Ai Weiwei，葵花籽，价格：53万美元

马：在90年代及之后，一些策展人向企业寻求支持来创建独立画廊。这是更好的解决方案吗？好像有的画廊是这样运作的？

罗：我觉得严格说来不是支持，更像一种交易。他们通过向艺术家收藏等额价值的作品，来收回投入展览的资金。世上没有免费的午餐。

马：那好，可是在90年代，有些策展人确信有的企业会完全支持，没有附加条件。那这的确是一种免费午餐。

罗：总的来说还是很少，这样的支持更多是基于个人关系或临时策略，而非公共体系。一些博物馆或画廊选择全额支持艺术家，要么是因为艺术家已经很成功，能保证市场。要么是通过交换等额作品来运作。有的机构会支付给艺术家材料费、生活费或出场费之类，比如丽江工作室的一些项目。做行为和装置的艺术家更喜欢这种支持方式，因为他们很清楚他们的作品是不能卖的。他们只是希望有人能为他们用的材料买单。

马：在中国，艺术家通过支付展览费用来支持画廊的生存，这个很普遍是吗？

罗：还是看什么展览，什么人，画廊自己的计划和艺术家的计划是否吻合。一般来说，画廊邀请艺术家做展览不存在这个费用，如果是艺术家自己去一个画廊申请展览，就会产生这个费用，这个费用一般是相当高的。总的来说，除了那些大型画廊（尤其是来自西方的）以外，画廊普遍仍然处于发展的初级阶段。画廊需要艺术家买单，艺术家需要画廊提供服务，这不是支持，而是合作。这也是我为什么说博物馆是更好的解决方案，因为博物馆的目的不是为了盈利，它也不是靠卖画或收取展览费来生存。

马：在西方，博物馆有政府支持，有直接的支持，也有减税政策之类。

罗：也许你对这个方案持批评态度，但在中国我们仍然需要从这里起步，建立艺术的公共支持体系。因为私人企业来支持艺术的时候，在根本上仍然会考虑到收益，以及企业本身有限的商业品味。最后导致商业艺术的发达，实验艺术的消沉。

马：这是说，策展人没有权力来决定。

罗：这总是值得讨论的。谁是策展人？通常有钱和具备关系的那个人是。当然，现在情况开始在变了，但在90年代和2000年代初期，情况就是这样，很混乱。

马：在中国有没有市场以外的操作空间？

罗：我认为是有的。否则艺术家们怎么工作？艺术市场其实总是为少数艺术家预备的，那些比较幸运的艺术家。在昆明我们可以数得出来有几个艺术家与画廊签约，可能10个左右吧。

王广义，《Mao Zedong》，价格：230万美元

马：艺术家都靠什么生存？

罗：他们在学校做老师，或者靠做一些工程，比如城雕。有的也有自己的工作室教学生。也有的在画廊、公司等机构工作。比如和丽斌在云艺教书，也做策展人和不同的项目。

马：黄专觉得市场也许不是最好的系统，但也没有替代方案。你同意吗？

罗：在90年代早期以及之前也许是这样的，那时了解的东西非常有限，条件也非常有限。那时当代艺术工作者从未听说政府支持或非营利艺术机构。在那时，中国改革开放的其中一项策略是鼓励私营企业的发展，产权改革。我理解这是那时人们理解如何打破旧有艺术环境的策略，也是必经之路，鼓励个人购买艺术品。

马：他们想通过金钱来与政府决裂。

罗：这个策略在当时很有价值。在92年的首届广州双年展上，策展人吕澎组织了第一次商业展览，那是一次具有标志意义的展览。（参吕澎访谈）

马：他用钱来打开了一个新的系统。

罗：今天很多人对他有批评意见。认为他不是一个艺术史学家，而是一个商人（吕澎在他组织的2011年成都双年展上，也被批评在展厅使用交通锥标和大尺寸“展品贵重”标识）。但在那时（92年），他的努力是值得肯定的。在那之后，好些艺术家的作品都卖出去了，并且受邀去到许多国家展出，那时中国艺术家出去展出都是一个国家队，他们与政治人物举行官方式的会晤。他们突然变得十分重要。这也是为何后来在2000年上海双年展被政府认可的原因。中国当代艺术已经成为一张国际名片。

马：黄专也为市场提出合理性，认为市场也是一种压力。一个真正的艺术家所具备的标记，就是他们如何驾驭市场压力，同时又表达他们自己。

罗：我同意，我想是这样的，但这不是唯一。市场不是唯一评判艺术家优秀与否的标准，应该还有其他标准。

马：那这就提出问题，在市场里是否有运气的因素？黄专也许会争辩说运气是不重要的，作为一个真正的艺术家应该发展与买家的联系，向买家展示自己的艺术理念等。

罗：有很多优秀的艺术家和这个圈子没有任何关系。也许他们不喜欢这个圈子，或不需要这个桥梁，典型的例子就是梵高（黄专也提到梵高）。非营利画廊和机构有责任研究和探索那些优秀的艺术家。他们必须从不同的角度来评估艺术家。

马：一些艺术家和批评家批评年轻艺术家过于功利追求经济上成功，但我想说最成功的艺术家（经济上），包括达明·郝斯特等，都创作了一些批评的、有趣的、迷人的作品。也许我们应该停止鼓励艺术家成为美学理论家，而是告诉他们应该去真正挖掘他们的手艺提升作品质量，由此实现经济上的成功。

罗：对艺术家来说有很多可能性去做好的或有趣的作品，但这不是艺术的全部价值。我不是说穷艺术家才是好艺术家。为何我要对商业持批评态度，因为这对新兴艺术家产生越来越深刻的负面影响。年轻艺术家在越来越狭小的空间去反思什么是好的艺术，因为我们身边充斥着大量关于商业艺术的声音。因此我们没有花太多精力去思考和践行什么是好的艺术，反思现在艺术的问题是什么。

比如云南风景艺术，许多艺术家都跟随成功艺术家。他们认为这就是最好的艺术，他们从不去想风景是否已经有问题。他们从不问“我们为什么要画风景？我们的风格为何如此相近？”

岳敏君的典型作品，他的风格和内容在20年间有很小的发展

马：我想说的是在一个较高的标准上，市场应该按照黄专所说的那样来运作。这也是回应什么是好的或不好的艺术。比如我们谈到岳敏君的作品如今的市场情况，市场其实也在回应，他的作品卖的不像从前那样火了。

罗：是这样，市场也越来越成熟。岳敏君的作品在拍卖行不再像从前那样增值，买家其实也在学习，只是这个学费有点太高了。

马：我发现市场所造成最大的影响是，对油画过于偏爱。市场是否会超越这个媒介，或者是否因为简单方便，而且总是不断有油画作品？

罗：我想中国艺术市场里传统大师作品（水墨）总是昂贵的。油画里有一些是很好的作品，但收藏油画更多是作为一种投资。

马：你是否认为市场对传统水墨和现代油画作品的偏爱会有所改变吗？将来会有更多媒介的市场表现吗？

罗：我想已经在改变了。在北京，有一些录像作品也能销售。一些艺术家建立了录像艺术博物馆，你可以去那儿观看由艺术家捐赠的DVD录像。在北京做这个比较容易实现。

马：也许这个来到云南还需要很长一段时间。

罗：也许一直不会，因为有的产品不是随处都有市场。

感谢罗菲跟我做采访

相关文章：

• 2012/05/05 -- 艺术市场能断定价值吗？（上） (0)
• 2009/12/04 -- 讨论价值 (0)
• 2007/07/03 -- 激变中的中国当代艺术 (0)
• 2011/09/20 -- 《美术史十议》读书笔记（上） (0)
• 2010/12/23 -- 微言断录017 (0)

This is part 2 of an interview I did with curator Luo Fei, in which we discussed the successes and failures of the Chinese art market, and its influence on art. Our discussion is loosely based on the views that Huang Zhuan expressed in a 1991 interview with Art Market.

Ai Weiwei, Kui Hua Zi (Sunflower Seeds), 2010, Sale price: $534,600

Orion: In the 1990s and later, some curators asked companies for economic support in order to create independent galleries. Is this a better solution? Perhaps some galleries work like this?

Luo Fei: Strictly speaking, they do not support. Rather they rely on a kind of exchange. They ask for gifts from the artist or collectors in order to regain the capital invested in the exhibition. There’s no free lunch.

Orion: Alright but at that time in the 1990s there were some curators who convinced companies to support them, no strings attached. Then it really was a kind of free lunch.

Luo Fei: Generally speaking there are very few. This kind of support is based on the personal relationships or short term tactics of a system that isn’t public. Some museums or galleries select artists and offer them full support, perhaps because the artists are already successful and can guarantee market success. Others will exchange support for some pieces. Some galleries pay artists a material fee, living fee, or appearance fee. Lijiang Studio, for example, has some projects like this. Performance and installation artists prefer this because they know there’s no way to sell their works. They just hope you can cover some of the costs.

Orion: In China, it’s common for artists to support galleries by paying exhibition fees. Is this correct?

Luo Fei: It depends on which exhibition, which person, and whether the gallery’s vision fits with the artist’s vision. There are also galleries that support artists. Generally speaking, if galleries invite an artist to have an exhibition there is no fee, but if the artist personally applies for an exhibition then there will be a fee, and the fee is quite high. In short, galleries are still in an undeveloped period, except those very big galleries from west. Galleries need artists to pay the bills and artists need galleries to offer support. It’s not support, it’s more like cooperation. That’s why a museum is a better solution. The goal is not to earn money and they don’t rely on selling paintings or collecting exhibition fees to exist.

Orion: In the West museums have government support, both direct support and in the form of tax breaks.

Luo Fei: Maybe you are critical of this solution but in China we still need to establish a system of public support for art. When private businesses support art, they are still basically focused on earnings and the company is limited to commercial tastes. This leads to the expansion of commercial art and the weakening of experimental art.

Orion: In this case, the curator doesn’t have power.

Luo Fei: This is always a discussion point. Who is the curator? Normally it’s whoever has money and relationships. Now it’s changing but in the 1990s or 2000s it was like that, very chaotic.

Orion: Is there space for artists operating outside the market in China?

Luo Fei: I think there is. Otherwise how would they do work? The art market is always only for a few, very lucky artists. In Kunming we can count only a few artists who have signed with galleries, maybe ten.

Orion: How do artists survive?

Luo Fei: They are teachers or they do public projects, sculptures. They may have their own studio to teach students as an alternative to university. There are also some who work at galleries, companies or other institutions. For example, He Libin teaches at Yunnan Art University but he also acts as curator and has other various projects.

Wang Guangyi, Mao Zedong: P2, 1988, Sale price: $2.3 million

Orion: Huang Zhuan felt that the market might not be the best system, but there’s no alternative. Do you agree?

Luo Fei: In the early period of the 1990s and before, this might have been the case. Their understanding of these things was very limited, as were the circumstances at the time. Art workers had never heard about government support or non-commercial art organizations. At that time, China was going through reform and opening. The strategy is drawn from private business and property reform. My understanding is that at the time, their strategy was to break the old art environment and this was the only path, to encourage individual sales of art pieces.

Orion: They wanted to use money to break with the government.

Luo Fei: In those days the strategy had value. In the 1992 Guangzhou biennale, curator Lu Peng organized the first commercial exhibition, and that first exhibition had symbolic significance.

Orion: He was one of the first to open the official system.

Luo Fei: Many people criticize him now. They say he’s not a historian, he’s just a business man (Lu Peng was criticized for his organization of the 2011 Chengdu Biennale, which featured traffic cone barriers and large “Do Not Touch” signs). But in that time (1992) he did a good job. Afterwards those artists who participated were invited to many countries. They became a kind of national team. Traveling in a bus together, they would also go to president’s house and meet politicians. They suddenly become so important. That’s why they were accepted by the government in the 2000 Shanghai Biennale. Chinese contemporary art had already become a global business card.

Orion: Huang Zhuan argues that the market is a kind of pressure, and that the mark of a true artist is how they navigate the pressures of the market and express themselves.

Luo Fei: I agree, but that’s not the only thing. The market is not the only standard to judge the excellence of artists. There should be other standards as well.

Orion: It raises the question, what is the role of luck in the market? Huang Zhuan might argue that luck is unimportant, that being a true artist involves making connections and presenting your artistic view to buyers.

Luo Fei: There are some very good artists but they have no relationships with this circle. Or they don’t like this circle and need a bridge. The typical example is Van Gogh (Van Gogh is also mentioned in Huang Zhuan’s article). Non-commercial galleries and organizations have the responsibility to reach out and explore who is good. They must evaluate artists from a different view.

Orion: Some artists and critics criticize young Chinese artists for vapidly pursuing financial success, but I would say that the most (financially) successful artists, including Damien Hirst and others, are producing works that are critically interesting and engaging. Perhaps we should stop encouraging artists to be aesthetics, and tell them that only by truly advancing their craft they will achieve financial success.

Luo Fei: For artists there are many possibilities to make good or interesting works. But this is not the only value of art. I would not say that poor artists are the best artists. The reason for this criticism of market oriented artists, though, is because it is having a larger and larger negative influence on new artists. The new artists have less space to think about what is good art. There are lots of voices about commercial art, and they have no system to participate and think about what is real art, what are the problems of the art scene right now.
Take Yunnan landscape art for example. Many artists follow successful artists. They think this is the best art, and they never wonder if landscape has problems. They never ask “Why do we need to paint landscapes? Why are our styles so close?”

A typical work from Yue Minjun, whose art has remained similar in style and content for the past 20 years

Orion: I guess what I’m saying is that on a high level, the market is doing what Huang Zhuan says it should. It is responding to what works are good and what aren’t. For example, we have talked about how Yue Minjun’s work seems stale now, and the market is now responding. His works don’t sell as well as they did in the past.

Luo Fei: It’s true, the market is becoming more and more mature. Yue Minjun’s work is no longer increasing in value on the auction floor, and it seems the collectors have also learned. It’s just that the cost of this knowledge was a bit too high.

Orion: The largest influence of the market I see is the preference for oil painting. Will the market ever move beyond this single medium, or is it simply too convenient and we will always have oil paintings?

Luo Fei: I think in the Chinese art market, traditional master (ink paintings) will always be expensive. As for oil paintings, some of them are good, but collecting oil paintings is really a kind of investment.

Orion: Do you think this preference for traditional ink painting and modern oil painting will change? Will there be more mediums represented in the future?

Luo Fei: I think it is already changing. In Beijing some video works sell well. Some artists have established a video art museum and you can go there to see the DVDs donated by artists. In Beijing it’s easier.

Orion: Maybe it will take a long time to come to Yunnan.

Luo Fei: Maybe it will never arrive. Some goods can’t find a market everywhere.

Many thanks to Luo Fei for working on this text with me.

相关文章：

• 2012/05/05 -- Can The Art Market Judge Value? Discussion With Luo Fei Part 1 (0)
• 2012/03/09 -- The Dao: To Ceaselessly Grow and Multiply (0)
• 2012/02/16 -- The Cell’s Longing: Jonathan Aumen solo exhibition (0)
• 2011/12/02 -- “四季•夏天”云南女性艺术展 (0)
• 2011/12/01 -- “Four Seasons: Summer” Yunnan Female Artist Group Exhibition Interview (0)

艺术家刘丽娟

刘丽娟和男友向我们展示版画作品

对于那些一知半解的想象171×62cm

我想向你说明，直到自己都不清晰69×92cm

你16×27cm

它山之石-二26.9×28

漂浮12.2×13

鸟飞回67

你藏着我许多的秘密和过往，然后我们一起成长143.2×62

揭开上面那张画作的第二层

理想国一76.6×121

理想国三92×174cm

理想国二113.1×121

靠近你，我不害怕所有64×79cm

裹体之衣89

相关文章：

• 2012/03/30 -- 再访火灾之后的屋子 (0)
• 2011/06/21 -- 怀念郑旭老师 (0)
• 2010/10/31 -- 彼岸——吕敏绘画艺术展 (0)
• 2009/09/18 -- 访张永正工作室 (0)
• 2009/08/12 -- 访明日城市里的艺术家 (0)

苏富比拍卖行

1991年，黄专曾接受《艺术市场》杂志的一次采访。在采访中，他提出中国艺术市场的创建需要建立相对公平的竞争环境，在那里，艺术家既可以竞争，也可以获得支持。他进一步解释说，艺术家总是在压力之下工作（政治、宗教、社会和经济），这也是对真正的艺术家的测试，就是他/她如何回应这种压力。

20年后，我想很多在中国的人会说，艺术市场的发展并没有像他预期的那样完全建立起来。我和策展人罗菲坐下来就此进行了一些讨论。

马睿奇（以下简称马）：让我们说说在这篇访谈之后中国艺术市场所发生的状况。在1990年代，中国的艺术其实是由外国商人们“发现”的。

罗菲（以下简称罗）：是的，的确是这样。在90年代一些外国大使馆对中国艺术家来说起到了非常重要的作用，尤其作为替代性展示空间。

马：这就是所谓的“使馆艺术”？

罗：是，那时艺术家没有空间展示作品，有时他们愿意在大使馆或私人场地展示。当然，能在大使馆或使馆官员私人空间展示的艺术家，都是已经被挖掘出来比较受关注的艺术家。

马：整个90年代，中国艺术界受到越来越多的关注，但主要的拍卖行如苏富比和佳士得，它们是什么时候参与进来的？

罗：我不是很确定具体的时间，不过798的合法化是重要转折点，它是政府开始承认当代艺术的一个信号。798最初是独立自发的，就像昆明创库艺术社区一样，是艺术家和艺术机构自发聚集的地方，它们一直与城市发展的压力进行抗争。然后在2000年代中期，798成为公认的文化中心。

马：2000年的上海双年展也是一个重要转折点，对吗？

罗：是。我记得那时好些艺术杂志大量介绍了双年展，而在之前它们很少集中介绍当代艺术。

马：然后在2006年，艺术市场开始真正的热起来。那以后，又稍微冷下来一点。但在2000年以后，的确有大量的热钱用来投资艺术。

罗：在05至06年的云南，最火的不是艺术市场，而是“江湖”（一系列由丽江工作室支持的实验艺术活动）。然而也在那之后，市场对云南的影响也越来越明显。尤其在06年，许多云南艺术家都受邀去到上海等地展出，差不多有二三十位云南艺术家出去做展览，他们多数是创作油画、雕塑、装置和摄影等类型的作品。其中一个在上海做的大型展览是原弓美术馆做的“新动力”艺术展。我想这对云南艺术家有一定的影响，有机会出去展出，看其他不同的展览。通过几轮大型展览把有商业价值的艺术家过滤出来。因此有好些艺术家的作品都销售了，并且和画廊有进一步合作。

而亲历商业化运作对云南艺术家来说也是一次学习的机会，我记得那时我在布展的时候上海的中国邮政有人来展厅，问我们是否愿意把作品印在他们的明信片上，他们想通过这个方式来拓展市场和影响力。我当时想，在云南的中国邮政是不大可能专门派人跑到展览上谈合作的，你去找他们，他们肯定都是爱理不理，云南的整个市场环境显然还非常不成熟。

曾梵志、价格：260万美元

马：在这之后呢？

罗：在那两年有好些艺术家到北京等地建立工作室，好些艺术家的工作室空间特别大，像画廊空间一样，适合创作大型作品。有的年轻艺术家也开始聘用两三人的助手团队一起工作。在那时候确实有很多钱投入到工作室、创作、团队以及销售当中。我记得那时我做了一件简单的扬声器装置作品，其中有一根6米高的木头，木头上挂着喇叭播放关于禁止在公共场合展示暴力血腥行为艺术的通告。就是为了这根木头，主办方租了一张大型集装箱运输车，从昆明拉到上海。个人来讲，我觉得为了一根木头不是那么必要搞个集装箱。我完全可以做一个新的作品。但在那时很多画廊真的不是很介意付出多少成本，他们想方设法呈现一个大型而雄伟的展览。这种事情我觉得在今天很难再发生了，除非你是很成功的艺术家。

马：在你看来，市场现在是否已经通过“竞争法则”来建立起 “合法的竞争”呢？（黄专访谈里的用语）

罗：首先，我需要说我自己并没有在市场里，我更关注实验艺术。但好些参与到市场里的朋友和老师都说，其实艺术市场和其他经济领域没什么区别。的确是这样，艺术市场也是在中国特色的竞争法则下进行，整个社会的竞争法则显然是有问题的，有太多潜规则和暗箱操作。比如薄//熙//来的事儿就是一个很戏剧化的个案，在官方新闻背后有太多复杂的故事。也许艺术市场不像政治那样戏剧化，但具有相同特征。

清代花瓶、价格：8600万美元

马：你是说艺术市场里有腐败问题吗？

罗：有点不同。在政治领域我们有腐败，但在艺术圈表现为其他形式，比如拍卖里众所周知的游戏，一个老板想要支持某个艺术家可能会叫人来高价收购。

马：有一些报道称中国艺术品拍卖里，一些机构安置一些买家来抬高价格。

罗：是，这就是个游戏。另外，作为评估艺术价值的批评家也卷入其中。比如老板会为买家和批评家安排聚餐，批评家针对某个艺术家的作品提出许多看上去很学术的褒奖意见，之后他/她会得到一个红包（中国传统送礼或行贿的方式）。当然批评家能有收入也是很好，只是失去了独立性。

马：黄专认为在艺术市场里批评家扮演着一个非常重要的角色。你是否认为批评家能够成为艺术价值的仲裁者？

罗：这是批评家的其中一个职责，就是去分辨艺术的好坏，为艺术赋予意义，为公众解释艺术。但对于艺术的最终评价，我自己并不认为批评家可以完全扮演仲裁的角色。对于艺术的公共价值，我更倾向于建立一个以博物馆为主的完善丰富的艺术体系，因为博物馆系统是一个更为公平来选择优秀艺术家的方式。目前批评家都是自由职业或在学校任教，有一些为画廊工作，就像我为诺地卡工作，因此我的职责是为公众介绍艺术家。有意思的是，有的独立策展人会让他们的学生来替他们写评论文章，这让价值判断变得很暧昧，模棱两可，艺术批评变成了软文。

马：他们让学生写一些漂亮的文章？

罗：是，作为学生参与实践的一种方式。有的艺术家常向我抱怨这样做的批评家，因为其实代笔是很容易识别出来的，质量明显很差。

张晓刚、价格：840万美元

马：你提到博物馆作为更好的选择，但如果有更多的博物馆，会像云南省博物馆那样吗？我最近在那儿看了一个实在很糟糕的展览。

罗：我不是指官方博物馆，我的意思是由企业或个人独立运作的博物馆，买家购买艺术品是为了收藏历史。那些公共机构（企业或机构）从社会盈利，之后又将赚来的钱转换为文化价值返还给社会。这就是博物馆的功能。

马：就是说那种独立大型画廊和私人博物馆。

罗：是的，我们需要不同类型的机构来向公众展示不同的价值。理想的看法是，批评家不应该具备完全的权力。不同的系统反映不同的价值理念，我们需要一个丰富的艺术生态，有商业的、有非营利的、有实验的、有政治的、有宗教的、有古典的、有时尚的、有保守的、有大型的、有小型的、有固定的、有流动的……观众自己去决定什么是好的艺术，或者说在不同的领域里去判断什么是好。

访谈第二部分将于下周发布……

相关文章：

• 2012/05/14 -- 艺术市场能断定价值吗？（下） (0)
• 2009/12/04 -- 讨论价值 (0)
• 2007/07/03 -- 激变中的中国当代艺术 (0)
• 2010/12/23 -- 微言断录017 (0)
• 2010/11/14 -- 胡俊：艺术家永远都应该在旅途上 (0)

View from the auction floor of Sotheby

In 1991, Huang Zhuan participated in an interview for the magazine Art Market. In it, he argued that the creation of an art market in China would establish a relatively fair arena in which artists could compete while also supporting those artists. He further explained that artists are always under pressure (political, religious, social, and economic), and that the test of a true artist is how he or she responds to that pressure.

20 years later, I think many in China would say that the development of the art market didn’t work out quite as well as he predicted. I sat down to discuss his ideas with curator Luo Fei.

Orion: Let’s begin by talking about what happened to the development of the Chinese art market after this interview written. During the 1990s, Chinese art was “discovered” by foreign dealers.

Luo Fei: Yes that’s right. In the 1990’s foreign embassies became important to Chinese artists as alternative sites of exhibition.

Orion: This is the so called “embassy art”?

Luo Fei: Yes. At that time artists had no space to exhibit. Sometimes they would show in embassies or private spaces. Of course, the artists who were able to exhibit in an embassy or a diplomat’s house were those artists who were already discovered and were relatively well known.

Orion: Throughout the 1990s there was more and more attention paid to Chinese art circles, but what about major auction houses like Sotheby’s and Christies? When did they become involve?

Luo Fei: I’m not sure about the specific dates, but the legitimization of 798 was a major turning point because it was a signaled that the government had acknowledged contemporary art. In the beginning 798 was a spontaneous, independently founded community like the Artist’s Loft in Kunming. It was a place where artists and art organizations gathered together and resisted the pressure of urban development. Then in the mid-2000s it was recognized by the government as a cultural center.

Orion: The 2000 Shanghai Biennale was also an important turning point, correct?

Luo Fei: That’s right. I remember reading many art magazines talk about the biennale when before they had never introduced contemporary art.

Orion: Around 2006 the art market really began to heat up. Since then it has cooled a bit, but there was a lot of money invested in the 2000s.

Luo Fei: In Yunnan during 2005 and 2006, the hottest thing was wasn’t the market but Jianghu (a series of experimental exhibitions funded by the Lijiang Studio). After that, the market’s influence on Yunnan became stronger and stronger. Particularly in 2006, many Yunnan artists were invited to display in Shanghai and about 20 or 30 artists participated in an exhibition. Most of the pieces where oil paint, sculpture, installation and photography. One particularly large event was the “New Impulse” exhibition held at the Yuan Gong Fine Arts Gallery. I think this definitely had an influence on Yunnan artists, the chance to go out and exhibit, look at different kinds of exhibition. Through these large exhibitions, artists with commercial value began to filter out. Some good artists sold all their works and began to work closely with galleries.

Personal experience with commercialization was an important learning experience for Yunnan artists. I remember that once when I was installing an exhibition in Shanghai, someone from China Post came and asked if I was willing to print my works on postcards. They wanted to expand the market and its influence by printing these postcards. I remember thinking that there were no China Post officials in Yunnan going to exhibitions and asking about collaboration, and if you went to them they would definitely look at you with indifference. The entire Yunnan market was still clearly very immature.

Zeng Fanzhi, Mask Series 1998, No. 26, Sale price: $2.6 million

Orion: What happened then?

Luo Fei: In those years there were many artists who moved to Beijing or other locations and established studios. Many of their studios were huge, even as big as a gallery, in order to make large works. Some young artists also began to employ small teams of assistants to produce their work. At that time there was really a lot of investment in studios, art production, teams and selling. I did a very simple installation involving a loudspeaker on a six meter long wooden pole that played recordings of the prohibition of violent and grotesque performance art in public spaces. They wanted to take the installation to Shanghai but to move that long piece of wood across the country they had to rent a huge shipping container. Personally, I thought it was unnecessary, I just wanted to do a new art project in Shanghai. But at that time many galleries really didn’t care how much the price was. They wanted to try presenting a grand exhibition. I think that this kind of thing rarely happens today unless you are a very successful artist.

Orion: In your opinion, does the market now establish a “legitimate arena” with “rules of competition”? (terms drawn from Huang Zhuan’s piece)

Luo Fei: First I should say that I’m not in the market. I focus on experimental art. But my friends and teachers who are involved say that the art market is no different than other areas of the economy. In actuality, the Chinese art market is governed by Chinese rules of competition. All of the society’s rules of competition clearly have problems, there are too many unwritten rules and background connections. For example, Bo Xilai’s case is dramatic because there are a lot of things going on behind the official news. Maybe the art market is not as dramatic as the political sphere but it has the same characteristics.

The infamous Bainsbridge vase, a dusty antique discovered in an English home that auctioned for a stunning $85.9 million dollars

Orion: Are you referring to corruption in the art market?

Luo Fei: It’s a bit different but yes, it’s there. In politics we have corruption, but in art circles it is expressed in a different form. For example, if a boss wants to support an artist, he may ask someone to buy their work at a high price in an auction.

Orion: There are reports that during auctions of Chinese works, some organizations will plant buyers in order to push up the prices.

Luo Fei: Yes, it’s a game. In addition, the critics who assess value are also involved. The boss will gather buyers and art critics for dinner. The critic says good things and at the end of the night he/she gets a red envelope (Chinese tradition for passing gifts of money or bribes). It’s good that the critic gets some income but they lose their independence.

Orion: Zhuan sees a very large role for critics in the art market. Do you think critics can be the arbiter of art’s value?

Luo Fei: This is one of the critic’s responsibilities, to distinguish between good and bad, to assign art value, and to publicly interpret art. But as to the value of art, I personally do not believe that critics can act as the final arbiter. In terms of the public value of art, I am more interested in establishing a robust art system based on museums. Museums are a more fair way of selecting outstanding artists. Critics today are all self-employed or teaching at schools. Some work in galleries. I work at TCG Nordica, and therefore my responsibility is to introduce artists to the public. Interestingly, some independent curators will ask their students to write essays for them. This makes evaluations of worth very dubious and ambiguous, turning art criticism into a kind of advertisement.

Orion: They just tell the students to write some nice things?

Luo Fei: Yes, as a kind of practice for the students. Artists often complain to me about critics who do this. You can read the work and recognize that it’s really bad.

Zhang Xiaogang, Bloodline: Big Family No. 1, 1994, Sale price: $8.4 million

Orion: You mentioned that museums are a better alternative, but if there were more museums, wouldn’t they be like the Yunnan Provincial Museum? I recently saw an exhibition there that was absolutely terrible.

Luo Fei: I’m not talking about official museums. I mean those run by companies or independent individuals. In this system, buyers buy the art in order to collect the history. The public institution (whether private or a type of organization) profits from society, and then those profits are translated into cultural value and given to society. This is the function of those museums.

Orion: We’re talking about independent large scale galleries and private museums.

Luo Fei: Yes, we need different kinds of organizations that can show the public there are different values. Ideally, art critics would not have all the power. Different systems would reflect different values. We need a rich art ecosystem with all kinds of organizations including commercial, nonprofit, experimental, government, religious, classical, fashion, conservative, large scale, small scale, stable and mobile. The audience can decide what good art is, or what is good in different areas.

Part 2 will be posted next week.

相关文章：

• 2012/05/14 -- Can The Art Market Judge Value? Discussion With Luo Fei Part 2 (0)
• 2012/03/09 -- The Dao: To Ceaselessly Grow and Multiply (0)
• 2012/02/16 -- The Cell’s Longing: Jonathan Aumen solo exhibition (0)
• 2011/12/02 -- “四季•夏天”云南女性艺术展 (0)
• 2011/12/01 -- “Four Seasons: Summer” Yunnan Female Artist Group Exhibition Interview (0)

一篇十七世纪修女的祷文

神啊，你比我更了解我自己……
求你让我远离那必死的恶习，以为自己凡事都必须加点意见，每个场合都必须说些话。
求你释放我脱离好为人师的欲念，使我设想周到而不唠唠叨叨，乐意助人而不指指点点。我虽以为若不尽用我丰富的智慧，似乎有点可惜；但是，神啊，你知道，到头来，我还是希望身边有几个朋友。
让我不要只顾啰嗦繁琐细节，而能快快把握重点。
我不敢求记忆力有所增递，但当与别人的记忆相抵触时，让我有多一点谦卑和少一点自恃。教导我那宝贵的功课：偶尔我也会记错。
求你赐我在意想不到的地方，能看见美好的事物；在意想不到的人身上，能看见才华。还有，神啊，赐我恩典去告诉他们我在他们身上所看见的。阿门。
李谢纯姬 译

 

A Seventeenth-century Nun’s Prayer

God you know me better than I know myself……

Keep me from the fatal habit of thinking I must say something on every subject and on every occasion. Release me from craving to straighten out everybody’s affairs. Make me thoughtful but not moody; helpful but not bossy. With my vast store of wisdom, it seems a pity not to use it all, but Thou knowest Lord that I want a few friends at the end.
Keep my mind free from the recital of endless details; give me wings to get to the point. Seal my lips on my aches and pains. They are increasing, and love of rehearsing them is becoming sweeter as the years go by. I dare not ask for grace enough to enjoy the tales of others’ pains, but help me to endure them with patience.
I dare not ask for improved memory, but for a growing humility and a lessing cocksureness when my memory seems to clash with the memories of others. Teach me the glorious lesson that occasionally I may be mistaken.
Keep me reasonably sweet; I do not want to be a Saint – some of them are so hard to live with – but a sour old person is one of the crowning works of the devil. Give me the ability to see good things in unexpected places, and talents in unexpected people. And, give me, O Lord, the grace to tell them so.
AMEN

相关文章：

• 2010/06/13 -- 为中国祷告 (0)
• 2010/06/11 -- 信仰的前奏 (1)
• 2010/01/10 -- 回到 (0)
• 2009/07/10 -- 《追寻呼召的探索之旅》读书笔记 (0)
• 2009/06/16 -- 人的尽头才是神的开始 (0)

唐志冈，《草甸》，布面油画，100x73cm，2011年

被采访人：罗菲（以下称L）
采访人：沙玉蓉、杨晓燕、饶刚 （以下统称J）
录音整理：杨晓燕
采访时间：2011年11月26日
采访地点：云南大学老校区

J：如何看云南风景写生现象？
L：感觉这几年特别火，其实风景写生现象在云南艺术家群体身上一直都有。然后近几年频繁的集体写生活动或展览也跟倡导风景写生的主要艺术家在教学中大力推动有关。
风景写生本身是现代艺术里面的一个课题，也是一个很类型化的课题，像歌舞剧、动作片一样它是一个很容易类型化的东西，因此也比较容易进入市场获得认可。云南的风景资源、生态资源和民族资源特别丰富，以风景作为策略和入口，也容易打开一个局面，这是我理解这几年这种写生活动越来越频繁，展览越做越有影响的原因。
这次跟地产相结合，我理解是有意识把云南风景写生的这种艺术样式向主流文化和外界推进。以往这都是学院内部的课题研究，或者艺术家群体自发的活动，而现在试图往主流文化群体和大众推广，以此培养云南本土的收藏群体。

J：风景写生在今天有何价值？
L：有关风景的创作永远是有价值的，只要有人存在的一天它就会有价值。这包括很多方面，首先它促进艺术家和观众了解一个广阔的世界，帮助学生从教室学校很小的活动领域进入更大的领域，在这个过程中我们的艺术素养会得到很大提升，最基本的包括传统课题里的色彩、造型、构图等方面。其次是提高我们的人文素养，发现这个世界并不只是以“我”为中心的世界，还有自然界中丰富的领域和相互关系，这激发我们对人和世界有更多的体会和思考。第三，这是一个环境不断变化，并且总是未知的领域，它促使人们去探索世界的同时，在不同的区域和时代背景下，它要求艺术家保持敏锐和新鲜的眼光去看待艺术，不断调整对所谓“风景”的认知。

J：对云南风景艺术未来的预测。
L：在很长一段时间风景都会是云南艺术家创作的主要土壤之一，并且会影响到艺术家的创作观念。风景写生会使这种地方性的文化样式在当代艺术领域变的越来越重要，并且在公共领域获得欣赏。这是好的一方面，同时也带来思考，就是我们如何在当代环境中创作与风景有关的艺术？我们如何理解风景，如何理解我们所处的环境、社会和景观，我们在艺术上的方法、媒介、思想资源、语言等是否因为“写生经验”而获得推进？如果没有，那么这和唱红歌运动有何区别？

J：你对写生的定义是什么？
L：狭义上它就是对着一个对象画画，通过这个提高手、眼、心在表达上的一致性和绘画的功夫。广义上讲，它是认识世界和自我的一个方法，从早期现代主义研究色彩、空气、光、空间，到后来表现主义表达自己的感受和存在感。那么在今天，我们面对世界和自然的方法及语言还可以更丰富，我们与自然的关系也发生了改变，从恐惧到掠夺到保护到欣赏——或者我们一直处于这几种关系的矛盾中。并且我们对自然的定义也在改变，它进入到都市，以公园或别墅区的样式存在，或者被纳入旅游行业和地产行业。因此我觉得今天的艺术家不能只是将自然当作一个不变的诗意标本来描绘，一种疏离的恒定关系，而是将自然、景观、社会当作我们共同进入的一个场景、一个剧场，来重新理解我们与自然的关系。并且敏锐嗅到其中不对劲的地方。

段玉海，《文革遗梦》，布面油画，73x100cm，2011年

J：风景绘画为何会在这段时间活跃起来？
L：这与本地艺术家、策展人的努力有密切联系。他们将传统教学课题转换为当代艺术在地方上的经验，策展人又将这个过程带入社会。

J：风景写生在今天的美术专业教育中的意义是什么？
L：前面基本回答了这个问题。那么在艺术教育中，我觉得除了艺术素养和能力的提升，还亟待提高学生们的综合人文素养，认识到世界的丰富，思考人存在是为了什么，人是不是能够征服世界，一切是不是就是以人为中心，人又是如何从自然进入都市，都市怎样与自然互动……以前的哲学家、作家、艺术家、建筑师、园丁又如何看这些问题。这是教育里比较缺少的一部分，我们比较注重写生实践，而忽略了作为人类宝贵遗产的思想和知识，就像忽略了土壤而追求产量一样。

J：怎么看老艺术家稳重的风格与年轻艺术家个性明显的这种现象？
L：不同时代的艺术家对艺术的理解肯定是不同的，上一代艺术家更忠实于风景本身，艺术是一种再现现实的手段。而年轻艺术家更忠实于自己的感受和表现力，对形成自己个人化语言感到更迫切。

J：在今天全球化的背景下风景艺术有那些不同于过去的新趋势？
L：全球化过程中的都市化过程会改变人们对风景的认识，以及认识方法。比如数字技术、互联网、交通工具、语言、甚至各地区有关自然和动物的法律都会形成全新的我们对自然的认识，这也带来许多艺术创作上新的可能性。
而传统风景绘画会因为忽略环境的改变，容易变得越来越伪善，越来越自我陶醉，最终像云南的重彩画或大众书法一样，缺乏与当代生活互动的活力。

J：风景写生活动如何植入艺术地产项目，有哪些可能性？
L：其实地产项目对风景、人体、肖像等传统绘画是相当兼容的，彼此间基本不具有排他性（重口味除外）。我觉得这里不存在艺术上如何植入的问题，就像可口可乐如何植入春晚，这是问题吗？不就是看双方怎么谈，什么时候出现，出现在哪儿，完了利益怎么分配。但传统风景写生传统要如何转换为艺术在当代的可能性，这才是真正的问题，比如风景写生如何植入城中村改造、如何植入圆通山动物园搬迁、如何植入心灵治愈、如何植入地铁站、如何植入电子设备……可能性其实还是很多。

相关文章：

• 2008/01/28 -- 关于风景的对话 (0)
• 2011/11/18 -- 艺术与地产、写生与造境 (0)
• 2011/11/13 -- 风景艺术 (0)
• 2012/03/28 -- 山景•各从其类 (0)
• 2011/11/23 -- 访谈：孙国娟与雷燕 (0)

诚挚的情感和圣灵的感动是可以通过艺术来传递的。

文／撒把盐
本文刊于《海外校园》第一一二期（2012-04）

自2005年国庆节我信主以後，生命不由自己“掌控”地发生著转变。很长一段时间，感觉自己像个孩子，初次来到这个世界，甚至要重新学习如何待人接物，重新学习如何对待自己。

作爲艺术家，我的艺术和生命一样，突然间有些不知所措，不知道什麽作品该做，什麽作品不该做；什麽艺术是讨神喜悦的，什麽不是。很想用艺术表达刚刚领受的信仰，却不知该怎麽表达……

平凡又非凡

同年圣诞，我在丽江农村参加一个工作坊活动，要就地取材创作作品。我冥思苦想好些天，都无结果，一个人坐在冷飕飕的院坝里烤火发楞，像个难産的妇人。我一边读著圣经，一边祈祷，一边等待灵感，期盼灵光乍现的奇迹发生。

这种期盼有点像小时候，初学画画时四处搜寻摹本的那份焦急。我自幼喜爱画画，那时没什麽啓蒙老师，基本靠自学，自学最好的办法就是临摹，找出小人书、漫画书，照著上面一笔一笔地琢磨著画，画完一本换一本。当你想画得更棒，却找不到一张让你兴奋地尖叫，以至于恨不得把它临摹下的图画时，那种感觉是很失落的。

我只能快速地翻阅圣经，找那种既出彩又奇怪的行爲记录，比如先知们具有特殊含义的举动等。但又觉得自己还不能完全懂得，也就把握不住，况且当地观衆也无法进入犹太先知的语境。

後来，我读到耶稣爲门徒洗脚的段落，立刻爲之吸引，心里被耶稣所做的深深打动，感到这是可以尝试的。于是，就有了在农村院坝里爲农民洗脚这个行爲艺术的念头。这个念头一産生，我就兴奋极了，基督徒不就是要成爲耶稣的样式吗？我终于看到一扇门打开了。

第二天，我跑去市场上购买了盆、消毒水、香皂、润肤膏、和几十条毛巾。

预备材料的同时，我开始考虑这样的行爲艺术重点应该倾向于什麽？

一般行爲艺术都是以怪诞吓人著称，我想这件作品应该农民也能看懂，应该具有亲和力，一种既平凡又非凡的行动。我相信，诚挚的情感和圣灵的感动，是可以通过艺术来传递的，这应该是基督徒艺术家创作与其它艺术家创作不一样的地方。

在中国农村洗脚

平安夜的日子，早晨8点多，院子里装修房子的一队农民工就要准备回家。我赶去邀请他们来洗脚，他们个个都腼腆不好意思，不善言辞，只是笑眯眯地推让著。後来我找到他们的包工头张师傅，我说你们回家坐长途客车需要好几个小时，天又冷，来泡泡脚吧，免得坐车冻得慌。张师傅半推半就地答应了，他算是给大夥儿表了个态，其它农民工就都踊跃参与，个个受宠若惊的样子。

大冬天，院子里升著炉子现烧水，一壶一壶地烧，灌满几个热水瓶。可冷水得从隔壁院子的井里打来，得拎著大桶不断去提水。我给他们脱袜子、泡脚、洗脚、涂上润肤膏、按摩，和他们聊家常，也分享圣诞节的来历和含义。给他们洗完之後，他们很高兴，一起合影留念，然後才依依不舍地告别。

之後，我在田边碰到一位纳西族老太太，也邀请她来洗脚，她也是推让半天，後来还是来了。我和她聊天，她特别激动，跟我谈家里和村子里的许多事。最後，她突然说∶“这才是真正的爲人民服务嘛！”—这话让我著实感到意外！

毛曾在1942年延安文艺座谈会上说，文艺应当“爲千千万万劳动人民服务”，包括工农兵和城市小资産阶级，劳动群衆和知识分子。然而有多少农民、工人真正体会到被艺术服务，这是很难说清的。他们被描绘的红光满面、喜乐融融、英勇神武的样子，但那都是被塑造拔高後的宣传形象，而非他们自己。如今在这七十多岁的纳西老妪口里听到这话，可见“艺术爲人民服务”的理念在中华大地上深得人心。

她又说∶“我儿子都三十几岁了，从来没有给我洗过一次脚，今天一个省城里来的大学生来爲我洗脚，感到特别荣幸┅┅”她以爲我是个大学生，因爲看上去像个读书人。于是，她把这个消息传遍了村子，好些妇人跑来排队洗脚，有的还抱著孩子。她们走的时候问∶“你明天还洗吗？”她们想邀请更多的人来。

那是头一次爲人洗脚。从他们被“服务”之後的满足感，我也得到了很大的鼓励。

在西方美术馆洗脚

2007年，我去瑞典伍德瓦拉小城的博物馆，参加中国当代艺术的一个展览开幕式，又一次爲观衆洗脚。

当然，在粗糙的中国农村和精致的西方美术馆洗脚，感受和反应是完全不一样的。我准备了一苹壶和一个盆，都是当地19世纪初家庭里常用来洗脚盛水的工具，非常别致漂亮。

如今现代盥洗室很方便，瑞典人早已不用盆子洗脚了，洗脚盆都不易买到。而专门洗脚这事儿，在瑞典只有高收入阶层才能享受，因此一个中国移民看到我洗脚，兴奋地说∶“你应该来瑞典开洗脚店，一定发财！他们从未受过这种待遇！”

开幕式上，总共有6名观衆参与了这个互动表演。我与他们攀谈，了解他们的感受。西方人幷不像中国人那样近距离积极参与这类奇怪的事情，他们总是保持一定的安全距离，观察、欣赏、琢磨。当然，也是因爲开幕式上很多人都穿著礼服，脱鞋洗脚是有点尴尬。

有意思的是，当我正在爲一位观衆洗脚时，一名智障男孩朝我走来，猫下腰使劲搂著我的脖子，一点不松手。我有些紧张，甚至害怕，我不知道是不是我的行爲艺术导致了他的愤怒？
这时，他父亲走过来笑眯眯地对我说∶“他喜欢你”。我感到十分荣幸，便邀请爲他洗脚。虽然他不能用语言表达，身体也十分不便，但他显得相当兴奋欢喜。洗脚的时候，他一直吹著欢快的口哨，不时用手轻轻抚摸我的头，欢欣的笑著。那一刻，有一种奇妙的感觉降临∶我是在爲耶稣洗脚！这个想法太突然，也太真实了！我感到莫大的荣耀和快乐！这是一个应许∶做在一个最小的弟兄身上，就是做在主身上。

洗脚的行爲艺术做过几次，如今回想起来，我深知这都是一次次的临摹，就像儿时学画一样。在这个过程中，体会到突破创作时的艰难，也体会到主亲自的带领∶就是艺术需要通过信仰来更新，生命重生，艺术也要重生。

当代艺术不应总是唬人的或高深莫测的，也可以简朴的方式“爲人民服务”。当信仰通过行爲艺术来表达时，我看到这比说出来的字句更有感染力和创造力。更何况，我所临摹的这个范本及其作者，是生命和创造的源头。

2012年1月22日

相关文章：

• 2010/08/20 -- 回家：我的信仰见证 (9)
• 2009/12/14 -- 那年圣诞，第一次为人洗脚 (0)
• 2009/08/29 -- 谈洗脚与圣艺术 (0)
• 2006/09/12 -- 别样的圣像艺术 (0)
• 2012/03/08 -- 由雷锋陈的模仿秀想到 (1)

入口处是用一块板子堵住的，那块板子其实是04年瑞典艺术家丹做的乒乓球台。

尽管毁坏十分严重，不过还是可以找到许多有意思的痕迹

中间一间烧得最惨烈，看得出来这里曾堆放了许多画作，还有生活的痕迹，单人床、沙发、茶具、画框、画架等等。

烧得像铜一样的茶具，尚未来得及收拾

焦黑的屋子里，颜料仍然十分显眼

胡俊的画作，画布上的素描稿已经完成，背景铺了些粉红色，没来及继续。

在这些屋子里除了画作，另一个常见的东西就是各类杂志报纸。“什么东西没变？” 真是个好问题！一场火灾之后，是否有什么东西没变呢？或者，是什么变了呢？也许正是我要进来搜寻的蛛丝马迹。

窗外，依旧阳光明媚。美丽的橙色厂区房子，和蔚蓝色的羽毛球馆屋顶

相关文章：

• 2011/11/30 -- 昆明创库着火了（图片+视频） (0)
• 2012/05/10 -- 访问刘丽娟工作室 (0)
• 2012/01/18 -- 对话加里森：艺术家的工作就应该给社会充电！ (0)
• 2010/11/14 -- 胡俊：艺术家永远都应该在旅途上 (0)
• 2010/05/10 -- 采访和丽斌 (0)

生日当天收到Nina送我的良好市民证，颇感意外+惊喜！

已经想不起来上一回过生日是什么时候了，记忆中很少过生日。但三十岁时，要记念，要庆祝，因为我已明白记念的迫切，和庆祝的理由。

孔子三十而立。如今三十，我想我也可以说，已经找到了作人做事处世的道理，不变了确定了——谓之立。不止做人做事处世的道理，就是生命的盼望、喜乐、幸福和永恒，我都找着了，不变了。不只是道理，还有生命本身。更准确地说，是我被它们的主人找着了，在我还二十三岁的时候。因此可以说，吾二十有三而志于信，三十而立。

今一大早收到一条短信：“在你生日之际，当记念造你的主，祝你生日快乐！”这是引用《旧约·传道书》12章1节的内容：“你趁着年幼、衰败的日子尚未来到，就是你所说，我毫无喜乐的那些年日未曾临近之先，当记念造你的主”。这才深深体会到，我这一刻和过去三十年所领受所拥有的一切都是来自爱我的上帝：妻子、两个女儿、父母、朋友、健康、平安、工作、知识、智慧、技能、快乐、品格、挫折、每一口气息，以及无数次被完全地饶恕接纳，无数次灰心后被激励，无数次绝望后又看到希望，无数次祷告蒙应允。

许多朋友都说，你才三十岁啊——这么年轻！我也感到十分惊讶，我才三十岁啊——这么丰盛！我实在惊叹我这样一个先天不足（早产一个多月）又后天悖逆愚钝的人竟蒙如此丰盛的祝福！我深深知道，这丰盛根本是我所不配的。我不过是个罪人。

我很高兴今天可以写下这些凌乱的文字，以此记念我在世上所度过的年日，和一直保守带领我的主。

遗憾不能像结婚那样隆重吆喝所有的朋友们欢聚，今以拙文作酒，与诸位干杯，祝福大家在人生旅途中领受得比我更丰盛！

最后送上一首歌赞美诗《这一生最美的祝福》

相关文章：

• 2010/03/29 -- 28 (0)
• 2009/07/01 -- 入殓师 (0)
• 2009/06/25 -- 恩子 (0)