The spring of 2020 kicked off with the global spread of COVID-19, bringing the world to a standstill. As an international student, I could not return to China and started shooting this work. At first, I just wanted to shoot people who were unable to return to China due to COVID-19, but through conversations during filming, I learned about the multiple reasons why they do not return to China. One person said, "I've lived abroad too long and can't get used to life in my country anymore." Another said, "I'm already married to a Japanese," and a third person said, "I'm working in Japan and can't find a better job in my country." Therefore, I decided to continue my production with the title Here we stay.
Chinese have a unique ethnicity, and many Chinese living abroad tend to maintain a subtle distance from local communities, have only Chinese friends and do not like to make friends with locals. In addition, the idea of returning to one's hometown in glory is also deeply rooted in Chinese culture, showing only the bright side of one's life to others and not wanting to talk about the hardships. In a way, taking pictures is a special thing for Chinese, especially those living abroad and one way to show the good life to others.
In Here we stay, I wanted to recreate real life as much as possible by arranging the characters to play themselves in the photographs. They are almost expressionless and express themselves in such a way that they are completely engrossed in their own world and cut off from the outside world. On the contrary, only children seemed to exist in reality. Unlike their parents' generation, the problems they face are that they are influenced by Japanese society and their ties to their home country are weakened. Is it possible for the children of this generation to truly establish their identity as Chinese? I want to keep watching these children.
Zou Nan Profile
1989
Born in Jiangsu Province, China
2012
Started studies abroad in Japan
2018
Graduated from the Department of Photography and Imaging Arts, Faculty of Art and Design, Kyushu Sangyo University
2020
Graduated from the Master’s Program in Plastic Expression, Graduate School of Fine Arts, Kyushu Sangyo University
2020
Entered Doctoral Program in Plastic Expression, Graduate School of Fine Arts, Kyushu Sangyo University
Art Achievements
2019
Selected for The Light Runner 180 - An International Art Exhibition of Film Image
2019
Exhibited work in Kyushu Sangyo University Graduate School of Fine Arts Photo Exhibition - Coordinates, Sony Imaging Gallery at Ginza
2022
Received Encouragement Award in the 17th Yonosuke Natori Photo Award
2023
Exhibited work in the 17th Yonosuke Natori Photo Award photograph exhibition. Fujifilm Photo Salon
The spring of 2020 kicked off with the global spread of COVID-19, bringing the world to a standstill. As an international student, I could not return to China and started shooting this work. At first, I just wanted to shoot people who were unable to return to China due to COVID-19, but through conversations during filming, I learned about the multiple reasons why they do not return to China. One person said, "I've lived abroad too long and can't get used to life in my country anymore." Another said, "I'm already married to a Japanese," and a third person said, "I'm working in Japan and can't find a better job in my country." Therefore, I decided to continue my production with the title Here we stay.
Chinese have a unique ethnicity, and many Chinese living abroad tend to maintain a subtle distance from local communities, have only Chinese friends and do not like to make friends with locals. In addition, the idea of returning to one's hometown in glory is also deeply rooted in Chinese culture, showing only the bright side of one's life to others and not wanting to talk about the hardships. In a way, taking pictures is a special thing for Chinese, especially those living abroad and one way to show the good life to others.
In Here we stay, I wanted to recreate real life as much as possible by arranging the characters to play themselves in the photographs. They are almost expressionless and express themselves in such a way that they are completely engrossed in their own world and cut off from the outside world. On the contrary, only children seemed to exist in reality. Unlike their parents' generation, the problems they face are that they are influenced by Japanese society and their ties to their home country are weakened. Is it possible for the children of this generation to truly establish their identity as Chinese? I want to keep watching these children.