Cheng Xiaobei, female; poet and writer. Profession: Medical Doctor

　　Published Poetry Books: A Stolen Pen; She Runs in and Out

　　Published Novels: Life of Resignation; Are You Crazy!

　　Non-Fiction Books: Construction Diary (Shangyuan Multi-Arts Series); Living Road

　　(Photography Collection)

　　Organization and Promotion: In 2000 she began arranging for construction of the Shangyuan Art Scene (also known as the China Modern Architecture occupying a total area of 30,000 meters. The total floor area of the buildings is 19,000 square meters. Total investment is 70,000,000 yuan. All funds were raised by the artists who belong to Shangyuan. Construction of the Shangyuan Art Exhbition Hall and dormitories was basically finished in October 2007.

程小蓓 Xiaobei Cheng

　　女 詩人、作家、藝術(shù)活動策劃人，自上世紀(jì)八十年代開始，在從醫(yī)的同時，創(chuàng)作出大量詩歌作品，出版詩集《熱愛生活》《一支偷來的筆》《她跑進(jìn)跑出》；1997年開始寫小說，出版長篇小說《無奈的生命》、《你瘋了！》。

　　Xiaobei Cheng, female; writer, poet and photographer. Beginning in the 1980s, concurrently with her career as a doctor, she wrote numerous poems and published three collections: Love of Life, A Stolen Pen, and She Runs In and Out. In 1997she began to write fiction and published the novels Life of Resignation and Are You Crazy!

　　2000年開始組織策劃“北京上苑藝術(shù)館”和“中國現(xiàn)代建筑博物館”,占地面積30000平方米，建筑面積16000多平方米，2006年建設(shè)完成中國當(dāng)代最具原創(chuàng)性的現(xiàn)代建筑藝術(shù)博物館及中國民間組織的最大規(guī)模的藝術(shù)家創(chuàng)作基地。同時創(chuàng)作長篇報告文學(xué)《建筑故事》圖文書籍。

　　Beginning in 2000, she organized and initiated “Beijing Shangyuan Art Museum” and “China Modern Architecture Park”; at the same time she wrote the novel Construction Story.

　　曾在1987年背著海鷗120型及瑪米亞兩部照相機(jī)，騎自行車從成都市出發(fā)，途經(jīng)川陜革命根據(jù)地、陜北革命根據(jù)地、陜甘寧革命根據(jù)地、山西、河北到達(dá)北京。拍攝了上萬幅照片。另自編導(dǎo)有多個攝影故事、攝影長詩，其中《長草的季節(jié)》《我該歌唱》等作品在《青春》《青年文學(xué)》等刊物發(fā)表，為當(dāng)時的文學(xué)刊物提供了一種新的文學(xué)表達(dá)形式。一些照片參加了國際國內(nèi)各種攝影展覽并獲獎。很多書刊選用其作品刊登或作為封面使用。2006年參加“上苑藝術(shù)館建筑行為藝術(shù)展”攝影藝術(shù)單元展。

　　In 1987, she travelled to shoot pictures, starting from Chengdu, She went to several revolutionary bases—in Sichuan, North Shaanxi Plateau, Shanxi, Gansu, and Ningxia, then returned to Beijing with detours to Shanxi and Hebei. In her two-month trip she made over 10,000 photographs. She also shot many photo stories and photo poems, among which “Grass Growing Season” and “I should sing” were published in Youth and Young Peopleu2019s Magazine. She offered a new form of expression for literary publications. Some of her works have been exhibited internationally and have won prizes at photo exhibitions. Her photos have been used as cover pages for books, journals and magazines. In 2006 she showed in the “Photographic Art” section of the “Shangyuan Art Museum Exhibition of Architectural Action Art.”

　　誠實(shí)與真純的詩 u2022程小蓓u2022我尊敬這樣的詩人——誠實(shí)、真純、有責(zé)任感。但我認(rèn)為不能先為自己設(shè)定一種身份，包括詩人的身份。在寫作時，我無法讓自己先站在那樣的制高點(diǎn)上，然后再讓文字從自己的指尖像血一樣滴落——從天空的高度滴落時，會不會像天女撒花呢？但“天女”是一個虛幻的人。她不食人間煙火。我們能借她的眼睛看到杜甫的“路有凍死骨”，但我們無法借她的皮膚去感知寒冷，并像杜甫那樣感到切骨的痛。拿痛這樣的感覺作例證——這些必須自己親歷過了才能準(zhǔn)確把握的東西。否則，那個字只是一個音節(jié)“tong”。用更為“本質(zhì)的人”去寫自己的“親歷”。因?yàn)槿耸紫缺仨氷P(guān)注他自己的感知，再由此延伸出去，關(guān)注他人——關(guān)注民族——關(guān)注國家——關(guān)注人類……。否則，創(chuàng)始的文字無法讓我碰觸，無法讓我進(jìn)入，更不用說讓我與作者一同——感嘆。

　　Poetry of Honesty and Innocence · Cheng, Xiaobei: “I respect those poets who are honest, innocent and conscientious. However, I donu2019t think it appropriate to determine my own identity as a poet. In writing, I fail to live up to a poetu2019s high status and let words drip down like blood from my fingertips. Perhaps words dripping down from above be like flowers spread by a fairy? But a fairy is a virtual person who neither eats nor sleeps. We can only borrow her eyes to see frozen dead bodies with a sideways glance. However, we can not borrow her skin to feel coldness and bitter pain as Du Fu experienced it. Pain is a form of evidence. We all know it is a prerequisite to experience pain before understanding what it is. Otherwise, pain can only be a syllable which is spelled “tong” in Chinese Romanization. It takes a person who is closer to her essence to write what she herself experienced. People must first be concerned with their own sensibility before reaching out to help others, the nation, the country, as well as humankind… Otherwise, an innovative piece of writing will refuse my touch and entry. They will not let me sigh together with the writer.