I met Jiny Lan first on a voyage to Dunhuang in China, when we were both invited to the opening of the first International Art Expo on the Silk Road together with other artists.
On our first trip to the exposition halls an unignorable figure popped up in front of me: almost shaven-headed, dressed in a queer cap, strange shorts, boots, and an upended pink shopping bag, which had been converted into a blouse. She emanated great amiability, stretched out her hand saying she was Jiny Lan.
I took a look at the pictures of the exhibition and was first attracted by one that showed a big hand hovering above a landscape not otherwise specified. Was the hand on the run or did it dominate the events below? Perhaps it would give us a warning? It was a puzzling, appealing picture which could not easily be interpreted.
It was Jiny Lan’s work. For me this picture was one of the most exciting ones in the exhibition I told her and so we became acquainted to each other.
Later I viewed many more of her works of art; on that journey I even experienced her working on a picture when our Chinese hosts took us to a park made of artificial flowers and trees. Easels together with brushes and paints had been supplied and distributed in the countryside in a picturesque way . The hosts clearly expected the artists to produce something as a present to them. No sooner were the pictures ready than two men took them off the easels, piled them up into the boot of a car and they were gone. In English I tried to stop them, the pictures were not dry and should not be stacked up that way… Especially one of Jiny Lan’s pictures, which had been painted with thick blurs of colour, would surely be shaped anew by that treatment. Jiny, however, laughed. Now that I know some of her works and work methods I understand that she welcomes unexpected transformations. She herself works on her pictures repeatedly, does not believe in a final form or in an eternal truth in art. Her pictures: the naked men fle
eing a (natural?) disaster, the woman whose head is an orange, the floating figures set anywhere in the world, seemingly lost – they all belong to a universe of questions and indistinct situations, to a world which is not coherent and is not to be explained artificially.
Jiny Lan likes to leave things open. Knowing that nothing is settled once and for all, her works ask us riddles, which everybody can use to find his own truth.
For me her impetus, the energy her work lives off, became still clearer when I learned from her biography that she, being a woman, could not appear in her [sc. Chinese] family tree. She wrote that “she wanted to create a world of pictures, in which she herself was the creator”. For Jiny Lan this assertiveness becomes the engine of her art, an art that arises from a struggle between to be and not to be – an art that is essential for survival.
She tells us that it was “by mistake that the public authorities typed Jiny instead of Jing into her passport. In Germany she uses the name of Jiny as her true name.”
So a fictitious name turns into a “real” one. Thus a new narrative is born out of the friction between truth and fiction and in this way the poetic and provoking art world of Jiny Lan comes into being.
Professor Jeanine Meerapfel
President of the Academy of Arts (Akademie der Kunste)
(Translated from German by Winfried Gerhard Müller)
到达展览大厅之后， 第一个跳入我眼帘的是一个引人注目的人物：几乎剃光头发，倾斜地带着帽子，奇怪的短裤、靴子, 粉红色上衣是用购物袋改装成的。她浑身散发着友好的气息，伸出手，告诉我她叫蓝镜。
后来我看到她更多的作品，我甚至看到她是如何作画的。此次旅行的东道主开车把一行艺术家带到鲜花盛开的人造公园里，事先准备好的画架和颜料暗示艺术家可以现场作画， 做为礼物赠送给展览的主办方。画作几乎还没完成，就被两个工作人员摞在一起放进汽车的后备箱内。我试图用英文阻止他们，告诉他们这样摞放会损坏画作，尤其是蓝镜的作品，用的是非常厚重油画颜料，这种处理肯定会让她的作品得到新的形状。但是蓝镜笑了起来。现在，在了解到她更多的创作理念之后，我明白了她当时笑的原因：意想不到的变化在她那里是受欢迎的。－ 是的，她让自己作品中的图象不断地变化，她不相信最终的形式或历久不衰的艺术真理。
蓝镜的护照用名是Jiny Lan而不是Jing Lan, 这是一个因政府官员的拼写错误而导致的艺名，在德国却被她当作真正的名字使用，可以说是一个虚构的“真实”名字。 从这个虚构的真实名字开始，一个又个新的故事从真实与虚构的摩擦之中产生，从而打造了蓝镜诗与挑衅混合而成的艺术世界。
德国柏林艺术院院长（Akademie der Künste, Berlin）