刘骐鸣
简介
1972年 生于四川。
1995年 毕业于四川美术学院。
1995年 起先后任教于阿坝师专艺术系和西南科技大学艺术学院。
目前生活在北京。
个展：
2008年 “一根线” 刘骐鸣个展 视•巅峰艺术空间 北京
2008年 和而不同 艺公馆 北京
2006年 出境 慕尼黑
2001年 刘骐鸣油画展 台中
1995年 （出）氡氚（入）油画展 四川美术学院
联展：
2008年
尝试要记住 奥沙画廊 香港
白色诱惑 喜画廊 北京
中国当代艺术展 歌剧画廊 香港
重建中国 维吉尼亚米勒画廊 迈阿密
“中国情境”当代艺术展 JW艺术中心 北京
2007年
春暖花开 798画廊 北京
重启•索家村——国际艺术营展 北京
反向运动——当代艺术展 北京
环铁国际艺术展 北京
浑搭——12人联展 纽约艺术空间
1976—2006“四川画派”学术回顾展 文化部 北京
向背 炎午空间 北京
“JIN”2007当代艺术展 首都师范大学美术馆 北京
2006年
红色年代 杭州
新极少主义概念展 纽约
2005年
上海•绵阳美术交流展 上海
源自缘起——8人油画展 绵阳
2004年
四川省暨成都油画大展 成都
2003年
四川省高校美术教师作品联展 成都
2001年
存在•迁徙 成都
1999年
瞬间：二十世纪末的中国艺术 芝加哥
1998年
全国师范院校美术教师作品展 辽宁
四川省美术作品展 二等奖 成都
1997年
都市人格四人艺术邀请展 上海
中国油画海外巡回展 东南亚、欧洲
1996年
高原红艺术工作室文献展 成都
英文
Liu Qiming
1972 Born in Sichuan.
1995 Graduated from the Oil Painting Department of Sichuan Fine Arts Institute.
From 1995 up to now,Taught Fine Arts in Aba Normal College, then in Southwest University of Science and Technology Institute.
Currently Live in Beijing as an artist.
Solo Exhibitions:
2008 “One line on life”—— Liu Qiming solo Exhibition Vasion .Peak Art Space beijing
2008 Harmonious But Different, Arts Mansion, Beijing.
2006 Deportation, Munich.
2001 Liu Qiming, Taizhong.
1995 Fluidity and Limitation of Radon and Tritium, Sichuan Fine Arts Institute.
Group Exhibitions:
2008
Try to Remember, Osagegallery，Hong Kong.
The Temptation of White, Double Luck Gallery,Beijing.
Chinese contemporary art exhibition，Opera gallery，Hong Kong.
China Deconstucted ，ArtSpace/Viller Galleries，Miami.
“Chinese Situation”contemporary art exhibition, Beijing.
2007
Blooming in Spring Warmth ,789 Art Gallery ,Beijing.
Restart: Suojiacun International Art Camp Exhibition, Beijing.
Move Inversely ----Modern Art Exhibition, Beijing.
Circling Railway International Art Exhibition, Beijing.
Mix Match------12 Artists’ Joint Exhibition, New York Art Space.
1976—2006 “Sichuan Painting School” Academic Retrospection, China Ministry of Culture, Beijing.
Obedience and Disobedience，Yan Wu Space, Beijing.
"JIN" 2007 Exhibition of Contemporary Art, Capital Normal University Museum of Art, Beijing.
2006
Red Years, Hangzhou.
Neo- Minimalism Conception Exhibition, New York.
2005
Shanghai•Mianyang Art Exchange Exhibition, Shanghai.
Originating from Shared Feeling: Eight Artists’ Oil Paintings, Mianyang.
2004 Sichuan Oil Painting Exhibition, Chengdu.
2003 Artworks from College Art Teachers in Sichuan Province, Chengdu.
2001 Existence•Migration, Chengdu.
1999 Moment: Chinese Art in the End of the Twentieth Century, Chicago, USA.
1998
Chinese Artworks from Art Teachers at Normal Universities, Liaoning.
Artwork Exhibition of Sichuan Province( won the Second Prize), Chengdu.
1997
City Personality: Invitational Exhibition for Four Artists, Shanghai.
Chinese Oil Painting Traveling Exhibition in Europe & Southeast Asia.
1996 Documents from Highlands Blush Studio, Chengdu.
留住个人的历史记忆
——谈刘骐鸣油画作品
王 林
在一个只推崇集体主义的社会中，即使是以人为本的思想也极易受到污染，当“人”变成“民”的时候，个人往往被排除在外。对中国封建主义文化传统而言，民和君相对，所谓“民为贵，君为轻，社稷次之”，民之重要在于它是君王统治的基础。这里有一个我们判断当今社会是否真正进入现代化的前提，即个人自由的优先权在社会体制和社会生活中的实现程度。宪法规定了每个公民的民主权利，而我们在现实生活中却根本无法实现。公民权名存实亡的现状，对中国人的精神心理产生了深刻的影响，大陆艺术家对于重大政治历史事件的集体失忆，就是一个显著的例证。众多艺术家在利用甚至滥用毛时代的文化资源，却几乎没有人对那样一个时代的历史灾难进行重述和反省。历史题材创作自伤痕美术浅尝辄止以来，至今仍然是官方意识形态全面主宰的领域，仍然是以政治倾向性取代历史真实性的所谓现实主义创作方法和叙事霸权肆虐的场地。
正因为如此，当我看到刘骐鸣把自己作品的关注点集结于历史记忆的时候，内心是充满感动的。
刘骐鸣从个人记忆的角度切入历史，无论是以年号为题，还是“革命样板”、“反恐精英”、“奥运畅想”等等以历史叙事为契机的作品，画家都没有对政治历史事件进行直接描绘。他总是用心理象征的手法，去叙说自己对于正在消逝的历史记忆的某种感触。比如《我的1989》系列作品，有的只是在天空中被悬置的稀微的人链，或者是在云水之上留下运动姿势的身影。这些已经被中国人在当今社会中集体遗忘的形象，在画面中显得那么渺小，那么虚幻。不仅是画家对于有意被抛弃的历史经历的哀戚，而且是艺术对于消费时代的精神现实的悲叹。正是在发自内心的哀戚与悲叹之中，艺术家希望留住个人的历史记忆。
这是诗意化的历史与历史化的诗意。
刘骐鸣的画面是空旷而寂寥、静谧而辽远的。他总是用灰暗的色彩——灰蓝、灰绿、或者是灰灰的淡红色——来构成朦胧的、含混的背景，甚至就是云水相接的画面本身。这中间有云水的波澜，有白日的晕辉，其间时隐时显的是典型的政治符号天安门。这种中国古典城楼出现在云水之间，有一种仙山琼廊的意象，为画家营造超现实情境增添了虚无缥缈的诗意。同时也以其政治象征，暗示出个人叙事的历史针对性。
画家对人的描绘是远距离的，空间的渺小与时间的消逝相互沟通。无论他们是在行走、在游弋，还是在做着运动的姿式、在树枝绳索上悬垂，画家有意利用透光的背景把他们画得如同剪影，轻薄、微小、飘浮，无根无源，无倚无靠，无始无终，无奈而又宿命。这是些被抛弃的人，被官方权利、被权利意识、被意识形态所抛弃、所遗忘的人。在市场经济、消费时代、集体社会混杂一体的当代中国，知识分子的整体坍塌、艺术创作的急功近利和历史意识的淡薄是互为表里的。刘骐鸣置身其中，对此深有所感。他在画面流露出深深的孤独和落寞，这种情绪是现场的也是真切的。唯其如此，艺术才能作为一种揭示，以其敏感、细微的心理反应揭示出精神现实的真实。
艺术创作并不一定要以对抗、对立的方式出现，才具有对于社会现实、精神现实和文化现实的批判性。艺术创作作为个人对生活的体验，其批判价值在于以个体化艺术语言去挑战既成、既定的集体话语。刘骐鸣作品执着于个人对历史事件的精神反应与心理追忆，本身就是对抹杀历史记忆的专制权利和集体意识的否定。在画面中刘骐鸣不断甚至是顽固地使用红色点线，不仅是在灰冷色调中提示视觉注意的形式需要，其红屋顶、红绳索、红领巾、红内裤等等，都是具有能指意义的政治符号或泛政治符号，只不过画家把它们异样化，抽离于现实生活而构置起超现实体验，通过历史的片断化、个别化、零散化，让历史还原成为个人的、心灵的、小写的历史。刘骐鸣以哀婉而凄楚的诗意去触摸历史，旨在证明历史是不能忘记的。其实，这句话本身就包含着对于历史的尊重，哪怕是曾经造成过巨大伤害的沉重的历史。也许这一点，正是刘骐鸣作品充满伤感诗意的原因。
谈刘骐鸣画作，令人想起当代德国画家基弗尔，他以泣血忏悔和入骨反省为德国民族二战以来的历史谱写了宏伟的哀歌。我总在想，中国画界开始有了如刘骐鸣这样低吟浅唱，流连于历史经历的作品，什么时候才能有如基弗尔一般为历史苦难发出道义强音的艺术家呢？
2008年6月15日
于四川美院桃花山侧
英文
Retain the Personal Historical Memory
-- On Liu Qiming’s paintings
Wang Lin
In a community only collectivism canonized,the people-oriented thinking is even vulnerable to be polluted,and when "people" becomes "citizen", individuals are often excluded.To the Chinese feudalism cultural tradition, monarch is the contrary of citizen. The so-called " People are on the top of priority, with monarch following, then the state", the importance of citizen lies in that it is the basis of reign for the monarch. There is a premise for us to judge whether our current society enters the real modernization or not,and that is the extent of realization on priority for individual freedom in social structure and social life.Constitution regulates democratic rights for each citizen, which in life can’t be realized at all. The franchise existing in name only has profound impact on the spirit of the Chinese people. An obviouse example is mainland artists’ collective amnesia to major events in politics and history.Many artists use or even abuse the cultural resources of the Mao times,however,people seldom restate or reflect on disasters in such an era. Historical themes stops ever since Scar Art,and till now official ideology still dominates that area,an area indulged with the so-called realistic creating approach and narrative hegemony,political inclination replacing the historical authenticity.
That is why,when I saw Liu Qiming’s artworks focusing on the historical memory,I am deeply moved.
Liu Qiming involves history with his personal memory. His artworks, some are with title marked by the year,and some record history such as”Revolutionary Model" "Counter-Strike"and "Olympic Imagination",but,he doesn’t dipict the political and historical events directly.He narrates his certain feeling to the passing historical memeory with a psychological and symbolized way.For example, in "My 1989" series,some are slim tiny chains of people suspended in the sky,and some are figures leaving their postures of movement in cloud or water.These images collectively forgotten by the Chinese people in society,so small and illusory.This is not only his grief to the abanded historical experiences, but also lament to the reality in the consumption times.Because of the grief and lament,he wants to retain his historical memory.
This is poetic history and historical poetry.
Liu Qiming’s paintings are open and lonely,quiet and distant.He always use dark colors,grey blue,grey green,or grey light red,to form hazy background,and even cloud mixed with water is the image itself. In it,there are cloud and water waves, splendor of the sun,and among them is the typical political symbol Tian’anmen. This classical Chinese architecture appeares in between cloud and water,like images in wonderland,adding untangible poetic colors for him to create surrealistic atmosphere.Meanwhile,with its political symbol,he implies historical pertinency of personal narration.
He depicts people from far distance,small space connecting with the passing away of time.Whether they are walking,cruising,or in movement postures,suspended in branches or ropes,he intentionally paints them as silhouettes,thin,tiny,floating,rootless,unreliable,without beginning and ending,helplessness and fatalism.These are people being abandoned,forgotten by the official rights,right awareness,and ideology.In contemporary China with market economy,consumption era,collective society,intellectuals group collapse,eager for quick success and instant benefit,lack of historical awareness,all these are mutually related. Living in such a society, Liu Qiming understands this deeply.In the painting he expresses deep solitude and loneliness,and this sentiment is on the spot and true.Only in this way,art can reveal the truth of spiritual reality with its sensitive,subtle psychological reaction.
Art creating doesn’t need in an opposed and incompatible way to criticize social reality,spiritual and cultural realities.Artistic creating is as personal experience to life,and its value on criticism lies in challenging the established collective discourse with individual artistic language.Liu Qiming’s artworks focusing on the response and psychological recall to history events,which in itself is a denial to authoritarian rights and collective awareness in kiling historical memory.In his paintings Liu Qiming stubbornly continues to use red point and line, reminding us of the need for using colors in grey tone,its red roof,red rope,red scarf,red underwear and the like.All these are political symbols or political-symbols-alike able to make sense,but he changes them,abstracting them from real life and constructing surreal experience,with segments and odds returning a personal,spiritual and lower history.Liu Qiming touching history in a sorrowful poetic way aims to prove history can not be forgotten.In fact,this statement in itself contains respect to history, even heavy history with great damage.Perhaps,this point is the reason why Liu Qiming’s artworks is full of sadness and poetic sense.
Liu Qiming’s paintings remind me of a German contemporary artist Kieffer,who wrote a grand Elegy for the German nation since World War II with introspection and repentance.I always think, China art circle begins to have such paintings as Liu Qiming’s, with low singing,related to historical experiences.When will artist like Kieffer creating a strong moral ictus for history sufferings appear?
June 15,2008
in the Peach Blossom Hill Side of Sichuan Academy of Fine Arts
命悬一线
——刘骐鸣其人其画
高 岭
没有人能够说清楚一根线，究竟有多长，究竟能够串联起多少赘重，又能够挑拨出多少轻盈？然而有这么一位艺术家，他却把线作为自己创作的主要题材，用一根线演绎了他的人生观和艺术观，这人便是刘骐鸣。
空间中两个物理颗粒之间的距离连接，便是线的本义，它原本无法构成一个现实之物，但在刘骐鸣的艺术中却扮演了勾连天地、承载人生的重要作用。一根纤细和轻盈的线条，为何他对此竟有如此重要的比附？这与他的本人的经历有着很大的关系。从中学时代起，他好像就开始承受其他同学没有的压力——他因自己对学校考试舞弊的抗议而被开除了团籍；他从参军的哥哥的亲身经历感受到八九风波真实的一面。对于一个十几岁的青少年人来说，追求进步的理想受到来自所谓的组织原则和政治现实双重的打击。而当几年大学刚刚培养起他懵懂的艺术与现实的观察和表现方法的时候，毕业分配的结果再一次打击了他的艺术之梦——他被分到四川阿坝藏族羌族自治州师专教书。少数民族地区的宗教状况和远离省会成都带来的文化信息匮乏，使他的内心充满了孤寂和无慰，他还年轻，他需要艺术，需要思想和情感的交流。于是，他在成都与建立了自己的工作室，接下来的几年时间里，他穿梭在工作岗位的阿坝师专和成都平原的工作室之间，时间和精力的消耗终于使他做出了辞职的决定，因为只有这样，他才能够安心画画，实现自己的艺术梦想。可是，随后的生活现实又一次次地让他感受到虚假和残酷冷漠的一面——朋友的鼓动使他加入到一场骗局之中；新调任学校的文山会海和规章制度令他分身无术；母亲的意外死亡让他对城乡差异的严酷现实有了切肤之痛。
他原本应该有充足的时间和精力从事自己喜爱的绘画创作，但他三十几年的人生时间里，却饱受生活现实的捉弄；他原本应该在自己的画面中以激越的形象将这些苦痛宣泄出来，一吐为快，因为只有在绘画里，他才能找到人的尊严和生活的意义。但是，当我们看到他这两年来北京发展后创作的近作时，却更多地感受到一种难以捉摸的沉静和冷漠。飘忽不定、浓郁黝黑的云海深处，是若隐若现却永远挥之不去的政治权力的象征性建筑一角，从那里释放出的龙卷风和蘑菇云，作为外在政治力量的能量场，可以遮天蔽日，让日月无光，令万物萧条。经历了许多事，刘骐鸣学会了透过现象看本质，外在的约束和现实的纷争困扰，都无法引起他用手中的画笔表现的兴趣，他想要表现自己对这些压力和困扰追问的答案，想让自己站在更高的视点抓住控制现实具体世界的那只看不见的手。于是，他选择了隐喻的手法，将寓意现实之重的千层乌云与那看似渺小些微的象征性建筑符号融合在一个画面之中。一个是看似虚无却浩淼无边的大自然天象，一个是看似无机却蕴藏巨大权力能量的人工之物，这两者在绘画中的结合，只因为中国人的存在，只因为中国人的困惑，舍此，整个画面将显得空泛和乏力。
画面前景中宛若玩偶般悬吊着人物，才是艺术家最终的关注点。他（她）们赤身裸体，只留下一块遮羞的红布，在这个仿佛要吞噬一切的万丈云海之上，他（她）们似乎并没有惊慌失措，而是机械地重复着一些早已被外力“融化到血液中、落实到行动上”的规定性动作。这些动作来自毛泽东时代的样板戏，是那个所谓“激情燃烧岁月”里人们耳熟能详的剧目，可在今天的刘骐鸣眼里，就只剩下徒有其表的动作姿态了，因为斗转星移，当年的那种空幻的理想早已荡然无存，也无人再信，而人物角色的躯壳却被艺术家保留了下来。所以，我们从画面上可以发现，这些舞蹈人物并没有过多性格特征的描绘，一切都只是一种提示性和轮廓性的。
这些机械、僵硬的戏剧性人物与高处悬垂下来的红色绳索是如此地不协调，以致于我们不能不怀疑这根绳索究竟能否拯救这些坠落之人。而事实上，这根纤纤细绳只不过是生命的游丝，它无法承受如此之多的历史和政治的重负。它是象征性的，也是暗示性的，就像有些作品中出现的红内裤、红领巾和红旗，它们是生命不能承受之重的象征，也是生命不能承受之轻的感叹。
背景的厚重阴沉与前景的轻盈怪诞，被一根救命索连接起来，它被比附为人的生命游丝，可它是那样地纤细，何以负载生命的力量和光芒？于是，一种强烈不安的危机意识涌动在画面的上下左右，它飘忽但无处不在，无时不在，没有人能够真正摆脱它的控制。这是刘骐鸣内心的悲剧意识，也至少能够唤起我们观众的忧伤意识。
2008-6-10
英文
Suspended by A Thread
—— Liu Qiming and His Paintings
Gao Ling
Nobody can explain clearly how long a line is, and how much weight it can string,and how much lightness it can provoke. However, there exists such an artist who treats line as his main theme, with a line interpretating his outlook upon life and his art concept, and the person is Liu Qiming.
The original meaning of line is the physical connection between two particles in the space.It couldn’t be a real composition, but in the art of Liu Qiming line plays an important role.It connects the world, and bears the weight of life. Why such a thin and light line means so much and that vital to him?There is something important to do with his experiences. From middle school, he began to bear the pressure which his fellow students didn’t had. Because of his protest to people’s cheat in the school examinations,he was expelled from the membership of Chinese Communist Youth League. From the personal experiences of his elder brother who served in the army,he knew the other true aspect of the storm on August 9.To a teenage young people like him, the pursuit of the ideal of progress suffered double blow of the so-called organization principles and political realities. After several years in college he was cultivated his undersranding of art, the reality of observation and performance of the method, the results of the graduation allocation once again made a blow to his dream of art, that is, he was assigned to Sichuan Aba Tibetan and Qiang Autonomous Prefecture Teachers College to work.The religious situation in ethnic minority areas and the lack of cultural information due to being far away from the capital city Chengdu made his heart full of loneliness and no comfort, but he was still young, what’s more,he needed the art and the exchanges of ideas and feelings.Thus, in Chengdu he established his own studio,and during the next few years, he shuttled in the workplace in Aba Teachers College and his studio in Chengdu Plain. Time and energy consumption had finally made his resignation in the college, because that was the only way he could be wholelly devoted to painting, and to achieving his art dream.But, then again the reality of life let him feel the false and cruel indifference side.That is,His friends encouraged him to join a hoax;Transferred to the new school; he was tied to so many meetings and rules and regulations that he couldn’t arrange enough time and energy on art creating.His mother’s accidental passing away taught him the harsh realities of the differences between urban and rural with great pain.
He should have had sufficient time and energy to engage in his favorite painting creation, but during his 30 years of life time he was made fun of by the reality. He should have vented out all his sufferings with agitating images, because only in painting he could find the dignity and great significance of life. But when we see his recent artworks after his coming in Beijing for further development, we feel more elusive sense of quiet and indifference.Deep in the erratic rich dark clouds is a part of the symbolic construction of the political power, lingering. And the released cyclone and the mushroom cloud from there acting as the the energy field of the external political forces, they could block and hide the sunlight, so that the sun and the moon become lightless, everything recession. Thanks to his experiences,Liu Qiming learned to gain the nature and essence of things through phenomena.The external constraints and the disturbing reality couldn’t interest him to perform with his paintbrush. What he desires to perform is his answer to these pressure and disturbs, and he tries to stand on a higher view to grasp that invisible hand which controls the real and specific world. So, he chooses metaphor, he puts the serious reality in terms of heavy dark clouds and seemingly insignificant tiny symbolic building together in the screen. One is natrue scenes,seemingly void but vast indeed, and the other is a man-made object,seemingly disordered but giant might and energy inside.The two integrate in the painting, because of the existence of the Chinese people and the confused of the Chinese people.Except this, the whole screen shall appear vague and powerless.
The doll-like people in suspension in the screen, is the artist’s ultimate concern. He (she) was naked, leaving only a piece of red cloth to hide their privacy. The sea of clouds seems to swallowe up everything, but he (she) does not seem to panic, but repeat mechanically some movements which are melt in the blood, carried out in action. These movements come from Model Operas of the Mao Zedong era, they belonging to the so-called "burning passion years", people familiar with the repertoire.But in Liu Qiming’s eyes, there are only their movements and gestures left, because the kind of the ideal was gone with the passing ages, and no one could believe it anymore, yet the role and the body are remained. Therefore, we can find in the screen, these dancing figures aren’t portrayed too much in personality or characteristics, and all are only indicative and a profile in nature.
These mechanical stark dramatic figures and the red rope hung from the high places are so uncoordinated that we doubt whether the rope can save the crashing people or not. In fact, the rope is only a slim thread to the lives, and it couldn’t bear so much historical and pilitical weight. It is symbolic, and it is implied, as red underwear and the Young Pioneers(red scarves) and the red flag in some artworks, they are symbols of the weight life unbearable, but also sighs of the lightness life unbearable.
Sombre background and light weird foreground being conneceted by a life-saving cable, it is like the thread of human life. It is so thin, how can it load the strength and radiance of life? Thus, a strongly disturbing sense of crisis surging around the top and bottom of the screen, floating everywhere and every minute,so that no one can really escape its control. This is the inner sense of the tragedy of Liu Qiming, which at least can arouse the audience's sense of sadness.
2008-6-10
血色诱惑
——刘骐鸣访谈录
艺术家：刘骐鸣（以下简称：刘）
记 者：曹晓光《世界艺术》杂志（以下简称：曹）
记：刘老师，看您近年来的作品，很有意思！作品很中国化，很诗意，有一层浓郁的忧郁色彩！这和今天所流行的当代艺术很不一样！
刘：是吗？很诗意就是说很抒情了！所谓“当代艺术”是拒绝抒情的，呵呵！
记：感觉刘老师您的作品主要还是针对集权主义的反思与批判上？
刘：批判，我哪敢啊！面对强权话语，我只不过是把他们所做的事，用我自己的方式把它们呈现出来，给大家看看而已！
记：刘老师您的作品不直接描述事件，却往往使观众获得身临其境的真实感！给人更多的回味，很幽默，却不调侃。可不可以谈谈您的创作思路是怎样形成的呢？
刘：幽默谈不上，但的确调侃不起来。在创作上，我喜欢以一种貌似轻松的、远距离的、静观的方式来记录，而不去直接描绘当下的生活。我认为也许当生活其中时，我们总是迟钝或模糊的。所以我总是会在一段时间后，才用一种记忆的方式去触摸曾经的生活。
记：那可以说您是一个历史题材的艺术家吗？就象《革命样板》《我的1989》等作品，从作品名字上看很有历史题材的痕迹。
刘：我不喜欢简单的去追述或者描写历史，因为现实本来就是历史多样化的镜像而已，过去与未来其实都在今天简单而机械地镜像重叠着！我选择具有特定时代标签的人物符号或者作品名称，其意义只有一个，通过借用其具有象征与隐寓特质的浓缩信息，传达我对当下现实生活的理解与判断！
记：您认为影响艺术创作的最大因素是什么？
刘：要说影响呀，还是那句老话——“艺术源于生活”。只是自所谓文明史以来，影响生活最大的却是政治！它渗透在我们生活的方方面面，就象一只无形的手，控制着我们每一个人的思想和行为！就如我们早已习惯了我们的生活，不觉不察，无以逃避！虽然它总是通过我们生活中一些具体的事发生着，但在我们从小到大的成长过程中都早已习惯性接受甚至认同了。政治就是这样，就总是通过洗脑的方法，以达到让你认同并接受符合他们利益的价值观的目的。
所以，“艺术源于生活”，艺术要反映生活，就不应该只是简单地去描绘我们看到的东西，而更需要进一步去挖掘和表现看不到的那些控制我们生活的无形东西，我想这也就是我们平常所说的关于“艺术的深度”的意思吧！
记：我曾经看到您在“艺术中国——刘骐鸣访谈录”中说“特定的政治社会，使我的生活感到一种无形的压迫感！在作品中，龙卷风、蘑菇云其肆虐、破坏的暴力性与天安门构成了某种特殊时代的内在的和谐性。”我现在能理解这个意思了！您还说“在作品中，人——仅仅是个标本！”也是这个意思吗？
刘：个人都是很渺小的！面对命运，个体总是被那些无形的强势东西着控制。当然，这些无形的东西还包括宗教、文化等。生活中我们往往也就仅是“命悬一线”，生命和命运就是在一根线上的舞蹈。
记：“一根线上的舞蹈”着个比喻很有意思！那请问您画面中总是出现红旗、红领巾、红内裤这些形象，它们又有着怎样的内在联系呢？
刘：都是一块布嘛！都是崇高与激情背后的碎片。崇高与激情都是要用鲜血作代价的，在人类的历史中慨莫例外，鲜血，既是生命的象征，又是暴力与血腥的象征。血色，诱惑着我们每一根神经！
记：呵呵！如果我有机会您的策划展览，我一定选用“一根线上的舞蹈”或者“血色诱惑”来作为展览的主题！
刘：好呀！也许会有这么一天的。呵呵！
记：我相信，一般观众从您作品中都能感知得到，您是一个很有社会责任感的艺术家！您认为社会责任感对一个艺术家重要吗？
刘：不是重不重要的问题，我认为艺术家首先在社会中应该是个特立独行的知识份子！社会责任感始终是衡量一个艺术家的基本标尺。 “怎样做艺术”是一个方法问题， “做怎样的艺术”是一个态度问题。“社会责任感”是判断一个从事艺术的工作者是否是艺术家的基本原则。
记：这个观点我认可。可以谈谈有那些典型的事情影响您创作吗？
刘：很多，我可以简单的给你说有几件事，这些事其直接经验影响着我对生活的判断和对艺术的选择。比如说我在初中毕业时，因反抗在中考中“校方舞弊”的行为而被开除团籍。89年6月，入伍还不到半年的哥叫我不要参与集会，会有危险。因为他就在现场。
记：这些都是在读大学以前的事？那上大学以后有没有呢？
刘：上大学时很幸运，遇到张晓刚、叶帅（叶永青）和王林等一批很优秀的老师，他们对我的影响和帮助很大。当时他们的活动也特别多，如“中国经验展”“艺术文献展” 等。川美的教学也比较开放，喜欢艺术的同学总是不分系别和年级界限，经常会聚在一起讨论艺术！这样才有了我1995年毕业时，在四川美术学院举办我的第一个展——“（出）氡氚（入）”油画展。当时，面对现实与理想，东方与西方，传统与现代等交织的文化图景与矛盾，使我感到异常混乱与迷茫。我试图用“出入”被禁锢的尴尬状态来传达我在美术学院学习这段时间的人生感悟与艺术思考。
记：您在高原藏族地区工作那几年对您今天的创作有什么影响呢？
刘：1995年我毕业时，来到位于四川省藏族羌族自治州的汶川县城的阿坝师专艺术系任教。梦想在这有着浓厚藏传佛教的藏羌高原地区寻找到自己的灵魂家园。但我很快发现我错了！高原的天总是蓝的，但空气却是让人窒息的。高原从来就不是文学家和政治需要而讴歌动人景观。
记：您没有想办法离开？
刘：想了，当时，我还给刚到北京工作的师兄俸正杰写信，想到北京去做职业画家。但很快得知圆明园的艺术家被驱赶的消息！于是我就在成都建立了自己的工作室，这样经常奔波于阿坝高原与成都平原都市之间。
记：那一定很累吧！
刘：累，也很愉快！我在那里组织了一些活动，也得到王林老师的支持，记得当时我们搞“高原红”艺术工作室的时候，王老师还来信鼓励我要“身在边陲，当心存天下”！这句话至今还不断的勉励着我呢！
记：那您后来是怎样离开的呢？
刘：面对尴尬的宗教文化缺失与体制桎梏的无奈，我经历了五年的调离申请，但最终失败。最后以“三不要”离开阿坝师专。
记：“三不要”是什么意思？
刘：就是脱离国家体制。“三”就是中国体制中人口管理的三个枷锁，即“档案关系、工资关系、户籍关系”。
记：回到了成都？
刘：没有，回了老家绵阳市。朋友鼓动与其一起创建民办大学（四川教育学院绵阳科技城分院）。梦想通过私立办学，拯救中国教育。最后发现只是一个骗局。离开高原回到都市的一两年中，始终很惶恐，总觉得这不是自己的生活，虽然每天游走其间，却无法适应，自己始终只是一个局外人。生活像水面落叶般漂浮着。
记：就是后来我们看到您的《漂浮》系列作品的感觉！02年您又到西南科技大学艺术学院任教了？
刘：是的，还做了主任。
记：“三无” 身份也还能再进入体制中学校？
刘：是的，这就是中国特色！一切都是领导说了算呀！
记：既然做了主任，应该可以实现的您教育理想了吧？
刘：这是更糟糕的事！这几年我几乎疯掉了。现实的无奈与违心地谎言施教，每天机器般的条例教学，刻板地教学评估，格式化地论文，绝不允许什么创造力。一切都只要数据化、标准化！这些所谓地大学艺术教育正象一个婊子的牌坊。这是一种彻底虚假的生活。这个阶段我选择了绚丽而抽象的色调来粉饰与逃避自己的生活，结果又是一次失败。逃避永远解决不了问题！
记：看来你的确不适应在体制中生活啊！所以06年来到北京。
刘：是的，做自己喜欢的事还能养活一家人，是很幸运的事。
记：现在应该是自由了！
刘：自由，仅仅针对身体的束缚而言吗？
记：怎么讲呢？
刘：比如去年发生在我家的一件事，2007年4月10日，我母亲在我父亲的陪同下到医院医治哮喘病，可在医院转院途中，因救护车上的氧气瓶是空氧气瓶，而使我母亲窒息致死。在事实证据都摆在面前的情况下，医院却武断地否认事实！后来在大量事实证据和众多朋友包括媒体参与的帮助下，最后医院才不得不承认一切事实。经过调解后，按中国法律中对农村户口的赔偿标准（城市户口和农村户口赔偿标准是不同的），给了四万五千元人民币的基本赔偿后，就此结束。不仅没有基本的忏悔精神，至今仍然拒绝向我们家属做最基本的人道主义式的赔礼道歉！
可笑的是，医院方真正地责任人没有一个人因此受到任何程度地惩戒。反而是当时救护车上的护士被医院开除了！原因是作为医院方的人，由于她在救护车上曾两次提醒医生氧气瓶无氧的事实，最终成为该案件的关键证人和证词之一·····
记：这很遗憾！在中国这样的事也太多了！
刘：是的，很无奈！这就是我必须面对的生活和命运。所以我也将这个展览献给我的母亲。
记：经历这么多，但您的作品并不消极，虽然伤感些，反而让我们感受到了一种希望与强烈的生命力！
刘：是呀，生命的价值与意义高于一切！
记：您还会涉猎其他的创作方式吗？
刘：会的，我目前正准备做些图片与影像。任何艺术形式都有他不可替代的优点和自身的局限性，我很有兴趣去尝试一些新东西！
记：好呀！我们非常期待看到您的新作品！谢谢您刘老师。
2008年4月
——摘自《世界艺术》杂志
Blood Temptation
——An Interview with Liu Qiming
Artist:Liu Qiming(here we use:LIU)
Reporter: Cao Xiaoguang "World Art" magazine (here we use:CAO)
CAO：Mr. Liu, your artworks in recent years are very interesting, with Chinese style, very poetic, deep melancholy. This is quite different from current popular contemporary art.
LIU：Yes? That is to say very lyric.The so-called "contemporary art" is to reject the lyric.(smiling)
CAO：I feel your artworks mainly focus on reflection and criticism on centralization. Is that right?
LIU：Criticism? How can I dare? Facing power discourse, what I do is only showing people to see what they have done with my own way.
CAO：Mr.Liu, your artworks don’t directly describe the incidents, but they tend to make the audience get the realistic feel, giving more memorable, quite humorous, but no prank. Can you talk about something on how does your creating thinking form?
LIU：It’s not that humorous,but indeed without prank. While creating, I’d like to record it with a seemingly easy, long-distanced, observing way,rather than directly describing the current life. I think perhaps when we are in life itself,we are always slow or vague. Therefore, I will always touch the lives with a memorable way in a period of time.
CAO：Can I say that you are an artist on historical themes? Just like "revolutionary model," "My 1989" and other artworks, from the names they are indeed have the trace of historical themes.
LIU：I do not like to simply trace back or describe history, because reality itself is only a mirror for the diversity of history, and past and future are in fact repeat and duplicate simple and mechanical in today.The only significance of my choosing figure symbol or artworks’ name labelled with a specific era is to convey my understanding and judgement to the current life through by using the condensed information of its symbolic nature and the implicit meaning.
CAO：What do you think is the main impact on your art creating?
LIU： About impact, it owes to that old saying "art originates from life." While,since the so-called civilization, the greatest impact on life is politics. It infiltrates in every aspect of our lives, like an invisible hand to control our thinking and behavior. As we have become accustomed to our lives, unknowingly be aware of, not escaping. Although it always happens in our lives in terms of some specific things,in the process of our growth we become used to accepting and recognizing them. It always make you agree with their interests and accept their values by brainwashing,such is politics.
Therefore, the "art originates from life," and art should reflect life, in this way we should not simply describe what we see, but digging out and perform those controlling our life,and I think the later is the art depth people talk about.
CAO： I've learnt that in the "art of China - An Interview with Liu Qiming," you said "specific political society gave my life an invisible pressure. In the artworks, tornadoes, mushroom cloud with rampant destruction and violence And Tiananmen Square constitute a particular internal harmonyfor an era. "Now I can understand the meaning.You also said that "in the arttworks, people are only samples." Does this mean the same thing?
LIU：Individuals are not that significant! Faced with fate,individuals are always controlled by the strength of the invisible things. Of course, these intangible things also include religion, and culture. Our living in it is just like being suspended by a thread, and life and destiny are dancing in that thread or line.
CAO： "Dancing on a thread" seems interesting. In your painting red flag, red scarf, and the red underwear are the common images, do they have anything to do with each other?
LIU：Each of them is a piece of cloth, the debris behind loftiness and passion. loftiness and passion are cost of blood, and in the history of human history . There is no exception.Blood, is the symbol of life, is also the symbol of violence and bloodshed.blood temptates our every nerve.
