Transcending conventional reality: An interview with CCD Workstation’s Wu Wenguang

by on Sunday, 31 October 2010 5852 hits Comments
Rate this item
(0 votes)

At the 2010 Taiwan International Documentary Festival, CCD Workstation, an artist space in Beijing had their own very own program. Wu Wenguang who founded the workstation was invited over to the festival as a special guest to give his judgements on the Taiwan award. In between his arrival and his humorous conducting of the audience at the awards ceremony Nick and Shinie Wang caught up with him to find out a little more about The Villager Documentary Project.

 

Nick Coulson: How did The Villager Documentary Project come about? 

Wu: It came completely by chance in 2005, when I was wondering how the villagers would use a DV camera if given the opportunity. Would they be able to make the documentary they wanted? Ten villagers came up to Beijing and after basic training; they all made a short film related to village self-governance. After this plan finished, those willing to carry on, did so. Ten became four. The films My Village 2006 and My Village 2007 were completed, without restrictions; what they wanted to film, they filmed.

 

N.C.: Were the villagers able to ‘bare their stuff’ and bare their past memories through this project? Was there any discrepancy between your initial aims and the final outcome? 

Wu: Initially, the title of the film Bare Your Stuff, was questioning whether we are able to release ourselves, to honestly confront and get rid of our doubts, to trust each other. The big problem over the past five years is that none of us trusted each other. These trivial matters made it very difficult to work together, as that requires revealing yourself, understanding and respecting others. I discovered that the problem wasn’t whether or not they could film. The facts have already proven they can film and very well. China doesn’t lack people who can make documentaries. Villagers filming documentary is more about civil consciousness.

 

Shinie Wang: You have been filming since the late 80s, have your creative or technical ideas changed since then? Your latest film Treating, documents the life of your recently deceased mother, does this indicate a change style?

Wu: The biggest change is in method. Towards the end of the 90s I changed from large professional equipment to a small DV camera. I adopted an image diary style: no topic, no materials, no plan, no budget. I just filmed what happened to be there and then edited it. For example, Bare Your Stuff was about the behind the scenes process of the Villager Documentary Project. Then, in Treating I edited over 10 years of collected images as a form self-treatment. Next I want to make a film about my father, through history and memory, a film that will deal once and for all with the relationship between my father and this family - this is also self-treatment. I won’t film societal documentaries again. I’m bigger than the Palace Museum, there are many things inside myself that I don’t understand. How can I understand others if I don’t understand myself?

 

S.W.: What documentaries are you most interested in? What are the ingredients of a good documentary?

Wu: I have different hobbies at different times. I like all sorts of documentary, but recently I prefer personal images more than recording workers, the repressed and the suffering, which used to fascinate me. How can these personal images transcend of the normal? Documentaries should not merely show the truth, but they should be able to show through things, like X-ray vision.

Zhou Xueping’s The Starving Village records the last two years of her grandmother’s life including several other old villagers; they talk about the famine fifty years back. It’s very subjective, she wanted the village she knows, not the reality of the village, yet it all comes from reality. While it leaves objectivity slightly, she creates the reality that she knows, that of a ‘starving village’, one that is dying, a ruin. This is transcending conventional reality. This is “the creation of reality”.

 

Last modified on Friday, 18 April 2014 14:48
Nick Coulson (聶克)

I was born in sunny Torbay on the south western coast of England's green and pleasant lands. I'm prowling the streets, parks and ruins of Taiwan hunting for absurdities and studying the sociology of the underground. Furthermore with our nomadic arts and action space "The Hole" we attempt to challenge rigid and alienating structures.

出生於英國西南部,海邊的天堂為Torbay。目前在台灣的街上,公園,廢墟尋找世界之荒謬與世界之美,努力盡量在各方面跳脫框框。透過我們的游牧空間「洞」我們不斷地用藝術與行動來挑戰早已僵化的體制。

Help us!

Help us keep the content of eRenlai free: take five minutes to make a donation

AMOUNT: 

Join our FB Group

Browse by Date

« November 2017 »
Mon Tue Wed Thu Fri Sat Sun
    1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28 29 30      

We have 3085 guests and no members online