Ni Youyu: Relic by Contemporary Fine Arts Gallery

倪有鱼 Ni Youyu

所有的这些东西，过时的，剩余的，或是被舍弃的，我称之为遗迹。 All the obsolescence, the residue, or the dereliction, I name them "relic".

一切从“拱形”开始

Everything that Came from the Arch

徐小丹 / 倪有鱼

Penny Xu / Ni Youyu

徐小丹：在做这次访谈之前，我又集中性

徐：究竟是什么契机让你开始创作这个系

研究你这个系列的所有作品，在重新梳理

列的？

的过程中，我觉得我越是深入了解这些作

倪：完全是一个意外。2011 年初，我在

品，越是产生更多疑问。这个系列你其实

上海的旧货市场发现了一个民国时期俄国

已经持续了很多年，但外界对它们的了解

人留下的木质弹珠机，我一下子就被它吸

却相对有限。它们几乎和你所以系列都产

引了。这种感觉很奇妙。那是一个早已过

生了联系，然而又似乎并不一样。除了在

时的玩具，显然和我们这个时代已经不再

日常的社交媒体，我印象中你很少在国内

有关系。然而它拱形的轮廓，漂亮的版画

的展览上公开发表这个系列的原作。这使

背板和丰富的零件结构还是让我产生了很

得这个系列的作品具有一种隐秘性的，一

多想象。直到一年多以后我才把它做成作

种潜伏在其它作品之下的内向的气质。或

品 —— 在我 2012 年上海美术馆的个展上，

许这种内向气质就是我在研究过程中产生

我用这件不起眼的小装置设计了展览海报。

诸多疑问的原因，我想借这次机会和你深入聊一聊我的这些疑问和感受。所以首先我们应该如何称呼这个系列？ “神龛”？倪有鱼：我很高兴你在这里用到“内向” 这个词，它们的确是内向的。事实上“神龛”并不是这个系列的正式名称，和“游戏盘”一样，都只是这些作品在日常中的一种代称。其实“神龛”这个名字也不是我取的，而是多年以来一些观者不约而同的感受，他们觉得这些小作品相对于一些大家伙更容易吸引注意力的集中，让情绪变得和缓平静，就好像面对一尊神龛一样。而在东西方不同的宗教传统中都有拱形的神龛，于是就有了这样的“雅号”。我觉得无论是“神龛”还是“游戏盘”，它们的指向都有点太明确了，而在这个系列作品中，很多东西其实是不明确的，本质上甚至是抽象的，所以我更愿意将这个系列命名为“拱形”。 04

2012 上海美术馆“简史”个展海报 The poster of the 2012 solo exhibition A Brief History at Shanghai Art Museum

Pe n n y X u : B e fo re t h i s i n t e r v i ew , I meticulously studied every component piece in this series. The more I observed, the more questions emerged. Though you have been working on this series for many years, little about it is known to the public. It is connected to the rest of your oeuvre, but a difference is tangible. As far as I recall, very few works in this series have been shown in China, except for on social media. This veils the works with an aura of mystery, imbues them with a sense of introspection that also informs other works of yours. I think my questions gravitate towards this sense of introspection: I would like to take this opportunity to ask about your perspective, your feeling, towards the works. To begin, how do you refer to the series? "Holy Shrine"? Ni Youyu: I'm glad you've chosen the word "introspection", as these works certainly are introspective. Holy Shrine is not an official name, like Pinball Sereies, for example, these are simply nicknames for the group of work. So, I didn't name the series Holy Shrine, it was deemed as such by viewers, perhaps pointing to a unanimous feeling among them. As opposed to the effect of something larger in size, I think viewers find that smaller pieces facilitate focus and ease the mind, as if they were facing a holy shrine. Holy Shrines take the shape of an arc in both Eastern and Western religious traditions and that is how this name came into being. Xu: What inspired you to begin this series?

Ni: It began by accident. At the beginning of 2011, I found a pinball machine that the Russians had left behind after the reign of Kuomintang at a second-hand market. It caught my attention immediately. There was something intriguing about it. It was something from another era, simply an old-fashioned toy. But the arched shape, the beautiful lithography on the foreground, the amalgamation of intricate pieces and structures, sparked my imagination. I didn't incorporate the piece into my work until more than a year later for my exhibition at the Shanghai Museum of Art in 2012. I used this modest installation for the exhibition poster. Xu: And then you found the second one and the third? Ni: Yes, I found one in Japan, then another

圣母与圣婴及里斯本的圣安多尼、托伦蒂诺的圣尼古拉斯，马特奥・狄・乔瓦尼，1470 年代早期 Madonna and Child with Saint Anthony of Padua and Saint Nicholas of Tolentino, Matteo di Giovanni, early 1470s

徐：然后你又陆续找到了第二个，第三个？

时间与经验一点点调整修正，慢慢确立了

倪：是的，一个在日本，一个在柏林。尺

这样的一个经典的形式。谁知道呢？反正

寸差异很大，但外轮廓都是拱形的。这使

它现在给与了我一种很强烈的仪式感，吸

我开始特别关注这种材料。

引我不得不在里面做点什么。

徐：所以，拱形对于你来说意味着什么？

徐：随着收集到的古董弹珠机渐渐多起来

逍遥游（对望） Freewheeling Trip (Looking at each other)，2018，Old Photos collage，22×62 cm

倪：这是一个很关键的问题。从表面来说，之后，你就开始有意识地创作这类作品。这就是一个形式而已，但是深入想想，这

通常制作一件这样的作品需要多长时间？

里面其实暗含了很多东西，甚至有些神秘。你是在什么样的状态下制作这些作品的？比如在考古研究中发现，当东西方还无法

倪：我原本是一个在工作中计划性很强的

交流的远古时代，为什么人们都不约而同

人，但是我的很多创作其实都难以去计划。

地选择拱形作为建筑的基础型。从洞穴到

比如我的另一个“逍遥游”系列的拼贴作

建筑，拱形的门洞和穹顶无处不在。我后

品，所有用以拼贴的老照片都不是我拍摄

来尝试着和很多人讨论过这个问题，大家

的，我需要大量的时间去收集，整理，等

都没有很明确的论断。或许来源于我们

待一个可以拼接的机缘巧合。做这个系列

基因中对于宇宙和大地的崇拜（天圆地方

的时候，我同样无法计划什么时候在什么

说），或许是基于拱顶在建筑力学上的稳

地点找到一个新的古董弹珠机，也无法正

定性，又或许在最初，就是源于我们的身

确计算完成一件作品所花费的时间。它不

体——将头顶与肩、手、脚用线相连，就

像一张绘画，从尺寸到内容都是可预设的。

成了这样一个几何形。人们花费无数代的

做这样的作品，有时候做到一半，会因为缺乏材料无法进行下去，因此搁置一两年也很正常。所以我通常就是把它搁在那，在画画或做别的作品的间隙去不断完善它，这就像是一个配药的过程，不是你开出药方就能抓到药的。徐：我很好奇你是通过哪些渠道配药的？我想参观过你工作室的人大概都有这样的好奇，你的工作室就是一个博物馆，现在我们姑且称之为“药房”吧。

拉美西姆神庙，卢克索，埃及，公元前 13 世纪 th Ramesseum, Luxor, Egypt, 13 century BC

倪：用我能用到的所有方法去寻找材料。我去所有国家和地区，都尽可能的去逛跳

in Berlin. The size varies greatly, but they all share an arched shape. From then on, I started to pay more attention to this kind of material. Xu: What does an arch signify for you? Ni: That is the key question. Initially, it was just a form. But on a deeper level, it implies a lot, even something mystical. Archeological research shows, for instance, that the arch was used as a basic architectural shape across ancient civilizations, despite the lack of communication between East and West. I broached this topic with a range of people, but could not reach a conclusion. This universal form might originate from an innate reverence for the universe and the land, where the sky was believed to be round and the land square. Or perhaps from the stability the arch enables in architectural mechanics. Or its origin could be connected to the body: if we connect the dots between the top of the head, shoulders, hands and feet we trace something like an arch. Over an immeasurable amount of time, drawing upon human experience, adjusting and improving little by little, a classical form arises. Who knows? Regardless, the shape

strikes me with a strong sense of ritual and meaning. So strong that I have to do something with it. Xu: As your pinball collection grew, you began to deliberately create within this genre. How long does it take you to create a pinball installation? What is your state of mind like during this process? Ni: I have always been a goal-oriented person with regards to my work, though much of it cannot be planned in advance. In my collaged work The Idle Peregrination, for example, I created the work entirely from found photographs. It took quite some time to collect the photos, sort them, and wait for a serendipitous energy to begin the collage. While I worked on the collage, I couldn't plan when and where I would come across an antique pinball machine, nor precisely calculate when I would finish the work. Unlike painting, where size and content can be predetermined, a work like this can be put on hold for lack of material. It is quite common for me to put a piece aside for one or two years. I do that often. I will continue to improve on it little by little, while I work on paintings or other works. It is like receiving a prescription – it doesn't mean you can necessarily find the

蚤市场，二手店，甚至去翻垃圾堆。我当

从原有的功能属性和认知定义中解放出来，

然也利用网络来寻找，这是我们这个时代

让原本毫无关联的材料在艺术的逻辑中被

最好的工具。比起过去利用现成品创作的

重新调和在一起，你也可以把它们理解为

艺术家，网络带给我们更大的广度。

“色彩”和“笔触”。我在做作品所选择的材料其实没有特定的标准，无论其自身

徐：你曾经说过，“你并不确信艺术家是

价值很昂贵或是很廉价，这都不是最关键

一个创造者，对你而言更多是发现者”。的。当然，我会比较偏爱有时间感的材料，我很好奇你的这种“配药”的过程，比如

我这里说的“时间感”并不一定特指古董，

在跳蚤市场。古董店或是垃圾堆里，你是

有时候也包括带有使用痕迹的物品，它们

如何发掘这些材料的？你对于作品的材料

在这个过程中被消耗，打磨，氧化，从而

是否有一个潜在的标准，或者说是某种共

产生区别于新材料不同的质感，甚至产生

性关系？

了一种“温度”。

倪：从哲学层面上说，这个世界上的所有物质原本就存在在那里，哪怕是一张绘画，徐：科特·施维特大概是欧洲最早使用垃圾颜料原本就封存于锡管中，你只是把它挤

材料做作品的艺术家，约瑟夫·康奈尔更是

出来，调和后粘到了亚麻布上。而真正艺

典型，你有受到他们的影响吗？当你看到

术的过程是你如何理解这些颜料并调配它

他们的作品时，最大的感受是什么？

们。做装置有时候也是一样，所有的材料

倪：坦率地说，我并不知道科特，我之前

原本都在那里，我要做的，就是将它们

也不知道约瑟夫·康奈尔，但是我在 2014 年

科特・施维特 Kurt Schwitters Merzbild 1A（心理医生），科特・施维特，1919 Merzbild 1A (The Psychiatrist), Kurt Schwitters, 1919

ingredients, even with the prescription in hand. Xu: And how do you manage to find your "medicine"? I would imagine everyone who visits your studio has the same question. Your studio itself is like a museum. To extend the analogy, we could call it a "pharmacy". Ni: I use all possible means to find material. Whenever I travel, I make every effort to visit flea markets and secondhand shops. I have even scavenged dumpsters. Of course, I also use the internet. This is the best tool of our age. The internet has widened our scope immensely, compared to artists working with readymade materials in the past. Xu: You once said that an artist resembles an explorer, more than a creator. I am curious about the "process of finding the medicine". In a flea market or an antique shop or when you rummage through a dumpster, how do you discover your material? Do you have any underlying criteria that guide your search? Or is there anything in common between the items you select? Ni: On a philosophical level, the material has always been there. For a painting, the paint is sealed in a tin tube. It can simply be squeezed out, mixed and spread on the canvas. The same applies to installation. The material has always been there. What I do is liberate it from functionality, from how it is perceived or defined, and reformulate it with seemingly unrelated material, an arrangement informed by the logic of art. You can see it as color and

stroke. I don't have any selection criteria. It doesn't matter whether something is of great or little value. I do prefer material that bears an imprint of time. An object doesn't have to be antique to bear an imprint of time, it can also be something that reveals traces of use. Something that has been consumed, polished, oxidized to nurture a kind of texture, or even a temperature, that makes it different from a brand-new material. Xu: Kurt Schwitters is probably the first European artist to use waste in his work. Joseph Cornell epitomizes that practice. Has their work influenced you? When you first encountered their work, what impressed you most? Ni: To be honest, I don't know anything about Kurt Schwitters. I didn't know Joseph Cornell either, but when I encountered his work in 2014, it felt like I was struck by a thunderbolt. Xu: Did seeing Cornell's work make you skeptical about your own? Ni: Yes. In any case, there is someone who did similar work to mine over half a century ago and he did a fabulous job. One would naturally be touched by that revelation. I was despondent for quite some time, torn between feelings of excitement and failure. But soon I returned to what I was supposed to do. Xu: What kept you working on the series for another four, five years? Ni: Well, I really enjoy the process of creating these pieces. The more you know about Cornell, the more you realize his

第一次看到约瑟夫画册时，我还是有一种

有趣。

被电击的感觉。徐：作为最早的超现实主义艺术家之一，徐：你最初看到约瑟夫的作品的时候，开

康奈尔的装置，更像他的实验电影的静态

始质疑自己的多年的工作了吗？

缩影，具有浓缩的故事性和神秘主义色彩，

倪：是的。不管怎么说，有一个人在半个

可以说是超现实主义的“视觉诗歌”。而

世纪前已经做了和你类似的事情，况且做

你的“拱形”装置却有一种古典美学的气

得那么好，你肯定会非常触动。我在兴奋

质，这种与科学、理性相融合的特质，让

与挫败的矛盾中消沉了一段时间，然后很

人想起丢勒时代的绘图师。那时候的绘图

快就该干嘛干嘛了。

师与科学家之间没有太大的差异，制图需

约瑟夫・康奈尔 Joseph Cornell 苏西的太阳（给朱迪·泰勒），约瑟夫・康奈尔，1957 Suzy's Sun (for Judy Tyler), Joseph Cornell, 1957

要通过仪器严谨的判定透视的精确性，在徐：是什么原因让你决定继续做这样的作

早期的铜版画中也绘有大量科学图谱。在

品，并且一做又是四五年？

你的其他系列中我也发现了这样的气质。

倪：因为我很享受制作这个作品的过

倪：是的，康奈尔并不是一个画家，他是

程。一方面，越是懂得康奈尔的人就越明

一个纯粹的观念先行的艺术家，是一个幻

白，他的艺术是根本不可效仿的！这不是

想主义者。他的作品中常常能闪现“ 顿

组装一个玩具模型，而是很形而上的工作。悟”的灵光，而我的创作往往更偏向一种做这样的一类作品完全没有技巧可言，它

“静修”的状态。

必须依靠一种天赋，甚至是一种怪癖。所以我在知道康奈尔之前的三年就这样做了，徐：就像你在前面谈到的，你做这批作品知道他之后的三年我还是这样做。我更愿

的过程中对待材料的观点很像对待颜料和

意把这看作两个癖好接近的人的某种跨时

笔触。我在里面看到了更多绘画性，你如

代的对话，它一定是很平等的。

何界定这个系列是“绘画”和“装置”？

art is resistant to imitation. It is not like assembling a model toy, but is rather a very metaphysical task. There is no technique in creating these works. It relies on a gift, or even an eccentricity. I began making works like these three years before I came across Cornell's work and I continued for three years after. I see the relationship as a dialogue across generations between two men who share similar eccentricities. It is no doubt equal.

倪：和最早期的“银河”以及后来的“尘徐：康奈尔的不可被模仿就好像杜尚的不可

埃” 等作品一样，我也很难清晰地界定

被模仿，刻意地模仿杜尚很容易成为笑话。 “ 绘画” 与“ 装置”。从某种意义上说，倪：没错。但康奈尔和杜尚又是完全不同

绘画最初的形态，原本就是“综合材料”

的两种人。如果可以穿越时代，我很想和

的。古代先人在岩洞的石壁上使用各种能

杜尚聊聊天，但我更愿意和康奈尔一起工

留下痕迹的材料作画，用石器在骨骼和龟

作，做他的助手。每个周末和他一起去纽

甲上雕刻图形文字，或是在海滩上使用树

约 25 街的车库跳蚤市场，一起去捡破烂，枝、石子或贝壳作画。这些都是最早的看看我们的眼光有什么差异，那一定非常 10

绘画。人类历史发展到很晚的时候，“画

Xu: Cornell's works are resistant to imitation, similar to Duchamp's. One risks becoming a laughing-stock, imitating Duchamp on purpose. Ni: Exactly. But Cornell and Duchamp differ from one another. If I could go back in time, I would love to speak with Duchamp. But I would prefer to work with Cornell, to be his assistant. I would go with him every Sunday to rummage through

the junk at the garage sales on 25th street in New York. It would be interesting to see the difference in taste between us. Xu: As one of the early surrealist artists, Cornell creates installations that are more like a static embodiment of his experimental films. Each contains a condensed sense of story, tinged with mysticism. It is no less than surrealist " v i s u a l p o e t r y " . B u t y o u r a rc h e d installations brim with the character of classical aesthetics. A sensibility that blends science and rationality, recalling t h e c a r t o g ra p h e rs o f D ü re r ' s a g e . Back then, cartographers were not too different from scientists. They relied on a rigid apparatus to evaluate the precision of perspective. Scientific graphs often appeared on early copper plate etchings. I observe something similar at play in your work. 11

工”逐渐作为独立的行业被分离出其他日常的生产劳动，才慢慢形成了后来所谓的 “油画”、“水彩画”或是“水墨画”等等这样的概念。相较于你今天在一些展览

Ni: Yes, Cornell is more than a painter. He was an artist whose concept precedes his work, an illusionist. The genius of epiphany overflows in his work, while my creation tends to rest in a state of meditation.

上看到的大型装置而言，“拱形”系列在视觉传达上的确更接近绘画。 2018 年 3 - 6 月于上海

Xu: As you mentioned earlier, you can conceptualize the materials in this series as akin to paint and stroke. Personally, I p i c k u p m o st o n t h e e le m e n t s o f painting. How do you define painting and installation in this series? Ni: Like Galaxy in my earlier days and Dust later on, I cannot define "painting" and "installation" with clarity. To some extent, painting in its earliest form is synthetic, in terms of the material used. Our ancestors used any material they could to leave a

mark on the stone walls of a cave. They used stone artefacts and bones to engrave hieroglyphics onto a turtle's back or drew with twigs, pebbles or shells on the beach. This mark making was a prototype of painting. Not until very recently in the history of human development did the craft of painting gradually evolve into a profession, separated from other quotidian production activities. Compared to the big installations that are increasingly common in exhibitions these days, I understand and approach the pinball installations as paintings in a way, it's a similar visual language, or a similar mindset. March - June 2018, Shanghai

制图师在绘制一只鲁特琴，阿尔布雷希特・丢勒，1525 Draughtsman drawing a lute，Albrecht Dürer, 1525

所有的拱形都给我一种神圣的仪式感。我觉得这或许来源于我们基因中对于宇宙和大地的崇拜，在远古的时代，当东西方还无法交流的时候，人们都不约而同地选择了拱形。 The arch shape strikes me with a strong sense of ritual and meaning. This universal form might originate from an innate reverence for the universe and the land, where the sky was believed to be round and the land square. Archeological research shows that the arch was used as a basic architectural shape across ancient civilizations, despite the lack of communication between East and West.

木质弹珠机 Wooden pinball machine，20 世纪上半叶 made in the first half of 20 century

1 3

4 5

8 7

F=ma，2017，综合材料 Mixed media，53×31×6 cm

F=ma，2014-2015，综合材料 Mixed media，92×46×9 cm

公转 / 自转 Revolution Rotation，2016，综合材料 Mixed media，30×18×3 cm

轨迹 1 Planet Orbit I，2017，综合材料 Mixed media，36.1×18.9×4.5 cm

轨迹 2 Planet Orbit II，2017，综合材料 Mixed media，53×31×6 cm

太阳系 1 Solar System I，2015，综合材料 Mixed media，37.2×23×7 cm

太阳系 2 Solar System II，2016，综合材料 Mixed media，47×31×5 cm

阿波罗 Apollo，2017，综合材料 Mixed media，45.5×31.5×5.5 cm

日心说 Heliocentric Theory，2018，综合材料 Mixed media，61×30.5×5 cm

2018 柏林 CFA“遗迹”倪有鱼个展 The 2018 solo exhibition Relic at Contemporary Fine Arts, Berlin, Germany

内核 Kernel，2017，综合材料 Mixed media，61.5×31×7 cm

循环 Cycle，2016-2017，综合材料 Mixed media，61×32×6 cm

蚀 Eclipse，2016，综合材料 Mixed media，30×15.5×3 cm

冷月 Cold Moon，2016，综合材料 Mixed media，61×31×5.5 cm

梦的解析 The Interpretation of Dreams，2018，综合材料 Mixed media，53×31×5 cm

子夜耳语 Night's Whisper，2015，综合材料 Mixed media，53.5×31×7 cm

2015 台北当代艺术馆“水滴石穿 ”个展 The 2015 solo exhibition Constant Dripping Wears Away a Stone at MOCA Taipei

火星（战神） Mars，2017，综合材料 Mixed media，36.5×18.5×4.5 cm

木星（朱庇特） Jupiter，2016，综合材料 Mixed media，36.5×18.5×4 cm

2018 柏林 CFA 个展“遗迹” The 2018 solo exhibition Relic at Contemporary Fine Arts, Berlin

土星 1（纪念发现土卫二） Saturn I ( To Commemorate the Discovery of Enceladus )，

2017，综合材料 Mixed media，45.8×31.1×6.9 cm

土星 2 Saturn II，2017，综合材料 Mixed media，46×31×8 cm

彗星 Comet，2017，综合材料 Mixed media，45.8×31×5.5 cm

流星雨（60°） Meteor Shower ( 60° )，2018，综合材料 Mixed media，45.5×31.2×5.8 cm

北斗 Big Dipper，2017，综合材料 Mixed media，24.3×14.5×3.5 cm

漩涡 Vortex，2018，综合材料 Mixed media，77×38.5×7 cm

徐小丹：让我们来谈谈你今年九月在柏林

倪：希望能有一点不一样，至少得和我自

的个展。这是你第一次做“拱形”系列的

己之前的展览不一样。有趣的是，在我开

个展吗？

始筹划这样一个展览的时段里，我的代理

倪有鱼：是的。

画廊 Contemporary Fine Arts 正好从柏林

Penny Xu: Let's talk about your exhibition soon to be held in Berlin this September. Is this your first exhibition that focuses on the arch? Ni Youyu: Yes.

博物馆岛的现代极简主义建筑搬到了西区徐：能简单介绍一下这次展览的初衷吗？

一座有百年历史的老宅邸，展厅中保留了

倪：这是我在柏林的第二个个展，也是我

老建筑原有的天顶的雕花、古典吊灯、不

在欧洲的第四次个展，在此之前，差不多

同拼花的木地板和两座精致的老壁炉。我

都是不同系列的综合发布，而且大都以绘

觉得这一切都是如此完美，我就是想在这

画为主。关于“拱形”系列，它是我非常

样的环境中做一个看起来很不“当代”的

重要的一个系列，我已经持续做了差不多

展览。

七八年，但是在此之前，它们很少公开发表。我一直很期待这样一个专题展览，让

徐：这次展览的标题是“遗迹”，你有许

人们开始注意这样的作品，我觉得今年差

多件作品都以此命名，也可以说你给“遗

不多是一个好的时间点。

迹”一词做了丰富的视觉阐释。于你而言， “遗迹”意味着什么？

徐：我能想象这会是很特别的一个展览。倪：所有的这些东西，过时的，剩余的，首先这种类型的作品在今天的艺术世界中

或是被舍弃的，我称之为遗迹。

不多见，无论在欧洲还是中国，会有一种很特别的气质。

徐：这次大约展出多少作品？倪：大约三十几件。分在三个大小不等的房间里。徐：我记得有一件特别特别小的，“ 国王”？那是你最小的一件吗？倪：是的，“ 国王 ”（2016）和“ 大力神”（2014），差不多和一包烟一样大，做得我很崩溃。徐：那么小的尺寸，仅从图片上看简直很

2018 柏林 CFA 个展“遗迹” The 2018 solo exhibition Relic at Contemporary Fine Arts, Berlin

难以置信。我能想象这里面应该会涉及到很多限制，难度会更大？

X u : H o w w o u l d y o u i n t ro d u ce t h i s exhibition? Ni: This is my second exhibition in Berlin and fourth in Europe. Previously, my exhibitions have included works from various series and prioritized painting. This arch series is a very important series for me – I have been working on it for nearly eight years. These works were, however, rarely shown to the public. I have been looking forward to a focused exhibition like this, to bring this form of artwork to people's attention. I believe this year could be good timing. Really, I see this as a very special exhibition. This type of artwork is quite unusual in the contemporary art world. It gives off this unique aura in both Europe and China. Hopefully there will be something different, at least something different from my previous exhibitions. Interestingly enough, when I started to prepare for this exhibition, CFA, the gallery that represents me and where the exhibition was to be held, moved from a modern minimalist building on Berlin's Museum Island to a century-old residence in West Berlin's Charlottenburg. The exhibition hall has maintained the engraved ceiling molding, a classic chandelier, wooden floors with different arabesque patterns and two exquisite ceramic fireplaces. For me, this could not have been more perfect. This was exactly the sort of environment where

I wanted to do an exhibition that put into question what is "contemporary". Xu: The exhibition is titled Relic and you gave many of your pinball installations the same name. I think this naming visual enriches the word. What does Relic mean for you? Ni: The obsolescence, the residue, the dereliction, I name them Relic. Xu: How many artworks will be shown this time? Ni: Around forty. They will be presented in three different spaces and are also in varying sizes. Xu: I remember an extremely small piece, The King? Is that your smallest work? Ni: Yes. The King from 2016 and Atlas from 2014 are about the size of a pack of cigarettes. Those two were nearly the end of me. Xu: A size as small as that almost doesn't feel real in pictures. I can imagine there must be a lot of constraint in it, which makes it much more difficult. Ni: Yes, when the size is that small, making the work is technically much more difficult than the bigger size. I a definitely a selfinflicted trouble seeker – I used to paint on coins. So the constraint of the size is never much of a problem to me, it is something I am drawn to. Some art dealers might care a lot about size. Personally, I care most about the density of the work, the thickness. Creating this type of work, I have encountered a lot more constraints than merely those presented by size. But I

feel a sense of freedom precisely because of these constraints. It's like playing chess – rules are the foundation of pleasure. I really enjoy the process.

倪：小到了一定程度，就比大的更难了。你知道我是总喜欢给自己找麻烦的那种人，从当年在硬币上画画开始。所以大小对于我而言不是一个难题，某些艺术品商人或许会更在意大尺寸的作品，而对于我而言，我最为关心的是在一个作品的“密度”的问题，或者也可以说是“浓度”的问题。做这类作品显然都会遇到很多限制，不仅 2016 第五届新加坡双年展 The 5th Singapore Biennale 2016

仅是尺寸上的。但是恰恰是因为这些限制，才带给了我自由的感觉。就像下棋，所有规则都是愉悦的基础。我很享受这个过程。徐：大力神和国王确实让我想到了你做的硬币绘画（“银河”系列，自 2008 年起）。现在很少有艺术家对这么小尺寸的作品感兴趣。你如何看待尺寸的问题？

一个幽暗的空间内，构成了一个很特别的

倪：首先，我选择的这些材料，它们自身

“场”，让人印象深刻。我记得那年双年

的尺寸决定了我作品的尺寸。第二，我觉

展的主题就是“Atlas”，这件作品是为双

得“大”和“小”完全是一个相对的概念，年展特别创作的吗？在不同参照系上看，它们常常会相互转换。倪：是的。“Atlas”是一个多义词，它既董其昌（1555-1636）曾经画过一套《小中

是“地图集”又是“大力神”，所以我在

见大册》，在差不多 A4 大小的册页中模拟

那一届展览上，做了一个宇宙中的的大力

宋元经典大画，极尽精微，有以小驳大之

神，同时也做了一个以新加坡天文馆提供

感。或许是受此影响，如果有人在没有看

的，新加坡坐标上空拍摄的银河照片为蓝

到我的小作品原件的前提下，误以为是大

本的星空图。

尺寸作品，我常常因此窃喜。徐：在那次展览上，你的三件作品运用了徐：2016 年，我在新加坡双年展上看到

三种完全不同的观念与材料去描绘星空，

你的一个独立展厅。有意思的是，透过那

你对于星空的迷恋来自于什么？

个空间古典的拱形大门，正对的就是你的

倪：或许和康德差不多。

Atlas，当时这件作品与你两件巨大的星空装置（“隐力”与“尘埃”）并置在那样 70

2018 年 9 月，于柏林

Xu: Atlas and the King reminds me of Galaxy. Very few artists are still interested in making something that small. What is your stance on size? Ni: First of all, the size of my work depends on the size of the material I've chosen. Second, I suppose the perception of big and small is entirely relative. In different frames of reference, big and small can become interchangeable. Dong Qichang ( 1555-1636 ) painted the series The Album Large Emerging From Small, copying classical paintings from the Yuan and Song dynasties onto A4 pieces of paper. These works were refined and nuanced to the utmost degree. Probably because of this influence, when someone mistakes my small work for something larger when they see a reproduction before the original, I always smile to myself. Of course, some art dealers care a lot about size. I care most about the density of a work, the thickness.

me an in g s . I t me an s bo th a bo o k o f maps and a mythological figure with overwhelming strength. For that exhibition, I made an atlas in the universe. I also made a map of stars based on a picture of the galaxy from the coordinate position of the Singaporean sky. September 2018, Berlin

小中见大册 - 仿范宽溪山行旅图，董其昌，明代 The Album Large Emerging from Small - Reduces Copy of Fan Kuan's Traveling amid Mountains and Streams, Dong QiChang, Ming Dynasty

Xu: In 2016, I saw your solo exhibition at the Singapore Biennale. Seen through the classical arched door in that space was the work Atlas. At the time, it was juxtaposed with two of your faint installations of starry skies ( Gravity and Dust ). It created a very special field, which was quite impressive. The theme of the biennale was Atlas, was your Atlas made specifically for that occasion? Ni: Yes, Atlas is a work with multiple

16 15 22

18 19

22 23

大力神 Atlas，2016，综合材料 Mixed media，45×23×5 cm

2015 台北当代美术馆“水滴石穿”个展 The 2015 solo exhibition Constant Dripping Wears Away a Stone at MOCA Taipei

凡人与神话 Mortal & Myth，2015，综合材料 Mixed media，53.8×31×6.5 cm

神殿 Pantheon，2018，综合材料 Mixed media，78×40.5×9.5 cm

2018 柏林 CFA 个展“遗迹” The 2018 solo exhibition Relic at Contemporary Fine Arts, Berlin

大力神 Heracles，2014，综合材料 Mixed media，13.8×7.7×2.2 cm

王 King，2016，综合材料 Mixed media，13.8×7.8×3 cm

门徒 Protege，2015，综合材料 Mixed media，60.5×29.8×5 cm

太阳系（诸神） Solar System ( Gods )，2016，综合材料 Mixed media，165×28.5×68 cm

2018 柏林 CFA 个展“遗迹” The 2018 solo exhibition Relic at Contemporary Fine Arts, Berlin

天堂与地狱之间 Between Heaven and Hell，2018，综合材料 Mixed media，30×15×3.2 cm

我迷恋所有球体，那是最美的几何，这种美源自于世界上并不存在完美的球体。 I am fascinated by all kinds of globes. That is the most beautiful geometry and its beauty comes from the perfect, non-existent globe.

走下神坛 Came down from the altar，2018，综合材料 Mixed media，53.5×31.5×7 cm

万神殿 1 Pantheon I，2016，综合材料 Mixed media，61×31.3×8.9 cm

100

万神殿 2 Pantheon II，2018，综合材料 Mixed media，42×23.5×6.5 cm

101

102

真爱 A little more & a little less，2015，综合材料 Mixed media，37.6×21.7×6.5 cm

103

徐：此前我们曾谈及杜尚，现在我想和你

条式的理解，甚至更符合杜尚本人的趣味。

深入谈谈你的这件“ 滚下楼梯的裸女”，倪：我不是想用一件作品向杜尚致敬，甚这是我个人非常感兴趣的作品。看到这件

至这件作品都不是针对他而做的，只是想

作品的标题，大家都会想起杜尚 1912 年完

借此和他开一个玩笑。杜尚不会生气吧？

成的著名的画作 “下楼梯的裸女”。那是杜尚第一件引发轩然大波的作品。撇开学

徐：但是在无意中，你的这种方式反而更

者们不断争论的背景不谈，杜尚受到立体

契合杜尚的脾气。杜尚一直不断的打破艺

主义的影响，试图在二维平面上表现多时

术僵化的边界，最终却被奉为偶像，完全

间维度的透视，被简化成几何形体的女人

有悖他的哲学。他晚年时候被采访者问道

体也更像是一部运转中的机械。致敬杜尚

怎么看待现成品被新一代艺术家追捧的现

的作品，从古到今不胜枚举。而你的这件

象，他愤愤的说“我把瓶架和小便器当做

作品，反倒以调侃的方式把杜尚拉进了自

挑战扔到他们脸上，他们竟然开始崇拜它

己的艺术世界。旋转楼梯更像是一种引力

们的美学。”所以，我想他如果见到这件

模型，虽然你在标题中暗示球体正在“滚

作品，一定会被逗乐的。

下”，但实际上它们只是被定格在运动中的

倪：哈哈哈。

瞬间，说不清在上升还是下降，只是在这个引力场中相互牵制，产生关联。我想你

徐：我记得你之前还做过一个在玻璃罩中

也是以这种方式打破一些我们对杜尚的教

的立体旋转楼梯装置，也是以此命名的。为什么选择做旋转楼梯？倪：旋转楼梯是建筑中一个非常基本也非常经典的图形，这是受到我父亲的启发，他过去在大学里面教授建筑和机械基础制图，我看过他的很多教材和模型，我觉得很有意思，所以我邀请他与我合作完成这几件作品。旋转楼梯在这里其实可以有很多隐喻，比如巴别塔、基因链、漩涡、循环或是一种向上升腾的形式等等。徐：的确，那些固定在旋转楼梯上的球体虽然是静止的，但是可以给我一种律动的感觉。我注意到你的很多作品中都使用了各种不

滚下楼梯的裸女，倪有鱼，1990-2015 Nude Lady Rolling Down from the Stairs, Ni Youyu,1990-2015

104

同的球体，这些球体有什么特别的意义？

Penny Xu: We have spoken about Duchamp before. I'd like to talk a bit more about your work Nude Rolling Down from a Staircase a work I am very interested in. Of course, with that title, we cannot help but think of Duchamp's Nude Descending the Staircase from 1912. That was Duchamp's first controversial work. Despite the numerous scholarly arguments, Duchamp was surely influenced by cubism, and he attempted to bring the perspective of a multi-temporal dimension to a two-dimensional surface. The female body is reduced to geometric shapes that resemble something like a treadmill. A great number of tributes have been paid to Duchamp's work over the years, but you bring Duchamp into your practice in a light-hearted manner. The spiral staircase is more like a model of gravity. Although you suggest in the title that the balls are already "rolling down", this movement is frozen. We cannot tell if the balls are rising or rolling. Our guess is informed by the way they contain and relate to each other within the field of gravity. I suppose you tear apart some dogmatic understandings of Duchamp for us – and it would probably be more to Duchamp's own liking. Ni Youyu: I just wanted to pay tribute to Duchamp. Not to dedicate a work to him really, just play a joke on him. I hope he wouldn't be upset about it. Xu: Perhaps without intending it then, your approach better suits Duchamp himself. He continued to push at the rigid boundaries of "art" and ended up being put on a pedestal, something that entirely contradicts his philosophy. In his later years, when asked

to respond to the increasing popularity of the readymade amongst a younger generation of artists, he gruffly responded: "I threw the bottle-rack and the urinal into their faces as a challenge and now they admire them for their aesthetic beauty." I suppose if he ever sees this work of yours, he would be amused. Ni: ( Laughter ). Xu: I remember you made an installation of a cubic spiral staircase under a glass shade, which was given the same name. Why did you choose the spiral staircase? Ni: The spiral staircase is a very basic and classic image in architecture. I was inspired by my father who taught architecture and basic mechanic drawing. I read many of his textbooks and saw the models and I found it quite interesting. So I invited my father to work on a few pieces. The spiral staircase also contains a lot of metaphors: Babel, the genetic chain, a swirl, circulation or a form of going up etcetera. Xu: Indeed, the globes fixed on the spiral staircase are still, but they give me a sense of rhythmic movement. I noticed in many of the pieces you use all kinds of globes, do they have any special meaning? Ni: Globes are recurrent in my work. S o m e t i m e s t h ey a c t a s t h e p l a n e t , sometimes they exist as the most essential form. I am fascinated by all kinds of globes. That is the most beautiful geometry and its beauty comes from the perfect, non-existent globe. Xu: So you mentioned that you and your father worked together on two of the

倪：球体在我很多作品中反复出现，有时 105

候它们扮演星球，有时候它们就作为一种

解，或者他对你的认知是否也有了变化？

最基本的形体存在。我迷恋所有的球体，倪：我记得在我很小的时候，我父亲在批那是最美的几何，这种美源自于世界上并

改学生作业的时候随机给我看了一些立体

不存在完美的球体。

几何的三视图（基础制图中通过三种角度绘制立体的物体的图纸），后来他惊奇地

徐：你前面说到，这两件作品都是和你父

发现我对空间透视的敏感度竟然超过了他

亲的合作？

的一些学生。这促使他开始有意识地培养

倪：2015 年你在我上海的个展上看到的那

我对于空间透视的观察和理解。这对我

一件（滚下楼梯的裸女 1990-2015），算

来说很有意义，可以说是一种观察的启蒙。

是我和我爸爸“合作”出来的第一件作品。我觉得我现在所做的艺术和他在我幼年时因为教学工作的需要，在上世纪八九十年

期的这种引导有很大关系，这甚至影响了

代，他们不得不亲自到乡下工厂和工人一

我现在的某种创作的风格。但是我的父亲

起设计和手制教学模型，这件旋转楼梯的

完全不明白当代艺术，很长一段时间以来

的木质模型就是其中的一件基础教具，但

他都不知道我究竟在做什么，认为我总在

是早已被淘汰。但那次“合作”仅仅是象

做一些奇怪且毫无意义的事，哈哈。所以

征性的，是一个材料经过他的手又经过我

我想把他拉进来，或者说我想让他实际参

的手，跨越不同历史时期的一次转换，而

与到我的日常工作中来，让他知道他退休

你现在看到的两件拱形的装置（滚下楼梯

的手艺也可以用于做“艺术”，至少是获

的裸女 2017- 2018 和旋转的众神 2018），得一种“莫名其妙”的创作体验。是我正式邀请父亲参与制作的作品。在这个过程中，我们讨论不同旋转楼梯的结构

徐：除了“滚下了楼梯的裸女”，我也很

和样式，然后由他使用最基础的制图法手

喜欢你做的其他白色拱形装置。这应该是

工绘制出旋转楼梯的图像，在这个基础上

我看到你所有作品中最为抽象的作品。

我再进行加工。

倪：其实我在制作所有的“拱形”装置时关心的都是抽象的问题，尽管有一些作品

徐：宋冬有一件与父亲有关的作品，叫

看起来主题明确，非常具象，但是在我眼

“抚摸父亲”，他拍摄自己的手抚摸东西，中，它们都回归到最基本的几何形，都是然后将抚摸的影像投在父亲身上，他的父

点、线、面的抽象关系。甚至一块木头与

亲刚开始不置可否，后来渐渐的脱去外套，另外一块木头的纹理粗细，哪些钉子孔洞注视着手的影像，仿佛感受到了儿子的温

需要保留，哪些地方需要开裂等等看似毫

情。从这件作品开始，宋冬与父亲之间产

无意义的细节。

生了一种不需要语言的精神与感情联系。

pinball installations? Ni: Yes, the one you saw in my exhibition in Shanghai back in 2015 was the product of our first sort of collaboration. Back in the 1980s and 1990s, my father and his colleagues went to the factory in the countryside to design and make the teaching models they need with the help of the workers there. This wooden model of spiral staircase is one of their basic teaching tools, but it has been outdated for a very long time. That collaboration was purely symbolic: passing the material from his hand to mine, a transition that spanned different historical periods. But these two pinball installations ( Nude Rolling Down from the Staircase and The Revolving Gods ) are the artworks that I officially invited my father to work on with me. We talked about the structures and patterns of different spiral staircases and he would use the most basic mechanic drawing method to draft the image of the spiral staircase. Afterwards I would try to improve the draft. Xu：Song Dong's work Touching My Father was also about his relationship with his father. He filmed his hand touching something, and then projected the image onto his father, so it looked like he was touching him. The father doesn't seem to be involved at first, but then he slowly takes off his coat and looks at the image of the hand. It is as if he is feeling the son's gentle love. From that moment on, he forged an emotional and spiritual link with his father that was beyond language. How has your understanding of your father, and his of you, changed through working together ？ Ni：When I was little, my father happened

to show me some 3D drawings when he was correcting his students' homework. To his surprise, I was more conscious of spatial perspective than some of his students. From that moment on, he made a point of teaching me about observing and understanding spatial perspective. This was very educational for me. In a way, it was the germinal stage of a certain kind of observation. I believe that what I am doing now is closely related to his role in my early childhood. It has even influenced a certain kind of creative style. But my father knows nothing about contemporary art and he has no idea what I have been doing for quite some time. He thought I was just doing something strange and meaningless, ( laughter ) so I drew him in. I just wanted to involve him in my day-to-day work, to show him that the skills involved in his work can also be used for making "art". I hoped he might get a sense of the indescribable experience of creation. Xu: Besides Nude Rolling Down the Staircase, I'm also very drawn to your white pinball installations. They might be the most abstract of your work that I've seen. Ni: In fact, while I was I was making these installations, I felt that everything I was preoccupied with was abstract. Although some seem thematically clarified or very concrete, they can still be condensed to geometric forms, which are based on the abstract relations between dots, lines and surfaces. Even the seemingly insignificant details: the difference in vein from one piece of wood to another, the nail holes left exposed, the places that might need a crack.

我想知道，通过合作作品，你对父亲的理 106

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滚下楼梯的裸女 Nude Lady Rolling Down from the Stairs，2018，综合材料 Mixed media，91.5×46.5×12 cm

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旋转的众神 The Revolving Gods，2018，综合材料 Mixed media，77.1×39.2×7 cm

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温室 Greenhouse，2018，综合材料 Mixed media，53×31.5×6 cm

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光芒 Radiance，2017，综合材料 Mixed media，53.5×31.5×6 cm

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1/f=1/u+1/v，2015，综合材料 Mixed media，30×17×4.3 cm

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内宇宙 Inner universe，2018，综合材料 Mixed media，36×23.5×6 cm

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蒸汽机 Steamer，2015，综合材料 Mixed media，61×31×7 cm

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枢 Axis，2017，综合材料 Mixed media，45.5×31.5×5 cm

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白色既是最简单的颜色，同时也是最丰富的颜色。 White is both the simplest and most profound color.

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徐：你的白色“遗迹”等作品让我想到美

材料都刷白了，但是我刻意保留了不同材

国艺术家路易斯·那威尔森，从废墟、垃圾

料所具有的不同质感。刷白并非像路易斯

堆中回收家具的残部，精心安排它们的层

一样试图将它们统一化，相反，我希望被

次，组合成有体积感、雕塑感的大型装置，刷白的材料在并置时会放大彼此的质感差然后统一刷成单色。在她的作品中，材质

异，当然这对观看者的要求就更高了。如

的细节被掩盖了，高度统一成线条、形状

果你对色彩敏感，你能在里面找到十几种

与结构。你制作白色遗迹、金色遗迹时候

甚至更多不同色温的白色。

是否用了相似的工作方法？你如何统一它们，你又想从这种单色结构中凸显什么？

那么白色对你而言意味着什么？我们普遍

倪：我在制作这几件白色“ 遗迹” 的时

认为西方艺术界对白色的迷恋是从近现代

候，脑海中常常浮现出古希腊和古罗马的

才开始的，西方艺术史学的奠基人约翰・

残垣断壁。和那些古迹废墟一样，我做这

约阿希姆・温克尔曼 (1717-1768) 把希腊

些作品所使用的木料都是我在制作其它作

雕塑视为西方艺术的顶点，他这样形容希

品时的剩余物，有很多还残留了加工其他

腊雕塑：“高贵的单纯，静穆的伟大。”

形状所留下的“负形”。我把它们收集起

但是这种伟大的美的前提是它们是白色。

来，重新拼一个拼图。虽然我也将所有的

20 世纪初，大英博物馆的赞助人甚至悄悄命人把埃尔金石雕上残留的色彩磨掉，好让它呈现完美的白色，更符合 Winckleman 的定义。白色从哲学层面来讲，最接近 “虚无”。在马列维奇眼中，白色是没有颜色、没有深度的极致，伴随着 1919 年的作品《白色上的白色》的发布，他无比兴奋地说“我已经超越了彩色天空的边界……在自由的白色深渊中畅游，无限就在你眼前。”你怎么理解白色？倪：其实，中国人很早就关注白色，我们对于白色的领悟，从认识“阴阳”就开始了。中国古代的书法家在书写时不仅关注黑色的墨迹，也同时关注黑色周围不断变化的白色空间，构成了汉字书法特有的

黑墙，路易斯·那威尔森，1959 Black Wall, Louise Nevelson, 1959

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“结体”和“章法”，这或许和西方木刻版画道理相通。书法对于知黑守白的意

Xu: The white Relic reminds me of American artist Louis Nevelson, who recycles the remaining parts of furniture from dumpsters and landfills, meticulously rearranges these pieces to make sizable installation that have a touch of sculpture, and paints them in white. The detail of the material masquerades as highly uniformed lines, forms and structures. Did you adopt similar method when you worked on the white and golden Relic installations? How did you organize them? What are you trying to stress in this monochrome structure? Ni: While I was working on the white Relic installations, the image of ruins and debris of ancient Greece and Rome were often on my mind. The wood I used to make these installations was left over from other work. Some of the material still bears the imprint of the way it was worked on in the past. I collected and reorganized the pieces into a puzzle. Although I painted them white as well, I tried to retain the different material textures. To paint them white is not trying to unify them as Louis did. On the contrary, I hoped that painting these materials white would maximize their difference of texture when combined. Of course, it is much more demanding on the viewer. If you are sensitive to colors, you would be able to detect more than a dozen whites in the works, different color temperatures. Xu: So, what does white mean to you? The obsession with the color white is traced to the start of late modern times. The pioneer of Western Art History

容膝斋图，倪瓒，1372 Rongxi Studio, Ni Zan, 1372

Johann Joachim Winckelmann lauds Greek sculpture as the peak of Western art, describing its "noble simplicity and solemn greatness." The precondition of this great beauty, which turned out to be false, is that these sculptures are white. At the start of the 20th century, the patrons of the British Museum even had the remaining color on The Elgin Marbles chipped away to leave the pristine white t h a t W i n c ke l m a n n d e s c r i b e s . O n a philosophical level, white is the closest thing to the void. For Malevich, white represents an extreme without color or depth. When showing his White on White in 1919, he commented in unbridled happiness: "I have overcome the lining of the colored sky…Swim in the white free abyss, infinity is before you." How do you understand white? Ni: We Chinese started to pay attention to

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识影响到绘画中，从宋代的马远（1140-

池”（2017）和你的“ 卧游池”（2014-

1225）到元代的倪瓒（1301-1374），无

2015）有关、“ 音乐家 ”（2016）和你

不是深谙留白之道，在画面上以少胜多的

的标本柜系列绘画有关，甚至你还运用了

高手。但我在创作白色系列的作品中，使

“反色绘画”的方式完成了一件小的“反

用的并不是留白，而是用白色将所有材料

色标本柜”装置（2015）。

的固有色覆盖掉，就像是一场雪后的风景。倪：没错，我现在很感兴趣引入古典木至于这场雪的意义，恐怕很难用语言来描

版油画的方法和装置结合，包括在柏林

述，在我看来，首先白色既是最极简的颜

最新完成的一件闪电装置（“ 瞬间的默

色，同时也是最丰富的颜色。

契”2018）。总之，它们是十分开放的，就像我们之前聊到的那样，在“拱形”中

徐：据说，倪瓒喜欢留白和他的洁癖有关。所有的限制，与我而言都是自由的开端。或许是，我忘了说我的这组白色的“ 拱形”装置还有一个名字就叫“洁癖”。

2018 年 9 月，于柏林

徐：你也有洁癖吗？没有，但我有过敏性鼻炎。徐：哈哈，这让我突然联想到杜尚的另外一件作品——“为什么不打喷嚏”，恰好那也是一件白色的作品。聊了这么多，你对于这个系列未来有什么计划？倪：只要还能找到合适的游戏盘，我想我会一直缓慢地做下去。我的很多系列的作品都不是为某个特定的展览而定制的，而是自然生长出来，待到时机成熟再被编辑到不同的展览里去。在过去十年中，我努力构建一个关于我的基础框架，未来这个

Xu: Are you obsessed with cleaning? Ni: No, but I have allergic rhinitis.

框架还会大一些，并且相互交织。徐：我在你的“拱形”系列里，已经看到了这种交织。比如在“ 漩涡”（2018）中，你结合了尘埃系列的方法。“ 游泳 130

white a very long time ago. The Chinese perception of white originates from identifying Yin and Yang. Ancient Chinese calligraphers focus not only on the dark trace of ink, but also the white margin that fluctuates around it. The white is structuring, it is the principle of arranging the space between characters - there is something similar here to the thinking behind Western woodcut. This idea of using the black and maintaining the white was transmitted from calligraphy to classical Chinese painting. The Song Dynasty's ( 1140-1225 ) Ma Yuan and the Yuan Dynasty's ( 1301-1374 ) Ni Zan were masters who were acutely aware of the importance of leaving the white margin. Essentially endorsing the idea of "less is more" in their painting. When I was making the white Relic installations, however, I wasn't making use of the white margin. Instead, I obscured the original color of all the materials with white, like a landscape covered in snow. As to the meaning of snowfall, I'm afraid it is beyond the grasp of language. For me, white is both the simplest and most profound color. Rumor has it that Ni Zan's habit of leaving the white margin had something to do with his obsession with cleanliness. I forgot to mention that one of my white pinball installations is called Cleaning Obsession.

为什么不打喷嚏，萝斯・塞拉维，马塞尔·杜尚，1964（1921 年原版的复制版） Why Not Sneeze, Rose Sélavy, Marcel Duchamp, 1964 (replica of 1921 original)

future of this series? Ni: I suppose I'll keep doing it slowly, as long as I could find the right pinball machines. Many of my series of work were not designated for specific exhibitions. The works emerge naturally and will be placed in different exhibitions at the right time. Over the past ten years, I have been making an effort to build up a basic framework of my work. This framework will continue to grow and serve as a basis for connections between future works. Xu: I already saw this connection in your pinball series. In Vortex ( 2018 ), you draw upon the methods from your Dust series. Swimming Pool ( 2017 ) is connected to Garden Pool ( 2014-15 ), Musician ( 2016 ) is connected to your continuous painting of specimen cabinets. You even used an inverted drawing technique to make a small installation of Specimen Cabinet in Negative Color. Ni: Exactly. Now I am fascinated by the idea of involving the technique of classical panel painting in installations, including the lightening pinball installation that I just finished in Berlin, ( A Instantaneous Concord, 2018 ). In any case, they are very open. As we have discussed, all the constraints of this series are the beginnings of freedom for me. September 2018, Berlin

Xu: ( Laughter ) It reminds me of Duchamp's Why Not Sneeze, Rose Sélavy, which also happens to be white. We have talked a lot so far, what are you planning for the

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42 43

44 46

47 49

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遗迹 1 Relic I，2016，综合材料 Mixed media，71×34×8 cm

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遗迹 2（古希腊） Relic II ( Ancient Greece )，2017，综合材料 Mixed media，61.5×31×8 cm

遗迹 3（古希腊） Relic III ( Ancient Greece )，2017，综合材料 Mixed media，54×31×5 cm

遗迹 4（古罗马） Relic IV ( Ancient Rome )，2017，综合材料 Mixed media，61×31×5 cm

遗迹 5 Relic V，2017，综合材料 Mixed media，61×31×5.5 cm

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自己 Myself，2015-2016，综合材料 Mixed media，77.5×39×7.1 cm

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白色物质 White Matter，2016，综合材料 Mixed media，61×31×8 cm

黑色物质 Black Matter，2016，综合材料 Mixed media，60.5×31×7 cm

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余晖 Golden Relic，2018，综合材料 Mixed media，60×33×5 cm

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工程师 Engineer，2015，综合材料 Mixed media，60×29.7×5.7 cm

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建筑师 Architect，2015，综合材料 Mixed media，91×47×9 cm

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运动场 Playing Field，2018，综合材料 Mixed media，60×30.5×6 cm

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游泳池 Swimming Pool，2016，综合材料 Mixed media，74.5×35×7 cm

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假日 Holiday，2017，综合材料 Mixed media，90.8×46.7×5.7 cm

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我们对于海洋的认知原本就是碎片化的，那并非经典构图的海天一线，而是地球上一个巨大的凸镜。 Our understanding of the Sea is fragmented. It is in fact not a sea-sky horizon line as often depicted, but an enormous convex lens on the earth.

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海面 Sea surface，2017-2018，综合材料 Mixed media，30×18.5×4.5 cm

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夜晚的秘密 In the Night，2018，综合材料 Mixed media，36×18.3×5 cm

瞬间的默契 A Instantaneous Concord，2018，综合材料 Mixed media，39.5×19.5×4.5 cm

永恒的闪电 Eternal lightning，2018，综合材料 Mixed media，61.5×31×7.5 cm

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夜幕降临（向约瑟夫·康奈尔致敬） When Night Falls ( hommage to Joseph Cornell )，

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2018，综合材料 Mixed media，76×39×4.5 cm

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守夜者 Night watcher，2018，综合材料 Mixed media，61.5×33.5×9 cm

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音乐家 Musician，2016，综合材料 Mixed media，46×23.5×8 cm

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反色柜 Taxidermy Cabinet of Contrasting Colors，2015，综合材料 Mixed media，31×18.2×4.5 cm

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2015 台北当代艺术馆个展“水滴石穿 ” The 2015 solo exhibition Constant Dripping Wears Away a Stone at MOCA Taipei

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水曜日 Wednesday，2016，综合材料 Mixed media，37×23.4×5.5 cm

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引象人 The Mahout，2016，综合材料 Mixed media，30×18.8×3.1 cm

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大象 Elephant，2016，综合材料 Mixed media，46×24.5×6 cm

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丛林 Forest，2011-2012，综合材料 Mixed media，61.2×30.8×6 cm

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后记：关于“拱形”

Postscript: On the Form of the Arch

徐小丹

Penny Xu

与倪有鱼关于“ 拱形” 系列的这篇访谈，神话赋予了拱形天空、宇宙开端的寓意，是今年年初从上海开始，一直到九月在柏

同时，古埃及的建筑师也不断实践具有拱

林结束，分几个阶段陆陆续续整理完成的。形结构的建筑。在此期间，我们还讨论到很多关于他的创作，以及艺术史的诸多话题，因为主题的

作为一种有效的承压结构，“拱形”依靠

原因，暂时在此省略。与此同时，随着话

弧线将重力分散至两端，直接作用于大地。

题的展开，我开始有意识地收集和查阅了

从拱顶的基本分类图中，可以看出“ 拱

一些关于“拱形”的文献资料（在此之前

形”诞生自圆、椭圆、三角等几何体的旋

我并未太注意到这方面的研究），整理补

转、堆叠与裁切。所以，搭建拱形建筑就

充在文末，作为研究艺术家作品的补充注

意味着这种文明已经解决了曲线几何的丈

脚，也作为窥探“拱形”奥秘的一个入口。量与计算问题，达到了相当高的成熟度。

My interview with Ni Youyu on the arch as a form began in Shanghai at the beginning of the year and ended in September in Berlin, as we sorted out scattered pieces. Over this period of time, we have also had many discussions about his work and about art history. Prompted by these discussions, I began to pay attention to the question of the arch, which was something I had not though much of in the past. I gathered and read any literature on the topic I could find. I have included a selection of these references at the end of this text to hopefully facilitate future studies on the myth of the arch.

“‘拱形’为什么如此特别？”“在远古时期，为什么‘拱形’会不约而同地出现在东西方文化的方方面面？”，这些原来都是很有趣的问题。事实证明，“拱形”也许是众多原型流失在漫长时间中的碎片之一，它最早的记录可以追溯到四千多年以前，但真正的来源早已经遥不可追。它既代表人类思维、建造能力的水平，又往往是为了向神灵、生死致敬。几乎在所有文明中，都出现了“拱形”，可以说它不只是基本的建筑元素，而是人类共通的理性思维与哲学想象的实体。

《未被发现的纸莎草纸》中所记载的 Nestanebetisheru 公主陪葬品 Detail from the Book of The Greenfield Papyrus, a funerary equipment of princess Nestanebisheru

拱形可查的记录，最早出现在神话传说之中。古埃及神话说空气之神舒将自己的女

What makes the arch special? Why is it so prevalent across eastern and western culture? These are very interesting questions. The arch could be one of those fragments whose immemorial archetype got lost in the passage of time. The earliest record of the form dates back four thousand years, but its origin has long disappeared without a trace. It symbolizes human intelligence in terms of rational thinking and as an architectural caliber. It pays homage to gods, to life and death. The archappears in almost all civilizations. We can agree that the arch is something communal across mankind. Much more than a basic element of architecture, it channels rational thinking and philosophical imagination.

儿天空女神努特举起，使她以拱形身躯笼罩大地，她的兄弟兼丈夫大地之神盖布仰面躺在其下，象征天地和合。拱顶类型 Classification of Arch

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The earliest record of the arch can be traced back to mythology. An Egyptian creation myth from Heliopolis tells how the air god Shu raised his daughter, the sky goddess Nut, into the heavens to

form an arch over the earth. The earth god Geb, brother and spouse of Nut, is sometimes depicted lying on his back with an erect phallus. The scene symbolizes the union of earth and sky that produced the pantheon of Egyptian deities. As an effective pressure-bearing structure, the arch also dissipates gravity to each end. It was applied directly to the earth thanks to the arc. From these basic categories, one can tell that the arch emerges from the rotation, imbrication and division of geometry: the circle, oval and triangle. That is to say, when a civilization uses the arch in its architecture, it has managed to measure and calculate a geometry of curves and reached an impressive level of development. A multi-colored arch is formed in tiled faience relief in the underground chambers of the Djoser pyramid complex, built during ancient Egypt's Third Dynasty. It is worth considering if these reliefs resemble designs and elements that would have been familiar to the artisans and scribes of the period. If the ancient Egyptians were studying basic concepts of rectilinear and circular geometry, including arches and circular segments, at the time the Djoser complex was under construction, then it is possible that these tiles were based on elements with metrical function which would have facilitated experimental geometric research. Rather than being purely decorative, these reliefs may have even reused and preserved materials that also had a practical and perhaps educational function. They also may be durable skeuomorphs (an object or feature 187

在一枚可以追溯至古埃及第三王朝

令人吃惊的是，这种在古埃及流通的计算

（BC.2686-2613）的石灰岩陶片上，建

方法很有可能源于更早的邻近的高级文明，

筑师用象形文字记载了半拱形的计算数据，新月沃地的遗迹中就留下了计算曲线几何上面的数字表明，这个图像可能是用于指

的重要数学观念。在挪威的史柯源私人收

导搭建拱顶或拱形装饰。因为拱形两边完

藏中，编号为 MS3049 的楔形板就记载了

全对称，所以只需要画一半即可。

两个图表和两个示例，说明如何计算圆圈的周长。这个用古巴比伦语、以楔形文字

同样建于第三王朝的左塞尔金字塔建筑群，记录的黏土板甚至可以追溯到公元前 17 世地下室中的彩陶瓦片浮雕呈现出色彩斑斓

纪。

的拱形，它的设计和它所采用的元素应该是当时的工匠和抄写员所熟悉的制式。在

拱形的广泛应用，不仅仅因为它的实用性，

左塞尔建筑群修建期间，假使当时的古埃

似乎所有文明都不约而同的认可了它独特

及人正在进行直线和曲线几何，包括拱形

的艺术性与神圣内涵。最为著名的是巴比

和环形部分的研究，那么这些瓦片很有可

伦国王 Nebuchadnezzar II 在公元前 6 世纪

能具有度量作用，可以辅助实验性的几何

建造的伊斯塔城门，用以纪念巴比伦女神

研究。这些浮雕瓦片因此不仅起纯粹的装

伊斯塔。这座岿巍壮观的城门不供日常使

饰作用，还有可能保存和再利用了有实际

用，只在农历新年时开放。庆祝新年的游

教育或使用功能的材料，它们甚至可能是

行队伍扛着神像从门前的大道经过，浩浩

依据其他易腐烂的木质几何模型仿制的。

荡荡的穿过城门，进入内城。

古埃及第三王朝陶碎片 Ostracon dating to the 3rd dynasty of Ancient Egypt

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左塞尔金字塔建筑群的彩陶瓦片浮雕 Tiled faience relief from the Djorser Complex

which imitates the design of a similar artefact made from another material) of more perishable wooden precursors. It is striking that these fundamental m a t h e m a t i c a l c o n c e p t s w e re a l s o understood by the neighbouring ancient civilizations that developed in the Fertile Crescent. The Cuneiform tablet is a tablet dating back to the 17th century BC written in Old Babylonian in cuneiform script on clay. Two of the diagrams on the tablet demonstrate algorithms for calculating the lengths of chords of circles. This MS3049 tablet is now held in the Schøyen collection. The arch is so widely used not only for its functionality, but also for its unique artistry and sacred aura. The most well-known is the Ishtar gate, built in the 6th century BC by the King of Babylon Nebuchadnezzar II in memory of the Babylonian goddess Ishtar. This lofty and resplendent gate is not designated for daily use. Once a year, the Ishtar Gate and the connected Processional Way were used for a New Year's procession as part of a religious festival celebrating the beginning of the agricultural year. The Romans were the first builders in Europe, perhaps the first in the world, to fully appreciate the advantages of the arch, the vault and the dome. They adopted the Etruscan's arch technique and applied it widely to design dams, drainage, shrines and triumphal arches. The Roman triumphal arch resembles the Ishtar gate, but was not connected to any building or

楔形文字泥板 MS3049 Cuneiform tablet MS3049

city wall. Its unprecedented grandeur and gigantic size express a hidden message: the monumental portal assumes that he who traverses it feels exalted in his existence as if it were an emanation from him. Christianity embodies the spirituality of the arch to its fullest. The church dome painted with Jesus's benevolent face and heavenly aura enshrines the congregation and inspires emotion. Intriguingly, other religions were equally enthusiastic about building arch shrines. The Chaitya, a Buddhist worshipping hall that originated in India in the third century BC, also uses a narrow archway and towering ceilings. Built inside the mountain like a cave, the Chaitya containing a stupa is located at the far end of the hall. This worshipping

189

古罗马人也许是欧洲，乃至全世界第一个全面的认识拱形、拱顶、穹顶作用的人。他们从伊特鲁里亚 (Etruscan) 习得制造拱形结构的技术，并把它广泛应用在大坝、下水道、神殿以及凯旋门的设计上。凯旋门的作用与伊斯塔城门相似，唯一的不同是它不与任何建筑、城墙相连。它不寻常的宏伟程度与巨大的尺度来源于背后的理念：穿越纪念碑式的大门时，经过者应感

伊斯塔城门（柏林佩加蒙博物馆） Ishtar Gate in Pergamon Museum

受到极致的尊贵与显赫，仿佛是从他的内在之中散发出来的一般。基督教将拱形的精神性发挥到了极致，教堂中绘有耶稣慈相、天堂盛景的穹顶笼罩着信众，激发超越个体存在的感受。有趣的是，其他宗教也热衷于修建拱形神殿。从公元前 3 世纪开始出现的印度佛堂 Chayita, 也用了狭长、高天顶的拱廊结构，

康斯坦丁凯旋门 Arch of Constantine

往往如洞穴一般直接建造在山体内，将供奉舍利子的窣堵坡安置在拱廊的最末端。不同之处在于，教堂是人与上帝之间的媒介，而严格来说，Chayita 就是舍利浮屠本身。公元前 1 世纪，在拱形技术还没有被广泛使用时，穆斯林就已经出现了对拱形的迫切渴求。在不允许造像的清真寺中，米哈拉布神龛朝向麦加的方向，象征真主。巴基斯坦的清真寺遗迹中出土了模仿拱形制式的神龛，构成神龛的拱形边框是用一整块巨石雕刻而成，借此，建筑者将建筑特征转变为符号。

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孟买卡里的石刻佛堂 Chaitya 剖面图 Section in perspective of the rock-cut

space is distinct from a church as the latter acts as the medium between man and God, while the chaitya is actually the stupa itself. In Islamic culture, the arch was also prevalent, first discernible in first century BC archaeological ruins. In a mosque, where statues and images are not allowed, the Mirhab faces the distant Mecca, as a symbol of Allah. The Mirhab of the Banbhore mosque was, for example, provided with a stone frame cut to approximate an arched form. The arched mihrab was carved from monolithic stone blocks, transforming a structural feature into a signifier for a sacred power. This marks a shift, as the arch assumes a representative meaning, standing for a god.

an arched top allows room for the ball to move and faster speed when it rebounds. On the other hand, given that the pinball machine prototype came into existence in the 18th century, it is easy to understand why it was given such a classical shape. In 1777, Louis XVI and his wife became very fond of playing a new table game featuring a narrow billiard table, where players use cue sticks to shoot ivory balls through an inclined playfield. The game, called Bagatelle, spread throughout France and evolved into the game of pinball. Soon, Billiard Japonais, a new alternative version where the flippers were replaced with spring and piston soon appeared. Bumpers surrounding the drain were turned into

Disentangled from categorizations of functionality and architectural structure, the arch becomes a multivalent sign and a classical aesthetic form. In pre-modern European painting, the arch represents the sky, the zodiac belt, the heavens. Above Galatea's head, for instance, hangs an arched drapery like a sail in the wind, the attribute of Aura, the Roman spirit of the air. Facing the hall of the double arched mosque in Cordova, Ezra Pound exclaims, "They do not represent anything else…The combination or composition is interesting. If I claim pleasure in seeing this series of arches, no one will call me fanatic or even fantastic. Yet this pleasure is a pleasure in form, in unadulterated form." Finally, let us come back to the pinball machine. A game where you earn points by flipping the ball into a ‘drain', where

信徒在清真寺中面对米哈拉布祈祷 ,1871-2 The devotee praying to Mihrab in Mosque,1871-2 Buddhist Chaitya hall at Karli, Bombay

191

metal needlepoint, which reminds us more of pinball machines in modern times.

从实用性、建筑结构的分类中剥离出之后，我能做的，仅仅是将部分“拱形”的历史拱形成为一种含义多变的符号或经典的美

线索粗略的罗列在此。法国艺术史学家亨

学形式。在欧洲的古典绘画中，拱形可以

利· 福西永（Henri Focillon）认为形式自

代表天空、黄道、天堂的边界，也可以象

有其生命，它们如同有机体一般生长、繁

征神灵，如伴随着 Galatea 出现的拱形垂

衍、变化，吸引人们赋予它更多含义。艺

布代表罗马神话中的空气之神欧若拉。艾

术家对“拱形”的迷恋，以及游戏盘装置

泽拉·庞德在面对科尔多瓦清真寺的双拱大

为这种形式所提供的变化，也许为它绵延

厅时，发出这样的赞叹： “它们不是对任何

数千年的生命又增加了新的注脚。

事物的再现。连绵不断的拱形本身就是有趣的组合……我从中感受到愉悦……这是

2018 年 9 月，于柏林

由形式，尤其是纯粹的形式所激起的愉悦感。” 最后，让我们将目光转回到游戏盘的形制设计。作为一种靠弹射小球进洞得分的游戏，弧形顶面无疑可以增加小球回弹的范围与速度，另一方面，考虑到游戏盘

巴格拉代小桌球戏，1864 A Little Game of Bagatelle,1864

Countless research has been done on the arch from the perspective of geometry, architectural fortification, religion and even cognitive science. What I have sought to do is to simply lay out, in a concise manner, the genealogy of the arch. The French art historian Henri Focillon proposed that forms have a life of their own. He suggests that, like an organism, forms in art both derive from and generate other forms. Ni's artistic investigation – or near obsession – with the arch and its variants, as represented by the pinball machine, rejuvenates the form, adding new footnotes to a lifespan that has already stretched thousands of years, and perhaps, creating something new. September 2018, Berlin

的雏形出现在 18 世纪，就不难理解为什么它会被赋予如此古典的外形了。据记录，1777 年，路易十六与夫人迷恋上一种新设计的桌面游戏，这种游戏要求玩家用桌球杆将象牙球在一个倾斜的平面上击入球洞中。这种名为巴格拉代的桌球戏（Bagatelle），也就是桌面游戏盘的原型。不久巴格拉代就出现了新的版本——日本桌球（Billard japonais），它将球杆替换为弹簧和活塞，球洞周边的阻碍物改为金属质地的小针头，更加接近今天我们看到的游戏盘。关于“拱形”的几何学，建筑工事，宗教，甚至心理、认知科学方面的研究汗牛充栋， 192

嘉拉提亚的凯旋，让·巴普斯特·凡·鲁普，1720 Triumph of Galatea, Jean-Baptiste van Loo, 1720

193

倪有鱼的游戏盘装置向精湛的技艺以及古典的表现和观赏方式致以敬意，他仿佛是在当今这样一个被科技淹没的时代捍卫残存的想象空间。 Ni's pinball installations pay respect to craftsmanship, to classical ways of showing and seeing. It is as if he wants to defend the remaining spaces for imagination in a present saturated with immersive technology. — Kito Nedo

194

195

遗迹

Relic

Kito Nedo

1945 年 12 月，年轻的建筑师乔治·康迪利

艺术家倪有鱼收集各种尺子：卷尺，算

斯（Georges Candilis）敲响了位于巴黎

尺，折尺。他上海的工作室里满是他从世

赛弗尔大街的柯布西耶工作室的大门。令

界各地搜集来的尺子。但是他对测量及其

他惊讶的是，这位现代建筑的先锋亲自

工具的兴趣远超于收集它们。他的艺术实

开了门，厉声问道，“ 你要干嘛？” 慕

践是在现存的测量系统和工具之上设想新

名而来的访客小心翼翼地答道，“我是个

的测量方法。比如他的感性之尺，就提出

希腊建筑师，来和您问声好。” 柯布西

要测量感性：“我想花点时间，制作一把

耶的脸色由阴转晴：“进来吧，你要是希

感性的尺子，我希望会有建筑师用我的尺

腊人，比例感肯定是有的。我给你看点东

子……”倪有鱼瞄准的是建筑中的一个难

西。”十年之后写道这次会面时，康迪利

点，它取决于标准，秩序和规则，但又必

斯惊讶于当时柯布西耶并没有展示一个模

须保留着主体性，多样性和建筑的表意使

型，而是从他的口袋里掏出了一个分为若

之不断发展，始终被视为一门艺术。只有

干部分的多面体。“这是个会让建筑师的

那些完全自给自足的人，那些自建房屋，

工作翻天覆地的伟大玩意儿，年轻人！”

自己烤面包的人才不需要关注标准的测量

他激动地说道，“平生头一回，我得以将

系统。

维度转化为比例，什么样的比例呢？人的比例，我们为之工作的那些人。”柯布西

2014 年，倪有鱼为艺术收藏家乌利· 希

耶说的是他的“ 模度”（Modular），一

克（Uli Sigg）做了一把 167 厘米的“ 希

种他发明的一种源自人体比例和黄金分割

克尺”，并将其分割成 1000 把标准尺子，

的度量法，以和谐的维度取代抽象的十

将主体性注入到客体工具中。90 年代在北

进制。柯布西耶的目标：建筑中测量方式

京做过瑞士驻华大使的大企业家西格从上

的人性化。这个系统在马赛公寓（unité

世纪 70 年代开始收集中国当代艺术。而

d'habitation）的原初设计中被大量使

今他已是颇具影响的人物，国际艺术收藏

用，也被称为“ 住宅机器 ”（housing machine）。1957 年，当他筹备为当年在柏林奥林匹克体育场举行的国际建筑博览会设计 530 套“柏林型”（Berlin type）公寓的时候，却遇到了来自柏林建筑界高层的阻力。他们要求设计师把原定的天花板高度从 2.26 米升到 2.6 米。总而言之，柯布西耶被这种对“模度”系统的漠视惹恼了。 196

乌利・希克和希克尺 Uli Sigg and Sigg Ruler

1. See: Georges Candilis: Preface to the third (German) edition. In: Le Corbusier: Der Modulor. Darstellung eines in Architektur und Technik allgemein anwendbaren harmonischen Maßes im menschlichen Maßstab. 7th edition, (Facs.reproduction of the 2nd ed. 1956). Frankfurt: 1998, p.7 2. Ni Youyu: Inches of time

In December 1945, the young architect Georges Candilis knocked on Le Corbusier's studio door on the Rue de Sèvres in Paris. 1 To his surprise, the pioneer of modern architecture himself opened the door and asked gruffly, "What do you want?" The announced visitor timidly replied, "I'm a Greek architect and I came to say hello." Corbusier's face brightened: "Come in, if you are Greek, then you must have a sense of proportion. I'll show you something." Writing about this meeting a decade later, Candilis describes his surprise when Corbusier did not present a model, but simply reached into his pocket and pulled out a numerical volume divided into sections. "This is a great item which will revolutionise the work of the architects, young man!" he exclaimed, "For the first time, I am able to transform dimensions into proportions, and what proportions? Those of the people, for whom we work." Corbusier was describing his Modulor, a measurement he had invented in which harmonic dimensions, derived from human proportions and the golden ratio, replace metric abstraction. Corbusier's goal: the humanisation of measurement in architecture. The system was employed on a major scale for the first time in the design of the prototypical Unité d'Habitation (Housing Unit) in Marseilles, also known as the "Housing Machine". When the architect planned a Typ Berlin ( Berlin Type ) unit with 530 apartments at the 1957 "Interbau" International Building Exhibition in Berlin at the Berlin Olympic Stadium, however, he was met with resistance from the Berlin building authorities. They

demanded, among other things, that the architect raise the planned ceiling height of the apartments from 2.26 metres to 2.6 metres. Corbusier was annoyed, to say the least, by this disregard for his Modulor system. The artist Ni Youyu collects rulers: curve rulers, slide rulers, folding rulers. His Shanghai studio is full of rulers he has found all over the world. Ni's interest in measurement and its instruments goes beyond collecting measuring tools. His artistic practice builds upon existing measurement units and instruments and imagines new ones. His perceptual ruler, for example, proposes measuring perception: "I want to kill some time / and make a perceptual ruler. / I hope there will be architects using my ruler...".2 Ni aims at a sore spot in architecture: it depends on standards, orders and rules, but must maintain the subjectivity, diversity and expressiveness of design in order to continue to develop, and to remain an art. Only the entirely self-sufficient, those who build their own house and bake their own bread, need not concern themselves with standard units of measurement. In 2014, Ni made a 167 centimetre "Sigg Ruler," divided into 1000 units like a standard ruler, for the art collector Uli Sigg. Ni lends this objective tool subjectivity. Sigg, an entrepreneur who served as the Swiss ambassador in Beijing in the 1990s, began collecting Chinese contemporary art in the 1970s. Today, he is an influential figure, a grey eminence in the international art world.

197

界的先行者。把收藏家当成测量一切事物

割（罗马帝国），创造（中世纪），获

的标准难免会激发一些联想。比如嘲弄一

取知识（文艺复兴），征服新的国家与大

切可以预知的观念艺术家的马丁·奇本伯格

洲（十五至十六世纪），兼具创造之气和

（Martin Kippenberg）的早期作品。七十

失魂之殇的新科技（巴洛克和浪漫主义时

年代中期，奇本伯格有一次在佛罗伦萨呆

期），对栖居地的保护和扩张（19 世纪时

了三个月，期间画了 84 幅灰色基调的油

抵御洪水，排水，土地的施肥和铁路）以

画，每一幅的尺寸是 60 厘米长 50 厘米

及近年兴起的科技批评。”所以测量从未

宽，一幅幅堆起来一直想要堆到身高 1 米

远离建筑师，程序员和工程师们，而他们

89 的画家那么高（“你的每一面，一个德

也以同样的方式和各自工作中所产生的文

国人在佛罗洛萨”，1976）。就在还差十

化分流打交道。我们不禁要问当今的世界，

Deeming the collector the measure of all things prompts a few associations. Take, for example, an early work by Martin Kippenberger, who seemed to make fun of an all too predictable conceptual art. During a three-month stay in Florence in the mid-seventies, Kippenberger painted a series of 84 greyish canvases, each 60 x 50 centimetres and stacked one above the other to reach the artist's 1.89 metre height ( "Uno di voi, un Tedesco in Firenze", 1976 ). Just 10 centimetres before reaching his self-imposed goal, the painter simply stopped painting and left the city.

厘米就能达到这个自我设定的目标的时候，这个被裹挟在因数码网络而得以成真的频他停止了创作，离开了那座城市。

繁的，实时的测量之中的地方，以何种形象呈现？

一如瑞士工程师托马斯· 格拉塔尔（Thomas Glattard）所指出的那样，测

在倪有鱼最新的作品系列“拱形”中，反

量作为一种时间和地理的主题浸透于艺术

复出现的元素都是像尺子，量角器，温度

之中。借助于时间与地点，这一主题带有

计和时钟齿轮这些测量工具。游戏盘装置

不同的隐含义：“丈量的行为，或是土地

是各式器物的集聚，搜集来的小饰物和材

测量员总是与以下的含义休戚相关：保持

料置于中小型的木质盒子里，外框拱形的

土壤的肥沃（埃及），领土的发展的分

上部赋予其纯质正统的建筑学印记。这些盒子其实是在旧货市场和网络上找到的旧的木质游戏盘的外框，倪有鱼将它们改造成陈列柜，其中有一些近似俯视的建筑学模型（例如 2016 年的“泳池”或者 2017 年的“遗迹 5 号”）。其他作品则围绕着诸如太阳系（2015 年的“太阳系”）、太阳系中的最大星球（2016 年的“木星”），彗星（2017 年的“ 彗星 ”）或暗物质（2016 年的“暗物质”）等天文和宇宙现象展开。暗物质这一从未被探测到的不可

夜晚的秘密局部，倪有鱼，2018 Detail of In the Night, Ni Youyu, 2018

198

见样本，其存在的假设建构于重力观察和计算之上。

3. Thomas Glatthard: Vermessen und Landmesser in Literatur und bildender Kunst. p.103-123, here: p.103. In: Zur Geschichte des Vermessungswesens. (VDV series Volume 8. Der Vermessungsingenieur in der Praxis) Publishing House Chmielorz. Wiesbaden: 1995

As the Swiss engineer Thomas Glatthard once pointed out, measurement permeates art both as a temporal and geographical motif. Depending on the time and place, the motif carries different implications: "the act of surveying or the land surveyor appears in connection with the preservation of soil fertility ( Egypt ), land development and division ( Roman Empire ), creation ( the Middle Ages ), the acquisition of knowledge ( Renaissance ), t h e co n q u e st o f n ew co u n t r i e s a n d continents ( 15th and 16th centuries ), new technology as a new creation, but also the danger of losing one's soul (Baroque, R o m a n t i c i s m ) , t h e p ro t e c t i o n a n d expansion of the habitat ( flood protection, drainage, fertilisation, railways in the 19th century ) and the technical criticism of recent decades." 3 So measurement was never really left to the architects, programmers and engineers, just as they too always dealt with the cultural ramifications of their actions. We are left

to ask what image represents the world today? This place subject to constant, real-time measurement enabled by digital networking. In Ni's latest series of works, "Pinball Series," measuring instruments like rulers, protractors, thermometers and clock gears are recurring components. The pinball installations are assemblages of various objects, found trinkets and materials installed in small and mediumsized, wooden boxes. The frames' arched upper sides offer a purely formal architectural impression. These boxes are in fact the frames of old, wooden pinball games, which are found today in antique markets and on websites like eBay. Ni transforms them into a kind of display case, some of which resemble top-view, architectural models ( e.g. Swimming Pool, 2016 or Relic 5, 2017 ). Other works revolve around astronomical and cosmological phenomena such as the solar eclipse ( Eclipse, 2016 ), the structure of our solar system ( Solar System, 2015 ), the largest planet in our solar system ( Jupiter, 2016 ), comets ( Comet, 2017 ) or dark matter ( Black Matter, 2016 ). Black matter, an invisible specimen that has not been explicitly detected, is assumed to exist on the basis of gravitational observation and calculation. A key wo r k i n t h e s e r i e s i s " F = m a " ( 2017 ), which refers to Newton's second law of motion. This law states that the acceleration of an object is dependent upon two variables: the net force acting upon the object and the mass of the object. Ni

199

这一系列中的重要作品是引用了牛顿第二

些星群显身，从比例和精确度中生成意义。

定律为题的“F=ma”。这条定律声称一个物体的加速取决于两个变量：施加于物

白色总会引发一连串的联想，很多联想与

体的外力和物体自身的质量。倪有鱼不

颜色本身无关。例如，对乌克兰画家卡兹

单单将这条定律视为一个物理理论的问题，米尔· 马列维奇（Kazimir Malevich）而而是利用它言明通向世界和宇宙的一条基

言，白色即深渊，即无限。他先将一切事

本哲学路径。从这个角度而言，世间万物

物减至“零性状”，尔后用他的杰作“白

在任何时间的任何一点上皆可被定位于一

上之白”（White on White）来展现“ 无

条轨道之上，处于永恒运动之中，物体与

色”。奥地利裔英国哲学家路德维希·维特

活体不断调整着彼此的关系。这样一个有

根斯坦（Ludwig Wittgenstein）也将白色

利的位置不但令当下变得清晰，文化与历

定义为“无色”。倪有鱼则反其道而行之，

史亦然。万物涌动，万物奔流。

将白色视为色调最高的颜色的总和，所有

遗迹 2（古希腊）局部，倪有鱼，2017 Detail of Relic II ( Ancient Greece ), Ni Youyu, 2017

细枝末节都在白色里高度统一。这种对颜倪有鱼在跳蚤市场，网络竞拍和垃圾桶中

色的探索在游戏盘的几个装置作品中屡见

寻宝，来搜寻他珍视的材料。他将这些支

不鲜，例如“遗迹”（2017）和“光芒”

离碎片运用于他的作品之中：磕破的小雕

（2017）。对倪有鱼而言，白色激荡着韩

像，大理石碎片，机械零件，坏了的尺子。国画家朴栖甫（Park Seo-Bo）的思想和这些被丢弃的碎片自有它的哲学，被改造

大雪之下的北京紫禁城，恢弘的色彩和建

为容器来盛放同样支离破碎的隐喻，这一

筑仅剩游丝质感以飨路人。单色彩大师朴

点不易参透。倪有鱼在他搜集的物品中找

栖甫在 1975 年东京画廊举办的革命性展

到了美和珍爱。有时物品带着自身的含义，给了作品一种艺术家浑然不觉的继承意义，倪有鱼认为这是“拱形”不可分割的一部分，从更宽泛的意义而言，这与他利用找来的材料进行创作的方式也一脉相承。他对于从零开始创作不感兴趣，而更专注于通过观察和重组现存的材料和物体来从已有的东西里创新。他的组装重新设定为一次消极的演绎，因为他将各种元素组合到一起来创造新的意义。他创造出了一个也许早已以一种不可言说而又神秘的方式存在的星群。因而，艺术家的任务变成让这 200

朴栖甫描绘 No.10-79-83, 1979 Park Seo-bo Ecritures No.10-79-83,1979

regards this law not merely as a matter of physical theory, drawing upon it instead to articulate a basic philosophical approach to the world and the cosmos. From this perspective, everything in the world can be located within an orbit, at any moment, all the time. Everything is in constant motion. Every object and living creature constantly adjusts its relationship to another. This vantage point sheds light not only on the present, but also on culture and history, becoming a sort of metaphysical cultural law. Everything moves, everything flows. Ni mines flea markets, online auctions and garbage bins to gather his trove of materials. He incorporates bits and pieces into his works: chipped figurines, pieces of marble, mechanical components, broken rulers. These discarded fragments carry his philosophy, repurposed as vessels for metaphors that are similarly fragmented,

not simple to decipher. Ni finds a beauty, a preciousness, in the objects he collects. Sometime the objects bring connotations of their own, bestowing an inheritance of meaning onto the work of which Ni might not even be aware. Ni cites this as integral to the Pinball Series, as well as to his use of found materials in his practice more broadly. He is not interested in creating something from scratch. He is concerned instead with observing and re-organizing existing materials and objects in order to create something new from what is already there. His assembling is recast as an almost passive act, as he bring things together in order to constitute a new meaning. He creates constellations, which might somehow already exist, in an intangible, mysterious way. Thus, the task of the artist becomes to draw these constellations into existence, pulling meaning from proportion and precision. The colour white prompts a range of associations. Many of these connections are not linked to the colour per se. For the Ukrainian painter Kazimir Malevich, for instance, white is the abyss, white is infinite. He began by reducing everything to a "zero of form" and later developed "no colour" with his masterpiece "White on White." The Austrian-British philosopher Ludwig Wittgenstein defined white as "colourless." Ni, on the contrary, sees white as a sum of all colours in the highest key: "If you look closely enough, you can find the richest nuances in white. Nuances that are intensely unified in whiteness." This exploration of the colour is prevalent in several pinball installations, such as

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览“ 韩国：五位艺术家，五个 Hinsek 白

人美丽，了无生命的鸟有何区别？文化史

色 ”（Korea: Five Artists, Five Hinsek

又和精心分类，人为排列的自然史有何区

‘White’）中，展示了他于白色之上和

别？显然这是一种与艺术史所肩负的重担

白色之下的书写痕迹。朴栖甫作品的回响

博弈的方式，这里所呈现的艺术史是对一

与倪有鱼对色彩之微妙的理解交织在一起。个复杂的故事具有高度选择性和建构性的所有运用在白色游戏盘装置的元素的都是

呈现。

创作其他作品剩下的材料，倪有鱼借此暗指古希腊庙宇的遗迹，而这些是他作品的

倪有鱼的某些装置近似于迷你玩具屋或者

遗迹，意志的负面形式和想象力的容器。

立体透视模型，遥相呼应着将博物馆作为“ 知识机器” 的传统。游戏盘装置可

在别的场合，倪有鱼一别他往常热衷盘旋

以被归于一个漫长的艺术史传统之中，可

在隐晦之中的倾向，而运用更明显的典故。以一直追溯到古老的珍奇柜（cabinet of 例如 2016 年的“ 音乐家”。宛如一幅鸟

curiosity），那些装满艺术品的新奇玩意

的家谱，每只鸟代表着像巴赫，莫扎特或

儿的陈列柜被认为是博物馆的雏形。这些

贝多芬这样的音乐家，他似乎意在言说自

作品的形态令人想起知名美国雕塑家，画

Relic ( 2017 ) or Radiance ( 2017 ). For Ni, the colour white prompts thoughts of the South Korean painter Park Seo-Bo and of Beijing's snow-covered Forbidden City, which offers the onlooker only a vague notion of its powerful colors and structures. Monochrome master Park SeoBo exhibited his writing traces on white and under white in the groundbreaking 1975 exhibition at the Tokyo Gallery, Five Hinsek 'White': 5 Korean Artists. Echoes o f P a r k S e o - B o re s o n a t e w i t h N i ' s understanding of the colour's subtlety. All the elements used in the white pinball installations are materials left over from the creation other works. Ni alludes to the ruins of classical Greek temples. These are the ruins of his works, the negative forms of intentions, vessels for imagination.

然史和文化史的叙事遵循类似的分类原则。家和实验电影人约瑟夫・康奈尔（1903倪有鱼利用 18 和 19 世纪原版欧洲百科全

1972）的盒子组合，倪有鱼在他的“夜幕

书的剪贴复印件，以手工将鸟上色，给每

降临（致敬约瑟夫・康奈尔）”（2018）

只鸟配上一位著名音乐家的生卒年月。这

中直接对他致敬。康奈尔不仅对戏剧，电

幅作品同时也借这种方式质疑先辈大师的

影和芭蕾感兴趣，同时也对地图和星象学

遗产和后人所追寻的知识。他们和这些惊

兴味盎然，他将他的艺术实践称为“ 构建”。他将捡来的物件，照片，文字和明信片组合在一起变成诗意的空间拼贴，将这些“构建”放在一个用玻璃框架密封的自制木盒子里。上世纪五十年代早期，马塞尔・杜尚把康奈尔称为“当今美国最好的艺术家之一”。倪有鱼的游戏盘装置向精湛的技艺以及古典的表现和观赏方式致以敬意，他仿佛是

音乐家局部，倪有鱼，2016 Detail of Musician, Ni Youyu, 2016

202

在当今这样一个被科技淹没的时代捍卫残存的想象空间。当重回历史上一个类似

On other occasions, Ni employs more explicit allusion, a departure from his tendancy to hover in the implicit. Musician ( 2016 ), for instance, resembles a family tree of birds, where each bird represents a famous musician like Bach, Mozart or Beethoven. Ni seems to suggest that the narratives of natural and cultural history observe similar classification principles. Ni used print cut-outs from original 18th and 19th century European encyclopedias, coloured the birds by hand and attributed each with the birth and death dates of a famous musician. This work also engages the way in which artists confront the legacy of the masters that precede them and the knowledge that others will follow. How different are they from the dreadfully beautiful, lifeless birds? How different is cultural history from a carefully

行者们，倪有鱼，2012 Walkers, Ni Youyu, 2012

categorized and artificially arranged natural history? This is certainly one mode of grappling with the burden of art history, which is presented here as a highlyselective and constructed presentation of a much more complex story. Some of Ni's installations resemble miniature vitrines or dioramas, nodding to the tradition of the museum as a "knowledge machine." The pinball installations can be located within a long art historical tradition. This history reaches back to the old curiosity cabinets, cabinets of art and wonders, which marked the beginning of the museum. Their form also recalls the assemblage boxes of the renowned American sculptor, painter and experimental filmmaker Joseph Cornell ( 1903 - 1972 ), to whom Ni pays direct homage in "When Night Falls Hommage to Joseph Cornell", ( 2018 ). Cornell was interested not only in theatre, ballet and film, but also in maps and astronomy, describing his practice in terms of "constructions." He assembled

203

的时间点时，他的游戏盘装置诱惑着观者，位于卢森堡宫附近的一个公共场所的米的苛求注意力，给予平静。倪有鱼认为最终

标准的展示。如今已成寻常家用物件的折

的问题可以藉由低调的形式和技术来解决。尺，有着不计其数的前身。1886 年来自这些作品证明艺术作品作为灵感载体的重

莱茵兰 - 普法尔茨的发明家乌尔里希兄弟

要性，和生产价值或尖端科技毫不相干。

（Anton and Franz Ullrich）为“ 带有弹簧锁的联合测量计”的创新申请专利，这

倪有鱼的游戏盘装置成为物化的思想模式，便是今天的折尺的前身。这一进展也许并默默坚持将游戏视为知觉生产的基本模式。不新鲜：据说折尺在古代已有应用。狄德精神与物质成为同一场域的组成部分，文

罗的广为流传的《百科全书》出版于 18

化史与科技史宛如幻灯片般地重叠。如艺

世纪下半叶，里面也证实了这类工具的使

术家一样，建筑师对所使用的工具如何影

用。

响了他们的思想心知肚明，同时，这些工具也道出了从事的工作的复杂程度。比

一百年前的 1918 年，作家，艺术家和达达

如欧洲文艺复兴时期，利用没有显示“真

主义者劳尔・豪斯曼（Raoul Hausmann）

实” 长度，而是根据特定规格缩短的尺

在一个用来展示假发的木制模具头上贴上

子，因而不需要频繁的换算便可得出比例

一片测量用的胶布，一把卷尺，一个压邮

尺。而今，人们运用计算机或者手绘三角

票的滚轮，一只钟，一个皮夹子，一只可

形来展示六种不同的度量衡，这些工具不

以被压扁的水杯和一个纸片上的号码，并

仅被建筑师使用，机械工程师和制图师亦

被这幅作品起了一个双标题：“ 时代精

复如是。

神 / 机械头”。作品所强调的是精神性的缺失和机械文化中的不适感。在机械化

204

十进制在古代中国和印度已经出现。在欧

的世界里精神性还有何用？德国媒体哲

洲和西方（英美除外），测量的基础产生

学家西格弗里德・齐林斯基（Siegfried

自以米为单位度量衡体系的引入，这大致

Zielinski）是这样描述两次大战之间科技

发生在 1793 年法国大革命期间。这一新

的涌现的：“科技强行进入生活，继而无

的测量系统由当时的巴黎科学院引进并尽

耻又无情地将其占据。科技随之面临短

可能根据理性标准深入地发展，同时吻合

缺的境地。对它的需求摆在那里。” 如

极地到赤道距离的千万分之一。然而这

今，齐林斯基仍在继续（在苹果手机问世

一愿望并未完全实现。18 世纪末，一共

八年之前已经描述了时下的现状），而境

有 16 种“ 米 ” 的标准（mètre étalon）

况的改变源于科技已成为了一出“ 过剩

应用于巴黎市区的公共场所，意在向居民

的戏剧”。人与科技的交互界面决定了这

推行这种计量单位。在法国首都仍然可见

种过剩如何被处理：“好莱坞的版本源自

4. Marcel Duchamp, "Memorandum regarding Joseph Cornell," 1951; Cornell archival file, The Art Institute of Chicago. Quoted after: Lynda Roscoe Hartigan: Joseph Cornell. Navigating the Imagination. Peabody Essex Museum and Yale University Press: 2007, p.15 5. See: Robert Temel: Mittel und Zweck. p.104–143. In: Elke Krasny, Architekturzentrum Wien (Vienna). Architektur beginnt im Kopf. Birkhäuser Publishing House Basel, Boston, Berlin: 2008 6. See: Elke Krasny, Architekturzentrum Wien (Ed.): Architektur beginnt im Kopf. Birkhäuser Publishing House Basel, Boston, Berlin: 2008, p.167 7. Philip and Phylis Morrison and the studio of Charles and Ray Eames: Zehn hoch. Dimensionen zwischen Quarks und Galaxien. Spektrumder-Wissenschaft Publishing Association Heidelberg: 1987, p. 114

found objects, photographs, texts and postcards into poetic spatial collages, placing these constructions in homemade wooden boxes that were sealed at the front with a glass pane. In the early 1950s, Marcel Duchamp described Cornell as "among the best American artists of today." 4 Ni's pinball installations pay respect to craftsmanship, to classical ways of showing and seeing. It is as if he wants to defend the remaining spaces for imagination in a present saturated with immersive technology. Harkening back to an analogue point in time, his pinball installations lure in viewers, insisting on concentration, offering calm. Ni suggests that the ultimate questions are best addressed through modest form and technique. These works testify to the significance of an artwork as a vehicle for inspiration, unconcerned with production value or cutting-edge technology. Ni's pinball installations become materialised modes of thought that discreetly insist on the game as the basic mode of cognitive production. The spiritual and the material appear as parts of the same sphere, the history of culture and technology is superimposed like a slide. Like artists, architects are cognizant that the tools they work with impact and influence their ideas.5 These tools also point to the complexity of the tasks they perform. During the European Renaissance, for instance, rulers were used that did not show "real" lengths, but were shortened instead according to certain scales so that scale drawings could be produced without constant conversion.

Today, people work with computers or draw manually with triangles that display six different scales. These tools are not only used by architects, but also by mechanical engineers or cartographers.6 Decimal measurement systems ( based on the basic number 10 ) were already present in China and parts of India in ancient times. In Europe and the West, the basis of today's measurement has been set out ( with some exceptions, such as the USA or Great Britain ) with the introduction of the metric system, the basic unit of which is the metre. It was established around 1793 during the French Revolution. The new measurement system, introduced at the time by the Paris Academy of Sciences, was to be developed, as far as possible, according to criteria of reason and to correspond to the ten millionth part of the distance between the pole and the equator. This intention, however, was never fully realized. In the mid-1790s, a total of sixteen standard metres - "mètre étalon" - were installed in public places in the Parisian city area to impose the unit of measurement on the population. Such a public metre scale can still be consulted in the French capital, where one is installed near the Palais du Luxembourg. 7 The folding ruler, which is today a household object, had numerous predecessors. In 1886, the inventor brothers Anton and Franz Ullrich, who came from the May Chamber of Rhineland-Palatinate, patented the "innovation in joint scales with spring locking", and therefore the prototype of today's joint scales. This development was probably not completely

205

new: folding rulers are said to have been in use even in ancient times. Illustrations in Denis Diderot's widely distributed Encyclopaedia published during the second half of the 18th century also verify the use of such instruments.8

加州：交互界面惹人怜爱，符合人体工学，名的出现，因为具有决策权的谷歌制图师是亚里士多德式的。无论是谁在掌握了机

以同样的方式定义大城市和小城镇的身份，

器之间的互动，程序与机器之间的互动以

使居民很难有能力去捍卫他们自己的位置，

及媒体人和媒体机器之间的互动之后，在

这是硅谷话语权的实例。这样的全能让但

当今都是极具力量的。”任何想要抵抗大

凡有手机的人都可以最精确的方式定位自

型企业和国家的人必须掌握黑客的技艺。

己，就算不是阴谋论专家也能意识到这一点。也许这也是“游戏盘系列”得以引发

尺子既是测量的标准，也是一位领袖。通

情感上的迷醉的原因：这些艺术作品都关

过测量一间房间，我们对它的占据远不止

乎一个时代，是一个测量作为一种活动更

象征意义上的。殖民史给这样的角力提供

接近于发现本身而不是被发现的时代。从

过无数的证据，而今开启于 2005 年，在

这个意义而言，它既是怀乡的，又是未来

全球拥有超过十亿用户的谷歌地图导航服

主义的。

务再次生动体现出这一点。据纽约时报最近的一篇文章称，移动应用已经成为“描述地点的首要介质”。这会导致错误的地 8. Raymond Wiseman: Der Meter ist nicht das Maß aller Dinge. FAZ online 15.10.2012, accessed September 2018; Permalink: http://www.faz.net/gyg-73lhg 9. Siegfried Zielinski: Maschinen der Enthaltsamkeit – Maschinen des Überflusses. In: unggesellenmaschinen. Extended new edition. Springer Publishing House Vienna, New York: 1999, p.340-350, here: p.342

时代精神 / 机械头，劳尔・豪斯曼，1920 The spirit of our time / Mechanical Head, Raoul Hausmann, 1920

206

10. Jack Nicas: As Google Maps Renames Neighborhoods, Residents Fume. New York Times, 2.8.2018

About a hundred years ago, in 1918, the writer, artist and Dadaist Raul Hausmann mounted a piece of measuring tape, a folding rule, a stamp roller, a clock, a wallet, a collapsible drinking cup and a cardboard number on a wooden wig head and gave his work the double title "The Spirit of our Time / Mechanical Head". The work addressed the absence of spirituality and discomfort in mechanised culture. What purpose does spirituality serve in a mechanised world? German media philosopher Siegfried Zielinski described the advent of technology between the wars: technology pushed itself into life and "impudently and ruthlessly took possession of it. This technology then encountered a situation of shortage. There was a demand for it." Today, Zielinski continues (describing a present eight years before the introduction of the Apple iPhone), the situation has changed as technology has become "a drama of abundance." The "interface" determines the way this excess is handled: "The Hollywood version comes from California: an interface that is cuddly, ergonomic, Aristotelian. Whoever masters interaction between machines, between programmes and machines, and between media people and media machines, is powerful today."9 Anyone who wants to counter the power of corporations and the state must learn the

craft of hacking. A ruler is both a measurement scale and a leader. By measuring a room, one takes possession of it in more than just a symbolic manner. Colonial history offers countless evidence of this dynamic. Today, this is resoundingly illustrated by the Google Maps navigation service, which launched in 2005 and now cites more than one billion users worldwide. According to a recent New York Times article, the app has already become the "primary mediator of location descriptions".10 This can lead to false name entries as the decision-making power of Google cartographers redefines the identity of a big city or a small town alike, leaving the inhabitants with little ability to defend their own location. Yet another example of the defining power of Silicon Valley. This omnipotence extends to the fact that today, every person who owns a telephone can be located with the utmost precision. You don't have to be a conspiracy theorist to come to this banal realisation. Perhaps this is also the reason for the sentimental fascination the "Pinball Series" inspires: these artworks seem to be about a time in which measuring was an activity closer to discovery than being discovered. In this respect, it is both nostalgic and futuristic at the same time.

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208

2018 柏林 CFA 个展“遗迹” The 2018 solo exhibition Relic at Contemporary Fine Arts, Berlin

209

210

2018 柏林 CFA 个展“遗迹” The 2018 solo exhibition Relic at Contemporary Fine Arts, Berlin

211

212

2018 柏林 CFA 个展“遗迹” The 2018 solo exhibition Relic at Contemporary Fine Arts, Berlin

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214

2016 柏林 CFA 个展“北斗” The 2016 solo exhibition Big Dipper at Contemporary Fine Arts, Berlin

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Index

索引

01. 自行车车轮，马塞尔・杜尚，1913 02. 太阳系行星轨迹图，1901 03. 太阳系模型，19 世纪晚期，日本 04. 热木星系外行星想象图，美国国家航空航天局 / 欧洲空间局 05. 天文盘，迈克尔·奥斯丹多佛，1540 06. 太阳系移动模型，托尼·林克，1949 07. 艾萨克・牛顿爵士像，约翰·史密斯 , 1712 08. 自然哲学的数学原理，扉页，1726 09. 一只怀表的内部机械构造 10. 一位皇室成员的大理石雕像，公元前 27 年至公元 68 年，罗马 11. 尘埃（托马斯・鲁夫：15h 24m-25°），倪有鱼，2017 12. 寸光阴 12# 尺（局部），倪有鱼，2014 13. 两个球体在一张图表上移动 14. 关于太阳运动的实验，1822 15. 蹲伏的阿特拉斯像，巴尔达萨雷·佩鲁齐，1481–1536 16. 分子模型 17. 无题（举重的男人），阿尔巴诺·布拉兹，1893-1956 18. 君士坦丁巨像，公元 312-315，罗马 19. 背负天体的阿特拉斯，1559 20. 哈勃望远镜瞥进狮子座 A 星系，美国国家航空航天局 / 欧洲空间局

01. 02. 03. 04. 05. 06. 07. 08. 09. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

21. 阿特拉斯，奥图斯・奎林纽斯一世，1656 22. 在希腊神话中，西西弗斯是国王埃俄罗斯之子，他被惩罚将一块巨大的圆石推上山顶，而每次到达山顶后巨石又滚回山下，如此永无止境地重复下去。 23. 环状化合物的化学结构图 24. 君士坦丁巨像，公元 312-315，罗马 25. 有壁画的外走廊，扎哈里·佐格拉夫，1846，保加利亚里拉修道院 26. 女人走下楼梯，埃德沃德·迈布里奇，1887 27. DNA 的双螺旋结构 28. 螺旋型荧光灯 29. 田野中的龙卷风，明尼苏达州，美国 30. 下楼梯的裸女二号，马塞尔・杜尚 , 1912

23. 24. 25. 26. 27. 28. 29. 30. 31. 32.

31. 中国国家大剧院版歌剧《罗密欧与朱丽叶》演出剧照 32. 楼梯小组（拉斐尔・皮尔和提香・拉姆齐・皮尔的肖像），查尔斯・威尔森・皮尔，1795 33. 梵蒂冈博物馆的双螺旋楼梯，罗马 34. 滚下楼梯的裸女，倪有鱼，1990-2015 35. 螺丝钉

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33. 34. 35. 36.

Roue de bicyclette, Marcel Duchamp,1913 The Solar System Planet Orbit, 1901 Model of a solar system, Late 19th Century, Japan Artist's impression of the 10 hot Jupiter exoplanets, NASA / ESA Astronomicum Caesareum, Michael Ostendorfer, 1540 Moving model of the solar system, Tony Linck, 1949 Sir Isaac Newton, John Smith, 1712 The title page of Philosophiæ Naturalis Principia Mathematica,1726 An illustration of a pocket watch with mechanism Marble statue of a member of the imperial family, 27 BC – 68 AD, Rome Dust ( Thomas Ruff：15h 24m-25° ), Ni Youyu, 2017 Inches of Time No.12 (Detail), Ni Youyu, 2014 Two balls rolling over on the diagram Experiment to show the action of the Sun on the Earth and Moon, 1822 Crouching Figure of Atlas, Baldassare Tommaso Peruzzi, 1481–1536 Molecular modelling Untitled ( Man Lifting Weights ), Albino Braz, 1893-1956 Colossus of Constantine, 312-315 AD, Rome Atlas Holding Up Celestial Sphere, 1559 Hubble peers into the mouth of Leo A, NASA/ESA Atlas, Artus Quellinus ( I ), 1656 In Greek mythology, Sisyphus was the king of Ephyra. He was punished to roll an immense boulder up a hill only for it to roll down when it nears the top, repeating this action for eternity. The chemical structure of cyclic compound Colossus of Constantine, 312-315 AD, Rome Outer corridor with frescos, Zahari Zograf, 1846, Rila Monastery, Bulgaria Woman Walking Downstairs, Eadweard Muybridge, 1887 Double helix model of DNA Spiral type fluorescent lamp Tornado in field, Minnesota, USA Nu descendant un escalier n°2, Marcel Duchamp, 1912 Picture of Romeo and Juliet at National Centre for the Performing Arts of China Staircase Group ( Portrait of Raphaelle Peale and Titian Ramsay Peale ), Charles Willson Peale, 1795 Double spiral stairs at the Vatican Museum, Rome Nude Lady Rolling Down from the Stairs, Ni Youyu,1990-2015 Screws Woman walking upstairs

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36. 走上楼梯的女人 37. 照相机和人眼中的光圈，清晰和模糊的图片，弗里茨・卡恩，1931 38. 作为工业宫殿的人体，弗里茨・卡恩，1926 39. 残片四号，马修・西蒙兹，2009 40. 描法第 41-75 号，朴栖甫，1975 41. 红、黄、蓝、黑的构成，皮特・蒙德里安，1921 42. 前亚历山德拉宫的废墟，伦敦，1873 43. 大理石采石场，意大利卡拉拉 44. 石雕厂的石料碎片 45. 维纳斯 - 残片，19 世纪 46. 秦陵兵马俑，公元前 3 世纪晚期，中国 47. 男孩雕像残片，公元前 350-300 年，意大利南部 48. 阿拜多斯的神庙遗址，加百利・莱克吉安，1900 49. 被雪覆盖的紫禁城 50. 古希腊经典柱式，亨利・温克斯，19 世纪 51. 阿富汗男孩在被战争毁坏的苏联占领时期的游泳池里踢足球，戴维・加腾费尔德，2005 52. 拥挤的假日海滩 53. 无题（大猫头鹰的栖息处），约瑟夫・康奈尔，1946 54. 猫头鹰的寓言，汉斯・威克林，16 世纪 55. 约瑟夫·康奈尔 56. 无题（基本雕塑），罗伯特・劳森伯格，1953 57. 横斑林鴞 , 公与母，威廉・诺特曼，1876 58. 透明碑 9，倪有鱼，2017 59. 鸟的手工上色版画 60. 德国希尔斯肖恩修道院教堂的彩色玻璃花窗

37. The Iris Diaphragm in the Camera and the Human Eye, Pictures with and without Dimming, Fritz Kahn, 1931 38. Man as Industrial Palace, Fritz Kahn, 1926 39. Fragment IV, Matthew Simmonds, 2009 40. Ecriture No.41-75, Park Seo-Bo, 1975 41. Composition en rouge, jaune, bleu et noir, Piet Cornelies Mondrian, 1921 42. Ruins of First Alexandra Palace, London, 1873 43. Marble quarry, Carrara, Italy 44. Stone fragments of a stone carving factory 45. Venus-Fragment, 19th century 46. Terracotta Army, late 3th century BC, China 47. Fragment of a boy statue, 350 - 300 BC, South italy 48. The temple ruins at Abydos, Gabriel Lekegian, 1900 49. Forbidden City covered by snow 50. Classical Columns of Ancient Greece, Henry Winkles, 19th century 51. Afghan boys play soccer in a war-damaged Soviet occupation-era swimming pool, David Guttenfelder, 2005 52. Crowded holiday beach 53. Untitled ( Grand Owl Habitat ), Joseph Cornell, 1946 54. Allegory with an Owl, Hans Wechtlin, 16th century 55. Joseph Cornell 56. Untitled ( Elemental Sculpture ), Robert Rauschenberg, 1953 57. The Barred Owl, Male & Female, William Notman, 1876 58. Transparent Monument IX, Ni Youyu, 2017 59. Hand-coloured engraving of birds 60. Stained glass window of the monastery church, Hirschhorn, Germany 61. Specimen Cabinet in Negative Color III, Ni Youyu, 2016

61. 反色碑 3 ，倪有鱼，2016

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简历

Biography

倪有鱼，1984 年出生，2007 年毕业于上海美术学院中国画专业，现工作生活于上海。

Ni Youyu was born in 1984, and currently lives and works in Shanghai. He graduated in 2007 from the Shanghai Academy of Fine Arts,

2014 年，被授予当代中国艺术奖（CCAA）“最佳年轻艺术家”称号。

majored in Chinese traditional painting. He was awarded the Contemporary Chinese Art Award (CCAA) as “Best Young Artist” in 2014.

个展

十夜——BMCA 艺术文献展（尧山艺术基金会草场地艺术村

2018 遗迹（Contemporary Fine Arts 柏林德国）

北京中国）

倪有鱼（Orange County Museum of Art 加利佛尼亚美国）咫尺千里——倪有鱼个展（贝浩登画廊香港中国） 2017 凝固的瀑布——倪有鱼个展（康斯坦茨美术馆康斯坦茨德国）漫长的一瞬间——倪有鱼（Nathalie Obadia 画廊巴黎法国）

2015 中国挪用艺术（上海当代艺术博物馆上海中国）油墨混音：来自中国大陆、台湾和香港的当代艺术（堪培拉美术馆堪培拉澳大利亚）和谐与转型——反思中国山水画（Marta Herford 美术馆黑尔

2016 北斗——倪有鱼（Contemporary Fine Arts 柏林德国）

福德德国）

2015 水滴石穿——倪有鱼个展（台北当代美术馆台北中国）

交叉小径的画院——15 位艺术家的路径与节点（沪申画廊上

隐力——倪有鱼个展（阿拉里奥画廊上海中国）

海中国）

倪有鱼（Contemporary Fine Arts 香港巴塞尔个人项目香港

编辑景观：媒介化之后的个体与工作方式（蜂巢当代艺术中心

中国）

北京中国）

2014 寸光阴（南京艺术学院美术馆南京中国）

变革派——中国的后水墨时代（Nathalie Obadia 画廊巴黎法

2013 形影不离（蜂巢当代艺术中心北京中国）

国）

泡影——倪有鱼个人项目（德国驻上海总领事馆文化教育处

敦煌——生灵的歌（喜玛拉雅美术馆上海中国）

9 ㎡ Museum 项目空间上海中国）

图像的重构（卡萨雷斯博物馆特莱维索意大利）

2012 简史——倪有鱼（上海美术馆上海中国）

第二届 CAFAM 未来展——创客创客（798 艺术工厂北京中国）

群展（节选） 2018 日落之后（Galerie Liusa Wang 巴黎法国）中国之旅——希克收藏（Noordbrabandts 美术馆斯海尔托亨

双城记（多伦美术馆上海中国） 2014 线外——来自中国的新艺术（RH Contemporary Art 纽约美

博斯荷兰）

国）

一山还有一山高（166 Artspace 上海中国）

思考的风景——Yeap Lam Yang 当代艺术收藏展（新加坡当代

后笔墨时代：中国式风景（广东美术馆广州中国）

艺术研究中心 LASALLE 学院新加坡）

2017 上海星空 II（余德耀美术馆上海中国）

无常之常——东方经验与当代艺术（波恩当代艺术中心波恩德

似重若轻（M+ 美术馆香港中国）

国；元典美术馆北京中国；卡尔舒特艺术中心比德尔斯多夫

应力场：第四届美术文献展（湖北省美术馆武汉中国）

德国；艺术三亚 2014 三亚中国）

仪式精神（白兔美术馆悉尼澳大利亚）

越界（沪申画廊上海中国）

拼贴——玩纸牌的人（沪申画廊上海中国）

自我的社会学（诚品画廊台北中国）

在日落后发生……（上海当代艺术馆艺术亭台上海中国）

破·立——新绘画之转序（龙美术馆上海中国）

蓝（166 Artspace 上海中国）

约翰莫尔奖中国区作品展（喜马拉雅美术馆上海中国）劳作

上海黑白（166 Artspace 上海中国）

与时日（前波画廊北京中国）

2016 镜子地图集——第五届新加坡双年展（新加坡美术馆新加坡）

How Now 2014——无声之力（昊美术馆温州中国）

作为窄门的绘画（蜂巢当代艺术中心北京中国）

在路上 2014（关山月美术馆深圳中国）

自然 : 主观的景态（上海摄影艺术中心上海中国）

红（上海之夜艺术剧场上海中国）

中国私语（伯尔尼美术馆伯尔尼瑞士）油墨混音：来自中国大陆、台湾和香港的当代艺术（新南威尔

220

园林・异景（金鸡湖美术馆苏州中国）

分辨率（SNAP 上海中国） 2013 艰巨绘画（“圣莫里兹艺术大师”项目空间圣莫里兹瑞士）

士美术馆悉尼澳大利亚）

双相刺点：作为表象的切入口，一种绘画（蜂巢当代艺术中心

出墙：面对装置诱惑的绘画（唐人当代艺术中心北京中国）

北京中国）

新资本论（成都当代美术馆成都中国）

敬畏此刻（学古斋画廊首尔韩国）

今天重做（民生美术馆上海中国）

消夏（沪申画廊上海中国）

临时博物馆（上海美院美术馆上海中国）

第六届成都双年展（成都世纪城新国际会展中心成都中国）

Solo Exhibitions 2018 Relic, Contemporary Fine Arts, Berlin, Germany Ni Youyu, Orange County Museum of Art, California, USA So Near Yet So Far, Galerie Perrotin, Hong Kong, China 2017 The Endless Second, Gallery Nathalie Obadia, Paris, France Concrete Waterfall, Kunstverein Konstanz, Konstanz, Germany 2016 Big Dipper, Contemporary Fine Arts, Berlin, Germany 2015 Constant Dripping Wears Away a Stone, MOCA Taipei, Taipei, Chinese Taiwan Invisible Force, Arario Gallery, Shanghai, China 2014 Inches of Time, Art Museum of Nanjing University of the Arts, Nanjing, China 2013 Form and Matter, Hive Center for Contemporary Art, Beijing, China Zilch  –  Ni Youyu Independent Project, Department for Culture and Education of the German Consulate-General in Shanghai, 9m² Museum Project Space, Shanghai, China 2012 A Brief History, Shanghai Art Museum, Shanghai, China Group Exhibitions（ Selected） 2018 After Sunset, Galerie Liusa Wang, Paris, France A Chinese Journey - The Sigg Collection, Noordbrabandts Museum, Hertogenbosh Holland Into the Great Wide Open, 166 Artspace, Shanghai, China Post-Brushwork Era: Chinese Landscapes, Guangdong Museum of Art, Guangzhou, China 2017 The Weight of Lightness, M+ Museum, Hong Kong, China th The 4 Documentary Exhibition of Fine Arts: Stress Field, Hubei Museum of Art, Wuhan, China Ritual Spirit, White Rabbit Gallery, Sydney, Australia Collage: The Cards Players, Shanghai Gallery of Art, Shanghai, China All happens after sunset…, MOCA Shanghai Pavilion, Shanghai, China The Blues, 166 Artspace, Shanghai, China Shanghai Black and White, 166 Artspace, Shanghai, China th 2016 An Atlas of Mirrors, The 5 Singapore Biennale, Singapore Art Museum, Singapore Painting as Strait Gate, Hive Center for Contemporary Art, Beijing, China Nature: A Subjective Place, Shanghai Center Of Photography, Shanghai, China Chinese Whispers, Kunstmuseum Bern, Bern, Switzerland Ink Remix: Contemporary art from China, Taiwan and Hong Kong, UNSW Galleries, Sydney, Australia Over the Wall: Paintings Tempted by Installation, Tang Contemporary Art, Beijing, China New Capital, Museum of Contemporary Art Chengdu, Chengdu, China

Everyday Legend, Shanghai Minsheng Art Museum, Shanghai, China Temporary Museum, Museum of College of Fine Arts, Shanghai University, Shanghai, China The Decameron – BMCA Documenting Art, Blue Mountain Contemporary Art, Caochangdi Art Village, Beijing, China 2015 Copyleft, Power Station of Art, Shanghai, China Ink Remix: Contemporary art from China, Taiwan and Hong Kong, Canberra Museum, Canberra, Australia Harmony and Transition – Reflecting Chinese Landscape, Museum Marta Herford, Herford, German The Garden of Forking Paths – Tracks and Intersections of 15 Artists, Shanghai Gallery of Art, Shanghai, China Editing the Spectacle: the Individual and Working Methods PostMediatization, Hive Center for Contemporary Art, Beijing, China Dunhuang – Song of Living Beings, Himalayas Museum, Shanghai, China Revolution in Tradition – China's Post-Ink Painting Era, Gallery Nathalie Obadia, Paris, France Overlay Image, Casa Dei Carraresi Museum, Treviso, Italy nd The 2 "CAFAM Future" Exhibition: Observer-Creator, 798 Art Zone, Beijing, China Garden Splendors, Suzhou Jinji Lake Art Museum, Suzhou, China A Tale of Two Cities, Shanghai Duolun Museum of Modern Art, Shanghai, China 2014 Outside The Lines – New Art From China, RH Contemporary Art, New York, USA Thinking of Landscape – Paintings from the Yeap Lam Yang Collection, Institute of Contemporary Arts Singapore, LASALLE College of the Arts, Singapore Confronting Anitya – Oriental Experience in Contemporary Art, Kunstraum Villa Friede, Bonn, Germany; Yuan Art Museum, Beijing, China; Kunstwerk Charlshuette, Buedelsdorf, Germany; Art Sanya 2014, Sanya, China The Sociology of Oneself, Eslite Gallery, Taipei, Chinese Taiwan Broken·Stand - The New Painting to Order, Long museum, Shanghai, China John Moores New Painting Prize ( China ), Himalayas Art Museum, Shanghai, China Labor & Time, Chambers Fine Art Beijing, Beijing, China How Now 2014 – Silent Force, How Museum, Wenzhou, China On the Road 2014, Guan Shanyue Art Museum, Shenzhen, China Resolution, SVA – NYC Art Platform, Shanghai, China 2013 Painstaking Painting, "St. Moritz Art Masters" project space, St. Moritz, Switzerland Bidirectional Punctum: As an Entry Point of Representation, One Kind of Painting, Hive Center for Contemporary Art, Beijing, China

221

疯景（安全口画廊香港中国）无事间隙——手感 5 （上海大学美术学院美术馆上海中国）第八届深圳国际水墨双年展（关山月美术馆深圳中国） 2012

Ctrl+N——非线性实践第九届光州双年展特展（光州市立美术馆光州韩国）首届 CAFAM 未来展——亚现象：中国青年艺术生态报告（中央美术学院美术馆北京中国）生息（波哥大现代艺术博物馆波哥大哥伦比亚；林飞龙博物馆哈瓦那古巴） 2011 山水——无字的诗希克收藏展（KKL 美术馆卢塞恩瑞士）奇异空间（今日美术馆北京中国）学习方法——手感 4（视界艺术空间上海中国）笔墨终结之后：中国式风景（本色美术馆苏州中国）图案 - 漩涡 - 遭遇未知博物馆（空间站中国北京；时代美术馆广州中国）当代中国（Wandesford Quay 画廊科克爱尔兰）物性（东廊上海中国）

2010 大草稿——上海希克收藏当代艺术展（伯尔尼美术馆伯尔尼瑞士）强迫症——手感 3（东大名艺术仓库上海中国）心镜——文献双年展（上海当代艺术馆上海中国）约翰莫尔奖中国区作品展（外滩 3 号沪申画廊上海中国）后传统（多伦美术馆，上海中国）三生万物——上海证大当代艺术陈列馆开馆展（证大当代艺术陈列馆上海中国）不息（艾可画廊上海中国）广场（东廊上海中国） 2009 原料组合（雅典艺术城雅典希腊）平行——手感 2（M50 艺术园上海中国） 2008 原料组合——中国希腊当代艺术家对话（上海当代艺术馆上海中国；萨洛尼卡国立当代艺术馆雅典希腊） 2006 连城诀——现代都市视觉新体验（上海证大美术馆上海中国）以我们的游戏方式——手感 1 （上海滨江艺术产业园区有相 & 无相展厅上海中国）

222

The Moment, We Awe, Hakgojae Gallery, Seoul, Korea th The 6 Chengdu Biennale, New International Convention & Exposition Center Chengdu Century City, Chengdu, China Break and Breathe – Hands On No.5, College of Fine Arts Shanghai University, Shanghai, China th The 8 International Ink Art Biennale of Shenzhen, Guan Shanyue Art Museum, Shenzhen, China th 2012 Ctrl+N – The 9 Gwangju Biennale Special Exhibition, Gwangju Museum of Art, Gwangju, Korea st The 1 "CAFAM Future" Exhibition - Sub-Phenomena: Report on the State of Chinese Young Art Nomination, CAFA Art Museum, Beijing, China Sattva, Bogota Morden Art Museum, Bogota,Columbia; Wifredo Lam Museum, Havana, Cuba 2011 ShanShui  –  Poetry without Sound, Contemporary Art from the Sigg Collect, Kunstmuseum Luzern, Luzern, Switzerland Magic Space, Today Art Museum, Beijing, China Learning Method – Hands On No.4, V Arts Centre Space1, Shanghai, China Pattern - Vortex - Encounter, Museum Of Unknown, Space Station, Beijing, China; Times Museum, Guangzhou, China Contemporary China, Wandesford Quay Gallery, Cork, Ireland Nature of Matter, East link Gallery, Shanghai, China 2010 Big Draft – Shanghai, Contemporary Art from the Sigg Collection, Kunstmuseum Bern, Bern, Switzerland Obsessive Compulsive Disorder ( OCD ) – Hands On No.3, DDM, Shanghai, China Reflection of Minds  –  MOCA Envisage Biennale, MOCA ShangHai, Shanghai, China Post Traditions, Shanghai Duolun Museum of Modern Art, Shanghai, China San Sheng Wan Wu – Inaugueation of the Exhibition of Zendai Contemporary Art Exhibition Hall, Zendai Contemporary Art Exhibition Hall, Shanghai, China 2009 Material Link – Technopolis, City of Athens, Athens, Greece Parallel – Hands On No.2, M50 Art District, Shanghai, China 2008 Material Link – A Dialogue Between Greek and Chinese Artists, MOCA Shanghai, Shanghai, China; Greek State Museum of Contemporary Art, Thessaloniki, Greece 2006 Lian Cheng Jue – Visual Creativity in New Urban, ZhenDai MOMA, Shanghai, China With the Way We Game – Hands On No.1, Bin Jiang Creative Enterprises Centre, Shanghai, China

223

撰文：Kito Nedo，徐小丹 Texts by: Kito Nedo, Penny Xu 编辑：李汝婷，Camila McHugh Editor: Li Ruting, Camila McHugh 摄影：张景炜 Photogragher: Zhang Jingwei 翻译：崔恩昊 Interpreter: Cui Enhao 设计：刘云韵 Designed by: Liu Yunyun 出品：Contemporary Fine Arts Produced by: Contemporary Fine Arts 印数：600 Edition: 600 2018 年 11 月印制 Printed in November, 2018

版权：艺术家（图片）、作者（文章）、Contemporary Fine Arts。版权所有，未经书面协议许可，请勿翻印或转载。 All rights are reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage or retrieval system, without permission in writing from the publisher. Copyright of the texts are reserved by their authors. All copyright of the works belong to the artist. © 2018 by the artist, the authors, Contemporary Fine Arts

本书系 Contemporary Fine Arts 为展览 " 倪有鱼—遗迹 " 所印行。 This book is published in conjunction with the exhibition "Ni Youyu - Relic" organized by Contemporary Fine Arts ( Berlin, Germany ).