Cultivation, Traces of Survival: Contemporary Art Exhibition, opening event, Beijing, 1998. 《耕种》生存痕迹当代艺术展开幕现场表演， 北京，1998
I planted approximately RMB 400 worth of coins in the ground as seeds, hoping for a good harvest the following year. As the Chinese saying goes, “Plant melons and you get melons; plant beans and you get beans.” But if you plant money, all you get is an empty field 我用大约400元人民币钢崩当种子种下了地，盼望来年有个好收成，种瓜得瓜，种豆得豆，种钱可是一场空。
After the 1998 China Modern Art Exhibition at the National Art Museum of China was closed down, contemporary art became an officially opposed form of artistic expression in China. Contemporary art was forced underground, existing almost entirely outside the official system, and organizing exhibitions became extremely difficult. 自1998 年在中国美术馆举办的中国现代艺术大展被关闭后，当代艺术成为中国官方反对的表现形式，当代艺术成为了地下野生，几乎不可能办展览。
At the end of the 1990s, I returned to China from Germany and began curating contemporary art exhibitions. In Beijing, I found Feng Boyi and worked with him as co-curator. We invited ten other contemporary artists to participate. On the second day of 1998, we presented Traces of Survival — the First Internal Exchange Exhibition of Chinese Contemporary Art. 90 年代末，我从德国回中国，策划当代艺术展，我找到在北京的冯博一共同策划，并邀请了另外10 名当代艺术家参展，最终在1998 年开年的第二天推出：“生存痕迹”-首次中国当代艺术内部交流展 。
Curators: Feng Boyi, Cai Qing 策展人冯博一、蔡青。
Participating artists: Qiu Zhijie, Zhan Wang, Zhang Yonghe (architect), Wang Gongxin, Lin Tianmiao, Yin Xiuzhen, Song Dong, Zhang Defeng, Gu Dexin, and Cai Qing. 邀请参展的艺术家有：邱志杰、展望、张永和（建筑师）、王公新、林天苗、尹秀珍、宋冬、张德峰、顾德鑫、蔡青
Calling for Peace, 2005–2006, New York 《招唤和平》2005-2006，纽约
In March 2001, I moved from Germany to New York and personally experienced the shock of 9/11. At the time, all public transportation had come to a standstill. I recorded people walking across the Queensboro Bridge on foot, with the World Trade Center’s Twin Towers billowing smoke in the background. 2001 年3 月我从德国搬家到了纽约，亲历了震惊世界的9.11，当时交通全停，我用录相记录下来人们徒步跨过皇后大桥，背景是冒着浓烟的世贸双子座。后来我就以这个录相为背景，做了系列《呼唤和平》行为艺术表演。我找到另外两个女孩，一个白人，另一位是黑人，加上我自己是黄种人来象征全人类。我们一起表演，通过一些表演过程，最终我们走向观众，让人们继续在我们的身上书写有关反恐，反战，呼唤和平的信息。
I later used this video as the backdrop for a series of performance works entitled Calling for Peace. I invited two other women to participate—one white and one Black—while I represented the Asian/Yellow race. Together, the three of us symbolized humanity as a whole. 后来我就以这个录相为背景，做了系列《呼唤和平》行为艺术表演。我找到另外两个女孩，一个白人，另一位是黑人，加上我自己是黄种人来象征全人类。
Through a series of performative actions, we eventually approached the audience and invited them to continue writing messages directly on our bodies—messages against terrorism and war, and appeals for peace. 我们一起表演，通过一些表演过程，最终我们走向观众，让人们继续在我们的身上书写有关反恐，反战，呼唤和平的信息。
Performance artist Tehching Hsieh participated in the interactive writing by writing directly on my body. 行为艺术大师谢德庆参加互动写字在我身上
Scrolling David, Sichuan Academy of Fine Arts, 2013 《滚大卫》四川美术学院 2013
After receiving my doctorate from the China Academy of Art in 2011, I was finally able to enter Chinese universities to teach and conduct workshops, which gave me an opportunity to bring performance art into the academic environment. 自从我在2011 年取得中国美术学院的博士学位之后，我可以如愿走进中国的大学教学或做工作坊，由此把行为艺术带入校园。在中国办行为艺术节是个很难的事，除了官方干涉外，也没有资金来源，每次办活动都很受伤。在这种情况下，我认为利用现有的条件，走进大学教青年人是一个推广行为艺术的好方法。
Organizing performance art festivals in China was extremely difficult. In addition to official intervention, there was virtually no source of funding, and each event was a struggle. Under these circumstances, I came to believe that working within existing educational structures and introducing performance art to young artists through universities was an effective way to expand its practice. 在中国办行为艺术节是个很难的事，除了官方干涉外，也没有资金来源，每次办活动都很受伤。在这种情况下，我认为利用现有的条件，走进大学教青年人是一个推广行为艺术的好方法。
For several consecutive years, I deliberately accepted invitations as a guest artist and teacher at different art academies across China. During each two- or three-week teaching period, I not only introduced students to the development and context of contemporary art, but also guided them to engage in performance art through their own bodies and actions. 这样接连几年，我有意在全国各地不同的艺术学院做客座教学。在教学的三或二周内，除了教学生当代艺术的来龙去脉，还引导同学亲身做行为艺术。
During or at the end of each teaching period, I would organize a small-scale performance art festival. In addition to myself and the students, I invited several established Chinese and international performance artists to participate, creating a direct encounter between students, practicing artists, and the wider performance art community. 并在教学其间或结束时，办一个小型的行为艺术节，来参加活动的除了我和学生外，每次还请几位国内或国际的成熟行为艺术家来参加。
Crowning the Golden Peak, Installation and Interactive Work, 2013 《冠金顶》，装置、互动作品 2013
At the end of 2013, the China–ASEAN Art Biennale was held in Nanning. My contribution, Crowning the Golden Peak, was a site-specific installation and interactive work addressing the blind desires generated under the pervasive consciousness of a money-driven society. 2013 年底南宁举办“中国-东盟艺术双年展”，我参展作品是一个现场装置《冠金顶》，表达在金钱社会意识笼罩下人们盲从的欲望。
The work consisted of a large number of paper hats folded from sheets printed with images of money, including US dollars and euros, covering the exhibition space. During the opening, visitors were free to take the hats. I folded paper hats on site in the exhibition hall and gave them to visitors, while each person receiving a hat was also given a five-pointed star by me. Visitors could also choose paper in their preferred colours and learn how to fold the hats themselves. 作品是用印有钱（美金和欧元）的纸叠成的帽子铺满一个空间，人们在开幕式上可以随意拿取。我在大厅现场叠纸帽送人，并且能得到我贈予的一颗五角星。人们也可以选择自己喜歡顏色的纸当即学会折帽子。
It was the only work in the biennale that was based on direct, live interaction with the audience. 我的作品是唯一的现场互動的作品。
The work was not confined to the exhibition venue. Before the opening, I had already taken the project into public and educational spaces, interacting with elderly residents in a central park in the old city of Nanning and with children at a local private school. The opening itself became highly animated, with a considerable proportion of the audience wearing the paper hats. During the following days, I continued to extend the work through a series of interactions at different locations. The furthest intervention took place in Bama Longevity Village, approximately 300 kilometres from Nanning. 这个作品不仅限于展览，在开幕之前，我就在南宁老城中心公园和一所私立学校与当地老人和孩子有了互动。开幕式现场很热烈，全场戴帽覆盖率相当可观。开展后的几天仍然在不同的地点做了几场作品的扩散性互动，走的最远的是到了300 公里外的巴馬长寿村。
Through this performance-based practice, the organizers and chief curator of the biennale encountered a form of contemporary art that was immediate, alive, and directly connected to the public. They also witnessed the artistic quality and social potential of performance art as a practice. The response from both audiences and the media was highly positive. 我的行为艺术让双年展主办方和总策展人看到了真正的鲜活的当代艺术。同时也看到了行为艺术家创作艺术的品质。而且观众和媒体的反映还是很正面的。
This reception subsequently led the biennale organizers to invite me, shortly after the opening, to curate an additional performance art festival section. This was a significant shift from the biennale’s original position of not accepting performance art as part of its exhibition program. 这也正是双年展在开展后不久又委任我策展追加了一场行为艺术节单元的由来。它改变了双年展最初不接受行为艺术入展的初衷。
In this sense, Crowning the Golden Peak became an important moment in bringing performance art into the institutional context of a major contemporary art exhibition in China. 由于这件作品，中国的行为艺术第一次走进了当代艺术展的大雅之堂。
Across the Wall, 2017, Mexico 《跨越围墙》 2017, 墨西哥
In the Mexican desert, I first encountered a wall and created a performance work by crossing it. I subsequently repeated and developed the following two works: 在墨西哥沙漠地带先遇到一个围墙，我做了行为作品跨越一道围墙，随后又重复实施了以下二件作品。
1. Push Down the Wall!1.《推倒墙！》
“Push Down the Wall!” was a phrase used by the curator in our correspondence, which I adopted as the title and central statement of the first work. The work was realized at several different locations, moving from one site to another, and eventually remained on the fence of a local farm. 《推倒墙！》是策展人与我通信时说的一句话，我用于第一件作品中。这件作品在不同的地点作成，并游走了几处，最终留在了当地农家园子栅栏上。
2. Make Love, No Wall!2.《要做爱，不要围墙》
“Make Love, No Wall!” adapts a slogan associated with John Lennon and Yoko Ono’s anti-Vietnam War activism, replacing “War” with “Wall.” The work was developed in Mexico and subsequently brought back to New York, where it was presented at several locations as an extension of the original action and to further reinforce its impact. 《要做爱，不要围墙》这是篡改了列农和小野洋子反越战的一句话，反战改成反“墙”。这件作品在墨西哥形成，之后带回了纽约，在纽约的几个地点做了展示，延续和加强了作品的力度。
Past · Present, 2019, Indonesia 《过去. 现在》 2019，8 印尼
The triangle represents conflict and evokes the bloodshed and violence of the past. The circle represents the harmony of the present, becoming a gesture of friendship and embrace. Remembering the brutality of the past makes us cherish the friendships of the present even more. 《过去. 现在》 2019，8 印尼 / 三角形代表冲突，讲述过去的血腥；圆形代表当今的融洽，为友谊拥抱。想到过去的残酷，更惜当下的友情！
During the ten-day exhibition, I also created a series of ink portraits entitled Heroes of Indonesian Performance Art, portraying important figures in the history of Indonesian performance art. 在十日参展期间完成水墨肖像“印尼行为艺术英雄谱”
No War, Exclusion or Hatred, New York, 2022 《不要“战争”、“排挤”和“仇恨” 》 纽约 2022
Many of the conflicts and crises facing humanity today stem from exclusion and hatred between nations and between individuals. These tensions can ultimately escalate into war, in which people turn against and kill one another. 在当 前人类国际 行势下的诸多问题，都是来自于国家与国家之间或人与人之间的相互排挤和 仇恨，以至于最后的方式激化成战争，人们相互殘杀！
The artist symbolically smashed bricks inscribed with the words “War,” “Exclusion,” and “Hatred,” and used the resulting powder to create a giant red heart. This powerful gesture suggests that love and understanding can overcome hatred and violence. 艺术家象征性地砸碎了写有“战争”、“排斥”和“仇恨”字样的砖块，并用所得的粉末创造了一颗巨大的红心。 这一有力的声明提醒人们，爱与理解可以战胜仇恨与暴力。
By promoting empathy and mutual respect, we can contribute to a better world—one founded on peace and inclusion. Through the power of art and activism, we can spread a message of hope, inspire positive change, and bring people together to work toward a brighter future. 通过促进同理心和相互尊重，我们可以帮助建设一个更美好的世界，一个基于和平和包容的世界。 通过艺术和行动主义的力量，我们可以传播希望的信息，激发积极的变化，让人们团结起来，为更光明的未来而努力。
Video work 影像作品
Searching for my Uncle 2000 《找寻我二叔》2000
My uncle was a man with a mental illness. During the Korean War, he suffered a head injury caused by the shockwave of an artillery shell. After recovering, he was not properly resettled or cared for. He continued to write letters to Chairman Mao. In 1976, he went to Beijing to petition the authorities and became involved in the public mourning for Premier Zhou Enlai at Tiananmen Square. He wrote poems during the event and was arrested, subsequently being branded a “counterrevolutionary caught in the act.” 我二叔是个精神病人，抗美援朝时炮弹震坏了脑袋。复原没有好好安置，他一直写信给毛主席，76年去北京上访遇到天安门悼念同总理，他写诗被抓，成了现行反革命，4人帮倒了，他又放出，并分配到兽医站工作。他仍然不停地表白他是最爱党的，把自己放大为重要的人物。响应党的号招，学马列、学习邓小平文选、申报诺贝尔几项奖......
After the fall of the Gang of Four, he was released and assigned to work at a veterinary station. He continued to repeatedly proclaim that he was the person who loved the Communist Party most, while imagining himself as an important historical figure. In response to the Party’s calls, he studied Marxism-Leninism, read Deng Xiaoping’s Selected Works, and even submitted applications for several Nobel Prizes. 他仍然不停地表白他是最爱党的，把自己放大为重要的人物。响应党的号招，学马列、学习邓小平文选、申报诺贝尔几项奖......
In 2000, I brought my uncle to Beijing for the second time and presented the exhibition project Searching for my Uncle at Modern City. The project used his personal history and extraordinary life experience as the starting point for an artistic exploration of individual memory, political ideology, and the complex relationship between personal identity and historical reality. 2000年我把二叔第二次带到北京，在现代城做了《寻找我二叔》的展览发布会。
Worship New York 《礼拜纽约》
I was about to leave New York and felt reluctant to say goodbye. I therefore decided to create a farewell performance that would leave me with a sense of completion. 我要离开纽约，心中有些不舍，于是决定创作一个让自己感到满意的告别作品。
At 8:00 a.m., I began crawling from the tenth floor of my residence, using two small red carpets placed one after the other. Two assistants accompanied me. I instructed them to photograph the New York street scene from ground level every fifteen minutes. 早上8点，我从住所的10楼开始，在两块前后递进铺放的红色小地毯上爬行，并由两位助手陪同。规定每隔15分钟，从接近地面的视角拍摄一张纽约街景，以记录这场持续一整天的城市行走。
I crawled along York Avenue from East 63rd Street toward Central Park. In the afternoon, I continued along Fifth Avenue, passing the Museum of Modern Art (MoMA). By evening, as the neon lights came on, I had reached Times Square. 我沿曼哈顿上城东63街的约克大道向中央公园方向爬行。下午继续沿第五大道前行，经过现代艺术博物馆（MoMA）。傍晚霓虹灯亮起时，我已经爬到了时代广场。
At 10:00 p.m., I ended the performance on 44th Street in Times Square. The two red carpets were then opened to the audience, who were invited to write messages and leave their personal marks as a record of the performance. 晚上10点，我在44街时代广场结束行为。随后将两块红色地毯交给观众，邀请他们在地毯上留言、签名，留下属于自己的痕迹，也使这件告别作品最终成为艺术家与纽约城市及公众共同完成的一次行为。
Afternoon Nap 《午睡》
I fell asleep in the arms of Lu Xun, holding a book on contemporary art that I had been reading. 我在鲁迅的怀中睡着了，手中拿着一本正在阅读的当代艺术书籍。