展览截止日期：5月17日
地点： 丽江拉市海海东安下村丽江市民族文化发展研究会（邮局附近）
开放时间： 上午10——12点
下午2——6点
联系我们：info@lijiangstudio.org
网站： www.lijiangstudio.org
孟加拉国艺术家Joybrata Sarker作品， 2007
Naxi Life in Lashihai
My work as a photographer concentrates the representation of traditional social practices within architectural heritage sites. My aim is to develop a visual record or testimony that can help contribute towards the preservation of these endangered forms of social life. I believe this is important because traditional social practices and architectural heritage sites are fast diminishing under the influence of corporate globalization. I believe there are qualities and values within traditional social life that are worth maintaining.
This body of photographic work is an initial result of a research project I have begun to develop in Lashihai about traditional Naxi culture and lifestyle. Despite the various modern adaptations such as the use of mobile phones, satellite TVs, pesticides, snooker playing, and globalized fashions, I found that the Naxi people in Lashihai still maintain most of their traditional way of life.
During my residency at Lijiang Studio, I focused my lens on making both a visual anthropological record and a representation of the aesthetic beauty and quality of contemporary Naxi life in Lashihai village. I feel the body of work I have created is quite limited and only a start for identifying key themes, which need to be explored in more depth. My inability to speak or understand Naxi or Mandarin played a key role in limiting my work.
My hope is that my images will someday help to generate more appreciation, within the international community, for maintaining those traditional social practices and architectural heritages which can lead towards healthier lifestyles.
艺术家在给参与拍摄的当地农民派法照片留念。
左起：策展人Adrian,孟加拉摄影师Joybrata Sarker，葡萄牙艺术家Mariana Bacelar，工作室负责人 正杰
葡萄牙艺术家Mariana Bacelar的录象作品，2007
Tales of Wrongdoing - Mariana Bacelar:
This body of work is about power and domination. I am addressing the theme of the master-slave relationship within normalized social roles and behavior. It is when someone chooses to impose unjust power over another. The master-slave theme can also be perceived on a global scale. In my journey that took me, by land, from Europe to China (from West to the East) I observed the negative effects of corporate globalization where nations, cultures and identities are being homogenized in the pursuit of profit and power.
Significant to this body of work is the painting entitled Cronos by Goya in which a giant is depicted consuming his son in fear of losing his power to him. Another motivation on this work is the story of the biblical figure Jonah and the whale. It is a story where the whale consumes Jonah in which he lives inside its stomach for three days but then survives. I see this story as metaphor for the possibility of rebirth. These two stories are of central concern to me because I see them as powerful allegories telling two different stories of struggle within the master-slave relationship.
In this body of work I employ the giant metaphor within different childhood scenarios. I try to use the condition of innocence within childhood as a way to represent vulnerability as well as processes of maturation within society and the individual. In many of my works I present a young heroine. This heroine originates from the memories of my childhood books. The heroines in these books are used as representations of roles models for socially acceptable behavior for young girls. In coming to China, I discovered that the images of the idealized western girl and eastern girl are identical with the exception of the shape of the eyes and the party ideologies of individualism and collectivism. I play with this icon and I try to give another life to these heroines where the unreal talks about the real.
