集美·阿尔勒国际摄影季 | 中国律动：幻痛诊所
“2017 集美 · 阿尔勒国际摄影季”将于 11 月 25日开幕，呈现共计30多个展览版块，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·阿尔勒国际摄影季中国律动单元邀请策展人杜曦云，贺婧，沈宸，鲁小本，将在技术革新的时代，探索影像生产和传播的新方式。
海报图片 / Conception of poster：马克思·谢尔，“证据”，从一位护士曾拥有的德国明信片上裁切的图像，1920-30年代,《地图与土地》系列，图片由艺术家提供 / Max Sher, "Evidence", cutouts from German postcards, owned by a nurse, 1920-30s, Map and territory series, courtesy of the artist
中国律动：幻痛诊所
策展人：沈宸
艺术家：藤井良雄，马克思·谢尔，谢达·索莱马尼，许哲瑜，沈凌昊，王拓
“幻肢”（Phantom limb）这一概念由美国神经医学家塞拉斯·威尔·米切尔（Silas Weir Mitchell）于1871年提出，是指某些失去器官的人类所产生的一种幻觉，这些人感觉失去的四肢仍旧附着在躯干上、并和身体的其他部分一起移动。由此在幻肢上产生的疼痛感称为“幻痛”（Phantom pain）。这种疼痛既是生理的亦是心理的。
展览“幻痛诊所”将“幻痛”作为隐喻，以“缺失／破损-伤痛-观察-介入”作为基本原型，针对不同的“幻痛”类别和诱发机制展开观察或尝试治疗。“幻痛”的“病理”可能是心因性的，却也是组织部分缺失后机体自我产生的应激机制。肉体的残缺明显易查，而人格的碎裂、记忆的丧失或篡改、社会结构的破损却不那么容易知觉。
在此，艺术家们化身为诊所的“医生”，对不同的“幻痛”进行了各自的观察并加以揭示：
藤井良雄的《Hiroshima Graph – Rabbits Abandon Their Children》将目光聚焦在了广岛县的大久野岛：在距离广岛核爆的72年后，这座以“兔子岛”闻名的地方已是一片祥和，然而另一段在二战时制造毒气的历史却被人有意无意地掩埋。作品在当下温馨的场景和有关毒气制造的文字、图片档案资料中不断回闪，以此试图讲述一段几被遗忘的罪恶历史；
许哲瑜的《1970年11月11日》受到一则台湾1970年于中山公园塑立孙中山铜像的老新闻启发，通过实地拍摄的场景、虚构的动画形象、以及被抹除了”国父“字样的原始新闻稿，尝试还原一段他未曾经历过的鬼魅时代；
沈凌昊在《心中的景致-历史的剧场》中拍摄了江南造船厂和蒋经国旧居的建筑内景，并将其制作成感光图像置于黑匣中——那些曾经被占领的工厂成为占领者的展馆，而名流出没的别墅在一夜之间被强行拆毁，如同一个迷失方向的剧场, 演绎着一系列自相矛盾的剧本；
马克思·谢尔的《地图与领土》以二战时期1941-1944 年纳粹对列宁格勒进行围城为背景。作品粉碎了简单化的历史讲述并试图构建一个交织了事实与虚构迷宫的博物馆。作品还对苏区在敌人进行围城的情况下，在城中禁止私人拍照和图像制作、占有等情况进行了调查。艺术家以1941年冬天被逮捕的6人摄影师团体“人民之眼”、非法持有德国风景明信片的护士安东尼娜·拉罗娃、书写盲文日记的彼得·戈尔恰科夫等人的遭遇作为原型，在作品中扮演了“间谍”的角色。通过虚拟了身份的肖像、重新拍摄的历史建筑、饱含秘密的图表与盲文，以及碎裂的明信片图像等信息，艺术家对真实和伪造的历史展开了追索和质疑；
在《民族颂歌》中，美国艺术家谢达·索莱马尼以其伊朗裔的身份，将焦点投注到那些因反抗暴力和侵害而遭受“被消失”命运的伊朗女性身上。通过挪用及拼贴残存于网络上的低分辨率肖像，艺术家对这段极端的历史和现实进行了控诉；
王拓的《奠飨赋》以曾经禁绝于大陆汉语世界的小说《梁太太的三个女儿》为蓝本，通过虚拟的两个女性形象探讨了人们无法阅读或接近某些被有意尘封文献时的尴尬处境，以此探讨历史事典所留存的却又无法被知晓的创伤。
在这些作品中，艺术家或多或少都对几乎被遗忘或丢失的图像、文本、情节等进行了挪用。这些碎裂的图像和文本如幽灵（phantom）般潜藏在世界的某个角落抑或游移于网络之中。它们曾指向歧义的想象，勾引链接的可能，激发叙事的幻觉，却难以被完整。艺术家企图通过还原和重新植入上下文（recontextualize）的方式对它们加以锚定，并由此对不同的“幻痛”加以探究。
“幻痛”或许并不致死，但却不断通过“痛楚”提醒着曾经存在的”缺失“，以及残余主体的”存在“。“幻痛“在很大程度上只能被暂时地缓和或中止，却难以被绝对地治愈。但至少，直面那些残缺，是我们通向理解和治疗“幻痛”的第一步。
藤井良雄，《拼贴 #2，Yasuma Fujimoto的肖像和他制造毒气的工程手稿》，《Hiroshima Graph - Rabbits Abandon Their Children》系列，2017年，图片由艺术家提供
Yoshikatsu Fujii, Collage #2, The portrait of Yasuma Fujimoto with the draft of the poison gas manufacturing process which he did, Hiroshima Graph - Rabbits abandon their children, 2017, courtesy of the artist
沈凌昊，《心中的景致-历史的剧场》，2015，混合媒介装置，图片由艺术家提供
Shen Linghao, The Scenery in Heart-Theater of History, 2015, Composite Media Installation, courtesy of the artist
許哲瑜，《1970年11月11日》，單頻道錄像，8'01''，2012，图片由艺术家提供
Hsu Che-Yu, November 11th, 1970, single channel video, 2012, courtesy of the artist
王拓，《奠飨赋》，单频道4k影像，27'26''，2016，图片由艺术家提供
Wang Tuo, Meditation on Disappointing Reading, 2016, Single channel 4k video, 27'26'', courtesy of the artist
马克思·谢尔，“证据”，裁剪自战前旅游指南书中照片的图注，印刷物，1938年，图片由艺术家提供
Max Sher, "Evidence", captions for photographs cut out from a pre-war travel guide, printed matter, 1938, courtesy of the artist
谢达·索莱马尼(Sheida Soleimani), Reyhaneh, Archival pigment print, 24 x 17 inches, 2015, courtesy of the artist
China Pulse: Phantom Pain Clinic
Curator: Shen Chen
Artists: Yoshikatsu Fujii, Max Sher, Sheida Soleimani, Hsu Che-yu, Shen Linghao, Wang Tuo
Phantom limb syndrome, coined in 1871 by the American neurologist Silas Weir Mitchell, refers to the sensation of an amputated or missing limb still being attached – the experience of pain, also called “phantom pain”, in an absent limb or a portion of a limb that is no longer there. Phantom pain is physical, yet psychological.
Applying the basic prototype of “Loss/Damage - Pain - Observation - Intervention”, the exhibition Phantom Pain Clinic takes “phantom pain” as a metaphor, surveying the types of different “phantom pains” and attempting to find a cure. The origin of phantom pain can be psychogenic but also an intrinsic stress response to the loss of the organs. It is easy to recognize the loss of a body part, but harder to come to a shattered personality, the loss and erasure of memories, and the damage or division to the social structures.
In the exhibition, artists are also doctors. They uncover and observe different kinds of phantom pains.
In Hiroshima Graph – Rabbits Abandon Their Children, Yoshikatsu Fujii put his focus on Okunoshima, Hiroshima Prefecture. 72 years after World War II. Okunoshima, also known as “Rabbit Island,” is now a peaceful and enjoyable resort destination, but its years under the name “Poison Gas Island” during World War II is rest just under the surface. The works -- flashing back to ordinary island scenes, weaving in the archival images and text as poison gas production evidence -- try to pass on the truth about an almost forgotten history of suffering.
Hsu Che-Yu’s November 11th, 1970 was d 47 32516 47 15288 0 0 2299 0 0:00:14 0:00:06 0:00:08 3004erived from an old news story in 1970 of setting a statue of Sun Yet-sen (Sun Zhongshan) in Zhongshan park in Taiwan. With on-site image scenes, virtually animated figures and a subtly altered report from the time, Hsu tries to conjure a period of ghost-like history he didn’t experience.
In Scenery in Heart - Theater of History, Shen Linghao presents the interior of Jiangnan Shipyard and Chiang Ching-kuo’s former residence, which were converted into light-sensitive images in dark boxes. The factory that was once seized by invaders became their exhibition pavilion once again; a villa that was once frequented by celebrities was leveled to ground overnight. It is like a theater act within a hall of mirrors, in which various self-conflicted dramas echo off one another.
The background of Max Sher’s Map and Territory is based on the history of Nazi Germany’s siege of Leningrad from 1941 to 1944. It shatters simplistic historical discourses written by the State to construct a sort of a speculative museum out of a deliberately labyrinthine mixture of "fact" and "fiction". It also investigates the Soviet political regime in a defensive position, which led to an almost total ban on non-authorized image-making and even the possession of images in the besieged city. Taking the “counter-revolutionary” photographers' group People’s Eye; nurse Antonina Lavrova, who “illegally” possessed German landscape postcards; and blind person Pyotr Gorchakov, who wrote his diary in braille, as prototypes, the artist plays the role of a spy in the project. Through these fictional profiles, re-shot surroundings, “secret” graphs, braille diary, as well as cut-out postcards, Sher unfolds substituted meanings and challenges a piece of real yet falsified history.
In National Anthem, Sheida Soleimani, as Iranian-American, pays attention to those forcedly disappeared Iranian females who were executed because they resisted violence. She appropriates low-resolution online profiles, cultural symbols, and signifiers to forge a viewing the Middle East from an outside lens and point a finger at the guilt in the past and the present
Wang Tuo’s Meditation on Disappointing Reading is inspired by the novel “Three Daughters of Madame Liang” (1969), which was not widely accepted in China. Through reproducing and creating two female figures, the artist discusses the discomfort of leaving hidden documents stay as they are. Time is like a filter over a screen, showing us only the trauma left by historical events without letting us know the causes
In the above works, the artists have appropriated more or less forgotten images, texts and plots. They are like phantoms hovering through the dark recesses of the physical and digital worlds. They used to point to the ambiguous imagination, stir up interlinking possibilities and trigger narrative illusions that speak to that which can never be fully reconstructed. The artists attempted to restore or recontextualize the materials and to anchor them, so as to explore these phantom pains.
Phantom pain does not lead to death necessarily, but reminds the afflicted of the absence of what was once there and what it means to perseveres through anguish. Phantom pain can be mitigated or suspended, but it is difficult to cure it completely. Facing up to it, nevertheless, may be the first step towards healing and understanding.
Author of text: Shen Chen
关于策展人：
沈宸，三影堂摄影艺术中心的策展人，2016集美·阿尔勒国际摄影季策展人及发现奖提名人，2016卡塞尔摄影书节最佳摄影书奖提名人。其先后在北京大学、香港中文大学、美国匡溪艺术学院学习并获得国际政治法学学士、新媒体理学硕士及摄影纯艺术硕士学位。参与策展并执行的项目包括“2015年度第七届三影堂摄影奖作品展”（2015）、“第二届三影堂实验影像开放展”（2015）、“论方法——康迪达•赫弗个展”（2015）、“中国摄影：二十世纪以来”（2015）、“身形剧本”（2016）、“2016年度第八届三影堂摄影奖作品展”（2016）、“卡塞尔摄影书节 &Éditions Bessard | 北京特别展”（2016）、”父与子 - 格雷格瓦·科尔加诺个展”(2016)、“上海2002 - 贝蒂娜·蕾姆斯 & 塞尔日·布哈姆利”（2016）、“山上的雅努斯——朱岚清个展”（2016）、“瓦莱：日常图景——苏杰浩个展”（2016）、“卡塔姿娜·科兹拉个展”（2016）、“2017年第九届三影堂摄影奖展览”、“陈象：蜕变——瓦莱丽·蓓琳摄影展”，“中国当代摄影40年（1976-2017）”（2017）等。
About the curator:
Born and raised in China, Chen Shen is a curatorat Three Shadows Photography Art Centre, a nominator of Discovery Award for 2016 Jimei × Arles International Photo Festival, and a nominator of Kassel Photobook Award 2016. He holds an MFA in photography from Cranbrook Academy of Art, Michigan; an M.Sc. in New Media from The Chinese University of Hong Kong, Hong Kong; and a B.A. in International Politics from Peking University, Beijing. His curated exhibitions include “The 2015 7th Three Shadows Photography Award Exhibition”, “The 2nd Three Shadows Experimental Image Open Exhibition”, “On Methods – Solo Exhibition by Candida Höfer”, “Chinese Photography: Twentieth Century and Beyond”, “2016 The 8th Three Shadows Photography Award Exhibition”, “Kassel Fotobook Festival & Éditions Bessard | Beijing”, “Shanghai 2002 - Bettina Rheims & SergeBramly”, “Father and Son - Solo Exhibition by Grégoire Korganow”, “Janus on the Mountains - Solo Exhibition by Lanqing Zhu”, “Katarzyna Kozyra Solo Exhibition”, “2017 the 9th Three Shadows Photography Award Exhibition”, “Les meta-clichés de Valérie Belin”, “40 Years of Chinese Contemporary Photography (2016-2017)”.
展览地点：集美新城市民广场展览馆
Location: Jimei Citizen Center, Xiamen
第三届“集美·阿尔勒国际摄影季”
2017年11月25日—2018年1月3日
地点：集美新城市民广场展览馆、三影堂厦门摄影艺术中心、
城市跨区域空间等
主办方：三影堂摄影艺术中心、厦门市天下集美文广传媒有限责任公司
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。本活动得到厦门市集美区委、区政府的大力支持，由三影堂摄影艺术中心与厦门市天下集美文广传媒责任有限公司联合主办。以打造中国最具专业品质的国际摄影节和向公众推广介绍摄影文化为己任。
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