Christopher Dyle’s exhibition “Middle Road” presents his photography in China from 1988 to 2019, recording people’s adherence to ancient values during social transformation and showing a visual poem of cultural resonance.
回忆中国: 1988年-2019年 我第一次去中国是1980年代末。那次旅行基本上是一时兴起，没做什么准备。喇叭，陕西 神木，200224 × 24 厘米，印数：10银盐纸基纸Public Address System, Shenmu, Shaanxi, 200224 × 24 cm, Edition: 10Silver Gelatin Print on Fiber-based Paper 我和妻子阿尔菲杜(Alfheiður)一起，不经意间闯入了一个显然还处于自我封闭之中、不信任外来者的国度。当时，全中国都在经历巨大的转型，在许多方面像是如梦初醒。中国正在从相对孤立中走出，在邓小平的领导下着手建立更开放的市场经济。我原先只是听闻了一些中国文化和历史的情况。在中国呆了四个月之后，我找到了一些答案，但却产生了更多疑问。不过，从某种意义上，一扇门被打开了。
挂面，四川，199424 × 24 厘米，印数：10银盐纸基纸Drying Noodles, Sichuan, 199424 × 24 cm, Edition: 10Silver Gelatin Print on Fiber-based Paper 几年之后，我觉得有必要再访中国。在随后的30年里，我大约去了中国15次。和中国朋友的交游让我收获了诸多见解，这非常有助于我对中国文化的理解和欣赏。在无穷尽的城市开发的背后，人们对于古老价值的羁绊根深蒂固，紧紧地嵌入了社会肌理之中。小路的尽头，甘肃 扎尕那，201655 × 56 厘米，印数：7银盐纸基纸The End of the Trail, Zhakana, Gansu, 201655 × 56 cm, Edition: 7Silver Gelatin Print on Fiber-based Paper 逐渐的，我的摄影从关注日常生活转变成了找寻和我有共鸣的场景或细节，把我看到、或是想象中的文化元素组合成一部视觉诗篇。因此，我的视线是选择性的，30年间在不断变化。2000年的嵩岳寺国槐，登封 河南，201666 × 53 厘米，印数：7银盐纸基纸2000- year-old Guohuai Acacia at Songyue Temple, Dengfeng, Henan, 201666 × 53 cm, Edition: 7Silver Gelatin Print on Fiber-based PaperRecollections of China ( 1988 – 2019 )
My first visit to China, in the late 1980s, was arranged moreor less on the spur of the moment with scant preparation.
北京胡同，200255 × 56 厘米，印数：7银盐纸基纸Beijing Hutong, 200255 × 56 cm, Edition: 7Silver Gelatin Print on Fiber-based Paper
Accompanied by my wife, Alfheiður, we drifted into a worldstill demonstrably closed in on itself, suspicious of outsiders. It was a period of countrywide transition not dissimilar inmany respects to a reawakening from sleep. Emerging froma position of relative isolation, China had begun to readjusttowards the establishment of a more open market economy, under the guidance of Deng Xiaoping. Armed with only ananecdotal understanding of Chinese culture and history, thefour months duration of our stay raised more questions thananswers. Yet, in a certain sense, a door had been left ajar.
五子棋，山西 静乐，200324 × 24 厘米，印数：10银盐纸基纸Tmpromptu Game of Gobang (五子棋), Jingle, Shanxi, 200324 × 24 cm, Edition: 10Silver Gelatin Print on Fiber-based PaperA few years later, I felt the need to return. In the course of around fifteen journeys to China, interspersed over the following three decades, time spent in the company of Chinese friends and acquaintances has provided me with numerous insights. These have greatly contributed to my appreciation and comprehension of Chinese culture. Behind a facade of relentless urban development, attachment to ancient values runs deep, woven tightly into the social fabric. 竹火罐，河南 禹州，201024 × 24 厘米，印数：10银盐纸基纸Bamboo Suction Cups, Yuzhou, Henan, 201024 × 24 cm, Edition: 10Silver Gelatin Print on Fiber-based PaperGradually, my focus switched from photographing daily life, to searching out scenes or details that seemed to resonate within me, in order to piece together a sort of visual poetry composed of perceived or imagined cultural references. Accordingly, my vision is selective and has evolved over the course of 30 years.翻译（英-中）：黄一Translator (English-Chinese): Huang Yi
On the occasion of the art week in Shanghai in November 2018, Cristina Sanchez-Kozyreva met with Adrian H. Wang who took over the direction of AIKE last summer. He shares his coming to the art world and what it means to him to be a gallerist. – 2018年11月，在上海举办的艺术周之际，克里斯蒂娜·桑切斯·科兹列娃会见了去年夏天接任艾可画廊的王欢。他和大家分享他来到艺术界的经历，以及成为一名画廊老板对他意味着什么。
