革命的聊斋——田太权影像
重庆籍摄影家田太权创作的名为“文革图片”的作品，饱含着作者不能忘却的款款深情。这些作品以重庆红卫兵墓群墓碑为背景，阐述了不同的派系。
通过叠加方式，运用对拼贴画和数字处理，田太权以重复与并排的方法提出了关于——记忆与遗忘，死亡与性，信仰与化身，牺牲与不公的问题。在他的镜头下，坟场成为探求这些问题的根本所在。
照片中，这座坟场颇具历史意义, 而躺在坟场中那些逝去的重庆人的名字却早已被遗忘了。这个地方演变成罪恶和黑暗之地, 充满了阴险和幽暗。实际上, 田太权巧妙地利用这个墓地复活了历史。在这里, 正史被制作了非官方, 庄严和坟墓被重写了孤独和荒凉。从另一种视点, 这也是对隐藏在这些重写之后的逻辑的挑衅。死亡已被颠倒，现在只是性的吸引, 结构成为了血与肉。但, 田太权真实地想要刻画的并不是公墓, 而是鬼魂和精神, 或者更具体的说是女性鬼魂。在这个破旧的坟地，红卫兵绿色的制服和女性白皙的肌肤的匆匆一瞥, 如同鬼魂的性幻想般被投入我们这个黑暗的世界。
这些摄影作品为这些火热激情的革命家树起了一面地狱的镜子, 也为我们讲述了一个“聊斋”故事的革命叙事版本。"
Chongqing born photo-artist, Tian Taiquan has created a series of stunning, haunting, and emotionally charged works that he calls “Revolutionary Pictures”. These photographs take the backdrop of the Red Guard cemetery in Chongqing to illustrate various dichotomies. Through superimposition, the use of collages and digital manipulation, Tian Taiquan raises many questions through twinning and juxtaposition – Memory & Loss; Death & Sex; Belief & Incarnation; Sacrifice & Injustice. Within his lens, the burial ground becomes a fundamental site for the exploration of these issues.
In these photographs, even though the graveyard is a site of important historical significance, the names of the deceased Chongqing residents have been long since forgotten. This place has become a site of much evil and darkness, full of sinister gloom. In truth, Tian Taiquan has cleverly made use of this grave site to resurrect the context of history. Here, official history books have been made unofficial, the solemn and grave have been rewritten as forlorn and bleak. From another point of view, the logic behind these rewritings can be defied, death has been inversed and is now has sexual allure, skeletons are now flesh and blood. But, what Tian Taiquan truly wants to portray is not the cemetery, but the ghosts and spirits, or more specifically, female ghosts. By juxtaposing the green uniform of the Red Guard with tantalizing glimpses of lush white female flesh in a decrepit setting of the graveyard, it akin to likening ghosts with sexual fantasy thrown into this dark world of ours.
These photographic works have constructed, for these fiery and passionate revolutionaries, a looking glass in Hades, and has created for us a revolution narrative version of the erotic stories of “Liao Zhai.”