Topos, dissimilated as a result of the presence of Fen-Ma Liming, was no longer the surrealistic, out of ordinary phenomenon that resulted from the contradiction of a man’s body with a woman’s face. Since 1997, Ma has achieved the out-of-ordinary by dismantling and extinguishing, of diffusing, the ego through his inconceivable “GENEROSITY”. With the sleeping Ma as a catalyst, the recipients, the members of the audience, produce an artistic act. By losing consciousness, Ma discards the fact that he is the subject of their criticism. This is a shift from a political body to a body that becomes a medium and then, transparent. Ti is a shift to become a body of resistance by resisting power and authority as a genuine avant-garde artist, and then sublating a modernism rooted in individualism and placing it in the danger of destruction. Arguably, it is the purity of Ma’s sensibility as he reacts to the world, and his paintings, which form the foundation that enables Ma’s body to have such a presence.

Paintings featuring Fen-Ma Liuming’s face combined with the body of a baby have been painted as though they were being separated from this world. However, each painting is distinct from each other and continue to be produced in large numbers, almost as though they were Ma’s alger egos, representations of his other self. The phenomenon of Ma’s paintings could also be described as acts of self-proliferation.

The arrival of the avant-garde in China was delayed. As in the example of the avant-garde throughout history in other countries, the method that was devised with anti-art as the intention ended up being incorporated into the artistic (system-based) goal. Ma had no need to advocate anti-art. From the beginning, as a result of his “experiences”, Ma was able to discover art during the process of everyday life, He didn’t attempt to reclaim art back into his life, but naturally “attempted to construct, from art, a new way of living life”

Ma’s artistic body that has developed over the last 10 years, shaking boundaries through non-differentiation, is now about to enter a new stage.

Yoko Hasegawa
Curator and Art Critic

------马六明坐在镜子面前，坐在观众席上的人们可以同时看到马六明和他们自己的镜影，并参与了芬·马六明创造的非真实空间。参与者试图弄清怎样才能进入那既似舞台又似图画的作品，怎样才能完成“画作”。然而对许多西方人来说，马六明似乎就是那个明显的“他人”，一个异国的幻想。从某种意义上来说，和芬·马六明一起照相有这么一个假设，即为了完善绘画体现的幻觉，需要有这么一种合作。-------

-----由于芬·马六明这个形象的出现，异化的身体(男身女脸)不再是超现实主义的怪诞现象。自1997年以来，马六明通过格外慷慨地分解、消除或扩散自我的方法，取得了令人瞩目的成绩。观众们从一个熟睡的马六明出发，创造了一种艺术行为。通过失去意识，马六明摈弃了他是他们的批评对象的事实。这便是政治之身向媒介之身和透明之身的转变。通过抵制权势和权威，通过扬弃扎根于个人主义中的现代主义，并将它置于被毁的境地之中，马六明这位真正的前卫艺术家的躯体，就变成了一个抵抗的躯体。可以这么说，使马六明的躯体具有这种风采的，是他对世界的反应和他的绘画中包含的纯真的感悟。---------

长谷川裕子(博物馆馆长、艺术批评家)
摘自1997年到2002年间对马六明的采访

【编辑：贾娴静】