Beijing Hao! Six Chinese photomedia artists by UQ Art Museum

北京昊◦北京晧◦北京曍◦北京浩◦北京涸◦北京灏◦北京皓◦北 Beijing Hao! 京皜◦北京皞◦北京睦◦北京秏◦ SIX CHINESE PHOTOMEDIA ARTISTS 北京耗◦北京好◦北京号◦北京奴◦北京昊◦北京晧◦北京曍◦北京浩◦北京涸◦北京灏◦北京皓◦ 北京皜◦北京皞◦北京睦◦北京秏◦北京耗◦北京好◦北京号◦北中国影像媒体艺术家六人展京奴◦北京昊◦北京晧◦北京曍◦ 北京浩◦北京涸◦北京灏◦北京皓◦北京皜◦北京皞◦北京睦◦北京秏◦北京耗◦北京好◦北京号◦ 北京奴◦北京昊◦北京晧◦北京 Gordon Craig 曍◦北京浩◦北京涸◦北京灏◦北京皓◦北京皜◦北京皞◦北京睦◦

First published in 2012 by The University of Queensland Art Museum on the occasion of the exhibition Beijing Hao! Six Chinese photomedia artists 31 March – 3 June 2012 ISBN 9781742720470 – PAPERBACK © 2012 The University of Queensland, the artists and authors Views expressed in the publication are not necessarily those of the publisher. This publication is copyright. Apart from fair dealing for the purpose of private research, criticism or reviews, as permitted under the Copyright Act 1968 and subsequent amendments, no part may be reproduced by any means or process without the prior written permission of the publisher.

2012年昆士兰大学美术馆举办《北京好：中国影像媒体艺术家六人展》（2012.03.31 – 2012.06.03）之际出版 ISBN 9781742720470 – 平装 © 本书版权为昆士兰大学、参展艺术家及专文作者所有。书中观点并不必然体现出版者观点。本书拥有版权。除为澳洲1968年《版权法》及之后修正案所允许的出于个人研究、批评及评论目的而作的合理使用外，未经出版者事先书面允许，不得以任何方式复制本书之部分。

front cover:

封面:

Feng Yan Fan (from The Monuments series) 2010 (detail) inkjet print Courtesy of the artist and China Art Projects, Beijing.

封岩《沙发》（“纪念碑”系列） 2010 喷墨打印感谢封岩和北京“中国艺术项目”提供照片

back cover:

封底:

Li Gang Art market no.1 2011 two digital C type photographs Courtesy of the artist and Red Gate Gallery, Beijing.

李刚《艺术市场：之一》 2011 摄影，数码输出感谢李刚和北京红门画廊提供照片

Table of contents

Foreword 序言................................................................................................................................................... 6 Introduction 前言............................................................................................................................................... 7 Zhou Jun 周军................................................................................................................................................... 8 Huang Xu 黄旭................................................................................................................................................ 18 Li Gang 李刚.................................................................................................................................................... 24 Feng Yan 封岩................................................................................................................................................. 34 Zhang Hongkuan 张洪宽................................................................................................................................. 44 Liu Gang 刘刚.................................................................................................................................................. 52 List of works 参展美术作品............................................................................................................................. 60 Acknowledgements 致谢................................................................................................................................. 63

Foreword

序言

A museum that declares its commitment to contemporary art must address the powerful and pervasive role of photography in current art and social practice. In addition, where contemporary art is employed to explore urban conditions within a totalitarian system of government, it can provide a means to critique the desires and anxieties inherent in these conditions. The exhibition Beijing Hao! offers a profound opportunity for that kind of revelation. Beijing today provides a tangible paradox for its citizens. Emblematic of China as a society, Beijing is at once an economic machine, a global participant, and a centre of state capitalism. Its governmentally centralised and far-reaching capitalist system affects every person and promotes individual and corporate opportunity, while citizens must negotiate an unsettling mixture of cultural nostalgia, social critique, personal progress, ideological conformity and patriotism to a nation in transition. The artists in this exhibition each reflect this confusion as participants rather than observers. Their work, diverse in subject matter, opens questions about these conditions while at the same time exploring the contingent role of the artist within them.

The University of Queensland is currently affirming and increasing its academic emphases upon China. In this context this exhibition actively participates in discussions that explore the complexities of present-day China. I expect and hope that it will provoke those kinds of questions that are not easily resolved and that lead to further enquiry. I am grateful to each of the artists for their willingness to participate with us in this great project, to Brian Wallace and Liyu Yeo from Red Gate Gallery, and Tony Scott and Reg Newitt from China Art Projects for their support of the artists and of the Art Museum, and to Maurice Ortega, director of the Queensland Centre for Photography. We are delighted to be contributing to the Queensland Festival of Photography 4, a biennial event organised by Queensland Centre for Photography. I especially thank Gordon Craig, the exhibition’s curator, and the team at The University of Queensland Art Museum, for conceiving and producing the exhibition and publication. It is a great pleasure to work among such wonderful colleagues, and to engage with these great artists and institutions. I recommend the exhibition and this publication to you and invite your comments. Campbell Gray Director, UQ Art Museum

作为一个宣称要致力于当代艺术的美术馆，我们必须探索摄影在当前艺术和社会实践中所扮演的有力广泛的角色。另外，当我们通过当代艺术来探索高度集权政府体制下的都市现状时，摄影也提供了对这些现状中自然蕴含的种种欲望和焦虑的一种批评方式。本次展览《北京好》就提供了一次深入了解中国现状的难得机会。今日的北京对于中国人来说是一个切切实实的悖论。作为中国社会的缩影象征，北京既是一部经济引擎，也是全球事务的参与者和国家资本主义的中心。这里政府集权影响广远的资本主义体系，影响着每一个人，个人和集体的机遇都得到促进，但同时公民又不得不努力应付一种令人困扰不安的复杂情形，这情形混合了文化怀旧、社会批评、个人发展、意识形态的和谐一致，以及对一个转型期国家的热爱之情。本次展览中的每位艺术家都反映了这种作为亲历者而非旁观者所感受的困惑。他们的作品题材多样，提出了关于中国现状的种种问题，并在同时探索了身处其中的艺术家所可能扮演的角色。昆士兰大学确认中国的重要性并正在加强对于中国的学术研

究，本次展览积极参与了对当今中国复杂现状的讨论。我期待并希望通过展览可引发相关问题的思考，尽管不易解决，但会启发更深入的探索。感谢所有艺术家同意参加我们的展览，感谢北京红门画廊的布朗•华莱士和杨来耀，以及北京“中国艺术项目”的托尼•斯科特和牛睿智（Reg Newitt）对参展艺术家和昆士兰大学美术馆的支持。感谢昆士兰州摄影中心主任莫里斯•奥尔特加，我们也很高兴参与该中心两年一次组织的第四届“昆士兰摄影节” 。策展人戈登•克雷格以及昆士兰大学美术馆团队的其他同仁构思推出本展览并出版图录，我要特别向他们致谢。能与如此优秀的同事一起工作，并与这些杰出的艺术家和组织共事，令人欣喜。请允许我将本次展览和图录推荐给您，并期待您的品评！坎贝尔•格雷昆士兰大学美术馆馆长

Introduction

前言

Beijing is a vast city – dynamic, a city of contrasts and constantly evolving. A unique city full of iconic buildings and features, Beijing is without a distinctive skyline. Built upon a radiating, grid-like system emanating from the Forbidden City, Beijing feels as if it has been cobbled together over centuries – which it has. The climatic conditions can be challenging: Beijing residents suffer oppressive heat in summer and bitter cold in winter; dust storms (the ‘brown cloud’) sweep through in spring; and the pollution generated by cars and industry, by-products of China’s growth as a global superpower, can force school children to remain indoors. Beijing Hao! Six Chinese photomedia artists includes works of art by Zhou Jun, Huang Xu, Li Gang, Feng Yan, Zhang Hongkuan and Liu Gang. The artists use a variety of approaches, from carefully composed studio photographs to ‘unmediated’ location shots. While not all of the artists produce images of the streets of Beijing, all of their works have something to say about daily life in the nation’s capital. A shared quality, nonetheless, is the curious lack of people in their images of this populous city.

北京是一座巨大的城市，活力四射，充满各种反差对比，处于永不休止的变迁演化中。北京是一座独一无二的城市，有着林林总总的标志性建筑和别致风貌，不过没有明显的空中轮廓线。北京的城市规划，是以市中心的紫禁城为核心，向四周辐射的棋盘式布局，感觉象数世纪以来持续修造而成，事实也确实如此。北京的气候很挑战当地居民的耐受力，这里夏天酷热难当，冬天严寒彻骨，春季则有被称为“大气棕色云”的沙尘暴呼啸肆虐。作为成长为世界超级大国的副产品，中国的无数汽车与工业也带来了污染，有时严重到孩子们只能呆在家中，而无法照常上学。本次展览《北京好：中国影像媒体艺术家六人展》包括了六位中国艺术家的作品，他们是周军、黄旭、李刚、封岩、张洪宽及刘刚。这些艺术家使用了多样化的创作方式，从在工作室精心处理的照片，到不加修饰“原汁原味”的现场外景摄影。尽管并非所有艺术家都在刻画北京的街景，他们所有的作品都探索了中国首都日常生活的某个侧面。不过这些作品最为明显的共性，则是在他们的镜头下，这座人口众多的大型都市中，却令人讶异地看不到任何人影。

The title of this exhibition extends from the standard greeting ‘ni hao’ (simplified Chinese: 你好; Pinyin: nǐ hǎo; pronounced ‘nee how’, which literally translates as ‘you good’ and is equivalent to ‘hello’ or ‘how are you’). In Mandarin other names and titles can be used in place of ‘ni’ (‘you’), thus ‘hello teacher’ is ‘laoshi hao’ (simplified Chinese 老师好; Pinyin: lǎoshī hǎo). ‘Beijing hao’ can be read in the same vein, but also as ‘Good Beijing’, and offers a celebratory affirmation of this dynamic and exciting metropolis. ‘Hao’ is an English-language equivalent for numerous words across the five tonal pronunciations of Mandarin, with an array of meanings. This version 好 is the combination of two other characters, ‘woman’ and ‘child’, for, as is often cited in references to this character, it is good for a woman to have a child. Gordon Craig Exhibitions Coordinator, UQ Art Museum

本展览的名称《北京好》是从中国的标准问候语“你好”引申而来，可以解读为对这城市的问候“北京你好”；不过同时也可理解为“北京很好”，即对这个充满活力令人兴奋大都市的祝贺与肯定。展览的英文标题为《Beijing Hao》，直接使用了汉语拼音 hao。普通话中发hao音，但声调和意思大不相同的汉字有不少，标题中使用hao，体现了展览作品蕴含的多重丰富内涵。这些发音为hao的汉字中，最为核心的是由“女”和“子”两个字组成的“好”。正如人们对“好”字的常见解读，女子有儿（或女）便是“好”。参加《北京好》展览的六位艺术家，是当前活跃于中国的一代艺术家的缩影，他们继承源远流长的中国艺术史传统并与当代艺术运动融会贯通，将产生深远的影响。戈登•克雷格昆士兰大学美术馆展览协调

周军

前所未有的经济发展和保留历史之间的摩擦冲突，是周军作品的主题。过去数十载中，中国各地的许多城市，尤其是首都北京，经历了巨大的发展改造，城市上空随处可见的建筑工地吊车，常常被看作经济成功的衡量表。这种大规模开发发展在2008年北京奥运会前达到白热化，而与这种发展建设相始终的另一面，就是对旧有建筑的拆毁。保存过去和展望未来之间的关系，是一个全球范围内仍在争论不已的问题。城市化尽管常常为很多地方带来经济起飞，它也无一例外地挤占了社会弱势群体的生存空间。北京就有很多社区在发展的口号下被迫整体搬迁离去。从《北京望京：3》（2006）那令人恐慌窒息的局促和压迫，到《开发区：2 》（2006）毫无生气的空旷和冷清荒凉，周军不断审视着城市不断扩张给人们带来的冲击。2008年的《东便门角楼》是从北京东便门角楼放眼的景观，而东便门既是代理周军作品的红门画廊所在，也是老北京城墙硕果仅存的一点回忆。明清时期的北京城墙，1965年为给汽车交通和地铁系统让路而被拆毁，而如今的人们不禁会反思上世纪六十年代的北京，到底能有多少汽车交通需要毁城让路？从老北京城残留的角楼俯视这个现代城市，看到的是水泥砌边的河道，曾经潺潺流动的河流两侧和河面上，是道路和桥梁，交叉往来于周围钢筋水泥构造的现代高楼丛林中。“老北京”风味的缺失，是显而易见的。

周军作品中的北京城形象1，既反映了这座城市及其建筑本体经历的变迁，也体现了城中历史古迹的性质和功能随时代变化的方式。许多著名的地标在古代是庙宇，而今主要作旅游景点用。同样地，紫禁城在过去是奢华无比的私人寓所（尽管其屋主是九五之尊的帝王而迥异别处），而今却成了游客熙熙攘攘纷至沓来的公共场所，在付过一定的进门费后，就可以带着照相机四处溜达，随处拍照。与此相反的，是周军2006年作品记录在建中的中央电视台大楼，人们最容易注意到它，是从三环路上塞车时缓慢爬行的汽车车窗中。关于作品中建筑上的红色，周军曾说过它本身并没什么具体所指，只是蕴含着有关党、革命和喜庆的内涵。不同文化对于红色会有不同的联想，从而赋予作品形象以各不相同的意义，每位观众都可根据自己的理解来解读作品的涵意。

展览中有一件作品《夫子庙：1》（2005年），是在周军的老家南京拍摄的。南京是中国历史上不同时期包括上世纪前半段的几朝古都。

Zhou Jun The friction of preserving history in the face of unprecedented economic growth underpins the work of Zhou Jun. Over the past few decades cities across China, in particular the nation’s capital, have witnessed massive redevelopment, and the number of cranes across the skyline is often seen as a barometer of economic success. The flipside of such large-scale development (which reached fever-pitch in the lead-up to the 2008 Olympic Games) is much demolition. The ongoing debate between preserving the past and looking forward to the future is played out across the globe. While urbanisation often brings an economic boost to any given area, invariably it also squeezes out people who are in the weakest positions of society. In Beijing entire neighbourhoods have been ‘moved on’ in the name of progress. From the claustrophobia of Beijing Wangjing Area no. 3 (2006) to the barren, uninhabited expanse of Development Zone no. 2 (2006) Zhou Jun observes the impact of an ever-expanding city. Watchtower (2008) is a view from the Dongbianmen Watchtower, which is home to Red Gate Gallery (representing Zhou Jun) and the only remaining section of the old city wall. The wall was demolished in 1965 to make way for cars (one wonders how much traffic there was in Beijing in the 1960s) and a subway system. The view over the modern city from the remnants of this historic fortification reveals a concretesided canal that was once a slow-moving river, flanked and criss-crossed by roads and bridges amid a forest of modern towers. ‘Old Beijing’ is conspicuously absent.

Zhou Jun’s images of Beijing¹ reflect upon changes to the physical fabric of the city and also the manner in which the nature and use of historical sites have shifted over time: many famous landmarks are temples that now function primarily as tourist sites. Similarly, the Forbidden City was once a lavish private residence, albeit for the Emperor, and is now overrun by tourists. Conversely, the China Central Television (CCTV) Headquarters building, documented mid-construction in Zhou Jun’s 2006 work, is most often witnessed through the window of a car crawling along in slow traffic on the 3rd Ring Road. As for the colour red, Zhou Jun has stated that it does not have specific reference per se, rather it holds connotations of the Party, of revolution and of celebration. Different cultures bring their own associations with the colour, imbuing the images with various meanings and in a manner customising the meaning of the works for each viewer.

One artwork in this exhibition, Confucius Pavilion no. 1 (2005), was photographed in the artist’s home town Nanjing, which has also served as China’s capital at various times through history, including periods during the first half of the twentieth century.

Zhou Jun Confucius Pavilion no. 1 2005 digital C type photograph Courtesy of the artist and Red Gate Gallery, Beijing.

Zhou Jun China Central Television 2006 digital C type photograph Courtesy of the artist and Red Gate Gallery, Beijing.

周军《夫子庙：之一》 2005 摄影，数码输出感谢艺术家和北京红门画廊提供照片

周军《中央电视台大楼》 2006 摄影，数码输出感谢艺术家和北京红门画廊提供照片

Zhou Jun Zhenyang Gate no. 1 2006 digital C type photograph Courtesy of the artist and Red Gate Gallery, Beijing.

周军《正阳门：之一》 2006 摄影，数码输出感谢艺术家和北京红门画廊提供照片

周军《开发区：之二》 2006 摄影，数码输出感谢艺术家和北京红门画廊提供照片

Zhou Jun Development Zone no. 2 2006 digital C type photograph Courtesy of the artist and Red Gate Gallery, Beijing.

Zhou Jun Tai He Men 2007 digital C type photograph Courtesy of the artist and Red Gate Gallery, Beijing.

周军《太和门》 2007 摄影，数码输出感谢艺术家和北京红门画廊提供照片

周军《北京望京：之三》 2006 摄影，数码输出感谢艺术家和北京红门画廊提供照片

Zhou Jun Beijing Wangjing Area no. 3 2006 digital C type photograph Courtesy of the artist and Red Gate Gallery, Beijing.

周军《东便门角楼》 2008 摄影，数码输出感谢艺术家和北京红门画廊提供照片

Zhou Jun Watchtower 2008 digital C type photograph Courtesy of the artist and Red Gate Gallery, Beijing.

黄旭

中国在公元七世纪发明了烟花，而爆竹的发明则更早至公元三世纪。烟花与各种庆典一直密不可分，尤其是春节期间，传统上人们燃放烟花来驱除妖邪1。北京市禁放烟花鞭炮已经有十多年，但到2008奥运会前为春节和其它特殊场合解除了禁令。人们的迷信经过数世纪或许已经淡化不少，不过这可能仍是现代烟火中的一个因素－嘈杂声响和烟雾缭绕的表演带来的刺激惊悚，是根植于历史深处的。在其2008年的《鞭炮》系列作品中，黄旭好象在庆祝这一景象。他拍摄的将烟花炮竹放在日用物边引爆的表演场景，幽灵似的幻影飘荡在爆炸带来的光影闪耀中，浸透着不可思议的超自然气氛。另一位中国艺术家蔡国强使用火药爆破创作绘画和表演的草图，他在表演中拍摄的照片，是作为记录艺术活动的文件而存在。对于黄旭而言，他的照片本身就是已经完成了的艺术作品，而表演创作该照片的过程则居于从属地位，只是为实现特定艺术理念而上演的一个行动。

本系列作品貌似简单其实不然，因为作品中的意象本身深厚植根于对历史和艺术史的密切关照中。例如在一幅作品中，黄旭参考了马塞尔•杜尚1917年恶名远播的争议作品《喷泉》，一个倒放的小便斗，这个被杜尚倒放并赋予艺术涵意的成品便斗，与其它为常规用途制作的“现成雕塑“一起，重塑了人们对何为艺术作品的定义，甚至提出了“艺术是什么”的问题。在黄旭的另一副作品中，我们可见一个欧洲风格的镜框，令人联想起扬•范•艾克（Jan Van Eyck）1434年作品《阿尔诺非尼夫妇》中的镜子。尽管这个空镜框没有镶玻璃镜，我们照样能感受到它在映照着外国文化在中国的存在及影响。

汉朝（公元前206－公元220年）时期的中国人据说会通过烧烤竹子来产生巨响驱除妖邪鬼怪。南北朝时期(公元420-581年) 这种声响不仅被用于驱邪，还会用来祈福求昌盛。参见网页http://www. bigfireworks.com/history-of-fireworks.aspx

Huang Xu The Chinese invented fireworks in the seventh century and, even earlier, the firecracker in the third century. Fireworks are inextricably linked to numerous celebrations, notably Spring Festival or Chinese New Year, and traditionally are ignited to chase away evil spirits.¹ For over a decade fireworks were banned from the city of Beijing, but in the lead up to the 2008 Olympic Games this ban was lifted for Spring Festival and other special occasions. Superstitions may have waned over centuries, but they remain as an element of modern fireworks – the thrill of such noise-and-smoke displays is rooted in history. In his Fireworks series (2008), Huang Xu appears to celebrate the spectacle. His performative photographs of fireworks set alight amid everyday items assume a supernatural aura, with ghost-like apparitions floating in the flare of explosions. Fellow Chinese artist Cai Guo-Qiang has produced drawings using gunpowder as sketches for performances while photographs of his performances exist as documents recording an art happening. For Huang Xu, the photograph is the finished work and the performance is secondary; a staged act undertaken to realise an idea.

The series is deceptively simple, while the images themselves are embedded with references to history and art history. For instance, in one image Huang Xu references Marcel Duchamp’s infamous work Fountain (1917), a urinal on its back and one of the original readymade sculptures that transformed how works of art are defined and, indeed, raised the question, ‘What is art?’ In another work we see a European-style mirror frame, recalling the mirror in Arnolfini portrait (1434) by Jan Van Eyck. It also reflects (metaphorically but not literally, as there is no mirrored glass in the frame) the influence and presence of foreign cultures in China.

‘In the Han Dynasty (206 BCE-220 CE) it is said that people would roast bamboo to produce a loud sound that was intended to disperse ghosts and apparitions. In the Northern and Southern Dynasties (420-581 AD) this kind of sound was not only used to dispel evil but also to pray for happiness and prosperity.’ See http://www.bigfireworks.com/historyof-fireworks.aspx

following pages: Huang Xu Fireworks nos 1–4 2008 inkjet prints Courtesy of the artist and China Art Projects, Beijing. 以下页: 黄旭《鞭炮之》 2008 艺术微喷感谢黄旭和北京“中国艺术项目”提供照片

李刚

上世纪九十年代，李刚在澳洲珀斯的克莱蒙艺术学院和墨尔本的维多利亚艺术学院主修雕塑与版画。回到北京后，他开设了个人青铜雕塑车间，并于2001年开办了“酱艺术中心”，位于北京郊区费家村的“香格里拉” 文化艺术公社，兼工作室、画廊于一体，并为其它艺术家提供来访问创作的机会1。李刚总是积极尝试不同的艺术途径，曾转攻绘画，后来又开始摄影和录像，成为他过去六年的主要艺术表达方式。李刚的作品总是立足于现成的“拾得物”：无论是将拣到的常规用成品配置成模型来浇铸艺术品，或用现成的物件残骸创作木刻，还是用现成新闻图片作成的“垃圾画”，乃至进入影像媒体领域，抛弃手册中的条条框框在运动中拍摄，不管是在北京还是他访问的城市，也不管是在行走、骑车还是驾驶中。李刚在其最近的系列作品中，探讨了无关乎摄影的影像媒体艺术品；同样地，他也认为自己是来自中国的艺术家，不过不止是一个简单意义上的“中国艺术家” 2。这其中自有其道理，李刚经常到处游历，也支持不少外国艺术家来他的酱艺术中心访问创作并互相切磋，因而李刚的创作在与中国艺术界一起脉动的同时，更多地受益于国际艺术潮流以及他和全球艺术家的持续对话和交流。

李刚在本展中的作品可追本溯源到20062007年左右。他当时买了许多老胶片相机加以拆解和重新组装。其中最不寻常的重构之一，是将双眼望远镜胶合到一架中画幅相机上，这种不同技术的硬件揉合产生了异常清晰的图像效果。近几年来李刚又将他的手工改装胶片相机放在一边，开始向数码领域进军。最近的作品用便携袖珍照相机拍摄，按一定比例打印快照后加以扫描，用数码技术将多数色彩去除，然后以超大尺寸重新打印输出。作品中的数码噪点、灰尘痕迹和像素化清晰可见，明确显示了艺术家对多层面影像过程的介入，反映了他版画训练的功底，因为版画艺术中创作过程可能比最终的图像作品要重要。李刚将其工作室看作是周遭的自然部分，而画廊则是使艺术家离开栖息地的必要场所。他的照片讲的是审视，但不是对相机拍摄对象的审视，而是画廊参观者对于艺术本身的漠视，以及艺术家不得不往返奔波于画室－实验室和艺术界的买卖大厅还有聚光灯下时（此处即北京有名的798艺术区），他们所处的难堪位置。

现代艺术的重心移到附近的草场地和大山子798 等艺术区时，酱艺术中心于2009年关闭，李刚目前在798开设有同名小画廊“酱艺术中心一单元画廊”。李刚2012年2月14日发给作者的电子邮件。

Li Gang In the 1990s Li Gang trained as sculptor and printmaker at Perth’s Claremont School of Art and the Victorian College of the Arts in Melbourne. On his return to Beijing he established a bronze foundry and in 2001 he opened Pickled Art Centre, a studio/ residency program and gallery in ‘ShangriLa’, an artists’ village in the area of Fei Jia Cun on the outskirts of Beijing.¹

The work in this exhibition follows a trajectory that began around 2006–2007. Li Gang purchased many old film cameras and dissected and rebuilt them. One of his most unusual constructions was a pair of binoculars glued to the body of a mediumformat camera, which produced remarkably clear images given the physical mash-up of technology.

Always prepared to try different approaches, Li Gang turned his hand to painting and later photography and video, which for the past six years have been his primary media. His work has always been based in the ‘found’, be it configuring maquettes from found objects from which cast artworks are produced, woodcuts based on the remnants of other objects, ‘pollution’ paintings based on press photographs or the move into photomedia itself, where he throws out the rule book and shoots on the move, be it walking, cycling or driving around Beijing and other cities he visits.

In more recent years Li Gang has set aside his film-camera hybrids and moved into the digital realm. The most recent works were shot with a compact camera, printed to a snapshot scale, scanned, digitally drained of most colour and then reprinted vastly oversized. Digital noise, dust marks and pixelisation are clearly evident, underlining the artist’s intervention in a multi-layered photographic process and reflecting his training in printmaking, where the process of creating may be as critical as the finished image.

Of his most recent series, Li Gang talks about the works as photographs that are not about photography; similarly he refers to himself as an artist from China but not a ‘Chinese artist’.² As a regular traveller and someone who has spent much time working with foreign artists through the Pickled Art Centre’s residency program, his work is informed not so critically by the Chinese art scene as by international art literature and the ongoing conversations he maintains with artists from across the globe.

Li Gang considers his studio as his natural surrounds, and the gallery as a necessary construct that relocates the artist from their habitat. The photographs are about the gaze, but not the gaze of the subject to the camera. Rather, Li Gang focuses on the gallery visitor’s look of indifference to the art itself and the awkward place an artist inhabits as they move between their studiolaboratory and the shop front (and spotlight) of the gallery world – in these instances in locations around Beijing’s 798 Art Zone.

Pickled Art Centre closed in 2009 as the focus of the contemporary art scene had shifted to nearby art districts such as Cao Chang Di and 798 Art Zone, where Li Gang currently runs a small gallery bearing a similar name, ‘Pickled Art Unit One’. Li Gang, email message to the author, 14 February 2012.

Li Gang Art market no.1 2011 two digital C type photographs Courtesy of the artist and Red Gate Gallery, Beijing.

李刚《艺术市场：之一》 2011 摄影，数码输出感谢李刚和北京红门画廊提供照片

Li Gang Bruce Lee 2011 two digital C type photographs Courtesy of the artist and Red Gate Gallery, Beijing.

李刚《李小龙》 2011 摄影，数码输出感谢李刚和北京红门画廊提供照片

Li Gang Gallery window 2011 two digital C type photographs Courtesy of the artist and Red Gate Gallery, Beijing.

李刚《画廊窗口》 2011 摄影，数码输出感谢李刚和北京红门画廊提供照片

Li Gang Visiting V company 2011 two digital C type photographs Courtesy of the artist and Red Gate Gallery, Beijing.

李刚《参观V公司》 2011 摄影，数码输出感谢李刚和北京红门画廊提供照片

封岩

北京市人口的官方统计数字是两千万多1。在这样一个人口繁密的城市中，艺术家的工作室就象是一片绿洲，让人感到舒适、宁静和平安。封岩的《纪念碑》系列并不记录这座城市的主要象征物，如紫禁城、天坛、颐和园、中央电视台大楼，或北京建造的其它庞然大物。相反，封岩的照片是个人化的小圣殿。照片中是他工作室中日常使用的物件，而且也就是在家常环境中拍摄的。这些照片可以看作是作者的自画像，或者艺术家日常使用朝夕相处的物品的记录：长凳，自行车，电扇，档案柜，等等。这些影像是封岩的自我审视，囊括了艺术家的个人空间和敏锐的视觉感受，类似电影的背景更多反映的是他在电影制作而非摄影本身的训练。封岩曾作过几个外景现场拍摄的系列作品，经常捕捉行人和芸芸众生市井百态，此后开始将相机对准自己，但又避免镜头的捕捉。

Feng Yan’s studio, Beijing. 封岩在京工作室

《纪念碑》系列探讨了在场和缺席的二分对照：艺术家是摄影的主体，但拍摄对象却又是他的各色物件装备；艺术家通过拍摄自身周遭的物件来暗示自己的在场，这些物件在某种意义上可说是界定了艺术家的独特身份，但是它们当中没有一件是鲜亮迷人、独一无二或者特别引人注目的。

官方的人口统计数字包括了有北京户口的居民，不包括外地来京打工者，也不包括在京生活工作的外国人。从中国各地来京打工者很难确切统计数目，但肯定相当可观，如把他们也算在内，北京的人口要大大超过两千万。

Feng Yan In a city as populous as Beijing – the official population of the Beijing municipality is in excess of 20 million¹ – the oasis of a studio offers a place of comfort, solitude and peace. Feng Yan’s series The Monuments does not document any of the city’s major icons – the Forbidden City, the Temple of Heaven, the Summer Palace, the CCTV building – or any of Beijing’s many monumental structures. Rather, Feng Yan’s photographs are personal shrines. They are everyday objects that exist in his studio and are shot in their domestic domain. They may be considered self portraits and records of items that the artist is surrounded by and uses daily: a bench seat, a bicycle, a fan and a filing cabinet, among others.

The images are self-reflective, encapsulating Feng Yan’s personal space and visual sensibilities drawn from a cinematic background that reveals his education not in photography but in film production. After several series working on-location, often capturing pedestrian and mundane scenes, Feng Yan has turned his camera towards himself while eluding the capture of the lens. The Monuments play on a dichotomy of presence and absence: the artist is the subject, but then the subject is his accoutrements; his presence is suggested by the ‘things’ that surround him, things that in some ways may be seen to define him, but none of which are glamorous, unique or particularly noteworthy.

Official census figures count individuals registered as Beijing residents and do not include migrant workers (from other areas of China, as opposed to foreigners, who are also not tallied). The number of migrant workers is uncertain but significant, and would push the population tally substantially higher than 20 million.

Feng Yan Black stool (from The Monuments series) 2010 inkjet print Courtesy of the artist and China Art Projects, Beijing.

封岩《黑色皮椅》（“纪念碑”系列） 2010 喷墨打印感谢封岩和北京“中国艺术项目”提供照片

封岩《沙发》（“纪念碑”系列） 2010 喷墨打印感谢封岩和北京“中国艺术项目”提供照片

Feng Yan Sofa (from The Monuments series) 2010 inkjet print Courtesy of the artist and China Art Projects, Beijing.

Feng Yan Shelf (from The Monuments series) 2010 inkjet print Courtesy of the artist and China Art Projects, Beijing.

封岩《书柜》（“纪念碑”系列） 2010 喷墨打印感谢封岩和北京“中国艺术项目”提供照片

封岩《木箱子》（“纪念碑”系列） 2010 喷墨打印感谢封岩和北京“中国艺术项目”提供照片

Feng Yan Wood case (from The Monuments series) 2010 inkjet print Courtesy of the artist and China Art Projects, Beijing.

Feng Yan Bike (from The Monuments series) 2010 inkjet print Courtesy of the artist and China Art Projects, Beijing.

封岩《自行车》（“纪念碑”系列） 2010 喷墨打印感谢封岩和北京“中国艺术项目”提供照片

封岩《电扇》（“纪念碑”系列） 2010 喷墨打印感谢封岩和北京“中国艺术项目”提供照片

Feng Yan Fan (from The Monuments series) 2010 inkjet print Courtesy of the artist and China Art Projects, Beijing.

Feng Yan File cabinet: Side, front, profile, back (from The Monuments series) 2010 four inkjet prints Courtesy of the artist and China Art Projects, Beijing.

封岩《档案柜：侧面，正面，半侧面，背面》（“纪念碑”系列） 2010 喷墨打印感谢封岩和北京“中国艺术项目”提供照片

张洪宽

在中国“移民”一词常指从国内其它地域移居而来者，而非来自海外的移民，后者被称作外国人。中国城市中从外地来打工者的数量很难衡量，因为许多外来务工人员住在未经官方批准的处所，在务工地没有正式的户口身份，不被包括在人口调查统计中。政府的各种扶持福利政策，外地民工受不少限制也难以享受。很多到外地务工者不得不把家庭和孩子留在农村老家，自己到大城市寻找打工机会，以期养家糊口。可以找到的工作难说差强人意，工时又长，很多人一年到头只有在春节时才有机会和家人团聚。张洪宽纪录片风格的《外来务工人员的房子》系列（2010年）拍摄了许多外来务工者的住所。这是些最简陋的混凝土小屋，夏天酷热难当，冬天也没有采暖设施来抵御北方的彻骨之寒。民工蜗居之所经常被也在寻找赚钱机会的人胡乱涂抹，写满广告，既有合法的生意，也有不法的勾当。

外来务工者住处的窗户（或至少窗框）和门在许多情况下只是草草装上，根本不考虑安装质量。凑乎用作窗帘的是报纸、薄薄的宽条胶带或者布头旧衣，用来遮掩隐私，聊以遮风挡雨。这样的屋子多数是未经批准建造的，随时都可能在简短通知后很快被拆毁。张洪宽在其作品中不动声色地冷静展示这些建筑，让这些被遗弃的屋子默默述说其居住者的辛酸。这些人从事了社会上多数人不屑去做的卑微平凡工作，张洪宽的系列作品，将他们的艰辛展露无遗。我们未能看到住在这些屋子里的人，在中国向着真正全球强国迈进的征程中，他们似乎被忽略了。

Zhang Hongkuan In China, the term ‘migrants’ refers to people from other areas within the country, rather than people from abroad, who are referred to as foreigners. The size of the migrant workforce is difficult to measure, as many live in ‘unofficial’ residences and – without official status – are not included in census figures. Access to various government support programs is also restricted for the migrant workforce. Financial imperatives drive migrant workers to move to the large cities from rural areas, in an effort to provide money for the family most often left behind. The jobs available are of lesser quality, the hours are long, and they are only reunited with their families once a year for the Spring Festival (Chinese New Year). Zhang Hongkuan’s documentary-style Migrant workers’ cottages series (2010) captures images of the buildings in which many migrant workers live. They are very basic concrete shells with little reprieve from the soaring heat of summer, and no central heating to stave off the bitter chill of a northern winter. The workers’ homes often bear graffiti by people also looking to make some money, be it by legal or illegal means.

Windows (or at least window frames) and doors are in many instances dropped into place regardless of quality of fit. Newspaper, masking tape and scraps of fabric suffice as curtains to provide some privacy and protection from the elements. Such buildings are often constructed without permission and can be torn down at very short notice. In his work Zhang Hongkuan dispassionately captures these buildings, allowing the forlorn structures to communicate the hardships of their inhabitants. The series strips bare the hardship of those who undertake many of the mundane jobs for the wider population. We don’t see the people who live in these structures, those who are overlooked in China’s march towards its status as a true global superpower.

Zhang Hongkuan Migrant workers’ cottages no. 1 2010 inkjet print Courtesy of the artist and China Art Projects, Beijing.

张洪宽《外来务工人员的房子：1》 2010 喷墨打印感谢张洪宽和北京“中国艺术项目”提供照片

张洪宽《外来务工人员的房子：2》 2010 喷墨打印感谢张洪宽和北京“中国艺术项目”提供照片

Zhang Hongkuan Migrant workers’ cottages no. 2 2010 inkjet print Courtesy of the artist and China Art Projects, Beijing.

Zhang Hongkuan Migrant workers’ cottages no. 7 2010 inkjet print Courtesy of the artist and China Art Projects, Beijing.

张洪宽《外来务工人员的房子：7》 2010 喷墨打印感谢张洪宽和北京“中国艺术项目”提供照片

张洪宽《外来务工人员的房子：10》 2010 喷墨打印感谢张洪宽和北京“中国艺术项目”提供照片

Zhang Hongkuan Migrant workers’ cottages no. 10 2010 inkjet print Courtesy of the artist and China Art Projects, Beijing.

Zhang Hongkuan Migrant workers’ cottages no. 20 2010 inkjet print Courtesy of the artist and China Art Projects, Beijing.

张洪宽《外来务工人员的房子：20》 2010 喷墨打印感谢张洪宽和北京“中国艺术项目”提供照片

张洪宽《外来务工人员的房子：21》 2010 喷墨打印感谢张洪宽和北京“中国艺术项目”提供照片

Zhang Hongkuan Migrant workers’ cottages no. 21 2010 inkjet print Courtesy of the artist and China Art Projects, Beijing.

刘刚

随着中国近几十年来经济的高速发展，出现了一个钱包新近鼓胀起来的阶层。这个阶层有些类似托尔斯坦•凡勃伦（Thorstein Veblen）所说的“有闲阶级” 1，特点是对消费主义的追捧鼓吹。他们汲汲以求的是攒起尽可能多的炫富什物，而经常忽略生活的真实所需以及风格和品味。在2008年的《纸上梦想》系列中，刘刚探索了这种过度消费行为的驱动力。人们经常眼望西方有样学样，北京的高消费商业区，充斥着昂贵的美国和欧洲品牌专卖店，那种嘈杂喧嚣的感觉，与世界各地许多大城市千篇一律，毫无二致。同样地，由于几乎任何有法可想的人都会去弄辆私车，市里的道路上塞满了汽车，交通拥堵到骇人的地步，坐地铁十分钟的距离，开车可能需要一小时多的时间。

刘刚搜罗爬梳大量广告图片，积累了形形色色各种各样的照片，从中汲取素材灵感用于自己的创作。在当前的消费主义风气下，任何东西都可以出售，几乎任何可以作广告的东西都被用上了。建筑工地周围的临时安全围墙上满是杂志图片，超现实的场景中，都市的高楼大厦矗立在修剪完美的乡村景致中，巨无霸式的大桥在草地上蜿蜒，与周围的碎石和喧闹形成了强烈的对比。这些图片中经常配以白人形象，强化了西方文化富足（还有浪费）的观念，一种新富者艳羡不已的富足。然而稍加留意，饰面薄板并非完美无缺，杂志有褶皱，横幅有折痕，上边是随意粘上去的自制广告，这种富足的虚幻性就不攻自破了。

消费主义文化与工业革命之后的社会变迁有关。托尔斯坦•凡勃伦1899年由纽约麦克米伦公司出版的著作《有闲阶级论－关于制度的经济研究》，被认为是对此种文化的最早批评分析。

Liu Gang With China’s accelerated economic growth in recent decades, a class of newly monied people has emerged. This new class, akin to Thorstein Veblen’s ‘leisure class’,¹ may be characterised by the celebrating of consumerism. Need, style or taste is often overlooked in the pursuit to amass as many indicators of wealth as possible. In the Paper dream series (2008), Liu Gang investigates the drive behind such rampant consumer behaviour, which often looks to the West for inspiration. As a result, Beijing’s well-heeled downtown area is a cacophony of expensive American and European-brand stores, with the bland sameness one finds in so many major cities the world over. Likewise, the streets are choking with cars as almost anyone who has the means to buy a car does so. Traffic has reached a point where a 10-minute subway trip can take over an hour on the roads. Liu Gang has trawled through advertising imagery, amassing a repertoire of photographs from which to draw upon for his work. In the current climate everything is for sale and virtually anything that can carry advertising is utilised. Magazine imagery

spills onto safety hoardings around building sites, providing surreal scenes across the city of mansions in perfectly manicured country scenes, or gargantuan brides wandering about in a meadow, in contrast to the rubble and bustle of the surrounds. Such images are often peopled by Caucasians, reinforcing a notion of the opulence (and waste) of Western cultures, an opulence to which the new class aspires. But the veneer is not perfect, the magazine pages are crumpled, the banners themselves have folds, and home-made advertising is haphazardly pasted on their surface, breaking the illusion.

Thorstein Veblen’s publication The Theory of the Leisure Class: An economic study in the evolution of institutions (New York: Macmillan, 1899) is considered to be the first critical analysis of the culture of consumerism, linked to the shift in societies following the industrial revolution.

Liu Gang Paper Dream no. 7 2008 inkjet print Courtesy of the artist and China Art Projects, Beijing.

刘刚《纸上梦想：7》 2008 喷墨打印感谢刘刚和北京“中国艺术项目”提供照片

刘刚《纸上梦想：12》 2008 喷墨打印感谢刘刚和北京“中国艺术项目”提供照片

Liu Gang Paper Dream no. 12 2008 inkjet print Courtesy of the artist and China Art Projects, Beijing.

Liu Gang Paper Dream no. 13 2008 inkjet print Courtesy of the artist and China Art Projects, Beijing.

刘刚《纸上梦想：13》 2008 喷墨打印感谢刘刚和北京“中国艺术项目”提供照片

刘刚《纸上梦想：14》 2008 喷墨打印感谢刘刚和北京“中国艺术项目”提供照片

Liu Gang Paper Dream no. 14 2008 inkjet print Courtesy of the artist and China Art Projects, Beijing.

Liu Gang Paper Dream no. 16 2008 inkjet print Courtesy of the artist and China Art Projects, Beijing.

刘刚《纸上梦想：16》 2008 喷墨打印感谢刘刚和北京“中国艺术项目”提供照片

刘刚《纸上梦想：17》 2008 喷墨打印感谢刘刚和北京“中国艺术项目”提供照片

Liu Gang Paper Dream no. 17 2008 inkjet print Courtesy of the artist and China Art Projects, Beijing.

Zhou Jun Born 1965 Nanjing, China. Lives and works in Nanjing.

Huang Xu Born 1968 Beijing, China. Lives and works in Beijing.

Confucius Pavilion no. 1 2005 digital C type photograph 120 x 120 cm

Fireworks no. 1 2008 inkjet print 85 x 56 cm

Beijing Wangjing Area no. 3 2006 digital C type photograph 120 x 150 cm

Fireworks no. 2 2008 inkjet print 85 x 60 cm

China Central Television 2006 digital C type photograph 298.5 x 180 cm

Fireworks no. 3 2008 inkjet print 85 x 57.5 cm

Development Zone no. 2 2006 digital C type photograph 120 x 150 cm

Fireworks no. 4 2008 inkjet print 85 x 62.5 cm

Zhenyang Gate no. 1 2006 digital C type photograph 120 x 150 cm

Courtesy of the artist and China Art Projects, Beijing.

Tai He Men 2007 digital C type photograph 120 x 150 cm Watchtower 2008 digital C type photograph 180 x 219.5 cm Courtesy of the artist and Red Gate Gallery, Beijing.

周军 1965年生于中国南京，现居南京。

黄旭 1968年生于北京，现居北京。

《夫子庙：之一》 2005 摄影，数码输出 120 x 120 cm

《鞭炮之一》 2008 艺术微喷 84 x 56 cm

《北京望京：之三》 2006 摄影，数码输出 120 x 150 cm

《鞭炮之二》 2008 艺术微喷 84 x 56 cm

《中央电视台大楼》 2006 摄影，数码输出 298.5 x 180 cm

《鞭炮之三》 2008 艺术微喷 80 x 54 cm

《开发区：之二》 2006 摄影，数码输出 120 x 150 cm

《鞭炮之四》 2008 艺术微喷 80 x 51 cm

《正阳门：之一》 2006 摄影，数码输出 120 x 150 cm

感谢黄旭和北京“中国艺术项目”提供照片

《太和门》 2007 摄影，数码输出 120 x 150 cm 《东便门角楼》 2008 摄影，数码输出 180 x 219.5 cm 感谢艺术家和北京红门画廊提供照片

Li Gang Born 1967 Beijing, China. Lives and works in Beijing.

Feng Yan Born 1964 Xian, China. Lives and works in Beijing.

Art market no. 1 2011 digital C type photographs two parts, each 90 x 120.5 cm

Bike (from The Monuments series) 2010 inkjet print 148 x 100 cm

Bruce Lee 2011 digital C type photographs two parts, each 90 x 120.5 cm

Black stool (from The Monuments series) 2010 inkjet print 148 x 100 cm

Gallery window 2011 digital C type photographs two parts, each 90 x 120.5 cm

Fan (from The Monuments series) 2010 inkjet print 148 x 100 cm

Visiting V company 2011 digital C type photographs two parts, each 120.5 x 90 cm

File cabinet: Side, front, profile, back (from The Monuments series) 2010 four inkjet prints 148 x 100 cm

Courtesy of the artist and Red Gate Gallery, Beijing.

Shelf (from The Monuments series) 2010 inkjet print 148 x 100 cm Sofa (from The Monuments series) 2010 inkjet print 148 x 100 cm Wood case (from The Monuments series) 2010 inkjet print 148 x 100 cm Courtesy of the artist and China Art Projects, Beijing.

李刚 1967年生于北京，现居北京。

封岩 1964年生于中国西安，旅居纽约多年，现居北京。

《艺术市场：之一》 2011 摄影，数码输出两幅，皆90 x 120 cm

《自行车》（“纪念碑”系列） 2010 喷墨打印 148 x 100 cm

《李小龙》 2011 摄影，数码输出两幅，皆90 x 120 cm

《黑色皮椅》（“纪念碑”系列） 2010 喷墨打印 148 x 100 cm

《画廊窗口》 2011 摄影，数码输出两幅，皆90 x 120 cm

《电扇》（“纪念碑”系列） 2010 喷墨打印 148 x 100 cm

《参观V公司》 2011 摄影，数码输出两幅，皆90 x 120 cm

《档案柜：侧面，正面，半侧面，背面》（“纪念碑”系列） 2010 喷墨打印 148 x 100 cm

感谢李刚和北京红门画廊提供照片《书柜》（“纪念碑”系列） 2010 喷墨打印 148 x 100 cm 《沙发》（“纪念碑”系列） 2010 喷墨打印 148 x 100 cm 《木箱子》（“纪念碑”系列） 2010 喷墨打印 148 x 100 cm 感谢封岩和北京“中国艺术项目”提供照片

Zhang Hongkuan Born 1967 Tianjin, China. Lives and works in Dublin, Ireland. Migrant workers’ cottages no. 1 2010 inkjet print 100 x 150 cm Migrant workers’ cottages no. 2 2010 inkjet print 100 x 150 cm Migrant workers’ cottages no. 7 2010 inkjet print 100 x 150 cm Migrant workers’ cottages no. 10 2010 inkjet print 100 x 150 cm Migrant workers’ cottages no. 20 2010 inkjet print 100 x 150 cm Migrant workers’ cottages no. 21 2010 inkjet print 100 x 150 cm Courtesy of the artist and China Art Projects, Beijing.

Liu Gang Born 1983 Hunan, China. Lives and works in Beijing. Paper Dream no. 7 2008 inkjet print 92 x 113.5 cm Paper Dream no. 12 2008 inkjet print 92 x 113.5 cm Paper Dream no. 13 2008 inkjet print 92 x 113.5 cm Paper Dream no. 14 2008 inkjet print 92 x 113.5 cm Paper Dream no. 16 2008 inkjet print 113.5x 92 cm Paper Dream no. 17 2008 inkjet print 113.5x 92 cm Courtesy of the artist and China Art Projects, Beijing.

张洪宽 1967年生于中国天津，现居爱尔兰都柏林。

刘刚 1983年生于中国湖南，现居北京。

《外来务工人员的房子：1》 2010 喷墨打印 105 x 152 cm

《纸上梦想：7》 2008 喷墨打印 94 x 115.5 cm

《外来务工人员的房子：2》 2010 喷墨打印 105 x 152 cm

《纸上梦想：12》 2008 喷墨打印 115.5 x 94 cm

《外来务工人员的房子：7》 2010 喷墨打印 105 x 152 cm

《纸上梦想：13》 2008 喷墨打印 94 x 115.5 cm

《外来务工人员的房子：10》 2010 喷墨打印 105 x 152 cm

《纸上梦想：14》 2008 喷墨打印 94 x 115.5 cm

《外来务工人员的房子：20》 2010 喷墨打印 105 x 152 cm

《纸上梦想：16》 2008 喷墨打印 115.5x 94 cm

《外来务工人员的房子：21》 2010 喷墨打印 105 x 152 cm

《纸上梦想：17》 2008 喷墨打印 94 x 115.5 cm

感谢张洪宽和北京“中国艺术项目”提供照片

感谢刘刚和北京“中国艺术项目”提供照片

Exhibition curator Author Design Editor Translation Photography Printed by

Gordon Craig Gordon Craig Brent Wilson and Gordon Craig Michele Helmrich Li Baoping The artists; Gordon Craig (pp. 2-3) Fergies Print & Mail

展览策划：专文著述：设计：编辑：翻译：摄影：印刷：

戈登•克雷格戈登•克雷格布伦特•威尔逊，戈登•克雷格米凯莱•海尔姆里希李宝平参展艺术家，戈登•克雷格（2－3页） Fergies Print & Mail

The University of Queensland Art Museum personnel: Dr Campbell Gray, Director Michele Helmrich, Associate Director (Curatorial) Nick Ashby, Exhibitions/Collections Assistant Gordon Craig, Exhibitions Coordinator Christian Flynn, Exhibitions/Collections Assistant Kath Kerswell, Collections Coordinator Samantha Littley, Curator Matt Malone, Project Officer Sebastian Moody, Special Projects Officer Beth Porter, Finance and Administration Coordinator Mariko Post, Visitor Services Officer Gillian Ridsdale, Curator Public Programs Brent Wilson, Technical Officer 昆士兰大学美术馆团队成员馆长：坎贝尔•格雷副馆长(展览及藏品)：米凯莱•海尔姆里希展览及藏品助理：尼克•阿什比展览协调：戈登•克雷格展览及藏品助理：克利斯汀•弗林藏品协调：凯思•科斯威尔藏品及展览馆员：萨曼塔•利特莱项目干事：马特•马隆特别项目干事：塞巴斯蒂安•穆迪财务及行政协调：贝丝•波特访客服务：波斯特公共项目策展：吉莉安•利兹戴尔技术支持：布伦特•威尔逊

UQ Art Museum would like to thank the artists for making their works of art available for exhibition in Australia; Brian Wallace and Liyu Yeo from Red Gate Gallery; and Tony Scott and Reg Newitt from China Art Projects for their assistance in realising the exhibition. 昆士兰大学美术馆感谢参展艺术家提供作品在澳洲展出，感谢北京红门画廊的布朗•华莱士和杨来耀，以及北京“中国艺术项目”的托尼•斯科特和牛睿智（Reg Newitt）提供协助使本展览得以成功。

Beijing Hao! is presented with the assistance of Red Gate Gallery, Beijing, and China Art Projects, Beijing, as part of Queensland Festival of Photography 4, a biennial event organised by Queensland Centre for Photography. 《北京好》展览得到北京红门画廊和北京“中国艺术项目” 支持，是昆士兰州摄影中心两年一次组织的第四届“昆士兰摄影节”的一部分。 The University of Queensland Art Museum The James and Mary Emelia Mayne Centre The University of Queensland St Lucia Queensland 4072 Australia www.artmuseum.uq.edu.au

Exhibition Installers Nick Ashby, Rob Corless, Christian Flynn, Liam O’Brien, Carly Scoufos over page:

展览装置：尼克•阿什比，罗布•康利斯，克利斯汀•弗林，利亚姆•奥布莱恩，卡莉•斯科弗司

translations from ‘Wiktionary’, available online at en.wiktionary.org 对页：中文发hao音各字的英文翻译引自“网络大辞典”（Wiktionary）网站：en.wiktionary.org

北京曍◦北京浩◦北京涸◦北京灏◦北京皓◦北京皜◦北京皞◦北京睦◦北京秏◦北京耗◦北京好◦ Beijing Hao 北京号◦北京奴◦北京昊◦北京晧◦北京曍◦北京浩◦北京涸◦北京灏◦北京皓◦北京皜◦北京皞◦ 北京睦◦北京秏◦北京耗◦北京好◦北京号◦北京奴◦北京昊◦北京晧◦北京曍◦北京浩◦北京涸◦ 北京灏◦北京皓◦北京皜◦北京皞◦北京睦◦北京秏◦北京耗◦北京好◦北京号◦北京奴◦北京昊◦ 北京晧◦北京曍◦北京浩◦北京涸◦北京灏◦北京皓◦北京皜◦北京皞◦北京睦◦北京秏◦北京耗北京好◦北京号◦北京奴◦北京昊◦北京晧◦北京曍◦北京浩◦北京涸北京灏◦北京皓◦北京皜◦北京皞◦北京睦◦北京秏◦北京耗

北: běi north

京: jīng capital

好: hǎo good, excellent, fine; well; to like, to prefer something 号: háo/hào

mark, sign; symbol; number

昊: hào summertime; sky; heaven

浩: hào great, numerous, vast, abundant 灏: hào vast, large, grand, expansive

皓: hào bright, luminous; clear; hoary 皜: hào white, bright; clear, pure 皞: hào bright, brilliant

秏: hào to waste, to destroy, to diminish; hence it came to mean, a rat 耗: hào consume, use up; waste, squander 嚆: hāo

give forth sound, make noise

嗥: háo roar, wail, call out 諕: háo to intimidate