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《几近抵达,几近具体,重庆》(系列), 2014-2015



我的意图并非是以一种类型学的方式将过去与当下的图像进行对照,而是通过将拍摄于两个年代、出现在不同媒介电视(不同年代的报纸广告)、以及处于不同形态下(建设工地与废墟)的建筑进行并置,并在其中穿插着与建筑相关 的人物的图像(肖像、调查文字以及档案资料),以此构建出一系列能够彼此发生对话与关联的图像。我希望这些图像之间可能发生的多重关系可以织成一张无形的网络,如同一个万花筒的切面,或许能够映射出这座城市当下并始终处于改变中的构成。 

「Nearly There, Nearly Concrete, Chongqing」(series), 2014-2015

digital prints, old photo album, archive, mixed media

Before a visit to Chongqing in 2014, Yang purchased an old photo archive that documented buildings belonging to a Chongqing-based telecommunications company in the 1960s (Cultural Revolution was from 1966 to 1976). Returning to Chongqing some 50 years later, Yang attempted to locate the buildings depicted in the photo album. While a marginal few still remained, most had been bulldozed to accommodate visions of modernity. Some of the streets with antiquated names, such as “Anti-Feudal Street” had vanished after 80s. Their stories are now just a figment of its historical narrative. For those addresses that were still locatable, Yang juxtaposes photographs of the current buildings with those from the past, strengthening its historicity and continuity of the metropolis’ story. The work leads itself to its second chapter when Yang encountered an old factory while searching for one street during the process, the second chapter is focus on two other types of locations: factories that played an important role in Chongqing’s recent development, but are currently abandoned or in disrepair; and large construction sites in the city center. Further, she juxtaposes portraits of workers that possibly belonging to the construction teams who built some of the historical buildings with the workers met upon her recent excavation of these regions, ultimately weaving a narrative that transcends a temporal-scape.