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présentation - 展览介绍 :
Curator: Liao Wen
Artists: Cai Lei, Du Jian, Jiang Shuo, Liu Jiakun, Lun Yuxiang&Wei Lvye, Luo Mingjun, Ni Zaiqin, Shen Yue, Shi Jinsong, Sui Jianguo, Wang Jinsong, Wang Yiqiong, Wang Lize, Wu Shaoxiang, Xia Xiaowan, Xiao Yu, Yi Deer, Yu Jia, Yu Muyang, Zang Kunkun, Zhang Dali, Zhang Lei, Zhou Li
策展人: 廖雯
艺术家: 蔡磊, 杜坚, 蒋朔, 刘家琨, 伦宇翔&魏绿野, 罗明君, 倪再沁, 沈岳, 史金淞, 隋建国, 王劲松, 王轶琼, 王笠泽, 吴少湘, 夏小万, 萧昱, 伊德尔, 余加, 于牧洋, 臧坤坤, 张大力, 张蕾, 周力
Foreword
Enough and Not Enough: Whence the Skyscrapers -- On One Square Meter-Situation
By Liao Wen
1)
There is a sight that people living in today’s cities rarely see. Every dog, whether purebred or mutt, guard dog or pet, will, whenever entering into an unfamiliar realm, always begin by rushing to find a place to pee (such as a tree, a wall, a rock, etc.). I once led a male St. Bernard through the snow. Unable to find the ideal place, this great beast ran over to a nearby parked car and peed on the wheel. Dogs, domesticated for thousands of years and now entirely dependent on humans for survival, still stubbornly persist in this now meaningless habit of “marking out territory.” I wonder if this could serve as evidence of the “territorial instinct” for biologists.
There’s another sight that adults are rarely in a state of mind to experience. When we were young, we used to play a form of hopscotch. In this game, we would draw nine squares on the ground, and toss a sandbag (tile, stone, etc.) into one of the squares as an occupation marker. Whoever could hop a lap through the squares on one foot and bring back the sandbag was allowed to write his name or mark in that square, indicating that he had initial occupation rights over that square. The next time he passed through that square, he was allowed to put his other foot down and rest, while the others could not. If the sandbag was again tossed into that square, and the player could once again retrieve it without breaking the rules, he was allowed to draw a house in that square, indicating that he had gained further occupation rights over the square. These rights could be stacked atop each other in an endless progression until the player with the most occupation rights was declared the winner. Not only has this game been passed down through many generations, it transcends East and West. I wonder if this could serve as a footnote on primitive cultural memory of “occupation” for sociologists.
“Occupation” is a basic method of the primal desire to “possess.” The Chinese character yu, meaning “desire,” is made from the character components qian, meaning “lack,” and gu, meaning “grain,” showing its roots in hunger. Its basic meaning is a desire to gain something owing to a “lack” of it. We can see the same meanings in the English term “want.” It is said that when primal desire is satisfied, it brings pleasure, and it is only when such a thing is missing again that one has a desire for it. It is about “having enough.” Man is the only animal for which there is not enough. Living two thousand years ago, the great thinker Mozi felt deeply threatened by this insight. He observed that the difference between man and animal is that the various animals have fur and feathers, hooves and sharp teeth. They have no need to plant, weave or build in order to survive. It is “enough” for them to simply eat their fill and stay warm. Man, on the other hand, must extract from and alter nature in order to survive, but nature’s resources are limited, and will one day be depleted. Therefore, man must learn control and measure.
According to Fei Xiaotong’s book From the Land, in agrarian society, this “primal desire” still plays a major role in dictating human activities, but in modern society, man has turned survival conditions into “needs” that can be appealed for and planned through ideas. That is to say, whether or not a desire has been satisfied is determined by human consciousness. This is human progress, but the problem is, when is a “need” satisfied? From the Land was written in the late 1940s, an era when Chinese society transitioned from agrarian to modern, and when human desires grew less restrained. Completely unconstrained dissatisfaction is “greed.” In fact, “greed” is an ancient concept, not an invention of modern society. The difference is that “greed” was much more effectively and universally constrained by morality in Chinese traditional society than it is in modern society.
2)
Beginning in the 1950s, “occupation” was crudely bundled with “construction” in China. Beijing is a good example. The new government’s “ideal” at the time was to build this 700 year old ancient capital into the “largest comprehensive industrial city.” Propaganda material from the 50s to the 80s was full of depictions of this ideal scenery—big buildings, forests of smokestacks, power lines stretching across the sky. Just thirty years later, as this ideal has become a universal reality across the country, the “great landscape of the motherland” has been completely transformed into a state of total disorder.
By the 1990s, “occupation” had become crudely linked with “development.” There is a sight which can be seen in every corner of China now: walled-off clusters of tall, similar-looking residential towers accompanied by commercial buildings, their plaques emblazoned with transliterated English names ending in words like “city”, “town”, “park”, “garden”, “palace”, “chateau” and the like. These manmade plots of land, measured and priced by the “square meter,” have surged across the contemporary Chinese landscape. It has become an unstoppable force, never halting in the face of rural homes, no sympathy for natural scenery. Because environmental damage is difficult to repair, the “environment” has also become a form of “occupation,” and an integral component of the “square meter” evaluation. True great natural landscapes are hard to find, but “manmade landscapes” are everywhere within those walls. The public environment is like a construction site, like ruins, like a trash heap, but homes are built to be like palaces, temples and gardens, with the only difference being that the visitor is asked to take off his shoes as he walks in the door. I cannot describe the sense of awkward bitterness that arises every time I encounter this bizarre sight.
Even worse is that whenever the developers appear in the media to tout their “success” and promote themselves as models for society, what you see behind them is always a half empty “dead city.” This is how the concept of the “square meter” was inserted into the existential circumstances of the modern Chinese people. Is it still “not enough”?
Whence the “skyscrapers”！
I visited New Zealand two months ago. There are few big buildings over there, and even families that own lots of land live in small houses. I have heard that New Zealand law places heavy restrictions on the construction of buildings on both public and private lands. Their standard for limiting “enough” construction is close to the satisfaction line of “primitive desire,” and leaves more space for coexistence with the animals and plants of the natural environment. One evening, as we passed a clear and tranquil lake, we saw an old man, about the age of 60, dragging a fishing boat into the water. We stopped to chat, and the old man told us that he wanted a fish for dinner. One fish was enough.
When man was at one with nature, he was like all the other animals, simply wanting “enough.” Once man lost his collection to nature, the human spirit, constantly bombarded by reality, lost its last refuge.
3)
One Meter Square – Situation is rooted in my perceptions of our current state of existence, as well as my reflections on the state of contemporary art.
Every day, my living room sees all kinds of guests who come for “art,” and discuss all kinds of information regarding “art.” To summarize: there is a flood of exhibitions and they are all in a mess, art magazines are printed beautifully, but are all pretty much the same, museums are proliferating everywhere, building giant spaces that sit empty, people boldly declare their intentions to invest millions on artworks, and nothing is heard from them again… Overall, art is constantly expanding outwards.
If we can still agree on the basic point of contemporary art being “direct, consisting of expressions inextricably linked to the perception of existence, fresh perceptions of the inner mind,” and if we are to use this as a precondition for the discussion of contemporary art, then when an art catalogue is heavy enough to kill a man, when an artwork uses hundreds of planks, when exhibitions spend millions, when an artwork sells for tens of millions, it shouldn’t have much to do with art or even artists. In recent years, Li Xianting and I have constantly fretted and worried over such “excess” and “waste.”
What is contemporary art? Having been through a short forty years and arriving at today, where art is growing increasingly fashionable, I would like to again raise the issue of the direct connection between contemporary art and inner perceptions, as well as the sense of social responsibility that arises from this. I also hope to join together with more people who still have a feel for existence, and wish to express it through art, so that we can use artistic methods to express our perceptions of the current state of existence, and present it to a broader audience.
One Meter Square – Situation is an artistic game I have invited everyone to play. The basic rule of this game is that each person can only “occupy” one square meter. “Occupying one square meter” is both the object of the exercise and a strictly limiting rule. The object of the exercise is to set out from individual experience, and to express attitudes towards the existential “predicament” brought about by contemporary China’s drive to “occupy” at all costs. The limiting rule is that each participating artist is not allowed to overstep one square meter of space in the exhibition hall, as defined by the exhibition design profession (not to exceed one square meter horizontally or vertically).
The curatorial and operating processes of One Meter Square – Situation differ from those of exhibitions in the usual sense, and have posed a challenge for me as well. First, I invited architect Yu Jia to design the exhibition space for this game. My basic requirements were as follows: first, to clearly demarcate the “one square meter” and “non-exhibition” spaces; second, that the entire exhibition site appear like a landscaped garden, with carefully crafted distribution and open, twisting spaces, so that each artwork can be viewed from all sides; third, that the construction for the exhibition space be clear, simple and inexpensive. We chose twenty three “one square meters” (twenty three artists) according to the measurements and initial design of the architect.
My basis for selecting the participating artists was “mature Chinese conceptual artists.” Most of them live in China, though two of them live abroad (one in Taiwan and one in Switzerland. Also, five of the participants are “non-artists” whose work is closely linked to “land” (two architects, one fashion designer, one lawyer who has litigated on land cases, one entrepreneur who worked in real estate development early on). I hope that their works can embody their identities and professions and provide us with perspectives which differ from those of artists in order to enrich our discussion of “occupation.”
Then, I engaged in initial discussions with each participant. I was quite excited to see so much common ground regarding circumstances, concepts, rules and cooperation. After the plan was devised, I then engaged each artist in in-depth discussion, a process that led to both excitement and regrets.
Wang Jinsong’s Planting consists of a one square meter “bansai pot” made of pig iron and filled with upright glass shards. It is a powerful expression of the “inviolability” of occupied space, as well as the weakest resistance to the fear of being violated. Yi Deer’s Nail is a “one square meter” (100x100x30) wooden board that he strikes full of nails and places on a “one square meter” (100x100) mirror. This artwork gives “occupation” the sense of “performance.” When Yi Deer began the performance in earnest, he discovered that the process required much more strength, will and time than he had expected.
Xia Xiaowan’s Package and Wu Shaoxiang’s Golden Autumn both continue to focus on the issues that have marked their past works. For many years, Xia Xiaowan has repeatedly subverted accustomed notions of artwork viewing, from the distortion of the plane perspective to the separation of the plane and shape and on to new spaces. This time, he has taken a three-dimensional glass work and placed it in a “one cubic meter” transparent “package,” turning the artwork into an “object” that occupies floor space. Wu Shaoxiang’s artworks maintain a persistently satirical attitude towards social “issues.” This time, he has used wrapping paper to form a “person” covered in “money.” In autumn, a season marked by clear, crisp air, this person is wearing a facemask. The person stands upright on a “one square meter” platform, and from one side it lays down, becoming a zombie.
Luo Mingjun’s Was Here and Wang Yiqiong’s Mouthful of Smoke are both artworks which require interaction from the audience. Visitors can take “I was here” photos on Luo Mingjun’s platform which has been covered in the “law on land.” In Wang Yiqiong’s one square meter closed “smoking room,” visitors can blow a mouthful of smoke against the wall, creating random images.
The “special guest” artists, with their unique social identities and work experiences, provide unique perspectives for discussing “one square meter.” Du Jian was an early entrant into the Chinese real estate development industry, and is currently developing a seven hectare art zone. His work Civilizational Progress digs twenty meters below the construction site, extracting a cross-sectional core sample of different eras (from 1959 to 2009), which he has placed within a one cubic meter glass container. Viewers can clearly see the progression from fertile soil to architectural waste, gaining a direct impression of the history and power of a half century of development. Yu Jia’s 1:10000 stacks blueprints he has actually used (including topographic survey diagrams and architectural blueprints) into a one meter cube (approximately 100x100x100). The scale of 1:10000 is the most commonly used scale in Chinese land surveys. This famous, mature and conscientious architect uses this cubic meter of “blueprints” to represent the shocking numbers behind land development and to point out the blindness and excess involved in current land use. Yu Muyang is a US-based fashion designer with thirty years of experience working for international brands. This time, she is focused on the state of life and work for a young white collar woman in New York City—living in a small space, she wants to maintain her style and progress, wants to work, go to class, exercise, make friends and travel, has no spare money or time, but does not want to lower her living standards. In a symbolic “one square meter,” Yu has designed for them a set of clothing that has multiple uses, changes, opens up extra space and stays orderly while being both functional and flexible.
One of the most interesting aspects of this exhibition is that with Zhou Li’s Dust, Zhang Lei’s Soft Promise and Jiang Shuo’s Chinese Cat, all of the artworks which must be “hung” are by women artists. Here, the “occupation” seems almost “virtual.” The artworks are delicate and exquisite, meticulously crafted and closely linked to the experience of the situation and individual sensitivity.
I deeply regret that some great proposals could not be realized due to certain constraints. Xiao Yu’s Sky Pillar erected a one square meter pillar from the floor to the ceiling, occupying “one square meter” to the greatest extent. The pillar is covered in plaster, but what appears to be a solid concrete pillar is actually made of foam, an allusion to the widespread use of inferior materials in construction to lower costs. Because the ceiling is too high and also sloped, it would have been impossible to “occupy to the greatest extent,” and so the proposal was abandoned. Shi Jinsong’s The Volume of a Unit cuts up a “single unit” object and molds it to a unitary volume. The artist had planned to melt down a shovel from an excavator, but since no scrapped excavators could be found, and the cost of a new one was prohibitive, this proposal was also abandoned. He then considered applying this approach to a police car, but this was impossible due to obvious social factors. Sui Jianguo’s proposed One Square Meter of Energy would place resistors and firebricks in a steel box and use electricity to heat it over 500 degrees, but this was abandoned due to safety reasons. Liu Jiakun’s Returning One Square Meter of Land proposed to dig out one square meter of the floor of the exhibition space down to the dirt below. As a famous, mature and conscientious architect, he has spent many years “occupying land,” and this time, he would be “returning” it. This would be the only artwork in the exhibition to “go down” and embody a “negative” concept, but because the exhibition facility is equipped with floor heating, we are still facing technical challenges. We hope that this artwork can be realized.
The setup for this exhibition also posed great challenges for me, requiring me to consider many different factors. I hope that I can fully utilize the conditions of the exhibition site, and that we can fully realize the artists’ concepts. I also hope that the audience can have an entirely new experience.
I am looking forward to continuing with the concept of One Square Meter, each time focusing on a social or artistic issue. I am also looking forward to the participation and support of more people, gradually building up social influence as we use artistic methods to carry out our social duty.
Lastly, I would like to express my sincere gratitude to the participating artists for covering the material costs of their artworks.
Thank you to the Linda Art Center for supporting this artistic event with no direct source of profit.
October 18, 2013, Songzhuang
展览前言
有够没够：高楼大厦何时了──关于《占地一平方米•处境》
廖雯
一．
有一种景象，现在生活在城里的人难得见到了。狗，无论纯种狗杂种狗，无论看家狗宠物狗，只要有机会跑到陌生的地界，第一件事就是迫不及待地找点儿（诸如树根儿、墙根儿、石头等等）尿尿。我有一次带一只雄性圣伯纳在雪地上走过，这个伟大的动物实在找不到理想的点儿，就冲着一辆停在路边的汽车轱辘撇腿尿了一泡。狗，千年前已经被人类驯养的狗，生存基本依靠人类的狗，至今顽强地保留着“尿尿占地”这种已经完全没有实际意义的习惯动作，不知在生物学家那里，可否作为“占地”原始本能的佐证。
另一种景象，长大以后的成人也难得有心情体会了。小时候我们都玩过“跳房子”的游戏，通常是在地上画九个格子，先以沙包（瓦片、石子儿等替代物）投掷到格子内占地，单脚跳个来回不踩线并拾回沙包者，可以将自己的名字或代号写在格子中，表示拥有了对格子的初级占有权，下次跳过此格时可以落脚休息，而其他人则脚不能落地。重复投掷到同一个格子，跳个来回不犯规并拾回沙包，可以在格子中画上房子的标记，表示已经拥有了对格子进一步的占有权。以此叠加，可以使占有权无限升级，最后占有最多的就是这个游戏的大赢家。这个游戏不仅代代相传，而且跨越中西文化，不知在社会学家那里，可否作为“占地”原始文化记忆的注脚。
“占地”本是原始“占有”欲望的基本方式。中文“欲”字，从“欠”从“谷”，可见源自饥渴的本能，本意是因“欠缺”而要获取，英文“want”同样也有“欠缺”而要获取的意思。据说，原始的欲望，一旦得到满足就会获得快感，等到再欠缺的时候才再“欲”再“要”，就是俗语说的“有够”，而人是唯一有可能“没够”的动物。生活在两千多年前的墨子，因看透这点而深感危机。墨子说，人与动物的不同之处，是鸟兽蜚虫自身带着裘皮羽毛、坚蹄利齿，不用耕作、纺织、建造就能生存，吃饱穿暖就“够”了，而人必须向自然索取并改造才能得以生存，而自然资源有限，总有一天会枯竭，所以人必须靠节俭约束索取之“度”。
按照费孝通《乡土中国》的说法，这种“原始欲望”的动止，“乡土社会”依然在指导人类行动中起着重要的作用，而现代社会，人们把生存条件变成了可以用意识要求和计划的“需要”，也就是说，欲望是不是达到满足是由人类自觉意识决定的。这是人类的进步，但隐患是，“需要”什么情况就算满足了？《乡土中国》写于四十年代末，中国社会从乡土向现代转变，人的欲望越来越不知足的时代。人心无休止的不满足为“贪”。事实上，“贪”是个古老的概念，并非现代社会所有。不同的是，戒“贪”作为道德约束，在中国传统社会远比在现代社会中的效应普遍和有力。
二．
中国自五十年代开始，“占地”即与“建设”简单绑定。以北京为例，当时新政府的“理想”，是把一个“历史达700多年”的古都，建设成“最大的综合性工业城市”，五十到八十年代的宣传品，充斥着对这种理想风景的具体描绘──高楼大厦、烟筒林立、电线飞扬。短短三十年，当这种理想在全国变成普遍现实的时候，“祖国大好山河”的自然生存环境，已经被“改天换地”整得一片狼藉。
九十年代以后，“占地”更多与商业“开发”简单绑定。有一种景象，现在中国随处可见。圈进高墙的一栋栋长相类同的居住高楼，配套的商业大厦，门牌冠以外文译音又缀以诸如 “都”、“城”、“小镇”、“苑”、“园”、“宫”、“公馆”种种。这样人为开发以“平方米”论价的地盘，是中国当下最为波澜壮阔的“风景”，其势所向披靡，见农田房舍不止步，遇青山绿水不留情。由于自然环境遭到的严重破坏难以修复，“环境”也成为“占地”并以“平方米”论价的重要组成。真正的大自然景观难寻觅，“人造自然景观”在高墙圈儿之内处处可观，公共环境如工地、如废墟、如垃圾场，自家装修却如宫、如殿、如花园，只是客人进门时往往被要求脱鞋。我每每遇此畸情奇景，心中之尴尬和酸涩无以言表。
更令人心中尴尬和酸酸的是，当开发者在各种媒体冠冕堂皇地宣讲他们的“成功”之道，成为当今社会普遍的励志榜样的时候，他们的身后往往是半空半废的“死城”，而“平方米”这个概念却由此被契进现代中国人的生存处境了。还“没够”吗？
“高楼大厦”何时了啊！
两个月前我去了新西兰，那里的高楼大厦很少，即便是拥有大片土地的人家，居住的房子也都很小。据说新西兰法律规定，无论公有私有的土地，盖房子的地域是受严格约束的，他们为“占地”建造限定“够”的标准接近“原始欲望”的满足线，把更广泛的空间留给了可以与动物、植物共生的自然环境。有一天傍晚，我们路过一个清澈宁静的湖边，看见一个六十多岁的老人，正拖着一条小船放进湖水。我们上前聊天，老人说，他要为今天的晚饭钓一条鱼，一条鱼就够了。
天人合一，其实就是与自然界的万物一样，索要“有够”。人类一旦失去了与大自然的联系，被现实时时刻刻伤害的心灵便无处休憩。
三．
《占地一平方米•处境》源于我对当下生存处境的感受，也源于我对当代艺术现状的反思。
我家客厅每天为“艺术”而来的各种客人，谈论的关于“艺术”的各种信息，概括起来：展览应接不暇而品系纷乱，杂志印刷华丽而内容雷同，美术馆层出不穷、动辄几千几万平方米而空空如也，艺术品投资开口上亿而大部分豪言之后无下文……总而言之，艺术正在不断向外延扩张。
如果我们还认可当代艺术的基本点是“直面、表达与生存感受息息相关的、鲜活的内心感觉”，并以此作为谈论当代艺术的前提，一本画册厚重得可以砸死人，一件作品用掉几百张大芯板，一个个展览耗资上千万，一张作品卖得过亿的时候，恐怕与艺术甚至艺术家都没有关系了。近年来，我和老栗无时无刻不为如此的“过剩”和“浪费”而伤感和愧疚。
当代艺术是什么呢？我想在当代艺术走过短短四十年日益时尚化的今天，重提当代艺术与内心感觉的直接关系，以及由此生发的社会责任感。我也希望和更多的对生存还有感觉、想用艺术方式表达的人一起，以艺术的方式把这种对当下生存处境的感受表达出来，提示给更广泛的观众。
《占地一平方米•处境》是我邀请大家做一个艺术游戏。游戏的基本规则是每个人只能“占地一平方米”。“占地一平方米”既是问题针对点，也是严格的规则限定。问题针对点──即从个人经验和体验出发，表达对当下中国不惜代价“占地”造成的生存“处境”的态度。规则限定──即每个参展艺术家在场地中，不得以任何方式超出由专业展场设计界定的“一平方米”（地面以及垂直上下都不能超出一平方米）。
《占地一平方米•处境》的策划和操作过程不同于一般意义的展览，对我也很有挑战性。首先，我请了建筑设计师余加为游戏展场设计。我的基本要求是，其一，鲜明地界定出“一平方米”和“非展地”；其二，整个展场像园林一样，疏密有致，开阔中有转折，每个作品可以四面观看。其三，设计施工尽可能简洁、造价低。二十三个“一平方米（选择二十三个艺术家）”，是根据余加现场考察量身，初步设计布局决定的。
我选择参与艺术家的基本点是“中国的、成熟的观念艺术家”，大部分生活在中国，两个生活在海外（一个台湾，一个瑞士），另外。还特别邀请了五位与“土地”有密切关系的“非艺术家”（两个建筑设计师、一个美国服装设计师、一个打过土地官司的律师、一个中国比较早做地产开发的老板），我希望他们在作品中能够体现自身身份、职业，并有和艺术家不同的视角，以丰富对“占地”问题的讨论。
之后，我分别和每个人进行了初步沟通，处境、观念、规则、配合等等，认知的共同性让我十分激动。方案出来后，我又分别与艺术家进行了具体深入的讨论，这个过程有兴奋也有遗憾。
王劲松的“种植”，是用生铁制作的、“一平方米”的“盆景”盒子，里面种满锋刃向上的碎玻璃。最强势地体现了占地的“不容侵犯”，以及唯恐被侵犯的最弱势的抵抗。伊德尔的“钉子”，是在“一平方米（100×100×30）”的木板上订满钉子，置于“一平方米（100×100）”的镜子上。这是一个让“占地”具有“行为”意义的作品。当伊德尔真正开始行为的时候，他发现这个行为过程要求的体力、心理、时间强度远远超过他的预期。
夏小万的“包装箱”和吴少湘的“金秋”，都延续了他们作品一贯关注的问题。夏小万多年来不断颠覆艺术品习惯的观看概念，从平面的扭曲视角到分离平面造型组合到新的空间，这次直接把“玻璃的立体作品”置于“一立方米”的、透明的“包装箱”内，作品变成了占领地面的“物件”。吴少湘的作品对即时的社会“问题”始终保持着一贯的调侃态度，这一次用包装纸塑造的满身贴“钱”的“人”，在秋高气爽的季节都戴上了“口罩”，干尸一样站立在“一平方米”台子上，其中一个则躺倒直接变成了僵尸。
罗明君的“到此一游”和王轶琼的“一口烟”，是两个需要观众“互动”的作品。观众可以在罗明君用“土地法”裱糊的台子上照“到此一游”像，可以在王轶琼占地仅一平方米、封闭的“吸烟室”里，将一口烟儿放肆地吐在壁板上，造一个随意的图形。
“特邀”的艺术家，从他们特殊的社会身份和工作经验，提供了对“一平方米”特殊的讨论视角。杜坚是中国比较早介入地产的开发商，目前正在建造一个占地百亩的艺术产业园区。他的“文明进程”，是从建造地基向下挖至近二十米的横切面不同年代（从1959年-2009年）的土层取土样，置于近一立方米的玻璃器皿中，观众可以从清晰地看出沃土变成建筑垃圾的过程，直观感受半个世纪开发的历史和强度。余加的“一比一万（1：10000）”，是以真实使用过的“蓝图（包括地形测绘蓝图和建筑施工蓝图）”，叠加成一个立方体（约100×100×100）。“一比一万”是国土测绘蓝图最常用的比例尺，作为成名、成熟已久、有良知的建筑设计师，余加想通过这一立方米的“蓝图”所代表的土地开发惊人的大量，提示当下占地的盲目和过剩。于牧羊是有国际三十年大品牌设计经历的服装设计师，长期定居在美国。这次她针对纽约白领小姐的工作和生活现状──空间狭小，仍然要保持时尚、进取，要上班、听课、健身、社交，旅行，没有闲钱、闲暇，却不想降低生活质量，在象征性的“一平方米”内，为她们设计了一衣多用，连穿带套，余天留地，昼夜转换，却不失条理的多功能灵活转换的“服装”。
此次展览最有意思的是，周力的“尘埃”，张蕾的“软承诺”，蒋朔的“中国花猫”，有“悬挂”要求的都是“女性”艺术家，“占地”的感觉几乎是“虚拟”的。作品形式轻透华美，制作精心精致，对处境的体验与个人敏感点密切相关。
非常遗憾的是有些非常好的方案，由于各种局限，这次不能实现。萧昱的“通天柱”，是砌一个占地一平方米的柱子，从地面到屋顶，最大限度地占有“一平方米”。柱子外面刮腻子抹白，看似结实的水泥，里面却是泡沫板，隐喻当下建造的全方位“偷工减料”的现实。这个方案因为此次展厅的屋顶过高且不是“平顶”，不能完美体现“最大限度占有”而放弃。史金淞的“一各单位的体积”，是切割“一个单位”的物件，铸成一个规则的体积。这次他想切割一个挖土机的铲斗儿，铸成占地一平方米的柱体，因为挖土机没有报废的而新的造价又太贵而放弃。之后，史金淞想改成切割一辆警车，因为众所周知的社会因素不能实现。隋建国的“能量一方米”，钢板内嵌电阻丝和耐火砖，接电后温度达500度以上，因为安全考虑而放弃。刘家琨的“还地一平方米”，是在展厅地面一平方米，向下挖到见土。作为成名、成熟已久的、有良知的建筑设计师，他长年的工作都是“占地”，这次他想“还地”。这是此次展览唯一“向下”体现“负”的概念的作品。因为展厅地下有地暖，目前还在努力想办法，期待最终能得以实现。
此次布展对也我有很大的挑战性，我需要综合考虑多种因素。我希望能够充分利用场地现有的条件，尽可能完整实现艺术家的观念，也希望观众能够有全新的“游园”的体验和感受。
《占地一平方米》这个概念，我期待有持续性，每一次能够有一个社会或者艺术问题作为准对点，我也期待有更多人参与和支持这个艺术活动，造成一点点社会影响，以艺术的方式尽一点点社会责任。
最后，我真诚地感谢所有参与艺术家分摊了作品的制作材料费用。
感谢林大艺术中心出资做这种没有直接赢利点的艺术活动。
2013年10月18日于宋庄小堡
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