【展讯】起始于远观，不止于近观——三影堂+3画廊特展｜厦门
由三影堂厦门摄影艺术中心联合+3画廊主办的展览——“起始于远观，不止于近观”，以“远”与“近”这组二元对立意象作为起点，追溯并回顾画廊十年来的成长发展历程。展览特别邀请28位/组海内外重要摄影艺术家，汇聚呈现他们的生涯代表作及未经发表的全新作品，于2月11日 - 4月2日向广大藏家和公众呈现。
展览旨在从摄影本体的拍摄角度出发，以创作过程中的“远”和“近”作为意象，探讨艺术家多元观看角度、创作方式、与拍摄客体的关系等议题，并围绕着“图像光影”、“性别对话”、“东方视阈”、“媒介探索”四个维度展开本次展览叙事。
/ 图像光影 /
艺术家使用图像创作，记录了人眼难以察觉甚至无法感知的光影，回归“摄影”（Photography）最初的定义——用光书写。北野谦最近的项目是他对光的迷恋的延续。经过半年时间的长曝光，记录光的痕迹，如同地球的旋转通过无数的线条被刻在照片上；《纳米铜》系列以张晋的化学博士背景为起点，利用医用X光片将树枝、衣服等日常元素直接成像。
/ 身体对话 /
“远”“近”同时意味着与拍摄客体的凝视关系，艺术家借此进行隐喻或身体欲望的直接抒发。展览中呈现的荒木经惟《Erotos》系列，通过微距拍摄的花朵内部，将花蕊的构造放大直至占据整个画面，产生了独特的力量感，甚至可被认为性的隐喻。任航和良秀则是对身体最直接的记录和表达，任航的摄影风格留存在自发的快照美学和具有超现实成分的风格化图像，譬如纠缠的身体；良秀从边缘出发，用个人身体表现世间的痛苦和欲望交织，情绪如火燃烧。
良秀，如是我火，2017，40 x 40 cm，收藏级艺术微喷。
Liang Xiu, Fire Like Me, 2017, 40 x 40 cm, Archival inkjet print.
张克纯，雅安石之二，2022，110 x 77 cm，收藏级艺术微喷。
Zhang Kechun, A Rock of Ya’an No.2, 2022, 110 x 77 cm, Archival inkjet print.
邵文欢，浮玉No.4 —来自「千里江山图」的写生，2013-2017，110 x 150 cm，全数字虚拟技术摄影。
Shao Wenhuan, Floating Jade Mountain No. 4 - Sketch from ‘A Thousand Li of Rivers and Mountains’, 2013-2017, 110 x 150 cm, Digital virtual technology generated photograph.
/ 媒介探索 /
摄影有着既定的媒介语言，本次展览作品寻求视角或媒介上突破，打破摄影的陈规。莫毅延续过往个人行为介入，本次展出作品将相机绑在自己的右脚上，以挑衅姿态记录下艺博会的见闻。蔡东东采用了拼贴、折叠、剪裁或与相关物品结合做成摄影装置作品，呈现照片非平面的空间结构，尝试扩展了一张照片的外延。
莫毅，“右脚伪造的风景”系列和“丛林”系列展览现场。
Mo Yi, Installation views of The Fake Scene on My Right Step series and Jungle series.
蔡东东，拍照的女孩，2022，27 x 31.5 cm，明胶卤化银、水彩。
Cai Dongdong, Girl Taking Pictures, 2022, 27 x 31.5 cm, Gelatin silver print, watercolor.
从观看视角而论，“远”与“近”这组二元对立的意象，远不止距离与视野上的区别。这不仅是视觉呈现的重要指标，更是拍摄创作的内在逻辑。对于观看经验而言，它还产生直观震撼或陌生疏离的感知差异。本次展览中，我们期望通过对“远”与“近”的反复研究，启发人们突破视阈的局限，从而抵达物质表象背后的内在世界——那些时常被忽视的事物将通过镜头捕捉而寻找到答案。
More Than Meets the Eye
Three Shadows +3 Gallery Special Display
Organizer | Three Shadows Xiamen Photography Art Centre, Three Shadows +3 Gallery
Duration | 2023.02.11-2023.04.02
Opening | 2023.02.18 15:30
Venue | 3rd Floor of Building 2, Xinglinwan Business Center, Jimei District, Xiamen
Aritists (Surname in alphabetical order)
Nobuyoshi Araki / Cai Dongdong / Cai Meng / Chen Ronghui / Michael Cherney / Duan Yueheng / Feng Yan / Hisaji Hara & Natsumi Hayashi / Eikoh Hosoe / Huang Rui / Ken Kitano / Koo Bohnchang / Li Jun / Liang Xiu / LiuKe & HuangHuang / Lu Yanpeng / Luo Bonian / Anäis Martane / Mo Yi / Daido Moriyama / Ren Hang / RongRong & inri / Shao Wenhuan / Jin Shien / Wang Wusheng / Timmy Yip / Zhang Jin / Zhang Kechun
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Three Shadows Xiamen Photography Art Centre and +3 Gallery jointly present More Than Meets the Eye, an exhibition that sets sights on the binary opposite imagery of 'far' and 'near' to review +3 Gallery’s growth and development over the last decade since its inception. Featuring 28 renowned artists/groups from China and abroad, this exhibition showcases an array of their iconic works or latest pieces to art collectors and the public from February 11th to April 2nd.
Taking camera angles in Photography as the starting point, with ‘far’ and ‘near’ as imagery in the process of artistic creation, this exhibition explores issues including the artists’ multi-leveled observation, creative methods, and their relationship with subject matters. The narrative is being developed and centred around four dimensions, namely ‘Light and Shadow’, ‘Dialogue on Body’, ‘Oriental Imagery’, and ‘Medium and Beyond’.
/ Light and Shadow /
Photographers make use of images to capture light and shadow that are difficult or even impossible to be detected by the human eye. This practice returns to the original definition of ‘photography’ – writing with light. Ken Kitano’s latest project is a continuation of his fascination with light. After half-a-year-long exposure, the traces of light are tracked, as if the rotation of the earth is engraved on the photos through countless lines. Zhang Jin’s Nano Copper series is derived from his background as a Ph.D. in Chemistry. He uses medical X-rays to develop images of branches, clothes, and other elements in everyday life.
封岩，迷幻的竹子 19，2022，120 x 90 cm，收藏级艺术微喷。
Feng Yan, Psychedelic Bamboo 19, 2022, 120 x 90 cm, Archival inkjet print.
叶锦添，精神DNA，2019，133 x 200 cm，收藏级艺术微喷。
Timmy Yip, Spiritual DNA, 2019, 133 x 200 cm, Archival inkjet print.
/ Dialogue on Body /
‘Far’ and ‘near’ also denote the photographer’s observation and relationship with his/her subject matter, which can be expressed through metaphors or in a straightforward manner. Nobuyoshi Araki’s Erotos #07 is a close-up shot of the inside of a flower. The structure of the stamen is enlarged until it occupies the entire image, creating a unique sense of power with sexual metaphors. Works created by Ren Hang and Liang Xiu are considered direct records depicted by the human body. Ren Hang’s photography embodies an aesthetic of spontaneous snapshots and surreal images, which for example is realised by entangled bodies. In another way, Liang Xiu makes use of her own body to illustrate the intertwining of pain and desire, and the burning emotions become a portrait of her state of being leading a life on the fringe of society.
/ Oriental Imagery /
The oriental imagery is discovered and interpreted through the camera lens of not only Luo Bonian, a photographer of the Republic of China era who pursued pictorial photography in the 1930-40s, but also Koo Bohnchang, a South Korean artist who reshapes the aesthetic of simplicity in line with Confucianism through his long-term project of photographing Joseon white porcelains. Moreover, drawing on the technique of cavalier perspective in ancient Chinese painting, American artist Michael Cherney segments his panoramic work into folded pieces, with each becoming a single part to be preserved in the album, a way that enables dual perspectives of partial and overall viewing at the same time of the work. Other Chinese contemporary photographers develop works in response to the status quo and state of mind. For instance, Zhang Kechun’s latest series The Sky Garden, in which he captures the moment while exotic trees and rocks are being lifted into the air, serves as a symbol that visualises the process of China’s urban construction. Adopting certain digital techniques, the landscape shaped by Shao Wenhuan in the Floating Jade series brings about an ideal world that exists only in the imagination of literati.
汪芜生，故乡—黟县No.1，2004，96 x 76.7 cm，收藏级艺术微喷。
Wang Wusheng, Hometown - Yi County No.1, 2004, 96 x 76.7 cm, Archival inkjet print.
/ Medium and Beyond /
Photography as an established medium seems to speak a designated language, however, this exhibition seeks a breakthrough. Some works on display attempt to challenge the stereotypes and conventional norms of photography, or even provocatively confront the current trend in contemporary art. Following the same creative method in his early career, Mo Yi continues the practice of incorporating the presence of self into the process of artistic creation. The photographs presented in this exhibition are taken with a GoPro device tied to the artist's right foot — a record of his personal experience in art fairs with a clear gesture of provocation to the current art scene. Cai Dongdong formulates what he calls ‘photo-sculpture’ with handwork such as collage-making, folding, and piercing involved in his creative practice. These works go beyond the planar structure, searching for the potential that a single photograph can possibly reach.
神思远，妄觉三多，2022，100 x 77.8 cm，收藏级艺术微喷。
Jin Shien, Overflow of Delusion, 2022, 100 x 77.8 cm, Archival inkjet print.
刘珂&晃晃，曼娘果，2022，105 x 140 cm，收藏级艺术微喷。
LiuKe & HuangHuang, Manniang Fruit, 2022, 105 x 140 cm, Archival inkjet print.
From the perspective of viewing, the binary opposite imagery of ‘far’ and ‘near’ is more than the difference between distance and vision; the set is not only an important indicator of visual presentation but also the internal logic of photograph making. ‘Far’ and ‘near’ can also lead to divergent viewing experiences, such as intuitive shock and alienation. In this exhibition, we hope to transcend the opposite relationship between 'far' and 'near', so as to inspire the viewer to exceed the visual threshold and reach the inner world behind the material appearance — those that are often overlooked will eventually be discovered through the 'eye' of the camera lens.
编辑：樊金琪
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