诗：绝望中的期望
我无法猜测当一枚躺在大地上的时候，看到些什么？……以至于让她一直不停地在不同的地方，非常自然地选择“横陈玉体”的动作。
作为诗人的一枚，窥探这个世界的方式，肯定与一般艺术家的视角是不同，或许，她觉得这个世界比例，既然是为直立的人体所设计的，那么，躺在地面上一定可以看到不同的世界。
这一动作的改变，不仅让一枚窃喜不已，也让她的关照者逐渐产生了兴趣，一个横躺的身体，对于这个世界的人物关系发生了改变——这是一种温和的改变，不是骚乱的改变。如果是一个熟谙美术史的女性艺术家，一定会采取的是人体方式，而不是身体方式。在这里，身体与人体的区别，前者秉持了社会学的立场，也就是着衣的身份联系；而后者则是脱略了社会学征兆，将服装褪去。——挑衅大众，引起骚乱，继而重审期间的关系，这无疑是一位当代艺术家的获取问题的基本逻辑起点。
一枚的躺在大地上，其实还是对于一种诗义的姿态。作为诗人的身份，在当代社会之中的尴尬可想而知。通常是无法发出声音，发出声音无人倾听，即使有人倾听，也会被喧哗的噪音所吞噬。诗要孤，画要静，这是生活在诗的国度了，古人对于诗与画境界的一个基本的描述。诗的“孤”，意味着一个独特的体验，方可称之为是诗；“画”注定是对于世界的旁观，而不被其干预也不去干预。
一枚的诗，是极其个人化的体验的、有关句式的河流，其实，内容也许不再重要，在这个图像的世界里，一枚放弃了让人们理解其诗义的初衷，她开始了读诗的行为——给她遇到的所有的事物与对象去读诗。
2019年7月29日，一枚驻留上苑艺术馆，来到了我的工作室，为我——一个艺术家及其我面前的一幅石头长卷，开始读诗行为。头戴花冠的一枚，开始了抑扬顿挫的读诗行为——一连串的字句从她的双唇之中，嗫喏地流出，洒满了一地。我没有任何想窥探真相的欲望，一枚似乎也不关心我是否在倾听她的诗义。空旷的房间里，只有墙壁上布满尘土的北齐书法大师僧安道壹“大空王佛”拓片，在声音的气流中偶尔抖动，还有长几对面的两个人。
我坐在一枚的对面，双手相合，思绪万千，“诗”在这里真的已经成为一个借口，一种名义，一种失去了魂灵的躯壳，一种无力的召唤，一种没有内容的仪式……。最后通过手机纪录下来的只剩下了一种貌似神圣的图像。
诗歌最终在一枚这里变成了图像，这是一枚的聪敏，却是诗歌的葬礼。因为聪敏的一枚知道，如果说在纳粹时代“奥斯维辛集中营之后写诗是可耻的”，那么，在图像的消费时代，——写诗就是一种孤独的疾病，它非但不能治疗孤独，反而成为侵蚀你生命的病毒。诗在当下，已经被抽离了情感，只剩下了“欲望与灵魂”，前者因为可以随意挥洒而廉价，后者需神性的触摸而变得遥不可及。
回首上苑，一枚躺在众生之下，并不是世界倾斜的浪漫，而是意味着诗人的绝望；一枚的读诗行为，则是对于绝望的祭奠——尽管绝望，对于绝望的描述与纪录，却可以让我们窥见其中潜伏的期望。
沙丘张强
2019-08-18 于巴渝泓月丘十二云石阁
（张强：两江学者、四川美院教授、英国温切斯特艺术学院荣誉教授。著有《张强艺术学体系》四十卷（文化艺术出版社））
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.)
