【展讯】被建立的和被观看的——萨宾·戴蔻尔作品展｜厦门
艺术家｜萨宾·戴蔻尔
联合策展人｜萨宾·戴蔻尔，帕斯卡·吉法尔
主办｜三影堂厦门摄影艺术中心
支持｜法国驻广州总领事馆、法国对外文化教育局、法国文化、中法文化之春
展期｜2022年04月30日-2022年07月3日
地点｜厦门市集美区杏林湾商务营运中心二号楼裙楼三层
法国上阿尔卑斯省，埃克兰山脉，黑色冰川，2010年10月
110x135cm
图片由艺术家提供
Glacier noir, Massif des Ecrins, Hautes-Alpes, France, October 2010
110x135cm
Courtesy of the artist
简单回顾萨宾・戴蔻尔于2018年至2020年，在中国驻地项目中探讨的美学问题：她以“新生活方式”为题，在鄂尔多斯、武汉和青岛等城市，从高层住宅楼的15层以上拍摄城市景观。萨宾·戴蔻尔将图像置于不同文化相互关联和依存的全球化背景中，提出人类都市所面临的共同问题，更广泛地说，她通过图像思考地球上人类境况的变化。众所周知，中国传统的景观概念“山水”，是由“山”、“水”两个有着无限联系的元素组成。因此，艺术家并不是要描绘一个与现实世界相似的世界，而是要在观看者中激起一种精神情感，表达出一种在世界上存在的方式。对萨宾·戴蔻尔而言，永恒的价值和宇宙的和谐恰恰是存在于自然当中。
中国内蒙古自治区鄂尔多斯市，21楼，2018年4月
90x110cm
图片由艺术家提供
90x110cm
Courtesy of the artist
35thfloor, Wuhan, Hubei province, China, June 2019
艺术家说过：“我对世界的认识，伴随着时间的流逝和累积，慢慢书写成故事”。在萨宾·戴蔻尔的双联作品中，宇宙力量的具象表达推动了现实世界中人造形式和自然形式的运动，引向了物质和情感上的震颤。在可见的表象背后，未知的事物一直在运动着。萨宾·戴蔻尔的作品用想象力和严肃性捕获了世界的真实，并强调生活中昙花一现的渺小，以及生命中永恒瞬间的强大。艺术家在直觉的驱动下，用她的艺术创作揭示隐秘的本质，探寻世间万物，构成人类的伟大之处。
——克里斯蒂安·玛罗里斯
作家、人类学家、教师-学者
法国波尔多-蒙田大学ARTES研究所
· 关于艺术家 ·
艺术家萨宾·戴蔻尔出生于法国吉伦特省。她于1994年获得法国国家摄影中心（Centre Nationalde la Photographie）颁发的少特伦特奖(Prix Moins Trente)。萨宾·戴蔻尔从巴黎第八大学毕业后随即就开始了她的职业生涯。她的摄影创作围绕着观察人与环境的关系而展开——无论是城市的还是自然的，抑或是野外的景观、场所。萨宾·戴蔻尔在作品中常常将图像与文字联接，当面与她所拍摄的土地上生活的人交谈。其手法远非纪录片式的，而是从所指中跳脱出来，她颠覆了空间场域并赋予它一种全新的维度。与她的大画幅相机所具备的技术潜能相结合，萨宾·戴蔻尔通过操纵透视和景深，实现了多样视角的凝视，以此用感光材料塑造着由视错觉产生的感官体悟，从而见证了摄影图像与我们对现实的感知之间的相对性。
· 关于联合策展人 ·
1978年生，现工作、生活于法国波尔多。从2000年到2004年，为马格南图片社在巴黎的展览做统筹与协调，而后在阿尔勒国际摄影节（Les Rencontres d'Arles）工作，从2004年到2013年9年间担任展览与画册的制作总监。曾与雷蒙德·德帕顿、南·戈尔丁、克里斯汀·拉克鲁瓦、克莱蒙·舍卢、霍安·方卡韦尔塔、马丁·帕尔等人合作。
自2014年以来，她一直在波尔多深入探索。最初作为杜邦图像中心摄影实验室的负责人，现在作为一名独立人士在她创立的“图像联邦（D’états D’images）”协会通过项目的策划和制作推广摄影。
Sabine Delcour, Constructed and gazed
Aritist｜Sabine Delcour
Co-curator｜Sabine Delcour, Pascale Giffard
Organizer｜Three Shadows Xiamen Photography Art Centre
Supporter｜ Consulat général de France à Canton, Institut Français, Faguowenhua, Festival CroisementsDuration｜Apr 30, 2022 - Jul 03, 2022
Venue｜3rd Floor of Building 2, Xinglinwan Business Center, Jimei District, Xiamen
Sabine Delcour is seeing the world as a “laboratory”. Since the 1990s, always using a same approach, she has explored the diversity of spaces and territories along with places and scenery that she captures on her camera in Paris and around the world. She writes on her approach: “I pursue a photographic work focused on concepts such as territories, either man-built or natural, at the crossroads of its geographical, social and psychic dimensions. At the beginning, I worked on urbanized zones where man is only present through its physical intervention on his surroundings (architectures and passage ways) or its perception of the area (sound or written score). Then, step by step, I went further away from inhabited places. I turned towards the observation of more natural spaces, beyond physical boundaries, a pretext for questioning pathways from the tangible world to the invisible and perceptual world.
From an approach close to documentary photography, she succeeds in bringing out from her pictures, a fiction, a narrative, which plunges the viewer into a disturbance of perception and even more into a modified state of consciousness. Between the visible and the invisible, something is sensitively questioned in the viewer, because her landscapes unveil both the silent presence of things and the eloquent absence of humans. Sabine Delcour creates photographic landscapes which distant from western traditions, as in her work, landscape is no longer thought of as an object or a substance, but as an environment and a resource; a set of elements put under pressure that she captures in images. Thus, in her artwork, there is a way to feature urbanized and natural spaces, in which establishes pathways and challenges the traditional western dichotomy between nature and culture. One can also argue that, she draws in her images a dramatics of absence questioning the overshow of presence in contemporary culture, which has become a global culture through social networks.
Shall we very briefly recall in here, the aesthetic issues of her last piece of work realized in China between 2018 and 2020, named “New Way of Living”. Exploring from the 15th-floor-height of inhabited towers in cities like Ordos, Wuhan, and Qingdao, her images ask the question of urbanity in the context of interconnections and interdependence of cultures in the dynamic of globalization. More broadly, through her images, she is giving thoughts to the mutation of human condition on Earth. One knows that the traditional conception of landscapes in China, like the so called “Shanshui”, is composed of mountains “shan” and water “shui”, two elements united in countless relations. The artist does not seek to picture a similar world but to trigger in the viewer a spiritual feeling expressing a simple way to be in this world. To her, it is into nature that lays values such as eternity and cosmos harmony.
Diptychs displayed in the exhibition “Constructed and gazed” aim to address one out of the many current issues: how men can live on Earth considering limits imposed by nature? Through this set of diptychs, we can observe pathways being established between the mineral of the Chinese cities’ high-rise buildings, the mineral of Icelandic mountains, or the mountains of the Hautes Alpes in France. Multiple pathways also lie between China’s urbanized landscapes and the oceanic coastline of La Nouvelle Aquitaine, more especially the one of Basque coast (in France and Spain). The emptiness that catches the eye, the lines of force, the play of curves and obliques that makes images, colors of urban or maritime skies allow us to establish correspondences between pictures through time and space.
The artist writes: “My apprehension of the world requires that time takes shape, takes on thickness, that stories get written slowly.” In Sabine Delcour’s pictures, combined here in a diptych, the figurative expression of cosmic power drives the movement of artifactual shapes and natural ones existing in the living world, leading to material and emotional vibrations. Behind the visible runs the unknown. The fantasy and seriousness of Sabine Delcour’s pictures capture the reality of the world, stress out the lightness of the ephemeral and the seriousness of the moment of eternity that is life. Thus, the power of the artist’s intuition leads the artistic movement towards the universal through the secret revelation of the essential, which makes the greatness of being human.
——Christian MalaurieWriter, anthropologist, teacher-researcherARTES Research unit, Université Bordeaux Montaigne (France)Sabine Delcour is a French artist born in the Gironderegion. Winner of the Prix Moins Trente from the Centre National de la Photographie in 1994, she began her career as soon as she finished her studies at the University of Paris 8. Her photographic series take as a starting point the observation and the relationship of man to the landscape, whether it is urbanized, natural or wild. She frequently associates text with image, going out to meet those who live in the territories she shoots. Her approach, far from being documentary, stands out from the signified. She modifies space and gives it another dimension. Playing with the technical potential offered by her photographic chamber, Delcour operates with a view to opening the gaze to other perspectives. She sculpts the sensitive material produced by these optical illusions and thus bears witness to the relative nature of the photographic image and our perception of reality.
· Co-curator Biography ·
Pascale Giffard Born in 1978, lives and works in Bordeaux, France. From 2000 to 2004, she was first the coordinator of the Magnum Photos exhibition in Paris, and then worked at the international photography festival "Les Rencontres d'Arles". From 2004 to 2013, she served as the director of exhibition and catalogue production for 9 years. She collaborated with Raymond Depardon, Nan Goldin, Christian Lacroix, Clément Chéroux, Joan Fontcuberta, Martin Parr...
Since 2014, she has continued exploring in Bordeaux. Originally the head of the photography laboratory of Central DUPON Images, she is now an independent person responsible for promoting photography through the projects and their production within the "D’états D’images" association which she founded.
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