"Exhibited during the New Year, "The Tide" is first dedicated to the wanderers who have returned to their homeland from the north and south of the world, and most of the works presented in the exhibition are also written by these people. And we have collected the Chaoshan stories created by the creators of the hipsters around the world and presented them to the fathers and elders in their hometowns, which is itself a 'hui' action. I hope that in this time of reunion, more people and more Chaoshan people who have returned to their hometowns can see these stories. ”
——Chen Baiqi, head of the curatorial team Guan tide time art institution
On January 23, Hall 3 on the second floor of Chaozhou Art Museum opened the exhibition "Returning tide - Chaoshan Images in the Perspective of Watching the Tide", presenting 15 501-minute videos about Chaoshan and the exhibition will last until February 10.
On January 23, Hall 3 on the second floor of Chaozhou Art Museum opened the exhibition "Resurgence of the Tide- Chaoshan Images in the Perspective of Watching the Tide".
With "Hui" as the keyword, the exhibition is composed of three parts: "Hui, Homecoming", "Hui, Looking Back" and "Replying", presenting the relationship between the wanderer and his hometown. Going home, looking back and responding, intrinsically progressive and entangled, just as the order of viewing encouraged by the exhibition, takes homecoming as the starting point, looks back as the intermediary, and grows in response.
In the preface to the exhibition, it is written that "迴" is to go home by various means of transportation, and in our observation, "homecoming" is one of the motifs of this generation of creators, which is both the almost instinctive heart and the starting point, intersection or flash point of various problems. In the short drama films exhibited in the "迴" section, there are women who have married abroad for many years and returned to their hometowns, juvenile prisoner Ah Deng left prison to visit relatives during the Spring Festival, relatives who have been separated by mountains and seas have been reunited in another way, and there are also young people facing graduation and looking for jobs who are worried and confused between returning home and leaving home.
With "Hui" as the keyword, the exhibition is composed of three parts: "Hui, Homecoming", "Hui, Looking Back" and "Replying", presenting the relationship between the wanderer and his hometown.
What should we think of "going home", a theme that appears frequently in Chaoshan films?
Most of the creators of the videos on display in this exhibition are "post-80s" and "post-90s", and many of their works were born in the early days of their creative careers. "Everyone in their early twenties faces growing pains and needs to make some important choices. And for many Chaoshan people, the first thing to consider is really family. Male creators will wonder if their families can accept him making such a choice. Does he need to take on family or even clan responsibilities? Female creators embody the other side, namely, how to find themselves in such a traditionally patriarchal place. Chen Baiqi believes that at such a specific stage, family and self-growth are common problems that Chaoshan people will think about, and family themes have become the themes that Chaoshan filmmakers will choose in the first film.
The third part of the exhibition, "囘", is a response from the inside out: it is often a sudden cognitive awakening that captures and breaks through the self trapped in age, body and surroundings. In this part, the short drama film "Shenglan's Secret Garden" tells the story of the young girl Wu Shenglan who suffered from menarche and experienced the coming-of-age ceremony of "going out of the garden", while "Haunting" is about the male protagonist who is troubled by tinnitus and returns to his long-lost rural hometown.
On the day of the exhibition, an audience was already present. Photo by Xiao Yanjing
On the day of the exhibition, an audience was already present. Ms. Du, who has not seen Chaoshan movies before, said that watching Chaoshan movies in the Chaozhou Art Museum is very special. Xiao Wu, a Shantou native born in 1998, studied in Guangzhou, and after graduation, chose to return to Chaoshan to work, and after watching "Fanke", he felt very moved: "An uncle in my family went to Thailand and was separated from my grandfather for many years. My uncle came back from Thailand last year, but my grandparents were gone. ”
How to understand the concept of "Chaoshan film"? "As long as the film tells a story that can resonate with Chaoshan and quotes the scenery here, the history here, the relationship between people here, can benefit today's people, let today's Chaoshan benefit from it, we feel that there is something in it that can be extracted, called Chaoshan film." Chen Baiqi answered.
The curatorial team for this exhibition, Guan Tide Time Art Institute, was founded in 2015.
Founded in 2015, guanchao time art institution, the curatorial team of this exhibition, focuses on the spiritual core and meaning extension of "Chaoshan "Chaoshan", pays attention to and meets the creation, communication and dissemination needs of Chaoshan video workers, and also reflects on and responds to the historical crisis and marginal cultural dilemma of synchronicity in practice. In the past seven years, with the "Guanchao Film Festival" as the core, it has gradually formed a content structure with film screenings, theme exhibitions, creative salons, local inspections and institutional archives as the production medium.
【Written by】 Xiao Yanjing
【Author】
【Source】 Southern Press Media Group South + client