文字/ writing
A4开本
A4 folio
以文字的形式“描述”绘画（《X？》系列），即通过文字提示想象来替代观看的视觉经验。同时指定了相关“观看”的规则，这种文本的格式与之后的《艺术计划第二号》直接有关。
"Describe" the painting in the form of words (X? series), that is, the visual experience of substituting the imagination through textual prompts. At the same time, the rules for "viewing" are specified, and the format of this text is directly related to the subsequent Art Project No. 2.
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“先奏后斩”的程序——关于《X？》
我试图将一个创作构想以文字的方式公诸于众，以顺应“先奏后斩”的公共规范。
作品总题：《X？》
以下为作品的各个步骤：
步骤一：
*将乳胶手套（通常用于工业、医疗、环境卫生及日常生活的）正面各形态（大同小异的）拍成黑白照片，放大至12寸。
*依照照片将乳胶手套临摹在200x180公分或200x110公分画布上：
200x180公分画乳胶手套一双，横向并列。同构图浅底色为（1、A），深底色为（1、A’）。
200x110公分画乳胶手套一只，构图直竖。同构图浅底色为（1、B），深底色为（1、B’）。
画（1、A）18张；（1、A’）18张；（1、B）5张；（1、B’）5张。
*材料：油画颜料：赭石、黑、生褐、白、工业松节油、油画布。色调在灰褐、灰赭和灰之间变化。
步骤二：
*按以上方法，尺寸及数序要求复制。
*在乳胶手套各部位用阿拉伯数字标号：
横构图浅底色为（2、A）；深底色为（2、A’）；
竖构图浅底色为（2、B）；深底色为（2、B’）。
*画（2、A）12张；（2、A’）12张；（2、B）5张；（2、B’）5张。
*材料及色调同步骤一。
步骤三：
*尺寸按以上要求。
200x180公分画乳胶手套一只（横）于画面下方，上方3/4处用印刷体写出“步骤二”中阿拉伯数字所指涵义。此构图为（3、A）。
200x110画竖直乳胶手套一只于画面下方，上方1/2处用印刷体写出“步骤二”中的阿拉伯数字所指涵义。此构图为（3、B）。
*画（3、A）5张；（3、B）5张。
*材料及色调同“步骤一”。
步骤四：
*将口腔治疗椅（两种型号）拍成黑白照片（正面），并放大至12寸。
*依照照片将治疗椅临摹在200x180公分或180x110公分的画布上：
200x180公分画横向并列的治疗椅二具。同构图浅底色为（4、A），深底色为（4、A’）。
180x110公分画构图治疗椅一具。浅底色为（4、B），深底色为（4、B’）。
*画（4、A）6张；（4、A’）12张；（4、B）20张；（4、B’）15张。
*材料：紫罗兰、生褐、黑白、工业松节油、油画布。色调呈灰紫色。
步骤五：〈五〉
*用假墙板将长64米，宽21米（面积为2000平方米）左右的展厅（最好为仓库）分割成14个8x8（米）的房间，房间不封顶。隔板自地面高度为3.5米。每个房间出入口开在任意一面宽度的1/2处，宽1.1米。
房间以两条相等直线排列。出入口由一条宽一米的过道连接，过道直线1/2处设铁栅栏。
*展厅、过道、房间面积图见（图一）。
*展厅中观众行走路线见（图二）。
*依观众行走路线标明房间1—14号码。
步骤六：
*将已完成的（1、A）——（4、B’）各单元进行组合，并依次在房内四周间隔悬挂作品。间隔距离0.8米。
1号房间：（1、A）与（1、B）；（1、A）6件，（1、B）5件。以下均按此比例。
2号房间：（1、A）与（4、B）；
3号房间：（1、A’）与（1、B’）；
4号房间：（1、A’）与（4、B）；
5号房间：（1、A）与（4、B）；
6号房间：（1、A’）与（4、B’）；
7号房间：（2、A）与（2、B）；
8号房间：（2、A）与（4、B’）；
9号房间：（2、A’）与（2、B’）；
10号房间：（2、A’）与（4、B）；
11号房间：（3、A）与（4、B）；
12号房间：（4、A’）与（2、B）；
13号房间：（4、A’）与（3、B）；
14号房间：无作品。
*按上述顺序，每一组合命题为：
1、《X？——[（1、A）+（1、B）]》
2、《X？——[（1、A）+（4、B’）]》
3、《X？——[（1、A）+（4、B）]》
4、《X？——[（1、A’）+（1、B’）]》
5、《X？——[（1、A’）+（4、B）]》
6、《X？——[（1、A’）+（4、B’）]》
7、《X？——[（2、A）+（2、B）]》
8、《X？——[（2、A）+（4、B’）]》
9、《X？——[（2、A’）+（2、B’）]》
10、《X？——[（2、A’）+（4、B）]》
11、《X？——[（3、A）+（4、B）]》
12、《X？——[（4、A’）+（2、B）]》
13、《X？——[（4、A’）+（3、B）]》
14、《X？——[……]》
以上油画144件。至此，《X？》系列全过程完毕。
*参观规则：
1、观众必须携带身份证。
2、为将场内观众人数控制在10人以下，（观众入场时须领取“看牌”，出场时交还）
3、规定观众必须顺路线行进，不得逆反。
3、观众进入房间停留时间不得少于23分钟，多于33分钟。违反者在原房内加罚33分钟。
4、每个房间人数不得超过二人。
5、观众在场内任何一处不得进行二人以上的交谈。交谈音量不能超过8.3分贝。
6、身穿红、黄、绿服装者谢绝参观。
7、情侣或夫妻不得同时进入参观。
8、身高低于1.3米，高于1.73米以上者谢绝参观。
9、体重33公斤以下者，63公斤以上者谢绝参观。
说明（一）：
1、 这样先于结果乃至过程（制作的）来“告诉”观众图画的做法必定是有某种缺陷的。由于事先对这种缺陷已经有所考虑并在选取素材时注意到了“普遍性”，因而笔者依据本文提供的具体步骤对于今后某时某地可能展现的作品进行“纯粹遐想”是可能的，尽管这样的遐想还难以肯定具有某种快感。
2、 这种“告诉”提供遐想的方法无疑亦使广大观众对未来可能出现的作品有了情绪上的准备。
3、 断言一种创作构想在其“物化”之前与观众无关是毫无道理的。
4、 断言只能通过“物化”手段为观众提供视觉意象也是不慎重的。
5、 类似方法不适用于偏重“偶然性”或感情用事的风格。
6、 既然人的行为（在正常情况下）都是“事先预谋”的，“先奏后斩”便应成为普遍认同的规范。
说明（二）：
1、 依据本文提供的各个详尽步骤，对于今后某时某地可能展现的宏大作品进行“纯粹遐想”将成为事实。由此，即便遇到意外，仍有理由感到快慰。
2、 这种“纯粹遐想”在某种程度上可能优于或取代视觉的感受。
3、 断言一种创作构想在其“物化”前与观众无关是毫无道理的。
4、 断言只能通过“物化”手段展现视觉也是不慎重的。
5、 类似方法不适用于偏重“偶然”性或感情用事的风格。
6、 既然人的行为（在正常情况下）都是“事先预谋”的，“先奏后斩”便应成为普遍认同的规范。
1987年8月
Procedure of “Ask First, Then Shoot”: About “X?”
I attempt to convey a creative conception via text, using the methodology of “ask first, then shoot” according to public standard.
Work Title: “X?”
Following are the steps of the work:
Step 1:
*Photograph emulsion gloves (the type generally used in industry, medicine, public hygiene, and daily life) from the front in a variety of positions (no need to differ greatly) with black and white film. Enlarge them to 12 cun [1 cun = 3 cm].
*Copy the photographed emulsion gloves onto canvases measuring either 200 x 180 cm or 200 x 110 cm:
200 x 180 cm: Paint a pair of emulsion gloves, centered with the canvas oriented horizontally. On an isomorphic graph, the light color is (1, A) and the dark color is (1, A’).
200 x 100 cm: Paint a single emulsion glove, composed vertically. On an isomorphic graph, the light color is (1, B) and the dark color is (1, B’).
Paint 18 canvases of (1, A); 18 canvases of (1, A’); 5 canvases of (1, B); 5 canvases (1, B’).
*Materials: oil pigment: ochre, black, raw brown, white, industrial turpentine, oil canvas. Colors mixed to: taupe, range between ochre and grey.
Step 2:
*According to the above methods, dimensions, and numbers, copy everything again.
* On every location of the emulsion gloves, write these numbers in Arabic numerals:
Horizontal image, light color is (2, A); dark color is (2, A’);
Vertical image, light color is (2, B); dark color is (2, B’).
* Paint 12 canvases of (2, A); 12 canvases of (2, A’);
5 canvases of (2, B); 5 canvases of (2, B’).
* Materials and colors same as Step 1.
Step 3:
* Dimensions same as above.
200 x 180 cm: paint one emulsion glove (horizontally) on the bottom half of the canvas. At the position ¾ from the top, use typographic characters to write the meaning of “Step 2” in Chinese characters and Arabic numerals. This composition is (3, A).
200 x 100 cm: vertically paint one emulsion glove on the bottom half of the canvas. At the position halfway from the top, use typographic characters to write the meaning of “Step 2” in Chinese characters and Arabic numerals. This composition is (3, B).
* Paint 5 canvases of (3, A); 5 canvases of (3, B).
* Materials and colors same as Step 1.
Step 4:
* Photograph a dentist chair (two different models) from the front with black and white film. Enlarge them to 12 cun [1 cun = 3 cm].
* Copy the photographed dentist chair onto canvases measuring either 200 x 180 cm or 180 x 110 cm:
200 x 180 cm: paint two dentist chairs, centered on a canvas oriented horizontally. On an isomorphic graph, the light color is (4, A) and the dark color is (4, A’).
180 x 110 cm: paint a single dentist chair, composed vertically. The light color is (4, B) and the dark color is (4, B’).
* Paint 6 canvases of (4, A); 12 canvases of (4, A’); 20 canvases of (4, B); 15 canvases (4, B’).
* Materials: violet, raw brown, black and white, industrial turpentine, oil canvas. Colors mixed to grey and purple.
Step 5: (5)
* Use hollow-core wall panels to split up an exhibition hall approximately 64 m long by 21 m wide (with an area of 2000 square m) (warehouse is best) into 14 8 m x 8 m rooms with no closed ceiling. Wall panels should be 3.5 meters from floor to top. The entrance to each room should be positioned to one side of the halfway point of the width of a single room (either side is fine), with the entrance width 1.1 m.
The rooms should be arranged in two equal and straight lines. The entrance to each room should be connected by a hallway 1 m wide, and the hallway should be split lengthwise in two by an iron fence.
* Exhibition hall, hallway, rooms construction diagram: see (Fig. 1)
* Path of audience within exhibition hall: see (Fig. 2)
* According to the path of audience within exhibition hall, number the rooms from 1 – 14
Step 6:
* Arrange the completed painting units (1, A) – (4, B’) into groups, and according to the order hang them on four walls within the rooms. Separating distance is .8 m.
Room 1: (1, A) and (1, B);
(1, A) 6 pieces, (1, B) 5 pieces. For rooms below, maintain this ratio.
Room 2: (1, A) and (4, B);
Room 3: (1, A’) and (1, B’);
Room 4: (1, A’) and (4, B);
Room 5: (1, A) and (4, B);
Room 6: (1, A’) and (4, B’);
Room 7: (2, A) and (2, B);
Room 8: (2, A) and (4, B’);
Room 9: (2, A’) and (2, B’);
Room 10: (2, A’) and (4, B);
Room 11: (3, A) and (4, B);
Room 12: (4, A’) and (2, B);
Room 13: (4, A’) and (3, B);
Room 14: No works.
* According to the above order, each group is titled as follows:
1. “X?—[(1, A) + (1, B)]”
2. “X?—[(1, A) + (4, B’)]”
3. “X?—[(1, A) + (4, B)]”
4. “X?—[(1, A’) + (1, B’)]”
5. “X?—[(1, A’) + (4, B)]”
6. “X?—[(1, A’) + (4, B’)]”
7. “X?—[(2, A) + (2, B)]”
8. “X?—[(2, A) + (4, B’)]”
9. “X?—[(2, A’) + (2, B’)]”
10. “X?—[(2, A’) + (4, B)]”
11. “X?—[(3, A) + (4, B)]”
12. “X?—[(4, A’) + (2, B)]”
13. “X?—[(4, A’) + (3, B)]”
14. “X?—[……]”
The above oil paintings number 144. At this point the “X?” series is complete.
* Rules for audience:
1. Visitors must carry national I.D. card.
2. To maintain the number of visitors in the hall below 10, visitors entering the hall are given a numbered card and required to return it in when exiting.
3. Visitors must view the rooms according to the numbered order, and may not return to previously visited rooms.
4. Visitors must spend not less than 23 minutes or more than 33 minutes in each room. Violators will be punished by spending an additional 33 minutes in the first room.
5. The number of visitors in any given room may not exceed two.
6. Visitors may not engage in communication in groups of three or more in any area of the exhibition hall. The volume of speech may not exceed 8.3 decibels.
7. Visitors wearing red, yellow, or green may not enter the exhibition hall.
8. Couples may not enter the exhibition hall together.
9. Visitors shorter than 1.3 m or taller than 1.73 m may not enter the exhibition hall.
10. Visitors lighter than 33 kg or heavier than 63 kg may not enter the exhibition hall.
Explanation (1):
1. This method of showing the process of production before the result, essentially “telling” images to the audience, will always be defective in some way. Although the artist considers these possible defects before beginning the process and strives to avoid common or predictable mistakes, because the project may or may not be completed at some time and in some place, it is possible that this striving is nothing but pure fantasy—even if this fantasy is not necessarily pleasurable or able to produce pleasure.
2. This strategy of “telling” the fantasy of the artist to the audience will allow the potential viewer of the potential future exhibition to make emotional preparation ahead of time.
3. It makes absolutely no sense whatsoever to assert a particular method of composition before its realization or contact with an audience.
4. To assert that only through physical realization can the project provide an audience with imagery would also be imprudent.
5. This or similar methods are not suited to projects that tend towards happenings or “accidental” art, or styles that emphasize emotional methods.
6. Although human behavior (under normal circumstances) is usually premeditated, this type of “ask first, then shoot” method should also become a commonly identified behavior.
August 1987
Explanation (2):
1. By following the specific instructions of the steps of the project, the “pure fantasy” indulged in by the writer becomes fact, whether or not the large-scale work of art itself is realized at some time and in some place. Even if the artist encounters unexpected problems, he has reason to be pleased by this.
2. For the writer, this pure fantasy may, to some degree, become more important than or replace visual experience.
3. It makes absolutely no sense whatsoever to assert a particular method of composition before its realization or contact with an audience.
4. To assert that only through physical realization can a project be visually realized would also be imprudent.
5. This or similar methods are not suited to projects that tend towards happenings or “accidental” art, or styles that emphasize emotional methods.
6. Although human behavior (under normal circumstances) is usually premeditated, this type of “ask first, then shoot” method should also become a commonly identified behavior.