作品

Lop Nur 86°25’20E-41°20’38N  罗布泊86°25’20E-41°20’38N

Color Video, sound; ink and mineral pigment on paper 

彩色视频，声音；水墨 矿物颜料 宣纸

06’06”; 42 x 56 cm

中文阅览请往下翻↓ 

This work aims to explore the boundaries between myth and history. Lop Nur is referred to as "Young Marsh" in Shanhai Jing, or the Classic of Mountains and Seas, and has undergone changes from its mythological existence all the way to the present day. From a lake to a dry surface, it has recently started to accumulate water once again—its mysterious nature having never disappeared. For the painting in Lop Nur I chose the work Jingwei from my Phantasia series, starting from which I began a systematic reflection on myths and origins.

The boundary between myth and history is also a blurry zone because "myth" not only refers to unverifiable stories and beliefs but bears special significance in describing the origins of cultures. It explains why humans exist in such a way or why cultural norms develop in such a manner. Thus influencing the course of history, the meanings of myths themselves are far more important than the doubting of their authenticity. Jingwei is like Sisyphus in Greek mythology.

A person's life can be regarded as a complete history of the universe, from nothingness to organic life, from unconsciousness to consciousness. Singular historical perspectives are misleading. We need multiple perspectives to discuss issues more broadly together.

这件作品是想要探讨关于神话和历史的边界。罗布泊在《山海经》中称之为"幼泽"，从神话中的存在一直变化延续至今，从泊变成干旱的地表，最近又开始有了天然的积水，这里的神秘色彩从未消失。绘画选择了“Phantasia”系列的《精卫》。从这个系列开始系统的对神话和起源有了思考。

神话和历史的边界也是一个模糊的地带。因为“神话”不单是指不可考证的故事和信仰，在描述文化起源时也有着特殊的意义。用来解释为什么人类以这样的方式存在，或者文化规范为什么会如此发展，从而实在的左右了历史的发展进程。而神话本身的意义远比怀疑它的真实性要重要得多。精卫如同希腊神话中的西西弗斯。

人的一生就是一部完整的历史，从虚无到有机，从无意识到有意识。单一立场的历史观都是有误导性的。需要多方位视角来共同更加广泛的探讨。