十一月 捌號
肆 [
日 ]
4. November issue 8
The Artist
本期藝術家
Zhongqi Geng 1982 年生於瀋陽，遼寧 2007 年畢業于北京師範大學，大連分院 2013 年畢業於威尼斯美術學院 ，雕塑專業 現生活於義大利。
展览 201 Mostra Atelier di scultura Accademia di belle 201 FIRST INTERNATIONAL STUDENT B concorso " CONOSCERE P mostra LEAVING ROOM a cu mostra collettiva Accademia di Belle Art 201 Concorso scultura recycle substa Mostra di Scultura ai Magazzini 3 , a cura di Giuseppe La Bru Collaborazione con Geomodem “ DINOSAURI IN CARNE E O mostra collettiva Accademia di Belle Arti 201 XVII concorso internazionale di scul Concorso internazionale di scult 200 Partecipazione alla mostra : L` altro corp
耿忠起 Born in 1982 in Shenyang, Liaoning, China 2007 graduated from Beijing Normal University, Dalian Branch 2013 graduated from the Academy of Fine Arts in Venice， Sculpture Now living in Italy.
Exhibition 013 e arte di venezia a cura di Giuseppe La Bruna 012 BIENNIAL DRAWING SOFIA 2012 PER RILEGGERE" a venezia ura di SAVERIO SIMI DE BURGIS ti di Venezia a cura di Giuseppe La Bruna. 011 ainable Exhibition città di M ilano una, Roberto Pozzobon, Gloria Vallese, Giuseppe D'Angelo OSSA” mostra nel Museo Civile di storia Naturale -Piacenza i di Venezia a cura di Giuseppe La Bruna. 010 ltura E. Mannucci, città di Arcevia. tura Vedere con mano a Trento. 009 po all'Accademia di Belle Arti di Venezia
通過長期思維定式的教育 , 我不能完全的去解析自己。 “當局者迷，旁觀者清”, 或許就是我近幾年在義大利 做雕塑的態度。我經常給自己定位於旁觀的局內人，把 旁觀到的事物用於局內，而又遠離當局，只想做好自己， 做好自己的作品，獨善其身兼善天下。
After being taken a long period education of thinking set, I am not able to analyze myself completely. The old saying ‘Lookers-on see more than players’ might summarizes my attitude of making sculptures these years in Italy. I am an insider who often positions me as an onlooker. I take the observed things to fulfill the inside, meanwhile keep away from it. I just want to perfect myself and my work. This is to maintain my own integrity and then to make perfect the whole world.
>>Untitled I
耿忠起
採訪記錄 INTERVIEW with Zhongqi Geng
肆：你一直堅持選擇用雕塑作為主要的創作媒介，你怎麼 理解雕塑？（比如與裝置藝術的區別） SI: You always use Sculpture as your main artistic form, how do you understand Sculpture? (For example, the differences between Sculpture and Installation art)
>>Untitled II
耿 : 首先選擇雕塑這個專業是在十年前 考學的時候。由於畫室的同學基本都 是選擇雕塑。我也隨大流。考學前是 沒有接觸過雕塑的。真正開始做雕塑 是在上大學之後。剛開始對於我來說 學習雕塑就是為了將來能夠有一個吃 飯的手藝。經過十年的學習和進一步 認識，雕塑成了我生活中不可缺的一 部分。對於我來說雕塑就是通過複雜 工藝和體力來完成美的一種媒介。雕 塑可以服務於裝置藝術。他們就是包 含於被包含的關係。 Geng: It can be traced back to ten years ago while I finished the drawing course and about to apply for art colleges. In that time, almost all the students who were training to get into the art college have chosen sculpture. I also followed the crowd. But we didn’t make any sculptures until enrolling into the art college. In the very beginning, the reason why I learnt Sculpture was for gaining the craft skills to earn a life in the future. After ten years studying and having more understanding of it, Sculpture becomes an indispensable part of my life. To me, Sculpture is a media that to accomplish beauty via complicated crafts and hard labour works. Sculpture can be served for Installation art. Their
>>Untitled III
肆：在你的作品中不斷出現自己的 形象，這是一種對自己的審視還是 在扮演一種角色？
SI: Your own image always appeared in your works, is this self-examination or playing a role?
耿 : 確實我做了不少自己的形象。 可以說是自戀的情節。也可以說是 為了更好的去瞭解人體解剖。因為 我不能滿手都是泥的狀態下去摸模 特。所以自己是最好的模特。
Geng: Indeed I made a number of ‘myself’. It could be explained for either narcissism or a better understanding of anatomy. I myself am the best model because I can’t always touch others using my full-of-clay hands.
>>Untitled IV
肆：在你的作品中，人物經常處於一種極限的 狀態，包括一種對身體的傷害，這種傷害與被 傷害的動機是什麼？ 耿：這樣的作品是處在特定的環境下所創作的， 是指那些在現實生活中所看到的，聽到的 , 感 受到的一些事物。举个例子，我有一件把眼睛、 嘴巴、耳朵縫合的、睜一隻眼閉一隻眼的作品， 其動機就是為了警醒自己在紛繁吵雜生活中要 寻找生存之道。 SI: In your works, the body are often posed in a limit states, including harm to the body. What’s the motive behind harming and being harmed? Geng: They are made under certain contexts that are, not to see/say/listen to things which do not conform to the rites. In other words, they are the things I see, listen and feel in real life. For example, the work, which contains sewed eyes, mouth and ears, with an eye opens and the other closed. The motive is to warning me the living philosophy in the chaos.
肆：談談你在國外的生活吧，與其他旅居國 外的藝術家不同的是你似乎在與老鄉保持距 離，這會不會使本來就很孤單的留學生活更 加孤單？ 耿：酒逢知己千杯少 , 話不投機半句多。因人 而異吧。對於跟老鄉保持距離一說是外界環 境和內心世界的一個轉變。不是我想轉變， 而是我被轉變，也就是在固定環境下的內心 轉變。只有不知道做什麼的人才感覺孤單。 SI: Could you please talk about your life abroad? It seems that you have reserved a distance with the other Chinese, might this make the solitude in abroad life much stronger? Geng: It is not my will to change, but I was changed. Because it is impossible to change the environment but my heart could be changed. Only the people who don’t know what to do would feel lonely.
>>Untitled V
>>Untitled VI
肆：國外的生活改變了你什麼？這種改 變是如何通過你的藝術作品表現出來 的？
SI: What changed you by living abroad? How it was expressed through your artworks?
耿：改變是一個潛移默化的過程。變與 不變都是相對而言的。比起國內的安逸 我更體會到國外生活的艱辛。我希望通 過作品中人物的一種極限的狀態。來表 現內心的掙扎與矛盾。
Geng: Change is a process that growing in the silence and shaping by the environment. It is a relatively speaking. Compare with the domestic comfort, I have tasted the hardness by living abroad. I want to express the struggle and the inner contradictions through the limit states in my works.
肆：你選擇的是一個旁觀者的身份，你的作品就是你觀察的結果。而你 的藝術陳述中提到“獨善其身兼善天下”，這是否表明你做藝術的最終 目的是作為一個參與者來“善天下”？ 耿：旁觀者的前提是局內人。這樣的旁觀者能更清楚看到問題所在。要 不然就是內行看門道，外行看熱鬧了。我喜歡旁觀別人的作品。來昇華 自己的作品。最終目的希望能作為一個參與者以善天下。
SI: You are being an onlooker, and your work is the result of your looking. In your statement, you mentioned that the old saying ‘to maintain your own integrity and then to make perfect the whole world’, does this show your aim of making art is to ‘make perfect the whole world’ as a participant?
Geng: I think to be part of it is a precondition for being an onlooker. As a result of which, the onlooker can be more precise to see where the problem is. Otherwise it will become ‘The insider knows the ropes, while the outsider just comes along for the ride’. I like watching others’ works to make my own works sublime. Yes, my will is to ‘perfect the world’ as being a participant.
>>Untitled VII
>>Untitled VIII
肆：你如何看待“觀察者”與“參與者”這兩 種身份的關係？ 耿：觀察著未必參與，參與者是必觀察。 SI: How do you see the relationship between ‘onlooker’ and ‘participant’? Geng: Onlookers may not be participating in, but the participants are observed.
（translated by Wendi Xie）
关于 > 肆 SI< 隶属 > 草乙載萬殊 <zoewanshu.net 之微杂志 介绍活动于欧洲的亚洲青年艺术家 About SI micro conceptual magazine, part of Zoe(zoewanshu.net) introducing young Asian artists who are based in Europe
編輯 / editor 孫 敏祺 謝 文蒂 鄭 田明
Minqi Sun [ 杂志整体设计 ] Wendi Xie [ 中英互译 ] Tianming Zheng [ 本期文本 ]
封面 / front cover <untitled V> sculpture Zhongqi Geng
聯繫 / contact www.zoewanshu.net zoe.wanshu@gmail.com
SI 4.November 2013 No.8
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