就得是现场：梁硕访谈

“On Site” as a Necessity: An Interview with Liang Shuo

编者按：梁硕，一个雕塑系科班出身的艺术家，广泛尝试不同媒介、不同形态的创作，将装置艺术、水墨书画、民间手作、现场艺术等等混合起来，形成其独特的艺术表达系统——就像他对自己名字的重构，因为不满意“硕”字的平常，而将其分解为“石页”——从而将旧物陌生化，产生新的意义。其中，“现场”是他最近几年特别关注的核心，在与不同展示空间合作的过程中，他根据空间特性把握每一次创作，从而使现场元素成为作品形成的重要因子。本次采访的标题“就得是现场”正是梁硕自己的总结，如同他的艺术宣言，简明有力。

Editor’s note:Liang Shuo, a professional of sculpture major, has made extensive attempts of creations of different forms relying on different media and mixed installation art, Chinese ink painting, folk handicrafts and live art, and thus a unique artistic expression system has taken form. He doesn’t like the commonness of the character Shuo as his given name, and broke it up into Shi (literally meaning stone) and Ye (literally meaning page), two component parts of the character. Thus the old was defamiliarized and a new meaning came into being. Being on site has been the core of his attention in the last few years. During the process of cooperating with different display spaces, he grasped the characteristics of each space and made“being on site” an important element. The title of this interview,“‘On Site’ as a Necessity”, is just the summary made by himself, simple but powerful, like his artistic proclamation.

梁硕和好朋友一起分享着京郊的一个小院，作为工作室。正对他工作室房间大门的是他的书桌，上面规矩地摆着笔墨纸砚，旁边的板子上还挂有他临写好的金文。工作室的大开间里，他的各种“杂物”有其自己的排列顺序，“混”而不“乱”。石头、木头、泥塑等在房间的靠墙一周，现成品的物料则有序地“码”在房间中的桌子上，他最近正积极搜集的具有“渣”气质的民间木雕则被安置在进门的左手边地面。采访开始了，他满口京片子，聊起来，香烟一根根地点。

工作室里作品的“遗迹”

艾姝（以下简称“艾”）：您的工作室里，周围一圈都是木头、石头、泥巴做的东西，中间放的是《费特》（图1－图4）的那些材料。您把它们都按照一定的逻辑分类摆放了。

梁硕（以下简称“梁”）：我做过很多不同的东西，很多也都留不住。最后能留下点小东西，放到架子上。……