Song Dong

Acquired directly from the artist by the present owner

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現藏者直接購自藝術家本人

Wu Hung, Ed., Transience – Chinese Experimental Art at the End of the Twentieth Century, Chicago 1999, p. 54, 59

Exh. Cat., Paris, Espace Cardin, Paris-Pékin, October 2002, p. 173, illustrated (ed. no. unknown)

Wu Hung, Ed., Song Dong and Yin Xiuzhen: Chopsticks, New York 2002, pp. 16-17, 20-21 (ed. no. unknown)

Jean Marc Decrop and Christine Buci-Glucksmann Eds., Modernités Chinoises, France 2003, p. 74, illustrated (ed. no. unknown)

Bernhard Fibicher and Matthias Frehner, Eds., Mahjong: Contemporary Chinese Art from the Sigg Collection, Ostfildern-Ruit 2005, p. 105, illustrated (ed. no. unknown)

Wu Hung, Art and Exhibition: Wu Hung on Contemporary Chinese Art, Guangzhou 2005, p. 58 (ed. no. unknown)

Uta Grosenick and Caspar H. Schübbe, Eds., China Art Book, Cologne 2007, p. 360 (ed. no. unknown)

Claudia Albertini, Ed., Avatars and Antiheroes: A Guide to Contemporary Chinese Artists, Tokyo 2008, p. 97 (ed. no. unknown)

Lu Peng, Ed., A History of Art in Twentieth-Century China, Revised Edition, Beijing 2009, p. 910, illustrated (ed. no. unknown)

Silvia Fok, Ed., Performance Art in China: Site and the Body, Taipei 2010, p. 95 (ed. no. unknown)

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巫鴻編著，《Transience – Chinese Experimental Art at the End of the Twentieth Century》（芝加哥，1999），頁54，59

巴黎，Espace Cardin，《Paris-Pékin》展覽圖錄，2002年10月，頁173，載圖，版數不詳

巫鴻編著，《筷子：宋冬，尹秀珍》（紐約，2002年），頁16至17及20至21，版數不詳

Jean Marc Decrop與Christine Buci-Glucksmann編著，《Modernités Chinoises》（法國，2003年），頁74，載圖，版數不詳

Bernhard Fibicher與Matthias Frehner編，《Mahjong: Contemporary Chinese Art from the Sigg Collection》（奧斯特菲爾登－Ruit，2005年），頁105，載圖，版數不詳

巫鴻著，《作品與展場：巫鴻論中國當代藝術》（廣州，2005年），頁58，版數不詳

Uta Grosenick，Caspar H. Schübbe編著，《中國當代藝術》（科隆，2007年），頁360，版數不詳

Claudia Albertini編著，《Avatars and Antiheroes: A Guide to Contemporary Chinese Artists》（東京，2008年），頁97，版數不詳

呂澎編著，《20世紀中國藝術史》修訂版（北京，2009年）頁910，載圖，版數不詳

霍少霞編著，《中國行為藝術：身體與場域》（台北，2010年），頁95，版數不詳

New York, International Center of Photography, Between Past and Future: New Photography and Video from China, 2004, pp. 70-71 (ed. no. unknown)

New York, Museum of Modern Art, 207 Before and After Tiananmen: Collection 1970s - Present, 2019 - 2020 (ed. no. unknown)

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紐約，國際攝影中心， 「Between Past and Future: New Photography and Video from China」，2004年6月至9月，頁70至71，版數不詳

紐約，現代藝術博物館， 「207 Before and After Tiananmen: Collection 1970s-Present」，2019年至2020年，版數不詳

Breathing documents a performance by Song Dong in January 1996, in which the artist lies down on the ground of Tiananmen Square (Part One) and the frozen surface of Lake Houhai, Beijing (Part Two), in freezing conditions. With photos taken by his wife and artist Yin Xiuzhen, the work is an archetypal example from the artist’s oeuvre and now belongs in the permanent collections of significant institutions such as the Museum of Modern Art (MOMA) in New York and Hong Kong’s M+, where it is currently exhibited. The work has also been included in significant international exhibitions, including 207 Before and After Tiananmen: Collection 1970s-Present at MOMA in New York (2019-2020). Originally accompanied by a cassette tape recording the breath of the artist, these photographs are strong illustrations of the spirit of resistance—night and day—in the face of adversity and challenging environments, exemplified by the extreme cold at the time of Song’s performance. Lying on the ground of Tiananmen Square in sub-zero temperatures, Song breathed on the floor for fourty minutes, creating a thin layer of ice on the area under his mouth. There were four audience members of this performance—his wife and three soldiers from the People’s Liberation Army. The next morning, Song Dong continued his performance at the Houhai Lake in Beijing’s city centre. This time the lake remained completely unaffected. In this way, the artist interrogates the impact an individual has in a political environment, as symbolised by Tiananmen Square, in comparison to the impact one has in nature.

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《哈氣》記錄了宋冬1996年1月進行的行為表演，藝術家俯身趴在天安門廣場的地上（第一張）及北京後海冰封的湖面上（第二張），在嚴寒中完成作品。此作是宋冬最具代表性的作品之一，照片由他的妻子兼同為藝術家的尹秀珍拍攝，現為多間知名機構的永久藏品，如紐約現代藝術博物館，以及目前正展出本作的香港M+。作品亦獲納入多個重要的國際展覽，包括紐約現代藝術博物館所舉行的《207天安門事件前後：1970年代至今藏品》（2019至2020年）。兩張照片加上一盒錄音帶，將整個藝術過程記錄下來，其時冰天雪地，深刻呈現了艱鉅環境中不分晝夜、堅持不懈的反抗精神。宋冬在氣溫攝氏零下的天安門廣場俯臥了四十分鐘，臉朝地面不斷哈氣，使地面凝結成一層薄薄的冰。當時在場的觀眾一共四人：他的妻子和三名人民解放軍。翌日清晨，宋冬來到北京市中心的後海重複以上行為，卻絲毫沒有為冰封的後海帶來改變。藉此，藝術家探問了個人對政治環境以及大自然所能帶來的影響。