集美阿尔勒发现奖 | 萧伟恒、于霏霏
“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：萧伟恒，选自《捉不到的》系列，照片及机械装置，2015，图片由艺术家提供 / Sui Wai Hang, from the series The Elusive, photographs and mechanical components, 2015, courtesy of the artist
萧伟恒1986年出生于香港，一直从事摄影及多媒体创作，以媒体特性呈现对不同议题的关注。萧氏分别于2016年及2014年获得WYNG大师摄影奖及2016年荣获第二十一届ifva艺术家新秀奖。曾参与不同联展，包括「第二十一届ifva独立短片及影像媒体节、「WYNG大师摄影奖作品展」、「中国平遥国际摄影大展2013」（平遥，2013）等。作品为香港立法会、香港半岛酒店及私人藏家收藏，现居香港，同亦致力于艺术教育，在各大专院校及机构教授艺术。
海报图片 / Conception of poster：于霏霏，选自《情人的眼》系列，图片由艺术家提供 / Yu Feifei, from the series Lovers' Eyes, courtesy of the artist
于霏霏1988年出生于广州，2008年入读中国中央美术学院，2016年由英国皇家美术学院硕士毕业并回国，现生活工作在北京。
其作品曾多次在国际及国内的学术及商业空间展出。展览经历包括伦敦煤气厂画廊（London Gas Work）、美国布罗德美术馆(Eli And EdytheBroad Art Museum)、上海乔空间及油罐艺术中心、北京今日美术馆、苏州金鸡湖美术馆、上海艺术门画廊、北京空间站画廊等。霏霏曾在英国布莱顿大学及牛津大学艺术学院讲学。其作品被维多利亚和阿尔伯特博物馆(V&AMuseum)永久收藏。
提名人&策展人：唐泽慧
艺术家及作品：
萧伟恒 |《捉不到的》、《留在虚空之间》
于霏霏 |《情人的眼》
从图像到媒介
文 / 唐泽慧
“一种哲学的描述，无论它说的是什么，都必然把它在言说这一事实考虑在内；它必然首先言说语言本身。” ———阿甘本（Giorgio Agamben）
人们总是倾向于把照片视为一个图像平面，一个对于三维物质世界的二维再现；而事实上照片总是有其物质载体——无论是被打印在相纸上，印刷在杂志上，显现在手机屏幕上，投影在幕布上，或者仅仅是一张底片——物质性载体与图像的融合和张力一起构成了一张照片。摄影不仅仅是在制造图像，也是在制造物体，只是在大多数情况下，摄影的物质性被遮蔽了，被看到的只有被拍摄、被表现的对象。
这个展览所选择的两位艺术家萧伟恒和于霏霏显然意识到摄影作为图像和物的双重境遇，并有意利用了这种双重性，将此视为一种独特的创作语境。对他们而言，如何呈现摄影与摄影的对象同样重要。从物质世界到虚拟世界，他们的作品重新定义了三维作品和二维图像、真实空间与虚拟空间、移动影像与静态照片之间的界限。
于霏霏《情人的眼》采取了折页的形式，它像屏风一样在空间中展开，既占据空间又分割空间。折页的左页来自于她所拍摄的大英博物馆的希腊雕塑的面孔，右页则是现代男性的面孔，希腊雕塑脸冲着右页的现代男性，这些男性则看着观众的方向，观众、古典雕塑与现代男性之前形成了一个三角目光链条，而这也是三个时空的交叠。艺术家创作的起点是男性的“凝视”，但这件作品恰恰是反凝视的。它由20张面孔组成，10张古代的面孔，10张现代的面孔，他们次第分布在折页的左右两侧，呈“之”字形展开，无法被一个静态的、固定视点的目光所捕捉，它预设了一个移动的观者，从左至右或者从右至左，在这种游移、往复之中，时间的维度被引入进来。
另一位艺术家萧伟恒重新发现了“手动动画书”这种带有复古气息的媒介，在他的作品《捉不到的》中，他把从栏杆外面所拍摄的香港军营的照片放置到他设计的特殊机械装置中，这些照片被被不断的翻动，模拟了“手动动画书”的效果，形成流动的，破碎、模糊的影像，这种不确定性，欲言又止，正是艺术家所希望传达的视觉和心理状态。
他的另外一组作品采用了狭缝扫瞄摄影(Slit-Scan photography)的方式将录像转化成一系列香港街景的摄影作品。作为一种古老的摄影方法，狭缝扫描摄影最早被用于判断赛马场上的获胜者。普通摄影通常呈现一个静止的时间点内的事物，而狭缝扫描摄影则能捕捉一帧帧狭长的画面，再将无数的长条状帧排列成一张反映时间的变化的画面。萧伟恒用这种方式在香港街头拍摄，在拍摄的过程中，观看者/相机的视点是固定的，被观看者/拍摄的对象相对于相机在不断的移动和变换，而在最终呈现的作品中，这一关系被翻转过来，拍摄对象凝固在画面中，而观看者则需要不断地移动来完成对它的观看，时间被转换成了空间。我们或许可以说这些长卷是关于香港的《清明上河图》，然而那种古典的明晰性和确定性早已消失不见。由于拍摄对象从镜头前移动的速度不同，他们被压缩、拉长、变形，几乎无法辨认，他们行色匆匆，却不知要去向何方。如同19世纪晚期的印象派画家们不再满足于学院派的古典画法，感到需要用新的技法来表现急剧工业化、城市化进程中的现代生活，在2017年的香港，从纪实摄影走出的萧伟恒也在寻找最恰当的方式来表现他所感受到社会和心理图景。
在于霏霏和萧伟恒的作品中，艺术家的意图不仅依赖图像来呈现，而是与图像的媒介或者说它的物质性存在密切相关，在言说对象的同时也言说自身。他们在摄影的纪实与表现、公共与个人，社会与心理的不同维度之间不断调试，试图在现实与虚构之间构建起一个多重、歧义、互文的存在。
萧伟恒，选自《捉不到的》系列，照片及机械装置，2015，图片由艺术家提供
Sui Wai Hang, from the series The Elusive, photographs and mechanical components, 2015, courtesy of the artist
萧伟恒，《留在虚空之间》（局部），照片及机械装置，2017，图片由艺术家提供
Sui Wai Hang, From the slit of light (partial), photographs and mechanical components, 2015, courtesy of the artist
于霏霏，选自《情人的眼》系列，图片由艺术家提供
Yu Feifei, from the series Lovers' Eyes, courtesy of the artist
于霏霏，选自《情人的眼》系列，图片由艺术家提供
Yu Feifei, from the series Lovers' Eyes, courtesy of the artist
Siu Wai Hang (born 1986，Hong Kong) is a multidiscipline artist and a photographer. Expressing different concerns by employing the characteristic of medium. He won the WYNG Masters Award In 2014 and 2016 separately and was awarded ifva Emerging Talent Award in 2016 .
Siu presented two solo exhibitions since 2010, "The Elusive" (Lumenvisum, 2015) and "Metropolis Chlorophyll" (K11, 2010). He has also joined a number group exhibitions, including " The 21st ifva Awards", "780S" (Blindspot Gallery, 2014) , “WYNG Masters Award Finalists’ Exhibition – GASP” (Hong Kong Polytechnic University, 2014), “Pingyao International Photography Festival 2013” (Pingyao, 2013). Some of his works are collected by The Legislative Council of Hong Kong, The Peninsula Hotel Hong Kong and various private collections. Currently, lives and works in Hong Kong and teaches at various art institutes and universities.
Yu Feifei was born in 1988 in Guangzhou. She studied in China Central Academy of Fine Arts from 2008, two years after graduation she moved to London and studied in Royal College of Art. She is currently based in Beijing.
Feifei's work has been shown world wide. She showed her work in both academic and commercial exhibition venues, including London Gas Work, Eli And Edythe Broad Art Museum, Qiao Space, Tank Shanghai, Today Museum, Jinji Lake Museum, Space Station and Pearl Lam Gallery. She gave talks in the Ruskin School of Art, Oxford and Brighton University. Feifei’s work has been collected by the Victoria & Albert Museum as permanent collection.
Nominator: Tang Zehui
Nominated Artists:
Sui Wai Hang (Lover’s eyes)
Yu Feifei (The Elusive; From the slit of light)
From Image to Media
Text / Tang Zehui
A philosophical presentation is thus one that, regardless of what it speaks about, must also take into account the fact that it speaks of it; it must first of all say language itself.
——In "Potentialities: Collected Essays in Philosophy" by Giorgio Agamben, 1999, p. 43
People tend to regard the photo as an image plane, a two-dimensional representation of the three-dimensional material world; but in fact the photo always has its material carrier - whether copied on photo paper, printed in the magazine, appearing on a phone screen, projected onto a screen, or simply as a negative - the material carrier and the image meld and set together to constitute the photo. Photography is not only the manufacture of images, but also the manufacture of objects, but in most cases, the material nature of photography is obscured, and what remains is just the object photographed and displayed.
The two artists selected for this exhibition, Sui Wai Hang and Yu Feifei, are well aware of the duality of photography as images and objects, and are interested in using this duality as a unique creative context. For them, how to present the photograph is just as important as how to present the objects of photography. From the material world to the virtual world, their work redefines the boundaries between 3D works and 2D images, real space and virtual space, moving and still images.
Yu Feifei’s Lover’s eyes uses the form of folded paper, displayed on a screen, both occupying the space and dividing it. The left page of the fold shows the face of a Greek sculpture in the British Museum, the right page is the face of a modern man. Greek sculpture faces modern men directly, yet these men are both eying the spectator. The space in front of classical sculpture and modern man forms a triangular chain of vision, which overlaps in the three spaces. The starting point of the artist's creation is the male “gaze”, but this work is precisely anti-gaze. It consists of 20 faces, 10 ancient and 10 modern, on left and right zigzagging folded paper. The images cannot be captured by a static, fixed gaze. They presuppose a moving viewer, glancing left to right or right to left. By this wandering, reciprocating movement, the dimension of time is brought into play.
The other artist, Sui Wai Hang, has re-discovered the retro charms of the “animation book” format. In his work The Elusive, he places all the photos he shot from the railing outside Hong Kong’s military barracks in a specially designed machine, so that the photos are constantly turning, simulating an animation book effect. This forms a mobile, broken set of fuzzy images. The undefined and hesitative outcome is exactly what the artist wants to convey about his visual and mental state.
His other set of works uses slit-scan photography to convert video into a series of Hong Kong street photographs. As an old photographic method, slit-scan photography was first used to decide horse race winners. Ordinary photography usually presents a still point of time, but the frames produced by slit-scanning photography can capture long thin images, and countless strips arranged on the screen reflect changes of time. Sui Wai Hang shoots the Hong Kong streets in this way, and in the process of shooting, the viewer / camera point of view is fixed, and the viewer / object relative to the camera is subject to constant movement and transformation. In the final presentation of the work, the relationship is turned over, the subject solidified in the picture, and the viewer will need to constantly move to complete their view of it, thus time is converted into space. We may say that these scrolls are Hong Kong's version of By the River during Qingming, but in truth, that kind of classical clarity and certainty has long gone. As subjects move in front of the lens at different speeds, they are compressed, elongated, deformed, almost unrecognizable, they hurry, but where to is unknown. Just as the late 19th century impressionist painters were no longer satisfied with classical painting styles of the academy, these artists feel the need to use new techniques to express the rapid industrialization and urbanization processes of modern life. In Hong Kong in 2017, the documentary photography of Sui Wai Hang is a search for the most appropriate way to show his feelings about the social and psychological scene in front of him.
In Yu Feifei and Sui Wai Hang’s work, the artists’ intentions do not only depend on showing images, but are closely related to their media or material existence, describing the object at the same time as describing themselves. They are constantly switching between documentary recording and performance, public and individual, different dimensions of society and psychology, trying to construct a multiple, ambiguous, intertextuality between reality and fiction.
关于策展人：
唐泽慧毕业于美国芝加哥艺术学院艺术管理专业，获硕士学位。是美国盖蒂基金会和亚洲文化协会学者奖获得者。自2004年以来先后在中国美术馆、纽约亚洲协会博物馆等机构工作，2014年参与创建北京红砖美术馆并任策展部总监。唐泽慧现为2018首届深圳双年展策展人。
About the curator:
Tang Zehui is a Beijing-based curator and writer. She received her Master Degree in Arts Administration and Policy from the School of the Art Institute of Chicago. She was awarded the Getty Foundation Fellowship in 2006 and Asian Cultural Council Fellowship in 2010. Tang has been curating and writing on contemporary art for over ten years. She was the former Director of Curatorial Affairs of Red Brick Art Museum in Beijing and currently the curator of 2018 First Shenzhen Biennale.
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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