“诗意生存”八零后摄影的诗意世界展主题阐释
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“诗意生存”八零后摄影的诗意世界展主题阐释
许崇宝 雅昌艺术网专稿 2007-03-18 13:11:58
(“诗意生存”八零后摄影的诗意世界展 展览作品)
据记录摄影术始于1839年，随之就被传入中国，虽然不知传入中国的确切年代，但在1844年就有邹伯奇的《摄影之器记》传世，可知摄影术紧随着西方的坚船利炮与鸦片一起入侵了中国。当列强、鸦片被驱逐出国门以后，摄影术却在华夏大地不断发展与进步，并技进乎艺，艺进乎道，俨然成为中国当代艺术的主力。摄影在新中国建立后很长一段时间内被定位在新闻、历史纪实的职能，直到二十世纪九十年代中后期才由艺评家朱其等人提出“先锋摄影”的概念，并梳理归纳出几个不同范畴，即观念和表演，老照片，都市，后殖民，青春艺术，女性主义，新纪实。
然而，从二十世纪九十年代初活跃至今的摄影艺术，在保持其先锋艺术的特性的前提下，是否出现了新的不同于以上七个范畴的摄影作品呢？这个展览试图以四位出生于1980年以后的年轻摄影艺术家的作品为案例来分析并展现这一新生代的创作特色。
刘韧，阳子，李楠，魏辰风都生于1980后，这代人的生存体验中暴力斗争和政治运动已经被改革开放的洪流所淹没，他（她）们的作品中没有暴力血腥，没有政治波普，没有泼皮无赖玩世不恭，他（她）们不去牵强的表达这些自己没有体会过也并不具有的情感与体验。在他（她）们的作品中更多是关于美好生活的表达，对他（她）们如何从一个孩童成长为一个诗性艺术家的过程的回忆或回忆碎片。即使目睹了血腥和暴力，这血腥暴力也在他们的视觉经验和内心情感中显得别具美感而不是阴影和恐惧。由于他（她）们天生对美的向往与追求，他（她）们对美有一种特殊的敏感甚至是癖好。这种美的感觉，我称之为诗意，忧郁，美丽，细腻的表达他（她）们自己。这种诗意在他（她）们每个人的作品中呈现的淋漓尽致且各具特色。
刘韧与阳子的作品以女性艺术家的细腻来表达她们的情感与生活，当美丽的回忆慢慢消逝为碎片，或灵魂在审问自己的回忆是否真实的时候，记忆中的符号串联起了一幅幅摄影作品。身为女性艺术家却并没有站在女性主义的立场上标榜自己的创作而是自然的表达自己诗意的存在与生活。李楠的作品中呈现了在白天被光线所略去的事物，到了夜间却如童话故事里的精灵般在现实世界中舞蹈，在一个比白天更加美丽的世界里，摄影作品中缓缓流淌出一首抒情诗,舞者也是朗诵者。魏辰风的作品就如一首严峻的现实主义诗歌，照片迷人的质感与摄影语言的纯净造成了他的作品既震撼又细腻的表现风格。但这语言却在叙述着一个让人心痛令人沉思的故事，一组照片犹如一部史诗，令人荡气回肠。
当然，我并不是认为所有1980后出生的摄影艺术家都具有这种诗化的摄影语言与诗意的生存体验，我只是想找出在这代人中有这么一个群体存在，让人们了解并欣赏他（她）们的艺术，他（她）们的诗意生存。
2007年3月15日于798
Poetic life
The poetic world in photos of post-1980
As documents recorded, the technology of photography started from 1839. Although we do not know the exactly time but the photography was transferred to China later after the invention of it, with the opium and battleship in 1840s. Now we have a book written by ZouBoqi in 1844. New China got the opium and warship out of country while the photography was left and developed well, from technology to art, even from art to Tao , become the main force of China contemporary art. Photography was considered as the tool to record the news and history in a long time of PRC, until 1990s the concept of “avant-gearde” was brought up by ZhuQi and other critics. Also ZhuQi and other critics induced seven categories of avant-gearde photography：old photo, city, post-colonism, youth art, feminism, new realism.
But it has been over ten years since the concept of “Chinese avant-gearde photography” ,is there new category of Chinese avant-gearde photography arising? This new exhibition try to find the difference from the above seven categories in the works of four young artists who were born post 1980s.They are the new generation.
LiuRen , YangZi, LiNan, WeiChenfeng were all born post-1980 and in the life experience of them, the violent struggle and political movement were swamped by the flood of open and revolution in China. There is no violence and blood, no political pop, no cynical. They do not want to express the feelings and experiences farfetched that they do not have. In their work, there are more about their beautiful life and memory or fragments of memory that how do they grow up from a child to an artist, a poetic artist. Maybe they heard or even saw something about violence and blood but because they have not experienced the violence and blood, they had pleasant impression of them in their visual and feeling, like a romantic drama writer. They were born to find and feel beautifulness. This feeling of beautifulness is “poetic” in my opinion, to express themselves disconsolately, beautiful and delicate. This poetic is expressed vividly and incisively in their works and each artist have his(her) specialty.
LiuRen and YangZi are feminine artists. They use the delicacy of female to express the feeling and life. When the beautiful life memory become fragments and elapsing little by little, or when the soul interrogates are the memories they have true, the emblems of their life memory become the photo works .As female artists but they do not glory their work with “feminism” instead of naturally expressing their poetic existence and life. In LiNan’s work , there is a world that drowned by sunlight in day time, after sunset, there is a dancer in darkness , dancing in a more beautiful world than day, just like a fairytale world ，a piece of lyric in his work, dancer also the declaimer. WeiChenfeng’s work, like a piece of stern realism poem，the amazing texture of photo and the purity of his photography language make his style shocking and delicacy. But this style is telling you a sad story about loyalty and making you think about it. A series of photos like a volume of extraordinarily moving epic poem.
Of course, I am not mean all the artists born post 1980 have the poetic photography language and poetic life experience. I just want to find out that someone has, and introduce their work to people, let people enjoy their art, their poetic life.
XuChongbao
15th Mar. 2007 798 art district
许崇宝 雅昌艺术网专稿 2007-03-18 13:11:58
(“诗意生存”八零后摄影的诗意世界展 展览作品)
据记录摄影术始于1839年，随之就被传入中国，虽然不知传入中国的确切年代，但在1844年就有邹伯奇的《摄影之器记》传世，可知摄影术紧随着西方的坚船利炮与鸦片一起入侵了中国。当列强、鸦片被驱逐出国门以后，摄影术却在华夏大地不断发展与进步，并技进乎艺，艺进乎道，俨然成为中国当代艺术的主力。摄影在新中国建立后很长一段时间内被定位在新闻、历史纪实的职能，直到二十世纪九十年代中后期才由艺评家朱其等人提出“先锋摄影”的概念，并梳理归纳出几个不同范畴，即观念和表演，老照片，都市，后殖民，青春艺术，女性主义，新纪实。
然而，从二十世纪九十年代初活跃至今的摄影艺术，在保持其先锋艺术的特性的前提下，是否出现了新的不同于以上七个范畴的摄影作品呢？这个展览试图以四位出生于1980年以后的年轻摄影艺术家的作品为案例来分析并展现这一新生代的创作特色。
刘韧，阳子，李楠，魏辰风都生于1980后，这代人的生存体验中暴力斗争和政治运动已经被改革开放的洪流所淹没，他（她）们的作品中没有暴力血腥，没有政治波普，没有泼皮无赖玩世不恭，他（她）们不去牵强的表达这些自己没有体会过也并不具有的情感与体验。在他（她）们的作品中更多是关于美好生活的表达，对他（她）们如何从一个孩童成长为一个诗性艺术家的过程的回忆或回忆碎片。即使目睹了血腥和暴力，这血腥暴力也在他们的视觉经验和内心情感中显得别具美感而不是阴影和恐惧。由于他（她）们天生对美的向往与追求，他（她）们对美有一种特殊的敏感甚至是癖好。这种美的感觉，我称之为诗意，忧郁，美丽，细腻的表达他（她）们自己。这种诗意在他（她）们每个人的作品中呈现的淋漓尽致且各具特色。
刘韧与阳子的作品以女性艺术家的细腻来表达她们的情感与生活，当美丽的回忆慢慢消逝为碎片，或灵魂在审问自己的回忆是否真实的时候，记忆中的符号串联起了一幅幅摄影作品。身为女性艺术家却并没有站在女性主义的立场上标榜自己的创作而是自然的表达自己诗意的存在与生活。李楠的作品中呈现了在白天被光线所略去的事物，到了夜间却如童话故事里的精灵般在现实世界中舞蹈，在一个比白天更加美丽的世界里，摄影作品中缓缓流淌出一首抒情诗,舞者也是朗诵者。魏辰风的作品就如一首严峻的现实主义诗歌，照片迷人的质感与摄影语言的纯净造成了他的作品既震撼又细腻的表现风格。但这语言却在叙述着一个让人心痛令人沉思的故事，一组照片犹如一部史诗，令人荡气回肠。
当然，我并不是认为所有1980后出生的摄影艺术家都具有这种诗化的摄影语言与诗意的生存体验，我只是想找出在这代人中有这么一个群体存在，让人们了解并欣赏他（她）们的艺术，他（她）们的诗意生存。
2007年3月15日于798
Poetic life
The poetic world in photos of post-1980
As documents recorded, the technology of photography started from 1839. Although we do not know the exactly time but the photography was transferred to China later after the invention of it, with the opium and battleship in 1840s. Now we have a book written by ZouBoqi in 1844. New China got the opium and warship out of country while the photography was left and developed well, from technology to art, even from art to Tao , become the main force of China contemporary art. Photography was considered as the tool to record the news and history in a long time of PRC, until 1990s the concept of “avant-gearde” was brought up by ZhuQi and other critics. Also ZhuQi and other critics induced seven categories of avant-gearde photography：old photo, city, post-colonism, youth art, feminism, new realism.
But it has been over ten years since the concept of “Chinese avant-gearde photography” ,is there new category of Chinese avant-gearde photography arising? This new exhibition try to find the difference from the above seven categories in the works of four young artists who were born post 1980s.They are the new generation.
LiuRen , YangZi, LiNan, WeiChenfeng were all born post-1980 and in the life experience of them, the violent struggle and political movement were swamped by the flood of open and revolution in China. There is no violence and blood, no political pop, no cynical. They do not want to express the feelings and experiences farfetched that they do not have. In their work, there are more about their beautiful life and memory or fragments of memory that how do they grow up from a child to an artist, a poetic artist. Maybe they heard or even saw something about violence and blood but because they have not experienced the violence and blood, they had pleasant impression of them in their visual and feeling, like a romantic drama writer. They were born to find and feel beautifulness. This feeling of beautifulness is “poetic” in my opinion, to express themselves disconsolately, beautiful and delicate. This poetic is expressed vividly and incisively in their works and each artist have his(her) specialty.
LiuRen and YangZi are feminine artists. They use the delicacy of female to express the feeling and life. When the beautiful life memory become fragments and elapsing little by little, or when the soul interrogates are the memories they have true, the emblems of their life memory become the photo works .As female artists but they do not glory their work with “feminism” instead of naturally expressing their poetic existence and life. In LiNan’s work , there is a world that drowned by sunlight in day time, after sunset, there is a dancer in darkness , dancing in a more beautiful world than day, just like a fairytale world ，a piece of lyric in his work, dancer also the declaimer. WeiChenfeng’s work, like a piece of stern realism poem，the amazing texture of photo and the purity of his photography language make his style shocking and delicacy. But this style is telling you a sad story about loyalty and making you think about it. A series of photos like a volume of extraordinarily moving epic poem.
Of course, I am not mean all the artists born post 1980 have the poetic photography language and poetic life experience. I just want to find out that someone has, and introduce their work to people, let people enjoy their art, their poetic life.
XuChongbao
15th Mar. 2007 798 art district
别搞得这么狗屁好不好
动不动就 80 后、,他吗的这词很好听吗?
土不土,有点开创精神嘛,人家吐出来的热饭你当粥喝
操他吗诗意生存,恶心
动不动就 80 后、,他吗的这词很好听吗?
土不土,有点开创精神嘛,人家吐出来的热饭你当粥喝
操他吗诗意生存,恶心
