Qiu Zhijie

Galerie Loft, Paris

Acquired from the above by the present owner

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巴黎，Loft畫廊

現藏者購自上述來源

Chang Tsong-Zung and Michel Nuridsany, Eds., Made by Chinese, Paris 2001, p.113 (ed. no. unknown)

Britta Erickson, Ed., On The Edge: Contemporary Chinese Artists Encounter The West, Stanford 2003, p. 78 (ed. no. unknown)

Anne Lemonnier, Ed., Alors, la Chine?, Paris 2003, p. 290 (ed. no. unknown)

Jean Marc Decrop and Christine Buci-Glucksmann, Eds., Modernités Chinoises, France 2003, p. 31, illustrated in colour and cover (ed. no. unknown)

Boers Waling, Ed., Touching The Stones - China Art Today, Köln 2006, p. 151 (ed. no. unknown)

Lu Peng, et al., Qiu Zhijie, Sichuan 2007, p. 648, illustrated in colour (ed. no. unknown)

Uta Grosenick and Caspar H. Schubbe, Eds., China Art Book: The 80 Most Renowned Chinese Artists, Cologne 2007, p. 312 (ed. no. unknown)

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張頌仁與Michel Nuridsany編著，《中國製造》（巴黎，2001年），頁113，版數不詳

Britta Erickson編著，《On The Edge: Contemporary Chinese Artists Encounter The West》（史丹佛，2003年）頁78，版數不詳

Anne Lemonnier編著，《Alors, la Chine?》（巴黎，2003年），頁290，版數不詳

Jean Marc Decrop與Christine Buci-Glucksmann編著，《Modernités Chinoises》（法國，2003年），頁31，載彩圖及封面，版數不詳

Boers Waling編著，《Touching The Stones - China Art Today》（科隆，2006年），頁151，版數不詳

呂澎等編著，《邱志傑》（四川，2007年），頁648，載彩圖，版數不詳

Uta Grosenick與Caspar H. Schubbe編著，《China Art Book: The 80 Most Renowned Chinese Artists》（科隆，2007年），頁312，版數不詳

Chicago, The David and Alfred Smart Museum of Art at the University of Chicago; Eugene, University of Oregon Museum of Art; Hanover, Hood Museum of Art at Dartmouth College, Transience - Chinese Experimental Art at the End of the Twentieth Century, 1999, p.169 and back cover (ed. no. unknown)

Paris, Espace Cardin, Paris-Pékin, October 2002, p.157 (ed. no. unknown)

São Paulo, Museu de Arte de Brasília, China - Contemporary Art, 2002, p.177 (ed. no. unknown)

Béziers, Espace Culturel Paul Riquet, Et Moi, Et Moi Et Moi...Portraits Chinois, Jun- July 2004, pp. 3, 4, 38 (ed. no. unknown)

Beijing, UCCA Center for Contemporary Art, Our Future, 2008, p. 107

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芝加哥，芝加哥大學斯馬特美術館；尤金，俄勒岡大學美術博物館；漢諾威， 達特茅斯學院胡德美術館，「Transience - Chinese Experimental Art at the End of the Twentieth Century」，1999年，頁169及背封面，版數不詳

巴黎，Espace Cardin，「Paris-Pékin」，2002年10月，頁157，版數不詳

聖保羅，Museu de Arte de Brasília，「China - Contemporary Art」，2002年，頁177，版數不詳

貝濟耶，Espace Culturel Paul Riquet，「Et Moi, Et Moi Et Moi...Portraits Chinois」，2004年6月至7月，頁3，4，38，版數不詳

北京，尤倫斯當代藝術中心，「 我們的未來」，2008年，頁107

A protean multi-media artist, Qiu Zhijie uses photography to stage his own body in his work, covering it with nails or appearing to inoculate various body parts with multicoloured syringes. In Tattoo II, arguably the most famous work from the series and a true icon of Chinese contemporary art, the red character painted on his chest and covering his mouth can be read as “No, you must not”. The word is not layered on top of the image, but instead was painted on his body and the wall, as if prohibition is holding him back against the wall and keeping him tied in place. Qiu has explained the work has a variety of meanings, from harassment to fighting against adversity. It is also a symbol of a generation of artists that are trying to exist in the art world and in society, but who are constantly being constrained.

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邱志杰是一位風格多變的藝術家，跨越多種媒界創作，例如在攝影作品中展露自己的身體、或以指甲鋪在身上，或以彩色針劑在身體各部位進行注射。《紋身 II》可謂整個系列中最著名的作品，也是真正的中國當代藝術代表作——邱志杰胸前塗上的紅色大字同時遮住他的嘴巴，彷彿高呼著「不，您不准」。這個「不」字並非以圖像方式疊加，而是直接畫在他身上和牆上，彷彿一道禁令將他捆綁在牆上，將他禁錮在原地。邱志杰解釋，這件作品蘊含各種不同意涵，可以解讀為被騷擾、被欺凌，甚至與逆境抗爭。作品也象徵著一整代藝術家，他們極力在藝術界和社會中求存，卻又無時無刻受到束縛制肘。