AFTER KOREAN-BORN artist Do Ho Suh moved to London a few years ago to be with his wife, he missed his adopted home of New York. He kept a 500-square-foot live-in studio there, in a former sailors' dorm in Chelsea, and began to contemplate ways of memorializing it. Many of Suh's most famed sculptures had reimagined his homes-in translucent fabric or resin, or as a painstakingly detailed, oversize dollhouse-from his childhood in Seoul and his young adulthood in the United States. This time, though, he wanted to make a drawing. Except Suh was not content to sit in a chair with a pad and pencil and render what he saw. Instead, he covered every inch of the interior-walls, floors, ceiling, refrigerator, window air conditioner-with paper, then rubbed with a blue-colored pencil, the way a child might preserve the memory of a leaf in the fall.

在搬到伦敦与妻子团聚几年后，韩国艺术家徐道获(Do Ho Suh)开始思念自己的第二故乡──纽约。他在切尔西区(Chelsea)的一栋前海员宿舍中有一个500平方英尺（约合45平米）的工作室，同时他也住在那儿。于是，他开始构思纪念它的方式。在他最知名的雕塑中，有许多作品都再现了他的家，包括他幼年时在韩国的家以及青年时期在美国的家，它们或是半透明布料或树脂材质的雕塑，或被制成了细节极其详尽的超大号玩具屋。不过，这一次他希望作一幅画。不仅于此，他不满足于拿着画簿和画笔把他的所见画下来，而是用纸蒙住室内的每一寸地方── 壁、地板、天花板、冰箱和窗式空调，然后用蓝颜色的铅笔在纸上反复涂擦，就如孩子想留住对一片秋叶的回忆时可能用的方法一样。

'Rubbing is a different interpretation of space. It's quite sensuous-very physical and quite sexual,' says Suh, wearing a T-shirt and shorts on a late summer day in his London studio. 'You have to very carefully caress the surface and try to understand what's there.'

夏末的一天，徐道获穿着T恤和短裤在伦敦的工作室接受了采访。他说：“反复涂擦是对空间一种不同的诠释，它具有极强的感官性──与肉体和性有着密切关系。你必须非常细致地抚摸表面，努力去理解那儿有些什么。”

That dictum could easily apply to the entirety of Suh's oeuvre, which has explored the varying meanings of space, from the smallest territory we occupy-our clothing-to our homes and homelands. Issues of memory, history, displacement, identity and the body all come into play. In an age of exponentially increasing globalization, Suh's consideration of what it means to belong strikes a nerve. His almost uncanny ability to hit these major touchstones of our time-and do it with the lyricism of a poet-has made him one of the most internationally in-demand artists of his generation.

这一阐释用在他的全部作品上也很容易说通。他的作品探索了不同空间的意义，小至我们身体占据的领域──我们的服装，大至我们的居所乃至祖国。其中，回忆、历史、迁徙、身份和身体因素都产生了影响。在一个全球化程度飞速提高的时代，他对什么是归属的思考触动了人们的神经。他具有几乎惊人的能力，能直指我们这个时代的这些重大考验，并且他的方式还颇具诗人的抒情风格，这使得他成为了他这一代人中最受追捧的国际艺术家之一。

Suh has fashioned a monumental emperor's robe from thousands of soldiers' dog tags and precariously perched a fully furnished house on the edge of a roof seven stories up. He has used his personal history of wearing uniforms-from schoolboy to soldier-as the basis for a self-portrait, and set an army of tiny figurines under a glass floor, inviting viewers to walk on the artwork without necessarily even realizing it. In Suh's mind, it all has the same origin: 'Everything starts from an idea of personal space-what is the dimension of personal space,' says Suh. 'What makes a person a person, and when does a person become a group? What is interpersonal space-space between people?'

他曾使用数千张士兵身份标牌制作了一件巨型皇袍，还曾将一座家具齐备的小屋斜置在七层楼高的房顶上，看上去相当惊险。他还根据自己在读书和服役期间穿制服的个人经历创造了一幅自画像，也曾将一群微型雕像放在玻璃地板下，然后邀请观众从这些艺术品上走过，而观众对此甚至毫不知情。在他看来，这一切的起源都是相同的。他认为：“万事始于个人空间概念──个人空间的范围有多大。是什么让人成其为人，什么时候个人又会变成群体？人际空间，也就是人与人之间的空间是什么？”

'The whole approach is quite rich,' says Rochelle Steiner, professor at the USC Roski School of Fine Arts, who is working on a book about Suh's drawings. 'He's been very, very inventive.'

南加州大学罗斯基美术学院(USC Roski School of Fine Arts)的教授罗谢尔?斯坦纳(Rochelle Steiner)称：“他整体手法极其丰富，他一直都非常非常有创意。”斯坦纳正在编写一本有关徐道获画作的书。

With a boyishly round face and a playful grin, Suh looks younger than his 51 years by a decade, but he exudes the seriousness of a veteran artist. It's a disposition he knows well: His father, Suh Se-ok, is a well-regarded abstract painter in Seoul. After secondary school, the younger Suh had hoped to become a marine biologist, but with a poor math score standing in his way, he applied to art school at the last minute and was accepted. He studied traditional Korean painting before following his first wife, a Korean-American grad student, to the states in 1991. The Rhode Island School of Design (RISD) was the only American art school to accept him, and though he'd already earned a master's degree in Seoul, RISD insisted he enter as a sophomore. Still, immigrating alleviated some of the pressure of being his father's son. 'I felt relieved when I went to the states,' he says. 'I felt much more freedom. I realized the danger of having a father like mine-he's going to always come up-but in the U.S. my father is nobody.'

徐道获长着一张孩子气的圆脸，面带戏谑的笑容，看上去要比他51岁的实际年龄小10岁，不过他浑身仍透出一种老牌艺术家的严肃气质。这是他非常熟悉的气质：他的父亲徐世钰(Suh Se-ok)就是韩国一位备受尊敬的抽象画画家。中学毕业后，徐道获曾想成为一名海洋生物学家，但碍于他糟糕的数学成绩，他只好在最后一分钟申请了艺术学院，并且被录取了。1991年，他跟随第一任妻子──一名韩裔美国研究生搬到了美国，此前他一直学的是韩国传统绘画。罗德岛设计学院(RISD)是当时唯一一所愿意录取他的美国艺术院校，尽管他已经在首尔获得了硕士学位，该学院还是要他从大二开始读起。不过，迁居美国部分缓解了来自作为他父亲的儿子的压力。他说：“我到美国时觉得很放松，感觉自己自由多了。我意识到了有一位名人做父亲的风险──他总是会被人提起──但他在美国就无人知晓。”

Asked how his father regards his success, Suh says, 'I'm not sure if he feels proud of me. I don't know if he feels competition. He doesn't show those things.'

在被问及他的父亲如何看待他的成就时，他说道：“我不确定他是不是为我骄傲，也不知道他是否感受到了竞争，他不会把这些情绪表现出来。”

At RISD, Suh couldn't get into the classes he most wanted to take and ended up enrolling in The Figure in Contemporary Sculpture. 'It changed the course of my life,' Suh says, adding that the professor, Jay Coogan, 'is responsible for my becoming a sculptor.' Presented with the first assignment-use clothing to consider the human condition-Suh delved into ideas about the body, a topic that was taboo in Korea. Around the same time, the Rodney King riots erupted in Los Angeles, and news images of armed Korean immigrants protecting their stores made Suh think for the first time about how non-Koreans perceived his ethnic group. His classmates, he recalls, all younger than he, related neither to the immigrant experience nor to the mandatory military training that every Korean man, himself included, must endure.

在罗德岛设计学院，他无法参加他最想学习的课程，最后只好注册了《当代雕塑中的人体》课程。他说，“这改变了他的人生轨迹”，而杰伊?库根(Jay Coogan)教授则是他成为雕塑家的促成者。他的第一份作业是通过服装来思考人类的处境，于是他 研起与有关人体的概念，而这一话题在韩国是个禁忌。与此同时，罗德尼?金(Rodney King)事件在洛杉矶引发暴乱，韩国移民手持武器保卫自己店铺的新闻图片促使他第一次思考韩国以外的人是如何看待他们这个民族的。他回忆说，他的同窗（全都比他年纪小）既不认同移民经历，也不认同包括他在内的每个韩国男性都必须经受的强制兵役制度。

Fastening thousands of army dog tags to a military jacket, Suh created his first major sculpture: Metal Jacket. The modern-day coat of armor touched on many of the themes-personal space; the tension between the individual and the group; the inevitable culture clashes that arise with human migration-that continue to preoccupy his work, and it also became the prototype for Some/One, the imposing robe made of dog tags. From a distance, the viewer sees each sculpture as a single silvery surface. Only upon closer inspection does it register as a mosaic of dog tags, each representing an individual soldier.

他第一件重要的雕塑作品名为“金属战衣”(Metal Jacket)，是一件系上了数千张士兵身份标牌的军装。这件现代盔甲涉及了众多主题，如个人空间、个人与集体之间的紧张关系、以及随着人类的迁徙而必然会出现的文化冲突等，它们现在依然是其作品的主题。这件作品也成为了“Some/One”──那件由身份标牌制成的引人侧目的皇袍──的原型。从远处望去，观众会以为每件雕塑只是有一个银色平面。只有走近了仔细看，他们才会发现它们是由一张张身份标牌拼组而成，每张标牌都代表一名士兵。

Coogan, now the president of the Minneapolis College of Art and Design, recalls his reaction to Metal Jacket: 'Oh my gosh! His work was so fantastic. It was ambitious in scale and in the kind of global ideas he was working with.' Coogan, who has remained close to Suh, adds, 'Do Ho is exploring issues of what divides us and what unites us as human beings.'

库根如今已是明尼阿波利斯艺术与设计学院(Minneapolis College of Art and Design)的院长，他与徐道获的关系依然很亲密。他在回忆自己对“金属战衣”的感受时说道：“天哪，他的作品太奇特了。它在规模以及他所运用的那种全球化理念方面都表现得雄心勃勃。”他还说：“道获探讨的是什么将我们人类分化，又是什么将我们联结在一起的问题。”

In 1997, Suh scored a prestigious two-person show at New York gallery Gavin Brown's Enterprise before earning an MFA from Yale and moving to Manhattan. As he continued to exhibit new work, his hauntingly powerful pieces about the nature of home quickly gained notice. He made versions of his parents' house in Seoul-a traditional slope-roofed hanok, quite out of style when his father commissioned a former carpenter at the royal palace to build it from reclaimed wood in the 1970s-in dreamy fabric, suspended from a gallery ceiling. 'It has an interesting narrative,' he says of his childhood house. 'But then, every building, every space, has that. It's just not told.'

1997年，徐道获在纽约画廊Gavin Brown's Enterprise举办了一次享有盛名的双人展，后来他在耶鲁大学(Yale)获得了艺术硕士学位并搬到了曼哈顿。随着他继续展出新作品，他的那些探讨“家”的本质的令人难忘、极富表现力的作品引起了关注。他采用轻柔布料创作了几版再现其父母韩国居所的雕塑，并把它悬吊在画廊的天花板上。这个住所是一栋传统的斜屋顶韩屋，是他父亲在上世纪70年代委托一名前皇宫木匠采用回收木材建造的，看上去相当老土。他在谈到这处童年住所时说道：“它有一个很有趣的故事，不过那时候每栋楼、每个空间都有自己的故事，只是没有被讲述出来而已。”

Using fabric gave the pieces a ghostlike quality. Viewers were invited to enter some of the installations, heightening the sensation of being in a home, or the memory of one. Suh recalls how his brother, an architect, was disconcerted to see strangers wandering under a version of their family home at a 2000 exhibition at New York's P.S. 1 museum.

以布料作为材质给这些作品带来了一种诡异感。参观者会被邀请走进其中一些装置，这增强了身处住宅中的感觉，也增强了对家的回忆。徐道获还记得，在2000年纽约P.S. 1艺术博物馆的一次展览上，他的哥哥（一名建筑师）在看到陌生人在一版再现他们家宅的装置下漫步时显得非常不安。

Fallen Star 1/5 (2008-11), one of his best-known works, takes a more solid model of that hanok and crashes it through the wall of a carefully furnished, dollhouse-like re-creation of the apartment building where he lived in Providence. Contrary to most viewers' assumptions, his various home pieces are not exact replicas. 'It's intrinsically impossible to make them exact,' he says. 'I wanted to achieve something intangible. It's about memory, time spent in the space.'

“坠落之星1/5”(Fallen Star 1/5，2008-2011年)是他最知名的作品之一，它采用了更坚固的材质再现这所韩屋，而且屋子从一个经精心布置、类似玩具屋的装置（仿照了他在普罗维登斯所住的公寓楼）的 中坠下。与大多数参观者的设想相反，他那些各种各样的住宅装置并非一模一样的仿制品。他说：“把它们做得一模一样本身是不可能的，而且我想体现的是一些不可捉摸的东西，它是回忆，是在这个空间中度过的时光。”

In addition to exploring ideas about culture shock, Suh's works can have a sense of humor-a house teetering on a roof seems to be winking at The Wizard of Oz-and also a sense of loss. There is, of course, the rubble of the walls in Fallen Star 1/5, but even in a dog tag piece, viewers are left wondering what happened to the tags' owners, since only in death does a soldier part with the metal identification. Net-Work (2010), which was installed on a Japanese beach for the Setouchi International Art Festival, looks like a fishing net from a distance; only up close is it clear that Suh constructed it from scores of shiny figurines, each one's arms and legs outstretched to another's in the shape of an X. The piece was shown during typhoon season, and though the organizers insisted on securing it, Suh would have been content to see it wash away with the tide. 'I thought it would be a beautiful thing to happen to the piece-nature comes and takes my piece away, takes it to the ocean, and the work disappears.'

除了探讨与文化冲击相关的想法外，徐道获的作品也颇具幽默感──一座摇摇晃晃立在屋顶的房子似乎是在向《绿野仙踪》(The Wizard of Oz)眨眼示意──并带点失落感。“坠落之星1/5”中当然有碎石瓦砾，至于那些用身份标牌创作的作品，观众看后会不由地揣测那些标牌的主人怎么样了，因为士兵只在死后才会与这种金属材质的身份证明分开。“网”(Net-Work，2010年)这件作品是为参加濑户内国际艺术节(Setouchi International Art Festival)而在日本的一个海滩上安装的，从远处看去它就像一张渔网，只有走近了才能看清楚它是由数十个微型雕像组成的，每座雕像的胳膊与大腿都呈X形伸向另一座雕像的胳膊与大腿。这件作品是在台风季展出的，虽然主办方坚持要把它加固，但徐道获却乐于见到它被潮水冲走。他说：“自然力量出现把我的作品带走，把它带到海洋中去，然后它在那儿消失，我觉得这对这件作品来说是一件美好的事情。”

Says his longtime friend and fellow artist Janice Kerbel : 'The works in a way are like him-they're these very gentle things, almost like specters. There's something ethereal about Do Ho-he doesn't seem to belong to the place he's in.'

他多年的老朋友及同行贾尼丝?凯贝尔(Janice Kerbel)说：“那些作品在某些方面就像他本人──它们都是些非常轻柔的东西，几乎就像幽灵一样。道获有个超凡之处，那就是他似乎不属于他所在的地方。”

In 2010, Suh moved to London to join his second wife, Rebecca Boyle Suh, a British arts educator. Their first daughter was born soon after; their second followed this past summer. 'I've been following my loves,' Suh says of his continent hopping, adding with a laugh, 'it was never a career move.' If anything, London has been tougher to adjust to than the United States. 'Things are so different here. I feel like it's a completely different language, mentality and humor. I miss a lot of American values-like being straightforward and more relaxed.'

2010年，他搬到伦敦与他的第二任妻子──英国艺术教育者丽贝卡?博伊尔?徐(Rebecca Boyle Suh)相聚，不久之后他们的第一个女儿就降临了，第二个则在刚刚过去的夏季出生。他在谈到自己穿梭于各大洲间的生活时说道：“我一直都在追随我的爱人，从来没有因为职业而搬家。”说完他大笑了一声。如果说这次有什么不同的话，那就是伦敦要比美国更难让人适应。他说：“这儿的事情都如此不同，我感觉它的语言、思维和幽默都完全不同，我怀念美国的很多价值观，比如直率和更轻松的心态。”

His life in London revolves around family. He is not one to join the art world social scene. 'His commitment to his practice is so intense,' says Kerbel, who is also based in London. 'He's a quiet person and keeps very much to himself. He needs that time to be alone and in his head.'

他在伦敦的生活以家庭为中心，他并不是那种活跃于艺术界社交圈的人。同样也在伦敦工作的凯贝尔评价道：“他对自己的工作十分投入，他是一个安静的人，基本不与人交际。他需要那些时间来独处和思考。”

Suh maintains an international practice, taking intercontinental trips two to three times per month, including frequent stints in Korea, where the fabric pieces are sewn. Much of Suh's sculpture is site-specific, and even when it isn't, it's still context-specific. 'I have to anchor myself to the context-the physical site or history,' he says. When he was asked to make a piece for South Korea's National Museum of Modern and Contemporary Art, which is opening a new branch in Seoul this month, Suh considered the location of the museum itself-the site of the former palace-and the gallery the piece will be installed in, an expansive room called the Info-Box that has a view of the palace's last remains. In response, he created Home Within Home Within Home Within Home Within Home, a small hanok completely encapsulated by Suh's first American home in Providence. The extra three 'homes' in the title refer to the museum, the palace complex and Seoul. At a scale of 1:1, it is the largest fabric sculpture by volume he has ever made.

徐道获的工作遍布世界，他每个月有两到三次跨洲际旅行，目的地包括他常去的韩国，他的那些布料雕塑就是在那儿缝制的。他的多数雕塑都根据特定场所而设计，即便不是如此，它们仍因背景而有别。他说：“我必须让自己参照它的背景，如自然场所或历史。”在受邀为韩国国家当代艺术博物馆（它将于11月在首尔开设一个新分支）创作一件作品时，他考虑到了博物馆本身的位置──前皇宫遗址，以及将陈列其作品的展厅──一个可看到皇宫遗迹的名为“‘Info-Box”的宽敞房间。因此，他创作了一件名为《家中家之家中家中的家》(Home Within Home Within Home Within Home Within Home)的作品。在该作品中，小韩屋被他在美国的第一个家──普罗维登斯的公寓楼完全围祝作品名中另外多出的三个“家”指博物馆、宫殿和首尔。它是按1:1的比例建造的，是他创作过的最大的布料雕塑。

Also on his immediate agenda: his first drawings show, at Lehmann Maupin's two New York galleries. Slated for September 2014, the dual exhibition will feature excerpts from his Rubbing Projects. (One of the pieces is so big the gallery cannot accommodate the full structure.) Says Steiner, 'I've never seen anybody use paper and line in such a multifaceted way.'

近期提上议程的还包括他的首次画展，它将在乐曼慕品(Lehmann Maupin)纽约的两家画廊举办。这两个展览预定于2014年9月开幕，届时将展出他采用涂擦方式创作的部分作品。（其中一件作品尺寸过大，画廊无法摆下整件雕塑。）斯坦纳说：“我从未见过有人能以如此层次丰富的方式运用纸与线条。”

Suh is also making a video-performance piece that considers cooking as a type of personal space: He plays the host of a TV show, with his mother, as the chef, teaching him a recipe. He has recently taken on more architectural assignments as well, conceiving the Korean gallery for the Los Angeles County Museum of Art and is in discussions to design an actual house in the UK, the details of which are still under wraps. 'As my career has developed, you have more opportunities,' Suh says. 'That's the great thing about getting old.'

此外，他还在制作一件把烹饪也视为一类个人空间的视频表演作品。他在视频中扮演电视节目主持人，他的母亲则扮演厨师教他一道菜的做法。最近他接手的建筑项目也更多了，包括为洛杉矶郡立美术馆(Los Angeles County Museum of Art)设计韩国展馆，并且还在洽谈在英国设计一所真正的住宅，具体的细节仍未公开。他说：“随着职业的发展，我的机会越来越多了，这是年纪变大的一个好处。”

There is an often-overlooked political undercurrent to Suh's work. For the 2012 Gwangju Biennale in South Korea, for example, Suh recalled the massacre of civilians that followed a protest there in 1980. 'News was censored, so we didn't know what was going on,' Suh says. 'When I read the newspaper it was a patch of blanks-that never left me. When school started we students heard what happened in Gwangju from students who were there. Everything was fragmented. I was living only four hours away and didn't understand what was happening-it made me think about the problems of writing history.'

他的作品也含有潜在的政治倾向，这一点常常为人忽略。比如，在2012年韩国的光州双年展(Gwangju Biennale)上，他就回忆了1980年抗议活动后政府对平民的杀戮事件。他说：“新闻遭到审查，所以我们不了解发生了什么事情。在看报纸时，这件事也是一片空白，我从没忘记这件事。后来，我们这些学生在开学时从当时在现场的学生那儿听说了光州发生的事情。一切都被割裂了。我住在离那儿只有四小时车程的地方，但是也不了解发生了什么，这促使我开始思考有关书写历史的问题。”

In response, Suh made rubbings of three spaces around the city. 'That's a lot of rubbing,' he laughs. He and his crew wore blindfolds for one of the rubbings, both as a means of intensifying the already tactile experience of an unfamiliar place and as a metaphor. 'I didn't want to pretend to know about Gwangju,' he says, offering the analogy of tourists visiting a city's standard landmarks. 'You don't pay attention to the space between the landmarks, and the way we look at history is the same-we only remember the so-called important historical events.'

为此，他创作了再现该城市三个空间的擦印作品。他笑着说：“涂擦工作量很大。”他与其员工在创作其中一件作品时带上了眼罩，这既是为了增强对一个陌生地方的感官感受，也是一种隐喻。他说：“我不想假装自己了解光州。”他以参观城市标准地标建筑的游客做了一个类比。他说：“你不会注意那些地标之间的空间，我们看待历史的方式也是如此，我们只记得那些所谓的历史重大事件。”

Therein, Suh says, lies his challenge as an artist. 'It's an existential question of what we believe in this world-there are a lot of holes, but we try to believe it's whole, the way a lot of people see the house [sculpture] as an exact replica. There's a lot of rupture and gap. The role of the artist is to see those ruptures.'

他指出，他作为艺术家所面临的挑战就在于此。他说：“这是一个有关存在的问题，它关系到我们对这个世界的看法。这个世界有很多缺口，但我们尽量去相信它是完整无缺的，这就像很多人把房子（雕塑）看作是一模一样的复制品一样。世界有许多残缺和漏洞，艺术家的作用就是去发现那些残缺。”