艺术档案 > 个案+新青年 > 个案 > 余极(Yu Ji)

余极(Yu Ji)

2011-08-01 11:54:36 来源: 艺术档案网 作者:artda


余极

简历
余极,1965年生于成都
1992年毕业于四川美术学院
现居成都与北京  

个展   

2010年
《概念之酶》,A4画廊,成都 
《穿越地平线—中国当代艺术展》,智利国家美术馆,智利圣地亚哥
《改造历史-2000-2009的中国新艺术》,北京国家会议中心,北京

2009年
《白色马-余极影象作品展》,千高原艺术空间,成都
《动物后背挠痒挠不到的地方》,比翼艺术中心,上海

2007年
《如烟云矣-余极个展》,Kerseboom画廊,荷兰阿姆斯特丹

2006年   
余极个展:余极OEM影像计划-我弟弟的第一次电影练习,2577创意大院,上海

2002年
《洗脚一个钟点》,成都三一书店,中国成都   
《舐纸呼吸》,成都画院中国成都

联展

2009年
《资产阶级化了的无产阶级》上海松江创意工坊
《物之屏》千高原艺术空间,成都
《HOW DO I KNOW ABOUT THE WORLD? BY WHAT IS WITHIN ME》,Scope New York
《起点:介入艺术生活366天——2008年1月1日-12月31日生长与变化》 ,上海证大现代艺术馆

2008年
《断舌》梯空间,北京798艺术区,
《器计划》,器.Haus空间,中国重庆
《精致的尸体:超现实中国》展,M97画廊,中国上海
《乐, Joy, - A4尺寸草图展》,帕克斯艺术项目空间,中国北京
《中国东·西》当代艺术主题邀请展, 2008年9月28日,凤凰美术馆,南京
“观念演进”-中国观念摄影10年回顾与前瞻展, 时态空间,北京798
艺术不是什么?-中国当代艺术的45份问卷,2008年“北京大山子艺术节”,北京798
艺术慈善中国—2008中国当代艺术国际巡回展
2008 Dashanzi Art Festival,Beijing 798
《失眠摄影展》,比翼艺术中心(上海)
《违章建筑Ⅱ》,  长征艺术空间(北京798)

2007年
《第三届连州国际摄影年展:影子的炼金术》, 2007年12月8日, 连州(广东)
《棱镜—中国新媒体艺术展》,,奥地利政府总理画廊,(维也纳)
《地层人文-当代艺术的21个案例,宋庄艺术促进会
《后先锋-当代中国艺术的四个方向》,Attinghouse(香港)
回响——成都新视觉艺术文献展,千高原 (成都)
《被枪毙的方案》,可当代艺术中心,上海
《FIGURE/LANSCAPE/FIGURE-Contemporary Photography of China》,Youngblood 画廊,New York
《和》北京一号地A-Space
阿姆斯特丹艺术博览会-Kerseboom画廊,荷兰阿姆斯特丹,09-13 May
《中国行为摄影展》(映画廊,中国北京798)
《贵州双年展》(中国贵阳)
《从西南出发》(广东美术馆,中国广州)

2006年
《摄影之外的图像》,先声画廊,北京798
A TICKET TO BEIJING,W.Kerseboom modern & contemporary art, Amsterdam, the Netherlands
《欲未央.色未央》,Vanessaart link,印尼雅加达
《黑白动物园》台北,中国台湾
《共同连线》,Vanessa艺术中心,北京798,中国
《新民间运动—公共生活的重建-当代艺术大展》,北京宋庄
“画幅决定态度”首届5×7",平遥,摄影双年展
2006 MoCA文献展《入境:中国无章美学》,上海当代艺术馆
《混生》,方音空间,北京798,中国
《个展》,创意大院,上海,中国
《高档货-来自中国上海的当代艺术》,巴黎,法国
CHINARTE,Titanik media Space SUMU,Turku, Finland10.3-26.3.-2006
  
2005年
《谜宫—多媒体表演》,梦工厂现代艺术实验中心,上海
《“十成十”第二届当代艺术展》,北京宋庄艺术大本营
《城市的皮肤—当代都市影像的可能性研究》澳门塔石艺文馆, 深圳美术馆
《翻手为云,覆手为雨》(北京TS1当代艺术中心, 中国北京
《以身观身──中国行为艺术文献展 》,澳门艺术博物馆
《风云上海──当代艺术交流展》,上海苏河美术馆
《身体的权力》,成都蓝色空间
《24小时--联合现场计划-5》,北京电影制片厂
《搞关系--台湾中国当代行为艺术现场录像图片展》,台北美术馆,高雄美术馆,中国台湾
《第二届成都双年展》成都现代艺术馆,中国成都
《第一届蒙比利埃中国当代艺术双年展》,蒙比利埃,法国

2004年
《“十匹火砖”当代艺术展》,成都蓝色空间
《台湾亚洲行为艺术交流展览》,台南,台东,高雄,台北,中国台湾
《Grosse Kunstausstellung NRW Dusseldorf 2004》 ,大宫美术馆, 杜塞尔多夫,德国
《派对-苏州河》,东廊画廊,中国上海
《“021 62761232” 》,上海比翼,中国上海
《什么艺术》,陕西美术馆,中国西安
第1届北京大山子国际艺术节-《越界语言:光.音/光阴》,时态空间,798工厂,中国北京
《2004在成都》,蓝顶艺术中心,中国成都

2003年
《我们在一起》,今日美 术馆,中国北京
《木马计Ⅱ欢乐颂-国际当代艺术节展》,南京圣划艺术中心,中国南京
《亚洲-中欧国际行为艺术展,斯洛伐克、匈牙利、波兰
《?!国际 现场艺术节 ,东京画廊,798工厂,中国北京
《中日行为艺术交流计划展》,中国成都美术学院,中国成都
《错城》(四川省体育馆,中国成都)
《第10届日本国际行为艺术节》,日本

2002年
《白日梦-中国当代艺术展》,中国南京博物院,南京
《蘑菇云或者乌托邦》,中国上海外滩艺术馆,上海
《平遥国际摄影节》,山西平遥
《各行其道-当代艺术展》,中国广州
《中国艺术三年展》,广东艺术博物院,中国广州
《新都市主义》广东美术馆,中国广州

2001年
《第一届成都双年展》成都现代艺术馆,中国成都
《第三状态:中国当代艺术展》,巴利当代艺术博物馆,意大利巴利
《身体资源与物》,香港艺术公社,香港
《中国方案展》,上海海上山艺术中心,中国上海
《星期五-与声音有关》,中国成都
《第二届中国OPEN国际行为艺术节》,中国彭山、乐山、成都
《十字路口:中国城市公共环境艺术方案展》
《成都现代艺术馆夏季学术邀请展:上下左右》,中国成都
《残骸展》成都文化宫,中国成都
《中国魅力在泰国展》
《执白展》,中国成都画院,成都

2000年
《释水展》,中国都江堰
《90年代中国前卫艺术家图片资料展》,日本福冈现代艺术馆,日本
《中国“人文山水”环境艺术展》,中国桂林
《人与动物展》,中国成都
《家?当代艺术提案展》,中国上海

1999年
《因特网实验艺术1999-2000》网上系列展

1997年
《野生·1997年惊蛰,始》实验艺术活动
《本源·生命展》,中国都江堰
《复制时代的人展》,中国成都

1996年
《观念艺术系列展-听男人讲女人的故事》,中国成都
《成都油画展》,中国美术馆,中国北京
  
1992年
《中国当代艺术文献资料展Ⅱ》,广州美术学院,中国广州
《今日状态.1992年艺术展》,四川美术学院,中国重庆

 

艺术家作品(按年份时间顺序排列)

【行为艺术 - Performance】

对水弹琴
行为/摄影,100X150cm(Ed:6),
120cmX80cm(Ed:8), 1997年

说明: 由都江堰飞沙堤、燃烧的纸钱方阵、烟雾、中国古琴以及作者弹拔的琴声与岷江的流水声组成。以“对水弹琴”的方式寻找人与水、环境的对应互动关系,反思彼此间生死问题,并用禅宗的意念感悟人类自然与原初的最高境界。

Playing A Stringed Instrument toward Water
Performance/Color photo,100X150cm(Ed:6),80X120cm(Ed:8),1997

Introduction: Being composed of Feisha dyke in Dujiangyan, the burning ghost money matrix, the smog, the Chinese stringed musical instrument, as well as the tweedle and bicker. By means of "playing a stringed musical instrument toward water", this work seeks for the corresponding interaction relations of human and water, environment, reconsiders the matter of life and death between each other. And it comes to understand the highest level of natural and primary humanity with the Zen thoughts.

 打坐修心
行为,1998年8月

说明:在现代建筑地下停车场高坐于工具梯子上合掌打坐修心,任凭车来车往,心无旁骛,冥想无限,历时数小时,直至失衡不能自持,于跌落之际而行为结束。

Za-Zen/Lojong
Performance, August 1998, Chengdu

Introduction: Yu i sat on a ladder in the underground car park of a modern building, clasped his palms together, carrying out Za-Zen and Lojong. Even if there were busy cars coming and going, he was staying in meditation without any distractions for several hours. The performance is over until the imbalance makes himself uncontrollable, when he is on the occasion of falling down. 

尤物之吻
行为/摄影,150X100cm(Ed:6),
120X80cm(Ed:8),2000年

过程:余极端坐在封闭玻璃匣子里,小鸡簇拥堆积在身体四周。作者长时间口衔小鸡嘴喙,以示亲吻,彼此短暂窒息之后将小鸡从玻璃上小孔中吐出匣外,再衔一只,不断重复直至行为结束。行为进行时间约30分钟。

Pet's Kiss
Performance/Color Photo. 150X100cm(Ed:6), 120X80cm(Ed:8), 2000

Process: Yu Ji sat in the vitreous casket, with the accumulation of chicks around his body. The author held the chick beak in his mouth for long time to show the kiss, after a brief suffocation of each other he spit out the chick through a little hole and then held another in the mouth, repeated again and again until the end of the performance. This had been lasted for about 30 minutes.

鱼对余说
行为/摄影,150X100cm(Ed:6),
120X80cm(Ed:8),2000年

说明:作者身着上古服装,打坐于都 江堰岷江河边,与人为放置的一条鲜活鲫鱼对话,演绎庄子与鱼对话的著名寓言,其行为表演将庄子的寓言再寓言化。

The Fish Said to Me
Performance/Color Photo,150X100cm(Ed:6), 120X80cm(Ed:8), 2000

Introduction: The author was in the costumes of remote age, sits in meditation by the Minjiang riverside of Dujiangyan, talks with a ready crucian carp, deducts the well-known fable of the dialog between Zhuang-zi and the fish, and its performance becomes a “re-fable” on Zhuang-zi's fable.

吹箫弄玉
行为/摄影,150X100cm(Ed:6),
120X80cm(Ed:8),2001年

Playing the Jade Flute
Performance/Color Photo, 150X100cm(Ed:6), 120X80cm(Ed:8), 2001

想要偷渡-1
行为,2001年8月

过程:用许多根长短不一的白线绳一端绑于铁栅上,一端每线一钩挂在穿白色中式便装的作者身上,在艰难痛苦的50米爬行途中,衣裤被扯开撕碎直至裸体,爬到终点,在此放置的一座椅上有一套西装,从容换上西装后行为结束。

Want to Be A Stowaway-1
Performance, 2001.8, Chengdu

Process: The author ties up several white strings of graded lengths on the iron bar, and hangs the other end of the strings with hooks over the white Chinese-style clothes on the author’s body. During the 50 meters’ difficult and painful crawling, the clothes are gradually torn into shreds until the body is naked. The author crawls to the end point where there is a suit of western-style clothes on the chair. The performance is over when he calmly puts on the western-style clothes. 

舐纸呼吸-1
行为/摄影,120X60cm(Ed:9),2002年

说明:余极端坐桌前,不断用手抽取洁面软纸。并在水盘中浸透后,一张张覆盖到自己的脸颊上,难以呼吸时即用舌头刺破软纸。到堆砌太厚不能穿刺令人窒息时,行为结束。

Lick wet tissue to Breathe-1
Performance/Color Photo,120X60cm(Ed:9), 2002,Chengdu

Introduction: Yu Ji sits behind a desk and faces the audience decently. He draws one piece of tissue, soaks it and then muffles his face with the wet tissue continually. Until hard to breathe, he licks the tissues to make a hole. The performance is over when he cannot breathe anymore.

舐纸呼吸-2
行为, 2003年, 日本大阪

Lick wet tissue to Breathe-2

不伦之声
行为/摄影,120X80cm, 呼吸音,麦克风,模特女头,透明雨衣,音响系统,
2003年3月,日本东京

Voice of Incest
Performance/Photo, 120X80cm, Materials: sound of breathing, microphone , model female

head, raincoat, stereo equipment, March 2003, Tokyo, Japan

上去下来
行为/摄影,120X180cm(Ed:5),
80X120cm(Ed:7),60X90cm(Ed:9),2003年3月,日本京都

说明:余极与合作女性(饭田洋子)身穿透明雨衣,相向分别将自己的雨衣扣系在对方的雨衣上,使双方处于一种异样的面对方式中,然后十分不方便的挪动到一高台上,上上下下,并不断扣系行径中扯开的雨衣,如此反复,直到行为结束。

Moving Upward and Downward
Performance/Color Photo, 120X180cm(Ed:5),
80X120cm(Ed:7), 60X90cm(Ed:9), 2003, Kyoto, Japan

Introduction: The author and the collaborator wear transparent raincoats and button up their own raincoat on each other’s, keeping both sides in a strange confrontation. Then they move up and down again and again between the ground and a high stage quite inconveniently. They would constantly button up the raincoats which have been unsticked during this process until the performance is over.(Collaborator:Yoko Iida, Japan)

来跟我玩
行为/摄影,30x160cm(Ed:5), 2003年4月,日本名古屋

说明:作者端坐于桌前,用手机械的将桌上的饮料罐捏压变形,然后多次伸手去拖拽旁边一女孩,女孩挣脱几次后,用手将作者打翻在地,女孩离去,作者艰难爬起,悬于桌旁,女孩复回,用绳索将作者捆绑,并将作者和所有道具装入大垃圾袋中,行为以实验剧的方式演译无限的荒诞行径。

Hum, Dally with Me
Performance/Photo, 30X160cm(Ed:5), April 2003, Nagoya, Japan

Introduction: The author sits well behind the table, mechanically distorts the drink can on the table, then puts out a hand to tow a girl aside. The girl struggles to free herself for several times and strikes down the author, then departs. The author picks himself up difficultly, and leans on the table. The girl then comes back and ties up the author with the rope, and loads him into a big garbage bag with all the other props. In a way of experimental drama, the performance deduced the infinite absurd acts.

想要偷渡-2
行为/摄影,120X240cm,90X180cm(ed:7),60X120cm(ed:9), 202003年9月,波兰克拉科夫

Want to Be A Stowaway-2
Performance/Color Photo, 120X240cm(ed:5), 90X180cm(ed:7), 60X120cm(ed:9), September 2003, Krakow,
Poland

我是恺撒
行为/摄影,120X80cm,纸、水、酒、饮料、观众等, 2004年9月,斯洛伐克

过程:余极用卫生纸在裸体上包裹成长袍,手执木棍,象征权杖,一手指向远方,一动不动,但口中念念有词:"I am Caeser"。观众用预先准备好的酒水一边喝一边用嘴喷射到作者身上,酒水将作者纸衣逐渐冲刷掉,暴露出身体后,行为结束。

I am Caesar
Performance/Photo, 120X80cm, Paper, Water, Wine, Drinks, Audience, etc.
September 2003,Slovakia

Process: Yu Ji wrapped the toilet paper on his naked body like a robe and held a wooden stick, a symbol of mace in one hand and point to the distance, motionlessly but muttering: "I am Caeser". Audiences sprayed the author’s body while drinking the pre-arranged alcohol and other drinks. The drinks would gradually wash out the paper clothing, exposing the body, then the performance is over.

舐纸呼吸-3
行为,2003年10月,匈牙利布达佩斯

Lick wet tissue to Breathe-3
Performance,October 2003,Budapest,Hungar

干炮
行为/录像截图,2004年10月,台南

Fuck the Cannon
Performance / Video still image, October, 2004, Tainan, China

我不颤抖
行为/录像截图,2004年,台东

I am Not Trembling
Performance / Video still image, October 2004, Taitung, China

舐纸呼吸-4
行为/摄影,120cmX220cm(E.d:6),75cmX140cm(E.d:9), 2005年,法国蒙比利埃

Lick wet tissue to Breathe-4
Performance/ Color Photo, 120cmX220cm(E.d:6), 75cmX140cm(E.d:9), 2005,June 2005,Montpellier,France

行为/摄影,80X120cm(Ed:5),2005年

Lick wet tissue to Breathe-4-1
Performance/Color Photo, 80cmX120cm(Ed:5), 2005

失禁1000ml
行为/摄影,120cmX190cm(Ed:6), 90cmX142.5cm(Ed:9), 60cmX95cm(Ed.12), 2004年台北/2005年成都

说明:余极大量饮用纯净水而使自己处于主动失禁状态,然后与一美女相拥亲昵地上场作准备某种行为状,安静之中开始自动流尿,当流尿完毕,行为结束。时间大约15分钟。

Incontinence-1000ml
Performance/Photo, 120cmX190cm(E.d:6) , 90cmX142.5cm(E.d:9), 60cmX95cm(E.d:12), 2004, Taipei / November, 2005,Chengdu,China

Introduction: By drinking a lot of pure water, Yu Ji makes himself in a state of initiative incontinence. Then, he embraces a beautiful woman affectionately which seems they are going to do something. Peacefully, the author starts to pass his urine automatically, and the performance is over when his urination ended. The performance is about 15 minutes.

打望上海
行为/录像/摄影,25X300cm, 120cmX220cm(E.d:6),75cmX140cm(E.d:9), 2008年上海

说明:作者用一支荷兰传统海盗单筒望远镜打望上海。(“打望”四川话,了望,观察,窥视,偷看的意思)选择上海几处有意思的景观,在远处用自我的角度手执单筒望远镜,每处景点分别以一种姿态打望上海这一观察点1小时,并且同时将窥看的细节同时讲述出来。

“Dawang” Shanghai
Performance/Video / Photo, 125X300cm, 120cmX220cm(E.d:6), 75cmX140cm(E.d:9), 2008,Shanghai,China

Introduction: The author uses a Dutch traditional pirate monocular to “dawang” Shanghai. “Dawang" belongs to Sichuan dialect, which means look over, observe, peek, or peep. He chooses several interesting landscape in Shanghai, holds the monocular in the distant place with the self-angle. At each scenic spot, the author “dawang” this viewpoint of Shanghai for one hour with different postures respectively, and simultaneously he will narrate the details through his peeping. 

 

 

 

【现场艺术 - Live Art】

圈禁-24小时
现场,表演,装置,10mX10mX2.5m,2005年10月, 北京

Immure-24hours
Live art/Performance & Installation, 10mX10mX2.4m, Oct.2005, Beijing

材料:A.面粉若干袋/收音机10个/空压机1~2台/电锯/射钉枪等木工工具设备/4x6木工条若干米/油漆等//透明雨衣10件/透明雨伞10把/白色毛线团若干个/电视机/椅子/现场其他参加艺术家废弃的材料和垃圾等//以及24小时需要某些生活食品。B.出场男女10位/专业木工2位。C.现场灯光,一般照度//追光灯2个, 强光,分别锁定两木工

过程:在50--100平方米范围,有规定地堆置上述全部材料A。作品开始,10位男女和2位专业木工着衣(或者裸体)穿透明雨衣, 每人身上悬挂收音机,音量开到最大,手擎透明雨伞(除木工外)全部出场。
在整个24小时表演中,不得离开现场,雨伞不能够关闭,保持撑开状态,可以就地大小便。除规定动作外,在空档和间隙时间,可以自由发挥即兴表现,可以交头接耳,读书,看电视, 进食,饮水,喝酒,也可以自带东西趁机干点私活儿。

(一)10位男女规定动作:在下午3——6点大致阶段,从各自方向走到面粉处,撕开袋子, 相互泼洒面粉, 践踏面粉。在晚上7—12点大致阶段, 拖拽毛线团,从各个方向编织线网于地面或者半空中,并且在线网缓慢撕扯穿行。 在次日零点——次日9点大致阶段, 自由行走动作和小憩。在次日10点——次日下午3点大致阶段,重新开始缓慢穿行,撕扯线网和泼洒,践踏面粉。

(二)在上面行动和时间中,有规定1人,2人,3人,4人为一组,将在下午和晚上到第二天上午至下午的某个时间点上,基本保持在某处原地活动,或站或蹲或坐或躺,以配合木工的动作,详细见下面。

(三)在10位男女表演期间,两木工在他们中间,开动机器,开始制作大小合适表演者的格子木笼子,笼子有横长方体,竖长方体和高低台阶体。当某个时间点上,在某处原地基本保持某一动作的某组表演者出现时,木工即将其以及其旁边的杂物什器都圈禁在制作好的格子木笼中。到第二天下午渐次将每组人员圈禁完毕,还有时间即为每感木笼粉刷油漆,还有时间的话,将再制木笼将自己圈禁,并且在里面不停地粉刷油漆,所有人(木工们的工作和舞者们)被规定在木工们搭建的木质结构中运动,并且逐渐受制于越来越密集的木框架,直至不能动弹,最后的时间达到23小时半的时候,舞者和木工们一起突然爆发,开始拆散整个框架的时候直到时间结束为止,作品完成。

Materials: A, A number of bags of flour / 10 Radios/ 1 ~ 2 units of Air compressor/ Electric motor saw/ Woodworking tools and equipments like power actuated setting device/ A number of 4x6 woodworking articles/ Paint/ 10 Transparent raincoats/ 10 Transparent umbrellas/ A number of white wool ball/ TV/ Chairs// Wasted materials and garbage left by other participating artists on the spot// Food for 24-hour life.
B, 10 men and women/ 2 professional carpenters come on the scene.
C, Lighting: normal illumination// 2 follow spotlights: highlight, locks on the two carpenters respectively.

Process: The author stacks all the above-mentioned materials A prescriptively within a 50 to 100 square meters area. When it started, 10 men and women together with two professional carpenters, dressed (or naked) in transparent raincoats each of them was hanging a radio at the maximum volume, held a transparent umbrella (except the carpenters) and come on the scene.

Throughout the 24-hour performance, all can not leave the scene, their umbrellas cannot be closed to keep opening, and they can relieve themselves on site. In addition to the provisions of action, they can act and improvise freely during the gap, they can whisper, read, watch TV, eat, drink water or liquor, and they can also take the opportunity to do some private work.
(A) Required acts for the 10 men and women: in the period of 3 p.m. to 6 p.m. they come from all directions respectively to the flour stacks, tear the bags, sprinkle the flour on each other, and trample on the flour. In the period of 7 p.m. to 12 p.m. they drag the wool ball, make meshes in all directions from the ground or the midair, and slowly tear the mesh to walk through. In the period of 0 a.m. to 9 a.m. the next day, they can walk, move, and rest freely. In the period of 10 a.m. to 3 p.m. they restart walking, tearing meshes, and sprinkling and trampling on the flour.

(B) In the above-mentioned acts and timing, there are arrangements of 1, 2, 3, 4 persons for each group. At some point in the afternoon and evening to the next morning and afternoon, they keep staying in the original somewhere, standing or squatting or sitting or lying to act in connect with the carpenters’ moves. A detailed account follows.
(C) During the performance of the 10 men and women, the two carpenters started the machine to make wooden grid-like cages among them. The cages were in the right size for the performers, and were in the shape of horizontal rectangle, vertical rectangle and staircase. At some point, when a group of performers appears somewhere maintaining a certain action, the carpenters would immure them with the debris around by the wooden grid-like cage. When each group has been immured successively the next afternoon, if time permits, the carpenters would paint the wooden cages; if there is still some time, then they would make wooden cages to immure themselves and keep painting inside. All the people (carpenters and dancers) are required to move within the wooden structures built by the carpenters, and gradually subject to the wood frame which become more and more intensive, until they are unable to move. At the last, when the timing comes to 23 hours and a half, all the dancers and carpenters suddenly break out, they began to break up the whole wood frame until the timing ends. And the work completed.

黑白动物园
现场艺术(摄影,120X240cm), 2006年11月,台北(邱志杰、余极、张慧合作)

说明:在台北由两岸二十多位表演者共同完成的多媒体“现场艺术”表演。这是一场乍看突兀、脱序、无意义但却是经过设计安排的辩论、涂鸦、竞技、仪式、游戏、歌咏等混搭的行动和偶发、事件、即时影像相结合,以及与观众参与创造的人与物与动物彼此感性互动的实验现场戏剧。

Black and White Zoo
Live Art(Photo120X240cm), Multimedia, Created with Qiu Zhijie, Zhang Hui, November 2006, Taipei, China

Introduction: Three Chinese artists Yu Ji, Qiu Zhijie, and Zhang Hui created this brilliant multimedia ''Live ART'' performance, which was performed by more than twenty Taiwan and Chinese performers. All motions, happenings, events and real-time images appeared in this ''Live ART'' seem abrupt, random, meaningless but practically were prearranged and mixed with debates, contest, graffiti, games, rites, and singing. And it is also an experimental drama of live performance with the sense interaction of human, objects, and animals, which the audiences also participated in.

【装置 - Installation】

风景这边独好
装置,1999
The landscape here is beyond compare
Installation, 1999

高古游丝
装置,锡箔装裱的10米,长案、9米长腊肠、食用油、仿真婴儿玩具(一男一女),85X40X1000cm, 2001

Elegant Gossamer of Primitive Simplicity
Installation, 10 meters of tin foil, 9 meters of sausages, life-size baby dolls, cooking oil, 85X40X1000 cm , 2001,Chengdu

金字塔的舞蹈
装置, 新鲜切片面包、面包虫(一种鸟食),
250x250x230cm, 2001年,成都

Dancing of Pyramid
Installation, sliced bread and mealworms, 250x250x230cm, March 2001, Chengdu


风吹过了
录相装置, 尺寸可变, 2003年12月,南京

Gone with Wind
Video installation, Dimensions variable, December 2003, Nanjing

金缕玉衣?枪
装置,2000X2000X1000cm,2007

Jade Burial Suit Sewn with Fine Gold Wire?Gun
Installation, 2000X2000X1000cm, 2007

水牢
录像装置,铁笼子96X96X169cm, 其他尺寸可变, 2008, 北京

Water Dungeon
Video installation, Cage body 96X96X169cm, Other dimensions variable, March 2008, Beijing

最后的美元
改版美元成品装镜框/录像(内容是印制改版美元的生产过程),电视机,影碟,片长:3分钟,
尺寸可变,2009年9月,上海

The Final US Dollar
Revised  dollar bill finished (framed),Video (Record of the production process of printed  dollar revision), Television, DVD, Duration: 3 Minutes,
Dimensions variable, September, 2009, Shanghai

Key
纸本(加镜框) ,(70cmX50cm)X24, 2010年10月30日
说明:对《概念之酶》其他24位参展作品进行Key words 和 Key drawing。

Key
pen and pencil on paper (framed), (70cmX50cm)X24, October 30,
Description: The " Conception as Enzyme" works the other 24 participating Key words and Key drawing.

放大/尤物
图片装置,120x120cm~7.8x7.8cm,2011年

Blowe-Up / The Love Doll
Photo installation,120x120cm~7,8x7,8cm, March 2011

骷髅和苹果,死亡的秩序
灯箱, 100x100cm+装置,木工版,烤漆,200x185x60cm, 2011.4.

Skull and Apple,The Order of Death
Lightbox 100X100cm, Installation,Collage with joiner board, Baking paint,200x185x60cm, April 2011

【摄影 - Photograph】

我的姿势-1
数码照片, 65x120cm,2001年

My Poses-1
Digital photograph, 65x120cm, 2001

我的姿势-2
数码照片, 65x120cm,2001年

My Poses-2
Digital photograph, 65x120cm, 2001

我的姿势-3
数码照片, 49.96x46.59cm,2001年

My Poses-3
Digital photograph, 49.96x46.59cm, 2001

感官.敏感2001系列
数码照片,120x200cm(Ed:6),60X100cm(Ed:9), 2001年

Sensory?Sensitive Series 2001
Digital Color photograph, 120X200cm(Ed:6), 60X100cm(Ed:9), 2001

洗足图志
摄影,112.5cmX300cm(Ed:3),75cmX200cm(Ed:6),45cmX120cm(Ed:9),2001~2003   

Records of Pretty Girls Washing My Feet
Color Photograph, 112.5X300cm(Ed:3), 75X200cm(Ed:6),45X120cm(Ed:9), 2001~ 2003

文件名:Ph11-台北夜空事件.jpg
台北夜空事件
数码照片, 100cmX200cm(Ed:6),60cmX120cm(Ed:10),2005年

Event in the Nighttime Sky of of Taipei
Digital photograph, 100cmX200cm(Ed:6),60cmX120cm(Ed:10), October 2005

澳门夜空事件
数码照片, 100cmX200cm(Ed:6),60cmX120cm(Ed:10),2005年

Event in the Nighttime Sky of of Macau
Digital photograph, 100cmX200cm(Ed:6),60cmX120cm(Ed:10), December 2005

上海夜空事件
数码照片, 100cmX200cm(Ed:6),60cmX120cm(Ed:10),2005年

Event in the Nighttime Sky of of Shanghai
Digital photograph, 100cmX200cm(Ed:6),60cmX120cm(Ed:10), November 2005

鹿港-中国门面-1
摄影,150x200cm(E.d:5),90cmX120cm(Ed:7)60cmX80cm(Ed:9),2006年

Lugang: Chinese Doorway-1
Color Photograph,150x200cm(E.d:5),90cmX120cm(Ed:7),60cmX80cm(Ed:9), 2006

鹿港-中国门面-2
摄影,150x200cm(E.d:5),90cmX120cm(Ed:7)60cmX80cm(Ed:9),2006年

Lugang: Chinese Doorway-2
Color Photograph,150x200cm(E.d:5),90cmX120cm(Ed:7),60cmX80cm(Ed:9), 2006

云烟过眼-7,摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年

Ephemeral as Smoke and Clouds-1
Color Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

云烟过眼-7,摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年

Ephemeral as Smoke and Clouds-2
Color Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

云烟过眼-7,摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年

Ephemeral as Smoke and Clouds-3
Color Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

云烟过眼-7,摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年

Ephemeral as Smoke and Clouds-4
Color Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

云烟过眼-7,摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年

Ephemeral as Smoke and Clouds-5
Color Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

云烟过眼-7,摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年

Ephemeral as Smoke and Clouds-6
Color Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

云烟过眼-7,摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年

Ephemeral as Smoke and Clouds-7
Color Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

云烟过眼-7,摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年

Ephemeral as Smoke and Clouds-8
Color Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006 

 

 

 

云烟过眼-7,摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年

Ephemeral as Smoke and Clouds-9
Color Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

浮烟落照-1
摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年6月

View as Smoke and Clouds-1
Colopr Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

浮烟落照-2
摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年6月

View as Smoke and Clouds-2
Colopr Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

浮烟落照-3
摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年6月

View as Smoke and Clouds-3
Colopr Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

浮烟落照-4
摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年

View as Smoke and Clouds-4
Colopr Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

海市蜃楼-1
摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年

Mirage-1
Color Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

海市蜃楼-2
摄影,120cmX160cm(Ed:8), 90cmX120cm(Ed:10),2006年

Mirage-2
Color Photograph, 120cmX160cm(Ed:8) , 90cmX120cm(Ed:10), 2006

飞鸟不动-1
摄影,70cmX160cm(Ed:6),52.5cmX120cm(Ed:8),2006年

Fixed Flying Bird-1
Color Photograph, 70cmX160cm(Ed:6) , 52.5cmX120cm(Ed:9),  2006

飞鸟不动-2

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