集美阿尔勒发现奖 | 邵文欢，于默
“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。
集美·阿尔勒发现奖
本届“摄影季”邀请5 位策展人担任提名人，每人分别提名2位艺术家。10 位艺术家将在摄影季期间以个展的形式展出自己的作品。专家顾问团将在开幕周期间完成对“集美· 阿尔勒发现奖”单元艺术家个展的考察并以公平性、公正性、学术性为基本前提，评选出“2017 集美· 阿尔勒发现奖”的得主。大奖得主将获得奖金20万元人民币，并将在下一年度前往法国阿尔勒国际摄影节举办个展。
海报图片 / Conception of poster：邵文欢，选自《与时间先生的一次合作》，图片由艺术家提供 / Shao Wenhuan, from the series A Cooperation with Mr. Time, courtesy of the artist
邵文欢，艺术家，出生于新疆和田，童年生活在江苏常州，现工作生活于杭州。2002年就读于中国美术学院综合艺术系研究生，期间赴法国第戎国立高等美术学院研修。毕业留校任教于中国美术学院摄影系，副教授。2016年在上海1933当代艺术空间举办个展：《膜——再造“真的非真实”的一种方法》，2015年在M97上海当代摄影空间举办个展《万籁俱寂》。近5年参加的群展有：2017年首届影像西湖艺术展《非常·西湖》，2016年瑞士伯尔尼博物馆《中国私语》艺术展，第3届上海影像艺术展《洞见Insights》版块，第六届济南国际摄影双年展中《另一种可能》实验展，香港汉雅轩《浮岛志》展。2015年《灰·韧·框·洋》厦门集美·阿尔勒国际摄影展，德国埃森佛克旺博物馆《CHINA8中国当代艺术展》，上海明圆当代美术馆《虚薄之境》。2014年上海民生现代美术馆《中国当代摄影：2009-2014》，东京画廊+BTAP《新朦胧主义》艺术展，第五届济南国际摄影双年展《当代东方向度》，第十届连州摄影国际年展《中国当代摄影十年》，《记忆》第二届意大利-中国当代艺术双年展，2013年西班牙巴塞罗那Monica艺术中心《溪山清远——中国当代艺术的转型》，第一届北京国际摄影双年展主题展《灵光与后灵光》。
海报图片 / Conception of poster：于默，《云南建水》，选自《小城故事》系列，2012，图片由艺术家提供 / Yu Mo, Jianshui Yunnan, from the series Small Town Story, courtesy of the artist
于默，1975年8月生于北京。2001年毕业于中国美术学院雕塑系留校任教至今，现负责中国美术学院专业基础教学部图媒分部工作。2001年参加第二届西湖国际雕塑邀请展。2011年参加第二届"万象——中国美院摄影学术论坛"摄影展。2017年参加首届"看见·西湖实验摄影展"。
提名人&策展人：刘畑
提名艺术家及作品：
邵文欢 | 与时间先生的一次合作
于默 | 小城故事
透明的铁
Transparent Iron
文/刘畑
我希望作品是具备精神深度的风景。
——邵文欢
它就像一个锻打的过程，一个成型的铁块，你千锤万锤，最后打成铁片，还可以更薄，甚至透明，继续延展……
——于默
这一切起源于两次偶然的发现。
一、《与时间先生的一次合作》
在邵文欢的工作室中，我所看到的，不仅是一位艺术家为人熟知的创作的另一面，更是“作品”之命运的另一面，它首先是：搁置。
由于对好坏的判断、取舍，或者艺术家的迟疑、犹豫，甚至仅仅因为一个闪念，一些尚在成为“作品”中途的有所期待之物，就被无限期的搁置在了那里。它们既非草稿，也非某些被最终创作代谢掉的次品。尽管身为“作品”,它们尚未让艺术家满意，但是，作为“物质”，它们已经确凿存在了。这个工作室的角落中的封存、暂存过程，暂停只是假象，时间悄然入侵，使一切变质。
这个变化既是艺术家“控制之外”（out of control）的，又其实正基于艺术家的特有创作方式：邵文欢广为人知的“绘画性”（而非单纯的“画意”）作品，正来自于他同时调用、调制了两种明胶——作为摄影感光介质的明胶和中国传统绘画颜料中的明胶，所有的侵蚀与变质正发生在这交融的涂层之上。画面上缓慢出现的并不是任何某地某物的具体形象，而是难以定义的“时间的痕迹”。
也许，存在两种摄影：一种，与时间为敌，对抗或控制时间；另一种，与时间合作。但是，天地不仁，人其实没有与时间合作的能力。所以最终的结果只可能是等待，最好的合作总是不期而遇。因为人们通常无法意识到：有些作品是无法或者无力完成的。而摄影拍摄的短暂的时间和被封存的漫长时间，都各自具有强大的能量。
相较这种改变，所有的博物馆，都恰恰在用真空、恒温、除湿……，竭力隔绝外部的世界，试图让那些可被指名道姓的“作品”，逃离时间流逝的漩涡。都在努力的拒绝与时间合作，希望成为“timeless”的状态。
时至今日，这些陈年的“显影物”，依然没有获得满意的结局与名字。有趣的地方在于，唯一明确的事情是：艺术家面对曾经自己不置可否、不知如何评判或推进的创作，那个关于取舍的判断，非但没有更加清晰，反而更加恍惚。但在这幅画面上，我们却可以看到，超乎判断、选择和控制之外，超乎狭隘的“作品”意图之外的动人力量。尽管它超出了摄影师的意志，看似并非有意为之，却触及到了摄影的本质深处。
如同把握时间是摄影的有限功能而已，再现自然也是。真正具有魅力的轮回是，以物质的身份，在时间中，再次进入自然，并且接受：时间是最浓墨重彩的一种“明胶”。它在不知何时拜访，在潜移默化中给予痕迹，以证明我们虽后知后觉，但业已收到了这份礼物。
二、《小城故事》
另一次的发现，是西湖边的夜游，于默说起他的摄影，和当时还积压着的待冲洗的胶卷。后来知道，他希望用《小城故事》这个题目，归纳自己所有的拍摄。
它们来自一些过程漫长、路程散漫的行走中，不断积累的严格意义上不是“创作”而是“遭遇”的东西。对某些你生命之中遭遇到的情境，无话可说、转瞬即逝，只有用拍摄这个动作，以一种近乎本能一般的肌肉反应，作为领受、接收和反馈。不要忘了，拍照的“拍”首先是一种拍打的动作: 惊涛拍岸，阑干拍遍。
此次现场呈现的海量照片，“用图像的砖瓦砌起重重叠叠的城墙”，是“小城”。“所有东西其实都是在打我，把我打成了近似透明的薄铁片。所有的流言都让人没有是非，人一开始都爱憎分明，慢慢的就不太分明了。”这是“故事”，以及目击故事的人与“拍打”的机器：
照片其中的大部分从未发表。如同我们大部分人的大部分人生一样，尽管不断叠加，却永远伴随着更多的流逝，最后或留下些许沉淀之物，却总又沉默无语。
然而，这些影像并不单独出现，和它一起的，还有于默常年的书法日课余留的稿纸。它们同样海量，同样方方正正，同样好似城砖一样规整的不断累加，当然也被更加随意的丢弃和二次利用。这些临摹的字帖，通常仅以摄影的方式在朋友圈内发出，并往往是局部甚至单字的特写。它们摞放着，仿佛也成了某种关于时间的雕塑。于默毕业于雕塑系，长于造型，但从某刻开始拒绝“接活”。在一次讨论中，他说道：“我形容拍照是打铁，写字儿是作茧自缚。写字是毛笔吐丝，在持续的临摹中时时会有窒息的感觉。窒息于日常的枯燥，窒息于上贤的伟大，也窒息于此种伟大的历史重负。在作茧自缚中期待破茧而出，不合时宜也是一种快感。”
这无疑是矛盾与执拗的，形成的却是一种统一的态度：生活中每个看似无关的方式，因为近似的“不合时宜”，拥有了动人的同步。统一与同步的关键是内在一致的时空感——正如他的拍摄并不令人感觉在猎奇生活的任何一个“另一面”，即便行走在边陲之地，所呈现出的也是生活如常的“这一面”。相比“在别处”的“另一面”，“这一面”是如此斑驳，如此无奈，它日积月累，却未必日新月异，它万古如新，同时万古如常。正如那些大刀阔斧的碑隶或婉转灵动的行楷，千载之下熠熠生辉，依然成为多少习书者新鲜的源料，也是终生仰摩却无法逾越的高峰。
但是，对我来说，归根结底，这“小城”，就是“中国”，一个到2050年还会有6亿农民的国度。我们的城、邦，家、国，身、心，都在这方寸之内，它以不同的介质，容纳出一种“执拗的统一”：一方照片，一方纸墨，一方小城——一座名叫中国的小城。
以上，便是关于两则“发现”，所发回的报道。
邵文欢，来自《与时间先生的一次合作》系列，图片由艺术家提供
Shao Wenhuan, from A Cooperation with Mr. Time series, courtesy of the artist
邵文欢，来自《与时间先生的一次合作》系列，图片由艺术家提供
Shao Wenhuan, from A Cooperation with Mr. Time series, courtesy of the artist
于默，《杭州03》，来自《小城故事》系列，2005，图片由艺术家提供
Yu Mo, Hangzhou 03, from Small Town Story, courtesy of the artist
于默，《北京》，来自《小城故事》系列，2005，图片由艺术家提供
Yu Mo, Beijing, from Small Town Story, courtesy of the artist
Nominator: Liu Tian
Nominated Artists:
Shao Wenhuan (A Cooperation with Mr. Time)
Yu Mo (Small Town Story)
Shao Wenhuan was born in Hotan in Xinjiang, and spent his childhood in Changzhou, Jiangsu province. He now lives in Hangzhou. In 2002, he studied at CAFA’s Graduate School of Fine Arts, going on to study at the National Academy of Fine Arts in Dijon, France. After graduating, he became an assistant professor in CAFA’s Department of Photography. In 2016 he exhibited Membrane – Recycling ‘Real Untruths’ at Shanghai’s 1933 Contemporary. In 2015 at Shanghai’s M97 Gallery he held a solo exhibition entitled Silence. Group exhibitions in which he has participated in the past five years include the 2017 inaugural West Lake Art Exhibition, Extremely West Lake, the 2016 Bern Art Museum’s Chinese Whispers exhibition, the 3rd Shanghai photographic art exhibition, Insights section, the 6th Jinan International Photography Biennial Another Possibility experimental exhibition, and the Hong Kong Hanart TZ Gallery’s Annals of Floating Island exhibition. He exhibited in the 2015 Xiamen Jimei Arles International Photography Gray · Tough · Frame · Foreign exhibition, the Essen Fokwang Museum CHINA8 Chinese Contemporary Art Exhibition, the Shanghai Ming Yuan Contemporary Art Museum’s New Haziness, the 2014 Shanghai Minsheng Museum of Modern Art’s Chinese Contemporary Photography: 2009-2014, Tokyo Gallery + BTAP New Haziness art exhibition, the 5th Jinan International Photography Biennale’s Contemporary Oriental Dimension, the 10th Lianzhou China Contemporary Photography Biennale, Memory – 2nd Italy - China Contemporary Art Biennale and in 2013, the Barcelona Monica Centre’s Pure View of Streams and Mountains - Transformation of Chinese Contemporary Art exhibition, and the 1st Beijing International Photography Biennial Exhibition, Aura and Post-aura.
Yu Mo, Born in August 1975 in Beijing, Yu Mo graduated from CAFA’s Sculpture Department in 2001, staying on to teach. He is now responsible for CAFA’s foundational professional graphics division. In 2001 he participated in the 2nd West Lake International Sculpture Invitational Exhibition, as well as the 2nd Vientiane - China Academy of Fine Arts Photography Forum photography exhibition. In 2017 he participated in the 1st See West Lake·Experimental Photography Exhibition.
Transparent Iron
Text / Liu Tian
I hope to create a landscape as deep as our spirit.
——Shao Wenhuan
It is like the process of forging, molding a piece of iron, you hammer a thousand times before it becomes a sheet, ever thinner, transparent even, and then beyond…
——Yu Mo
Everything began with two chance discoveries.
1. A Cooperation with Mr. Time
What I saw in the studio of Shao Wenhuan was not only the other side of an artist's well-known creations, but also the other side of the fate of “artworks”. At first they were just shelved pieces.
Was it due to good or bad judgment, to choice or hesitation, or even to a flash thought? Some things you might have expected were in the process of becoming “artworks” had been indefinitely shelved. They hadn’t satified the artist idea of an “artwork”, staying on as simply “material”. The pause was a false impression howeverm as time marched slowly on, and with it deterioration.
The transformation was “out of the control” of the artist, but still based on his unique way of creating. Shao Wenhuan’s wellknown artworks have ‘painting specificity’ (rather than simply being ‘paintings’), coming from simultaneous transfer, with two gelatin preparation – one from photographic media, the other from the pigment used in traditional Chinese painting. All erosion and deterioration occur on the layers of the blend, and what appears on the screen is not one specific image, but “time traces” that are difficult to define.
Perhaps there are two kinds of photography: one has time as the enemy, and is about confrontation or control. The other is about cooperation with time. But the world is not benevolent, and people cannot actually work with time. Therefore the end result can only be waiting, the best cooperation is always met by chance. Because people usually do not realize that some works just cannot be completed. While photography is shot in a short time and sealed for a long time, each photo has its own powerful energy.
By comparison, all museums use vacuum, temperature control, dehumidification, to isolate themselves from the external world and help the “works” escape the passage of time. In refusing to cooperate with time, these artworks hope to become “timeless.”
Until today, these old “influences” didn’t get a decent name or ending. What is interesting is that it is clear artists face their own uncertainty, about how to judge and promote their own work, and that choice isn’t made clearly but rather in a sort of trance. With these pictures, we can see that beyond judgment, choice and control, beyond the narrow intentional “work”, lies the force to move people. Although it is outside the photographer's will, and seemingly unintentionally, it touches the depths of the essence of photography.
Photography has limitations for grasping time, as has any attempt to replicate nature. The real power of reincarnation is in the identity of the material, in time, once again entering nature, and accepting: time is the thickest form of glue. You don’t know when it will visit, to prove our awareness of its existence, but we have already received its gift.
2. Small Town Story
Another discover was at night by the West Lake in Hangzhou. Yu Mo was talking about his photography, beside a stack of undeveloped film. Later I realised he wanted to use the topic Small Town Story to bring everything together.
Out of long processes, and wandering far, something formed that in a strict sense wasn’t so much “creative” as “an encounter”. For some situations in your life, fleeting moments, not saying anything, it only takes the action of photography and a nearly-instinctive reflex, to be in charge, receive and respond. Don’t forget, shooting photographs is an act of hitting (打), a sudden motion.
This time, there is a mass of photos, recreating the small town vibe by tiling the heavy walls. The small town. Everything is beating me, hitting me until I become transparent wafer-thin iron. All rumors render people neither right or wrong. People start with love and hate, and slowly the difference loses distinction.
This is the story, the people who witness the story, the machine that hits. Most of the photos have never been published. Like most of us most of the time, despite the continuous superposition, are always accompanied more by loss, leaving traces, that are always, in the end, silent.
However, these images do not appear on their own. They come with the everyday calligraphy paper left behind by Yu Mo. This is also a mass of paper, square just like the photos, and stacked like the town walls, but more casually placed and used. These bursts of calligraphy are usually only sent on WeChat moments to friends. They are mainly just parts or single words. They are stacked, and also become a commentary on time. Yu Mo graduated in sculpture, and is all about shape. In discussion, he said: “I describe the camera is a blacksmith, writing as a cocoon. Writing is a brush silhouette, with a sense of suffocation from time to time in daily boring, choking on greatness. But also suffocating on its burden in the cocoon to keep breaking out of the cocoon, being outdated is also a pleasure.
This is undoubtedly contradictory and stubborn, but it is a unified attitude: every seemingly unrelated way, seemingly “outdated”, has a moving synchronisation. The key to unity and synchronization is an inherent sense of time and space – so that shooting does not make sense of the “other side” of the adventure, even if walking on the edge of a land, the show is usually life on the same side. Compared to “elsewhere” and “the other side”, “this side” is so mottled, so helpless, it accumulates over time, but not necessarily with each passing day. It is always as new as ever, just the same. Just as bold monuments or tactful lines of power, shining out, become fresh habitats but also peaks that cannot be climbed in a lifetime.
But for me, in the final analysis, this “small town” represents “China”, a country that by 2050 will contain 600 million farmers. Our city, state, country, body, heart, can be captured within this single square inch, different media can be used to accommodate a “stubborn unity”: on one side photographs, on the other ink on paper. This is a small town called China.
This is a report of the two discoveries I made.
关于策展人：
刘畑长期致力于「研究-创作」的共同推进，工作贯穿策展、作品创作、理论研究、设计及写作。
2006年起，作为策展人参与策划了众多学术性展览，近期包括「起因和从中投射出来的例如物——吴山专 & 英格-斯瓦拉·托斯朵蒂尔」（2017）、第11届上海双年展「何不再问？——正辩、反辩、故事」策展组成员、「理论剧院」（2016），首届上海当代艺术博物馆青年策展人计划优胜项目「大地备忘录（Memorandum for Gaia）」（2014）。曾任第一届集美·阿尔勒摄影节 《灰/刃/框/洋》（2015）、第二届集美·阿尔勒摄影节 《文人与史诗》策展人（2016）。
2010年，创建独立研究-创作机构「开放问题研究所（Open Matter Institute）」。现为中国美术学院跨媒体艺术学院当代艺术与社会思想研究所博士。进行中项目包括「近反物质材料」、「达-da宣言」、「A CASE」等。
About the curator:
Liu Tian is committed to both research and creation, with his work spanning curation, creation, theoretical research, design and writing.
As a curator, since 2006 he has participated in the planning of a number of academic exhibitions, including the recent Cause and Examples Projected from It by Wu Shanzhuan and Inga Svala Thorsdottir (2017), a group exhibition at the 11th Shanghai Biannial (2016) entitled Why Not Ask Again? – argument, defence, story, the Third World Action Project of the Inter-Asia Biennale, the 1st Xiamen Jimei Arles International Photography Exhibition Gray · Tough · Frame · Foreign and the 2nd Jimei Arles International Photography Exhibition Scholars and Poets (2016).
In 2010, he established an independent research-creation agency, Open Matter Institute. He is reading for a doctorate from CAFA’s Institute of Contemporary Art and Social Sciences Institute on cross-media arts. Projects in progress include Nearly Anti-matter, Dada Declaration and A CASE.
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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