The winter wind in Beijing can penetrate into the bones.
In 1994, Fang Zhiqiu stood at the entrance of the alley, holding the last 30,000 yuan IOU in his arms. Behind you are debt collectors, and at home there is a silent cauldron. Someone offered him enough to turn over. But he thought of his father's back as he wiped the tripod, and of the scar patched up by the Qing Dynasty. Finally he said: Not selling. I'll pay back the money and keep the things.
The rain in Paris makes people feel moldy.
In 2018, Lin Mishan was stuck on the final draft of his graduation project. The instructor said: It is beautiful, but it has no soul. At three o'clock in the morning, my father sent an email with a large attachment. After decompression, it is a 3D model of a tripod. She zooms in, rotates, strips away all patina and dust—only clean lines remain on the screen. Those ancient lines revealed their sharp muscles for the first time in the digital space.
From then on, the light from the New York T stage illuminated for the first time the heavy shadow that belonged to her family at the bottom of the Seine.
From the cold wind in the alley to the applause of the world,
It took them two generations to complete a long repair——
Repair the scar on Yi Ding's body,
Repair a memory that was almost interrupted,
Repair the way we came from, which we almost forgot in the tide of the times.
Purpose: In an era of dual material and spiritual wandering, explore how ordinary people can identify their own cultural genes from the fractured family memories and artifact textures, and use this as a basis to complete the confirmation, protection and creative return of their "hometown" in a complicated world.