ArtSlant - Openings & events en-us 40 Claudio Parmiggiani - Simon Lee Hong Kong - July 8th 6:00 PM - 8:00 PM <p style="text-align: justify;">Simon Lee Gallery is pleased to announce the first exhibition in Hong Kong by renowned Italian artist Claudio Parmiggiani. Associated with the Arte Povera and Conceptual Art movements, Parmiggiani's work resists a firm connection to both. Themes of absence, the inevitable passage of time, fragmentation and ordeal recur throughout his practice and are essential to his oeuvre, as too does his concern with the power of memory, poetic images and shared history. Parmiggiani&rsquo;s practice demonstrates a profound interest in our artistic, historical and moral past. Deeply personal meditations on life and death, the power of reflection and feelings of the sacred are realised in concrete objects, photographic and painted images, and in his signature<em> Delocazioni</em>, made with fire and soot on canvas.</p> <p style="text-align: justify;">At the centre of the exhibition is an assemblage of plaster heads, installed like a mass of remains on the gallery floor. In this work, Parmiggiani engages with classical iconography and fragments of antiquity, using the figures and motifs of an imaginary archaeology to rewrite and evoke the effect of ancient ruins. Another new work consists of paper painted with the constellation of the stars and pierced with a burn. Its materials are charred but memories of their presence remain. Moving between homage, transgression and estrangement, the echo of the ancient world is charged with mystery as the artist gives form to ephemeral notions of time, silence, memory, absence and dreams through sculptural installations, paintings and <em>Delocazioni</em> that resonate with imaginative tension.</p> <p style="text-align: justify;">Using relics, fire, ashes, pigment, dust, shadow, Parmiggiani&rsquo;s work is exquisitely and brutally material but retains the longing for a transcendent dimension, a desire to render infinities, abstractions and what is burrowed in the world but nameless and without noise. First exhibited in 1970, Parmiggiani&rsquo;s iconic <em>Delocazioni</em> use powder, smoke and fire to make shadows and imprints on paper and board. In order to create his Delocazioni, Parmiggiani builds an installation and sets it on fire through the combustion of tyres. When the objects are removed, what remains are their negative outlines in soot, revealing their trace and memory, silhouettes immortalised using smoke. In this landscape of shadows and light, bodies and objects, the whole universe of life is evoked in absentia.</p> <p style="text-align: justify;">Claudio Parmiggiani was born in Luzzara, Italy in 1943. His first major exhibition was held at Liberia Feltrinelli, Bologna in 1965. Parmiggiani&rsquo;s work has been widely exhibited in international museums and collections. His work has been shown six times at the Biennale de Venezia (1972, 1982, 1984, 1986, 1995 and 2015). A retrospective of his practice between 1960 and 1995 was held at the Mus&eacute;e d&rsquo;Art Moderne et Contemporain, Geneva (1995). Recent solo exhibitions have been held at Galleria d&acute;Arte Moderna di Bologna, Bologna (2003), The Grand Palais, Paris (2005), The Mus&eacute;e des Beaux-arts de Nantes, Nantes (2007), Coll&egrave;ge des Bernardins, Paris (2008), Palazzo del Governatore, Parma (2010) and Fondazione Bernareggi, Bergamo (2014). His work was recently included in the major group exhibition &lsquo;Post Classics: The revival of antiquity in contemporary Italian Art&rsquo;, curated by Vincenzo Trione in the Roman Forum&ndash; Palatine, Rome (2014) and Unlimited, Art Basel, Basel (2013). In June 2015, a permanent installation of his work was unveiled at Villa Medici, Rome.</p> Fri, 26 Jun 2015 18:58:19 +0000 Peony Yip - Art Projects Gallery - July 10th 6:30 PM - 8:30 PM <p><strong>Artist Statement: </strong></p> <p><em>The series portrays the inevitability of change. Humanity&rsquo;s idea of death is simply another part of the process that we call life. Death is no more to be feared than Birth, Love or Growth. Although the fear of Death has been at the root of all of our great discoveries and accomplishments, what is sometimes forgotten is that discovery itself is not as important as what is done with what is discovered. Through discoveries I believe we humans have taken greatly from what belongs to the Earth and I would love to live a world where we can be rebirthed back into nature itself.</em></p> <p>Art Projects Gallery is delighted to present Hong Kong artist Peony Yip&rsquo;s debut solo exhibition titled &ldquo;Transformation&rdquo;.</p> <p>Peony is inspired by the notion of continuous change - fascinated not only by the end result of metamorphosis but also in the process of the transformation. In this solo exhibition, she explores the relationship between humans and nature and puts forward her vision of the transformation from former to the latter.</p> <p>Imagining a world where human goes through an evolutionary process to finally become a part of nature, Peony&rsquo;s &ldquo;Transformation&rdquo; series portray the different stages of a girl&rsquo;s transformation back to nature as a butterfly, symbolic of people being reborn and at one with nature again.</p> <p>In the &ldquo;Transformation Zodiac&rdquo; series, Peony portrays insects (as a representation of nature) transformed into the twelve Zodiac beings, all fully evolved with their ubiquitous physical attributes and characteristics.</p> <p>Peony Yip was born in Jamaica in 1990 where she lived for 14 years before moving back to Hong Kong in 2005. She graduated from the Hong Kong Design Institute with a Higher Diploma in Graphic Information Design in 2010 and has participated in various group exhibitions since 2012 before her current debut solo exhibition at Art Projects Gallery.&nbsp;</p> Tue, 23 Jun 2015 09:50:14 +0000 - CAFA Art Museum - July 10th 9:30 AM - 5:30 PM Tue, 23 Jun 2015 18:16:43 +0000 Amanda Cheng of Soul House (Paper Art) Design Studio, Jolene Mok, Foon Sham, Yip Kai Chun - Mur Nomade - July 11th 4:00 PM - 6:00 PM <p>Hong Kong-based curatorial office and gallery Mur Nomade presents <em>away</em>, an exhibition on the subject of loss and remembrance curated by Yip Kai Chun, opening on July 11<sup>th</sup>, and on view through September 19<sup>th</sup>. This exhibition is the winning project of Mur Nomade&rsquo;s first Open Call for Young Curators.</p> <p>Drawing on his personal experience and following his distinctive curatorial line and interest in mixing disciplines and generations, the young Hong Kong curator presents a group show featuring one of his sound works, a video by Jolene Mok, an installation by sculptor Foon Sham, and traditional paper crafts by Amanda Cheng of Soul House (Paper Art) Design Studio.</p> <p>The exhibited works deal with death, healing and the research of meaning in life. All are means of expression of complex and unspeakable feelings, either in their creation process, or in their presentation and engagement with the audience.</p> <p>In the exhibition, creative disciplines that are usually separated are harmoniously blended together. The blurring of the boundaries of &lsquo;art&rsquo;, the combination of works by emerging and established artists, and the intentional confusion between curating and art making, reveal Yip Kai Chun&rsquo;s singular artistic and curatorial approach and desire to shake conventions: rules are not rejected but cleverly applied in unexpected ways.</p> <p>Although the exhibition brings together emotionally charged artworks, feelings of distress or fear are suggested in a subtle and composed manner. With <em>away</em>, Yip Kai Chun explores an uneasy and unsolvable issue with a though-provoking exhibition inviting visitors to quietude and distance.</p> <p><strong>Curatorial statement:</strong></p> <p>Half a year after my mother died of cancer, I put up an installation titled <em>Incomplete Finale</em> with the audio recordings of her, and invited my family and close friends to see the work. Many of them might have known about my mother&rsquo;s situation, but had never asked about it. I had not talked about it either.</p> <p>To me and perhaps many others, the feelings and emotions triggered by death are largely unspeakable.</p> <p>It is very much the actual death I have experienced &ndash; its unspeakable nature and desolated process &ndash; that drives me to further explore the notion with an exhibition. Death is a permanent loss and termination that defines the very existence of human. Compared to other losses, death is maybe the most traumatising as it reminds us the limit of life.</p> <p>Each work [in the exhibition] is a vessel of emotion and memory, representing an invaluable and irreplaceable relationship with the deceased, venting contemplation of the deceased, death and life. Through the works, the creators presented in the exhibition designed their unique and poetic ways to remember the deceased.</p> <p>Although the works were created with the strong emotions triggered by death, they all show the potentially favourable facets of death &ndash; the relief and rebirth of both the deceased and the alive in different senses. Moving on to the future may only be possible with the remembrance of the past. Likewise, facing death may be essential for living a more purposeful life.</p> <p align="right">Experts from &lsquo;&hellip; <em>you</em> live on in here&rsquo;</p> <p align="right">Yip Kai Chun, June 2015</p> <div> <p><strong>&nbsp;</strong></p> </div> Thu, 25 Jun 2015 04:26:06 +0000 Group Show - Minsheng Art Museum - July 12th 10:00 AM - 6:00 PM <p style="text-align: justify;"><em>Work, Rest and Play: British Photography from the 1960s to Today,</em> is curated by The Photographers&rsquo; Gallery, London and hosted by Shanghai Minsheng Art Museum and the Cultural and Education Section of the British Consulate-General. Opening on 12 July 2015, it features as part of the 2015 UK-China Year of Cultural Exchange. The exhibition is produced in collaboration with The Pin Projects and supported by the British Council.&nbsp; Shanghai is the second stop during its tour in China.</p> <p style="text-align: justify;"><em>Work, Rest, Play</em>features over 400 images by thirty-eight acclaimed photographers and artists, presents a broad range of photographic practices, reflects upon the changing face of British culture over the last 50 years. Highlighting a mix of different approaches, from landscape, fashion, portraiture, photojournalism, documentary and fine art, this exhibition exposes a diverse view of photography from across the United Kingdom. It reflects photography&rsquo;s growing cultural position both within the UK and on the international stage.</p> <p style="text-align: justify;">Arranged chronologically the exhibition explores British society through changing national characteristics, attitudes and activities over the last five decades. Multiculturalism, consumerism, political protest, post-industrialisation, national traditions, the class system and everyday life all emerge under the broader themes of Work, Rest and Play.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>1960s</strong></p> <p style="text-align: justify;">In the 1960s, Britain went through numerous social and cultural changes. The infamous &lsquo;Swinging Sixties&rsquo; saw London established as a centre for music, fashion and a flourishing British art scene. Photographers were interested in capturing the world around them as it changed, documenting events of social and political significance, while others used photography to create work of a more personal nature. Editorial photography thrived through commercial magazines, as did professional studio portraiture evidencing the growing cult of celebrity within popular culture.</p> <p style="text-align: justify;"><strong>Terence Donovan</strong>&rsquo;s work emphasised a newly found playfulness that took fashion photography out of the studio and into the street. Similarly <strong>James Barnor</strong>&rsquo;<strong>s</strong> striking images of models of African heritage used London as an exciting backdrop, using the city to express new freedoms and emphasize a cosmopolitan lifestyle.</p> <p style="text-align: justify;"><strong>Cecil Beaton</strong> applied all his skills of visual seduction to produce new icons for this new era. Portraits of pop-stars, fashion models and artists did not merely capture the sitters&rsquo; personality, but also confirmed their status within the cultural scene. <strong>Linda McCartney</strong>, married to Paul McCartney of the music group The Beatles, was able to merge the public and private to produce celebrity images that were simultaneously family snapshots. This new intimacy had a great appeal for viewers, offering a sense of authenticity.</p> <p style="text-align: justify;">In his &lsquo;Only in England&rsquo; series, <strong>Tony Ray-Jones</strong> took on the role of social anthropologist to pinpoint particular foibles of the British. While <strong>John Hinde</strong>&rsquo;s brightly coloured photographic postcards, celebrated working-class British leisure pursuits.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>1970s</strong></p> <p style="text-align: justify;">In the 1970s, Britain was going through a period of economic recession, resulting in high unemployment and disillusionment with political institutions and other establishment figures. In response, many photographers became more politically conscious and socially engaged, documenting declining industries and their communal effects &ndash; choosing to work outside the traditional structures of portraiture, fashion and photojournalism.</p> <p style="text-align: justify;">Photographers like <strong>Sirkka-LiisaKonttinen</strong> and <strong>Shirley Baker</strong> recorded working-class families and marginalised communities in parts of England where traditional life was under threat, whilst photographers such as Vanley Burke focussed on the ethnic minorities striving for equal rights. All of these photographers were committed greatly to their subjects, offering a complex rather than clich&eacute;d view of their environment.</p> <p style="text-align: justify;"><strong>Philip Jones Griffiths</strong>&rsquo; images capture the seemingly absurd but deadly serious political events that dominated Northern Ireland during the 1970s. Similarly <strong>Patrick Ward</strong>&rsquo;s images observe the various forms of classed-based rituals and regalia often mocking theoutdated social systems in &lsquo;Wish You Were Here: The English at Play&rsquo;.</p> <p style="text-align: justify;">In the editorial world, <strong>Jane Bown</strong>&rsquo;s long career established her as one of the most consistent portrait photographers of the era. As a female photographer in a predominantly male arena, Bown&rsquo;s contribution offered a striking blend of the iconic and the informal. While<strong> Harry Jacobs</strong>&rsquo; portraits of first, second and third-generation Caribbean immigrants taken in his high street portrait studio offered a unique record of a community undergoing massive social and cultural change.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>1980s</strong></p> <p style="text-align: justify;">With the rise of City culture and the fall of the Trade Unions in the 1980s, British society was defined by a new economy. The Falklands War, Miners Strike, high unemployment rates coupled with a new government headed by Britain&rsquo;s first female Prime Minister Margaret Thatcher and the birth of the modern British dance and drug culture offered photographers a wealth of possible subject matters.</p> <p style="text-align: justify;">The documentary style that had defined the 1970s was now replaced by satire and colour documentary photography that provided a new vision of a nation. <strong>Martin Parr</strong> &ndash; a colour photo pioneer &ndash; challenged the &lsquo;mythology of Britishness&rsquo; with his satirical images of every day life. Similarly <strong>Anna Fox</strong>&rsquo;s images provided a parody by documenting new forms of work and office culture&ndash; triggered partly by the introduction of the computer to office-&shy;‐based work &ndash; her images depict a culture of alienation, superficiality and excess. <strong>Tom Wood</strong>&rsquo;s street scenes of his hometown Liverpool offer empathetic and affirmative documents of lived moments of working-&shy;‐ class men and women.</p> <p style="text-align: justify;">In contrast to the bright and colourful depictions of everyday behaviours, and informed by a sense of ecological crisis and activism present in 1980s England, <strong>Fay Godwin</strong>&rsquo;s quiet, black and white images of the British countryside and coast, reflect the complex relationships between man and nature.</p> <p style="text-align: justify;">Photography also took a conceptual turn in the 1980s. Interested in post-&shy;‐ structuralism, gender-&shy;‐inequality and psychoanalytical theory, many photographers turned towards the medium as it seemed to be freer and more versatile than sculpture or painting. With her &lsquo;Gentlemen&rsquo; series shot in exclusive all-&shy;‐male clubs, <strong>Karen Knorr</strong> addresses the seemingly fixed class and gender relations dominating Britain in the 80s.</p> <p style="text-align: justify;">Subcultures and alternative lifestyles allowed people to step sideways from conventional roles and imagine themselves differently. <strong>Derek Ridgers</strong> portraits celebrate these eccentric styles of nightclub goers that express their wish to stand out.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>1990s</strong></p> <p style="text-align: justify;">The 1990s was a decade of contradictions, on the one side political promises were made to restore Victorian values; on the other side social liberalism flourished. The result was a dramatic change in how Britons viewed homosexuality, individualism and almost every ancient institution; the Royal Family, the church, the political system and marriage were all subject to scrutiny. Identity became partly a matter of choice and Britons participated enthusiastically in the opportunity to explore different persona. British photography diversified as photographers found and celebrated the freedom to experiment.</p> <p style="text-align: justify;">While <strong>Toby Glanville</strong>&rsquo;s series of portraits of workers reflects on the importance of traditional British trades and crafts. <strong>Jason Evans</strong>&rsquo; influential fashion photos show black models dressed as upper-class dandies, parading on real urban streets; the antithesis of the image of black youths as gangsters. These images create an alternate world into which viewers might choose to project themselves.</p> <p style="text-align: justify;">Britpop, Cool Britannia and the Girl Power phenomenon dominated popular culture of the1990s. Portraying the young fans of the Spice Girls&mdash; the influential all female pop group one of whose members Victoria became the wife of David Beckham&mdash;posing as their stars, <strong>Clare Strand</strong>&rsquo;s images contrast the vulnerable, preteen fans with the stereotyped view of femininity embodied by their role models.</p> <p style="text-align: justify;"><strong>Paul Seawright</strong>&rsquo;s series Sectarian Murders revisits the sites of religious motivated murders that took place in the 1970s in Belfast close to where Seawright grew up. These images accompanied by the newspaper reports document the banal location where the murders occurred and challenge the viewers&rsquo; perception and the production of the history of the conflict between Protestants and Catholics in Northern Ireland.</p> <p style="text-align: justify;">Like Seawright, <strong>Tom Hunter</strong> revisits in <em>Life and Death in Hackney</em> sites of news stories. In melancholic images influenced by compositions of Old Master paintings and situated in urban wastelands, Hunter spins narratives of a disenchanted generation.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>The New Century</strong></p> <p style="text-align: justify;">Since the turn of the century, Britain has seen much radical social and economic transformation. New technologies and the explosion of self-expression on social media revolutionized how people communicate and how they express themselves. The wars in Afghanistan and Iraq, international terrorism, the financial crisis, globalization, were all important topics that defined this new era.</p> <p style="text-align: justify;">Photography in Britain has been a complex endeavour over the past 15 years. Contemporary photographers have moved around the country observing and collecting new narratives and exploring the boundaries between the still and moving image. Their views are often enigmatic, involving conceptual elements and telling contradictory stories ambiguously situated between fiction and fact.</p> <p style="text-align: justify;"><strong>Stephen Gill</strong>&rsquo;s playful and poetic series &ldquo;Talking to Ants&rsquo; features insects and objects being placed into the body of the camera to produce unique layered images; encapsulated in the film emulsion, they become part of the photographic process, evoking dream states or an &ldquo;ant&rsquo;s eye-view&rdquo;. Shifting perspectives and dream sequences also play an important role in <strong>Tim Walker</strong>&rsquo;s fashion fantasies. Here models enact fairy tale scenarios, the pleasurable escapism of the images seems often more important than the clothes themselves.</p> <p style="text-align: justify;">Consumer culture and its related aesthetics is depicted in <strong>Nigel Shafran</strong>&rsquo;s series of &lsquo;Supermarket Checkouts&rsquo;, these luminous still life images are in some sense improvised portraits of the customers who bought these items.</p> <p style="text-align: justify;">Many contemporary British photographs provide a twist on the traditional genres of landscape, portraiture, still life and history painting, drawing links between photography and a broader history of art.</p> <p style="text-align: justify;"><strong>Julian Germain</strong>&rsquo;s group portraits of school children reflect upon educational conventions and the school portrait format as highlighting social divisions. Offering us an opportunity to scrutinize the faces of sportspeople, actors and authors who often seem absorbed in their own private thoughts,<strong> Spencer Murphy</strong>&rsquo;s classical portraits combine pictorial formality with intimacy.</p> <p style="text-align: justify;">The grand landscapes of <strong>Simon Roberts</strong>&rsquo; series &lsquo;We English&rsquo; return to the subject matter of Tony Ray-Jones and Patrick Ward &ndash;the English at leisure. His photographs have a painterly quality as they show people enjoying their leisure activities within the British countryside; whilst the idea of the British Empire and how Britishness may be perceived in the remaining overseas territories is explored in<strong> Jon Tonks</strong>&rsquo; photographs.</p> <p style="text-align: justify;">Questioning the way that photographic documents are usually circulated to an outside audience for some kind of profit,<strong> Mark Neville</strong> came up with a solution to the issue that allows the pictures to &ldquo;belong&rdquo; more fully to the people depicted in them. When he completed a 2004 residency photographing the community of the former ship-building town in Port Glasgow, Scotland, eight thousand copies of the book Neville created to document the community were delivered only to the eight thousand families who lived there, no further copies of the publication were made available beyond this community.</p> <p style="text-align: justify;">Also reflecting upon the idea of communal ownership, <strong>David Spero</strong>&rsquo;s &lsquo;Churches&rsquo; expose unlikely places, repurposed and reused as places of worship by the burgeoning communities of evangelical Christians who have come to London from all over the world.</p> <p style="text-align: justify;">In the past decade, British artists using photography have begun to expand their horizons, exploring the terrain of sculpture, installation, painting and performance as well as video and film.<strong> Lorenzo Vitturi</strong>&rsquo;s vibrant still life&rsquo;s and temporary structures put photography into dialogue with other art forms. Vitturi made the work in response to the lively environment of his local street market in East London.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Video and Animation</strong></p> <p style="text-align: justify;">Emerging with the first portable video cameras in the 1960s and 1970s, video art has been defined in part by what it is not; not television, not cinema and not still photography. Embracing this medium, photographic artists oftenturn to video when aspects of time and movement can add to the impact of their work.</p> <p style="text-align: justify;"><strong>Gillian Wearing</strong>&rsquo;s hour-long video piece &lsquo;Sixty Minute Silence&rsquo; shows twenty-six actors posing as male and female police officers standing or sitting, as if poised for a group photograph. By trying to sit completely still the work is playing on the long exposure times of 19th century photographic portraiture. If Wearing&rsquo;s video is a study at the edge of stillness, <strong>Melanie Manchot</strong>&rsquo;s &lsquo;Tracer&rsquo; is a celebration of reckless movement. Manchot&rsquo;s piece shows 10 traceurs or parkour runners, climbing, leaping and flipping their way along the course of the Great North Run.</p> <p style="text-align: justify;">Time actually loses its direction in <strong>Catherine Yass</strong>&rsquo; video work Lighthouse. Filmed in a downward spiral from a helicopter, boat and underwater, Yass plays with feelings of disorientation set against the purpose of lighthouses to signal danger, points of shallow water, whirling currents and extreme tidal pull.</p> <p style="text-align: justify;">Finally <strong>Dryden Goodwin</strong> combines photographs of passengers on London public transport with animated drawings. Part of a larger exploration of the relationship between photography and drawing, these are meditations on the way we look at strangers.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Documenting and observing the changing realities of the British nation, the thirty-eight artists and photographers here express strong social engagement, a love of the ordinary, an intense curiosity and the constant need to record. Through the artists&rsquo; special perspectives, the exhibition demonstrates that along with music and fashion, photography has been a field in which Britain has made both a complex and accomplished contribution.</p> <p style="text-align: justify;">Also on display is <strong>The World in London</strong>, a major public art project initiated by The Photographers&rsquo; Gallery in 2012 to coincide with the London Olympic and Paralympic Games. The project presents 204 photographic portraits, from both established and emerging talents, of 204 Londoners, each originating from one of the nations competing at the Games. It is a celebration of photographic portraiture as an artistic form of expression as well as the city&rsquo;s rich cultural diversity.</p> <p style="text-align: justify;">In conjunction with the exhibition, talks, children&rsquo;s workshops and university lectures will be presented together. The exhibition will run through August 23, 2015.</p> <hr /> <p style="text-align: justify;">上海民生现代美术馆与英国总领事馆文化教育处联合主办的《时代映像:1960年以来的英国摄影》展,将于2015年7月12日开幕。作为2015年中英文化交流年的项目之一,本次展览由英国摄影美术馆策展,北京品项承办。这是此展继深圳开幕后的第二站。</p> <p style="text-align: justify;">《时代映像:1960年以来的英国摄影》展现了广泛的摄影创作实践,将展出38位摄影师和艺术家的400余幅作品,反映过去五十年来英国文化日益变化的面 貌。展览强调多种不同的手法,囊括了风景、时尚、肖像、新闻摄影、纪实摄影和纯艺术创作,显示出英国摄影多样化的视野,也反映了摄影在英国乃至国际舞台上 日益获得的地位。</p> <p style="text-align: justify;">此次展览按年代顺序编排,通过过去五十年来不断变化的民族特性、态度和活动来探索英国社会。多元文化、消费主义、政治抗议、后工业化、民族传统、阶级制度以及日常生活等都在&ldquo;时代映像&rdquo;这一主题下浮现出来。<strong><br /> <br /> 60</strong><strong>年代</strong></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">60年代,英国经历了社会和文化的巨大变革。声名狼藉的&ldquo;摇摆六十年代&rdquo;把英国确立为音乐、时尚和蓬勃发展的英国艺术界的中心。摄影师们有兴趣捕捉周围变 化的世界,记录具有社会和政治意义的事件,而其他人则用摄影来创作更加个人化的作品。编辑类摄影因为商业杂志而繁荣,专业工作室肖像也证明大众流行文化中 名人崇拜的日益形成。</p> <p style="text-align: justify;"><strong>特伦斯</strong><strong>&middot;</strong><strong>多诺万</strong>的作品,强调了一种新出现的幽默感,让时尚摄影走出工作室,来到街头。同样<strong>詹姆斯</strong><strong>&middot;</strong><strong>巴纳</strong>拍摄非洲裔模特的影像把伦敦当做一个令人激动的背景,用城市来表达新的自由,强调了大都市的生活方式。</p> <p style="text-align: justify;"><strong>塞西尔</strong><strong>&middot;</strong><strong>比顿</strong>用他全部视觉诱惑的技能来为新时代创造新偶像。大众明星、时装模特和艺术家的肖像不仅捕捉到了被拍摄者的个性,而且印证了他们在文化生活中的地位。<strong>琳达</strong><strong>&middot;</strong><strong>麦卡特尼</strong>和披头士乐队的保罗&middot;麦卡特尼结婚后,能够融合公共与私密,创作出的名人影像同时也是家庭快照。这种新的亲切感对观众而言有极大的诉求,提供了一种真实感。</p> <p style="text-align: justify;"><strong>托尼</strong><strong>&middot;</strong><strong>雷伊</strong><strong>&middot;</strong><strong>琼斯</strong>的《只有在英国》系列扮演了社会人类学家的角色,精确地指出了英国人特有的弱点。而<strong>约翰</strong><strong>&middot;</strong><strong>欣德</strong>色彩艳丽的摄影明信片则歌颂了英国工薪阶层休闲的爱好。</p> <p style="text-align: justify;" align="center">&nbsp;</p> <p style="text-align: justify;"><strong>70</strong><strong>年代</strong></p> <p style="text-align: justify;">70年代,英国经历了经济衰退时期,导致高失业率和对政治制度以及其他精英们的幻灭。作为响应,很多摄影师也变得更具有政治意识和社会参与感,记录夕阳产业及其共同的影响,选择在肖像、时尚和新闻摄影这一传统框架之外进行创作。</p> <p style="text-align: justify;"><strong>西尔卡</strong><strong>&mdash;</strong><strong>丽萨</strong><strong>&middot;</strong><strong>昆丁恩</strong>和<strong>雪莉</strong><strong>&middot;</strong><strong>贝克</strong>这样的摄影师记录了英国各地工薪家庭和边缘群体,他们的传统生活受到了威胁,而<strong>万利</strong><strong>&middot;</strong><strong>布尔克</strong>着眼于争取权利平等的少数民族群体。所有人都对自己的主题非常投入,而且提供了自己周遭环境复杂而非老生常谈的视角。</p> <p style="text-align: justify;"><strong>菲利浦</strong><strong>&middot;</strong><strong>琼斯</strong><strong>&middot;</strong><strong>格里菲茨</strong>的影像捕捉到政治事件貌似荒诞的形式,这些事件三十年来构成了英国的日常生活。同样,在《希望你在此:玩乐的英国人》中,<strong>帕特里克</strong><strong>&middot;</strong><strong>瓦尔德</strong>的影像也观察到不同形式的、以阶级为基础的仪式和标志,往往表明这些过时的社会制度出现了矛盾。</p> <p style="text-align: justify;">在编辑的世界里,<strong>简</strong><strong>&middot;</strong><strong>鲍恩</strong>漫长的职业生涯确立了她成为最始终如一的肖像摄影师之一。身为男性主导的领域里的一位女性摄影师,鲍恩的贡献在于惊人地融合了经典与随意。<strong>哈利</strong><strong>&middot;</strong><strong>雅各布斯</strong>的第一、第二和第三代牙买加移民的肖像,是在他的街头肖像工作室拍摄的,提供了对一个经历大规模社会和文化变迁的群体的记录。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>80</strong><strong>年代</strong></p> <p style="text-align: justify;">随着80年代城市文化的兴起和工会的衰落,英国社会确定了新的经济体系。马岛战争、矿工大罢工以及高失业率伴随着英国前首相撒切尔夫人领导下的新政府,现代英国舞蹈和麻醉品文化的诞生为摄影师们提供了丰富的主题。</p> <p style="text-align: justify;">70年代起决定作用的纪实摄影风格现在被带有讽刺意味的彩色纪实摄影所取代,后者提供了对于一个国家的新视野。彩色摄影先驱之一<strong>马丁</strong><strong>&middot;</strong><strong>帕尔</strong>用充满讽刺意味的日常生活影像,质疑了&ldquo;英式风格的神话&rdquo;。同样,<strong>安娜</strong><strong>&middot;</strong><strong>福克斯</strong>的影像记录了新形式的工作和办公室文化,提供了一个拙劣的模仿,部分是因为计算机引入到办公室工作当中,而她的影像刻画了一种疏远、肤浅和无节制的文化。在<strong>托马斯</strong><strong>&middot;</strong><strong>伍德</strong>拍摄家乡利物浦的街头场景中,对工薪阶层生活瞬间提供了充满移情作用的、积极的记录。</p> <p style="text-align: justify;">与反映日常行为的那种艳丽的彩色描绘相反,而且受80年代英国出现的生态危机和激进主义启发,<strong>法伊</strong><strong>&middot;</strong><strong>戈德温</strong>表现英国乡村和海岸的宁静的黑白影像,反映了人与自然之间的复杂关系。</p> <p style="text-align: justify;">摄影在80年代也发生了观念上的转变。很多摄影师对后结构主义、性别不平等以及心理分析等理论感兴趣,他们利用这一媒介,是因为它比雕塑或绘画更自由、更灵活。<strong>凯伦</strong><strong>&middot;</strong><strong>克诺尔</strong>利用在男性专属俱乐部拍摄的《绅士》系列,阐释了看似稳固的阶级和性别关系。</p> <p style="text-align: justify;">亚文化和另类生活方式使人们偏离了传统角色,想象自己与众不同。<strong>德雷克</strong><strong>&middot;</strong><strong>瑞杰斯</strong>的肖像盛赞了夜总会常客们古怪的风格,他们表达了自己特立独行的意愿。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>90</strong><strong>年代</strong></p> <p style="text-align: justify;">90年代是矛盾的十年,一方面政治家们作出允诺,要恢复维多利亚时代的价值观,另一方面,社会自由主义也确立起来。其结果是英国人对同性恋、个人主义以及 几乎所有古老制度的看法都发生了戏剧性的变化;皇室、教会、政治制度和婚姻都被削弱了。身份部分成为了选择问题,而英国人纷纷狂热地参与到选择中去。英国 摄影也呈现了多样化,摄影师们发现并颂赞实验的自由。</p> <p style="text-align: justify;"><strong>托比</strong><strong>&middot;</strong><strong>格兰维尔</strong>拍摄工人的肖像系列反映了传统英国产业和手工业的重要性。<strong>杰森</strong><strong>&middot;</strong><strong>埃文斯</strong>极具影响力的时尚摄影作品展现了黑人模特身穿上层阶级的时髦衣装,在真实的都市街头列队行进,一反黑人青年非偷即盗的形象。这些影像创造了一个另类世界,观看者可以选择把自己投射其中。</p> <p style="text-align: justify;">英伦摇滚、英伦酷范以及女权现象主导了90年代的大众流行文化。<strong>克莱尔</strong><strong>&middot;</strong><strong>斯特兰德</strong>刻画了很有影响力的女性流行乐队辣妹组合的四位歌迷,她们装扮成明星的样子,而斯特兰德的影像把脆弱的青春期歌迷和她们的榜样体现出的老套女性主义加以对比。</p> <p style="text-align: justify;"><strong>保罗</strong><strong>&middot;</strong><strong>西赖特</strong>的《教派谋杀》系列重现了70年代在贝尔法斯特发生的出于宗教动机的谋杀,西赖特就在那附近长大。这些影像配上了报纸上的报道,记录了谋杀发生的乏味现场,挑战观众的认知以及北爱尔兰新教与天主教之间冲突这段历史的结果。</p> <p style="text-align: justify;">和西赖特一样,<strong>汤姆</strong><strong>&middot;</strong><strong>亨特</strong>在《哈克尼的生与死》中重访了新故事的现场。在深受大师绘画影响的忧郁影像中,亨特在都市的废弃之地编织出幻灭一代的叙事。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>新世纪</strong></p> <p style="text-align: justify;">世纪之交以来,英国经历了更彻底的社会和经济变革。新技术和社会媒体自我表达的大爆炸,让人们之间的交流与表达发生了一场革命。阿富汗和伊拉克的战争、国际恐怖主义、金融危机、全球化,这些都是决定了这个新时代的重要话题。</p> <p style="text-align: justify;">英国摄影在过去十五年来一直在进行复杂的尝试。当代摄影师们围绕着这个国家进行观察和收集。他们的视野往往高深莫测,涉及念的成分,讲述虚构与事实之间的矛盾故事。</p> <p style="text-align: justify;"><strong>斯蒂芬</strong><strong>&middot;</strong><strong>吉尔</strong>幽默而带诗意的系列&ldquo;和蚂蚁交谈&rdquo;,展现了摆在照相机前的昆虫和物件,形成了独特的多层次影像,浓缩在了胶片乳剂当中,成为摄影工艺本身的一部分,如梦似幻,又仿佛有着蚂蚁一样的视野。</p> <p style="text-align: justify;">在<strong>提姆</strong><strong>&middot;</strong><strong>沃尔克</strong>的时尚狂想中,透视和梦境片段的变换也发挥着重要作用。模特们上演了图画故事中的情节,而影像中那种赏心悦目的逃避现实似乎比衣着本身更为重要。</p> <p style="text-align: justify;">消费文化及其相关的审美在<strong>尼格尔</strong><strong>&middot;</strong><strong>沙弗兰</strong>的《超市收银台》系列中得到了刻画,这些明亮的静物影像和物品的随意摆放从某种程度上讲,是制造了这一切的消费者们的肖像。</p> <p style="text-align: justify;">很多英国当代摄影师跨越了传统的风景、肖像、静物、历史题材等类型之间的界限,把摄影同更广泛的艺术史联系起来。</p> <p style="text-align: justify;"><strong>朱利安</strong><strong>&middot;</strong><strong>热尔曼</strong>的学童合影反映了教育实践和社会分工。而<strong>斯宾塞</strong><strong>&middot;</strong><strong>墨菲</strong>的经典肖像让我们有机会一睹似乎沉浸在自己的思绪中的运动员、演员和作家的面容,把画面的形式感和亲切感加以结合。</p> <p style="text-align: justify;"><strong>西蒙</strong><strong>&middot;</strong><strong>罗伯茨</strong>的《我们英国人》系列中的壮丽风景,回到了托尼&middot;雷伊&middot;琼斯和帕特里克&middot;瓦尔德的主题上,那就是休闲的英国人。他的作品有一种绘画的特质,展现了英国乡间的人们和他们的活动。<strong>乔恩</strong><strong>&middot;</strong><strong>汤克斯</strong>的作品则探讨了在剩余的海外领地上,大英帝国究竟意味着什么,人们又可以怎样来感受&ldquo;英国式风格&rdquo;。</p> <p style="text-align: justify;"><strong>马克</strong><strong>&middot;</strong><strong>内维尔</strong>质疑了摄影记录通常因为某种利益而流通给一位外行的观众这种方式,对这个问题提出了一个解决方 案,让图片更彻底地&ldquo;属于&rdquo;其中刻画的那些人们。当他2004年完成了在苏格兰格拉斯哥港前造船小镇的群体进行驻地拍摄时,他记录这个群体的8000册书 分发给那里的8000个家庭,其他任何人都买不到这本书。</p> <p style="text-align: justify;"><strong>大卫</strong><strong>&middot;</strong><strong>斯佩罗</strong>也在思考公共所有权的问题,他的《教堂》系列揭示了那些看似不可能的地方,被迅速增长的福音派基督徒群体重新规划和重建为礼拜场所,他们从世界各地来到伦敦。</p> <p style="text-align: justify;">过去十年来,利用摄影的英国艺术家们开始拓展视野,探索雕塑、装置、绘画、行为艺术、录像以及电影等领域。<strong>洛伦佐</strong><strong>&middot;</strong><strong>维托利</strong>生动的静物和临时雕塑装置让摄影与其他艺术形式产生对话。维托利创作这些作品,是对自己在伦敦东部街头市场生机勃勃的环境做出回应。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>流动的影像</strong></p> <p style="text-align: justify;">随着60和70年代最早的便携式录像机出现,录像艺术部分是由它不是什么来定义的,它不是电视、不是电影,不是静态摄影。摄影艺术家们接受了这一媒介,往往转向了录像,因为时间和动态可以增加他们作品的冲击力。</p> <p style="text-align: justify;"><strong>吉莉安</strong><strong>&middot;</strong><strong>韦尔林</strong>长达一小时的《60分钟沉默》,表现了二十六位男女演员装扮成警察,或站或坐,仿佛是在拍一张合影。因为要一直保持完全静止,这部作品利用了19世纪肖像摄影的长时间曝光。如果韦尔林的录像是在静态边缘的一个习作,那么<strong>梅兰妮</strong><strong>&middot;</strong><strong>曼修</strong>的《跑酷》则是对不计后果的行动的赞礼。曼修的作品表现了10位跑酷者,他们在大北长跑赛中或攀爬或跳跃,一路蹦蹦跳跳。</p> <p style="text-align: justify;">在<strong>凯瑟琳</strong><strong>&middot;</strong><strong>雅斯</strong>的录像作品《灯塔》中,时间实际上丧失了其方向。从一架直升机上盘旋俯拍船只和水下,雅斯利用了迷失方向感,与灯塔预示危险、指示浅水、漩涡和极端潮汐的功能相对立。</p> <p style="text-align: justify;">最后,<strong>德</strong><strong>雷&middot;</strong><strong>登</strong><strong>&middot;</strong><strong>古德温</strong>把伦敦公交车上乘客的照片同动画结合起来。这些是对摄影与绘画之间关系进行探索的一部分,思考了我们看待陌生人的方式。</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">这38位艺术家记录并观察英国社会日益变化的现实,表达了强烈的社会意识,对普通生活的热爱、强烈的好奇心以及始终如一的记录渴求。他们通过自己特殊的视角,展现了摄影与音乐和时尚一道,成为在英国有着不可取代的影响力的领域。</p> <p style="text-align: justify;">另外展出的还有《伦敦的世界》,这是2012年由英国摄影美术馆发起的一项大型公共艺术计划,与伦敦奥运会和残奥会同时。该计划展出了204幅肖像摄影作品,来自已成名的艺术家和新崭露的人才,他们拍摄了204位伦敦人,每个人出身于参加奥运会和残运会的国家之一。</p> <p style="text-align: justify;">展览期间美术馆还将策划讲座、亲子工作坊、高校巡讲等系列活动。展览将持续至8月23日。</p> Tue, 23 Jun 2015 18:37:35 +0000