鄉(xiāng)村·鄉(xiāng)親

在急進(jìn)的現(xiàn)代化浪潮中，以農(nóng)耕生產(chǎn)方式創(chuàng)造了人類歷史的華夏文化，正在被資本主義創(chuàng)造的機(jī)器、電子，以及數(shù)碼技術(shù)肢解和替換。華夏文化的濫觴之地黃河流域也概莫能外。在這塊土地上的主體——農(nóng)民，千百年來以腳下的黃土安身立命，并被黃土和種植的莊稼塑造了獨(dú)特的文化人格。他們本分、勤勞，小富即安，也怯懦、畏懼和狡黠。他們有在此之上的快樂幸福觀，也有只有他們自己才知道的苦難和憂傷。他們一代代重復(fù)的都是相同的故事，而且從未間斷。是黃土保佑了他們，即使無數(shù)次北方?jīng)_來的金戈鐵馬也無法動(dòng)搖這黃土的文化。不過現(xiàn)在，曾經(jīng)的強(qiáng)大和穩(wěn)定已經(jīng)可以看到終點(diǎn)，因?yàn)檫@次來改變的力量過于強(qiáng)大。這個(gè)力量是一個(gè)新的時(shí)代，將從根本上改變?nèi)藗兩嬷赂坏姆绞?。一切都在可預(yù)見的未來改變，那些從黃土上生發(fā)出來表情、服飾，以及喜怒哀樂的文化都會(huì)成為昨天的故事。

河南開封影像藝術(shù)家李克君的《鄉(xiāng)村·鄉(xiāng)親》影像藝術(shù)，以樸拙幽默的中國傳統(tǒng)年畫風(fēng)格影像，向自己生于斯、長(zhǎng)于斯的這塊土地及其文化，致以了深情的敬意。他以中國傳統(tǒng)民俗娛樂“大頭娃娃”的形象，來處理影像中的人物，以此串接起古老歷史的意象。李克君在人物神態(tài)的把握上，揚(yáng)棄了悲傷，選擇了快樂，將中國農(nóng)民樂天知命的性格藝術(shù)地再現(xiàn)，讓歷史成為人性的故事。

鮑昆

Hometown and hometown folks

In the torrent of modernization, the Chinese culture, originating from the farming mode of production, has been subjected to an unprecedented dismantlement and displacement under the machinery, electronics and digital technology originating from the world of capitalism. The Yellow River reaches, cradle of Chinese culture, are no exceptions.  Farmers, the mainstay of this land, have survived and thrived for thousands of years on the yellow earth below their feet that also nurtured their unique cultural identity. They are dutiful, diligent, content with a small wealth, and sometimes timid, fearful or cunning.  They have their own view of joy and happiness, and the bitterness and sorrow only they could comprehend.  Their life is a story repeated for generation after generation, blessed by the yellow earth below their feet and unaltered by even the fiercest battle blades and swords from the north time and again.  Yet that solid ground has begun to crumble, and stability is no more, because this time, the power of change is too strong.  This power marks a new era, in which the route to survival and prosperity has fundamentally changed, and along this route all will change within the foreseeable future, where as all that derived from the yellow earth, the facial expressions, the clothing and culture of joy and sorrow, will soon be stories of yesterday.   

Li Kejun, a photographer from Kaifeng of Henan Province, uses the naiveté and humor of traditional Chinese New Year print style in his photography to pay tribute to the land and culture that once nurtured him. His characters all come with a “big head” typical of Chinese folk art, reminiscent of the images in ancestral history.  In their facial expressions, Li Kejun chose joy over sorrow, bringing forth in his art the Chinese farmers content with their lot, and turning history into a story if humanity.

Bao Kun

本展覽9月19日在平遙棉織廠大廳舉行，歡迎大家光臨指教。