我一直认为艺术家需要有一种好的创作态度。我说的态度是指所关心的问题，以及对社会应该承担的义务，这也是我们通常说的艺术的功能。

　　2008年9月陪杰罗姆·桑斯看我在长征空间的个展“X—后视盲区”，他给了我一些很好的建议，例如布展意图的思想性和怎样更好地强化作品。我觉得他说的一句话很重要，他说：“艺术家的每一次个展都应该是一次双年展。”对这句话我的理解是——作品无论形式感还是内容，都要达到一定的强度，把个人最强大的部分激发出来，将已有的元素充实整合。杰罗姆·桑斯喜欢展览中的蓝色作品，问我是否可以考虑做一个有关蓝色的展览。我曾经画过一些蓝色的作品，这些蓝色的作品是出现在国际政治系列中的。

　　那么做蓝色作品展览等于是化零为整，把以前的蓝色作品作一次归纳。强调蓝色本身的含义，这样就必须找到与蓝色互为联系的题材。最初做了几个方案，觉得在展览结构上不顺畅，方向不清晰。

　　2009年年底去澳大利亚参加亚太当代艺术三年展，把方案带去和卢杰讨论，仍然没有结果和明确的方向。将要离开澳大利亚时，在新闻中看到了哥本哈根的气候峰会，觉得这是与蓝色有关的国际话题，气候问题可以与蓝色互为联系。

　　“蓝屋”是展览的名字，也是展厅的环境，容纳了众生在自然界所面临的困境。在工作中我时常把这些人物看成风景，不是某一个人，而是自然界一个渺小的局部。幻想着在展厅中的感受，我希望自己被它震撼，在蓝色的包围中希望作品像海洋一样的神秘、涌动、沉浮，画面质感像蓝丝绒一样的平滑。

　　蓝色象征什么?对这个展览而言，蓝色是一种深邃而有强度的忧郁。

　　I have always felt that an artist should have a positive creative attitude. I'm referring to an attitude of concern and a sense of social responsibility, the sort of thing we talk about as a basic function of art.

　　In September of 2008, when I took Jérôme Sans to see X–Blind Spot, my exhibition at the Long March Space, he gave me some good suggestions about how to strengthen and better present my work. He also said something I considered very important: "An artist should treat every solo exhibition like it was a biennal." I understood this to mean that every work of art should achieve a certain level of intensity, whether in terms of form or content; that every work of art should stimulate the most powerful aspects of oneself, and more fully integrate the elements that already exist. Jérôme really liked the blue paintings I did for the Long March show, and asked if I would consider creating an exhibition focused on the color blue. I had done some paintings in blue before, as part of a series about international politics.

　　This way of putting together an exhibition meant I had to make scattered elements cohesive somehow, and find a way of summing up my previous works in blue. In order to fully explore all of the possibilities and implications of blue, it was necessary to find a theme connected with that color. In the beginning, I came up with a few different plans, but none of them really meshed with the concept of the exhibition or offered any clear direction.

　　In late 2009, when I went to Australia to participate in the 6th Asia-Pacific Triennal in Brisbane, I brought along my exhibition plans to discuss with Lu Jie [of the Long March Project], but I still didn't manage to come up with any clear direction or results. Then, just before leaving Australia, I read the news about the Copenhagen climate change conference. It seemed like a timely international topic, and there were certainly a lot of ways to link climate change with the color blue.

　　Blue Room is more than just the title of this exhibition. It also describes the atmosphere within the exhibition hall, and encompasses the plight of all living things in nature. When I'm working, I often think of people as part of natural scenery or landscapes: not discrete individuals, but tiny parts of a larger ecosystem. In imagining this exhibition, I hope it will convey a sense of shock. Being surrounded by all that blue is like being in the middle of an ocean-a mysterious, surging, drifting sea of canvases, their surfaces as smooth as blue velvet.

　　What does blue symbolize? In this exhibition, you could say that blue is the profoundest, most intense form of melancholy.

作者：杨少斌