【展讯】纽黑文的寻常一夜——陈荣辉个展｜北京
纽黑文的寻常一夜——陈荣辉个展
An Ordinary Evening in New Haven:
Chen Ronghui Solo Exhibition
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艺术家导览｜Artist Guided Tour
578 Prospect St, Oct 22, 2019
Reality as a thing seen by the mind,
Not that which is but that which is apprehended,
A mirror, a lake of reflections in a room,
A glassy ocean lying at the door,
[…]
Everything as unreal as real can be,
In the inexquisite eye.
—— Wallace Stevens
© 陈荣辉 Chen Ronghui
Untitled 12 (Bedroom), New Haven, 2019
陈荣辉镜头下的《纽黑文的寻常一夜》是一组讲述光影与记忆、探索夜晚与内心的故事。
Chen Ronghui's 'An Ordinary Evening in New Haven' is a narrative about light and memory, and an exploration of the night and state of mind.
In 2019, Chen Ronghui left his homeland, where he had lived for 30 years, for his enrollment at Yale University in New Haven, U.S. When he first arrived in the city, he was concerned about nighttime security in the local area. After a long day at school or at his studio, he would jog back to his rented apartment while constantly praying for his safety on the way. His shortness of breath and permeating anxiety upon getting home usually resulted in him directly sinking into the sofa without even turning on the lights. It was exactly in this moment of tranquility that the street lights quietly passed through his window, with elegant and shimmering gleams casting the dim walls—attaching a sense of aesthetic to the bleak shadows in the room. Such a scene of great charm seemed to appear only in Chen's childhood memory: living with his grandparents in the countryside of Zhejiang Province, the young Chen was full of curiosity about nature in darkness. As their thrifty lifestyle made his grandparents reluctant to turn on the lights when night fell, Chen would lean against the window, with the quiet moonlight and flickering fireflies enlightening his path through exploring the world of the surroundings.
© 陈荣辉 Chen Ronghui
Untitled 09 (Bed), New Haven, 2019
微光与阴翳诚然为陈荣辉带来童年往事的暂时慰藉，然而身处纽黑文，微光不及处的幽暗角落，同时暗示的也许还有可怖的静寂与危机。2020年起，因美国新冠大流行，当地社会出现逐渐攀升的亚裔仇恨袭击事件。来自耶鲁大学的一封又一封安全敬告电子邮件，让已然独自居家的陈荣辉笼罩在无处不在的焦虑与恐惧中。这些近在咫尺的袭击事件，通过幻灯机微弱的光束一一投射的地图实景，猝然幻影般的反射在房间四周的黑暗之中、起居用品的表面之上，无时无刻地传递着陈荣辉难以逃避的日常生活心理写照。
While light and shadow brought Chen's nostalgic childhood back from the past, there were also dark corners, where the shimmer was not able to reach. This served as an inspiration for him to observe the terrifying silence and crisis that happened during his four-year student life. Due to the outbreak of COVID-19 in the U.S., Anti-Asian hate attacks had seen a sharp rise in the New Haven community. University alerts from time to time regarding crime details and public safety had further shrouded Chen in omnipresent anxiety and fear, at a time when he was already being quarantined at home. These attacks were committed within a few days, among which some had occurred just within walking distance from Chen's apartment. The fragments of these street views retrieved from Google maps cast through every corner of Chen's apartment. It shaped a phantom-like reflection in clear confrontation to the surface of everyday objects in the darkness surrounding the room—a portrayal of Chen's mentality when floods of social chaos crept into his peaceful life.
如同华莱士·史蒂文斯在《纽黑文的寻常一夜》一诗中对于“真实”与“虚幻”无休止的沉思——在日复一日的寻常夜晚中，在异国他乡的纽黑文狭小寓所内，陈荣辉的思绪游离在微光与阴翳之间，沉浸在记忆与想象之中——是真实存在中的虚幻，亦是虚幻勾勒出的真实。
In Wallace Stevens' 'An Ordinary Evening in New Haven', his seemingly endless meditation on the 'real' and 'unreal' can be somehow echoed in Chen's photography. Day after day in the dim-lit room, immersing himself into memory and imagination, with his thoughts drifting between light and shadows, life in New Haven for Chen Ronghui was to be a testimony of 'everything as unreal as real can be'.
若真实存在于意识
属实：锡盘，盘上的面包
长刃刀，少许饮品，和她的
悲悯，那么
真实与虚幻，二者为一：纽黑文
在一个人到来之前与之后
——华莱士·史蒂文斯
If it should be true that reality exists
In the mind: the tin plate, the loaf of bread on it,
The long-bladed knife, the little to drink and her
Misericordia, it follows that
Real and unreal are two in one: New Haven
Before and after one arrives
—— Wallace Stevens
摄影师，1989年出生于浙江丽水，2021年毕业于耶鲁大学艺术学院，曾任澎湃新闻英文版视觉总监。陈荣辉的创作依托于摄影的档案性和模糊性，采用大画幅摄影的方式关注中国城市化和工业化进程中个体与城市的关系。他用将近十年的时间完成中国城市化景观摄影三部曲。到美国学习生活后，他开始利用摄影、文本、视频等媒介重新发掘被隐藏的历史个案和脉络，重构东西方之间的叙事关系，反思全球化中的殖民主义和东方主义。
陈荣辉先后出版多本摄影画册：《空城计》《野望》和《中国当代摄影图录：陈荣辉》，其中《空城计》入围美国光圈基金会的年度最佳画册。他的作品曾获得世界新闻摄影大赛（荷赛）二等奖、侯登科纪实摄影奖、三影堂摄影奖-ALPA奖等国内外众多知名摄影奖项。作品被收藏于香港M+博物馆、耶鲁大学图书馆、慕尼黑亚历山大·图切克基金会、上海摄影艺术中心、北京光社、中国港口博物馆、丽水摄影博物馆等。
Photographer, born 1989 in Lishui, Zhejiang Province, graduated 2021 with MFA in Photography, Yale University, former Head of Visuals, Sixth Tone. Chen Ronghui’s artistic expression focuses on the relationship between individuals and cities in China’s urbanisation and industrialisation. He adopts view cameras to create works based on the archival and indefinite characteristics of photography. For nearly a decade, Chen completed the trilogy of urban landscape photography of China, including ‘Petrochemical China’, ‘Runaway World’, and ‘Freezing Land’. After studying in the United States, he started undertaking photography, text, video, and other methods in an effort to rediscover the unsolved historical contexts, reconstruct narratives between the East and the West, and reflect on colonialism and globalisation.
Chen Ronghui has published photo books including ‘Freezing Land’, ‘Land of Ambition’, and ‘Chinese Contemporary Photography Catalog: Chen Ronghui’, among which ‘Freezing Land’ is shortlisted for the Aperture’s Portfolio Prize. He has won a number of prestigious awards in China and abroad, such as the 2nd Prize of World Press Photo (2015), Hou Dengke Documentary Photography Award (2017), and the ALPA Prize of Three Shadows Photography Award (2018). Chen’s works are collected by M Plus (Hong Kong), Yale University Library (New Haven), Alexander Tutsek-Stiftung (Munich), SCoP (Shanghai), Light Society (Beijing), China Port Museum (Ningbo), and Photography Museum of Lishui (Lishui), etc.
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创立于2012年，三影堂+3画廊是三影堂摄影艺术中心旗下运营的艺术空间。+3画廊致力于连接中国摄影的过去、现在和未来，并以摄影为媒介促进海内外艺术文化交流发展。
+3画廊以推介中国最具代表性和成长性的摄影艺术家及其作品为首要目标，同时有计划地展示国外重要摄影艺术家的优秀作品。+3画廊以国际化的商业运营模式和专业化的贴心服务，持续作为摄影艺术家和收藏家互通的优质平台。
Since its inception, +3 Gallery has been committed to promoting China’s most representative homegrown artists and showcasing important works by renowned international photographers. +3 Gallery has established itself as a leading platform over the past decade, working closely with both photographic artists and art collectors with professional services provided.
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