Letters From A Distance

遙 遠 的 信 件 LETTERS FROM A DISTANCE

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前 言

PREFACE

親愛的彭薇： 當我準備為妳的作品集寫序言的時候，衷心的覺得我應 該親手寫一封信給妳。 首先，我十分欣賞妳親切而得體的性格及感謝妳對我及 Ora-Ora的高度信任。在一同準備2014年香港藝術巴塞 爾藝術博覽裡妳的個人展覽—《遙遠的信件》一段時間 裡，我跟我的團隊都是都樂在其中。妳作為一個藝術 家，妳的專業能力是一班年青藝術家都渴望擁有的。妳 工作的態度跟妳的畫作一樣的優秀，可見妳在管理妳的 藝術創作路上是多麼的全面和周到。 除了工作以外，我跟妳的關係上最深刻的體會就是參觀 妳的工作室。每次到訪妳的工作室，無論妳有多麼的忙 碌，妳亦是非常歡迎我的到臨。也因如此，我亦有機會 坐在妳的前面，靜靜的看著妳專注地畫畫。我十分佩服 妳可以把水與墨、礦物顏料、紙張結合，繪畫出這麼優 雅的作品，可見妳對水墨畫有與生俱來的天份和獨特、 敏感的觸覺。妳的畫作不是要傳承傳統，妳所表達是藝 術家的一種生活態度，一種對作品完美的要求。妳是一 個非常勤奮的女藝術家，願意在妳的畫作上努力地不斷 作出的新嘗試。 生命是短暫的，我很高興能夠在妳藝術生涯上的一個轉 捩點與妳相遇，作為妳的藝術伙伴，我期待與妳並肩而 行，見證妳的藝術創作奔向國際的舞台上炫爛綻放。 慈愛和誠實，彼此相遇。公義和平安，彼此相親。誠實 從地而生，公義從天而現。 (詩篇85:10-11) 妳對愛的理解 是寬容和浪漫的。是愛，給妳最大的動力，促使妳每天 繼續繪畫，畫出妳多姿多彩的生命! 此致 徐錦熹上 二零一四年四月 4

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遙 遠 的 信 件 This series of pop art is a contemporary ink synthesis

LETTERS FROM A DISTANCE

inspired by the concept of “pret-a-porte”. In these paintings, Peng Wei focuses not on the landscapes; but the painting of scrolls and albums, which are the two most ancient and prevalent forms of Chinese art. Every inch of the artwork has been handmade by Peng, including the packaging, the mounting, the inscriptions, the framing and the illustrations on the boxes.

As all landscape paintings attempt to “capture” the wholesomeness of nature, this series aims to “capture” the wholesomeness of the art form of Chinese scrolls and albums. Due to Peng Wei’s precise artistry and immense details in the paintings, viewers have often misread these artworks as ancient landscape paintings. This misreading causes a great dislocation between Chinese traditional landscape paintings and modern conceptual art, and it gives Peng’s work a double meaning. Swiss collector, Mr. Uli Sigg once commented that Peng employs very traditional methods to break away from tradition, but at the same time brings traditional literature and contemporary ideas together on paper.

On a deeper level, this series of paintings demonstrates the irreplaceability and persistence of tradition. Another group of Peng Wei’s paintings on rice paper, “Stones in Ink,” can be considered a corollary to her “Landscape Scrolls.” Using the same paper and ink, the “Stones in Ink” series is the extension and evolution of tradition, while the “Landscape Scroll” series is a break from tradition. In an almost imperceptible manner, Peng meticulously protects the integrity of tradition. As Jean-Claude Carrière once said, “History keeps surprising us, even more than the present,

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perhaps even more than the future.”

這是一批帶有「現成品」觀念, 以水墨手繪實現的普普藝 術作品。彭薇不是在畫山水, 而是在畫卷軸、冊頁, 這一最 古老持久的書籍形式。它們的每一部分: 綾裱、玉池、格 水、題跋, 包括畫盒, 都由其親手製作完成。 任何山水畫試圖「統攝」自然, 這批畫則「統攝」卷軸、 冊頁, 但是彭薇的精妙手繪, 使人將之誤讀為古典山水畫。 這一誤讀, 造成傳統山水畫與現代觀念作品的錯位, 錯位, 又使彭薇的作品出現雙重效果。如瑞士人西克所說, 她以 再傳統不過的手法, 與傳統分離, 又使傳統文本與當代觀念 在紙面上合一。 在更深的層面, 這批畫是在宣示傳統的不可更動性和持久 性。彭薇的另一組宣紙作品, 墨石, 可能是這批「山水卷 軸」的對應: 同一的宣紙、筆墨, 但「墨石」系列是傳統的 延伸衍變,「山水卷軸」系列則是與傳統割裂, 在難以覺察 的顛覆中, 彭薇心思細密地維護著傳統的完整。也印證了 法國電影學院創始人讓·克洛德·卡裡埃爾的話:「歷史 不停在讓我們吃驚, 比現在更甚, 也許比未來更甚。」 7

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LETTER FROM AFAR 遙遠的來信 Rice Paper 宣紙水墨 | Plane Painting 平面繪畫 70.7 X 37 cm 2014

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BEWILDERING CLOUD 雲不解意 Rice Paper 宣紙水墨 | Plane Painting 平面繪畫 70.7 X 37.2 cm 2014

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JOSEPHINE’S DEDICATION TO NAPOLEON 約瑟芬致拿破崙 Rice Paper 宣紙水墨 | Plane Painting 平面繪畫 71.2 X 37.2 cm 2014

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BEETHEOVEN’S DEDICATION TO THE ETERNAL LOVER 貝多芳致永恆的愛人 Rice Paper 宣紙水墨 | Plane Painting 平面繪畫 70.7 X 37.2 cm 2014

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MUSICIAN 音樂家 Rice Paper 宣紙水墨 | Plane Painting 平面繪畫 71 X 36.8 cm 2014

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“You may have concerns, if you consider me as a companion, tour guide, dictator, or cumbersome, accompanying you at all times. Even so, it is understandable as I am a means of communication to you.”

- Crossing River: Kafka’s Love Letters To Phyllis Powell

『您也許會產生顧慮, 是否應該把我作為旅伴的伴 侶、導遊、獨裁者、累贅, 結伴而行, 即使如此, 對 作為通信物件的我卻是無可厚非的。』

-《渡河留馨》— 卡夫卡愛情書簡 致菲利斯·鮑威爾

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CROSSING THE RIVER 渡河留馨 Rice Paper 宣紙水墨 | Album 冊頁 235 X 35.5 cm 2014 21

“In the rainy and stormy month of February, inviting anyone to join an uncomfortable trip to Oxford may seem a bit much. Terrible strong winds seeping through the bedroom walls and billowing under the bed. It is a very weird encounter like the storybook ‘Marcos and Moritz’. This kind of experience is unspeakable.”

- Winter Convention: Flourishing, Letters To the Burnham Christa Carter

『在多雨和風暴的二月, 邀請任何人進行一趟不太 舒服的牛津之旅, 似乎都過分了一點兒，穿過臥室 紙牆板的可怕的風暴從床上吹起來，這種體驗如 同《馬科斯或莫里茨》故事書中的畫面, 是不可言 傳。』

-《冬日的約定》— 以賽亞·伯林書信集 致克裡西達·伯納姆·卡特

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WINTER CONVENTION 冬日的約定 Rice Paper 宣紙水墨 | Scroll 卷軸 195 X 17 cm 2013 Artwork above and on pages 24-25

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“You suffer from your civilization. My barbarism is to me a renewal of youth.”

- The Lonely Landscape in the Snow: Paul Gauguin to August Strindberg

『你的文明世界使你苦惱，我的野蠻作風卻使我青 春煥發。』

-《孤單的雪景》— 高更信

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LONELY LANDSCAPE IN THE SNOW 孤單的雪景 Rice Paper 宣紙水墨 | Album 冊頁 306 X 18 cm 2013 Artwork below and on pages 27-29

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“My dear mom, I am still deeply touched by your letters full of tenderness. I do wish to be by your side, maybe a few days will do.”

- The Picnic: French Letters “a sa mere” (Letters to his mother)

『我的好媽媽，你寫了一封那麼溫柔的信給我，到 現在我還深深感動。我真希望在你身邊。也許幾個 月後就能實現 ？』

-《郊遊》— 小王子作者安東給母親的書信

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THE PICNIC 郊游 Rice Paper 宣紙水墨 | Album 冊頁 144 X 30 cm 2014 Artwork above and on pages 33-35

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“Though the river’s current never fails, the water passing, moment by moment, is never the same.

Where the current pools, bubbles form on the surface, bursting and disappearing as others rise to replace them, none lasting long. In this world, people and their dwelling places are like that, always changing.”

- The Solo: Hōjōki / An Account of a Ten-FootSquare Hut by Kamo no Chōmei

『江河流水潺湲不絕，後浪不復為前浪，浮於凝滯 之泡沫，忽而消失，忽而碰撞，卻無長久搖擺之 例。世人與棲息之處不過如此。』

-《獨奏圖》— 鴨長明方丈記

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THE SOLO 獨奏圖 Rice Paper 宣紙水墨 | Album 冊頁 141.5 X 29.5 cm 2014 Artwork on pages 39-41

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“I always strive to create a more perfect artwork. We need perfection, but the meaning of life lies in love, not in perfection.”

- Peng Wei

『我 總 想 著 能 做 出 更 完 美 的 作 品 , 我 們 需 要 變 得 完美, 但是生命的意義並不在於無瑕疵地, 而是關 於愛。』

- 彭薇

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GOOD THINGS COME IN PAIRS 16 好事成雙 16 Silk 絹 | Installation 裝置 24(L) X 18(W) X 5(H) cm 2013

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GOOD THINGS COME IN PAIRS 17 好事成雙 17 Silk 絹 | Installation 裝置 24(L) X 18(W) X 5(H) cm 2013

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GOOD THINGS COME IN PAIRS 19 好事成雙 19 Silk 絹 | Installation 裝置 24(L) X 18(W) X 5(H) cm 2013

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GOOD THINGS COME IN PAIRS 23 好事成雙 23 Silk 絹 | Installation 裝置 24(L) X 18(W) X 5(H) cm 2013

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“This series of stone paintings is inspired by the Song Dynasty (宋代). At the end of the Northern Song Dynasty, Emperor Huizong (徽宗) named the north-eastern part of Bianjing (汴京), Gen Yu (艮 嶽). Huizong spent lots of money and manpower to collect the most special ‘plants’ and ‘stones’ from the world, and moving them to Bianjing. This historical event was called ‘Hua Shi Gang’ (花石綱).

Gen Yu became a miracle in the Chinese history of landscape architecture. Unfortunately, Gen Yu was not long lasting, because of Jin’s (金) attack on the eastern part of China. This ended the Northern Song Dynasty, and the two emperors, Hui (徽) and Qin (欽), were captured. Most of the rare stones at Gen Yu, were destroyed by gunfire during the war. Other stones were shipped by Jin to Yanjing (燕京). Those stones are situated at Zhongshan Park (中山公園), Beihai (北海), and the Palace of Jin in Zhongnanhai (中南海). Some of the rare stones were lost during transportation and ended up in various locations, including forming the rare landscape of the garden at Yangtze Delta (江南園林) we see today. The shortlived glory of Gen Yu and the loneliness of the rare stones are so meaningful to me. After visiting Beihai Park to see the ‘The Lost Stones at Gen Yu’, it inspired me to create this series of artwork.”

- Peng Wei

『此組石頭屏風靈感來自宋代艮嶽—艮嶽是中國園 林建築史上的奇跡。北宋末年, 徽宗在汴京東北隅 作土山, 名為「艮嶽」。他命人廣羅天下花木奇石, 勞命傷財, 分批送往汴京, 安置於「艮嶽」之中, 史稱 「花石綱」。可惜, 艮嶽的好景不長, 金兵攻陷東京, 北宋滅亡, 徽欽二帝俘虜, 大部份奇石, 不是被激戰炮 火炸碎, 就是被金兵運至金朝首都燕京, 另有部分未 及啟運和沿途散失的奇石, 流落各處。艮嶽的殘骸 如今散落于北京中山公園、北海、中南海的瀛台、 故宮和江南園林中。艮嶽曇花一現的輝煌和奇石千 古不變的孤絕在我看來頗有深意。這組作品, 也是 因去北海公園看「艮嶽遺石」有感而作。』

- 彭薇

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REUNION OF THE LOST STONES AT GEN YU 艮嶽遺峰，錦屏煙合 Rice Paper 宣紙水墨 | Plane Painting 平面繪畫 72 X 190 cm each (x6) 2014 Artwork below and on pages 56-59

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“The scrolls and albums of ancient Chinese landscape paintings provide the inspiration and structure for the artwork “Letters from a Distance”. These are not simply landscapes paintings; they are painting installations in the form of scrolls and albums. Through paintings and

『古老中國山水畫的卷軸與冊頁,源源不斷為 《遙遠的信件》提供靈感提供圖式,提供形 制。這些作品並不是「山水畫」,而是卷軸 與冊頁的手繪裝置,通過繪畫與印刷品,呈現 「再現」與「複製」的視覺錯位與曖昧關係:

printed materials, I want to show the ambiguous and intersecting visual relationships between representation and replication.

In confronting traditional landscape painting, I do not simply look at the painted part by great masters. I see the whole piece as a material object and a complete work of art. Traditional landscape paintings attempt to “capture” the wholesomeness of nature, but my series aims to “capture” the wholesomeness of the art form of Chinese scrolls and albums. These visual games within my painting are influenced by contemporary books. While I study Chinese classical paintings and literature, I also reference letters written by Western literary masters to ‘alter’ the inscriptions, and even titles, of these classical landscape paintings.

As a result, I have merged Western literature with

面對傳統山水繪畫,我並不僅僅「看見」某位大師 的「畫面」, 而是「整個兒看見」作為真實物質的 卷軸與冊頁, 並「全部描繪」; 古典山水畫試圖「統 攝」的是「自然」, 我的畫則「統攝」一件件精美 的卷軸和冊頁——「自然」, 亦即山水, 只是其中一 部分; 當然, 我的手繪遊戲全部來自印刷品, 來自現 代印刷書籍。繪畫(古典)與文學(題跋)因書籍進入我 的視野, 而我用西方文學大師的私信「篡改」了古 典山水畫的題跋, 甚至題目, 於是,「西方」這一概念 「進入」了中國山水文本。在挪用古典繪畫圖像的 同時, 西方文人的信件、詩歌,「替代」了題跋, 但這 替代的位置、書法、效果, 仍是「題跋」。這是有 趣的對應遊戲——古人用題跋與繪畫交談, 我借西 方文人的書信與中國古人的畫交談, 同時, 與現代觀 眾交談; 我的每幅作品畫成後, 又用現代數碼高模 擬技術複製, 複歸印刷品。複製品的數量和體積, 與 我的作品同一尺寸, 同步累積, 並以裝置方式展示。

traditional Chinese landscape inscriptions. Even as I appropriate classical imagery, replacing the traditional inscriptions with letters and poems from the West, I maintain the same positioning, styling and effect of the original inscription. In ancient times, paintings and inscriptions were a part of an interesting conversational game between scholars. In my artworks, I have started a dialogue between the letters of Western scholars and the paintings of Chinese literati, but the works also converse with a modern audience.

After I finish each painting, I use modern technology to replicate the work, creating a copy. All the replicas are the same as the originals in every way. I display the replicated scrolls, albums and boxes as an installation; an offering to the classical artworks that have lasted for centuries and retained their importance. This is an offering to the poems and letters of Chinese and Western authors and a memento of my artwork that has been collected and will never see again. This desire to create replicas was inspired by looking at other reproductions, further emphasizing my longing to retain a piece of all my artworks as a keepsake for myself.”

- Peng Wei

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因此,《遙遠的信件裝置》是對時空久遠但影 響不衰的繪畫經典的祭念,是對中西文人詩 信遺跡的祭念,也是對自己作品一旦出售逸 散之後的存念,這一存念,也是對現代印刷複 製技術的感念之意——正是在翻閱印刷品的 漫漫旅程中,我獲得了靈感、依據和寄託。』

-彭薇

LETTERS FROM A DISTANCE 遙遠的信件 Craft Paper, Wood Box, Ribbon with Clasp, Bone Scroll 手工麻紙，木盒，絲帶別子，牛骨畫軸 | Installation 裝置 220(L) X 288(W) X 16(H) cm 2012 - 2014 Artwork above and on pages 62-63

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In the summer of 2002, I was feverishly painting shoes.

One glaringly sunny afternoon, I by chance bumped into

自 述

Li Songsong at the intersection of Tianjiehu. Without hesitation, I took out the photos of my paintings and gave them to him to look at. As he scanned through them, he said, “You know, Andy Warhol also painted a lot of shoes.”

In a state of shock, I rushed home, not really remembering what Li had said to me, but I desperately wanted to find Andy Warhol’s shoes. Afterwards, I learned that Andy Warhol painted shoes while working as an illustrator at a fashion magazine. During this time, Warhol asked his teacher when he could really begin to create art, which his teacher replied,

ARTIST STATEMENT

“Your paintings are art!”

Whether it is stones, shoes, clothes, bodies, or landscape, I have always painted things that others have painted before me. At first, I thought these ideas were unique, until later I learned and saw that these concepts were not uncommon.

Now, when I see someone else’s artwork, I understand that other people’s work is theirs, and my work is mine.

Since then, I no longer cared about others and immersed myself in my own passions. When my interest in something subsides, I replace it with a new interest and the process repeats all over again. Art is not an invention, and nothing is an original creation. Each piece of artwork appears unique because it comes sincerely from the artist. Thus, even though the themes can be the same, knowing who created the artwork is extremely important.

Chinese people have painted landscapes for more than one thousand years, but when I originally became fascinated with painting landscapes, I completely forgot about the past.

I did not focus on the spirit of traditional landscape painting or the inky aesthetics of certain schools. I was attracted to both classic landscape painting and albums and scrolls as objects. In addition to the cultural and historical charm of albums and scrolls, I see them as elegant little installations.

They entice me to decorate every part of them by myself, including replicating complicated brocade patterns. From the beginning to the end, I copy dense and interesting texts, often the letters, diaries, or poetry from Western culture.

Then, I will fold or roll up my artworks carefully and wrap them with silk ribbon or encase them in my custom wooden boxes. I then select a playful title, as if I am writing a long letter to some preordained person.

How would Andy Warhol see the shoes I have painted? He certainly would not care that I am doing what he had done, but it would be fun! Different times, places, people, and ideas can change that same theme. They see and meet each other, inspiring each other at the same time.

April 30, 2012, Beijing

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2002年初夏，我狂熱的畫鞋子。一個陽光刺眼的午後， 在團結湖路口遇到李松松，我立即從書包裡掏出一堆畫 作照片給他。一張張地翻過，他對我說：「您知道嗎? 安 迪沃霍也畫過許多鞋子。」 「啊！是嗎？」 這真是晴 天霹靂，我惱懊地回到家，不記得他還說過些什麼了， 只想趕快找來安迪沃霍的鞋子看看。後來，又有朋友來 家玩，看到牆上的畫，有石頭，也有鞋子。有的喜歡石 頭，有的喜歡鞋子。其中一個朋友說，安迪沃霍畫鞋子 的年代，正在替時尚雜誌畫插圖，他問他的老師：「什 麼時候我才算真正開始做藝術啊？」他老師答：「你現 在畫的就是藝術啊！」 不管石頭、鞋子、衣服、身體、山水……我一直在畫別 人畫過的東西。起初，我以為這都是自己獨一無二的發 現，後來卻不斷看到或得知：這些媒介都有人做過了。 後來我看到別人的作品發現：別人是別人，我是我自 己。 從此我不在乎「別人」，只願沉溺在自己的熱情裡，直 到熱情慢慢消退，又找到新的誘惑、新的開始。藝術不 是發明，也無所謂的獨創。作品顯得獨一無二，是因為 他發自一顆真摯的心—人心有多麼不同；同樣的題材， 誰來畫，那才最重要。 中國人畫了上千年的山水畫，但每當我興致勃勃畫山水 時，卻會完全忘了古人。我心儀的不是古代山水的精 神，也不是某家某派的筆墨美學。總之，使我迷戀的不 僅是經典山水的那幅畫，而是作為物質的整體—冊頁、 卷軸。在我心目中，冊頁、卷軸本身除了文化氣息和歷 史的魅力，更如同一件一件精美的小型裝置，因而吸引 我親手一筆筆畫出它們的每一部分，包括繁複的錦緞圖 案；在題跋部分，我密密麻麻抄錄當下讀到的有趣的文 字—往往是西方文人的書信、日記或詩─然後摺疊或卷 起，給它們配上不同的緞帶，放進訂製的木盒裡。這是 一個又一個自認為好玩的題目：就像寫一封長信給一位 我不認識的有緣人。 安迪沃霍要是看到我畫的鞋子，會怎樣呢？他一定不在 乎我做了他做過的事，這該多好玩啊！不同的時空，不 同的人，不同的心思，改變同一媒介，彼此相望相遇， 相互啟示。 2012年4月30日寫於北京 65

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ORA-ORA: Peng Wei, when was the last time you wrote a letter to someone?

PENG WEI: Just a few days ago, I wrote a very short one.

與 彭 薇 的 片 刻

ORA-ORA: Do you have a habit for collecting letters? What do you think about this kind of communication? Do letters have any special meaning or significance to you?

PENG WEI: I keep all the letters people wrote me, but I haven’t received any letters in the past few years.

Using letters to communicate is a tradition. If someone chooses to write letters as a means of communication, I see it as a sign of respect, and therefore, would cherish these moments more. Letters also carry a sense of romance.

Nowadays, while e-mails and social media such as WeChat, Facebook, Twitter, etc. are the fastest ways to communicate personal emotions, writing letters to me become more of an aesthetic to be appreciated.

A MOMENT

W I T H PENG WEI

ORA-ORA: Referencing the latest trend of “hashtags”, what would we be talking about when discussing the “letter”?

PENG WEI: We are talking about the past when we are discussing the “letter”. Letters are like public diaries.

ORA-ORA: What is the main difference between letters and e-mails? In my opinion, letters have a very strong and special relationship to time. Whether it is writing a letter to express some kind of personal emotion or to describe some incidents, I would imagine and anticipate the reaction from the recipient. It is almost like waiting for the future to happen. At that moment, the present and the future are intertwined, becoming a combination of our imagination, perception and anticipation. In this magical mood and space, how do you understand this kind of interwoven, staggered, and blending of time? Do you think there is any regular order regarding this? With this order, would people communicate in a new way?

PENG WEI: When writing letters, the paper, the handwriting, etc. are all very personal details, a material communication at a particular moment in time. Corresponding through e-mails on the other hand, although it is a highly efficient means, it lacks a sense of mystery, temporality, rituality and materialism and characteristics of human nature.

I share the same feeling with you that “letters” create space 68

and artistic conception, and this interwoven concept of

implied? In your paintings, you are combining Western

time allows limitless imagination.

literature and Chinese ink painting. What is the inspiration behind this? Also, what do you think about the relationship

However, at the end of the day, I think all forms of

between people, history, the West and the East?

communication, whether letters or e-mails, all retain time and may be intertwined with someone, someday. This is the

PENG WEI: The “distance” is the distance between time and

strongest feeling I have while working on my series “Letters

space. The “letter” is the intimacy of the soul. Art is always

from a Distance”. Although I know of the authors of the

the best way for presenting such feelings, having the sense

letters, I do not actually know these people personally and

of distance and intimacy simultaneously. It is similar to

they certainly didn’t know me. It is like a kind of fate, which

viewing an ancient painting, or reading a piece of literature

can also be interpreted in art. If you really want to explore

from the past. I think the relationship between people,

the intrinsic order of letters or e-mails, I believe it would be

history, the West and the East, are all very private emotions.

established according to each individual’s personality.

Perhaps I am too focused on attractive and interesting things and I do not really care about right or wrong, whether it is today or yesterday, the West or the East.

ORA-ORA: You have chosen a lot of letters from famous people and incorporated them into your paintings. What is the reason behind this? What are the criteria you considered

ORA-ORA: In fact, your paintings are a kind of expression

before choosing and reproducing letters in new forms of

of time and space, a kind of understanding of the world.

medium?

Also, you never classify your paintings as traditional or contemporary. What is the reason behind this?

PENG WEI: Choosing those letters is very similar to how I choose the images for my paintings. The people I like, words

PENG WEI: I think fine art should be a synthesis of passion,

or ideas that are meaningful to me, and words that have

experience and talent. The charm of a long lasting piece of

similar artistic conception to my paintings may all appear

art is not just affected by the perception of the world, time,

in my paintings. The final decision of choosing the text

space, new or old, traditional or contemporary. Ideas and

depends on the negative space of my composition, and how

concepts are easy to copy and they can be out-dated easily.

much space I want to fill up with text. For my paintings,

Only the naivety of passion (attitude) and unique talent

the aesthetics of the letters is more important than my

(particularity of the artist) in art will always exude charm.

emotional expression. I am not trying to explain the content

This is what I have seen from ancient artworks, as well as

of the letter; instead I would like to create a grey area from

the excellent contemporary art from our present time.

the text, which is written by me.

ORA-ORA: You like to use “love” as the theme of your ORA-ORA: In your presentation, do you try to explain your

paintings, can you explain what kind of love you are

personal interpretation of “letter”? Do you try to express

expressing?

your ideas through the letters? When these letters are rewritten by you and combined into your paintings, is this

PENG WEI: I am not an artist who works from a theme. In my

your way of reconstructing the meaning of the letter? How

past seven series of artworks, all the pieces came first and

do you think the others will perceive this combination?

the theme second. And only the series “Good Things Come in Pairs” is the closest to the theme of “love”. However,

PENG WEI: After re-writing those letters in my paintings,

I don’t think it is expressing love, or anything particular

they really become an artistic reconstruction. However, I

about love. I just think using “love” to present my artwork

am not interested to study the letters any further. I think

gives me more satisfaction.

this combination of painting and words allows for multiple interpretations. I look forward to seeing others use their

In Chinese tea ceremonies, besides the good quality of tea

own means to comprehend this kind of artworks.

leaves and water, one also needs an appropriate teacup. You will have a good cup of tea, if everything matches perfectly.

I think the relationship between an artwork and its theme,

ORA-ORA: The title of your current series is called “Letters

is very similar to tea and its cup. Ultimately, we want a cup

from a Distance”. What kind of “distance” do you mean?

of good tea, not a teacup. I hope my artworks can exceed

Regarding “distance”, is there a hidden sense of intimacy

just the theme for audiences to experience.

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ORA-ORA: Landscapes, clothes, shoes, body, etc. all can

excited me most were those that depict eternal breathing.

be the concept for your creations. How do you treat these

The kind of breathing that never stops, even after the artist

concepts? Which concept impresses you the most? Is there

passes away. This is how fortunate it is to be an artist.

any of your own logic you would like to share with us?

PENG WEI: These concepts are my interest and they represent certain periods of my life. I put these concepts together with my passion for creating art; they always accompany me in the studio. The feeling is like falling in love, and when my interest has subsided, I will replace it with a new interest. Therefore, it is very difficult to say which kind of concept is the most impressive. This is because I am equally emotionally involved in each series of artwork each

方由美術: 彭薇小姐，您最近一次給人手寫信件是什麼時 候？ 彭薇: 前天剛寫過一封信，很短的。 方由美術: 您個人有收藏信件的習慣嗎？您怎麼看待書信 這種交流媒介？這種書信對於您個人來講，有什麼樣的 意義？

time I created them.

彭薇: 他人手寫的信我會保留的，但近幾年幾乎沒有收到 過。

Since it is like falling in love, nothing will follow logic. It is

作為交流媒介的書信真的已是過去式。如果今天還有人 以這種古老傳統的方式來與我交流，我會認為，這無疑 是一種珍視的情感表露，一種尊重。當然，或許有幾分 矯情。

just a kind of personal preference and interest.

ORA-ORA: Your artworks seem to follow a complete system. The details of your artwork are highly uniformed

在e-mail，Facebook，Twitter都能迅速傳達情感的今天， 書信在我看來更具賞鑑、審美的功能。

and unified. Is this the reason why you deliberately create the packaging of your artworks yourself?

PENG WEI: Yes, it is. Drawing and painting are all I love to play with.

方由美術: 借用一句網絡流行用語：您覺得當我們談論 「信件」時，我們在談論什麼? 彭薇: 當我們在談論「信件」時，我們談論的是過去。信 件像是公開的日記。

I like this kind of tangible substance. In my mind, my concept of an artwork is not just the painting, other details like the packaging, mounting, framing, etc. all contribute to the work.

ORA-ORA: Regarding your introduction on Weibo, “I am the one who doesn’t want to go to work every morning, let us keep breathing, and not run out of breath”, why do you think people will feel suffocated? What’s wrong with them? How should they correct and avoid this? Do you think your artworks can trigger people to find the feeling of “breathing”?

PENG WEI: My introduction on Weibo is a kind of ridicule and self-encouragement. Since I have been going to work for the past seven years, I totally agree with Duchamp, “An artist is one who does not want to go to work everyday”.

That is the reason I wrote “I am one who doesn’t want to go to work every morning”. It is necessary for me to create artworks that do not fall short of my talent and personal expectations. So the most important thing is I am alive and I keep breathing. At the same time, I would like my artworks to have a sense of breath, a sense of life. Thinking back on my experience of visiting art museums, the artworks that

方由美術: 您覺得郵寄的信件和電郵的最大不同在哪裡？ 我覺得信件本身有著很強，也很特別的時間意味，我在 我的此時，想像對方的此時，進行感情的抒發或者事件 的書寫，然後等待它在未來的一個時間被開啟，被感 知，然後被想像，所有的這些時間交纏在一起，本身就 構置成了一個奇妙的空間與意境，您是怎麼理解這些時 間的交織、交錯、交融？您覺得在那些錯落的時間裡是 否也有一種秩序？人們是否也在那裡進行另外一種特別 的交流呢？ 彭薇: 郵寄信件的紙張，筆蹟等種種細節都是有人性的， 是當時交流的物質留存。而同樣是交流，電郵雖然來得 快，但少了時間感，神秘感，儀式感，也少了人性的特 徵和物質性。 我與你有同感，書信為我們製造的空間意境，疊加錯落 的時間真的能令人有無限的遐想。 但是，我覺得只要是通信，都會讓時間留存，並可能與 以後的某一天或某個人交織。這是我在做《遙遠的信 件》時最深的感觸。我不認識那些人，但我分明又認 識，覺得與他們有緣。擴展到藝術上，同樣也有這一可 能。如果真的想要探究其中的秩序，我想這是個人性格 喜好所建立的一種秩序。 方由美術: 您的作品中選擇了很多名人的書信，您選取 的宗旨是什麼呢？什麼人、什麼樣的信件會引起您的興 趣，會覺得值得再次用其他的媒介加以呈現？ 71

彭薇: 選擇書信與我選擇繪畫中的圖像很類似。我喜愛的 人，有意思的日常敘述，與畫面相似的意境等種種文字 都可能出現在畫面。但最終決定被使用的都是正好能填 滿那片空白的文字。在我的作品裡，信件的審美性比情 感表達更重要。我要的不僅是一封信，更是畫面上一片 由我書寫的文字所組成的灰色。 方由美術: 您的這種呈現，是否已經加入了個人對信件的 讀解，您的畫作是這種讀解的表達嗎？當這些信，經過 您的手寫，與您的畫並置在一個作品裡，是否了重構的 意味？您覺得其他人會如何理解這種並置？ 彭薇: 經我書寫的確算是一種藝術化的重構，但我無意 對信件再加更多的解讀，並置本身讓就它們有了多重解 讀的可能性。我也期待其他人用不同的方式理解這類並 置。 方由美術: 這次您創作的主題是《遙遠的信件》，這個 「遙遠」指的是什麼的遙遠呢？在遙遠中，是否也隱含 著一種近？這次您的作品都是用西方人寫的書信，再配 上中國的繪畫，這種靈感的來源是什麼？您如何看待人 與人之間的關係、今天和歷史之間的關係、西方和東方 之間的關係？ 彭薇: 「遙遠」是時空的距離，「信件」是心靈的親近。 藝術常為我們呈現的就是這樣的感受 — 遙遠且親近，這 類感受也最適合用藝術來呈現。 如同面對一幅幅古老的畫作，閱讀一篇篇過去的文字一 樣，我看人與人，今天與歷史，東方與西方的方式是私 人的感性的。我也許太過注重好看有趣，而不太在乎是 非對錯，不太在乎它否是今天或過去的，西方的或東方 的。 方由美術: 其實一件作品，它表達的是人的一種時空觀， 是對世界的一種認知，您不會把自已的作品分為傳統或 現代兩種，這其中的原因是什麼呢？ 彭薇: 我想任何好的藝術應該是熱情、經驗與天賦的綜 合。一件作品數百年持久的魅力不是在於時空觀，世界 觀，新或舊，傳統或現代。觀念易模仿，也易過時，而 只有留存在藝術中純真的熱情（態度）和不可複製的天 賦（藝術家的特殊性）會永遠散發魅力。這是我在古代 藝術裡看到的，也是在今天許多優秀的當代藝術裡看到 的東西。 方由美術: 您的繪畫喜歡以「愛」為題材，可以說明一 下，您所想表達的愛是那一種愛呢? 彭薇: 我不是從題材入手創作的那類藝術家。在所做的 7個系列中，都是先有作品再有題材，而且只有《好事 成雙》系列是接近於「愛」的題材。但我不認為它是在 表達愛，或者說它不僅止於「愛」，更是我的繪畫借 「愛」這個題材有了一個比較圓滿的呈現。 在中國茶道裡，除了要有好茶，好水，還要配適宜泡這 種茶的杯子。這些東西匹配了，才能泡出最醇香的茶。 我想題材與繪畫的關係，也類似於茶道中用杯子和茶的 關係吧。最終我們是要品到好茶，而不是要一個杯子。 我更希望自己的作品能超越題材給觀眾的感受。

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方由美術: 山水、衣服、鞋子、人體等，都能成為您創作 的題材，您是如何看待這些題材的？有沒有哪一種令您 印象深刻，這之中是否隱含著您的某一種邏輯？ 彭薇: 這些東西是我某段時期興趣的體現，我將自己的 創作熱情傾注在它們中，它們陪我渡過畫室裡的日日夜 夜。像是一次次戀愛，興趣消退，新的興趣又進入，很 難說那一種令我印象深刻。因為每次都是很用心的投 入。 既然像戀愛，就不會太有邏輯啊，只不過趣味偏愛一定 很明顯。 方由美術: 您的作品似乎是一整個系統，從作品本身，到 它的包裝上的細節，有著很高的統一性，延伸著同樣的 主題、散發著同樣的氣息，這是您刻意從創作到作品的 包裝都一手去抓的原因嗎? 彭薇: 是的。繪畫及繪畫周邊一切都是我喜歡擺弄的東 西。我很喜歡這些物質的存在。在我心中，作品的概念 不僅僅是一幅畫，也連帶了它的包裝，裝裱、鏡框、擺 放的方式等等。 方由美術: 您在新浪微博的個人介紹上寫，「不想每天早 上上班的人，讓我們一起，保持呼吸，不要斷氣」，您 覺得人們會覺得窒息，是哪裡不對勁了？應該怎麼樣避 免，或糾錯？您覺得您這次作品是否能夠帶動人們找到 一種呼吸的感覺？ 彭薇: 微博上的話是調侃也是自免。經歷過七年打卡上 班的歲月，對杜尚說的：「藝術家就是不想每天上班的 人」頗有同感，所以會說「不想每天早上上班」。而要 完成就藝術，不辜負自己的才能，最重要的事情就是好 好活著，活著即是「保持呼吸，不要斷氣」。 我同樣希求自己的作品能有呼吸感、生命感。想起逛博 物館的經歷，那些讓我心動的作品，真的具備永恆的呼 吸，在藝術家過世之後，也許更甚。這真是做藝術家的 幸運。

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Born in Chengdu, China in 1974. In 1997, she received her Bachelor’s degree in Chinese Painting major, Oriental Cultural Art from Nankai University. In 2000, she received her Master’s degree in Philosophy from People’s College

彭 薇

of Fine Arts at Nankai University. From 2000 to 2006, she served as editor of ART Magazine in Beijing. She currently works as top rank professional artist at the Beijing Fine Art Academy, member of the China Fine Arts Association. Her works have been collected by the National Art Museum of China, the Hong Kong Museum of Art, the Asian Art Museum of San Francisco, the Guangdong Art Museum, the He Xiangning Art Museum, the M+ Museum, the Uli Sigg Collection, the DSL Collection, etc.

PENG W E I

SOLO EXHIBITIONS

2004

Embroidered – Plum Blossoms Gallery, Hong Kong

2007

Woven Clouds – Plum Blossoms Gallery, Hong

Kong 2009

Paper Skin – Artside Gallery, Beijing

2009

Peng Wei’s Painting Installation Exhibition –

Opposite House, Beijing

2009

Don’t Forget Me: Painting Installation Exhibition –

Yintai Center, Beijing

2010

Body & Robe – Tina Keng Gallery, Taipei

2011

Molting – He Xiangning Art Museum, Shenzhen

2013

Letters from a Distance – Tina Keng Gallery, Taipei

2014

Letters from a Distance: Art Basel Hong Kong –

Galerie Ora-Ora, Hong Kong

JOINT EXHIBITIONS

2003

The First Beijing International Art Biennial –

National Art Museum of China, Beijing

2003

The Second National Chinese Paintings Exhibition

– National Museum of China, Beijing

2004

Dot-Radiation & Far-Reaching-Vision Expression

from Paper & Ink – National Art Museum of

Malaysia, Malaysia

2004

New Form – Round 7 – Guangdong Museum of

Art, Guangzhou

2004

The 10th Asian International Art Exhibition –

Fukuoka Asia Art Museum, Yokohama

2005

Body Heat: International Celebration of

Andersen’s 200th Birthday – Chinese

Contemporary Art Invitational Exhibition –

Kunsten Museum of Modern Art, Alborg

2005

The 2nd Beijing International Art Biennial –

National Art Museum of China, Beijing

2005

Perspective: Century & Heaven: 2005 Chengdu

Biennial, Chengdu

2006 Purity & Innocence: Three Chinese Women Artists

Exhibition – Neuhoff Gallery, New York

2008 Hidden Life Apartment Diary Exhibition – Lin & 74

Keng Gallery, Beijing

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2008 New Scene: The Exhibition of Chinese

Contemporary Ink Paintings – Berlin National

Museum & Dresden National Art Collection

Museum 2008 Hypallage: The Post-Modern Mode of Chinese

Contemporary Art – the OCT Art & Design

Museum, Shenzhen

2008 Ink Not as Ink: The Contemporary Chinese

Ink Painting Exhibition – Shenzhen Museum of Art

& Philadelphia Museum of Art, Today Art Museum

Beijing 2009 Europalia International Arts Festival:

Attitudes-Female Art in China – The European

Centre of Contemporary Art Brussels

2010

Reshaping History: China art from 2000 to 2009 –

Guangdong, Beijing & Shanghai Art Museum

2010

The 7th Shenzhen International Ink Painting

Biennale – Shenzhen Art Museum, Shenzhen

2011

Shan Shui: Landscape in Chinese Contemporary

Art – Luzern Art Museum, Luzern

2011

Reflection: Chinese Contemporary Art Exhibition –

Edgar Frei Private Gallery, Bern

2011

Pure View: 2011 Chengdu Biennale Contemporary

Art Exhibition – Music Park, Chengdu

2012

Water Stains On The Wall: the Carrier of

Formation – Contemporary Art Exhibition –

Zhejiang Art Museum, Hangzhou

2012

On The Top of Fashion: The 1st Female

Contemporary Art Exhibition the Yue Art Museum,

Beijing 2012

Sketching the Heart: about Scenery, Gallery Beijing

Space, Beijing

2012

Passing Through Memory: Opening Exhibition –

Suzhou Jin Ji Lake Art Museum, Suzhou

2012

Water & Ink once more: 2000-2012 Chinese

Contemporary Water & Ink Art Invitation

Exhibition – Hubei Art Museum & Today Art

Museum, Wuhan & Beijing

2013

Shui Mo - Water Ink: Chinese Contemporary Ink

Paintings – Sotheby’s, New York

2013

Emergence: Work by Contemporary Chinese

Women Artists – Bowdoin College Museum of Art,

Brunswick

76

2013

The 9th National Exhibition of Chinese Hue Art

Paintings – National Art Museum of China, Beijing

2013

The 8th Shenzhen International Ink Painting

Biennale – Guan Shanyue Art Museum, Shenzhen

2013

Real Life Stories: the Chinese Contemporary Art

Exhibition – The Bergen Art Museum, Denmark

2014

Shui Mo: Chinese Contemporary Ink Paintings 2 –

S2 Gallery, New York

2014

Devotion to Ink – Hong Kong Maritime Museum,

Hong Kong

PUBLICATIONS 2002 Peng Wei’s Painting Chinese Illustrated Magazine

Publishing House

2003

Splendor in Ink & Wash Sichuan People’s Arts

Publishing House

1974年生於成都。1997年畢業于南開大學東方文化藝術 系中國畫專業, 獲學士學位；2000年畢業于南開大學人文 學院美學專業, 獲哲學碩士學位。2000年至2006年任中國 美術家協會《美術》雜誌編輯。現為北京畫院一級美術 師, 中國美術家協會會員。其作品先後被中國美術館、香 港藝術博物館、三藩市亞洲藝術博物館、廣東美術館、 何香凝美術館、北京畫院美術館、Sigg Collection、M+ Museum、DSL Collection等機構收藏。

2004 2007 2009 2009 2009 2010 2011

2013 2014

個展

錦繡——彭薇畫展, 萬玉堂, 香港 雲裳——彭薇個展, 萬玉堂, 香港 畫皮——彭薇個展, 阿特塞蒂畫廊, 北京 彭薇繪畫裝置作品展, 瑜舍, 北京 勿忘我——彭薇裝置作品展, 銀泰中心, 北京 身與衣——彭薇個展, 耿畫廊, 臺北 脫殼——彭薇作品(2002-2011), 何香凝美術館, 深圳 遙遠的信件——彭薇個展, 耿畫廊, 臺北 遙遠的信件——彭薇個展, 巴塞爾藝術展覽— 方由美術, 香港

2003 2003 2004

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2005 2005

2006

2008 2008

2008

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2011 2011

2011

2012 2012

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2013 2013

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2014 2014

屋漏痕——形式的承載展, 浙江美術館, 杭州 時尚之巔——首屆當代女性藝術邀請展, 悅美術 館, 北京 心圖手繪——關於風景, 北京空間, 北京 記憶的穿越——蘇州金雞湖美術館開館展, 金雞 湖美術館, 蘇州 再水墨:2000-2010中國當代水墨藝術邀請展, 湖北 美術館、今日美術館, 武漢、北京 水墨——中國當代水墨展, 紐約索斯比, 紐約 破繭: 當代中國女性藝術, Bowdoin大學博物館, 布 倫斯威克 工‧在當代——2013第九屆中國工筆畫大展, 中 國美術館, 北京 第八屆深圳國際水墨雙年展, 關山月美術館, 深圳 一種生存實在屬性的敘事——中國當代藝術展， 爾根美術館，丹麥 水墨——中國當代水墨展2, S2 Gallery, 紐約 新水活墨——當代水墨聯展, 香港海事博物館, 香港

2002 2003

出版 《彭薇畫集》中國畫報出版社 《彩墨錦繡》四川人民美術出版社

聯展 首屆北京國際美術雙年展, 中國美術館, 北京 第二屆全國中國畫展, 國家博物館, 北京 點, 輻射與深入——來自紙墨的視覺表達展, 馬來 西亞國家博物館, 馬來西亞 新形態第七回: 彭薇、林藍畫展, 廣東美術館, 廣州 第十屆亞洲藝術展, 福岡亞洲美術館, 橫濱 體溫 ——紀念安徒生誕辰200周年全球慶典—— 中國當代藝術邀請展, 丹麥奧爾堡北日德蘭藝術 館, 奧爾堡 第二屆北京國際雙年展, 中國美術館, 北京 景觀: 世紀與天堂——2005成都雙年展, 成都世紀 城新國際會展中心, 成都 PURITY AND INNOCENCE三個當代中國藝術家 聯展, Neuhoff Gallery, 紐約 潛活:公寓日誌, 大未來畫廊, 北京 水墨新境——中國當代水墨展, 德國柏林國家博 物館、德累斯頓國家藝術收藏館, 柏林、 德累斯頓 移花接木——中國當代藝術中的後現代方式, 華‧美術館, 深圳 墨非墨——中國當代水墨邀請展, 深圳美術館、 今日美術館、費城美術館,深圳、北京、費城 鏡花水月——中國當代女性藝術展, 歐洲當代藝 術中心(火電廠藝術中心), 布魯塞爾 改造歷史: 2000到2009的中國新藝術, 國家會議中 心, 北京 第七屆深圳國際水墨雙年展——新語傳韵, 關山 月美術館, 深圳 山水——中國當代藝術展, 盧塞恩美術館, 瑞士 倒影——中國當代藝術展, Edgar Frei Private Gallery, 伯爾尼 成都雙年展主題展「溪山清遠:當代藝術展」, 音 樂公園, 成都 77

LETTER FROM AFAR 遙遠的來信 Rice Paper 宣紙水墨 Plane Painting 平面繪畫 70.7 X 37 cm 2014

BEWILDERING CLOUD 雲不解意 Rice Paper 宣紙水墨 Plane Painting 平面繪畫 70.7 X 37.2 cm 2014

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Letter from Afar Letters of three poets – By Rainer Maria Rilke, Boris Leonidovich Pasternak, Marina Ivanovna Tsvetaeva

Bewildering Cloud Ronan Keating - Both Sides Now

Dear Friend, I am writing to you by chance. And then I will turn to silence again. But I could not simply regard your endurance as a trifle. Whilst I heard the news of his death, there was a heavy snow. Outside the misty window was vast amount of snowflakes.

What can I say about all these? I have been sick since I heard this news. Almost exhausted, I was hanging aside in somewhere I live. In a couple of days, I could hardly hear the voice of my life, neither in reverse. My life and I hear nothing from each other, understand nothing from each other.

By the way, here is experiencing a callous, almost abstract, chaotic winter ever. Would you be completely ridiculously think that we are already the orphans? No. I think you would not, and you should not think in this way. The overwhelmed feeling of being helpless and lonely is disparaging.

Here I seemed to have lost all directions. Shall we live long longer? It is our responsibility to be longliving, enduring the disgraces and insults.

Dear Boris, Your letter is a written notification, for sake of your politeness arose from your spirit of nobility.

This has overcome the mysterious mind of notwriting letters and the reluctance to writing letters. But that mindset is not at all mysterious indeed because the first line is already written “And then I will turn to silence again.” You letter has not broken the silence. The announcement would break the silence - I have never felt that way. As everything was normal. I am still very insisted to uphold my attitude. Rilke’s death has confirmed such attitude of mine. His death is the right of our existence. Instead of saying it is the RIGHT, I would rather say this is the ORDER, of his own urge. ___________________________________________________ 《遙遠的來信》—— 帕斯捷爾納克和茨維塔耶娃的書 信往來 親愛的朋友, 我是偶然給你寫信的，然後我會再次沉默不語 的。但是決不能把你的忍耐力當作兒戲。在我獲 悉他的死訊時，天上飄著大雪，模糊的窗外可見 大團大團紛亂的雪花。可這有什麼可說的呢！我 聽到這個消息後病了一場。我似乎垮了，被懸在 什麼地方，生活在一旁走過，一連好幾天，我和 生活彼此都聽不見對方的聲音，彼此都不理解對 方。順便提一句，這裏正經歷著一場冷酷的、幾 乎是抽象的、混亂的冬天。 你是否會完全無禮地認為，你我已成孤兒？不， 我覺得是不會的，也不應這樣想：過分的孤立無 援感會貶低一個人。在我這裏一切似乎失去了目 標。如今，就讓我們活得長久些吧，忍辱負重地 長壽——這就是你我的義務…… 親愛地鮑裏斯， 你的信是一份書面通知，出於一種崇高的精神上 的禮貌而寫成。這種禮貌戰勝了不願寫信的隱秘 心態和對書信的抗拒心理。不過那心態也並不隱 秘，因為第一行上就寫著：「然後我會再次沉默 不語的。」 你的信沒有打破沉默，僅僅宣佈、挑明瞭沉默。 我完全沒感到曾有過那樣的東西。因此，一切都 很正常，我仍堅持自己態度，裏爾克的死亡最終 確定了我的這一態度。他的死就是我與你一同存 在的權利，說它是權利——這還不夠，這是他親 自下達的一道命令。

78

Bows and flows of angel hair And ice cream castles in the air And feather canyons everywhere I’ve looked at clouds that way But now they only block the sun They rain and snow on everyone So many things I would have done But clouds got in my way I’ve looked at clouds from both sides now From up and down, and still somehow It’s cloud illusions I recall I really don’t know clouds at all Moons and Junes and Ferris wheels The dizzy dancing way that you feel As every fairy tale comes real I’ve looked at love that way But now it’s just another show You leave ‘em laughing when you go And if you care, don’t let them know Don’t give yourself away I’ve looked at love from both sides now From give and take, and still somehow It’s love’s illusions I recall I really don’t know love at all Tears and fears and feeling proud To say “I love you” right out loud Dreams and schemes and circus crowds I’ve looked at life that way Oh but now old friends they are acting strange They shake their heads, they tell me that I’ve changed But something’s lost and something’s gained In living every day I’ve looked at life from both sides now From WIN and LOSE and still somehow It’s life’s illusions I recall I really don’t know life at all I really don’t know life at all ___________________________________________________ 《 雲不解意 》 美國鄉村民謠 —— 此時兩端 天使秀髮 捲曲如雪 空中聳立 冰激凌堡 高低起伏 白如羽毛 默默凝視 空中雲層 雲不解意 遮天蔽日 雨雪紛紛 淋濕眾人 欲行之事 耗盡心思 奈何無為 皆因雲層 得償所願 雙向望雲 上下凝視 仍不得見 雲之幻想 我心猶記 雲層雲層 欲知不能 *彭薇因觀美劇《廣告狂人》第四季劇終唱起此歌，歌 詞翻譯好似詩經，當即抄入。

J O S E P H I N E ’ S D E D I C AT I O N TO NAPOLEON 約瑟芬致拿破崙 Rice Paper 宣紙水墨 Plane Painting 平面繪畫 71.2 X 37.2 cm 2014 ___________________________________________________ Josephine to Napoleon Bonaparte Navarre, April 1810 A thousand, thousand tender thanks for not having forgotten me. My son has just brought me your letter. With what ardor I read it and yet it has taken a deal of time, because there is not a word which has not made me weep; but those tears were very sweet! I have recovered my heart entirely, and such as it will always be; there are feelings which are life itself, and which may not end but with life.

I am in despair that my letter of the 19th should have displeased you; I do not entirely recall the wording; but I know what very painful feeling had dictated it, it was grief at not having a word from you.

I wrote you on leaving Malmaison; and how many times there-after did I wish to write! But I felt the reasons for your silence, and I feared to seem importunate, by writing. Your letter has been a balm to me. Be happy; be as happy as you deserve; it is my whole heart that speaks. You have given me my share, too, of happiness, and a share very keenly felt; nothing else can have for me the value of a token of remembrance.

Adieu, my friend; I thank you as tenderly as I shall love you always.

Josephine ___________________________________________________ 《約瑟芬致拿破崙書》 你沒有忘記我，我內心萬分感激。是兒子把信帶來給 我的。我剛剛以熾熱的感情看完你的信。我花了很長 時間，因為裏面字字句句都使我流淚；但那是甜蜜的 眼淚，我已經完全恢復平靜，以後也會永遠如此。有 的感情就是人的生命，只有生命結束時，才會終止。 得悉十九日的信使你不快，我失望極了。信中的措詞 我已不全記得了，然而，我知道自己是在多麼痛苦的 心情下寫那封信的，由於收不到你一個字，我當時十 分痛苦。 我一離開馬爾梅松就給你寫信；此後我有多少次想給 你寫信啊！但是我感覺到你保持緘默事出有因，給你 寫信會使你覺得我糾纏不清。你的信對我是一種安 慰。我全心全意祝願你快樂，盡情地快樂吧。你也給 過我一份快樂，一份極大地快樂。沒有任何別的東西 更值得我這樣懷念的了。 再見，我愛；我以無限柔情感謝你，並將永遠以無限 柔情來愛你。 一八一零年四月於那伐勒 約瑟芬

BEETHEOVEN’S DEDICATION TO THE ETERNAL LOVER 貝多芳致永恆的愛人 Rice Paper 宣紙水墨 Plane Painting 平面繪畫 70.7 X 37.2 cm 2014 ___________________________________________________ Beethoven’s Beloved”

Dedication

to

the

“Immortal

Evening, Monday, Jul 6 You are suffering, my dearest creature – only now have I learned that letters must be posted very early in the morning. Mondays, Thursdays – the only days on which the mail coach goes from here to K. You are suffering – Ah! Wherever I am there you are also. I shall arrange affairs between us so that I shall live and live with you, what a life!!!! Thus!!!! Thus without you – pursued by the goodness of mankind hither and thither – which I as little try to deserve as I deserve it.

Humility of man toward man – it pains me – and when I consider myself in connection with the universe, what am I and what is he whom we call the greatest – and yet – herein lies the divine in man. I weep when I reflect that you will probably not receive the first intelligence from me until Saturday – much as you love me, I love you more – but do not ever conceal your thoughts from me – good night – as I am taking the baths I must go to bed. Oh, God! so near so far! Is our love not truly a celestial edifice – firm as Heaven’s vault. ___________________________________________________ 《貝多芬致其永恆的愛人書》 你在受苦，親愛的人兒——我剛才聽說信件必須清早 發出。星期一、星期四——只有這兩天有郵車從這裏 到K。你在受苦——啊！不管我在哪里，你也在那裏。 我想把我們的事安排一下，使自己能夠活下去，而且 是和你生活在一起，多美的生活啊！像這樣沒有你的 生活——為人類的福和所驅使而東奔西走——我實在 不配，也沒有這種意願。 人對人的曲從——使我痛苦——可當我把自己和宇宙 放在一起考慮的時候，我算得了什麼？所謂英雄豪傑 又算什麼——然而——這些人中間就有神的意志。 當我想到你恐怕要到星期六才能收到我得第一封信 時，我不由潸然淚下——你愛我很深，我愛你卻更 深——然而決不要對我隱瞞你的思想——晚安，我要 去洗澡，馬上得睡了。天啊，近在眼前遠在天邊！我 們的愛情難道不是一座真正的天宮嗎？像天庭一樣穩 固嗎？

MUSICIAN 音樂家 Rice Paper 宣紙水墨 Plane Painting 平面繪畫 71 X 36.8 cm 2014

CROSSING THE RIVER 渡河留馨 Rice Paper 宣紙水墨 Album 冊頁 235 X 35.5 cm 2014

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The Musician Franz Schubert to Francis II

Crossing the River Kafka Love Letters To Phyllis Powell

Your Majesty!

Most gracious Emperor!

With the deepest submission the undersigned humbly begs Your Majesty graciously to bestow upon him the vacant position of Vice-Kapellmeister to the Court, and supports his application with the following qualifications: (1) The undersigned was born in Vienna, is the son of a school teacher, and is 29 years of age.

(2) He enjoyed the privilege of being for five years a Court Chorister at the Imperial and Royal College School.

(3) He received a complete course of instruction in composition from the late Chief Kapellmeister to the Court, Herr Anton Salieri, and is fully qualified, therefore, to fill any post as Kapellmeister.

(4) His name is well known, not only in Vienna but throughout Germany, as a composer of songs and instrumental music.

(5) He has also written and arranged five Masses for both smaller and larger orchestras, and these have already been performed in various churches in Vienna.

(6) Finally, he is at the present time without employment, and hopes in the security of a permanent position to be able to realize at last those high musical aspirations which he has ever kept before him.

Should Your Majesty be graciously pleased to grant this request, the undersigned would strive to the utmost to give full satisfaction.

Your Majesty’s most obedient humble servant, Franz Schubert ___________________________________________________ 《音樂家》——舒伯特 陛下！ 無比仁慈的皇上，臣以無限恭順、謙卑之忱，懇求陛 下開恩，將朝廷樂長之缺惠賜予臣，今為這封申請書 提供以下資歷： 一， 臣出生於維也納，現年二十九歲，父親是 教師。 二， 臣有幸參加過帝國和皇家學院預備學校宮 庭聖詩班五年。 三， 臣曾隨皇宮已故樂長安東·薩裏埃利先生 學過全套作曲教育課程，因而完全有資格擔任樂長職 位。 四， 作為歌曲和器樂曲的作曲家，臣不僅聞名 於維也納，且在全德國享有盛名。 五， 臣還寫過和整理過五首適合小樂隊演奏的 彌撒曲，在維也納多個教堂中演奏過。 六， 最後，臣目下賦閑，希望能獲得一個有保 障和永久性的職位，以期最終實現臣生平在音樂方面 的遠大抱負。

20th September, 1912 Prague Dear Miss Powell, Since you probably do not remember me, I would like to re-introduce myself again: My name is Franz Kafka, and our first encounter was at Mr. Broadbent’s home in Prague, where I sat across the table from you, passing you photos from Thalia one by one. Finally I am using my hands to type this letter, the same hands I used to greet you that day. And when your hands touched mine, it further strengthened our promise to each other, to take a trip together to Palestine next year.

If you would still like to make the trip - at that time you said you were not an indecisive person, an obvious personality trait of yours. So we should start to discuss the trip, it is not only beneficial but absolutely necessary. Since our vacation time for the trip to the Palestine is really short, we must use our time wisely without wasting any of it. This is possible if we prepare a little better and agree on all of the preparatory work.

But I must admit, although it may not sound pleasing to the ear, and very contradictory with what I have previously mentioned: I am not a person who writes often. If I do not have a typewriter, I am even worse. Even if that day my mind is not set to write a letter, my fingertips urge me to pick up a pen and write; even if I am nervously waiting for a letter to arrive, if it does not come, I will not despair. If the letter does arrive, I would actually feel frightened. When inserting a new piece of paper into the typewriter, I find that the way I describe the situation is in fact more complicated than it actually is. However I find it is reasonable for me to have such strong feelings about writing letters. Otherwise, why would I spend six hours at my office to write this letter using a typewriter that I am not accustomed to?

Nevertheless, I keep writing and writing until I lose my way. Perhaps this is the only disadvantage of using a typewriter. You may have concerns, if you consider me as a companion, tour guide, dictator or cumbersome, accompanying you at all times.

Even so, it is understandable as I am a means of communication to you – this is the only thing we can do at this moment, you might as well give us a try.

Sincerely faithfully yours ___________________________________________________ 《渡河留馨》——卡夫卡愛情書簡 致菲利斯·鮑威爾 1912年9月20日 布拉格

如陛下恩准所請，臣必將鞠躬盡瘁，不負所望。 尊敬的小姐: 陛下謙卑順從的僕人， 費朗士·舒伯特

由於妳可能不記得我了, 我在此再自我介紹一番: 我叫 弗蘭茨·卡夫卡, 是在布拉格布羅德經理先生家中那個 晚上第一次向您問候的那個人, 並隔著桌子把一次塔里 亞旅行的照片一張張遞給妳, 他最終以現在這只正打著 字的手握住了您的手, 而您以您的手強調了這一許諾: 明年同他一起作一次巴勒斯坦之行。 假如您還想作這次旅行——您當時說, 您不是搖擺不定 的人, 我也不曾在您身上發現這種特性, 那我們就應該 從現在商量有關這次旅行的事, 這不僅有益,而且是絕對 必要的。因為我們的休假時間對於一次巴勒斯坦之行 來說太短暫, 我們就必須毫無浪費地利用, 盡可能準備 得好一點, 並取得一致意見。

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但我卻必須承認一點, 儘管它聽起來十分不悅耳, 而且 與前面所說的十分矛盾: 我是個不準時的寫信人。如果 我沒有打字機, 事情會更糟; 因為即使哪一天我的心情 不足以促使我寫信, 畢竟還有指尖隨時準備著提筆寫作; 即使我懷著日日更新的緊張心情等待來信, 但如果信不 來, 我也不會絕望,假如它結果還是來了, 我倒很容易受 驚。在插入信紙時, 我發現我把自己描寫得比實際情況 難弄多了。假如我犯了這樣的錯誤, 我會覺得全在情理 之中。否則我為什麼在辦公室待了六個小時之後還會 來寫這封信, 而且用的是一台我還不太習慣的打字機。 但儘管如此, 儘管如此——像這般寫著寫著就迷失了方 向, 是用打字機寫文章的唯一缺點。您也許會產生顧慮, 是否應該把我作為旅伴的伴侶、導遊、獨裁者、累贅, 結伴而行, 即使如此,對作為通信物件的我卻是無可厚 非的——而目前祇需做到這一點, 您不妨與我試試看。 真誠地忠實與您的

WINTER CONVENTION 冬日的約定 Rice Paper 宣紙水墨 Scroll 卷軸 195 X 17 cm 2013 ___________________________________________________ Winter Convention Flourishing: Letters 1928-1946 Letters To the Burnham Christa Carter 30th January 1938 All Souls College Would you like to have lunch with me at All Soul College next month Wednesday? In the rainy and stormy month of February, inviting anyone to join an uncomfortable trip to Oxford may seem a bit much. Terrible strong winds seeping through the bedroom walls and billowing under the bed. It is a very weird encounter like the storybook ‘Marcos or Moritz’. This kind of experience is unspeakable and I swear if you could come, on the 9th Wednesday, that day at three o’clock we will have Chrysler’s show. That alone is worth the visit, as he is a genius. The programme itself, however, is not too interesting. Really, if you can come for lunch, I will be very happy, on that day or the Wednesday after, or any Wednesday, or any day in the coming month.

Yours Sincerely, Isaiah Berlin ___________________________________________________ 《冬日的約定》——以賽亞·伯林書信集 致克裡 西達·伯納姆·卡特 1938年1月30日 全靈學院 親愛的伯納姆·卡特小姐: 可否來和我一起吃午餐,在全靈學院,下個月星期 三? 看起來, 在多雨和風暴的二月, 邀請任何人進行 一趟不太舒服的牛津之旅,似乎都過分了一點兒， 穿過臥室紙牆板的可怕的風暴從床上吹起來，這 種體驗如同《馬科斯或莫里茨》故事書中的畫面, 是不可言傳的。而我祇能保證,如果你會來, 例如 在九日周三那天, 三點鐘有克萊斯勒的演出, 這本 身就是值得一看的場面: 他, 無論怎麼說, 都是了不 起的天才。節目單不是太有吸引力: 都是裝飾音。 弗蘭克普格納尼維奧提等。真的, 如果你來, 我會 很高興, 在那天或是星期三以後, 或者任何一個星 期三, 或者下個月的某一天。 你真诚的 以賽亞•伯林

LONELY LANDSCAPE IN THE SNOW 孤單的雪景 Rice Paper 宣紙水墨 Album 冊頁 306 X 18 cm 2013 __________________________________________________ The Lonely Landscape in the Snow Paul Gauguin to August Strindberg I have received today your letter; your letter, which is a preface for my catalog. I had the idea of asking you for a preface, when I saw you the other day in my studio playing the guitar and singing, your blue northern eyes gazing attentively at the pictures on the walls. I had then the presentiment of a revolt, of a shock between your civilization and my barbarism.

You suffer from your civilization. My barbarism is to me a renewal of youth.

Before the Eve of my choice, which I have painted in forms and harmonies of another world, your remembrances have perhaps evoked a sorrow of the past. The Eve of your civilized conception makes you and the rest of us almost always misogynists; the old Eve, which in my studio frightens you, will perhaps smile at you less bitterly some day. This would of mine, which neither a Cuvier nor botanist can find, will be a Paradise which I shall have only sketched out, And from this sketch to the realization of the dream is very far. What matter? To envisage happiness, is that not a foretaste of Nirvana?

The Eve that I have painted, she alone, logically, can remain naked before one’s eyes. Yours in that simple state could not walk without shame and too beautiful (perhaps) would be the evocation of an evil and a sorrow. __________________________________________________ 《孤單的雪景》——高更信 親愛的奧古斯特： 今收到來信，即做畫冊序言的那封。那天見你在 畫室邊彈吉他邊歌唱，你那雙北方人特有的藍眼 睛盯著牆上的畫出神，我心裏便喚起了求你寫序 的念頭。我預感到你有一種反感—— 一種你的文 明世界和我的野蠻作風對襯下的震驚。 你的文明世界使你苦惱，我的野蠻作風卻使我青 春煥發。 站在我所選擇的夏娃前，你也許想起痛苦往事。 你那文明概念中的夏娃幾乎使我倆變成永遠厭 惡女人的人；如今我畫室裏使你見而生畏的老夏 娃，有朝一日也許不會再朝你笑得如此淒慘了。 我這即非居維埃、也非任何植物學家所能發現 的世界，將是一個樂園，但我只能勾勒出它的輪 廓。從輪廓到夢想的實現還很遙遠。那又何妨？ 對於幸福的設想不是對涅槃福境的滋味先嘗到一 口了嗎？ 唯有我筆下的夏娃能夠合情合理地在他人眼前赤 身裸體地站著。你的夏娃要在外面一絲不掛地走 路的話，是不可能不感到羞恥的，而她所引起的 邪念與痛苦也許美極了。

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THE PICNIC 郊游 Rice Paper 宣紙水墨 Album 冊頁 144 X 30 cm 2014

布宜諾斯艾利斯（另一種沙漠）的孤寂。

The Picnic Original book in French Lettres a sa mere (Letters to his mother)

我的好媽媽，你寫了那麼溫柔的信給我，到現在 我還深深感動。我真希望在你身邊。也許幾個 月後就能實現？但要是你來了，我還真擔心，因 為布宜諾斯艾利斯是很封閉的城市。你想想看， 在阿根廷沒有鄉下。什麼也沒有。永遠走不出城 市。城外只有方方正正的農田，沒有樹木，田地 中央有一間木板搭成的小屋和一座鐵制的風車。 飛機一連飛好幾百公里，都只看得到這樣的景 物。要畫畫，很難；要散步，也很難。

The 89th letters to Little Princess’s Mother

我也很想結婚。

My dear mother,

濛濛呢？請告訴我大家的情況，也讓我知道，別 人怎麼說我的？對我的書有什麼評論？

___________________________________________________

Days have been as ordinary and tranquil as what the song was sung. This week, I have been to River Comodoro of Patagonia plateau and Asuncion of Paraguay. Other than this, my days have passed ordinarily and I have done a great job managing the Argentina Air Post Service.

I am satisfied with my current financial status. I cannot imagine how happy you might be. Don’t you think that it is a wonderful reward for your efforts of bearing and taking care of me? Although the others have blamed you for many times, Isn’t it great, to become the leader of a gigantic corporation at the age of only 29?

I bought a small, fully furnished apartment. It is comfortable and pleasant. You must write to this address: German Tower, Florida Room, District 605, Buenos Aires, to Mr Saint-Exupéry.

我向你們吻別，如我愛你們那樣。 一九二九年十一月廿日 安東

THE SOLO 獨奏圖 Rice Paper 宣紙水墨 Album 冊頁 141.5 X 29.5 cm 2014 ___________________________________________________ The Solo Though the river’s current never fails, the water passing, moment by moment, is never the same.

Where the current pools, bubbles form on the surface, bursting and disappearing as others rise to replace them, none lasting long. In this world, people and their dwelling places are like that, always changing.

Hōjōki / An Account of a Ten-Foot-Square Hut (方 丈記) by Kamo no Chōmei (鴨長明) Translation by by Robert N. Lawson, source from Washburn University website ___________________________________________________ 《獨奏圖》——鴨長明方丈記 十分冷淡存知己，一曲微茫度此生。 江河流水潺湲不絕，後浪不復為前浪，浮於凝滯 之泡沫，忽而消失，忽而碰撞，卻無長久搖擺之 例。世人與棲息之處不過如此。

I met a few interesting people. They are friends of Mr. Willermot. Two of which are brothers from South America. I must be able to find other music and cultural lovers as friends who could comfort my Sahara and Buenos Aires kind of loneliness.

My dear mom, I am still deeply touched by your letters full of tenderness. I do wish to be by your side, maybe a few days will do. But if you come, I am really worried because Buenos Aires is a very enclosed city. As you can imagine, there are no countryside or anything in Argentina.

There is nothing. You can never leave the town.

And there are only neatly arranged farming field out of the town. No trees. At the center of the farmland there is a small wooden hut and an iron windmill airplane. Even if you fly for few hundred kilometers, what you can see are just these kind of landscape. It is difficult to draw, and difficult to have a walk.

I also want to get married.

Please tell me about everyone’s updates and let me know how the others comment on my book.

Let me kiss you goodbye like how I love you all.

20th November, 1929, Antoine ___________________________________________________ 《郊遊》——小王子作者安東給母親的書信 小王子給媽媽的第八十九封信 我的好媽媽， 日子就像歌裏唱的一樣，平凡寧靜地過著。這星 期我去了巴塔哥尼亞高原上的科莫多洛河谷和巴 拉圭的阿森遜。除此之外，我日子過得很平靜， 並妥善地經營阿根廷空中郵遞。 我對我現在的經濟狀況感到很滿意，不知你會有 多高興。你不覺得這是對你養育之恩的美好回報 嗎？別人曾多次責備過你。 二十九歲就當上一家大公司的領導人，真不錯， 不是嗎？ 我買了一層配有傢俱的小公寓，舒適宜人。地址 是——一定要寫到這裏：喬恩姆樓，佛羅里達 室，六零五區，布宜諾斯艾利斯，德·聖——艾 修伯裏先生收。 我認識了一些有趣的人，他們是維勒莫瀚家的朋 友（其中有兩兄弟在南美），我一定可以再找到 其他愛好音樂、文藝的朋友，聊慰我在撒哈拉和

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CHIEF EDITOR 主編

Henrietta Tsui 徐錦熹

EDITOR 編輯

Odetti Tse 謝穎君

TEXT 文章

Peng Wei 彭薇 Zhang Shuo 張朔

COPY EDITOR 文字編輯

Chiyan Woo 胡智欣

DESIGN 設計

Odetti Tse 謝穎君

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Ora-Ora International Limited

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ISBN

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