M97 Gallery is pleased to present “ADOU”, an exhibition of artist Adou’s new series of photographs. This is the artist’s first solo exhibition in China and he will be present at the opening reception on Saturday January 12, from 4 to 6 in the afternoon.
In this lastest series of works, aptly titled after the artist himself, Adou goes to the root of the individual and the camera, the photo-grapher in front of the lens, seen and unseen, both photo-grapher and subject of his photographs. While making photographs in the mountains of Sichuan for his “Samalada” series of portraits, Adou once said “There is no difference between taking a picture of others and myself. The camera may be pointed outward, but whether you like it or not, it always reveals you”.
In the “Adou” series he has decided to do just that: point the camera at himself, the artist, confined, contemplative, exploring the boundaries of meaning in his practice before the film and lens, so that we, the viewer, can see him wildly exploring and expe-rimenting amidst the elements and vast landscapes of remote and rural China. Adou’s works are a return to the landscape, a primitive, isolated and at times vulnerable position for the artist in a desolate world. Part Dadaist and part Existentialist, Adou’s photographs come from a long lineage of perfor-mance art but perhaps the wildcard that trumps all these before him is his seriousness towards the camera, film and lens, as well as the darkroom techniques and processes he reveres. The “ADOU” exhibition at M97 also features a selection of silver gelatin prints from his renowned “Samalada” series, a collection of portraits documenting the Yi ethnic minority living in the Da Liang Mountain region, whose native name is Samalada.
The gallery will be closed February 9-11 for the Luna New Year
M97画 廊隆重宣布2013开年首展“阿斗”，本次展览也将是艺术家阿斗在中国的首次个人摄影展。开幕酒会将于2013年1月12日下午4至6时举行，欢迎届时光 临。本次展览精选艺术家最新同名系列“阿斗”和广受赞誉的“沙马拉达”两个系列的创作。“沙马拉达”向观众呈现四川西部彝族大凉山山区单纯而丰富的风景和 肖像，山坡上前行的男人, 雾中矗立的女人, 面容沧桑犹如刀刻的老人, 跑马场, 很多人的集市, 简陋的马车, 云雾缭绕的山顶. 到处都是寇德卡式的流放感。不同于普通意义上的纪实摄影，阿斗并非观察者，他在这片充满淳朴自由空气的土地上找到了久违的自己，他用饱含情感的语汇和的影 像 引领观者进入一个富于生命意识和历史情怀的时空。“摄影的镜头对着外界，但是无论你愿意与否，其实镜头始终是对着你自己"。同名系列“阿斗”的创作在此意 义上愈加率性而放达：作者将自身隐蔽于画面上雄浑的宇宙自然中，用纯净的身心感受周遭的广阔维度，通过肢体的律动实现了与时间和空间轨迹的交互，演绎和诠 释属于阿斗的抽离和融入。阿斗带着些许随兴而做的达达主义式和我在故我思的存在主义式境界，以一种极致直觉和坦诚的方式完成这场与内心、时空、和观者多个 维度的深度对话。移轴和反焦的技术的使用，使得4x5的大画幅黑白胶片上的影像褪去现实的物理属性，达到超现实的意境。作为艺术家，阿斗具有对镜头语言的 强大掌控力，纯熟的暗房制作技巧，却可以超脱技术本身，不流于匠气。他的作品充满内省的表达和探索，阿斗对待艺术创作的严肃态度，及其精神世界在作品上的 真实投射和连结，在中国当代摄影界是十分难能可贵的。