JIANG JIAXIN

The clips in the documentary “2020 (Part 2)” are still derived from the clips taken by the artist in his family's daily life during the Chinese New Year in 2020. With the increase of experience and more understanding of cultural and identity issues, the artist embraces more patience and curiosity, and cherish this short New Year time with his family. The segmented records in the film present a lifelike story. These fragments of life without a coherent plot are connected by emotions, things, and time and space. There are even much information that is not revealed, which leaves the audience more curiosity to explore and discover in future documentaries.

In “2020 (Part 2)”, the clips seem to be connected, like lines and performances deliberately designed. However, in reality, all the plots have not been arranged in advance. For example, the artist and his cousin mentioned the little white dog raised by their aunt when she was in love. The dog named "Huanhuan" was mentioned when the family went to visit the grave. When the aunt was young, she listened to tapes to learn singing and dancing. At the end of the film, the aunt suddenly untied her head strap and started to dance. All these four plots are linked together. Nevertheless, these plots, which were not known to happen during shooting, appeared in the film together. Here, the artist's interpretation and appreciation of "reality" were presented through his unique recording and editing methods.

The fourth documentary is the artist’s favorite documentary work, and meanwhile, “2020 (Part 2)” is the only documentary work of the artist that the artist has seen with his parents. When he watched this film over and over again, he felt that the whole film was shooting himself.

纪录片《2020（下）》中的片段，依旧是来源于艺术家在2020年过年期间，用手机拍摄的发生在其家庭日常生活中的片段。随着经历的增加、和对文化以及身份问题的更多理解，艺术家有了更多的耐心和好奇心，珍惜这短暂的、和自己的家人在一起的过年时光。影片中的分段式记录，呈现出来了一个个栩栩如生的故事，这些没有连贯性情节的生活片段，却又充满了在感情上、事物上和时空之间的关联，甚至还有很多没有透露出来的信息，留给观众更多的好奇，在未来的纪录片中探索和发现。

在《2020（下）》中，片段之间好像若有若无地联系了起来，像是故意设计好的台词和表演。可是，在现实中，所有的情节并没有被提前安排好。比如说，艺术家和表弟提及到的姑姑谈恋爱时候养的小白狗，第三部纪录片中上坟的时候提及到的小狗“欢欢”，姑姑青春的时候听磁带并且学习唱歌和跳舞的故事，以及影片最后的在表弟家姑姑突然跳舞的场景，它们联系在了一起。然而这些在拍摄中并不知道会发生的故事情节，都出现在了同一部影片中，这里，艺术家对于“现实”这一概念的解读和欣赏，通过他独特的记录和剪辑手段呈现了出来。

第四部纪录片是艺术家最喜欢的纪录片作品，同时也是唯一一部艺术家和父母一起看过的艺术家的纪录片作品。在他一遍遍地观看这部影片的时候，他觉得整部影片放佛就是在拍摄自己一样。