我望著山，山很大，像一個怪物，我顯得那么的小。我走近那山時，山與我之間的距離漸漸消失。它在我面前不再是巨大的怪物。而成為引導我向上攀爬的一個高地。之前我與山之間有距離時腦海里所刻下來的那些形狀開始消失，由周圍各種物象（天空，云霧，森林，光線，影像）所組成的結構也開始消失。此刻我感覺到身體里有一股強烈跳動著的力量要我走上去。

　　在山頂之上，空間環境再次變換。從高處我能一覽無余，四周豁然開朗。此刻我站在山頂，感受到的已不再是之前我在山下看到的山頂。

　　空間的變化不完全是因為我在移動，也是由于層次光線色彩能量聲音等質與量的變換所造成。

距離的視覺語言：

　　面對不同距離的經歷使我意識到，因為我的身體在動而進入不定的視覺語言域場，比如形狀和結構。視覺語言讓我同時經歷了尺寸（我的身體與山的距離），時間和力量的變化。隨著我從山底登上山頂的過程，周圍的景象不斷地魔術般的改變。光線也在變，我的情緒也在變，聲音也變得敏感，使我好像可以用自己的耳朵去看聲音。在山頂的那一刻，我又體驗到變幻的視覺語言產生完全不同的影像。

軀體結構的牢籠：

　　距離不再把我局限在一個視覺范圍里。距離教會我任由我的想象力自由的活動，包括走出我自己的軀體。

　　通過經歷這種距離的游戲，我清晰地感受到超越軀體自身的認知，如何在不受軀體主宰的情況下去體驗視覺語言。在我登山時，每次當我回到我的軀體中，整個文化的體量跟著構成我的軀體時（我的軀體似乎是我一直背著到處游走的有價值的機器），我意識到的是我心臟的跳動，我的呼吸，漸漸僵硬的肌肉和血脈，汗水，以及我的軀體里正在進行的生理活動。身體和心理的反應使我的軀體像空間的牢籠，替代了我周圍的視覺符號。我的軀體與我經歷的視覺語言產生對抗。

　　當我任由自己的軀體融入視覺語言的體認時，要想讓自己去思考距離與空間，那么人，比如人的穿著以及構成人的一切世俗價值，是必須放下的牢籠。

　　意識到距離游戲的存在，帶著一股真誠讓自己的軀體脫離其本質上的結構以及構成軀體的價值。這樣的真誠是重要的，讓我的軀體純凈的經歷周圍在不斷變化的視覺語言。

蘭正輝的藝術世界：

　　蘭正輝處理視覺上的手法，大概就像以上所寫的那種距離的變化。

　　蘭正輝的作品，像一個長久的承諾，在看距離方面給予一種新的清新感。就好象有某些東西掉下來“震動”我們腳踏的地方。天空好像一道透明的墻降下來。散開的線條同時構成縱向和橫向的雨。許多大大小小的方塊在地心引力中飛舞。尺寸與體量構成了面，層次的游戲構成空間，成為視覺上的狂歡。

　　許多大的方塊（蘭大幅的作品）或許多歡樂的小方塊在四周切割著，使畫的尺寸變得如此的刺激。歡樂，哭泣與叫喊使我們感悟到我們回到了我們基本的人性，這一切在我們的軀體與距離相遇產生明顯的視覺語言的經歷當中，使我們的世界再度的清新起來。蘭正輝說：“透過藝術作品，我希望能獲得純凈的氣氛，一股好像狂風暴雨的力量，以抖擻的精神使世界變得清新。”

　　在這種自由開放看距離的視覺處理手法中，距離不再是它本身的存在，而是解讀我們四周視覺結構與方位的手段，也可作為解讀塑造我們各種價值的方法。蘭正輝的信念就是藝術家必須擁有根（思想的，意念的，情感的），并對自身施行紀律以及嚴格的批判意識。藝術家的努力不同于工廠的工作，只是施行已經試驗過并肯定的配方。他認為，從藝術家付出努力的全部工作中，所產生出來的好作品其實只有少數，其余的都是垃圾。但是在這個信念中也有一種動力使人脫去所謂的傳統/意識形態和技術的“奴役”。藝術家必須透過他自己的自由重新找到傳統。

　　“所有以任何價值為名義的一切奴役的框架必須送上絞架”。同樣的看法使人無論男女都不受束縛，或心靈凝固來限制人進入他自己的生命。

墨與紙漿：

　　蘭正輝于1985年開始跨入中國現當代藝術的領域，與他同時代的人對當局予以批判而產生政治上的改變，自此，蘭正輝被視為探索現當代藝術運動中的中國先鋒藝術家之一。他1985年的作品“新出土的不可譯的公元前拍給公元后的加急電報”視為他被列入中國現當代藝術家的里程碑。在他后來的探索中，他采取與流行的中國當代藝術家不同的途徑和策略，就是回到墨與宣紙，而與他同時代的藝術家大部分則涌向數據媒介與觀念設計。北京中央美術美院教授鄒躍進認為蘭正輝的體量水墨在中國當代水墨畫中處于領先地位。

墨的旅程：

　　蘭正輝于2001年在廣州開始他的大水墨繪畫，2004年夏天他把畫室移到安徽省的一個小城，繼續對大紙濃墨的書寫做進一步的推進，這個探索到2006年更成熟了。墨與宣紙與中國古典藝術特別是書法與文字有密切的關系。這些材料使蘭正輝同時走向兩個潮流：傳統藝術的拓展與當代藝術的創新。這兩個潮流的交匯給予更大的空間，產生他對兩者的疑問，焦慮與希望。

　　墨與宣紙既不是隨手可用的材料，也是不好駕御的媒介，特別是大尺度的。宣紙吸水性強，有纖維的質感，而且易破不易處理。墨也一樣，要求一致的動力，壓力，筆觸與層次，同時也要求適當的速度來配合宣紙的吸水度。另一方面，只用墨來做視覺創造，使自己放棄在色彩世界的工作，創造出動感的能力比與玩色彩游戲更強。用墨與宣紙，可比喻為“在水上作畫”，兩者產生同一的視覺畫面。與畫布和油彩不同，畫布和油彩在繪畫世界里是分開的兩回事。蘭正輝用各種不同的自創繪畫工具，鉆研這兩種材料與媒介。他的畫室，以其說是作畫的地方，倒不如說更像是“紙的屠宰場”。墻上面有大的夾子掛著不同尺寸的紙卷，地上是一桶一桶的墨。

雨與紙漿：

　　我認為雨是最獨特的自然現象。雨不以距離與尺寸為假設，雨帶來重復的線條，不停在動。也制造出重復的層次。尺寸與距離變成相對，雨把我帶到與山不同的視覺語言經歷中。雨造就能把我們內心的情緒吸入狂雨或薄霧之中的相遇空間。雨仿佛使我們的軀體得以釋放，同時也把我們的軀體變成為雨的一部分，有各種情緒伴隨著它。特別是當風好像在隨著風自身的動向與速度的翩纖中采摘雨的線條時，方位與地心引力的意識在雨中完全被溶化。當雨接觸地面時，瞬間所有的視覺現象化為水，向著四周的最低處流去。

　　蘭正輝的畫的視覺現象，也許與落在紙漿上的雨一樣，也許與倒在紙漿上的大樹，或紙漿上的暴風雨，或紙漿上的爆炸一樣。我們的軀體是那紙漿世界里所有可能的尺寸，所有走出地心引力的可能性，以及所有可能的面。

在巴厘島：

　　2008年12月到2009年2月，為了籌備歐豪斯畫廊主辦的《狂雨，藍正輝印尼個展》，由畫廊安排在巴厘島逗留兩個月期間，我幾乎每天都看到大海，天空，稻田。巴厘島印度教的各種儀式都進到我的視線里面。巴厘島海里的浪很大。天空變化萬千，五彩繽紛，與北京灰冷的天空不同。好像巴厘島把我的軀體帶回到孩童的軀體，突然遇到自己的歡樂的軀體。稻田使我想起用宣紙作畫與將來產出米粒的稻田之間的關系。

　　我在巴厘島的經歷，是我重新面對我的軀體與巴厘島相遇所剩下空間的經歷。這空間是如此的重要，讓我可以保留我自己的自由，雖然突然被傷感抓住我控制不住必須哭泣。就在巴厘島我幾乎兩個月的時間與畫布與亞克力顏料搏斗，沒有墨和宣紙。用墨和宣紙，我好像與液體工作，而用亞克力顏料和畫布，我好像與固體工作。

　　在這個畫展中，我覺得正在把墨與亞克力顏料并宣紙與畫布對分成兩個大塊，而我卻想要把我自己掛在這兩個大塊中間。

　　這畫展不完全是我視覺工作的報告。它是我呈獻出我自己各種經歷的成果。勇氣與天真伴隨著風，為我們制造出無數條道路，我們走在這些路上，正如我們尊重在那道路上的發現并保持這些發現的純潔。

Afrizal Malna（歐豪斯畫廊首席評論家，詩人）

　　這篇評論文章以第一人稱和第三人稱交替使用是為了找到筆者所獲的參考資料與畫作者本人的密切關系，而能更深入認識蘭正輝在他的藝術世界里的視覺工作。

Eruption of Mushy Paper/Rain Over Mushy Paper

　　I look at a mountain, the mountain is big, like a monster· At the same time my body is small· Approaching the mountain, the distance between me and it begins to disappear· The mountain is no longer a big monster in front of me· It becomes a plateau in which I climb upward· The shapes which had dominated me from a distance begin to vanish· The structure which consists of the various surrounding layers （sky, fog, forest, light, projection）, also begins to disappear· What I feel now is the energy which pulses through my body as I climb·

　　At the peak of the mountain, space has already transformed again· From the summit I can see everything, spread out evenly through the surrounding area and around my body· I am now so high up that I can no longer see the top, whereas before when I was at the bottom I could see this high point of the mountain·

　　The space changed not only because I moved, but was also created by the transformation of the quantity and quality of gradation, light, color, emotion, and sound·

Visual Language from Different Distances:

　　Two experiences based on the different distances from which I faced made me realize that this experience can also be brought to visual language, whose form and structure is not stable because of the movement of my own body· Visual language is where I experience measurement （the distance between my body and the mountain）, time and energy all at once· Light also changes, as well as my emotion and the atmosphere which continues to be transformed by the magic of the imagery I experience as I approach the mountain all the way to its peak· Sound becomes more sensitive, until it feels as if I can see its resonance with my ears· At the top of the mountain, I experience a projection that is completely different from the instability of visual language·

Duality of the Construction of Body:

　　Distance did not bind me to one visual view· Distance gave me space in between through which my imagination could move freely; which included being free from the immanence of my own body·

　　By entering into the play of distance, I experienced with clarity how the awareness over body alone is precisely what forms the greatest connection for experiencing the visual without the authority of the body· Each time I return to my body at the moment I was climbing that mountain, and all the contents of culture which are joined with my body’s construction （as if my body is a valuable institute which I continually carry from one place to another）, in which I am aware of the beat of my heart, my breath, my muscles and arteries which harden and sweat, and the various biological mobilizations which take place within· It’s as if my body is two spaces which substitute the visual codes around me with a physical and mental reaction· My body ends up competing with the visual language which I am experiencing· The moment in which I allow my body to dissolve into the experience of visual language, humanity, its clothing, and all of the values which construct the human body, become a trap of logical thinking about space and distance which must be hung as far away as we can tolerate· 

　　Awareness will be the play of distance, and will bring forth a kind of new sincerity which will free our bodies from the supreme constructions and values that shape them· This honesty is essential because it allows my body to experience the visual language that moves around me in its completeness·

The Art World of Lan Zhenghui:

　　It is perhaps from this approach that Lan Zhenghui carries out his visual strategy in the field of distance up above·

　　Lan’s artwork is like one long promise to offer something fresh and new in relation to distance· Distance is reconstructed like one big splash· Something that falls and causes the place where we stand to quiver· A sky like a transparent wall that descends underground· A scattered line which creates vertical and horizontal rain all at once· Blocks which dance in gravitation between small and large shapes· The size and feeling over weight which produce dimension· A game of layers which engenders space as a visual celebration·

　　Measurement becomes so very provocative with big blocks（along with the size of a large canvas）, or small fragments which bring joy to or slice the surrounding space· Happiness, weeping, and screaming remind us once more of the foundation of our humanity· All of this refreshes our world like a new meeting between our bodies and distance, like an experience of entering into a visual language that is tangible· In Lan’s own opinion, “Through art work, I hope to obtain an atmosphere which is pure, a strength like the power of a rain storm or strong wind with the uppermost enthusiasm to refresh the world……”

　　A visual strategy such as this, which is open and free when looking at distance, and in which distance is not only existential but rather political in order to read the position and structure of our surrounding visual world, can also be considered as a way to read the various values which shape us· Len Zhenghui is convinced that artists must possess a root which applies discipline and critical awareness and is strong enough to examine the self· The hard work of artists is not like the hard work of a factory worker who produces a formula which has already been tested and is definite· In Lan’s opinion, out of all of the hard-working artists, there are in fact only a few who produce good work, while the rest is trash· But within this firm belief is a strain for humanity to release the “bondage” of tradition, ideology, and technique· Artists must rediscover tradition through their own freedom· All frames of slavery in the name of any kind of value must be re-examined from a critical angle· Our humanity is the body that has been freed from the shackles of viewing men and women, or a frozen spirituality which limits humanity in order to fit it into their own lives·

Chinese Tint and Mushy Paper:

　　It can be said that Lan Zhenghui began to step into the contemporary art scene in China in 1988, along with his generation whose criticisms of the Chinese communist regime eventually brought change to politics· Since then, Lan has been considered one of the foremost Chinese artists within the experimental contemporary art movement· The piece: A Recently Unearthed Uninterruptable Urgent Telegraph Sent from B·C to A·D, is considered his first milestone following his appearance in the contemporary art scene· Taking a different approach within this exploration, he returned to using Chinese tint and rice paper（Xuan Paper）· At that time the large majority of his generation was relying on digital media and design· According to Zhou Yuejin, a professor of art, Lan Zhenghui’s Chinese tint paintings are the forerunners of tint paintings in Chinese contemporary art·

The Journey of Chinese Tint:

　　Lan Zhenghui began using Chinese tint in a small city in the Anhui province, during the summer of 2004· His searching reached its maturity in 2006·  Chinese tint and rice paper constitute two materials that are closely related in traditional Chinese art, primarily in Chinese literature and calligraphy· Using this material, Lan took on two currents at the same time: classical art and contemporary art· The meeting of these two different currents offered a dense empty space where questioning, restlessness, and expectation in between the new and old were permitted to grow·

　　Chinese tint and rice paper are not ready-made materials· Rice paper is a domain which is weighted between a high absorbing power, texture that is fibrous, and fragility· Likewise, Chinese tint demands equivalence between movement, pressure, sweeping, and gradation with a swiftness that is measured to correspond with the absorbing level of the rice paper· On the other side, working visually with Chinese tint is work that removes the self from the world of color· The capability to create vibration becomes more important than playing with color· Chinese tint and rice paper, the meeting between the two is like the metaphor “painting over water”· Both create a visual icon that is the same, not like paint on canvas which are permanently inclined as two separate matters within the world of painting· Lan embraces this material and media with various painting instruments which he created himself· His studio is more like a “paper slaughterhouse” than a place for painting, with an upper section equipped with large hooks to hang rolls of various sized paper·

Rain and Mushy Paper:

　　Rain in my opinion is the most unique natural phenomenon· Rain does not assume distance and measurement· Rain carries with it repetitive lines which constantly move and create layers that are also repetitive· Measurement and distance become relative· Rain brings me to the visual language experience which is different than that of the mountain· Rain creates a meeting place which sucks all of our inner emotions to the space between heavy rain and mist· It is as if rain frees my body and at the same time constructs it to be a part of the rain itself, along with the emotion that accompanies it· Awareness will position itself and gravitate, becoming liquid within the rain, especially at the moment when wind picks up the lines of the rain into a projection which follows the movement and quickness of the wind itself· The moment that rain touches the ground, is the instant that all visual phenomenon transform to become water which flows to join all of the lowest parts·

　　The visual phenomenon of Lan’s paintings is perhaps the same as rain which falls on mushy paper, perhaps equivalent to a large tree which crashes down over the mushy paper, or a storm, or an eruption within the mushy paper· Our bodies possess all the possibilities of size, have all the potential ways to depart from the laws of gravitation, and all the possible dimensions within the world of that mushy paper·

In Bali:

　　For two months I have been in Bali preparing for this exhibition which was initiated by O House Gallery· I have been entered through the ocean, the sky, and through the various Balinese Hindu ceremonies which I witness nearly every day· The sky in Bali, so very expressive, colorful, is different from the sky in Beijing which is cold and gray· It is as if the ocean in Bali returns my body once more to the body of a child· A body which suddenly discovers its own happiness· And the rice fields remind me of the mutual connection between the rice paper on which I paint and the rice field itself which produces the rice·

　　I am so amazed at the growing imagination of the rice field or ocean upon the rice paper· In the various ceremonies that I have witnessed, especially in Apuan with the family of Made Wianta, I have discovered a community energy that is so solid, like a storm which shatters my individualism·

　　My experience in Bali is an experience in which I have re-confronted the empty space which was left over from the two meetings that took place, that of Bali and my own body· The empty space is so important for me to maintain and protect my own freedom, regardless of the fact that I must suddenly cry the moment that I am attacked by the melancholy feeling which overpowers me· And it has been precisely in Bali that I have worked for nearly two months wrestling with canvas and acrylic paint, devoid of Chinese tint and rice paper· With Chinese tint and rice paper, it is as if I am working with liquid, whereas with acrylic and canvas, it is like I am working with a solid object·

　　In this exhibition, I feel as if I am making two big gaps between Chinese tint and acrylic as well as rice paper and canvas· And I want to hang myself in the empty space which remains because of those two big gaps·

　　This exhibition is not only a report of my visual work· This exhibition is an offering from the various meetings which I experienced· Courage and an attitude of naivety to follow the thousand paths that wind creates for us, and we use those paths so that we respect and maintain the purity of the encounters which occur on our journey·

Afrizal Malna（Curator in House Lab）

　　*The basis for this curatorial writing was a personal expression style of “the first person” （me）, and “the third person”（him） in an alternating manner, in order to achieve an intimacy between the contexts which were sought as references to understand more deeply the work of Lan Zhenghui in the world of fine art·