张晓刚

《如何成为马可波罗  No.1：手电筒和指南针》，不锈钢板，丝网印刷，油彩，银色签字笔，160x210.5cm 2009
《如何成为马可波罗  No.1：手电筒和指南针》，不锈钢板，丝网印刷，油彩，银色签字笔，160x210.5cm 2009
《如何成为马可波罗No.3,蜡烛和圣经综合材料》，不锈钢板，油彩,银色签字笔160x210.5cm 2009

　　张晓刚的书写与图像来自对历史的阅读与象征性陈述。他借用那个被翻译与诠释了无数次的“游记”内容，可是，这些用不同的文字记录的历史真的具有判断的绝对性吗？马可波罗的“游记”有很多别名：“百万”(II Millione)、“寰宇记”(Marco Polo The Description of the World)或者“威尼斯人马可波罗阁下关于东方诸国奇异之书”（The Book of Ser Marco Polo the Venetian Concerning the Kingdoms and Mmarvels of the East），这些标题本身就意味着阅读、理解与要求的差异。一个八百多年前的意大利人与自己究竟是什么关系？古代的物证与一个社会主义国家的个人究竟是什么关系？ 张晓刚试图通过让自己成为马可波罗，试图与历史对话，以寻找今天自己与过去之间的关系。

Xiaogang's writing and images origin from reading and symbolic statements of history. He want to be a Marco Polo, so he borrowed the "Travels" content. This book has been translated and interpreted many times, but is the history recorded in different characters ‘truly’ real? Marco Polo's "Travels" has a lot of aliases: II Millione, Marco Polo-The Description of the World or The Book of Ser Marco Polo the Venetian Concerning the Kingdoms and marvels of the East, these titles themselves have different contents of reading, understanding and conclusions. What is actually the relationship between me and an Italian living more than 800 years ago? What can be the relationship between ancient evidences and an individual person from a contemporary country?

周春芽

《背靠背》，不锈钢，雕塑,325 x95x240cm,2008
《托宾和 T63》,布面油画,220x320cm,2007

周春芽的礼物来自他将中国气质与德国精神的融合。他的“绿狗”的文化血统是综合的，交融的。很少有一个中国艺术家能够通过西方的材料以及材料所体现的文化象征将一个人们熟悉的动物画得那样富于表现性和充满生命。这样的结果当然能够让我们联想到马可波罗这些中西方的沟通者在来来回回的旅行中产生的作用，不过，当周到德国留学的时候，人类已经进入了真正意义的全球化的时代，今天的沟通总是创造性的。

Zhou Chunya’s gift comes from his integration of the Chinese temperament and German spirit. His “Green Dog”’s cultural origins are integrated and blended. Few Chinese artists can use Western materials embodied with their cultural symbols to draw such a familiar animal as expressive and full of life. Marco Polo trips inspired further communication and travel between China and the world. When Zhou went to Germany for studies, the mankind has already entered into an era of globalization.

何多苓

《乐园》，布面油画，150 x 120cm,2009
《失乐园》，布面油画，150 x 120cm,2009

何多苓提供了一个园林色情的寓意，这个寓意在中国文化历史上四处可见，不过，画家没有强调色情的张皇，他仅仅是在暗示一种颓败与感伤。这个气质融合了现代主义的悲剧和中国文人的敏感，画家似乎认为，这个气质正是今天的中国人特有的东西，它似乎与马可波罗当年对中国的观察有些了没有脱离传统的变化。

He Duoling’s “pornography” provides a garden of meaning, which could be found everywhere in Chinese culture and history, but the artist did not emphasize “pornographic” fluster, instead he only hinted at a condition with sentiments. This temperament utilizes the tragedy of modernism sensitivity of Chinese literati. The artist seems to believe that this temperament is unique for today's Chinese people, and it seems that since the time of Marco Polo some of the temperament remains traditional.

王广义

《现场》，装置，图片、建筑、废气、灰土，2009

王广义试图通过营造一个象征性的历史现场，以说明，从马可波罗踏上中国的土地之后，“意大利与中国在漫长的历史长河中构成了极其复杂的关系”。他说，“圆明园作为历史的‘物证’，具有特别的意义。包含了复杂的文化与政治的冲突。同时圆明园又是八国联军对中国的军事侵略与文化掠夺的‘犯罪现场’。当然，不仅马可波罗，就是圆明园的设计者之一朗士宁（F. Liuseppe Castiglione）也不会想到这一点。”他希望还原历史的“现场”，让给马可波罗的后人理解到历史与文化的复杂性，在这个现场里，对历史的感伤，对灾难的反省以及对充满悲剧的时间的缅怀，都成为今天的问题。

Wang Guangyi is trying to create a symbolic historical scene that illustrates Marco Polo’s setting foot on China, “Italy and China had formed a complex relationship in the history river.” He said, “as historical ‘evidence’, Yuanmingyuan is of special significance containing complex cultural and political conflicts. At the same time, Yuanmingyuan is the' crime scene ' of Eight-Power Allied Forces’ military aggression and cultural acquisitions from China. “Unsurprisingly, not only Marco Polo, also F. Liuseppe Castiglione----  an Italian and one of the architects of Yuanmingyuan ----would not have thought of this point." He hoped to restore the history of the" scene ", to make the posterity of Marco Polo understand the complexity of history and culture. In this scene, the pathos of history, reflects on the disaster as well as memories of the tragedy, have all become questions for today.

《2008.5.1》,布面油画,250x360cm,2008
《2008.6.1》,布面油画,250X360cm,2008
《2008.7.1》,布面油画,250X360cm,2008
40800mm(No.6),雕塑01 压克力，玻璃钢等 4080x6x15cm 2007
40800mm(No.10),雕塑01 压克力，玻璃钢等4080x6x15cm 2007

方力钧将看上去很讲究的画框安放在灰色的墙上，美好的可能性似乎呈现在画框里。可是，仔细地观察可以发现，美好的东西也许是烟云般的不确定，生命力倒有些像那些细菌与昆虫，他们恒定地存在着，如此而已。无论是那些匍匐前进的小人，还是绘画中的象征，艺术家暗示了冲突、对立以及矛盾的现实终究要随着时间消散。从历史的角度上看，一个特定语境里的问题也许是可笑的。东西方之间因为血统、地理、文化、历史以及政治和经济制度上的差异，而发生无知、误解、反感、困惑甚至残杀，可是，这些问题统统都会在沟通与知道中烟消云散，而沟通与知道的旅行就开始于马可波罗们，所以，艺术家采用了一个寓意性的方式而表达他的主题。

Fang Lijun placed seemingly very good frame onto the gray wall, and possibilities of goodness seem to show in the frame.  However, through careful observation can we find that good things may be like clouds, while life strength is rather like those of bacteria and insects, constantly existing there. Whether, creeping-forward villains, or a symbol of painting, the artist actually implies that conflicts, confrontation and contradicting realities will eventually dissipate over time. From a historical point of view, a problem in a specific context may be is ridiculous. Ignorance, misunderstanding, resentment, confusion and even killing between East and West are caused by origin, geography, culture, history and political or economic institutional differences, but all these problems will vanish into thin air through communication and knowledge, and the exchange of communication and knowledge just as begun in Marco Polos’ time. Therefore the artist adopted a suggestive manner in which he expressed of his subject.

岳敏君

《迷宫》系列，油画，圆形，直径1米，2009

岳敏君将中国传统园林看成是一个历史与现实的迷宫，艺术家不仅将齐白石，徐悲鸿，张大千等画家的作品图像内容放进自己的迷宫里，也用他们的名字作为作品的标题，这些中国艺术家并不为西方观众所熟悉，可是，他们与中国艺术的历史有着密切的关系。岳敏君说，“这些艺术家均未参加过类似威尼斯双年展这样的国际展览，我试图通过这种方式，圆他们一个梦想，虚幻的梦想。”的确，“画面中运用的图示图像也都是传统中国艺术中常见的花草鸟兽，假山石等等”，这些表明了中国传统文化的要素同样提示了叶放在他的园林计划里的内涵，作为传统与历史的物证，这些要素是决定性的，也是最初马可波罗非常感兴趣的对象。艺术家提示说，“艺术家在传统艺术创作中的迷惘和探索，他们似乎迷失在自己营造的迷宫空间中，由一个迷宫进入另一个迷宫，陷入囚徒般的困境，永远走不出来”。可是，历史就是这样的迷宫，就像当年马可波罗将威尼斯人带进东方的迷宫一样，今天中国的艺术家再次给威尼斯建造了迷宫。

Yue Minjun has viewed traditional Chinese garden as a labyrinth of history and reality. This artist not only used pictures of Qi Baishi, Xu Beihong, Zhang Daqian’s artworks inside his own labyrinth, but also took their names as the works’ titles. These Chinese names are largely unfamiliar to Western audience, as they are closely related with Chinese art history. Yue said "These artists had never taken part in exhibitions like Venice International Biennale, I am then trying this way to fulfill a shadowy dream for them." Indeed, "the use of icons and images on the screen are traditional Chinese art symbols of animals and birds commonly found in plants, rocks, and so on ", which indicates that elements of traditional Chinese culture as well, prompt connotation of Ye Fang’s planning inside his garden project. As the evidence of tradition and history, these elements are quite decisive, which are the initial targets of Marco Polo’s interests. Artists suggested that the "artists’ confusion and exploration in traditional art creation, comes from being lost in the labyrinth of creating their own space going, from one maze to another, like facing a prisoner’s plight, always unable to get out." However, history is such a labyrinth, just as Marco Polo’s bringing the Venetians into the Oriental labyrinth, Chinese artists today once again are constructing a labyrinth for Venice.

张培力

《圣马可广场》，装置，照片，2009

张培力要给马可波罗提供的是一个有趣的景观，他在马可波罗去过的城市杭州寻找学习的案例，艺术家把今天的一个模仿威尼斯圣马可广场的照片呈现给在意大利的观众。这同样是一个交流的物证，一个问题重重、让人难堪的范例。在1978年之后的现代化的进程中，中国再次同意向西方学习。可是，在这个学习中， 显然暴露了精神与历史的空虚以及缺乏创新态度的拙劣。东西方在相互观看，具体的人在相互认识，可是， 由于缺乏文明语境的知识训练，由于肤浅的炫耀心理，那座建立在马可波罗赞叹的中国城市里的圣马可广场的“塔”是阳痿的和缺乏教养的。

Zhang Peili offers to give Marco Polo a fun gift. The artist looked for studying cases in Hangzhou- the city Marco Polo once visited, and now is to present photos of an imitated San Marco Piazza to the audience in Italy. This is a new example of communication, and is an embarrassing example that shows many problems. In the modernization progress since 1978, China has once again agreed to learn from the West. However, the Chinese clearly exposed their emptiness of spirit and history, lack of innovation and poor standards of living then. East and West are looking at each other, specific people are meeting together. Still, the “Tower” set up in Hangzhou’s San Marco Square is actually impotent and caddish, due to the lack of knowledge and training of the Venetian civilization’s context, this make it superficial.

吴山专与Inga Svala Thorsdottir

吴山专：《买就是创造》，装置，霓虹灯，2009
Inga:   《买就是创造》，油画，200x200cm，90x70cmx2,2009

吴山专决定将他的那些文明的“水货”用五彩斑斓的霓虹灯呈现出来，在夜晚，如果我们站在VENICE BIENNALE GIARDINI观看San Servolo岛，这个无意义的符号群将提供灿烂与有来源的语义。艺术家将TO BUY IS TO CREATE高高架在VIU校园的墙上，试图告知马可波罗先生，威尼斯商人的历史脚迹给中国人留下深刻的印象，现在，“商”已经成为全球的共识，“买就是创造”已经成为中国人安放在威尼斯建筑上的座右铭。

Wu Shanzhuan decides to show those civilizations "parallel" with colorful neon lights. At nights if we stand at VENICE BIENNALE GIARDINI to watch Island of San Servolo, this group of meaningless symbols may provide a fantastic new source of inspiration. Artist himself will hang “TO BUY IS TO CREATE ” over the campus walls of VIU, trying to inform the Marco Polo that the footprints of Venice Merchant of Venice did leave Chinese people a deep impression, and now especially that "Commerce" has become a global consensus. "To buy is to create" that has as well been placed on buildings of Venice's by Chinese people( artist ) is a general motto for the world today.

叶放

《礼堂》，装置，模型、图片、Video，2009

艺术家叶放作品《礼堂》的出发点正好是马可波罗向欧洲人介绍过的城市苏州。他试图向西方人补充一个概念：什么是中国文化的基本气质。作为装置的模型、水墨、家具等将会议室装置成一个典型的中国式礼堂。事实上，这件作品是艺术家为威尼斯国际大学建筑一个具体的中国园的方案，在双年展期间，人们可以看到这个最终的作品正在呈现；在展览中，艺术家试图提示标志中国传统文化的核心要素“礼”的重要性，了解中国文化历史的人能够体会到，礼节仪式的内在性其实就是宗法制度和道德规范。中国人爱用“天经地义”来表明原则与理想的不可动摇性，如果这样的信念得到了文化与制度的有效转换，将能够很好地呈现出人类的共性原则，艺术家说他试图在观众心里唤起“情感与理智的协同与调和的承载”。中国园将永远生长在VIU校园里，马可波罗在游记中称中国的江南一带“处处景色秀丽，让人疑为人间天堂”。而英文中，“天堂”这个词来自于古希腊文的paradeisos，这个词又来自古波斯文pairidaeza，意思就是“豪华的花园”。所以，中国园林就是马可波罗笔下人间天堂的中心，于是，也成为了“礼”的可以感知与欣赏的物理呈现。

Artists Ye Fang’s artwork "hall" is right at the starting point of Suzhou, which Marco Polo has introduced to the Europeans. Ye tried to supply the Europeans with a concept: What are the basic characters of Chinese culture? Devices for the installation, models, ink and furniture will be used to install a conference room into a typical hall of Chinese style. In fact, this work is the artist’s specific Chinese garden project for Venice International University’s building program. During the Biennial, people will see the final presentation of this artwork. In the exhibition, the artist tries to prompt the importance of "ceremony", which is the core element of traditional Chinese culture, and people who understand Chinese culture and history can come to realize the intrinsic nature of a courtesy ceremony is actually a Patriarchal System and Code of Ethics. Chinese people love the "perfectly justified" to show the principles and unshakeable ideals. Once this belief has been an effective culture and system conversion, this will show clearly the principle of common humanity. The artist said that he tried to arouse the audience’s "Emotion and rational coordination and harmonization" in their heart. This Chinese garden will eternally grow at the VIU campus, as Marco Polo's Travels described China's Jiangnan area as "beautiful scenery everywhere, which makes people believe it’s paradise on earth." In English, the word "paradise" comes from the ancient Greek text paradeisos, which actually origins are from the ancient Persian word pairidaeza, that means "garden of luxury." Therefore, the Chinese garden is the center of Marco Polo’s described paradise on earth, and it also has become a sensible "ceremony" and physical presentation of appreciation.