Fourth Lianzhou International Photo Festival
我的照相機(jī)
My Camera and I
本屆主題：我的照相機(jī)
藝術(shù)總監(jiān)：段煜婷
總策展人：栗憲庭 鮑昆
策 展 人：姜緯 劉樹勇
Kajsa Lindskog（瑞典） Anna Brag（瑞典） Emil Fedida（挪威）
Caprice Horn（德國(guó)） Alka Pande（印度） Gunther Dietrich（德國(guó)）
Kathryn Alice Barron（英國(guó)） Robert Pledge (美國(guó))
Theme of the year: My Camera and I
Art Director: Duan Yuting
Chief Curators: Li Xianting Baokun
Curators: Jiang Wei Liu Shuyong
Kajsa Lindskog (
Caprice Horn (
Kathryn Alice Barron (
一、 組織機(jī)構(gòu)
批準(zhǔn)單位：中華人民共和國(guó)文化部
主辦單位：連州市人民政府
承辦單位：明天藝術(shù)中心
協(xié)辦單位：清遠(yuǎn)日?qǐng)?bào)
藝術(shù)空間設(shè)計(jì)：德默營(yíng)造
制作技術(shù)支持：愛普生(中國(guó))有限公司
Organizations
Approved by the Ministry of Culture of the People's Republic of
Official Sponsor People’s Government of Lianzhou Municipality
Organizer TOMO ART CENTRE
Cultural Partners
Media Partners
Southern Television
Qing Yuan Daily
New Express Daily
Art World
Artron.net
Artintern
City Pictorial
Chinese Photography
Media Support Contemporary Art ,
Document Support ionly.com.cn
Web Portals Sina.com, Netease.com
Exhibition Space Design DAtrans, Shanghai
Technical Support Epson
二、 前言
標(biāo)準(zhǔn)或信念
段煜婷
作為連州國(guó)際攝影年展的藝術(shù)總監(jiān)，面對(duì)公眾時(shí)，有一個(gè)問(wèn)題或多或少總是會(huì)被問(wèn)到：你的標(biāo)準(zhǔn)是什么？
我對(duì)付這個(gè)問(wèn)題的辦法是告訴對(duì)方，他的問(wèn)題是出于對(duì)藝術(shù)總監(jiān)的誤解，藝術(shù)總監(jiān)不是法官，手里沒(méi)有法典，更不是一個(gè)質(zhì)檢人員，所以沒(méi)有可以清晰列明的“標(biāo)準(zhǔn)”。
這樣的回答通常能夠讓我在現(xiàn)場(chǎng)脫離困境，但是，我知道，我實(shí)際上繞過(guò)了問(wèn)題的實(shí)質(zhì)。記者和觀眾當(dāng)然不是迫使我列出一二三四條精確的、通行的標(biāo)準(zhǔn)，他們要問(wèn)的、他們認(rèn)為他們必須知道的是，作為一個(gè)藝術(shù)總監(jiān)，你對(duì)攝影的根本看法是什么，你的信念何在？
正是這個(gè)問(wèn)題困住了我。攝影對(duì)我來(lái)說(shuō)究竟意味著什么？它是我們的家常日用和柴米油鹽，是我們的話語(yǔ)權(quán)力的來(lái)源，是宏大精密的知識(shí)譜系，是必須不斷生產(chǎn)的思想、理論和概念，是我們的分工我們的學(xué)問(wèn)，但是現(xiàn)在，一個(gè)觀眾穿過(guò)這一切來(lái)到我面前，他問(wèn)：是什么使你選擇了這一切，告訴我一個(gè)根本理由，這個(gè)理由證明這一切都有意義。
現(xiàn)在，我愿意試著回答這個(gè)問(wèn)題。
在我們生活的大部分時(shí)間里，經(jīng)歷了圖像觀念急劇、頻繁的變化，對(duì)于攝影是什么以及攝影在人類生活中的價(jià)值，我們?cè)?jīng)信服和發(fā)明了許多種說(shuō)法，而在當(dāng)下，我們有些人甚至對(duì)此產(chǎn)生了懷疑。但是，現(xiàn)在面對(duì)這個(gè)問(wèn)題，我寧愿回到生命的早期，在那個(gè)急劇變化初現(xiàn)端倪的時(shí)代，通過(guò)各種途徑，我們發(fā)現(xiàn)了攝影。
盡管在那時(shí)，人的自我認(rèn)識(shí)、人對(duì)世界的想象還是受到嚴(yán)厲規(guī)約的影響，盡管有強(qiáng)大的真理的聲音告訴你，人必須是這樣、生活必須是這樣，你無(wú)可選擇無(wú)可爭(zhēng)辯，但是，攝影的微光使我們看到，人可能是另外的樣子，我們自身遠(yuǎn)比我們意識(shí)到的更為豐富和復(fù)雜，我們看到了經(jīng)驗(yàn)的真實(shí)質(zhì)地，看到了事物的模棱兩可，看到人如何擊破覆蓋他的幻覺(jué)、成規(guī)、歸類和論述，去發(fā)現(xiàn)和踐行他自己的真理。
在這個(gè)意義上，攝影就是要承受傲慢與偏見，承受對(duì)它的價(jià)值的懷疑。承受著這種壓力，攝影守護(hù)著語(yǔ)言的活力，守護(hù)著人的生動(dòng)形象，守護(hù)著人的誠(chéng)懇和自由。
從這樣的信念出發(fā)，我認(rèn)為，連州攝影年展這樣的活動(dòng)可以是肯定也可以是懷疑，是分析、判斷和學(xué)理，但肯定、懷疑、分析、論斷和學(xué)理不是為了規(guī)約和馴服攝影，不是為了榨干它的汁液，恰恰相反，它是為了警覺(jué)地堅(jiān)持?jǐn)z影的根本精神。
同樣是從這樣的信念出發(fā)，我也認(rèn)為連州攝影年展并非尋求公正，它是非常值得的冒險(xiǎn)，是人的想象力的有力證明，它將圖像中潛藏的各種各樣可能性充分開啟，澄清為明晰的意識(shí)和言說(shuō)。
連州攝影年展愿意發(fā)出這樣一種明確的迅息：只要你的照相機(jī)沒(méi)有對(duì)著現(xiàn)實(shí)背轉(zhuǎn)身去，只要你的拍攝工作是出于自己的真情實(shí)感，只要你堅(jiān)持?jǐn)z影的根本精神，那么，我們會(huì)看見，我們會(huì)贊賞，我們會(huì)鼓勵(lì)，我們會(huì)推廣，我們會(huì)給予幫助。
這就是我對(duì)連州攝影年展的根本看法和信念。
Forword of Artistic Director
On Standards and Beliefs
By Duan Yuting
As art director of Lianzhou International Photography Festival (LIPF), people often ask me what my standards are.
I explain that their question stems from a misunderstanding of the function of an art director. The art director isn’t a judge with a book of laws—even less a quality control inspector—and so he or she has no list of clear standards to go by.
That answer gets me out of a prickly situation, but I know that I’ve avoided the essence of the question. The reporters and general public don’t expect me to list out a series of rigorous standards. What they want to know, what they think they need to know, is as an art director, what are my fundamental ideas and beliefs about photography.
The question haunts me. How would I personally define photography? It is a daily necessity, something we use everyday. It is a powerful source of discourse and a magnificent wealth of knowledge that is constantly producing new thoughts, ideas and theories. It is a duty and a quest. But now, one after the other, members of the public ask me: “What brought you to choose these photos? What is the main reason that justifies your choices?
Now I am ready to attempt to answer that question.
In the span of our lifetimes, we have witnessed frequent and sudden changes in the concept of the image, the definition of photography and significance of photography in our lives. Now the many convictions we elaborated and upheld in the past are coming under fire. However, faced with the question, I would rather return to the earlier days of photography, to times when the changes where only beginning to appear on the horizon, and approach and rediscover photography in many different ways.
Human consciousness and world view might have been conscribed within a strict set of rules at the time and the voice of complacency of truth might remind us that things are so and that we have no power to choose or argue, but the light of photography made us see everything in a different light. Humanity is far richer and more complex what we are aware of. Photography reveals the texture of experience, exposes paradoxes, and witnesses how humanity sweeps away illusions, rules, categories and theories to discover and make real one’s own truth.
In this sense, photography must endure pride and prejudice. Faced with doubt of its significance, photography has preserved its eloquence, vivid lifelikeness, honesty and freedom.
Because of this, I believe that an event like LIPF can be approved of or called into question; it can be analyzed, judged or theorized upon. But validation, discredit, analysis and judgment do not regulate and tame photography and suck the juice out of it; it is quite the opposite: they vigilantly uphold the spirit of photography.
In the same way, LIPF sees it a risk worth taking not to seek impartiality. LIPF is powerful proof of human imagination. It unleashes the hidden potential of photography, making consciousness and what lies beyond words clear for the eye to see.
Lianzhou Iinternational Photography Festival wants to send out a clear message: as long as your camera hasn’t turned its back on reality, your works have stemmed from your personal experience and emotions, and you uphold the spirit of photography, we will be there to look at and admire your work, promote it and lend a helping hand.
These are LIPF’s vision and beliefs.
三、 主題闡釋
我的照相機(jī)
栗憲庭
我們用一句大白話“我的照相機(jī)”，作為本屆連州國(guó)際攝影年展的主題，在數(shù)碼新技術(shù)日益發(fā)達(dá)和當(dāng)代藝術(shù)中的攝影媒體日益熱鬧的情況下，顯得有些不合時(shí)宜?；蛘哒f(shuō)，恰恰因?yàn)檫@樣形勢(shì)，我們主張回到“我”和“照相機(jī)”以及現(xiàn)實(shí)的基本關(guān)系上。
“我的照相機(jī)” 強(qiáng)調(diào)的首要因素是“我”——作為一個(gè)有良知的個(gè)人，他的立場(chǎng)，他的獨(dú)立思想，他的獨(dú)立視角，以及獨(dú)特的語(yǔ)言方式，是我們首先關(guān)注的作品準(zhǔn)則。而視角和語(yǔ)言方式的獨(dú)特性，牽涉到攝影的基本媒介——“照相機(jī)”的獨(dú)特性。當(dāng)我們通過(guò)照相機(jī)直面被拍攝的對(duì)象時(shí)，一定會(huì)受到照相機(jī)的諸如鏡頭、焦距、曝光等一系列機(jī)器的制約，它的長(zhǎng)處也是它的短處，因此，現(xiàn)代數(shù)碼新技術(shù)及其電腦技術(shù)，使修改、挪用、拼接的技術(shù)日臻完善，這也是攝影媒體迅速成為當(dāng)代藝術(shù)新的媒體和熱潮的原因之一，以至于不少紀(jì)實(shí)攝影家也受到這種新技術(shù)的影響，正是在這種意義上，我們重新強(qiáng)調(diào)“我的照相機(jī)”，并不是一味地反對(duì)傳統(tǒng)攝影和新技術(shù)的聯(lián)系，而是反對(duì)那種無(wú)界限地挪用諸如網(wǎng)絡(luò)、廣告等其他媒體上的圖片，而忽略了“我的照相機(jī)”在直面現(xiàn)實(shí)時(shí)那種不可替代的特性。在當(dāng)代藝術(shù)日益模糊各藝術(shù)門類界限的時(shí)候，尤其在當(dāng)代藝術(shù)中攝影媒體成為熱潮的時(shí)候，我們企圖強(qiáng)調(diào)“我”在按動(dòng)“照相機(jī)”快門的霎那間，與“轉(zhuǎn)瞬即逝的現(xiàn)實(shí)”的獨(dú)特關(guān)系。對(duì)人生對(duì)日常和非日常生活的見證，也許永遠(yuǎn)是攝影藝術(shù)不可替代的語(yǔ)言魅力。正是從這種意義上，我們強(qiáng)調(diào)“我的照相機(jī)”，是想與當(dāng)代藝術(shù)中大量的挪用、擺拍、拼接、篡改的取巧風(fēng)氣保持距離。我們不反對(duì)攝影使用電腦等新的技術(shù)，但強(qiáng)調(diào)攝影的基本素材來(lái)源于照相機(jī)與原本生活現(xiàn)實(shí)場(chǎng)景的關(guān)系，而把大量挪用、擺拍、拼接、篡改因素的作品讓當(dāng)代藝術(shù)的語(yǔ)言系統(tǒng)去評(píng)價(jià)。
“我的照相機(jī)”的主題也許帶著復(fù)古的傾向，但藝術(shù)史上很多新思潮恰恰是通過(guò)對(duì)某種古藝術(shù)的復(fù)興來(lái)實(shí)現(xiàn)的，諸如歐洲的文藝復(fù)興運(yùn)動(dòng)。而連州國(guó)際攝影年展舉辦地的連州，其人文地理也恰恰為我們提供了一種參考。廣東的連州在中國(guó)屬于古楚地，歷來(lái)是朝廷的貶謫之地，唐代著名古文運(yùn)動(dòng)的主要人物，先后都被貶謫到這塊土地上，韓愈曾被貶為連州陽(yáng)山縣令，柳宗元曾被貶為相鄰的永州司馬，而劉禹錫曾先后被貶官至連州任刺史多年。所謂古文運(yùn)動(dòng)，是唐代中葉在文體上恢復(fù)先秦兩漢的文章傳統(tǒng)，唐代中葉，社會(huì)危機(jī)日趨嚴(yán)重，藩鎮(zhèn)割據(jù)，宦官擅權(quán)，朋黨之爭(zhēng)，以及吐蕃、回紇的侵?jǐn)_，這種內(nèi)憂外患的現(xiàn)實(shí)情景，讓當(dāng)時(shí)有良知的官僚士大夫，倍感六朝以來(lái)的浮艷文風(fēng)成為了表達(dá)見解的束縛，韓愈、柳宗元等人首倡復(fù)興先秦兩漢自由質(zhì)樸的文風(fēng)。他們?cè)诶^承傳統(tǒng)的基礎(chǔ)上，主張語(yǔ)言獨(dú)創(chuàng)，文從字順。事實(shí)上，古文運(yùn)動(dòng)在融化古人詞匯語(yǔ)法基礎(chǔ)上，產(chǎn)生出對(duì)后世有深刻影響的自由流暢、直言散行并切中時(shí)弊的表達(dá)方式。從這種意義上“我的照相機(jī)”，并不主張單純回到“我”和“照相機(jī)”及其現(xiàn)實(shí)的傳統(tǒng)關(guān)系上，而是主張攝影家回到“我”的獨(dú)立立場(chǎng)，回到通過(guò)“照相機(jī)”直面和見證今天的現(xiàn)實(shí)與人生境況的感覺(jué)中。
My Camera and I
Curatorial Theme/ By Li Xianting
The seemingly innocuous statement “my camera and I” might sound passé in the digital age, but it is precisely because of this that we feel the need to revisit our first person relationship with the camera in this year’s edition of the Lianzhou International Photography Festival (LIPF). The theme “My Camera and I” is meant to reemphasize the conscious being operating the camera, the individual possessing a set of opinions and beliefs and capable of independent thought that articulates a unique statement in a personal photographic language.
Specificity of language and uniqueness of vision of a photographer’s work are partially attributable to the camera, and its devices—lens, focus, exposure, etc.—circumscribe the rendering of the subject as much as they make it possible. Digital technology has revolutionized photography by succeeding in retouching, sampling and blending the photographic image, leaving no field of photography, including documentary photography, untouched, and reviving photography as a popular medium of contemporary art. By reaffirming the significance of “my camera and I”, we wish not to object to the use of new technology in the practice of photography, rather we hope to make a statement against the appropriation of photography by the Internet, advertising and other image media, which misrepresent the reality photography seeks to confront us with. As contemporary art blurs the line between various art forms and photography becomes a popular medium of contemporary art, we want to put the “I” that presses the shutter back in focus for a moment, and examine its unique relationship to the “fleeting reality”, for no other medium makes as beautiful a statement as photography—that of bearing witness to the wondrous thing that is life. By focusing on “My Camera and I”, we set aside the digital sampling, staging, blending and doctoring of the photographic image and leave it to be judged within the realm of contemporary art, and remind ourselves that the main source of photographic material comes from the relationship between the camera and real life.
“My Camera and I” takes us back to the basics of photography keeping in mind that something new can be born out of the old—a concept that isn’t foreign to LIPF’s host city Lianzhou. During the Tang Dynasty (618-907) the remote southern region was a home-in-exile for banished officials and literati, including mandarin, poet and essayist Han Yu, poet Liu Zongyuan and poet, philosopher and essayist Liu Yuxi. The domestic instability and foreign aggression of the turbulent Late Tang inspired Han Yu, Liu Zongyuan and other the literati to dispose of the florid and parallel writing style favored since the Six Dynasties (220-589) and propose a revival of pre-Han prose. While building on tradition, the “Classical Prose Movement” they spearheaded was to advocate creativity and champion a style that lay out current issues and provided cutting analysis of social ills in a plain language that flowed freely from the characters it used. In this sense, the theme “My Camera and I” is not only intended to assert a return our relationship to the device, but also to reaffirm the importance of the independent viewpoint and revisit the camera’s ability to bear witness to and confront us with reality, current events and emotions.
