在现在过去时中将影子追述

Tracing (Chasing) Shadows within the Present Past

《在现在过去时中将影子追述》

2013，行为，录像装置（7寸平板显示屏，木框，投影仪，白纸，铅笔，摄像机，铅笔画），尺寸可变

作品分为两个部分，第一部分是处于空间外的录像，第二部分是在空间内的混合媒介装置。

观众首先会看到一件装在画框中的录像，录像内容记录的是一张宝利来照片的显影过程，而照片所拍摄的内容是世界上现今最老的创作于40800年前的岩洞壁画。在6分钟的时长中，空白底片上的岩洞壁画逐渐显现又逐渐消失，周而复始。

然后观众将进入作品的第二部分 —— 录像作品背后的房间。在让眼睛逐渐适应房间中的黑暗后，观众会看见在艺术家站在房间的尽头的白纸/荧幕前，而荧幕上投射的是此情此景的无限镜像，这既是房间另一端的投影仪所投射的画面，也是摄像机正在记录的画面。艺术家手持铅笔，试图将自身投射在纸上的运动轨迹留下印记 —— 一个无止尽的，并且不可能完成的行为。在房间的左右两侧的墙壁上贴满了大大小小的铅笔画，所有的绘画都是重复同样行为所留下的产物，而每一次的结果却不尽相同。在每一张绘画的下脚都记录着每次表演（录像过程）的时长，从几分钟到数个小时。

「Tracing (Chasing) Shadows within the Present Past」

2013, performance, video installation (7-inch monitor, wooden frame, projector, paper, pencils, video camera, drawings), dimensions variable

The work is divided into two parts, the video piece on the wall outside and the installation in the darkened space inside. 

In the first part on the outside space, the viewer will encounter a framed video screen that looks like a still image – a polaroid image of the oldest cave painting from 40800 years ago. During the duration of 6 minutes, the viewer would witness the development of the Polaroid image, appearing then disappearing, repeating endlessly. 

Then the viewer will enter the darkened space behind the framed picture, which is the second part of the installation. After certain amount of time of letting the eyes adjust to the darkness, the viewer will see the artist standing in front of a white paper at the end of the room, using a pencil tracing her own shadow within the endless reflection created by the projector and the camera. On the left and right hand sides of the room are drawings in different sizes, scattered on the wall. All of these drawings were created by the artist’s repetition of the same process, however in different spaces and under different psychological states. At the bottom of each piece states the duration of every performance, which varies from few minutes to almost an hour.

中《无定河》（系列）

The River of Uncertainties (series), 2011-2012, photography

《无定河》（系列），2011-2012，摄影

永定河故名无定河，因在历史上曾发生过多次水灾，故得此名。“可怜无定河边骨，犹是深闺梦里人。”这是晚唐诗人陈陶《陇西行》中非常知名的两句。永定河的河龄已有300万岁的年纪，故被称为北京的母亲河。它位于北京的西部，跨越了海淀（西）、石景山、丰台等区，虽然它并没有流经北京的心脏，但它和每一个在北京西边儿长大的孩子的童年都息息相关。

2009年，北京市政府决心整治已断流30年的永定河，目标一个是使这条因人类过度使用而断流的河流重新有水，同时将在河道内外进行大规模整治 ，将永定河修筑成一条人工景观河。2011年，我开始记录这条河流的改造过程。

让我来讲拍摄其中一张照片的体验吧：那张照片拍摄于京港高速大桥下方的河道上，当时工人们正集体在河床上午休。我被一座桥柱上大篇幅的文字吸引，由于书写者使用了大量的方言，且夹杂很多错误书写，导致非常难以阅读。然而可以确定的是，书写者是在坎坷的遭遇后写下这些文字，字里行间渗透出深切的怨恨与苦楚。一个工人醒来后，我问他：“请问你知道桥柱上这些字的来历吗？” 工人说：“不知道，只知道已经在这儿好久了。”我又问：“那能告诉我这块的河床什么时候会被人工填水吗？” 工人和我说：“明天。”

于是我拍下了这张照片。两周后，当我再次来到这一河段时，发现照片上的一切都已经被淹没在水下，这些文字以及来自这未知书写者的怨恨，终有一天会被河水冲淡直至消逝…… 我远远的站在河边，看着桥柱高处露出的仅剩的三两行字，又按下了一次快门。

「The River of Uncertainties」 (series), 2011-2012, photography

Yong Ding River (it means ‘the river of permanency’ in Chinese) flows through half of Beijing, it was once called Wu Ding River (Chinese meaning ‘the river of uncertainty’) because of the numerous floods happened in history. The age of the river is more than 3 million years, hense it’s been called the mother river of Beijing. The river is not a widely considered ‘beautiful’, however it is a very special river since it witnesses all the changes happened in the history of Beijing. 

In 2009, the council of Beijing has decided to reconstruct Yong Ding River that has been exhausted for almost 30 years, the aim is to bring the river back to life, and to change it into the largest man-made river park in Beijing.

So I started to take photographs along the river before it’s fully constructed. By documenting the residents and changing landscapes along the river, I was trying to reflect the particularity of the current stage in the history of China. Slowly I realize I’m not only documenting the now. It is more like a journey through two parallel times – the now and a mysterious past. 

日常的神秘（系列），2009-2012，摄影

Daily Myths (series), 2009-2012, Photography

中间地带

In-Between Places

《中间地带》（系列），2012，摄影

我生于1989年的北京，曾有人形容我这一代人是“历史中间的一代”。和很多生活在城市里的同龄人一样，消费二字贯穿着我的整个童年–从小看奥特曼和迪士尼动画长大，考试好了的奖励是去水上乐园或者游乐场之类的地方。在当下这样的时代，个体与世界之间的关联变得越发具象而直接：一切似乎都变得触手可得，与此同时一切又变得越发遥远；一个现代人可以在陌生的城市找到无数与家乡雷同的景物，与此同时“家乡”的概念也变得让人陌生。我们似乎时刻都被某种孤独与疏离感笼罩着，它们在一些特定的时刻悄悄来袭。而我非常好奇，在这样的时刻来袭时，个体与她/他所处的空间环境是处于一种怎样的关系。

我始终对“中间地带”这个词组有一种难以言说的迷恋。它会时不时地在不同情况下在我的脑海中浮现：当我独自一人在陌生城市的全国连锁酒店中醒来；当我无数次在大同小异的购物中心逛完街后疲倦地坐在休息区发呆；当朋友带我去她儿时常去的游乐场，结果却只剩下一片已经拆除的空地；当我重游儿时去过的自然博物馆，却发现自己被高仿真植物模型环绕；当我无数次在异乡看到有着熟悉背景的宣传板，走近一看意识到是清一色的“建设理想都市”的标语……

有这样一个画面一直深藏在我的记忆之中：是在幼儿园的小后山，有一小段迷你长城，大概是新建不久的模型，看起来做工非常粗糙，上面还有一些涂鸦和卡通贴画之类的东西，在长城旁边有一组似乎年代比较久远的十二生肖雕像。每当黄昏时刻，夕阳穿过塔楼中的门洞，映照在墙壁两侧的塑料贴画上，折射出的光芒如同白日的星光，伴随着夕阳角度的下降而变幻颜色。这个画面如同一个发光的岛屿一般停驻在我的记忆里，散发着神秘又荒诞的时代错乱感。

这幅图景引导着我开始了＂中间地带＂的拍摄计划，重新审视一些城市中最为常见的公共空间–水族馆、购物中心、连锁酒店、动物园、天文馆等等，这些我们最为熟悉却又陌生的空间，这些属于这个时代但又似乎与时间本身失去关联的空间。然而在创作的过程中我逐渐意识到极为有趣的一点：这幅来自幼年记忆中的荒诞图景竟让我产生了某种奇异的乡愁感。这导致我在创作过程中的态度逐渐转变，从最初单纯的批判衍生出了一种极为复杂的感情，让我意识到自己试图脱离开时代本身去观察社会环境这个态度是非常傲慢与幼稚的，我需要诚实地面对自己的身份—这就是我所生所长的这个时代，我的一切成长都与之息息相关，甚至是记忆与情感。

「In-Between Places」 (series), 2012, Photography

I was born in Beijing in 1989, into a generation some described as born “in the gap of history.” Like many other young people born in big cities, my childhood was surrounded by materialism and consumerism- accompanied by Disney toys and animations like Ultraman; the award for getting a good test score would be a ticket to an amusement park or water park. Nowadays, the relation between the individual and the world seems concrete and straightforward: everything we want is within reach. Still everything seems further away, our desires never fulfilled. A person could feel at home in a strange place, but the concept of home also becomes strange at the same time. We are constantly immersed in solitude and isolation, and these sensations arrive at specific but discreet moments. I’m curious about the relation between the individual and their surrounding spaces in these moments.

The phrase “In-Between Places” has always been fascinating to me. It floats into my mind from time to time; waking up alone in a chain hotel in an unfamiliar city; sitting zoned-out in the rest areas of countless indistinguishable shopping malls; going with a friend to an amusement park in her hometown only to find it a vacant lot; returning to the natural history museum I visited as a kid and realizing the immaculate plants and trees were fake; recognizing the same monotonous images of an ideal city on billboards across the country.

There’s an image from my childhood that lingers in my mind:  in the playground of my kindergarten was a roughly-built mini Great Wall covered in graffiti and stickers. Next to the Great Wall were a few sculptures of the Zodiac in traditional style. At dusk, the sun crept through the entrance of a turret, changing colours and refracting on the stickers like stars in daylight. The picture is set in my mind like a luminous island, timeless and bizarre.

It’s also this scene which led me to the project of “In-Between Places,” to revisit the most quotidian of public spaces: the shopping centres, chain hotels, zoos, aquariums, planetariums… places at once familiar and strange, belonging to our time but also of an indeterminate age. In the process of creating this work, I found myself developing nostalgia for the childhood memory I intended to criticize. To attempt to observe these moments and spaces as an “outsider,” I realized, was both childish and arrogant. This is the era I know; what I might have looked down upon has equally shaped me from the very beginning, embedded in my memory and emotions.

在克拉科夫的十日

10 Days in Kraków

《在克拉科夫的十日》，2014，书，摄影

尺寸／185 x 260 x 20mm
规格／168页，布面精装
限量／500本，全部编号
2014年12月，假杂志出版

《在克拉科夫的十日》以一种介于旅行笔记和手札之间的形式呈现。尽管这本书并没有目录，但是书的整体结构实际包含了三个隐形的章节，它们被构架在看似零散的排版形式之上——1.战争；2.城市；3.联结（从彼处到此处／从我到你）。书中所出现的素材包括我在克拉科夫逗留的10天之内留下的快照、手记以及收集的老照片，以及对于三件既存作品的引用（电影截图以及文字摘录）。这三件作品包括：《空中杀手》（2008年，导演：押井守）、《看不见的城市》（作者：卡尔维诺）以及《我略知她一二》（1967，导演：戈达尔）。对于三件既存作品的引用划分出了这三个隐形章节的框架。来自三个不同年代与背景的既存作品与我在克拉科夫10天之内所搜集的素材交织在一起，它们之间的关系时而紧密交织，时而又相对松散。通过排版与排列的节奏调和，这些素材逐渐在书中编织出一条模糊而开放的叙事。

「10 Days in Kraków」, 2014, book, photography

Size: 185 x 260 x 20mm
168 pages, Clothbound Hardcover
First Edition: 500, all numbered
Published by Jiazazhi in December 2014

10 Days in Kraków is presented in the form between a travelogue and a scrapbook. Although the book doesn’t have a content page, within the seemingly fragmented structure, three chapters unfold themselves – War, City, and Connection (from there to here / from I to you). The book consists of snapshots, diaries and found images I created or collected during my 10 days stay in the city, as well as fragments (film stills and text excerpts) from three existing works: The Sky Crawlers (2008, directed by Mamoru Oshii), Invisible Cities (written by Italo Calvino) and 2 or 3 Things I Know about Her (1967, directed by Jean-Luc Godard). The appropriation of three existing works also distinguishes the three-chapter structure of the book. The fragments from three works that created at different times and backgrounds are carefully intertwined with the materials I collected in Kraków during the 10 days. These elements sometimes mingle intensively, while other times, structured relatively loosely. Mediated by the rhythm of editing and sequencing, the fragments gradually weaved out a vague and open narrative.

朝鲜风景

North Korean Landscape

《朝鲜风景》，2014，摄影

在2014年的冬天，我随旅行团去了北朝鲜（这是目前前往这个国家旅游唯一的途径）

1.朝鲜总共只有三个电视频道 

2.这是一个没有广告的国家

3.互联网主要是被政府部门使用，其余人员只有特殊批准的情况下才可以使用网络

《朝鲜风景》是针对朝鲜公共图像展开的一次研究。由于上述所列的情况所导致的“图像多样性的匮乏”，城市中的广告版、公共区域的墙纸等通常会出现图像的位置，基本被两种类型的图像占领——领袖图像，以及象征着“完美城市”的风景画或城市景观画。同类型的图像，也被作为电视新闻播报以及歌舞表演的背景。这些无论在现实还是电视中的“完美风景”，就如旅行团缜密规划的日程安排以及我们所居住的只对外宾开放的五星级涉外酒店一样，都指向一个舞台剧一般的完美现实，一个与该国家真实现状保持平行的置景现实。

「North Korean Landscape」, 2014, photography

In the winter of 2014, I visited North Korea by joined in a tour group (which was the only possible way to travel in the country).

1.There are only three TV channels in North Korea.

2. There is no advertisement in the country.

3. Internet access is only available when permitted with special authorization and primarily used for government purposes.

North Korean Landscape is a study on the public images of the country. Because of this lack-of-diversity of images caused by the circumstances listed above, the common spaces for images in public surroundings (e.g. billboards; wall papers and decorative paintings in restaurants) are mainly dominated by two types of images – pictures of leaders, and pictures of natural or urban landscape that suggest a bigger picture of ‘an ideal city’. The latter type of images are also the main theme on TV channels, such as being used as the backdrop for almost all the news programs or chorus and musicals. These ‘ideal landscape’ either in reality or TV, just like the strictly planned schedule of our tour group and the five-star hotels that we were staying which is only open to foreign tourists, all lead to a perfect image of a staged reality that is parallel to the actual situation of the country.

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