He Yunchang "the Wing of Live Art"

行 为 的 翅 膀

行 为 的 翅 膀 THE WINGS OF LIVE LIV ART

何 云 昌

THE WINGS OF LIVE ART HE YUNCHANG

何 9 783952 334249

云

昌

2009

HE YUNCHANG

目录

CONTENTS 伤筋动骨 文：艾未未

Skin and Bone: Sustaining Mortal Wounds

by Ai Weiwei

4

一根肋骨

One Rib

15

谈何云昌的《一根肋骨》 文：箫岭

On He Yunchang’s project “One Rib”

by Nataline Colonnello

32

漫步在自我意志的边缘 —对话何云昌 文：海因茨- 诺贝尔特 · 约克斯

Travels to the Edges of One’s Own Will A Conversation with He Yunchang

by Heinz-Norbert Jocks

48

1999-2009 部分作品 Selected Works 1999-2009

75

简历

Biography

106

出版文献

Bibliography 本画册为何云昌个展“行为的翅膀 —何云昌”而出版 2009年9月12日至10月31日展出于中国北京麦勒画廊 北京-卢森 2010年2月12日至4月10日展出于瑞士卢森麦勒画廊 北京-卢森

This catalogue was published on the occasion of He Yunchang’s solo exhibition “The Wings of Live Art – He Yunchang” at Galerie Urs Meile, Beijing-Lucerne, Beijing, China, from September 12 to October 31, 2009 Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland, from February 12 to April 10, 2010

110

作品目录

List of Works

114

版权

Imprint

116

伤筋动骨

Skin and Bone: Sustaining Mortal Wounds

文：艾未未

by Ai Weiwei

知道阿昌十几年了，那是九十年代中的事情，后来常来往，因为住得近，也谈得来。

I’ve known He Yunchang for over a decade–since back in the nineties–and later on we would hang out quite a bit since he lived nearby and we got along well, and could always shoot the breeze.

说谈得来，是说我们见面时根本就不谈什么，他一根接一根的吸烟，有一搭无一搭吐话，我该做什么还是做什么， 像两个一起的农民一样的安然自在，时间长了就习惯视若不见。

他不在我这儿，就在他的草场地的大工作室里瞎鼓捣，将我精心设计的院子里挖出了一条“运河”，在“运河”里 养殖了各种类的龟，阿昌对龟类的兴趣不下于对人类的，从他对住在附近的几个艺术家朋友的态度上不难看出 来，他们在一起时就是打牌。阿昌的另一个优秀的品质是在牌桌上是一个输不起的人，或者说，艺术家阿昌是不允 许牌友阿昌玩牌时输掉的。由此而来的结果是，牌局从早晨开始中午下午晚上一路打下去，一直玩到第二天的凌 晨是其必然。可以想象阿昌要赢得决心和一屋子的浓烟滚滚，朋友们基本上都被他最后拖垮。

来自云南的阿昌表面上为人和气，本质上却是一个异常刁钻的主。少小的时候，骑在父亲的肩上在矿区玩耍，那不 是一般的矿，那个矿里挖出的玩意，经过科学家的手后来变成了一朵巨大的蘑菇云，是这朵蘑菇云致使一个本来 已经颠狂的国家变本加厉的变态，使小小寰球的政治格局变得更加令人绝望。

当然这些与阿昌的父亲，那个地区的土矿上的人暂时无太大的关系，他们领着每一天的工钱，额外加一份高危工 作的身体补助金，一天到晚赤身露臂的挖啊挖，背啊背。直到许多年之后，当地开始流行着种种怪病，人们很快都 一个一个的过去了。话说回来，这是我为什么至今每次见到阿昌，都会假装不介意的仔细上下打量着他。庆幸啊， 阿昌真是一点事都没有，多少年来身体呗棒从不生病，还是一根接着一根的烟着，我注定是躲闪不及的受害者。

谈到阿昌不能回避到他的长相，男人的长相是很能说明男人的品相的，艺术家也可以从长相上看出深浅来，这是 不容质疑的文化结论。有些人的长相是不能用丑还是不丑来界定的，干脆说吧，他的那个长相索性就是一个宣 言，一个沉醉在苦难之中与随时幻想进入儿童天真的混合呈现物。朋友多年难免会了如指掌，唯有不解的是，阿 昌经历的女人都很喜欢他和宠着他，这个事实使我疑惑甚至鄙视女人的审美可能性并逐渐地意识到了女性的残 酷。理由简单：任何一个可以原谅这幅图像的人，必须有着超出凡人的慈悲之怀，或者是对眼前世界根本就是无

4

To say we always shoot the breeze is to say that we never really talk about much of anything. He would light cigarette after cigarette, making small talk, like “Should I do this, or maybe I’ll do that?” We’d be as down-to-earth and comfortable together as two peasants, and over time we got used to seeing each other even if we weren’t looking.

If he’s not at my place, he’ll be over at his huge studio in Caochangdi tinkering away at something, like the “canal” he dug into the courtyard I so painstakingly designed. Inside this canal he raised all sorts of turtles. It is safe to say that A Chang’s interest in turtles is not less than his interest in human beings. His attitude towards the other artists living in the area is easy to see as well. When they’re together they sit around and play cards.

Another outstanding quality of A Chang’s is that he’s a person who cannot stand losing, or shall I say, A Chang the artist does not allow his card buddy A Chang to lose when he plays. And so the result is that a hand is played from the early morning though midday, afternoon, evening, and keeps right on going–playing straight through till the next morning becomes a necessity of the game. You can imagine A Chang’s determination to win, and a room roiling thick with smoke; his friends are all basically worn down by him in the end.

Hailing from Yunnan, A Chang appears to behave himself like an amiable fellow, but in reality his basic character is that of an unusually wily master of artful cunning. When he was little, he would ride on his father’s shoulders and amuse himself by playing in the mining site, and this wasn’t your average, everyday mine, either! After passing through the hands of scientists, the things excavated from this mine would become a gigantic mushroom cloud. And this mushroom cloud caused this already demented country to become even more intensely abnormal, making the arrangement of the political order of this little world even more despairing and bleak.

Of course, at the time, this had little to do with these miners and A Chang’s father. They would pick up their paychecks, earning in addition a special subsidy to compensate for the high level of risk in the job. And they would work from morning to night, day in and day out, digging bare-chested–digging and hauling. This went on for years until all manner of strange diseases started to emerge all over the locale, and one after the other, people began to die. So to return to our story, this is why every time I see A Chang, I always pretend that I’m paying no mind at all while I scrutinize him. I rejoice that A Chang is really just fine. After all these years, he is still alive and kicking and never seems to get sick at all, even though he still chain smokes cigarette after cigarette, and I am the victim who is doomed to be unable to avoid these clouds of smoke.

动于衷。了解阿昌的朋友们可以作证，他确实有一个美丽的妻子，今年三月才生下一子，健康，谢谢上帝，孩子长的

When talking about A Chang, his appearance is another thing that can’t be passed over. A man’s appearance is something that tells

更象母亲。

a great deal about the quality of his character, and you can see an artist’s depth, seriousness and intentions from his face. This is a

5

做了父亲的阿昌只是烟抽的更多了。琢磨着一个个的方案，从每一天的普洱茶和他的年迈母亲的视线中游离开，

cultural verdict that brooks no doubt. Some people’s appearances cannot be defined as ugly or not ugly. Let’s just say straight up front

能让阿昌兴奋的事情，除了电脑游戏、围棋，剩下的也就是他在这个世界上可以的公开行骗的理由—艺术。

that A Chang’s face might as well just be a manifesto. It is an amalgam that manifests the mingling of intoxication in suffering and a state of frequent, fantastical interludes of childlike innocence. Longtime friends inevitably know each other like one knows one’s

阿昌的艺术形态是无常的，他在画画、装置、摄影方面的功力都少有人可以媲美，但是最被人们认可的还是他一直

own palm, but one thing I’ve never really understood is how the women who have been in A Chang’s life have all adored and spoiled him. This makes me question and even disdain these women’s aesthetic choices as well as gradually come to understand the cruelty

坚持延续着的行为艺术作品，是阿昌的这些行为艺术作品，开拓了这个国家的土著们的当代艺术视野，并逐渐开始

of women. The reason is quite simple: anyone who can forgive this iconic person must embrace a mercy and benevolence in their

相信，在普遍遭遇文化绝境的时代仍然不时会有奇迹发生。

breast that surpasses that of ordinary mortals, or otherwise be totally indifferent and insensible to the world around us. Those close friends of A Chang’s can attest to this, and in fact he does have a lovely wife, who in March of this year gave birth to a healthy baby

近年的作品中，阿昌还是强悍着、浪漫着，演绎个人与地缘的情感纠结史，只是更为荒诞、更为柔情、更为细腻、更 为残酷，当然也就更是接近了种种的伤筋动骨的绝望。

boy. And thank god the kid looks more like his mother.

As a father, all A Chang does is smoke even more cigarettes. He ponders over sketches and plans for work upon new work as he drinks his daily cups of Yunnanese Pu’er tea and drifts out of his aged mother’s line of sight. Aside from playing computer games and chess, the other thing that makes A Chang excited is the pursuit that gives him a reason to engage in public trickery

下面是我和阿昌关于他的的新的作品的一番话：

in this world–art.

A Chang’s artistic forms embody an impermanence and mutability. His success with painting, installation, and photography is the

艾未未（以下简称艾）：展览是什么时候？ 何云昌（以下简称何）：9月12日。 艾：日期是怎么选的？ 何：日期是麦勒他们选的。当时做这个作品的时候，我想让他给我多一点后期制作的时间，我希望把作品整理的完 善一些。 艾：这次展几件作品？

sort with which few can compare, but it is his ongoing, persistent and continuous works of performance art that have earned him the highest accolades and recognition. A Chang’s performance artworks have expanded the indigenous field of vision for this country’s contemporary art, and this has gradually given cause to believe that in spite of the sort of hopeless cultural impasse that is so frequently encountered here, that miraculous things can still happen.

In his works of recent years, A Chang is still that valiant and intrepid romantic, and he deductively draws on the collaborative history of the individual and the regional, only now his work is more absurd, more tender, more exquisite and subtle, more brutally cruel, and of course, it draws nearer to the despair of myriad mortal wounds.

何：这次还包含了部分早期作品。 艾：主要展品是《一根肋骨》？ 何：对，会用一个展厅来展示这个作品。

Ai Weiwei: So when’s the exhibition?

艾：这么一个伤筋动骨的事，是很多年前的一个方案吧？

He Yunchang: It opens on 12 September, 2009.

何：2003 年。

AWW: How was the date selected?

艾：你当时怎么想的？

HYC: Urs Meile picked the date. At the time, when I did the new work, I wanted them to give me a bit of time for post-production– I wanted to get the work into the best shape possible.

何：我记得和路青聊了两个方案，一个是手的方案，一个是肋骨的方案。2003 年的基本想法是，身体是我自己的我 愿意捣鼓成什么样就是什么样，在这个事情上我可以是绝对自由和能够控制的。我们聊的时候我还说“我想把 手换一换，左手换右手”，你还有印象吗？ 艾：记得。2003 年很早啊，那时我还没有开始做艺术呢。后来做成以后，想法有一些变化没有？包括后来与几位女 性的合影拍照，这些和作品是一个什么样的关系呢？ 何：当我确定这个作品方案时，我就把它归到我喜好的这个范畴当中，在我人生的经历中有些对我来说是至关重要 的，我觉得如果一个人没有什么支撑点的话，他可能很快就倒了。

6

The following is a talk I had with A Chang about his new work:

AWW: So how many pieces will be in this show?

HYC: There’ll be some of my early works included, along with the new ones.

AWW: So the main piece shown is called “One Rib”.

HYC: Yeah. One of the exhibition halls will be devoted to showing that work.

AWW: This business of sustaining a major mortal wound is a plan you had many years ago, right?

HYC: Yeah, since 2003.

7

艾：你害怕倒了？

AWW: What were you thinking at the time?

何：倒了就倒了呗，不是害怕。

HYC: I remember discussing two different plans with Lu Qing at the time. One involved my hands and the other involved one of my ribs. My thinking back in 2003 was that my body was something that I could have complete control over, something I could fiddle with and modify however I wanted. I felt that I had absolute freedom in this respect. At the time I said, “I want to exchange my left hand for my right hand.” Do you still remember when I said that?

艾：你不怕倒？ 何：没有倒是有理由的，这是人们有一个自然的愿望就是说延续下去。 艾：还是害怕倒。

AWW: I remember. 2003 was quite early, back then I hadn’t even really started to do art. Later, when you implemented your plan, how did the idea change? And what about the photographs you took with several women. How are these related to the work?

艾：还是关于情感和死亡的问题。

HYC: When I’d determined my plan for this work, I brought it back to a sphere that I liked. In my life there have been some things that were extremely important to me. I think if a person doesn’t have some kind of center of support, then he’ll keel over and collapse quite soon.

何：我把这些问题指向两性这种复杂缠绵的关系，从前面来看这些小的细节上来看我是小巫。

AWW: Are you afraid of keeling over like that?

何：可能有吧。

艾：哪个小巫？小巫见大巫的小巫吗？

HYC: Falling over is falling over, it’s not fear.

AWW: You’re not afraid to fall over and collapse?

何：对。

HYC: There’s a reason to not fall over. People have a natural desire to keep on going.

艾：你说复杂缠绵的关系，是不是只有复杂才能缠绵。

AWW: So you are afraid to fall.

何：我觉得两性在一起开始都是很缠绵的很简单的，山盟海誓在一起厮守一万年，再后来嘛……

HYC: Maybe so.

艾：变成 500 年，变成 50 天，实际却是 5 分钟，把这句话说完了。 何：哈哈，对。 艾：也不是，我觉得你还是一个很重情的人。情在你这里是什么样的？ 何：每一个人都有自己的最软的地方和最弱的地方，这可能就是我最软的地方和最弱的一根骨头吧。 艾：那你还是把那根最弱的骨头拿出来了，然后把它系在了你以及与你几个关系最密切的女人的颈上，这个作品很 完整也很感人。 何：但是有人也觉得很伤风败俗很堕落的。 艾：不会吧。

AWW: It’s still really a question of feeling and death.

HYC: I have directed this question toward the complicated relations of tender entanglement and attachment between the two sexes. In light of the minute details of what has come before, my powers are dwarfed.

AWW: In the sense that the powers of the “little sorcerer are dwarfed in the presence of the big sorcerer”, as we say? Is that how you mean “dwarfed”?

HYC: Yeah.

AWW: You talk about that complicated relationship of tender entanglement and attachment–isn’t it that only when it’s complicated can there be such an entanglement?

HYC: I think that when the two sexes start out getting entangled with one another things are pretty simple, solemnly pledging to be together and love each other until the end of time, to stay true and all that, but later on…

AWW: It becomes 500 years, then 50 days, and in reality it’s like 5 minutes–you can finish the sentence.

何：我只这么想，当然无所谓。 艾：堕落好像更不会吧。 何：随便想一想。

HYC: Ha-ha. Yep. AWW: But not really. I think you’re actually a person who takes emotional connections very seriously and feels very intensely. What are your feelings like?

HYC: Every single person has a soft spot, a weak spot. It could be that this bone of mine is my softest, weakest spot.

艾：这个不存在。你有没有担心这个骨头没放好会被松松的狗给叼走了。 何：刚拿出来的时候挺在乎的当成宝，天天捣鼓来捣鼓去的像抱个小孩一样。现在已经忘记了，时间长了拿出来一 看， “哟，又黑了一点”。

HYC: But some people also consider it to be degenerate and corrupting to public morality.

艾：变黑了是不是因为骨头有毒啊？

AWW: No way.

何：应该是我没有做彻底的处理。我咨询过做任何的处理都会对骨质有损伤的，我的办法就是做简单的处理后让

HYC: Well, that’s just what I think. Of course I don’t care.

她自然的风化。

8

AWW: But you still took that weakest bone out, didn’t you, and then put it around your neck, and the necks of several women who you are most intimate with–there’s a completeness to this work, and it is very moving.

AWW: It’s hardly degenerate.

9

艾：那上面的肉你怎么剔掉的呢？

HYC: Whatever, just think about it.

何：从住院开始，我没事的时候开始一点一点撕下来。骨头裁下来之后医院用剥膜器过了一遍，把肉和筋全部都剔

AWW: That’s just not the case. But do you ever worry that this bone might get snapped up and carried off by Songsong’s dog [refers to A Chang’s neighbor, artist Li Songsong] if you’re not careful where you put it?

掉，把骨头取出来。 艾：什么叫剥膜器？

HYC: When I first got my hands on it, I was pretty concerned about it and treated it like a treasure, fiddling with it all the time, like it was a baby. But now I’ve already forgotten about it. Once in a while I’ll take it and I’m like: “Whoa, it’s gotten a little darker again.”

何：骨头上会附着一些薄薄的肉膜。

AWW: Don’t bones get black over time because they contain something toxic or poisonous?

艾：有专门一个这样的器械？

HYC: It’s probably because I didn’t do a thorough enough treatment on the bone. I looked into it and heard that anything you do to treat it leads to some damage to the bone, so I just did a simple treatment and then let it naturally weather.

何：对，当时那家医院没有，我也不知道他们借到了没有。但是我拿到肋骨的时候上面还是有一些小肉筋小肉膜什 么的。我住院开始就没事情的时候一点一点的往下剥。 艾：这是一个大的手术？ 何：按说应该是个体表手术。但是因为拆了个骨头，感觉还是很伤元气的。

AWW: What about the flesh left on the bone. How did you scrape that off ?

HYC: Starting from when I was in the hospital, I would pick at it and tear off scraps of flesh when I didn’t have anything to do. After it was reduced to bone, the hospital used a special membrane-stripping instrument to scrape away the membrane, getting rid of all the meat and connective tissue that was left, and then I was able to take it.

AWW: What is a membrane-stripping instrument?

艾：有什么感觉啊？

HYC: Bones have a thin membrane on the surface.

何：明显的感觉是精力明显不如以前。

AWW: And there’s a special instrument just for this?

艾：不对称了吧。

HYC: Yep. At the time, the hospital didn’t have one of those, I don’t know if they borrowed it or what, but when I got my rib, there were still chunks of flesh and membrane tissue stuck to it, so while I stayed in the hospital recovering, I’d scrape away, bit by bit.

何：开始觉得自己左边不自然，现在好了。

AWW: Was it a big surgery? 艾：为什么是左肋而不是右肋啊? 何：因为我用右手啊，我想人活着肯定还是要工作的。缺少这种专业的知识，万一手术后引起其它的什么原因导致 手不能动或者其它事情，所以选的左边。

HYC: Usually it’s a fairly superficial surgery, but in my case, since I was having the rib removed, it felt as if I’d been vitally injured.

AWW: So what did it feel like?

HYC: The most obvious feeling was that my vital energy wasn’t like it used to be.

艾：欺负左边。

AWW: Out of proportion?

何：我做的《抱柱之信》也是选择左边。我当时想的是如果左手坏死我还有右胳膊，所以这次肋骨也一样选在

HYC: At first my left side felt really unnatural. Now it’s fine though.

左边。 艾：要休息一段啊。 何：休息了5、6 个月。 艾：缓过来了吗？

AWW: So why was it the left rib and not the right one?

HYC: Because I’m right-handed. I figured that as long as I’m living, I’m going to want to work. Just in case the surgery led to some kind of unexpected consequences that made me unable to use my hand or something like that, I decided to do it on the left side.

AWW: Picking on the left side.

何：现在缓过来了，如果现在不去撞击这个地方的话我没有任何感受和感觉。

HYC: When I did “Keeping Promise”, I used my left hand too. I figured that if my left hand got necrosis, at least I’d still have the right one, so it was the same thing that made me choose my left rib.

艾：撞击后就会有感觉。

AWW: You had to rest for a while.

何：对，当然撞击需要一定的力度才行。我睡觉就不能朝左边。

HYC: I rested for 5-6 months.

AWW: And you’re all better now?

艾：会有不舒服的感觉？

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HYC: Yeah, I’ve recovered. As long as I don’t go bashing into that side, I don’t have any feeling or sense of it at all anymore.

何：刚开始是绝对不行，现在可以但是睡醒来会感觉不舒服。

AWW: But you can still feel it if you bump it.

艾：让我看看。

HYC: Yeah. Of course, but you have to apply a certain amount of pressure. I still can’t sleep on my left side.

11

何：你瞧，就是一小条缝。

AWW: Does it hurt or feel uncomfortable?

艾：很整齐啊。

HYC: At the very beginning, it was totally impossible. Now, it’s okay, but it still feels uncomfortable when I wake up.

何：在医学上讲就是无疤痕体。

AWW: Let me take a look.

艾：这条到这里就结束了是吗？ 何：没有，这前面还有一小点尖尖的。因为肋骨它是像指头一样有关节的，头一块就是最靠近胸部这一块的，大约 有2厘米多一点的一小节它是那种软骨。 艾：丢了吗？

HYC: See, it’s just a thin seam.

AWW: A very neat and even line.

HYC: In the hospital they call this an “invisible scar”.

AWW: So did that rib go from here to here then?

何：医生说取下来也会脱落掉，所以就没有给我取下来。

HYC: No. There was a little pointed part in the front, because a rib has a joint, kind of like a finger does, the top part joins with the thorax–it’s a little cartilage joint about 2cm long.

艾：它这样还能活着？

AWW: Did you lose that part?

何：它还在里面待着。自己的东西总是好办的，人的生命力还是很强。 艾：那当然，缺条腿缺条胳膊都没事情。我认识兰溪一个小镇里的一个小诊所的医生，他是骨科大夫，我问他“你 一天做多少手术？”他说“我有一天做了56 个手术。”

HYC: The hospital said if they did take that part out it would fall off anyway, so they didn’t remove it.

AWW: And it can stay alive inside you that way?

HYC: It’s still hanging out in there. One’s own things are always manageable–a person’s vital life-force is quite strong.

何：我的天那。

AWW: Of course. A person can lose a leg, lose an arm and still be okay. I know this doctor in a little clinic in a small town in Lanxi. He’s an orthopedist. I asked him, “How many surgeries do you do a day?” and he said, “Once I did 56 surgeries in a single day.”

艾：对啊，他说“很简单，骨头断了他一捏就好了”。他动作快的很，他一天能做56 个。我问“最近呢？”他说“最近金

HYC: Oh my god.

融危机，断骨的人少了一半。”他说“也不知道是为什么断骨头的人会少了一半。” 何：看来今天经济的作用是越来越大了。

AWW: Yep. He said, “It’s really simple. When a bone breaks, I just squeeze it back in to place and it’s fine.” His movements are really quick, so he can manage to do 56 of these in a day. “And lately?” I asked. “It’s the financial crisis”, he said. “Now only half as many people come in with broken bones. But I don’t know why there would be only half as many people with broken bones now.”

艾：他说看病的人也少了，身体都变好了。

HYC: Nowadays, it looks like the effects of the economy are just getting bigger and bigger.

何：哈哈。

AWW: He was saying that since the people coming to the doctor had declined, there must be more healthy people now.

艾：你这一年中两件大事啊，取了一根骨和生了一个儿子。儿子跟你有多大关系啊？

HYC: Ha ha!

何：儿子跟我一样就是一堆会动的肉。

AWW: There have been two big things for you this year–removing this rib and having a baby boy. How much does this boy have to do with you?

艾：肯定是你的咯。

HYC: My son is a bunch of moving flesh just like me.

何：肯定。

AWW: Definitely, he’s yours.

艾：很像你吧。

HYC: Definitely.

何：很像我，很像我们家人，跟我哥哥姐姐的孩子和跟我小时候都很像。

AWW: He’s a lot like you, eh?

HYC: A lot like me, and looks a lot like people in my family–like my big brother and big sister’s kids, like me when I was little.

艾：那就这样。

AWW: Well, there you go.

何：好的。

HYC: Alright then.

2009年8月7日

August 7, 2009

Translator: Maya Kóvskaya

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一根肋骨

One Rib

《一根肋骨》2008/09 行为: 2008年8月8日 中国云南，昆明市亚当医院 “One Rib” 2008/09

Performance: 08.08.08 Kunming Adam Hospital, Yunnan, China

肋骨镶不锈钢项链半成品, 2008年8月

何云昌用手术取一根肋骨制成项链。

The rib mounted on a provisional stainless steel structure, August 2008

He Yunchang had a surgeon remove one rib from his body. He used the rib to make a necklace.

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《一根肋骨》(No. 1) 2009

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“One Rib” (No. 1) 2009

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《一根肋骨》(No. 2) 2009

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“One Rib” (No. 2) 2009

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《一根肋骨》(No. 3) 2009

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“One Rib” (No. 3) 2009

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《一根肋骨》(No. 4) 2009

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“One Rib” (No. 4) 2009

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《一根肋骨》(No. 5) 2009

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“One Rib” (No. 5) 2009

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《夜光》2009 肋骨, 纯金 “Night Light” 2009 rib, fine gold

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《夜光》2009, 局部 “Night Light” 2009, detail

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《一根肋骨》纪录片截图, 2008/09

Stills from the documentary video “One Rib” 2008/09

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谈何云昌的《一根肋骨》

On He Yunchang’s project “One Rib”

文：箫岭

by Nataline Colonnello

—何云昌，北京，2009年6月4日

“The stage can be as big as one’s heart, the yearning of humanity’s innermost being more bountiful than reality.”

He Yunchang, Beijing, June 4, 2009

时间：2008 年8月8日。何云昌躺在昆明亚当医院的手术室中，身旁有一名外科医生、一名麻醉师和六名护理人员。手

It is 08.08.2008. He Yunchang is in the operating room of the Kunming Adam Hospital, Yunnan Province. A surgeon, an anesthesi-

术室中，一名摄影师和一名摄像师已经准备好记录将要发生的事件。在心智完全正常的情况下，何云昌用了三年时

ologist, and a half-dozen nurses and paramedics assist him. In the same room, a photographer and a cameraman are ready to record

间同这家私立医院解释和协商，最终说服医院做一个医学上并不必要的手术─将他的一根肋骨取出。他原本打

what is going to happen. In full possession of his mental faculties and after three years of explanations and negotiations with the pri-

算取出一截 30 到35厘米长的肋骨，但出于安全考虑，医生建议选择他身体左侧的第八根肋骨（巧合的是，数字8 在

vate hospital, He Yunchang has succeeded in persuading the medical center to perform a medically unnecessary operation in order

“心有多大，舞台就有多大。人们内心最深处的渴望比现实丰富的多。”

中国象征着好运和财富）。这根肋骨长约 30厘米，不过只有中间的25厘米适宜取出，否则可能会伤害到他的胸骨和 脊柱神经，这样也可以避免术中和术后出现的并发症。手术原定在8月6日。8月5日，何云昌接受了全身体检，证明自 己的健康状况很好。但是手术最终改在了8月8日─碰巧的是，这一天是北京奥运会的开幕日。

经历了两个小时的手术，这位中国当代最优秀的行为艺术家之一何云昌（1967年生于昆明梁河县）完成了《一根肋

to have a rib removed from his body. He Yunchang’s wish is to have a 30-35 cm long rib extracted. For safety reasons, the surgeon suggests selecting the eighth rib from the bottom of He’s left side (by chance, in Chinese culture the number 8 symbolizes good luck and prosperity). The full bone is about 30 cm long, but only a 25 cm medial section can be excised in order to avoid damaging the sternum and the spinal nerve and to avert any surgical and postoperative complications. The surgery was initially set to take place on August 6. On August 5, He Yunchang underwent a thorough health examination, proving him to be in perfect physical condition.

However, the final date of the operation was rescheduled to August 8–coincidentally, the opening day of the Olympic Games.

骨》（2008 年－2009年）的第一部分。这个充满挑战、内容丰富的项目构思于2003年，包括一系列相互关联的行为、 雕塑、摄影、影像和绘画作品。艺术家解释说： “这些作品不能割裂开来看。它们是一个整体的不同组成部分，也是 1

同一个观念的不同记录和诠释方式。”

After two hours in surgery, leading Chinese contemporary performance artist He Yunchang (*1967, Liang He County, Kunming) actualises the first part of “One Rib” (2008-2009), a challenging and multi-faceted project that, conceived in 2003, consists of a variegated body of interlinked works that includes performance, sculpture, photography, video and painting: “These are not to be

何云昌身处紧闭的手术室大门背后；在药物的作用下，他在大部分手术过程中处于无意识状态。正是在这种状态下，

considered as separated works,” the artist explains, “but different parts of one single entity, different forms of documentation and

他体验着自己的行为作品。他刻意地让自己没有能力在手术实施时去控制它，因而颠覆了他过去作品中的一个核心

interpretation of the same concept.” 1

要素：即行为作品的成功与否很大程度上由其对身与心的毅力强化呈现来决定。例如，他的行为《与水对话》 （1999 年）历时一个半小时，倒悬在一台吊车上的同时，他一直尝试用刀把一条河劈成两半。在《摔跤：1和100》（2001年） （2004年）中，他把自己浇铸进一个水泥空间长达 24 小时。 中，何云昌在66分钟内依次与100个人摔跤。在《铸》

在何云昌早期的行为作品《预约明天》（1998 年）中，他浑身涂满泥巴，花了75 分钟，用一部未联线的电话不断地拨

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For the first time in his artistic practice, He Yunchang has experienced his own performance from behind closed doors, under a pharmaceutically induced state of unconsciousness for most of the surgery. By deliberately rendering himself incapable of actively controlling the action while it is carried out, He Yunchang subverts one of the key elements of his previous works, in which the artist’s psychological and physical stamina both play a crucial role in the success of the performance. It is the case, for example, of “Dialogue with Water” (1999), a 90-minute long performance in which He Yunchang tried to cut a river into two halves with a

打随机号码。从那时起，艺术家一直在刻意表现外表上看起来无效或无助的行为，以此隐喻他对现实的态度。对

knife while hanging upside down from a crane; “Wrestling: One and One Hundred” (2001), where He Yunchang spent 66 minutes

他而言，不可能产生结果的行为并不会构成障碍。何云昌有着出人意表的清晰思维，一旦他制定了新行为的计划，

persistently wrestling with one hundred people in a row; and “Casting” (2004), a work in which the artist sealed himself inside a

并事先考虑好了每一个因素环节，他就会开启一段全新的体验。虽然这些行为在大众看来可能比较极端，或是难

concrete block for 24 hours.

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《一根肋骨 · 消毒》2008 布面油画

《一根肋骨 · 手术中》2008 布面油画

“One Rib - Disinfection” 2008 oil on canvas

“One Rib - During the Surgery” 2008 oil on canvas

以理解，但它们从存在主义角度重申了艺术家的意志和思维独立；此外，它们也代表了艺术家对各种不论是大众普

Since “Appointment with Tomorrow” (1998), one of the first performances by He Yunchang, in which he covered his body

遍接受的道德准则还是社会政治规则等统治力量的反应。因此，有些事情他是不在乎的，如在《摔跤：1和100》中，

with mud and dialed random telephone numbers on a disconnected telephone for 75 minutes, the artist has purposely staged

何云昌输82 场，赢18 场；或是在实施作品后他需要大概三个月才能恢复元气等等。比赛之前，艺术家就清楚地意识

apparently ineffective or helpless acts as metaphors for his own approach to reality, where the sense of impossibility to bring

到他不可能打败所有的对手，于是他用给对手付钱的办法来激励他们全力投入比赛。其实，何云昌赢得的比赛并

an action to fruition is not a deterrent. With wrong-footed lucidity, once the plan for a new performance is complete and every

不是和对手的摔跤比赛，而是他为完成作品而与自己疲惫的身心的争斗，也与胜负无关。艺术家回顾说： “我们不

single element has been premeditated in minute detail, He Yunchang is ready for a new experience that, although as excessive

仅有一个肉身的自我，还有一个内心的自我。当然，肉身非常宝贵——我们需要身体才能实现任何想法和行为。但

or incomprehensible as it may appear to the public, reflects, on the one hand, the existential reassertion of the artist’s will and

是内心的自我也非常强大。它可以几乎不受任何限制为所欲为。身体和生命都非常重要，但还有其它许多东西对我

his intellectual independence; on the other, a reaction against any form of power, whether commonly accepted moral codes

来说意义更加重大。我愿意为这些事情付出，我其实已经付出了四十二年的代价。如果我因此必须忍受点伤痛，我

or socio-political impositions. Therefore, it does not matter, for instance, in his “Wrestling: One and One Hundred” whether

觉得没什么。”2

He Yunchang suffered as many as 82 defeats versus only 18 wins; or if, after the performance, he needed approximately three months to recover. Prior to starting the matches, perfectly aware of the impossibility of beating all those opponents, the artist

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如果我们将“痛苦”比作一根红线（file rouge）把何云昌所有的行为编织在一起就会发现，这并不是他创作作品的

promised the participants a fee in exchange for their genuine commitment to the hand-to-hand combat. The battle He Yun-

目标，而是他为了实现自我的目标而心甘情愿付出的代价。

chang really won is not the fight against his opponents, but the struggle with his own mental and corporeal exhaustion in order

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to bring his work to completion, despite any defeat. “We do not only have a physical self, but also an inner self ”, the artist reflects.

“Of course, the human body is very valuable–we depend on it for the practical realisation of any thought or action, but the inner self is incredibly mighty. It can freely get its way with almost no restrains. Body and life are both very important, but there also are many other things that are more meaningful to me. I can pay out; I have already paid out for forty-two years. If I suffer some injuries it is not a problem.” 2 If suffering is a file rouge that knits together all the performances of He Yunchang, it is not intended as the target of his works, but rather as the natural price that the artist willingly pays for the achievement of what he believes.

Asked in 2002 to write a short essay about his own works, He Yunchang composed “A Fairytale for Grown-ups”, one of the most touching and elucidating texts embodying the perfect parable of his attitude toward art and life. In the first part of this illuminating text, set in Kunming in 1997, He Yunchang narrates the true story of a laid-off engineer who was given much more meat than he could afford as a present from a sympathetic butcher to whom he previously recounted his sorrows. Incapable of tolerating the humiliations that he suffered at the hands of society, the young man eventually resolved to prepare, in concordance with his wife, a poisoned last supper for himself and his family, so as to put an end to the daily trials of their lives. In opposition to the engineer’s decision, in his text, He Yunchang points to the endurance of those innumerable people, who, like the artist himself, keep living, despite all the difficulties that may affect their existence: “The sharp blade of reality can only pierce their limbs; it cannot wound their wills. The persistence and tenacious spirits of these disadvantaged groups inspire me.” 3 Saturated with even more intimate, existential and cathartic connotations than the artist’s earlier works, the “One Rib” project is undoubtedly a powerful, crazy and at the same time highly poetic masterwork in which the extraction of the rib represents not only the end of the performing act itself, but also the starting point for the other works originating from it. Unlike He Yunchang’s previous performances, this one is accompanied by an object–the rib–constituting what He describes as “the most important document of the project”. 4 Imbued with a strong symbolism, the rib has been turned into a necklace that takes on pivotal conceptual implications in a subsequent series of 5 photographic works, and also appears in the video that records different stages of the whole project.

《一根肋骨 · 轮回》2009 布面油画

The necklace, entitled “Night Light” (2009), is a piece of jewelry made out of the artist’s rib and more than 400 grams of gold.

“One Rib - Samsara” 2009

and warm-coloured one (gold) questions the common values we generally tend to confer onto things. Serving as the support

oil on canvas

The artist’s choice to combine a rough, firm and livid-hued material (the artist’s own unprocessed rib) with a precious, malleable for the rib, the satinated golden structure of the necklace is modeled in the shape of a double-headed mythological animal, with the two heads positioned at the opposite extremities of its elongated, serpent-like body. Stylistically inspired by ornaments

《成年人的童话》是何云昌2002 年应邀写的一篇关于自己作品的短文。这篇思路清晰、感人至深的文章阐释了他

dating back to the Warring States Period (475-221 B.C.), each of the dragon’s heads holds one of the two opposite ends of the

对于艺术和生活的态度。在文章的前几段，何云昌讲述了一个真实的故事：故事发生在1997年，主角是昆明的一个

rib in its open mouth.

下岗工程师。他在买肉时谈起了自己的悲惨境遇。出于同情，卖肉的人多切了不少肉给这个付不起这么多钱的年

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轻人，但是他无法忍受这个社会给他带来的耻辱感。在和妻子商量了之后，他为全家做了一顿下了毒的“最后的晚

In Chinese culture, the dragon is traditionally seen as a positive, vital and auspicious creature, having a yang nature and sym-

餐”，以此结束苦难的生活。同工程师的决定不同，何云昌在他的文中写道：生活中许许多多的人，包括他自己，不

bolising the power of the elements expressed in the forces of thunder, rain and wind. Emblematic of the imperial power, the

论经历了怎样的困境都会继续活下去。 “现实的锋芒只能穿透他们的肢体，但不能伤害意志。这种弱势群体坚忍不

dragon was believed to have the ability to herald and control rain and floods, as well as to metamorphose, becoming visible or

拔的精神意志又令我振奋。”3

invisible, gigantic or minute.

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同何云昌早期的作品相比， 《一根肋骨》充满了更加私密而带有情感宣泄性的存在主义内涵。无疑，这是一个强悍 浪漫而疯狂冷酷的项目，也是一件充满诗意的杰作。取出肋骨不仅代表了这个行为艺术的终结，也标示着其它关 联作品的起始。但不同于早期作品的是这个作品通过一个物体——肋骨——来实现何云昌所称之为的“整个项目 中最重要的文献”4。充满象征意义的肋骨被做成了一根项链，在后续的五张摄影作品中承载了至关重要的观念含 义，还反复在纪录了整个项目不同阶段的影像作品中出现。

项链名为《夜光》（2009 年），是件由肋骨和 400多克黄金制成的首饰。何云昌将一种粗糙、坚硬、有乌青色泽的材 料（未经处理的肋骨）和另一种珍贵、柔韧、暖色的材料（黄金）组合在一起，表达了人们通常对赋予各种事物的价 值上的质疑。支撑着肋骨的磨砂黄金支架看起来像是双头的神兽，龙头列在蛇一般颀长的主体的两端。艺术家设 计的灵感来自战国时代（公元前475年－公元前 221年）的饰物。两个龙头衔着肋骨的两端。

在中国文化中，龙是正义、活力和吉祥的见证，有“阳”的特质，代表着雷电、风和雨等元素的力量。龙也是皇权的 象征，人们相信龙可以呼风唤雨，变换形状，也可以随意隐形现身或改变大小。有关龙的变形能力在西方传说中也 找得到例子，这类动物却通常被看做成邪恶的化身，是宇宙黑暗力量的体现，但最终会被某位英雄消灭；而巨兽的 死亡则被用于体现征服者高尚的道德情操、力量和自我意识的发展。卡尔 · 古斯塔夫· 荣格（Carl Gustav Jung，1875 年－1961年）的分析心理学认为，与“内心的龙”的斗争可以用来比喻个人与自己的“暗影”的冲突，投射出个性中 不受欢迎的、隐藏的或是压抑的意识部分。一旦一个人成功地控制并同化“暗影”，他 /她的自我就能够战胜无意 识心理的逆向力量，最终会获得成熟面对和解决生活中的问题和变化的能力。通过实施行为，何云昌进行了个人的 自我发现之旅，而从这个“旅途”回归之后，他在心理上实现了转变。这一点在他的作品《石头大不列颠漫游记》

(2006 年9月24日－2007年1月14日) 中清晰的体现了出来。他从英国东北部的海岸城市Boulmer捡了一块石头，逆时针 “有时候，艺术创作过程有着很大 沿着英国海岸走了112天，历程3,500公里，最后把石头放回原处。艺术家解释说： 的能变性，它能暴露人的潜能 (潜伏的力量) 和阴暗面。与此同时，人勇敢、坚决的一面也能一展无疑。”

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《一根肋骨 · 释然》2009 布面油画 “One Rib - Relieved” 2009 oil on canvas

何云昌项链中的龙仅仅是他诸多作品中对神话传说和哲学理论的引用的一个例子。例如，在行为《抱柱之信》

The transformative power connected with the dragon can also be found in Western mythology, but in this case the archetypical

(2003年) 中，艺术家将手浇铸在水泥柱中24小时——这是他对中国道教代表庄子 (约公元前369年－公元前 286 年)

animal, usually conceived as the epitome of evil and the cosmic forces of darkness, is often condemned to perish at the hand of

一则成语的变换和个人阐释。成语是说一个年轻小伙子不顾暴雨站在桥下等待爱人。河水不断上涨，他不得不抱

a hero, and the monster’s death serves the purpose of demonstrating the vanquisher’s moral integrity, strength, and the develop-

住一个柱子，最后不幸溺亡，而他等的姑娘一直没来赴约。行为持续了一天，代表生命的轮回，这个行为严肃地警告 了那些不守承诺的人。6

ment of his self-consciousness. In the analytic psychology of Carl Gustav Jung (1875–1961), the struggle with the “inner dragon” figuratively represents the individual’s conflict with his/her own “shadow”, a projection of the conscious mind of undesirable, concealed or repressed aspects of one’s own personality. Once a person succeeds in dominating and assimilating the shadow, his/her Self is able to triumph over the regressive forces of the unconscious mind, which will eventually result in the ability to

除了引用中国文化的元素之外， 《一根肋骨》还参考了基督教传统的元素。 《圣经》给何云昌带来了灵感，特别是“创

maturely face and overcome the troubles and changes of life. By means of his performances, He Yunchang carries out a personal

世纪”第2.21－2.23章中的记载：上帝用亚当的一根肋骨制造了夏娃。何云昌感兴趣的不是将这个上帝造人的神话用

journey of self-discovery from which he returns psychologically transformed, as well exemplified by his work “The Rock Tours

艺术转换的方式在今日重现，而是肋骨的象征意义——男人和女人之间永恒的关联性。

Round Great Britain” (September 24, 2006 – January 14, 2007), a pilgrimage extending over 112 days in which the artist picked a rock up in Boulmer, on the northeast coast of England, and returned it to the original location after having walked 3,500 kilometers counterclockwise along the border of Great Britain. “Sometimes the art making process has a very strong metamorphic

38

这种关联通过《一根肋骨》的图片进一步得到了强化，这组图片由何云昌分别与五位曾经或现在和他有着非常亲

character, as it makes one’s potential (latent energy) and shades emerge”, the artist explains. “At the same time, one’s brave, resolute

密关系的女性所拍的照片组成，其中有他的母亲、夫人和前妻。在这个像是某种供奉仪式的场景中，这些女性戴

side is also undoubtedly revealed.” 5

39

《一根肋骨 · 自己和自己》2009 布面油画 《一根肋骨 · 术后》2008 布面油画

“One Rib - Myself and Myself ” 2009 oil on canvas

“One Rib - Post Surgery” 2008 oil on canvas

的项链是一个为避免肋骨变形而采用普通未经加工的金属材料制成的“临时”版本——项链最终将用黄金打制。

The dragon of He Yunchang’s necklace is just one of the various references to myths, legends and philosophical theories

艺术家决定用这个“简版”项链的原因可能是为了强调他需要给项链一种更清晰的表现形式和正确含义──这个

detectable in many of the artist’s works. In the performance “Keeping Promise” (2003), for instance, the artist had his hand

尚未承载了那些能将使其成为一件独立艺术作品的借鉴之物。

cemented inside a concrete pillar for 24 hours–a contemporary transposition and personal interpretation of a story by Chinese Taoist philosopher Zhuangzi (ca. 369 to 286 B.C.). In the tale, a young man waits for his love under a bridge despite the

40

这五张在不同时间和地点拍摄的照片（159.8 x 126 cm）有相似的构图：画面中的人物都在相同景深的距离内相依而

heavy storm. Confronted by the rising waters of the river, he holds onto a column until he eventually drowns, though the

坐，背景相同，照片有着能令人想起老式家庭照片的椭圆轮廓——当然老照片颜色没有这么鲜艳，人物着装也没有

girl never arrives for their appointment. With its one day duration suggesting the cycle of life, He Yunchang’s performance

这么现代。照片中的背景是用在不同的照片中喷上不同颜色的干花做成；照片中人物则有着复杂的表情、姿势和细

is a stern warning to all those who do not honour their pledges. 6

节，使人能察觉到他们的情感和关系——即便有的关系已成为历史。由于何云昌对这种半遮半掩自嘲在作品中的

Besides the references to Chinese culture, in the “One Rib” project He Yunchang also draws from elements of the Christian

拿捏，俗气的背景板和人物之间的对比使这些照片有了各自的特点。艺术家说道： “在现实当中，事情的真实状况

tradition, taking inspiration from the Holy Bible, in particular from chapters 2.21-2.23 of Genesis, in which Eve was created

和我们的想象有很大的距离感。我通常会把那些不太可能的事情，或者是一些已经过去不存在的一种情怀、情结、

from Adam’s rib. What interests He Yunchang about this myth of creation is not its present-day enactment by means of an

或者一个事件重新做得很结实，就像是真的一样。我觉得这种努力本身就有一种幽默感，和一种唯心的、一意孤行

artistic transposition, but the symbolic value of the rib that here becomes the emblem of the eternal union between man

的态度。”7《一根肋骨》（No. 1）是艺术家和他母亲的合影，我们可以清晰地看出母子之间那种自发的深厚感情。

and woman.

41

《一根肋骨 · 旁观》2009 布面油画

《一根肋骨 · 查房》2009 布面油画

“One Rib - Observing From the Sidelines” 2009 oil on canvas

“One Rib - Ward Round” 2009 oil on canvas

两个人的表情都很放松，母亲牵着何云昌的手，何云昌搂着母亲。照片的光线、衣服和背景之间透着一种微妙的和

This bond is further sealed through “One Rib”, a series of photographs in which He Yunchang poses individually with five

谐感。相比之下，他同前妻的合影《一根肋骨》（No. 3），我们立刻能从他们僵硬的姿势、紧闭的双唇和无神的双眼

women, each of whom he once had or still has a very close relationship; among them his mother, his current wife and his ex-wife.

中察觉到一丝不安和局促，也能感受到这种气氛和背景中有各种色彩但看起来非常假的干花之间的紧张感。

In a sort of consecrating ritual, each woman is portrayed wearing a provisional version of the necklace, initially used to keep the rib in shape by means of an unadorned metal support, and not the final golden one. The artist’s decision to utilize a rough

和他早期的许多画作一样，何云昌通过《一根肋骨》项目而完成的现实主义油画忠实参照了用来纪录整个行为艺 术的照片。如果这些作品可以被看作是另外一种帮助大众理解他的行为艺术的方式的话，那么，对于艺术家来说， 它们也是非常重要的一种知识形式。借助这些作品，他可以采用另外一个角度去观察并重现这个行为艺术。

model of the necklace is perhaps meant to emphasize the necessity for a clearer form of expression and signification, one that is not already loaded with the references that will enrich the necklace once it reaches its definitive status of independent artwork.

The five photographs (159.8 x 126 cm each), although shot at different places and times, share similar frontal compositions in which subjects are sitting next to one another and at a similar distance from the camera, along with analogous backgrounds and

在完成过去的行为之后，何云昌为开启他生命中全新的篇章而结束当前的这一章。这个肋骨会成为他的“成年人的

identical oval outlines reminiscent in shape–but not in their vivid colours and contemporary clothing–of old family pictures. Not

童话”的有形纪念： “生命中有许多荒谬的事情，我们都喜欢去维护一些不重要的事情。我觉得我们可以用另一种

lacking in the partially veiled self-irony with which He Yunchang approaches his works to varying degrees, the photographs are

方式看待现实。如果有些东西对你非常重要，那么不管你怎么做，你总是会觉得这些东西还不够。做完作品后，我

characterised by the contrast between their gaudy backdrops, made from a board fully covered with withered flowers sprayed with

都会想，生命中的每一秒钟都比金子还有价值。”8

an artificially hued finish that is different in each of the pictures, and the complexity of the expressions, stances and details through which the subjects’ emotional domains and bonds become perceivable–even when those bonds are a thing of the past. “Even if you proceed according to your personal aspirations, there is a big distance between reality and imagination”, the artist expounds.

“Due to my desires, sometimes I can produce, in a faithful and substantial way, some impossible things, fantasies or some feelings

翻译：黄一

belonging to the past. There is some kind of humour in the effort itself, a sort of idealism, an attitude of clinging obstinately on my course.” 7 In “One Rib” (No. 1), the portrait in which the artist poses with his mother, the spontaneous and profound affection that parent and son share is clearly evinced, both from the relaxed countenance of both of the subjects, and from the mother’s gesture of holding He Yunchang’s hand while he embraces her, as well as from the well-matched, subtle nuances of the light, clothes and background. In the picture taken with his ex-wife, entitled “One Rib” (No. 3), on the contrary, a certain feeling of uneasiness is immediately detectable in the rigid posture, the sealed lips and the glassy stares of the subjects, a tension clashing with the multicoloured–but also very fake looking–flowers behind them.

42

43

Like many earlier paintings by the artist, the realistic oil canvasses He Yunchang realised on the occasion of the “One Rib” project are based on source documentary photographs strictly related to the performance. If they can be considered as a different and maybe more accessible channel for the public to understand his performances, they are as well an important means of knowledge for the artist himself, who can observe and revive the performance from another perspective through these works.

When He Yunchang accomplished his previous performances, he would close a chapter of his life in order to start a new one.

This time the rib will remain a tangible memento of his personal “fairytale for grown-ups”: “There are so many absurdities in life, and we all like to uphold unimportant things. I feel that this is another way to approach reality. If something is very important to yourself, it does not matter how you do it, it will never be excessive in your eyes. After a performance work is over, I always think that every second in life is more valuable than gold.” 8

《一根肋骨 · 小护士》2009 布面油画 “One Rib - Small Nurse” 2009 oil on canvas

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Excerpt from an interview with He Yunchang in his Beijing studio, June 4, 2009.

1

摘自2009年 6月4日在何云昌北京画室对艺术家的采访记录。

1

2

同上。

2

Ibid.

3

何云昌（2002 年）， 《成年人的童话》，希客（Sigg, U.），塞曼（Szeemann, H.） （2002 年） ：《中国当代艺术访谈录——中国当代艺术 奖 1998－2002》，中国北京：东八时区出版，35页。

3

He Yunchang (2002). A Fairy Tale for Grown Ups. In: Sigg, U., Szeemann, H. (2002). Chinese Artists, Texts and Interviews – Chinese Contemporary Art Awards (CCAA) 1998-2002. Beijing, China: Timezone 8 Ltd. p. 35.

4

摘自2009年 6月4日在何云昌北京画室对艺术家的采访记录。

4

Excerpt from an interview with He Yunchang in his Beijing studio, June 4, 2009.

5

同上。

5

Ibid.

6

参见《庄子》，第14卷。

6

Zhuangzi, Vol. 14.

7

摘自2009年 6月4日在何云昌北京画室对艺术家的采访记录。

7

Excerpt from an interview with He Yunchang in his Beijing studio, June 4, 2009.

8

同上。

8

Ibid.

45

漫步在自我意志的边缘 —对话何云昌

A Conversation with He Yunchang

文：海因茨 - 诺贝尔特 · 约克斯

by Heinz-Norbert Jocks

海因茨-诺贝尔特 · 约克斯（Heinz-Norbert Jocks，以下简称约） ：在谈论你的艺术之前，我很想多了解一下你的成长经

HNJ: Before we talk about your art, I’d like to know a bit more about your family background. What did your parents do?

How did you grow up?

历。你父母是做什么的？你的成长环境如何？

约：你还能回忆起一些有关大自然的体验吗？

HYC: My father was a miner and my mother was a farmer. I grew up in a very traditional, normal family in Yunnan province, spending all day outside in the open. As a child I was not subjected to any restrictions and my parents didn’t make any demands on me, either. They gave me a lot of freedom, and didn’t put any pressure on me to study for school, even though it is normal for parents to expect their children to bring home good marks. Now that you ask me about it, I notice how present my memories of nature still are. You could also catch crabs in the river and little birds in the jungle.

何：比如我 5、6岁的时候学游泳的经历：当时也不知道是谁把我一下子扔进水里，呛的我不停喝水，就这样学会了

HNJ: What experiences of nature do you remember?

何云昌（以下简称何）：我父亲是矿工，我母亲是农民。我成长在云南一个传统而普通的家庭，小时候都是天天在 田里、野外玩耍。没人管制我，父母也对我没太多要求。他们给了我很多自由，没有逼着我为了成绩去学习，或 者像今天很多家庭一样，父母总是希望孩子考个好分数带回家。你现在问我这个问题使我意识到，大自然给我 留下的回忆仍如此鲜活、历历在目。 （很怀念）小时候可以下河逮虾、原始森林里捉鸟的日子。

游泳。尤其夏天的时候，我们那的孩子都喜欢在洪水涨潮的时候游泳，那个时候也恰恰最危险。另一个经历 跟原始森林有关。林子里到处都是有毒的蛇，我抓到过两次很粗大的，也抓过很多很小的毒蛇— —谢天谢 地，我只被没毒的蛇儿咬过一次。 约：看来那时候你已经胆子很大了，而作为艺术家你是用行为艺术的方式拿自己的生命冒险。这种胆大和勇气从何 而来？ 何：有两个原因。一是我的成长环境很宽松，二来这与我厌恶和排斥社会中的种种条条框框的限制有关。在我看 来，我们这个社会总是不断犯下新的错误，这与理想的社会模式和大自然渐行渐远。我的生活观念是率意而 为。生活越简单越好。 约：再谈谈你的童年，还能回忆起什么？ 何：嗯，小时候河里的水很干净，没有化学污染。我是在大盈江的东边长大的，这条河是我们游泳玩水的地方。林 子里随处可见各种花草树木，飞禽走兽。老虎、豹子、甚至大象也有，人们都把云南叫做动植物之国。还有果 子、蔬菜；简而言之，一切生活必需之物都有，水也很干净。现在那儿的一切都变了，河水的颜色和我们刚才喝 的茶一样黑。那时的大自然富饶而完好，人和大自然的关系非常亲密，有时候我甚至睡在外面。我还能清楚记 得12岁的时候，经常一整夜围着县城溜达到天亮。我觉得屋里特别挤，呆在外面的大自然里会让我觉得很舒服 和畅快，就像在一间宽敞的屋子里一样。 约：你现在想念那个时候吗？ 何：对我来说，在乡下生活更多是一种幻想，因为我总是把大自然想象成小时候的那个样子。此外我很喜欢“生命 如树”的比喻：如树临风，阳光铺洒而下——人最理想的状态就是像一棵树一样，因为树生长缓慢，却没有东 西限制它。做自然中的一棵树或是水中的一条鱼儿，这就是我的理想状态。

48

Travels to the Edges of One’s Own Will

HYC: For example, how I learned to swim when I was five or six years old. Someone threw me into the river and in the process I swallowed endless amounts of water. Afterwards I could swim. Especially in the summer, we children loved to swim in the floods, precisely when it was dangerous. Another experience has to do with the jungle. Every square meter there was a poisonous snake. Twice I caught the really big and fat ones, but also many little poisonous snakes, and thank God I was only bitten once, by a non-poisonous one.

HNJ: Apparently even then you weren’t easily scared. As an artist you also risk your life with your actions. From where does this lack of fear and this courage come?

HYC: There are two reasons for it. On the one hand, it has to do with the fact that I grew up completely free. On the other hand, it has to do with the restrictions in society, which go against the grain for me and which I resist. My impression is that society, which is always striving towards new errors, is constantly distancing itself more from its ideals and from nature. My idea of life is to live according to one’s own will. The simpler life is, the better.

HNJ: Returning to your childhood, what else do you remember?

HYC: Back then the water was still clear; there weren’t any poisonous chemicals yet. By the way, I grew up to the east of the Da Ying River, which we swam in. Because back then, near us in the mountains and the jungles there were still countless different kinds of flowers and plants, birds and animals, among them tigers, panthers and even elephants; one also called this province the kingdom of animals and plants. There were fruits, enough vegetables, just everything that you need to live, and clean water. Everything is completely different nowadays. The river is as black as the tea we are drinking at the moment. But back then, the nature was still rich and intact, and people had a very close relationship to it. I even slept outside. I like to remember how, as a twelve year-old I ran around the county seat the whole night until the early morning. Inside in the flat it was too cramped for me. But outside in nature I felt good and as free as in a spacious flat.

49

约：有没有哪种动物让你觉得最亲密？

HNJ: Do you miss it today?

何：我更喜欢植物，尤其是原始森林里的树。但如果你一定要说哪种动物让我觉得最亲密，我会选鸟，因为鸟如此

HYC: For me life in the country is more fantasy nowadays. But I still imagine nature the way that I experienced it then. By the way, I like the metaphor “life is like a tree”. That means that, though there are wind and rays of sunshine, the best state for a person is to be like a tree, because it grows slowly and is not subject to any restrictions. To be like a tree in nature or like a fish in water, for me this is an ideal condition.

自由。在我长大的地方，人们都相信人死后会复生。我其实不相信这个，但是要让我选择的话，我宁愿下辈子不 做人，而做一棵树；不在城市里成长，而是回到原始森林中。 约：那你为什么搬到城市里来？ 何：13岁起我就梦想着多看看这个世界。我无法永远呆在一个只有两万人生活的地方，所以我混到了城市中。 约：你的作品《石头大不列颠漫游记》和这种“认识世界”的诉求有关吗？ 何：那个作品针对的更多是现今忙碌和快速的生活形态。比如纽约人永远行色匆匆，甚至吃饭都很快，忙到无法为 任何事情抽身的程度。人们每天坐着公共交通工具，以尽可能快的速度从这里赶到那里。一切都以效率生存 为准绳。因此我觉得把生活速度放慢下来会好一些，这样就产生了这个徒步漫游英伦的行为作品。这个作品 也是为了对应在东、西方世界日渐兴起的加速趋势。 约：你成长在中国靠缅甸的边界，佛教盛行在那个国度。你是否也受到了佛教的影响？

HNJ: Is there an animal you feel closest to?

HYC: I like plants more than animal, and especially the trees in the jungle. But if you really want me to name an animal I feel connected to, then I would choose a bird, because it is so free. There, where I come from, one has always believed that a person is reincarnated after they die. Actually, I don´t believe in it, but if I had the choice, then in my next life I would choose to be reincarnated, not as a person, but as a tree, and not in the city, but rather in the jungle.

HNJ: Why did you move to the city then?

HYC: Already as a thirteen year-old I dreamed of seeing more of the world. It wasn´t enough for me to stay in one place forever, where only 20,000 people lived. That’s why I skulked around the city.

HNJ: Does your “The Rock Tours Round Great Britain” also have something to do with your desire to get to know the world?

何：我们那里的人非常信佛。而在另一方面，云南境内也盛行着泛神论的思想，人们有着多神、而非一神的信仰，并 且借各种机会举办大型的节日庆典。比如要造个房子，需要山上砍下来的木材。为了安抚神灵，就要祭奠山神、 树神、土地爷。而所有中国的传统节日如春节、中秋节等等，都是为了祭奠不同的神而设。另外，我母亲也是个 泛神论信仰者，除了许多神灵，她还特别敬重各方鬼怪，比如花妖啊，水怪啊等等。这世界上的神灵鬼怪和人一 样多。 约：你自己不信吗？ 何：小时候我很怕这些。到了十二、三岁的时候我发现，这些东西无非是我们幻想的产物。于是我就想说服我母

HNJ: Now you grew up on the border with Burma, which has been shaped by Buddhism. What role does this play for you?

何：没有，因为你问我了，我才告诉你这些东西。

HYC: As everyone knows, Buddhism originates from India. Since my home stretches between China and Burma, it is understandable that people in my region also orient themselves very much towards Buddhism. Alongside this, Yunnan is also a province influenced by pantheism, in which one doesn’t believe in just one, but in many gods. Big festivities are celebrated on all possible occasions. The wood needed to build a house comes from the trees felled on the mountains.

In order to appease the gods, the mountain, tree and earth gods have to be honoured then. All the traditional Chinese celebrations, the spring as well as the moon festival are dedicated to various gods. By the way, my mother was a believer in pantheism and also honoured the most varied ghosts and devils, in addition to the countless gods. Among them flower devils as well as water devils. There are as many gods, ghosts and devils as there are people on earth.

约：你没有任何有关自然的精神体验吗？

HNJ: You yourself don´t believe in it?

亲，告诉她这些信仰毫无意义。后来我明白了，她可以从中得到安慰。拜佛信神的观念在我们那儿非常深入人 心，得病的人不去医院、不找医生，而是求拜神灵。人们把患病看做鬼怪附身，为了脱身获救，病人要吃从植物 中萃取的草药；更为残忍的方式是用木棍击打、用刀折虐病人，以驱赶附体的恶鬼。有时，病人也会受不了折 磨而死。 约：你的作品和这些有没有联系？

何：小时候，自然对我来说是强大的。即使我不能理解它，我也是它的一部分。但我无法从自然身上感受到精神性 的东西。深夜外出散步，我能感到与自然如此地贴近，是的，就像宇宙中渺小的一粟。 约：我们来谈谈你的艺术道路吧：你什么时候、如何开始做艺术的？ 何：像每个孩子一样，我上幼儿园和小学的时候，也爱把看到的东西画下来，猪啊，马啊，牛啊，或者有时候照着月 历牌上的东西画。我母亲总是夸奖我的画儿画得好。

50

HYC: This walking tour was more a reaction to the hectic pace of life nowadays. The people there don’t just rush; they also eat too quickly. They don’t have time for anything. One is on the go everyday with modes of transport that take you from here to there as quickly as possible. Everything is arranged for you to lead as efficient a life as possible. Although in my opinion it would be better to slow down the pace of life, therefore I undertook my action, to walk around England on foot. It was directed against this tendency of speeding up that is increasing in the East as well as in the West.

HYC: As a child I was afraid of them. When, at the age of twelve or thirteen I realised that they spring from our imagination, I wanted to convince my mother that her belief was pointless. Later I understood that it comforted her. The belief in gods is so deeply rooted that in my home ill people go neither to the doctor nor the hospital. Instead they try to take up contact with gods and spirits. If someone is ill, one assumes they are possessed by a devil. In order to free them from him, one either gives them plant extracts, or, what is much more brutal, one beats them with a stick or mauls them with a knife. In this way one wants to cast out the evil spirits from their body. It can certainly happen that the person concerned dies through this.

约：在你做行为艺术之前，你画了多长时间画？

HNJ: Your work has nothing to do with this?

何：1987年到1991年我在云南艺术学校上学，之后又画了几年，大约七、八年。

HYC: No, I’m only telling you all this because you asked about it.

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约：你对西方行为艺术有何了解？

HNJ: You don’t have any spiritual experiences connected with nature?

何：九十年代的时候，中国的审查制度还很严格。当时看不到多少有关西方艺术的东西，不过，还有朋友从西方带

HYC: When I was little, nature appeared very powerful to me. Even if I cannot understand it, I am still a part of it. But I don’t feel anything spiritual in it. When I ran around outside at night, I felt very close to nature. Yes, like a tiny part of the universe.

来一些艺术书籍。我们也可以使用学校的教师图书馆。我读过有关伊夫 ·克莱因（Yves Klein）和博伊斯（ Joseph

Beuys）的东西。博伊斯在我看来是一个理性的艺术家，他可以很精确地表达自己的思想；克莱因则有些像东方

HNJ: Let us talk about your path to art:How and when did you find art in the first place?

的艺术家，更富于感性和幻想。克莱因的神话学与自然有着深刻关系，他的思想和东方色彩类似。所以比起博

HYC: In the year 1964. Like every child, I painted in kindergarten and in primary school, especially things which I saw, so pigs, horses, cows, or I drew copies of the pictures from calendars. I received a lot of praise for that from my teacher.

伊斯，他更贴近我的喜好。在克莱因那里，莫名之物如此重要，正如我迷恋荒谬之物一样。我喜欢做不可能的 事情，这在我的作品《与水对话》中有所展现。1996 年的时候，我产生了做这个行为作品的想法；但直到三年以 后我才凑足一笔经费完成它。我需要一架吊车，要花 200 元人民币才能搞得到。很可惜当时没有好的相机来更 好地记录这个行为作品。 约：你想在这个作品中表达什么？

HNJ: For how many years did you paint, before you began with performances?

HYC: I studied at the art college in Yunnan from 1987 to 1991, and after that, I still painted for a few years, until 1994, so eight in all.

HNJ: What kind of knowledge do you have of Western performance art?

有密切联系的地方完成作品。另外，当我离开这个地方之后，我才认识到它对我来说如天堂一般。而如今，对

HYC: In the 90s, censorship was still very strong in China. There was not very much to see, but fortunately we had friends who brought books with them from the West, and we also used the teacher´s library. There I read books about Yves Klein as well as about Joseph Beuys. In my view, Beuys was a rational artist who articulates his thoughts very precisely, while Klein was more like an artist from the Orient because of his different sensibility and his vibrant imagination. Klein’s mythology has a close connection to nature, and his thinking is very similar to the Oriental one. That’s why he is also closer to me than Beuys. The unexplainable is as important to Klein as the absurd is to me. The fact that my intention is to do the impossible becomes clear in my “Dialogue with Water”. I already had the idea for it in 1996. But I only had money to realise it three years later. It required a crane, which had to be brought there for 200 Yuan. Unfortunately I didn’t have a good camera yet, in order to capture the action photographically.

抗社会界限的人，不得不为此付出代价。一位屠户朋友用刀在我身上划开了伤口，这些伤口象征了这种代价。奇

HNJ: What was your idea?

何：实际上我想实现的是一个很荒谬的愿望。我的想法是，赋予我童年在里面学会游泳的那条河一道伤口，同时在 我的胳膊上划下一道道真实的伤口，血从中流出，与我身下奔流而过的河水融合。在这个 90 分钟的行为开始之 前，我计算了河水的流速，这样我就可以大约知道这条河水的“伤口”有多长。实际计算出的长度达4.5公里。 当然最终一切如故，没有任何改变，河水中割开的“伤口”还会愈合，水还是水。人类的侵犯并未对水本身产生 任何影响。这是一种由乡愁引发的干预行为，在没有任何身体上的预热和训练的情况下，我在那年冬天的 2月

14号完成了它；它表达了我的一种意愿，这种意愿与人们从小面对的社会限制和禁忌背道而驰。我喜欢在与我

怪的是，我身上的那些小点儿的伤口会慢慢地消失掉。 约：你为什么要让身上流出的血和河水融合在一起？ 何：人由自然而来，死后还要回归自然。血与河水一样，都是自然的一部分。在“与水的对话”中，我觉得自己的灵魂 似乎摆脱了肉体。作品开始时的巨大的疼痛感越来越弱；随着时间的流逝，我的感觉越来越好，就好像达到了 某种灵魂出窍的状态一样。

封存在混凝土中 约：我觉得你的创作似乎不大关注我们西方人所称的“公众效应”。你的作品更多是为自己而做，而非为了他人。

HYC: Actually, I wanted to fulfil an absurd wish. The idea was to inflict an imaginary wound on the river of my childhood, in which I had learned how to swim, while blood flowed out of a real wound in my arm, mixing with the water flowing below me. Before the start of the ninety-minute action, I measured the speed of the current so that I could ultimately calculate approximately how long the wound in the water was. It stretched over a length of 4.5 kilometres. But at the end of it all, everything was naturally exactly like before. There was no change, nothing that could suggest an injury, because water always remains water. It behaves completely indifferently towards human interventions. I carried out this intervention, which was born out of a sense of belonging, in the winter on February 14; it is also an expression of my will, which directs itself against the societal restraints and proscriptions that one is subjected to from an early age. It was important to me to carry out the action in the area I have close ties to. By the way, I only recognized after I left it that it was something like a paradise for me. Now it is inevitably the case that the person who fights against the boundaries put in place by society has to sacrifice something for that. The injuries, which I had a butcher I befriended teach me, are a visible symbol of that. Strangely, the scars are disappearing more and more.

HNJ: Why was your blood supposed to mix with the water?

何：没错。我首先关注的是自己的内心诉求，他人的兴趣不是我要追求的东西。所以作品中经常没有观众，只有帮 助过我的一些朋友会在场。 约：作品现场你的体验如何？ 何：最重要的体验是我悬在空中，与天空结为一体，并且能看到自己水中的倒影。构思作品观念的时候我就想到， 天空、河水和土地是支撑起这个作品的最重要因素。我不仅是自然的一部分，自然也是我的一部分。天空、土 地和河水形成了和谐的一体。 约：在天空中你对时间有何感知？ 何：90 分钟的实施过程中，时间对我来说好像是无限延伸的，就像宽广无尽的海洋。

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HYC: The human, who originates from nature, returns to nature after his death. Blood, like water, is a part of nature. Then, with “Dialogue with Water”, the feeling was that my soul had released itself from my body. The intense pain that I had at the beginning became weaker and weaker. So with time I continually felt better, and it seemed to me as if I had achieved a mental absence.

Trapped in Concrete HNJ: It appears to me that you are not really very concerned with what we call “popular appeal” in the West. You carry out such an action more for yourself than for others.

HYC: Yes, that´s true. In the first place I pursue my own desires. I don’t pursue the interests of others here, but my own. That is also why virtually no spectators participate. Only friends who help me are present.

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约：你并不爱惜自己的身体，强烈地消耗着它。我不得不问，你和自己的身体是一种什么样的关系？

HNJ: What experiences did you yourself have during the realisation?

何：我的身体包含了许多可能。它很虚弱，但又强大无比。2004 年 4月23日到24日，在700名博物馆观众的注视下，我

HYC: The most important experience was that I floated in the air, so I felt the connection with the sky and I saw myself from above, mirrored in the water. During the conception I had already thought that sky, water and earth were the most important pillars of the action. There, I am not only a part of nature, but it is also a part of me. Sky, earth and water form a harmonic unity.

把自己在一个混凝土块中关了24小时，期间没有任何与外界的交流，完成了作品《铸》。这个作品中，我感受到 了自己对于身体的占有。 约：你是不是想借此重复抵达自由的转变过程？

HNJ: How did you experience time there in the sky?

何：我想借此表明的是，人类的肉身很脆弱，但内心的自我很强大，比混凝土强大；身体具有超出人一般认识的

HYC: During the ninety-minute duration it seemed to me as if time stretched itself into all eternity. It appeared to me like a wide and endless sea.

巨大忍受力。我还想借此完成一件完全“隐蔽”的作品——我蹲在混凝土块儿里面，没人看得到我，我也 没有在里面装摄像机，外面的人不知道我在里面的状况。某种程度上我也给了我的朋友很大压力，他们都 很担心我。 约：这个作品观念是什么时候产生的？ 何：我对混凝土这类的材料很感兴趣。一方面混凝土让我感到恐惧，另一方面我很想体验一下被密封在混凝土中 的感觉。我置身于这种状况中，对我来说它就像这个社会，强加给人身上各种限制和伦理道德。也可以说，今 天的人们就像生活在一个大监狱中。这种监狱的极端情况如何，是可以用自己的身体去体验的。 约：除了等待和消磨时间，你在里面什么也做不了。有没有惶恐的感觉？ 何：一开始我非常害怕。渐渐地我习惯了这个处境，安静下来，但恐惧和无聊又接踵而至。这种状态的转换一直没 有停止过。

HYC: It encompasses many possibilities. If the body is extremely fragile on the one hand, it is incredibly strong on the other. I also found out how much I am a master of my body during the action “Casting”, which took place in the presence of 700 museum visitors from April 23 to 24, 2004. There, I let myself be enclosed in a chunk of concrete for 24 hours with no contact with the outside world.

HNJ: With this work, did you want to repeat the transition to freedom experienced in your previous works?

HYC: What I wanted to demonstrate through it was that the body of a person may be weak, but its inner-self is strong; yes, stronger than concrete–that it can stand more than one generally assumes. In addition, I wanted to create a completely hidden artwork, because no one could see that I was crouching in the concrete block. Since I abstained from installing a camera inside, no one outside could know what my condition was. So in a certain way I put pressure on my friends who were worried about me.

约：你为什么要裸着身体做这个行为？

HNJ: When did you have the idea for this action?

何：裸露象征纯粹。裸露证明了这个过程的真实性，证明这不是魔术，我没有耍花招用两层底的混凝土块，而是实

HYC: I am interested in materials like concrete. On the one hand, I am afraid of concrete. On the other hand, I wanted to experience how it is when one is trapped in concrete. For me, the situation I put myself in is an analogy for society, which imposes restrictions on you and forces morality upon you. Yes, you could also say that people nowadays live in a prison.

I wanted to experience how that is in an extreme case and with my own body.

实在在被关在那个空间里。 约：我觉得你好像被活埋了24小时一样。 何：我从没具体设想过自己会在里面体验到什么，不过我当然知道由此面临的危险。走出混凝土块的时候，我觉得 如获新生。这样看来，你说的活埋有一定道理。我的大多数作品都有一定危险，所以我都会在实施行为之前与 合作方签一个协议，以说明万一我在实施过程中有何不测，没有人需要对此负责：我是唯一的责任方。 约：这个作品的图片记录中可以看到你手上拿着个手机。 何：对，本来想在紧急情况下用手机联系我的朋友，但实际情况却是里面完全接收不到信号。发现这一点后，我对 自己说： “顺其自然吧。你要忍耐。” 约：你的艺术直面生存。能谈谈这一点吗？ 何：存在的问题是生命的关键问题，每个人都要面对。我感兴趣的是，人为何承受和忍耐。 约：是什么决定了你这种极端的思想和行为方式，并让你如此无情地对待自己的身体？ 何：人，既是充满情感的高贵生命，又会因为社会条件所限让自己被无情地忽略。如果你想知道我为什么这么强调 自由，我倒是想起一个经历。有段时间我经常自己睡在街上，有一次被警察看到，他们对我非常粗暴。那之后 我就问自己，这是个什么社会，为什么警察会对我这么一个13岁手无寸铁的小孩随意动用权力。我遭受的不是

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HNJ: Now you don´t exactly treat your body gently. You place it under so much strain that I ask myself, what relationship do you have to it?

HNJ: Inside you couldn’t do anything but wait and kill time. Didn´t you panic?

HYC: At first I was very afraid. Over time I got used to the situation and calmed down, and then the fear and boredom returned. I was subject to this constant change.

HNJ: Why were you naked during this action?

HYC: Nakedness symbolises purity. It proves that the whole thing wasn´t magic and there was no trick with a double floor involved in this action. That I was truly trapped in this space.

HNJ: It seems to me as if you let yourself be buried alive for 24 hours.

HYC: I hadn’t imagined the details of what I lived through there in such a concrete way. But of course I was aware of the danger I exposed myself to. When I left the concrete block I felt like someone who is reborn. In this way, what you say is true about being buried alive. Because I risk my life in most of my performances, I arrange contracts with my collaborative partners before the performances, stating that in case something happens to me, no one is responsible. I alone bear the responsibility.

HNJ: On the photo of the action one can see a mobile phone in your hand.

HYC: Yes, actually I had wanted to establish contact with my friends through the mobile in an emergency, but it very quickly became apparent that there was no reception inside there. When I noticed that, I said to myself “It is like it is. Come to terms with it.”

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个别情况，现在的报纸上到处可见对这种不公正事件的报道。这只是我众多经历中的一个。还有一次发生在

1976 年。毛主席去世后，我曾就读的一所小学举行了一个葬礼。我有两个同学在场，都是小孩，他们俩在那开了 个玩笑，就被老师粗暴地痛骂一顿并加以恐吓，吓得他们好像恶鬼附身一样。而我艺术中直指存在的东西与我 经历的社会转型事件有关：一个是1976 年文革的结束，经济改革随之发起；另一个是1989年的学生运动。这些 事件都说明，在这个社会中人无法自然公平地生活。 约：我还想多了解一些你对生死关系的看法！ 何：我常常想到死亡，生与死在我看来再正常不过。人生于自然，也会在自然的怀抱中死去。即使我害怕死亡，我也 愿意面对它。 约：中国神话中有有关不死仙岛的传说。这和你有关系吗？ 何：没有。小时候我跟其他男孩争吵、打架，有时候会受伤流血。因此那时候我就知道人是会死的。有一次上山去 劈木柴，我不小心跌下了悬崖，很陡，直到谷底。醒过来的时候，我很怕自己摔断了哪根骨头。但我没受大伤。 还有在涨潮时的河里游泳，安全地回到岸边时，我会静静地长舒一口气，觉得自己还活着。 约：你一再重复要跨越界限，摆脱社会成规的束缚。 何：今天社会中的种种限制与我家乡的宗教迷信相似。我已经跨过了这道槛。当你认识到自己被束缚后，你会找机 会摆脱它。这就看你内心意愿强不强了。 约：你所说的是一种自由意志。你是不是看过萨特论自由的东西？ 何：我不是特别了解萨特。有关你说的这一点，我还是要重提13岁时候的阅读经历。上中学以后，我在图书馆读了

HNJ: Now, your art is very existential. I would like to know more about that.

HYC: The question of existence is central in life. Everyone must ask themselves it. I am interested in where the pain threshold of a person lies, how far they can go with themselves, what they can stand.

HNJ: What was decisive in your life to make you think and act in such an extreme way and treat yourself so mercilessly?

HYC: A person, who is on the one hand a noble creature full of feelings, on the other hand has the exasperating experience of being neglected by society due to its conditions. If you want me to tell you why I emphasise freedom so much, I can think of an experience. As I was sleeping alone outside on the street, like I did so often, policemen came and beat me, completely without any reason and wildly. I almost died in the process. Since then I ask myself the question, what kind of a society is this? What happened there, that policemen, who were head and shoulders above me, a thirteen year-old, brought their power to bear on me? Now, what happened to me then was not an isolated incident. That was just one experience among many. Another one took place in 1976. After his death, a funeral ceremony was held for Mao Tse Tung at my primary school. When two of my classmates–both still little children–made jokes, they were attacked so wildly, roughly and intimidatingly by a teacher, it was as if they had been possessed by a devil. What also makes my art so existential has to do with the social turning points I have experienced. On the one hand there was the end of the Cultural Revolution in the year 1976, which led to the revolutionising of the economic system, and on the other hand the student movement of 1989. These events make clear that it is hardly possible to live naturally and to be fairly treated in this system.

HNJ: I would like to know more about the relationship between life and death!

HYC: I often think about death and I have the conviction that life as well as death is completely natural. One comes from nature, and also dies in it. Even if I am afraid of death, I still want to face it.

很多书，上大学的时候也一直在读尼采和叔本华。不知什么时候起我不再想受别人思想的束缚，所以开始严 格限制自己的阅读。对年轻人来说——就像当时的我——尼采像烈酒。喝一口就精神抖擞，顿觉世界都在你 脚下。我当时读过他所有翻成中文的作品。 《查拉图斯特拉如是说》曾是我可以想象的最高峰，但现在对我来 说已经无足轻重，我把它忘掉了。 约：我一直在观察你工作室里那个枝杈上爬满小猪的树雕。你想用它暗示什么？ 何：中国有句俗语：男人（女人）靠得住，猪都会上树。谁都知道猪不能上树，所以这句俗语是说，不能相信任何 人。这其实是对当今社会缺乏信任的一个比喻。我尤其感兴趣的是社会转型期出现的各种问题。在我看来，这 句俗语触碰到了两性间的问题：两性之间不存在信任。对应这个主题我还做了个作品：我做手术取出了我的第 八根肋骨，拿它做成一条项链，让我生命中重要的女人戴上，并为她们拍照。2003 年的时候产生了这个作品的 观念，五年之后才实现了它。六月底我已经开始准备，本该8月6日做手术，后来中间出了一些事情，手术不得不 推迟到8月8日。

HNJ: In Chinese mythology there is talk of the island of immortals. You have nothing to do with that?

HYC: No, already as a child I had fights and scuffles with other boys that resulted in me being injured and bleeding. Because of that, I already had to experience then that people are mortal. When, once in my childhood, I climbed a mountain to chop wood, I fell from a steep cliff into the depths, and when I came round again, I was afraid I had broken something.

But I hadn´t injured myself. And when once again I would swim in the river during the floods and I returned safely to the bank again, I breathed a sigh of relief that I was still alive. That was wonderful.

HNJ: You have repeatedly spoken of the limits you want to overcome and of the restrictions you free yourself from.

HYC: The restrictions of today’s society are similar to those that people experienced in our province due to religion. I have overcome these limitations. If someone recognises they are limited by something, they then have the chance to resist it.

It is a question of one’s own will.

HNJ: You apparently define the will as free. Have you concerned yourself with Jean-Paul Sartre’s definition of freedom?

第八根肋骨 约：你刚刚说的这些让人马上想到上帝创世时让亚当沉睡，取出他一根肋骨创造夏娃的故事。这是你做这个作品 的起因吗？ 何：创作的一个动机确实与中学时阅读《圣经》有关。此外我想到过一个笑话，也和这个作品有点关系。有个小伙 子在公园里溜达，就在他想撒尿的时候保安走了过来阻止他。小伙子反驳道，我自己的东西取出来看看，不行

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HYC: I don’t know very much about Sartre. In this context I would like to come back to my experience as a thirteen year-old.

When I went to middle school after that, I read many books in the library, and during my education I never stopped studying Nietzsche and Schopenhauer. But at some point I no longer wanted to be ruled by the thoughts of others and so I sharply curtailed my reading. For young people, like I was then, Nietzsche is like schnapps. As soon as one drinks it, one feels refreshed and thinks one has the whole world at one’s feet. At the time, I read almost everything by him that was translated into Chinese. For me, “Thus Spoke Zarathustra” was the height of all that was thinkable. But today that’s not important to me at all. I have forgotten it.

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吗？我做手术取出来的肋骨也是这样，它是我的肋骨，所以我想怎么处理它也是我自己的事情。我当时有不少

HNJ: Now, the whole time here in your studio I can see this tree sculpture with branches full of pigs. What are you referring to?

想法，其中一个是想把我的小腿骨取下来做成一只笛子，还有比如说把左右手拇指切下来，左右交换、缝合回

HYC: To an old Chinese expression that says: if you can rely on a man or a woman, then a pig can also climb a tree. Everyone knows that this is impossible. Therefore the expression suggests that one can’t rely on anyone. Basically this is a metaphor for contemporary society, in which there is a lack of trust. What interests me especially are problems that arise in a period of upheaval in a society. In my view the Chinese saying touches on the problems of both sexes. There is no trust between them. For a further work about this subject I had my eighth rib surgically removed in order to make a necklace out of it, which I hung around the important women in my life in order to photograph them with it. I already had this idea in 2003, but I could only realise it five years later. I already prepared myself for it at the end of June. I should have been operated on August 6. But then something came up, so the operation date had to be postponed to August 8.

去。最后还是确定了“一根肋骨”这个方案。也许伤口会随着时间的流逝变小或者愈合到完全消失。我当时请 求医生取出我身上最长的一根肋骨，但医生说这太危险。最后他取出了一根25厘米长的肋骨。 约：你现在把这根肋骨握在手里有什么感觉？ 何：很平静。手术后的第二天还是第三天我忘了，我让一个朋友把那根肋骨拿来给我看。我刚看到它的时候，觉得 恶心甚至害怕——后来慢慢接受了这个作品。实际上我觉得这不是艺术品，更像是个玩具。我很高兴活着的时 候能见到自己的肋骨。 约：把肋骨打造的项链戴在对你重要的女人身上，我觉得你是想通过这种干预的方式象征性地占据上帝的位置。

The Eighth Rib

何：我喜欢《圣经》中的这个故事，但我不愿意把自己和上帝比较，或者把自己看做上帝。

HNJ: Based on what you say, I immediately think of the Christian creation story, according to which God put Adam into a deep sleep in order to create Eve out of his rib. Was that the catalyst for your work?

约：你的作品《报柱之信》也与刚才你说的“信任”有关。 何：这个作品主要与一个两千多年前庄子写下的故事有关：尾生与女期于梁下，女不来，水至不去，抱柱而死。我 在这45 分钟的作品实施中想唤醒的是人们对信任的渴望。作品中我把左手浇铸在混凝土中，直到不能动为 止——这是第一天早上六点时候的事。24小时后我把自己从混凝土中弄了出来。整个过程都在一座白雪覆盖 的山下、一间无门无窗的屋子内进行。屋里气温很低，冻得我搓手跺脚。而我的左胳膊不能动，所以不久之后 全身渐渐冻得没有知觉。 约：你为什么要在这么冰冷的环境中赤裸上身实施作品方案？

HNJ: What do you feel now, when you hold it in your hands?

何：因为我觉得行为作品主要靠身体去实施和呈现，所以在可能的情况下，我会选择赤裸地完成作品，只不过做这

HYC: I feel completely calm. On the second or third day after the operation I asked my friend to show me the rib. When I saw it in front of me, I felt disgust, and was even afraid of it. In the meantime, I have accepted the work. Actually, I think it isn’t an artwork, but more of a toy. I am happy to still be able to see my rib and therefore a part of my skeleton during my lifetime.

个作品的时候情况不允许。人在社会中通常要穿衣服，赤裸恰恰是对社会成规的一种否定。由此引申，儿童赤 裸地来到这个世界上，所以可以说赤裸是一种自然状态。基本上我把身体看做一具能活动的肉身。我会利用每 个可以赤裸的机会创作。2001年3月24日实施《摔跤: 1和100》时我必须穿着衣服，因为那是在学校进行的。 约： 《摔跤: 1和100》是一个什么样的作品？ 何：我在作品中要检验的是自我意志的坚韧程度以及人如何克服阻力实现自我意志。我想通过我的艺术移动阳 光、把河水分为两半、甚至在它身上划出一道伤口。 “摔跤”这个作品中个体优势是主题，也是为了检测自我意 志的强度。尽管我不可能赢，我还是想呈现内心的自我，即使是受伤的身体，仍然具有强大的贯彻力。 约：谈谈作品《金色阳光》吧，这个作品也非常危险！ 何：中国古人认为人可以用一根棍子移动整个大地。1999年10月3日，我在一所监狱的立面墙上完成了这个作品。中 午快11点的时候，作品开始：我把被阳光照射的墙面涂成金色，以此来模拟阳光；作为辅助，我手上拿着一面镜 子，把真实的阳光转移到监狱里面去，让阳光照射最阴暗的角落。 约：警察没找你麻烦吗？ 何：没有。我找了一个大学同学，他毕业后没找到合适的工作，就来监狱当看守。这个作品对身体有一些危险。我 把整个身子都涂上了漆，皮肤、毛孔被封住不能呼吸，作品完成后皮都肿了起来。实施过程中我休克了，一方面 天气太热，另一方面也和油漆的毒性渗入到我皮肤里有关。监狱里的犯人看着我的样子，都觉得我比他们惨 多了。

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HYC: An impulse for it does indeed come from the Bible, which I read in middle school. In addition, I thought of a joke. It´s about a boy who goes for a walk, and when he wants to urinate he is confronted by a guard. Then the boy retorts that it’s only his business if he takes his penis out of his pants. It’s no one else’s business. It’s also like that with the rib that I had surgically removed from myself. It belongs to me and thus it’s also my business what I do with it. At any rate, I had a whole series of ideas then. One of them was to whittle a flute out of my lower leg bone. Or I wanted to switch my right thumb for my left one. At the end I was left with the idea of the rib. Maybe over the years the scar will become smaller or heal in a way that it completely disappears. At the time, I asked the doctor to remove the longest rib from me. But he said it was too dangerous. So he removed the one that comprises a length of 25 centimetres.

HNJ: It seems to me as if with this intervention you assume the position of God on a symbolic level, by hanging the necklace made out of your rib around the women who mean something to you.

HYC: While I love this story from the Bible, I would never compare myself with God or make myself an equal to him.

HNJ: Your performance “Keeping Promise” also has to do with “trust”.

HYC: In the context of this subject, I think most of all of a Chinese episode written 2,000 years ago, about a man and a woman who arrange to meet on a certain day at a certain time. At the end one doesn’t know why she doesn’t come. The boy, who waits in vain, hugging the pillar, ultimately drowns in a flood. At heart, with my 45 minute-long work, I want to awaken a longing for trust. The action consisted of me laying my hand in concrete in such a way that I could no longer move it.

That was at six o’clock on the first day, and I only freed myself from the concrete 24 hours later. The whole thing took place in a room without windows or doors near a snow-covered mountain. Because the temperatures were quite low I had to move my hands and feet every now and then. But since I could not move my arm properly, after some time I had hardly any feeling anymore, first there and then in my entire upper body.

HNJ: Why carry out the performance with a naked upper body in such cold?

HYC: Because in my view performance is a body art. Insofar, when it is possible, I prefer to perform naked, but it wasn’t possible there. Insofar as people in society generally wear clothes, nudity is a denial of social conventions. Arising from the fact that children are born naked, one could also say that nudity is the state of nature. Fundamentally, for me the body is moving flesh. I take advantage of every opportunity to be naked that is provided to me. In the wrestling match on March 24, 2001, with a hundred people, I had to wear clothes because it took place in a school.

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约：每次实施作品后你的状态如何？ 何：每次实施作品后我都会觉得厌烦，不想再干了。不过过一段时间就又会为下一次现场激动起来。

自我意志和幸福 约：2006 年9月24日开始做《石头大不列颠漫游记》时你也是这个状态？ 何：是的。当时在英国认识了两个人，后来也成为了朋友。他们想拉着我去参加曼彻斯特的一个文化节。但我对此 没什么兴趣。后来这两个朋友在英国帮了我很多忙。本来我打算走完整个英国海岸线，大约6700公里的样子。 后来因为钱不够，只走了3500 公里，花了112天的时间。每天早上五点半起床，吃过早饭我就出发，带上一块随 便捡来的石头。同行的有一个向导和一个摄影师。快到中午的时候我们停下来休息，一起吃饭；之后，换另一 个向导和摄影师陪我走，一直走到晚上6点左右。每天大约走10 个小时。 约：为什么要带上一块石头？ 何：在我们这个社会里，人人被迫过着有效率的生活，你做什么事情都要有意义。而我想做一件看起来低效、没有 意义的事情。如果人为走而走，那就没有任何趣味。而当你在行走中带上一块石头，你至少就有个伴儿陪着你。 这块石头就像哥们或者合作者一样。 约：你知道西西弗的神话吗？你的这种徒步行走是不是也和它有某种联系？

HNJ: What is the subject of “Wrestling: One and One Hundred”?

HYC: With all my works I want to test how strong one’s own will is, and how much one can assert it against others. Through my art I want to either move the sunshine or separate the river into two parts or even inflict a wound on it. The wrestling match against superior powers also aims to measure the strength of my own will. Although it was improbable that I could win, I wanted to turn the inner self outward and prove that the body, though vulnerable, is nevertheless assertive.

HNJ: Let us skip to your action “Golden Sunshine”, in which you also put yourself at great risk!

HYC: In Chinese thinking there is the belief that a person is in the position to move the earth with a stick. This action took place on October 3, 1999 on the facade of a prison. Around 11:00 am I emulated the sunshine by brightening the facade with light gold paint. Holding a mirror in my hands, I then deflected the real sunshine into the interior of the prison.

Thus the sun also shone in a dark corner.

HNJ: You didn’t have any problems with the police?

HYC: No. Because I spoke with a former classmate, who, since he didn’t find a job after his studies, was working as a guard in a prison. Now this action was not exactly non-hazardous to my health, because I painted my entire body in such a way that my skin, which could no longer breathe, swelled. The fact that I eventually lost consciousness had to do on the one hand with the incredible heat, and on the other hand with the poison of the paint on my skin. The prison inmates who watched it found that my life was more miserable than theirs.

HNJ: How do you feel after a performance?

HYC: Every time I am overcome by a feeling of weariness. I don´t want to have anything more to do with it, but then, when a bit of time has passed, the next performance appeals to me.

何：嗯，我当然知道这个故事，中学时候我读过。我记得大概是西西弗受到诅咒，每天要把一块巨石滚到山峰上去， 但巨石又会自己滚下来。不过我这个徒步漫游和这个神话关系不大，更多地是因为我想通过它强调自然的魅 力。人应该努力着为每天更为贴近自然而活。很多英国人问起我这个作品的深层含义。我的答案是它没有什么 深层含义。如果一定要说有什么目标的话，也许就是想最终把石头带回到捡起它的地方。 约：路上的情形如何？ 何：总有一种你应当在这里的感觉，而且越进行下去这种感觉越强烈、越熬人。但是无论有什么问题，我都要把这 个作品做完。路上我还想到，虽说英国的风景很漂亮，但是和我一点关系都没有。我家乡的风景与我更亲密一 些，像旧友一般，美丽而自然。但是它只埋藏在我的心底，而现实中家乡的风景已成为城市化的牺牲品。最终我 只剩下对早已泯灭的家乡无尽的念想。

HNJ: Was it also like that for you with the action “The Rock Tours Round Great Britain” on September 24, 2006?

HYC: Yes. Incidentally, I already had the concept for it in mind when I met two people from England who later became my friends. They introduced me to an artist in England and advised me to take part in an art festival in Manchester, but that didn´t interest me at all. They helped me a lot with the action I later did. Originally, I had planned to walk around the entire coast of England, which comprises a total length of 6,700 kilometres. Due to lack of money we reduced the stretch to 3,500 kilometres, which I covered in 112 days. Every day I woke up at 5:30 in the morning. After breakfast I set off with a stone that I happened to find there, accompanied by a tour guide and a photographer. Towards noon we took a break and ate together. After that I set off again, but with another photographer and another tour guide until six in the evening. Every day I was on my feet for a total of ten hours.

约：你感受到中国和英国的不同了吗？

HNJ: Why did you carry a stone on your walk?

何：在每一个地方都能感觉得到。在自然中所有一切又很相似。

HYC: In order to explain that, I need to go into somewhat greater detail. In the society in which we live, one is encouraged to lead an efficient life. What one does is supposed to have a purpose, and I wanted to do something that appeared completely inefficient and pointless at first glance. If one runs in order to run, it doesn´t make any sense, nor is it fun. But if one carries a stone with one when one is underway, then at least one has a companion. The stone is something like a friend or a partner to cooperate with.

约：观看不仅在旅行中为你带来很多体验，它无时无刻都很重要。但这却无法阻拦你四年前让眼睛经受巨大的 折磨。 何：是的，在一个装有 256 个40瓦灯泡的不锈钢支架里，也就是说一共一万瓦的能量，我睁着眼睛坐了一个小时。之 后我的视力下降了。做这个作品也是想表达这样的意图，即人有权利支配自己的身体。让自己的视力下降甚至 消失完全是我自己的事情，我自己的决定。 约：给我的感觉是，你是在一步步地测试自己整个身体的负荷能力。先是腿，然后是眼睛、肋骨……

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The Own Will and Happiness

HNJ: Do you know the myth of Sisyphus? And does the walk with the stone possibly have a connection to it?

HYC: Yes, of course I know the epic, because I actually read it twice in middle school. What I remember is that Sisyphus is condemned to roll the stone to the peak of a mountain every day, but at night it loosens itself and rolls back down again.

The walk with the stone has less to do with the myth than with the fact that it is important for me to accentuate nature.

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何：有时候是有意识的，有时也是完全无意。这是一种对身体、对世俗界限的挑战。我的行为作品不是最极端的， 我知道有一个艺术家一年要割下自己阴茎上的一块肉，后来因为伤口感染死了。还有一个印度的艺术家用一条 绳子把自己的手这样向上捆起来，让他的手无法再放下来。 约：这种极端对待自我的兴趣从何而来？ 何：我希望通过我的行为引起观者些微想改变自己生存状态的愿望。作品实施过后我会觉得越来越安宁、平和、安 详，嗯，除了我自己，没有什么可以限制我。生命中的每一刻都是最美的。生命本身提供给我们的机遇要比社 会层面所说的多得多。人应该恰当地对待自己的身体和灵魂。身体和灵魂要依随其自身，而不是屈从于社会身 份。只有当你认识到内心的自我时，你才会觉得幸福。

One should make an effort every day to become even closer to nature. Many English people asked about the deeper meaning of the action. I answered that it had none. If one really wanted to talk about a goal, then the intention was to bring the stone back to the place one took it away from. They couldn’t relate to that.

HNJ: How was it on the road?

HYC: I always had the feeling I was there where I should be. However, the longer the action took, the harder and more brutal it became. But I definitely wanted to complete it, against all resistance. What I also thought on the road was that, while the landscape of England is beautiful, it has nothing to do with me. I feel closer to the landscape of my home. For me, it is like an old friend, beautiful and natural. But it only remains that way in my heart, because in reality this landscape has fallen victim to the process of urbanisation.

HNJ: How did you experience the differences between China and England?

翻译：苏伟

HYC: They were only apparent in the city. In contrast, outside in nature everything appeared to me completely similar to China. In England I walked through the grass by the sea, which was part of a nature sanctuary.

HNJ: As stimulating as sight can be when you are travelling, you still subjected your eyes to torture four years before.

HYC: Yes, in a room built out of scaffolding with 256 40-watt light bulbs, which together produced 10,000 watts. I sat there an entire hour with my eyes open. Afterwards, my eyesight had become very weak. The intention was also to show plainly that a person´s own body is at his disposal, enduring what he subjects it to. It is only my own business and decision, whether I weaken my eyesight or even destroy it.

HNJ: My impression is that, over time, with these actions you are subjecting nearly your entire body to tests of endurance.

One time it is the legs, one time the eyes, one time the ribs.

HYC: Sometimes it happens consciously, sometimes unconsciously. It has to do with challenging the body as well as the limits of society–this is part of freedom. My performance art is certainly not the most extreme, because I know of one artist who cut off a piece of his penis every year, until he eventually died from an infection of his wound. Another artist from India used a rope to tie his hand so high up over the course of seven years that afterwards he could no longer take it down.

HNJ: From where does this tendency to treat yourself so radically come from?

HYC: It probably has to do with the fact that after the first performance of this kind I had the incredible feeling of being completely free. Ultimately, my performance art is a confrontation with society. My hope with it is that what I do provokes the desire in the viewer to change his existence a little bit. After the performance I myself have the feeling I become more and more peaceful, harmonic and calm. Yes, I feel how through it my freedom becomes greater and more intensive and I don´t feel limited by anything but by my own will, so by myself. I place great value on the dignity of people. Every moment of life is the most beautiful for me. Yes, life offers far more possibilities than society claims it does. A person should treat his body and his soul justly. He should follow more what is his own, rather than bending himself to fit a social identity. One can only experience something like happiness when one pursues one’s inner self.

Translator: Alexandra Skwara

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“行为的翅膀 —— 何云昌”展览现场，麦勒画廊 北京-卢森，中国北京，2009 年 Exhibition views, “The Wings of Live Art – He Yunchang”, Galerie Urs Meile, Beijing-Lucerne, Beijing, China, 2009

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1999-2009 部分作品

Selected Works 1999-2009

《猪上树》 2009 铜 “ When Pigs Can Climb Trees” 2009

bronze

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《猪上树》 2009 铜着色 “ When Pigs Can Climb Trees” 2009

painted bronze

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《猪上树》2009, 局部 “ When Pigs Can Climb Trees” 2009, detail

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《猪上树》2009, 局部 “ When Pigs Can Climb Trees” 2009, detail

《1斤钉子》 2009 纯金 “500 Grams of Nails” 2009

fine gold

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《1斤钉子》2009, 局部 “500 Grams of Nails” 2009, detail

《深潜 2000008 年 7月17日》 2008 c-print, 视频 行为: 2008年7月17日 中国北京尤伦斯当代艺术中心 (UCCA) “Deep Diving on July 17, 2000008” 2008 c-print, video

Performance: July 17, 2008 Ullens Center for Contemporary Art (UCCA), Beijing, China

何云昌试图呈现想象中的，大约在一百万年以后某一水中意外事件的片断。

He Yunchang attempted to present an imagined scene of an aquatic accident that will happen around 1 million years from now.

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《石头大不列颠漫游记》 2006/07, 局部

c-print

行为: 2006 年 9月24日至2007年1月14日 英国 “The Rock Tours Round Great Britain” 2006/07, detail

c-print

Performance: September 24, 2006 to January 14, 2007 UK

何云昌在英国东海岸一个叫 Boulmer 的地方随意拣起一块石头，然后拿着它围绕大不列颠岛绕行一圈。最终把石头放回原处。旅行历时112 天，行程大约3,500公里。

He Yunchang picked a random rock from Boulmer, located on the east coast of England, and carried it on foot around the perimeter of the island of Great Britain.

Eventually, he returned the rock to its original location. The pilgrimage took 112 days and covered approximately 3,500 kilometers.

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《龙鱼》2006, 局部

c-print

行为: 2006年 3月11日 英国纽卡斯尔艺术中心 “Dragon Fish” 2006, detail

c-print

Performance: March 11, 2006 Newcastle Arts Centre, UK

何云昌在地上书写“龙鱼”，然后围绕这两个汉字连续运动24小时。

He Yunchang wrote the two Chinese characters “dragon fish” on the ground and ran continuously around the characters for 24 hours.

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《尼亚加拉瀑布的岩石》2005

c-print

行为: 2005年 10月22日 美国布法罗 “Rock in the Niagara Falls” 2005

c-print

Performance: October 22, 2005 Buffalo, USA

何云昌企图在尼亚加拉瀑布的一块岩石上停留24小时，后因故中断。

He Yunchang attempted to stay on a rock in Niagara Falls for 24 hours. However, the process was interrupted.

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《铸》(No. 2) 2004

c-print

行为: 2004年4月23-24日 中国北京东京画廊 (BTAP) “Casting” (No. 2) 2004

c-print

Performance: April 23-24, 2004 Beijing Tokyo Art Projects (BTAP), Beijing, China

《铸》(No. 1) 2004, 局部

c-print

何云昌把自己整体浇铸在水泥墩里，然后在水泥墩里停留 24 小时。

He Yunchang sealed himself inside a cement block and stayed inside for 24 hours.

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“Casting” (No. 1) 2004, detail

c-print

《视力检测》 2003

c-print

行为: 2003年11月27日 中国北京798艺术区 “Eyesight Test” 2003

c-print

Performance: November 27, 2003 798 Art District, Beijing, China

何云昌注视1万瓦的灯光 60 分钟，使自己的视力有所下降。

He Yunchang focused his eyes on a group of lights whose brightness measured 10,000 watts for 60 minutes in order to weaken his eyesight.

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《抱柱之信》 2003

c-print

行为: 2003年10月24-25日 中国云南，丽江 “Keeping Promise” 2003

c-print

Performance: October 24-25, 2003 Lijiang, Yunnan, China

何云昌把自己的一只手浇铸在水泥里，保持 24 小时。

He Yunchang had one of his hands cemented inside a concrete block for 24 hours.

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《枪手》 2001

c-prints

行为: 2001年3月31日 中国昆明 “Gunman” 2001

c-prints

Performance: March 31, 2001 Kunming, China

何云昌与消防车和高压水枪对峙30分钟。

He Yunchang was sprayed with a fire engine’s high-pressure water hoses for 30 minutes.

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《摔跤: 1和100》2001, 局部

c-print

行为: 2001年3月24日 中国昆明 “Wrestling: One and One Hundred” 2001, detail

c-print

Performance: March 24, 2001 Kunming, China

何云昌连续与100人进行摔跤比赛，成绩为何云昌18胜、82负。全过程历时66分钟。

He Yunchang wrestled with one hundred persons in a row. The final record showed that He Yunchang had 18 wins and 82 defeats. The process lasted 66 minutes.

100

《与水对话》 1999

c-print

行为: 1999年2月14日 中国云南，梁河 “Dialogue with Water” 1999

c-print

Performance: February 14, 1999 Lianghe, Yunnan, China

何云昌企图将河水分为两半，左右臂开一厘米深刀口，血顺手臂流入水中，历时 90 分钟。

He Yunchang attempted to divide the river into two halves, with his left and right arms cut 1 centimeter deep and the blood dripping down his arms and into the river.

The perfomance lasted 90 minutes.

102

《金色阳光》(No. 2) 1999

c-print

行为: 1999年10月3日 中国云南，安宁监狱 “Golden Sunshine” (No. 2) 1999

c-print

Performance: October 3, 1999 Anning Prison, Yunnan, China

《金色阳光》(No. 1) 1999, 局部

c-print

何云昌试图移动阳光，历时127分钟。

He Yunchang attempted to move the sunlight. The performance lasted 127 minutes.

104

“Golden Sunshine” (No. 1) 1999, detail

c-print

Biography

简历

1967

出生于云南

1967

born in Yunnan, China

生活和工作于北京

lives and works in Beijing, China

主要个展

Selected Solo Exhibitions

2010

“行为的翅膀—何云昌”，麦勒画廊 北京-卢森，瑞士，卢森

2010

“The Wings of Live Art – He Yunchang”, Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland

2009

“行为的翅膀—何云昌”，麦勒画廊 北京-卢森，中国，北京

2009

“The Wings of Live Art – He Yunchang”, Galerie Urs Meile, Beijing-Lucerne, Beijing, China

2008

“存在的尺度”，印度尼西亚国家美术馆，印度尼西亚，雅加达

2008

“The Ability to Exist”, Galeri Nasional Indonesia, Jakarta, Indonesia

2007

“石头大不列颠漫游记”，纽约前波画廊，美国，纽约

2007

“Rock Touring Around Great Britain”, Chambers Fine Art, New York, USA

主要联展 2009

“第四届福冈亚洲艺术三年展”，福冈亚洲美术馆，日本，福冈

2009

“The 4th Fukuoka Asian Art Triennale 2009”, Fukuoka Asian Art Museum, Fukuoka, Japan

“Yi Pai – Century Thinking”, Today Art Museum, Beijing, China

“13 NO KAOS”, Duffy Gallery, Kunming, China; Jie Fu Gallery, Beijing, China

2008

“Our Future: The Guy & Myriam Ullens Foundation Collection”, Ullens Center for Contemporary Art, Beijing, China

“Mahjong – Contemporary Chinese Art from the Sigg Collection”, The University of California, Berkeley Art Museum, Pacific Film Archive, Berkeley, USA

“Beijing ’08 Contemporary Art Exhibition”, Beijing Black Bridge Museum, Beijing, China

“Free Fall”, Chen Linghui Contemporary Space, Beijing, China

2007

“Out of Control”, KU Art Center, Beijing, China

“Performa 07”, Washington Square Park, New York, USA

“Net”, Chambers Fine Art, Beijing, China

“Starting from the Southwest – Exhibition of Contemporary Art in Southwest China”, Guangdong Museum of Art, Guangzhou, China

“Foreign Objects”, Kunsthalle Wien, Vienna, Austria

2006

“He Yunchang: Works”, Spacex, Exeter, UK, Liverpool Biennial, Liverpool, UK

“Cold Energy: Sensibility and Power”, Pyo Gallery, Beijing, China

2005

“The Wall – Reshaping Contemporary Chinese Art”, The Albright-Knox Art Gallery, New York, USA; Millennium Art Museum, Beijing, China

“缘分的天空—2005中国当代架上艺术油画邀请展”，深圳美术馆，中国，深圳

“Sky of Destiny – 2005 Invitation Exhibition of Chinese Contemporary Oil Paintings”, Shenzhen Art Museum, Shenzhen, China

“以身观身—中国行为艺术文献展”，澳门现代艺术博物馆，澳门

“Inward Gazes – Documentary of Chinese Performance Art”, Macao Museum of Art, Macao

“十成十第二届当代艺术展”，宋庄画家村，中国，北京

“Ten Times Ten – The Second Exhibition of Contemporary Art”, Songzhuang Artists Village, Beijing, China

“麻将—希客中国当代艺术收藏展”，伯尔尼美术馆，瑞士，伯尔尼

“Mahjong – Chinesische Gegenwartskunst aus der Sammlung Sigg”, Kunstmuseum Bern, Bern, Switzerland

“意派—世纪思维”，今日美术馆，中国，北京 “十三不靠”，杜菲雪茄画廊，中国，昆明；杰夫画廊，中国，北京

2008

“我们的未来—尤伦斯基金会收藏展”，尤伦斯当代艺术中心，中国，北京 “麻将—希客中国当代艺术收藏展”，加利福尼亚大学，伯克利美术馆，太平洋电影文献馆，美国，伯克利 “北京08’当代艺术展”，北京黑桥美术馆，中国，北京 “自由落体”，北京陈绫蕙当代空间，中国，北京

2007

“意外 失控”，KU 艺术中心，中国，北京 “07国际行为艺术双年展”，华盛顿广场，美国，纽约 “网”，前波画廊，中国，北京 “从西南出发”，广东美术馆，中国，广州 “有异物”，维也纳艺术馆，奥地利，维也纳

2006

“何云昌：作品”，斯贝斯画廊，英国，艾克斯特；利物浦双年展，英国，利物浦 “冷能— 情感与力量”，表画廊，中国，北京

2005

106

Selected Group Exhibitions

“墙：中国当代艺术二十年的历史重构”，中华世纪坛世界艺术馆，中国，北京；奥尔布莱特－诺克斯美术馆、纽约州立大学水牛城分 校美术馆、安德森美术馆，美国，纽约

107

2004

2003

2002

2001

2000

108

“亚洲艺术工作室”，现代艺术馆，意大利，博洛尼亚

2004

“Officina Asia”, Galleria d’Arte Moderna, Bologna, Italy

“身体 中国”，马赛现代艺术博物馆，法国，马赛

“Chine, le corps partout? (China, The body everywhere?)”, Musée d’Art Contemporain, Marseilles, France

“派队—苏州河”，东廊画廊，中国，上海

“Matchmaking at Suzhou Creek”, EastLink Gallery, Shanghai, China

“什么艺术”，陕西省美术博物馆，中国，西安

“Is it Art?”, Shanxi Provincial Art Museum, Xi’an, China

“阿昌的坚持”，北京东京艺术工程，中国，北京

“A Chang’s Persistence”, Beijing Tokyo Art Projects (BTAP), Beijing, China

“堕落”，中国现代艺术基金会，比利时，根特

“Degenerated”, Modern Chinese Art Foundation (MCAF), Gent, Belgium

“沙迦双年展”，阿拉伯联合酋长国，沙迦

2003

“Sharjah International Art Biennial”, Sharjah, UAE

“人工呼吸”，三合艺术中心，中国，北京

“Artificial Aspiration”, Sanhe Art Center, Beijing, China

“我们在一起”，北京今日美术馆，中国，北京

“Together with Migrants”, Beijing Today Art Museum, Beijing, China

“丽江国际艺术展示节”，中国，丽江

“Lijiang International Art Festival”, Lijiang, China

“釜山双年展”，韩国，釜山

2002

“Pusan Biennale”, Pusan, South Korea

“中国现代”，FAAP，巴西，圣保罗

“Chinese Modernity”, Fundación Armando Alvares Penteado (FAAP), Sao Paulo, Brazil

“切入”， 艺术文件仓库（CAAW），中国，北京

“Cut In”, China Art Archives & Warehouse (CAAW), Beijing, China

“新亚洲艺术精神”，韩国，汉城

“New Spirit of Asian Art”, Seoul, South Korea

“中国当代摄影展”，北京四合苑画廊，中国，北京

“Highlights of the Chengdu Biennale”, Courtyard Gallery, Beijing, China

“跑、跳、爬、走”，北京远洋艺术中心，中国，北京

“Run, Jump, Climb, Walk”, Yuanyang Art Center, Beijing, China

“成都双年展”，成都现代艺术馆，中国，成都

2001

“The 1st Chengdu Biennale”, Chengdu Museum of Modern Art, Chengdu, China

“发光体”，艺术文件仓库（CAAW），中国，北京

“Visibility”, China Art Archives & Warehouse (CAAW), Beijing, China

“错觉时态”，前波画廊，美国，纽约

“Dislocation”, Chambers Fine Art, New York, USA

“不合作方式”，上海东廊，中国，上海

2000

“Fuck Off”, Eastlink Gallery, Shanghai, China

“20 世纪中国油画展”，北京中国美术馆；中国，北京；上海美术馆，中国，上海

“Chinese Oil Paintings of the 20th Century Show”, National Art Museum of China (NAMOC), Beijing, China;

Shanghai Art Museum, Shanghai, China

109

出版文献

Bibliography

出版物

Publications

华艺莎艺术中心（编） （2008）， 《存在的尺度》，北京，华艺莎艺术中心出版

Vanessa Art Link (2008). The Ability to Exist – He Yunchang Art Works. Jakarta, Indonesia and Beijing, China: Vanessa Art Link.

何云昌（编） （2007）， 《石头大不列颠漫游记》，北京，何云昌

He Yunchang (2007). The Rock Touring around Great Britain. Beijing, China: He Yunchang.

北京东京艺术工程（编） （2004）， 《铸：何云昌行为艺术作品》，北京，北京东京艺术工程出版 北京东京艺术工程（编） （2003）， 《阿昌的坚持 ─何云昌作品展》，北京，北京东京艺术工程出版

文献节选

Beijing Tokyo Art Project (BTAP) (2004). Ar Chang’s Persistence – An Exhibition of He Yunchang’s Works. Beijing, China: Beijing Tokyo Art Project.

Beijing Tokyo Art Project (BTAP) (2004). Casting – He Yunchang’s Performance Work. Beijing, China: Beijing Tokyo Art Projects.

Selected Bibliography

艾未未（2008）， 《参考资料一（摘自《阿昌的坚持》）》， 《存在的尺度》，华艺莎艺术中心出版，141-142页

Brewerton, A. (2008). Human Scale – He Yunchang in Performance. In: The Ability to Exist – He Yunchang Art Works. Jakarta, Indonesia and Beijing, China: Vanessa Art Link. pp. 155-178.

《参考资料二（摘自《铸》）》， 《存在的尺度》，华艺莎艺术中心出版，144-146 页 唐昕（2008），

Gao Minglu (2008). He Yunchang. In: Gao Minglu. La Escuela Yi – Treinta Años de Arte Abstracto Chino. Barcelona: Fundaćion la Caixa. p. 158.

《参考资料三（摘自《墙：中国当代艺术的历史与边缘》）》， 《存在的尺度》，华艺莎艺术中心出版，148-151页 高名潞（2008），

Gu Zhenqing (2008). He Yunchang’s Redemption. In: The Ability to Exist – He Yunchang Art Works. Jakarta, Indonesia and Beijing, China: Vanessa Art Link. p. 152.

《参考资料四（摘自《何云昌的自我救赎》）》， 《存在的尺度》，华艺莎艺术中心出版，152页 顾振清（2008），

Jiang Ming (2008 a). The Ability to Exist – Diversified explanations on He Yunchang’s behavior art work. In: The Ability to Exist – He Yunchang Art Works. Jakarta, Indonesia and Beijing, China: Vanessa Art Link. pp. 7-38.

《参考资料五（摘自《自编自演的“神话”以及自己和自己较劲看何云昌作品的心得》）》， 《存在的尺度》，华艺莎艺术中心 栗宪庭（2008）， 出版，153页

Jiang Ming (2008 b). It feels like being caught by devils – Interview with He Yunchang. In: The Ability to Exist – He Yunchang Art Works. Jakarta, Indonesia and Beijing, China: Vanessa Art Link. pp. 45-136.

《人性的尺度─ 何云昌的行为艺术》， 《存在的尺度》，华艺莎艺术中心出版，155-178页 安德鲁 · 布华顿（2008），

Skinner, T. (2008). In the Studio with Performance artist He Yunchang. Time Out Beijing. 49, p. 52.

《何云昌：冲突地带般的镜像》， 《存在的尺度》，华艺莎艺术中心出版，192-195页 瑞弗基 ·艾芬迪（2008），

Suyono, S. J., Suditomo, K. (2008). Seorang ‘Anarkis’ dari Yunnan. Tempo. XXXVII, 3, pp. 92-93.

《何云昌》， 《意派─ 中国“抽象”三十年》，巴塞罗那储蓄银行基金会出版，58-59，158-159页 高名潞（2008），

Clapham, R.L. (2007). Writing from Live Art – Interview Between He Yunchang and Rachel Lois Clapham. Available: http://www.liveartuk.org/writingfromliveart/ indexf92e.html. Last accessed August 2, 2009.

《从西南出发》，澳门出版有限公司出版，286-287 页 高名潞（2008），摘录《墙：中国当代艺术的历史与边缘》， 《何云昌和他的行为摄影》， 《中国摄影家》，北京中国摄影家杂志出版社出版，68-69页 黑明（2008）， 《存在之能─ 对何云昌行为作品的多元阐释》， 《存在的尺度》，华艺莎艺术中心出版，7-38页 江铭（2008 a）， 《抓住魔鬼的感觉─ 何云昌访谈》， 《存在的尺度》，华艺莎艺术中心出版，45-136 页 江铭（2008 b），

Li Xianting (2007 a). A myth He Yunchang writes and directs and challenge he poses against himself – What I have learnt from He Yunchang’s works. In: He Yunchang (2008). The Rock Touring around Great Britain. Beijing, China: He Yunchang. pp. 6-7.

Li Xianting (2007 b). A myth He Yunchang writes and directs and challenge he poses against himself – What I have learnt from He Yunchang’s works. Excerpt quoted in: He Yunchang (2008). The Rock Touring around Great Britain. Beijing, China: He Yunchang. pp. 6-7. Quoted in: Vanessa Art Link (2008). The Ability to Exist – He Yunchang Art Works. Jakarta, Indonesia and Beijing, China: Vanessa Art Link. p. 153.

《身体艺术》， 《中国后现代艺术》， 飞鸿文化股份有限公司出版，78-80页 江铭（2008），

Anon (2006). He Yunchang – Dialogue with Water. In: Chan Hou Seng (Ed.). Inward Gazes – Documentaries of Chinese Performance Art. Macau, China: Museu de Arte de Macau.

《自编自演的“神话”以及自己和自己较劲看何云昌作品的心得》， 《石头大不列颠漫游记》，何云昌，8-9页 栗宪庭（2007），

Cheng Meiling (2006). Extreme Performance and Installation From China. Theatre Forum. 29, pp. 88-96.

《以身观身─ 中国行为艺术文献展专集》，澳门艺术博物馆，38-41页 轶名/何云昌（2006），

Tan, Adele (2006). He Yunchang. Contemporary magazine – special issue on performance. 89, pp. 96-99.

《阿昌的坚持》， 《阿昌的坚持 ─ 何云昌作品展》，北京东京艺术工程出版，5页 艾未未（2004），

Fibicher, B. (2005). He Yunchang. In: Mahjong – Contemporary Chinese Art from the Sigg Collection. Ostfildern-Ruit, Germany: Hatjie Cantz Verlag. p. 312.

110

111

何云昌（2004）， 《成年人的童话》， 《1990年以来的中国先锋摄影》，湖南美术出版社出版，120-125页 《铸》， 《阿昌的坚持 ─ 何云昌作品展》，北京东京艺术工程出版，1-2页 唐昕（2003）， 《成年人的童话》， 《中国当代艺术访谈录》，东八时区出版，34-39页 何云昌（2002）， 《摔跤: 1和100》《强手》， 《新潮7月刊》，新潮杂志社出版，46-49页 何云昌（2001）， 《对抗游戏》， 《新潮7月刊》，新潮杂志社出版，49，51页 张离（2001），

Gao Minglu (2005 a). Privatized Bodies. In: Gao Minglu, The Wall: Reshaping Chinese Contemporary Art, Beijing, China: Millennium Art Museum; University at Buffalo, Albright-Knox Art Gallery. pp.175-178.

Gao Minglu (2005 b). Contending with Cement and Machines [He Yunchang]. In: Gao Minglu, The Wall: Reshaping Chinese Contemporary Art, Beijing, China: Millennium Art Museum; University at Buffalo, Albright-Knox Art Gallery. pp. 225-227.

Gao Minglu (2005 c). Contending with Cement and Machines [He Yunchang]. In: Gao Minglu, The Wall: Reshaping Chinese Contemporary Art, Beijing, China: Millennium Art Museum; University at Buffalo, Albright-Knox Art Gallery. pp. 225-227. Excerpt quoted in: Vanessa Art Link (2008). The Ability to Exist – He Yunchang Art Works. Jakarta, Indonesia and Beijing, China: Vanessa Art Link. pp. 148-151.

Ai Weiwei (2004 a). Ar Chang’s Persistence. In: Ar Chang’s Persistence – An Exhibition of He Yunchang’s Works. Beijing, China: Beijing Tokyo Art Projects (BTAP). p. 6.

Ai Weiwei (2004 b). Ar Chang’s Persistence. In: Ar Chang’s Persistence – An Exhibition of He Yunchang’s Works. Beijing, China: Beijing Tokyo Art Projects (BTAP). p. 6.

Excerpt quoted in: Vanessa Art Link (2008). The Ability to Exist – He Yunchang Art Works. Jakarta, Indonesia and Beijing, China: Vanessa Art Link. pp. 141-142.

Carol Lu (2004). A Festival with a Cause – Carol Lu reports on the first Beijing Dashanzi International Art Festival. Flash Art International. XXXVII, 237, p. 48.

Tang Xin (2004). A Dialogue Concerning Casting. In: Casting – He Yunchang’s Performance Work. Beijing, China: Beijing Tokyo Art Projects (BTAP). pp. 16-24.

Tang Xin (2003 a): For “Casting” – Written prior to He Yunchang’s Solo Exhibition. In: Ar Chang’s Persistence – An Exhibition of He Yunchang’s Works (2004). Beijing, China: Beijing Tokyo Art Projects (BTAP). p. 3-4.

Tang Xin (2003 b): For “Casting” – Written prior to He Yunchang’s Solo Exhibition. In: Ar Chang’s Persistence – An Exhibition of He Yunchang’s Works (2004). Beijing, China: Beijing Tokyo Art Projects (BTAP). p. 3-4. Excerpt quoted in: Vanessa Art Link (2008). The Ability to Exist – He Yunchang Art Works. Jakarta, Indonesia and Beijing, China: Vanessa Art Link. pp. 144-147.

He Yunchang (2002). A Fairy Tale for Grown Ups. In: Sigg, U., Szeemann, H. (2002). Chinese Artists, Texts and Interviews – Chinese Contemporary Art Awards (CCAA) 1998-2002. Beijing, China: Timezone 8 Ltd. pp. 35-38.

112

113

List of Works

作品目录

P. 17

《一根肋骨》(No. 1) 2009, 8 版

c-print 159.8 x 126 cm P. 19

《一根肋骨》(No. 2) 2009, 8 版

c-print 159.8 x 126 cm P. 21

《一根肋骨》(No. 3) 2009, 8 版

c-print 159.8 x 126 cm P. 23

《一根肋骨》(No. 4) 2009, 8 版

c-print 159.8 x 126 cm P. 25

《一根肋骨》(No. 5) 2009, 8 版

c-print 159.8 x 126 cm P. 26-29

《夜光》2009 肋骨, 纯金 直径 21-23 cm

P. 30-31

《一根肋骨》2008/09 纪录片截图 彩色, 12'52'' DVD, 10 版

P. 36

《一根肋骨 · 轮回》2009 布面油画

220 x 150 cmP. 33 P. 39

《一根肋骨 · 释然》2009 布面油画

90 x 120 cm

P. 82-83

《1斤钉子》2009 纯金 135 x 约 0.5 (直径) x 2.9-3.1 cm

90 x 120 cm

c-print 126 x 182 cm, 9 版 180 x 260 cm, 6 版 视频: 30 分钟, 10 版 P. 86-87

《石头大不列颠漫游记》2006/07, 9 版

c-print 35 x 45.5 cm x 112 幅

P. 41

《一根肋骨 · 自己和自己》2009 布面油画

150 x 220 cm P. 42

《一根肋骨 · 旁观》2009 布面油画

120 x 320 cm P. 43

《一根肋骨 · 查房》2009 布面油画

120 x 320 cm

《一根肋骨 · 小护士》2009 布面油画

c-print 63 x 360 cm, 9 版 126 x 720 cm, 6 版

P. 34

c-print 126 x 205 cm, 12 版 180 x 288 cm, 6 版 P. 92

c-print 126 x 236 cm, 12 版 170 x 300 cm, 6 版

220 x 150 cm

90 x 120 cm P. 35

《一根肋骨 · 手术中》2008 布面油画

90 x 120 cm

114

P. 77

《猪上树》2009, 6 版 铜

182 x 110 x 102 cm P. 79

《猪上树》2009, 6 版 铜着色

182 x 110 x 102 cm

《枪手》2001

c-print 50 x 62 cm x 4 幅, 18 版 126 x 95 cm x 4 幅, 8 版

P. 100-101 《摔跤: 1和100》2001 c-print 63 x 360 cm, 18 版 126 x 720 cm, 10 版 P. 103

《与水对话》1999

c-print 126 x 189 cm, 10 版 180 x 267, 6 版

P. 91

《尼亚加拉瀑布的岩石》2005

P. 93

《一根肋骨 · 消毒》2008 布面油画

P. 99

P. 88-89

《龙鱼》2006

《铸》(No. 2) 2004

P. 44

c-print 60 x 50 cm, 18 版 188 x 126 cm, 10 版

P. 85

《深潜 2000008 年7月17 日》2008

P. 40

《一根肋骨 · 术后》2008 布面油画

P. 97

《抱柱之信》2003

《铸》(No. 1) 2004, 局部

c-print 126 x 195 cm, 12 版 170 x 300 cm, 6 版 P. 95

《视力检测》2003

c-print 120 x 90 cm, 10 版 180 x 126 cm, 8 版

P. 104

P. 17 “One Rib” (No. 1) 2009, edition of 8 c-print 159.8 x 126 cm

P. 36 “One Rib - Samsara” 2009 oil on canvas 220 x 150 cm

P. 82-83 “500 Grams of Nails” 2009 fine gold 135 x ca. 0.5 (Ø) x 2.9-3.1 cm

P. 19 “One Rib” (No. 2) 2009, edition of 8 c-print 159.8 x 126 cm

P. 39 “One Rib - Relieved” 2009 oil on canvas 90 x 120 cm

P. 85 “Deep Diving on July 17, 2000008” 2008 c-print 126 x 182 cm, edition of 9 180 x 260 cm, edition of 6 video: 30 minutes, edition of 10

P. 21 “One Rib” (No. 3) 2009, edition of 8 c-print 159.8 x 126 cm

P. 23 “One Rib” (No. 4) 2009, edition of 8 c-print 159.8 x 126 cm

P. 25 “One Rib” (No. 5) 2009, edition of 8 c-print 159.8 x 126 cm

《金色阳光》(No. 2) 1999

c-print 63 x 86 cm, 20 版 96 x 126 cm, 8 版 126 x 180 cm, 5 版 P. 105

《金色阳光》(No. 1) 1999

c-print 86 x 63 cm, 20 版 126 x 96 cm, 8 版 180 x 126 cm, 5 版

P. 26-29 “Night Light” 2009 rib, fine gold ø 21-23 cm

P. 30-31 Stills from documentary “One Rib” 2008/09 color, 12'52'' DVD, edition of 10

P. 34 “One Rib - Disinfection” 2008 oil on canvas 90 x 120 cm

P. 35 “One Rib - During the Surgery” 2008 oil on canvas 90 x 120 cm

P. 40 “One Rib - Post Surgery” 2008 oil on canvas 90 x 120 cm P. 41 “One Rib - Myself and Myself ” 2009 oil on canvas 150 x 220 cm P. 42 “One Rib - Observing From the Sidelines” 2009 oil on canvas 120 x 320 cm P. 43 “One Rib - Ward Round” 2009 oil on canvas 120 x 320 cm

P. 86-87 “The Rock Tours Round Great Britain” 2006/07 edition of 9 c-print 35 x 45.5 cm x 112 photographs P. 88-89 “Dragon Fish” 2006 c-print 63 x 360 cm, edition of 9 126 x 720 cm, edition of 6 P. 91 “Rock in the Niagara Falls” 2005 c-print 126 x 205 cm, edition of 12 180 x 288 cm, edition of 6

P. 44 “One Rib - Small Nurse” 2009 oil on canvas 220 x 150 cm

P. 92 “Casting” (No. 2) 2004 c-print 126 x 236 cm, edition of 12 170 x 300 cm, edition of 6

P. 77 “When Pigs Can Climb Trees” 2009 edition of 6 bronze 182 x 110 x 102 cm

P. 93 “Casting” (No. 1) 2004 c-print 126 x 195 cm, edition of 12 170 x 300 cm, edition of 6

P. 79 “When Pigs Can Climb Trees” 2009 edition of 6 painted bronze 182 x 110 x 102 cm

P. 95 “Eyesight Test” 2003 c-print 120 x 90 cm, edition of 10 180 x 126 cm, edition of 8

P. 97 “Keeping Promise” 2003 c-print 60 x 50 cm, edition of 18 188 x 126 cm, edition of 10

P. 99 “Gunman” 2001 c-print 50 x 62 cm x 4 photographs, edition of 18 126 x 95 cm x 4 photographs, edition of 8

P. 100-101 “Wrestling: One and One Hundred” 2001 c-print 63 x 360 cm, edition of 18 126 x 720 cm, edition of 10

P. 103 “Dialogue with Water” 1999 c-print 126 x 189 cm, edition of 10 180 x 267 cm, edition of 6

P. 104 “Golden Sunshine” (No. 2) 1999 c-print 63 x 86 cm, edition of 20 96 x 126 cm, edition of 8 126 x 180 cm, edition of 5

P. 105 “Golden Sunshine” (No. 1) 1999 c-print 86 x 63 cm, edition of 20 126 x 96 cm, edition of 8 180 x 126 cm, edition of 5

115

出版：麦勒画廊 北京-卢森 编辑：麦勒画廊 北京-卢森 文章：艾未未 , 箫岭, Heinz-Norbert Jocks 翻译：黄一（中）, 苏伟 (中), Alexandra Skwara (英), 迈涯 (英) 校对：申彤（中） 设计：李建辉 摄影：阿容, 戴春贵, 老三 , 刘戎 , 任启瑞 , 孙建伟, Oak Taylor-Smith, 夏星 , 谢洪莲 , 徐涛

© 2009 麦勒画廊 北京-卢森, 何云昌 印刷：中国, 北京

Publisher: Galerie Urs Meile, Beijing-Lucerne Editor: Galerie Urs Meile, Beijing-Lucerne Texts: Ai Weiwei, Nataline Colonnello, Heinz-Norbert Jocks Translators: Huang Yi (C), Su Wei (C), Alexandra Skwara (E), Maya Kóvskaya (E) Copy Editor: Anya Shen (C) Designer: Li Jianhui Photography: A Rong, Dai Chungui, Lao San, Liu Rong, Ren Qirui, Sun Jianwei, Oak Taylor-Smith, Xia Xing, Xie Honglian, Xu Tao

致谢： 阿容, 艾未未, Irène Christen, 萧岭, 戴春贵, 杜义斌, 符开轮, 何忠洪, 侯聪书, 黄一, 姜波, 蒋舒宇, Heinz-Norbert Jocks, 迈涯, 老三, 李钢, 李宏卫, 李建辉, 李梅, 刘戎 , 卢辰 , 庞爱民 , 里柯, 全宝 , 任启瑞 , Karin Seiz , 申彤, Alexandra Skwara , 丁达韦, 苏伟, 孙建伟, 谭学斌 , Oak Taylor-Smith , 文宾, 夏星 , 谢洪莲 , 徐涛, 徐鑫满 , 杨东 , 杨文萍, 杨真洪, 张海军 , 张丽伟, 张小平, 朱丽亚 , 昆明亚当医院医护人员

© 2009 Galerie Urs Meile, Beijing-Lucerne, He Yunchang All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, including but not limited to photocopying, transcribing or by any information storage and retrieval system, without written permission from the publisher.

谨向以上所有参与人员和其他相关朋友表示衷心感谢。

ISBN: 978-3-9523342-4-9

Acknowledgements:

Printed in China

A Rong, Ai Weiwei, Irène Christen, Nataline Colonnello, Dai Chungui, Du Yibin, Fu Kailun, He Zhonghong, Hou Congshu, Huang Yi, Jiang Bo, Jiang Shuyu, Heinz-Norbert Jocks, Maya Kóvskaya, Lao San, Li Gang, Li Hongwei, Li Jianhui, Li Mei, Liu Rong, Lu Chen, Pang Aimin, Enrico Polato, Quan Bao, Ren Qirui, Karin Seiz, Anya Shen, Alexandra Skwara, David Spalding, Su Wei, Sun Jianwei, Tan Xuebin, Oak Taylor-Smith, Wen Bin, Xia Xing, Xie Honglian, Xu Tao, Xu Xinman, Yang Dong, Yang Wenping, Yang Zhenhong, Zhang Haijun, Zhang Liwei, Zhang Xiaoping, Zhu Liya, and the medical staff of Kunming Adam Hospital

麦勒画廊, 北京市朝阳区草场地104号, 邮编 100015, 电话 +86 10 643 333 93

Galerie Urs Meile, No. 104, Caochangdi, Chaoyang District, Beijing, PRC 100015, T +86 10 643 333 93 Galerie Urs Meile, Rosenberghöhe 4, 6004 Lucerne, Switzerland, T+41 41 420 33 18 galerie@galerieursmeile.com, www.galerieursmeile.com

特别感谢：乌斯 · 麦勒

Special thanks to all the people who have participated in or assisted in the realisation of this project.

Special thanks: Urs Meile