新展开幕 NEW EXHIBITION | Henk van Rensbergen「无人之境 No Man's Land」
HENK VAN RENSBERGEN
亨克·范·任斯伯格
No Man's Land
无人之境
2021.01.16 > 02.27
上海市衡山路199号永平里105栋
杜梦堂(上海)荣幸呈现比利时摄影师亨克·范·任斯伯格的个人展览项目，展览精选了艺术家“荒芜之地(Abandoned Places)”和“无人之境(No Man’s Land)”两个系列中极具代表性的多件作品。
Galerie DUMONTEIL is pleased to present Belgian photographer Henk van Rensbergen‘s solo project, featuring a representative selection of the artist’s two renowned series, “Abandoned Places” and “No Man’s Land”.
亨克·范·任斯伯格 Henk van Rensbergen | 阳光 Rays of Sun | 2011 | 艺术微喷，哈内姆勒摄影纯棉超平滑美术纸，亚克力装裱 Plexigalss face mounting, printed on Hahnemuhle Photo Rag Ultra Smooth fine art paper | 120 x 150 cm
“荒芜之地”是任斯伯格最早开始的摄影系列，集中呈现了过去百年废弃建筑的静默之美和可怕的衰变。该系列缘起于任斯伯格在上世纪90年代与友人共同开创的“城市探索(Urban Exploration)”运动。他们遵从“只拍照不破坏”的原则，探索我们这个时代留下的无人建筑。作为波音787的飞行员，任斯伯格游历了欧洲大多数国家，以及美国、墨西哥、巴西、日本和非洲的一些国家。
“Abandoned Places”, a series that grew out of the “Urban Exploration” movement that Van Rensbergen and his friends started in the 1990s, focuses on the silent beauty and macabre decay of these places. Following the principle of “take nothing but photos and leave nothing but footprints”, they explored the unoccupied buildings of our time. As a Boeing 787 pilot, Van Rensbergen has ventured into most countries in Europe, as well as the United States, Mexico, Brazil, Japan, and several countries in Africa.
无人的地域充满了未知，每一次探索都是一次冒险，每一张照片的背后都有一个精彩的故事。在美国新泽西州的《亚当斯剧院》(2009)，任斯伯格脚下的消防梯摇摇欲坠；在波兰西南部的泽利索夫(Zeliszów)，照进剧院式教堂的《阳光》(2011) 让人相信这里并没有被上帝遗弃；而在意大利小镇医院《烧毁的阅览室》(2011)里，据说存放了关于黑手党(mafia)的重要资料。对艺术家而言，他的摄影作品并非是要记录这些废弃建筑的样貌，而是要还原他眼前的氛围和内心的感受：空间的张力、结构的多样性、惊叹的瞬间和掺杂的情感等等。
These deserted territories are full of unknowns, every exploration is an adventure, and each photograph unfolds a fascinating story. In “Adams Theater” (2009) in New Jersey, the fire ladder beneath Van Rensbergen’s feet rattles; in Żeliszów in southwestern Poland, the “Rays of Sun” (2011) beam into the theater-like church, convincing one that an empty church is never forsaken by God; and “The Burnt Library” (2011) of a town hospital in Italy allegedly held important information about the Mafia. For the artist, his photographs are not meant to document the appearance of these ruins, but rather to “reproduce the atmosphere: the tension, the complexity, the emotion, the surprise, and the feeling.”
随着“荒芜之地”作品集的陆续出版，任斯伯格开始为自己的后续作品寻找新的切入点，继而有了“无人之境”的创作项目。艺术家试图将我们带入这样一个“拟人世界(Anthropomorphic World)”——动物们在人类消亡后生活在我们废弃的建筑中，切实地显现出人类的行为。
With the three publications of the “Abandoned Places” series, Van Rensbergen began his search for a new entry point, which led to the project “No Man’s Land”, in which he creates an imaginary anthropomorphic world where animals live in our abandoned buildings after the demise of mankind, showing undeniable human behavior.
为了让这些动物在各种人造建筑中有切实的存在感，任斯伯格总是选择在清晨或黄昏的时刻去动物园或郊外农场拍摄作品中的“主人公”，捕捉需要的光线角度，再为它们各自挑选最合适的“住所”，最终呈现出这般以假乱真的“自然”效果。
To give these animals a tangible presence in varied man-made structures, Van Rensbergen chooses to go to zoos or suburban farms in the early morning or at dusk to photograph the “protagonists” in his works, capturing the required light angles and then selecting the most suitable “dwelling” for each of them, resulting in this seemingly “natural” effect.
这些入住的生命为这些废弃建筑增添了一份别样的诗意和伤感。“无人之境”发出了如法国哲学家与社会学家布鲁诺·拉图尔 (Bruno Latour) 在其著作《在哪里着陆？(Où atterrir?)》追问人类命运时的慨叹，面对地球正在经历的“第六次灭绝”，艺术家转用动物的眼神凝望由人类发展引发的全球生态危机，最终将人类自身逼入绝境的切肤之痛。
These “occupants” have added a touch of poetry and poignancy to these abandoned buildings. “No Man’s Land” is a lament like that of the French philosopher and sociologist Bruno Latour in his book “Où atterrir? (Where to Land?). Through the gaze of surviving animals, we see the global ecological crisis triggered by human development, which ultimately pushes us, mankind, to our own extinction.
亨克·范·任斯伯格 Henk van Rensbergen | Bea | 2016 | 艺术微喷，哈内姆勒摄影纯棉超平滑美术纸，亚克力装裱 Plexigalss face mounting, printed on Hahnemuhle Photo Rag Ultra Smooth fine art paper | 120 x 120 cm
这两个系列的作品都不曾出现人的身影，却处处体现着人的存在。这与 “人类纪”的概念相一致，即人类已经成为影响全球地形和地球进化的地质力量。任斯伯格的摄影作品更让人不由地惊叹过去百年在城市迅速发展背后的衰败和巨变，为我们看待自身所处的时代提供了一种别样的视角。
Neither of the two series has human figures, yet the human presence is everywhere. This concurs with the concept of the “Anthropocene”, in which the human imprint on the global environment has now become so large and active that it rivals some of the great forces of Nature in its impact on the functioning of the Earth system. Henk van Rensbergen’s works are a closer look at the decay and drastic changes that have taken place behind the rapid urbanization over the past century, offering an alternative perspective on the times we currently live in.
关于艺术家
ABOUT THE ARTIST
亨克·范·任斯伯格 (Henk van Rensbergen) 1968年出生于比利时布鲁塞尔，作为摄影师的同时也是波音787的飞行员。
他的作品以及他对摄影的热爱受到了全球多家媒体的广泛报道，包括有报纸、杂志及网页。他的作品曾在杜梦堂(巴黎，2019)；布鲁日音乐厅 (Concert Hall Bruges, 布鲁日，比利时，2017)；法国邮政博物馆 (Musée de la Poste, 巴黎，2016)；鲁汶M博物馆 (M Museum of Leuven, 鲁汶，比利时，2013)；阿尔斯特摄影博物馆 (Museum of photography，阿尔斯特，比利时，2009)；MIAT博物馆 (MIAT Museum，根特，比利时，2007)等机构展出。目前任斯伯格总共出版了7本个人摄影作品集。
Henk van Rensbergen (Brussels, 1968) is a Boeing 787 airplane pilot and a photographer.
His work and his devotion to photography have been widely covered by various media around the globe, including broadcasts, newspapers, magazines, web pages. His works have been exhibited at Galerie DUMONTEIL, Paris, Frane (2019); the Concert Hall Bruges, Bruges, Belgium (2017); Musée de la Poste, Paris, France (2013); the M Museum in Leuven, Belgium (2013); the Museum of photography, Aalst, Belgium (2009); the MIAT Museum, Ghent, Belgium (2007), etc. Seven books have been published for his two series so far.