杨圆圆,《大连幻景》
2017-进行中

1899年8月,大连在沙俄统治时期建市,城市最早的街道也是建于那一年代。日俄战争后,在长达40年(1905-1945)的时间里,大连为日本殖民地。

“幻”字曾多次出现在日本文学家对大连的描写中,比如清冈卓行的《萨哈罗夫的幻想》、松原一枝《幻中大连》 等等。在战后,对于大多数曾生活在大连的日本普通移民而言,他们的“乡愁”是极为复杂的——拥有数十年回忆的城市究竟是“故乡”抑或“异乡”始终是一个无解的悖论。正如清冈卓行在《洋槐树下的大连》中写下的第一段话——“旧日本殖民地当中,最美的都会当属大连无疑。但假如被问是否想回去看看的话,恐怕他会沉默许久,摇摇头吧。并非不想看,只怕看到会不安。一想到在那些熟悉的街道上徘徊,心头就会涌起一阵隐秘的恐惧感。”

从另一方面,在中国高速城市化的进程中,那些拥有百年历史,且历经不同历史阶段的老建筑与街区,如今正在迅速的消失。对于曾经与当下依然生活在老街上的人,作为回忆凭证的街道与建筑正在城市化进程中被逐渐抹去。身在故土,却同样有着“难以返回故乡”的体会。

杨圆圆的项目《大连幻景》以大连近代史为背景,在展览与书两种媒介中,以图像与文本互文的形式勾勒一场以城市为舞台背景的“戏剧”,以港口、楼梯、广场、旅舍、街道与剧场等城市空间作为索引,划分为一部“六幕剧本”。作品叙事的构建在对真实史料的引用基础上融合了大量虚构。来自不同年代的多个角色的声音贯穿其中:日殖时期出生在大连的日本作家,来旅行的日本游客,与同时期闯关东的中国劳工;解放后在中国的日本遗孤;当下生活在老街上恋旧的本地人,拿着老地图在大连漫游的旅客等等。项目意图围绕多个话题展开探讨:战争与殖民史的复杂性,历史书写的真实与虚构,城市空间在不同时期其功能与属性的转变等等。在《大连幻景》中,城市的时空边界变得模糊,在多个异乡人如梦幻泡影般的独白中,隐隐回荡着一个跨越百年的无解疑问——“何为故乡?”

Dalian Mirage
2017-ongoing

In August 1899, while Dalian, then Dalny, was under the control of the Russian Empire, the city’s earliest streets were paved. After the Russo-Japanese War, and throughout the 40 years that followed (1905-1945), Dalian was under Japanese rule.

The character "huan"(幻: illusion) in the project's Chinese title has repeatedly appeared in Japanese literature when describing Dalian, including Takayuki Kiyooka's Sakharov's Fantasy and Kazue Matsubara's Dalian Fantasy. After World War II, nostalgia became an intense, complex feeling for the many Japanese immigrants that once lived in Dalian. The psyochological place of a city that informed years of their memories suddenly became unclear: whether it was home or a foreign land became an unsolvable historical paradox. Kiyooka Takayuki writes in the first section of Dalian of Acasia Flowers:

"Out of all the old colonies of Japan, Dalian was without a doubt the most beautiful…But if you were to ask me if I want to go back, I'm afraid my only response would be a long silence, while slowly shaking my head. It's not at all that I don't want to go, but rather that Im worried what I see would upset me. When my thoughts linger back to those familiar streets, my heart becomes submerged in a hidden fear.”

With China's new development, Dalian’s hundred-year old history –its streets and structures that have endured throughout different eras— is now rapidly disappearing. For those that once lived, and those that still live in these old streets, these streets and buildings which are proof of their memories are gradually being erased by a new wave of urbanization. Although physically at “home”, they too share the feeling of an impossible return.

With Dalian’s history as its background, Dalian Mirage is presented in the varied forms of an artist book and an exhibition. Interweaving image and text into a “theatre play” set in the city, each chapter of the“6-act play” references a distinct urban space, including harbor, staircase, square, hotel, street and theatre. The narrative is a mixture of fictional and factual materials, where voices of various figures from different eras——a Japanese writer who was born in Dalian, a Japanese traveler and a Chinese worker from Shandong Province during the time of Japanese rule; a Japanese orphan after the time of liberation; a local Dalianer who currently lives on the old street and a Chinese person travels in Dalian with an old map——echo throughout. The project aims to explore a wide range of issues: the complexity of colonial history, the truths and fabrications in how history is written, and evolving functions and attributions of urban spaces across time. By answering these questions, the project blurs the spatio-temporal boundaries of the city. Among the fragmented monologues of various “foreigners”, there is an unfathomable question that echoes throughout a hundred year – “What is ‘home’? ”

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