崔岫闻的工作室在北京北郊，她有两位非常职业的电脑助手，帮助她制作那些充满极度幻想的大型电脑绘画作品。工作室里放满了那些大小不同、长短不一的卷筒，卷筒上那些地址，说明了艺术家和外界交道的繁忙程度。我去工作室的目的，是为了拍摄艺术家和她工作环境的关系的照片，我选择了169的画面，成像的效果更像DV的画面，也就是更像一部记录片的截图。

　　崔岫闻像其他艺术家一样给了我一本她的画册，然而和其他人不一样的是，她给了我另外两本她写的书和把她编入其中的书，这是“女性艺术圈”系列丛书的《私密空间》和《镜子中的鸟》。《私密空间》的目录基本上可以了解到崔岫闻个人的“私密空间”，网络上可以随便搜索有关崔岫闻艺术活动的报道和评论，然而这本《私密空间》却更能了解到艺术家作品之后的人和事。这是不失真的有关艺术家本人的“八卦”。

　　书中有关于她本人创作的影像作品《洗手间》和《地铁》的随笔，艺术界和社会对崔岫闻的观众可能就是从《洗手间》这部六分钟的影像作品开始的，它引起了一些关于伦理方面的议论，但这些并不重要，重要的是就像独立记录片制作人吴文光所说的“镜子后面的眼睛”才是最值得关注的。

　　我们熟悉的崔岫闻的作品是影像和照片，但是最初引起骚动的是她的那套1996年创作的《玫瑰与水薄荷》系列，在此不去议论这套作品的性表现，而是这套作品可以看出崔岫闻有着表现主义艺术家所拥有的气质。以后，她虽然更换了媒介，但是那种富有诗意的超级少女幻想画面，既有残酷的青春，又有史诗般的宏伟格局。崔岫闻，不是她的画面多么迷人，而是她有着令人生畏的艺术家的气质。

　　Cui Xiuwen：Of Epics and Cruel Youth

　　Fang Zhengning

　　Cui Xiuwen’s studio is located at Feijiacun in the western suburbs of Beijing, where two assistants professionally trained in computers help her churn out large, highly imaginative computer images. Scrolls in various lengths and sizes filled her studio. The address on each scroll bears testament to the artist’s busy dealings with the outside world.I went to her studio,intending to capture on film how she relates to her working environment I chose the 16:9 format to film DV-effect images,so that it would look more like a documentary clip.

　　Like other artists,Cui Xiuwen gave me one of her albums.Yet unlike others,she also gave me two books penned by herself and another that contained a write-up on her.The books were from the “Female Artists”series entitled Private Space and The Bird in The Mirror.A glance at the index of the Private Space offers one a glimpse into Cui’s”private space”.While the internet is inundated with innumerous reports and commentaries on her art,it is this book that reveals her private life and provides fodder for “gossip” about the artist.

　　Private Space contains her writings on her video projects such as Lady’s (2000) and Underground(2002).However,it was her 6-minutes controversial video project Lady’s that first caught the attention of the arts fraternity and the society.It stirred up heated discussions on morality and ethics.But these are insignificant,what is more important are “the eyes behind the mirror”,as quoted from independent documentary producer Wu Wenguang’s words.This is what we should pay special attention to.

　　We are familiar with Cui Xiuwen’s photographic and video projects,but it was her “Rose and Waterrmint”series created in 1996 which sparked off a controversy.We shall not dwell further to comment on the sexual expositions of those works,but it was this series which demonstrated her artistic flair that is so typical of contemporary artists.She has since then turned to the video camera as her artistic medium of expression.Yet the poetic and mystical images of young girls that capture the cruelty of youth and epic-like grandeur remain.Cui Xiuwen’s images,while mesmerizing,are not what charmed the audience.It is her somewhat enigmatic stance that bedazzles and wows the crowd.

作者：方振宁