目 录
CONTENTS
透明的时间跃进 作者：闽丽柯
A Translucent Leap in Time By Ulrike Münter
本画册为卢昊个展“卢昊－万箭齐发”而出版 2007年4月13日至5月19日展出于中国北京麦勒画廊 北京-卢森 This catalogue was published on the occasion of Lu Hao’s solo exhibition: Lu Hao - Shooting 10000 Arrows All at Once Galerie Urs Meile, Beijing - Lucerne, Beijing, China, from April 13 to May 19, 2007
感谢： 箫岭, 李红卫, 里柯, 丁达韦, René Stettler, 苏晓琴
Acknowledgements: Nataline Colonnello, Li Hongwei, Enrico Polato, David Spalding, René Stettler and Su Xiaoqin
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2006新版通用视力表 2006 New Visual Acuity Chart for General Use
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万箭齐发 Shooting 10000 Arrows All at Once
16
简历 Biography
36
版权 Colophon
40
透明的时间跃进
A Translucent Leap in Time
作者：闽丽柯
By Ulrike Münter
“这些弩当然不可能一次射出一万支箭。《万箭齐发》 (2007年) 这个装置表达的是一种虚幻性。这个武器的弩是有机
这就是老北京。想到我再也不能给我的孩子看看我生长过的地 方，我就觉得很难过。”
玻璃制成的，也是在暗示这一种虚幻性质。”（卢昊）
"Of course these weapons could not shoot ten thousand arrows at the same time. The installation Shooting 10000 Arrows All at Once (2007) argues at the virtual level. This is why the crossbow construction is made of acrylic glass." (Lu Hao)
在素描和油画草图中，卢昊对其后三维作品的物件和建筑 体所可能产生的效果进行氛围上的营造探究。根据底版材料的不 自由创作开始之后不久，——第一个有机玻璃模型于
同，所绘物就会或坚实而难以穿透、或透明而轻盈，色彩塑造甚
1997年问世——卢昊的作品就不能被归入任何一个简单的范
至给它们带来了一种游戏感。然而，成为这位艺术家独一无二的
畴。他对作品材料和艺术形式语言的自如转换，使得任何有于
手笔的，还是应该首推他的有机玻璃作品。这些作品一方面受到
该艺术家手笔的陈述都应该变得小心谨慎。
建筑原型精工细琢的影响，所采用的有机玻璃材料赋予作品一种 近乎灭菌的寒冷感，同时，卢昊用花、鸟、鱼、虫这些中国传统
20世纪90年代末至今，卢昊的作品参加了众多的国际展览
绘画题材活化他的透明‘雕塑’。通过使用这些截然相反的材料
和双年展。与其家乡北京的强烈认同感是他创作的一个重要动
和形式，艺术家走了一次美学上的钢丝，即：既不负他身为时代
力。卢昊始终坚定不疑地对现实与意念中的废墟地进行变格，
见证人的责任，又不悖其对中国传统的爱。对于毛波普的愤世嫉
这些废墟印烙了中国大都会北京的面貌以及主宰着它的现代化
俗及以西方艺术为范本的取向，卢昊一律断然说不。
狂热进程。卢昊作品中最知名的违抗遗忘消失之中的北京老胡 同的声明是模型装置《北京欢迎你》 （2001年）。这个作品并不 是对北京城真实状况的仿制。在100平方米的面积内，卢昊对
讽而不嘲
中国首都一些最重要的建筑物、公园和水域作了布置安排，以 自己的价值景观替代现实。通过删减和移位，他成功地显示了
卢昊给中国美术馆的屋顶拧上了一个衣架吊钩，把这个几
这座城市的方形格局，至20世纪50年代还存在的围绕城市中心
年前还是首都最重要的艺术机构题为《鸟笼》，人民大会堂的
的城墙重被建起。卢昊对老北京的爱尤为突显于以下艺术表现
屋顶上探出丰硕却立在可怜兮兮、叶片落尽的花杆上的玫瑰花
手法中：通过将曾经主宰市貌的灰色四合院按1:300的比例，新
朵；中南海在他手下成了一个蛐蛐罐；紫禁城的正门城楼里游
建的高楼按1: 600或1:700的比例进行复制，卢昊使《北京欢迎
弋着金鱼。利用透明有机玻璃，微缩，并将它们变异成花瓶、
你》成了一种理想化记忆的景观。
鸟笼或鱼缸，在系列作品《花鸟鱼虫》（1999年-2001年）
Lu Hao has been active as a free-lance artist only for a short time – he created his first plexiglass model in 1997 – but already the scope of his work seems to resist easy labeling. Looking at the aplomb with which he changes his materials and artistic styles, one would think carefully before making any statement about the manner of this artist. Lu Hao’s works have been shown in numerous international exhibitions and biennials ever since the late 1990s. A major motor of his creative output is his strong identification with his native town Beijing. With superior tenacity, Lu Hao probes the concrete and the conceptual rubble fields that have been shaping the face of the Chinese megacity, as well as the modernizing urge that so much dominates it. His most wellknown statement against oblivion, against the gradual vanishing of the traditional Beijing hutong alleyways, is the model-like installation Beijing Welcomes You (2000). However, this is in no way a mimetic representation of the real Beijing. On some 1100 square feet of floor space, Lu Hao arranges the major buildings, gardens and lakes of the capital in a way that emphasizes the artist’s own value system in preference to factual reality: through all sorts of omissions and dislocations he manages to highlight the rectangular array of the metropolitan area. The Ming-era city wall that enclosed the center until the 1950s has also been restored here. But most of all, Lu Hao’s love of old Beijing shows in one particular trick: by replicating at a scale of 1:300 all neighborhoods with the oldstyle gray courtyard houses that used to shape the urban form, but the more recent high-rise buildings at 1:600 or 1:700, Beijing Welcomes You acquires the status of an idealized memory landscape.
中，卢昊剥去了这些政治文化权力象征的宏伟建筑身上令人麻 “我出生于一个古老的北京满族家庭，是在传统的老胡同
滞的深重意义，将它们变成了艺术游戏的对象。
里长大的。在院子里，我们有一个大鱼缸，里面鱼很多。早上 我会买小虫来喂它们。邻居们常常来串门，大家一边赏鱼，一
“在一个民主的国会里会进行激烈的争论，投票结果会
边聊天。我的祖父会拉二胡，我们常常一起唱一些京剧段子。
分散为不同的阵营。在中国，所有出席的代表都会一致地举手
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"I come from an old Manchu family in Beijing and I grew up in a traditional hutong quarter. In our courtyard, we had a pool with many fish. In the morning I would go and buy insects to feed them. Neighbors would drop by to have a chat and watch the fish. Sometimes my grandfather played the er-hu. We often sang bits from Beijing opera
plays. That was old Beijing. It makes me sad to think that I won’t be able to show the place where I grew up to my kids." In his drawings and oil studies, Lu Hao fathoms the atmosphere and the potential effect of objects and structures that will later be realized in three dimensions. Depending on the texture of the material, an object may appear massive and impenetrable or translucent and light. If the study is in color, it even acquires a dimension of playfulness. In particular, however, it is the plexiglass sculptures that have become the unmistakable signature of this artist. On the one hand, these works are distinguished by an architect’s meticulousness in handling the aseptically cold modeling material. On the other, Lu Hao animates his transparent shapes with flowers, birds, insects and fish, all of which are also popular motifs in traditional Chinese painting. By this interaction of highly antithetical materials and forms, the artist succeeds in walking an aesthetic tightrope: he manages to do justice both to his responsibility as a witness of his time and to his strong bonds with Chinese tradition. He clearly does not condone any emulation of the examples of Western art.
Irony without Cynicism Fastening the hook of a coat hanger to the top of the Beijing National Gallery, Lu Hao makes a bird cage out of the building that—at least until a few years ago—was the capital’s most important cultural institution. From the roofs of the Great Hall of the People, lush rosebuds sprout on sadly defoliated stems. The central headquarters of the Communist Party of China (Zhongnanhai) are turned into a cricket terrarium, and goldfish are swimming in the entrance building of the Forbidden City. Made of transparent plexiglass and converted into miniature-format vases, cages or aquariums for Lu Hao’s series Flower, Bird, Insect, Fish (1999-2001), these monuments of politicocultural power lose their paralyzing heavyweight significance and are turned into objects of artistic play. "In democratic parliaments there is noisy debating and most voting results are split according to the various political camps. In China, the
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表示通过。这让我联想到一片人工培育的假花的海洋。鸟笼的
通用的视力检测表作为参照，对它进行改造，使那些实用性的日
比喻我是在中国美术馆的一次研讨会上想到的。那些不知所谓
用品最终成了现代设计美学的倩物。该作品材料的使用与医用仪
的连篇废话完全与当前的问题和当代艺术家的利益没有丝毫关
器原型基本相同，围着半透明发光体的是一个金属框架。一个
系，就好像是鸟儿悦耳的叽叽喳喳。而金鱼在我看来是完全驯
重要的改动是灯箱正面的四种不同颜色，除了原型本身的白色
化过度，成为一种异类的动物。实际上它们本来压根就不是观
外，卢昊还用了蓝、绿和洋红。用三种不同的大小(60×25cm、
赏鱼，但是人类就是希望看到它们与世无争地游来游去。这让
120×50cm、240×100cm) 多次陈列（每个尺寸各四件），卢昊
我想起了在电影片头看到的日出时骑自行车经过天安门广场的
的视力表散播出的是昂贵夜总会般轻快奢华的气氛。
人群。这对我来说是中国人的存在状态的一种象征：安静，但 是有点畸形。”
检测视力时，被测人站在一米之外注视一个白色半透明板 灯箱，辨认从上至下依次变小的字符，以确定他的视力辨认限
四个建筑，四个中国代表性建筑的阶段，一种意识形态
度，被测人的视力值可借助每一字符行边的数字刻度获得。因为
的四个例子。初看起来象是对中国传统绘画及其题材（花鸟鱼
测试字符的基本形式是简单的笔画组合，辨认的时候只需指出字
虫）的友好致意，实际上却是一种对貌似贴近民众的政治机构
符的开口方向。这样的测试方法可以跨文化使用，既适用于孩童
的虚伪讽刺和疏远态度。卢昊拆去了保护这些建筑的围墙，将
和不识字者，甚至不需要通过语言交流。被测人只需把一个测试
它们做成透明的房屋，从而彻底取缔了它们的无上权威。这些
字符作为指示工具拿在手上，每次将其转到相应方向即可。
作品与毛波普式的炫众口号或玩世现实主义刺目绚烂的嘲笑毫 无共同之处。
在设计此类测试字符的时候，除了视觉质量（如面积
whole assembly raise their hands in unison. This always reminds me of a sea of unnatural flowers bred in a plant nursery. The bird cage comparison came to me during a conference in the Beijing National Gallery. All this ivory-tower talk there, which was so much out of touch with the problems of today and the interests of contemporary artists, sounded like sweet bird twitter to me. As for the goldfish, my main concern here is that these are completely overbred and alienated from their species. Actually, they aren’t even aquarium fish. But we want to see them glide peacefully to and fro. They make me think of the bicyclists you see on TV, drifting in droves along Tiananmen Square at sunset. That image to me symbolizes the natural disposition of the Chinese: calm, but also somewhat deformed." Four buildings, four ages of representative Chinese architecture, four examples of ideology. What at first sight seems to be a gracious tribute to traditional Chinese painting and its genre motifs (flowers, birds, fish, insects), soon emerges as an attitude of ironic detachment toward the hypocrisy of pseudo-popular institutions. By divesting these buildings of their protective walls and turning them into translucent shells, the artist once again strips them of their omnipotence. This has nothing to do with oversimplified slogans à la "Political Pop" or the garish mockery that characterizes Cynical Realism.
反差），重要的还有被测人的联想习惯。卢昊选用的是所谓 的“施氏钩”，在中国会被认作“山”字，在拉丁字母系统被
金钱的视觉
认作字母W（翻转之后是E或M），对应的西里尔字母（斯拉夫 等语系）是 š ，这样，世界上最重要的三个文字系统都被涵盖
卢昊的作品不论是从对媒介的选择还是从对某主题的审美 接近来看，都是不能被固定在这两点上的。
了。当然，施氏钩的使用在测试视力的问答模式中最终还是完 全脱离了它在文字系统中的功用。
“1997年我第一次用有机玻璃进行创作。我想采用一种现
卢昊用视力测试的基本原则陈述蔓延国际的‘金钱视觉’。
代的材料，它在某种程度上应该是这个时代的标志。钢、铜、铁
通过将各国纸票缩小并马赛克式地拼成测视字符，他视觉化了
等等古代就有了，塑料也大概有了一百年了。而有机玻璃吸引
的是金钱的全球联通，即宏观经济中依靠货币兑换原则得以保
我的地方就在于，它是透明的，又是不可穿透的，目光虽然可
障的世界货币流通。《2006年新版通用视力检测表》中的字符
以透过去，但同时这些平面又是一种清晰的界限。在《花鸟鱼
成了纯粹的形式，它通过金钱数额得到定义。视力表的多次制
虫》系列和其它一些作品中，我想要的就是这个效果。2002至
作陈列、它们的相互关系（不同的大小）和色彩上的变更，使
2006年，我做的一些作品采用了其它材料，其中也有传统的，
原来意义上的视力测试——这一受人类委托而进行的行为——
比如说油画。在《万箭齐发》这个作品里，装置的一部分是有机
变成了一场貌似娱乐的秀，成了一个闪亮多彩的表层，用来遮
玻璃的，其它的都是木材。”
盖在实质上是把人降格为‘可支配物’的使用。
在装置《2006年新版通用视力检测表》（2007年）中，卢
卢昊这件经过艺术异化处理的实用品透露出的，是对整个
昊用一些审美变形的手段进行以下创作。他用国际上眼科医生
人类社会无比悲观的预测。它对人类——无论国籍、年龄和文
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Money Vision Lu Hao’s work is hard to pin down, both in his choice of artistic medium and in reference to his aesthetic approach to his subjects. "In 1997, I worked with acrylic glass for the first time. I wanted a modern material, sort of like a symbol of our epoch. Steel, copper, iron—all this has been around since time immemorial, but synthetics were developed maybe 100 years ago. What fascinates me about plexiglass is that it’s transparent but not permeable. You can see through it but at the same time the surface imposes clear limits. For my series Flower, Bird, Insect, Fish and some other projects this was exactly what I wanted. Between 2002 and 2006, other pieces followed which required different materials, and also more traditional techniques such as oil painting. In Shooting 10000 Arrows All at Once only some details of the installation are of plexiglass, some others are wooden." In his installation 2006 New Visual Acuity Chart for General Use (2007), Lu Hao works with the resources of aesthetic transformation. Thus he takes ordinary eye charts—of a type that is internationally used in optometrists’ offices—as templates that are creatively modified so much that a utility item of pragmatic shape is turned into a light object with the aesthetics of fashionable design. The basic ma-
terial construction of the diagnostic device and of the art object are identical, however, thus the semi-opaque fluorescent light box is held by a metal frame. The four different colors used on the chart’s front face are an essential intervention. Apart from the usual white of such charts, Lu Hao uses blue, green and magenta for his "new" optotype charts. Multiplied into scenarios of several sizes—60 x 25 cm (edition 4), 120 x 50 cm (edition 4), 240 x 100 cm (edition 4), all of which can be exhibited variably—these charts engender the cheerfully flashy atmosphere of a high-class nightclub. In the original eye test, visual acuity is measured by having the patient look, from a distance of one meter, at a metal case with a white, semiopaque front screen that is lit from the rear. Asked to identify the optotypes which become smaller with each line downward, it is possible to precisely determine the point where the eyesight fails. Using the numbers given at each line, the patient’s visual acuity can be read off for each eye. As the basic shape of the optotype used here is a simple combination of strokes where the patient is only asked to recognize and identify the opening direction, this eyesight testing instrument can be used across cultures and even with small children and illiterate persons. The system works even independent of any verbal communication: test persons in this case are handed a model of the optotype that they have to rotate into the position they are asked to recognize. When developing such chart symbols, an important aspect—next to visual qualities (such as optical contrast)—is familiarity and connotation for patients. Lu Hao chose the so-called "Snellen tumbling E" which in Chinese is read as the ideogram for "mountain" (shan), in Latin scripts for the letters W (and rotated, for E or M) and in Cyrillic for the letter š or Sh. Three of the most important script systems are thus covered. As a module for testing visual acuity, however, Snellen’s symbol should ultimately work regardless of its function in a script character set. Lu Hao modifies the fundamental principle of an eye test in order to turn it into a statement on the ‘money vision’ that is rampant worldwide. By creating the optotypes’ rectangular shapes out of sized-down bank notes of various currencies, fitted next to each other in mosaic fashion, he visualizes the global connection of money: the universal cash cycle that the economy ensures by controlling the mutual convertibility of the world’s currencies. The optotype symbol in 2006 New Visual Acuity Chart for General Use becomes a mere shape that is defined by changing amounts of money. By the multiplication of eye charts, their relational and optical differences (various sizes and colors), the visual acuity test proper—an act on behalf of the human body—mutates into a seemingly entertaining show, a garishly gaudy surface phenomenon that serves to cover up what is in fact a reductionist form of domination over ‘humanity-as-a-commodity’.
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化层次——得出的诊断是一种势必将人类引入一个新盲目的文
的。装置设在展厅的入口处，数百只木柄的箭插入对角相交
化畸形。这是一个“通用”视力测试，因此不是单单针对某个
的两面墙上，每个金属箭头穿透着一个北京传统四合院的有
特定目标群的。这里有待测试的视觉感官已经不再是中国和西
机玻璃模型。
方传统意义上的通向人类灵魂的道路，眼睛在这里已经不被用 于接受知识、凝神默视或相互交流了：看，在《2006年新版通
在旧城的构架日趋消亡，逐渐湮没于“国际化风格”的摩
用视力检测表》的意义上，只因敲筛估测现实和周边之人的经
天高楼的时候，北京传统的日常生活还能留下多少？面对现实
济使用值而存在。
中的摧毁，记忆中的图像还能抵御多久？
“2006年是中国经济发展最好的一年。股市行情成了受人
“在做《营造工具》（2002年）作品的时候，我就已经
关注的独特话语。为了表明作品与这种现象的联系，我就将这
是从一个类似的角度思考的，不过我那时是有一幅具体的图景
个年份放入了这个作品的标题中。这一年在中国发生的事情当
在眼前的，就是上海的城市形象中常见的挖土机和起重机的海
然也是一种全球现象。不过在中国，由此带来的价值观的转变
洋，所以我就做了一个有机玻璃的挖土机。在“上海2002年双
当然更加剧烈，因为这里一切都是快节奏地进行的。”
年展”上，它象我们这个时代的一个象征物一样冲破一面发着 粉红色亮光的墙而出。重要的是这里用的粉红色。这不是古老
结论：一个人对国际金钱流通的机制越是了解，他在《2006年
中国传统的大红色，而是一种新潮的颜色，在中国年轻女人们
新版通用视力检测表》测试中的成绩就会越好，在眼科医生那里
那里很受欢迎的一种颜色，中国妓院里也使用这种粉红色。而
测出来的是视力的强或弱，在这儿被确定的是一个人的市场价
《万箭齐发》这个作品没有什么特定的历史。我在博物馆里多
值，“人力资本”这个概念将这种悖逆现象推到了极致；在这样一
次看到过这种武器，收集了一些图片资料。这个装置自身却是
个系统里，对助视器具的需求必然是多余的。
在一种虚幻的层面上进行表达的，所以弩床上的弩是有机玻璃 制成的，因为它当然不可能真的一次射出一万支箭来。”
后顾与前瞻
如果说卢昊以前的作品相当具体地聚焦于当下正在受到威 胁的传统中国的生活现实，那么《万箭齐发》这个新作品则把
“金钱的视觉”无法兼容人们怀旧的心情，传统的沿袭和
我们引向仍难以把握的——实际上超出中国（中央之国）范围
记忆此类价值在追求利润极限的价值刻度表上是没有位置的。
的历史维度。借助蛮力的疆域扩张、对文化财富的摧毁、受意
《2006年新版通用视力检测表》（2007年）是在一个共有的层
识形态钳制的新生活空间的形成，这一切被作为超越时间和地
面上揭示这种人类存在的贬值。《万箭齐发》（2007年）走的
域的现象在《万箭齐发》展中得到具象化的展现。卢昊后顾和
虽是另一条辩护道路，却不忽略同期创作作品的原则，在此作
前瞻的目光比例关系上的估价也体现在装置的名字中：如果我
品中，卢昊一方面具象化了借未来之名的经济价值系统取代传
们这个时代所谓“进步”的先驱喜欢以人道主义标榜自己，那
统价值体系这一暴力的交替过程，同时，这个装置赋予了此变
么，卢昊则将这种自我标榜揭露为赤裸的诈骗，指证他们万箭
换过程一个深远的历史尺度。
的暴行。
在最新装置《万箭齐发》（2007年）中，卢昊把我们带 进了时间之间的一个空间。他依照一个中国整个帝制时代从始 至亡都在使用的大型兵器原型，制作了一个弩床。侧重于虚拟 武器的视觉效果，装置只有底座是木制的，弩是有机玻璃制
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翻译：李双志 校对：苏晓琴
What in Lu Hao’s work appears as an artistically defamiliarized object of utility could hardly be a more dismal proposition when considered as a prognosis for society as a whole. Thus his diagnostic finding for mankind—regardless of nationality, age or education level—is a cultural deformation that in fact condemns us to a new form of blindness. It is a visual test explicitly for ‘general use’ and therefore not meant only for a specific target group. Thus the sense of sight to be examined is no longer the pathway to the human soul, which it has traditionally been associated with both in China and in the West. The function of the eyes here is neither to pick up information nor to contemplate or to establish human contact: vision, in the understanding of the 2006 New Visual Acuity Chart for General Use, serves nothing but the purpose of checking out reality and also other people for their practical financial value.
In his most recent installation, Shooting 10000 Arrows All at Once, Lu Hao takes us into a space between times. Thus he reconstructed a launching platform mounted with a crossbow, a big and bulky contraption of a type used from the early empires well into the Ming and Manchu dynasties. Emphasizing the virtual dimension of this imitation of a battle weapon, only the chassis is made of wood, while the crossbow device is of acrylic glass. It is located near the entrance of the exhibition room, and there are hundreds of wooden arrows stuck in the diagonally opposite walls. The metal arrowheads have sunk themselves into models of traditional Beijing courtyard houses. What remains of the time-honored everyday life in Beijing if the old urban infrastructure is increasingly being obliterated, to be replaced by ‘international style’ high-rise skylines? How long can the images in our memory resist factual destruction?
"2006 was the best year for China’s economy. The stock market speaks its own language. To reveal this reference quite clearly, I inserted the year into the title of the piece. What is happening in China right now is of course part of the global development. It’s only that in China, the shifting of values that goes with it is a lot more blatantly obvious because here everything happens as if in fast motion."
"In my piece Construction Device (2002) I already had a related aspect in mind but there it was more a specific situation I was referring to: the oceans of cranes and construction vehicles that dominate the cityscape of Shanghai these days. So for the 2002 Shanghai Biennial I created this excavator shovel of plexiglass that jutted out of a glittering-pink wall into the exhibition room, like an allegory of our times. What’s important here is the color pink, which is precisely not the traditional red of ‘old China’. It is a very fashionable hue and most popular with young Chinese women right now. Chinese brothels also use this shade of pink a lot. There is no particular story connected to Shooting 10000 Arrows All at Once. I have seen this type of weaponry in museums several times and collected pictures of them. But the installation itself argues at the virtual level. This is why, for instance, the crossbow construction is of acrylic glass, because of course they could not shoot ten thousand arrows at the same time."
Conclusion: the more one recognizes the mechanisms of the cycles of international finance, the better one’s vision as tested on the 2006 New Visual Acuity Chart for General Use. Instead of the visual acuity (or blurred eyesight) attested by the optometrist, this chart determines the market value of the test person. The expression ‘human capital’ indeed represents the epitome of perversion. The question of using a vision aid to correct the problem is necessarily redundant in such a system.
Looking Back and into the Future A ‘money vision’ is hardly tolerant of fits of nostalgia. Values such as attachment to tradition and feelings such as nostalgia have no place on a scale graded to measure maximum profit. 2006 New Visual Acuity Chart for General Use (2007) addresses this depravation of human existence at a higher level. The installation Shooting 10000 Arrows All at Once (2007) takes another line of argument but it in no way dispenses with the principles of the other work which was created around the same time. On the one hand, in this piece Lu Hao makes palpable the transition process, brought about rather violently, from a traditional value system to one that operates in the name of the future; on the other hand, the installation bestows a deep historical dimension to this transformation.
While in his previous works, Lu Hao focused very specifically on currently threatened relics of the traditional Chinese lifestyle, this new one opens our eyes to rather elusive historical dimensions – quite beyond China, in fact. The scenario of violent appropriation of territory, devastation of cultural assets and the ideologically conditioned development of new environments is visualized in Shooting 10000 Arrows All at Once as a phenomenon beyond all temporal and spatial limits. Lu Hao’s relational assessment in looking both back and into the future is articulated quite clearly in the title of his installation: though the today’s pioneers of so-called progress love to give the impression of humanity, the artist exposes this self-description to be clearly a fraud. Instead he ascribes to them the brutality of the 10000 arrows.
Translation: Werner Richter
9
2006 新版通用视力表 2006 New Visual Acuity Chart for General Use 灯箱 3种尺寸 (各尺寸分别对应洋红、绿、蓝、白色)： 64 x 29 x 13 cm / 123 x 53 x 13 cm / 242 x 102 x13 cm 2007 light boxes 3 different sizes (each size in magenta, green, blue and white): 64 x 29 x 13 cm / 123 x 53 x 13 cm / 242 x 102 x13 cm 2007
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万箭齐发 Shooting 10000 Arrows All at Once 装置: 木头、有机玻璃、铁、绳、羽毛 300支不同尺寸箭各约101 x 7 cm 弩床：101 x 260 x 146.5 cm 2007 Installation: wood, plexiglas, iron, rope and feather 300 arrows in different sizes, ca. 101 x 7 cm launching platform: 101 x 260 x 146.5 cm 2007 16
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万箭齐发（局部：弩床） 木头、有机玻璃、铁、绳 101 x 260 x 146.5 cm 2007
Shooting 10000 Arrows All at Once (detail: Launching Platform) wood, plexiglas, iron, rope 101 x 260 x 146.5 cm 2007 26
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万箭齐发（局部） 木头、有机玻璃、铁、绳 101 x 260 x 146.5 cm 2007
Shooting 10000 Arrows All at Once (detail) wood, plexiglas, iron, rope 101 x 260 x 146.5 cm 2007 28
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万箭齐发（局部：箭） 木头、有机玻璃、铁、羽毛 约101 x 7 cm 2007
Shooting 10000 Arrows All at Once (detail: Arrows) wood, plexiglas, iron, feather ca. 101 x 7 cm 2007 30
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简 历 1969
生于出生于中国北京
Biography 1969
目前生活和工作在北京
lives and works in Beijing
主要个人展览
Solo Exhibitions
2006
何香凝美术馆，中国，深圳
2006
2005
He Xiangning Art Museum, Shenzhen, China
季丰轩画廊，中国，香港
Kwai Fung Hin Art Gallery, Hong Kong, China
程昕东国际当代艺术空间，中国，北京
Cheng Xindong Space for Contemporary Art, Beijing, China
阿拉里奥画廊，韩国，首尔 Goedhuis当代艺术馆，美国，纽约
Arario Gallery, Seoul, Korea 2005
北京现在画廊，中国，北京
Goedhuis Contemporary, New York, USA Art Now Gallery, Beijing, China
东京画廊，日本，东京，
Tokyo Gallery, Tokyo, Japan
1996
个人实验水墨画，云峰画廊，中国，北京
1996
Solo exhibition at Wan Fung Art Gallery, Beijing, China
1995
个人实验水墨画展，国际艺苑美术馆，中国，北京
1995
Solo exhibition at the International Art Gallery, Holiday Inn Crown Plaza, Beijing, China
主要参加联展 2007
“来自中国的艺术——希克收藏”，巴西中央文化银行，巴西，里约热内卢
Group Exhibitions 2007
2006
2005
"Art from China – Collection Uli Sigg", Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil
“金猪年——希克中国现代艺术收藏展”，考克大学Lewis Glucksman画廊，爱尔兰，考克
"The Year of the Golden Pig – Contemporary Chinese Art from the Sigg Collection", Lewis Glucksman Gallery, University College Cork, Cork, Ireland
“中国欢迎你...”，格拉兹美术馆，奥地利，格拉兹
"China Welcomes you ...", Kunsthaus Graz, Graz, Austria
“第十二届卡塞尔文件展”，Fridericianum艺术馆，德国，卡塞尔
36
born in Beijing, P. R. China
“麻将——希客中国当代艺术收藏展”，汉堡艺术馆，德国，汉堡
"Documenta 12", Kunsthalle Fridericianum, Kassel, Germany 2006
"YUM CHA", Ray Hughes Gallery, Sydney, Australia
“YUMCHA”，Ray Hugher 画廊，澳大利亚，悉尼
"Jiang Hu – China Contemporary Art Exhibition", Tilton Gallery, New York, USA
“Jiang Hu——中国当代艺术展”，Tilton画廊，美国，纽约
"Beijing/Background: About Architecture", China Contemporary Art Exhibition, Cheng Xindong Space for Contemporary Art, Beijing, China
“北京／背景：关于建筑”，程昕东国际当代艺术空间，中国，北京
"Mahjong – Chinesische Gegenwartskunst aus der Sammlung Sigg", Hamburger Kunsthalle, Hamburg, Germany
“着陆现实——中国当代艺术展”，首尔艺术中心，韩国，首尔
2005
"Land on Reality. China Contemporary Art Exhibition", Seoul Art Center, Seoul, Korea
“Follow me中国当代艺术展”，森美术馆，日本，东京
"Follow me. China Contemporary Art Exhibition", Mori Art Museum, Tokyo, Japan
“墙：中国当代艺术展“，中华世纪坛美术馆，中国，北京
"The Wall: Reshaping the Contemporary Chinese Art", Millennium Art Museum, Today Art Museum, Beijing, China
“麻将——希克中国现代艺术收藏展”，伯尔尼美术馆，瑞士，伯尔尼
"Mahjong – Chinesische Gegenwartskunst aus der Sammlung Sigg", Kunstmuseum Bern, Berne, Switzerland
“中国：当代中国艺术家所见”，Spazio Oberdan，意大利，米兰
"China: As Seen by Contemporary Chinese Artists", Provincia di Milano, Spazio Oberdan, Milan, Italy
“间＋隔”当代艺术展，海上海创意LOFT，中国，上海
"Interval – China Contemporary Art Exhibition", Hi-Shanghai LOFT, Shanghai, China
“未来考古学——第二届中国艺术三年展”，南京博物馆，中国，南京
"Archeology of the Future – Second Triennial Chinese Art Exhibition", Nanjing Museum, Nanjing, China
“明日，不回眸”，关渡美术馆，台湾
"Always to the Front", Guandu Art Museum, Taiwan
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2004
2003
2002
“身体——中国”，马赛当代艺术博物馆，法国，马赛
2004
“釜山双年展”，韩国，釜山
"Pusan Biennale", Pusan, Korea
“板起面孔”版画联展，多伦美术馆，中国，上海；现在画廊，中国，北京
"Is It Art? An Exhibition of Contemporary Art", Shanxi Provincial Art Museum, Xi'an, China
“什么艺术展”，陕西省美术馆，中国，西安
"Stone Face", Duolun Museum, Shanghai, Beijing, China and Art Now Gallery, Beijing, China
“新地带：中国艺术”，波兰国家艺术中心，波兰，华沙
2003
2000
1999
1998
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"New Zone – Chinese Art", Zacheta National Gallery of Art, Warsaw, Poland
“间”中国当代艺术展，蓬皮杜文化艺术中心，法国，巴黎
"Alors, la Chine?", Georges Pompidou Centre, Paris, France
“二手现实——当代艺术展”，今日美术馆，中国，北京
"Second Hand Reality", Today Art Museum, Beijing, China
“中国当代艺术展”，华人艺术中心，英国，曼彻斯特
"China Contemporary Art", Chinese Arts Center, Manchester, United Kingdom
“第四届上海双年展”，上海美术馆，中国，上海
2002
"Shanghai Biennale 2002", Shanghai, China
“通过”，René Steiner画廊，瑞士，埃尔拉赫
"Transit", Gallery René Steiner, Erlach, Switzerland
“欢迎中国！”，Soardi画廊，法国，尼斯
"Welcome China!", Gallery Soardi, Nice, France
“中国艺术—来自中国的当代艺术”，Küppersmühle 美术馆，德国，杜伊斯堡
"China Art - Zeitgenössische Kunst aus China", Küppersmühle Museum, Duisburg, Germany
“都市像学—第25届圣保罗双年展”，巴西，圣保罗 2001
"China: The Body Everywhere", Maseille Museum of Contemporary Art, Maseille, France
“第7届伊斯坦布尔双年展”，土耳其，伊斯坦布尔
"Urban Iconography. The 25th Sao Paulo Bienniale", Sao Paulo, Brazil 2001
"The 7th Biennale of Istanbul", Istanbul, Turkey
“参与 II”，麦勒画廊，瑞士，卢森
"Take Part II", Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland
“生活在此时——27位来自中国的当代艺术家”，汉堡火车站美术馆，德国，柏林
"Living in Time. 27 zeitgenössische Künstler aus China", Hamburger Bahnhof, Berlin, Germany
“参与 I”，麦勒画廊，瑞士，卢森
"Take Part I", Galerie Urs Meile, Beijing-Lucerne, Lucerne, Switzerland
“我们的中国朋友们——当代艺术展”，魏玛ACC画廊，包豪斯大学画廊，德国，魏玛
2000
"Our Chinese Friends", ACC Gallery Weimar & Bauhaus-University Gallery, Weimar, Germany
“第5届里昂双年展”，法国，里昂
"The 5th Lyon Biennale", Lyon, France
“中国当代艺术资料展”，福冈亚洲美术馆，日本，福冈
"Documentation of Chinese Avant-Garde Art in the 90s", Fukuoka Asian Art Museum, Fukuoka, Japan
“北京—伦敦”当代艺术展，伦敦ICA艺术中心，英国，伦敦
1999
"Beijing in London", Institute of Contemporary Art, London, United Kingdom
“到处（dAPERTutto）——第48届威尼斯双年展”，意大利，威尼斯
"dAPERTutto — The 48th Venice Biennale", Venice, Italy
“跨世纪彩虹——艳俗艺术展”，泰达美术馆，中国，天津
"China Gaudy Art", Tianjin Taida Art Galley, Tianjin, China
“酚苯乙烯”当代艺术展，中山公园，中国，北京
"Poly Phenobrene", Zhongshan Park, Beijing, China.
“偏执”，北三环东路十号地下室，中国，北京
1998
"The Corruptionists", North Third Ring No. 10, Basement, Beijing, China
39
出版：麦勒画廊 北京- 卢森 编辑：箫岭，里柯，苏晓琴，李建辉，麦勒画廊 北京- 卢森 文章：闽丽柯 设计：李建辉 翻译：李双志，Werner Richter 摄影：孙建伟 © 2007 麦勒画廊 北京- 卢森，卢昊 印刷：中国，北京
Published by: Galerie Urs Meile, Beijing - Lucerne Edited by: Nataline Colonnello, Enrico Polato, Su Xiaoqin and Li Jianhui, Galerie Urs Meile, Beijing - Lucerne Text: Ulrike Münter Design: Li Jianhui Translation: Li Shuangzhi and Werner Richter Photography: Sun Jianwei © 2007 Galerie Urs Meile, Beijing - Lucerne, Lu Hao All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including but not limited to photocopying, recording or by any information storage and retrieval system, without permission in writing from the publisher. Printed in China
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