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BUILDING NO.66

I have always been interested in the production status of individuals in a collectivist environment. Under my feeling and observation, most of the individuals remain silent and submissive, but there are still some individuals who maintain a rebellious attitude. In this series of works, I would like to present the performance of individuals who are in a state of rebellion in a collectivist environment, so as to arouse people's thoughts on the relationship between collectivism and the spirit of rebellion.

After learning about Russian formalist critic Shklovsky's concept of strangeness in literature, I realised that this concept can be widely applied in many fields. Thus, I used the concept of strangeness as a creative guide and expressed my observations and feelings in an abstract form through photography as a medium.

I use absurd modern dancers, anachronistic costumes, funny and exaggerated make-up, and finally a collectivist aesthetic architectural style of the 1980s, which is completely inconsistent with the former, to create a strange image theatre that originally did not exist, and I want to explore the individual's resistance and dissatisfaction with collectivism.

我一直以来都对个体在集体主义的环境中的生产状态很感兴趣,在我的感受与观察下,大多数个体对其保持缄默与顺从,但仍有部份个体一直保有反抗的姿态,这个系列作品我想呈现出在集体主义环境中处于反抗状态的个体表现,以此来唤起大家对集体主义与反叛精神之间关系的思考。

 

在了解了俄罗斯形式主义评论家什克洛夫斯基的陌生化文学概念后,我意识到这个概念是可以广泛运用在多个领域上的。于是,我以陌生化概念作为创作指导,并通过作为媒介的摄影,以一种抽象的形式将我的观察与感受表现出来。

 

我利用荒诞的现代舞者、不合时宜的服装、滑稽夸张的妆容,最后却在一个与前者完全不符合的上世纪八十年代一种集体主义审美建筑风格塑造一个原本并不存在的陌生化影像剧场,并想以此来探讨个体对集体主义抵抗与不满。

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