詩：絕望中的期望
我無法猜測當一枚躺在大地上的時候，看到些什么？……以至于讓她一直不停地在不同的地方，非常自然地選擇“橫陳玉體”的動作。
作為詩人的一枚，窺探這個世界的方式，肯定與一般藝術家的視角是不同，或許，她覺得這個世界比例，既然是為直立的人體所設計的，那么，躺在地面上一定可以看到不同的世界。
這一動作的改變，不僅讓一枚竊喜不已，也讓她的關照者逐漸產生了興趣，一個橫躺的身體，對于這個世界的人物關系發生了改變——這是一種溫和的改變，不是騷亂的改變。如果是一個熟諳美術史的女性藝術家，一定會采取的是人體方式，而不是身體方式。在這里，身體與人體的區別，前者秉持了社會學的立場，也就是著衣的身份聯系；而后者則是脫略了社會學征兆，將服裝褪去。——挑釁大眾，引起騷亂，繼而重審期間的關系，這無疑是一位當代藝術家的獲取問題的基本邏輯起點。
一枚的躺在大地上，其實還是對于一種詩義的姿態。作為詩人的身份，在當代社會之中的尷尬可想而知。通常是無法發出聲音，發出聲音無人傾聽，即使有人傾聽，也會被喧嘩的噪音所吞噬。詩要孤，畫要靜，這是生活在詩的國度了，古人對于詩與畫境界的一個基本的描述。詩的“孤”，意味著一個獨特的體驗，方可稱之為是詩；“畫”注定是對于世界的旁觀，而不被其干預也不去干預。
一枚的詩，是極其個人化的體驗的、有關句式的河流，其實，內容也許不再重要，在這個圖像的世界里，一枚放棄了讓人們理解其詩義的初衷，她開始了讀詩的行為——給她遇到的所有的事物與對象去讀詩。
2019年7月29日，一枚駐留上苑藝術館，來到了我的工作室，為我——一個藝術家及其我面前的一幅石頭長卷，開始讀詩行為。頭戴花冠的一枚，開始了抑揚頓挫的讀詩行為——一連串的字句從她的雙唇之中，囁喏地流出，灑滿了一地。我沒有任何想窺探真相的欲望，一枚似乎也不關心我是否在傾聽她的詩義。空曠的房間里，只有墻壁上布滿塵土的北齊書法大師僧安道壹“大空王佛”拓片，在聲音的氣流中偶爾抖動，還有長幾對面的兩個人。
我坐在一枚的對面，雙手相合，思緒萬千，“詩”在這里真的已經成為一個借口，一種名義，一種失去了魂靈的軀殼，一種無力的召喚，一種沒有內容的儀式……。最后通過手機紀錄下來的只剩下了一種貌似神圣的圖像。
詩歌最終在一枚這里變成了圖像，這是一枚的聰敏，卻是詩歌的葬禮。因為聰敏的一枚知道，如果說在納粹時代“奧斯維辛集中營之后寫詩是可恥的”，那么，在圖像的消費時代，——寫詩就是一種孤獨的疾病，它非但不能治療孤獨，反而成為侵蝕你生命的病毒。詩在當下，已經被抽離了情感，只剩下了“欲望與靈魂”，前者因為可以隨意揮灑而廉價，后者需神性的觸摸而變得遙不可及。
回首上苑，一枚躺在眾生之下，并不是世界傾斜的浪漫，而是意味著詩人的絕望；一枚的讀詩行為，則是對于絕望的祭奠——盡管絕望，對于絕望的描述與紀錄，卻可以讓我們窺見其中潛伏的期望。
沙丘張強
2019-08-18 于巴渝泓月丘十二云石閣
（張強：兩江學者、四川美院教授、英國溫切斯特藝術學院榮譽教授。著有《張強藝術學體系》四十卷（文化藝術出版社））
Poetry: Expectations in Despair
I can’t guess what Yimei has seen when she is lying on the land…so that she has been constantly, in different places, very naturally chosen the action of "Display of Beautiful Nude Lain Down".
As a poet, the way to see the world must be different from the perspective of ordinary artists. Perhaps, she thinks that the proportion of the world is designed for the upright human body, so lying on the ground could enable her to see different worlds.
The change of this action not only makes Yimei delighted, but also makes her caregivers interested gradually. A lying body has changed the relationship between the characters in the world -- it is a gentle change, not a turbulent change. If a female artist is familiar with art history, she will be certain to adopt the human figure style, not the body style. Here, the difference between the body and figure is that the former holds the position of sociology, that is, the identity relation of clothes, while the latter takes off the symptoms of sociology and fades clothes. -- It is undoubtedly a basic logical starting point for contemporary artists to provoke the public, cause disturbances and then re-examine the relationship between them.
Yimei is lying on the land, in fact, for a poetic posture. As a poet, the embarrassment in contemporary society can be imagined. Usually no sound can be made, no one listens to it, even if someone listens, it will be engulfed by the noise. Poetry should be lonely and painting should be quiet. This is a basic description of the realm of poetry and painting by the ancients who lived in the country of poetry. The "loneliness" of poetry means a unique experience, which can only be called poetry; "painting" is doomed to be a spectator of the world without its intervention or intervening it.
Yimei’s poetry is a river of extremely personal experience and related sentence structures. In fact, the content may no longer be important. In this image world, Yimei abandons the original intention of letting people understand her poems. She begins her poetry reading performance -- to read poems for all the things and objects she meets.
On July 29, 2019, as a resident artist in Shangyuan Art Museum, Yimei came to my studio and began to read poems for me, an artist and for a long roll of stone painting in front of me. Yimei with the crown on her head began to read poems in a cadence, a series of words and sentences flowing out of her lips and sprinkled all over the place. I didn’t have any desire to pry into the truth, nor did Yimei seem to care if I was listening to her poem. In the empty room, only the rubbing of An Dao Yi, a great monk calligrapher of the Northern Qi Dynasty, which was covered with dust on the wall, occasionally trembled in the air of the voice, and there were two people across the long narrow table.
I sat opposite Yimei, with my hands matched and my thoughts varied. Poetry here has really become an excuse, a name, a body without a soul, a weak call, a ritual without content...Finally, only a seemingly sacred image was recorded by mobile phone.
Poetry eventually becomes an image here with Yimei. It’s a smart and perceptive Yimei, but it’s a funeral of poetry. Because the smart and perceptive Yimei knows that if “Writing poetry after Auschwitz Concentration Camp is shameful” in the Nazi era, writing poetry is a lonely disease in the age of image consumption. It cannot cure loneliness, instead it becomes a virus that erodes your life. Poetry at present has been separated from emotions, leaving only "desire and soul", the former becomes cheap because it can be freely sprinkled, the latter needs divine touch and grows remote.
A look back at Shangyuan: Yimei’s lying under all living beings is not the world’s inclined romance, but the poet’s despair. Her poetry reading performance, so to speak, is a memorial to despair -- although despair, the description and record of despair can let us see the hidden expectations.
Zhang Qiang
Twelve Dolomite Chamber, Hongyueqiu, Chongqing
August 18, 2019
(About the author Zhang Qiang: Two Rivers Scholar, professor of Sichuan Academy of Fine Arts，Honorary professor of UK Winchester School of Art, author of Zhang Qiang Art System in 40 volumes.)
