无题的

Moon's light moves mistily, in sleep I slightly open the eye, a steamboat has delimited from the sky, Lays down a tall ladder before the window, I sat up from the bed, am suitable the tall ladder direction to arrive at the illusion world

无题 月亮的光蒙蒙动动的，睡梦中的我微微的睁开眼睛，一艘轮船从天空划过，在窗前放下一条天梯，我从床上坐起，顺着天梯的指引来到了梦幻般的世界

Both Chinese capital and other elements combination game in his No Title serial (1995), in China Image (2004), inscriptions on ancient bronze objects and single storks are shown exaggeratively on frame front view, or even closer Zen's Words (2007) of "words without any meaning fill the whole picture like pose"(Zheng Xuewy: about Zen's Words), vision elements of his creation are continuously realized.

无论是《无题》系列（1995年）中-汉字和其他元素的组合游戏，还是《-国图像》（2004年）中钟鼎文独字、独-笔划在画幅前景夸张的凸显，还是在-靠近的《禅说》（2007年）中&无任何-意义的文字符号就像诵经那样一遍一-地充满整个画面&，（郑学武：《关-&禅说&》）在郑学武的创作中汉字-的视觉因素被持续的陌生化重现。

In "Untitled and Tenseless" series, most of the image is staged and constructed to be photographed.

在&无题与无时&这一系列的作品中，大多数的影像是由戏剧性的内容构建和拍摄的。

Group Exhibitions: in 2006, Process and Expression, The Scale of Picture Determines Attitude: the 1st 5x7 Photo Biennale, Direction, Mixture of Clear and Obscure: Chinese Contemporary Arts Exhibition; in 2005, Fan Shou Wei Yun Fu Shou Wei Yu: the 1st Exhibition of Beijing TS1 Contemporary Art Center, Skin of City—Research on the Possibility of Contemporary City Image (Tap Seac Gallery of Macao, Shenzhen Art Museum), Transparent Box, Untitled—Self-Project:'05 China Pingyao International Photograph Exhibition, Ten Points and Ten Colors (Soka Contemporary Space, Beijing), Tian An Men (Amsterdam Photo Museum, Holland), The 2nd Chengdu Biennale, Tomorrow without Glancing Back: Chinese Contemporary Art Exhibition (Kuandu Museum of Fine Arts, Taipei); in 2004, Meet by Chance, One to One: Their Sight (Chambers Fine Arts, New York, USA), Chinese Photo and Image Fine Arts, Times of Imitating Images; in 2003, Distance—Contemporary Art Invitational Exhibition of Guangdong Museum of Art (Guangdong Museum of Art, Guangdong), Left Hand and Right Hand: China and Germany Contemporary Art United Exhibition (Beijing 798 Space), Expression and Condition, Chinese Photo and Image Fine Arts (Art Museum of Beijing Normal University), Blue Sky without Defense; in 2002, Speak to Oneself, Chinese New Photo and Image Exhibition, Bridge: Contemporary Art Invitational Exhibition, Legend-Fabrication-Copy, Phenomenon, Chuang Ku Exhibition (Shanghai Dongdaming Chuang Ku Exhibition); in 2001, Knowledge is Power; in 1999, Contemporary Chinese Art Exhibition; in 1998, Surprise to Existence, In the City: Opening Oneself; in 1997, Chinese Art General Exhibition: Contemporary Oil Painting Exhibition.

联 展：2006年Process And Expression。&画幅决定态度&首届5x7照相双年展方向、虚虚实实—中国当代艺术展；2005年&翻手为云，覆手为雨&—北京 TS1当代艺术中心第一回展、城市的皮肤—当代都市影像的可能性研究（澳门塔石艺文馆、深圳美术馆）、透明的盒子北京SOHOU现代城）无题—自我投射2005中国平遥国际摄影大展、士点十色、天安门（荷兰阿姆斯特丹摄影博物馆）、第二届成都双年展、明日，不回眸—中国当代艺术展；2004年邂逅、&一对一&他们的目光、中国影像绘画、拟像时代；2003年&左手与右手&中、德当代艺术联展、表情与状态、中国影像绘画展、距离·广东美术馆当代艺术邀请展、蓝天不设防；2002年自言自语、中国新影像展、桥·当代艺术邀请展、演义·捏造·复制、现象、创库展；2001年知识就是力量；1999年当代中国艺术展；1998年对于存在的惊奇、在城市中—开放的自我；1997年中国艺术大展·当代油画艺术展·当代油画艺术展。

Just like what we saw in this Untitled No.7, Zeng Fanzhi was sincere and relaxed in understanding and dealing with brushworks, which differed with others.

正如我们在这件《无题7号》中所看到的，曾梵志对於线条的理解和把握有着异於常人的洒脱和率真。

I I am a nervous timidlittle cloud, lack of courage and sleep, but not of thetender love for the hurted ,wounded weepers.

无题去茶水间泡苦涩的药水，热爱运动的某人居然生病了，凶悍的阿姨正在为之找药片看说明书，然后乖乖吃药。

In addition, Untitled Announcements examines the possibilities of video as a writing machine medium—a writing machine of moving image.

另外，《无题公告》亦探索了录像作为「文字机器」的媒介的可能性，使之成为一部活动影像的文字机器。

And New London'll go first. My word, won't it be funny when there's no Tevershall pit working. It's bad enough during a strike, but my word, if it closes for good, it'll be like the end of the world.

呀，他们在那里闲荡……到讲究的茶园如美卡多一样的地方去晚上茶……带着女友到跳舞厅或电影院或皇家允院去，女孩们和男孩们一样的放流无题。

This may explain why, for example, Willem de Kooning's painting "Untitled XVI" recently sold for $15.7m—double its estimate—at Sotheby's in New York.

或许生活水准的提高足以解释其原因。例如，最近在纽约苏富比拍卖行，威廉·德·库宁的画作《无题十六》以1570万美元的价格拍出，是预期交易价格的2倍。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。