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策展人：巫鴻
開(kāi)幕：2010.3.31
展期：2010.3.31—2010.6.30
地點(diǎn)：余德耀美術(shù)館，印尼—雅加達(dá)
主辦：余德耀基金會(huì)
在觀念攝影最為流行的時(shí)刻，一些攝影家仍然堅(jiān)持著攝影的基本性格。他們沒(méi)有以電腦代替相機(jī)，也沒(méi)有把對(duì)現(xiàn)實(shí)的解構(gòu)作為再現(xiàn)的主要任務(wù)。這些攝影家中的佼佼者并不拒絕觀念的重要性。實(shí)際上，正是由于對(duì)觀念的濃厚興趣，他們進(jìn)行了一系列技術(shù)和風(fēng)格的實(shí)驗(yàn)，力圖擴(kuò)充紀(jì)實(shí)攝影的語(yǔ)言和范圍，達(dá)到觀念和寫實(shí)在一個(gè)新層次上的融合。值得注意的是，當(dāng)數(shù)碼攝影的影響在近年中開(kāi)始減弱的時(shí)候，這種新型的“觀念化”紀(jì)實(shí)攝影則越來(lái)越顯示出它的生命力，開(kāi)始產(chǎn)生一些重要的作品。其引人注目的一個(gè)原因是它反映出一種“攝影的回歸”(return of photography)：人們?cè)谄渲兄匦驴吹搅藢?duì)鏡頭和光線的使用，重新發(fā)現(xiàn)對(duì)相紙甚至膠片的敏感，以及攝影家對(duì)暗房技術(shù)的探索。但這又不是傳統(tǒng)意義上的紀(jì)實(shí)攝影，因?yàn)樗鼈儗?duì)技術(shù)的興趣往往和藝術(shù)家的觀念密切相關(guān)。在這個(gè)意義上，這些作品所代表的是一個(gè)雙重的逆反和綜合：在背離觀念攝影和傳統(tǒng)紀(jì)實(shí)攝影的同時(shí)對(duì)二者進(jìn)行結(jié)構(gòu)和綜合，以此建構(gòu)自身的當(dāng)代性(contemporaneity)。本次展覽中的四位藝術(shù)家可以說(shuō)是這個(gè)潮流的代表。雖然他們的風(fēng)格和技法各不相同，但是他們的靈感都因現(xiàn)實(shí)而發(fā)，他們的視覺(jué)語(yǔ)言都來(lái)自攝影的紀(jì)實(shí)性，但是他們的觀念又都反映了強(qiáng)烈而自覺(jué)的當(dāng)代主體性。這些特點(diǎn)導(dǎo)致我把這次展覽標(biāo)題為《現(xiàn)實(shí)再想象》---在中國(guó)攝影前沿上感觸和思考，他們以新的想象力重新接觸世界。
——摘自巫鴻《現(xiàn)實(shí)再想象》
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Re-Imagining the Real -- Photography Show of Gao Lei, Shi Guorui, Yang Fudong, Zhuang Hui
Curator: Wu Hung
Opening: 2010.3.31
Duration: 2010.3.31—2010.6.30
Location: Yuz Museum, Indonesia-Jakarta
Organizer: Yuz Foundation
But even at the point when conceptual photography was at the height of its popularity, some photographers remained loyal upholders of the fundamental nature of the medium. They did not replace their cameras with computers and nor did they regard the deconstruction of reality as the main task of representation. The leading figures among this group of photographers were not rejecting the importance of concept. In fact, it was precisely because of a deep interest in concept that they carried out a series of experiments in technique and style, striving to expand the language and parameters of documentary photography so as to achieve an integration of concept and realism on a new level. It is worth noting that just as the influence of digital photography has begun to decline in recent years, this new type of ‘conceptualised’ documentary photography has more and more shown its vitality and has begun to produce a number of important works. One reason it has drawn attention is that it is a reflection of a kind of ‘return of photography’: people see in it afresh the use of lenses and light, discover anew a sensitivity to photographic paper and even film and to the explorations photographers make of darkroom technique. Yet nor is this documentary photography in the traditional sense, because the interest in technique is usually intimately interlinked with the artist’s conceptual thinking. In this sense these works represent a dualistic rebellion and integration: at the same time as conceptual photography and traditional documentary photography are rejected, the two are reconstructed and synthesised and so their own contemporaneity is made. The four artists brought together in this exhibition can be said to be representatives of this current. Although they differ in style and technique, they all take reality as progenitor of their inspiration; all of them employ a visual language coming out of the documentary nature of photography; but the concepts in their work are also a reflection of a powerful and self-conscious contemporary subjectivity. It has been these particular features that lead us to title this exhibition Re-imagining the Real – thinking and feeling at the very forefront of Chinese photography, they are using a new imagination to make a fresh engagement with the world.
——Excerpt from Re-imagining the Real by Wu Hung
【編輯：張瑜】
