Jul 3
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Mar 30
一个白 扩大的事端
从反面获得力量
鹤的灯塔 光芒之颈的伸展
星球蓝色的哭泣
掉入银河系

这镜中之镜 省略所有的陶瓷
就象医院放弃全部的白
女子细小的叫喊 放弃处女之身

沿着脚的集中营 战事一再嘹亮
沙漠集中了气候的七宗罪

反手的立面 植物忘记
自己的乳名 玻璃的情人映出自身的虚无
冰箱漠视自己的冷

海洋毕业于老虎的大学
建筑学上的云
一个不断加高的吼叫

舞蹈 旋转的向度
马匹奔向自己如奔向别人

2000.11
Mar 29
一把斧头也 帮不了这样的坏天气
哭又不是唯一的瓷器 谁躲
不开白纸 谁就学活字 去印刷

电视的活法太象睡眠
离开旅行 干点别的 比如花样滑冰
和一个女人离开 在海上遭遇
鱼也钻研地理 顺着绕

镜子在浪里锯开自己
裂 象城市的爱情粉碎机

照片摆出架子 离光拧开的自来水有多远

1999年
Mar 15
1.

快 一声垃圾信号弹
就像搭桥 语塞的行人用药
打招呼
广告自己挤着
不要告诉我摩擦使
城市发光

同学灿烂 登机登到明天

2.

牙齿放假 儿子
几号火车拔河 不懂碗的心事

嘴型要乖 听从让学习化妆

念到25页 一起去购物

3.

楼拦住我们 不是老鹰捉小鸡
刺刀拦住我们 不是照镜子

大家记住 才是真的记住

敌人嬉皮笑脸
让战斗拖得像面条一样长


4.

牡丹鲜艳 口哨声不断
审讯从火锅上冒出

椅子自己发电

打算自己去作案
筹划了好几天

黑暗能不能像一个骨灰盒
让我提着去串亲戚

5.

对着公园放 有些风的唾沫
一个接一个频道
兔子背着村庄 在车站打转
接沙子 寒流和慈禧

录音里的朝政有雪花效果

你计划的
是轰 是炮打西餐

6.

在键盘上插秧 在屏幕
的水田上 高兴的笑断线
就是伤害的编程
就是搜索 开学和陷阱

纳粹式的灌 从阶级的锐角
梯子握着宽带
解衣 互动一样闷

一样发送 一样拷贝
技术的骑乘式 点击奴隶

7.

错了 龙卷风激将法
打交道的声线 和蚕一样缠
氢和氧的肩膀着火

复印一样穿越
还以为煤矿就是天空

8.

尿和大腿打开的扇面
该画些什么
这用于祭奠的湿 扰乱地图的骑兵
漂流一样放肆
接头淹没了曲线
兴奋的叫醒瀑布

9.

妈 还有珍珠做梦
粉红色的军队拿裙子作掩护
吓醒炮弹的激光脸

10.

老在情节里闪 借着灯光
女夹子 软体下的结巴
坏了多少身子
多少电筒跑着光的接力赛

爱上风景点 和寺院合影
理论上的咽气
一下子就扑上来咬

11.

代替咬出场 戏剧的牙齿摆弄
着声音 四处打探道德的分贝
超音速溜冰吃了苦头

抵达体育的霓虹灯
跑着地图
小姐 擦点麻醉剂做的面膜
Mar 11
By Katie Stilp

Press-Gazette correspondent

An exhibit of global and cultural significance is on display at the University of Wisconsin-Green Bay through March 23.

“Ruins: An Exhibition of New Video and Photography from China” looks at the new economic culture emerging from one of the oldest cultures on Earth through six video works and 23 large-scale color photographs by 16 Chinese artists.

“The new China is being built on these ruins, and all the artists in the show (are) dealing with how the old China is being razed and new skyscrapers, Starbucks and McDonald’s are being put in their place. What is in the past is now in ruins (and) being destroyed, and this new culture is emerging from that,” said William Andersen, a UW-Milwaukee lecturer who is bringing the exhibit to Wisconsin.

After originating at UW-Milwaukee, the show also was displayed at Beloit College.The exhibit’s title was taken from an art essay titled, “Ruins, Fragmentation, and the Chinese Modern/Postmodern” by Wu Hung.

Zhang Zhaohui, the exhibit’s Chinese curator, says “Ruins” carries three meanings: “First, it refers to the demolition sites of old buildings in urban or rural areas. Second, it encompasses social phenomena or spectacles that mix different cultural icons without integration and judgment. And third, it signifies the fragmentation and collapse of a social order.”

Photographs include “Moldy Landscape Series” by Liu Jin, which shows mold growing on hundreds of children’s toy cars. This piece represents the one-child policy that China has implemented.

Stephen Perkins, curator of art for the Lawton Gallery, said his favorite piece, “Hand Series by Sheng Qi,” shows three photographs of a hand with only four fingers holding a smaller photograph.

Perkins likes the story behind it. The artist cut off a finger to protest China’s communism, then fled the country.“It’s a very, very powerful image. Once you find out a little bit about the themes (and) the reason the guy’s only got four fingers, then it becomes a little bit more interesting,” he said.

Jessie Allen, a freshman art education major at UWGB, likes Ma Yongfeng’s “Immaterialism Garden,” which shows a tree with bare branches in a zoo-type setting.

“I liked how it looked so empty. It looked like something was missing,” Allen said.


Andersen said he brought the exhibit to the United States hoping to make people more aware of the world, especially China: “I just feel that the U.S., especially here in the Midwest, we’re too closed off from the rest of the world. People don’t seem to be aware (of) these global connections that are affecting their lives.”

He added: “It’s not just about getting cheaper tennis shoes manufactured in China. It’s transforming China, and that transformation is going to affect us. We’re intimately connected with the rest of the world, and people need to be aware of that and the cultural and social implications of that. Their lives are being transformed, and our lives are being transformed.”

One of most well-known and misunderstood videos, “The Swirl,” shows expensive Chinese koi fish being put in a washing machine.

Andersen said the artist intended the koi fish to represent abundance, wealth and the whole scholarly intellectual tradition of China. The washing machine represents the West and the new life the people of China are striving for.

“Traditional culture is just being thrown into this washing machine. And, yes, it’s going to make your fish clean, but what kind of havoc is it going to have on tradition and life?” Andersen said.
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