集美阿尔勒发现奖 | 邓云、梦凡和伙伴们
“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：邓云，选自《在球网上休息的飞蛾》，2015年，图片由艺术家提供 / Deng Yun, A moth resting on the net, 2015, courtesy of the artist
邓云，艺术爱好者、实践者。2003年起旅居日本生活至今。大学中退后开始摄影与文字的创作。家人多从事音乐工作。创作方式相对自由和感性，也乐于探索各种形式的艺术之间存在的微妙联系。作品曾获得色影无忌新锐摄影师提名，济南国际双年展新摄影师大奖，入围第九届三影堂摄影奖。
海报图片 / Conception of poster：梦凡和伙伴，《神圣缝纫机》截图，2017年，图片由艺术家提供 / the real, Stills from The Divine Sewing Machine, 2017, courtesy of the artist
梦凡和伙伴
王梦凡，生于1990年，毕业于中央美术学院。研究并实践舞蹈剧场。德国游学中。
大壮，生于1991年，毕业于南京大学，非职业摄影人，常混迹于剧场内，至今还在学习和摸索的过程中。
何绍同，生于1990年，毕业于清华大学美术学院。艺术兼职者，生活工作于德国和中国。
三人组成“the real”小组，创作独立于舞蹈剧场作品的影像作品。
提名人&策展人：聂小依
艺术家及作品：
邓云 |《鼻子》(Nose)
梦凡和伙伴 |《凡人舞蹈剧场》(dance theatre of real people)
降落
文/聂小依
影像比起其他媒介的幸运之处在于它们变幻莫测的际遇，电子化后，它们可以降落到遥远而窄小的角落。
邓云的照片，私人、感性，有现在稀少的简单和坦诚。他更像是视觉敏感的普通人，长久而贪婪地注视着自己的生活，恰好又足够缓慢和孤独。即便他拍得是沿途风光或夜里发光的工厂，我仍觉得潜入了他的生活，在无关紧要的时刻掉入了一线沉默。他不“专业”，他不像学院训练过的创作者们用项目（project）展开工作，选择一个问题后沿研究深入用图像展示；他甚至不“艺术家”，他拍照不是为了进入以展览为中心的艺术展示系统，也并无野心去更新艺术史。“艺术爱好者、实践者”这个自称，像他。
邓云的博客和微信公众号叫“隐秘的生活”，看得出他在日本常去树林、海滩和雪乡，风景中浮动着大块留白。他很少拍人（诗歌却常写到人），即便有也常常模糊或是局部。但邓云会给物件留下奇怪而纯净的肖像，比如黑夜中被曝闪的雨幕、树叶、飞蛾，有些在人工光线下冷静地凸显细节，有些完全过曝、溢出白光，如正癫狂着灵魂出窍。这些极度感官（sensational）的凝视，当然提供了不同寻常的奇趣和美，但更重要的，是邓云作为一个当代生活的承受者在这些细微处锚住了时代中的一些情绪：习以为常的孤独、期待怪诞的缄默、克制的伤感。看他的照片时，我会想到沃尔夫冈·提尔门斯（Wolfgang Tillmans），他们擅于感性地观看到日常里的微观图景并以自身生活映照出身处的时代，而摄影、诗歌和音乐也被一同编织进他们的实践。他们的表达都最终有关自己如何被构成，他们所展现的正是他们所沉浸其中的，而表达的深度则仰赖他们自身的敏锐与诚实。在今天人们的感受迅疾滑动时，邓云平静地耗费生命与自己的生活对峙。在这个意义上，邓云的照片中能轻易打动我们的，正是我们自己的生活。
梦凡和伙伴们（the real）的影像诞生于王梦凡导演的“凡人舞蹈剧场”，但他们期待这些影像可以离开剧场、行至更远的地方。奇怪的是，这些静态和动态影像生出了有别于剧照和舞剧纪录片的形态，在捕捉、剪辑、配乐后，甚至比原始记录更贴合剧作本身的气质。这或许是因为小组里的三个人在意的并非以全局视角记录某一次完整表演，而是如何用影像再现作品的魂魄和气息。王梦凡作为舞剧导演和影片剪辑师，大壮和何绍同作为摄影师，共同见证、陪伴了剧作的生长。他们理解这些踏上舞台的普通人的个性甚至内心，也熟稔众人肢体如何随音乐摇动、在灯下定形。帷幕拉开，摄影师们便是同时带着记忆和期待围捕转瞬即逝的表演的猎手，而在后期剪辑里，梦凡对素材的遴选和重组更近乎心中存有原型的二次创作。
在王梦凡的舞蹈剧场里，舞蹈设定的观看对象并不是相机镜头，但剧场作为影像的降生地却使影像与舞剧同脉呼吸。行动/表演（Action/Performance）和摄影的双生与纠葛已有漫长前史，而舞蹈和影像也是其中的一节环扣。美国先锋编舞者摩斯·肯宁汉（Merce Cunningham）在1993年与他长期的影像合作伙伴埃利奥特·卡普兰(Elliot Caplan)共同制作了录像《为摄像机编排的“海鸟”》（Beach Birds for Camera），在录像机的景别推进和机位切换加入后，影像的生成其实是演员们与录像机的共舞。梦凡和伙伴的作品则进一步跳脱了再现舞剧的束缚，细微的着眼点和精巧的剪辑让影像简短、轻盈。他们的作品提醒着我们，当代影像时常忽略的剧场空间仍蕴藏着的许多可能且值得更多实验。并且，梦凡和伙伴的作品也分享着纪实摄影对日常的关怀和对理想之“人”的憧憬——梦凡的“凡人舞蹈剧场”的初衷即是让真实的人们进入剧场，让人们在剧场和舞蹈中成为真正的人。在梦凡和伙伴的影像中，我们看到了普通人如何在舞蹈剧场中松动被社会规训的身体，在褪去种种身形程式后，显露出自身的美和尊严。
邓云 ，《住在老人商店里的燕子》，2017年，图片由艺术家提供
Deng Yun，Swallow living in the old man's store, 2017, courtesy of the artist
邓云，餐厅里的电视，2017年，图片由艺术家提供
Deng Yun, Television in the dining room, 2017, courtesy of the artist
梦凡和伙伴，《剧照 Ⅰ》，来自《阿姨的舞蹈剧场》系列，2015，传统银盐+多媒体，图片由艺术家提供
the real, Still Ⅰ, from the series of Dance Theatre with Dama, 2015, Silver print & Multi-media, courtesy of the artist
梦凡和伙伴，《神圣缝纫机》截图，《神圣缝纫机》系列，2017年，视频，47s，图片由艺术家提供
the real, Stills from The Divine Sewing Machine, from series of The Divine Sewing Machine, 2017, video, 47s, courtesy of the artist
Nominator: Nie Xiaoyi
Nominated Artists:
Deng Yun (Nose)
the real (dance theatre of real people)
Deng Yun, amateur art lover and practitioner. Since 2003 he has lived in Japan. After quitting university, he began taking photos and writing. Many of his family members are musicians. His creative method is relatively free and fullof emotion, and he is most happy when exploring delicate connections between different forms of art. His work has been nominated for the Xitek New Talent award, the Jinan International Biennial New Photographer Award, and the 9th Three Shadows photography prize.
the real
Wang Mengfan, born in 1990, graduated from CAFA where she researched and practiced dance theatre. He went on to study in Germany.
Da Zhuang, born in 1991, graduated from Nanjing University, and is an amateur photographer and theatre groupie, in the process of finding his path in life.
He Shaotong, born in 1990, graduated from Tsinghua University Academy of Fine Arts. A part-time artist, he has lived and worked in Germany and China.
These three are “the real”, a collective writing independent works for dance theatre.
Descend
Text / Nie Xiaoyi
The fate of the image, unlike other media, is fortunately unpredictable. After being digitalized, it can travel far away and descend to distant and narrow corners.
Deng Yun's photos are private, sensational, with a rare frankness and simpleness in our era. He is more like a common mate with sensitive eyes, but slow and alone enough to allow the trivials in everyday life to float up and occupy the images. Even when the images are just road views or illuminating factories at night, I still feel that I am diving into his life and dropping into silence at some meaningless moments. To me, Yun is not a "professional". He does not use "project" to organise his work or choose a problem to research and present the answers with images. He’s not even an “artist”, as he didn’t take these phot 47 32239 47 15287 0 0 1068 0 0:00:30 0:00:14 0:00:16 2992 47 32239 47 15287 0 0 998 0 0:00:32 0:00:15 0:00:17 2992ographs to enter the exhibition-centred system of art display. Updating art history plays no part in his ambitions. “An art lover and practitioner” is how he calls himself, and he is.
Deng Yun has a blog and then a WeChat blog called Hidden Life. It seems that in Japan, he often visits forests, seaside and snowy towns. Landscapes are often white. He rarely shoots people (but often mentions people in his poems), if they appear they are blurred or in part. Deng Yun will leave you with a strange and pure impression of his objects. A curtain of rain on a stormy night, leaves, moths, some objects are scrutinised under artificial light, some are overexposed and over white, like a soul is rising out of body. The extreme sensational looking, of course, offers us an unusual beauty, but more importantly, Deng Yun bears these micro-subtle markers of contemporary life as anchors of the emotions of the times: daily loneliness, a silent expectation for quirkiness, and restrained sadness. I will think of Wolfgang Tillmans when looking at Yun's photos; they are both good at observing their daily lives in acute detail, weaving photography, poetry, and music together into their practice. Their expression is ultimately about what they are made up of, what they show is what they immerse themselves in, and ultimately, the depth of expression depends on their eagerness and honesty. In today's fast-paced emotional world, Deng Yun always turns to the tiny things in life, calmly spending his time in confrontation with his own life. In this sense, what touches us in Deng Yun's photos is our own lives.
The photographs of the real, an artist collective, were born from Wang Mengfan’s dance theatre of real people, but the group hope the photographs could travel far. What surprised me is that, these still and moving images have created an entirely different form of documentary photographs or films of dance performances. After their shooting, editing, and soundtrack production, the current works grasps and represents the original atmosphere perhaps even better that the original recording material. This is possibly because the three creators deliberately avoid recording entire performances and preferring to use parts to recreate the soul and atmosphere. Wang Mengfan is the dance director and editor. Da Zhuang and He Shaotong are the photographers. They are the creators and witnesses, accompanying the growth of the play, familiar with the personalities and thoughts of the ordinary people acting on the stage, and know how the bodies of these actors and actress stretch with music and stop under lights. When the curtains are drawn back, the photographers become hunters, sneaking into the performance with their memories and expectations. And in post-production, Mengfan’s selection and rearrangement of the material is more like a second creation.
In Wang Mengfan’s dance theatre, the targeted audience is not the camera lense, but the theatre as the birth place has made the dance and the photography coherent with each other. Action/performance and photography have entangled for long, and the pair of dances and images is also embedded in the huge entanglement. In 1993, US pioneer dancer Merce Cunningham and his photography partner Elliot Caplan produced a video together, Beach Birds for Camera. From the video camera’s perspective, activating the machine led a dance between the video camera and actors. the real’s work takes one step further to escape the bound of representing performances. Their subtle attention and sophisticated editing shortens and lightens the original recordings. Their work reminds us – the often forgotten dance theatre hides possibilities worth exploring. However, the real’s work shares a concern with the documentary photography which is towards the everyday life and the expectation of an ideal man. The group’s initial desire for dance theatre of real people was to get ordinary people on stage, and enable them to become real by dance in the theatre. We see in their photography how, in loosening the social discipline instilled in their bodies, people slowly took off the physical constraints and revealed their own beauty and dignity.
关于策展人：
聂小依，1992年出生于山东淄博，生活在伦敦并常常回到北京。目前她是英国皇家艺术学院当代艺术策展系的博士候选人。
About the curator:
Nie Xiaoyi was born in Zibo, Shandong in1992. She lives in London and often comes back to Beijing. She is now a Ph.D. candidate in Curating Contemporary Art, Royal College of Art.
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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