集美·阿尔勒国际摄影季｜无界影像：王欢——被介入的物件

距离2016集美·阿尔勒国际摄影季开幕式还有9天

  “2016 集美 · 阿尔勒国际摄影季”将于 11 月 20 日开幕，在为期一个月的展期之中，呈现共计30多个展览版块，涵盖近2000件艺术作品，覆盖摄影作为当代艺术一个重要组成部分的方方面面。“集美 · 阿尔勒国际摄影季”将陆续推出展览单元简介。

2016集美·阿尔勒国际摄影季无界影像单元邀请策展人朱津京，何伊宁，王欢，金酉鸣，彭嫣菡，沈宸与张离，将在电影、虚构叙事、被介入的物件、宇宙空间、建筑等不同面向上展开摄影的多元跨界可能。

策展人：王欢

参展艺术家：陈维、蒋志、孔维子童、苏育贤、杨沛铿、杨嘉茜、郑龙一海（排名按姓名首字母顺序）

以摄影截取物件的形象，希冀以此能够暗示什么，仿佛人们都心照不宣地把图像和物体维系在了一个可交换性的原则下，然而，我们是否应该首先警惕物件本身造型的美感以及它们自身潜在的意义在图像化以后，对于作品借物件所提出问题的有效性？在这个或转译或纯化的连续动作里，是否把物体原有的潜能转送出来了？又是否在这一连串的动作中缺失了什么？为了规避（图像可以被当做物体来等同对待）这一既有的预设，我们在此生成一个的语境作为前提，从而，将关注点投向一个边缘问题，即，当摄影作用于物件发生图像化之前或者之后，原始的物件被其它“行动”所介入时，此刻引发的另一种思考。

拉图尔（Bruno Latour）在《我们从未现代过》中借用“准客体”的概念来谈及主客关系，主体与客体间既不是康德以前的主体受制于客体，也不是康德之后的主体中心论，“准客体”就像是一种中间物，承担着相互渗透的作用力。于是，“（某种方式）介入物件”也便成为了一个中间地带。而本次展览所展出艺术家的实践在一定程度上都是基于介入物件来解决着各式繁杂的议题。“主体介入物件”，在面向物为中心的讨论中，它们是重要的又是不重要的，它们自身已在中心与边缘的转换中脱离了原本的语境，在剧场、行为、空间、叙事等不同维度的“介入”下发生了另一层转向。

 

被包裹的雕像，2015，陈维

Wrapped Statue, 2015, Chen Wei

陈维以他一贯使用的布景方式来重置物件结构，并将物件推至剧场的行动中来完成新的论述。而在本次展览中则消解了陈维的系列，我们提出一种趋近于“工作方法”的展示，不同作品或以包含剧场行动的图像出现，或以切断“图像化”的物件本体临显。除了艺术家作品自身的论述外，“打破剧场神话”也更多地为我们引向被介入物件自身的能指。

 
情书 2014，蒋志

love letters 2014, Jiang Zhi

众所周知蒋志通过拍摄点燃的花朵“写”了一封送给所有人的《情书》，花并非有情，火也亦非语言，而“烧 花”这个行动，拟作一种“准客体”变成了有效的情感寄托，情书在这个浪漫的，悲情的，被迫的（甚至许多形容词加持的）行动中变得多情。

并置，2015，孔维子童

Juxtaposition, 2015, Weizitong Kong

孔维子童在作品《并置》中通过自制背景与镜子、金属以及塑料等物质来完成空间构建，再借由一种完全取消透视关系、保持绝对二维性的摄影来呈现出几近抽象的图形和颜色，在这个没有体积只有面积的世界里，物件自身的物性甚至消失了。从而，一种构建的完成引发了另一层的消解，物件成为连结它们之间的枢纽。

花山墙，录像，2013，苏育贤

Hua-Shan-Qiang, Video, 2013, SU Yu Hsien

苏育贤的《花山墙》以纸扎作为一种形象的投射，在这部由多帧静止照片所组成的录像中，过分关注纸扎或许只会将人们的目光引向一种文化属性上，而激活物件（纸扎）的则是叙事的闯入（旁白以及剧本）。在它们共同的密谋下，一个以幽灵般的躯体回应往常人们认知的世界生成了，被激活的物件与激活行动本身则在一种有些滑稽的转折中将人们的目光重新引向了艺术家在个体或历史，政治或国家中的种种明指和暗指。

扭拧（上环），照片，植物，2015，杨沛铿

The Enigma (Sheung Wan), Photo,  Plant, 2015, Trevor Yeung

（作品由艺术家、Collection of Alfred Cheong & Kwong Yee Leong及刺点画廊提供）

在杨沛铿本次展出中，他将植物直接摆置在照片前面并对画面内容形成一层“干扰”，就此影响人们对于图像以及图像与遮挡物作为整体的观看，物件在一种既中心又边缘的位置互换中，诱导着自发性观看行为的发生。

清醒生活的平行模式，“鸡蛋,线”，2014，杨嘉茜

The Horizontal Mode of A Waking Life, “Eggs, threads”, 2014, JiaXi Yang

杨嘉茜的作品《清醒生活的平行模式》是作者把日常琐碎的细小的物件和食物提出置于新的空间中，以此来感知习惯性存在的方式。而如何感知习惯性的存在？杨嘉茜反向地选择了制造一种陌生来予以回应，陌生的空间，陌生的视觉…或许，只有在最陌生的环境下，那些习以为常的经验才“哧”的一声引起了我们的注意。

e 频道，2016，郑龙一海

CHANNEL-e,2016, Dragon Zheng

郑龙一海的《e 频道》在本次展览的语境中，首先被提取出来的是他所关注对象的特殊性——“破碎的屏幕”，屏幕作为一个如结界般存在于人们现实生活和虚拟世界的中间物，也是进一步扩张了我们对于物件本身（所能承载的）既有的想象，而郑龙一海则通过破碎屏幕的内外世界来关照着他所关心的有关于后网络的诸议题。

“主体介入物件”，在面向物为中心的讨论中，它们是重要的又是不重要的，它们自身已在中心与边缘的转换中脱离了原本的语境，在剧场、行为、空间、叙事等不同维度的“介入”下发生了另一层转向。

关于策展人： 

王欢,写作者,编辑,新锐摄影奖召集人（2014-2016）,现寄居北京。工作主要围绕摄影及其相关媒介的写作展开。在实践中尝试一种去文体化的写作，一种整体写作。

关于艺术家：

陈维

1980年出生于浙江，他摄影中的物件大多是手工制作，以电影和剧场的方式搭建、摆布拍摄，再现了介于真实与虚构，世界和梦境之间一层特殊的维度。目前居住和工作在北京。

蒋志

1971年生于湖南沅江，1995年毕业于中国美术学院，目前居住和工作在深圳和北京。

苏育贤

1982年出生于台南，目前居住和工作在台南。“我不知道自己在干嘛，或许未来会清楚一点（也可能还是不清楚，所以不要去想就不成问题了）。”

孔维子童

1989年出生。2012年毕业于北京电影学院电影摄影系，就读于纽约视觉艺术学院摄影，视频与相关媒体专业，从事以摄影，装置及绘画为媒介的视觉艺术创作，目前居住和工作在纽约。

杨沛铿

1988年出生于广东东莞。2010年毕业于香港浸会大学视觉艺术学院。自2010年进行个人创作起，杨沛铿一直使用摄影和装置来探索植物生态，园艺等对于人与人之间的隐喻关系，目前居住和工作在香港。

杨嘉茜

1989年出生于上海，2013年毕业于纽约大学艺术管理系获得硕士学位，并于纽约国际摄影中心学习，她曾获得PDN2015年度摄影奖,LensCulture摄影新锐2015等奖项，目前居住和工作在纽约。

郑龙一海

1988出生于广东阳江,2012毕业于广州美术学院油画系,现居住和工作于广州。

Intruded Objects

CURATOR:WangHuan

ARTISTS:Chen Wei，Jiang Zhi，Weizitong Kong，SU Yu Hsien，Trevor Yeugn，JiaXi Yang，Dragon Zheng

Photography, by capturing images of objects, intends to somehow imply that people tacitly see images and objects as interchangeable things. However, should we be alert to the sense of beauty embedded in the shape of the object and the validity of the question raised behind the visualized representation of the object? During the process of interpretation, or purification, has the original potency of the object been conveyed? Has anything gone missing during the process? To evade the preset premise (that object and image of the object can be treated equally), we therefore must shift our focal point to a somewhat marginalized issue: the intrusion of photography (before and after) upon the object and new questions that will arise.

Michel Serres resorted to the notion of “quasi-objects” to elaborate the relationship between the subject and the object, proposing that the relation was neither pre-Kantian (subject under the control of object) nor post-Kantian (subject-centrism). Rather, the intermediary between the subject and object makes them possible to interpenetrate. Drawing on this notion, “intrusion upon objects” also becomes a kind of intermediary. The artists featured in this exhibition resort to “intrusion” to tackle various issues. The “intrusion” by “subjects” upon “objects” puts the objects in the central position. They are important and unimportant at the same time as they are detached from their original contexts during the shift of positions between the center and the periphery.

Very often, CHEN Wei’s work narrates through relocating objects in theatrical sceneries. However, this exhibition has deconstructed his usual way of working and proposed an alternative presentation, which is more like demonstrating his “methodology”. Various works are shown either in the form of visualization of his theatre, or of the objects per se that suspends his original process of visualization. Apart from what the artist has told in his works, this exhibition also leads us to the intervened objects as the signifiers by “breaking the myth of the theatre”.

It has been widely known that by photographing burning flowers, JIANG Zhi has written a “love letter” that is dedicated to everyone, in which flowers does not contain love messages, neither fire works as a language. But the act of “burning flowers” somehow turns into a “quasi-object” that substitutes emotional feelings. And in this romantic, sad, forced (with even more adjectives ahead) action, the lover letter is becoming more affectionate.

In the work “ Juxtaposition”, KONG Weizitong has created a world with his self-made background, mirror, metal ball and plastics. Through photographing in an absolutely two-dimensional way, he abandons the perspectives and presents purely abstract shapes and colours. In a world that does not count by volume but by area, the physical materiality of these objects vanishes. By then, the object connects the reality and its visual representation in which the construction of the later deconstructs the earlier.

In SU Yu Hsien’s still-image video “Hua-Shan-Qiang”, the paper dolls are only projections of the figures. Too much attention of the paper burning ritual will only lead the audience to take it culturally. But what does activate the objects (papers dolls) is the invasion of narrations (voice over and script). Together, they have conspired to produce a phantom-like body to respond to a world that has been commonly known. While in a comical turn, the activated objects and the activation per se have redirected the audience’s attention to numerous individual or historical, political or national meanings and metaphors that the artist wants to evoke.

This time, Trevor YEUNG puts plants directly in front of his pictures and builds up a barrier, which interferes not only with viewing the works, but also with viewing the works and the obstacles as a whole. The object’s alternation of being at the center and margin attracts the audience to choose a perspective on their own.

In “The Horizontal Mode of A Waking Life”, YANG Jiaqian relocates those little common objects and food in a new context to reflect on what we are accustomed to. To achieve this, YANG chooses a reversed way of defamiliarization, like creating an unfamiliar space, an unfamiliar visual effect… Maybe, it is only in an unfamiliar environment that those accustomed experiences could catch our attention with an alert sound.

What Dragon ZHENG’s work “CHANNEL-e” has firstly demonstrated in this exhibition is his unique concern of the broken screen. Screen, like an intermediate between the real and virtual life, has further expended our imagination that an object could ever load. By showing the inner and outside world of a broken screen, ZHENG aims to reflect on the various issues of the Post Internet Age.

CURATOR

Wang Huan

Wang Huan is a writer and editor, the convener of New Talent award（2014-2016）,currently lives in Beijing, China.

ARTISTS

Chen Wei

Chen Wei (b. 1980 Zhejiang, China) is known for his photographs of carefully handcrafted objects and architectures, composed to a meticulously staged mise-en-scène that blurs the boundaries between realities and cinema, landscapes and dreamscapes.

Jiang Zhi

Jiang Zhi (b.1971 Yuanjiang, China) Graduated from China Academy of Fine Arts in 1995.He currently lives and works in Beijing and Shenzhen, China.

Weizitong Kong

Weizitong Kong is a New York based artist whose work focuses on photography, painting and installation. He graduated from Beijing Film Academy- Department of Cinematography in 2012. Now he is pursuing his master’s degree in Photography, Video & Related Media Department at School of Visual Arts.

SU Yu Hsien

Born in 1982 in Tainan, Taiwan, I currently live in Tainan. I’m not exactly sure what I’m doing at this point. Maybe I’ll figure it out in the future (it’s likely I won’t, so there should be no problem as long as I don’t think about it.)

Trevor Yeung

Trevor Yeung (b. 1988, Guangdong, China) graduated from the Academy of Visual Arts at Hong Kong Baptist University in 2010. Yeung's practice uses botanic ecology, horticulture, photography and installations as metaphors that reference the emancipation of everyday aspirations towards human relationships. He currently lives and works in Hong Kong.

JiaXi Yang

JiaXi Yang (b. 1988, Shanghai, China) graduated from the New York University with a MA in Visual Arts Administration, She was awarded the winner of PDN Photo Annual 2015, the winner of LensCulture Emerging Talents 2015，She currently lives and works in New York. 

Dragon Zheng

Dragon Zheng（b. 1988, Guangdong, China）is An emerging artist graduated from Guangzhou Academy of Fine Arts, major in Oil Painting. He currently lives and works in Guang Zhou.

展览地点

主场馆：集美新城市民广场展览馆、三影堂厦门摄影艺术中心、联动机构与空间

关于集美

集美是镶嵌在厦门经济特区的一颗璀璨明珠，是被誉为“华侨旗帜、民族光辉”的爱国侨领陈嘉庚先生的故乡，这里经济发达、人文荟萃、环境优美、生态宜居，是中国著名的侨乡和厦门市重要的产业区、文教区、新城区，嘉庚先生创办的集美学村闻名遐迩，“一精神三文化”（嘉庚精神、华侨文化、闽南文化、学村文化）的文化特质独具魅力。当前，集美区正以“创新、协调、绿色、开放、共享”五大发展理念为指导，深入实施人文集美发展战略，打造“产城学人”深度融合的区域创新中心。灵玲国际马戏城、嘉庚剧院、诚毅科技探索中心、厦门老院子景区等一批高端文化产业项目串珠成线，城市文化演艺中心规模初显，海峡两岸龙舟文化节、厦门（集美）草莓音乐节、集美新城荧光夜跑等高规格品牌活动连番上演、精彩纷呈，集美的人文魅力日益彰显。