诗意栖居 When elsewhere!

  

主办单位：湖北省艺术馆、华南置业集团
展览时间：2008年8月30日—2008年9月27日
展览地点：湖北省艺术馆1号厅

Sponsors: Hubei Museum of Art,  Wuhan Huanan Establish Bloc co.,LTD
Duration：2008.08.30—2008.09.27
Venue: No. 1 Exhibiton Hall, Hubei Museum of Art

参展艺术家

玛蒂亚斯·科斯塔（Matías Costa）       伊那可·多明戈（Iñaki Domingo）
巴果·戈米斯（Paco Gómez）              荷科拉（Jorquera）
卡洛斯·路寒（Carlos Luján）               埃杜阿多·纳别（Eduardo Nave）
胡安·米拉斯（Juan Millás）                坦妮特·布娜拉（Tanit Plana）
艾瓦·萨拉（Eva Sala）                      胡安·桑多斯（Juan Santos）
卡洛斯·单瓦（Carlos Sanva）            玛尔塔·舒尔（Marta Soul）
胡安·巴尔布恩娜（Juan Valbuena）    荷纳斯·贝尔（Jonás Bel）

前      言  PREFACE

   “非·影像”（Nophoto）既是一个新的艺术概念，又是一个风格鲜明、富有活力的西班牙艺术团体。其成立于2005年，主要致力于当代影像创作。该团体由14位成员组成，成员间的作品相互独立而又整体统一，作品通常是以非传统影像的形式呈现。

      作为艺术概念，“非·影像”明确否定影像本身，但又借用摄影这种形式，其追寻的概念核心就是“NO”，从中衍生出某种想法、某种观察方式或是一场“革命”。

      作为艺术团体，“非·影像”强调其否定身份的存在，声称自己并非一个摄影家的组织。其最显著的特征
是：开放的创作内容、多样的创作形式和丰富的传播渠道，比如，除了网络和公共投影外，还有每个艺术家创作过程中的言语表达等。

   “非·影像”宣称不否认任何新的艺术创作形式和展览，“非·影像”的作品为人们观察日常生活提供了一个独特的视角，带来意外的惊喜。这一过程是群体的反映和可能性创造过程的相互配合。

                                                                 —— 傅中望 / 湖北省艺术馆馆长 

NOPHOTO is a collective dedicated to contemporary photography created in 2005 with the goal of making possible individual and collective UNCONVENTIONAL projects.

It is characterised by having an open attitude towards contents, a multiple discipline trend in formats, use of multiple supports for spreading the projects such as web and digital projection as well as personal implication in the process of developing and production of these contents.

NOPHOTO makes negation its starting point. NOPHOTO is not a photographers agency, but rather an ATTITUDE.  A way of seeing. A revolution.  A NO (which is handy).

This aesthetic attitude enables NOPHOTO to not renounce any form of creation or exhibition. The works by the collective offer an experienced gaze on daily living that always leads to that which is extraordinary. This process is the result of a group reflection and the interaction of alternative creative processes..

                                                               Fu Zhongwang/ The President of HBMOA

   “我们从不拒绝凡俗的事物，相反执着于此，或轻柔漫步，或蹒跚前行，努力观察它们之间的微妙变化，倾听它们的节奏，寻找相互间的规律。我们乐观面对每个主题，并致力于认识它们的本相，去探寻背后的结构和本源；我们希望知道它们由什么组成，承担怎样的历史角色。我们坚持用心去阐述作品的主题，从不矫揉造作。｀作精于心、艺简于行＇，不说明，不界定，不影像，所有我们想做的是解构影像及其名称——这既不是影像的世界，也不是世界的影像，这里只有真理”.
  

                                                       —— 胡安·米雅斯 / 非·影像成员 

“It isn’t that we like to go against the current, what amuses us is to walk slowly, stumbling, observing the small differences in things,
discovering their rhythms. Attempt to describe an object, revolve around it, caress its shape and cover its entire borders. Ask oneself what it is made of and what role does it play in history. Force oneself to exhaust the theme and not say anything. Force oneself to gaze with simplicity and not resolve anything. Not illustrate, define and not photograph photography. What we like is to de-photograph things and un-name them..”
                                                                                         Juan Millás/NOPHOTO

  玛蒂亚斯·科斯塔（Matías Costa）
“陌生来客”
       欧洲的偷渡客是摄影的一大题材。作者游走于西班牙、意大利和法国之间，专注于这一主题已经四年了。作者收集了大量这些国家边境的严峻情形的相关资料，使我们可以深入了解偷渡者的真实状态。

MATÍAS COSTA
“STRANGERS”
Extraños(Strangers) is a photographic project that documents the arrival of clandestine immigrants to Europe. The author has been working on this series for four years in Spain, Italy and France, collecting a large amount of photographic material on the borders of these countries where territorial tensions take place and which we all know about as the immigration phenomenon.

 巴果·戈米斯（Paco Gómez）
“内海”
       西班牙遭遇了一场罕见而持久的旱灾。在人们都在等待雨露，把希望寄托在那些巨大的大坝时，小小的内海竟成了人人渴望的汪洋。

PACO GÓMEZ
“INNER SEAS”
 Spain is suffering one of its largest lasting droughts. While we await the rainfalls, hopes are placed on the numerous large dams in Spain. Small inner seas where people long for the ocean.

 胡安·桑多斯（Juan Santos）
“我们自己的影子”
       2004年3月11日，恐怖分子制造了迄今为止西班牙历史上最大的爆炸事件。4列列车几乎在同一时间爆炸，造成191人死亡，超过1000人受伤。为了纪念死去的人们，在这一系列爆炸地点中，在西班牙最大的火车站阿托查(Atocha)站，人们放置了很多鲜花，点上蜡烛，并且在纸片上记录一些当时发生的事情。
      这一主题描绘了西班牙社会对这场灾难的悲愤，也表达了人们对死者的同情和追忆。

JUAN SANTOS
“SHADOWS OF OURSELVES”
On the 11th of March 2004 the largest bomb attack by terrorists in Spanish history took place. Almost simultaneous bombs exploded in four trains killing 191 people and producing over one thousand wounded people.

In one of the sites of the attack, the Atocha train station, people placed flowers, lit candles and left messages about what happened.

This was the portrayal of the reaction of Spanish society opposed to this tragic event and the expression of solidarity with the victims, with all of us.

Sociology—Invitational Exhibition of Wuhan Contemporary Photography

撰文\编辑\翻译：强高锋

主办：湖北省艺术馆
展览时间：2008年8月30日—2008年9月16日
展览地点：湖北省艺术馆2号厅

Sponsor: Hubei Museum of Art
Duration：2008.08.30—2008.09.16
Venue: No. 2 Exhibiton Hall, Hubei Museum of Art

前  言

Preface

     是否将把摄影纳入到社会学的范畴，在摄影界还没有一个明确的学术界定。当今社会，摄影已从方方面面影响着人们的生活和社会的发展。可以说，传媒影像高度发达的今天，避开影像的影响去认识客观存在几乎成为不可能。翻开摄影发展的历史长卷，从1893年8月19日，法国人将达盖尔的“银版摄影法”认定为最早的摄影术开始，摄影的发展就始终伴随着科学技术的进步和视觉艺术的兴盛。从这两个角度来说，摄影与社会的诸多方面、功能、结构以及发展规律紧密联系在一起。

     It is uncertain whether to bring photography into sociology or not in the sphere of learning. Nowadays, photography has influenced our live and the development of society in every aspect. In other words, with the well-developed media, it’s impossible to avoid the influence of images to understand the world. Let’s look back on the history of photography, the Frenchman, Louis J. M. Daguerre (1789~1851) created Daguerreotype on August 19, 1893. From then on, photography was always developing with the progress of science and technology, and prosperity of visual arts. From the two angles, photography is closely linked with every aspect of society, function, structure and the law of development. 

     好的摄影作品是摄影者思维过程与物象瞬间行为的完美结晶，也是最后物像平面视觉的合理显现（照片）。在摄影过程中，人作为社会活动的主体，始终是被立体关注着——这就像所有人际关系中的“你、我、它”：“它”是社会存在的客观现象；“我”就是摄影者的眼睛和心灵；而“你”就是观者的感受。

     A good work of photograph is not only the final photograph itself, but also a crystallization of photographer’s thinking process and instantaneous visible phenomena. In the process of photographing, human beings are followed three-dimensionally with great interest as the subject of social activities, which is just like “It, You, and I” in the interpersonal relationship: “It” stands for objective phenomena; “I” represents the eyes and hearts of photographers; and “You” are the feeling of visitors. 

     本次展览以“社会学”为命题，就是为了凝聚那些从人文主义的角度关怀人与社会环境的瞬间。参加展览的樊德寿、宋刚明、赵红和马宁都是以纪实风格为主的摄影艺术家。在他们留住的无数美好瞬间中，不仅有地域景观、人文风貌，也包括了社会发展过程中的一些重大历史事件。这些既折射了当时的自然物象与人物心理的存在关系，也为我们通过影像去认识客观事物提供了必要依据。

     The Invitational Exhibition named “Sociology” aims to collect instantaneous visible phenomena about people and the environment from the angle of humanism. The four artists, Fan Deshou, Song Gangming, Zhao Hong and Ma Ning always focus on “documentary photograph”, which includes landscapes, features of different areas, even several events of historic significance. Those not only reflect the existential relationship between visible phenomena and psychological factors at that time, but also provide us necessary basis to understand the world. 

     樊德寿长期致力于摄影艺术的研究和探索，坚持深入生活、感悟生活。在创作实践中、他既重视客体的真实再现，又富创作主体、审美意识于表现客体之中，使摄影艺术的巨大潜力在表现形式上得到了淋漓尽致的发挥和拓展，吟咏出厚重的文化根基以及在这种根基上所传扬的时代风采。其作品注重意境的渲染和个性情趣的表达，并善于对历史瞬间典型性的定格摘制。

     Fan Deshou devotes himself to the research and exploration of photography, and perseveres in plunging into the thick of real life, observing and learning from it. In his creative works, the subject and object are attached great importance to and expressed, which brings the potential of photography into full play, reveals a rich and generous cultural foundation, and the features of our age. He focuses on the mood of a photography work and the expression of his interests, especially skilled in the typical events of historic significance.

       宋刚明一直以最虔诚的态度记录着他走过的地方和所看到的自然和人文风景——从马尔代夫到印度德里，从西藏高原到祖国各地。作为U型传感器的发明人，他的同名专题纪实摄影《戒毒女》获得过多项国内外大奖，并受各界高度好评。“戒毒女”在大多数人眼中几乎是最敏感甚至可怕的群体，然而在宋刚明的镜头下，她们却显现出坚强的信念和对幸福的渴望。一种以关怀人、爱护人和尊重人为核心的人文情怀充溢其中。

     Song Gangming records his journeys devoutly with camera, from Maldives to Delhi of India, from the Qinghai-Tibet plateau to other regions over the country. As the inventor of U-type Photographic Transmission, Song’s documentary photographs, “Dropping-drugs Women” is an awards-winning collection of works home and abroad, and well-received by all circles. Dropping-drugs women, the sensitive even terrible group, on the contrary, presents their firm belief and eagerly desire for happiness in his works, which are imbued with humanity, before our eyes.

        赵红，一名成功的女性企业家、一位用心灵去旅行的摄影家，与一般摄影家相比，某种程度上承担着更多的企业责任和社会责任。大型摄影展《心之旅——西藏摄影》，不仅是赵红一次完整体现其作为女性一员通过摄影来思考女性命运和建构其文化与历史的“女性摄影”，也是代表女性作为人类的组成通过摄影为社会而工作的“女性摄影”。在这里，自然风景、人的物像不再将我们单纯引向最终的那些视觉图像，而是把我们引向对摄影活动所传达的观念的思考。赵红用美好的心灵和独特的审美将观者引入一个真、善、美的世界。

     Zhao Hong, a successful female entrepreneur and photographer, in a sense, bears more responsibilities of enterprise and society than others. Her photography exhibition, “A Journey of the Heart: Tibet” is not only the “Female photography” which reveals her thinking about women’s fate and contribution to their culture and history, but also the “Female photography” which works for the whole society. In her works, landscapes and features of people guide us to the thinking about modes of photography. In other words, Zhao Hong will guide the visitors to a world of truth, kindness and beauty through her kind heart and aesthetic conception. 

     马宁是一位执着的纪实摄影家。参加三峡工程建设十多年来，他一直以艺术的手法和最为淳朴的方式真实地记录着三峡工程的进程。这是一个纪实精神与中国当代伟大的文明事像——三峡大坝对话的过程。马宁将宏伟的三峡工程赋予人性特征，用交流的方式和自己的人文情怀将宏大叙事与微小细节、具体与抽象、纪实与诗意综合地体现了出来。

     Ma Ning is a persevering documentary photographer. Since the construction of the Three Yangtze Gorges Project started, he has been insisting on recording the progress, which can be considered as a process of dialogue between the script of documentary and the great Three Gorges Dam. Ma Ning entrusts human nature to the magnificent Three Gorges Project, communicates with it, and expresses the grand narration and tiny details, concreteness and abstraction, authenticity and poetic flavor comprehensively.

        历史在发展，社会在进步。相机在不同年代中，在目光的歌唱者和社会这个观众之间一直发出多样的声音：“纯记录摄影”、“纯摄影”、“自然主义摄影”、“报导摄影”……而樊德寿、宋刚明、赵红和马宁四位艺术家却集所有之精粹、以宽厚的人文精神创造出属于自己的个人哲学。摄影大师昂利·卡蒂—布列松说过：“为‘赋予世界意义’，摄影者必须感觉自己与镜头内所看到的事物息息相关。”而对于本次展览的所有观者而言，当您漫步其间，目之所及之处若能心有所感：这一切与我们“息息相关”。这也便是本次展览“社会学”的意义所在！

     The history moves ahead, and the society is progressing. During different years, cameras have a variety of “artistic styles” between viewers and society: “Pure documentary photography”, “Pure photography”，“Naturalism photography”， “Reportage photography”… But those four artists, Fan Deshou, Song Gangming, Zhao Hong and Ma Ning incorporate the strong points of different schools and create their own philosophy. The great master of photography, Henri Cartient-Bresson said: “To ‘entrust meaning to the world’, photographers should become aware of ‘being close linked’ between objects seen in the camera lens and themselves.” For visitors of the Exhibition, when you are enjoying their works, you may appreciate “being closely linked” between them and us. So the Exhibition’s sociological significance is!
                                                                                                     

                                                                  湖北省艺术馆  Hubei Museum of Art

　　最心酸的瞬间
　　19日北京奥运会男子举重105公斤以上级的颁奖仪式上演了感人的一幕：该项目冠军、德国选手马·施泰纳把亡妻苏珊的照片和奥运金牌高高举起，让人们不仅看到一个强壮的大力士，还深深感受到他对妻子深深的爱。这位德国大力士在比赛最后阶段上演大逆转，用一枚沉甸甸的奥运金牌来祭奠亡故的妻子，此情此景令人不禁潸然泪下，成为北京奥运会上感人至深的一幕。去年7月的一起车祸夺去了施泰纳妻子苏珊的生命，从此施泰纳就一直随身带着苏珊的照片，高强度的艰苦训练就成为施泰纳摆脱痛苦思念折磨的唯一途径。26岁的施泰纳在夺金后激动地表示，他的亡妻苏珊在比赛中一直陪伴着他，给予他夺金的勇气。他说：“我所有的期盼就是苏珊在今天可以看到我的成功。我不是一个迷信的人，但我可以肯定的是，苏珊在注视着我，她在我的心里，给予我勇气和力量。这是一场献给苏珊的胜利。”马·施泰纳夺得的这枚奥运金牌不仅是德国16年来获得的第一枚奥运举重金牌，更证明了爱能创造奇迹。

一个天生右下臂残疾的坚强姑娘，一个被誉为为乒乓球而生的波兰“维纳斯”