Catalogue from the exhibition A SUDDEN LIBERATING THOUGHT by HENNING OLAV ESPEDAL at Amy Li Gallery in Beijing 2014.

1. HENNING OLAV ESPEDAL

2. www.amyligallery.com

3. A Sudden Liberating ThoughtA Sudden Liberating Thought

4. A Sudden Liberating ThoughtA Sudden Liberating Thought
HENNING OLAV ESPEDALHENNING OLAV ESPEDAL
Curated by Bjørn Inge FollevaagCurated by Bjørn Inge Follevaag
豁然开朗豁然开朗 海宁·奥拉夫·艾斯佩达海宁·奥拉夫·艾斯佩达 策展人：毕昂·弗勒沃戈策展人：毕昂·弗勒沃戈

6. My current work explores the cosmic perspective byMy current work explores the cosmic perspective by
juxtaposing it with my immediate and earthboundjuxtaposing it with my immediate and earthbound
environment. This exploration is founded in theenvironment. This exploration is founded in the
laws of physics as well as in obscure mystery, andlaws of physics as well as in obscure mystery, and
embedded in the shroud of abstraction. I strive toembedded in the shroud of abstraction. I strive to
give these hybrid ideas a humanized form. Most ofgive these hybrid ideas a humanized form. Most of
the pieces in this show were conceived by turningthe pieces in this show were conceived by turning
observations from my immediate surroundings intoobservations from my immediate surroundings into
sculpture, sound, installation and painting. Further,sculpture, sound, installation and painting. Further,
the instrumental function of these pieces comes tothe instrumental function of these pieces comes to
life when it can stimulate to a contemplation onlife when it can stimulate to a contemplation on
the magnitude of macrocosm, shifting the attentionthe magnitude of macrocosm, shifting the attention
from the personal to the cosmic perspective. Ifrom the personal to the cosmic perspective. I
envision a passage, through my own mind andenvision a passage, through my own mind and
towards what lies beyond — “The percept is thetowards what lies beyond — “The percept is the
landscape before man, in the absence of man.”landscape before man, in the absence of man.”
((Deleuze & Guattari, Qu'est-ce que la philosophie?Deleuze & Guattari, Qu'est-ce que la philosophie?
19911991))
PREFACE: A Sudden Liberating ThoughtPREFACE: A Sudden Liberating Thought
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7. exhibition and walk down the street: evident onexhibition and walk down the street: evident on
the days when the smog envelops the city andthe days when the smog envelops the city and
you experience the light but distinct physicalyou experience the light but distinct physical
discomfort of inhaling the densely polluted air. Adiscomfort of inhaling the densely polluted air. A
potent reminder that the image of a dystopic future,potent reminder that the image of a dystopic future,
residing in our collective imagination, in manyresiding in our collective imagination, in many
ways exists as a current reality.ways exists as a current reality.
Today the air quality again reached hazardousToday the air quality again reached hazardous
levels. Looking out through the windows one mightlevels. Looking out through the windows one might
imagine emancipation in the form of a strong,imagine emancipation in the form of a strong,
liberating wind, which sweeps the city clean. Weliberating wind, which sweeps the city clean. We
all know better days will come, as a temporaryall know better days will come, as a temporary
reprieve — days when the contour of the Yanreprieve — days when the contour of the Yan
mountains again appear as nature's hallmark at themountains again appear as nature's hallmark at the
horizon.horizon.
HENNING OLAV ESPEDALHENNING OLAV ESPEDAL 11. Oct. 201411. Oct. 2014
The exhibition can be seen as an introverted view ofThe exhibition can be seen as an introverted view of
themes spun out of the anthropocentric hypothesis.themes spun out of the anthropocentric hypothesis.
It holds its relevance as a subjective impressionIt holds its relevance as a subjective impression
of the forces unfolding. We, as human beingsof the forces unfolding. We, as human beings
are in a privileged position and hold therefore aare in a privileged position and hold therefore a
responsibility. Not only for the future generationsresponsibility. Not only for the future generations
of our species but for the ecological system as aof our species but for the ecological system as a
whole. One can imagine that, in the end, the Sunwhole. One can imagine that, in the end, the Sun
will devour us all in an inconceivable cataclysmicwill devour us all in an inconceivable cataclysmic
event. A more plausible scenario, however, is thatevent. A more plausible scenario, however, is that
we will cause our own extinction. In the meantime,we will cause our own extinction. In the meantime,
we will all have the chance to prudently influencewe will all have the chance to prudently influence
the course forward.the course forward.
Beijing is an ideal location for my exhibition ABeijing is an ideal location for my exhibition A
Sudden Liberating Thought. Ideal because hereSudden Liberating Thought. Ideal because here
the work extends its impact into an experiencethe work extends its impact into an experience
beyond the walls of the gallery. Bridging the gapbeyond the walls of the gallery. Bridging the gap
between the abstract and reality, as you leave thebetween the abstract and reality, as you leave the
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8. 我目前的创作是通过将身边最直接世俗的环境与宇宙的我目前的创作是通过将身边最直接世俗的环境与宇宙的
视角并置而对其进行探究。这探究既建立在物理学法则视角并置而对其进行探究。这探究既建立在物理学法则
的基础上，也存在于晦暗不明的奥秘之中，更深植于抽的基础上，也存在于晦暗不明的奥秘之中，更深植于抽
象的外表之下。我努力给这些混杂的想法以人性化的形象的外表之下。我努力给这些混杂的想法以人性化的形
式。此次展览中大部分作品的构思都来自我对身边事物式。此次展览中大部分作品的构思都来自我对身边事物
的观察，我将它们转变为雕塑、声音、装置以及绘画。如的观察，我将它们转变为雕塑、声音、装置以及绘画。如
果这些作品能够激发出一种对宏观世界的思考，将关注果这些作品能够激发出一种对宏观世界的思考，将关注
点从个人扩展至宇宙的视角，那这些作品才真正具备了点从个人扩展至宇宙的视角，那这些作品才真正具备了
生命的活力。我设想这样一条路，穿越自我的思维而一生命的活力。我设想这样一条路，穿越自我的思维而一
直通向思维之外 ——“认知是存在于人类之前的景观。”直通向思维之外 ——“认知是存在于人类之前的景观。”
（（Deleuze & GuattariDeleuze & Guattari，，《什么是哲学》《什么是哲学》19911991））
这个展览可被视为对人类中心说的一些主题的自我检这个展览可被视为对人类中心说的一些主题的自我检
视。它具有相当的主观性。作为人类，我们处在一个优视。它具有相当的主观性。作为人类，我们处在一个优
越的位置，也因此而肩负一份责任，不仅为将来人类的越的位置，也因此而肩负一份责任，不仅为将来人类的
后代，也为整个的生态系统而负有责任。我们可以想象，后代，也为整个的生态系统而负有责任。我们可以想象，
在世界末日，太阳以不可思议的灾难性事件将我们统统在世界末日，太阳以不可思议的灾难性事件将我们统统
吞噬；然而，还有一种更合理的情节，那就是由我们自吞噬；然而，还有一种更合理的情节，那就是由我们自
己造成了物种灭绝。而此时此刻，我们仍有机会来谨慎己造成了物种灭绝。而此时此刻，我们仍有机会来谨慎
地规划未来的道路。地规划未来的道路。
前言：豁然开朗前言：豁然开朗
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9. 举办“豁然开朗”这个展览，北京是最理想的地方。因为举办“豁然开朗”这个展览，北京是最理想的地方。因为
在这里，作品的效果能够延伸至画廊的四壁之外。当你在这里，作品的效果能够延伸至画廊的四壁之外。当你
离开展厅踏上街道时，抽象与现实之间的差距已荡然无离开展厅踏上街道时，抽象与现实之间的差距已荡然无
存。尤其是在雾霾锁城的日子里，你隐约感到光亮，同存。尤其是在雾霾锁城的日子里，你隐约感到光亮，同
时因为吸入重度污染的空气而感到身体不适。这正是一时因为吸入重度污染的空气而感到身体不适。这正是一
个有力的提示，提示我们一个糟糕的未来景象不仅存在个有力的提示，提示我们一个糟糕的未来景象不仅存在
于在我们的集体想象中，也某种程度上已经成为了现实。于在我们的集体想象中，也某种程度上已经成为了现实。
今天北京的空气再次达到高危指数。透过窗户望出去，今天北京的空气再次达到高危指数。透过窗户望出去，
我们会想象着一阵强劲自由的风，将城市的雾霾席卷一我们会想象着一阵强劲自由的风，将城市的雾霾席卷一
空，让我们得以解放。而我们也知道雾霾过后会有晴空，让我们得以解放。而我们也知道雾霾过后会有晴
天——如同一个短期缓刑。在那些晴天里，燕山的轮廓天——如同一个短期缓刑。在那些晴天里，燕山的轮廓
会再次作为自然的标志出现在地平线上。会再次作为自然的标志出现在地平线上。
海宁·奥拉夫·艾斯佩达海宁·奥拉夫·艾斯佩达 HENNING OLAV ESPEDALHENNING OLAV ESPEDAL
20142014 年年 1010 月月 1111 日日
翻译：刘聪翻译：刘聪
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10. The Norwegian artist Henning Olav EspedalThe Norwegian artist Henning Olav Espedal
addresses themes such as predestination,addresses themes such as predestination,
determinism and the possibility of escape in hisdeterminism and the possibility of escape in his
exhibition “A Sudden Liberating Thought”. Inexhibition “A Sudden Liberating Thought”. In
a monumental, industrial field installation ofa monumental, industrial field installation of
sculptures and sound as well as in his paintings,sculptures and sound as well as in his paintings,
Espedal documents a state of collapse and constantEspedal documents a state of collapse and constant
regeneration.regeneration.
The American artist Robert Smithson made a seriesThe American artist Robert Smithson made a series
of works in Britain, among them the unrealizedof works in Britain, among them the unrealized
“Sprawling Mounds” in which he approached the“Sprawling Mounds” in which he approached the
strip-mining industry in a massive environmentalstrip-mining industry in a massive environmental
art project. The sculptor Roelof Louw wrote an essayart project. The sculptor Roelof Louw wrote an essay
where he imagined how a visit to such a site wouldwhere he imagined how a visit to such a site would
unfold: Visiting the project was like “setting out onunfold: Visiting the project was like “setting out on
a pilgrimage to a wasteland” with enormous whitea pilgrimage to a wasteland” with enormous white
mounds of eroded misshapen surfaces of gravelmounds of eroded misshapen surfaces of gravel
A Sudden Liberating ThoughtA Sudden Liberating Thought
Curated by Bjørn Inge FollevaagCurated by Bjørn Inge Follevaag
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11. In their work Dialectic of Enlightenment (1944) theIn their work Dialectic of Enlightenment (1944) the
German philosophers Theodor W. Adorno and MaxGerman philosophers Theodor W. Adorno and Max
Horkheimer, writing from their exile in the US,Horkheimer, writing from their exile in the US,
stated: “What we had set out to do was nothing lessstated: “What we had set out to do was nothing less
than to explain why humanity, instead of enteringthan to explain why humanity, instead of entering
a truly human state, is sinking into a new kind ofa truly human state, is sinking into a new kind of
barbarism”. The alienation in our modern times isbarbarism”. The alienation in our modern times is
seen as rooted in the instrumentality of reason andseen as rooted in the instrumentality of reason and
technological manipulation as a precursor to thetechnological manipulation as a precursor to the
entire history of mankind. But in our times, theyentire history of mankind. But in our times, they
write, it is no longer rooted in a specific historicalwrite, it is no longer rooted in a specific historical
formation, but has become blind. And yet, as theformation, but has become blind. And yet, as the
philosopher Sloterdijk notices, «humans are beingsphilosopher Sloterdijk notices, «humans are beings
that cannot not practice». The vita active is the waythat cannot not practice». The vita active is the way
of being-in-the-world, it resides deep inside theof being-in-the-world, it resides deep inside the
human psyché. So how to act better? As Adornohuman psyché. So how to act better? As Adorno
wrote in Minima Moralia (1951): «Life is not yetwrote in Minima Moralia (1951): «Life is not yet
life», das Leben leben niche.life», das Leben leben niche.
and rubble in an abominable mess – “a place whereand rubble in an abominable mess – “a place where
social values have fallen into disorder, where wealthsocial values have fallen into disorder, where wealth
has turned into waste”. [From the article To the Endshas turned into waste”. [From the article To the Ends
of the Earth: Art and Environment (2012) Tate.org.of the Earth: Art and Environment (2012) Tate.org.
uk] What Smithson refers to is the term entropy; auk] What Smithson refers to is the term entropy; a
doctrine of inevitable decline and degeneration indoctrine of inevitable decline and degeneration in
which our use of resources and raw material at somewhich our use of resources and raw material at some
stage cannot rely on recycling. He says ”there's astage cannot rely on recycling. He says ”there's a
kind of equation between the enjoyment of life andkind of equation between the enjoyment of life and
waste. Probably the opposite of waste is luxury. Bothwaste. Probably the opposite of waste is luxury. Both
waste and luxury tend to be useless”.waste and luxury tend to be useless”.
Espedal approaches the concept of entropy throughEspedal approaches the concept of entropy through
painting and gives us here a panoramic view ofpainting and gives us here a panoramic view of
entropic forces in action. The distant view leads usentropic forces in action. The distant view leads us
to reflect on our position as part of a larger cosmicto reflect on our position as part of a larger cosmic
story as well as our day to day life by using bricks,story as well as our day to day life by using bricks,
a familiar illustrative form.a familiar illustrative form.
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12. outside their soon to be abandoned houses, Muoutside their soon to be abandoned houses, Mu
Chen+Shao Yinong portray assembly halls in ruralChen+Shao Yinong portray assembly halls in rural
villages falling into disrepair, Wang Qingsongvillages falling into disrepair, Wang Qingsong
with his “Follow Me” blackboard of logos of majorwith his “Follow Me” blackboard of logos of major
international corporations, Yao Lu with his beautifulinternational corporations, Yao Lu with his beautiful
classical Chinese landscapes made from waste atclassical Chinese landscapes made from waste at
construction sites, or as in the works of Jin Jiangboconstruction sites, or as in the works of Jin Jiangbo
whose images depict abandoned productionwhose images depict abandoned production
facilities which are no longer profitable.facilities which are no longer profitable. (“Never(“Never
Equal Distance to the Moon”, Stiftelsen314.com)Equal Distance to the Moon”, Stiftelsen314.com)
In his work Henning Olav Espedal easily falls intoIn his work Henning Olav Espedal easily falls into
a category of concerned artists discussing possiblea category of concerned artists discussing possible
future scenarios. His sculptures have references tofuture scenarios. His sculptures have references to
manmade disasters, to power stations or impendingmanmade disasters, to power stations or impending
danger. In his sound-work we can vaguely registerdanger. In his sound-work we can vaguely register
a faint whisper suggesting that our civilizationa faint whisper suggesting that our civilization
is fading into oblivion. And his brick paintings,is fading into oblivion. And his brick paintings,
where he paints with concrete, carry references towhere he paints with concrete, carry references to
The human impact on the world as such,The human impact on the world as such,
exemplified by the growing human influence onexemplified by the growing human influence on
land use, ecosystems, biodiversity, and speciesland use, ecosystems, biodiversity, and species
extinction have made some geologists suggest thatextinction have made some geologists suggest that
we can replace the holocene with a new geologicalwe can replace the holocene with a new geological
epoch, the anthropocene. There is no turning back,epoch, the anthropocene. There is no turning back,
they say, now it is time to ackowledge how – andthey say, now it is time to ackowledge how – and
to what extent – human activities have had globalto what extent – human activities have had global
impact on the Earth's ecosystems.impact on the Earth's ecosystems.
Many Chinese artists, especially withinMany Chinese artists, especially within
contemporary photography, have addressedcontemporary photography, have addressed
environmental issues in their work. Artists suchenvironmental issues in their work. Artists such
as Hong Hao with his images composed fromas Hong Hao with his images composed from
reassembled wastes, Chi Peng’s images of excessivereassembled wastes, Chi Peng’s images of excessive
and non-sustainable growth, Liu Jin who portraysand non-sustainable growth, Liu Jin who portrays
scaffolds around newly constructed high-risesscaffolds around newly constructed high-rises
in cities, Ma Hongjie with his photographs ofin cities, Ma Hongjie with his photographs of
families with their meager belongings assembledfamilies with their meager belongings assembled
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13. We cannot define the future, yet that is exactly whatWe cannot define the future, yet that is exactly what
our politicians aim to do, by implementing change.our politicians aim to do, by implementing change.
China’s politicians have also changed the future.China’s politicians have also changed the future.
Some would say with tremendous success, butSome would say with tremendous success, but
all will agree that this change has come at a price.all will agree that this change has come at a price.
Former Chairman of the Communist Party, DengFormer Chairman of the Communist Party, Deng
Xiaoping, defined China’s future with the slogan:Xiaoping, defined China’s future with the slogan:
“One change a year, one big change in three years,“One change a year, one big change in three years,
and one unidentifiable transformation in five years.”and one unidentifiable transformation in five years.”
China’s lifting of millions of citizens from poverty toChina’s lifting of millions of citizens from poverty to
affluence is an impressive achievement in itself. Theaffluence is an impressive achievement in itself. The
introduction of a liberal market economy, within theintroduction of a liberal market economy, within the
existing political system, has to a large extent been aexisting political system, has to a large extent been a
success. But the unidentifiable transformation Dengsuccess. But the unidentifiable transformation Deng
speaks of involves massive structural changes to thespeaks of involves massive structural changes to the
social, economic and cultural fabric of China. In thesocial, economic and cultural fabric of China. In the
timespan of less than a generation China has gonetimespan of less than a generation China has gone
from bicycle to car, road to highway, hutong to high-from bicycle to car, road to highway, hutong to high-
rise, enterprise to industry and village to metropolis.rise, enterprise to industry and village to metropolis.
the destruction of heritage, like the demolishing ofthe destruction of heritage, like the demolishing of
China’s hutongs. Their traces are removed. GivingChina’s hutongs. Their traces are removed. Giving
space to superstructures of our time, mastodonts ofspace to superstructures of our time, mastodonts of
concrete, glass and steel -the ruins of the future. Aconcrete, glass and steel -the ruins of the future. A
future based on the concept of perpetual materialfuture based on the concept of perpetual material
growth, which in itself is unsustainable, and itsgrowth, which in itself is unsustainable, and its
inevitable consequence is suffering.inevitable consequence is suffering.
Even if one agrees that ours is a culture dominatedEven if one agrees that ours is a culture dominated
by insensivity to pain and a loss of memory, it isby insensivity to pain and a loss of memory, it is
also true that there is simply no laying to rest thealso true that there is simply no laying to rest the
scars of violence and the ghosts of past suffering.scars of violence and the ghosts of past suffering.
Espedal epitomizes Hegel’s thesis: “as long as thereEspedal epitomizes Hegel’s thesis: “as long as there
is an awareness of suffering among human beingsis an awareness of suffering among human beings
there must also be art as the objective form of thatthere must also be art as the objective form of that
awareness.” But as Viriginia Woolf wrote: “But forawareness.” But as Viriginia Woolf wrote: “But for
pain words are lacking.”pain words are lacking.”
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14. China’s authorities. Some of these issues are alreadyChina’s authorities. Some of these issues are already
being addressed. Affluence increases consumption.being addressed. Affluence increases consumption.
On its current development path food, water, oil, gas,On its current development path food, water, oil, gas,
minerals, transport and energy become commoditiesminerals, transport and energy become commodities
China's population increasingly requires, andChina's population increasingly requires, and
all of these resources are limited in supply. Withall of these resources are limited in supply. With
increased affluence comes increased use of theseincreased affluence comes increased use of these
shared resources, but also increased responsibility.shared resources, but also increased responsibility.
The way we handle our resources, our waste andThe way we handle our resources, our waste and
our environment eventually becomes a question ofour environment eventually becomes a question of
survival. It is a collective responsibility where keysurvival. It is a collective responsibility where key
capitalist elements such as personal gain eventuallycapitalist elements such as personal gain eventually
must yield to the needs of the many.must yield to the needs of the many.
This exhibition by Henning Olav Espedal offers anThis exhibition by Henning Olav Espedal offers an
artist’s perspective on some of the choices we haveartist’s perspective on some of the choices we have
made and what lies ahead.made and what lies ahead.
BJØRN INGE FOLLEVAAGBJØRN INGE FOLLEVAAG Oct. 2014Oct. 2014
An example of the scale of China’s developmentAn example of the scale of China’s development
can be observed in such projects as the Three Riverscan be observed in such projects as the Three Rivers
Dam project or in the flattening of 700 mountains inDam project or in the flattening of 700 mountains in
Lanzhou to build a new metropolis. So perhaps theLanzhou to build a new metropolis. So perhaps the
folk tale about the old peasant Yu Gong, who decidedfolk tale about the old peasant Yu Gong, who decided
to move two inconveniently located mountains awayto move two inconveniently located mountains away
from blocking the entrance to his home, is true: Hefrom blocking the entrance to his home, is true: He
struggled terribly, but ultimately succeeded. Hencestruggled terribly, but ultimately succeeded. Hence
the Chinese idiom “Yu Gong moves the mountains.”the Chinese idiom “Yu Gong moves the mountains.”
China’s role as production hub for the world hasChina’s role as production hub for the world has
also had consequences beyond improving thealso had consequences beyond improving the
population’s living conditions; Consequences forpopulation’s living conditions; Consequences for
its air, water and soil. The never ending desire forits air, water and soil. The never ending desire for
cheap labor and enterprise expansion by the Westcheap labor and enterprise expansion by the West
has also affected China.has also affected China.
The struggle to cope with progress, to foreseeThe struggle to cope with progress, to foresee
possible futures and find solutions, is a vital issue forpossible futures and find solutions, is a vital issue for
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15. 挪威艺术家海宁挪威艺术家海宁··奥拉夫奥拉夫··艾斯佩达艾斯佩达（（Henning Olav EsHenning Olav Es--
pedalpedal 以下简称：海宁）以下简称：海宁）在他的展览“豁然开朗”在他的展览“豁然开朗”（（A SudA Sud--
den Liberating Thoughtden Liberating Thought））中强调了缘分、宿命及遁世的可中强调了缘分、宿命及遁世的可
能性等一系列主题。在其规模惊人的工业雕塑装置作品、能性等一系列主题。在其规模惊人的工业雕塑装置作品、
声音作品以及画作中，海宁展现了一种瓦解和持续再生声音作品以及画作中，海宁展现了一种瓦解和持续再生
的状态。的状态。
美国艺术家罗伯特美国艺术家罗伯特··史密森史密森（（Robert SmithsonRobert Smithson））在英国创在英国创
作的一系列作品中，有一件未能实现的“无计划扩展的山作的一系列作品中，有一件未能实现的“无计划扩展的山
丘”丘”（（Sprawling MoundsSprawling Mounds））。在该作品中，他通过巨大的环。在该作品中，他通过巨大的环
境艺术项目来表现露天开采行业。雕塑艺术家鲁洛夫·洛境艺术项目来表现露天开采行业。雕塑艺术家鲁洛夫·洛
（（Roelof LouwRoelof Louw））在一篇文章中描述了其对于在这个地方在一篇文章中描述了其对于在这个地方
展开参观的设想：参观这个艺术作品仿佛是“开启一段展开参观的设想：参观这个艺术作品仿佛是“开启一段
前往荒原的朝圣之行”，由一片凌乱畸形且被侵蚀的砂砾前往荒原的朝圣之行”，由一片凌乱畸形且被侵蚀的砂砾
和碎石组成的巨大白色土丘——“使社会价值陷入动荡和碎石组成的巨大白色土丘——“使社会价值陷入动荡
骚乱的地方，使财富变得一文不值的地方”骚乱的地方，使财富变得一文不值的地方”（来自文章（来自文章 ToTo
the Ends of the Earth: Art and Environment (2012) Tate.org.the Ends of the Earth: Art and Environment (2012) Tate.org.
豁然开朗 豁然开朗
毕昂·弗勒沃戈毕昂·弗勒沃戈 BJØRN INGE FOLLEVAAGBJØRN INGE FOLLEVAAG
独立策展人独立策展人
25252424

16. 的异化疏远似乎已根植于理性工具和技术操纵，而作为的异化疏远似乎已根植于理性工具和技术操纵，而作为
人类整个历史的先驱。但是在我们的时代，他们写道，这人类整个历史的先驱。但是在我们的时代，他们写道，这
种疏远已经不再根植于某个特定的历史构造，而完全变种疏远已经不再根植于某个特定的历史构造，而完全变
得盲目。然而，正如哲学家斯劳特戴克得盲目。然而，正如哲学家斯劳特戴克（（Peter SloterdijkPeter Sloterdijk））
所说，“人类是无法停止实践的存在”。积极的生活态度所说，“人类是无法停止实践的存在”。积极的生活态度
是存活于世的方式，它深藏在人类的灵魂深处。那么如是存活于世的方式，它深藏在人类的灵魂深处。那么如
何表现得更好？正如阿多诺在《最低限度的道德》何表现得更好？正如阿多诺在《最低限度的道德》((19511951))
((Minima MoraliaMinima Moralia)) 中所写：“生命还不是生命”,“das Leb中所写：“生命还不是生命”,“das Leb--
enleben niche”。enleben niche”。
人类对于世界的冲击 , 诸如在土地利用、生态系统、生物人类对于世界的冲击 , 诸如在土地利用、生态系统、生物
多样化和物种灭绝方面不断扩大的影响，已经促使一些多样化和物种灭绝方面不断扩大的影响，已经促使一些
地质学家呼吁用一个新的地质年代——人类世地质学家呼吁用一个新的地质年代——人类世（（the anthe an--
thropocenethropocene））来替换全新世来替换全新世（（the holocenethe holocene））。他们指出，人。他们指出，人
类没有退路可走，是时候去承认人类的活动在何种程度类没有退路可走，是时候去承认人类的活动在何种程度
上、如何对地球的生态系统产生了全球性的广泛影响。上、如何对地球的生态系统产生了全球性的广泛影响。
许多中国艺术家已经在他们的作品中强调了环境问题，许多中国艺术家已经在他们的作品中强调了环境问题，
尤其是当代摄影。例如艺术家洪浩通过废弃品重组制作尤其是当代摄影。例如艺术家洪浩通过废弃品重组制作
ukuk））。史密森在作品中所涉及到的概念是术语“熵”，关于。史密森在作品中所涉及到的概念是术语“熵”，关于
不可避免的递减和退化的学说，即是说我们对于资源及不可避免的递减和退化的学说，即是说我们对于资源及
原材料的利用到达一定程度后就无法再进行循环利用。原材料的利用到达一定程度后就无法再进行循环利用。
他说“生活的乐趣和废弃物之间存在着一个等式。废弃他说“生活的乐趣和废弃物之间存在着一个等式。废弃
物的对立面大概是奢侈品，但废弃物与奢侈品都趋向于物的对立面大概是奢侈品，但废弃物与奢侈品都趋向于
无用之物。”无用之物。”
艾斯佩达透过绘画来表现“熵”的概念，同时在这里给艾斯佩达透过绘画来表现“熵”的概念，同时在这里给
我们一个全方位视角的“熵”力实施行动。长远来看引我们一个全方位视角的“熵”力实施行动。长远来看引
导我们反思自己作为一个更大宇宙故事中的一部分，在导我们反思自己作为一个更大宇宙故事中的一部分，在
其间所占据的位置，以及我们在日常生活中所占据的位其间所占据的位置，以及我们在日常生活中所占据的位
置——通过砖块这种熟悉又直观的形式。置——通过砖块这种熟悉又直观的形式。
在德国哲学家西奥多在德国哲学家西奥多··阿多诺阿多诺（（Theodor W. AdornoTheodor W. Adorno））和和
马克斯马克斯··霍克海默霍克海默（（Max HorkheimerMax Horkheimer））的著作《启蒙的辩的著作《启蒙的辩
证法》证法》((19441944)()(Dialectic of EnlightenmentDialectic of Enlightenment)) 中提到，也是他中提到，也是他
们在被流放到美国的时候：“我们决心要做的事业就是们在被流放到美国的时候：“我们决心要做的事业就是
要解释为何人类不能进入到一个真正意义上的人文境要解释为何人类不能进入到一个真正意义上的人文境
界，反而在一种新型的愚昧野蛮间越陷越深”。现代社会界，反而在一种新型的愚昧野蛮间越陷越深”。现代社会
27272626

17. 的未来是以物质永久增长的概念为基础，那么饱受苦楚的未来是以物质永久增长的概念为基础，那么饱受苦楚
则是它无可避免的下场。则是它无可避免的下场。
即便有人同意我们的文化是由对痛苦的麻木和记忆的丧即便有人同意我们的文化是由对痛苦的麻木和记忆的丧
失所主导，但我们无法轻易将暴行的疮痍抹去，将饱受苦失所主导，但我们无法轻易将暴行的疮痍抹去，将饱受苦
楚的鬼魂安葬。艾斯佩达如此概括黑格尔的理论：“只楚的鬼魂安葬。艾斯佩达如此概括黑格尔的理论：“只
要人类有饱受苦难的意识，艺术就一定会以这种意识的要人类有饱受苦难的意识，艺术就一定会以这种意识的
客观形式而存在。”而又如弗吉尼亚 · 伍尔芙客观形式而存在。”而又如弗吉尼亚 · 伍尔芙（（ViriginiaViriginia
WoolfWoolf））所说：“但语言远不足以表达痛苦。”所说：“但语言远不足以表达痛苦。”
我们无法定义未来，但这恰恰是我们的政治家们通过实我们无法定义未来，但这恰恰是我们的政治家们通过实
行改革，决心要做的事情。中国的政治家同样改变了未行改革，决心要做的事情。中国的政治家同样改变了未
来。有人或许会说中国的改革取得了惊人成就，但无可来。有人或许会说中国的改革取得了惊人成就，但无可
否认的是改革也付出了一定代价。中国共产党前国家主否认的是改革也付出了一定代价。中国共产党前国家主
席邓小平通过一句口号明确了中国的未来：“一年一小席邓小平通过一句口号明确了中国的未来：“一年一小
变，三年一大变，五年换新颜。”中国数以百万计的人民从变，三年一大变，五年换新颜。”中国数以百万计的人民从
贫穷到富足的腾飞本身就是一个伟大成就。在现行政治贫穷到富足的腾飞本身就是一个伟大成就。在现行政治
体制下，自由市场经济的引入在很大程度上取得了成功。体制下，自由市场经济的引入在很大程度上取得了成功。
但是邓小平所谈到的“新颜”，牵涉到了对于中国社会、但是邓小平所谈到的“新颜”，牵涉到了对于中国社会、
而成的影像作品；迟鹏作品中的过度发展和不可持续的而成的影像作品；迟鹏作品中的过度发展和不可持续的
增长；刘瑾在城市新建成的庞大楼宇间刻画的脚手架；增长；刘瑾在城市新建成的庞大楼宇间刻画的脚手架；
马宏杰镜头下许多家庭在即将被遗弃的房前及其贫寒的马宏杰镜头下许多家庭在即将被遗弃的房前及其贫寒的
家当；慕辰和邵译农记录了农村地区年久失修的礼堂；家当；慕辰和邵译农记录了农村地区年久失修的礼堂；
王庆松的作品“跟我学”中各大国际企业商标的牌匾；姚王庆松的作品“跟我学”中各大国际企业商标的牌匾；姚
璐通过建筑工地的废弃物拍摄合成美丽的中国古典山水璐通过建筑工地的废弃物拍摄合成美丽的中国古典山水
风景；以及金江波作品中展现的由于不再盈利而被遗弃风景；以及金江波作品中展现的由于不再盈利而被遗弃
的生产设施。的生产设施。((“Never Equal Distance to the Moon”, Stif“Never Equal Distance to the Moon”, Stif--
telsen314.comtelsen314.com))
艾斯佩达的作品令他毫无疑问被归于重视并探讨未来各艾斯佩达的作品令他毫无疑问被归于重视并探讨未来各
种可能性的艺术家行列。他的雕塑涉及到了人为灾难、种可能性的艺术家行列。他的雕塑涉及到了人为灾难、
发电站或是迫在眉睫的危险。在他的声音作品中，我们发电站或是迫在眉睫的危险。在他的声音作品中，我们
可以依稀听到一个微弱的声音诉说着我们的人类文明正可以依稀听到一个微弱的声音诉说着我们的人类文明正
在逐渐湮没。他在砖块上用混凝土所绘制的作品引用了在逐渐湮没。他在砖块上用混凝土所绘制的作品引用了
传统遗产所遭到的破坏，例如中国不断被拆除的胡同。传统遗产所遭到的破坏，例如中国不断被拆除的胡同。
它们的痕迹已被抹除，而被今天随处可见的上层建筑所它们的痕迹已被抹除，而被今天随处可见的上层建筑所
替代，被混凝土、玻璃和钢筋这些庞然大物所替代——未替代，被混凝土、玻璃和钢筋这些庞然大物所替代——未
来的废墟。物质本身的增长是不可持续的，若一个社会来的废墟。物质本身的增长是不可持续的，若一个社会
29292828

18. 随之而来的是不断增长的责任。我们处理资源的方式、我随之而来的是不断增长的责任。我们处理资源的方式、我
们对资源的浪费和我们的生活环境最终会演变成一个生们对资源的浪费和我们的生活环境最终会演变成一个生
存问题。这是一个集体责任，其中诸如个人利益这样的资存问题。这是一个集体责任，其中诸如个人利益这样的资
本主义核心要素必须服从于多数人的需要。本主义核心要素必须服从于多数人的需要。
海宁海宁··奥拉夫奥拉夫··艾斯佩达的这个展览以艺术家的视角阐艾斯佩达的这个展览以艺术家的视角阐
述了某些我们已做的选择和将要面对的选择。述了某些我们已做的选择和将要面对的选择。
毕昂·弗勒沃戈毕昂·弗勒沃戈 BJØRN INGE FOLLEVAAGBJØRN INGE FOLLEVAAG
20142014 年年 1010 月月
翻译：刘聪翻译：刘聪
经济和文化上的巨大结构性转变。在不到一代人的时间经济和文化上的巨大结构性转变。在不到一代人的时间
跨度内，中国已经用汽车替代了自行车，用高速公路替代跨度内，中国已经用汽车替代了自行车，用高速公路替代
了马路，用高楼大厦替代了胡同，用企业替代了工业，用了马路，用高楼大厦替代了胡同，用企业替代了工业，用
都市替代了村庄。中国发展规模之大不难从一些项目工都市替代了村庄。中国发展规模之大不难从一些项目工
程中看出，例如三峡大坝工程，或在兰州铲平几百座大山程中看出，例如三峡大坝工程，或在兰州铲平几百座大山
来修建一个新的都市。或许中国民间故事中决心铲除家来修建一个新的都市。或许中国民间故事中决心铲除家
门口的两座险峻大山的老农愚公，真实地存在：他竭力门口的两座险峻大山的老农愚公，真实地存在：他竭力
斗争，而终究取得了成功。从此有了成语“愚公移山”。斗争，而终究取得了成功。从此有了成语“愚公移山”。
中国作为世界生产枢纽的角色，在提升人民生活水平之中国作为世界生产枢纽的角色，在提升人民生活水平之
外，也对空气、水和土地造成后果。而西方国家对于廉价外，也对空气、水和土地造成后果。而西方国家对于廉价
劳动力和企业拓展的无止境欲望也同样影响着中国。劳动力和企业拓展的无止境欲望也同样影响着中国。
努力应对发展、预见未来可能的问题及找到解决办法对中努力应对发展、预见未来可能的问题及找到解决办法对中
国当局来说是一个至关重要的议题。这其中的一些问题国当局来说是一个至关重要的议题。这其中的一些问题
已经被提出。富裕提高了国民消费水平。在它目前的发已经被提出。富裕提高了国民消费水平。在它目前的发
展路径来看，中国人对食物、水、汽油、天然气、矿产、交通展路径来看，中国人对食物、水、汽油、天然气、矿产、交通
和能源商品的需求在日益增长，但所有这些资源都是限量和能源商品的需求在日益增长，但所有这些资源都是限量
的。随着富裕的增长，对这些共享资源的使用率也在上升，的。随着富裕的增长，对这些共享资源的使用率也在上升，
31313030

19. Sculptures

20. UMBRA / Six sculptures, variable sizes. Six loudspeakers with amplifiers and three so

21. HYPERBOLOID
双曲线体
# 1
CONCRETE, IRON REBAR,
PIGMENT AND WAX
水泥 , 钢筋 , 颜料 , 蜂蜡
124×74×29cm
2012
37undtracks. 本影 / 6 件雕塑，尺寸可变。6 个带放大器的 3 声道扩音器。

22. 38

23. HYPERBOLOID
双曲线体
# 2
CONCRETE, IRON REBAR,
PIGMENT AND WAX
水泥 , 钢筋 , 颜料 , 蜂蜡
104×59×68cm
2012
41

24. 42

25. HYPERBOLOID
双曲线体
# 3
CONCRETE, IRON REBAR,
PIGMENT AND WAX
水泥 , 钢筋 , 颜料 , 蜂蜡
141×97×95cm
2012
45

26. 46

27. HYPERBOLOID
双曲线体
# 4
CONCRETE, IRON REBAR,
PIGMENT AND WAX
水泥 , 钢筋 , 颜料 , 蜂蜡
106×36×36cm
2013
49

29. HYPERBOLOID
双曲线体
# 5
CONCRETE, IRON REBAR,
PIGMENT AND WAX
水泥 , 钢筋 , 颜料 , 蜂蜡
161×65×63cm
2013
53

30. 54

31. HYPERBOLOID
双曲线体
# 6
CONCRETE, IRON REBAR,
PIGMENT AND WAX
水泥 , 钢筋 , 颜料 , 蜂蜡
192×47×46cm
2014
57

32. Paintings

33. ENTROPY PAINTING 熵画 # 1 CONCRE TE ON CANVAS 布面水泥 Diptyque 双联 140×90×4cm [70×90×4cm×2] 201360

34. ENTROPY PAINTING 熵画 # 2 CONCRE TE ON CANVAS 布面水泥 Diptyque 双联 140×90×4cm [70×90×4cm×2] 201362

35. ENTROPY PAINTING 熵画 # 3 CONCRETE ON CANVAS 布面水泥 Diptyque 双联 200×162×5cm [100×162×4cm×2] 201364

36. ENTROPY PAINTING 熵画 # 4 CONCRETE ON CANVAS 布面水泥 230×145×5cm 201366

37. ENTROPY PAINTING 熵画 # 5 CONCRETE ON CANVAS 布面水泥 Triptyque 三联 180×60×5cm [60×60×5cm×3] 201468

38. ENTROPY PAINTING 熵画 # 6 CONCRETE ON CANVAS 布面水泥 9 pieces 九联 300×300×5cm [100×100×5cm×9] 201470

39. GRAVITATION 引力 # 1 CONCRETE ON CANVAS 布面水泥 9 pieces 九联 190×190×6cm 201472

40. GRAVITATION 引力 # 2 CONCRETE ON CANVAS 布面水泥 9 pieces 九联 190×190×6cm 201474

41. Drawing

42. CAVEMAN 野蛮人
INK AND COAL ON CANSON PAPER
炭 , 水墨 , 法国康颂纸
140×110cm
2012
78

43. SPRING 春天
INK AND COAL ON CANSON PAPER
炭 , 水墨 , 法国康颂纸
250×110cm
2014
80

44. AN ARMFUL 抱抱
INK AND COAL ON PAPER
炭 , 水墨 , 纸本
109×79cm
2014
82

45. THE UNDERTAKING 承诺
INK AND COAL ON CANSON PAPER
炭 , 水墨 , 法国康颂纸
240×220cm
2014
84

46. HENNING OLAV ESPEDALHENNING OLAV ESPEDAL
Born in 1980 in Gjøvik, Norway.Born in 1980 in Gjøvik, Norway.
Lives and works in Beijing since 2009Lives and works in Beijing since 2009
EDUCATION:EDUCATION:
2004 – 2006 Master in Sculpture2004 – 2006 Master in Sculpture
National College of Art and Design National College of Art and Design
Oslo, Norway Oslo, Norway
2001 – 2004 Bachelor in Metal Art2001 – 2004 Bachelor in Metal Art
National College of Art and Design National College of Art and Design
Oslo, Norway Oslo, Norway
2003 - 2004 Sculpture2003 - 2004 Sculpture
Florence Academy of Art Florence Academy of Art
Florence, Italy Florence, Italy
1999 – 2000 Creative arts1999 – 2000 Creative arts
Nansen Academy Nansen Academy
Lillehammer, Norway Lillehammer, Norway
EXHIBITIONS:EXHIBITIONS:
2014 A SUDDEN LIBERATING THOUGHT2014 A SUDDEN LIBERATING THOUGHT
Amy Li Gallery, Beijing, ChinaAmy Li Gallery, Beijing, China
2013 FOREIGN POSITION 2013 FOREIGN POSITION ShangDong Contemporary, Nanjing, ChinaShangDong Contemporary, Nanjing, China
2013 SHARPER IMAGE II 2013 SHARPER IMAGE II artSTRAND, Provincetown, USAartSTRAND, Provincetown, USA
2012 UNTITLED 2012 UNTITLED Fjordheim Gallery, Biri, NorwayFjordheim Gallery, Biri, Norway
2012 ROOM FOR ART 2012 ROOM FOR ART Peder Balke-Center, Kapp, NorwayPeder Balke-Center, Kapp, Norway
2011 INCUBATOR 2011 INCUBATOR Li-Space, Beijing, ChinaLi-Space, Beijing, China
2011 GLASS 2011 2011 GLASS 2011 Gjøvik ART Association, NorwayGjøvik ART Association, Norway
2010 MIRRORED 2010 MIRRORED True Color Museum, Suzhou, ChinaTrue Color Museum, Suzhou, China
2009 THREE YOUNG ARTISTS 2009 THREE YOUNG ARTISTS Peder Balke-Center, Kapp Norway Peder Balke-Center, Kapp Norway
2008 FIGURATION 2008 FIGURATION Sculpture Arena East, Oslo, NorwaySculpture Arena East, Oslo, Norway
2008 SUMMERSHOW 2008 SUMMERSHOW Svae Gallery, Gjøvik, NorwaySvae Gallery, Gjøvik, Norway
2007 GROUPSHOW 2007 GROUPSHOW The Art House, Oslo, NorwayThe Art House, Oslo, Norway
2006 LATEST ISSUANCE 2006 LATEST ISSUANCE The Canvas Factory, Oslo, NorwayThe Canvas Factory, Oslo, Norway
2005 ENGELSEN 2005 ENGELSEN Peder Balke-Center, Kapp, NorwayPeder Balke-Center, Kapp, Norway
2004 DROP IN 2004 DROP IN Podium, Oslo, NorwayPodium, Oslo, Norway
87878686

47. 海宁海宁 ·· 奥拉夫奥拉夫 ·· 艾斯佩达艾斯佩达
19801980 年 生于约维克 , 挪威年 生于约维克 , 挪威
20092009 年至今 生活工作于北京年至今 生活工作于北京
学历：学历：
2004 – 2006 2004 – 2006 硕士 , 雕塑系 国家艺术与设计学院 , 奥斯陆 , 挪威硕士 , 雕塑系 国家艺术与设计学院 , 奥斯陆 , 挪威
2001 – 20042001 – 2004 学士 , 金属工艺系 国家艺术与设计学院 , 奥斯陆 , 挪威 学士 , 金属工艺系 国家艺术与设计学院 , 奥斯陆 , 挪威
2003 - 20042003 - 2004 雕塑系，佛罗伦萨艺术学院，佛罗伦萨 , 意大利 雕塑系，佛罗伦萨艺术学院，佛罗伦萨 , 意大利
1999 – 20001999 – 2000 创意艺术，南森学院，利勒哈默 , 挪威 创意艺术，南森学院，利勒哈默 , 挪威
展览：展览：
20142014 豁然开朗 豁然开朗 艾米李画廊 , 北京 , 中国艾米李画廊 , 北京 , 中国
20132013 外来的姿态 外来的姿态 尚东当代艺术 , 南京 , 中国尚东当代艺术 , 南京 , 中国
20132013 更清晰的图像之二 更清晰的图像之二 artSTRANDartSTRAND, 普洛，美国, 普洛，美国
20122012 无题 无题 FjordheimFjordheim 画廊 , 比里 , 挪威画廊 , 比里 , 挪威
20122012 空间艺术 空间艺术 Peder BalkePeder Balke 中心 ,中心 , KappKapp，挪威，挪威
20112011 孵化器 孵化器 荔空间 , 北京 , 中国荔空间 , 北京 , 中国
20112011 玻璃 玻璃 2011 2011 约维克协会，挪威约维克协会，挪威
2010 2010 镜象镜象 本色美术馆 , 苏州 , 中国本色美术馆 , 苏州 , 中国
2009 2009 三位年轻艺术家三位年轻艺术家 Peder BalkePeder Balke 中心，中心，KappKapp，挪威，挪威
2008 2008 成形成形 东雕塑场 , 奥斯陆，挪威东雕塑场 , 奥斯陆，挪威
2008 2008 夏季展夏季展 SvaeSvae 画廊 , 约维克，挪威画廊 , 约维克，挪威
2007 2007 群展群展 艺术之家，奥斯陆，挪威艺术之家，奥斯陆，挪威
2006 2006 最新发布最新发布 帆布工厂 ，奥斯陆，挪威帆布工厂 ，奥斯陆，挪威
2005 ENGELSEN 2005 ENGELSEN Peder BalkePeder Balke 中心 ,中心 , KappKapp，挪威，挪威
2004 2004 放下放下 主席台 , 奥斯陆，挪威主席台 , 奥斯陆，挪威
89898888

48. p.35
HYPERBOLOID / 双曲线体
# 1
CONCRETE, IRON REBAR,
PIGMENT AND WAX
水泥 , 钢筋 , 颜料 , 蜂蜡
124×74×29cm
2012
p.47
HYPERBOLOID / 双曲线体
# 4
CONCRETE, IRON REBAR,
PIGMENT AND WAX
水泥 , 钢筋 , 颜料 , 蜂蜡
106×36×36cm
2013
p.60-61
ENTROPY PAINTING / 熵画 # 1
CONCRE TE ON CANVAS 布面水泥 Diptyque 双联
140×90×4cm [70×90×4cm×2] 2013
p.62-63
ENTROPY PAINTING / 熵画 # 2
CONCRE TE ON CANVAS 布面水泥 Diptyque 双联
140×90×4cm [70×90×4cm×2] 2013
p.64-65
ENTROPY PAINTING / 熵画 # 3
CONCRETE ON CANVAS 布面水泥 Diptyque 双联
200×162×5cm [100×162×4cm×2] 2013
p.39
HYPERBOLOID / 双曲线体
# 2
CONCRETE, IRON REBAR,
PIGMENT AND WAX
水泥 , 钢筋 , 颜料 , 蜂蜡
104×59×68cm
2012
p.51
HYPERBOLOID / 双曲线体
# 5
CONCRETE, IRON REBAR,
PIGMENT AND WAX
水泥 , 钢筋 , 颜料 , 蜂蜡
161×65×63cm
2013
p.43
HYPERBOLOID / 双曲线体
# 3
CONCRETE, IRON REBAR,
PIGMENT AND WAX
水泥 , 钢筋 , 颜料 , 蜂蜡
141×97×95cm
2012
p.55
HYPERBOLOID / 双曲线体
# 6
CONCRETE, IRON REBAR,
PIGMENT AND WAX
水泥 , 钢筋 , 颜料 , 蜂蜡
192×47×46cm
2014
Index
9190

49. p.64-65
ENTROPY PAINTING / 熵画 # 3
CONCRETE ON CANVAS 布面水泥 Diptyque 双联
200×162×5cm [100×162×4cm×2] 2013
p.68-69
ENTROPY PAINTING / 熵画 # 4
CONCRETE ON CANVAS 布面水泥
230×145×5cm 2013
p.85
THE UNDERTAKING / 承诺
INK AND COAL ON CANSON PAPER
炭 , 水墨 , 法国康颂纸 240×220cm 2014
p.83
AN ARMFUL / 抱抱
INK AND COAL ON PAPER 炭 , 水墨 , 纸本
109×79cm 2014
p.79
CAVEMAN / 野蛮人
INK AND COAL ON CANSON PAPER
炭 , 水墨 , 法国康颂纸 140×110cm 2012
p.72-73
GRAVITATION / 引力 # 1
CONCRETE ON CANVAS
布面水泥 9 pieces 九联
190×190×6cm
2014
p.81
SPRING / 春天
INK AND COAL ON
CANSON PAPER
炭 , 水墨 , 法国康颂纸
250×110cm
2014
p.74-75
GRAVITATION / 引力 # 2
CONCRETE ON CANVAS
布面水泥 9 pieces 九联
190×190×6cm
2014p.70-71
ENTROPY PAINTING / 熵画
# 6
CONCRETE ON CANVAS
布面水泥 9 pieces 九联
300×300×5cm
[100×100×5cm×9]
2014
9392

50. A SUDDEN LIBERATING THOUGHT
Henning Olav Espedal solo exhibition
Exhibition Duration: 16. Nov-31. Dec 2014
Editor in Chief: Amy Y. Li
Produced By: Amy Li Gallery
Translator:Liu Cong
Documentation: Xue Lian
Documentation Proofreading: Pierre-Yves Martinez, Xue Lian
Photo: Dong Lin
Engraved and printed in: Beijing QL-ART printing Co.LTD
Designer: typo_d
Size: 148×196mm
Printed Matters: 3
Images: 31
Words: 10,000
Publishing Date: Nov.2014
Special Thanks: Hugh Kater, Johannes & Tore,
Li Daiyun, Liu Liyun, Luo Hongru, Yu Fan
豁然开朗
海宁·奥拉夫·艾斯佩达 个展
展览时间 : 2014 年 11 月 16 日 – 12 月 31 日
主编 : 李颖
监制 : 艾米李画廊
翻译 : 刘聪
资料整理 : 薛莲
资料校对 : PYM, 薛莲
摄影 : 董林
制版印刷 : 北京奇良海德印刷有限公司
装帧设计 : typo_d
成品尺寸 : 148×196mm
印张 : 3
图片 : 31
字数 : 3,020
印次 : 2014 年 11 月第一次印刷
特别感谢 : Hugh Kater、Johannes & Tore、李岱昀、
刘俐蕴、雒宏茹、于凡
版权所有 , 翻版必究
All rights reserved.
No part of the work may be reproduced or
transmitted in any form or by any means
without permission in writing.