The Venice project looks excellent! Great idea, and very good choices of artists. Combinations of senses, beauty, and especially affect are very big in the art world at the moment. It is very close to the contemporary North American / French interest in "affect theory": the senses, their combinations, their feelings and moods.

　　James Elkins, E.C. Chadbourne Chair of art history, theory, and criticism at the School of the Art Institute of Chicago

　　威尼斯双年展方案好极了!想法高妙，艺术家的选择也很好。将感觉、美和尤其是情感感受结合起来，这在当今艺术界中是非常重大的事情。这个方案与当代北美和法国对“感受理论”的兴趣非常接近：各种感官，它们之间的联合，它们产生的情感和心绪。

　　詹姆斯•埃尔金斯，美国芝加哥艺术学院艺术史、艺术理论和艺术批评E.C. Chadbourne讲席教授

　　Fascinating prospectus for your pavilion, Peng Feng, and so appropriate for Venice, which, I believe, was one of the original sites of perfume production in the West. Given that the city, as home to Marco Polo, was also the prime gateway for Europeans in the importing of Chinese herbs, spices, and medicines, the topic you have chosen, beauty and flavor, seems especially well-conceived. Each of the selected artists puts forth fascinating ideas. I'm especially drawn to the "tea clouds" and "empty incense" installations, although "Snow Melting in Lotus" seems intriguing as well. Across the board, the art on display promises to mix Eastern and Western, traditional and modern, visual and non-visual, and sensual and conceptual modes of being in a provocative series of interchanges. I'm sure the work as a whole will provide a dazzling, even inspiring, set of aesthetic experiences for each visitor to the pavilion.

　　David Lubin, Charlotte C. Weber Professor of Contemporary Art at Wake Forest University

　　彭锋，你做了一个对中国馆迷人的说明，而且对威尼斯特别合适，我相信威尼斯是西方香水生产的原发地之一。作为马可波罗的故乡，威尼斯也是欧洲从中国进口香草、香料和药物的首要通道，你所选择的主题，美与味，构思十分巧妙。每个入选的艺术家提出的想法都十分迷人。尤其吸引我的是“浮云”和“空香”两个装置，虽然“融雪”也同样引人注目。所有作品加在一起进行展示，以一系列富有刺激的相互交换的方式，将东方与西方、传统与现代、视觉与非视觉、感觉与观念的存在形式混合起来。我相信作为一个整体，作品将给每一个参观中国馆的观众提供一种光彩夺目的、甚至振奋人心的审美经验。

　　大卫•鲁宾，美国维克森林大学当代艺术Charlotte C. Weber讲席教授，“美国艺术三百年”美方专家代表

　　Peng Feng, recently appointed curator of the Chinese pavilion at the upcoming Venice Biennale [June 4–Nov. 27], has come up with a highly unusual curatorial proposition, calculated to introduce international visitors to the elusive notion of "Chineseness." His "Pervasion of Chinese Flavors" exhibition will present five single-artist installations, each redolent of a scent associated with the country's cultural tradition. ("Flavor" and "fragrance" are designated by the same Chinese character.)

　　In one sense, his Venice scheme offers a strong cultural resonance, calling to mind the Five Elements (fire, earth, metal, water and wood) so often invoked in ancient Chinese philosophy. In another sense, the strategy addresses a very practical problem. The Chinese "pavilion," a dark industrial space behind the Arsenale, is lined with rusted vats once used for storing oil. Sometimes referred to as the Tank Farm, it retains the faint but insidious odor of petroleum, sometimes commingled with rancid emissions from Venice's summertime canals.

　　Peng's plan offers visual and olfactory ripostes to these galling conditions. On the lawn, artist Cai Zhisong will install cotton-covered helium-balloon "clouds" emitting the sound of wind chimes and the fragrance of tea. Inside, Liang Yuanwei, the only female participant, will hang multiple tubes dripping baijiu (a clear grain liquor with a long history of celebratory use in China) into a recycling container. Pan Gongkai, president of the Central Academy of Fine Arts in Beijing and chairman of the China Artists' Association, will line a corridor with enormous ink paintings of withered lotus plants. The English text of his essay "On the Border of Western Modern Art," which deals with the introduction of Western culture into China, will be projected on these walls in a manner reminiscent of snowflakes falling, accumulating briefly and melting. The corridor will be kept at a cool temperature and pervaded by the scent of lotus blossoms. Yang Maoyuan will create pots that bear traditional designs and medical prescriptions—all imbued with the scent of medicinal herbs and some available free to visitors. Yuan Gong will use a large humidifier, set on a two-hour cycle, to generate a recurrent incense fog.

　　Richard Vine, Senior Editor of Art in America

　　彭锋最近被任命为即将举行的威尼斯双年展中国馆的策展人，他提出了一个非常不同寻常的策划案，有意要给国际观众介绍难以捉摸的“中国性”概念。他的“弥漫中国味”的展览，将展出五位艺术家的装置作品，每件作品散发的气味都与这个国家的文化传统相关联。

　　从一方面来看，他的威尼斯方案提供了一个很强的文化回响，让我们想起五行(木火土金水)，这在中国古代哲学中常被用到。从另一方面来看，这种策略也很好地解决了一个实际问题。中国馆位于军械库最后一个黑暗的工业空间，里面有一排排生锈的曾经用来储油的大桶，有时候也被称作油库，它还残留较弱但诡怪的石油气味，有时候还混合威尼斯夏天水沟里发出的腐臭气味。

　　对于这些令人难堪的条件，彭锋的方案从视觉和嗅觉上给出了机敏的回应。在草地上，蔡志松将安置外面用棉花包好的充满氦气的气球“云”，它们能发出风铃的声音和茶的芳香。在油库里面，唯一的女性参与者梁远苇将悬挂许多软管，从中滴出白酒，然后让酒进入循环系统反复使用。中央美院院长潘公凯将用巨大的水墨残荷连成一道走廊，他的论文《论西方现代艺术的边界》的英文译文以一种类似雪花落下的方式被投射在墙上，并暂时在荷花上聚积，然后融化。走廊将保持凉爽的气温，并充满荷花香气。杨茂源将创作许多陶罐，其中一些可以免费赠送给观众。原弓用一套功率强大的加湿器，每两小时一次，循环制造充满香味的气雾。

　　理查德•维恩，《美国艺术》杂志资深编辑