江湖复杂，小心为上。
豆腐工房：http://blog.voc.com.cn/blog.php?do=showone&uid=31468&type=blog&itemid=605954
“在我看来，木格的影像之中弥漫着一股浓浓的个人情愫。这种情愫，是由很多不同的感情构成的，不安，迷茫，彷徨，犹豫，期待，希望，空白······各种情感如同小支流一样的汇聚到了这些影像之中，于是，一种莫名的感伤便油然而生。每一次我闭上眼睛，这些影像就会从记忆深处跳出，靠着栏杆出神的年轻人，独立窗边、注视远方的男子，夕阳照耀下的人影，面带笑容的摩的司机，卖着空心面的实心人，木然相依的情侣，蹲在草丛中的警察，桅杆上破烂的旗子······好像我在看这他们的同时他们也都在看着我，好像要告诉我什么，好像要和我交流，或是我自己内心的某种情感，被他们唤醒，被他们带出；在我和他们的影像交接的那个瞬间，我感到隐隐的疼痛，我仿佛在那个瞬间成为了他们，成为了木格心中的一个影像碎片，成为了某种印象，镌刻在了时间链条上的某个地方。慢慢着，我感到这份情愫被风干，被凝固，被聚集，被强化，成为了我心中挥之不去的一个印记。让我时时刻刻的想起那份游子的漂泊，在时间与空间的游离之中不断寻中自己的脚印，判断自己的位置，寻找自己的方向。原来，这些影像中的他们，在成为木格的影响语言中的一个词组之后，就已经脱离了他们自身仅有的那个所在，已经幻化成了一份情感，而这份情感除了他们身上自带的，更有木格自身情感的附加，而当这些影像被人观看品读的时候，这样附加又在不断的增加不断的幻化，他们好像成了某种幽灵，拥有了七十二变的本领，进入到每个人的眼中，踏入每个人的内心，挖掘寻觅调动酝酿挑逗诱惑着每个人内心的那份孤独感。——人永远是孤独的！而正因为每个人都有的这份孤独感，我们才会被聚集被交流被凝固。”
认识了一位在东京的新朋友，他看完我的展览，认真写了这篇文字，谢谢！
The New York Times’ Lens blog:Showcase: Drained by Rising Waters
By EMILY ANNE EPSTEIN
In all the coverage of the enormous Three Gorges hydroelectric project on the Yangtze River, and the creation of a vast reservoir that has displaced hundreds of thousands of people around his birthplace in Chongqing, the photographer Muge Huang Rong felt the lack of something very important. And personal.
“I saw many images about Three Gorges, but could not find a familiar emotion — one that belonged to me,” said Muge, as he is known professionally. Now 30 years old and living in Chengdu, Muge has just spent four years on “Go Home,” a look at the lives that have been disrupted by the construction of the Three Gorges Dam.
“Home, for me, has too many meanings,” Muge said. “On one side is demolition, explosion, collapse; mixed with noises and flying dust. On the other side is my childhood memories.” This tension is apparent in his portraits, in which people inhabit desolate landscapes. The intimacy of the subjects’ relationships with one another — depicted in embraces, gestures and gazes — contrasts starkly with the rubble and refuse piled in the background.
The unusual feel of the images owes itself in part to Muge’s Soviet-era Ukrainian camera, a Kiev 60. It is a “very cheap, very simple machine,” Muge said, and adds an antique quality to the photographs.
A comparison can be made between Muge’s photographs and those of Lu Guang, winner of this year’s W. Eugene Smith Grant in Humanistic Photography for his project, “Pollution in China.” Mr. Lu’s sweeping panoramas and Muge’s closely cropped portraits depict two sides of China’s problematic progress.
“Lu Guang’s photographs point out many realities,” Muge said. “But he also ignores many of our emotions.” When viewed together, the photographers’ differing compositions become complementary. Mr. Lu adeptly expresses the loss of natural environments, while Muge focuses on the loss of a way of life.
“My job is not purely journalistic,” Muge said. “When I was looking for myself, I found my hometown changing. These images don’t tell of the Three Gorges disaster, they leave space for the audience to find their own interpretation.”
Even though landslides, floods and disease have made life around Three Gorges nearly impossible, Muge captured the resilience of the community. The people he photographs are not defeated; they look outward — outside the frame, beyond the immediate circumstance.
“Only one thing is certain: the older generation moved to high places because of the floods,” Muge said. “When the water is gone, they shall return.”
The New York Times’ Lens blog Address:http://lens.blogs.nytimes.com/2010/01/12/showcase-107/
谢谢Emily女士，耐心与我一起探讨关于我的作品《回家》系列，终于得到这篇文章,辛苦！Thank you very much!