今天是9月15号，星期六。感谢大家牺牲了宝贵的周末时间来到这里听我讲讲我的纽约之行。

我还要感谢新时代艺术馆为我提供这么好的空间，让我们的这次分享得以实现。与此同时，特别要感谢我的挚友张铁军先生。可以说他是我一直以来支持我走到今天的金融界的专家朋友。

借这个机会我要感谢强力支持我的媒体和自媒体的朋友们，漫艺术以及徐小禾、大咖拍卖的张皓先生、纳斯达克大屏幕的徐涛女士、巴力先生、黄莉莎女士，以及所有没白天没黑夜为我点赞的亲朋好友。

Firstly, I would like to thank all of you for sacrificing your Saturday weekend time to hear my talk about my New York trip. I would like to extend thanks to the New Epoch Art Gallery for providing such a wonderful venue for today’s event. Special thanks go to my good friend Mr. Zhang Tiejun for providing his expert financial insider’s advice and support. I’d also like to take this opportunity to express my gratitude to the press and We Media who have provided such excellent support: MAAN ART, Xu Xiaohe, DA’s Mr. Zhang Hao, and Ms. Xu Tao, Mr. Ba Li, and Ms. Huang Lisha from www.51nasdaq.com, as well as everyone who voted us up on social media at all hours of the day.

以金钱为主题的系列作品，包括了壁画、装置、版画、行为、视频可以说是一场综合媒体的集合体。算下来已经有六年时间了。这六年，从2013年的墙艺术开始，到2018年终结于纽约华尔街。

My series on Money includes murals, installations, prints, behavioural art, and videos. It truly is a multimedia hybrid. I worked on the series for 6 years, from an exhibition at WallArt Museum in 2013 to the finale at Wall Street in 2018.

2018年也是我1998年纽约之行的二十周年纪念，巧合的是白盒子艺术中心创建于20年前，今年也是整整20年的历史，我把此行定义为天意。

2018 is the 20th anniversary of my first visit to New York; it is also the 20th anniversary of the opening of the Whitebox Art Center. For me, this seems to be no coincidence, but rather the work of the invisible hand of fate.

我的金钱主题的展览，我总结了一下有这么一些：2013年为墙美术创作壁画“金钱是一个巨大的幻影”。这件作品的出现就注定了它是具有极强的场域可能性的作品。

If I have to sum up my exhibitions about money, I think my Geld ist eine groß Illusion art piece for WallArt Museum in 2013 would be fit to do so. The fact that this art work was completed and exhibited indicates that it has great potential to resonate with people in this field.

由于年底有一个校友展，我把金属板美元主题的壁画作品进行了延伸，变成了“全城满地黄金甲”的装置作品，这个作品的完成，我要感谢北京德滋文化发展有限公司董事长白洪先生的大力支持。这个作品2014年1月，在天津美术学院美术馆首次与观众见面。

A classmate of mine had an exhibition at the end of the year, so I extended my own exhibition about metal-print dollars and created a gold-themed installation. I would like to thank Mr. Bai Hong, Chairman of the Beijing Dezi Culture Company Ltd. for his unswerving support, without which I could not have completed the installation. The installation was exhibited to the public for the first time in January 2014 at the art gallery of the Tianjin Academy of Fine Arts.

之后，通过钞票的印刷逻辑。我将金属板的钞票延伸成了铜版画作品，这是一种还原行为，因为纸币就是传统意义的铜版画，只是大家被金钱意念的影响，常常顾及不到这种属性，而更愿意关心钞票的面值和数量的方面。2014年底在著名的村庄，一个艺术家贫富巨大差距的宋庄的中国版画院美术馆第一次举办了金钱主题的版画展：“宋永平版画座谈会”

Later on, I extended my idea of metal money to copper printing. For me it was a kind of return to simplicity, because paper money is actually produced like copper prints, but people forget this most of the time because they just see it as money. People care more about the denomination of the bill and the number of notes in their possession. So in 2014, in the famous village of Songzhuang, characterised by its abundance of artists of wildly varying incomes, the College of ChinesePrints gallery held its first money-themed exhibition of prints: ‘Song Yongping’s Print Symposium’.

2014年的另一个重要的展览是由岛子老师学术主持，刘树勇老师策划的“金钱”宋永平个展。在中央财经大学39号艺术空间展出，这是一场企图与场域进行对话的一个案例，开幕当天热热闹闹，学界名家欢聚一堂，开幕式后，岛子老师主持召开了学术研讨会。展出效果从艺术圈意义上讲，可以说相当成功。稍有遗憾的是我们财经大学学生的参与度并不高，我的理解是那些聪明绝顶的未来的金融领袖们大概心里想别整那些没用的，钞票还是真格的要紧。

Another important exhibition that year was the Money! solo exhibition, which was supported by Daozi academically and curated by Liu Shuyong. Money! was exhibited at Central University of Finance and Economics’ (CUFE) 39 Art Space, and attempted to link up the physical context of the venue with the topical context of the exhibition’s content. When we opened the exhibition, to great fanfare, we saw significant participation from the academic community; after the opening ceremony we had a symposium presided over by Daozi. From an artist’s perspective, I believe the day was a success. The only regret we have is that the CUFE students weren’t as involved as they could have been. I guess those very talented future leaders of finance probably thought there wasn’t much point bothering with my fake dollars – they were after the real McCoy.

2015年这组装置作品应邀参加了56届威尼斯双年展圣马力诺国家馆的展出，‘宋永平特展’。这届主题展有一项特别主题就是重温马克思关于资本的议题，可惜的是本作品没有途径参加主展场的展出，能够在圣马力诺国家馆展出，在此我要感谢马元老师的大力举荐。此展被大展新闻机构评为本届威尼斯双年展十大最值得看的展览之一，并获圣马力诺国家文化发展奖。

2015年参加由北京大学图像研究所组织策划中国民生现代美术馆主办的“中国当代艺术2014年鉴展”。

In 2015, I was invited to exhibit my installation at the 56th Venice Biennale, specifically the San Marino national pavilion, in a special solo exhibition. This exhibition included a special theme which revisited Marx’s views on capital. Unfortunately, the artwork was not displayed at the main venue; I am nonetheless indebted to Mr. Ma Yuan for recommending me to the San Marino organisers. The exhibition as a whole was rated one of the most worth visiting at the event by authoritative critics, and my work won the San Marino Prize for Cultural Development. In the same year, I attended the 2014 Exhibition of Annual of Contemporary Art of China, organised by the Peking University Center for Visual Studies and curated by Minsheng Art Museum.

2015年8月，我把金钱版画带到了萨尔茨堡，在萨尔茨堡州立美术馆工作室开放展，以“宋永平版画座谈会”形式展出。美术馆收藏了两幅版画作品，

2016年和2017年分别参加了南京国际美术展和中国西部双年展等等。

2018年在萨尔茨堡州立美术馆举办了一个“金钱”主题的展览：“先令，马克，美金………金钱在艺术上”，展出了来自全球九十位艺术家以金钱为主题的艺术作品。我的版画作品参加了这个展览。

2013年至2018年先后有多次个展、联展，展出了这一系列作品，这里就不一一列举了。

In August 2015, I brought my metal money prints to Salzburg, where I exhibited open to the public at a studio at Land Salzburg via the Song Yongping’s Print Symposium’ model. The studio kept 2 of my prints.

In 2016 and 2017 I exhibited at the Nanjing International Art Festival and the Western China International Art Biennale and other events.

In 2018, I exhibited at Land Salzburg’s exhibition themed around money: “Schilling, Mark, Dollar, Euro und … Geld in der Kunst”. The exhibition included work from 90 artists from around the world.

From 2013 to 2018, I exhibited my Money! portfolio at multiple solo and joint exhibitions.

下面重点说一下本次纽约之行的展览。这次纽约之行在白盒子艺术中心实际完成了：“金钱人质”和“宋永平在纽约” 两个展览。一方面是六年多用美元符号做作品，不到美国做这个展览有些不大道德，也想在这个金融帝国检验一下这六年来工作在全球背景下的反应究竟如何。尤其在美元的老家，我又有什么新鲜的可以拿到纽约展示呢？

Next I’d like to explore my exhibition in New York. I completed my artwork for “Money Hostage” and “New York Days - 100 Series” at the Whitebox Art Center. I think it would be insupportable, having spent over six years creating artwork revolving around imagery of the US Dollar, to not actually visit America and exhibit there. I also wanted to discover how people from all over the world would react to my work in the capitalist empire. In the home of the dollar itself, what new ideas might I be able to put on display?

我从局外的角度看这次纽约之行，策划人预设的展览模式是：两个中国人，一个身处自由世界的美国，一个深陷金钱囹圄的人质，让美国的斗士来解救不幸的中国大陆来的可怜的人质，蔡江设计了自己的出场和作品的展出形式。

有三部分：一是行为，二是陈列作品，三是视频。

我的作品也是三个部分：一是配合蔡江的行为的丝绸钞票，二是作为旗帜的纱质钞票的作品，与之配合的混录的中美国歌，三是我独立的行为作品：包括1.“金钱人质纽约100”

2.古根海姆：拜金主义

3.华尔街：大撒冥币

由于这三个作品的完成，我的角色由被解救的人质转变为“大家都是金钱的人质”共识的阐释者。由此，白盒子艺术中心决定在纽约亚洲艺术季的重要时间段，继“金钱人质”展之后，拿出一周时间推出“宋永平在纽约”特别展览。

As an outsider, I have a few observations about the New York trip: the curator had this vision of two Chinese people; one based in America, Land of the Free; the other a hostage, swallowed up by money. In order to let the American freedom fighter save the unfortunate mainland Chinese hostage, Jon Tsoi (the curator) tailor-made a role for himself and the way the artwork would be displayed.

The exhibition is in three parts: behavioural art, exhibits, and video.

My artwork is also in three parts. First, there are my silk banknotes, a collaboration with Jon Tsoi. Second, there’s my banner made of linen banknotes, with a background track of Chinese and American songs. Third, there’s my 3 standalone behavioural art pieces:

Money Hostage New York 100

Worship in Money: Song Yongping's ArtLiterature at Guggenheim

Money Falls

Through performance of these 3 behavioural pieces, my role in the exhibition is transformed from that of a hostage to an interpreter of the consensus that “we are all hostages to Money”. Following on from that, Whitebox Art Center decided to devote a week to the “New York Days - 100 Series” special exhibition, to coincide with the Asian art season in New York, and right after “Money Hostage”.

下面是我在总统博物馆华盛顿总统雕像前的演说词：

The following is a speech I delivered in front of the statue of George Washington at Madame Tussauds, Washington D.C.:

在我遥远的祖国

拜金主义大行其道

当代艺术正在瑟瑟发抖

它需要更多的钞票

来安慰和满足

来了，钞票来了

拿去，统统都拿去

这些都是你们的

9月1日于纽约华尔街

In my homeland,

Money-worship is the new religion.

Contemporary art is shaking with hunger;

It needs more money

As consolation and food.

Here – here is your Money.

Take it, take it all –

It’s all yours.

Wall Street, September 1st.

2018年9月15日于北京

Beijing

September 15th 2018

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