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Lu Nan's 10 replies to Magnum

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Part III of Trilogy by Lu Nan: Four Seasons—Everyday Life of Tibetan Peasants(1996 - 2004)No.013


Beginning in 1989, Lu Nan spent fifteen years completing his trilogy: Part One: The Forgotten People—The Condition of China’s Psychiatric Patients; Part Two: On the Road—The Catholic Faith in China; Part Three: Four Seasons—Everyday Life of Tibetan Peasants. In this opus magnum of epic photography works, Lu Nan affirms a richly human way of seeing. Each photograph in the trilogy stands on its own, yet belonging inalienably to the whole. Each is a crystalline node that amplifies and extends the other; every individual moment is at the same time an empirical part of all other moments. The trilogy focuses on the human condition in three realms. Particles of substances are caught up in a web of light and shade, suggesting a state of moral elevation and ultimately guiding the viewer’s gaze towards a secluded inner spiritual world in all of us. The Chinese version of Trilogy is published by China National Photographic Art Publishing House, while the English version of Trilogy by Lu Nan is published by GOST Books in 2018.

Lu Nan, as the only photographer of Magnum Photos from mainland China, accepted the interview by Magnum in 2019. The full dialogue can be found as follows (Title added by the editor).



The three component works of the Trilogy present three states of the life-phenomenon

——Lu Nan's 10 replies to Magnum

 


1


Magnum: You have said that this project ‘chose you’, can you elaborate on that?

Lu Nan:In my Trilogy, the final photograph in The Forgotten People was taken in a church, showing a priest as he gave a blessing to a mentally ill church member. The moment I took that photo, I realized that my second project would be Catholicism, and that my third one would be Tibet. If I say that I deliberately chose the project on mental illness, then the following projects on Catholicism and Tibet chose me, because only those three projects would constitute an extended work with inner connection and coherence. 

The Forgotten People is about suffering and adversity; On the Road is about purification; Four Seasons is about a blessed, serene and peaceful state (According to the Buddhist view, heaven is not an abstract idea, it is a concrete reality: when a person’s inner being is in a state of serenity and peace, then that person is living in heaven and existing in blessedness).

The three component works of the Trilogy present three states of the life-phenomenon. In our life course, we all experience these three life-states to a greater or lesser extent. The soul's paramount and ultimate wish is to be out of sufferings and, through purification, reach a blessed state of peace-at-heart. This wish is what connects the three parts together.


Works from Part I: The Forgotten People—The Condition of China's Psychiatric Patients(1989 - 1990) 


The Forgotten People

—The Condition of China's Psychiatric Patients No.01


The Forgotten People

—The Condition of China's Psychiatric Patients No.04


The Forgotten People

—The Condition of China's Psychiatric Patients No.06


The Forgotten People

—The Condition of China's Psychiatric Patients No.32


The Forgotten People

—The Condition of China's Psychiatric Patients No.39



2


Magnum: How does this project connect to Buddhist beliefs ? Why do you believe the Tibetan peasants are ‘existing in blessedness’? 

Lu Nan: In rural Tibet, the vast majority of the peasants believe in Buddhism, but their religious faith has no fixed ceremony and they hardly hold religious activities. Most families aperiodically invite monks or someone knowledgeable of the sutras to chant at home. Their religious belief is deeply integrated into their daily life, which embodies more in their attitude towards the Nature, divinities, other living beings, as well as towards birth, aging, sickness, death, etc. Four Seasons presents the daily life of peasants as well as their religious beliefs beyond rituals. For buddhists, happiness has nothing to do with rich or not, but with peace of mind in the present moment. In their peaceful inner state, Tibetan peasants live and work leisurely and at ease without being trapped by the past or disturbed by the future.

This is the state of happiness according to Buddhism, which resonates with the blessedness sought by Epicureanism, Stoicism and Spinozism.



Works from Part II: On the Road—The Catholic Faith in China(1992 - 1996)


On the Road—The Catholic Faith in China  No.01


On the Road—The Catholic Faith in China  No.31


On the Road—The Catholic Faith in China  No.16


On the Road—The Catholic Faith in China  No.51


On the Road—The Catholic Faith in China  No.54



3


Magnum: Though the peasants work in harsh conditions, it seems like they live a fulfilled and happy life. Would you say that's true? 

Lu Nan: Faced with the harsh living conditions, scarcity of materials and various kinds of hardships they suffer, the Tibetan peasants still maintain an optimistic and peaceful attitude that cannot be destroyed. This is the reality that anyone who has gone to Tibet could see and feel.

By the end of the work of Four Seasons, every grain that the Tibetan peasants harvested from the land belongs to themselves. The gap between the rich and the poor among peasant families was very small. The only difference between the rich and the poor in most families was that one family has dozens of more sheep than the other, or several more pots or thermos bottles. The few relatively wealthy families were polygamous. The custom of sharing a wife among peasants in Tibet is a countermeasure adopted by the families with many children to avoid the dispersal of family property due to sons' marriages and  living apart. This social environment with little difference between the rich and the poor also created conditions for them to maintain an optimistic and peaceful life.



4


Magnum: How do men and women's role differ ?

Lu Nan: Men sew and women weave. In other jobs, both men and women are involved in different degrees. It is the man who makes the decisions in the family.




5


Magnum: You document the rituals of farm-life but also the rituals of their customs and culture -- can you talk more about that side of their life?  What they like to do when they're not working?

Lu Nan: All the year round, the peasants have endless work to do from morning till night. In addition to the regular work like spring sowing and autumn harvest, sewing and weaving, the work they do the most is twisting wool into yarn.



6


Magnum: How important is family and friendship within this culture?

Lu Nan: Tibetans are the nationality who cares and values the relationships a lot, especially their relationships among family members is very deep. When you visit one family, if only the children are at home, you can't ask them where their parents go, because of the harsh environment, poverty and lack of medical care, one of their parents may have died. The children may immediately begin to weep by being asked so. Therefore, when you go to one family, you should ask first how many people there are in the family, who are there, and then you know whether the children's parents are still alive. The friendships among the peasants reflect a lot in the way of mutual assistance. For example, when one family builds a house, every family in the village will send one person to help unconditionally.


 


7


Magnum: As is revealed in the title, the seasons are integral to the Tibetan peasants’ way of life. Can you describe the shifts that occurred with each change in season ? (How did the landscape change / How did their workload change etc.?)

Lu Nan: Spring and autumn in Tibet are very short. The most obvious seasons are summer and winter. Sowing in spring and harvesting in autumn are determined by the seasons. In addition, the peasants shear wool before the summer then twist it into yarns to be used for weaving daily necessities such as clothes and quilts. This work is repeated and goes on year after year.



Works from Part III: Four Seasons—Everyday Life of Tibetan Peasants(1996 - 2004)


Four Seasons—Everyday Life of Tibetan Peasants No.010


Four Seasons—Everyday Life of Tibetan Peasants No.077


Four Seasons—Everyday Life of Tibetan Peasants No.052


Four Seasons—Everyday Life of Tibetan Peasants No.089


Four Seasons—Everyday Life of Tibetan Peasants No.109

 


8


Magnum: The project took 7 years to complete. Can you talk me through how you approached it logistically? (i.e. How long did you stay for each trip? How did you decide where to visit?)

Lu Nan: From 1996 to 2004 I made nine trips to Tibet and stayed three to four months each time. On my last two trips, between August 2002 and May 2004, I worked in Tibet for fifteen months—six months for the first time and nine months for the second. During the work for Four Seasons, I photographed the entire spring sowing twice and the entire autumn harvest four times.

My way of choosing location is simple, as long as there are people in a place. I usually lodged at the township government. I would lay a ruler over the map to calculate the distance. Anywhere within 2.5 hour walking distance and had no fewer than six villages is where I would go. I walked at a speed of no less than 7.5 kilometers per hour.



9


Magnum: How did you adapt to their way of life during the time you spent there? What did you learn from them?

Lu Nan: In Tibet, life is fully respected. Peasants do not use pesticides, even when they are provided free by the government, because the pesticides will kill insects. After their death, through celestial and water burials, the peasants use their bodies to nourish those who fly in the sky and those who swim in the water. Four Seasons is paying a tribute to Tibetan peasants.



10


Magnum: How did the works of Goethe and Eichmann influence this body of work? 

Lu Nan: Goethe's belief in the infinite value of living in the present and his overall vision of everything determines the levelof Four Seasons.

During the seven years of photographing Four Seasons, no matter how familiar I was with the peasants' lifestyle and their customs, I always prepared to leave empty-handed before I went to Tibet, because the fascinationof life also lies in its impermanence, which is also the inspiration and solace of life for me.





                                                


Lu Nan


1962  

Born in Beijing;

1989  

Started to photograph State of Chinese Psychiatric Wards which was completed in 1990;

1992  

Started to photograph Catholic Church in China which was completed in 1996;

1996  

Started to photograph Everyday Life of Tibet Peasants which was completed in 2004;

2006  

Started to photograph Prison Camps in Northern Myanmar which was completed in 2006.

 

Solo Exhibitions

2017

Lu Nan: Trilogy Photographs [1989-2004], Museu Cole??o Berardo, Lisbon, Portugal

2011

The Forgotten People: The State of Chinese Psychiatric Wards, VISA POUR L'IMAGE, Perpignan, France

Underground Chinese Catholic Community: Photograpy by Lu Nan, Loyola University Museum of Art, Chicago, USA

2010

Heaven and Hell, St. Thomas Royal Monastery, Avila, Spain

Prison Camps in Northern Myanmar, Art Museum of Central Academy of Fine Arts (CAFA), Beijing

2009

The Hidden Spiritual World: 15-years Photography by Lu Nan, Art Museum of Tianjin Academy of Fine Arts, Tianjin

Prison Camps in Northern Myanmar, Inter Art Center, Beijing

2008

The Eternal Measure: 15-years Photography of Lu Nan, Guangdong Museum of Art, Guangzhou

China’s Independent Photography, Houston FotoFest, Texas, United States

2007

15-years Photography of Lu Nan, Songzhuang Museum of Art, Beijing

The Four Seasons: Everyday life of Tibet peasants, Inter Art Center, Beijing

2005

15-years Photography of Lu Nan (slide show), Lianzhou International Photo Festival, Guangdong Province

15-years Photography of Lu Nan (slide show), Pingyao International Photography Festival, Shanxi Province

 

Group Exhibitions

2018

40 Years of Chinese Contemporary Photography (1976-2018), OCAT, Shenzhen, China

2017

40 Years of Chinese Contemporary Photography (1976-2017),Three Shadows Photography Art Centre, Beijing, China

2016

Too Loud A Solitude: Stalkers of Chinese Contemporary Art, Hive Center for Contemporary Art, Beijing, China

2015

Chinese Photography: Twentieth Century and Beyond, Three Shadows Photography Art Centre, Beijing, China

Grain to Pixel: A Story of Photography in China, SC?P, Shanghai, China

2014

The Traveller’s Note, Hive Center for Contemporary Art, Beijing

2012

Image Anxiety, Photo Espa?a, Madrid, Spain

2010

Faces of Life—China’s contemporary portrait, CAFA Museum of Art, Beijing

One Dot in Space-time—Collection of Contemporary Art by Guangdong Museum of Art, Guangdong Museum of Art, Guangzhou

One Dot in Space-time—Collection of Contemporary Art by Guangdong Museum of Art, Taiwan National Gallery, Taichung

Reshaping History: China New Art from 2000-2009, China National Convention Center, Beijing

10 Chinese Artists and Their Twenty Years Old, Angle Gallery, Beijing

2008

The People·History, CAFA Museum of Art, Beijing

2007

Guangzhou International Photography Biennale, Guangdong Museum of Art, Guangzhou

2006

Chinese Contemporary Photography of 20 years, Sifang Museum of Art, Nanjing

1997

Absolute Landscape between Illusion and Reality, Yokohama Museum of Art, Japan




蜂巢北京  HIVE BEIJING

ON EXHIBITION

2019.6.15-7.31

点击图片即可跳转阅读


点击图片即可跳转阅读


蜂巢深圳  HIVE SHENZHEN

ON EXHIBITION

2019.6.9-7.27

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蜂巢当代艺术中心

Hive Center for Contemporary Art


蜂巢当代艺术中心总部位于北京市798艺术区内,建筑面积达4000多平方米,拥有五个标准展厅,是中国最具影响力和规模最大的当代艺术机构之一。作为具有国际视野的艺术机构,蜂巢当代艺术中心旨在全球化的语境中实现跨文化、超视域的多元话语交互,希望以优质的展览及艺术顾问服务构建中国最专业、权威的当代艺术机构,促进艺术产业的繁荣与发展。

2017年初,蜂巢(深圳)当代艺术中心在珠三角重镇深圳设立分支机构,位于深圳OCT华侨城创意园区内的展示空间面积约500多平米。

Hive Center for Contemporary Art was founded by XIA Jifeng and stated to operate as a gallery in 2013. Located in the renowned 798 Art Zone in Beijing, the Main Gallery owns five exhibition spaces in a 4000m2 building. By representing outstanding artists and providing high quality artconsultant service, Hive Center for Contemporary Art is committed to building itself as one of the most professional contemporary art galleries in mainland China.

Hive's Branch in Shenzhen, inaugurated in March 2017,and situated at the OCT art zone, now is open to the public .


蜂巢(北京)当代艺术中心

北京市朝阳区酒仙桥路4号798艺术区E06

Hive Center for Contemporary Art (Beijing)

E06 798 Art Zone, 100015, Beijing, China

 

蜂巢(深圳)当代艺术中心

深圳市南山区华侨城创意园北区A4栋1-5

Hive Center for Contemporary Art (Shenzhen)

1-5 Block A4, North Zone OCT-Loft, Nanshan District, 518053 Shenzhen, China


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