Xia Xing "2005"

夏星

Xia Xing «2005»

夏 星 Xia Xing «2005»

夏星 Xia Xing «2005»

本画册为夏星个展 «2005» 而出版 2007年2月10日至3月17日展出于瑞士卢森麦勒画廊 北京－卢森 This catalogue was published on the occasion of Xia Xing’s exhibition «2005» at Galerie Urs Meile, Beijing - Lucerne, Lucerne, Switzerland, February 10 – March 17, 2007

时日之痕

The Remains of the Day

夏星的图片史纪

The Picture Chronicle of Xia Xing

闽丽柯

Ulrike Münter

以看报开始新的一天意味着离开私人空间的庇护。这几页用再生纸印成的报纸，很少会为读者准备一些好

Beginning your day by looking at the papers implies leaving the cozy retreat of private life. Only ever so rarely has the news printed on recycled paper anything positive to offer to the readers. For not only art and literature as a rule tend to focus on the dark side of life—journalists as well are routinely drawn to scenes of accident or scandal, of grief or manifestations of power. Every day brings new papers, new news, as it were. Like some tidal phenomenon, the deluge of texts and images is flooding the reader’s previously stored information.

消息，因为，不仅在艺术和文学中，人们关注的焦点大都集中在生活的阴暗面上，记者按照职业惯率也会 奔赴那些发生不幸事件、丑闻或者炫示权力的现场。新的报纸、新的报道每天涌现；如同潮起潮落，文字 和图像的洪流冲撞着读者脑中存有的信息。 2004年，居住在北京的中国艺术家夏星（1974年生于新疆石河子）开始了他图片编年史的创作。他从自

纸原件，从原则上来说也是作品的组成部分，展出时却不必与作品同时展出。

In 2004, the Chinese artist Xia Xing (born in 1974 in Shihezi, Xinjiang province, now living in Beijing) started his picture chronicle. From the issues of “Xin Jingbao” (New Beijing News, published since November 2003), he chose front-page photos reporting about remarkable events to transfer the scenes in these photographs—more or less faithfully to details—in oil and often with broad brushstrokes, on canvasses of identical size: 70 cm in height and 100 cm in width. If the original photo was a portrait format, this self-imposed restriction to the landscape layout forces Xia Xing to more intrusive interventions.

不带大标题的图像

Each annual sequence is composed of around 60 pictures, each titled with the publication date of the newspaper. The related title page that carried the original photo and the article that went with it are technically part of the work though not necessarily displayed as well.

2003年11月开始发行的《新京报》上选取头版照片，然后将照片上的场景基本上原搬不动地用油画颜料和 常是比较粗大的笔触画到尺寸始终一样的画布上（70cm高、100cm宽）。如果报纸的照片是竖版的，夏星 对自己油画尺寸统一的要求就迫使他对照片原有的构图进行较大一些的改动。 每个年度系列都包括60幅左右作品，每幅作品的标题都是相应的报纸发行日期。带有照片和相关文字的报

报纸的读者是如何进行图像记忆的？如果将那些大标题抽去，媒体上的图像在何种程度上还是一种信息载

Pictures without headlines

体？另外，有没有一种全球化的图像记忆？在夏星的作品前，观看者可以亲身体验到媒体所带来的的可 能性和界限。当然，对于一个中国观看者来说，他对图片内容会比一个外国观看者更为熟悉，特别是在图 片展示的场景中出现带有汉字的标幅或牌子的时候，在《05年5月21日》和《05年10月17日》这两幅作 品中，文字甚至处于画面的中心位置。那个脖子上挂着一块牌子、面容呆滞地跪在地上的男人，第一眼看 上去很有可能会让人觉得他是在遭受公开屈辱，然而，牌子上的文字却告诉我们，这里讲的是一个寻人事 件，或者更准确地说：这个男人是在一边愤诉失妻，一边威胁报复。牌子上写的是：“寻妻马艳春，三天 内不归必杀人”。 新闻图片所纪录的事件与现在的时间距离越远，对事件的关注者也离图片的事件背景越远；再者，艺术 家不用新闻原有的大标题作为作品的名字，更是加速了这种脱离。夏星的“图拟图”作品在观看者那儿

How does the image memory of newspaper readers work? To what extent do press photos still convey information when you take away their caption text? And: is there such a thing as a global image memory? Standing before Xia Xing’s paintings, the viewer realizes the potential as well as the limits of the medium at first hand. Chinese viewers will no doubt be familiar with much more of the contents shown in the photos than people from outside China, in particular since in several cases the scenes contain hanzi characters on banners or billboards. As for works "05.05.21" and "05.10.17", the script is actually at the center of the painting. While the kneeling, apathetically staring man with the sign around his neck immediately makes us think of some form of public humiliation, we learn from the inscription that this is in fact a missing persons report—and what’s more, the writer who deplores the loss of his wife is threatening retribution in the same breath, for the text says “I am looking for my wife, Ma Yanchun. If she does not return within the next three days, I will kill somebody.”

激活了一个思想上的搜索行为、一种在自己的知识区域内的寻觅、一次进入个人图像和信息库的逡巡。 理解和进入图像的另外一个新途径，是报纸相应的文字报导。但恰恰是在面对04年和05年的系列作品 时，我们会发现，某些可能曾强烈地引起过我们感情波动的事件已经记不清了。什么把《05年2月17日》 上的那个人弄得那么惨？《05年5月20日》上的那个女人，她是在痛哭那些无数矿井事故受害者中的一个 吗？有的时候，画面上的内容也能被猜出个大概。比如，《05年11月27日》上的那群男人很可能是一个

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With increasing temporal distance from the event to which the press photo refers, even the most informed person loses touch with the image’s content. Another thing is that the artist decided against using the associated headline as the title. Xia Xing’s “pictures based on pictures” thus set off a mental search program in the viewer, an exploration of the scope of one’s own knowledge, a virtual walk through the individual image/information archive. A further source of this fresh approach to images

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官方代表团和一个记者在视察灾情现场。我们之所以不会马上想到某一个具体事件，是因为此类报道经 常不断。 夏星的作品让时间在想象中逆流，颠倒了新闻摄影的原则。报道每日新闻的照片应该尽快地将被摄事件传 导给读者，与所记录的事件隔得越短越好，而夏星却重新拣起“昨日黄花”，并给了它新的功能。图片在 脱离了具体的新闻大标题时，他的作品系列让我们体会到，我们的关注、激愤和感动是如何的转瞬易逝。 一些反复出现的主题，如政治家们的会面、人群的聚会、警察的干预、矿井事故和环境灾害，给了瞬息万

is the news story that went with it. Particularly in conjunction with photos from the 2004 (but also the 2005) sequence, one becomes aware how quickly even incidents that at the time were most emotionally charged can no longer be remembered. How did the person in "05.02.17" get mauled in this way? Is it a victim of one of the countless mine accidents that the woman in "05.05.20" bemoans?

Sometimes only vague attributions can be made. For instance, it is quite likely that the male group in "05.11.27" is an official delegation and a number of journalists examining the aftermath of some environmental disaster. The reason why one does not immediately associate a concrete event to the picture is the sheer frequency of this type of news.

变的时事要闻一种连续性，所谓的轰动标题回头看来便失去了轰动。

媒体的切换：从照的照片到画的图画 在比较新闻照片和夏星的画作时，尽管画家很明显地强调作品和新闻图片在形式上的一致性，我们还是会 观察到他绘画手法上的不同。他在重现政治权力场景的时候（如《05年4月30日》、《05年5月13日》） 采用了平板的、近乎单色的色调；在表现人的苦难或幸福的场景中，画家对人的面部、乃至背景处理常常

Xia Xing’s works create an imaginary reversal of time, they turn the standard dogmas of press photos into their opposite. For the principle of such images is to reach the reader with the most possible up-to-dateness, i.e. with little or no temporal distance from the events shown in the photos. Xia Xing, however, gets the “water under the bridge” to flow back and invests it with a new function. Detached from the concrete headlines, his picture sequence make us realize the transitory character of emotions such as curiosity, outrage or dismay. Recurring motives like the meeting of politicians, mass gatherings, police interventions, mine accidents or environmental disasters show a continuity of the briefly topical, which in retrospect takes all the punch out of the punchline caption.

采用游离不安的色彩组合，如在《05年1月6日》中是新闻头版大标题和被举起示人的新生儿——第13亿个 中国公民，《05年1月19日》中是在伊拉克被劫持的中国民工：不管是那个肤色粉红鲜嫩的新地球公民被

A quantum leap in the medium: from photograph to painting

白衣护士和洁白的床单围绕着，还是那些带有敌意的灰、蓝、尘土色调的伊拉克暴力牺牲品生死未卜，正 是画面中粗而富于表现力的笔触和色彩的强度，将一种骚动不安的状态映入画面。不少作品袭用照片原有 的俯视或仰视角度，则进一步加强了这种不安的效果。 画面尺寸的统一性是夏星年度系列作品中明白无误的艺术声明。不管所参照的新闻照片内容是什么，所有 场景一律被纳入一个宽幅中，比较紧密地挂在同样高度，使作品系列更有了一种群体归属感。“我想消解 我们对事件的重要性或不重要性的习惯上的判断”，夏星说。政界的显赫人物也好，普通矿工也好，人的 悲欢离合也好，腐败丑闻也好，股票起落也好，夏星将它们排入图流之中，使它们成为遁步前行的历史故 事中的一部分。我们每天都在亲身经历着或通过报纸闻听着这个历史。画家代表性地将其中的某些事件拾 取出来，以免它们被遗忘，在创作的过程中，重新唤醒对它们的记忆，通过对作画技法的选择为它们加上 个人色彩，而将所收集的图像留给观看者。夏星作为一个绘画者，通过选择这种绘画及其与所画对象无法 回避的近度——做了类似于档案库管理员的工作：不仅消息本身，事件（包括事件涉及人）与观者之间所 产生的思想情感联系也得到保存。

记录历史的艺术家 每一种艺术史，不论是西方的还是东方的，对艺术家在社会中的地位和作用在不同时期都有新的定义。 20世纪初，中国艺术圈有过一段繁荣时期，与国际交流频繁活跃。建国初期，尤其是文化大革命，中断了 中国现代艺术的发展。毛泽东时代的艺术只能是党的传声筒，绘画风格局限于社会主义的写实派；突然与 世断绝，中国的现代绘画失去了不受制约、自由发展的可能性。70年代末中国对外开放之后，中国艺术家 们尝试着在不同的艺术类型中寻找表达自己感受和意愿的新的艺术形式。山水画和书法的复兴、怪异眩目

Comparing the photos with Xia Xing’s paintings, we notice—despite an obvious preference for the image content, as opposed to an ambition of formal originality—certain variations in the technique.

While the artist displays scenes of political power presentation, such as in "05.04.30" and "05.05.13", with strikingly flat and almost monochrome coat application, he composes all faces—but often also the backdrops of scenes portraying human distress or even happiness—with a well-managed flickering illumination. In "05.01.06" it is the front-page headline and public praise of the newly-born 1.3 billionth Chinese; in "05.01.19" it is the abduction of Chinese migrant workers in Iraq. Whether it is a baby with a rosy complexion surrounded by surgery nurses and clean white sheets, or the victims of Iraqi despotism in unwelcoming gray, blue and dusty beige tonalities: it is the almost violently expressive brushwork and the intense coloring of the paintings which artistically reflect a state of agitation. The worm’s, or bird’s, eye view in many photos that is transferred to the painting adds an additional element of disconcertment.

The unmistakable artistic statement of Xia Xing’s annual sequence is the alignment of formats.

Regardless of the original’s subject, all scenes are brought into a landscape layout. Hanging all paintings closely together at the same height adds to convey to them the status of a collective entity. “I want to do away with the customary interpretation of events as being important or unimportant”, says the artist. High-ranking politician or coal miner, the heights and the depths of human life, corruption scandal or stock market trends: Xia Xing fits them into the stream of images, lets them become part of a successively proceeding history that we are witnessing day by day—or the facets of which we take account of, by reading the papers, for example. The artist snatches some showcase occurrences from oblivion, revives them in the process of painting, invests them with a personal touch by choosing a particular technique, and then surrenders his image collection to the viewer. By going for a form of painting that is in undeceivable proximity to its objects, this painter assumes the mission of archivist and records manager. And it is not only information as such that is archived here but also the empathetic connection between the occurrence (as well as the persons involved in it) and the viewer.

的毛-波普和挑衅的玩世现实主义之外出现了一类新艺术家，夏星也是其中一位。不是为艺术而艺术，而

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是将艺术创作作为一种生活态度，作为在急剧变化的当今生活现实中采取的一种立场。重要的不是艺术商

The artist as chronicler

界的聚光灯，不是对自己艺术独创性的炫耀，日常生活中的经历成了创作的主题。 作为生活在北京的艺术家，夏星选用北京当地的一份日报的决定是与此一贯的。该日报以近45万份的日 发行量（该报社数据），在相当的程度上影响和体现了首都的公众舆论，尤其是它—尽管隶属于党的 新闻媒体—志在成为新兴中产阶级的代言人。除了政治、经济之类的官方新闻，也有对政府部门的错 误颇具批判性的报道，例如对非典病人的不妥善处理或对一些自然灾害前政府没有及时发布警告。一个 编者按中有这么一段话：“我们为我们的报道承担全部责任。我们可能无法报道某些事件，但我们所报 道的绝对不会是虚假信息”（转引自西方媒体）。尽管在中国还远远谈不上西方意义上的言论自由， 《新京报》还是标示了中国新闻媒体的转变，反映了中国都市居民现实生活的变化。夏星的图片系列记 录了这些发展，通过对照片和绘画技法的选择，画家将自己的东西一并融入了他所绘制的场景之中。

Every history of art, whether Western or Eastern art, is characterized by periodic redefinitions of the artist’s function and position within society. The art scene of China, which had been thriving and alive with international exchange in the early 20th century, was brought to a grinding halt decreed by the early People’s Republic and even more so by the Cultural Revolution. Suddenly cut off from the rest of the world, the independent development of Chinese modern art was stalled for quite some time. Under Mao, art was nothing but an extension of the party line. All imagery got reduced to that of Socialist realism. After the opening of the country at the end of the 1970s, Chinese artists searched, in the most diverse genres, for new forms of expression that reflected their own temperaments and intentions.

Aside from a revival of landscape painting and calligraphy, the garish Mao pop art, and the provocative attitude of Cynical Realism, there was the group of artists that Xia Xing can be associated with. They are not interested in art for art’s sake. Creating art to them is a state of mind, it serves to define their point of reference in the rapidly changing reality of life. What really counts is not the limelight of the art industry, the vain dramatization of one’s own originality. The framework of everyday life becomes the very subject of one’s work.

So there is a profound logic in Xia Xing’s decision, as an artist living in Beijing, to focus on a daily newspaper that—with more than 450,000 sold copies every day (number given by the paper itself)— has no little influence on the capital’s public opinion, but also represents that opinion. In particular since this very newspaper, although administratively under the control of the Communist party, has the self-proclaimed aim to become more of a mouthpiece for the newly forming middle class. Next to semi-official articles on politics and the economy, one may read about the questionable handling of SARS patients or a bad storm disaster that the authorities didn’t bother to warn the population about.

An editorial note says, “We accept all responsibility for the news we print. There are some things we will not be able to report on. But we will not write any news that is false.” Even though there can be no question of freedom of the press in the Western sense, “Xin Jingbao” marks a real upheaval in the media landscape, reflecting at the same time the changing daily realities that the inhabitants of China’s metropolises are living with. Xia Xing’s picture chronicle documents these developments. By the choice of photos and by the painting technique, his personal perspective imprints itself permanently onto the pictures we see.

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无奈与愤怒

Powerless and furious

闽丽柯、苏晓琴与夏星的对话

Ulrike Münter and Su Xiaoqin in conversation with Xia Xing

闽：你怎么会想到用《新京报》的头版照片来做你艺术作品的题材的？

Ulrike Münter: How did the decision come about to make front-page photos of the “New Beijing News” (Xin Jingbao) the subject of your artistic work?

夏：我本来学的是版画，我以前做过抽象木刻。然后我开始拍图片：拍一些水面、镜面、车身上街道，建

筑物等的影子。这些都是与生活保持着距离的，对生活是一种冷漠的态度。后来觉得，我住在这里，住 在北京，是这个社会的一部分，这些应该也在我的作品中表现出来。而恰好在这段时间里《新京报》出来 了。这份报纸有一些确实比较有批判性的报道。我每天都会读这份报纸，就像很多在这里生活的人一样。 闽：在你的《2004》、《2005》和《2006》系列里，你所选照片的主题内容相当不同，但是，你统一了作

品的尺寸大小，这样，照片所展示的不同层次也被抽取了。为什么？ 夏：这些内容都一样是现实。虽然政治事件看起来似乎比个人的遭遇关系更重大，但是所谓的大事和小事

都是连接在一起的，不可以分开的。我想站在中间，想通过我的绘画获得对事物的另一种观看角度。有时 候一个报道会让人很愤怒，可是我也知道，对这些事情是无能为力的。是一种很无奈的感觉，也包含着愤 怒。画画的时候，就是在尝试着至少通过绘画方式把自己从这种感觉中释放出来。 闽：这些新闻照片你都是一对一地搬到你的作品中去的吗？或者也会选取一些片断，确定一个剧情中心，

然后舍去照片的其它部分？举《05年6月14日》这件作品（缝裂的背景，上有抓痕）作为例子吧，这幅画 一下子就引起了我的注意。很难想象这幅画原型照片的样子。 夏：一方面我会挑选在公众中引起了相当大反响的事件的照片，这些照片我都会尽量按照原来的样子画。

另一方面，也有一些—尤其象这幅作品—是以某种方式打动我的照片。这个带有抓痕的照片是有关黑龙江 沙兰镇的一次事故的。当地发生水灾，淹没了一个小学，许多孩子都丧生了。当地政府本来可以防止这次 事故的。当时的气象部门曾经怀疑过会发生水灾，政府本来应该对沙兰镇的百姓提出警告的。 苏：那这些抓痕是谁留下的？

Xia Xing: Actually, I studied printing and typography and my first art was abstract painting. Then I started photography: shooting empty streets, architecture, etc. Then at some point, I felt this was no longer in tune with my attitude to life. I live here in Beijing, I’m part of this society, and this should somehow be reflected in my work. And it was just at that time that “Xin Jingbao” was founded. There are a number of really committed and critical journalists who work for this paper. I’ve been reading every single issue, like many other Beijingers.

Ulrike Münter: By bringing all your paintings of the "2004", "2005" and "2006" sequences into the same format, you deprive all those widely different issues that are being reported on of their individual dimension. Why?

They are all real in the same way. And even though political events seem to be of greater relevance than, say, individual destinies, I want to achieve a different perspective on things with my work. Sometimes a news item makes me enormously angry but of course I know I have no influence whatsoever. It is this sense of powerlessness, but I am also furious. Painting for me is an attempt to escape this feeling, at least while I’m painting.

Xia Xing:

Ulrike Münter: Are those press photos all transferred one-to-one to your pictures or do you sometimes select certain elements? I mean do you decide on a dramatic center, leaving out parts of the picture?

For instance, what about "05.06.14" (scratch marks on a fissured surface)? This work immediately caught my eye. It is impossible to imagine the photo it was based on.

Xia Xing: On the one hand, I choose pictures of events that have had a lot of resonance with the public, and these items I by and large adopt as they are. On the other hand—and that applies to this photo to a particularly great extent—there are images that move me deeply in some way. The picture with the scratch marks refers to a disaster in Liaoning province. A river overflowed and flooded a school.

Many children lost there lives in this incident. The local government could have prevented this; there had been weather forecasts that almost predicted the flood. The teachers and students could have been warned.

夏：现在已经不知道这些抓痕是那些想救自己，还是那些想救别人的人留下的了。不过这并不重要。我们

在这里几乎能够看到一种无奈。这些本来可以避免的事故尤其让我愤怒。这样的报道会让我马上想到我家

Su Xiaoqin:

And who made those marks ?

乡的一次事故。1994年12月8日，在克拉玛依市的友谊馆有一个义务教育与扫盲评估验收团的活动，因为 灯泡和幕布靠得太近，幕布起火，引起了火灾。应该是让妇女儿童先走，但是疏散的时候有人喊“让领导 先走！”。结果有300多个人被烧死了，其中288个是孩子。这个地方原来应该建一个纪念馆的，但是十几 年过去了，当地政府一直还没有建。

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Whether the scratches in the picture were produced by people trying to save themselves or by people who tried to save others, is no longer known but it doesn’t really matter. What it shows, in a way, is all this powerlessness. This type of avoidable accidents makes me more angry than anything. And you know, the news story immediately reminded me of a disaster in my home province. In late 1994,

Xia Xing:

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苏：但是这一幅画让人完全联想不到一张照片。它体现的完全是另一种审美效果；看起来，就好像你把自

己的愤怒刻进了画里。 夏：是的，可以这样说。原来照片上的手要小得多，在画上我就选了照片的一个部分，并且把手放大了。

there was an official ceremony in honor of the best students from all over Xinjiang when suddenly a fire broke out on a nearby oilfield. They chose to first evacuate the party bigwigs with buses, and that’s why two hundred children died in the blaze. The date has been a day of mourning in the area ever since.

Su Xiaoqin: As it is, the painting does not even suggest any original photo. It is esthetically quite different.

Actually it looks as if you scratched your own rage into the picture.

苏；在这幅画里，你对照片做的改动是不是比别的作品都要大？

You could see it that way. The hand imprints on the photo were a lot smaller; here I chose a section of it and enlarged the hands.

Xia Xing: 夏： 是的。基本上我画画都会根据事件的内容选择画的方式。比如在2005年系列里的最后一幅《05年

12月16日》，这里是一个自行车赛车手发生的事故。或者这些表现政治场面的画，比如《05年4月 30日》和《05年5月13 日》。这些图像本身就给了我一定的距离感。 2006年12月

Su Xiaoqin:

So in this painting, you changed more than in most others?

Xia Xing: Yes. In general, I decide on my painting technique for each individual case. It depends on the subject of the picture. Take for example the last one from the 2005 sequence, "05.12.16". This is about the accident of a racing cyclist. Or the ones showing political representatives of some kind, like "05.04.30" or "05.05.13". This sort of subject I treat from a much greater distance.

December 2006

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«2005» Series of 60 paintings oil on canvas 70 x 100 cm

系列作品60 幅 布面油彩 70 x 100 cm

05.01.04

19

05.01.06

20

21

05.01.19

22

05.01.26

23

05.01.30

24

05.02.02

25

05.02.16

26

27

05.02.17

28

05.02.20

29

05.03.17

30

05.03.20

31

05.03.23

33

05.03.24

34

35

05.03.27

36

05.03.31

37

05.04.05

38

05.04.13

39

05.04.14

40

41

05.04.25

43

05.04.30

44

45

05.05.13

46

05.05.19

47

05.05.20

48

49

05.05.21

50

05.05.23

51

05.05.24

52

05.06.05

53

05.06.09

54

05.06.10

55

05.06.11

57

05.06.13

58

59

05.06.14

60

05.06.17

61

05.06.20

62

05.06.26

63

05.06.28

64

65

05.06.30

67

05.07.01

68

69

05.07.03

70

05.07.06

71

05.07.17

72

73

05.08.02

74

05.08.13

75

05.08.22

76

05.08.24

77

05.08.27

78

05.09.09

79

05.09.11

80

81

05.09.12

82

05.09.14

83

05.09.30

84

05.10.07

85

05.10.17

86

05.10.19

87

05.11.14

88

05.11.27

89

05.12.09

90

05.12.10

91

05.12.14

92

05.12.16

93

Xia Xing

Acknowledgements

1974 born in Shihezi, Xinjiang Province, China Lives and works in Beijing, China

Xia Xing would like to thank Ai Weiwei, Nataline Colonnello, Ulrike Münter, Li Jianhui, Livia Gnos, Leister Collection, Enrico Polato and Su Xiaoqin

Exhibitions 2007 - "2005", Galerie Urs Meile, Beijing - Lucerne, Lucerne, Switzerland 2006 - "2004", CAAW (China Art Archives & Warehouse), Beijing, China 2003 - "in search of...", CAAW (China Art Archives & Warehouse), Beijing, China

夏星

致谢

1974年出生于石河子，新疆，中国 生活及工作于北京，中国

夏星对以下人士表示感谢： 艾未未，箫岭，闽丽柯，李建辉，丽微亚·葛娜斯，莱斯特收藏，里柯，苏晓琴。

展览 2007 - «2005»，麦勒画廊 北京-卢森，卢森，瑞士 2006 - «2004»，艺术文件仓库，北京，中国 2003 - «质问...»，艺术文件仓库，北京，中国

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BE IJ ING - LUCE RN E

出版：麦勒画廊 北京－卢森 编辑：丽微亚·葛娜斯，麦勒画廊 北京－卢森 文章：闽丽柯 设计：丽微亚·葛娜斯 翻译：Werner Richter，李双志 中文校对：苏晓琴，李建辉 摄影：白继开 封面： 《05.03.20》，布面油画，70 x 100 cm（局部） 第4-5页： 《05.04.05》，布面油画，70 x 100 cm（局部） 第16页： 《05.08.22》，布面油画，70 x 100 cm（局部） 第95页： 《05.05.23》，布面油画，70 x 100 cm（局部） © 2007 麦勒画廊 北京－卢森，夏星

印刷：中国

Published by: Galerie Urs Meile, Beijing - Lucerne Edited by: Livia Gnos, Galerie Urs Meile, Beijing - Lucerne Text: Ulrike Münter Design: Livia Gnos Translation: Werner Richter, Li Shuangzhi Chinese Proof-reading: Su Xiaoqin, Li Jianhui Photography: Bai Jikai Cover: Page 4-5: Page 16: Page 95:

"05.03.20", oil on canvas, 70 x 100 cm (detail) "05.04.05", oil on canvas, 70 x 100 cm (detail) "05.08.22", oil on canvas, 70 x 100 cm (detail) "05.05.23", oil on canvas, 70 x 100 cm (detail)

© 2007 Galerie Urs Meile, Beijing - Lucerne, Xia Xing All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including but not limited to photocopying, recording or by any information storage and retrieval system, without permission in writing from the publisher.

Printed in China

Galerie Urs Meile, no.104, Caochangdi, Chaoyang District, PRC -100015 Beijing, T+86 10 643 333 93 Galerie Urs Meile, Rosenberghöhe 4, 6004 Lucerne, Switzerland, T+41 41 420 33 18 galerie@galerieursmeile.com, www.galerieursmeile.com

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