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台日攝影交流對談 From AKAAKA, From Photographs, From Taiwan and Japan 2

赤赤社帶來六位風格迥異的優秀日本攝影作者:淺田政志林典子石川竜一古賀絵里子佐伯慎亮山內悠。精彩可期!攝影愛好者切勿錯過!

我也會一同出席,發表作品並加入對談。歡迎你來!

Japanese photobook publisher AKAAKA will bring 6 distinctive Japanese photographers to Taipei, including Masashi Asada, Noriko Hayashi, Ryuichi Ishikawa, Eriko Koga, Shinryo Saeki, Yu Yamauchi. I will join them to give a slideshow presentation. Join us!

 

 

2016.12.10 (Sat) 14:00-16:00   Lightbox (台北市金門街5-1號3樓)

2016.12.10 (Sat) 19:00-23:00  視丘攝影藝術學院 (台北市忠孝東路4段181巷40弄7號1樓)

2016.12.11 (Sun) 14:00-16:00   田園城市藝文空間(台北市中山北路2段72巷6號B1

2016 LIANZHOU FOTO, China 中國連州國際攝影年展受邀參展

 

策展人 / Curator : 沈昭良 (Chao – Liang Shen)
藝術家 / Artist : 
李立中 (Li - Chung Lee) – 神遊 (Space Out), 李岳凌 (Yehlin Lee) – 黑暗聆聽(Listening to the dark), 李雅妍 (Ya - Yen Lee) – 俄頃的呢喃 (Flash of Whispering), 杜韻飛 (Yun - Fei Tou) – 生殤相(MEMENTO MORI), 陳以軒 (I - Hsuen Chen) – 遍尋無處 (Nowhere in Taiwan), 陳伯義 (Po - I Chen) – 遺留 (Remains), 陳淑貞 (Shu - Chen Chen) – 婚移全家福 (Interracial marriage family portrait), 黃建樺 (Chien - Hua Huang ) – 編碼者 (Transcoder), 羅晟文 (Sheng - Wen Lo) – 白熊計劃 (White Bear), 蕭又滋 (Arron Hsiao) – 列車計畫 (Train Project) 。

開幕導覽 / Guided Tours : 2016. 11. 20 / PM : 18 : 30 - 19 : 45
地點 / Location : 二鞋厂3、5 展示区 / Shoe Factory - Display Area 3 & 5
展期 / Duration : 2016. 11. 19. - 12. 9
http://www.lianzhoufoto.com/exhibition.aspx

再凝望 - 台灣當代攝影的新視野
文 / 沈昭良

台灣整體藝術創作的發展,自1987年解除戒嚴令以來,明顯透過對於歷史、土地的溯源,聚焦在更為貼近現實的議題建構與意識盤整上,援引生命、生態、環境、城市、空間、能源、消費、權力、殖民、國族、全球化、後工業與內在探索等個別或複合紋理,進行兼具結構性和時代性的回應與提問。

其中,攝影創作的發展,自然也在這種內外衝擊的交流轉向中,一方面逐步調整視覺語法,一方面扎根於在地關注、全球論述與數位融合的基礎上,透過直視景物、排除 / 貫徹個人情感、對於生命哲理與存在價值的探究、關注人類與環境間的議題,數位材料技術的引用,以及大尺幅或視覺群化展示等等形式特徵,具體產生了各式發想自現實題材,時而宏觀遠眺,時而微觀凝視的創作。

此次的<再凝望-台灣當代攝影的新視野>展,則是在上述的發展脈絡下,針對台灣內部,相對具備特定方向與論述的攝影創作內容,所進行的集結與梳理。包括杜韻飛(Yun-fei Tou)的「生殤相」 (MEMENTO MORI),藉由西方藝術史裏的肖像語境,拍攝台灣數家公立收容所內的流浪犬,於安樂死當日的最後身影。在觀看與被觀看、主體與客體的轉換中,以接近人身大小的作品展示,探討人類與他者間的支配與宰制關係。羅晟文 (Sheng-wen Lo)的「白熊計劃」 (White Bear),則是透過在全球各地所拍攝,人類圈養的白熊與其所處的人造環境,進而延伸人與自然環境、動物圈養及動物權等命題。

陳以軒 (I-hsuen Chen)的「遍尋無處」(Nowhere in Taiwan),主要描述自身因為留學而經歷了反向的文化衝擊,在非純粹風景與城市景觀的曖昧交界,透過公路攝影,不自覺望向孤立疏離的自我身影。李岳凌 (Yehlin Lee)的「黑暗聆聽」(Listening to the Dark),試著將抽像聽覺做為視覺書寫的因子,隨著攝影,徘徊在日沒微光的幽暗邊界。李雅妍 (Ya-yen Lee)的「俄頃的呢喃」 (Flash of Whispering),則是藉移動在都市裏的無預警遭遇,透過直覺反射式的隨機抓拍,一方面回應來自城市街頭的呢喃召喚,一方面探索周遭景物與自身靈魂間的密碼囈語。

陳淑貞 (Shu-chen Chen)的「婚移全家福」 (Interracial marriage family portrait)系列作品,內容聚焦在外籍配偶的家庭合照。藉由她們所居住的空間、內部陳設與神韻樣態,進一步思考異國婚姻在語言、文化、習慣乃至於信仰的融匯上,可能的和諧與曲折。蕭又滋 (Arron Hsiao)的「列車計畫」 (TRAIN PROJECT)則是搭配高速閃光燈,以無差別的隨機方式,拍攝快速行進中的列車車廂,呈現個體在封閉空間與人群中的精神樣態。陳伯義(Po-i Chen)的「遺留」(Remains)系列,主要拍攝台灣自1949年起至1960年代,來自中國大陸各省的國民黨部隊及眷屬所居住的眷村,在拆遷後現場所遺留的物件,藉以回溯在大時代下的顛沛遷徙,所隱含的政治、社會、族群與認同議題。李立中(Li-chung Lee)的「神遊」 (Space Out),則是針對現今台灣廟宇內部的空間採集,探索靈界的空間配置在現代化進程中,展現的特異與多元組合。

另外在數位攝影的創作實踐上,黃建樺(Chien-hua Huang )的「編碼者」(Transcoder),透過詼諧馳騁卻猶如社會縮影的樂園,試圖在社會形態、生存機制與角色身份的相互指涉中,折射出人們對於世界的想像與追尋。

最後,期望透過<再凝望-台灣當代攝影的新視野>-這個群展,階段性描繪,在全球當代攝影的發展進程中,台灣新世代攝影創作者的凝望和步履。

Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography
By Chao-liang Shen

The evolution of the creation of art in Taiwan as a whole has been calling for an answer to the structural questions of the times since Martial Law was abolished in 1987. Undoubtedly, through tracing back to the sources of history and the origin of the homeland, artists have been able to focus on agendas that are closer to reality and the correction of ideology, leveraging individual or compound cases of life, ecology, environment, the city, space, energy, consumption power, authority, colonization, nation, globalization, post-industrial revolution, and inner searching. 

Amid these topics, the development of photography naturally echoes the aforesaid internal and external shocks and changes, and different visual languages have gradually been generated. Moreover, photographers have begun to plant their creative roots in the combination of local focus, global discourse, and digital convergence. These concepts are characterized by direct view, including and excluding one’s emotions, combing through life philosophy and the value of existence, addressing human-environment relations, borrowing digital material or techniques, large-scale pieces, conceptual grouping, and so on. All of these have led to concrete creations inspired by real-life topics in views both macro and micro. 

The “Yet Another Gaze – A New Horizon for Contemporary Taiwanese Photography” exhibition collects and combs through the aforementioned context, featuring Taiwanese photography pieces with specific angles or arguments. MEMENTO MORI by Yun-fei Tou presents euthanasia in a couple of public animal shelters in Taiwan with the images of the stray dogs on the last day of their lives through portrait works in the style of western art history. Switching roles between the gazing and the gazed-upon, or the subject and the object, the influx of true-to-size photography works probe the dominance relationship between human beings and others. White Bear by Sheng-wen Lo, on the other hand, discusses topics extending to animal rights and captive breeding from the interactions between human and Mother Nature through images, taken all over the world, of captive white bears and the artificial environment in which they are fenced.

Nowhere in Taiwan from I-hsuen Chen mainly illustrates the photographer’s reverse culture shock after returning home from studying overseas. On the vague line between atypical sceneries and city landscape, the photographer looks into his own isolated and lonely shadow. Listening to the Dark by Yehlin Lee attempts to write visually through the abstract sense of hearing. The photographer has been wandering along the dim boundaries in the low light of sunset with his camera. Flash of Whispering by Ya-yen Lee is a collection of reflective snapshots as the response to the summons of the city streets. The images are the code-talk of her surroundings and her soul. 

Interracial marriage family portrait by Shu-chen Chen features portraits of foreign spouses and their family in Taiwan. Through representation in details of their facial expressions and living space and interior decorations in their families, Chen’s images demonstrate both harmony and conflicts reflected in the contrasts of their languages, culture, habits and regional beliefs. TRAIN PROJECT by Arron Hsiao uses high-speed flash to engage in a “shooting spree” to capture moving trains. The photographer intends to show the psychological states of individuals in a confined space and among crowds. Remains from Po-i Chen mainly shoots the things left behind by the families of KMT troops who moved from various provinces in China to Taiwan from 1949 to 1960 in their military villages after the demolition and relocation of the military communities. The photographer reviews the historical journey as well as hidden political, social, racial and identity debates. Space Out from Li-chung Lee focuses on picking up of pieces of space in Taiwanese temples to build his narration of the bizarre and diverse combination of space planning of the invisible world in modernization.

On the implementation and practice of digital photography, Transcoder by Chien-hua Huang seeks the refraction of people’s imagination and wants of the world through inter-references of forms of society, the survival mechanism, and role/identity playing in humorous ways, as if society were an entertainment park. 

In conclusion, I hope that the group exhibition “Yet Another Gaze - New Horizon of Contemporary Taiwanese Photography” can bring together the creative momentum of the new generation in Taiwan to portray the gazes and steps of the stage we are now at as part of the progress of global modern photography.

Interview by PHOTO TALKS 2016

Photo Talks is an artist collective based in Taipei, Taiwan.

This is the third consecutive year that Young Art Taipei held Portfolio Review. YAT invited the professionals from Taiwan and around the world, to speak with 26 reviewees about their works. After a whole-day intense discussion and voting between the judges, they decided that the Best Portfolio Review Award goes to Yehlin Lee, and Special Jury Prize to Shujen Chen. Photo Talks conducted a short interview with Yehlin. We invite him to share with us his work and his thoughts about the Portfolio Review.


1/ 
Could you briefly introduce the theme of your work that you brought to YAT "Portfolio Review"?

The title of this work is “Listening to the Dark”. Most of the images were taken when night starts to fall at the corners of cities in Taiwan since 2011. Moreover, this title comes also from my experience of making sound art since 2001. Back then, the ideal circumstance for both creation and performance is sheer darkness. By doing so, the visual perception recedes, and the aural perception may achieve a higher level of concentration.

Therefore, instead of saying that my theme is about the subject represented by the images, I would say it is more about the images itself and the different phasing between representation and visual perception. (The term 'phasing’ may be understood as the technique in Steve Reich’s composition.) What I care more is the the response of viewers (including myself) while seeing the work. The difference between the first look, the second, and the look after a long while: may it be confusion, emotion, personal memory, associations of meaning, or even poetic sentiment…

 

2/

This is the second time you joined “Portfolio Review”. What’s the difference of your work both in content and form? How do you react to the opinions of the reviewers last time?

 

I had a great chance to meet international professionals in 2014. Shen Chao-Liang gave me his opinion on making photo books. Chang Chao-Tang and Masato Seto set the standard of a picture. Gu Zheng and Edward Chiu gave me practical advices on exhibition.

Therefore, the content of my work has greatly changed this time. During the process of taking photos, I start to be aware of the way I look. Once I found I am taking repetitive pictures, I try to get rid of the habitual way of looking. It seems that I have made some progress in the following aspects: on the timing of pressing the shutter, the fluidity within the picture, the openness of meaning, and taking all the accidents and failures during photo taking as gifts. Simply put, because of the awareness of the way I look, I start to shoot with more freedom.

Speaking of the form, I start to make this book since 2013, and the present one is the fourth version. For image sequencing, I focus on the rise and fall of emotional strength. I try to shape the rhythm of reading by using different sizes, blank spaces in pages, spreads andrhymes in content. It is also worth mentioning that luckily I find an excellent Taiwanese designer Ho Chia-Hsing ( a.k.a Timonium Lake). With his professional opinion on paper material, book size, and layout, the whole book becomes a much tightly connected integrity.

 

3/

Other than the recognition of the prize, what else did you learn in this review? Could you share with us the opinion from reviewers that impressed you the most?

 

Before this review, all I expect is just to know and receive professional opinions about how to take pictures and how to make a good photo book. I, as a photographer with pre-occupied ideas of the image, often have difficulty on editing. It is not easy to relieve myself of previous thoughts and get a fresh second look of the image. This is the moment that a professional editor’s experience shines.

Mrs. Kimi Himeno from AKAAKA thinks that some images not selected in the book are worth considering again. Although she didn’t specified reasons, I guess her selection is to get a better balance between concrete and abstract for the whole book, and to have more surprise. Meanwhile, she also gave a quote from Daido Moriyama: “Shooting before publishing is the most important.” Now I start to realize the meaning of this saying.

 

4/

What is your personal opinion of the importance of Portfolio Review?

 

Portfolio Review makes me to recognize the width and depth in the world of photography. I was also imbued by the enthusiasm from the peer reviewees. The judges coming from different cultural circles make their straight advices from his or her own perspectives. These opinions will be the necessary reminders and challenges in the journey of artistic creation. At the same time, seeing reviewees’ work and exchanging opinions between peers is like what Mr. Shen Chao-Liang said: “It feels so great to bath in developer and fixer these days!”. Feeling this passion of creation, I believe that every reviewee would be moving forward with abundant energy just like me!