展评 内耳
发起人:shirley_88  回复数:1   浏览数:1758   最后更新:2011/01/19 17:37:25 by guest
[楼主] shirley_88 2011-01-19 10:29:51
来源:Artforum 文/ 段凌宇

从纪实到观念再到私摄影,大体说明了三十年来中国摄影现象的流变。“私”的限度和禁忌何在?到底能多暴力,多隐秘?“私”与社会的关联何在?退回身体、退回内心、退向两个人的私密空间是否有足够的合法性?在批评家那里私摄影的伦理问题一直饱受争议。
由荣荣策划的双人摄影联展“内耳”是讨论以上问题一个极好的样本。粗看下来,两人的作品十分不搭,丘黑白,任航彩色;丘内省,任航肆意;丘生长于广东乡村,十年来一直在内心为渐行渐远的乡村生活雕刻影像,而任航则粗暴地把相机伸向都市青年的私生活。他们的相似性大概只在于对纪实摄影的反驳,不再以追求客观真实为己任。
生于1987年的任航是近年来热衷“私摄影”的青年中走得最极端的一位,身体与性几乎是他镜头下唯一的内容。“禁忌”一词对他似无意义,或者他的乐趣就在于冒犯,狠狠地按下快门来冒犯社会和审美的禁忌。任航不在乎裸露,他似乎只是借助身体传达被伤害的体验。照片里的年轻人处在悖论的状态中,裸露并不通向自由,他们依旧被禁锢、伤害。裸露与性并非快感之源,他的惊世骇俗只是在说自由之虚妄以及禁忌、伤害与疼痛的无所不在。
相比较任航偏重下半身的尝试,丘则以“心象”统摄外界。摄影批评家颜长江把丘的摄影称为“心象”。自然、社会、文化在丘的作品中都飘渺朦胧,如一个远去的梦境。这些原本在正统的纪实摄影中鲜明有力的形象,丘却要把它们收回自己的内心,漂白、做旧,呈现给我们一面心灵镜像。这些灰影像气质迷人,在内心与剧烈变化迅速消失的社会之间,丘像个孩子站在中间地带,游离、伤感、沉溺于摄影这门手艺活。
[沙发:1楼] guest 2011-01-19 17:37:25
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