30岁的喻兰平带着三个孩子在拆掉的云阳沙湾铁匠铺中“淘”废铁

2002年8月26日，雨中，殷永生的妻子陈光荣一手抱着一床棉絮，一手夹着一个像框，上面是他们逝去的老人的遗像

2002年10月4日，拆迁中的云阳旧城，骡子是其中一个主要运输工具

2003年6月2日，少年展示收获成果

2002年10月2日， 巫山轮渡巫山女

走入搭着帐篷的曲剧演出幕后纯属偶然。在化妆更衣的演员当中穿行，仿佛置身世外，在虚幻与现实之间游离切换。

驻足停留，除了眼前充斥的混杂跳跃的颜色，重要的是演员间毫无隔碍的交流，舞台上是默契的配合，舞台后是鲜活浓烈的烟火气。串场、更衣、就餐、休息……，一切可以相处的瞬间都能碰撞出不一样的火花，各种冷不丁的调侃逗趣都充满着非现实的轻松与温暖，仿佛几辈子的亲人终于相遇，又好似戏里戏外都活出了通透清朗的人生，那是戏曲表演者独有的情感交流。虽然他们穿着各色服装、化着各色妆容、演绎着不同角色，但很显然，他们之间的亲近是纯净且不掺杂任何色彩的。

这些景象使我不太敢思考如何去拍，生怕大脑的介入干扰或弱化了对现场的感受，试图跟随他们的节奏去找寻一些灵感的可能，更多时候是默默站在某个角落充当空气，看着他们台上台下来回穿梭，频繁的更换服装，紧张的练功，亲密无间的调侃，驾轻就熟的进入不同角色，乐此不疲的沉浸其中……

相当长的一段时间处于迷茫之中，就像最初的样子，按快门的手和脑之间的链接似乎是断掉的，且很长时间内并不知晓，那一次次牵引我翻山越岭追寻他们足迹的东西到底是什么？曾经以为，在长期的拍摄后，会有清晰而明确的地图，会能看到最初试图找寻的答案，会知道自己要拍什么，或者拍成什么，但现实的答案却是另一种，一种完全不由人设定和设想的。

有人说，“改变自己最有效的方法就是做自己害怕的事”，在成长的很长一段时期内，我都认为自己是个跟人群有距离感的人，短板明显多于长处，那是从童年起就莫名存在的一种恐惧与习惯。所以，当走进戏曲表演的后台，看到嘈杂热闹的场面，拥挤的各色演员，熟络温热的气息，使我意识到，眼前有比按快门更困难的事，那也许是可以刺激我感观内核的东西，是可以催生一部分新的自我的东西。尝试，是件美好的事，尝试自己没有做过的，尝试自己想做又害怕的。而事实上，做之前的设想和做之后的结果往往天渊之别，出人意料，充满着戏剧性的魔幻，也充斥着各种可能。

于是一次次，在耀眼的舞美和激跃的唱腔旁，我形同他们的影，记录着那些其实并不耀眼的瞬间，感受着那份不同寻常的寻常温度，找寻着自我内心深处的答案。带着疑问的人总是会去做许许多多的“无用”功，如同探寻答案的时候会感到惶惶不安、焦虑失措。在那些个当下，除了坚持就只有等待，但只要不停止问问题，不停止找答案，总会在那些看似枯燥无味的重复里偶尔清醒那么一两回，然后，顺着那些许闪烁的微光继续走下去……

记不清哪天起，答案变得不再重要。进入他们的瞬间仿佛也成为了他们，跟随那些熟悉不过的场景、人物、说唱、道具不断的来回转换奔波，感受那些喜怒哀乐惊奇跌宕，好似是我，也不是我。

好似无趣，又很有趣。

Another Answer Finally Zoomed in

Accidentally, I stepped into a backstage behind the curtain in an opera tent. Passing the performers wearing makeups and the ones changing costumes, you can feel as if you were in another world, switching back and forth between fantasy and realities.

Stopping for a pause, you find yourself immersed in the jumbled dazzling colors, and a scenario of hustle and bustle warmly welcomes you behind the stage: changing costumes, scenes’ switching, resting, eating and drinking... key points lay on the unimpeded communication between actors and actresses, which results in the tacit cooperation on the stage. All kinds of unexpected teasing and jokes are full of unrealistic ease and warmth, as if relatives of several generations met each other in an occasion or they enjoy a crystal clear and transparent life both in and out of the dramas, which is the unique emotional exchange among opera performers. Despite their colorful costumes, makeups and roles, it is clear that their closeness is pure without any social impurities.

These scenes made me hesitate to think about how to shoot, fearing that the intervention of my brain might interfere with or weaken my sensation to the scene, so I tried to find some inspiration by following their rhythms. Most of the time, I would stand silently in a corner and acted as air, watching them moving back and forth on and off the stage, frequently changing their costumes, practicing their skills nervously and making fun of each other, stepping into different roles with ease and never getting bored...

I was confused for quite a long time. Just like at the first beginning, the connection between my hand and my brain to press the shutter seemed disconnected, which I was unaware of for quite a little while: What motivated me to follow their footsteps over the mountains again and again? I once believed that after a long period of shooting, I would have a clear and definite clue, and I would be able to have the answer why I was trying to find at the beginning, and I would know what I was going to shoot or what I would achieve. Yet in reality, the answer is another kind: neither to be planned nor to be accomplished subjectively.

Some people say, "The most effective way to change yourself is to do what you are afraid of." For a long time while I was growing up, I thought that I was a person with a sense of distance from the crowd. My weaknesses obviously outweigh my strength, a kind of fear and habit which had inexplicably existed since my childhood. Therefore, when I walked into the backstage of the opera performance and saw the noisy and lively scenes, the various crowded performers and the chummy and warm atmosphere, I realized that there was something more difficult in front of me than pressing the shutter. It might be something that could stimulate my sensory core, something that could give birth to a part of my new Self. It is a beautiful thing to try what you haven't done, to try what you want to but are afraid to do. In fact, what you expect before you do and the result of what you do are often vastly different, unexpected, dramatic, magical, and full of possibilities.

So, again and again, in the gorgeous dances and beautiful singings, I became their shadow, to document each not-so-splendid moments, to sense out the unique from the usual temperature, to search for the answer from the bottom of my heart. People with questions usually do a lot of “useless” jobs, in eagerness, panic, and anxiety for the quiz. But as long as you do not stop asking questions, do not stop looking for answers, you may experience one or two sober occasions during the seemingly boring repetitions. And then, you will move on towards the flickering faint lights...

I failed to remember from which day on, I did not tangle with the Answer any more. Instead, the instant I enter into their group, I have become one of them, following the scenes, characters, raps and props that I am so familiar with, pulsing the ups and downs, joys or sorrows, thrills with excitements...

Seemingly, it is me; whatever, not me.

Seemingly, boring; yet, it IS full of fun!

玛格南70周年摄影实践工作坊中国区学员，自由摄影师。

“摄影是沉默地在现场徘徊，沉默地穿越世界的唯一方法。”

——(法)让·鲍德里亚Jean Baudrillard

一腔穿越千年的洛阳小调曲 ：

张洁摄影的当代叙事

作为主流形态的当代艺术自20世纪的后半页，就已经转向了艺术家个体内在精神的叙事和表达。生命体验与现实世界的对峙与对话，个性差异与文化流行的深层力量碰撞所形成的共振，成为这个时代的文化表征。从杜尚到毕加索、从波洛克到博伊斯、从沃霍尔到劳森伯格，等等的一大串足迹构成了艺术史的当代之路。

“摄影是生命、机器、外界三足鼎立的战场，是一种承担着感情与无意识的领域，敢于直面混沌不清的人类状态的精神。”这是日本摄影史学家的大竹昭子的研究论断。观察一位摄影师的拍摄行为及语言方式，及至现场的直觉意识与反应，是构成其叙事风格并由此感知其精神世界的直接路径。

在张洁的影像方式里，我们看到了被鲍德里亚把摄影称作是一种“反射写作”的印证。跳出摄影表现方式的时下流行套路，让拍摄还原到个人体验式地“感觉”的情绪释放，以“纯粹”化的视觉陈述，凸显出其敏锐地感性直觉的影像能力。张洁镜头前的一切都会在其视野里映现出扑朔迷离、模糊朦胧却是更为触及内心感受的视像，她的拍摄顺从了那个由现实各种因素复合点燃了的“自己”。成为机敏地接收现场动态视角和场面转换的情绪雷达，由心随性地捕捉其所释放出奇异细节的偶然性，并将观察中的物体与事项，在技术控制的操作下连接起来。

影像从现实对象中被结构成了新的形式，新的语言、新的语义，形式的角度和维度被重新调度，物体的现实秩序被重构，空间和时间被转换，矛盾构成的寓意指向却有了更深一层的丰富性。“照片的强度取决于它把现实事物否定到什么程度，并且可以做出什么样的新场面这一点。把某个对象变换成照片，就是从它上面逐一剥下所有特性——重量、立体感、气味、纵深、时间、连续性，当然还有意义。”（让·鲍德里亚语）这个链接着一个精神“元宇宙”的视觉单元，可以看作它是作者心理层面的情绪地形图，是在图像共有空间中的情感分享。

张洁对图像语言充沛的情绪化能力，总是可以使她在现场的视觉里能够发现最能触发其想象力的被摄体，或者说被摄体之中最触发想象的部分。她已愈发自由地谙出：摄影作为一种直观的表达媒介，在对象的确定性记述下，如何以开放式连接地表现。在看她从拍摄现场采掇的完整影像时，可以清晰地感受到：现实环境的情景驱使和氛围的情绪感染，快门的开启使她进入一种感性的亢奋状态，正是这种内在的情感共振与语言方式的契合，使她的影像图式在表现的方式上体现出了其独特地个性化叙事。于此，我们无法仅仅将其作为“纪实”或“直接”的摄影语言进行讨论，作为影像对客观物体的重构再现，作者在更为深刻的内在表达上已经走得更远。

在当代艺术潮流的时代背景之下，如果说从埃文斯到弗兰克，从布鲁斯·吉尔登到亚历克斯·韦伯，摄影语言的转换与演进，一直是以摄影家主体的精神诉求为核心的，它直接面对生活，却完全是即兴而非简单地“纪录’或‘观察’。这不仅是突破传统模式的路径，也是拓延艺术疆域于人的精神更为自由地得以呈现。张洁的影像叙事对现实语境的挪用与重构，试图用摄影显见或诱喻出潜于生命经验中诸多疑惑的遗址，是在这些场景中的另一次序形态中感受一种存在的超越。空间被重组的维度，彼此缠绕、互相碰撞，结构为一种多重、多义的复调格式，如果把张洁影像图式的解读作为一个对当下现实视像隐喻的索引，体悟外在物质与内部隐形世界的关系，其无法简单定义的复杂性在这里得到了揭示。当代艺术的“关系美学”从形式关系的多重复调结构中映现出当代社会的又一个层面上的真实。而影像语言本身蕴含的视觉动态势能，则伴随着某种内隐的情感而蔓延、铺展开来。

与其说照相机是张洁生活情绪的一种表达方式，毋宁说更像是她稀释个体生命状态里曾经困惑或积淤问题的工具。“镜头后的目光与她的兴趣和过去的沉积相交”，在视觉与现实世界复杂而又不确定瞬间一次次邂逅的同时，生发出具有文学气质的影像思考......

这些照片为她经年的生活之路，留下了一帧帧的精神印迹。

                                            ——于德水

                                    2022年8月12日 于  郑州

Photography is the only way to silently wander around the scene and travel through the world in silence

——Jean Baudrillard

A Luoyang minor that spans thousands of years:

Contemporary Narrative of Zhang Jie's Photography

Since the second half of the 20th century, contemporary art, as the mainstream form, has shifted towards the narrative and expression of the artist's individual inner spirit. The confrontation and dialogue between life experience and the real world, as well as the resonance formed by the collision of personality differences and the deep forces of cultural popularity, have become cultural representations of this era. A series of footprints from Duchamp to Picasso, from Pollock to Boyce, from Warhol to Lawsenberg, and so on, constitute the contemporary path of art history.

Photography is a battlefield where life, machines, and the outside world are intertwined. It is a realm that bears the responsibility of emotions and unconsciousness, and the spirit of daring to face the chaotic human state. Observing a photographer's shooting behavior and language style, as well as their intuitive awareness and reactions on site, is the direct path to forming their narrative style and thus perceiving their spiritual world.

In Zhang Jie's imaging style, we see evidence that Baudrillard referred to photography as a form of "reflective writing". Jumping out of the current popular way of photography expression, allowing photography to revert to a personal experiential emotional release of "feeling", highlighting its keen and intuitive visual ability through a "pure" visual statement. Everything in front of Zhang Jie's camera will reflect in her field of vision a blurred and hazy image that touches her inner feelings more deeply. Her shooting follows the "self" ignited by the combination of various factors in reality. Become an emotional radar that cleverly receives dynamic perspectives and scene transitions on site, capturing the randomness of the strange details released by the heart, and connecting the observed objects and events under technical control.

Images have been structured into new forms from real objects, with new languages, new semantics, and the angles and dimensions of form being rearranged. The real order of objects has been reconstructed, space and time have been transformed, and the moral direction formed by contradictions has gained a deeper richness. "The intensity of a photograph depends on the degree to which it negates real things and what kind of new scenes it can make. To transform an object into a photograph is to strip all the characteristics from it one by one - weight, stereoscopic sense, smell, depth, time, continuity, and of course, meaning." (Jean Baudrillard) This visual unit links a spiritual "Metaverse", It can be seen as an emotional terrain map at the author's psychological level, which is emotional sharing in the shared space of images.

Zhang Jie's rich emotional ability in image language always enables her to discover the subject that can most trigger her imagination, or the most imaginative part of the subject, in the visual experience of the scene. She has become more and more free to understand how photography, as an intuitive medium of expression, can be expressed in an open and connected manner under the deterministic description of the object. When looking at the complete images she collected from the shooting scene, one can clearly feel the driving force of the real environment and the emotional infection of the atmosphere. The opening of the shutter puts her into a state of emotional excitement. It is precisely this internal emotional resonance and the fit of language that reflects her unique personalized narrative in the way she expresses her image schema. Therefore, we cannot simply discuss it as a "documentary" or "direct" photographic language. As the reconstruction and reproduction of objective objects through images, the author has gone further in terms of deeper inner expression.

In the context of contemporary art trends, if we say from Evans to Frank, from Bruce Gilden to Alex Weber, the transformation and evolution of photography language has always been centered around the spiritual demands of the photographer's subject, which directly faces life, But it's completely improvised, not simply 'Record' or 'Observation'. This is not only a path to break through traditional patterns, but also a way to extend the realm of art and present the human spirit more freely. Zhang Jie's image narrative misappropriates and reconstructs the real context, attempting to use photography to reveal or allure to various suspicious sites hidden in life experience. It is to feel a transcendence of existence in another order of form in these scenes. The dimensions of space are restructured, intertwined and intertwined with each other The structure of collision is a multiple and polysemous polyphonic format. If the interpretation of Zhang Jie's image schema is used as an index to the metaphorical representation of current reality, and the relationship between external matter and the internal invisible world is understood, the complexity that cannot be simply defined is revealed here. The "Relational art" of contemporary art reflects another level of reality of contemporary society from the multi tone structure of formal relations. The visual dynamic potential energy contained in image language itself spreads and unfolds with some implicit emotions.

Rather than being a way of expressing Zhang Jie's emotions in life, the camera is more like a tool for diluting the confusion or accumulation in her individual life state. The gaze behind the camera intersects with her interests and past deposits, and while encountering the complex and uncertain moments of the visual and real world time and time again, it emits a literary and imaginative contemplation.

These photos have left a spiritual imprint on her years of life journey.

——Yu Deshui

Zhengzhou, August 12, 2022