025年8月，解海龙个展《从前有座山》于内蒙古呼和浩特云牧象限艺术空间开幕。解海龙自1991年拍摄《大眼睛》起记录中国乡村教育三十余年，这组黑白影像是希望工程的视觉标志，其中《我要上学》被评为建国以来最令人记忆深刻的十幅照片之首。

设计面对的问题是：面对一位拍了三十余年的纪实摄影家，视觉设计应该介入到什么程度。设计过程中首先做了加法——试过给照片加效果，也试过为标题做一套字体——最后全部推掉，改为尽可能地“去设计”，把主角还给照片本身。标题排版延续这个名字，文字板块各自成列，字的层叠呼应“山”的形态。系列海报沿用黑白影调，单张海报各承载一幅影像，组合海报则把多幅照片切成扇面堆叠，扇形的起伏同样取“山”的意象，在克制的前提下给整套系统留出形式变化。这一黑白基调一路延伸到请柬、折页、帆布袋与徽章等物料。

展览于2025年8月2日预展，10月2日举办开展暨专题讲座与跨界对谈，视觉系统在现场完整落地，并持续用作展览的公共形象。

In August 2025, the solo exhibition “Unyielding Peaks, Unstopped Journey”, presenting the photography of Xie Hailong, opened at Yunmor Space in Hohhot, Inner Mongolia. Since photographing “Big Eyes” in 1991, Xie has recorded rural education in China for over three decades; these black-and-white images became the visual emblem of Project Hope, China's national initiative for rural education, and “I Want to Go to School” was ranked first among the ten most memorable photographs made since the founding of the People's Republic of China.

The design problem: faced with a documentary photographer who has worked for over thirty years, how far should the visual design intervene? The process began with addition — effects were tried on the photographs, and a typeface was drawn for the title — and all of it was dropped in the end, in favour of designing as little as possible and giving the leading role back to the photographs themselves. The title layout follows the name: the text blocks are set as separate columns, and the stacked lines echo the form of a mountain. The poster series keeps to black and white. Individual posters each carry a single image; the composite posters cut several photographs into fan shapes and stack them, the rise and fall of the fans taking the same mountain imagery, so the system still holds formal variation while staying restrained. This black-and-white register extends across the invitations, leaflets, tote bags and badges.

The exhibition previewed on 2 August 2025, and an opening with a lecture and cross-disciplinary talk was held on 2 October. The visual system was realised on site and continues to serve as the exhibition's public identity.