aced with all the pulling-down, the artists felt regretted that part of their childhood memories was about to be removed. It is exactly that kind of regret that inspired them to aim their cameras at the Xueye Xincun Area One which was under the construction. Later on, other xincuns that were not part of the pulling-down plan became their creation sources. The shooting process was by instinct, but the final publication arrangement was rational. By seasons, the catalogue is divided into five chapters. The first presents Xueye Xincun Area One in winter during the construction. The following unveils the existing xincuns in the four seasons namely. Although what were caught in their cameras are mostly the buildings being dismantled and the individuals without modeling, it creates a sense of time, and the tenderness and humanity of xincun. SONG and JI said their farewells to the childhood paradise with their cameras. In order to reach little comfort, what they did was to bring their lenses and to have conversations with the six-floor buildings, the hanging clothes and the residents. The ‘death’ and ‘birth’ of xincun were applied in their work to convey the emotional responses, which was their intention to reply to urban regeneration. The memories that have vanished due to the renewal then could stay in their films forever. Or even, they actually may last much longer in a more physical way. More importantly, these memories could be passed on. Until now, the artists still constantly appear in their shots with vividness and spirits. Through Xincun, Birdhead managed to voice that a new way could be applied while confronted with the unalterable.
from Camille SANKUAN “The World of Birdhead Belongs to the World”
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