LiuDing_I WROTE DOWN SOME OF MY THOUGHTS by LAB

CONTENTS

刘鼎：重塑的语境文：丁达韦

Liu Ding:Frameworks Framed by David Spalding

作品

Works

附录 2000-2008 部分作品

APPENDIX Selected Works 2000-2008

简历

Biography

出版文献

Bibliography

版权本画册为刘鼎个展我写下我的一些想法——刘鼎而出版 2009年4月18日至7月4日展出于瑞士卢森麦勒画廊北京-卢森

This catalogue was published on the occasion of Liu Ding’s solo exhibition: I WROTE DOWN SOME OF MY THOUGHTS – LIU DING at Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland, from April 18 to July 4, 2009

感谢： Irène Christen, 箫岭, 李红卫, 李建辉, 卢迎华, Urs Meile, 里柯, Karin Seiz, 申彤, Oak Taylor-Smith, 丁达韦, 苏伟, 黄韵然

Acknowledgements: Irène Christen, Nataline Colonnello, Li Hongwei, Li Jianhui, Carol Yinghua Lu, Urs Meile, Enrico Polato, Karin Seiz, Anya Shen, Oak Taylor-Smith, David Spalding, Su Wei, Winnie Won Yin Wong

Imprint

我们常常为制造出来的命题投入感情。

We tend to become emotionally involved in subject matters that were invented.

假设这是一个讨论的开始。

Let’s suppose this is the beginning for a discussion.

刘鼎：重塑的语境

文：丁达韦

北京艺术家刘鼎的创作具备了一种犹如病毒般的批判风格。无论是照片、雕塑、装置、绘画还是行为艺术，他都能游刃有余地运用这些媒介进行创作，并通过这些作品去质疑那些赋予艺术作品价值和涵义的各种符号和结构；像作品的定价、艺术家签名、制作方法、原创性、展示地点和方式。通过不断的变异，他的作品几乎经受住了任何环境的考验且愈发活力四射，并能感染它所触及的一切。在这一过程中，它也将艺术家的地位、艺术作品、偶尔参与制作作品的工人、展出其作品的画廊和美术馆、收藏家，以及能够为作品制造、强化或否定其不同涵义的观众所依赖的观念范畴和解读语境置于危险的境地。

Liu Ding: Frameworks Framed by David Spalding

The critique waged by the work of Beijing-based artist Liu Ding is best characterized as viral. Through his practice, which crosses genres fluidly and includes photography, sculpture, installation, painting and performance, the artist questions the various signs and structures used to confer value and meaning onto artworks. These include pricing schemes, the artist’s signature, methods of production, notions of originality, and sites and modes of display. By continually mutating, his work endures and even thrives in nearly any context, threatening to infect all it touches. In the process, it jeopardizes the status of the artist, his artwork, the workers who sometimes fabricate it, the galleries and museums that present it to the public, the collectors who buy it, and, increasingly, the conceptual categories and interpretive frameworks used by viewers who produce, privilege and deny its various meanings.

作为艺术家系列作品《转型期的标本》中的一个组成部分，刘鼎为第二届广州三年展创作作品《产品》（2005），为此，他从邻近城市的大芬村征募了十三位职业画家；大芬村被誉为“中国油画工厂”，每天出产上千幅油画来支撑当地巨大的油画出口产业。在这个所谓的中国最重要的国际艺术展的开幕式上，在刘鼎的安排下，大芬村的画家们在这里表演绘画流水作业的过程。画家们被安排在广东美术馆内临时搭建的金字塔形的平台上，他们从一块画布移动到另一块画布，为四十幅几乎一模一样的风景画添加各自的部分（一位画棵树，另一位画只鹳，以此类推）。画家们获得他们工作四个小时的工厂标准酬劳。完成的作品留在展场内展示直至三年展结束。

通过展示《产品》这一作品，刘鼎不仅挑战了三年展评价艺术家的标准，同时也质疑了艺术市场赋予艺术品价值

For Products (2005), commissioned for the Second Guangzhou Triennial as an installment of the artist’s multi-part series Samples from the Transition, Liu Ding enlisted the participation of thirteen professional artists from the nearby city of Dafencun, China’s “painting factory” village, where workers produce thousands of paintings daily to fuel a giant export business. Under Liu Ding’s direction, the artists performed their assembly-line painting process during the opening of what is arguably China’s most important international art exhibition. Working in an ancillary site temporarily annexed by the Guangdong Museum of Art, the painters were positioned on a pyramid of platforms, where they moved from canvas to canvas as they added their contributions (one artists paints only a tree, another a stork, and so on) to forty nearly identical landscape paintings. The painters were paid their standard factory wage for their four hours of work. The resulting paintings remained on view for the duration of the exhibition.

的能力。毕竟，与三年展上其他作品不同的是大芬村制作的艺术品的品质和价值是透明的：质量检验人员将完全符合模板的油画验收为合格，对不符合模板的油画进行修改或者销毁。这些作品的价值也同样一目了然，就像一家名为 Eager Art 的公司在它的网站上向潜在客户解释的： “油画的价格是由绘画的难易程度决定的。1”在《产

Through his staging of Products, Liu Ding challenged the criteria that the Triennial uses to confer merit upon artists, and the ability of the art market to bestow value on works of art. After all, unlike the other works in the Triennial, the quality and value of the artworks made in Dafencun is

品》中，刘鼎坚持将创作过程所需的劳动力（即劳动者）放到幕前，由此揭示并还原了油画作为一种商品的地位。他留给观众一个问题去思考：大芬村制作的油画与三年展上展出的其他作品有何不同，原因何在？2

为继续讨论具体的语境（context）如何改变我们对艺术及其价值的理解，第二年，刘鼎在法兰克福展出了这些镶上金框的大芬村油画，把这些画以沙龙风格的展示方式挂在一个搭建起来的带有红色墙壁和成套古董家具的起

transparent: paintings that accurately resemble their models are approved by quality control agents; those that do not are revised or destroyed. The value of the works is equally clear-cut, as one company, called Eager Art, explains to potential customers on their website, “The price of paintings is decided [by] whether they are easy or hard to paint.1” In Products, the paintings’ status as commodities is both revealed and undone by Liu’s insistence that the labor (indeed, the laborers) required for their production are visible. Audiences were left to consider how the paintings made in the Dafencun factories differ from the other works on view in the Triennial, and why.2

居室里。3 这些出身卑微、被装在鎏金画框中的油画，在“欧洲”奢华象征的氛围衬托下，身价彷佛扶摇直上；其中许多作品只是半成品，但这些“产品”虽假却又似乎能代表财富和品味。最近，在布里斯托的 Arnolﬁni艺术中心，刘鼎展出了作品《刘鼎的商店——带回家实现你心中的无价》4（

2008年），从而启动了名为“刘鼎的商店”的全新

项目。为了这个项目，艺术家再次回到油画村，订购了十种类似于在酒店客房内随处可见的那些平庸无奇，足以让客人安心入睡的油画，而与它们又有着重要的区别。刘鼎所定制的每幅画中只有符号般局部的图案浮于白色的背景上，其他部分似乎被人从画面上抹去了。例如，一幅画中，夺目的橙色落日悬于一片空白中，而另一作品是潺潺的瀑布凭空流动，蜿蜒于隐去的岩石之间。这些油画经艺术家签名，每幅标价仅100英镑。如同项目名称本身的提示：买家可以将油画带回家并自己（根据心中的“无价形象”）完成空白的部分，或者原封不动地收藏，期待作品的价值随着刘鼎的名声日渐显赫而稳步上升。毕竟，只消花上不足高档饭店的一顿饭钱就能收藏一个上升中的中国艺术家的作品，这样的机会不可多得。而且补全油画不就是对作品外观的一种破坏吗？刘鼎提醒我们，存在于我们心中的形象绝对不是无价的。他暗示买家盈利的可能是否会超越表达自我情感的渴望：你可以选择在画布上继续创作，但这样做无疑会破坏原作，降低油画的价值；你也可以把这幅买来的画当作是一种投资。

在将大芬村油画这一主题推向了极限后，2008年，刘鼎开始将他的注意力从艺术作品的商品地位转向了对于艺术和视觉文化涵义产生过程的广泛研究。语境，作为一件“物品”升华为“艺术品”的决定性因素，又一次成为了艺术家关注的焦点；但这次，艺术家更为谨慎地掂量历史和解读的框架，彼此权衡并加以测试。这也意味着作品在视觉上将产生变化。尽管刘鼎过去的创作中充斥着艳俗美学的特质（kitsch）——如大芬村的煽情的风景和《小人物的狂想》（2005年）中使用的塑料宝石——他的新作似乎尤显严肃。视觉享受即刻降为次要地位，甚至为零。在随后的作品《经验与意识》（2008年）中，艺术家借用一系列黑白风景照片，配以手写文字，并做出了如下论断：我们对风景的理解和脑海中的形象从来都不是中立的，而是被一股更深层的文化力量所左右。

刘鼎在麦勒画廊（卢森）的首次个展我写下我的一些想法——刘鼎中，基于由作品《经验与意识》所引发的一些关注及延伸，他将展出一组密切相关的作品来挑战我们赖以驾驭生活和艺术的认知体系。其中的一些作品依然是照片式的画面（快照及视觉素材）和仔细写下的文字的搭配，不禁令人回想起六、七十年代的观念艺术，那种反美学的态度，以及它所具有的被归类、认可和评价的需求。于是，那时表现为激进的却成为了现在的一种风格，借助一整套视觉性的手段来定位一组限定在特定历史条件下的新作，从而去营造一种带有哲学性思考的氛围。

但如果我们仅从展览题目的字面意义来理解，这个展览中刘鼎的作品只是由个人的思考而引发的轻松的表述（可能也无法超越个人思考的范畴）。的确，刘鼎是在与他在这一阶段之前的作品进行着对话。实际上，这个展览不仅

Continuing his exploration of how context can shift our perception of art and its value, in Frankfurt the following year, Liu Ding presented the Dafencun paintings in gold frames, hung salon-style in a staged sitting room, complete with red damask wallpaper and a suite of carved wood furniture.3 In their gilded frames, surrounded by symbols of “European” luxury, the paintings were clearly adept at social climbing, given their humble origins; even though many were in a state of partial completion, these Products were both over the top and somehow plausible markers of wealth and taste. More recently, at Arnolfini in Bristol, Liu Ding offered Liu Ding’s Store - Take Home and Create Whatever is the Priceless Image in Your Heart 4 (2008), initiating a new, ongoing project called Liu Ding’s Store. The artist again returned to the painting village, commissioning ten banal paintings of the type one encounters in hotel rooms—those anonymous creations that promise to soothe guests into pharmaceutical sleep—but with important differences. Each painting offers up only a single, iconic image floating in a field of white. Everything else appears to have been erased, so that in one work, a glowing orange sunset hovers over emptiness, while in another, a saccharine waterfall floats in space as it curls around invisible rocks. The paintings were signed by the artist and sold for a mere £100 each. The project’s title is an invitation: buyers can either take home the paintings and complete them (relying on those “priceless images” in their hearts) or they can hang onto the work in hopes that Liu Ding’s reputation will continue to grow and that the work’s value will steadily increase. After all, how often does one have the chance to collect a work by a rising Chinese artist for less than the cost of a good meal? And wouldn’t completing the painting be an act of defacement? The images in our hearts, Liu Ding reminds us, are never priceless. The buyer is implicated whether or not the possibility of profit surpasses the desire for personal expression: one can either add to the canvas, eroding its value by undermining is authorship, or recognize the purchase as an investment. Having pushed the Dafencun paintings to their limits, in 2008 Liu Ding began to shift his focus away from the artwork’s status as a commodity and began a broader investigation of the production of meaning in art and visual culture. Again, the emphasis was on context as a decisive factor in the elevation of object to artwork, but here historical and interpretive frameworks are more carefully considered, weighed against one another and tested. This signaled a change in the way the work looked. While kitsch had been the ruling aesthetic in much of Liu Ding’s prior practice—the sentimental landscapes of Dafencun and the plastic gemstones used in Fantasies for Small Potatoes (2005), to name just two examples—the new work seemed to blanch in its seriousness. Suddenly, visual pleasure was secondary, even relegated. Experience and Ideology (2008) followed: a series of appropriated, black and white nature photographs paired with hand-written texts that made assertions about how our perceptions and images of the landscape are never neutral, but instead encoded by larger cultural forces. For I WROTE DOWN SOME OF MY THOUGHTS - LIU DING, Liu Ding’s first solo exhibition at Galerie Urs Meile, Lucerne, the artist both focuses and extends the concerns raised by Experience and Ideology, bringing

仅是向公众展示精心准备的新作或一本日记体的素描簿；而更是一场经仔细构思的，为使我们重新审视我们用来划分世界的观念范畴的心理实验。

我写下我的一些想法——刘鼎这个展览中的创作并不代表刘鼎创作路线的完全偏离，而是他多年来不断深入探索而产生的结果，通过崭新的形式加以表现。因而，在作品《和马蒂斯的两次相遇》中（在这个展览中的作品均为

2009年制作），艺术家将其年少时曾见过的亨利·马蒂斯（Henri Matisse）的作品《报春花，蓝色与玫瑰红色织物》（1911年）的黑白印刷品与嘉士得 2009 年拍品目录中介绍伊夫 · 圣罗兰（Yves Saint Laurent）与皮埃尔 • 贝杰（Pierre Berge）藏品的那页（或那页的图片）并置在一起。在拍品目录的这页图片中，藏品的主人圣罗兰身后恰恰

together a body of closely related works in order to challenge the epistemological systems we use to navigate both life and art. With several works again pairing photographic images (snapshots, found visual material) with careful, hand-written texts, one is immediately reminded of the conceptual art of the 60s and 70s, with its anti-aesthetic stance and its need to catalogue, count and comment. But what was radical then has become a style, a series of visual tropes used to situate this new artwork within a particular history and lend it an air of detached philosophical contemplation. Indeed, Liu Ding’s exhibition is in dialogue with the artwork of this earlier period, but if we are to take the exhibition’s title at face value, it suggests a casual conversation, sparked by (and perhaps not moving beyond) personal reflection. This would be a mistake. The exhibition is not simply a display of recent works or a diaristic sketchbook, elaborated and made public; rather, it is a carefully engineered psychological experiment that asks us to reconsider the conceptual categories into which we’ve divided our worlds.

挂着马蒂斯的同一幅作品。这两张图片被随意地粘贴在白色的背板上，衬以用来吸引观众视线的粉绿色的外框。（对于刘鼎而言，画框是一个重要的符号，能体现艺术家对于“视觉”和“可见性”的不同理解。前者是生理视觉上的，而后者则是在社会条件作用下的。）

正如大芬村的油画从工厂到三年展并最终进入一个奢华的（即便是人为搭建的）起居室内，刘鼎希望我们去思考《报春花，蓝色与玫瑰红色织物》是如何从一幅图画本身（没有画框，没有环境）变成了一件在著名设计师房中的奢华装饰品；还有，作品如何在与圣罗兰和其它那些组成他的趣味的藏品发生联系后变得价值连城？

在图片的下方，刘鼎写道：

1987年我见到了这幅马蒂斯作品的黑白印刷品，随意、幻想、平静和奔放把我迷住了，我希望自己去到这样一个没有拘束的世界和他一样任意，洒脱。我不停地临摹，临摹。

The work in I WROTE DOWN… is not a complete departure for Liu Ding, but rather the result of a deepening exploration of ideas he has been working through for several years, presented in a new way. Hence Encountering Matisse Twice (all works in the show are dated 2009), which unites a black and white reproduction of Henri Matisse’s Les Coucous, tapis bleu et rose [The Cowslips, Blue and Rose Fabric] (1911) that the artist had seen as a teenager with a page (or picture of a page) from Christie’s 2009 auction catalogue for the Yves Saint Laurent and Pierre Berge Collection, which shows the same work hanging behind its owner, Saint Laurent, in his home. These images are taped casually to a large white background and placed in a pale green frame, which is meant to catch the viewer’s eye. (Frames are important to Liu Ding, another obvious but potent symbol of his interest in the difference between vision, which is optical, and visuality, which is socially conditioned.) As with the Dafencun paintings, which went from the factory to a Triennial and finally to a sumptuous (if artificial) living room, Liu Ding wants us to think about how the reception of Les Coucous, tapis bleu et rose changes as it goes from being strictly an image (no frame, no context) to one element in the luxe interior of a famous designer’s home. How is the work’s value increased through its association with Saint Laurent and the other elements in his taste-making collection?

2009年在拍卖的画册看到了这个作品，精致的外框，著名而优雅的拥有者，漂亮的居所，美丽的饰物，娇嫩的鲜花，一切是那么的雍容，稳重。名誉，政治，公共认识度，金钱把这一切变得协调。

最近，在圣罗兰藏品拍卖会上标为第55号拍品的这件马蒂斯作品以 35,905,000 欧元（含佣金）的天价拍出可能只是偶然。这里有两方面值得注意：一方面，根据刘鼎所讲述的发生在1987年的令其“一时倾倒”的经历，艺术家安排了一幅没有语境，但又能使人意会的画，（诚然， “一遍又一遍地临摹”意指“说话人”在不知章法的情况下试图领会作品精髓却始终不得要领。）；另一方面，则是刘鼎对于伊夫·圣罗兰目录照片的描述，其中充满了溢美之词（“精致的、著名的、优雅的、雍容的、美丽的、娇嫩的、高雅的、古典的”），似乎他欣然接受这个财富、名誉和品位的结合体来改造他对艺术品的看法。然而，上述这两种猜测都无法令人满意，让我们不禁要质疑“说话者”的立场和真实性，对展览中的文本部分进行推敲。（请注意我在这里所使用的称谓的变化，从直呼艺术家的名字到较为疏远的称谓 ——“说话者”）。在阅读作品中的文字时，我们不仅仅在思考艺术家的想法，也同时面对着一种蓄意的挑衅和诡计。

Below the pictures, Liu Ding writes: In 1987, I saw this black and white print of Matisse’s work, casual, inventive, peaceful, uninhibited. I was enchanted. I was hoping to reach a world as carefree as his. All I could do was copying and copying his work. In 2009, I saw this work again in color in an auction catalogue, with a very refined frame, a famous and sophisticated owner, in a handsome house, with beautiful decorations and delicate flowers. Everything was so graceful and classic. Fame, politics, public recognition, and money has unified everything under one roof. It may be incidental that Matisse’s work, labeled Lot 55 at the Saint Laurent auction, was recently sold for a staggering € 35,905,000, including buyer’s premium. Two more things are of interest here: the positing of an unmediated image with which one could commune, as suggested by the “enchanted” experience in 1987 (indeed, the “copying and copying” implies the speaker has no interpretive rubric as he tries, unsuccessfully to make the work his own); and the celebratory description of the YSL catalogue photo, which floridly overflows with adjectives (“refined, famous, sophisticated, handsome, beauti-

另一件直接写在彩色照片上的文字作品《艺术无处不在》，也是说话者将装有零食的冰柜误认为艺术品后而得出的结论。冰柜默默地注视着观众，尽管作品的题目提升了它的地位，冰柜似乎知道因为自己不是艺术而令我们失望了，才特意提供所剩不多的饮料和零食来安慰我们。

经常参观美术馆的人都曾有过这样的经历。事实上，美术馆有这种能将任何进入其空间的事物变成艺术的能力，而这种令人迷惑的催化效果是刘鼎的展览作品中又一个值得注意的框架，它也是杜尚（Duchamp）曾提出过最著名的问题。正是杜尚的这些“现成品”成为那些步其后尘的观念艺术家的一个重要的起点。1969年，约瑟·柯淑思 “不借助任何外部语境的‘现成品’的出现，标志着艺术的关注点从表述形式转向所表述的 (Joseph Kosuth)主张：内容……这一从‘形式’到‘观念’的变化——是‘现代’艺术的开端，也是‘观念艺术’的开端。5 ”因此，杜尚对于观念艺术的影响提供了解读这个展览的又一条线索，因为刘鼎正在重新演绎着现成品的故事，但所使用的视觉语

ful, delicate, graceful, classic”) as it seems to uncritically embrace the conflation of wealth, fame and taste that have reshaped the artist’s perception of the artwork. Neither of these possibilities is satisfying, but instead calls into question the position and authenticity of the speaker (notice my slippage here, between the artist’s name and the more distanced “speaker”), which is constructed through our engagement with the exhibition’s textual component. In reading the works’ inscriptions, we are not merely reflecting on the artist’s thoughts, but are confronted by something else—a deliberate provocation, a ruse.

Art is Everywhere, the title of another work pairing a color photograph with text, is also the conclusion drawn by the speaker after mistaking a refrigeration unit containing snacks for an artwork. With its strangely anthropomorphic proportions, the refrigerator stares out at viewers dumbly, offering its last few soft drinks and snacks as if in consolation for having disappointed us for not being art, despite the title that graces it.

言却来自于杜尚的后来者们。

然而，刘鼎所着眼的是另一个历史的上下文。作品《历史》是一件照片拼贴并饰以文字的作品，艺术家试图为展览中的另一幅作品《照片》设计一段异质的当代艺术史。《照片》本质上是一张经艺术家全面处理的未曝光的相纸，形状为 30 x 40 cm 的长方形，被固定在较大的、镶黑框的白色背景上（135x 125cm ）。作品玩笑式的空洞名称，使观众可以从不同的视角观看《照片》。我认为作品所探讨的是照相媒介的物质性（而不是号称作为打开另一个世界的窗口）以及它与“持久性”的指向性关系，这种关系在 Dinh Q. Lê 使用未曝光的胶片制作的各类编织作品中经常能够见到，其反映的是尚未发生的却可能发生的历史；杉本博司拍摄的电影屏幕的长曝光照片也具有相同的特质。每位观众都会对此作品产生不同的联想。

但是，刘鼎希望观众在理解《照片》时能将其与三幅特定的作品联系起来：伊夫·克莱因（Yves Klein）的《空》（1985年），克莱因在个展“在原始的状态下将感觉凝滞在图像性的敏感中”中展出清空的画廊和其中空无一物的玻璃柜；汤姆·弗雷德曼（Tom Friedman）通过“凝视着纸”而制作的《1000 小时的凝视》（1992-1997年），以及

Ignasi Aballi 2001 年使用修正液将一面镜子涂成白色的作品。把一台冰箱放入泰特美术馆里，它是否就成为了一件艺术品？让一张空白的相纸与当代作品进行对话，它是否也成为了一件艺术品呢？答案正如刘鼎对于冰箱问题的回答： “这很难说。”

刘鼎一直在强调作品的语境和我们对作品的判断的关系。你可能认为，这些被刘鼎介定为《照片》的先例的作品

Everyone who frequents contemporary art galleries has had an experience like this one. In fact, the institution has the power to transform anything that enters it into art, and this sometimes disorienting catalytic effect is yet another framework to be considered in the context of Liu Ding’s exhibition. It’s an issue most famously introduced by Duchamp, whose readymades were a central point of departure for the generation of conceptual artists that followed. In 1969 Joseph Kosuth argued: “With the unassisted readymade, art changed its focus from the form of the language to what was being said….This change—one from ‘appearance’ to ‘conception’— was the beginning of ‘modern’ art and the beginning of ‘conceptual’ art.”5 Thus, Duchamp’s impact on conceptual art provides another interpretive clue in the exhibition, for Liu Ding is rehearsing the story of the readymade, but deploying the visual language of Duchamp’s successors to do so. Liu Ding, however, has another genealogy in mind. With History, a casually assembled photo-collage embellished with text, the artist plays with the possibility of locating another work in the exhibition, Photograph, within an idiosyncratic history of contemporary art. Photograph, essentially a piece of unexposed photo paper that the artist has fully processed, is a 30 x 40 cm white rectangle mounted on a relatively large (135 x 125 cm) white background, inside a black frame. With its teasingly empty title, Photograph can be engaged from any number of directions, suggesting to me discussions of the photographic medium’s materiality (rather than purporting to be a clear window onto other worlds) and its indexical relationship to duration, seen in works as varied as Dinh Q. Lê’s weavings made from unexposed film, which are meant to reflect potential histories that have yet to happen, and Hiroshi Sugimoto’s long-exposure photographs of movie screens, respectively. Every viewer will have different associations.

充其量只是虚假的形态，他们之间也只是表面的形似而已。然而， “空” （或空白）的概念是整个展览的核心，因为展出的许多作品保留了很多空白，我们可以在上面投射任何我们想要的涵义。通过运用文字和并置的方法，刘鼎利用了我们的可暗示性，鼓励我们在试图理解眼前的作品时尝试使用不同的概念框架。早在二十世纪六十年代初，美国艺术家罗伯特·莫里斯（Robert Morris）也简明扼要地阐述了此类问题：

从主观的角度来看，不存在真正的“空无一物”——空白形式（Blank Form）或任何其他的缺失情形都说明了这一点。

However, Liu Ding invites viewers to understand Photograph in relation to three specific artworks: Yves Klein’s La Vide [The Void], 1958, an empty vitrine in an empty gallery presented in his solo exhibition “The Specialization of Sensibility in the State of Raw Materials into Stabilized Pictorial Sensibility”; Tom Friedman’s 1,000 Hours of Staring (1992-1997), which is made of “Stare on Paper”; and a 2001 work by Ignasi Aballí in which the artist painted a mirror white by covering it with correction fluid. Does putting a refrigerator in the Tate make it art? Does putting a blank piece of photo paper in dialogue with works of contemporary make it art? As Liu Ding says of the refrigerator: “It’s hard to tell.”

只要“形式” （或最为宽泛地讲：情形）尚能被理解，只要它能够永久地在受众的理解范围内作为一个物体存在，那么当我把它称之为艺术时，受众就能以许多不同的方式对它做出反应。当然，如果我并不称之为艺术，那么受众的反应方式将截然不同。艺术在本质上是一种情形，人在艺术中根据自己对艺术的感知度而做出反应。6

在这整个展览中的作品与观念艺术的精神有很多地呼应。刘鼎试图在这里诠释的许多问题其实并不新鲜。尽管展览的作品借用了那个时期特有的视觉语言，艺术家可能并没有意识到，四十多年前的艺术家们在努力重新定义艺

Of course, Liu Ding is again highlighting the relationship between a work’s context and the judgments we make about it. One could easily argue that the works chosen by Liu Ding as precedents for Photograph are nothing more than false-morphologies, whose relationships to one another run no deeper than formal similarities. However, the notion of the void (or that which is blank) is central to the entire exhibition, because many of the works in the show are nothing more or less than blank screens onto which we can project whatever meanings we like. Through his use of text and juxtaposition, Liu Ding plays on our suggestibility, encouraging us to test a variety of conceptual frameworks as we try to make sense of what we’re seeing. American artist Robert Morris succinctly described this exact same set of issues with concision and clarity in the beginning of the 1960s:

术的过程中，早有此类作品的原形。正如我在前文中提到的，刘鼎此次展览的作品植根于对当代中国城市价值观的批判。顺着自己的创作轨迹，他发现了关于艺术作品地位、价值和涵义的问题，或者更宽泛地讲，发现了关于我们划分“现实”的本体论价值观的问题。陷于刘鼎编织的网中，我不得不承认，将刘鼎的探索与六、七十年代以欧美艺术家为主体的创作之间的比较，也揭示了塑造我自身艺术修养的历史和文化力量。更重要的问题是，在思考和比较处于截然不同的语境中艺术家的创作时，我们如何能不断地重塑“当代性” （contemporaneity）。

From the subjective point of view, there is no such thing as nothing—Blank Form shows this, as well as might any other situation of deprivation. So long as the form (in the broadest sense: situation) is not reduced beyond perception, so long as it perpetuates and upholds itself as being an object in the subject’s field of perception, the subject reacts to it in many particular ways when I call it art. He reacts in other ways when I do not call it art. Art is primarily a situation in which one assumes an attitude of reacting to some of one’s awareness to art.6

在刘鼎的展览中，艺术史在作品《历史》中被援引，而又在作品《忽略》中被彻底颠覆——一块大理石上放着一部超级完整虚构的艺术史集（名为：《中国当代艺术史：19XX — 2050》），大理石上写着“忽略是编撰历史的开始。” 它所表达的是：（艺术）历史，虽然声称客观中立，实际上是基于排他性和个人偏好的，是不可靠的。这种对历史的不完整性、偏颇性和排他性的看法已被学术界所认识，但刘鼎的作品进一步激活、体现并令观众体验到了这一观点，并即刻令我们质疑自己刚刚才对展览中的其它作品做出的判断。这个展览利用这种方式不断地给我们抛出理解其中作品的线索，又提醒我们去抛弃它们。

《我们常常为制造出来的命题投入感情》是一个半开半掩的黑色铁盒，上面写着： “假设这是一个讨论的开始。” 这一作品寓意一种扭曲了的极简主义姿态，如同被抽离的罗伯特·莫里斯（Robert Morris）或索丽· 莱维特（Sol

LeWitt）。铁盒的神秘和磁性吸引着你去发现其中可能藏有的殷实内容，只是匆匆一瞥，却发现其中空无一物。如果这真是讨论的开始，我们必须得找到一些讨论的话题。然而，评价这件作品，或仅仅描述它在展览环境中的形式特征或语义功能，都能证实艺术家的观点：任何事物，无论是独断的或具有普遍意义的，都能成为一个空白的屏幕，任由我们投射不同的涵义。这一作品并不“关于”任何事物，它是一个故意的留白，指向观众，着力于表现观者的思考框架和对内容的期望。刘鼎告诉我，他意图将《我们常常为制造出来的命题投入感情》用作展览的开场白。它“事实上并不代表任何事物，只是我虚构的主题。但因为作品被置于展览的环境中，观众将开始思考它的意义并投入情感。7”

Throughout the exhibition, one finds consonances with the cannon of conceptual art; many of the issues addressed by Liu Ding here are not new per se. Though the show relies on the period’s visual language, the artist may not be aware of the historical precedents that were set by artists working over forty years ago as they struggled to re-define art. As I have indicated above, Liu Ding has arrived at the questions raised by this exhibition—about the status, value and meaning of an artwork, and, more broadly, regarding the ontological categories into which we sort “reality”—by following the logic of his own practice, which is rooted in a critique of values in contemporary urban China. Trapped in Liu Ding’s web, I must admit that my comparison between Liu Ding’s investigation and the work of primarily American and European artists of the 1960s and 70s reveals as well the historical and cultural forces that have shaped of my own academic training. More importantly, it also raises questions about how contemporaneity must be continually reformulated when we consider and compare artists working in radically different contexts. In Liu Ding’s exhibition, art history is invoked by History and then turned on its head with Omission, a marble stone supporting an invented, impossibly complete art history book (A History of Chinese Contemporary Art: 19XX to 2050) and bearing the inscription “Omission is the beginning of the writing of history.” Here (art) history is presented as unreliable, based on exclusions and personal preferences, despite claims to objectivity and neutrality. While the notion that history is always partial, biased and based on the logic of exclusion is now commonly accepted within the academy, in Liu Ding’s exhibition, the concept is activated, embodied and experienced, as it poses a real-time challenge to the conclusions we may have just drawn about other works in the show. In this way, the exhibition constantly offers frameworks through which to understand the works, only to smash them.

展览中最为出色的作品《描写、叙述、描写、叙述》将两个中式花架叠摞在一起，用以表现我们的世界观如何深刻影响我们观察与想象的方式。如同凝结在物质文化中的思想一般，每个花架作为展示家养植物的场所，都体现了有关自然的特定理念，而非寻求中立。下面的花架由根茎状的轮生树根制成，其扭曲盘旋的外形让人不禁联想到蛇形的肌肉、卷曲的触角和未被发掘的地下世界。制作方式是具有数百年历史的中国传统根雕技艺，通过雕刻、着

We tend to become emotionally involved in subject matters that were invented is a partially opened, black iron box, upon which is written, “Let’s suppose this is the beginning of a discussion.” The work suggests a deformed minimalist gesture, a defiled Robert Morris or an orphaned Sol LeWitt. Mysterious and magnetic, the box lures you with the promise of its plenum, but a quick look inside

色、抛光等步骤使大自然的“现成品”更令人叫绝。在这个颤颤巍巍的花架上方，是另一个略小一些的用高温瓷烧制成的花架，一件难以置信、有着蓝、白色相间的山水图案的瓷器；在这个图案的上方，绘有一位渔夫端坐于小舟之上。在当代艺术的世界里，平台和作品支架通常总是方形和白色的，似乎每每在我们仔细端详它所托举的艺术作品或珍贵物件时它就消失了。在这个作品中，平台本身被赋予了文化的涵义——就像承载知识的平台——展现的是不同的表达方式和观察方式，而非植物、物品或其它艺术作品。

观看我写下我的一些想法——刘鼎这个展览时，你最终会开始质疑我们赖以体验并划分视觉景观的根本假设，就像我们在调试一架老万花筒的视角时，先朝向光亮处举起，再旋转一下它，去体会它所产生的不同效果。通过他的创作，刘鼎让我们更清楚地意识到，观看绝不是纯视觉的。他让我们重新思考我们固有的习惯，无论对艺术或生活都应尝试新的解读方式。

翻译：黄一

verifies that it is indeed empty. If this is, in fact, the beginning of a discussion, we’re going to need to invent something to talk about. And yet to write about this work, even if only to describe its formal qualities or semantic function within the context of the exhibition, validates the artist’s point: anything, however arbitrary or generic, can become a blank screen onto which we readily project meanings. Instead of being “about” anything, the work is a deliberate cipher, pointing back toward the viewer and highlighting our own frames of reference and desires for content. We tend…, Liu Ding told me, is meant to be the “opening line” of the exhibition. It “actually doesn’t represent anything, it’s a subject matter I have invented. But because it’s placed in the exhibition, people will begin to develop their thoughts around it and invest certain emotions into it.7” One of the strongest works in the exhibition, Descriptive, Narrative, Descriptive, Narrative, pairs two Chinese plant stands to show how our worldviews profoundly shape the way we see and imagine. Like ideas congealed into material culture, each stand—a platform for the display of domesticated nature—embodies particular conceptions of nature, rather than purporting neutrality. The base pedestal, made from a rhizomatic whorl of roots, whose twisting forms simultaneously suggest snaking muscles, curling tentacles and an untapped, subterranean world, is part of a centuries-old Chinese tradition of root carving that “assists” nature’s readymades through carving, staining and polishing to make them more fantastical. On top of this tremulous creature rests another, smaller stand, this one fashioned out of molten porcelain, an impossible ceramic landscape of melting blue and white mountains; on top, a painted scene depicts a fisherman perched on his boat within the same landscape. In the world of contemporary art, platforms and stands are usually rectilinear and white, pretending to disappear as the offer up artworks or precious objects for our scrutiny. Here the platforms themselves are culturally coded—like the platforms on which all our knowledge rests—displaying modes of representation, ways of seeing, rather than plants, objects or other artworks. Viewing the show I WROTE DOWN SOME OF MY THOUGHTS - LIU DING, one finally begins to question the most fundamental assumptions about how we experience and categorize our visual landscape. Moving between the works in the show, it’s as if we are testing the different lenses and filters of an antique kaleidoscope, turning it again and again as we hold it toward the light. Through the exhibition, Liu Ding heightens our awareness of the fact that seeing is never purely optical, inviting us to rethink old habits and make new interpretive choices both within and beyond the gallery’s walls.

http://www.eager-art.com，于2009年3月6日最后一次登陆。

http://www.eager-art.com last accessed on March 6, 2009.

摘自我的文章《无价的图象，无心的绘画：刘鼎的批判与共谋》引言部分。发表于《刘鼎——产品》，英国 Arnolﬁni艺术中心出版，2008年，70-73页

Portions of these introductory paragraphs previously appeared in my essay Priceless Images, Heartless Paintings: the Critical Complicity of Liu Ding. In: Liu Ding - Products. Bristol: Arnolfini, 2008. pp. 31-37.

刘鼎的展览“转型期的标本——产品”在2006年6月29日至7月22日期间在德国法兰克福 L.A. 画廊展出。

Liu Ding’s exhibition “Samples from the Transition - Products” was on view at the L.A. Galerie, Frankfurt (Germany) from June 29 to July 22, 2006.

Presented in the exhibition “Far West”, an exhibition on view at Arnolfini, Bristol (UK) from June 28 to August 31, 2008.

Kosuth, J. (1969). Art After Philosophy, Studio International, November-December 1969. Reproduced in Kosuth, J. (1991). Art After Philosophy and After, Collected Writings, 1966-1990. Guercio, G. (Ed.), with foreword by Lyotard, J-F. Cambridge, Mass: MIT Press.

于2008年6月28日至8月31日期间在英国布里斯托 Arnolﬁni艺术中心的“远西（Far West）”展上展出。

约瑟 ·柯淑思，《先哲学后艺术》，国际工作室，（1969年11月-12月）。再版于约瑟·柯淑思《先哲学后艺术之后续》文集，19661990年，G. Guercio编辑，由 Jean-Francois Lyotard作序（剑桥，麻省: MIT出版社，1991年）。

罗伯特·莫里斯，《空白形式（1960-61年）》，再版于 Peter Osborne，ed.,《观念艺术》（纽约：Phaidon，2005年），第195页。

在 2009 年3月2日写给作者的一封信中，刘鼎写道： “我想把这件作品作为展览的开始。我在黑色铁盒上写下的句子‘假设这是一个讨论的开始’是我为此次展览确定的开场白和主要思路。”

Morris, R. (1960-61). Blank Form. Reproduced in Osborne, P. (Ed.) (2005). Conceptual Art. New York: Phaidon. p.195.

“This is the work I tend to place at the beginning of this exhibition. The sentence written on the black box, ‘Let’s Suppose This is the Beginning for a Discussion’ is really my opening line and idea for this exhibition.” Liu Ding in an email to the author, dated March 2, 2009.

我们常常为制造出来的命题投入感情

We tend to become emotionally involved in subject matters that were invented

2009 铁

85 x 81 x 72 cm 2009 iron 85 x 81 x 72 cm 写在作品上的文字：假设这是一个讨论的开始。

Writing on the work: Let’s suppose this is the beginning for a discussion.

和马蒂斯的两次相遇

Encountering Matisse Twice

2009, 2版 (中文 1/2, 英文 2/2) 照片拼贴

115 x 91 cm 2009, edition of 2 (CN 1/2, EN 2/2) photo collage 115 x 91 cm 写在作品上的文字：

1987年我见到了这幅马蒂斯作品的黑白印刷品，随意，幻想，平静和奔放把我迷住了，我希望自己去到这样一个没有拘束的世界和他一样任意，洒脱。我不停地临摹，临摹。 2009年在拍卖的画册看到了这个作品，精致的外框，著名而优雅的拥有者，漂亮的居所，美丽的饰物，娇嫩的鲜花，一切是那么的雍容，稳重。名誉，政治，公共认识度，金钱把这一切变得协调。

Writing on the work: In 1987, I saw this black and white print of Matisse’s work, casual, inventive, peaceful, uninhibited. I was enchanted. I was hoping to reach a world as carefree as his. All I could do was copying and copying his work. In 2009, I saw this work again in color in an auction catalogue, with a very refined frame, a famous and sophisticated owner, in a handsome house, with beautiful decorations and delicate flowers. Everything was so graceful and classic. Fame, politics, public recognition, and money has unified everything under one roof.

写在作品上的文字：

CCTV

每次经过CCTV大楼总有一种魔力让我驻足留影，这是一座奇怪的大楼，北京人叫它裤衩。我喜欢这个扭曲的建筑。在集权的国家中秩序很重要，代表社会想像力的政府容纳了扭曲在其秩序中。习惯秩序的人民却又很难适应。

2009, 2版 (中文 1/2, 英文 2/2)

Writing on the work:

数码出片 36 件，各 34 x 29 cm

Every time I pass by the new CCTV building, I was always truck by a sense of magic. This is an unusual building. Beijingers nickname it as a pair of underpants. I like this twisted architecture. In a totalitarian state, orderliness is of extreme importance. The government that embodies the inventiveness of a society has tolerated such a distortion in its order. Yet the people who are used to orderliness find it difficult to accept.

2009, edition of 2 (CN 1/2, EN 2/2) c-prints 36 pieces, each 34 x 29 cm

28 28

29 29

艺术无处不在

Art is Everywhere

2009, 2版 (中文 1/2, 英文 2/2) 数码出片

115 x 91 cm 2009, edition of 2 (CN 1/2, EN 2/2) c-print 115 x 91 cm 写在作品上的文字：这是在泰特美术馆卖食品的冰柜。放在一个干净的角落里。我以为是作品。但似乎很无聊，可很难判断。一切都有可能的认识惯性已深深的在我的经验里，我需要从新观看。

Writing on the work: This is a food fridge in the Tate Museum. It is placed in a clean corner. I mistook it for a work of art. Yet it seems quite dull. It’s hard to decide. My experience has determined every possible way of perception that I can have. I need to learn to view things from a new perspective.

边界

Border

2009, 2版 (中文 1/2, 英文 2/2) 纸上亚克力

115 x 82 cm 2009, edition of 2 (CN 1/2, EN 2/2) acrylic on paper 115 x 82 cm

写在作品上的文字：这是一个疆域的范围。在这个范围内标志着一种政治，一种权力的边界。我们在这个边界内总是被无形地定义，我们也会默认。危机发生时，定义我们的边界会和我们一样无助。面对危机我们是平等的，面对安全现实又很残酷。

Writing on the work: A border is the limit of a sphere. This limit of a sphere also embodies the boundary of politics and power that define us indiscernibly. We also tacitly agree. In times of crisis, the border that defines us is as helpless as us. At such times, we are all equal. Yet when returning to the regular reality, it becomes cruel again. (We are being defined again.)

历史

History

2009, 2版 (中文 1/2, 英文 2/2) 照片拼贴

135 x 125 cm 2009, edition of 2 (CN 1/2, EN 2/2) photo collage 135 x 125 cm 写在作品上的文字：

1958年 4月28日伊夫·克莱因在巴黎腾空了 Iris Clert 画廊所有东西当作他的一件作品。从 1992－1997 年 Tom Friedman 面对一张白纸 1000 个小时做了一件只有白纸的作品。 2001 年 Ignasi Aballí 用涂改液把一面镜子涂白了。这是一张我在 2008 年创作的“空白照片”。

Writing on the work: On April 28, 1958, Yves Klein created a “void” as his work by removing all the furniture at the Iris Clert Gallery and painting the walls white. From 1992 to 1997, Tom Friedman made a work of art that was nothing but a piece of blank paper by staring at the paper for 1000 hours. In 2001, Ignasi Aballí painted a mirror white by covering it with correction fluid. This is “a blank photograph”, a work I made in 2008.

照片

Photograph

2009, 2版数码出片

135 x 125 cm 2009, edition of 2 c-print 135 x 125 cm

忽略

Omission

2009, 2版 (中文 1/2, 英文 2/2) 石头，书

34 x 34 x 30 cm 2009, edition of 2 (CN 1/2, EN 2/2) rock, book 34 x 34 x 30 cm 写在作品上的文字：忽略是编撰历史的开始。

Writing on the work: Omission is the beginning of history writing.

描写，叙述，描写，叙述

Descriptive, Narrative, Descriptive, Narrative

2009 木，瓷

84 x 36 x 38 cm 2009 wood, porcelain 84 x 36 x 38 cm

纯粹状态下的戏剧性

Being Dramatic in a Pure State

2009 瓷，镜子，涂改液 61 x ø 25 cm (花瓶), 150 x 100 x 0.5 cm (镜子)

2009 porcelain, mirror, correction fluid 61 x ø 25 cm (vase), 150 x 100 x 0.5 cm (mirror) 写在作品上的文字：客观叙述会是有效表达的有益的补充物。

Writing on the work: An objective narrative is a useful addition to effective expression.

附录

APPENDIX

2000-2008 部分作品 Selected Works 2000-2008

2000

我的灵感来自一幅山水画，画中描绘了两位风度翩翩的学者正在竹林中下棋。对我而言，这幅图景所传达的不仅是两位棋手的优雅姿态，还有他们深藏不露的敌意和各自心中的计谋。我选用了一种直接的表达手法，通过使用战斗游戏的场面，来展示同等程度的敌意和计谋。整个装置作品的基调是平和，开放和充盈着智慧的。当观众徜徉其中时，竹林，丝绸幕布和投影也随之移动，营造出了极为抽象的空间。

My inspiration was a landscape painting, which depicts two graceful scholars playing chess in a bamboo forest. For me, the draw of such a scene lies not only in the elegance of the two chess players but also in their harbored and well-concealed hostility and calculation towards each other. I only chose to represent the same degree of aggression and calculation with a direct approach, by adapting scenes from a combat video game. The tone of the installation is tranquil, open and smart. As each viewer walks around in the middle of the installation, the bamboos, the silk screen and the projection moves, too. The entire space becomes very abstract.

《新仙林》2000 竹子，白色丝绸幕布，投影仪

《蘑菇》2002 白色胶囊，胶

10 X ø12cm "Mushroom" 2002 white capsules, glue 10 X ø12cm

"New Heavenly Forest" 2000 bamboo, white silk screen, projector

2002 2003 《宜春香质》2002 蓝色胶囊，线

200cm, ø0.5cm "Fragrant Essence Good for Spring" 2002 blue capsules, thread 200cm, ø 0.5cm 无题，2003 绿色胶囊，乌鸦标本，两盏 450瓦射灯任意尺寸

untitled, 2003 green capsules, crow specimen, two 450 W spotlights variable size 《灵芝》2002 黄色胶囊, 胶

24 X ø12cm "Chinese Mushroom" 2002 yellow capsules, glue 24 X ø12cm

2005

《转型期的标本——产品》2005-2006 行为装置（本作品分两部分实施）第一部分将深圳大芬村的绘画工厂的13位画师，所有绘画工具和材料移到广东美术馆，进行绘画生产。时间：2005年11月18号，下午3点－7点地点：广东美术馆第二届广州三年展产量：在广州三年展开幕式（2005年11月18日）上用四个小时生产了40 张 60 x 90 cm 的油画

我在地上挖了一个2米深的洞，并在洞底放置了一大堆人造的钻石，光源从钻石下方向上照射。强光从洞口射出，将人们吸引到洞的边缘。

第二部分把在广州三年展生产出来的 40张油画装上金色的画框运到欧洲做一个沙龙式的绘画展，在一个由画廊的展厅改造而成的客厅里展出，客厅的墙壁被粉刷成红色，客厅中摆放着德国古董家具。画廊的另一个房间同时展出该作品的文献部分，包括 22 张粘贴着记录性照片并有手写说明的粉红纸张。时间：2006年地点：德国法兰克福 L.A. 画廊

I dug a 2-meter deep hole in the ground and placed a big pile of artificial diamonds on the bottom, which was lit from underneath. There was a strong light that shot out of the opening, which drew people to the edge of it.

《宝藏》2005 人造钻石、射灯

"Treasure" 2005 artificial diamonds, spotlight

"Samples from The Transition– Products" 2005-2006 performance installation in two parts Part 1 performance installation 40 Paintings (oil canvas, 60 x 90 cm) were produced by 13 painters from Dafancun-Village/Shenzhen,China at the 2nd Guangzhou Triennal, Guangdong Museum of Art. time: 3-7pm, November 18, 2005 venue: An exhibition site of the Second Guangzhou Triennial, organized by Guangdong Museum of Art Part 2 installation The 40 paintings produced at the Second Guangzhou Triennial were framed in gilded frames (69 x 99.5 cm) and hung in a salon style in a room painted in red and decked out in German traditional living room furniture. Documentation of the performance in the Guangdong Museum of Art was shown in a seperate room in the L. A. Galerie Frankfurt. 2006 22 photoprints, watercolour on pink paper, 29.5 x 21 cm venue: L.A. Gallery, Frankfurt, Germany

《转型期的标本——小人物的狂想》2005 10米的橱窗，假钻石，现成品

"Samples from The Transition – Fantasies of Small Potatoes" 2005 10-meter long window display, fake diamonds, ready-mades

这件作品以大芬村的经济生态系统为素材，并将这一经济体系的一部分搬进了美术馆，让观众们能仔细地观察、分析和研究这一流水线风格的大批量低成本制作 “高雅艺术作品”的系统。这种似看似颇具争议的生产方式，本质上只是一种正常的制造过程和市场经济环境下的经济流动方式。《产品》是将“大众化制造”的行为转化为“艺术家创作”的一件作品。这一项目模仿并演示了在美术馆这一特定的空间中， “艺术品”是如何在流水线上被集中制作、生产和展示的。我从中国南方的一个以大规模生产并向西方出口经典油画而著称的村子“大芬村”请来了那里的绘画“大师”们，请他们在博物馆中重现“艺术创作”的过程（即实际的生产方式）并让他们住在美术馆中。在这件作品中，美术馆的作用不仅只是一个普通的展示空间，更是一个非传统的生产空间。经过我的计划和设计，大芬村的绘画 “大师”所扮演的双重角色——既通过参与艺术家的创作而成为艺术作品的一部分，又通过生产行为成为艺术作品的制造者——与博物馆既是展示空间又是制造空间的双重性形成了鲜明有效的对立。

This work samples Dafencun’s economic ecosystem and moves one piece of this economic system into the museum. I thus invited the audience to closely observe, analyze and study this assembly-line-style of low-cost mass-reproducing “high and elegant artworks.” This type of production is seemingly controversial while in essence a normal manufacturing procedure and a way of economic flow in the market economy. “Products” is a work that transforms the act of “public manufacturing” into “an artist’s production.” It is an art project that imitates and demonstrates the assembly line of making, producing and displaying “artworks” in a concentrated way within a museum’s setup. I brought into a museum space the painting “masters” from Dafencun, a village in South China whose main industry and reputation is based on mass-producing and exporting classic oil paintings to the West and invited them to repeat the act of “artistic creation,” their actual means of production and living in a museum, which functions in this case both as a regular exhibiting space and as an unconventional production space. As the result of my planning and design, the dual roles of Dafencun’s painting “masters” as components of the artist’s work through participating into the actual art practice of the artist, and as manufacturers of artworks through their own act of making, effectively collide with the dualism of the museum as both a space for exhibiting and a space for manufacturing.

2006

2007

《捕风捉影》2006 画布，蓝色颜料，3台摄像机，3台投影仪

300 x 1200 cm 表演时间：2006 年12月8号7点－9点30 表演地点：美国迈阿密巴塞尔博览会，Grace Li画廊

《力量》2006-2007 陶瓷，铝，灯

"Tracing the Wind and the Shadows" 2006 300 x 1200 cm canvas, blue paint, three video cameras, three projectors

110 x ø150 cm 作品摄于奥地利维也纳Kunsthalle Wien

time: 7-9.30pm, December 8, 2006 venue: Grace Li Gallery, "Positions", Miami Art Basel, USA

"Power" 2006-2007 porcelain, aluminum, acrylic, spotlights 110 x ø150 cm

我在展览开幕现场架设了三台摄像机，将开幕式的实况投射到一幅巨大的幕布上。与此同时，我在幕布的表面根据投影到幕布上的移动影像用颜料作画，徒劳无

installation shot at Kunsthalle Wien, Vienna, Austria

功地试图捕捉到艺术家、观众和作品之间互动中所产生的神秘图案。作品的题目“捕风捉影”是一个中文成语，有“依言外之意行动”的意思。《捕风捉影》记录下我试图解读周遭混乱无序的徒劳。在重复叠加的投影画面上，颜料不断地堆积着，缓缓地绘出一个近乎偏执狂般的梦境，似乎暗示着夜幕下不为人知的密谋，却

在《力量》中，我使用了灯、大量的金色色调和易碎的陶瓷（制成头骨）制作了一个虽称不上恢弘，但却极尽高贵奢华的展品。头骨、生

又拒绝将实情透露。

命和虚荣感构成了这一作品的重要细节。

Three video cameras were set up to feed a live simulcast of the opening event onto a giant scrim, while I applied paint to its surface, as if trying to trace the secret patterns emerging from the interactions between artists, audience and artworks. Taking its title from a Chinese proverb that can be understood to mean, “respond by reading between the lines”, Tracing the Wind and the Shadows created a record of an ultimately futile effort to decipher the chaos around me. As the paint thickened atop the overlapping video images, it gently mapped a paranoiac dream, suggesting a conspiracy of hidden meanings within the night, but refusing to disclose them.

In “Power”, I used light, a large amount of gold colour and fragile porcelain (made into skulls) to stage a spectacle that is not massive, but extremely gallant and luxurious, so that skulls, life and the air of vanity all become important details of this work.

假山石曾是中国古代众多文人学者迷恋把玩的物件。这种喜爱源自于对其美学特质的深刻理解和细久的品味鉴赏。然而，近代中国在历史和文化上的动荡，使如今购买和收藏假山石的新一代富豪仅仅将它们视为一种品味和社会地位的象征，对其深厚的底蕴却一无所知，以至于对这些石头的迷恋如今只是停留于迷恋的本身而已。在这件作品中，我架构了展示我用石膏制作的假山石的一个新语境。这个语境让人联想起表面繁荣而本质单一的社会取向，这些假山石也构成了一种拜物快感之后的废墟。

《战争》2006 60 个灭蚊器，铁架

《快感的废墟》2007 铁，石膏，黄色颜料，灯

260 x 830 cm

3000 x 8250 x 1200 cm

"It’s A War" 2006 60 insect-killers, 30 mosquito bats, iron shelf 260 x 830 cm

"Ruins of Pleasure" 2007 iron, plaster, yellow paint, spotlights 3000 x 8250 x 1200 cm

Scholars’ rocks were an object of obsession and fetish, worshipped by Chinese scholars in ancient times. Such an obsession was rooted in a deep understanding and sophisticated appreciation of a certain aesthetic quality of these rocks. However, because of the historical and cultural disruptions in recent China, these rocks are today bought off by a generation of new riches who only consider them as representative of taste and social ranking while unaware of the quality behind such obsession. The fetish obsession with such rocks today is only an obsession with an obsession. In this work, I construct a new context for the presentation of such rocks, a context evocative of a superficially diverse yet fundamentally monotonous social orientation. They are the ruins of a fetish pleasure.

《老虎》2007 混凝土，白色，人造虎皮，亚克力镜子，紫光灯任意尺寸

"Tiger" 2007 concrete, artificial tiger skin, acrylic mirror, blue light variable size 《欢迎来到丛林》2007 43张油画，镜子

"Welcome to the Jungle" 2007 43 paintings, mirror

这件作品呈现的是我现在居住的客厅。这个房子原来的主人在90年代对其进行装修，其中既有经典的欧式餐桌，设计精美的巴洛克式吊顶，水晶吊灯，也有罗马式的石膏立柱和由黑色大理石铺就的台阶和华丽的金属扶栏。这是在中国典型的90年代后期逐渐壮大的中产阶

刘鼎制造了一个庞大的景观，一个接近描述“造出一只老虎”的雄心和欲望的景观。这个张扬狂妄的景观是一座7米高，底部直径达10米的由混凝土方柱垒砌而成的塔状建筑物。这些混凝土方柱来自建筑拆迁的工地，是城市建设的原始材料，又在城市的翻新建设中被肢解。这个城市建设的基本材料见证了人类不断膨胀的野心和无止境地通过占领空间实现征服确立权力的欲望。

"Tiger" is an immense landscape - a landscape "tiger" of ambition and desire. This exaggerated landscape, which towers over seven meters and is ten-meters wide at its base, is composed of recycled concrete beams. The beams, part of the original fabric of the city, are relics from demolished buildings. These basic building blocks of the city are testimony to peoples' continuously expanding desires and ambitions.

级所钟爱的家庭装饰风格，反映出他们对于发达的西方国家的生活方式的想象和憧憬。我把这个客厅的局部拍成照片，将它们印在画布上，用照相写实的方法把它们变成油画。随后，我按照客厅的原样，将这些图像片段重新组合起来，在展览中组合一个新的客厅。地面铺上镜子，令整个房间看起来更明亮，更具超现实主义的色彩。

This work is a portrait of my living room, which was furnished in the 1990s by the previous owner. It’s a mixture of an old style European dining table, a Baroque ceiling with elaborate design, a crystal chandelier, Roman plaster columns and a black marble staircase with ornate metal support. It’s a typical example of the popular style for home decoration in the late 1990s when China’s rising middle class projected their longing for and imagination of the life style of developed Western countries onto their home environment. I took snapshots of this living room, printed them on canvases and made photo-realist paintings based on these images. I then constructed a new living room by arranging these fragmented images of my living room in the same order and position as in my own home. I covered the floor with mirrors to make this room look more flashy and surreal. 《英雄》是用纯白色大理石制作而成的头像雕塑，作品的制作严格遵循了50 年代传入中国并至今依然作为美术院校的主要教学内容的苏联革命写实主义的雕塑风格的制作方法。这也是大型公共纪念碑和用于宣传目的的社会主义写实风格雕塑的标准创作方法。在这个创作系统中，要雕刻一位英雄人物或知名人物的头像，必须将头像的尺寸放大到真实大小的1.5倍，并通过夸张的手法凸显每一个面部特征，从而颂扬人物存在的重要性。同时，头像应朝向右侧45度的角度。我使用了相同的方法创作了一座英雄的头像雕塑。不同的是，这只是一位无名氏的头像而非一位特定的英雄人物。此外，我故意将这座《英雄》雕塑长时间地置于室外，直至雕塑的表面满是鸟粪和尘土。这是对我们所熟知的“英雄”涵义的公然蔑视和讽刺的扭曲。

《英雄》2007 白色大理石，黑色大理石

210 cm, ø 30 cm "Hero" 2007 white marble, black marble 210 cm, ø 30 cm

"Hero" is a bust made of pure white marble and in strict adherence to the Russian revolutionary realist sculpting tradition that was introduced to Chinese academic art training in the 1950s and remains the primary model sculpture Chinese students study in art academies today. It is the standard approach to creating large public monuments and socialist realist sculptures intended for party propaganda. Based on this model, to sculpt the bust of a heroic figure or a celebrity means to blow up the size of the head to 1.5 times its life size and to highlight every facial feature through exaggeration as a way to glorify his state of being. The bust is also set to look towards the right at an angle of 45 degrees. Liu Ding created a heroic bust using the same method, except that it is modeled after an anonymous person instead of a particular hero. In addition, this "Hero" bust was deliberately placed outdoors for a period until it was covered with bird droppings and dust, a defiant and ironic twist on our perception of the Hero.

2008

《精液的痕迹》2008 黑色的桌子（一张）、黄色的椅子（一把）、绿色的椅子（两把）、黑色的椅子（一把）、白色的瓷盘（两只）、绿色的花架（一只）、紫色的茶几（一张）、粉红色的摇椅（一张）、靠垫（一个）、三色瓷盘（两只）、屏风（一个）、衣架（一个）、酒杯（一只）、牛奶杯（一只）、地毯（一块）、纸灯笼（一个）、油画（两张）

现场图片摄于并由 L.A. 画廊提供

"Traces of Sperm" 2008 black desk (1), yellow chair (1), green chairs (2), black chair (1), white porcelain plates (2), green flower stand (1), purple tea table (1), pink rocking chair (1), cushion (1), triple-color porcelain plates (2), screen (1), coat Hanger (1), wine cup (1), milk cup (1), carpet (1), paper lantern (1), oil painting (2) Installation shot at and courtesy of L.A. Gallery

《献给情绪性舆论制造者的墓碑》2008 铁，有机玻璃，纸任意尺寸

"Gravestone for Rumour Monger" 2008 steel, acrylic, paper variable size 这个作品来自一段非常不愉快的个人经历。从2008年4月开始，我在一家中国艺术网站上遭到恶意攻击。在一些匿名的帖子里，有人对我的作品造谣中伤，并很快升级为肆无忌惮的辱骂和对我人格、私生活和家庭成员的玷污和攻击。这些诽谤毫无依据，措辞极其恶劣，满怀敌意，是彻头彻尾的暴力行径。互联网的匿名性让人们能更轻松地说出自己的想法。然而一旦被心术不正者利用，互联网就可能成为致命的武器。这些以破坏他人的职业生涯和个人生活为目的的，充满怨恨且极具破坏力的攻击和指责已经不仅仅是个人的问题。公平的舆论无疑是重要的，其价值也理应得到重视。然而这些能够保证民意和舆论的机制和

作品由绘画、家具、日常生活器皿和文字组成，刘鼎在他熟悉的创作形式上有所突破，完成了这件特殊的作品。装置现场被布置成为日常生活场景，家具和器皿各

平台，同样也可能被人操纵，用于不可告人的目的。这些源自职业竞争，个人情感宣泄和不为人知的自卑感的舆论应产生怎样的作用呢？如何对其加以抑制？我希

就其位，观众步入其中，一眼就会看到墙壁上悬挂的两幅巨大油画：一幅以男人勃起的巨大生殖器为主体的油画，另一幅油画上充满整个画面的女人面孔满是精

望通过这个项目引发公众对于这些问题的探讨。

液的痕迹。两幅画面的细节处理和整体表现非常理性化，不带有矫揉造作的成分，有意保持了与观众的距离，避免了心理层面的连带反应。目光回到家具和日常用品上，躺椅、桌子以及器物架的风格简单甚至有点慵懒，不具有符号特征，而覆在表面的明亮漆色使得整个现场氛围绮丽中透着一丝古怪。观众必须在第一观感所带来的视觉冲击中移动脚步，走近这些器物本身。每件家具和器皿上都写有一段文字，观众似乎置身博物馆的古董展览之中，凭吊历史的残留。每段文字各不相同，由艺术家亲自撰写，以虚拟的第一人称为视角、个人的“性”经历和“性”幻想为主题，并用时间编年的方式组织在一起。文字：苏伟

The artwork is constructed from oil paintings, furniture and utensils from daily life, and Liu Ding has made breakthroughs in his familiar creative form to complete this special work. The installation site is arranged as a scene from daily life, with furniture and utensils in their normal places. When the audience walks in, they immediately notice two giant paintings hanging on the wall: one is of a giant erect penis, and the other is completely filled by the face of a woman covered in semen. The two paintings are extremely rational in the arrangement of the details and overall expression and wholly without any artificial trappings, intentionally maintaining a distance from the viewer to avoid any psychological reactions. Looking back at the furniture and everyday objects, the style of the reclining chair, table and shelf appear simple and even lazy, without any symbolic traits, and the bright sheen on the surface gives the whole scene an air of magnificence with a touch of the abnormal. The audience must be driven by this visual strike to move closer to these objects. Each object bears an inscription, as if the audience is in a museum antique exhibition paying homage to the remnants of history. Each inscription is different, handwritten by the artist in the first person, revolving around the theme of “sex”, and organized chronologically.

This work is based on a very unpleasant personal experience. Beginning from April, 2008, I was viciously attacked on a Chinese art-related website. The anonymous postings started with spreading lies and slanders about my works and escalated over a short period of time into full-fledged name-calling and foul attacks on my character, private life and even my family members. The accusations were unfounded and the language used was extremely malicious and disturbing. A total act of violence. The anonymity of the Internet has made it easy for people to pronounce their thoughts but when fallen into the hands of someone with a vicious intent, it could become a deadly weapon. When such hateful and destructive attacks and accusations have been launched to jeopardize someone's professional and personal life, it is no longer a personal matter. The existence of fair-minded public opinions is important and should be valued but the same mechanisms and platforms that guarantee the possibility of public opinions can also be manipulated and used by those with dark agendas. What should be the function of such public opinions that are originated from professional rivalry, personal emotional outbreak, and private inferiority? How should they be contained? This is where I would like to open the discussion to the public through this project.

Text by Su Wei

写在照片上的文字：一枯一荣的草木在变成照片的同时也定格成了带有含义的景象。倘若未被定格也就是草，枯荣只是自然现象。是经验让枯荣的对比并置在同一张画面上，使其成为有意义的图像。这样的意义是一种滥情还是虚伪的理由？

Text written on the photograph: Plants live and die. While being captured on photograph, they become images with meaning. Without being photographed, grass is grass. Its death and liveliness are just natural phenomena. It’s human experience that juxtaposes these two phenomena on the same image, and at the same time gives the image meaning. Is such a meaning an overstatement of sentiment or a reason for hypocrisy?

《经验与意识 No. 1》2008 摄影

写在照片上的文字：这是2006 年在 w 岛上拍摄的的照片，摄影者看到了这样的景象，本能地按下了快门，前后不到5秒。丰满的构图，锐利的影质。为什么会这么不加犹豫地拍了这样的构图，这样的景深？在安塞尔·亚当斯时代拍摄同样的图景在当时是多么

50 x 105cm

重要的事情。现在只要举起相机按下快门得到同样的

"Experience and Ideology No.1" 2008 photograph 50 x 105 cm

效果，抑或花 500 元人民币在网上就可以买到同样类型图片的印刷品。

Text written on the photograph:

《经验与意识 No. 3》2008 摄影

50 x 105cm "Experience and Ideology No.3" 2008 photograph 50 x 105 cm 写在照片上的文字：

This is a photograph taken on the island of W in 2006. The photographer witnessed such a landscape, instinctively pressed the shutter. It took less than five seconds. The composition of this image is so sumptuous, its quality so distinct. What made him take the image of such composition and depth of focus so unreservedly? In Ansel Adams’ times, to take such a picture was such a great deal. Nowadays, it only takes the act of holding up a camera and pressing the shutter to obtain the same effect. Or one can spend RMB 500 purchasing a print of the same type of image on the web.

并不清楚记录这张带有肌理感和充满物体张力的图片在现在有多大的意义。我们到处旅行，每到一处都会有人刻意地标记出怎样来观看美妙图景的方式和角度，也可以通过购买明信片来快速的拥有这样的图景。我们不需要发现什么美，也不需要记录什么美，但是本能还是会让人通过纪录来显示拥有。

Text written on the photograph: It’s not clear what it means these days to take such a picture with detailed texture and great tension. We travel everywhere. Anywhere we go, there is always someone who would mark out how to admire the wonderful scenery and what is the perfect angle. There is also the possibility of buying postcards in order to quickly possess such landscape. We don’t need to discover any beauty, nor do we need to document any beauty, but our instinct drives us to demonstrate our possession of such scenery through documenting.

《经验与意识 No. 2》2008 摄影

50 x 105cm "Experience and Ideology No.2" 2008 photograph 50 x 105 cm

《刘鼎的商店——带回家实现你心中的无价》2008 年 6月至今, 版本：无限油画每幅 60 x 90 cm 图片摄于英国 Arnolﬁ ni 艺术中心。图片中的墙纸是林明弘的作品，不是该作品的组成部分。这个商店还在英国特纳当代美术馆、巴西圣保罗国家美术馆和巴西库里蒂巴 Paranaense 艺术中心展出过。

"Liu Ding’s Store - Take Home and Make Real the Priceless in Your Heart" June 2008 - ongoing, edition: unlimited oil on canvas each 60 x 90 cm Installation view at Arnolfini, Bristol, UK. The wallpaper in the images is a work of Michael Lin and doesn't belong to this installation. This project has also been presented in Turner Contemporary (UK), São Paulo Art Museum (Brazil), and Instituto Paranaense de Arte (Brazil).

一个艺术家用艺术的形式创造了一种传播他自己的途径。在用低价销售自己签名的无限量绘画的过程中，利用艺术品作为商品的特殊性，艺术家把购买他的作品的观众变成自己的同谋，越多的人拥有该艺术家签名的绘画，艺术家的名气就会越大，购买者手中所拥有的该艺术家的绘画就可能有更多的潜在的升值空间。艺术家在使更多人拥有具有他签名的无限量绘画作品的过程也是一个神话自己的过程。艺术家所销售的表面上是一幅批量生产出来的装饰画，但本质上这到底是一幅怎样的画或是一个怎样的物品已经不是那么重要了，它甚至可以是一个粉笔擦，因为在这笔交易中，真正被易手的是一个更无形的东西——一个艺术家在未来成为传奇的可能性，这是一个可以预见但又不可确定的未来的目标。在这个由艺术家设定的目标里，买者和卖者成为利益的共同体。而出自大芬村的来样定制的批量生产的绘画在这里不过是这种利益的一个标志而已，也是艺术家自我的一个公共化的符号和载体。观众买回这幅画，尽管这幅画不是出自于艺术家之手，但一旦具有艺术家的签名，就像买回艺术家的一幅肖像，期待着有一天，当艺术家真正成为家喻户晓的一个神话时，观众可以骄傲地说我也拥有这个艺术家的一幅“肖像”。从这个意义上讲，绘画的形式感只不过是该商品的一个附加值罢了。

In this work, the artist has invented a system to promote himself through art. While offering his unlimited autographed paintings at a low price, and relying on the unique nature of artworks as a commodity, the artist involves the audience as his conspirators. More people own his autographed paintings, the more famous the artist will become and the possibility that the value of the artworks possessed by the buyers go up will be higher. The process of selling his unlimited autographed artworks to more people is also the process of turning himself into a legend. On the surface, the artist seems to be selling a kind of mass-produced decorative paintings, but it is no longer so important what kind of painting or object he’s offering. It could even be a chalk eraser. Because in this business, what is really being traded is something more imperceptible – a possibility that the artist could become a legend in the future, which is a predictable and yet rather uncertain goal set in the future. In this goal that the artist has set for the work, the buyer and the seller are both tied by a common interest. The paintings made to the artist’s order by Dafencun painters are simply a marker of this shared interest, as well as a symbol and courier for how the artist turns himself into a public figure. Once the audience buys home this painting, although it was done by the artist, once it is signed by the artist, it’s like buying home a portrait of the artist. The owner of this painting would look forward to the day when the artist becomes a household name, the customer could proudly announce that he owns a “portrait” of the artist. In this aspect, the stylistic quality of the painting is merely an added value to this particular commodity.

简历

Biography

1976 2001

生于中国江苏省常州市

1976

born in Changzhou Jiangsu Province, China

建立 Pink Studio 工作室，南京

2001

established Pink Studio, Nanjing

2004-2005 建立并加入在北京的艺术小组联合现场

2004-2005 founder and member of Complete Art Experience Project

2007-2008 北京卓越艺术任艺术总监，中国，北京

2007-2008 artistic director, JoyArt, Beijing, China currently lives and works in Beijing as independent artist

独立艺术家，现生活和工作在北京

Selected Solo Exhibitions

主要个展我写下我的一些想法──刘鼎，麦勒画廊北京-卢森，瑞士，卢森

2009

I WROTE DOWN SOME OF MY THOUGHTS – LIU DING, Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland “Traces of Sperm”, L.A. Galerie, Frankfurt, Germany “The Ruins of Pleasure”, Marella Gallery, Milan, Italy

2008

“精液的痕迹”，L.A. 画廊，德国，法兰克福

2008

2007

“快感的废墟”，玛蕊乐画廊，意大利，米兰

2007

“老虎”，Ｕ空间，中国，北京

“Tiger”, Universal Studios Beijing, Beijing, China

“剩下的风景——刘鼎的新绘画”，Grace Li 画廊，瑞士，苏黎士

“The Remaining Landscape – New Paintings by Liu Ding”, Grace Li Gallery, Zurich, Switzerland “Samples from the Transition – Products”, L.A. Galerie Frankfurt, Germany

2006

“转型期的标本——产品”，L.A. 画廊，德国，法兰克福

2006

2005

“转型期的标本——宝藏”，长征独立空间，中国，北京

2005

“Samples from the Transition – Treasure”, Long March Project Room, Beijing, China

“诺亚客厅——群众的力量”，China Unlimited，德国，柏林

2004

“Noah’s Living Room – The Power of the Mass”, China Unlimited, Berlin, Germany

2004

“Image Beyond Image – Liu Ding’s Photography”, Rooseum, Malmö, Sweden

“象外之象”刘鼎摄影展，ROOSEUM，瑞典，马尔默

2001

“白色诱惑”装置作品展，中国，南京

2001

1998

“失衡”刘鼎油画作品展，中国，南京

1998

主要联展 2009

2008

“大世界：来自中国的新艺术”，芝加哥文化中心，美国，芝加哥

“White Ecstasy – Liu Ding’s Installation”, KAYI Gallery, Nanjing, China “Unbalance – Liu Ding’s Paintings”, FEIFAN Art Center, Nanjing, China

Selected Group Exhibitions 2009

“The Big World: Recent Art from China”, Chicago Cultural Center, Chicago, USA

“2009-2011 温哥华双年展”，加拿大，温哥华

The 2009-2011 Vancouver Biennale, Vancouver, Canada

“第五届拉丁美洲艺术双年展── VENTO SUL”，Paranaense 艺术中心，巴西，库里蒂巴

5th Latin-American Biennial of Visual Arts, Instituto Paranaense de Arte, Curitiba, Brazil

“中国：建构与解构”，巴西圣保罗国家美术馆，巴西，圣保罗

2008

“China: Construction Deconstruction”, Museum of Art San Paulo, San Paulo, Brazil

“金——当代艺术中的金”，PasquArt 艺术中心，瑞士，比尔

“Aurum – Gold in Contemporary Art“, Centre PasquArt, Bienne, Switzerland

“中南海特供——来自城市的中国艺术家”，红楼基金会，英国，伦敦

“Down Town Prodution – Exhibition of the Artists Who Live in the City“, Red Mansion Foundation, London, UK

“远西”，Arnolﬁni 当代艺术中心，英国，布里斯托尔；特纳当代美术馆，英国，肯特

“Far West”, Arnolfini Arts Center, Bristol, UK; Turner Contemporary, Kent, UK

“ART MULTIPLE”，可当代艺术中心，中国，上海

“Art Multiple”, Ke Center for Contemporary Arts, Shanghai, China

“新世界秩序”，格罗宁根美术馆，荷兰，格罗宁根

“New World Order”, Groningen Museum, Groningen, The Netherlands

“全球欧亚”科隆艺博会特展，德国，科隆

“Global Eurasia”, special exhibition in Art Cologne, Cologne, Germany

“趣味的共同体”，伊比利亚当代艺术中心，中国，北京

“Community of Tastes”, Iberia Center for Contemporary Art, Beijing, China

2007

2006

2005

“中国发电站 2”，Astrup Fearnley 当代美术馆，挪威，奥斯陆

2007

“观念的形态”第二届武汉文献展，美术文献艺术中心，中国，武汉

“Forms of Concepts – The Second Documentary Exhibition of Fine Arts”, Center for Documentary Exhibition of Fine Arts, Wuhan, China

“Chinese Video: Chord Changes in the Megalopolis”，Morono Kiang 画廊，美国，洛杉矶

“Chinese Video: Chord Changes in the Megalopolis”, Morono Kiang Gallery, Los Angeles, USA

“在现实和虚幻之间”，Marty Walker 画廊，美国，得克萨斯

“Between and Reality and Illusion”, Marty Walker Gallery, Texas, USA

“有异物”，维也纳艺术中心项目空间，奥地利，维也纳

“Foreign Objects”, Project Space, Kunsthalle Wien, Vienna, Austria

“亚洲热浪”，ZKM 新媒体艺术中心，德国卡尔斯鲁厄

“Thermocline of Art – New Asian Waves”, ZKM Center for Art & Media, Karlsruhe, Germany

“定时器——亲密”，Triennale Bovisa，意大利，米兰

“Timer – Intimacy”, Triennial Bovisa, Milan, Italy

“看起来都一样?”，Sandretto Re Rebaudengo 基金会，意大利，都灵

2006

“Dual Realities – The Fourth Seoul International Media Art Biennale”, Seoul Museum of Art, Seoul, Korea

“中国发电站 1”，巴特西发电站，蛇形画廊，英国，伦敦

“China Power Station I”, Battersea Power Station, Serpentine Gallery, London, UK

“第二届北京建筑双年展”，中国国家博物馆，中国，北京

“Beijing Biennial of Architecture 2006”, The National Museum of China, Beijing, China

“琥珀宫殿”，Luggage Store 艺术中心，美国，旧金山

“The Amber Room”, Luggage Store, San Francisco, USA

“迷乱之城”，U 空间，中国，北京

“Chaos City”, Universal Studios Beijing, Beijing, China

“诗意现实——对江南的再解读”，南视觉艺术馆，中国，南京

“The Poetic Reality – A Reinterpretation of Jiangnan”, RCM Art Museum, Nanjing, China

“虚拟的爱”当代艺术国际展，上海当代艺术馆，中国，上海

“Fiction @ Love”, MOCA, Shanghai, China

“装修”，北京长征艺术空间，中国，北京

2005

“Beyond – the Second Guangzhou Triennial”, Guangdong Art Museum, Guangzhou, China

联合现场项目No.6 ——“锦囊妙计”，罗切斯特大学画廊，美国，纽约

“Limitation and Freedom”, Wuhan Art Archives and Center, Wuhan, China “Complete Art Experience Project No. 5 – 24 Hours”, Beijing Film Studio, Beijing, China

联合现场项目No.5 ——“24 小时”，北京电影制片厂，中国，北京

“Archaeology of the Future – The Second Triennial of Chinese Art”, Nanjing Museum, Nanjing, China

“未来考古”第二届中国艺术三年展，南京博物院，中国，南京

“Complete Art Experience Project No. 1 – Incest”, Platform China, Beijing, China

联合现场项目No.1 ——“乱伦”，站台中国艺术中心，中国，北京 “神话与现实——来自东方”第 55 届密其特基金会艺术奖提名展，密其特美术馆，意大利，福朗卡维拉

2004

2003

“Play Not Play”, Beijing Tokyo Art Projects, Beijing, China

“催情剂”当代艺术展览，海上山，中国，上海

“Aphrodisiac”, Hai Shang Shan Art Centre, Shanghai, China

“距离”广东美术馆当代艺术邀请展，广东美术馆，中国，广州

“Space – Guangdong Museum of Art Contemporary Art Invitational Exhibition”, Guangdong, Museum of Art, Guangzhou, China “Lustre – Two-Man Exhibition of Yu Fan & Liu Ding”, China Art Archives and Warehouse, Beijing, China

“沉默就是死亡”当代艺术展，Yan Club，中国，北京

2002

“感受金钱”当代艺术展，泰康顶层空间，中国，北京

2001

“克制，再克制一点”刘鼎的短片，3M 画廊，中国，南京

“Money Funny Honey”, Taikang Top Space, Beijing, China “Inauguration of the New Gallery”, China Art Archives and Warehouse, Beijing, China

“新起点”中国艺术文件仓库联展，中国，北京

1999

“Death is Silence”, Yan Club, Beijing, China “New Urbanism – Chinese Contemporary Art Exhibition”, Guangdong Museum Of Art, Guangzhou, China

“新都市主义”当代艺术展，广东美术馆，中国，广州

2001

“Illusion”, Artist Commune, Hong Kong, China

“玩非玩”当代艺术展，北京东京艺术工程，中国，北京

“光”于凡· 刘鼎作品展，中国艺术文件仓库，中国，北京

2002

Myth and Reality – A Look Towards East”, The 55th Edition of Fondazione Premio Michetti, Michetti Museum, Francavilla al mare, Italy “Temporality”, L.A. Gallery, Beijing, China

“临时”当代艺术展，L.A. 画廊，中国，北京 “虚幻”当代艺术展，艺术公社，中国，香港

“Renovation – Relations of Production”, Long March Space, Beijing, China

“Complete Art Experience Project No. 6 – Playground of Authorship”, University of Rochester, New York, USA

“限制与自由——秋市”，美术文献艺术中心，中国，武汉

2003

“AllLookSame?” Fondazione Sandretto Re Rebaudengo, Turin, Italy

“双重现实”第四届首尔媒体双年展，首尔市立美术馆，韩国，首尔

“别样：一个特殊的现代化实验空间”，第二届广州三年展，中国，广州

2004

“China Power Station II”, Astrup Fearnley Museum of Modern Art, Oslo, Norway

1999

“Restrained Over Restrained – A Short Film”, 3M Gallery, Nanjing, China

“唯美与暧昧”行为艺术展览，清凉山公园，中国，南京

“Aesthetes and Vagueness – Performance Art Exhibition”, Qinliang Park, Nanjing, China

“浮情”当代艺术展，南京师范大学，中国，南京

“The Feeling of Floating”, Nanjing Normal University Museum, Nanjing, China

出版文献

Bibliography

出版物

Publications

（2008），《刘鼎——产品》，英国：Arnolﬁni 艺术中心出版 Nav Haq ，刘鼎（编）

Haq, N., Liu Ding (Ed.) (2008). Liu Ding - Products. Bristol: Arnolfini.

文献节选

Selected Bibliography

刘鼎（2008），《刘鼎——永远在哪里》，发表于 Biljana Ciric（编） ,《被枪毙的方案》，米兰/纽约：Edizioni Charta 出版，202-203页

Albertini, C. (2008). Liu Ding. In: Avatars and Antiheros. A Guide to Contemporary Chinese Artists. Tokyo, New York, London: Kodansha International. pp. 76-79.

《做——能让美术馆做什么？》，发表于《做》中文版，上海：上海文艺出版社，28-29页刘鼎（2008），

Haq, N. (2008). Consumer Seismography. In: Liu Ding - Products. Bristol: Arnolfini, pp. 5-6.

Nav Haq（2008），《消费者的预警器》，发表于《刘鼎——产品》，英国：Arnolﬁni 艺术中心出版，69页

Jocks, H.-N. (2008). Liu Ding. Das Gefühl der Langeweile ohne die geringste Wut im Bauch. Ein Gespräch mit Heinz-Nobert Jocks. Kunstforum International, November-December, 194. pp. 185–195.

（2008），《无价的图象，无心的绘画：刘鼎的批判与共谋》，发表于《刘鼎——产品》，英国：Arnolﬁni 艺术中心丁达韦（David Spalding）出版，70-73页

Liu Ding (2008). Do It – How and What Do We Let the Art Museums Do. In: DO IT, ed. Hu Fang and Obrist, H.-U., Guangzhou: Vitamin Creative Space. pp. 24-25.

《D-Lab 2005-01》，发表于《青年视觉》，126页方振宁（2006），《不靠谱青年的趣味转向——谈70一代精神症候的艺术呈现》，发表于《画刊》第3期傅晓冬（2006），

John Millichap（编）（2006），《3030中国新摄影》，香港：3030出版社，96-101页郭晓彦，Hans Ulrich Obrist，候翰如（2005），发表于《第二届广州三年展画册》，广州：岭南美术出版社、广东美术馆出版，232-235页《2003年北京双年展‘外围展’观展札记》，发表于《美苑》第1期傅晓冬（2004），《距离: 关于‘心理与生理’， ‘虚拟与现实’， ‘正常与异常’的关系》，发表于《距离》，20-29页吴鸿（2003），《自在的失重——刘鼎的绘画》，发表于 www.rongshu.com 刘立杆（2002），

Liu Ding (2008). Where is Eternity. In: Ciric, B. (Ed.). Rejected Collection. Milan, New York: Edizioni Charta. pp. 202-203. Matt, G. (2008). Liu Ding. In: Interviews 2. Wien: Kunsthalle Wien. pp. 180-187. Spalding, D. (2008). Priceless Images, Heartless Paintings: the Critical Complicity of Liu Ding. In: Liu Ding - Products. Bristol: Arnolfini. pp. 31-37. Yao, Pauline J. (2008). Liu Ding – Tracing the Surface. In: Young Chinese Artists – The Next Generation. Munich, Berlin, London, New York: Prestel. pp. 150–159. Boers, W. & Pi Li (2007). In: Touching the Stones. Cologne: Verlag der Buchhandlung Walter König. pp. 212-215. Lu, Carol. (2007). Liu Ding. In: China Art Book. The 80 most renowned Chinese artists. Cologne: DuMont Buchverlag. pp. 200-207. Battiston, E. & Zhu Tong (2006). Fancy Dream. NYARTS, July-August, vol 11. pp. 39-42. Bonami, F. (2006). Alllooksame?: ArtChinaJapanKoreaArt. Milano: Mondadori Electa. pp. 172-175. Liu Ding (2006). Liu Ding. In: Artist Links 2002-2006. Shanghai: Artist Links China. pp. 132-135. Lu, Carol. (2006). Liu Ding. Contemporary, 2006 Annual. pp. 42-43. Millichap, J. (Ed.) (2006). Liu Ding. In: New Photography in China. Hongkong: 3030 Press, pp. 96-101. Serpentine Gallery (2006). China Power Station Part 1. Fused Magazine. China Power Station Issue. p. 21. Spalding, D. (2006). Eager Paintings, Empathetic Products: Liu Ding’s Critical Complicity. Yishu – Journal of Contemporary Chinese Art, Winter issue. pp. 69-72. Spalding, D. (2006). Second Guangzhou Triennial Review. Artforum, April 2006. p. 264. Vine, R. (2006). Cities on the Make. Art In America. September 2006. p. 75. Guo Xiaoyan, Obrist, H.-U., Hou Hanru (2005) The Second Guangzhou Triennial, Guangzhou: Lingnan Art Publishing House, Guangdong Museum of Art. pp. 232-235. Lu, Carol. (2004). Temporality. Available: www.absoluteart.com. Lu, Carol (2003). Clothes and Capsules – new installation art from China. Flash Art, July–September, 231. pp. 94-96. Lu, Carol (2003). First Beijing Biennale. Flash Art, November–December, 233. pp. 41-50. Lu, Carol (2003). Artist of the week: Liu Ding – Player & Deceiver. Available: www.chinese-art.com. Lu, Carol (2003). Interview with Liu Ding, Available: www.tom.com. Wu Hong (2003). Distance: The Relationship between Psychology and Physiology, Virtual and Real, Normal and Abnormal. In: Distance – the 21st Century Chinese Fine Arts Anthology. Guangzhou: Guangdong Museum of Art. pp. 20-29.

出版：麦勒画廊北京-卢森编辑：麦勒画廊北京-卢森文章：丁达韦翻译：黄一（中）校对：申彤（中）设计：李建辉摄影：Oak Taylor-Smith

Publisher: Galerie Urs Meile, Beijing-Lucerne Editor: Galerie Urs Meile, Beijing-Lucerne Text: David Spalding Translator: Huang Yi (C) Copy Editor: Anya Shen (C) Designer: Li Jianhui Photographer: Oak Taylor-Smith © 2009 Galerie Urs Meile, Beijing-Lucerne, Liu Ding 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. ISBN-13: 978-3-9523342-2-5 Printed in China

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