【展讯】徘徊久——具本昌摄影（1990-2021）｜厦门
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徘徊久
具本昌摄影（1990-2021）
艺术家｜具本昌
展览总监｜荣荣&映里
学术主持｜顾铮
策展人｜齐燕
展期｜2022年9月8日—11月6日开幕｜2022年9月8日 16:30
主办｜三影堂厦门摄影艺术中心联合呈现｜三影堂+3画廊地点｜厦门市集美区杏林湾商务营运中心二号楼裙楼三层
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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。
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《粉瓷》系列，2004
彩色合剂冲印，63 x 50 cm
图片由具本昌工作室提供
Color Vessel series, 2004
C-Print, 63 x 50 cm
Courtesy of the artist
选自《粉瓷》系列，2005
彩色合剂冲印，63 x 50 cm
图片由具本昌工作室提供
Color Vessel series, 2005
C-Print, 63 x 50 cm
Courtesy of the artist
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。
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。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。
Breath series, 1995
选自《息》系列，1995
收藏级艺术微喷，115 x 85 cm
图片由具本昌工作室提供
Breath series, 1995
Archival Pigment Print, 115 x 85 cm
Courtesy of the artist
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，2005
收藏级艺术微喷，63 x 50 cm
图片由具本昌工作室提供
Vessel series, 2005
Archival Pigment Print, 63 x 50 cm
Courtesy of the artist
选自《白瓷》系列，2005
收藏级艺术微喷，63 x 50 cm
图片由具本昌工作室提供
Vessel series, 2005
Archival Pigment Print, 63 x 50 cm
Courtesy of the artist
《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。
选自《金》系列，2016
收藏级艺术微喷，140 x 110 cm
图片由具本昌工作室提供
Gold series, 2016
Archival Pigment Print, 140 x 110 cm
Courtesy of the artist
《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。
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。
· 关于艺术家·
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Lingering in Time: Koo Bohnchang’s Photography (1990-2021)
Artist: Koo Bohnchang
Exhibition Directors: RongRong&inri
Academic Host: Gu Zheng
Curator: Yan Qi
Duration: 2022.09.08- 2022.11.06
Opening: 2022.09.08 16:30
Organizer: Three Shadows Xiamen Photography Art Centre
Co-Presenter: Three Shadows +3 Gallery
Venue: No. 301, Building 2, Xinglinwan Business Center, Jimei District, Xiamen
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.
· Aritist Biography ·
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