▎上海最后一位骑士一号 Last knight in Shanghai No.1 铝合金边框、艺术收藏级微喷 Aluminum alloy frame/Art collection level micro spray 150 x 100cm 2020
作为中国当代观念摄影的代表人物之一，马良的摄影作品无意寻找视觉上的真实性，而试图通过创作画面，在真实与虚构之间探究人类精神上的某种真实。正如马良所言：“以真实为名义的摄影本身一定是面目可疑的，这是我的看法。”
As one of the representatives of contemporary Chinese conceptual photography, Ma Liang's photographs have no intention of searching for visual authenticity, but rather attempt to explore some kind of truth in the human spirit through the creation of images. As Ma Liang said, Photography in the name of truth must itself be dubious, this is my opinion.
《上海最后一位骑士》系列延续了马良的这一创作理念。2020年6月，马良的一位远亲位于上海市新闸路418号的上吉坊老宅，因为城市建设而开始拆除。拆除之前，他请来了马良进行拍摄。事实上，这个被远亲亲自命名的老宅，并非一个里弄建筑群。弄堂牌楼转进去，只有唯一一栋三层建筑。随着这一近百年的建筑的消失，“上吉坊”将永远从上海新闸路的地图上消失，而马良母系家族在上海的唯一物质性记忆也将不复存在。
The series of The Last Knight of Shanghai is a continuation of Ma Liang's creative philosophy. In June 2020,located at No. 418 Xinzha Road, an old mansion named Shangji lane belonging to a distant relative of Ma Liang, began to demolish due to urban construction. With the disappearance of this nearly century-old building, Shangji lane will forever disappear from the map of Shanghai Xinzha Road, and the only material memory of Ma Liang's maternal family in Shanghai will also cease to exist.
拍摄前，马良去凭吊旧宅时，脑子便出现了一个画面——一位骑士身着闪亮却笨重的盔甲，莫名地出现在旧宅中，被困在存在了近百年的空间和时间之中，没有武器，没有对手，如同窗前一方夕阳里的困兽，充满悲剧色彩。
Before the filming, when Ma Liang went to visit the old mansion, an image appeared in his mind – a knight in shiny but bulky armour, inexplicably appearing in the old mansion, trapped in the space and time that had existed for nearly a century. Without weapons and opponents, he is like a trapped beast in the sunset, fulling of tragic colours.
在拆除进行的前三天，马良在即将消失的旧宅中拍摄了这组作品，并将脑海中的画面准确重现。他原封不动地保留了室内所有陈设，以真实的场景在作品中定格凝固的时间。《上海最后一位骑士一号》中，身着盔甲的骑士拿着英文版《新民晚报》，静静地坐在床边。他低垂双手，望向窗外，向时间和时代做着无谓的茫然的抵抗。曾经的所有荣耀，抵死浪漫的骑士，最终都会败给时间，败给生活的无尽消磨。这是人的命运，也是城市和记忆的归宿吧。
Three days before the demolition took place, Ma Liang photographed the work in the soon-to-be-disappeared old mansion and accurately reproduced the images in his mind. In The Last Knight of Shanghai No.1, a knight in armour sits quietly on the edge of bed holding the English edition of Xinmin Evening News.He looks out of the window with his hands hanging low, making a pointless and bewildered resistance to time and era. Once all the glory, against the death of romantic knights, will eventually lose to time, to the endless wear and tear of life. This is the fate of man, and also the fate of cities and memories.
▎上海最后一位骑士二号 Last knight in Shanghai No.2 铝合金边框、艺术收藏级微喷 Aluminum alloy frame/Art collection level micro spray 150 x 100cm 2020
《上海最后一位骑士二号》选择了室内的客厅和餐厅进行拍摄，红木制成的八角桌在屋子正中间，周围的陈设如前，时钟定格在11:35时，表征着此刻的时间。一位曾经南征北战，手握利刃的骑士，此时却一手轻轻地放在一本红皮书上，一手抓握用来给棉被扑尘的藤拍。这样的张力使这件作品充满着戏谑和荒诞，也使作品弥漫着微妙的气息——时间的浩劫、被摆布的命运和一切终将结束的宿命。
The Last Knight of Shanghai No. 2 is shot in the indoor living room and dining room, with an octagonal table made of mahogany in the middle of the room, surrounded by the same furnishings as before.The clock set at 11:35, signifying the time of the moment. A knight who once fought in the wars of the world, holding a sword in his hand, is now resting gently on a red book with one hand, while grasping a Tengpai used to dust a quilt with the other.Such tension makes this work playful and absurd, and pervades the work with subtlety – the havoc of time, the fate of being at the mercy of fate, and the destiny that everything will eventually come to an end.
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