2013年11月底，天线空间推出的群展“快！这就是绘画！”中借展了王兴伟55件手稿文献。

这批手稿曾在2013年由麦勒画廊和01100001画廊联合举办的《王兴伟（草图）》中首次展出，而此次在天线空间也是王兴伟手稿首次在上海的集中展示。手稿的价值毋庸置疑：“它们是艺术家想法最初形成时的记录，手稿经常性地保存了艺术家最敏锐和最准确的艺术感觉，有时甚至比正式作品的艺术表达更加充沛，也是更为开放和自由的艺术家创作灵感的形式载体。（张离）”

手稿于观者的启示不仅在于草图，也包括艺术家在反复揣摩或灵光乍现时留下的笔记，这些文字静默地呈现着艺术家脑中的问题线索、思路轨迹，而这些往往是我们面对一件完整作品时不可读或将误读的信息。作为日常工作之一，天线空间的工作人员逐步完成了王兴伟手稿笔记的录入和翻译，罗列如下，与大家共享。

The Picture Show – Wang Xingwei’s Sketches I

55 of Wang Xingwei’s sketches have been shown in Antenna Space’s group exhibition “The Picture Show”, since September, 2013. 

These manuscripts were first put on display in “Wang Xingwei (Sketches)”, which was jointly held by Galerie Urs Meile and 01100001 in 2013 and this is the first time they have been presented in Shanghai. The value of these sketches is beyond question. “They (sketches) are records of artists’ first-hand thoughts which frequently reserve their creator’s most keen and precise artistic feelings,” Zhang Li says. “They sometimes are even more expressive than finished works, and are freer media through which artists could convey their inspirations.” 

Wang’s handwritings, provoked by the artist’s deep rumination as well as flashes of insight, are equally inspirational as they leave clues for the artist’s thinking and problem-solving, which are not always easily acquired when faced up with finished works. We deem transcribing and translating these manuscripts as important and part of our duty, and we are more than delighted to share them here with you. 

http://s7/mw690/0049m0W0gy6H5QgiQQe26&690

手稿笔记：

蛇：宝石绿、银色

许仙：肉色、白灰色

床单：天兰色

床帘：绿色

背景：兰黑色（泛一点曙光或晚霞）

 

Handwriting on the draft：

The snake: Emerald

Xu Xian: Flesh color, whitish grey

Bed sheet: Azure

Background: Dark blue (suffused with a tinge of twilight or evening glow)

http://s4/mw690/0049m0W0gy6H5Qj8xVNb3&690

手稿笔记：

《向北方》中

小何同志

Handwriting on the draft：

“To the North” Middle
Comrade Xiao He

http://s14/mw690/0049m0W0gy6H5RBp3pXfd&690

手稿笔记：

一个扫地工的梦

Handwriting on the draft：

Dreams of a sweeper

http://s10/mw690/0049m0W0gy6H5RF5zQtc9&690

手稿笔记：

休想强奸或轮奸…

休想奸尸或曝尸…

Handwriting on the draft：

Don’t you think about rapes or gang-rapes…
Don’t you think about raping corpses or exposing dead bodies…

http://s1/mw690/0049m0W0gy6H5RGOAN2a0&690

手稿笔记：

晚秋

Handwriting on the draft：

Late Autumn

http://s5/mw690/0049m0W0gy6H5RIZntG84&690

手稿笔记：

《牵连》——阿尔伯特和马赛尔  

 “相对论”里爱因斯坦提出的。虽然他没直接参与原子弹研究制造（而且事实上，他无责任也无能力阻止这些活动，是其他人应用这个理论制造的），但他认为他对此事负有一定责任。他有些沮丧和后悔。 杜尚则跟原子弹一点关系都没有。但他受爱因斯坦牵连（身份地位相似），杜尚的观念对艺术有重大的影响，虽然他没有具体参与其后的具（体）艺术运动（而且这也不是他能左右的）是其他人发挥杜尚的理论，但是他不是对这些事件负有一定责任呢？他是不是也感到沮丧和后悔呢？

 

Handwriting on the draft:
“Involvement” -- Albert and Marcel   
Theory of Relativity was put forward by Einstein. Although he didn’t directly participate in A-bomb production (and the truth is he had no responsibility for that and nor did he have the ability to stop these events from happening), he still felt he should be blamed for this in some degree. He was upset and remorseful. On the other hand, Duchamp did not have anything to do with A-bombs except that he was involved with Einstein (as they had the similar identity and social position). Duchamp’s ideas have great influence on art, despite the fact that he was not one of the participants in art movements later on, which could not be decided by him either. It is others who make further use of his theories. However, should he still be responsible for these events in some degree? Was he also upset and remorseful? 

http://s10/mw690/0049m0W0gy6H5RLb5aN69&690

手稿笔记：

在特定的场景中的情节

电扇

《家庭模型》

Handwriting on the draft：

A plot in a fixed scene

The electric fan

“Family Model”

http://s4/mw690/0049m0W0gy6H5ROd4dB33&690

手稿笔记：

判断作品最根本的是看完成的作品，而不能从对作品的简单描述来判断。因为比如像割破画布，听起来很暴力，而实际效果上很可能是优美、细腻的。

 

Handwriting on the draft: 

The essential way for judging an artwork is to see its final and complete version, rather than making conclusion from simple depiction of the work. For example, the act of cutting the canvas may sound quite brutal, but the actual effect is much likely to be fine and graceful. 

http://s1/mw690/0049m0W0gy6H5RVt0mk30&690

手稿笔记：

刘小东

姐夫再忙，也不会忘记你→手写体（钢笔）

拍照：白衣服 蓝裤子

Handwriting on the draft：

Liu Xiaodong

Brother-in-law won't forget about you no matter how busy he is → Handwriting (fountain pen)

Photo-taking: white top, blue trousers

http://s4/mw690/0049m0W0gy6H5RXmdGj93&690

手稿笔记：

卡拉瓦乔

 

Handwriting on the draft: 
Caravaggio

http://s9/mw690/0049m0W0gy6H5RZ4C5aa8&690

手稿笔记：

《盐》 

《爱》 必然性 偶然性

《故作镇静的马格利特探长》

Handwriting on the draft：

“Salt”

“Love”

“Detective Magritte who puts on a brave face”

http://s10/mw690/0049m0W0gy6H5S4JgNj09&690

手稿笔记：

地点：公园

环境：公厕、修剪后的树丛、手推车、串红、浅兰天（参照“星期天的青年公园下午”）

天气：晴朗、光线明媚

男人：兰大褂、套袖

女人：淡黄色连衣裙

帽子：参照巴厘岛海神庙

 

Handwriting on the draft:

Location: Park

Environment: Public toilet, trimmed bush, handcart, red sages, light blue sky (for reference see “Sunday Afternoon at Youth Park”)

Weather: Sunny, lots of sunshine

The man: Blue gown, sleevelets

The woman: Light yellow dress

Hat: For reference see Tanah Lot in Bali Island 

http://s14/mw690/0049m0W0gy6H5S63OFf0d&690

手稿笔记：
《人造风景》  
徐小国的这批新画有这些特征：
一、舞台感很强
1.场景很完整，不论大场景还是小场景都具有独立的完整性，仓（场）景式的不见局部化的。

2.带有浪漫主义抒情气氛，这种气氛同有些虚假的人造感融合在一起，在气氛上不是讽刺性的，而是有感情的。
3.有历史感，这是和明显捏造，娇饰的历史沧桑相混杂的亦假亦真，在气氛上不是讽刺性的而是情感化的。
4.画法上是布景化。结合了商业批量风景化的“行”画法。这种技法的运用不是讽刺性的
（1、2长城，3舞台，4桂林，5老虎洗澡，6 SOS，7矿泉）
（徐小国正在迈步）
这批新画的场景有一种舞台式的空间结构、浪漫主义风景画、人造的戏剧化光源。徐小国正在逐步建设营造自己的绘画空间：它不是现实世界的直接反射。

1.水中竹舟---3
2.鸭形船---4
3.路遇乞丐---5
4.非洲石雕---6
5.心形雕塑---7
　　
Handwriting on the draft:
“Artificial Scenery”  
Xu Xiaoguo’s new paintings have the following characteristics:
I. Having a strong sense of stage
The scenes are fairly complete. Both the large and small scenes have independent integrity, which is cinematic instead of fragmented. 
It has a romantic and lyrical atmosphere, which mingled with some false sense of artificiality, is sentimental rather than sarcastic. 
It has some sense of history, which is something genuine and fake at the same time, mingled with apparent fabrication and delicate concealing. Atmospherically it is sentimental rather than sarcastic. 
It used composition as a painting technique, mingled with commercial mass production of landscape paintings. The usage of the technique does not have an intention for sarcasm.

(1&2. The Great Wall 3. The stage 4. Guilin 5. The tiger taking a bath 6. SOS 7. The mineral spring )

(Xu Xiaoguo is stepping forward)

The scenes of these new paintings contain spatial structure, landscape of romantic style and artificial dramatic illuminating source. Xu Xiaoguo is gradually building up his own painting space, which is not a direct reflection of reality. 

Bamboo boat - 3
Duck-shaped boat - 4
Beggars on the street - 5
African carved stone - 6
Heart-shaped sculpture -7 

http://s3/mw690/0049m0W0gy6H5S7YyMWf2&690

手稿笔记：

公园——误入荆棘丛

Handwriting on the draft：

The garden – straying into the thorns 

http://s5/mw690/0049m0W0gy6H5Sa1hOI24&690

手稿笔记：

《无题【卖拐（关于马列维奇的争论）】》

无题（卖拐以及关于马列维奇的争论）

无题（卖拐以及关于契斯恰柯夫和马列维奇的争论）

 

Handwriting on the draft:

“Untitled ‘Selling crunches (the dispute about Malevich)’”

Untitled (Selling crunches and the dispute about Malevich)

Untitled (Selling crunches and the dispute about Chistiakov and Malevich)

http://s8/mw690/0049m0W0gy6H5ScRdNZ67&690

手稿笔记：

9.7

人缩小 | 景扩大

海神庙

Handwriting on the draft：

9.7

Reduce the figures/enlarge the scenery

Tanah Lot

http://s2/mw690/0049m0W0gy6H5SfabT321&690

手稿笔记：

天变小较好

可能得加石头

腿加长

直径

 

Handwriting on the draft:

The sky is better to be smaller. 

Stones are probably needed. 

Lengthen the legs. 

Diameter

http://s8/mw690/0049m0W0gy6H5Sgqb6T07&690

手稿笔记：

2.17起稿“巴厘岛海神庙”第一稿（作废）构图不够好，人靠中间了，两边都不好安排。

 

Handwriting on the draft:

Start the draft of “Tanah Lot in Bali Island” on Feb. 17. 

Abandon the first draft. The composition is not good enough. The figures are in the middle, making it hard to arrange either sides.