【展讯】徘徊久——具本昌摄影（1990-2021）| 北京
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徘徊久——具本昌摄影（1990-2021）
Lingering in Time
Koo Bohnchang’s Photography (1990-2021)
艺术家：具本昌
展览总监：荣荣&映里
学术主持：顾铮
联合策展人：齐燕、任柏玉
Artist: Koo Bohnchang
Exhibition Directors: RongRong&inri
Academic Host: Gu Zheng
Co-curators: Yan Qi, Ren Baiyu
展览时间：2021.09.04- 2021.11.14
（周一闭馆）
Duration: 2021.09.04- 2021.11.14
(Closed on Mondays)
开幕：2021.09.04
Opening: 2021.09.04
主办：三影堂摄影艺术中心
Organizer: Three Shadows
Photography Art Centre
联合呈现：三影堂+3画廊
Co-Presenter:
Three Shadows +3 Gallery
地址：北京市朝阳区草场地155号A
Location: 155A Caochangdi
Chaoyang District, Beijing
“捕捉那不可见的，
是我摄影的欢愉”
——关于具本昌的摄影
文 / 顾铮
（节选）
1953年出生的韩国摄影家具本昌，最初所学并非摄影。从延世大学商业管理专业毕业后，他曾经进入大公司就职，但为时仅仅半年就毅然辞职。1980年，他赴德国统一前的西德的汉堡学习摄影。作为韩国较早出国学习摄影的一代，他在国立汉堡造型艺术学院经受了严格的训练。学成回国后，在创作与教学两个方面，他长期活跃于韩国摄影的第一线，并频频现身国内外当代摄影活动现场，为韩国当代摄影在国际上获得关注做出了重要贡献。
▶▶▶向左滑动查看更多图片
选自《初始》系列，1991-1993
明胶银盐，线，纸，135 x 95 cm
In The Beginning, 1991-1993
Gelatin silver photograph
with thread on paper
具本昌的摄影，以韩民族的感性与美学为底色，以努力追寻民族文化认同为创作着力方向，积极尝试以摄影为手段的文化身份与认同的视觉化，其作品在国际上产生了重要影响。在他于1985年回国时的韩国当代摄影现场，主要以纪实报导摄影和沙龙摄影为主流，作为艺术表现的摄影几无立足之地。经过他的坚毅不拔的持续努力，终于以其独特的观念与手法，既为自己的创作打开了一片天地，确立其稳固的地位，也令作为艺术表现的摄影在韩国渐成气候。现在，具本昌已经成为具有国际影响的代表韩国当代摄影的领军人物，并正继续为韩国当代摄影的发展发挥着重要影响。
选自《残篇》系列，1995
烧焦银盐，宣纸纸基，134.5 x 94 cm
Stories in Ashes, 1995
Burned Gelatin silver print on Ricepaper
与大多数接受正规摄影教育的人一样，具本昌的摄影起步于抓拍摄影。他以此磨炼感性，探索摄影的媒介特性。他拥有敏锐的造型感觉，通过在现实中的敏锐捕捉，充分铸造自己严谨的造型感，努力追求于司空见惯中出示日常的“惊异”之美。
选自《皂》系列，2004-2006
收藏级艺术微喷，39 x 32 cm
Soap, 2004-2006
Archival Pigment Print
他这次展出的《时间的肖像》系列中的照片，既具有独立的画面美感，也经常因为他应因各种不同需要，如编辑图书或展览等，而在不同的空间里被精心组织成不同脉络的相互关系，展现了他对于生与死、永恒与刹那等关系的哲理思考。
选自《时间的肖像》系列，1998
收藏级艺术微喷，80 x 100 cm
Portraits of Time, 1998
Archival Pigment Print
而发端于父亲之死的《息》系列，则是以丰富的视觉隐喻来呈现摄影家本人对于生死大问的思考。
选自《息》系列，1995
收藏级艺术微喷，115 x 88 cm
Breath, 1995
Archival Pigment Print
具本昌对于物件有着特殊的兴趣。被他纳入视野的各种物品，既与他的个人记忆有关，也与民族记忆相连，有些甚至可以在这两方面同时满足他对于文化记忆、身份认同等的追寻要求。在他的一系列物件摄影作品中，也许以《白瓷》系列最为人知，是在国内外获得广泛接受的代表性作品，也为他赢得了国际声誉。
选自《白瓷》系列，2014
收藏级艺术微喷，150 x 190 cm
Vessel, 2014
Archival Pigment Print
选自《白瓷》系列，2005
收藏级艺术微喷，63 x 50 cm
Vessel, 2005
Archival Pigment Print
《金》系列虽然一反白瓷系列所体现的质朴，被他以戏剧性的布光突现其辉煌，以此展示民族文化的荣耀，但从根本上说，也是一种文化认同的视觉确认与呈现。
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选自《金》系列，2016
收藏级艺术微喷，140 x 110 cm
Gold, 2016
Archival Pigment Print
《面具》系列，是具本昌的另一个为人熟知的作品。民间仪式中人们所佩戴的面具，具有不可思议的神秘性。它们既是对于人性的某种提炼与概括，也反映一个民族对于生死的观念。面具通过遮挡而呈现出的对于外部世界的阻断，反而因其遮挡而更具吸引力。
选自《面具》系列，2002-2003
收藏级艺术微喷，112 x 89 cm
Mask, 2002-2003
Archival Pigment Print
具本昌曾经说，“捕捉那不可见的，是我摄影的欢愉。”确实，无论是《白瓷》系列还是《面具》系列，他长期着力探索的，其实都是那隐藏于表面与表象背后的民族性的丰富内面。
· 所有参展作品系列 ·
白
White
白瓷
Vessel
粉瓷
Color Vessel
金
Gold
残篇
Stories in Ashes
初始
In The Beginning
息
Breath
思绪之海
Sea of Thought
面具
Mask
时间的肖像
Portraits of Time
皂
Soap
内部
Interiors
雪
Snow
同名画册
/ 徘徊久——具本昌摄影（1990-2021）
语言：中英双语
出版：三影堂摄影艺术中心、三影堂+3画廊
出版时间：2021年8月
尺寸：250 x 180mm
页数：143页
预售价：166元 126元
预售限量：50册
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the content of the exhibition catalogue
关于具本昌
/ About Koo Bohnchang
具本昌曾在延世大学主修工商管理，后在德国汉堡学习摄影。他曾在庆一大学担任教授，并在伦敦圣马丁学院担任访问教授。
具本昌的作品一直在探讨时间的流逝。他捕捉静止而脆弱的时刻，试图揭示生命中不为人知的气息。自2004年以来，具本昌开始拍摄韩国传统白瓷，通过“白瓷”这个系列突出了韩国文化遗产的简单之美。为了创作这个系列，具本昌曾赴韩国和国外多家博物馆，拍摄馆藏的白瓷。对他来说，这些器皿体现了朝鲜美学的精髓。而且它们经常因日常使用而沾污、开裂和磨损，因而是传达人类生活的温暖痕迹的完美主题。
他曾举办40余次个展，包括三星基金会罗丹画廊，首尔（2001年）、皮博迪·艾塞克斯博物馆，马塞诸塞州（2002年）、Camera Obscura画廊，巴黎（2004年）、Kukje画廊，首尔、何必馆·京都现代美术馆，京都（2006年）、古隐摄影博物馆，釜山（2007年）、费城艺术博物馆，费城（2010年）等。
他的作品曾被旧金山现代艺术博物馆、休斯顿美术馆、何必馆·京都现代美术馆、韩国国立现代美术馆、首尔三星美术馆等艺术机构收藏。著有《寂静中的深呼吸》、《被揭开的面具》、《心灵的容器》、《如何捕捉动人瞬间》并于韩国出版，《歇斯底里（第九期）》、《白瓷》、《日常珍宝》并于日本出版。
*本展览由韩国文化体育观光部、韩国艺术经营支援中心和韩国海外艺术基金支持，鸣谢成都金沙遗址博物馆的授权支持。
*This exhibition is supported by South Korea’s Ministry of Culture, Sports, and Tourism, the Korean Arts Management Service, and the Fund for Korean Art Abroad. The Jinsha Site Museum in Chengdu has also provided licensing support.
Capturing the Invisible
Is Why I Love Taking Photographs:
Koo Bohnchang’s Photography
Gu Zheng
(Excerpt)
Born in 1953, the South Korean photographer Koo Bohnchang did not study photography initially. After he received his degree in business administration from Yonsei University, he worked in a large company, but he decided to resign after just six months. In 1980, he went to study photography in Hamburg, a city in pre-unification West Germany. As a member of one of the first generations of Koreans to study photography abroad, Koo received rigorous training at the Fachhochschule Hamburg Fachbereich Gestaltung. Since he finished his studies and returned to South Korea, he has been active on the front lines of Korean photography, both making art and teaching. He has also frequently appeared at contemporary photography events around the world, making an invaluable contribution to the international reputation of Korean contemporary photography.
Koo Bohnchang’s photographs are underpinned by the sensibility and aesthetics of Korean culture, and he works to pursue a Korean cultural identity. He actively uses photography as a method for visualizing cultural identity, and his body of work has had an immense international influence. When he returned to South Korea in 1985, Korean contemporary photography was dominated by the documentary and salon genres; the medium was seldom used for artistic expression. With consistent effort, he was able to use unique concepts and methods to create space for his own work, establish a firm position for himself, and foster an environment for photography as artistic expression in South Korea. Koo is now an internationally influential artist representing Korean contemporary photography, and he has continued to play an important role in the development of that scene.
Like many who have received formal photography training, Koo Bohnchang began with street photography. With a disciplined eye, he explored the characteristics of photography as a medium. He has a keen formal sensibility. By capturing reality thoughtfully, he developed his own rigorous sense of form and tried to uncover the beauty of ordinary surprises in common occurrences.
The pictures from Portraits of Time that are exhibited here have their own pictorial beauty. The works can also present an intertwined interrelationship by being carefully arranged in different contexts, such as a book or an exhibition. In this way, he offers his philosophical ideas about life and death, the eternal and the fleeting. In contrast, Breath, inspired by his father’s death, uses rich visual metaphors to present Koo’s thoughts about life and death.
Koo Bohnchang has a special interest in objects. The various objects that enter his gaze are related to his personal memories and to the collective memory of the Korean people. Some even meet both of his needs for cultural memory and identity. His Vessel series may be the most well-known of his object photographs; the series is widely considered some of his most important work, as such, it has won him international acclaim. The Gold series exhibited here runs contrary to the simplicity of Vessel, highlighting the brilliance of these objects with dramatic lighting and showing the glory of Korean culture. Both series are essentially the visual presentation and affirmation of cultural identity. Mask is another familiar series. The masks worn in folk ceremonies have an indescribable mystery. They abstract and generalize human attributes, but they also reflect a people’s conception of life and death. Because of the cover they provide, masks block off the outside world, but the wearers are made more attractive by that concealment.
Koo Bohnchang once said, “Capturing the invisible is why I love taking photographs.” Vessel and Mask are long-standing explorations that convey the richness of the culture that sits behind those porcelain surfaces and masks.
About Koo Bohnchang
Koo Bohnchang attended Yonsei University majoring in Business Administration and later studied photography in Hamburg, Germany. He was a professor at Kyungil University and a visiting professor in London Saint Martin School.
Koo's work has always dealt with the passage of time. He captures still and fragile moments, attempting to reveal the unseen breath of life. Since 2004, Koo has photographed traditional Korean white porcelain ceramics, in his Vessel series which highlights the simplistic beauty of Korea’s cultural heritage. To create the Vessel series, Koo photographed plain white porcelains in the collections of museums in Korea and abroad. For him, these wares echo the essence of the Joseon aesthetic, and because they are often stained, cracked, and worn by everyday use-they are a perfect subject through which to convey warm traces of human life.
His works have been exhibited in over 40 solo exhibitions including Samsung Rodin Gallery, Seoul (2001), Peabody Essex Museum, Massachusetts (2002), Camera Obscura, Paris (2004), Kukje Gallery, Seoul and Kahitsukan Kyoto Museum of Contemporary Art (2006), Goeun Museum of Photography, Busan (2007), Philadelphia Museum of Art, Philadelphia (2010) and many.
His collections are at San Francisco Museum of Modern Art, Museum of Fine art, Houston, Kahitsukan Kyoto Museum of Contemporary Art, National Museum of Contemporary Art, Korea, Leeum, Samsung Museum of Art, Seoul and publications are Deep Breath in Silence, Revealed Personas, Vessels for the Heart, How to Capture the Touching Moment in Korea and Hysteric Nine, Vessel, Everyday Treasures in Japan.
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