文化手术庆庆装置 by vrdam

关于我的书，我的《文化手术》我来自那个文化被阉割的时代在阉割中成长，我遍体鳞伤但我的生命——像野草她无比顽强我于是带着她被阉割后的痕迹行走在这片新的文化沙漠上身后的脚印，很快就会被风抚平，心的痕迹我在书中留给你，我的时代

About My Book, My Cultural Operation I grew up in an era of cultural deprivation I was injured so much But my life force is so strong As strong as wild grass Therefore, I carry on her tracks after her mutilation I walk on the new culture desert My footprints are left behind Soon the wind will calm them The traces of my heart I left them for you, in this book My era

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秋·风·叶 Autumn, Wind and Leaves 120×220×9cm 2010

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关于庆庆的艺术及其他董光璧 ( 科学家、清华大学教授）

我与庆庆相识已有几年光景。我们一见如故，成为忘年交。我羡慕她那流浪江湖的经历，我喜欢她那特立独行的个性，我欣赏她那艺术的预言特征。只有摈弃了消遣和巫术的价值，艺术家才能进入预言的境界，作为代言人讲出社会内心的秘密。在这种意义上，艺术与科学一样，表现出巨大的思想解放力。科学和艺术是人类认识世界的两个极端，凡把普遍性作为追求目标的学问都归入科学，凡把个性作为追求目标的学问都归入艺术。但是普遍性与个性并非水火不相容，任何科学理论无不体现科学家的创作个性，任何艺术作品无不揭示人性的普遍性，因为科学和艺术都以总结经验以便预测未来为天职。就科学创作需要丰富的想象力说艺术是科学之母，而就艺术家反映现实的要求说科学是艺术之父。原始人的洞穴壁画无疑是理解自然的艺术，爱因斯坦的相对论无疑也是理解人性的科学。人类要认识的这个世界，可以区分为自然和文化两部分。人类既属于自然又属于文化，因为人类是自然演化的偶然产物，而文化又是人类有意识的创造物。这自然是人类的生存环境，而这文化是人类的生存方式。人类就生存在自然与文化的夹缝之中，在自然演化和文化进化不可抗拒的逻辑中挣扎，企图通过科学艺术的认识掌握自己的命运。然而由于生存环境和生存方式的制约，任何认识都不具有绝对的和终极的真理地位。既生存于这个世界又反对这个世界，无论科学还是艺术都在揭示人类这种终极悲剧。庆庆的作品，作为个性方面在于其宣泄了作者的苦闷，而它的普遍性则在于其寓意的哲理。从她的作品中我看到了体现着作者创作欲的最高神韵。在她的画册出版之际，以科学与艺术、自然与文化的话题作为弁言，支持和赞赏她的艺术创作。

辛巳秋八月北京双榆树

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About Qingqing's Art Dong Guangbi（Scientist, Professor of Tsinghua University）

I have known Qingqing for many years. When we first met, it was like we were old friends, sharing a timeless bond. I envy Qingqing's worldly-wise experience, I delight in her creative independence, and I admire the prophetic nature of her work. Only by disassembling and reassembling the values of diversion and witchcraft, can art enter the realm of prophecy and be able to represent and reveal the secrets within society's heart. In this sense, art and science are the same, both containing the enormous power to liberate the intellect. Within the world of what humanity can understand, science and art represent two extremes. Science is the field in which the universal is the object of pursuit; Art is the field in which the object of pursuit is the individual. But universality and individuality aren't necessarily incompatible. For no scientific theory is without the creative personality of the scientist. And no work of art is without the universality of the human nature behind the artist. Because the profound duty of both science and art is to predict the future through the summation of experience. If scientific creativity requires rich imagination, then art is the mother of science. By the same token, if the work of artists reflect the demands of reality, then science is the father of art. The cave paintings of primitive peoples were, no doubt, artistic means for comprehending nature. Einstein's Theory of Relativity was also, no doubt, a scientific means for understanding human nature. As we understand it, the world may be divided into nature and culture. Humanity belongs both to nature and culture. Humans are an incidental product of natural evolution, and culture is the consciously created product of humanity; Nature is the environment in which humans exist, culture the means by which we survive. Humanity therefore lies in the crevice between nature and culture, struggling amidst the irresistible logic of natural evolution and cultural progress, attempting to master its fate by an understanding of both science and art. But due to the restraints imposed by its existential environment and its way of life, no understanding allows an absolute and final truth. To both exist in, and oppose, this world--as artist or scientist--is to expose humanity's ultimate tragedy. The individual element of Qingqing's works passionately declares the dejection and angst of their author, and their universality declares her moral philosophy. I have seen in her works and creative desire an incarnation of the most profound kind of spiritual verve. On the eve of this particular work's publication, I address the topic of science and art, nature and culture by way of a preface, to support and acclaim Qingqing's artistic creations.

August, 2001 Shuangyushu, Beijing

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从艺术，我找到的是灵魂的自由 From art, what I found, is the freedom of my soul

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关于陈庆庆朱其 ( 艺术批评家 )

90 年代末期的时候，中国的女性艺术达到了一个新的高度，陈庆庆能看作是这场运动的具有领导力的代表。她通过她的作品，建立起一种独特而强烈的艺术语言，她的作品不仅触及到爱，生命，女性文化这些比较普遍的女性主义的主题，还反映了诸如历史，政治，这些扩展至性别的另一半的主题。她进入这些看似沉重的，沉浸在必要的哲学和生命的真相中的主题，轻轻一触，从细微处见大。用这种方法，她非常专业地表达出了她的想法。庆庆的工作方式揭示出一个既智慧又内在的女性主义，以及一种真正成熟的观念艺术的形式。在视觉语言，以及材料运用的领域，陈庆庆的现成品装置和自然材料制作的纤维作品是一个高水平的实验。她的纤维衣裳装置是当代中国艺术的一个先锋，在艺术语言的扩展方面起到了非常杰出的作用。她的盒子装置描绘了一个手工的微缩场景，这种对精神的探索在当代中国艺术中是少见的。这种探索带领我们的思绪穿透由历史，女性主义和人类博爱组成的错综复杂的网，在一定程度上，这种探索也成功地揭示了庆庆已经寻找到的这种艺术语言的力量 . 在以个体对抗整个时代的斗争当中，就像一个救赎。

散花 Scattering Flowers 176×69×7.5cm 2011

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About Chen Qingqing Zhu Qi (Art Critic)

Feminism reached its height in Chinese art in the late 1990s, and Chen Qingqing is the leading representative of this movement. Through her works she has established her own individual style of an intense art language. Her artwork touches not only on the popular feminist themes of love, life and feminine culture, but also reflects on topics such as history and politics which span the sexual divide. She approaches these seemingly heavy topics steeped in essential philosophy and life truths - with the light touch of one who is able to see the big by way of the small. It is in this way that she expertly presents her meanings. Qingqing's working method reveals both an intelligent and intuitive feminism and a truly mature style of concept art. Chen Qingqing's ready-made installations and course fiber clothing employ a high degree of experimentation in visual language and in the range of materials used. Her fiber clothing installations are in the vanguard of language in contemporary Chinese art, and have played a prominent role in the expansion of art language. Her box installations depicting miniature man-made scenes use not only the strengths language has to instruct and enchant, but also a“microcosmic” language that presses for a mystical exploration of the spirit. This kind of spiritual exploration is something seldom seen in contemporary Chinese art. It is an exploration that brings our thoughts to penetrate an interwoven mesh of history, feminism and humanity, and at a certain level this exploration also works to reveal the power of language Qingqing has found which can stand as a savior in the struggle of the individual against the times.

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Qing Qing

春我的复苏死神与我擦肩而过我的生命重新发芽生长智慧之神再次赋予我力量更新我认知世界的能力

Spring My resuscitation The god of death passed me by My life began to grow again The god of wisdom brought me strength Renewing my ability to recognize the world

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夜，终于过去了，朦胧中，三点、四点还是五点？我仿佛看到了远方的清晨，都市的地平线，向我飘来…… 楼，林立的楼，层层叠叠的还是楼……树呢？高压线和高压线塔，污浊的灰黑色的烟……我在哪？不是已经搬到乡下了吗？忽然想起儿时的黎明，在床上，睁不开眼睛时，已被鸟儿叫醒的心境。 The night finally passed, in the haze. Is it three o'clock, four o'clock or five o'clock ？ I seem to have seen the distant dawn, The skyline of the city, is approaching… Buildings, a forest of tall buildings… Where are trees ？ High-voltage wires and high-voltage towers, dirty gray-black smoke… Where am I ？ Haven't I moved to the countryside ？ Suddenly I miss the dawn of my childhood, lying in bed, awakened by the birds before I could open my eyes.

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入 Enter 86×39×45cm 2011

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大脚小丫头群雕作品－文化小女巫系列 Group Sculpture of Little Big Feet Girl － Little Culture Witch Series 50×80×23cm ／件 Piece 2009 － 2012

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抱球 Holding the Energy Core

聚能 Recipient of Universal Energy

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勿 No

吭 Keng

推推 Pushing Hand

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关于我的雕塑作品“勿”和“吭” “勿”和“吭”都是态度，生活中有时要非常坚定地说“No”，有时又要非常非常地坚持，坚硬地对自己说“挺住”，说“不要”，这些都是态度，是曾经有过的状态，或可能必须的状态，女人，不只是柔软。 “No”是一种状态。有一次有一个西方人对我说，你们中国人有很多优点，很喜欢帮助别人，特别是中国女人。可就是不会说“No”，我于是告诉自己，我必须学会说“No”，由此，生活似乎直接了许多…… “吭”是又一种状态，是一种坚定，一种坚持，唯有这样，人生或许能做成一两件事，无论多难……有自信，生活是快乐的！以后接下来，我做了“抱球“， “聚能”， “推推”， “拉拉”， “观天色”等等。生活变得五光十色，有乐观，有幽默，有调侃，有诙谐…… 天哪，我怎么活了这么大，才知道这些事？

About My Sculpture “No” and “Keng” “No”and“Keng”are both attitudes. Sometimes, in life, we have to firmly say“no”, and sometimes we have to be very, very persistent. We have to firmly say“hold on”, say“no”. These are all attitudes, maybe from a past situation or maybe they are essential. Women are not only gentle. “No”is a state of mind. A westerner once told me that Chinese people have a lot of positive qualities, they love to offer help, especially the Chinese women. but they do not know how to say“no”. Therefore, I told myself I should learn to say“no”. Since then, life has become a lot easier… “Keng”is another mindset, one that is resolute and persistent. Only by having that attitude can a person perhaps have one or two achivements. No matter how difficult … if you have confidence, life will be happy! Afterwards, I made“Holding the Energy Core”,“Centralizing Energy”,“Pushing Hand”,“Pulling Ear”,“Recipient of Universal Energy”etc. Life became brilliantly colored, hopeful, serene, full of teasing, humorous… Gosh, why did I only find out about these things when I was already a grown up？

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聚能 Recipient of Universal Energy

拉拉 Pulling Ear

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揖礼谢君陈庆庆冯峰（艺术家）

我记得，90 年代中期庆庆姐、张蕾和海鹰的三人展，那天与她们相识。张蕾也进村儿了，海鹰你在哪里？我记得，庆庆姐南锣鼓巷的老房子、老街、老树、老人，现在已是时尚街了。我记得，2000 年庆庆姐去昌平的山里看我，我那条花狗用前爪撩她的花裙子。我记得，去 798 时在她工作室歇脚喝茶、打尖蹭饭。我记得，2005 年在上海做双人展回程飞机延误，庆庆姐盖在我身上的她那件米色的风衣。我记得，庆庆姐那年剃了长发顶着青色的光头，大病出院来看我时那乐观的笑声。我记得，2006 年在村里盖工作室时她坐在我对面流淌的眼泪。我记得，她养的每条狗每只猫，甚至她花园中的每棵树每枝花。我记得，她编织的汉装唐服的一丝一缕，像张爱玲笔下的一锦一缎。我记得，她的雕塑是儒家的接人待物揖礼谢君。我记得，她的装置像美国女诗人希金森的诗“街灯照亮的边界”，幻想浪漫又鬼魅离奇。我记得，……

今年过年村里邻居聚餐时，庆庆姐端着酒杯走向我，碰杯时她说她春天出画册让我写篇文章。我说，艺术圈儿里有那么多评论家你不找，我哪敢评论别人的作品呀。最后还是答应了，谁让她是姐呢。条件是我只按照我的方式写，你看行就用，不行就点一下鼠标删除。今天天儿好，阳光照在园子里。写了几百字后，校正了几个别字，修改了几个标点，站在窗前伸个懒腰。园中杂草丛生，枯枝败叶，望着残亭旁那棵褐色的紫藤倚着斜阳的美姿，几条翘起的梢儿懒散地搭在屋檐上…… 忽又记得，这棵紫藤还是去年开春儿从庆庆姐家移过来的呢。

2013 年早春北京宋庄

礼上 Courtesy First 176×220×200cm 2010

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礼上 Courtesy First 176×220×200cm 2010

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Greeting and Expressing Gratitude to Chen Qingqing Feng Feng（Artist）

I remembered the group exhibition of Qingqing, Zhang Lei and Hai Ying in the mid-90s, I got to know them from that day. Zhang Lei also comes into the village, where are you Hai Ying ？ I remembered Qingqing's old house, the old street, the old tree and the elder people in Nanluoguxiang , which has already turned into a fashion street. I remembered, my dog teased her floral skirt by using its forepaw when Qingqing visited me in Changping in 2000. I remembered going to her studio in 798, to relax, drink tea and scrounge free meals off her. I remembered her beige trench coat that she put on me when our flight delayed on our way back from the Shanghai joint exhibition in 2005. I remembered Qingqing's optimistic laughter when she was discharged from the hospital after the serious illness, and her shaved head. I remembered her sitting in front of me, burst into tears when the studio was built in the village in 2006. I remembered every dog every cat that she had, and even every tree and every flower in her garden. I remembered the cloths of Han and Tang Dynasty that she wove, just like the brocade in Zhang Ailing's writing. I remembered, her sculptures are the manners and greetings from Confucian. I remembered her installations are romantic but also ghostly bizarre, just like the poem “streetlights illuminate the boundary” from the female American poet, Dickinson. I remembered…

This year, when we were having the dinner gathering during the Chinese New Year, Qingqing held a glass up to me, she asked me to write an article for her new catalogue in the spring. I said, why didn't you go to art critics, I dare not to comment on others' works. But I finally agreed, anyway, she's my big sister. In one condition, I just write in my way, if you don't like it, just click the mouse and delete it. It's a beautiful day today with sunshine in the garden. After wrote several hundreds of words, correct some misspelling and punctuations, I stood at the window and stretched. The garden is overgrown with weeds and dry leaves, I looked at the brown wisteria leaning against the setting sun, several tilted treetops hung on the eaves…suddenly I recalled, this wisteria was moved from Qingqiang's home in the last spring. Early spring, 2013 Songzhuang, Beijing

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巫山－欲望都市系列 Wushan Mountain － Ambitious City Series 260×200×160cm 2012

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巫山－欲望都市系列 ( 局部） Wushan Mountain － Ambitious City Series (Details)

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死生如戏的灵知视界 ——陈庆庆的装置艺术和灵知主义方式朱其（艺术批评家）

“你不必再孤独，因为我们都不是自己了。”这是陈庆庆在她 2000 年的一个装置题诗“克隆诗话”中的诗句。关于女人、生死、灵魂以及孤独的今生和来世，是陈庆庆装置艺术的基本主题。

一 90 年代中后期是中国女性主义艺术的一个高潮时期，陈庆庆无疑是这个群体的代表之一。她创建了一种个人风格强烈的具有灵知主义风格的语言体系，其语言表现为一种举重若轻的气息，虽精巧却大气、气势逼人但很女性化。这不仅体现为一种灵性和情极而致的女性主义意志，还表现为一种充满穿透力的个人的语言想象。陈庆庆的装置艺术创建了一个灵异世界，这个世界被假定在一个箱盒中，呈现出一幕幕混合着恐怖、美丽、鬼异而童话般的景象，比如一只小恐龙在逼近一个脸色惊恐的金发褐肤小女孩，金发碧眼的女孩脸恐龙身的一排天使挂在树梢上快乐地歌唱，一只小孩的手或者两条蛇从电视机壳的洞孔中伸出来，一棵小仙树插在一个绿色白衣娃娃的肚子上，一群小猪爬上天安门的屋顶等。这些微型却如浓缩的生死戏场的景观，其诸多素材大都是很小巧的现成品，像塑料小孩、小树枝、小恐龙、小贝壳、小鞋子等。这些道具被做成一个个风景洋片似的箱盒，但形式上是现代社会的，它们是台式电视机、橱窗、工具箱、衣箱、珠宝或者文物的展示玻璃柜等。这些装置的现成物品可以看作来自不同时空和各个界别的物品，代表不同国家、社会和性别象征、以及生死阴阳界在这些箱盒内的相遇，并构成一种阴阳聚会。作为箱盒寓言的装置艺术被表现为一场轮回小世界的相聚，却仍然具有惊心动魄而生死悱恻的气魄，这个方式似乎很难用一种西方艺术的现代观念来描述。从现成品和箱盒的形式看，陈庆庆的装置尽管具有一种观念艺术的特征，但这只是一种表现形式，其内在方式和主体性实际上具有一种东方式的灵知主义视界和美学。这种灵知主义观念包括阴阳际会、前世今生、宿命和性灵等，一直存在于中国 19 世纪以前的神怪志异小说、民间戏曲和佛道文化传统中，就像《聊斋志异》、《牡丹亭》等关于生死转世、未来轮回以及相聚阴阳界的经典表现。同类似于禅宗的世俗化方式一样，陈庆庆的装置艺术所触摸到的哲学性，实际上也来自于她个人的一种传记背景的体悟。她并不试图继承现代艺术史的观念脉络，而是将艺术看作对于个人获得灵魂自由的一条通道。这就涉及到两个方面，一是她自己的灵魂是什么？其次，使这个灵魂借以获得呈现并重获自由和新生的载体是什么？陈庆庆在个人经历上事实上拥有一个巨大而转生式的跨度，从少女时期的北京到乡村；从做工人到医生；从疯狂的毛时代意识形态的中国到资本主义的欧洲；从亲人的死亡到爱情和婚姻的离散；从西方公司的高级职员，到回归重新走向原始资本主义的中国。陈庆庆的这种个人对于各种文化内外边界穿越的跨度，事实上要比像谢莉 . 奈谢特、金守子等 20 世纪 80 年代以来的国际流浪主义风格的女性艺术家的背景更宽阔得多。她的主题和材料上也不仅限于女性主义的爱情、生活象征物以及柔性材料，也包括像 9.11 事件、克隆、天安门以及机械部件等范围广泛的超越性别的素材。

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陈逗逗的人间生活－欲望都市系列 Doudou's Happy City Life － Ambitious City Series 120×64×35cm 2012

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二陈庆庆的现成品装置以及后来使她声誉鹊起的丝

编织衣服，使她成为在 90 年代中后期对语言的前卫性实验的少数实践者

之一。她的丝编制衣服在纺织纤维的语言前卫性上具有杰出的开拓性，而她以箱盒形式表现的微小“造景”的装置艺术也具有高度的语言实验性。不仅具有一种智慧和鬼魅的语言风格，这种“微景观”具有的神秘主义视觉在中国当代艺术中也是少见的，它不仅具有历史、女性和人性交织的思想穿透力，在一定程度上也表现了她对时代和个人挣扎的一种语言拯救力量。陈庆庆的装置语言来自于个人象征物迷恋的一种转化，因此她的语言与个人传记的记忆原态有直接指涉性，尤其是在她早期的装置艺术中。比如 90 年代末的《棺》系列，是对于死亡和灵魂转生的思考，使用干柴、丝和干玫瑰编织成各种棺木形式。在这个系列中，中国旧式女人的缠足和男女死后相依相亲的延续是两个主要题材。陈庆庆后来的诸多作品的基本方式和特征，实际上都可以在这个最初触摸死亡和死后主题的系列中找到源头，比如丝作为一种缠绕、柔性、混杂、交错和迷宫式的结构和材料的性别特性，旧式女鞋等现成品的象征性，棺木等形式上的寓言性，以及从女人角度对于死亡和历史的思考。差不多大多数女性艺术都是从性别和女性历史的悲剧性进入对于历史和死亡的观看，并且寻找直接呈现性别特征和美学的材料。这可以看作进行自我清理和历史意识萌生的女性艺术通常具有的第一阶段。维也纳的经历和中国背景事实上都给陈庆庆的装置艺术带来影响，维也纳渗透忧郁和死亡冥想的古都文化，与中国传统优雅而宿命以及相信死后转生的集体无意识，可以互补共通地形成一种陈庆庆的个人视觉格调。但在陈庆庆早期和后来的艺术方式中，来自西方的现成品装置的形式基本只是一个表面形式，更重要的是对于灵魂转生和新生主题的涉及，以及根据个人传记性素材寻找直接的现成物，以此塑造一个个人想象的审美场域，前者关于一种主体性，后者则在于一种美学取向，这两者都无意识地继承了中国 19 世纪以前的灵知主义传统，只是在艺术形式上没有延续戏曲、小说和佛道传奇直接的语言谱系，而是根据个人的形式迷恋和主题指向改造现成品的语言场域。《克隆》系列是陈庆庆《棺》系列之后在个人语言上的一个成型阶段。丝编织后来演变成衣服编织，在工艺性和装置艺术之间带来了服装语言前卫性的想象。2001 年是陈庆庆实验各种装置形式的转折时期，她的《东西西东－2001》在《棺》的内部将单一的象征物改变为各种玩具小孩、动物和小道具配合在一起欢娱的微型的封闭内空间，《克隆人场之二》使用了一种扁平工具箱形式，在《三陪女》装置中则形成了微型的三度舞台空间格式，这个微型剧场形式成为后来陈庆庆装置的一个基本形式。陈庆庆也尝试过画框的形式，如《大餐》（2002）开始引进越来越多的叙事性道具，像斑马、芭比娃娃、恐龙、一段脚或者数只小孩的手臂，恐龙和小孩手臂后来成了常用的语言元素。陈庆庆还采用过中国桌面盆景的座台形式，如《克隆人场》（2002）等。她还使用了珍宝或者古代器皿展示的玻璃缸形式，如《文化球》（2002），这个作品直接演变为之后更完美的《爱情罩》（2003）、《神示》（2003）、《无名氏》（2003）系列。

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《爱情罩》等系列类似于一个微型的水晶棺，在陈庆庆眼中是一种永恒而伟大的死亡形式，但一直没有女人的份。这个水晶棺结构上也具有一种精巧复杂的形式，长方形内还有一个船形座。里面的单件物品既有恐怖的一段段小孩手臂、动物尸骨、蓝绿色纤维毛，也有一个个腐朽般的静物如四段女用贵族指甲套、以及无生命的雕塑般的小贝壳和白珊瑚。这些恐怖或者令人发毛的部件置于水晶盒各个位置，就像突然有了生命，水晶盒仿佛像一个可以附身的身体，使这些不同生命体的部件重新获得新生，并因此具有一种摆脱轮回和生死的永恒的安静和美丽。陈庆庆还采用了电视机空壳作为一种箱盒形式，这实际上发展了微型舞台的形式，但电视空壳具有一种更灵异的特征，像《残》（2003）、《未知数》（2003）、《克隆爱情》（2004）等，除了将屏幕空间当作一个舞台那样配置不同灯光，还有一段手臂、一条蛇、一只脚从旋钮孔中伸出来。这使得电视机壳像一个新生的灵异体。在语言的意义载体和主体性上，陈庆庆试图在传统灵知主义道路上找到一种个人的语言景象，这个景象不是通过一种观念性来理解和观看，而是通过对于一种灵异景观的体验来完成想象性的触摸。这种方式最终也使陈庆庆在语言景观的个人塑造中找到一个中国式的出口。

三从《棺》系列到各种箱盒系列，陈庆庆在形式上完成了一个个人语言体系的建立。她为现成品建立的箱盒空间相当于一个语言场域，各种现成品进入这个场域后重新产生了叙事性和语言指向，在时空感和语言元素上就像产生炼金术似的关系变化。现成品实际上被置于一个陈庆庆所创造的个人化语言场，这个场不仅仅是关于这些物品本身象征性的简单组合，而是被置于一种转世和重生的主题结构中。这种方式在某种意义上带有中国式的巫性和炼金术特征。事实上，箱盒和微型戏场形式本身并不足以产生真正语言力量。真正具有语言力量的还是在于语言主体性的转变。从 2002 年的《克隆》系列开始，陈庆庆一方面致力于为现成品元素寻找合适的语言形式，或者一个装置这些现成道具的空间形式。但与此同时，她实际上也在完成自我转变，这就是从《棺》系列作为一种女性主义意识的萌芽和自我梳理的阶段，逐渐转向一种自我意义的孤独和对于普遍生死观的主体。这种转变就像陈庆庆在诗中所写的，“你不必再孤独，因为我们都不是自己了。”这个观念来自她对一位多年未见故友在重逢一夜之间的灵异顿悟，包括那位老友从事的克隆学科工作，这段经历使陈庆庆开始发现原身和它在很多年后的转变，以及对于灵魂是否变异的奇妙怀疑。在《克隆》系列之后，陈庆庆的装置事实上逐渐不再有浓郁的个人对于死亡的悲情冥想和忧郁的气息，而是在尽力构造一场场微型的生死戏场或者寓言剧，在这些微型戏场内，时空、生死、阴阳、人与动物以及物品、种族和国家之间的界限都被拆除了，它们不仅像同一特质的存在物在一起相聚，而且这个小戏场既没有理想的美好，也没有现实的痛苦，而是一切充满灵性和鬼魅的赏心悦目，一概被陈庆庆改造成一场可以超验欣赏的灵魂转世和新生。这是陈庆庆的装置剧场变得小巧而大气磅

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礴的主要原因，从女性主义到灵魂的转生，最终超验地像看待来世那样观看当代，像 9.11、恐龙、生物克隆或者中国疯狂的物欲，在陈庆庆的装置中都表现得像一出可以轻松观赏的充满灵性、奇异和史诗般的微型演出。视觉的史诗性在陈庆庆的近期具有背景图片的箱盒景观作品中表现得更为充分，像《袜袜的梦》中，一个有着猫眼睛的蝴蝶飞翔在一片鬼魅阴霾沉沉的古城上空。《摇钱树》则具有一种瑰丽、超验的象征力量，一群群红色的小猪没有重力感的沿着地板、墙壁和屋顶循环爬走，有六个红色小猪甚至爬上天安门屋顶，从屁股后拉出一个个硬币，一个金色小喇叭伸向空中，一个红发褐色皮肤的小孩在空中摇曳，它们的背景是一张巨大的虚拟的一千元人民币。陈庆庆逐渐在灵魂转生的形式上开始

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增加语言的反讽性，但她的语言处理越来越简洁有力。陈庆庆的装置艺术从女性主义的语言批判意识，开始进入关于死亡边界和灵魂转生的主题，通过这种灵异主题的背景，她开始就此哲学性创立个人的语言形式，这种形式实质上是灵知主义视界对于现成品的一种美学场域的塑造，这为陈庆庆在语言上找到一条在自我主体背景下的语言规则，也是之后陈庆庆装置艺术基本的语言方式。这种语言方式在表达对于 19 世纪以前灵知主义和美学神秘性的过程中，事实上使陈庆庆在个人语言通道上找到了一个自由的出口，通过这个出口，获得的不仅仅是对于生死的表达，而是一种想象的重生和在语言层面对于自我经验的反向改造。从这一点说，陈庆庆完成了作为女人一生意识的超越，从而进入生死如戏的从灵知视界进行经验的重新编织，这就是人所能做到的最后一种超越，即象征超越。

2005 年 11 月 20 日北京望京

修炼孽海花－黑色记忆系列 Nie Haihua － Black Memory Series 37×58×23cm 2000

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神示－未知数系列 Oracle － Unknown Series 60×30×16cm 2010

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蚁国－欲望都市系列 Ant Kingdom － Ambitious City Series 56×56×88cm 2009

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Spiritual Intuition in the Drama of Life: the Installation Art and Spiritual Vision of Chen Qingqing Zhu Qi (Art Critic)

“You will never feel lonely again, for we are not ourselves.” (A verse from Chen Qingqing's “Clone Poem”, 2000) Women, life and death, the soul, as well as the loneliness of this life and the next, are the fundamental themes of installation art by Chen Qingqing.

I The late 1990s witnessed the rise of Chinese feminist art and Chen Qingqing is certainly considered one of the leading representatives of this group. She establishes a powerful individual style that embodies a linguistic system of spiritual intuition, a language that can address heavy themes with a delicacy and lightness. This facility is an exquisite and imposing characteristic of the feminist language. Displaying a sense of internal spirituality and a pressing feminist determination, Qingqing possesses a powerful imaginative language.

Chen Qingqing's installation art establishes mysterious worlds, that occur within box-like forms. The scenes within are horrible, beautiful, ghastly, or even seem like a child's fantasy. For example, a small dinosaur presses up against a terrified and panic-stricken little, tan-skinned blond girl; a group of angels composed of blond-haired, blue-eyed girls with dinosaur bodies hang from a tree merrily singing; a small child's hand or two snakes stretch through holes in a hollowed television set; a small whimsical tree is stuck through the belly of a green-haired, child wearing a white coat; a small group of piglets crawl up towards the roof of a model of the Tiananmen gate, etc.

These miniature theatrical landscapes depict genuine scenes of life and death. Many of their original objects are extremely small and delicate, ready-made materials including plastic toy children, twigs, little dinosaurs, small shells, miniature shoes, etc. These props successfully create scenes resembling the still images in old viewing boxes, but the materials are from contemporary society, including television sets, window displays, toolboxes, clothing chests, jewelry or antique glass showcases, etc. The ready-made objects of these installations can be considered as from a different time and space, and possibly from another world. Each signifies different countries, societies, and symbols of gender—as well as the convergence of the worlds between life and death and the meeting of the worlds of yin and yang.

These allegorical installations display a constant cycle of reincarnation, while imposing a soul-stirring and morbid aura.

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书城－欲望都市系列 Book City － Ambitious City Series 50×31×16cm 2008

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From the modern conceptions of Western art, these common Chinese themes seem difficult to describe. While, on the surface, Qingqing's ready-made objects and box forms possess a characteristic of Western conceptual art, within her technique and subject matter is an Eastern inspirational range of vision and aesthetics. This concept of spiritual intuition incorporates the meeting of yin and yang, the lives of past and present, fate and the natural disposition. Before the 19th century in China, themes of reincarnation from life and death, as well as the classic manifestations of yin and yang, were prevalent in popular dramas, short fiction about gods and spirits, and the traditions of Buddhist culture, such as the novels “Strange Stories from a Chinese Studio”or“Peony Pavilion”.

Similar to the secular application of Zen Buddhism, Chen Qingqing's installation art originates from the understanding and realization of her own personal story and experience. By no means does she attempt to completely follow the path of modern art history; rather she regards art as means for achieving personal spiritual freedom. This touches upon two questions: First, what is her soul ？ And second, in what sort of vehicle does this spirit emerge from ？ Moreover, how does the vehicle achieve its freedom and rebirth ？

Chen Qingqing's personal story in fact spans many journeys of reincarnation. As a young girl she was transferred from Beijing to the countryside; from a manual laborer to a doctor; from a China indoctrinated with the crazy ideology of Mao Zedong to a capitalistic Europe; from the death of close relatives to the diffusion of love and marriage; from being a senior employee in a Western company to returning to the early capitalistic China. The span of Chen Qingqing's life transcends the boundaries of her cultural experience and resembles that of Iranian artist Shirin Neshat or Korean artist Kimsooja, who were internationally recognized in the 1980s for their broad and vagrant-style feminist art backgrounds.

九号公馆－欲望都市系列 No.9 Residence － Ambitious City Series 34×80×58cm 2010

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被消费的女孩儿－文化小女巫系列 Consumable Girl － Little Culture Witch Series 23×45.5×11cm 2002

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Her objects and materials are not limited to the feminist motifs of love, symbolic objects of life, and soft materials, but also include images of 9/11, clones, Tiananmen, and spare mechanical parts. Such an extensive scope of vision transcends any boundary of gender categorization.

II Chen Qingqing's ready-made object installations and her famous woven silk-hemp clothing works have helped her become recognized as one of the few experimental linguistic avant-garde artists of the late 1990s.

Her woven silk-hemp clothing works have pioneered a significant position in the avant-garde movement through her development of a textile language. She also achieves a high degree of experimental language through her small dioramas of installation art. The language of these “micro-landscapes” possesses a style of otherworldly wisdom that reflects a sense of mysticism in Chinese contemporary art, which is seldom seen. Additionally, the interwoven themes of history, feminism and humanism communicate a desire to help us remain strong as we struggle in the present era.

Chen Qingqing's installation language originates in her transformation of personal symbols. Therefore her language and her own biographical memory have direct correlations to her work, especially in her early period of installation art. For instance, her Coffin series from the end of the 1990s contemplates the doom of death and spiritual afterlife in a coffin created from firewood and silk-hemp fibers with interwoven dried rose stems. In this series, her two main themes focus on the older generations of Chinese women with bound feet and the continuous love relationship between men and women after death. These themes, which touch upon doom and the afterlife, can be found in many of Chen Qingqing's later works. For example, her interwoven silk-hemp works, which achieve a bound, interlocked and gentle structural and material sexual distinction. Similarly, her use of the shoes worn by women with bound feet and her use of the coffin form respectively symbolizes Chinese history and alludes to death from a female perspective.

Nearly all feminine art begins from controversies over gender along with the tragedy and doomed position of the female in historical perspective. Moreover, it seeks a direct method to present specific characteristics of gender and material aesthetics, which can be regarded as the first phase of the feminist art process—a process that clarifies the state of one's own affairs and recognizes a historical consciousness. Qingqing's experience in Vienna and her Chinese background play

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祈－未知数系列 Praying － Unknown Series 34.5×60×33cm 2010

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a role in influencing her installation art. Vienna is filled with melancholy and deep contemplations on the doom of an ancient culture, while the elegant yet fated Chinese traditions and collective unconsciousness, which implicitly acknowledge life after death, are all complementary to Qingqing's individual visual style.

In Qingqing's early and later artistic periods, despite having originated from the Western ready-made, her installation work focuses on creating an aesthetic space of one's fantasy. More importantly, her selection of ready-made materials involves themes of the journey and rebirth of the soul, as well as personal themes based on her biography. The former regards a subjective process, while the latter requires an aesthetic orientation. These means of selection unconsciously manifest the tradition of spiritual intuition of pre-19th century China. Although drama, fiction, and Buddhist legends are not able to continue to directly affect the evolution of language, in the arts they influence personal attraction to particular forms and themes, thus indirectly transforming their significance through the expressive medium of ready-made works.

Following the Coffin series, Qingqing's Clone series begins to advance into the next phase of her personal language. Her woven silk-hemp works evolve into the form of people's clothing, both of past and present. From a mere craft to installation art, her work brings the imagination of avant-garde language to her clothing works. The year of 2001 is the transition period when she began to experiment with various outer forms for her installations. From her Coffin series, “East-West--WestEast--2001” evolves from simple symbolism to using various toy children with small props merging into a confined happy miniature space. From the Clone series, “Clone Factory - 2,” she employs the box-form a thin, flat toolbox, while "The Call Girl" utilizes a miniature three-dimensional stage. This miniature theater later becomes signature style of her installations.

Chen Qingqing also attempts to use the picture frame to present her installations, such as “Feast” (2002) where she gradually introduces more narrative elements and props. Objects resemble the zebra, the Barbie doll, the dinosaur, and amputated feet or many small children's arms. The dinosaurs and children's arms become commonly used elements of her artistic language. She also uses the Chinese tabletop bonsai landscape setting such as that of “Clone Factory” (2002). And she uses glass curio containers, used for jewelry or antique utensils, as the form for “Cultural Ball” (2002), which later leads directly to the similar works of “Love Cover” (2003), “Oracle” (2003), and “Anonymous Person” (2003).

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The form of “Love Cover” is similar to a miniature crystal coffin; in Chen Qingqing's eyes, the eternal and great presence of doom is continuously absent of the role of women. Within the exquisite and complex form of a coffin, lies an object in the shape of a boat. This inner object contains the dreadful sections of children's little arms, animal skeletons, blue-green colored fibers, five sets of decaying metal aristocrat female fingernails, as well as the lifeless sculptures of small shells and white coral. These horrible and terrifying components placed in this crystal box suddenly seem imbued with life. The crystal box is like a possessed body causing these lifeless objects within to suddenly achieve life and rebirth. Consequently these peaceful and beautiful things have the ability to cast off the eternal cycle and life of death.

Chen Qingqing also selects the interiors of discarded television sets as yet another box form. Use of this form enhances the signification of her miniature stage, since the disemboweled television set has an even more mysterious character.

Her

television works include “Amputated” (2003), “Unknown Number” (2003), and “Clone Love” (2004). Despite the fact that it is the space behind the television screen that becomes the stage for her works with different glowing lights, stretching out from the knobs of the TV are the familiar feet and arms of children, as well as a part of a snake. These scenes make the empty television sets seem like a mysterious vessel for rebirth.

In regards to the semantics and subjectivity of language, Chen Qingqing attempts to use her interpretation of traditional spiritual intuition to envision her own pictorial language. One cannot perceive or understand this picture without having experienced the spiritual landscape and only then is one able to fully visualize and grasp this understanding. This method allows Chen Qingqing to find a Chinese mode of transcendence within her own spiritual landscape.

III From her Coffin series to each of her box installations, Chen Qingqing has for all intents and purposes established a unique language system. The space established within these ready-made box works is a kind of site for language to develop. The various ready-made objects entering this site are invigorated with life and create a narrative approaching a type of language.

This change of linguistic signifiers and their relation in time and space is like the mystical transformation of

alchemy.

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爪哇（一）－未知数系列 Jawa 1 － Unknown Series 56×108×14cm 2009

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Ready-made objects are integrated into the sites of the personal language created by Chen Qingqing. These sites are not simplified into single symbolic objects. Rather, their meaning is construed from within these reincarnated worlds as a whole. From a certain standpoint, the significance of the site embodies the Chinese concepts of wizardry and alchemy.

The box-forms and miniature theaters are by no means sufficient to transmit the true power of language alone. The real power of language is dependent on the transmission of its subject matter. From the beginning of the Clone series in 2002, Chen Qingqing devotes herself to finding ready-made objects suited to the language of her boxes, or spends time looking for the outer form in which to place her props. Through this search process, she actually accomplishes her own transformation. From her early phase of the Coffin series, where she cultivates a feminist consciousness and begins a soul-searching process, she gradually progresses towards a personally significant loneliness and contemplates the greater theme of life and death.

This kind of transformation resembles Chen Qingqing's own words written in her “Clone Poem” (2002), “You will never feel lonely again, for we are not ourselves.” This idea comes from her mysterious and sudden enlightenment upon meeting an old friend whom she had not seen in a long time.

This friend is engaged in the clone science industry, and in this

experience Chen Qingqing realizes that the original body of her friend has transformed over many years. She then becomes curiously suspicious as to whether or not the soul has been distorted as well.

After the Clone series, Chen Qingqing's installations no longer have such strong personal mediations and melancholic attitudes towards the tragedy of death. Rather she tries her best to structure spaces featuring dramas about life and death or allegorical plays. Within these miniature theaters, the boundaries between time and space, life and death, yin and yang, humans, animals, and objects, as well as between ethnic groups and countries are removed. Where these scenes may depict the co-existence of living creatures, they do not portray idealistic happiness, or realistic suffering. pervasive concepts of wisdom and the forces of evil, her works are nevertheless aesthetically pleasing.

Despite the

Chen Qingqing's

creations depicting the transformations of spiritual reincarnation and rebirth are a super-experience. This is the main reason that her theaters may be physically small and delicate, yet can become grand and magnificent. From feminism to spiritual reincarnation, her ultimate super-experience incorporates contemporary images, such as 9/11, toy dinosaurs, clones, or symbols of China's frenzy for material wealth. Everything in her installations summons an enjoyable and pleasant atmosphere filled with the wise, the bizarre, and the on-going miniature performance.

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爪哇（二）－未知数系列 Jawa 2 － Unknown Series 56×108×14cm 2009

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Qingqing's recent box landscapes employ many backdrop photographs contributing even more to her epic visual language. In her work titled “WaWa's Dream”, the image depicts a cat-eyed butterfly hovering in the thick haze of a ghostly ancient city. In contrast, "Money Tree" features a more supernatural experience and symbolism. Without any regard for gravity, crowds of little red pigs crawl on the floor, the walls and the roof, circulating around the whole scene. There are even six red piglets climbing over the roof of the Tiananmen gate, and coins are produced one after the other from their behinds. A small golden trumpet points towards the open sky as a red-haired, tan-skinned child sways in the air against a backdrop of a huge RMB one thousand yuan (which was never exist). By invoking this bizarre style of spiritual reincarnation into these later pieces, Chen Qingqing begins to add a form of satire to her expression, which in turn allows her language to become more succinct and powerful.

From the critical perspective of the feminist language, Chen Qingqing's installation art progresses to the boundary of death, and the afterlife of the soul. Using the backdrop and philosophy of this spiritual theme, she generates the components of her personal language. In essence, the composition of these elements portrays an aesthetic site of ready-made objects with an intuitively spiritual vision. She locates the boundaries of this means of expression from the subjectivity of her own personal background, which then informs the basic language motifs in her installation art.

Although this

linguistic method is inspired by the pre-19th century Chinese spiritual intuition and aesthetic mystical process, Chen Qingqing's use of language offers her an outlet

陪陪－文化小女巫系列 Accompanying Girl － Little Culture Witch Series 40×52×25cm 2012

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towards for her own spiritual freedom. In transgressing this outlet, she not only achieves a cycle of life and death, but also an imaginary rebirth. On a linguistic level, through this cycle she achieves a reverse transformation of one's complete life experience.

Chen Qingqing succeeds in experiencing lifetimes of a woman's consciousness, therefore engaging in the drama of mortality through the continuous spiritually intuitive experience of renewal and rebirth. This demonstrates one's ability to achieve the final triumph, albeit a symbolic transcendence.

November, 20, 2005 Wangjing, Beijing

杰克逊万岁 Long Live Micheal Jackson 53×45×32cm 2010

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“狗骑兔子”去宋庄 Go to Songzhuang by the Car Named "Dog Riding a Rabbit" 96×47×40cm 2009

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安知吃亏不是福 2008 年，深秋的一个日子，我住进了医院……有人把我的身体放在了手术台上，我的肢体的一部分被切割了…… 后来的一些日子，我躺在白色的单子上，带着一些瓶子管子之类的东西活着…… 再后来，管子们被拔掉了，我被允许提着一只瓶子在走廊里行走，这样我见到了另外一些残缺地活着的生物…… 再然后就有人来找我谈话，他们说他们可以人工制造我的那个被切除掉的部件，只是我得再忍受一次被切割的痛苦，让他们来安装一些物件，另外，还比较贵！因为，也许，谁知那不是一个“明星器官”呢？我愕然了，不知何以对答！人类可真是进步了啊！那“科学”真是伟大啊！当然我没有接受那个建议。但我把我的那份无聊组装成了另一个样子，并且为她们起名为《我的美丽武器》，这件作品是用一对充满水泥的螃蟹壳和金属弹簧垫做成的。后来被一位英国的藏家收走了。庆庆，2012 年 , 北京宋庄小堡村

我的美丽武器－女性系列 My Pretty Weapon － Women's Series 52×46×28cm 2009

Blessing or Disadvantage? I was hospitalized one day in late autumn, 2008. My body was placed on an operating table. Part of it was cut out. In the following days, I was lying on white sheets, living on bottles and tubes… Later, the tubes were removed and I was allowed to walk in the hallway carrying my own bottle. This is how I met other incomplete living creatures… Later, they came to talk to me. They said they could replace the body part I lost with an artificial one, although they said I would still have to endure continuous pain, more pain when they cut me up to install it, and additionally, it would be really expensive because, perhaps, it could be a“star's”breast. I was stunned. I didn't know how to respond! Human beings had really progressed. How great“science”is! Of course, I didn't take that option. Instead, I took another look at that nonsense and assembled a piece I called“My Pretty Weapon”. These“Weapons”were made from metal spring gasket on a pair of crab shells fixed with cement. Later on, a collector from England bought it. Qingqing, 2012, Xiaopu Songzhuang, Beijing

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福 Happiness 57×56×28cm 2012

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过家家－嫁妆系列 Playing a Family Game － Dowry Series 57×52×24cm 2013

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木月女友“饺子”看了我的作品很伤感，她说《木月》是冰山，她说在我的心里有一个结冰的角落…… 我倒宁愿说是冰封，是北极。《木月》只是一个木讷的月亮，它能保佑我吗？那个慢慢飘过的中秋真的很慢，慢得让我终生难忘……因为那是第一次，我真的懂得了恐惧。久经沙场，当第一次有人对我说我得的是不治之症时，我没有恐惧，因为我根本就不信！我从来相信上帝派我来就是来“造”的，我“造“出的世界里，怎么会没我？！我不信！手术，一次次的化疗，都过去了，光秃秃的头光着，两年时间里我把房子里的绿植，院子里的鲜花种得铺天盖地，生命们在疯长，我在康复……到了那个中秋节前，我又活蹦乱跳了！终于，我决定，在拿自己当正常人使之前，也就是那个中秋节前，给自己做个检查。可是这次，我怕了，放射科大夫指着一些看不明白的肺部 x 光片，面无表情地说：“考虑复发，肺部转移！” 进一步的检查要待中秋节假期之后。仅仅一个星期的等待，却简直像缓期执行！我无法将这莫名奇妙的状态告诉任何人，因为我自己也是一头雾水，欲说还休…… 中秋节后的月亮最是皎洁，一晚又一晚，呆呆地望着它，我们相对无言…… 有一晚，我问它，如果我这个微小的生命很快就要终止，我还能做些什么？另一晚，我问它，我的生命在这个地球上快结束了，我的灵魂会去哪儿？天上吗？月宫很冷吗？可是它始终无语，只是用它不眨眼的光，久久地照着我。它让我想起了许许多多事，半个世纪的事，太多太多的美好，太多太多的无奈，还有太多太多的遗憾，就像我身上的伤疤，它们再也不会消去…… 可笑的事情却发生了，就在那些天漫长的等待等得我筋疲力尽的时候，有一项更贵的试验检查：有人把一些黑色矿物质液体似的东西注入到我的血管里，然后把我平放进一个小太空舱似的透视机器。两个半小时后，又用依旧是平淡无奇的声音坚决地说；“你没事了，可以走了！” 天哪！我就这样被“无罪释放”了！甚至没有拿到一个药片…… 我走出医院，天上当然没有月亮！太阳光炫得让我睁不开眼…… 一切只是梦吧？我问自己。又过了两年，又是中秋月圆，我，还健在。就做了这件作品《木月》，我将在我的遗嘱中写上，我要把它送给无言的月亮！庆庆，2013 年元月北京宋庄小堡村

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木月 The Wooden Moon 43×60×33cm 2010

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Wooden Moon One of my girlfriends said she felt emotional when she saw my work. She said “Wooden Moon” is an iceberg. She said there is an icy corner in my heart… I'd prefer to describe it as icebound. It's the North Pole. “Wooden Moon” is a plainspoken moon. Can it bless and protect me ？ That Mid-Autumn Festival floated by so slowly, so slowly that I would never forget it… because that was the first time I really understood fear. Since I had undergone so many things in my life, I was not afraid the first time when I was told I had an incurable disease because I basically didn't believe it! I have always believed that God sent me to“create”. How could my world of“creation”not include me ？ I could not believe it! I underwent operations and chemotherapy treatments, one after another, and I had become bald. In two years time, the plants I had grown inside my house and the fresh flowers growing outside in the yard were everywhere. They were overgrown. I was recovering… I was so happy to be back to life before that Mid-Autumn Festival! Before I could consider myself a normal person, I decided to have a check-up. It was also before the Mid - Autumn Festival. But this time I was scared. The radiology doctor pointed to chest x-rays that I couldn't understand. With no expression on his face, he said ”it could be a relapse, pulmonary metastases!“ Any further check-up had to wait until after the Mid-Autumn Festival holiday period, which was only one week and felt like a stay of execution! I have no way to talk to anyone else about this inexplicable state of affairs because my head was filled with fog and I didn't know what I should say… The moon after the Mid-Autumn Festival was very bright and clear. Night after night, I dully looked at it. We met face to face, without any words … One night, I asked it if my insignificant life would soon be terminated, what else would I still be able to do ？ On another night, I asked it if my life on this earth would soon be ended, where would my soul go ？ To heaven ？ Is the moon palace cold ？ But in the end, it never said a word. It just shined on me with its unblinking light. It made me think of so many things of the last half-century, so many wonderful memories, so many memories of helplessness and so many regrets. Just like the scars on my body, they would never go away… A ridiculous thing happened, during the time I was exhausted from those long days of waiting, when I was undergoing an even more expensive check-up: someone injected some black mineral liquid into my veins. Then they put me into the diascope,which looks like a space capsule. Two and a half hours later, it was that same pedestrian voice that resolutely told me, there is nothing wrong with you. You can go! My god! I was suddenly “acquitted!”And I didn't have to take a single pill… I walked out of the hospital. Of course, there was no moon in the sky! I couldn't open my eyes because the sunlight was so dazzling…… It's all just a dream, right ？ I asked myself. Two years later, it was Mid-Autumn Festival again, I was still alive and made this work—“Wooden Moon”, I would write in my will, that I wanted to give it to the moon! 恭 Respect 130×150×8cm 2011

Qingqing, January, 2013 Xiaopu Songzhuang ,Beijing

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关于我的作品《高度亲密》弥留之际的记忆是侥幸醒来的人永远都不会忘记的。那时，异常清晰却又非常模糊的，我觉得我的记忆就在我的身边，很近很近很近…… 时间变作了没有距离的东西，一切仿佛都在眼前飘过，好像我若伸手就能把它们拦住…… 但我的手抬不起来，身体像注了浆的石膏模，我似乎记得我躺在那一片软绵绵的白色中…… 墙角的墙皮有些发黄斑驳的痕迹，一个着粉色衣裙的影子，一个冷酷的护士进来看了一眼，用两个无表情的手指挤折了一下我身上的管子就走了…… 我在哪儿？发生了什么？我艰难地去想让自己清醒一点，却又睡去了…… “你睡了十五个小时啊！”醒来时有人告诉我，太舒服了，我仿佛觉得把十五年的觉都睡过来了…… 我分外轻松……十五年，我都做了什么？十五年以前的事变得太远太远了。但这十五年，我记得每一个细节，每一件作品，指尖的触感（只留在左手了），我的右臂，白白的，微微发肿。我动了一下右手指的指尖，几乎没感觉，天那！我还能做作品吗？医生！我还能工作吗？我大叫起来！没人理我，也许是我的叫喊根本没走出我的牙齿，他们并听不见，但我已很用力了。带我回去吧，我想说…… 我试图挪动自己长满燎泡的干唇，没有声音，当然也没有人听见…… 但是它们真的离我很近很近很近…… 儿时的家……打碎一切的革命……不顾一切的青春期……不断被撕毁的爱情……永远无法让人抓住的信任感……还有迟来的艺术……我一生一世的疯狂…… 都变做了一个个的电视剧，自己走进那些小小的抽屉——我的记忆包…… 而它们与我，竟是那样的遥远，却是那样的亲密！庆庆，2012 年仲夏北京宋庄小堡村

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高度亲密－记忆存储器系列 The Baggage of Intimacy and Memory － Memory Bank Series 161×100×45cm 2012

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The Baggage of Intimacy and Memory People never forget near-death experiences, even after they wake up. Things were extremely clear at that moment, but also very vague. I felt the memories all around me, very, very close… Time was no longer distant. All things seemed to be drifting in front of my eyes. It was as if I could just reach out and catch them… However, I could not lift my arms. My body felt like it was made out of plaster… I seemed to remember I was lying in that piece of white… There were some molted yellow traces on the wall in the corner, and a shadow in pink skirt, an emotionless nurse came in and looked at me, she left after two of her cold fingers squeezed and folded the tube on my body… Where was I ？ What happened ？ I was struggling to clear up my mind but falling back to sleep instead… "You have slept for 15 hours!" Someone told me when I woke up, that feeling was so great, I felt as if I slept for 15 years… I suddenly felt so relieved…What had I done in 15 years ？ Things from 15 years ago had become so far away. But for the past 15 years, I had remembered every single detail, every piece of work, touch of the fingertips (only for the left hand), my right arm, pale and slightly swollen. I moved the fingertip of my right hand, hardly any feelings. My god! Could I still make artworks ？ Doctor! Could I still work ？ I shouted! No one answered, perhaps my cry did not even come out of my teeth, they couldn't hear me, but I had already tried very hard. I tried to say, "take me back…" My dried up lips were covered with blisters. I tried to open my mouth, but no voice came out, so, of course, no one heard anything… But they were really, really close… My childhood memories of home… a revolution that destroyed everything… a venturous and daring adolescence… love that was constantly torn to shreds… the trust among people that can never be caught… also, belated art… the madness of my whole life… They had all turned into TV dramas, walking by themselves into little drawers, into the baggage of my memory… Them and me, we are for from each other but actually that intimate! Qingqing, Summer, 2012 Xiaopu Songzhuang, Beijing

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忆江南－记忆存储器系列 The Whither of Memory － Memory Bank Series 41×83×41cm 2012

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我和猫的故事关于猫，我可以讲上三天三夜，因为我对它们太熟悉了，熟悉的程度，是我差不多可以在无光的黑夜里，马上感知到有一只猫在向我靠近。于是有女友开玩笑说，因为猫儿们一般以为，庆庆是它们的同类。

1966 年，13 岁，文革，辍学。外面在革命，如火如荼，母亲担心我的安全，每天早上出门前必是千叮咛万嘱咐的，叫我不要走出大院门。那是一个大机关搬走后留下的一个荒芜的大院子，空空荡荡的，不记得有几个院落了，我们被许可住在一个院子的一角，自杀未遂的父亲摔断了骨盆，可是没有医生敢为他医治，因为他是“反革命大黑帮”，瘦的皮包骨头的，终日躺在床上呻吟…… 妈妈给我的工作是看护这具形同骷髅般的“黑帮分子父亲”。没有造反派来时，小院子里是死一般的寂静。家，在阴云中，妈妈的嘴角似乎会永远地紧闭下去，除了父亲的呻吟，有时会打破那沉静的空气…… 外院的大食堂里堆满了那个机关留下的一大片炉子，那是当时唯一能带给我一些欢乐的地方，也是我和它们的秘密…… 那里住着一个庞大的猫的王国！我说不清楚它们有多少，反正有机会时我会悄悄地溜进那个黑乎乎的大厅，那时只觉得是每个角落，每个炉子的缝隙，每个天窗口都有东西在闪动，那是它们大大小小的眼睛！不知为什么，我至今对它们的记忆都是绿色的，绿幽幽的有点像鬼火…… 渐渐地，它们对我不再陌生，我可以分辨出它们欢迎我的叫声，然后就一个个走出来，在我的腿边蹭来蹭去。渐渐地，我可以听懂它们的语言，高兴的，撒娇的，发嗲的，要吃的，它们甚至允许我，把她们吃奶的小宝宝抱在我手里，我给它们一个个地取了名字，和它们悄悄地做了朋友…… 就这样，我这个没有一个同学或朋友会来往的大黑帮的孩子，悄悄地交了一大群小朋友，而它们，给了我这大革命时代的孩子，最早期的亲情教育。猫国的记忆始终深深地留在我的脑海里，因为那是我 13 岁那年全部的快乐！庆庆，2013 年元月北京宋庄小堡村

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The Story About the Cats and Me Talking about cats, I can speak on for days without a break, because I am all too familiar to them. I can almost detect immediately when a cat approaching me, even at a dark night. So my girlfriend laughed and said this is because cats think Qingqing is one of them.

1966, I was 13 years old, the Cultural Revolution just started, all the school closed. The revolution was going on outside just like a raging fire, mother was worried about my safety, she exhorted thousand times every morning before she left, and asked me not to step out of the courtyard. After the administration office moved away, the deserted courtyard was left empty. I cannot remember how many patios there were, we were allowed to live at a corner of one patio. My father who attempted to commit suicide and broke his pelvis, no doctor dare to give him medical treatment, since he was a "Counter - Revolutionary Gangster", he was just like a bag of bones lying on the bed and moaning day after day… The job my mother gave me was to tend my skeleton like “Gangster“ father.

猫国－文化小女巫系列 The Cat Kingdom － Little Culture Witch Series 89×38×24cm 2010

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It was deadly quiet when the Rebels not coming. Home was in the clouds, mother's lips seemed closed down forever, and only father's moaning broke the quiet air sometime… There was a load of stoves left by the administration office in the canteen in the outer yard, that was the only place that could brought me joy at that time, which was also the secret between me and them… There lived a colossal cat kingdom! I couldn't tell how many of them were there, anyway, I always sneaked in that dark hall whenever I had the chance, you could feel that there were something twinkling at every corner, in the gaps between each stove and at every dormer, those were their eyes! I don't know why, but so far, I had the impression of their eyes being green, like the wildfire…

欲欲－文化小女巫系列 Desire Desire － Little Culture Witch Series 94×51×46cm 2013

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灰姑娘－文化小女巫系列 Cinderella － Little Culture Witch Series 94×51×42cm 2011

Gradually, I was no stranger to them, I could tell their meows of welcoming me, then they walked out one by one, nuzzled up to my leg. Step by step, I could understand their languages, pleased, spoiled, asked for food. They even allowed me to hold their newly born babies, and I gave them names one by one…we became friends quietly. In this way, me, the child of a "Counter - Revolutionary Gangster" who originally did not have any classmates or friends, secretly made a large group of little friends, and it was them offering me, a 13 years old girl who was living in the great revolutionary era, the earliest warm education. The memory of the cat kingdom has always remained deeply in my head, because that was the entire happiness of my 13 years old! Qingqing, January, 2013 Xiaopu Songzhuang, Beijing

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无庙山记那年和五龙一起登庐山已是冬初将要封山的时节，庐山的树上挂满了冰棱，大雾中的能见度大约只有六七米，朦朦胧胧的，一切都像是梦中的景象…… 远远地看到那些石雕，像西游记里的玉皇大帝和他的“随员们”出现在云里，跑过去看，是庐山会议旧址的伟人纪念碑群雕，伟大的领袖人物们都在那站岗，于是五龙为我拍下了作品中的这张图片…… 于是转年儿就做了这一个小小的祭台，算是送给我的父辈们吧。因为小时候记得，大人们常会说，某某人去见马克思了——是对一位革命者去了的说法。虽然对信仰有过那么多刻骨铭心的失望，我却始终对有理想的人们心存敬重，不为他们的理想，也为他们那些曾有过的不顾一切吧！今天又有多少人能为“无厘头”不顾一切呢？快乐啊，那些为了牺牲的聚会！他们曾有过无与伦比的快乐！可以为之牺牲一切的快乐！可是我们呢？我们这些由他们传递下来的生命？还有，我们的后人们呢？ 60 多年了，我们依然每天在电视里看着那些前赴后继的故事，听着“大刀枪“之类的雄壮，也依然固执地期待着各自的人生多一点点精彩 ……不是吗？登过许多山，这是在中国唯一的一座我没看见庙的山。我情不自禁，点燃一炷香，问，向着天，我的先人们啊，你们如今，在马克思那边过得可还依然快乐？庆庆，2011 年秋，北京宋庄小堡村

The Mountain without A Temple One year, I was climbing Lu Mountain with Wulong in early winter. The mountain pass was going to be closed soon. The trees were covered with icicles. There were only six or seven meters of visibility in the hazy fog. It felt like I was in a dream… From a distance, those stone sculptures looked like the Jade Emperor and his fellows, from the Journey to the West, coming down from the clouds. So, I ran over and found it was a group of statues of the great men who used to attend the Lushan Meeting, and today,they are still standing there. Then Wu Long took the picture that I used in this work… After one year, I made a small altar for my ancestors. When I was little, grown-ups always said so and so had gone to meet Marx, which was a revolutionary way of saying someone had passed away. I had many memorable disappointments with faith, but still, I always had respect for people with dreams of an ideal world – not for their different belives,but for their reckless spirit and prusuit for faith. How many people today would make effort for a bubble dream ？ So happy, like a sacrificial party! They used to have happiness beyond compare! That happiness was worth sacrificing everything for! But what about us ？ What about the lives they passed down ？ And, what about the people who come after ？ After 60 years, we are still watching those fearless revolutionary stories on television, listening to the grandeur of wartime songs and stubbornly expecting a little more brilliance in our lives…aren't we ？ I dimbed many moutains and this is the only one in China which I didn't see any temple. I can't stop myself from lighting a stick of incense. Holding it up to the sky, I ask my forefathers, are you still as happy with Marx as you used to be ？ Qingqing, Autumn, 2011, Xiaopu Songzhuang, Beijing

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碑－未知数系列 Stele － Unknown Series 51×49×25cm 2010

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天堂之路－未知数系列 To Heaven － Unknown Series 94×51×41.5cm 2011

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去天堂我躺在那片白色里，虚弱的四肢软得几乎不会动，看得见，从那根管子里流出一些粉红色冒泡的液体，流进一个大些的真空瓶，那是我的血水的混合物，我的胸口和半个手臂被白色包裹着，那个管子走出来的地方有一滩美丽的映红。我开始觉得浑身奇痒难挡，好像是因为很久没动过的身体有一点点复苏…… 我用朦胧的意识去认知周围的事物，一只大大的蓝色破氧气瓶，氧气管被贴在旁边老太太变形的鼻子上，白色的胶布在她浮肿的胖脸中心可笑地打了个“×”…… 朦胧间死神在向我走来，他高大的身躯有点摇摆，但好像对我并不陌生，让我清晰记得，他竟然是穿着一身白色的衣服（我一直以为死神应是穿黑衣的）。我看到天堂和地狱的门都向我开着，中间仅有一河之隔，我好奇地狱的鬼魅与荒诞，却又向往着天堂的美丽与神奇…… 但我这时却清晰地发现，我竟有那么多尘世的眷恋；我的袜袜和逗逗，我的工作室——我的家，我的花园，以及和我共建花园的女伴…… 还有，我的藏家，他是否收到了，那天我住院前寄出的作品。更糟糕的是，我割舍不下，我那上百件，做了 20 年的作品，我的“玩意儿”，我甚至还想到它们将会去往何方？我于是告诉死神，我还不能随他而去！因为我无法想象，那个被我一手建造起来的世界，没有我，它将会是什么样子？落入尘埃中，与万物一同凋零？那太残酷了！死神竟那么大度，他挪动着宽大的下巴，用低低的男中音缓缓地说，那么你回去吧，既然你这般不舍，回到你的世界去吧！有一天我会再来接你的！

天哪！他的宽厚竟让我如此感动，那记忆，好像只是我在莫愁湖边的一次幽会，幽然，浪漫…… 庆庆，2012 年，北京宋庄小堡村

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To Heaven I was lying in a bed, all white, with weak limbs which almost could not move. Some pink bubbling liquid could be seen overflowing from a tube into a bigger vacuum jar, which contained a mixture of my blood and other fluid. My chest and half of my arm were wrapped in white. There was a beautiful pool of red - pink at the place where the tube came out. I started to feel an incredible itch all over my body, as if it had begun to recover from longtime inactivity… I relied on my hazy awareness to try to recognize the surrounding objects – a huge old blue oxygen tank, taped to the deformed nose of the elderly lady in the shape of a “x”… Death was walking towards me in the haze. It seemed like he was not a stranger. I clearly remember he was wearing white, from head to toe (I always thought he should be wearing black). I saw the doors of both heaven and hell open up to me. A river separated them. I was curious about the ghosts and absurdities in hell, but I also looked forward to the beauty and miracles in heaven… But then, I clearly realized that I was sentimentally attached to my world – my cat Wawa (Socks) and my dog Doudou, my studio—my home, my garden and the female companions who helped me build the garden. I also wondered about my collectors, one in particular – did he receive the piece I had sent him before I went to the hospital ？ And the worst thing was that I was not ready to give up the house full of artworks that I had made for 20 years, my “playthings.” I even wondered what would happen to all of them ？ So, I told Death I could not go with him yet, because I could not imagine what the world that I had built would look like if I were not there. Would it fall into dust and wither with the universe ？ It's much too cruel! Death turned out to be very magnanimous. He nodded his broad chin and said slowly in baritone, “you go back then, back to your world! I will be back to pick you up one day!” God! I was so moved by his generosity. That memory seemed to be only a tryst on the edge of the lake of “no worries”, so romantic… Qingqing, 2012 Xiaopu Songzhuang, Beijing

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礼 Courtesy 136×165×9cm 2010

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大兔的秘洞－记忆存储器系列 The Secret Hole of the Big Rabbit － Memory Bank Series 60×68×36cm 2012

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鼠爷儿们的盛宴我看见了鼠爷儿们的盛宴，在 798 的阁楼上。像半死的身体慢慢苏醒。一个大手术和三次化疗，我的脸——我看不见——大约白得像纸。也许是掉秃了头发的缘故吧，我能感到五六米外的墙上高处的镜子反射出的光是来自我的光光的头皮，也许这就是我得不到那镜子的缘故（它被放在我拿不到的地方）。没有人的夜晚，798 也不会安静，因为五年以来四邻们包括我自己一直在装修，为了一些虚幻的梦，做个艺术区的梦。但是现在，是春节前的年夜，放爆竹的时间还没有开始。我看到了稀世罕见的景象，鼠儿，大大小小的鼠儿，论资排辈呢，他们坐在我的阁楼墙上大大小小的方盒子小作品上，排成大大小小的秩序…… 莫非它们也过年？还有一些必定是女鼠儿，她们负责端盘子，那是他们的年夜饭吧，她们发出的欢叫声有七种，吱吱、唧唧、嘶嘶、吁吁，除了常听到的四种外，还有老公鼠儿的咳嗽声；老女鼠儿的抽痰声；好像还有感冒了的婴儿鼠儿的抽鼻子的声音……打头的是一只年轻的帅哥鼠儿，他打着一只蜡烛，我认识，是我那次停电时用剩下的那一截，那一定是从床底下拖出来的…… 端坐的是一只中年肥硕的壮鼠儿，他必定是在家族中劳苦功高的，盘腿坐在我作品的顶上，很倨傲的，在等着他的三妻六妾们侍候，还有一个必定是家里的老祖母吧，银白色毛有点长，粉红脸，有些暗暗的老年斑的老母鼠，她是坐在我的小沙发上的，周遭有些可爱的跳来跳去的小鼠儿，让我想起《石头记》里的贾母和她的孙女们…… 我在朦胧中又睡了，醒来时我发现自己是被鼠儿们的歌声吵醒的，唱得有点像黄河大合唱，“风在吼、马在叫，798 在装修、 798 在装修……”打孔机的钻进声就在我床头的头顶上空，“Ren! Ren! Ren!”我头痛，简直像有人在钻我的脑仁儿。可是他们依旧在唱，可爱的小畜生，他们一排排一行行地齐齐坐在我的墙上的作品上、柜顶上，脑袋瓜子挨着脑袋瓜子的，摇动着肩头的小灰毛，太可爱了……白天小阿姨走时留下一盘果子在我的床头柜上，桔子被撕开了，花生瓜子落了一地…… “风在吼……马在叫……798 在装修，全中国在装修！ “ “保卫黄河，保卫长江，保卫 798 ！ “ 这是我的 2007 年的年夜，静谧中，我相信他们是特来陪伴我的，那些可爱的，小小的灰毛小精灵，他们是有多么敏感而善良呀！可是每次想起那些个夜，我的心仍旧在颤…… 后来好起来了，工作室搬去宋庄，我还常为”遗弃“他们有一点点留恋，2009 年又开始工作，我就做了这件作品——《数日子》，是为了记录和他们在一起的那个晚上，以及 798 那些难忘的日子。

庆庆，2008 年北京宋庄小堡村

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数日子－记忆存储器系列 Counting Days － Memory Bank Series 63×53×35cm 2009

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The New Year Eve Banquet of Mice I saw mice feasting in my 798 attic. It was like someone half-dead, in the haze, slowly regaining consciousness. After a major surgery and three chemotherapies, my face – even though I could not see it – was most likely as white as paper. Is it because I'm bald, I feel that the reflected lights from the mirror five or six meters away are actually coming from my own shiny scalp ？ Maybe this is why I cannot get the mirror. It was put in a place I cannot reach. 798 was never a quiet place, even at night when there were no people. For five years, the neighbors and I had been renovating because of some unrealistic dreams, dreams of turning it into an art district. Although it's Chinese New Year Eve, it's not yet time to set off firecrackers. I saw a very unusual scene – mice, all different sizes of mice, ranked according to their seniority, were sitting on the small artworks in my attic, arranged in order from large to small. Could it be that they celebrate the New Year too ？ Some of them seemed to be female mice, since they were carrying trays and moving plates around. That must be their New Year dinner. There were seven different kinds of laughter. Apart from four more common sounds – zhizhi, jiji, sisi, and yuyu – the old male mice were coughing, the elderly female mice spit like they had caught colds and the baby mice breathed loudly through their noses. A young and handsome mouse took the lead. He held a candle. It was the leftover stub of the one I used last time the power cut out. It must have been dragged from the bottom of bed. A stout, middle-aged mouse sat with his legs crossed, arrogantly, on top of my artwork, waiting for his wives to serve him. He must have been an important family figure. There was also the family's grandmother, an elderly female mouse with long silvery-white fur, pink cheeks and age spots. She sat on my little sofa, surrounded by cute young mice. The scene reminded me of Grandma Jia and her granddaughters, from “Dream of the Red Masions.” I fell back asleep in the dimness, but the sound of singing mice woke me. It sounded like the “Yellow River Cantata” – “the wind was roaring, the horses were calling, 798 was renovating, 798 was renovating…” the noise of the drill was right at my bedside. “Ren! Ren! Ren!” I was having a headache. If felt like someone was drilling into my brain. However, the adorable little beasts kept on singing. They were sitting in rows on my artworks, on top of the cupboard – their heads all next to each other and their grey fur twitching. So lovely they were － the little beasts, the oranges were torn off, orange peels and melon seeds scattered on the floor. “The wind is roaring… the horses are calling… the 798 is renovating… all of China is renovating! Guard the Yellow River, guard the Yangzi River, guard 798!”

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This was my New Year's Eve in 2007. In the stillness of the night, I believe they were sent to keep me company – those lovable little grey furry fairies. How thoughtful and kind they were! But, whenever I think about that night, my heart is always quivering… Life eventually got better. My studio moved to Songzhuang, but I always felt a little nostalgic for abandoning them there. I started working again in 2009, and made this piece“Counting Days”, to document those memorable days of 798 and that particular night I spent with the mice.

Qingqing, 2008 Xiaopu Songzhuang, Beijing

演 · 算 · 变－未知数系列 Counting and Calculation － Unknown Series 58×33×27cm 2012

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闻鸡起舞 Morning Dancing 119×38.5×36cm 2009

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系列

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与时俱飞飞－文化小女巫系列 Flying With the Time － Little Culture Witch Series 350×350×170cm 2009

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Qing Qing

秋我的霓裳她是我的旗帜，我的张扬我的飞舞，我的花蕾，我的果实她在自然与文化的夹缝中，蜿蜒生长

Autumn My beautiful dress She is my flag, my showing oﬀ My dancing in the breeze My flower bud and my fruit They survive between nature and culture Growing

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从自然到人文 ——佟玉洁与陈庆庆的对话时间：2013 年 3 月 14 日地点：北京，陈庆庆工作室

佟：昨天你给我看的那本画册，我看到一个评论家有一句话说得非常中肯，她说你的作品是从自然到人文，我觉得这个定位非常准确。比如《

衣》这个系列作品的材料，就更接近自然的概念。实际上，你对

人文情结，所以作品中的“ 如你的汉代服饰符号特征的《

材料的使用，已经融入了浓重的

衣”，已经不是一个简单意义上的自然材料制作，也不是有些人认为的简单的女红作品。比衣》作品，就传达出了强烈的历史与现代人文的信息。我不知道你的这些作品最早是从什

么时候开始的？庆庆：我开始用材料做艺术是在 1996 年，当时我先用纤维做成一种半透明的“ 作这种“

布”似的材料，后来进一步就试着在制

布”材料时加进去各种东西，比如有字迹的纸，干玫瑰的枝叶，花瓣儿，贝壳等等，大概是在 97、98 年就进一

步做成衣服的形式。因为刚开始试制成功这种材料的时候我非常兴奋，试着用它做了很多种不同的东西，灯呀、扇子呀，盒子呀，椅子呀，屏风呀，小柜子呀，等等，总之是把可能想到的都做了一遍。

佟：那你是怎么发现了这个材料，进而把它放到你的艺术当中去表现它的呢？庆庆：我最早看见古代的织物是在 70 年代，我不知道你记不记得有一个马王堆出土文物展，70 年代北京展览很少，文化活动更少，长沙马王堆出土文物展当时是很轰动的，展览的衣服就是用和棉纤维织成的，出土了以后，很快就风化了。

佟：是帛吗？庆庆：应该是，风化以后棉纤维织的地方就变成窟窿了，在氧气中消逝掉了，而

和丝织成的地方却留了下来，结果那些衣

服变成丝丝缕缕的，看起来特别地美，是一种既残破又沧桑的样子，历史感非常强。

佟：你的《衣》作品是受这个启发吗？庆庆：我那时很年轻，还没开始做艺术，但是当时那些出土衣物的景象一直在我脑子里，这个印象始终很深，因为那些东西太打动人了。当时说不清楚是为什么，好像当那些古代的织物变成了一种残破的出土文物以后，比原始的状态更具有吸引力了，也许是那种墓葬里带来的神秘感和沧桑感的力度太强了，我始终忘不掉，现在想起来还在眼前。

佟：的形成过程听说挺复杂的？庆庆：是的。首先，

是需要在阳光充足的地区生长的一种植物，成熟以后农民会把它砍下来泡在水坑里沤烂，留下

皮在烈日下暴晒，把晒干的外皮拍打掉，再剩下来的才是能加工成纤维的

。年成好时，

的外

接受了充足的日照，就会呈现得

又白又多光泽。我的作品用的，是把买来的又一层层的撕开，精心挑选色泽好的，进行再加工，（这样才使得作品有光泽，

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又柔又细。又有张力。所以我常说感觉

的材料像东方女性的性格，质朴、自然、坚韧。说它很韧，韧到什么程度，过去人

们用的绳就是这个做的，你想呀，过去用绳可以登山，可以在建筑工地上捆绑脚手架。）

佟：我记得你有一个装置作品叫《棺》，好像就是用做的。做装置是从这个作品开始的吗？庆庆：是的，最开始时做过一个小小的《棺》，就是这么大，一个小方盒子，里面放了一双三寸金莲和一些玫瑰花瓣儿，是我的女性系列作品里面的一个代表作。后来被欧洲的一个藏家收了，这个时候用材料的做法就基本成型了。

佟：当时我对这件作品印象挺深，尽管除了那个可以被称为文物的三寸金莲外，里面还放了一些玫瑰花，色彩很漂亮，还是感觉到一种阴阴的凄美，让人觉得那个时代的女性生活又柔弱，又很悲凉，挺动人的作品。你是怎么想到把

这种材料和三

寸金莲放在一起，形成这样一个视觉上沧桑而又凄美的作品？庆庆：这件作品，是我的女性系列里的第一件作品，记得应该是在 98 年做的吧。因为我看过很多历史上女人比较悲惨的的命运，年轻时在医院工作时我还亲自参与过一次手术，是为一位 70 多岁曾经缠足的老太太切除掉嵌入脚掌心的残趾，（所以我始终对所谓金莲文化挺厌恶的。后来读过一本书，是冯骥才先生写的《三寸金莲》，对这方面的事多了一些了解，这件小《棺》作品是在欧洲时做的）。在欧洲也有类似的情况，过去欧洲女人在十几岁的时候就要用一个铁箍把腰箍的细细的，胸捆得平平的，就像一个倒过来的莲蓬似的，只是为了显得腰身很好的样子。其实这种铁箍在裙子里，对年轻女人正在发育的身体是很伤害的。那个时代的服饰现在在伦敦的博物馆里还能看到，看起来很美，精致，典雅，但细想起来，那个时代的女人，真的只是被观赏品，无论中外，无分贵贱。但是我觉得中国的三寸金莲更残酷，因为那是对 3 至 5 岁的幼女采用的酷刑，并且常常是由她们的亲生母亲或是祖母去完成！而这只是为了满足一种男人们的莫名奇妙的视觉扭曲罢了。

佟：我还是觉得这个把小鞋放在

的韧性美和女性历史上的小脚的形成有一种内在的联系。三寸金莲反映那个时代的女性命运，但是你

做的盒子里做作品，这个材料就加强了一种女性的柔韧和历史的沧桑感。

庆庆：是的，因为我觉得

这种材料的性质很像过去中国女性的性格。中国人的传统文化里标榜的好女人要三从四德，大门

不出，二门不迈，其实核心的东西就是要求女人要服从，这是自古以来一直有的要求。人们从小就会教男孩子不许哭，要雄壮，要厉害，要强悍，要有这种很强的抗争力，要去奋斗，去争天下，但是说到女人时全部的要求其实就是一个“忍”字。

佟：你是说这个

比较能代表中国女性的性格？

庆庆：有这种特性，过去传统意义上的女人，一辈子都在忍，在让，在熬，在压抑自己以适应对方，等到她们老了的时候，其实她们的韧性已经被磨得非常强，非常有耐力，这样的例子很多，是一种像

一样的韧性，她可能不会去直接的说我不

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要，我不能，但是她可能会执着的坚持着自己的某一种坚持，一直到把这个事情做到成功，这就是女性，像一样的坚强，像一样的柔韧，其实非常伟大。

佟：后来你又陆续用做过一些较大的装置，都是很有女性艺术特点的作品。庆庆：是的，后来，我还用和树枝，干玫瑰等做过一些装置作品，比如我的嫁妆系列里的“削足适履”，“作茧自缚”，都是用和树枝干玫瑰花做框架的。后来参加过 2000 年汉诺威世界博览会的《对话——我的棺》，也是以为主要材料做的女性题材的作品。这个“棺”就做得和真的棺材差不多大了，用了很多干玫瑰的枝叶和树枝，加在的中间，非常浪漫。非典那年我还做过一个名为“晒肺”的行为艺术，盖在我身上晒的两扇大大的写满了“SARS”的肺也是用做的。

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佟：我发现你从的装置转化到衣的时候，观念上发生了很大的变化。我注意到你的衣作品中有汉服，有清代的旗袍，还有一些更当代的服饰，但都是女性化的。从历史到当代从装置的凄美的叙事，转变成了一种优雅的视觉叙事。庆庆：对，

衣是这样的，刚开始做了一个系列，就是刚才我给你说的《找对象》系列。当时我在奥地利，维也纳有家报纸

每个星期会有一版全是征婚征友的启示，我把那些征婚启示剪下来夹在我的作品材料中间，里面还加了一些干玫瑰花的枝叶，有的还夹杂着写了一些诗句的宣纸，完全随性，这样就变成了一种很有感觉的“

布”，自然的材料让我觉得它们和人的身

体的关系更亲密。

佟：你说你在里穿插着找对象的广告报纸，是奥地利的？庆庆：也有中国的，开始是在奥地利时做的，是德文的，后来回到中国就把中文和英文报纸上的征婚启事都剪下来，做

衣

时放进去。当然我的“ 布”是根据我要设计的作品形式填充内容，（包括征婚启事）等等，是一种挺有意思的工作。

佟：你这个《找对象》系列的作品什么时候开始做的？庆庆： 96 年开始吧。我把衣服做成两扇，一扇和另外一扇颜色不一样，这两扇衣服互相的关系是由扣子来联系的，它象征着 “找对象” 的关系。

佟：你把男女两性关系变成扣子与被扣的关系，能不能把它扣上，这就是男女两性之间是否能建立起一种和谐关系的象征，这个还是挺有意思的作品，我觉得不仅有意思，而且很独特，真的很独特。这件作品其实强调的是男女异性之间的沟通与对话。庆庆：因为我小时候一直看到父母吵架，或者是互相讥讽，我那时不知道一个家庭应该是一体的，因为他们始终几乎像是没有关系的两个人，站在各自的角度上，坚持着自己的生活态度。后来我发现很多家庭其实都是这样的，但还一直维系着一个家庭的表面的完整，这种形态很像是一件对开襟的衣服，分又分不开，合又扣不上，很家常，又很矛盾。刚才我提到的《对话——我的棺》也是针对这种情况的。

佟：我现在觉得你这个

衣的作品不断转化的文化符号，既包含历史，也包含当代的男女两性关系。你刚才提到

种坚韧的性格，它也比较能够代表中国女性的文化性格，当你把这个

似乎有一

和中国符号联系起来，它有性别的意味吗？或者说是

一种生命的意味？庆庆：是的，我想是有的。我也一直觉得的柔韧性比较像女人，更像东方女人。

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其实，这种材料本身就很东方，像东方人的性格。因为东方人会很含蓄、很委婉地表达对事情的看法。但其实又很执着的有一种坚韧的固执。如果在日本、韩国去参观庙宇，你会发现庙里的和尚穿的鞋都是

做的，高僧的衣服也是

的，感觉自然

中又有一种洒脱。

佟：这个材料的确有它的特别的文化身份，既有东方文化的质朴感，又有一种质朴中升华起来的高级。除了汉服样式的

衣

作品给我很深印象之外，后来我注意到你有很多历史上的服饰样式的作品，你怎么会把这么多不同时代的历史文化的符号和建立起联系呢？庆庆：有一本书，就是沈从文先生的《中国古代服饰研究》，给过我很多启发。这是一本很大的画册，沈老用了很多年的时间收集，整理，研究了中国各个朝代出土文物中的服饰。这本书很重，但是我 83 年第一次去奥地利时就把它带去了，99 年回国又把它背了回来。你知道吗，人在国外住时，对本土文化的思念特别强，我在国外每次看这本书，都觉得特别特别的亲切，那种感受，在国内时是体会不到的。后来有很长的一个阶段，我做的拷贝出土文物系列的作品，都要感谢从这本书来的知识。我做过拷贝出土文物——汉，拷贝出土文物——南北朝，拷贝出土文物——盛世，拷贝出土文物——宋和拷贝出土文物——清等等，其实我觉得，做作品的过程，并不仅仅是做个东西给别人看，也是艺术家自己的一个心理过程和学习过程，当我做出那些古代人的衣服的样子，宽袍大袖的，我的第一感觉就是我们的先人们活的比我们潇洒，比我们开阔。好像他们的生活是慢悠悠的，像神仙一样，与自然更亲近，人也更舒心。你有没有觉得我们今天活得有多么异化，多么累呀！

佟：是啊，服饰是文化的载体，一方面是审美，是视觉上的一种审美，另一方面是人的心灵对本民族古典文化的一种追忆，追思，当你的这些

衣用历史符号中的衣服形式表达出来时，它就不仅仅是给人予审美的享受，它传达给观众更多的文化信

息和对历史的追思或想像，特别是你的作品特有的半枯萎的干花，半模糊半透明的状态，让人在视觉上似乎可以感觉到是时空在推移，这其实正是它最感人的地方，艺术品能做到这样是很了不起的。庆庆：其实，小时候看过很多历史小说，演绎什么的，但是中国历史真的是太悠久了，很多事情在我脑子里实际上还一直是模糊的，半透明的，但是当我看到春秋时期的服装，就能想到那时人的那种朴而大方雄浑的那种感觉；看魏晋南北朝时期的服装，就感觉那时人飘逸潇洒，两宋的衣饰就显得含蓄、温文儒雅；盛唐时期的女服，就放荡不拘的了，所以我一直以为衣服是最生动的一种文化缩影。

佟：实际上，作为身体遮羞布的衣服它属于人的第二皮肤，它实际上也代表了你身体的一个部分，它既有身份的话题，同

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时也是作为身体的一个服饰，一种包裹，它和人的身体是最贴近的。我们刚才谈到自然的话题，中国人讲天人合一，就是强调人和自然的一种和谐关系，所以说你的衣把人和崇

的天然属性联系在一起了，

衣被赋予了一种文化的想像，我们推

的精神，其实就是在寻找我们的精神家园，是在回归人性的本真。现代人的大多数服饰都有很多化学成份，生活中自然

材料的东西越来越少，我想这应该也是你的作品受大家欢迎的原因之一吧！庆庆：确实这些作品参加过很多国内外大大小小的展览，大家都挺喜欢的，给了我很多荣誉。

佟：从

装置到现在的衣，你印象当中大概做了多少件有关的作品？

庆庆：挺多了，反正比我这十几年穿过的衣服还要多。总之，十几年来我的工作室里会一直有没做完的作品摊在工作台上，有时一件，有时甚至是两三件，因为这是一个很细致的工作，每一件

衣有 12 层，开始做的时候只有 4 层，后来加到 6 层，

至 9 层，现在是 12 层，甚至更多，一层层地做，一层层地缝，才有可能达到我要的效果。但是因为每一层的图案设计都是即兴的，当我对自己的设计不满意时，就会先放下去做别的。我喜欢自己有一种很日常的创作状态，就像一条河，一路流下来，走了很长很长的路，才能看尽路边风景，波澜壮阔时固然很伟大，但很多时侯会缓缓地、静静地流，这种状态会让我感觉到自己心里的美好。

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佟：你是说，这种工作状态，会让你的精神处于一种愉悦的状态？庆庆：是那种舒缓中的愉悦，也可以说是我给自己的精神补养。因为我的神经状态是比较容易兴奋的那种，兴奋起来时会很投入，几乎可以是不吃不喝地去专注于一件事，但这种状态有时很可怕，因为身体本身承受不起，会非常非常累。后来每次出现这种状况时，我就会愿意去做

的作品，同时放点音乐在旁边，让自己静下来，走进去，好像是整理了自己，人一下子

就安静下来了。每天的生活和这种工作状态融合在一起也挺好的，这也是我这些年一直住在工作室的原因。

佟：除了生命本身的坚韧的象征之外，还有其他意思吗？庆庆：有的，刚才我们谈到

的东方特色，我就想说到这一点。这里面还有一种生命尊重的意识，西方人表示欢迎的礼节经

常是献花，用花来表达对被欢迎者的敬重，中国人呢，会在哀悼逝者时披

戴孝，用自己朴素的装束表达对逝者相送或追忆

的情感。用让自己吃苦的行为方式来表达一种对他人的敬重，也可以说是中国人的文化里面特有的吧。

佟：

跟人的生命一样，经过了种种磨难的生命历程，从生到死，最后变成坚韧而可用的一种纤维，就像你的《

又开始的艺术生命的历程。

衣》作品

在你的手中，已经完成了生命状态中的一种自然转换。听说收藏你的作品的人很多，那些藏家

他们对你的作品是怎么理解的呢？庆庆：坦率地说，美术馆和文化机构收藏的也有几家，但更多的是女收藏家。有太多的女性喜欢我的

的作品。

佟：那么她们对你的作品是怎么评价的？大多数时候，她们看到作品说的第一句话就是： “这真漂亮啊！”我想是因为女性感受事物包括艺术的方式都更感性吧，她庆庆：们多数人不会像男收藏家那样去想，我收的这件作品是不是会在艺术史上有价值啊？或者，它的拍卖价值是多少啊？但是，过后有机会时，她们会告诉我，她们喜欢在自己的客厅里，或者喝咖啡、喝茶时看到我的作品，那会让她们感觉心情宁静，舒缓。

佟：你的作品中的

衣里面夹着很漂亮的干花，是很美的，在视觉上的确很享受的。现代社会，都市文化的节奏太快，所以

人们喜欢你这种作品的同时，还希望自己有一种回归，回归到人和人之间自然，淳朴而又轻松的社会关系中。我注意到你这个衣服的作品，在这一两年开始有一些延伸，延伸的材料，从品的文脉。这个文化符号很强的

转变到不锈钢，虽然它还是没有脱离你女性作

衣变成了不锈钢材质的衣服了，你是怎么会突然有这样的转变？

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庆庆：这也许是我对都市文化的一种反应吧。因为我觉得不锈钢这种材质更能代表现代女性的性格。这种材料很美，美得很华丽，但是一种现代的，冷冰冰的、强硬的美，细腻，紧致，光洁，表面的华丽就像有些女孩子的化妆，更像这个现代化大都市的表情，浓妆艳抹之下好像掩盖了很多东西。

佟：是啊，这些品质都很适合用来形容现代女性。当今的工业信息社会，给人生活的压力很大，对于女性就更是这样啊，冷硬与窘迫的社会关系中的人和人之间很难和谐相处。庆庆：很多次我碰到男孩儿们在抱怨，抱怨他们找不到想象中像他们的母亲那代人那样贤惠的女友，其实没有人可以要求现代女性像过去传统女性一样一心只为对方付出。因为现代女性要工作，要独立承担同样的种种社会责任。她们必须很独立，很强，很硬，否则怎么能在今天的竞争社会中拼搏，生存下去呢？

佟：也就是说，这里面你还是没有脱离你的女性主义的模版，你的作品还是在表达女性的，尽管换了材料，你还是加入了你对当代女性文化性格的理解。事实上，作为都市文化代表的服饰，是最能代表各个历史时期的人文生活的，从这一点上说，你的不锈钢的衣服作品，衍伸了

衣作品的文脉。我认为你的材料抓得很准，不锈钢材质的服饰很精准地形容了当代都市文

化中的女性状态，应该说，这组不锈钢的作品，成为了你的现代衣。

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棺－女性系列 Coﬃn － Women's Series 23×24×13.5cm 1998

伟大的人逝世后，听说是住在水晶棺里的。女人们则始终是卑贱的，缠足的女人尤其是让人耻笑。旧时的北京城里，缠足的女人是很常见的。颠簸着颤颤巍巍的小脚，她们一步三摇，据说畸形的美丽就在于此——被人为的骨折后的双足，无以支持她们身体的重负。她们有时是提着菜蓝、米袋，或怀抱着孩子，缠足女人们不得不一次次的在路旁小憩。我的棺是为她们作的，为那一段畸形的耻辱，

的棺，献上枯萎的玫瑰，红的，粉的和紫红的

我始终不能理解，人类何以能如此残忍？我同样始终惊异与叹息，女人们的坚忍与坚忍中的伟大! 我的棺是为她们作的，的棺，献上枯萎的玫瑰，红的，粉的和紫红的

I heard that when a great man died, his body would be kept in a crystal coffin. Women are considered with humble origins and it is a shame for women with bound feet. In old times, it was common for women to bind their feet. They moved in trembles and shakes. It's said that the twisted beauty comes from the feet which are broken in purpose and couldn't afford their weight. They walked with a basket of vegetable or a bag of rice, or with a kid in arms. They had to rest along the road time to time. This coffin is made for them, for the deformed shame they had experienced. It's made of hemp and roses in red, in pink and in purple. I couldn't understand how human being could be so cruel ？ I am also astonished by the toughness and greatness of women! My coffin is made for them, a coffin of hemp with dry roses in red, in pink and in purple.

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From Nature to Culture The Dialouge Between Tong Yujie and Chen Qingqing Date: March 14th ,2013 Place: Chen Qingqing Studio, Beijing

Tong: I saw one critic's comment in the album you showed me yesterday that was very to the point. She remarked that your work ranges from nature to culture, which I take as accurate. For example, the material of the Hemp Garment series is very close to nature. In fact, your use of hemp assimilates a heavy dose of humanity, so the hemp garment goes far beyond the sense of natural material and ordinary needlecraft. Your Han Dynasty style Hemp Garment conveys a strong sense of history as well as modern humane spirit. I was wondering when you started those works. Qingqing: I started to use hemp as the material for my artwork in 1996. At that time, I first made a semi-transparent hemp-like cloth with fiber. Then, I tried to weave various kinds of things into the hemp cloth I was making, such as paper with handwriting, dry branches, rose petals, shells, etc., and then I made them into clothing in 1997 and 1998. I initially was so overwhelmed by the joy of successfully creating this material that I tried to make many other things, such as a lamp, a fan, a chair, a screen, a cabinet and so on. Anyway, I made anything that I could think of.

Tong: How did you find this material, and then how did you come to use it in your works ？ Qingqing: I first saw the ancient hemp textiles in 1970s. I don’t know if you still remember the exhibition of unearthed artifacts from Mawangdui. In the 1970s, few exhibitions were held in Beijing and there were even fewer cultural activities, so that exhibition created quite a great sensation. The clothes in the exhibition were made with flax and cotton, which quickly became weathered as soon as they were dug out of the ground.

Tong: Isn’t it the silk (that remained) ？ Qingqing: Perhaps. The cotton disappeared after being exposed to the oxygen, while the parts woven with flax and silk remained. The resulting clothes were gossamer. They looked amazingly beautiful, with the beauty of something that was dilapidated and had been transformed, and with a very strong sense of the passage of time.

Tong: So your work Hemp Garment was inspired by this ？ Qingqing: I was still young at that time and hadn’t started to make art, but those unearthed clothes haunted my mind. I was deeply impressed by them because they were so beautiful. At that moment, I couldn’t say why, but it seemed that those ancient fabrics were even more attractive than the originals, after they had been dug out and turned into debris. The charm might have come from the strong sense of mystery and vicissitude. I can never forget them. Actually, they are still vivid in my mind.

西施－拷贝出土文物系列 The Beauty － Artificial Artifact Series 185×180×8cm 2007

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草熏衣 Fragrant Sleeves 236×46×7.5cm 2010

Tong: I have heard that it is a complex process to make flax ？ Qingqing: Yes. First, hemp is a plant that grows in areas with plentiful sunlight. When it is ripe, farmers cut it down and soak it in a puddle until it gets rotten. Then, it is dried in the hot sun and then the dried skin is beaten off, leaving the rest to be processed into fiber. In good years, hemp that gets abundant sunshine and will be white and lustrous. The flax used in my work is white and lustrous because I carefully further split the hemp that I buy. It will make the work more lustrous, soft, slender and elastic. So I always feel the material of hemp is like the characteristics of oriental women,simple,natural and tenacious. How tenacious it is ？ People used to make ropes with it. These ropes can be used for climbing mountains and tie up scaffold in construction field.

Tong: I remember that you had an art installation called Coffin, which was made out of flax. Was that your first hemp installation ？ Qingqing: Yes, it was. I started out by making a Coffin, a small square box with a “three-inch golden lotus” (an embroidered shoe for a woman's bound foot) and some roses in it. It is one of the representative works of my women series. Later, it was collected by a European collector. At the same time, the use of flax material in my art took shape.

Tong: I was deeply impressed by that work at the time. Although there was a cultural relic, a “Three-Inch Golden Lotus,” and some rose petals, with a beautiful character, it exudes a gloomy poignancy that makes you feel the delicacy and sorrow of women’s lives at that time. It is quite moving.

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How did you come up with the idea of putting hemp together with the “three-inch golden lotus” to create such a visually impressive work of vicissitude and poignancy ？ Qingqing: This work is the first piece I made in my women series; I think it was made in 1998. Throughout history, I have seen so many women who suffered a miserable fate. When I was young, I once took part in an operation of 70 - year - old woman with bound feet, to remove the remnants of her toes, which were embedded in the arches of her feet. So I always feel disgusting about so - called “three inch golden lotus“culture. Later, I read a book called“three inch golden lotus”written by Mr. Feng Jicai. I knew more about it. The work “coffin” was made when I was in Europe. We have similar examples in Europe; women used to wear girdles to create slender waists and flattened their breasts with iron hoops, so that they looked like inverted lotus seedpods. They did this just to highlight their small waists. In fact, such hoopskirts are harmful to young women when their bodies are still developing. That kind of period dress is still on display in London museums, and looks beautiful, exquisite and elegant. But upon reflection, women at that time, whether in China or the West, whether of noble birth or humble birth, just served as an object for appreciation. However, I think China's “three-inch golden lotus” is more cruel and inhuman, because it is a brutal torture imposed on little girls of 3 to 5 years old, usually by their mothers or grandmothers, only to cater to an inexplicably distorted male visual aesthetic.

Tong: I still think that the resilience of hemp constitutes an internal connection with the bound feet in history. The “three-inch golden lotus” reflects women's fate at that time, but when you put the little shoes in the flax box to form a piece of artwork,

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this material intensifies the resilience of women and the sense of vicissitudes. Qingqing: Yes. I think the characteristic of flax, as a material, is very similar to the disposition of Chinese women in the past. Traditional Chinese culture describes a good woman as one who never steps outside the door or has contact with others. Actually the core issue that has always been the case is that woman should be obedient. This is a social manner imposing on women since ancient times. As children, boys are taught not to cry, be tough, be strong, be valiant and aggressive, with the ambition to strive and fight for the world. But when it comes to women, the only requirement is that they tolerate.

Tong: So you say that hemp can represent the disposition of Chinese women ？ Qingqing: Hemp does have this characteristic. In the traditional sense, women tolerate, they yield, their emotions simmer and they suppress themselves to suit the other person. Only when they are old, they become very strong and enduring. There are many examples like this, which are similar to the toughness of hemp. Perhaps she cannot directly say “I don’t want” or “I cannot,” but she will keep persisting until she succeeds. This is women, just like how hemp is strong and pliable. This is really very great.

Tong: Later, you made some larger installations out of hemp and they share strong characteristics of female art. Qingqing: Yes, I do. Later I made some installation works with hemp, branches, dried roses and so on. For example, take “Cutting the Feet to Fit the Shoes” and “Wrap Oneself Up in a Cocoon”, in my dowry series – their frames are made of hemp, branches and dried roses. Dialogue—My Coffin is also a work focused on women that is mainly made of flax. That “coffin” is about the same size as a real one. I used a lot of dried rose petals and branches, and embedded them into the flax. It is very romantic. In the year of SARS, I made a performance art named Basking Lungs. On my body, those two big lungs with SARS written on them were made of hemp.

Tong: I find that when you go from hemp installations to hemp garments, your concept also has gone through great changes. I see that in your hemp garment works, there are costumes from the Han Dynasty and the Qing Dynasty, as well as some contemporary clothes. It has moved from history to the present day, from the poignant narrative of the hemp installations, to a visually graceful and elegant narrative. Qingqing: Right, this is how it is with the hemp garments. The first series I made was Looking For a Mate, which I told

辽金元代女装－拷贝出土文物系列 Yuan Dynasty Garments － Artificial Artifact Series 210×250×10cm 2002

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you about just now. I was in Austria, and there was this newspaper that had a page of personal ads every week. I cut them out and mingled them with the materials of my work, and then added some dried rose petals and branches. I even added some rice paper with poems on it, in a totally casual way. This is how a unique kind of “hemp clothing” came into being. Natural materials made me feel that they were closer to human body.

Tong: You said that you inserted personal ads from a newspaper in Austria into your hemp material ？ Qingqing: Some came from Chinese newspapers. I started in Austria, with German newspaper, when I lived in Vienna and then I came back to China and cut out the personal ads in Chinese and English newspapers so that I could put them into a hemp garment. Of course, I made each “hemp garment” according to my designs and filled it with things like personal ads, including marriage announcements, etc. It was really interesting work!

Tong: When did you start your Looking For a Mate series ？ Qingqing: I started in 1996. I made a garment that had two parts, each a different color from each other. The two halves were connected by buttons, which were symbolic of the “looking for a mate” relationship.

Tong: You turn the relationship between men and women into a metaphor of buttons, whether they can be clasped or not is a sign of whether harmonious relationships can be established between men and women. It is very interesting – not only interesting but also unique. This work actually emphasizes the dialogue and communication between men and women.

端庄 Elegance 70×186×7.5cm 2004

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Qingqing: It’s because when I was young, my parents were always arguing or always ridiculing each other. At that time, I did know that a family should be a singular foundation – because in the end, if everyone maintains her own point of view and sticks to her own way of life, it’s almost as if they have no relationship with each other at all. Later, I learned that there were many families like this, but still, in the end, they maintained the outward appearance of a perfect family. This state is just like a button-down shirt – inseparable, yet impossible to button up. It is common, but conflicted. Dialogue — My Coffin, which I mentioned above, also deals with this situation.

Tong: I now think the cultural symbol you keep changing in your hemp works contains not only the history, but also the relationship, between contemporary men and women. You just mentioned that hemp has a tenacious character, so it

在 798 的工作室工作 Woking at the studio in 798 Art Zone

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can represent the cultural character of Chinese women. When you connect hemp with Chinese symbols, are there any implications of gender. Is there any implication of gender when you connect hemp with Chinese symbol ？ Or does it imply a kind of life ？ Qingqing: Yes, I think there are. I always think that hemp's tenacity is just like women, especially Eastern women. In fact, hemp itself is full of Eastern flavor, just like the character of Eastern people, because we are reserved and implicit in expressing our ideas but we are stubborn at the same time. If you visit temples in Japan and South Korea, you will find that the shoes of monks are all made of hemp, which is also used to make the clothing of eminent monks. You can feel free and eased wearing hemp garment.

Tong: This material does have a unique cultural identity – both the simplicity of oriental Culture, as well as a high level of refinement that comes from that simplicity. In addition to your Han Dynasty-style hemp garment that impressed me greatly, I also noticed that you have a lot of works that are made in the style of costumes in ancient times. How did you use hemp to build connections between the historical and cultural symbols of different time periods ？ Qingqing: There is a book titled The Study of Ancient Chinese Clothing and Ornaments, written by Mr. Shen Congwen. It gives me a lot of inspiration. It is a large album of the clothes that were unearthed among the cultural relics of various dynasties in Chinese history that Mr. Shen collected, sorted and studied. The book is very heavy, but I carried it with me when I travelled to Austria for the first time in 1983. Then, I took it with me in 1999 when I came back to China. You know, when people are travelling abroad, they will desperately miss their own culture. Every time I read this book in Austria, I felt extremely warm. That was something I had never experienced when I was in my homeland. And for a long time after that, I felt gratitude to what I had learned from this book when I was copying the series of unearthed cultural relics. I had made Copies of Unearthed relics—Han Dynasty, Copies Unearthed Relics—Southern and Northern Dynasties, Copies of Unearthed Relics—Golden Age, Copies of Unearthed Relics—Song Dynasty and Copies of Unearthed Relics— Qing Dynasty and so on. I think that the process of making artwork involves not only the production of a work for the viewers, but also the mental process and learning process. When I was making the clothes worn by the ancient people, with loose robes and wide sleeves, the first thing that occurred to me was that our ancestors led a more free and open life than we do. It seems that their life was free and leisurely, like immortals. They were closer to nature and happier. Don’t you think our lives these days are so alienated, and so tiring!

Tong: Absolutely. Clothes are the carrier of culture. On one hand, there are aesthetics, visual aesthetics; on the other

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清－拷贝出土文物系列 Qing － Artificial Artifact Series 144×150×7.5cm 2004

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hand, they are the mind’s recollections and memories of this nationality’s classical culture. When hemp is used to express the form of historically symbolic clothes, it not only gives viewers aesthetic enjoyment, but it also conveys cultural information and history’s memory, especially with the unique half-withered dried flowers in your work. The half-blurred and semitransparent state makes people visually feel the lapse of time and space. In fact, this is what touches us the most in these works. It is amazing. Qingqing: In fact, I have read a lot of historical novels and romances, but Chinese history is so long that many things are still vague and semi-transparent in my mind. But when I saw clothes from The Spring and Autumn Period, I can imagine the grand and plain characters of the ancients. When I saw clothes from the Wei, Jing and Southern and Northern Dynasties, I can feel the eased living attitude of the people who were wearing them. The clothes from The Song Dynasty seems reserved and implicit but it turned to libertine at the Tang Dynasty. So I always think that the garment is the most vivid epitome of a culture.

Tong: Well, in fact, clothes, something that covers our nakedness, is also our second skin. It actually represents a part of our body. It reveals our identity, but at the same time, it is a decorative symbol to cover the human body. It is the thing that is closest to our bodies. Now let's come back to the topic of nature we talked about just now – Chinese people emphasize the unity of heaven and human beings, which is a harmonious relationship between man and nature. Therefore, your hemp garment links the natural attributes of hemp to man, and endows hemp with a cultural imagination. The reason why we adore hemp's spirit is that we are actually looking for our own spiritual home and are pursuing the return of human nature. Most modern clothes contain chemicals, and things made of natural materials in our lives are becoming rare. I think this is also a reason why your works are so popular! Qingqing: Indeed, these works attract a lot of attention in many large and small exhibitions, both at home and abroad. This brings me a lot of acclaim.

Tong: From hemp installations to hemp garments, how many hemp-related works have you created as far as you can remember ？ Qingqing: Quite a lot, even more than the clothes I have worn during the last ten years. In short, there are always unfinished works on the workbench in my studio; sometimes one, sometimes even two or three. This is a job that requires meticulous effort. Every hemp garment contains 12 layers. There are only four layers at the beginning. Later, I add to it to

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蔴纤维三扇屏 Hemp Fibre Byobu 192×122×4cm 2010

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秋娘 The Autumn Lady 140×108×7.5cm 2006

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become six to nine layers; now, it has 12 layers or more. It is only possible to achieve the desired effect after making and sewing each layer by layer. But because the design of each layer is spontaneous, I will leave it alone and do something else when I am not satisfied with my own design. I like it when I am in a creative state, like a river, streaming all the way down over a very long way to enjoy all the scenery in the journey. It is magnificent when it surges forward with great momentum, but most of the time it just flows slowly and quietly. This state helps me discover the wonderful feelings in my heart.

Tong: Are you saying that work will put you into a pleasant state of mind ？ Qingqing: It is a kind of soothing pleasure; it also nourishes my spirit. Because it is relatively easy for me to get excited, when I am excited, I will be fully devoted to my work and I will focus on one thing without eating or drinking. But sometimes it is awful to be in such a state, because my body itself cannot stand it and I will become exhausted. These days I play music while doing my hemp work, to calm myself down. When I really go into it, it feels that I am collecting my thoughts and will soon quiet down. It is wonderful to integrate my everyday life with this state of work; it is also the reason why I have been living in my studio all these years.

Tong: Is there any other symbolic meaning of the hemp apart from the tenacity of life itself ？ Qingqing: Yes, there is. We have talked about the oriental features of hemp just now, and I would like to elaborate on this. Hemp also manifests an awareness of respect for life. Westerners often greet each other with flowers, which expresses their respect for the recipient. Meanwhile, some Chinese people wear a simple costume of hemp clothes in the morning, to express goodwill or respect for the dead and to show respect to others through their own sufferings, which is peculiar in Chinese culture.

Tong: Hemp is just like a person's life. It goes through a journey full of hardships and sufferings, from birth to death, and finally becomes a tough and tenacious fiber. It's as if the life of hemp starts over again in an artistic way. In your hands, hemp’s state of life has achieved a natural transformation.

Tong: I hear that you have a lot of collectors. How do they understand your work ？

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Qingqing: To be frank, there are a few art galleries and cultural institutions that collect my works, but my collectors are mainly women. There are so many women who like my hemp works.

Tong: What do they think of your work ？

Qingqing: Most times, their first remark is “Wow, it's so beautiful!” I think perhaps it is because women have stronger feelings towards things, including art, and many of them will not ponder its value to art history or its worth at auction, like a man would. But, if they have a chance, they will tell me that they like to look at my work in their living room, or over a cup of coffee, because it makes them feel tranquil and relaxed.

Tong: Beautiful dried flowers are embedded in your hemp works. It is really beautiful, and, indeed, gives visual enjoyment. In modern society, the pace of urban culture is too fast, so people also want to return to the natural, simple and easy social relations between people when they are appreciating your works. I notice that there are some extensions of your garment works in the last couple of years. You have expanded the materials from hemp to stainless steel, though it is still in the context of the women's work. The hemp with strong cultural symbols has been replaced by stainless steel. How did such sudden changes come about ？ Qingqing: Maybe it is due to my reaction to the urban culture. Because I think stainless steel can better represent the character of modern woman. This material is beautiful and magnificent, but it is a beauty that is modern and cold. It is exquisite, firm, smooth and hard. The gorgeous surface is like women’s make-up and it is more like the emotions of this modern metropolis. Heavy make-up covers a lot of things. This material is just like an expression of the modern society.

Tong: Yes, these characteristics are very suitable to describe women in modern society. In today's industrial and informationrich society, people are overwhelmed by the pressures of life. Women are even more vulnerable. Amidst this society of such cold and impoverished interpersonal relationships, people are faced with great difficulties in getting along harmoniously with each other.

Qingqing: I have heard a lot of boys complain that they cannot find a virtuous girlfriend, like the women in their mother's generation. In fact, no one can expect modern women to sacrifice for their partners devotedly, like traditional women did in

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the past, because modern women have to work and independently assume the same social responsibility as men do. They must be independent, strong and tough, or how can they fight and survive in today's competitive society ？

Tong: That is to say, you still work with a feminist template and your works are still about women, despite the fact that you have changed material and added your own understanding of the cultural character of contemporary women. In fact, as the representative of urban culture, clothing is something that can best represent the cultural life of people in various historical periods. In this aspect, your stainless steel clothes extend the context of hemp works. I think that you are very right in choosing materials -- stainless steel clothes do express accurately women's status in contemporary urban culture. You could say that these stainless steel works are a modern version of your hemp garments.

汉字世纪 The Chinese Century 107×42×43cm 2010

恐龙口中和身体上都有古代木板水印用的汉字木模，键盘也是汉字的 There are ancent Chinese woodblock printing moulds in dinosaur's mouth and on their body，and I also put Chinese Characters on the keyboard.

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温柔的铜墙铁壁 1~2 －文化小女巫系列 Woman's Soft Weapons 1~2 － Little Culture Witch Series 80×60cm ／ 100×45cm 2010

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温柔的铜墙铁壁 3~6 －文化小女巫系列 Woman's Soft Weapons 3~6 － Little Culture Witch Series 48×82cm ／ 48×86cm ／ 50×110cm ／ 48×86cm 2010

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私事的记忆 ——关于我的以“枕”为形的作品 “悄依依”、“点点香”、“枕留香”、“逝夜的风流”等等、等等，丝丝缕缕，牵牵挂挂，剪不断，理还乱，丝的纤细，麻的游韧，落花流水，春去秋来…… 悄悄的泪，细细的雨，枕边的呢喃，窗外的垂柳扶桑，春风秋月，枕头说：她知道很多事，很多别人不知道的事…… 就连那些戏文电影中，也只是说些好儿女如何化作了孤魂野鬼，却还是说不清那些情天恨海，逝去的风流债等等。其实，那些只不过是文人墨客们的肆意想象罢了。枕头的记忆，才真真是其实无法演绎的，人们不好启齿呢。枕头知道的事，其实也很平凡，只不过是户户人家的凡间事罢了，像我的以“衣服”为形的作品一样，它们很平凡，却很“贴人”，是平常不过的美丽，是人人都有过的一缕记忆，她们是艺术吗？也许只是一点点遐想的空间吧！庆庆，2010 年秋，北京宋庄小堡村

Private Memory About My Pillow “Sweet Cuddle” “Drops of Happiness” “Fragrance From the Dream” “Romance From Last Night”，etc. Thereads of thoughts and solicitude, inseparable, disordered, slender silk, tenacious fibers, falling flowers and flowing water, the seasons come and go… Quiet tears, a light rain, muttering beside the pillow, weeping willow outside the window, the spring breeze and the autumn moon,The pillow says: she knows many things that other people do not know … Even dramas and movies can only talk about how lovers turn into lonely souls, they could not describe how love is as high as the heaven and hatred as deep as the seas, or the death of a love affair, etc. Indeed, it is only wild imagination of poets and artists. There is actually no way to figure out pillow's memories. They are not easy for people to talk about. The things that the pillow knows are indeed ordinary things, only some kinds of common things that happened in every family in the real world. It's just like my“clothing”works. They are very ordinary, but close to people. It's only ordinary beauty, like the kind of memories anyone would have. Are they art ？ Perhaps it is just a little space for daydreaming! Qingqing, Autumn, 2010 , Xiaopu Songzhuang, Beijing

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枕留香 Fragrance from The Dream 81×57cm 2010

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《对话——我的棺》与怎样做个女鬼的故事几经周折，终于听到这件作品展出了的消息，是在德国汉诺威举行的 2000 年世界博览会上。他们来谈，是在那个天色紫蓝的冬日的下午，德国的一位策展人约翰和他的一位翻译来到我家，我摊开几张草图，告诉他那将是一只用干柴、

丝和干玫瑰做成的棺材，他嘴里 JA、JA（是、是）地不断点头，但我从他的眼睛里已经看出，他其实并

不完全理会，只不过是不可能承认他的想象力无法按照我的说法在脑海里形成一个形象罢了。当我指着草图上的“棺”中两个相互搂抱的人体，告诉他这将是棺材里躺着的一对形同真人大小的男女时，他的眼神禁不住彻底地滑稽了，勉强拉上去的嘴角挂出了七分惊异三分戏谑的口吻，两只睁得大大的蓝眼睛透过镜片直视着我：“你，你难道真的认为，认为人还会，还会在死后这样的亲密吗？”一个地道的德国人的问题！据说他们是世界上的最较真儿的人。如果不可能，又有什么关系呢？谁又看见过呢？他们的脑子真是不打弯的！再见到这位约翰先生时是若干时日以后了，他垂下眼帘，满脸严肃而郑重地宣告说：“我其实喜欢你的创作方案，我希望见到完成了的这件作品。” 作品是完成了，形同真棺大小，却要比真正的棺材秀丽多了！它通体透明，枝枝丫丫，又插满了干萎的玫瑰！一副生命枯萎凋零的形态。然而我并没有让那两个假鬼“相拥而卧”，他（她）们是两个很“严肃”的立在棺中的头雕，“男鬼”略小一号，面部的一圈螺丝钉让他看起来有点像个中世纪的骑士，只是因为被滑稽地缩小了，又有点像个男孩子，“女鬼”的头则潇洒地向后仰着，两唇微启，似在说着什么，正是我梦中鬼儿们谈话的样子，谈的是什么，就不得而知了，只是看起来情意融融，又相敬如宾。我不知该对他们说些什么，再插上一些干萎的玫瑰，穿透两层

丝的“棺壁”，坚硬的玫瑰刺几次把我的手刺痛了，

刺出一点儿淡淡的红色，我用舌尖舔了一下，我的血是有点苦涩的味道把两个头雕固定在棺中那天，我陪他（她）们坐了整整一夜，搬一只小板凳，我坐在我的“棺”旁，小院里射进来的月影，是苍苍淡淡的青紫色，透过头顶上冬日里落尽了叶子的核桃树枝，悠悠忽忽地一滩洒落在地上，洒满我的四周，让人心里清冷冷的，屋脊上有两只匆匆走过的猫儿，一黑一白，一前一后，不知去向哪里。再睁开眼睛时，我依然坐在我的“棺”边，只是窗外的核桃树枝的影子已在清晨微明泛白的空气中消逝，活动起来的空气里漂浮着玫瑰花的香气，我看一眼我的“她”和“他”，他们还在交谈，四只嘴角都似藏着诡秘的笑意，他们看起来有几分羞涩，又几分依恋的神情。我不知在我睡着时他们做了什么，总不会是像昨夜屋脊上贪婪的猫儿们一样吧！？我的心再度芬芳起来，尽管指间仍留着被玫瑰刺伤的淡红的痕迹，却仿佛忽然间明了了些什么

我知道，倘若我做了女鬼，

也定会是一个十分不安分的女鬼，也定会有男鬼们愿与我相约，对话，嬉戏庆庆，2000 年春，北京南锣鼓巷

对话——我的棺（局部） Dialogue － My Coﬃn (Details)

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“Dialogue—My Coﬃn”and How To Be a Female Ghost After many complications, we finally received word that the work had arrives safely. “ Dialogue-My Coffin ” was to be exhibited at EXPO 2000 in Hanover, Germany. The winter afternoon they had come to visit, the sky was in purple-blue color. The German organizer , Johan, and his translator came to my home. I showed him a few sketches and explained my idea. I told him the work would be a coffin made of branches, hemp, and dried roses. He nodded his head and said:“ Ja, ja ”. But from his eyes I could see he didn't understand. I pointed out on the sketch two figures that would be human-size, and I told him that one would be male, one female, and that they would be holding each other in the coffin. From the expression in his eyes I could tell he thought this was funny. He gave me a quizzical, astonished smile, and through his glasses he stared at me with his big, blue eyes. “Do you, do you really believe that after people die they can continue to be that close ？” That was a very German thing to ask. I have Germans are the most precise people. Why should it matter if this was impossible ？ Who has ever seen that ？ The German way of thinking is always straight, never curve! A few months later I met with Johan again. He declared with a serious face, “ In fact I like your creative process, I hope to see the finished work.” When the work was completed, it was the size and form of an actual coffin, but it was much prettier than real thing! It was entirely transparent, and the branches were interwoven with dried roses. The work gave the feeling of withered life. I didn' t make the two“ ghosts” holding each other lying down; instead, two sculpted heads stood upright, seriously in the coffin. The head of the male ghost was a bit smaller than the female's. A circle of screws made his face look a little like a warrior from the Middle Ages. His smaller head looked a bit funny, and it also made him a bit like a young boy. The head of the female was elegantly held high, her lips were slightly open, as if she were talking. It was like the way ghosts talk in my dreams. What she said, I have no way of knowing. They seemed to share an affectionate familiarity with one another. I didn't know what to say to them. I continued sticking in more roses. Often when a rose went through the two layers of hemp fiber coffin wall, a thorn would prick my finger. There was a little blood. I licked it with my tongue, my blood was bitter. The day I affixed the two heads into coffin, I stayed with them for the entire night. I sat beside my coffin on a little stool. The cold moon's shadow coming from my yard was blue-purple. The shadow of the winter branches came into my room with the moonlight and covered the ground. It made my heart feel empty. Two cats passed by on the ridge of the roof, one black, one white, one after the other, and I don't know where they went.

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对话——我的棺 Dialogue － My Coﬃn 200×75×70cm 2000

When I opened my eyes again, I was still seated beside my coffin. Outside the window, the shadow of the branches of the nut tree disappeared into the early morning air. I felt the air alive with the fragrance of roses. I looked at my“her”and“him” , they were still talking. Mysterious smiles hid behind the four corners of their mouths. A little shy and a little sentimental. I don't know what they did while I was asleep. Perhaps they were like the cats on the roof the night before. ？ My heart felt fragrant. My fingers were tender and covered with pale marks from the rose thorns, but then suddenly I understood something… I know that if I ever become a female ghost, I will certainly be a restless one. And surely there will be male ghosts to seek my company, to talk and play with me… Qingqing, Spring, 2000, Nanluoguxiang, Beijing

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晒肺 2003 年的春天没有温暖，巨大的都市笼罩在非典的阴霾里，救护车带着它们特有的哀鸣在空荡荡的长街上奔驰，送那些据说是感染了病毒的人去传染病院，恐惧，不知所措，以及各种流言在城市上空的电网中穿行…… 终于有一天，太阳出来了，它看起来像从未有过的那么可爱，圆圆的大脸像一张温暖的大饼，和气地照着，像一切从未发生过…… 我用纤维和干花制造了两扇写满 SARS 字样的肺，把它盖在我身上，在阳光下躺了 1 小时 20 分钟，因为我要“晒肺”。这不是我的，而是太阳的行为艺术。我像原始人一样，乞求万能的太阳的帮助，用它的光芒，驱赶人间的病魔。

Basking Lungs There wasn't much warmth in the spring of 2003. The huge capital city was shrouded with the haze of SARS. The distinctive plaintive wail of ambulances rushing around filled the empty and deserted streets. They carried those people who were said to be infected with the virus to the contagious diseases hospital. Fear, uncertainty and rumors were all over the city, in the air and online… In the end, one day, the sun came out. It looked unprecedentedly lovely, its big round face was like a warm pancake. It shined peacefully, like nothing has happened … In response to SARS, I made two lungs out of hemp fibers, dried flowers and pieces of cloth with the word "SARS" attached one to each side of my body. I laid down in the sun for an hour and 20 minutes because I wanted to “bask my lungs.” This was the sun's performance art, not mine. I was like a primitive person, imploring the sun to use its rays of light to drive away the demons of mankind's illnesses.

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晒肺－我和太阳的行为艺术 Basking Lungs － Performance art(Me&The Sun) 竹棍，麻纤维，写有 SARS 字样的小布块 2003 年，北京亦庄开发区 Bamboo sticks,hemp fibers and pieces of cloth with the word"SARS" Yizhuang Special Economic Zone,Beijing ,2003

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Qing Qing

夏我的夜空生命的富饶我力量的海洋我在它的怀抱里，撑船，游泳，歇息，起伏，荡漾

Summer My night sky A fertile life My powerful sea In the embrace of it I go boating, swim, rest Undulate with the ripples of sea

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魔幻世界人文情怀 ——解读陈庆庆的艺术陶咏白（艺术批评家）

在当代画家中不少是从绘画领域，受种种当代观念的启发才搞起装置或行为艺术，而像陈庆庆那样从未学过画画，却一脚就踏进了号称前卫的“观念艺术”的门槛，做起了装置和行为艺术，并不离不舍坚持不懈十余年，创作出具规模、成系统的作品“专业户”，成为这领域具有相当影响力的艺术家却是少有的。她的艺术既是观念又很感性，总给人一种异样的感受，让你惊奇、拨你心动、令你寻思不已。真不知道，她怎么会有这么多稀奇古怪的想法，做出的作品像小孩“过家家”充满童趣，但这些似乎不经意中随机“玩”出来的东西，却蕴藏着对生命、灵魂的追问；对文化、历史的追寻；对现实、人生拷问的一些沉重的主题。那么，陈庆庆何以 “玩”出了如此的“深沉”？这或许与她的人生经历有关。她出生在一个革命干部家庭，父亲是文化界名人，母亲是文化部干部。她从小就生活在书堆里，但到了读书的年龄，却遇到 “文革”，不得不帮着大人匆匆烧了三天三夜的书，随着老革命的母亲，下放干校劳动改造。斗争的残酷，父亲多年深陷囹圄，几度在生与死的界域间来回，母亲也在奄奄一息中由她背回北京——安息。父母双亡的阴影在她稚嫩的心灵上留下了怎样的伤痕？让她常常在苦思冥想着人死后会有灵魂吗，那看不见摸不着的灵魂在哪里？生命真的会轮回？……对生命的敬畏和追问伴随着懵懵懂懂的她成长，这些深奥的生命科学成为她日后艺术中基因的一部分……她也因病认识了一位老中医，就此在他门下学徒七年，也会看病针灸，当个“赤脚医生”。“文革”后，因没有文凭，没能当上医生。而后，做过杂志编辑也曾尝试过经商，都不遂人意。正当出国热兴起，她去学了英、德两门外语，后来就当了个外国公司的白领，游历数十个国家，乃至非洲、阿拉伯半岛。优裕的白领生活过得好好的，她忽然又觉得憋屈，为什么人要永远无奈地被生活摆布着？就在 94 年，老大不小的她，偶尔玩起了装置，却发现自己从中实现了灵魂的自由。于是不断地有作品在德国、英国、日本和瑞士等国展出。由此一发不可收，竟舍弃一切，甚至包括婚恋。98 年回国，索性当起了名符其实的装置艺术家。历经种种坎坷的庆庆，做艺术就像说话、记日记、写随笔那么自然而然，有一吐心中“块垒”的快感。又像小女孩“过家家” 玩得那么有滋有味。她成天摆弄着收集来的各种杂七杂八的干枝柴棒、布头麻绳、玩具零件、木箱老柜和破电视机等等废品“垃圾”，在她的手中竟“化腐朽为神奇”。一双古代小脚女人的绣花鞋她竟做出了诱发无限欲想的《闻香识女人》、或做个《墓地》、《棺》，实现对封建社会残酷迫害女性的控诉；她又在收来的那些旧柜木箱或破电视机中导演出了《纽约故事》、《798 的海市蜃楼》、《欢乐大本营》等一出出有声有色的戏来。走进她的屋子，满屋子都是她的作品，或者说她的屋子也是她的作品，她生活在她的作品中，她说： “我像个农妇，日出而作，日落而息。”乐此不疲，做作品就像吃饭、睡觉一样成了一种生活方式。庆庆的作品，既有远古神奇的巫术气息又有光怪陆离的现代情景，在她那些古怪、离奇、鬼魅、荒诞的作品中，创造了一个魔幻世界。这个魔幻世界并非是天方夜谭，在那荒诞的情景中却具有深刻的现实批判精神。这倒与上世纪四五十年代盛行于拉丁美洲的“魔幻现实主义”艺术流派不谋而合。“魔幻现实主义”出现在拉丁美洲，一是受西方超现实主义影响，更因在拉美土地上是个种族混杂的地区，既有当地的土著印第安人，又有被殖民者贩卖来的非洲黑人，另有来自欧洲各国的移民。在这里既有现代文明高度发展的大城市，也有仍处在蒙昧中的原始部落；有高耸的天主教堂，也有随处可见的印第安的

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钱！钱！钱！ Money! Money! Money! 95×60×18cm 2000

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巫师术士传承着古老的宗教习俗。这样奇异的现实，自然而然给拉美现实披上了光怪陆离的魔幻色彩，形成“神奇的真实”。庆庆的艺术，根植于她成长的那个疯狂的“文革”时代，那种黑白颠倒，美丑失衡，人性丧失的种种荒谬绝伦行径的氛围中。曾经亲历过这些“现实”的她，经年积淀成为“心结”，变成了她创作思想的基石、艺术情感的喷发点。她利用手中的媒材，实现了她智性的“批判”理念。盘点庆庆这些年众多的作品，若从表现形式来梳理，大致可分装置、行为两大部分。就装置艺术一类中又可分为现成品实物装置和灯箱装置（其中既有现成品也有电脑图片合成）两类。若从所表现的内容来梳理，大致有女性系列、生命系列、黑色记忆系列和克隆系列等等。

一、悲悯情怀中的女性意识庆庆，也许并非是自觉的女性主义者，然而千年来在“男尊女卑”的男权社会里，女性遭遇着种种共同的被岐视、受压迫的历史偏见和种种对女性道德、行为规范的约束，渐而形成了“集体无意识”的女性意识。作为女人的庆庆，凡触及到女性自身的历史和生存状态，她有种与生俱来的敏感神经和悲悯情怀。在她的女性系列作品中，有着她鲜明的批判立场，既有对女性被迫害的揭露和控诉，也有对女性柔弱而又坚韧的内在精神的颂扬。在这个系列中，她创造了一种以丝编织为主体的装置语言绝活，也成为她非常个性化的艺术标志性话语。她所创作的《削足适履》、《棺》、《墓地》、《女人的故事》等作品，用丝纤维与干树枝和玫瑰花做外壳，其间放着一双旧时代小脚女人的绣花鞋。在柔软的丝和美丽的玫瑰花陪伴中的一双精美的绣花鞋，其间似乎透出了绣花鞋主人那美丽、贤淑、温顺的气息，弥漫着一种凄美的情调。这里作者没有用猎奇的心理去呈现小脚女人鞋的“怪”，而是以她一颗温润的女人心，去祭悼那些被封建礼教的酷刑残暴迫害下忍辱负重的女人们，祭奠她们那坚忍而伟大的灵魂。让人从中感受到了历史的沉重。如果说在《好梦枕》、《玫瑰花椅》、《找对象》作品中还给无望中的女人一丝自慰和企盼的话，那么，她不断推出的用丝

纤维镶嵌着碎花所创作的服装系列，则是对中国女性的极尽赞美之作。那轻盈而至的《秋娘》，衣服还带着清

风在飘荡；那侃侃而来的《端庄》高贵而典雅；那欲隐欲现《引无数英雄竞折腰》的半件衣衫，何其高雅俏丽。还有那《风情》、《雍容》、《如风》……不尽的“美女”走进了你的视野，显现婀娜多姿、风情万千的女性美，让你赞叹，叫你痴迷！她哪里是在做件女服，她是借女装张扬着女性种种内在的精神之美。这种美，超越时空传扬着中国传统的女性美德。

二、心存敬畏的生命意识她从小就经历了父母在阴阳边界来回挣扎的现实，她自己也几度面对着病魔的折磨和威胁，深知生命是如此脆弱又如此顽强。对于“死亡”她早就熟知，对灵魂转世的神秘追问也就成了埋藏在心间的结。在《对话——我的棺》、《墓地》中，她似乎在与鬼魂喃喃而语，是否在探讨生命的轮回？灯箱作品《恐龙回来了》，让人遥想亿万年前这么巨大的生物恐龙都会顷刻灭迹，

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恐龙回来了－文化小女巫系列 The Dinosaur is Back! － Little Culture Witch Series 76×46×35.5cm 2003

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人类会永生吗？若是恐龙复生，地球又将会发生怎样的灾难？在她的《城市》、《798 的海市蜃楼》等作品中都有恐龙的影子，似乎都在提醒人们，今天的文明是如何而来，恐龙与今天地球上的生命曾经历了多少转世轮回？从地底下伸出的一只只求生的小手《肉芽儿》，不就是新生命的萌芽吗？《生命》中伸展的老树枝，一个个小生命不期而至，冬去春来，生命自然地延续着…… 但在《我的肺和我的氧吧》系列中，让人对当前的环境污染忧心忡忡。97 年她在曼谷第五届国际行为艺术大会上所做的《扫天——空气大革命》，用自己的行为艺术做着公益宣传。呼吁地球村的人们，为净化空气，人人有责，行动起来吧！她的《实验室》、《克隆游戏图》、《克隆人场》等作品，这是她怀着对生命的敬畏一而再地创作的主题，不知是警告，还是诘问： “未来世界还有真人吗？”科技的发展，难道是人类自己在走向毁灭？她随着生命的轮回、灵魂转世，肉身与精神…… 一路追问过来。甚而用行为艺术《艺术圈》实名为《我的灵魂和我的尸体》，探寻着生命的奥妙。不惜用自己的身体来体验一把人与大自然融会一体的感觉：她躺在奇花异果中，任螃蟹或昆虫在身上爬行，亲吻着泥土、呼吸着鲜花果实的清香还夹带着爬行物的腥味，设想着生命一旦离我而去，人的实体也将与这些生物一起腐烂，那灵魂又将去向何处？她还有一组《葬魂》的行为艺术，来埋葬惨死在人类刀下的母羊和尚未出世的小羊羔。也许是“兔死狐悲”，她异常痛心人类如此残忍地对待生灵。她脱下衣服包裹它们，燃起烟火，挖坑掩埋，为羊母子举行了葬礼。她的慈悲心怀，悼念行为，能否唤起人们的善心？她还有不少用

编织的像鸟巢似的各种类型的“家”。这个巢，有的在旅行箱中；有的飘浮在空中；有的置于破旧的铁木椅中……

“家”是人精神所依，她形象地表达了现代人的“家”要么永远在流动、流放中，灵魂的放逐，飘忽在无所依、无可归的人生旅途中；要么被困在破败的旧（制度）框架中，一起沉沦。她从另一层面揭示现代人灵魂的迷失。

三、嘻笑怒骂的黑色幽默庆庆的艺术，以敏感的感性触角、敏锐而深刻的思想，对世事百态，或犀利揭露；或戏谑调侃，表现出了一个有良知的知识女性人文主义的批判精神。其间有不堪回首的黑色记忆，也有对当今欲望之城的批判，还有对传统文化的种种思考。避免了一般空泛的“观念”，无聊的游戏，她的艺术总有一种触动你内心颤抖的力量。从小就在“文革”的腥风血雨中厮混，在恐怖、惊吓、迷惘、无奈中度日的她，阅尽太多的荒唐、荒谬、荒诞。她以同样的荒诞手法表现着那个狂热的个人崇拜的时代，除了铸铜的中山装《榜样》外，那个以领袖座雕像为主体，身后伸出无数只手，天上缀满了象征星星的八角茴香，面前摆着用钱串成的转经筒，把这样一个富有寓意内容的佛龛和一首当时广为流行的藏胞民歌组合成了《千手千眼——嘎拉呀西喏喏》这一装置，确切地象征着那个时代人们对领袖狂热的崇拜心态。《关于伟大》的装置，天安门楼前，一排排由男性生殖器组成的方阵，在一片“红海洋”景象的衬托中，是何等壮观，也让人感到了历代男性强权的压力。在《情结》中，巨大的木栅栏中，封存着一些历史的影像碎片，纪录着一些挥之不去的悲剧情景。以上这些作品，勾起了人们对那不堪回首往事的记忆，让人幡然醒悟，历史总是以某种牺牲换来了今天的进步。

欢乐大本营－文化小女巫系列 The Big Happy Camp － Little Culture Witch Series 500×300×600cm 2005

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她在一些用各种汉文字碑帖碎片作衬底的作品中，充分表达一种文化批判的立场。也许是她曾是一个赤脚医生，在她的作品中常出现一些医疗的特征，如耳朵上扎满一根根银针的《智》；还有在耳朵上施加一把把叉子的《文化手术》，不言而喻，这些都象征着每个中国人都经受着传统文化的醍醐灌顶，谁又能不被浸润，不被塑造，唯有《独》中的一团白纸，在中规中矩传统文字的版图上，不受管制地逍遥自在，这或许就是她对传统文化取向的价值观。她的大部分作品是对眼前的时风、时尚，时弊的思考。进入市场经济的商品化时代，当今的都市到处充塞着金钱的诱惑，成了欲望之城。她仅用一张地图上缀满了《钱、钱、钱》概言之；《城市之光》装置中，那一只只鸟笼，里头塞满了一个个充气膨胀往外挤兑的奶头，晶莹剔透，魅力无穷，争先恐后，热闹非凡，岂不象征着被钢筋水泥包裹着的城市中，那欲望膨胀得令人瞠目。那棵《欲望树》生生地从人身上成长起来，幻想着“鲤鱼跳龙门”，妄想着有朝一日能获得一架《摇钱树》的机器；传统的《年年有余》有种朴素的企盼生活殷实富足，而如今是肥猪掉进了钱的陷阱里，难以自拔了。物欲膨胀的消费社会，色欲也成为肮脏的商品，《粉色欲望》、《三陪》泛滥于市。她的录相行为艺术《暧昧》，用女性为人按摩的方式去为一头肥猪进行了 40 分钟的按摩，也就更具讽刺性。以此来抨击消费城市伴随着色欲行业的兴盛，人这种以消费同类作为享受的恶行的肆虐，岂非文明的倒退？在《欢乐大本营》系列的装置中，既有美丽孔雀，也有令人恶心的四脚蛇蜥蜴；有可爱的女孩，也有蠢头蠢脑的肥猪，在人兽之间，在美丑之间，其间总布满着一个一个充满欲念的男性生殖器，这个符号在她的作品中常被运用，不仅象征欲望无处不在，也隐喻着对男权社会的批判。庆庆不仅对中国的历史发展有着自己的立场观点，世界上发生的重大事件，也在她的批判视野中。《纽约故事》之一、之二，分明是对“9.11”事件的反思。不可一世的强大帝国，却也如此不堪一击，倒塌的仅仅是双塔吗？世界的战略格局是不是将重新洗牌？

庆庆的作品，不管是装置还是行为艺术，都那么富有生趣，但又那么有意思，既给人轻松一乐，又给人沉甸甸的思想份量，我想这是她坎坷的人生所熔铸出的时代感和历史感。庆庆说： “艺术不是水墨，也不是油画，不是装置，也不是行为艺术。艺术是思想方法与思维方式，更是人类在进化中最终突破和解放自己的唯一方式。在我，它便是我的生活方式，它给了我人生最大可能的自由度。 “ 因为有了自由，她才能一吐心中块垒，因为“吐”得痛快，所以她能如此乐此不疲地创作着她的作品。庆庆的艺术，以她敏锐的艺术触角，作品涉及的面极为宽泛，从古到今，从中国到世界，从政治、文化、经济到女性问题等等，无不包揽在她的批判视野之中。她用魔幻现实主义的手法，用实物、或灯箱、或影像的组装，或行为艺术，运用荒诞奇异的极具个性化的象征手段，寓言式地展示着对历史的反思和深切的人文关怀，她的作品既蕴含着她的苍桑的人生印记，更具有历史时代特质的厚重感。

2009 年元月 22 日北京名佳花园

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乐翻天－文化小女巫系列 The Endless Happiness － Little Culture Witch Series 166×27×8cm 2010

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798 的海市蜃楼－欲望都市系列 The Mirage of 798 － Ambitious City Series 208×145×8.5cm 2005

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A Hallucinatory World A Humanist Expression An Elucidation of Chen Qingqing's Art Tao Yongbai (Art Critic)

Many Chinese contemporary artists begin in the field of painting, moving on to installation or performance art inspired by their time wielding a brush. Chen Qingqing, however, had never studied painting when she decided to enter the world of 'conceptual art'; ten years of perseverance have resulted in an extraordinary body of work, made up of installations and performance art. She has become an influential specialist, and her work is completely original among Chinese artists. Her installations are all rooted in deeply personal and emotional concepts, provoking a strong reaction from the viewer. It is not quite clear where the eccentric ideas for her installations spring from, or why so many of her works seem to form a nostalgic camaraderie with the contents of a child's 'play house', but they all seem to carry a sense of playfulness alongside the impression of dealing with the soul's deepest questions; culture, a search for history, reality, torture - these all feature in Qingqing’s works. All heavy themes out of which She always manages to find an element of fun out of all heavy themes. Why ？ The answer is most likely linked to her own life experiences. Born into a family of revolutionary cadres (her father was something of a local celebrity, and her mother worked for the Ministry of Culture), Qingqing's childhood was spent surrounded by books. However, with the advent of the Cultural Revolution, she and her parents were forced to heap their precious books and burn them over three days, before being sent to be 'reformed' at a facility for revolutionary cadres. During this cruel time. Qingqing's father struggled to survive, and she carried her mother's body on her own back to Beijing to be buried. Her parent's deaths scarred her young mind, and unanswered questions about the state of their souls still haunt her from time to time. Does the soul live on after death, and where does it go ？ Is reincarnation a reality ？ Her reverence for the sanctity of life became a key part of her, and Qingqing yearned to pursue the life sciences. The desire became a reality after she met a traditional Chinese medicine practitioner during a bout of illness, after which she began a seven-year apprenticeship. Her time as a 'barefoot doctor' of acupuncture was brought to a close by the end of the Cultural Revolution, as she held no official certification to practice medicine. After that, she also tried magazine editor and starting her own business, but the result didn't turn out so well. When China began to open up, Qingqing learned to speak German and English, and soon joined a foreign-owned company in China as a 'white-collar worker' in their offices. Her travels with the company led her to many places, including Africa and the Arab Peninsula. Despite her financially stable position at a desk job, she suddenly felt aggrieved at the idea of remaining passive and at the mercy of the fates. In 1994 Chen Qingqing started to create her installations and found a sort of freedom from the conformity around her; this

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led to exhibitions of her work in Germany, England, Japan and Switzerland, among other countries. Thus began Qingqing's obsession with installation works, and she found it impossible to stop creating, giving up everything else in her life for her art including her marriage. She came back to China in 1998, becoming a fully-fledged installation artist. In one sense Qingqing's works are a result of the hardships and difficulties in her life, which have enabled her to create a highly personal visual diary of sorts that she has enjoyed using to show the world her true self. On the other hand, Qingqing is like a little girl in her own world, playing all day long with her collection of found objects: firewood, curtain rods, hemp rope, fabrics, pieces of toys, old wooden cabinets, broken television sets, and other treasures that others would dismiss as garbage. Using her imagination and ingenuity, she manages to make the mundane into something magical: a tiny pair of embroidered 'Golden Lotus' slippers inspired works such as “Fragrance of a Woman”, “Cemetery”and “Coffin”all works condemning the persecution of women in feudal China; the old cabinets and television sets that she collects to create “New York Story”, “Mirage of 798”and “Happy Camp” are transformed into distorted universes with strange messages. Qingqing's home is like one of her works, filled with the paraphernalia of her installations as well as the artworks themselves; she needs to create like other people need to eat and sleep, it occupies all of her thoughts and time. Qingqing once said “I am like a peasant woman, rising at sunrise, working until sunset”; her world revolves around her art. Qingqing's works contain a sense of both ancient magic and strangely futuristic scenes: ghosts, computer parts, antiques, they all play a part in her magical world. This alternate universe is not like something from 'The Thousand and One Nights', but rooted in a profound criticism against the absurdity of 'reality'.The nearest artistic movement to Qingqing's works is Latin American “Magical Realism”, which first emerged under the influence of the Surrealist influence in the West forty years ago. As a continent of mixed ethnicities, from the indigenous Indians to trafficked black slaves to European colonists and other immigrants, Latin America contains a combination of old-world superstitions and beliefs as well as strict religious morality and the pursuit of science in the modern, Western world. The only way in which to shed this bizarrely variegated cloak of reality over Latin America was to produce “Magical Realism”, which provided a kind of truth. Qingqing's art is rooted in her upbringing during the Cultural Revolution era, a time when black-and-white reversed, the imbalance between beauty and ugliness, in the ridiculous inhumane atmosphere. Having experienced these "realities", her emotions erupt through her works, and she has made use of the media she finds to showcase her intellectual criticisms of that time. Qingqing's works over the years could be sorted by mode of expression into two categories,installation art and performance art. Sorted by devices, into object installations and light boxes (both of which are finished works and computer image synthesis). Sorted by themes, they are woman series, life series, black memory series and clone series, etc.

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摇钱树－欲望都市系列 Money Tree － Ambitious City Series 107×47×43cm 2005

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纽约故事之二－欲望都市系列 New York Story 2 － Ambitious City Series 53×45×28cm 2004

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Compassion and feminist consciousness Qingqing may not be a conscious feminist, but in a society where it has been common for women to be confronted with discrimination, oppression and moral bias of all kinds, constraints over code of conduct, a female “collective (un) consciousness” is gradually formed. Qingqing as a woman is sensitive to women's history, and this innate sympathy touches her. In her series of works, with her sharp criticism, she exposes and protests against the persecution over women, and pays tribute to the weakness and the glorification of their spirit. In this series, she used woven silk and hemp as the main language device, which has become a very personalized signature. She created the “Cutting the Feet to Fit the Shoes”, “Coffin”, “Cemetery”, “A Woman's Tale” and other works, with soft hemp fibers, dry twigs and roses, and placed a pair of old embroidered bound feet shoes in the middle, which revealed the beautiful, virtuous, gentle temperament of the owner of the shoes. Here the artist is not showing the psychological abnormal nature of bound feet shoes, but to mourn for the enduring great souls of the women who have been persecuted by the brutal torture of feudal ethical code. People feel the heaviness of history. In“Dream Pillow” ,“Chair of Roses” , and“Looking for Spouse” she has introduced the use of fiber inlaid with flower fragments to pay the utmost praise to Chinese feminine beauty. In “Elegance” she shows us dignity and nobility; how pretty and elegant is the half piece “Countless Heroes Bow in Homage”; in “Autumn Affair” the clothes still waft in the breeze. In “Style”, “Elegance”, “Like the Wind” … countless “beauty”walks into your vision and produces the admirable scenes that leave you in praise and obsession! Qingqing does not make dresses out of hemp, she uses these works of art to flaunt the spirit of femininity and the virtues of Chinese women throughout the ages.

Reverence for life From,an early age, Qingqing watched her parents balancing on the fine line between life and death. She faced the threat of death herself in the form of illness, so she has a particular appreciation of both the fragility and tenacity of life. She has long dealt with death, and she has always asked secret questions about the afterlife. In“Dialogue － My Coffin“ there seems to be an ongoing conversation with the ghosts of her past; the light installation ”Dinosaur's Back“ deals with the concept that since the dinosaurs are now extinct, and only their physical remains still exist, what will happen to humanity in a million year's time ？ What would the return of the dinosaurs, reincarnated, do to devastate the world ？ Dinosaurs also appear in

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her work ”Mirage of 798“, wandering around a desolate city, appearing as a reminder that civilization today exists as a result of millions of years of reincarnation for the Earth. The dolls' arms which sprout up in“Flesh Shoots”are the emergence of new life in a wasteland. The old branches from“Life“ are like unexpected little creatures. Spring comes after winter goes, creatures live naturally. However, the “My Lungs, My Oxygen Bar” series deals with the serious issue of the ever- changing environment, and how it must be preserved for the generations to come. Qingqing's performance “Sweeping the Sky Air Revolution” at the Fifth International Performance Art Fair in Bangkok in 1997 spoke out about environmental protection, and called for the residents of the global village to purify and protect our home. “Laboratory”, “Cloning of the Game Plan”, “Field of Human Cloning”, and other works, are created with reverence for life, a theme tackled again and again. It is unclear whether these works serve as a warning or are speculation on the future, whether the continuous development of science and technology will ultimately lead to the destruction of mankind ？ Questions have been posed about life, reincarnation of the soul, body and spirit through the years. Qingqing's performance art, “Art Circle” (also known as “My Soul, My Body”) was used to explore the mystery of life. Without hesitation she used her own body to experience the sensations of nature in their entirety; lying covered in a mixture of fruits and plants, allowing crabs and insects to crawl over her naked skin; breathing in the scent of flowers and fruit, kissing the earth. Imagining if she die, her body will also decay with the creatures, then where will her soul go ？ Another performance, titled “Bury the Soul”, was composed of a burial ritual for a ewe and lamb who had died by human hands before the pregnancy was carried to full term, expressing Qingqing's sadness at the cruelty with which humans treat other living creatures, and the lack of regard for life. The bodies were wrapped in her dress, and then buried side by side, whilst fireworks were lit essentially humanizing the dead animals. Can her sympathy and the action of memorial arouse kindness of human beings ？ “Home” is another series of works that deal with the precious nature of life. Shapes resembling bird's nests or 'homes' are woven from hemp, and arranged either floating in the air, placed on an antique chair, or shut in an old suitcase. This series represents the idea that 'home' is simply a concept that can exist wherever there is life, no matter how strange or dilapidated the surroundings may be. It may be a journey, floating between one place and another, or it may be stable and set in one position. It may even be hidden in a battered suitcase. These works are a representation of the 'lost' feeling that many people experience in modern-day society,despite the fact that they carry their homes in their souls.

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纽约故事之一－欲望都市系列 New York Story 1 － Ambitious City Series 107×40×46cm 2004

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Black humor and satire Qingqing's art is sensitive and emotional, with profound ideas that expose her attitudes toward life; humourous and ridiculing, demonstrating the critical spirit and humanity of a woman with a conscience. There are dark, unbearable moments to be found in her memories, but she uses them to analyse contemporary society and traditional culture, criticizing and conceptualizing along the way. Her works are never gratuitously silly or simply whimsical; they always contain some grain of artistic truth to touch the viewers and shake their souls. Qingqing has lived through the Cultural Revolution, in all its horror, confusion, and helplessness; her life was turned upsidedown into a ridiculous parody of 'reality'. She works in an almost fanatical way to show how that period of her history and China's history was almost totally consumed by a 'reform' movement that turned into a cult. Besides the bronze work “Model“(Mao Suit), there is another work called “Thousand hands, thousand eyes - Galayaxinuonuo“, which uses the stature of Chairman Mao as main body, many hands rise up behind it, aniseed were hanged from the top, symbolizing stars in the sky, in front of the stature, there is a cylinder stringed with coins. This work symbolizes the enthusiastic worship for the leader of people in that times, by combining this meaningful Budda niche and a famous Tibet folk song together. Her installation “About Greatness” shows Tiananmen Square, lit from behind by another worldly red glow, in front of which stand at attention rows and rows of gold-painted male genitalia. There is a sense of magnificence and great occasion to this work, but there is also a strong impression of the male-dominated world of politics and power, particularly at that time. In “Complex”, archival images of historical events are shown, and a general sense of tragedy hangs over the piece. All of these works deal with the same themes, and the same era of Chinese history, showing both the melancholy and emboldened sides of the revolution in China. In a number of her works she uses fragments of Chinese text from a variety of stone inscriptions to express cultural criticism. Perhaps since she was once a 'barefoot doctor', she often uses health care tools in her work, such as ear needles; a fork is shown imbedded in an ear in the work “Cultural Operation”. Obviously，it shows that every Chinese people was immersed with and moulded by Chinese traditional culture. Only the white color in “Independence” is free from control by traditional Chinese values and references, which is perhaps her attitude toward traditional values and shows her cultural orientation.

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Most of her works ponder today's problems. Market economy and increasing commercialization have turned Qingqing's home city into a pool of desire, desire for financial success. She sums this up with “Money, Money, Money”, a map of China strewn with coins, and “City Lights”, a cage packed with clear inflatable expansion nipples is aesthetically attractive, buzzing with activity, a symbol of expanding consumer desires wrapped in the steel-and-concrete cage of the city. The tree in “Tree of Desire” grows from the belly of a man, deluded by the idea that a money-spinning scheme is just around the next corner - a literal interpretation of the idiom “carps jump over the dragon gate”. “Success, Year After Year" shows an engorged pig in a trap made of money, unable to pull himself out. With the expansion of materialism in consumer society, physical pleasures have become more of a commodity than ever, and lust even more so. Her video of her performance work “Ambiguity” shows the artist sensually massaging a fat pig for forty minutes, using the same techniques that women in massage parlours might use on their male clients; brimming with irony, this work attacks the long and flourishing sex industry in this city, posing a question about whether humanity has regressed to its animal-like roots. “Happy Camp” contains beautiful peacocks, juxtaposed with repulsive lizards; beautiful girls are placed next to swine. Trapped between beauty and ugliness, the land is covered in ubiquitous male genitalia, a symbol that is ambiguous in representing both the beauty of sexual desire and the ugliness of sexual oppression. Qingqing not only holds her own point of view over China's historical

岁岁平安－欲望都市系列 Peace All Year Round － Ambitious City Series 192×82×44cm 2007

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development, she has a position on major world events as well. “New York Story”, is a clear reflection of the 9/11 incident. An 'empire' perceived to be all-powerful is fragile, and once the Twin Towers were attacked, it was not only the two buildings that collapsed. The position of America in the world's power structure has been re-shuffled since that event. Filled with the joy of life, Qingqing's works both give aesthetic entertainment and provoke deep thought. I feel that her life itself, intertwined with her work, casts a sense of history over them. The artist herself has said that “Art is not found in ink paintings, canvas paintings, installations, nor performance art. Art is a way of thinking, the ultimate breakthrough in human evolution, and the only way that we can liberate ourselves from and embrace our history.” “For me, art is my lifestyle, it provides me the biggest possibility of freedom.“ Because of freedom, she can express herself thoroughly, and thus she can keep walking on the path of creating artworks. Her keen sense of artistic sensitivity allows her to make use of a broad range of themes and aspects of her world, from China to the international community, from antiquity and history to the circuit boards and wires that make up so much of the modern world. She practices a kind of magic with her art, combining objects, light, images, and performances, using absurdities to display historical truths and profundities. Her work contains the marks of her vicissitude of life, as well as the depth of historical characteristics.

January, 22, 2009, Mingjia Garden, Beijing

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暗夜精神与心灵空间 ——陈庆庆 · 陶咏白访谈录编辑：孙欣时间：2008 年 9 月 20 日

陶咏白（以下简称陶）：你真正开始着手做装置是在 90 年代？陈庆庆（以下简称陈）：对，大约是 93、94 年那样子。

陶：艺术家的人生经历往往会给作品带来很重要的影响。在我看来，你的作品内容可大致分为三类：装置、灯箱、行为艺术。其中深藏着你对人的自身生命以及灵魂的追问，对历史文化的追寻。再一个就是对于世界的剖解和拷问。作品的特色主要体现在题材的运用上，其中的符号都有着特殊的象征意义。小绣花鞋、

衣、玫瑰花以及后来你用的很多现成品小道具等

等都具有戏剧化的象征性，从一个侧面讲述了女人的历史。令我感到振奋的是，你在材料的选择上有着极高的敏感度和宽泛度。陈：我喜欢收集材料，材料也有它们自己的语言。

陶：看了你的作品之后，觉得一方面你对文化有着很深的感触，另一方面，你的作品中不自觉地浸染了你的心情与格调。它不只是一个单一的文化抑或是个人的表达形态。单就灯箱这一系列，我觉得你的创作方式就比较接近导演，在自己设计的舞台上设置自己的独幕剧。用灵魂、生命去追问，或者用个人化的生命体验去暗示，有种人鬼情的意境。陈：我自己做的时候其实也不大想，就是去做，跟着感觉走。

陶：你有些作品充满了男性生殖器的空间，暗示了现实中的欲望之城，带来对于当下某种现象的戏谑与讽刺。生殖器之外，荒诞与欲望并生。你想表达些什么呢？陈：现在的人一天到晚欲望泛滥。我觉得欲望这个东西，人天生就有。从小婴儿开始人都有欲望，连小动物天生都是有欲望的，本来是挺好的东西。但是一经膨胀以后就变得特别可怕。但是从另一面看，如果没有欲望，没有追求，这个人就注定平庸了。而欲望过了头，为钱为权为利益，拼命去追求的话，这个人就要出问题了。

陶：你的灯箱让我想起，我们生活在城市中的人，在夜晚出行的时候，尤其是到了郊区或山里，当周围都是黑暗的一片，如果在远处有一个房子，里面有亮光，你会觉得有一点希望，会猜想这家人家在做什么。你的作品，就是这样一个大精神空间的凝缩。但它所呈现的，不是现实社会中人们能够用肉眼所见的现象，而是暗藏了另外一个时空中的人对于自身生命认知的一个通道。途经这个通道之后，舞台式的展示出来一个完全不一样的世界。这或许是你个人化心理空间的显现。你最开始是怎么想到去做灯箱？灯箱里面想要放置什么，它跟你的内心存在什么样的冲击呢？

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陈：一下子说不出来了，因为用箱子的形式做了很多年了。但是加了灯以后，就强化了我要的效果。其实我不会绘画，层次感有时候是用灯光去强化的。后来发现，灯光本身也可以成为装置的一个重要元素，就像拍电影一样，本来人物的层次，一个一个的位置，加上了灯光，效果就全出来了。有时一个灯的位置会修改很多次。挺有意思的一件事就是，人有两面性，或者多面性。身体好的时候，我白天做

的作品，或处理其他日常事务，晚上做灯

箱的作品。这是挺有意思的一个状态。白天我觉得我和其他绘画艺术家的日常状态也许差不多，早上整理工作室，或者去买材料，做些准备工作，和助手一起装裱、装框。完全是专业工作室状态中的做法。晚上就不一样了，因为我一个人生活，又不太善于交往，忽然有一个想法去做一个新的作品，就会很激动，甚至一个人干一夜，把所有的可能有必要的材料都摊开，铺天盖地的，过家家。反反复复的更换元素。有时候一个设计会修改无数次，

无稽之谈－文化小女巫系列 Talking for Nothing － Little Culture Witch Series 109×43×40cm 2007

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几个月，甚至几年都有可能，一直到把一个作品最终组装在一起，这个过程往往是即随意又较真儿的。而这些事大部分都是在晚上发生的。

陶：晚上很容易出现一些相关的幻觉。陈：可能吧。晚上有时候自己听音乐，看电视，但是我的电视开着，未必在看。感觉各种声音的信息会从远处传过来。有时候坐在这边看电脑，电视和音响都开着，那种感觉好像生活似远似近的，但不是每天都有这种感觉。有时候感觉一来，一晚上都不睡，弄到凌晨三四点钟，跟游魂似的，夜里跟这些小东西小材料去沟通，就会给它们一些幻想，找到一个位置，感觉得挺有意思的的，这个时候基本是会处在一种半冥想状态，和白天完全不一样。第二天醒来时，看看前一晚做的，有时自已也有点儿纳闷。

陶：思维在白天有一套规则，夜晚有另外一套。夜是神抛在人面前的一道高墙，不太现实，一旦打过来，就出现了另外一套规则，一重秩序。我发现，你身上有很童真的东西。你借助小物件的摆放，表达对于人的最初欲望的理解，会不自觉地关注到人的本源问题，这很难得。你的思考角度，是带有职业特点的，都与你学过医、成长环境有关系。陈：我想是这样吧。因为我每次做小东西——就是那些小箱子时的感觉，要做成的时候总是感觉有点儿奇怪，也许真的是冥冥之中有神助吧。反正晚上的思绪和感觉似乎是被一种潜意识的东西在支配着，和白天很不一样，但不是每天，身体不好时就一点儿感觉都没有！

陶：你的女性意识表达是很自然的，或许是出于你的生命体验和心理状态。陈：作为女性艺术家而言，一方面，角色是艺术家，是作为男女平等的社会中的社会人，要面对和解决的方方面面的事情是与男性一样的。另一方面，就是作为女性应该承受的那一面，那是男艺术家无法感受和体会的。所以，我觉得女艺术家的作品里面表现出来女性的东西是再正常不过了。但同样应该有作为公民的社会意识和对社会问题的态度。我没有做母亲的幸运，就应该更多出一些作品，也算公道吧！

陶：你的行为作品《给猪按摩》给我印象深刻。当时是怎么想到要做这样一件作品的？陈：那件作品叫《暧昧》，那时候我还住在欧洲，但每年都有一部分时间是在北京做作品，每次回来，都感觉中国的社会变革特别快。那年就突然出来特别多的桑拿房，按摩院什么的，还有满街的发廊，都好像有些什么说不清的功能。因为在国外很少有，所以当时觉得是挺奇怪的事情。于是做了这个作品，并且有朋友帮我拍成了录像，后半部我找了一个男生，先是

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按摩猪，后面有我的手在他背上按的镜头，后来他不太愿意，我做最后剪辑的时候，就把人的那一部分剪辑掉了，就是一直给猪按摩。但是配的音乐是旧上海时著名的金嗓子周璇唱的《夜上海》，听得人浑身发软的那种所谓的靡靡之音吧。

陶：你对艺术市场怎么看？陈：艺术市场的情况和艺术家的内心其实没有必然连系，只要你自己别用社会上的价值观去看问题就好了！我也是自己花了一些精力才把创作和市场掰开的。因为作为独立艺术家，活在当下，要想维持你艺术创作的经费，展览的消费，工作室的开销等等都是很大的，必须先养活你自己，养活你的工作室，你才能够继续做下去，压力确实挺大的。但是做作品的时候，我就想我要做好这个作品，别的都不重要。市场有市场的规律，那不是我的专长，让画廊去做，艺术家不必去自以为是。我觉得这两件事情不矛盾，我几乎从没拿到过赞助，我也不太会做这方面的事。主要是我觉得我们要有自己的价值观，不要用世

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俗的标准来丈量自己的生活就好。人还是要先活下来。我回国的时候是带着一些钱回来的，结果做了十年艺术，有一天我突然发现我的积蓄统统花光了，到了身无分文的地步。有一次，一个艺术家朋友说了一句话：什么时候你花到冰箱里就剩一个鸡蛋的时候，就该翻身了。我当时心里一动，没好意思说：我其实差不多就剩一个鸡蛋了。往往就差最后一点的坚持，坚持到了那一点就会有一个很大的飞跃。就看那个时候自己是不是能挺住。

陶：希望你能坚持到最后，完成你的心灵空间的营建。

曾经 Once 41×83.5×39.5cm 2010

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闻香识女人－女性系列 Scent of a Woman － Women's Series 43×50×28cm 2004

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Midnight Spirit and Space for the Soul ——Interview with Tao Yongbai Editor: Xin Sun Date: September 20th, 2008

Yongbai Tao (Tao): Did you formally begin working on installations in the 1990s ？ Chen Qingqing (Chen): Yes, around 1993 or 1994.

Tao: An artist's life experiences tend to affect her work in an important way. In my opinion, your work can be broadly divided into three categories: installations, light boxes, and performance art. In your works, you question people’s lives and souls, and the pursuit of history and culture. Also, you are interested in analyzing and critically examining the world around us. Your works characteristically and mainly reflect the use of themes, and the thematic variety of the symbols all have their own particular meanings. Small embroidered shoes, linen, roses, and the other ready-made props all have dramatic symbolic meanings. They in fact tell women’s life stories to some extent. What I am most enthusiastic about is that your selection of materials has a very high degree of sensitivity and broad meaning.

围城之二－欲望都市系列 Besieged City 2 － Ambitious City Series 150×45.5×40cm 2006

Chen: I like collecting things; they have their own special language.

Tao: After seeing your work, I sense on one hand that you have a deep feeling for culture. On the other hand, your works unconsciously influence your own mood and artistic style. They not only show one cultural possibility, they are an individual form of personal expression. With the light box series, I think your creative style is similar to the style of film directors, in which you set up your own one-act play in a setting of your design. You use your soul and life to examine things in detail, or you use each person’s life experience to hint at it, and there is a ghostlike mood. Chen: When I’m making my artwork, I honestly don’t really think about it. I just follow my feelings.

Tao: Some of your works have spaces full of male genitals, which suggest the reality of a city of desire. They also bring with them the phenomena of all kinds of immediate bantering and sarcasm. Absurdity and desire actually exist side-by-side with male genitalia. What exactly do you want to express ？ Chen：Nowadays, people are inundated with desire. I think this thing called desire is something people are born with. Babies have desires. Even small animals are born with desire. Originally, it was a really good thing. However, after desire expands, it becomes especially terrifying. But looking at it another way, if there is no desire, no sense of pursuit, a person is doomed to be mediocre. If you let your desires go to your head, and are only interested in wealth and power, this will create problems.

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y Series

Tao: Your light boxes remind me of people from the city, walking at night, especially in the suburbs or in the mountains. In the surroundings, there is some darkness. If there’s a light shining from a house in the distance, you will feel a little hope, and start wondering what the people who live in the house do. Your artwork is like a concentration of spiritual space. One guess is that they do not present any real social phenomenon that can be seen with the naked eye, but hide a channel that leads to another time and space. After making your way through that channel, it’s as if a completely different world is revealed on a stage. This is perhaps a manifestation of your own personal mental space. How did you decide to make light boxes ？ How did you decide what to put in the boxes ？ What kind of dissonance was there between the light boxes and your inner thoughts ？ Chen: It’s hard to say right away, because I have used the form of the boxes for many years. But after you add light, it strengthens the effect I want. In fact, I don't paint. The lights sometimes intensify my ideas. Later, I discovered that the lights themselves can become an important element in my installations. It’s just like making a movie. There are the basic characters, but if you add lights in different places, the effect comes out. Sometimes, I will change the position of a light many times. What’s very interesting is that people have two sides, or even multiple sides. When I am well, I work with linen in the

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day time, or deal with other daily affairs. At night, I work on the light boxes. This is a very interesting situation. I think my activities in the daytime are similar to other artists, in that I rise early to clean up my studio, buy materials, do some prepatory work, and find workers to help me mount my art or make frames. It’s completely the same practice as any other professional studio. Night is not the same, because I live on my own and do not socialize that much. I am so excited when I suddenly have an idea for a new artwork to the extent that I work all through the night. I lay out all the materials I think I might need and think of nothing else. I repeatedly replace elements. Sometimes, a design may be changed many times, for months or even years, until the final work is assembled. This process is both conscious and earnest, but these kinds of things mostly happen at night time.

Tao: Perhaps it is easier to have related hallucinations at night. Chen: Probably. At night, I sometimes listen to music or turn on the TV. But even if the TV is on, I may not be watching it. It feels like all of their sounds come from far away. Sometimes, I have my computer, TV and stereo all on. It makes me feel that life is both far and near, althought I don’t have this feeling every day. Sometimes, when the feeling comes, though, I do not sleep the whole night. I work until three or four o’clock in the morning, like a wandering spirit that communicates with these small things and small materials, to find them a place in some fantasy. I think it’s very interesting. At these times, it’s basically as if I am in a semi-meditative state that is completely different from the day time. After I wake up the next day and see what I did the night before, sometimes even I am a little puzzled.

Tao: In the morning, thoughts have a different set of rules than at night. The night is like a high wall that the gods have thrown in front of people. It’s not very realistic, but if you break through it, you will discover another set of rules, a new kind of order. I find that you have much naivete in your outlook. Through the way you arrange objects, you express an understanding of the origins of human desire and unconsciously pay attention to the issue of human origins. This is very hard to come by. Your point of view carries characteristics of your (previous) professions, they’re all related to your study of medicine and your environment growing up. Chen: I think so. Because every time I make something – it’s like the feeling I get when I am creating those boxes – every time I am about to finish one, I feel a little strange. Perhaps it’s because at the most intense moment, the gods are helping me. Anyway, it’s as if my train of thought and feelings at night are somehow arranged by my subconscious. It is very

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different in the day time. But, it’s not like that every day. If I’m not feeling well, then I cannot feel anything.

Tao: Your expression of feminist consciousness is very natural. Perhaps, it comes from your personal life experience and psychological state. Chen: When speaking about being a female artist, on one level, I’m an artist in a world and society where men and women are equal. I have to face and resolve the same issues that male artists do. On the other hand, as a woman I have to bear things that male artists have no way of feeling or experiencing. Therefore, I think it is only appropriate that there are feminist themes in female art work. Moreover, in a civil society, female artists should be aware of social issues. I don’t have the good fortune of being a mother, so I should make even more artworks – that seems to be reasonable!

Tao: Your performance art “Massage for Pig” gave me a strong impression. At that time, how did you think of such a work ？ Chen: That work is called “Ambiguous.” At the time, I was still living in Europe, but I spent part of each year in Beijing to make my art. Every time I came home, I felt Chinese society was transforming very rapidly. There were suddenly so many things like saunas, massage parlors and hair salons, places that had an undefined function. I thought it was very strange because there are very few of these things overseas. As a result, I made this art work. Moreover, I got a friend to help me make a video of it. In the second half, I found a man to first massage the pig. Then, there was a scene with my hands massaging his back. Later, he wasn’t willing (to have himself appear in the video), so when I was doing the final edit, I cut out that part, so you only see the part with me giving the pig a massage. The music that accompanied the video was from Zhou Xuan, the golden-voiced singer famous in old Shanghai, who sang “Shanghai Nights.” People who heard it would go weak all over because of that so-called decadent music.

Tao: What do you think of the art market ？ Chen: The situation in the art market and the innermost thoughts of artists are not necessarily linked, as long as you don’t view things according to standard social values. I also have expended effort to break apart creativity from the marketplace. But if you are an independent artist, living nowadays, you have to think about having enough funds to support your artistic creation, exhibition costs, studio expenses, etc. They all are quite big expenses. You first have to support yourself and

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风情 Female Scent 155×82×7.5cm 2005

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未來人家故事－未知数系列 Story of Future People － Unknown Series 62×29×36.6cm 2005

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your studio, and only then can you continue to make things. The pressure is quite great. But when I am working on my art, though, I am only thinking about how to do this art work well. Nothing else is important. The market has its own rules, which is not my specialty. Let the galleries handle that part of it. Artists shouldn’t think they are always right. I think these two things are not contradictory. I almost never get any sponsorships, and I am not so good at doing those kinds of things. We need to establish our own view of value.I don't want to measure my own life with other people's view. The most important thing first of all is to survive. When I returned home, I brought some money with me, which allowed me to work for ten years as an artist. Then, one day I suddenly realized that my savings had been entirely spent, to the point that I was penniless. An artist friend said one thing to me: “Whenever you spend your money to the point that your refrigerator has only one egg left, at that point, you have to turn your life around.” I was moved in my heart, and was ashamed to say:“I pretty much only had one egg left.” More often than not, you need to keep persisting toward the very end, and then when you reach it, there will be a great leap forward. It all depends on how long you yourself can hold out.

Tao: I hope you can keep going to the end, to finish constructing your space for the soul.

残－文化小女巫系列 The Hurt Girl － Little Culture Witch Series 45×30×30cm 2003

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相信未来－未知数系列 Believe in Future － Unknown Series 107×43×40cm 2004

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艺术是什么？什么才是艺术？那真就最是说不清楚的事了…… 我只是时常觉得，那或许是一个我永远也无法摆脱的情人，或者说是一桩永远也离不掉的婚姻，它就像一株在我身体里生长的树，长进了我的每一条血脉，经络，牵动着我的每一根神经，它甚至消耗着我每日全部的精气神，繁衍着我的气血，决定着我的枯荣，她一直在长……但，就是它，给了我无尽的享受、希望和我人生中最大可能的自由度！庆庆，2009 年春

What is art ？ What things are considered to be art ？ That is really the most difficult thing to say clearly… I often think that art is like a lover that one can never break free from, or a marriage you can never get rid of. It's like a tree that is growing within my body. It grows inside every blood vessel. It affects every nerve. It even consumes all of my daily essence. It gives me greater energy and determines whether I wither or flourish. Art is always growing… But, it is art, only art can give me endless enjoyment, and the greatest possibility in my life for freedom! Qingqing, Spring, 2009

欲望树－文化小女巫系列 Tree of Desire － Little Culture Witch Series 51×43×39cm 2005

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被老鼠吃掉的爱情－文化小女巫系列 Love was Eaten by a Rat － Little Culture Witch Series 37×47×30cm 2004

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关于《被老鼠吃掉的爱情》这是源自一段莫名其妙的爱情故事，莫名其妙地来了 , 莫名其妙地也不知从什么时候起那种感觉就消逝了。开始时，它们像一些小老鼠的牙，慢慢啃食你的心，说不清是痛还是痒，或是非痛非痒吧，总之，它让你无法安宁，后来，渐渐地，人麻木了，没有了那些感觉，没有了爱，也没有恨，只是那种死一样的麻木，仿佛一切都那么没味儿……搞的我连出门儿前收拾一下自己的劲儿都没了。终于有一天，我看着自己的这件作品，念出了这样一句话“被老鼠吃掉的爱情”。其实，我知道，是蠢人们给爱情的附加值太多了．爱情——或是情爱，其实是很单纯，很简单的。人们对它的期望值太高了，附加给它，它所不能承担的重负。有人说男人与女人的相互吸引其实是一种化学反应，是人体气味相投，我想那也就是说，人文社会的过多人为的因素让这种化学反应失效了？庆庆，2005 年 11 月 16 日

Love was Eaten by a Rat This originated from a strange love story - one which began without thyme or reason and I am not even sure when this love inexplicably faded away. When it began, it felt like tiny mouse teeth slowly gnawing at your heart, possibly a sharp pain or merely an itch, or neither pain nor an itch - uncomfortable and disquieting either way. Gradually you were numb, the feeling was gone. There was no love, no hate, only a deathlike numbness remained. It seemed that everything had lost its flavor and had become so tasteless, that I couldn't even pull myself together before go out of the house. One day I looked at my work and the words, “love was eaten by a rat”suddenly formed in my head. Of course! And so I called it “Love was Eaten by a Rat.” I later realized that it is fools who give love too much credit. Love - or passion - is actually quite pure and simple. People value Love too much, attach themselves to her, and then she is unable to bear such a heavy burden. People say that the attraction between a man and a woman is a natural chemical reaction and that the human body is sympathetic to another. Does that suggest that excessive artificial constraints in our human society cause this natural reaction to lose its effectiveness ？ Qingqing, November.16,2005

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暧昧 Ambiguity 行为艺术，北京通州宋庄小堡村 1999

艺术家用给人按摩的方式给一头约 300 斤重的猪按摩约 40 分钟，同时配以旧上海的音乐和”金嗓子“周璇的歌声。 In the way that people give massages to each other, the artist did the same for 40 minutes to a pig that weighed about 150 kilograms. At the same time, songs from Zhou Xuan, the so-called Golden Voice, played in the background. 180

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暧昧这个城市是变得五光十色地炫目了，一片歌舞升平的土地上，人们享受着一些巨大变化带来的刺激与兴奋，城市机器是一架日夜轰鸣的绞肉机，吸食着人们的精力和体力，但不知为什么，在那些灯火通明，通宵达旦的艳丽所在背后，总有一种东西让我觉得不知所云的莫名其妙，那就是这里人们的消费方式，它的形式走向越来越多地趋向娱乐行业，人们乐此不疲地光顾的桑拿院、按摩院以及由此延伸出的种种暖昧行业日趋兴盛，它们炫耀着人类自身消费同类的享受，并以此为荣夸富，难道人的智慧真的已枯竭到只有消费人才能满足，或者说刺激他们日渐枯竭的神经？我闻到了末日的味道。庆庆 1999 年冬，北京宋庄小堡村

Ambiguity This city has become dazzlingly multicolored. With its façade of peace and prosperity, the great transformations are both provocative and exciting. The city's machinery is like a meat grinder, thundering day and night, sucking away people's energy and strength. Without knowing why, behind the bright lights, behind the gorgeous façade, there remains an inexplicable feeling that there is something else happening; it is the pattern of consumption that takes on the form of business and entertainment. People will never be bored of going to spas and massage parlors. With each passing day, they gradually turn to the prospering trades of more ambiguous professions. Such enterprises, and they become full of themselves and decadent. Is it that people's intelligence has dried up to the point that only consumers have the ability to be satisfied ？ Or does it stimulate their numbed senses ？ I can smell the scent of doom. Qingqing, Winter, 1999, Xiaopu Songzhuang, Tongzhou District, Beijing

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一个艺术家的工作室 An Artist's Studio 60×48×34cm 2005

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我眼里的庆庆和她的艺术李津（艺术家）

庆庆和我认识二十多年了。九十年代初我住在新街口菠萝仓胡同。那房子太老了。夏天漏雨，冬天透风，大门用一根顶门柱顶着。那时的日子穷而充实，吃什么都香。有一天朋友带来一个高个子女人开着一辆像玩具一样的小车，这个女人的穿着很像是在国外呆过的人。怀里抱着一只小狗，笑眯眯看着我的这个女人，就是庆庆。后来，我又搬到了沙络胡同，离庆庆家很近，来往也渐渐地变多了。她的家住南锣鼓巷，自己有个小院子，有卫生间。这在北京胡同里当时就是那种很舒服的房子了，屋里陈设很讲究，我知道她是大家闺秀，并且是那种顽皮的、有孩子气的闺秀姐姐。在我印象里我们交流不费力，话也比较多。她的气质像她的身高一样很吸引我，和她在一起我既不认为我比她小也不认为我比她大，这种随意的感觉一直保持到今天。最初见到庆庆的一些作品是她手工壁挂之类的作品，那时的她已经体现出对材料和形式的把握能力。她艺术的起点是从打造自己的住宅环境开始的——打造自己理想的家园。有时觉得庆庆像蜘蛛一样不停编织着自己活动的空间，充分享受着编织的乐趣。庆庆有自己的世界，她创造的世界不虚拟，但都与现实保持距离，总感觉把自己放在一个安全的环境里，把门关好、上锁。里面有她自己独特的光线与温度，有童真般的干净。庆庆对材料十分敏感——她的“古装”系列体现了她对材质、造型、及传统的修养。她把干枯的植物做得如此鲜活，把沧桑变得这麽童真，更加证明艺术家的心灵决定着艺术的品格。当我想到庆庆，首先出现的是她天真、顽皮、诡异的笑容。这种笑容不会因为其他而改变。

写于 2012 年，天津

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Qingqing and Her Art in My Eyes li Jin （Artist）

I have known Qingqing for more than 20 years. I lived at Boluocang Hutong, Xinjiekou Street, in the early 90s. That house was extremely old. It leaked in the summer, was cold in the winter and the door was propped up by a doorpost. I lived a poor but fulfilling life during that time, easy to be satisfied. One day, a friend brought over a tall girl in a toy-like car. She was dressed like a woman who had lived overseas. Holding a puppy in her arms and smiling at me, this was Qingqing. Later on, I moved to Shaluo Hutong, very close to Qingqing's, so we had the chance to see each other more frequently. She lived in Nanluoguxiang, with her own courtyard and toilet. For a Beijing hutong house, at the time, this was pretty comfortable. The house was furnished exquisitely. I could tell she was from a good family. She's like a big sister who is kind of naughty and childlike. We could communicate easily, without hassle. Her personal temperament attracted me as much as her height. I never really noticed the age difference between us, and this casual feeling remains today. When I first encountered her handmade woven works, she had already shown her ability towards materials and forms. She had begun making art by creating the environment in her personal space, building her ideal home. Sometimes it felt that Qingqing was weaving non-stop in her own space like a spider, and took full enjoyment out of that. Qingqing has her own world. The world she created was not virtual, but it has always kept its distance from reality. It's as if she put herself in a safe environment and locked the door. Inside, there is a unique light and temperature, and an innocent purity. Qingqing is very sensitive towards materials. Her “Ancient Costume” series represents her cultivation of materials, forms and traditions. In her hands, the dried-up plants became lively symbols of innocence, which shows how artists determine the character of their art. When I think about Qingqing, the first thing that comes to mind is her innocent, naughty and mysterious smile, a smile that will never change.

2012, Tianjin

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“海市蜃楼——神秘的光”庆庆装置展现场北京 798 艺术区大窑炉展场 “Mirage － Mysterious Light”Qingqing's Installation Exhibition 798 Art District, Beijing 2005

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我被污染的肺－庆庆自画像 1999 ( 右） My Polluted Lungs － Self Portrait 1999 (Right) 37×31.5×12cm 1999

我的肺和我的氧吧 My Lung and My Oxygen Bar 50×43×13cm 2000

我的肺和我的氧吧从欧洲搬回北京的秋冬，我的肺向我提抗议。从早到晚不断地咳嗽，几乎搞的我无法张口说话，持续了一个多月以后，我决定去看医生。 X 光显示：肺纹理增重，支气管肺炎前期。医生说是我曾经居住过的地方太干净了，所以现在的环境让我不适应…… 那晚我做了一个梦，我梦中的肺沉重而五彩斑斓的，在似海的云雾中飞翔，它飞不动，因为它布满了灰尘，肺叶的缝隙里还有金属的粉末…… 梦幻中，我的肺在寻找它的氧吧……它渴求一片净土，哪怕是一个山凹里的植物园，让它和那里的花儿，草儿，植物，动物们一起呆一会儿，享受一会儿，自由呼吸的快乐 !

My Lungs and My Oxygen Bar Back to Beijing from Europe in the autumn of 1999, my lungs were protesting against me. I kept coughing all day long, and I could hardly speak. Finally I decided to see a doctor after a month or so. The X-ray showed an increase of veins in my lungs, and I was diagnosed as bronchopneumonia at the early stage. I was told by the doctor that the place where I lived was so clean that I could not adapt myself to the current environment. I had a dream that night; in my dream my lungs are heavy and colorful. It seemed to be hovering in a sea of clouds, yet they couldn't fly because they are loaded with dust and there are metal powders in the gap of my lung lobe … In the dream, my lungs were seeking desperately for their oxygen bar... they yearned for a piece of pure land, even if it was a botanic garden in a cove. They crave for the company of flowers, grass, plants and animals, even for a while. They yearned for the pleasure of breathing freely the fresh air!

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水界 Sea Border 106×135×8cm 2005

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女性主义运动是本世纪为争取人类生活美好进行的最重要的运动之一，是一种社会进步的标志。一个世纪以来，西方的女性主义运动经过近百年的努力，已经在相当大的程度上改变了妇女的社会地位，并形成了自己的势力，其中女性艺术创作所起的作用不容忽视：无论在理论上和创作上都基淀了丰富的经验和建树。摘自《中国当代艺术中的女性方式》，作者：廖雯

The women's movement is one of the most important movement of this century, it simbolyses improvment in our lifes and social development.Western women's movement after more than a hundred years of struggle has succeded in improving their social status, gaining, power and space for themselves.The artistic power of women represents a major contribution to this process both on theoreitical or on the creative levels. < Women' approach to Chinese Contemporary Art>, Author: Liao Wen

安南夫人参观 798 庆庆工作室 Mrs Annan visit Qingqing studio in 798

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袜袜的梦 Wawa's Dream 150×90×8.5cm ／ 105×65×8.5cm 2005

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袜袜的梦袜袜住进我家已近 6 年，它和我朝夕相处，知道我所有的起居习惯，但我对它至今知之甚少。它是一只极其漂亮的猫，有意思的是它知道自己很漂亮，因此每次有客人来，它都跳着叫着下楼来”接客”，大家也都认为它长得很漂亮，于是就有朋友专门查了猫谱，说它的品种叫“挪威森林”，有幸和那位日本作家的小说同名。袜袜的确有它的森林。我以前的家住在古城深处，深深的巷子里，北京人喜爱活儿物，家家都喜欢养点花花草草，或者是养鱼养鸽子养猫，于是古城深处，巷子里的屋顶，就成了猫儿们的游戏场。每当夏日的夜，我喜欢躺在天台的躺椅上看天，高大的杨树们站得一排排的，撑着胡同上空中的天，夜晚胡同上空中的世界 , 其实像一片片的小森林，自顾自地唱着它们与人间无关的歌儿。树影婆娑中，天的深邃，月的苍茫，和着胡同深处谁家悠悠远远的二胡声。这时老房子的屋脊上走过一两只男猫女猫，一前一后不紧不慢地，消失在深沉的黑暗中，就像是天幕中演绎的故事，每次都把我的心带得远远的…… 我家的袜袜就是这样，他心性宽厚而相貌堂堂得像个猫国王。每晚去那个天幕边的小森林里约会它的那一大群猫天使般的三妻四妾。每当听见她们高高低低的呼唤声，他就欢天喜地、飞也似地在我的视野里消失了。一夜，它的去向，我不得而知，总觉得它是去了天堂。直到早上四五点钟，神疲力竭的袜袜才静悄悄的从猫洞子里爬回家。于是第二天一个上午，我在家里工作时又会看见它乖乖地睡在我桌边的小沙发上，好像什么也没发生过似的，但是时时地，他会在梦里发出一阵阵的梦呓。想必是在梦里回味昨晚的好事吧。于是对于我，那屋顶上的世界，就像是一个通向天堂的奇异之梦。我只能每天遥远地看着袜袜走进去，在那里消失，然后又奇妙的回到我的身边。它昨夜究竟去了哪里？那些女猫们又是如何与它相爱的，我不得而知。袜袜的生活其实对我一直是个谜…… 庆庆，2005 年秋北京南锣鼓巷

在陕西富平国际陶艺村做作品 Working at Fuping International Art Village in Shanxi

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WaWa's Dream WaWa has lived in my house for the past 6 years and knows my entire daily routine, yet I know so little about him…until now. He is a really beautiful cat, and the interesting thing is that he knows it. Each time a guest comes to visit, he immediately lets out a small cry and jumps down to greet them downstairs. Everyone agrees that he is very handsome. I have friend who especially checked out a book of cats' pedigree and found that he is from a breed called “ Norwegian Wood”—he is so lucky to be the same name as the novel by the Japanese author. WaWa indeed lives in his own forest. My former home was in the oldest part of the city, deep in the hutongs. Every household in Beijing is fond of growing plants and flowers, or raising fish and pigeons, or even cats. In the old city, the hutong roof-tops became an amusement park for cats. On summer nights, I liked to lie out on balcony on the couch outside looking at the sky. The tall poplar trees stood in a row above the hutongs and seemed to hold up the sky. When the wind blew, the world above the hutong rooftops seemed like a singing forest…They sing songs which is irrelevant to the world, only for themselves. The infinite moonlight created silhouettes of the trees against the profound sky, and in the depths of the hutongs music of an erhu echoed distantly in the night. On the ridge of this old courtyard walked a pair of male and female cats, one after the other, not too close and not too slow, --they disappeared deep into the darkness of right. On this stage of the night –their play vicariously carried my heart to a distant land…… Our WaWa is the same. His kind and generous temperament is very dignified typical of the feline kingdom. Every night, he goes to that forest in the heavenly stage to meet his large crowd of wives and concubines who seem like angels. When he hears their various voices calling to him, he disappears from my scope of vision at the speed of light. The whole night, I have no idea where he goes, I always felt that he goes to paradise and only returns to this earthly world at about 4 or 5 o'clock the next morning. Mentally and physically exhausted WaWa returns home and silently slips through the cat-trap door. For the whole morning that next day, while working at home, I see him obediently sleeping on the little sofa next to my desk –as if nothing had ever happened. But from time to time he seems to talk in his sleep. I imagine that in his dreams he revels in his delights of the previous night. So for me, the world above the hutongs is a stage for dreams. Each night I am only able to watch WaWa from a distance as he disappears into his pleasure-land and then inexplicably reappears again my side. Where did he go last night ？ How do these female cats share their love with him ？ I will never know –WaWa's life will forever be a mystery to me. Qingqing, Autumn, 2005 Nanluoguxiang, Beijing

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爱情罩－文化小女巫系列 Love Cover － Little Culture Witch Series 46.5×21×17cm 2002

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坐台 2001 －文化小女巫系列 Call Girl 2001 － Little Culture Witch Series 40×28×26cm 2001

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克隆实验室－克隆系列 Clone Lab － Clone Series 47×62×19cm 2001

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画框上的小故事恐龙 BABY 对恐龙妈妈说： “妈妈，你的尾巴去哪儿啦？” 恐龙妈妈说： “人类要克隆，把我的尾巴剪走了。孩子，你要知道，人是这个世界上最可怕的东西，他们发明了填鸭，填鸭的智商降低了 70%，他们发明了肉鸡，肉鸡的情商等于 0，他们给猪吃化肥，制造软骨病猪，用垃圾养羊，自己再吃涮羊肉。现在报应来了，他们要克隆自己了，估计克隆人的情商比肉鸡差不了多少；智商比填鸭也不强。也许下一个世纪，他们就是我们的肉鸡啦！” 庆庆，2001 年，北京 798 工作室

Small Stories on the Picture Frame The dinosaur baby says to its mother, “Mother, where did your tail go ？” The mother replies, “Human beings want clones, so they cut off my tail. Child, humans are the most fearsome creatures. They force-feed ducks and now the intelligence of those ducks has dropped by 70%. They invented broiler chickens whose sensory ability is equal to zero. They make pigs eat fertilizer that causes them to be malnourished and have bone deficiencies. They use garbage to raise sheep and then they eat this meat in a hotpot. But retribution has come; they want to clone themselves. I predict that the sensory system of a cloned human will not be much higher than a force-fed duck. Perhaps in another world, they will be our broiler chickens!” Qingqing, 2001, 798 Studio, Beijing

克隆爱情－克隆系列 Clone Love － Clone Series 38×28×20cm 2005

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恐龙的宴席上，吃的是什么？自大骄横的人类，总以为自己是宇宙间的主宰，倘若有一天，畜生们发现了它们共同的语言，交流它们共有的苦难以致同仇敌忾地对付它们共同的天敌，人类的文明又算什么？ “克隆作为科学家的成果，它探询了生命的深度，科学家被思维的运转刺激着向前，尽其所能地把事物推进到尽可能的层面，一些观念令科学家着迷，一个 2002 年出生的人，可以拥有 2085 年生产的大脑，而他的胃出品于 2065 年，肝重组于 2074 年，生命得以延续。极端主义认为克隆器官甚至可以变成食品，我们可以设想品尝自己的肾的感受，或是品尝恋人、朋友甚至明星器官时的感受，这赋予食品全新的意义，我们吃什么会成为一种心理疗法。艺术家是在人文的角度进行心理层面的反思：科学进程是否对人有益？是否必须牺牲自然作为代价？万物之道将做怎样的赏罚？既然科学家用手创造了另一个盗版生命，可曾想人类被传说中某一双手创造时，把它编辑成生命那样的程序，放置于人间烟火中，认认真真演戏，我们人这样的地球主人，活在谁的手心？” ——摘自《新世纪》杂志 , 作者 : 陈政

At a dinosaur's banquet,what do they eat ？Conceited and overbearing people always falsely believe that they control the universe, as if there will not be a day when animals will collectively find a common tongue and express their suffering and bitterness against their mutual enemy. Is human civilization so important ？ Clones are scientists' achievement, which questions the natural order of life. Scientists are constantly stimulated by forward thinking and take one thing as far as possible. A number of these ideas fascinate scientists. For instance, a person born in 2002 can have a brain produced in 2085, his stomach can be manufactured in 2065, and his liver may even be reconstituted in 2074 –therefore life becomes continuous.Extremists even believe that cloned organs may become food. We will be able to taste the flavor of our own kidneys, or our loved ones, or friends, or even celebrities. This will change our attitudes towards what we eat and become a kind of food psychotherapy. Artists with a concern for humanity reevaluate their own views and wonder if scientific progress benefits mankind. Is it worth the price of sacrificing the natural world ？ Scientists have created a copy life with their own hands. How will the universe reward or punish this behavior ？ When the hands of the universe created humanity, a natural order was established before breathing life into it – our lives are merely the performance of this established order. We humans are masters of the earth. Whose hands hold our lives ？ <New Century>, Author: Chen Zheng

大餐 Big Banquet 49×66×16cm 2001

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作品简介材料：清代旧书架，韦氏英英字典，电动娃娃，自制纤维材料，灯泡等等。作品中四个较大的闭着眼睛的娃娃是电动的，一拔出它们口中的奶嘴它们就不断地前后蠕动，并且口中唱着谁也听不懂的歌儿。后来我终于听懂了他们唱的是“你别躲，你别躲“。那次是冯博一通知我参加一个展览，地点在西单的图书城，作品应与书刊有关。我当时回国不太久，为了看场地我第一次去了这家书城，三层楼，或者是四层吧，书店生意兴隆，除了书就是人了，大部分是年青人，人挤人的看书，我就注意去观察那些年青人在找什么样的书，结论很有意思，他们中的很多人其实不知道自己要找的是什么书，很多人从一个门类到另一个门类的在书架间转着乱翻看，观察了一阵，我忽然明白了，他们要找的其实是想知道自己想找什么？我明白了，高速度的社会变迁，时间的挤压和节奏的不断加快，让许多人不得不处于不停地调整和搜寻中，寻找到自己新的位置和方式，而这种搜寻带着很强的盲目性。我记录了这次的观察，并为它取名为《东西西东－ 2001》

Introduction of the Work Materials: a vintage Qing Dynasty bookshelf, Webster's English Dictionary, Toy doll, homemade hemp materials, lights, etc. An introduction of the work: the four larger dolls with closed eyes are electric-powered. When the pacifiers are pulled out of their mouths, they continuously squirm about. It seems as if they are incessantly crawling and even singing unintelligible songs…”I can search for you everywhere…” That time, it was Feng Boyi who suggested that I participate in the exhibition, which was located in Xidan's Beijing Book Building and required that the participating artwork be related to books and published materials. At that time I had not been back China for too long, and I went to Beijing Book Building for the first time, to see the exhibition space which has three or four foors. Business was booming. Besides books, there were people – young people, people crowded everywhere, and also many people sitting on the steps to read. I started observing what kinds of books young people were searching for. The conclusion was very interesting. Many of the young people didn't know what kind of book they were looking for. They went back and forth between bookshelves in different sections, picking up books, putting them down and going to another section. After watching them for some time, I suddenly understood – they were searching for what they themselves really wanted to search. High-speed social changes, time pressure and the continuously quickening pace give many people no choice but to be in a constant state of adjusting and searching, looking for his or her own new position or method. However, this kind of search is blind. I used this work to record my observations and named it “East - West - West - East － 2001”.

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东西西东－ 2001 East - West - West - East － 2001 162×87.5×38.5cm 2001

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恐龙的胃－克隆系列 A Dinosaur's Stomach － Clone Series 51×30×32cm 2002

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似是故人来——克隆小说他来看我，是在那个夏日里一个阴雨的下午，百无聊赖的天气，他连电话也没打一个，就已经站在我的门前了。不约而至，这不是他以前的习惯。但是这天是这样的阴郁，有人来访，真是让我很高兴。我们可以说是“发小”，是有过很多共同的不同寻常的经历的朋友，是那种很久不见面，却总也不会让人感到生疏的关系。自从我新修了这个小院子和工作室他就没来过，却很熟悉地拿起水杯给自己倒了一杯水，在房子里转来转去，并且要求我把墙上挂的，各个角落里、台子上放的我的各种新作品的故事讲给他听。似乎那天的雨让他的心情芬芳，也许是花儿开放前的心态吧？他敏感而好奇地对每一件作品伸出他纤长而透明的食指，让手指肚的肌理细细地流过它们……这也是他的新习性，小时候他不是这样的。我觉得他今天有点怪怪的，但我还是满足了他的好奇心，当然还有我的虚荣心…… 天将黑的时候，雨渐渐地住了，我们穿过胡同去一家小馆子里吃晚饭。我们并肩走着，窄窄的小胡同里，雨后的地上有一些水洼，有车从身边开过时溅起地上的雨水，他就飞快地把我拉向一边。不知为什么，触到他的手时有一种冰冰凉凉、滑滑怪怪的感觉，好像那不是一只常人的手，虽然在昏暗的路灯下看不清什么，我却在脑海里浮想起了他那些淡葱白色发绿的手指，感觉有点像我的牙刷把，轻而透明得毫无份量，我不禁暗笑自己想必是做装置成癖，把什么都当作材料去想了吧……

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迷臆园－克隆系列 The Lost Land － Clone Series 60×50×30cm 2004

我点了两三样他以前喜欢吃的菜，可他好像没有什么胃口，只是一味地将二锅头像橘子水一样地灌了下去。我记得他过去不是这样的。我们聊了很多，关于当代艺术，关于时尚，关于新的小说和小说家们，还有电影，电脑和网络……他好像仍是那个对一切充满热情与好奇的人，但我谈起小时候的一些朋友时，他又是淡淡的样子了，不时地望一眼小餐馆脏兮兮的窗框，窗外的路灯的光束里，又闪烁着淅淅的小雨了，他清白色的额头泛出了一点微曛的玫瑰色。那晚他就住在我家，又聊了些什么，我就不记得了，只是依稀记得我自己还在说着什么，就睡着了。朦胧中感觉台灯还亮着，在伸手关灯的一瞬间，我突然感到无法控制的恐惧，他的脸在蓝色灯罩的映照下变得绿莹莹的，有点像正在使用中的手机荧光屏，一半被他的长发遮住的脸正在充电似的一闪一闪地发光，那只搭在我被子上的手也越发变得软塌塌的像是软塑料做的，那种绿莹莹的葱绿色压得我心里发闷。黑暗中有一个声音告诉我这不是我以前认识的他了，我身边躺的是一个陌生的男人。我忽然想起小时候一起玩，他曾从车

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上摔下来，就急忙把灯重又打开，照着他的额角，眉梢处还能依稀看出那个弯弯的疤痕，我于是又觉得自己太多心了，这一夜却睡得始终不塌实。醒来时他已经走了，我于是又开始了一天的忙碌。这个躁动的大都市里的生活总是让人过得浑浑噩噩，常是事情过去了，还未暇细想，就是本来细腻的人，也会被这个城市的生活变得粗糙、麻木。傍晚时想起头天的事，给他打一个电话，却是他母亲接的。她还记得我，但是她说他已经死了，是去年出差时在广西出的车祸。不过她的嗓音听起来很平淡，没有一点伤心的意思，因为她说他工作过的那家公司正在准备生产克隆人，第一个实验品的实施计划就是用他的基因拷贝，因为他们那个实验室的每个同事都在本公司的基因档案室里有自愿存档，万一哪一天身上的某一个零件坏了就可以拷贝一个换下来，她还说他们去年用最新的冷冻保鲜封存技术把她儿子的尸体保存了起来，就是为了拷贝他做一个克隆人。她还说克隆一个人在当今这个科学发达的时代已经不是什么了不起的事了，等等。她在电话里滔滔不绝地说着，我却在另一边听得毛骨悚然，莫非昨天那个躺在我身边的他竟是他的克隆？他有他原身的记忆吗？如果他真的和原来的他一模一样，为什么他对小时候的事情避而不谈？他又为什么来找我？想证明他自己的再生之身的历史存在？还是想知道人们会怎样看待、感觉他这个拷贝？我完全骇然了，细想起昨晚睡前的种种，我越发恐惧起来，真不知那应算作是拷贝还是真实？联想起几年前和几个朋友一起去过山西旅行，（其中也有那个真的他）途径一处农舍的墙上大字书写着生产出售“人造肉”的广告，我们当时都觉得很可笑，我还用相机把它拍了下来。可是难道昨晚那个他不正是“人造肉”吗？真恶心！我开始细细回想他昨晚的一举一动，我想起他当时还曾细细地捏起一根我掉在枕巾上的头发，怪怪地夹在他的笔记本里，他要做什么？从头发上得到我的基因吗？他们会拷贝另一个我吗？天哪！这个世界上将会有两个我？如果每一个人都可以被拷贝，我们不是都可以有两个父母，或者两个爷爷、两个奶奶、更或者几个姥姥、几个姥爷，还有几个重样的儿女；重样的先生、重样的太太；或许还可以失而复得我们的先人？那么，我家里将会有几只一模一样叫妞妞的狗；几只一模一样叫作小袜子的猫？还有那个每天来我家偷食附带偷情的老黄猫，他也会变成两只或者更多吗？那我可就真的喂不起他们了……想下去我实在是被我想象中的场景吓住了，这实在是太可怕了，我感到周围的空间被填充得太满的挤压，让人憋气得无法呼吸…… 那么，我们的交通呢？房屋和城市以至整个世界，不是都会变得更加拥挤了吗？我感到我的想象力也被挤压了…… （本文纯属虚构）

庆庆，2001 年春节北京南锣鼓巷

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克隆之三－克隆系列 Clone 3 － Clone Series 36×34×9cm 2002

At the moment I recognized the bed lamp was still on and tried to turn it off, I suddenly felt uncontrollably terrified.Under the light from the blue lampshade his face appeared green, like the color on a mobile phone screen. His face, half covered by his long hair, appeared shiny like when I recharge my phone. The hand he placed on my bed comforter became softer like it was made of plastic. This shiny, onion green color made me feel very heavy. In the dark, a voice told me this was not the person I knew before. The person lying beside me was a stranger. I remembered the one time when we were playing together as children and he fell out of a car. I turned on the light and saw that the curved scar was still on his temple. I decided I was thinking too much, but still I didn't have a good sleep. When I woke up he had already gone, I started my daily busy life. Life in the restless, big city is ofen so busy and rapidly passes by, you don't even have time to think about it. Originally a very gentle person could turn to be rough and numb by this city life. In the evening I remembered what had happened yesterday and I called him, his mother answered. She said she

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remembered me, but that her son had already died. Last year, while on a business trip in Guangxi, he died in a traffic accident. Her voice sounded smooth, without sadness. She said the company he used to work for was preparing to produce human clones. The first test subject's procedure was to copy his DNA. IIn the company's file room, each of his colleagues from the laboratory had his or her own DNA file. In case some day one of the spare parts in the body is broken, they could always make a copy and exchange it. She also told me that last year they used the latest technology to freeze his body in order to copy him and create a clone. She said that today's scientific development is so high, that to make a human clone is nothing special…She was endlessly talking into the telephone and on the other end I felt horrified. Was that man, who was lying beside me last night, his clone ？

Does he have the original body's memory ？ If he is exactly the same as the original, why didn't he want to talk about our childhood experiences ？ Why did he come to visit me ？ Does it mean he wants to testify to the existence of the recreated body ？ Or did he want to know how people would react or feel toward him - a copy ？ I was scared to death..When I started to remember his behavior last night; I was even more frightened. I really don't know if it should be called virtual or real ？ I recalled another experience a few years ago when I was traveling with some friends to Shanxi (including the original him). On the wall of a farmer's house we saw an ad for producing and selling “man made meat.” At that time we thought it was very funny, I even took a photo of it. But was that clone last night not “man made meat ？” How disgusting!

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我的脑电波－克隆系列 My Brain Wave － Clone Series 166×28×8.5cm 2005

I started to think about his behavior and I remembered that he carefully picked up a piece of my hair that had fallen onto the pillow. He strangely placed it between two pages in his notebook. What does he want to do ？ To get my DNA from my hair ？Could they also make a copy of me ？

Oh my goodness! There will be two mes in this world. If everyone could be copied, couldn't we have two fathers, two mothers or two paternal grandfathers and grandmothers -- or several maternal grandfathers and grandmothers ？ Or several sons and daughters who are exactly the same ？ Or several exactly identical husbands and wives? Or we could even get back our dead ancestors.

Then, at home, I will have two of exactly the same dogs called Niu Niu; and several of exactly the same cats called “Little Socks ？”In addition that old yellow cat that stealthily comes daily to my home to steal food and the heart of my cat, would he also become two or even more ？Then I really could not afford to feed them all… This image really terrified me, this is really horrible. I felt that the space around me was so full and squeezing me. Then what about our traffic ？Our housing ？Our city ？ and our world… Will the outside world become more crowded ？ I feel my imagination is also being pressed… (This story is a complete fabrication.)

Qingqing, Chinese New Year's Eve, 2001 Nanluoguxiang, Beijing

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蓝笼 · 椅子－克隆系列 Blue Cage and Chair － Clone Series 43×65×39cm 2008

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现代科学以为它们可以创造一切乃至生命，但是它错了。我尝试着用我的方式体验克隆——我用画板制造孩子。但我发现它们像克隆产品一样雷同而令我厌恶，他们有相同的长相，而且发出同样的哭声。我于是命名这件作品为《生育权》。人类有权保护他（她）们生育的权利。 Modern science believes that it can create everything, including life - but it is wrong. In my own way, I experienced the process of cloning. I used an Etch-a-Sketch board to draw and create children, and I soon discovered that this was just like producing clones: the products were all identical, appearing with the same face and letting out the same cries – I felt disgusted. Thereupon I named my performance,” The Right to Give Birth”. Mankind has the power to protect its right to give birth.

行为过程 : 艺术家手持一个小笔记本状物，观看四周围观的观众，然后一一用笔画下他们的样子，每画完一个，她就用嘴从长袍内叼出一个小橡皮娃娃，观看后脸上露出不满的神色，将小娃娃扔置在地上，娃娃触地时发出吱吱的刺耳的叫声，如此反复多次，艺术家发现这些娃娃们的长相和哭声都极其雷同，它们只是克隆人！于是她愤怒之下找来一只大铁笼，把扔在地上的娃娃统统关进去。艺术家进而撑开她的长袍，长袍上写着：“反对克隆，生育孩子的权利只属于母亲。” 行为过程近 30 分钟，全场掌声雷动。

The Process of Performance Art: With a notebook in hand, the artist looked around at the spectators and painted their faces on the notebook one by one. Whenever she finished painting one person, she would stick a rubber toy from her robe into her mouth.

She would then

look at the toy, appear dissatisfied and then throw it on the floor. A raspy voice would break out each time a toy hit the floor. The artist would do this repeatedly, and found that the looks and cries of the toys were always the same. Were they all just cloned ？ She got angry, found a big steel cage and put the toys inside it. Then she opened her robe to reveal what was written there: “ oppose cloning, only mothers have the right to have babies. Big applause broke out at the scene.” The whole process lasted about 30 minutes.

生育权－克隆行为艺术 The Right to Give Birth － Clone series 2000

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我的灵魂和我的尸体听说人是有灵魂的，但这似乎又是说不大清楚的事情。我又听说人死后灵魂有两种可去之处，我不知道我的将去哪里…… 于是我为自己的躯壳虚拟了一个藏身之处，试想灵魂可以模拟一把。那是一片奇花异草的王国，我的躯壳在一片长满秋色菊的奇异果中消逝腐烂，嗅着海腥的酸腐，我触觉到了另一种生灵的气息，它们在我的躯壳上慢慢地爬过，匆匆地去找寻自己漫无目的的目的地。它们真是一些奇妙怪异的果实，当它们将自己的内心向外展开时，空气中充满的是绝无邪恶的欲念与天真无暇的清纯欲滴，把它们含在嘴里让你神清气爽，可是它们对自己内心的夸耀最多只能延续一天，在现世的空气中，他们会飞快地消逝掉自己娇嫩的色泽，沉沦得污泥般的丑陋与不堪入目。它们真是一些奇怪可爱的小动物，阴冷的体温与色泽和它们张扬着四肢横行的热情相驳，它们有坚硬的外壳和充满攻击性的外表，逃离时却比进攻时快得多。我的生命终于将离我而去，我的躯壳会在这片奇花异果与光怪陆离中腐烂，我又一次看到了我无法触摸的颜色，浓浓郁郁的是青紫色，斑斑片片的是绛绿色，其间粉、兰、银白，像云似的在眼前飘过，我感到我的心在向下沉去，好像要沉入泥土 …… 我与艺术……艺术与我…… 我想没有人可以抓住自己的灵魂不放，无论它要上天，还是要入地…… 庆庆，2000 年冬，北京南锣鼓巷

行为过程：砖头组成一个类似花坛的坛，用花呢料铺底上面有奇异果和各种鲜花，艺术家俯卧其上，行为开始时，有人不断地将活螃蟹和菊花扔入花坛，于是螃蟹在艺术家的身体上爬动。行为进行时间 25 分钟。 The Process of Performance Art: A flower-patterned cloth, with all kinds of kiwi fruits and flowers on top of it, was laid within a circled wall built by bricks. The artist lay prone on the cloth. People constantly threw live crabs and chrysanthemums inside it, and the crabs crawled on the body of the artist. The whole process lasted about 25 minutes.

艺术圈 Art Circle 即时装置行为艺术作品，上海原弓美术馆 On-spot Installation Performance, Yuangong Museum，Shanghai 2000

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My Soul and My Corpse I have heard that a person has a soul, but it seems that no one can state this for sure. I have also heard that after a person dies, there are two places their soul can go to, I don't know where mine will go.... Therefore, I have imagined a virtual place for my shell to hide, and my soul could imitate one time... This is a kingdom of unusual flowers and fruits. My shell, that which slowly disappears and decomposes, is buried by a variety of colord chrysanthemums and kiwi fruit. It smells the fresh and sour scents of the sea and fruit; it feels the life of the small sea creatures, as they climb slowly over my body, hastily searching for their own place, but not knowing where to go. They are wonderful and unusual fruits. As they reveal their insides to the world, the air is full of their pure desire and naive jade green color. When you put them in your mouth you feel cleansed and refreshed. But, they cannot display their beauty for more than one day, as in the real world, they rapidly decompose and lose their fragile color, changing into something no one wants to see. They are really some peculiar, cute, and small animals. Their body temperature and color is cold, but they wave their legs in a highly animated way, creating this stark contrast. They have hard shells with the appearance of wanting to attack, but they are faster at retreating.

My life will finally leave my shell, which will decompose in this unique garden of wonderful flowers, fruits and animals. Once again I will see the untouchable, wonderful colors; thick magenta, sections of dark green, and in-between I see pink, blue, and sliver - white clouds floating in front of my eyes. I feel my heart sinking down, almost as if into the earth…

Me and art - Art and me… I think no one can grasp and hold their soul, no matter if the soul wants to go to heaven or to hell…

Qingqing,Winter, 2000 Nanluoguxiang, Beijing

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怪圈 Strange Phenomenon 67×35×48cm 2004

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葬魂文明社会使人们放弃了许多自然的天性。但是我们起码还应有一点，就是对生命的尊重。死亡是生命过程中的一个阶段，它应该像出生一样的被尊重，为此人类创造了各种祭奠的方式。有时它也未尝不是一种欣慰与解脱。智慧的人类也会为此鸣乐；哀歌；或饮酒作筵……无论何种形式，总之是用以表示尊重与寄托吧。也许有人会说我这是兔死狐悲，但是那天为它们母子的死，我的确是很悲哀。

那天是因了一个偶然的机会，我参加了这次怀柔之行。几个艺术家朋友告诉我，他们要去山里做一次行为艺术活动，我加入了参观团的行列。车开在蜿蜒的山路上，我们经过了一个又一个山坳里的小村庄，终于在一处农舍前的空场上停了下来，人们正在忙碌地做着什么，大约是在准备下午的活动吧。我看到了那只被捆绑在树边地上的黑羊，温良狭长的眼睛，它默默地垂着头，幽幽怨怨的有一种听天由命的神情，但我注意到两颗葡萄大的液体正从它的眼角缓缓地向下流着……我不能自禁，走过去解开它脚上的绳子，纷乱的场面，没有人注意到我的”不轨行为”。它蹬了一下黑色的双脚，向旁边的一棵小树跳去…… 那时是桃花初放的时节，即使是黄昏，空气中也充满着勃勃的生机，夕阳把远处的山顶染成了一片淡紫，映着山间粉白交映的桃花，空气中流动着一丝淡淡的说不出的桃枝的味道。在山里转了几个小时之后 , 我们又回到了那个小房子前 , 一股血腥的味道刺激着我的鼻腔，地上是一滩黑色的羊皮，伏在那里，旁边是她完整的、剔去了筋肉的脊柱骨，在夕阳的余辉中红灿灿的血腥，连着一颗黑色的头颅，眼神依然善良、秀美，只是隐约中多了几分那种仅属于母性的优伤……我看见旁边的盘子里，一只小小的完整的婴羊，只有我的手掌那么长吧……看起来像是一只秃秃的刚生下来的小鸟，却已经有了两只长长细细的后腿，细细的脚趾清晰地分开，两只前腿则卷缩着，像是惧怕着什么。或许这个娘胎里的小生命，已经知道了对未曾谋面的世界的恐惧。我的心一下子缩紧了，默默的人群里，也有人不忍看，转过头去…… 我于是脱下我的短衫，我决定为它们母子送葬……当我抱起那母亲的尸骨时，它便将头低低地偎在了我的胸前，我感觉到它的体温 , 它的灵魂似乎也还未离去。我又将它的孩子放在它的颈边，帖近它的面颊。因为我的母性告诉我，如若是能够，它一定会愿意，用它最后的余温，温暖它的孩子。这时我看见它狭长的眼睛在微微地抖动，目光里似也有了一丝可怜中的欣慰，原来僵硬的脖颈在我的臂弯里瘫软了下去…… 把它们母子安放在堆好的柴垛上，又盖上几枝将去的桃花，我点燃了火堆。热气向我迎面扑来，跳动的火苗吞下了我那件桃红色的短衫，被烧焦的桃枝在黑烟中升腾起来，浓浓地在山边化成了青色。当我看到一片狭长的云开始在天边流动时，我知道我不会再看到它们了，它们去了，飞去了一个人所不知的国度，它和它那个尚未出生的孩子…… 如果人有转世和来生，动物想必也会有的吧？但是那个刚刚投胎成形，却又惨遭杀害的生灵，它又将去哪里投胎呢？想必它是不会愿意转世为人的吧？庆庆，2000 年春，北京南锣鼓巷

葬魂 Burying the Soul 即时行为艺术 Spontaneous Performance Art 2000

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Burying the Soul City life is far removed from nature，and requires us to give up much of our original character. However, we should at least have basic respect for life. Death is a phase of the whole proess of life; it should be respected same as birth. For that reason, human beings have created many ways of memorize. Sometimes it can also be redeemed as relief and deliverance. Wise mankinds would therefore playing music、singing、drinking and holding banquet. Whatever the ways people use, they want to express their respect and reminiscence for the deceaseed. People might say my sympathy is superficial. But I am really sad for the mother sheep and her baby that day.

It was by chance that I went to Huai Rou Mountains. A tew artists and friends told me they wanted to go there for an art performance, so I joined in as a spectator. We drove through the winding mountain road passing small villages, one after another. We stopped in front of a house with a large open space, and people began to busy themselves with something, perhaps preparing for the afternoon's activities. I saw her, with warm and kind eyes, quiet and accepting. She was lying there with her head down awaiting her fate, but I noticed two tears the size of grapes falling down from the corners of her eyes... I could not stop myself from walking over to her and untying the rope from around her feet. As there was much activity, no one noticed my action. She moved her feet, and jumped to the nearby trees. The peach trees were in full blossom, and even at dusk, the air was full of life. The setting sun made the mountain peak appear a light purple, and everywhere was the light pink color of peach blossoms, as the air flowed with their delicate fragrance. After wondering a few hours in the mountains, we returned to the open space, the smell of blood stimulated my nose, and lying on the ground was her black skin. Next to the skin was her head, still connected to her spin and rib cage. It appeared blood red in the light of sunset. On the black head her eyes were still kind and beautiful, but carried a sadness that only a mother could have… On a plate beside her, I saw a fully formed baby sheep, not even as large as my hand. It looked like a just-born bird, who hasn’t yet grown his feathers, but already has long and thin legs with individual toes. The baby's front legs were still folded, as if afraid of something. Maybe the life inside the mother was already scared of this world, which it had not yet experienced. My heart suddenly shrunk. Many people did not want to see it, and turned silently away… I decided to give them a burial. I took off my jacket and carried the mother's carcass in it. She placed her head in my chest. I could feel her warm body temperature and it seemed her soul hadnot yet left her body. I placed her baby next to her head, resting on her cheek. My motherly instincts told me if it was possible she would certainly be willing to use her last bit of body temperature to warm up her baby. I saw her long eyes lightly flutter, and looking inside them I saw a small amount of gratitude. I could feel her hard neck now softening on my arm… I placed the bodies of the mother and her baby on some branches I had prepared, covered them with the peach blossoms, and lit the fire. The smoke blew into my face as the jumping flame ignited my jacket. Black smoke was rising from the burning branches. The side of the mountain became the same blue color of the smoke, taking with it my silent wish. I noticed a small amount of fog forming, and I knew I wouldn't see them again, they have left, flying to an unknown kingdom，she and her unborn baby… If people have previous lives and future lives, is that also true of animals ？ That baby sheep, which had just formed in the mother's body, was killed that day. Where will she look for her next life ？ Undoubtedly, in her next life she will not want to be a human. Qingqing, Spring, 2000, Nanluoguxiang, Beijing

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行为过程：2000 年春，约下午 5 时，北京怀柔。我用山火为一只被宰割的母羊和她腹中的婴羊火葬。陪伴他们而去的，是那年春天山谷中粉白的桃花和我的粉色短衫。

The process of performance art: In the spring of 2000, about 5:00pm, in Beijing's Huairou District. I cremated a slaughtered ewe and the baby lamb in her womb with the bonfire. They are accompanied by the pink-white peach blossoms of that spring in the valley, and my pink shirt.

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据说有一位西方科学家诊断：人的灵魂的重量是 0.21mg——很轻。我于是想到，我要把灵魂装到一只盒子里，以免她太轻，飘飘地就飞走了。但我又是很传统的，我固执地想我的灵魂还是需要有个躯壳（一个比较讨喜的那种）来安放，就像别人都有一个家一样。

A western scientist has supposedly determined that the human soul weighs 0.21mg - so light! This makes me wish I could place my soul in a box to keep it from floating away. But I think I am very traditional in that I stubbornly believe my soul still needs a home in an outer shell (a relatively pleasing one) - the same as everyone else － has a home.

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梳－文化小女巫系列 Combing － Little Culture Witch Series 33 × 17 ×17cm 2004

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当窗理云鬓－文化小女巫系列 Combing in Front of the Mirror － Little Culture Witch Series 107×40×36cm 2006

“当窗理云鬓，对镜贴花黄”，诗出北朝民歌“木兰词”。说的是花木兰女扮男装，替父从军的故事。木兰打了胜仗，当了将军，却没有人知道她是女性，于是她回到家中，当窗理云鬓，对镜梳妆，再着女装时，百感交集…… 我常以为，人生的舞台，生活，像编好了的戏，从一开始你就被告知是女角或男角，从而有一系列的角色认定，身份认定，比如男孩子不许哭，比如女孩子要贤惠，等等，等等，看似是一些约定俗成，理所当然，却决定了人们一生的行为方式标准，于是大家认认真真地演戏，不敢越雷池一步…… 长大了，男人一辈子想读懂女人，却总是阴差阳错，女人呢，一辈子在矫正自己，以适应男性中心社会的准则，却总像是跟在别人屁股后面跑，永远也跟不上，好难！好累！好不对劲！就像每天早上照镜子，每每总想在自己脸上读到点儿新的东西…… 可是那镜子一成不变，始终是一个男性中心社会的核心标准，高高在上的，绝对的，唯一的，不变的，全球化的。庆庆，2012 年，北京宋庄小堡村

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The line “facing the window she fixes her cloudlike hair, hanging up a mirror she dabs on yellow flower powder” is taken from the “Ballad of Mulan”in Northern Dynasties (420-589 A.D.) It tells the story of Mulan who disguised herself as a man and joined the army in her father's place. Mulan won battles and was promoted as the general, but no one knew that she was a woman. Then she returned home triumphantly. When she is fixing her hair in front of the window, making up before the mirror, and dressed as a woman, a multitude of feelings went up in her heart… I often feel that life is just like a well-plotted play, you are informed of your role, the hero or heroine, at the very beginning, thus resulting in a series of role identity and status identity. Boys are not allowed to cry, while girls are told to be virtuous, so on and so forth. It seems to be conventional and justified, and it determines the patterns of our behavior throughout our lifetime, so we all play it with great care and never step further beyond the limit… When we grow up, men attempt to understand women throughout their lives, but unfortunately they fail every time. Whereas, woman are trying to improve themselves to adapt to the guidelines of male-centered society, but they always seem to be following others' step and they can never keep up with it. It is so hard! So tiring! And seems always so wrong! Just like looking into the mirror every morning, we always want to find something new on our faces… But the mirror never changes, it has always been the criteria set by the male-centered society. It is superior, absolute, one and only, fixed and globalized. Qingqing, 2012, Xiaopu Songzhuang,Beijing

命运属性－女性系列 Identity － Women's Series 34×83×33cm 2006

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庆庆作品中的男根文化与微观政治杨子（艺术批评家）

如果说西方女性主义理论中的男根寓言化的文本，是一种艺术批评的态度，那么中国当代艺术中女性主义艺术男根文本的再造，同样是对男权话语的最直接的批判。中国女艺术家陈庆庆的装置作品里，出现了大量再造的男根文本，而再造的男根文本主要出现在私人领域与公共领域的两个空间里。作为私人领域空间的男根文本多与实际生活的男根等大。同样来自现实生活体验的庆庆，制造出来的微观政治的视觉经验，充满着质疑与批判的文化态度。在庆庆的作品中，一个中国家庭古典的神龛里是一个男性勃起的生殖器。用透明树脂做的与真人大小的男性生殖器一样，置放在被祭奠的神龛里，把男性生殖器还原，变成日常生活的一个男性的生理现象。所谓男根的政治崇拜也随之消解。更有趣的是，在勃起的生殖器的顶部长出来一棵小树，小树上长着稀稀拉拉的小花，一个曾经被制度化了的男根生殖崇拜建立起来的故人灵牌，被戏嬉为一棵点缀生活的盆景小品，并被庆庆命名为《待到山花浪漫时》。作品把一个中国家庭家族很严肃的、很神圣的生活事件变成了一个滑稽戏。作品里的中国家庭的神龛，很像一个开放的舞台。庆庆一手导演的家庭舞台戏，却是好戏连连。成为庆庆艺术微观政治的黑色幽默。在庆庆艺术的微观政治中，解构男性中心主义的权力话语的主旨，一直是贯穿在整个庆庆作品中的灵魂。如庆庆的《欢乐大本营系列》作品，被悬置在空中如同壁虎的女性，被埋在地下的满脸恐惧的女性，在小小的私密性很强的空间里，是男女两性的博弈。永远勃起的、透明的树脂阳具，总是理直气壮地占据人类栖息的私密空间。看看这些阳具的精神状态，你就知道话语权在谁的手里了。当然庆庆总会有自己的设计，比如让一个恐龙骨架站在勃起的阳具上，对一群壁虎女性大声训斥或者大声吼叫，两性关系的紧张立马弥漫整个空间。当然也有一种例外，象征财富的红色小猪一溜烟地爬上了古典建筑的房顶，地上冒出来许多勃起的阳具。一个时尚的女郎拥抱着阳具。悬空中的笼子里，还有一个悬置的女性。消费时代的女性态度也是多样的，因为某种利益的两性关系的苟合，在庆庆的作品中也是一种风景。庆庆装置作品的私密空间的中国寓言，永远是在质疑声中陈述着中国当代生活的现状。可以说，庆庆的私密空间的中国寓言，是庆庆装置艺术微观政治的一种表述方式。而两性关系的紧张与两性关系的苟合，是庆庆微观政治学叙事的主体。在性别化的道具充满的私密空间里，勃起的阳具代表着一种在场的权力话语。而女性身份处境的多维性与态度的多维性，表明身处消费时代的人，在物质化的生活面前欲望的不确定性。如作品《当窗理云鬓》中，一个男权话语主宰的家庭，女性性别化的小花豹不过是一个宠物，而且甘愿做一个男权话语的一个宠物。作品《与时俱飞飞》中的女性，是一个倒栽葱式的生存状态。女性飞是飞不起来的生活寓言，还包括了生活在一起的元素，是令人发指的、到处生长着的蛇头制造的生活氛围。蛇在西方经典《圣经》里是欲望的化身。夏娃在蛇的诱惑下吃了禁果，于是夏娃要面临着终身生育之苦。蛇作为男性生殖器的隐喻，多次出现在西方的神话故事里和绘画艺术中。同时也是中国原始社会男性生殖图腾符号。如中国古典人类的神话始祖伏羲与女娲就是两条蛇身缠绕在一起。庆庆微观政治学叙事的文化色彩浓郁，其资源整合后所建立起来的话语空间，不但有私密空间被戏剧化了的微观政治学，而且有公共空间被寓言化了的微观政治学。

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忽如一日春风来－欲望都市系列 And as One Day Spring comes － Ambitious City Series 107×41×43cm 2006

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庆庆作为女性主义艺术立场鲜明，是她艺术资源整合中的思想元素的智慧运用。同样是真实的阳具，在不同的艺术环境中的文化指向也是鲜明的。数码灯光装置作品《天路》，取材于通往明十三陵沿路的外部环境上。自然环境中高低起伏的丘陵布满了大小不等勃起的阳具。一是作为权力话语死亡象征的标识，制造通往帝王陵墓的祭祀场域的氛围；二是作为权力话语再生象征的路径，通向帝王陵墓的天国统治。权力的道场是否能够成为另类天国统治欲望？中国古典社会从汉唐开始以山为陵的帝王陵寝的建制，非常看中陵墓的风水。唐代李治与武则天合葬的乾陵，通向帝王陵寝是一个带有坡度的一公里的道场，任何祭祀的人走完了道场，伴随而来的是一种作为死者的帝王统治依旧的心理压迫。在帝王面前，永远的臣民，是每个中国人拒绝文化认同感的一种生命的实践。换句话说，在权威面前，永远的臣民，是每个中国人文化压迫并拒绝压迫的一种生命的实践。庆庆的作品《天路》，最后形成的数码影像图式，是反向底片的呈现方式，即黑白颠倒的一种物质影像。本来敞亮的道路与天空，成为暗色的影像。而浓荫密布的绿色丘陵，却成了恍惚斑驳的亮色的影像。路两边的阳具是中间的灰色调。黑灰白三色的整体基调，仿佛呈现的是一个荒芜的墓园，每个丘陵凸起的阳具，就像死亡的墓穴与墓碑，叙述一个神秘而古老的权力与死亡的话语。画面中横向丘陵的开阔，与色调的压抑形成了强烈的反差。作品《天路》权力道场形成话语的诡异与十足的阴气，庆庆的文化的质疑与批判的态度是明显的。与作品《天路》不同的是庆庆的装置作品《点天灯》，阳气十足的男权话语遭到了庆庆的质疑与批判。《点天灯》作品中，两个高度约 3.8 米，直径约 0.8 米的铁网编制的男性生殖器，里面置放了大量的写满与男权社会有关词汇的报纸。如战争、武器、恐怖组织、一夫多妻等等。庆庆在实施自己的作品行为中，用一把火点燃了自己的作品《点天灯》。熊熊燃烧的大火，把一个由男性建立起来的强权政治话语空间，瞬间化为了灰烬。庆庆作品中有一个突出的特点，很多装置作品都有阳具的元素，阳具的塑造不仅是真实的，而且始终处在勃起的状态，寓言着男权话语的强势，它不仅是历史性的，也是现实性的。从庆庆作品微观政治的日常叙事到微观政治的历史叙事，阳具勃起的真实，不仅质疑了一个私人空间男权话语的强势，同时也质疑了一个公共空间男权话语的强势，在历史与现实的交叉点上，完成了男根文化的视觉考古，建立中国女性主义艺术的话语机制。在庆庆作品的设计中，男根与所处的环境发生的戏剧性的冲突，成为解构男权话语的文化道场。比如，把中国家族神圣的祭坛的灵牌还原为日常生活中的男根；在象征皇权的古老建筑面前阳具仪式化的列阵接受检阅，重现被政治的荷尔蒙鼓噪的岁月；在通往皇权陵墓的道路上，让阴郁的阳具布满山川；在点燃象征阳具的熊熊大火寓言中，男权话语制造的世界灰飞烟灭……庆庆作品中的女性主义艺术的立场是十分鲜明的。庆庆作品中的男根文本的再生，集中了庆庆最智慧的文化思考与最深刻的文化批判。

2012 年 10 月 17 日摘自《中国女性主义艺术性修辞学》

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橱窗之二－欲望都市系列 Display Window 2 － Ambitious City Series 23.5×33.5×7cm 2007

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啦啦啦－欲望都市系列 Lalala － Ambitious City Series 107×41×43cm 2006

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Phallic Culture and Micro-politics in Qingqing's works Yang Zi (Art Critic)

If we say the allegorized appearances of phalluses in the theory of Western feminism show an attitude of artistic critique then by the same token, the recreation of phalluses in contemporary Chinese feminist art is the most direct criticism of patriarchal discourse. Chinese female artist Chen Qingqing substantially re-creates phalluses in her installation works, setting them in both the private and public spheres. The phalluses that exist in the private sphere are normally the same size as the real ones. Based on her real life experiences, Qingqing creates micro-political visual experiences that are full of cultural attitudes of questioning and criticizing.

In one of Qingqing's works, inside a classic shrine used by Chinese families, there is an erect phallus. By making life-size male genitalia out of transparent resin and putting it in the shrine, Qingqing restores it and makes it a male physiological phenomenon of daily life. As a result, the so-called political worship of the phallus is disintegrated. More interestingly, there is a small tree growing out of the top of the erect male genitalia, with a few flowers. The spiritual ancestor tablet used to be traditionally-respected, but in Qingqing's art, it is represented by a phallus and it is playfully made into a bonsai to decorate life. Qingqing named it “When the mountain flowers run riot for miles and miles － Mao zedong.” This work has transformed the rather serious sacred life event of a Chinese family into a parody. In this work, the shrine is more like an open stage, and Qingqing has personally directed this amazing family stage show, which demonstrates the black humor of Qingqing's artistic micro-politics.

Qingqing's main micro-political theme that comes through in her artistic works is the deconstruction of male chauvinism. For instance, in Qingqing's “La, La, La,” gecko-like women have been suspended in the air, a woman with her face full of dread is buried in the ground, and inside, is a very intimate space where men and women play games. The transparent resin phallus is always erect and has always confidently occupied the private space of human habitat. You can tell who has the right of discourse when you look at the psychological condition of these male genitalia. Of course, Qingqing always has her own design. For instance, a dinosaur skeleton stands on top of an erect phallus, shouting to a group of female geckos – suddenly, the tension between the two sexes fills up the entire space. Of course, there are exceptions. Red pigs that symbolize wealth quickly climb up the roof of a traditional building while many erect male genitalia come out of the ground. A fashionable woman embraces male genitalia. A woman hangs inside a suspended cage. In this era of consumption, women's attitudes are varied. Illicit sexual relations that are driven by profit become a scene in Qingqing's

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嘻嘻嘻－欲望都市系列 Xixixi － Ambitious City Series 107×41×43cm 2006

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works. The Chinese fable that Qingqing shows in the intimate spaces of her installation art is always expressing doubt about the current state of contemporary Chinese life. You could say that the Chinese fable in Qingqing's intimate spaces is her way of using her installation art to describe micro-politics. The tension and illicit sexual relations between the two sexes are the main subjects of Qingqing's micro-political narrative. In an intimate space full of sex props, erect male genitalia represent the presence of one kind of power discourse. At the same time, the multidimensional plight of the female identity and multidimensional attitudes reveal the situation contemporary women find themselves in, and the uncertainty of the desires of their materialistic lives. Like in the work “She Arranges her Hair Before the Window,” the half-female, half-leopard creature is not only just the house pet in a patriarchal household, she is the pet willingly. In the artwork “Flying With Time,” the woman is upside down. The elements within these works, including the growing snake heads, are terrifying. All together, this makes a fable of life, which is that the woman wants to fly, but she can't. A snake is the incarnation of desire in the Western classic “The Holy Bible.”The snake lured Eve to eat the forbidden fruit. Therefore, she had to face the lifelong bitterness of giving birth. The snake has appeared many times in western mythology and painting as a metaphor for male genitalia. At the same time, it is also the male reproductive symbol in primitive Chinese society. It's as if the Chinese classical mythological ancestors, the god Fuxi and the goddess Nuwa, are two intertwined snakes. Qingqing's micropolitical narrative has a strong cultural characteristic. A space for discourse has been built by integrating resources. Inside that space are micro-politics, which are either dramatized in an intimate space or allegorized in a public space.

Qingqing's clear-cut feminist standpoint comes from intelligently applying the element of thought as she integrates her artistic resources. Even though they are life-size phalluses, they have clearly different cultural meanings in different artistic environments.The digital lighting installation work “Heavenly Road” draws on the outdoor scenery on the road to the Ming Tombs. In the depicted natural environment, the undulating hills are covered with all shapes and sizes of erect penises. The erect penises have two meanings. First, by creating the depressing atmosphere of the imperial tombs and a place of sacrifice, they symbolize that the power discourse is dead. Second, even though it's a tomb, the male still dominates. Does that mean that males still dominate in the afterlife ？ From the Han and Tang Dynasties, ancient Chinese society has built imperial tombs in the mountains, with great importance placed on the mausoleum's location ( 风水 ). The Tang Emperor Li Zhi and Empress Wu Zetian are buried in the same tomb as man and wife. Leading up to the imperial tomb is a onekilometer-long sloping spirit way path. Anyone who has to go there to make a sacrifice will feel psychological oppression,

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as if the dead emperor still rules. In front of the emperor, people believe they are eternal subjects, which is a lifetime practice for every Chinese person who refuses to recognize his or her cultural identity. In other words, in the face of authority, the eternal subjects are every Chinese person who is culturally repressed, but tries to reject it in his or her life. In Qingqing's artwork “Heavenly Road,” the final form of the digital image is reversed in appearance as a negative, which is a black and white image that turns everything upside down. The originally bright and spacious road and sky become a dark image. Also, the green hills that are densely covered with shade become faintly mottled bright images. The phalluses on both sides of the road are intermediate shades of grey. The three colors black, grey and white give the overall tone. It looks as if it's a wasted cemetery. Each upright penis is like a grave and a tombstone, narrating a mysterious and ancient discourse about the life of power and death. The spaciousness of the picture's horizontal hills forms a strong contrast with the repressed color tone. Through the strangeness and ghostly atmosphere of the artwork “Heavenly Road,” which features a memorial to a dead power, Qingqing's attitude of questioning and criticizing culture has been made obvious. Qingqing's work “Sky Lantern” is different from “Heavenly Road.” In it, the discourse of pure masculine power meets with Qingqing's questions and criticisms. “Igniting Sky Lanterns” contains three male reproductive organs made out of iron mesh, the tallest is 3.5 meters tall and 0.8 meters in diameter. Inside them are a large number of newspapers that contain phrases associated with patriarchy, such as war, weapons, terrorism, polygamy, etc. Qingqing ignited her own work. The raging fire took the space of powerful political discourse that men built and momentarily turned it into ashes.

There is one prominent feature of Qingqing's artwork. Many of her installation artworks all contain the element of the penis. They are not only real, but always erect, which is an allegory of the strong male dominance that is not only historical, but current. From the daily micro-political narrative in Qingqing's artwork, to its historical micro-political narrative, the reality of the erect penis not only calls into question the power of male authority in personal spaces, but at the same time, it also calls into question male power in public spaces as well. At the intersection of history and reality, Qingqing completes the visual research of phallic culture and establishes a mechanism for Chinese feminist art discourse. In the design of Qingqing's works, a dramatic conflict occurs between the phallus and its environment, which becomes a cultural way to deconstruct patriarchy. For example, a Chinese family's sacred memorial tablet on the altar is restored as a phallus of daily life; phalluses in a ceremonial formation are reviewed in front of an ancient building that symbolizes imperial power; the reappearance of the din of politics of times past; on the spiritual way path to the imperial tombs, gloomy penises fill the mountains and rivers; setting penis images on fire to annihilate the world of male domination … the feminism in Qingqing's artwork is entirely

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clear. In Qingqing's artwork, her intelligent cultural reflections and most profound cultural criticism are concentrated in the reappearance of penises.

October, 17, 2012

Selected from <The Rhetoric of Gender and Sexuality in Feminism Art in China>

待到山花烂漫时 When the Mountain Flowers Run Riot for Miles and Miles 31×60×27cm 2009

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点天灯作品的制作材料是：报纸、钢筋、铁丝网和鸡毛。两件作品的尺寸分别是：（1）高3.5米，直径0.8米，（2）高3米，直径 0.7米。作品用钢筋作骨架，用铁丝网缠绕成男性生殖器形状，里面塞满的是写满各种与男权社会有关的词汇的报纸，这些词汇是：战争、流血、恐怖主义、武器、飞机、英雄主义、赌博、争斗、嫖娼、家庭暴力、强权主义、父权、男权、夫权、宗族权利、男尊女卑、粗鲁、一夫多妻、酗酒、原子弹、走私、阴谋、男性中心主义……很多学生在和其他艺术家参与帮助我写这些词汇。在展览《听女人讲男人的故事》观念艺术展开幕的时候，我在几位美院学生的帮助下，把两件作品放在了水中，将报纸点燃，水中的火一燃而尽，细碎的黑色纸灰纷纷飘落在水塘中，随着水中的玫瑰花瓣飘起，燃烧7分钟后，两件作品化作了两具黑色尸体似的空壳，空洞洞地始终耸立在那里，是一幅假、大、空的图画。在我眼里，它们象征着男权社会的全部虚伪和弊病，而这些似乎已是不治之症。

去年在云南旅游时我曾去考察泸沽湖的母系氏族社会摩梭族人居住的村庄，在那里我听到了这样的传说故事：传说摩梭人在很久远以前曾与外族争战，牺牲惨重，战后族中男人所剩无几。全族人逃到泸沽湖定居前开了一个会，为了不再有战争、流血和牺牲，族人们一至推举最年长的一位老祖母作族长，并且决定摩梭人从此确立母性的领导地位，各家的领导也都由家里的老祖母担任，因为他（她）们认识到，由女人领导的社会，生活中将不会有那么多的战争、流血……从此，摩梭人在泸沽湖捕鱼为生，幸福、安宁……

我不知道在今天的世界上是否还有别的母系氏族社会。但我知道在一个普遍的男性中心社会中漫谈女性主义无疑是一种极其理想主义的行为，对很多人来说，这是艺术家的幻想和痴人说梦，但是我想这样来提问题，假若我们可以允许自己幻想一下，以我们的女性本原的行为方式作为社会生活准则，打破我们习惯的男性思维方式，我们的很多社会问题是否是可以避免或者根本不会发生的呢？比如赌博、嫖娼，一夫多妻以及恐怖主义。如果没有战争英雄主义的教育，是否可以避免很多很多的战争牺牲？正如王林先生在这个展览的前言中提到的： “女性问题不独是女性的问题，因为女性主义以其对男权社会合理性中心的批判，正在反省整个人类文明史进程并提出未来的向度，所以女性主义是全人类的主义而不仅仅是女性的主义。”

正当我们在这里做这个展览，在我正在写这篇短文的时候，全世界的媒体每天正在讨论，报导的是一场即将发生的战争，各国首脑们在计算着战争可能的牺牲时活像一个厨师在算计用多少肉可以煮一锅汤一样轻松，但在女性主义者的眼中，一部战争史，是完完全全的男权历史，如果我们不能从这个角度来批判地看待这个问题，人类的战争是不可避免的。庆庆，2002 年 3 月

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Igniting Heavenly Light My installation was composed of two steel armatures wrapped in wire mesh in the shape of two large male reproductive organs. At the top of the structure were chicken feathers bought on the street that fluttered in the air like large feather-dusters. The sizes of the works are: (1) 3.5m(H)×0.8m(D), (2) 3m(H)×0.7m(D). The forms were stuffed with current newspaper clippings upon which in black ink I had written various words related to “men” in society. The words included: war, bloodshed, terrorism, weapons, aircraft, war heroism, gambling, fighting, prostitution, domestic violence, struggle for power, male power, paternal authority, patriarchal privileges, unequal rights between men and women, vulgarity, ostentatious heroism, polygamy, debauchery, atomic bombs, smuggling, conspiracy, political corruption, male domination, etc. At the time of the installation, many students and other artists contributed to my project by writing their own words related to this theme. Upon the opening of the exhibition at the Dragon Hall Exhibition Center, the two large strucures were placed in the courtyard pond with blood red rose petals drifting in the water. Upon entering the shallow water, I ignited the newspaper from below and flames immediately began to rise. As the paper burned, small bits of grayish black ash successively rose into the air spiraling, lingering, scattering and fluttering everywhere and joining the rose petals in the pond forming big, ingenious painting above.Flames and black ash rose in a luminous blaze burning for 7 minutes and the two works quickly became two black corpses - completely empty shells like another huge, fake and blank painting. To me they symbolized the hypocrisy and maladies of a male-dominated society,a social characteristic that seems like an incurable disease. Last year while traveling in Yunnan province, I visited the matriarchal society of the Mosuo village near Lugu Lake. While there, I heard the following legend: It is said that a long time ago the Mosuo people were at war with foreign clans. They sacrificed their lives fighting, such that in the end, all the men were nearly eliminated. The remaining clan members escaped and settled at Lugu Lake. Because of excessive war, bloodshed, and sacrifice, the people went to the extent of selecting the oldest female clan member to be their leader. They had realized that in a society ruled by women, life would not have so much war and bloodshed.In the future, they resolved that the Mosuo people would establish female leaders and each household would revere their ancestral matriarch. From then on, the Mosuo people sustained themselves by catching fish in Lugu Lake and lived peacefully and happily ever after. I don't know whether or not there is another such matriarchal society in the world. Nevertheless, I know that in a male - dominated society the idea of a female-dominated society is an extremely idealistic concept. Many people would say that this is just an artist's fantasy and daydreaming. But I think this raises the question: What if we could permit ourselves to imagine a society where female behavior, methods, conduct, and social standards could break our habits of male-dominated modes of thinking ？ Would many of our social problems, including gambling, prostitution, and polygamy, be avoided or fundamentally be unable to occur ？ Regarding criminal underworlds and terrorism,if there was not education encouraging war and heroism,could many wars and sacrifices be avoided ？ As Mr.Wang Ling mentioned in the introduction to this exhibition, “Women's issues are not just women's problems. Because women pay close attention to the standards of a male-dominated society, through criticism and hindsight of the process of civilization in human history, they provide a direction for the future development of society. Therefore, feminism is a doctrine of society and is not just a dogma for women.” At the time of the exhibition, news reports and various news media discussed whether or not America would send troops to the Middle East; our minds were consumed with the possibility of future warfare. During this time, the leaders of each nation seemed to calculate the sacrifices of war as casually as a chef calculates how many pounds of meat to add to his soup. From a woman's perspective, it seems that a part of war history is completely His-story. If we are unable to critique the problem from this angle, mankind will never avoid war. Qingqing, March, 2002

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点天灯 Igniting Heavenly Light 行为装置作品创作地点：重庆龙苑会馆，《听女人讲男人的故事》观念艺术展现场尺寸：（1）高 3.5 米，直径 0.8 米，（2）高 3 米，直径 0.7 米 2003 年 3 月 8 日 Installation Performance Art Location:Chongqing Dragon Hall Exhibition Center, "Women Telling His-Story", art exhibition Dimensions:(1) 3.5m(H)×0.8m(D),(2) 3m(H)×0.7m(D) March, 8，2003

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天路－欲望都市系列 Heaven Road － Ambitious City Series 165×40×8cm 2009

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Qing Qing

冬我的学者 , 我的师长它把我的记忆深藏那是我的家我苦难的源头它让我学会忍耐的能力我的孤独它便是我滋生的力量

Winter My scholar, My teacher Who buried my memory deeply Those memories are my home The origin of my bitterness They taught me how to be tolerant And my reclusiveness It provided me the strength to flourish

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我和我的故事

半路出家，我在很多人眼里看到的，多是问号。每每有人问及为什么会在不惑之年突然搞起艺术，而且是从装置做起时，我都显得不知所措，好像是无以对答。答案其实是已经久久地在心里了，只是说来话长罢了。从艺术，我找到的，是我灵魂的自由。幼年失学， “文化革命”中家境变迁，多遭磨难，父母早逝，我十五岁下乡务农，十七岁做工，后来学过中医，也曾为洋人打工。为自己开店……生活上曾流离失所，也曾几遭婚变…… 一路走来，我体味最多的，是种种的无奈…… 直至到了那个难忘的夏天…… 那时我在一家德国公司工作，靠两门外语混饭，公司待我不薄，我也很尽心尽职，享受着当时国人中为数不多的白领阶层的待遇。那年夏天，我在国外进修，从春天起就不断听到国内传来种种关于北京街头的消息，四月时想回国，却被告知是不可能的了，及至六月，我所在的公司的所有外国雇员就已纷纷撤离，因为当时的北京被认为是危险地区，但是我想回去，回到那个我生长的地方，无论那里发生了什么。到我重新被允许回国，已是八月中旬。那是我所经历的一个最漫长的夏天，有家不能回，我不知道每天有多少时间是伴着每小时一次的有关中国的新闻节目度过的…… 如果人的灵魂真的可以离体的话，我想我当时是体会到了。因为无法再学习下去，我只好去旅行，可是整整的一个夏天，无论我走到哪里，眼前的事物只觉得是像浮云一样飘过的，模模糊糊，而脑海里清清楚楚呈现的，像书一样一页一面翻过的，则是我从记事起，经历的一桩桩往事，它们被重新打开，历历在目，不肯在我的眼前消逝…… 感谢那些个停滞的夏日，它们给了我很多时间思考，我的生活好像突然被撒了一把盐，过去的一切变的苍白、无味，我好像一下子明白了许多，我决定我不再过那种日子，因为我不再要那些无边无际的无奈！我们的生活已经被摆布得太久了，我们已经太习惯服从于习惯了！就是在那些停滞的夏日，我做出了自己的决定，虽然还无从选择，我要改变我的生活，无论未来是什么！这以后不久，我辞去了我那份所谓的“白领”的工作。如果说我的艺术有一个起始的源头，就算是在那个夏天吧。

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南锣鼓巷的工作室 Studio at Nanluoguxiang

春去秋来，二十年，艺术导向了我这二十年的人生。现在如果有人问我“艺术”是什么？我想，我会说，它不是水墨，也不是油画，不是装置，也不是行为艺术，艺术是思想方法与思维方式，更是人类在进化中最终突破和解放自己的唯一的方式。在我，它便是我的生活方式，它给了我人生中最大可能的自由度。还有什么比这自由更可贵吗？庆庆，2000 年冬，北京南锣鼓巷

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Me and My Story I often see questions in people's eyes when they learn that I had a mid-life career change. They ask me why, so late in life, I should suddenly start creating art-moreover, start creating installation art, with which I really had no experience. At such times, I may appear to have no answer, but really the answer has been there in my heart for a long time; it` s just hard to use words to explain it. I have found in art a kind of freedom, freedom for my soul. When I was a teenager I stopped going to school, and my home life was disrupted. This was during the Cultural Revolution, and I endured many hardships. I lost both my parents early on; by the age of fifteen I was laboring in the countryside. At seventeen I was working in a factory. Later I studied Chinese medicine, worked in a foreign company, and tried to start my own business… In my life I have felt what it is to drift, including in and out of different marriages… Throughout everything, what stood out the most was a kind of powerlessness in so many situations… That is, until that unforgettable summer… That year I was working in a German company, relying on my language skills to make a living. The company treated me quite well, and in return, I really put my heart into my work. I enjoyed the salary of a white collar position which at the time was uncommon among my countrymen. I was in Europe studying language when the news started coming from Beijing nonstop. Finally, in April I wanted to return

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home, but was told that it was not possible. By June all the foreigners who were working for my employer in Beijing had already left — because Beijing was being considered as dangerous place. But I hope I could go back, that was the palce I was born and grow up! By the time I was allowed to return home, it was already mid-August. That was an endless summer. I had a home I couldn't return to and I can't say how much time I spent listening to the news, hour by hour, for anything concerning China. If it's true that a person's soul can leave her body, I believe I experienced it then. Because I had no way to continue with my studies, it seemed best for me to go traveling. However, throughout that whole summer, no matter where I went, everything in front of me just seemed to drift before my eyes, like so many vague, floating clouds — blurry and indistinct. In my mind, I saw clearly so many past events coming up from my memory one by one, like the turning pages of a book , all of my experiences, and they were once again broken open, raised up before my eyes and would not fade away… I am thankful for those standstill summer days which gave me so much time to think. I seemed to understand so much all at once and decided that I never wanted to pass that kind of day again where I was surrounded and engulfed by such a vast felling of helplessness. Our lives have already been manipulated for too long; we have become too accustomed to the comfort that we draw from custom. And so it was during those standstill summer days that I made up my mind. Although I was limited in what choices I could make, I knew I wanted to change my life, no matter what the future would bring. Not long after this, I left my so-called “white collar ”job. If my art has a starting point, I would say is was in those summer days. Twenty years pass by, art has guided my life for the past two decades. Now if someone asks me what “art” is, I want to say that art is not Chinese ink and wash, nor is it oil painting, installation, or performance. Art is a way of thinking, an approach to thinking. In the end, art may be the only way humankind can truly liberate itself. For me, art has become even more. It is a way of living that gives me the greatest degree of freedom in my life. Is there anything more precious than freedom ？ Qingqing, Winter, 2000, Nanluoguxiang, Beijing

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走过那么多春秋范学宜（诗人、艺术家）

世纪之交的冬日，我和庆庆初相识。她邀我去她南锣鼓巷的家里做客，那一天她站在古巷深处迎我。冬日的暖阳撒在她的脸上，像童年的一张照片。故此，庆庆在我心里成了一个永远的小姑娘。走进北京老式四合大杂院，能闻到历史的沧桑和变迁。生活的画卷被昼夜涂抹着，命运的轨迹被前世今生约定着。在国外生活多年的她，最终还是回到只剩下她自己的家。庆庆的房子在院子里是靠南的，屋前有大树，枝干将房屋掩映了大半。可以想象盛夏时节，屋里一定很凉快。随庆庆进了家，屋里的一切像一本书，每一件东西都仿佛记录着一段历史。悲欢离合依旧还在诉说今日和昨天发生的一切。一个茶桌，一把藤椅，一副老的像框，像框里摆放着她和家人的照片。父亲带着文人的风貌端坐在写字台前，提笔而书，是那般儒雅。母亲安静地望着远方，眼神里透露着忧郁与矜持。那种眼神只有民国女子才会有，是那般圣洁。美貌如花的姐姐像绢人一样停泊在相片中。在另一个相框里我看见十六岁的庆庆驾驶着拖拉机奔弛在上山下乡的路上。翻开时间的另一页，儒雅的父亲，圣洁的母亲都被“文革”夺了命，如绢人般的姐姐后来去了美国。在那个整个时代都被埋葬的岁月，血依旧是热的，无论发生什么，庆庆在自己的宿命中顽强地活着。好在万花落尽春犹在。所以我今天能够看见她来自生命的艺术“美丽的

衣”。

我是羡慕庆庆的，她生在有书香气质的家庭，血脉传承着书香之气之韵。从自然到人文，贯穿在她每一件作品中，中国厚重的文化在她的轻灵中有了自由的呼吸，感觉是先人为她指路，使她能在一朵落花下和一缕丝

间找到了永远的家。

记得一年秋天，我去看庆庆，一进门她就坐在沙发上，要我念诗给她听，我刚念了两句，她便半闭着眼睛，静静地听。我停了下来，她立刻睁开眼睛，请我继续。屋外是萧萧的落叶，透过窗棂，我看见飘飞的落叶就像庆庆的衣裳在空中舞蹈，在梦中寻找。我想日子要是永远这样，该多好。可是对于庆庆来说，生活很久以前就结束了。幼年失学，“文化革命”中家境变迁，父母早亡，十五岁下乡务农，生活曾流离失所，婚姻曾几遭变故。一路走来，有那么多无奈。好在，艺术在生活结束之初开始了。那个不惑之年的夏天，她带着自己的愿望开始了另一种旅行—艺术之旅。岁月流年，人生冷暖，在我记忆的思绪中，总会浮想出庆庆童年的画面，她搬着小板凳穿着花衣裳坐在黄昏掩映的大门口，等大人回家。但是大人再也回不来了。所以她要学会一个人走，没关系，她有美丽的衣裳为她遮寒挡雨。而今，日子像平常一样美丽。一袭光头的庆庆，在宋庄的庭院里，为自己和这个时代创造着美丽的衣裳。走过那么多春秋，无数痛苦与得失都化做从容的微笑，静静地问候着清晨与黄昏。

2011 年 8 月 3 日北京四季码头

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对话 - 是日那厢有一只蛋－黑色记忆系列 The State of Two Creatures － The Black Memory Series 19×24×5.5cm 1999

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固执－黑色记忆系列 Stubborn － The Black Memory Series 30×20×6.5cm 1998

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Journeying Through So Many Years Fan Xueyi（Poetess and Artist）

I met Qingqing for the first time in the winter of 2000 at the turn of the millennium. She invited me to her home in Nanluoguxiang. When I visited her, she welcomed me from the far end of the old hutong alleyway. Winter's warm light spilled onto her face like a childhood photo. Since then, I have always seen Qing Qing as someone who will forever be a little girl. The scroll of life is marked by the passage of time; the vicissitudes of fate are predetermined. She lived abroad for many years, but in the end she returned to what she considers home. A large walnut tree grows in front of Qing Qing's house, which is located on the south side of the courtyard. Its sprawling branches provide shade; one can easily imagine how cool it must be in the heat of summer. I followed Qingqing inside. The room is like a book; every object within it records a piece of history. Tragedy and joy, separation and togetherness still tell their story of everything that happened today and yesterday through a tea table, a wicker chair, a family portrait enclosed in an old frame. Seated at the table, writing with a pen in hand, the father exudes a literati spirit; he is part of that cultured elite. The mother looks calmly into the distance. Her eyes reveal melancholy and restraint. The purity in her expression is only found in women from the Republican era of China. The beautiful willowy sister looks like a traditional silk-clad doll; she anchors the center of the photo. In another picture frame, I saw a 16 year-old Qingqing driving a tractor on the road of the “5.7 Cadre School.”（1） If you turn another page of time, you learn that the Cultural Revolution claimed the lives of this scholarly father and refined mother. The doll-like sister later moved to America. All those years have been buried away, but blood still flows hot. Despite all these happenings, Qingqing persevered and tenaciously thrived.

Spring still comes after all the flowers have fallen,

which is why today I can see her life's art, “Beautiful Hemp”garment. I admire Qingqing. She was born into a refined scholarly family, where the literary spirit flows through her veins. Everything from nature to culture courses through each of her works. The depth of Chinese culture breathes freely within her soul, almost as if she has an ancestor leading the way for her, allowing her to find an eternal home in a fallen flower and a strand of hemp. I remember one autumn I visited Qingqing. As soon as I stepped inside, she sat down on the sofa and asked me to read poems to her. After reading a few lines, however, she fell asleep. She seemed exhausted, so I stopped, but she immediately awakened and asked me to continue. I began once more as before, but her eyes closed again. Every time I stopped reading, she woke up, so I just continued until she truly fell asleep. The room was filled with the sound of her light snores and me reading poetry aloud. She slept like a child who was tired out from playing all day. Outside the window, the leaves rustled as they fell. Through the curtains, the drifting leaves looked like Qing Qing's clothing creations dancing in the

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air, searching in her dreams. I think it would be great if her life could continue. But to Qingqing, her life changed so long ago. She had to leave school when she was young and experienced so many changes in her family: her parents died when she was young and she had to work on the farm at 15 years old. She once had a hard time in life and she met turbulences with her marriage. Along all these years, there are so many difficult times. The good thing is her art life started along with the changes of her life. At the age of 40, with a hope, she started another journey—the journey of art. I could also see Qing Qing, dressed in a floral pattern, dragging a stool over and sitting by the main gate to wait for the grown ups to come home at dusk. But the adults would not be returning, so she had to learn to go out on her own. At least she has her beautiful clothing to shield her from the cold and rain. Today, it is as beautiful a day as any other. A bareheaded Qing Qing creates beautiful clothing for herself and for this era in her courtyard home in Songzhuang. Despite experiencing so much over the years, countless suffering, losses and gains, she still calmly smiles and greets each dawn and dusk.

August, 3, 2011 Season Pier, Beijing

(1) On May 7, Chairman Mao made a speech that called on all Communist cadres to study to reform themselves. Since then, all the cadres and intellectuals were sent to "5.7 Cadre Schools" to labor. Qingqing went to one of these schools with her mother.

如风 Like the Wind 70×150×70cm 2006

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说文解字－黑色记忆系列 Language And Character － The Black Memory Series 30×20×6cm 1998

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那是六六年的初夏，一场大火即将在全国蔓延。一天傍晚母亲在后院的空地上点燃了一堆火，目的是把我家的书画烧得干干净净。母亲让我负责看着火堆。这火烧了整整三天三夜…… 因为我父亲曾负责过全国的出版工作，我们家里有过几乎是那个年代出的每一本书，从马恩列斯全集到连环画小人书……妈妈把整堆的书扔到火里时，神情茫然，却手忙脚乱。我坐在火堆旁的心情却是兴奋、好奇，夹杂着被大火燎起的快意…… 那年我失学了，和其他同年小学毕业的孩子一样，没有中学可上，因为“运动”了…… 一年以后我被分到一所中学，每天只上两节课，政治课——学习毛主席语录，语文课——学习毛主席诗词，当然还有早请示晚汇报和唱东方红什么的…… 我们饥渴着一些什么别的东西，但究竟是什么，没有人知道。于是有一天我和另一个女孩翻窗子爬进了被木条封住的学校图书馆…… 我们被捉住了，并因此被收进了为“坏孩子”办的学习班管教，因为偷了很多看不懂的书。这成了我“政治”上的第一次污点。庆庆，2000 年，北京南锣鼓巷

In the beginning of the summer of 1966, “Culture Revolution”, a firestorm was about to sweep through the country. One dawn my mother lit a fire in the courtyard of our house. Mother told me to watch the fire which then burnt for three days and nights in a row… Since my father had held a post in National Publishing Bureau of P.R.C., we owned nearly every book published in those years. We had everything from the complete works of Marx, Engel, Lenin, and Stalin to children's picturebooks… My mother threw piles of books into the fire without expression. She tried to do it as quickly as possible. Warmed by the fire, I sat excited and curious. That year, I dropped out of the school like other kids,who graaduated from primary school. We were all delayed one year by middle schools because the great movements going on. Later this year, I was sent to a middle school. We attended two classes a day. In the politics course we studied Mao's quotations, in the literature course, we learned Mao's Poetry. Of course, there were roll calls in the morning, and evening reports, and we sang“The East is Red ”… We were craving something but we did not know what. One day, another girl and I broke into the library and stole a lot of books we couldn't even read. We were caught and sent to the “class for bad children”… That was my first“black blot”in my“politic life”. Qingqing, 2000, Nanluoguxiang, Beijing

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女人的故事在医院手术室实习时，参与的手术中最让我不能忘怀的是那一次，病人是一个年近七十的老太太 , 身体依然健康，却是一拐一瘸地被人扶着走来的。她要求锯掉“多余的”脚趾。那是一双缠足的脚，只有三寸长吧，也许在她年轻的那个时代是可以引以为荣的俊俏时尚？也未可知。这时却是苍白、臃肿的不堪入目了。因为她的体重日益增加，身体不再轻巧，双脚所需承担的重负就越来越大，于是四个被折卷在脚心下的脚趾像鸡眼一样向内长去，走路时痛得钻心。这一幕深深地留在了我的脑海里。每次看到古玩店里或者旧货市场上出售的小鞋，就让我想起那个老太太的双脚——没有血色，惨白畸形，像一对卷缩的鸡爪子。我不知该说什么，只是我知道，当我面对这样的小脚时绝无什么对美的享受感，对于我，它是中国文化中最丑陋、最污浊的那一面的真实纪录，荒诞而扭曲。庆庆，2000 年，北京南锣鼓巷

Story of Women During an internship in a hospital operating room, I assisted in a surgical operating that I will never forget. The patient was a 70-year old woman who appeared to be in good health, except that she was limping and had to lean on someone in order to walk. She demanded that we cut off her necrotized and “ useless” toes. Her bound feet were only about three inches long – perhaps a symbol of fashion and beauty in her youth ？ Who knows why! Now they were colorless and swollen, so disgusting that I could hardly bear the sight of them. Four folded toes had grown into each foot and she could barely walk. Her body was no longer light and, as she grew heavier over the years, her feet were increasingly burdened with more and more weight. To this day the image of this woman is still imprinted in my memory. Every time I see little shoes for sale in antique shops or flea markets, I remember that old woman and her pale, bloodless deformity like curled, shriveled chicken feet. I don't really know what to say –but I do know that whenever I see such small feet, I certainly do not feel any aesthetic joy. To me, they represent such a horrific aspect of Chinese culture: absurd and distorted. Qingqing, 2000, Nanluoguxiang, Beijing

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女人故事－黑色记忆系列 Story of Women － The Black Memory Series 40×40×12cm 1998

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文化手术这是我的人生经历中最不堪的一幕，也是我终生不可能忘却的一幕，我亲眼目睹了那把手术刀在我的腹部切割与剖卸。（我不是在说故事，那个时代的“酷”是盛行针刺麻醉）。可是我的手术，它异常地延续了整整一天，直至我看到那件从我腹中切下的猪肝色的，猪肝似的一个紫红色的物件…… 那是在 30 年前那个文化同样被阉割的年代，在那个被叫作向阳湖的地方，极其恶劣的生存环境，更其恶劣的人文环境，人性变得极其麻木，粗糙与残忍。这一幕成了我脑海中的终生情结，我用这件作品《文化手术》祭奠那个时代。那是一个让人不可能忘却的年代，它以它特有的扭曲与变态刺激着年轮的翻滚，导演着文化的演绎，人们被其兴奋过的神经至今还在心里追恋着它。这是一件身体雕刻般的作品，每当我低头看见那条紫铜色的疤痕，蜈蚣般地张扬着它秘穴般的十二对针脚，在我的身体上爬行时，我就想起向阳湖堤边林立的，那些一行行伴着高音喇叭喧嚣的革命口号飒飒飞扬的旌旗，想起我那“光辉灿烂”的少年时代。庆庆，2000 年，北京南锣鼓巷

Cultural Operation This experience is the most unbearable scene of my life, a scene that I will never be able to forget.With my own eyes I witnessed the scalpel at my stomach, slicing it open, disembowelling me. (I am not telling a story, acupuncture anesthesia was considered quite “cool” at that time) What was unusual about my operation was that it was prolonged for a whole day, until I saw that thing cut out from my stomach, that purplish, reddish, pig liver - like thing. That was 30 years ago, at the time culture was being butchered in exactly the same way,at a place called Sunflower Lake. The conditions for survival were terrible; the conditions for humanity even worse - normal human feelings were deadened, replaced with a coarse and cruel insensitivity. This scene left in my mind a lifelong emotional knot; I produced the work“Cultural Operation”, in memory of that era. It is an era that nobody will forget. Time passed, with only abnormal motivations to guide the development of culture. My body is a living sculpture. Whenever looking down at the coppercolored scar, 12 pinpricks like a centipede on my own body, I cannot help but think of the rows of red flags waving along the Sunflower Lake, revolutionary slogans pouring from high frequency loudspeakers. This is what I recall of my “radiant”girlhood. Qingqing, 2000, Nanluoguxiang, Beijing

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文化手术－黑色记忆系列 Cultural Operation － The Black Memory Series 18×30×10cm 1998

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情结－黑色记忆系列 Complex － The Black Memory Series 26×21×18cm 1999

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我的胃神经官能症及其他那年我得了胃病，胃里郁结着一个大气团，每天到了黄昏时就隐隐作痛，其实我明知那是一种胃神经官能症，因为人体的所有内部器官中，胃是最为敏感的，我无以自治。那年的北京人大约都有胃气不舒的毛病，每天晚饭前后大家就成群结伙地坐在一起侃山，这个“伙儿”还不能太大（那年头 50 人以上为聚，需申报！），于是有的人就像赶场一样从一个圈子赶去另一个圈子，继续地侃山，侃到夜半三更，都淡味儿了，才纷纷散去，第二天的日子仍是依旧，灰灰的无奈。那年天下发生了很多大事，柏林墙倒了，前苏联解体了，齐奥塞斯库和夫人在一夜之间被枪杀了……每天都有新的话题。而关于“马日事变”的事，我是在台北才知道的，这是当时台北的公众话题之一。那年是 1989 年，圣诞节前，我有机会去台北看朋友，当时正值台湾历史上第一次民主选举，李登辉在广场上讲演，中正堂前人山人海，群情激动，电影院里正在上演候孝贤导演的《悲情城市》。这是一部以几十年前发生在台湾的“马日事变”为背景的电影，那是国民党刚到台湾时发生的事件，很多人死了，很多人失踪了， “马日事变”在台湾成了三十年间的禁题，没有人敢在公共媒体中谈及，候孝贤是第一个。关于这件事，我问了我遇到的每一个台北人，每个人都告诉我他们不可能忘记它，它始终曾是人们心中耿耿于怀的一个情结，也许，那也曾是他们的胃神经官能症吧。庆庆，2000 年 11 月，北京南锣鼓巷

换了人间 But The World Has Changed 62×58×26cm 2009

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My Stomach's Nervous Disorder and Other Things… That year I got a sickness in my stomach, it knotted into a gloominess that stayed there. Every day until dusk, the ache persisted. I understood that it was a kind of nervous disorder, showing itself in my stomach. Of all the organs in the human body, the stomach is the most sensitive - so I had no means of controlling it. That year, everyone in Beijing seemed to have this kind of knotted stomach trouble. Every evening,people would sit around in groups in idle conversation. These groups were not supposed to get too big, (back to then, people need to apply permission for gathering of over fifty people) therefore, some people would go from one group to the next, and continued the chatter. They would talk late into the night until they had talked themselves out, and only then would they disappear, leaving one by one. The next day, everything was still the same, and an unbearable greyness would settle in. That was the year so many changes occurred in the world. The Berlin Wall fell, the Soviet Union came apart,and the president of Romania and his wife was shot to death … Every day there was some new topic. I wasn't aware of the Ma Ri incident until I was in Taipei. At that time, it was being discussed openly. The year was 1989, and I was visiting friends in Taipei just before Christmas. The first democratic elections were taking place, and Li Denghui was giving speeches in the city square. Floods of people crowded the streets in front of Zhongzheng Hall, there was an air of excitement and openness - director Hou Hsiao-hsien's “City of Sadness”was playing at the cinemas, a film which used the Ma Ri incident as a background. The Ma Ri incident involved the Nationalist Party's arrival in Taiwan after fleeing the mainland. Many people had died, many people had disappeared, and the incident became a forbidden topic for more than 30 years in Taiwan. No one had dared to discuss it in the public, at least not until Hou Hsiao-hsien showed his film. I asked everyone I met in Taipei about this incident. They all told me they had never been able to forget what had happened, and that the memories had lingered through the years, leaving emotional scars on their hearts and a deep nervousness in their stomachs. Qingqing, November, 2000, Nanluoguxiang, Beijing

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元代男装－拷贝出土文物系列 Yuan － Artificial Artifact Serie 250×160×5cm 2003

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关于伟大曾有过那样一个时代和那样一些年轻的生命，他们是那样地被激动了，被一些似曾是伟大的东西，他们以为自己的心是被理想充满了，激动着，他们为未来而亢奋，于是他们欢呼着，雀跃着，一切在瞬间都变得那样地炫目与光芒四射，连他们自己，也变得那样地不可一世…… 那是我少年时关于“伟大”的记忆，关于”红“的，以及和它相关的东西，记忆犹新，挥之不去，永远地留在了我的记忆时空隧道中。我以为它们是伟大的，也正是因为它们是那样地挥之不去，以至于当我在三十年后坐在一家欧洲的小电影院里偶然地再次看见那场景时，竟还会为之热泪盈眶到无地自容的地步！人可以忘记昨天的事，却不可能忘记那些少年时的事，那些在一个如此庞大的国度里曾有过的，如此巨大的群体的亢奋。其实，在我，那个当时只有 13 岁的小女孩，只是那场巨大的历史性的亢奋的不为人知的观者。经过了那么多的变迁，走过了那么多的路，我们的国家富有了，人们早已忘记了贫穷和理想的滋味，可我们不再为什么东西兴奋，更没有什么可以让我们激动到不能自已…… 那曾有过的辉煌，我用这件作品纪念它，——《关于伟大》。庆庆，2005 年，北京 798 艺术区

About Greatness Once upon a time, there were a group of young people who got excited by things that seemed to be great. Their hearts were full of dreams and they got excited for their future. They cheered and jumped for joy. Everything turned to dazzling and brilliant in one second. Even themselves became arrogant. That was my memory of ‘greatness’, about‘red’ and some other related things. Those memories were fresh and indelible and forever remained in my memory. I thought those were great. Because they were impossible to get rid of. Even 30 years later, when I chanced upon those scenes in a small theater in Europe, I was extremely moved and burst into tears. People can forget things that happened yesterday, but they can never forget things from their youth, such as the great group excitement in such a big country. In the matter of fact, at that time, me, that litter girl of 13 in the corner, was only a silent unknown viewer of that great historical exciting. After so many changes in the society, our country becomes wealthy. People have forgotten what it was like to be poor and what is ideality. However, we are no longer got excited by anything and there is nothing that can excite us to the point that we can’t help ourselves. I use this piece of work to commemorate the past glories.——‘About Greatness’ Qingqing, 2005, 798 Art Zone, Beijing

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关于伟大－记忆储存器系列 About Greatness － Memory Bank Series 87×105×8.5cm 2000

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关于庆庆的作品“关于伟大” 佟玉洁（艺术批评家）

作为公共空间被寓言化了的微观政治学，陈庆庆在自己作品中的文化视角的一次大转变，让自己的艺术有了一次飞跃。此时，庆庆的装置作品从私密空间的日常叙事到公共空间的历史性叙事，文化视角的转换既是一次艺术的冒险，也是一次政治的冒险。装置作品《关于伟大》，呈现的是一个关于男权话语被寓言化了的政治场景。其中，权力话语的道具一是与现实生活中等大的勃起的阳具；一是中国古典建筑的城门楼。在作品中，由透明树脂的阳具在城门跟前组成了方阵，在通体红色的灯光效应弥漫的空间里，仪式化的阳具列阵面朝城门楼。当阳具与古典建筑戏剧性的遭遇之后，在人们熟悉的历史性场景记忆的钩沉中，开始关注并寻找被雄性荷尔蒙政治激素鼓噪的岁月。

庆庆说，她亲历了最荒诞、最残酷的“文化大革命”。那个时候她还很小，身为红卫兵的姐姐要去天安门接受毛主席（毛主席曾八次接见红卫兵）的检阅。作为妹妹的她也要去。当她找到了姐姐时，姐姐的同学说，啊，你怎么穿这件衣服（粉白色有小花的的确良裙子）？快回去换件衣服（是指绿色的红卫兵服）！当然，她并没有被允许去参加接见。但是让她困惑不解的是，为什么只有红卫兵才能受到毛主席的接见？为什么只有穿上了绿色的红卫兵服才能去见毛主席？在当时，红卫兵这个没有性别身份只是有着雄性荷尔蒙政治激素符号化了的学生称谓，在“文化大革命”中扮演了重要的角色。

庆庆作品《关于伟大》中的男根，已是寓言化了的雄性荷尔蒙激素的政治符号。尤其是当这种雄性荷尔蒙激素的政治符号，置身在一个古典建筑的政治场所，它便具有了历史与现实多重阐释的意义。庆庆通过一个十三岁小女孩的“文革”的亲历，一种文化体验与历史经验相遇的偶然与必然，成为她艺术形态的一种表达方式。作为庆庆没能像姐姐那样穿着红卫兵式的服装去见毛主席，只因自己还是个小女孩的打扮，而一身军人化的红卫兵服，就能确定了在当时一个最时尚的革命者的形象。庆庆自己将永远地失去了这种机会。或许当时的遗憾就形成了庆庆今天的一种文化情结。人往往是通过自己的亲历，来发现自己和认识自己。同时又通过自己的行为，寓言今天和明天。庆庆的作品《关于伟大》，陈述了一个曾经散发着荷尔蒙政治激素的亢奋、喧嚣、盲动，与狂热的“文革”时代建立起来的雄性秩序，在接受伟大的检阅仪式中的历史寓言故事。当它转换为庆庆的艺术语言时，仅用三种元素就构成的现代与历史关于伟大的种种的诠释。这三种元素是阳具、天安门和海洋般的红色。让我们回到毛主席接见红卫兵的现场。在天安门广场上，没有男女区别的清一色绿军装的红卫兵们，高举着毛主席语录的红宝书，振臂高呼着毛主席万岁的口号，接受着毛主席的检阅。当然，红卫兵们也听到了身着绿军装、戴着红卫兵袖章的毛主席的声音： “红卫兵万岁！”红卫兵文化有一个共通性，是彼此革命身份的认可。自从毛主席发表《我的炮打司令部》的文章发表，全国捍卫毛主席的红卫兵组织遍地开花，其间，各地的红卫兵以“大串联”的方式，陆续来到北京，希望见到

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伟大时代－黑色记忆系列 The Great Epoch － The Black Memory Series 30×20×5.5cm 1998

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独－黑色记忆系列 Solo － The Black Memory Series 21.5×20×6cm 1998

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他们要捍卫的总司令毛主席。毛主席接见红卫兵成为当时最革命、最时尚的政治运动。从 1966 年 8 月 18 日的第一次接见到 1966 年 11 月 26 日的第八次接见，在 70 天的时间里，毛主席共接见了来自全国各地的 1200 万红卫兵。整个红卫兵在接受毛主席的检阅中，统一着装（绿色军装），统一思想（人手一册毛主席语录），统一行为（雄性荷尔蒙政治激素的性别化），始终处在一个有序的而又亢奋的无暴力状态中。此时的天安门广场，成为不断挥舞红宝书的毛主席八次接见红卫兵的历史性的场域。在一个关于“伟大”的文化民族心理热爱的偏执中，去完成一次“伟大”的精神洗礼。复杂的红卫兵文化，来自于关于“伟大”的制造者的社会政治文化扭曲的心理。

中国人热衷于“伟大”二字由来已久。中国传统文化崇尚自然造化并称其为“伟哉”。庄子在他的文章《大宗师》中引用子梨的话说，伟大啊，造化！古人倍加推崇世间的自然造化能力。并通过乐观与豁达的生命的想象，将人还原为自然状态。伟大便在其中。庆庆借用“伟大”的概念，通过男根仪式化图景表达，讽喻文化变异之后，所谓伟大也只是一种人为干预并制造出来的政治假象。当人们用“伟大”二字去神话一个人物时，便有着政治的图谋在其中。即便是被“伟大”字眼包围着的人物也未必喜欢它。在中国大型文献记录片《走近毛泽东》里就记载了这样一个场景，1970 年 5 月 20 日，在天安门城楼上，毛泽东感慨地说：要人们去克服三千年迷信皇帝的传统习惯，是很难的事情。所谓“四个伟大”，伟大导师、伟大领袖、伟大统帅、伟大舵手，讨嫌，总有一天要统统去掉。显然，毛泽东说的关于对他称谓的“伟大”，不是古人对自然造化的一种赞叹，而是对他本人权威的一种服从与讨好。

显然，毛泽东也认为，所谓“伟大”是对个人政治偶像化的政治术语的滥用。值得注意的是关于伟大一词的滥用，也曾经出现在”文革“其间的天安门城楼的墙体上，同时对伟大一词滥用的不满，也发自处在天安门关于“伟大”环境中的毛泽东本人。天安门在历史上的特殊地位与角色，决定了庆庆作品的现实与历史叙事的深度与厚度。而天安门是庆庆作品《关于伟大》的重要元素之一。

庆庆作品中的真实的阳具，作为雄性权力的话语方式，在天安门面前，整齐化一的列队的仪式，传达出历史与现实的某种信息。庆庆把个人的经验转化为中国人的集体经验，它既是历史性的也是现实性的。但是视觉形态中的庆庆经验的先锋意义也是伟大的。这一点，庆庆在为自己作品赋名“关于伟大”时，所谓“伟大”的历史与现实的信息，充满了庆庆式的文化质疑与文化认同的方式。一个关于“伟大”的多维度的政治阐释。此时，庆庆作品具有的先锋意义在于，她不仅提供了极具文化力度与思想力度的艺术视觉经验，同时也提供了天安门作为一个历史与现实的政治场域中庆庆的艺术态度：即文化批判与文化的肯定同在。封建帝国统治与反封建帝国统治的五四青年运动，同时发生在天安门广场，这是一个中国文化政治悖论生长的重要场地。五四青年运动中的男女学生，虽然不是雄性化的统一着装，但是反封建帝国统治的政治的荷尔蒙，来自维护中华民族主权的完整的文化理念。天安门，在历史与现实的政治文化的纠葛中，同样也是一种中国人情感交集的悖论存在的发生地。所以庆庆作品《关于伟大》，在于讨论关于“伟大”的历史与现实因果的传奇时，便有一种文化智慧与诡谲的艺术魅力在其中。 2012 年 10 月 17

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Analyzing Chen Qingqing's “About Greatness” Tong Yujie (Art Critic)

By putting her work in public space as an allegorical symbol of micro-politics, Chen Qingqing's recent works show that her cultural point of view also has changed, and her art has taken a great leap. Qingqing's installation art now has gone from a narrative of daily events in a private space to a historical narrative in a public space. This change of cultural perspective brings not only artistic risks, but political ones too. The installation work, “About Greatness,” shows a political scene in which discourse of male power is allegorized. The symbols for this power discourse include real-looking life-sized erect penises and a traditional Chinese gate tower. In her work, penises made out of gold resin stand in front of the tower gate, in a square-shaped military formation. A red light shines on everything and the phalluses stand ceremonially, in regimented lines, facing the tower. The effect of seeing these penises and the traditional building on a stage together is like digging into the historical memories that people have been comfortable with. You start to pay attention to and even seek out instances of times in the past that were greatly influenced by male-dominated politics.

Qingqing said she personally had the most incredible and most cruel experiences during the Cultural Revolution. She was still very young then.

She wanted to go with her Red Guard older sister, who was going to Tiananmen Square, where

Chairman Mao was going to review the troops (Chairman Mao met Red Guards eight times).

She was the little sister; of

course she wanted to go along. When she found her sister, her sister's classmate said, “ah, how can you be wearing this outfit ？ (Qingqing was wearing a floral-printed dress.) Quick, go back and change into something else! (She referred to a green Red Guard uniform)” Of course, she wasn't allowed to go with them to see Mao, but she was very puzzled. Why were the Red Guards the only ones who Chairman Mao received ？

Why did she have to wear a green Red Guard

uniform to see Chairman Mao ？ In those days, the Red Guards made no distinictions between genders. But their Red Guard identity was allegorized by male-dominated politics and they played an important role during the Cultural Revolution.

The masculine organs in Qingqing's work “About Greatness” are themselves allegorical symbols of male-dominated politics. At the same time, especially when this kind of male political symbol is juxtaposed with traditional architecture, it gives many different interpretations and meanings to history and reality. Qingqing sees the Cultural Revolution through her own personal experience, through the eyes of a 13-year old girl. With her cultural experiences and historical understanding, she encountered things that were random and things that were certain, and it has become something that she expresses through her artwork. When Qingqing couldn't go with her sister to see Chairman Mao, it was because she didn't dress in a Red Guard uniform – fully decked-out Red Guards were thought to be the image of the most fashionable revolutionary during

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that period. Qingqing felt she had lost this opportunity forever. Perhaps those past disappointments have turned into part of Qingqing's current cultural psychology. People have to go through their own personal experiences to discover themselves and know themselves better. At the same time, it is only by going through their own experiences that people can create myths for their present and future. Qingqing's work “About Greatness” tells a historical fable of having a great leader review the troops when society was full of excitement, din and rash acts stimulated by the male-dominated political and social order that was established during the fanatical Cultural Revolution era. When it comes to the fable represented in Qingqing's art, she uses only three elements to make up and explain the modern and historical definition of greatness. These three elements are penises, Tiananmen and the red-colored ocean. They bring us back to the scene, as Chairman Mao was greeting the Red Guards. In Tiananmen Square, there was no distinction between males or females. They were all wearing green uniforms, waving Mao's Little Red Book and shouting the slogan, “Long live Chairman Mao,” as he reviewed the troops. Of course, the Red Guards also heard Mao's voice. Mao was wearing a Red Guard armband that said “Long Live the Red Guards!” Red Guard culture had a collective nature, and everyone had to approve everyone else's revolutionary credentials. Ever

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芒－黑色记忆系列 Brilliance － The Black Memory Series 30×20×5.5cm 2006

since Mao's speech “Bombard the Headquarters”（我的炮打司令部）came out, Red Guard groups that wanted to protect Chairman Mao sprang up all over the country.

Among them were many groups that established connections and

came, one after another, to Beijing, with the hope of protecting their commander in chief, Chairman Mao. For Chairman Mao to receive the Red Guards became the most revolutionary and fashionable political activity. From the first time he met them, on 18 August 1966, until the eighth time he met them, on 26 November 1966, within those 70 days, Chairman Mao altogether met with more than 12 million Red Guards from all over the country. When the Red Guards were receiving Chairman Mao's audience, from beginning to end, they were orderly. Moreover, there was an atmosphere of excitement and non-violence. Tiananmen Square became the historical stage for Chairman Mao, who constantly waved his Little Red Book when he met the Red Guards. Most of them wore the same clothing (green uniforms) and were influenced by maledominated politics. They adored their bigoted idea of “greatness,” for the culture and the nation, and underwent a spiritual baptism of “greatness.” The complicated Red Guard culture in “About Greatness” comes from the artist's own distorted social, political and cultural psychology.

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Chinese people's obsession with the word “greatness” has a long history.

China's traditional culture upholds the idea of

mandate of heaven, and calls it great. In his essay “Grandmaster”（大宗师）, Chuang Tzu cited Zi Li as once saying that being great is (just) good fortune! “How great is the mandate of heaven!” Our forefathers heaped praise on society's idea of mandate of heaven. Only by having an optimistic and clear imagination can a person experience the original natural state. Greatness is part of this. Qingqing borrows the concept of “greatness” to present male organs in a ceremonial scene, to satirize the belief that so-called “greatness” is just a political hypothesis created by humans to interfere. When people in modern times use the word “greatness” to mythologize a person, there is always a political motive behind it. Even a person who is surrounded by descriptions of greatness, himself, may not like it. The Chinese documentary “Mao Zedong, a Charismatic Leader”（走近毛泽东）recorded a scene from 20 May 1970, in which Mao Zedong was up on the Tiananmen rostrum and movingly said:“I want people to overcome a traditional habit of three thousand years of superstition about an emperor, but it's difficult. The so-called four greats, great leader, great commander, great helmsman – these are disagreeable. One day we should get rid of them all.” It's clear that the term “great” used to describe Mao Zedong doesn't refer to praises to the mandate of heaven by the ancient intellectuals but to obedience and compliments to Mao. And obviously, Mao Zedong also knew that so-called “greatness” is misused as a political term for a political idol. It is worth paying attention to the misuse of the term “greatness,” since it also previously appeared on the walls of Tiananmen Gate during the Cultural Revolution. At the same time, the “great” Mao Zedong was dissatisfied with the environment around how the concept of “greatness” evolved at Tiananmen. Tiananmen's unique position in history determined the reality and historical narrative depth of Qingqing's work, and so Tiananmen is one of the most important elements in Qingqing's work “About Greatness.”

Qingqing's work uses life-sized penises, to represent the discourse of male power. They stand in ceremonial formations in front of Tiananmen, which conveys all kinds of information that is both historical and real. Qingqing turns her individual experience into Chinese people's collective experience. It is both historical and realistic. However, the pioneering sense of Qingqing's visual work based on her past experience is also great. With this in mind, when Qingqing named her work “About Greatness,” with all the history and reality of so-called “greatness,” it was full of Qingqing's manner of looking at culture to see what was questioned and what was approved of. It is another political interpretation of “greatness.” Qingqing's work possesses a pioneering sense. She not only offers her artistic and visual experience, which is full of cultural and intellectual sense, but she also offers her artistic attitude towards Tiananmen Square as a historical and actual political

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stage. Qingqing's attitude toward art is that cultural criticism and cultural identity can certainly co-exist. At the same time, the rule of the feudal emperor and the May Fourth Movement, which was aimed at anti-feudal anti-imperialist rule, both took place on Tiananmen Square. It is an important place where the paradox of Chinese culture and politics grows. Although the male and female students involved in the May Fourth Movement were not dressed in the same uniforms, their anti-feudal hormones came from the cultural ideal of maintaining China's total sovereignty. Tiananmen Square, where historical and present political disputes take place, is paradoxically, also a place where Chinese emotions intersect. So, Qingqing's work “About Greatness,” discusses the history and reality of “greatness” in terms of the cause and effect of that legendary time. Even more so, there is cultural wisdom and sly artistic fascination in it. October, 17, 2012

智－黑色记忆系列 Wisdom － The Black Memory Series 30×20×5.5cm 1998

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日子－黑色记忆系列 Daily － The Black Memory Series 30×17×6.5cm 1999

欢乐是什么？欢乐是一种心境；是没有他人能给予的情愫；是明了之后的轻松，是把一切看淡之后的和谐。欢乐于我，在平常的日子里，是一壶茶的馨香；是一杯酒的浓郁；是一段或苦或乐的回忆；是面对无可知晓的未来的沉静；这份欢乐本来是每个人都可以有的，然而在今天又是许多人不再会为自己去创造的。

What is happiness ？ Happiness is a state of mind; it is an innermost feeling such as no one person can give to another. It is the relaxation that comes from understanding; it is the harmony that comes from seeing things in a lighter light. Happiness, for me, is in everyday life as the faint fragrance from a pot of tea; the strong richness of a particular wine; or a memory, no matter whether it is bitter or sweet. It is the quiet calm of facing a future you cannot possibly know. Such a happiness was originally open to everyone, but today few people can create and enjoy it for themselves.

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沉重的书写 ——析庆庆的作品肖志慧（艺评家）

庆庆机智地用她的作品迫使观者去审视女性在历史和当下的生存处境，进而反省整个社会的问题。尽管没有刻意凸显，她的作品中仍然有许多表明身份的因素：棉、、玫瑰等，这些符号的背后隐藏着敏锐的庆庆。庆庆以一种貌似“温馨”的手法阐述了女性在历史中的屈辱地位，她频繁地运用玫瑰、绣花鞋、棉、等媒材，并将它们作为特定的语言形式。“女性系列” 宛如一首凄美的挽歌，唱出了女性的卑弱性格和从属地位。作品《墓地》中，一些枯萎的玫瑰下埋葬的是尖尖的绣花鞋。同样，绣花鞋也出现在作品《棺》里，编制而成的棺里仿佛传出小脚女人的叹息和呻吟。这一系列装置使人忆起那段畸形的历史。

小脚体现了传统男权社会的审美眼光和女性的卑贱地位，缠足最能反映男性的残忍和女性的屈辱。历史上有许多男人成为“拜小脚狂”，也有许多关于咏叹“金莲”的诗词。在某些地区，女人的小脚甚至成为时尚，成为男性审美的焦点， “今人每入花丛，不仰观云缳，先俯察裙下。”（袁牧《答人求妾书》）；一些地区在春秋两季举行“晾脚会”、“赛脚会”，男性把小脚当作赏玩、把弄的对象，借对小脚的迷恋来满足感官上的刺激。而女人则因“小脚”的特殊作用而被物态化。因此，父权社会对“金莲” 的迷恋，实质上是一种恋物癖的变态心理在作祟。《金瓶梅》中西门庆就脱下潘金莲的绣花鞋“吃鞋杯耍子”。庆庆在书写女性历史处境的时候，选取了“绣花鞋”这一独特的视点，是非常有代表性的。庆庆在她的创作笔记中写到： “它是中国文化中最丑陋最污浊的那一面的真实记录，荒诞而扭曲。”“我的棺是为她们作的，为那一段畸形的耻辱，的棺，献上枯萎的玫瑰，红的、粉的、紫红的……”——《棺》女性系列。

然而，庆庆的“女性系列”不只是对女性耻辱的回顾，绣花鞋同时也成为女性人格魅力的一个指代符号。这些缠着小脚的女人卑微而顽强地生活着，在男性变态的审美目光里走出一串颤巍巍的脚印。对此，庆庆写道：我同样始终惊异与叹息，女人的坚忍与坚忍中的伟大！

与“女性系列”的“温馨”相比，“黑色记忆系列”呈现出一种冷冰冰的残忍。庆庆的作品中出现了耳朵、手脚等肢解的人体器官和骨骼等，这些语言符号的运用与她曾经学医的经历有很大的关系。扎满大头针的耳朵《智》、插满刀叉的耳朵《文化手术》，让观者生发出一种血淋淋的颤意。庆庆借由它们来诠释十年“文革”，在那段岁月里，人性被扭曲，在恶劣的环境中，人们的耳朵丧失了辨别的能力，它只能听到一种声音，这种声音导致了人性的扭曲和沦丧。

从《扫天》开始，庆庆以一种传教士般的热忱继续她的艺术之旅。在《艺术圈》中，庆庆把自己埋在奇异果、秋菊花、花呢等组成的“藏身之处”，所有的东西混杂在一起，发出生灵与死亡的气息，螃蟹从身体上爬过，让艺术家体味到身体慢慢腐烂的奇妙滋味。人类总在害怕肉体的腐烂和消亡，所以，从古至今，总会有人在不断地研究关于身体的保存方式，他们确信

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灵魂可以因此而不灭。《葬魂》中，庆庆把对自我灵魂的探询扩散。她说：人是最奇怪而残忍的动物，将杀戮弱小视为理所当然。于是，庆庆埋葬羊的尸骨，以一种母性的方式安抚一个母亲的灵魂，其实她是在为他人的行为赎罪，也是在为人类向动物赎罪。

无论是她的装置作品，还是行为艺术，作为一名艺术家，庆庆深刻地揭露并反省了女性乃至整个人类的历史处境和生存状态。她的作品涵盖了从历史到当下的一系列问题，以一种娓娓述说的方式唤醒人们体内潜藏的良知。将庆庆单纯地定义为女性艺术家是不确切的，她只是一位有良知的、追问自由的自由人。

墓地－女性系列（局部） Cemetery － Woman Series (Detail) 90×45×40cm 1997

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Heavy Writing An Analysis of Qingqing's Works Xiao Zhihui（Art Critic)

Qingqing resourcefully uses her artwork to force the audience to closely look at the historical and modern day plight of female existence, in order to examine all kinds of social issues. Her works always have many factors that make clear her identity: cotton, hemp, roses, etc. These symbols conceal behind them Qingqing's sharp mind. Qingqing uses a seemingly warm and sweet method to elaborate on the history of female humiliation. She often uses roses, embroidered shoes, cotton, hemp and other materials to give form to a specially designed language. Her “Women Series” is just like a poignant dirge that sings of the inferior disposition and subordinate status of women. In her piece, “Cemetery,” pointy embroidered shoes are buried beneath dried out roses. Embroidered shoes also appear in her artwork “Coffin.” The hemp is woven in such a way as to seem like it transmits the sighs and moans of women with bound feet. The way the series is put together makes people recollect this period of historical abnormality.

Bound feet embody the beauty standards of traditional patriarchal society and showed that women had a lowly status in it. Foot binding is the ultimate way to reflect male cruelty and female humiliation. Throughout history, there were many men who became “bound feet maniacs” and there also were many verses about it in the aria, “Golden Lotus.” In every district, bound feet for women became fashionable and males focused on them as their standard of beauty. Every time someone “looks at the flowers,” which meant looking at a woman's beauty, they didn’t look upward at the hairstyle, but looked down below the skirt, to see how small and nice the feet were. In some districts, in the spring and autumn, they would hold “bound feet parties” or “bound feet contests.”

Males would make bound feet their playthings. The men were so

infatuated with their concubine's bound feet that they would use them to satisfy their sensual stimulation needs.

Moreover,

because women with bound feet played such a special role, they were objectified. And because of this, patriarchal society was infatuated with the so-called “Golden Lotus,” or bound foot, which in essence depicted an addiction to an object of desire that the heart had somehow transformed into something sublime. In “Golden Plum Vase,” Ximen Qing took off Pan Jinlian's embroidered shoe and used it as his plaything in place of a wine cup. Qingqing's choice of embroidered shoes to write the history of the plight of women offers a unique perspective and is extremely representational. In her notes, Qingqing said “They (bound feet) are the most ugly and foul parts of China's authentic historical record, absurd and distorted.” In “Coffin,” my coffin is made for them, that disgraceful deformity, a hemp coffin with dry roses in red, in pink and in purple …“Women Series”

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无奈－庆庆自画像 1998 Helpless － Qingqing Self Portrait 1998 55×110×60cm 1998

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春秋－女性系列 Spring and Autumn － Women's Series 40×28×6cm 2002

However, Qingqing's “Women Series” not only recalls female humiliation, but at the same time, the embroidered shoes symbolically refer to how women were glamorized. The pettiness and durability of binding women's feet is like a string of flickering footprints in the metamorphosis of male standards of beauty. Because of this, Qingqing wrote: “At the same time, from the beginning to the end, I am amazed and gasp in admiration at women's perseverance and, through persevering, their greatness.”

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The “warmth” of the “Women Series” can be compared to the “Black Memory Series,” which depicts a kind of icecold cruelty. In her artwork, Qingqing uses ears, hands, feet, dismembered human organs and skeletons – linguistic symbols that very much relate to her past experience as a doctor. Ears pricked with full of needles, “Wisdom,” an ear stuck full of knives and forks, “Cultural Operation” – these allow the viewer to develop a trembling sense that everything is dripping with blood. Qingqing uses this as a pretext for explaining the “Cultural Revolution” decade. During those years, human nature was distorted, and in an abominable environment, peoples' ears lost the ability to discriminate, and they only heard one voice. This kind of voice led to the distortion and ruin of humanity.

Since “Sweeping the Sky,” Qingqing has enthusiastically carried out her artistic journey, like a missionary. In “Art Circle,” Qingqing buried herself in a “hiding place,” made of kiwi fruit, autumn chrysanthemum, and tweed. All the things were mixed together, and gave off the scent of death. Crabs climbed over her body, which gave off the fantastic flavor of the artist's own body slowly rotting. Humans are always afraid that the physical body will rot and die, so since ancient times, people unceasingly have searched for ways to preserve the body and they are convinced, because of this, that the soul also will not be extinguished. In “Burying the Soul,” Qingqing diffuses the idea of self-soul searching.

She said,

“Humans are the strangest and most cruel animals, they see killing weaker beings as something they have a right to do.” As a result of this, Qingqing buried a goat skeleton, in a maternal way, to appease the soul of its mother, but in fact she was atoning for the behavior of those who killed it, as well as atoning for the sins of all of humanity towards animals.

No matter if it's through her installation works or performance art, Qingqing profoundly exposes and reflects upon women's plight and state of survival in the history of mankind. Her artwork covers a series of historical and current questions, with an active narrative method that rouses the hidden conscience that people have hidden beneath the surface. It is not accurate to define Qingqing as simply a feminist artist. She is only a conscientious artist, who closely questions the freedom of a free person.

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连体儿 Siamese Twins 80×50×45cm 2000

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庆庆下过乡，开过拖拉机，当过医生，会针灸，在外企工作过，开过饭馆。曾旅居奥地利。在一个夏天她忽然改变了这一切，开始从事艺术创作。她写到：“这便是我的生活方式，它给了我人生最大可能的自由度。” 作品被奥地利、德国、肯尼亚、美国、法国、澳大利亚、巴西、荷兰、瑞士、日本、中国、台湾地区和香港地区等许多人收藏。曾在欧洲、亚洲，甚至非洲，很多地方旅行，也曾在很多各式各样的地方，参加各种各样的展览。她的履历太长了，长过了长安街。

秘密使人心醉王东子（作家、女艺术家）第一次知道庆庆是去金星的半梦酒吧。一大桌子的人在那儿聊天，我则上个厕所顺便看看四周的装饰。在一个放满了很多卡片的地方我拿起了一张有灯光的有

做成的作品的卡片，好像就对庆庆有了一点淡淡的认识。我从来没想到我可以认识她，

因为我平时交往的朋友只有几个人。张跑跟她是朋友，他们怎么认识的我就不知道了。那时候我认识张跑也是因为张跑要去庆庆家的路上，正好看中了我的窗框，要拿去送给庆庆作圣诞节礼物。在另一个圣诞节又将到来的时刻，我想把周围的一切都写下来。那时后海还结着冰，张跑带着庆庆从冰上走过来，我和庆庆虽然从来没有见过面，但我们都知道彼此是谁，所以大老远的就开始笑了。她的个子比我高，长相和气质都很像我们班同学——住在美国的吴咏梅，所以我们很亲切。我觉得认识的朋友还会再认识相同的人，是因为我认为人的灵魂就像一个花种子一样，成熟了之后就会有很多相同的来自于一朵花的种子，在不同的时期撒向大地，出生在不同的家庭背景里，体验。但是他们好像很多最本质的东西都是不可以改变的，所以我主观地认定了庆庆是我熟悉的一个灵魂。而且她们之间一定还存在着某种关系。所以我跟庆庆很自然地也就成了好朋友。我们去庆庆家吃饭，看庆庆做的东西，听她讲她家猫的故事。那时庆庆就觉得她的房子令她不满意，她打算把它重新翻盖了，我以为只是说说而已，因为盖一个房子真的是不可想象的一件事儿，可是她从丽江回来就真的动手了，她先把她所有的至爱宝贝打箱运到朋友的家里，然后和无数的包工队谈判，等我再去她家的时候，她那儿已经完全是一个工地，她就每天和水泥，沙子，木匠，瓦匠一起玩。我们也帮不上什么忙，就只等着她把一切搞定。我们再去做客时你根本想象不出来她在平地上起了一个二层楼，而且是非常隐蔽的在四合院的居民区里，像变魔术一样把她自己的空间长高了，坐在阳台上，树枝就可以碰到你的脸。那只朋友从非洲给她扛回来的长颈鹿被她狠狠地粘在地上，我还想拿东西和她换呢，她幸灾乐祸地说长在那儿了。庆庆还有一个可以洗花瓣浴的木桶，用来滋润她不肯变老的容颜。当你眼花缭乱地被她的作品吸引时她给你讲的是关于她的猫正在跟谁谈恋爱，把朋友带回家里分享美食……她的家里会经常弥漫着一种我喜欢的味道，她说是中药店里就可以买到的艾条。在我脚受伤的时候我经常可以梦见她，梦见去找她，去她装满了一屋子玩具的房子里，她的作品就是她的玩具，不同的是庆庆的玩具是可以卖美金的。对于喜欢睡觉的我，最喜欢的是她的嫁妆系列里的《好梦枕》。她的“衣服”我也特别喜欢，那些晒干了的花瓣上面带着女人的心情，我每次看见的时候，就觉得庆庆把女人对婚姻的向往都表达了出来。庆庆是个跟

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玫瑰花椅－嫁妆系列 Chair of Rose － The Dowry Series 65×105×55cm 2000

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家系列作品（七） Home 7 1999

着她的感受创作的人，在她的作品后面，我觉得都隐藏着一些不被人知的故事。我的目光就会被这些秘密吸引着，透过有机玻璃、透过那些木盒子、透过灯光我怎么可能知道什么呢。我问庆庆你的作品里是不是藏了很多秘密，她说当然了。庆庆是个沉浸在自己秘密里的女人。她也像开了瓶的红酒，接近她的人都可以感受到岁月的香醇。我觉得庆庆是个热衷于给自己制造玩具的一个小姑娘，她的内心永远会处在天蓝色和粉红色里，是我们幼儿园时最喜欢的两种颜色。我认为庆庆是用装置把自己表达得最好的艺术家，我也觉得她是一个在自己的世界里玩得最开心的，她像一个永远也不会长大的孩子一样，完好地保留着自己天真和幼稚的一面。她的书在我的店里卖得很好，也送给我一本，可是我觉得我不怎么敢轻易去翻它，在那些故事里面我感到一种痛苦和神秘。我觉得庆庆和猫也有相似之处，猫是一种很奇怪的动物，它轻而易举就能得到人们的百般宠爱，它讨好人类时从不失手，而人要想博得它的欢心就要看它是否乐意了。尽管与人亲密相伴，但猫始终保持着自己神秘的生活方式，对人存有戒心，不像狗和马那样顺从、忠诚、坦白于人类，而人类非但不怨恨，反而学会了尊重猫的独立性。有一次她的那只花白的小公猫袜袜得了皮肤病，庆庆就从邻家的理发店里，借来一副推子，哄骗着袜袜，把它美丽的毛发剃了一半，袜袜虽然是个皮毛优美的靓哥，但有点缺心眼，不知主人和小阿姨揉揉戳戳的搞了什么鬼，也没照镜子就像往常一样牛轰轰地上了天台，去等它那些每天傍晚从四面八方来的女朋友们。第一个看见它的咪咪，直视着它的脸一分钟之后，弓起背，张

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大嘴，冲着袜袜，“哈”的一声，扭头就跑；其他的远远看见它这副尊容，愣了一下也调头走了。可见在动物界，容貌也是很重要的。听庆庆绘声绘色地谈论她的小动物们的不知是真是假、有点夸张的故事，仿佛她跟它们生活得很平等。庆庆说它们其实不知道在人的世界里，猫比人低一等。它们要吃要喝，撒娇耍赖的，完全像孩子一样，不知道自己只是一只猫。庆庆的作品题材繁多，材料丰富，她几乎用她能找到的喜欢的所有材料进行创作。比如作品的名字，从“补肾壮阳——只生一个好”到“Girl － 2001，关于坐台小姐”，材料则从蜻蜓、海马到铁丝、奶嘴，举不胜举。这两年她做了一个关于克隆的系列。她用贝壳做过两只表，一只挂在她的墙上，另一只送给了我。她说这只用白贝壳做的表，可以把人的记忆存扣在它的窝纹里，这个表你戴在手上它不走，是为了可以帮你存储你珍贵的记忆。艺术家区别于普通人就在于这一点，她会用不同于常人的思维去考虑周围的一切，让我们在审美和思想领域里可以走得更远。有一次她开着新买的车来找我，她管她的车叫大灰兔。这个兔子除了能坐九个人之外，还可以帮她运送作品去参展，并且可以随手把路上看中的垃圾捡回来。我说庆庆你的车开得那么好是不是因为在欧洲住过的原因，那儿路小。她说不是，是开拖拉机练出来的，因为她下过乡，在农村时是开拖拉机的。有一次在她们家闲聊天，我那时候正好对每个人最让她感动的记忆感兴趣，顺便就问了庆庆，她说： “有过一次手术，是在我 17 岁那年，是在湖北文化部干校劳动的时候， “手术室”是一间没盖完的工棚，屋里升着呼呼冒烟的煤球炉子，一个大夫把我的肚子打开以后，才发现要找另外一个专科大夫，庆庆的同事——那些开拖拉机的小伙子们，于是开着拖拉机在几十里地的湖地里，用大喇叭到处找那位孙大夫，及至孙大夫用白羊肚毛巾把头一蒙，代替了手术帽，借来大食堂的屉布代替手术巾，也没有消毒手套，用肥皂洗了手，摘下她的巧克力囊肿，庆庆在那个木板搭的“手术台”上躺了不知多少个小时。醒来时是第二天早上，她说那是她见过的阳光最明媚的日子，第一反应是肚子不再痛了，然后觉得口渴，当时看护她的妈妈看到女儿又活过来了，兴高采烈地下山去打水，庆庆却按耐不住了，她说她觉得神奇的生命真的是走了又回来了。她看见对面屋角的柜子上，两只青色的苹果在早晨的阳光下闪烁，当她妈妈拎着水壶回来时，看见她竟然背靠着对面的墙角坐在地上，啃着那只在当地极为罕见的苹果。妈妈惊叫到：“你怎么过去的？你肚子会裂的！” 庆庆说现在自己也记不起来当时是怎么爬到那个墙角的，只觉得那只青涩的苹果，像一注生命的泉水，酸涩得让她永生难忘。我于是在脑海里深深地留下了一幅 17 岁的庆庆的画面，一个脸色惨白的扎着两条辫子的姑娘，头发乱蓬蓬的，却在照进屋子里的灿烂阳光下，贪婪地坐在墙角里啃吃一只绿色的果子……后来我看到庆庆有一个叫做《文化手术》的作品，我想那就是她对那个时代的记忆吧。她用自己的名字给自己的所有作品注册了一个商标，把四个“庆”字组合在一起，一个正的，一个反的，两个朝上两个朝下。她说她不喜欢自己性格中的悲剧成分，所以特别喜欢自己这个喜庆的名字。所以来往的朋友不分长幼，都叫她“庆庆”，有的甚至不知道她姓陈。南锣鼓巷是我以前从来没去过的地方，因为有了庆庆我倒经常可以走过去，你没觉得庆庆住在南锣鼓巷是一个很合适的词组吗？有一种很喜庆的过年时的生动。 2001 年，北京

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家系列作品（一） Home 1 1995

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Qingqing has been to the countryside, has driven a tractor, worked as a doctor, performed acupuncture, worked in a foreign company, ran a restaurant, has lived in Austria. One summer, she suddenly changed everything and started to create art. “This is my lifestyle, and it gives me the greatest freedom of my life.” she wrote. Many people from Austria, Germany, Kenya, the United States, France, Australia, Brazil, Holand, Switzerland, Japan, Taiwan, Hongkang and China and other countries and regions have collected her artwork. She has travelled to Europe, Asia, even Africa, so many places. She also has participated in various exhibitions all over the world. Her resume is way too long, longer than Chang'an Avenue.

A Secret Intoxicates the Heart Wang Dongzi（Writer，Artist） I first met Qingqing at Jin Xing's “Half Dream” pub. A bunch of people were chatting at the table. When I went to the toilet, I noticed the surrounding decorations. I picked up a card from the artist who made the works of lights and hemp, and felt like I knew Qingqing a little bit. I never thought I would get to know her well because I normally don't have many friends. She was friends with Zhang Pao. I am not sure how they got to know each other. I knew Zhang Pao, but only because when he was on the way to Qingqing's home, he saw my window frame and wanted to get it as a Christmas gift for Qingqing. Before another Christmas comes, I would like to write down everything around me.

At that time, Houhai was still frozen. Zhang Pao and Qingqing were walking towards me on the ice. Although Qingqing and I had never met before, everyone knew who was who, so we started off smiling the whole way. She's taller than me. She looked and acted like my classmate Wu Yongmei, who lived in the United States. Therefore, we felt rather close. I think we tend to have the same friends because I believe human souls are like flower seeds. After they mature, they grow into similar flowers even though as seeds, they were thrown into the earth at different times, or born into different families with different backgrounds, and have different experiences. However, the essential things cannot be changed. Therefore, I am subjectively certain that Qingqing is one of the souls I'm familiar with. Moreover, there must be some sort of relationship between them, so it's only natural that Qingqing and I have become good friends. We went to Qingqing's house for dinner, to see the things she made and listen to her talk about her cats. Qingqing was not satisfied with her house then, and planned to rebuild it anew. I thought it was just talk, because building a house is an unimaginable thing, but she indeed started to do it after she returned from Lijiang. First, she packed her most favorite things and sent them to her friend's house. Then, she negotiated with numerous teams of contractors. When I next went to her place, it had already completely turned into a construction site. Everyday, she played with concrete, sand, carpenters and bricklayers. We couldn't help with anything, and could only wait until she was finished. When we went to visit her, we never imagined

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家系列作品（四） Home 4 1996

she could have built a two-story house there, hidden in an area of residential courtyards. It was if she had magically transformed her space to make it bigger and taller. When you sit on the balcony, the tree branches could brush your face. The giraffe a friend had brought her from Africa had been firmly glued on the ground. I wanted to swap her something for it, but she gloatingly said it was growing there. Qingqing also had a barrel so she could bathe in flower petals, to keep her ageless complexion moist. While your eyes are attracted and dazzled by her artwork, she tells you about who her cat is in love with and has friends return home to share delicious food… Her house is filled with a fragrance that I like. She said it was the moxa roll she bought from the Chinese medicine shop.

I dreamt about her often when I hurt my foot. I dreamt of going to find her, in her room that was filled with toys, which were her artworks. Qingqing's toys were different because they could be sold for dollars. My favorite is “Dream Pillow,” from her dowry series, because I like sleeping. I also like her clothing very much. The dried petals convey women's feelings. Everytime I see them, I think Qingqing has expressed female yearning for marriage. Qingqing is a person who acts according to her feelings and I think there are always some hidden stories behind her works. My eyes are attracted to these secrets – but since they pass through organic glass, wood boxes and lights, how can I really know what they are ？ I

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asked Qingqing whether there were many secrets inside her works and she said, “of course.” Qingqing is the kind of woman who is immersed in her own secrets. She is also like an opened bottle of red wine – people who are close to her can feel the mellowness of the years. I think Qingqing is a little girl who enjoys making toys for herself. Deep in her heart, she has the same favorite colors that were favorites when we were in kindergarten – azure and pink. I believe Qingqing is the best artist who expresses herself through installation art.

I also feel she is having the most fun in her own world, like a

child who has not grown up. She has perfectly maintained her innocence and childishness. Her books sell well in my shop. She gave me one, but I don't dare to open it. I can feel a kind of suffering and mystery in those stories. I think Qingqing and cats have similarities. The cat is a very strange animal. It can easily get love and care, and is good at getting human favor. But, it is entirely up to the cat whether a person can win its favor. Although cats live as life companions with people, they maintain their mysterious lifestyles and maintain wariness toward them. They are not as obedient, loyal or honest as dogs or horses are to humans. Yet, humans not only don't resent cats, they have also learned to respect their independence. Once when her cat Wawa (Socks) got skin disease, Qingqing borrowed a clipper from the barbershop to shave off half of Wawa's hair. Although Wawa is handsome, he's a little slow-witted. He didn't know what Qingqing and his had done to him. Without looking in the mirror, he clambered up to the roof at nightfall, as usual, to wait for his girlfriends. The first cat to see him was Mimi. After staring at him for a minute, she arched her back, opened her mouth wildly and shouted“ha” to Wawa. Then, she turned her head and ran in the other direction. The others watched this big shot cat from a distance. They were dumfounded, lowered their heads and just walked away. It's clear that in the animal kingdom, appearance is also very important. Listening to Qingqing's vivid descriptions of her animals, it's hard to say whether they are true or not, because the stories are exaggerated, as if their lives are on par with hers. Qingqing said cats don't know that in the human world, they are in a lower class than people. They have plenty to eat and drink, and are spoiled and shameless. They are just like children – a cat doesn't even realize it's just a cat.

Qingqing's works have varied themes and use many different types of materials. She pretty much uses anything and everything that she likes or thinks would work well in her creation. Good examples from her works are pieces ranging

“家”系列作品展在维也纳 The Exhibition of “Home” series in Vienna

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from “Invigorator – One Child is Better” to “Girl – 2001, Being a Call Girl.” They use materials like dragonflies, sea horses, iron wire and baby bottle nipples, etc.

In these past two years, she made a series of clones.

She made two watches out of shells – one is hanging on her wall; the other was given to me. She said this watch could only be made with white shells, for people to store their memories inside the empty space. When you wear this watch, it doesn't run like normal. It is to help you store your precious memories. Artists think differently than ordinary people. She uses a different way of thinking to consider everything around her, and allow us to appreciate even more beauty and thought for the world. Once, she came to find me in her new car, which she called the Great Grey Rabbit. The car not only had nine seats and could help her transport her works to exhibitions, she also could pick up whatever usable debris she saw on the streets. I said Qingqing, you must be such a good driver because you lived in Europe, where the streets are quite narrow. No, she said, it's because she drove a tractor on the farm when she was sent down to the countryside. Once, when we were chatting at her home, I asked her what her most touching moment in her memory was. She said:“I had an operation when I was 17 years old and laboring at the Hubei Cultural Ministration Cadre School. The “operating room” was an unfinished work shed and it was filled with smoke from the coal stove. Only after he finished cutting open my stomach, did the doctor realize he needed to call another doctor with a different speciality…” Qingqing's colleagues drove a tractor for tens of miles, blowing a horn, looking all over the place for a doctor named Sun. Dr. Sun covered his head with a white towel in place of an operating cap and borrowed a cloth from the canteen to use instead of the operating towel. There were no sanitized gloves. The doctor washed his hands with soap, then took out her cyst. Qingqing didn't know how many hours she had laid on the “operating table.” When she woke up the day after, she said that was the most bright and beautiful sunshine she had ever seen. The first thing she noticed was her stomach no longer hurt. Also, she was thirsty. When her mother saw that her daughter has revived, she rushed down the hill to fetch water. Qingqing couldn't restrain herself. She said she thought that the miracle of life had left and now returned. She saw two green apples on the cupboard in the corner across the room, sparkling in the early morning sunlight. When the mother returned with the water,she found Qingqing was sitting on the floor, leaning against the wall, nibbling on an apple. (Apple was a rarity at the time). Her mother cried out:“How did you get over there ？ Your stomach will break open!”

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作茧自缚－嫁妆系列 Wrap Oneself Up in a Cocoon － The Dowry Series 52×90×44cm 2000

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生命 Life 83×60×8.5cm 2005

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Qingqing said, to this day, she cannot remember how she crawled to that corner of the room. She felt that the green puckery apple was like the wellspring of life, and that she would never forget the raw sourness of the apple she ate. This left a deep impression in my mind of a 17- year - old Qingqing. I imagined a pale girl with two disheveled braids, sitting in the corner under the brilliant sunshine, greedily eating the green fruit … later, I saw one of Qingqing's works, called “Cultural Operation,” which I think must be from her memory of that time period.

She used her own name to make a trademark for her artworks. It is made up of four “qing” characters – two upside down, two right-side up, flipped over to mirror each other. She said she doesn't like the tragic nature of her personality, which is why she especially loves her festive name. That is why people, regardless of seniority, just call her “Qingqing.” Some people don't even know her surname is Chen.

I had never been to Nanluoguxiang before, but I often come around now because of Qingqing. Don't you think “Qingqing lives at Nanluoguxiang” is a very appropriate phrase ？ It has the liveliness of a New Year's celebration.

2001，Beijing

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关于作品《欲》若有人问我：“什么是你对当下都市生活最大的感受？”我定答：人欲横流。俗语说：人有七情六欲，六欲者，不外食欲，性欲，贪欲，功名利禄，权欲，此六者，城亦有之，国亦有之。欲之人者，五内糟杂，六脉洪浮。目光散射而心绪无度，久必五劳七伤，精气散失，欲之不得，终无平和之日。欲之城者，亦同于人：嘈嘈杂杂，熙熙攘攘，交通塞滞，水道失通，商贾暴利，官禄无度，匪盗滋生，国无宁日。欲之可恶，已不胜数，欲之洪流，却始终浩浩荡荡而来，无以阻挡。内中有聪慧者与愚顽人，精细的与盲目的，雕琢的与粗劣的，其中忙碌往来操作匆匆，吹起无数气球，膨胀、升腾、碰撞、破裂，幸运者高飞，愚蠢者低行，终又以破碎的皮屑，坠入都市的尘埃…… 尘埃中，高高叠叠，密密麻麻林立的，俱是些水泥的笼，笔者亦有幸生存其中，无以逃遁，就拾来这些许“欲”的皮屑，在大工业的洪流中作出些再生物来，却不像它们生成的这般晶莹剔透，千娇百媚的纯洁，生物原始的欲望，人性本原的狡黠，俱有其中……我为之瞠目，不敢私藏，于是悬而挂之，以示众人。 ——我在初生与末日之间回首，只见那浩浩的欲气，美丽而邪恶，纯洁而冥顽。在这个大都市的上空回旋，凝结成一个巨大的问号…… 我不是恶意的诅咒，只是我有一点点预知的能力。庆庆，1997 年 6 月，北京通县

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欲－欲望都市系列大型现场装置 Wish Want Desire － Ambitious City Series Big on Spot Installation 1997

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Desire If someone asked me what my deepest feelings about city life are nowadays, I would answer:the stream of man's Desires. There is a saying: Man has various human emotions and desires. The Desires are nothing more than: appetite, sexual Desire, greed, fame, wealth and power. These six things belong to the people as well as to cities. People with Desires have nerves, viscera, overheated pulses, scattered vision. They are excessively moody. In an advanced stage, they have poor health and ailments in general, their vitality vanishes. Without fulfillment of their Desires, they find no peace. Cities with Desire are like people:noisy and chaotic, bustling with activities, full of traffic jams.Water systems are overwhelmed, greedy merchants and corrupt officials abound, criminals are multiple. The country is without peace. The dreadfulness of Desires is boundless. The stream of Desire is vast and mighty, it cannot be stopped. Inside swim wise and stupid people, shrewd ones and blind ones, carved and crude ones. Some of them bustle about and hurridly operate. They blow up countless balloons: inflating, rising, colliding, bursting. The lucky ones fly high, the slow-witted fall behind. In the end, torn fragments of skin sink in the dust of the city. In the dust piling high, are cement cages in great numbers (densely next to each other). The writer was lucky to grow up in such a place, with no way to escape, I just can gather the broken skin of Desire, reproducing them in the stream of industry. Surprisingly, they turned into crystal clear, ravishingly beautiful, pure and honest things. Inside, you can see the organisms original (primitive) Desire, and man's primitive slyness. Because I was staring at in surprise, I did not dare to keep it as private property. Therefore, I hang it up to show it to the people. I look back, I just see my vast Desire, the beautiful and vicious, circling around in the sky above the city, forming a huge question mark. I'm not viciously cursing, it is just that I have a little ability to predict !

Qingqing, June, 1997 Tongzhou District, Beijing

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家的悬念大型现场装置 , 中央美院画廊 , 北京 What Is Home? On － Spot Installation Gallery of Central Academy of Fine Art, Beijing 1997

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扫天 , 曼谷 Air Revolution 1997, Bangkok

行为过程：我用 100 把扎红毛巾的扫帚，带领参加曼谷国际行为艺术节的艺术家和学生，在一个市中心的过街天桥上，扫天 30 分钟。 The process of performance art: I lead a group of artists and students to participate in the Bangkok International Performance Art Festival with 100 brooms decorated with red towels, we had been sweeping the sky on the overlies bridge in downtown for 30 minutes.

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陈庆庆出生年月：1953 年 10 月 1 日 , 北京 Birth Date: October, 1, 1953, Beijing

个展经历 2012

《庆庆装置艺术回顾展》，北京今日美术馆

2009

《“南柯一梦”庆庆装置作品展》，北京龙德轩艺术中心

2008

《庆庆寓言》，少励画廊，香港

2005

《798 的海市蜃楼－神秘的光》，庆庆装置作品展（北京大山子艺术区大窑炉展场）《庆庆装置作品展》，东京画廊，日本东京

2003

《庆庆装置作品展》，北京今日美术馆

2002

《庆庆回来了！》，庆庆新作品展，北京红门画廊

2000

《庆庆综合材料新作品展》，中国当代画廊，英国伦敦

1999

《流动的灵魂》，庆庆装置作品展，AAI-Gallery，Karl Strobe 画廊，维也纳

群展经历 2012

《时尚之巅》，悦美术馆，北京 798 艺术区

2011

《历史新宋庄》，上上国际美术馆，北京通州宋庄艺术区《我信——在宋庄的中国当代艺术》，北京通州宋庄美术馆《半边天》中国当代女性艺术展，美国费城卓克索大学美术馆《德国北方雕塑展》，德国 Vorwerksallee，24782 Beudelsdorf

2011－ 2008

《面对中国——福瑞德收藏展》，荷兰 SingerLaren 美术馆，瑞典 Ystads 美术馆，以及德国等地多处博物馆巡展，挪威 Haugar-Vestfold Kunstmuseum，Thonsberg 艺术馆，芬兰 Kuopio 美术馆和 Salo 美术馆，冰岛 Akureyri 美术馆，奥地利 Studtgalerie Schwaz 和 KunstraumInnsbruck 国家画廊

2009

《镜花水月——中国当代女性艺术展》，比利时，欧洲当代艺术中心

2008

《浮游——中国艺术新一代》，韩国国立现代美术馆

2007

《金蝉脱壳——从传统和革命中的语言拯救》，南京四方美术馆

2006

《中式意识——审美营造的当代复兴》，北京今日美术馆

2002

《金色的收获——中国当代艺术大展》，Zagreb，克罗地亚东亚妇女艺术节，韩国，汉城

2001

90 年代中国前卫艺术家资料展，日本福岗美术馆

2000

世界博览会，德国汉诺威

1999

第二届国际妇女艺术交流展，泰国曼谷 Saranrom 公园

1998

维也纳森林纺织品艺术节，获二等奖，奥地利下奥州

1997

直觉，体验，观念，三人装置展，北京，中央美术学院画廊

1996

装置作品“家”首次展出于奥地利现代艺术博物院

作品被中国美术馆，北京今日美术馆，纽约新美术馆及欧洲和亚洲各国收藏家与多处收藏机构收藏。 308

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庆庆与家人 Qingqing with her family

与学习中医时的师长和同学合影 Qingqing with her teacher and classmates when she was learning Chinese medicine

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Solo Exhibition 2012

“Retrospective Exhibition of Qingqing's Installation Art”, Today Art Museum

2009

“Dream of fifteen Years”, Installation art by Chen Qingqing, LDX Art Center of Beijing, Suongzhuang

2008

“Qingqing Enchanted Paradise”, Schoeni Gallery, Hong Kong

2005

“Mirage of 798 － Secret Light”, Qingqing's Installation Exhibition（798 Dayaolu, Beijing） “Qingqing Installation Exhibition”, Tokyo Gallery, Tokyo, Japan

2003

“Qingqing Installation Exhibition”, Today Art Museum

2002

“Qingqing is Back! Qingqing's New Works Exhibition“ , Red Gate Gallery, Beijing

2000

“Qingqing Mix - media Works Exhibition”, China Contemporary Gallery , London, U.K.

1999

“ The Normadic Soul, Qingqing Installation Artworks Exhibition“ , AAI - Gallery, Karl Strobe Gallery, Vienna

Group Exhibitions 2012

“Top of the Fashion World”, Enjoy Museum of Art, 798 Art Zone, Beijing

2011

“ History - New Songzhuang”, Sunshine International Museum, Songzhong, Beijing “I Believe that - Chinese Contemporary Art in Songzhuang”, Beijing Songzhuang Museum “Women in the New Art of China”, Dresel University Mueseum, U.S.A “Nord Art 2011”, Vorwerksallee, 24782 Buedelsdorf, Germany

2011-2008

“Facing China- Works of Art from Fu Ruide Collection”, SingerLaren Museum，Holland Sweden Ystads Konstmuseum and Germany the Netherlands Museum, Norway Haugar － Vestfold Kunstmuseum Thonsbery, Finland Kuopio Art Museum and Salo Art Museum, Akureyrt Art Museum of Iceland, Austria Stadtgalerie Schwas and Kunstrauminnsbruck

2009

“Translucence － Female Contemporary Art From China” European Center of Contemporary Art (Electric Center), Belgium

2008

“Floating － New Generation of Art in China”, Korea National Modern Art Museum, Seoul, Korea

2007

“Escape by Crafty Scheme-salvation From Traditional and Revolution Language” Square Gallery of Contemporary Art, Nanjing, China

2006

“Chinese in Indigenous Mode: Contemporary Renaissance in Aesthetic Reconstruction”, Today Art Museum, Beijing

2002

“Golden Harvest － Chinese Contemporary Art”, Zagreb “East Asian Women and Her stories”, Seoul, Korea

2001 2000

“Documentation of Chinese Avantgarde Art in 90's”, Fukuoka Asian Art Museum, Japan Hannove Expo, Hannove, Germany

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1999

Womanifesto II, Second international Woman's Art Exchange, Saranrom Park, Bangkok

1998

Forest Textile installation Festival, Austria, second praised

1997

Intuition, Experience, Concept Installation, Gallery of the Central Academy of Fine Arts, Beijing

1996

Installation work HOME , showed in Modern Art Museum, Vienna

Works being collected by China National Museum, Beijing Today Art Museum and New York New Museum and many Art collectors in the world collection, and have been exhibition in international Art Fairs held by different countries.

庆庆与朋友们 Qingqing with her friends

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文章目录

Related Articles 关于庆庆的艺术及其他董光璧 About Qingqing's Art Dong Guangbi P 8-9

我眼里的庆庆和她的艺术李津 Qingqing and Her Art in My Eyes li Jin P 183-184

关于陈庆庆朱其 About Chen Qingqing Zhu Qi P 12-13

庆庆作品中的男根文化与微观政治杨子 P 232-234 Phallic Culture and Micro-politics in Qingqing's works Yang Zi P 237-241

揖礼谢君陈庆庆冯峰 Greeting and Expressing Gratitude to Chen Qingqing Feng Feng P 25-27

死生如戏的灵知视界——陈庆庆的装置艺术和灵知主义方式朱其 P 32-40 Spiritual Intuition in the Drama of Life: the Installation Art and Spiritual Vision of Chen Qingqing Zhu Qi P 46-60

从自然到人文——佟玉洁与陈庆庆的对话 P 96-108 From Nature to Culture The Dialouge Between Tong Yujie and Chen Qingqing P110-125

魔幻世界人文情怀——解读陈庆庆的艺术陶咏白 P 140-146 A Hallucinatory World A Humanist Expression An Elucidation of Chen Qingqing's Art Tao Yongbai P 149-161

走过那么多春秋范学宜 P 254 Journeying Through So Many Years Fan Xueyi P 257-258

关于庆庆的作品“关于伟大” 佟玉洁 P 272-275 Analyzing Chen Qingqing's “About Greatness” Tong Yujie P 276-280

沉重的书写——析庆庆的作品肖志慧 P 282-283 Heavy Writing —— An Analysis of Qingqing's Works Xiao Zhihui P 284-287 秘密使人心醉王东子 P 290-293 A Secret Intoxicates the Heart Wang Dongzi P 295-301

暗夜精神与心灵空间——陈庆庆 · 陶咏白访谈录编辑孙欣 P 162-166 Midnight Spirit and Space for the Soul——Interview with Tao Yongbai Editor: Sun Xin P 168-175

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庆庆在旅途中 Qingqing on the journey

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作品目录

A catalogue

自然纤维装置作品 Natural ﬁber installation

春秋 Spring and Autumn P 286

1 ／拷贝出土文物系列 Artiﬁcial Artifact Series

3 ／嫁妆系列 Dowry Series

汉 Han P 97

过家家 Playing a Family Game P 64-65

西施 The Beauty P 111

削足适履 Cut the Feet to Fit the Shoes P 106

辽金元代女装 Yuan Dynasty Garments P 115

玫瑰花椅 Chair of Rose P 291

清 Qing P 119

作茧自缚 Wrap Oneself Up in a Cocoon P 299

元代男装 Yuan P 269

4 ／单件作品

2 ／女性系列 Women's Series

秋·风·叶 Autumn, Wind and Leaves P7

我的美丽武器 My Pretty Weapon P 62

散花 Scattering Flowers

体 Body P 105

恭 Respect P 68

棺 Coﬃn P 109

礼 Courtesy P 83

闻香识女人 Scent of a Woman 167

暖 Warmth P 98

命运属性 Identity P 231

找对象 2000 Partner Search 2000 P 100

墓地（局部） Cemetery (Detail) P 283

蔴碗 Hemp Bowl P 101

P 13

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庆庆与朋友们 Qingqing with her friends

草熏衣 Fragrant Sleeves P 112-113 端庄 Elegance P 116

对话——我的棺 Dialogue — My Coﬃn P 135 钱！钱！钱！ Money! Money! Money! P 141

蔴纤维三扇屏 Hemp Fibre Byobu P 121

风情 Female Secret P 173

秋娘 The Autumn Lady P 122

水界 Sea Border P 188

枕留香 Fragrance from The Dream P 131

如风 Like the Wind P 259

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行为艺术作品 Performance Art 晒肺－我和太阳的行为艺术

与时俱飞飞 Flying With the Time P 92-93

P 137

温柔的铜墙铁壁 1~2 Woman's Soft Weapons 1~2 P126-127

暧昧 Ambiguity P 180

温柔的铜墙铁壁 3~6 Woman's Soft Weapons 3~6 P128-129

生育权－克隆行为艺术 The Right to Give Birth － Clone series P 218

恐龙回来了 The Dinosaur is Back! P143

艺术圈 Art Circle P 221

欢乐大本营 The Big Happy Camp P144

葬魂 Burying the Soul P 224-227

乐翻天 The Endless Happiness P147

点天灯 Igniting Heavenly Light P 245

无稽之谈 Talking for Nothing P163

扫天 Air Revolution P 306-307

残 The Hurt Girl P 175

Basking Lungs － Performance art(Me&The Sun)

混合材料装置作品 Mixed Materials Installation 1/ 文化小女巫系列 Little Culture Witch Series 大脚小丫头群雕作品 Group Sculpture of Little Big Feet Girl P 18-23 被消费的女孩儿 Consumable Girl P 50 陪陪 Accompanying Girl P 58-59 猫国 The Cat Kingdom P 75

欲望树 Tree of Desire P177 被老鼠吃掉的爱情 Love was Eaten by a Rat P 178 爱情罩 Love Cover P 194 坐台 2001 Call Girl 2001 P 195 梳 Combing P 228-229 当窗理云鬓 Combing in Front of the Mirror P 230

欲欲 Desire Desire P 76

2 ／欲望都市系列 Ambitious City Series

灰姑娘 Cinderella P 77

巫山 Wushan Mountain P 29-31

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陈逗逗的人间生活 Doudou's Happy City Life P 33

嘻嘻嘻 Xixixi P 238

蚁国 Ant Kingdom P 44-45

天路 Heaven Road P 246-247

书城 Book City P 47

欲 Wish Want Desire P 303

九号公馆 No.9 Residence P 48-49

3 ／未知数系列 Unknown Series

798 的海市蜃楼 The Mirage of 798 P 148 摇钱树 Money Tree P 151 纽约故事之二 New York Story 2 P 152 纽约故事之一 New York Story 1 P 155 肉芽儿 Flesh Shoots P 157 岁岁平安 Peace All Year Round P 158-159 眩 Dazzle P 165 围城之二 Besieged City 2 P 168-169 围城之一 Besieged City 1 P 170-171 忽如一日春风来 And as One Day Spring comes P 233 橱窗之二 Display Window 2 P 235 啦啦啦 Lalala P 236

不一定！ I'm Not Sure! P 35 真的吗？ Really ？ P 37 佛说 Baddha's Debate P 39 神示 Oracle P 42-43 祈 Praying P 52 爪哇（一） Jawa － 1 P 55 爪哇（二） Jawa － 2 P 57 碑 Stele P 79 天堂之路 To Heaven P 80 演·算·变 Counting and Calculation P 89 混沌初开 At the Dawn of Civilization P 160 未來人家故事 Story of Future People P 174

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在庆庆工作室 At Qingqing's studio

相信未来 Believe in Future P 176

克隆人场 2 Clone Factory 2 P 210

4 ／克隆系列 Clone Series

克隆人场 8 Clone Factory 8 P 211

克隆实验室 Clone Lab P 196 克隆爱情 Clone Love P 197 恐龙的胃 A Dinosaur's Stomach P 202 迷臆园 The Lost Land P 204

粉色欲望 Pink Desire P 212 克隆之三 Clone 3 P 213 我的脑电波 My Brain Wave P 214-215 蓝笼 · 椅子 Blue Cage and Chair P 216-217

克隆游戏图 Colen Game P 206-208

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5 ／黑色记忆系列 Black Memory Series 修炼孽海花 Nie Haihua P 41 对话——是日那厢有一只蛋 The State of Two Creatures P 255 固执 Stubborn P 256 说文解字 Language And Character P 260 女人故事 Story of Women P 263 文化手术 Cultural Operation P 265 情结 Complex P 266 伟大时代 The Great Epoch P 273 独 Solo P 274 芒 Brilliance P 278 智 Wisdom P 280 日子 Daily P 281

数日子 Counting Days P 87 关于伟大 About Greatness P 270- 271

其他 Others 入 Enter P 17 礼上 Courtesy First P 24-26 杰克逊万岁 Long Live Micheal Jackson P 60 “狗骑兔子”去宋庄 Go to Songzhuang by the Car Named "Dog Riding a Rabbit" P 61 福 Happiness P 63 木月 The Wooden Moon P 67 闻鸡起舞 Morning Dancing P 90-91 汉字世纪 The Chinese Century P 125 曾经 Once P166

6 ／记忆存储器系列 Memory Bank Series

一个艺术家的工作室 An Artist's Studio P 182

高度亲密 The Baggage of Intimacy and Memory P 71

“海市蜃楼——神秘的光”庆庆装置展现场 “Mirage – Mysterious Light”Qingqing's installation exhibition P 185

忆江南 The Whither of Memory P 73

我的肺和我的氧吧 My Lung and My Oxygen Bar P 186

大兔的秘洞 The Secret Hole of the Big Rabbit P 84-85

我被污染的肺 - 庆庆自画像 1999 My Polluted Lungs-Self Portrait 1999 P 187

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袜袜的梦 Wawa's Dream P 190-191

连体儿 Siamese Twins P288-289

大餐 Big Banquet P 198

家系列作品（七） Home 7 P 292

东西西东－ 2001 East - West - West - East － 2001 P 200-201

家系列作品（一） Home 1 P 294

怪圈 Strange Phenomenon P 223

家系列作品（四） Home 4 P 296

待到山花烂漫时 When the Mountain Flowers Run Riot for Miles and Miles P 241

生命 Life P 300

换了人间 But The World Has Changed P 267

家的悬念 What Is Home? P 305

无奈－庆庆自画像 1998 Helpless － Qingqing Self Portrait 1998 P 285

2012 年 3 月在北京今日美术馆举行的“庆庆装置艺术回顾展”现场 By Qingqing's solo exhibition in Today Art Museum, March, 2012

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鸣谢

Special Thanks

Ada 沈 , 布朗 , 陈政，董光璧，杜伟业，范学宜，冯峰，高鹏，靳军，Katherine Don, 李津，李璇，廖雯，马建，彭乐乐，史诗，施琴，Stephanie Ho，孙欣，陶咏白，佟玉洁，王东子，王琳，王五龙，肖志慧，臧优优，曾孜荣，詹晨，张倩，张力，赵妍，周抗，周琳，朱其，以及所有在我的二十年艺术生涯中帮助过我的朋友们。

Ada 沈，Brian Wallace，Chen Zheng， Dong Guangbi，Du Weiye，Fan Xueyi，Feng Feng， Gao Peng，Jin Jun，Katherine Don，Li Jin，Li Xuan， Liao Wen，Ma Jian，Peng Lele，Shi Shi，Shi Qin， Stephanie Ho，Sun Xin，Tao Yongbai，Tong Yujie， Wang Dongzi，Wang Lin，Wang Wulong，Xiao Zhihui， Zang Youyou，Zeng Zirong，Sara Zhan，Zhang Qian， Zhang Li ，Zhao Yan，Zhou Kang，Zhou Lin，Zhu Qi， Thanks everyone who's helped me during my twenty years of artistic career.

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宋庄小堡庆庆工作室夜景 The Night Scence of Qingqing Studio in Songzhuang, Beijing

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陈庆庆 PC 版电子书观看地址 Chen Qingqing PC Version of E-books to Read:

vrdam.com/eb/chenqingqing

陈庆庆官方网站 Chen Qingqing Oﬃcial Website:

http://chenqingqing.artron.net

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文化手术——庆庆装置

Cultural Operation——Qingqing's Installation Art

监

Produced by: Today Art Museum

制：今日美术馆

出品人：曾孜荣赵小平

Producer: Zeng Zirong Zhao Xiaoping

责任编辑：施琴王琳

Executive Editor: Shi Qin Wang Lin

装帧设计：赵妍

Designer: Zhao Yan

出版发行：中国今日美术馆出版社有限公司

Publisher: China Today Art Museum Publishing House Limited Company

地

址：香港九龙土瓜湾马头角道 118 号新宝工商中心第一期二楼 25 室

联系电话：00852-28681767

TTE: 00852-28681767

印

刷：北京图文天地制版印刷有限公司

Plate-making and Printed by: Beijing Topworld Color Printing & Plate Making Co.,LTD

开

本： 889×1194mm 1/12

Size: 889×1194mm 1/12

印

张：27

Printed Matters: 27

版

次：2013 年 10 月第 1 版

Publishing Date: Frist Edition in October, 2013

印

次：2013 年 10 月第 1 次印刷

Frist Published in October, 2013

书

号：ISBN 978-988-12068-3-1

Book number: ISBN 978-988-12068-3-1

定

价：360.00 元

Price: 360.00 RMB

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Address: Flat 25, 2/F., Phase 1, Newport Centre, 118 Ma Tau Kok Road, Tokwawan, Kowloon

All Copyright Reserved.

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文化手术 庆庆装置

文化手术庆庆装置