按: 2020爆发的新冠大流行已经成为二十一世纪全人类遭遇的重大挫 折，我们曾经认为理所当然的经济增长和全球化变得极为不确定。这种不 确定性不止在宏观经济、政治和社会层面发生作用，在个人心理层面也 同样发生着令人担忧的影响。突发、应急、停顿、封锁、焦虑、怀疑甚至 失去生命……减少旅行，减少预期……人类正在经历并尝试适应一种由病 毒全球化带来的新状况，互联网成为唯一安全的沟通方式乃至替代现实， 然而一套基于算法的技术也正在塑造另一个强大的具有自我扩张意识的系 统。还有紧迫的气候问题，贫富差距问题……这不会是一个短暂的时刻， 病毒正在教会人类去适应一种“新生活”。只是这一切的惶恐与不安在 2020年被新冠大流行放大在我们面前。
作为时间的2020即将过去，我们如何去描述去回顾这样一个具有节 点性的一年，在最微观最具体的个人日常生活层面，我们如何让生活继 续……
作为空间的2020，我们已经被迫卷入其中并感受到它的扩张。它也已 然成为一个我们停留其中的地方，一个被重新命名的异乡。当我们旅居其 中，如何保持节奏，如何保持优雅，如何保持信心，如何从我们所在的地 方重新发现可能性……
“住在2020”系列访谈从最初跟几位远在他方的朋友的聊天问候变成 了一个不断生长的自述文本，2020也从一个即将告别的年份变成一个“房 间号”，认识的或不认识的朋友陆续聚集在这里，分享他们的生活与思 绪。感谢每一位参与访谈的艺术家们!
“住在2020”系列访谈是“实地想象”自媒体在不平凡的2020年末与 生活在世界各地的艺术界朋友们的联络与问候，借着大家的自述，希望由 此可能勾勒出这个特殊时期人们具有怎样坚韧的品格、丰富的心灵世界和 创造力。“实地想象”是由策展人、艺术家罗菲主持的自媒体平台，关注 当代艺术家的在地实践、对话与反思。
Note: The outbreak of the COVID-19 pandemic in 2020 has become a major setback for all mankind in the 21 century, the economic growth and optimistic globalization we once took for granted have become extremely uncertain. This uncertainty plays a role not only at the macroeconomic, political and social levels, but also at the individual psychological level. Sudden, emergency, pause, lockdown, anxiety, suspicion and even loss of life… Reduce travel, reduce expectations… Human beings are experiencing and trying to adapt to a new situation brought about by the globalization of COVID-19. At the same time, Internet has become the only safe way of communication or even a substitute for reality. However, a set of algorithm-based technology is also shaping another powerful system together with its self-expansion. There are also pressing climate issues, the gap between the rich and the poor… This will not be a short moment, the virus is teaching humans to adapt to a “new life”. It’s just that all these fears and uneasiness were magnified in front of us by the COVID-19 pandemic in 2020.
2020 as time is almost over, how do we describe how to look back on such a nodal year, in the most microscopic and specific aspects of our daily life, how can we keep life going…
2020 as a space, we have been forced to get involved and feel its expansion. It has also become a place where we stay, a foreign land that has been renamed. We live in it; how do we keep the rhythm? How do we maintain elegance? How do we maintain confidence? How do we rediscover possibilities from where we are?
The “live in 2020” series of interviews has changed from the initial chat greetings with some friends far away to a group of growing self-portrait text. 2020 has also changed from a year of farewell to a “room number”. Friends we know or don’t know have gathered here to share their lives and thoughts. Thank all the artists who participated in the interview!
The “live in 2020” series of interviews is planned by Field Imagination. Through everyone’s self-portrait description, we hope to outline how tenacious character, rich spiritual world and creativity some people have in this special period. Field Imagination is a self media platform hosted by the curator and artist Luo Fei, focusing on the local practice, dialogue and reflection.
Luo Fei, Dec 2020
罗菲: 2020年这一年你生活在哪里?(国家-城市或村庄)请描述一下那个地方 和附近的情况。
刘丽芬：2020年8月前我生活在瑞典东南部的锡姆里斯港市，随后搬到了玛丽安娜隆 德镇。锡斯姆港市是从中世纪保存下来的旅游海滨古城，风景如画。拥有三四百 年历史的低矮渔民房子色彩缤纷，家家户户门前屋后种了各种颜色的蜀葵和爬藤 玫瑰，鸟类众多。海岸沿线的自行车道可骑行至瑞典南部城市马尔默，长满了芳香的玫瑰花。
Luo Fei: Where do you live in 2020? Please describe the place and the surrounding environment.
Liu Lifen: Before August, I lived in Simrishamn, Southeast Sweden, and then moved to Mariannelund. Simrishamn is a picturesque seaside ancient city preserved from the middle ages. The low fishermen’s houses with a history of three or four hundred years are colorful. In front of and behind each family, marshmallows and climbing roses of various colors are planted. There are many birds. Bicycle lanes are full of fragrant roses, along the coast you can ride to Malmo, a city in southern Sweden. Mariannelund is located in the hinterland of the forest, with endless coniferous forests and blueberries. Boletus can be picked up by the path paved with sawdust.
Luo Fei: How does the COVID-19 pandemic affect you personally in your country and its countermeasures?
Liu Lifen: Sweden’s epidemic prevention measures are not mandatory. Swedes consciously follow the advice of epidemiological experts and do not take strict measures such as closing schools and public places. Compared with the measures taken by China, I am more flustered and don’t know what to do. The gallery where I worked also remained open at the beginning of the pandemic. Then my daughter and I got sick. I began to be very frightened. I quickly chose to close the door and stay at home for two months. Fortunately, spring came. Stop planning and live your present life quietly.
Luo Fei:Where is one of the places you enjoy most this year?
How do you spend your time there? can you describe what it looks like?
Liu Lifen: This year, I spent a lot of time in the wild. While spenting a lot of time and energy with my daughter Moli, I seriously observed every plant, tried to know all kinds of wild vegetables and berries, and learned to identify mushrooms. We most enjoy the process of picking and eating. It’s too much and rich. It tastes like returning to the sunshine of Yunnan! Shepherd’s purse, leek, nettle and celery in spring; Summer cherries, raspberries, roses, currants, blueberries, blackberries; Boletus, chanterelle and various mushrooms in autumn. I have tried different methods of each ingredient again and again with the online video. We made dumplings for my daughter’s teachers and our neighbors. Moli also learned to know plants and make strange shaped dumplings. Now it’s winter. Rice noodles are drenched with Boletus oil and with a rose flower cake, which is the feeling of going home!
Luo Fei: Where is the farthest place you have been this year?
Liu Lifen: moving home, 300 kilometers away, from Simrishamn to Mariannelund.
Luo Fei: Who do you live with in 2020?
Liu Lifen: I lived together with my daughter Moli. In the early stage of the epidemic, friends came to visit us occasionally and we met in the yard. Friends came and stay also in the summer. Now we have dinner with Anna every day and live a normal life.
Luo Fei: How did the COVID-19 pandemic affect the way you work?
Liu Lifen: Moli is still young, I spent most of my time on my job. I had a fixed time to paint before the pandemic. Since the pandemic, we quarantined ourselves for two months. Then I chose to send Moli to kindergarten like Swedish parents did. It took me three or four months to slowly return to my studio.
Luo Fei: Has your work been promoted in some way?
Liu Lifen: 2020 is a year of constantly adapting to the new situation and a year of fragmented work. I have just finished sorting out this year’s works, and there are nearly 30 large and small works. I’m not satisfied with many of them. Let it go for a while.
刘丽芬：那时每天给国内的家人朋友打电话，看BBC新闻，骑车去画写生，画之前未完成画。整理了一遍作品，部分撕毁，部分裁切了做卡片。再后来和诗人 Goran合作，算是命题作文似的创作。 夏天后我们自己要更长时间面对疫情时，我只能把生活日常过得再具体点，多尝试做家乡味道的食物。
Luo Fei: Are you more anxious this year than in previous years? If so, how do you relieve your anxiety?
Liu Lifen: At that time, I called my family and friends in China every day, watched the BBC news, rode my bike to draw in nature, and painted those unfinished paintings. After finishing the works, some of them were torn and some of them were cut to make cards. Later, I cooperated with the poet Goran, which was like a proposition composition. We have to face the pandemic after the summer, I can only be more specific in my daily life and try to make more home flavor food. After moving home, I found a new job at the Filmbyn museum. Due to theand seasonality, the opening hours and personnel of the museum are continuously reduced, and the responsibilities of personnel are greatly adjusted. Now the museum is closed under the latest restrictions, and the opening hours are unknown.
I just changed some lights in my new studio, so I can work in winter.
Luo Fei: Recommend some movies or books you have seen this year (or a poem), you can briefly explain why.
Liu Lifen: Boken om Pippi Langstrump, Stora Emilboken, Mio min Mio and other Lindgren’s fairy tales. In the past two years, I was very interested in children’s picture books. The Filmbyn museum where I happen to work is a museum to restore the shooting scene / production of children’s films by literature master Astrid Lindgren. I reread them several times.
Luo Fei: Have you ever imagined what human life would be like after the end of COVID-19 pandemic?
Liu Lifen: I believe it will be easier for people to give strangers a warm hug and, slow down.