Power of Silence 无声的力量
On February 8, 2023, together with workshop students at Jahangir Nagar University in Dhaka, Bangladesh, I created the “Power of Silence” movement. Inspired by the “white paper” movement that began in Russia during the Ukrainian war, people took to the streets with blank sheets of paper to protest. This peaceful method spread around the world. The success of the white paper movement shows the power of peaceful protest and the ability of people to bring about change through unity and determination. 2023 年 2 月 8 日，蔡青和工作坊学员一起于孟加拉达卡的 Jahangir Nagar University 创作《无声的力量》。在乌克兰战争暴发之时，有良知的俄罗斯人以手举白纸走上街头，抗议普京发动乌克兰战争，白纸运动由此开启。白皮书运动的成功显示了和平抗议的力量以及人们通过团结和决心带来变革的能力。
Past and Present / No War, Exclusion and Hate 过去·现在 / 不要“战争”“排挤”和“仇恨”
Past and Present, August 2019, Indonesia: The triangle represents conflict, telling the blood of the past; the circle represents harmony, cherishing current friendship. I painted freehand ink portraits titled “Indonesia Performance Art Hero”. 《过去·现在》，2019 年 8 月，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，想到过去的残酷，更惜当下的友情！我画了水墨肖像“印尼行为艺术英雄谱”。
No “War”, “Exclusion” and “Hate”, New York, 2022: The artist symbolically smashed bricks bearing the words “war”, “exclusion” and “hatred”, and used the powder to create a massive red heart — a reminder that love and understanding can triumph over animosity and violence. 《不要“战争”“排挤”和“仇恨”》，纽约，2022：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。
Past by Each Other & Across the Wall 擦肩而过 & 跨越围墙
Past by Each Other, 2015, Vienna: In the autumn of 2015, just as waves of refugees were flooding Europe, I found a homeless man from Eastern Europe on the street and collaborated with him. We soaked our feet with ink and walked on opposite sides of a piece of white cloth on the ground. After many times passing each other, the ink ran out and we joined hands in the middle of the cloth to complete the work. 《擦肩而过》，2015，维也纳：2015 年秋天正逢难民潮涌向欧洲，我在街上找到一个东欧的流浪汉一起合作了这件作品。我们脚沾墨水，相对着在布的两边行走，许多次擦肩而过后，水墨用尽，我们携手会于中间。
Across the Wall, 2017, Mexico / New York: In the Mexican desert I encountered a wall and made a performance to cross it. Push down the wall! — a sentence the curator had said in correspondence — became the first work, and was made in different locations. Make Love, No Wall! is a rephrasing of Lennon and Yoko Ono’s anti-Vietnam War slogan; the work was formed in Mexico and later shown at several locations in New York. 《跨越围墙》，2017，墨西哥 / 纽约：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。“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。“要做爱，不要围墙”篡改了列侬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。
Cai Qing’s Golden Crown (Installation) 蔡青《冠金顶》（装置）
Since I obtained my Ph.D. at the China Academy of Art in 2011, I have been able to move between the system and the independent art world, teaching at universities and doing workshops to bring performance art onto campus. In 2013 the China-ASEAN Art Biennale was held in Nanning. I exhibited a live installation called “Golden Crown”, symbolising society’s obsession with wealth and the desire to follow blindly. Paper hats printed with US dollars and euros covered the space, and visitors could take them freely during the opening. I folded paper hats on the spot and gave them away together with a five-pointed star. The work was the only interactive live piece in the Biennale, and later a performance art unit was added to the exhibition. 自从 2011 年取得中国美术学院的博士学位之后，我可以如愿游离于在野与体制之间，走进大学教学或做工作坊，把行为艺术带入校园。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。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，并能得到我赠予的一颗五角星。我的作品是唯一的现场互动作品。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。
Blind Man with Bull 瞎子摸牛
Blinding my eyes, I began to touch a part of the copper bull, and touched where I did not know I had touched. I was completely lost in confusion, just as I had always misunderstood Western culture. I called two musician friends to play music along with me; they played a Chinese-Western mix of rock and roll, vigorously performing to the bull. 我蒙着眼，在铜牛身上的一个局部开始摸起，摸着摸着我不知摸到了哪里，我完全迷失在不解中，正如我对西方的文化，永远是一个误解。我叫来两位音乐家朋友在一边助兴演奏，他们弹着中西混合的摇滚，起劲地对牛弹琴。
Musicians Fang Ke and Liang Zi took part in the action. 右：参加行动的有音乐家方克和良子。
Memory of Madrid / Calling for Peace in Spain 马德里的记忆
Spain has also experienced terrorist attacks. When I was invited to perform in Vitoria, I thought to express a detail: people died in a black bag, but still came out of the phone ringing... 西班牙也同样经历过恐怖袭击，当我受邀来维多利亚表演，我就想到要表达一个细节，人死后装进黑袋子中，里面却仍传出电话铃的响声......
Watchtower 瞭望塔
Drift — Homeless and People Who Have a Home but Cannot Return 飘游——无家可归、有家难回
We invited homeless people to the opening of our exhibition. The next day we invited them for lunch (in Chinatown of New York). 在开展时请流浪汉入场，次日请众多流浪汉午餐（纽约中国城）
Calling for Peace 呼唤和平
In March 2001 I moved from Germany to New York and experienced 9/11. When traffic stopped completely, I recorded people walking across the Queensboro Bridge on foot, with heavy smoke rising from the collapsed World Trade Center towers behind them. Later, with this video playing in the background, I did a series of performances “Calling for Peace”. I found two other women — one Caucasian, one Black, and myself as a yellow Asian — to symbolise all mankind. We performed together, and finally went to the audience, letting people continue to write messages against terrorism, against war and calling for peace on our bodies. 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，最终走向观众，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 art master Hsieh Tehching took part in the interactive performance by writing on my body. 行为艺术大师谢德庆参加互动，在我身上写字。
Cultivate Performance 耕种
30-minute opening performance of “The Trace of Existence”, 1998, Beijing. I used about 400 renminbi coins as seeds to plant the ground, hoping for a good harvest in the coming year. Plant melons to harvest melons, plant beans to harvest beans — but planting money yields nothing. 《耕种》生存痕迹当代艺术开幕现场，北京，1998。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。
Since the Chinese Modern Art Exhibition held at the National Art Museum of China was closed in 1989, contemporary art became a form of expression opposed by officials, making exhibitions almost impossible. At the end of the 1990s I returned to China from Germany and, together with Feng Boyi and ten other artists, launched “Traces of Survival” — the first internal contemporary art exhibition in China. 自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，几乎不可能办展览。90 年代末我从德国回中国，找到冯博一共同策划，并邀请另外 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。
Selected Important Exhibitions Curated 策划的重要展览
Survival Traces — Internal View of ’98 Chinese Contemporary Art, Yaojiayuan, Beijing, January 2, 1998. Initiated and co-curated with Feng Boyi, inviting another ten artists to participate. This exhibition opened a new era. 1998 年 1 月 2 日在北京姚家园的当代艺术展《生存痕迹——98 中国当代艺术内部观摩展》，由我发起，并联合冯博一共同策划，邀请另外 10 位艺术家共同合作完成。这个展览打开了新时代的篇章。
Construction before Deconstruction, Shifo Village, Zhengzhou, 2008. A performance art exhibition reflecting the social problems of demolition that had just begun across the country. 2008 年在郑州石佛村策划“毁灭前的建造”行为艺术展，反应当时在全国刚刚兴起的拆迁的一些社会问题。