文德是世界跨文化教育领域的知名学者，同时还是一位优秀的艺术家。他拥有法国索邦大学和芬兰图尔库大学两所世界知名古老院校的博士学位。现担任芬兰赫尔辛基大学的终身教授及博士生导师，同时还在世界各地高校担任荣誉教授和客座教授。他发表了150多篇学术论文和80余部学术专著，探讨关于身份、跨文化交流与教育、人口流动与移民等社会问题。他对艺术的兴趣始于青少年时期，经过多年的积累形成了自己独特的艺术风格。在过去的十几年中，他在中国与芬兰这两个他热爱的土地上创作了许多带有鲜明个人特色的作品。同时，他将艺术创作与个人学术研究相结合，并放入个人著作中，以帮助读者更好地理解和思考研究背后的故事和意义。特别是近一年间，他对面孔和镜子进行了细致地观察和理解，并创作了许多有内涵和想象力的创作，一部分作品将会出现在他明年的著作中。
“He wears a mask, and his face grows to fit it.”
George Orwell (1936)
你生存在那个面具之下，你戴上了它，你的脸就逐渐适应了它，而慢慢长成了面具的样子。
乔治 奥威尔 (1936)
我们非常高兴为大家带来芬兰学者Fred Dervin的画展KASVOT万化之相。在芬兰语中，KASVOT是复数名词，表意为脸，它是Fred本次展览的核心内容，是他对个人随时间、场域、环境变换所带来的身份转换及其所呈现出的面相的芬兰式表达。
1953年，设计师Vuokko Eskolin-Nurmasniemi在Armi Ratia创立于1951年的芬兰设计品牌Marimekko的工作中设计出了一款手绘图案条纹面料：Piccolo。这种条纹元素被Fred Dervin认为是个体身份复杂性、包容性、多样性与多变性的视觉象征而加以运用。Marimekko品牌的另一重要设计元素为绽放的巨大花朵，其灵感来源或可从1913年在巴黎首演的伊戈尔·斯特拉文斯基（Igor Stravinsky）的芭蕾舞剧《春之祭（The Rite of Spring）》中找到线索，Fred 认为这部伟大作品中那些尖锐、紧张和突如其来的音响，表达出了北半球寒带地区的自然从冰雪之下展露头脚到春天到来时的狂野和人群的爆炸性喜悦。Fred画面中脸部背后的各种色点、螺旋线即被赋予了类似的内在认知活动与身份转化的意象。
Fred Dervin的祖辈来自欧洲四个不同的民族，强势的有德国血统的妈妈主导他从6岁起即接受严格的精英教育，在6—16岁的少年期，Fred每在学校学习六个月可回家待上两周，这塑造了他对于知识狂热渴望的性格与对于感情独立与依赖的矛盾情绪。他常常以法国作家居斯塔夫·福楼拜（Gustave Flaubert）所著的《布瓦尔与佩杜歇》（Bouvard et Pécuchet）中的布瓦尔，以及源自意大利喜剧并成为20世纪初法国戏剧界核心人物的小丑皮埃罗（Pierrot）自比。或许很少有人知道宗教在芬兰扮演着很重要的角色，尽管Fred声称当时的宗教教育对于他是乏味的，但他却始终抱持着对陀思妥耶夫斯基（Dostoyevsky）在《白痴（The Idiot）》中塑造的梅什金公爵（Prince Myshkin）的道德认同。他们都有点天真而幼稚，有一点愚蠢。
Fred旅居于世界各地，教授跨文化领域的知识，并在这种跨文化的背景中对身份问题进行持续的追问。即将步入知天命之年的弗雷德与中国学者合作多年。每次访问中国，他每天都会去邮局给他在芬兰的祖母寄一张明信片——这是纯真和爱的象征，或者某种程度上可以与宗教的救赎感相媲美。展出的画作从2020年到2022年，邀请观众进入一个令人困惑但永无止尽的身份之旅。
It is a pleasure to introduce Finland scholar Fred Dervin’s exhibition KASVOT – A Journey Through Ten Thousand Faces. KASVOT, a plural noun in the Finnish language, means face, and it is at the heart of Fred’s exhibition. The use of the Finnish word hints at the temporal, spatial and ecological transformations of our identity, symbolized by the complexity of our faces.
In 1953, designer Vuokko Eskolin-Nurmasniemi produced the hand-drawn Piccolo striped fabric for the Finnish Design House Marimekko founded in 1951 by Armi Ratia. This stripe element is considered by Fred Dervin to be a visual symbol of the complexity, inclusivity, diversity and variability of individual identities. Another iconic design element of the Marimekko brand is large blooming (poppy) flowers, which could have been inspired by the loud, tense and abrupt sound of Igor Stravinsky’s ballet The Rite of Spring, which premiered in Paris in 1913. For Fred, this great piece of music articulates well the wild nature of the northern hemisphere when snow and ice leave the floor to the wildness and explosive joy of the crowds at the arrival of spring. The variety of colorful dots and spirals accompanying Fred’s faces in the art pieces are endowed with a similar imagery of internal mental activities and identity transformations.
Fred Dervin’s diverse cultural heritage from four European countries, and his strong mother of German descent, led him to receive a strict elite education from the age of 6. As an adolescent, Fred was allowed to return home every six months, just for two weeks, which shaped his insatiable thirst for knowledge and his ambivalence about emotional in-/dependence. Until today he has often returned to the French writer Gustave Flaubert’s Bouvard and Pécuchet for inspiration. In a similar vein, he has often found solace in the figure of Pierrot, the clown who originated in Italian Commedia Dell’Arte and became a central figure in French theater in the early 20th century. Few people may know that religion plays an important role in Finland, and although Fred claims that religious education was uninspiring to him, morally, he has identified with Dostoyevsky’s Prince Myshkin in The Idiot. Bouvard and Pécuchet, Pierrot and Myshkin are all a little naïve, childish and foolish.
Fred has lived in different countries, teaching and researching interculturality, constantly questioning identities. Fred, who will soon be in the youth of old age, has cooperated with Chinese scholars for many years. Every time he visits China, he will go to the post office every day to send a postcard to his grandmother in Finland – another symbol of innocence and love or a redemptive feeling somehow comparable to religion. The paintings on display are from 2020 to 2022 and invite the viewer to a confusing and yet never-ending journey through identity.
When he was asked to talk about his music, Pierre Boulez (1925-2016) often answered that he could not do it in words, otherwise he would have been a writer instead of a composer. I often feel the same about my own art. However, as a scholar myself, talking is also my job. I am above all an academic, someone who specializes in intercultural communication and education. I spend my days thinking and writing about the important topic of interculturality. I have been doing so for the past 20 years. When my writing day is over, I move to another part of my home and do some art. For me, both activities are complementary. What I cannot say in writing, I express through painting. What I cannot express in art, I write about. Sometimes, I am able to combine both research and art. This exhibition, which presents art works from 2020 to 2022, showcases how my thinking, writing and art work hand in hand. It is a lesson in interculturality, humanity, and togetherness.
Working on intercultural encounters in both research and art, I wish to help others unthink and rethink the ways they engage with people, objects and ideas from different parts of the world. I see interculturality as a necessary lifelong process of in-betweenness and co-construction. In this exhibition I share pieces produced in 2020-2022 with a focus on identity and metamorphoses in the processes of encountering. All the pieces consist of portraits of social beings. In both my academic and artistic work, I am fascinated by both faces and mirrors, which are constitutive of interculturality. The entire exhibition takes the viewers through different emotions such as ecstatic creativity, ambivalence, feelings of rebirth and joy.
The exhibition is divided up into three interrelated sections:
1. Identity metamorphoses,
2. (Re-)encountering,
3. Between nature and us.
Section 1, identity metamorphoses, consists of 32 pieces. Changing is considered as central to human and social life. We are never really the same with different people; we adapt to characters, situations and contexts. We also change with time and space. Who we are also depends on what we do and say with others. In the process of communicating with others, we influence each other for better or worse. The section engages with the complexities of identities, looking into the human face, relating it to change and transformation. Identity metamorphoses are problematized through individual pieces and 5 different series of works, including self-portraits. The image of the mask, literary figures and myths are found in the art pieces to illustrate identity metamorphoses. Pieces include:
- Individual pieces: Kasvot (face(s)), Persona (The Mask), Solid Self, The Philosopher, Two-faced, Red Moon Reflecting Self, Je Lis Trop (I Read Too Much); Self-Portrait as Bouvard, 我无法呼吸 (I Can’t Breathe)
- Series: Stripes (I- IV); Love Thyself (I-IV); To Exist is To Change (I-IV); My Reader (I-II); Self-portrait as Pierrot (I-IV); Transformation (I-V).
Identity always requires the presence of another person to function, that is, to allow it to change. Section 2 revolves around the idea of encountering, or to be more precise, (re-)encountering. The word encounter in English comes from old French encontrer (to meet). While English borrowed the verb directly as a synonym for to meet, contemporary French says rencontrer, which actually translates literally as to meet again. I note that encounter contains the Latin contra which means against – to encounter originally was counter to, against someone. By adding (re-) in front of encountering here I want to suggest that meeting someone always starts before we really meet them. (Re-)encountering someone usually involves relating the person and the situation of encounter to other moments, previous moments of encounters with others (a smell, a face, an accent, a piece of clothing worn by someone will always remind us of a previous experience). In the 23 pieces that are presented in this section, I problematize (re-)encountering by means of 5 series about voices, looking at the other, asking questions and looking into the other’s mirror. Some of the pieces help us to reflect on some of the problems we might come across when meeting others.
- Individual piece: Saknar Dig (Miss You)
- Series: Voices Between Us (I-IV); 看着我 I (Look At Me I-III); Where Are You From? (I-IV); Mon Miroir (My Mirror I-VII); Be Happy! (I-IV).
The final section takes a broader perspective on identity and encounters by including nature. Entitled Between nature and us, Section 3 contains 20 pieces. As long as I can remember, discussions around nature and the environment have taken place at school and the media in Europe. Only recently, through an increasing global awareness, nature has been part and parcel of our daily interests and questions for the future. This section reminds us of the centrality of nature for human beings. References to nature in China and Finland are made in the section pieces. Three series compose the section (with references to Stravinsky’s classic composition called the Rite of Spring and a park in Beijing). The section Between nature and us is a reminder that there is neither human identity nor encounters without bearing in mind the importance, beauty and power of nature.
- Individual pieces: Fracassant (Ear-Splitting), Shamefully Hiding From The Moon, A Piece of Finland in China, Le Piano Galopant (The Galloping Piano), Les Feuilles Vivantes (Living Leaves)
- Series: Rite of Spring (I-VIII); Bamboo Park (I-IV); La Nature et Moi (Nature and I I-III).
当皮埃尔·布列兹 (1925-2016) 被问及他的音乐时，他常答道: “我无法用文字来谈论音乐，否则我将成为作家，而非作曲家。”我对艺术也有同样的感觉。然而，作为一名学者，演说也是我的工作。
我首先是一名学者，主要研究跨文化（交际）及其教育。我时常思考、书写有关跨文化的相关内容。在过去的20年里，对跨文化的研究与教育也成为我生命的重要部分。我时常会在结束写作后，来到我的艺术工作室，用艺术来表达我对此的所思所想。于我，写作与艺术密不可分、融为一体，他们是对我所思所想的不同表达方式。无法用文字表达的，我通过绘画来表达。无法用绘画表达的，我便通过文字。有时，我把我的研究与艺术结合起来。本次展览展示了我从2020年-2022年创作的艺术作品，展现了我的所思所想，展示了写作与艺术创作是如何交织在一起。这是一场探讨人与自己、与他人、与自然如何相处的跨文化之展。
我将我对跨文化（交际）的思考呈现在我的研究与艺术作品中。希望通过我的研究和作品，帮助大家从不同角度思考我们应如何更好得面对我们所接触到的人、物以及所接收到的不同信息、观点。本次展览的作品均由我2020-2022年所创作，主要以人物肖像为主，此外还有一些关于大自然的作品。希望我的作品可以引起观展者的某些共鸣。有些作品可能会让你感受喜悦与开心，有些作品可能会让你感到悲伤或愤怒。但这些矛盾的情感都是我们与作品之间的共鸣。
此次展览共分为三个篇章：
第一篇章：身份的多变
第二篇章：（再）相遇
第三篇章：自然与我们
第一篇章 身份的多变 （Identity Metamorphoses）
此篇章包含32 幅作品。变化，是人类及人类社会恒古不变的规律。当我们面对不同人，我们呈现的样子也不尽相同。我们的身份或角色总是随着情境的改变而不停转换。同样，也随着时空的转变而变化。我们是谁与我们在某情境下做什么，与谁相处有关。在与他人沟通交流的过程中，我们互相影响，或坏或好。这一篇章主要围绕身份的复杂性，通过专注人脸的千变万化，表达身份的复杂性与多样性。“身份的转变”这一中心内容在相关主题作品和5个系列作品中展现。
主题作品：面孔；面具；隐藏的自我；哲学家；双面；红色镜子里的另一个自己；疯狂阅读；自画像之布瓦尔德；无法呼吸。
系列作品：条纹男孩（1-4）；存在即改变 （1-4）；自画像之皮埃罗（1-4)；阅读者（1-2）；转变（1-5）
第二篇章 （再）相遇
身份的多样性和复杂性表明人们总是在适应中改变。第二篇章将围绕“相遇”这一主题，或者更准确地说是“（再）相遇”。英语encounter (相遇)一词源于古法语encontrer(遇见)一词。英文中的encounter只借用了“遇见”这层含义，但当代法语 rencontrer，意为“再相遇”。我注意到在拉丁语中，词根contra意味着“反对”，所以“相遇”一词最初是“反对某人”。通过加入（re-），我希望大家能注意到，其实人与人的相遇始于我们还未见面前，因为我们的相遇总会受我们之前相似的经历所影响，如，相似的见面场景，某一熟悉的味道、声音等。我将这部分的23幅作品分为五个系列，其中一些作品反映了当下我们遇见他人时所遇到的问题和困惑。
主题作品：想你
系列作品：我们之间的声音（1-4）；看着我（1-3）；你来自哪儿？（1-4）；我的镜子（1-4）；要快乐（1-4）。
第三篇章 自然与我们
最后一篇章，通过引入“自然”，从更泛的角度探讨个体身份与相遇。名为“自然与我们”，共20幅作品。从我记事起，欧洲的学校和媒体就已经在讨论自然与环境。直到近些年，随着全球意识的提高，对自然的探讨已经成为了人们的日常话题和关注未来发展的主要问题。该篇章作品提醒我们要关注自然，自然应处于人类发展的中心地位。该篇章包含描绘中国和芬兰自然环境的作品。此外还有三个系列作品：《春之祭》（灵感来源于斯特拉文斯基的经典钢琴协奏曲）、紫竹公园、自然与我。“自然与我们”篇章旨在提醒我们，如果不牢记自然的重要性、美丽和力量，也就不会身份认同及相遇。
主题作品：震耳欲聋；藏在月亮下的羞涩；中国的小“芬兰”；飞驰的钢琴；叶
系列作品：春之祭；紫竹公园；自然与我。
A renowned scholar in the field of intercultural communication and education, Fred Dervin (Chinese name: 文德 Wende) is also an artist. He holds two PhDs (Sorbonne University in Paris and University of Turku, Finland), is a full professor and PhD supervisor at the University of Helsinki, Finland. Dervin also holds several distinguished and visiting professorships in Australia, Canada, China, Luxembourg, Malaysia and Sweden, as well as in other Finnish universities. Dervin has published internationally on questions of identity, interculturality and mobility/migration (over 150 articles and 80 books). His interest in art began when he was a teenager and has continued to grow over the decades. Since the early 2010s, he has produced artworks in Finland and China to showcase his scientific ideas. His commitment to the arts has also influenced his personal research (e.g. the benefits of arts education for intercultural communication). For decades he has collected and specialized in Finnish art from the mid-20th century and since 2015 he has been actively involved in producing his own art in relation to his research work. In his 2022 book entitled Interculturality in Fragments: A Reflexive Approach (Springer), he included 10 of his works of art to stimulate his readers to think beyond words about intercultural communication and education. He is just about to publish a book on art and interculturality in education (Palgrave Macmillan, 2023).
Dervin is interested in the complexity of depicting faces in his art by using different techniques. Interestingly, the Finnish word ‘face’, ‘kasvot’, always appears in the plural, which piqued his curiosity about the human face. This interest also comes from his scientific research on identity and intercultural communication, as well as his experience of living in different parts of the world (more information available at https://researchportal.helsinki.fi/en/persons/fred-dervin).
文德是世界跨文化教育领域的知名学者，同时还是一位优秀的艺术家。他拥有法国索邦大学和芬兰图尔库大学两所世界知名古老院校的博士学位。现担任芬兰赫尔辛基大学的终身教授及博士生导师，同时还在世界各地高校担任荣誉教授和客座教授。他发表了150多篇学术论文和80余部学术专著，探讨关于身份、跨文化交流与教育、人口流动与移民等社会问题。他对艺术的兴趣始于青少年时期，经过多年的积累形成了自己独特的艺术风格。在过去的十几年中，他在中国与芬兰这两个他热爱的土地上创作了许多带有鲜明个人特色的作品。同时，他将艺术创作与个人学术研究相结合，并放入个人著作中，以帮助读者更好地理解和思考研究背后的故事和意义。特别是近一年间，他对面孔和镜子进行了细致地观察和理解，并创作了许多有内涵和想象力的创作，一部分作品将会出现在他明年的著作中。(https://researchportal.helsinki.fi/en/persons/fred-dervin)
This piece is a comment on the Finnish word for face (Kasvot). The Finnish language seems to be the only language in the world that uses a plural word to refer to someone’s face. While in English we say ‘my face is dirty’, in Finnish one needs to formulate it as ‘my faces are dirty’. The piece seems to show a central figure whose face is hard to delimitate since it seems to be split into different pieces (like a jigsaw) and to compose part of other people’s faces. Kasvot symbolizes the complexities and metamorphoses of identity.
这幅作品是对芬兰词语“面孔（Kasvot）”的讨论。芬兰语似乎是世界上唯一一个使用复数来指称“面孔”的语言。在英语中，我们说“我的面孔/脸很脏”，而在芬兰语中，我们需要将其表述为“我的面孔/脸们(are)很脏”。这幅作品似乎展示了中心人物的面孔很难界定，因为它似乎被分割成不同的部分（像拼图一样），同时，他的部分面孔又可以看成是另外一个人的部分面孔。这里的Kasvot（面孔）象征着个体身份的复杂性和多变性。
This piece also comments on the plurality of our identity by referring to the etymology of the word person in English. Persona, a Latin word, originally referred to the mask. In the artwork, a man is seen wearing a white mask, showing an expression-less face, ‘performing’ for and with other people. In the background an orange mountain full of colour figures symbolizes what is really happening behind this mask: the character’s identity is much more complex and colourful than the expression-less mask that he wears. However, wearing a mask is the only way he can deal with the challenges that he faces when he meets others. Sometimes we can be ‘ourselves’, at other times, we perform like actors and actresses on stage.
这副作品参考英文“人（person）”一词的词源描述身份的多样性。Persona这一拉丁词源，最初意为“面具”。在这幅作品中，一名男子戴着白色面具，面无表情地为他人“表演”。背后这座满是彩色字符的橘色山脉，象征着面具背后真正发生的事情: 相比起他所呈现的毫无表情的面具，面具背后的身份要更加复杂且丰富。然而，当他遇到别人时，戴上面具是他应对挑战的唯一方法。有时，我们可以做“自己”，但有时，我们也像演员一样在舞台上表演。
This piece represents another metaphor for how we often need to turn our self into a solid substance when we meet others. Here, the female character stands like a statue, like a bust at a museum. The colourful lines on the bust and head, as well as her double face indicate that there is more to this solid representation – that she is more than what our eyes meet.
这幅作品暗含我们是常常不得不在人前将自己武装成一个“一成不变”的样子，就如同画中这位女性，仿佛像是伫立在博物馆里一动不动半身雕塑。然而，她胸部和头部的彩色线条以及她的双色面孔（双面色块）向我们呈现了她‘一成不变’表象后的丰富内涵——她不仅仅是我们的眼睛所看到的那样。
This piece is dedicated to philosophy. I started studying philosophy when I was 14 and I remember that the first topic that we discussed was death (‘what is death?’). Too young at the time to think about this topic in ‘interesting’ ways, I was much more fascinated by other topics such as ‘who am I?’. This question is in fact the core of identity. How I see myself, how I see others, how they see me and how we see each other are issues that we deal with constantly. Since my teenage years, I have thus been interested in these questions and they have been central in my own research on interculturality. Philosophy has had a major role to play in my thinking and this art piece represents an imagined ‘philosopher’, who could be (somehow) from any part of the world. In Europe, we always claim that philosophy can only be European since it was ‘invented’ by the Greeks. However, when one travels, reads and discusses with people from different corners of the world, one cannot but notice that philosophy is everywhere and that global philosophers of yesterday and today can inspire different ways of thinking about who we are alone and together with others.
这幅作品是我对哲学的致敬。我从14岁开始学习哲学，我记得当时讨论的第一个话题是死亡（“什么是死亡？”）。我当时太年轻了，无法以“有趣”的方式来思考这个话题。我当时对其他话题更感兴趣，比如“我是谁？”。这个问题实际上是身份的核心话题。我如何看待自己、看待他人，他人如何看待我，以及我们如何看待彼此，这些都是我们需要不断面对和解决的问题。从我十几岁起，我就对这些问题感兴趣，这些问题也一直是我跨文化研究的中心内容。哲学对我产生十分重要的影响，这件作品代表了我想象中的“哲学家”，他可能（以某种方式）来自世界的任何地方。在欧洲，我们总说哲学只能是欧洲的，因为它是由希腊人“发明”的。然而，随着我们旅行、阅读与来自世界不同地方的人讨论时，会不由自主的发现哲学无处不在。不论是在过去和还是现在，世界各地的哲学家都从不同角度思考：当我们独自一人的时候，我们是谁？当我们与他人在一起时,我们又是谁？
The title of the piece plays around the phrase ‘two-faced’ in English which refers to someone who is not sincere but who appears to be pleasant with others. For this piece I worked on the eyes to indicate this two-facedness. Often, we say that the eyes are the window to a person’s soul. Here two different kinds of windows are depicted. This duplicity is a phenomenon that we often have to face when we ‘perform’ identity with others.
这幅作品英语中的“双面(两面派)”为标题，指那些并不真诚，但看起来和别人相处很愉快的人。在这件作品中，我重点放在人物的眼睛，以表明这种两面性。我们经常说眼睛是心灵的窗户。这里描述了两种不同类型的“心灵之窗”。这种“表里不一”，也正是我们在遇到“他者”时，不得不面对的情境。
This piece introduces several symbols that the viewer will notice in my work: the mirror, the moon and striped clothing. Here the moon serves as a mirror for the character to look into himself, his identities. The striped T-shirt is an important aspect of my identity. Stripes in clothing have a fascinating history in Europe and although they are more and more common in today’s fashion, for me a striped T-shirt always reminds me of Finnishness. A Finnish clothing company called Marimekko is famous for having included stripes in their patterns for decades now. The company celebrates these stripes as a sign of inclusion and diversity. I often wear striped clothes as they make me feel ‘at home’ – stripes are me. Stripes are recurrent in my work. I note that Picasso often wore stripes too.
这幅作品介绍了对我来说几个十分重要的象征符号：镜子、月亮和条纹衣服。在这幅作品中，月亮就像一面镜子，让人物审视着自己和自己的身份。条纹T恤是我身份的一个重要方面。虽然条纹在如今的时尚中十分常见，但这一符号在欧洲却有着悠久而迷人的历史。对我来说，条纹T恤总是让我回想起芬兰。芬兰著名服装公司Marimekko，因几十年来一直将条纹元素融入到其设计中而闻名世界。该公司将这些条纹视为是包容性和多样性的象征。我经常穿条纹衣服，因为它们让我有“在家”的感觉——条纹就是我。条纹在我的作品中经常出现，并且我注意到毕加索也经常穿着条纹衣服。
The following four pieces reflect on stripes, red and blue, as worn by different characters portrayed in the art. The stripes are meant to symbolize an important part of the characters’ identities. As a reminder, these stripes indicate diversity, inclusion and comfort with one’s identities here. All these pieces were done at very creative and joyful moments over the past two years.
以下四件，通过人物身穿红色或蓝色条纹T恤，展示人物不同特征。条纹是人物身份的重要象征。这些条纹代表了个体身份的多样性，以及对自我身份的接纳与认可。在过去的两年里，我十分愉快且创意地完成了这些作品。
This is a portrait of a Chinese friend wearing the aforementioned Finnish Marimekko T-shirt.
这是一位中国朋友的肖像画，他身穿芬兰品牌Marimekko的T恤。
This is the second piece with a mirror – this time held by the character the other way around, showing his own face to the viewer, instead of showing it to himself. Here again, we have a symbol for the complexities of identity. This also reminds us of the importance of other people in the way we see ourselves. As such, our identity can exist and change, only through the presence of other people. This art piece appeared on the cover of my latest book published in the French language entitled L’interculturalité en miettes (2022).
这是第二件带有镜子元素的作品——画中人物手持镜子。然而，他不是照镜子，而是将脸转向他人/他者。“他者”是我们复杂身份的又一影响因素。这幅作品提醒我们“他者”将影响我们如何看待自己。我们身份的存在和转变，都受到“他者”的影响。这幅作品是我最新出版的法语专著《L’interculturalité en miettes》(2022年)的封面画。
With this piece, I am playing around the multiplicity of identity. The same character is seen wearing the striped T-shirt with two different colours, facing himself, reflecting on his different positions and appreciating his own complex and changing identity. In the background, notes taken during a seminar are included as a hint at my own multiple identities as a scholar, an educator and an artist – three identities that intersect constantly in my entire work.
这幅作品讨论了身份的多重性。同一个人物穿着两种不同颜色的条纹T恤，面对着自己、反思着自己的不同立场，并且欣赏自己复杂而又多变的身份。图中背景是我在研讨会期间所做的笔记，它表明我的多重身份：学者、教育家和艺术家。这三种身份在我的整个作品中不断交织出现。
This piece introduces a series entitled Love Thyself (4 pieces). Our global postmodern era, which started after the second world war in some parts of the world and a bit later in others, is demanding and requires from us to confront ourselves with others all the time. We are asked to be ‘beautiful’, ‘successful’ and ‘happy’ (amongst others). For many people around the world, these are unachievable goals and they suffer, feeling for example that they are never good enough, that their identity is not valued/valuable. This series reminds us to refrain from listening too much to the ‘calls’ for being perfect – which are often illusions! One way of dealing with this issue is to start looking at oneself, to observe one’s own (plural) identity and to ‘love oneself’ critically and reflexively. This is not meant to tell us that we should believe that the world revolves around us or that we are the best, but simply to look at oneself from our own eyes more, and to feed in our own energy in ourselves – away from some of the outside ‘noise’. Some of the faces in this series look exactly the same while others reflect diversity from within (use of different shapes and colours).
这是《爱自己》系列作品（共4幅）的首幅。二战后，全球各地先后进入后现代时期，我们被标榜成为“美丽”、“成功”或“快乐”（等等）的人。对许多人来说，这些都是无法实现的目标，他们因此饱受煎熬，他们永远觉得自己不够好，他们的身份不被认可。这一系列作品提醒我们，所谓的完美的“呼唤”，往往只是幻想！在面对这样的“困境”时，我们应该开始审视自己、观察自己的（多元的）身份，以批判和反思的眼光来看待自己并“爱自己”。这并不意味着世界应该围着我们转，或我们就是最好的，而是简单地从自己的角度去看待自己，从自己身上获取能量，远离外界的“噪音”。该系列作品中，中心人物面貌都是一样的，而画中其他部分的不同形状和颜色，反应了个体身份的复杂性。
Note the stripes here too.
(see previous)
注意画中的条纹。
(见上述内容)
(See previous)
(见上述内容)
(See previous)
(见上述内容)
The title of this short series is based on a quote from French Philosopher Henri Bergson (1859-1941). As a philosopher of change, Bergson urges us to place change at the centre of our reflections on self, other, life and the world. This section of the exhibition does the same by depicting multifaceted change in the different characters in the art pieces.
该系列作品标题引用了法国哲学家亨利·柏格森(Henri Bergson, 1859-1941) 的名言：存在即改变。柏格森（Bergson）强调“变化”在反思自我、他者、生活及世界的重要作用，即，用变化的眼光看到一切。此系列作品，通过描绘作品中不同人物的多方面变化，展示这一哲学理念。
In this piece, I used a piece of Canson paper where I had taken notes during a seminar with my PhD students. During the seminar, we had discussed issues of identity and interculturality, trying to determine what change could mean concretely for those experiencing intercultural encounters. The piece seems to show two people interacting or one person dialoguing with herself.
这幅作品使用了在与博士生进行研讨会时记笔记的康颂纸。这次研讨会，我们讨论了身份认同和跨文化的相关问题，我们试图确定，对跨文化交际的个体来说，什么是真正的改变。这幅作品看起来像是两个人在互动，亦或是一个人正在与自己对话。
This piece plays around the ‘split’ of the face, with two different kinds of blue (bright versus plain). This is meant to hint at silent changes – these changes taking place in us that we don’t necessarily notice unless someone tells us that something has changed in us. The colourful symbols around the character refer to different influential forces for change.
这件作品围通过使用深浅两种不同蓝色展示了一个“分裂”面孔。这暗示着一种无声的变化，这些变化时常发生在我们身上，但我们并不一定能够注意到，除非有人告诉我们，我们发生了某些变化。人物周围五彩缤纷的形状指那些促使改变的影响因素。
The ‘face split’ (‘faces’) is much subtler here, with half of the face depicted as very white and the other half purple. Looking at the piece, one is not sure if we are facing one person or two (the two parts are oriented in different directions, the eyes look different). Behind the character a multitude of faces are represented in the yellow halo. The character wears another striped shirt, this time with blue and red alternating (not blue and white or red and white). Change is multiform in this piece.
这里的“面部分裂”（“双面”）要微妙得多，一半白色的脸，一半紫色的脸。当看向这幅作品时，很难确定我们是面对一个人还是两个人，（因为图中人物两眼看向不同的方向）。人物背后，黄色光环上出现许多张小面孔。这里人物是穿着蓝色和红色交替的（不是蓝色和白色，也不是红色和白色）条纹衫。这幅作品展示了变化的不同形态。
An important part of my work is to read so that I can keep in touch with current research but also feed in new ideas in my writing. This is my identity. I try to read something every day, but there are more intense periods of reading during which I can spend up to 10 hours reading per day. In such situations, my eyes hurt and I can hardly see. In May 2022 my eyes hurt so much and turn so red that I could not read for several days. Reading contributes to reshaping my ideas and, indirectly, my own identity as a social being but also a scholar, an educator and an artist. The red circles that I show on this piece not only depict the pain I experience with ‘over-reading’ but also the necessity to ‘confront’ myself with others’ minds by reading what they have to say about us, the world and themselves.
阅读是我工作中最重要的一部分，它使我了解最新研究动态，也为我的写作带来新的观点与想法。这是我的身份(identity)。我试着每天阅读一些内容，有时一天读10个小时，但在这种情况下，我的眼睛很痛，我几乎要看不见了。2022年5月，我的眼睛疼得厉害，并且变得很红，我好几天都无法阅读。阅读有助于重塑我的思想，并且间接地重塑了我作为一个社会成员、学者、教育家和艺术家的身份。这幅作品中眼睛周围的红色圆圈不仅描述了我在“过度阅读”中所经历的痛苦，也表明我们十分有必要通过阅读与他人进行思想的“碰撞”，“碰撞”作者对人类、对世界和对他自己的看法。
One of my favourite novels was written by Gustave Flaubert and is entitled Bouvard and Pécuchet – a tragi-comic novel of bourgeois life (1904). In the novel, two friends aim to write a book about every subject in the world (agriculture, biology, chemistry, gymnastics, politics, etc.) by educating themselves in every possible field. However, their overly ambitious and unrealizable project ends as a disaster as they become engulfed by the complexity of knowledge available. I like this novel because it reminds us of the importance of being modest, realistic and focused. This art piece is a self-portrait based on one of the characters, Bouvard. It shows an enthusiastic and yet somewhat confused person in front of all this knowledge that he could acquire. My thirst for knowledge – all kinds of knowledge – is insatiable.
我最喜欢的小说之一是居斯塔夫·福楼拜（Gustave Flaubert）所著的《布瓦尔与佩杜歇》(Bouvard and Pécuchet）—一部描写资产阶级生活的悲喜剧小说（1904年）。在这部小说中，两个朋友打算写一本关于世界上所有学科(农业、生物、化学、体操、政治等)的书，并通过这本书进行全方位的自我教育。然而，这项“宏伟壮举”最终以灾难告终。他们被现有的复杂知识所吞没。我喜欢这部小说，因为它提醒我们要保持谦虚、实事求是和专心致志。这件作品是以小说人物布瓦尔德(Bouvard)为原型的自画像。展现了人物在面对他需要获得的纷繁复杂的知识面前，一种热情而迷茫的样子。我对知识的渴望——各种各样的知识——永无止境。
Last year I had a discussion with a colleague that made me think deeply about my own relationships with the people who read my books. I rarely meet them and I have no idea who they are and what they think of what I write. With my colleague we started wondering: “Who is it that we write for?”. We realized that few of us scholars consider this question seriously. I then started to imagine who could be reading me. My readers are also part of my identity – a hidden part. I now feel that I need to take them more into consideration, cherish them and talk to them. In this short series, I have portrayed two imaginary readers, with different potential reactions to my work, my ideas and thus to my identity.
去年，一次与同事的讨论，让我深入思考了我与我的读者之间的关系。我很少见到他们，我不知道他们是谁，也不知道他们对我写的内容有什么看法。我们开始思考：“我们为谁而写作？”。我们意识到，像我们这样的学者很少会认真思考这个问题。然后我开始想象谁会读我的书。我的读者也是我身份的一部分——一个隐藏的部分。我现在觉得我需要更多地考虑他们、珍惜他们、与他们交谈。在这个短篇系列作品中，我描绘了两个虚构的读者，他们对我的作品、我的想法以及我的身份有着不同的潜在反应。
(See previous)
(见上述内容)
This self-portrait is not a comment on having to wear a mask during the COVID-19 crisis. It never really disturbed me. I actually quite like wearing mine as it provides protection from infections but also from others’ staring somehow. It also gives a safe sense of anonymity. This piece was done after reading news about the world. With so many crises, conflicts and misunderstandings, I felt unwell, I could not breathe. The state of the world does have an influence on how we see ourselves, how we feel. As someone interested in intercultural encounters, reading world news from the ‘West’ often makes me feel uncomfortable about my own work, my own writing. Reading such news often questions my own identity as someone who is working hard to try to make a difference, to create bridges between different parts of the world. However, although there are such ‘breathless’ moments, I remain hopeful. Crises can be good moments for preparing for better times.
这幅自画像并不是对新冠肺期间戴不戴口罩这个问题的讨论。我从未被这件事困扰过。事实上，我很喜欢戴口罩，因为它既能防止感染，又能防止别人盯着我看。它给我提供了一种莫名的安全感。这幅作品是我在阅读全球新闻后完成的。 面对如此多的危机、冲突和误解，我很不舒服，不知怎么的我无法呼吸了。世界影响我们如何看待自己、如何感知世界。作为对跨文化交流感兴趣的人，阅读“西方”媒体的各类新闻常让我感觉不适。作为一个致力于为世界带来改变，致力于建立世界各地沟通的桥梁，我常因这些媒体报道而质疑我自己的身份。然而，尽管有这样“喘不过气来”的时刻，我仍满怀希望。危机亦是契机：以为迎接更好的时代而做好准备。
A central figure of French theatre from the early 20th century Pierrot is based on a character from the Italian commedia dell’arte. Unlike other characters, Pierrot does not wear a mask but white make-up. An unsuccessful lover, Pierrot is often the victim of bullying from others. He is naïve and somewhat foolish but appealed immensely to French audiences. The four self-portraits in this series show a side of my (our) identity that we don’t necessarily wish to admit to. However, being naïve and a laughing stock is something that most of us experience, often without realizing (the character is smiling). Here again we see identity as something that is influenced very much by how others see us and thus contribute to construct us. This first portrait was done after another long period of writing (red eyes).
皮埃罗（Pierrot）是20世纪初法国戏剧界的核心人物，其原型是意大利喜剧中的一个角色。与其他角色不同，皮埃罗不戴面具，而是将面部化成白色。作为一个不成功的恋爱者，皮埃罗常常是被别人欺凌的受害者。他很幼稚，有点愚蠢，但法国观众却喜欢他。这两幅自画像显示了我（我们）身份中，不一定愿意承认的一面。然而，我们大多数人都会经历天真和被嘲笑的事情，但通常我们并没有意识到(角色是微笑的)。在这里又一次表明，我们的身份在很大程度上是取决于他人如何看待我们，并影响我们重塑自我。这幅肖像画是在我长时间写作后完成于(红眼睛)。
This Pierrot self-portrait splits the white face of the character into green and white. Green is somewhat taking over the ‘faces’ of Pierrot. As a colour symbolizing goodness, stability and physical energy, green allows to show an image of a Pierrot that could be winning over his naivety and ridicule.
这幅以皮埃罗（Pierrot）为原型的自画像，人物白脸被分隔成绿色和白色。绿色在某种程度上取代了皮埃罗的“面孔”。绿色常象征善良、稳定和力量，展示出皮埃罗（Pierrot）能够战胜他天真而荒谬的一面。
Here Pierrot is done with performing. He has removed some of his white make-up. He looks happy again but this time because he is liberated from the gaze of the other. Black has taken over in the background, showing that change is about to happen. Pierrot is becoming another person. His identity is changing.
这里，皮埃罗（Pierrot）结束了表演。他卸掉了白色的妆容。他又开心了起来，但这一次是因为他从他人的注视中解脱出来了。黑色在背景中占据了主导地位，这表示了改变即将发生。皮埃罗（Pierrot）正在变成另一个人，他的身份正在改变。
In this piece Pierrot has removed his white make-up. The art piece is smaller than the others in the series to show more confidence in Pierrot – beyond naivety and foolishness. His clothing has evolved from yellow-blue squares, light ‘dramatic’ blue to a nuanced and comfortable blue here. Identity as change.
在这幅作品中，皮埃罗（Pierrot）去掉了他白色的妆容。这幅作品比该系列的其他作品都要小，展示出了皮埃罗（Pierrot）更自信的一面——超越了天真和愚蠢。与此系列第一张作品《Pierrot 1》中他所穿的蓝黄方格相比，在这幅作品中，之前那带有强烈‘戏剧色彩’的蓝色已变成了柔和舒服的蓝色。这表明他的身份也在发生变化。
This final series for section 1 goes back to the idea of metamorphoses through the word transformation. The first and second pieces are based on imaginary representations of what a friend’s child could look like in the future. This lovely child has one particularity: he always plays with his own hands. So, I represent his imaginary future selves, reproducing this constant ‘hand game’, which is central to his current identity. While this first piece is darker, the second one represents him with a lighter face. My interest in diversity influences the use of colour to represent a future imaginary self.
作为第一部分的最后一个系列，这里通过转变一词回到了多变的概念。第一件作品和第二件作品是基于对朋友孩子未来长相的一种想象。这个可爱的孩子有一个特殊性：他总是玩自己的手。所以，我展示了我想象中这个孩子未来的样子，再现了这个持续不断的“玩手游戏”，这他当前主要身份。第一幅作品使用的颜色较深，但第二幅作品描绘了一张较浅的面孔。我对多样性的兴趣影响着我使用不同颜色去呈现一个未来想象中的自我。
(See previous)
(见上述内容)
This piece shows Sisyphus from Greek mythology looking at us upside down (or looking at himself in the mirror of our eyes?) between two mountains. Sisyphus was condemned to push a boulder up and down a hill by the Gods. A meaningless, endless and tedious task. Albert Camus (1913-1960) ends his book about the Myth of Sisyphus by asking us to imagine Sisyphus happy – although his plight is unbearable. Our lives might sound and look like the Myth of Sisyphus at times. Taking a break to consider what we do (and not do), have (and not have), think (and not think), might be a good reminder of the necessity to go on and to see things from different perspectives – and to transform ourselves, our thoughts, our feelings, our identities.
这幅作品展示了希腊神话中的西西弗（Sisyphus），他在两座山之间倒立着看向我们（或者他正与我们双目对视，就如同照镜子一般）。西西弗因得罪诸神，罚他把一块巨石来回推上山。这是一项毫无目的、永无止境且乏味的工作。阿尔贝·加缪（Albert Camus, 1913-1960）在他《西西弗的神话》一书的结尾中让我们想象西西弗是幸福的——尽管他的处境极度困难。尽管我们的生活有时听起来也像是《西西弗的神话》，但我们不妨停下来思考一下，我们做了什么（或没做什么）、我们有了什么（或没有什么）、我们思考（或不思考）。这也许很好地提醒我们继续前行，并且从不同的角度去看问题——去改变我们自己、我们的思想、我们的感受和我们的身份。
The viewer might see different phenomena in this piece. Some might see anger, tiredness, anxiety (the reddish colour). What this piece tries to depict is what a creative process might look like. A creative process can trigger contradictory emotions in us from joy to frustration. The character in this piece looks happy and is staring at someone or something while ideas are ‘streaming’ inside of him. Such moments of inspiration and creativity are important to me as a scholar, educator and artist since they can bring in new input into my work and thus in my engagement with other people.
观众可能会在这幅作品中看到不同的现象。有些人可能会看到愤怒、疲倦、焦虑（见红色所示）。本作品试图这一极具创造力的创作过程。一个富有创造力的创作过程会触发我们快乐和沮丧的矛盾情绪。这幅画中的人物看起来很开心，因为当他正盯着某人或某物时，他的想法正“贯穿”他体内。作为一名学者、教育家和艺术家，这样有灵感和创造力的时刻对我来说非常重要，因为它们为我的工作带来新的想法，从而促进我与他人的交流。
This last piece from the Transformation series complements and is in direct dialogue with Transformation IV. The character is shown here again in a powerful fit of creativity, inspired by different voices and images (symbolized by the colourful shapes around his head). The word ebullition symbolizes the kinds of feelings that one can experience in such moments of identity metamorphoses.
这是《转变》系列的最后一幅作品，他与《转变4》相辅相成、互相呼应。画中角色再次展示出强大的创造力。他受不同声音和形象的启发 （他头上五颜六色的形状代表着不同的声音和形象）。“沸腾”一词形象地描述出了个体在经历身份转变时的各种感觉。
In my research on intercultural encounters, which usually involve people from different parts of the world, I have used a theory entitled Dialogism inspired by the work of the literary critique Mikhail Bakhtin (1895-1975). This theory maintains that any encounter is always embedded in previous (real and/or imaginary) encounters with other people. This means that meeting someone for the first time always involves finding connections to other situations, words and faces that we have come across. When we meet interculturally, there are always multiple voices between us – the voices of those we have met or ideas that we have been introduced to. All these usually influence the way we treat others and speak to each other. They might also give us the illusion that we already know the other. For example, national stereotypes about other people contribute to mis-reading the other. In this art piece I show two persons, one facing the other, the other one looking away from her gaze. Between and around them, all the different voices that they have come across in their lives are represented. Dialogism is central to how we express, present and construct our identity with others. The fact that the scene between these two strangers is represented in a big circle (bubble) also reminds us that seeing it as spectators will create dialogues between the art piece and us as well as within ourselves.
我的跨文化研究通常涉及来自世界不同地区的人。在研究中，我曾以文学评论家米哈伊尔·巴赫金（Mikhail Bakhtin，1895-1975）的“对话理论”为研究基础。这一理论提到，任何相处都受到我们先前与（真实的或想象的）他人相处的影响。这意味着，我们第一次见到某人时，我们总会联想起与之相关的场景、话语和人物样子。当我们身处不同文化情境中时，总是有多种声音存在于我们之间——那些别人的想法和声音。通常，这些都会影响我们待人处事和与彼此说话的方式。它们也可能给我们一种错觉，以为我们已经认识对方了。例如，对某个国家的刻板印象将会导致对来自该国家人的误解。在这幅艺术作品中，我展示了两个人，一个人正面对着另一个人，而另一个人的目光则远离她的凝视。在他们之间和围绕着他们生活中遇到的所有不同声音都呈现出来。这两个陌生人之间的场景被表现在一个大圆圈(泡泡)中，也是在提醒我们，当你看到艺术作品时，你会与作品对话，当然，这也是与自己的对话。
Here again, the main character looks sub-divided while connected to himself. Is it him only or him with another person? In any case, the resulting identity is that of encounters and dialogues between self and other, self and self, other and other. The theory of dialogism reminds us that dialogue is not just between two persons but that it often happens within each person.
这里，人物看似分裂却又与自己相关。他是独自一人？还是与他人一起？无论如何，身份是相处与对话的结果：自己与他人、自己与自己、他人与他人的相处和对话。对话理论提醒我们，对话不仅仅是发生在两个人之间，同时还经常发生在每个人自己的内心。
This third piece from the series depicts a person with multiple layers of ‘others’, represented by expanding colourful shapes. The character is looking slightly sideways as if he were addressing someone on the left side of the painting. The subtitle of the piece, discover your alter, reminds us that it is through in-/direct encounters that we construct who we are and that the alter (Latin for other) is central in this process.
这是该系列的第三件作品，画中中心人物外围的多层颜色，代表围绕个体之外的其他各类“他者”。他正微微看向旁边，仿佛在向画中左侧的某人说话。作品副标题“发现你的其他面”向我们表明，正是通过间接或直接的相处使我们构建了自己是谁，而“改变”(拉丁语中“他人”的意思)正是这个（构建自己）过程的中心。
This piece focuses on the inclusion of the other in self. A small face seems to be part of the left side of the main character’s head (or is it not?). When we meet someone, we become somehow part of each other for a while. We merge, we consume each other, we construct with each other but we can also reject and destroy each other. In the painting it is hard to read the emotions of the two faces. Maybe they are angry, maybe they are eager to be with each other, maybe they dislike each other, maybe they like disliking each other. The message of this piece is that of change again – change in emotions as we engage with each other.
这件作品关注的是他者在自我中的融入。左侧的小脸似乎是中心人物的一部分（抑或不是？）。当我们遇到某人时，在一段时间内，我们会以某种方式成为彼此的一部分。我们相互融合、互相消耗、彼此构建，但我们也可以拒绝并摧毁彼此。在这幅画中，很难看出这两张脸的情绪。也许他们很生气、也许他们渴望和对方在一起、也许他们不喜欢对方、也许他们喜欢互相讨厌对方。这幅作品再次传达了改变这个概念——当我们与他人接触时情绪发生着变化。
This imaginary face is used here to try to depict the feeling of missing someone – a feeling that all of us will have experienced throughout their lives. How to express this feeling? Are words strong and delicate enough to do so? The use of colours (red, blue, white and grey) here and shapes (elongated features) represent symbols of missing someone to me as a thinker and an artist. I am aware that for viewers from different parts of the world, representing ‘missing someone’ might not be viewed in similar terms.
这副想象中的面孔描绘思念某人的感觉——这是我们所有人在一生中都会经历的感觉。如何表达这种感觉？文字是否足够细腻地去表现这一感觉?在这里所使用的颜色（红色、蓝色、白色和灰色）和形状（拉长的面孔）象征着我作为一个思想家和艺术家对‘某人的想念’。我认为世界不同地区的人来说，“想念某人”会有不同的表达方式。
This piece opens a short series on looking at each other – an important component of encountering. The title of the series looks like an order (look at me!). Yet looking at someone should not be about being forced to do it. It should come naturally; it should be reciprocal, meaningful and ‘educational’ – in the sense that I can learn from and with the other by looking at them. This first piece represents two characters who appear to be very different physically (with one wearing a white mask). They are staring into each other’s eyes. Viewers might see different messages here, depending on the way they have been made to think about intercultural communication. My own message here is: Observe each other, listen to each other, learn with each other. Make encounters your own encounters!
这幅作品是 “看着我”短系列作品的首幅。这幅作品表明“彼此相望”是人与人相遇的重要组成部分。该系列的标题看起来像一个命令（看着我！）。但是，看着别人不应该是一件被迫的事情。它应该是自然而然的；它应该是相互的、有意义的且是有‘教育意义的’。从某种意义上来说，我可以通过看着他们来向他们学习和与他们一起学习。第一件作品表现了两个人物，他们的身体看起来很不一样(其中一个戴着白色面具)，但他们却凝视着彼此。在这里，观众可能会看到不同的信息，这取决于你们如何理解跨文化交际。我想传递的信息是：相互观察、相互倾听、相互学习。制造邂逅，制造属于你自己的邂逅吧！
This painting is a bit intriguing and some viewers might see it as troubling. Looking at each other here appears to be a bit forceful and making one of the characters uncomfortable. What is their relationship? Why does their encounter appear to be creating some anxiety? What have they done to each other? Here again, the use of colours might be interpreted in different ways by viewers. I thus invite you to try to put yourself in the two characters’ positions to reflect on how we behave and think in such encounters.
这幅画有点耐人寻味，有些观众可能会觉得它令人不安。在这里彼此对视似乎显得有点勉强的感觉，并且让其中一个角色感到不舒服。他们的关系是什么？为什么他们的相遇会让他们感到焦虑？他们对彼此做了什么？在这里，不同的观众可能会以不同的方式来解读作品中颜色的应用。因此，我邀请大家试着扮演这两个角色并反思：在这种情境下，应该如何表现、如何思考。
This colourful piece was inspired by a visit to an art shop where many busts of famous (Western) figures were lined up on shelves. They all had different personalities, features and postures. But the situation was somewhat morbid. They just stood there, lifeless, all in their own splendor. I did this piece in colourful ways to contrast with the reality of what I saw in the art shop. Yet, the two characters are lifeless. One has his eyes closed looking sideways and the other one has his eyes wide open and yet ‘zombie-like’. This appears to be the epitome of what I call a mis-encounter (an encounter that is not an encounter; an encounter that is not happening).
这件色彩鲜艳的作品的灵感来源于我参观的一家美术品商店，那里的货架上排列着许多著名的（西方）人物半身像。他们都拥有着不同的性格、特征和姿势。但似乎看起来有些病态。他们只是站在那里，毫无生气，沉浸在自己的辉煌中。我用丰富多彩的方式绘制了这件作品，与我在美术品商店里看到的“死气沉沉”形成鲜明对比。然而，即使使用了不同的颜色，但这两个人物看起来仍是死气沉沉。一个人物侧着脸闭着眼睛，另一个人物眼睛睁得大大的，但却像僵尸。我称之为典型的误会（一次不算是相遇的相遇；一场没有发生的邂逅）。
This series is composed of four pieces that depict specific forms of intercultural encounters based on mere staring. No words, no verbal exchange between the characters. Just their eyes considering the other in certain ways. In this first piece one of the characters appears to be uneasy about the stare that he is experiencing from the red-eyed lady. His mouth is opened as if he is about to say something – or just shocked. In the background, one sees symbols of multiple voices again, representing what is happening in the back of their minds as staring is occurring. Why is she staring? What is so intriguing about him? Why is he staring back? What is he about to say? How does she feel? To me the staring in this series has to do with the question that anyone in the position of the foreigner anywhere in the world has to answer: where are you from?
这一系列由四个部分组成，描述了“凝视”这一特殊的跨文化交流形式。没有文字，人物之间没有言语交流。通过眼神进行交流。在第一幅作品中，其中一个人物似乎由于红眼女士盯着他看而感到不安。他张开着嘴，像是要说些什么，或者只是表示震惊。在背景中，可以看到表示不同声音的符号，这展现了当“凝视”或被“凝视”时，人们脑海中的想法。她为什么盯着对方看？他有什么吸引人的地方？他为什么又回望？他要说什么？她感觉如何？在我看来，世界上任何被视为“外国人”的人，他们都需要回答“凝视”系列的这个问题：你来自哪儿？
I drew this piece after an encounter in a park in China. As I was sitting on a bench reading, I realized that someone was about to take of picture of me – without asking for my permission. Somewhat destabilized by this experience, I asked them not to stare at and ‘freeze’ me through their camera. I then wondered about this episode: was this an encounter? Why would someone take a picture of me like that? What would they do with the picture? Who would see it and what would they make of me? What would this (unwanted) encounter and the future encounters of those viewing the picture later do to my identity? I drew the photographer half-hiding behind a curtain – that of his camera. My face is ‘split’ into two parts, since what the photographer saw in me probably has nothing to do with who I am.
这幅画描绘了我在中国某公园的一次邂逅。正当我坐在长椅上看书时，我意识到有人在没有征得我同意的情况下拍我。这让我有些不安，我要求他们不要盯着我，不要用他的相机“定格”我。这之后，我在想：这是一次相遇吗？为什么有人会那样给我拍照？他们将会怎样处理这张照片？谁会看到它？他们会怎么看我？这种（不想要的）遭遇或是今后类似这样的遭遇会对我的身份产生什么影响？? 我画了一个半躲在帘子后面的摄影师，这里的帘子就是他的照相机。我的脸被“分割”成两部分，因为摄影师看到的我与“我是谁”没有任何关系。
In this piece about staring the question of origins is asked directly (where are you from?). I used different colours for the contour of the eyes of the two characters to show that their understanding and representation of the answer (e.g. France, China, Brazil) tend to differ immensely. The fact that one character seems to be bending over the other might also have to do with the kind of hierarchies that one creates with labels derived from answering the question of origins. For some of us, putting our origins on the table might lead to admiration, kindness and dialogue, for others, this might lead to negative stereotypes, prejudice and even racism.
在这幅“凝视”的作品中，“你来自哪儿？”这个问题直指有关国籍的相关讨论。我使用了不同颜色来描绘两个人物眼睛的轮廓，以显示不同回答(如法国，中国，巴西)所暗含的不同理解和表现。事实上，一个人物似乎在向另一个人物弯腰，而人物所带的“标签”（如国籍、性别等）会造成某种不对等的关系。对我们中的一些人来说，公开自己的出身可能会带来羡慕、友善，从而创造出更积极的交流；对另一些人来说，这可能会导致负面的刻板印象、偏见甚至种族歧视。
(See previous)
(见上述内容)
This series focuses on an important element that is recurrent in my work: the mirror. It contains seven paintings entitled Mon miroir (French for My Mirror) and represents looking at oneself in a real mirror or in the mirror of the other’s eyes. Mirrors have a long ‘mythical’ history in different parts of the world. As important bridges to self and other, mirrors help us reflect on ourselves with others and vice versa. In this first piece, I show two persons facing each other, with one holding a mirror in front of the other, revealing him with a COVID mask on, hiding half of his face. Why is he looking into this mirror? What is he thinking about himself being ‘masked’ while seeing the other unmasked? What does this encounter tell them about who they are?
本系列关注的是在我作品中反复出现的一个重要元素：镜子。这里面包含了七幅名为《我的镜子》(法语：我的镜子)的画作，代表着在真实的镜子中审视自己，或以他人的眼为镜去审视自己。镜子在世界各地都有着悠久的“神话”历史。镜子是连接自我和他人的重要桥梁，它帮助我们和他人一起反思自己，反之亦然。在第一幅作品中，我展示了两个面对面的人，其中一个人正拿着一面镜子对着另一个人，镜子中呈现了一个人，他正戴着口罩，并且口罩遮住了他的半边脸。他为什么要看向镜子？当他看到对方没有戴‘面具’而自己却戴上‘面具’时，他有什么想法？这样的相遇告诉了他们有关于自己是谁的什么信息？
In this piece the eye of the other becomes the mirror. While engaging with others, we can reflect on ourselves, compare ourselves to others. When others talk to us, describe us, criticize us, we use them as mirrors. This mirroring effect can lead to change in both of us.
在这幅作品中，另一个人的眼睛变成了镜子。在与他人交往的同时，我们可以反思自己，将自己与他人进行对比。当别人与我们说话、形容我们、批评我们、我们把他们当作镜子。这种镜像效应可以触发我们双方的改变。
This third piece of the Mon Miroir series I drew for the Italian version of a book I published in 2022. The piece shows two persons facing each other, with one character physically in front of us, and the other viewed in a mirror. The one reflected in the mirror seems to wear white make-up like the Pierrot character from other art pieces. They both wear the same blue striped T-shirt, seen in many pieces before. What is unclear here is who holds the mirror and why they are holding the mirror to show one of the characters. My intentions in doing this piece was to emphasize the hyphen, the necessary connection between you and me when we meet. What we do together, say together, co-construct together has an influence on both of us. Although physically we are separated, ‘mentally’ we are part of the same continuum. A Chinese idiom, The moon is not better on the other side, reminds us that admiring the other must be done with reflexivity and criticality. Self is as good and bad as the other.
这幅《我的镜子》是我2022年出版的一本意大利语专著的封面。这幅作品展示了面对面的两个人，只有一个人在我们面前，而另一个人则是在镜子里。镜子里的那个人似乎像我其他作品中画的皮埃罗一样化着白色的妆。他们都穿着同一件蓝色条纹T恤，在之前的很多幅作品中都能看到。在这里，不清楚的是谁拿着镜子，为什么他们拿着镜子来展示其中一个人物。我创作这幅作品的目的是强调连字符“—”，当我们相遇时，你和我之间的必要联系。我们一起做什么、一起说什么、一起共建什么都会对我们双方产生影响。虽然我们在肉体上是分开的，但“精神上”我们是某一连续体的一部分。副标题“另一边的月亮也不一定好”是对一句中国谚语的引用，这句话提醒了我们，当我们赞赏别人时必须要具有反思性和批判性。你我都有善的一面和“恶”的一面。
This piece is also based on another Chinese saying that suggests getting out of our own well to see more perspectives on who we are and what the world is. The piece shows a face emerging from their well staring at another being who stands outside the well. Encountering other people outside one’s own comfort zone and looking at oneself in the mirror they represent, can make encounters more fruitful and enriching. Again, in the piece, the characters are surrounded by multiple shapes representing different voices and influences.
这幅作品也是基于中国的一个谚语，这句话建议我们走出自己的那口窄井，从更多的角度去看待我们是谁，这个世界是什么样。这幅作品展示了一张面孔浮出井面，正盯着站在井外的另一个人看。当遇到自己舒适区以外的人，并看到他们在镜子中所代表的自己，可以使相遇更加富有成效和丰富。同样，在作品中，人物被多种形状所包围，这代表了不同声音对画中人物的影响。
(See previous)
(见上述内容)
This piece shows a character with a striped shirt embracing the moon with the face of another person embedded in it. The title of the piece refers to the moon character, someone who is ‘charming’ the other character by misleading him to see himself (and at the same time their relations) in fabricated ways. This type of encounter, which can be short-term or long-term, damages both self and future trust in others.
这幅作品展示了一个身穿条纹衬衫的人物正拥抱着月亮，月亮上嵌着另一个人的脸。该作品的标题（女妖）指的是月亮上的人物，她误使对方看不清真实的自己(和他们真实的关系)，来“吸引”对方。这种或短或长的相处既会伤害自己也会损害今后对他人的信任。
This piece is a reference to a ballet composed for full orchestra by Béla Bartók (1881-1945). In the ballet, a cruel girl and a gang of thieves thrive by stealing from and killing strangers on the streets. One day the girl meets a gentle but mythical Mandarin with whom she falls in love. But the Mandarin has to die before their love is consumed, after which the girl repents. The main character in the art piece represents the wise Mandarin looking at the thieves and the girl plotting to abuse him. This last piece from the Mon Miroir series is another reminder that encounters can be transformative, even if tragic.
这幅作品的创作基于贝拉·巴托克（Béla Bartók, 1881-1945）为管弦乐队所创作的芭蕾舞曲目。芭蕾舞围绕着这样的一个故事展开。一个残忍的女孩和一帮小偷，通过在街上偷窃和杀害陌生人，而发展壮大变得更有钱。有一天，女孩遇到了一位温柔且神秘的中国人，并与之陷入爱河。但，这位中国人在他们的爱情消逝之前死去了。在这之后女孩才悔悟之前的所作所为。这幅作品的人物表示了聪明的中国人正看着小偷和女孩，他们正在密谋如何虐待他。《我的镜子》系列的最后一部作品揭示了另一个提醒，即使是悲惨的遇见，也会带来改变的力量。
The final series of the (Re-)encountering section is colourful and joyful. It asks us to remember to look for and observe good things in our encounters. This first piece shows three people (maybe there are more?) standing next to each other, with two staring at the central figure. This is meant to represent both the discomfort but also excitement of meeting people for the first time. The large sun above their heads is a symbol of hope and happiness here.
“(再)相遇”部分的最后一个系列是多姿多彩和欢乐的。它让我们不要忘记去追寻和观察我们邂逅中的美好事物。第一幅画展示了三个人(也许还有更多人?)正并排站着，其中两个人物正盯着中心位置的人物看。这是为了表达初次见面时人们感到的不安和兴奋。他们头顶上的大太阳在这里象征着希望和幸福。
Three happy funny/special-looking characters are depicted here. They seem to be characters from either a comedy show or some sort of Hollywood superhero film. These characters are in fact inspired by a Chinese family I have met many times, with each of the family members being special, friendly and delightful. The piece describes them laughing and smiling, being delighted to meet a new person, a new friend who might be us the viewers of the piece of art. I have often seen the English word Happy printed on different documents (e.g. calendars) in China. Although I find it hard to understand the meaning of this word, meeting the aforementioned Chinese family, I get a sense of what it could mean for them.
这幅作品中描绘了三个快乐、有趣、长相特别的人物。他们似乎是喜剧里的角色，或某些好莱坞超级英雄电影中的角色。事实上，这些人物的灵感来自于我见过多次的一个中国家庭。每个家庭成员都很特别、友好且令人愉快。这幅作品描述了他们正欢声笑语、高高兴兴地去见一位新朋友。这位新朋友可能就是正在观看作品的你。我经常看到中国不同的文件（如日历）上印着“快乐(Happy)”这个英文单词。虽然我发现我很难去理解“快乐”的含义，但与上面提到的中国家庭见面时，我大概知道“快乐”对他们意味着什么。
This is a piece describing a young family, with a buoyant wife, a responsible father and a curious little boy. I tried to represent the very special smile of the wife, which contrasts with the ‘seriousness’ of the husband. Who the little boy is staring at is hard to say. The encounter with this family can trigger different emotions in us.
这幅作品描述了一个年轻的家庭，一个活泼的妻子、一个负责任的父亲和一个好奇的小男孩。我试图展现出妻子非常特别的笑容，这与丈夫的“严肃”形成了鲜明得对比。很难说，这个小男孩正盯着谁看。遇见这样的家庭会引发出我们不同的情绪。
The last piece of this section is titillating. A couple is engaged in a passionate kiss. One can read the strong passion in the eyes of one of the kissers. Who are they? How long have they known each other? When did they meet? What is their future together?
本部分的最后一幅作品令人兴奋。一对情侣正在热吻。你可以从其中一个接吻者的眼睛里读到这种强烈的激情。他们是谁？他们认识彼此多久了？他们什么时候见面的？他们的未来是什么？
The first series of the third and last section of the exhibition is my interpretation of a ballet (Ballets Russes) and of a piece of accompanying music by composer Igor Stravinsky (1882-1971), Le Sacre du Printemps – the Rite of Spring. Premiered in Paris in 1913, the ballet provoked a scandal and is remembered as one of the most important ballet/music pieces of the 20th century. The theme of the ballet is the arrival and awakening of the spring. For many people around the world, spring might mean different things and their experiences of this season be nearly non-existent. In Finland spring is a very important moment since it represents the end of a long cold and dark winter. Overnight, when spring comes, everything blossoms, nature is alive again and shares with us its celebration of life. Originally from Russia, Stravinsky’s experience of spring was very similar to my own experiences of the season in the North of Europe. Through his music, he wanted to share what nature does to itself and to human beings when it emerges from ‘under the snow and ice’. I have spent a few spring times in countries where one does not really feel that a new season has emerged and I have longed for experiencing what I call a ‘real’ spring like the one I described. The pieces in this series all show the joy but also the brutality of the arrival of spring through the lens of both the ballet and the music of Stravinsky. I depict some of the dancers from the ballet as well as the impact of spring on nature.
展览第三部分也是最后一部分，第一个系列是我对作曲家伊戈尔·斯特拉文斯基（Igor Stravinsky，1882-1971）所做创作的伴奏曲《春之祭》（Le Sacre du Printemps–The Rite of Spring）的诠释。虽然这部芭蕾舞剧在1913年巴黎的首演时引发了一场丑闻，但它仍被誉为20世纪最重要的芭蕾舞/音乐作品之一。芭蕾舞的主题是春天的到来和觉醒。世界各地的许多人对春天的理解不尽相同，有些人几乎没有体验过“真正的”春天。在芬兰，春天是一个非常重要的时刻，因为它表示漫长而寒冷的冬天就要结束了。一夜之间，春来，万物苏醒，大自然重新焕发出生机，与我们共庆新生的到来。斯特拉文斯基（Stravinsky）来自俄罗斯，他对春天的感受和我对北欧的感受非常相似。通过他的音乐，他想要分享当自然从“冰雪之下”展露头脚时，大自然对自己和人类做了什么。我曾在一些国家度过了几个春天，在那里人们并没有真正感到新季节的到来，我渴望体验我所描述的“真正的”春天。该系列作品通过芭蕾舞和斯特拉文斯基（Stravinsky）的音乐，展现了春天到来的狂喜。我描绘了芭蕾舞剧中不同的舞者，以及春天对自然的影响。
(See previous)
(见上述内容)
The ballet of the Rite of Spring was criticized by many spectators because of the movements of the dancers which, today, might be reminiscent of ‘robots’. Some had called the movements typical of ‘people at a mental asylum’. This was 1913. Today, the dance world is no stranger to diverse forms of dance moves. In the pieces that describe the dancers, I have tried to depict the somewhat atypical movements of the dancers – showing the influence of nature and spring on the human psyche.
《春之祭》芭蕾舞曾受到许多观众的批评，因为舞者的动作可能会让人联想到今天的“机器人”。 一些人将这样的动作称为“精神病院的人”的典型动作。这是1913年发生的事情。在今天，舞蹈界接受各种形式的舞蹈动作。在这幅描述舞者的作品中，我试图描绘出舞者一些奇怪的动作——展现自然和春天对人心理的影响。
Having seen a re-creation of the original ballet from 1913, I noticed how colourful the dancers’ costumes were. I was also impressed by their resemblances with some traditional costumes from Finland. In this piece and others, I share my interpretations and reimagining of these costumes, using different colours and shapes.
在看过对1913年原版芭蕾舞剧的重新演绎后，我注意到舞者的服装是那么的丰富多彩。这些服装与芬兰传统服饰十分相似，这让我印象深刻。在这幅作品和其他作品中，我通过使用不同的颜色和形状，分享了我对这些服装的解读和再想象。
(See previous pieces)
(见上述内容)
Here I imagine myself (see the character containing my stamp signature) meeting and dialoguing with the old man from the ballet, surrounded by men from his tribe. The old man is leading the sacrifice that will take place to celebrate the arrival of spring.
在这里，我想象着自己(我的印章处)与芭蕾舞团的老人见面聊天，周围的人都是来自他的部落。这位老人正在引领着祭祀活动为庆祝春天的到来。
(See previous pieces)
(见上述内容)
In this piece, I have added a white mask to the face of one of the male dancers, hinting back at the mask metaphor used in other sections. This is meant to symbolize the influence of nature on our (changing) identity too.
在这幅作品中，我给其中一位男舞者戴上了白色面具，这与前面一些作品中有关“面具”的隐喻相呼应。这也表明自然对我们(不断变化)身份的影响。
This piece is my reaction to listening to the Rite of Spring again after many months of not hearing it. I use the French word Fracassant (ear-splitting) to describe this experience. The music from the Rite is somewhat extreme, but especially unique, empowering and energising. Listening to it again is like awakening at the end of winter in Finland. I use black and bronze in the piece since these two colours symbolize both death and rebirth to me. Bronze is also a material that I associate with traditional Finnish handicraft, of which I am very fond.
这部作品是我几个月后再次听到《春之祭》的反应。我用法语单词Fracassant（震耳欲聋）来形容这段经历。《春之祭》尖锐却独特，充满力量与活力。这让我想起芬兰冬天结束时大自然初醒的样子。我在作品中使用了黑色和古铜色，因为这两种颜色对我来说象征着死亡和重生。铜是芬兰传统手工作品的常用材料，我非常喜欢这种材料。
This piece and its title can be interpreted in different ways and is full of symbolism that I prefer the viewers to reflect on by themselves.
这件作品和它的标题有不同的理解方式，它是象征主义的表现形式，我更希望你能自己感知它。
This piece depicts how I felt when I discovered a section of a park in Beijing that was very much reminiscent of a forest that is very dear to me in Finland. The park was empty on that day so I was mostly alone in this ‘mini-Finland’. The piece shows my surprise and tries to describe how the déjà-vu of the place blends in with my head and body, as if I was saying this place is also me. Nature in me, in China and Finland.
这幅作品描述了我在北京公园时的感受，这让我想起了芬兰的森林，森林对我来说有着特殊的意义。那天公园空无一人，我几乎是独自一人在这片“迷你芬兰”中。这幅作品描述了当时我对这一似曾相识的感觉所惊叹的样子，我的身体似乎与它合为一体。大自然存在于我、中国和芬兰之间。
This funny piece I drew after a piano recital. As I was sitting at the front of the stage, I could observe the piano and every movement of the pianist who looked as if he was riding a horse while playing. I thus represented the piano as galloping here. Seeing people, animals and other things in other objects is a very common phenomenon that reminds us that the borders that some of us have created between the living and the (non-)living deserve to be questioned and revised. I have published a couple of books on what I have called ‘silent partners’ in communication, referring to things.
这幅有趣的作品是我在观看钢琴独奏会后画的。当我坐在前排，我观察钢琴和演奏者，他演奏时的样子就如同他在骑一匹飞驰的骏马。所以，在这幅画中，我把钢琴这种“飞驰”的状态表现出来。其实，我们常常都能在其他物体上看到人、动物、甚至其他的东西的样子。然而，我们却常常在有生命与非生命的物体之间划出明显的界限，这一看待事物的方式值得反思。我出版的几本书中有讨论这一现象，我称之为“沉默的伙伴”。
At the beginning of the summer, some years ago in Beijing, I noticed at a park that water lilies contained hundreds of little drops on top of them after rain showers. The drops stood there without disappearing. On one occasion, as I was admiring this phenomenon all alone (there were no other park visitors), I started seeing crowds of people in these thousands of drops on the ‘leaves’. I then drew these crowds of people, calling the water lilies ‘living leaves’.
几年前，北京的一个初夏，我在一个公园里发现，阵雨过后的睡莲上留下了数百个小水滴。十分有趣的是，水滴却一直没有消失。一次，当我独自欣赏这一景象时(公园里没有其他游客)，我仿佛在“荷叶”成千上万的水滴上看到了成群结队的人群。然后，我画了这群人，并称睡莲为“活叶”。
Bamboo Park in Haidian (Beijing) has always been an important park for me – a source of energy, creativity and amazement. When summer comes, the park changes, more colours appear, lotus flowers start blossoming. A feast for the eyes. In this series, I share interpretations of different sections of the park, offering at the same time dialogues with Finnish nature.
海淀（北京）的紫竹院公园对我来说十分重要，它是我能量的积聚站，创造力和想象力的重要来源。夏天，公园的色彩变得丰富起来，荷花崭露头角。这实在是一场视觉的盛宴！这一系列作品呈现了我对公园不同区域的理解，与此同时，它们也展示了中芬大自然之间的对话。
(See previous)
(见上述内容)
In this piece, I have tried to represent the small water drops on the water lilies after a rain shower that I mentioned earlier.
在这幅作品中，我尝试展现出我前面提到过的阵雨后睡莲上的小水滴。
(See other pieces from this series)
(见上述内容)
The very last series focuses on representing self and nature, especially mountains. Mountains are not very common sights in Finland since the country tends to be rather ‘flat’. In a place like Beijing, there are many mountains surrounding the city. I have always been amazed by mountains. They remind us how small we are as beings – they even put us back in our ‘small’ place! I have noticed how in Chinese art, mountains are usually depicted as dominating a landscape, with people given a very small part. These three pieces show how I relate to white, black and colourful mountains. However, the characters that I have placed in front of them, although somewhat smaller than the mountains, still seem to dominate the landscapes. What do the mountains tell about these characters? How complementary are the characters and nature here?
最后一个系列则侧重于表现人与自然，尤其是山。山脉在芬兰并不常见，因为这个国家的地势比较“平坦”。然而，像北京这样的城市，周围有许多山，而我总是对群山惊叹不已。它们提醒着我们，人类是多么渺小,我们应该回归到本真的样子（最初的样子）。 我注意到，在中国美术作品中，山通常占据作品的重要位置，而人物只起点缀作用。这三件作品展示了我如何使用白色、黑色以及五颜六色来描绘山脉。置于山前的人物，虽小于背后的山，但仍是画的主体部分。这些山又向我们展示了人物的哪些方面？人与自然又应如何和谐相处？
The character here, who looks somewhat confused, is towering in front of the mountains. He is the focus of the painting, the mountains a mere background.
这里的人物，看起来有些迷茫却仍突显于山前。他是这幅画的焦点，而群山只是背景。
In this piece, the character seems to blend in with the colourfulness of the mountains.
在这幅作品中，人物仿佛与山脉的色彩融为一体。
ICI LABAS 艺栈画廊简介
2017 年，随着法国画家弗朗西斯 . 德 . 朗洛画展的开幕， ICI-LABAS 艺栈也打开了大门，在 798 艺术园区正式落户了。它的成立为园区增添了新的气息，为艺术家提供了新的天地，为中外文化交流搭建了新的平台。艺栈将秉承融汇东西、鼓励创新、搭建平台、服务大众的理念，让东西方文化在这里得以交流，让年轻的艺术家在这里施展才华，让广大民众在这里得到艺术的享受，让中华优秀文化从这里走向世界。
ICI LABAS Gallery was founded as part of Beijing WM Architecture Design Company in 2017. The gallery aims to showcase first-rate international visual art from the East and the West, highlighting innovation, building up a platform for communication around art and serving the general public. Introducing Chinese art to the rest of the world also represents one of its main endeavours. Based on academic and outstanding service, focusing on the past, present and future, ICI LABAS Gallery opens up more possibilities for today’s contemporary art world.
北京市朝阳区酒仙桥 798 艺术区 D10
798 东街 ICI LABAS 艺栈画廊
ICI LABAS Art Gallery, East Street,
798 Art District, Beijing
邮箱 Email: icilabas798@yahoo.com
