REM(A)INDERS 纪念.残留 Saturday 10 th April - Sunday 29th August 2010 2010年4月10日星期六 - 2010年 8月 29日
Ai Weiwei Subodh Gupta Liu Jianhua Michelangelo Pistoletto Sun Yuan & Peng Yu Pascale Marthine Tayou Nari Ward Zhuang Hui & Dan’er
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艾未未 苏伯德.古普塔 刘建华 米开郎基罗.皮斯特莱托 孙原 彭禹 帕斯卡尔.马尔蒂那.塔尤 纳利.华德 庄辉 旦儿
03/04/10 11.50
REM(A)INDERS enables viewers to compare work
no value. In the metamorphosis of the creative act, the
by artists from around the world (Italy, China, Unites
sites of memory change; the spaces and domestic ob-
States, Cameroon, India), who are also heterogeneous
jects of our everyday lives become the subjects of work
in terms of age and background. The themes they have
that tells new stories. The piling up, taking apart and
been invited to reflect upon and give expression to are
reassembling of objects thus becomes a metaphor of
summed up in the play on words that forms the title of
entropic and evolutionary movements.The collecting of
the show. Rem(a)inders is a combination of two words,
the objet trouvé thwarts the attempt to psychologically
remainders and reminders. The first evokes everything
repress it or the oblivion to which it appeared destined.
that has in some way finished its cycle – objects that are
The rereading of the waste materials discarded by con-
no longer used and materials considered second-rate
sumer society and the passage of time are, then, the
or of little interest or attraction. The second, remind-
product of an archaeological (that of an ipotetical “fu-
ers, takes us into the realm of memory, of the passage
ture archaeology”) and psychological excavation that
of time, of the preservation of the past through recol-
transcends the world of pure representation.
lection but also of the gesture that draws attention to an element, an instant, an action, something small and
For Ai Weiwei (Beijing 1957, lives and works in Beijing,
marginal but that deserves not to be forgotten.
China), art is a “play of intelligence” that leads him to
The perspective shaping the exhibition shows how the
experiment with different expressive forms, and to
creative process set in motion by these artists is able
move freely between past and present, between his-
to give new life and meaning to objects and materi-
toric and more topical cultural resources. Ai Wei Wei’s
als commonly regarded as scraps, rejects or rubbish of
artistic practice plays on the demolition of symbols and
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此次展览可以让观众对来自世界各地的艺术家的作
找到对象”这种收集行为阻碍了对事物从心理上的
品有不同的认识，这些艺术家来自意大利、中国、
压抑或注定被遗忘。所以重新解读那些被消费者丢
美国、科麦隆和印度，就年龄和背景来说也具有多
弃的废料，重新解读时间的流逝，是一个考古（
样性。画廊邀请他们来表现的主题已概括在对展览
即“未来考古学”）和心理挖掘的产物，超越了纯
英文标题作的一个小游戏中。Rem(a)inders是两
粹的表现主义。
个单词remainders和reminders的组合。前者让人 记起那些在某种意义上已经走到生命周期末端的事
对于艾未未来说，（北京1957，生活工作在中国
物－不再使用的东西和残次的或没用的材料。后者
北京），艺术是“智慧的游戏”，引领他尝试庞大
将我们带进记忆的王国，忆起那流逝的时光、珍藏
的表现形式，在过去和现在、历史和时尚的文化题
的过去，以及那些使人意识到一个要素、瞬间或行
材中游刃有余。艾未未的艺术行为表现在对符号的
为的姿态，那些细微但决不能被忘怀的事情。
破坏和随之产生的新意义。以这种方式，艺术家 将物品打碎并重组，给生命新的形式，予之不同
此次展览展现了这些艺术家将如何运用创造性的手
于原始意义的内涵，此次展出的作品即是如此。
法给那些通常被认为是废品、次品或不值钱的垃圾
在2008年首次完成，作品在画廊获得新的装置结
的物品和材料赋予新的生命和意义。通过创造性行
构：高耸入天的物品堆积成山。只有靠近前仔细观
为的脱胎换骨，记忆的场景改变了；日常生活的空
察才发现我们看的是无数自行车零件。不无巧合的
间和用品成为艺术作品，述说着新的故事。于是对
是自行车曾是中国传统运输方式。
物体的堆砌、拆解和重组被比喻成熵（熵是指系统
此次作品展，艾未未带来的装置作品《》。这件作
运行有序和无序的程度，维持一个系统的有序必然
品由数量众多的自行车组成，使用的是一款如今已
破坏另一个系统，越无序，熵量越大）和进化。“
经停产的传统款式“永久”牌自行车，它有着经典 3
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on the consequent determination of new meanings. In
works manifest the maximized tension by the simple
this way the artist breaks down and reassembles ob-
static state without additional explanations, and the
jects, giving life to new forms to which he attributes
viewers can be exposed to the laden feeling by culture
connotations that differ from their original ones, as in
accumulates.
the work he is showing in Rem(a)inders. His installation 《》 is made of numerous traditional brand bicycles
Subodh Gupta (Khagaul 1964, lives and works in New
called “Forever” (Yong Jiu Pai ) that has been stopped
Delhi, India) is emblematic of Indian contemporary art.
producing now.Their classic designed style and comfort
In his paintings, sculptures, installations and videos, the
structure recalls the past. The artist cut each bicycle
artist dwells on the relationships between archaism
into 5 cm fine pieces, and piled them up within the
and the fantasies of modernity to which society aspires.
space. This installation is far away from the spectacle
Everyday objects are transformed into allegories of a
view of “bicycle tide” embedded in the memory of his
society going through an accelerated period of change,
generation. In his sculpture installations with bicycles,
where traditional roots and modernist desires are
the artist initially paid more attention to the variation
constantly intermingling. In this exhibition he presents
of forms by re-assembling the medium. However, in this
a series of new paintings depicting left-over food and
work, the medium has been fragmented and minced.
laid tables, a visual tribute to the country hosting his
The artist hopes to arouse viewers contemplation of
work. Rendered in a realistic style with bright, clear-
the history through pure material mass. Something can
cut colours, these still lifes are presented by Gupta in
remain in the memories, but for itself, it always has its
elaborately rich frames of 16th-century taste.
own history that can not be surpassed. Ai Weiwei’s art4
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的外形设计和舒适的结构，钩起人们怀旧的感觉。
的根基和现代的欲望纠结不清。在此次展览中，他
艺术家将自行车以5cm左右的尺度切开，每辆车
展示了一系列新绘画，描绘了残羹剩饭和没收拾的
都被切成了细碎的、无法拼凑的零件，将它们堆放
饭桌，是对展出他作品的国家的一种可见的赞颂。
在空间内。这样的呈现形态与他那一代人记忆中壮
用现实主义的手法和明亮清晰的颜色，这些静态的
观的“车潮”景象相去甚远。我们注意到，艾未未
生命被古普塔呈现在精美华丽的16世纪风格的画框
做的几个以自行车为原型的雕塑装置作品，起初，
中。
艺术家更多的是关注通过媒介的再组合带来的形式 变异。而在这件作品中，媒介的形式被分割、切碎
陶土是刘建华（1962年生于吉安，生活工作在上
了，艺术家希望通过更纯粹的物质实体，唤起人们
海）情有独钟的作品材料；看上去坚硬而实际非常
对历史的凝视，有些东西可以留在记忆中，但就其
脆弱，正是这种介于表象和实质的双重属性促使艺
本身来说，总是有属于它自己的时代而无法超越。
术家利用它创作。中国有很长的陶瓷艺术品的制造
艾未未的作品在简单静态的形制下表现出最大化的
历史。在纪念•残留展览中，刘建华追溯制造陶瓷
张力，不需要更多的解释说明，即使人感受到文化
的历史，到了著名的瓷都江西景德镇，那里制造精
积淀带来的厚重感。
美的，视觉上绝对完美的瓷器。景德镇的确是中国 审美和观念、道德、历史坚实发展的代表城市。但
苏伯德·古普塔（克高尔1964，生活工作在印度
是艺术家并不关注瓷器的制造，而是寻找被丢弃的
新德里）是印度当代艺术的标志性人物。在他的绘
碎瓷。在他手中，制造粗糙或残次品被赋予了新意
画、雕塑、装置和视频作品中，艺术家深入探讨了
义，重新获得审美的、观念的，特别是道德上的价
旧时代和社会追求的现代化幻想之间的关系。日常
值。
用品被用来象征经历加速变更时期的社会，
传统 5
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Ceramics is one of the materials that Liu Jianhua (Ji’an
Biella, Italy), has also produced a new work for this exhi-
1962, lives and works in Shanghai, China) particularly
bition, a symbol of a relative reality in a state of becom-
likes employing in his practice; apparently resistant but
ing, where everything ineluctably flows, is transformed
actually very fragile, it is precisely this duality between
and passes by. The sculpture consists of an immobile,
appearance and substance that prompts the artist to
statuary figure of a Buddha and the varied profusion
use it. China has a long tradition of artistic ceramic
of a pile of old rags and clothes, and of used electronic
and porcelain production, and in the work on display in
materials. The work plays on contrasts in structure,
Rem(a)inders, Liu Jianhua traces its history and goes to
consistency, colour and tactility. The clothes carry with
Jingdezhen in the province of Jiangxi, very famous site
them traces and memories of those who used, touched
for the production of refined porcelains, visually, abso-
and experienced them – the concrete exuberance of
lutely perfect. Jingdezhen is indeed the place symbol of
the real set against timeless “ideal beauty”.
the beauty and of the conceptual, moral and historical solidity of the country. However, the artist does not fo-
The controversial conceptual artists Sun Yuan & Peng
cus on the production but on recovering what has been
Yu (Beijing 1972 and Heilongjiang 1974, live and work
discarded. In his hands, poorly manufactured or faulty
in Beijing, China) are considered, thanks to their natu-
items take on new meaning reacquiring an aesthetic,
ral expressive extremism, artists audaciously concep-
conceptual and, above all, moral value.
tual. So controversial that they are continously risking strong reactions from their own governance, beside
One of the leading exponents of Arte Povera,
their cultural surrounding. Their new work for this
Michelangelo Pistoletto (Biella 1933, lives and works in
show aims to give the spectators an heavy sense of
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作为贫穷艺术的主要倡导者之一，米开朗基
天都使用这辆吉普车，颠覆权利方和被管制方的角
罗·皮斯特莱托（比耶拉1933，生活工作在
色，履行他们的行为作品——对于一贯压制和暴
意大利比耶拉），同样为此次展览创作了新作
力的社会，这将是非常煽动性的行为。当他们的
品，一个符号被改变和传递，象征在形成状态
行为被警方打断的时候，
中相对的现实，所有事物不可避免地流逝。雕
件——警笛会被没收，从那一刻起，吉普车不再是
塑包括一个静止的佛像，和一堆各种各样的破
一件艺术作品，而是没有价值的一堆烂铁。
吉普车上意义不明的部
布、旧衣服和旧电器。作品表现了结构、一致 性、颜色和触感的对比。衣服本身携带了那些
帕斯卡尔·马尔蒂那·塔尤（科麦隆1967，生活
使用、触摸和体验它们的人们的痕迹和记忆－
工作在比利时根特）在利用他回收的现存的事物、
现实事物的生气对比永恒的“理想化美丽”。
社会垃圾，赋予它们第二次生命，表现以分解／改 造为主旨的过程。为此次展览构想的作品主要材料
基于极端的自然表现主义而引起争议的概念艺术
是塑料袋：艺术家环游世界时收集的普通的彩色袋
家孙原（1972年生于北京，现居北京）和彭禹
子。它们被系在一棵树上，如同它的树叶。塑料袋
（1974年生于黑龙江，现居北京）被认为是为所
是一种没有地域分界的极其普通的物品，在世界各
欲为的艺术家。虽然备受争议，他们仍然不顾周围
地都能找到，而且同样有用和无用。塔尤对它的特
的文化环境而用自己的标准不断地做出冒险的激烈
性十分感兴趣，它是永久的盛载工具，还具有矛盾
行为。这次展览的作品旨在给观众传达一种强烈的
的双重用途，有时是有产阶级的物品，有时是无产
压迫感。这种压迫感对于艺术家来讲已经司空见
阶级的。用来装购买的物品时是有产阶级的，空了
惯，但是通过艺术家的作品而展示得更加清晰和强
时是无产阶级的。“它毫无用处，毫无内容，根本
烈。艺术家将在自己的吉普车上安装一个警笛，每
不能丰满”，艺术家如此形容。 7
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oppression, that for the artists themselves is by now
as if to form the foliage. The plastic bag is an extremely
usual, and which they have assimilated with great lucid-
common object that crosses frontiers, can be found all
ity and disenchantment. The artists will attach a police
over the world and is universal in its usefulness and
siren to their ordinary Jeep and they will keep using it
uselessness. Tayou is interested both in its quality as an
normally, daily, subverting the roles of the powerful and
object in permanent transit and its paradoxical, dual
the repressed, acting their performance piece, highly
function, now a bourgeois object, now a proletarian
provocative with respect to a historically repressive
one. It is bourgeois when used to contain the purchased
and violent society. When their action is interrupted by
item, and becomes proletarian when it is emptied of its
the intervention of the police, the Jeep will be stripped
contents. “It is the uselessness, the content of nothing,
of its equivocal component, the siren, ceasing to exist
nothing at the service of fullness”, as the artist puts it.
as a work of art and becoming, at that point, a scrap without value.
The poetics of ruins, of cast-off and consumed scraps, is the distinctive feature of the work of Jamaican artist
Pascale Marthine Tayou (Cameroon 1967, lives and
Nari Ward (Saint Andrei 1963, moved to Harlem, New
works in Gent, Belgium) reuses existing objects, soci-
York when he was a youth, and where he still lives and
ety’s waste, which he recycles in order to give a second
works today). An almost “animistic” conception of de-
life to things, dwelling in the process on the idea of
tritus emerges in his work. Ward rummages around
decomposition/recomposition. The object central to
with his bare hands in the rubbish tip of indifference.
the work conceived for Rem(a)inders is the plastic bag:
Inspired by a profoundly religious spirit, he reevokes,
common colourful bags. These are attached to a tree
in his collecting of objects, presences and stories as-
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牙买加艺术家纳利•华德（1963年生于圣安德瑞，
进行公开讽刺。这次参展的作品是特别为这次展览
青年时期移居纽约哈莱姆，直到现在）以残留物、
构思并和旦儿一起完成的。旦儿（1983年生于陕
丢弃物和废料作为作品材料著称。
华德用双手在
北，现居住北京）2006年开始和庄辉一起创作，
无区别的垃圾碎片中搜寻，在他的作品中，这些碎
二人共同完成了很多重要的项目。木屑和刨花这些
片几乎被赋予了“万物有灵论”的概念。在深远的
经常被踩在脚下或是被忽略的物体，成为了艺术作
种族意志影响下，他从收集的物品中找寻与代代相
品的主体。放大到不合实际的尺寸后，它们转化成
传的恐惧和情感（生活、死亡、面临死亡、疼痛、
了不常见且和谐的雕塑作品。在极简风格的组合规
欢乐、寻找本源）相关联的存在和故事。他编织原
律下，作品展现的不仅是唯美化的过程,也是理智
始的叙述线，给予材质新的灵性，赋予材质新的属
化的过程。
性。纳利•华德所用的物品都承载着故事和记忆， 表达着接近、偶然和短暂。这些被赋予了强烈的肉 体和情感共鸣的材质其实是在说我们。它们呈现在 这次展览的两件作品中。一件是特别为画廊制作的 作品，放置于画廊的一层，另一件是用旧鞋和废旧 轮胎组成的类似图腾的雕塑——“中国闲置”。 庄辉（1963年生于玉门，现工作居住北京）运用 各种表现媒介创作，包括大规模装置、摄影、绘画 和行为，展示了假象和现实的典型融合，反映表象 下的深刻意义，从而对极度匮乏精神折磨下的社会 9
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sociated with atavistic fears or emotions (life, death
serious spiritual impoverishment. The group of works
and dying, pain, joy, going to the origin of the reasons
in the show has been specially conceived for the oc-
of existence themselves). He weaves original narrative
casion and realized together with Dan’Er (born in the
threads, rehabilitating materials by injecting them with
province of Shanbei in 1983, lives in Beijing), an artist
a new spirituality. The objects that Nari Ward uses for
with whom he has worked on a number of other im-
his works are charged with stories and memories, and
portant projects since 2006. Wood shavings and small
also express proximity, contingency and transitoriness.
off-cuts, which are usually trodden underfoot or ig-
Endowed with a powerful physicality and intensely
nored, become the subjects of artworks. Enlarged to
emotional echoes, they talk about us, as can be seen
unreal dimensions, they are transformed into unusual
in the two works on show in the exhibition. One is a
and harmonious sculptures. Adopting minimalist-style
site-specific piece situated on the first floor of the gal-
compositional rhythms, Zhuang Hui & Dan’Er activate
lery. The other, a sculpture entitled China Idle, is a kind
not only a process of aesthetization but also one of
of totem made of tips of old shoes and consumed tires.
intellectualization.
Zhuang Hui (Yumen 1963, lives and works in Beijing) employs various expressive media in his work, including large-scale installations, photography, painting and performance, displaying a topical fusion between makebelief and reality, reflecting deeply on appearances, and, finally, expressing open criticism of a society afflicted by 10
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Ai Weiwei 艾未未
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Ai Weiwei was born in 1957 in Beijing. After living in New York for 12 years, he went back to Beijing in 1993 and established China Art Archives & Warehouses, the earliest contemporary art space in China. Ai Weiwei is an artist, a curator, a book editor and a designer. A series of three books published by Ai Weiwei in 19941997, named Black Cover Book, White Cover Book, and Gray Cover Book became the earliest and most important literature of Chinese contemporary art. In 2000, he co-curated the Fuck Off exhibition, which brought great impact on China’s avant-garde art. In Documenta 12 in Kassel 2007, he was the subject of massive art media coverage by his enormous art work Fairytale where he invited 1001 ordinary Chinese to Germany to visit the Documenta. As an artist, Ai Weiwei achieves his unique artistic charm from his own rich experience. Most of his works show the peculiar effect of culture collision of which transcends time and space, and its induced contemplation upon culture and civilization.
Dropping a Han Dynasty Urn 1995 3 b/w-prints
艾未未，1957年出生于北京。在纽约生活了十二 年后，于1993年回到北京，开办了中国最早的艺 术空间 “中国艺术文件仓库”。艾未未在创作艺 术作品的同时，策划展览，编辑书籍，兼具建筑师 的身份。 1994-1997年，艾未未编著的《黑皮书》、《白皮 书》、《灰皮书》系列，成为最早记录中国当代 艺术的重要文献。2000年，艾未未参与策划的展 览《不合作方式》（Fuck off）为当时中国的前 卫艺术界带来了不小的影响。2007年的卡塞尔文 献展，艾未未因其庞大的作品《童话》——邀请 1001名普通的中国人到德国参观卡塞尔文献展， 而成为各国艺术媒体争相报道的焦点。作为一名艺 术家，艾未未自身丰富的经历成就了他独特的艺术 魅力。他的很多作品表现了跨越时间、跨越空间的 文化碰撞所产生的奇特效果和由此引起的对于文 化、文明本身的深入思考。
摔罐子 1995 3张黑白照片
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REM(A)INDERS 纪念.残留
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Forever 2003 42 bicycles 275 cm, Ø 450 cm
永久 2003 42辆自行车 275厘米，Ø450厘米
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Bowl of Pearls 2006 Jingdezhen ceramic cup, river pearls Ø 100 cm, 40 cm height
一碗珍珠 2006 景德镇瓷碗，淡水珍珠 Ø100厘米，高40厘米 17
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Cubic Metre Tables 2006 Huang Huali wood 100 x 100 x 100 cm each (13 tables)
立方桌 2006 黄花梨木 每个桌子100 x 100 x 100厘米（13个桌子）
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Monumental Junkyard 2007 marble 40 pieces, each 6 x 213 x 91 cm - 20 pieces, each 6 x 210 x 80 cm 20
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巨大的垃圾场 2007 大理石 40个 6 x 213 x 91厘米，20个 6 x 210 x 80厘米 21
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Template 2007 wooden doors and windows from destroyed Ming and Qing Dynasty houses (1368-1911), wooden base 720 x 1200 x 850 cm
模板 2007 明朝和清朝(1368-1911)破损建筑的木门窗，木底座 720 x 1200 x 850厘米
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Table with Beam 2005 Qing Dynasty pillar with table variable dimensions
方桌与柱 2005 清朝柱子和桌子 可变尺寸 23
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Subodh Gupta 苏伯德.古普塔
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Subodh Gupta is one of the most prolific of Indian artists and has taken part in numerous international exhibitions. Born in 1964, Bihar, the seat of Buddhist learning, he now lives & works in New Delhi. The objects he uses in his work appear as emblems, as icons which with confident simplicity codify the complex social and economic, as well as the cultural, situation of presentday India. Gupta uses a rich variety of means to express and produce large sculptures, paintings, installations, photography, video and performance. It is perhaps as a sculptor that one ought to define this artist, aware as he is to the physical presence of the object, of the aesthetics and symbolic attributes of materials, and of the relationships between space, time and body.
Some of the recent exhibitions he has been a part of are: Faith Matters, Pinchuk Art Centre, Kiev (2010); Aam Aadmi (Common Man), Hauser & Wirth, London, The 4th Fukuoka Asian Art Triennale, Fukuoka Asian Art Museum, Fukuoka, Un Certain État du Monde, Le Garage, Moscow Centre for Contemporary Culture, Moscow, Altermodern: Tate Triennial 09, Tate Britain, London, Who’s afraid of the artists?, Palais des Arts de Dinard, Dinard (2009); “Line of Control”, Arario Beijing, China, There is always cinema, Galleria Continua / San Gimignano (2008)
苏伯德·古普塔是最多产的印度艺术家之一，参与 了众多著名的国际艺术展。艺术家于1964出生在佛 教圣地比哈尔邦，现工作生活于新德里。 他运用的 材质成为他作品的标志和符号，通过大胆的简化， 反映了当今印度复杂的社会、经济、文化和形势。 古普塔运用多种表现方式，创作了大型雕塑、绘 画、装置、摄影、影象和行为等各种作品。 明了他 对物体的纯物质性、对材质的美学和代表性、对空 间时间和个体的关系的研究，也许我们应该将他定 义为雕塑艺术家。
部分近展：“诚信问题”，平丘克艺术中心，基辅 （2010）； “Aam Aadmi (普通人)”，豪泽尔和 沃思画廊，伦敦；“第四届福冈亚洲艺术三年展” ，福冈亚洲艺术美术馆, 福冈；“地球的真实状态” ，仓库，莫斯科当代文化中心，莫斯科；“另类现 代：塔特三年展09”，英国泰特美术馆，伦敦；“ 谁怕艺术家？”， 第纳尔艺术馆，第纳尔(2009) ；“控制线”，阿拉里奥北京，中国（2008）。
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REM(A)INDERS 纪念.残留
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Chinese blues 2010 oil on canvas 38,2 x 50,8 cm
中国蓝调 2010 布面油画 38,2 x 50,8厘米 27
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Chinese blues 2010 oil on canvas 38,2 x 50,8 cm
中国蓝调 2010 布面油画 38,2 x 50,8厘米
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Chinese blues 2010 oil on canvas 38,2 x 50,8 cm
中国蓝调 2010 布面油画 38,2 x 50,8厘米 29
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Chinese blues 2010 oil on canvas 38,2 x 50,8 cm
中国蓝调 2010 布面油画 38,2 x 50,8厘米
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Chinese blues 2010 oil on canvas 38,2 x 50,8 cm
中国蓝调 2010 布面油画 38,2 x 50,8厘米 31
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There is always cinema (XX) 2008 objet trouvĂŠ, brass 2 elements: 82 x 120 x 64 cm each 32
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这里总有电影院(XX) 2008 找寻之物，黄铜 2部分，每个82 x 120 x 64厘米 33
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5 Offerings for the Greedy Gods 2006-2008 stainless steel utensils 450 x 1100 x 400 cm 34
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给贪心之神的5个贡品 2006-2008 不锈钢器皿 450 x 1100 x 400 厘米 35
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Liu Jianhua 刘建华
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1962 Born in Ji’an, Jiangxi Province, China The charm of Liu’s art lies in its integrated and dynamic use of materials and its well-defined subject matter and perceptive questions. It sets out across the endless sea of signs that comprises the reality of society and human life today. The meanings of signs are never unitary or definite; they fluctuate and change. Liu’s vision of political, social, and esthetic subjects gives a distinctive quality to his work. He sees reality from an elevated, bird’s-eye point of view. For him, seeing is thinking and the speed of change is the only way to capture today’s reality. Liu Jianhua is now standing in the middle of a terra incognita where he has never been before, He is exposed and vulnerable, no longer protected by the simple identity of a ceramist. He is exploring a new way of being and working in a new art contest. The result, which appears in this exhibition, is truly fascinating.
1962 生于中国江西吉安市 刘建华艺术的魅力就在于其对材料统一而多变的应 用、对主体的准确定位以及其中发人深思的问题。 它就像是在一片无边无际、包罗当下社会和人生 现实、景色万千的大海中航行。其中的涵义互相关 联而又飘忽不定，不断地发生波动和变化。其对政 治、社会和美学主体的理想使他的作品有一种独特 的品质。他站在高处，俯瞰现实生活。对刘建华来 说，看的同时就是思考，而感知当今社会的唯一途 径就是快速改变。
Liu Jianhua has exhibited extensively in recent years in several prestigious venues among these: Vancouver Biennale, Vancouver, Canada (2009); Beijing Commune, Beijing, China (2009); Material Link, MoCA Shanghai, Shanghai, China (2008); Galleria Continua / Le Moulin, France (2008); 3rd Nanjing Triennial, Nanjing Museum, Nanjing, China (2008); New world Older-Present-day Installation Art and Photography, Groninger Museum, The Netherlands (2008); 2nd Moscow Biennale of Contemporary Art, Federation Tower, Moscow (2007); Shanghai Gallery of Art at Three on the Bund, Shanghai, China (2007); King’s Lynn Art Center, King’s Lynn, UK (2007); Galleria Continua / Beijing, China (2006).
刘建华在近些年来在不同的著名场所举办了密集 的展览，包括：温哥华双年展，温哥华，加拿大 (2009)；北京公社，北京，中国(2009)；原料结 合，上海当代艺术馆，上海，中国(2008)；常青画 廊／穆琳，法国(2008)；第三届南京三年展，南京 博物院，南京，中国(2008)；新世界秩序—当代装 置和摄影展，格罗宁根艺术博物馆，荷兰(2008)； 第二届莫斯科当代艺术双年展，联邦塔，莫斯科 (2007)；上海外滩三号，上海，中国(2007)；“坟 墓”，金斯林艺术中心，金斯林，英国(2007)；常 青画廊，北京，中国(2006)。
现在，刘建华站在一片陌生的未知领域当中，赤身 裸体，毫无遮掩。他不再有“陶艺家”身份作为保 护，他正在新的艺术新领域尝试一种新的方式生 活、工作，而展览中展示出的结果则是如此地令人 着迷。 37
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REM(A)INDERS 纪念.残留
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My Paranoia in 24 hours 2007 aluminum, copper, sand variable dimensions
我的24小时妄想症 2007 铝，铜，沙 可变尺寸
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Unreal Scene 2008 steel, plastic, glue 304 x 280 cm, 247 x 59 cm, 102 x 25 cm 42
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不真实的场景 2008 铁，塑料，胶 304 x 280 厘米，247 x 59厘米，102 x 25厘米 43
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Dream 2005-2008 white porcelain and DVD projection 900 x 80 x 1200 cm
人类的梦想 2005-2008 白瓷和DVD投影 900 x 80 x 1200厘米
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The Boxing Age 2002-2008 porcelain variable dimensions 46
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拳击时代 2002-2008 瓷 可变尺寸 47
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Michelangelo Pistoletto 米开郎基罗.皮斯特莱托
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Michelangelo Pistoletto was born in Biella in 1933. He began to exhibit his work in 1955 and in 1960 he had his first solo show at Galleria Galatea in Turin. An inquiry into self-portraiture characterizes his early work. In the two-year period 1961-1962 made the first Mirror Paintings, which directly include the viewer and real time in the work, and open up perspective, reversing the Renaissance perspective that had been closed by the twentieth-century avant-gardes. These works quickly brought Pistoletto international acclaim, leading, in the sixties, to one-man shows in important galleries and museums in Europe and the United States. The Mirror Paintings are the foundation of his subsequent artistic output and theoretical thought. In 1965 and 1966 he produced a set of works entitled Minus Objects, considered fundamental to the birth of Arte Povera, an art movement of which Pistoletto was an animating force and a protagonist. In 1967 he began to work outside traditional exhibition spaces, with the first instances of that “creative collaboration” he developed over the following decades. In 1975-76 he presented a cycle of twelve consecutive exhibitions, Le Stanze, at Galleria Stein in Turin. This was the first of a series of complex, year-long works called “time continents”.
In the early eighties he made a series of sculptures in rigid polyurethane, translated into marble for his solo show in 1984 at Forte di Belvedere in Florence. From 1985 to 1989 he created the series of “dark” volumes called Art of Squalor. During the nineties, with Project Art and with the creation in Biella of Cittadellarte - Fondazione Pistoletto and the University of Ideas, he brought art into active relation with diverse spheres of society with the aim of inspiring and producing responsible social change. In 2003 he won the Venice Biennale’s Golden Lion for Lifelong Achievement. In 2004 the University of Turin awarded him a laurea honoris causa in Political Science. On that occasion the artist announced what has become the most recent phase of his work, Third Paradise. In 2007, in Jerusalem, he received the Wolf Foundation Prize in the Arts, “for his constantly inventive career as an artist, educator and activist whose restless intelligence has created prescient forms of art that contribute to fresh understanding of the world”. In 2008, Pistoletto - Cittadellarte was awarded the Special Prize City of Sasso Marconi, for innovative languages of communication. Preparing for 2010 the retrospective at the Contemporary Art Museum, Philadelphia.
米开朗基罗·皮斯特莱托于1993年生于比耶拉。 1995年他开始展出作品， 1960年，他在意大利都灵 的加勒蒂亚画廊举办了首次个展。对自画像的研究 是他早期作品的特征。在1961－1962两年间，他创 作了最早系列的《镜中画》, 这些作品直接将观众和 现实包含进作品中，开放并逆转了被20世纪前卫主 义封锁的文艺复兴时期的观点。这些作品在60年代 迅速使皮斯特莱托得到国际上的盛赞，在欧洲和美 国举办了多次个展。《镜中画》是他后续艺术作品 制作和理论思想的基础。
展。 在80年代早期，他用硬质聚氨酯制作了一系列雕 塑，1984年在佛罗伦萨观景城堡的个展中转用大理 石制作。从1985年到1989年，他创作了“暗”卷， 名为《肮脏的艺术》。在90年代，用作品《项目艺 术》，和在比耶拉创造的《艺术城市－皮斯特莱托 基金会》和《思想大学》，他将艺术积极地与社会 各个领域联系起来，目的是鼓励和产生有责任感的 社会变革。2003年，他获得威尼斯双年展的终身成 就金狮奖。2004年，都灵大学授予他政治学荣誉学 位。在那个场合中，艺术家宣布了他最新的阶段的 作品，《第三伊甸园》。2007年，他在耶路撒冷获 得了沃尔夫基金会艺术奖，“为了他持续性的创造 性的作为艺术家、教育家和活动家的职业生涯，他 活跃的智慧创造了前瞻性的艺术形式，促成了新鲜 的世界观”。2008年，皮斯特莱托－ 艺术城市由于 创新的交流语言而获得萨索马可尼市特别奖。2010 年正在准备费城当代艺术博物馆举办的回顾展。
1965年和1966年，他创作了名为《被取物》的一系 列作品，成为贫穷艺术产生的基础，皮斯特莱托是 这个艺术运动的源动力和倡导者。1967年他开始在 传统展览空间以外创作，制作了他其后发展了几十 年的“创造性合作”概念的首例。1975-76年他在都 灵斯坦画廊举办了12场连续的展览，Le Stanze。 这是一系列复杂长期的名为《时间大陆》作品的首
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Do it - Walking Sculpture 1966-2008 newspapers Ø 100 cm
做吧，行走的雕塑 1966-2008 报纸 Ø100厘米
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Labirinto e Grande Pozzo 1969-2008 corrugated cardboard, mirror space dimensions
迷宫和大井 1969-2008 瓦楞纸，镜子 空间尺寸 53
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Il Tempo del Giudizio exhibition view Galleria Continua / San Gimignano, 2009 54
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决策时段 展览现场 常青画廊 / 圣吉米那诺， 2009 55
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Il Tempo del Giudizio 2009 white natural silk, iron structure, wood, mirror, carpet, Buddha sculpture, prie-dieu h 300 x Ă˜ 1000 cm 56
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决策时段 2009 本白丝绸，铁雕塑，木头，镜子，地毯，佛像，祷告椅 高300xØ1000厘米 57
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Twentytwo Less Two 2009 mirror, wood 22 elements, 300 x 200 cm each
二十二减二 2009 镜子， 木头 22张 ， 每个300 x 200厘米
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Sun Yuan & Peng Yu 孙原 彭禹
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Sun Yuan was born in Beijing in 1972, Peng Yu was born in Heilongjiang in 1974 and subsequently moved to Beijing were both of them currently live and work. These two prominent figures made their way together through the winding cultural situation of the 90’s in China expressing their singularity without following the spectacular artistic mainstream of that period, being extremely provocative, challenging the moral standards that prevailed in the global art stream. The interest in unusual materials, the absorption of ancient conflicts and an extraordinary ability of intuition and foresight is what make their artworks intense and unique. Sun Yuan & Peng Yu have participated to a number of major international exhibitions and art events, such as Fuck Off (2000) a notorious art exhibition that included 46 avant-garde artists’ works, which ran alongside the Third Shanghai Biennale (2000), the exhibition was closed by the Shanghai police before its closing date for its very harsh contents and medias. Get out of control, Berlin (2001), All under heaven at MuHKA (2004), Asian Traffic at AAAC (2004) Sydney, Mah-jong, con-
temporary Chinese art from the Sigg collection, Kunst Museum, Bern (2005), China welcomes you, Kunsthaus Graz (2008), China XXI Secolo, Palazzo delle esposizioni, Rome, Italy (2008), Go China, Groninger Museum, Holland (2008), Avant-garde China, Tokyo, Osaka and Nagoya, Japan (2008), The revolution continues: New Chinese Art, The Saatchi Gallery, London Britain. Sun Yuan & Peng Yu also contributed to different international Biennials: Lyon (2000), Kwangju (2004), Venice (2005), Liverpool (2006), Moscow (2007), and triennials: Yokohama (2001), Guangzhou (2002).
孙原于1972年生于北京，彭禹1974年生于黑龙江并 随后移居北京，现在他们都居住于此。 这两个杰出的艺术家在中国90年代复杂的文化形势 中走到一起，不追随当时壮观的艺术主流而表达着 他们的特立独行，具有极端的挑衅性，挑战着世界 艺术界盛行的道德标准。 对奇特材料的偏好、对古老冲突的专注以及非凡的 直觉和预知能力使他们的艺术作品带有强烈情感并 且独一无二。 孙原和彭禹参与了众多主要国际展览和艺术事件， 例如包括46位前卫艺术家作品的著名展览“不合 作方式”(2000)，与第三届上海双年展同时展出， 但在闭幕式前因为过于尖锐的内容和媒介被上海 警方提前结束。“失重”，柏林(2001)，安特卫普 的“天下”(2004)，悉尼亚澳艺术中心的“亚洲交 通”(2004)，“麻将－中国当代艺术希克收藏展” ，伯尔尼美术馆，伯尔尼(2005)，“中国欢迎你” ，格拉兹美术馆(2008)，“中国21世纪”，意大 利罗马现代艺术中心，罗马，意大利(2008)，“去 中国”，格罗宁根美术馆，荷兰(2008)，“前卫中
国”，东京，大阪，名古屋，日本(2008)，“革命 在继续：来自中国的新艺术”，萨奇画廊，伦敦， 英国。孙原和彭禹同样也参与了不同的国际双年 展：里昂(2000)，光州(2004)，威尼斯(2005)，利 物浦(2006)，莫斯科(2007)，和一些三年展：横滨 (2001)，广州(2002)。
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Dogs that Cannot Touch Each Other 2003 video 7’ 8 Pit bull Terriers, 8 non-electrical treadmills
犬勿近 2003 影像 7’ 8条斗犬，8台无动力跑步机
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Waiting 2006 fiberglass, silica gel, simulacral sculpture, feathers 120 x 80 x 150 cm
等 2006 有机玻璃，硅胶， 仿真雕塑，羽毛 120 x 80 x 150厘米
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I Am Here 2006 fiberglass, silica gel, simulacral sculpture 200 x 130 cm
我在这 2006 有机玻璃， 硅胶，仿真雕塑 200 x 130厘米 67
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Old people’s Home 2007 electric wheelchair, fiberglass, silica gel, simulacral sculpture life-size sculpture
老人院 2007 电控轮椅，有机玻璃， 硅胶，仿真雕塑 真人尺寸
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Absent 2008 13 automatic wheelchairs 100 x 100 x 50 cm each
不在 2008 13个电控轮椅 每个100 x 100 x 50厘米 69
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Angel 2008 silica gel, fiberglass 180 x 220 cm
天使 2008 硅胶，有机玻璃 雕塑180 x 220厘米
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Farmer Du Wenda’s UFO 2005 steel, aluminum, cardboard, V8 engine, tires, Plexiglas, wire Ø 600 cm
农民杜文达的飞碟 2005 钢，铝，纸板 V8发动机，轮胎，有机玻璃，电线，管子，车间 Ø600厘米 71
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Pascale Marthine Tayou 帕斯卡尔.马尔蒂那.塔尤
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Pascale Marthine Tayou (born Jean Apollinaire Tayou) was born in Yaoundé in Cameroon in 1967. He began his career as an artist in the 90s, when, after having abandoned his studies in law, he changed his name, taking a double name in the female form: Pascal(e) Marthin(e). Exhibitions in Cameroon were soon followed by shows in Germany, France and Belgium, the country where he currently lives. His work, like his name, is deliberately mobile, elusive of pre-established schema, heterogeneous. It is always closely linked to the idea of travel and of coming into contact with what is other to self, and is so spontaneous that it almost seems casual. The objects, sculptures, installations, drawings and videos produced by Tayou have a recurrent feature in common: they dwell upon an individual moving through the world and exploring the issue of the global village.
Tayou has contributed to a number of major international exhibitions and art events, such as Documenta II (2002) and the Biennials of Istanbul (2003), Lyon (2005), Venice (2005 and 2009), and has shown his work in museums around the world. He has had solo shows at the MACRO (Rome, 2004), S.M.A.K. (Gent, Belgium, 2004), MARTa (Herford, Germany, 2005) at the Milton Keynes Gallery (Milton Keynes, UK, 2007). In 2010 both the institution Lille3000 and the Malmö Konsthall will dedicate a vast solo show to the artist.
帕斯卡尔·马尔蒂那·塔尤（原名简·阿普利内 尔·塔尤）于1967年出生于喀麦隆雅温得。90年代 他离开法律学校开始了艺术生涯，他更换了女性化 的两个名字：帕斯卡尔·马尔蒂那。他的展览在喀 麦隆以及德国，法国和他现在居住的比利时先后展 出。
艺术博物馆(罗马,2004)， 国立当代艺术博物馆(比 利时根特，2004), 玛塔(黑尔福德,德国, 2005)，米 尔顿凯恩斯画廊(米尔顿凯恩斯, 英国, 2007) 举办过 个展。2010年，里尔3000 和马尔默美术馆将为艺术 家举办盛大的个展。
他的作品就象他的名字一样，随意转变，难以预 料，没有预定的模式并且多种多样。它始终紧密关 联着去旅行、接触不同人物的想法,那么随意以至于 像是漫不经心。 塔尤创作的物品，雕塑，装置，绘 画以及影像都总带共同的特点:深入研究世界中个体 的运动并探索地球村的话题。 塔尤参加过一些重要的国际展览和艺术活动，例 如文献展 II (2002) 和伊斯坦布尔（2003），里昂 （2005），威尼斯（2005和2009）的双年展，并且 在世界各地美术馆展出他的作品。他在罗马新当代 73
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REM(A)INDERS 纪念.残留
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Le Verso Versa du Vice Recto 2000-2007 paper variable dimension
勒维尔素维尔撒都维斯勒克图 2000-2007 纸 可变尺寸
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Poupées Pascale 2008 crystal, mixed media variable dimensions
帕斯卡尔的玩具 2008 水晶，综合材料 可变尺寸 77
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Les Génies Bamiléké 2008 crystal, mixed media variable height, Ø 35 cm 78
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魔力巴米莱科 2008 水晶，综合材料 可变高度, Ø35厘米 79
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Human Being @ Work 2009 mixed media variable dimensions
人类@工作 2009 综合材料 可变尺寸 81
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Private Collection, year 3000 N° 53 origin: IRAN - TEHRAN 2009 mask, plaster 24 x 20 x 14 cm
私人收藏，年代3000 N° 53 来源：伊朗 – 德黑兰 2009 面具，石膏 24 x 20 x 14厘米
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Kids Mascarade 2009 c-print 75 x 100 cm
孩子们的化妆舞会 2009 数码打印 75 x 100厘米 83
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Nari Ward 纳利.华德
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Nari Ward was born in 1963 in St. Andrews, Jamaica and he currently lives and works in New York. Ward’s dramatic sculptural installations are composed of systematically collected material from his urban neighborhood. By revealing the numerous emotions inherent within found everyday objects, Ward’s works examine issues surrounding race, poverty, and consumer culture.
the World Health Organization, and Awards from the American Academy of Arts and Letters, the National Endowment for the Arts, New York Foundation for the Arts, John Simon Guggenheim Foundation, and the Pollock Krasner Foundation.
Ward was included in the 2006 Whitney Biennial in New York and Documenta II in Kassel (2002), and his works have been exhibited at the New Museum of Contemporary Art in New York, the Walker Art Center in Minneapolis, and the Museum of Contemporary Art in Detroit. Recent solo exhibitions include Episodes at the Isabella Stewart Gardner Museum in Boston, The Refinery X: A small twist of fate at the Palazzo delle PapesseCentro Arte Contemporanea in Siena, Italy, and Rites of Way at the Walker Art Center in Minneapolis. Ward received commissions from the United Nations and 纳利华德于1963年生于圣安德鲁斯，牙买加。他现 在生活工作在纽约。华德系统地从他居住的城市中 收集材料，用来制作他的戏剧性的，雕塑般的装置 作品。通过揭示这些找到的日用品中所蕴涵的丰富 情感，华德的作品探讨着围绕种族、贫穷和消费文 化所产生的问题。 华德参与了2006年纽约惠特尼双年展和第11届卡塞 尔文献展（2003），他的作品曾展出在纽约当代艺 术新馆，明尼阿波利斯沃克艺术中心，和底特律当 代艺术博物馆。近期的个展包括在波士顿伊莎贝拉 嘉纳艺术博物馆的《插曲》，意大利锡耶纳帕派斯 宫当代艺术中心的《提炼厂X：命运的小转折》，和 明尼阿波利斯沃克艺术中心的《道礼》。华德接受 过联合国和世界卫生组织的委托，并获得美国艺术 文学院、国家艺术基金会、纽约艺术基金会、约翰 西蒙古根海姆基金会和波洛克克拉斯纳基金会所颁 发的奖励。 85
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REM(A)INDERS 纪念.残留
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Illuminated Sanctuary of Empty Sins 2001 alabaster, metal, garbage, teflon variable dimensions 88
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无罪的光明照亮的圣地 2001 雪花石膏，铁，垃圾，特氟隆 可变尺寸 89
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Illuminated Sanctuary of Empty Sins 2001 alabaster, metal, garbage, teflon variable dimensions 90
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无罪的光明照亮的圣地 2001 雪花石膏，铁，垃圾，特氟隆 可变尺寸 91
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CHEN ZHEN and NARI WARD - In(ter)fection 1998 metal, medical drip bags and plastic tubes, chinese natural medicines,bedspring, glass, found objects, silicone, ink 380 x 2000 x 1000 cm about 92
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陈箴 纳利•华德 - 内部传染 1998 铁，医用吊瓶和塑料管，中药，弹簧床，玻璃，找寻之物，硅，墨 大约380 x 2000 x 1000厘米 93
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Silent Birdhouse 2005-2006 mixed media variable dimensions
安静的鸟笼 2005-2006 综合材料 可变尺寸
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Bottle Messenger 2006 glass bottles variable dimensions
漂流瓶 2006 玻璃瓶 可变尺寸 95
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Zhuang Hui & Dan’er 庄辉 旦儿
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In 1963, Zhuang Hui was born in Yumen Town Gansu Province. He left hometown to Luoyang City in age of thirteen and started learning painting by himself. In 1979 after he graduated from high school, he became worker in Luoyang No.1 Tractor Factory, a state-owned factory. During that period, he made plenty interviews and studies of the society through frequent traveling and visits. In 1992 Zhuang Hui organized and accomplished the artistic activity “Serve the People”. In 1995 he created Thirty and One (self portraits with 30 farmers, workers, artists, and children) and Longitude 109.88° E and Latitude 31.09° N. In 1996 Zhuang came to Beijing to start a new life. In the same year he created self portraits with hundreds of members from the different profession (workers, farmers, soldiers, students, doctors and nurses). Later he created photographic installations Public Bathroom, A B C and D, Ten Years etc. After 2000, Zhuang created sculpture installations like Chashan County, Steel Workshop, Tube-shaped Apartment etc.
Dan’er was born in Fugu County Shanxin Province in 1983. After graduated from junior high school, she came to Baotou City in Neimenggu Province to start senior high school study and started studying painting. Then she studied in Luoyang University in Department of Fine Arts from 2003 to 2006. In 2006 she came to Beijing. In 2006 Dan’er started to work with Zhuang Hui. With some other artists, they created 50 large oil paintings from images downloaded from internet, about popular online news stories that reflected the changes in Chinese contemporary society, and which were consistently blocked by the mainstream media. In the same year, Zhuang Hui and Dan’er surveyed the Yumen area and began planning the Yumen Project. They complete sculptures Describing Angkor, 11 Degree Tilt, Yuan Yang ect. in this period. In 2009 the Yumen Project is exhibited in Three Shadows Photography Art Centre. The installation named Carpenters Leftovers on exhibit in Galleria Continua now is a work started from 2009.
庄辉1963年出生于甘肃省的玉门镇。 13岁时离开 家乡转学到了洛阳，并开始自学绘画。1979年高 中毕业后庄辉进入洛阳第一拖拉机厂成为了一名国 营工厂的工人，这期间一直游走于社会，并进行大 量的走访和学习。 1992年庄辉组织完成了《为人 民服务》的艺术活动。1995年创作《一个和三十 个》、《东经109.88 北纬31.09》。1996年庄辉 来到北京开始新的工作和生活，同年他创作了与不 同的职业团体（工人、农民、士兵、学生、医护人 员、警察等）多达几百人的合影作品。 之后创作 完成了《公共浴室》、《甲乙丙丁》、《十年》等 摄影作品。2000年之后庄辉创作了《茶山镇》、 《带钢车间》、《筒子楼》等装置作品。 旦儿于1983年出生在陕西省府谷县，初中毕 业转学到内蒙古包头市读高中，并开始学习绘 画。2003年至2006 年就读于洛阳市洛阳大学美术 系。2006年来到北京生活和工作。
2006年庄辉和旦儿开始共同创作。他们首先整理 了自己几年间从网络下载的各种图片，邀请多位艺 术家一同实施了五十幅社会图片的大副油画作品的 计划，关注网络所表达出来的社会内心。同年庄辉 和旦儿开始对玉门进行考察，并制定了玉门创作的 计划。这期间他们相继完成了《描摹吴哥》以及《 倾斜11度》、《鸳鸯》等雕塑作品。2009年完成 了《玉门》计划，并在北京“三影堂摄影艺术中 心”展出。此次在北京常青画廊展出的作品《木 工师傅的边角料》是他们在2009年开始制作的作 品。
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REM(A)INDERS 纪念.残留
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Henan Sixth Contruction Co. Luoyang Dual-Source Thermal Power Co.Ltd Alteration Project Crew, March 26, 1997 1997 black and white photo 101 x 735 cm
Hebei Daming County Relic Site Xianggao Villagers on August 13, 1997 1997 black and white photo 101 x 579 cm
Hebei Handan 540 Army Fourth Artillery Troop on July 23, 1997 1997 black and white photo 101 x 614 cm
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公元一九九七年三月二十六日河南省建六公司洛阳双源热力公司电厂改建工程工作人员合影纪念 1997 黑白照片 101 x 735厘米
公元一九九七年八月十三日河北省大名县旧址乡高庄村民合影纪念 1997 黑白照片 101 x 579厘米
公元一九九七年七月二十三日河北省邯郸市五一四一零部队第四炮兵营官兵合影纪念 1997 黑白照片 101 x 614厘米
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Strip steel workshop 2003 foam, acrylic variable dimensions 102
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带钢车间 2003 泡沫，亚克力 可变尺寸 103
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What once were the quotidian objects of hardship are now the heart’s reminiscence 2003-2005 terracotta objects variable dimensions 104
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以前残酷的东西现在来看都是温暖的 2003-2005 陶制品 可变尺寸 105
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Mao 2007 wax sculpture, plexiglass variable dimensions
毛 2007 蜡像雕塑，有机玻璃 可变尺寸 107
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cover PASCALE MARTHINE TAYOU Poupées Pascales/Les Sauveteurs (detail) 2007 crystal, mixed media
封面 帕斯卡尔 • 马尔蒂那 • 塔尤 帕斯卡尔的娃娃 / 救援人员（细节） 2007 水晶，综合材料
photography Bertrand Huet: cover | 53 Ai Weiwei: p. 13 Ela Bialkowska: p. 17 | 24 | 32-35 | 42-43 | 46-47 | 54-59 | 72 | 76 | 77 | 82 | 88-89 | 104-105 Aurélien Mole: p. 18-19 Kevin Langan: p. 20-21 Subodh Gupta: p. 27-31 Rémy Lidereau: p. 36 Liu Jianhua: p. 40-41 Alessandro Casagli: p. 44-45 Oak Taylor-Smith: p. 48 | 52 | 68 Daniel Moulinet: p. 66-67 | 70 Lina Bertucci: p. 84 Attilio Maranzano: 90-91 Carlo Fei: 94
摄影 波特兰·胡特 封面|53 艾未未 13页 艾拉·比奥酷斯卡 17页｜24页｜32-35页｜42-43页｜46-47页｜54-59 页｜72页｜76页｜77页｜82页｜88-89页｜104-105页 欧里连·莫力 18-19页 凯文·蓝根 20-21页 苏伯德 • 古普塔 27-31页 瑞密 • 里得如 36页 刘建华 40-41页 亚力山诺·卡萨力 44-45页 奥克·泰勒·史密斯 48页｜52页｜68页 丹尼埃尔 • 穆琳内 66-67页｜70页 丽娜 • 波图奇 84页 阿提里欧 • 玛兰扎诺 90-91页 卡罗 • 费 94页
courtesy © Glucksman Gallery: p. 20-21 © Associazione Arte Continua‚ San Gimignano: p. 88-91 where not specified otherwise, all images are © Galleria Continua, San Gimignano / Beijing / Le Moulin
版权 © 莱曼莫平画廊 20-21页 © 常青艺术协会，圣吉米那诺 88-91页 除署名外，所有图片： © 常青画廊，圣吉米那诺 / 北京 / 穆琳
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editorial coordination Lubi Reboani
编辑协调
graphic concept Massimo Billi Lorenzo Fiaschi Samuel Lawrence
画册设计
text Silvia Pichini and the artists
文章
translation Jeremy Carden Laura Festa Lisa Zhang
翻译
exhibition coordination Federica Beltrame Lorenzo Fiaschi Federica Mantoan Lubi Reboani
展览安排
exhibition production Federica Beltrame Laura Festa Camille Laigle Federica Mantoan Alessandra Piombini Liu Hui Shen Yan exhibition installation Federica Beltrame Liu Hui Liu Haichen Federica Mantoan Alessandra Piombini Qin Haibo Shen Yan Wang Xiangjun Zhang Mingxin
special thanks Flora Boillot and Amrisha Sarin, Subodh Gupta Studio; Cristina Mirandola, Cittadellarte Fondazione Pistoletto; Stephanie Smith, Lehman Maupin Gallery; Nadine Stenke, Fake Desgin;
特别鸣谢
展览制作
展览安装
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Published by GALLERIACONTINUA SAN GIMIGNANO / BEIJING / LE MOULIN Printed in China
出品 常青画廊， 圣吉米那诺／北京／穆琳 中国印刷
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