自 1998 年在中国美术馆举办的中国现代艺术大展被关闭后，当代艺术成为中国官方反对的表现形式， 当代艺术成为了地下野生，几乎不可能办展览。 90 年代末，我从德国回中国，策划当代艺术展，我找 到在北京的冯博一共同策划，并邀请了另外 10 名当代艺术家参展，最终在 1998 年开年的第二天推出 ： “生存痕迹”-首次中国当代艺术内部交流展 。

Calling for Peace 2005-2006 in New York 《招唤和平》 2005-2006 ，纽约

Hsieh Tehching took part in the interactive performance by writing on my body 行为艺术大师谢德庆参加互动写字在我身上

In March 2001, I moved from Germany to New York. I experienced 9.11, which shocked the world. When the traffic stopped completely, I recorded the people walking across the Queensboro Bridge on foot, with heavy smoke coming out of collapsed World Trade Center twin towers further away at the south end of Manhattan. Later, with this video playing in the background, I did a series of performances "Calling for Peace". I found two other girls, a Caucasian woman and a black woman, and I am yellow Asian to symbolize all mankind. We performed together, through some process, and finally we went to

the audience, let people continue to write information about anti-terrorism, anti-war, and calling for peace on our bodies.

2001 年 3 月我从德国搬家到了纽约，亲历了震惊世界的 9.11，当时交通全停，我用录相记录下来人们 徒步跨过皇后大桥，背景是冒着浓烟的世贸双子座。后来我就以这个录相为背景，做了系列《呼唤和 平》行为艺术表演。我找到另外两个女孩， 一个白人，另一位是黑人，加上我自己是黄种人来象征全人 类。我们一起表演，通过一些表演过程，最终我们走向观众，让人们继续在我们的身上书写有关反恐， 反战，呼唤和平的信息。

自从我在 2011 年取得中国美术学院的博士学位之后，我可以如愿游离于在野与体制之间，我可以进大 学教学或做工作坊，由此把行为艺术带入校园。在中国办行为艺术节是个很难的事，除了官方干涉外， 也没有资金来源，每次办活动都很受伤。在这种情况下，我认为利用现有的条件，走进大学教青年人是 一个推广行为艺术的好方法。这样接连几年，我有意在全国各地不同的艺术学院游走 ，做短期的客座教 学。在教学的三或二周内，除了教学生当代艺术的来龙去脉，还引导同学亲身做行为艺术。并在教学其 间或结束时，办一个小型的行为艺术节，来参加活动的除了我和学生外，每次还请几位国内或国际的成 熟行为艺术家来参加。

Scrolling David Sichuan Academy of Fine Arts 2013 《滚大卫》 四川美术学院 2013

Since I obtained my Ph.D. at the China Academy of Art in 2011, I can exist and work between the parameters of the ‘system’, and the subsequent ‘Wild West’ of the art world. I can go to university to teach or do workshops, thereby bringing performance art to the campus. However, running a performance art festival in China is very difficult. Inclusive to the interference from the officials, there is no funding available, and events suffer as a result. Despite these circumstances, I think it is important to expand performance art by working within these limitations and continue to teach young people at universities.

For several years in a row, I moved around different art colleges across the country to do short-term guest teaching. In 2-3 weeks of teaching, and in addition to teaching students the ins and outs of contemporary art, I also guide them to make performance art in person. And at the end of the teaching period, we would have a small performance art festival, and invite several more experienced domestic, or international performance artists to participate.

Cai Qing’s Golden Crown, (installation) 2013 蔡青《冠金顶》，装置 2013,

In 2013, Nanning hosted the "China-ASEAN Art Biennale," during which I participated in the exhibition with a live installation called "Golden Crown." The artwork symbolized society's obsession with wealth and the desire to follow blindly in its shadow. To create the piece, I covered a designated area with paper hats printed with US dollars and euros, which attendees could take freely during the opening ceremony. I also folded paper hats on the spot and distributed them to visitors, and they received a five-pointed star as a gift. Additionally, people could choose paper of their favorite color and learn to fold hats immediately.

Among the three installation works exhibited at the Biennale, my interactive piece was the only one of its kind. It was not limited to the exhibition itself, as I interacted with local senior citizens and children in Nanning Old Town's Central Park and a private school before the opening ceremony. The launch was highly successful, with attendees enthusiastically donning the paper hats , and the artwork continued to receive positive feedback from both the audience and media for several days after the event. I even traveled to Bama Longevity Village, 300 kilometers away, to conduct further interactions with the work.

My performance art enabled the Biennale's organizers and chief curators to experience contemporary art in a tangible and authentic way. They witnessed the quality of the artwork created by performance artists, and the response from the audience and media was overwhelmingly positive. As a result, a performance art unit was added to the Biennale shortly after its opening, changing the event's original policy of not accepting performance art. Thanks to this piece, Chinese performance art made its debut in the elegant halls of contemporary art exhibitions.

2013 年底南宁举办“中国-东盟艺术双年展”， 我参展作品是一个现场装置《冠金顶》，表达在金钱社 会意识笼罩下人们盲从的欲望。作品是用印有钱（美金和欧元）的纸叠成的帽子铺满一个空间，人们在 开幕式上可以随意拿取。我在大厅现场叠纸帽送人，并且能得到我贈予的一颗五角星。人们也可以选择 自己喜歡顏色的纸当即学会折帽子。我的作品是唯一的现场互動的作品。这个作品不仅限于展览 ，在开 幕之前， 我就在南宁老城中心公园和一所私立学校与当地老人和孩子有了互动。开幕式现场很热烈，全 场戴帽覆盖率相当可观。开展后的几天仍然在不同的地点做了几场作品的扩散性互动，走的最远的是到 了 300 公里外的巴馬长寿村。我的行为艺术让双年展主办方和总策展人看到了真正的鲜活的当代艺术。

同时也看到了行为艺术家创作艺术的品质。 而且观众和媒体的反映还是很正面的。这也正是双年展在开 展后不久又追加了一场行为艺术单元的由来。它改变了双年展最初不接受行为艺术入展的初衷。由于这 件作品，中国的行为艺术第一次走进了当代艺术展的大雅之堂。

Past by Each Other, 2015 Vienna 《擦肩而过》

I came to Vienna in the fall of 2015, just as waves of refugees were flooding the Europe. I found a homeless man from Eastern Europe on the street and collaborated with him on this work together. We soaked our feet with ink, and walked on opposite sides of a piece of white cloth on the ground. After many times, when ran out of ink and We joined hands in the middle of cloth and completed the work.

2015 秋天我来到维也那，正逢难民潮涌向欧洲。我在街上找到一个东欧的流浪汉 ，一 起合作了这件作品。我们脚沾墨水，相对着在布的两边行走，许多次擦肩而过后，水 墨用尽，我们携手会于中间。

Across the Wall, 2017, Mexico 《跨越围墙》 2017, 墨西哥

I first encountered a wall in the desert of Mexico. I made a performance work to cross the wall, and then repeated the following two works. 在墨西哥沙漠地带先遇到一个围墙，我做了行为作品跨越一道围墙，随后又重复实施了以下二件作品。

1. Push down the wall! 《推倒墙！》 "Push down the wall" is a sentence the curator said when communicating with me, and I used it in the first work. This work was made in different locations, moved across several places, and finally stayed on the fence of the local farm.

“推倒墙”是策展人与我通信时说的一句话，我用于第一件作品中。这件作品在不同的地点作成，并游 走了几处，最终留在了当地农家园子栅栏上。

2. Make Love, No Wall ！ 《要做爱，不要围墙》 This is a sentence of Lennon and Yoko Ono's anti-Vietnam War slogans, just anti-War was changed into anti- "wall." This work was formed in Mexico and then brought back to New York and displayed at several locations in NYC as an extension and further strengthen this work. 这是篡改了列农和小野洋子反越战的一句话， 反战改成反“墙”。这件作品在墨西哥形成，之后带回了 纽约，在纽约的几个地点做了展示，延续和加强了作品的力度。

Past and Present 8.2019 Indonesia 《过去 . 现在》 2019 ，8 印尼

The triangle represents conflict, telling the blood of the past; the circle represents harmony, thinking of the cruel past, and cherishing the current friendship ！; I painted freehand Ink portraits "Indonesia Performance Art Hero" 三角形代表冲突，讲述过去的血腥；圆形代表当今的融洽。 想到过去的残酷，更惜当下的友情！ ; 水墨肖像“印尼行为艺术英雄谱 ”

No 'War', 'Exclusion' and 'Hate' New York 2022 《不要“战争”、“排挤”和“仇恨” 》 纽约 2022

The world is facing many challenges due to the growing divide between countries and people, often leading to conflicts and wars resulting in the loss of innocent lives.

In a symbolic gesture, the artist smashed bricks bearing the words "war," "exclusion," and "hatred," and used the resulting powder to create a massive red heart. This powerful statement serves as a reminder that love and understanding can triumph over animosity and violence.

By promoting empathy and mutual respect, we can help build a better world, one that is based on peace and inclusivity. Through the power of art and activism, we can spread the message of hope and inspire positive change, bringing people together to work towards a brighter future.

在当前人类国际行势下的诸多问题，都是来自于国家与国家之间或人与人之间的相互排挤和仇恨，以至 于最后的方式激化成战争，人们相互殘杀！

艺术家象征性地砸碎了写有“战争”、“排斥”和“仇恨”字样的砖块，并用所得的粉末创造了一颗巨 大的红心。 这一有力的声明提醒人们，爱与理解可以战胜仇恨与暴力。

通过促进同理心和相互尊重，我们可以帮助建设一个更美好的世界， 一个基于和平和包容的世界。 通 过艺术和行动主义的力量，我们可以传播希望的信息，激发积极的变化，让人们团结起来，为更光明的 未来而努力。

蔡青和工作坊学员一起创作《无声的力量》 2023.2.8 于 Jahangir Nagar University

在乌克兰战争暴发之时，有良知的俄罗斯人以手举白纸走上街头，抗议普金发动乌克兰战争，白纸运动 由此开启。随后在世界各地到处运用这一方式抗议独裁改府。而在最近，这个方式出现在中国，白纸运 动让中国人民从强制疫情囚禁中解放出来。当一个接一个的都市，成千上万百姓走上街头举起白纸，声 势越趋浩大，耀武扬威的政府感到了摇摇欲坠的恐惧，终于改变了愚昧固执的“清零政策”。 白皮书运动的成功显示了和平抗议的力量以及人们通过团结和决心带来变革的能力。

Power of Silence 2023 Jahangir Nagar University, Bangladesh 《无声的力量》 2023 达卡，孟加拉

Cai Qing, an artist, collaborated with workshop students to create a powerful movement called "Power of Silence" on February 8th, 2023, at Jahangir Nagar University in Dhaka, Bangladesh .

The "Power of Silence" movement was inspired by the "white paper" movement, which began in Russia during the Ukrainian war. People would take to the streets with blank sheets of paper to protest against Putin's actions, and this peaceful method quickly spread around the world as a way to protest against oppressive regimes. In China, the white paper movement has been used to combat the government's handling of the pandemic, with tens of thousands of people in various cities holding up blank sheets of paper to express their discontent.

This movement has become increasingly powerful, and the Chinese government has started to feel the pressure from its citizens. As a result, the government has been forced to change its "zero policy" towards the pandemic, which was previously deemed ignorant and stubborn. The success of the white paper movement shows the power of peaceful protest and the ability of people to bring about change through unity and determination.

On January 2, 1998, the contemporary art exhibition "Survival Traces—Internal View of 98 Chinese Contemporary Art" in Yaojiayuan, Beijing, was initiated by me and co-curated with Feng Boyi, inviting another 10 artists to work together to complete a contemporary art Exhibition, this exhibition opened a new era

1998 年 1 月 2 日在北京姚家园的当代艺术展《生存痕迹——98 中国当代艺术内部观 摩展》，由我发起，并联和冯博一共同策划，邀请另外 10 位艺术家共同合作完成的一 个当代艺术展，这个展览打开了新时代的篇章

In 2008, I curated a performance art Construction before Deconstruction in Shifo Village, Zhengzhou. It reflects some social problems of demolition due to progressive economic development that were just started in the whole country.

2008年我在郑州石佛村策划 “毁灭前的建造”行为艺术展，反应当时在全国刚刚兴起 的拆迁的一些社会问题。