录像，8分20秒， 彩色无声单屏幕，可变尺寸，2014

HD Video, 8`20``,Single-channel\Color\No sound, Variable, 2014

气球将毛衣拆成一根线，飞向远方。

Pulling the wooly sweater, the ballon, with a line of wool, flew away.

录像，10寸屏幕循环播放，11分钟，2011

Video, 10-inch screen, 11-minute loop, 2011

2011年夏天，我跟家人在海边散步，听到海浪声前赴后继不断拍打在海滩上，心生感慨，就创作了《一千次抚平你的心》。

In the summer of 2011, I was walking along the beach with my family when I heard the sound of waves beating on the beach one after another.

装置，综合媒介，丙烯着色与丝质国旗 ，国旗尺寸为150x96cm ，木质外框 ，2009

Installation, Mixed media, Acrylic on silk flag, Wooden frame, Flag 150x96cm, 2009

将16个曾经是社会主义国家的国旗上画这些国家现在的国旗。

The patterns of 16 countries’ current national flags were painted on those flags used by them when they were still socialist countries.

装置，木质外框、丝质国旗、尼龙拉链、相纸打印照片，155x90cm，2009

Installation, Mixed midea, Wooden frame, Silk flag, Picture, Zipper , 155x90cm, 2009

将法国国旗上装上拉链，里面放上布吕尼的照片。

Fasteners were put on the French national flag behind which were posted nude photos of Carla Bruni. Wife of Nicolas Sarkozy, former President of France, Bruni was once a professional model.

《自由引导人民》看上去更像是对法国政治的玩笑，红白蓝三色旗下所覆盖的是性感的女人体。但其实红白蓝三色象征着我们从一种"全球化"（共产国际）转移向另一种全球化（自由主义）的这种光谱移动的过程。当我们拉开三色旗，意味着正在解构这种历史意识的来源，而最终吸引你的目光的是女人的身体。在这里，诱惑既是引导， 而人民则永远将会被引导。——魏星

“Freedom Leads the People” looks more like a satire of French politics, a flag of red, white and blue is covering the body of a sexy lady. Actually, these 3 colours signifies the transition of optical transition of one form of globalization (Communism) to another (Liberal Capitalism), telling us that as the audience analyzes the process of this transition, we will inevitably notice only the sexy lady. Here, temptation is what leads and the people will always be led.——Wei Xing

行为，透明胶水，灰尘，可变尺寸，2009

Action, Glue, Dust, Variable, 2009

用胶水在玻璃上写上“时间是检验真理的唯一标准”，随着时间推移，风沙会将这句话逐渐显示出来。

The sentence - “Time is the sole criterion for testing truth” - was written on the glass with glue. Over time, the sentence has gradually turned clearer as more and more dusts attached to the glue.

纸上铅笔绘画，尺寸分别为109x80cm，39x25cm，2009

Sketch, 109x80cm, 39x25cm, 2009

临摹了一张15年前自己的第一张素描。

I imitated my first pencil sketch created 15 years ago.

装置 ，纸为18x12.5cm、木框上油漆、录音播放器、耳机 声音为循环播放 ，2009

Installation, Mixed media, Picture&Sound, 18x12.5cm, Wooden frame, MP3 player, Earphone, 2009

找到小学语文课本里的看图说文《在艰苦的岁月里》的那一页，剪掉图片里的老人。在画面旁播放一个小男孩朗读课文里的关于老人形象描述的录音。

《在艰苦的岁月里》是根据雕塑家潘鹤作品虚构出来的故事，描述红军长征路途中小红军听老红军吹笛子，追忆艰苦岁月。本文曾被选入中国小学语文教材。

The page of the illustrated text called In Those Hard Years in a Chinese Literature book used in primary school was framed after the image of the old man was cut off. Beside the picture was played a piece of audio recorded by a boy, reading the paragraph in the text that describes the image of this old man.

The text was invented based on a sculpture made by Pan He, depicting a scene that one old red army soldier was playing the flute during the Long March while a young soldier sat close to him, listening to the music. It was selected into the Chinese Literature book used in primary school.

装置，木质玩具钢琴，内有电子控制芯片，油漆，作品尺寸为120x35x35cm，2008

Installation, Wooden toy piano, Electronic circuit, 120x35x35cm, 2008

一架只会弹奏《国际歌》的红色小钢琴。

A red piano which can only play The Internationale.

行为和行为录像，录像时长8分30秒，彩色有声单屏幕，可变尺寸，2005

Performance, Video, 8`30``, Single-channel\Color\Sound, Variable, 2005

13个女孩组成了一个旋转门。

13 girls serve as a “revolve door”.

行为、图片和现场录像，石棍直径5cm，长2m+2m，录像时长59分30秒，彩色有声单屏幕，可变尺寸，2005

Performance, Photographs, Archival inkjet print, Video, 59`30``, Single-channel\Color\Sound, Variable, 2005

两人将一根断开的石棍对接，直到精疲力竭。

Two individuals join the two broken halves of one rock stick into one by hand until they ran out of their strength.

第一次对玩玩有印象，是2005年10月在后现代城的“一万年”展览上。他的作品是一根4米长，被用车床车的很光滑的一根直径有7、8厘米的、带有蓝白和肉色花纹的大理石石柱（确切说应该是石棍），中间断开来，断口留有新茬。作品要求两个民工双手握着这根断开的石棍，尽量端平端直将断茬対准在一起，像两个人共同端着一根没有断开的石棍。现场两个人就这样端着，直到力气和耐心用光，石棍的断茬对不准。人不是机器，总有力气用尽的时候，而且两个人也很难平衡对方的着力点，几乎是一开始就不断出现断茬松动，然后是错动，同时石棍开始高低不平左右不直。我当时看出来，玩玩的作品着力点与雕塑家不同，瞄准的是端着石棍——被要求尽量将断茬对准的两个人的努力。因此这件作品就被玩玩自己命名为《石玩玩》。——隋建国

My first impression of Shi Wanwan was created on an exhibition entitled “Ten Thousand Years” which was held in October 2005 in the Post-modern City. The work presented by him at that exhibition was a 4m long rock stick, with a diameter of 7-8cm. The stick had already been lathed, showing blue and white and incarnadine patterns on the body. It was broken in two halves, resulting in raw edges at the fractures. Two workmen were asked to catch the two broken halves as level as possible, as if the stick were intact, until their strength and patience ran out. As the strength of human body cannot last such a long time as the machine does, and it was too difficult for the two men to keep the two halves aligned, the sticks were unsteady from the beginning and gradually became worse. I realized at the exhibition that, unlike sculptures, Shi Wanwan’s work highlighted the efforts made by the two workmen holding the sticks to keep them aligned. Therefore, this work was called Play Stone. ——Sui Jianguo