民以食为天，中华美食地图Food Is Heaven, Map of Chinese Cuisine国际儿童诗歌海滩International Children's Poetry Beach镜书阁Mirror Book Pavilion血脉觉醒Bloodline Awakening隐藏的雕塑Hidden Sculpture更多More

《民以食为天，中华美食地图》是一件两米乘八米的纸上水墨地图作品。2025年10月，它在北京鱼市口前门美食节的公共现场展开：菜系、食材、地名、传说、口味、迁徙路线和市井记忆被组织成山川水系。地图不是单纯的地理图，而是一种关于中国饮食经验的知识图谱：火锅、豆腐、米饭、甜食、海味和地方食谱都成为地貌、河流与岛屿。观众在观看地图时，也进入一场关于吃、迁徙、地方经验和共同生活的阅读。Food Is Heaven, Map of Chinese Cuisine is a two-by-eight-meter ink work on paper. Presented at the Beijing Yushikou Qianmen Food Festival in October 2025, it organizes cuisines, ingredients, place names, legends, tastes, migration routes, and urban memory into a terrain of mountains and rivers. Rather than functioning as a conventional map, it becomes a knowledge graph of Chinese food culture: hot pot, tofu, rice, sweets, seafood, and local recipes appear as landforms, waterways, and islands. To look at the map is also to read eating as migration, locality, ecology, and shared life.

2024年开始的策展项目，在福建东山岛南屿征集儿童手写诗，把诗转化为海边礁石上的公共文字。项目让儿童的语言离开作业本和比赛证书，进入海岸、灯塔、风、潮水和游客的行走路线。它把儿童诗歌、地方旅游、公共艺术和自然现场连接起来，让诗不只停留在纸上，而是在岩石表面、海浪声和人的身体移动中被长期阅读。具体页面将保留征稿启事、动态海报、现场图像和项目说明。Beginning in 2024, this curatorial project on Dongshan Island collects children's handwritten poems and turns them into public inscriptions on rocks along the Nanyu coast. The project allows children's language to leave exercise books, competitions, and certificates, entering the coastline, lighthouse, wind, waves, and walking routes of visitors. It connects children's poetry, local cultural tourism, public art, and natural site, so that poems are read not only on paper but also through stone, sea sound, and bodily movement. The project page keeps the call for submissions, animated poster, site images, and notes.

2021年开始的日常书写计划基于这样一种信念，中国传统书法历来是在日常生活的实用场景中起作用的。从墓碑到城楼上的城市名字，从建筑中的匾额和楹联到商店的招牌与菜单，从日常的信札到签名，这些日常的使用场景直接影响到书法的风格与价值。因此日常书写计划致力于在日常生活空间尤其是公共空间中使用中国传统书法的资源，将汉字和书法改造为当代的公共艺术，这往往意味着汉字和书法传统与装置艺术甚至表演艺术和技术手段的结合。Begun in 2021, the Daily Writing Plan is based on the belief that traditional Chinese calligraphy has always worked inside practical scenes of daily life: from tombstones to city names on towers, from plaques and couplets in buildings to shop signs and menus, from letters to signatures. These everyday uses directly shape the style and value of calligraphy. The project therefore brings the resources of Chinese characters and calligraphy into everyday space, especially public space, transforming them into contemporary public art through installation, performance, and technical means.

2025年5月天津钟书阁顶楼的书法装置。楼里是书籍，楼顶是书法；镜体字、镜面、天空、海河和城市天际线互相反射。钟和镜在古代都由青铜铸造，也都用于提醒：钟提醒时间，镜提醒空间和自我形象。作品把“书籍的书”和“书法的书”重新连接起来。观众需要借助镜子阅读左右翻转的文字，也在镜面、城市和文字之间被重新观看。它既是日常书写计划中的公共现场，也是关于时间、空间、阅读和自我相遇的装置。A rooftop calligraphy installation at Zhongshuge in Tianjin in May 2025. Books occupy the building below; calligraphy occupies the roof above. Mirrored characters, reflective surfaces, sky, the Haihe River, and the city skyline fold into one reading field. In ancient China, bells and mirrors were both cast in bronze and both served as reminders: the bell reminds us of time, the mirror of space and self-image. The work reconnects the shu of books with the shu of calligraphy. Viewers use mirrors to read reversed writing, while the writing, city, and reflective surfaces look back at them. It is at once a public site within the Daily Writing Plan and an installation about time, space, reading, and meeting oneself again.

《隐藏的雕塑》是2026年4月厦门设计周作品。六个玻璃物件约25公分高和宽，每个厚度不同，并且其剖面呈现不同弧线；它们由特殊数字技术打印的亚克力玻璃制成，属于焦散玻璃。六个玻璃陈列在旋转底座上，被射灯照亮，在墙上制造出时而抽象、时而写实的光影。旋转到某些角度时，光斑显现为不同水柱、海螺和人类心脏等造型；再转过去，又重新成为抽象的光斑。玻璃是透明的，但里面藏着看不见的雕塑。Hidden Sculptures was made for Xiamen Design Week in April 2026. Six glass objects, each about 25 centimeters high and wide, were fabricated as caustic acrylic glass with different thicknesses and curved sections. Placed on rotating bases and lit by spotlights, they cast changing patches of light on the wall: sometimes abstract, sometimes unexpectedly realistic. At certain angles, water columns, conch shells, and the form of a human heart appear; when the glass turns again, the images dissolve back into abstraction. The glass remains transparent, but an invisible sculpture is hidden inside it.

作为后续整理入口，《镜花水月》将收纳关于镜像、幻象、水面、图像和文字的作品线索。它关注现实与表征之间的不稳定边界：图像如何成为倒影，文字如何成为空间，观看如何被反过来观看。这个题目本身来自一种不可执取的影像经验，适合把镜面、透明材料、水、月光、摄影和书写放在一起阅读。后续页面可以继续接入具体作品、展览现场、图像档案和文字资料。Mirror Flower, Water Moon is a developing archive entry for works around mirror images, illusion, water surfaces, images, and writing. It focuses on unstable boundaries between reality and representation: how an image becomes a reflection, how writing becomes space, and how looking is turned back upon the viewer. The title names an image that cannot be grasped directly, making it a useful frame for works involving mirrors, transparent materials, water, moonlight, photography, and calligraphy. The page can continue to gather exhibition views, related works, image archives, and texts.

在漳州古城现场展开的公共书法项目，把《世说新语》的古典典故、当代网络语言和合体字游戏放进街巷、店铺和节庆观看中。合体字像灯谜也像标识，把多个词义压缩成一个可观看、可猜读、可传播的字。它属于日常书写计划的一部分：书法不再只挂在展厅里，而是进入餐馆、街角、古城夜游和人的拍照路线。古典文本、互联网新梗和地方公共空间在同一个字形中相互折叠，形成一种既古老又当代的公共阅读。This public calligraphy project unfolded in Zhangzhou Ancient City, bringing classical allusions from A New Account of Tales of the World, contemporary internet language, and composite-character play into streets, shops, and festival viewing. The characters work like riddles and signs, compressing multiple meanings into forms that can be seen, guessed, photographed, and circulated. As part of the Daily Writing Plan, calligraphy leaves the exhibition wall and enters restaurants, street corners, night walks, and tourist routes. Classical texts, online idioms, and local public space fold into a single written form.

《老灵魂》围绕2024年鼓浪屿个展和相关写作展开，目前将三篇文章作为项目资料直接整理成独立页面阅读。它讨论记忆、轮回、归乡、地方声腔、年轻身体中携带的古老时间，也把《重复书写《兰亭序》一千遍》、倒写书法、儿童诗、纸扎和地方史放在同一个生命观中阅读。 这个项目更接近一组思想和图像的交汇点：个人生命史、厦门与鼓浪屿的地方经验、达达之后的艺术态度、古典书写的幽灵，以及当代艺术中反复出现的时间回返。它适合放在写作和作品之间，因为它既不是单纯的展览说明，也不是单篇论文，而是一个持续生成的项目档案。Old Souls is organized around the 2024 Gulangyu exhibition and related writings. Three articles are treated as project materials and presented as independent reading pages. The project considers memory, reincarnation, return to place, regional voices, and ancient time carried inside young bodies, while reading Copying Lantingxu 1000 Times, reversed calligraphy, children's poems, paper ritual objects, and local history within one view of life. It functions as a meeting point of ideas and images: personal life history, the local experience of Xiamen and Gulangyu, artistic attitudes after Dada, the ghost of classical writing, and recurrent returns of time in contemporary art. It belongs between writing and work, because it is neither simply an exhibition statement nor a single essay, but an expanding project archive.

演讲表演计划把演讲本身作为表演、教学现场、录像、脚本和公共知识生产方式来处理。它不只是“讲述作品”，而是把讲台、投影、身体、口误、论证、观众和制度语境都变成作品材料，反复追问知识如何被制造、传播和表演。《演讲表演计划·关于演讲的演讲》2020年在北京常青画廊展开，也回应了邱志杰艺术家和教师身份之间的重叠：讲授、论证、示范和即兴本身就可以成为创作。The Lecture Performance Plan treats the lecture itself as performance, teaching scene, video, script, and public knowledge production. It does not merely explain works; it turns podium, projection, body, slips of speech, argument, audience, and institutional context into artistic materials, asking how knowledge is made, circulated, and performed. Lecture Performance: A Lecture on Lectures was presented at Galleria Continua Beijing in 2020, responding to the overlap between Qiu Zhijie's roles as artist and teacher: lecturing, arguing, demonstrating, and improvising can themselves become artistic production.