集美·阿尔勒｜特别活动：蜷川実花×後藤繁雄对谈

距离2016集美·阿尔勒国际摄影季开幕式还有2天

此次三影堂厦门摄影艺术中心十分荣幸在“2016集美・阿尔勒国际摄影季”期间，同时举办《蜷川実花摄影展》，在展览开幕日，艺术家蜷川実花与策展人後藤繁雄将亲临现场，带来对谈。

开幕式及对谈：蜷川実花×後藤繁雄对谈

对谈时间：11月21日下午4:00-6:00

1990年代后，所谓“女孩摄影”的以私人视角反映日常的摄影方式，成为当时日本极具影响力的写真表现形式。蜷川実花虽被称为引领这一潮流的女性艺术家中的代表人物，然而她远远颠覆了这种概念性束缚，极致追求作为自我表达的摄影表现方式。一方面，她的作品堂堂正正、周到彻底地向世人昭示着表现者“蜷川実花”的存在，另一方面，在日本国内，蜷川俨然已超越摄影界，成为国民人气艺术家。近年，她在亚洲其他地区及欧洲也相继开展丰富多彩的创作活动。

与世俗性写真文化相结合，并始终贯彻自我表现，这就是蜷川実花坚毅不屈的生活方式。且这种生活方式并未仅仅被当作一个时代的象征而被消费掉，反之，它酝酿出艺术家个人顽强的神话性，催生出以年轻人为主的众多信徒。她是一位坚信未来要由自己开创的艺术家，不断进化已成为常态，这种状态包含了一种混沌中的强悍，以至令其作品的观者不禁战栗。 在数码照片普及的当下，本展中拍摄花的一系列代表作，简直就是对那种“无论谁拍什么都大同小异”、带有业余爱好趣味的摄影倾向的莞尔一笑。跨越时代、超越国境，将世间最为普遍存在的花作为拍摄对象，并使之成为自己的代名词，可以说这充分证明了蜷川実花业已打破摄影家的框架，是一位表现者，一位真正的艺术家。

“蜷川実花”的存在，看上去甚至犹如通过摄影试图全身心地领悟生存真谛的修行者。她仿佛正以自身感受到的语言来表现禅学之“生死事大”。希望借由本展，我们可以进一步走进并了解“蜷川実花”。能够举办这样的展览，我们表示由衷的喜悦。

最后，诚挚感谢为本展的实现而不辞辛劳、给予鼎力支持的各界人士。

三影堂北京・厦门摄影艺术中心创始人

荣荣&映里

蜷川実花

摄影家、电影导演。生于东京。就读多摩美术大学美术学部平面设计专业时，既获得第7届一坪展大奖、第13届佳能写真新世纪优秀奖。此后相继夺得第9届柯尼卡写真奖励奖、第26届木村伊兵卫写真奖、大原美术馆奖（VOCA展 2006）等众多摄影类奖项。至今已出版近90本摄影书。2008年，在东京Opera City美术馆等日本四家美术馆举办大型巡回回顾展“蜷川実花展—地上之花、天上之色—”，累计动员参观者18万人。此外，蜷川出任导演的第一部长篇电影《恶女花魁》（2007年上映），作为特别招待作品正式受邀参展第57届柏林国际电影节和第31届香港国际电影节，在日本海内外博得高度评价。2012年，蜷川导演的第二部电影作品《恶女罗曼死》发布，该片赢得2012年度新藤兼人奖。2014年，鉴于其在文化艺术领域的博闻广识，被委任为2020年东京奥运会及残奥会组委会理事。2016年3月19日～5月8日于台北当代艺术馆举办的《蜷川実花展》大获好评，入场人数达到约13万。

蜷川実花

後藤繁雄

後藤繁雄

1954年生。编辑、策展人、G/P gallery总监、京都造型艺术大学教授。曾编辑过音乐家坂本龙一、摄影家荒木经惟、蜷川实花、筱山纪信等人的艺术书籍及摄影集等。90年代开始致力于推动日本现代摄影的发展。曾策划过Miwa yanagi、泽田知子等人的展览（麒麟KPO大厦、大阪），也曾企划过荒木经惟和南·戈尔丁的联展《TOKYO LOVE》。另编著了包括Honma takashi(ホンマタカシ)等90年代东京摄影家的摄影集。2008年以后，以G/P gallery总监的身份开始企划“新东京摄影”项目。并将横田大輔、細倉真弓、小山泰介、川島崇志等人通过Paris Photo（2008, 2009）、Useen Photo Fair （2012-2016）、Photo London（2015）等活动推向世界舞台。主要策划过的展览有「anima on photo ― hidden sense of Japanse photography」（Amsterdam、2014）、「hyper materiality on photo」（东京、伦敦、2015）、“爱知三年展2016”的“trancedimension-图像的未来形”专题展（愛知、2016）等。

蜷川実花摄影展

开幕日期：11月21日

主办：三影堂厦门摄影艺术中心

总策划：荣荣&映里

协办：Lucky Star Co., Ltd.、小山登美夫画廊、+3画廊

策展人：後藤繁雄

项目总监：张煦

支持：全日空航空公司

蜷川実花：生之光明与黑暗

蜷川実花，一位行走于当今日本最前沿的摄影艺术家。她以“消费”这一由人类欲望创造出的各种幻象为拍摄对象，例如在拍摄偶像、时尚这类“消费”的同时， 并未停留在平铺直叙的拍摄记录，而是加以夸张、华丽的演释，进一步放大人们的虚梦。正因如此才是最前沿的。虽然看上去极其流于表面、流行，然而那就是人们切实的梦想。蜷川在肯定这一面的同时，于其表现中又融入了黑暗与毒性。这一点非常重要。生之矛盾。她的摄影作品一贯是表里如一的。

本次展出的并未包括偶像、时尚方面的作品，而是以其代表性的花为主，甄选最能够理解蜷川摄影作品秘密和本质的作品。至今为止，蜷川実花都是按主题来发表作品。而本次展出作品则首次横跨9个主题各异的系列，是专为中国大陆地区精选的佳作。

期望大家能够尽情体验蜷川実花的真实与秘密。

Mika Ninagawa, Light of, 2015, C-print © mika ninagawa, Courtesy of TOMIO KOYAMA GALLERY and Three Shadows +3Gallery

Mika Ninagawa, noir, 2010, C-print © mika ninagawa, Courtesy of TOMIO KOYAMA GALLERY and Three Shadows +3Gallery

Mika Ninagawa, PLANT A TREE, 2011, C-print © mika ninagawa, Courtesy of TOMIO KOYAMA GALLERY and Three Shadows +3Gallery

Mika Ninagawa, Acid Bloom, 2003, C-print © mika ninagawa, Courtesy of TOMIO KOYAMA GALLERY and Three Shadows +3Gallery

Three Shadows Xiamen Photography Art Centre is proud to present the Mika Ninagawa Solo Exhibition at the 2016 Jimei x Arles International Photo Festival. Towards the end of the 1990s, “girly photo”—an approach to photography with a focus on daily lives, that originates from personal perspectives—emerged as a highly influential format in Japan. Mika Ninagawa was considered a key figure among the female artists who led this wave. However, at the same time, she subverted the restraints of ordinary concepts, and pursued a photographic expression which sought the maximization of self-expression. On the one hand, her works declared onto the world, squarely, comprehensively, and thoroughly, the existence of “Mika Ninagawa”, but on the other, she has transcended the realm of photography in Japan, and has become an artist who enjoys public adoration. In recent years, she has engaged in a variety of creative activities in other parts of Asia and in Europe.

The combination of the secular and worldly culture of portrait photography, and a vigorous pursuit of self-expression throughout—this gave rise to the resilience in Mika Ninagawa’s style of existence. Not only has it survived consumption as merely the symbol of an era, it gave birth to a legend of the artist’s individual strength, and hordes of young disciples. She is an artist with a firm belief that the future must be cultivated by oneself. Incessant evolution has become an ordinary state of affairs, which encapsulates a force within chaos, which sends chills down the spines of those in front of her work. In these days of popularized digital photography, her series on flowers, as can be seen in this exhibition, is almost an amused smile directed toward those photographic tendencies of amateur taste, which are “more or less the same, no matter who photographed what.” She took flowers of the commonest presence, which go beyond time and cut across borders, as the subject of her work and her nom de guerre. She has shattered the frames defining a photographer. She is an expresser, a real artist.

The existence of “Mika Ninagawa” appears almost like that of a spiritual practitioner who attempts to obtain total enlightenment on the truth of life through photography. She seemingly illustrates the Zen idea of the “urgency of life and death” via a language of personal senses. It is our deepest pleasure to present this exhibition, which we hope would contribute to the further understanding of this “Mika Ninagawa.”

Finally, our most sincere thanks to all those who provided their unwavering support.

Three Shadows Photography Art Centre—Beijing/Xiamen

Founders: RongRong&inri

Jimei × Arles International Photo Fesitival | Mika Ninagawa Solo Exhibition

Mika Ninagawa Solo Exhibition

Organizer: Three Shadows Xiamen Photography Art Centre

Directors: RongRong&inri

Co-organizers: Lucky Star Co., Ltd., Tomio Koyama Gallery, +3 Gallery

Curator: Shigeo Goto

Project Manager: Zhang Xu

Support：All Nippon Airways Co., Ltd.

Life of Light and Dark

Mika Ninagawa has emerged as one of the most cutting-edge photographic artists in contemporary Japan. She photographs these types of “consumption” such as models and fashion, which are the various mirages produced by human desire. However her works do not stall out at simple, straightforward photographic documentation. Rather it undergoes exaggeratedly gorgeous direction, in order to magnify people's dreams. It's precisely this that makes it so cutting-edge. Although it may appear quite restricted to surface appearance or fashion, that is the reality of people's dreams and desires. While affirming this aspect, Mika Ninagawa simultaneously interweaves darkness and toxicity within its presentation. This is extremely important. Her photographic works have always presented the contradictions in life.

The works presented in this exhibition do not feature models and fashion, but rather primarily focus on flowers and selected works which are most representative of the mystery and essence of her art. Furthermore, this exhibition features photographs ranging from nine different series for the first time, which have been specially selected for mainland China.

We earnestly hope that everyone will be able to enjoy experiencing the truth and secrets of Mika Ninagawa's photography.

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