德里达与策兰的文本成为邱振中演绎 “语言—书写—阅读” 关系的脚本。邱振中为书写而阅读文本时文字是清晰的，但随着书写的进行，它们立即变成一种不可阅读的东西——文字不可辨识，图形观赏和文本阅读的渠道被切断。
邱振中对书法技艺的把握，可用 “深切” “幽微” 来概括，但当代书写的成果必须同时放在书法史和当代艺术史中进行鉴别。这次展览在书写上的创意，尤其是书写心理与笔势、结构的关联，在 “阅读切断”（阅读并开始书写后立即与语义分离）的情况下所获得的生长的触机，对当代书写具有重要意义。
它所包含的 “扭转” 和 “生长”，与中国书法线条的内部运动存在某种关联。
当代书写的出发点、图形与语言的共生、中国书法对于当代艺术的意义等诸多问题，在这个展览中得到澄清和推进。（文 / 方洛）
In ancient times, Chinese calligraphy was an everyday yet highly poetic and intellectual art form. Today, calligraphy can no longer hold its old ground, because the cultural foundation that once nourished it has shifted. We must consider the connections between calligraphy and contemporary culture, and particularly with contemporary philosophy and poetry.
Qiu Zhenzhong has said that not reading contemporary poetry is a intellectual disability, as is not reading contemporary philosophy. These words are biting, but they come from the heart. Qiu Zhenzhong believes that calligraphy must strive not only to absorb the cultural achievements of this era, but also must make contributions to the intellectual culture of the times.
Qiu Zhenzhong has honed his calligraphy techniques and analyzed the traditions of Chinese calligraphy in a quest for the transformation and revitalization of calligraphy in the contemporary context.
Language and the written word are a component of what calligraphy encapsulates, but also a limitation. Qiu Zhenzhong’s creative thinking begins by dealing with the written word as a relationship of both cooperation and opposition.
Words & Silence writes passages of the poetry of Paul Celan and the philosophical writings of Jacques Derrida. These contemporary texts are at once extremely important, and difficult to read. They reveal a contemporary poet and a contemporary philosopher’s deep thoughts on the possibilities and limitations of language, while also standing as outstanding contributions to modern linguistic expression. For many people, these texts remain silent and illegible.
Derrida and Celan’s texts have become footnotes in Qiu Zhenzhong’s evolving relationships between language, writing and reading. When Qiu Zhenzhong is reading the texts for writing, the words are clear, but as the writing is carried out, the words immediately turn into something which cannot be read—the words are indecipherable, and the bridge between image appreciation and reading of text is interrupted.
This interruption has philosophical connotations: it has established a model for reestablishing connections between different cultures and different fields—such as between East and West, between philosophy, painting and calligraphy—which must be first built on deep understanding between them. All of this is very arduous work. Words & Silence plays out the relationship between people and language.
In dealing with the relationship between diction and image, Qiu Zhenzhong has repeatedly contributed important works of art. As some critics have noted, almost every new series he produces becomes a “phenomenon” in the field. Words & Silence is yet another astonishing presentation of the possibilities of writing, and of its relationships with contemporary poetry and philosophical texts.
Qiu Zhenzhong’s grasp of the skills and techniques of calligraphy could be described as “profound” and “subtle”, but achievements in contemporary writing must also be placed within the history of calligraphy and contemporary art history for evaluation. The creativity of the writing in this exhibition, particularly in the connection between the writing mentality and the structure of the characters and propensities of the brushwork, find a new juncture for growth within the “interruption of reading” (the immediate diversion from semantic meaning at the moment of reading and writing) that is of great significance to contemporary writing.
Qiu Zhenzhong’s installation artwork Space & Flow sets out from a unique starting point—the twisting of planes and the free, yet precise growth of space—to obtain unique and highly complex constructs. It opens up a new path for spatial constructs and the interpretation of structure in contemporary art.
The “twisting” and “growth” it encompasses are linked in certain ways to the inner operations of the Chinese calligraphic line.
Many questions, including the starting point for contemporary writing, the symbiosis between image and language, and the significance of Chinese calligraphy to contemporary art, find increased clarity in this exhibition. (Text by FANG Luo)