TANG NANNAN
流殇
The Floating Wine Cup
摄影装置，数码微喷，480×1200cm，2012
2006－2011年，每次在沙滩上散步，总是随手拍下沙滩的漂流物，同时也对这些无主之物充满想象。在离开厦门徘徊西湖四年之后，为了还原记忆中的沙滩，我把六年来拍摄的近100件漂流物，做成了《流觞》。
除了图像部分，另一重要内容是考察漂流物的历史。在展示时，每件漂流物的调查结果与图像一一对应，文字和图像的意义同样重要。
这些文字有两个来源：一是采用考古学博物学的方法，客观考察它们的历史；对“查无此物”者，则向亲友、社会机构等征集故事。各种年龄、身份的作者在各种机缘巧合下汇聚在同一片沙滩。
这件作品是我“全球漂流物计划”的第一件，同样的形式和不同的考察方法将会在印度，日本，土耳其，南非，巴西，阿根廷，法国，冰岛等国不限期地持续进行。
The photograph device, C-Print, 480×1200cm, 2012
From 2006 to 2011, every time when I walked on the beach, I took the pictures of the drifting things randomly, imagining the stories of them. In order to revive the beach in my memory, I made a collection called The Floating Wine Cup, including one hundred pictures of drifting stuff that I photoed in the last 6 years, after I lived around XiHu (the West Lake) for 4 years.
Except for image, the historical research of drifting things is another important task. It is as important to add explanation to the drifting things one by one as displaying the pictures.
The explanation is mainly gathered by two ways: one is to invest their histories in archaeological way; the other one is to collect some stories told by friends and families, or from the society. Thus authors in all ages and different status were gathered on the same beach by chance.
This is the first piece of works of my “Global Drifting Things Plan”, and the research in same form but different ways will go forwards continuously in several countries such as India, Japan, Turkey, South Africa, Brazil, Argentina, France and Iceland.
