吕格尔|《羌的山》
自出版,2018
220x260x15mm
156页 特种艺术纸
锁线软壳纸面精装
限量500册 

Lyu Geer|The Mountain of Qiang
Self-publishing,2018
220x260x15mm
156pages
Hard cover
First edition of 500

 

《羌的山》是吕格尔基于家乡汶川羌族的创作计划,2008年地震后的援建,加速了蔽塞山岭里现代化的进程,由此地域的交流越发强烈边界不断模糊,他通过前期对当地的类似田野考察,在一种“再熟悉”的过程中,对身份的焦虑逐渐放大,于是他把寻找答案的希望寄托于《上山寻海》(第二章)的行为当中,在三叠纪时期,汶川地区处于滨海环境,他询问羌人是否有过汶川与海的记忆,同时也上山寻找沧海桑田的痕迹,途中遇到了张开双臂的雪人,被涂抹的白石,假山,假马,熊猫。。。这些景象与第一章《羌的山》有着微妙的联系。上山寻海的这种看似缘木求鱼的行为,开始转向更为诗意化的地域和身份物像的寻找。之后他收集山上的沙石,在暗房里洒在底片上,得到《星海》(第三章)的原始图像,又参照大量星空图片,为“星海”绘制了一个看起来尽可能真实的色彩,似乎也找到了最终的答案。

“The mountain of Qiang”is a plan based on Lyu Geer’s hometown ,Wenchuan,Qiang ethnic minority.The construction after the 2008 earthquake has accelerated the process of modernization in the mountains, and the regional communication became more intense and the boundary became blurred. He went through a similar field work to the local area in the early days,in a process of “re-familiarity”, the anxiety about identity gradually amplified.So He took this question to the behavior of “Finding the sea up the mountain”(Chapter 2).During the Triassic period, the Wenchuan area was in the coastal environment,He asked if the Qiang people had memories of Wenchuan and the sea.He also went up the mountain to find traces left by the sea.On the way, He met snowmen with arms open, painted white stones, fake horses, pandas……These scenes have a subtle connection with the first chapter, “The mountain of Qiang”.“Finding the sea up the mountain”,this pointless behavior seems to be like climbing trees to catch fish.Beginning to turn to more poetic, the search for geographical and identity images.After that He collected sand from the mountains, sprinkled on film in dark room.Getting the original image of “Star sea” (Chapter 3).And referring to large number of images of the stars, He painted a color that looks as real as possible for “Star sea”. He also seem to find the answer.