如花绽放—’2023中日摄影交流展
如花绽放——’2023中日摄影交流展
一、组织机构
主办单位：
中国摄影家协会宁波艺术中心
鄞州区文联
宁波美术馆
协办单位：
李元摄影艺术馆
日本东京PLACE M画廊
南京普利斯姆文化艺术有限公司
学术委员会成员：
鲍 昆 林 路 包旭东 于效祥 钱秀娴
张 曦 唐浩武 徐 杰 濑户正人（日本）
展览总监：于效祥 钱秀娴
策展人：唐浩武 凌华铮 李弋迪
助理策展人：钱海峰 魏子涵
二、参展艺术家
坂本阳（日本） 长谷川美祈（日本） 陈栋誉
陈小丽 冯吴超 甘森 鬼海弘雄(日本，1945-2020）
何屹 华小园 华燕英 吉田多麻希（日本）
榎本八千代（日本） 蒋小倩
濑户正人（日本）铃木萌（日本） 陆伟杰
钱儒雅 森本真生（日本） 松下律子（日本）
王晓涓 吴春燕 许春燕 许明珠
尤玲 余艇 袁徐庆 远藤文香（日本）
三、展览地址：
中国摄影家协会宁波艺术中心（宁波东钱湖旅游度假区环湖南路555号）
李元摄影艺术中心（浙江省宁波市鄞州区鄞州公园北门）
四、展览时间：
2023年10月20日—2023年 12月10日
五、开幕及学术活动：
开幕时间：2023年10月20日 上午9点
地 址: 中国摄影家协会宁波艺术中心
学术活动:
（一）学术研讨会
主题：女性主题的摄影在当今社会的意义
时间：2023年10月20日上午10：00—10：40
（二）学术讲座：
1．讲座主题：《摄影中的性别权利与摄影权力》
主讲人：鲍 昆
时间：2023年10月20日下午13：30—15：00
2．讲座主题：《她的视角与他的目光——女性摄影的历史与当下》
主讲人：林 路
时间：2023年10月20日下午15：20—17：00
Blooming Like Flowers
--'2023 China-- Japan Photography Exchange Exhibition
1.Organizational structure
Organizer :
China Photographers Association Ningbo Art Center
Yinzhou District Federation of Literary and Art Circles
Ningbo Art Museum
Co organizer:
Li Yuan Photography Art Museum
Place M Gallery, Tokyo, Japan
Nanjing Prism Culture and Art Co., Ltd.
Academic Committee Members:
Bao Kun Lin Lu Bao Xudong
Yu Xiaoxiang Qian Xiuxian Zhang Xi
Tang Haowu Xu Jie Masato Seto (Japan)
Exhibition Director:
Yu Xiaoxiang Qian Xiuxian
Curator:
Tang Haowu Ling Huazheng Li Yidi
Assistant Curator:
Qian Haifeng Wei Zihan
2.Participating artists and their works
He Yi Hua Xiaoyuan Hua Yanying Tamaki Yoshida (Japan)
Yachiyo Enomoto (Japan) Jiang Xiaoqian
Masato Seto (Japan) Moe Suzuki (Japan) Lu Weijie
Qian Ruya Masao Morimoto (Japan) Ritsuko Matsushita (Japan)
Wang Xiaojuan Wu Chunyan Xu Chunyan Xu Mingzhu
You Ling Yu Ting Yuan Xuqing Ayaka Endo (Japan)
3.Exhibition address:
China Photographers Association Ningbo Art Center
(No. 555 Huanhu South Road, Dongqianhu Tourist Resort, Ningbo)
Li Yuan Photography Art Center
(North Gate of Yinzhou Park, Yinzhou District, Ningbo City, Zhejiang Province)
4.Exhibition time:
October 20, 2023 -- December 10，2023
5.Opening and Academic Activities:
Opening time: 9:00 am, October21, 2023
Address: Ningbo Art Center, China Photographers Association
（1） Academic seminars
Theme: The significance of female themed photography in today's society
Time: October 20, 2023 10:00-10:40 AM
（2） Academic Lectures:
1.Lecture topic: "Gender Rights and Photographic Power in Photography"
Speaker: Bao Kun
Time: October 20, 2023, 13:30-15:00 PM
2. Lecture topic: "Her Perspective and His Eyes -- The History and the Present of Female Photography"
Speaker: Lin Lu
Time: October 20, 2023, 15:20-17:00 PM
参展艺术家及主要作品
Participating artists and their works
坂本阳（日本）
Minami Sakamoto (Japan)
《光线》 "Ray"
长谷川美祈（日本）
Miki Hasegawa (Japan)
《内部笔记》 “Internal Notebook’’
陈栋誉
Chen Dongyu
《红书》 "Red Book"
陈小丽
Chen Xiaoli
《不可方物》 "Inestimable Things "
冯吴超
Feng Wuchao
《妙语如珠》 "Pearls of Wisdom"
甘森
Gan Sen
《又一年》 "Another Year"
鬼海弘雄(日本,1945-2020）
Hirooh Kikai(Japan,1945-2020)
《浅草寺前的女人》
"Women in front of Senso-ji Temple"
何屹
He Yi
《伊人如斯》 "Love is Like This"
华小园
Hua Xiaoyuan
《塑料袋》 "Plastic Bags"
华燕英
Hua Yanying
《食色之欲2》 "Lust for Food and Color 2"
吉田多麻希（日本）
Tamaki Yoshida (Japan)
《负片生态学》 “Negative Ecology”
榎本八千代（日本）
Yachiyo Enomoto (Japan)
《20050810》 "20050810"
蒋小倩
Jiang Xiaoqian
《夹城里》 "Demolition of Jiachengli "
濑户正人（日本）
Masato Seto (Japan)
《静音模式2020》 "Silent Mode 2020"
铃木萌（日本）
Moe Suzuki (Japan)
《底翳》 "Sokohi"
陆伟杰
Lu Weijie
《1/2的美丽》 "Half Beauty"
钱儒雅
Qian Ruya
《易碎品2》 “Fragile Goods 2”
森本真生（日本）
Masao Morimoto (Japan)
《我的森林》"My Forest"
松下律子（日本）
Ritsuko Matsushita (Japan)
《总有一天会回到宇宙》
"One day we will return to the universe"
王晓涓
Wang Xiaojuan
《她的房间》 "Her Room"
吴春燕
Wu Chunyan
《看脸时代》 "Face--Watching Era"
许春燕
Xu Chunyan
《湿度71%》 "Humidity 71%"
许明珠
Xu Mingzhu
《沉醉》 "Being intoxicated "
尤玲
You Ling
《在水边》 "By the Water"
余艇
Yu Ting
《最清亮的小溪》 "The Clearest Stream"
袁徐庆
Yuan Xuqing
《红房间》 "Red Room"
远藤文香（日本）
Ayaka Endo (Japan)
《人间的大地》 “Kamuy Mosir”
如 花 绽 放
——’2023中日摄影交流展
前 言
唐 浩 武
Blooming like flowers
——'2023 China-Japan Photography Exchange Exhibition
Anaphora
by Tang Haowu
Since the 20th century the discussion on gender issues in sociology has been repeatedly stirred, and related topics are often bound with gender discrimination, women's liberation, sexual liberation, feminism, political correctness, etc. The topic of gender (mainly female) in photography is also a frequently mentioned hot topic in the history of world photography. However, in the domestic photography industry, there are few in-depth academic discussions on the impact of gender identity on visual expression, which is a question worthy of serious consideration and questioning by curators and photographers. This China-Japan Photography Exchange Exhibition: "Blooming Like Flowers -2023 China-Japan Photography Exchange Exhibition" is to take photography as the medium,around women's "see and be seen", to launch a discussion of photography creation under gender consciousness.
For a long time, the gender issues have seemed to be a psychological, sociological, and political issue intertwined with power and desire, domination and resistance. In the current mainstream discourse system of equality between men and women in China, the status of women seems to have never been generally respected as it is today. Women are basically in an equal position with men in terms of education level, workplace status, family roles, etc. But in the specific social field, men and women are labeled with social gender, which is disproportionate. Women are often left to see and be seen passively and modern women still cannot escape the curse of "Male gaze". For example, people are much more likely to see female images of women in commercial advertisements than men; As people generally recognize, "body photography" often only refers to female body photography; In people's stereotypes, women's appearance is more closely related to their marriage, family, and career prospects; Most young women are immersed in the appreciated characters and pay more attention to their appearance than men, as Simone de Beauvoir said in her book "Second Sex" that "dressing up is not just about embellishment, it also indicates a woman's social situation". Today's women, especially those in the mobile internet subculture (including female characters in games), have equated sex appeal with beauty. For example, big breasts and fat hips are the symbols of a simple nature worship - worship formed by early human beings--a sign of reproduction worship, the current female body release and the rise of self-consciousness make aesthetic return to nature. The sexy label of "big breasts, fat hips and long legs" has become the fashion of The Times, and the original purpose hidden under the representation of fashion is to cater to "Male gaze". However, once the image of women is reversed such as the online celebrities Sister Furong, Sister Feng, or the image of "flower like" in movies or television films, it is not be pointed at by thousands of people, but will also be regarded as a "stem" of ridicule, which on the other hand emphasizes the dominant position of male perspective in the evaluation system, while female perspective is in a relatively supportive position. On the other hand, watching in line with women's equal rights and independent consciousness, that is, watching and being watched from women's Free will and psychology, is rarely seen in the mainstream media or even talked about. For example, women in neutral dress or "strong women" images are more difficult to be recognized by society, while "male body photography" is still a taboo topic, There is also the profound meaning and connotation behind the phenomenon of "Little fresh meat" being criticized by the public and ignored. Of course, we do not intend to launch a sociological or feminist discussions on gender issues today. Instead, we want to use photography as a starting point to consider the role of gender factors in visual art, as well as the differences in gender perspectives, especially the advantages and possibilities of women in the field of photography that differ from men.
This time we have invited 27 photographers from China and Japan to participate in the "Blooming Like Flowers -2023 China-Japan Photography Exchange Exhibition". Among them 19 are female photographers who focus on photography topics related to society, family, personal life, and life; while 8 male photographers, on the other hand, focus on the female image from a male perspective. From the analysis of the topic selection and photography language of female photographers' works, they are more sensitive and delicate to small changes in social life, and have a stronger desire to express emotions and emotions. At the same time, their female identity during the shooting process can play a more flexible role and be accepted by the photographer, which helps to communicate and empathize with the subject, which enables women to go deep into the family and private space to expand the theme of photography . Of course, this does not affect women's deep involvement in other themes and photography concepts. As male photographers, when dealing with female subjects in their photography creations, we may ask the question: Will photographers use the subject matter as a basis for pressing the shutter according to their understanding or imagination of women? Will it subconsciously highlight "sexy" as a symbol for female subjects? Do photographers have objectified female viewing attitudes and ways in the context of a commodity society? In addition, the topic of how female photographers view men and women is also the topic that this exhibition . At the same time, there are many similarities and differences between Chinese photographers and Japanese photographers in photography topics, angles of social issues and ways of expressiion of works that are worth our comparative study. For example, Japanese female photographers pay more attention to the themes of family, identity, social ethics and life, while Chinese female photographers are more active in discussing Social change, lifestyle and other aspects; Japanese male photographers tend to have a relatively calm and introverted view of women, while Chinese male photographers tend to focus more on women with a tendency towards invasion or labeling. The deeper reasons for these differences may be due to the different stages of social development between the two countries, as well as the high correlation between people's gender culture, lifestyle, openness, and understanding of art. The photographers participating in "Blooming Like Flowers -2023 China-Japan Photography Exchange Exhibition" provide us with a multi perspective and multi-level viewing sample, which is an attempt to discuss women's topics in photography. Of course, as a male curator, there are limitations and blind spots in thinking when choosing works for others. Therefore, I hope that more photographers can express their views on this topic through their works, and I also hope that more viewers can solve the mystery between gender and viewing through watching exhibitions. Today with the rapid progress of advancing AI art, traditional photography, as a viewing tool, remains the most intuitive and effective way for us to discuss gender issues and it is also the focal point for traditional photography to compete with AI cartographic photography, and the charm of human nature is also here.
本期编辑｜钱海峰、陈小丽
投稿邮箱｜554138181@qq.com
往期精彩回顾