Stranger in a Foreign Land · Archaeological Exploration TN22.5E113.9
We are searching for the roots of Shenzhen, this city
While Shenzhen marches forward with vigor, the thoughts of strangers are entwined in Nantou. Steel poetry grows from discarded building materials and electronic components, stacking into a square, transforming into the lost realm reflecting the archaeological exploration of the remnants of the ancient city wall in Nantou. Shattered mirrors reflect fragmented faces, but the identity of the stranger remains shattered and difficult to reconcile.
█ Introduction:
We are searching for the roots of Shenzhen, this city
While Shenzhen marches forward with vigor, the thoughts of strangers are entwined in Nantou. Steel poetry grows from discarded building materials and electronic components, stacking into a square, transforming into the lost realm reflecting the archaeological exploration of the remnants of the ancient city wall in Nantou. Shattered mirrors reflect fragmented faces, but the identity of the stranger remains shattered and difficult to reconcile.
The site is located on the old city wall within Nantou Ancient City in Shenzhen. The tents outside the site serve as the archaeological excavation protection area, while the old houses on the site are situated atop the ancient city wall. 'Exploration square' refers to the archaeological method of excavating a site using a grid, dividing the archaeological site into quantifiable squares and numbering them, gradually uncovering and depicting the artifacts within.
We believe that the ancient city itself is a part of the origin of the city of Shenzhen. Through this work, we attempt to search for the roots of this city—both past and present. The exploration square is, in fact, a method of portraying a cross-section and fragments of history. This act itself is a historical care for the site. Additionally, Shenzhen is a city of immigrants, where many are considered to lack roots. Through the immediacy of this work, we capture a glimpse of the attributes of strangers in Shenzhen. Therefore, we placed building materials from various parts of Shenzhen within this square pattern—representing the development of the city and the traces of laborers. The installation also features shiny reflective mirror fragments, reflecting visitors and their perception of the current Shenzhen and archaeological remains.
Coincidentally, there is a lush longan tree bearing abundant fruits. It grows from the wall, and this vigorous vitality envelops the installation artwork from the crown to the roots. The lush sunlight spills onto the shards on the installation, reflecting into the eyes of the observers.
█ Author's Note:
Homesick? No. Homesick? Yes...
I am a southerner, and the South is my home. I have long been drifting away... This work is the embodiment of my subconscious homesickness.
Intuition tells me that this time we need a piece of art that connects to the spirit of this city, a critical reinterpretation of Shenzhen's history and cultural values – a city rock and roll exclusively for the urban villages.
The project is situated on the edge of the archaeological site of the Maritime Silk Road – the roots of the Nanyue Kingdom; on the walls of Nantou Ancient City – the roots of the city; beneath the dense longan tree growing from the wall's foundation – the natural roots of all things; within the carrier of personal homesickness – the roots of the creator... Yet, the theme of the creation is about the spiritual belonging of a group of migrant workers who originally have no roots here. This is a folded reality, a tracing back of individuals, the city, and collective memory...
This time, we clearly need to break the boundaries of beauty, try new methods, move from the paradox of beauty towards beauty. This is a great opportunity to explore Baudelaire's aesthetic system. We need a piece that has undergone hardships, been refined, reflects the brilliance of ordinary life, and embodies the traces of everyday life – a work with true human depth.
Continuing the archaeological grid next to the site, on top of the grid, we used the method of combining on-site garbage with mirror fragments to create a complete reality, breaking the labels of original life items. As materiality dissolves, symbolism is elevated: the fragments of everyday objects are no longer themselves but become symbolic signs; mirror components dissolve into invisibility, merging into the material fragments of daily life. The differentiation between object and intention, following Derrida, is crucial to becoming a work of art.
Mirror shards interspersed among material fragments reflect countless reflections of "me" – the real me, the distorted me, the illusory me, the distant me... And these countless "me" are pieced together into a holistic self-awareness – a way for countless "you" and "me" to seek self-discovery.
In the confrontation, juxtaposition, and fusion of "objects" and "me," the reshaping of the self – this is personal history, as well as the development history of Shenzhen. It is the beauty of the real and intensity in the spiritual reality of Shenzhen, and this is what we are searching for – the cultural depth and thickness of the immigrant city of Shenzhen in this era.
Homeland and foreign land, I ask, is Lingnan not good enough? But I say, where the heart is at ease, there is my homeland.
Exploration squares, exploring history, memory, and self...
The long pavilion becomes shorter, where is the way home?
