張曉剛

《如何成為馬可波羅? No.1：手電筒和指南針》，不銹鋼板，絲網(wǎng)印刷，油彩，銀色簽字筆，160x210.5cm 2009
《如何成為馬可波羅? No.1：手電筒和指南針》，不銹鋼板，絲網(wǎng)印刷，油彩，銀色簽字筆，160x210.5cm 2009
《如何成為馬可波羅No.3,蠟燭和圣經(jīng)綜合材料》，不銹鋼板，油彩,銀色簽字筆160x210.5cm 2009

　　張曉剛的書寫與圖像來(lái)自對(duì)歷史的閱讀與象征性陳述。他借用那個(gè)被翻譯與詮釋了無(wú)數(shù)次的“游記”內(nèi)容，可是，這些用不同的文字記錄的歷史真的具有判斷的絕對(duì)性嗎？馬可波羅的“游記”有很多別名：“百萬(wàn)”(II Millione)、“寰宇記”(Marco Polo The Description of the World)或者“威尼斯人馬可波羅閣下關(guān)于東方諸國(guó)奇異之書”（The Book of Ser Marco Polo the Venetian Concerning the Kingdoms and Mmarvels of the East），這些標(biāo)題本身就意味著閱讀、理解與要求的差異。一個(gè)八百多年前的意大利人與自己究竟是什么關(guān)系？古代的物證與一個(gè)社會(huì)主義國(guó)家的個(gè)人究竟是什么關(guān)系？ 張曉剛試圖通過(guò)讓自己成為馬可波羅，試圖與歷史對(duì)話，以尋找今天自己與過(guò)去之間的關(guān)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》，不銹鋼，雕塑,325 x95x240cm,2008
《托賓和 T63》,布面油畫,220x320cm,2007

周春芽的禮物來(lái)自他將中國(guó)氣質(zhì)與德國(guó)精神的融合。他的“綠狗”的文化血統(tǒng)是綜合的，交融的。很少有一個(gè)中國(guó)藝術(shù)家能夠通過(guò)西方的材料以及材料所體現(xiàn)的文化象征將一個(gè)人們熟悉的動(dòng)物畫得那樣富于表現(xiàn)性和充滿生命。這樣的結(jié)果當(dāng)然能夠讓我們聯(lián)想到馬可波羅這些中西方的溝通者在來(lái)來(lái)回回的旅行中產(chǎn)生的作用，不過(guò)，當(dāng)周到德國(guó)留學(xué)的時(shí)候，人類已經(jīng)進(jìn)入了真正意義的全球化的時(shí)代，今天的溝通總是創(chuàng)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

《樂(lè)園》，布面油畫，150 x 120cm,2009
《失樂(lè)園》，布面油畫，150 x 120cm,2009

何多苓提供了一個(gè)園林色情的寓意，這個(gè)寓意在中國(guó)文化歷史上四處可見(jiàn)，不過(guò)，畫家沒(méi)有強(qiáng)調(diào)色情的張皇，他僅僅是在暗示一種頹敗與感傷。這個(gè)氣質(zhì)融合了現(xiàn)代主義的悲劇和中國(guó)文人的敏感，畫家似乎認(rèn)為，這個(gè)氣質(zhì)正是今天的中國(guó)人特有的東西，它似乎與馬可波羅當(dāng)年對(duì)中國(guó)的觀察有些了沒(méi)有脫離傳統(tǒng)的變化。

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.

王廣義

《現(xiàn)場(chǎng)》，裝置，圖片、建筑、廢氣、灰土，2009

王廣義試圖通過(guò)營(yíng)造一個(gè)象征性的歷史現(xiàn)場(chǎng)，以說(shuō)明，從馬可波羅踏上中國(guó)的土地之后，“意大利與中國(guó)在漫長(zhǎng)的歷史長(zhǎng)河中構(gòu)成了極其復(fù)雜的關(guān)系”。他說(shuō)，“圓明園作為歷史的‘物證’，具有特別的意義。包含了復(fù)雜的文化與政治的沖突。同時(shí)圓明園又是八國(guó)聯(lián)軍對(duì)中國(guó)的軍事侵略與文化掠奪的‘犯罪現(xiàn)場(chǎng)’。當(dāng)然，不僅馬可波羅，就是圓明園的設(shè)計(jì)者之一朗士寧（F. Liuseppe Castiglione）也不會(huì)想到這一點(diǎn)?！彼Ｍ€原歷史的“現(xiàn)場(chǎng)”，讓給馬可波羅的后人理解到歷史與文化的復(fù)雜性，在這個(gè)現(xiàn)場(chǎng)里，對(duì)歷史的感傷，對(duì)災(zāi)難的反省以及對(duì)充滿悲劇的時(shí)間的緬懷，都成為今天的問(wèn)題。

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》,布面油畫,250x360cm,2008
《2008.6.1》,布面油畫,250X360cm,2008
《2008.7.1》,布面油畫,250X360cm,2008
40800mm(No.6),雕塑01 壓克力，玻璃鋼等 4080x6x15cm 2007
40800mm(No.10),雕塑01 壓克力，玻璃鋼等4080x6x15cm 2007

方力鈞將看上去很講究的畫框安放在灰色的墻上，美好的可能性似乎呈現(xiàn)在畫框里?？墒牵屑?xì)地觀察可以發(fā)現(xiàn)，美好的東西也許是煙云般的不確定，生命力倒有些像那些細(xì)菌與昆蟲，他們恒定地存在著，如此而已。無(wú)論是那些匍匐前進(jìn)的小人，還是繪畫中的象征，藝術(shù)家暗示了沖突、對(duì)立以及矛盾的現(xiàn)實(shí)終究要隨著時(shí)間消散。從歷史的角度上看，一個(gè)特定語(yǔ)境里的問(wèn)題也許是可笑的。東西方之間因?yàn)檠y(tǒng)、地理、文化、歷史以及政治和經(jīng)濟(jì)制度上的差異，而發(fā)生無(wú)知、誤解、反感、困惑甚至殘殺，可是，這些問(wèn)題統(tǒng)統(tǒng)都會(huì)在溝通與知道中煙消云散，而溝通與知道的旅行就開(kāi)始于馬可波羅們，所以，藝術(shù)家采用了一個(gè)寓意性的方式而表達(dá)他的主題。

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

《迷宮》系列，油畫，圓形，直徑1米，2009

岳敏君將中國(guó)傳統(tǒng)園林看成是一個(gè)歷史與現(xiàn)實(shí)的迷宮，藝術(shù)家不僅將齊白石，徐悲鴻，張大千等畫家的作品圖像內(nèi)容放進(jìn)自己的迷宮里，也用他們的名字作為作品的標(biāo)題，這些中國(guó)藝術(shù)家并不為西方觀眾所熟悉，可是，他們與中國(guó)藝術(shù)的歷史有著密切的關(guān)系。岳敏君說(shuō)，“這些藝術(shù)家均未參加過(guò)類似威尼斯雙年展這樣的國(guó)際展覽，我試圖通過(guò)這種方式，圓他們一個(gè)夢(mèng)想，虛幻的夢(mèng)想?！钡拇_，“畫面中運(yùn)用的圖示圖像也都是傳統(tǒng)中國(guó)藝術(shù)中常見(jiàn)的花草鳥獸，假山石等等”，這些表明了中國(guó)傳統(tǒng)文化的要素同樣提示了葉放在他的園林計(jì)劃里的內(nèi)涵，作為傳統(tǒng)與歷史的物證，這些要素是決定性的，也是最初馬可波羅非常感興趣的對(duì)象。藝術(shù)家提示說(shuō)，“藝術(shù)家在傳統(tǒng)藝術(shù)創(chuàng)作中的迷惘和探索，他們似乎迷失在自己營(yíng)造的迷宮空間中，由一個(gè)迷宮進(jìn)入另一個(gè)迷宮，陷入囚徒般的困境，永遠(yuǎn)走不出來(lái)”?？墒牵瑲v史就是這樣的迷宮，就像當(dāng)年馬可波羅將威尼斯人帶進(jìn)東方的迷宮一樣，今天中國(guó)的藝術(shù)家再次給威尼斯建造了迷宮。

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.

張培力

《圣馬可廣場(chǎng)》，裝置，照片，2009

張培力要給馬可波羅提供的是一個(gè)有趣的景觀，他在馬可波羅去過(guò)的城市杭州尋找學(xué)習(xí)的案例，藝術(shù)家把今天的一個(gè)模仿威尼斯圣馬可廣場(chǎng)的照片呈現(xiàn)給在意大利的觀眾。這同樣是一個(gè)交流的物證，一個(gè)問(wèn)題重重、讓人難堪的范例。在1978年之后的現(xiàn)代化的進(jìn)程中，中國(guó)再次同意向西方學(xué)習(xí)?？墒?，在這個(gè)學(xué)習(xí)中， 顯然暴露了精神與歷史的空虛以及缺乏創(chuàng)新態(tài)度的拙劣。東西方在相互觀看，具體的人在相互認(rèn)識(shí)，可是， 由于缺乏文明語(yǔ)境的知識(shí)訓(xùn)練，由于膚淺的炫耀心理，那座建立在馬可波羅贊嘆的中國(guó)城市里的圣馬可廣場(chǎng)的“塔”是陽(yáng)痿的和缺乏教養(yǎng)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.

吳山專與Inga Svala Thorsdottir

吳山專：《買就是創(chuàng)造》，裝置，霓虹燈，2009
Inga:?? 《買就是創(chuàng)造》，油畫，200x200cm，90x70cmx2,2009

吳山專決定將他的那些文明的“水貨”用五彩斑斕的霓虹燈呈現(xiàn)出來(lái)，在夜晚，如果我們站在VENICE BIENNALE GIARDINI觀看San Servolo島，這個(gè)無(wú)意義的符號(hào)群將提供燦爛與有來(lái)源的語(yǔ)義。藝術(shù)家將TO BUY IS TO CREATE高高架在VIU校園的墻上，試圖告知馬可波羅先生，威尼斯商人的歷史腳跡給中國(guó)人留下深刻的印象，現(xiàn)在，“商”已經(jīng)成為全球的共識(shí)，“買就是創(chuàng)造”已經(jīng)成為中國(guó)人安放在威尼斯建筑上的座右銘。

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.

葉放

《禮堂》，裝置，模型、圖片、Video，2009

藝術(shù)家葉放作品《禮堂》的出發(fā)點(diǎn)正好是馬可波羅向歐洲人介紹過(guò)的城市蘇州。他試圖向西方人補(bǔ)充一個(gè)概念：什么是中國(guó)文化的基本氣質(zhì)。作為裝置的模型、水墨、家具等將會(huì)議室裝置成一個(gè)典型的中國(guó)式禮堂。事實(shí)上，這件作品是藝術(shù)家為威尼斯國(guó)際大學(xué)建筑一個(gè)具體的中國(guó)園的方案，在雙年展期間，人們可以看到這個(gè)最終的作品正在呈現(xiàn)；在展覽中，藝術(shù)家試圖提示標(biāo)志中國(guó)傳統(tǒng)文化的核心要素“禮”的重要性，了解中國(guó)文化歷史的人能夠體會(huì)到，禮節(jié)儀式的內(nèi)在性其實(shí)就是宗法制度和道德規(guī)范。中國(guó)人愛(ài)用“天經(jīng)地義”來(lái)表明原則與理想的不可動(dòng)搖性，如果這樣的信念得到了文化與制度的有效轉(zhuǎn)換，將能夠很好地呈現(xiàn)出人類的共性原則，藝術(shù)家說(shuō)他試圖在觀眾心里喚起“情感與理智的協(xié)同與調(diào)和的承載”。中國(guó)園將永遠(yuǎn)生長(zhǎng)在VIU校園里，馬可波羅在游記中稱中國(guó)的江南一帶“處處景色秀麗，讓人疑為人間天堂”。而英文中，“天堂”這個(gè)詞來(lái)自于古希臘文的paradeisos，這個(gè)詞又來(lái)自古波斯文pairidaeza，意思就是“豪華的花園”。所以，中國(guó)園林就是馬可波羅筆下人間天堂的中心，于是，也成為了“禮”的可以感知與欣賞的物理呈現(xiàn)。

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.