【编者按：2022年10月25日，阿尔巴尼亚文化部召开新闻发布会，宣布该国第一届 "公共空间艺术 "国际竞赛的7个获奖项目名单。中国艺术家刘若望作品《狼来了》成为该竞赛获奖项目之一，并计划落地于该竞赛的2号项目地块——著名旅游景区科普里库Koplik入口。本次国际竞赛评委由国际评审团和委员会共同组成，他们负责对全球参赛艺术家作品进行分类和评估，并向文化部递交最终的评审名单。

2023年6月，刘若望受邀访问阿尔巴尼亚。阿文化部部长埃娃·玛格丽特女士召开会议接待刘若望一行，并表达了对刘若望艺术创作及其创办的渡渡美术馆的赞赏，强调艺术在友好国家合作中的重要性。2024年2月，刘若望作品《狼来了》在阿尔巴尼亚科普里库Koplik安装完成。以下为阿尔巴尼亚国家媒体记者Albert Vataj先生对刘若望的访谈。】

刘若望携“狼来了”登陆阿尔巴尼亚

捍卫自然免受毁灭性破坏

文 / Albert Vataj（阿尔巴尼亚）

当一片森林被砍伐，一条河流被改道，生物多样性在生存的斗争中展现出自然的全部力量，相信自己能够应对这些灾难性的挑战。但事实并非如此，它被创造出来是为了服务于人类，它谦卑地向人们寻求帮助，常常通过灾难的反叛来表达。而除了那些被毁灭、被金钱和利润的渴望所诱惑的人之外，还有一种创造性的精神在这场末日之夜中苏醒，并通过艺术、美、以及内心深处以太的呼唤，伸出双手，将他的作品作为一种神圣的奉献。他就是刘若望，一个在中国改革开放后成长起来的年轻艺术家，自2005年以来一直是中国当代艺术界的耀眼之星，通过雕塑作品、装置和展览，他已成为一位影响力日益增强的国际知名艺术家。

在大高地，这片充满传统、文化和历史的土地上，通过思想和观念的艺术，刘若望的寓言艺术，经过北京和上海，创意在新加坡、首尔（韩国）、皇后镇（新西兰）、在意大利的威尼斯双年展2015、都灵大学、那不勒斯市政广场、佛罗伦萨的皮蒂广场和圣母领报广场、纽约（美国）的军械库展览、坎佩尔（法国）、石勒苏益格-荷尔斯泰因（德国），他现在在科普利克，大高地（阿尔巴尼亚）。高地因此成为这位伟大中国艺术家版图上的一个里程碑，也成为他艺术上接近世界的一部分。

无论公众将如何倾向于接受这种表达方式的艺术，“狼来了”不仅仅是它传达的信息，为自然保护的特权，也是艺术家的名声，这已经足以标志着大高地声称属于当代文明的要求。正是这件艺术作品，这位艺术家，这个机会，将使我们有可能与现代艺术、与伟大艺术家的世界精神的体验性参与成为可能。

为了更清晰地展现这一事件，将高地置于这位创新艺术家创作活动背景中，一次对话使得认识到共同的目标和寻求在艺术理性和启发性思考的光芒中得到澄清的世界观成为可能。

您是阿尔巴尼亚文化部宣布的 "公共空间艺术 "国际竞赛获奖者之一。对于一位享誉国际的中国艺术家来说，第一感受是什么？

刘：我非常荣幸我的作品在阿尔巴尼亚的一个国际竞赛中获奖。这是值得高兴的事情，因为中国和阿尔巴尼亚过去有着非常好的友谊。在中国，像那些出生在六十年代或五十年代的人，或者在阿尔巴尼亚这个年龄段的人，都知道这段历史。我认为通过艺术进一步连接中国和阿尔巴尼亚之间的友谊非常重要。

刘若望，这位 "敢于 "以《狼来了》亮相阿尔巴尼亚公共空间的艺术家是谁？

我是刘若望，一个在中国黄土高原长大的艺术家。我从2006年开始从事这项工作，2009年和2010年在北京的许多地方展出，包括中国最著名的艺术区798，然后在新西兰，111件作品的完整套装在皇后镇永久安装。在意大利，由乌菲齐美术馆策展，该套装在佛罗伦萨的皮蒂广场和圣母领报广场展出。它已在欧洲的许多地方展出，如丹麦的旧皇宫、德国北部的艺术区、瑞士雕塑三年展、威尼斯双年展和都灵大学。

您是否想过，您的作品摆放在 Koplik、Malësi e Madhe 的入口处，会遭到公众舆论的反驳和排斥？

当这个作品摆到阿尔巴尼亚的公共空间，公众舆论会有反驳和排斥，我觉得是有可能的。但是我觉得不会是一个非常大的反对，因为这个作品在其他地方，像德国、法国、意大利、新西兰很多地方展出，是很受大家欢迎的。所以我认为在阿尔巴尼亚也应该是没有问题的。

您知道狼在阿尔巴尼亚的名声不好。在大众的解释中，它们的嚎叫不是好兆头，会让人联想到邪恶，预示着破坏。您的艺术是要打破这种魔咒，还是仅仅为濒临灭绝的大自然带来一丝希望？

其实不只是阿尔巴尼亚，狼在中国，在全世界传统文化里的形象都应该是差不多的。但是我觉得我们过去对狼有一种误解，因为狼还有其他很重要的精神，它的团队协作、团结互助的能力。这个可能是我们过去没有关注到的。那么作为大自然界中的任何一个生物，其实不应该人为的给它划分出这个是好的，那个是坏的。我觉得大自然中的每一个生物都是很重要的，都是我们应该关注的。

科普利克市长 托宁·马里纳伊与作品《狼来了》

如果出现以实用和美学逻辑为主导的辩论，您会如何为您的作品辩护？因为在目前的这种情况下，带有寓言信息的概念艺术一般都没有找到合适的理由来被理解和欢迎？

我的作品是我在每个阶段的生活经验的表达。我所经历和感受到的，我去以我的作品的形式表达和记录我的状态。事实上，这个世界上的每个人都差不多。你真实的情感表达也会引起别人的共鸣。因为人们的情感和生活条件能够产生共鸣。

我的作品仍然非常受欢迎，因为它们也很容易被理解。我在欧洲做了十多次展览，在八九年的时间里，我每年都在欧洲举办重要的展览，所以我认为它仍然被大家非常好地理解和欢迎。

除了对保护自然的反映和你用作品传达的感性之外，它们还给大家带来了什么？”哭泣的狼"，或者仅仅是这样吗？

除了表达自然保护和我的作品传达的感情之外，我的作品更重要的是表达我是一个人。对我来说，能够在这个世界和环境中表达我真实的感受是非常重要的，并且我可以表达我的感受。

您的艺术主要以狼和天空守护者为代表，在您以前展示过您的艺术的地方，是否存在过误解或排斥，如果有，您是如何面对您的艺术价值并保护这些价值的？

当我的作品在中国展出时，确实有一些误解和拒绝，但实际上并不是很强烈。每当我在公共空间展出时，人们都会非常喜欢它，特别是年轻人和孩子们会更喜欢它。在欧洲的展览受到了非常好的接待和非常受欢迎。我根据我自己的创作方式表达自己，我不在乎别人怎么想。

您认为，在舆论尚未准备好接受传统艺术以外的艺术的情况下，让创作者参与这样的辩论是否有必要，如果有必要，您认为在多大程度上对普通人无法完全理解的作品进行辩论是合乎逻辑的？

我认为普通公众不理解这项工作或对其有不同的解释是正常的。因为艺术作品本来就是为了激发人们的想象力，激发人们的联想，激发人们的创造力。所以它不只有一种解释，它只是一种呈现在那里的形式，然后让人们有更多的想象力，更多的联想，这会更有趣。它将始终与人们创造新的关系，也就是说，你看到他，你想到了什么，或者你想说什么，我认为这更重要。

阿尔巴尼亚与中国的关系，特别是阿尔巴尼亚人与中国人的关系，从您的角度来看是怎样的？

阿尔巴尼亚和中国的关系是历史悠久的，它是一个非常友好的关系。我也去了阿尔巴尼亚，我觉得阿尔巴尼亚人的性格和中国人的性格、一些生活习惯和表达的方式、充满热情和友好是非常相似的。所以，我觉得我们做的这个项目也特别重要。我也希望阿尔巴尼亚的艺术家能够有大的作品能够进入到中国，这样我们两国的友谊就会更加坚固，更加长久。

您是阿尔巴尼亚-意大利著名雕塑家阿尔弗雷德-米拉希-米洛特的朋友，他也是 "公共空间艺术 "竞赛的获奖者，作为朋友和艺术家，您如何评价米洛特？

米洛特是我的朋友，同时也是国际上非常好的艺术家。他在意大利那不勒斯做了很大的“钥匙”项目，同时他也在中国山东美术馆做了很大的项目。我们也正在帮助他推进项目，因为他的“钥匙”有非常好的寓意，希望人世间有一把钥匙能够把疾病、人与人之间的误解、人的心结都能打开。这是一个非常美好的愿望。他是一个非常优秀的艺术家，我们期待他的作品能够在中国落地。

您对阿尔巴尼亚的印象如何？如果与贵国人民有共通之处，是什么？

阿尔巴尼亚我去了，印象非常好。我总共待了四五天，基本上把重要的城市和乡村都走了一下，会见了阿尔巴尼亚文化部长和各个市的市长。我觉得阿尔巴尼亚人民非常淳朴、善良、热情，政府非常务实。我跟文化部长交流时，她也在关心着这个项目，同时希望这个公共艺术项目能够给当地带来投资，真正吸引人们关注这个城市，然后给老百姓带来福利。所以我觉得这是一个非常务实的政府。

阿尔巴尼亚和中国民间的交流和民众之间的友谊，可能是未来发展更大的一个空间。因为我们有非常相相似的性格，非常相似的处事方式。我觉得两个国家未来的友谊一定会走得更远、更长久。

如果未来几年阿尔巴尼亚文化部再次宣布举办 "公共空间艺术 “国际竞赛，您会再次参赛吗？

如果未来几年，阿尔巴尼亚文化政府文化部再举办这个公共艺术竞赛，我一定会参加，一定会拿出更好的方案参与。同时我也在努力促进阿尔巴尼亚和中国的文化艺术交流展，促进阿尔巴尼亚的艺术家参与到中国的公共艺术项目里边来。

你与马莱西马德市长托尼·马里纳伊以及该市政府工作人员的初次会面给你留下了什么印象?在他的接待中，你是否感受到了你所听说和读到过的那种伟大的慷慨精神和独特的山地男子气概?

我与阿尔巴尼亚的市长会面,包括文化部长和美术学院院长，沟通非常好，结果也非常好。特别是市长，他提出了一些关于城市未来的想法,希望艺术可以推动城市的经济发展，然后让全世界的人都关注这座城市，我认为这是一个非常好的想法。他的这个想法在某种程度上与我对艺术的理解有很多共同之处。因为我们在中国也用艺术来带动农村，把艺术放在一个偏远的村庄，会吸引世界各地的人来到那里，包括乌拉圭大使和微软副总裁阿兰·克罗齐埃先生，他们都从北京赶来参观我们的村庄。所以市长先生的想法非常好,我们希望能进一步跟进，使其能够得到进一步的发展。

现在作品已经确定,所有构成其实现的组成部分都已完成。你对与Inceptio工作室以及参与广场建设、完成其他最终确定你在这次艺术冒险中创意提交的元素的建筑师Indrit Hamit的合作有何看法?

现在这件作品已经落地了。虽然我没有去现场，但我看到了拍摄的视频以及**先生在Facebook上发布的图片和视频。我认为结果非常令人满意，可以进一步使这件作品在世界上产生更大的影响力。它将使这个地方因为艺术而更加充满活力。

报道原文：

Liu Ruowang in Albania with "Wolves Coming"

in defense of nature from annihilating destruction

By Albert Vataj

When a forest is cut down and a river is diverted, biodiversity in a tendency to survive, resisting the changes, reveals nature in all its power, believing that it alone will be able to cope with these cataclysmic approaches. But no, he was created to serve people and he humbly asks for help from them, often through the rebellion of catastrophes. And, apart from those who are fascinated by destruction, seduced by the thirst for money and profit, it is a creative spirit that awakens in the night of this Armageddon, and through art, through beauty, through the voice of the ether of the inner calls of a will of light , extends his hands offering his work as a sacred offering. He is, Liu Ruowang, a young artist who grew up after China's Reform and Opening, a shining star in Chinese contemporary art circles since 2005, who with sculpture artworks, installations and exhibitions, he has become an influential artist with an ever-increasing international recognition.

A bold arrival in the Great Highlands, in the land of traditions, cultural and historical, is that through the art of idea and thought, allegorical art, of Liu Ruowang, who after Beijing and Shanghai, the creative encounter in Singapore, Seoul (Korea), Queenstoën (New Zealand), in Italy at the Venice Biennale 2015, the University of Turin, in the Municipal Square of Naples, in Pitti Square and Santissima Annunziata Square in Florence, in the Armory Show in New York (USA), Campell (France) , Schleswig-Holstein (Germany), he is in Koplik, Great Highlands (Albania). The highlands thus become a milestone on the map of the possessions of this great Chinese artist, and part of the world to which he approached you artistically.

Regardless of how the public will be inclined to embrace this expressive way of art, "Wolves Coming" is a privilege, not only for the message it conveys, for the protection of nature, but also for the fame of the artist, which is already worth marks the claims of the Great Highlands to belong to contemporary civilization. It is this work of art, it is this artist, it is this opportunity that will make possible our alignment with modern art, the experiential involvement with the great world spirit of a great artist.

In order to create a clearer panorama of this event that puts the Highlands in the background of the creative activity of this innovative artist, a conversation makes it possible to recognize the goals that come together and the worldviews that seek to be clarified in the light of artistic reason and inspiring thought.

You are one of the winners of the international competition "Art in Public Space"announced by the Albanian Ministry of Culture. What are the first feelings for an internationally acclaimed Chinese artist?

I feel very honored that my work has won an award in an international competition in Albania. This is something to be happy about, because China and Albania had a very good friendship in the past. People of a certain age in China, like those who were born in the sixth or fifth decade, or those who are of this age in Albania, all know this history. I think it is very important that we are now further connecting the friendship between China and Albania through art.

Who is Liu Ruowang, the artist who "dared"to appear in Albanian public space with "The Wolf Comes"?

I am Liu Ruowang, an artist who grew up on the Loess Plateau of China. I started working on this work in 2006, and in 2009 and 2010 it was exhibited in many places in Beijing, including 798, the most famous art district in China, and then in New Zealand, the complete set of 111 pieces was permanently installed in Queenstown, New Zealand. In Italy, curated by the Uffizi Gallery, the set was shown in Piazza Pitti and Piazza della Annunciation in Florence. It has been exhibited in many places in Europe, such as the Old Royal Palace in Denmark, the Art District of Northern Germany, the Swiss Sculpture Triennale, the Venice Biennale, and the University of Turin.

Have you ever thought that your work placed at the entrance of Koplik, Malësi e Madhe would be refuted and rejected by public opinion?

When this work is placed in the public space of Albania, I think it is possible that there will be a rebuttal and rejection of public opinion. But I don't think it will be a very big rejection, because this work has been exhibited in other places, like Germany, France, Italy, New Zealand and many other places, and it is very popular. So I think there should be no problem in Albania as well.

You know that wolves have a bad reputation in Albania. In popular interpretation, their howling is not a good omen, conjuring up images of evil and heralding destruction. Does your art seek to break this spell, or simply bring a glimmer of hope to an endangered nature?

In fact, not only in Albania, the image of the wolf in China, but also in traditional cultures all over the world should be more or less the same. But I think we have a misunderstanding of the wolf in the past, because the wolf has other very important spirits, its ability of teamwork and solidarity. This may be something we have not paid attention to in the past. Then as any creature in nature, it should not be artificially classified as this is good and that is bad. I think every creature in nature is important and something we should pay attention to.

How would you defend your work in the event of a debate dominated by pragmatic and aesthetic logic? Because in this current situation, conceptual art with allegorical messages has generally not found the right reasons to be understood and welcomed?

My works are an expression of my life experience at every stage. What I have experienced and felt, I go to express and record my state in the form of my works. In fact, everyone in this world is pretty much the same. Your true emotional expression will also resonate with others. Because people's emotions and living conditions are capable of generating empathy.

My works are still very popular because they are also easily understood. I have done more than ten exhibitions in Europe in a short period of eight or nine years, and I have had important exhibitions in Europe every year, so I think it is still very well understood and welcomed by everyone.

What do they bring to the table besides a reflection on the preservation of nature and the sensibility you convey with your work?" crying wolf,"or is that all there is to it?

In addition to expressing the protection of nature and the feelings conveyed by my works, my works are more importantly expressing that I am a human being. It is very important for me to express what I really feel in this world and environment, and I can express what I feel.

Your art is mainly represented by wolves and sky guardians, has there been any misunderstanding or rejection where you have shown your art before, and if so, how have you confronted the values of your art and protected them?

There have been some misunderstandings and rejections when my works were exhibited in China, but actually they were not very strong. Whenever I exhibited in public space, people would like it very much, especially young people and children would like it more. The exhibitions in Europe have been very well received and very popular. I express myself according to my own way of creation, and I don't care what others think about it.

Do you think it is necessary to engage creators in such a debate when public opinion is not yet ready to accept art outside of the traditional arts, and if so, to what extent do you think it is logical to debate works that are not fully comprehensible to the average person?

I think it's normal for the general public to not understand this work or to interpret it differently. Because art works are supposed to stimulate people's imagination, stimulate people's association, stimulate people's creativity. So it doesn't have only one interpretation, it's just a form that is presented there, and then let people have more imagination, more associations, and it will be more interesting. It will always create a new relationship with people, that is, you see him, what you think of, or what you want to say, I think this is more important.

What is the relationship between Albania and China, especially between Albanians and Chinese, from your point of view?

The relationship between Albania and China has a long history and it is a very friendly one. I have also been to Albania, and I think that the character of Albanians is very similar to that of Chinese people, some of their living habits and ways of expression, full of enthusiasm and friendliness. Therefore, I think this project we are doing is also particularly important. I also hope that Albanian artists can have big works to enter China, so that the friendship between our two countries will be stronger and longer.

You are a friend of the famous Albanian-Italian sculptor Alfred Milahi Milot, winner of the competition "Art in Public Space", how do you assess Milot as a friend and artist?

Milot is a friend of mine and a very good artist internationally. He has done a great project called "The Key" in Naples, Italy, and he has also done a great project in the Shandong Museum of Art in China. We are also helping him to promote the project, because his "key" has a very good symbolism, hoping that there is a key in the world that can open up diseases, misunderstandings between people, and knots in people's hearts. It is a very good wish. He is a very good artist and we are looking forward to seeing his work in China.

What is your impression of Albania? What, if anything, do you have in common with your people?

I went to Albania and had a very favourable impression. I stayed there for four or five days, basically travelled to all the important cities and villages, and met with the Albanian Minister of Culture and the mayors of various cities. I found the Albanian people very simple, kind and warm, and the government very pragmatic. When I talked to the Minister of Culture, she was also concerned about this project and hoped that this public art project could bring investment to the local area and really attract people's attention to the city, and then bring benefits to the people. So I think this is a very pragmatic government.

Albanian-Chinese people-to-people exchanges and friendships could be an even bigger area of development in the future. Because we have very similar personalities, very similar ways of doing things. I think the friendship between the two countries will go farther and longer in the future.

If in the coming years the Ministry of Culture of Albania announces again an international competition "Art in Public Space", will you participate again?

If in the next few years, the Ministry of Culture of the Albanian Cultural Government holds this public art competition again, I will definitely take part in it and will definitely come up with a better programme to participate in it. At the same time, I am also trying to promote cultural and artistic exchange exhibitions between Albania and China, and to promote the participation of Albanian artists in public art projects in China.

What impressions do you have from the introductory meeting you had with the Mayor, Malěsiae Madhe, Toni Marinaj and the staff of this municipality. Did you find in his reception that great spirit of generosity and characteristic mountain manliness, of which you have heard and read?

I met with the mayor of Albania, including the Minister of Culture and the Director of the Academy of Fine Arts, and the communication was very good, and the result was also very good. Especially the mayor, he put forward some ideas for the future of the city, hoping that art can drive the economic development of the city and then make people from all over the world pay attention to the city, which I think is a very good idea.This idea of his has a lot in common with my understanding of art to a certain extent. Because we also use art to drive the countryside in China, putting art in a remote village will attract people from all over the world to come there, including the ambassador of Uruguay and the vice president of Microsoft, Mr Alain Crozier, who all travelled from Beijing to see our village. So Mr Mayor's idea is a very good one, and we hope to follow it up further so that it can be further developed.

Now that the work has been decided and everything that constitutes the totality of the components of its realization has been completed, what is your opinion about the cooperation with Inceptio Studio and the architect, Indrit Hamit, who has been involved in the construction of the square and the completion of other elements that finalize your creative submission in this artistic venture?

Now this work has landed. Although I wasn't there, I saw the video that was taken and the pictures and videos on Facebook by Mr Prime Minister. I think the result is very satisfactory and can further come to make this work more influential in the world. It will make this place more vibrant due to art.

转自：渡渡美术馆