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“
悬丝(睾提肌)是一个生理结构;它是能够控制睾丸的举升与收缩的肌肉。在作品中它表达了根据规则发展的思想。整个系列都在叙述着一种从无差异到有差异状态的变化与发展过程。至于它的产生，首先让我们回到"描绘约束"系列。
——马修·巴尼
在那个系列里，我一直在试图建立一种阻止绘画行为，或使绘画在受约束的情况下形成一个系统。系统开始于有性区别的地方，称作"位置"，这里控制运动的主动与被动的先天构造，可称为"条件"，最后"生产"就是是通过两个出口的连接输出，形成一个循环系统。
©Matthew Barney – Cremaster Cycle
In that series, I have been trying to establish a way to prevent the act of painting, or to make the painting form a system under constraints. The system starts where there is a sexual difference, called a "position", where the active and passive innate structures that control movement can be called "conditions", and finally "production" is the output through the connection of two outlets to form a circulatory system.
©Matthew Barney – from his Cremaster Cycle 1
At my sister's wedding, the partner I grew up with, a doctor, sat next to me, and I talked to him about my idea of a "system," and he said it was best to look at the testicles. Let the story play out in a sexual system where the suspension seems to control everything, but it's not...
“悬丝”的英文单词“Cremaster”其实是借用了来自生物解剖学上术语，指的是男性的提睾肌，是腹内斜肌下部的一些细散的肌纤维，包绕着精索和睾丸，它是能够根据环境温度变化，在阴囊中控制睾丸提举或收缩的肌肉，但并不受意志支配。提睾肌的这种特性其实已经表明了作品与《绘画约束》系列的内在关联。
©Matthew Barney – Cremaster Cycle
"Suspension wire" of the English word of "Cremaster" is borrowed from the biological anatomy terms, refers to the male Cremaster muscle, is a some fine powder at the bottom of the internal oblique muscle fibers, encircled the spermatic cord and testicles, it is able to according to the environmental temperature change, control testes in the scrotum lifting or contraction of muscles, but it is not subject to the will. In fact, this characteristic of the levator testis muscle has shown the inner relationship between the works and the series of painting constraints.
©Matthew Barney – Cremaster Cycle
马修·巴尼部分作品
MATTHEW BARNEY
【 惠书文｜艺评 】朱峰 · 20年代：雕于气，塑之以息的“数字装置”
策展手记｜惠书文：由观念到“物质”的超验知觉，遇见黄鹿——合与生
作者：中国当代艺术
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