GOING HOME / 回家
Muge / 木格

Size: 215mm x 276mm x 19mm, 112 pages, 57 B&W plates, Clothbound Hardcover
Limited Edition: 600, Published in December 2013
55 USD, BUY HERE

尺寸/215x276x19mm
规格/112页,57幅黑白照片,布面圆脊精装,配有护封
限量/600本,2013年12月出版
260元,点击购买

Muge was born and raised in Chongqing, China. He was nominated for the Foam Paul Huf Award in 2011, selected as a Juror’s Pick for the 2012 Daylight Photo Awards, and selected as First Edition 2012 Hey Hot Shot. He was nominated to PDN'30 in 2013. His photographs have been featured in publications such as the New York Times, EYEMAZING, Le Monde, FOTO8 and so on.

木格, 1979年生于重慶,他的主要獲獎經歷包括:2011年的Foam Paul Huf獎,2012年入圍Daylight Photo評審團大獎,2012年大理攝影節最佳攝影大獎,2012年Hey Hot Shot攝影獎,2013年入圍PDN30。他的作品曾在《紐約時報》《EYEMAZING》《Le Monde》《FOTO8》《中國攝影》等重要媒體上刊載。

In Going Home, Muge’s photographs have an almost dreamlike quality, but through the nostalgia one sees the immensity of transition, displacement, disappearance and searching. Underneath the upheaval, Muge searches for hope, and throughout the body of work one senses the movement of time: past, present and future seem to simultaneously exist in many of the frames.
- Jessie Wender, New Yorker Magazine

During the staccato journeys between his home and the Three Gorges Dam over five years, Muge recorded the changes in landscape and countenance with photography, with an insider's perspective. The subtle connections and struggles between mankind and the land are given tangible shapes in Going Home. Perhaps the hesitant subtext of the series can be summed up in one question: after the intrusion of modern construction, how do we view this new relationship between mankind and nature?
- Liang-pin Tsao, Taiwanese curator, critic

木格的摄影作品《回家》,纪录了三峡大坝工程所带来的种种影响。婉转沉静的笔触,幽然地抒发胸臆的悲怀。而在颓圮杂沓、一切俱往的不可能处,你我意会诗意吊诡的重量。

生长于重庆巫溪县,现居成都的木格,自2005年初,依沿返乡之路和大坝周边的城镇拍摄此一系列影像。尘封在脑海中的回乡路,沿途举目可见的「家常感」,因拆迁工程的啟动而尘土飞杨。当一切灰飞烟灭、尘埃落定之后,心头多少一股昨是今非,触目凄凉之感。易,不易。世事变易的现代步伐,似乎跨得大而无当且无情。木格在情感与实践上的创作自觉,映现家常或日常景观的本来面目:无常。

在如同长江水般流逝变化的时空中逆流而上,回溯故土中的故我,木格以影像遥接已然失落断裂的记忆连结。然而那些断垣残壁,终究淹没在平静的水面下,一切如常。《回家》凝聚成江底的一道记忆潜流,木格的逆旅宛若浩渺无波的江面上偶现的鱼跃。这个令人惊喜的发现,在水阔鱼沉之后,可以激起多大讨论的涟漪?抚慰多少人心的苦闷?

历时五年,断续地往返徘徊於家园和大坝之间,木格以局中人的身份,透过摄影书写地貌与容貌的变迁。人和土地之间相互依存牵扯的微细关系,在《回家》中被赋予具体可辨的形象。现代工程的介入后,你我究竟该如何看待人与自然的新关系?或许是《回家》欲言又止的潜台词。

(节选自台湾摄影评论家曹良宾评论文章《明明直照回家路》)

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