照相法： 韩磊+摄影
Image Tricks: Han Lei + Photography
艺术家： 韩磊
策展人： 卡门
开幕时间： 2009年7月25日下午4时
预展时间： 2009年7月25日下午3时—4时
展览时间： 2009年7月25日—9月6日
主办： 伊比利亚当代艺术中心
艺术总监： 左靖
总监： 夏季风
地址： 北京市朝阳区酒仙桥路4号798艺术区E06（近798南门）
T: 86-10-59789530 info@iberiart.org www.iberiart.org
Artist: Han Lei
Curator: Carmen Blánquez de la Torre
Opening: 5:15pm, 25 July 2009
Preview: 4:30 - 5pm, 25 July 2009
Dates: 25 July – 6 September 2009
Organizer: Iberia Center for Contemporary Art
Art Director: Zuo Jing
Director: Xia Jifeng
Producer: Gao Ping
Address: E06, 798 Art Zone, No.4 Jiuxianqiao Road, Chaoyang District, Beijing (Close to the south gate of 798)
T: 86-10-59789530 info@iberiart.org www.iberiart.org
韩磊-海报展览前言
在艺术创作中，艺术家使用的媒介是把双刃剑，产生效果的好坏取决于使用者的运用方式。摄影也不例外，它从来都不是一种单纯的技术，而是个人化的手段。如同苏珊•桑塔格在《论摄影》中提到的，“正像摄影家们所描述的那样，拍照既是挪用对象化世界的无限制技术，也是自我个体不可避免的唯我论的表现……它们描绘一种个人气质，通过照相机对现实的处理来发现自己”。但是至今，摄影被大众普遍接受的欣赏角度依然在于它是否带给人真实感。这大概是由于人们思维的惰性使然，而这种惰性可能也正是艺术大众化的重要原因。
艺术家韩磊坚持“永远不会信任我所看到的真实性”，在保留现实场景的“真实”的同时，他的作品糅入了对这些“真实”的感触——或许是怀疑，或许是视而不见，更或许只是异样的沉默。这种个人主观感觉的介入，使韩磊照片中的现实场景具有相当强烈的不确定感。同样，韩磊拍摄的肖像作品也表现出与所谓“真实”的违合。他将具有明显可辨识身份特征的人物置于无典型特征的环境中，挑战了人们固有的观看习惯和紧随观看之后的判断模式，让一切条框或界限性的东西都变得模糊，造成了一种“真实的虚幻”，让观者重新构筑对所见影像的理解，从而打破了人们固有的思维惰性。
“我用照相机蒐集隐藏于心底的异样感。当观看和妄下结论，使用胶片和摆弄照相机成为一种乖巧习惯时，我确信摄影术一定是魔术的一种。”韩磊用这句话阐释自己对摄影的感受。而这次在伊比利亚当代艺术中心举办的展览“照相法：韩磊+摄影”，展出他2004年至2009年的部分代表作品和5幅更为早期的黑白摄影，恰恰凸显了摄影这种媒介在艺术家独特的运用方式下，早已脱离单纯寻求“真实”、“美感”的层面，甚至变得仿若一种戏法，在亦真亦幻中透露出魔术师心底的种种微妙情感。在2009年的新作《李白肖像》、《朱耷肖像》、《怀素肖像》中，韩磊将他的“魔术”玩得更加纯熟。他试图将绘画的方法转嫁与摄影术，在刻意效仿了16世纪画家约瑟贝•阿钦波多所描绘的经典蔬菜肖像的基础上，介入了局部的video影像去描述中国艺术史中三位经典的的浪漫诗人、画家和书法家，借摄影的虚构和媒介的转化，使意旨更具多重性。韩磊涉猎了目前摄影所具有的三个主要拍摄方式，从最初相对强调客观、甚少带有拍摄者个人意识的“旁观者”摄影，到保留“真实”图景、同时介入主观意识的意象性作品，再到从艺术家个人体验出发、运用道具摆设“虚假”物象的这组肖像作品，可以看出艺术家个人意识的介入比重在不断增大，而这可能正是“照相法”在韩磊手中，由技法逐渐成为“戏法”的关键所在。
In the process of creating artworks, the media that artists use is a double-edged sword. Whether the effect is good or bad is decided by the way they are applied. Photography is no exception. It is never a pure technique, but a personal method. Susan Sontag mentioned in her On Photography, "As described by photographers, photography is not only an unlimited technique of appropriating realistic world, but also an inevitable expression of solipsism…It describes a personal temperament and discovers oneself through the camera's treatment of reality." However even until now, for common people, the most acceptable way of appreciating a photographic work is still the one that can provide the audience with a sense of authenticity. This may result from man's laziness in thinking, which is probably also a major reason for the popularization of art.
Han Lei never trusts the "authenticity" of what he sees. While preserving the "authenticity" of realistic scenes, his works incorporate personal feelings about those "realities": maybe doubt, maybe neglect, or maybe just silence. The interposition of subjective feelings has made the realistic scenes in Han Lei's works possess a rather strong sense of uncertainty. Likewise, the portraits by Han Lei are also inharmonious with the so-called "authenticity". He puts figures with distinct features of identity in a background without typical characteristics, which challenges man's habitual way of observation and the subsequent mode of judgment, breaks away from all the conventions and blurs all the boundaries. He creates a "realistic illusion", which makes the audience re-construct their understanding of the images they see and destroys their habitual laziness in thinking.
"I use the camera to collect the strange feelings hidden in the bottom of my heart. When observing and judging, using film and playing with the camera becomes a ritual, thus I am convinced that photography is one form of magic." Han Lei uses this sentence to interpret his feeling for photography. "Image Tricks: Han Lei+Photography" held in Iberia Center for Contemporary Art exhibits part of his representative works created from 2004 to 2009 and five black-and-white photographic works of earlier time. It reveals that with the artist’s unique application, photography has surpassed the layer of pursuing "authenticity" or "aesthetic feeling". It is like a form of magic, revealing the magician's delicate emotions at heart through realities and illusions. In his recent works Portrait of Li Bai, Portrait of Zhu Da and Portrait of Huai Su, Han Lei displays a more practiced "magic". He attempts to transplant the method of painting to photography. Based on an intentional imitation of Giuseppe Arcimboldo's "vegetable" portraits and with the partly interposition of video images, he depicts three classical intellectuals in Chinese art history. With the fiction of photography and the transformation of media, the connotation of these works has become multiple. Han Lei dabbles in the three principle methods of contemporary photography. From the "bystander" photography that shows little personal consciousness and emphasizes objectivity in earlier time, to the subsequent works that preserves "realistic" scenes and incorporate subjective consciousness, and then to these portraits of "false" objective images composed by properties, one may see the interposition of the artist's personal consciousness is being enhanced, which may just be the key point of the transformation of photography from technique to "trick" in Han Lei's hands.
拍摄于2005-2009 Photographed in 2005-2009
四季 Four Seasons (1-12)
三个站立的裸体女人Three Standing Nude Women
13个恶人的民间惩罚 Folk Punishments of 13 Villains (1-13)
拍摄于1988-1992 Photographed in 1988-1992
