行走 Walking – stepbackforward

朱湘 ZHU Xiang

程新皓 CHENG Xinhao

程新皓，《致海洋》，單屏錄像，49’56” | CHENG Xinhao, To the Ocean (2019),single-channel video, 49’56”

從昆明開始，在19 天內沿滇越鐵路步行446 千米，直到中國與越南的邊境。每公里撿拾一塊砟石背負在身上。
I walked 446km from Kunming to the borderline of Chinese-Vietnamese through the Yunnan-Vietnam Railway within 19 days.During the way, I picked up a stone in each kilometer and carried them with me.

程新皓，《致海洋》，單屏錄像，49’56” | CHENG Xinhao, To the Ocean (2019),single-channel video, 49’56”

從昆明開始，在19 天內沿滇越鐵路步行446 千米，直到中國與越南的邊境。每公里撿拾一塊砟石背負在身上。
I walked 446km from Kunming to the borderline of Chinese-Vietnamese through the Yunnan-Vietnam Railway within 19 days.During the way, I picked up a stone in each kilometer and carried them with me.

程新皓，《致海洋》，單屏錄像，49’56” | CHENG Xinhao, To the Ocean (2019),single-channel video, 49’56”

從昆明開始，在19 天內沿滇越鐵路步行446 千米，直到中國與越南的邊境。每公里撿拾一塊砟石背負在身上。
I walked 446km from Kunming to the borderline of Chinese-Vietnamese through the Yunnan-Vietnam Railway within 19 days.During the way, I picked up a stone in each kilometer and carried them with me.

程新皓，《來自鐵路的24 封郵件》（2020），假雜誌出版 | CHENG Xinhao，24 Letters from the Railway (2020), published by JZZP

2019 年12 月1 日開始，程新皓從昆明出發，沿著滇越鐵路向鐵路盡頭的海洋行走，每走一公里撿拾一塊鐵路上的砟石，每一天夜裡也會從雲南的不同角落給一位虛構的友人發一封郵件。最後，他用了19 天，走完了鐵路在雲南省境中的465 公里，身上的石頭重量達到了二十多公斤，已發送的郵件也積攢下了二十四封。
It is the 24 letters I wrote to a close friend X during the longwalk on the Yunnan-Vietnam Railway.

程新皓，《來自鐵路的24 封郵件》（2020），假雜誌出版 | CHENG Xinhao，24 Letters from the Railway (2020), published by JZZP

2019 年12 月1 日開始，程新皓從昆明出發，沿著滇越鐵路向鐵路盡頭的海洋行走，每走一公里撿拾一塊鐵路上的砟石，每一天夜裡也會從雲南的不同角落給一位虛構的友人發一封郵件。最後，他用了19 天，走完了鐵路在雲南省境中的465 公里，身上的石頭重量達到了二十多公斤，已發送的郵件也積攢下了二十四封。
It is the 24 letters I wrote to a close friend X during the longwalk on the Yunnan-Vietnam Railway.

程新皓，《平行線條的透視法》（2020），單屏錄像，21’23” | Linear Perspective (2020), single-channel video, 21’23”

在這段固定鏡頭的錄影中，正交的鐵路分割畫面，引導和限定著觀看的秩序與可能性，而在此舞臺之上，被設計的事件與偶然發生的遭遇同時上演。
In this long take, the orthogonal railroads divide the scene, guiding and defining the order and possibilities of seeing. On this stage, contrived events and chance encounters play out simultaneously.

朱湘 ZHU Xiang

關於“無名者的家庭史”項目，我並非要寫一部“家庭歷史”，而是著力追尋大歷史的敘述之下，造成空白、遺失和錯漏的記憶，以及造成這些記憶背後的權力留下了什麽痕跡，能與現下歷史的空洞，進行結構性的分析和呈現。

Regarding the “Family History of the Unknown” project, I am not writing a “family history”, rather, it focuses on the narrative of the great history, which leads to the blank, loss and error memories, and what traces of the power behind these memories leave behind, which can be analyzed and presented structurally with the void of the current history.

朱湘 ZHU Xiang

在父母雙方家庭中都有親人死於60年代那場運動，如今家庭成員對他們的描述已經變得模糊，有很多可以追踪的線索，到了我這一代已然在被遮蔽的困境中。

In parents’ families, there are relatives who died in the 1960s movement, whose descriptions by family members have now become blurred, and there are many clues that can be traced, which by my generation were already in the throes of being obscured.

朱湘 ZHU Xiang

當我發問要面對什麼樣的歷史才是屬於這個家庭，然而空白、錯漏、遺失完全佔據其中，家庭記憶在大歷史的書寫下也極易流失。當歷史準確地填补“一個足够好的故事”，那麼普通家庭、普通生命在流動中消失了什麼，造成我們現下的不願透露真相的檔案，這也是“無名者的家庭史”面向的問题。

When I ask what kind of history I have to face to belong to this family, the conflicts, blanks, and errors completely dominate it, and family memories are so easily lost in the writings of the Big History. When history fills in “a good enough story” accurately, then what is lost in the flow of ordinary families, ordinary lives, creates the archive of our present reluctance to reveal the truth, and this is the question to which “Family History of the Unknown” is oriented.

朱湘 ZHU Xiang

在項目行動中借助回憶梳理歷史，同時也是反思“遺忘”的工作——“我”在哪里？為了那些隐蔽在背後的傷痛和失語，人以及人，我們需要奪回應得的、本能的理解和無畏。

To sort out history with the help of memories in project actions, but also a reflection on “forgetting” – where is “I”? I am not here to record them, but I am in the same stream of time as they are.For the sake of the hidden wounds and lost words, people and people, we need to respond the instinctive understanding and fearlessness.