30 Years West
三十年河西


In terms of public presentations of the artistic practices of Chinese artists living and working in the UK, the 1996 exhibition Journeys West has been the biggest of its kind so far, also the only touring exhibition of this specific nature. It was first presented in the Chinese Arts Centre, Manchester, then in the gallery of University of Essex, and at First Site gallery, Colchester. Critics Hou Hanru and Kong Chang’an both participated, and together discussed the problem of cultural identity expressed in art in the postcolonial world. I submitted two installations, Encyclopedia-Art International (1994) a collection of 56 paintings and Ismatic (1995) composed with 100 prints of words with “isms”.

96年《西行(Journeys West)》展是迄今旅英中國藝術家最大的一次群展,也是唯一的一次巡回展,先後在曼切斯特華人藝術中心,艾塞克斯大學畫廊和克切斯特(Colchester)的第一場地畫廊(Firstsite)展出,邀請當時在法國的批評家候翰如,意大利的孔長安參加研討會,當時探討的問題是後殖民時代藝術家作品表現的文化身份。我為展覽提供了兩件裝置,由56幅油畫組成的《大百科全書-國際藝術》和用印了100個“主義”組成的《主義癖(Ismatic)》。

ART.ZIP Issue 11 Sep. 20144 copy

I started collaborating with Xi Jianjun in 1999. During the time of the Turner Prize, we jumped on Tracy Emin’s work My Bed. Our action was recorded and widely reported. One day before the performance, we contacted reporters of The Guardian and distributed our manifesto and press release. Immediately reporters called and asked for details. About midnight, we received another phone call, telling us that The Guardian newspaper had already posted the news and, as responsible as he was, the reporter already notified Tate Gallery of our upcoming action. It was a Sunday morning, there were many viewers in front of “My Bed” already. It was also surrounded by security guards with walkie-talkies. I pushed my way through, yelled “J!,” and jumped on the bed. I jumped and jumped, made a few Kung Fu moves, but Xi Jianjun had already been held down by one of the security guards. After a few minutes, the security guards started controlling the crowd and a number of policemen rushed in, while I was already on the floor. We were taken to Belgravia police station. After a couple of hours, we were notified that Emin and her gallery had decided not to sue us. We walked out and were surrounded by reporters, and the whole country heard the news the next day.

1999年,我和奚建軍開始合作,在特納獎展覽時,我們跳上了崔西·艾敏(Tracey Emin)的《床》。我們的行為得到了媒體的廣泛報道。跳床的前一天下午,我們和《衛報(Guardian)》記者取得了聯系,把跳床宣言和新聞稿傳真給《衛報》新聞臺,立即有記者打電話問,明天會有什麽行動,晚上12點突然又接到電話,《衛報》已刊登了消息,記者還表示,為了對工作負責他已將我們要跳床的消息通知了泰特美術館。

星期天中午,參觀特納獎的觀眾很多,艾敏作品前擠滿了人,《床》的四周已經站著幾個帶報話機的保安,我擠出人群,脫掉上衣,大喊了一聲“J”,一個箭步跳上了床。我在床上蹦蹦跳跳,擺了幾個功夫動作,嚇退了上來阻止我的保安,這時奚建軍已被一個粗壯的保安逮住。為延長時間,我開始撫摸現成品,拿起一個空酒瓶喝,幾分鐘後,保安開始驅逐人群,好幾個警察沖了進來,這時我被保安按倒在地上。我們被警察帶到貝爾格雷夫(Belgravia)警察局,幾個小時後,律師通知我們,說艾敏和艾敏的畫廊決定不予起訴。從警察局出來,我們被等候在門口的記者團團圍住,第二天“兩位藝術家跳床”的消息傳遍了全英國。

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