陈家刚：因为那个时候的人简单。
陈家刚：对对，这个也是一样。
陈家刚：对对，也有。我这一部分都有。
陈家刚：相当于我们挑战技术的一个极限。
Chen Jiagang: Something like we pushed the envelope of technology.
陈家刚：你说的意思是我把题目取长一点。
Chen Jiagang: You mean to make the title longer for my works.
陈家刚：方式的不同。
陈家刚：都是废墟了。
陈家刚：背景介绍。
陈家刚：可以啊。
陈家刚：然后，后面还有。没有给你看过这个吗？
Chen Jiagang: Later, there are some more behind. Didn't I give you the book before?
陈家刚：只是说我用警察和小偷这个故事来隐喻这个问题。
Chen Jiagang: I just use the cop and thief as a metaphor to illustrate the problem.
陈家刚：第一个，因为你要去表达很忧郁的、迷幻的色彩。
CJG: First, I wanted to express melancholy and half-conscious colors.
陈家刚：这是什么网站。就是相应于我再做一个大一点的标签。
Cheng Jiagang: What is this website? It means that we make a bigger tag.
陈家刚：彩色的有六十来张，黑白的有二十多张，总共八九十张。
CJG: There are over sixty color photos, and over twenty black and whites for a total of ninety photos.
陈家刚：不是流氓老外玩了上海女孩子，而且上海女孩子还愿意。
Chen Jiagang: it was not the hooligan foreigners who played with the Shanghai girls, but these girls were willing to be played with.
陈家刚：严格的来讲，本来就是一个私人话题，现在弄成一个公众话题。
Chen Jiagang: Strictly speaking, it was a private matter, but it has become a public attention.
陈家刚：文字说明我原来写的很小短小的那个，我那个是不是叫随笔那种。
Chen Jiagang: You mean the short text I wrote, the one may be called the essay?
陈家刚：对，中国做事情就是，我觉得叶帅这次这个题目很好：始乱终弃。
CJG: Right, that's just what things are like in China. I think that Ye Shuai's choice of topic was an excellent one – "Deflower and Discard".
陈家刚：因为，换一种拍法是另外一种，我现在不拍记忆，我拍三线的今天。
Chen Jiagang: If I changed the method of shooting, there would be another genre of pictures. I don't shoot memory now, I shoot the today's existence of the third front.
陈家刚：我讲不清楚。这个事情不是谁规定的。电脑的显示屏谁也不会规定它。
CJG: I can't say for sure. This wasn't something that was planned. No one sets rules on computer wallpaper.
陈家刚的本意或者不在于检讨历史与经济的荒谬，而在与呈现理想主义的衰落。
Maybe Chen Jiagang didn't mean to prove the absurdity of the past history and economy, but rather to represent the decay of the idealism.
陈家刚：对，我小时候在重庆，重庆也有三线，我的很多亲戚、同学家里都是三线的。
Chen Jiagang: Yes. I was in Chongqing when I was young. They also have a third line there. A lot of my relatives and classmates' families were all in the third line.
这一系列作品因而给人时空错乱的“超”现实感，而陈家刚自己则将其称作“再现实”。
This series of works give the impress of "super" realistic impression of time and space confusion, and Chen Jiagang called this "Re-reality".
陈家刚：主要跟我的经历有关，因为我从大学毕业以后不断往上走，走到一个高点以后就下滑。
CJG: It is mostly due to my experience, because ever since college I've always been working my way up, and when I reach a height I slip right back down.
陈家刚：对啊，你看到一个成果，你觉得小学生能描，但是你要看出他的艺术轨迹，他为什么会这样？
Chen Jiagang: Right. What you see is the result, you feel that even a pupil can make it, but you should see the trajectory of his artistic career, how he has become so.
陈家刚：情感上的是一个问题，第二个问题是后来我做房地产，建了很多高尚社区，后来房地产又做失败了。
CJG: The emotional side is just one issue. The second issue is that later on I did real estate, and built a lot of high-fashion communities, but later I failed.
陈家刚：所以我当时想，废墟里面一种歌剧吧，其实所有的文学作品都是悲剧，喜剧嘻嘻哈哈过来的就完了。
CJG: So I was thinking about an opera in the ruins. All literature is tragedy. The comedy stuff just disappears in a fit of laughter. This stuff of mine is very tragic.
陈家刚：这辈子肯定会拍一个电影。因为就是把我想的我这一生的一些事情自己写出来，再按我这种方法拍出来。
CJG: in this life I'll definitely make a film. I'll take my ideas on life and write them down, and then film them with this technique.
在过去的几年中，陈家刚作为一个摄影家走遍了这些散落在四川、云南和贵州的废旧的厂区，完成了这些摄影作品。
In the past several years, Chen Jiagang went all over these abandoned places scattered in Sichuan, Yunnan and Guizhou in order to complete these photographic works.
陈家刚：就是说，问题在哪呢？就是说后来为什么没有采取类似的方式，就是说你只有一张图片，你要把这个故事讲完整是很难的。
Chen Jiagang: So where is the problem? Why I didn't adopt this method. It was very hard to complete a whole story with only one photograph.
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