(Chinese version only)

《人臉識別——尋找韃靼人後裔》：博伊斯在描述自己的經歷時曾說：在二戰期間由於飛機墜毀而流落在某一個荒原上，是一個韃靼人救了他的生命，“覆活” 之後博伊斯的藝術創作發生了巨大的轉變……對博伊斯而言韃靼人是他的拯救者。

博伊斯所描述的這種經歷的真實性我們沒有實證的必要，但這個故事對於博伊斯的“自我人設”確具有神學的價值。這種具有神學性質的人設傳統可以追溯到16世紀文藝覆興時期瓦薩里傳記風格的史學之中。

那麽韃靼人的存在意味著什麽？在人類學研究和分類中韃靼人種的形成極其覆雜、千枝紛呈，但是在博伊斯眼里，這個特定的韃靼人是一種寓言性的存在， _他是原始的，與現代文明有一種天然的距離感，同時他又具有“先知”的性質。他與“薩滿”教又有一種扯不清的關聯。這也正像當代藝術所具有的“整體迷亂” _的特征相關。

那麽在今日我們尋找韃靼人後裔，是為了恢覆一種薩滿——神學——政治—— 藝術的鏈條麽？又或者是一種遊戲？在這種以藝術的名義、用遊戲的方式考察個體生命對於“人臉識別”這一在高科技包裝之下的權力面前的心理感受。“人臉識別”本質上是國家理性的泛化。作為個體生命，是否進入“人臉識別”的場域是可以自由選擇的麽？

Wang Guangyi. Born in Harbin, China (1957). Graduated from China Academy of Fine Arts (formerly the Zhejiang Academy of Fine Arts), Hangzhou, China (1984). Currently live and work in Beijing.

In 1980s, he attended and organized North Art Group, in 1990s, he create Great Criticism series which have wide influence in international art world. Selected group exhibition: China Avant-garde (1989), 45th Venice Biennale(1993), 22ed Sao Paulo Art Biennial (1994), Aperto 95, Avant-gardes Artistiques Xinesses in Santa Monica Center d’Art (1995), Begegnungen mit China in Ludwig Forum Fur International Kunst (1996), Magie der Zahl-In der Kunst des 20 Jahrhunderts in Staatsgalerie (1997), Alors, La Chine? in Pompidou Art Center, China, the Body Everywhere? In MAC Marseille (2004), Reshaping History in China International Exhibition Center (2010), Art Changsha in Hunan (2015) , BUSAN BIENNALE (2016), “Art and China after 1989: Theater of the World”, in Solomon R Guggenheim Museum, New York/Bilbao, US；Solo Exhibition in: OCT-Contemporary Art Terminal(China, 2008), Louise Blouin Institute of Louise Blouin Foundation(The U.K, 2008), , Today Art Museum(China, 2012),Museo di Villa Rufolo(Italy, 2014), MAC contemporary Art Museum（Spain, 2015), Museum of Contemporary Art（Singapore, 2016），Museum of Luxun Academic of Fine Arts(China, 2016), United Art Museum (China,2016)， Prague City Gallery(Czech,2018), XUNWAY Art Space(Tongji University,China,2019, National Gallery of Armenia(Yerevan, Armenia, 2019), How Art Museum (Shanghai 2019) etc.

Works are collected by Tate Museum, UK. Guggenheim Museum, USA.; Museum Sammlung Essl, Vienna; Kunst Der Gegenwart, Austria; Carmen Thssen-Bomemisza Collection, Spain; Museum Ludwig Koln, Germany; Haus der Geschichte der Bundesrepublik Deutschland ,Germany; Sigapore Contemporay Art Foundation, Singapore; Foundation Catier pour L’art Contemporain, France; The Ford Foundation, USA.; San Francisco Museum of Modern Art, USA.; Gortesia Pacific Asia Museum, USA.; Allen Memorial Art MuseumUSA.; Armenia National Museum, Armenia; Nusantara Mordern and Contemporary Art Museum, Indonesia; M plus museum(Hong Kong), He Xiangning Art Museum(Shenzhen), Guangdong Museum of Art(Guangzhou), Minsheng Art Museum(Beijing), Shenzhen Art Museum(Shenzhen), Today Art Museum(Beijing), He Art Museum(Shunde), Chengdu MOCA, Long Musuem(Shanghai), China Academy of Art(Hangzhou), OCT-Contemporary Art Terminal(Shenzhen) , Taikang Art Museum(Beijing), United Art Museum(Wuhan), Song Art Museum(Beijing), Hubei Museum of Art(Wuhan), Star Museum(Shanghai), Yuz Art Museum China(Shanghai), etc.