彩虹空空 Rainbow Kongkong 2001-

廖雯（策展人/艺术评论家）

《空空》拥有持续的“生命状态”–从孕育、出世到成长日的完整过程，与艺术家个人日常生活的变化息息相关，与艺术家个人心理体验的纠结血脉相连,并且依然在“成长中” 《空空》拥有综合的“语言方式”–从传统的绘画，到当代的观念、摄影、行为、装置，到最时尚的动漫，从最古老的曼陀罗图示，到最前卫的混搭样式，到最女性、最原始的手工劳作。“空空”是中国当代艺术中最独特的作品。

——摘自廖雯《理解空空“自我”的另一种实现》2009

LIAO Wen (Curator & Art Critic)

The life of “Kongkong” is continuous — from pregnancy to birth to growth, closely bound up to the changes of the artist in the daily life and the entanglement of her personal psychological experience. Moreover Kongkong is still “growing.” “Kongkong” has comprehensive “language form” — from the traditional painting to the contemporary concepts, to photo, performance and installation, to the most fashionable animation, to the most ancient Mandala illustration, to the utmost paired up patterns, to the most feminine handicraft labor.

——Extracted from LIAO Wen’s “Understanding Kongkong: Another Way of Self-Realisation” 2009

空空由来 The origin of Kongkong

空空是一个有三个角的玩偶，它是从一个戒指的造型演变而来。2001年在实施流动彩虹项目的过程中，为了缓解漫长旅途的枯燥，我在东京买了不同种类的珠子编出了各式各样的戒指。受其中一款戒指的启发我创作了一个既非人类又非动物的玩偶，起名空空，从而开始了流动彩虹之后的空空系列。

——熊文韵

Kong Kong is a doll with three horns, which evolved from the shape of a ring. In 2001, during the Mobile Rainbow project, I bought different kinds of beads in Tokyo and made up various rings to ease the tedium of the long journey. Inspired by one of the rings, I created a doll that was neither human nor animal and named it Kong Kong, which means empty, thus starting the Kong Kong series after Mobile Rainbow.

——Xiongwenyun