Studies Center, Central Academy of Fine Arts

Ying Tianqi began his artistic career in the 1980s, as he discovered the beauty of Xidi's architecture right before his eyes revealing his personal aesthetic. The 1980s represented the onset of vanguard trendy arts expressions, and modern western art became the sine qua non many sought to achieve, but such efforts are always visited with a lot of mindless copying, so even if the intention were admirable, the work lost any originality and reflected no traces of traditional continuity either. These were indeed the very questions with perplexed Ying Tianqi, so rather than saying he gave life to Xidi, it might be truer to form to argue that he discovered modernity. Tradition is diverse, so in order to achieve the Chinese path in Modern Art, a plethora of traditional symbols (or Chinese style elements), such as ink painting, calligraphy, and opera, have been incorporated into the style of modern art, but most of them are incorporated with mere formality in a shallow expression. The true traditional sense is not merely about repetitive presence of the traditional within the modern, but to rediscover the traditional to fill the continuity void in the modern. As a modern artist, Ying Tianqi's presence did not began with grandiosity, but from his beginnings, it was difficult to discern the sense of modernity within his repertoire. In his early works, such as the Xidi Village Series and the Dreams of Huizhou Series, the sense of modernity seems to be deeply hidden, as we see a strengthening of woodblock printing with realism, while the basics of modernism in the arts through geometric structures seem hidden within the woodblock print aesthetic. Thus on the surface it is clear that Ying Tianqi is not chasing after modernism, using the watermark woodblock prints prevalent in the southern Chinese Jiangnan region, with media that reflect tradition or regional cultural elements in their visual grammar, such that the very use of such media to recreate Huizhou residents is a veritable expression of continuity with tradition, with the artist merely deploying a fresh sense of curiousity in perspective for observation. In the 1980s westernized collocations, this form of expression was not given much attention from the Avant-garde art world, even among artists with profoundly Chinese elements such as Xu Bing or Lu Shengzhong, their work was completely in the style of Western contemporary art. In fact, Ying Tianqi's expressions are not really traditional, but nor does he use completely modernist methods either, for example through abstractionism or via performance, instead he emphasized human elements, the invisible human element in the paintings, the human gaze, the human observation, which hint at our human memory. The presence of humans on site are an important element of Ying Tianqi's works. This characteristic appears throughout his entire creations, with tradition and modernity coalescing in such personal elements. From a formal point of view, such a personal nature reflects the perspectival and psychological levels. In his Dreams of Huizhou No.10 (2000), the screen is composed of black and white, with landscape elements occupying only

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a small portion, while the white part recalls the sky compressing housing on the horizon, while the black evokes the window panes and walls, as the audience see the distant scenery through the window. This is a transformation of the typical observation angle, with the familiar scene's perspective transformed and becoming both strange and alienating. The window pane and the wall elicit a recessive abstract composition, with the reappearance of the houses in sharp contrast. This is the use of modern art forms, which also reflect his pursuit of modern art. But for him, the form represents only a means, and not the objective. The audience is as if witnessing the scenery outside through a window, and these observers are actually viewing from locations prescribed by the painter, as it is from this very position the artist watches and stares. The implied theme of the works is in the presence of the subject, while the object is a vanishing object, it not only captures the history of traces yet also the fragments of memory, and its beauty is not in its own form, but in the perception of the subject. Its disappearance not only wiped out a portion of history, but also erased the source of our life. We do not learn of the form or aesthetic of Huizhou architecture from Ying Tianqi's works, but feel the vicissitudes and desolation, of that which is re-discovered and departing is a veritable part of our life. This embodiment was hinted at in the form of spiritual and psychological metaphors in his early works, such as the Xidi Series, where a large area of black occupies most of the screen space, with housing relegated to the corner of the screen, or show in the cracks of the black boxes. Although black is the main language of printmaking, but here black is defused not as a simple printmaking effect, but with psychological metaphors, especially in the Xidi Village Series- Ancient Alleys (1991), where large areas of black not only play a foil image role, but evoke effective spatial entities, like a personal memory or collective unconscious, with history as a thing of the past emerging from the space of memory. In fact, this is the hidden theme of Ying Tianqi's works, as he dreams of Xidi, meditating on this history, but also eliciting memories of his personal life. Irrepressible memories become a contradiction for Ying Tianqi, while also strongly supporting the development of his art. On the one hand, it continues to look back on history and life, while on the other hand, it explores the relentless pursuit of new art, and this relationship constitutes the main feature of this art. Especially noteworthy is his abstractionist experimentation, with his Breaking the Black. Even though this work can be viewed as performance and an installation, its conception nevertheless arises from his woodblock printmaking, and their abstractionist elements. Abstractionism arises amongst his woodblock printmaking and installations, reflecting a transition both in terms of time and conceptualization. Through analysis of this printmaking, you can appreciate the abstract sense. His printmaking works are replete with abstract elements, with black boxes which

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not only represent physical things (window panes, walls), but hint at evoking the psychological, as a gaze, as memories. The work and image pose direct contrasts, which create a strength greater than the image. Ying Tianqi's abstract works take the black of abstract prints out, and use the black form later for a narrative of personal experience. In Ying Tianqi's critical perspective, the loss of history is not a natural process, but results from manmade destruction, reflecting not only losses in time, but also the deliberately fragmented history of modern civilization. Thus his black shards, ruins and debris are a double entendre, one of which is fragmented and devoid of history, and another in a history devoid of the modern form, since abstract art is itself a modern performance. Ying Tianqi art is not well-understood, though on the surface his work is very simple, in fact, much lies hidden in the complex language of his symbols, such as his abstract black, as none of black shards or debris are instructions in the form of performance, and its meaning is included in its prior art, however, when he deploys this performance, he may have not realized the current art on the provisions of such performance, and like the audience, he may also be immersed in the novel form and such bold experimentation. Ying Tianqi's creations always contain the complicated within the simple, and his installations are no exception. Such a planar relationship is usually referred to as mixed media works, but from another point of view, can also be referred to as a two-dimensional installation. The reason for stressing the importance of these installations is because of the relationship between the installation and the readymade. In some sense, Ying Tianqi's materials are simulated ready-mades. But his readymades are simulated alternatives, which misappropriate the concept of the readymade, where materials and readymade appear complementary, both being expressive materials, with significance of the readymades and of misappropriation. In theory, installations are not the same as paintings or sculpture, because they emphasize a conceptual expression. For Ying Tianqi, his concepts are hidden beneath the forms used, and his installations first rely on expression through the visual relationships, but not through some typical formalism, rather through their culturally embedded signification. Use of materials, compels him to face history, because the medium itself contains deep historical information. His recoding generates new significance. Consider, for example, his work Cracked Wall (2007). From the large shapes, we feel the double impact of his history, in painting and abstraction. But the image of the painting are replaced by materials (finished ready-made works), and the abstract is converted to a purely visual relationship. Ying Tianqi has inherent advantages in his grasp of form, the layout of spatial relationships, the processing of black, white and gray, such that his abstract works find their profound attractiveness through their strong aesthetic effect. The forms of power have tended to complete his works, in fact, their significance is even further, as the abstract composition is not just an aesthetic vision of form, but the very conflict of history and culture. This great tension is formed by the conflict of materials and forms. The subject of the works is the vertical black gray and the standard taupe, with the two color patches at the cut hard-edges made with plastic glue and plaster for the walls of vicissitudes, with one exposed from the mottled wall

surface veneer. As the aesthetic undergoes conversion, history is exquisitely cut here, and abstraction does not mean the aesthetic and structural, but modern, industrial, and even Western, as cutting and violating our traditions and cultures. But as all this is completed, the traditional and the modern seem to enjoy seamless docking along their aesthetic surfaces, even though they essentially reflect the helplessness of the advance of the historical process. In the two black spaces in the top of the work, there seems to be constituted that need, which compels us to think of his prints, and the kind of implied presence, evincing his deepest love birthed from history, tradition and homeland, while the process of civilization inevitably contains within it the deeply buried kernels of nostalgia. Amongst Ying Tianqi's works, olden walls are a recurring theme, as in Amnesia (2007), there is a wall mounted in black space, which appears swallowed by the black, but also evokes the final disappearance of all traces of memory. In Woodcarving No.2 (2008), a woodcarving arises as a mosaic amid the old walls and black background, while the old walls appear to be increasing, eventually not only concealing the wood carving, but also enveloping in black the very memory itself. With works like this, it is difficult to read a directly symbolic sense, and the painter also does not pursuit a clear symbol of expressiveness, rather the expressive power of the material itself is exposed. So whether a result of misappropriation or simulation, these media all hail from real old homes in the painter's hometown. He believes there is a real force in the lines of those which will disappear and their forgotten things inside, which will call out to history, and summon life. They are lost through modernity, just as they showered in the lights of modernism. As we find ourselves lost in the modern, asking where our spiritual home lies, Ying Tianqi's works are not necessarily made to provide a simple answer, because tradition and modernity are combined so intimately there, while yet so full of tension.

About the Writer

Yi Ying was born in Changsha, Hunan province of China in 1953. He graduated from the Art History Department of China Central Academy of Fine Arts (CAFA), with a Masters degree in 1985. He is currently a professor and master instructor of CAFA, a famous art historian and art critic.

( 左頁 Left ) 裂開的牆 Cracked Wall 164×122cm 2007 綜合媒材 Mixed media on wooden plate

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( 上頁 p.198 ) 韻之一 Vital Spirit No.1 122×190cm 2011 綜合媒材 Mixed media on wooden plate ( 右頁 Right ) 韻之一 - 局部 Vital Spirit No.1 - detail (下頁 p.202 ) 韻之二 Vital Spirit No.2 122×190cm 2011 綜合媒材 Mixed media on wooden plate

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龐貝 Pompeii 167×244cm 2012 綜合媒材 Mixed media on wooden plate

龐貝 - 局部 Pompeii - detail 綜合媒材 Mixed media on wooden plate

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龐貝之三 Pompeii No.3 122×147cm 2012 綜合媒材 Mixed media on wooden plate

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龐貝之三 - 局部 Pompeii No.3 - detail 綜合媒材 Mixed media on wooden plate

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( 左頁 Left ) 韻之三 Vital Spirit No.3 150×170cm 2012 綜合媒材 Mixed media on wooden plate ( 上圖 Above ) 韻之三 - 草圖 Vital Spirit No.3 - sketch

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( 右頁 Right ) 無題之二 Untitle No.2 150×111cm 2012 綜合媒材 Mixed media on wooden plate (下頁 p.216 ) 無題之二 - 局部 Untitle No.2 - detail

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( 右頁 Right) 流金 Golden Time 195×139cm 2012 綜合媒材 Mixed media on wooden plate 218

( 上圖 Above) 流金 - 草圖 Golden Time - sketch

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流金 - 局部 Golden Time - detail 綜合媒材 Mixed media on wooden plate

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王者 The King 167×244cm 2010 綜合媒材 Mixed media on wooden plate

( 右頁 Right ) 紅與黑 Red and Black 122×190cm 2012 綜合媒材 Mixed media on wooden plate ( 下頁 p.202 ) 紅與黑 - 局部 Red and Black - detail 224

( 上圖 Above ) 紅與黑 - 草圖 Red and Black - sketch

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青銅時代 Bronze Age 167×122cm 2012 綜合媒材 Mixed media on wooden plate

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青銅時代 - 局部 Bronze Age - detail 綜合媒材 Mixed media on wooden plate

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(右頁 Right ) 墨氣之二 Aroma of Ink No.2 150×110cm 2013 綜合媒材 Mixed media on wooden plate (下頁 p.236 ) 墨氣之二 - 局部 Aroma of Ink No.2 - detail

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( 上頁 p.238 ) 殘壁之二 Ruins No.2 244×110cm 2013 綜合媒材 Mixed media on wooden plate ( 右頁 Right ) 殘壁之二 - 局部 Ruins No.2 - detail

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創作脈絡與年表 CHRONOLOGY

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應天齊創作大事紀

1966

文革時期 • 1966，文化大革命開始，參加革命大串連赴北京、上海。組織「魯藝木刻戰鬥隊」製作木刻，繪製街頭宣傳畫。 • 1967，按照前蘇聯出版的《契斯恰科夫素描教學法》學習素描，臨摹蘇聯畫家列賓油畫作品。 • 1975，根據江蘇南京流傳來的手抄本水印版畫技法自學。

1980

藝術轉型期 • 1982，任職於安徽省馬鞍山市工人文化宮，組織職工進行業餘創作。 • 1985，任職於安徽省蕪湖文聯，參加「全國油畫工作座談會」深受影響，始將思辨理念加入自身的藝術思想中。後入北京中央美術學院版畫系深造。 • 1986，受 85、86 美術新潮影響，思想更為活躍。 • 1986，參觀美國波普藝術家勞森伯格展覽與聆聽講座，頗多頓悟。

1986

【西遞村系列】 • 1986，第一次步入安徽古村落西遞村，萌生強烈創作欲望。 • 1994，歷時 8 年完成 32 幅【西遞村系列】版畫，其間在中國美術館舉辦畫展，引起強烈關注。宣佈結束【西遞村系列】的探索。

1994 1995

• 1995，「應天齊西遞村藝術館」在西遞村建成並對外開放，獲「西遞村榮譽村民」稱號。西遞村被聯合國教科文組織列為世界文化遺產。

告別西遞 • 1994，在家鄉蕪湖書畫院舉辦「告別西遞—應天齊第九次西遞版畫展」，做裝置作品《門》、《西遞祭壇》，行為藝術《出售西遞村契約》。 • 1998，和戲劇家陳薪伊、曹其敬、韓再芬共同探討根據【西遞村系列】依畫作劇，創作黃梅戲《徽州女人》，並擔任創意、策劃、舞臺美術顧問。 • 1999，離開安徽，移民深圳。

1999

【砸碎黑色】 • 分別於 1999 年 1 月 1 日零點、2000 年 1 月 1 日零點、2001 年 1 月 1 日零點歷經三年在世紀之交零點，完成行為藝術作品《砸碎黑色—零點行為》。 • 2000，創作大幅水印版畫《碎裂的黑色》、《徽州之夢》系列。

2002 2004

• 2002，在成都、上海兩地做行為藝術《尋》。

【大剪紙】 • 2004~2007 年連續四年春節期間，在深圳城市中的多處空間做行為、裝置作品《大剪紙》，分別是深圳市博物館、民俗文化村、熙園社區、中信廣場、觀瀾古鎮、萬科第五園社區。

2006

• 2006，應天齊擔任中國安徽蕪湖古城改造總策劃總顧問，蕪湖古城同時遭遇拆遷。

2007

【世紀遺痕】材料油畫 • 2008，開始從本雅明《機械複製時代的藝術作品》所提出的問題，進一步思考當代藝術與社會生活的諸多問題。遂將「本真性」的概念注入，使利用他在各處古城拆遷地搜尋到的殘餘建築材料，與油畫作品融合，追尋真實物件所蘊含的深刻感覺。並派生出影像、裝置和行為作品，向吳冠中提出原創版畫和複製版畫的比較，在深圳華僑城 LOFT 創意園做行為藝術《我是原創》。 • 在安徽蕪湖古城做影像作品《遺痕．滄桑》。 • 持續八年不斷地創作，完成 70 餘幅《世紀遺痕》材料油畫。此系列凸顯出創作三十年來，應天齊一以貫之地以建築作為載體，以傳統遺存和本土資源的當代藝術的探索推進；並連續三年參加威尼斯雙年展留下傲人的成績，成為中國當代藝術領域上重要的領軍人物。

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1966 年在北京天安門前 Tiananmen Square, Beijing, 1966 1982 年在安徽馬鞍山工人文化中心 Ying in Workers' Cultural Palace, Ma'anshan City, Anhui province, 1982

2011 年世紀遺痕在上海美術館 Traces of Centuries – Solo Exhibition of Ying Tianqi, Shanghai Art Museum, 2011

1994 年和父母親在安徽蕪湖書畫院 Ying with parents at Anhui Wuhu Academy, 1994

1980 和夫人閻平在安徽馬鞍山采石磯 Ying with wife Yan Ping at Anhui Ma'anshan Caishiji, 1980

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Ying Tianqi Chronology

1989 年在安徽蕪湖大慶劇場家中斗室作西遞版畫 Ying made Xidi Village Series prints in his studio at Daqing Theatre in Wuhu, Anhui province, 1989

1998 ∼ 1999 年零點於家中第一次實行砸碎黑色行為 At zero o'clock in 1998 turning into 1999, Ying performed the first Breaking the Black at home

1998 年根據西遞版畫創作《徽州女人》黃梅戲 Huangmei Opera Huizhou Women based on the print art work Xidi Village Series, 1998

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應天齊西遞村藝術館，建於 1995 年 Ying Tianqi Xidi Art Museum, founded in 1995

1966

Cultural Revolution and Its Aftermath •

1966, in the beginning of Cultural Revolution, Ying took park in the nationwide revolutionary relation-building movement to Beijing and Shanghai, and organized "Lu Arts Woodcut Fighting Group" to make woodcuts and draw street propaganda pictures.

• •

1967, Ying learned sketching in accordance with Chistiakov's Sketch Teaching Method, and imitated Soviet Union's painter Repin's oil painting. 1975, Ying studied watercolor print according to the manuscript Skills of Watercolor Print handed down from Nanjing, Jiangsu.

1980

Transformation • •

1982, Ying worked in Workers' Cultural Palace in Ma'anshan City, Anhui province, and organized workers' amateurish creation. 1985, Ying attended the "Symposium of National Painting Work". Ying was greatly influenced by the meeting, and his artistic thinking took in speculative ideas. Ying studied in Print-making Department of Central Academy of Fine Art in Beijing.

• •

1986, Ying was influenced by the New Trend Art Movement in 1985 and 1986, and became active in mind. 1986, Ying visited American Pop artist Rauschenberg's art exhibition and attended his lectures. Ying was deeply enlightened.

1986

"Xidi Village Series" •

1994

• •

In 1986 he visited the Xidi old village in Anhui Province for the first time, giving birth to a profound creative impulse. In 1994 he completed 32 works in the Xidi Village Series woodblock prints, finally completing his creative exploration of the Xidi Village Series. In 1995 the"Ying Tianqi Xidi Village Art Museum" was constructed and opened for the public. He received the accolade of "Xidi Village Honorary Citizen". Xidi was thus selected as a world heritage site by the United Nations Economic, Social and Cultural Organization (UNESCO).

1995

Farewell to Xidi •

He held an exhibition in his hometown at the Wuhu Calligraphy and Painting Institute entitled "Farewell to Xidi: Ying Tianqi's Ninth Xidi Woodblock Print Exhibition" , completing his installation works Door, and Xidi Altar, and his behavior art Selling Xidi Village Contract.

•

In 1998 in collaboration with opera stars Chen Xinyi, Cao Qijing, and Han Zaiwei, he developed a libretto based on the Xidi Series, for use in the Huangmei opera work Huizhou Women, serving as Creative Director, Strategic Planner and Stage Arts consultant.

•

In 1999 he left Anhui and migrated to Shenzhen.

1999

"Breaking the Black" •

2002 2004

2006 2007

• •

At midnight on January 1, 1999, midnight January 1, 2000, and midnight January 1, 2001, over three years spreading across the change in centuries and the millennium, he finished his behavior artwork Zero O'clock Work: Breaking the Black. In 2000 he created his large watermark print series, Broken Black, and Dreams of Huizhou. In 2002 he displayed his behavior art Seeking in Chengdu and Shanghai.

"Large Paper-cut" •

Over the four years between 2004~2007, he displayed behavior art and installations Large Paper-cut in several city spaces in Shenzhen: respectively at the Shenzhen Municipal Museum, China Folk Culture Village, Xiyuan Neighborhood, Zhongxin Plaza, Guanlan old village, and the Vanke Real Estate fifth neighborhood expansion.

•

In 2006, Ying Tianqi was appointed the Senior Consultant and Planner for the Wuhu Old Town Rehabilitation Effort. However, the site remains an utter ruins after demolition.

"Traces of Centuries" •

2008, inspired by Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction, Ying started contemplating on issues of contemporary art and social life. Applying the concept of "authenticity", he collected architectural debris from demolished grounds and incorporated them into oil paintings to imbue the objects with nostalgic sentiments. He proposed a comparison between original print and replicated print with Wu Guanzhong, and carried out behavior art The Original at Shenzhen Huaqiaocheng Originality Garden.

• •

He created his video work Traces - Vicissitudes in Anhui's Wuhu. After 8 years of unceasing creation, Ying completed more than 70 pieces of Traces of Centuries Series oil paintings. This series reveals Ying Tianqi's consistency, for 30 years, of using architecture as cultural carrier. The artist incorporates historical remnant with local resources to explore and expand the scope of contemporary art. Having exhibited at Venice Biennale for three years, Ying is now one of the leading figures in the Chinese contemporary art history.

2013

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農村歸來 Back from the Countryside 92×66 cm 1972 年畫 Calendar Painting

應天齊的創作是一部中國三十年的美術史

我特別祝賀應天齊先生的展覽在這裡開幕。我想熟悉和不熟悉應天齊的朋友們，都會在他的展覽中看到他不斷抒寫著自己藝術探索的新的篇章，也能夠很好的在這裡分享他可以說長達三十年的藝術成果。我非常贊成這個展覽的主旨，就是從應天齊的藝術歷程看他個人的探尋，實際上同時也看三十年來中國藝術走過的歷程。不見得每一個經歷過這個時代的藝術家都能夠與這個時代的發展結構具有對比的關係，而一些在這個時代裡始終堅持探索，堅持對自我挑戰也對今天的藝術個體挑戰的藝術家才能夠很好的回答這個時代，回應這個時代。應天齊這個展覽中最早的作品是 1972 年，到今天的確是 30 多年了。在改革開放的 30 年是這一代藝術家特別努力又特別經受考驗的時期。天齊的特點我覺得第一是十分十分的勤奮，他有作為一個藝術家最根本最樸素的品質，

范迪安 Fan Di'an

所以幾十年來他是在一個高度的藝術熱情和極為投入的藝術狀態中從事藝術創作。他的確是在與時俱進，這個與

中國美術館館長

時俱進既受到外部社會和文化條件變遷的影響，也有他發自內心的一種文化動力。是不斷地在這個時代把藝術當作一個思想的載體，所以他的藝術是提出問題的，是不斷的關注社會現實同時也關注他自己心靈歷程的成長。我覺得一個藝術家如果能使自己的心靈體驗和心路歷程與這個時代結合在一起，他的藝術就可以提供我們更多值得琢磨研究的東西。第三，應天齊的的確確在自己的藝術發展中找到中國當代藝術特別迫切需要解決的一個問題，那就是如何將中國的現實作為創作的資源，而同時又創造出當代藝術的當代內容，文化中的當代屬性，我覺得應天齊在這方面的關切特別在這個展覽中我覺得體現得非常深度的精神關切。而且找到了跨越傳統、媒材和語言的表達方法。我不能在這裡發表更多研究性的思想，只能從我對這個展覽的初步體驗中感到了藝術既要有視覺革命式的成果，更要有思想的深度。而天齊作為我的藝術家朋友很好的回答了這個問題。我在此祝願他的展覽圓滿成功，謝謝！

范迪安 2011 年於中國美術館《世紀遺痕》首展

關於作者范迪安，1955 年生，曾任中央美院副院長，教授，現任中國美術館館長，中國美協副主席，全國美術館專業委員會主任，中國油畫學會理事，全國政協委員。從事近當代美術及博物館學研究。曾為威尼斯雙年展中國國家館、中法文化年、中意文化年、上海雙年展等策展。

( 上圖 Above ) 西遞村系列之十一 Xidi Village Series No.11

50×60cm

( 右頁 Right ) 重複的西遞村系列之五 Repeated Xidi Village Series No. 5

1989

水印版畫 Watercolor Print

52×45cm

1991

水印版畫 Watercolor Print

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I Began Taking My Own Path in the Late 1950s

Fan Di'an

Director, National Art Museum of China

It is my privilege to express congratulations to Ying Tianqi on this occasion of his exhibition here today. I believe that art aficionados familiar with Ying Tianqi or not, will be pleased to find in his exhibition a persistent dedication to reworking and renewing his identity as an artist in the search for new expressions, and it is also possible to gain a deep appreciation of his repertoire of now almost three decades long growth in the arts. I am particularly fond of this exhibit's theme, as we explore his ineffable personality through this body of work, which also evinces nearly three decades of the incredible transformation of the arts during China's rapid modernization. While it is surely true that not every artist in this time period has been able to say that their works reflect a dialogue and debate with the structural flow of history in the same time, there are those who have passionately engaged in exploration all along the way, faithfully maintaining challenges to their person which have also progressed the pace of the arts as responsive to the times, and reflective of the times. In this exhibition Ying Tianqi's work with the most senior provenance hails from 1972, now already 30 years old. During the past three decades of opening and reform across China, these generations of artists have worked particularly assiduously and been subjected to rigorous evaluations of their repertoire. Tianqi's remarkable characteristic it seems to me lies in his unflinting perspicacity, reflective of his traits as simply, and boldly, an artist, so he has enjoyed much from the supportive milieu of the past thirty years of the new art fervor and the unlimited innovativeness that has poured into the arts over this time. He has been very much a man of his times, while also staunchly challenging his times and the social environment as culture finds itself under attack everywhere, reflecting his heartfelt commitment to his native culture. He has consistently deployed the arts as a field where reflective engagement and critical thought can be embodied in a public dialogue, so his art is very much like that of the informed citizen with public questions to raise in challenges to the status quo, facing the realities of our social theater with honesty and incorporating his own soulful growth into the process along the way. I believe that if an artist can so adeptly integrate their soul's deepest recesses and spiritual development with the path of this generation's massive social progress, then his art can provide us with very rich reserves to study and appreciate. Thirdly, Ying Tianqi's personal path across his works reveal the special needs which China's modern arts so exquisitely and passionately express, namely how to incorporate China's realities into their creative material, while also creating contemporary artistic content and culturally relevant expressiveness, as these are what I believe Ying Tianqi has most successfully displayed in this exhibit with an impassioned level of dedication and consciousness. Moreover, the exhibit has found an expressive media which transcends the traditional, overcoming the barriers of medium and language. I am unable to express my further thoughts on these rich topics, reserving them for later scholarship, but I can state here my deep appreciation from this exhibit for the rich visual revolution it provides, which deserves a similarly rich intellectual appreciation. And Ying Tianqi as such an esteemed artist has provided in this exhibit an answer to my queries. Once again then I convey my heartfelt appreciation for the great success of this important exhibition, thank you!

Fan Di'an 2011 at the premiere exhibition of Traces of Centuries, National Art Museum Of China

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About the Author

Fan Diâ&#x20AC;&#x2122;an, born in 1955, once served as the Vice President and Professor of China Central Academy of Fine Arts. He is now the Director of National Art Museum of China. He also serves as the Vice President of China Artists Association, Chairman of Art Museums Committee in China, Council Member of the Oil Painting Society of China, Member of Chinese Peopleâ&#x20AC;&#x2122;s Political Consultative Conference. He is devoted to researches on contemporary arts and art museum studies. He curated the Chinese Pavilion at 50th and 51st Venice International Art Biennale, Sino-French Culture Year, Chinese Cultural Year in Italy, Shanghai Biennale, etc.

大剪紙 Big Paper-cut 深圳市萬科第五園社區 Vanke Real Estate Fifth Neighboardhood Expansion 2006 裝置：木板、鋼架 Installaion: Wooden plate, steel rack

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走出世俗的紛擾

應天齊的畫給我的感受是離世俗的紛擾或者說離生活的瑣碎越來越遠了，它們被剔得更乾淨了。過去那些親切瑣細的生活沒有了，古老習俗的氣息沒有了，熟悉的皖南民舍的舒適的美的環境沒有了，留下的是黑，是空寂，是我們不能進去生活的西遞村，是對觀者精神冷峻的控制。而這無指向空寂的震懾又是產生於熟悉的、屬於你身邊的牆壁、屋。他說：「在我的繪畫中，一種冷峻、孤獨、靜謐的氛圍逐漸產生，我從未刻意追求這些，但總是不由自主地顯現出來，連我自己也感到惶恐。」看來他自己也被這氣徐冰 Xu Bing

氛嚇住了。我想這種時下追求的深沉氣氛在他看來卻「並不是故意的」（魯迅在《陶元慶氏西洋繪畫展覽會目錄》序中稱陶氏作品的固有情調「自然而然地從作品中滲出，融成特別的豐神了」，之後又特別強調了一句「然而又並不是故意的」）。這不「故意」是重要的，他表現了一種真實，這真實有兩方面的含義，是作者自身的真實，也是這時代的真實，它只屬於那些對時代文化敏感而有這種意識的人，並不真正屬於那些刻意投入所謂現代觀念的藝術家。應該說應天齊的作品顯現出來的傾向與時代某種意識傾向吻合了。要說應天齊的畫離瑣碎生活遠了，其實倒真正是他投入生活的結果。他熟悉皖南，他一次次地去西遞村，但他並不想畫西遞村。那裡的一切對他來說只是一種情感的參照，思考與體驗比較的標系，以此辨識西遞村之外的更大的中國當今時代的生活，最終尋找的是「他心目中的世界」。這是老

254

重複的西遞村系列之二 Repeated Xidi Village Series No.2

重複的西遞村系列之三 Repeated Xidi Village Series No.3

40×50cm 1991 水印版畫 Watercolor Print

版畫家古元先生對應天齊藝術境界的形容。這位老版畫家強調的不是外在的世界而是心目中的。我想這世界是他固己有之的，比西遞村和周圍更熟悉的心境的世界。「那些木屋、漏窗、飛簷包容著無限的內涵，當我將全部身心沉浸其中時，那十分熟悉的孤獨、恬淡之情便輕輕襲來，世俗的愚昧、紛擾、人際關係、社會網路和由此而引起的種種煩惱都消失在寧靜之中，心底裡升騰起一種舒心的曠漠之感。」他在一篇文章中又談到：「作者之所以選擇這一特定的媒介，是因為它引發了埋藏於作者意識中的特殊情感概念。」可以肯定了，這寧靜空寂是他真正的精神領地。有意味的是這些恰恰在「社會網路」和世俗的木屋與漏窗中意識到並得到印證的。應天齊的作品起我開始關於什麼是真實意義生活的思索。這裡存在對這一問題的理解及作為一個藝術門類如何反映的問題。我想這一使命的完成取決於與時代思考的同步運行及與當下人民關注的問題發生觸碰，這種觸碰體現為從多藝術家作品痕跡所構成的傾向，對時代生活涵蓋及揭示的程度。而我們強調的反映時代生活，無形中變異為一種標本式的捕捉，似乎誰找到了北方鞋和南方鞋的不同，誰就發現和反映了生活。這種發現本身沒有錯，但對局部現象發現的滿足及興趣難免使創作留在瑣碎的、淺層次的、玩弄小情趣的狹窄圈籬內，反倒失去了對時代精神的總體把握，忽視了生活的本質和真實，更談不上凝結現今時代精神了。我總感到這些與時代生活本質及人們所思所想離得很遠。談應天齊的畫又談到反映生活的老話題上了，但我想我們談的老話題可能比喊叫著「觀念、觀念」走向現代更有效些，因為我們從當下起步，從真實中去尋找。

原載於《江蘇畫刊》1989 版，原題〈走出世俗的紛擾，我看應天齊的畫〉

關於作者徐冰，中央美術學院副院長，曾獲頒美國麥克亞瑟獎 (MacArthur Foundation)「天才獎」（Genius Award），1990 年受美國威斯康辛大學邀請為榮譽藝術家，移居美國，此後陸續參加世界性展覽，因其在書法及版畫上具有原創性、省思、直觀的能力，替社會做出了重要的貢獻，亦受西方藝術界熱烈的評論。

255

Abandoning Worldly Troubles

Xu Bing

Ying Tianqi's paintings give me a feeling of the desire to abandon worldly troubles or of an ever further distance from life's trivialities, as if they're ever so cleanly picked away. The cordial if trivial life of the past has gone away from us, and the ancient customs no longer sustain their breath, and the pleasantly comfortable living environment of southern Anhui have disappeared, leaving only a blackness behind, an utter desertion, in a Xidi village we can no longer enter to reside in, exercising a stern control over the observer's spirit. And this pointless deterrence also arises from the familiar, belonging to the walls around you, and your house. He says: "In my paintings, there is a cold, a lonely, quiet atmosphere which slowly arises, though I have not deliberately pursued these, nevertheless they involuntarily reveal themselves, even as I feel uneasy". So it seems as if he was intimidated in this atmosphere. I think that this pursuit of a deep atmosphere against our present realities was in his thinking "unintentional" (Lu Xun in his preface to "Tao Yuanqing's Western Painting Exhibition Catalogue" wrote that Tao's works had an inherent exoticism "naturally flowing forth from the works, forming a special gracefulness", followed by a particular emphasis on "yet these qualities seem quite unintentional". This "unintentionality" is significant; through it he expresses a sense of reality, which entails two different senses, revealing the author's true intentions, as well as the reality of the era, expressing only those with an awareness sensitive to the cultural era, while not belonging to those artists who merely intend to mimic contemporary concepts. Thus we should say that Ying Tianqi's works reflect a sense of integrity with the deepest contemporary consciousness. If we are to say that Ying Tianqi's paintings have kept a distance from the trivial life, we should instead note that he has rather incorporated the real results of life. He is familiar with southern Anhui, having been time and again to Xidi village, but he does not want to paint Xidi village. Everything there is just an emotional referent for him, a coordinate system for his thinking and life experiences, used to position and recognize the greater Chinese life outside and beyond Xidi village, ultimately searching for "the desired world of his heart and mind". This is how the elder woodblock printmaker and artist Gu Yuan describes the artistic world of Ying Tianqi. This senior printmaker emphasizes not the external world, but the inner world desired by the heart. I think this world is already solidified, and more familiar a state of mind than Xidi village and its surroundings. "Those wooden cabins, leaky windows, and cornices contain unlimited significance, when I invest my entire body and mind amidst them, in a very familiar loneliness, a feeling of tranquility gently surrounds me, as the ignorance of the secular, their troubles, interpersonal relations, and social networks and all the troubles which arise from these disappear amidst the tranquility, as from the depth of my heart arises a comfortable sense of desertion". Caused all the troubles disappear tranquility, a comfortable sense of desert rising from the bottom of my heart. And in another essay he wrote: "the reason why an author selects a particular medium of expression, is because this medium will birth a deeply buried expression of consciousness containing special emotional bonds". This artist proves the wisdom of those remarks, as this peaceful desert is his real spiritual homeland. Thus this proves that these

256

徐冰和應天齊 2011 於中國美術館 Xu Bing and Ying Tianqi at National Art Museum of China, 2011

social networks and trivial wooden cabins and leaky windows precisely capture that consciousness and empirically reveal them. Ying Tianqi's works stimulated and birthed my first interest in exploring what really meaningful life truly signifies. This contains both an understanding of this problem and of how these kinds of art reflect these problems. I think that the completion of this mission revolves around concomitant deployment of contemporary thinking as touching upon the current issues of public concern, with this touch reflecting the traces and tendencies of many artists, expressing the degree and extent of modern living. And we emphasize a reflection of contemporary living, which incidentally captures our variation, as if whomever captures the distinction between northern shoes and southern shoes, has somehow discovered and expressed our life. Such a method of discovery is not in itself wrong, but piecemeal discovery of this kind satisfies only an interest which inevitably causes our creativity to remain amidst the trivial, shallow, playing within the narrow dimensions of a fenced-in pen, losing the holistic sense of the contemporary spirit, forgetting life's nature and reality, far from being able to claim a congealing of the contemporary spirit. I feel that these are ever further from the nature of living in our times and the concerns which people tend to reflect upon. Discussing the paintings of Ying Tianqi we also reflect on the well worn issues of our lives, but I think that our dialogue with these issues perhaps is more efficacious than screaming aloud "the principles, the concepts" as we head along into our modernity, because set forth from where we were, arising from our reality to engage in discovery.

Jiangu Pictorial Art Monthly: 1989, title "Abandoning Worldly Troubles: My Impression of Ying Tianqi's Painting"

About the Author

Xu Bing, Deputy President of The China Central Academy of Fine Arts, was awarded Genius Award by MacArthur Foundation. In 1990, on the invitation of the University of Wisconsin-Madison, he moved to the United States. Solo exhibitions of his work have been held at world-class museums. In 1999, Xu Bing was the recipient of a MacArthur Fellowship in recognition of his "capacity to contribute importantly to society, particularly in printmaking and calligraphy.

257

個展 (1989-2013)

精選國際聯展

2012 「世紀遺痕與未來空間」威尼斯建築雙年展，義大利

2013 「文化．精神．生成」威尼斯藝術雙年展，義大利

2011 「世紀遺痕－應天齊藝術展」上海美術館，中國

「未曾呈現的聲音」威尼斯藝術雙年展，義大利

2011 「世紀遺痕－應天齊藝術展」中國美術館，北京，中國

2011 「碎裂的文化 = 今天的人 ?」威尼斯藝術雙年展，義大利

2007 「應天齊藝術展」深圳，中國

2006 「中國大家典藏作品八人展」國家博物館，北京，中國

雲峰畫苑「徽州之夢－應天齊藝術展」香港

2004 「深圳版畫家作品展」亞洲藝廊，吉隆坡，馬來西亞

萬科地產「傳統與可能－應天齊現代藝術展」深圳，中國

2003 「中國版畫百年」成都，中國

2005 法國巴黎國際藝術城「應天齊藝術展」個展

「中國版畫展」大英博物館，倫敦，英國

2001 「印痕之美－應天齊藝術展」第一現代美術館，馬來西亞

「中國美術館建館四十年展」大英博物館，倫敦，英國

2001 「應天齊藝術展」中國美術館，北京，中國

2001 「中國當代版畫名家 50 人展」大英博物館，倫敦，英國

1999 「應天齊水印版畫展」季豐軒畫廊，香港

2000 「中國當代版畫展」，英國

1995 「姑蘇之秋－應天齊版畫展」蘇州版畫院，中國

1995 「中國第八屆全國美展獲獎作品」，日本

1994 「告別西遞－應天齊第九次西遞版畫展」蕪湖書畫院，中國

1994 「第十二屆亞洲國際美術展」，澳門

1993 「應天齊西遞版畫展」時代畫廊，廣州，中國

「國際版畫藝術展」，韓國

1991 「印痕之美－應天齊水印版畫展」心源畫廊，香港，中國

「第十一屆國際版畫展」，俄羅斯

1989 「應天齊畫展」，中國美術館，北京

「第十二屆全國版畫展」深圳，中國「中國第八屆全國美展」北京，中國 1992 「第十一屆全國版畫展」寧夏，中國

美術機構收藏日本神奈川美術館大英博物館上海中邦美術館中國美術館收藏中國中央美術學院中國廣州美術學院日本町田市國際版畫美術館日本福岡美術館深圳美術館英國木版基金會香港教育學院英國牛津大學阿什莫林博物館何香凝美術館

獲獎 1999

中國美協「80-90 年代版畫」創作貢獻獎

1996

安徽省版畫展特等獎

1994

安徽省「建國四十五周年美展」一等獎

1994

中國文化部「第八屆全國美展」優秀作品獎

1993

中國美協「第十一屆全國版畫展」銅獎

1990 中國美協「北京• 臺北當代版畫」傑出獎 1991

日本．中國版畫獎勵會金獎

1990 中國美協第十屆全國版畫展銅獎 1989

日本「中國版畫獎勵會」金獎中國文化部「第七屆全國美展」銅獎

1978

258

安徽省「第二屆青年美展」一等獎

「深圳美術館」深圳，中國 1991 「法國秋季沙龍展」，法國「北京臺北當代版畫展」北京，中國 1990 「中國第七屆全國美展獲獎作品展」，日本「第十屆全國版畫展」杭州，中國 1989 「第七屆全國美展」北京，中國 1988 「蕪湖版畫展」中山公園，北京「中國現代版畫展」，日本「中國現代版畫展」，挪威 1987 「中國現代版畫展」，香港 1986 「第九屆全國版畫展」合肥，中國「中國書票展」，美國「第九屆全國版畫展」北京，中國 1985 「前進中的中國青年美展」北京，中國 1982 「現代中國版畫展」，日本 1981 「第二屆全國青年美展」，中國

Solo Exhibitions (1989-2013)

Selected International Group Exhibitions

2012 Traces of Centuries and Future Steps, Venice International Architecture Biennale, Italy

2013 Culture•Mind•Becoming, Venice International Art Exhibition, Italy

2011 Traces of Centuries: Ying Tianqi Art Exhibition, Shanghai Art Museum, China

2011 Cracked Culture? The Quest for Identity in Contemporary Chinese Art, Venice International Art Exhibition, Italy

2011 Traces of Centuries: Ying Tianqi Art Exhibition, National Art Museum Of China, Beijing, China 2007 Ying Tianqi Art Exhibition, Shenzhen, China Dreams in Huizhou – Ying Tianqi Art Exhibition, Wan Fung Art Gallery, Hong Kong Tradition and Possibility – Ying Tianqi Modern Art Exhibition, Vanke Real Estate, Shenzhen, China 2005 Ying Tianqi Art Exhibition, International Art City of Paris, France 2001 Mark Beauty – Ying Tianqi Art Exhibition, No.1 Modern Art Museum, Malaysia 1999 Ying Tianqi Watercolor Prints Exhibition, Ji Fengxuan Gallery, Hong Kong 1995 Suzhou's Autumn – Ying Tianqi Print Exhibition in Suzhou, Suzhou Banhua Yuan, China 1994 Out of Xidi: Ying Tianqi's 9th Xidi Exhibition, Wuhu Painting and Calligraphy House, China 1993 Ying Tianqi Xidi Print Exhibition, Guangzhou Time Gallery, China 1991 Beauty of Makrs: Ying Tianqi's Watercolor Prints Exhibition, Inspiration Gallery, Hong Kong 1989 Ying Tianqi Art Exhibition, National Art Museum Of China, Beijing, China

2006 Eight Chinese Print Masters' Museum Pieces Exhibition, National Museum of China, Beijing, China 2004 Shenzhen Prints Exhibition, Kuala Lumpur, Malaysia 2003 One Hundred Years of Chinese Printmaking Exhibition, Chengdu, China Chinese Prints Exhibition, British Museum, London, Britain Open Era – the 40th Anniversary of National Art Museum of China Exhibition, British Museum, London, Britain 2001 Fifty Chinese Contemporary Prints Master Exhibition, British Print Foundation 2000 Chinese Modern Print Exhibition, Britain 1995 8th National Art Exhibition, Japan 1994 12th Asian International Art Exhibition, Macau International Print Art Exhibition, Korea 11th International Print Exhibition, Russia 12th National Print Exhibition, Shenzhen, China 8th National Art Exhibition, Beijing, China

Collections

1992 11th National Print Exhibition, Ningxia, China

Kanagawa Art Museum

1991 Autumn Saloon Show, France

Shenzhen Art Museum, China British Museum Shanghai Zhongbang Art Gallery China Central Academy of Fine Arts

Beijing – Taipei Modern Print Exhibition, Beijing, China 1990 7th National Art Exhibition, Japan 10th National Print Exhibition, Hangzhou, China

Guangzhou Academy of Fine Arts

1989 7th National Art Exhibition, Beijing, China

Machida City Museum of Graphic Art

1988 Wuhu Prints Exhibition, Zhongshan Park, Beijng, China

Fukuoka Art Museum Shenzhen Art Museum

Chinese Modern Print Exhibition, Japan Chinese Modern Print Exhibition, Norway

British Print Foundation

1987 Chinese Modern Print Exhibition, Hong Kong

Hong Kong Institute of Education

1986 9th National Print Exhibition, Hefei, China

Ashmolean Museum of British Oxford University Hexiangning Art Museum

Chinese Bookplate Exhibition, U.S.A. 9th National Print Exhibition, Beijing, China 1985 Art Exhibition of Chinese Youth in Progress, Beijing, China 1982 Chinese Modern Print Exhibition, Japan

Awards

1981 2nd National Fine Arts Exhibition of Youth

1999 80s – 90s Contribution Prize of Print Creation by the Chinese Artists' Association 1996 Grand Prize, Anhui Print Exhibition 1994 1st Prize, Anhui National 45th Anniversary Art Exhibition 1994 Superb Work Prize, 8th National Art Exhibition 1993 Bronze Prize, 11th National Print Exhibition 1990 Excellence Award, Beijing – Taipei Modern Print Exhibition 1991 Gold Prize, Japan – China Print Awarding Foundation 1990 Bronze Prize, 10th National Print Exhibition 1989 Gold Prize, Japan – China Print Awarding Foundation Bronze Prize, 7th National Art Exhibition presented by the Ministry of Culture China 1978 1st Prize, Anhui 2nd National Fine Arts Exhibition of Youth

259

應天齊，安徽蕪湖人，曾就學於中央美術學院，現任深圳大學教授，西安美術學院客座教授，中國美術家協會會員，任中國版畫家協會理事，安徽省版畫藝術委員會副主任，享受國務院政府津貼專家。代表作【西遞村系列】作品參加第七屆、第八屆全國美展，第九屆、第十屆、第十一屆、第十二屆全國版畫展。屢次獲得中國文化部、中國美協大獎。1995 年出任中國美協十二屆全國版畫展評委，1999 年獲得中國美協 80-90 年代版畫創作貢獻獎。 1986 年，應天齊發現皖南古村落西遞村，歷時八年，創作了中國畫壇頗具盛名的作品【西遞村系列】。因該作品的知名度使得西遞村成為了著名的旅遊勝地，並被聯合國教科文組織錄入世界文化遺產名錄。2001 年由國家郵政總局選用四幅【西遞村系列】作品發行了「皖南古村落西遞、宏村」特種郵票。安徽黟縣為感謝應天齊在西遞村建立了「應天齊西遞村藝術館」，館名由已故著名畫家古元先生題寫。出版《應天齊水印版畫技法》、《應天齊西遞村藝術作品》、《中國當代版畫名家實錄應天齊》、《應天齊畫集》、《應天齊版畫藝術》、《遭遇西遞應天齊藝術研究》文集、《應天齊水墨西遞》。

Ying Tianqi was born in Wuhu, Anhui Province, and is a graduate of the Central Academy of Fine Arts who is currently a Professor at Shenzhen University, and an Adjunct Professor at the Xi'an Academy of Fine Arts, he is also a member of the China Artists Association and former Chairman of the China Printmakers Association, as well as the Deputy Chair of the Anhui Province Printmaking Arts Association, and former recipient of State Council expert emolument funds. His representative work Xidi Series was included in the seventh and eighth Chinese National Art Exhibitions as well as the ninth, tenth, eleventh and twelfth Chinese National Printmaking Exhibitions. He has been honored numerous times with awards from the Chinese Ministry of Culture and the China Artists Association. In 1995 he was honored to serve as a Judge for the Twelfth Chinese National Printmaking Exhibition of the China Artists Association, and in 1999 he received the 1980s-1990s Outstanding Contribution Award for Printmaking from the China Artists Association. In 1986, Ying Tianqi discovered the Wannan ancient village of Xidi, investing eight years to create his renowned Xidi Series, widely heralded in the Chinese arts community. The widespread acclamation of the work gave Xidi village tremendous publicity as a must-see tourism destination, and Xidi was included by UNESCO as a world heritage site. In 2001 the State Post Bureau issued a special edition stamp commemorating "Wannan's Ancient Villages- Xidi and Hongcun" featuring four of the works in the Xidi Series. As an act of appreciation for Ying Tianqi, Anhui's Yi County established the Ying Tianqi Xidi Arts Museum, featuring traditional signage calligraphic work by the late renowned painter Gu Yuan. Among his numerous publications are Ying Tianqi's Watermark Printmaking Methods , Ying Tianqi's Xidi Artistic Works , Repertoire of Ying Tianqi's Accomplishments in Contemporary Chinese Printmaking, Collected Painting of Ying Tianqi, Printmaking Arts of Ying Tianqi, a compendium of essays Longsuffering Xidi- Study of the Art of Ying Tianqi, and Ying Tianqi's Xidi Inkprints.

260

木雕之一 Woodcarving No.1

世紀遺痕 Traces of Centuries

123×180cm

167×244cm

2006

p.22

失憶 Amnesia 122×130cm

2007

2011

p.46

涅槃 Nirvana 122×188cm

2011

p.54, 167

p.25

竹簾 Bamboo Curtain 122×244cm

2007

p.81

清 Clear

碧綠 Dark Green 122×122cm

2012

244×80cm

p.75

2010

p.88

碎裂的黑色之三 Broken Black No.3 90×111cm

碎裂的黑色之四 Broken Black No.4 95×132cm 2001 p.97 262

2000

144×284cm

2000

p.95

碎裂的黑色之五 Broken Black No.5 116×92cm

2001

空 Empty

碎裂的黑色之二 Broken Black No.2 88×113cm

p.95

碎裂的黑色之一 Broken Black No.1 113×88cm 2000 p.98

守 Guard

p.82, 83

碎裂的黑色之六 Broken Black No.6

厚黑 Thick Black 167×244cm

濁 Opaque 2013

p.99

2000

p.96

龐貝之二 Pompeii No.2 140×170cm

2012

p.112

哭泣的牆 Teary Wall

173×244cm

2010

p.122

劫後之二 Aftermath No.2 167×244cm

2011

198×366cm

無極 Infinity

無歌 The Unsung

p.162

167×244cm

2010

2013

p.156

p.124

斷層 The Fault 167×244cm

2010

p.160

無題 Untitle 迷失 Lost 179×244cm

122×188cm 2010

2011

p.167

p.164

深宮之一 The Palace No.1 121×168cm

2011

p.170

深宮之四 The Palace No.4 122×244cm

2011

p.172

深宮之二 The Palace No.2

深宮之五 The Palace No.5

深宮之三 The Palace No.3

111×150cm

122×187cm

2011

p.171

2011

122×188cm

2011

p.177

p.174

見光之二 See the Light No.2 老莊之二 Lao-tzu and Chuang tzu No.2

至尊 Supreme - Woodcarving No.7

122×187cm

122×188cm

2011

p.178

2011

p.180

122×244cm

2011

p.184

王土 Kingdom 168×244cm

2011

p.182

263

靜觀 Look Inwards 122×190cm

2011

木板牆之二 Wooden Wall No.2

p.186

110×155cm

2009

p.187

面壁之一 Face the Wall No.1

面壁之二 Face the Wall No.2

188×122cm

2011

p.188

2011

p.189

玄關 Vestibule 244×488cm

2010

p.192

羅馬 Rome

文明之一 Civilization No.1 167×244cm

2010

164×244cm

p.191

2009

p.195

裂開的牆 Cracked Wall 164×122cm

韻之一 Vital Spirit No.1

韻之二 Vital Spirit No.2

122×190cm

2011

p.198

2011

2007

龐貝 Pompeii

p.202

167×244cm

2012

p.204

龐貝之三 Pompeii No.3 122×147cm

2012

p.208

王者 The King

264

韻之三 Vital Spirit No.3

無題之二 Untitle No.2

流金 Golden Time

150×170cm

150×111cm

195×139cm

2012

p.212

2012

p.215

2012

167×244cm p.219

2010

p.222

p.196

殘壁之二 Ruins No.2 244×110cm

2013

p.238

墨氣之二 Aroma of Ink No.2 紅與黑 Red and Black

青銅時代 Bronze Age

122×190cm

167×122cm

2012

p.225

2012

西遞村系列之十一 Xidi Village Series No.11

重複的西遞村系列之五 Repeated Xidi Village Series No. 5

50×60cm

52×45cm

1989

p.250

1991

150×110cm

2013

p.234

p.231

p.251

重複的西遞村系列之二 Repeated Xidi Village Series No.2 40×50cm

1991

p.255

重複的西遞村系列之三 Repeated Xidi Village Series No.3 40×50cm

1991

p.255

265

266

Work Team 工作團隊藝術家 Artist / 應天齊 Ying Tianqi 場地提供 Venue Partners / 本博宮殿 ( 義大利威尼斯 ) Palazzo Bembo, Venice, Italy 策展人 Curators / 王林 Wang Lin, 卡琳．德容 Karlyn De Jongh, 莎拉．戈爾德 Sarah Gold 全球藝術事務基金會主席 Chair, Global Art Affairs Foundation / 雷內．李特米爾 Rene Rietmeyer 展覽總策劃 Curatorial Planner-in-Chief / 李宜霖 Alan Lee, 李宜勳 Steven Lee 展覽策劃 Curatorial Management / 李安婷 Anting Lee, 趙沛 Zhao Pei 展覽公關 Promotion / 陳慧君 Tan Hwee Koon 營運事務 Organization / Valeris Romagnini, Francesca Crudo 展務經理 Operations Manager / Davide De Carlo, Nicolas D'Oronzio 營運事務及助理策展人 Organization and Associated Curator / Valeria Iacovelli 事務發展 Development / Giovanni Dantomio 翻譯 Translation / Sabrina Ardizzoni

267

第十三屆威尼斯建築雙年展

應天齊《世紀遺痕與未來空間》個展 Traces of Centuries and Future Steps by Ying Tianqi at the 13th Venice International Architecture Biennale

Printing / Ji Yi Printing Art International Co., Ltd

發行人 / 李敦朗總策劃 / 李宜霖 , 李宜勳平面設計 / 許奕雯編輯 / 馬于婷翻譯 / Paul Maas, 馬于婷 , 邱嚴瑾攝影 / 黎映現 , 周維校對 / 黃嬿文 , 杜漫舷印刷 / 人一藝印刷藝術國際股份有限公司

Publication Date / May 2013

出版日期 / 2013 年 5 月

Publisher / Thomas Lee Curatorial Planner-In-Chief / Alan Lee, Steven Lee Designed By / Yi Wen Syu Edited By / Ma Yuting Translated By / Paul Maas, Ma Yuting, Samantha Chiu Photographed By / Li Yingxian, Zhou Wei Proofread By / Yen Wen Huang, Fio Du

or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without the prior written permission of the copyright owners.

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