《天堂》 年度汇报 THE HEAVENS ANNUAL REPORT

An employ of ‘Jetpack Cayman’ demonstrates the watersport now available on the island. A 2000cc motor pumps up water trough the Jetpack propelling the client out of the water (359US$ for a 30 minutes secession). Mike Thalasinos, the owner of the company quips, ‘the Jetpack is zero gravity, the Cayman are zero taxes, we are in the right place!’ Grand Cayman. Courtesy of the artist.

THE HEAVENS ANNUAL REPORT

《天堂》 年度汇报

PAOLO WOODS AND GABRIELE GALIMBERTI 

保罗·伍兹与加布里埃尔·加林贝蒂

 –

 

Tax havens have quietly taken the world by storm. More than half of world trade now passes through these places. They are in the news every day, and are fast becoming a constant fixture of political debate. The growing flow of articles and reports on this poorly understood subject are usually illustrated with images of palm-fringed tropical beaches. Is that what tax havens really look like? From Delaware to Jersey; from Singapore to Panama; from the British Virgin Islands to the City of London, Paolo Woods and Gabriele Galimberti take us on a tour into a rarely seen, secretive world that is quite different from what we imagine.

避税区以暴风之速而又不动声色地占领了全世界。目前过半数的世界贸易都流经这些地区。关于避税区的新闻每天都在上演,并迅速成为政治争论中持续、固定的话题。关于这个鲜为大众所熟知的话题的文章与报导不断增加,而且通常配以被棕榈树所点缀的热带海滩图像。但避税区真的就长这样吗?从特拉华到泽西,从新加坡到巴拿马,再从不列颠维尔金群岛到伦敦城,保罗·伍兹与加布里埃尔·加林贝蒂带领我们深入那与我们所想象大相径庭的罕见、秘密之境。

For over two years they have travelled to the offshore centres that embody tax avoidance, secrecy, offshore banking, and extreme wealth, driven by a constant obsession with translating this rather immaterial subject into images. They have produced a body of work that shows what these places look like, but, even more importantly, what they mean.

It has been estimated that as much as $32 trillion are sheltered in tax havens worldwide, largely out of sight. This money is stashed offshore by very wealthy individuals and by companies that use tax havens, often legally, to escape financial regulations or reduce their taxes, draining the resources countries can spend on education, healthcare, and security.

Tax havens are not an exotic tropical eccentricity, but have become a structural instrument of the globalised economy.

艺术家一直痴迷于将这个相当无形的议题转化成图像,并在这种痴迷的驱使下,他们在两年多的时间里前往了那些拥有避税、保密、境外金融服务和数不清财富的海岸中心。他们创造出一件作品来展示这些地方的面貌,以及更为重要的——这些地方的意义。

据估算,全球范围内约三十二万亿美元在避税区得以规避,而其中相当大一部分并不为人所知。这些钱在境外由富人以及一些公司所堆存,这些公司利用避税区——通常以合法的方式——来规避财政制度或减少赋税,使这些原本可被国家用于教育、医疗和保卫的资源流失。

避税区并不是一个热带异域怪象,而是成为了全球化经济的一件结构性工具。

They confront us with fundamental moral issues, involving the relationships between public and private; between companies and states; and between the haves and the have-nots. Woods and Galimberti have borrowed the photographic tropes and language of the world they have investigated.

They have actually created a company, aptly named ‘The Heavens’, incorporated in Delaware, where for a small fee— with no documents required or questions asked—an LLC can be formed in less than 20 minutes. ‘The Heavens’ is now based in the same nondescript Delaware office as Apple, Bank of America, Coca-Cola, General Electric, Google, Walmart, and 285,000 other businesses.

艺术家将最基本的道德议题摆在了我们面前,这关乎公共与私人的关系,公司与国家的关系,有和没有的关系。艺术家借用了他们调查得来的世界上的摄影借喻手法和语言。

事实上艺术家在特拉华创立了一家公司,恰巧地命名为“天堂”。在特拉华,只需一点点钱,不需任何文件,也不用回答任何问题,一家有限责任公司就能在20分钟建立起来。“天堂”的总部就设在特拉华,设在那个与苹果公司、美洲银行、可口可乐、通用电气、谷歌、沃尔玛以及其他28万5千家公司在同一个办公室注册的特拉华。

 

With support from Olympus and the participation of illy

The exhibition furniture is created by Cathedrae.

Publications: Les Paradis, Delpire, 2015; The Heavens, Dewi Lewis, 2015.

Design by Ramon Pez.

Prints and framing by Center Chrome.

 

感谢奥林巴斯(Olympus)的支持与(艾利咖啡)illy的参与。

展览家具由Cathedrae制作。

出版:《天堂》(Les Paradis), 戴尔波尔出版社(Delpire),2015

《天堂》(The Heavens),戴维·路易出版社(Dewi Lewis), 2015.

设计:雷蒙·派司(Ramon Pez)

印刷与装裱:Center Chrome

费里尼:8 1/2的色彩 FELLINI, 8 1/2 COLOUR

Marcello Mastroianni. Courtesy of  Paul Ronald, Archivio Storico del Cinema, AFE

FELLINI, 8 1/2 COLOUR

Photographs by Paul Ronald

费里尼:8 1/2的色彩

摄影:保罗·罗纳德

As if by magic, Federico Fellini’s legendary black and white film 8 1/2 makes an appearance in colour, immortalised by Paul Ronald. The producers asked him to photograph scenes in black and white. But Ronald had two Hasselblad cameras, and he loaded the second one with a roll of colour film, not knowing what he would do with it.

就像魔术一样,费德里科•费里尼的传奇黑白电影《8 1/2》“彩装”登场,在保罗·罗纳德的镜头下变得不朽。制作人原本请他拍摄黑白场景。但罗纳德有两台哈苏摄像机,而且他在第二台相机上装上了彩色胶卷,但他并不知道将怎么如理这卷交卷。

Colour reveals all. It underscores the aesthetic choices’ resolute modernity, from the sets to Piero Gherardi’s costumes, the eminently contemporary figures of Anouk Aimée and Claudia Cardinale, and Marcello Mastroianni’s lecherous poses. It takes us out of the film’s rigorous structure, brings us behind the scenes and shows us the festive mood that prevailed on Fellini’s set.

色彩揭示所有东西。色彩突出了审美选择的果断坚决的现代性,从布景到皮耶罗·盖拉尔迪(Piero Gherardi)的服装,阿努克·艾美(Anouk Aimée)与克劳蒂雅·卡汀娜(Claudia Cardinale)的显著当代形象,再到马赛罗·马斯楚安尼(Marcello Mastroianni)的情色姿势。色彩将我们抽离出电影的严密结构,领到场景背后,给我们展示了费里尼的布景中盛行的喜庆气氛。

81/2 was the last black and white film in a long series that the master began making in the early 1950s. It was never intended to be seen in colour, but Piero Servo recently found Ronald’s long-forgotten box of negatives. That rediscovery, accompanied by Anouk Aimée’s recollections, is the focus of this show.

《8 1/2》是这位艺术大师在20世纪50年代早期开始制作的长系列中都最后一部黑白电影。这部电影从未被设想过以彩色的形式呈现,但皮耶罗·塞尔沃(Piero Servo)最近发现了罗纳德的一盒被遗忘已久的底片。这一发现,加之阿努克·艾美的回忆,是此次展览的焦点。

Curator: Sam Stourdzé.

策展:萨姆•斯道兹(Sam Stourdzé)

With support from the Centre des Monuments Nationaux and the Fondation Fellini pour le Cinéma, Sion.

This exhibition is based on a project presented in 2011 at the Maison du Diable in Sion, coproduced by the Fondation Fellini pour le Cinéma and the Musée de l’Elysée, whom we thank for it.

We warmly thank Anouk Aimée, Piero Servo, and Antonio Moraldi.

支持:国家纪念中心(Centre des Monuments Nationaux),费里尼电影基金会(Fondation Fellini pour le Cinéma)(法国锡永).

本次展览基于2011年在法国锡永“魔鬼大厦”Maison du Diable呈现的一个项目,由费里尼电影基金会以及爱丽舍宫博物馆(Musée de l’Elysée)联合呈现,我们向其表达谢意。

我们由衷感谢阿努克·艾梅,皮耶罗·塞尔沃以及安东尼奥·莫拉尔地(Antonio Moraldi)。

 

Excerpt from Sam Stourdzé’s interview with Anouk Aimée

 

萨姆•斯道兹阿努克·艾梅访谈摘要

 

Sam Stourdzé: In 8 1/2, you play Luisa, the wife of the uninspired director. Today, the biographical elements are troubling when we watch the film again. Was it known at the time that it was Fellini’s life that was being performed?

萨姆•斯道兹: 在《8 1/2》中,你扮演的是路易莎(Luisa),一个平庸导演的妻子。如今,当我们再看这部电影,里面的传记性元素则令人困扰。拍摄的时候大家知道呈现的是费里尼的生平吗?

 

阿努克·艾梅: One day, Giulietta [Massina] came on the set. I was finished shooting by then, and they called me: ‘The Maestro wants to see you!’ ‘But it’s over!’ ‘No, no, he wants you on the set!’ The assistants were all running left and right because Giulietta was there. She did not know the script. It was the first time she was coming. The scene in shooting was the one where Luisa discovers the tests, and all the women are there! It is the only time I saw Federico nervous. He told me: ‘But Giulietta is here, go say hello to her!’ So I went and sat next to her… I used to get along very well with Giulietta: maybe it was because I never tried to charm Federico. I was not part of all these women who were running after him… As a matter of fact, Federico always used to say to Marcello [Mastroianni], speaking of me: ’She’s our little sister from the country…’ In that scene, we understand quite quickly that the character of Luisa is in fact her. So I am sitting next to Giulietta, and she’s asking me questions: ‘But what’s this, and what about her, who is she, a mistress?’ So I explain to her: ‘She’s gone, she’s S icilian, with the feathers.’ And then she asks me: ‘And what about you?’ ‘I am not there, but I play the director’s wife…’ And one of Federico’s assistants would come to me every ten minutes, and discreetly ask me: ‘The Maestro is asking what Giulietta is saying?’ [Laughs]. ‘It was amazing because she was discovering the movie at the same moment when, in the film, Luisa discovers everything!’

 

阿努克·艾梅: 有一天,茱丽叶塔[马西纳](Giulietta [Massina])来到布景前。那时我已经拍完了,然后他们把我叫住:“大师要见你!”“但我已经拍完了啊!”“不,不,他想要你加入到布景中!”由于茱丽叶塔在场,助理们都在四处忙碌。她不知道台本。那是她第一次来。当时正在拍摄的场景是路易莎进行屏幕测试的场景,而所有的女士都在现场!那我我唯一一次看到费德里科紧张起来。他跟我说:“但茱丽叶塔在这儿呢,去跟她打声招呼!”于是我过去在她边上坐下了…我以前和茱丽叶塔相处得很好:也许是因为我从来没有试图去迷住费德里科。我并不是这些追随他的女人中的一员…事实上,费德里科过去常跟马赛罗[马斯楚安尼](Marcello [Mastroianni])提起我:“她是来自农村的咱们的小妹妹…”在那个场景下,我们很快就发现路易莎的角色原来由她扮演。于是我坐在茱丽叶塔边上,而她正问我:“但这是什么,她呢,她是谁,一个小姐?”于是我向她解释:“她走了,她是西西里人,身上带羽毛。”然后她问我:“那你呢?”“我不在那儿,但我扮演导演的妻子…”然后费德里科的其中一位助理每十分钟就来到我跟前,小心地问我:“大师问茱丽叶塔在说什么?”[大笑]。“实在太棒了!正当电影中的路易莎在厘清所有事情的时候,她也在参悟着这部电影!”

唱片汇 TOTAL RECORDS

Boz Scaggs, Middle Man, Columbia FC 36106, États-Unis, 1980. Photographie de Guy Bourdin. Avec l’aimable autorisation de The Guy Bourdin Estate, 2015.

TOTAL RECORDS

THE GREAT ADVENTURE OF ALBUM COVER PHOTOGRAPHY

唱片汇

唱片封面摄影的伟大探险

A history of photography through the prism of the vinyl record. These two media, which left their mark on the 20th century, interplayed in all their forms, from artwork to illustration, figuration to experimentation. The show is based on this diversity of intentions and propositions. The first two images published on an album cover— an artsy vision of Broadway and a more figurative shot of a cowboy— already suggested that anything was possible. The format—33 rpm, 45 rpm, a circle in a square—encapsulates almost the whole history of photography. Many photographers have left their mark on these 30×30 cm covers.

 

一段由黑胶唱片透射出的摄影史。这两件在20世纪留下了自身印记的媒介,通过自身的各种形式相互影响,从艺术品到插图,从装饰到实验。展览正是基于这种意图和命题的多样性而成。最早发表在专辑封面的两张图像——一张百老汇的文艺视像以及一张牛仔的具象拍摄——早已暗示了万事皆可能。这种格式——33转,45转,方形的封面加上圆形的唱片——浓缩了几乎整段摄影史。许多摄影师都在这些30×30厘米的封面上留下了自己的痕迹。

 

Photography has played a leading role in the history of recorded music. Looking at an album cover, you can almost hear what you see. Photographers illustrated many classics. Who hasn’t purchased a record based on its cover? The image of Abbey Road has come down through the past half-century just as surely as the Beatles’ music.

 

摄影在录制音乐的历史中扮演了领先角色。当你看着一张唱片封面,你几乎能闻你所见。摄影师展示了许多经典。谁不曾因为封面而买下一张唱片?艾比大道(Abbey Road)的图像毫无疑问地与披头士的音乐一样穿越了半个世纪而流传至今。

 

The Rolling Stones’ Sticky Fingers record sleeve featured Andy Warhol’s famous crotch shot, but the world’s foremost photographers, including David Bailey, Hiro, Annie Leibovitz and Robert Frank, illustrated some of the group’s other album covers. Some photographers built a style; others built icons. Labels built visual identities where photography mattered more than anything else: Francis Wolff’s black and white photos for Blue Note, ECM’s shades of grey, the flashy colours of Hypnosis, etc. House productions foreshadowed a sound. Conversely, album covers featured many of the century’s symbolic, historic images: a portrait of Céline, the Great Depression seen through the eyes of the Farm Security Administration photographers, May 1968, Black Power in the United States, etc. Every technique—from photojournalism to photomontage, photo booths, photos used for a purpose other than that for which they were intended, overexposed photos and photos within the photo—can be found in these 30×30 cm squares.

The deeper you dig, the vaster the subject seems.

Jacques Denis

 

滚石乐队“Sticky Fingers”的唱片封面特点是一张安迪·沃霍尔的胯部照片,但全球最重要的摄影师,包括大卫·贝利(David Bailey), Hiro,安妮·莱柏维兹(Annie Leibovitz)和罗伯特·弗兰克(Robert Frank),展示了滚石的其他唱片封面。一些摄影师创造了风格;其他的创造了偶像。比起其他任何东西,摄影更在意视觉身份,而唱片公司确立了视觉身份:弗朗西斯·沃尔夫(Francis Wolff)为蓝调唱片(Blue Note)创作的黑白照片,ECM唱片的灰色阴影,Hypnosis唱片的艳丽颜色,等等。唱片公司的制作预示了一种声音。相反地,唱片封面主打的是代表性的、具有历史意义的图像:席琳(Céline)的肖像,农场安全管理局摄影师眼中的大萧条(the Great Depression),1968年法国五月风暴,美国黑人权力运动,等等。每一门技术——从摄影新闻到摄影集,照相亭,作为目的而非其原意而被利用的照片,过曝照片,图中图——都能在这些30*30厘米的方块中被找到。

你挖掘得越深,它越显宏大。

雅克·德尼(Jacques Denis)

X

Exhibition curators: Antoine de Beaupré, Serge Vincendet, and Sam Stourdzé.

With the complicity of Jacques Denis.

The section ‘Francis Wolff and Blue Note Records’ is produced by the Kyotographie Festival, with Michael Cuscuna (Mosaic Records) and Lucille Reyboz & Yusuke Nakanishi (Kyotographie) as exhibition curators.

Prints by Tokyo Color Kogeisha, for the Blue Note section.

Paul McCartney album covers photographed by Linda McCartney.

Curated by Paul and Mary McCartney and produced by Linda Enterprises Ltd,

London. Prints by Sean Mulcahy at Metro Imaging, London.

Wallpapers by Central DUPON Images.

Framing by Plasticollage and Circad, Paris, and Europlast, Aubervilliers.

Publication: Total Records, la grande aventure des pochettes de disques photographiques, éditions 213, 2015.

Texts: Jacques Denis.

 

展览策划: 安托万· 德·布普雷(Antoine de Beaupré) , 谢尔日·文森蒂(Serge Vincendet), 萨姆•斯道兹(Sam Stourdzé)

联合策划:雅克·德尼

“弗朗西斯·沃尔夫与蓝调唱片”部分由京都摄影节(Kyotographie Festival)制作,马赛克唱片的迈克尔·库斯库纳(Michael Cuscuna,Mosaic Records) 以及京都摄影节的露西尔·瑞铂斯(Lucille Reyboz )和Yusuke Nakanishi为展览策划。

蓝调唱片部分的印刷由东京Color Kogeisha承担。

保罗·麦卡特尼(Paul McCartney)唱片封面由琳达·麦卡特尼(Linda McCartney) 拍摄。

保罗与玛丽·麦卡特尼(Paul and Mary McCartney)担任策划,伦敦琳达有限公司(Linda Enterprises Ltd, London)担任制作,伦敦马特洛影像(Metro Imaging, London)的肖恩马·尔卡希(Sean Mulcahy)承担印刷。

墙纸由杜邦影像中心(Central DUPON Images)制作提供。

Plasticollage and Circad(巴黎) 以及Europlast(奥贝维利埃)承担装裱。

出版:《唱片汇:唱片封面摄影的伟大探险》(Total Records, la grande aventure des pochettes de disques photographiques, éditions 213, 2015.

文字:雅克·德尼

2015年图书大奖 THE 2015 BOOK AWARDS

2015年图书大奖

作者图书大奖颁予2014年6月1日至2015年5月31日间出版的最佳摄影类书籍,得奖者可获得8,000欧元奖金。大奖由FNAC公司(“国家经理人采购联盟”)协办。历史图书大奖则颁予2014年6月1日至2015年5月31日间出版的专题记录摄影作品或摄影师的最佳图书作品。

在开幕周中2015年发现奖提名人会发布获奖名单。

所有奖项的被提名作品都有两个复刻版本被收藏:其中一个被收藏在阿尔摄影高等学校图书馆,另外一个被收藏在年度纪录片系列中。

从2010年开始,这些图书充盈了许多机构的图书馆,包括:位于北京的三影堂摄影艺术中心,马里共和国的巴拉·法赛克·库雅特多媒体艺术和工艺学院,约翰尼斯堡的摄影学校和画廊-市场摄影工作室,智利瓦尔帕莱索国际摄影节,以及金边的法国研究所。2015年预选委员会由雷米·凯伊涅,奥拉西奥·费尔南德兹和卡库斯·沙顿组成。

评判委员会由马尔塔·吉利担任主席,由克日什托夫·坎德罗威克,路易丝·克莱门茨,芬妮·埃斯库伦,克莱尔·雅凯,安妮·洛多,杰罗姆·马克,维拉·米哈尔斯基-霍夫曼,以及弗朗西斯科·扎诺特组成。

主要合作伙伴:简·米哈尔斯基圣经和文学基金会

协办:FNAC

THE 2015 BOOK AWARDS

The €8,000 Author’s Book Award honours the best work on photography published between 1 June 2014 and 31 May 2015. It is organised with support from the Fnac. The €8,000 History Book Award is for the best documented thematic or monographic work on photography or a photographer published between 1 June 2014 and 31 May 2015.

The nominators of the 2015 Discovery Awards will name the winners during opening week.

Two copies of each work are received: one is deposited in the library of the École supérieure de la photographie d’Arles, the other in a different documentary collection each year.

Since 2010, the works received have enriched the libraries of the following institutions: the Three Shadows Photography Art Center in Beijing; the Balla Fasseké Kouyaté Conservatory of Multimedia Arts and Crafts in Mali; the Market Photo Workshop, a photography school and gallery in Johannesburg; the international photography festival in Valparaiso, Chile; and the Institut Français in Phnom Penh. 2015 pre-selection committee: Rémi Coignet, Horacio Fernandez, and Markus Schaden.

The jury is presided by Marta Gili and composed of Krzysztof Candrowicz, Louise Clements, Fannie Escoulen, Claire Jacquet, Anne Loddo, Jérome Marc, Vera Michalski-Hoffmann, and Francesco Zanot.

Main Partner: Fondation Jan Michalski pour l’Écriture et la Littérature.

With support from the Fnac.

顾铮 Gu Zheng

戴焱淼摄影

1959年生于上海,现为复旦大学新闻学院教授,复旦大学信息与传播研究中心研究员,复旦大学视觉文化研究中心副主任。1998年毕业于日本大阪府立大学人类文化研究科比较文化研究专业,获学术博士学位。

学术兴趣:20世纪现代艺术,当代中国纪实摄影,视觉文化与图像传播研究、摄影史等。著有《人体摄影150年》(1999)、《国外后现代摄影》(2000)、《自我的迷宫—艺术家的“我”》(2003)、《城市表情—20世纪都市影像》(2003)、《世界摄影史》(2005)、《像你我一样呼吸-一个世纪的摄影传奇》(2006)、《现代性的第六张面孔—当代视觉文化研究》(2007)、《遮挡与穿透—当代中国摄影景观》(2008)、《观念的街头》(2010)、《Chinese Contemporary Photograpic Art(中国当代摄影艺术)》(2011,中文版与法文版)、《顾铮摄影文论选》(2012)、《印刻时代风潮流——海报中的20世纪》(2012)、《摄影的人,在路上》(2013,台北)、《The Chinese Photobook:from the 1900s to the Present》(2015,Apertue,NY,US)等。主编有《西方摄影文论选》(2005)、《中国摄影新锐25》(2010)、《摄影·社会·空间》(2010)等。

策划的主要展览有:第一届亚洲摄影双年展《生活在城市》(中国策展人,2001,汉城)、《记录中国—-当代摄影与社会变动》(2004,美国贝茨学院美术馆、华美协进社,2006,史密逊博物馆)、《在现实与记忆之间—-摄影中的中国社会生活与记忆》(2004,美国新学院大学帕森斯设计学院)、《城市·重视—-2005广州国际摄影双年展》(广东美术馆)、《显“隐”-中国当代摄影20年》(南京四方当代美术馆,2006)、《上海之上》(爱普生影艺坊,上海,2010)、《光影惊沧——金石声摄影展》(上海刘海粟美术馆,2012)、《中国风景》(伦敦大学亚非学院沃尔夫逊画廓,2012)、《断章取义——杨福东作品展》(OCT当代艺术中心上海馆,2012)、首届北京国际摄影双年展(2013,共同策划)。《中国当代摄影2009-2014》(2014,共同策划)等。

担任《中国摄影》和《欧洲摄影》(柏林)等刊物的编委,并担任美国《光圈》杂志供稿编辑。第一届平遥国际摄影节欧莱雅中国摄影师大奖评委(2000)。休斯顿摄影节专家见面会评委(2006),2008大邱摄影双年展家见面会评委。哈佛大学皮波迪人类学民族学博物馆罗伯特·嘉特纳奖推荐委员,第二届沙飞摄影奖评委(2009),法国勒瓦鲁瓦摄影节评委(2010)。第一、二、三届侯登科纪实摄影奖评委。第56届(2013年)世界新闻摄影比赛(荷赛)终审评委。

获得中国摄影金像奖(理论评论)(2001)及第一届沙飞摄影奖学术奖(2007)


Gu Zheng ,born in 1959,Ph.D.(Osaka Prefecture University,Japan,1998),Professor of the School of Journalism, Fudan University, Vice-director of the Research Center for Visual Culture, Fudan University.The member of editorial committee of<Chinese Photography>(Beijing),the contributing editor for <Aperture>(New York),the member of editorial board of <European Photography>(Berlin).Lives and works in Shanghai,China.
He has published some books about contemporary photography and photographic history, including<No Truth Behind All Truth: The Practices of 20th Century Modern Photography>(2002),<Expression of the City: 20th Century Urban Photography>(2003),<The Sixth Face of Modernity>(2008),<Conceptual Street>(2010),<Chinese Contemporary Photography>(2011), <Photographer ,who is on the Road>(2013).
He has curated many exhibitions such as <Miao Xiaochun:A Visitor From The Past>(Epsite Gallery,Beijing and Shanghai,2004),<Documenting China>(Bates College Museum of Art,Maine and China Institute,NY,USA,2004),<Between Reality and Memory>(Parsons School of Design,New School University,NY,USA,2004),<2005 Guangzhou International Photography Biennale:Re(-)vewing The City>(Guangdong Museum of Art, 2005),< Chinese Urban Documentary Photography>(Institute for the Humanities, University of Michigan,USA ,2005),<Harvest:1st Chinese Photography Exposition>(Art Scene China,2005) ,<Harvest:2th Chinese Photography Exposition>(Art Scene China,2006),<Developing China:20 Years of Chinese Contemporary Photography>(Nanjing Square Gallery,Nanjing,2006),<Will to Height:Contemporary Art Exhibition>(Epsite Gallery, Shanghai,2010),<Aura &Post Aura:1st Beijing Photo Biennial>(Contemporary Art Museum of The China Millennium Monument, Beijing,2013).
He is the winner of Chinese Photography Golden Figure Prize(Theory and Criticism) in 2001 and The 1st Shafei Photography Award(2007).He is the finale jury member of World Press Photo(2013).

简单的图像 Simple images

简单的图像 Simple images

策展人:廖文峰

参与此次展览的艺术家, 都并非以摄影作为他们的主要工作媒介。以其最基本的功能——纪录为基础,摄影被当成一种可以被简便使用的工具。它使得艺术家们可以对现实世界的物通过图像投以关注,并改造它们的关系,使它们在清晰的外貌下呈实出不确定的状态。或者,通过机械之眼,捕捉和凝固时间的痕迹,使其能为我们的肉眼所感知。或者,作为测量的工具,来度测、检验和更新我们的所见所知。

通过摄影直接产生的图像,或者通过对于现有图像的组织,个人化的观看方式和经验得以传达和显现,并呈现出不同的气质。这些图像邀请我们的双眼对它们进行着辨认,并同时对我们现有的意识进行重新编排。有时候,我们的所见越是一目了然,我们的所知就越模糊,越来越不确定。它们迫使我们调整看法,并暂时地使这种悖论得以调和。由此,图像以这种方式植入了我们的记忆,并在我们遭遇相似的现实情景时显现。

艺术家:

Monika Brandmeier (德国)

Judith Karcheter(德国)

Sven Stuckenschmidt(德国)

Max Sudhues(德国)

Evgenija Wassilew(法国–德国)

Bignia Wehrli(瑞士–德国)

廖文峰 (中国)

 

9.12 第二次新闻发布会

Design by Liu Jing 设计:柳静 Photo: Li Shu 摄影:李树
Design by Liu Jing 设计:柳静
Photo: Li Shu 摄影:李树

Jimei X Arles: East West Encounters International Photo Festival
集美X阿尔勒:东西方对话 国际摄影季

*

Talk & Conversation
讲与谈

Moderator: Cao Dan
主持人:曹丹

Key Speaker:Sam Stourdzé, RongRong, Li Zhenhua
主讲人:萨姆•斯道兹、荣荣、李振华

Saturday, 12th of September
星期六,九月十二日

17:00-19:00
晚五点至七点

Special Guests: Michael Benson, Liu Tian, Ma Nan, Ben Huang, Liu Xiaoguang, Hu Weiyi, Hu Jieming, Liu Jing, Iris Long & Cedar Zhou, Zheng Yunhan, Liu Hongjian, Lu Yanpeng
特邀嘉宾:Michael Benson、刘畑、马楠、Ben Huang、刘晓光、胡为一、胡介鸣、柳静、龙星如&周姜杉、郑云瀚、刘宏剑、卢彦鹏等
Shanghai Minsheng Art Museum
上海民生现代美术馆

Address: bldg F, NO.570 West Huaihai Road
地址: 中国上海市长宁区淮海西路570号(红坊院内)

Tel/电话:+86 21 6282 8729
jimeiarles@qq.com | http://www.jimeiarles.org

Supported by:

MINSHENG

logoConsKEE club

雷磊 Lei Lei

Lei_Lei

www.raydesign.cnhttp://raylei.blogbus.com

雷磊 Lei Lei,视觉艺术家/独立动画导演

1985年出生于中国江西省南昌市,2007年本科毕业于清华大学美术学院动画专业,2009年获得清华大学美术学院动画硕士学位。

2010年动画《这个念头是爱》获得渥太华国际动画节最佳动画短片奖。2013年动画《照片回收》入选昂西国际动画节,获得荷兰国际动画节最佳动画短片奖。2014年担任萨各勒布国际动画节,荷兰国际动画节评委。同年获得亚洲文化协会蔡国强艺术奖学金。

张增增 Zhang Zengzeng

张增增 Zhang Zengzeng

我叫张增增。我毕业于中国重庆的四川美术学院雕塑系,一直尝试突破雕塑的概念,寻找新的艺术表达方式。

近年来尝试用肥皂泡这种材料在一堆砖头和铁铲上制作了一座中国的功勋碑——作品《瞬间的永恒》,同时我觉得这种材料本身的短暂性和虚无性,就像梦一样,所以我用它包裹穷人家的物品并制作他们梦想要拥有的东西,以此作品换得的钱去买个真实的送给他们,用这样的方式让他们梦想成真——作品《梦想成真系列》。

除此之外,当肥皂泡作品在空气里消失没有的时候,我在想那么空气还能怎么做呢?

我开始使用增强现实这这样的虚拟技术得一实现——手机已是我们今天观看世界的主要方式之一,于是做一件只能用手机观看的作品而肉眼却看不到。作品《无形之形》就是基于这样的想法和技术制作出来的。在空无一物的空间里,观众拿着手机对着那片空间,便会在手机屏幕里出现一个撑满空间的立体大铁球,观众举着手机改变自己的位置来观看大球的不同角度。(尺寸根据现场大小制定)

2014年12月在上海外滩的对面东方明珠塔旁边永久的树立了一个虚拟的直径为650米的大铁球,观众站在外滩,举着手机对着东方明珠塔就会看到他,放下手机他就不存在。这样的一个巨大的公共雕塑,市民是否想看到它,选择权就在市民自己手上。与传统相比,他在满足公共景观需求的同时,不会占有实际公共空间,更不会强迫你去观看它。——作品《无形之形——东方明珠》

《无形之形——港澳自由行》香港,澳门本是中国的一部分,但因历史种种问题离开祖国近百年,现虽已回归,但两岸的政治经济文化以及人们之间一直都难以融合产生并产生各种矛盾。在这其中两岸人民都能感受到有种无形的东西阻隔在中间。这些也许是经济的问题,人们价值观的迥异,甚至背后隐藏的政治目的,我想您也知道前段时间的香港民众围堵大陆游客,以及占领中环的大游行等等。因为这些看不到的原因与矛盾迫使我不得不把我的这件《无形之形》作品放置在曾经香港和大陆,以及香港和英国之间产生矛盾的地点。因为在那里聚集着无形的问题。

I graduated from the department of sculpture at Sichuan Fine Arts Institute. I have been working on the issue of how to deconstruct the concept of“sculpture”and searching for the new way for my artistic expressions for many years.

In recent works, I used soap bubble as an artistic medium to make many works, such as A Moment of Eternity, a work was made by soap bubble which was installed on a pile of bricks and a shovel. I turned these materials into an imagery monumental, as I think there are several similarities between human’s dream and the temporality and nihility of this material. In light of the property of this material, I made my second soap-bubble work Dreams Becoming True. In this work soap bubble was used to wrap different objects and furniture in order to make incomes. With this money, I can buy a new one thus give the new one to them.

In addition, I started to think what would happen if the bubble finally disappeared into the air? How can I make works with air? Thus, I used the technique – Agumented Reality. I chose the cellphone as my artistic medium, since it has been the one of the main ways for us to see the world. I intended to create a work that can only be viewed with the screen of our cellphones. Based on this idea, I made A Form without any Forms. Initially, this work was exhibited in a space where nothing was placed. Once the audiences held their cellphones toward this space, a huge iron sphere would emerge on the screen of their cellphones. Meanwhile, the shape could be changed if the audiences moved their positions.

This work was further explored by myself in December 2014. At the Rockbund of Shanghai city, I exhibited this virtual work. I installed this work at the opposite site of the Rockbund and invited the audiences to view this work which was 650 sphere diameters through their cellphone screens. Compared to the traditional public art, this work showed absense of publicness and, at the same time, it did not occupy the literal space. Also, it would not enable you to see by force.

 

 

Hong Kong and Macao are parts of China, but because of the historical problems,they had left the mainland for nearly a hundred years. Although both of them have returned to the mainland, the conflicts in terms of politics, economy, and culture still exist between both sides. In these conflicts people from both sides feel invisible barrier between them. These may be the issues of economic, people’s values, even the political purposes. As you know, in lasts few months, there were many political movements including the occupation of central parade in the Umbrella Protest. Since the invisible cause and contradiction forced me to put my “invisible” work in the place where once the conflict existed between Hongkong, the mainland, and the United Kingdom.

 

无形之形——港澳自由行 Hong Kong, Macao and free exercise of intangible work instructions

张增增 作品 work of Zhang Zengzeng
维多利亚港 Victoria Harbor
增强现实摄影 AR Photo
2015

张增增 • Zhang Zengzeng

&

妙果数码 Shanghai miugo digital technology co. Ltd.

《无形之形——港澳自由行》

Hong Kong, Macao and free exercise of intangible work instructions

 

材质:增强现实项目

Material: AR Project

我把我的《无形之形》作品带到了香港和澳门。香港,澳门本是中国的一部分,但因历史种种问题离开祖国近百年,现虽已回归,但两岸的政治经济文化以及人们之间一直都难以融合产生并产生各种矛盾。在这其中两岸人民都能感受到有种无形的东西阻隔在中间。这些也许是经济的问题,人们价值观的迥异,甚至背后隐藏的政治目的,因为这些我看不到的原因与矛盾迫使我不得不把我的这件《无形之形》作品放置在曾经香港和大陆,以及香港和英国之间产生矛盾的地点。因为在那里聚集着无形的问题。

I took my Invisible Form to Hongkong and Macao in recent days. Hongkong and Macao are parts of China, but because of the historical problems,they had left the mainland for nearly a hundred years. Although both of them have returned to the mainland, the conflicts in terms of politics, economy, and culture still exist between both sides. In these conflicts people from both sides feel invisible barrier between them. These may be the issues of economic, people’s values, even the political purposes. Since the invisible cause and contradiction forced me to put my “invisible” work in the place where once the conflict existed between Hongkong, the mainland, and the United Kingdom.