平遥摄影节的“节气”

平遥摄影节的“节气”

一。正常情况下没人会在这样的老单元楼前照相留念，可现在当观众面对这样的摄影作品时。。。。。。

阿

二

三

四。与平遥的朋友在我曾经住过的小区单元门前留个影

五。金老师、王瑞、黑明，我们坐在了小区的环境中

六

七。王瑞似乎对平遥的自行车和天津的自行车放在一起很感兴趣

八

九。普雷基很想把《小区》拿到国外做一次展览，台湾策展人游智慧小姐在为我们翻译

十。照片动员起了人们的想象力，有的摆出正要走入单元门的姿势，有的则是正要推车出门的样子

十一

十二。他刚从外面上课后回家，说不定以前是我的邻居？

十三

十四

十五。天津南开区罗江西里的清洁工？

十六。这个被子的确很受欢迎

十七

十八

十九

二十。空调和大白菜

二十一

二十二

二十三。一定不要认为那张选举红榜是他撕的

二十四

二十五

二十六。

二十七

二十八

二十九。这个展览这麽热闹要感谢摄影节组委会给了它一个足够的空间

三十。推车进门

阿

平遥让《小区》得到了一次最佳呈现

aaaa如果说策展人是拿他人的作品来说自己的理念和思想的，那今年平遥的总策划和艺术总监张国田最想拿的他人作品就是《小区》。我清楚张国田的"清楚" -- 这两年当代艺术的假观念泛滥已到了顶峰，急需另一类真正有观念有力度并且充分显示了摄影本色语言的作品出来相左与示范。他希望他做的平遥艺术节在大众化和广泛之余，必须有真正可看的东西，必须有人们能够记得住的亮点。张国田是懂艺术的组织者和策划人。

《小区》的前身是《我居住地的风景》，当然，在展览方式和规模上已经完全不同了。它在06年的平遥第一次面世时就几乎获得了所有到场过的艺术家的"佩服与感动型大奖"。但是它在当年的平遥连奖边也没有蹭上。三个月后，它在连州摄影节上获得了二等奖。再过半年，著名学者巫鸿就以06年平遥展览的同样方式在美国芝加哥的Walsh画廊做了展览，Walsh的负着人这样评价这个作品："在一个画廊里莫毅呈现了一个美术馆级别的展览"。美国《艺术》杂志的编辑认为"莫毅是一个真正值得我们关注的当代艺术家 "。也为此，巫鸿为这本杂志写了一篇名叫《莫毅：当代中国艺术的民族志学者》的长篇文章。今年的7月，栗宪庭也特别邀请这个作品在他主持的宋庄美术馆做了大型的特别展出。。。。。。

aaaa不过，除宋庄美术馆外，每一次的展览都因场地小于这个作品的需要而没有得到充分展示。

aaaa感谢今年平遥摄影节的组委会，感谢张国田强调艺术节的质量和展览的节奏，也感谢他们不认人维亲，不唯自己的圈子而用人（指的是给我这个足够大的空间这件事。因为我与他们认识不过一年多，最多的交往也不过是去年的平遥展览期间在他们的《映像》展厅见过两次，相反三年前不认识的时候在电话里还发生过相当的不愉快）；也赞扬他们对艺术的判断力，赞扬他们不被名角和大牌折服，敢于坚信自己眼睛的气质（王晓慧很早就申请要这个房子，她想一楼二楼都用，她也的确有那末多东西，她的个展甚至能占满中国美术馆）；还要感谢组委会为了让房东腾空那个房子用于展览，他们为此也是花费了大量的心力。

aaaa一个好的导演，一定会在自己能够驾驭的演出中控制好节奏并制造出一些高潮和亮点。正是张国田坚持要做好展览的信念，是他今年的团队对艺术的理解以及一丝不苟不断坚持的精神，才使《小区》这个作品在今年的平遥摄影节上有了一次最佳的亮相。对《小区》而言，不论在量级和规模或是在丰富性以及空间的布置上，都达到了比其前面更高的水平，今年的展览已经完全不等同于06年的那个作品了。平遥使它又获得了进一步的成熟。

在展场的正面环顾。

左面墙是巫鸿的评论《当代中国艺术的民族志学者Mo Yi: An Ethnographer in Contemporary Chinese Art》，正面是展览前言。

a a

前言

aaaa黄昏时分,站在城市的马路上,你会被下班高峰里大密度人群的汇集和移动震慑,如此庞大的数量正被一个叫做城市的空间接受\容纳和安排着!

aaaa当熙攘的人流疏淡起来, 你又会想: 那么些的人都去了哪里? 你知道他们是回家了,但问题是那么多人啊,有那么多的家! 每个家什么样? 住什么样的房子? 晚上屋子里的灯光什么颜色?

aaaa我们关注了今日城市里早期建设的居民居住社区,它们是50-90年代中期建设的。

这些建筑加上时间\政治\人民的风俗、行为......等元素,形成了一种独特的风景.

aaaa这个展览是我摄影方案的一部分，由九个方面组成，每一个我都拍摄了360个以上的films.

aaaa中国在当代居住史上的过渡，绝不像中国人的服装在80年代甩掉呆板统一的灰色那样轻松。至今，60年代，70年代，80年代建造的楼房，在容纳城市人口的比率上仍占重要位置，而不像广告里笼罩给我们的贵族般的甜美画面。"我居住地的风景"，是一个泛指，是指各个大城市中现存的居住建筑下的普遍存在，这一存在容纳了50%-60%的城市人口。

aaaa拍摄这些，既主要是我们的感情所在，同时也是觉得它们是我的国家在从过去走向未来中必然的相貌，暗示着过渡中的经济和精神，是既映照过去也反映现在的普遍的象征性的缩影。这是这些照片的意义。

aaaa也许以前没人把这些照片中的景象认做是我们的风俗，但占国家主流文化的城市中的绝大多数人，就是这样长期地生活着。比如，给自家窗户和空调装钢铁的框子是平常行为，可就因它的普遍和集体无意识，即可算作现今中国的一种民俗现象。再有，铁框的装法和材料各不相同，你就能从它的上面去猜测各家主人的职业|、身份、家庭经济状况以及安装年代。80年代做这种东西要完全靠个人的一己之力，没有专用的材料，钢筋、铁棍儿、铁皮、扁铁都在选择之列，制作也是自己焊接。大小、形状、颜色、千姿百态各不相同。一个居民区有一千个窗户你就能看到一千种样式。而做工最好材料最好的，一定是这家主人的职业与工业相关，因为他们能搞到材料并且自己会做。

aaaa这些丰富多彩向外凸出的铁框甚至变化了一栋栋建筑的本来特征。

aaaa对它的需要今天甚至行成了一种不小的产业，制作工艺和材料也都专业化了。只要你花钱，就有人为你量身打造入户安装。不仅如此，铁窗框的外形和结构已纳入到设计一栋新楼房时风格的考虑中，成了装修图纸上一个不重要但又不能不考虑的东西，2000年后建造的新社区里它们已是风格统一做工精致。

aaaa这些抬眼可见的景观，已成了人们见怪不怪，以为本来如此的风景。。。。。。

aaaa风俗因生活的需要而形成，但一个十几年前不存在于我们经验中的东西，今天在带给人安全的同时还带给了我们什么？

aaaa前言之余，请允许我们表达对EPSON影艺坊的感激，他们在后期制作上的资助给我们增添了很大的动力。

莫毅和崇子

The landscape of my residence and me

Toward evening, standing on the city streets, you will be awed by the congestion and the movement of the crowds during rush hour. Such a large number of people are accepted, accommodated and organized by this space called the city!

When the crowd disappeare, you may wonder "Where did all the people go?" You know they go home, but there are just so many people and there should be so many houses! What do these houses look like? What kinds of structures are they? What color is the light in each house at night?

The transitions in contemporary Chinese residential architecture is not as easy to understand as the changes in chinese fashion.(After the 1980's , Chinese people had more choices than the grey clothes which were stiff and commonplace .) Even now, the buildings of the 1960's ,1970's and 1980's still play an important role in accommodating city dwellers. Because of the social hierarchy and the conditions of these vintage buildings, a large section of the city population lived in a state which is totally different from what the news media or images of contemporary China had told us; videlicet, at least half of Chinese city dwellers live in the state described by my photograph.

"Scenery of my habitation" generally refers to domestic architecture which was subsidized by the government in the old metropolis from 1950's through the 1990's. These buildings are ubiquitous and still on use. They have some universal characteristics, including materials, building structure, and appearance. In short, all of this architecture looks identical, especially in the northern cities.

Every city dweller aged ten and over has at some time, or continues to live in this housing. These domestic residences accommodate 50%-60% of the population of the city. Unfortunately no one has really paid attention to, or described these city dwellers' lives in detail.

On the one hand, These edifices are energetic and lively places, but on the other, they are a permanent and obvious relic of chinese vernacular culture as the whole of society chased after the appearance of prosperity.

Perhaps no one will relate the sights in my photos to our customs, but at least half of the people in the big cities which embody mainstream Chinese culture have lived in this state for a substantial part of their lives. Don't you think that their collective behavior and habit are exactly the definition of custom? For example, installing steel gates on the windows or around the air conditioning might be very common, but because of its universality you have to reconsider it as Chinese custom anthropologically speaking. Because of these new customs, a new industry has come into existence. If you need a set of window gates, there will be specific craftsmen for that purpose measure your window for a steel fense. Now, the shape and structure of the steel fense is taken into consideration when a building is designed.It has become an unimportant but necessary thing in architectural drawings. The steel fence had followed a consistent style and the workmanship has become exquisite in new communities since 2000.

This is just one example of the sights to which people have become accustomed and which have become the ordinary scenery and custom of daily life.

Custom is the routine and collective behavior of people in their lives. What does all of the changes in and formation of routines mean in our era? Taking the steel window gates which never existed decades ago as an example, what has it brought us besides security?

I have lived in one of these residential complexes since 1982. I photograph these buidings and people's lives within them because I think they reflect the changes in my country's appearance as it moves forward. These communities are also representative of the economy and national spirit during this transition. They are symbols and talismans of modern China. This is why I shoot these photos.

Mo Yi & Takako

南丰里15号楼2单元的单元门。这个社区见于建于70年代。

这张照片做到了与实物一比一的原大。在平遥西大街每天8块钱租来的自行车和照片里我家单元门前的自行车放在了一起。

开场是关于小区楼房的单元门，相关的文字附在照片的旁边，如下：

单元门也标示了时间的演变，早期的只有建筑功能，不考虑其它，看着极素朴，基本就是一个门框。八十年代后则有了功用之外的花样，最初只在上面多出一个平台，可以遮雨；后来的则在视觉的好看上多用了一些功夫。但更多花样却是后添上的，它们不属于门的功能范围但却依傍着它，如小黑板、信报箱，还有煤气管、暖气管、电话线、有线电视线、网络宽带线、它们是这几年随着国家物质生活的进步新添上去的，看上去似乎也成了建筑的一部分。有些单元门上面还放了某户人家不再珍视而遗弃的花草，甚至废旧的材料和家具，感觉着既臃繁却又有人味儿。

一个社区由几到二十几栋4-7层的居民楼形成，起一个名字，如叫《远翠里》；每栋楼又有4-6个"单元门"，进门后每层楼则有3-5户家庭。结构是一室一厅、两室一厅。90年代前三室的户型几乎没有。一室一厅的面积，小到20平米，大到30平米；两室一厅的，小的30几大的40几，我刚卖掉的房子建于70年代，一室一厅，面积21平米，其中卫生间只有1平米。（它卖了12万元。六年前它只值6万多）。早期里，两室的户型如果只是你一家居住，那就太让人羡慕了，因为很多的情况是两家合住的，住大间的15平米，老百姓们管它叫"拆大"；住小间的只有8-10平米，叫"拆小"。客厅、厨房、阳台、卫生间是共用的。共用空间里有一个普遍的特点：电灯泡很多，各家都要装一个，各家用时自家拉自家的开关。空间里摆放的杂物也非常多，邻居间的关系是在谦让与对空间的争夺中和睦相处的。这种情况今天已经不多了，社会的进步在这些方面有明显的显现。

Unit gate also indicates the evolution of time. Early unit gates only had architectural function without thoughts for other uses. It was what it was, simply a gateway. But after the 80's, it has been added more things other than its basic function. At the beginning a flat roof was added as a rain shelter; later on other works were done for aesthetical purposes. But most functions are added afterwards that are beyond the original function of a gate but somehow cohabit with it, such as small blackboards, mailboxes, gas pipes, caliducts, telephone lines, cable TV lines and internet broadband lines. As the Chinese economic and material life improves these are added in recent years and now have become part of the gate's architecture. Some gates have even become collection points for abandoned house plants, or old furnitures and other objects, giving a feeling of congestion and yet with a humane favour to it.

A community is made up of several to over twenty buildings with four to seven floors. It has names such as "Yuan Cui Alley". Each building has four to six "unit gates". Once entered, there are often three to five apartments on each floor.

The apartment's structure is usually one bedroom with one living room or two bedrooms with one living room. In the 90's there's nearly no apartments with three bedrooms. The total area for an apartment of one bedroom with one living room can be as small as 20 square meters or as large as 30 square meters; and those of two bedroom with one living room are between 30 and 40-some square meters. The apartment I just sold was built in 70', it is with one bedroom and one living room. The total area is 21 sq.m, in which the toilet is only 1 sq.m. It was sold for 120,000 yuan, but six years ago it was worth only half of that. In the earlier times, if only one family lived in a two bedroom apartment, it was greatly envied by others since in most cases those were for two family living together; the one family that occupied the larger room of 15 sq. m. was called "big co-tenant" and the other family living in the tinier room of only 8 to 10 sq. m. was called "small co-tenant". The living room, kitchen, balcony, bathroom were all communal. In the common spaces there was one general feature: many light bulbs, since each family would install one of its own, and would turn the light on only as each family individually used. Relationship between flatmates was a harmonious cohabitation balanced between tolerance and the struggles for space. This situation is rather rare nowadays, and this is a clear sign of the progress of the society.

此后开始说老百姓的"窗子"，远处第三张照片就是天津淦江东里3000多个窗中的一个。它的设置不仅防贼也防了蚊子和苍蝇。就是不知道屋子里的人朝外望时，能不能看见天，会不会有些憋闷？

One among 3,000 windows in Gan Jiang Dong Li. It does not only prevent thieves, but also mosquitoes and flies. Who knows when the tenants look out of their window, can they see the sky, and would there be a depressive feeling?

用坚固的铁把自家的窗户包裹起来是70年代后的事，现在四楼以下的安装率已达70%，一楼已达99%。其材料和外型凸出于墙面，使得看上去颇有意味儿。

这些铁框大部分都是主人自己设计、找材料、焊接、安装的，一百个窗就像站在你面前的一百个人----各有各的味道。做一个铁窗并附带安装好的价钱从400-800元不等，视材料和大小而定。我的一个诗人朋友家住三楼，没装，夜里被人从窗户进来，偷走不少东西。气愤之余他即刻装了，亮晶晶的挺漂亮，不锈钢的。

一般情况是，你住三楼，下面二楼装了，你就得装；即使你住八楼，下面七楼的装了，你也不能不装！因为防盗窗既可以防贼但同时也成了贼的梯子和踏脚的平台。不过我家没装，因为房子是租住的，而且似乎也不太怕偷。

It is in the late 70's that people started fencing their windows with iron bars. Now, 70% of the apartments below the fourth floors have had steel frames and 99% for the first floor. Its material and exterior protrude out of the wall. This makes it look quite interesting.

All these steel frames are mostly designed by the owners themselves. Who procured the material, soldered and installed them. A hundred windows are like a hundred people standing before you, each with its own favour.

It costs from 200 to 400 yuan to make and install a steel frame, depending on the size and material. Would you install it?

My friend, a poet, lives on the third floor and did not install one. One night a thief climbed in and left with a lot of stuff. Angrily he installed one, brilliant and rather pretty, with inoxidable steel.

Generally speaking, if you live on the third floor, and if the second floor has already installed window bars, you ought to install them too; and even though you live on the 8^th floor, if the 7^th floor has insitalled it, you couldn't do without it! These farmes can block off thieves but at the same time can become the stairs and platform for them. But at my home I have not installed the frame, because it is rented and seems quite safe from break-ins

淦江东里的一个窗。挂了那么多大蒜，让我感到久远的民间的味道。

A window in Gan Jiang Dong Li. Lots of garlic hanging on it, reminding me the favour of centuries-old folklore.a

这些是透过铁栅看到的"窗子里面的生活"：在里外之间的铁框内能看到主人的一些生活细节，养花养鸟晾衣，一些不用又不舍的旧物也常放在这里过渡。

拍这些照片时往往会接受主人们的责问，他们好奇我的目的，因为他们知道的摄影都是对着城市以外的漂亮风景，或是有新闻意义的事物拍摄的。我恳切解释："我喜欢那些物品透露出的生活的味道"，并一再的表示出"谢谢"。大部分时候他们以一种疑惑和默认的眼光看着我继续拍，个别时候也会碰到严厉的拒绝和社区居委会大娘们的盘问。我觉得那是应该的，他们是对的。

The everyday-life details of the neighbours can be seen thru these steel frame: grooming plants and birds, drying laundry; old objects no longer used but still attached to the owner sentimentally to be discarded.

When I photograph in these neighbourhood I was often questioned by the tenants, they are curious of my objectives, because the photography they know of are beautiful landscapes beyond the cities, or things with a journalistic value. My explanation to them used to be "I like the favour of daily life emanated from these objects", and I thank the neighbours profusively. Most of the times they would watch me go on taking snaps with a stare of silent suspicion; at times I have also received strong refusual and gone through interrogations from the ladies of the neighbourhood committees. Yet I think this is the way it should be, and they are right to do that.

a 高1.10米长约7米的照片：《九条胶卷的356个记忆 - 自行车》

《Bicycle kingdom - 356 memories of the 9 rolls of films 》

a 有三十个和我们心情有关的在居住环境中的随意拍和自拍。

a 和崇子用各自的语言在现场写上各自的话。

这里说《楼道》，相关的文字是：

这个空间中的绿色管子是输送暖气用的，之所以没有美感的出现在明面上，是因为在楼房的建设时期里中国还处在经济不发达中，没有给暖气，甚至煤气，甚至电话线等等留出相应的位置和设计。

但这个楼里为什麽已经有了暖气，却又同时存在着上个冬天没烧完的蜂窝煤呢？这说明这里的某户人家的生活还需要精打细算地过，他们必须这样算帐：安装暖气要先花一笔钱，大约4000元，然后一个冬天的费用大概是40平米房子800元; 烧煤则能便宜许多，一块蜂窝煤0.42元，一个冬天烧不到一千块，也就是400元，便宜一半，而且是既可以取暖又可以烧水做饭。不过我认为这也是没办法的道理，因为自己烧煤的麻烦和不方便实在是太多了。

80年代前你在中国看不见广告，但是今天各类型的广告已深入到每一处角落，治疗性病、通下水道、租房买房、超市的商品宣传......无所不有，与春节时的福喜对联相映成趣。

公共的楼道也是放杂物的地方，不用又不舍的东西会在这里放多年。红色的小箱是为送报纸的人安装的。有很多可开小门儿的绿色铁箱，则是一个单元门内各户家庭的信箱。

Before the 80's, you can't see any advertisement in China. But today all kinds of advertisements are seen in every corner. Venereal disease treating, drainer dredging, houses renting, supermarket advertising, nearly nothing can't be seen. All these form interesting contrast with augural couplet during the Chinese New Year.

Corridor is also a place to put sundries. Stuffs with no use but with sentimental attachments to them will be put there for many years. The red box is for newspaper delivery. And there are many green iron box with small doors, they are mail boxes for each family living behind each unit gate..

There is some green caliduct, and also some coals left over from last winter. It costs an initial lumpsome payment to install the heating system. The heating cost for a winter can be 800 RMB for a 40 sq. m. home. Burning coals is much cheaper, although it is more troublesome. A piece of coal costs only RMB0.42, an enitre winter would consume less than 1000 pieces, i.e. less than 400 yuan; and coal can be used at the same time as heating and cooking fuel.

长卷《九条胶卷的324个记忆 - 天空有一只鸟》

There is a bird in the sky - 324 memories of the 9 rolls of films

这里的电视机加上门口一台共有14个，每个都演示着社区里的一处不同的风景。但它们的声音我们只保留了两个，一个是小区里一个上午拍摄的很多个鸟笼挂在树上，鸟儿不间断的大声鸣叫的声音，另一个声音是来自奥运会开幕当天，我们摄像机拍下的自己家里电视机的画面里的开幕式的声音，这个声音在展场里调得比鸟鸣声稍弱一些，人们在一进入展场的同时就听见了小区里欢快的鸟叫声。

在艳阳下晒一天被子，太阳不落就收回家，晚上睡觉钻进去，不仅格外暖气烘烘，而且似乎还闻到了太阳的味道。在妇女或老人对被子一晒一收的打点中，你能感受到每个家庭的温馨。与早年不同，以前被子是晒在自家的院子里或是平房门前的空地上，比较显眼，如今到处都是连成片的六、七层高的楼房了，所晒的被子在这样的背景下很不起眼，几乎都难让人看见了。被子的颜色也没有原来的好看，少见那些单纯朴素又大红大绿、大花小花的很民间的色彩了。过去的人们会把很多情感投注在普通的贴身物品上，象织一件毛衣、送一条围巾，而做一床新被子则更是非常精心，用什样料子配什样颜色往往体现了人们的审美也寄托了他们的情感。。。。。。今天的人们则不再这样了。

Airing quilt for an entire day in the brilliant sunshine, taking it home before the sunset and then getting into it to have a sleep does not only make it feel extra warm, but also smell of the sun. You can feel the warmth of each family through the action of the housewives and elderly of airing and recollectiong their quilts.

Differing from older times when people used to air their quilts in their courtyard or the area in front of their house, today the background are clusters of the six, seven storeys buildings. Colours of the quilts are not as beautiful as before, and traditional patterns such as simple red or green, big flowers and small flowers are not as common as bef

有十几张长条135相机拍的小区照片。

有十五张90年代拍的黑白《楼道》和最近几年拍的十五张黑白《小区风景》。

低位置的空调90%都会再加装一个结实的铁框，根据大小，需要200--400元，因为一个空调2000千多元，放在外面总是不放心。中国的一句老话"路不拾遗，夜不闭户"--现在看来真的是太老的一句话了。

一个个被加固起来的空调很像波普化的，能在夏天向外吹热风的"艺术装置"。

a 90% of air conditioners which are located in low height are fixed with a sturdy steel frame. It costs about 120 RMB to 200 RMB depending on its size. An air conditioner costs over 2000 RMB, people feel unsafe to leave it outside unguarded.

The old Chinese saying: "People don't pick up roadside lost property. The doors don't need to close at night" seems really too old.

Every reinforced air conditioner is like a popularized art setting which blow hot air out in the summer.

有的展场角落没有拍下资料，应该是《黑板》，关于它的文字如下：

把学校课堂上的黑板移植到街巷和社区里，可算是中国的一个独特的大发明，五、六十年代已产生。我从很早就开始纪录遇见过的黑板，那上面的内容是紧随着当时的大事和政府对民众的要求而变化的，今天在那些打上了日历日期的照片上阅读那些黑板，你能立刻回到当年的社会氛围中，从黑板上，能感受到时代和当年社会的脉搏，触摸到不同时间下的痕迹。

今天，黑板上的内容已经较少有政治的了，更多的是提示，如："不让毒品进我家"。"社区是我家，维护靠大家"。"提供避孕套是我们的许诺，需要者请到居委会领取"等等。

Moving blackboards from the classrooms into the alleys and neighbourhoods must be a very original Chinese invention, beginning in the 50/60's. I have started recording these boards I have came across since very early times; the changes of the contents on these boards closely follow large events and the expectations of the government to the populace. Reading boards with marked dates, one can travel back instantly to the atmospheres of the past, feeling the pulses of the epochs and the society, touching the tracks of the times.

Nowadays, the contents of these boards are no longer overly political propaganda, but more social reminders such as: "Don't let drug into my home"; "The community is my home, good maintenance depends on all." "It is our promise to provide condoms. Anyone in need please claim them at the Neighbourhood Committee."