2021第九届大理国际影会 I 记忆的观看～观看艺术画廊
记忆的观看 ©观看艺术画廊
策展人：牛恒立
Curator Niu Hengli
学术主持：马应海
Academic Chair Ma Yinghai
展览策划：观看艺术画廊
Exhibition Planning VIEW ART GALLERY
展览时间：2021.9.27~10.1
The Exhibition Period 2021.9.27~10.1
国内展览地点:大理古城洪武路188号大理国际影会主展区南区1-2
Venue: 1-2, South Area, Main Exhibition Area Dali International Photography Exhibition , 188 Hongwu Road, Dali Ancient City
画廊展览地点:⼤理州⼤理古城苍坪街⼤理床单⼚艺术园区 2-L M K J I
Venue: Dali old city Cangping Street Dali bed factory art park 2-L M K J I
观看艺术画廊
记忆的观看
View through Our Memories
视觉从来不是视网膜对形象的复刻。福柯说：“期待决定视觉结果或视觉经验”。
艺术家试图通过作品的大镜子，唤起人们关于精神史的追溯。过往被不断解构、重构，在记忆、想象和现实的交互中，记忆变得似是而非。当代艺术关于记忆的预设和理解，早已从客观化的现代认知性记忆转向更加主观的、具有后现代气质的体验性记忆。
摄影师的“第一观看”在很大程度上是取决于人的记忆、期待以及经验，“第一观看”就是在“确认”，是对这个世界的“再认知”。观看艺术画廊的这些作品，无论李止山水 “宋画故国”的记忆建构，肖萱安三峡记忆的解构与重构，颜劲松、牛恒立、冯证 “在别处”将“地方”加诸记忆之上的视觉演绎，周强带有“强迫性”的日常记忆堆叠，赵晋龙对现实的质疑与改造的“自传体”式的记忆再现，马应海将虚拟的记忆置入 “现实”，还是顾华晔关于城市街头的“第一观看”，都像封印在历史河床泥沙里的琥珀，而这枚琥珀在时间的特殊“地质”环境中并没有“死亡”或者“永生”，而是在“观看”中自我生长。
（马应海）
借古三章 ©李止
Our vision of the world is by no means of the ectype of images of things in our retina. To quote a sentence from Michel Foucault. “It is our expectation that determines the outcome or experience of our vision.”
For artists, their works act as magical mirrors, which could invoke people’s retrospective of thinking history. It is in the process of the creation of art that the past is constantly deconstructed and reconstructed and then put at the intersection of memory, imagination and reality, blurring the line between the actual memory and the fake one. The preconception and understanding of memory within modern art have already shifted from an objective modern cognitive-oriented perspective to a more subjective postmodern experience-based one.
无尽的城市 ©顾华晔
A photographer’s First View of things, to a large extent, depends on his/her memory, expectation, and experiences. The First View helps to verify and rebuild our notion of the world.
In the art gallery, we could see how Li Zhi constructs his recollection through the landscape painting, The Homeland in painting in Song dynasty; we could see how Xiao Xuan’an deconstructs and reconstructs the memory of the Three Gorges; we could see how Yan Jinsong, Niu Hengli, and Fengzheng demonstrates how they put their thoughts of localization on their memories at another place through their visual arts; we could see how Zhou Qiang piles up our daily memories in a forceful way; we could see how Zhao Jinlong doubts the reality and revives the reshaped autobiography-style memory; we could see how Ma Yinghai implants virtual memories into actual ones; we could see how Gu Huaye forms his First View of the streets in the city. Whatever they show to us is like the chrysophoron lying in the sand of the riverbed in the river of history. However, instead of being dead or being immortal in such an exceptional geological environment, the chrysophoron grows as we view it.
（ Ma Yinghai）
松格玛尼 ©颜劲松
持花 ©颜劲松
王佳 ©剩余印记
道白Ⅱ ©赵晋龙
生 ©周强
风姿花传 ©须田一政
细江英公摄影作品 ©细江英公
森山大道摄影作品 ©森山大道
新桃花源记Ⅱ ©马应海
空山·色 ©牛恒立
错误时间里的某一天 ©肖萱安
持花的僧人 ©冯证
城市人从厨房逃跑 ©周强
城市·烙印 ©颜劲松
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