HERO！2007-2008 齊文清個展
主辦：盛世喜神美術(shù)館 當(dāng)代藝術(shù)沙龍
協(xié)辦：北京嘉寶國際拍賣有限公司 環(huán)鐵時代Art美術(shù)館 粉火藝術(shù)空間 不同空間
策展人：戴卓群
開幕時間：2008年5月1日下午3點(diǎn)
展覽時間：2008年5月1日——5月15日
展覽地點(diǎn)：北京大山子798藝術(shù)區(qū)內(nèi)
媒體支持：當(dāng)代藝術(shù)網(wǎng)、《當(dāng)代藝術(shù)》雜志、藝術(shù)先鋒網(wǎng)
一切關(guān)乎個人精神的物象在其間肆無羈蕩，個人化的表達(dá)已經(jīng)延展到了一個關(guān)乎現(xiàn)世價(jià)值觀的層面。相信這樣的物語將對當(dāng)下浮泛在“太虛幻境”里的人們一個有力的沖擊，粗獷的、撒野的、不妥協(xié)的，做為意志和表象的世界，這是文清的自我方式。
戴卓群
2008．4
HERO— 2007-2008 Qi Wenqing Personal Exhibition
Hold by：Millennium Hilarity Art Museum；Contemporary Art Salon
Assisted by：JIA BAO Intl Auction Co, Ltd; 798 TIMES Art Museum;Pink Fire Art Space; Varies Space
Masterminded by: Dai Zhuoqun
Opening time: 3 pm, May 1st, 2008
Gallery time: May 1st, 2008—May 15th ,2008
Where: 798 Art Space, Da shanzi Beijing
Theme: All related to an individual spirit surge without limitation, which makes personal expression extend to the word values. Trusted that it’s the concussion to the people who live in the unreal shadow land, straightforward, unmannerly, un- subdued, which are as the symbol of volition and the world of representation---This is Wenqing’s style.
齊文清
1980年生于中國山東
畢業(yè)于中國人民大學(xué)徐悲鴻藝術(shù)學(xué)院油畫系
現(xiàn)為職業(yè)藝術(shù)家
現(xiàn)居北京朝陽大山子環(huán)鐵藝術(shù)區(qū)
主要藝術(shù)活動：
個展；2007年 “風(fēng)景 作文”齊文清油畫作品展 北京
聯(lián)展；
2008年 “走進(jìn)紐約”中國當(dāng)代藝術(shù)家提名展 美國 紐約
2008年 “環(huán)鐵時代 年輕一代”藝術(shù)家聯(lián)展 北京
2007年 2007 Heyri亞洲青年當(dāng)代藝術(shù)節(jié) 韓國 首爾
2007年 中國當(dāng)代藝術(shù)邀請展 美國 邁阿密
2007年 首屆70后藝術(shù)家邀請展 杭州 德國
2007年 中國當(dāng)代最有潛力藝術(shù)家聯(lián)展 德國 奧地利
2007年 完美生活 新無產(chǎn)者青年藝術(shù)家第二回聯(lián)展 上海
2005年 “視覺驚艷”上海青年美術(shù)大展 上海
Qi Wenqing
Born in 1980 from Shandong, China
Graduated from Xu Beihong ART INSTITUTE of RENMIN UNIVERSITY OF CHINA, majored in oil-painting
As professional painter now
Live in 798 Beijing Art Place , Chaoyang District
ACTIVITIES
1. VISION AMAZING Youth Art Exhibition, Shanghai China, 2005.
2. PERFECT LIFE, 2nd New Youth Proletariat Art Joint-exhibition, Shanghai China， 2007.
3. China Contemporary Potential Artists Joint-exhibition，Austria Germany，2007.
4. China First 70s Artists Invitation Exhibition，Hangzhou China,2007.
5. China Contemporary Art Invitation Exhibition, Miami USA, 2007
6. Heyri- Asian Youth Contemporary Arts Festival, Seoul Korea, 2007.
7. SCENERY & COMPOSITION— Qi Wenqing Oil-painting Exhibition ，Beijing China，2007.
8. 798 TIMES, YOUTH GENERATION Artists Joint-exhibition, Beijing China, 2008.
9. INTO NEW YORK China Contemporary Artists Nominated Exhibition, New York USA, 2008.
藝術(shù)先鋒網(wǎng)對談（策展人：戴卓群 藝術(shù)家：齊文清 ）
藍(lán)：先請卓群介紹一下為齊文清做個展的原因？
戴：首先是因?yàn)樗淖髌罚芸春盟臇|西。其次，生活中是很好的朋友，有機(jī)會促成這樣一件事情。
藍(lán)：那文清的作品最吸引你的地方是哪些，比如說手法、理念或者思想？
戴：我覺得最重要的是他的態(tài)度，他的出發(fā)點(diǎn)。他沒有匠氣，也沒有把繪畫看的太玄虛，而是從個人藝術(shù)生存狀態(tài)角度去詮釋，因此他的作品特別能反應(yīng)他個人的狀態(tài)，包括思想生存狀態(tài)，以及對社會的看法，也就是他自己說的“草莽”的東西。這次展覽主題是“草間英雄”，這一系列是07-08年的一個完整的創(chuàng)作過程，主題明確，有軌跡可尋。
藍(lán)：那您認(rèn)為，文清與其他你接觸的藝術(shù)家相比，最大的區(qū)別是什么？
戴：作為年輕藝術(shù)家，我覺得他最可貴的是能量的釋放，無論觀念還是其他方面應(yīng)該帶來沖擊力，但是現(xiàn)在的年輕一代表現(xiàn)恰恰普遍孱弱，表現(xiàn)在創(chuàng)作上就是疲軟，因此文清的作品的沖擊力和猛勁就更加難能可貴，我很欣賞能給人以沖擊的作品，于是能和文清促成這個展覽也就是自然而然的事情。
藍(lán)：文清，你作為藝術(shù)家，談一下舉辦個人展覽對藝術(shù)家的目的和意義？
齊：我從大學(xué)畢業(yè)之前就開始做個展，那時候小打小鬧，但我一直認(rèn)為，每一個階段的創(chuàng)作都應(yīng)該做成展覽。藝術(shù)家的作品畫出來，沒有展覽沒有觀眾，沒有從工作室到展地到觀眾，還不能算為完整的藝術(shù)創(chuàng)作過程。我也參加了很多聯(lián)展，但是，聯(lián)展很難體現(xiàn)一個藝術(shù)家的整體面貌，觀眾也很難對藝術(shù)家及其作品的整體脈絡(luò)有很好的了解和把握，因此我覺得個展很有必要。雖然做個展也會對藝術(shù)家形成有壓力，但是我希望無論壓力還是信心，能對我以后的發(fā)展形成良性的推力。我早就有辦個展的想法，而且希望選在視野比較接近的藝術(shù)家的中心，像798這種地方，其他地方也想，但還是希望盡量集中。現(xiàn)在的年輕藝術(shù)家受收藏家和藝術(shù)機(jī)構(gòu)擺布太多，幾乎形成一種奴性，這也是我提倡“草莽”的原因，先不管后果，至少是順其自然的，是從內(nèi)心出發(fā)的，是舒服的事情。這也是我的一種任性和倔強(qiáng)吧，以后還是會堅(jiān)持這種自由精神。
藍(lán)：展覽上少不了會有外界贊揚(yáng)或者批評，那么個展之后，在創(chuàng)作風(fēng)格上是否會有變化？
齊：象上次的展覽，一些老的藝術(shù)家和觀眾還是給予鼓勵的，但是在媒體上也看到有負(fù)面評價(jià)，比如他們認(rèn)為精神可嘉但作品欠缺之類的。我覺得這些都是可以理解的，但是從另一方面，年輕人有不足會犯錯也是正常的，現(xiàn)在追求至善至美還不是年輕人應(yīng)有的狀態(tài)。因此無論評價(jià)如何，都會對我有所啟發(fā)。其實(shí)我的作品，幾乎每張作品都有變化，我不喜歡雷同和重復(fù)，如果沒有變化我覺得就什么意思。
藍(lán)：之前也談到，你的創(chuàng)作有主要的方向和脈絡(luò)，并且剛才說到你在表現(xiàn)上一直都會有創(chuàng)新，那有沒有考慮過內(nèi)容上的豐富？
齊：下一階段的創(chuàng)作差不多想好了。藝術(shù)家的創(chuàng)作其實(shí)是有階段性的，他可能有很多想法和創(chuàng)作思路，卻是現(xiàn)階段完成不了的或者不在現(xiàn)階段的興趣點(diǎn)上的。但每個階段的創(chuàng)作還是有延續(xù)的關(guān)聯(lián)的，一脈相承，下一階段的創(chuàng)作未必能在現(xiàn)階段都實(shí)現(xiàn)，因此也要時機(jī)。內(nèi)容豐富性上我覺得還是要靠年齡和經(jīng)歷的增長，卓群也建議我作品更加豐富，但我現(xiàn)階段沒有辦法考慮那么多。藝術(shù)家必須要有獨(dú)立語言，哪怕人家說你畫的很差很粗糙，這就是現(xiàn)階段自然的體現(xiàn)，不能去掩飾，而要去要承認(rèn)它。如果看到別人很成功，你去提取那樣的語言放到自己的作品里，刻意去模仿他人，即使畫面豐富完美，或許在商業(yè)上也能夠獲得成功，但是對于有獨(dú)立思想的藝術(shù)家來說這是很失敗的。因此我對負(fù)面影響持客觀態(tài)度，藝術(shù)家要有他的前沿性，要探索，我不怕失敗，不怕犯錯誤。
藍(lán)：也就說“草間英雄”這個系列會延續(xù)，但也會繼續(xù)研究和嘗試新的東西，這樣一來可能會有幾個系列同時進(jìn)行？
齊：應(yīng)該會這樣，但現(xiàn)階段還不太可能，尤其象我目前準(zhǔn)備畫展。剛才說個展其實(shí)有壓力也有動力，壓力是我必須拿出自己認(rèn)為的最好的狀態(tài)和作品，對自己有個階段性總結(jié)，理一下思路進(jìn)行下一階段的創(chuàng)作。
藍(lán)：那對于以后的作品的總結(jié)，也都希望以個展的形式呈現(xiàn)？
齊：我希望是這樣，個展對藝術(shù)家不能太多，但更是不能少的，這是體現(xiàn)藝術(shù)家獨(dú)立面貌和藝術(shù)家審視自己的機(jī)會。
藍(lán)：你個展的作品創(chuàng)作于07-08一年多時間，那這一階段完成的作品有多少？
齊：大概在20張左右，大畫和小畫各約十幾張。以前畫畫不考慮作品數(shù)量，但現(xiàn)在有一個大概的規(guī)劃，有一個總體的預(yù)計(jì)和想法。更多的作品創(chuàng)作不出來，我覺得現(xiàn)在已經(jīng)算高產(chǎn)了。我這種風(fēng)格，雖然不如寫實(shí)作品創(chuàng)作費(fèi)時間，但我這種直接表達(dá)思維感受的作品，也不是說什么時候都能畫。象有些作品不能體現(xiàn)我、或者可能會影響以后的創(chuàng)作思路的，不是我想要的東西就會毀掉。
戴：藝術(shù)家創(chuàng)作總有一個肯定到否定、懷疑再到肯定的過程，展覽也有這樣的意義，個展的話要在關(guān)鍵時刻做一階段性總結(jié)。當(dāng)然也有必要參加聯(lián)展，聯(lián)展就是一種日常性的。好的藝術(shù)家需要不斷地跟好的平臺合作，展示自己，交流然后自身獲得不斷提升。
藍(lán)：剛才文清談到創(chuàng)作上有一個脈絡(luò)，那么在沿著脈絡(luò)前進(jìn)的過程中，怎樣遞增價(jià)值，不僅僅商業(yè)價(jià)值，也包括藝術(shù)家自身的價(jià)值和進(jìn)步？
戴：其實(shí)現(xiàn)在年輕人面臨的局面非常好，有一個非常理想的狀態(tài)，當(dāng)代藝術(shù)不但由以前的地下走上來形成熱門話題，而且在體制內(nèi)部形成了一個相對成熟完整的循環(huán)模式。藝術(shù)家、策展人、評論家、經(jīng)紀(jì)人、收藏機(jī)構(gòu)、藝術(shù)媒體等，已經(jīng)形成一個鏈條。藝術(shù)家應(yīng)該處理好在鏈條和機(jī)制中的位置，在這種機(jī)制中能夠不斷推進(jìn)自己。
齊：現(xiàn)在的確是環(huán)境有很大改善，比如以前的藝術(shù)家能賣掉作品很不容易，但現(xiàn)在得益于渠道的完善，藝術(shù)家的工作就是創(chuàng)作作品，而不用考慮太多不相關(guān)問題，這是好的發(fā)展趨勢。但是他的負(fù)面性也是有的，現(xiàn)在藝術(shù)家太多太雜，每個人對藝術(shù)的態(tài)度不同，比如剛才卓群說的“疲軟”，當(dāng)然我自己本身也會疲軟，但我希望能自己做好。我希望年輕藝術(shù)家大家應(yīng)該互相欣賞，而不是互相拆臺。
戴：這種風(fēng)氣其實(shí)是很不好的，現(xiàn)在這種藝術(shù)教育系統(tǒng)和行業(yè)的驟然升溫導(dǎo)致擠上藝術(shù)之路的年輕藝術(shù)家實(shí)在太多了。年輕藝術(shù)家很多，但是真正特別出眾的也是有數(shù)，大家水平差不多，所以不要過多的去攻擊別人。年輕就是成長的過程，是一種財(cái)富。
齊：我覺得現(xiàn)在好多人太看重這個財(cái)富了，我覺得應(yīng)該有緊迫感，使命感，帶著責(zé)任感去做。藝術(shù)家應(yīng)該有自我，但是應(yīng)該是建立在對社會的審視上，而不能陷入唯我獨(dú)尊的“自我”。我大學(xué)里從老師身上學(xué)到的，就是他所倡導(dǎo)的獨(dú)立的人文思想，藝術(shù)家應(yīng)該有獨(dú)立的思想，因此畢業(yè)后我能夠迅速的投入創(chuàng)作中去。
戴：說到這兒，文清，你剛畢業(yè)的時候在東方美術(shù)館辦了小型風(fēng)景畫的個展，那是什么時候在什么樣的契機(jī)轉(zhuǎn)變創(chuàng)作思路開始創(chuàng)作“草間英雄”的呢？
齊：其實(shí)這中間還有另外一個階段，就是“畢業(yè)生”系列。風(fēng)景實(shí)際是大學(xué)里面畫的，是學(xué)校的風(fēng)景，算是對學(xué)校的傷感和留戀，其中有幾幅是醫(yī)院。我最初畢業(yè)創(chuàng)作稿子是醫(yī)院體檢，但不是一般的體檢，我想體檢不光要檢查身體，還應(yīng)該檢查思維這些，這才算做總體體檢。雖然教育體制好了，但還是有他的框架在，還是有很多要否定的東西，我的設(shè)想是要帶有一有點(diǎn)灰色，但是被斃掉了，后來改選家庭作為畢業(yè)創(chuàng)作。但體檢這個草稿我還是留著，那是我一直想表現(xiàn)的東西。到畢業(yè)拍學(xué)位照儀式的時候，我的思路更加明確，沿著體檢的想法，到考研因?yàn)橛⒄Z成績不合格而失敗我的思路越來越明確，我不要得到學(xué)位了，藝術(shù)家應(yīng)該拿作品來說話。從畢業(yè)就開始收集材料，剛開始是好玩，但看到成千上萬的穿西式學(xué)士服的，到后來就有點(diǎn)發(fā)毛，覺得未必穿上學(xué)士服拿到多少成績你就是合格的，逐漸從這里開始創(chuàng)作。那時候還是剛畢業(yè)的學(xué)生，有人認(rèn)為有些不足，但我還是堅(jiān)持下來創(chuàng)作出來，后來也得到了很多人的認(rèn)可。進(jìn)入社會后，我覺得不太使用體制，于是落入草莽，當(dāng)然有點(diǎn)傷感，但由傷感化為力量。這一階段翻看了《水滸》，看到每個人鮮明的個性，感想很多，06年底開始了“草間英雄”的創(chuàng)作。剛開始叫做“草莽英雄”，慢慢閱歷增長覺得有點(diǎn)不合適，為了從更好的角度來反應(yīng)，改成現(xiàn)在的名字，把草跟動物，跟人、跟社會元素結(jié)合。剛開始畫草間老鷹、老虎、貓，也畫了人，后來加進(jìn)去熊貓，并且受別人啟發(fā)把熊貓作為單獨(dú)的系列。雖然也有人提醒我會被認(rèn)為媚俗，但我覺得符合我內(nèi)省的想法，就堅(jiān)持把熊貓為主要表現(xiàn)元素來代表我，并且08年最終去掉了草地。我希望以后的語言越來越純粹，能達(dá)到更高的層次。
戴：文清對這次的個展很重視，而且又安排在五一這一黃金時間，通過展覽，可能會帶給文清更多的想法，他也能更好的調(diào)整，總結(jié)自己。
藍(lán)：五一既然作為黃金時間，實(shí)際也意味著競爭更為激烈，那么卓群，怎么保證有好的呈現(xiàn)呢？
戴：五一期間，而且又選擇了798這樣的地方，會更多的公眾，藏家，媒體會接觸到他的作品，對文清來說是機(jī)遇，但也有壓力。藝術(shù)家創(chuàng)作可以是私人的，但拿到公共空間的時候就要面對所有人的目光和檢視，這種關(guān)注和聚焦會形成壓力，但同時文清能接受的信息越多，對他的觸動也會越大。
Lan: Would you please introduce the reason why masterminded for Qi Wenqing’s personal exhibition?
Dai: At first because of his art, very good works. Meanwhile，we are good friends in the daily life, which makes opportunity to force the cooperation.
Lan: what does Qi Wenqing’s works most attract you? Such as means, concept or idea?
Dai: It’s his attitude to Art most attract me .His starting point, no obvious intention and doesn’t take the painting as illusive thing, however, he explain it in with his existing status, including the surviving status ,and the attitude to the society, that is the wilderness which he has said. The theme of these series of exhibition between 2007 to 2008 is the whole creating course, clear theme and easy to trace.
Lan: Compared with other artists, what do you think is the most difference for Qi Wenqing?
Dai: As youth artist, the most worshipful is energy releasing, no matter on concept or the
shock to other subjects. But most of the youth at present are frail weak, behaved in
their works as weakness. That’s the reason why Qi Wenqing’s works are worshipful
I appreciate the shock from his works very much which makes this exhibition
naturally goes into implement.
Lan: Wenqing, as an artist, would you please talk about the purpose and significance of
this personal exhibition ?
Qi: I did the exhibition from very small in the beginning when I was in the university. But in
my opinion all the works in every step should make in to exhibition. I have attended in
many joint-exhibition ,but it’s difficult to show an artist’s whole aspect and also
difficult for the audience to know about the artist and the work fully, that’s why it’s
necessary to make a personal exhibition. Although there is stress to artists, I hope
no matter stress or confidence could be as the support to my later development.
Meanwhile I prefer the same view artist gathered center, like 798 space, other places
are ok, but I’d like to be more focus. Currently young artists are restricted by collectors
and Art Institute too much, nearly to be their thrall, this is also the reason why I advocate wilderness, no matter the result , at least the course are natural from heart and comfortable thing . This is also the side of my caprice and restiveness , and still will consist this spirit .
Lan: There are critics and praise on this exhibition, will you do a style changing later?
Qi: Take the previous exhibition for example, I got some of the old artists and audience
prasing meanwhile get the negative evaluation from the medias as spirit good but
works not good. I think it’s Ok for me to understand. On the other aspect, young guys t
to make mistakes is inevitable, it’s not the time for young people to pursue perfect. No
matter what ‘s evaluation is ,it will make illume to me. Actually, there are nearly varies
among every of my works, I do not like sameness and repeating, and I take this as
none in life.
Lan: As you said you have the main direction and choroid on your creating, and you do
creating always, do you consider to enlarge of your painting content?
Qi: I have the general idea for the next step creating. The creating for the artists are staged,
maybe he has many ideas and creating methods but which can not completed in current
period or not be interested in current status. However every stage have the link and go
along. The creating in next stage can not be completed now , so the opportune time is
also important. Then content enlarging depend on the age and the experience enlarging
Zhuoqun suggests me to enlarge, and I didn’t consider too much now. Artists must have
their own independent language, even though others said your work is tough and bad , this is the embodiment of the current natural creating, do not to cover but to admit. If you imitate the success to make your scenery to be perfect, even you got the success in commercial, but in independent aspect it’s a failure. So I take the external attitude to the
negative effect. Artists should have their frontier-view and to explore, dare not to lose and make mistakes.
Lan: That’s to say” HERO” will get more series, and you will try new and to study, in this way will bring several series ,right?
Qi: I hope so, personal exhibition can not be too much ,but it’s necessary. This is the way
to reflect their independence and the opportunity to examine himself.
Lan: How many works during personal exhibition which created during 2007-2008?
Qi: Approx 20 pieces, around big size works 10 plus small size 10 . However I have the
general idea about the creating plan. I can not create more works, and this is period
that I create much works. My style painting is not like the painting realistically
consuming time, but can not paint whenever you want since it express your thoughts.
some works can not reflect my thoughts or could affect my creation , I will ruin.
Dai: Artists need a process that from affirmation to deny ,deny to affirmation, exhibition has
this kind of meaning, personal exhibition give you a conclusion in the key period. Surely
it’s necessary to take part in the joint-exhibition which is basic. Good artists need good
platform to be cooperated and to show himself, communicating to promote himself.
Lan: As Wenqing said there is a creating venation , and how to promote the value on both
artist himself and the value in commercial while boost the venation going on?
Dai：Actually young guys face the very good situation, an ideal situation. Current Art comes
from the underground to the popular position , and formed their own relatively mature
complete cyclic model. Artists, mastermind, critic, broker, collection institution and the
the media, formed a chain. Artists should deal with the relation in this chain and the
position in the cyclic model and boost himself always.
Qi: It has a great change for the situation, like it’s not easy to sell paintings before, but with
the channels improvement, the artist’s work is to create the works, no need to worry
about the other issues are not related, this is the good developing trend. But also the
negative affects are existing , with too many artists different attitude to art, like Zhuoqun
said frail weak , of course I will be frail and weak someday, but I hope I will get better. I
hope young artists could appreciate others more, instead of malicious evaluation.
Dai: This ethos is too bad, current art education and this major get popular make much
so called artists jammed on this way. Young artists are more but excellent are few, most
are the same level ,no need to attack others , young is a process to grow and also a
fortune.
Qi: In my opinion, too many people emphasize fortune, I think people should have sense of
urgency ,sense of mission and responsibility to do. Artists should have their own, and
based on the examination to the society, in stead of selfish. I learned the independent
humane thoughts form the university teacher which he sparkplug. That’s the reason I got
into creating swiftly after graduation.
Dai: say Wenqing, you hold a small scenery exhibition in the Orient Art Museum when you
graduated for long, what’s the opportunity to push you to create HERO?
Qi: Actually, before this creating period, there should be an creating period of GRADUATE .
Scenery was created when I was in the university, that’s my expression of sentimental
feeling and hardly leaving feeling to my university, some of those works are about the
hospital in it. My creation works is about body examination in hospital, not only normal
examination, but also the mental examination which could be called total examination.
Although the educational system is good but there is frame existing, still many things
were denied , my design is a little bit grey that was been not pass, and change to
HOMEWORK as creation to finish my academic work, but I keep the draft about Scenery
since it’s still the things that I want to express. Clew got more clear when I took the
graduate photo in the graduation ceremony, thousands of graduates wore baccalaureate
gown and I found it’s not proof that you are good only though this outlook clothing, I
followed my heart and give up the bachelor degree and let the works talk. Most people
thinks it’s not good at the beginning but I insist on and gain more affirmation after I
graduated. When into society , I am not willing to use the frame system and got in
wildness and feel more sentimental and then get these sense into power. During this
period , I read the water margin which is a novel tell the 106 HEROS’ stories and found everyone’s personality and got some thoughts. In the end of 2006, I started to create
HERO IN GRASS ,at first I gave the work as this name , but with the age and experience enlarging , I found it’s not so suitable. For better understanding and expressing I changed the name as HERO and add the element of animal, human being and society. I painted
glede ,tiger, cat and human being , and add panda later, and take panda series as separated series from other’s enlighten. Although someone reminds me will be considered as kitsch , but it’s accordance with my inner thoughts and finally I took panda to represent me, and removal the grass in 2008. I hope my art language will be much more pure and to gain a higher level.
Dai: Wenqing emphasize this exhibition a lot, and arranged it during” Ｍay 1st holiday”.
This exhibition will bring more thoughts , meanwhile he could adjust himself and summarize himself well.
Lan: May 1st holiday is the golden holiday, that means severe competition. So, Zhuoqun,
How could you to guarantee good performing?
Dai: The time of Ｍay 1st holiday and choose and the place of 798 space means more public, collectors ,and medias will touch his works, that’s challenge as well as stress.
Artists’ Creation maybe personal, but will get examination by public when you show out. This attention and focus could form stress, and will get more information to Wenqing, and will be a big shock to him.
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