I love the eighties, Beijing / 我爱80年代

前段时间的某一天Hi-id推荐了一个荷兰电影制作人Maartje Nevejan对“大声展”策展人欧宁进行的采访，内容主要是讲一本专门给80后看的杂志《0086》以及由此反射出的中国80后的特征。因为Hi-id的用户众多，所以这个推荐一出，就引起了众多的反映。

欧宁对于学设计的学生和设计从业者来说应该并不陌生，他就是近年来在中国大陆广播青年一代设计声音的“大声展”策展人。我对大声展尤其是2005第一届大声展还是感情深厚的，我在那一届大声展上了解了一些对我之后的设计思维有重大影响的青年设计师。我身边的很多朋友也都或多或少地参与过07年大声展。

如果说05年大声展还是小心翼翼的开拓阶段，许多的作品都是来自海外的华裔设计师，也更多地倾向于学术和实验气氛比较浓厚的设计和艺术作品。07年大声展就是大大地本土化，80后的特征已经通过这些设计和艺术作品显露无疑：来自80年的追忆、肤浅的享乐主义的自我本位的表现……

访谈是英文的，所以我就听写一下，如果有不恰当的地方请大家纠正：

I love the eighties, Beijing 北京，我爱80年代

I love the eighties, when I was a kid. That was a good time. People were hotest and caring. You could trust everyone on their word. Now, it's not bad either.
我很喜欢80年代，我小的时候。那个时候我觉得特别好，到现在我也觉得那时候特别好。每个人之间特别诚信啊，互相关爱啊。就是你可以相信任何人说的话。不包括……我觉得现在……

M: Get a little bit about the text. Who wrote the text? Who wrote the lyrics?
M: 介绍一下你们的团队(?) 都谁写歌谁写词？
Band guy1: hmm... Singer, the guitar and me and...
乐手1：恩……主唱，吉他手和我还有……
M: What is it about , can you tell me?
M: 能不能告诉我是跟什么有关的？
Band guy1: ...都关于什么，都写什么？
Band guy2: Happy
乐手2：快乐
M: It's happy, so
M: 是快乐啊
Band guys: Happy and pop
乐队：快乐与流行
Band guy1: a chinese happy pop
乐手1：中国的快乐的流行歌曲
M: Are you all happy?
M: 你们都很快乐吗？
Band guy3: most of time we feel happy.
乐手3：大部分时候我们都觉得很快乐
Band guy1: the angry people felt peace. Don't be angry. Peace.
乐手1：（maya注：我们的目标是让）愤怒的人感到快乐。不要愤怒，要平静。
M: Peace and love.
M: 平和与爱
Band guy1: yes, peace and love
乐手1：对，平和与爱

M: Who are you Ouning?
M: 欧宁你是谁？
O: I'm Ouning. I live in Beijing. I'm a curator, artist and writer.
O: 我是欧宁，住在北京，是策展人，艺术家，作家
M: What is that?
M: 那是什么？
O: This is a magazine - 0086. the magazine fouses on young generation of chinese. The topic of the magazine is popular culture, and the most interesting thing's every issue they have photographers took a lot of pictures of the young kids from different cities in china. And most of them were born in 1980s, they're students, models. they're writers, musicians. They're totoally different from the last generation.
O: 这是0086杂志，着眼于中国的年轻一代。它的主题是流行文化，最有意思的是每一期他们都有摄影师来为中国不同城市的年轻小孩儿拍照。这些小孩儿大部分都是80年代出生的，有学生，作家，音乐家。他们跟上一代人截然不同。
M: what is different about this generation?
M: 有什么不同呢？
O: They can share the internet culture. By internet, they also have more opportunities to study abroad or visit, i mean, to travel outside of china. So I believe this is a more international generation. They just want to make fun. They actually...from their work I can not see any political issue. And when they took some pictures or create some art pieces, they just want to make themselves happy. I want to create a platform for them to get their voice louder. To get more and more people can hear their voice. Actually you know in china, it is still a society that old people have the power, but young people have no power. So i want to create a platform for them to let them to express their opinion to tell their stories to the public.
O: 他们能够享受网络文化。通过网络，他们有更多机会留学或者是到国外走走。所以我相信这是更加国际化的一代人。他们就是想要好玩儿。他们的作品里面没有政治题材，他们创作的主要动机就是娱乐自己。我想要为他们搭建一个平台，让越来越多的人能够听到他们的声音。众所周知在中国权力集中在老一辈的人手上，年轻人是没有权力的。因此我想创造一个这样的平台让他们来表达自己的观点讲述自己的故事。

Ou Ning about the post-eighties generation 欧宁谈80后

O: The post-eighties generation, yes, they grew up with the japanese cartoon and tv culture, and also the internet culture, they can find a lot of what they want, they can find. So, they grew up in the international background, but as a chinese they still need to identify who they are. So especially in 2008 because of the olympic game and because China is getting, i mean, it's going to be a new empire in the world. So it also has a great emphasis on the young generation to find something to look for something to be a new identity. Most of the chinese young kids now, actually they're interested in looking back to the 1980s to get some chinese products, the very old chinese products. For example, like some stickers, made in china but not in international branch, and some handbags some t-shirts and some toys. when they were kids, they grew up with this kind of culture. now they are grown up, and they want to going back to...
O: 80后的成长伴随着日式卡通和电视文化，还有互联网文化。他们很容易就能从中找到自己想要的东西。虽然在这种国际化的背景下长大，但作为一个中国人，他们却仍然需要明确自己是谁（maya注：找到民族/一代人的定位）。尤其是在2008年奥运来了，中国也在发展成为世界上一个新的强国，这就更加强调年轻一代需要寻找某种新的东西来定位自己。现在的大部分中国年轻小孩儿对于寻觅回溯到80年代的老旧国产商品都很感兴趣，比如说国产贴画，包包，T恤和玩具。这些东西伴随着他们成长，所以长大之后他们也想要寻回……
M: why?
M: 为什么呢？（maya注：超级不理解）
O: To build, i believe they want to build the identity from their memory. I think the young people in beijing they love beijing very much. Actually they don't think London or New York is more interesting than beijing. They prefer to stay in beijing. They enjoy beijing very much. Er guo tou. It's a very famous beijing wine.
O: 我相信他们是想要构筑一种来源于往昔的身份特征。我觉得北京的年轻人非常爱北京，他们并不觉得伦敦纽约比北京有意思，他们更愿意待在北京，他们在这儿觉得很享受。二锅头，北京一种很有名的酒。
M: Do you love beijing this well? Or this generation is just different?
M: 你也这么爱北京吗？还是说他们这代人是特别的？
O: Yes, I love. I love beijing because the traditional culture has very powerful influence. I don't think the modernization can change beijing a lot. Because...
O: 是的，我也很爱北京。因为传统文化有很强大的影响力。我并不认为现代化能够在很大程度上改变北京，因为……
M: Like shanghai?
M: 就像上海一样？
O: Yeah. The tranditional lifestyle actually, have a great base in the, how to say, in the daylife. Beijing is so different from shanghai. All the shanghai people want their life very international. But in beijing, there're something very international but there're still a lot of things very local very traditional. Most of their readers are very young but they're still very interested in the old restaurants in beijing. I mean there're actually a powerful tranditional lifestyle in beijing. This is the owner of the Beijing Duck restaurant in a hutong, not the famous one. This is the owner of a restaurant which has more than 200 yeas history in dashilan.
O: 对。传统的生活方式是有稳固基础的，可以说是日常生活的基本。北京跟上海太不一样了，上海人都想要更加国际化的生活，然而在北京有很国际化的东西也有很多本地很传统的东西。0086的读者都很年轻但他们对北京的老餐馆都很感兴趣。因为实际上北京是有着影响力强大的传统生活方式的。（指图）这个是一个胡同里的北京烤鸭店的老板。这是另一个餐馆的老板，他的店在大栅栏，有着200年以上的历史。
M: Is this one disappeared or not?
M: 这个店现在还在吗？
O: No, it's not disappeared. It's still in dashilan. The area i ... (?)
O: 还在大栅栏。那个地方我（maya注：没听清）
M: The criticism about this generation is that they're superficial, and materialistic, and spoiled. What do you think about that?
M: 社会批评80后是肤浅的物质的和被宠坏了的一代。你怎么看？
O: I agree that. That is why I created Get It Louder Exhibition. I want to involve some independent films in this exhibition. Because, you know, most of, for example fashion design, product design, graphic design are very fashionable. I mean the young creators, are too trendy, too fashionable. So I want to involve some independent films and architectural works that can develop some social topics in this exhibition. I think this is the big problem, I mean the young people don't care about the politics.
O: 我很同意这个看法。这就是为什么我搭建了大声展这个平台的原因。我想让一些独立电影也参与到大声展当中来，因为现在的很多服装设计产品设计图形设计的创作者都太时尚了（maya注：过于关注流行元素和年轻文化），所以我要引入一些独立电影和建筑设计来为大声展提供社会主题（maya注：拿沉稳的东西来平衡一下）。我觉得年轻人不关注政治是一个很大的问题。
M: Do you talk with them, about it?
M: 你会和他们谈论这方面的问题吗？
O: Yes, but it's very difficult for me to communicate with them like this. They like, they always, like iPhone, Nike, everything. They read fashion magazines a lot. But they don't read some serious publicatin actually. When I saw a report about Hong Kong. Hong Kong in 2007, the government was going to get rid of an old building, and there were some very young people who were born in 1980s, they organised to fight against the government. For the hongkong xxx(?) I met the 4 or 5 young people, their thinking is totally very deep.
O: 会。不过很难和他们交流这方面的问题。他们都喜欢iPhone啦NIKE之类的商品，大量阅读流行杂志，但是不会阅读主题严肃的出版物。我看过一个关于香港的报告，说是2007年政府要拆迁一个老建筑，就有一些80后年轻人组织起来抗议。我遇到4，5个香港年轻人，他们的思想都很深邃。
M: Interesting. Should we have to go to Hong Kong?
M: 有意思啊~~我们是不是该到香港去采访一下呢？
O: Sure. I don't know why. I don't know why this kind of young people can be created in HongKong but not xxxxx(?) made in china. Maybe the government control is too tight.
O: 可以啊。我也不知道为什么，为什么这样的年轻人可以被香港社会创造出来但是中国大陆却没有呢？或许是因为政府管制太紧了……

另外对于这个80后访谈还有一些个人看法：
1，其实拍北京并不代表拍了中国，北京的80后的生活和灵魂并不代表全中国80后的生活和灵魂。北京是中国的文化中心，有各种各样的年轻人汇聚在那里，做着形形色色的事。它跟中国大部分内地尤其是我们西南相比，就像大熔炉美国跟传统文化根深蒂固的中国的差距。因为文化和物质资源的繁杂和丰富，北京的年轻人更容易把精力集中到享受年轻上面来，而实际的生活则是次要考虑的问题。而在这边的年轻人身上，尤其是非设计艺术或非文艺从业者，我看到的更多是面对现实。
2，这个访谈的出现让我觉得很有意思，因为在大部分流行大众媒体上，80后都已经渐渐淡出了，取而代之的是90后，或者所谓的“非主流”。但是在80后已然将要成为目前中国社会的生力军的时候，也许10年前对80后的评价到现在对80后的评价也不可避免地要渐渐改变。从青年人到完全的成年人是需要时间的，这种成长会褪去浮躁肤浅虚无和自私。
3，无论在北京或者成都，我都认识很多这种完全的80后，不过总体特征并不能kill个体差异。如果非要说的话，我跟“80后”的交叉点就是60%。
4，Hi-id说的很多话我都很同意，比如“起初我很反对一些观点，甚至过多将他们的批判归纳到上一代被下一代往后挤带来本能反应的规律上，同时他们在一些具体例子的取样上是片面的，因为80后的一个时代特征就是多样化且扁平化，所以会认为一个小群体作为一个集体样本的代表性是非常不够全面的。但我非常赞成“80后”这个划分，因为它独特的时代性。
拿一个差不多80年代同期出现的事物来比喻“80后”，就是大棚种植，为了让比喻更加贴切，缩小到暖房秧苗培育。80后就像刚走出暖房的秧苗，正在广阔的土地上寻找和落根，秧苗在暖房里长的至少看起来很茁壮，但是当移植到自然的土地上总要蔫上一段时间。80年代中国特殊的时代性，也就是把这一代在暖房培育，不清楚自己的过去，不了解自己从哪里来，学历史就像看传奇，谈政治就是说故事……但暖房也有着很好的条件，充足的光照和养料，合适的温度，社会的开放，信息的发展，国际化的潮流……当从暖房走出开始在真正的土地上生长的时候，头几天依然保存着暖房时的那种“茁壮”，但是接着遇到烈日，就蔫了，如果要生长，就必须要扎根，或许等到开始再次生长的时候，原先从暖房带出的叶子已经枯叶成灰。
这种“扎根”用来形容80后的“反思和自省”，这种“反思和自省”就是滋生于两种不同的成长和生存环境所形成的反差，“我是谁？我从哪里来？我到哪里去？”，也没有哪个时代的“个体力量的觉醒”比此时更深刻，这种“反思和自省”区别于前几代的就是比喻中说到的暖房的成长环境，或许会更彻底或许会更空中楼阁，前者生长后者枯萎。亦可将这种“反思和自省”称作“寻根”。
我们并不缺乏外部的条件，国外流行什么，马上就可以描摹，甚至也可以创新出很多人家没有的东西，但是缺乏的是对自我的认识，得到的是闻不到泥土味的果实，这个“泥土味”并不一定指的只是传统文化之类，而是这里统称为“我”的一种属性，从土地上生长而出。”
5，这个荷兰电影制作人Maartje Nevejan的博客也很值得一看，上面除了这个视频以外还有其他与她的中国年轻人研究相关的东西。她的研究是专门针对全世界的年轻人的，对于我们来说，也许特别有价值。无论你是想待着，还是走走。