不锈钢板、玻璃、单片机、白炽灯、树脂打印，150x80x45cmx7，2025

Crafted from stainless steel panels, glass, microcontroller units, incandescent bulbs, and resin 3D-printed components. Dimensions: 150 cm (H) × 80 cm (W) × 45 cm (D) × 7 units. 2025.

作品位于苏州市十全街百年名校振华中学（振华女中）与苏州大学之间的路口，七盏灯泡照亮七本“无字书”，灯泡以莫斯电码的方式闪烁，闪烁的内容均来自于十全街居民与游客关于“真理”的看法。

The installation (First Flicker of Light) is sited at the junction of the century-old Zhenhua Middle School (Zhenhua Girls' School) on Shiquan Street and Suzhou University in Suzhou, Zhejiang, China. Seven "wordless books" rest beneath individual incandescent bulbs, each pulsing in precise Morse code. These coded flickers convey reflections on "truth" gathered from local residents and passers-by.

行为艺术，影像、声音和文件。其中影像作品长度为5分钟，单屏幕彩色有声，可变尺寸；声音文件约40分钟；文件部分可变尺寸。

Performance art involving video, sound, and documentation. The video work is 5 minutes long, single-channel, color, with sound, and of variable dimensions; the audio file is approximately 40 minutes long; the documentation is of variable dimensions.

艺术家将一本关于地铁故事的同名小说《假如你在地铁遇到我》里面所有的“人”全部扣除。观众可以从候车椅上自由拿走这本书在乘坐地铁时阅读。这些被去除的人会被重新编写成一首又一首的诗歌。

The artist has removed all instances of "people" from the novel If You Meet Me on the Subway, which tells stories about life on the subway. Visitors can freely take a copy of the book from a waiting bench and read it while riding the subway. The removed "people" have been reinterpreted and transformed into a series of poems.

土壤、白炽灯、单片机、木质抽屉

木质抽屉尺寸为50x40x15cm，摄影尺寸为120x80cm，影像为可变尺寸，灯泡为95W白炽灯，2024

Marble fragments, incandescent lamps, sound-absorbing devices, and voice-activated units, Variable size, 2024Soil, Incandescent Bulb, Microcontroller, Controller, Wooden Drawer, 2024

抽屉里的土壤上放置一个白炽灯泡，灯泡一直在闪烁，土壤里的水分缓慢的在展厅里蒸发，水土在灯泡的喃喃细语中慢慢分离。

灯泡里闪烁的是摩斯电码，来源于《寂静的春天》里摘选的一句话：“当春天变得寂静，我们才明白，那失去的不仅是鸟鸣和花香，更是我们内心的宁静与和谐”。

An incandescent bulb rests on the soil within a flat wooden drawer, flickering like a lonely, murmuring voice. As it flickers, moisture from the soil slowly evaporates into the exhibition space, creating a subtle separation between water and earth in a whispered monologue. The bulb's flickering encodes a message in Morse code, referencing a line from Silent Spring: "When spring falls silent, we realize that what we have lost is not just birdsong and fragrance, but also the inner peace and harmony within ourselves.”

《寂寞的春天》是美国小说家雷切尔·卡逊的环保读物，也曾被刘慈欣的科幻小说《三体》引用，讨论人类对于未来生态环境的担忧。

”Silent Spring“ is an environmental book written by American novelist Rachel Carson, which has also been quoted in Liu Cixin's science fiction novel "The Three-Body Problem" to discuss humanity's concerns about the future ecological environment.

霓虹灯、角铁、变压器、木条，150x240cmx7，2023

LED neon, Angle iron, transformer, wood strip, 150x240cmx7, 2023

艺术家通过与村民交流，获知他们的名字以及带来的生活上的影响，然后通过人工智能的算法将他们的名字编成独有诗句，再把诗句转换成霓虹灯，安置在稻田里。霓虹灯和稻田交相呼应，季节的变化也会给作品带来不同的情景感受。

象征着消费主义的LED霓虹灯、角铁，象征着现代工业文明的稻草人造型，冷白色的灯光出现在大自然和土地之间，出现了一个反差，而这个反差就是艺术家所追寻的内心最柔软的那一部分。所谓的荒原，并不只是指我们土地的荒凉，而是我们的内心，在这个冷峻的时代，我们需要更关注人本身，去抵抗消费和工业时代的社会变迁所带来的温度的缺失。

Through interactions with villagers, the artist learns their names and the impact on their lives. Using artificial intelligence algorithms, these names are woven into unique poetic verses, which are then transformed into neon lights and placed in the fields. The neon lights harmonize with the rice paddies, and the changing seasons bring different emotional experiences to the artwork.

The LED neon lights and angle irons symbolize consumerism, while the scarecrow figures represent modern industrial civilization. The cold white light creates a stark contrast between nature and the land, embodying the artist's pursuit of the softest part of the heart. The term "wasteland" not only refers to the barrenness of our land, but also to our inner selves. In this austere era, we need to pay more attention to human nature itself, without letting the lack of warmth caused by the social changes of the consumer and industrial age.

综合媒介，尺寸可变，2023

Mixed media, Variable size, 2023

在这场“掰手腕”的游戏中，赢家共享作品版权，落败者必须用上海话朗诵一首诗歌。

In this "arm-wrestling" game, the winner will share the copyright of the work, while the loser must recite a poem in Shanghainese.

树脂材料打印，植物，泥土，尺寸可变，2023

Resin print, plant, soil, variable size, 2023

将世界上爆发过革命的七个广场上的小石子收集过来，放大成石头并在展厅里围合成一个“独立广场”。七个监视器里飘扬着七种颜色的旗帜，耳机里播放这七个国家的语言对广场的描述。作品中这些石头的图像数据通过互联网和社交媒体，在网友的协助下得以收集。它们虽然来自真实的广场，但最终呈现在展厅里的是数字模型物，它们与电脑绘制的旗帜、人工AI的声音共同构建的是一个“算法世界”里的“广场”。

Collect pebbles from seven revolutionary squares around the world, enlarge them into stones, and form an "Independence Square" in the exhibition hall. Flags in seven colors fluttered from seven monitors, and headphones played descriptions of the square in the languages of the seven countries. Images of the stones were collected via the Internet and social media with the help of users. Although they come from the real square, the final objects presented in the exhibition hall are digital models. Together with the flags drawn by the computer and the sounds of artificial AI, they create a "square" in an "algorithmic world".

这七个广场分别是：光州市政厅广场、巴黎协和广场、基辅独立广场、泰国暹罗广场、墨西哥宪法广场、开罗解放广场、马德里太阳门广场。

The seven squares are: City Hall Square in Gwangju, Place de La Concorde in Paris, Independence Square in Kiev, Siam Square in Thailand, Syntagma Square in Mexico, Tahrir Square in Cairo, and Puerta del SUNS Square in Madrid.

纸质明信片复制品、视频，明信片尺寸为10x14cm，42张；视频时长1分钟、彩色无声、尺寸可变，2021

Paper postcard replicas and videos, postcard size is 10x14cm, 42 pieces; Video length 1 minute, color silent, variable size, 2021

方钢，玻璃，木板，平板电视和音箱，337x320x320cmx17，2021

Square Steel, Glass, Wood, flat screen TV and Speakers, 337x320x320cmx17, 2021

无酸纸输出、木框、纸质圣经、木质展台 木框为29.7x21cmx20 纸质圣经为29.7x21cm 展台高度为120x35x35cm 2016

Printed on paper, wooden frame, paper Bible, wooden booth, wooden frame 29.7x21cmx20, paper Bible 29.7x21cm, booth height 120x35x35cm, 2016

将一本圣经中所有的文字用黑色水笔全部涂抹掉，只剩下20个字。这些遗落在书中的字连成一首小诗：“无论我活着，还是我死去，我都是一只，快乐的牛虻。”

Blot out all but 20 words of a Bible with a black marker. The lost words form a poem: "Whether I live or die, I am a happy gadfly."

玩玩的作品总是经由超越现实而与现实联系在一起的，而且也总是通过揭示生活中的缺憾而完成对于生活的关怀。在他最新的作品：《一首小诗》里，他将一整本圣经用墨水涂掉，只留下二十个字，这二十个字隔着许多页串成了小说《牛虻》里的一首诗:’“不管我活着，还是我死去，我都是一只，快乐的牛虻”。小说中的主角，写下这首小诗的亚瑟，是被自己的生父也是天天捧着圣经的大主教蒙坦里尼判处了死刑。

玩玩其实有好几件作品涉及到他对于革命的想象，从中可以感觉出他对于自己所身处的文化环境的思索与反省。这“一首小诗”中描述的牛虻，或许就是他对于自己的期许。

——隋建国

His works are all associated with reality by being beyond the reality, and care for actual life by revealing regrets in life. In his latest creation entitled A Poem, he inked out all the words in a Bible but leaving a total of twenty Chinese characters in different pages which constituted a poem in The Gadfly. The English version of this poem is “Then am I a happy fly, if I live or if I die.” Arthur, the leading figure in the novel, who wrote this poem, was sentenced to death by his natural father Bishop Montanelli who was always carrying around a bible.

Actually, Wanwan has displayed his imagination about revolution in several works, reflecting his contemplation of the cultural environment he is in. The gadfly described in A Poem may indicate his expectations of himself.

——Sui Jianguo

展览中的石玩玩的作品《一首小诗》是“将一本圣经中所有文字用黑色水笔全部涂抹掉，只剩下20个字。这些遗落在书中的字连成一篇小诗：‘无论我活着，还是我死去，我都是一只，快乐的牛虻。’” 这首“小诗”出自爱尔兰女作家艾捷尔•丽莲•伏尼契创作的长篇小说。该书讲述了意大利革命党人亚瑟•博尔顿（牛虻）通过积极的投入革命并为之献出了生命的一生的故事。其中的一个情节是主人公得知自己信仰的神父竟然是自己的亲生父亲，由此放弃了对基督教的信仰。作品实际上是从两个维度对《圣经》的意义进行了消解，首先是对《圣经》的涂抹，其二是通过另外一本书的介入导致了《圣经》意义的坍塌。

——辛子 《看的是“书”，也不是“书”——“有框的都是书，没框的不是书”展分析》

Shi Wanwan's "A Short Poem" in the exhibition is a book of 20 words in a Bible that have been blotted out with a black marker. The words left in the book form a short poem: 'Whether I live or die, I am a happy gadfly. '" This "short poem" comes from a novel by Irish writer Ethel Lillian Voynich. The book tells the story of Arthur Bolton (gadfly), an Italian revolutionary, who devoted his life to the revolution. In one episode, the hero renounces his Christian faith after learning that the priest he believes in is his own father. In fact, the work dissolves the meaning of the Bible from two dimensions: first, it obliterates the Bible; second, it leads to the collapse of the meaning of the Bible through the intervention of another book.

-- Xin Zi, "What You See is A Book, But Not a Book" -- "All Framed Books are Books, But Unframed Books are not Books" exhibition Analysis

综合媒介，现场行为，2017-

Mix media, InteractiveArts , 2017-

邀请观众将湖南常德城市改造废墟上的小野花都画出来，并在展览现场卖掉。用这些钱购买桃花树，再种在观众所生活的城市里。

Visitors are invited to draw small wild flowers on the ruins of urban reconstruction in Changde, Hunan province, and sell them on the exhibition site. Use the money to buy peach trees and plant them in the cities where the viewers live.

湖南常德是中国古代诗人陶渊明的故里，也是他在《桃花源记》里描述的理想家园的所在地。

Changde is the hometown of Tao Yuanming, an ancient Chinese poet. It is also the location of the ideal home he described in The Peach Blossom Spring.

石玩玩的《桃花树计划》透过城市中的桃花树作为经验关照的引题，式图以工作坊参与成员“卖画种树”产生艺术、经济与环境的转换。——陈晞（台湾艺评家）

Shi Wanwan's "Peach Blossom Project" takes the peach blossom trees in the city as the empirical reference, and uses the participants of the workshop to "sell paintings and plant trees" to generate the transformation of art, economy and environment. -- Chen Xi, Taiwan Art Critic

收藏家 单屏幕影像，约30分钟，尺寸可变，2020

The Collector Single screen video, Approx. 30 min, Size variable, 2020

为与友人，澳门市民、渔村居民、古董商、文博专家讨论澳门的鸦片膏罐的故事。

I discuss stories of Macao's opium ointment jars with friends, Macao residents, fishing villagers, antique dealers, and cultural experts.

澳门条约 装置，陶制鸦片膏罐，整体尺寸可变，文件50x70cm，2020

Treaty of Macau Installation, Ceramic opium ointment jar, Overall size variable, Document 50x70cm, 2020

将这些鸦片膏罐在展厅里呈现，展完这些鸦片膏罐将还给澳门友人。

至今在澳门沿海地区或者沙滩上可以捡到这些鸦片膏罐。鸦片战争时期澳门为远东最大的鸦片中转站，友人告诉我这些都是清代末年南海上的鸦片运输船的遗留物，沉在海底后，被百年潮汐、海浪冲回海岸。 

与友人签订一则《澳门条约》，约定在展览期间向友人借所有他收藏的鸦片膏罐，并在展厅里将这些鸦片膏罐摆放成1842年（南京条约签订时间）清国地图的輪廓，展览结束后这些鸦片膏罐将如数返还。

These opium ointment jars are displayed in the exhibition room. Afterwards, they will be returned to the Macao friend.

1. Today opium ointment jars like these still can be found in coastal areas or on beaches of Macao. During the Opium War, Macao was the largest opium trading port in the Far East. The friend told me that these were remnants of opium ships on the South China Sea in the late Qing dynasty. The jars had sunk to the bottom of the sea, and were brought back to the shore by waves after more than a century.

2. A "Treaty of Macau" was signed with a local friend, in which agreed to place the opium jars as the outline of Qing Dynasty's map in 1842 (when "Treaty of Nanking" was signed) in the exhibiting area. All of them will be returned upon completion of the exhibition.

1842年清国地图轮廓 单屏幕影像，約20分钟，尺寸可变，2020

Outline of Qing Dynasty's Map in 1842 Single screen video, Approx. 20 min, Size variable, 2020

一群澳门年轻人，在南中国海的沙滩上画出1842年（南京条约签订时间）清国地图的輪廓，任由海水冲刷。

A group of young people from Macau, drawing the outline of Qing Dynasty's map in 1842 (when "Treaty of Nanking" was signed) on the beach, for seawater’s wash/rinse.

部分图片由牛房仓库提供，摄影李佩禎

Some images courtesy of Ox Warehouse, Photo by Puicheng Lei

布面丙烯、塑料瓶、海水 、文本、霓虹灯等，布面丙烯尺寸为30x30cm、霓虹灯长度为120cm、其他尺寸均为可变，2020

Acrylic on canvas, Plastic bottle and seawater, Text, Neon lights, Acrylic on canvas 30x30cm, Neon lights 120cm, Text dimensions variable, 2020

2014年的冬天，好友从爱琴海边给我带回一瓶来自爱琴海的海水。我用这些海水画了一朵花。

In the winter of 2014, my good friend brought me a bottle of seawater from the Aegean Sea. I used it to draw a flower.

灯泡、单片机、电线 、白铁皮、胶合板等，尺寸为30x40x6cmx7，2020

lamp bulb, single-chip microprocessor, cable, galvanized iron sheet, plywood, ctc. 30x40x6cmx7, 2020

《街角物语》又名TIN LOVE（白铁皮的爱情），将当地收集来的7个中年人初恋的秘密，转换成莫斯电码，通过白炽灯泡在街口巷角闪烁出来。

The Story at the Corner is also called as the Tin Love. It covers the first love secrets of 7 middle-aged persons collected into the specific Morse codes. And then, the incandescent lamp flickers by referring to the Morse codes at the corner.

青砖、录像、PLA树脂打印 ，墙尺寸为72x145x10cm，录像时长14分钟、可变尺寸，2020

Blue brick, video art, PLA resin printing, Wall size of 72x145x10cm, Video film length of 14 minutes, Variable size, 2020

凤飞翱翔兮，四海求凰。无奈佳人兮，不在东墙。 ——《琴歌·有美人兮》，佚名，汉

See up and down the phoenix fly, Seeking his mate low and high. Alas! the lady fair, Can’t be found at the east wall. ——Phoenix Seeking His Mate, Unknown, Han Dynasty

2020年春天，将苏州太湖边一堵青砖墙寄到了2000公里以外的西北甘肃省石节子村。

In the spring of 2020, I sent a blue brick wall by Taihu Lake in Suzhou to Shijiazi Village in northwest Gansu Province, 2,000 kilometers away.

《东墙》获得2020年第八届五粮液明天雕塑奖提名

The East Wall is a finalist for the eighth Tomorrow Sculpture Award in 2020

纸本、耳机 ，尺寸可变，2020

Paper, earphone, Dimensions variable，2020

邀请30个留守儿童家庭，请小孩子画出头顶的月亮，再邀请远在另一个城市的父母，用声音描述他们头上的月亮，将绘画与声音同步展出。

Invited 30 families of left-behind children to draw the moon overhead. led their parents in another city to describe the moon over their heads, and display paintings and sounds simultaneously.

石玩玩（1981年生，江苏南通）曾称自己的作品是“不以生产图像为目的的行动艺术和公共艺术”，他经常通过对不同社群的干预以介入话语权、社会经济关系和文化记忆等议题。在本次展览中，石玩玩首次呈现了他的新作品《月光》（2020）。为了这件作品，石玩玩寻找到三十个所谓的“留守儿童”家庭，邀请他们提供两件东西协助完成作品：艺术家请留守儿童画一幅月亮的图画，再请留守儿童家长录制一段或者描述观看自己孩子所画的月亮，或是对此项目进行回应的音频。艺术家将图画和音频以排列有序、自成一体的30件艺术作品呈现给观众。自身即是留守家庭长大石玩玩曾说，这件作品引发了他的极度共鸣。艺术家通过将个体自理性受经济条件限制，连其下一代也因此受到影响的普通人的创作突显在观众面前，激发观众对限于自愿和不得不为之两难困境之下的人的主体性进行反思。——赖胜柏（UCCA研究部主任 策展人）

Shi Wanwan (b. 1982, Jiangsu province) has previously described his work as “action art and public art without the aim of producing images,” often staging interventions within different communities to engage issues of discursive power, socioeconomic relations, and cultural memory. For “A Call to Attention,” Shi Wanwan presents his new work The Moonlight (2020) for the first time. For this piece, Shi sought out the families of thirty so-called “left-behind children,” children whose parents have sought work in other cities, often leaving behind their children behind to be raised by their grandparents or other relatives. He then invited them to contribute two components to the artwork: he asked the child to draw a picture of the moon, and the parents to record an audio message describing the moon and responding to the project. The two elements are then presented together in an ordered array of thirty self-contained aesthetic displays. A left-behind child himself, Shi has noted that the artwork has a very personal resonance for him. By foregrounding the creative contributions of others whose personal agency is constrained by economic circumstance, as well as the generational ripples this creates, Shi asks the viewer to consider questions of subjectivity within situations that are paradoxically both voluntary and implicitly coerced.——Patrick Rhine（UCCA Director of Research，Curator）

黑胡桃木、玻璃灯泡、树脂、墙纸、单片机、控制器、电线 ，30x30x17cmx7，2020

Black walnut, glass bulb, resin, wallpaper, SCM, controller, wire, 30x30x17cmx7，2020

七个灯泡，将7个老人的秘密，通过摩斯电码在空中闪烁出来。

Seven lights, seven old man's secret, through Morse code flashing out in the air.

空间装置为770x310cmx246cm，录像为8分钟，单屏幕双声道可变尺寸，2019

Action art, Spatial installation, 770x310cmx246cm, Video art Color single-screen dual-channel , 8minutes, Variable，2019

2019年10月，在苏州西北街上的居民那里收集了40个秘密，将这些秘密转换成莫斯电码信号，通过灯光闪烁出来。这些秘密一直闪烁在西北街的天空中。

In October 2019, residents in Xibei Street Suzhou collected 40 secrets, converted them into Morse code signals and flashed them through lights.These secrets shine in the sky of Xibei Street.

本项目受2019年苏州国际设计周委托创作，并获得2019苏州国际设计周最佳创意奖。

This project was commissioned by 2019 Suzhou design week and won the best creative award of 2019 Suzhou design week.

绘画为20x20cmx100，布面丙烯，2018—2019

Action art, Painting, 20x20cmx100, Acrylic on canvas，2018-2019

2018年10月，艺术家在义乌国际商贸城邀请一位非洲艺术家丹尼尔·莫桑威创作了100张肖像画，请他用他在非洲学到的技法“Tingatinga”画法画100个中国商人的肖像。（肖像全部来自于作品《关于自由贸易演讲》中的中国生意人）。艺术家将这些画全部买下来，并尝试通过展览、互联网和朋友圈将这些画再次卖掉，完成一次完整的贸易行为。
 

In October 2018, The artist invited an African artist called Daniel Samsoni Mwasongwe to create 100 portraits in Yiwu International Trade City, asked him to draw 100 Chinese businessmen with the technique "Tingatinga" he learned in Africa .(All portraits are from the Chinese businessmen in the work Free Trade). The artist buys them all and tries to sell them through exhibitions, the Internet and a circle of friends, completing a full trade.

彩色单屏幕录像，双声道可变尺寸，14分钟，可变尺寸，2018

Video, Color single-screen dual-channel , 14 minutes, Variable，2018

2018年10月，艺术家邀请了116名义乌国际商贸市场里的生意人，一起朗诵了马克思在1848年发表的关于“自由贸易”的演讲稿（选段），并用录像记录下来。

In October 2018, the artist invited 116 businessmen from the Yiwu international trade market to read Karl Marx's speech on "Free trade" published in 1848 (excerpts) and recorded it on video.

义乌国际商贸城营业面积400万平方米，7万个商位，从业人员20万。众多中国制造商品通过义乌国际商贸城走向非洲、中东、南亚、东欧等地区。2005年被联合国、世界银行和摩根士丹利评为“全球最大的小商品批发市场”。

Yiwu International Trade City covers a business area of 4 million square meters, with 70,000 business booths and 200,000 employees. Many Chinese manufactured goods have traded to Africa, the Middle East, South Asia and Eastern Europe through the market. In 2005, it was named “the world's largest small commodity wholesale market” by the United Nations, the World Bank and Morgan Stanley.

摄影尺寸为100x56cm、17x12cmx30，录像为彩色单屏幕双声道可变尺寸，16分钟、17分钟，文献为可变尺寸，2019

Mixed medium, video, file，Photography size is 100x56cm，17x12cmx30，aluminum escalator, printed on rice paper, video for color single-screen dual-channel variable size, 16 minutes、17 minutes ，File is variable size，2019

Alice是一條鯨魚，生活在太平洋。據說它發射的音波頻率跟所有鯨魚都不同，所以它無法找到同類並交流。因此，Alice是全世界最孤單的鯨魚。  

—百度百科

這次在臺北的項目《Alice》也是考量項目的在地性環境，邀請社區的街坊鄰居、叔叔阿姨、市民學生參與計畫，用藍色和綠色畫出一張關於鯨魚“Alice”的畫，用藝術的方式給這條生活在太平洋“孤單的朋友”一個問好！

Alice is a whale that lives in the Pacific Ocean. It is said to emit sound waves at different frequencies from all whales, so it cannot find and communicate with other whales. So Alice is the loneliest whale in the world.

——Baidu Encyclopedia

This project Alice in Taipei also considers the local sexual environment of the project. We invite neighbors, uncles, aunts and students from the community to participate in the project. We will draw a picture of "Alice" a whale in blue and green, and send greetings to this "lonely friend" living in the Pacific Ocean in an artistic way.

绘画尺寸为21x27cm，摄影尺寸为30x40cm，录像为黑白单屏幕双声道可变尺寸，1分钟，2019

Painting, Interactive art, Mixed medium, video, Painting size is 21x27cm, Photography size is 30x40cm，aluminum escalator, printed on rice paper, video for black and white single-screen dual-channel variable size, 1 minutes, 2019

“你如果认识从前的我，也许会原谅现在的我。”

——张爱玲

艺术家摘取了张爱玲小说中一段关于1940年代初期香港少女的外貌特征描述，在展览期间邀请画廊香港的女性观众将这个“少女”在今天重新画出来，并同期展出。从2011年以来，艺术家持续关注文本、语言与图像之间的意义转译，并将跨文本转译过程中的损失或差异作为另外一种丰富性呈现。

If you know the man who I have been, maybe you can forgive the man who is standing before you.

——Eileen Chang 

The artist extracted a description of the appearance and characteristics of a young girl in Hong Kong in the early 1940s from a novel by Eileen Chang. During the exhibition, the female audience of the gallery in Hong Kong were invited to re-draw the "girl" today and present it at the same time. Since 2011, artists have been continuously focusing on the translation of meaning between text, language and image, and presenting the loss or difference in the process of cross-text translation as another richness.

卡纸上丙烯10x10cmx400，铝制扶梯，宣纸上打印，录像为彩色单屏幕双声道可变尺寸，6分钟，2018

Painting, Interactive art, on-site integrated media, video, acryl 10x10cmx400 on cardboard, aluminum escalator, printed on rice paper, video for color single-screen dual-channel variable size, 6 minutes, 2018

将一张“明宣德青花松竹梅纹盘”的图像分解成 10x10cm 的马赛克单色图像 400 张， 卡纸丙烯着色。在展览期间，观众可以以任意价格购买其中的每片颜色 (10x10cm),艺术家承诺 3 年以后以 2 倍的价格回购。
这张 200x200cm 的“青花瓷盘”将很长时间处在一个残缺状态，或许是永远。

I decompose the image of plate in blue and white texture of pine tree, bamboo and plum blossom in the Ming dynasty to 400 monochrome images of 10x10cm , drawn by acrylic on paperboards .During the exhibition, audience can buy each pieces of color (10x10cm) at any prices ,the artist promised he would buy-back at double prices after 3 years. This plate in blue and white of 200x200 will being a broken situation for a long time or even forever.

不锈钢、灯箱片、led灯珠，120x16x10cm，2018/2022

Stainless steel, light box piece, led lamp bead, 2018/2022

在网上搜索组成这句话的纹身图片，将它们组合在一起。

Search the Internet for images of tattoos that make up this sentence and put them together.

2017年开始我在杭州转塘生活了三年，晚上会去“垃圾街”吃碗面条或者炒饭。正如每个城市的城乡结合部，生活在这里的人们给我留下了深刻的印象，这件作品，以这些小饭店常见的灯箱为形式，记录我在转塘生活的那段岁月。

Since 2017, I have lived in Zhuantang Town of Hangzhou for three years. In the evening, I would go to "Garbage Street" to eat bowls of noodles or fried rice. Like the rural-urban fringe of every city in China at the time, I was impressed by the people who lived here -- office workers, artists, college students, factory workers, small business owners. This piece, in the form of a light box common in these small restaurants, records my time living in Zhuangtang.

图片，数字微喷到纯棉纸基，尺寸为120x80cm ；录像，11分钟，单屏幕彩色，有声，可变尺寸 ，2017

Photographs, Archival inkjet print, 120x80cm; HD Video,11 minutes, Single-channel\Color\Sound\Variable, 2017

我本将心向明月，奈何明月照沟渠

——高明（元）《琵琶记》

My gaze toward the moon, but the moon shines on the ditch.

——GAO MING (Yuan) "PIPAJI"

2017年11月2日，艺术家在石节子村将所有村民正在使用的灯泡借过来一个晚上，在村边的山坡上组成了一个“微笑”。夜幕降临，当这个“微笑”被点亮的时候，整个村子处于一片黑暗。

On November 2, 2017, I borrowed all the lamps that were being used in 13 villagers' houses in ishijie for one night and used these bulbs to form a "smile" in the ravines on the edge of the village.

纸上墨水绘画，25x17.5cm，22幅，两段彩色高清影像时长分别为12分41秒和20分41秒，尺寸可变，数字图像微喷到纯棉相纸 120x80cm, 2017

Action, Black ink on paper 25x17.5cm, 22 picture, HD Video 12`41``&20`41``, Variable, Archival inkjet print 120x60cm, 2017

我在越南胡志明市旅行的时候买了一本《情人》，将其中的22段描写当地风景的情节用越南语朗诵出来，邀请一个越南人根据他听到的录音，将这22段风景画出来。

When I visited ho chi minh city in 2015, I bought a Vietnamese edition of L`ament. From the novel L`ament, I found 22 descriptions of the scenery in Saigon (ho chi minh city), which I read aloud in Vietnamese. Then give the recording to a Vietnamese painter and ask him to draw the scenery according to what he heard.

艺术家石玩玩在越南旅行时买了一本《情人》，他将其中二十二段描写风景的情节用越南语朗诵出来，邀请越南人阮维根据他听到的录音，将这二十二段风景画出来。这促成了这里的《胡志明的风景》。

这里不仅是二十二段风景，而且是二十二段二手，甚至是三手四手的风景及其图像。而艺术家最近将其工作简要描述为“不以生产图像为目的的行动和公共艺术实践”。这种纠结的关系也延续性地体现在“马尼拉”、“望京”、“伊斯坦布尔”、“常德”的“诗人”、“少年”、“画家”“卖画”等现实的，至少言语和形象在其中不断成批汹涌而出的实践中。一定有一种情义让人难以割舍这种纠结。而在《胡志明的风景》中，“画家”、“胡志明”、“《情人》”等形象也不断地跳将出来，纷扰牵扯进来的专业、业余、公共的作者们或者读者们。对，这些都是石玩玩自找的“事儿”。有义有情？这一回的《胡志明的风景》，被艺术家搭讪到他的“事儿”的，都有幸暂聚一个以此命名的（艺术）展览。一段关系总要结束，另一段感情总要开始。

——王亚敏

During a trip to Vietnam Wanwan Shi bought a copy of L’amant. He recited 22 paragraphs of the book in Vietnamese each of which describes the landscapes of Ho Chi Minh. He invited a Vietnamese Duy Nguyen to do 22 drawings according to the record of his recital and thus we present TheLandscapes of Ho Chi Minh.

The 22 images presented here are not only landscapes but also second-hand, third-hand and even fourth-hand landscapes. But the artist describes his practices as ‘action art & public art without the aim of producing images’. This tangled relationship is also reflected in "Manila", "Wangjing", "Istanbul", "Changde"(with "poets", "youth", "painters" and "selling paintings") and other realistic practices, where accents and images were produced on mass. There must be affection and faith to support this entanglement. In The Landscapes of Ho Chi Minh, the images of ‘painter’, ‘Ho Chi Minh’ and ‘lover’, etc. jump out and distract professional, amateur and public writers or readers who are involved in the event. They are all ‘events’ brought on by the artist himself. Affection and faith? In the name of the ‘art’ exhibition of The Landscapes of Ho Chi Minh, all of those who were accosted and involved in the artist’s ‘event’ will meet here. One relationship must be ended, another one must begin.

——Yamin Wang

This summer my friend Stacy asked me if I spoke Vietnamese, and I said yes. She then said a guy named Kris wanted to talk to me. Kris then told me a chinese artist Shi Wanwan wanted me to listen to a voiceclip of him speaking Vietnamese and then draw something based on my interpretation of his voice clip. The interesting part is that he was just learning Vietnamese, and my Vietnamese is very broken as I only speak it once a year with my mother. I agreed despite my my disability to draw, haha. It then turned out that I not only had to draw one drawing, but twenty-two drawings interpreted from 22 voice clips. Personally I found it quite challenging to find time to listen, intepret and draw. There were times when I thought I should just tell Shi that I can't do it because I didn't have time. Today is the opening of the exhibition and Shi Wanwan sent me these pictures and told me people liked my badly drawn sketches. That feels quite rewarding somehow. The biggest challenge is not to agree to do something, but to finish what you agree upon.

——Duy Nguyen

图片，数字微喷到纯棉纸基，尺寸为100x46cm ；录像，5分54秒，单屏幕彩色，有声，可变尺寸 ，2016

Photographs, Archival inkjet print, 100x46cm; HD Video,5`54``, Single-channel\Color\Sound\Variable, 2016

2016年的冬天，在中国西北地区的甘肃省天水地区，我带领了19个小朋友在他们学校旁一个古代战争遗址（叶家堡）上玩了一场“打仗”游戏。

“堡子”是中国西北甘陕地区村民自卫用的城堡，多建于清末同治回乱时期。

In the winter of 2016, I led 19 children to plan a “fight” game at an ancient relic of war (Yejiabu) next to their school, in Tianshui area, Gansu Province, northwest China.

“Bu” refers to fortress used by villagers in Gansu and Shaanxi Provinces in northwest China for defending themselves. Most of the “Bus” were built during the Hui (Muslim) Minorities War under the ruling of Tongzhi Emperor of late Qing Dynasty. 20 million people from both sides died from the war between the Han people and the Muslims.

录像，12分46秒，彩色有声单屏幕，可变尺寸，2016

HD Video, 12`46``,Single-channel\Color, Variable, 2016

在夜晚的苏州城寻找300年前一首情诗。

我在夜里的苏州城街头巷尾拍摄《影梅庵忆语》里的每一个汉字，将这字组成这首百年情诗。《影梅庵忆语》是明末诗人冒辟疆回忆爱妾董小宛的抒情长文。

Searching for a love poem dated 300 years ago at night in Suzhou City.

I searched for each Chinese character in The Reminiscences of Tung Hsiao-wan at night, and photographed (recorded) throughout Suzhou City, these characters combined to this love poem. The poem is a long essay written by Mao Pijiang, a poet of late Ming Dynasty, to memorize his beloved concubine Dong Xiaowan (Tung Hsiao-Wan).

图片打印在墙纸上，可变尺寸，2016

Wallpaper, Variable, 2016

2016年夏天，我在乡间修了一条98米长的无名小路。

In the summer of 2016, I had a 98m-long nameless path built in the county.

油画尺寸40x34cm， 10幅， 木质外框 ，2013

Action, Painting, Sound; Oil on canvas 40x34cmx10, Wood frame, 2013

在我生活的望京街区（北京）有一个维吾尔族少年，很多人见过他，并且坚定的认为他是个小偷。我找了十个见过他的居民，请他们给我描述这位少年的长相，再将其画出来。

维吾尔族是生活在中国新疆天山以南的少数民族，信仰伊斯兰教。

In my wangjing neighborhood (Beijing), there was a Uighur teenager who many people had met and firmly believed was a thief. I asked ten people who had met him to describe to me what the boy looked like and draw a picture of him.

A minority live in the south of Tian Shan Mountain, Xinjiang, Uygur people believe in Islamism.

从《伊斯坦布尔画家》到《望京少年》，对于石玩玩而言，绘画不再是单纯的语言表述与再现事物的工具，它成为了艺术家手中的道具、证物或沟通途径。绘画的动因也渐变成为对绘画的功能和对象的质疑。《望京少年》中的少年形象是艺术家通过采集不同人差异化的声音描述，参照绘制出的肖像。石玩玩试图打开绘画单向表达和逆向阅读的方式，让绘画从一开始变得开放：参与者的一件，绘制对象的不确定性、艺术家的主观介入以及观者的阅读经验一同构成了作品。——李杰

From Istanbul painter to wangjing boy, for Shi, painting is no longer a simple tool to express and reproduce things, but a prop, evidence or communication way in the hands of artists. The motivation of painting has gradually become a question about the function and object of painting. The juvenile image in wangjing boy is described by artists by collecting different voices of different people and referring to the painted portrait. Shi tries to open the way of one-way expression and reverse reading in painting, making the painting open from the beginning: the work is composed of the participants, the uncertainty of the drawing object, the subjective intervention of the artist and the reading experience of the audience.

——Li Jie A4 Contemporary Arts Center art director

我觉得《望京少年》可以分成两部分，一部分是他们的叙述，这个叙述带有非常强烈的社会性，介于调查和刑侦之间，最后形成特别有意思的社会性叙述的样本。然后他又进行了一个虚构工作。反过来讲，社会性叙述里面有非常强烈的虚构成分，它是从某种人，比如说维族小偷这种原型叙述出发的东西，不一定有很那么强的记录的成分在里面，却又非常强烈的另一种“虚构”，也许这件作品就是两种虚构的一种互动。——杨北辰

I think Wangjing boy can be divided into two parts, one is their narration, which has a very strong social nature, between investigation and criminal investigation, and finally forms a particularly interesting sample of social narration. Then he did a fictional job. On the other hand, there is a very strong fictional element in the social narrative, which starts from the archetypal narrative of some people, such as Uyghur thieves. There is not necessarily a very strong recording element in the social narrative, but there is a very strong "fictional" element. Maybe this work is an interaction between the two kinds of fictional elements.

——Yang Beichen Art critic

相纸打印 ，直接粘贴在墙面 ，可变尺寸 ，2013

Photographs, mage printed on the picture, paste the wall，Variable, 2013

2013年代表中国艺术家参加由中国政府和首尔政府举办的一个文化交流活动。在首尔考察的七天时间内，用在首尔街头巷尾拍摄的中国字，最后组成了一篇游记散文《首尔游记》。

1980年代韩国民主化运动废除了汉字，汉字消失在韩国社会文化中。

In 2013, as a representative of Chinese artists, I took part in a cultural exchange jointly held by the Chinese government and the Seoul government. I produced a travelogue titled Seoul Travels with those Chinese characters which appeared in the photos I had taken during the seven days in Seoul.

In 1980s, Chinese characters were abolished during the Democratic Movement of the ROK and then disappeared in Korean society and culture.

行为，综合媒介，可变尺寸，2013

Action, Mixed media art, Variable, 2013

在展览期间，请在欧洲旅行的朋友帮我找到“清贫，洁白朴素的生活，正是我们革命者能够战胜许多困难的地方！”这27个字。每找到一个字，就将其写在展厅里，直至展览结束。最终找到了26个。

这句话取自同名文章《清贫》，是革命家方志敏在监狱里所写，文章认为他们这些革命家不同于腐败的国民党政府的地方在于清廉和朴素。

During the exhibition, I asked my friends who were travelling in Europe to find all 27 Chinese characters of “清贫，洁白朴素的生活，正是我们革命者能够战胜许多困难的地方！”(To remain honest though poor, and to live a clean and simple life – that is what we revolutionaries count on to overcome innumerable difficulties!) Any character that was found was written in the exhibition hall. At the end of the exhibition, 26 characters were found, except "贫".

The sentence was extracted from the article Poverty written by revolutionary Fang Zhimin in a prison. The article argued that what distinguished revolutionaries from the corrupt KMT government was honesty and simplicity.

行为，装置，可变尺寸，2012

Action, Installation art, Variable, 2012

艺术家邀请了60个在海南省某五星级酒店的女性工作人员，请她们唱一首《红色娘子军》。如果她们忘记了这首歌，艺术家将为她们歌唱。

The artist invited 60 female staffs at a five-star hotel in Hainan province to sing the song " The red detachment of women". If they forget the song, the artist will sing for them.

《红色娘子军》是一首创作于1950年代的歌曲，描述了1930年代活跃于海南省的一支女性游击队抵抗资本家和地主压迫的故事。

"The red detachment of women" is a song written in the 1950s that tells the story of a female communist guerrilla army that was active in Hainan province in the 1930s, resisting the oppression of capitalists and landlords.

文献尺寸可变，素描25x35cm，2011

Action, Text, Sketch; Text size variable, Sketch 25x35cm, 2011

曾经某一天，我凭空设想了一个人：他叫阿里，生活在伊斯坦布尔，年龄跟我相仿，也是个年轻艺术家。我给阿里写了一份信，告诉他，如果他能看到这份信，给我回信，告诉我他的模样，我会给他画一张肖像画。9个月后我收到了回信。

One day, I imagined a man. His name was Ali. He lived in Istanbul. I wrote Ali a letter and told him that if he could see it and answer me and tell me what he looked like, I would paint a portrait of him. Nine months later I got a reply. A young man named Ali told me it was true. I painted a portrait of him according to his description.

在去年尤伦斯的青年群展上，展出了他的《伊斯坦布尔画家》。最普通的一张画在A4大小尺寸纸上的素描，是借助现代网络联系方式才终于找到这个叫做阿里的艺术家，将一次冒险的想象化为现实。——隋建国

At the Group Exhibition held last year in the Ullens Center for Contemporary Art, Wanwan displayed his work An Istanbul Painter - an ordinary sketch drawn on a piece of A4 paper. Wanwan found the Istanbul painter named Ali through modern Internet communications, turning an adventurous imagination into reality. ——Sui Jianguo

石玩玩近来尝试着把艺术实践抛入社会关系的偶然性中去完成，这使的他工作成为了一种社会测试。《伊斯坦布尔画家》是石玩玩根据自身所想象出的一个身处异邦的镜像，在石玩玩的设定中，“他”是一个三十岁左右的叫做“阿里”的年轻画家，居住在一个他毫不了解城市，如伊斯坦布尔。经过了各种可能的途径与漫长的过程，石玩玩找到了那个伊斯坦布尔的画家，展览中的55张文件与邮件呈现了这个经历，而素描肖像则是根据阿里的自我描述所画。但实际上，石玩玩的出发点并不是为了验证个人的想象，而更多是在观念中建构一种可能性的社会关系，并在其中实验几率的可能。——尤伦斯当代艺术中心

Shi Wanwan's recent attempts to cast his artistic practice into the contingency of social relations have made his work a social test. Istanbul painter is a mirror image of a foreign country imagined by Shi Wanwan. In the setting of Shi Wanwan, "he" is a thirty-year-old young painter named ”Ali" who lives in a city he knows nothing about, such as Istanbul. After a long and varied journey, Shi finds the Istanbul painter, an experience captured in 55 documents and emails in the exhibition, while sketched portraits are based on Ali's self-description. But in fact, the starting point of Shi Wanwan is not to test individual imagination, but more to construct a possible social relationship in the concept, and to experiment with the possibility of probability.——UCCA

行为，录像，尺寸可变，2010

Action, Video Art, Variable, 2010

“龙泉洗浴”是草场地离画廊区最近的一家澡堂，很多人可能已经多次经过它，不过并没有太过留意。forget art将会重新利用这个特定的“公共性”私密空间，试图重新发现和定义这个空间的属性和存在于其中的特定语境。事实上什么都不会改变，我们只是以一种低姿态的可忽略的美学观在其中展开有针对性的“微干预”，从赋予特定意义的现成品到情境的重新抽离，从声音和记忆的关系到物体中的时间性……..

Dragon Fountain is the public bathhouse closer to the gallery area at Caochangdi, many people may have passed it several times, but not pay too much attention on it. forget art will re-use this particular "public" private space, we are trying to rediscover and redefine the attribute of this space and the presence of a specific context in which. In fact nothing will change, we are just attemting to make some site-specific "micro intervention" which embody an aesthetics of low-profile and ignorance. From readymade endowed with specific meaning to detached situation from daily life; from relationship between memory and voice to timing factor of found objects ... ... ..

行为，图片记录，尺寸可变，2009

Action, Photographs, Variable, 2009

2009年冬天，我在北京郊区一间废弃的房间里找到一组彩票号码，后来按照这组号码我买了很多彩票送给了观众。

In the winter of 2009, I occasionally found a set of welfare lottery numbers in an abandoned room located in the outskirts of Beijing. Afterwards I bought many lottery tickets containing these numbers and gave them to the attending audience.

录像，录像为15分18秒，彩色单屏幕，有声，尺寸可变 ， 2008

Video, 15`18``, Single-channel\Color\Sound, Variable, 2008

在菲律宾马尼拉一个监狱遗址里，我花了七天时间，学会用菲律宾语朗诵菲律宾国父黎萨的诀别长诗《别了，我的祖国》。在第七天，面对镜头，我将这首诗用菲律宾语朗诵出来，全程记录了下来。

《别了，我的祖国》是菲律宾国父黎萨的诀别诗，写完这首诗即被西班牙殖民政府杀害。在诗中，革命家号召菲律宾年轻人追求自由，反抗西班牙殖民统治。

I learned to intone the poem – My Last Farewell, the last poem of Philippine national hero Jose Rizal - in Pilipino within 7 days at a relic of prison in Manila, Philippines. On the seventh day, I intoned the poem in Pilipino facing the camera which recorded the whole process.

My Last Farewell was the last poem of Philippine national hero Jose Rizal who was killed by the Spanish colonial government just after the creation of this poem. In the poem, the revolutionary called on the youths in Philippines to pursue freedom and to fight against the Spanish ruler.