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管银霖个展——物无非彼 物无非是
策展人：肖瑞昀
艺术总监：滕青云
主办：三影堂厦门摄影艺术中心
展期：2021年5月22日 - 6月20日
开幕：2021年5月22日 15:00
地点：厦门市集美区杏林湾商务营运中心2号裙楼301从柏拉图时代起，“美”即是一则由确定性孕育而生的概念。但在今日的我们眼中，它的不确定性却早已不再陌生。我通过镜头将人与自然的动态关系、自我与他者的相互影响与认知。同时以视觉方式一一具象化展现，我在自我探索的过程中的不断变化，去感知这类基于本质的不确定性的话题。影像《梦》（Dream）系列是我对于自我体验呈现及重构自我与世界关系的重要探索。梦境承载着各种光怪陆离的内容与场景，它们是对自我过往回忆的剪切，拼贴以及再重组。通过胶片随机双曝的技术模拟梦的内容的生成，以其极具流动性与迷幻感的镜头语言对传统认知下现实与想象的边界发起冲击。同时，梦也成为我对其身份认知进行发问与再思考的重要媒介。在梦中，我们对于他者的身份认知既清晰又模糊。我们明确感知着他者与自我主体存在的割裂与对立，却又只能在意识中隐约捕捉到些许“他者”具体面目的朦胧的幻影。《梦》
Dream 1
人类究竟是以什么特征或特性来认知自我与他人的呢？《自画像》（Self-portrait）系列，是我对于自我身份认知具体过程的记录和呈现。基于个体身份是无法仅通过自我而完成个体身份确认的这一想法，我用相机记录下未着片缕状态中的自己，并邀请友人对其进行二次创作。在这一过程中，通过对他人视角的引入，我既作为意识主体的“我”而存在，又成为了被凝视的客体或“他者”。这些碎片化的解读被收集和重组，共同构建起社交网络中对“管银霖”形象的身份认知。事实上，对社会中“人”存在的关注和对不同群体身份属性的关切也在其他系列作品中得以展现。我对“理性”这个概念并不陌生，从理论到应用都可以接触到这个概念。在工作当中时，理性对于我来说更多时候是混沌中的秩序，需要通过抽丝剥茧，一层层剖析、剥离信息与论点来找到问题的答案，于是便有了《混沌与理性》（Chaos and rationality）两组作品。他们一方面是看上去混杂的自然秩序；另一方面是完美的人造范式。而一切完美的人造范式都是从混杂的自然秩序中抽象出来的。《混沌与理性》
Chaos and Rationality
《水果》（The Fruit）系列从微观角度探讨了个体在当代生活中可能遭遇的身份危机。整组作品以被分割的果肉和锋利的刀刃为符号，隐喻着人类在现实社会中所承受的性骚扰与性侵害，以及这类事件在受害者生理和心理层面可能留下的伤痛烙印。与之相对，《镜头的当代考古学》（Contemporary Archaeology Through the Lens）则立足宏观，⽤苏格兰⾼地荒野的图像唤醒⼈类意识中对“古⽼”、“原始” 和“宏⼤”等概念的感知与敬畏，并记录其间⼈类聚落与活动的形态。通过对同一环境下当代⼈类活动与古代⼈类活动的⽐较与观察，我试图从历史的至高点出发，以俯视的角度探究人类作为群体身份在自然界中的存在，以及这一身份在岁月长河中的衍生与变化。《镜头的现代考古学》
The Contemporary Archaeology Through the Lens 1
管银霖的作品关注现象感知，并指向了脱离表层的知识讨论。如果说管银霖的工作日常是透过文字媒介的理论书写，那么在这次的展览场域中，他试图以影像为媒介，将哲学的抽象语言转化为视觉的具象语言，创造一个哲思的情境。观看整个展览，现场或许看上去是一场混杂的图像排列组合，需要细致与耐心才能看懂其中的意义关联。这次展览的特别之处，便是在这种混沌中，通过抽丝剥茧找到秩序和答案，以唤起观者对于关系本质更多的想象和反思。管银霖，于2020年博士毕业于爱丁堡大学比较古代哲学。现作为博士后研究员就职于清华大学哲学系。他对于摄影的创作方向主要集中在：女性及少数群体权益，社会变革与个体的关系以及自我探索与认识等方面。Guan Yinlin Solo Exhibition —— Nothing that is not 'that' Nothing that is not 'this'Art Director: Teng QingyunOrganizer: Three Shadows Xiamen Photography Art CentreDuration: May 22, 2021– Jun 20, 2021Opening：May 22, 2021 15:00Venue: No. 301, Building 2, Xinglinwan Business Center, Jimei District, Xiamen(Enter from the large platform connecting Building 1 and Building 2)
Preface
Text / Guan Yinlin
Everything begins with "uncertainty".
Since Plato's time, "beauty" has been a concept born of uncertainty. But beauty and its uncertainty are no longer foreign to us today. Through the camera, I bring to life the dynamic relationship between man and nature, and that between self and others. At the same time, I visualise the abstract, namely the changing ‘I'm the process of self-exploration, in an attempt to perceive and represent uncertainty as an essence.
The image series "Dream" is an important exploration for me to represent myself-experience and reconstruct the relationship between me and the world. Dreams carry all kinds of strange contents and scenes that are the cutting, collaging and reorganising ofmy past memories. By stimulating the creation of dream content through the technique of random double exposure on film, the extremely fluid and psychedelic lens language of the film pushes the boundary between reality and imagination traditionally perceived. At the same time, dreams become an important medium for me to ask questions and rethink my perception of identity. In dreams, our perception of the identity of the Other is at once clear and ambiguous. We clearly perceive the separation and opposition between the Other and the existence of the self-subject, yet we can only vaguely catch a blurred vision of the concrete face of the Other in our consciousness.《梦》
Dream 3
What are the characteristics or qualities through which the human being perceives himself and others? The series, “Self-portrait”, is a record and representation of the specific process of perception of self-identity. Based on the idea that individual identity cannot be confirmed by the self alone, I took pictures of myself in the nude with the camera and invited my friends to recreate them. In this process, by introducing the perspectives of others, I not only exist as the ‘I’ of the subject of consciousness, but also become the object in others’ gaze or "the other". These fragmented interpretations are collected and reorganised, and together they form the identity of the image of Guan Yinlin in the social network. In fact, the concern for the existence of 'man' in society and the identity of different groups is also evident in other series of works. I am no stranger to the concept of "rationality", which I have access to from theory to praxis. In my work, rationality for me is rather the order in chaos, and I must find the answer to the question by stripping off the cocoon, dissecting and deconstructing information and arguments layer by layer, so there are two trilogies of “Chaos and Rationality”. On the one hand, they are a natural order that looks mixed; on the other hand, it is a perfect artificial paradigm. All perfect artificial paradigms are abstracted from the mixed natural order. 《自画像》
Self-portrait
“The Fruit” series explores the identity crisis that individuals may face in contemporary life from a microscopic perspective. Throughout the series, the symbols of dismembered flesh and sharp blades are used as metaphors for the sexual harassment and assault that people face in the real world, and the traumatic marks that such incidents can leave on the physical and psychological levels of their victims. In contrast, “Contemporary Archaeology Through the Lens” is based on the macrocosm and uses images of the wilderness of the Scottish Highlands to evoke the concepts of 'ancient', 'primitive' and 'magnificent' in human consciousness. The series uses images of the Scottish Highlands to evoke the perception and awe of the concepts of 'ancient', 'primitive' and 'magnificent' in human consciousness and to record the patterns of settlement and activity within them. By comparing and observing contemporary and ancient activities in the same environment, I seek to explore the existence of humans as a group identity in nature from the vantage point of history, and the derivation and transformation of that identity in the long flow of years.The Contemporary Archaeology Through the Lens 2
Guan Yinlin's works focus on phenomenal perception and point to an intellectual discussion beyond the surface. If Guan's usual practice is theoretical writing through the medium of words, in this exhibition, he attempts to transform the abstract language of philosophy into the figurative language of vision, using images as a medium to create a philosophical context. The whole exhibition site may also seem to be a mixed composition of images, which requires care and patience to understand the meaningful connections within. The characteristic of this exhibition is to find order and answers amidst this chaos, in an effort to evoke the audience to imagine and reflect more on the nature of relationships.Guan Yinlin received his Ph.D. in Comparative philosophy between ancient Greek and classical Chinese philosophies at the University of Edinburgh. He is currently working as a postdoctoral researcher at the Department of Philosophy, Tsinghua University. His work on photography focuses on the rights of women and minority groups, the relationship between social change and the individual, and self-exploration.