中国书法在古代属于日常又极具诗意和智性的艺术，今天书法已无法固守过去的园囿，因为滋养它的文化基础已经改变。我们必须思考书法与当代文化，尤其是与当代哲学、当代诗歌的关联。
邱振中说过，不读当代诗歌是精神上的残疾，不读当代哲学也是精神上的残疾。词锋犀利，但源自深心。邱振中认为，书法不仅要努力汲取这个时代的文化成果，也必须对这个时代的思想文化有所贡献。
邱振中锤炼书写技艺，剖析中国书法传统，致力于书法在当代语境中的转化与新生。
文字-语言既是书法蕴含的一部分，又是对书法蕴含的限制，在书法创作中如何处理与文字共谋而又对立的关系，是邱振中创作构思的出发点。
《语·默》书写策兰的诗歌和德里达的哲学著作。这是一些极为重要的当代文本，但同时又是一些阅读艰难的文本。它们呈现出当代诗人和哲人对语言的可能性与局限性的深刻思考，同时用自己的写作为现代语言表达做出了杰出的贡献。这些文本对于许多人来说，始终是沉默的、不可解读的文字。
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。
这种切断具有一种哲学意味：它建立了一种模式，在不同文化、不同领域之间——比如东方和西方、哲学与绘画和书法之间的关系，首先必须各自得到深切的认识，然后才可能在某个层面上重新建立联系。所有这一切，都是非常艰难的工作。《语·默》成为对人与语言关系的一种演绎。
在处理文辞和图形的关系上，邱振中不断贡献出重要的作品。如某些批评者所说，他每一批新作几乎都成为这个领域“现象级的征候”。《语·默》对书写的可能性，对书写与当代诗歌、哲学文本的关系，又是一次出乎意想的呈现。
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。
邱振中的装置作品《空·流》从一个特殊的原点出发——面的扭转、空间自由然而精确的生长，获得独特且极为复杂的构成。它为当代艺术中的空间构成与构成的阐释开辟了新的理路。
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)