2021影像上海艺博会 | 肖萱安：三峡记忆

三峡是宏大的，通过融合中国传统文化精髓，对三峡地区人文风貌进行探索性呈现，以自己的方式为三峡留下记忆，是我的作品想要表达的。诗词元素为《三峡记忆》注入了思想内核——李白《早发白帝城》“两岸猿声啼不住，轻舟已过万重山”的意蕴；郦道元《三峡》“空谷传响，哀转久绝”的幻境；张问海《瞿唐峡》“便将万管玲珑笔，难写瞿唐两岸山”的情思；廉氏《峡中即事》“日暮泛舟溪溆口，那堪夜永思氛氲”的借用；陆游《三峡歌》“朝云暮雨浑虚雨，一夜猿啼明月中”的情愫……同时以观念、纪实、行为、装置艺术等方式物化表达，多种艺术表现形式相互影响渗透，呈现的是我对于当下环境与生态之间的思考，我所认知的三峡与客观现实世界关联的意象。

错误时间里的某一天（细节） © 肖萱安

错误时间里的某一天（细节） © 肖萱安

错误时间里的某一天（细节） © 肖萱安

By assimilating the quintessence of the traditional Chinese culture into my photographs, I want to represent tentatively the natural scenery and human landscape in the Three Gorges area in the hope that the grand image of the Three Gorges will be etched in people’s memories.

The ideological nucleus of The Recollection of the Three Gorges hinges upon lines of various poets, and they are as follows. The first one is the connotation embedded in “The screams of monkeys on either side of the river still echoed around my ears when my skiff had left ten thousand of hills behind it” by Li Bai in The River Journey from White King City. The second one is the illusion within “The sad voices reverberate around the empty valleys and are enduring to away” by Li Daoyuan in The Three Gorges. The third one is the affection within “mountains on either side of the Qutang Gorge elude the description of tens of thousands of pens of the intellectual” by Zhang Wenhai in The Qutang Gorge. The fourth one is the displacement in “When the sun went down, I rowed my boat at the River Xu without considering the misty mind against the eternal night” by Lian Shi in Records in Gorges. The final one lies in “The day was cloudy in the morning, and it turned rainy at night, but it did not really rain, and I can hear the all-night-long screams of monkeys with a bright moon hanging over the sky” by Lu You in The Song of The Three Gorges.

Apart from the above-mentioned poetic elements, various techniques, including the conceptualization, the on-the-spot record, behavioralism, and the Installation art, are selected and combined to materialize the art expressions which represent my reflection on the relationship between the environment and ecology and images showing the correlation between the Three Gorges in my cognition and the objective natural world. 

肖萱安，宜昌市群众艺术馆研究馆员，1989年毕业于武汉大学新闻系毕业，先后被三峡大学艺术学院聘客座教授、云南大学文化旅游学院外聘教授。

1986-1987年，《纡夫》作为新中国建国后第一幅人体作品，参展“十年一舜间”影展，展出在北京中国美术馆。作品《远祖》获最佳构思奖，作品《束缚与运动》获最佳构思奖等全国级别展。其作品参加西双版纳国际摄影节、大理国际影会、和连州国际摄影节等诸多国内外重要的摄影展览。2011年连州国际摄影年展，《归山》（与颜长江合作）获评委会特别奖；2012年在大理国际影会，获十佳先锋摄影师奖；2012年在西双版纳国际摄影节，《消失的佛像》获最佳摄影师大奖；2016年《两条大河》西双版纳国际摄影节获最佳摄影作品提名奖。

Xiao Xuan'an, a research librarian of Yichang Mass Art Museum, graduated from the Journalism Department of Wuhan University in 1989. She has been employed as a visiting professor in the Art College of Three Gorges University and an external professor in the culture and Tourism College of Yunnan University.

From 1986 to 1987, as the first human body work after the founding of new China, Yu Fu was exhibited in the "Shunjian in ten years" film exhibition at the China Art Museum in Beijing. "Yuanzu" won the best idea award, and "bondage and movement" won the best idea award and other national level exhibitions. His works have participated in many important photography exhibitions at home and abroad, such as Xishuangbanna International Photography Festival, Dali International Film Festival, Lianzhou International Photography Festival, etc. In 2011 Lianzhou International Photography annual exhibition, Guishan (cooperating with Yan Changjiang) won the special prize of the jury; In 2012, he won the top ten pioneer photographers award at Dali International Film Festival; In 2012, at Xishuangbanna International Photography Festival, "the lost Buddha" won the best photographer award; In 2016, "two rivers" Xishuangbanna International Photography Festival won the best photography nomination award.