JIANG JIAXIN

As the artist's third documentary work, "2020 (Part 1)” presents an archival record of the artist's personal family members and the culture and identity of his family members. In the first two films, the artist demonstrated the contradiction between him and his family members through the first-person perspective recording, and then through the dialogues containing all kinds of contradictions, it is intended to show the contradiction between the two types of value systems derived from the artist and his family, which extends to the exploration and thinking of regional culture and identity recognition. In "2020 (Part 1)", the artist remains silent in most of the dialogues. On one hand, it is a non-disturbing presentation of the real cultural field and family environment; and on the other hand, after he actively tried to communicate with his family for 6 years, as a result, the artist gave up communication, remained silent, and maintained the attitude of tiredness.

The film once again shows various life fragments of the artist's family. Based on the premise of the first two films, the third film has witnessed the cultural and identity attributes of the artist's family. Through several years of documentary film screenings and discussion activities, the artist has found more resonance about family influence, regional culture and identity recognition. Therefore, in the third film, the artist uses the first-person perspective more firmly to record an ordinary and trivial pictures in an ordinary family. Through the dialogues and behaviors of each family member, a deep-rooted, human-based cultural and identity connection is demonstrated. At the same time, the natural and human environment information behind the characters is also wisely recorded.

"2020 (Part 1)" is regarded as an archival record of the artist’s family and the regional culture. In local rituals related to the Spring Festival, the artist strives to display the most primitive video clips of customs such as visiting graves, playing fireworks, and making as well as eating dumplings, etc.. He strives to use these rituals in the most direct way to present them as precious video clips of local history. (At present, many areas in China have been banned from playing fireworks and firecrackers. In the future, whether fireworks can be played in the artist's hometown is full of uncertainties.)

At the end of the film, a lot of pictures of the artist’s parents playing fireworks are shown. Playing fireworks were supposed to be children's entertainment, but what’s interesting is that during the 2020 Chinese New Year, the artist discovered that his father began to devote himself to experience some of his childhood experiences and shared some childhood memories, such as the father actively lead the play of the fireworks. This is also the change of his father discovered during the 2020 Chinese New Year after a fierce quarrel between the artist and his father at the end of 2019. At this point in the film, the identities of the artist as a child and the father seem to be reversed. The father should be the recorder and the artist should be the person who plays the fireworks, but on the contrary. There is also a detail in the film, that is, the artist repeatedly tells the story that he was beaten on many New Year's Eves when he was a child. During the 2020 Spring Festival, the artist deliberately mentioned this childhood memory segment, and wanted to get some discussion opportunities and answers to this memory segment. The appearance of this plot reflects the influence of a person's childhood experience on memory from the artist's personal perspective. In the meantime, this memory statement was answered unexpectedly by his cousin, and there was a trace of sorrow in the laughter.

《2020（上）》作为艺术家第三部纪录片作品，呈现出来一种对于艺术家个人家庭成员、以及家庭成员的文化和身份的档案性记录。在前两部影片中，艺术家通过第一人称视角的记录，展现出来他与家庭成员之间的矛盾，进而通过含有种种矛盾的对话，意在展现出来来自于艺术家和艺术家的家人们的两类价值观体系的矛盾，以此延伸到对地域性文化和身份认知的探索和思考中来。在《2020（上）》中，艺术家在绝大部分对话中保持沉默，一方面是对于真实文化场域和家庭环境的非干扰性还原，另一方面也是在主动并且努力和家人们沟通6年之后的结果，艺术家放弃了沟通，保持沉默，也保持了疲倦的态度。

影片再一次展示了艺术家的家人们的各种生活片段，在基于前两部影片的前提下，第三部影片见证了艺术家家庭所在地的文化和身份属性。通过几年的纪录片作品的展映和讨论活动，艺术家找到了更多的有关家庭影响、地域性文化和身份认知的共鸣性，于是，在第三部影片中，艺术家更加坚定地用第一人称视角记录一个普通家庭中的平凡而琐碎的画面。通过每一位家庭成员的对话和行为，展示出来一种根深蒂固的、以人为基础传播的文化和身份关联，同时，其人物背后的自然环境和人文环境信息也被巧妙地记录了下来。

《2020（上）》被视为家族和地域性文化的档案性记录。在当地与春节有关的仪式上，艺术家努力展示出来最原始的对于上坟、放炮、吃饺子等习俗的影像片段，力求将它们用最直接的手法，呈现出来可作为本地历史的珍贵影像片段。（目前中国的很多地区已经被禁止燃放烟花爆竹，在未来，在艺术家的家乡是否可以燃放烟花爆竹充满了不确定因素）

影片的结尾，展示出来了很多父母放烟花的画面。放烟花本来是孩子们的娱乐活动，但是有趣的是，在2020年过年期间，艺术家发现其父亲开始投身于自己儿时的一些状态并且分享一些儿时的回忆，比如说影片中展示出来的父亲主导放烟花的片段。这也是在2019年年末，艺术家和父亲发生的一次激烈的争吵之后，在2020年过年期间发现的父亲的转变。影片播放到这里，艺术家作为孩子，和父亲的身份仿佛颠倒过来，父亲本应该是记录者，艺术家本应该是放烟花的人，但是恰恰相反。影片中还有一个细节，就是艺术家反复地说出来他小时候每逢大年三十儿挨揍的故事。在2020年春节期间，艺术家有意提及到这个童年的记忆片段，想得到一些讨论的机会和针对这一个记忆片段的答案。这一情节的出现，从艺术家的个人角度，反映出来了一个人的童年经历对于记忆的影响。同时这段记忆的陈述也得到了其表弟出其不意的回答，在笑声中，流露出来了一丝悲哀。