希帕畫(huà)廊在舉辦了數(shù)個(gè)以繪畫(huà)為主的展覽之后，將于4月15日重新回歸其最具代表性的攝影領(lǐng)域，推出年度重要新展——《浙江新攝影》。
　　此次展覽依然秉承著希帕畫(huà)廊注重扶持與推廣年輕的中國(guó)攝影家的理念，5位來(lái)自浙江的新銳當(dāng)代攝影家將呈現(xiàn)出風(fēng)格各異的作品。在傳統(tǒng)攝影之外，也融合了裝置與影像等多種形式。他們多已進(jìn)入國(guó)際視野，代表著中國(guó)當(dāng)代攝影的未來(lái)。
　　本次展覽由與希帕畫(huà)廊數(shù)次合作的資深攝影評(píng)論家、策展人姜緯策劃，注重視覺(jué)呈現(xiàn)效果外，亦強(qiáng)調(diào)其學(xué)術(shù)性。展前研討會(huì)將于4月15日下午1點(diǎn)30分開(kāi)始，屆時(shí)策展人與藝術(shù)家將與知名華人收藏家靳宏偉先生展開(kāi)對(duì)談，并誠(chéng)邀您前來(lái)參與與交流。

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無(wú)盡的勘探和命名
姜緯 

　　近幾年以來(lái)，浙江年輕攝影師和藝術(shù)家群體嶄露頭角而引人矚目，這得益于浙江攝影界大力推動(dòng)的創(chuàng)新鼓勵(lì)機(jī)制，營(yíng)造出豐富多元的良好氛圍。這些年輕人展露出了積極進(jìn)取的精神狀態(tài)和風(fēng)格迥異的影像質(zhì)地，既沒(méi)有脫離現(xiàn)實(shí)感，又有著明晰的個(gè)性化認(rèn)知的意愿和能力；既提供了攝影獨(dú)特性的實(shí)際依據(jù)，同時(shí)也確認(rèn)了攝影的種種可能性。他們的新視野在逐漸拓寬，新路徑在不斷開(kāi)辟，新方法在踴躍實(shí)踐，新思維在日趨成熟，他們已經(jīng)顯示出了毋庸置疑的實(shí)力。參加在北京舉辦的"浙江新攝影展"的唐咸英、李舜、陳榮輝、譚荔潔和謝桂香，就是其中的佼佼者。
　　唐咸英的《紅地毯》系列描繪的，是我們對(duì)于生活的理解、周旋和踐行，也是生活對(duì)于我們的干預(yù)和席卷。如何從中去整理和介入，辨析普遍處境，領(lǐng)會(huì)命運(yùn)的堅(jiān)硬與厚重，其照片有著令人印象深刻的表現(xiàn)力。唐咸英通過(guò)色彩的內(nèi)聚與強(qiáng)調(diào)，使得視覺(jué)關(guān)系更注重于作品的整體，每一張照片都代表了現(xiàn)實(shí)環(huán)境的林林總總和視覺(jué)可能性的協(xié)作，所有拍攝對(duì)象及不同結(jié)構(gòu)之間的呼應(yīng)和補(bǔ)充，創(chuàng)造出延伸性的視覺(jué)意象密度?！都t地毯》系列的色彩提煉和凝固有著恰到好處的自主性和系統(tǒng)性，飽滿、結(jié)實(shí)的色彩在這些照片中，被賦予了駁雜卻精準(zhǔn)的種種感受，視角的取舍，結(jié)構(gòu)的經(jīng)營(yíng)，分寸的把握，節(jié)奏的策略，概括的條理，思考的軌跡，眼前的事物不停地向外擴(kuò)張，都來(lái)自于色彩的考量和處置，這有效提升了主題的含義，由此直達(dá)評(píng)估和審視我們生活的敘事核心。
　　陳榮輝是到目前為止獲得世界新聞攝影比賽獎(jiǎng)項(xiàng)的最年輕的中國(guó)攝影師?！吨黝}公園》是他正在進(jìn)行中的大畫(huà)幅項(xiàng)目。這些照片很容易讓我們聯(lián)想起當(dāng)年斯蒂芬·肖爾（Stephen Shore）等人的作品，不僅是敘事內(nèi)容和語(yǔ)言結(jié)構(gòu)，同時(shí)也是迫使觀眾注視這些栩栩如生場(chǎng)景和質(zhì)感的策略，更是攝影闡述現(xiàn)實(shí)的某種方式：作為奇觀。問(wèn)題是從斯蒂芬·肖爾到如今，攝影到底變成了什么？答案只能是"其實(shí)也沒(méi)有什么特別大的變化"。這種強(qiáng)迫式的"總在發(fā)生"和"無(wú)時(shí)無(wú)刻無(wú)處不見(jiàn)"，使得現(xiàn)實(shí)世界既非依存于圖像而存在，也非被圖像所創(chuàng)造，遂產(chǎn)生了閱讀意識(shí)的另一個(gè)層面：攝影并無(wú)絕對(duì)的必要性成為社會(huì)公共意見(jiàn)的一部分，或當(dāng)作形成和表達(dá)意見(jiàn)的場(chǎng)所，然而，公共意見(jiàn)無(wú)可避免地進(jìn)入了攝影的視野，這在中國(guó)是一個(gè)意味深長(zhǎng)的事實(shí)。
　　李舜一直試圖突破對(duì)于攝影的通常定義，創(chuàng)建傳統(tǒng)攝影無(wú)法想象的領(lǐng)域。他的作品內(nèi)涵密集，對(duì)他而言，攝影藝術(shù)的目的，始終是如何專(zhuān)注于作為某種體驗(yàn)或感受的圖像，為此應(yīng)該去進(jìn)行意念的生成和領(lǐng)悟的喻示，由接受性視覺(jué)印象走向積極性視覺(jué)表現(xiàn)。李舜與眾不同的價(jià)值所在，就是他清晰意識(shí)到：攝影的一部分必要性就在于嘗試擴(kuò)展人或事物的內(nèi)在性，將無(wú)意識(shí)的、沒(méi)想到或想不到的化為意識(shí)和語(yǔ)言，事實(shí)上，這也是當(dāng)代攝影最基本的文化功能之一。因此，閱讀李舜的作品，不能把圖像的再現(xiàn)理解為僅僅關(guān)乎它們自身，它們更需要在恰當(dāng)?shù)恼Z(yǔ)境中被充分理解，在這種語(yǔ)境中，再現(xiàn)飽含著表現(xiàn)的功能。時(shí)至今日，攝影已不僅僅是單純捕捉世界的反射，更可以賦予世界某種東西，這就需要利用既有的和正在產(chǎn)生的各種媒介手段，獨(dú)立判斷事物，而不是從固有觀念和規(guī)范出發(fā)去運(yùn)用攝影藝術(shù)的表現(xiàn)力。
　　譚荔潔的動(dòng)態(tài)影像作品《海東青》和靜態(tài)影像作品《無(wú)名之象》系列，有著明顯的連續(xù)性，無(wú)論是在孤島上，還是身處房間中，都強(qiáng)調(diào)"身體被物化"的想象和觀念，都利用鏡子建構(gòu)出另一個(gè)自我的鏡像。在她看來(lái)，關(guān)鍵的鏡子既可以充當(dāng)外部景觀的投射物體，也能夠成為內(nèi)心世界的顯現(xiàn)媒介；既起著遮擋自我身份的作用，又重新塑造了自我形體。在溫迪·麥克默多（Wendy McMurdo）的《夢(mèng)游癥患者》中，為了表現(xiàn)一個(gè)女孩和她的"復(fù)本"，麥克默多使用了數(shù)字技術(shù)，在舞臺(tái)上，兩個(gè)女孩面帶疑惑地互相注視著，照片產(chǎn)生的不安與陌生感同樣也感染著觀眾。藝術(shù)家重新構(gòu)筑自己的生活、愿望、心理感受，表達(dá)存在、恐懼、失落、欲望和希冀，影像作為了一種代用品或一種物化的事實(shí)。譚荔潔的這些作品并不傳達(dá)事實(shí)的出現(xiàn)，而是指事實(shí)處在不斷修復(fù)、再造或界定的過(guò)程中。這極大豐富了影像藝術(shù)的形式，種種真假難辨中，自我借助于影像的"再現(xiàn)"功能，在事實(shí)和想象的夾縫里展示新的自我，或者說(shuō)是藝術(shù)家的自我。
　　謝桂香的攝影藝術(shù)創(chuàng)作，向來(lái)保持著獨(dú)特而純粹的思維方式和表達(dá)手段，并有效融會(huì)了其個(gè)人生活經(jīng)驗(yàn)。他的新作《出土》系列，涉及到生命周期、能量轉(zhuǎn)換等問(wèn)題，在媒材的選取和運(yùn)用方面很具個(gè)性風(fēng)格，把體驗(yàn)、思緒、情感等等在時(shí)間的流動(dòng)、生命的消逝、能量的轉(zhuǎn)換里呈現(xiàn)出來(lái)，并促使其作為一種文化酵素而發(fā)生作用?！冻鐾痢愤@些作品的創(chuàng)作背景是一個(gè)歷史悠久的信念，人們信奉生命來(lái)源于自然，又歸化于自然。在如此信念籠罩下，消逝并不意味著徹底消亡，而意味著能量的轉(zhuǎn)換、輪回和重生，生生不息。謝桂香把這種信念對(duì)他的影響從"不可見(jiàn)"轉(zhuǎn)變成了"可見(jiàn)"，用攝影，更確切地說(shuō)是用儀式化的審慎周詳?shù)娘@影方式，小心翼翼地想象、等待、注視和冥想，實(shí)現(xiàn)了對(duì)自我的觀照，以及對(duì)世界的珍重、嚴(yán)肅的表達(dá)。
　　這些年輕攝影師和藝術(shù)家，他們有著不同的家庭環(huán)境、教育背景、成長(zhǎng)經(jīng)歷、認(rèn)知結(jié)構(gòu)、生活方式、性格傾向、審美趣味、信仰意愿，但他們都非常勤奮好學(xué)，勇于挑戰(zhàn)自我和傳統(tǒng)，努力尋求著充分表達(dá)視覺(jué)感受的能力，感物造端，憑心構(gòu)象，他們的作品與當(dāng)代社會(huì)生活的發(fā)展形成了具體而鮮明的呼應(yīng)。
　　攝影不是惰性的、被動(dòng)的觀看，而是應(yīng)該主動(dòng)去嘗試、整理和表達(dá)的觀察，世界紛繁幽邃，攝影的根本熱情就是勘探何以如此，攝影是對(duì)人與世界相互關(guān)聯(lián)的具體性進(jìn)行"命名"的過(guò)程。這是頗為艱難的無(wú)止境的工作，目前還沒(méi)有一條通向未來(lái)的現(xiàn)成便捷的康莊大道，但是，就像理查德·菲利普斯·費(fèi)曼（Richard Phillips Feynman）說(shuō)過(guò)的："我們非常幸運(yùn)，能生活在繼續(xù)有所發(fā)現(xiàn)的年代。"
　　Endless Exploring and Creating
　　Jiang Wei
　　In recent years, the emerging young photographers and artists in Zhejiang province caught our eyes. Thanks to the innovation and encouragement mechanism strongly promoted by the world of photography in Zhejiang province, which created a good atmosphere of rich diversity. The enterprising spirit and particular style of images presented by those young people not only show their willingness and ability to cognize their personalization clearly without divorcing from the reality, but also provide the actual evidence to prove the uniqueness of photography as well as the various possibilities of photography. The undoubted strength of them is revealed: their horizons are gradually widened and the new paths are opened up; they enthusiastically tried the new ways to practice and their thinking is increasingly mature. As the participated artists in exhibition Contemporary Photography in Zhejiang which held in Beijing, Tang Xianying, Li Shun, Chen Ronghui, Tan Lijie and Xie Guixiang are the outstanding emerging artists from Zhejiang province.
　　The series of Red Carpet by Tang Xianying shows our understanding, hesitation and practice of life. Moreover, this work also presents how we are intervened and overwhelmed by life. With impressive expression, his photographs try to organize and involve the elements of life, analyze the general situation and comprehend the hard and heavy of fate. By emphasizing the cohesive colors, he draws the visual focus to the whole work. Besides, each photograph represents its individual context and visual possibilities of collaboration - the different structures from different subjects echo and complement with each other, creating a kind of ductile density with visual images. The cohesion and rendering of colors in Red Carpet is appropriately independent and systemic, and the full and solid colors in the works are endowed with a sort of complex but accurate feelings. From his works, we can see the subjects in front of us are constantly expanding outward, because the choice of perspective, the management of structure and the strategy to control the visual rhythm and balancing the composition benefit from his considerations and processing of the colors, which effectively enhance the meaning of the theme and directly criticize and review the narrative core of our life.
　　As the youngest Chinese photographer who received the World Press Photo prize, Runaway World / Chinese Fun is Chen Ronghui's ongoing large format project. In this project, the photos are very easy to remind us the works by Stephen Shore not only because of the narrative content and language structure but also because of the strategy which force the audience watching these lifelike scenes and texture, and furthermore, because of the certain way of explaining the reality by photography - as a wonder. Here comes the question: from Stephen Shore till now, what change happened to photography? The answer can only be "nothing special changed". This obsessive ideas of "always happening" and "ubiquitous all the time" make the real world is neither attached to the image nor created by image. In so doing, another level of the reading consciousness is created: photography is not absolutely necessary to become a part of the social public opinion or as a platform to form and express opinions. Nevertheless, public opinions inevitably entered the sights of the photography, which is a meaningful fact in China.
　　Li Shun has been trying to break through the general notion of photography and create a field that traditional photography cannot imagine. His works are full of connotations, and for him, photography should always aim to explore how to focus on a certain experience or feelings of images. Thus, the idea generates and the metaphor comprehends, and the acceptable visual impression turns to the enthusiastic visual expression. What makes Li Shun extraordinary is his clearly awareness: a part of necessity of photography lies in the attempt to expand the internality of person or thing, tuning the unconscious and unexpected ideas into actual consciousness and visual language - in fact, this is also one of the most basic cultural functions of contemporary photography. Therefore, when we look at Li Shun's works, we should understand his works in an appropriate context instead of only through the photographed items as the context is involved into the representation of the image. Today, photography is not only a simple tool to capture the reflection of the world but can contribute the world something, which requires the use of all kinds of media - existing or to be produced - to judge things independently, rather than apply the expressive force of photography art from the inherent concept and specification.
　　Both the dynamic image work East Sea Island and the static image work Untitled Body by Tan Lijie possess a clear continuity: whatever in the lonely island or in the room, her works emphasis the imagination and ideas of "body is materialized" and construct a mirror image of the second self with the mirror. In her opinion, the key mirror not only can be the projector screen of the external landscape but also can be the medium to unfold the inner world; more specifically, it not only plays the role to cover the self identity but also reshape the form itself. In The Somnambulist, the artist Wendy McMurdo applies digital technique to present a girl and her "copy": on the stage, two girls are staring at each other with doubts, and the unease and strangeness generated by photo also infect with the audience. Wendy McMurdo rebuilt his life, aspiration, psychological feelings, expression, fear, loss, desire and hope by this work and the photo could be regarded as a substitute or a materialized fact. While for Tan Lijie, instead of showing the existence of the fact, she indicates that the fact is in the process of repairing, reconstructing or defining. In her works, it is difficult to distinguish the real and fake, which greatly enrich the forms of image art: in virtue of image's "reproduction" function, in the crack between fact and imagination, the self (or artist's self) shows the "new self".
　　Xie Guixiang's photography always maintains a unique and pure way of thinking and expression methods, and effectively combines his personal life experience. With an individual style of choosing media, his new series work Unearthed involves some issues like life cycle and energy conversion, using the flow of time, elapsing of life and the conversion of energy to convey his experience, thoughts and emotions, at the same time forging a kind of culture. The background of Unearthed comes from a belief with a long history, which people believe that life comes from nature and naturalized in nature, and death does not mean completely extinct but unexpected energy conversion, transmigration and rebirth without end. This faith influenced Xie Guixiang and he transferred the "invisible" effect to a "visible" way by photo. To be more precise, he carefully and comprehensively observed the visual development of the belief, gingerly imaging, waiting, and meditating, achieving the reflection of self, the cherishing of the world as well as the sincere expression.
　　Though those young photographers and artists have different family environment, educational background, life experience, cognitive structure, life style, character orientation, aesthetic taste, faith and wish, they are very industrious and have the courage to challenge themselves and traditions. They seek the ability to express the visual perception and create the artwork based on their individual and pure feeling about the reality, which specifically and distinctively echoes the development of contemporary social life.
　　Photography should not be viewed inertly and passively, but should be taken initiatively for observing and expressing. This world is complicated and comprehensive, and that's what photography should explore fundamentally. As the process of "naming" the concrete connection between people and the world, photography is rather difficult and endless without any convenient way or broad road to the future currently. But, just like Richard Phillips Feynman said: "The age in which we live is the age in which we are discovering the fundamental laws of nature, and that day will never come again. "