Li Jun is a graduate of Chongqing Normal University (2000) and of the Photography & Digital Media Studio of China Central Academy of Fine Arts (2006). His work has been included in the exhibition “Humanism in China: A Contemporary Record of Photography” which travelled from Guangdong Art Museum to Germany, showing in museums including MMK Museum für Moderne Kunst, Frankfurt and Museum für Fotografie in Berlin.


李俊 

2000年  重庆师范大学中文系新闻专业

2006年  中央美术学院摄影与数码媒体工作室

作品曾入选广东美术馆 《中国人本—纪实在当代》展览,并巡展于德国法兰克福现代博物馆,柏林摄影博物馆等。


We Chinese people are struggling in the whirlpool of cynicism with no exception.


This is my understanding of time. Our expressions are frenzied; our bodies are twisted. We march forward with vigorous strides. People get extreme self-satisfaction in all respects, but what upsurges behind is a more thorough dissatisfaction and helplessness, because some in-born things cannot be fulfilled, and the reality cannot be altered. From within we get caprice. This status seems like a person who has stopped psychological growth in his childhood. His body is mature but he has given up the self-improvement and satisfaction of the mind. He just indulges in the pleasure of enjoying life whenever possible.

However, those unfulfilled parts are always more important and genuine parts. But we decide to forget them and bury them in a secret way. We are struggling, but we are not in a dilemma.


When I moved to a new place, there was a pharmaceutical factory surrounded by a wall across the street. One day I passed there, the support of a crusher suddenly stuck out above and broke the cement wall. What was inside the wall was a giant real-estate construction site. Several years later, this building has almost become a signal building of this place, gigantic, luxurious, supercilious and extremely complacent.


Meanwhile, I began to enjoy spending time in a lane as wide as two or three streets, holding myself aloof from the world with a cup of tea, a book and an afternoon. It’s like concealing myself in the crowd. Less than one year later, news came that wide, shallow and shaft lanes were going to be transformed into “New World” of Chengdu. Soon, the removing companies and the engineering team entered; the inhabitants moved out. The wonderful time was finally over. The giant arm would eventually overturn all the obstacles in the front.


One day, I passed this new scenic spot and saw the wall that has been processed with special technique. On the wall some images before the transformation were shown: a street vendor riding a pedicab, several old men with their pet birds and so on. All the backgrounds of the images were dim, as if this place used to be so dirty and messy. The application of these images is a kind of comparison. It seems to be yearning for the past, but actually it is singing praise for the beauty and order of now using past chaos.


Undoubtedly now is our best time, and maybe the last best time.


我们这些中国人在犬儒主义的旋涡中翻腾,无一例外。


这是我对时代的看法。我们神情颠狂,身体扭曲,不管不顾的大步前行。人们得到极大的自我满足,在各种层面,但背后却涌动着更彻底的不满足。还有无奈,因为某些内生的东西无法被满足而现实又无法被改变,从中又孕育出善忘。这种状态仿佛是一个在童年时代就停止心灵生长的人,身体成熟了,却放弃心智的自我完善和满足,在及时行乐的欢愉中沉浸,自得其乐。


而那些没有被满足的部分往往是更为重要和纯粹的部分。但是我们决定遗忘,用隐讳的方式来埋葬。大家在挣扎,但并不左右为难。


搬到新家时,对面是家药厂,一直用围墙挡着。某一天路过,一架破碎机的支架突然从围墙上空跃出,将水泥围墙凿穿。里面已经是一个巨大的房地产工地。几年之后,这个楼盘几乎成为地标似的建筑,巨大、奢华、有点目空一切、极其自我满足。


与此同时,我开始喜欢在有两三条街之隔的宽巷子消磨时间,一杯茶一本书一个下午的时间,一副与世无争的样子,好像要大隐隐于市。不到一年,就传来消息,宽巷子、窄巷子、井巷子要被打造成成都的“新天地”。不久,拆迁公司进入;工程队进入;居民迁出。好时光最终还是结束了。巨大的手臂始终要推倒横亘身前的一切阻挡。


再来说说这些作品,所有的这些呈现皆来自于孤独,来自于我内心,但不仅仅源于个人的伤感,还有些更为宏大和背景深处的部分来自历史——主要是中国历史。


近来的阅读和现实使我觉得:我们的历史不仅孤独,而且宿命,绝无逃脱的可能。所以看着这些东西,我想象不出它们还能发挥什么作用。它们实在是一无用处,除了能卖钱。


我常常觉得,我们永远在等待一次震撼,不是在现实中,现实只剩下生活,而是在别人的言说里,通过其他人的“口”来提醒我们,当下的现实是多么的惊奇和无所侍从。


但是今天大家看到的所有这些,都不能提供一次内心的震动,因为表象过于微小,而背后的巨大往往晦暗不明。我只希望,像那些在光线下漂浮的灰尘一样,大家的内心能被微微的扰乱,我的目的就不会无疾而终了。


有一天,我穿过这个新的旅游景点,看到被特殊工艺处理的墙面,上面粘贴着改造之前的一些影像:一个蹬三轮卖菜的贩夫,几个玩鸟的老人,所有影像的场景都处理都很黯淡,好像这个地方过去是那么的脏乱差。这些影像的使用方法是对比法,看上去是用来缅怀过去的,其实是用来颂扬现在的,用过去的混乱来颂扬现在的美好和有序。


而现在无疑是我们最好的时光,或许是最后的好时光。