Along both stretches of the village road, one sees flowers blooming naturally, without an object of reference or the pursuit of meaning. Simply walking and encountering completed the entire meaning. Here, language and time are safe in their own domains, and yet they represent and intermesh with one another. Li Ran’s poetic lines refract the temporality which was of concern to the artist at the time of creation, along with the related question of modernity. In this work, a mimicry of a Soviet film, “The Fate of a Man,” Li Ran plays the role of a Soviet soldier: he imitates to a tee the affected and artificial style of acting under Communist ideology, and enacts the story of a Soviet soldier reminiscing on the past and yearning for the future.

走在鄉村小路上，兩旁的花朵按其本來的面貌開放，沒有對像的指稱，沒有意義的追尋，行走、相遇，就完成了全部含義。在這裡，語言和時間既安守在各自的地域，又相互像征和牽引著。這段詩意十足的文字折射出藝術家創作中所關心的時間性、及其連接的現代性問題。在這部取材於前蘇聯的電影《一個人的遭遇》的作品中，李然扮演了一位前蘇聯的士兵形像，惟妙惟肖地模仿了共產主義意識形態下矯情做作的演員表演方式，訴說了一位 前蘇士兵緬懷過去、憧憬未來的故事。