High Life

28 品 作品被分布于艺博馆三层展区，展 示面积达1,350平方米，完整再现了 徐冰作品的视觉冲击。 徐冰的作品尽管庞杂，但始终贯 穿着一条内线，即都在试图探索人类 和人类文明之间的关系。他坦言自己 喜欢做现有的人类知识概念范畴内还 没有的东西，并认为艺术家的责任就 是要通过自己的创作，制作出一些超 出常人思维范畴和知识概念范畴的东 西，再交给理论家或学者分析判断， 挖掘出新的概念。 在其此次短暂的澳门之行中， 《品》数次直接对话徐冰，希望从本 刊视角为读者展现这位艺术家的真知 灼见。 Born in 1955 in China, Xu is now a professor at the Central Academy of Fine Arts, Beijing (CAFA), advising PhD students. He currently lives and works in both Beijing and New York. Solo exhibitions of his work have been held at the Museum of Modern Art and the Metropolitan Museum of Art in New York, The Louvre Museum in Paris, the British Museumand theVictoria andAlbert Museum amongst many other major institutions. Additionally, Xu has been invited to show his work at each of the 45th, 51st and 56th 徐冰谈文字 “我对文字的理解，首先，我使用的 其实都是文字的外壳部分。文字的实 质是它的工具部分，就像点心是用来 吃的，但文字的外壳，就像是点心的 包装盒，我倒觉得这个包装盒具有文 化含义。我的这些跟文字有关的作品 都是在包装盒上下功夫。 “我之所以觉得文字的外包装重 要，是因为中国的文字实在是太特殊 了，中国人或者中国文化的性格，深 挖下去都和文字的性格有关。 “比如中文的阅读和英文的阅 读不同。英文的阅读是线性的，而 中文的阅读是立体的，因为每一个汉 Venice Biennales and the Biennale of Sydney to name a few. Over the last 30 years, Xu’s creative careerhas been interspersed with hybridism and multiplicity, and marked by an intense dedication to his studies and creativity revolving around language, which turns out to be the medium and subject matter of his artworks. The exhibition Language & the Art of Xu Bing at the Macao Museum of Art brings together 30 of Xu’s significant works, along with other works of less intense scale, associated rough sketches and informative details, presenting a comprehensive train of thought about his language- themed original works. Among the exhibits are works rarely on display. Covering an area of 1,350 square meters on three floors of the museum, the exhibition brings great visual impact. Viewers can take a close look at the important works of Xu as well as the logic and approach to language transformation through sketches and drafts. During Xu’s short trip to Macau, High Life spoke with him several times and learned much about this great artist’s profound insights. 字，本身就是一个故事——比如汉字 ‘寒’，上面宀就是房子，中间的几 横是人，旁边几撇是草，底下两点是 冰。几千年的这种阅读，影响了我们 思维的立体性和丰富性。 “我的这些作品虽然有着对于文 字的戏弄和调侃，但也其实带有很深 的对文字的敬畏。我们这一代人身上 经历了文革，缺失了教育，加上我自 己的父母又都在北大这么一种知识分 子成堆的关系中，所以我和文字之间 有这么一种很别扭的关系。 “文字通常是通过传意、表达、 沟通起作用，我的‘文字’却是通过 不沟通、误导、混淆起作用。我总 说, 我的‘文字’不是好用的字形档，