如何看待您的作品《空束》与侨福芳草地形成的独特关系？

What do you think about the unique relationship between your work “Empty Beam” and Parkview Green FangCaoDi?

在侨福芳草地这个作品的创作结构可能非常复杂。你可以理解作品是将空间转换为一个背景化的创作方法，在作品与空间的关系上形成了一个反转，艺术作品占据或者干预室内负空间的一种创作方法。作品在色彩、形态、24小时与自然信息之间的交互状态等方面都有比较丰富的变化，这是架上艺术无法体现的一种综合结果，同时作品与公众信息产生的交互的关系中也被多次次折叠而显现出更多元的一种立体关系。

The creative structure of this work in Parkview Green Fangcaodi is very complicated. You can imagine the surrounding space functioning as the artwork’s background. This is a reversal in terms of creative concept: indeed, the artwork occupies or even interferes with the space around it. In terms of form and color it is very rich, it is a 24 hours interactive work, subject to many changes. It is very difficult to achieve this visual effect with an artwork on easel. Moreover, the audience can establish a multi-layer and interactive relationship with this kind of experimental works.

比如说空间，作品用一个最轻的方式链接了十楼的美术馆和地下的商业广场。从大众的角度来讲，能够在进入侨福芳草地的主入口处，看到空间底部端点的违背室内色调的一个比较刺激的色彩。同时它又非常虚幻轻盈，几乎是可以被虚化掉的一个作品，作品强调了不可收藏性。当然这又讲到另外一个艺术品流通的问题了，或者是为什么做艺术。背后的这些系统问题，是更多元的话题。

As far as the interaction with the surrounding space is concerned, we can say that it has been chosen a very light method to connect this work with the 10th floor of The Parkview Museum and with the lower ground commercial area. The public, entering from the main entrance, can see all the space until the end: the artwork breaks away with the chromatic homogeneity of the rest of the indoor space. At the same time the work is also very light, it feels as if it is about to fade away and cannot be kept together. This encourage us to think about other issues related to art and its function. Beside this, there are many other matters.

我在创作过程中采集了很多的能量，在侨福芳草地作品的创作方法和实践过程里，打开了一个新的创作思考的窗口。从此之后，现场创作与个人化创作的思考的融合越来越紧密，且一发不可收拾。在多年后的现在，我认为这件作品的成立是一个注定的偶然。

A lot of energy was also gathered to create the work of Parkview Green Fangcaodi. It helped us opening a window for new creative ideas which have been constantly developed since then. When I think about it now, I think it was really a lucky chance. 

作品是用丝线包裹了一束光，丝线的排列从形态来讲，相当于那束光的外壳。但是因为丝线自身排列就很稀疏、比较通透，在把虚化的光转换为一个实体的同时，它自身也被整个空间虚化了，所以在概念与视觉感受上形成了是一个连环概念。

In my creation, a beam of light is wrapped in a silk thread, so in the creative process the silk thread metaphorically represents the shell of the beam of light. However, because of the fact that the silk threads are not compact, the light goes through, making the space inside the silk threads blurred, while becoming itself a sort of wrapping ring.

网络助手采集了一些信息，丝线作品在网络的不完全统计转发量，大概有八千多万次，这也许是最真实的可以表达作品与公众之间彼此关注的大数据。我个人认为艺术概念的大数据，实际上是各个阶层的社会信息。在艺术创作时会通过这个特定的信息处理器采集信息，形成我们创作的一些数据依据。包括丝线的倾斜角度，包括作品的落点和起点等许多细节问题，实际上背后都有一个比较复杂的工作与信息处理的结构。

My assistant helped me collecting some information: the amount of silk threads used in the work is about 80 million: this calculation is not even that accurate, but this is normal as I don’t work with big data. Generally speaking, big data encompass all social information at any level. In the creative process, the information are collected to create data about the work: the inclination of the silk threads, their starting and landings points are all important information but the structure is much more complex.

侨福芳草地这件《空束》作品，彻底改变了人们观看作品的方式。当设置他的体量和点位时，坚持的原则是：尽量避免作品被到场人群用最完整、最美的方式去记录作品，同时强化了观众直接在现场才能感觉到的最全面的感受，达成侨福芳草地现场人群流量的增加。

And this work has completely been changed the way people look at artworks in general. When we allocate the space to display it, we made principle decisions so as it would have been very difficult to record the work in a very nice way. When you try to record it, the perspective is too big and the vision line might be obstructed by the presence of the surrounding structures or by people.

作品的空间跨度非常大，观看感受方面不断地被室内已有的建筑构件如廊桥、立面结构、电梯结构所切割或阻挡，作品很难被找到单独存在的状态，这样就脱离了所有艺术作品要单独成立的形态。大家可以明显的感受到，侨福芳草地所有的作品，在被相机记录时都可以框在一个相对完美的构图里，都有各自完整的构图，和空间环境各方面，会有一个比较完整的关系。而这件作品，是需要消费人群介入真实场景后和作品及空间共同构建成一个最朴实又最冲突的场所。在廊桥上移动的人，以及商业空间里面各种原有的建筑结构，都和作品之间发生了矛盾且共存的状态。

The artwork displays also a multi-dimensional character. The visual continuity of the work indoor is often interrupted by elements inside the shopping mall like the bridge, elevators and other architectural structures. It is difficult to conceive this work as an individual piece of art: we can say that it breaks away from the traditional way of presenting artworks as independent entities. Other works in Parkview Green Fangcaodi can be easily photographed within a defined visual frame: they display a unitary structure that interacts with the surrounding environment. However, in the case of my work, when the customers walk into the shopping mall, a strong visual impact and collision is achieved between the work itself and the surrounding environment. People walking on the bridge as well as the architectural structure of the surrounding commercial space create a sort of visual clash and interference with the artwork.

这一切恰恰是我所追求的冲突关系，因为作品在公共空间里，我认为艺术不仅只应该强调自身，而是要强调他和更多元的，各种存在的事物之间的关联。

However, it is exactly the representation of this complicated relationship that we are trying to achieve: a work in a public space doesn’t just exist for itself, but it has to take into account different aspects and elements of the surrounding environment.

如何看待艺术与商业的结合？

What do you think about the combination of art and business?

艺术和商业永远也不可能是一个问题，在本质上完全不同。只是在社会发展的状态中商业和艺术在文化消费与审美消费中会形成粘连和交点。艺术是一个不确定的快乐或痛苦。而商业截然不同，商业自身是满足供需关系链条中最灵动的能量，提供和满足社会基本需求，尤其是偏物质化的需求，或者是围绕物质需求边缘的需求。

Art and business belong to two different categories: they are substantially very different. It is just with the social development and with the emergence of a cultural and aesthetic consumerism that art and business start having some points of intersection. Art could be a source of joy or a source of sorrow. Business plays a crucial role within the chain of consumeristic satisfaction of needs in society. Business is aimed at satisfying material needs and needs beyond the material realm. 

现在大家看到的是商业和社会进步到了一定程度之后，在初级阶段商业感知到了艺术可以超越很多资本能够达到的边界所产生的效益，是商业在借助或者主动向艺术靠拢的一个过程，而不是艺术在向商业靠拢的过程。真正的艺术，可能跟任何问题都没有非常直接的关联。

It is now clear to everybody that, within the progress and the evolution in business and society, in the initial phase art can transcend the boundary set by capital. In this process, business relies on art or actively approaches art, rather than the opposite. Real art is not related directly with other issues; real art has not much to do with business.

因为艺术不会对抗资本，也不对抗权利，艺术更不确定，永远在一个动态状态下，主动决定是否进入或者逃离社会。艺术是最自由的一个行动，因为艺术有权利选择不做，也可以选择最策略的亲近。

Art doesn’t challenge the capital or the power. Art is uncertain and characterized by a sort of fluidity: art can be detached from society or engage directly with it. Art is the freest industry, it can decide not to have anything to do with society or to get close to it.

从当代艺术上来讲，当代艺术在近些年有一种反智的方法，就是通过靠拢任何的已有的社会资源去采集能量来放大自身。它更像一个游戏，也像春秋战国时候的捭阖纵横，很复杂的一种交织形态。

Contemporary art in the past year has been characterized by a counter-system approach: it consisted in gathering energy to enlarge itself relying on social resources. It is more like a game: it resembles the complex socio-political structure during the period of Spring and Autumn and Warring States.

商业艺术是一个单独的门类。要谈艺术的话，它永远不会跟任何的能量离得太近，因为它一直是介乎于哲学和巫术之间的一个非常自由的思考或者行动的方法。

I think that commercial art and real art belong to two different categories. Talking about art, we can say that it is not so different from other disciplines: art belongs to a free space between philosophy and witchcraft, characterized by a very liberal way of thinking and acting.