1.尊敬的傅榆翔老师，您的作品不囿于雕塑，包括油画与诗歌，多方面发展并成果丰硕，同时您又是一位经历丰富的国际独立策展人。请问：不同的艺术形式与多样的艺术人生，对您的艺术创作有哪些影响呢？策展人身份对你又意味着什么？ 

傅榆翔：

其实，在成为雕塑和油画艺术家之前，我很早就开始了诗歌写作。之后从事造型艺术创作，从某种意义上说，是我诗歌创作的延伸，或者补充。

从我的雕塑和油画作品里，不难感受到一以贯之的诗意浪漫，而就浪漫而言，我比较偏于宏大而非秀美纤细，不是那种“一般离思两销魂”的情致，而更愿意表达史诗般的恢宏图景，生命与自然的交融，时间与起源的追问。

作为独立策展人，我先后参与及主导了许多大小不一的国际性展览。在这些不同的经历中，体会和感受更多的是作为艺术家如何去理解和配合好一场展览；策展人是桥梁，应该更有效的帮助艺术家实现其愿景的还可以完美达到主办方的预期。从价值层面上看，我认为，策展人首先应该是一位合格的社会活动家，一位心怀天下，并为之而竭尽所能的人。

总的说来，不同的艺术以及身份经验，的确使我的艺术理想更加立体和丰满起来，体验认知则更见深刻、形象和细致，从中我也发现了人生的更多可能性。

2.本次参展的《盲区》有什么特定的创作契机吗？这个系列作品的灵感来自哪里？

傅榆翔：

2018年收到了意大利文化中心主席温琴佐.桑弗先生的邀请，计划作一个全球性的系列“外星人”主题巡回展，首站就是美国航空航天局（National Aeronautics and Space Administration）。当时觉得这是一个非常好的创意和策划，于是就想为首展创作一件非常“酷”的作品。这种“酷”既可以成为流行文化传播的焦点同时也能震撼人心。“盲区”这件充满仪式感和图腾样式的作品，经过三天左右的思考成型了——八千万年前白垩纪时代的翼龙在虚空中飞动，两个外星人随之互动起舞。风马牛不相及的物种竟然相遇同框，意向魔幻和诗意，动态柔软而贴切，充满着升腾与赞许，仿佛是幻境中的刹那凝聚……这样一幕超现实的图像呈现在我们眼前，难免会诱发我们本能和集体无意识的追问：生命从何而来？死亡又将去到那里？过去和未来是否就是如梦如幻的当下现实？我借用了已被考证的物种翼龙与尚不被证实的外星人，来构筑一场独幕的史诗戏剧。我当即“莫名”地将之命题为“盲区”。一开始看见我创意小稿的朋友听到这个命名，都惊讶地觉得太妙了！

3.可以告诉我们，在您的艺术创作历程中，有哪些艺术家曾带给你很大的影响吗？或者说有哪些艺术家是您很欣赏的？

傅榆翔： 

2017年去到威尼斯参展第57届双年展时看到了身价超百亿的全球最富有的艺术家达明安·赫斯特（Damien Hirst）的上百件雕塑作品。深有感触：震撼人心的艺术作品必须要有资本保驾护航。艺术比拼的首先是想像力，其次是学识及财富的保障。相较而言，我并不会输在想象力上，也一直在储备和完善自己的学识修养，只是暂时还不具备如此那般雄厚财力的加持，但我坚信生命势能的拔升是会有那么一天的。

再有，英国艺术家安东尼·葛姆雷（Antony Gormley）是我比较欣赏的一位艺术家，22年前我在重庆看到了他最著名的雕塑装置作品《土地》，有非常好的构想又极其完美的呈现了出来。这件作品在中国只在北京、上海和重庆三个城市展出过。 

4.是什么驱动力让您坚持做艺术？

傅榆翔：

其实我还做过很多不同的工作，比如年轻时做过汽车修理工、贸易公司美工、插图画家、广告和装饰装修、平面设计和印刷、品牌策划、电视剧美工，在一家电影院画过五年的电影海报……其间我一直坚持阅读思考和写诗、札记与随笔，写书法，正是应验了某位日本作家说过的话，大意是当你干过无数的工作之后，仍然想要去做的那件事，才是你一生最值得去做的事。但于我而言，前面的历程也从来不意味着生命的浪费，正所谓曲径通幽、潜志、怀远，早期的曲折、磨砺当是一种势能的积蓄和品性锤炼之必须。

我在青年时曾读过德国作家赫尔曼．黑塞的小说《纳尔齐斯与歇尔德蒙》，讲中世纪的德国一例关于“成长的故事”——两个少年分别走向了不同的道路，而最终却又殊途同归地“交集”于心灵之归途。我们活在现实世界中的人类，心灵的成长和“理想选择”之所以至关重要，是因为理想本身就是我们生命的图景，像“命定中的格局”，选择了它，就照见了生命的真象。因此我最终明白——艺术才是我最该去做的那件事。是我本自具足的宿命。直到今天，我从事艺术，已经是实打实的三十七个年头了！

5.您是如何打破局限，快速找到自己的艺术语言的呢？

傅榆翔：

应该是涉猎广泛，爱好又庞杂所带给我的红利吧！我常常不愿意限定于一个模式去想问题，总是剑走偏锋，不按常理思考艺术创作，我想得最频繁的就是暗物质、反重力，最感兴趣的是逆向思维，对于玄幻、奇妙无比的神话、史诗、未来与科幻充满着神往，这些信息和能量源源不断的激发了我的思考和引导出无穷无尽的创作灵感。

6.在您多次的跨界合作中，有什么让您印象深刻的经历，可以具体讲讲合作的过程以及最后的呈现方式或效果吗？

傅榆翔： 

2015年我出任德国杜赛尔多夫当代艺术国际展览的策展人。事前订好的美术馆临时变卦，时间紧迫，通过德国的朋友在临近开展前17天才找到了一座二战时期的古堡作为展览场馆。我随即带着七位艺术家和五位工作团队成员过去对接布展……那是一次始料不及的忙乱和临危不惧的应对与承担！

还有一次是2021年，重庆两江新区幸福广场开幕庆典，我出任策展人对接联系到一宝马4S店为展览提供六台不同款的宝马汽车，供六位艺术家彩绘。而当一切就绪，宝马4S店却处于车身防护考虑提出不能用油画和丙烯颜料作画，只能用水彩或水粉颜料，由此引发的关键问题是此类颜料根本无法在车身防护膜上附着。于是我用丙烯颜料作了试验，不会渗透，而且干得很快。我当即向宝马4S店拍胸脯保证，绝无问题，如果有，我愿照价赔偿！有了这样的承诺，这次合作才顺利完成。

不放弃、不退缩，可能来自于我金牛座的执拗和勇于面对，这样的性格往往使得工作可以逆势而为，最终完美呈现。

2022.11.29

重 庆

A Joint Interview with Fu Yuxiang, an international cross-border artist by Yellow Box Art Museum and Himalayas Museum, 2022

1. Dear Mr. Fu Yuxiang, your works are not limited to sculpture, including oil painting and poetry, etc. You have developed in many aspects and achieved fruitful results. At the same time, you are an experienced international independent curator. I would like to ask: What influence do different art forms and diverse artistic life have on your art creation? What does it mean to you as a curator?

Fu Yuxiang:

In fact, I started writing poetry long before I became a sculpture and oil painting artist. Later on, I engaged in plastic art. In a sense, it was an extension or supplement of my poetry.

From my sculptures and oil paintings, it is not difficult to feel the consistent poetic romance. As far as romance is concerned, I prefer those more grand than beautiful and slender, a kind of epic and magnificent picture, the integration of life and nature, and the questioning of time and origin, not some of the emotional feelings of man and woman in love.

As an independent curator, I have participated in and led many international exhibitions of different scales. In these scenes, I have found more about how to understand and cooperate in an exhibition as an artist; the curator is a bridge, who should be more effective in helping the artists realize their visions and meet the expectations of the organizer perfectly as well. From the perspective of value, I believe that a curator should first be a qualified social activist, a person who has the world in mind and is willing to do his best for it.

In general, different art and identity experiences have indeed made my artistic ideals more true and full, and my cognition has become more profound, vivid, and detailed, of which I have also discovered more possibilities in life.

2. Is there any specific motivation for you to create the "Blind Spot" in this exhibition? Where did the inspiration for this series come from?

Fu Yuxiang:

In 2018, I received an invitation from Mr. Vincenzo Sanfo, Chairman of the Italian Cultural Center, to plan a global series of "Alien" themed tour exhibitions, with the first stop at the National Aeronautics and Space Administration. At that time, I thought it was a very good idea and planning, so I decided to create a very "cool" work for the first stop exhibition. The kind of "cool" may turn out to be the focus of the popular culture transmission but shock people's hearts as well. "Blind Spot" is a work full of ritual and totem style, it came into my mind after about three days of thinking - a pterosaur flying in the void of the Cretaceous era 80 million years ago, and two aliens interacted and danced accordingly. When species that are not related to each other meet in the same frame, the image is magical and poetic, with harmonious and touching dynamics and full of uplifting and praise, like a momentary condensation in a fantasy... When such a surreal picture is presented in front of our eyes, it will inevitably induce our instinctive and collective unconscious questioning: where does life come from? Where will death go? Are the past and the future alike the illusive present reality? I borrowed the proven species of pterosaurs and unproven aliens to construct a one-act epic drama. Immediately, I titled it "Blind Spot" inexplicably. Friends who had seen my draft at the first glance were surprised when they heard this title and thought it was so wonderful!

3. Can you share with us that, in your artistic creation, have any artists influenced you? Or in other ways, which artists do you appreciate?

Fu Yuxiang:

When I went to Venice to participate in the 57th Biennale in 2017, I saw hundreds of sculptures by Damien Hirst, the world's richest artist, and a billionaire. I was deeply shocked: a stunning work of art must be escorted by capital. In the competition of art, the first thing is imagination, and the second is the preparation for knowledge and wealth. Comparatively speaking, I will not lose in imagination, and I have been accumulating and updating my knowledge and accomplishment for a long, but I don’t have a strong financial blessing.  For the time being, still, I firmly believe that my life potential will be promoted one day.

The British artist Antony Gormley is another one I respect. I once saw his most famous sculpture installation "Asian Field" in Chongqing 22 years ago. There had a very good concept and had been presented perfectly and extremely. This work has only been shown in China in three cities, Beijing, Shanghai, and Chongqing.

4. What inspires you to keep making art?

Fu Yuxiang:

In fact, I have done many different jobs before, such as a technician in a car repair shop when I was young, a graphic artist in a trading company, and an illustrator, and there was a time I worked for advertising and decoration, making graphic design and printing, brand marketing, and TV dramas as well, and in five years I had been drawing posters for a cinema... During that period, I kept on reading, thinking, writing poems, taking notes and writing essays, and practicing calligraphy…… those experiences are exactly like what a Japanese writer said that after you have done countless jobs and you still want to go for it, then it is something worth the most for you to do in life. For me, nothing in my previous journey means a waste of life. As the saying goes, the winding path leads to beautiful scenery, and only with ambitions you can have expectations, the hardship one experiences is a must before one goes higher and it is a kind of tempering and polishing of one’s character too.

When I was young, I read a novel written by German writer Hermann Karl Hesse, Narziß und Goldmund, which told me a "story of growth" in medieval Germany - two teenagers went along with different life routes, but in the end, they "intersected" in their hearts. For us who live in this real world, the growth of the soul and “the choice of the ideal" are very important, because the ideal itself is a  picture of our lives, like a "destined image", and when the selection of the choice is made, the truth of life will be seen accordingly. Therefore, I understand completely that art is what I should pursue the most. It is my destiny. Until today, I have been engaged in art for thirty-seven years.

5. How did you break through the limitations and quickly find your artistic language?

Fu Yuxiang:

It should be a reward to me for covering a wide range of interests and hobbies. Often, I don’t want to limit myself to one model to think about the issues. I always take a slanted angle and create something beyond the ordinary. What I think about the most frequently are Dark Matter and Anti-gravity. What I’m interested in is reverse thinking. I am fascinated with mysterious and wonderful myths, epics, the future, and science fiction. This information and energy continuously stimulate me and lead to endless creative inspiration.

6. In your many times of cross-border cooperations, is there anything that impressed you? Can you talk about the process of cooperation and the way the final presentation or effect goes?

Fu Yuxiang:

In 2015, I worked as the curator of the International Exhibition of Contemporary Art in Dusseldorf, Germany. The art museum canceled my reservation unexpectedly, and the time was tight then. Through a friend in Germany, I found an old castle from World War II as a substitute exhibition venue 17 days before the opening. Without hesitation, I made my way there with seven artists and five working team members to arrange the exhibition... it was a sudden rush, but a fearless response and commitment anyway.

Another time was in 2021, at an opening ceremony at the Liangjiang Happy Plaza, Chongqing. As a curator, I had contacted a BMW 4S shop to provide six different models of BMW cars for the exhibition to be painted by six artists. But when everything was ready, the BMW 4S shop warned that oil paint and acrylic paint could not be used for painting but watercolor or gouache paint only, as they had a consideration of car body protection. I made an experiment with acrylic paint, which wouldn't bleed through and dry fast and at first moment I assured the BMW 4S shop that there would be no problem. If not, I would compensate them according to the selling prices.  With this commitment, the cooperation was carried on and completed successfully.

Not giving up and not retreating back may be the typical stubbornness and courage of a man of Taurus like me. This character often helps me to make those that may go against turn back, and finally be presented perfectly.

Chongqing

2022.11.29

英文翻译：赵 宏／新加坡国立美术馆