巫鸿先生在最近的一篇文章中提出这样一个问题。他说,艺术家更多时候可能是复杂的、多面的、多变的,因此,我们不能盲目、简单地将其艺术实践与写作、谈话混合为一谈。我想,巫先生之所以诉诸这样的反思,更多源于一直以来我们对于一些艺术家的写作、谈话等文本部分过于重视,而忽视了其作品本身的视觉性及其实验性。这样的反思固然不乏现实针对意义,但在我看来,至少对李占洋而言,可能未必适切。恰恰相反,若想真正进入李占洋的艺术世界,我认为他的写作是不可或缺的一部分,或者说是一个必要的角度。某种意义上, Mr. Wu Hong raised a question in a recent article. He said that more and more artists may be complex, multifaceted and changeable. Therefore, we can not blindly and simply blend their artistic practice with writing and talking. I think the reason why Mr. Wu resorts to such introspection stems from the fact that we have always placed too much emphasis on the texts of some artists such as writing and conversation while ignoring the visual and experimental aspects of his works. Although there is no lack of reflection on this reality for the purpose, but in my opinion, at least for Li Zhan Yang, may not be appropriate. On the contrary, if I really want to enter Li Zhanyang’s artistic world, I think his writing is an indispensable part, or a necessary point of view. In a sense,