Uprooted

March 13th, 2008

We had some nice blog discussions about China, the Three Gorges dam, environmentalism, economic development and sustainability at the following posts:

I always wanted to be an artist, but was never good enough. So, I live vicariously through real artists. While in Beijing a few weeks ago I took a quick side trip and made my annual pilgrimage to check out, at lightning speed due to limited time, some avant garde art at the 798 Art Zone (an old Cold-War weapons factory and buildings that evolved into a SoHo like art district), and I wandered into the Paris-Beijing Photo Gallery and saw an exhibition by Yang Yi.

The promo for his exhibition reads …

In 2009, the Three Gorges Dam will have inundated hundreds of square kilometers in central China. Born in a small town overlooking a tributary of the Yangtze River, Yang Yi will see his hometown being submerged during the last phase of the project.

Striking and haunting him even in his dreams, this bitter assessment left him no choice: He had to capture the remaining specters of the scenery that is soon slated to disappear forever, along with his roots and childhood memories.

Employing mastery of both photography and digital techniques, Yang Yi shows us ghost towns engulfed by water, whose rare inhabitants, fitted out with masks and tubas, go about their daily occupations; they seem like wandering souls having assumed human bodies in order to restore life to their beloved village.

The strength of Yang Yi’s pictures resides in the cult of memories: Soon, bulldozers will destroy what is left, populations will be uprooted and relocated, water will flow everywhere and that small and lively town will become a quiet ruinous field. But still, it will survive forever in their collective memory.

This post is not a political statement. I have no strong feelings about the Three Gorges dam and what feelings I do have about it are mixed. I can see both sides, and in my view they are tough calls. I can appreciate that others may disagree. But the pictures in this exhibition were pretty cool and thought provoking, which is one of the reasons why I admire artists and so wanted to be one (bit failed miserably).   Click HERE to check out some of the photos in this exhibition.

Entry Filed under: Pre-Departure, Beijing, China

2 Comments Add your own

  • 1. Simone Michel  |  March 13th, 2008 at 1:16 pm

    Wow great pictures! I find it interesting that he is standing in every one of the pictures.

    I understand that Yang Yi is sad an also worried about the relocation of his hometown. The only choice people, that are forced to leave the fertile land near the water, have is to move into higher located places or they are sent to territories that are bad or meager by the government. But how should their situation improve if they do not receive an appropriate compensation and are still sent into areas that are bad to farm?

    Because there is not enough land to relocate the towns to, some of the residents are also sent to cities where they should work in factories. Another problem arises: these factories are mostly already packed and there are not enough jobs for everyone. Some of the banished are given the opportunity to work on the dam construction but it’s obvious that that is only a temporary project…

    These are just some of the social problems that the Three Gorges Dam will bring with the necessity of relocating towns. Maybe they will make us understand the concern and also the pictures of Yang Yi a little bit better.

  • 2. Witold Sadowski  |  March 21st, 2008 at 2:50 pm

    Great photos… It’s sad when some have to suffer for the greater good of society… there’s a significant cost and benefit in building this dam, but nothing lasts forever, Yang Yi will still have his memories, as many of us do with events/people/places in our life that are no more, and will adjust.

    “Out of suffering have emerged the strongest souls; the most massive characters are seared with scars.” - Kahlil Gibran (Lebanese born American philosophical Essayist, Novelist and Poet. 1883-1931)

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