“乱世的庶民光景,是战地的底色。”——陈琬草场地东区一间小院尽头的角落里,秋日的阳光透过绿色生锈的铁门,打在海报上骑马的加沙男子身上。在距离这场战争硝烟7000余公里的地方,展出了华裔德籍女性纪实摄影师陈琬的摄影系列作品《慢车去加沙》(Slow Bus to Gaza),平静悠闲,丝毫没有战地摄影的沉重和压抑。从19世纪末早期战地摄影刚刚兴起,就涌现出一批战地摄影记者用胶片记录战争带来的永恒伤痛,以便 “Chaos ordinary people, is the background of the battlefield. ” - Chen Huan grass field east of a small courtyard at the end of the corner, the autumn sun through the green rusty iron gate, hit the poster riding Gaza man. At a distance of more than 7,000 kilometers from the war smoke, a series of works by the Chinese-American-born female documentary photographer Chen Kui, “Slow Bus to Gaza,” was exhibited at a time of calm and laid-back. Repressed. From the early rise of early field photography in the late 1800s, a group of field photojournalists emerged filming the eternal pain of the war so that