纸间时间｜鬼叔中影像微个展，给世界一封纸的手信
Venue: Wormhole Bookstore (South Building of Haitiantanggou Mansion), Gulangyu, Siming District, Xiamen
展览时间:2024年2月24日至3月28日
地点：厦门市思明区 鼓浪屿·虫洞书店（海天堂构南楼）
Director/Artist: Gui Shuzhong
Project Planning: GyreCraft
Exhibition Director: Huang Xiaowei
Curator: Long Yitang
Spatial Design: Chang Lan
Assistant Curators: Li Shiyi, Wang Xinyi
导演/艺术家:鬼叔中
项目策划:环流GyreCraft
展览总监:黄晓伟
策展人:龙奕瑭
空间设计:常蓝
助理策展:李诗怡、王心怡
2024思明山海艺术季｜鼓浪屿板块的特别延伸项目 —— “南方记忆”影像微个展（第三期），于厦门鼓浪屿·虫洞书店（海天堂构南楼）呈现导演鬼叔中的微个展「纸间时间｜MESOLOGY RHYTHMS」，该项目由 环流GyreCraft 策展，特邀《生活月刊》作为展览刊物支持与媒体观察。本周六 3月9日 下午3:30，公众开放日特别导览。同时将邀请《玉扣纸：闽西手工造纸业的社会史研究》作者，厦门大学历史与文化遗产学院陈瑶副教授与艺术家鬼叔中展开一场新书对谈。
Artist Bio: Guishuzhong
艺术家简介：鬼叔中
Real name: Ning Yuanguai, from Ninghua, Fujian Province.He is a poet and documentary filmmaker, and an editorial board member of Film Auteur.His documentary works include The Yukou Paper I, Compass Sutra, Spring Rites Ballad, The Temple of the Seven Saints, Seedling Protection Ritual, The Five Directions Offering, The Yukou Paper II, and Nainai.His literary works have appeared in publications such as Reading, Poetry Journal, Art World, and the Complete Anthology of the Middle Generation Poets.His published books include How Could I Not Go to Tibet in This Life and A Visual Ethnography of Western Fujian.
本名甯元乖，福建宁化人。诗人，纪录片作者。《电影作者》编委。有《玉扣纸I》《罗盘经》《春社谣》《七圣庙》《保苗祭》《摆五方》《玉扣纸II》《嬭嬭》等纪录片作品。文字作品散见于《读书》《诗刊》《艺术世界》《中间代诗全集》等刊物和选本。出版《今生怎能不去西藏》《闽西风土影像志》等。
A Treatise on Superfluous Things (Tiangong Kaiwu) is China’s earliest encyclopedia documenting agricultural and craft technologies. Written by Song Yingxing, who served in Tingzhou, Fujian, it includes a chapter on Shaqing (“killing the green”) that details the seasonal timing, materials, and processes of bamboo papermaking in Fujian. Essential resources such as bamboo, alkali, and water are deeply tied to the region’s climate and geography. Ninghua County in Western Fujian is a major production area for Yukou paper. Known as “nine parts bamboo, one part field,” it is mountainous, rich in spring water, and sits at the headwaters of three rivers—the Min, Ting, and Gan. These natural advantages, along with local lime deposits and convenient river routes, made it ideal for traditional papermaking. Yukou paper, known for its bamboo-fiber scent and white ash, was popular in South China and among overseas Chinese communities for cigarettes and ritual offerings. The exhibition centers on two documentary films by artist Gui Shuzhong—Yukou Paper (2009) and Yukou Paper II (2022)—created over more than a decade. Never having left his hometown, Gui continuously documents the people and landscapes of Ninghua. The first film captures the last remaining traditional paper workshop, using ambient sound, daily life, and Hakka folk songs to convey a poetic and grounded atmosphere. Filmmaker Mao Chenyu calls his work “terroir cinema.”The second film, commissioned by curator Zuo Jing for the exhibition Back to the Future, revisits the paper-making site and the Hulanshan family, recording the full production process—from harvesting bamboo to drying and stacking paper—while reflecting changes in rural space, culture, and society. It also documents recent efforts to revive Yukou papermaking, including rebuilding paper huts and restoring historical paper mills. Though full-scale reconstruction isn’t possible in this micro-exhibition, architect Chang Lan was invited to design display units inspired by traditional forms—drawing from features like “paper drying walls” and “paper stacking racks” to create an immersive space. Gui also aims to build a cultural map of Yukou papermaking ruins, photographing over 500 paper hut sites and recording their GPS coordinates. His future plans include documenting ancestral halls, genealogy records, village temples, bridges, warehouses, local festivals, folk tales, songs, and rhymes—using photos, video, and GIS tools to preserve the vanishing cultural landscape of rural Fujian.
《天工开物》是中国历史上最早系统记载农业与手工业技术的百科全书，由曾在福建汀州任职的宋应星所著。其中《杀青》篇详细描述了福建竹纸生产的季节时令、原料与工序，强调竹、碱、水等资源与地方物候之间的紧密关系。闽西宁化是玉扣纸的重要产地之一，地形多山、水源丰富，素有“九竹一田”之称，同时是闽江、汀江、赣江的源头，具备优质造纸条件。纸张通过汀江水路外运至粤闽沿海和南洋群岛，广受欢迎，既用于卷烟，也被华侨用作焚香祭祖的火纸。展览核心由艺术家鬼叔中耗时十余年创作的两部纪录片《玉扣纸》（2009）与《玉扣纸II》（2022）构成。他从未离开故乡，持续记录宁化乡野的风土人情。首部作品捕捉了“最后的土纸寮”，用影像、环境声与方言民谣构建出日常而诗意的造纸图景，被导演毛晨雨称为“风土电影”。续作《玉扣纸II》受策展人左靖委托拍摄，更系统呈现完整的造纸流程，并回应乡土社会与空间的变迁。影片亦记录了当地人重建旧纸坊、复兴玉扣纸传统的努力——如2019年纸寮重建、2022年修复民国纸坊等。此次微个展虽无法重建风土建筑实体，但邀请建筑师常蓝设计展示单元，从纸寮“焙纸墙”和墟市“堆纸栈”等元素中提取灵感，构建展览空间。此外，鬼叔中还开展地方文化地图计划，调查记录宁化曾存在的500多座纸寮遗址，拍摄其“建筑肖像”，标注海拔与经纬度。他也计划继续普查姓氏族谱、村庙庙会、老村遗存、廊桥、谷仓、童谣传说等地方文化，并借助GIS数字媒介进行保存与再现，力图全面记录闽西前现代乡土世界的风貌与技艺基因。
《 玉扣纸》片中对造纸工艺的细致纪录，上述剧照反映的部分工序为：耘槽
《玉扣纸》II预告片花
《 天工开物 》明末清初书林杨素卿刊本中记录的造竹纸
汀江源头的梅子坑纸寮