墨洒威尼斯—孙平、罗珊-“伯夷体”《L’Internationale》和《笔墨之道》书法表演记

墨洒威尼斯
——“b-i体”《国际歌》和《笔墨之道》书法表演记

孙平
一
2012年末，我接到“第55届威尼斯双年展平行展中国独立艺术展”组委会的邀请函，但展啥没写，留一悬念。
不久，总策展人王林来电，大意是介绍展览的规模与主题，特别强调了“未曾呈现的声音”。这让我谨慎地设想并试探他对作品的要求？他说：拿你最想拿的吧。我问：可能吗？答复：挑战嘛。王的一贯思想意志我有所了解，其展览理想的可能性虽然值得怀疑，但冲着能够飞越喀喇昆仑，我开始将憋了七个春秋几乎已下地狱的书法往“彻底”方面盘算。即：出“双飞”，摊丈八云龙宣裁一对条幅，蘸朱砂，狂草《国际歌》词，并于现场配同名摇滚乐，以夺目又销魂。
现实问题接踵而来。一是缺钱，从演员到摄影摄像一行数人费用不少。二是令人恼火的审查，使操作准备危机重重。麻烦无数，让我左右为难。但终于，还是咬牙挺住决定干了！
二
2013年5月28日，我又来到了威尼斯。一阵乱窜，好不容易找到了展场，见已经降温的5幅图片只剩其一，视频无影，当然，还有比我更惨的。根据作品大规模漂洋过海的现状来看，先前策展人的理想仍只是努力而已，出钱出力者遭受的挫折更大。幕后那只钳制之手，任你飞出十万八千里，表面弄得惊天动地，本质与在国内无异。好在二三十年的磨练，让我对任何展览都已厌倦与麻木，也知威尼斯这举世闻名的名利场不过游戏而已，除非错颁我“金狮奖”，否则宠辱无惊。第二天，边玩边算计如何让人听听俺老孙的“未曾呈现的声音”。
30日下午至晚，是该展的新闻发布和学术研讨及开幕酒会，议程安排18点30分秀行为艺术。虽然菜单无我，但工作人员已给某些技术准备。18点20分，我让子妹兵们装子弹，在一侧待命。
忽闻我们的表演将被禁止，我知道必然的遭遇战开打，立刻找王林求证。
我说：“我们的表演已经准备好了，怎么安排？”
王答：“没安排。”
我问：“为什么？”
王答：“表演要经主办单位批准。”
我问：“主办单位是谁？我与它有什么关系？”
王答：“广东美术馆。”
我说：“去它妈的，这简直是扯蛋！作为受邀艺术家，我与组委会有约，现在图片和视频已经被砍，组委会已经事实违约，再说，这已不是它的地盘，它凭什么用行政权力乱搞？”
王说：“组委会有权调整。”
我说：“喔，这不公平，我花不少银子把人马带来了，损失谁负？若不讲游戏规则，那好，我将强行操作，会让你有什么麻烦吗？”
王说：“那不行，会影响整个展览与广东美术馆的合作。”
我想起该展日后将在那鸟窝巡展，犹豫了一下，工作人员接话：“我带你去找罗一平吧。”
我回：“哼！用不着跟他脱了裤子放屁。”
这般一来二去，基本不出所料，但王林这会说的影响却让我在乎误其好事而有些犯晕，还嫌那鸟怎么离了老窝还不懂装糊涂。小卒过河，狭路相逢，箭在弦上，岂有后退与拐弯之理？在这种体制下，真行为那能温良恭俭让，若引发冲突，那便求之不得。眼看摊牌时机无多，不管三七二十一，俺老孙决定闯了！
三
18点55分，我示意子妹兵开始行动！并交代助手保护，人若有犯，扣墨便是！这时，包括蒙在鼓里的老外也随着期待已久的观众迅速向我们的表演围拢而来，我也就只能不顾原设计的玩过程和奢望的体面，双飞改独舞，快刀斩乱麻，弄到那是那，只要给这来点地震。
刚开始，人缝中挤进了策展人和一个怒气冲冲的官员模样之人，他俩粗暴地践踏了我们铺设的毡毯，被我用肢体语言请了出去。我和我的翻译照样宣布：现在为大家表演中国书法，内容是《国际歌》……。
接下来，未等众人惊魂落定，只见我妹已将精彩呈现——亮出大马金刀，一阵虎步龙行，又如鸾舞蛇奔，刮起红色旋风，极尽女儿烂漫，十分生猛了得，不输“颠张狂素”，撂倒书林列霸。弹指一挥间，所谓堂堂阳春白雪之术早已泄了体统，令周围大丈夫们无不汗颜，惹四下黑眼蓝眼绿眼都瞪成了红眼，数十台摄影、摄像、手机、Ipad等机一个劲不停地狂拍乱扫。可怜那孤立无援的官员几番欲冲进来，却被围观的人墙和老王的解释般姿势阻隔在外。
终于，在一路稀里哗啦类似血溅的表演中，一对条幅——奴隶们起来，这是最后的斗争！英特那雄耐尔就一定要实现！写成了。可是，感觉一时难以谢幕，亦察搅局威胁消失，便让姑娘把预备的白纸黑字《笔墨之道》从容地加写完成。最后，受众人掌声鼓励，我那“力比多”起效，令转自卫为反击，遂将一盆余墨照着眼前大红色的立体标志（兼前言展板）猛地泼洒了过去。墨汁飞溅又流淌，给这个冠冕堂皇貌的造型迎面留下了一个绝佳的特别纪念，现场更加热烈。视频见证全程，耗时23分钟。余下的便是人们纷纷在那大花脸前兴奋的留影等等，不在话下。
有看客感言：若无体制与江湖在对艺术自由的压抑与反压抑中形成的博弈，若无天时、地利、人和赋予的气场，这样落花流水的表演是难以想象的。
有在场国际媒体采访，大意是：这届双年展，中国方面的规模和宣传，都似乎向世界表示开放，但看到的实际情况有些令其不解，问我是展览邀请的艺术家吗？为什么做这个行为？那下面写的是什么？等等。
由于我把注意力高度集中在协助表演本身而无暇环顾，现场其它许多有趣，却是事后通过视频和弟兄们的叙述获知的。列主要如下：
视频: 一是策展人第二次挤进入我们的表演时，让我隐约听到的是这个、那个，行为艺术……，作为主办单位的相关要求……而且，希望，那个……停止，随后，见手一摊，转身离开了。二是挤进我们演出的两位不速之客，不管他们是否有意捧场，事实上给这场特殊的表演增加了奇妙难得又顺理成章的戏剧性效果。
艺术家刘说：在场外见一人尾随王林奔出，估计就是广东美术馆的头，揪己领带相斥：搞什么名堂，完全是有预谋的，最后的斗争是什么意思？必须叫停！随后便登船渡河走了。在这，傻瓜才会没完没了找没趣。
艺术家杨志麟说：在你墨洒展标一刻，有大侠惊愕，我告诉他新作品诞生了。他问有何价值？我说艺术史将会记录，相当于“不许掉头”，其表示今后要拆装运回收藏。
四
表演虽然弄了，但仍非常遗憾，作为表演重要组成部分的背景音乐——《国际歌》被禁播，既阻碍了国际传达，又削弱了爆发力，使原本能够让全场灵魂震撼而导致非常表现的效果大打折扣。同时，聘请的摄影摄像被阻挠者弄得不知所在，使我找不到主要镜头呼应，作品的图像资料也只能从朋友中采集，既不专业，也不完整，更不过瘾，一片狼藉。
然而，基本还算好玩。我们的墨洒威尼斯，有幸没赴行为艺术变成庆典杂耍的后尘，也没滑入行为美学的陷阱，完全得以不失独立精神与挑战性，虽然一地鸡毛，却正好成就了符合作品主题和挑战性逻辑的强烈效果。
五
回酒店路上，顿生感想：真他妈的土，原以为威尼斯了，其实与在国内相差无几，费了九牛二虎之力的表演用得着在这隔水相望的地方浪费表情吗？来这的所谓中国当代艺术除了兴师旦旦的表面功夫，还剩多少货色具有值得受世人尊重的价值取向呢？这威尼斯年复一年地向全世界炫耀她那大乳房的幻觉，引得人们意淫不止，络绎不绝，挥金无数，可有多少不善经营的幸运儿能吸到其汁呢？问题很多，却又什么都不是。
六
    回国后，有一件事是特别好玩并值得纪念的。2013年6月21日，好朋友智者老艾看了东西，遂赐“b-i体”书法为名称之，令我和在场者大喜不止，就这一醍醐灌顶，便让中国书法不小心发展了。

2013-6-30 星期天 于北京

话 说“笔 墨 之 道”
——遭遇“美人计”

二○○六年间，我于生活的觉悟日趋无为而随性鬼混。时逢到处歌舞升平，闲逛去了山寨的“天上人间”，巧遇民间小妹拉扯玩弄性感“笔墨功夫”秀。
未等惊魂落定，便被掀翻在地，使出大马金刀，腹背摊肉为纸，一阵虎步龙行，前後胡写乱画。窥其招，犹如鸾舞蛇奔，不输“颠张狂素”。探其势，极尽女儿烂漫，实在生猛了得。弹指一挥间，原本堂堂阳春白雪之术早已不成体统，乐得俺老孙哈哈大笑，虽也自惭形秽，却又妙不可言，疑是梦游妖境。有道是，不识艺术真面目，只缘身在此术中。
那晚，辗转反侧，乱箭追心，缘何如此？……。窃想：倘若“借鸡下蛋”，重置料理出江湖，试看可否消解那于道德与信仰、权力与权威和方法与准则等诸多让人们宠辱若惊的偏见或误会？亦或可否拂去那于尊贵与卑贱、高雅与下流和美与丑等各种令我辈莫名其妙的是非招摇？让生灵稍事摆脱源於虚影的在乎和劳役的徒然而活得些许自在。忽闻漫天狂风起，扫得遍地败叶残。哇塞！幸亏仙姑点拨，喜获醍醐灌顶，使得茅塞顿开，有所恍然大悟。
此后，我似鬼使神差，心随飞鸟出林，邀其合作变法，演绎“笔墨之道”。
然而，本來無一物，何處惹塵埃？终归不平常，是非難割舍。只怕是，意淫从未了，又中“美人计”。
孙平  二○一三年五月十七日修改於北京寓所


The Way of the Brush
I had devolved upon a gradual state of “Incognizance” through the agency of life’s small epiphanies. It was in my aimless meanderings that I chanced with astonishment and delight upon a proletarian gamine in a village night-club performing with her marker pen held within her sex. It appeared to me then that those who are in the midst of art become unaware of art, art to be found within life itself, and I was ashamed of the artists with whom I was keeping company, men who looked down upon this woman without a thought, a performer whose act had more validity than all their artifice.
During the long hours of a sleepless night, I thought: what if I played with this a little - transposed the person of this “calligraphe demi-mondaine” into the exhibition venue and substituted a brush for her marker pen? Fused the “Base” with the “Noble”, the “Vulgar” with the “Refined”, the “Gross” with the “Beautiful”, the “Carnal” with the “Pure”, and the “Transgressive” with “Classical Culture” in order to create a new and enduring paradigm, a work of art to challenge commonplace assumptions regarding power and authority and value and significance and mastery and technique. I would blow away all that gibberish concerning what is of true worth and what is beneath contempt, the unquestioning reverence for Art and philosophy and erudition, for power and wealth and tradition. Appropriation and metamorphosis. I would juxtapose these conflicts and contradictions in order to confuse and embarrass, to invert society’s value system and to conjure a more carefree existence away from those empty shadows and unfounded bigotry.
There is a Buddhist saying: All is immaterial, so whence arises the dust? The Daoist removes himself from worldly concerns, but I fear that I have yet again succumbed to the lure of the temptress as it remains for me to transcend the carnal sphere.
                Sun Ping 17/05/2013 written at the foot of Beijing (Translation: Arthur Hwang)
Background and concepts behind “The Way of the Brush”
“Bi Mo Zhi Dao” (笔墨之道) or “The Way of the Brush” is a multimedia conceptual series of which the “Internationale” – today’s performance, is the latest iteration.
It involves calligraphy made by a performer holding a traditional Chinese brush in her sex. Texts for the series were chosen for their symbolism, and performances were recorded in the form of video and still photography. There have only been two exhibitions of the works within the series in China - to a closed audience of artists and critics - due to concerns regarding issues of censorship. The calligraphy will be printed and bound in traditional Chinese book form, as well as being carved onto a stone stele and etched onto steel plates, symbolic acts of reverence which are in essence ultimate acts of subversion and iconoclasm.
In December of 2006, Sun Ping was taken to a performance of a sexual nature, whereby girls held felt-tip pens in their sex with which they wrote lewd messages onto the bodies of patrons at their request. Sun immediately felt that not only did these performances constitute a type of “Performance Art”, but that this particular “Performance Art” was both more valid and more honest than the “Performance Art” ordinarily conceived of by professional artists, as the latter was inherently artificial, whereas this represented reality as it was lived by those in a rapidly changing society who had few other choices. He was also struck by the intelligence of one of the sex workers with whom he entered into conversation. These initial feelings were to give rise to the seeds of what was to become the series “The Way of the Brush”.
Reflecting on the system of values inherent in traditional Chinese society, and indeed, in most societies, whereby prostitutes and sex-workers are considered to be beneath contempt whilst art, philosophy, erudition, wealth, and power are held in unquestioned reverence, Sun deliberately chose literary passages symbolic of such refinements and vanities to be reproduced by this method of “Body calligraphy” as a contemplation on our value systems. The set design for each performance, and indeed, the use of “calligraphy” itself, traditionally a preserve of the privileged, represent a challenge to the status quo.
Calligraphic performances in the series include the original piece “Bu Zhi Dao” （不知到）, which means “I don’t know” in everyday parlance. It was also the answer given by the philosopher Laozi to his disciple Zhuangzi in response to the latter’s question as to what constituted the “Dao” or the “Way”. In answering as he did, the master indicated that transcendent wisdom could not be attained by intellectual means. This “Way of Non-Knowing” has thus a particular resonance with the Buddhist concept of “Emptiness”.
The “Wu Zi Bei” （无字碑）or “Wordless Stele”, (onto a facsimile of which the words “Bu Zhi Dao” as written via “body calligraphy” will be carved) was the funerary stele of the Tang Dynasty Empress Wu Zetian, the only woman in Chinese history who ruled in her own right. She decreed that there should be no epitaph on her stele as her deeds would speak for themselves in posterity. In its intention to contravene both history and tradition, this piece subverts the ultimate symbol of the manifestation of imperial power and arrogance.
“Liu Fa Lun” （六法论）, the “Treatise of the Six Laws” as expounded by Xie He (479 – 502), the great art theorist of ancient China, sets down the criteria for great painting. As such, it represents the concept of “High Art”.
“Lan Ting Xu” （兰亭序）－ “The Preface to the Orchid Pavilion”,  recognized as the greatest calligraphic work by Wang Xi Zhi (321 – 379), the greatest of Chinese calligraphers, represents the most revered work of art in China.
“The lowly are the most intelligent, the exalted are the most stupid” - Mao Zedong thought.
“I like to breath” (Marcel Duchamp)
By rendering these paradigms of traditional values in “erotic calligraphy”, these performances represent acts of subversion, mockery, and iconoclasm aimed at symbols of philosophy, power, eminence, Art, ideology, and the idea of subversion itself; at the same time, however, they also constitute a recognition of the place of these schemata within the larger and continuing cultural space.
Today’s performance of the “Internationale”, the anthem of Socialism, and by extension, a reference to the Communist Party, is a new work within the series created for the Venice Biennale.
  Arthur Hwang in  conversation with the artist Sun Ping

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