Artwork ( 1 ) 作品 ( 一 )

My site-specific solo project B ianjiang Hotel (Border Hotel) in DRC No.12 ,2021 ,comes from my on-going lengthy film project <Treasure Hunt>.

外交公寓12号的展览《边疆宾馆》是我2021年的特定场域的个人项目。展览内容来源于我正在进行的一个长片项目《寻宝》。

Exhibition Description 展览阐述 ：

Liu Yujia's exhibition takes the landscape and archaeological excavations as the background and confronts the historical imagination of China’s frontier territories in the space of DRC No. 12 with two temporal threads. One is the archaeological excavations of the Hungarian-British archaeologist Sir Aurel Stein in China’s frontier region in the late 19th and early 20th centuries and the ethnographic mapping through anthropological techniques for the production of oriental knowledge. The other is the transformation of the landscape in the context of folklore and history and the mining and trade of jade in the new Chinese frontier during the economic wave of "mass enrichment" from the end of the 20th century to the present.

展览以风景地貌、考古发掘为背景，将两条时间线索串连起来的中国边疆的历史想象并峙在外交公寓12号空间：一条线索是19世纪末20世纪初匈裔英国考古学家奥莱尔·斯坦因在中国边疆地区的考古发掘，以及以知识与学术获取为由，以东方学、人类学为手段的人种测量等殖民主义的规训；一条是20世纪末到当下，新中国的边疆在“全面致富”的经济浪潮中玉石的开采、贸易和以民俗、历史为背景的风景变迁。

On the south wall of the living room in DRC No. 12 is a full-wall photograph of the excavation site taken by Stein during his archaeological excavations in the Damagou area of Hotan, and installed near the western windows is a reenactment of the historical tent in the garden of the residence of George Macartney, the British Consul in Kashgar. On the east wall opposite the tent is a small photograph of the Kunlun Mountains taken from inside a tent during one of Stein's mountain surveys in the region. On a small table at the entrance of the tent are replicas of stationery such as maps and magnifying glasses used by Stein, as well as manuscripts and archaeological photographs taken by Stein.

12号空间客厅里的南面墙上是一幅满墙的摄影，是斯坦因在和田达玛沟地区考古发掘时拍摄的发掘现场，靠西面飘窗，复原了斯坦因当年支在英国驻喀什葛尔领事马继业官邸花园里的一顶帐篷。帐篷对面的东墙上是一张小幅摄影，是斯坦因在昆仑山地区进行山体测量时，从帐篷内的视角拍摄的昆仑山风景。帐篷口的小桌子上摆放着斯坦因用过的地图、放大镜等文具的复制品以及斯坦因拍摄的考古照片以及手稿。

Artwork (2) 作品 (二)

https://vimeo.com/580642470
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https://vimeo.com/580644212
Password:666666

Artwork (3) 作品 (三)

The southernmost room in DRC No. 12 is partly arranged to look like the small parlor of the British Consul General George Macartney’s residence in Kashgar in the early 20th century, with an ethnic-style tablecloth on the coffee table between two chairs. Above the chairs is a video diptych narrating the relationship between changing landscapes and human activities. On the floor is a ready-made mineral-dyed Hotanian cashmere rug from the 1990s; the pattern of the rug hints at the book Great Tang Records on the Western Regions, which profoundly influenced Stein's archaeological career.

12号空间最南侧的房间被部分布置成了20世纪初英国驻喀什葛尔总领事马继业官邸的小会客厅的样貌，两把椅子之间的茶几上铺着民族风格的台布，椅子和茶几对面墙上是一件双屏影像作品，影像关于斯坦因在20世纪初期三次在中国边疆地区的考古经历，它也展示着边疆地貌的变迁与人类活动的关系。地上铺着一件现成品——一件90年矿物染色的和田羊绒地毯，地毯图案提示着深刻影响斯坦因考古生涯的《大唐西域记》。

Artwork (3.1) 作品 (三.一)

This film develops its narrative from British archaeologist Aurel Stein’s Archeological Excavation in Khotan, Xinjiang, in the early of 20th Century, a colonial era .It explores the human activities of expedition and archeological excavation.To establish a connection to the deep layers of the earth. And also this film explores the ‘Wind’ and the ‘Sand’, as a romantic natural medium, how they connect the faded past that buried under the desert with our present times.

Based on archaeological logs written by Aurel Stein, the film is narrated in the first person and The landscapes in the film are worthy of particular heed. The hundreds of millions of years old glaciers, the stretching Kunlun range, the deep gorges, the dry-up riverbed, the terrible sandstorms, the ancient ruins site, the dead desertAll these landscapes constitute the historical depth of field. And the artist, working like an archeologist, try to dig up the vanishing memories and build up an imagination about ‘Treasure Hunt’.

影像内容基于匈牙利裔英籍考古学家斯坦因在20世纪初期，在中国新疆和田地区进行的三次考古发掘，它探讨了“考古发掘” 这种人类远征探险活动与地表深层所建立的连接，以及“风和沙”作为一种浪漫的介质, 它是如何勾连起了消逝的历史与当下。影片以斯坦因所著作的考古日志为基础，以第一人称叙述的方式，探索了绵延的昆仑山脉、上亿年的冰川、干涸的河床、可怖的沙漠与红柳沙包这五种地形。这些迥异的风景构成了历史的景深，艺术家以半虚构的历史人物形象重建了关于“寻宝”的想象。

An Archaeological Journey—Topographic Exploration, Double Screen Video Installation,
21’12”, Color，Sound
考古日志—地形探索, 双屏录像装置, 彩色，有声,
21分12秒, 2020-2021

https://vimeo.com/579725125
Password:666666

Artwork (4) 作品 (四)

A Music Lesson - Ode to My Homeland， Single Channel HD Video，10'16"，Color，Sound，2020-2021
一堂音乐课-歌唱祖国， 单屏高清录像， 彩色，有声， 10分16秒，2020-2021

A single-channel video work A Music Lesson - Song of Motherland in the corridor to the right of the entrance of DRC No. 12 shows the scene of teenagers from the frontier region chanting Song of Motherland in their own ethnic language.

12号空间进门右侧的走廊里的一件单屏影像播放着边疆少年用自己的民族语言齐声高唱《歌唱祖国》的场景。

https://vimeo.com/580662834
Password:666666

Artwork (5) 作品 (五)

On the wall of the room on the north side of DRC No. 12 is a single-channel video work, Archaeological Journey - Topographic Exploration of the Riverbed, showing scenes of the people of the frontier region digging and selling jade in the dry Yulongkashi Riverbed, guided by the dream of universal riches. Outside the western window, a monitor on the balcony shows images of an ethnic minority youth tidying up his face after working.

空间北侧的房间东墙上是一件单屏影像，播放着在全民暴富的梦想的指引下，边疆人民在干枯的玉龙喀什河河床挖玉、卖玉的场景。透过西面通向阳台的窗户，一位少数民族青年在劳动之余整理面容的影像面向房间内播放。

Artwork (5.1) 作品 (五.一)

Archaeological Journey - Topographic Exploration of the Riverbed, showing scenes of the people of the frontier region digging and selling jade in the dry Yulongkashi Riverbed, guided by the dream of universal riches.

单屏影像《考古日志-地形探索：河床》，记录了在全民暴富的梦想的指引下，边疆人民在干枯的玉龙喀什河河床挖玉、卖玉的场景。

Archaeological Journal - Topographic Exploration of the Riverbed, Single Channel Video,
Color，Sound ， 17'29"，2020-2021
考古日志-地形探索：河床， 单屏录像，彩色，有声 ， 17分29秒，2020-2021