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展期｜2023年2月11日 - 2023年3月19日
通过一片落叶，去感受整个秋天的美丽；通过落叶的颜色，去唤起记忆里的悲伤。这些我认为都是作为一个艺术家或创作者无法去回避的问题和感受。《自画像》是文豪于2017年搬到德国后完成的第一个摄影系列。这个系列有着一个耐人寻味的标题，由六幅静物组成，其特点是他房间内一些不起眼的物品和家具。一堆凌乱褶皱的衣服被无情的丢弃在沙发上、印有猫和狗的咖啡杯可能是一份礼物，除了可以从充电线和电视机中推断出无处不在的科技之外，公寓里的物品没有任何物质价值或文化意义。一方面，房间内的物品可以识别出脱衣服或喝咖啡等日常活动，并被作为视觉元素融入进照片的画面空间中。另一方面，浅景深提升了不同于日常行为的意识高度，焦点将这些元素从其他部分中突出甚至分离了出来。在《自画像》中，文豪在熟悉的日常物品和抽象的沉思、日常生活和精神抽离之间取得了一种微妙的平衡。自画像_04｜Self-Portraits 04
艺术微喷｜Inkjet Print
52×52cm
2017
文豪对摄影媒介的使用从一个系列到另一个系列发生了根本性的变化，对比他的作品，并没有使用单一的风格或者视觉语言，而是探索全新的方法来应对每个新项目里的挑战。在《诗》 (2019)中，他将24张前往苏东坡故居途中拍摄的黑白照片与自己的文字结合起来，来阐述因社会变化所产生的疑问和思考。文豪的这次旅程像一部穿越当代中国的公路电影，他将建筑工地与寺庙、现代和传统材料、自然和人造风景组合在一起。杂草中古老的岩石、废弃商店的碎玻璃、太阳下晾晒的衣物、被大型施工项目改变的景观等等。时间飞逝，时间停滞，在宁静的沉思中，《诗》中的图像和文本产生了变化和转型，同时也包含了经久不衰的诗意。宣纸艺术微喷｜Rice Paper Inkjet Print在文豪最新的装置作品 《去-回》（2022） 中, 对影像中共存的对立性和双重性的发现和使用，使其作品产生了肌理丰富及高度差异的意义层面。和《诗》相同的是该作品的核心也是旅途，但此次是步行。镜头对准文豪的后脑和肩部，焦点却固定在前方逐步展现的城市景观，观者跟随他从公寓走到市中心的火车站，在这步行过程中，黎明即将来临，天色逐渐变亮。在第二段视频中，摄像机以完全相同的方式跟随他以相同的路线回家。只是这一次发生在黄昏，天色逐渐变暗，城市也变得越来越模糊，直到他在黑暗中到家。与其把这两部影片看作是作者某种意义上的自传，讲述文豪在德国认识，接受，成长的过程，不如把它们看作是一组相互不可替代，甚至是循环或者共存的过程。当在展览现场观看这两个视频时，这正是观者在去与回之间不断往返、循环的过程。当城市景观在文豪面前展开并随着他的走动而消失时，实际的旅途可以设想为身体、情感、智力或精神上不可避免的活动或者是成长。成组的双联画丰富的内容与细节、安静的场景引人沉思，这些图像需要在许多不同的层面上进行比较。例如，一栋未完工的公寓楼前积水形成的小湖与同组图片中隐喻的建筑垃圾形成的石头海之间的对比。照片将破坏和重建、忽视和潜能并列在一起，这种鲜明的对比也引发了文豪对生命和死亡的猜测，值得注意的是，文豪创作《去-回》的初衷与一位亲密朋友的死亡有关。与视频相同，组成双联画的两幅图像，不是一种替代关系，而是循环和共存的过程。去-回_2-1｜Hin-Rück_2-1
艺术微喷｜Inkjet Print
131×194cm
2022
去-回_2-2｜Hin-Rück_2-2
艺术微喷｜Inkjet Print
131×194cm
就其规模和雄心而言，早期作品《痕迹》（2018）标志着文豪艺术发展的一个重要转折点。这是他将摄影、行为、视频和装置结合在一起的第一件作品，可以看作是他与摄影媒介关系之间的一次探索。照片的内容可以被看作是由万千与外部现实有着复杂而短暂联系的痕迹组成。这启发了文豪在公共场所进行一系列的干预行为，试图如此留下他自己的种种痕迹。文豪用视频记录了他的干预行为，并在之后不久重新拍摄了这些地点，看看会留下什么结果。比如几个小时后，风已经把他贴在一块大石头上的无数便利贴全部吹跑。贴纸条｜Sticking Notes
视频静帧｜Video Still
51'10''
2018
一个更精心的干预行为是将许多黑砖堆在一个大型圆形排水沟的入口处，但结果并不尽如人意，水还是流了出来。如果有的话，他对树干旁边的大型风化混凝土块做了什么？或者那些长满青苔的铺路石板？他在某些地方的干预证据几乎不可见，因此，照片几乎无法表明他在那里做了什么或试图做什么。文豪干预的痕迹，他试图留下的印记，或看不见，或不清晰，或是无意的。如果没有视频记录，照片会让我们一无所知，而有了视频记录，被拍摄的地点就会变得鲜活起来，小细节也可能变得显著。与其说《痕迹》展示了人类努力的徒劳，不如说它探索了偶然性、模糊性、失控、隐性元素、甚至不可见性在构成摄影意义方面的作用。它还探讨了这些特质在我们自己的生命中能带来哪些启发。就像这次展览的其他作品一样，《痕迹》同样是具有诗意和引人深思的特点。
痕迹_01｜Trace 01
艺术微喷｜Inkjet Print
94×94cm
2018
——克里斯多夫·穆勒 教授
富克旺艺术大学 德国埃森
文豪，1989年出生于湖南株洲，2012年本科毕业于山西太原理工大学摄影系，2022年研究生满分毕业于德国富克旺艺术大学摄影研究与实践专业。自2008年开始，以影像为主要创作媒介，实践创作从不同的维度去思考影像媒介与自我生命的关联及转化，去创作具有自我生命意识及“精神空间”的影像艺术作品。
近期个展：四个幻想，三影堂厦门摄影艺术中心，厦门，中国（2023）；抽象的真实，52号画廊，埃森，德国（2020）；痕迹，平遥国际摄影节，优秀摄影师奖，平遥，中国（2019）。近期群展：注意主义, 得一美术馆，沈阳，中国（2022）；富克旺艺术大学毕业年展，埃森，德国（2022）；中途，富克旺美术馆，埃森，德国（2020）；鲁尔区当代摄影与媒体艺术节，埃森，德国，（2020）；第三届高校“教·学”摄影作品展，丽水国际摄影节，丽水，中国（2019）。
个人网站：http://www.wenhao-p.com/
Wen Hao Solo Exhibition —— Four Visions Art Director｜Teng Qingyun
Organizer｜Three Shadows Xiamen Photography Art Centre
Duration｜Feb 11, 2023 - Mar 19, 2023
Opening｜Feb 11, 2023 15:00
Venue｜3rd Floor of Building 2, Xinglinwan Business Center, Jimei District, Xiamen
Through a fallen leaf in autumn, one can feel the beauty of the whole season; through the color of the fallen leaf, one can evoke the sadness of memory. These are the questions and feelings that I think an artist or creator cannot avoid.Self Portrait is the first photographic series that Hao Wen completed after moving to Germany in 2017. It is an intriguing title for a small series of six still lifes characterized by unremarkable objects and furnishings that appear hastily and cheaply assembled. The untidy pile of crumpled clothes might be more personal than other items, but the heap also suggests the clothing has been unceremoniously discarded. The coffee mug with the cat and dog motif might have been a gift, whereas the various plastic water bottles and charging cables might be found anywhere. Apart from the ubiquitous technology which can be inferred form the charging cables and the TV there is nothing of material value or cultural significance in the apartment.Hao Wen’s apartment may resemble other student accommodation or cheap furnished lettings but his photographic approach is highly specific. He uses a very shallow depth of field throughout the series drawing attention to minor details that seem to shift suddenly into focus. Juxtaposed with the narrow focal plane are large expanses of indistinctness or emptiness. The artificial light, the absence of doors and windows emphasize a sense of isolation. The contemplative quality of the image is reinforced by the static symmetry of the square picture format. On one hand the objects can be identified with daily routines such as undressing or drinking coffee and are integrated as visual elements in the pictorial space of the photograph. On the other, the shallow depth of field implies a heightened awareness at odds with routine everyday behavior and the focus singles out, almost separates, the elements from the rest of the composition. In Self Portrait Hao Wen strikes a delicate balance between the familiar everyday objects and abstract contemplation, daily life and spiritual detachment.Hao Wen’s use of the photographic medium changes fundamentally from one series to the next reflecting the shift in his artistic interests. He doesn’t use a single style or visual language throughout his work but develops an entirely fresh approach to meet the challenges of each new project. His works are not merely radically different in technical or pictorial terms but also in his occasional use of video, text, installation and performance. In A Poem (2019) Hao Wen combines 24 black-and-white images taken during a car journey through China to the former residence of the eleventh century poet Su Dongpo with short texts in Chinese formulating his own doubts, emotions and hopes. Divided into four chapters the images and texts are printed on a single 10 meter scroll of paper, that is exhibited unrolled on a low table weighed down by traditional paperweights. Hao Wen’s journey unfolds like a road movie through contemporary China, juxtaposing building sites with temples, modern and traditional materials, natural and manmade elements. Different notions of time infuse A Poem, beginning with his use of the traditional paper scroll to contemplate the breakneck pace of change in modern China, creating a multitude of cultural historical perspectives. An ancient flat rock lying in a wavy sea of tall grass, a broken window in a deserted shop, washing drying in the sun, a huge mound of bulldozed earth, a landscape irrevocably altered by a vast building project. Time racing past. Time standing still. In their tranquility and contemplation, the images and texts in A Poem address change and transformation but also enduring poetic sensibilities.The juxtaposition of dualities or powerful oppositions to create richly textured and highly differentiated layers of meaning is also found in Hao Wen’s most recent installation There and Back (2022), which is the final work he completed before graduating and returning to China. Again, as in A Poem, a journey, this time made on foot, is central. A camera aimed at the back of Hao Wen’s head and shoulders but focused on the unfolding cityscape and remaining equidistant throughout his journey follows him as he walks from his apartment to the central railway station, Essen main station, in the center of town. Dawn is breaking and the day becomes gradually lighter during the 70 minute walk. In the second video the camera follows him in exactly the same way, as he walks the identical route home. Only now it is dusk, and the city becomes increasingly indistinct over the next 70 minutes until he arrives home in darkness. But rather than see the two films as in some sense autobiographical, addressing Hao Wen’s arrival in Germany and foreshadowing his return to China, it is important to view them as a pair representing not alternative but cyclical and even parallel processes. When viewing the two videos in an exhibition space, that is precisely what happens as one switches from one monitor to the next and back again several times. The unchanging distance between the camera and Hao Wen’s back as the cityscape unfolds before him and falls away as he walks past. The actual journey in question could be conceived of as physical, emotional, intellectual or spiritual - some such movement is inevitable. Alongside the two monitors are three pairs of large format photographs, also conceived of as diptychs and dealing with dualities in terms of content. The photographs juxtapose destruction and construction, neglect and future potential, the interim states of the abandoned buildings radiating something unsettling. Such stark contrasts also lead to speculations about life and death and it should be noted that Hao Wen originally conceived of There and Back in response to the death of a close friend and fellow student. In their richly detailed mode of representation and their quiet contemplation the paired images invite comparisons on many levels. For example, the small lake caused by temporary flooding in front of an unfinished apartment building is analogous to the metaphorical sea of building rubble in its pendant image. As with the videos the two images comprising each diptych do not represent alternatives but cyclical and parallel processes.In terms of its scale and ambition the earlier work The Trace (2018) marks a significant turning point in Hao Wen’s artistic development. It is the first work in which he combined photography, performance, film and installation and can be seen as an exploration of his relationship to the photographic medium. A photograph’s content can be regarded as comprised of myriad ephemeral traces with complex connections to external reality. This inspired Hao Wen to undertake a series of interventions at public locations in an attempt to leave a variety of traces of his own. Hao Wen filmed his interventions and photographed the locations shortly afterwards to see what trace, if any, he left behind. By the time he photographed it, the wind had scattered all but two or three of the numberless post-it notes he had stuck to a large boulder. A more elaborate intervention stacking black bricks to block the entrance of a large circular drain didn’t turn out as expected, when water seeped through regardless. What, if anything, did he do to the large weathered concrete block next to a clump of trees? Or the mossy paving slabs? Evidence of his interventions at some sites is barely visible and accordingly the photographs tell us little or nothing of what he did or tried to do there. The traces of Hao Wen’s interventions, his attempts at leaving a mark, are either invisible, unclear or unintended. Without the video record the photographs would leave us none the wiser, with it the photographed locations come to life and minor details become potentially significant. Rather than a demonstration of the futility of human endeavor The Trace explores the role of chance, ambiguity, loss of control, subliminal elements, even invisibility in constituting photographic meaning. It also looks at what these qualities can teach us in our own lives. Like the other works in this exhibition The Trace is poetic and thought-provoking in equal measure.——Prof. Christopher Muller
Folkwang University of Arts, Essen
· Arist Biography ·
Wenhao, born in 1989 in Zhuzhou, Hunan Province, graduated with a BFA degree in Photography from Taiyuan University of Technology in 2012, and graduated with a MFA degree with full marks in Photography Studies and Practice from Folkwang University of Arts in Germany in 2022. Since 2008, he has been using image as the main medium of artistic creations, thinking about the connection and transformation of photographic medium and his own life at different perspectives to create artworks with their own consciousness of life and "spiritual space".
Solo Exhibition: Four Visions, Three Shadows Xiamen Photography Art Centre, Xiamen, China (2023); Die abstrakte Wahheit, Galerie 52, Essen, Germany (2020); Trace, Pingyao International Photography Festival, Excellent Photographer, Pingyao, China (2019). Group Exhibition: Finale 2022, Folkwang Universität der Künste, Essen, Germay (2022); Stopover, Museum Folkwang, Essen, Germany (2020); Contemporary Art Ruhr Photo/Media Art Fair, Essen, Germany (2020); The 3rd College “Teaching & Learning” Photography Exhibition, Lishui Photography Festival, Lishui, China (2019).
Personal website：http://www.wenhao-p.com/
「无界展览项目」
“无界”是三影堂厦门摄影艺术中心于2018年启动的展览项目，旨在发掘优秀的视觉艺术创作者，为其提供专业的展示平台。该项目通过向全球艺术家公开征集作品/方案，不设“界”地呈现多元的艺术创作，并举办展览开幕、艺术家导览、对谈、分享会等活动。
该项目迄今已系统呈现了三十二场个展和三届“无界艺术展”群展。我们也希望以此联结艺术爱好者，使“无界”成为一个广阔的展示与交流平台。
三影堂“无界”项目个展持续征集中
2023无界艺术展征集中
编辑：樊金琪