Xu Zhongmin 許仲敏

許仲敏1961年生於中國四川綿陽，1987年畢業於四川美術學院版畫系。早期創作以梨木木刻為重要基礎，細密刻線構築出擁擠、變形而充滿節奏的城市景觀。1992年移居英國，長期旅居帶來與母體文化之間的距離，也使他直接進入歐洲當代藝術的展示與創作環境。依 October Gallery 現行資料，藝術家目前往返北京與倫敦生活、工作。

Born in Mianyang, Sichuan, in 1961, Xu Zhongmin graduated from the Printmaking Department of the Sichuan Academy of Fine Arts in 1987. His early pear-wood engravings constructed dense, distorted cityscapes through exceptionally fine incised lines. After moving to Britain in 1992, the distance from his native culture and his direct encounter with European contemporary art became formative experiences. According to October Gallery’s current profile, he lives and works between Beijing and London.

其後，許仲敏將版畫中的重複線性與都市節奏轉化為雕塑、裝置、建築、影像與機械系統。馬達、感應器、透明或反光材質、人物雕塑與頻閃燈並非單純的科技效果，而是組成作品時間性的結構。機械既像舞台，也像不可停止的社會系統；人物則成為在其中反覆運行的表演者。

Xu later translated the repetition and urban rhythm of printmaking into sculpture, installation, architecture, moving image, and mechanical systems. Motors, sensors, reflective materials, sculptural figures, and strobe lights are not used as spectacle alone; they form the temporal structure of the work. The machine becomes both a stage and an unstoppable social system, while the figures perform within its recurring sequence.

他的創作深受兩條思想脈絡啟發：藏傳佛教「轉山」儀式所指向的修行、循環與精神寄託，以及建築師巴克敏斯特・富勒（Buckminster Fuller）測地穹頂所代表的幾何秩序。東方生命觀、跨文化旅居與工業技術在作品中交會，使冰冷金屬與反覆機械運動之中，仍保留對生命、存在與人類處境的追問。

Two sources are especially important to his practice: the Tibetan Buddhist ritual of circumambulating a sacred mountain, with its ideas of discipline, recurrence, and spiritual refuge; and Buckminster Fuller’s geodesic dome, with its geometric order. Eastern reflections on life, cross-cultural experience, and industrial technology converge in works where cold metal and repetitive motion continue to question existence and the human condition.

在《蛋形》、《轉山》與《時間轉輪》等作品中，人物並非投影，而是真實存在的立體雕塑。機械驅動使連續排列的形體運動，頻閃光則將連續動作切分為視覺片段；眼睛重新連接這些片段，產生近似早期電影、走馬燈或動畫的錯視。反射表面進一步複製人物與光線，使裝置的視覺密度超出其實際體積。

In works such as Egg Shape, Trekking Around the Mountain, and Time Wheel, the figures are not projections but physical sculptures. Mechanical movement carries sequential forms through space, while stroboscopic light divides continuous motion into perceptual fragments. The eye reconnects these fragments into an effect related to early cinema, the zoetrope, and animation. Reflective surfaces further multiply bodies and light, extending the work beyond its physical volume.