1988 年开始在浙江美院读版画系，受到激浪派和博伊斯影响。毕业作品《大玻璃》和1990年开始的课外创作《重复书写兰亭序 1000 遍》即被编入“后八九”思潮。

1993 年开始，对语言哲学和文化人类学发生兴趣，在福建完成了《调查报告》系列油画后，在西藏、新疆、山西等地进行调查。

1993 年底在杭州三台山期间开始使用摄影、录像和装置，主张用语言实验的最新成果来完成社会批判和自我批判。关注观看的视角问题，媒体权力的控制问题，身份概念的虚假性等。这时期的代表作有《公共生活》装置、《纹身》系列摄影、《卫生间》录像等。

1994 年开始移居北京，到北大外哲所旁听哲学，学习分析哲学和现象学。同时创作装置、摄影等。 1990 年代中期参与《江苏画刊》的“意义问题讨论”，发表大量文字批评中国艺术中的庸俗社会学倾向。获得写作的名声。

1996 年策划录像艺术展，很长一段时间成为新媒体艺术的推动者。录像和录像装置方面的代表作有《物》 1997 ，《现在进行时》 1996 。同时， 在杭州时期的摄影工作《纹身》、《虹》、《好》系列作品被认为是观念摄影潮流的代表作品。

90年代末，转向对观念艺术中的智力崇拜倾向的批评，1999年开始策划了《后感性》系列展览，鼓吹作品的现场性和综合性，反对过度阐释，并开始走向策展试验。个人创作则两极分化，一方面转向中国式的生命哲学和历史感的，恢复对书法的兴趣，代表作品有《唐诗十首》、《说文解字》系列、《挂历 1998 》摄影系列等；另一方面则对社会学的田野调查方法产生兴趣，在 2001 年前后进行了大量社会采集式的摄影和录像创作，重要作品如《亚洲时间》、《黑板报》系列等。并和后感性小组的其他艺术家一起尝试大型的现场艺术的制作，如2001年的《后感性：狂欢》、《新潮新闻》、《报应》等活动。

2002 年，参与“长征 — 一个行走中的视觉展示”大型活动的策划，我将其作为大规模的社会调查和策展实验。个人创作则谋求和日常生活的无缝结合。创作了《长征－左右》等作品。

2003年9月后我任教于中国美院综合艺术系，开始用“总体艺术”的概念整合此前新媒体时期、“意义问题讨论”时期和“后感性”等多方面的创作、理论和实践，并用于教育。思想上我则由西方语言哲学和佛教的影响，部分地向儒学转化。“总体艺术”的理念，相信艺术问题的解决必须和人的生活问题的解决同时完成，把艺术理解为自我和文化进化的工具。因此主张用文化研究作为艺术工作的基础，用艺术工作作为完善的人和世界的基础。

邱志杰的创作活动涉及书法、水墨绘画、摄影、录像、装置、剧场等多种方式。他代表了一种沟通中国文人传统与当代艺术、沟通社会关怀和艺术的个人解放力量的崭新尝试。

他的主要个展包括：2016与时间赛跑，意大利常青画廊；2015大计划，福建美术馆；2013独角兽和龙，威尼斯Querini Stampalia博物馆；2012蓝图，鹿特丹WDW艺术中心；2009偶像的黄昏：南京长江大桥划之四，世界文化宫，柏林；2008破冰:南京长江大桥之三，尤伦斯当代艺术中心，北京；南京长江大桥自杀现象干预计划之一：2008庄子的镇静剂，证大现代艺术馆，上海，等等。

参加过的主要群展有：2016生活之建筑，伯克利美术馆；2015第56届威尼斯双年展；2014第31届圣保罗双年展；2013哥德堡双年展；2009第53届威尼斯双年展中国馆；2007确有其事：中国当代艺术，泰特利物浦美术馆；2006光州双年展；2005横滨三年展；2002第25届圣保罗双年展；1993后八九中国新艺术，香港汉雅轩，等等

邱志杰曾出版《影像与后现代》、《给我一个面具》、《自由的有限性》、《重要的是现场》、《摄影之后的摄影》等艺术理论著作。主要作品集有《邱志杰：无知者的破冰史》、《时间的形状：邱志杰的光书法摄影》、《莫愁：邱志杰近作》、《记忆考古》等。他作为策展人策划了1996年中国最早的录像艺术展，以及1999年到2005年之间推介青年一代艺术家的“后感性”系列展览。2012年，他是第九届上海双年展“重新发电”的总策展人。

 Qiu Zhijie, an artist and curator, was born in Zhangzhou, Fujian Province in 1969. Graduated from the Printing Department of Zhejiang Academy of Fine Arts in 1992, he began to participate in contemporary art activities. He is currently a professor at the Academy of Cross-Media Arts, China Academy of Fine Arts, director of general art studio, supervisor of master's degree, director of the Institute of Art and Social Ideology, China Academy of Fine Arts, invited artist of the Academy of Contemporary Art, and member of the experimental art committee of China Artists Association. They live in Hangzhou and Beijing. Zhangzhou people in Fujian Province have been trained in traditional calligraphy and read a wide range of literature and history since childhood. They follow Mr. Zheng Yushui and others in their hometown to learn calligraphy and seal cutting. Before I went to the Academy of Fine Arts, I had been exposed to contemporary art and aspired to it.

 In 1988, he began to study printmaking in Zhejiang Academy of Fine Arts. He was influenced by the radicals and Boyce. Graduation work "Big Glass" and extracurricular creation "Repetition of Orchid Pavilion Preface 1000 times" started in 1990 were incorporated into the "post-89" trend of thought.

Since 1993, he has taken an interest in linguistic philosophy and cultural anthropology. After completing the series of oil paintings of the Investigation Report in Fujian, he has conducted investigations in Tibet, Xinjiang and Shanxi.

At the end of 1993, during the period of Santai Mountain in Hangzhou, photography, videotape and equipment were used, and the latest achievements of language experiments were advocated to complete social criticism and self-criticism. Focus on the visual angle of viewing, the control of media power, the false concept of identity and so on. The representative works of this period include "Public Life" installation, "Tattoo" series photography, and "Toilet" video.

In 1994, he moved to Beijing to attend the Philosophy Center of Peking University, where he studied Analytical Philosophy and Phenomenology. At the same time, the creation of devices, photography and so on. In the mid-1990s, he participated in the discussion of meaning in Jiangsu Painting Magazine and published a large number of literary criticisms of vulgar sociological tendencies in Chinese art. Get a reputation for writing.

In 1996, he planned a video art exhibition and became a promoter of new media art for a long time. The representative works of video recording and video recording devices are "Things" 1997, and "Present Continuous Tense" 1996. At the same time, the series of photographic works "tattoos", "rainbows" and "good" in Hangzhou period are considered as representative works of the trend of concept photography.

In the late 1990s, it turned to criticism of the tendency of intellectual worship in conceptual art. In 1999, it began to plan a series of exhibitions of Post-Sensibility, advocating the locality and comprehensiveness of works, opposing over-interpretation, and began to move towards curatorial experiments. Individual creation is polarized. On the one hand, it turns to Chinese life philosophy and historical sense and regains interest in calligraphy. The representative works include Ten Poems of Tang Dynasty, Shuowen Jiezi Series, Calendar 1998 Photography Series, etc. On the other hand, it is interested in the field investigation methods of sociology and has carried out a large number of social collection-style photography and video creation around 2001. Important works such as "Asian Time" and "Blackboard Newspaper" series. And with other artists of post-perceptual group, we try to produce large-scale live art, such as post-perceptual: carnival, trendy news, retribution and other activities in 2001.

In 2002, I participated in the planning of "Long March - a Visual Display in Walking" as a large-scale social survey and curatorial experiment. Individual creation seeks to integrate seamlessly with everyday life. He created works such as The Long March-Left and Right.

After September 2003, I taught in the Department of Comprehensive Art of the Chinese Academy of Fine Arts. I began to integrate the previous creation, theory and practice of the new media period, the period of "discussion of meaning" and "post-perceptual" with the concept of "general art", and used it in education. Ideologically, I have transformed from Western philosophy of language and Buddhism to Confucianism in part. The concept of "general art" believes that the solution of artistic problems must be completed simultaneously with the solution of human life problems, and that art should be understood as a tool of self and cultural evolution. Therefore, it is advocated that cultural studies be used as the basis of artistic work and that artistic work be used as the basis of perfect human beings and the world.

Qiu Zhijie's creative activities involve calligraphy, ink painting, photography, video, installation, theatre and other ways. He represents a new attempt to communicate Chinese literary tradition with contemporary art, social care and art.

His main solo exhibitions include: 2016 and Time Race, Italian Evergreen Gallery; 2015 Plan, Fujian Art Museum; 2013 Unicorn and Dragon, Venice Querini Stampalia Museum; 2012 Blueprint, Rotterdam WDW Art Center; 2009 Idol Dusk: Nanjing Yangtze River Bridge Division IV, World Cultural Palace, Berlin; 2008 Ice Breaking: Nanjing Yangtze River Bridge III, Ullens Contemporary Art Xin, Beijing; Nanjing Yangtze River Bridge Suicide Intervention Program: Zhuangzi's sedative in 2008, Zhengda Modern Art Museum, Shanghai, etc.

The main group exhibitions include: Architecture of Life 2016, Berkeley Art Museum; the 56th Venice Biennale in 2015; the 31st Sao Paulo Biennale in 2014; the Gothenburg Biennale in 2013; the 53rd Venice Biennale in 2009; the Chinese Museum of Contemporary Art, Tate Liverpool Art Museum in 2007; the Guangzhou Biennale in 2006; Yokohama Triennial in 2005; the 25th Sao Paulo Biennale in 2002 Chinese New Art after 1993, Hong Kong Hanyahuan, etc.

Qiu Zhijie has published such works as Image and Postmodern, Give Me a Mask, Limitation of Freedom, Important Live and Photography After Photography. The main works include Qiu Zhijie: Ice-breaking History of the Ignorant, Shape of Time: Photography of Qiu Zhijie's Light Calligraphy, Moxie: Recent Works of Qiu Zhijie, Archaeology of Memory, etc. As a curator, he planned the earliest video art exhibition in China in 1996 and a series of "post-perceptual" exhibitions promoting young artists between 1999 and 2005. In 2012, he was the general curator of the Ninth Shanghai Biennale "Regeneration".