邱志傑參展2014聖保羅雙年展

                
                
不存在的旅行者（局部）
2014
墙上水墨地图
32 m× 7.5 m
繪製地圖是西方社會接受和理解世界所採用的基本方法之一。通過地圖，未知變得可見、可理解。但是，地圖也曾被用來嚇跑潛在的訪客，像是在早期歐洲人的地圖裡，美洲大陸上赫然印着的標題「Here be monsters」（譯者註：這兒有怪獸）。
沿襲繪製地圖的歷史與技法，結合中國古代繪出想象空間的傳統，邱志傑構建起意想不到的敘事、虛構的城市，或是奇特的烏托邦地點，諸如「烏托邦地圖」與「總體藝術地圖」。少時的書法訓練讓他得以運用這些技法完成手繪創作。
                
                
邱志傑現場創作
三十一屆聖保羅雙年展之際，邱志傑繪下巨幅地圖作引，像是一位好奇的探路人引領着前路，貫穿於展覽之中。地圖基於雙年展的策展與藝術主旨，並與藝術家在地準備繪畫時的沉思相交融。在美術館自底層至二層的斜坡通道的一側，邱直接於牆上作畫，而當在2014年12月7日雙年展結束之時，這面牆將會隨之消失。
                
                
2014聖保羅雙年展•現場
如此，地圖作為地理景觀的永恆再現這一說法因它的臨時性而被棄絕，而繪製地圖的主觀面向——這些面向總會存在，無論這幅地圖聲稱自己有多麼的中立和科學。
第三十一屆聖保羅雙年展策展人，查爾斯•艾舍
（中譯：徐緩之）
（下為原文配圖）
Map-making is one of the fundamental ways that Western society has come to terms with the world. Through maps, the unknown is made visible and understandable. Yet maps have also been used to frighten off potential visitors, as in the famous ‘here be monsters’ rubric on early European maps of the continents of North and South America.
                
                
不存在的旅行者 The Inexistent Traveler
2014
墙上水墨地图 Ink Map on Wall
32 m× 7.5 m
Qiu Zhije uses these histories and techniques of mapmaking, together with a Chinese ancient tradition of mapping imaginary places, to construct unexpected narratives, imaginary cities or strange utopian locations, such as the 'Map of Utopia' or the 'Map of Total Art'. He was trained as a calligrapher and uses these skills in rendering his free hand drawn maps.
For the 31st Bienal, Qiu Zhije has drawn a large-scale map that functions as a curious pathfinder for the journey ahead, through the exhibition. The map is based on some of the curatorial and artistic ideas behind the Bienal itself, merged with the artist’s own reflections while he was here preparing the image. The map is drawn directly on the wall of the ramp, which currently leads from the ground floor, and will disappear once the Bienal is closed on 7 December 2014. In this way, the idea of the map as a permanent rendition of a geographic landscape is rejected in favor of the temporary, subjective aspects of mapmaking – aspects that are always present no matter how neutral or scientific the map claims to be.（Charles Esche)