a feast 盛宴
（ a feast ）“盛宴”是一个以不一样的视角去看待看待食物的作品，食物是我们习以为常的日常代表，我们常常通过“吃”这个动作去体验食物之美，而吃这个动作却是由“破坏，吞没，消化”组成。作家梁文道曾说过“食物一生的高潮在于它的死亡，不消灭食物，我们就无法欣赏食物，饮食艺术乃是一种关于毁灭和败亡的残酷的黑色艺术；最美的那一刻，就是崩解朽坏的那一刻”。
“A Feast" is a project that looks at food from a different perspective. Food is a daily representative that we are accustomed to. We often experience the beauty of food through the action of “eat”, but the action of eating is caused by "Destroy, engulf, digest" composition. The writer Leung Man-tao(2013)said, "The climax of food life is its death. Without destroying food, we cannot appreciate food. The art of eating is a cruel black art about destruction and perdition; the most beautiful moment is disintegration”.
突如其来的COVID-9病毒，带走了很多生命，死亡第一次离得那么近，我们很伤心，是因为我们失去了很多人命。生命重要，重要到我们承受不起这样失去，但生命不只属于人类。 如果把地球看作是一个房间，在这个房间里，住着的不只是人类，还有动物，植物，未知的生物，甚至是食物。在这个大房间里，人类理所应当站在所有物种结构的顶端，人类消费一切，食物在人类眼里，是营养补给，是商品。
The sudden COVID-19 virus took a lot of lives. The death was so close for the first time. We were very sad because we lost many lives. Life is important, so important that we can’t afford to lose it, but life is not only for humans. If we think of the earth as a room, in this room, not only humans, but also animals, plants, unknown creatures, and even It's food. In this large room, human beings should logically stand on top of all species structures. Humans consume everything. Food is in the eyes of human beings. It is a nutritional supplement and commodity.
在越来越高度工业化的社会里，我们已经很少能看到那些真正活着的食物原本的样子，因为这些食物总是以美好的加工后的样子出现。让我们忽略，食物其实是另一种生命的形态。当食物被选中用来供人类食用，它们的一生就注定为了实现食物一生的高潮—-死亡。我能想到的理解食物的死亡是直面死亡。
In an increasingly industrialized society, we have rarely seen the original appearance of foods that are truly alive, because these foods always appear in a beautifully processed form. Let us ignore that food is actually another form of life. When food is selected for human consumption, their life is destined to achieve the climax of food life-death. I can think of understanding that the death of food is to face death directly.
“盛宴”，由4个一分多钟的视频组成，以旁观者的视角记，以记录和实验性拍摄为目的， 展现活着的具有生命力的食物在“餐桌上”挣扎逐渐走向死亡的过程，而实现食物一生的高潮。
“A Feast" is composed of four more than one-minute videos. It is recorded from the perspective of bystanders. For the purpose of recording and experimental shooting, it shows the process of living and living food struggling towards death on the "table", And achieve the climax of food life.
开始有了“盛宴”这个想法之后，我花了很多时间去决定选择什么样的食物。因为食物在这个作品里是主角，我希望它们是具有象征意义的，它们是活着的，是会被人类称作好的食物，是会出现在盛宴场合的食物。当我把目光放在海鲜类里，我选择了螃蟹和章鱼，因为它们具有强烈人性的隐喻。
Crab
螃蟹会和人一样，具有四肢，有大脑，还具有人性，会产生和人一样的心态和情感，比如嫉妒，自私。著名的“Crab Mentality”在西方俚语里指的是“如果我没有，你也不可以有”的心理，假设在一个充满螃蟹的桶，虽然它们能轻易从桶子里逃出，然而在下面的螃蟹往往会互相抓住来防止其他螃蟹逃出，确保它们遭到同一样的下场。同时也是隐喻人类的行为，例如小组成员会尝试拉倒做到超越他自己的其他成员，但只是出于嫉妒，或竞争的心理。
Crabs, like humans, have limbs, brains, and humanity, and will produce the same mentality and emotions as humans, such as jealousy and selfishness. The famous "Crab Mentality" in Western slang refers to the psychology of "If I don't have it, you can't have it", assuming that in a bucket full of crabs, although they can easily escape from the bucket, the following Crabs tend to catch each other to prevent other crabs from escaping and to ensure that they are the same. At the same time, it is also a metaphor for human behaviour. For example, a group member will try to pull down other members beyond himself, but only out of jealousy or competition.
Octopus
在日本的浮世绘里，章鱼在葛饰北斋的作品（The Dream of the Fisherman's Wife ）里，是令人恐惧又充满力量的内心最深处的欲望对象，章鱼在画里象征着隐秘的欲望，和填不满的欲望。在盛宴里章鱼和螃蟹作为主角，我希望它们在桌上等待被人类食用，等待死亡，却又隐喻人类本身。
In Japanese ukiyo-e paintings, the octopus is the dreadful and powerful innermost desire object in Katsushika Hokusai painting (The Dream of the Fisherman's Wife). The octopus symbolizes the secret Desire and unsatisfied desire. In the feast, octopuses and crabs are the protagonists. I hope they wait for human consumption on the table and wait for death, but they also metaphor human beings.
著名英国艺术家Damien Hirst 的作品「生者對死者無動於衷」“The Physical Impossibility of Death in the Mind of Someone Living” ，也给了我很多思考。“The Physical Impossibility of Death in the Mind of Someone Living” 是一组生命与死亡为主题的装置作品，作品震摄人心的力量是让观看者毫不掩饰地面对死亡，并提醒着我们自身的终将一死，而这恐惧的情绪却反而带给我们更多面对生命的反思。这和我在“盛宴”里想要表达的是一样的，对食物生命的最好的反思是直面食物的死亡。
MO Chen（2017）said “如果真的要了解死亡，除了我們生命當下沒有辦法觸及的死亡，我們是否永遠只能從他者生命的逝去來理解死亡？或許正是因為死亡難以定義、難以靠近，直面死亡因此變得禁忌卻迷人，我們害怕生命盡頭與它的未知，但同時也想理解它的意義 ”
the work "The Physical Impossibility of Death in the Mind of Someone Living" by the famous British artist Damien Hirst also gave me a lot of thinking. "The Physical Impossibility of Death in the Mind of Someone Living" is a group of installation works with the theme of life and death. The power of the work is to let the viewer face death without concealing it and remind us of our own end. Will die, but this fear emotion brings us more reflection on life. This is the same as what I want to express in the “A Feast ” the best reflection on the life of food is to face the death of food.
Roy anderson 是我特别喜欢的导演，我经常被他作品里独特的视觉美学和电影造型语言吸引。在他的电影里，总是在固定的机位，固定镜头里，没有运镜，中景固定镜头，疏离冷漠的风格，荒诞古板的表演方式，演员脸上涂满白粉似小丑一般。以打散的故事重组结构为一个拼图游戏的电影。在“盛宴”里，我借鉴了Roy的美学，固定的机位，中性色调的色彩画面，我希望以旁观者的角度看一场以食物为主角的，逐渐走向死亡的过程，也许食物在这盛宴桌上有少许的作为生命的挣扎和抵抗，但最终面对死亡。一切都很平淡，真实的生活就是平淡的。
Roy Anderson is my favourite director. I am often attracted by the unique visual aesthetics and movie modelling language in his works. In his movies, he was always in a fixed position, in a fixed lens, without a lens, a medium shot fixed lens, alienated in different style, and absurd and old-fashioned performance. Reorganize the structure with a broken story into a jigsaw puzzle movie. In the “A Feast”, I borrowed Roy's aesthetics, fixed planes, and neutral-tone colour pictures. I hope to see a food-led process that gradually leads to death from the perspective of bystanders. Perhaps food is in There was a little struggle and resistance as life on this feasting table, but eventually faced death. Everything is bland, and real life is bland.
“盛宴”这个project，我希望尝试视频的方式去表达，这也是我一直想尝试的方向。在Lockdown的情况下，我需要在非常有限的条件尽可能的完成project，以及决定出现在画面里的食物和道具以及它们能够获得的可能性。因为只能在宿舍（ensure）完成拍摄，以及只能利用日常光和有限的室内的灯光，非常小的bathroom和室内的一面墙是我唯一可以选择的拍摄场地。而对我来说，最难的问题是在lockdown的情况下怎么获取到这些活着的食物，以及怎么克服恐惧和这些活着的食物相处。但我也非常感谢有这样的主题可以拍摄螃蟹和章鱼，这是我一次观察它们，也感受到食物生命的力量。
“A Feast" project, I hope to try to express the way of video, which is also the direction I always want to try. In the case of Lockdown, I need to complete the project as much as possible under very limited conditions and decide on the food and props that appear on the screen and the possibility that they can be obtained.
Because the shooting can only be done in the dormitory, and can only use daily light and limited indoor lighting, the very small bathroom and an indoor wall are the only shooting locations I can choose. For me, the hardest question is how to get these alive foods under lockdown, and how to overcome fear and get along with these alive foods. But I am also very grateful for such a theme that can photograph crabs and octopuses. This is the first time I observe them, and I feel the power of food life.
