PHOTOGRAPHY ARCHAEOLOGY
摄影考古学


ART.ZIP: As Chinese, we probably hold quite different points of views from westerners concerning issues towards North Korea, because many of us have already got through the same experience that a lot of North Koreans are experiencing right now. So we are likely to grow in the psychological level a lot of collisions and resonance toward this country. How have you been feeling while working there? For instance, have it reminded you of a certain period of time in China, or have you ever had the feeling of being transferred to a different time of being?

WG: This is a very interesting question. Same as you said, North Korea’s current status quo is just the same as China has experienced in the past. Until today, the regimes of China and North Korea are remaining fundamentally identical. When I first landed in that country, the feeling of dislocation all of a sudden occurred me. All the scenes in front of me seemed to bring me back to child- hood. Everything was very familiar but also strange at the same time. It is a too complex feeling to describe with words. Overall, I was very much thrilled.

ART.ZIP:作為一個中國人在看待朝鮮的時候的感受是和西方人截 然不同的,由於我們也曾經經歷過很多朝鮮現在正在經歷的事情, 所以在心理層面上更會生很多的碰撞和共鳴,因此能不能聊一聊 您對朝鮮這次的創作和工作有什麼樣的感觸,比如會不會回想起 中國的某個時刻,或者會不會經常會生時空穿梭一樣的感覺?

WG:這是一個非常有意思的問題,正如你所說的一樣,朝鮮今天 的現狀,正是中國過去所經歷的一切,直至今天中國和朝鮮政體 的本質依然是一致的。我第一次到朝鮮一下飛機,忽然就有一種 時空錯位的感覺,眼前所呈現的各種景象彷彿一下子把我帶回 到了童年,看到的一切既熟悉又陌生,這種複雜的感覺無法用語言描述,讓我興奮不已。

ART.ZIP: In view of many of your works since 2008, Moscow, Beijing and other places are ‘once’ socialistic. In comparison among Russia, China and North Korea, these past or present socialist countries, North Korea’s current status may be different from the other socialist countries. What is the influence of the work creation in North Korea on your creating and thinking?

WG: Right, I have taken photographs of large iconic socialist political constructions of the former Soviet Union, Eastern Europe, China, North Korea and other countries. Considering these buildings from the perspective of world history, the former Soviet Union as the nascent socialist country in the early last century, directly and indirectly planted a Soviet-style socialist output with its political and military superiority to Eastern Europe, Asia, Latin America and some other countries. That Soviet model style can be seen as a political, economic, cultural, and even foreign relations system equivalent to the standard socialist system. Thereafter, a power socialist body of nations was formed throughout the world, where North Korea was being part of it. With the disintegration of the Soviet Union in the 1990s and the end of half a century of Cold War, the en- tire socialist body of nations basically ceased to exist. And in the present North Korea, both the political system and social pattern still have not changed since then, which make the country specimen of the past socialist doctrine legacy. This photo shooting in North Korea gets me thinking more of the impact of a political system and social pattern on shaping personal spiritual thoughts.

ART.ZIP:看到您08年以來的很多作品,莫斯科,北京等地方都是 的社會主義國家,對比來看,俄羅斯,中國,朝鮮,這些國家都是 或曾經是社會主義國家,但朝鮮當下狀態可能與其他社會主義國家 不盡相同的,此次關於朝鮮的作品對您的創作和思考有什麼影響?

WG:是的,在之前我拍攝了前蘇聯、東歐、中國以及朝鮮等國家的 大型的標誌性的社會主義政治建築,那麼作為這些建築,從世界歷 史的角度來看,前蘇聯在上世紀初作為新生的社會主義國家,以它 政治和軍事上的優勢直接或間接地向東歐、亞洲、及拉美等一些國 家進行了一種蘇聯模式的社會主義輸出。這種蘇聯模式可以說是政 治、經濟、文化甚至對外關係體制等同於標準的社會主義制度。在整 個世界格局中形成了一個強大的社會主義陣營,朝鮮也是這個社會 主義陣營的成員之一。隨著上個世紀90年代蘇聯解體,持續了半個 世紀的冷戰結束,整個的社會主義陣營基本不復存在,那麼今天的 朝鮮,無論是政治體制還是社會形態都依然沒有改變,成為曾經的 社會主義模式的遺留標本。通過對朝鮮的拍攝讓我思考更多的是政 治制度、社會模式對個人的精神和思想的塑造。

ART.ZIP: Will you have any new creative project in the near future?

WG: I have always been finding a lot of interest in social issues. Beside the continuous focus and photo shooting of North Korea, I might conduct more creation works concerning conflicts against other countries and regions.

ART.ZIP:在不遠的未來,您有沒有什麼新的創作計劃?

WG:我一直對具有社會性的問題有著濃厚的興趣,接下來除了對朝 鮮的持續關注和拍攝以外,我可能會去關注和針對其它一些有矛盾 衝突的國家和地區進行我的創作。


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