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2018-2019 Manchuria

满洲利亚是被主流叙事所淹没的非主流历史,让我更加觉得我所生活地方的复合。
看了许多外乡人谈论的东北,在我看来关于“东北是什么样子”的幻想。这与萨义德的《东方主义》极为相似。
我厌倦了“烟囱就意味着这个时代消失了”这种证明,由于看过太多的作品表达的仅仅还是那段被遗忘的烟囱,但其实这里的叙事和被遗忘的还有更多。
我想所展示的不仅仅是一个个被年轻人所不理解的历史,但其实每个复合的历史已经悄无声息的躲到了每一个细节中。

In 2019,  the second round of shooting based on the same theme was inspired by a new idea that lingers in my mind for months.

In much the same way I resist the stereotype foisted upon me and the land where I root, I inevitably fell into the pitfall of “expecting someone or something to stay the way I think they should be”, as is the case with Orientalism, a term redefined by Said to refer to the West’s patronizing perceptions and depictions of the rest of the world.

By perpetuating this symbolic representation of the “Northeast” —  the disappearing chimney or the railway track, I am creating what the Easterns would expect the West to be in they year of 2019, at my own peril.

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