99艺术网：你通过这样一个树型结构图来说明问题，从最根部得到东西，在您自身的思考和觉悟中，最后通过不同的方式去表现。所以刚才说的观念上的东西，其实在观念上来说，不管是不是相同，都是属于您自身不同的观念形态表达。您从上世纪90年代中期到现在，作品曾多次参加过国内外各种实验艺术和对新艺术探索性的展览，比如：04、05、06年连续在美国和英国的“过去与未来之间-来自中国的新摄影、新图片及影片”展览、2010年“改造历史” 2000-2009年的中国新艺术等，您对这次“景像2012——中国新艺术”展有怎样的理解和解读？

崔岫闻：其实“景象”就跟我刚才说你看到的一个树干、一个树叶，枝繁叶茂，我们看到的东西都叫景，艺术家创作出来的东西叫像，我觉得对景像我是这样理解的。但是这个“像”从哪儿来？是从这个树根来的。用我自己的视角和表现风格发现一些别人没发现的一个领域的景像，把它呈现出来，并且能够触动人的思考，这里边可能附带了我对时间的思考，我对空间的思考，和我对人类未来性的思考，我希望能在我的作品里边呈现出来。

99艺术网：您此次参加“景像2012——中国新艺术”展的作品在方案的实施上有什么的新思考？与展览的主题有哪些方面的共性？

崔岫闻：我觉得我的作品包含了景象所阐释的内涵。我们的思考空间是同一个方向，很契合。因为新艺术和对于未来性的思考，以及事物的空间和时间，还有不确定性这些问题的思考都是当下比较超前的问题，怎么能在艺术作品里边呈现出来，还要到展厅去看。

99艺术网：在西方文化观念和话语权影响之下，很多人都在批判和探讨中国当代艺术的现状和未来，对于当代中国艺术未来的种种可能性您有怎样的思考和探索吗？在您的作品创作中有没有哪些新探索？

99 Art Web:Be affected with western perspectives, many people are criticizing the present and someone tried to figure out the future of China's contemporary art. Do you have any thought or exploration on that, for much possible probabilities? Could we find that from your works?

崔岫闻：其实就是我刚才说的，不要想中国这两个字，它不是一个中国当代艺术未来的可能性，其实艺术是一个没有国界的人类精神的产物，要思考的是人类未来的方向，用艺术方式探索其可能性，我觉得我们的着眼点应该在这儿。

Cui Xiuwen:Just as I said before. Do not confine to China, that's not merely a concern about China's futural probability. In fact, art is one thing has no regional limitations. What we should think about is the future of human beings, and explore the probabilities of our possible lives by ways of art. That should be the spirit.

99艺术网：我刚才表达的可能不是很准确，不是说中国当代艺术怎么样，而是当代的中国艺术。处于全球化的当代语境中，不是说某个国界架构中，但是我们落脚点在中国艺术问题上，就当代的中国艺术而言。

99 Art Web:Maybe my question was not precise. I didn't mean China's contemporary art, but the Chinese art at present time, while in internationalization. Not limit to one or two countries, but to Chinese art, here's the point.

崔岫闻：这里面有几个问题，我给你总结梳理一下，有三个问题：当代艺术未来的可能性；批评的力量在当下有什么作用；西方当代艺术现有的结构和他的话语权利对整个当代艺术的影响，尤其是对中国当代艺术的影响，分三个问题，一个一个地来谈。

Cui Xiuwen:Here's three points in your questions need to be clarify. One is the future probabilities in contemporary art. Two, how the critique power works at present. Third, what and how the existing western contemporary arts construct and its context affect China's.

第一个问题是中国自己本身当代艺术存在的问题实际上它不是艺术的问题，是人的问题，中国当下所有的问题都是人的问题，人的问题是脑子里的问题，对于一个艺术创作的表达，你首先要有一个思考，你的思考空间在哪里，你思考的问题是什么，你表达的又是什么，就是我刚才说的。可能很多人表达的就是自己看到的，实际上我们作为一个人存在这个世界上，我们本身就是一个载体，我们表达的是我们的思想和我们的精神气质，我们的思想和精神气质是哪里来的？应该追问这个东西，这个东西有多少，你就能表达多少，是这个东西构成了你艺术表达的最核心的和最根部的问题。实际上一个国家的建构也是这样，一个体制的建设也是这样，一个社会核心的形态依靠的是思想和精神结构的建构。如果没有这些，什么都会有问题，什么问题都会解决不好，这个到了什么程度，你的问题就解决到什么程度，这是艺术的问题。

To the first place, the problem to China's contemporary art is not really relate to art itself, but to the person who seized art. Not merely in art, even to all issues in China, are all essentially problems of person. When it come to creation work, you need a thought first, you need to clarify where's your thought space, what's the issue you are concern about, what you want to express. Most people will express merely what they saw. But in fact, as we are human beings existing in this world, we are already a carrier to express our thought and spiritual disposition. Where our thought and spiritual disposition come from? You should keep trace on this question. How much you own, how much you could express. That consist to the core and root of your expression. Same to a country, so did the institution, both are depend on thought and spiritual construct. Without this, everything will have problem, and no way to solve. That's the problem of art.

第二个问题是西方的当代艺术格局的问题。这个格局是由西方整个社会结构和艺术的历史搭建成现在西方当代艺术的格局和结构的，在这个结构和格局里我们是没有占位的，这不是因为我们的国力和经济弱，而是因为我们的头脑不行。我们思想的深度和高度，对于精神和文化的态度以及态度以外实施的能力和呈现能力不行，当然这里面也有一些政治的原因，政治是一个很历史性的问题，有待于一点点地解决，这需要给一个时间量。

Second is the problem of western art structure. That based on western society construct and their art history. We have no places in that structure. Not attribute to our weak economy or something, but for our mind, depth or elevation of our thought. Especially for our attitude toward spiritual matter or culture, and weak in implement and illustration. Surely it has political causes, but that kind of historical issues, could only be cured regularly.

第三个就是批评的问题。批评的问题实际上在一定的时间段内，它是有一个提示和警醒的作用，但是批评解决不了根部的问题，世界、地球、宇宙都是自然的形态，人有人性的劣根性，你的知识、文化、修养，人性所具有的所有的东西是这样组成的。当你这些东西不完整的时候，你只是去批，我举个例子，鲁迅同志已经批了快一百年了，可是有变化吗？怎么样让这个社会真的能够推进，把问题减少，实际上就是我刚才说的你要有建构性的思维和建构性的能力，建构是什么，这一层的问题困在这儿，你只能在上一层搭建一个新的结构，把这里边所有的问题含进去问题自动解决掉。我们现在社会做批评就是刀砍斧劈？先批，批了怎么办？不是批了问题就没有了，批到狠的时候就开始解构，先批就是先砍几刀，先砍几板斧，到解构的时候就把这个东西给弄碎了，弄瘫了，弄散了，解构完了怎么办？现在什么东西都到解构主义了，甚至什么后解构主义了，解构了瘫在那儿了怎么办？你不建构行吗？一定要有建构的能力，我觉得整个人类都需要有建构的能力，这就可以解决所有人类的问题，不仅仅是当下的问题，不仅仅是中国的问题。
 

Third is the problem of critique. During some periods, critiques would play a role as warning or notification but nothing contribute to solve root problems. The world, the earth planet and the universe are all have their natural features, same to human beings, featured by their inner bad quality. What caused unconstructive critique or hypercritical comments even acerbic blames is their incomplete spiritual structure. Comrade Lu Xun could be exemplified as a symbol of critique. But over 100 years passed under his supervising editorials, if there anything changed in our society? How to really impulse the society, reduce problems, actually is to acquire the ability of constructive thought. What is constructive thought? When you faced a problem at a certain layer of thought, you have to solve it by standing higher. That expanding horizon would mantle the secondary one, and any problems in that layer would be solved automatically. What our society now committing critics is too direct like cutting down trees. What should we do after fierce criticizing? Problem still exist. Much more seriously critic it deconstruction. Deconstruction may scatter things or paralyze them. What should we do after deconstructions? Almost everything in our life were suffering deconstructionism, even post-deconstructionism. After deconstructive process, what could we make any improvement without reconstruction? That's the most important ability for each of us. That could solve all problem we have met or will face in the future, not only for present, and not merely for China.

99艺术网：在媒体制造、科技创新和网络信息的影响下，您认为我们具有真实的文化、生活态度吗？
 

99 Art Web:Affecting by widespread medias, developing technologies and expanding internet informations, do you think we still have real culture and attitude toward our lives?

崔岫闻：现实生活和虚拟生活共同构成了我们的生活结构，其中必然伴随着更多的表象和虚假，心灵的力量在于要透过表象和虚假回归本质，只要有真实的心灵就必然有真实的文化、生活态度。媒体制造扩大了传播、更多体现了商业和市场的力量，科技创新和网络信息丰富了艺术家的工作手段，但艺术家也因此容易被市场和手段遮蔽住心灵，破除现实的迷雾，也是艺术家出来工作的必然使命。
 

Cui Xiuwen:Both our virtual life and cyber life constitute our life structure. So appearances and falsity follow. The power of our spirit just depends on the ability of viewing through the appearance to perceive the essence. Pure spirit would make true culture and attitude toward our lives. The medias enlarged range of communications, and reflected its economic power. Innovating technologies and expanding web infos enriched ways of artists to express themselves. But some artists would also bewildered by huge economic profit. To clear up mundane mist, is also a commission of artists.

99艺术网：您在自己的作品创作中间有没有考虑到有这方面的探知，或者是一种去批判观念性的东西？

99 Art Web:Do you have any concerns about that in your works, or is that something critical conceptional issues?

崔岫闻：我昨天在微博里说了一句话“我们都走在路上，却离道很远”，我觉得可以回答这个问题。

Cui Xiuwen:One of my Weibo which I posted yesterday could be suitable for your question. We are walking on road, yet far away from routes.

99艺术网：许多当代艺术家的成功虽然得益于商业，但是有些也因为商业而在艺术上停滞不前，您觉得艺术家在商业面前应该如何保持对艺术自律性？

99 Art Web:Many successful contemporary artists benefited from business, which may also cause stagnation to some of them. In your mind, what should artists do to insist to their disciplines of art?

崔岫闻：怎么讲？艺术创作是要在道上走，商业就是那个路，这是我刚才说的。当你去走那个路的时候你就会离道越来越远，当你走在道上的时候，可能你呈现的就是人类最本质的东西，因为它俩不在一个空间，这是它的本源状态。为什么现在可以互动？ 商业是附在社会这个结构里边，就需要它们之间有互动，实际上不是艺术需要，也不是商业需要，而是社会结构需要，所以艺术家要清醒地认识自己的创作，自己是如何给人类呈现的自身追逐的真理方向。可能在真理之上高于真理，追求到一个真正觉悟的空间去，还是在真理之下完成自己的理想，达到自己的既定的目标，之后再之下可能就是满足自我的兴趣，再之下就是解决自我的生存问题，这是五个不同的空间，这五个空间在目前的艺术领域从业者里边，可能基本上都在理想这个空间追逐着，并且获得了一些肯定和收获，最终被冠以成功艺术家这个名分，实际上真正的艺术要在真理这个空间，甚至要从真理再往上，从而进入到一个觉悟的空间里去做事，呈现自己对这个世界的体悟和认知。
其实清楚一点的排序是这样的：生存、兴趣、理想、真理、觉悟这五个空间的思考，每给人都可以对位一下，自己所从事的职业所在的空间和生命所追求的方向，答案就自知了。

Cui XiuwenHow to say. Art creations must go along with a principle. Business is mere the road that we walked on. But that way may take you too far away from the route toward truth. Once on this route, you may see the most essential things of all human beings. They were not at a same level. Why they could have interactions? Because business belong to the structure of this society. Actually not art, nor business itself but the social structure requires interactions between business and art. Therefore, artists should soberly recognize their creations, how they present the orientation of truth pursuit. Whether they would go higher above truth, achieve a pace of enlightenment, or consummate their dreams, reach a goal they set, or even merely enjoy their interesting, just enough to survive. Those are five different spaces. Among all art engaging person, most of them are staying abiding by their dreams, and receive recognizing and returning. Some of them eventually were endowed by the title of successful artists. When I mentioned the true art, must stay at least in the truth space, even higher into a space of enlightenment, and demonstrate their recognizing and perceiving of this world.
To be clarified these five phases, they are: survive, interesting, dreams, truth and enlightenment. Everyone could place themselves in those five spaces. It would be obvious when combine them with your professions and pursuit.
(Translated by Jin Qi 靳琪)

99艺术网：理解了，非常感谢崔老师今天下午跟我们谈到这么多关于艺术、人性和社会方面的话题。谢谢！

【编辑：赵立东】