照片拍摄于纽约。

8/7/09补充:

这是位于纽约现代艺术博物馆的中国艺术家宋冬的展览<物尽其用>,题目很好,故事非常令人感动,关于作者的父亲\母亲的故事,联想到当前的经济危机.

观念一流,可是可看性怎样?

我咨询了身边的一些人,有个老外说这是"Flea Market"跳蚤市场，还说，摆得不好看。

据说在未来，人人都是艺术家，因为这样的艺术，我相信几乎人人可为。人人能为，也有相当多的人每天都是这样做的，物尽其用，从来不丢东西。

可是，你却不能因此成为艺术家，没有人付给你钱来筹办展览，而且还在全球闻名的大型博物馆进行，仅仅因为你的名子不叫宋冬。

以下是博物馆的新闻稿件。

ARTIST SONG DONG’S COLLABORATION WITH HIS MOTHER DOCUMENTS THE HISTORY
OF THEIR FAMILY IN A LARGE-SCALE AND LOVING TRIBUTE INSTALLED
IN MoMA’S MARRON ATRIUM
Projects 90: Song Dong
June 24–September 21, 2009
The Donald B. and Catherine C. Marron Atrium, second floor
New York, June 3, 2009—As part of its ongoing Elaine Dannheisser Projects series,
The Museum of Modern Art presents Projects 90: Song Dong, featuring the large scale
installation Waste Not (2005) by the Beijing-based artist, on view for the first time in the United
States. Initially a collaboration with his mother, Zhao Xiang Yuan (1938-2009), the installation—
which covers nearly 3,000 square feet of The Donald B. and Catherine C. Marron Atrium—
comprises all the contents of her home, amassed over the course of 50 years during which the
concept of “waste not” (wu jin qi yong in Chinese) was a requisite guideline for survival for the
generation that lived through the hardships of the Cultural Revolution (1966-1969/76).
Song Dong (b. 1966) initiated the collaboration with his mother in an attempt to wrest her
from her grief following the death of his father in 2002. The installation includes the house itself,
countless cups, pots, basins, folded and piled up shirts, buttons, ballpoint pens, bottle caps, bags,tubs, toothpaste tubes, neckties, 10-liter oil flasks, handbags, skipping ropes, stuffed animals, and dolls. Sorted by type, the materials are lined up alongside one another, forming a miniature cityscape that viewers can navigate around and through. In the process of organizing and arranging the goods, the baggage of the past was unpacked and his mother’s intended goal of waste not was fulfilled as these materials now have another life in the work. Tragically, Zhao died unexpectedly earlier this year, adding poignancy to the neon sign hanging in the installation that reads “Dad, don’t worry, mum and we are fine.” It remains a family project as the artist is
assisted in the installation by his sister, Song Hui, and his wife Yin Xiuzhen.
On view June 24 through September 21, 2009, Projects 90 is organized by Barbara
London, Associate Curator, Department of Media and Performance Art, and Sarah Suzuki, The Sue and Eugene Mercy, Jr., Assistant Curator of Prints and Illustrated Books, The Museum of Modern Art. The Projects series is coordinated by Kathy Halbreich, Associate Director, The Museum of Modern Art.

ABOUT THE ARTIST
Song Dong, who lives and works in Beijing, has been at the forefront of conceptual art in China
since the 1990s. Known for combining aspects of performance, video, photography, sculpture, and installation, Song’s works are often ephemeral and utilize modest materials that explore notions of transience and impermanence in personal, local, and global spheres. He has long been part of a traditional, tight-knit Beijing community, and his work reflects the everyday concerns and realities of his neighbors. Song graduated from the Normal University in Beijing in 1989 and has exhibited widely in Asia and abroad. Recent exhibitions include Song Dong (2008) at the Zendai Museum of Modern Art in Shanghai; Between Past and Future: New Photography and Video from China (2004-2006) at the Museum of Contemporary Art in Chicago; and Oalors, a chine: Chinese Contemporary Art (2003) at the Center Pompidou in Paris. His work was presented at the 2004 Sao Paolo Biennale in Brazil and at the 2003 Istanbul Biennale. He was also shown in the exhibition Inside Out: New Chinese Art Exhibition (1998) at P.S.1 Contemporary Art Center.

ABOUT THE CURATORS
Barbara London, Associate Curator, Department of Media and Performance Art, joined the
Museum in the early 1970s and founded the Museum’s video exhibition and collection programs.
Ms. London organized the upcoming exhibition Looking at Music: Side 2 (2009) and past
exhibitions Looking at Music (2008), Automatic Update (2007), River of Crime (2006), Stillness:
Michael Snow and Sam Taylor-Wood (2005), Anime!! (2005), Music and Media (2004),
TimeStream (2001), a web commission by Tony Oursler; a series of Web projects undertaken in China, Russia, and Japan; Video Spaces: Eight Installations (1995), and Projects shows with Nam June Paik, Shigeko Kubota, Peter Campus, Thierry Kuntzel, and Steve McQueen, among others.
Sarah Suzuki, the Sue and Eugene Mercy, Jr. Assistant Curator of Prints and Illustrated Books at The Museum of Modern Art, joined the Museum in 1998. Previously, Ms. Suzuki organized the exhibitions Wunderkammer: A Century of Curiosities (2008), Projects 86: Gert & Uwe Tobias
(2007), Focus: Elizabeth Murray (2005), an exhibition of Murray's editioned works in conjunction
with the artist's MoMA retrospective, and has collaborated on numerous other exhibitions including
Eye on Europe: Prints, Books & Multiples/1960 to Now (2006); The Russian Avant-Garde Book
1910–1934 (2002); and Collaborations with Parkett: 1984 to Now (2001).
ABOUT THE ELAINE DANNHEISSER PROJECTS SERIES
Created in 1971 as a forum for emerging artists and new art, the Elaine Dannheisser
Projects series plays a vital part in MoMA’s contemporary art programs. With exhibitions
organized by curators from all of the Museum’s curatorial departments, the series has presented
the work of close to 200 artists to date. For further information on the series, including a listing of all Projects artists, please visit www.moma.org/projects.
SPONSORSHIP

The Projects series is made possible by the Elaine Dannheisser Projects Endowment Fund and by The Junior Associates of The Museum of Modern Art and the JA Endowment Committee. Additional support for this exhibition is provided by the Annie Wong Art Foundation.
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No. 49
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