天堂电影院

Cinema Paradiso

“我有一个朋友，她家在阳江曾经经营一家录像厅十余年，这也是她从小到大 一段难以磨灭的记忆，同时也贯穿着家庭起起落落诸多往事。那个观影的蛮荒 时代在我的朋友眼里是一代人的共同记忆，相比于现在家庭成员平淡而支离的 生活现状，想再次唤醒一种记忆显得荒诞而无效，但是又充满惊奇。”

——易连

一台意大利进口的老式三枪投影仪，成为这段记忆留下的唯一物证。易连作为 一个与记忆和现实始终保持一定距离的旁观者，跟随朋友来到阳江，以他的视 角解读和重写这段历史。人的记忆并不总是可靠，记忆本身的不确定性，使得 易连的创作得以横跨时间，在今时和过往的时差中展开对一段历史的想象和重构。

当人们坐下来回顾家族曾经经营的录像厅，这一记忆在不同的人物口中呈现出 多个版本，变得模糊和扭曲。人们的叙述被捕获为影像，再经由物证本身投射 出来，如同沙滩上的螃蟹和打在螃蟹身上的灯光，某种真实被想象所俘获的瞬间， 原本不足为人道的个人历史在此间形成的微妙关系中找寻自身存在的意义。

作为一个“现实造梦者”，易连早期作品关注的是如何将身体从“人”中解放 出来、如何打破自我与他者的固有关系。在他的作品里，身体异化后在自然中 重生，动物与人平等地相遇。有关冷暖与明暗的感觉在易连的作品中被反复提 及，或明或暗、或近或远、或冷或热的感觉共同营造的温度关系，暗示着人与人， 人与物，人与世界之间的微妙关联。

易连的影像作品总是充斥着某种剧场感:人为的打光、黑暗笼罩下的场景、短 暂的相遇。剧场感赋予他的影像脱离真实的自由，也为想象腾出了空间。与以 往不同的是，易连这一次不再凭空构建一个远离现实的剧场，“我想这个电影院， 作为城市中大家消费的一个东西，它提供了一些故事，这个城市本身又是一个 生产故事的剧场。所以我觉得每一个村庄、每条街、每个小巷，都在构成这个 抽象意义的电影院，一个生产故事的场域。”无论是朋友的家人，还是全景地 图捕获到的路人，都在创作中以一种易连独有的方式生发出自己的故事。

艺术家的创作与友人的私人回忆、地图无意识的场景记录等一系列隶属他者的 部分产生碰撞，互相渗透，形成关系。于是，艺术家的主观想象与他者自主性 之间存在的某种较量，在作品中以沟通、相遇和交织等复杂的形态体现出来。

I have a friend, whose family lives in Yangjiang and had been running a video room for more than a decade. Concurrent from her childhood to adulthood, this part of her family history bore witness to the rise and fall of her family livelihood. In my friend's view, the original time frame of watching films represents those shared memories of the same world, which contrasts to the nonchalantand distant relationships among her family members in the present. To awaken part of one's memory may seem absurd and feckless, yet one could also be pleasantly surprised.

- Yi Lian

An old-fashioned CRT projector imported from Italy has become the only evidence for the memories left from that particular time. Yi Lian, an observer who has kept a distance to these memories and realities, followed his friend to Yangjiang, and offered re-interpretations and re-write for this piece of history. People's memories are not always reliable. The uncertainty affords Yi Lian's artistic practice to transcend temporality, where he unfolds his imagination and reconstruction of that part of history between the time lapse of the past and present.

When those members of the family who ran the video room sat together to revisit that phase of their lives, the stories they tell vary from one to the other, and the facts ambiguous and warped. Capturing their narratives through moving images, and then projecting them through this piece of physical evidence, is like shining light on the crabs on the beach, where it seems that certain reality has been trapped by imagination, so the unremarkable personal history would nd its existential meaning within these subtle relationships.

As a "realistic dreamer", Yi Lian's early works focus on how to emancipate the body from the "person", and the ways in which to undermine conventional relationships between the self and the others. Among his works, the alienated body becomes reborn in nature, and animals are given the same status as human beings. A sensibility for warmth and light is prevalent and recurrent in Yi Lian's works, whether bright or dim, close or far, cool or warm, these atmospheres have engendered intimacy that implies for the subtlety in relationships between people, people and objects, and people to the world.

Rife with a sense of theatricality in Yi Lian's video art: let it be the arti cial lighting, scenes under the grim overcast, temporary encounter, affords him the freedom to disconnect from reality, so he could make space for imagination. Unlike his previous works, where the Yi Lian has constructed theatrical scenes out of his imagination, for this work he states, "I think of this cinema as a site of consumption in an urban area. It is a site for presenting stories, as the city can also be construed as a site where stories are produced. So I think every village, every street, every alley, all can be the components for a cinema in the abstract sense, a site where stories are fabricated." Let it be the family members of his friend, or the pedestrians captured on the panoramic view of the map, have all engendered their own stories through Yi Lian's unique approach to artistic practice.

The artist's practice and his friend's personal memories, the map absent of any consciousness document a series of clashes that are subject to the others, but have also permeated and established relationships with each other. In this sense, there is a kind of tension between the artist's subjective imagination and the agency of the other, which has been translated through complex forms of communication, encounters and interactions.

录像装置

video installation

SIM2 三枪投影机，DVD 播放机，铁质机械臂，海沙，沙雕文字 SIM2 CRT projector, DVD, audio transmitter, iron arms, sand, sand carving text

360×200×70cm

一台 90 年代意大利进口的老式三枪投影机被改造成了有着八条腿的类 似螃蟹的生物造型，由它投射出来的影像是关于一家小型电影院(录像 厅)和目前作为唯一物证的投影机的种种细节的讨论。在影片中，艺术 家的朋友宝珠的家庭曾经经营这家电影院十余年，由她作为追问者不断 的让家庭成员回忆起关于投影机和电影院的诸多细节，但每个人的口述 形成了多条不同版本的线索也让这些历史变得愈加模糊荒诞而无效。诚如光影中的沙马蟹，带着三色光手电筒的抓蟹队伍，三色光和由此投射 出的影像对于沙马蟹来说，是谁被捕获了?

An Italy-made CRT projector from the 90’s was transformed into a crab like form with eight legs, only the projection identies its former life as the evidence of a
mini cinema. In the lm, artist’s friend Baozhu’s family has run the cinema for more than a decade. She keeps asking her family members about the details of

the projector and the cinema, about which the various versions of the story seems absurd and exhausting. Like the sand crabs in the shapes of light, and
the crab-catching team with flashlights of three colors, for the sand crabs, what is captured? Three color beam? Of the projected image?

摄影 , 收藏级艺术微喷 , 无酸签字笔配合写字机绘图

machine typing and hand drawing with acid free pen on giclee print

80×120cm 2017

摄影 , 收藏级艺术微喷 , 无酸签字笔配合写字机绘图

machine typing and hand drawing with acid free pen on giclee print

80×120cm 2017

摄影 , 收藏级艺术微喷 , 无酸签字笔配合写字机绘图

machine typing and hand drawing with acid free pen on giclee print

80×120cm 2017

这一组摄影中，艺术家让朋友宝珠设法进入不同农户的家里，取得他们的信任并同意在楼顶拍一张合影，摄影师在另外一个更高的楼顶拍下了这一张照片。用银色笔勾勒的建筑轮廓让这个处于黑暗中的城中村趋于二维化而近似舞台布景，字幕则显示了她在获得这张照片的过程中与农户主人交谈的记录。这些记录文字是拍摄结束后根据回忆整理的，会随着时间推移而产生不同的版本变化，它们将反应在摄影的不同版本上。

In this series of works, Baozhu attempted to get into the farmers’ house and took a picture on the top oor of their house, while the photographer taking a picture of the science on a higher place. The silver outlining of the houses transform the village in the dark into a two dimensional backdrop. The subtitles are the dialogues between she and the house owners during the making of the picture. All printed transcription is the recollection after the shooting, thus changing with time. Different edition will have different contents because of the time effect.

艺术家先在手机地图上找到一条街，开启了全景图浏览模式，将沿着这条 街行进的过程录屏保存为视频。同时将全景图中被拍摄到的行人编号并赋 予角色名称，放入一个模糊的电影剧本中。之后，艺术家实地到达这条街，并寻访到了几位全景地图上被拍摄到的行人，同时请他们模仿全景图中的 情景，重新拍摄了一条行走的视频。在这个视频中将被拍摄的所有行人编号并赋予角色名称，放入另一个模糊的电影剧本中，而寻找行人的过程中 了解到的一些关于他们的故事则成为了这个剧本的一部分。

The artist found a street on the map, then began his panorama navigation and kept all the screen shot as his navigation proceeded. He gave each captured pedestrian a number and
a name, and put them into an ambiguous script. After this, the artist visited the street and found several of the captured pedestrians, who were invited to restage the panorama navigation. A new video is shot. In the second video, each captured pedestrian is again numbered, named, and put into another ambiguous script. But the process of finding the pedestrians and reviewing their stories becomes part of the script.

纸本水彩，综合拓印

watercolor on paper, synthetic rubbing

A: 57×284cm

纸本水彩，综合拓印

watercolor on paper, synthetic rubbing

A: 57×293cm