Apologies, friends, for the very sporadic posting on my part. Of late, most of my blogging energies have gone into a new project for me, the Chinese version of artforum.com.cn.

Maintaining this already wonderful site is now one of my responsibilities, and finally getting off the AWW manuscript to MIT Press, and the new year hibernation, etc…. The 2010 spring thaw will bring wonderful things, and happily, with most of my editorial energies pouring into the artforum.com.cn site, sinopop can become become more personalized, more suibian, and a place for stories and ideas that don’t fit the scope of the other site.

Please look for us in the future, as we hope to start adding some new Chinese language columns to the artforum site, attempting to add some thoughtful content and commentary to a crowded cybersphere of art news from China, of various qualities.

朋友们、亲爱的读者， 非常抱歉！最近忙一堆事没有更新博客。今年要开始投入美国artforum杂志网站的中文版，担任一些编辑的工作。 如果你还不熟悉，应该过来看，网站上有大量的杂志译文，也有亚洲地区的展评。

随着我的在官方网站的参与，之后sinopop的内容就更加自由， 更随便和主观一些， 我会尽量把“严肃艺术编辑”的精神集中在artforum.com.cn了。（如果您，读者还没有看到此精神，请不要急––之后有人赞助我就好说！哈！）

I haven’t seen the biopic on Confucius, Kongzi yet, but I can already tell it’s going to be a doozy. Chow Yun-fat’s omniscient face looming in the heavens on the film poster, and his self-bemused, wizened sage smirk on the film stills is one hint, and recent dogged attempts at drumming up nationalism through culture and the arts is another.

Since I am not a Chinese, and non-Chinese are simply not allowed to mock things Chinese (especially Kongzi) even in good spirit, I figure I’ll do like other bloggers and just rip off Han Han’s brilliant post this morning, entitled, “Watching Kongzi.” Read the Chinese here: 韩寒： 《看孔子》

“…To tell you the truth, I’ve never thought there was a need to turn these classic stories into films. From a film perspective, the moment such films are born, they become the antithesis filmmaking, strangling creativity. But if you say that China’s movies with classical-historical themes show no creativity, that’s not right either, because those scriptwriters are often writing incredibly counter-historical scenes, the situation is tangled. And thus the reason why a vast majority of big-budget Chinese films are borrowing classical themes and historical figures is because their investors have lack a sense of security, they hesitate to invest such a great amount of money on some plotline dreamed up by some dubious director. Occasionally, there comes along a director who has an enormous investment, and the freedom to write their own screenplay––the resulting films are even worse. And such is China’s tragic history of film. According to Chou Yun-fat, people who watch this movie and don’t cry cannot be human, I can believe this is his delusion, and I’m sure that during the in-house screenings, all of the producers cried. They cried thinking about how many elementary school students and governmental organizations they will have to drag to the theaters just to break even.
Let’s forget about all political reasons and look at the film itself, it is a failure of a film. The sermonizing in the film isn’t infective at all, when Kongzi is talking about propriety and benevolence in the film, the guy next to me was having a ten-minute long conversation on his cell phone. …
…
Finally, I want to say that the film Kongzi, no matter if it’s from the point of view of the significance of film, profits, artistic pursuits, film exploration, educational enlightenment, warning or admonishing the public, audio-visual experience, entertainment, or documentation of history, there is no need for this film to exist. This film could be erased completely from film history.”

Despite all this, I’m still happy that Avatar was pulled from the theaters just to make room for this film.
The illusion of global culture has been shattered by recent events with Google.cn, and Hillary’s speech on the “freedom to connect.” China’s official response to “so-called Internet freedom” makes me shudder, are we truly entering a virtual cold war? At the very least, films like this should prove the national agenda is still filtered through culture, remember Founding a Nation? At the least, its one more attempt by China’s film industry to harmonize ticket sales and pleasing the film censors. Yes, I will see Kongzi, because who can’t appreciate the wry irony of watching the former “God of Gambling” play the sagely man of morals Confucius? It’s like a national face lift. Well, I’ll see in on DVD anyways…

Perhaps artists like to think of themselves as harbingers of social change, at least think they like to imagine themselves on the vanguard of something. In China, they seem more like backseat drivers. However, the world’s fasting urbanizing nation is heaving forward in myriad expressions, and relentlessly posing challenges to the entire globe with a host of issues that will shape the next decade.Urban China is a magazine that has hovered on the fringes of the art world since it was founded four years, it examines various urban issues in themed monthly issues, featuring intellectuals, artists and social scientists writing on topics such as Chinese creativity, education, migration, or Chinatowns. URBAN CHINA: Work in Progress (Timezone8, 2009), is a new publication co-edited by magazine founder Jiang Jun and Brendan McGetrick that seems to reiterate the supremacy of the urban machine over the artist’s ego, as the book itself grew out of a series of questions that emerged from UC’s participation in Documenta 12 (2007). (more…)

Sometimes, in the spirit of preserving our mental health (and also following the sound example of many Chinese citizens) we block out the droves of nincompoopery political advertising that  inundates Beijing’s population during political festivals. However, China’s 60th anniversary recently passed, and left behind a rich trail of propaganda and harmonious good-tidings that begs to be deciphered by the twisted minds who are so inclined to pay interest to such mass messages from the state.

Thus it follows, a Chinese lesson for all souls who wish to join the“family,” as delivered to you by the creamy voices of Jackie Chan and favored Party chanteuse Liu Yuanyuan. The first video below was the National Day ‘debut’ of the patriotic song, written especially for the 60th anniversary and sung in The Square complemented by hundreds of jubilant dancers.

Please note the harmonious joy of China’s minorities as they dance happily in unison in The Square, this is very likely the favored past time of all the 56 minorities. This joyous display (which later incorporates Hu Jintao, Wen Jiabao, etc.) of course also indicates that even though we may be wearing different satin costumes, or of economic classes, our common ground is here: dancing below the benevolent face of the great leader.

Which brings us to our lesson, where we focus on three words:
国    GUO    (kingdom––the simplified character is a composite of characters for “jade”surrounded by a “mouth”）
家    JIA     (family, home––literally a “pig” covered with a “roof tile”)
国家     GUOJIA    (nation, country, state––the combination of the above two characters)

The Chinese for “China” is 中国 ZHONGGUO  (中=middle, inside) All of this word dissection is vital to understanding the first two lines of the song. Pay attention!

Now, due to the ingenious word play in this clever song, the appropriate words will be substituted below: GUO, JIA & GUOJIA.

Note that each time “JIA” is sung, one or both singers makes the sign language signal  for “home.” Special note for Cai Guo-Qiang fans, he was the “General Director” of the fireworks display you see at the end of the video.

(China based readers can see it on Sina here)

一玉口中国    Jade inside a mouth––ZHONGGUO
一瓦顶成家    Add a roof tile for a JIA

都说国很大    everyone says the GUO is large
其实一个家    but actually, it’s a JIA

一心装满国    A heart laden with GUO
一手撑起家    a hand props up JIA

家是最小国    JIA is the smallest GUO
国是千万家    a GUO is ten million JIAs

在世界的国    In the World’s GUO
在天地的家    and the JIA of heaven and earth,

有了强的国    having a strong GUO
才有富的家    makes for a wealthy JIA

国的家住在心里    The JIA of the GUO lives in your heart
家的国以和矗立    the GUO of the JIA stands upright with harmony

国是荣誉的毅力    GUO is the perseverance of glory
家是幸福的洋溢    JIA is brimming with prosperity

国的每一寸土地    every inch of the GUO’s soil
家的每一个足迹    every footprint in the JIA

国与家连在一起    GUO and JIA are joined together
创造地球的奇迹    to bring about a planetary marvel
[repeat…]

国是我的国    This GUO is my GUO
家是我的家    This JIA is my JIA
我爱我的国     I love my GUO
我爱我的家     I love my JIA

我爱我国家    I love my GUOJIA!!!

And here, one more time, you have Jackie’s MV version. It features more happy minorities, students reciting their lesson (“GUO, JIA, GUOJIA”), and even some thoughtful calligraphers demonstrating how to write the characters. Later, superstar pianist Lang Lang makes an appearance for a solo played in the Great Hall of the People. (more…)

一凡新作展的名称《看不完》与展览本身十分契合：大量的录像、装置作品让观众目不暇接，同时，每一件作品都包含着过多的文本，恐怕没有哪个观众可以真正地将某一件作品“看完”。王一凡在创作中始终关注着时间维度，并对其进行挑战。《监视时间：王一凡的钟表》是他的代表作之一。在这件装置作品中，王一凡利用中国家庭中常见的石英钟作为道具，采取机械的方式记录下石英钟24小时的状态，通过对24小时的钟表的纪录，王一凡在石英钟上以隐晦的方式将自己的名字演变为产品logo，试图在其中建立一种崭新的秩序，以期实现对时间的掌控。纵观王一凡的作品，他似乎总是在关注生活中稀松平常、微不足道，但却真实存在的细小变化。不管是记录空间状态的录像作品，还是密密麻麻誊写下来的小说，经过王一凡的聚焦与放大，这些不引人注意的细微末节突然从默默无闻的角落被抛向聚光灯的中心。随着微小平常的生活点滴成为作品的主体，看与被看的角色也随之错位。时间由隐形的控制者转变为被窥视的角色，话语权转移到观众手中。观看与否，观看的完整与否，都取决于观众自己。同时，观众与艺术家二元对立的角色设置也产生了微妙的变化；王一凡的作品提供了一条纽带，让观众和艺术家联手，正视并解构时间。Author: 景晓萌 2009.08.08-2009.09.07 星空间艺术中心|Star Gallery谢谢artforum.cn, 访问原文

In a CCTV documentary titled “798″, photographer Zhu Yan made the comment: “The factory workers displaced the farmers, the artists displaced the workers, and now…” but the director left out what should have followed, “… the tourists displaced the artists.”

Of course, the myth that 798 is a “cultural production zone” is perpetuated by the mainland media, and almost obsolete industrial patches across China look to the success of 798 as a model of “cultural industry”, a revival area preserving the remnants of an industrial past, but where creativity and commerce can meet to copulate and produce healthy economic offspring.

While that may be a lovely image, the fact is, there is some truth to it. The documentary is a rather sobering look at the quickly vanishing former life of “798″––Factory 718. In the 1950s it was a state of the art center of production, a place of national pride, and a household name that symbolized a better future. Workers were hand-picked for their class background, plucked from the fields and clad in blue to make radio electronics, among other classified military gear; they worked with some of the most “avant-garde” technologies of the day. Military components aside, none of this sounds unfamiliar with the tourist “cultural production zone” we know as 798.

Fifty years later, the changes are incredible. In the five-part documentary we meet laid-off former workers who are now janitorial staff, and the dwindling industrial staff (once more than 10,000, now less than 3000) tells stories of the past: homes of the newly-wed were furnished with a bed, a desk and a cabinet (many had never had their own bed), 8 hour shifts were followed by night school, and infants were picked up from an parking-lot sized nursery, while not-yet school aged children were locked in the one-room apartments while their parents “struggled” to build a strong China. “None of this was looked at as strange,” comments Ms. Gao, who still works in th ecomplex. Her last student, Ding Ding, a young worker and his very dour wife are filmed in their run-down apartment; his 700 RMB monthly salary is barely enough to feed them. I don’t think I can stomach buying a substandard 35 RMB coffee there ever again.

With nary a mention of contemporary art, the series is a historical and grimly patriotic portrait of a very different 798; it was filmed in late 2007/early 2008.  The CCTV site has photos and some historical background here. I thought of an article translated last year for the Timezone8 book “Beijing 798 Now” on the former incarnation of Factory 718. It is especially interesting to read how earthquake standards in construction had to be enforced by the East German engineering team. Its a long article, but has some interesting facts. For Chinese, switch languages on upper right.

从718到798

李洋

北京东北部的大山子
地区在半个世纪内已经历了两次命运的转折：50年前，平地而起的718联合厂让它闻名全中国；现在，798艺术区的崛起则让这片土地带着“复兴”的荣耀蜚声海外。
718有着显赫的身世和近乎传奇的经历。“一五”期间，在原德意志民主共和国专家的援助下，来自五湖四海的年轻人建起了国营华北无线电器材联合厂（718 联合厂）——我国电子工业的摇篮。当初，798只是联合厂的第三分厂，而现在这里已成为北京市、朝阳区首批文化创意产业集聚区之一和中关村电子城创意产业 基地之一。
现在，798内标志性的包豪斯建筑群依然耸立，它们保留着一个城市的工业记忆，而从718到798的变迁，则记录了城市产业调整的轨迹。

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Recently re-reading Yin Jinan’s two critical responses to the Chinese art world, “Knocking on the door alone” (1993) and “Step-motherism” (2000), two books that should be noted for their critical response and theoretical interpretations on the world of Chinese contemporary art. Both books are published by Sanlian Bookstore, are in their 4th and 2nd printing respectively, and have received much attention from the Chinese-reading world.

Yin Jinan wrote “Knocking on the door alone” as a response to the urgings of many who thought that his position as chair of the Central Academy of Fine Art’s art history department and as a “close-up” observer, warranted a publication.  The second book “Post-motherism” (will follow in separate review) is a compilation of years of art criticism published in his column in duzhe magazine 《读者》also entitled “knocking”, duzikoumen “独自叩门”. The implied meaning of this title is: when we look at art we are always seeking a personal interpretation, and our individual experiences inform our reading.

The essays range from 1988, in an essay on the joint exhibition of Lu Shengzhong and Xu Bing at the National Museum of Art, “新潮美术的转折点” (The turning point of the New Wave), to 1992 (in dialogue with Sui Jianguo). Yin’s connections with art are very influenced by his proximity to the art academy, and to many artists who were making important names, such as Liu Xiaodong and Yu Hong, Wang Guangyi, Huang Yongping,  Sun Xinping and a host of other young painters whom he calls the “New Generation Painters.” These were the emerging generation of artists who were establishing a new POV, moving away from the collectivism of the 1970s and 1980s and depicting personal experiences. Yin’s style is clear and dry, funny at times but aggressively confident when critical.

The book also includes ample writing on Xu Bing,  the outrageously well-attended first nude oil painting exhibition in early 1989, and writings on the China / Avantgarde exhibition in 1989, on Chinese modernism and more. Posted below is an essay from this book on “New Generation Artists”, it was translated for a forthcoming publication on Chinese contemporary art from the Museum of Modern Art.  To read Chinese version, please switch languages on the upper right hand.

新生代与近距离

文／尹吉男

90年代初的中国现代艺术具有特殊的时间意义。当记忆情境与现实景观碰撞在一起的时刻，任何人都能直观地比较出属于艺术史范畴的基本素材。文学界的”散文时期”恰好与美术界的没有艺术宣言的写实时期相对应，平静的生活沉入与此前火爆躁动的观念迷狂构成巨大文化反差。对传统艺术观和新潮艺术观的反省与质疑，首先不是来自理论界，而是来自创作界。90、91两年的一些引人瞩目的艺术个展和联展无声地表达了非常肯定的艺术态度，一批60年代出生的年轻艺术家应运而生。主创者们在年龄上的特点也成为我们定性近期艺术现实的一个重要方面。当我开始控制性地使用”新生代”和”近距离”这两个概念时, 我考虑到它们具有随时空发生微妙变易的活性蕴含。

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Yang Fan’s <Spring>
until April 6 @ Star Gallery

In a drastic departure from her works on canvas, Yang Fan has produced a carpet of colorful poof-balls that she culled from the storerooms of clothing and toy factories in her native Guangdong. Yang Fan is formerly known for her series of paintings of young women in fashion plate style, the series, ever popular with Asian collectors, did not resonate with Western audiences.

When she began working on the project last year, she mentioned that the idea came to her while visiting clothing factories in China’s south. In what might have evolved from more “crafty” origins, this work culminates in her scouring of southern factories for unwanted bits and bobs, a new representation of the stories behind the cast-offs, and timely with the massive layoffs in the south.

An essay accompanying the catalogue is presented below. I translated it, but also enjoyed it for some valuable insights on her early works. (more…)

李占洋   ‘租’——收租院｜ 麦勒画廊
2008.04.26 至 2008.08.24

李占洋的个展是今年夏天不要错过的机会。 他重复文革时期重要的一组雕塑作品“‘租’——收租院” 但是地主、农民、等等身份是被当代艺术圈替代。展览又幽默又有想法，你要是对好艺术不感兴趣，您可以去考验您对有名艺术世界的角色的认识。下面的文章是艾老师写的， 也在展览的画册出现的。

你看着办吧

和李占洋还不认识的时候，就记住了他的那些早期的雕塑，尺寸不大，大都是些有人物、有情节和场景的附着重彩的作品。后来的作品中出现了看热闹不怕事儿闹大的宏伟场面，着色和质感也时尚鲜亮起来。

这些作品与现实之间有一种半推半就的关系，有力的手法和明快处理所表现的趣味倾向，浓艳的作风，入微的细节与市井场面，那些故事的表情，事件的假设，传说中的情节，设定了人们所寻找的快乐，遭遇的不测和梦幻的英雄情节……

在大多数情形下，作为旁观者，我们知道眼前所见仅仅是一堆泥胎附上颜色的玩意，尽管我们可以用上帝的眼光来审视，用有训练有素的涵养来挑剔。这些人 物和情景，和谐与不和谐的光影变化，适宜和不适宜观赏的，刺激或装饰的色彩和形体，确是实实在在地影响了我们的脑神经皮层。作者设下的圈套将观者勾引进入 一个尴尬的境域。诱惑者在诱惑他人时是否亦被诱惑。不祥的快感触发了迷恋贪婪的血腥本性。

李占洋致力于很黄很暴力的败坏世风之举，旗帜鲜明地张扬性色和权力的声色犬马，像是一个长久的风俗败坏之地的景观导游者，操着浓重的市场化了的地方口音，有板有眼地重复着煞有介事的术语。无知中总是掺伴着邪恶，愚蠢里总是依偎着奢华。他一本正经地讲着，讲得认真投入。

这是一些重复了千百遍的历史故事和演绎，听上去显得平凡和陈腐。可是作品的现实力量常常令人难以相信，现实的真实性的侵伤发生了蜕变，它们已经不再是可以抹去的幻象，伴随着潜意识，像是一句无法删除的不停地在脑中反复的曲调，尤其是在你比谁都清醒的时刻。

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（北京, 2008 年 5 月 19 日）自那次安迪不经意地离开他所熟悉的人和城市，离开那些声音颜色和温度，已经20年了。在他离开的那一刻，这个世界就变成了另外一个样子。不是弓射出了箭，而是弓和它所系的那一端的世界离开了箭，从一瞬间起无限的分裂开来。

在安迪的一生中，一切都显得煞有介事 ，五色缤纷光怪陆离。远在那个时代真正的到来之前，像一个真正能够洞穿时间壁垒的先知，在他目光所及之处，一切都被一次次的放大，一遍遍复制，情感和含义被反复的夸张断裂和抽离。时间与人物都卓越不凡同时又是无关轻重。

安迪依恋那个充满了疑惑的世界，尽管这个世界同样不信任他，他们有着自始至终的难以确定的恩怨情节。它们暂时在一起，又永远的离开，像是一句脱口而出石破天惊的句子却咽了回去，留下的只是愕然。 

荒诞的是，在一九八二年十一月的某一天，安地偶然的来到一个陌生的国家。这里的人们还在红色政权的法术下昏昏欲睡，每一个人的面孔上带着同样淳朴和羞涩。在这一段经纬线上，没有人对这个艺术家表现出兴趣，没有人认得出那张家喻户晓的面具般的面孔。尽管在安迪的不计其数的名人肖像画中，最著名的是关于这个国度的领袖被画了几百遍的标准肖像。这个无处不在的标准像使毛泽东被视为神，在安迪的笔下，毛的肖像所寓意的力量是传统的，巨大尺寸和重复的次数，使他成为抽象的中性的日常用品，抹去了道德价值甚至美学表达的企图。 (more…)

卓越艺术，北京市朝阳区酒仙桥路4号798艺术D区
2008.4.19-2008.5.30

策展人文字介绍 / 刘鼎

隋建国长期以来通过雕塑实践来对雕塑的观念和形态进行思考和拓展，也同时运用录象、装置、行为等其他的媒介对社会生活形态的变迁和塑造社会生活形态 的力量和机制进行反思和讨论。卓越的第二个项目“公共化的个人痕迹”是隋建国通过抽离和呈现雕塑创作中翻制和放大泥稿的过程而对个人意志被转化成公共意志 的社会现实所展开的研究。

在一般的雕塑创作中，雕塑家通常是先制作一个完整的小稿，再请工人放大到雕塑家要求的尺寸，然后翻制成不同材料的作品。在“公共化的个人痕迹”的项 目中，隋建国自己动手制作了三个不同形态的泥塑小稿，并有意地让自己的手印布满这三个泥塑小稿的表面。根据雕塑翻制和放大的一般程序，隋建国请工人先将他 制作的泥塑手稿翻制成硅胶模具，再从硅胶模中翻制出石膏稿；接着在石膏稿上用激光定位仪进行打格定位，把石膏稿上的定位格放大十多倍，并做成定位系统，即 所谓“圈套（套圈）放大”的坐标圈。根据放大所需要的尺寸制作钢架及木架栅，然后将放大十多倍后的木制圈子套在木架栅上，并根据此木制圈，将雕塑泥架加在 其上，完成放大稿的基本造型。工人根据放大的坐标圈进一步塑造成型，精确地表现艺术家原手稿的手迹。最终，艺术家的泥塑手稿被精确放大数十倍，成为一个巨 大的具有纪念碑性质的雕塑。

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——王迪与毛泽东时代的建筑物
文 / 尹吉男

建筑总是以它自身的历史存在构成了现实景观。建筑的“客观性”还不仅仅体现在其实用功能上。它作为一种历史存在本身就已成为所有观察者的客观对象，即使是一个善于悬想的人，建筑对他而言仍是一个悬想的现实起点。
我经常想，一个社会学家或历史学家用照相机把建筑当作历史存在来拍摄会是什么结果？无疑，照相机似乎比其它记录手段更具“客观性”，而客观性也是社会学家或历史学家所追寻的，尽管他们都不可能做到。
王迪拍了一些北京的建筑物。这些建筑物自然也有它们自身的历史，它们建于毛泽东时代。毛泽东时代的政治与文化精神包含在其中。由此我们可以从视觉上感知毛 泽东时代的人民与阶级概念与这些建筑物的历史关系。王迪拍摄这些旧建筑的动力来自个人的成长经验与特殊情感，他在拍摄过程中逐渐融入社会学的视角和方法。 这些以物质形态承载毛泽东时代文化观念的历史建筑正在消亡，淹没在突飞猛进的现代化的发展浪潮中。实际上，正在离去的不仅是历代帝王的北京，同时还有毛泽 东时代的北京。这无疑是从文化遗产和历史的角度所做的宏观判断。
我想，毛泽东时代的北京背景是王迪个人成长史中无法选择的，这个条件是必然的，给定的，更不能在日后删除。因此，这个背景中的社会主义的集体性与历史性非 常明确。这些苏联式的中国建筑曾经和社会主义的初期实践紧密的结合在一起。它们体现了上个世纪50年代和60年代最经典的中国意识形态模式。
到了20世纪80年代，许多青年人都有强烈地摆脱这个文化背景的欲望。中国社会处在急剧所谓变革当中。首先，否定的力量来自文化空间的差异，当时最容易做 的是从异域文化中寻找自由精神。进而超越政治惯性的集体性。王迪和崔健一样，在那个时期热衷于摇滚音乐。80年代的中国摇滚实际上不是音乐，而是自由与反 叛的运动。它的形式是群体，但他的目标是走向个人。自由与反叛的结果则是创造了一种精英文化（实际上有很强的政治性），而不是大众文化，更不是商业。
90年代中国商业主义中本身具有不断成熟的自由因素。新的文化与新的建筑在不断改写毛泽东时代以及更早的历史帝王时代的北京。北京已经不是一个永恒的背 景，而是一个不断变动的背景。在变动的过程中，不仅老的文化伴随着物质遗产一起消失，更新近的文化也在部分消失（其中包括80年代和90年代的某些非物质 文化遗产）。王迪正是在90年代成为职业音乐人的，他的那些音乐也汇入了改写北京乃至中国的文化潮流中。 (more…)

文 / 阿城

简单描述一下我们的脑的一部分。我们看到图像，由视网膜将图像传达到丘脑，再由丘脑将其转成脑语言（类似图象被转成零和一的电脑语言），储存到海马 迴（这个部分象个海马）。同时，杏仁核（这个部分象个杏仁），储存了相应的情绪记忆，诸如恐惧、喜悦。因此例如我们看到狼会感到恐惧。如果将某人的杏仁核 部分切除或者它损伤了，某人和我们同时看到狼，某人却不会产生恐惧，只知道它是一匹狼。我们会逃走，某人却不会。我们通常会将情绪反应与我们不同的人称为 “傻瓜”。
我们脑中和图像联系在一起的，还有诸多记忆被相应储存，例如气味，质感，触感，声音，温度等等。
正常的情况下，图像判断和情绪判断是联系在一起的，问题只是你脑中的图像是和什么情绪记忆联系在一起。我们常常说到的童年记忆或者经验，会影响人的一辈子，就是由此而来的。“从小看大，三岁看老”。童年，正是你初存图像和诸类联系记忆的黄金时期。
于是所谓乡愁，就是多年后你的童年诸类记忆在心中翻滚。浓愁如酒。
以文化为题旨，近十多年的不少摄影，勾沉、寻找中国的生活方式的存在、毁弃和遗迹，例如老街老胡同老房子。而王迪显示给我们不同于近一百年前北京东、西交民巷的西化，而是上个世纪五十年代的全盘苏联化，其实也是一种西化造成的存在。
王迪很恰当地称它们为红色建筑。
不过这些红色建筑，当时并非由苏联专家设计建造，而是新中国的建筑师按照苏联的设计规范，例如人均面积空间等等而设计建造的。从意识形态来说，它们等同苏 联的新建筑。它们也确实是为国务院各部委的机关设计的宿舍楼，用的是苏联的住宅小区的概念。它们不可能在共和国，起码在北京地区推广，是因为它们超出庶民 的消费水平。
它们未必有当时内城大量的精致四合院奢侈舒服，但它们簇新，由现代建筑材料构成，它们是新中国的权力标志，是红色建筑。它们是新北京。 (more…)