SIDELINES
002
003
SIDELINES
旁 觀
Preface
Visions Subtle in the Mind
Coming to Shape in the Light Xiao Xiang Deng Ying (Subtle Visions in the Light) is
detached from any concept, disinterested from
As ancient people put it, ‘What attracts man?
the title of the collected verses I composed during
any concern and divorced from any purpose,
The apricot flowers in February and osmanthus
my stay in Barcelona four years ago. Too shy to
so that it will attain the ideal ‘zweckmassigkeit
blossoms in August. Who urges me? Lamp light
publish it, I have since never mentioned this work,
ohne zweck’ (purposiveness without purpose).
in the midnight and cockcrow at the break’. What
still less its title. Now, however, it suddenly dawns
Such idea is in fact echoed with the Chinese
makes art art—the virtue lies in what is subtly
on me that this title might as well be a fit to this
artistic notion which pursues a state of freedom
abstract and what seems to be readily specific.
work of mine.
both in the mind and the hand, and which values
Everything is backed up by their own underlying
aesthetic harmony but not without difference
rules, and exists between extremes. And what is
It has been over two years since I came to Britain.
and artistic challenge without violation, so as to
between extremes is what art is capable of.
In order to make a personal account here, I have
reach a free and unfettered realm of mind.
finally ventured to edit part of my work into
Qu Yuan, an ancient Chinese poet, wrote ‘the way
collection and have it published. Gratitude shall be
Deriving from human nature, such a realm of mind
ahead is long and has no ending, yet high and low
mine should any defect be exempt from your most
is a spirit aspiration. He who fulfills it transcends
I’ll search with my will unbending’. As I ponder,
observing criticism.
himself and outlasts his artworks. He who does
in such an awkward age of mine, my longing for
not, brilliant and appealing as his art might be, is
an artistic tongue never deserts me, but only
As I see it, the root of arts lies in intention and creation.
after all but repeating himself and equals himself
sometimes words do fail me.
Intention precedes creation; it stems mostly from
with the mediocre.
personal sentiments, based on which one begins to imitate, and later he acquires the techniques
I became keen on writing since childhood and
and masters the principles, and makes personal
learnt to paint when getting older, and it has
adaptations and alterations. Quite by contrast,
been more than twenty years. During these
creation in art leaves no traces for others to follow—it
years I have never dared to stop studying and
is unspeakable, unteachable and unlearnable—it
working on perfecting my art. Thanks to all my
manifests itself silently in its own right.
teachers, I have been trying my utmost to keep emptiness and serenity in the mind and hoping
By Hong Zhi
Referring to aesthetics, the western philosopher
to nurture purity, genuineness, refinement and
Spring 2015
Immanuel Kant holds that art should be
righteousness in myself.
London
001
自序
心有小相 遇燈成影 小相燈影，這本是我四年前在巴塞羅納時所作的
正所謂古人嘆曰：何物媚人，二月杏花八月桂，
字也未再提及過。今不知怎的，忽覺得它作為這
貴在其虛，也於難明其實 。然物皆有理，存於兩
小詩集的名字，因羞於將詩集示人，便連同這名 作品集子之名倒也頗為合適。
有 誰 催 我，三 更 燈 火 五 更 雞 。藝 之 所 以 為 藝， 極，兩極之間便是藝事之所能成。
來英國二年有餘了，為給自己做個總結，便也壯
屈子言：路漫漫其修遠兮，吾將上下而求索 。定
處還望方家勿哂。
樓，卻也欲說還休。
著膽子將部分作品編輯成冊，出版成集。不足之
神自審，正是處此青黃不接之年，偏偏是愛上層
余以為，作藝之則有因有創。因在創之先，然其因 者多生於感悟，而初從於效仿，得其跡曉其法，再 加之編排變化；惟創者，無實跡可循，不興說，不 可教，不能學，默而成之也。
縱有西人康德言審美，提倡不可秉據任何概念， 不 可 涉 及 任 何 利 害 關 心，不 可 依 於 任 何 目 的，
意在求得無目的之合目的性；恰吾人看重心手雙 暢，和而不同，違而不犯，以達悠遊自在之境。
境者，自是生於心性，精神之所向耳。能得此者，
縱使筆墨不存，也故有我在，如若不然，再是何等 繽紛羨人，亦是陳陳相因，同槁木死灰無異耳。
吾自幼執筆伏案，稍長學畫，草草算來已是二十 個 春 秋 有 餘 。讀 書 臨 池，不 敢 有 廢，蒙 諸 先 生 教
乙未嘉月
雅正之氣。
倫敦鬥室
誨，以力求致其虛極，守之靜篤，望能獲些許清真
002
弘之 記
Unravelled Connections
… ‘as lowly as mere objects’
Chinese culture, such as the constant search for
Extraction
a kind of ‘imperfection’ that is philosophically in You might ask the question: ‘what is an artwork?’
tune with Daoism or Chan Buddhism. Humility and
On the surface of it, they are simple: sketches
acceptance are valued above any outward display
in black ink are formed by drawing through,
Start with an everyday object, something you
of ego or spectacle, current values in our age of late
small visual segments are extracted and traced,
barely notice - a free newspaper left on the tube,
global capitalism and neo-liberalism. In London,
pulled out as little tableaux vivants, set against
a bench, a packet of cigarettes, nails or pieces of
these values have fused with other philosophical
a plain white ground, with gesso brushed in
debris: wood, wire and string. Small insignificant
thinking and in conversation, Sun frequently
broad strokes whereby all other contextual
things that form the backdrop of life as we pass
mentions philosophers such as Kant, Wittgenstein
information is erased in a painterly gesture. The
through it on a daily basis constitute the central
and Agamben, amongst others, showing a wide
materiality of this background is significant:
component of Sun Yi’s work in the past couple of
range of intellectual engagement in issues of taste,
gesso is used to prepare the canvas but it is also
years, running through the materiality and form of
value and language.
a sculptural material and in this work it seems to
his practice. Drawing is at the heart of his practice
be a deliberate play across media and function,
as well, as a fundamental aspect of cultural
In London, his practice has evolved out of this
a subtle yet traceable mark of artistic legacy
expression connecting low and high art, East
background, accumulating understandings of
lying below the surface as a platform for the
Asian and Western cultural traditions. The works
liminality, tensions and paradoxes that are the
images. As sketches they can be perceived as
are under-played, almost whittled down like a
push and pull of forces and structures in society
extracts, in that they are redrawn from the ‘real’,
rough piece of wood, worked on and yet left barely
and culture. Formally, his work pursues a dialogue
becoming reanimated as universal, non-specific
discernible as aesthetic objects/art works in their
across different artistic vocabularies from China
figures, with overlapping functions of capturing
execution and presentation. They are subtly laid
and the West, making connections with drawing,
the subject in the classical European sense
out below the surface, striking a bass note beneath
painting and sculpture as integral aspects of
and capturing the idea in the Chinese tradition
the main tune.
cultural production across time and space. Sun Yi’s
of literati painting. In this case the drawing is
series of newspaper works manifest in a variety of
perhaps connected to the idea of ‘Xieyi’ (寫意)
Sun Yi has practised calligraphy since the age
ways as drawings, sketches, sculpture and objects
in Chinese painting, literally ‘write meaning’
of five and more lately trained in ink painting
posing questions about knowledge systems, and
but with the sense of ‘inscribing the essence’,
in China. As a child, he was requested to learn,
society’s propensity for story-telling through visual
connecting the mind or the imaginary with the
initially in order to ‘sit still’. With this background,
messages in the contemporary world of throw-
formation of a visual image as the expression or
his discipline is embedded in different aspects of
away media.
translation of an idea.
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What is left takes us back to drawing itself and
historical at some point in time (when does
the series of images extracted on a daily basis over
visuality, as though the process has been undone
‘history’ begin?). It is one part of a whole, usually
a period of two years a broader picture emerges
- deconstructed, simultaneously produced and
embedded within a format that is designed for
and is also simultaneously erased in the drawing.
de-produced as it were. They connect to the
quick consumption by anyone while on the tube
What do we know? How much do we understand?
hand (off the printed image and back), and the
or bus, to be discarded or thrown away until
How do we process our world?
head: are they in the artist’s mind and how do
another appears the next day, and so on and so
we ‘read’ them? As contemporary meditations,
on. Sun’s process of extraction might be random,
In his use of the everyday over time, Sun also
these works combine a sort of classicism with a
but like the news, there is process of selection and
deals with the aspect of time as a central part of
take on contemporaneity and media information
patterns emerge, as images somehow take on epic
his practice. Units of time are measured - a day
saturation. At this moment, print media is free
narrative-forming roles in their production of our
finishes, another begins. Executed over a period
precisely because its value has been reduced to
shared contemporaneity, answering to Anderson’s
of two years, the work is framed through real
nothing with the rise of digital. Perhaps print itself
reflections on ‘imagined communities’ borne out
time experience as an everyday habit, discipline
reverts to a classical status in the 21st century as
of mass vernacular literacy.
even, of how we live our lives, via this reading of
an outmoded form of modernity.
the news. News itself becomes a framework, the The pictorial selection signal a bigger political
framework even. A ritual marking time and our
The flip side of the paper is also interesting:
framework through which we form global
connection to the world, as we switch on the radio,
showing both sides allows them to become
communities of shared response, such as the
or TV, pick up the paper, to browse through and
sculptural objects that you need to walk around.
episode of a black man being shot down cruelly by
share the daily horror. Part of the modern world,
Hung suspended, they cut across into our vision
a policeman in America as he runs away unarmed.
these little rituals are ubiquitous, transcending
physically intervening in space. We are shown
His only crime to have a missing taillight on his
cultural difference. In Eagleton’s words, ‘aesthetic
pages of everyday, often sensational or horrific
car. His fate is shockingly revealed in the appalling
intersubjectivity adumbrates a utopian community
stories with headlines and photographs: street
capture on camera that seals the fact permanently
of subjects, united in the very deep structure of
protest, murder, suicide, domestic violence,
in our eyes and imaginations. Sun Yi takes this into
their being’. Calligraphy is echoed here in a daily,
but sometimes simply the banal face of bald
the work, but it is part of the daily ritual, it is the
meditational, inward practice. As a practitioner,
consumerist capitalism, showing advertisements
response and understanding of it is what magnifies
Sun is utilising these patterns of habit in his own
of smiling, product-bearing figures. Again the
its significance. Whilst this episode is echoed with
process as an artist, engaging the casual acts of
page is pulled out of context, yet there is a sense
many others (jihadist youth leaving the UK for
reading, viewing, sitting, which lies between the
of currency, of fresh news that is due to become
Syria, children who have been murdered), through
visible, the invisible, the taking in and the leaving
004
Exchange
sensibility, sensory experience or acts of memory.
cyclical nature of time in Chinese culture is key to
The One Cent project is a group of objects or
He works back into the underbelly, retrieving and
this process and in Sun’s view of the world.
paintings presented in a group as a proposition
considering what runs through society, manifesting
for exchange. The objects and the coin (also an
itself in barely visible form, yet revealing disturbing
object) become interchangeable in a value system
ideologies and questionable modes of consumption.
that levels the field of values to a nominally flat
In a stratified economic value system, lowest
In his sculptural and other object-based works,
plane. Here the art market is subtly invoked in a wry
common denominators are brought in such as
drawing is still present. Lines, composition,
lowering of the stakes, as the question of materiality
pieces of wood, nails, string (dyed with ink), penny
material are pulled around, extending the act of
and culture is called in, in which artworks are shown
coins, scratching the base of our environment,
drawing into three-dimensional space. Nails and
up as exchanged in a distorted value system of
showing a deep understanding of the ‘ordinary’ as
wire filaments are placed, again casual/not-casual,
cumulative capital and market forces.
essential and sustainable aspects of life.
behind, in a subtle interplay of our relational world and the very structures that bind us together. The
Questionable objects
whether by chance or deliberate placement, we
are not quite sure. The benches are disarmingly
Ultimately Sun’s works are an exploration of value
Sun calls drawing ‘an inexplicit and attractive object’
simple. Public furniture normally placed for
(as much as) aesthetic/cultural, social, economic,
and perhaps this neat phrase describes his mode of
convenience, to be sat on while you eat your
in the Bourdieuan sense of ‘habitus’, our very
practice. There is a kind of existentialist formalism
lunch, wait for your friend, and so on, are upturned
existence in a society is threaded together through
to his works, as they seem to stand as understated
illogically and strewn minimally with ribbons, as
value systems; a news story cheaply narrating a
‘facts’, poised between an abstract geometry and a
though ‘wrapped’ but ineffectively, as a signal of
life lost sometimes in appalling circumstances, but
more specific everyday reality. The lines he draws,
difference, or in Derridean terms ‘différance’, in
the story itself and the image is also dispensable,
both literally and metaphorically, intervene in space
which a small alteration causes a shift of focus or
disposable, to be cast away until the next comes
in dialogue with languages of art and our spatial
meaning. How are we meant to understand them?
along. Equally ‘high art’ is set aside in Sun’s work,
existence (difficult to understand). To finish, we
Function is denied in favour of a philosophical
for small seemingly insignificant sketches that
might consider one of Sun’s simple, disingenuous
and aesthetically positioning as sculptural form.
give back value through a small retrieval. The
works: an asymmetrical white frame - a found
Space is called in, transformed through this
sketches, as meditational crossing and unravelling
object - upended, placed in the middle of a narrow,
misplacement, calling the ‘natural’ placement as
of connections, the daily act of calligraphy touches
empty side street in London, interrupting the space
an unnoticeable landscape to attention. In other
the surface lightly, allowing them to hover into
between the tall, Victorian buildings producing
works, there is a playful back and forth of form
view - to linger, reflect and reconnect.
vertical and horizontal lines of connection. In the
and function: a library is completely stripped of its
words of Ackbar Abbas, it presents: ‘not the new but
book spines, as all the books are turned sideways,
Sun’s is the opposite of spectacle or the often
the old as unfamiliar: this is one of the paradoxes
or wrapped in plastic, rendering their contents
heightened language of contemporary art
of any-space-whatever’. This work is deceptively
unreadable. A chair is photographed suspended
vocabulary in the mainstream art world. Perhaps
simple; it draws together many of Sun’s interests:
halfway up a wall attached to a bookshelf in a
in response to an earlier generation of forceful
performativity, material, geometry and formalism,
simple visual trick of perception. Large rectangular
gestural work or giant-scale installations, he looks
positioned in a random ready-made place, redolent
blocks of ice are laid to rest inside a hole in the
towards Twombly, On Kawara or Anastasi whose
of time, culture and history.
ground, the solid freezing object due to melt and
works made different kinds of connections through
fuse back into the land as water,
drawing or marking time, as modes of touch,
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By Katie Hill
如 梳 如 理 ，所 系 為 開
……“如單純之物一般卑微”
中，孫毅經常提及康德、維特根斯坦、阿甘本等
你也許會問這樣一個問題： “ 什麽東西算得上是
領域有著廣泛的涉獵。
藝術品？”
日常物件，那些你幾乎不會注意的東西——隨手
擲 於 地 鐵 上 的 免 費 報 紙 、板 凳 、一 包 煙 、鐵 釘 或 木 屑 、電 線 、繩 子 等 等 雞 毛 蒜 皮 。這 些 構 成 我 們 每天生活背景的不起眼物品就是孫毅過去幾年
藝 術 創 作 的 中 心 素 材，貫 穿 了 他 整 個 藝 術 創 作
的選材和形式。同時，繪畫也是他藝術實踐的中 心元素，作為一種文化表達的根本手段，聯繫著 低 俗 藝 術 和 高 雅 藝 術 、東 方 和 西 方 文 化 傳 統 。 他 的 作 品 含 蓄 克 制，幾 乎 就 像 是 一 段 粗 糙 的 木
頭，雖然加工過，但從技法和外觀上幾乎看不出
哲學家，這體現出他對品味、價值和語言等智識
在倫敦，孫毅的藝術實踐已經不再局限於傳統， 他增進了關於閾限、張力和悖論的知識，這些概
念 正 是 推 拉 社 會 和 文 化 進 程，也 是 構 築 其 結 構 的力量。形式上，他的作品是一場中西藝術話語 的對話，其中涉及的素描、繪畫和雕塑是他穿越
時 空 進 行 文 化 生 產 的 重 要 一 環 。孫 毅 的 報 紙 作 品系列以諸如素描、速寫、雕塑和物品的形式呈
現，針對的正是當下這個“隨手丟棄”媒介充斥
的 世 界，對 人 們 的 知 識 系 統 和 社 會 對 於 采 用 視 覺信息進行敘事的偏好發問。
來 是 被 賦 予 了 審 美 觀 念 的 藝 術 品 。這 些 作 品 微
精揀
旋律的低音部。
表 面 上 看，這 些 作 品 很 簡 單 。藝 術 家 用 黑 墨 描
孫毅自五歲起練習書法，而後學習中國水墨畫。
進 行 描 畫，組 成 一 系 列“ 小 活 人 畫（Ta b l e a u x
妙 地 扮 演 著 和 光 同 塵 的 角 色，彈 奏 著 襯 托 中 心
孩 提 時 的 他 首 先 被 要 求 學 會“靜 坐”。有 著 這 樣
的背景，他的紀律性便根植於中國文化的各個方 面，比如，孜孜不倦地尋找“不完美”這種與道家
和佛教禪宗哲學相吻合的特質；更注重謙遜和逆 來順受，而不是追求自我的外在展示或誇張的表 演，而 後 者 恰 好 是 當 下 後 全 球 資 本 主 義 和 新 自
由主義的價值觀。對於現身處倫敦的孫毅來說，
這樣的價值觀已和其他哲學思想相融合。在談話
006
畫 成 速 寫 。小 的 視 覺 元 素 被 精 揀 出 來 ，然 後 Vivant）”，背景則是平淡的白底，用石膏大筆塗 抹，用繪畫的方式擦除背景信息。這種背景處理
的 用 料 是 很 重 要 的 ：石 膏 用 於 預 制 畫 布 但 同 時 也是雕塑原料，在這組作品裏，石膏的選用似乎
是 故 意 地 在 媒 介 和 功 能 中 玩 謔，這 個 元 素 是 包 含藝術蘊含的，它處於表層元素的底層，起到襯
托 圖 像 的 平 臺 作 用，從 而 給 整 個 作 品 增 加 了 微 妙 卻 有 跡 可 循 的 藝 術 味 道 。這 些 速 寫 也 可 以 被
看成是“精揀”之作，因為它們是從“真實”中萃取
精揀過程也許是隨機的，但就像是新聞，總還是
們聯繫在一起的卻確有一個結構，在這兩者的微
異的個體，而這其中恰好體現了兩個重合的藝術
不管怎麽說，圖像總是能夠帶來一種史詩般的敘
在他的藝術實踐中使用了這些習慣模式，他隨意
的，然後重新賦予它們生機，而成為普遍的、非特
觀點——歐洲古典主義的寫物傳統，和傳統中式 文人畫的寫意傳統。從這個角度來說，這些作品 或許確實是有中畫的“寫意”味道的， “寫意”這個
詞除了“傳達意義”，還有“抓住精華”之意，即把
心靈或虛構之物與視覺圖像相結合，傳達或傳譯 某個意義。
孫毅的畫近乎可以說是未完工的——解構的，創
作和反創作同時進行，而畫面上剩下的東西把我 們帶回到了繪畫和視覺性本身。它們讓我們聯繫 起“手” （不接觸圖畫和背面）和“頭”：這些東西是
否存在於藝術家的心裏？而我們怎麽去“解讀”？
作為一種當代觀照，這些作品結合了某種古典主 義和當代性以及媒體信息飽和。現今，印刷媒體
之所以免費，完全是因為數字媒體的得勢而使其 變得毫無價值。或許，印刷本身在21世紀的今天
確實回到了其“經典”的地位，只不過是作為過時 的現代性“經典”。
作品的背面也一樣有趣：正面和背面同時展示使
會有選擇的過程，總還是會有模式的出現，因為 事——在它自身的產生過程中形成與我們共時存
在的角色，回答安德森對於大眾本土文化所擔負 的“想象的社區”的思考。
在孫毅的雕塑和其他以藝術為基礎的作品中，
掉了，而他被擊斃的駭人聽聞的命運便被攝像機
使得繪畫的藝術擴展到三維的空間。作品中放置
中被警察殘酷擊斃，他唯一的“罪”便是車的尾燈
固定下來，同時永久地封印於我們的視野和想象 裏。孫毅也把這個事件帶進了他的作品裏，但這
只是日常例行公事的一部分，對作品的回應和理
解才是顯示作品重要性的元素。這個事件和其他 事件雖然有著呼應的關係（伊斯蘭年輕聖戰士離 開英國前往敘利亞，被謀殺的孩子等等），隨著兩
年間每天都有圖像被抽取出來形成一個系列，一 幅更大的圖景便出現了，同時很多圖景也被擦除 了。我們到底知道什麽？我們能理解多少？我們該 怎樣理解我們的世界？
時間的單位測量——舊的一天結束，新的一天開
自殺、家庭暴力，但有時也只有赤裸裸的消費資
本主義的乏味面孔，廣告上微笑的臉蛋、帶著各 種數字的產品等等。這裏，這些頁面都被抽離出 上下文，但還是有一種“時效”的感覺——新出爐 的新聞總會在某個時間點成為歷史（“歷史”是怎
麽開始的？）。這些只是整體的一部分，它們經常
有著固定的模式，它們就是為那些乘地鐵或者公 車的人的快速消費設計的，就是要隨手扔掉，因 為明天很快就會有新的出現，如此往復。孫毅的
界觀的關鍵。
回應，比如說，在美國手無寸鐵的黑人在逃跑途
借此形成一種全球社區，對某些事件有著共同的
闖入了我們的視野。展示在我們面前的，是刊登 片的轟動或聳人聽聞的故事： 上街遊行、謀殺、
摒棄。中國文化的時間循環觀是孫毅的創作和世 值得懷疑的對象
盡管在藝術實踐中，孫毅青睞長期使用日常的東
在 報 紙 上 的 日 常 報 導，通 常 是 帶 著 大 標 題 和 照
地閱讀、觀看、閑坐，介乎可見和不可見，攝取和
圖片的選擇也示意了一種政治框架，我們正是憑
其成為雕塑物件，因而參觀者必須前後走動才能 欣賞整件藝術品。懸掛而下的作品阻斷了空間，
妙相互影響中，作為一名書法從藝者，孫毅正是
西，但是時間本身也是他創作的一種中心元素。
始。作品實施了兩年，已經被真實的時間經歷帶 上了烙印，就如同是一種日常習慣、紀律，甚至是
通過這種閱讀新聞的方式生活一般。新聞本身甚 至成了一種框架。當我們打開收音機、電視機，
取報紙，瀏覽和共享駭人聽聞的新聞時，它成了 一種標記時間以及我們和世界聯繫的儀式。這是
繪畫依舊存在。線條、構圖、材料都被結合起來， 著鐵釘、電線和燈絲，隨意地刻意地，隨機擺放地
或故意而為，我們無從得知。凳子看起來友善而
簡單。一般便民使用的公共設施——吃午飯時、 等朋友時你都可以坐在公共座椅上——卻被孫毅 打破正常邏輯顛倒過來，稀稀拉拉地撒上帶子， 仿 佛 椅 子 是 被 糟 糕 地“打 包”起 來，以 此 來 暗 示
“差 異”，或 者 說 是 德 裏 達 的“延 異”—— 細 小 的 改變引起焦點或者意義的轉變。我們理應怎樣去
理解這些作品？作為一個雕塑形式，其功能被否
定了，取而代之的是哲學和美學的立場。空間的 概念引入了，在他的誤置下產生了轉變，使得不 起眼景觀的“自然”裝置獲得了關注。在他其他的
作品裏，形式和功能的關係總是調皮地變動著：
在一所圖書館裏，書脊全部不可見——書本都是 橫著擺放，或用塑料包裝起來，這樣一來讀者完
全讀不到書裏的內容。略施一點視覺小詭計，便
把一把椅子拍攝成連著書架懸掛於半墻高的地 方。大大的長方形冰塊放置於地上挖開的洞中， 可這冷冰冰的東西總歸要化成水溶進地裏。
現代生活的一部分，它是普遍存在的，獨立於文
交換
主 體 的 烏 托 邦 社 區，在 其 存 在 的 深 層 結 構 中 聯
所謂的《1分錢計劃》是一組物件或者繪畫作品，
踐呼應著。我們的世界是個關係世界，同時，把我
進行互換，在這樣的價值體系裏，價值被校準到
化差異。用艾靈頓的話說“美學主體間性勾勒出 合 ”。書法，在這裏以一種日常、冥想、內省的實
007
旨在鼓勵交換。物件和硬幣（也是作為物件）可以
同一水平。由於物質性和文化問題的引入，藝術
既 有 抽 象 的 幾 何 元 素，更 有 具 體 的 日 常 現 實 元
在累積的資金和市場力量所致的扭曲價值系統
線條，憑借藝術的語言和我們的空間存在，或實
市場以不正常的低價向買家卑躬屈膝——藝術品 中以交易的形式出現。
歸根結底，孫毅的作品是對價值的探索，也是對 布迪厄意義上的美學、文化、社會、經濟“習性”以
及由價值系統交織的社會中我們存在的探索； 一個描述生命隕落的新聞事件經常廉價地裝扮
得聳人聽聞，然而報導本身、連帶著圖像都是可
有可無、一次性的，新的一到舊的就可以置之腦 後了。同樣地， “高雅藝術”在孫毅的作品中還是
留有地位的，因為那些看起來無足重輕的小速寫 實際上通過小小的交易重獲了價值。這些速寫，
素，因而有著某種存在主義的形式主義。他畫的 際或隱喻地介入了對話空間。作為結尾，我們不
妨考察一下孫毅簡單而隱晦的作品之一：一個不 對稱的白色框架——一個偶得的物件——顛倒放
置於倫敦大路邊狹窄的小巷中，打破了高高聳立 的維多利亞建築構成的橫平豎直線條的聯繫。如 阿卡巴·亞巴斯所言“不熟悉之物非新物，而是舊 物：這是所有空間的悖論之一”。這件作品簡單得
近乎狡猾，它體現了孫毅的許多藝術旨趣所在： 表演性、物質性、幾何性和形式主義，隨機置於現 成的場地，發人關於時間、文化和歷史的深省。
作為日常書法冥想的交織和意義聯 繫 的澄明， 輕 輕 地 跳 躍 於 作 品 表 面，盤 旋 著 進 入 我 們 的 眼 界——流連著、反思著、重構著。
孫毅是當今主流藝術世界宏大高調話語體系 的 反 面 。也 許 是 為 了 回 應 力 度 氣 度 非 凡 的 前 代 身體作品（Gestural
Work）和巨型裝置藝術，
他看齊的對象是托姆布雷（Twombly）、河原溫
（Kawara）或阿納斯塔西（Anastasi），這些藝 術家的作品通過繪畫或標記時間造成了各種聯 繫，作為觸覺模式、感性、感官經驗或記憶行為。
他的創作有感而發，接收並考慮著社會上發生的 事情，他的作品幾乎不可見，但卻揭示著令人不
安的意識形態和可質疑的消費模式。在層壘分明 的經濟價值體系裏，他引入了最小公分母，如木 片、鐵釘、繩索（墨水上過色的）、硬幣，這觸及到
了我們生活的基礎，展示了對這些作為生活中重 要的可持續一面的“尋常之物”的深刻理解。
孫毅把繪畫稱為“模糊卻又吸引人的對象”，或許 這個簡潔的詞匯也精確地描述了他藝術創作的
模式。他的作品似乎以輕描淡寫的“事實”存在，
何凱特
008
Into the Waste Land
Although Sun Yi has just been awarded Master of
an artist, bravely walking into the scene of modern
certain stage of civilization and they cannot serve
Fine Arts by Slade School of Fine Art, he has already
and contemporary culture and engaged with it. It
as eternal and consummate truth. Moreover, the
held many exhibitions in England and Beijing. The
has not been easy for him to be so stern and calm
historical constraints imposed by them must be
footprints of his works are scattered across the
against the international backdrop in the scene
removed. Idols are the objectification of spiritual
world of contemporary art. For instance, with his
with such cool and smart works. Now, let’s shed
goals by human beings and go together with the
drawings, he outlined various strange yet familiar
some light on the scene.
development of civilization. In the face of such an
images in a sea of news data, they could be it a
inevitable predicament, modernism emerged with
detail from an area of the world, an expression that
Human civilization has stumbled along as it has
the most profound motivation to eliminate all the
can be easily forgot or a plot or an action from a
constantly been besieged and constrained by
strange constraints placed by idols. Firstly, it seeks
story. The works have a strong visual impact, often
numerous idols and taken great pains to break
for liberalization by eliminating idols. Secondly, to
mingled with anxiety, excitement or other kinds
them. Transformations of ideology in any region,
avoid the constraints imposed by idolization, all
of mixed feelings. Sun Yi breathed new life into
culture, society and in any race are none other
conditions for making idols must be destroyed,
events or information deserted in a corner of the
than the movement to subvert old idols and shape
which means to abandon the faith in idols and
world. In another work, in a winter, he dug a big
new ones, with difference only in their degree
dismantle the world of value and meaning built
hole in the open field of his hometown and put a
and frequency. Their common feature lies in the
upon such faith. After that, any meaningful
huge ice block into it, as if he was burying a secret,
inevitable idolization, that is, the objectification,
and valuable goals should be crushed through
a history or a corpse but with the knowledge
or vulgarization, of a spiritual goal into object
transformation of ideas (in the ways of modern
that will eventually melt in the spring. Sun Yi has
of worship in real life. This is the unavoidable
art) so as to kill any attempt to rebuild idols. To
also wrapped parts of the chairs in the audience
dilemma for human existence. The spirit wants to
materialize it, we will have to pay the price.
section with a bandage-like fabric and placed them
transcend the flesh but is always constrained by
in disorder so that the disordered and “injured�
it. Fetishism is the very fundamental kind of idol
Renaissance artists created art with man as the
scene transformed the audience section into a
worship, because others are only camouflaged
subject and granted God a mortal body with
stage. Once, he even wrapped the books in the
reproductions. For instance, metaphysics in the
classical aesthetic ideas and methods, and
library in the same way or inversed the books
West, classical aesthetics and art, Confucianism,
overthrew the deific idols of worldly power in
with the chairs, which seemed to announce his
Buddhism and Taoism in China, etc. have
the Middle Ages. Although they initiated and
intension to prevent people from reading. As his
constructed and laid the foundation for human
established a world of contemporary and modern
art performance and exhibitions demonstrate, Sun
civilization, but they all share the characteristics
humanistic value and meaning, achieving the
Yi has stepped out of the ivory tower and become
of idolization. Therefore, their value only counts in
greatest accomplishment in classical beauty,
009
they fell into objects of worship a few centuries
termination of classical art and aesthetics. It is
a urinal, is more a comprehensive and powerful
later. The movement to subvert idols continued.
never easy to prevent holy value and meaning
slander to classical aesthetics.
The religious reform where Martin Luther tried to
from possible corruption while subverting idols to
break the rank order that Catholic Church used
maintain the holiness and purity of truth.
to idolize God and the unification of the state and
Modern artists subvert classical spiritual idols at all costs and transform themselves and their works
the church, and the worldwide Enlightenment that
T. S. Eliot, great poet of the 20th century, depicted
into the wasteland where value and meaning are
proposes freedom, democracy, equality, reason
in The Waste Land the world after spiritual
lost. They also have a genuine taste of various
and science eventually freed the world from the
disorder. It is a bleak, dirty wasteland with dead
sins induced by desire, which seems like they
oppression of idols of superstition and divine right
silence where the vulgar desire devours everything
are playing the martyrs. However, they cannot
of kings.
like seawater and people walk towards death full
abandon the will of modern intellectuals and
of despair. The Waste Land is a faithful portrayal of
the mission of artists. They confront the silent
Once the old idols were overthrown, disorder in
the world, with which Eliot conveyed his worry as a
and desperate wasteland and choose to bear the
two aspects will occur, namely, influencing social
conscientious modern intellectual.
mental stress caused by the overwhelming void
order and shaking ideas and values. Social order is
due to the loss of value and meaning. Moreover,
related to political system, which means there are
With Avignon Girl, Picasso shows us how a lady had
they constantly resist the inevitable dilemma of
temporary solutions to it. However, as ideas and
turned into an ugly prostitute and became the tool
objectification and idolization with decentralized,
values are related to the spiritual world, its disorder
of desire in the wasteland of death. In Guernica he
non-value and non-meaning ideas and language—
will lead to serious loss of value and meaning. At
enables us to hear the terrible howl when people
this is the scene of modern and contemporary
the end of the 19th century, Nietzsche claimed that
were dismembered by the Nazi’s death machine.
culture and art.
“God is dead”, signifying the collapse of holy idols
Cubism is the subversion of classical aesthetic
as well as the traditional metaphysical system.
ideas and experience from structure to the whole.
The possibility for the emergence of new idol
The destruction of the foundation for divine right
Not only does it smash the idols, but presets a true
worship looms over the destruction of all idols
of kings and authoritarianism symbolized the
picture of death imbued with spiritual disorder and
and resistance against everything, which is the
progress of institution and civilization. However,
loss of value.
fundamental spirit of modern art. A full grasp of
with the subversion of idols, the traditional world
this point leads to a thorough understanding of
of value and meaning was lost, which gave rise
Duchamp added moustache to Mona Lisa,
modern art. In the post-war America, abstract
to the barbaric fetishism, as shown through
mocking the solemn and holy aesthetics and
expressionism, pop art and other artistic
the confusion of morality and ethics and the
historical significance of humanism. His Fountain,
phenomenon were bewildering and beyond
010
comprehension. Yet comparing them with socialist
boasts good handwriting. He was no genius, but
will become the elite of our times, which will hence
art allows us to see the power and role of modern
his rich cultural genes were so engrained that he
bring along a group of genuine international artists
art in the West in keeping modern civilization from
enjoyed more cultural knowledge than his peers
that transcend Chinese traditions.
objectification and idolization.
who knew nothing but play. However, it also deprived him of his innocence and purity. His
Owing to his rich knowledge and keen cultural
Countering objectification with non-meaning
blank sheet has been packed with calligraphy,
awareness, Sun Yi was able to identify the topic and
calls for the ability to bear the huge stress from
poetry, classical aesthetics of the West and
made it his mission and, during his postgraduate
spiritual void. Despite his gradual awareness of
modern philosophical concepts and historical
study, he tried to put it into practice. For his first
this point, Sun Yi still unswerving walks into the
images, which together integrate him into the
exhibition at Beijing 798 Art Zone, he coated the
wasteland with modern artistic methods, which
net of different value and meaning of history and
newspaper with white powder and reproduced the
means that he is going to fulfill the mission and
culture. As a result, his future is destined to be
images at the back of the newspaper with drawings,
social responsibility of conscientious modern
connected to culture and tradition. He will either
which can be seen as a stately discard of the media.
intellectuals and modern artists.
be a successor or gravedigger of tradition. His
It is a careful presentation of the living details hidden
study at the Department of Eastern Art of Nankai
under the white powder, that are doomed to be
He is still traversing the wasteland without
University has indicated the direction of his future
discarded. This process is absurd and ambiguous,
hesitation. As a responsible and independent
development. As an independent thinker, he
but it “buries� the discourse power of the media
thinker, he bravely and resolutely joins the modern
gives the least care to immediate interests, which
with white powder and highlights the cheap aspects
artists. There is no doubt that his methods are
saves him from being a narrow egoist. Instead,
of the everyday utilized and manipulated by the
modern as well as international. His art will be
he is constantly alive with passion for looking at
media and endows it with rhythmic lines and tender
associated with many people in modern times,
the stars and shows the basic quality of being a
care. The work aims to tell everyone that there is
although its influence cannot be predicted.
modern intellectual. He is, therefore, bound to
no definite meaning for everything and to reject
There is one thing for certain: his art will never be
be something in modern art. Further study at
the authorized or secularized definitions of and
kidnapped by money or politics. This is shown in
Slade School of Fine Art unlocked his potential.
behind the media. The work, therefore, conveys
his performance art One Cent, which shows his
The study of and research into art in London, an
humanistic care. In the exhibition he symbolically
clear stance against fetishism. This mirrors the
important city in developed Western civilization,
traded this work for one cent, the intention of
spirit of a genuine modern artist or a conscientious
meant that he must bridge two unavoidable gaps:
which is self-evident—a protest against the money-
modern intellectual, which is the basic safeguard
the one between China and the West and the other
driven fetishism in the Chinese art market, that is,
for one to counter objectification and idolization.
between classism and modernism. These require
resistance to objectification.
It is rare and commendable for a young Chinese
comparison, criticism and transition between
artist to have such spirit. He deserves our attention.
the classical civilizations and modern societies
He never stops thinking and with thinking comes
of China and the West. These involve a great deal
along different works. While bridging each gap,
of academic thinking and analysis, and call for
he serves as a vanguard in the modern art of the
extensive reading, intuition and living cultural
West and spares no efforts to make a difference in
Under the influence of his father, Sun Yi has
conscience. How to bridge the gaps has been
the scene of modern culture and art with modern
been passionate about reading, engaging with
challenges confronting modern Chinese culture for
methods. Sun Yi is realizing a dual traverse with
Chinese and foreign classic masterpieces from
one and a half centuries and is a major historical
his experience in art and art performance. First,
ancient to modern times, since a tender age and
and cultural topic. He who is able to bridge them
as a journey through the barriers set by various
The Wormhole Effect
011
idols, modern art bears the pressure from spiritual
awareness, knowledge, the wisdom and ability to
void to survive the worldly wasteland and aims
transform concepts and the courage to undertake
to keep civilization away from the constraints of
responsibility and moral strength will form the
objectification. Secondly, it is through two different
magnetic field needed for deforming cultural space.
civilizations and histories. Cultural wormhole is an interesting and positive There is a huge gap between the society in China
hypothesis. While historical lessons teach us that
and modern civilization in the West. It is a gap
idolization is the danger that must be eliminated
between barbarism and civilization, between
in a civilization, modern art implicates that it
backwardness and progressiveness. Traditional
is respectable to have courage and wisdom
linear thinking indicates the great difficulty
to traverse the barriers formed by idols with
in getting rid of barbarism and establishing
paradoxical logic. Hence, we fully support Sun Yi to
civilization and the impossibility of completing
walk unswervingly into the wasteland of spirit with
one-off transformation within a short time, whether
modern art. At a time when our nation is facing
in terms of details or the whole. It might be realized
different cultural challenges that must be tackled,
with the efforts of several generations. However,
every bit of effort on cultural transformation is
with synchronous thinking, it is possible to fulfill
the only way and only hope to bridge the gaps.
a one-off transformation, as simultaneously
Sun Yi’s experience in education and practice in
speaking the switch from one space-time to
art reminds me of the hypothesis of the cultural
another is a kind of journey.
wormhole. I am more than willing to see and firmly believe that Sun Yi will complete the anticipated
According to the notion of wormhole in theoretical
dual traverse with modern art, for the Sun Yi that
physics, the linear space between two separate
I know is well equipped with all the necessary
ends in the universe can be deformed to bring
qualities, competence and other conditions. I am
close the two ends and form a wormhole through
convinced that my judgment and expectation
which man can traverse a far distance within a
is correct, for his recent series of works, art
short time.
performance, ideas and opinions have constantly proved it. It is also my sincere hope that those who
So is it possible to build cultural wormholes? The
pay attention to Sun Yi try to understand and judge
deformation of space is a result of the enormous
him with the ideas mentioned above and offer him
energy field and the wormholes are synchronous
necessary criticism and support.
traverse space. For art, its reproducibility, narrative and descriptive language, which are frequently used in classical art, are diachronic. Yet for modern
By Zhao Jun
art, the language is conceptual and the concepts
Director of Oriental Art Department,
are synchronous, which can give rise to cultural
Nan Kai University
wormholes. Having honesty, conscience, cultural
1 August, 2015
012
走向荒原
剛剛獲得英國斯萊德美術學院藝術碩士學位的
其同樣的特徵是精神目標的客體化或者叫庸俗
又成為幾個世紀人們頂禮膜拜的對象。 但拆解
已經印入當代藝術的視界：在報紙海量新聞數據
的，這是人在世生存的必然困境，精神要翺翔肉
圖打破天主教偶像化上帝的等級秩序和政教合
孫毅已在英倫和北京舉辦過多次展覽，他的作品 中他的線條在勾勒一個個陌生又熟悉的圖像，
那是來自世界某個角落的細節，一個或許很快被 遺忘的表情、一個故事的情節動作，他的線條在 新聞數據視野中衝擊流蕩，帶著焦慮、興奮亦或
是某種複雜的情緒，他讓被丟棄在世界某個角落 的事件資訊重新獲得了溫度。他在家鄉冬天的原 野，把一方巨大的冰塊埋入挖好的土坑，像是掩
埋一個秘密，一段歷史或是一具屍體，但那只是
春天裏注定要融化的冰水。他把台下看場的椅子 全部都用繃帶一樣的織物進行局部包紮，橫七豎 八 的 擺 放，失 序 和 受 傷 的 場 面 把 看 場 變 成 了 舞
臺。他把圖書館的圖書包紮起來，或又把書和椅
子倒置擺放，他在阻止這個世界的人們正常的閱
讀嗎？他的藝術行為和展覽表明孫毅早就以一個 藝術家的身份沖出了學府的象牙塔，勇敢地走進
並參與了現當代文化藝術發生的現場，他的作品 很酷，也很帥，身處這樣國際化的氛圍能表現出 如此凜然從容的態度，實屬不易，我們看看這是 怎樣的現場吶。
化為現實的膜拜對象即偶像化的必然性是一致
體之上，但肉體的束縛卻始終存在。拜物教就是 眾 多 偶 像 崇 拜 中 最 本 質 的 一 種，其 他 只 是 經 過
偽 裝 粉 飾 後 的 翻 版 。再 比 如 西 方 的 形 而 上 學， 古典主義美學與藝術，中國的儒釋道思想等等，
偶像的運動一直繼續，馬丁·路德的宗教改革試 一的制度，席捲世界的啟蒙主義運動宣導自由、
民主、平等及理性與科學的思想，最終將世界從 迷信和君權神授的偶像壓迫下解放出來……
雖然他們構建了並奠定了人類文明的基礎，但卻
伴隨舊偶像的破除會出現兩方面的失序，一是涉
史過程中階段化的價值而不可以當做永恆圓滿
政治制度，可以找到臨時解決的方案，但思想觀
都有著偶像化的性質，因此它們只能具備文明歷 的真理，而且還必須要破除其所造成的歷史性的 束縛。偶像即是人類將精神目標客體化的行為，
它與文明的步伐相伴相生。面對人在世生存所面 臨的這一必然困境，現代主義運動應運而生，其 最深刻的動機就是要徹底破除人類生存被種種
偶像包圍的怪圈。第一步先是尋求解放，消滅偶
像，其次為避免再一次陷入偶像化的包圍必須拆 除製造偶像的一切條件，即放棄偶像信仰的同時
拆除由信仰建立起來的價值與意義的世界，然後 繼續以轉換觀念的方式（現代藝術的方式）顛覆 任何有意義與價值的目標以防止伺機重建偶像 的企圖，為此我們要付出巨大的代價。
及社會秩序，二是動搖思想觀念。社會秩序關乎
念關乎精神世界，它的混亂失序所造成的價值與 意義的迷失後果十分嚴重。十九世紀末哲學家尼 采聲言上帝已死，標誌神聖偶像的毀滅包括傳統 形 而 上 學 體 系 的 崩 潰 。君 權 神 授 的 基 礎 被 打 破
了，極權專制的政治紛紛破產，這是制度文明的
進步。但伴隨偶像的覆滅，傳統的精神價值與意
義的世界也隨之迷失，這更導致野蠻的拜物教赤
裸裸的興起，直接表現為道德倫理的混亂和古典 藝術與美學趣味的終結，這使我們感到打碎偶像
保持真理的神聖性與純潔性，又不丟掉神聖性的 價值與意義的立場避免可能的墮落是一件多麽 不容易的事情。
人類文明一直是在眾多偶像的包圍束縛和掙脫
文藝復興的藝術家創造了以人為主體的藝術，沿
二 十 世 紀 偉 大 的 詩 人 艾 略 特 以《 荒 原（ T h e
在 任 何 地 域、種 族、文 化、社 會 中 的 意 識 形 態 的
解了中世紀神化的世俗權利的偶像，開啟並建立
圖 景 ：那 是 萬 物 蕭 瑟，骯 髒 死 寂 的 荒 原，卑 下 的
束縛與包圍的糾結中蹣跚而行，可以說不論發生 變革都無外乎是在重複著打破舊的偶像又重塑 新的偶像的運動，區別只是程度頻率有所不同。
用古典的美學理念和方法將上帝變成了肉身，瓦 了近現代人文主義的價值與意義的世界，在造型 藝術領域創造了古典主義之美的最高成就，之後
013
Waste
Land）》為題寫下了精神失序後的世界
欲 望 向 海 水 一 樣 吞 噬 著 一 切，人 們 在 絕 望 中 走 向死亡……。《荒原》是現實世界的真實寫照，
艾略特表達了一位有良知的現代知識份子深切 的憂慮。
畢加索的《亞威儂少女(Avignon Girl)》讓我們看 到女神如何變身為醜陋的妓女成為死亡荒原上
欲望的工具， 《格爾尼卡(Guernica)》讓我們聽到 了納粹的死亡機器肢解生命時恐怖的嚎叫。立體
質，我們抓住這一點就真正理解了現代藝術。戰
蟲洞效應
現象撲朔迷離令人費解，其實把他們與前蘇聯社
孫 毅 從 小 在 其 父 親 影 響 下 喜 歡 讀 書，寫 一 手 好
讓現代文明社會遠離客體化與偶像化的力量和
童，但豐富的文化基因早已注入他的生命脈絡，
後美國的抽象表現主義藝術、波普藝術等等藝術 會主義藝術比較就能很容易看出西方現代藝術 作用。
主義就是對古典主義審美理念和經驗從結構到
以無意義的手段抗擊客體化這需要承擔精神空
價值迷失的死亡圖景。
還是毅然以現代藝術的方式走向荒原，這意味著
整體上的破壞，它打碎了偶像，直陳了精神失序 杜尚在“蒙娜麗莎(Mona
Lisa)”的臉上畫上兩
抹 鬍 子 ，重 重 的 嘲 弄 了 人 文 主 義 莊 嚴 神 聖 的
美 學 與 歷 史 意 義，他 用 小 便 池 製 作 的 作 品《 泉 (Fountain)》更是對古典美學全面有力的詆毀。
現代藝術不惜一切代價打碎古典主義的精神偶
像，讓自己和作品本身成為價值與意義迷失的荒 原，他們同樣也真切的體驗著欲望羅織的種種罪 惡，這像是一種苦肉計，但他們最終不能放棄現
代知識份子的意志和藝術家的使命，他們直面死
寂絕望的荒原並選擇承擔無意義無價值的巨大空 虛所造成的精神壓力，並繼續以去中心、非價值、
無意義的觀念語言不斷的抵抗再次客體化偶像化 的必然困境──這就是現當代文化藝術的現場。
虛的巨大壓力，孫毅逐漸意識到了這一點，但他 他將履行有良知的現代知識份子和現代藝術家 的使命與社會責任。
他 正 繼 續 義 無 反 顧 地 在 荒 原 中 穿 行，他 獨 立 思
考，有所擔當，他勇敢果斷地側身現代藝術家行 列，他的方式無疑是現代的也是國際化的，他的
藝術將會與我們時代的很多人相關，其作用有多 大不能預測，但有一點是十分明確的，他的藝術 絕不會被金錢和政治所綁架，他的《一分錢(One Cent)》行為藝術就是主動抗拒拜物教的明確表
達，這一點顯示出一位真正現代藝術家或是有良
知的現代知識份子的精神品質，這是一個人能夠 抗擊客體化，抗拒偶像化的基本保障。這一切對 於一個從中國出發的青年藝術家的確是難能可 貴的，我們必須關注他。
破壞一切偶像，抗拒一切必然要興起的新的偶像
字，書目涉及中外古今經典名篇名著。他並非神
其結果是他比只知玩耍的同齡夥伴更有文化， 但 也 過 早 地 失 去 了 無 知 者 的 天 真 與 單 純 。他 早 就 不 是 一 張 白 紙，那 上 面 已 密 密 麻 麻 的 寫 滿 了 各種書法詩文、西方古典美學、現代哲學的種種
概 念 意 象，這 些 把 他 編 織 進 了 歷 史 文 化 的 各 種
價 值 與 意 義 的 網 路 之 中，註 定 他 的 未 來 命 運 與 文 化 傳 統 息 息 相 關，要 麽 成 為 傳 統 的 後 繼 者，
要 麽 成 為 傳 統 的 掘 墓 人 。他 在 中 國 著 名 的 南 開 大學東方藝術系的學習已顯露出他未來發展的 端倪，他喜歡獨立思考，從不在乎眼前利益，避
免 了 成 為 狹 隘 的 利 己 主 義 者，而 是 時 常 洋 溢 著 仰 望 星 空 的 熱 情，顯 露 出 成 為 現 代 知 識 份 子 的 基 本 品 質，這 註 定 了 他 將 來 會 在 當 代 藝 術 領 域 有所作為。英國斯萊德大學讀研的機會，令他的
潛 質 得 到 發 揮，在 發 達 的 西 方 文 明 重 鎮 倫 敦 的 求學，尤其是學習與研究藝術，意味著他將面對
著幾個不可回避的跨越，即中國向西方的跨越， 古 典 向 現 代 的 跨 越，這 其 中 還 要 完 成 中 西 古 典
文 明 的 比 較 批 判 與 轉 換，中 西 現 代 社 會 的 比 較 批判與轉換等等，這是大量學術思辨的工作，需
要讀書更需要心靈的直覺和文化良知的覺醒。 這樣的跨越其實是擺在了一個半世紀以來所有
崇 拜 的 可 能，這 是 現 代 主 義 藝 術 根 本 的 精 神 實
現 代 中 國 人 面 前 的 難 題，如 何 完 成 這 樣 一 種 跨
014
越是歷史與文化的重大主題。誰能應對它，意味
性思維看，從野蠻邁入文明談何容易，不論從細
術行為及思想言論在給我不斷提供著可靠的證
時代將造就一批超越中國傳統的真正的國際性
越幾乎是不可能的，至少要經過幾輩人的努力或
來理解和判斷孫毅，並給他必要的批評與支持。
著誰就是我們時代的精英，這樣的跨越也意味著 的藝術家。
孫毅的知識儲備與文化自覺很快讓他辨識到了
這一主題，他知道他屬於這個主題，他勇於接受
並在讀研期間就嘗試著承擔它。他在北京798的
節還是從宏觀上看在短時間內一次性的完成跨
許可能，但用共時性思維來思考就會不一樣，一
次性跨越就是有可能的。在共時性中完成包括由 一個時空向另一個時空轉換的事件準確的說應 該是一種穿越。
第一個展覽的情況是：他把報紙塗上白粉，又用
在理論物理中有一個蟲洞的理論，即將宇宙中遙
把堂而皇之的媒體新聞垃圾化處理後，又倍加珍
的極點建立蟲洞，經過蟲洞人類可以在短時間內
線條複現背面的圖像，觀者可以想見這一過程是 惜地精心勾勒出掩埋在白粉下且終將被丟棄在
角落裏的一個個生命的細節。這過程十分悖謬，
不可及的兩點之間的直線空間彎曲，在兩個拉近 完成遙遠距離的穿越。
引發許多的歧義，但總的來說是用粉刷的方式掩
我們設想文化蟲洞該是怎樣的吶？空間彎曲是巨
的廉價的生命細節撿起來並給予有節奏的線條
間。藝術中再現性和敘述以及描述性的語言是歷
埋了媒體的話語權，然後又將被媒體利用和操縱 和有溫度的關懷。他作品的深意就在於告訴大家 一切都還沒有找到確定的意義，以此拒斥媒體和 媒體背後各種權威或世俗化的定義，同時傳達出
人道主義的關懷。在展會上他以一分錢的價格象 徵性的交易他的作品，其意圖倒是十分明確的， 即抗議國內藝術市場金錢至上的拜物教潮流—— 抗擊客體化是他作品的明確意圖。
接下來他的思考連續不斷，作品也不斷出臺，他 在繼續著一個一個的跨越的同時保持著在西方 當 代 藝 術 中 前 衛 的 姿 態，他 以 現 代 方 式 在 當 代 文 化 藝 術 的 現 場 正 努 力 的 有 所 作 為，綜 合 起 來
看孫毅的藝術經歷與藝術行為正在形成一種穿
越，這 穿 越 是 雙 重 的 ：其 一、現 代 藝 術 本 身 就 是
穿越的，它穿越種種偶像的屏障，承擔著精神空 虛 的 壓 力 走 過 世 俗 的 荒 原，努 力 讓 文 明 世 界 遠
離客體化的束縛。其二、是兩個不同文明歷史空 間的穿越。
中國社會與西方現代文明相比差距很遠，可以說 是野蠻與文明，落後與進步的差距，用習慣的線
據，我也希望關注他的人們嘗試著用以上的想法
大能量場作用下的結果，蟲洞是共時性的穿越空 時性的，這常常是古典藝術使用的方法，現代藝 術語言是觀念性的，觀念是共時性的，它會產生 文化蟲洞的空間效應。心靈的誠實與良知，文化 的自覺，知識的儲備，轉換觀念的智慧與能力，承 擔的勇氣與責任心以及道德的力量會積蓄一種 能量，構成作用於文化空間彎曲的磁場。
這是一個有感而發的很有趣的積極設想，當歷史
教訓我們偶像化是文明社會必須根除的禍患， 現代主義藝術啟示了我們在悖論的邏輯中不斷 地穿越偶像的屏障是一種令人尊重的勇氣和智
慧，我們會更支持孫毅以現代藝術的方式義無反 顧的走向精神的荒原。當我們身處的民族正面臨
一個個必須跨越的世紀性文化難題的時候，每一 個個體致力於文化變革的努力是實現跨越的唯
一的途徑和希望。孫毅的求學經歷與藝術實踐讓 我產生了文化蟲洞的設想，我也更願意並相信孫 毅能以現代藝術的方式完成我們所共同期待的
雙重的穿越，因為我所瞭解的孫毅具備了必要的
趙均
與期望是準確的，因為他最近的一系列作品和藝
2015年8月1日
素質與品質及相應的各種條件。我相信我的判斷
015
南開大學東方藝術系主任
Intimate Disengagement
Sun Yi, a young artist from Tianjing, China, an MFA
The first thing to be noted is that ever since a
artistic clue—a passion to overthrow the supposed
graduate from Slade School of Fine Art, University
child Sun received Chinese traditional artistic
status and property of matters, to examine identity
of London, is a coordinate in the collision between
training—a model independent of school
and to reflect and practice contradiction itself.
the West and China. In September 2015 his second
system and a model features traditional ‘master-
solo exhibition Sidelines was staged as a summary
student/apprentice’ teaching. Free from the
Secondly, the background in which he grew up is
of his artistic creation during his academic career
official educational establishment hence exempt
also worth mentioning. The late 1980s when Sun
in Britain, and his unique study and growing-
from political and examination elements, Sun
was born was a peaceful development period
up pathway also gives far-reaching sociological
developed a much more comprehensive, complete
rarely seen in Chinese history with no political
significance to the show—he is a lively sample of
and in-depth understanding of Chinese classical
movement, foreign intrusion or civil war. In the
the collision between tradition and modernity, east
philosophy and culture than his peer thanks to
30 odd years till now when political environment
and west, usefulness and uselessness, passage and
the ‘old-fashioned’ education. It is also because
has been relatively stable, tremendous changes
eternity, forwardness and backwardness, lightness
of this long-term training and engagement with
have taken place in China—rapid development
and weightiness.
tradition that he is able to master and carry on
in economy and accumulative material affluence
the core values of traditional Chinese culture with
mingled with downsides such as environmental
One is often misled to interpret and understand
precision and proper restraints. On the other hand,
issues and money worshipping. Sun, as well as
an artist and his/her works in an intimate yet
almost totally insulated from contemporary art
his generation experienced, witness, benefited
disrespectful and distorted manner—close
in China, Sun chose to study at Slade School of
as well as suffered from all of the above in a
examination of the techniques in the works
Fine Art in London, placing himself in an utterly
country where everything ranging from financial
and the interpretation and exploration of a
different educational and artistic environment.
capital, globalization process to the Internet and
single work may prove to be insufficient in
Such a gigantic logical leap was sure to bring
high tech has exerted far-reaching influences on
understanding the creative logics as a whole
about violent crashes and integration, and at this
the open-up Chinese society. During his study in
of the artist in question—this is especially true
moment, the isolation from contemporary art
Britain, Sun was able to see the world from another
when the artist is a young one. In light of this,
during his early days in China became a blessing in
set of coordinates, which expanded his artistic
what follows in this essay is not an attempt to
disguise, which enabled him to directly access the
dimensions, and he began to employ performance
examine how Sun processes his works as an
context of authentic contemporary art. Through
and different media to respond to this world. For
artist, but only provides a possible perspective
large amounts of reading, continuous self-overturn
instance, he shattered the relationship between
to understand and perceive the tension and
and experience of cultural collision between the
price and value of artwork through One Cent;
logics in his art quest.
east and the west, he nurtured in him a unique
reconstructed the connection between timeliness
017
of news and timelessness by using throwaway
you pick what you think is right according to your
differs from any ‘Chinese contemporary art’ which
newspaper and satirized the side effects of over-
position, just as in Life of Pi, Ang Lee is no more
stiffly borrows western artistic concepts while fails
development via trash of ready-made products. His
than a storyteller who has nothing to do with the
to grasp the essence thereof or any art in the name
understanding model of the world also decides the
meaning of the story. Likewise, Sun is a narrator
of contemporary. His artistic philosophy, of such
preference of his means and materials. A different
of the same sort; he extracts the contradictory
a new generation artist of China, is one that grows
perception of value results in the use of trash as
concepts from the eastern and western cultures,
out from its own root in the local soil, and shares
part or whole of an artwork, and artwork as part or
and brings them to a show in a simple way, and
with the whole world.
whole of trash. What is useful and useless depends
the unsophisticated scenarios with his meticulous
on the viewers, not the objects themselves; all
arrangement are the episodes we simply pass by
unidirectional vocabularies in fact involve multi-
every day and conditions we take for granted. He
directional choices and interpretation.
does nothing but re-projects all our familiar things with their status altered to our visions, enabling us
Based on these two aspects, it is not difficult for us
to re-interpret and re-understand our world from
to conclude that all Sun’s art—painting, sculpture,
an opposite point of view.
performance and installation—is a feedback to our current world by fusing Chinese and western
Disengage, take a step aback, to watch the works
cultural logics. Sun Yi is a talkative artist; he can
of artists—it is the best way to appreciate and
give a hundred reasons for producing a work, none
study artists. Sun Yi is in his golden period of
of which, however, can be correct while every one
creation, and the diversity of his works indicates
of which can also be correct. Without first informed
how productive and passionate he is. For the time
of the previous two parts, you might think his
being, we find it difficult to define his works, but
response is totally inappropriate. However, if we
as a researcher, I think he makes a unique case
change our stance, you will find such an answer
among the Chinese younger-generation artists. He
is the only proper one. ‘It HAS no bloody use’ and
incorporates the classical Chinese philosophical
‘It HASN’T no bloody use’ could sound differently
thinking models into his art and at the same
but express the same idea. The viewer, not the
time stages his works with western methods and
producer, is to decide the meaning of a work;
intellectual analysis; such a mode escapes the
among the 100 answers Sun provided, after all
rigidity of passed-down traditional artistry and
018
By Harry Liu
遠觀之於褻玩
孫 毅，一 位 來 自 中 國 天 津 的 青 年 藝 術 家，一 位
更 為 全 面、完 整、深 刻 。而 正 是 基 於 這 種 長 期 的
作 的 維 度，他 開 始 運 用 各 種 行 為 和 不 同 的 創 作
Fine Art, University of London）的純藝碩士，
心 價 值 的 把 握 和 傳 承 更 為 精 准 和 內 斂 。而 另 一
（One Cent）》的形式來瓦解藝術作品價格與價
畢業於倫敦斯萊德藝術學院（Slade School of 一個中西文化碰撞節點上的座標。2015年9月，
他在倫敦的第二次個人展覽《旁觀（Sidelines）》是 其 遊 學 英 倫 期 間 創 作 成 果 的 總 結 性 展 覽，孫 毅
獨有的求學經歷和成長歷程使得這次的展覽具 有了更為深遠的社會學意義──一個鮮活的傳
統 與 當 代、東 方 與 西 方、有 用 與 無 用、消 逝 與 永 恆、進與退、輕與重碰撞的樣本。
對 於 藝 術 家 的 解 讀 和 觀 看，人 們 往 往 容 易 陷 入
“褻 玩”的 誤 區，對 作 品 技 法 的 斟 酌，對 單 一 作
品的解讀和探究都很難從整體上了解一個藝 術 家 的 創 作 邏 輯，尤 其 是 對 一 個 年 輕 藝 術 家 而
訓 練 和 積 澱，使 得 孫 毅 對 中 國 文 化 和 藝 術 的 核
方 面，在 中 國 基 本 與“ 當 代 藝 術 ”處 於“ 絕 緣 ” 狀 態 的 孫 毅，卻 選 擇 來 到 倫 敦 的 斯 萊 德 藝 術 學
院 學 習，將 自 己 置 身 於 一 種 完 全 不 同 的 教 育 方 式 和 藝 術 氛 圍 之 中，這 種 大 跨 度 的 邏 輯 跳 躍 帶 來 的 必 然 是 猛 烈 的 碰 撞 和 整 合，而 此 時 在 中 國 期間與當代藝術的“絕緣”反倒成了一個優勢， 使得他能夠直接浸入到原汁原味的當代藝術語
境，通過大量的閱讀和不斷的“自我顛覆”，在東
西 方 文 化 邏 輯 的 劇 烈 碰 撞 中，促 成 了 孫 毅 獨 特
的創作線索──對於“顛覆”事物原有狀態和性 質的熱衷；對身份認同的思考；對矛盾本身的反
媒介來對這個世界作出反饋，例如運用《一分錢 值 之 間 的 關 係 ；運 用 廢 報 紙 來 重 構 轉 瞬 即 逝 的
“新聞”與永恆主題之間的關係；用現成品的垃 圾 作 為 作 品 來 諷 刺 過 度 發 展 帶 來 的 副 作 用 。這 種對世界的認知方式也決定了孫毅對其創作手
段 和 材 質 的 某 種 偏 愛 。對 於“價 值”所 處 的 座 標
系 的 不 同， “垃 圾”亦 可 以 是 藝 術 作 品 的 一 部 分 或 者 全 部，而“藝 術 品”也 可 以 是 垃 圾 的 組 成 部
份 或 者 全 部， “有 用”或 者“無 用”僅 取 決 於 觀 者 而 不 是 物 品 本 身，所 有 單 向 性 的 詞 語 其 實 都 蘊 含著雙向性的選擇和理解。
思和實踐。
基 於 以 上 兩 個 方 面，我 們 不 難 看 出 孫 毅 所 進 行
家 的 孫 毅 是 如 何 進 行 創 作 的，或 是 他 的 創 作 有
其 二 需 要 提 及 的 是 孫 毅 的 成 長 環 境，他 出 生 於
於對中西方文化邏輯的雜糅而產生的對我們當
一個線索去嘗試理解和感受他藝術探索中的張
發展”時期，沒有政治運動，沒有外族入侵，也沒
言。於此，下面的文字並不著力於探索作為藝術 怎樣的貢獻和創造，而是僅僅是提供一個路徑， 力和邏輯。
首先需要提及的是孫毅自幼時起開始接受的中
國傳統藝術的訓練過程，最初他所接受的“藝術 教育”並不是來自學校，而是一種“師徒”式的中 國 傳 統 教 育 模 式，這 種 模 式 獨 立 於 官 方 教 育 體 系 之 外，而 且 因 為 剔 除 了 政 治 和 考 學 因 素 的 影
響，在師徒間心口相傳的長期熏陶之下，孫毅對 中國古典哲學和傳統文化的理解要遠比同齡人
上世紀80年代末，正值中國歷史上少有的“和平 有 內 戰 消 耗，在 三 十 年 相 對 平 靜 的 政 治 環 境 之
下，中國經歷了翻天覆地的變化，經濟的飛速發
展，物質的極大豐富，同時也伴隨著環境問題和 拜 金 主 義 帶 給 中 國 社 會 的 各 種 亂 象，而 孫 毅 這 一 代 人 正 是 這 一 切 的 親 歷 者，受 益 人 以 及 受 害
者，無 論 是 金 融 資 本、全 球 化 進 程、還 是 互 聯 網 和 高 科 技，都 對 敞 開 國 門 的 中 國 社 會 產 生 著 深
刻的影響。在孫毅留學英國期間，他可以從另一 個 座 標 尺 度 來 觀 看 世 界，這 也 拓 展 了 他 藝 術 創
019
的各種創作，繪畫、雕塑、行為、裝置等等都是基
下 生 活 的 世 界 的 反 饋 。孫 毅 是 一 個 健 談 的 創 作 者，對 一 件 作 品 的 創 作 原 因 也 許 他 會 給 你 一 百 種 不 同 的 解 釋，這 一 百 種 解 釋 有 可 能 沒 有 一 個
是準確的，同時也可能都是準確的，如果沒有前 面 兩 點 的 鋪 墊，那 麼 大 家 會 覺 得 他 的 這 種 回 答
方 式 是 極 不 妥 當 的，但 當 我 們 換 一 種 方 式 去 審
視，你 會 發 現 這 樣 的 回 答 其 實 是 更 為 準 確 的，
“沒有卵用”和“有個卵用”是兩個相異判斷，但 表 達 的 是 同 一 命 題，作 品 表 達 的 意 義 取 決 於 觀 者 而 不 是 作 者，一 百 種 說 法 中 你 也 無 非 選 取 了
你自己的維度去作出取捨，也正如《少年派（Life
of
Pi）》講給觀眾的故事一樣，李安無非是一個
呈現者，之於意義已與他無關。孫毅也是一個這 樣 的 搭 建 者，將 從 東 西 方 文 化 中 抽 離 出 來 的 對 立 概 念，通 過 一 種 貌 似 不 經 修 飾 的 方 式 展 示 出
來，精心建構一個樸實無華的場景，這其中積澱 的就是你我生活中不曾在意的片段或是習以為 常 的 狀 態，他 只 是 將 這 些 改 變 了 狀 態 的 事 物 重 新 投 射 入 我 們 的 視 野，讓 我 們 從 對 立 的 角 度 去 重新解讀和認知我們周遭的世界。
抽 離 出 來，退 後 一 步 來 觀 看 藝 術 家 的 創 作 和 作
品，是欣賞和研究藝術家的最佳角度。孫毅正處 於 藝 術 家 的 黃 金 創 作 年 代，其 作 品 的 多 樣 性 表 現 出 其 旺 盛 的 創 造 力 和 噴 薄 的 創 作 激 情，當 下 我們還很難給孫毅的創作下一個既定的定義，
但 從 一 個 研 究 者 的 角 度，孫 毅 是 青 年 一 代 中 國 藝 術 家 中 的 一 個 獨 特 案 例，他 將 中 國 傳 統 古 典 哲 學 的 思 考 方 法 灌 注 到 藝 術 創 作 之 中，而 同 時
又運用西方的表現手段和思辨精神來完成作品 的 呈 現，這 樣 的 創 作 模 式 既 不 同 於 因 循 守 舊 的 傳 統 技 藝 的 繼 承，也 不 同 於 嫁 接 西 方 藝 術 概 念
牽 強 附 會 的 中 國 當 代 藝 術 或 任 何 一 種 冠 以“ 當
代”為名的藝術，而是新一代中國藝術家根植於 本 土 文 化 而 生 長 出 來 的，同 時 可 以 與 全 世 界 共 享的藝術創作理念。 劉競晨
020
Statement
Understanding is never free-floating, but always
and unsettling. The faster the country develops
impeccably pure, I regard the two as a perfect duo.
goes with some state-of-mind.
economically, the faster it degenerates spiritually.
Regardless of equality, we distinguish things as
—— Martin Heidegger
This might be one of the reasons that pushes me to
good and bad, beautiful and ugly, first and second,
‘understatement’, or, even ‘non-existence’.
right and wrong, yin and yang, yes and no.
water, tasteless, but you could never live without
My journey in the west was lonely but fruitful.
I don’t resist explaining my works, but I dislike the
it. Whatever forms it takes, I get bored as the
Taking my knowledge of Chinese culture, I
idea of imposing my interpretation on the audience.
excitement fades and as time passes, I even forget
left home, I left China, the place that gave me
Most important is the audience’s connection,
it ever existed.
everything, but in the west, somehow I haven’t yet
otherwise explanation is worth no effort.
Art, as far as I have practiced it, seems to me like
found a ‘community’ that I would like to attach to. I was born and raised in China. For almost 24 years,
Maybe I am not even sure what I want to ‘attach’ to.
I have studied traditional Chinese culture from
Until now, I have not seen being an artist as a career, but rather a process of constructing a man.
poems, paintings and literature, which collects the
For me, time is inevitable. It is lying in front of
Either ‘self-constructing’ or ‘being constructed’ is
wisdom and thoughts of many scholars. I found it
me, driving me along a fixed track,a persistent
choice or acceptance. What constructs a person in
endlessly captivating though it has not brought me
dread. Time, the almighty time makes the final
turn determines the kind of art he constructs.
any notable ‘success’.
judgement, it decides the ‘winner’ and the ‘loser’. Sometimes we might forget the existence of time,
I love a connected world and a world of solitary
In Chinese culture, ‘non-existence means
but it is there, it must be there, like the chime of the
independence.
existence’, ‘existence means Dao (the way)’ and
clock, ceaseless, insistent.
I love sentimental tears, and indifferent streets.
‘Dao’ can never be literally explained. In terms of
I love seriousness, no less than craziness.
this idea, I am relentlessly striving for the ‘non-
For me, reading is irresistible. I enjoy the process
I love both the positive and the negative.
existence’ of my work. Perhaps ‘being’ and ‘not
of being drawn to another world of imagination,
Existence as much as non-existence.
being’ are of no difference, they are meaningless in
but also I feel anxious about the ever-expanding
the end, nothing but a different way of thinking.
boundaries. However any ‘over-indulgence’ or ‘anxiety’ I feel will all come to a balance with the
We are a generation that is experiencing the
witness of time.
Yi
most revolutionary and competitive era of Chinese history. Everything is unbelievably fast
Midnight, 23 June, 2015 ‘Objective time’ and ‘spiritual space’ are
021
London
自述
Understanding is never free-floating, but
家，離開了中國。但我似乎也並沒有真正地找到
到現在我都不認為藝術家是一個“職業”，它更像
—— Martin Heidegger
“我想要融入的”是什麼東西。或者本就沒有什
造”也都是對“塑造”的選擇和接受。塑造了什麼
always goes with some state-of-mind.
到目前為止，做藝術的經驗告訴我——這如同每 日喝水一樣，沒什麼味道，但是又缺少不得。不論
我 想 要 融 入 的 西 方 的 人 群，甚 至 自 己 都 不 清 楚 麼是需要去“融入”的，答案也不一定就在哪個地
方，不管以怎麼樣的方式和方向，它都在“時間”
是一種對人的純粹的塑造。 “ 自我塑造”或“被塑 樣的人也就有了什麼樣的藝術。
上行移。
我喜歡鬧市和自己孤獨的世界
興奮也就沒了，時間久了可能也就忘了。
“時間”，這個詞對我來講應該是重要的，就感覺
我喜歡嚴肅又放蕩
我在中國出生，在中國成長和學習了二十四年，
覺得它的“宣判”與“辯護”都是超越的，最強有力
做了什麼作品，有了什麼樣的草稿，平淡下來後
其中近乎二十年的時間都是與傳統的中國文化
為伴，詩書畫印義理哲，雖沒有什麼成績，卻也不 亦樂乎。
它在我對面平行，有種莫名且繞不開的恐懼，會 的。有時候也真的會一時間忘了它，但又必須意
觀 念 上 來 說，我 在 努 力 讓 我 的 工 作 和 作 品 成 為
延展的界限感到焦慮。 “ 享受”和“焦慮”最終都會
實際的意義，個人的抒懷而已。
我們這一代人正是在中國歷史上變革最大，競爭 最激烈的時代生活和成長的。一切都迅速，不穩 定，發展的膨脹和精神的衰退成了正比。可能也 是這方面的原因，我才更嚮往平實，或者，走向更
因被對象的牽引而擴大的空間，但也對從而得以 在“時間”的籠罩下平衡。
“客觀時間”和“精神空間”，它們是完美的，我
總認為它們才是最適合的一體。就像事物雖是平 等，但就人來說也總是要分善惡，美醜，主次，對 錯，黑白，陰陽，有無。
加極端，甚至這可能都是對虛無的傾向。
我不討厭對作品的解讀，但厭煩主動向觀眾去解
這幾年在西方的遊歷與學習孤獨也豐富，我帶著
話還解釋做甚。
我 的 經 驗 離 開 了 那 個 給 我 經 驗 的 地 方，離 開 了
我喜歡存在般的消逝。
聽見召喚。
“ 閱讀”，對我來說也應該是有力地吸引。我享受
“ 無 ”。 因 為 总 覺 得 可 能 做 與 不 做 都 沒 有 什 麼
我喜歡似是而非
識到它存在，它也必然會像鐘聲一樣響起，讓你
中國文化的精髓，其中一個便是“無”， “無”即是
“ 有 ”， “ 有 ”便 是“ 道 ”， “ 道 ”是 不 可 說 。所 以，
我喜歡多愁善感的流淚和冷漠的路過
釋。如果觀者有興趣的話會“問”，如果沒興趣的
毅
2015年6月23日 凌晨 倫敦
022
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15 MAY 2014
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25 AUGUST 2014
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100
02 DECEMBER 2014
Newspaper, gesso, monoprint 29x37cm 2014
101
102
08 DECEMBER 2014
Newspaper, gesso, monoprint 37x57cm 2014
103
104
08 DECEMBER 2014
Newspaper, red acrylic, monoprint 37x57cm 2014
105
106
10 DECEMBER 2014
Newspaper, gesso, monoprint 29x37cm 2014
107
108
10 DECEMBER 2014
Newspaper, red acrylic, monoprint 29x37cm 2014
109
110
16 DECEMBER 2014
Newspaper, gesso, monoprint 29x37cm 2014
111
112
08 DECEMBER 2014
Newspaper, red acrylic, monoprint 56x74cm 2014
113
114
13 JANUARY 2015
Newspaper, gesso, monoprint 29x37cm 2015
115
116
13 JANUARY 2015
Newspaper, gesso, monoprint 37x57cm 2015
117
118
22 JANUARY 2015
Newspaper, gesso, monoprint 37x57cm 2015
119
120
06 FEBRUARY 2015
Newspaper, gesso, monoprint 29x37cm 2015
121
122
27 FEBRUARY 2015
Newspaper, gesso, monoprint 29x37cm 2015
123
124
2 MARCH 2015
Newspaper, gesso, monoprint 29x37cm 2015
125
126
02 MARCH 2015
Newspaper, gesso, monoprint 29x37cm 2015
127
128
03 MARCH 2015
Newspaper, gesso, monoprint 29x37cm 2015
129
130
03 MARCH 2015
Newspaper, gesso, monoprint 29x37cm 2015
131
132
03 MARCH 2015
Newspaper, gesso, monoprint 29x37cm 2015
133
USELESS STATUS 無 用 之 態
UNTITLED
Rice paper, ink, acrylic 92x132cm 136
2014
UNTITLED
Rice paper, ink, acrylic 36x46cm 2014
137
UNTITLED
Rice paper, ink 91x182cm 138
2014
UNTITLED
Rice paper, ink 91x182cm 2014
139
UNTITLED
Pen, water colour, paper 12x12cm 140
2014
UNTITLED
Pen on paper 20x21cm 2014
141
UNTITLED
Charcoal on paper 20x21cm 142
2014
UNTITLED
Mix medium 21x29cm 2015
143
UNTITLED
Mix medium 21x29cm 144
2015
SCANNING MY LEFT HAND Scanner Varies 2013
145
UNTITLED
Wood bars, white paint Destroyed 146
2014
FOUND MATERIAL DRAWING Mixed medium varies 2015
147
DRAW IN THE WIND Bench and tape 2014 148
UCL Main Quad, London, UK
FOUND MATERIAL DRAWING Mixed medium Varies 2015
149
FOUND MATERIAL DRAWING Mixed medium Varies 150
2015
FOUND MATERIAL DRAWING Wood, nails, metal wire 2015
151
FOUND MATERIAL DRAWING
Wood, acrylic board, metal wire 152
2015
FOUND MATERIAL DRAWING Wood, nails, metal wire 2015
153
FOUND MATERIAL DRAWING Wood, nails, metal wire 154
2015
AFTERNOON FALL 秋 天 在 下 午
AFTERNOON FALL
Books and plastic wrap 2014 156
UCL Main Library, London, UK
AFTERNOON FALL
Books and plastic wrap 2014 158
UCL Main Library, London, UK
AFTERNOON FALL
Books and plastic wrap 2014 160
UCL Main Library, London, UK
AFTERNOON FALL
Books and plastic wrap 2014
UCL Main Library, London, UK
161
AFTERNOON FALL
Books and plastic wrap 2014 162
UCL Main Library, London, UK
CUTTING 剪
CUTTING
Ink, strings, scissors, nails 2014 164
Beijing, China
CUTTING
Ink, strings, scissors, nails 2014
Beijing, China
165
CUTTING
Ink, strings, scissors, nails 2014 166
Beijing, China
1CENT EXHIBITION 一 分 錢 展 覽
1 CENT EXHIBITION
1 cent coins RMB and items by chance 2014 168
Beijing, China
USELESS LAND 無 用 之 地
DRAW IN THE WIND Bench and tape 2014 170
UCL Main Quad, London, UK
USELESS LAND Bench 2015 172
Isle of Wight, UK
USELESS LAND
Benches in UCL Main Quad 2015
UCL Main Quad, London, UK
173
USELESS LAND
Benches in UCL Main Quad 2015 174
UCL Main Quad, London, UK
BLOSSOM 盛 開
BLOSSOM Ice blocks 2015 176
Tianjin, China
BLOSSOM Ice blocks 2015
Tianjin, China
177
BLOSSOM Ice blocks 2015 178
Tianjin, China
CAPSULE 膠 囊
CAPSULE
Two bottles of water 2015 180
Walthamstow Marshes. London
Charming was the night
In the deep night I shout
Even in a cramped room like this
Smiling to the unknown stars
Window closed, light blocked
Which twinkle to the strangers
Recalling that last year
Shining with compassion
Worn sofa we sat
Bright with scarlet sympathy
Shoddy blanket on our back
Unlike the vast darkness The massive hole that swallow the tears
Planes ahead, passing One, two, three…
For one second, or less
Books in hand, listless
I embrace the dark
Arrived the early morning
As swift as I can
Tick tock, tick tock, tick tock…
I return to the world miles away As embarrassed as I am
Asleep she fell
To peep the Milky way
I listened to the dark Felt the gleam And so came the dawn Sleeping in a daze With ineffable delight One another Loneliness Tongueless, transient loneliness Sinking, dying, dissolving… Sweet words to my little one Loving, or reassuring The passion, the warmth, that I have never had As miraculous as life As irrational as love
Meng Chen
I wished that all could have
4:00 am, 25 March, 2015
181
夜晚是迷人的
失去理智的溫暖啊
即便是在狹小的屋齋
我多希望每個人都有
關了窗子
看不到另外窗子的光
在深夜
也聽聞不到去年此時
微笑著大喊 偶爾
那個我們坐在破沙發
星星也會附和著眨一下
披著廉價的被單
它不認識你，不論再怎的介紹 只有望著
數著飛機
嶄新鮮紅的體恤
讀著無心的書
也不如浩瀚的黑
也是到淩晨
那魔力使所有在黑夜的
兩點 三點 四點
安靜的愁人湧淚
她睡了
我置身其中
漸漸泛著光
只有那個一瞬間
我還在聽著那黑夜
他看著我
筆也開始有了黎明
一秒不足
這一切
我回頭
都好似熟睡 迷迷糊糊
我也回望
莫名地心情好
這世界
千裏之隔
樹上掉下的不知道那一個
我害羞的不敢再看
許多，許多
帶著聲音和立即的寂寞 可能已經死了的 被阻擋的
也只有扔到河裏 和寶寶說幾句貼心的話 圖個浪漫 圖個踏實 從那從未有過的 生命的
奇跡一樣的 息息相關的
孟辰
熱情和失去理智的溫暖
2015年3月25日 淩晨4時
182
First published in the United Kingdom in 2015 by Global Culture Communication and Development Ltd. on the occasion of the exhibition “ SIDELINES” at the Candid Arts Trust Space, London, UK. Copyright © 2015 Global Culture Communication and Development Ltd. Artworks copyright © 2015 SUN Yi Text copyright © 2015 the contributors Text by Katie Hill, LIU Jingchen and SUN Yi translated by CAI Sudong and YU Xiaoyue Text by ZHAO Jun translated by YU Chang and edited by YU Xiaoyue All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. Global Culture Communication and Development Ltd. GCCD, Elizabeth House, 39 York Road London SE1 7NQ, UK www.artzip.org Brithis Library Cataloguing-in-Publication Data A Catalogue record for this book is available from the British Library ISBN: 978-0-9933800-0-6
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Designed by:
ISBN: 978-0-9933800-0-6
SIDELINES International Edition £20.00 / $35.00 / €30.00